AUTUMN AUCTION 2014 HONG KONG
RAVENEL AUTUMN AUCTION 2014 HONG KONG Modern and Contemporary Art
羅芙奧香港 2014 秋季拍賣會 現代與當代藝術拍賣
AUCTION
拍賣日期 / 地點
Sunday, 23 Nov 2014, 5:30pm Grand Hyatt Hong Kong (Grand Ballroom) 1 Harbour Road, Wanchai, Hong Kong
2014年11月23日（日） 下午 5:30 香港君悅酒店 (宴會大禮堂) 香港灣仔港灣道1號
PREVIEWS
預展日期 / 地點
Taichung
台中 2014年11月8日（六） 下午1:00至下午6:00 2014年11月9日（日） 上午11:00至下午6:00 寶輝建設接待中心 台中市市政北二路與惠來路交叉口
Saturday, 8 November 2014, 1:00pm - 6:00pm Sunday, 9 November 2014, 11:00am - 6:00pm Pao-huei Construction Reception Center Intersection of Shizheng North 2nd Road and Huilai Road, Taichung, Taiwan
Taipei
Saturday, 15 November 2014, 10:00am - 7:00pm Sunday, 16 November 2014, 10:00am - 7:00pm Fubon National Conference Centre B2, No.108, Sec. 1, Dunhua South Road, Taipei, Taiwan
Hong Kong
Friday, 21 November 2014, 2:00pm - 7:00pm Saturday, 22 November 2014, 10:00am - 7:00pm Grand Hyatt Hong Kong (Tiffin) 1 Harbour Road, Wanchai, Hong Kong
台北 2014年11月15日（六） 上午10:00至下午7:00 2014年11月16日（日） 上午10:00至下午7:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2 香港 2014年11月21日（五） 下午2:00至下午7:00 2014年11月22日（六） 上午10:00至下午7:00 香港君悅酒店 M 樓茶園 香港灣仔港灣道1號
As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This auction catalogue: HK$ 400 per copy.
Arthur WANG 王鎮華
Chairman 董事長
Clara KUO 郭倩如
Vice Chairman 副董事長
Lorries CHANG 張增偉
C.E.O. 執行長
傅斐郡 Flora Fu
陳惠黛 Odile Chen
藝術部總經理 President, Art Department
藝術部總經理（海外拓展） Chief Specialist, Art Department
林慧菁 Maggie Lin
何瑩 Vivi He
藝術部副總經理 Vise President, Art Department
業務發展部 總監 Head of Business Development Department
鄧秀麗 Crystal Tang
張淳茹 Sabrina Chang
藝術部專家 Specialist, Art Department
營運部 協理 Senior Manager, Operation Department
楊琴 Echo Yang
簡詩蕙 Raze Kan
上海辦事處代表 Representative Shanghai
營運部 主任 Supervisor, Operation Department
張鶴軒 Helen Zhang 北京業務代表 Sales Representative Beijing
楊千嬅 Kelly Yang 業務發展部 主任 Supervisor, Business Development Department
CONTENTS 5
Sale Information 羅芙奧春季拍賣會
8
Ravenel Services 羅芙奧之服務
12
Modern and Contemporary Art 現代與當代藝術
145
Transaction Rules For Art (Hong Kong) 業務規則
151
Absentee Bid Form 委託競投表格
153
Index 畫家索引
RAVENEL STAFF AND SERVICES FOR THIS SALE ART CONSULTANTS Taipei President, Art Department Flora Fu Tel: +886 2 2708 9868 ext. 888 Email: florafu@ravenel.com
Chief Specialist, Art Department Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odilechen@ravenel.com
Vice President, Art Department Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggielin@ravenel.com
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Taiwan
Kelly Yang Tel: +852 2889 0859 ext. 783 Email: kellyyang@ravenel.com
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Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. It is also possible to bid online for selected lots. Please refer to ravenel.com for more information.
Hong Kong, International
Hong Kong Specialist, Art Department
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CATALOGUE SUBSCRIPTION
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Taiwan
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Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday. Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you. Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.
羅芙奧香港 2014 秋季拍賣會服務部門及連絡人 藝術品諮詢專家 台北 藝術部總經理 傅斐郡 電話：+886 2 2708 9868 轉 888 電子信箱：florafu@ravenel.com
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中國
目錄訂閱
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MODERN & CONTEMPORARY ART Sunday, 23 Nov 2014 5:30 pm Grand Hyatt Hong Kong (Grand Ballroom)
Lots 001 – 093
001
NOBUYOSHI ARAKI
(Japanese, B. 1940)
Untitled
荒木經惟
Gelatin silver print 46.5 x 58 cm (18 1/4 x 22 7/8 in.) Signed in English 'Nobuyoshi Araki ' (on the reverse)
無題
HK$ 20,000 - 30,000 NT$ 78,000 - 118,000 US$ 2,600 - 3,900
銀鹽相紙 鏡框 簽名：Nobuyoshi Araki
002
NOBUYOSHI ARAKI
(Japanese, B. 1940)
Untitled
荒木經惟
Gelatin silver print 46.5 x 58 cm (18 1/4 x 22 7/8 in.) Signed in English 'Nobuyoshi Araki ' (on the reverse)
無題 銀鹽相紙 鏡框 簽名：Nobuyoshi Araki
HK$ 20,000 - 30,000 NT$ 78,000 - 118,000 US$ 2,600 - 3,900
Ravenel
13
003
WANG JIA NONG (Mi Li Tsun Nan, Taiwanese, B. 1960)
瀰力村男（王家農）
Heart Scope-11
心域系列-11
Mixed media 80 x 100 cm. (31 1/2 x 39 3/8 in.) Signed ‘Wang Jia Nong ’ in Chinese, dated '2001' (lower left) Painted in 2001
2001 年作 綜合媒材 簽名：王家農 2001 (左下)
HK$ 55,000 - 80,000 NT$ 216,000 - 314,000 US$ 7,100 - 10,300
004
DAIDO MORIYAMA
(Japanese, B. 1938)
Misawa
森山大道
Gelatin silver print and photograph 43 x 57 cm (17 x 22 in.) Signed ‘Daido ’ in Japanese in pencil (on the reverse) Executed in 1971
野犬
Literature
出版 《犬的記憶—森山大道》(台灣臺北， 商周出版社，2009年) 無頁數及封底
Memories of a Dog: Daido Moriyama, Business Weekly Publications, Taipei, Taiwan, 2009, unpaginated and back cover
1971 年作 鏡框 簽名：森山大道，Daido (背面)
HK$ 60,000 - 120,000 NT$ 235,000 - 471,000 US$ 7,700 - 15,500 Ravenel
15
005
WANG XIN FENG
(Taiwanese, B. 1952)
Waves
王信豐
Acrylic on canvas 80 x 100 cm. (31 1/2 x 39 3/8 in.) Painted in 2012
浪淘沙
HK$ 80,000 - 120,000 NT$ 314,000 - 471,000 US$ 10,300 - 15,500
2012 年作 壓克力 畫布
006
YE HONG XING
(Chinese, B. 1972)
Mandala No.21
葉紅杏
Mixed media 120 x 120 cm. (47 x 47 in.) Signed 'Ye Hong Xing ' in Chinese; dated '2013' (on the reverse)
曼陀羅 No.21 綜合媒材 簽名：葉紅杏 2013 (背面)
HK$ 70,000 - 120,000 NT$ 275,000 - 471,000 US$ 9,000 - 15,500
Ravenel
17
007
WALASSE TING (Chinese-American, 1929-2010)
丁雄泉
Hot Lips Waiting for My Warm Kisses
吻
Acrylic on paper 20.3 x 27.7 cm (8 x 10 7/8 in.) With one seal of the artist
壓克力 紙本 鈐印：採花大盜
HK$ 20,000 - 32,000 NT$ 78,000 - 125,000 US$ 2,600 - 4,100
008
WALASSE TING (Chinese-American, 1929-2010)
丁雄泉
Watermelon
西瓜
Acrylic on paper 23.5 x 35 cm (9 1/4 x 13 3/4 in.) With one seal of the artist
壓克力 紙本 鈐印：採花大盜
HK$ 26,000 - 36,000 NT$ 102,000 - 141,000 US$ 3,400 - 4,600
Ravenel
19
009
LU XI
(Chinese, B. 1982)
Exchange
盧曦
Oil on Canvas 97 x 130 cm (38 x 51 in.) Signed ‘Lu Xi ’ in Chinese, dated '2009' ( lower right) Painted in 2009
交換
HK$ 28,000 - 36,000 NT$ 110,000 - 141,000 US$ 3,600 - 4,600
2009 年作 油彩 畫布 簽名：盧曦 2009 (右下)
010
MA JING HU
(Chinese, B. 1974)
Women in Red
馬精虎
Oil on canvas 130.5 x 105.3 cm (51 3/8 x 41 1/2 in.) Signed 'MA 2008/2009' (lower left) Painted in 2008/2009
濁世紅塵 2008/2009 年作 油彩 畫布 簽名：MA 2008/2009 (左下)
HK$ 180,000 - 260,000 NT$ 706,000 - 1,020,000 US$ 23,200 - 33,500 Ravenel
21
011
LUI LIU
(Chinese, B. 1957)
The Bride Signed ‘LUI LIU ’ in Pinyin; dated '99' (lower right ) Oil on canvas 69.8 x 54.5 cm (27 1/2 x 21 1/2 in.) Painted in 1999 Provenance
Private Collection, Asia
HK$ 380,000 - 550,000 NT$ 1,490,000 - 2,157,000 US$ 49,000 - 70,900
劉溢 新娘 1999 年作 油彩 畫布 簽名：LUI LIU 99 來源 亞洲 私人收藏
