No. 40 Autumn 2022 「藍五洲」朱沅芷亞洲藝術吹笛者 YUN GEE AND FIVE BLUE CONTINENTS, THE PIPER OF ASIAN ART 精采時刻 雋永人生
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CONTENTS 10 24 10 ART & INVESTMENT 離世一甲子．藍五洲朱沅芷 Six Decades of Repose Yun Gee and Five Blue Continents 24 THE ARTIST 加勒比海的晶亮眼眸－塔妮亞．馬莫列霍 The Sparkling Eyes of the Caribbean Sea–Tania Marmolejo 28 WINE 實體威士忌拍賣正面臨存亡困境? 威士忌拍賣狂潮下的生存戰 The Battle between Online and Traditional Auction 34 LUXURY 蒙塵亦不減其風華：皇室珠寶的百年光采 Shining Through the Dust of Time: The Royal Jewelleries and Their Never-Ending Charm No.40 ｜ Autumn 2022 ｜ https://ravenel.com
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34 發行人 Publisher / 王鎮華 Arthur Wang 監製 Managing Director / 李雅欣 Wendy Lee 總編輯 Editor-in-Chief / 陳惠黛 Odile Chen 主編 Managing Editor / 葉子微 Gina Yeh 編輯 Editor / 陳昱良 Iris Chen
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創刊 2012 年 5 月 First issue May, 2012 季刊 Quarterly 登記證 中華郵政臺北雜字第 1883 號執照登記為雜誌交寄 © 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. 38 FASHION 米蘭家具展專輯「以創作，歌頌材質」 FENDI X LOUIS VUITTON X LOEWE X DIOR 48 FASHION 高級訂製服：時代印象的起點，京都 52 LIVE 身心康養：錯置時空Dior水療屋 56 ART 從最深的海底 AURORE DE LA MORINERIE 的「水墨」地中海 朱沅芷《百美戲浴圖》 1929 年 油彩 畫布 91 x 72 cm 羅芙奧 2022 秋拍「薈萃國際：現代與當代藝術」 Yun Gee, HundredBathingBeauties, 1929, Oil on canvas, 91 x 72 cm Ravenel Autumn Auction 2022 Select: Modern & Contemporary Art
羅芙奧藝術集團香港辦公室 香港中環金融街 8 號國際金融中心二期 19 樓 電話 Tel / +852 2889 0859 傳真 Fax / +852 2889 0850
[ CHIEF EDITOR'S NOTE ] 貝爾納．夏洛瓦《夏日庭院》 1988 油彩 畫布 65 x 54 cm 羅芙奧 2022 秋拍「薈萃國際：現代與當代藝術」 Bernard Charoy, LadyintheGarden, 1988, oil on canvas, 65 x 54 cm Ravenel Autumn Auction 2022, SELECT: Modern & Contemporary Art 總編輯
2022 年 9 月 8 日，英國伊莉莎白女王二世風風光光走完近百年 人生，女王駕崩的消息讓世人感嘆，她鮮明的人物形象，過往歷史 點滴，皇室成員間的恩怨情仇，也成為報載、社群議論紛紛的話題。
歐洲皇室彼此間都有親戚關係，牽扯著政治聯姻、擴張勢力。 皇室象徵財富、權勢，彰顯富貴的冠冕珠寶首飾必不可少。第 40 期季刊為您開箱百年來歐洲皇室的光采；還有自詡為「藍五洲」朱 沅芷的「藝術與投資專欄」介紹。西洋新興藝術家塔妮亞．馬莫列 霍（ Tania Marmolejo ），來自加勒比海與瑞典血緣，筆下女子深邃 晶亮的眼眸，彷彿珠玉般令人沈醉。
1926 年伊莉莎白二世出生那年，也是一代性感偶像瑪麗蓮夢露 出生的年份。後來她們都成為普普藝術大師、當代潮流藝術家們喜 愛的形象 IP 。而與此同時，當年人在舊金山的華裔美籍大師朱沅芷 從立體主義靈感發想、共色主義為基調，正努力研究出「鑽石主義」 觀看世界的繪畫哲學觀，而收到法國皇室後裔穆哈特 Achille Murat 親王與王妃的鼓勵，前往巴黎展開藝術追尋。
多少有趣的故事呢？法國高級訂製服從日本皇室的家—京都，尋找 靈感繆思，何其尊榮優雅。本期雜誌選粹多篇知識含量高、生動有 趣的文章報導，切莫錯過。 堅定不移的優雅和尊嚴 6
Unwavering Grace and Dignity
紅酒、威士忌是鑑賞藝術的美好催化劑。後疫情世代，藏酒專 家發現，線上拍賣威士忌成為勢不可擋的趨勢，莫非實體拍賣正遭 遇強勁對手？還有米蘭家具展因應自然、編織開展另類風格，藏著
7
Photo / Ravenel International Art Group
Text / 陳惠黛 Odile Chen
離世一甲子．藍五洲朱沅芷 Six Decades of Repose. Yun Gee and Five Blue Continents 10
名揚四海 博物館典藏
今年（ 2022 年）在惠特尼美術館的年度大展中，資深策展人芭芭拉．哈斯克爾（ Barbara Haskell ）挑選朱沅芷的 1926 年油畫作品《街 景》，與美國名家喬治亞．歐姬芙（ Georgia O'Keeffe, 1887-1986 ）、馬森．哈特利（ Marsden Hartley, 1877-1943 ）和奧斯卡．布魯納（ Oscar Bluemner, 1867-1938 ）等人作品共同展出。展覽的主題為「在新時代的黎明— 20 世紀早期美國現代主義」（ At the Dawn of a New Age: Early Twentieth Century American Modernism ），探索上世紀初期現代主義蓬勃發展的階段， 45 位參展藝術家於 1900-1930 年間的新美學，以其抽 象風格回應快速變化的現實世界。展期自 2022 年 5 月 7 日至 2023 年 2 月 26 日止，該展品亦為惠特尼美術館所典藏。 截至目前，全球九間知名博物館收藏有朱沅芷的作品：包括法國國立現代美術館，即龐畢度中心（ Centre Georges Pompidou ）；紐約惠 特尼美術館（ Whitney Museum, New York ）；華盛頓赫胥宏美術館（ Hirshhorn Museum and Sculpture Garden, Washington DC ）；洛杉磯郡 立美術館（ The Los Angeles County Museum of Art, Los Angeles ）；加州奧克蘭美術館（ Oakland Museum, California ）；北卡羅萊納衛德史 本美術館（ Weatherspoon Gallery of Art, University of North Carolina, Greensboro ）；邁阿密海灘佛羅里達國際大學的沃夫索尼亞博物館（
1932 年，朱沅芷應邀為紐約 MoMA 現代美術館遷移新址開幕的「美國畫家和攝影家壁畫展 」（ Murals by American Painters and Photographers ）繪製大幅壁畫，他是首位應邀的華人藝術家。當年參展的作品是《工業之輪在紐約》（ Wheels: Industrial New York ），為藝 術家一生中最大幅的繪畫。這幅鉅作《工業之輪在紐約》在 2017 年秋天現身香港蘇富比拍賣會，拍出 1 億 0528 萬 7500 港元（約 4 億台幣） 的新天價，使朱沅芷的行情再上層樓，成為繼吳冠中、趙無極、常玉等，第四位在二級市場躋身億元港幣的華人西畫家。
[ ART & INVESTMENT ] ▲ 朱沅芷《街景》 1926 年 油彩 木板 28 x 40 cm 圖片來源：紐約惠特尼美術館官網 Yun Gee, Street Scene, 1926. Photograph: Robert Gerhardt and Denis Y Suspitsyn/Courtesy the Estate of Yun Gee Photo Credit: Whitney Museum of American Art Official Website 今年六月初羅芙奧春拍預展期間，我接到熟識多年的客戶來電， 告知有意登記電話競標，目標是壓軸拍賣日朱沅芷（ Yun Gee, 19061963 ）的《紐約中央公園》一作。當天這件編號 232 的拍品登場時， 拍賣官宣佈從台幣 1100 萬元起拍，倏地拍賣廳現場、電話競標台上多 組買方此起彼落地展開競價，一口 100 萬，價格快速站上 2000 萬，到 了 2400 萬後剩下兩位電話買家，其中一位正是我代表出價的收藏家。 兩相不讓過程陷入膠著，最後另一組電話買家喊上 6000 萬，拍賣官三 次提醒後敲槌（含買方服務費 6976 萬成交， US$2,374,404 ），為低預 估價的六倍以上，結束緩慢拉鋸的十多分鐘。這幅畫究竟有何魅力，讓 多位收藏家渴望擁有？且讓我們多幾分了解這位的藝術家吧！
The Wolfsonian Museum, Florida International University, Miami Beach ）；華盛頓史密森尼美國藝術博物館（ Smithsonian American Art Museum, Washington DC ）以及台灣的台北市立美術館（ Taipei Fine Arts Museum ）等。 朱沅芷過世後，他的前妻遺孀海倫（ Helen Wimmer or Helen Gee, 1919-2004 ）與女兒朱禮銀 Li-lan（ 1943 年出生）完整保留藝術家的作品、 手稿、照片、詩詞與展覽文獻資料，從 1970 年代在上述多間美國博物館展出，不讓歷史洪流遺忘了曾經風光的藝術先驅。終於皇天不負苦心 人，在藝術家離世近三十年後回到華人世界展出： 1992 年在台北市美術館舉行了「朱沅芷作品展」大展，這次展覽是藝術家前所未有的最大 規模回顧展。而 2007 年，美國古根漢博物館在北京中國美術館、上海博物館和上海當代藝術館策劃了「美國藝術三百年」大型巡迴展。朱沅 芷在展覽中作為華裔美籍藝術家的代表，成為重點宣傳。 朱沅芷並非多產藝術家，個人展覽的機會殊為難得。在藝術家過世以後，由前妻、獨生女兒接力，除積極與博物館接觸，也與商業空間 合作， 1990 年代起如台北的大未來畫廊、耿畫廊，美國舊金山的簡．哈洛維畫廊（ Jan Holloway Gallery ）、紐約的前波畫廊（ Chambers Fine Art ）、瑪博洛畫廊（ Marlborough Gallery ）、洛杉磯的雙重視角畫廊（ Double Vision Gallery ），持續將藝術家的創作分享給藏家。如今朱沅 芷已經成為拍賣市場的藍籌藝術家，除了家族的推廣、博物館、畫廊的展覽，以及拍賣公司的運營等等，都是推波助瀾的要件。 ◀ 朱沅芷《紐約中央公園》 1940 油彩 畫布 63.5 x 80 cm 羅芙奧台北 2022 春季拍賣會 成交價 TWD 69,760,000 Yun Gee, Central Park (New York), 1940, Oil on canvas, 63.5 x 80 cm Ravenel Spring Auction 2022 Taipei sold for USD 2,374,404 11
朱沅芷，本名朱榮沅，於 1906 年 2 月 22 日出生於廣東開平縣朱屋 村，父親朱廣安（ Quong On Gee ），母親黃氏，榮沅為朱家排行第三 的兒子，上有兄長榮秩和榮章，還有妹妹瑞蘭。父親長年在美國經商， 賺錢寄回家用，或偶而回鄉探視，朱家家境算是寬裕。榮沅出生於大清 時期，自幼受私塾教育，極為聰慧，懂得讀書寫字，也能看畫識圖。少 年時隨嶺南畫派高劍父、高奇峰習畫。高氏兄弟曾留學日本，期間加入 孫文的同盟會，風格新派，具有革命家思想。自由主義、藝術創新的觀 念也默默地影響著榮沅，因此才有後來他在美國創建「中華美術革命學 校」（ Chinese Revolutionary Artists Club ）的淵源。
二十世紀初期留洋海外的華人藝術家，人數實則不多，多數在歷 史洪流中早為世人遺忘？那一代人歷經二戰帶來的經濟蕭條、顛沛流 離，離鄉背井的華人，如何立足於異地？來自全世界懷抱夢想的現代藝 術家，紛紛湧向「光之城市」巴黎，嚮往波希米亞式的浪漫自由，或者 因戰爭轉赴紐約品嘗大蘋果的滋味？出生於民國前的第一代歐遊華人 美術家徐悲鴻（ Xu Beihong, 1895-1953 ）、劉海粟（ Liu Haisu, 18961994 ）、林風眠（ Lin Fengmian, 1900-1991 ）、吳大羽（ Wu Dayu, 1903-1988 ）等，於 1920 年代前後歐洲遊學數年後，多數返回中國， 投身美術教育、力倡改良中國畫。其中，僅有極少數人從此旅居海外， 直至生命終了。常玉（ Sanyu, 1895-1966 ）是其一最為人熟知，長年居 住巴黎，甚至飛往紐約求發展；而朱沅芷最常與常玉相提並論， 19201930 年代兩度飛往巴黎，他們的生命經歷都曾跨越三個洲際，都曾有 抑鬱不得志的掙扎。
他喜愛在畫中題詩寫字，如同中國畫的落款，錯落有致，書畫融為 一體。 1929 年左右，朱沅芷有個獨特的簽名款識—芷沅「藍五洲」， 表現他懷抱的雄心壯志，期許自己要當一位名揚五洲四海的藝術家。至 於「藍」，猜測是他專有的密碼，一幅同樣也畫於 1929 年的自畫像起 名為《藍色的沅》。當時他人在巴黎發展，也許呼應畢卡索的藍色時 期，或是傷春悲秋—憂鬱藍色之意，抑或是 China Blue 青花瓷，中國 人的身分象徵呢？「藍五洲」的落款出現在兩幅畫作裡，一是《自愛》， 一是《百美戲浴圖》，以及
Gee 讀音更像粵語的「沅芷」二字。 後來不論是「沅芷」或是「芷沅」都是藝術家喜愛使用的簽名。朱沅芷 熱愛古典詩詞與老莊思想，他的名字從「沅有芷兮澧有蘭」一詞得到靈 感，原文出自《楚辭．九歌．湘夫人》，意指生長於沅澧兩岸的芳草， 後人以「沅芷澧蘭」比喻「高潔的人或事物」。多年後他為獨生女取名 為 Li-lan （澧蘭）。或許二次大戰經濟蕭條生活困頓，索性把女兒的名 字改有金字邊的「禮銀」。
1930 年出版法國小說《夜的旅行者》（ Le Voyageur de Nuit ）的兩幅插圖。儘管大半生在海外度過，朱沅芷受老 莊思想影響頗深，他熱愛東方文化，生活方式與穿著打扮也常常像個中 國古人，面對美國嚴重的種族歧視、文化衝擊想必極其巨大。 ▲ 朱沅芷 裸女速寫 1932 水墨 紙本 16 x 23 cm 台北市立美術館典藏 Yun Gee, Sketch of Female Nude, 1932, ink on paper, 16 x 23 cm Collection of Taipei Fine Arts Museum 12
