羅芙奧季刊第22期 Ravenel Quarterly No. 22

⾑䒗䵺㿆 Circular Economy

No. 22 Autumn 2017

| CONTENTS | 04

老經典。新經濟 Classic Masterpieces and the New Economy

08

環球展覽預告 Global Exhibition Preview

10

完美收槌 市場回暖 8 . 2 億台幣 再創高峰 Perfect Ending, Market is Warming up Again New Sales Record NT$820 Million

16

想像無限─ 趙無極的價值超越其藝術本身 Boundless Space for the Imagination – Zao Wou-Ki’s Worth Far Exceeds the Individual Value of his Art

32

循環經濟來了！ Circular Economy

44

古董錶揭密 Uncovering the Secrets of Antique Watches

48

流光溢彩 鑽優雅 A Dignified Diamond Overflowing with Vibrant Colors and Astonishing Brilliance

52

守候，為那一刻的芳華 A Collector’s Guide to Wine Storage

56

解放傳統 訴諸藝術 卡•阿貝爾 Manifest Art with Unleashed Tradition Karel Appel

60

巴塞爾效應 蓬勃市場的基礎 The Basel Effect The Foundation of the Blooming Market

64

生活藝廊 Life Gallery

葉子奇《大榕樹》2000-2003 年 卵彩 油彩 亞麻布 86.5 x 127 cm 成交價：9,360,000 台幣 羅芙奧台北 2017 春季拍賣會 Tzu-Chi YEH, “Big Banyan Tree”, 2000-2003, tempera and oil linen, 86.5 x 127 cm Sold for US$311,067 Ravenel Spring Auction 2017 Taipei

| Chief Editor’s Note |

老經典。新經濟 Classic Masterpieces and the New Economy Photo / Delta Development Group

Every season, Ravenel magazine

The Dutch artist Karel Appel was a

presents a wide range of articles and

leading figure in the CoBrA avant-garde

news items relating to recent trends,

art movement. Opposed to Academy-

fashion, luxury goods, art, collectors’

style abstract art, “ artistic nationalism ”

items, fine wines, gourmet cuisine,

and the ossification of art, he sought to

travel, etc. While striving to help our

create art that people would react to on an

readers “ make every moment special,

instinctive level, striving to recreate the

and make life meaningful, ” we also

sheer joy of painting seen in primitive art

pay attention to international issues on

and children’s art.

environmental protection and the green 《Ravenel》雜誌每季介紹目不暇給的流

movement. The development of new green

“The classics have shown that they can

industries is one of the most important

stand the test of time.” For people of taste

st

行、時尚、精品、藝術、收藏、品酒、美

trends in the 21 century, and Ravenel

and style, knowledge of antique watches

食、旅行的信息。追求「精彩時刻、雋永人

No. 22 takes the “ Circular Economy ” to

and fine wines is just as important as

生」的同時，也不忘關懷環保與綠色的國際

be the theme, examining how, in light of

knowledge of art and art collecting. The

議題。因應綠色產業成為二十一世紀重要的

the rise in environmental consciousness,

city of Basel, in Switzerland, regularly hosts

發展趨勢，第 22 期的季刊以「循環經濟」

architecture and the materials and designs

major international expositions; how has

為主軸，介紹環境保護思維下，建築與流行

adopted for luxury goods can embody

this city succeeded in attracting wealthy

的材料、設計如何永續發展並創造新可能。

the goal of sustainable development and

people from all over the world, year after

create new potential.

year, and creating a huge art and luxury

華人抽象藝術的指標人物─趙無極先

goods-based local economy in the process?

生，生前即是備受推崇的藝術家，而 2013

Z a o Wo u - K i w a s o n e o f t h e m o s t

年過世後，他的畫作更是華人豪宅牆上不

prominent Ethnic Chinese abstract

能缺少的主角，2017 年春拍，他的藍色抽

artists. Mr. Zao received widespread

象畫一舉拍出近六億台幣的天價，他如何

recognition and accolades during his

在經濟尚未明朗之際，作為亞洲拍場上恆

lifetime, following his death in 2013

久不墜的閃耀巨星，本期「藝術與投資」

his paintings have become a must-have

專欄提出別具風格的觀點。

addition to the walls of the luxury homes of wealthy and successful Ethnic Chinese.

4

荷蘭藝術家阿貝爾 Appel，眼鏡蛇 CoBrA

In the Spring of 2017 , one of Zao Wou-

畫派代表人物，反抗學院派抽象、國家化

Ki’ s blue abstract paintings was sold for

或僵化，追求藝術的直覺性，回歸原始與

an incredible price of nearly NT$ 600

兒童的繪畫樂趣。「經典能禁得起時間的

million. The “Art and Investment” column

考驗」，品味人士除了藝術品收藏，古董

in this quarter ’ s edition of Ravenel

錶與酒藏的知識絕對也是必備的品項。世

examines from an interesting new

界博覽會的經典城市─瑞士巴塞爾，每年

perspective, how Zao Wou-Ki’s paintings

如何吸引國際富豪，創造驚人的藝術與精

have come to constitute a permanent

品經濟。《Ravenel》雜誌繼續在此為您開

“bright shining star” amidst the firmament

啟世界的窗扉。

of the Asian art auction scene.

Once again, Ravenel endeavors to be your “window on the world.” 總編輯

No. 22 Autumn 2017

羅芙奧藝術集團台北辦公室 10683台北市敦化南路二段76號15樓之2

電話：+886 2 2708-9868

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總 編 輯 陳惠黛

Editor-in-Chief: Odile Chen

主 編 葉子微

Managing Editor: Gina Yeh

100020中國北京市朝陽區東三環中路1號

編 輯 游景涵

Editor: Carol Yu

北京環球金融中心東樓1層E101單元

編 輯 翁境優

Editor: Tiff Wong

電話：+86 10 8587-8099

傳真：+886 2 2701-3306 羅芙奧藝術集團北京辦公室

傳真：+86 10 8587-8199

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Published by Ravenel Ltd.

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Editorial Production: Likestudio Publishing Ltd.

羅芙奧藝術集團上海辦公室 200050中國上海市長寧區鎮寧路465弄 181號1幢2樓2E

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Advertising Service Line: +886 2 7730-8786 2017

創刊 2012年5月

First issue: May, 2012 No. 22

季刊 Quarterly

循環經濟 Circular Economy

©版權所有 翻印必究。本刊圖文非經同意，不得轉載或公開播送。 ©All rights reserved. Use of editorial content without permission is strictly prohibited.

6

Autumn

登記證：中華郵政台北雜字第1883號執照登記為雜誌交寄

No. 22 Autumn 2017

RICHARD MILLE RM 51-02 Tourbillon Diamond Twister 漩鑽陀飛輪腕錶，全球限量 30 枚。靈感 源自大自然中無處不在的有機形態與螺旋線條， 勾勒出充滿生命力的樂章。

環球展覽預告 Global Exhibition Preview

2 3

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DIOR 70 周年紀念展 CHRISTIAN DIOR, DESIGNER OF DREAMS

巴黎裝飾藝術博物館 The Musée des Arts Décoratifs, Paris 2017 / 7 / 5 ∼ 2018 / 1 / 7 www.lesartsdecoratifs.fr

2

卡 • 阿貝爾： 藝術就是一場慶典！ Karel Appel: Art as Celebration!

巴黎市立現代美術館 Musée d’ Art moderne de la Ville de Paris 2017 / 2 / 24 ∼ 2017 / 8 / 20 www.mam.paris.fr

3

義大利設計大師 Ettore Sottsass 的前衛設計 Ettore Sottsass: Design Radical

紐約 大都會藝術博物館 The Metropolitan Museum of Art, New York 2017 / 7 / 21 ∼ 2017 / 10 / 8 www.metmuseum.org

為慶祝 DIOR 成立 70 周年紀念，300 多套精選

卡 • 阿貝爾基金會捐贈 21 件繪畫及雕塑作

義 大 利 建 築 師 Ettore Sottsass 於 1981 年 創 立

高級訂製服禮服，搭配迄今最齊全的工作室樣

品給巴黎現代藝術博物館。回顧展一窺阿貝

孟菲斯設計小組，圍繞著藝術觀念和設計文

衣展覽品與時尚照片，包括插圖、手稿、紀實

爾 2006 年去世前的職涯狀況。這位國際化的

化，大膽的探索與創作實驗。重要作品《Gas

照片、信件與筆記、及廣告文件等數百份文件；

荷蘭藝術家不僅是 CoBrA 創始成員之一，發

Pumps》、《超級盒》及《Carlton》隔板等；同

還有帽子、珠寶、包包、鞋子與香水瓶等時尚

起歐洲先鋒運動，作品更追求最原始大膽的

時呈現四位二十世紀藝術家和設計師作品，可

配件。無形中牽引出一條連繫情感、人生、吸

表達，本展能夠看到藝術家逝世前鮮少公開

對比理解 Sottsass 的靈感生成，而最終堅持屬

引力、靈感、創作與傳奇的生命線。

的創作。

於自己的創作方向。

To celebrate the 70 th anniversary of the establishment of DIOR, over 300 high-end custom dresses were matched with the most complete atelier toile exhibition products and fashion photos including illustrations, manuscripts, documentary photographs, letters and notes as well as advertisement documents among hundreds of other documents; there were also hats, jewelry, purses, shoes and bottles of perfume in addition to other fashion accessories. Virtually drawing out a link to emotions, life, attraction, inspirations, creation and the legendary lifeline.

Karel Appel Foundation donated 21 paintings and sculptures to the Musée d’Art moderne de la Ville de Paris. A retrospective glimpse of Appel’s career situation prior to his death in 2006. This international artist hailing from the Netherlands is not only one of the founding members of CoBrA, launching Europe’s vanguard movement, his artworks pursue the boldest and most primitive form of expression.

At the exhibition, one can see a complete rare collection of artworks from the artist’s creativity.

The design group, Memphis, was established in 1981 by the Italian architect, Ettore Sottsass, around the experimental exploration and creation of artistic concepts and designs.

The significant works are “ Gas Pumps ” , the “ Superbox ” cabinet and the “ Carlton ” bookcase; at the same time, the work of four twentieth century artists and designers are displayed, through which one can comprehend and contrast the inspirational productions of Sottsass as well as his ultimate insistence on adhering to his own creative direction.

CHRISTIAN DIOR. DESIGNER OF DREAMS. SCENOGRAPHY 4 © Adrien Dirand

Monde animal , 1948, Huile sur toile, 96 x 126 cm, Musée d’Art moderne de la Ville de Paris © Karel Appel Foundation / ADAGP, Paris 2017. Personnage vert , 1947, Huile sur bois, 79 x 34 x 22 cm, Musée d’Art moderne de la Ville de Paris © Karel Appel Foundation / ADAGP, Paris 2017

© Ettore Sottsass, Carlton Room Divider (detail), 1981.

Wood, plastic laminate. The Metropolitan Museum of Art, John C. Waddell Collection, Gift of John C. Waddell, 1997

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亨利 • 馬蒂斯的工作室 Matisse in the Studio

倫敦 皇家藝術研究院 Royal Academy of Arts, London 2017 / 8 / 5 ∼ 2017 / 11 / 12 www.royalacademy.org.uk

5

安藤忠雄展：挑戰 Tadao Ando: Endeavors

東京 國立新美術館 The National Art Center, Tokyo 2017 / 9 / 27 ∼ 2017 / 12 / 18 www.nact.jp

6

趙無極捐贈展 The Zao Wou-Ki Donation

巴黎 瑪摩丹莫內美術館 Musée Marmottan Monet, Paris 2016 / 11 / 1 ∼ 2017 / 12 / 31 www.marmottan.fr

亨利 • 馬蒂斯是法國畫家、野獸派創始人，

為慶祝開館十周年的特別企劃。以安藤忠雄建

為梵思娃 • 馬凱 • 趙悼念已故丈夫，所捐給

擅長使用大膽色彩和線條創作。亦愛好收藏

築空間的 5 個核心本質為中心，呈現其五十多

瑪摩丹莫內美術館的作品展。包括八幅水墨

世界各地藝術品，包括泰國佛像、馬里巴馬

年來創造性的挑戰，設計過程的速寫、草稿、

畫、一冊水墨與紅堊筆素描本，年代可追溯到

納的竹雕或木雕、玻里尼西亞的紡織品等。

模型、攝影、影片等資料，體會活躍於世界舞

1948-1949 年趙無極剛抵達法國，在大茅屋

本展覽曝光馬蒂斯工作室中的個人收藏，包

台的安藤忠雄，一路走來的足跡和「超時空旅

美術學院學習的作品，及由好友藝術家理查 •

括油畫、雕塑、繪畫等，呈現這些藏品對其

程」，作為瞭解建築文化及其未來的可能性。

創作的影響。

泰西爾設計、珠寶金工大師 Goudji 打造的趙 無極的法蘭西學院院士寶劍等。

Henri Matisse is a French painter and the founder of fauvism, he is accomplished in the use of bold colors and lines in his creations, he also loves collecting art from around the world, including a Thai Buddha statue, Bamana wood or bamboo carvings, Polynesian textiles among many others. The exhibition reveals the personal collection ion found in Matisse’s art studio including oil paintings, s, sculptures, paintings, etc., c., demonstrating the impact of these collections on creativity.

Special plans were made in order to celebrate the tenth anniversary of the opening. With the five quintessential qualities of Tadao Ando’s architectural space serving as the centerpiece, it presents the creative challenges encountered in the past 50 or so years, sketches of the design process as well as drafts, molds, photographs and films among other works of art through which one can experience the vivacious world stage of Tadao Ando, all the way from the footprints to the “space-time journey” as a method of understanding culture through architecture and the possibilities of the future.

Françoise Marquet-Zao, mourning her late husband, made a big donation to the Musée Marmottan Monet art exhibition. The donation included eight ink paintings, a sketchbook of ink and sanguine drawings, the artworks date back to the years 1948-1949 when Zao Wou-Ki first arrived in France to study at the Académie de la Grande-Chaumière as well as Zao Wou-Ki’s sword from the French Academy designed by his good friend, the artist Richard Texier and jewelry goldsmith master, Goudji.

© Royal Academy of Arts

© Church on the Water, 1988, Yufutsu-gun, Hokkaido.

Photo: Yoshio Shiratori

© Donation of Françoise Marquet-Zao to the Académie des beaux-arts, Paris; deposit at Marmottan Monet Museum, Paris. Copyright Zao Wou-Ki ProLitteris, Zurich, Switzerland (photos Naomi Wenger)

完美收槌 市場回暖

8.2 億台幣 再創高峰 Perfect Ending, Market is Warming up Again

New Sales Record NT$820 Million Text•Photo / Ravenel International Art Group

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| Issue |

羅芙奧 2017 春季拍賣會，在移師新地點─萬豪酒店與新品項─經典車的加持下，不僅迎來人潮同時也迎來亮 眼成績單。常玉《紅底白菊》以 2.8256 億元站上常玉前十大紀錄，締造台灣拍賣史上最高單價油畫紀錄；經 典車為全新品項同時也是近十幾年來台灣首次拍賣；尊釀雲集則首次以夜拍形式進行，獲得熱烈迴響。 Ravenel Spring Auction 2017 was taken to a new site at the Marriott Taipei this season, accompanied with UL^S` KL]LSVWLK KLWHY[TLU[ VM *SHZZPJHS *HYZ HUK ÄUL JVSSLJ[PISLZ ^L OH]L ^LSJVTLK UL^ JVTLYZ HUK valued customers for their support in achieving outstanding results. Sanyu’ s painting“Chrysanthemums with Red Ground” YLHJOLK [OL ÄUHS YLZ\S[ VM <: ILJVTPUN VUL VM [OL [VW [LU YLJVYK OPNO VM the artists’ WLYZVUHS YLJVYK HZ ^LSS HZ ILPUN [OL OPNOLZ[ VPS WHPU[PUN L]LY ZVSK PU ;HP^HU H\J[PVU THYRL[ 9H]LULS PZ [OL ÄYZ[ [V OVSK H JSHZZPJHS JHY H\J[PVU PU ;HP^HU V]LY [OL WHZ[ KLJHKL ^OPSL [OL -PULZ[ HUK 9HYLZ[ >PUL ^HZ ÄYZ[ [V IL H\J[PVULK PU [OL L]LUPUN YLJLP]LK ZH[PZMHJ[VY` YLZ\S[Z

亞洲現代與當代藝術 破 6 億台幣及 110% 金額成交率 令人引頸期盼的封面拍品，常玉《紅底 白菊》以 2.8256 億台幣（以下幣值皆同； 含佣金）站上常玉前十大紀錄，羅芙奧也 再次締造台灣拍賣史上最高單價油畫紀錄； 趙無極抽象畫作《30.09.97》也敲出 3,600 萬元佳績。其中七件著錄齊全的常玉素描 水彩也引起眾多藏家購藏，多位現場與電 話買家皆勢在必得，其中水墨速寫《側倚 裸女》38 萬元起拍，一路直追至 25 口競 價，最終電話買家以 216 萬元成交；隨後

2

的水彩作品競標熱烈不已 ，《攜皮包的女 仕》90 萬元起拍後同樣出現叫價不歇的熱

韓當代藝術同樣引發競標熱潮；日本當代

再次感謝各界新舊藏家的支持，今年亞

潮，最終以 6 倍價格 540 萬元成交，緊接

藝術巨擘，草間彌生十件一套的版畫書《無

洲現代與當代藝術的佳績，證明了深耕業

著《藍衣女士》、《戴黑框眼鏡的女仕》分

限的愛》，歷經 24 口競價之後最終以 504

界多年的成效，也逐漸吸引更多新面孔藏

別以高預估之上，528 萬元、504 萬元漂

萬元成交，創下版畫作品新高價。

家選擇以羅芙奧作為購藏優質藝術品的首

亮成交，勢必為今年拍場上最亮麗精彩的 成交拍品。

位考量。 台灣當代雕塑家李真兩件拍品分別以 《清風雲露》576 萬元、《無心海》660 萬

由聯華電子收藏的兩件江兆申巨型大

元皆為高預估之上價格成交，成績亮麗不

作，其中五米長的《彭蠡秋光》650 萬元

俗。台灣寫實藝術家，葉子奇《大榕樹》

起拍，最後由兩位現場買家一路相繼來到

亦吸引諸多買家競價，280 萬元起拍歷經

千萬競價，最後以 1,440 萬元高預估以上

十幾口出價，最終以 936 萬元成交，列入

覓得買家；《長林大澤》600 萬元漂亮成交，

藝術家十大拍賣成交紀錄，另一位已逝台

同時締造該位藝術家成交世界紀錄。

灣當代藝術家邱亞才作品《仕女》也在多 口電話與現場互不相讓的競價之下以 600

「異想世界」小型專場開槌，拍賣熱潮 以奈良美智版畫帶動全場第一波高潮，日

萬元由電話買家購藏，為邱亞才個人世界 紀錄前三大，值得關注。

1. 春拍焦點常玉《紅底白菊》為本次最高價 2.8256 億台幣順利成交。 “Vase of Chrysanthemums with Red Ground”

by Sanyu, was sold for US$9,390,495 to be the highest artwork of “Modern and Contemporary Asian Art”.

2.「亞洲現代與當代藝術」專場精彩畫面。 Auction highlight, “Modern and Contemporary Asian Art”.

