羅芙奧季刊第43期 RAVENEL QUARTERLY NO. 43

精采時刻

藝術女力 FEMALE

雋永人生 No. 43 Summer 2023

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42 LUXURY 鐘錶拍賣新勢力崛起 Brands on the Rise 46 TRAVEL 「英王加冕」很有事倫敦作東，邀你同慶 48 CUISINE ｜惡魔糕點屋咬一口 Prada 蘋果綠 54 ART 『畢卡索』50週年，時尚有話要說 58 FASHION 「零殘忍」Stella McCartney「馬」的力量 60 LUXURY ｜時間即珠寶「伊甸花園」遊蹤 42

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WOMEN ARE HALF OF HUMANITY

女人是人類的一半

二十世紀最偉大藝術家畢卡索於 1973 年離開人間，留給世人珍貴的藝術作品，還有多情軼事。今年是他逝世 50 周年。法國的畢卡索美術館，為此請來英國時尚大

師 Paul Smith 擔任紀念策展藝術總監，設計師獨特的線條與格紋陪襯畢卡索的經典繪畫，俾使年輕世代更易於親近大師創作。

本期季刊裡除了有 Pablo Picasso X Paul Smith 饒富趣味展覽的介紹，還有幾篇精

品專文：伊甸花園系列蛇的誘惑，在 BLVGARI 創新系列頂級珠寶裡熠熠生輝；時間即珠寶，頂級複雜製錶之王百達翡麗，呈現機械結構之美；查爾斯三世新國王加冕，英人歡喜慶祝，在倫敦新開一間 Prada Caffè ，果綠色系糕點店洋溢義式優雅。

羅芙奧藏酒部「尊釀雲集」拍賣自 2013 年增加威士忌品項，專家與友人閒談間

訴說十年來購買品飲威士忌的點滴，還有耀眼的可觀增值。

2023 年上半年國際拍賣熱季在各大城市接續展開，羅芙奧推出呼應新世代藏家品味，推薦數百件中西藝術品，從華人書畫、亞洲、歐美現當代，超當代新銳潮流藝術家，十分有看頭。其中數件亮點作品賞析；「藝術家」單元則特別介紹具體派最有童心的日本畫家元永定正（ Sadamasa Motonaga ）其人其藝。

在籌備本期季刊時，紐約傳來最貴女性雕塑藝術家路易絲．布爾喬亞（ Louise Bourgeois ）再創拍賣新紀錄。本期「藝術與投資」專欄中談女性藝術家的坎坷奮鬥史與拍賣市場現況。令人刮目相看地，從 2022-2023 年女性藝術家的行情有大幅的提升。

女性心思細膩，直覺敏銳，女性的藝術隨著年輕藏家加入，突破過往的桎梏，行情得以翻轉。

從事拍賣多年，今年「薈萃國際」專場我們徵集到有史以來最多的女性藝術家作品，其中多位國際藝術家頗具潛力值得推薦，過去女性藝術家的作品長期被人忽略或低估，該是正視她們應有的價值與美好了。

巴布羅．畢卡索《賈桂琳的側臉（ A.R. 385 ）》

1956 年黑地白彩上釉陶瓷盤版次 320/500 直徑 18.5 cm 羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 038 預估價 TWD 220,000 - 320,000 Pablo Picasso, ProfildeJacqueline(A.R.385),

1956, Earthenware ceramic plaque with black engobe and white glaze, ed. 320/500, Ø18.5 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 038, Est. USD 7,300 - 10,600

總編輯

[ CHIEF EDITOR'S NOTE ]

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THE GLOBAL TREND OF NEW FORMS OF REPRESENTATION: A KALEIDOSCOPE OF PROMISING ARTISTS IN RAVENEL SPRING MODERN AND CONTEMPORARY ART AUCTION

匯聚名家與新銳，翻轉藝術新力量

Text / 李維屏 Apolline Li Photo / Ravenel International Art Group 10

跨界有理，呼應世代文化羅芙奧春拍「現代與當代藝術」

回顧疫情至今，全球在高通膨、高利率、疫情病毒、封城斷鏈，許多藝術家與藏家們在疫情創造革新契機。他們嘗試新型態佈展模式，各式各樣新式社交媒體，如 Instagram 、Facebook 、推特、微信、微博、甚至 Tik Tok 等，都已經為同步資訊傳輸分享的媒介與管道。社交平台已經對藝術市場產生了明顯的影響。藝術家藉由網路平台宣傳、展露自己，甚至成為疫情下銷售作品的主要管道之一。如今跨國和跨界學習經驗者為數眾多，此全球化網際網路的影響使得近年亞洲市場幾乎以西方當代藝術為交易大宗，另一個活躍的市場，則是動漫與潮流街頭類型藝術。

新興西洋藝術漸為主流、日韓藝術仍為亮點

當代藝術百花齊放，而奈良美智，無疑是近年藝術市場最炙手可熱的日本藝術家名字之一。其畫作雅俗共賞，享譽國際，近年來更在藝術市場中立於穩定地位。「森子」是奈良美智為數眾多的雕塑作品之一，由於奈良美智幾乎不為筆下任何娃娃命名，更可知森子在奈良美智心目中的地位何其重要。此件 2016 年作品《森林之子 / 奶油般的雪》 239 公分的尺寸有著奶油色的溫暖氛圍。《森林之子》更為奈良美智盡顯精髓象徵性版本的森子雕塑，為日本青森縣立美術館為慶祝開館十週年，特別請奈良美智創作高約六公尺的全新常設作品。奈良企圖以孩童純真的角度，跳脫以往作品中諷刺的口吻或憤怒，轉而回歸單純、平靜的自然之境，如冷杉般高聳彷彿直通天際彷彿要與宇宙溝通般。

跨界有理，翻轉藝術新力量

在當前潮流藝術中可謂無人不知，無人不曉，曝光率破表的 KAWS ，引領了潮流藝術進而帶起西洋當代風潮。除了商業方面的發展，同時在創作巨幅畫作之中刻劃著他的熱情。 KAWS 對於漫畫和流行文化標誌性人物的運用，已成為 KAWS 作品的中心概念及特色，他

獨特的藝術手法模糊了藝術、設計和商品的界限。 "X X" 形雙眼打上 KAWS 的印記二度創作的卡通形象，主體形象更加強烈，成為一枚通關密碼，彰顯 KAWS 跨越國界族群與世界溝通的符碼。

英國鬼才藝術家 Mr Doodle 憑藉一隻麥克筆，以密鋪式的簡單線條塗鴉風靡全球。 2019 年 Mr Doodle 取材一系列改造世界名畫的塗鴉創作，重新演繹那些藝術史中的名家作品。《 Doodle 吉他手》取材自傳奇藝術大師巴勃羅畢卡索《老吉他手 The Old Guitarist 》是畢卡索「藍

色時期」經典畫作之一，以單色陰鬱的藍色為主，有時並取用陰沉的題材。芝加哥藝術學院在 1926 年購買到這幅畫後，也成為第一個將畢加索永久陳列的美國博物館。而 Mr Doodle 以名作為原型，整幅畫面以藍色打底，看似苦難中卻又妙趣橫生， Mr Doodle 以他獨特且新穎的個人視角重新詮釋了屬於他自己的塗鴉藝術。

◀ 奈良美智《森林之子 / 奶油般的雪》 2016 銅聚氨酯限量 3 & 2AP

64( 長 ) x 74.6( 寬 ) x 239( 高 ) cm

羅芙奧台北 2023 春「現代與當代藝術」專場

Yoshitomo NARA, MissForest/CreamySnow, 2016, Urethane on bronze, edition of 3 & 2AP, 64(L) x 74.6(W) x 239(H) cm, Ravenel Spring Auction 2023 Modern & Contemporary Art

▲ KAWS 〈布萊恩．唐納利〉《作為朋友》 2013 壓克力畫布 243.8 cm ( 直徑 ) 羅芙奧台北 2023 春「現代與當代藝術」專場

KAWS (Brian Donnelly), GoingAsFriends, 2013, Acrylic on canvas, 243.8 cm (diameter), Ravenel Spring Auction 2023 Modern & Contemporary Art

▼ 塗鴉先生《 Doodle 吉他手》 2019 壓克力畫布 70 x 50 cm

羅芙奧台北 2023 春「現代與當代藝術」專場

Mr Doodle, The Doodle Guitarist, 2019, Acrylic on canvas, 70 x 50 cm, Ravenel Spring Auction 2023 Modern & Contemporary Art

[ THE ARTIST ]

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紐約藝術家艾迪．馬丁內斯作品多由對比強烈的色塊、天馬行空的線條和隨性的材料運用，可見作品已代替他表達了對生活的種種感受。

早期創作傾向具象，獨特的圖像語言來闡述生活創作，後來則轉以更抽象的方式來表達情感。受到抽象表現主義和正統藝術史的影響，以及街

頭藝術就地取材等創作渲染。他的作品將繪畫和素描、抽象和具象融合展現豐沛的生命力與創造力，樹立了獨特的藝術風格。

野蠻但童趣的新美學－西洋當代藝術家的崛起

童趣美學在近年藝術市場掀起風潮，一方面令人回想起孩童時期的記憶、滿足了天馬行空的幻想，充滿幽默感又詼諧的畫風療癒許多資訊時代下焦慮不安的心。

拉法．馬卡龍出生於馬德里，對藝術的熱情與天賦自學成師。色彩豐富且獨特的畫風，使拉法．馬卡龍的作品備受歐美藏家愛戴。他創造的畫中世界，日常場景帶有一絲懷舊的氣息，靈感來自孩童時期的記憶，或是如孩童腦海中，天馬行空對外太空的想像。藝術家筆下形形色色的人物，畫中無時不上演精彩逗趣的劇情。如同真實世界，每個人都有自己的想法、外型和故事，人們彼此相似卻又不盡相同。

薩波爾齊斯．博佐佐一位居住在倫敦的年輕匈牙利藝術家，身為近

▲ 左：艾迪．馬丁內斯《無題》 2015 油彩壓克力漆畫布 101.5 x 76.6 cm

羅芙奧台北 2023 春「現代與當代藝術」專場

Left: Eddie Martinez, Untitled, 2015, Oil, enamel, acrylic, sprayprint on linen, 101.5 x 76.6 cm, Ravenel Spring Auction 2023 Modern & Contemporary Art

右：拉法．馬卡龍《海洋》 2018 綜合媒材畫布 182 x 182 cm

羅芙奧台北 2023 春「現代與當代藝術」專場

Right: Rafa MACARRÓN, Océano, 2018, Mixed media on canvas, 182 x 182 cm Ravenel Spring Auction 2023 Modern & Contemporary Art

幾年最受關注的 90 後藝術家之一，作品融入了卡通的元素，並從匈牙利動畫、民間傳說和神話為靈感，作品充滿童趣。一方面卻又有著受像表現主義 Cy Twombly 與動態主義（ gesturalism ） Jean-Michel Basquiat 等藝術家等手法，僅在短短兩年，就在紐約、邁阿密、馬德里、巴黎、倫敦、上海等城市的畫廊中舉辦過群展或個展。

菲利克斯．崔德威爾為英國 90 後畫家，充滿童趣的作品，佔據畫面焦點的主題大眼睛，扁平毫無深度的背景和人物深受年少時代熱衷看日本漫畫的影響。以稚趣動感的線條造型，運用豐富細膩的色彩，引領觀眾走進其異想世界。

喬迪．科維克奇幻生物，聯想南美神祇，以原始的繪畫風格為人熟知。作為一名自學成才的藝術家，喬迪．科維克拋開傳統的藝術創作模式 , 以純粹的方式探索繪畫的紋理和表面。畫面中的主角被塑造為近乎抽象的簡陋形狀 , 創造出扁平的三維空間視圖。充滿力量的筆觸和富有表現力的色彩形成生機勃勃的構圖 , 揭示物體最自然和最真實的美。

喬恩．布爾格曼－充滿幽默感的藝術家。他就曾表示創作最好的靈感就是想像力，他希望透過藝術讓每合人都能參與感受創造的可能性。藝術無分國界，來自英國的喬恩．布爾格曼善於使用繽紛的色彩，作品充滿童趣的創作加上英式幽默，讓他的作品成功走進不同地區。

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塔妮亞．馬莫列霍的藝術創作始於時尚與生活風格雜誌的插畫作家。出生於多米尼加，目前定居美國紐約， 2005 年，她開始致力於藝術生涯。總是有著令人過目難忘的深邃眼眸與動人神情女子為其標誌性風格。她的作品受到文藝復興和巴洛克時期繪畫藝術，以及德國抽象和具象表現主義的影響，塔妮亞的創作不斷探索性別和身份的問題，女性的表情與身體語言成為觀畫者與藝術家間的交流載體。

During the pandemic, the world is struggling with the effects of inflation, high interest rates, vicious virus and lockdown. In face of these adversities, artists and collectors discover silver linings through artistic creations. They discover new media and forms of representation through Instagram, Facebook, Twitter, WeChat, Weibo and Tik Tok etc. These are channels of instant transmissions and are causing significant influences on the art market. Artists promote themselves and their art through these platforms and use them as a primary selling tool. Such multinational platforms with a broader variety of audience encourage a surge of significant transactions in Western contemporary art and, treading along the line, manga and street art.

The Rise of New Western Art with A Focus on Japanese and Korean Art

Following the boom of the Contemporary art market, the art of Yoshitomo Nara became the most sought-after in the art market in recent years. With a wide audience across the globe, its performance is strong in the market. Miss Forest is one of the sculptural art by the artist. As Yoshitomo Nara seldom names his subject, the fact that this art being named proves its importance to the artist. Miss Forest Creamy Snow with 239 cm in height and a creamy and cozy setting was created ㄊ in 2016. Miss Forest is a unique representation of the artist as a work of the series, up to 6 feet in height, was featured in the commemoration of the 10th anniversary of the Aomori Museum of Art. Nara created the work from the perspective of a child. This differentiates itself from the sarcasm and anger featured in previous works. Innocence and serenity of Nature dominate the theme, as a fir soaring towards the sky and beyond.

[ THE ARTIST ]

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A Revolutionary Form of Representation

In terms of the contemporary art scene, Kaws is a name known to all walks of life, as he is a pioneer in pop art and the contemporary Western art scene. His passion towards creating large scale works shines beyond his performance in the market. Kaws utilises manga and pop culture elements as a concept and feature of his work. His unique representation blurs the boundaries of art, design and commerce. "XX" marked eyes became a feature of Kaws artwork with a distinct character and a universal language across cultural backgrounds.

British talented artist Mr Doodle (His real name Sam Cox) wins enormous popularity across the world by creating with his marker densely laying out simple graffiti lines. In 2019, Mr Doodle created a series of graffiti which transformed from the world's famous paintings, reinterpreting the works from those masters in art history. Mr Doodle "Doodle Guitarist" is drawn from the legendary art master Pablo Picasso "The Old Guitarist", which is one of his classic paintings from the "Blue Period", mainly monochrome in gloomy blue hue. Since the School of the Art Institute of Chicago acquired this painting in 1926, it also became the first American museum to permanently exhibit works from Picasso. Mr Doodle is taken from this painting as the prototype, the whole picture applies bluish tone as background, which seems to be suffering yet full of wit simultaneously. Mr Doodle reinterprets his own graffiti art with his distinct and new personal perspective.