劉溢被評為「超現實主義與波普主義兩極之間的探索者」， 他 的繪畫技法精湛細膩，題材別具意味，喜以帶故事性、戲劇感及 暗喻的手法創作，又善於以寫實的技巧刻畫，並利用古典油畫的 特質，創作充滿現代氣息的作品。 自劉溢1991年移居加拿大後，便開始創作較多以西方女性為題 材的肖像畫，《新娘》便是畫家一幅早期別具一格的作品。畫中 的女子屢次出現在劉溢的作品中扮演不同的角色，可謂芳蹤處 處。她時而混入群像畫中，如在《別攔哥》中扮演放縱輕狂的裸 女，時而成為肖像畫的女主角，以不同的形象及造型出現，似乎 在畫家的心目中佔有重要的地位，是畫家創作的靈感泉源。畫家 以豐富的想像力及巧妙的構思，把新娘塑造成與眾不同及令人印 象深刻的角色。 正如陳丹青先生說，劉溢的作品具有「戲劇性的表情，以及難以 解讀的情境。」畫中新娘身穿亮麗的服飾，她目光渙散，並未直 視觀眾，雙臂與十指張開外揚懸浮於空中，那誇張的肢體造型與 木訥的表情令人費解。畫家以敏銳的筆觸捕捉新娘瞬間的姿態， 並將其凝結，霎時間，整個空間似乎都停滯靜止。其別具匠心的 光線運用，造就了畫面的戲劇性效果。在深邃的背景下，畫家利 用強烈的側光，強調新娘的輪廓及身體的立體感，並以細膩的筆 觸表現衣服的皺褶、質感和紋理，令新娘從背景中凸顯出來，其 精湛的寫實技巧實在無庸置疑。而新娘背後晃動的影子，更為畫 面增添了神祕色彩及懸疑氣氛，表現出戲劇性的張力。 劉溢作品中的女性許多都身份不明，其背景、時間及地點都被省 略，似乎畫家是刻意將人物抽離現實，以營造疑幻疑真的感覺。 新娘究竟身處何時何地？她的舉動猶如在閃光燈下被瞬間凝結， 營造出戲劇性的效果，實在耐人尋味。整體而言，畫家以細膩精 湛的技巧、戲劇性的手法及巧妙的構思，凸顯新娘的形象，創作 出一個現實與超現實交織的境象。
Liu Liu is being classified as "a maverick that works in the grey area between magical realism and Pop Art. " His painting techniques are exquisite and compelling, and his artworks often have a story to tell. Together with the use of dramatic and metaphoric approaches, the themes of his works are in-depth and thought provoking. Liu is good at drawing with realism techniques, he uses the features of classical oil painting to create works with a flavor of modernity. After Liu moved to Canada in 1991, he began to create more works with western woman as the subject matter. Bride is a unique work in the artist's early years. The woman in the artwork appears repeatedly in Liu's works playing different roles, and it can be said that she is seen nearly everywhere. Sometimes she blends into the group portraitures, for example, being the frivolous nude in Public vs. Republic; sometimes she is the central character of the portrait paintings, appearing in different image styling and shapes. It seems that she has a high place in the artist's mind, and she is his source of inspiration. By using rich imagination and masterful composition, the bride is shaped as a unique character, leaving a deep impression on the viewers. As commented by Mr. Chen danqing, Liu's works are filled with "highly dramatic expression and enigmatic situations. " In the portrait, the bride dressed in a charming ensemble, her eyes are out of focus and not gazing directly at the viewers. Her arms are in the air with all the fingers spreading wide, these exaggerated body figure and numb expression seemed inexplicable. The artist uses sprightly brushstrokes to capture the posture of the bride at that particular instant in time, and subsequently frozen the scene. In a split second, the entire world seems to be stopped. The originality in his use of lightning contributes to the dramatic effect in the scene. With a deep and dark backdrop, the artist uses strong side light to emphasize the bride's facial features and her dimensional body texture. He also uses finely detailed strokes to show the folds, touch and texture of the clothes, which makes the bride stands out from the background. It is unquestionable that his realism techniques excel. The swaying shadow behind the bride adds a touch of mystery and suspense to the painting, heightening the dramatic tension. The identity of most of the girls in Liu's works remains unknown. The background, time and venue of the painting are not mentioned, as if the artist deliberately detaches the characters from the real world, creating a feeling in-between reality and illusion. Where and when is the bride located? It seems that she freezes under the flash in the blink of an eye, producing a dramatic effect which intrigues the viewers. To sum up, the artists uses exquisite skills, dramatic techniques and ingenious composition to point up the image of the bride and develop the intertexture between the reality and the surreal world.
Ravenel
23
012
CHEN CHENG WEI
(Chinese, B. 1984)
Still Night
陳承衛
Oil on canvas 60 x 50 cm. (23 5/8 x 19 5/8 in.) Signed 'Chen Cheng Wei ' in Chinese and pinyin; dated '2014 ' Painted in 2014
大民國-清夜思君
HK$ 80,000 - 120,000 NT$ 314,000 - 471,000 US$ 10,300 - 15,500
2014 年作 油彩 畫布 簽名：陳承衛 2014 及指印
013
CHEN CHENG WEI
(Chinese, B. 1984)
Lady with Flower
陳承衛
Oil on canvas 60 x 50 cm. (23 5/8 x 19 5/8 in.) Signed 'Chen Cheng Wei ' in Chinese and pinyin; dated '2014 ' Painted in 2014
大民國-花燦金萱 2014年作 油彩 畫布 簽名：陳承衛 2014 及指印
HK$ 80,000 - 120,000 NT$ 314,000 - 471,000 US$ 10,300 - 15,500 Ravenel
25
014
HE DUO LING
(Chinese, B. 1948)
Portrait Oil on canvas 80 x 60 cm (31 1/2 x 23 5/8 in.) Signed ‘heduoling12 ’ (lower right ) Painted in 2012 Exhibited
Art Beijing 2014
HK$ 650,000 - 800,000 NT$ 2,549,000 - 3,137,000 US$ 83,800 - 103,100
何 多苓 肖像 2012 年作 油彩 畫布 簽名：heduoling12 (左下) 展覽 「藝術北京」博覽會2014
何多苓被譽為抒情的現實主義油畫的代表人物，他的繪畫一方面把人 物具體、寫實地描繪出來，另一方面則注入了自己的情感，運用色 調、筆觸、構圖，塑造出自己心中的人物形像，創作出既真實又富詩 意的肖像畫。 這幅作品以灰色為主調，營造出來靜謐寂寥的氛圍下散發著淡淡憂愁 的詩意，反映出畫家含蓄而浪漫的情懷。畫家巧妙地運用背景色調、 簡潔的構圖、柔和的光線及人物的姿態、神情來烘托氣氛及渲染情 緒。畫中女子清秀溫婉，長有彎而細長的眉毛，眉毛下睜著一雙澄澈 明亮的大眸子，眸子裡閃爍著自信與智慧的光芒，正若有所思的凝視 著遠方。那一頭烏黑的長髮與黑色的襯衣相互映襯，為畫面增添了均 衡、穩重的元素，成功地讓女子予人一種莊重溫婉的感覺。此外，畫 家將人物與背景融合，背景上半部的淺灰色調，與人物的臉及頸部的 色調相近，筆觸較為細膩、均勻，下半部的色調較深，與人物的衣服 幾乎融為一體，但筆觸則清晰可見，畫家刻意地將人物與背景交融， 令畫面整體統一和諧。 何多苓曾說「我喜歡表現女性的細膩、敏感、多變、微妙」，畫家以 敏銳的觸覺，堅實的藝術功底及富有詩意的情懷，繪畫出畫家心目中 獨特的女性形象，此幅作品便把女性的溫婉柔美刻畫得淋漓盡致。
Hao Duoling is known as a representative of lyrical realism paintings. His paintings meticulously depicts the detail characteristic of the subject matter infused with a touch of the artist’s emotions and sentiments through a magnificent utilization of colors, brushwork on the composition of the nostalgic portrait. The present lot is imbued with various tonal shades of grey, manifesting an atmosphere of a quiet solitude while simultaneously exuding a touch of poetic and romantic ambiance. The artist’s painterly approach of a deliberate simplistic soft backdrop and compositional arrangement of the subject’s gentle gesture heighten the atmosphere and render emotions. The central figure’s gentle demeanor further extenuates her slender eyebrows framing her delicate features, her eyes sparkling with confidence and wisdom thoughtfully gazing into the distance. F u r t h e r m o re , t h e l o n g b l a c k h a i r s o f t l y c o m p l i m e n t s t h e silhouette of her black shirt silhouetted contribute to a balanced composition, the combine effects results in the impression of a gracious lady. The tonal shades of the background and the figure’s face both feature a soft gray and delicate palette that greatly compliments each other, thus enhancing the effect of the meticulous and delicate brushstrokes, as the darker hue of the lower half melodiously melt with the character's. Hao deliberately blend the character with the backgrounds to achieve a sense of unity and harmony. Hao Duoling comments, "I like to portrays femininity's delicate, sensitive and varied, subtle, nature." The present lot vividly illuminates the artist’s distinguished sensitivity through a matured artistic approach can be observed from the artist’s unique interpretation and perception of femininity.