1

薈萃：國際現代與當代藝術 融匯東西 圓滿收槌

華人藝術家龎均的作品，深受藏家青睞 夾帶著高人氣，經由十六口激烈出價《不

漢藏風格黃銅鎏金彌勒菩薩為典範造像， 最終以 192 萬元成交。

似春光勝似春光》收穫 360 萬元的佳績； 巴黎畫派代表性人物莫迪里亞尼

另一幅《疑似仙境在人間》也以 192 萬元

同樣是本專場的一大亮點的水墨紙本作

（Amedeo Modigliani）《自畫像》以本專場

為買家購得。當代日本女藝術家六角彩子，

品較之往屆，更著重於書畫的發展與脈絡

最高價 2,640 萬元成交。野獸派創始者之

三件作品也皆以超出高預估的價格，歡樂

傳承。黃君璧的《高士觀瀑圖》不負眾望

一烏拉曼克（Maurice de Vlaminck）兩件作

成交。

以 192 萬元成交。

品《南安普敦風景》與《鄉村雪景》分別 以 240 萬元與 384 萬元為買家收藏。

綜觀國際市場東風與西方現、當代藝術

此次專場中還新增了名人手稿類別，一

同時融合一個專場，已成為近年拍賣的趨

組安藤忠雄的建築手稿，經電話與現場藏

貢 巴 斯（Robert Combas）《 太 陽 王 》 創

勢。感謝各界的支持與肯定，羅芙奧很高

家激烈競標，最終以 18 萬元成交，為人文

作於 1987 年，以創下藝術家全球拍賣新

興能一直陪伴藏家開拓新的視野與國際市

藝術帶來新紀元，成功展現博古通今的收

紀錄的 648 萬元圓滿收成。畢費（Bernard

場接軌，收藏更精緻的藝術珍稀。

藏審美。

緣來私藏Ⅱ古今人文藝術 趁勝追擊

台灣首見！經典車拍賣會

Buffet）1966 年《 小 丑 》作 品 更 是 以 348 萬 元 成 交，表 現 亮 眼 不 俗。布 拉 吉 利 （André Brasilier）《 中 央 公 園 》 為 藝 術 家 代表性作品之一，以 480 萬元成交。細膩

12

吸引眾多藏家到場共襄盛舉，拍出總金

的法國藝術家詹森（Jean Jansem）《模特兒

繼去年成功舉辦後，再度於台北亮相。

額 805 萬元。此次羅芙奧藝術集團經典車

睡姿》現場舉牌熱烈，以 168 萬元由電話

近年正值佛像收藏之時，本場中多件銅鎏

拍賣初試啼聲，藏家詢問度極高，三輛拍

買家購得。

金造像成為藏家追逐的作品。一尊元大都

賣車有兩輛順利成交。

| Issue |

近二十年來，台灣從未舉辦過經典車拍

and Ravenel has once again set the record

Japanese and Korean contemporary art

賣，在場許多喜愛經典車的藏家引頸期盼

for the highest auction price for an oil

also drew enthusiastic bidding. “ Amour

下，羅芙奧「品味風格─經典車拍賣會」

painting in Taiwan. Zao Wou-Ki’s abstract

pour Toujours,” a set of 10 printed works

拉 開 序 幕。為 現 今 BMW 6 系 列 前 身， 擁

painting “30.09.97” also performed well,

by Kusama Yayoi, a famous Japanese

有經典四頭燈以及雙腎形水箱護罩設計的

hammering at US$ 1 , 196 , 411 . Seven

contemporary artist, was sold for

BMW E9 3.0 CS 以 172.5 萬元成交。

Sanyu sketches and watercolor paintings,

US$ 167 , 498 after a series of 24 bids,

all with complete records, attracted a

setting a new record price for print works.

而藏家詢問度極高，曾被法拉利創辦人

multitude of buyers, both on-site and

恩 佐 • 法 拉 利 盛 讚 為「 全 世 界 最 美 麗 的

over the phone. The bids for “Nu Assis,”

Two works by Li Chen, the Taiwanese

跑車」的 Jaguar E-Type 也不負眾望地拍出

a sketch with Chinese ink, started at

c o n t e m p o r a r y s c u l p t o r, p e r f o r m e d

632.5 萬元。這次的經典車拍賣會引起廣

US$ 12 , 625 before being eventually sold

excellently, selling above their estimates

大迴響以及藏家討論，今後將更精益求精，

at US$ 71 , 785 to a buyer on the phone,

with “Soothing Breezes Floating Clouds ”

希冀羅芙奧藝術集團能成為台灣經典車拍

after a series of 25 bids. The bidding

sold for US$ 191 , 426 and “ Clear Soul ”

賣業界的領頭羊。

further heated up for the watercolor works

sold for US$219,342. “Big Banyan Tree”

that followed. Bidding for “ Femme avec

by Taiwanese realist artist Yeh Tzu-chi

un sac ” started at US$ 29 , 900 and was

also attracted numerous buyers to place

ultimately sold for six times the starting

their bids. The bids started at US$93,023,

本次拍賣會共徵集 511 個品項，嚴格的

price at US$179,462 after heated bidding.

and after over ten bids, the hammer went

窖藏把關與品質篩選之下，為藏家精選來

“Women in Blue Blouse” and “Woman with

down at US$311,067, achieved one of the

自新舊世界的老年份佳釀與豐富的日本及

Black Spectacles” immediately followed,

top ten auction prices for the artist. It is

蘇格蘭威士忌品項，成交總額近 8 千萬，

and both performed above expectations,

繼 2015 秋季後再次掀起一波熱潮，在經

fetching US$ 175 , 474 and US$ 167 , 498

濟不景氣的現下，為台灣藏酒市場注入一

respectively. These works are all bound

尊釀雲集 成交率直逼九成

股新動力。

to be among the most spectacular auction items to be sold this year.

1.「經典車」預展現場。 Highlight of Preview “Classic Car”.

2.「尊釀雲集」春拍最高價拍品輕井澤 1963， 以 1,703,750 台幣完美落槌。 Karuizawa 1963 was sold for US$56,622 to be the highest lot of “Finest and Rarest Wines”

整體成交率超越八成六，葡萄酒的部分 更有超越九成的好成績，穩坐台灣藏酒拍

Two massive works by Chiang

賣的龍頭地位，感謝各界藏家的支持與對

Chao-Shen collected by UMC,

羅芙奧專業的肯定。

t h e b i d s f o r t h e f i v e - m e t e r-

2

long “ Autumn Scenery ” started at US$ 215 , 947 , with two on-

Modern and Contemporary Asian Art: Total Auctioned Value Over NT$600 Million with Sell-through Rate of 110% by Value

site buyers going head to head, the eventual winning bid was US$478,564, a price higher than estimated. “ Mountain and Lake ” was sold for US$ 199 , 402 . This represents a new world record for

The highlight of the auction, the much-

sales by the artist.

anticipated “ Vase of Chrysanthemums with Red Ground” by Sanyu, was sold for

The special session, “Whimsical

US$ 9 , 390 , 495 (incliding commission,

Wo r l d ” , p r i n t e d w o r k s b y

same for all prices below). That makes it

Yoshitomo Nara quickly fired

to be one of the top ten records of Sanyu,

up the crowd, and subsequent

禁 止 酒 駕

酒 後 不 開 車

安 全 有 保 障

noteworthy that “Lady” by Chiu Ya-tsai, a Taiwanese contemporary artist who is now deceased, had several collectors on-site and on the phone competing in their bids.

It was finally won by a buyer on the phone for US$199,402, representing a worldwide top three price for Chiu Ya-tsai.

We would like to thank all collectors for their support. The excellent archivement of Modern and Contemporary Asian Art is

1

a testament to our accomplishment after years of effort in the industry, and now we

successfully sold for US$ 215 , 282 , a

of Rokkaku Ayako, a female Japanese

are seeing new collectors, more than ever,

record high among all of the artist ’ s

contemporary artist, were all sold above

make Ravenel their first top choice for

works that have been auctioned around

the high estimates and brought home to

purchasing art.

the world. Bernard Buffet ’ s 1966 work,

pleased buyers.

“ Clown No. 5 8 S, ” did exceptionally

Select: Modern & Contemporary Art Successfully Merges the East and the West

well and fetched US$ 127 , 575 . “ Central

An observation of the international

Park, ” a representative work of André

market shows that auctions featuring a

Brasilier, was sold for US$159,468 Buyers

mix of Asian and Western contemporary

enthusiastically raised their paddles for

art has become a trend in recent years. We

“ Autoportrait” by Amedeo Modigliani,

the exquisite “Modèle endormi” by French

are grateful for the support and approval

a representative figure of the School of

artist Jean Jansem. The work was sold to a

we have received. Ravenel is very pleased

Paris, was sold for the highest price at the

buyer on the phone for US$55,814.

to be able to accompany collectors in

auction at US$ 877 , 076 . “ Southampton ”

broadening their horizons, and continues to

and “ Village sous la Neige ” by Maurice

The works of Taiwanese artist Pang Jiun

collect even more exquisite artwork in line

de Vlaminck, one of the founders of the

are highly popular among collectors, and

with the trends in the international market.

Fauvist school, were sold for US$79,734

“Beyond Spring” was sold for US$119,601

and US$127,575 respectively.

after intense competition between bidders resulted in a total of 16 bids. Another one

Robert Combas’ “Le Roi Soleil”

of his works “ Watery Wonder–Li River ”

was created in 1 9 8 7 . The work was

was sold for US$63,787. The three works

Oriental Arts II, Keep Going on Reaching More Collectors “Oriental Arts” once again made its way

to Taipei after its success last year. The 2

past few years have been a good time for collecting Buddha statues, and many gilt brass figures in this auction were highly sought after by collectors. The SinoTibetan Gilt Brass Figure of Maitreya from Yuan Dynasty was sold for US$63,787.

Another main feature of this auction, ink painting, placed greater emphasis on the development and context of painting

14

| Issue |

and calligraphy compared with previous

Never before had a classic car auction

cellars, some very old wines from excellent

years. Huang Jun-bi’s “Figure in a

been held in Taiwan in the past two

vintages from both the Old World and

Mountainous Landscape” met expectations

decades. It was unveiled to many eagerly-

New World were presented to collectors,

when it was sold for US$63,787.

waiting classic car aficionados. The BMW

along with a wide selection of Japanese

E9 3.0 CS is the predecessor of the BMW

and Scottish whiskeys. The total auctioned

The auction also included manuscripts

6 series and has a classic four headlamp

value nearly reached US$266,667, a new

by famous people, such as a set of

and kidney grille design. The car was sold

high since the autumn auction in 2015

architectural manuscripts by Tadao Ando

for US$57,328.

despite the stagnant economy, and creating

that fetched US$ 5 , 980 after intense

new momentum in Taiwan’s wine market.

competition between collectors on-site and

The much anticipated Jaguar E-Type,

on the phone. This is the beginning of a

which had once been praised by Enzo

The overall sell-through rate surpassed

new era for humanities and arts, and shows

Ferrari, the founder of Ferrari, as “ the

86% and even surpassed 90% for wines,

the refined tastes of collectors conversant

most beautiful sports car in the world,” did

allowing us to secure a leading position

with things past and present.

not disappoint and sold for US$1,638,601.

in Taiwan’s fine wine auction market. As

The classic car auction was a resounding

always, Ravenel appreciates the support

success that was widely discussed by

and recognition of fine wine collectors

collectors. Ravenel will continue to strive

everywhere.

The First Auction of Classic Car in Taiwan Market

for excellence in the hopes of becoming the The first “ Stylish Classic Car Auction

leader of classic car auctions in Taiwan.

& Exhibition” attracted masses of collectors and achieved total sales of US$ 268 million. The debut of the

Finest and Rarest Wines, Sell-through Rate Hits to 90%

Ravenel International Art Group’s classic car auction was much anticipated by

“ Finest and Rarest Wines ” session

collectors, and two out of every three cars

collected a total of 511 lots, including

auctioned were successfully sold.

rigorous selection of wine quality by

1.「亞洲現當代藝術」預展現場。 Highlight of Preview “Modern and Contemporary Asian Art”.

2.「緣來私藏 II」預展現場。 Highlight of Preview “Oriental Arts II”.

3.「薈萃：國際現代與當代藝術」預展現場。 Highlight of Preview “Select: Modern and Contemporary Art”.

3

1

想像無限─ 趙無極的價值超越其藝術本身 Boundless Space for the Imagination—Zao Wou-Ki’s Worth Far Exceeds the Individual Value of his Art Text / Odile Chen 陳惠黛 Photo / Ravenel International Art Group、Christie’ s、Lévy Gorvy Gallery

16

| Art & Investment |

一場吸引四大洲 13 個國家投標者多元化競投的香港春季夜拍，趙無極《29.09.64》大尺幅畫作 創下近 6 億台幣的藝術家全球拍賣新高紀錄。不僅見證亞洲藝術市場的活絡，更為趙無極叱吒東 西方藝壇的魅力給折服。成為西方資本「東進」的指標性藝術家，趙無極的號召力為自己帶來的 價值，超越其藝術本身，加乘相關展覽的蓬勃推廣、編年目錄的精確籌備，體現藝術不受時空掣 肘而永存。 At the Hong Kong spring auction hosting a diverse group of bidders from 13 countries on four continents, Zao Wou-Ki’ s large-dimension painting“29.09.64”was sold for nearly NT$600 million, setting a global auction price record for the artist’ s work. Not only was this a testament to the vitality of the Asian art market, it has proven the enchantment of Zao Wou-Ki’ s works on the art scene in both the East and the West. As an artist whose works have become symbolic of Western capital“moving eastward,”Zao Wou-Ki’ s art beckons to be valued in its own right, beyond the artwork itself, which shows that art can be forever free of time and space constraints with the vigorous promotion and the precise preparations of chronological catalogs for relevant exhibitions.

1960 年代大尺幅抽象畫 拍賣紀錄再創新峰 儘管這些年全球經

2017 年 5 月 27 日下午，走進香港會議

公分，而非 230 公分。1970 年代搬到巴黎

濟 瞬 息 萬 變， 藝 術 市

展覽中心的佳士得春拍預展廳，趙無極繪

新宅，在趙無極的監督下，將下緣裁掉 25

場 面 臨 了 世 代 交 替、

於 1964 年 的《29.09.64》 一 幅 快 意 奔 放

公分，重新在右下方簽名。另一幅 1960 年

脫 胎 換 骨、 經 營 轉 型

的深藍色調抽象畫，230 公分乘以 345 公

代最碩大的畫作是同年的《向愛德格 • 瓦

的 階 段。 所 謂 的 跨 界

分的 500 號大油畫，宛如巨星般矗立在夜

雷茲致敬》，2015 年趙無極夫人梵思娃 •

國 際、 金 融 基 金、 線

拍專場入口主牆，無數的觀眾圍繞著她端

馬凱 • 趙將它捐贈給瑞士洛桑州立美術館

上 直 播、 電 子 商 務、

詳、拍照、議論紛紛，因為幾個鐘頭之後

收藏。換句話說，香港春拍中《29.09.64》

社 群 傳 媒、 博 覽 會 等

她將是登上拍賣大戲的主角。

為趙無極目前私人收藏中 1960 年代唯一

二十一世紀新觀念與

最大尺幅的抽象畫。早年，趙無極的創作

趨 勢 銳 不 可 檔， 當 今

她是華人首屈一指的抽象畫家趙無極於

因畫室空間所限，且歐洲藏家的收藏取向

任何藝術市場的一份

1960 年代創作最碩大的兩幅創作之一。果

也較少收大畫。而 1958 年後趙無極開始

子，很難不跟隨此風潮擺動，然而某些傳

然，當晚拍賣官宣布該幅作品從 2,500 萬

和美國畫廊合作，拓展北美的市場，再加

統價值依舊屹立不搖無所撼動，例如畫廊

港元起拍，現場觀眾屏息以待，然後有多

上 1961 年搬遷至新畫室，才得以開展出

的經紀代理模式、博物館與美術機構的學

組買家競相出價，形成拉鋸，後來以 1 億

大尺幅畫作的實驗與創作，最重要時期的

術研究、藝術博覽會帶動的人氣流動，以

3,500 萬港元落槌，掌聲也跟著響起，見

精采畫作、又是最大尺幅，儘管經濟環境

及拍賣公司的專場或夜拍締造明星藝術家

證一場高單價加上買方佣金最終成交價為

不甚明朗，趙無極的作品在 2017 年春拍

的效應。放眼全球佔有率越趨要角的亞洲

1 億 5,286 萬 港 元（1,971 萬 美 元 或 近 6

寫下拍賣史的新頁。

藝術市場，天王、天價級的華人現代經典

億台幣），當晚《29.09.64》創下趙無極全

藝術家如常玉、吳冠中和趙無極，仍是藝

球拍賣新高紀錄。

術界最耀眼的明星，屢屢在春秋兩季的拍 賣 會 上 創 新 紀 錄。 他 們 都 是 Artprice.com

這幅畫來自法國收藏家的委託，現藏者

2016 年度全球拍賣市場交易金額排名前

的父親原是一位建築師，1969 年透過法蘭

一百大的藝術家。

西畫廊向趙無極購買，原本的高度有 255

1.《29.09.64》1964 年 油彩 畫布 230 x 345 cm 成交價：152,860,000 港元 香港佳士得 2017 春拍 “29.09.64”, 1964, oil on canvas 230 x 345 cm Sold for US$19,712,015 Christie’s Spring Auction 2017 Hong Kong