New York artist Eddie Martinez uses bright colours, innovative lines and ad hoc media in his art. His works show his ideals of life with earlier works showing a more realistic approach with subjects of representation; while his later works turn abstraction into an expression of emotions. Under the influences of abstraction, traditional art history and pop art, his works merges techniques of paintings, sketches, abstraction and realism to create a unique representation of art.

Rough and Innocence As the New Aesthetics Criteria in Western Contemporary Art

The beauty of child-like innocence prevailed in the art market in recent years, as it arouses childhood memories and innovative creation. Such humour calms the distressed minds amidst the chaotic modern world.

Born in Madrid, Rafa Macarron is a gifted self-taught artist with immense passion in art. The rich colours and unique composition allows the artist to gain popularity among European and American collectors. His works depict his reminiscence of the past, inspired by his childhood memories and fancies. The subject matters form various stories, as in reality, ideas and thoughts appear to be similar yet differ in context.

Szabolcs Bozo is a London-based young artist from Hungary. In recent years, he was acclaimed as one of the significant artists born after the 90s. His works

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feature cartoon elements derived from Hungarian animations, folk tales and mythologies. Yet his works show references of expressionism of Cy Twombly, gesturalism of Jean-Michel Basquiat. Within a couple of years, the artist has held exhibitions in New York, Miami, Madrid, Paris, London and Shanghai.

Felix Treadwell is a British artist born after the 90s, specialising in depicting child-like works with subjects of large beady eyes, flat setting with strong Japanese manga influence. Through the depiction of lines and delicate choices of colours, the artist leads the audience into his world of art.

Jordy Kerwick is known for his primitive painting style and thick impasto technique, often depicting fantasy creatures that evoke myths from South America. As a self-taught artist, Kerwick does not adhere to traditional artistic methods and instead explores the texture and surface of painting in a pure way. The main subjects in his paintings are often presented as almost abstract, crude shapes, creating a flat three-dimensional space. His powerful brushstrokes and expressive colors form a lively composition, revealing the most natural and authentic beauty of the objects.

Jon Burgerman is an artist with humour. He believes that imagination is key to his creation, as he allows audiences to create through his art. To him, art has no boundaries. Various colours were used to highlight child-like fun with hints of British humour, allowing his works to be well-received by different countries.

Tania Marmolejo is an artist with a background in fashion and lifestyle magazine illustration. Born in Dominica, currently based in New York, she started her artistic career in 2005. Her works feature women with captivating eyes, under a strong influence of Renaissance and Baroque paintings, German abstraction and realistic expressionism. Tania's works explore issues of sexuality and identity and use the feminine expression and body language as a medium of expression.

◀ 上：塔妮亞．馬莫列霍《意外的鄉愁》 2021 油彩畫布 124 x 134 cm

羅芙奧台北 2023 春「現代與當代藝術」專場

Top: Tania MARMOLEJO, ASurpriseNostalgia, 2021, Oil on canvas, 124 x 134 cm, Ravenel Spring Auction 2023 Modern & Contemporary Art

中：薩波爾齊斯．博佐《無題》 2020 壓克力油粉彩畫布 160 x 130 cm

羅芙奧台北 2023 春「現代與當代藝術」專場

Middle: Szabolcs Bozó, Untitled, 2020, Acrylic, oil pastel on canvas, 160 x 130 cm, Ravenel Spring Auction 2023 Modern & Contemporary Art

下：喬迪．科維克《皮草靜物》 2021 油粉彩鉛筆紙本 41 x 29 cm

羅芙奧台北 2023 春「現代與當代藝術」專場

Bottom: Jordy Kerwick, FauxRugStillLife, 2021, Oil pastel, pencil on paper, 41 x 29 cm, Ravenel Spring Auction 2023 Modern & Contemporary Art

▼

上：喬恩．布爾格曼《咕噥狗》 2021 噴漆紙本 76 x 57 cm

羅芙奧台北 2023 春「現代與當代藝術」專場

Top: Jon Burgerman, MumbleDog, 2021, Spray paint on paper 76 x 57 cm, Acrylic, pencil on canvas,159.5 x 119.5 cm

Ravenel Spring Auction 2023 Modern & Contemporary Art

下：菲利克斯．崔德威爾《穿長靴的男孩》 2020

壓克力鉛筆畫布 159.5 x 119.5 cm

羅芙奧台北 2023 春「現代與當代藝術」專場

Bottom: Felix Treadwell, Boy in Boots, 2020, Acrylic, pencil on canvas,159.5 x 119.5 cm, Ravenel Spring Auction 2023 Modern & Contemporary Art

[ THE ARTIST ]

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超當代翻轉思維

談女性藝術家的奮鬥與市場概況

Reimagining the Ultra-Contemporary

Art Landscape Challenges and Market Dynamics for Women Artists

Text / 陳惠黛 Odile Chen Photo / Ravenel International Art Group

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本期專欄來談談近幾年熱門的話題，藝術界的女力崛起以及女性藝術家的市場概況。國際間相關的策展、論述非常之多，而性別平權在拍賣市場也趨為主流題材。當 21 世紀人權思想與創作講求自由之際，兩性平權在藝術產業界依舊進步緩慢，仍存在著很大的進步空間。

根據 2023 年 4 月 4 日《 The Art Newspaper 》的一篇報導，國際大拍賣行蘇富比、佳士得和邦瀚斯的 2022 年度職員薪酬男性仍高於女性，雖然有逐年改善中，但差距仍顯著。那麼創作者的行

情呢？有一說，迄今為止藝術市場最穩定、最可靠的因素，即是白人男性藝術家的主導地位。不過，以比價效應而言，被低估的女性或是非白人藝術家，是否才是我們應該多加關心的族群呢？

藝術史的厭女症（ Misogyny ）

作家維吉尼亞．吳爾芙曾說：「在歷史的大部分時間裡，匿名者都是女性」。

過去女性背負著不能拋頭露面或孕育後代等規範，婚後或者

成為母親之後，可能因家庭社會的責任被迫停止創作。西方畫廊曾將懷孕的女性藝術家視為高風險，採取中斷代理的無情舉措。

回顧歷史上，古今中外歷史對女性向來都不公平，過去的藝術史籍幾乎由男性書寫，其中不少觀點還帶有女性貶抑的厭女症。

◀ 喬治婭．迪莫克《拉辮子，吸吸管（之一）》 2022 年油彩亞麻布 150 x 150 cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 040 預估價 TWD 750,000 - 1,100,000

Georgia Dymock, PullingPlait,SuckingStraw(partone), 2022 Oil on linen, 150 x 150 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 040, Est. USD 24,900 - 36,500

▲ 蘿拉．伯格《兜風》 2022 年油彩畫布 91.4 x 111.8 cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 042 預估價 TWD 380,000 - 550,000

Laura Berger, Joyride, 2022, Oil on canvas, 91.4 x 111.8 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 042 Est. USD 12,600 - 18,200

◀ 伊琳娜．馬克西莫娃《她是堅強的戰士》 2021 年壓克力畫布 150 x 115 cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 041 預估價 TWD 200,000 - 300,000

Iryna Maksymova, SheisaSnakeFighter, 2021, Acrylic on canvas, 150 x 115 cm Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 041, Est. USD 6,600 - 9,900

可以想像嗎？ 1962 年出版的藝術教科書－詹森（ Horst Woldemar Janson, 1913-1982 ）撰寫的《藝術史》（ History of Art ），有 15 種語言版本，發行數量至少四百萬冊以上，原版書中未提及任何一位女性藝術家的名字或作品，將女性完全排除在藝術史之外，後來經改編的版本才增加女性藝術家的篇幅；而另外一本適合年輕人入門閱讀的聖經－宮布利希（ Ernst Gombrich, 1909-2001 ）的《藝術的故事》（ The Story of Art ），發行數量亦有數百萬冊，曾被翻譯成 30 多種語言，知名度

更高。然而，首版的《藝術的故事》裡沒有提到任何一位女性藝術家。

後者這本鉅作從 1950 年首版發行以來， 6 百多頁橫跨數千年厚達的世界的藝術故事裡，對女性藝術家完全避而不談，而後來的改版到甚至第 16 版（ 2022 ），也僅僅只提到一位女性藝術家，德國的凱特．柯勒惠支（ Käthe Kollwitz, 1867-1945 ）。

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1985 年七位女性藝術家戴上大猩猩面具，化名為已故的女性藝術家與作家，在紐約發起「游擊隊女孩」運動，抗議藝術界積弊已久的性別歧視與種族主義。這場運動的起因在於前一年度紐約 MoMA 現代美術館的展覽「近期繪畫和雕塑的國際調查」（ An International Survey of Recent Painting and Sculpture ） (1984 ），該展宣稱來自 17 國最重要的 165 名當代藝術家名單，其中只有 13 名女性，不到 8% ，非白人的有色人種藝術家比例更少。

「游擊隊女孩」再度喚醒文化政治中的歧視問題，成員花費數年參觀並統計男性與女性藝術家在紐約大都會美術館的館藏比例， 1989 年女性藝術家在該館的收藏不到 5% ，而作品中 85% 的裸體作品是女性。

「游擊隊女孩」運動在 20 世紀末曾為女性藝術家發聲，像焰火般照亮星空，令人感佩。

真正的藝術家不分男女老幼

每隔一段時間，女性藝術家的問題就會被提出來討論，但熱度一過似乎又回歸到現實。所謂數字會說話，關心相關議題的人士曾幫忙整理出資料。

由獨立編輯夏洛特．伯恩斯（ Charlotte Burns ）和 Artnet News 的茱莉亞．霍爾柏林（ Julia Halperin ）兩人共同創建《伯恩斯－霍爾柏林報告》（ Burns Halperin Report ），從 2018 年起每年底公布研究報告，美國黑人藝術家、女性藝術家和黑人女性藝術家在美國博物館和全球藝術市場中的代表性。在 2022 年的報告中顯示，美國藝術界進展不大，但國際舞台正在進步，只是仍舊緩慢。博物館購藏女性藝術家作品 2009 年達到高峰，在 #MeToo 運動出現後， 2016 年和 2017 年也略有上升。而購藏美國黑人藝術家作品在 2015 年達到頂峰，而就是在「黑人的命也是命」 BLM 運動成立兩年後。

綜觀過去的藝術史論述多以西方男性白人視角，女性或有色種族的藝術成為遺珠或著墨有限。美國傑出女權主義藝術史學者琳達．諾克林（ Linda Nochlin, 1931-2017 ）曾在 1971 年在《 Artnews 》雜誌發表一

篇〈為何沒有偉大的女性藝術家？〉（ Why Have There Been No Great Women Artists ），成為當代探討女性藝術家地位最重要起始點，她認為社會阻礙女性追求藝術，藝術學院為女性設限，還有藝術史的男性菁英主義。傳統的社會制度及教育系統，並不樂見女性參與美術學院學習，例如女學生不得參與人體寫生課。諾克林將女性主義納入藝術史的範疇，收集研究過去四百年來活躍的女性藝術家，並在美術館舉辦巡迴展覽與出版圖錄，打破了藝術圈男性唯一的話語霸權。

琳達．諾克林甚且研究「東方主義」（ Orientalism ），數百年男性

藝術家們以東方主義探索色情與暴力主題，這些主題未必是要宣傳殖民主義的霸權，而反映出早期法國社會的沙文主義與厭女症現象。她的言論像灑向世界的種子，在各地開枝散葉，影響深遠。女性主義運動的另一高峰，則要提到「游擊隊女孩」（ Guerrilla Girls ）。

◀ 塩田千春《存在的狀態（窗扉）》 2021 年金屬框窗扉紅線

45 （長） x 80 （寬） x 120 （高） cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 025 預估價 TWD 4,200,000 - 6,500,000

Chiharu Shiota, StateofBeing(Windows), 2021, Metal frame, windows and thread, 45(L) x 80(W) x 120(H) cm

▼

Ravenel Spring Auction 2023

Select: Modern & Contemporary Art, lot 025, Est. USD 139,200 - 215,400

蘇珊．庫恩《浮光掠影 5 》 2020 年壓克力畫布 160 x 130 cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 049 預估價 TWD 750,000 - 1,100,000

Susanne Kühn, Flash Sketch 5, 2020, Acrylic on canvas, 160 x 130 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 049, Est. USD 24,900 - 36,500

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不意外，博物館的收藏中大多數仍是男性藝術家，國際拍賣會也是男性藝術家作品多於女性藝術家。幸好！從當代藝術的範疇開始有了顯著的進步！

疫情後的 2022 年威尼斯雙年展中，參展的女性藝術家首次多於男性，這是一個轉折點。不過無須像某些媒體暗示是「女性戰勝男性的勝利」，應該說是整個社會的勝利！威尼斯雙年展策展人塞西莉亞．阿萊馬尼（ Cecilia Alemani ）說她選擇的不是女性，而是藝術家。

最貴的女性藝術家作品

喬治亞．歐姬芙（ Georgia O'Keeffe, 1887-1986 ）

《曼陀羅 / 白花 1 號》（ Jimson Weed/White Flower No. 1 ），

成交金額 US$44,405,000 ， 2014 年 11 月 20 日紐約蘇富比。

Photo Credit: Artprice

最貴的女性雕塑作品

路易絲．布爾喬亞（Louise Bourgeois, 1911-2010）《蜘蛛》，

成交金額 US$40,000,000；其最高拍賣紀錄為 1996 年《蜘蛛》作品，

成交金額 US$32,804,500，2023 年 5 月 19 日紐約蘇富比。

2022 年瑞士巴塞爾藝術博覽會豪瑟沃斯畫廊展位現場

Photo Credit: PT Express

已故紐約畫派藝術家瓊．米切爾（

Joan Mitchell, 1925-1992 ）也曾說：「真正的藝術家一定是『不分男女，不分老幼』。」而米切爾是目前女性抽象表現藝術家中最高價的一位。

女力崛起於拍賣市場

在此分享關於二十世紀幾位重要女性藝術家的拍賣紀錄成就解鎖，這些紀錄都是在過去十年內所締造的，實屬不易。

最貴的拉丁美洲女性藝術家作品

芙烈達．卡羅（ Frida Kahlo, 1907-1954 ）

《迪亞哥與我》（ Diego y yo ），

成交金額 US$34,883,000 ，2021 年 11 月 16 日紐約蘇富比。

Photo Credit: 自由時報、法新社

最貴的女性抽象表現主義作品

瓊．米切爾（ Joan Mitchell, 1926-1992 ）

《藍莓》（ Blueberry ），

成交金額 US$16,625,000 ， 2018 年 5 月 17 日紐約佳士得。

Photo Credit: 99 藝術網

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最貴的在世女性藝術家作品

最貴的女性攝影作品

草間彌生（ Yayoi Kusama, b. 1929 ）《無題》（網） Untitled (Nets) ，成交金額 US$10,496,000 ， 2022 年 5 月 18 日紐約富藝斯。

辛蒂．雪曼（ Cindy Sherman, b. 1954 ）《無題影片劇照》（ Untitled Film Stills ），成交金額 US$6,773,000 ， 2014 年 11 月 12 日紐約佳士得。