1921 年僅 15 歲的榮沅到舊金山依親，母親則留在故鄉，受限於當 時的美國「排華法案」，不接受亞裔婦女移民。榮沅終其一生再也沒回 到中國，從此與母親相隔兩方，一輩子遺憾。父親安頓他住在唐人街附 近，旋即資助他進入加州美術學校就讀，研習西畫與素描，聰慧的他不 負父親栽培。在此，他跟著生於瑞士的北加州風景畫家葛塔多．匹亞丘 尼（ Gottardo Fidele Piazzoni, 1872-1945 ）習風景畫，曾經留學巴黎的 歐蒂斯．歐菲德（ Otis Oldfield, 1890-1969 ）指導素描、靜物和人體油 畫，兩位老師在形塑朱氏的藝術創作有顯著的影響。 取得美國身分時，他的姓名拼音簡化成 Yun Gee ，榮沅二字的粵語 讀音正好都近似「 Yun 」，而 Yun
「沅芷澧蘭」：東方的哲學觀
至在巴黎歷史悠久的博翰珍畫廊（ Galerie
1937 年朱沅芷宣傳其畫室「鑽石主義學校」（ School of Diamondism ）的手冊中，說明鑽石主義的內涵。他寫道：「每幅真摯 的繪畫都試圖找到一個時代的適切表達，表達人們如何看待事物。⋯ 鑽石主義就像一面棱鏡，一個單向玻璃。它只不過是一種媒介，不是 動機，而是力量。取決於藝術家如何使用。也取決於觀看者。」他認 為藝術創造的過程是由三大類、九小項的因素所引起。第一類「物理 性」（色彩、形狀、光線）；第二類「心理性」（情緒、慾望、觀察）； 第三類「腦性」（時間、道德、目的）。
發展。 「巴黎時期」為其成熟時期，調和色域及筆觸，融入歐洲超現 實主義特色，細長的幻覺般的人物，帶有詩意。他的中國畫家身分， 沒有妨礙藝術的發展，和巴黎前衛藝術圈結為好友，超級畫商沃拉 德（ Ambroise Vollard, 1866-1939 ）、葛楚德．史坦（
鑽石主義—現代主義者的理想
作品兩度入選廣受推崇的獨立沙龍展（ Salon des Indépendants ）；還曾 為作家亨利 雅克（ Henry-Jacques ） 1930 年再版的《夜的旅行者》小 說畫兩幅插畫。他被視為才華洋溢的藝術大師、哲學家與早慧的青年， 原本應是發展最為順遂的時期。無奈歐洲爆發二次大戰，所有的夢想都 被打斷，包括與女詩人波麗．羅斯（ Paule de Reuss, 1904-1961 ）的短 暫婚姻與愛情。第二次巴黎之行，起初仍有成果，很快地在巴黎舉辦個 展。然而局勢混亂，許多好友躲避戰亂，反方向地逃往紐約。經歷嚴格 的環境挑戰，生活三年之後只能無奈回到紐約。 ▶ 朱沅芷《藍色的沅》 1929 油彩 畫布 66 x 51.5 cm Yun Gee, The Blue Yun, 1929, Oil on canvas, 66 x 51.5 cm ▲ 朱沅芷《小水手》 1927 油彩 畫布 48.5 x 38 cm 羅芙奧台北 2022 秋拍「現代與當代藝術」 Yun Gee, Little Sailor, 1927, Oil on canvas, 48.5 x 38 cm Ravenel Autumn Auction 2022 Modern & Contemporary Art 13
夜的旅行者—舊金山、巴黎、紐約
藝術家相信，鑽石主義能揭露描繪對象的內在訊息，即生命本質、 精神根本，他身體力行之。將中國哲學精粹，逐步融合於西方現代藝 術的色彩理論。鑽石主義，可謂是朱沅芷觀看、共享世界的看法。
朱沅芷的作品多為具象畫，執著於社會寫實的審美風格。「舊金山 時期」以共色主義、奧菲主義（ Orphisme ）為基礎，創作出幾何風格， 色彩鮮艷明亮，成為進入前衛藝術家敲門磚。收藏家穆哈特親王與王妃 （ Prince & Princess Achille Murat ）在舊金山畫展中初見朱沅芷的藝術， 深深著迷於畫中大膽色彩和亞洲魂精神，頗富現代感，鼓勵他前往巴黎 Gertrude Stein, 1874-1946 ）、作家梵樂希 Paul Valéry, 1871-1945 ）都是他的好友。甚 Bernheim-Jeune ）舉行個展。
朱沅芷不算長的人生， 1920-30 年代風華正茂的年代， 1940 年代 後因戰後貧困與不得志，晚年長期精神抑鬱，生前最後階段鮮少作畫， 或情緒抑鬱自我毀畫，最後貧病交迫因胃癌病逝。其繪畫風格因其旅居 城市分為五個時期：「舊金山 1926-1927 」、「第一次巴黎時期 19271930 」、「第一次紐約 1930-1936 」、「第二次巴黎 1936-1939 」、「第 二次紐約 1939-1955 」。各時期因其藝術探索有顯著的風格差異。
當年朱沅芷發揮東南沿海移民人的拚搏精神，在海外闖蕩且落地 生根。以一介華僑移民身分，三、四十年投入藝術創作生涯，他的名字 曾寫入美國現代藝術的史頁。他教授藝術理論和技術，經過多年的反 覆實驗，從教學中演繹出一種風格。它根源於立體主義，以 1925-26 年 恩師共色主義為基調，融合巴黎超現實主義特色，朱沅芷自稱之為「鑽 石主義」（ Diamondism ）。他從小三角形的組合圖解抽象，猶如晶瑩 剔透的鑽石切割面。「鑽石主義」被認為是對現代繪畫史的獨創貢獻。
中央公園》作品，也是第四度上拍，從 1995 年 9 月 的台幣 180 萬（ US$65,400 ）、 2007 年 11 月再次上 拍變成港幣 180 萬（ US$231,480 ）成交；然後就是 2010 年台幣 1056 萬元（ US$325,459 ），無一不是翻 上數倍金額後換手。顯見，新藏家接手意願極高。 2022 年 12 月秋拍即將上拍的《百美戲浴圖》， 為「巴黎時期」作品，第一次上拍是在 2011 年 11 月 在香港以 122 萬港元（ US$156,526 ）拍出。原藏家 收藏十多年後割愛，看今年市場反應如何。這幅畫的 落款有「芷沅藍五洲」，巴黎時期藝術家少見特有的 簽名方式。 「熱情好客」是朱沅芷對於巴黎這座城市曾有
的形容詞，在此可以擁有美好的願景，他被視為哲學 家、大師或神童無比榮寵。朱沅芷將超現實夢境般的 綺想融入繪畫之中，裸女沐浴的西方古典題材，整整 一百位的各種姿態的圖畫，馬諦斯舞蹈、畢卡索的亞 維儂姑娘、優美三美神？嬉戲在其間。畫中最右下角 的吹笛者，彷彿是藝術家的自畫像暗示，彷彿為明代 唐寅、仇英《百美圖》經典的現代版本。 世間的相遇，每一次都是久別重逢。我們不常有 機會看到美國現代藝術大師朱沅芷的作品，不要錯過 難得的機會。期待在藝術家離世近一甲子的今天，重 新省視藝術家曾經留下的美好。 ◀ 朱沅芷《百美戲浴圖》 1929 年 油彩 畫布 91 x 72 cm 羅芙奧 2022 秋拍「薈萃國際：現代與當代藝術」 Yun Gee, HundredBathingBeauties, 1929, Oil on canvas, 91 x 72 cm Ravenel Autumn Auction 2022 Select: Modern & Contemporary Art 14
排行第二為《歡樂節慶的百老匯》，於香港佳士 得 2018 年春拍以 5860 萬港元（ US$7,469,154 ）， 則為二級市場第四度現身，在此之前最早為 1997 年 10 月的台幣 665 萬元（ US$229,424 ）， 2002 年 4 月 港幣 293.4 萬元（ US$376,151 ），以及 2008 年 11 月 的港幣 578 萬元（ US$745,620 ），見證近期行情一 大突破。
排行第三的《馬上舞旋》， 2018 年 10 月在北 京拍出人民幣 2668 萬元（ US$3,851,551 ）的成績， 在此之前為 1999 年 4 月台北首度上拍台幣 555 萬成 交（ US$168,720 ）， 2013 年 5 月，港幣 1143 萬元 （ US$1,472,184 ），價格倍數成長。
本文開始提到的台幣 6976 萬元成交的《紐約
「紐約時期」顯露憂鬱深沉的魔幻寫實風格，超現實的夢境，呼應他壓抑的精 神狀態。 1934 年後恢復教學，並教導中國哲學家的理想。他的生命最長的階段在紐 約度過， 1935 年結識年輕的海倫，交往七年後結婚，隔年育有一女禮銀。 1940 年代 他持續舉辦過幾次小型展覽。紐約抽象藝術正在成形，他固守寫實繪畫的風格，面 對的是評論界與市場的冷淡反應，對他的內心產生極大的衝擊。 1947 年因為朱沅芷憂鬱症爆發，兩人無法共同生活終於宣告離婚。在身心都受 煎熬之際， 1950 年朱沅芷遇見一位女子—維爾瑪．愛德洛特（ Velma Aydelott ），兩 人未婚相伴直至朱沅芷的生命終止。朱沅芷後期的繪畫與詩文，透露著他的孤獨不 安與時不我予的創傷。 珍稀藝術的拍賣轉售 朱沅芷存世的畫作不多，除了歐美博物館與私人收藏之外，過去多留在遺孀朱 海倫與女兒朱禮銀之手。輾轉從家屬、歐美私人藏家、畫商、拍賣公司、收藏家之 間流通。 1992 年台北市立美術館回顧展之後，同年台北蘇富比開始上拍，二手市場 至今屆滿三十周年。根據 Artprice 有紀錄的拍賣交易筆數僅三百多筆，平均一年上 拍數量僅十件左右，數量相對地珍稀罕有，因供給不足，拍賣場上的紀錄大多數有 不只一次的「轉售」（ Resale ）。 目前藝術家歷年拍賣排行最高價紀錄者：《工業之輪在紐約》，於香港蘇富比 2017 年秋拍以 1 億 0528 萬 7500 港元（ US$13,478,905 ）成交，此作品屬於紐約時 期博物館等級鉅作。這幅最大畫作首次在二級市場現身的拍品。
World-Renowned Museum Collection
Gee, Frost in Central Park, 1940,
During the Ravenel Spring Auction Preview in early June of this year, I received a call from a long-time client, informing me of his intention to register to bid by telephone; the item of interest is the pièce de résistance of the auction, Central Park (New York) by Yun Gee (1906-1963). On the day of the auction, the opening bid for this item started at NT$11 million, and with the multitude of in-person and telephone bidders all competing for auction lot no.232 at NT$1 million increment per bid, the price quickly rose to NT$20 million. After reaching NT$24 million, two telephone bidders remained; one of whom was the collector I was representing. Neither party would allow the process to end in stalemate, and the other bidder finally made the winning bid of NT$60 million. After three notices, the auctioneer brought down the gavel to end more than 10 minutes of a drawn-out tug-of-war at more than six times the minimum estimated value (the painting was sold for NT$69.76 million including buyer's service fee or US$2,374,404). What was the allure of this painting for the numerous collectors that longed to possess it? Let us learn some more about this artist!
In 1932, Yun Gee was invited to paint a large mural for Murals by American Painters and Photographers, the inaugural exhibition for the newly relocated Museum of Modern Art in New York; he was the first Chinese artist that MoMA had ever invited. His work in the exhibition that year was Wheels: Industrial New York, the largest painting created by the artist in his life. In the fall of 2017, the masterpiece that is Wheels: Industrial New York was sold at Sotheby's Hong Kong, fetching a new record price of HK$105,287,500 (approximately NT$400 million), elevating Yun Gee's market value to the next level. Following such luminaries as Wu Guanzhong, Zao Wou-Ki, and Sanyu, Yun Gee became the fourth Chinese oil painter to attain HK$100 million in the secondary market.For this year's (2022) annual exhibition at the Whitney Museum of American Art, senior curator Barbara Haskell has selected Yun Gee's 1926 oil painting, Street Scene, to be displayed alongside the works of other famous American artists such as Georgia O'Keeffe (1887-1986), Marsden Hartley (1877-1943), and Oscar Bluemner (1867-1938). The theme of the exhibition, "At the Dawn of a New Age: Early Twentieth Century American Modernism," explores the dynamic development of modernism in the early part of the last century. Forty-five featured artists reveal how the new aesthetics of the 1900s-1930s era respond with abstract styling to the rapid changes of the real world. The artworks are also part of the Whitney Museum's collection, and they are on display from May 7, 2022 to February 26, 2023.