Ravenel
27
015
LE PHO
(French Vietnamese, 1907-2001)
Bouquet
黎譜
Oil on canvas 96 x 129.5 cm (37 3/4 x 51 in.) Signed ‘Lepho ’ in Chinese and pinyin Circa 1960 – 1962
花束
HK$ 120,000 - 200,000 NT$ 471,000 - 784,000 US$ 15,500 - 25,800
1960－1962 年作 油彩 畫布 簽名：黎譜 Lepho (右下)
016
TOSHIMITSU IMAI
(Japanese, 1928-2002)
Untitled
今 井 俊満
Oil on Paper 72.5 x 59.3 cm (28 1/2 x 23 3/8 in.) Signed ‘Imai ’ and dated '80' (lower right ) Painted in 1980
無題
Provenance
來源 日本私人收藏
Private Collection, Japan
1980 年作 油彩 紙本 簽名：Imai 80年 (右下)
HK$ 20,000 - 32,000 NT$ 78,000 - 125,000 US$ 2,600 - 4,100 Ravenel
29
017
YOSHITAKA AMANO
(Japanese, B. 1952)
Candy Girls S-56
天野喜孝
Automotive paint on aluminum panel 50 x 50 cm (19 5/8 x 19 5/8 in.) Signed 'Y. Amano' in English (lower left) Painted in 2010
糖果女孩 S-56
HK$ 90,000 - 130,000 NT$ 353,000 - 510,000 US$ 11,600 - 16,800
2010 年作 汽車漆 鋁板 簽名：Y. Amano (左下)
018
ADRIEN JEAN LEMAYEUR DEMERPRES (Belgian, 1880-1958)
勒邁耶
Quai animé à Venise
威尼斯的碼頭
Oil on panel 20 x 26 cm (7 7/8 x 10 1/4 in.) Signed 'J. LeMayeur ' (lower left) Painted in 20th Century
二十世紀 油彩 木板 簽名：J. LeMayeur (左下)
Provenance
來源 比利時 私人收藏家
Private Collection, Belgium
HK$ 50,000 - 80,000 NT$ 196,000 - 314,000 US$ 6,400 - 10,300
Ravenel
31
019
ADRIEN JEAN LEMAYEUR DEMERPRES (Belgian, 1880-1958)
Femme de Bali
勒邁耶
Watercolor and gouache on paper 40 x 49 cm (15 3/4 x 19 1/4 in.) Signed 'J. LeMayeur ' (lower right) Painted in 20th Century
巴厘島的女子
Provenance
來源 比利時 私人收藏家
Private Collection, Belgium
HK$ 80,000 - 120,000 NT$ 314,000 - 471,000 US$ 10,300 - 15,500
二十世紀 水彩 水粉 畫板 簽名：J. LeMayeur (右下)
020
WILLEM GERARD HOFKER (Dutch, 1902-1981)
威廉．傑拉德．賀夫卡
Danseuse balinaise à l’éventail
巴厘島舞者與扇子
Oil on board 29 x 44.1 cm (11 3/8 x 17 3/8 in.) Signed 'W.G. Hofker' (lower right); dated '2 June 1939' (lower left) Painted in 1939
1939 年作 油彩 畫板 簽名：w.g. Hofker (右下)， 2 June 1939 (左下)
Provenance
來源 比利時 私人收藏
Private Collection, Belgium
HK$ 90,000 - 130,000 NT$ 353,000 - 510,000 US$ 11,600 - 16,800 Ravenel
33
文 心 像 韻 ： 邱 亞 才的肖像畫
「那種描繪人類靈魂深處的力量真的空前絕後漸漸的我能用一種比較妥確的筆法把內 心荷壓的生命形態表現出來。常常會在無意之間即興地在畫布上掃出一個熟知的形像 我自始認為，繪畫前的感動與設計才是最重要的畫時無心就任由內心積聚的意識流奔 洩就像高深的宋畫它是捕捉宇宙靈氣裏虛實的霎間而不是刻板的邏輯與 透 視 」 －邱亞才
心靈的精神結構 邱亞才的作品以理想化的典型人性為依據，其肖像畫展現出不同凡響的 氣質，令人聯想到古代的歷史人物。畫家鍾愛以詩人、作家、美學家和 青年為題材，而那些出生優越的青年，與畫家的成長背景形成鮮明的對 比。畫家不著重於表現人物變化多端的情感，故其肖像畫並未表露過多 的面部表情。然而，他的繪畫卻體現出人物的內在精神和氣質，畫中人 物往往呈現出一種平靜悠然之態，反映出畫家的內心世界。
憑敏銳的洞察力塑造人物性格 畫家以理想化的構想及敏銳的洞察力，細膩地刻畫出人物背後的故事及 其獨特個性。畫面構圖規整嚴謹，人物情感細膩真切，令人印象深刻， 難以忘懷。《期盼》彌漫著懷舊的氣息，在紅彤彤的背景下，畫中人物 穿著黑色毛衣，似乎在默默地期盼，並陷入沉思默想中。《寒意》的人 物有著修長的身軀，他交叉雙手，坐姿優雅，其深綠色衣服與左邊的紅
A SPIRITUAL COMPOSITION Chiu ya-tsai’s works predicates upon ideal archetypes in human nature, his portraits seem to accrue to themselves a certain public grandeur in reminiscence of historical personages. The artist’s favored subject of poets and writers, aesthetes and disaffected youths with privileged upbringings produced a stark contrast to his upbringing. In particular, Chiu is not interested in excessive facial emotions in his portraits as he regards expressions as them as fickle and fluctuates constantly. Instead, he strived to paint the inner spirit and temperament. In essence, the souls of Chiu’s characters appear as the artist originates from a place of calmness and further imbuing them. Chiu’s oils are idealized visions with essences of refinement as he reflects a narrative quality to these complex characters. Chiu yearns for orders within the composition and out of the chaos and the unreadable emotions of these memorable archetypes results in these unforgettable portraits. Longing is imbued with an air of nostalgia as the rich velvety red backdrop extenuates the black sweaters of the central melancholic figure, who appears to be indulging in a moment of deep rumination in the nest of his malaise. Winter Emsemble The seated figure appears slender and elegant
色窗簾形成強烈對比，背後的黃色牆壁，使空間和距離得以延伸。畫家 以清晰流暢的線條描繪人物的輪廓，表現出其莊重靜逸之態。邱亞才的 肖像總散發著優雅的氣質，並以有限的肢體語言為畫面增添一絲神秘的 色彩。這組繪畫體現出畫家的獨特風格及刻畫出人生的變幻無常。
源自儒家思想 邱亞才認為古代的聖賢如孔子，或大文豪莎士比亞和杜斯妥也夫斯基， 把人性刻劃得細膩入微，令人讚嘆不已，畫家的作品便散發著一股古典 的文化氣息。此外，畫家強調其作品的藝術精神是源自唐宋的肖像畫， 譬如古代的賢者和官吏。在他的筆下，人物的面容及姿勢每每可反映出 他們的個性和思想。總的來說，畫家利用自己的藝術風格語言注入現代 藝術以捕捉時代感。與此同時，他融合中國傳統肖像畫與西方繪畫的元 素，表現出人物的典雅氣質，不禁令人聯想到莫迪利亞尼的作品。邱亞 才的繪畫蘊含著古典文化的精神及聖賢的智慧。
with his arms crossed, his dark green ensemble greatly contrasts with the red drapery on the left that opens up the plain yellow space delineating space and distance. His outlines are smooth and clear and his posture serene. Chiu’s figures are truly portraits in that they are always poised and limited in body language with a touch of mystery. This group of paintings epitomizes Chiu’s oeuvre and portrays the precarious nature of man’s being.
CONFUCIANISM AS THE ORIGIN There is always a hint of the old world in Chiu’s art as he believes that humanity can be best portrayed by the ancient Confucius and the great figures from literatures of Shakespeare and Dostoyevsky. Chiu insisted that the spirit of his art is a derivative of Tang and Sung dynasties figure paintings, like the ancient depictions of scholars and officials, the faces and gesture of his subjects provide hints of personality and mind set. In essence, Chiu’s took on a stylistic language infused with modern art in capturing a modern sensibility. The artist’s synthesis of Classical Chinese portraiture with Western elements results in parallels between his characters and those of Modigliani. It is Chiu ya-tsai’s old-fashioned faith in history and the wisdom of great men that prompt his paintings.
Ravenel
35
021
CHIU YA TSAI
(Taiwanese, 1949-2013)
Winter Emsemble Oil on canvas 82 x 59.5 cm (32 1/4 x 23 3/8 in.) Signed ‘Ya Tsai ’ in Chinese (lower right)
HK$ 130,000 - 190,000 NT$ 510,000 - 745,000 US$ 16,800 - 24,500
邱亞才 寒意 油彩 畫布 簽名：亞才 (右下)
Ravenel
37
022
CHIU YA TSAI
(Taiwanese, 1949-2013)
Young Man in Green
邱亞才
Oil on canvas 72.5 x 60 cm (28 1/2 x 23 5/8 in.) Signed ‘Ya Tsai ’ in Chinese (lower right) Painted in 1990's
綠少年
Exhibited
展覽 「邱亞才油畫展」，維納斯藝廊，花蓮， 展期1991年11月
Chiu Ya-Tsai oil painting exhibition, Gallery Venus, Hualien,November, 1991 Literature
Gallery Venus Artinfo No 4 issue, Gallery Venus, Hualien, December 10, 1991, black and white illustrated This painting is to be sold with a certificate of authenticity issued by Gallery Venus.
HK$ 150,000 - 240,000 NT$ 588,000 - 941,000 US$ 19,300 - 30,900
1990 年代 油彩 畫布 簽名：亞才 (右下)
出版 《維納斯藝訊》第四期，維納斯藝廊，花蓮， 1991年12月10日，黑白圖版 附維納斯藝廊開立之原作保證書
023
CHIU YA TSAI
(Taiwanese, 1949-2013)
Bearded Man
邱亞才
Oil on canvas 84 x 65 cm (33 1/8 x 25 5/8 in.) Signed ‘Ya Tsai ’ in Chinese (lower right)
鬍子 油彩畫布 簽名：亞才 (右下)
HK$ 120,000 - 180,000 NT$ 471,000 - 706,000 US$ 15,500 - 23,200
Ravenel
39
024
CHIU YA TSAI
(Taiwanese, 1949-2013)
Longing
邱亞才
Oil on canvas 52 x 41 cm (20 1/2 x 16 1/8 in.)
期盼
HK$ 50,000 - 80,000 NT$ 196,000 - 314,000 US$ 6,400 - 10,300
油彩 畫布
025
CHIU YA TSAI
(Taiwanese, 1949-2013)
Free-Spirited Man
邱亞才
Oil on canvas 47.5 x 44.5 cm (18 3/4 x 17 1/2 in.) Signed ‘Ya Tsai ’ in Chinese (lower right)
豪邁男子 油彩 畫布 簽名：亞才 (右下)
HK$ 50,000 - 80,000 NT$ 196,000 - 314,000 US$ 6,400 - 10,300
Ravenel
41
026
CHIU YA TSAI (Taiwanese, 1949-2013)
Talented Man Oil on canvas 112 x 71 cm (44 1/8 x 28 in.)
HK$ 180,000 - 260,000 NT$ 706,000 - 1,020,000 US$ 23,200 - 33,500
邱亞才 才情男子 油彩 畫布
027
CHIU YA TSAI
(Taiwanese, 1949-2013)
The Artist
邱亞才
Oil on canvas 73 x 58.5 cm (28 3/4 x 23 1/8 in.) Signed ‘Ya Tsai ’ in Chinese (lower right)
藝術家 油彩 畫布 簽名：亞才 (右下)
HK$ 100,000 - 180,000 NT$ 392,000 - 706,000 US$ 12,900 - 23,200
Ravenel
43
「西方油畫術中常見的爆發力､情緒化，熱情是東方藝術比較弱 勢的，用濃豔的色彩達到高雅､沈穩､有力的境界成為一種思想 的情感。這是我幾十年來一直追求和解決的問題。」 －龐均
龐均自幼受藝術薰陶及深受其父母影響，且師從中國第一代在 法國及日本學藝歸來的藝術大師徐悲鴻。《河岸》一畫，以東 方人文表現主義方法將中國水墨畫與西方油畫的表現元素完美 地結合在一起，將灰色揮灑至天馬行空般的程度。 為了表現灕江，藝術家以灰色表現雕塑般的質感，觀者的視線 被吸引至流向背景群山的遠方河流。栩栩的筆風細膩優美地將 近處的春芽，經緯縱橫的耕田勾勒眼前，一派寧靜祥和而又充 滿生機的多層次畫面映入眼簾。此外，藝術家以灰色為基調， 豐富了農田的畫面層次，同時通過三艘靜靜穿梭於江面之上的 小木船展現了充滿活力的灕江。龐均將東方詩畫意境、音樂美 感與灕江美景相互結合，令該畫呈現出一種與眾不同的感覺。 作者湎於繪畫，酷愛詩歌，對莫札特的交響曲情有獨鍾，因此 能將日常事物以富有感染力的音樂韻律形式表現出來。《河 岸》是一幅極富內涵的優秀作品，以獨特的抒情詩調描繪出中 國傳統文化中的自然與精神特質,龐均以精練的西方繪畫手法 將中國文人畫的審美情趣完美地表現出來，本作品正是其高超 繪畫技藝的讚美詩。
Guo Xi, Old Tree Level Distance, Song Dynasty, Collection of the Museum of Art, New York, USA. 郭熙 《樹色平遠圖》 宋代 美國紐約大都會藝術博物館藏
Pang Jiun has been immersed in an artistic environment since his youth under the influence of his parents and mentor Xu beihong, who were among the first generation of Chinese artists to study art abroad in France and Japan. Down the river testifies to the artist's miraculous use of the color grey through an oriental humanistic expressionist approach that synthesize the lyrical essence of Chinese ink paintings and the expressive elements of Western oil paintings. Pang employed a sculptural application of greys to present the Lijiang, which further directs the viewer's eyes to the distant river streams that leads to the inner mountainous scape in the background. The lively strokes depicting the spring branches in the foreground greatly compliments the cultivated patches of land rendered in an exquisite use of lines and planes, further imbued with various layers of vibrant shades of green transpiring a sense of tranquility. Furthermore, the artist's utilized his signature tones of grey in containing the cultivated fields enhances the pictorial composition while simultaneously delivering a sense of vitality of the Lijiang scene as the three sampans sails across the lake peacefully. Thus injecting an oriental poetic and musical quality to the pictorial scene of the Lijiang, a distinct element that can be attributed to the artist's enjoyment of poetry and preference of listening to Mozart's symphonies while indulging himself in the world of painting, thereby constituting a vigor expression of everyday subjects in response to the cadence of music. In essence, Down the river is connotative of Pang's distinctive stylistic approach that predicates and builds upon a distinctive lyrical depiction of the nature and spirit of traditional Chinese culture, while simultaneously demonstrating the artist's accolade in portraying the aesthetics of nature in Chinese literati paintings with his mastery of manipulating the Western medium.