不只在威尼斯雙年展，女性藝術家在機構展覽的能見度大大提升，擴及到藝術市場對女性藝術產生濃厚興趣與收藏需求。根據藝術資料庫平台 Artprice 公布的《 2022 年度藝術市場》（ The Art Market in 2022 ）報告，其中的〈當代藝術趨勢〉（ Trends in Contemporary Art ）篇，指出女性藝術家更受關注。非當代藝術類的印象派畫家瑪麗．卡薩特（ Mary Cassatt, 1844-1926 ），新的拍賣紀錄調整為近 750 萬美元；美國戰後抽象表現藝術家伊萊恩．德．庫寧（ Elaine de Kooning, 19181989 ）跨越百萬美元門檻；美國藝術家瑪麗．海爾曼（ Mary Heilman, b. 1940 ）、黎巴嫩裔美國藝術家伊黛．阿德南（ Etel Adnan, 19252021 ），紛紛創下個人拍賣新紀錄。

根據該網站的數據資料顯示：年輕世代收藏家也非常熱衷於當代藝術家，今年和路易威登 Louis Vuitton 聯名，並於香港舉辦有史以來

最大規模的日本大師草間彌生， 2022 年再次改寫新的拍賣紀錄。其他過去兩年間創下新紀錄的當代女性藝術家有：印尼的克里斯汀．艾珠（ Christine Ay Tjoe, b. 1973 ） US$1,732,158 ；美國的凱瑟琳．伯恩哈特（ Katherine Bernhardt, b. 1975 ） US$764,411 、莎拉．休斯（ Shara Hughes, b. 1981 ） US$2,940,000 ；哥倫比亞的瑪麗亞．貝里奧（ María Berrío, b. 1982 ） US$1,603,000 ；日本的塩田千春（ Chiharu Shiota, b. 1972 ） US$396,751 、山本麻友香（ Mayuka Yamamoto, b. 1964 ） US$281,385 等等。

2019 年 Artnet 新聞編輯創建了一個新名詞「超當代」（ UltraContemporary ），專指 1975 年後出生的當代藝術家，使當代藝術的分

類更精確，而此一版塊藝術家在近期二級市場中佔有重要地位。

在「超當代藝術家」的類別，行情崛起的速度十分是驚人，國際新興藝術家行情打破性別與國界的限制，翻轉新世代藏家的審美標準或傳統的制約，無論是否已受機構或博物館的認可或典藏，率先創下高價紀錄之數量與廣度更勝其他。

藝術市場中幾位傑出的超當代藝術家：如美國藝術家艾弗里．辛格（ Avery Singer, b. 1987 ） US$5,253,000 、洛伊．霍洛韋爾（ Loie Hollowell, b. 1983 ） US$2,292,383 、克里斯蒂娜．夸爾斯（ Christina Quarles, b. 1985 ） US$4,527,000 、露西．布爾（ Lucy Bull, b. 1990 ） US$1,449,941 、勞倫．奎恩（ Lauren Quin, b. 1992 ） US$588,042 、伊西．伍德（ Issy Wood, b. 1993 ）US$588,042 、丹妮爾．奧查德（ Danielle Orchard, b. 1985 ） US$287,500 ；西班牙的克里斯蒂娜．班班（ Cristina Banban, b. 1987 ） US$198,216 ；挪威裔英國藝術家弗洛拉．尤赫諾維奇（ Flora Yukhnovich, b. 1990 ） US$3,601,641 ；來自加拿大的安娜．維揚特（ Anna Weyant, b. 1995 ） US$1,623,000 ；非裔奈及利亞藝術家尼吉德卡．阿庫尼利．克羅斯比（ Njideka Akunyili Crosby, b. 1983 ） US$4,740,000 ；以及日本的六角彩子（ Ayako Rokkaku, b. 1982 ） US$1,323,836 、小松美羽（ Miwa Komatsu, b. 1986 ） US$215,530 、中村萌（ Moe Nakamura, b. 1988 ） US$176,560 等不一而足。

年輕女性藝術家不因年紀輕、資歷欠豐而使收藏家們卻步，創新的風格與社群傳媒激勵之下，使她們在 2022-2023 年間行情飆升。年輕世代的藏家，有包容力敢於挑戰傳統，不會顧慮性別或種族而去貶低她們的藝術價值，促成更多 80 年後或 90 後新興女性藝術家的崛起。

「超當代」女性藝術家市場作前鋒

Photo Credit: Phillips Photo Credit: Artprice

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Artprice 的年度報告具有口碑，向來是業界參考的指標之一。在

其《 2022 年超當代藝術市場報告》（ The 2022 Ultra Contemporary Art Market Report ）的〈女性新優勢〉（ The new and preponderant place of women ）一文中，提及在 2022 年上半年女性藝術家的「形勢逆轉」

（ situation reversal ）：「這群三十多歲的女性當代藝術家，相較於同世代的男性價格更具成長性。如果以排行前 50 名來看，則有 21 名是女性藝術家。此排名揭示了 2022 年上半年有十位年輕（在世）藝術家其

作品刷新拍賣紀錄。女性藝術家以六項成績明顯佔據主導地位，其中包括四項最佳成績！女性在拍賣市場上取得如此成功，是前所未見的。」

▶ 草間彌生《傍晚的雨光》 1992 年絲網印刷版次 46/75

52.8 x 45.5 cm （圖）； 61 x 53.5 cm （紙）

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 016 預估價 TWD 240,000 - 360,000

Yayoi Kusama, RainintheEveningGlow, 1992, Silkscreen, ed. 46/75, 52.8 x 45.5 cm (image); 61 x 53.5 cm (sheet)

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 016, Est. USD 8,000 - 11,900

▲ 小松美羽《狛犬時光》 2019 年壓克力畫布 27.5 （長） x 35.5 （寬） x 7 （厚） cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 013 預估價 TWD 160,000 - 240,000

Miwa Komatsu, GuardianDog'sMoment, 2019, Acrylic on canvas, 27.5(L) x 35.5(W) x 7(D) cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 013, Est. USD 5,300 - 8,000

▲ 小松美羽《一起，邁向未來！》 2019 年壓克力畫布 60.6 x 72.7 cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 014 預估價 TWD 750,000 - 1,200,000

Miwa Komatsu, TheSameWay, Jumping to the Future, 2019, Acrylic on canvas, 60.6 x 72.7 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 014, Est. USD 24,900 - 39,800

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▲ 麗安儂．索爾茲伯里《迪士尼公主》 2021 年油彩畫布 158.5 x 120 cm 羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 063 預估價 TWD 380,000 - 600,000

Rhiannon Salisbury, Disney Princess, 2021, Oil on canvas, 158.5 x 120 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 063, Est. USD 12,600 - 19,900

▶ 徐毛毛《分離沒有人哭泣》 2006 年壓克力畫布 197 x 149.5 cm 羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 098 預估價 TWD 140,000 - 220,000

Xu Maomao, No-Cry Separation, 2006, Acrylic on canvas, 197 x 149.5 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 098, Est. USD 4,600 - 7,300

而另一個 Artsy 藝術平台，在 2023 年 3 月 8 日婦女節由 Casey Lesser 發表的一篇文章〈藝術市場前沿的超當代女性藝術家〉（ The Ultra-Contemporary Women Artists at the Forefront of the Art Market ）中，超當代女性藝術家自 2012-2022 的十年間市場規模成長 4,071% ，

銷售額自 528 萬美元成長至 2 億 2024 萬美元。年輕藝術家參與拍賣的數額明顯增加。有趣的是，在 Artsy 平台的超當代藝術領域，男性與女性藝術家的佔比分別為 56.1% 和 43.6% （其餘為無法分類者）；而在所有藝術家類別中，男性與女性藝術家的佔比分別為 88.24% 和 9.39% ；若再縮小範圍至 1985 年後（含 1985 ）出生藝術家，男性和女性的佔比出現「大逆轉」，女性藝術家達到 63.8% ，明顯超過男性藝術家。

在台灣，性別平權受到相對的保障與尊重，藝術界的男女職員薪酬沒有太大的落差，可以說台灣女性在藝術界的地位並不亞於男性。有研究顯示，如果不看牆上的說明牌，女性藝術家作品的細膩思維與美感，經常更能在第一時間吸引收藏者的目光與好感度。世界繼續在前行，我們樂見社會與制度的進步。期許自己在欣賞或收藏藝術品時，以藝術價值為優先，能否與觀者產生共鳴，性別並非需要考慮的選項。

筆者在羅芙奧 2023 年春拍負責的「薈萃國際」（ SELECT ）專場，徵集到有史以來人數和件數最多的女性藝術家作品，達到三分之一強。或許隨著風氣的開放，有天能達到男女藝術家相當的比例，期待那一天的到來。

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In this column, I delve into a compelling and timely subject: the burgeoning influence of women in the art world and the current market dynamics surrounding female artists. This topic has ignited a global discourse among curators and scholars, with gender equality gaining prominence even within the auction market. Despite the 21st-century focus on human rights and freedom of expression, achieving gender equality within the art industry remains an ongoing and gradual process, signifying that there is still a considerable journey ahead.

According to an article from "The Art Newspaper" on April 4, 2023, major international auction houses, such as Sotheby's, Christie's, and Bonhams, still exhibit a gender pay gap in staff salaries, with men earning more than women in the year 2022. Although there has been gradual improvement in recent years, a significant disparity remains. Now, what about the market for artists? It has been suggested that the most stable and reliable factor in the art market so far is the dominant position of white male artists. However, in terms of comparative value, shouldn't we pay more attention to undervalued female or non-white artists?

Misogyny in Art History

Writer Virginia Woolf once said, "For most of history, anonymous was a woman."

In the past, women were burdened with norms such as not being able to be in the spotlight or pursue their artistic careers after marriage or becoming mothers. Pregnant female artists, for example, were considered high risk by Western galleries, and ruthless measures like suspending representation were taken. Looking back at history, women have always been treated unfairly both in the eastern and western contexts, and the historical records of art were predominantly written by men, many of whom harbored a misogynistic view of women.

Imagine this: The 1962 art textbook "History of Art" by Horst Woldemar Janson (1913-1982) achieved global success, with 15 language versions and over four million copies distributed. Astonishingly, the original edition completely omitted the names and works of any female artists, effectively erasing women from the narrative of art history. It wasn't until later adaptations that the inclusion of female artists began to expand. Similarly, "The Story of Art" by Ernst Gombrich (1909-2001), another renowned introductory art book for young people, has garnered immense popularity, selling millions of copies and being translated into over 30 languages. However, even in its original 1950 edition, the book neglected to mention any female artists. In this monumental work, spanning thousands of years and spanning over six hundred pages to cover the vast history of art, it wasn't until the 16th edition in 2022 that a solitary female artist, Käthe Kollwitz (1867-1945) from Germany, was finally acknowledged.

▲ 安德莉亞．弗里德《門Ⅰ》 2020 年壓克力畫布 188 x 160 cm 羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 069 預估價 TWD 150,000 - 220,000

Andrea Fried, Portal Ⅰ, 2020, Acrylic on canvas, 188 x 160 cm Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 069, Est. USD 5,000 - 7,300

▼ 瑪雅．喬爾傑維奇《喜歡你的樣子》 2019 年油彩瓷漆畫布 150 x 110 cm 羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 057 預估價 TWD 360,000 - 550,000

Maja Djordjevic, Love Your Way, 2019, Oil and enamel on canvas, 150 x 110 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 057, Est. USD 11,900 - 18,200

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Linda Nochlin went even further to study "Orientalism," exploring how male artists for centuries used Orientalism to depict themes of sexuality and violence. These themes were not necessarily promoting the hegemony of colonialism but rather reflected the chauvinism and misogyny prevalent in early French society. Her ideas spread like seeds across the world, taking root and exerting a profound influence. Another peak of the feminist movement is marked by the "Guerrilla Girls," a group of activists.

In 1985, seven female artists donned gorilla masks and adopted the aliases of deceased women artists and writers to launch the "Guerrilla Girls" movement in New York. Their aim was to protest against the longstanding gender discrimination and racism deeply embedded within the art world. The catalyst for this movement was the exhibition "An International Survey of Recent Painting and Sculpture" held at the Museum of Modern Art in New York the previous year (1984). The exhibition claimed to showcase the works of 165 contemporary artists from 17 countries, yet only 13 of them were women, accounting for less than 8% of the total. The representation of artists from non-white racial backgrounds was even more minuscule.

Looking back at the discourse on art history, it has predominantly been shaped from the perspective of white male artists in the Western world, while the contributions of women and artists from non-white backgrounds have often been overlooked or given limited attention. Renowned feminist art historian Linda Nochlin (1931-2017) made a significant breakthrough in contemporary discussions on the status of women artists with her 1971 article "Why Have There Been No Great Women Artists?" published in Artnews magazine. Nochlin argued that societal barriers hindered women from pursuing art, art institutions imposed limitations on women, and art history was dominated by male elitism. Traditional social systems and educational structures were not supportive of women's participation in art academies, as seen in restrictions such as women students being barred from life drawing classes. Nochlin incorporated feminism into the realm of art history, conducting research on active women artists from the past four centuries. She organized traveling exhibitions in museums and published catalogs, thus challenging the male-dominated hegemony of discourse within the art world.

2019 年油彩畫布 30.5 x 40.5 cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」編號 009 預估價 TWD 180,000 - 280,000

Etsu Egami, Untitled, 2019, Oil on canvas, 30.5 x 40.5 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 009, Est. USD 6,000 - 9,300

▼ 六角彩子《無題》 2021 年 67 色絲網印刷版次 112/200 73 x 103 cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」編號 089 預估價 TWD 340,000 - 500,000

Ayako Rokkaku, Untitled, 2021, Silkscreen in 67 colors printed on Corona Magnani paper, ed. 112/200, 73 x 103 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 089 Est. USD 11,300 - 16,600

▲ 江上越《無題》

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The "Guerrilla Girls" once again brought to light the issue of discrimination in cultural politics. Members spent several years visiting and tallying the representation of male and female artists in the collections of the Metropolitan Museum of Art in New York. In 1989, they found that less than 5% of the artworks in the museum were by female artists, while 85% of the nude artworks were representations of women. The "Guerrilla Girls" movement in the late 20th century served as a powerful voice for women artists, shining like fireworks illuminating the night sky, evoking admiration.

The True Artist Must Be 'Neither Woman Nor Man, Neither Old Nor Young'

The issue of women artists is periodically brought up for discussion, but once the heat dies down, it seems to return to reality. Numbers speak for themselves, and individuals concerned about these issues have helped compile data.

Charlotte Burns, an independent editor, and Julia Halperin from Artnet News collaborated to create the "Burns Halperin Report" in 2018. This annual research report focuses on the representation of Black artists, women artists, and Black women artists in American museums and the global art market. The 2022 report highlighted that progress in the American art world has been minimal, while there have been gradual improvements on the international stage. The acquisition of artworks by women artists reached its peak in 2009, with a slight increase in 2016 and 2017 following the emergence of the #MeToo movement. Similarly, acquisitions of artworks by Black American artists peaked in 2015, two years after the establishment of the Black Lives Matter movement.