▲ 朱沅芷《中央公園冬景》 1940 油彩 畫布 51 x 63.5 cm 羅芙奧香港 2013 秋季拍賣會 成交價 TWD 14,769,231
Yun Oil on 63.5
Ravenel Autumn Auction Hong sold for USD 495,484
canvas, 51x
2013
cm
Kong
▲ 朱沅芷《高山聽松》 1932 水墨 紙本 23.5 x 18 cm 羅芙奧台北 2009 秋季拍賣會 成交價 TWD 168,000 Yun Gee, LandscapewithPineTree, 1932, Ink on paper, 23.5 x 18 cm Ravenel Autumn Auction 2009 sold for USD 5,224 15
After Yun Gee's death, his former wife Helen Gee née Wimmer (1919-2004) and daughter Li-lan (b. 1943) wholly preserved the artist's works, manuscripts, photographs, poems, and exhibition documents and displayed them in many of the aforementioned American museums from the 1970s onward, so that the course of history would not forget the former magnificence of this artistic trailblazer. Their hard work was not in vain, as Yun Gee's legacy returned to the Chinese world nearly 30 years after his passing: In 1992, the Taipei Fine Arts Museum held "The Art of Yun Gee," a major exhibition that is the largest scale ever for the artist in a retrospective showing. In 2007, the Guggenheim Museum in the United States curated an extensive touring exhibition, "Three Centuries of American Art," at the National Art Museum of China in Beijing, the Shanghai Museum, and the Museum of Contemporary Art in Shanghai. Yun Gee was featured in the exhibition as a representative of Chinese-American artists and served as a focal point in the show's promotion.YunGee was not a prolific artist, and opportunities for solo exhibitions were rare. After the artist's death, his former wife and only daughter took up his cause. Besides actively engaging with museums, they also collaborated with commercial spaces such as, in the 1990s, Lin & Keng Gallery and Tina Keng Gallery in Taipei; in the US, Jan
"Pure as the Angelica, Noble as the Orchid": Perspective of Eastern Philosophy
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The number of Chinese artists who lived abroad in the early twentieth century was in truth quite small, and most of them had now been forgotten in the course of history. How did the Chinese people of that generation, bearing the economic depression and displacement from their home brought about by World War II, gain a foothold in a foreign land? Modern artists with aspirations from all over the world flocked to Paris, the "City of Light," yearning for the romantic freedom of Bohemia, or had their path diverted to New York by the war to try a taste of the Big Apple instead. For the first generation of Chinese artists to tour Europe, all born before the founding of the Republic, such as Xu Beihong (1895-1953), Liu Haisu (1896-1994), Lin Fengmian (19001991), and Wu Dayu (1903-1988), most of them returned to China around the 1920s after several years of studying in Europe. Those who returned devoted themselves to art education and advocated for refinement in Chinese painting. Only a handful remained abroad until the end of their lives. Sanyu (1895-1966) was one of the most well-known, permanently residing in Paris and even flying to New York to further his craft; meanwhile, Yun Gee was most often compared with Sanyu, having flown to Paris twice in the years between 1920 and 1940. Their lives had once spanned three continents, and both had struggled with frustration and depression born from thwarted ambition.
Holloway Gallery in San Francisco, Chambers Fine Art and Marlborough Gallery in New York, and Double Vision Gallery in Los Angeles, and continued to share the artist's creations with collectors. Today, Yun Gee has become a blue-chip artist in the auction market; Besides his family's promotion, exhibitions in museums and galleries as well as the operations of auction houses have all helped to fan the flame of his acclaim.
To date, nine of the world's leading museums hold Yun Gee's work, including Centre Georges Pompidou, France; Whitney Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington DC; Los Angeles County Museum of Art, Los Angeles; Oakland Museum, California; Weatherspoon Gallery of Art, University of North Carolina, Greensboro; Wolfsonian Museum, Florida International University, Miami Beach; Smithsonian American Art Museum, Washington DC, and Taipei Fine Arts Museum, Taiwan, etc.
#Yun Gee
▶
羅芙奧台北 2009 秋季拍賣會 成交價 TWD 5,520,000
In 1921, the 15-year-old Wing Yun joined his father in San Francisco while his mother remained in their hometown. Since the United States' "Chinese Exclusion Act" at the time prohibited legal immigration by Asian women and Wing Yun never returned to China for the rest of his life, he suffered the lifelong anguish of being permanently separated from his mother. His father settled him on the edge of Chinatown and promptly supported him financially upon his enrollment at the California School of Fine Arts, where he studied Western painting and drawing. Highly intelligent, he did not squander his father's care. At the school, he studied landscape painting with Gottardo Fidele Piazzoni (1872-1945), a Swissborn landscape painter from Northern California. With experience from previous study in Paris, Otis Oldfield (1890-1969) taught him drawing and oil painting of still life and the human body. The two teachers were significant influences upon the formation of Gee's artistic expression.
Yun Gee, Horses, Oil on canvas, 72 x 59 cm
Yun Gee, whose birth name was Wing Yun Gee, was born on February 22, 1906, in Gee Village, Kaiping County, Guangdong Province, to Quong On Gee and See Huang. Wing Yun was the third son of the Gee family, with older siblings Wing Dit and Wing Zoeng and younger sister Seoi Laan. His father conducted business in the United States for many years, sending money home or occasionally returning to visit the family, thus the Gee household was fairly well-off. Born in the Qing Dynasty, Wing Yun received a private education at an early age and was extremely intelligent, learning how to read and write as well as critique and recognize art. As a teenager, he studied painting with Lingnan School masters Gao Jianfu and Gao Qifeng. The Gao brothers had studied abroad in Japan and joined Sun Wen's Chinese United League then; their school's style was new with revolutionary ideas. The concepts of liberalism and artistic innovation also had a quiet effect on Wing Yun, leading to his later founding of the Chinese Revolutionary Artists Club in the United States.
羅芙奧台北 2009 春季拍賣會 成交價 TWD 2,478,000
Yun Gee, CaliforniaLandscape, 1926, Oil on board, 30.5 x 45.5 cm
◀ 朱沅芷《加州風景》 1926 油彩 木板 30.5 x 45.5 cm
Ravenel Autumn Auction 2009 Taipei sold for USD 171,642
Ravenel Spring Auction 2009 sold for USD 75,780 朱沅芷《群馬》油彩 畫布 72 x 59 cm
simplified to "Yun Gee," and the Cantonese pronunciation for both characters of his birth name, "Wing" and "Yun," are similar to the word "Yun," while the pronunciation "Yun Gee" sounds even closer to the Cantonese pronunciation of the characters for "Yuan Zhi." Later on, both "Yun Gee"/"Yuan Zhi" and "Gee Yun"/"Zhi Yuan" were favorite signatures of the artist. Yun Gee had a deep love for classical poetry and Daoist philosophy, and his name was inspired by the phrase "The Yuan has its angelica, the Li its orchids," originally from "Chuci. Nine Songs. The Lady of the Hsiang," which refers to the fragrant grasses that grow on the shorelines of the Yuan and the Li. People eventually come to use "yuan zhi li lan" to describe "a noble and pure person or thing." After many years, he named his only daughter "Li-lan." Perhaps due to the economic hardship of World War II that made life difficult, he changed his daughter's name to " 禮銀 " in chinese which has a "gold" radical.
When Wing Yun Gee obtained his U.S. citizenship, his name was
Gee enjoyed alluding to poems and inscribing words in his paintings, akin to the writings of Chinese paintings with order in the chaos so that the calligraphy and the picture become one. Around 1929, Yun Gee had a unique signature Yun Gee "Blue Five Continents," which expressed his ambition to become an artist known throughout the five continents and the four seas i.e. the world. Regarding "blue," it may be a distinctive code for the artist. At that time, Yun Gee was developing his career in Paris, and perhaps he was echoing Picasso's blue period or depicting the melancholy blue of wounded spring or mournful autumn, or representing china blue porcelain, a symbol of Chinese identity. The inscription "Blue Five Continents" appears in two paintings, One Who Loves Himself Hundred Bathing Beauties, as well as in two illustrations in Le Voyageur de Nuit, a French novel published in 1930. Despite residing abroad for the majority of his life, Yun Gee was deeply influenced by Daoist philosophy; his passion for Eastern culture, lifestyle, and dress often resembled that of someone from ancient China. Encountering the serious racial discrimination and culture clash of the United States must have been incredibly jarring.
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The artist believed that Diamondism could reveal the inner message of the depicted object, i.e. the essence of life, the root of spirit, and the diligent practice by the body. The essence of Chinese philosophy is gradually integrated into the color theory of Western modern art. Diamondism can be said to be Yun Gee's way of observing and sharing the world.
In 1937, Yun Gee explained the significance of Diamondism in a brochure promoting his studio "the School of Diamondism." He wrote: "Every sincere painting tries to find an adequate expression of its time, in expressing how people look at things and at what Diamondism acts as a prism, a one-way glass. It is nothing but a medium, not a cause, but a power. It is up to the artist to use it. Up to the spectator as well." He believes that the process of art creation is generated through factors that can be classified into three main categories and nine subcategories. The first category is "physical" (color, shape, light); the second category is "psychological" (emotion, desire, observation); and the third category is "cerebral" (time, morality i.e. political or philosophical, purpose).
Night Traveler–San Francisco, Paris, New York
Yun Gee's life was not one of longevity; he was in his prime from the 1920s to the 1930s, but due to post-war poverty and unfulfilled dreams after the 1940s, he was chronically depressed in later years. He seldom painted during the last stage of his life, or he would destroy his own paintings during unstable moods. The dual pressure of poverty and illness eventually led to his death from stomach cancer. Yun Gee's painting style can be divided into five periods based on the cities in which he lived: "San Francisco 1926-1927," "Paris I 1927-1930," "New York I 1930-1936," "Paris II 1936-1939," and "New York II 1939-1955." There are significant stylistic differences between the periods due to his exploration of artistic expression.
#Diamondism ▲ 朱沅芷《夜色旅行者》插圖之二 Yun Gee, Le Voyageur de Nuit illustration 02, c.1930 18
At that time, Yun Gee adopted the hard-working spirit of southeast Asian immigrants, making his way abroad and growing roots wherever he stayed. As an overseas Chinese immigrant, he devoted himself to creating art for 30-40 years, and his name had made its way into the history of American modern art. He taught art theory and technique, and after years of repeated experimentation, he developed a style through his instructions. It drew its source from Cubism, based on the syncretism of his mentor in 1925-26 and fused with Parisian Surrealism, and Yun Gee gave it the term "Diamondism." He illustrated abstractions from a combination of small triangles, like a crystal-clear diamond cut. "Diamondism" is considered an original contribution to the history of modern painting.
Diamondism–the Modernist's Ideal
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The "Paris period" was his period of maturation, with a palette of colors and brushwork that incorporates European Surrealism and slender, illusory figures that hold a poetic quality. His status as a Chinese painter did not hinder his artistic development, and he became close friends with the Parisian avant-garde; mega art dealer Ambroise Vollard (18661939), Gertrude Stein (1874-1946), and Paul Valéry (1871-1945) were all close friends of his. He even had a solo exhibition at the historic Galerie Bernheim-Jeune in Paris. His work was twice selected for the highly regarded Salon des Indépendants, and he also painted two illustrations for the 1930 reprint of Henry-Jacques's novel Le Voyageur de Nuit. He was regarded as an exceedingly talented master artist, philosopher, and precocious young man; this should have been the most successful period of his career. Unfortunately, the outbreak of World War II in Europe shattered all of his dreams, including his brief marriage and romance with the poetess Paule de Reuss (1904-1961). Gee's second trip to Paris was initially productive, and a solo exhibition was soon held in Paris. However, the social climate remained chaotic and many friends fled the war by retreating in the opposite direction to New York. After three years of bearing the rigorous challenges of the physical environment, Gee had no choice but to return to New York.
#Diamondism ▼ 朱沅芷《夜色旅行者》插圖之一 Yun
The majority of Yun Gee's works are figurative paintings; they carry the aesthetic style of social realism. The "San Francisco period" has the Color Zone theory and Orphisme as its foundation, creating a geometric style with bright and vivid colors that became a gateway to avant-garde artists. When collectors Prince & Princess Achille Murat first saw Yun Gee's art in a San Francisco exhibition, they were mesmerized by the bold colors and Asian essence of the paintings which felt so modern that they encouraged Gee to go to Paris to advance his career.