藉助趙無極高人氣 西方資本登陸中國市場 6 月 19 日出刊的 71 期《中國美術報》

列維與戈爾韋畫廊在紐約、倫敦各有據

「藝術財富」單元裡，高凡丁先生以一篇〈趙

點，經營現代、戰後與當代藝術為主。這次

無極，西方資本市場的登陸艇〉文章報導

的大展分別與「德庫寧基金會」、「趙無極基

奪人眼球。文中指出，由曾任拍賣行專家的

金會」兩大機構都有密切合作，結合學術與

列維和戈爾韋兩人合夥成立的列維與戈爾韋

商業，而且「威廉 • 德庫寧與趙無極大展」

畫廊，2017 年初在紐約盛大推出「威廉 •

原本計畫於 2017 年 9 月巡迴到香港舉行，

德庫寧與趙無極大展」，將兩位東西方抽象

據該畫廊的說法，此展可能會延至 2018 年

大師並列。德庫寧在歐美具有高知名度與收

盛大舉辦，其旺盛的企圖心可見一斑。

藏基礎，趙無極則是在亞洲具有號召力與影 響力。目前大華人地區的市場佔有率，已經

趙無極 1921 年北京出生，2013 年辭世

和西方藝術市場分庭抗禮。畫廊經營者十分

於瑞士，在其漫長的 93 歲人生中，有大半

看重趙無極，他的藝術帶來的附加價值，已

在法國度過，他的華裔血源與文化傳承、法

經遠遠超越畫作本身的價值，其背後蘊含的

國國籍與藝術養成，與歐美主流畫廊密切合

重要意義才是西方資本市場感興趣所在。跨

作超過半世紀，他是融合東西方文化的藝術

區域的提升藝術家的能見度及其影響力。因

家代表，在國際間受歡迎其來有自。家境的

此，文章的作者形容西方資本市場選擇以趙

富裕與豐沛的人脈，他一生的藝術生涯算是

無極作為「登陸」的「登陸艇」。此時，西

十分順遂。趙無極大半生在歐洲度過，揚名

方資本家選擇「趙無極」，不禁令人持續看

海外，具有顯赫的資歷，他的藝術成就可謂

好這位聲勢迭創高峰的經典藝術大師。

華人之光。 1

完整五十年專業畫廊經紀 從離開中國，1948 年抵達法國後，趙無

知名的瑪博洛畫廊合作，多家主流畫廊四、

頒日本皇室大獎「高松宮殿下記念世界文

極於 1950 年旋即和巴黎畫商皮耶 • 洛布，

五十年接力推廣下，趙無極不僅在歐美有穩

化賞」 （1994） ，當年成為轟動國際的新聞。

合作時間達八年，而後由巴黎規模最大的法

固的市場基礎，更隨著亞洲經濟的崛起，他

值得玩味的是，日本皇室大獎「高松宮殿

蘭西畫廊接手代理；另一方面 1958 年後他

的市場順利轉移至亞洲。

下記念世界文化賞」1988 年創立，日本美 術協會為紀念 1987 年薨逝的協會總裁高

也與美國畫商庫茲合作，開始拓展北美洲的 市場至 1967 年為止。1970 年代，闊別祖

為了表彰趙無極在藝術上的成就與貢

松宮宣仁親王，以其為名所設立的文化獎，

國二十多年，除了回鄉探親，他的影響力也

獻，曾經榮獲法國榮譽勳位團三級勳章、

從 1989 年起每年 10 月頒發。獎項分為「繪

逐漸在亞洲發酵，後來順利與日本富士電視

法國國家勳位團三級勳章、藝術文學勳位

畫」、「雕塑」、「建築」、「音樂」、「劇場

畫廊合作，並且在台北的歷史博物館展覽，

團一級勳章、巴黎市榮譽獎章等國家級的

電影」五種，宗旨是要成為「藝術的諾

從歐美載譽回亞洲。1980 年開始，野獸派

榮譽。2002 年 12 月，他繼朱德群之後成

貝爾獎」。1989 年第一屆「繪畫」獎頒發

畫家馬蒂斯的孫子皮耶 • 馬蒂斯與趙無極

為第二位當選法蘭西學院藝術終身院士的

給威廉 • 德庫寧和大衛 • 哈克尼；而趙

簽約，除了歐洲之外，也在美國推廣藝術並

華裔畫家。法蘭西學院藝術終身院士，乃

無極則是第六屆的「繪畫」獎得主。

收藏他的作品。1990 年代，瑞士知名的克

是法國政府給予藝術家最高的榮譽表揚。

魯治畫廊簽下趙無極合作契約，甚至在台 灣、日本持續舉辦個展。2003 年更與紐約

18

而除了法國官方的榮譽，趙無極也曾獲

| Art & Investment |

成立趙無極基金會 打擊偽作與藝術推廣 趙無極生前藝壇無限榮寵，但晚年卻飽

作品，主要任務將承擔趙無極作品的真偽

驗作品來源，檢驗作品真實性與簽發原作

受病痛折磨。2005 年他罹患阿茲海默症，

認證及推廣工作。趙無極基金會由外部審

保證書的機構。為保障購買者與收藏家的

偶有創作，但少與外界聯繫。2011 年移居

計員審查，並接受瑞士聯邦部門的管理與

利益，基金會可以協助提供證明，只要按

瑞士養病，兩年後不幸病逝。大師過世之

監督。

其保證書申請程序，通常都能得到回應。 目前申請保證書的費用：油畫類每件 600

後，傳出趙無極的長子趙嘉陵對繼母梵思 娃 • 馬凱 • 趙的醫療處置與遺產流向心

爭產風波終於暫落帷幕。馬凱表示，趙

瑞士法郎，紙上作品每件 350 瑞士法郎。

生不滿，彼此對簿公堂。遺產的糾紛長達

無極作品將會在中國、瑞士、加拿大、新

此外，基金會也委託法國知名律師事務所

兩年，2015 年馬凱對外舉行記者會，說明

加坡展出，基金會還會每年支出三萬到五

FTPA，維護智慧財產權，打擊仿冒者。

她身為趙無極「唯一遺產受贈者」，與趙無

萬美元用於獎學金及藝術研究。

極長子趙嘉陵、繼女趙善美之間放下歧見、 達成協議，保全藝術家遺產的完整。未來

有鑒於隨著市場行情節節升高，多年前

她專心於「趙無極基金會」的藝術推廣。

藝術市場開始出現趙無極的偽作。馬凱是

「趙無極基金會」2012 年在瑞士日內瓦註

趙無極著作權的唯一遺產繼承人，也是趙

冊成立，當時畫家仍在世。該基金會本身

無極基金會的主席。基金會專業研究趙無

並未實際擁有收藏品，也不會出售或複製

極的作品，到目前為止也是唯一有權利檢

1.《4.4.85》1985 年 油彩 畫布 97 x 195 cm 成交價：44,320,000 港元 羅芙奧香港 2011 秋拍 “4.4.58”, 1985, oil on canvas 97 x 195 cm Sold for US$5,689,345 Ravenel Autumn Auction 2011 Hong Kong

目錄全集與巡迴展 藝術大師典範永存

1

根據趙無極基金會的專家研究，他們蒐

前文提到，趙無極基金會提供油畫與紙

集所有藝術家創作的資訊 ，建立檔案，並

上作品的鑑定，但是他們從未開立版畫的

出版藝術家的作品全集 。目前留存的資料

保證書，其他任何人或機構都無權開立版

顯示，藝術家的主要作品約 1,800 幅，創

畫的保證書。若要確認版畫作品，可以參

作年代跨越 1935 年至 2008 年之間，還包

閱喬詹 • 阿格魯普於 1994 年編輯的《趙

括紙上作品（素描、水彩、水墨）、藝術裝

無 極 版 畫 作 品 編 年 目 錄 1937-1995》， 頁

飾（地毯、掛毯、陶器、瓷器、舞台佈景）

數有 237 頁，全面記錄了早年趙無極發行

在內，還有編年目錄全集別冊的 400 張郵

的 所 有 版 畫。2000 年 又 發 行 增 訂 本 別 冊

票。趙無極基金會目前正在著手編輯《趙

《 趙 無 極 版 畫 作 品 1995-2000》， 頁 數 有

無極 1920-2013 繪畫全集 1935-2008》，

15 頁。據了解，坊間已有一些偽造的油畫

共分為三大卷。第一卷作品 1935-1959 年；

與版畫出現，收藏家在購買之前不可不察。

第二卷作品 1960-1979 年；第三卷 1980-

若有疑慮，可以請教藝術市場的專家或者

2008 年。第一卷預計於 2018 年秋天發行。

洽詢趙無極基金會。

1. 紐約「威廉 • 德庫寧與趙無極大展」 圖片由列維與戈爾韋畫廊提供 “William de Kooning | Zao Wou-Ki” exhibition in New York Courtesy of Lévy Gorvy Gallery

2.《19.7.63》1963 年 油彩 畫布 114 x 75 cm 成交價：114,560,000 台幣 羅芙奧台北 2013 秋拍 “19.7.63”, 1963, oil on canvas 114 x 75 cm Sold for US$3,871,578 Ravenel Autumn Auction 2013 Taipei

| Art & Investment |

遺產捐贈與籌備回顧展 2013 年趙無極病逝後，巴黎中國文化中

可 追 溯 到 1948-1949 年 趙 無 極 剛 抵 達 法

心曾展出藝術家近期以及可視為終生成就

國， 在 大 茅 屋 美 術 學 院（Académie de la

作品。這是藝術家過世後在法國的第一個

Grande-Chaumière）學習的作品，以及由好

展覽。

友藝術家理查 • 泰西爾（Richard Texier） 設 計、 珠 寶 金 工 大 師 Goudji 打 造 的 趙 無

而歷經遺產爭產風波之後，馬凱女士也

極的法蘭西學院院士寶劍等。這批收藏從

陸續慷慨地捐贈先夫的作品給法國的政府

2016 年 11 月對外公開展出，展覽延續至

機構，如法蘭西藝術院、巴黎的瑪摩丹莫

2017 一整年。

內美術館（Musée Marmottan Monet）、巴黎 亞洲藝術博物館（Musée Cernuschi）、洛桑 市立美術館、巴黎的郵政博物館等。

而巴黎亞洲藝術博物館則獲贈一批趙無 極創作的素描、水彩、水墨等紙上作品和 瓷畫，以及趙無極個人收藏的銅器、陶瓷、

其中，瑪摩丹莫內美術館獲贈八幅水墨

玉器和中國畫家友人畫作等 38 件作品。

畫、一冊水墨與紅堊筆素描本，作品年代

還有前文提過，1960 年代最大尺幅的《向 愛德格 • 瓦雷茲致敬》（Hommage à Edgar Varèse - 15.10.64），2015 年趙無極夫人馬 凱將它捐贈給瑞士洛桑州立美術館（Musée cantonal des Beaux-Arts de Lausanne）收藏。 2

國際藝術市場的天王地位不墜 趙無極的繪畫生涯長達七十餘年，各個

年藝術家過世那年，是他的拍賣交易量的

年 代 皆 受 藏 家 青 睞， 一 般 而 言，1950 年

高峰，根據 Artprice.com 的數據資料，約 1

代的早期作品，如克利時期、甲骨文時期，

億 4 千萬美元（42 億台幣左右），2016 年

1960 年 代 的 狂 草 抽 象 時 期， 或 是 1980

也有 8,120 萬美元（約 24.3 億台幣），交

年代的空靈時期，價格更是突出。檢視藝

易規模仍是千禧年的三至四倍之多。2016

術 家 成 交 排 行 前 二 十 大 的 作 品， 大 概 都

年在全球藝術家的排行第 14 名。

涵蓋此階段。他的收藏族群跨越歐美及亞 洲，資歷豐富、創作質精量足，累積人氣 與聲勢。

如今，西方資本市場看中趙無極的重要 影響力，2018 年隨著香港回顧展、編年目 錄的出版，以及 2020-2021 年趙無極百年

藝術市場景氣循環，趙無極的行情依舊

冥誕等重要年份即將到來，可期待地未來

穩居天王地位，從今年秋拍的趙無極巨作

幾年其藝術的行情表現仍然樂觀，經典恆

再創新高紀錄，傲視國際拍賣市場。2013

久，給人無限的想像空間。

Large Abstract Paintings from the 1960s Hit New Record High at Auction Notwithstanding the extreme volatility

model, the academic research of museums

values in the global auction market in

of the global economy in recent years, the

and art organizations, the popular appeal

2016 on Artprice.com.

art market has gone through a process

of art expositions, and the star artists

of generational change, renewal, and

created by auction houses ’ special and

On the afternoon of May 27 , 2017 ,

st

evening auctions. As the Asian art market

in Christie ’ s Spring Auction Preview

century concepts and trends as cross-

accounts for an increasingly dominant

room in the Hong Kong Convention and

boundary internationalism, financial funds,

global market share, such heavyweight

Exhibition Centre, Zao Wou-Ki ’ s 1964

online direct dial, e-commerce, social

contemporary classic Chinese artists as

no. 500 abstract oil painting “29.09.64”

media, and expositions are inescapable,

Sanyu, Wu Guanzhong, and Zao Wou-Ki

– a pleasing, free-spirited work in deep

and it has been difficult for any participant

have maintained their superstar status,

blue with dimensions of 230 cm x 345 cm

in the art market to avoid being swayed by

and their works have consistently set new

– stood like a celebrity on the main wall

these trends. However, certain traditional

price records at spring and fall auctions.

at the entrance to this evening auction.

values have remained unshakable. For

These artists were consequently among the

Countless visitors surrounded this work,

instance, galleries’ broker-agent business

top 100 artists with the highest transaction

examining it, photographing it, and

business transformation. Such new 21

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22

| Art & Investment |

discussing it from various perspectives, knowing that it would soon play the lead role in the auction. This work was one of the two works from the leading abstract Chinese painter Zao Wou-Ki ’ s peak artistic period during the 1960s. As expected, during the evening’s auction, the auctioneer announced that this painting would open at a price of HK$ 25 million.

As the members of the audience watched with bated breath, several groups of buyers made their competing bids. When the hammer fell at a price of HK$135 million, applause rang out among the participants, who had just bore witness to a final transaction price, including the buyer ’ s commission, of HK$152.86 million (US$ 19 . 71 million, or nearly NT$ 600 million). The work “29.09.64” thus set a new global record for the auction prices of Zao Wou-Ki’s art.

This painting was commissioned by a

2

collector in France, and the father of the collector was an architect, who purchased

auction is the only 1960s large-dimension

the economic forecast remains very murky,

the work from Zao Wou-Ki in 1969 via the

abstract painting by Zao Wou-Ki in private

it is notable that this work by Zao began a

Galerie de France. The painting originally

collection. The reason that early large

new chapter in auction history during the

had a height of 255 cm, not 230 cm, but

works by Zao Wou-Ki are so few is because

Christie’s 2017 spring auction.

25 cm was trimmed from the lower margin

the artist’s studio had limited space during

under Zao Wou-Ki ’ s supervision when it

the early years, and was also due to the

was moved to a new home in Paris during

fact that European collectors seldom

the 1970s, at which Zao signed it again in

collected large paintings at that time.

the lower right corner. In 2015, Zao Wou-

After 1958 , Zao began cooperating with

Ki’s wife, Françoise Marquet Zao, donated

American galleries to expand his North

another of Zao ’ s large works from the

American market. In addition, he moved

1960s (also 1964) – “Hommage à Edgar

to a new studio in 1961 , and only then

Varèse ” ( 15 . 10 . 64 ) – to Switzerland ’ s

embarked on experimentation with large-

Musée cantonal des Beaux-Arts de

dimension painting. The most spectacular

Lausanne. This implies that the work

paintings from this key period are also the

“29.09.64” sold at the Hong Kong spring

largest works. And in spite of the fact that

1.《17.4.64》1964 年 油彩 畫布 114 x 162 cm 成交價：158,400,000 台幣 羅芙奧台北 2009 秋拍 “17.4. 64”, 1964, oil on canvas 114 x 162 cm Sold for US$4,925,373 Ravenel Autumn Auction 2009 Taipei

2.《無題》1948 年 油畫 畫布 46 x 38 cm 成交價：13,200,000 台幣 羅芙奧台北 2017 春拍 “Untitled”, 1948, oil on canvas, 46 x 38 cm Sold for US$438,684 Ravenel Spring Auction 2017 Taipei

Taking Advantage of Zao Wou-Ki’s Great Appeal; Western Capital Lands in the Chinese Market In the “Art Fortune” section of No. 71 of

the value of his paintings by themselves.

Foundation and the Foundation Zao

the Art News of China, which was published

As a consequence, the Western capital

Wou-Ki. While plans originally called

on June 19 , Mr. Gao Fanding ’ s article

market is becoming interested in the

for the Willem de Kooning | Zao Wou-

“ Zao Wou-Ki, Western Capital ’ s Market

underlying significance of Zao ’ s work,

Ki exhibition to be tour to Hong Kong in

Landing Craft ” attracted considerable

which is boosting this artist ’ s visibility

September 2017, according to the gallery,

attention. This article pointed out that the

and influence throughout both East and

the exhibition has been prosponed to

Lévy Gorvy Gallery, which was founded

West. In his article, Gao therefore likens

2018 , which provides a glimpse of the

by auction experts Dominique Lévy and

Zao Wou-Ki to a “landing craft” used by

scale of its ambitions.

Brett Gorvy, held a “Willem de Kooning |

Western capital to make a beachhead in

Zao Wou-Ki” exhibition in New York with

China. At present, the selection of Zao

great fanfare at the beginning of 2017 ,

Wou-Ki by Western art investors cannot

and this exhibition juxtaposed the two

but help to burnish the reputation of this

great abstract artists of East and West.

already increasingly-prominent classic

Willem de Kooning is prominent and

master artist.

Zao Wou-Ki was born in Beijing in 1921, and passed away in 2013 in

Switzerland. Zao spent most of his long 93 -year life in France. His formative

influences included his Chinese ancestry and cultural heritage, his

widely collected in Europe and America, and Zao Wou-Ki has great appeal and

L é v y G o r v y G a l l e r y, w h i c h h a s

influence in Asia. It should be noted

locations in both New York and London,

that market share in the Greater China

specializes chiefly in modern, post-

region has parted ways with the Western

war, and contemporary art. This major

art market. Galleries hold Zao Wou-Ki in

exhibition, which features both academic

great esteem, and the added value brought

and commercial aspects, has cooperated

by his art has long since far exceeded

closely with both the Willem de Kooning

French nationality, and his art training and experience. Zao engaged in close collaboration with mainstream European and American galleries for more than half a century; he was one of the most representative artists fusing Eastern and Western cultural influences, which gave him considerable international appeal. Thanks to the affluence and wellconnectedness of his family, his artistic career proceeded relatively smooth.

Having lived much of his life in Europe, attaining fame in the West, and achieving illustrious success, Zao ’s art can be said to have brought honor to China and the ethnic Chinese.

1

24

| Art & Investment |

Paintings Promoted by Prestigious Galleries for Half a Century After leaving China, Zao arrived in

achievements and contributions, he has

Takamatsu Nobuhito, who had passed away

France in 1948 , and he established an

been awarded such national honors as

in 1987. This award has been bestowed in

eight-year collaborative relationship

rd

October of each year starting in 1989. The

with the Parisian art dealer Pierre Loeb

class; medal l’Ordre national du Mérite, 3

rd

award is granted in the five categories of

starting in 1950. Afterwards, the Galerie

class; the French Legion of Honor Medal

painting, sculpture, architecture, music,

France’s medal of the Légion d’honneur, 3

st

de France – the largest gallery in Paris –

in Art and Literature, 1 class; and the

and theater/film, and is intended to serve

became his agent. He also collaborated

Paris Medal of Honor. In December 2002,

as a “Nobel Prize for the arts. ” The first

with American art dealer Samuel Kootz

following Chu Teh-Chun, he became the

award in the painting category went to

from 1958 to 1967 , which gave him a

second painter of Chinese descent to be

Willem de Kooning and David Hockney;

foothold in the North American market.

elected a lifelong art fellow of the Académie

Zao Wou-Ki was the sixth award-winner in

During the 1970 s, after having been

française, which is the French government’s

this category.

separated from his homeland for more

highest honor for artists.

than two decades, Zao visited relatives in China for the first time, and his influence

Apart from his official honors in

gradually started to take root in Asia.

France, Zao Wou-Ki also received the

Afterwards, Zao also collaborated with

Japanese imperial household’s Praemium

Japan ’ s Fuji Television Gallery; held

Imperiale award in 1994 , which was

an exhibition at the National Museum of History in Taipei, which marked his glorious return to Asia. Starting in 1980, Pierre Matisse, the grandson of the Fauvist painter Henri Matisse signed a contract

major international news at the time. The Praemium Imperiale was established in 1988 as an arts and culture award by the

Japan Art Association to commemorate the association’s former chairman, Prince

with Zao Wou-Ki, under which Matisse would collect Zao’s work and promote his paintings in the United States, as well as in Europe. During the 1990 s, the wellknown Swiss gallery Galerie Jan Krugier signed a collaboration contract with Zao, and the artist continued to hold solo exhibitions as far afield as in Taiwan and Japan. In 2003, Zao cooperated with New York ’ s prominent Marlborough Gallery.

After promotions by many mainstream galleries for 40 to 50 years, Zao WouKi not only has a strong market based in Europe and North America, but has also managed to expand his market to Asia in the wake of Asia’s economic ascent.

To h o n o r Z a o Wo u - K i ’ s a r t i s t i c 2

1.《失去的大海》1952 年 油彩 畫布 80.5 x 116 cm 成交價：125,760,000 台幣 羅芙奧台北 2012 秋拍 “La Mer perdue”, 1952, oil on canvas 80.5 x 116 cm Sold for US$4,327,598 Ravenel Autumn Auction 2012 Taipei

2.《26.01.60》1960 年 油彩 畫布 97 x 130 cm 成交價：108,960,000 台幣 羅芙奧台北 2016 秋拍 “26.01.60”, 1960, oil on canvas, 97 x 130 cm Sold for US$3,414,604 Ravenel Autumn Auction 2016 Taipei

Establishment of the Foundation Zao Wou-Ki; Striking a Blow against Fakes, Promoting Extension of Zao’s Art While Zao Wou-Ki was highly respected

According to Marquet, Zao Wou-Ki’s works

by the art community, he suffered much

will be exhibited in China, Switzerland,

from illness during his last years. After he

Canada, and Singapore, and the foundation

was found to have Alzheimer’s disease in

will make annual disbursements of

2005, he produce art occasionally, but had

US$ 30 , 000 - 50 , 000 for scholarship and

little contact with the outside world. He

art research.

moved to Switzerland for convalescence in 2011 , and passed away two years

As the value of Zao Wou-Ki’s works has

later. After Zao ’ s death, it was reported

gradually increased, fake works began

that his elder son, Zhao Jialing, was

appearing on the art market at an early

unhappy with his stepmother’s, Françoise

date. Marquet is the sole heir to Zao Wou-

Marquet Zao, handling of Zao ’ s medical

Ki’s copyrights, and is the chairperson of

arrangements and Zao ’ s estate, which

Foundation Zao Wou-Ki. The foundation

led to a lawsuit. After the inheritance

sponsors professional research on Zao

dispute had dragged on for two years, in

Wou-Ki ’ s art, and is currently the sole

2015 Marquet held a press conference

organization with the right to investigate

in which she explained that she was the

the source of works, inspect the

“sole beneficiary” of Zao Wou-Ki’s estate,

authenticity of works, and issue guarantees

and had reached an agreement with Zao

of authenticity. In order to protect the

Wou-Ki’s elder son Zhao Jialing and her

interests of purchaser ’ s and collectors,

stepdaughter Roy Sin-May concerning

the foundation can assist in providing

protection of the integrity of the artist ’ s

verification to genuine works. As long as

estate. In the future, Marquet will focus

relevant parties follow the foundation ’ s

on art extension via the Foundation Zao

guarantee application procedures, they can

Wou-Ki. The Foundation Zao Wou-Ki was

usually receive a response. Application

established in Geneva, Switzerland during

for a guarantee certificate currently costs

2012 , while the painter was still alive.