▲ 凱薩琳娜．阿恩特《染藍髮的女孩》 2023 年壓克力畫布 130 x 90 cm 羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」編號 006 預估價 TWD 280,000 - 420,000 Katharina Arndt, TheBlueDyedHair, 2023, Acrylic on canvas, 130 x 90 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 006, Est. USD 9,300 - 13,900

▼ 嘉貝麗．格雷爾斯《國王之死》 2022 年壓克力噴漆亮粉畫布 180 x 150 cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」編號 071 預估價 TWD 380,000 - 600,000

Gabrielle Graessle, TheKingisDead, 2022, Acrylic, spray and glitter on canvas, 180 x 150 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 071, Est. USD 12,600 - 19,900

Unsurprisingly, the majority of artworks found in museum collections continue to be created by male artists, and international auction houses tend to showcase a higher number of works by male artists compared to their female counterparts. However, there is some positive news to highlight in the realm of contemporary art: significant progress has been achieved!

In the post-pandemic 2022 Venice Biennale, a significant turning point was witnessed as there were more female artists participating than male artists. However, it is important to refrain from framing this as a "victory of women over men," as some media outlets might suggest. Instead, it should be celebrated as a triumph for society at large! Curator Cecilia Alemani, responsible for curating the Venice Biennale, emphasized that her selection process was not influenced by gender but rather focused on the individual artists themselves.

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The late New York School artist Joan Mitchell (1925-1992) once said, "the true artist must be 'neither woman nor man, neither old nor young.'" Mitchell's remarkable legacy includes holding the record for achieving the highest price for a female abstract expressionist artist.

The Rise of Female Power in the Auction Market

In this presentation, I will delve into the remarkable auction record accomplishments of several influential female artists from the 20th century, all of which were realized within the past decade.

- The most expensive female artist: Georgia O'Keeffe (1887-1986) with "Jimson Weed/White Flower No. 1." It sold for US$44,405,000 on November 20, 2014, at Sotheby's New York.

- The most expensive sculpture female: Louise Bourgeois (19112010) with "Spider." It sold for US$40,000,000 at the Haus & Wirth, Art Basel 2022 in Basel, Switzerland. Her highest auction record was set in 1996 with another "Spider" artwork, which sold for US$32,804,500 on May 19, 2023, at Sotheby's New York.

- The most expensive painting by Latin American female artist: Frida Kahlo (1907-1954) with "Diego y yo" (Diego and I). It sold for US$34,883,000 on November 16, 2021, at Sotheby's New York.

- The most expensive female abstract expressionist: Joan Mitchell (1926-1992) with "Blueberry." It sold for US$16,625,000 on May 17, 2018, at Christie's New York.

- The most expensive painting by living female artist: Yayoi Kusama (b. 1929) with "Untitled (Nets)." It sold for US$10,496,000 on May 18, 2022, at Phillips New York.

- The most expensive female photography artwork: Cindy Sherman (b. 1954) with "Untitled Film Stills." It sold for US$6,773,000 on November 12, 2014, at Christie's New York.

▼

2017 年油彩木板 76.5 x 76.5 cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 043 預估價 TWD 140,000 - 220,000

Amy Van Winkle, HighDesertMirage, 2017, Oil on wood panel, 76.5 x 76.5 cm Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 043, Est. USD 4,600 - 7,300

塩田千春《房間裡的兩個盒子》 2016 年油畫棒線紙本 40 x 30 cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 017 預估價 TWD 460,000 - 650,000

Chiharu Shiota, Two Boxes in the Room, 2016, Oil pastel and thread on paper, 40 x 30 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 017, Est. USD 15,200 - 21,500

▲ 艾美．凡．溫克《沙漠幻影》

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The increased visibility of female artists is not limited to the Venice Biennale, but it has also extended to institutional exhibitions, making its mark in the art market as well. The art market has shown a strong interest in and demand for collecting female art. According to the "Art Market in 2022" report published by the art database platform Artprice, the section on "Trends in Contemporary Art" highlights the growing attention received by female artists. Even non-contemporary artists like Mary Cassatt (1844-1926), an Impressionist painter, have achieved new auction records, reaching nearly $7.5 million. American post-war abstract expressionist artist Elaine de Kooning (1918-1989) has surpassed the million-dollar mark, while artists such as Mary Heilman (b. 1940) and Etel Adnan (1925-2021), a Lebanese-American artist, have also set new auction records.

According to data from the Artprice website, there is also a significant level of enthusiasm among young collectors for contemporary artists. This year, thewre was a collaboration between Louis Vuitton and the renowned Japanese artist Yayoi Kusama, which later culminated in the largest-scale event ever held in Hong Kong. In 2022, Kusama also set her new auction record. Several other contemporary female artists have also achieved new auction records in the past two years. These include Christine Ay Tjoe from Indonesia ($1,732,158), Katherine Bernhardt from the United States ($764,411), Shara Hughes from the United States ($2,940,000), María Berrío from Colombia ($1,603,000), Chiharu Shiota from Japan ($396,751), Mayuka Yamamoto from Japan ($281,385), and many others. Their remarkable achievements highlight the growing recognition and demand for contemporary female artists in the art market.

Empowering the Art World: Trailblazing Women Artists in the 'Ultra-Contemporary' Market

In 2019, Artnet News editor coined the term "Ultra-Contemporary" to refer to contemporary artists born after 1975, providing a more precise categorization of contemporary art. Artists within the "Ultra-Contemporary" category have gained significant prominence in the recent secondary art market.

The rise of the market for "Ultra-Contemporary artists" has been astonishing. The international emerging artists' market has broken through the limitations of gender and nationality, overturning the aesthetic standards or traditional constraints of a new generation of collectors. Whether or not they have received institutional or museum recognition or collection, these artists have pioneered a greater number and breadth of high-price records compared to others.

▲ 中村萌《萌芽》 2017 年蠟筆紙本 25 x 17 cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 091 預估價 TWD 160,000 - 240,000

Moe Nakamura, Growth, 2017, Pastel on paper, 25 x 17 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 091, Est. USD 5,300 - 8,000

▼ Nikki 《和你在一起》 2022 年綜合媒材畫布 77 x 77 cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」編號 058

預估價 TWD 200,000 - 300,000

Nikki, Be With You, 2022, Mixed media on canvas, 77 x 77 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 058, Est. USD 6,600 - 9,900

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編號 099 預估價 TWD 160,000 - 240,000

Cosmic Cowboy, Where Have All the Flowers Gone, 2022, Acrylic on canvas, 100 x 100 cm Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 099, Est. USD 5,300 - 8,000

Here are several outstanding ultra-contemporary artists in the art market, including: Avery Singer from the United States ($5,253,000), Loie Hollowell from the United States ($2,292,383), Christina Quarles from the United States ($4,527,000), Lucy Bull ($1,449,941), Lauren Quin ($588,042), Issy Wood ($588,042), Danielle Orchard ($287,500) from the United States, Cristina Banban from Spain ($198,216), Flora Yukhnovich from Norway and the United Kingdom ($3,601,641), Anna Weyant from Canada ($1,623,000), Njideka Akunyili Crosby, a Nigerian artist of African descent ($4,740,000), Ayako Rokkaku from Japan ($1,323,836), Miwa Komatsu from Japan ($215,530), Moe Nakamura from Japan ($176,560), and many more talented artists contributing to the ultra-contemporary art scene.

Young female artists are defying age and experience barriers, as collectors are increasingly recognizing their talent regardless of these factors. Their market value has witnessed a significant surge between 2022 and 2023, thanks to their innovative styles and the influence of social media. The younger generation of collectors displays a remarkable openness to challenging artistic traditions and refuses to diminish the value of these women based on gender or ethnicity. This inclusive mindset has paved the way for the emergence of more female artists born in the 1980s and 1990s, shaping a promising future for the art scene.

The annual reports from Artprice have always been regarded as a benchmark and have gained a good reputation in the industry. In their "2022 Ultra Contemporary Art Market Report," the article titled "The new and preponderant place of women" discusses the "situation reversal" for female artists in the first half of 2022.

"Women are the majority in the Top 10 under-40 artists ranked by H1 2022 auction turnover! If we look at the Top 50, twenty-one are women. This ranking reveals the ten young (living) artists whose work elicited new auction records during the first half of 2022. Women artists clearly dominate with six results (highlighted), including the four best results! Never have women been so present and successful on the auction market."

In another article published on March 8, 2023, on the Artsy art platform by Casey Lesser, titled "The Ultra-Contemporary Women Artists at the Forefront of the Art Market," it is mentioned that the market size for ultra-contemporary female artists grew by 4,071% from 2012 to 2022, with sales increasing from 5.28 million USD to 202.4 million USD. The number of young artists participating in auctions has significantly increased. Interestingly, in the ultra-contemporary art field on the Artsy platform, the proportion of male and female artists is 56.1% and 43.6%, respectively (the remainder being unclassified). In all categories of

◀ 宇宙牛仔《所有的花都去哪了》 2022 年壓克力畫布 100 x 100 cm 羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

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▲ Nikki 《無題》 2022 年複合媒材畫布 100 x 100 cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 059 預估價 TWD 400,000 - 600,000

Nikki, Untitled, 2022, Mixed media on canvas, 100 x 100 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 059, Est. USD 13,300 - 19,900

artists, the proportion of male and female artists is 88.24% and 9.39%, respectively. However, when narrowing the scope to artists born after 1985 (including 1985), there is a "reversal" in the proportion, with female artists reaching 63.8%, significantly surpassing the proportion of male artists.

In Taiwan, gender equality is relatively well protected and respected, and there is not a significant wage gap between male and female staff in the art industry. It can be said that the status of women in the art scene in Taiwan is no less than that of men. Research has shown that, disregarding the information on the walls, the delicate thinking and aesthetic sense of female artists often have the ability to instantly capture the attention and favorability of collectors. As the world continues to progress, we are pleased to witness advancements in society and institutions. When appreciating or collecting artworks, it is important to prioritize artistic value and the ability to resonate with viewers, without considering gender as a factor.

▶

甘曼茲《今天我看起來怎麼樣？》 2022 年複合媒材畫布 117 x 91 cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 078 預估價 TWD 150,000 - 220,000

Gammanzi, HowDoILookToday?, 2022, Mixed media on canvas, 117 x 91 cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 078, Est. USD 5,000 - 7,300

In the "SELECT" specialized session of the Ravenel Spring Auction 2023, which I was in charge of, we curated the largest collection of works by female artists ever consigned, accounting for over one-third of the total. With the art world becoming increasingly receptive, we can aspire to achieve a future where the representation of male and female artists is more balanced. We eagerly await the realization of that day.

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草間彌生 Yayoi Kusama (Japanese, b. 1929)

無題（網） Untitled (Nets)

1959

Oil on canvas 130.8 x 116.5 cm

預估價 Estimate USD 5,000,000~ 7,000,000

成交價 Sold at USD 10,496,000

拍賣日期 Auction Date

紐約富藝斯 Phillips, New York May 18, 2022

六角彩子 Ayako Rokkaku (Japanese, b. 1982)

無題 Untitled

2017 Acrylic on canvas 100 x 150 cm

預估價 Estimate JPY 40,000,000~ 70,000,000

成交價 Sold at USD 1,323,836

JPY 184,000,000

拍賣日期 Auction Date

東京SBI

SBI Art Auction, Tokyo July 16, 2022

塩田千春 Chiharu Shiota (Japanese, b. 1972)

存在的狀態 State of Being

2016

Painted metal frame, thread, keys 140 x 291 x 281 cm

預估價 Estimate

GBP 100,000~150,000

成交價 Sold at USD 396,751

GBP 287,500

拍賣日期 Auction Date

倫敦佳士得 Christie's, London July 2, 2021

江上越 Etsu Egami (Japanese, b. 1994)

彩虹 2021-T-1（雙聯幅） Rainbow 2021-T-1 (diptych)

2021

Oil on canvas 200 x 580 cm

預估價 Estimate

HKD 600,000~1,200,000

成交價 Sold at USD 366,917

HKD 2,880,000

拍賣日期 Auction Date

香港華藝國際 Holly's, Hong Kong May 29, 2022

山本麻友香 Mayuka Yamamoto (Japanese, b. 1964)

船漂流著 And the Boat Ships on 2010 Oil on canvas 145.5 x 227.3 cm

預估價 Estimate

TWD 1,900,000~ 2,800,000

成交價 Sold at USD 281,385

TWD 7,800,000

拍賣日期 Auction Date

台北羅芙奧

Ravenel, Taipei December 5, 2021

小松美羽 Miwa Komatsu (Japanese, b. 1986)

上天的恩惠、向天祈求、化為蟠龍照映於水面

Blessings from the Heavens, Prayers to the Heavens, Reflecting off the Surface of the Water as the Dragon Swells

2019

Acrylic on canvas

130.3 x 194 cm

預估價 Estimate JPY 10,000,000~ 15,000,000

成交價 Sold at USD 215,530

JPY 29,325,000

拍賣日期 Auction Date

東京SBI

SBI Art Auction, Tokyo March 11, 2023

中村萌 Moe Nakamura (Japanese, b. 1988)

漫步於寧靜中 Wander in Silence

2016

Wood, oil paint 132 x 69 x 78 cm

預估價 Estimate

HKD 600,000~800,000

成交價 Sold at USD 176,560

HKD 1,386,000

拍賣日期 Auction Date

香港富藝斯 Phillips, Hong Kong June 21, 2022

長井朋子 Tomoko Nagai (Japanese, b. 1982)

來自白馬的禮物 (雙聯幅) A Gift from White Horse (diptych)

2008 Oil, acrylic, color spray on canvas 227.5 x 364 cm

預估價 Estimate

TWD 1,800,000~ 3,800,000

成交價 Sold at USD 156,914

TWD 4,800,000

拍賣日期 Auction Date

台北羅芙奧

Ravenel, Taipei December 4, 2022

塔妮亞．馬莫列霍 Tania Marmolejo (Dominican, B. 1975)

讓颶風進來 Let the Hurricane in 2019

Oil on canvas 160 x 169 cm

預估價 Estimate HKD 150,000~250,000

成交價 Sold at USD 137,574 HKD 1,080,000

拍賣日期 Auction Date

香港保利 Poly, Hong Kong October 10, 2022

Nikki (American, b. 1996)

不行！不行！ No way! No way!