The "New York period" revealed a style of deeply melancholic magic realism, with surreal dreams that echo Gee's repressed mental state. He resumed teaching after 1934 and taught the ideals of Chinese philosophers. The longest period of Yun Gee's life was spent in New York. He met the young Helen Wimmer in 1935 and married her seven years later, welcoming his daughter Li-ngan the very next year. Throughout the 1940s, he continuously held several small scale exhibitions. As New York's abstract art scene was taking shape, he kept to the style of Realism in his paintings and was met with a lukewarm response from the critics and the market; this greatly impacted him psychologically. Gee, Le Voyageur de Nuit illustration 02, c.1930
Auctions and Resales of Rare Art
Apart from European and American museums and private collections, there are few surviving paintings by Yun Gee; most remain in the hands of his widow Helen Gee and their daughter Li-lan. The paintings are circulated among family members, private collectors in Europe and the US, art dealers, auction houses, and collectors. After the retrospective exhibition at the Taipei Fine Arts Museum in 1992, Sotheby's Taipei started to sell the paintings at auction in the same year, and their tenure in the secondary market has now reached its 30th anniversary. According to Artprice, the number of recorded transactions at auction stands at only around 300, and the average number of lots offered for sale has only been about 10 a year, a relatively scarce quantity. Due to the low supply, most of the auction records are "resales" i.e. more than one sale transaction for one painting.Theartist's
highest-priced sale to date is Wheels: Industrial New York, which sold for HK$105,287,500 (US$13,478,905) at the Sotheby's Hong Kong Autumn 2017 auction; it is a museum-quality masterpiece of the New York period. That was the first appearance ever made by Gee's largest painting in the secondary market.
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In second place was Old Broadway in Winter, which sold for HK$58.6 million (US$7,469,154) at Christie's Hong Kong Spring 2018 auction; it was the fourth appearance by this painting in the secondary market, preceded by its sale price of NT$6.65 million (US$229,424) in October 1997, HK$2.934 million (US$376,151) in April 2002, and HK$5.78 million (US$745,620) in November 2008, clearly showing a major upsurge in its recent market value.
In 1947, Yun Gee's depression made it impossible for him and his wife to continue living together and they finally divorced. While still suffering physically and emotionally, Yun Gee met another woman, Velma Aydelott, in 1950. The two never married but were each other's companions until the end of Yun Gee's life. Yun Gee's later paintings and poems reveal his loneliness, insecurity, and the trauma of sensing that he was running out of time.
In third place, Knights Combat, which fetched RMB$26.68 million (US$3,851,551) in Beijing in October 2018, was preceded by its first auction sale in Taipei in April 1999 at NT$5.55 million (US$168,720) and then resale in May 2013 at HK$10.84 million (US$1,472,184), with exponential growth in pricing.
Central Park (New York), the work mentioned at the beginning of this article, was also auctioned for the fourth time; it was originally sold for NT$1.8 million (US$65,400) in September 1995; HK$1.8 million (US$231,480) in November 2007; and NT$10.56 million (US$325,459) in 2010. Every change in ownership has been accompanied by an increase in value many times over. Clearly, new collectors are very willing to take on ownership of this painting.
The upcoming fall auction of Hundred Bathing Beauties will take place in December 2022. It is a work of the Paris period, first sold at auction in Hong Kong in November 2011 for HK$1.22 million (US$156,526). The original collector is parting with this painting after more than a decade to see how it will be received by the market this year. The painting contains the characters "Gee Yun Blue Five Continents," a rare signature unique to the artist during his time in Paris.
Yun Gee had once described Paris as "passionate and hospitable," a place where one could acquire a wonderful vision and where he was regarded and greatly honored as a philosopher, master, or prodigy.
Yun Gee incorporated surreal dream-like fantasies into his paintings, including such classical Western subjects as nude women bathing, painting altogether a hundred women in every kind of pose; Matisse's dances; Picasso's Avignon girls. In Three Graces, there is frolicking within. The flute player in the bottom right corner of the painting seems to be a hint of the artist's self-portrait, as if the painting is a modern version of the classic "One Hundred Beauties" by Tang Yin and Qiu Ying of the Ming Dynasty.
▲ 藍五洲簽名來自此幅畫作 朱沅芷《自愛》 1929 油彩 細麻布 51 x 38 cm 羅芙奧台北 2019 春季拍賣會 成交價 TWD 19,200,000 Yun Gee, One Who Loves Himself, 1929, Oil on linen, 51 x 38 cm Ravenel Spring Auction 2019 Taipei, sold for USD 607,594 ▶ 朱沅芷《美國少女肖像》 1928 油彩 紙本 29 x 20 cm 羅芙奧台北 2016 春季拍賣會 成交價 TWD 1,440,000 Yun Gee, JeuneFilleAméricaine(PortraitofaYoungAmericanWoman), 1928, Oil on canvas, 29 x 20 cm Ravenel Spring Auction 2016 sold for USD 44,335 21
Every encounter in this world is a long-awaited reunion. We cannot frequently see the works of American modern art master Yun Gee, therefore do not miss this singular opportunity. May those living today once again consider the beauty of this artist's legacy after his passing six decades ago.
預估價 Estimate HK$ 35,000,00025,000,000~
預估價 Estimate NT$ 18,000,00011,000,000~
拍賣日期 Auction Date 台北羅芙奧 Ravenel, Taipei June 5, 2022
預估價 Estimate
預估價 Estimate
拍賣日期 Auction Date 香港蘇富比
預估價 Estimate
HK$ 120,000,00080,000,000~
預估價 Estimate RMB 18,000,00012,000,000~
預估價 Estimate HK$ 8,000,0005,000,000~
成交價 Sold at US$ 2,162,428 HK$ 16,975,000
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成交價 Sold at US$ 3,851,551 RMB 26,680,000
拍賣日期 Auction Date 北京嘉德 Guardian, NovemberBeijing21,2018
拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong May 25, 2013
成交價 Sold at US$ 1,202,280 HK$ 9,320,000 拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong October 4, 2015
成交價 Sold at US$ 7,469,154 HK$ 58,600,000
Sotheby's, Hong Kong September 30, 2017
Sotheby's, Hong Kong March 31, 2019
HK$ 12,000,0008,000,000~
拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong October 5, 2014
預估價 Estimate HK$ 3,500,0002,500,000~
香港蘇富比
拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong May 26, 2018
拍賣日期 Auction Date 香港保利 Poly, Hong Kong March 29, 2018
朱沅芷作品二十大拍賣成交排行 5 10 2 7 1 6 工業之輪在紐約 Wheels: Industrial New York Oil1932on canvas 214 x 122 cm 自由之路 Right Route to Freedom Oil1947on canvas 94 x 101.5 cm 歡樂節慶的百老匯 Old Broadway in Winter 121Oil1930s-1940soncanvasx101cm 馬上舞旋（一組2件） Nudes on Horseback (Set of 2) Oil1939on canvas / Watercolor on 120paperx100 cm / 28 x 21 cm 旋轉木馬；日光浴者； 現代公寓（三連畫） Merry-Go-Round; Sun Bathers; Modern Apartment (triptych) Oil1932on canvas mounted on 49.5paperboardx35.9cm; 52.5 x 45.3 cm; 49.9 x 35.7 cm 田中奏折，日本帝國主義 者之夢 Tanaka Memorial, Japanese Imperialist Dream Oil1932on wood 121 x 102 cm 紐約中央公園 Central Park (New York) Oil1940on canvas 63.5 x 80 cm 正在閱讀的男子 Seated Man Reading 59Oil1926-1927onboardx47cm 馬上舞旋（一組2件） Knights Combat (Set of 2) Oil1939on canvas / Watercolor on 120paperx100 cm / 28 x 21 cm 旋轉木馬；日光浴者； 現代公寓（三連畫） Merry-Go-Round; Sun Bathers; Modern Apartment (triptych) Oil1932on canvas mounted on 49.5paperboardx35.9cm; 52.5 x 45.3 cm; 49.9 x 35.7 cm 3 8 4 9
拍賣日期 Auction Date
成交價 Sold at US$ 2,374,404 NT$ 69,760,000
預估價 Estimate HK$ 8,000,0005,000,000~
成交價 Sold at US$ 1,472,184 HK$ 11,430,000
成交價 Sold at US$ 3,758,919 HK$ 29,500,000
預估價 Estimate HK$ 7,000,0004,000,000~
拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong March 31, 2019
成交價 Sold at US$ 1,245,227 HK$ 9,775,000
成交價 Sold at US$ 1,396,192 HK$ 10,840,000
成交價 Sold at US$ 13,478,905 HK$ 105,287,500
HK$ 40,000,00030,000,000~
拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong November 29, 2009
成交價 Sold at US$ 1,044,941 HK$ 8,200,000
成交價 Sold at US$ 621,780 HK$ 4,820,000
拍賣日期 Auction Date 香港佳士得
預估價 Estimate HK$ 3,500,0002,500,000~
預估價 Estimate HK$ 3,000,0002,000,000~
拍賣日期 Auction Date 北京嘉德 Guardian, NovemberBeijing21,2018
拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong November 26, 2006
成交價 Sold at US$ 863,059 HK$ 6,775,000
拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong March 31, 2019
預估價 Estimate HK$ 6,000,0004,000,000~
成交價 Sold at US$ 777,182 HK$ 6,020,000
預估價 Estimate RMB 5,500,0003,500,000~
成交價 Sold at US$ 1,017,354 HK$ 7,970,000
Christie's, Hong Kong November 30, 2008 謝依廷 Tina Hsieh （Update 2022.07.15; Source: Artprice.com, 雅昌藝術網, Sotheby's, Christie's, Guardian, Poly, Ravenel）
預估價 Estimate NT$ 24,000,00018,000,000~
預估價 Estimate HK$ 4,000,0002,500,000~
預估價 Estimate HK$ 5,000,0003,800,000~
成交價 Sold at US$ 964,170 HK$ 7,480,000
拍賣日期 Auction Date 香港嘉德
[ ART & INVESTMENT ] TOP 20 MOST EXPENSIVE PAINTINGS OF YUN GEE EVER SOLD AT AUCTION TOP 20 15 20 12 17 11 16 公園漫步 （巴黎索邦神學院廣場） Woman and Child Walking in Park (Sorbonne Square) 73Oil1936-1939oncanvasx92cm 穆哈特王妃 Princess Achille Murat Oil1929on canvas 90.5 x 70.5 cm 公園噴泉．冬景 The Frozen Fountain 72.5Oil1937-1939oncanvasx91.5cm 自愛 One Who Loves Himself Oil1929on linen 51 x 38 cm 亞當與夏娃 Adam and 80.6Oil1940s-1950sEveoncanvasx64.8cm 最後的晚餐（三連畫） The Last Supper (triptych) Oil1933on canvas 48 x 187.5 cm 最後的晚餐 The Last Supper Oil1930son silk on board 73 x 91 cm 中央公園冬景 Frost in Central Park Oil1940on canvas 50 x 66 cm 自畫像 48Oil1927Self-Portraitoncanvasx38cm 歡樂節慶的百老匯 Old Broadway in Winter 121Oil1930s-1940soncanvasx101cm 13 18 14 19
拍賣日期 Auction Date 香港蘇富比
成交價 Sold at US$ 607,594 NT$ 19,200,000 拍賣日期 Auction Date 台北羅芙奧 Ravenel, Taipei June 2, 2019
預估價 Estimate HK$ 7,500,0005,500,000~
製表 ／
成交價 Sold at US$ 735,020 HK$ 5,720,000
拍賣日期 Auction Date 香港嘉德 Guardian, Hong Kong October 2, 2018
預估價 Estimate HK$ 8,000,0006,000,000~
成交價 Sold at US$ 603,279 RMB 3,680,000
Sotheby's, Hong Kong April 6, 2014
預估價 Estimate HK$ 9,800,0006,800,000~
Guardian, Hong Kong April 2, 2018
成交價 Sold at US$ 745,620 HK$ 5,780,000
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拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong April 6, 2009
全球掀起的女力思潮，助攻更多傑出的新興藝術家為世人 所見。諸多女性藝術家創作中蘊含的柔韌與充沛情感，昇華了 視覺語言的能量。隨著性別地位的變遷，新一代創作者有更廣 闊的機會展露頭角。現居紐約的多明尼加藝術家－塔妮亞．馬 莫列霍（ Tania Marmolejo ）家族成員來自瑞典，擁有斯堪地那 維亞血統，她 1975 年出生於加勒比地區最大都市：聖多明尼 哥（ Santo Domingo ），這座十五世紀建城，大航海時代被譽 為「通往加勒比海門戶」的偉大城市。當地豐富熱情的原住民 傳統，與航海探險者帶入的歐陸文化，同樣深刻於塔妮亞．馬 莫列霍的基因與創作靈感。她筆下一雙雙明眸大眼，直視觀者 的巨大女性肖像，蘊涵飽滿的情緒渲染力，成為其創作標記。 24
Text / 陳昱良 Iris Chen Photo / Ravenel International Art Group ▶ 羅芙奧 2022 春拍 拍賣編號 061 塔妮亞‧瑪莫列霍《午前邂逅》 2021 年 壓克力 畫布 直徑 131 公分 Ravenel 2022 Spring auction Lot 061, Tania Marmolejo, Mid-MorningEncounters ,2021, Acrylic on canvas, Ø131cm 「人的眼睛，和舌頭所說的話一樣多，但是全世界的人不需要字典， 就可以了解眼睛的語言。」─ 愛默生 "The eyes of men converse as much as their tongues, with the advantage, that the ocular dialect needs no dictionary, but is understood all the world over." Ralph Waldo Emerson 加勒比海的晶亮眼眸－ 塔妮亞．馬莫列霍
THE SPARKLING EYES OF THE CARIBBEAN SEA–TANIA MARMOLEJO
[ THE ARTIST ] 25
2000 年全球迎來跨世紀的喜悅，馬莫列霍也從紐約帕森藝術 學院取得學位，成為時尚雜誌的藝術編輯，她同時為全球音樂電 視台（ MTV ）、迪士尼（ Disney ）、美國公共電視台（ PBS ）設 計角色與美術背景，並加入動畫團隊榮獲不同的國際獎項。 2005 年她開始參與各地聯展與藝博會，更加專注於藝術創作的熱情。 2011 年可看作風格型塑的轉捩點，也是藝術家舉行首場個人展覽 的年份。每場展覽獨一無二，充滿想像空間的名稱，亦如「未馴 化的真相（ Untamed Truths ）」、「兩者之間（ In Between ）」、 「那時候我在想什麼（ What was I thinking ）」、「甜美的折磨 （ Delicisous Torment ）」也是馬莫列霍送給觀賞者的一份禮物。 馬莫列霍的畫作，從早期帶有插畫感，與東洋輕情色風格， 到近年衷於人物面部探索，極具自我特色的極簡構圖。遺留於她 筆觸底蘊，喚醒觀者熟悉感的是畫面聯結的古典元素，如同波提 且利維納斯飛揚的髮稍、達文西蒙娜麗莎面部強烈的明暗對比， 與精神性的表現主義形式。畫面中千變萬化且絲絲入扣的細微表 情，令人讚嘆藝術家卓越的繪畫技巧與觀察力。巨大晶亮的雙眸， 水潤微 啓 的雙唇，人物栩栩如生。而溫暖挑逗的肌膚色調，配以 大面積生機盎然的闊葉植物背景，畫中野生神祕的超現實氣息， 縈繞心頭。MARMOLEJOTANIA# 馬莫列霍的收藏群，遍及歐美與東亞藝術 圈，2021 年羅芙奧「薈萃國際專場」（ SELECT: Modern & Contemporary Art ）領先將其作品 推昇至拍賣市場，立即獲得估價翻倍的成交回 響。 2022 可說藝術家的豐收之年，國際型拍 場紛紛推薦其作品，藝術家個人拍賣記錄，也 隨之不斷翻新。同樣於西班牙、韓國、瑞士、 美國不同城市的合作畫廊，推出個人及聯合展 覽。而今年九月首屆首爾斐列茲藝博會（ Frieze Seoul ）舉行，同期馬莫列霍也將於 KIAF + 展 覽中展出，相當令人期待新作的震撼力量。 ▲ 藝術家照片 Artist photo ▶ 塔妮亞‧瑪莫列霍《晚起的談話》 2013 年 油彩 麻布 127 x 173 公分 私人收藏 Tania Marmolejo, Late-Morning Conversations, 2013, Oil on linen, 127 x 173cm, Private Collection 26
[ THE ARTIST ]
Marmolejo's art collectors are distributed across Europe, America, and East Asia. Ravenel first introduced Marmolejo's works to the auction market in the 2021 SELECT: Modern & Contemporary Art auction and received price-doubling auction records instantly. To the artist, 2022 is a wonderful year as many international auction houses present her works with record-breaking auction prices. Furthermore, Marmolejo is launching solo and joint exhibitions with collaborating galleries in various cities across Spain, Korea, Switzerland, and the United States. Participating in the first Frieze Seoul and KIAF+ in September, people are excited for Marmolejo's amazing new works.