028
PANG JIUN
(Taiwanese, B. 1936)
Down the river
龐均
Oil on canvas 71.5 x 90 cm (28 1/8 x 35 3/8 in.) Signed 'Pang Jiun ' in Chinese; dated '2014' (lower right) Painted in 2014
河岸
Provenance
Private Collection, Asia
2014 年作 油彩 畫布 簽名：龐均 2014 (右下) 鈐印︰均 (右下) 來源 亞洲 私人收藏
HK$ 280,000 - 320,000 NT$ 1,098,000 - 1,255,000 US$ 36,100 - 41,200
Ravenel
45
029
ZHAN WANG
(Chinese, B. 1962)
Artificial Rock No. 67 Stainless steel 86 x 61 x 66 cm. (34 x 24 x 26 in.) Edition of 8 Signed, numbered and dated ‘Zhan Wang 2006 ’ along interior edge in English and Chinese characters Executed in 2006 Provenance
Acquired directly from the artist
HK$ 650,000 - 800,000 NT$ 2,549,000 - 3,137,000 US$ 83,800 - 103,100
展望 假山石 No.67 2006 年作 不鏽鋼 共八版 簽名：Zhan Wang 2006 來源 購自藝術家本人
Alternate view
Ravenel
47
030
GEORGE CHANN
軌跡－海外華人的絢彩韻動
(Chinese-American, 1913-1995)
Abstract Oil on canvas 134 x 143.5 cm (52 3/4 x 56 1/2 in.) Signed 'GEO. CHEN ' (lower right) This painting is to be sold with a certificate of authunticity signed by the artist's daughter
HK$ 700,000 - 950,000 NT$ 2,745,000 - 3,725,000 US$ 90,200 - 122,400
陳 蔭羆 抽象 油彩 畫布 簽名：GEO. CHEN (右下) 附藝術家女兒親簽之原作保證書
色彩和線條的詩情畫意 《抽象》體現出陳蔭羆的抽像作品充滿著表達個人情感的活力 特色。在這些流動細碎的線條中、交織重疊著朦朧的白線，遊 走於四周的黃、黑、藍、洋紅、橙、和酒紅色的筆觸中，帶來 視覺的震撼。它們彷彿把顏色和閃爍的線條揉合成一段悅耳和 諧的旋律。這些讓人聯想起東方織錦圖案的交織線條把觀賞者 從寂靜的物質平面誘導入陳蔭羆的想像思維之中。
獨特的生命跡值 早在洛杉磯奧蒂斯藝術學院求學時，陳蔭羆以寫實繪畫風格描 繪社會夾縫中的遭受剝削的孩子，表達他對於周圍環境的切身 感受。雖然他的作品蘊藏著強烈的社會意識和人文關懷，但仍 在他描繪人物或場景時展現了瞬間的活力。20世紀50年代，陳 氏走上抽象的創作路線，運筆揮就之間更加充滿動感，而1947 至1949年訪問中國大陸的經歷讓他衍生出更多的無形的想法， 點燃了他對於中國藝術，文化的認識。更重要的是，在他離鄉 別井22年後他的身份有了新的確認。《抽象》這幅作品中的色 彩和線條，體現了陳蔭羆情感的自然流露和內心世界的真實寫 照。儘管《抽象》構成豐富的點綴裝飾，卻不像傑克遜．波洛 克只是埋首自己的創作世界裡，陳蔭羆跨越時空的抽象藝術背 後，是他獨特的情感抒發和心理背景。身為美國移民，他的心 態有別於不斷追求在世界的抽象表現主義浪潮中尋覓徹確定獨 特身份的美國藝術思維。此外，陳蔭羆摻入畫中的各種媒介， 如拼貼和油彩，也給作品帶來了另一層次。更具體來說，他的 畫作中的層次感不是僅僅油彩所能體現的。 陳蔭羆的作品反映出一位移民藝術家成功地在美國形成自己獨 特的繪畫風格。與其他年少時到國外的藝術家如朱沅芷一樣， 陳蔭羆對於本國的藝術遺產知之甚少，他的藝術卻還是微妙地 融入了中華藝術的元素。《抽象》激盪著動感活力與自發性， 既能與西方藝術達成共鳴，又能貫通東方思維。陳蔭羆意圖應 用自己固有的理念和華人的身份作為一項戰略，嘗試在當代西 方藝術的組成框架內結合以修成正果。雖然陳蔭羆為一個謙厚 低調的藝術家，其天賦的藝術才華較少為人所認識，但他憑不 屈不撓的奮鬥， 最終讓他在藝術史上留下芳名力作。
「西方人用眼睛來作畫，中國人用心靈來作畫」 －陳蔭羆 Jackson Pollock, No. 5 , 1948, oil on fiberboard, 244 × 122 cm, Private Collection.
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THE TRAJECTORY - OF AN OVERSEA AMERICAN GEORGE CHANN
LYRICAL USE OF COLORS AND LINES Abstract epitomizes qualities that testify to the vitality of George Chann’s abstract works filled with individual statements. In continuous streams and broken fragments, these intermingling and overlapping diaphanous white lines wend through and around blasts of color in tones of yellow, black, blue, magenta, orange, and burgundy. It constitutes a complete communion of patches of color and shimmering lines that melodiously bound together like melodies in a harmonious composition. These interweaving lines are reminiscent of the oriental brocade pattern enticing one to look beyond the surface stillness and physical reality into Chann’s imagination.
A UNIQUE TRAJECTORY George Chann’s earliest figurative and realist paintings of disfranchised children found between the cracks of society while he was a graduate student at the Otis Art Institute in Los Angeles were expressions of the immediate world around him. Although there appears to be a strong hint of a social consciousness and humanistic interests at the heart of his painting, it nonetheless captivates the energy of the moment as he portrays a person or a scene. This energy is amplified when he later embarked on abstraction in the 1950s, simultaneously expressing more intangible ideas derived from his visit to Mainland China from 1947 to 1949 as these experiences ignited a new understanding of Chinese art, culture and more importantly, his identity after 22 years of departure from his homeland. The lyrical use of colors and lines in Abstract illuminates the expression of Chann’s innermost emotional and psychological worlds, transpired in the form of spontaneity through his magnificent and lyrical
use of the color palette. Despite the garnished richness transpired by the present lot, unlike the raw works of Jackson Pollock’s who painted within a single world, Chann painted across worlds as his abstract art is inspired by his unique emotional and psychological background as an immigrant whom should be distinguished from the larger part of an aggressive American art mentality that was constantly seeking an identity that was thoroughly American and to define itself separate from the rest of the world during the wave of the abstract expressionism. Moreover, Chann’s incorporation of various mediums such as college and oil on the present lot also added another dimension to his work. More specifically, a textual variety to his painting that oil alone would not have achieved. George Chann’s oeuvre reflects an artist of the diaspora who had successfully carried his own unique pictorial traditions to the American soil in which he settled. Similar to other artists such as Yun Gee who was bought to a foreign world with little autonomy on their part as a child with little knowledge of his artistic heritage, yet it was something that subtly informed his art throughout the artist’s life. Abstract is infused with a great wave of dynamic vitality and spontaneity that speaks to both to Western art and Chinese concerns. It also constitutes the fruition of Chann’s attempt in employing his own intrinsic philosophy and Chinese identity as a strategy to exhibit his own personalities while simultaneously engaging within the compositional framework of Contemporary Western art. Although George Chann’s was deemed as a forgotten artist whose artistic talent had been largely dismissed for the most part of his life, his perseverance and diligence in artistic productions have afforded him with his own unique signature within the context of art history.
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031
LALAN (Chinese-French, Xie Jing Lan, 1921-1995)
Summer Shadows Oil on canvas 92 x 73 cm (36 1/4 x 28 3/4 in.) Signed ‘2 Summer Shadows' was inscribed (on the reverse) Painted in 1958 Provenance
François La Cloche Deheaulme de Vallombreuse, Director of the Galerie Mouffe. Important private collection, France Exhibited
Edinburgh, Scotland, Paperback gallery, 1963. Literature:
Lalan: Chinese Abstract Painter Well-Known in Paris , Paperback Gallery, Edinburgh, Scotland, 1963 (Plate no. 2).