The foundation does not actually possess any of the artist’s paintings, and does not sell or reproduce his work; instead, its chief mission is to certify Zao Wou-Ki’ s works as genuine and engage in extension.

600 Swiss francs for oil paintings and 350 Swiss francs for on-paper works. In

addition, the foundation has commissioned the well-known French law firm FTPA to maintain its intellectual property rights and help stamp out fakes and forgeries.

The Foundation Zao Wou-Ki is audited by an external auditor, and is subject to the management and supervision of the Swiss federal government.

The curtain has temporarily closed on the dispute over Zao Wou-Ki’s estate.

26

1.《爭榮競秀》1954 年 油彩 畫布 115 x 147 cm 成交價：243,360,000 台幣 羅芙奧台北 2014 春拍 “Plantes tortillées”, 1954, oil on canvas 115 x 147 cm Sold for US$8,114,705 Ravenel Spring Auction 2014 Taiepi

1

| Art & Investment |

Catalog Raisonné and Touring Exhibition; Ensuring Lasting Preservation of ZaoǓW Masterworks The experts at the Foundation Zao Wou-

three volumes containing his 1935-1959

237 pages, and provides a full-scale

Ki are engaged in collecting all possible

works, 1960-1979 works, and 1980-2008

record of all prints issued by Zao Wou-

information concerning the artist ’ s art,

works. The first volume it is expected to

Ki during his early years. In addition, the

establishing files, and publishing a full

be published in the fall of 2018.

15 -page bound album Zao Wou-Ki, The

Graphic Work 1995-2000 (Skørping, Heede

catalog of the artist ’ s works. According to the Foundation ’ s current information,

Although, as mentioned earlier, the

& Moesturp, Denmark) was published in

Zao Wou-Ki produced approximately

Foundation Zao Wou-Ki provides appraisal

2000 . According to our understanding,

1,800 works between 1935 in 2008; these

of oil paintings and on-paper works, they

also include on-paper works (sketches,

have never issued guarantees for prints,

watercolors, ink paintings) and decorative

and no other person or organization has

art (carpets, tapestries, ceramics,

the right to issue guarantees for prints. If

porcelain, stage sets), as well as 400

interested parties wish to confirm that a

postage stamps in an album with an annual

print is genuine, they can refer to the Zao

directory. The Foundation Zao Wou-Ki

Wou-Ki - The Graphic Work. A Catalogue

is currently editing the Comprehensive

Raisonné 1937-1995 (Skørping, Heede &

Catalog of the 1935-2008 Paintings of Zao

Moesturp, Denmark), which was edited by

Wou-Ki (1920-2013), which will be in

Jørgen ÅGERUP. This 1994 book contains

1

28

some fake oil paintings and prints have already appeared on the market, and collectors are advised to investigate before making purchases. If anyone doubts the authenticity of a work, they can ask the advice of an art expert or contact the Foundation Zao Wou-Ki.

| Art & Investment |

Donation of Estate and Preparation for a Retrospective Exhibition After the death of Zao Wou-Ki in

Among these institutions, the Musée

For its part, the Musée Cernuschi

2013, the China Cultural Centre in Paris

Marmottan Monet received eight ink

received a lot of 38 works, which consisted

displayed some of the artist’s recent works

paintings and one volume of ink paintings

of Zao Wou-Ki’s on-paper works, including

and what can be considered lifelong

and sanguine sketches, which can be dated

sketches, watercolors, and ink paintings,

achievement works. This was the first

back to 1948-1949, which was when Zao

porcelain paintings, and copper articles,

exhibition of Zao ’ s work in France after

Wou-Ki had just arrived in France and was

ceramics, jades, and paintings by Chinese

the artist passed away.

studying at the Académie de la Grande-

artist friends that had been collected

Chaumière. This donation also included

by Zao. And as mentioned previously,

Following the resolution of the dispute

Zao Wou-Ki ’ s ceremonial sword as a

Hommage à Edgar Varèse (15.10.64) Zao’s

concerning Zao’s estate, Madame Marquet

member of the Académie française, which

largest work from the 1960s was donated

generously donated a number of her late

was designed by Zao ’ s friend and fellow

by Zao Wou-Ki’s wife Françoise Marquet

husband ’ s works to French government

artist Richard Texier and made by master

Zao to the Musée cantonal des Beaux-Arts

institutions, including the Académie des

jewelry & metalworker Goudji. This lot

de Lausanne in 2015.

Beaux-Arts, Musée Marmottan Monet,

of works has been exhibited to the public

Musée Cernuschi, Musée Cantonal des

since November 2016, and will continue

Beaux-Arts de Lausanne, and the Musee

to be on display throughout 2017.

de la Poste in Paris.

Lasting Superstar Status in the International Art Market Zao Wou-Ki painting career lasted for

have maintained their superstar status,

market is fully aware of Zao Wou-Ki ’ s

more than seven decades, and work from

and the record high prices of Zao Wou-

influence, and milestones including his

each period of his career has appeal for

Ki ’ s work at this year ’ s fall auction

2018 retrospective exhibition in Hong

collectors. Generally speaking, prices

shook the international auction market.

Kong, the publication of his chronological

are highest for his early works from the

Auction transactions reached a peak in

catalog, and the 100th anniversary of his

1950s, works from his acrylic and oracle

2013 , the year the artist passed away,

birth in 2020 - 2021 approaching, we

bone periods, his wildly cursive abstract

and according to data from Artprice.com,

can look forward to his works generally

period in the 1960s, and ethereal period

these transactions totaled roughly US$140

fetching relatively high prices on the art

during the 1980 s. Probably all of the

million (approximately NT$ 4 . 2 billion).

market during the coming several years.

artist’s top 20 works in terms of prices are

Furthermore, in 2016 , the transaction

Zao Wou-Ki ’ s art possesses a lasting

the products of these stages. His works ’

price of his works sold at auction totaled

classical appeal, and gives viewers

collectors span Europe, North America,

US$81.2 million (approximately NT$2.43

boundless space for the imagination.

and Asia; they have impressive expertise

billion). This scale of transactions is

and acumen, and have accumulated

roughly 3 to 4 times that of his works sold

extensive connections and influence.

at auction in 2000 . In 2016 , Zao was ranked 14th among the world’s artists.

In the art market ’ s economic cycle, the market prices of Zao Wou-Ki ’s works

At present, now that the Western capital

1.《3 月 - 3.4.2003》2003 年 油彩 畫布 97 x 195 cm 成交價：21,920,000 港元 羅芙奧香港 2014 春拍 “Mars - 3 Avril 2003”, 2003 oil on canvas, 97 x 195 cm Sold for US$2,828,387 Ravenel Spring Auction 2014 Hong Kong

趙無極作品二十大拍賣成交排行 Top 20 Most Expensive Works by ZAO Wou-Ki Ever Sold at Auction 排名 Rank

圖檔 Image

作品 Work

預估價 Estimate

成交價 Sold at

HKD 38,000,000 - 48,000,000

US$ 19,712,015 HKD 152,860,000

CND 35,000,000 - 45,000,000

US$ 14,725,456 CND 89,680,000

HKD 68,000,000 - 90,000,000

US$ 10,992,550 HKD 85,240,000

HKD 30,000,000 - 50,000,000

US$ 10,270,374 HKD$ 79,640,000

Estimate on request

US$ 9,144,769 HKD 70,680,000

HKD 20,000,000 - 30,000,000

US$ 9,114,893 HKD 70,680,000

HKD 25,000,000 - 35,000,000

US$ 8,856,342 HKD 68,980,000

Estimate on request

US$ 8,114,705 TWD 243,360,000

HKD 25,000,000 - 35,000,000

US$ 7,667,567 HKD 59,480,000

HKD 30,000,000 - 40,000,000

US$ 7,176,447 HKD 55,640,000

29.09.64

1

29.09.64 1964 Oil on canvas 230 x 345 cm

抽象

2

Abstraction 1958 Oil on canvas 130 x 162 cm

15.01.82

3

15.01.82 1982 Oil on canvas 195 x 390 cm

16.5.66

4

16.5.66 1966 Oil on canvas 195 x 130 cm

無題（翠綠森林）

5

Untitled (Vert émeraude) c. 1950 Oil on canvas 127 x 127.5 cm

3.4.60 - 1.2.69

6

3.4.60 - 1.2.69 1960 - 1969 Oil on canvas 195 x 130 cm

10.1.68

7

10.1.68 1968 Oil on canvas 82 x 117 cm

爭榮競秀

8

Plantes Tortillées 1954 Oil on canvas 115 x 147 cm

十月的初始

9

Début d’octobre (Beginning of October) 1970 Oil on canvas 97.5 x 146.3 cm

07.04.61

10

30

07.04.61 1961 Oil on canvas 195 x 114 cm

拍賣地點／時間 Auction/Date

香港佳士得 Christie’s Hong Kong May 27, 2017

北京蘇富比 Sotheby’s Beijing December 1, 2013

香港蘇富比 Sotheby’s Hong Kong October 5, 2013

香港蘇富比 Sotheby’s Hong Kong October 5, 2013

香港佳士得 Christie’s Hong Kong May 28, 2016

香港蘇富比 Sotheby’s Hong Kong October 5, 2013

香港蘇富比 Sotheby’s Hong Kong October 3, 2011

台北羅芙奧 Ravenel Taipei June 1, 2014

香港蘇富比 Sotheby’s Hong Kong October 5, 2014

香港蘇富比 Sotheby’s Hong Kong April 4, 2015

排名 Rank

圖檔 Image

作品 Work

預估價 Estimate

成交價 Sold at

HKD 15,000,000 - 20,000,000

US$ 6,403,925 HKD 49,400,000

HKD 36,000,000 - 46,000,000

US$ 6,306,294 HKD 48,700,000

HKD 40,000,000 - 60,000,000

US$ 6,019,386 HKD 46,680,000

HKD 35,000,000 - 45,000,000

US$ 5,964,698 HKD 46,040,000

Estimate on request

US$ 5,892,325 HKD 45,460,000

Estimate on request

US$ 5,689,345 HKD 44,320,000

HKD 28,000,000 - 36,000,000

US$ 5,387,473 HKD 41,560,000

HKD 10,000,000 - 15,000,000

US$ 5,288,367 HKD 40,980,000

HKD 12,000,000 - 16,000,000

US$ 4,999,300 HKD 38,740,000

HKD 30,000,000 - 50,000,000

US$ 4,926,272 HKD 38,200,000

北風

11

Vente du Nord (North Wind) 1956 Oil on canvas 97 x 130 cm

水之音

12

Water Music 1956 - 1957 Oil on canvas 160.5 x 128.5 cm

月之景

13

Paysage dans la lune 1955 Oil on canvas 117 x 88.5 cm

25.05.62

14

25.05.62 1962 Oil on canvas 199.7 x 161.5 cm

向杜甫致敬

15

4.4.85 1985 Oil on canvas 97 x 195 cm

無題（教堂）

17

Sans Titre (Cathédrale) 1951 - 1952 Oil on canvas 81 x 100.1 cm

2.11.59

18

2.11.59 1959 Oil on canvas 130 x 95 cm

14.11.63

19

14.11.63 1963 Oil on canvas 131 x 196 cm

30.7.64

20

香港佳士得 Christie’s Hong Kong November 23, 2013

香港佳士得 Christie’s Hong Kong November 26, 2016

香港蘇富比 Sotheby’s Hong Kong October 2, 2016

香港佳士得 Christie’s Hong Kong November 22, 2014

香港佳士得

Hommage à Tou-Fou 1956 Oil on canvas 195 x 130 cm

4.4.85

16

Auction/Date

30.7.64 1964 Oil on canvas 149.8 x 161.8 cm

Christie’s Hong Kong November 30, 2008

香港羅芙奧 Ravenel Hong Kong November 28, 2011

香港佳士得 Christie’s Hong Kong November 28, 2015

香港佳士得 Christie’s Hong Kong May 28, 2011

香港佳士得 Christie’s Hong Kong May 28, 2011

香港蘇富比 Sotheby’s Hong Kong October 5, 2013

（製表 / Tiff Wong。資料更新update: 2017.6.28。Source: Artprice.com、Christie’ s、Sotheby’ s）

Circular Economy 循環經濟來了！

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| Special Report |

č&#x2021;łäť&#x160;塲çś&#x201C;č&#x2C6;&#x2030;螌珏 46 ĺą&#x2020;ç&#x161;&#x201E;ä¸&#x2013;ç&#x2022;&#x152;ĺ?&#x161;茽ć&#x153;&#x192;ďź&#x152;ć&#x2DC;Żĺ?&#x192;ĺą&#x2022;č&#x20AC;&#x2026;ĺ?&#x2018;ä¸&#x2013;ç&#x2022;&#x152;ĺ?&#x201E;ĺ&#x153;&#x2039;ĺą&#x2022;示ç&#x2022;śäťŁç&#x161;&#x201E;ć&#x2013;&#x2021;ĺ&#x152;&#x2013;ă&#x20AC; ç§&#x2018;ć&#x160;&#x20AC;ĺ&#x2019;&#x152;ç&#x201D;˘ćĽ­ä¸&#x160;ć­Łé?˘ĺ˝ąé&#x;żĺ?&#x201E;税ç&#x201D;&#x;ć´ťçŻ&#x201E; ç&#x2013;&#x2021;ç&#x161;&#x201E;ć&#x2C6;?ć&#x17E;&#x153;ă&#x20AC;&#x201A;ĺ? äš?ä¸&#x2013;ç´&#x20AC;ç&#x161;&#x201E;ä¸&#x2013;ĺ?&#x161;ć&#x153;&#x192;丝蝸ç&#x161;&#x2020;ç&#x201D;¨äťĽĺą&#x2022;ç?žĺ&#x153;&#x2039;ĺ&#x160;&#x203A;ďź&#x203A;ĺ&#x2020;?äž&#x2020;ć­ˇçś&#x201C;ĺ&#x2026;ŠćŹĄä¸&#x2013;ç&#x2022;&#x152;大ć&#x2C6;°č&#x2C6;&#x2021;ĺ&#x2020;ˇć&#x2C6;°ć&#x153;&#x;é&#x2013;&#x201C;ĺ&#x2C6;°äş&#x152;ĺ? ä¸&#x2013;ç´&#x20AC;ĺ&#x2030;?ć&#x153;&#x;ďź&#x152;ĺ&#x2030;&#x2021;ĺ¤&#x161;䝼 ĺ&#x2019;&#x152;ĺšłç&#x201A;şéĄ&#x152;ďź&#x203A;äş&#x152;ĺ? ä¸&#x2013;ç´&#x20AC;ĺž&#x152;ĺ?&#x160;é&#x2013;&#x2039;ĺ§&#x2039;é&#x20AC;˛ĺ&#x2026;ĽçŹŹä¸&#x2030;大丝蝸ďź&#x152;埡調ă&#x20AC;&#x152;ç&#x2019;°ĺ˘&#x192;äż?č­ˇă&#x20AC;?ç&#x161;&#x201E;é&#x2021;?čŚ ă&#x20AC;&#x201A;2005 ĺš´ć&#x2014;Ľć&#x153;Źä¸&#x2013;ĺ?&#x161;ć&#x153;&#x192;ĺŽ&#x161;調ç&#x201A;şă&#x20AC;&#x152;č&#x2021;Şç&#x201E;śç&#x161;&#x201E; ç?żć&#x2122;şă&#x20AC;?ďź&#x152;2008 嚴輿ç?­ç&#x2030;&#x2122;ç&#x201A;şć°´čŤ&#x2039;ĺ&#x2018;˝ďź&#x152;2012 ĺš´é&#x;&#x201C;ĺ&#x153;&#x2039;ć&#x203A;´ĺźˇčŞżă&#x20AC;&#x152;ć&#x153;&#x2030;ç&#x201D;&#x;ĺ&#x2018;˝ç&#x161;&#x201E;大澡ă&#x20AC; ć&#x153;&#x192;ĺ&#x2018;źĺ?¸ç&#x161;&#x201E;澡岸ă&#x20AC;?ďź&#x152;2017 ĺš´ć&#x2013;źĺ&#x201C;&#x2C6;č&#x2013;Šĺ&#x2026;&#x2039;č&#x2C6;&#x2030;螌 ç&#x161;&#x201E;é&#x2DC;żć&#x2013;ŻĺĄ&#x201D;ç´?ä¸&#x2013;ç&#x2022;&#x152;ĺ?&#x161;茽ć&#x153;&#x192;ć&#x203A;´ç&#x203A;´ć&#x17D;Ľčľ°é&#x20AC;˛ă&#x20AC;&#x152;ć&#x153;Şäž&#x2020;č&#x192;˝ćş?ă&#x20AC;?ç&#x161;&#x201E;ä¸&#x2013;ç&#x2022;&#x152;ă&#x20AC;&#x201A; čł&#x2021;ćş?ĺ&#x152;ąäš?ç&#x161;&#x201E;ĺ&#x2022;?éĄ&#x152;塲ć&#x2DC;Żç&#x153;žć&#x2030;&#x20AC;ĺ&#x2018;¨ç&#x;Ľďź&#x152;ĺ&#x192;&#x2026;é? ç&#x2019;°äż?äť?ć&#x153;&#x2030;ä¸?čśłďź ć&#x2C6;&#x2018;ĺ&#x20AC;&#x2018;ĺż&#x2026;é &#x2C6;čż&#x17D;ć&#x17D;Ľă&#x20AC;&#x152;垪ç&#x2019;°çś&#x201C;ćż&#x;ă&#x20AC;?ç&#x161;&#x201E;ć&#x2122;&#x201A;䝣ć&#x2030;?čĄ&#x152;ďź ć&#x2030;&#x20AC;čŹ&#x201A;ç&#x161;&#x201E;垪ç&#x2019;°çś&#x201C;ćż&#x;čŹ&#x203A; ćą&#x201A;ă&#x20AC;&#x152;ĺ?Żĺ&#x2020;?ç&#x201D;&#x;č&#x2C6;&#x2021;ć ˘ĺžŠă&#x20AC;?ç&#x161;&#x201E;ç&#x201D;˘ćĽ­çłťçľąďź&#x152;é&#x20AC;?é &#x17D;ĺŽ&#x152;ć&#x2022;´äş&#x2039;ĺ&#x2030;?čŚ?ĺ&#x160;&#x192;č&#x2C6;&#x2021;設č¨&#x2C6;ďź&#x152;čŽ&#x201C;čł&#x2021;ćş?č&#x192;˝ć&#x153;&#x2030;ć&#x2022;&#x2C6;é&#x2021;?č¤&#x2021;ĺ&#x2C6;Šç&#x201D;¨ďź&#x152;使ç&#x201D;˘ĺ&#x201C; ă&#x20AC; é&#x203A;śäťśäš&#x192;č&#x2021;łĺ&#x17D;&#x;ç&#x2030;Šć&#x2013;&#x2122; ć&#x153;&#x2030;ć&#x153;&#x20AC;éŤ&#x2DC;袍ĺ&#x2C6;Šç&#x201D;¨ç&#x17D;&#x2021;ĺ?&#x160;ć&#x153;&#x20AC;大使ç&#x201D;¨ĺ&#x192;šĺ&#x20AC;źďź&#x152;ç&#x201D;&#x161;č&#x2021;łć&#x2039;&#x2019;çľ&#x2022;使ç&#x201D;¨ĺŚ¨ç¤&#x2122;ĺ&#x2020;?ĺ&#x2C6;Šç&#x201D;¨ç&#x161;&#x201E;ć&#x153;&#x2030;ćŻ&#x2019;ĺ&#x152;&#x2013;ĺ­¸ç&#x2030;ŠčłŞďź&#x152;丌č&#x2014;&#x2030;ç&#x201D;ąé&#x2021;?ć&#x2013;°č¨­č¨&#x2C6;ć??ć&#x2013;&#x2122;ă&#x20AC; ç&#x201D;˘ĺ&#x201C; ç&#x201D;&#x161;č&#x2021;łć&#x2DC;Ż ĺ&#x2022;&#x2020;漭樥ĺź?ďź&#x152;珌ĺ?&#x2C6;ă&#x20AC;&#x152;é&#x203A;śćąĄć&#x;&#x201C;ă&#x20AC;?ă&#x20AC; ă&#x20AC;&#x152;é&#x203A;śĺť˘ćŁ&#x201E;ă&#x20AC;?ă&#x20AC; ă&#x20AC;&#x152;é&#x203A;śäş&#x2039;ć&#x2022;&#x2026;ă&#x20AC;?ç&#x161;&#x201E;ä¸&#x2030;é&#x203A;śç&#x203A;Žć¨&#x2122;ďź&#x152;使čł&#x2021;ćş?č&#x192;˝ć°¸çş&#x152;垪ç&#x2019;°ďź&#x152;ç&#x201D;&#x;ç&#x201D;&#x;ä¸?ć Żă&#x20AC;&#x201A;

Until this year, the World Expo has been held for 46 editions, allowing its exhibitors to put on display the positive impacts and achievements which the contemporary culture, technologies, and industries bring to various aspects of our lives. In the 19 th century, the Word Expo was an event aimed to show the national strength of the participating countries. Then, after the two World Wars and the Cold War period, in the early 20 th century the exhibition became peace-oriented, and in the second half of the 20 th century, the event entered its thirdâ&#x20AC;&#x153;main themeâ&#x20AC;?phase, emphasizing the importance ofâ&#x20AC;&#x153;environmental protectionâ&#x20AC;?. Like EXPO 2005 Nagoya (Japan) set the tone of EXPO 2008 Zaragoza (Spain) with itsâ&#x20AC;&#x153;Natureâ&#x20AC;&#x2122;s Wisdomâ&#x20AC;?theme; EXPO 2012 Yeosu (Korea) vouched for aâ&#x20AC;&#x153;Living Ocean and Coastâ&#x20AC;?goal. The motto of EXPO 2017, which will be OLSK PU (Z[HUH 2HaHROZ[HU KPYLJ[S` HWWYVHJOLZ [OL Ă&#x201E;LSK VM â&#x20AC;&#x153;Futureâ&#x20AC;&#x2122;s Energyâ&#x20AC;?.