As the movement of women's empowerment rises around the world, even more rising artists have been in the spotlight. Many female artists are now including their soft and overflowing emotions into their works that expand visual language, while shifting gender roles have also enabled new generation creators to rise to prominence through a wider array of opportunities. Currently residing in New York, Tania Marmolejo is a Dominican artist from Sweden of Scandinavian descent. She was born in 1975 in Santo Domingo, the largest city in the Caribbean established in the 15th century. Known as the "Gateway to the Caribbean" during the Age of Discovery, the city's rich, passionate indigenous traditions and European colonial culture brought by the explorers have profoundly shaped Marmolejo's creative inspirations. The artist is characterized by large-scale portraits of women who look directly at viewers with contagious emotions expressed from their big bright eyes.
paintings recently evolved from an early illustration-like, Asian erotic style to a more facial structure-based minimalist composition. Her classic brushstrokes remind viewers of the wind-blown hair in The Birth of Venus by Sandro Botticelli, sharp light and dark contrast in Mona Lisa by Leonardo Da Vinci, as well as the spirituality of Expressionism. The artist's outstanding painting skills and observations impress viewers with diverse yet delicate facial expressions. The characters' vividly large, sparkling eyes and plump lips are combined with warm, alluring skin tones and backgrounds of lively broadleaf plants to deliver a wildly mysterious and surreal atmosphere to viewers.
▲ 羅芙奧 2021 秋拍 拍賣編號 085 塔妮亞‧瑪莫列霍 《約會之二》 2020 年 壓克力 畫布 129 x 129 公分 Ravenel 2021 Autumn auction Lot 085, Tania Marmolejo, Rendezvous 2, 2021, Oil on canvas, 129 x 129 cm ▼ 藝術家限量藝術微噴作品 Artist limited edition art print 27
When the world celebrated the beginning of a new century in 2000, Marmolejo also started a new chapter in life after graduating from the Parsons School of Design by becoming a fashion magazine art editor. In addition to designing characters and art backgrounds for MTV, Disney, and PBS, the artist also joined international awardwinning animation teams. In 2005, Marmolejo started attending joint exhibitions and art expos around the world, focusing on her passion to create art. Marmolejo's style reached a turning point in 2011, the year when she held her first solo exhibition. By giving every exhibition a unique and creative name such as Untamed Truths, In Between, What was I thinking, Delicious Torment the artist granted viewers a remarkable viewing experience.Marmolejo's
THE BATTLE BETWEEN ONLINE TRADITIONALAND AUCTION 威士忌拍賣狂潮下的生存戰正面臨存亡困境?實體威士忌拍賣
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Text 唐維怡 Eva Tang
Photo / Finest and Rarest Wines of Ravenel
喝酒不開車28
在拍品徵集上，實體拍賣與線上拍賣付出的心血並無二致，每 一件拍品徵集進來後，都需要相當多的人力與時間投入－逐瓶檢驗記 錄、拍攝照片與資料撰寫；拍賣結束後也同樣都要費心包裝與安排運 輸。然而，實體拍賣在拍品徵集進來後，後續還有紙本圖錄的製作， 拍賣現場的佈展裝潢，拍賣時的人力配置與場地餐飲開銷等成本。
這次拍賣最終以 99.4% 的超高成交率，以及 4,277,000 美元的成交 額收槌，驚豔四座。其中，單瓶成交價格超過一萬美元的酒款有 55 項， 一掃線上拍賣只會有中低價位酒款的迷思。
下「三高二低」：
當然，實體拍賣也有其無可取代的優勢： 實體拍賣優勢之一：人的溫度 從 Knight Frank Luxury Investment 市場調查公司一份針對 「 HNWI (High Net Worth Individual) 高淨值資產人士」的投資趨勢 報告中，我們可以看到，近年來有越來越多的富人開始在金融市場以 外的地方如奢侈品，找尋另類投資的可能性。 除了因為這些奢侈品可能帶來超乎預期的收益，在投資的過程 中，投資人也能享受到比金融商品更多的樂趣，諸如：來自於取得藏 品的過程，來自於意見和觀點的交流分享，和來自於藏家和藏家之間 的互動。 安全有保障 29
線上拍賣優勢之二：高彈性 線上拍賣還有一個更明顯的特色，就是拍品數量和拍品單價的彈性。 實際參與過實體拍賣的朋友就知道，即便拍賣官火力全開，一個品 項最少需要 45 秒的時間，若是碰上激烈競價的品項，時間還可能拉長到 2-3 分鐘。若是整場拍賣有 1,000 個品項，就需要至少連續 10 小時的拍 賣過程。先不論是否有買家可以耐得住性子一坐一整天，對實體拍賣行 來說，人力佈署與場地都是沉重的負擔與限制。 也正因為時間的限制和種種成本考量，以佣金做為主要收入的實體 拍賣行，為了能在有限的拍品數量內創造最高的利潤，就必須在單項拍 品的價格上仔細拿捏，因此大家會發現實體拍賣行較容易出現「成套」 品項。 反觀線上拍賣，因為沒有時間與場地上的限制，動輒上千項的拍 品已成常態，而且品項包羅萬象，從零元起拍的普飲小品，到一瓶一 萬美元以上的中高價位收藏品，如此兼容並蓄的多元選擇，正是線上 拍賣的絕對優勢。
反觀實體拍賣，在賣方佣金上一樣是各家規定不一，但買方佣金 明顯高出許多：蘇富比 (Sotheby's) 對酒類買家收取的佣金，於 2022 年年初調漲至 25% ，佳士得 (Christie's) 的佣金更高達 26% ；即便實 體拍賣業內手續費最低的羅芙奧台灣 (Ravenel) ，在酒類拍賣方面也 需向買家收取 19% 的佣金。對於一些精打細算的藏家來說，高昂的 佣金手續費確實令人望之卻步。
線上拍賣優勢之一：高頻率
這次拍賣會受到的熱烈關注，也突顯了過去幾年線上威士忌拍賣的 活絡。除了 Whisky Auctioneer 外， Whiskyauction.com 、 Scotch Whisky Auctions 、 Just Whisky ，以及加入戰場不久的美國最大酒類線上拍賣平 台 Hart Davis Hart ⋯⋯等，都是全球威士忌藏家們挖寶的好地方。
目前穩定營運的線上威士忌拍賣網站，平均每一至兩個月便會舉行 一次，高密度的拍賣頻率，培養了藏家周期性的關注與參與。
[ WINE ] 近年威士忌收藏風潮席捲全球，不僅帶動威士忌拍賣市急遽成長， 拍品價格屢創新高，在疫情肆虐的影響下，也使得線上威士忌拍賣網站 趁勢崛起，甚至已開始對傳統的實體拍賣公司構成強烈衝擊。
反觀實體拍賣行，在人力、場地等種種成本考量下，一年在同一個 城市舉行酒類拍賣的頻率僅有兩至六次，中間的空窗期甚久，使得許多 行動積極的藏家「見異思遷」另闢管道。 線上拍賣優勢之三：高便利性 同時，線上拍賣的便利性也是無庸置疑的，一切操作於網路上進 行，在拍賣期間內 24 小時都可以下標，買家可以隨時查看出價是否 被超越。有些平台還設定在拍賣結束前 5 分鐘，只要有 2 個以上的出 價，則自動延長 5 分鐘，提供了猶如實體拍賣般的刺激感。 線上拍賣優勢之四：低成本
根據 Rarewhisky 101 對過去幾年英國線上單一麥芽威士忌拍賣的追 蹤統計， 2021 年的線上拍賣件數較 2020 年成長 24.06% ，拍賣總金額的 成長幅度則為 107.32% ，與 2016 年相比更成長了 427.73% ，高達 7,500 萬英鎊，成長速度驚人，而這還僅僅是英國單一國家的數據統計。 線上拍賣成長速度驚人
與實體拍賣相比，線上拍賣確實有其獨特優勢，主要可以歸納為以
相較之下，線上拍賣在拍賣期間內，僅需專注於線上呈現與系統 穩定度，成本相對較低，而這就賦予線上拍賣較大的佣金彈性。 線上拍賣優勢之五：低佣金
2020 年 2 月，英國線上威士忌拍賣公司 Whisky Auctioneer 推出為 期 11 天的「 The Perfect Collection 」，第一階段的線上拍賣即在無數精 彩拍品的加持下，吸引了來自 56 個國家、共 1642 位威士忌愛好者的參 與。其中 The Macallan 1926 Valerio Adami 60 年單一個品項，就有來自 11 個國家的藏家爭相競標。
目前 Scotch Whisky Auction 、 Whisky Auctioneer 和 Whiskyauction.com 等線上平台對買家都收取 10% 的佣金，而 Whisky.auction 、 Whisky Online Auctions 等的買方佣金則為 15% ， 在線上拍賣平台中買方佣金最高的，則是 Hart Davis Hart 的 19.5% ， 已與實體拍賣不相上下。對於賣家收取的費用，則各家規定不一，從 僅收取一定金額的上架費到 10% 的賣方佣金都有。
而實體拍賣行除了是一個找尋或出脫藏品的管道，它更著重與藏家 之間的交流，從與專精各類拍品的專家們互動，買家得到的不僅僅是拍 品的資訊，也能吸取專家對市場獨到的見解，更有機會透過拍賣結識有 著相同愛好的藏家。實體拍賣行在買賣之間帶來了人的溫度，為收藏增 添許多樂趣。
實體拍賣優勢之二：無可取代的臨場體驗
佳士得則投注資金於線上註冊和下標系統的提升，以及在 IG 等 方面的推廣， 2021 年已經有近乎一半的拍賣場次轉於線上舉行，線 上拍賣的單件拍品平均價格，也從 2016 年的 6,100 美元成長到 2021 年的 23,400 美元，過去 5 年來每年更有超過 20% 以上的新買家是由 線上拍賣加入成為客戶，成效斐然。
當然，即便酒類拍賣營收占比不大，各家實體拍賣行依然盡力經 營旗下的每一個業務品項，也確實意識到了線上拍賣帶來的衝擊與危 機，因此我們可以觀察到，實體拍賣行在過去幾年正逐步加強線上拍 賣的服務與比重：蘇富比自 2014 年便開始著重線上業務的提升，整 體 ( 含藝術品 ) 線上營收從 2014 年的 1 億 700 萬美元，逐步上升到 2021 年的 8 億美元。
呈現與發揮，同時提升線上競標系統，開創出具有彈性的線上拍賣新 路線，是實體拍賣行目前的當務之急，也是遲早必須面對的挑戰。 更多的平台與更多元的選擇 相較於藝術品與葡萄酒拍賣，威士忌拍賣是個相對年輕的新興產 業，短時間過多拍賣平台的湧入也許會造成短暫的混亂，參差不齊的 拍品和服務品質，將是消費者接下來會面對到的課題，但無論如何， 這同時代表著將有越來越多的管道可供挖寶，對威士忌愛好者來說的 確是個福音。 線上與實體拍賣的戰火才剛點燃，且讓我們一起拭目以待未來的 發展。 喝酒不開車30
傳統拍賣行虛實並進成效佳
在實體拍賣會現場的體驗是無法被複製的，無論是在拍賣官節奏感 十足的帶動下不斷升溫的情緒，忖度著競爭對手底線究竟在何處的緊繃 感，於放棄和再試一口間內心激烈的拉扯，與拍賣官無聲的眼神交流， 舉起競標牌號那瞬間的血脈賁張，經過一連串激烈競價得標時現場如雷 的掌聲⋯⋯，這些獨特的體驗，只有在實體拍賣會才能得到。 實體拍賣行酒類營收占比低
除此之外，從實體拍賣行的角度也不能忽略一個重點，那就是除了 專職經營酒類拍賣的拍賣行如 Acker Merrall & Condit ，酒類拍賣往往 僅是拍賣行眾多品項中的一種，而且占比通常不大。 舉例來說，儘管蘇富比於 2019 年 10 月推出號稱” The Most Valuable Whisky Collection Ever ”的「 The Ultimate Collection 」在 威士忌圈掀起一陣旋風，甚至再次打破世界紀錄，將珍稀系列的 The Macallan 1926 Fine and Rare 送上威士忌價格排行榜第一名，但是對蘇 富比而言， 2021 年包含葡萄酒與烈酒的 53 場拍賣營收加總，僅占全公 司營收總額的 1.8% 。 而實體拍賣業另一個龍頭──佳士得， 2021 年葡萄酒與烈酒拍賣 總額共 4,465 萬美元，則僅占公司全年度拍賣營收的 0.63% 。
如何在既有的框架下，將實體拍賣會不可被取代的優勢最大化地
The Fourth Advantage: Lower Cost
The First Advantage: High Frequency
By contrast, during the auction period, the only cost for online auction is the maintainance of its online presentation and the stability of the system. The total cost is much lower which enables them a greater flexibility in their commission policy.