HK$ 1,500,000 - 2,000,000 NT$ 5,882,000 - 7,843,000 US$ 193,300 - 257,700
謝景蘭 夏影 1958 年作 油彩 畫布 簽名：LALAN，2 夏影 (畫背) 來源 François La Cloche Deheaulme de Vallombreuse Galerie Mouffe 總監 法國私人收藏 展覽 Paperback 畫廊，愛丁堡，蘇格蘭 出版 《拉蘭：在巴黎廣為人知的中國抽象畫家》， Paperback 畫廊，愛丁堡，蘇格蘭, 1963 （圖版2）
Left to Right (Fig 2.) La Madeleine à la veilleuse, George de la Tour, c. 1640, Louvre. (圖二)《抹大拉瑪利亞與冒煙的燭火》約1640年，盧浮宮博物館 Inscription on the reverse 畫背題款
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“MY FIRST PAINTINGS ARE FULL OF LYRICISM AND EXTREMELY FORCEFUL COLORS; THEY
THE RHYTHM OF BRUSH STROKE
ARE A KIND OF GESTURAL ABSTRACTION, CLOSE TO WRITING." - LALAN A MUSE FOR ZAO WOU-KI Lalan picked the genre of abstract art when she started painting, in part under the influence of Zao Wou-ki who was already working in an abstract mode by 1954, but more so due to her inherent adaptability to this form of art that predicates upon the spontaneity and expressiveness of the artist. In retrospect, Lalan and Zao played an intricate role in each other’s life as they grow and support one another. For instance, Lalan had posed for Zao much like the traditions of the wives of the Impressionists such as Cezanne and Picasso in a number of Zao’s works, one of which an early portrait of Lalan in her wedding dress. When Zao and Lalan travelled to France in 1948, new abstractionism was a prominent discipline in the Parisian art scene during the second half of the twentieth century. In particular, this trend parallels some of the fundamental merits advocated by abstract Expressionism in the United States, which emphasis on the unconscious, spontaneous, and random creation of a composition that defies formal regulations and patterns. Lalan was able to acquire a thorough knowledge of Western art when she accompanied Zao to the various galleries and museums, where the couple interacted with others and assimilated with the Parisian culture. These experiences would prove to be valuable in her initiation into the art almost decade later. Lalan reminisced to have “lived painting in its modern form through the work of her former companion”, as she would often self-effacingly watched over Zao’s work in progress, offering advice and engaging in critical discourse as a form of spousal support and encouragement. The resulting artistic creations could thus be interpreted as a collaboration between the Zao and Lalan.
THE INCORPORATION OF ORIENTAL ELEMENTS Lalan visited China in 1957 for six months and was able to appreciate her native cultural art through a more experienced eye after exposure to the Parisian art scenery. Ombres Estivales was executed in 1958, a crucial year in Lalan’s life full of emotions from the life altering events that had taken place the year before as she transitions and settles back into a bright and promising life with Van Thienen in France after her
first marriage of sixteen years to Zao ended and her subsequent decision to initiation into abstract painting. Interestingly, the digit 2 on the back of the canvas presumably identifies the present lot as the second piece of her abstract work during the early days of her artistic endeavor. A truly exceptional and explosive piece that exhibits the sentiments after years of visiting galleries, museums alongside her first husband Zao. Abstract painting affords Lalan the possibility for individual expression and allowed her to begin an intricate dialogue between her creative invention and heritage. Lalan’s gestural style was inherently oriental, as she would lay out the upstretched canvases horizontally on the floor in her studio measuring a little over twelve square feet in the Chinese tradition while she applied coats of oil paint that is resolutely Western in origin. Lalan worked without devising a sketch, “manipulating her brush with an unselfconscious agility. The important thing was to let the imagination go.” In essence, the artist took on cultural interchange as a starting point rather than a stumbling block as evidence in her early works. According to Kandinsky, “an artist’s intention is to express his or her spiritual response or decision through lines, colors, spaces, and movements, without any reference to things in the perceivable nature.”
THE NEW ABSTRACTIONIST PAINTING OF POST WAR PARIS The somber tones in the background of Ombres Estivales is characterized by the prominent use of heavily colored dark emerald, through which Lalan’s vigorous and rhythmic use of the paintbrush can be fully observed. The artist meticulously channeled her impulsive gesture into brushstrokes with impasto effect and strokes that are reticent and compact that appears to be stagnant at times, while some stokes appears angular and delicate swirling back on themselves in loops before pursuing their divergent paths amidst the dark emerald ground. Interestingly, this composition is reminiscent of the intensely-worked paintings of Zao Wou Ki from the mid 1950s and also of Jaroslaw Serpan, Camille Bryen, or Marc Tobey. As the tableau grows darker, the illuminating light in various tones of bright apple green gradually trickles out from the dim tableau like a rising star radiating its tender and uncertain light. This illuminating light sources seems to be radiating from behind the surface and reminiscent of old masters works Lalan had admired in the Louvre, in particular the enigmatic illumination of Rembrandt’s candle-lit figures of Georges de la Tour. Interestingly, the dream-inducing simplicity of Ombres Estivales could possibly be interpreted as evocative of the perceivable world as its title fittingly suggests, enticing one to ponder upon the message behind the title of the present lot, a scene when the early luscious summer leaves begins to sprout and outcrop amidst the shadow of the autumn darkness, portraying the strength and energy of nature’s elemental forces that is both refreshing and brisk. In retrospect, Lalan also address the balance between light and shade juxtaposition, her search for balance between light and dark parallels with the notion of universal harmony derived from the Taoist notion of Yin (darkness) and Yang (light). In other words, the oriental element of Chinese theory is being delicately interweaved and manifested within the context of an artistic approach that is European in nature. The present lot not only epitomizes a vision of vernal beauty and briskness through colors and line, it further demonstrates how form
and content came to Lalan naturally in these early works embedded with a sensitivity that draws on her exceptional creative sensitivity and experiences prior to becoming a painter.
A DANCER’S GRACE AND SENSITIVITY Lalan’s talent for music and dance is evident from her early abstract paintings and constitute one of the fundamental focal points of the present lot as it is infused with the rhythmic charm of a dancer’s grace. It is obvious that Lalan has an innate ability to travel between the fields of painting, music and dance with great ease, perhaps this could be partially attributed to her training which started since her childhood, where she was trained as a Soprano at the National Art College of Hangzhou and the Shanghai Conservatory of Music. She had studied modern dance at the American Community center under the mentorship of Karin Waedner in 1949. Lalan later realized she was more suited to electronic music than classical composition, as each sound is recorded concretely onto tape and can be altered using editing and mixing techniques with electronic music. The note is thus malleable and not restrained by any predetermined structure. More importantly, electronic music remains dear to the artist’s heart as they exhibit an oriental quality to Lalan. I n e s s e n c e , L a l a n ’s artistic expression closely correlates with her techniques as a dancer as abstractionism e m p h a s i z e s upon notions of spontaneity and impulsive sensitivity. In this regard, her music and dance background enabl e her full control over her body and spinal m o t i o n . L a l a n ’s paintbrush would move melodiously across the canvas as the body contracts and stretches. Naturally, the subconscious emotions that fuels the dancer’s gracious movement is transferred to the paintbrush, further manifested through embellishing the lightness of the bright areas on the lower quadrant with exquisite and irregular running lines that resonates with the rhythm of a dance. Lalan drew fairly fast with little preconception and believes that “the movement in painting is driven by the voice and action in one’s body.” Through pure genius and diligence, Lalan’s artistic pilgrimage has been a long journey from being a muse for her first husband Zao to selfexploration of finding herself, Ombres Estivales constitutes a milestone for her transformation from Lanlan to Lalan.
Wedding, Zao Wou-Ki, 1941, 1941年趙無極之油畫 (Background) Orchestral score, 1959 (背景圖) 拉蘭的樂譜
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慧 筆 蘭 心 ：謝 景 蘭 的 繪 畫 藝 術
趙無極的繆斯
戰後巴黎的新抽象繪畫
拉蘭作畫之初，選擇涉足抽象藝術，一方面是受到1954年已開始創作 抽象畫的趙無極的影響，但更重要的是她具有直率及富於表現情感的個 性，對抽象藝術別具天賦。回顧往昔，拉蘭與趙無極互相扶持，共同成 長，在彼此的生活中扮演著錯綜複雜的角色。例如，拉蘭就像其他傳統 的印象派畫家，如塞尚和畢加索的夫人一樣，曾為趙無極的繪畫作模特 兒，其中一幅早期的作品描繪拉蘭穿著結婚禮服。二十世紀下半葉當新 抽象主義在巴黎藝術圈崛起之際，趙無極夫婦於1948年遠赴法國。新抽 象主義的一些基本的概念與美國的抽象表現主義相近，它們均強調潛意 識、自發性、隨意創作，以及擺脫形式的規範和法則。拉蘭在法國經常 陪伴丈夫參觀畫廊及博物館，與藝術家互相交流切磋，深受法國文化的 熏陶，並對西方藝術有著更透徹的瞭解。這些珍貴的體驗對她在約十年 後的藝術創作別具意義。據拉蘭憶述，她是「從昔日伴侶趙無極那裡， 領略到現代繪畫造型的。」 每當趙無極進行創作，她都會細心觀賞，並 給予意見及參與討論，作為夫妻之間的支持和鼓勵。而由此產生的繪畫 因此可解作為趙無極和拉蘭攜手合作的藝術作品。
《夏影》的背景深邃幽渺，在濃重渾厚的墨綠色調下， 剛勁奔放而富韻 律感的筆觸仍清晰可辨。畫家細緻地把激昂的情感注入筆觸，在畫面上 層層疊加，形成厚塗的效果。那沉寂、緊密的筆觸時而靜止停頓，時而 回旋、滾動，然後徐徐地消逝於深邃的背景裡，與之相互交融，渾然一 體。這種構圖方式不禁令人聯想起趙無極20世紀50年代中期的繪畫，以 及雅羅斯瓦夫•塞爾潘、卡米爾•布賴恩或馬克•托比等畫家的作品。 在逐漸幽暗的畫面上，閃爍著不同色調的蘋果綠，猶如一顆冉冉升起的 星辰發射出變幻莫測與溫柔的光芒。這光芒恍若從畫布深邃處放射出 來，不禁令人想起一些畫家十分尊敬的大師作品，如《抹大拉瑪利亞與 冒煙的燭火》(圖二)，現藏於盧浮宮博物館。此外，有趣的是這幅予人 虛幻飄渺感覺的作品，卻被命名為《夏影》－ 一個可感知的世界，令觀 者不期然考量標題背後的訊息，在夏去秋來的陰霾下，初夏的樹葉茂密 地生長，表現出大自然蓬勃的生機和活力，洋溢著輕快的節奏及清新的 韻律。此外，畫家注重表現光與影的平衡，事實上，她對明暗均衡的探 究，與道家思想的陰（暗）陽（明）和諧的理念如出一轍。換言而之， 中國理論的東方元素被巧妙地融入及表現在西方藝術上。這幅早期的作 品不僅體現出畫家成功地運用色彩和線條營造清新、輕快的感覺，同時 反映出她與生俱來對造型與創作內容的豐富表現力，以及別樹一格的創 作精神。