2021 Mixed media on canvas 111 x 111 cm

預估價 Estimate

HKD 80,000~150,000

成交價 Sold at USD 80,479

HKD 630,000

拍賣日期 Auction Date

香港蘇富比 Sotheby's, Hong Kong March 8-15, 2022 (Online only)

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5 10 2 7 1 6

位女性藝術家拍賣紀錄選樣

3 8 4 9

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製表／謝依廷 Tina Hsieh（Update 2023.05.10; Source: Artprice.com, Ravenel, Sotheby's, Christie's, Phillips, Poly, SBI, Zhong Cheng, Holly's, Guardian, Yongle）

SELECTION OF AUCTION RECORDS FOR 20 FEMALE ARTISTS 15

董小蕙 Dong Shawhwei (Taiwanese, b. 1962)

晨曦—粉茶 Pink Camellia in the Morning

2014 Oil on canvas 100 x 80 cm

預估價 Estimate HKD 240,000~360,000

成交價 Sold at USD 68,790

HKD 540,000

拍賣日期 Auction Date

香港嘉德 China Guardian, Hong Kong April 6, 2023

灰原愛 Ai Haibara (Japanese, b. 1981)

別出聲 A Sound Unable to Issue

2009 Wood 48 x 21 x 28 cm

預估價 Estimate TWD 200,000~300,000

成交價 Sold at USD 32,337

TWD 984,000

拍賣日期 Auction Date

台北中誠 Zhong Cheng, Taipei December 8, 2019

蘇珊．庫恩 Susanne Kühn (German, b. 1969)

兒童房 (雙聯幅) Kinderzimmer (diptych)

2006

Acrylic on canvas 210 x 340 cm

預估價 Estimate

GBP 15,000~200,000

成交價 Sold at

USD 29,381

GBP 18,750

拍賣日期 Auction Date

倫敦富藝斯 Phillips, London October 13, 2011

瑪雅．喬爾傑維奇 Maja Djordjevic (Serbian, b. 1990)

堅強下去 Be Strong

2016

Oil on canvas 180.3 x 120.7 cm

預估價 Estimate USD 4,000~6,000

成交價 Sold at USD 27,720

拍賣日期 Auction Date

紐約富藝斯 Phillips, New York September 28, 2021

徐毛毛 Xu Maomao (Chinese, b. 1975)

巫師母猴 Female Monkey Wizard

2022

Acrylic on canvas 200 x 200 cm

預估價 Estimate

RMB 95,000~120,000

成交價 Sold at USD 20,409

RMB 138,000

拍賣日期 Auction Date

北京永樂

Yongle Auction, Beijing July 26, 2022

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喬治婭．迪莫克 Georgia Dymock (British, b. 1998)

藍色人像裁像 Cropped Blue Figure

2022

Oil on linen 90 x 90.3 cm

預估價 Estimate

HKD 80,000~160,000

成交價 Sold at USD 13,752

HKD 107,950

拍賣日期 Auction Date

香港蘇富比 Sotheby's, Hong Kong February 22-March 1, 2023 (Online only)

梁憙潾 Hee Rin Yang (Korean, b. 1975)

夢想旅行者－何處是我家No.6 Dream WandererWhere Is My Home No.6

2022

Acrylic on canvas 116.8 x 91 cm

預估價 Estimate TWD 340,000~500,000

成交價 Sold at USD 12,553

TWD 384,000

拍賣日期 Auction Date

台北羅芙奧 Ravenel, Taipei December 3, 2022

吉瑪．霍爾澤 Gemma Holzer (American, b. 1996)

再見 Goodbye

2021

Acrylic, oil on canvas 140 x 105 cm

預估價 Estimate

TWD 260,000~380,000

成交價 Sold at USD 10,984

TWD 336,000

拍賣日期 Auction Date

台北羅芙奧

Ravenel, Taipei December 3, 2022

伊琳娜．馬克西莫娃 Iryna Maksymova (Ukrainian, b. 1991)

蘋果 Apple

2021

Acrylic on canvas 141 x 122 cm

預估價 Estimate TWD 220,000~340,000

成交價 Sold at USD 8,169

TWD 240,000

拍賣日期 Auction Date

台北羅芙奧 Ravenel, Taipei June 4, 2022

麗安儂．索爾茲伯里 Rhiannon Salisbury (British, b. 1984)

小白花 Edelweiss

2021 Acrylic on canvas 120 x 80 cm

預估價 Estimate

TWD 220,000~340,000

成交價 Sold at USD 8,169

TWD 240,000

拍賣日期 Auction Date

台北羅芙奧 Ravenel, Taipei June 4, 2022

[ ART & INVESTMENT ]

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童心未泯小宇宙－元永定正

The Enchanting Cosmos of Sadamasa Motonaga: Exploring His Whimsical and Childlike Paintings

「根據我的觀察，你（元永定正）早期的作品給我一種墜落感，後期作品卻充滿上升感。」－河合隼雄（Kawai Hayao）

As Kawai Hayao comments, in a personal conversation with Motonaga: "According to my intuition, earlier stages of your work give me the feeling of going down and the [later] style gives me a feeling rather of going up" (Motonaga Sadamasa, quoted in Sadamasa Motonaga: Works 1955-1989, p. 39).

元永定正 1922 年出生於日本三重縣，早期為報社雜誌創作卡通和插畫， 1955 年受到吉原治良邀請正式加入日本當代藝術團體「具體美術協會」（具體派）。元永定正於 1956 年創作的戶外裝置作品《水》，體現其早期創作以行為藝術、裝置作品互相融合的實驗性質，並宣示與自然密不可分的創作精神。該作分別於 2009 年威尼斯雙年展，與 2013 年紐約古根漢美術館

舉辦之《具體：燦爛的遊樂場》展出。 1959 年起元永定正使用日本傳統繪

畫技法「溜込」（たらしこみ－ tarashikomi ），發展出「滴落式」繪畫法，

利用油彩、壓克力顏料的濃厚質地，滴落在畫布上，使未乾透的色彩層層堆疊交融，並受引力牽引流淌出不定形的玄妙抽象繪畫。「我把作品託付於自然之力，並藉此方法創造出獨一無二的畫作。」元永定正如此說道。

1966-1967 年間，元永定正與藝術家伴侶中辻悦

子女士赴紐約參與為期

一年的藝術駐留計畫，他開始掌握噴漆繪畫的技巧，受到硬邊藝術（ PostPaintering Abstraction ）啟發，創造出全新風格。新穎的噴繪技巧間接影響其他具體派成員，如白髮一雄、前川強也運用了相同的媒材。造型上元永定正排除抽象表現主義的情緒、個性化線條，以明確平滑的大色面造型進行創作，並且賦予其飽滿亮麗的漸層色調，型塑出溫潤圓滑，視覺向上延伸的弧型圖像，有時更像是簡化的人形輪廓或草履蟲圖型。離開具體派後元永重回

插畫及兒童繪本的創作， 1980 年代先後出版繪本《

Moko Moko Moko 》、

《麗莎重生》等出版物備受好評。繪本時期的作品，以童趣的亮麗色彩和積木般的幾何圖型帶來趣味性組合。畫作《紅色，紅色與紅色四方形》在柔和的白底，疊加豔紅、螢光黃、活力橙等多種飽和色彩，令人聯想對色域藝

術相互輝映的趣味性，而簡化如機械手臂、海底生物的造型，想像力十足。

藝術家天真具有幽默感的個性，直接而溫柔地傳遞給不同的觀眾。類似卡通漫畫的構圖，圓滿藝術家青年時代成為漫畫家的夢想。元永定正把自己幽默的稱為「傻瓜派（ aho ha ）」，並把自己的作品叫做「滑稽藝術」。

2011 年元永定正逝世， 2013 年紐約古根漢美術館大展至今逾十年，

而當時《水》透過天窗日光煥發的繽紛光彩依然深植人心，也是藝術家親

手設計最後留給大眾的禮物。 2015 至 2020 年間拍賣市場交易活絡，持續

創下藝術家個人紀錄，截至目前最高紀錄則是 2017 年香港拍賣的成交價港

幣 1 千萬。收藏元永定正作品的私人藏家遍及全世界，公共收藏則包含美

國達拉斯美術館（ Dallas Museum of Art, Dallas, TX ）、日本兵庫縣立美術

館（ Hyogo Prefectural Museum of Art, Japan ）、巴西里約熱內盧現代藝術

博物館（ Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro ）、美國

紐約 MoMA （ The Museum of Modern Art ）、京都國立近代美術館（ The National Museum of Modern Art, Kyoto ）等機構。

◀ 元永定正《紅色、紅色與紅色四方形》 1985 年

Ravenel 2023 Spring Auction - lot 023 Sadamasa Motonaga Red&Red&RedSquare, 1985, Acrylic on canvas, 91 x 72.7 cm

▲ 元永定正《藍色和米色》 1972 年

Ravenel 2023 Spring Auction - lot 019 Sadamasa Motonaga BlueandBeige, 1972, Acrylic on paper, 15 x 10 cm

▼ 元永定正《無題》 1984 年

Sadamasa Motonaga, Untitled, 1984, Pottery board painting (unique), 30.5 x 30.5 cm

[ THE ARTIST ]

Text / 陳昱良 Iris Chen Photo / Ravenel International Art Group

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▲ 左： 2013 年元永定正《水》裝置於紐約古根漢美術館「具體：燦爛的遊樂園」展覽

右：紐約 Fergus McCaffrey 畫廊 2016 年元永定正個人展覽

▼ 日本三重県立美術館元永定正作品

《 Piron Piron 》 1975 年與《せんがおおゆれ》 1987 年 Collection of Mie Prefecture Museum, Japan

Sadamasa Motonaga was born in 1922 in Mie Prefecture, Japan. In his early career, he created cartoons and illustrations for newspapers and magazines. In 1955, he was invited by Yoshihara Jiro to join the Japanese contemporary art group "Gutai" (Gutai movement). In 1956, Motonaga created the outdoor installation artwork "Water," which reflected his early experimentation with the fusion of performance art and installation works, emphasizing the inseparable connection between art and nature. The artwork was exhibited at the 2009 Venice Biennale and the 2013 Guggenheim Museum's exhibition "Gutai: Splendid Playground." Starting from 1959, Motonaga began using the traditional Japanese painting technique called "tarashikomi" and developed the "dripping" painting method. He utilized the thick texture of oil and acrylic paints, allowing them to drip onto the canvas, creating layers of colors that blended together as they flowed under the influence of gravity, resulting in abstract and enigmatic paintings. "I consciously used this approach as a way of entrust[ing] it to the power of nature" (Motonaga Sadamasa in an interview conducted by Osaki Shin'ichiro and Yamamura Tokutaro, August 21, 1985).

34

In 1966-1967, Sadamasa Motonaga and his artist partner, Etsuko Nakatsuji, went to New York to participate in a one-year art residency program. During this time, Motonaga began to master the technique of spray painting and was inspired by the movement of Post-Painterly Abstraction, which led him to establish a new style. His innovative spray painting technique indirectly influenced other Gutai members, such as Kazuo Shiraga and Tsuyoshi Maekawa, who also utilized the same medium. In terms of form, Motonaga diverged from the emotional and individualized lines of Abstract Expressionism. Instead, he created works with clearly defined, smooth, large areas of color, giving them a rich and vibrant gradient tone. He shaped these forms into gentle and smooth curves that visually extend upward, sometimes resembling simplified human figures or patterns of caterpillars.

After leaving the Gutai movement, Motonaga returned to creating illustrations and children's picture books. In the 1980s, he published well-received works such as "Moko Moko Moko" and "Rebirth of Lisa." His picture books during this period showcased vibrant colors with a playful combination of block-like geometric patterns. In the artwork "Red, Red, and Red Square," Motonaga layered saturated colors like bright red, fluorescent yellow, and vibrant orange on a soft white background. This playful composition evokes the interplay

of color field art, while the simplified forms resembling mechanical arms or underwater creatures spark the imagination. The artist's innocent and humorous personality is directly and gently conveyed to different audiences. The composition, reminiscent of cartoon comics, fulfills Motonaga's dream of becoming a cartoonist in his youth. Motonaga refers to his own humor as the "aho ha" (foolish) style and labels his works as "comic art" or "humorous art."

Sadamasa Motonaga passed away in 2011, and since then, over ten years have passed since the Guggenheim exhibition. However, his artwork "Water," with its vibrant colors radiating through skylights, continues to deeply resonate with people. It remains the final gift that the artist personally designed for the public. Between 2015 and 2020, the auction market for Motonaga's works was active, consistently setting personal records for the artist. The highest recorded price to date was achieved in a Hong Kong auction in 2017, reaching HKD 10 million. Private collectors around the world have amassed collections of Motonaga's works, while public collections include institutions such as the Dallas Museum of Art (Dallas, TX) in the United States, Hyogo Prefectural Museum of Art in Japan, Museu de Arte Moderna do Rio de Janeiro in Brazil, The Museum of Modern Art (MoMA) in New York, and The National Museum of Modern Art in Kyoto.

[ THE ARTIST ]

▲ 元永定正 1963 年《 Work 》重要私人收藏－美國拉喬夫斯基收藏 Sadamasa Motonaga, Work, 1963, Oil and gravel on canvas, 182.9 x 127 cm, The Rachofsky Collection ▶ 元永定正繪本作品《噗∼噗∼噗》

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十年今昔穿梭威士忌市場

What happened in the past ten years in whisky market?

Text / 唐維怡 Eva Tang

喝酒不開車 36

Photo / Ravenel Finest and Rarest Wines

M 和 K 都是 2012 年剛剛接觸威士忌時在威士忌社團

結識的朋友，這一交往就是十年，年初聚會時還忍不住感嘆起時間這把殺豬刀。

十年過去， K 工作依舊繁忙，每日睡前一杯威士忌這習慣倒是十年不改，家中一整面牆的威士忌看了令人眼饞，雖說百分之八十是酒廠低年份的核心酒款，十年下來竟也意外累積不少絕版收藏。

M 則已然從一位小白晉身專業威士忌收藏家，家中的收藏滿倉庫地一箱箱堆起，拆箱從世界各地酒商寄來的包裹是日常，時不時與其他資深威友的收藏火力展示聚會更是生活中的亮點，對各酒廠出品和市場動向瞭若指掌。

「還記得那時候 Talisker 10 年一瓶才多少嗎？ 1,000 有找！現在新版 10 年都 1,200 了，風味也和舊版大不相同。」不知道是誰帶來了舊版的 Talisker 10 年，這可是十年前大家日常的最愛，勾出了 K 的牢騷。

「還別說 Talisker ，白州 12 年當時才不到 900 ，吃個

便飯隨便帶上一瓶的好選擇，現在倒好，一停產後，連無年份的新白州都要價超過 2,500 。」我也不住唸了兩句。「我們已經比很多剛剛進入威士忌世界的人幸運多囉 ! 現在才開始喝威士忌的新朋友很多搞不好連白州 12 年都沒喝過。」 M 倒是很看得很開。

是了，威士忌在過去十年間價格大幅上漲，許多過去的日常普飲酒款，如今都成了「收藏品 Collectables 」

甚或「投資品 Investment 」。

作為二級市場代表的拍賣公司甚是敏銳，早早嗅到威士忌作為收藏品的可能。2000 年前後，蘇富比 (Sotheby's) 與佳士得 (Christie's) 便陸續在其葡萄酒拍賣中穿插個位

數個威士忌拍品。 2009 年，邦瀚斯 (Bonhams) 率先開設威士忌為主的拍賣場次，到了 2015 年，威士忌已經占公司整體酒類拍賣過半的營收。羅芙奧 (Ravenel) 緊接著在藏家底蘊豐厚的台灣，於 2013 年開設威士忌品項，從第

一拍的台幣數百萬元，至今每拍已穩定超越 3,000 萬元的營業額，買家也從初始的數十人，到如今每拍超過百位藏家共襄盛舉。而英國目前最大的威士忌線上拍賣平台 whiskyauctioneer.com 也在 2013 年加入戰局，每個月一

次的線上拍賣如今穩定吸引著全世界威士忌愛好者的關注與參與。蘇富比與佳士得更在多年的試探後，相繼於 2019 年設立威士忌專家部門，積極部署威士忌拍賣版圖。

拍賣公司的介入，讓更多人看見威士忌作為收藏與投資品項的潛力。而蓬勃的二級市場與不斷寫下價格紀錄的背後，則代表著越來越多人相信威士忌已從單純的品飲選擇，成為了值得追逐的收藏品，甚至是獲利豐厚的另類投資商品。

根據萊坊國際 (Knight Frank) 發布的《 2021 年財富報告》的統計，相較其他諸如藝術品、鑽石和經典車等奢侈品 (Objects of Desire) ，過去 10 年來稀有威士忌的價