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99.4% of successful bid had achieved a stunning total sale of US$4,277,000. In all, 55 items were sold for over US$10,000 per bottle, dispelling the myth that online auctions can only handle lower-price items.The success Whisky Auctioneer had achieved highlighted the activeness of onliny whisky acutions over the last couple of years. In addition to Whisky Auctioneer, whisky collectors can discover treasures at other online auction websites such as whiskyauction.com, Scotch Whisky Auctions, Just Whisky, and Hart Davis Hart, which is the largest online alcohol auction platform in the United States.
Online Auctions Growing at an Amazing Speed
Given time constraints and cost considerations, traditional auction houses whose income derived from commissions, would aim to generate higher profits from limited number of auction items. Therefore, each lot is carefully considered. It is also the reason why more bundle and set items are offered in traditional auctions.
According to Rarewhisky 101, a private company publishing reports and index to the whisky collector and investor based on UK online whisky auctions, the overall number of recorded bottles of Single Malt Scotch whisky sold at auctions in the UK in 2021 grew 24.06% compared to 2020. The recorded value increased by 107.32% over 2020, and by 427.73% over 2016, reaching a stunning 75 million pounds. And these are only statistics from United Kingdom only.
Compared to traditional auction houses, online auctions feature five unique advantages.
Collecting whisky has become an unstoppable trend in recent years, adding on the impacts of Covid-19 pandemic, not only driving growth in both the quantity and value of whisky market, reaching one and another new records in the auction, online whisky auction has also rapidly grown in popularity, leading to an immense impact on traditional auction world.
In February 2020, Whisky Auctioneer, a British online whisky auction house, launched an 11-day auction named "The Perfect Collection." For this first stage of the auction, large number of excellent whisky collections attracted 1,624 whisky lovers from across 56 countries. Among the lots, the Macallan 1926 Valerio Adami 60 Year Old only has attracted bidders from 11 countries.
Finding auction items for both online and traditional auction houses require same amount of effort. For every item consigned, huge amount of manpower and time are demanded, from item examining, information searching, photo taking to the packaging and shipping after the auction. However, for traditional auction houses, physical events require an extra effort in printed-catalogue writing and making, exhibition design and installation, the manpower during the auctions, as well as the catering and beverages on site.
Another character of online auctions is its flexibility.
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In the contrary, auction houses can only hold auctions two to six times in one city every year because of the heavy burden of labor cost and all the other fee related to auction events. The long break in between pushes eager collectors to seek for other channels in order to satisfy their needs to buy.
The Second Advantage: Flexibility
An online whisky auction websites usually hold auctions every 1 or 2 months. The collectors are accustomed to this high frequency and are used to participate regularly.
The Third Advantage : Convenience
On the other hand, without the burden of time and space, it is common to see online whisky auction offers thousands of items in a single auction. From no-reserve items to items that are over USD10,000 per bottle, such a comprehensive and diverse choices are the absolute advantage of online auctions.
People familiar with traditional auction events know that even if the auctioneer rushes the sale, it takes at least 45 seconds to process one lot. For lots that are highly sought-after, the bidding process might take 2 to 3 minutes. If one whisky auction contains 1,000 lots, the total bidding process may drag for 10 hours. Even if buyers have the patience to sit through the whole event, such a long auction would generate heavy burden for manpower deployment.
Online auctions are obviously more convenient than traditional ones. Buyers can participate in the auction from all corners of the world and they are welcomed to bid at any time of the day. Bidders can check whether they have been outbid constantly and some platforms even offers extended auction times when bids were placed 5 minutes before hammer which create that sense of excitement similar to the participation in traditional auctions.
The First Advantage : A Sense of Community
According to a report concerning high-net-worth individuals (HNWIs) released by Knight Frank Luxury Investment, there are a
collectors.Traditional
The Fifth Advantage: Lower Commissions
significantly increasing number of wealthy people started to seek for the so-called "alternative investment" possibilities such as luxurious goods outside of financial market in the past few years.
other hand, traditional auction that has last for more than two decades have their own unique and irreplaceable advantages.
To date, online platforms such as Scotch Whisky Auction, Whisky Auctioneer, and Whiskyauction.com, charge 10% buyer's commissions, whereas whisky.auction and Whisky Online Auctions charge 15% buyer's commissions. The online platform that charges the highest buyer's commissions is Hart Davis Hart at 19.5%, a rate comparable to those of traditional auction houses. The fees each company charges differ, ranging from fixed listing fee to 10% of seller's commissions.
As for traditional auction houses, seller's commissions differ from company to company, whereas the buyer's commissions are substantially higher. In early 2022, Sotheby's increased their buyer's commission for whisky to 25%, and Christie's charges 26%. Even Ravenel, which has the lowest charges among its fellow auction houses, charges 19%. For many collectors, the high commission alone has stopped them from participating.Onethe
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Besides the possible high profit, the luxurious goods may bring, different from normal financial products, the process of acquiring and the time of keeping the luxurious goods usually bring extra sense of enjoyment. For example, their enjoyment may be derived from the process of building collections, from exchanging and sharing their opinions and individual perspectives on items while engaging other
auction houses provide not only the channels to seek for or to sell the collectables, but also the places for collectors to interact. By rubbing elbows with experts specializing in different areas, buyers obtain both information and the experts' unique perspectives on the market. Furthermore, they have opportunities to engage with other collectors that share the same interests and great taste. Between actual transactions, traditional auction houses provide a sense of communit, adding a lot more enjoyment while simply collect or invest.
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Christie's invested in its online registration and bidding systems, and put more efforts in its instagram campaign. In 2021, almost half of its auctions were conducted online. The average price of a single lot in one online auction increased from US$6,100 in 2016 to US$23,400 in 2021. In each of the last 5 years, over 20% of their new clients came through online auctions. Clearly, their investment has paid off.
One of the most important tasks and also an ongoing challenge that traditional auction houses must face sooner or later is how to maximize their irreplaceable advantages under the existing framework, while simultaneously improving the online bidding system to create a flexible online auction channel.
Traditional Auction Houses stepping into Online Auctions
The battle between online and traditional auction houses has just begun. Let us look forward to the future of whisky auction together.
More Platforms, More Diverse Choices
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For example, Sotheby's launched "The Ultimate Collection" in October 2019, which was said to be "the most valuable whisky collection ever." The auction has sparked a commotion in the whisky scene. It even broke the world record, making the Macallan 1926 Fine and Rare the most expensive whisky in the world till today. However, for Sotheby's, the total revenue from 53 auctions of wine and whisky in 2021 accounted for only 1.8% of its total revenue.
Compared to the long history of art and wine auctions, whisky is a relatively young auction category. The sudden emerging of all the auction platforms including traditional auction houses as well as online auction platforms in such a short time may cause temporary chaos. The very first issue the industry would face is the unevenness in the quality of whisky, the product itself, and services. On the other hand, competition is needed for the industry to thrive and as well important for consumers as they have more channels to find their treasures.
Whisky is Only a Small Portion of Traditional Auction House
The experience of participating in a actual auction cannot be replicated. Only at brick-and-mortar auction houses can you experience the intense emotions triggered by auctioneer's chant, the tension of wondering about the bottom lines of your competitors, the struggle between giving up or putting up just one more bid, the silent glances exchanged with you and the auctioneer, the excitement of raising the paddle, and the thunderous applause when you win a lot after fierce bidding.
The Second Advantage: Irreplaceable Experiences
There are one more key point not to be mossed when discussing the issue. That is, except for auction houses who specialized in alcohol beverages only, such as Acker Merrall & Condit, wine and whisky is typically only one of many categories of items in one auction house, and usually does not account for a large proportion.
Similarly, Christie's, another leading auction house, auctioned off a total of US$44.65 million in wine and liquor catagory, which only accounted for 0.63% of its annual auction revenue.
Even though wine and whisky auctions account for only a small portion of their revenue, traditional auction houses still strive all the best in every category. They are fully awared of the impacts and the challenges online auctions had brought. Increasing emphasis on the online auctions in every traditional auction house has been observed. For example, since 2014, Sotheby's has been growing its online business. Its overall online revenue (including artwork) skyrocketed from US$107 million in 2014 to US$800 million in 2021.
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Photo / Ravenel International Art Group
Text / 劉允華
歐陸皇室與珠寶收藏的關係無人不知。歷史上最著名的寶 石，多數總會流轉至歐洲，在名匠巧手下點綴起無遠弗屆的光 輝。 歐陸王朝最早綴有寶石的王冠，可能是原鑄於西元六世紀 的倫巴底鐵王冠。此前以冠飾代表王權的，主要是印度與波斯等 地。但讓寶石晉身為貴族世冑象徵並世代相傳的，自然以歐陸皇 室為主。無論是象徵神聖羅馬帝國統治義大利王國的倫巴底鐵王 冠、以及自十世紀開始傳承，鑲有 144 顆寶石的神聖羅馬帝國皇 冠等，都一再強化寶石的貴族系譜與王國主權意象。 而自十六世紀起，海路的開拓讓每個國家的皇室都獲得專 屬的寶石通路。儘管價格依然高昂，但皇室收藏的數量已經隨之 大增。此時歐洲陷於長期戰事，貴族常會質押寶石以換取軍事資 源。這一方面證明了寶石的無比價值，二方面也顯示貴族的寶石 藏量除了滿足賞玩所需之外，還有餘額用於實際的國家經濟大 事。 也是在革命年間，循種種管道輾轉流出的皇家珠寶， 在 1795 年 2 月 19 日，開始在國際知名拍賣場上競標， 讓世人首次得以親見皇室珍藏的鉅額寶石。下一次的 重要皇室珠寶展會，則要等到 1887 年的巴黎皇室珠 寶展售大會。這批寫著自十四世紀以來法國皇室歷史 的收藏，曾包括後世知名的 Hope Diamond 、 Regent Diamond ，以及 Grand Mazarin Diamond 等等，才以部 分納入博物館，其餘出售的方式寫下終章。 ◀ 法國巴黎羅浮宮皇家珠寶 Crown jewels in Louvre, Paris, France ▶ 拿破崙一世在加冕長袍 -Regent Diamond 鑲嵌在寶劍的護手上 Napoleon I in Coronation Robes-The Regent Diamond is set on the sword's handguard ▼ 1762 年凱薩琳大帝加冕所用的皇冠 The crown of Catherine the Great's coronation in 1762. [ LUXURY ] 在此同時，唯有另一個國家的珠 寶珍藏能與法國皇室相比，即是羅曼諾夫 王朝治下的俄羅斯帝國。十七世紀末期即位的彼 得大帝，除了學習歐洲的方式將俄羅斯建立成為強盛的國度之 外，也同樣帶來了歐洲的貴族生活與對珠寶的喜愛。經過幾位著 名君主的傳承，俄羅斯皇室迅速累積了世界首屈一指的寶石收 藏。直至凱薩琳大帝統治期間，俄羅斯的國力與財富都達到巔 峰。這位君主熱愛藝術、支持教育與啟蒙，大幅擴張國家版圖。 凱薩琳大帝認為華麗的珠寶在政治意義上，不亞於一支強盛 的軍隊。她廣邀歐洲各地的匠師到俄羅斯精研珠寶工藝，擁有一 本鑲嵌著 3017 顆鑽石的聖經，甚至將冬宮的整間臥房以黃金與 寶石鑲製成巨大的珠寶庫。而在 1762 年製成，為凱薩琳大帝加 冕所用的皇冠，就使用了 4936 顆鑽石、 74 顆珍珠與一顆近 400 克拉的紅色尖晶石。這批質量驚人的寶石收藏，甚至比法國皇室 的藏品留存更久，直到 1917 年的近代革命後，才由新政府在多 年間逐次打散易主。 百年後的今天，這段閃耀世界的歷史，都依然與每顆精雕細 琢的寶石緊緊相繫。直到今天，世界各大拍賣場上，王室珠寶都 是足以自成一格的耀眼主題。在諸多歷經百年傳承的投資項目之 間，珠寶不僅最能稱得上是歷久彌新，更無庸置疑地因著豐富的 歷史而更添光彩。 35
Beginning in the 16th century, the discoveries of seafarer transportation let every royal family obtain their very own gemstone supply lines. Although the price is still high, the quantity of the collections increased considerably. At this time, Europe was drenched in wars, and the ruling families would pledge their gems in exchange for military resources. On the one hand, this attests to the incredible value of the gemstones, and on the other hand, it shows that the aristocratic collections are large enough, not only can they satisfy the need for presentation, but even enough for the actual economic affairs.