舞者的優雅韻味與內在情感
融合東方元素 1957年拉蘭往中國旅遊六個月，深受中國文化藝術的吸引，這時候的 她已在巴黎藝術圈浸潤多年，累積了豐富的藝術體驗。同年她結束了與 趙無極十六年的婚姻。在拉蘭的生命歷程中，1958年對她而言尤為關 鍵，她的人生發生了重大的變化，她決定嫁給法國人馬賽，展開新的生 活，迎向光明美好的未來，與此同時她開始了抽象畫的創作，並繪畫了 《夏影》。這幅作品是畫家經多年與首任丈夫參觀畫廊及博物館後感性 之作，畫作別樹一幟，洋溢著激昂奔放的情感。在這幅畫的背面寫有一 個2字，據推斷這可能代表她早期的第二幅抽象作品。對拉蘭而言，創 作抽象畫不僅可抒發個人情感，而且可作為她的革新創作與傳統演繹的 對話。她的作畫方式蘊含東方的色彩，在約十二平方英尺的工作室，畫 家喜以中國傳統作畫的形式，把畫布橫鋪在地上創作，然後用西方的油 畫技法繪畫。拉蘭的繪畫不打草稿，「落筆時摒棄自我意識，以靈巧的 筆觸讓想像任意奔馳。」總的來說，畫家的早期作品明顯地是以中西文 化交融為出發點。據康定斯基所述「藝術家的意圖是透過線條、色彩、 空間及運動，而非參照可見自然的東西，來表達一種精神的反應或決 斷。」
Left to Right Lalan, Lin Feng-Meng, Zao Wou-Ki, Hangzhou, 1946 1946年，謝景蘭、林風眠、趙無極攝於杭州 Lalan seated beside Zao Wou-Ki's work Bateaux au claire de la lune 謝景蘭端坐於趙無極《月光下的船》旁 Lalan, Sanyu gathering 謝景蘭、常玉雅敘
拉蘭的音樂及舞蹈天賦，展現在她的早期抽象作品裡，並且成為她創作 的基本重要元素，其作品蘊含著一個舞者的優雅韻味。才華橫溢的拉 蘭，自小備受藝術熏陶，擅長繪畫、音樂及舞蹈。她曾在杭州藝術專科 學校接受女高音的訓練，後來就讀於上海音樂專科學校。1949年她隨 卡琳 偉德納在美國活動中心習舞。不久她察覺自己並不適合古典音樂 創作，反而對電子音樂產生濃厚興趣，她認為電子音樂可以磁帶記錄， 利用編輯和混音技術作出改變，而且其可塑性較高，不受任何預設的結 構限制，而更重要的是畫家對電子音樂情有獨鍾，認為它蘊含東方的特 性。總的來說，拉蘭在繪畫的藝術表現，與她精通音樂與舞蹈是息息相 關的，因抽象藝術強調率性的表現及自我內在情感的追求。她的音樂與 舞蹈背景，使她能對身軀靈活控制，當筆桿隨著身體的伸縮在畫面上奏 出悠揚的樂曲時，潛意識的情感不期然地燃點起蹁躚的舞姿，然後筆桿 隨著舞蹈節奏產生不規律、游動的線條，營造出畫面下方閃爍的光芒。 畫家以輕快與自然流暢的筆觸作畫，並相信「筆觸的運用是透過內在聲 音和行動所驅動的。」多才多藝的拉蘭一直努力不懈地創作，她的藝術 朝聖之旅是一個漫長的旅程，從首任丈夫趙無極的繆斯至自我探索開啟 繪畫之路，《夏影》代表著畫家從蘭蘭轉變至拉蘭，邁向藝術創作的新 里程。
「我的早期作品充滿抒情意味及濃烈的色彩， 它們是一種姿態抽象，近似文字。」 －拉蘭
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ZHOU CHUN YA
(Chinese, B. 1955)
Blue Lotus Oil on canvas 80 x 100 cm (31 1/2 x 39 3/8 in.) Signed 'Zhou Chun Ya' in Chinese; dated '1994' (upper right) Inscribed '1994 Zhou Chun Ya' (on the reverse) Painted in 1994 Exhibited
Zhou Chunya Exhibition, Contemporary Art Museum, Italy, 2002 China Contemporary Art Exhibition, Centre Pompidou, Paris, 2003
HK$ 2,400,000 - 3,600,000 NT$ 9,412,000 - 14,118,000 US$ 309,300 - 463,900
周 春芽 藍色的荷花 1994 年作 油彩 畫布 簽名：1994 周春芽 (右上)； 1994 周春芽 (背面) 展覽 2002年「周春芽作品展」，當代藝術博物館，意大利 2003年「中國當代藝術展」，蓬皮杜藝術中心，巴黎
“IN THE PAST I PAINTED FLOWERS SOLELY TO PRACTICE THE USE OF COLOR, THEN I REALIZED THAT IT COULD BECOME A SUBJECT IN AND OF ITSELF.” - ZHOU CHUNYA
A RARE SUBJECT MATTER IN ZHOU’S OEUVRE Flowers are eternal subject matter as the timeless beauty of nature remains a much-appreciated pictorial subject among old masters and contemporary artists alike. Zhou Chunya’s appreciation of the natural world is fully portrayed through the vitality and exacerbated sensuality in Lotus. In retrospect, there have been two works of Zhou with Lotus as the subject matter, both of which were executed in the mid-nineties. The present lot’s scenic depiction coincides with the nostalgic sentiments expressed in a poet’s appreciation for the timeless beauty of the lotus pond, reminiscent of old masters Claude Monet’s Impressionist oil painting of water lilies. In this regard, Zhou masterfully depicts the lotus at its various blossoming stages through board, swift and powerful brushstrokes that testify to the artists unique artistic sensibility. Beneath a dreamy blue ground appears spontaneous free flowing lines of pale icy blues in resemblance to the evening moonlight shining quietly across the lotus pond as the delicate lotus petals sway and dance delicately like rippling pebbles amidst the lotus leaves in shades of blue and turquoise blue. There is a tremendous sense of activity in the painting, as the knotted branches bearing various navy blue and a pale white blossom in the foreground exuberantly dangle from their branches bent in angles, thus strategically forming a framework that leads the viewers’ eyes to the delicate magenta lotus blossom nearby that acts as a nexus of energy. This artistic approach further connotative of the notion of distant, one that extends beyond the confines of the canvas and into the subjective imagination of the viewer, enticing one to ponder upon the imaginative realms of the lotus scenery.
SYMBOLISM OF THE LOTUS IN CLASSICAL LITERATURE Zhou was greatly inspired by the artworks of Kiefer and Baselitz in Germany and realized that Neo-expressionism was an exceptional approach in channeling one’s state of mind directly and honestly, a quality that greatly differs from the formulaic mode of propaganda artistic production he was once exposed to during his youth. Upon his return to his homeland, Zhou was enchanted with the grandeur and delicacy unique to traditional Chinese wash painting and reevaluated literati paintings of masters such as Wang Meng, Ba Da Shan-ren and Huang Binhong from an expressionist perspective.
The artist invested a long time on exploring these Chinese traditional literati paintings. This in-depth knowledge may have had an influence on Zhou’s selection of subject matter as epitomizes by the present lot. Historically, the lotus is a divine symbol according to Chinese pedigree as it is one of the eight auspicious signs in numerous Dharmic traditions such as Hinduism and Buddhism. In the classical literature, there is a plethora of poems that praises the lotus for its elegance, beauty, perfection, purity, and grace. The ethereal beauty and ample vitality of the lotus is thus portrayed on Zhou’s canvas through an integrated synthesis of a strong will absorbed from the west with a traditional sense of graceful tenderness derivative of the oriental elements. The famous Li Bai composed a poem dated to the Tang dynasty appreciating the beauty of the lotus:
LI BAI (Tang dynasty) Lotus beside the Secluded Spring 碧荷生幽泉，朝日豔且鮮。 Lotus in bluish green grows beside the secluded spring. 秋花冒綠水，密葉羅青煙。 The blossom beams in the rising sun. 秀色空絕世，馨香為誰傳。 It cranes over the teal water, with the bushy leaves flourish in the mist. 坐看飛霜滿，凋此紅芳年。 Unprecedented charm, the pretty flowers with a delicate scent; 結根未得所，願托華池邊。 but who can help disseminate its fragrance? 讚揚貞潔之士有美德， Bit by bit and soundlessly, the lotus wither away in the autumn frost. 惜其才不得見用，位不得其處。 Wish it roots at the abode of immortals, with its ethereal beauty.
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碧荷青影：緣集古今 雅聚中西 「過往，我畫花是為了嘗試運用不同的色彩，後來 我發現，花能成為一個獨立描繪的 主 題 。 」 －周春芽
THE WELDING OF TWO CULTURES
TACTILITY OF BRUSHWORKS
When Zhou’s father pasted away, the artist inherited numerous Chinese Classics and western art theories titles in addition to a painting by the artist Chang Da chien and Dong Chi-Chang dated to the Ming Dynasty. Zhou began to ponder upon his identity of being a Chinese artist after a short alienated feeling with his three years of study experience in Germany. Although expressionism offered a well of inspiration for Zhou’s art, his attachment to Chinese tradition is visible in his the present lot, particular in the arrangement of the composition with attributes that parallels the ink leaves rendered by Chang Da chien. The artist has thus managed to revamp qualities of the overly mild and slightly introverted characteristics of Classical literati painting and instead further develop on the exquisiteness and sensitivity of which he admired. By synthesizing elements from the passionate and carefree stylistic approach of expressionism and classical principles of traditional Chinese painting by dipping into the existing iconographic patrimony but without feeling restricted. Zhou has manifested an exuberant sensibility that remains inline with the artist’s theory “rather than seizing a right way towards the past, I would pioneer a new way suitable for myself towards the future.” In essence, Lotus epitomizes how Zhou magnificently synthesizes Western attributes and oriental elements harmoniously in a Contemporary E x p r e s s i o n i s t m a n n e r, thus reflecting his unique subjective interpretation about traditions and its place in the Global context. Z h o u ’s w o r k t r a n s c e n d s beyond the limits of tradition while reflecting upon the delicate nature of a culture that is not only refined, but simultaneously “ancient and contemporary, traditional and revolutionary, individual and shared. “
From the inception of Zhou’s earlier paintings of Tibetans, remote grassland, the Hongyuan marches to his subsequent green dog, flowers have always been an inspiration for the artist in freeing his pictorial impetus. Zhou never fails to adheres to the beautiful and truthful aspects of life as each free flowing line constructing Zhou’s lotus scene is recognizable and in turn builds the souls of the blossoms and pods in a manner that not one extra stroke is required to make it more incisive. The artist entrusts the expression of his subjective consciousness through the deliberate utilization of only a few shades of blues and magenta, this talented use of colors reflects the artist’s liberal soul. Furthermore, Zhou applied the narrative nature of Classical ink paintings to denote the flowing spaces through his meticulous arrangement of light and shadows, as he imbues the foreground with lotus leaves and turbulent angular stems bearing further buds, the empty space in the background is magnificently used to delineate space and distance, which ultimately emphasize the dynamics of the magenta blossom that occupied the upper part of the canvas, inciting the sensation of the spectators. Zhou is indeed a spiritual liberal who operates upon a dual grounding. While he balances artistic elements from his Western or and Eastern cultural experiences, he simultaneously asserts individual integrity by traveling in between modernity and tradition, nostalgia and avantgarde without any formal restrictions. Zhou Chun-ya’s Lotus reflects a spontaneous and imaginatively expressive composition that echoes the pious praise of traditional literati aesthetics.