值增長了 478 ％，是成長最為迅速且穩健的品項，也因而成為通膨嚴重的現今，高淨值資產人士 (High Net Worth Individuals) 最青睞的另類投資選項之一。

「要說過去十年漲幅最大的，應該非麥卡倫莫屬吧？」 K 啜了口酒問到。「你看，麥卡倫紫鑽剛出廠的時候一瓶才 1,000 出頭，現在最便宜的版本至少也要 10,000 ，超過十倍的漲幅 ! 才 12 年的作品，已經完全超出小資族的負荷。」

出廠訂價千餘元的酒，上市後翻漲數倍甚至數十倍，這十年來市場一次又一次見證麥卡倫創下的各種瘋狂紀錄，而紫鑽 12 年可以說是漲幅劇烈的代表之一，約於 2007 年發行的紫鑽 12 年首版，在 2022 年年初價格來到 48,000 ，漲幅超過 40 倍，最新的版本也在高峰時期來到兩萬多，漲幅輕易超過十倍。 2015 年開始推出的麥卡倫 Edition 系列也在市場掀起一陣炫風，第一版 (Edition No.1) 剛上市時官方定價僅兩千多，一開始市場反應冷淡，不料幾年後竟創下超越台幣 60,000 的高峰紀錄。

普飲款尚且如此，高單價酒款更是驚人。一瓶 1926 年蒸餾、 1986 年裝瓶的 60 年麥卡倫珍稀系列 (Fine and Rare) ，在 2019 年 10 月倫敦的拍賣會上以 145 萬英鎊 ( 約合台幣近 6,000 萬元 ) 收槌，成為當之無愧的威士忌酒王。

來自同一個橡木桶的姐妹款， 2007 年第一次在佳士得拍賣場上出現時，一瓶僅 75,000USD ，約 225 萬台幣，其翻漲幅度令人咋舌。而麥卡倫璀璨系列 (Lalique) 於 2005 年推出第一款 50 年時，訂價為 5,995 美金，台灣機場訂

價台幣 188,888 ，當時幾乎無人青睞，卻在多年後的 2020 年，於羅芙奧秋季拍賣中敲出台幣 540 萬的價格記錄。「麥卡倫確實很強，不過日本威士忌的山崎算起來應該也不遑多讓。」 M 摸摸下巴思考著。「山崎 50 年不就曾敲出 1350 多萬的成績嗎？ 2005 年發售的時候才 100 萬日幣呢。」

[ WINE ]

安全有保障 37

「余市 20 也很誇張啊， 2015 年初也才五六千，我們不還在品酒會上合資開過一瓶嗎？看看他現在多少了。」 K 說著說著，余市 20 那豐滿的果乾風情彷彿瞬間瀰漫在唇齒之間。

日本威士忌確實不容小覷，過去十年間，日本威士忌儼然在山崎 (Yamazaki Distillery) 和輕井澤 (Karuizawa Distillery) 的衝鋒陷陣下，與同樣在這幾年不斷創下世界價格紀錄的麥卡倫形成了拍賣市場上分庭抗禮的兩股勢力。

2015 年 8 月，一瓶 1960 年蒸餾的輕井澤以 92 萬港幣 ( 台幣約 386 萬 ) 收槌，創下單瓶日本威士忌最高價格紀錄，也是威士忌拍賣

史上第一次日本威士忌價格超越蘇格蘭威士忌。 1960 在 2006 年發行時定價美金 15,000 ( 約為台幣 45 萬 ) 。接續著幾年，日本威士忌在世界各地的拍場大放異彩，從普飲款到收藏等級酒款，拍賣數量與上漲幅度之大，令一眾蘇格蘭威士忌望之興嘆。 2019 年 6 月， 2005 年發售時訂價為 100 萬日幣的山崎 50 年第一版，於羅芙奧台北拍場中

敲出 1351 萬台幣 ( 美金 42.98 萬 ) 的成績，成為當時日本威士忌的霸

主，直到 2022 年 6 月，這個紀錄才被 2020 年推出的山崎 55 年，以台幣 2,350 萬的新高成交金額打破。

日本威士忌當中普飲酒款的代表如余市 20 年，在 2015 年前一向是商務餐會上的常客，在 2015 年宣布停產消息之前五千有找，之後便在極短的時間內翻漲數倍至如今的五萬多台幣，高峰時期更曾叩六萬元大關。輕井澤的黑白圈標也是， 2010 年前在市場上還舉步維艱，一瓶不到五千即有機會入手，如今， 1970 年代的輕井澤圈標已飆漲突破 50 萬大關，成為日本威士忌收藏等級的代表之一。七零年代的藝伎標、相撲套組、能 Noh ⋯⋯等，許多品項的漲幅拉出來檢視令人唏噓。

「早知道剛開始喝酒的時候就多買些麥卡倫輕井澤囤著 ! 你看看我酒櫃中的這些酒，哪瓶不是好喝、品質也好，怎麼就沒有這麼大的漲幅呢？」 M 戳著螢幕中家中酒櫃的照片撇撇嘴。「蘇格蘭除了麥卡倫之外難道就沒有其他蘇格蘭威士忌創下厲害的拍賣紀錄？」

「若只是要說亮眼的拍賣成績，那還真是多得三天三夜都說不完，不過有拍賣紀錄可不代表市場真有這個價格啊 ! 」時常出入拍賣場的 M 提醒到。

確實，我們常會跟剛剛踏入威士忌收藏和投資領域的朋友分享，若想要了解市場上那些品項值得投資，可以多觀察全世界各地拍賣場的拍賣圖錄，看看那些品項會不斷出現、那些品項出現會引起激烈的競投，這可以幫助我們建立投資方向和概念。然而，高價紀錄有時並非僅僅是市場的水到渠成，更是天時地利人和的一場意外之喜，例如當某個場次恰巧遇上兩位或兩位以上對同件作品感興趣且勢在必得的藏家，在不斷的競投之下，高價紀錄的成就因此被締造。下一次同一酒款的出現就不見得再那麼幸運能以一樣高的價格收槌。

舉例來說，作為日本威士忌單瓶最高價格紀錄的代表，山崎 55 年於 2022 年蘇富比紐約春季拍賣中以 60 萬美元 ( 約合台幣 1785 萬元 ) 成為該年度最高價格拍品，此價格卻也沒能超越邦瀚斯香港在 2020 年 8 月創下的 620 萬元港幣最高價紀錄，若要判斷此瓶酒款的價格，斷不可以曾經的最高拍賣紀錄作為唯一參考。

喝酒不開車 38

「 Brora 40 年 ! 」陷入沉思許久的 M 突然停下敲著桌面的手指。

是了！在所有威士忌愛好者的心目中都有一只屬於自己的聖杯，對

於我來說， 2014 年面市的 Brora 40 就是這樣的一種存在。

當年，帝亞吉歐於 1983 年就停止生產的 Brora 酒廠庫存中尋找到

1972 年注入橡木桶的 40 年威士忌，推出了 Brora 當時最高年份的作品。

除了酒廠已關廠、又僅有 160 瓶異常珍稀，知名酒評網站 Whiskyfun

的作者 Serge 更給予這款酒 98 分的超高分評價，形容 Brora 40 年是一款擁有無限張力的威士忌。如今， Brora 40 年已從當年僅 6,995 英鎊的訂價，在二手市場中取得超越台幣 120 萬的成績。而 Brora 自 2002 年

固定推出的 Special Release 30 年也在過去幾年穩定成長，以 2002 年發

行的第一版而言，當初的發售價格為 150 英鎊 ( 約台幣 7,500) ，如今都能取得台幣七萬以上的成交價格，翻漲接近十倍。值得一提的是，其姐妹酒廠 Clynelish 的酒質也受到藏家們的讚譽，然而 OB 作品極少，目

前僅一款 14 年核心酒款在市面上流通，缺少了可以定義酒廠收藏價值的代表品項，即便改版包裝，也未能如麥卡倫舊版的 10 年或 30 年那般，取得價格跳漲空間。

「好在價格沒飆升，至少今天的我們還能喝著 Clynelish 念想 Brora ！」 M 再次樂觀地正面思考。「不過這倒是讓我想到前年一陣飆漲的 Springbank ，如今似乎稍有喘息？」

「對！去年想買瓶雲頂來喝，才發現 10 年竟然已經漲到快 5,000 。」 K 附和到。

來自坎培爾鎮的雲頂酒廠也是許多早期威士忌愛好者心目中高品質的代表。這幾年間雖不如麥卡倫或 Brora 等關廠威士忌高調，卻也默默地在二級市場上穩定攀升著。 Springbank Local Barley 1966 被許多老饕譽為此生必喝的美味酒款，足見其品質， 2014 年方於拍賣市場探頭

之際，價格大約落在台幣三到四萬，如今某幾款雪莉桶的品項甚至突破 50 萬，波本桶作品也叩關 10 萬。

「這樣盤點起來，豈不是幾乎所有的威士忌都在這十年間變貴了？」 K 下了個結論。

確實，除了受到物價上漲而不斷向上調整的新年份定價，整體來說所有威士忌的價格都較十年前有所提升，只是漲幅程度不一。而這，儘管和酒款本身來自哪間酒廠、高年份與低年份、裝瓶數量多寡等等確實有所關聯，但最為關鍵的，取決於入手的成本和出脫的時間點，要知道即便是表現亮眼、看似一飛沖天如輕井澤黑白圈標，十年間的價格也非一路向上。

因此，做為一位威士忌愛好者，首先必須釐清自己的目標是純粹的品飲、收藏、亦或是投資。若著眼投資，則切忌亂槍打鳥，正如同投資股票和其他所有的金融產品，儘管整體威士忌市場是向上成長的，但盲目跟風依然存在著風險。同時也必須明白，任何一款威士忌的崛起都不會是單一關鍵因素就可造就，正如同日本威士忌的興盛不代表所有日本威士忌品牌都值得關注。選定自己的收藏方向和系統，未來即便在調整收藏時，有看似錯誤的嘗試，由於是基於自己訂下的原則，也就無需感嘆「早知道」。

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安全有保障 39

M, K, and me have been friends for ten years ever since 2012 as beginners in a whisky community group in 2012. Just at a gathering earlier this year, we couldn't help but marvel at the relentlessness of time.

Despite having a hectic job during the past decade, K has managed to keep his habit of drinking a glass of whisky before bed every night. He has an envious wall of whisky collection at home. While 80% of the collection consists of core range of each distillery, K has inadvertently collected some discontinued editions over the past ten years.

On the other hand, M has transformed from a whisky newbie to an professional whisky collector who owns a large whisky collection at home. Unboxing packages sent from distilleries and whisky distributors around the world has become his everyday life. Sharing his collection with other whisky enthusiasts at occasional gatherings is the highlights

of daily life. M knows everything concerning whisky from the latest releases to the auction market trends.

"Do you remember how much Talisker 10 Years Old used to cost back then? Less than $1,000! The new version now costs more than $1,200 and the flavor is completely different from the old version." Not sure who brought that old version of Talisker 10 Years Old that used to be everyone's favorite daily drinks, and reminded K the good old days.

"Not to mention Talisker, a bottle of Hakushu 12 Years Old back then cost less than $900. It was the perfect choice for a casual meal. But now, as it was discontinued, even the new Hakushu without age statement costs over $2,500." I couldn't help but add in.

"We are lucky compared to those who just entered the world of whisky! Many of them may not even have the chance to try Hakushu 12 Years Old." M is quite optimistic about it.

Yes, the price of whisky has gone up drastically over the past decade. Many daily drink whiskies have become "collectibles" or even "investments."

Auction Houses, as representatives of the secondary market, have long been aware of the potential that take whisky as collectibles. Around year 2000, Sotheby's and Christie's began to intersperse a few whisky lots in their wine auctions. In 2009, Bonhams was the first to hold an auction primarily for whisky, and by 2015, whisky auction has accounted for more than half of the overall revenue of the wine department. Ravenel from Taiwan quickly followed suit and opened the whisky category in 2013. The sector has quickly grown from millions of revenues to over 30 million per auction with over 100 collectors participating. UK's largest online whisky auction platform, whiskyauctioneer. com, also joined the fray in 2013, and its monthly online auctions now consistently attract the attention and participation of whisky enthusiasts from all over the world. After many years of contemplation, Sotheby's and Christie's finally established whisky departments in 2018 and 2019 respectively and are actively deploying their whisky auction strategies.

The involvement of auction houses has allowed more people to see the potential of whisky as collectibles and investment choices. Behind the thriving secondary market and the continuous setting of new high records, it represents that more and more people believe that whisky has become a collectible that worth pursuing, and even a profitable alternatives investment commodity rather than simply a choice of drinking.

喝酒不開車 40

According to the Wealth Report published by Knight Frank in 2021, the value of rare whisky has increased by 478% over the past decade in comparison with other "Objects of Desire" such as artworks, diamonds, and classic cars, making it the fastest and most stable growing category. Therefore, it has become one of the alternative investment options that high net worth individuals favor especially in the current era of severe inflation.

"Speaking of the biggest price increase in the past decade, it should be Macallan, right?" K took a sip and asked. "You see, when the Macallan 12 Years Old Gran Reserva was first released, it cost only a bit over 1,000 per bottle. Now, even the cheapest version costs at least 10,000, which is an increase of over ten times! A 12-years-old whisky is already beyond the reach of us the petite bourgeoisie."

Over the past decade, the market has repeatedly witnessed the drastic price increase of some Macallan's whisky that originally priced at a bit over one thousand dollars then goes up to ten times or even more. The 12 Years Old Gran Reserva is one representative. The first edition that released around 2007, has reached a market high of NTD48,000 at 2022, an increase of over 40 times. The latest edition also reached over NTD20,000 at its peak, with a price increase by over 10 times. The Macallan Edition series, launched in 2015, also caused a stir in the market. Edition No.1 was priced slightly over two thousand when it was first released. Unexpectedly, a few years later, it broke the record of over NTD60,000, once again a drastic price increase.

Considering the price increase for the Core range products and everyday-drink bottles, it is of no surprise that the prices of high-end

whiskies have gone up even further. A bottle of Macallan Fine & Rare 60 Years Old distilled in 1926 and bottled in 1986 was sold for £ 1.45 million (nearly 60 million New Taiwan Dollars) at a London auction in October 2019, becoming the well-deserved king of whisky till today. When whiskies from the same barrel appeared at Christie's for the first time in 2007, it only cost USD75,000 USD (about NTD2.25 million). The price increase is staggering. On the other hand, the first Macallan Lalique, the 50 Years Old, was released at USD$5,995 and NTD$188,888 at the Airport in Taiwan in 2005, but certainly not a favorable choice back then. Who would have imagined that it sored up to NTD5.4 million at Ravenel Auction in 2020 several years later.

"Macallan is strong, but Japanese whisky, say Yamazaki, is also not to be underestimated!" M said, stroking his chin in thoughts. "Didn't The Yamazaki 50 Year Old sell for more than 13.5 million New Taiwna Dollars several years ago? It was only 1 million Japanese Yen when released in 2005."

"Yoichi 20 Year Old is also impressive. It was only five or six thousand in the first two quarters of 2015. Remember that we have split a bottle and held a tasting event? Look at how much it's worth now," K said, as he reminisced that full-bodies, luxurious dried fruit flavor of Yoichi 20 Years Old.