▲ 1762 年凱薩琳大帝加冕所用的皇冠 The crown of Catherine the Great's coronation in 1762. ▶ 路易十五王冠 -Grand Mazarin Diamond 就是其中之一。 來自戈爾康達礦區這是一顆 19.07 克拉粉紅色鑽石。 2017 年這顆鑽石珠寶以 14,463,493 美元的價格拍出。 The Grand Mazarin Diamond, the Crown of Louis XV, is one of them. From the Golconda mine, this is a 19.07 ct pink diamond. In 2017, the diamond was auctioned for US$14,463,493. 36
European Royal families are famously known for their jewelry collections. Among the most well-known gems, many would have made Europe a stop in their journey, polished by the best artisans, and left a brilliant mark in world history.
The earliest crown with embedded gems would have been the Lombardic Iron Crown of the 6th century. Hitherto, it would be the royals in India and Persia who use the decorated crowns to represent sovereignty. Nevertheless, it was the European royal families who promoted the precious gems as the symbol of aristocratic genealogy and precious inheritance. Such is the case with the Iron Crown which symbolized the ruling of Italy by the Holy Roman Empire, as well as the crown of the Empire itself, with 144 gems embedded. These were the ways to emphasize genealogy and sovereignty with the precious stones.
Catherine the Great considers that the political value of grand jewelry is no less than a well-equipped army. She invited masters from all over Europe to study the craft of jewelry in Russia. She possesses a Bible decorated with 3017 diamonds and even transformed a whole chamber in the Winter Palace into a giant jewelry box. The crown crafted in 1762 for her coronation is made with 4936 diamonds, 74 pearls, and a red spinal of nearly 400 carats. This astonishing collection lasted even longer than the french one. It was after the recent red revolution in 1917 that the collection was dispersed and traded by the new government.
In the revolutionary years, on February 19th, 1795, royal pieces of jewelry that were acquired in many ways are put to auction by globally renowned houses for the first time. This would be the first window for the world to see the invaluable royal collection. The next time when an important royal collection showed up, would be the 1887 Paris grand exhibition of royal jewelry. This collection bears witness to the French royal history from the 14th century, which included the famous Hope Diamond, Regent Diamond, Grand Mazarin Diamond, etc. This would be the end of this collection, some of it donated to the museum, others sold to the highest bidders.
Centuries have passed. Today, this long history that shines on the world, is still deeply connected with every fine-cut gemstone. These days, in every grand auction house in the world, royal jewelry is always an eye-catching motif that holds its own. Among many investment items that are inherited through hundreds of years, jewelry is the only one that becomes brighter in time, and undoubtedly even more brilliant due to its rich history.
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▼ 葉卡捷琳娜宮 Catherine Palace
Meanwhile, there is only one other jewelry collection that can rival the french, which is owned by the house of Romanov in the Russian Empire. Other than establishing Russia to be a strong and wealthy country through the European ways, Peter the Great, who claimed the throne at the end of the 17th century, also brought European high life, with the love of gems. After the cumulation of generations, the royal house of Russia possessed one of the greatest gemstone collections in the world. In the grand era of Katherine the Great, Russia achieved its peak strength and wealth. The empress loved art, supported education and enlightenment spirit, as well as largely expanded her territory.
2022 MILAN FURNITURE 「以創作，歌頌材質」米蘭家具展專輯 38
FURNITURE FAIR [ FASHION ] FENDI X LOUIS VUITTON X LOEWE X DIOR Text / 方紅 Photo / FENDI 、 LOUIS VUITTON 、 LOEWE 、 DIOR 奢華和低調的平衡；浮誇和沈靜中對比； 色彩和創新裡表現潮流，更重要的是， 在自然和永續之間尋找和諧。 2022 年米蘭家具展揭示了 「樸質、手作溫潤」的居家設計趨勢。 強勢的精品紛紛延覽國際級大師跨界演出， 以融入品牌歷史背景及風格密碼的創新設計， 吸睛的造型和更具個性化的家具，家飾成為焦點， 也為生活美學重新定義。 39
3種靈魂 3種情緒CasaFENDI 40
綜合體現。 搶眼的 Roma logo 圖案、 Pequin 條紋圖案，還有 FENDI 標誌性的黃色。沿襲 FENDI 經典設計密碼氛 圍的 FENDI Bar 在米蘭家具展期間成了最佳廣告。 坐在披上 FENDI 黃色外衣的高腳凳，點一杯交 錯 FENDI O'Lock logo 圖案的白色瓷杯盛裝飾有 FF logo 圖案的卡布奇諾咖啡，享受到最具儀式感的義大 利風情。 FENDI Bar 販售兩個尺寸的 FENDI 橢圓形 皮革托盤，另有與百年巧克力品牌 Majani 合作，將著 名的 Cremino FIAT 巧克力換上 FENDI 特別包裝的精 選咖啡。獨家欣賞 FENDI Art de la Table 系列。 FENDI BAR 快閃 41
FENDI Casa 系列新作： Welcome! 是一張兼具柔和線條及立體感多功能座 椅， Pequin 條紋圖案飾布和鋼製椅身框架與皮革沙發主體形成對比；新月形輪 廓像一個圓形劇場，邀請人們坐下來，交談。
[ FASHION ] 以 FENDI 為例，購買任何一件家具，其風格、文化及細節中，總是讓人想 起 Karl Lagerfeld 設計的 Karligraphy 圖案（兩個斜體 FF 字母交織 logo 圖案）， 無所不在地在緹花布料上、椅子扶手的末端找到它，或是優雅地刻在木頭或石 頭上，幾乎成了 FENDI Casa 家具迷們的收藏。而更勝 logo 的 Pequin 條紋圖案 的沙發，或者鮮豔的 FENDI 黃色在地毯上「畫個幾筆」，光是這個特徵便構成 了獨一無二的裝飾。 結合各類的工業專業知識與重視手工細節態度下， FENDI Casa 系列作品， 強調靈魂和情緒，彼此相異又互補。（ The Vibrant Soul ）：線條與豐富飽和色 彩表達奢華概念；（ The Crafting Mood ）：材料與工藝的發揮，大地色系、橄 欖綠和米色作品精緻且具有濃烈工匠精神；（ The Family Couch ）：淺色調溫 暖又舒適的氛圍讓人放鬆身心。
FENDI Casa 專門燈具系列；用於照亮各種空間，從桌面到兩層樓或三層樓 高的挑高空間。而運用鑲嵌橄欖木造的造型抽象的餐具櫃；最大的驚喜是櫃子 內部由鈦製成的玻璃架子；餐具系列是重要的新成員：飾有 FENDI O'Lock logo 圖案的瓷器，還有放置小物品的收納盒及托盤等家飾品，讓系列逐漸更形完整。
由多個金屬盒所製成底座的 Dedalo 桌子，可見精湛工藝；搭配 Petra 大理 石材質的椅腳讓人想起羅馬紀念碑；或是精心巧妙排列金屬和木條的工藝，再 次呼應了 Pequin 條紋圖案。飾有竹框的床頭板使用兩種布料樣設計的 Clouds 床，呈現當代品味。
無縫銜接室內外空間，是未來生活方式的一大重點。 The Outdoor （室外） 是貫穿 FENDI Casa 系列的第四個精神。特色為竹子材質的椅架和超厚蓬鬆的 坐墊，現在加入了更纖細的竹椅系列，可以與同材料的餐桌相互搭配使用。
今天和品牌形象與品質、傳統、實驗及創意畫上等號的 FENDI Casa ，代表 了設計與時尚之間的另一個相似之處。藉由這種方式，家成為一種生活方式的
NomadesObjetsVUITTONLOUIS 遊牧建構5+1 是精品以從「發明、想像力及精湛工藝」跨足家具市場的重要設計概念。本是1939年一處充滿創新風格的車庫的路易威登Objets標性建築Nomades居家系列，是精品跨界家具最早也最具完整性的代表。被安置在米蘭地一直以來都是和瑞士的米蘭家具展，引領居室風格之先的LV，一口氣推出5件新作，和另1個遊牧建築展。AtelierOï設計工作室合作設計的路易威登ObjetsGarageTraversi特別設計的展廳中展出。這幢散發理性主義建築物原Nomades家具系列。 42
[ FASHION ] 經典 Belt Chair 系列，延伸三款新作： Belt Lounge Chair 、 Belt Bar Stool 及 Belt Side Stool 。每一款座椅製成均 使用大量皮條，黃銅扣固定，讓人想起 LV 包款上的那些裝 置；典雅的木架和較高階的 Belt Bar Stool 則採取優雅的金 屬框架，強調休閒風格及便於攜帶一直是 LV 家具設計核心。 第四件是 Bomboca 沙發；以巴西人民在婚禮和兒童派 對上的糖果命名的四人座款式。外型猶如雲朵的沙發，十一 個可拆式包覆布料的抱枕，安放在皮革的硬體外殼內。 第五件新作 Cosmic Table ，分為室內和室外的兩個款 式。這張獨具匠心的桌子，室內用款式以「 infinite 」碳纖維 為底座，覆以色彩鮮豔的路易威登皮革，室外款則採搪瓷或 風化金屬風格處理。 米蘭展覽活動高潮—「遊牧建築展」。這幢建 築物佔地 45 平方公尺，有兩間臥室、一間客廳、 一間廚房和一間浴室的路易威登 Nova House 。 是建築師 Michel Hudrisier 與 M. Roma 在 1972 年為 Studio Rochel 設計的 House ，一個由覆蓋著 180 條訂製的鋁合金條的鋼架構成引人注目的卵形 「生活艙」，代表 LV 預告了「未來」生活的展演。 43
《酒干倘賣無》編織與修復 LOEWE 44