Natural resources shortage is a widely known problem, and relying on environmental protection isnâ&#x20AC;&#x2122; t enough; we must usher in aâ&#x20AC;&#x153;circular economyâ&#x20AC;?era. The so-calledâ&#x20AC;&#x153;circular economyâ&#x20AC;?emphasizes theâ&#x20AC;&#x153;regeneration and recoveryâ&#x20AC;?of our industrial system: by making every kind of resource available through extensive HK]HUJL WSHUUPUN HUK KLZPNU VSK WYVK\J[Z JVTWVULU[Z HUK L]LU YH^ TH[LYPHSZ JHU IL LÉ&#x2C6;LJ[P]LS` YL\ZLK reaching their highest utilization rate and maximum use value. By refusing to use and reprocess toxic chemicals, as well as redesigning materials, products, and even business models, waste minimization and sustainable, recyclable resources are obtained, which conforms to theâ&#x20AC;&#x153;Three Zero Targets: zero pollution, zero waste, and zero accidentsâ&#x20AC;?.

風靡全球的綠色設計潮 Genius Eco Friendly Designs Text / Lia Pei Photo / 各品牌

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1

| Special Report |

顧人類文化發展中，我們對於設計

韓國新銳設計師 WooJai Lee 都是將不同的

從 既 有 的 資 源 中， 創 造 產 品 新 生 命 的

的需求與探索，不斷在尋求造型與

回收紙材質打造成新型態的家具產品。而

案 例， 更 是 最 直 接 有 力 的 表 現 。 這 次 在

功能上的和諧與卓越。然而在需求飽和與

以回收塑料合成再射出成型的產品，則是

Palazzo Clerici 十六世紀宮殿中所展示的回

環境危機的影響下，設計已經不再只是創

在許多設計大牌中可以見到，如義大利設

收電子零件再造燈具的展覽 HQB Lamps，

造價值、解決問題、便利生活而已，更需

計 品 牌 Magis 所 推 出 的 Sparkling Chair 與

呈現出強烈的現代與古典對比。法國燈具

要的是，能夠不再浪費地球的資源，甚至

Bureaurama ， 以 及 ECO-oh! 所 新 發 表 的 模

Veronese 與荷蘭設計師 Piet Hein Eek 合作，

是不佔用且進而從已經產出現有的資源中

組化公共座椅 The New Normal。另外，丹

將百年前的威尼斯藝術玻璃零件，再造為

找到重組的方式。因此，在綠色設計與循

麥知名紡織品牌 Kvadrat 則是與 Max Lamb

華麗的模組化吊燈。知名品牌 DuPont 也直

環經濟的議題上，於每年的米蘭設計周都

合作，共同研發出利用廢棄的布料作為家

接將其 Corian 板材廢料重組為書架或座椅

必定是備受矚目的焦點。

具產品或建築材料的創舉，這則是紡織工

等色彩繽紛的系列家具產品 Leftover。而英

業中邁向循環經濟的一大步。

國設計師 Paul Cocksedge 則是從他被迫搬遷

回

如瑞典品牌 Offecct 所新推出的模組化室 內單椅 Phoenix，組成產品本身的每件元素 都可以回收至原廠更換或再造，並從展場 中整牆的零件循環拆解圖，可見其充分利 用材質與循環產品生命週期的設計說明。

除此之外，最常見的便是由材質本身的 角度切入，像是日本建築師 Shigeru Ban 與

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1. 瑞典品牌 Offecct 的座椅 Phoenix，將產品 每件組成元素清楚拆解呈現在牆面上，顯示 其充分利用材質本身的循環生命週期。 Offecct, a Swedish brand, disassembled its Phoenix chair and displayed every piece of material on walls to show that it took full advantage of the materials’ life cycles. © inredningshjalpen

2. Bureaurama 是德國設計師 Jerszy Seymour 以回收素材為義大利品牌 Magis 所設計的 Lightweight Stools 系列高腳桌椅。 German designer Jerszy Seymour used recycled materials in his design “Bureaurama” of the Lightweight Stools Series of the Italian brand Magis. © Magis

3. 法 國 燈 具 Veronese 與 荷 蘭 設 計 師 Piet Hein Eek 合 作， 將 上 世 紀 的 威 尼 斯 玻 璃 備 件， 重 組 為 華 麗 的 客 製 化 水 晶 燈 具。 Veronese, a French glass lighting manufacturer, collaborated with Dutch designer Piet Hein Eek, to reassemble Venetian glass spares from the last century into gorgeous bespoke chandeliers. © Veronese

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4. 知名 Corian 板材品牌 DuPont，將廢棄板材 設計為 Leftover 系列書架和座椅等家具。 DuPont, a renowned sub-brand of Corian, uses discarded plates to design bookshelves, chairs, and other furniture in its Leftover Series. © DuPont

5. 英國設計師 Paul Cocksedge 從即將遷離的 原工作室底層，挖掘出倫敦百年的石柱與磚 材，轉化為各式家具，提醒人們環境與文化 的重要性。

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From beneath the ground of his studio which was set for relocation, British designer Paul Cocksedge dug out stone pillars and bricks seen in London and have a history of more than 100 years. He turned them into a diverse array of furniture to remind people of the importance of environmental and cultural preservation. © Studio Paul Cocksedge

的工作室地層，探鑽出倫敦百年石柱與磚 材，並與玻璃結合再造桌子與書架等數十 件作品，呼籲大眾環境與文化之於我們的 重要性，算是非常獨特的藝術性表現手法。

無論是知名的設計品牌或是獨立設計師， 都致力於從材質、生產過程、產品生命週 期終結時的回收與再造等等不同角度的切 入，從概念的出發點到產品的包裝，以及 產品本身走入使用者的環境再到離開之後 的處置，讓整件產品的存在，都能盡量減 低資源和能源耗損，而產品的終結也不會 造成地球的負擔，是全球設計的共同目標。

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1. 韓國設計師 WooJai Lee 以不同的回收紙材 打造創意型態的各式家具。 Korean designer WooJai Lee handcrafted a wide array of innovative furniture using different kinds of recycled paper. © Studio WooJai Lee

2. 義 大 利 品 牌 ECO-oh! 用 回 收 的 寶 特 瓶 等 塑料，來量產模組化的大型公共家具 The New Normal。 Italian brand ECO-oh! mass-produces large pieces of modular benches “The New Normal” for public spaces using recycled plastic bottles. © ECO-oh!

3. 可自己動手修改的「Gardening the Trash」 壁毯。 “Gardening the Trash” tapestry that can be manually altered. © Valentina Sommariva 2017

4. 今年米蘭設計週「Gardening the Trash」展 出實景。 Scenes from the “Gardening the Trash” exhibit at this year’s Milan Design Week. © Valentina Sommariva 2017

5. 讓垃圾變性感，是小智研發一路走來的初衷。 Making trash sexy has always been the mission of MINIWIZ. © Valentina Sommariva 2017

6. 和「Gardening the Trash」壁毯相同質料的 布料花朵，於米蘭設計週裡綻放。 Cloth flowers made from the same material of the “Gardening the Trash” tapestry bloom at Milan Design Week. © Valentina Sommariva 2017

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| Special Report |

100% 回收塑料 編織時尚壁毯

Your Trash, Our Luxury Text / Lee Yu-hsuan Photo / MINIWIZ 小智研發

七

年前用 150 萬支回收保特瓶打造台

現場參觀者除了有機會親

北花博流行館「遠東環生方舟」的

自動手創作，為壁毯修剪造型

團隊「小智研發」（MINIWIZ），今年分別

一番；單一材料構成的布面只需要

在四月的米蘭設計週以及五月的紐約設計

倚賴熱和壓力，無須添加其他化學作

週 和 義 大 利 百 年 織 品 品 牌 Bonotto 攜 手 合

用，即可達到自然的 3D 效果，進而表現

作，發表「Gardening the Trash」壁毯。

不同形狀。強調「在地生產」的台灣循環

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材料，小智研發為該計劃更是足足花了一

讓舊織品可以成為新資源，舊資源可以被

「Gardening the Trash」 壁 毯 布 料 完 全 採

年的時間說服義大利當地唯一的抽絲廠，

再利用，創造皆大歡喜的局面。」

用塑膠瓶製成，按照 75% PET 回收料以及

打通各個科技環節，讓「歐洲回收，歐洲

25% 未使用過的 PET 下腳料，調和出符合

製造，打造歐洲氛圍的產品」一次到位。

在這個人造垃圾過剩的世代，小智研發 卻把垃圾變性感了！打從骨子裡改變產品

需求的基礎線材，交織成變化萬千的面料。 這次的跨界合作，為時尚產業提供新想

本身，在製造過程中便思考後續回收再利

像，讓 100% 可回收的單一循環材料，躋

用的配套，「Gardening the Trash」這個業界

身精品世界，不只美麗同時更貼近循環經

剛冒出頭的新案例，除了未來可以再將技

濟。藝術總監 Cristiano Seganfreddo 表示：

術延伸到織品、建築外，更期許大家在消

「Gardening the Trash 是 亞 洲 和 歐 洲 兩 大

費的同時，也把下一個世代的未來和希望

公司密集進行設計對話下的成果，同時展

給先預訂下來。

現科技、創造和傳統價值。該計劃的獨到 意義在於，它透過具備高度美學和科技本 質的循環材料打造產品，徹底顛覆時尚產 業。市場在漂亮之外，必須樹立起新的 標準。」

小智研發創辦人黃謙智則這麼 說 到：「 讓 我 們 從『Gardening the Trash』開始好好地發揮循環科技和 人類的智慧。『Gardening the Trash』 的目標在引領精品時尚產業進入循環 經濟，達到零浪費和創意不設限的狀 態。運用人類智能向大自然學習，思考 如何在無止盡的創造和再製裡掌控材料， 6

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Park 20 ¦ 20 世界第一座可回收建築 The First Recyclable Building in the World Text / Lia Pei Photo / Delta Development Group

一產品或單一材質所能帶來的影響

佈局發展等應運而生 ，不僅在荷蘭是首創 ，

能源的創造與節約，則巧妙地設計在建

和效能有限。因此漸漸看到更多整

更是全世界目前第一座從建材到生態規劃

築物面對太陽的角度之中，得到最大化的

合性的環境都市規劃，訴求創造與實踐零

等，體現無廢料「從搖籃到搖籃」（Cradle

陽光照射能量，讓全區建築物屋頂上的太

污染、零負擔、自給自足型態的生活複合

to Cradle）的完美生活區與商業區。

陽能板塊，得以持續性的提供無碳能量。

單

空間。正在運行中的 Park 20 | 20，由三角 洲開發集團（Delta Development Group）找

在天然植物與原生植地的規劃上，藉由

式的水管理系統，能夠有效減少 90% 的水

來 美 國 建 築 師 威 廉 • 麥 克 唐 納（William

在社區花園、街道種植和屋頂綠化的形式

資源浪費並節約用水，能夠引導廢水至中

McDonough）和德國化學家邁克爾 • 布朗

中，創建了互聯的綠地恢復原生的生態系

央處理設施給予淨化，再重新循環加以利

嘉（Michael Braungart）， 以 對 環 境 各 方 面

統。並且擴增現有的公園和野生動物棲息

用，並且過程中所產生的熱能，又可以再

的細心呵護、並以人為本的觀念出發 ，可

地，進而呈現了頗具規模性的景觀。

利用為製造熱水的能源。

持續設計的實行到公共環境與交通導向的

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此外，最核心的節約系統，則屬「閉環」

| Special Report |

1. 園區將原生植地與天然生態系統和各區建物 做完美的融合。 The park perfectly blends natural landscapes and natural ecosystems with buildings in every zone.

2. 尤其在屋頂綠化和建物之間，也都相連著多 元的植生綠牆。 Specifically, between the greenified roofs and buildings also lie walls blanketed with vegetation of various kinds.

3. 在自然環境中又能擁有寬敞簡潔的辦公空 間，吸引不少世界知名企業進駐。 Spacious, sleek, and surrounded by natural environments, the office space has attracted well-known enterprises from around the world to move in.

4. 酒店、餐館、會議中心等不同的空間在園區 中形成完整的商辦聚落。 Together, hotels, restaurants, convention centers, and other locales in the park form a comprehensive office building cluster.

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最令人意想不到的是，園區

20，是超過三萬四千坪的超大型商辦聚落，

以創新「建材銀行」為概念，

結合文化與經濟交流的創新平台。除了辦

所有建物均可回收，採能

公空間、餐館、酒店、和會議中心等等，

重 複 使 用、 可 拆 卸 的 建

還擁有豐富的運動設施、幼兒園、超市和

材建造。隨時根據不同

商店。多元化的經營觸角，除了打造令人

需求因地制宜、甚至新

愉悅舒適的工作環境，多項的服務也吸引

建材與新科技得以即

各層級消費者與民眾前來遊玩參訪。最後，

時進駐，以租賃代替購

藉由兩旁現有的公車和火車站，經過人行

買， 創 造 重 複 使 用 的 剩

道、花園小徑和運河橋等，僅僅十分鐘的 路程，便能快速便利地抵達市中心阿姆斯

餘價值。

特丹。如此優越的地理位置，也讓 Park 20 建構在這樣自給能源又循 環資源的系統所創造的 Park 20 1

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|

| 20 並非遙遠的烏托邦，而是真實貼近原 本的市鎮，融合為一。

| Special Report |

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1. 園區中環繞著規劃完善的自然水道，可以在 木棧道旁盡享陽光、空氣、花和水。 Well-planned natural waterways run through the park, where visitors can bask in sunshine, breathe in fresh air, enjoy fragrant flowers and clear waters along wooden paths.

2. Fox Verre Reizen 的辦公大樓與行旅劇院， 不僅在室內擁有壯觀的環形劇場，也在室外 傍水而居的廣場舉行豐富的活動。 The Fox Verre Reizen office building and hotels feature not only spectacular indoor arena theaters, but outdoor plazas alongside waters, where a myriad of activities are held.

3. 各類商店和超市甚至幼兒園及運動設施等， 多元化的經營觸角，是文化與經濟交流的創 新平台。 Various kinds of shops and supermarkets, even kindergartens and sports facilities, all signify the park’s diversified business management style. They also serve as innovative platforms for cultural and economic exchanges.

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時尚永續 奢華有道

Sustainable Fashion, and Luxury Will Be Virtuous Text / Angela Hsiao Photo / H&M、STELLA McCARTNEY

國頂級服裝設計師同名品牌 STELLA

機丹寧 、人造皮毛（Fur Free Fur）、人造絲

塑膠垃圾所製成的聚酯纖維 BIONIC® 實現

McCARTNEY，是時尚界萬中選一的

（Viscose）、 再 生 喀 什 米 爾 及 再 造 尼 龍、

「美和感官世界」一系列華美設計。如飄

和平使者，她不僅一生茹素，更以傳承「不

人造纖維（Recycled Polyester）、生物可分

逸的百褶裙晚禮服有著翻捲神似浪花的皺

含皮革的皮革」（skin-free skin）動物保育

解的橡膠、可持續木材及軟木等，都是符

褶、有機絲綢和 TENCEL® 斜紋休閒禮服外

的環保意念為職志，堅決拒用任何動物皮

合人道並兼具永續性的可持續物料，甚至

套；牡丹花和含羞草經過翻印並變形，創

革、羽毛；甚至連辦公室及商店都採取可

加 入 3D 列 印 等 新 創 科 技， 成 為 STELLA

造出夢幻般的圖案，手繪的夢中女人形象

再生綠色能源。獲得紐約 ACE Awards 年度

McCARTNEY 前衛而時髦的靈感。除了大

則被縫入極為柔軟的外套。配件包含完全

最環保設計師大獎、美國自然資源環保委

受好評的 Falabella 金屬鏈條手袋，好萊塢

取自於海岸垃圾回收物製成的漁網手袋、

員會的最佳成就獎，及英國時裝協會最佳

人 腳 一 雙 的 厚 底 Elyse 紳 士 鞋、Binx 懶 人

以及使用回收玻璃和塑膠所製成富饒趣味

時裝設計師與品牌雙重獎項的肯定。

鞋及 Odette 樂福等鞋履系列使品牌能見度

且高雅的耳環。

英

攀上高峰；高調矚目的生物基纖維製成的 擅長優雅輪廓的 STELLA McCARTNEY，

環保眼鏡嶄新登場，展現環保時尚的廣度。

以流暢線條將誇張與合身拿捏得恰到好處，

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H&M 以每年增加永續原料比例為目標， 目前全部商品中，由永續原料製成的占比

予人純粹美好的自信形象。強調所有設計

Conscious Exclusive 系列是 H&M 邁向更

為 26%，並已在每個系列設定具體目標，

皆採用天然環保材質，實用的有機棉及有

為永續未來的關鍵，今年以回收自海灘的

例如到 2020 年為止，100% 的棉花可望皆

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1. 時 尚 與 愛 心， 誰 說 不 能 並 存 ? STELLA McCARTNEY 著名的人造皮草，質感絕佳， 態度自信。 Who says fashion and love cannot coexist?

The famous line of Fur Free Fur by STELLA McCARTNEY features an excellent texture and exudes a confident attitude.