Left to Right Claude Monet, Blue Water Lilies, 1916 – 1919, Oil on canvas, Musée d'Orsay, Paris, France. Claude Monet, Nymphéas reflets de saule, 1916-19, Musée Marmottan Monet, Paris, France.
【唐】李白《古風．碧荷生幽泉》 碧荷生幽泉，朝日豔且鮮。 秋花冒綠水，密葉羅青煙。 秀色空絕世，馨香為誰傳。 坐看飛霜滿，凋此紅芳年。 結根未得所，願托華池邊。
周春芽作品中的奇葩
文化的融和
花卉是作品中常見的題材，從古到今都有不少名家描繪花 卉永恆自然之美。周春芽的《荷花》展現了他眼中自然界 的活力和美感。20世紀90年代中， 周氏曾兩次以荷花為作品的主題。 這次拍賣作品中的景象猶如詩人筆 下的荷塘，刻劃荷花動人的美態， 亦令人想起克洛德．莫內以印象 派風格繪就的睡蓮。在這幅作品之 中，周氏匠心獨運，以豪邁迅捷的 筆觸描繪荷花開花時的各種形態。 在碧藍如幻的背景下，偶爾劃過幾 條冰藍的線條，彷似月夜的光華靜 靜地照耀著荷塘，映照著在靛藍和 青綠色荷葉叢中搖曳生姿的荷花。 畫面充滿生氣，前景錯綜的枝葉與 晃動不定的白色花苞交接，引導觀 眾的視線轉向上方優雅的洋紅色荷 花。枝葉的重疊交織表現了景象的 層次和縱深，而延伸至畫外的荷葉 則為觀眾帶來無窮的想像，想像月 夜下荷花盛放的醉人景色。
周春芽父親過世後，他從父親那裡承繼了不少中國名著和 有關西方藝術理論的書籍，以及張大千和明代著名畫家董 其昌的作品。周氏曾於德國留學三年， 期間開始思考其作為中國藝術家的身份問 題。雖然周氏受到表現主義啟發創作，但 在這幅拍賣作品中顯然易見其中國傳統的 底蘊，尤其是在佈局方面，大片荷葉佔據 一方，與張大千筆下的描繪不遑多讓。藝 術家嶄新的繪畫風格一改傳統文人畫過於 含蓄內斂的特質，令作品更精彩動人。他 以表現主義熱情奔放的手法描繪中國傳統 意象，兩者自然融合，同時持守其積極態 度創作，作品充滿生氣，正如其說：「與 其尋求方法回溯過去，我寧以獨特的方式 去開闢未來的創作之路。」在《荷花》 中，藝術家巧妙地以當代表現主義風格融 匯中西，以主觀角度詮釋傳統於全球視野 的角色和定位。周春芽的作品突破傳統框 架，呈現出一個優雅自然、並蘊含「古代 與當代、傳統與變革、獨特與通俗」元素 的多元文化。
古典文學中的荷花 周春芽深受德國藝術家基弗和巴塞 利茲的作品所啟發，同時認為新表 現主義最能真率直接地在作品中表 達一個人的思想感情，與他年輕時 所接觸的公式化宣傳作品大相徑庭。回到祖國後，他對傳 統中國水墨畫的壯麗清逸著迷，並以表現主義的角度重 新評賞古代大師如王蒙、八大山人及黃賓虹的文人畫。此 後，他用了很多時間鑽研古代文人畫，積累了淵博的知 識，同時亦影響其作畫題材的取捨，這幅以荷花為主題的 佳作便是明證。在中國歷史上，荷花（又名蓮花）是神性 的象徵，因其承傳了印度哲學宗派如印度教和佛教的學 說，為八吉祥之一。在古典文學作品中，流傳有不少詩句 讚譽荷蓮清雅純潔的美態。周春芽糅合了西方表現主義手 法和東方傳統的寫意元素，筆下的荷花超凡脫俗，生意盎 然。唐代詩壇巨擘李白亦曾題詩讚揚荷花之美，以其比喻 貞潔之士。
筆跡的觸感 從周春芽描繪西藏、遙遠的草原及其後的 綠狗，花朵一直為其帶來創作的靈感和動 力。周氏致力表現人性的真、善、美，以 流暢的線條構築荷花勝景，恰到好處地呈 現出荷花和蓮蓬的美態，形神兼備。整幅畫作中，藝術家 只運用了藍色和洋紅色為荷塘景色賦彩，用色得宜，亦顯 得寫意自然。與此同時，周氏筆下的光暗處理精細嚴謹， 配以傳統水墨畫的敍事方法，巧妙地交代了畫面的空間佈 局。前景描畫荷葉和曲折錯綜的枝梗，承托著含苞待放的 花蕾；背景則以留白區分空間和距離，並重點突出上方 充滿生機的洋紅色荷花。誠然，藝術家不拘一格，立足於 兩個文化基石之上創作。一方面，他將自身從東西文化體 驗當中領略到的藝術元素共冶一爐，另一方面保持個人風 格，遊走於現代與傳統之際、懷舊和前衛之間，不受任何 限制自由創作。周春芽的《荷花》是即興想像下繪成的作 品，寄託了藝術家的豐富情感，與傳統文人畫一樣清麗脫 俗，令觀者為之動容。
Chang dai-chien, Lotus , Private Collection 張大千 《荷花》 私人收藏
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WALASSE TING
丁雄泉把他洞悉的世俗生動地描繪於畫布上。畫家自青年時已到各地遊歷，與海外的前衛藝術家相互交流切磋，故其作品既富有流行的西方 元素，且蘊含著東方色彩。丁雄泉作品不僅揉合了中國傳統設色水墨及西方的流行文化，如普普藝術和表現主義，還以革新的手法創作，形 成獨樹一幟的藝術風格。 《吻》，畫中女子的臉龐被紫色的長髮圍繞，與承傳於中國傳統水墨的流暢線條相映成趣，令輪廓顯得格外柔美。她雙眸直視觀者，展露出 一縷柔情及嫵媚之態。在《我記得》畫中，女子的長髮上以綠、橙、紫紅點綴的彩斑，以及臉上的彩點也許是受到抽象表現主義的影響。她 交叉雙臂，把頭輕輕地倚於其上，姿勢優雅，宛若正想斜躺下來，伸延於畫布之外，不禁令人聯想起愛德華·馬奈的繪畫。此外，畫家的藝 術手法展現出中國明代文人肖像畫的氣息，他運用中國書法的技法，以豪邁、自信及明確的筆觸創作出具力量、動感與線條自然流暢的女 肖像。畫中斑斕的色彩相互交織與勾畫的線條形成對比。而在豐盈的長髮上點綴五顏六色的小花，更為畫面增添活潑的色彩。在作品《西 瓜》，畫家運用明亮及強烈的色彩描繪正在咀嚼西瓜的女子。儘管畫面所綻放的絢爛色彩明顯地源自西方，但線條構圖及表現精神卻是植根 於東方傳統書法技巧。畫家的作品現藏於世界各地著名的博物館，如現代藝術博物館、芝加哥藝術學院及丹麥的錫爾克堡博物館。丁雄泉的 作品用色絢麗奪目，筆觸豪邁奔放，體現出一種單純的感官愉悅。
Walasse Ting’s worldly vision is vividly portrayed on his canvas, his works are rich with popular Western elements with an Eastern twist, stemming largely from his interactions with overseas Avant garde artists as he was well travelled as an adolescent. The distinctiveness of Walasse Ting’s work lies in his ability to synthesize and transform the Traditional Chinese polychrome ink traditions and Western popular culture such as Pop art and Expressionism.
Hot kiss waiting for my warm kisses , the lavender hair framing the women’s face accentuates the smooth contours of the flowing lines that is inherently derived from Eastern Classical ink tradition. The fragility and feminine quality of the subject is exposed as she looks straight ahead and into the eye of the viewer. In I remember, the concentrated splashes of green, orange, and magenta and the residual splashes on the face of the central female could perhaps be attributed to abstract expressionism. Her head is resting elegantly upon her crossed arm suggestive of a reclining posture that extends beyond the confines of the canvas reminiscent of Edouard Manet’s paintings. Furthermore, Ting’s artistic approach attests to the acclaimed of the scholarly figurative works dated to the Ming dynasty as he utilized the Chinese Calligraphic brushstrokes to create quick, confident and definitive lines that conveys energy and movement to formulate the free flowing lines of his female figures. The interlacing abundance of the vivid colors contrast with each other delineating dimensions, which can be observed with these figure’s flowing hair adorned with colorful florets that adds vitality to the composition. Watermelon adopts a bright and intense color palette, as the figure’s hair frames the watermelon that she munches on. Although the exuberantly fluorescent bright colors are decidedly Western in nature, while the composition of lines and impressions retained essence derived from calligraphic techniques rooted in Eastern traditions. Similar examples of Ting’s works are presently residing in various renounce Museums worldwide, such as Moma, the Chicago Art Institute and the Sikeborg Museum in Denmark among a few. Walasse Ting’s work are truly magnificent pieces of art infused with an appreciation for the sensory pleasures of the purity found in nature.
033
WALASSE TING (Chinese-American, 1929-2010)
丁雄泉
I remember
我記得
Acrylic on canvas 40 x 50 cm (15 3/4 x 19 5/8 in.) Signed, titled and dated ‘I Remember ting 86 ’ (on the reverse) Painted in 1986
1986 年作 壓克力畫布 簽名：I Remember ting 86 (背面)
Provenance
來源 Asbaek 畫廊，哥本哈根
Galerie Asbaek, Copenhagen
HK$ 380,000 - 480,000 NT$ 1,490,000 - 1,882,000 US$ 49,000 - 61,900 Ravenel
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034
WALASSE TING (Chinese-American, 1929-2010)
丁雄泉
Ladies with Watermelons
美女與西瓜
Acrylic on paper 88.5 x 95.6 cm (34 7/8 x 37 5/8 in.) With one seal of the artist, dated circa 1980 Painted in 1986
1986 年作 壓克力 紙本 鈐印：採花大盜 (左上)
Provenance
Alisan Fine Arts, Hong Kong Private Collection, Asia
HK$ 260,000 - 320,000 NT$ 1,020,000 - 1,255,000 US$ 33,500 - 41,200
來源 香港藝倡畫廊 亞洲 私人收藏
035
ZAO WOU-KI (Chinese-French, 1920-2013)
Untitled Lithograph in colours (1) Lithograph, printed in 5 colours 50 x 65 cm (19 5/8 x 25 5/8 in.) Signed lower right 'Wou-ki' in Chinese, 'ZAO' in French; Dated '61' Executed in 1961 Literature
Jorgen Agerup (ed.), Zao Wou-Ki: The Graphic Work, A Calatogue Raisonné 1937-1995, Edition Heede & Moestrup, Copenhagen, Denmark, 1994 (illustrated, plate 131).