[ FASHION ] 近年積極耕耘居家領域的時尚品牌 LOEWE 持續投注的創意，火花 不斷。今年特別選擇西班牙及其他國家古老傳統編織技藝，將 240 個搜 羅自世界各地，形狀、功能及破損程度各異的破舊籃子，修復為獨特新 穎的當代器物，不禁想起蘇芮的《酒干倘賣無》教人驚艷。 LOEWE 創意總監 Jonathan Anderson 提及：「手工技術賦予每件器 物另一層意義，尊重歷史脈絡與價值，並持續保存未來」，而這種以工 藝為本的態度正是呼應保護環境，尊重及關懷物件恆久價值的最佳實踐。 2022 米蘭家具展 LOEWE 聚焦「 Weave 編織、 Restore 復修及 Renew 重生」，通過復修工藝技術的「編織」，將原本廢棄的物件，化 為可用。包括織皮、西班牙加利西亞地區的 Coroza 禾桿編織，以及韓國 的紙編（ Jiseung) 。工匠們被授命以「皮繩修補」技術將「可能被丟棄的、 可能消逝的」變成獨一無二的創意。 一系列層層流穗，並保有雕塑感的手袋與織籃，靈感源自加利西亞 地區古老手工技術 Coroza 製成的蓑衣；至於韓國紙編（ Jiseung ），以 傳統紙編精緻的技術製作多件編織壺，並將技術用於回收報紙，織成堅 韌美麗的手提袋。 LOEWE 再一次証明了華美精緻之外，奢侈精品的時 代意義。 LOEWE 賣包救大象 每一季各大精品無不競相祭出代表人氣指標的 IT 包款。其中， LOEWE 限量發售的大象包，除了賣相別出心裁，也是奢華工業連續 第四年關注保育野生動物組織的贊助計畫，更顯得意義不凡。 以貫徹維護古老工藝為使命的 LOEWE ，結合肯亞 Samburu 族人 世代相傳的傳統串珠工藝，推出限量大象編織包。以酒椰棕櫚纖維編 織的這款提包，邊側裝飾的大象眼睛就用上 Samburu 文化標誌之一 的珠串手工藝；平常視覺效果繽紛的珠飾，不同顏色與圖騰代表不同 意義，習俗上被用作頸飾、頭飾及首飾，在重要的日子派上用場。 LOEWE 限量大象編織包是和關注獵殺大象及非法販賣象牙的 Knot On My Planet (KOMP) 合作，委託肯亞北部桑布魯信託基金 (Samburu Trust) 的工匠以手工製作，所有出售利潤將全數捐贈大象 危機基金會 (Elephant Crisis Fund) 支持保育野生大象計劃，直至完 全消滅非法販賣象牙為止。 45
STARCKPHILIPPEMissDiorMedallion 「路易十六」風格下，成就了這個完美的經典象徵。」跨界翻玩經典「有人竭其終生找尋完美的黑色洋裝，我則是夢想著得到一把完美的小椅子。顯然，透過圓背及其神奇的橢圓形，存在於我們集體潛意識的大師飛利浦史塔克PhilippeStarck說。 46
[ FASHION ]
出色地掌握材質特性的獨特曲線造就了「 Miss Dior 」圓背椅的名 家工藝，世界上只有一具噴射成型機能創造出這般匠心獨具的類似結 構。 Philippe Starck 坦言：「透過 Miss Dior 圓背椅，人們用曲線記憶 這個如藝術作品般永恆優雅的歷史性經典。」
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這次合作藉由單扶手、雙扶手和無扶手等三款特殊設計揭示圓背 椅經典架構。其中單扶手的款式別具特色，與迪奧先生的繆思德國女伶 Marlene Dietrich 的經典畫面微妙呼應，猶如將衣服視為畫作展示般的 迷人。可以說激起了設計大腕
當 24 件原創 Miss Dior 圓背椅於光影交錯營造出帶有莊重與神秘 感的米蘭齊特里奧宮（ Palazzo Citterio ）內展出，毫無疑問地攫獲了所 有聚焦的目光。
2022 年米蘭國際傢俱展， Dior Maison 邀請傳奇設計師飛利浦史塔 克 Philippe Starck 重新詮釋象徵迪奧先生擁戴的「路易十六」經典傢俱 Medallion 圓背椅，未演先轟動。
「 Miss Dior Dior
對於受邀重新詮釋 Dior 品牌象徵的這張椅子， Philippe Starck 表示 既心馳神往，也備感挑戰。這是一向以作品富有遠見與詩意的創意聞名 的他第一次翻玩經典神話的起源。 Philippe Starck 用「最低緯度的激情 （ passion du minimum ）」，集結品牌要素，向大膽優雅的女性氣質致敬； 同時，透過鋁質的輕盈，高貴和韌度，及其強調藝術家對絕對純淨輪廓 的追求，為「 Miss Dior 」圓背座椅重新定義極致結構的完美「簡約性」。
高級訂製服 「Japonisme」（日本主義） 與裝飾藝術，只有穿著者獨享的私密精緻。 48
時代印象的起點 「這一季的作品，跳脫羅馬這個主題，或者 至少想從全球角度去看羅馬。」 FENDI 高級訂製 服藉由以京都、巴黎和羅馬為體，研究不同城市 剪影。將不同記憶片段之間相互呼應，就像是對 過往今來的一種循環、透過服裝工藝構成現在， 並且走向未來。」女裝藝術總監 Kim Jones 說。 2022 秋冬 FENDI 高訂系列中，不斷探求東 方與西方、男性與女性、自然與人造、傳統與現 代之間的相似處。使用京友禪模版染色技術製作 出的裙子，與來自巴黎建築精神的水晶籠，彰顯 結構和工藝最終仍順應身體。 KYOTO 京 都 Text / 袁青 Photo / FENDI [ FASHION ] 49
JAPO-NISME 高級訂製服的起點在京都；十八世紀的和服布料，奠定高訂系列中替未來重 新再創作及詮釋的基礎。運用京友禪和服中數百年來未曾動搖的手工印刷和繪畫模版染 ）技術。傳統絲綢和服布被切成片狀，重新縫製成不對稱剪裁及地長裙。 」（日本主義）與裝飾藝術，在小羊駝、皮革和皮草作品中加 入義式裁縫風格。窺見對男裝剪裁技法致敬的痕跡，在服裝內，外側強調結構。將日本 織品用於製作西服內襯與絎縫襯料，以及裙子的襯底，只有穿著者獨享的私密精緻。 皮草工坊的精湛工藝，水貂毛皮草的嵌花結構，加上另一項稱為「 Rope 」指的是十八世紀日本織物的手藝，以抽象手法重新詮釋高訂系列，也像是一 不同形式的設計都圍著一層又一層的楓葉圖案（這在十八世紀時被稱為「秋頌」） 的和服布料，薄紗禮服上大量精緻的楓葉刺繡圖案，更將這一季 FENDI 高訂帶向視覺 高級訂製服散發出耀眼光芒的同時，又帶有一絲輕鬆感。高大尚的距離感已不復存 在，取而代之的是讓這項服裝工業的傳承，展現時代感的力道。 50
巴黎舉行的 FENDI 2022 秋冬高訂秀場中首度亮相 FENDI Flavus 高級珠寶。像 羅馬噴泉一樣閃閃發光、動感流暢的鑽石蘊含源自羅馬的傳統和樂觀精神。 靈感源自於羅馬神話，將機械和有機物質與中世紀雕塑融為一體。 FENDI Flavus 高級珠寶藉由純粹簡潔的長方形切工表達了以天然黃鑽的流光溢彩和對應迷戀著人體 行進間搖曳的動感之姿。 借用拉丁語裡黃色或金色之意的黃白鑽相互襯托，創造富麗堂皇的色彩和火光。 Flavus 項鍊以白鑽和黃鑽營造出瀑布般流洩而下的對稱形狀，最後凝集在下方的尖端 上，兩條由單顆鑽石組成的頸鍊下方懸掛著長短不一的鑽鍊。使用超過千顆白鑽，中 間是一顆超大的祖母綠式切工鮮豔黃鑽，對角處有著兩個長方形切工天然黃鑽組成的 倒置 FF 字母圖案，如同守護著這顆祖母綠切工黃鑽。 由鑽石營造出瀑布般流洩而下的幾何圖形，輝應著項鍊、耳環和雞尾酒戒指； Flavus 戒指大兩只外型左右顛倒 FF 的耳環，一樣有著流洩而下的動感，同樣用 長方形切工黃鑽組成， 360 °照耀著奢華。 FlavusFENDI 熠熠生輝， 大量珍貴密鑲及 長方形切工白鑽的 FF 字母， 點亮了 1965 年 Karl Lagerfeld 所設計的 倒置字母 LOGO 成為最閃爍的 DNA 高級珠寶 高訂有彩蛋 [ FASHION ] 51
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Text / Janet Photo / Splendido, A Belmond Hotel, Portofino
錯置時空 DIO R水療屋 身心康養 Splendido, A Belmond Hotel, Portofino
[ LIVE ] 53
位於義大利里維埃拉（ Riviera ）最獨特的海灘之一 Bagni Fiore 的 Splendido, A Belmond Hotel, Portofino 酒 店，享有優美海岸壯麗的景色，堪稱義式絕代風華的縮影。 改建於前身 16 世紀修道院的這間酒店；迷人的粉色 外牆，淡雅色調與中世紀裝飾風格的客房和一座恆溫海水 無邊泳池，開業以來，吸引不少名流及電影明星。如今， 有了精品 Dior 的加持，彷如重返 60 年代電影《甜蜜的生 活》 La Dolce Vita 的情境，令人流連。 近來，無遠弗屆的時尚精品挾國際知名度，和延伸 自時尚風格的居家系列愈見成形的實力，終於把手也伸 進了實體酒店。俯瞰波托菲諾（ Portofino ）港灣的老字號 Splendido 酒店，最近剛攜手法國精品 Dior 在其寧靜階梯 花園內打造兩座快閃水療涼亭，提供全新的健康體驗，包 括護膚療程和獨特美容技法。 Dior 也誠意十足加碼祭出限 量版 Escale à Portofino 香水，展現精品跨足 Life Style 的 企圖，也讓義大利老店風華再起。精品加持下，樂得坐擁 義式傳統古城風情，又能兼具法式優雅閒情的旅人，大呼 值回票價。 54
鋪天蓋地的 Dior 經典 toile de Jouy 圖案印花把 Bagni Fiore 海 灘俱樂部，位於海岸山坡，依傍青翠花園和一望無邊自然美景的兩 座露台，轉眼幻化成了名符其實的 Jardin des Rêves Dior' （夢幻花 園）。 Dior 從周圍環境汲取靈感，將用於重新裝飾海灘俱樂部及酒 廊內飾與傢俱，和 Pop Up Dior 水療小屋的經典 toile de Jouy 圖案 與周邊鬱鬱蔥蔥氛圍，融為一片綠意。 盡情地徜徉義大利燦爛陽光，享受 Dior 專屬的 Bronze Signature Massage 全新古銅色按摩護理；水療護理後，可以在休閒 區的藤椅小憩，之後再跳進泳池戲水，或在滿是環繞紫藤的露台餐 廳 La Terrazza 享用慵懶午餐，都好。 夏天，旅客還可步行前往帕拉吉（ Paraggi ）灣最優美獨特的 Bagni Fiore 海灘，這裡隸屬於波托菲諾自然公園和海洋保護區，灣 內水域清澈寧靜，而且禁行船隻，盡享不受干擾的愜意海濱假日。 Dior 乘勝在帕拉吉（ Paraggi ）灣開出概念店。明亮通透，搭 配由當地工匠借鑒 1807 年問世，彰顯義大利文化遺產和珍貴工藝 的經典傳統 chiavarina 騎士座椅與 Dior 關鍵元素，藤條、劍麻、 黃銅和化為單色的 toile de Jouy 經典印花紋理壁紙，主導了整個空 間，也再次堆疊出 Dior 的精品氛圍。分不清置身何處的幻境，意 外驚艷，不正是另一種旅程中，時空錯置的美麗回憶！ Splendido, A Belmond Hotel, Portofino DIOR [ LIVE ] 55
的「水墨」地中海 Travel Book AURORE DE LA MORINERIE Text / 伊森
Photo / Louis Vuitton
由來自世界各地藝術家製作的路易威登「 Travel Book 」系列。今年新作由法國 藝術家暨插畫家 Aurore de la Morinerie 從最深的海底到海面，帶領沉浸於全 球最大的內海及其生態系統，猶如置身抽象畫畫作的情境，簡直就是藝術。 56
Le Bristol Paris 自然是貫穿 Aurore de la Morinerie 一切作品的主題。這位 1962 年 生於法國聖洛的藝術家暨插畫家說：「我從小就以繪畫與大自然為庇護 之所，讓身心能夠安靜下來進行沉思。」她喜愛拍攝黑白照片，並以這 些照片為基礎，進行繪畫創作。 Aurore de la Morinerie 在巴黎藝術學院學習時裝造型之際，對中國 書畫產生了濃厚的興趣，中國山水畫家石濤（ 1642-1707 ）的繪畫理論 著作《苦瓜和尚畫語錄》，以及其他亞洲文學作品點燃了她的熱情。中 國山水畫所傳達的美學與哲學，對養成 Aurore de la Morinerie 的視野、 想法和作畫手法上獲得啟發，這一切都在她多次前往中國、印度、日本 和地中海周圍的旅程，進一步運用筆墨來探索靈感的作品中融為一體。 速速落筆，予畫以命。 Aurore de la Morinerie 以寫意呈現眼中所見 的世界，將外在一一剝解，直至綻現本質。落筆老成，得心應手的畫作 主題，只需一抹剪影，空靈卻有力、鋒利但妖嬈、簡樸與自由兼具，運 用留白，營造入畫氛圍。從無數的鳥、貓、狗、獅子和大象等動物到風 景和靜物皆然。 Aurore de la Morinerie 自 1990 年代以來，便與許多精品品牌及 著名設計師合作，定期為全球最負盛名之時尚雜誌撰稿，包括《 T:The New York Times Style Magazine 》、《 Harper's Bazaar 》和《 AD Magazine 》。 巴黎時尚博物館在 2013 年至 2015 年間，委託她創作兩個系列作 品，其中一部分已被博物館版畫部列為永久藏品。 人如作品；那雙沾了黑墨的優雅雙手，散發出一股漂泊和典雅。探 索新的地方是她最愛的。無論去何處，素描本和相機定不離身，每次啟 程都滿載靈魂和思想，這次 Aurore de la Morinerie 將從大海無盡深處 探索。 Aurore de la Morinerie 的《地中海 Travel Book 》 160 頁當中，附 有 70 幅畫作，以及藝術家的傳記及旅行見聞。在義大利帕多瓦的 Opus Manu Factum 工坊，按照古老傳統手工製作書套和皮面裝幀。每本都 有 Aurore de la Morinerie 簽名。 安排在飯店豪華套房裡與超現實主義畫家馬克．夏卡爾（ Marc Chagall ）的經典畫作《 Les Mariés au coq 》，共進米其林三星美饌， 匯集法式優雅的巴黎體驗，你心動了嗎 ? 這項巴黎勒布里斯托飯店（ Le Bristol Paris ）與「 Opera Gallery 」藝廊合作的饕客之夜，由飯店米其林三星行政總廚 Eric Frechon 掌杓，特別為搭配名畫作而訂製的三道菜式晚餐；希望借 由被希望與愛包圍的藝術氛圍，安撫人們對於「後疫時代」的焦慮。 20 世紀最有影響力的藝術家之一的夏卡爾，多半呈現夢幻、 象徵性手法與色彩的畫作，目的是提取美好記憶平撫失落和疼痛； 「超現實派」一詞就是因他而創造出來的。 《 Les Mariés au coq 》油畫，為夏卡爾晚年創作，「新娘和新 郎、公雞和小提琴手」等代表元素被疊加在藝術家富有想像力的構 圖中，喚起熱情的愛和快樂回憶。夢幻中，藍色陰影則暗藏著對家 鄉的記憶。 「與夏卡爾共進晚餐 A dinner with Chagall 」禮遇包含一晚住 宿、與夏卡爾畫作的私人晚餐、兩人美式早餐。將於 9 月推出，即 日起開放預約。 與 夏卡爾 共進晚餐？ 「A dinner with Chagall」 [ ART ] 57
Text / ETHAN Photo /