2. 回收自海洋垃圾的玻璃和塑膠製成的 H&M 耳環，如獲新生，波光粼粼。 Made from recycled glass and plastic found as litter in the ocean, these H&M earrings sparkle, as if imbued with new life.

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3. H&M 請 來 名 模 Natalia Vodianova 示 範 夢 幻般圖案的印花搭配有機絲綢的永續材質 設計。 H&M invites famed model, Natalia Vodianova, to display fantastical patterns of print that are matched with sustainable designs of organic silk.

4. H&M Conscious Exclusive 系 列 今 年 首 次 推出童裝創作，美麗精巧的薄紗洋裝擄獲 人心。

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H&M Conscious Exclusive series serves as its first line of children’s clothing launched this year. The beautiful and delicate chiffon dresses are absolutely stunning.

5. 貓 眼 鏈 飾 的 裸 色 太 陽 眼 鏡 展 現 STELLA McCARTNEY 新潮極具巧思的設計。 Cat eye nude color sunglasses with chains present the new, trendy, and ingenious designs of STELLA McCARTNEY.

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6. H&M 一襲浪漫的荷葉洋裝，浪花般的設計 不僅呼應聚酯纖維 BIONIC® 材質回收自海灘 塑膠垃圾，更受好萊塢女星青睞躍上紅毯。

為永續原料。甚至在專賣店進行不限品牌 限品牌 的舊衣回收計劃、持續於官網公布品牌永 續發展的環保報告書，在在實踐 H&M 永續 時裝的時尚承諾。

懷著環保理念的時尚精神，不僅是在材 質上努力降低汙染環境，更必須落實不過 時的精湛設計，打破回收、人造一詞帶來 破舊、虛假的偏見，追求美麗的過程不該 建立在破壞及汙染上，不僅是可持續性的 延展，再加上負責任的創新，才能達到循 環經濟的永續經營。

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The spray-like design of the romantic lotus leaf dresses of H&M not only echo the concept of recycling plastic garbage from the beach of BIONIC® materials, but they are also favored by Hollywood actresses as they walk on the red carpet.

7. 藉 Conscious Exclusive 系列將時尚與環保 完美結合，H&M 的時髦不只是皮相。 With the perfect combination of fashion and environmental protection embodied by the Conscious Exclusive series, the fashion of H&M is not just skin-deep.

8. 風靡眾人的雙層厚底鞋款大熱好幾季，成功 為 STELLA McCARTNEY 塑造經典。 Sweeping across the world, double thick shoes have been red hot for several seasons, successfully shaping into a classic for STELLA McCARTNEY.

9. STELLA McCARTNEY 不規則翻領長大衣， 硬朗輪廓筆挺修長。 This STELLA McCARTNEY lapel long irregular coat features a rigid outline for slender.

10. 有 機 丹 寧 材 質 配 上 星 星 圖 案 讓 STELLA McCARTNEY 鏈帶包感染年輕奔放氣息。 Organic tannins coupled with star patterns enable this STELLA McCARTNEY chain to exude a young and unrestrained atmosphere.

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古董錶揭密 Uncovering the Secrets of Antique Watches Text / Caesar Shih Photo / A. LANGE & SÖHNE、PANERAI、PATEK PHILIPPE、RICHARD MILLE、ROLEX

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| Luxury |

真實身價 ? 拍賣會市場絕對見真章。退去了行銷、包裝、多餘的想像，洗盡鉛華，拍賣會還原了在競 標者心中的真實高度。 Actual value? The auction items are guaranteed authentic. Forget about marketing, packaging, and overthinking things, return to simplicity. The auction restores bidder trust.

在

拍賣會上，品牌就是王道，百達翡

五月於香港富藝斯以 19,720,000 港元（約

麗、勞力士，一向是熱點。尤其如

78,76 萬台幣）成交！

果具有特殊話題、意義的錶款，即便時間 已在五、六十年以上，成交價反而屢創新 高，令人瞠目結舌！

事實上，Ref.2499 一直都是拍賣會上的 超級明星，除了與 Ref.1518 一樣繼承舊時 代氛圍，共分成四代作的 Ref.2499，每代

以 近 期 為 例，2016 年 底 百 達 翡 麗

設計細節略有不同，加上使用的貴金屬不

（PATEK PHILIPPE）的 Ref.1518，就 以 鋼

同，價格也有高低之分。譬如同樣為一代

殼之身，寫下拍賣會腕錶最高成交紀錄：

作 的 Ref.2499，2012 年 十 二 月 在 紐 約 邦

1,100 萬瑞士法郎！百達翡麗身為「錶王」

瀚斯拍賣中以 42.25 萬美元成交，但 2012

的崇高地位，當然有其號召力，但不時在

年五月的佳士得拍賣會上則有 216 萬美元

拍賣會現身的 Ref.1518，才是再攀頂峰的

的高價，差別就在於前者為黃金、而後者

關鍵。

為玫瑰金材質。只要是 Ref.2499 加玫瑰金 的組合，沒有 100 萬美元，想見這早已停

問世於 1941 年的 Ref.1815 是百達翡麗

產數十載的時代逸作？難如登天。

的初代萬年曆腕錶款式。在 1950 年代， 複雜腕錶的問世仍屬稀少，Ref.1518 少見 結合計時碼錶、萬年曆兩種複雜功能 ，其 內 在 使 用 以 Valjoux 為 基 礎 改 裝 的 Caliber 13-130 傳奇機芯，具有直線式槓桿擒縱機 構、寶璣式自動補償遊絲等諸多特色，機 芯還有日內瓦波紋與日內瓦印記，以 1950 年代的平均水準，再再都屬上上之選。雖 然 Ref.1518 未必是市場上最受追捧款式， 但無疑為日後百達翡麗的「萬年曆計時碼 錶」立下典範。

Ref.1518 受到如此追捧，有部分原因可 視作「萬年曆計時碼錶」的功能組合，既 實用，又有其複雜性。有趣的是：被視作 「第二代」的 Ref.2499，同樣是拍賣會上 的熟面孔。數字會說話，2016 年的拍賣會 十大高價成交腕錶款式，Ref.2499 分別佔 據了第七與第三位！第七位是 2016 年五 月於瑞士富藝斯以 1,685,000 瑞士法郎（約 5,201 萬台幣）成交，第三位則是 2016 年

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1. 早已停產、共分四代作的百達翡麗 Ref.2499， 是拍賣會上的熱門標的。 Already having been discontinued, the PATEK PHILIPPE Ref. 2499, composed of four generations, is quite a popular target on the auction market.

2. 雖然是鋼殼，但 Ref.1518 的「計時碼錶」 加「萬年曆」功能，奠定某種百達翡麗的拍 賣會關鍵組合。 Although the casing is made of steel, the “ c h r o n o gra p h” and “perpet u al calend ar” function of the Ref. 1518 establishes a crucial combination with a certain PATEK PHILIPPE auction market.

3. 產量少、話題性高的 RICHARD MILLE，近 年也開始在拍賣會上頭角崢嶸。 Production quantity is small but the high profile RICHARD MILLE has shown extraordinary promise in the auction market in recent years.

如 果 說 Ref.1518 和 Ref.2499 是 百 達 翡麗在拍賣會上的搶手貨，那被稱作 Paul Newman（ 面 盤 ） 的 Daytona， 就 是 勞 力 士 （ROLEX）在拍賣會的當家台柱！最早問 世於 1963 年、第三代的 Daytona 又有 Paul Newman 的 暱 稱， 其 特 色 是 小 錶 圈 中 的 時 標是正方的骰子形，另外外圍的秒針格數 則 為 紅 色。Paul Newman 面 的 Daytona 雖 然僅是一只計時碼錶 ，不但出現在拍賣會 上， 並 屢 屢 成 交。 光 2016 年 的 五 月， 便 有一只黑面的 Ref.6263 在瑞士富藝斯寫下 1,985,000 瑞 士 法 郎（ 約 6,127 萬 台 幣 ） 的紀錄！但玩味的是，Paul Newman 在電影 中並沒有真正被拍攝到佩戴 Daytona 的畫 面，這個美麗的想像，或許停留在錶迷的 心中，反倒是種美感。 1 2

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| Luxury |

古董勞力士更因年代久遠在拍賣會上

用 蠔 式 結 構 的 防 水 外 殼 加 透 明 底 蓋， 曾

時 有 佳 話。2016 年 日 內 瓦 富 藝 斯 拍 賣 會

在 2014 年 五 月 蘇 富 比 寫 下 42 萬 5,000

上， 一 只 勞 力 士 的 古 董 雙 追 針 計 時 碼 錶

瑞 士 法 郎 的 成 交 紀 錄； 而 1943 年 生 產

Ref.4113 最 終 以 24 萬 瑞 士 法 郎（ 約 740

的 Ref.3636，47 毫 米 的 防 水 錶 殼， 則 在

萬 台 幣 ） 成 交， 寫 下 史 上 最 貴 勞 力 士 成

2013 年的柏林拍賣行上，有過 61,900 歐

交 紀 錄， 連 帶 的 曾 為 別 的 品 牌 代 工 過 機

元的紀錄。除了沛納海本身是現時市場的

芯 的 款 式， 一 樣 在 拍 賣 會 行 情 看 漲 ， 其

熱門品牌，更重要的是，沛納海也是勞力

中又以品牌本身就很有競爭力的沛納海

士唯一曾經代工過的品牌，兩大品牌的聯

（PANERAI），最為活躍。

手（古董）之作，加上不可能重現的魅力 聯名，造成只要出現在拍賣市場上，都能

例 如 製 於 1950 年 代 的 Ref.6152， 採

有所斬獲的重要原因。即便是 2016 年十一 月，瑞士富藝斯更寫下具有勞力士機芯的 Ref.6154 ， 成 交 32 萬 瑞 士 法 郎（ 約 987 萬台幣）的驚人紀錄。

由於產量稀少，獨立製錶品牌 RICHARD MILLE 也開始成為近期拍賣會的炒賣重點。 以今年四月蘇富比香港拍賣會為例，四只 RICHARD MILLE 全數成功拍出，證明市場

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對於稀有性商品的期待值。

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細心讀者可能會發現：這兩年的成交紀

鏡人！2014 年十一月，富藝斯拍賣會宣布

錄，似乎不少都由富藝斯拍賣會寫下。事

與 Bacs 聯手，並快速刷新多項成交紀錄，

實上，超人氣拍手 Aurel Bacs 可是幕後藏

2015 年九月，《紐約時報》更曾以「A Star Returns to Watch Auctions」 為 標 題 ， 形 容 Bacs 回歸腕錶拍賣會的盛況。除了成交金

腕錶達人指南 Watch Expert’s Guide

額創新高 ，試著也給拍賣會以及幕後拍賣 師 ，多一點目光焦點？

曾士昕的四個古董錶拍賣指南 Zeng Shixin’s 4 Antique Watch Auction Tips 一、品牌是優先指標 Brand Is the Most Important Indicator of Value 2P1R 是指標。所謂的 2P，則指的是百達翡麗、沛納海； 海； 與 1R 的勞力士。

ed Antique Antique 二、夠老、才能叫古董 Old Enough to Be Regarded 也因為是古董錶，無法重新生產，才有炒賣、賞玩價值。

三、具有把玩功能 Can Be Played With 譬如萬年曆、計時碼錶，能夠操作、實際使用，會讓拍賣品項本身更有競爭力。

四、稀有性 Rarity 以百達翡麗而言，近代多製造貴金屬款，如果是古董又以鋼殼製成，價格自然水 漲船高。

1. 沛納海的 Ref.153 錶款。 PANERAI Ref. 153 wristwatch.

2. 第三代白色面盤的 Daytona 款是勞力士的 熱門嬌客，每每現身總是引起騷動。 The third generation white surface Daytona models from ROLEX are extraordinarily popular and stirring up an uproar every time it appears.

3. 富藝斯的腕錶拍賣負責人 Aurel Bacs，是促 成近年腕錶拍賣屢創新高的重要舵手。 The person in charge of the Philips wristwatch auction, Aurel Bacs, is the foremost helmsman responsible for frequently breaking sales records in the wristwatch market.

4. 年代久遠、斑駁中更顯身價的勞力士 Ref.4113 近年曾創下 740 萬台幣的好身價，證明歷史 與滄桑，可以為身價錦上添花。 Time-honored, the high status of the ROLEX Ref. 4113 is further revealed through the mottled, antique appearance; the value has been set at 7.4 million New Taiwan dollars, proving that the transformations and tribulations of history can dramatically even better.

流光溢彩 鑽優雅 % (MKRMÁIH (MEQSRH 3ZIVÂS[MRK [MXL :MFVERX 'SPSVW ERH %WXSRMWLMRK &VMPPMERGI Text / Angela Hsiao Photo / BOUCHERON、BVLGARI、Cartier、CHANEL、 Chopard、CINDY CHAO、HARRY WINSTON、 PIAGET、TIFFANY & CO.、Van Cleef & Arpels

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珠寶拍賣市場上最珍稀罕有的，莫過於比頂級白 鑽更難得一見的絢麗彩鑽，據聞每一萬顆天然鑽石 中，僅能誕生一顆彩鑽，極其矜貴，可遇不可求。 不僅欣賞優雅白鑽 ，人們對帶有浪漫顏色、彌足珍 貴的彩鑽也越來越渴求。 Color diamond, the rarest and most precious diamond mond in the jewelry market, even superior to the top-grade -grade white diamond. People say that only one in ten thousand thousan nd diamonds turns out to be a color diamond. Extremely mely opulent, op pulent, it can be discovered serendipitously but not sought. ought. No N longer shall the elegant white diamond be singularly cherished, erished, as people will desire ever more strongly the romantic hues and extraordinary exttraordinary splendor of the color diamond.

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石會散發夢幻色彩，是因生成過程

美象徵，自始從不間斷蒐羅世上奢華燦爛

成片片晶瑩剔透的花瓣，並在每一片纖柔

中，晶格結構改變、或受微量成分

的稀世黃鑽。一只主鑽達 5.03 克拉的橢圓

的花瓣底部及表面，鑲嵌著如同晨曦朝露

影響而產生顏色。以碳元素為主的鑽石，

形切割豔彩黃鑽戒指，外圈再鑲以白鑽及

的鑽石，透過水晶花瓣的烘托與折射，迸

受氮元素介入形成黃鑽，吸收硼元素而成

黃鑽環繞周圍，層層光環絢爛奪目，金黃

發迷人鑽石火光；而花冠中央約 20.08 克

藍鑽，粉鑽則是因為內部晶體結構變異導

色光芒如陽光般純淨耀眼。除了琳瑯滿目

拉梨形切割 Fancy Intense Yellow 黃鑽，搭

致碳元素錯位而成色。鑑賞白鑽務求無瑕

的大克拉戒指，鑲嵌黃鑽的經典 TIFFANY

配 6 顆 共 重 3.39 克 拉 橄 欖 形 切 割 黃 鑽 花

淨透、不願看到的旁雜元素，卻正是令有

& CO. Keys、混合式切割黃鑽項鍊及手鍊，

蕊，彷彿自中心漫射出萬丈光芒，綻放聖

色鑽石大放異彩的主因，大自然孕育世間

在在展現品牌無限魅力與傲人風格。

母之花象徵力量、尊貴與豐饒的意象，演

鑽

繹 BOUCHERON 獨有的「奇幻現實主義」

萬物的鬼斧神工，使世人大開眼界。 CHANEL 以 Les Blés de CHANEL 頂級珠

藝術風範。

擁有豐厚歷史淬鍊，精湛百年工藝技術

寶向「麥穗」致敬，Fete des Moissons 項鍊

的珠寶世家們，秉持傳承絕美藝術的使命，

擁有 1 顆重達 25 克拉切角長方形明亮式切

擁 有 大 膽 創 意 風 格 的 PIAGET， 以「 生

尋覓世上最難能可貴的非凡彩鑽，更為其

割濃彩黃鑽主石，並大器運用超過千顆分

活藝術」為宗旨，匯聚各地風土激發獨特

量身打造獨一無二的設計。

別為彩黃（Fancy）、 豔彩黃（Vivid）及濃

魅 力。 今 年 全 新「Sunlight Journey 太 陽 之

彩黃（Intense）三種黃鑽的溫暖色澤，創

旅」高級珠寶系列，以長年沐浴於日光之

燦若驕陽 黃鑽耀眼

造細膩而優雅的漸層色彩，詮釋飽滿麥穗

中，烈焰與火山之地的義大利阿瑪菲海岸

A Dazzling Yellow Diamond as Spectacular as the Blazing Sun

搖曳生姿的豐收美景，彰顯重生、幸福、

（Amalfi Coast） 為 靈 感， 描 繪 當 地 豐 富

機會、繁榮與無限創意的意象。

絢 麗、 欣 欣 向 榮 的 自 然 萬 物。 備 受 矚 目 的 Sunburst 主 題 18K 白 金 項 鍊， 鑲 飾 約

提 到 黃 鑽，最 為 人 熟 知 的 莫 過 於 1939

BOUCHERON 高級珠寶 Nature Tiomphante

重 11.85 克 拉 單 顆 梨 形 切 割 Fancy Vivid

年紐約世界博覽會上，以一顆 128.54 克拉

自然盛典篇章，一條 Lys Radiant 璀璨百合

Yellow、VS2 等級的黃鑽主石，搭配隨著曼

「Tiffany Diamond 傳奇黃鑽」樹立品牌經

項鍊，由「Hands of Light 光之手」工匠細

妙頸圈曲線延伸的多顆黃鑽及鑽石，份量

典的 TIFFANY & CO.，堪稱精湛工藝的完

微而謹慎地將水晶雕刻

豐碩，色澤完美飽滿，揭開黎明的奧秘。

1. 逾 3 千顆美鑽的 Lys Radiant 璀璨百合項鍊， 領帶鍊身與百合花胸針可分開佩戴，共譜 BOUCHERON 高雅兼具現代的實用風格。 Ly s R a d i a n t N e c k l a c e , t h e m o r e t h a n 3 thousand diamonds with the lily flower brooch can be detached from the necklace and worn alone, reflecting BOUCHERON’s practical style, which is both modern and elegant.

2. Fete des Moissons 項鍊呈現麥穗編織的皇冠 形狀，展現 CHANEL 頂級珠寶優雅藝術感。 The Fete des Moissons Necklace has the shape of a crown woven with wheat stalks, showing the artistic elegance of CHANEL’s high jewelry collection.

3. 舉 世 無 雙 128.54 克 拉 的 傳 奇 黃 鑽 Tiffany Diamond 不僅為品牌奠定地位，更助《蒂芙 尼的早餐》女主角奧黛麗 • 赫本聲名大噪。

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The unmatched 128.54-carat Tiffany Yellow Diamond not only gave TIFFANY & CO. a high status, but also made Audrey Hepburn, the protagonist of “Breakfast at Tiffany’s”, incredibly famous.