Japanese whiskies are indeed not to be underestimated. Over the past decade, with the Yamazaki and Karuizawa leading the charge, Japanese whiskies has become a force to be reckoned with. They have formed a formidable rival to the Macallan, which has constantly set new high records in the Auction market in recent years.

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安全有保障 41

In August 2015, a bottle of Karuizawa whisky distilled in 1960 was sold for HKD920,000 (about 3.86 million in NTD). This not only set the highest price record for a single bottle of Japanese whisky, also marked the first time that Japanese whisky surpassed Scotch whisky in auction history. The 1960 Karuizawa was priced at USD15,000 (about NTD450,000) when it was first released in 2006. In the following years, Japanese whisky performed exceptionally well at auctions around the world. From daily-drink whisky to collectibles, the quantities and price increase of Japanese whiskies far surpassed Scotch whisky. In June 2019, the first edition of Yamazaki 50 Years Old, priced at one million Japanese Yen when released in 2005, was sold for NTD13.51 million (around USD429,800) at Ravenel Spring Auction in Taiwan. Yamazaki 50 Years Old instantly became the king of Japanese whisky at the time. Its record was only broken in June 2022 by the newly released Yamazaki 55 Years Old that sold for NTD23.5 million (approximately USD750,000) at Bonhams Hong Kong.

One of the representatives of the daily-drink Japanese whisky that soar in price is Yoichi 20 Years Old. It was a popular choice for business dinners and costs less than NTD5,000 in 2015. After the announcement of its discontinuation in 2015, its price multiplied several times quickly and is now over NTD50,000, with its peak price surpassing NTD60,000. Karuizawa Single Cask series (Black and White Circle label) is also a good example. Before 2010, it was struggling in the market and could be purchased for less than NTD5,000. Now, the circle label from the 1970s has soared to over NTD500,000, becoming one of the representatives of collectibles Japanese whiskies. The price increases of many items from the 1970s, such as Geisha Labels, Sumo Sets, and Noh series, were all astounding.

"If only I knew earlier, I should have bought more Macallan and Karuizawa when I started drinking! Look at the bottles in my cabinet–every bottle is well-flavored and of good quality. How come their prices never increased by this much?" M pointed to a photo of his whisky collection on the screen and shrugged. "Does Scotland have no other whiskies besides Macallan that have achieved impressive auction records?"

"If simply talking about impressive auction results, we could go on for three days and three nights, but record-breaking auction result doesn't necessarily reflect market prices!" reminded M, who frequently attends auctions.

Indeed, we often share with friends who just step into the world of whisky collecting and investing that if they want to understand what the targets could be, they should read through auction catalogues from various auction houses around the world and see what itesm appear repeatedly and which items trigger fierce bidding. This can help us establish the concepts and directions for investment. However, recordbreaking prices sometimes are not simply due to the market demand but also a stroke of luck that comes from a combination of right timing and right place. If there are two or more buyers aiming for the same item in the same auction, the price will eventually reach a new high record under the competitive biddings. However, the next appearance of the same whisky in the market might not be as lucky ro fetch the same high price.

Take Yamazaki 55 Year Old, the highest price item in Japanese whisky, for example. It was sold for USD600,000 (around NTD17.85 million) in year 2022 in Sotheby's Spring Auction in New York. The price was high but was not able to surpass the record of HKD6.2 million set by

喝酒不開車 42

Bonahms Hong Kong in August 2020. To judge the price of this bottle, one cannot rely solely on the previous auction result nor on its recordhigh price in auction market as the only reference.

"Brora 40 Years Old!" M suddenly stopped tapping his fingers against the table.

That is right! There's always a holy grail in the minds of all whisky lovers, and for me, Brora 40 Years Old released in 2014 is such an existance.

In 2014, Diageo found a barrel of whisky distilled in 1972 and sit silently in the distillery cellar for more than 40 years, from which they launched the oldest Brora. With only 160 bottles in existence and its exceptional rarity, the well-known whisky review website Whiskyfun's author Serge Valentin also gave Brora 40 Years Old an extremely high score of 98 points out of 100, describing it as a whisky with utter perfection. Today, Brora 40 Years Old has surpassed its original price of GBP6,995 and achieved a price of over 12 million New Taiwan Dollar in the secondary market. Besides 40 Years Old, Diageo has been released annual special release edition of Brora since 2002, mostly 30 Years Old. The price of the first edition that released in 2002 was set at GBP150 (about NTD7,500), and today it can fetch a price of over NTD70,000, an increase of nearly ten times. It is worth mentioning that the quality of the whisky from its sister distillery, Clynelish, has also been praised by collectors. However, the Official Bottling products are extremely limited, and only one core product, 1 14 Years Old, is currently available in the market. Without a representative product to define the distillery's marketvalue for collectors, even with packaging redesign, it has not been able to achieve the same price appreciation as older version of 10 Years Old or 30 Years Old Macallan bottlings.

"Fortunately, the price haven't skyrocketed, at least we can still drink Clynelish while reminiscing about Brora." M thought optimistically. "But it does remind me of the surge in Springbank prices two years ago. It seems to have stabilized now, thought, doesn't it?"

"Yes! I wanted to buy a bottle of Springbank last year and I was so surprised to find that the 10 Years Old was already close to NTD5,000." K chimed in.

The Springbank Distillery from Campbeltown is also regarded as a representative of high-quality whiskyies by many whisky enthusiasts. Although it hasn't garnered as much attention as Macallan or Brora in recent years, it has quietly been steadily rising in the secondary market. Springbank Local Barley 1966 has been recognized as a must-drink choice on many whisky lovers' bucket lists, demonstrating its exceptional quality. In 2014, its price in the auction market was around NTD30,000 to NTD40,000. Now, certain Sherry aged editions have exceeded NTD500,000, and Bourbon editions reaching NTD100,000.

"It seems like almost all whisky products have become more expensive in these past ten years, right?" K concluded.

Indeed, apart from inflation and continuous price adjustment in young whiskies, the overall price of all whisky is now higher at varying levels compared to 10 years ago. This has to do with the distillery, the age of the whisky, the rarity, and more. However, the most crucial factors are the acquisition cost and the timing of selling. It should be noted that the prices did not soar overnight nor did it increase in a continuous upward trajectory, even for the highly sought-after items such as Karuizawa Black and White Vintage.

Therefore, it is essential for any whisky enthusiasts to clarify one's goals, whether they are purely for drinking, collecting, or investment. If the focus is on investment, it is important to avoid impulsive decisions, same as in investing stock or any other financial products, even though the whisky market as a whole is growing. It is also crucial to understand that the success of any whisky is not determined by a single factor. For example, just because Japanese whiskyies are flourishing doesn't mean that every Japanese whisky brand is worth your attention. By deciding the direction and system of your collection, even if adjustments are required to be made in the future and there may be seemingly wrong attempts, because they are based on your own principles, there's no need to lament, "If only I had known."

[ WINE ] 安全有保障 43

頂級複雜製錶的價值所在

Text / 王維浩 Gawaine

Photo / Ravenel Art Group 、 A. Lange & Söhne 、 BREGUET

左：百達翡麗 Ref. 5270J 萬年曆計時腕錶

Left: Patek Philippe Ref. 5270J Perpetual

Calendar Chronograph

右：百達翡麗 Ref. 5204/1R 萬年曆追針計時腕錶

Right: Patek Philippe Ref. 5204/1R Perpetual

Calendar Split-Seconds Chronograph

What makes high-end watch retain its value ?

在收藏與鑑賞的過程中還能因此而獲利肯定是能讓每個鐘錶玩家欣喜的事，光是看著自己的收藏行情越來越漂亮，心裡就會有一種難以言喻的自豪與竊喜。目前來看，市面上熱度最高具有如此增值能力的款式毫無疑問是不鏽鋼運動錶，然而在大家都知道這個事實的情況下，要入手這些熱門款不僅難度高，成本也相當可觀。那麼，還有哪些類型的錶款也具備類似的潛力呢？

就羅芙奧精品部長期觀察鐘錶拍賣市場來看，多年下來還是高階複雜功能最歷久不衰。由於高階功能結構複雜，製作難度高，因此各大錶廠產量都非常少，例如百達翡麗的一只三問報時腕錶

要耗時半年至一年才能出廠，而工廠裡只有十多位夠資格負責處理複雜功能的製錶師，可想而知每年產量也不過就二三十只。物以稀為貴，與時下備受炒作的不鏽鋼運動錶相比，三問報時、追針計時、萬年曆或陀飛輪，又或是集多種功能於一身的大複雜腕錶行情更不容易受到大環境影響，既不會大起大落，停產後身價甚至還會穩定上升。

▶ 頂級功能如追針計時或陀飛輪等由於結構複雜，製作難度極高，產量也相當少。

Due to the complex mechanisms, high-end complications such as split-seconds chronograph and tourbillon are rather difficult to assemble, thus the production is low.

▼ 百達翡麗 Ref. 5740/1G ，複雜功能多搭配貴金屬錶殼，長期來看亦具保值潛力。

Patek Philippe Ref. 5740/1G, grand complication cased in precious metal shows the potential to retain its value.

講到複雜功能就不能不提百達翡麗了， 1932 年為美國金融鉅子

Henry Graves Jr. 所做的超複雜懷錶雄霸最複雜時計數十年，直到 1989 年再由百達翡麗自己推出 Cal. 89 ，以多達 33 項功能再度稱雄，膾炙人口的故事樹立了百達翡麗複雜之王的形象。在其現行款式中，萬年曆計時腕錶可說是最受歡迎的組合，畢竟品牌早在 1941 年就是史上第一款量產的萬年曆計時腕錶，具代表性意義。現行的 Ref. 5204 和 Ref. 5270 便延續著這份價值，備受藏家推崇。

除了百達翡麗外，寶璣也素以複雜錶款聞名。不僅是發明陀飛輪的始祖，寶璣還曾幫拿破崙、瑪麗皇后等歷史名人製作各種複雜作品，加入 Swatch 集團後有了龐大資源加持，近年更以矽材質為基礎發展出不同創新功能。而來自德國的朗格也在 1994 年浴火重生之後急起直追，其中 Datograph 突破以往窠臼，打造出可瞬跳的計時分針，更帶起了頂級品牌自製計時機芯的風潮。朗格還不定時推出 Handwerkskunst 系列，以極精細金雕工藝搭配芝麻鏈、陀飛輪，甚至打簧報時等頂級功能，限量生產的訂單每一次都在正式發表前就被頂級 VIP 訂滿了，也是資深藏家尋尋覓覓的目標。

複雜的機械結構意味著需要更多的手工調校與打磨，細膩度更上一層樓。鐘錶買賣的趨勢會受消費者品味影響，雖然目前不鏽鋼運動錶人氣較高，但未來幾年藏家世代改變後，品味也可能會有變化，而無論經過多少年，複雜精緻的手工藝都可以被任何世代的藏家欣賞，並懂得體會其價值。此外，頂級品牌的複雜功能多搭配貴金屬錶殼，而金價只升不跌，貴金屬錶款的價值始終都能維持基本盤，更適合長期收藏。

[ LUXURY ]

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It is an absolute delight to make a profit from forming a collection. Collectors would lick their chops and have a feeling of pride when they learn that the values of their own collections keep getting higher. For the time being, sports watches made of steel are without doubts the most popular choice with potentials of value growth we are discussing. Nevertheless, this is a fact that everyone knows, which makes it a lot more difficult and costly to get one of these hot pieces. In that case, what else category of watches presents the same potential as sports watches?

Ravenel Luxury Division has paid close attention to the watch auction market for years and notices that the high-end complications are still an enduring investment. Due to the complex mechanisms in complications, production capacity of each manufacturer is rather low. A minute repeater from Patek Philippe, for instance, takes six months to a year to be finished. And there are just around 15 watchmakers in the manufacture who are qualified to work on such complications. Therefore, the brand can only produce 20 to 30 pieces each year. The rarer the more expensive, compared to steel sports watches, minute repeater, splitseconds chronograph, perpetual calendar, and tourbillon, or the grande complication which incorporates various functions are more resistant to economic slump. They do not get greatly affected, even more, they become more valuable when they are discontinued.

▲ 朗格 1815 Handwerkskunst 追針計時萬年曆腕錶採用手工浮雕和琺瑯裝飾面盤。 The A. Lange & Söhne 1815 Rattrapante Perpetual Calendar Handwerkskunst features an enamelled dial with tremblage engravings. ▼ 由寶璣所發明的陀飛輪是最受藏家青睞的頂級複雜功能之一。

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Tourbillon invented by Breguet is one of the most coveted high-end complications.

When it comes to complicated watches, Patek Philippe is a name no one should ignore. The maison made the Supercomplication for American magnate Henry Graves Jr. in 1932, and this pocket watch held the most complicated timepiece title for decades until Patek Philippe launched Cal. 89 with 33 complications in 1989 to retain the title for another 30 years. This legendary story built up a reputation for Patek Philippe as the king of complications. In its present collections, the perpetual calendar chronograph is the most coveted combination. The very first serial produced perpetual calendar chronograph wristwatch was introduced by Patek Philippe in 1941 and it is an iconic symbol of the brand. Now the torch is passed onto its successors, the Ref. 5204 and Ref. 5270, both are highly desirable amongst watch collecting aficionados.

In addition to Patek Philippe, Breguet is also renowned for complicated watches. Not only was Breguet the inventor of tourbillon, he also designed and produced diverse timepieces for historic famous people such as Napoleon Bonaparte and Marie Antoinette. After being acquired by Swatch Group, Breguet is supported by greater resources and has developed innovative mechanisms and complications based on the application of silicon escapement. A. Lange & Söhne, a brand

from Germany also keeps pace after its revival in 1994. Its Datograph introduced the idea of jumping minute counter and forced the in-house chronograph movement production trend in the high-end watchmaking realm. Furthermore, A. Lange & Söhne occasionally launched the Handwerkskunst collection. Highly complicated functions like fusée chain and tourbillon are decorated with delicate craftsmanship, all of which were sold out before official release, extremely sought-after to connoisseurs.

Complicated mechanism means it requires more handmade and more adjustment, and is considered more exquisite. The trend of watch collecting is influenced by customers' tastes, although steel sports watches are still in their prime, the tastes could vary with the emergence of young collectors. Whereas complicated and refined watchmaking will always be appreciated by any generation of collectors no matter how many years pass through. Besides, complicated watches from high-end brands are mostly made of precious metals. With the price of gold keeps rising, gold watches will always remain at their ground value, thus a more appropriate investment for long-term collection.

[ LUXURY ]

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▶ 寶璣 Tradition 7047 芝麻鍊陀飛輪腕錶。 Breguet Tradition 7047 Fusée-Chain Tourbillon wristwatch.