皇帝的珠寶商 珠寶商 Cartier 利用創意與絕佳工

奢美彩鑽 奇珍難尋 奢

17 年全新「Cartier Magicien」頂 藝打造 2017

A Truly Rare and Priceless Treasure, Fancy Color Diamond T

化身珠寶魔法師讓設計充滿爆發 級珠寶，化身珠寶魔法師讓設計充滿爆發 力。Merveilleux 系列黃鑽項鍊， 鍊 力及生命力。Merveilleux 1

繁星的耀眼光芒，交織成充滿 滿現 捕捉燦如繁星的耀眼光芒，交織成充滿現

鑽 石 之 王 HARRY WINSTON 堅 持 榮 耀

靈動網狀結構，彷彿整片星空 空襯 代美感的靈動網狀結構，彷彿整片星空襯

傳統，隆重鋪展兼具奢華氣魄與超凡品質 傳

托著一顆 5.86 克拉 Fancy Vivid Yellow、IF

的 的「The Incredibles 凝 世 風 華 」 頂 級 珠 寶

豔彩黃鑽，搭配同系列一對分 分別 等級梨形豔彩黃鑽，搭配同系列一對分別

系列。一只水滴形切工靛藍彩鑽玫瑰金戒 系

為 3.02 克拉及 3.01 克拉的豔彩黃色橢圓

指，重達 2.06 克拉的主鑽為 Fancy Intense

形鑽石耳環，醉人光影虛實交錯，唯美和

Blue、VVS2 等級，微密釘鑲嵌設計，旁襯

諧，兼具古典而新穎的設計掌握平衡與協

重 1.66 克拉，241 顆圓形粉紅彩鑽，極致

調之美，光輝永恆不滅。

奢美，動人心魄。

Van Cleef & Arpels 以「LE SECRET 秘

揚名海外的台灣珠寶設計師趙心綺 2

密」之名展開冒險，凝視著 Labyrinthe 戒 指的鏡面縞瑪瑙，視線不禁沿著由璀璨鑽

CINDY CHAO，擅長 360 度鈦金屬鑲嵌工 藝，作品繁華茂盛卻輕盈有致，細膩精彩，

石組成的立體迷宮路徑探索，抵達中央一

Inspirations 華 彩 之 源 」 年 度 頂 級 珠 寶，

2009 年 以「Royal Butterfly 皇 家 蝴 蝶 」 胸

顆 13.01 克拉枕形切割濃彩黃鑽，象徵引

以 一 只 約 25.16 克 拉 FIY、VS1 枕 形 切

針獲得美國史密森尼國家歷史博物館列為

領人們找到蘊含無限魅力的寶藏，工藝卓

割黃鑽戒指，薈萃二千七百年羅馬文化結

永久典藏，是唯一獲此殊榮的華人設計師，

越。而 BVLGARI 2017「The Magnificent

晶，盡展義式奢華美學。

掀起珠寶界工藝新革命。最新一枚 1.50 克

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拉八角形切割紅鑽緞帶戒指剛在巴黎亮相，

拉 干 邑 色 鑽 石 與 2.01 克 拉 黑 鑽， 鋪 鑲 出

全球鑑定不到百顆的珍稀「紅鑽」，震撼

斑斕蛇身的亮麗光澤。栩栩如生的優美姿

各界！過去也曾將約重 4 克拉的八角形切

態，被賦予真誠靈巧的內涵，意蘊豐滿，

割豔彩綠鑽，設計於經典四季系列的樹枝

卓爾不凡。

戒指上，氣派磅礡，罕見嬌貴。而今年佳 士得香港春拍亮相的金黃羽飾胸針，以一

追求彩鑽，除了尋訪色彩最豔麗、完美

顆 約 2.47 克 拉 梨 形 濃 彩 黃 綠 色 水 滴 變 色

無瑕等級、與碩大克拉數帶來的珍貴價值，

鑽，及一顆約 2.03 克拉梨形豔彩橘黃鑽為

唯美設計與精湛工藝也是珠寶市場愈發重

主石，長達 18 公分的作品鑲飾近千顆各式

視的細節。自然界醞釀億萬年的恩賜珍寶，

切割美鑽，卻僅重 36 公克，異彩紛呈，驚

經過人們苦心雕琢、去蕪存菁，留下精采

豔世人，以 870 萬港元落槌。

絕倫，無與倫比的美麗。

10

1. Sunburst 主題項鍊迸發陽光絢麗色彩，展現 PIAGET 深厚工藝精髓。 The Sunburst Necklace shines with vibrant sunlight colors, showing the accurate craftsmanship of PIAGET.

2. Van Cleef & Arpels 的 Labyrinthe 戒指，以縞 瑪瑙烘托迷宮終點的黃鑽瑰寶。 The Labyrinthe Ring by Van Cleef & Arpels, a yellow diamond gem set on maze-designed onyx and diamonds ring.

擁 有 深 厚 底 蘊， 作 品 橫 掃 國 際 紅 毯 的 Chopard，傾 其 所 有 締 造 瑰 麗「Animal

3. Cartier 藉鑽石明亮閃爍的生動火光，交織 出宛如華美蕾絲的 Merveilleux 系列黃鑽項 鍊及耳環。

World 動 物 世 界 」 系 列， 高 至 天 穹、 潛 進 深海，追尋浩瀚世間神秘而夢幻的生靈萬

The Cartier diamonds possess the bright glimmer of a vivid fire which is all interwoven in a manner reminiscent of the Merveilleux series of yellow diamond necklaces and earrings.

物幻化為珠寶作品。以 12.01 克拉棕色鑽 石展現色澤飽滿、豐盈燦亮的棕熊身影， 彷若環抱纖纖玉指的姿態惹人憐愛。象徵

9

智 慧 的 靈 蛇 是 以 2.83 克 拉 黃 鑽、2.24 克

4. BVLGARI 2017「華彩之源─義式美學」年 度頂級珠寶，25.16 克拉 FIY、VS1 頂級黃 鑽鉑金戒指。 A platinum ring is composed of approximately 25.16 karats of FIY as well as a VS1 toplevel yellow diamond by BVLGARI 2017 “The Magnificent Inspirations-Italian Extravaganza” high jewelry collection.

5. CINDY CHAO 金黃羽飾胸針，超過半數羽毛 可輕顫晃動，靈巧輕盈。 Golden Feathers Brooch by CINDY CHAO, more than a half of this feathers can slightly tremble, dexterous and light.

6. HARRY WINSTON 頂 級 珠 寶 戒 指， 集 珍 稀 嬌貴的藍鑽和粉鑽於一身，璀璨華麗，美無 止境。 HARRY WINSTON Haute Couture Jewelry’s ring, composed by an ensemble of blue and pink diamonds, both rare and delicate, radiating an immensely beautiful colorful light.

7. CINDY CHAO 以白鑽簇擁著罕見少有的大克 拉綠鑽，光芒萬丈。 A gloriously radiant jewel by CINDY CHAO, the rare large carat emerald is encrusted with white diamonds.

6

8. Chopard 以 6 克拉粉紅馬眼形切割粉紅鑽石， 揣摩飛舞蝴蝶的輕薄雙翅。 Chopard used 6-carat horse eye shaped pink diamonds to recreate the lightweight wings of a flying butterfly.

9. CINDY CHAO 這顆八角形切割紅鑽緞帶戒 指，以稀罕昂貴的紅鑽為結。 CINDY CHAO Red Diamond Ribbon Ring boasts a cut-corner square fancy purplish-red diamond as the knot.

8

7

10. 棕 色 鑽 石 塑 造 Chopard 棕 熊 戒 指 光 彩 奪 目、活靈活現的身影。 Chopard Brown Bear Ring, shaped with brown diamonds. The jewel’s brightness dazzles the eyes, the animal shaped figure is extremely vivid.

守候，為那一刻的芳華 A Collector’s Guide to Wine Storage Text / Eva Tang 唐維怡 Photo / Ravenel International Art Group

葡萄酒藏家們對於葡萄酒保存的基本原則都不陌生— 50-75% 的溼度、12-16 度的溫度、陰涼不曬太陽、 通風環境及避免震動等。然而，儘管再三注意，仍不 免會出現髒汙破損等現象，特別是出廠後歷經漫長歲 月的老年份酒款。該如何對待這些珍貴的收藏，又該 如何從外觀來挑選藏品，且讓我們一一討論。 Wine collectors are all more or less familiar with the basic principles of wine storage – 50-75% humidity, 12-16 ° C temperature, keeping bottles away from sunlight, ventilated environment, and protection against shaking and vibration. Yet, no matter how careful you are, stains and wine label damage are still inevitable, especially old vintages that have endured a long period of storage since their release. The following sections provide insight into the proper storage of these precious collections and how to select wines based on their appearance.

1

酒封與酒標損傷 儘管酒封和酒標的損傷與酒質狀況沒有

黏造成酒標毀損。除此之外，也要留意運送

液隨陳年的時間緩慢降低，是無可避免的。

和取酒時與箱子和酒架的摩擦，這是導致酒

以波爾多來說，20 年以上的老酒酒液降至

標和錫封破損最常見的原因。

High Shoulder 是正常的表現；30 年以上的 老酒水位位於 Low-Middle Shoulder 也屬可

直接關聯，但身為門面，為防止酒標破損， 許多藏家會用保鮮膜或酒瓶專用塑膠膜片包

接受的範圍。

酒液高低

裹瓶身，但要注意包裹前瓶身上若有水氣，

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反而容易導致酒標發黴，同時包裹材質若不

葡萄酒裝瓶後，酒瓶裡的水分和酒精會

然而，存放環境若不甚理想會致使軟木

恰當也會溶解酒標上的油墨或在剝除時因沾

透過軟木塞的毛細孔緩慢地呼吸，因此酒

塞移動，導致漏酒和酒液高度的異常下降。

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要避免這些狀況，就要給予葡萄酒涼爽的

注意保存環境的濕度與整潔度，若環境通

葡萄酒，由於其軟木塞選用透氣性較高的

恆溫恆濕環境並以橫躺的方式存放，使軟

風不足（如：塞得過滿的酒櫃）、或環境髒

材質，輕微的漏液對於他們家的酒款來說

木塞靠外的一側不會發生乾裂現象、內側

亂（如：在酒窖中同時存放可能腐爛的蔬

是正常的表現。因此我們並不能輕易地用

則浸泡在酒液中呈現持續膨脹的狀態。

菜與水果），都容易引起酒標發霉、甚或孳

漏液這個外在狀況來判定酒質的好壞。

生小蟲啃食酒標與酒封。 在保存這塊，為避免軟木塞凸起的狀況

酒標皺褶

發生，藏家要特別注意儲藏的溫度，並要

軟木塞凸起與漏液現象

避免包含運輸中與存放時如酒櫃馬達等劇

儘管關乎酒質的真正關鍵仍在軟木塞的

烈或持續的震動。

品質與狀態，但酒標發生皺褶除了可能是

在所有葡萄酒外觀的診斷上，軟木塞因

因為存放於過於潮濕的環境，長時間被水

與酒質有著直接的連動，是最需要注意的

氣侵襲；也可能代表這一瓶酒曾經歷不同

一項。但也由於軟木塞通常被錫封或蠟封

老年份酒款經歷數十年漫長的時光，在

溫度層，致使酒瓶表面因溫差而生水。

給蓋住，因而在判斷老酒品質時常會見到

其身上必定會留下歲月的痕跡，除新裝瓶

「切封檢視」這種手法，這樣不僅可以看

酒莊直送的作品外，過於完美的外表反而

到軟木塞內端的狀態，軟木塞材質與側邊

會令人擔憂酒款的真假。然而，細心的呵

字樣也是真假酒判斷的依據。

護與耐心地守候，葡萄酒將在成熟之時展

為盡量降低酒標皺褶的情況發生，首先 便是要避免劇烈的溫度變化，將酒存放於

現她最美的一面，熱愛葡萄酒的藏家們所

恆溫恆濕的專業酒窖，相較於酒櫃與冰箱

期待的不正是這一刻綻放的芳華！

而言是最佳的選擇，因為在炎熱的台灣即

由於軟木塞的膨脹係數與玻璃瓶不相同，

便是安穩放置於酒櫃中，酒櫃門開拉之間

當溫度有所變化，軟木塞便會輕微移動，造

的溫度變化引發酒瓶表面生水的現象是非

成凸起，若凸起狀況嚴重，則通常還會伴

常容易發生的。同時，選用酒櫃時也要避

隨著漏液的狀況，這意味著酒的存放或運

免將酒瓶靠在酒櫃內壁上，避免酒櫃壓縮

輸可能出了問題，致使酒瓶長時間暴露在

機造冷作業時產生的水氣凝結順內壁流下

過熱或劇烈顛簸的環境中，有著空氣進入

Even though broken wine seals and

造成酒標浸濕。

瓶內的疑慮，對酒質有極嚴重的負面影響。

damaged wine labels have no direct

然而，造成漏液的原因除了儲存狀態不佳

correlation with the condition of the wine,

外，也有可能是軟木塞本身材質的問題，

many collectors still use plastic wrap

最著名的便是法國勃根地 Domaine Leroy 的

or plastic film designed specifically for

酒封或酒標發霉髒汙

Damaged Capsule and Torn Labels

有時我們會發現酒封、酒標、甚或是軟 木塞的表面有一些發黴的狀況，特別是老

2 1. 酒標與酒封狀況良好的 Château Haut-Brion 1989 magnum，輕微的酒標泛黃與磨損並 不影響酒質的狀態。

年份的酒款，這些黴菌往往是因為存放地 點的濕度過高所造成（濕度大於 75%），

Château Haut-Brion 1989 magnum with good seal and label condition. Slightly soiled and torn label do not directly relate to the condition of the wine.

長滿黴菌的酒窖甚至是許多酒廠引以為傲 的特色。只要確保酒瓶是以傾斜或橫放的 方式存放，保持軟木塞內端浸泡於酒液中，

2. 切封檢視。軟木塞的狀態與酒質息息相關， 因此對於某些老年份酒款，割開錫封查看軟 木塞是否仍保持完整浸潤的狀態等的手法 稱為切封檢視。要特別注意的是，許多酒廠 會在錫封上有防偽標記，切除酒封非必要一 般不會使用。

則酒瓶外在的這些發黴對酒液本身並不會 帶來負面影響。

Some collectors cut capsules to check the condition of the cork since the state of cork is highly related to the condition of wine.

However, cut capsule for authentication will damage the integrity of the capsule. Therefore, we usually don’t apply this method unless absolutely necessary.

除了軟木塞外側端的發黴，酒廠在上市 裝箱前多半會將酒瓶表面清洗乾淨再貼上 酒標，因此如何在自家的儲酒環境中避免 酒封與酒標的發黴狀況，首當其衝就是要

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wine bottles to wrap their bottles and

older, it is normal for the fill level to be

the result of storage in an environment

prevent wine label damage. Take note that

at the high shoulder. It is also normal for

that has been too humid for too long. It

moisture on the bottle before wrapping can

the fill level of a bottle of wine 30 years or

may also mean the bottle had been placed

easily lead to mildew on the wine label.

older to be at the low-middle shoulder.

in different temperatures and that water droplets had formed on the bottle.

Also, if the material used for wrapping is inappropriate, it might dissolve the ink

Storing wine in an environment that is

on the label or stick on the wine label,

less than ideal, moreover, will cause the

The best way to prevent wine label

resulting in damage when removed.

cork to become dislocated and result in

wrinkling is to avoid severe temperature

Besides passive protection, be careful not

leaks as well as abnormally low fill levels.

fluctuations. Storing wine in a professional

to rub the wine bottle against the crate or

To keep this from happening, store wine

wine cellar with constant temperature and

wine rack when you are transporting or

by placing the bottle on its side in a cool

humidity is the best choice compared with

retrieving the bottle, as this is the most

environment with constant temperature

wine cabinets and refrigerators. Due to the

common cause of broken wine seals and

and humidity, so that the side of the cork

heat in Taiwan, even if your wine is securely

damaged wine labels.

facing outward will not dry out and crack,

stored in a wine cabinet, the temperature

and the part of the cork facing inward will

fluctuation that occurs when you open the

be immersed in wine and maintain its

cabinet can easily cause water droplets to

original size.

form on your wine bottles. If you are using

Ullage Interpretation

a wine cabinet, avoid placing your wine

After wine is bottled, water and alcohol in the bottle breathes slowly through tiny

Wrinkled Label

prevent contact with water droplets that

holes in the cork, so the fill level will

54

against the back of the cabinet. This is to

slowly decline as the wine ages. This is

Although the quality and condition of

form when the gas compressor is cooling

an unavoidable natural phenomenon. For

the cork is the true key to the condition

down the cabinet, flow down along the back,

a bottle of Bordeaux that is 20 years or

of the wine, wine label wrinkling may be

and wet your wine labels.

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Mold and Stains

covered by a coil capsule or sealing wax,

to the phenomenon. One of the most well-

and it is common to remove the seal to

known examples is the Domaine Leroy

Sometimes we will find mold or mildew

determine the quality of aged wines. This

wines of Burgundy, France. The winery

on the wine seal, wine label, or even the

allows the condition of the cork to be

uses corks made from material with

surface of the cork, especially wine from old

examined, while the material of the cork

higher air permeability, so slight leakage

vintages. This is often because the wine has

and wording on the side are also crucial to

is considered normal for its wines. This

been stored in an environment that is too

determining the authenticity of the wine.

is why we cannot hastily use leakage to

humid (greater than 75%). Many wineries

determine the condition of wine.

however take pride in their wine cellars that

The cork has a different coefficient

are full of mold and mildew. As long as the

of expansion from that of the glass

To ensure the proper storage of wines,

bottle is stored at an angle or lying down

bottle. The cork will move slightly when

collectors are advised to pay special

and the cork is immersed in wine, mold or

there are temperature fluctuations and

attention to storage temperature to

mildew outside the bottle will not have any

protrude. Severe cases of protruding

prevent corks from protruding, and to

negative effects on the contents.

corks are often accompanied by leakage,

avoid strong or persistent vibration during

indicating a problem with wine storage or

transportation or storage, e.g. vibration

In addition to mold or mildew outside

transportation that exposed the wine to

from the motor of a wine cabinet.

the cork, most wineries will clean the

heat or severe vibration for a long period

surface of wine bottles and apply wine

of time. In these cases, air may have

Wines from old vintages have survived

labels before boxing and releasing the

seeped into the bottle and resulted in

many decades, and time will have

wine. Hence, to avoid mold or mildew on

severe negative impact on the quality of

inevitably left its mark. Unless the wine

wine seals and wine labels in your own

the wine. Poor storage conditions are not

was recently bottled and directly delivered

storage environment at home, the first

the only cause of leakage; the material of

from the winery, questions of authenticity

thing to do is to maintain the humidity and

the cork itself may have been instrumental

may arise if the appearance of the bottle

cleanness of your storage environment. If

is too flawlessly perfect. After all, we

there is insufficient ventilation (e.g. the

dedicate our attentive care and patience

wine cabinet is stocked with too many

while awaiting the wine to mature and

bottles of wine) or the environment is

reveal her true beauty. Isn’t that moment of

sullied (e.g. vegetables and fruits that are

exquisite pleasure what all collectors who

prone to rotting are stored within the wine

truly love wine look eagerly forward to?

cellar), these circumstances can easily result in mold or mildew on wine labels, or even attract small bugs that grow and eat away the seals and labels.

Protruding Corks and Leakage

1. 參與拍賣時必須特別留意每一個酒款的狀況 報告。

When diagnosing the appearance of a

It is important to read the condition statement in the catalogue before bidding in an auction.

All of the details are presented carefully.

2. 頭封的生鏽與發黴並不與酒質有直接的相 關，而是與儲存環境的濕度有關。

bottle of wine, the cork requires the most attention as it is directly related to the 2

condition of the wine. The cork is often

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Rusty and mold outside the bottle and capsule do not directly related to the state of wine, but the humidity of the storage environment.

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解放傳統 訴諸藝術

卡 • 阿貝爾 Manifest Art with Unleashed Tradition

Karel Appel Text / Carol Yu 游景涵

Photo / © Karel Appel Foundation, c/o Pictoright Amsterdam 2017、 Museo Nacional Centro de Arte Reina Sofía、 Top Photo Group 達志影像

自介「作畫時像個野蠻時期的野蠻人」，卡 • 阿貝爾以「畫畫就是摧毀過往事物」的前 衛思想，為當時的藝術界注入新鮮實驗精神，鼓勵創新。後期以兒童繪畫的稚拙風格創 作天馬行空的多元題材，直覺性的鮮明色彩及淋漓酣暢的筆法洋溢生命活力，解放拘束， 為戰後藝術圈萌生嶄新氣象。 Self described“I paint like a Barbarian, in a Barbaric age”, Karel Appel is known for his avant-garde thoughts of“To paint is to destroy what precede it.”Appel stimulated an excited environment by injecting a refreshed, experimented spirit to the post-war society, encouraged creativity. In a later stage, Appel started to learn from children’s painting and paint without compositions, instead, he painted with intuitions. Releasing boundaries and limitations, Appel’s brightly colored works have in a way relieved WVZ[ ^HY KLZWLYH[PVUZ HUK NP]LU OVWL MVY THU` [OH[ OH]L Z\ɈLYLK MYVT P[

561

| The Artist |

• 阿貝爾曾形容自己「作畫時像個

原先，阿貝爾在學習過程中十分欣賞藝

野蠻時期的野蠻人」。阿貝爾作畫

術家梵谷 、亨利 • 馬蒂斯、尚 • 杜布菲

時的神情猶如一場行為藝術，透過刮刀相

等人之作，但是並無盲從的模仿特定的藝

互摩擦發出的醒目聲音，再以戲劇性的方

術家，而是解放自己既有的想法，打破原

式揮灑色彩。如此強烈的表現形式散發著

有傳統的學術訓練 。身為此前衛藝術畫派

自然和流暢的律動。去除常規式的繪畫方

的創建者，阿貝爾曾於《眼鏡蛇》1949 年

式也正是成立於 1948 年的實驗性團體「眼

一月的期刊宣稱：「畫畫就是摧毀過往的事

鏡蛇」所主張，打破傳統。此團體是以來

物」。摧毀過往的系統、觀念以及既定的方

自哥本哈根、布魯塞爾、阿姆斯特丹的成

式並非件容易事，然而，具有野心的阿貝

員所成立，因此擷取各個城市的英文字首

爾的確為當時的藝術界注入新鮮的實驗精

後，重組成了名為「眼鏡蛇」的實驗性繪

神，鼓勵創新。

卡

畫團體。 二次大戰後阿貝爾學習以兒童繪畫的風 卡 • 阿貝爾 1921 年生於荷蘭阿姆斯特

格創作，透過天馬行空的繪畫方式，不刻

丹，就讀美術學院時期和柯奈爾成了莫逆

意規劃線條走向、畫面構圖及色彩運用。

之交 。當時荷蘭仍被德軍所佔領 ，日子艱

阿貝爾從未停止尋找能夠「解放」意識的

辛，但是比起動盪不安的社會，美術學院

創作方式，他曾嘗試在漆黑的空間中作畫，

儼然成為了可以專心研讀美術史、習畫的

也曾用非慣用手的左手進行創作。阿貝爾

市舉辦個展。三年後，「眼鏡蛇」團體首次

避風港，逃過了被訓練成製作武器的軍人。

的取材靈感多樣，可能是來自於民謠神話

重要展覽於阿姆斯特丹市立美術館展出。

雖然戰後時期的美術學院能暫求溫飽，但

的奇珍異獸，或是街邊的塗鴉藝術，甚至

1950 年時移居巴黎，阿貝爾獲獎無數，曾

在盟軍解放前生活依舊困苦，阿貝爾常處

是患有精神疾病的患者，種種的方式都是

於 1954 年威尼斯雙年展中獲頒「聯合國

於飢餓狀態，便以畫作或是美聲換取一頓

阿貝爾透過揚棄繪畫表現的既定方式，追

教科文基金會獎」，1959 年聖保羅雙年展

溫飽 ，生活中種種的不順遂不僅提升了阿

求藝術原有的直覺性創作。

贏得首獎，1960 年又榮獲「古根漢國際獎」 等。自 1968 年起，他開始創作一些浮雕

貝爾的人道關懷，更能理解為何阿貝爾希 望能跳脫原有框架，創造另外的藝術價值。

3

1946 年，阿貝爾首次於荷蘭的格羅林根

式的立體作品，並使用木頭、玻璃纖維和 鋁質材料中創作雕刻。阿貝爾的作品始終 洋溢生命活力。他作畫時並不會事先調色，

1. 卡 • 阿貝爾，影像攝於 1959 年。 卡 • 阿貝爾基金會提供 Karel Appel, 1959 © Karel Appel Foundation, c/o Pictoright Amsterdam 2017

2.《無題》油彩 紙本裱於畫布 56 x 76 cm 成交價：720,000 台幣 羅芙奧台北 2016 秋拍 “Sans Titre”, oil on paper, mounted onto canvas 56 x 76 cm Sold for US$22,507 Ravenel Autumn Auction 2016 Taipei

3.《質疑兒童》1949 年 水粉 木 873 x 598 cm 倫敦泰特美術館收藏 （現展於巴黎現代藝術博物館）

2

“Vragende kinderen” (Questioning Children) 1949, gouache on wood, 873 x 598 cm Collection of Tate Museum, London (Currently exhibiting at Musée d’Art Moderne de la Ville de Paris) © Karel Appel Foundation Source of image: © Top Photo Group

to went beyond the past, the original routines, and creating greater intrinsic values attached to his art.

At first, Appel was attracted to expressive works and admired artists like Van Gogh, Henri Matisse, Jean Dubuffet and so on, however, his style did not follow certain artists, instead, he was inspired to experiment on new media and expressions, liberating rigid academic trainings and minds. Being one of the leading members of CoBrA, Appel 1

declared in the January issue of CoBrA 1949: “To paint is to destroy what precede

多以鮮明色彩及稚拙的筆觸創作，製作出

itself, is also the aim of this experimental

it.” To destroy the former systematization

天真童趣之作。自 1957 年的美洲之旅後，

group formed in 1948 , namely CoBrA,

and bring about avant-garde creations

阿貝爾受爵士樂啟發，創作了一系列線條

breaking away from the tradition.

with such ambitious mind-setting is not

流暢，油彩鮮明耀眼的作品。其作品融合

The group is joined with artists from

an easy task, but Appel has successfully

了多樣化媒材和手法，呈現直覺性的表現

Copenhagen, Brussels and Amsterdam,

stimulated an excited for the ground

及淋漓酣暢的筆法。即使此前衛藝術群體

the name was coined with the initials of

injection of refreshed experimental art to

僅成立了三年於 1951 年 11 月結束，仍然

the members’ home cities, hence the name

the contemporary world.

為戰後的藝術圈帶來極大的刺激，解放拘

of CoBrA. 2

束的過往，替飽受戰爭後的社會萌芽出嶄 新的氣象。

Karel Appel was born in 1921 in Amsterdam, he befriended

阿貝爾的作品藏於世界各地公共與私人

Corneille (Cornelis van Beverloo)

機構，如丹麥的路易斯安那現代藝術博物

at the Ecole des Beaux-Arts in

館、巴黎龐畢度中心、紐約古根漢美術館、

Amsterdam. It was during German

荷蘭海牙美術館、大阪國立國際美術館等。

occupation periods, life was not

此時，巴黎市立現代美術館正替藝術家舉

easy at the time, however, the

辦重要個展，作品涵蓋眼鏡蛇至最終的創

Academy became a safe haven

作時期，展至 2017 年 8 月 20 日。

for learning about the classical art instead of weaponry if he was enlisted. In order to make a living,

58

“I paint like a Barbarian, in a Barbaric

Appel was able to exchange

age ” said Karel Appel. Seeing Appel

his talents in singing and

paint is as seeing an act of a performance

paintings for food. The hardship

art, with striking sounds of the paint

of life Appel encountered is

scrapers, hitting against the canvas with

counterbalanced with his sense of

dramatic gestures. The intensity of colors

humor, and elevated humanistic

is expressed with rhythm and spontaneity.

sentiment, it is therefore easily

To remove the usual application of paint

to understand why Appel seeks

| The Artist |

3

After World War II, Appel learned

1960 . Since 1968 , he began creating

in New York, Gemeentemuseum Den Haag

from children ’ s painting in the way that

relief sculpture, and sculptures using

in Amsterdam, The National Museum

children paint without thinking about

wood, glass and aluminum. Appel’s work

of Art in Osaka, etc. The Musée d ’ Art

outlines, compositions and colors. Appel

continued to remain lively; he does not

moderne de la Ville de Paris is currently

has never stopped “liberating” his minds

pre-mix colors, and often used bright

presenting a solo exhibition of Appel until

when he creates, he had painted in a

colors. His use of brushstrokes created

20 August, 2017.

pitch-black environment, paint with his

works with childlike innocence. After

left hand since he is a right hand user,

his trip to the America in 1957 , Appel

etc. The inspiration for Appel ’ s work is

was inspired by jazz music, and created a

diverse, ranging from mystical beasts,

series of brightly colored oil paints with

animals from folklores, to street graffiti

smooth flowing lines. His works are mixed

and patients with mental illness. He also

with diverse materials and techniques; the

experimented with textured sculptures.

spontaneous flow of minds is executed with masterful brushstrokes. Despite the short-

In 1946, Appel held a first solo

lived experimental group ended in three

exhibition at Groningen, Netherlands.

years in November 1951, it has relieved

Three years later, the first exhibition of the

post-war desperations and given hope for

group CoBrA was held at the Amsterdam

many that have suffered from it.

Museum of Art. In 1950 , Appel moved to Paris and was awarded with numerous

Appel’s works are collected worldwide

awards, including the UNESCO award

in public and private collection, such as

in the 1954 Venice Biennale, first prize

Louisiana Museum in Denmark, Musée

in the 1959 Sao Paulo Art Biennale, and

National d ’ Art Moderne, Centre Georges

the Guggenheim International Award in

Pompidou in Paris, Guggenheim Museum

1.《青蛙與貓》 雕塑局部 1990 年 267 x 343 cm 展於日本貝尼斯藝術之地直島 Detail of Karel Appel’s “Frog and Cat” 1990, sculpture, 267 x 343 cm Benesse Art Site Project, Naoshima, Japan Source of image: © Top Photo Group

2.《悲劇嘉年華》1954 年 油彩 畫布 210 x 116 cm 卡 • 阿貝爾基金會提供 “Carnaval Tragique”, 1954, oil on canvas 210 x 116 cm © Karel Appel Foundation, c/o Pictoright Amsterdam 2017

3.《人物》1952 年 油彩 畫布 60.8 x 126.8 cm 瑞士日內瓦甘達爾藝術基金會長期借出之館 藏，現展於西班牙馬德里索菲婭王后國家藝 術中心博物館。 “Figures”, 1952, oil on canvas, 60.8 x 126.8 cm Long-term loan Collection of Fondation Gandur pour l’Art, Geneva, Switzerland.

Current location: Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain © F o n d a t i o n G a n d u r p o u r l ’A r t , G e n e v a , Switzerland.

Source of image: © Museo Nacional Centro de Arte Reina Sofía

巴塞爾效應

蓬勃市場的基礎 The Basel Effect

The Foundation of the Blooming Market Text / Jason, Chung Tang Yen 嚴仲唐 Photo / Art Basel

1

60

| Issue |

根基全世界第一個美術館所誕生的城市，瑞士巴塞爾藝術 博覽會彙整多元資源，使規模、品質、參觀人數及成交金 額屢創新高，開創嶄新市場格局，成為眾多國際藝博會市 場的重要指標，更積極朝全球化邁進。 Art Basel with all materials whatever scale, quality, attendance, new record of sales amount and new market viewing, it’s based from the city that owns ÄYZ[ NHSSLY` PU [OL ^VYSK ;O\Z (Y[ )HZLS ILJVTLZ [OL ILUJOTHYR L]LU[ VM PU[LYUH[PVUHS HY[ THYRL[

2

2

017 年是全球藝術界最忙碌的一年，

代表大眾對公眾的藝術機構定義產生變化，

連鎖反應。迷人的藝博會蘊藏無限商機，

除了威尼斯雙年展、五年一次的卡塞

而私人機構則附帶更深的社會責任，但回

在去年，巴塞爾藝博母公司 MCH 成為印度

爾文件展、明斯特雕塑十年展、以及即將

溯到市場戲劇化的成長之前，巴塞爾擁有

藝術博覽會主要股東，揭開全球化的下一

於秋天開始的福克斯通三年展之外，巴塞

的是最完善藝術建設的城市之一，加上私

章節，將更多、更完整的資源彙整聚集在

爾藝術博覽會是在眾多國際藝博會中市場

人機構的助長與週期活動，舉例而言，貝

巴塞爾，這將會是終極藝術帝國真正全球

的重要指標。

耶勒基金會今年首次舉辦攝影展，藝術家

化的開始。

沃爾夫岡 • 蒂爾曼斯的大型個展成為藝術 每 年 六 月， 大 量 的 私 人 飛 機 將 瑞 士 巴

周的標竿之一，而藏家則可以在卓納畫廊

塞爾的機場擠得水洩不通。今年在豔陽高

於巴塞爾藝博的展位上挑選購藏蒂爾曼斯

照之下更是不例外，延續紐約與香港拍賣

的作品。

創下眾多紀錄的熱潮，在短短一週內巴塞

1. 巴塞爾會展中心外觀。

爾藝博迎接了約十萬人次參觀，來自超過

在全球藝術市場的發展趨勢之下，勢力

100 個國家的貴賓在將近 300 家國際畫廊

與權力的掌握權逐漸傾向私人領域，公眾

參展的會場毫不手軟的買進高價精品藍籌

計畫越來越商業化，創造新的藝術市場指

股作品。整個巴塞爾藝術周的成交額是以

標，挑戰學術價值與市場價值的關聯性與

十億美元為計算單位，許多畫廊表示今年 是銷售成績最耀眼的一次。 3

當然，每年巴塞爾藝博的表現都是世界 級的，所以市場創下佳績並不會使人感到 意外，但最重要的問題是，締造市場佳績 的秘密究竟何在？巴塞爾有什麼是世界其 他地方沒有的？解答就在於巴塞爾的歷史， 身為全世界第一個美術館所誕生的城市， 除了公共博物館之外，巴塞爾也擁有許多 私人美術館。於巴塞爾藝博的研討會中， 瑞士收藏大腕瑪雅 • 霍夫曼與哥倫比亞藏 家萊昂 • 阿密泰與紐約資深藝術論壇雜誌 編輯琳達 • 雅布朗斯基談到全球私人美術 館崛起的效應與社會責任。私美館的崛起

Outside the Messe Basel.

2. 來自荷蘭阿姆斯特丹 Annet Gelink 畫廊展位。 Amsterdam based Annet Gelink Gallery’s booth.

3. 卓納畫廊展位。 David Zwirner Gallery’s booth.

2017 marks the busiest year of the

global art calendar. Not only the Venice Biennale, but also Documenta every five years, Skulptur Projekte MĂźnster every decade, but also the Folkestone Triennial, Art Basel in Basel is a pivotal reference to the market among various other events.

Every June, flocks of private jets flood the airport in Basel. Especially this year, the fair received around 100,000 visitors from over 100 countries under sunny weather, buying blue chip art from around 300 premium galleries. The entire art

week in Basel has resulted in billions USD of sales, many galleries had their best edition yet.

1

The sure thing is, Art Basel leads fair

2

62

| Issue |

with top notch quality, so that’s why with good performance showed. But the most curious is, what makes Basel unique to the world? The answer lies within the history of Basel, as the birthplace of the first museum in the world, the city has numerous private museums besides public ones. In a forum discussion at Art Basel, Swiss collector Maja Hoffmann, Columbian collector Leon Amitai and

3

s e n i o r e d i t o r L i n d a Ya b l o n s k y f r o m Artforum talked about the effects of the rise of private institutions with its

Under the trend of the global art market

more global resources to Basel, this is just

underlying social responsibilities. Tracing

development, the scale of power and

the beginning of true globalization of an

back before the dramatic art market boom,

influence is tipping toward the private

ultimate art empire.

Basel is one of the cities that has the

sector, with public projects becoming more

most comprehensive infra-structure for

commercial oriented, resulting with new

art, alongside the private institutions and

market indicators, blurring the boundary

annual events. For example, Fondation

of academic and market values, which led

1. 講座會場，由左至右：琳達 • 雅布朗斯基、 瑪雅 • 霍夫曼、萊昂 • 阿密泰。

Beyeler presents its first ever photography

to a series of chain reactions. The alluring

Art Basel Conversaitons, from left to right: Linda Yablonsky, Maja Hoffmann, Leon Amitai.

exhibition of Wolfgang Tillmans, was one

art fairs have boundless potentials, just

of the highlights of the busy week, while

last year, parent company of Art Basel

2.「意象無限」展區義大利藝術家 Paolo Icaro 作品。

collectors could gain market access to

MCH Group purchased the majority share

Tillmans ’ works at the booth of David

of India Art Fair, starting the next chapter

Zwirner Gallery at the fair.

of globalization, merging and aggregating

Paolo Icaro’s work at Unlimited.

3.「意象無限」展區韓國藝術家 Anicka Yi 作品。 Anicka Yi’s work at Unlimited.

4. 來自紐約的 Gladstone 畫廊展位。 Gladstone Gallery’s booth.

4

Life Gallery 生活藝廊 LOUIS VUITTON x Jeff Koons 藝術上身袋著走 Text / Angela Hsiao Photo / LOUIS VUITTON

路易威登繼村上隆、草間彌生的聯名後，嶄新推出與締 造在世藝術家最貴拍賣紀錄的 Jeff Koons 合作。Koons 將 長期創作的《Gazing Ball 凝視球》，藉投射環境讓觀者 彷彿「參與」畫中的概念，重新詮釋達文西《Mona Lisa 蒙娜麗莎》、提香《Mars, Venus, and Cupid 戰神馬爾斯、 美神維納斯與愛神邱比特》及梵谷《A Wheatfield with Cypresses 麥田和柏樹》等大師名作，融入轉化於路易威 登的手袋及配件。路易威登更突破以往，首肯 首肯 Koons 以 JK 名字縮寫修改經典 Monogram 圖紋，與原作大師名字 與原作大師名字 同以金屬材質呈現於包身外側，呼應凝視球效果；內 視球效果；內 側則裝飾大師傳記與肖像；並附上經典《充氣兔 《充氣兔 子》吊飾。「藝術能夠讓我們更加意識到我們 到我們 的存在、我們的潛能，以及我們能成為什麼」 麼」， Koons 強烈藝術思維結合路易威登精湛的工 的工 藝與創新設計，是致敬、是欣賞，是另類 類 的擁有與收藏。（+886 2 2562 6118）

YSL 24H 持妝完美不妥協 Text / Elki Chuang Photo / YSL

2017 年，YSL 運用全球唯一、業界首創的「超時控油科技」，推出全新 YSL 恆久完美無瑕粉底，正因為除了粉體本身超越輕盈之外，更可吸收超過本身 4 倍重的皮脂抵抗汗水，仍能完美服貼肌膚，給予所有 YSL 女人無瑕零毛孔、 保濕、高控油的美麗妝容。除此之外，超微米遮瑕分子，可針對臉上瑕疵、 膚色不均做精準修飾，高度遮瑕卻無面具厚重感，薄透能讓肌膚呼吸，像柔 焦效果般肌膚零毛孔。蘊含頂級天然「植萃保濕精華」保養成分，讓粉體保 濕貼合肌膚，並結合淨化、抗暗沉雙重活性分子、維持妝容整天透亮不暗沉， 隨時像剛上妝一樣完美。一次又一次的底妝革命，YSL 就是為了滿足現代女 性對美麗的無限渴望，唯有真正超越時間的極致持妝粉底，才能完美遮瑕同 時達到 24 小時不脫妝的美麗妝容。（0800 881 789）

| Agenda |

Bang & Olufsen

BeoVision Horizon 滿足彈性使用需求 Text / Elki Chuang Photo / Bang & Olufsen

丹麥頂級視聽品牌 Bang & Olufsen 向來都將使用者的 需求視為第一優先的考量，其純淨內斂的北歐風格 與走在科技尖端的傑出設計，總是能賦予影音產品 新的面貌，新推出的 BeoVision Horizon 數位顯示器， 解析度部份達到今日家用最高規格的 4K 等級，呈現 更 精 密、 更 細 膩、 更 自 然 的 影 像。 而 在 音 效 部 份， BeoVision Horizon 配置了一組效果優異的揚聲器，置 於螢幕下方。也符合時代潮流，具備網路連線能力， 更可採取多種擺放方式，裝在可移動的輪動式腳架、 可 360 度旋轉的腳座、甚至可以懸掛於牆面上，依不 同 的 需 求， 採 取 不 同 的 擺 設 方 式。BeoVision Horizon 的極簡俐落，同時效能卓越非凡的風格，為影音市場 提供了另一種獨一無二的優質選擇。 （+886 2 2781 5958）

Anne et Valentin 實現自我靈魂的眼鏡 Text / Angela Hsiao Photo / 四季眼鏡

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