「英王加冕」很有事

倫敦作東，邀你同慶

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Text / 伊森

慶祝國王查爾斯三世加冕，毗鄰白金漢宮，融合英式府邸優雅與摩登都市活力的倫敦蘭斯伯瑞飯店（ The Lanesborough ），推出查爾斯三世最愛的料理、甜點，和一杯名為『國王加冕 The Kings Coronation 』的調酒。

曾獲得《 Travel + Leisure 》評選倫敦最佳飯店第一名的蘭斯伯瑞飯店（ The Lanesborough ），坐落於倫敦市區海德公

園門口、俯瞰海德公園，由設計師 Alberto Pinto 改建自 1719

年最後一位蘭斯伯瑞子爵的莊園，地理位置距離 Harrods 、 Harvey Nichols 以及倫敦高級購物區僅咫尺之遙。

為慶祝盛事，蘭斯伯瑞飯店 The Lanesborough Grill 餐廳主廚 Shay Cooper 規劃了 5 道以英國本地食材為主的經典英式專屬晚餐；包括印度香料和新鮮的多塞特蟹肉（ Dorset crab ）料理的蟹肉沙拉、蘇格蘭水域的烤奧克尼扇貝佐萊薩姆奶油蝦，以及取用查爾斯三世最愛的 Rhug Estate hogget 小羊羔羊肉，搭配 Wye Valley 蘆筍、羊雜碎、薄荷和新鮮大蒜的重頭戲菜色。結尾則是英國『 Cropwell Bishop 』品牌的乳酪搭配國王和王后最愛的威爾士蛋糕（ Welsh cakes ）。費用為每人 125 英鎊起。

專業侍酒師設計了以 19 世紀英國軍官最愛的經典琴蕾（ Gimlet ）調酒，可在餐廳或飯店知名的圖書館酒吧品飲。靈感來自優質雪莉酒加上柑橘利口酒，並調入國王最愛的泥煤味單一麥芽威士忌，成就這杯『國王加冕 The Kings Coronation 』調酒。

國王加冕住宿優惠（ The Kings Coronation Celebration ），入住攝政風格的豪華客房或套房期間將享有一瓶香檳、加冕紀念小禮，倫敦希思羅機場、國王十字車站和潘克拉斯車站的禮車接送，每晚 1,212 英鎊起。

[ TRAVEL ]

Photo / The Lanesborough

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50

咬一口

蘋果綠

[ CUISINE ]

PRADA

惡魔糕點屋 Text / 袁青

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Photo / Prada

再度成功地透過飲食文化向世界推展普拉達式美學的 Prada ，繼義大利米蘭 Prada Caffè 之後，倫敦 Harrods 一間滿眼獨特蘋果綠色的甜點咖啡屋為城市帶來美好的義式氛圍體驗。

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從裝飾、菜單、餐具到環境氛圍都十分 Prada 的糕點店，空間每一個細節都反映著品牌的視覺語言、標誌和看待世界的美麗視角。

一踏入 Caffè ，每一步踩在再現米蘭維托里奧埃馬努埃萊二世長廊歷史悠久的黑白格子地磚，環顧四周牆壁上的花卉淺浮雕、天花板、天鵝絨軟墊沙發和扶手椅全都沈浸在 Prada 標誌性的蘋果綠色中，美得

令人不由得宛如置身 Prada 精品旗艦店。

與店裡氛圍相得益彰的獨特餐具延伸著 Prada 品味，包括對比色雙黑線的淡藍色日本瓷，帶蓋的咖啡杯、茶壺、盤子和托盤的靈感來自古老青瓷陶器，和吹製玻璃水晶玻璃的義大利傳統器皿，此外，一系列帶著典型 Prada 三角形圖案的器具教人愛不釋手。

[ CUISINE ]

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Prada Caffè 提供全天候餐飲，從早餐到晚間雞尾酒，典型義大利傳統三明治和義大利奶酪、鮭魚、螃蟹等菜餚全到位了；搭配 spritz 和 negroni 開胃的特色雞尾酒單，包括，橫跨整個義大利，從西西里島到皮埃蒙特都有的各種風味酒單。

當然少不了咖啡店裡的核心糕點，展示在壯觀中央櫃檯裡精選糕點，如同 Prada 精品般結合現代和經典，傳遞著古老優美工藝的傳承。

只是，忽然閃過電影穿著惡魔的 Prada 中，驚慌失措的米蘭達面對此情此景，好整以暇地，一口一口品嘗著魔鬼的滋味如何 ?

[ CUISINE ]

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畢卡索週年

－時尚有話要說－ 50

Succession

「我想以不那麼傳統的方式，將更多視覺體驗放在一起，讓年輕觀眾以及對大師畢卡索 Pablo Picasso 作品不是很了解的觀眾，可以平易近人的近距離接觸。」

英國時裝設計師 Paul Smith

應邀擔任畢卡索（ Pablo Picasso ）逝世 50 週年紀念策展藝術總監，

嘗試以獨特的時尚視角重現大師傳世傑作。

Text / EDDIE Photo / Musée national Picasso-Paris, Voyez-Vous (Vinciane Lebrun)

[ ART ]

Picasso 2023.Paul Smith

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1973 年離世至今己五十年，畢卡索對整個 20 世紀產生深遠的影響。巴黎畢卡索美術館（ Musée Picasso ）特別邀請以色彩與創意聞名的時尚的保羅爺爺 Paul Smith 擔任特展藝術總監，重現一代宗師極為宏觀的又親密的藝術連結。

畢卡索美術館典藏五千多幅作品，幾乎涵蓋藝術家從繪畫、雕塑、素描、雕刻到陶瓷等多元的創意。如果加上畢卡索個人珍藏物品，估計逾兩萬個物件，可以說完整揭示了畢卡索曠世傑作，對當代藝術深具影響的總和。

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畢卡索美術館館長 Cecile DeBray 與 Paul Smith 合作策劃的特展旨在有系統地回顧，更希望透過時尚的當代眼界重新審視這些原創傑作，不但凸顯畢卡索在藝術史上歷久不衰的創作力，進而從匯集兩位藝術家對於物件、時尚和高度引人注目的創意，同時感受他們對於藝術多元化解讀生命的熱愛。

展覽中藉由包括 Guillermo Kuitca 、Obi Okigbo 、Mickalene

Thomas 和 Chéri Samba 等，汲取畢卡索為根基而發展出當代創作的國際藝術家作品。巴黎畢卡索美術館館長 Cécile Debray 說：「充滿俏皮而歡愉的嘗試，通過時尚創意敏銳而幽默甚至調皮的眼光，重新詮釋並延伸畢卡索創作的時代性。」誠然，藝術試圖以不同觀點看待世界並提出質疑，畢卡索當之無愧。

[ ART ]

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Stella McCartney

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－零殘忍－一當先

每年，超過 1 億隻動物因皮毛而死亡。「時裝太多皮革、羽毛和毛皮，尤其是冬天，我只是想證明時尚可以不必殺生。」英倫時尚設計師 Stella McCartney 力行「零殘忍」不採用動物皮草的創意下，沒有任何動物因此而被殺，為時尚圈「環保」先鋒的最佳典範。

七匹未繫韁繩的白馬疾馳著，長長地揚起的銀色鬃毛，純粹的生命力吸引每個人。

「馬是鏡子，它們讓我腳踏實地；與馬的聯繫有助於重新與自己連結，不會迷路。」對於身為素食主義者的服裝設計師 Stella McCartney ，她和母親、姐姐及一家人，懷抱著始終相信人與動物之間和諧的關係；馬更是她們生命中很重要的一部分⋯⋯。

每年，超過 1 億隻動物因皮毛而死亡。「時裝太多皮革、羽毛和毛皮，尤其是冬天，我只是想證明可以不必殺生。」英國時尚設計師 Stella McCartney 2023 成衣系列採用 92% 可持續性材

料製成，是有史以來最具環保意識的一個冬季。

從英國人衣櫃裡和馬術與狩獵有關的尋找靈感：「男人和女人、馬和自然之間的關係，成為 Stella McCartney 設計上的一種詩意。」將馬術語言應用到時尚，像輕薄

騎兵夾外套、短款背心及馬術文化的解構牛仔套裝，令人想起她在 Chloé 時代注入馬具聯想的低腰褲和馬匹的印花，而這些記憶得以在連衣裙和針織品中延續，使得她自己的時尚品牌時充滿了激情。

倫敦薩維爾街 (Savile Row) 手工訂製西服街，引

領冬季女裝，有著漂亮剪裁的薑黃色調英國格紋西裝外套，裝飾著馬毯的花格圖案，還有收腰的狩獵夾克；為了向家族歷史致敬， McCartney 在晚禮服和襯衫上

選用了母親和姐姐的馬匹攝影作品。

McCartney 笑著說：「我的服裝設計沒有殺死任何東西，大家和睦相處。」除了服飾，採用最先進的「可持續性」材料，取代動物皮革製成手袋更是 Stella 獨家熱門商品：一種以植物為基礎、無塑料和循環材料的替代品； AppleSkin™ ，；使用食品行業的蘋果廢料製成仿鱷魚皮革的手提包；白色的 Frayme Mylo™ ，是蘑菇菌絲體材料第

一次，也是唯一一次有黑色以外可選的「皮」包。

這些令人想起「環保，沒有人是局外人」這句話；顯然，力行「零殘忍」的 Stella McCartney 早己一「馬」當先成為圈內最佳時尚先鋒。

[ FASHION ] 61

Text / ETHAN Photo / Stella McCartney

「伊甸花園」遊蹤

時間即珠寶

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Text / 袁青 Photo / Bvlgari

台灣人好色； BVLGARI 寶格麗，正中下懷。

話說「羅馬、色彩、自然」寶格麗 BVLGARI 珠寶最重要的三大 DNA ：無一不與色彩有關。

[ LUXURY ]

63

根基於深厚羅馬文化淵源，頌歌壯麗自然建築、揮灑歡愉色彩、盛放古希臘文明美學的 BVLGARI 寶格麗，在頂級珠寶界更以「靈蛇」、「扇形構圖」和「古幣設計」等，既經典又深具特色的風格開創出屬於自己的一條創意之路。

BVLGARI 對寶石色澤和切割品味獨特，在頂級珠寶界獨樹一格。清透活力的粉紅碧璽、深邃性感的紅玉髓、有著特殊礦石紋路及翠綠色澤的孔雀石、藍色大海般的綠松石⋯⋯⋯更不能錯過大地色彩能量之源，瑰麗的祖母綠。

《蛋面切》，獨具色相

秉持一貫對寶石強烈執著和創新精神，光彩奪目、曲線優美的，呼應羅馬建築的壯觀圓頂的「蛋面型」切割，藉以保留住寶石最完美且飽和色相是 BVLGARI 珠寶關鍵。延伸自羅馬的古蹟

和建築瑰寶的靈感泉源，一整列，或煙花四射，或大小漸層排列的彩寶，仿如無窮綻放的花園，大膽鮮豔的色彩組合，透過豐富且現代感的寶石詮釋，令人回味的色彩展現寶格麗富麗的「伊甸奇蹟花園」，擠身世界頂級珠寶之列的奢華實力。

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「 �� 蛇」，一如「伊甸花園」無窮綻放生命力的繆斯，絕對是 BVLGARI 寶格麗唯美奇蹟的領路者。

由於文化及民族淵源的差異，許多象徵意義大不同。蛇在東西方神話或歴史追溯上是有著非常不同的想像。但若要認識「寶格麗」 BVLGARI 這個義大利頂級珠寶，從魅惑神秘的蛇形會是一條追尋線索⋯⋯ 古希臘及羅馬神話。象徵著智慧、生命力及魅力，蜷伏於人文歷史之魅惑的「靈蛇」某種程度，成就了寶格麗珠寶迷人傑作。 Serpenti Viper 指向代表品牌精神的靈蛇致敬，以精細華美而炫目設計展現蛇鱗感性曲線和魅惑力量。環繞在手指或脖子上的蛇形，與其說是散發魅惑的焦點，對寶格麗來說更是，打破傳統、突破想像界限，讓美麗成為獨特、神秘和勇敢代名詞的經典。

[ LUXURY ]

《蛇》，「伊甸花園」繆斯

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《埃及豔后》，倒三角眼妝

李察波頓曾說過：「 BVLGARI 寶格麗是伊莉莎白泰勒認識的第一個義大利字。」

品牌具代表的「 Divas' Dream 」扇型設計初始靈感與美學，有一說法是出自伊莉莎白泰勒主演《埃及豔后》，那雙勾勒著倒三角如扇般的眼妝。

但如果去過波蘭知名的露天浴場，見識了源自古羅馬時期最奢靡、浮華代表的「卡拉卡拉浴場」孔雀開屏的馬賽克地磚，對於寶格麗取法於此，象徵義大利文化及羅馬精神的「扇形」標誌性設計，搖曳生姿的動態美，予人無限想像空間。

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《古幣》，蒐一個少一個

寶格麗其 logo 商標設計即為古幣弧形銘文中汲取靈感，對珠寶內行人而言， BVLGARI 的古幣設計為現代優雅與古老文化之融合，而且不論是那時期的古幣人頭，用掉一個就少一個的骨董，亦是買手不容錯失的珠寶傑作。

看懂了門道， BVLGARI 寶格麗富饒的「伊甸花園」珠寶盛宴又那裡豈是總值 80 億台幣，一句場面話所能表達於萬一？

[ LUXURY ]

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McLaren 台展中⼼ 02 2627 1666 台北市內湖區港墘路199號 T H E F U L L F O R C E O F M c L A R E N A R T U R A McLaren 台中展中⼼ 04 2475 9488 台中市西屯富路5段189 McLaren ⾼雄展中⼼ 07 345 1777 ⾼雄市左四路188

羅芙奧 2023 春季拍賣會

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2023 年 6 月 1 日(四) 2:00 pm

威士忌專場

2023 年 6 月 2 日(五) 2:00 pm

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羅芙奧季刊第43期 RAVENEL QUARTERLY NO. 43

INTERIOR QUARRY

CONTENTS

童心未泯小宇宙－元永定正

穿梭威士忌市場十年今昔

WOMEN ARE HALF OF HUMANITY

女人是人類的一半

The Rise of New Western Art with A Focus on Japanese and Korean Art

A Revolutionary Form of Representation

Rough and Innocence As the New Aesthetics Criteria in Western Contemporary Art

超當代翻轉思維

談女性藝術家的奮鬥與市場概況

真正的藝術家不分男女老幼

最貴的女性藝術家作品

最貴的女性雕塑作品

已故紐約畫派藝術家瓊．米切爾（

女力崛起於拍賣市場

最貴的拉丁美洲女性藝術家作品

最貴的女性抽象表現主義作品

最貴的在世女性藝術家作品

最貴的女性攝影作品

Misogyny in Art History

The True Artist Must Be 'Neither Woman Nor Man, Neither Old Nor Young'

The Rise of Female Power in the Auction Market

Empowering the Art World: Trailblazing Women Artists in the 'Ultra-Contemporary' Market

SELECTION OF AUCTION RECORDS FOR 20 FEMALE ARTISTS 15

童心未泯小宇宙－元永定正

子女士赴紐約參與為期

插畫及兒童繪本的創作， 1980 年代先後出版繪本《

十年今昔 穿梭威士忌市場

頂級複雜製錶的價值所在

「英王加冕」很有事

倫敦作東，邀你同慶

咬一口

蘋果綠

畢卡索 週年

－時尚有話要說－ 50

Stella McCartney

「伊甸花園」遊蹤

《蛋面切》，獨具色相

《埃及豔后》，倒三角眼妝

《古幣》，蒐一個少一個

羅芙奧 2023 春季拍賣會

尊釀雲集

酒後不開車 安全有保障

十年今昔穿梭威士忌市場

畢卡索週年

酒後不開車安全有保障