1
(2) Lithograph , printed in 4 colours 2/60 on Arches paper 37 x 46 cm (14 5/8 x 18 1/8 in.) Signed lower right 'Wou-ki' in Chinese, 'ZAO' in French; numbered lower left '2/60' and dated '79' Executed 1979 Literature
Jorgen Agerup (ed.), Zao Wou-Ki: The Graphic Work, A Calatogue Raisonné 1937-1995, Edition Heede & Moestrup, Copenhagen, Denmark, 1994 (illustrated, plate 303). (3) Lithograph, printed in 8 colours Edition of 63/99 on Arches paper 54 x 73 cm (21 1/4 x 28 3/4 in.) Signed lower right 'Wou-ki' in Chinese, 'ZAO' in French; numbered lower left '63/99' and dated '98'
3
Literature
Jorgen Agerup (ed.), Zao Wou-Ki: The Graphic Work, A Calatogue Raisonné 1995-2000, Edition Heede & Moestrup, Copenhagen, Denmark, 2001 (illustrated, plate 394).
HK$ 80,000 - 130,000 NT$ 314,000 - 510,000 US$ 10,300 - 16,800
趙無極 無題 2
石版 版畫 (1) 1961 年作 簽名右下：無極ZAO 61 出版 《趙無極版畫集 1937-1995》Jorgen Agerup 編 Edition Heede & Moestrup 哥本哈根 丹麥 1994 年 (圖版，第 131圖) (2) 1979 年作 版數：2/60（日本紙） 簽名右下：無極ZAO 79 版次左下：2/60 出版 《趙無極版畫集 1937-1995》Jorgen Agerup 編 Edition Heede & Moestrup 哥本哈根 丹麥 1994 年 (圖版，第303圖)
(3) 1998 年作 版數：63/99 (日本紙) 簽名右下：無極ZAO 98 版次左下：63/99 出版 《趙無極版畫集 1995-2000》Jorgen Agerup 編 Edition Heede & Moestrup 哥本哈根 丹麥 2001 年 (圖版，第 394 圖)
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036
ZAO WOU-KI (Chinese-French, 1920-2013)
趙無極
Untitled
無題
Lithograph in colours Lithograph, printed in 8 colours Edition of 64/99 on Arches paper 75 x 56 cm (29 1/2 x 22 1/8 in.) Signed lower right 'Wou-ki' in Chinese, 'ZAO' in French; numbered lower left '64/99' and dated '98'
1998 年作 石版 版畫 版數：64/99（日本紙） 簽名右下：無極ZAO 98 版次左下：64/99
Literature
Jorgen Agerup (ed.), Zao Wou-Ki: The Graphic Work, A Calatogue Raisonné 1995-2000, Edition Heede & Moestrup, Copenhagen, Denmark, 2001 (illustrated, plate 393).
HK$ 30,000 - 50,000 NT$ 118,000 - 196,000 US$ 3,900 - 6,400
出版 《趙無極版畫集 1995-2000》Jorgen Agerup 編 Edition Heede & Moestrup 哥本哈根 丹麥 2001 年 (圖版，第 393 圖)
037
CHU TEH-CHUN
(Chinese-French, 1920-2014)
朱德群
Untitled
無題
Lithograph Edition of 37/100 75 x 57 cm (29 1/2 x 22 1/2 in.) Signed 'Chu Teh-chun' in Chinese and 'CHU TEH-CHUN' in English (lower right), numbered '37/100' (lower left)
1998 年作 石版 版畫 版數：37/100 簽名右下：朱德群 CHU TEH-CHUN 版次左下：37/100
HK$ 30,000 - 50,000 NT$ 118,000 - 196,000 US$ 3,900 - 6,400 Ravenel
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038
CHU SHU CHI
(Taiwanese, B. 1985)
Hope
朱書麒
Oil on canvas 92 x 118 cm. (36 1/4 x 46 1/2 in.) Painted in 2012
異界風景
Exhibited
展覽 「『浮游異境』朱書麒•駱志豪雙個展」， 黎畫廊，上海，展期2013年10月5日至27日 「Young Art Taipei國際當代藝術博覽會」， 喜來登飯店，台北，展期2012年4月
Floating, Lee Gallery, Shanghai, October 5 – 27, 2013. Young Art Taipei, Sheraton Grande, Taipei, April 2012. This painting is to be sold with a certificate of authenticity signed by the artist.
2012 年作 油彩畫布
附藝術家親簽之原作保證書
HK$ 38,000 - 42,000 NT$ 149,000 - 165,000 US$ 4,900 - 5,400
039
LIU GU PING
(Chinese, B. 1984)
Shell
劉谷平
Oil on canvas 50 x 40 cm. (19 3/4 x 16 in.) Painted in 2013
殼 2013 年作 油彩畫布
HK$ 60,000 - 80,000 NT$ 235,000 - 314,000 US$ 7,700 - 10,300
Ravenel
71
040
LEUNG SIU HEE
(Chinese-French, B. 1953)
Mountain
梁兆熙
Charcoal on paper 83 x 172 cm (32 5/8 x 67 3/4 in.) Signed 'liang/Leung '; dated '1985' (lower right) Painted in 1985
山
Exhibited
展覽 「梁兆熙個展」，一票票藝術空間，台北， 展期2010年2月26日至3月14日
Leung Siu-Hee solo exhibition, Piao Piao Gallery, Taipei, February 26 – March 14, 2010.
HK$ 100,000 - 150,000 NT$ 392,000 - 588,000 US$ 12,900 - 19,300
1985 年作 炭筆 紙本 款識︰liang/Leung 1985 (右下)
041
LEUNG SIU HEE
(Chinese-French, B. 1953)
Rocky Bush
梁兆熙
Charcoal on paper 74 x 107.5 cm (29 1/8 x 42 3/8 in.) Signed 'liang / Leung '; dated '81' (lower right) Painted in 1981
樹石
Exhibited
展覽 「梁兆熙個展」，一票票藝術空間，台北，展期 2010年2月26日至3月14日
Leung Siu-Hee solo exhibition, Piao Piao Gallery, Taipei, February 26 – March 14, 2010.
1981 年作 炭筆 紙本 款識︰liang / Leung 81 (右下)
HK$ 75,000 - 110,000 NT$ 294,000 - 431,000 US$ 9,700 - 14,200
Ravenel
73
042
ZHANG DA LI
(Chinese, B. 1963)
AK-47
張大力
Ink on paper 95 x 66 cm (37 3/8 x 26 in.) Signed ‘Zhang Da Li ’ in Chinese; dated '4th November, 2013' (lower right) With one seal of the artist Painted in 2013
AK-47
HK$ 65,000 - 85,000 NT$ 255,000 - 333,000 US$ 8,400 - 11,000
2013 年作 宣紙藍曬 墨水 簽名：張大力 2013.11.4 (右下) 鈐印︰張大力專用印章 ZHANG DA LI SEAL (右下)
043
RUAN WENG MONG
(Taiwanese, B. 1952)
Southern Sea Paradise I, II
阮文盟
Brass and Ebony Each 33 x 17 x 22.5 cm (13 x 6 3/4 x 8 7/8 in.) Signed in Chinese; dated '14' (on the reverse) Executed in 2014
南島樂園Ⅰ、Ⅱ 2014 年作 黃銅鳥心木 簽名：盟 14 (背面)
HK$ 120,000 - 200,000 NT$ 471,000 - 784,000 US$ 15,500 - 25,800
Ravenel
75
CHINESE CONTEMPORARY INKS Chinese Contemporary Inks –Ravenel presents a new section in its Hong Kong autumn sale encompassing an exceptional selection of Chinese Contemporary ink works from 34 distinguished artists. This section includes a series of works that epitomize how the age-old medium of inks is being simultaneously reimagined and revered by artists such as Peng Kang Lung, whose work embodies the narrative quality of the seasonal cycle and entices the viewer to appreciate the ecological vision of growth and decay. These paradigm innovations are also evident in Teng Pu Chun’s idyllic tranquil depictions a mountainous scape within the confines of a cylindrical cosmos. Among artists who actively engage in exploring the concepts of bold renewal and reinterpretation in his artistic endeavor is Qin Feng, a master of fusion through synthesizing symbols from his multi-cultural background. This section also includes works by established artists such as Lin Feng-mian, who already have a strong presence both locally and abroad. Chinese Contemporary Inks showcases pioneering artists who have contributed in finding new ways of expressing and enriching the old essence of ink works as they shed the rigid constraints of Classical tradition to manifest their own version of a contemporary expression through means of abstraction, individual perspectives and other contemporary elements within the greater context of an increasingly globalized world full of cultural hybridity. While some of these artists adhere to their passion for the meticulous fine brush, others make use of abstraction in forms in attempts to bring new techniques and visual effect to their ink art, presenting works replete with an optimism for the future of the distinct medium of Chinese contemporary inks. 羅芙奧在今年秋季拍賣會，首度舉辦「中國當代水墨畫系列」，精心挑選34位中國當代畫家所繪別 具一格的水墨作品。其中的一系列作品，不僅展現出畫家對傳統水墨藝術的尊重，且為它們重新注 入嶄新的意念。如彭康隆的繪畫，就以敘述形式體現四季週期的變化，吸引觀眾欣賞大自然的生長 與凋零意象。同樣地，鄧卜君以革新的手法創作，所繪的山巒景致淡雅空靈，呈現於圓柱狀宇宙之 中。在云云眾多的畫家中，秦風的作品大膽創新，不僅對水墨藝術作出重新詮釋，還透過多元的文 化背景，融合各種符號於其畫中。 此外，作品還包括蜚聲中外的畫家林風眠的畫作。「中國當代水墨畫專場」著重展現革新藝術家的 作品，他們均致力探尋新的表達意念及豐富傳統水墨藝術的精髓，擺脫傳統的僵化束縛，以自己的 理念體現當代水墨藝術。其中部分畫家鍾情以細膩的筆法作畫，部分則利用抽象的造型，試圖為水 墨藝術開創新的技法及視覺效果，作品充滿對未來水墨藝術的憧憬。
Ravenel
77
044
PENG KANG LUNG
(Taiwanese, B. 1962)
Forgotten Garden
彭康隆
Ink and color on paper 76 x 142 cm. (29 7/8 x 55 7/8 in.) Signed ‘Kang Lung ’ in Chinese (lower right) Painted in 2014
遺院
Provenance
來源 歐洲私人收藏
Private Collection, Europe This painting is to be sold with a certificate of authenticity signed by the artist.
HK$ 95,000 - 140,000 NT$ 373,000 - 549,000 US$ 12,200 - 18,000
2014 年作 水墨 設色 紙本 款識：康隆 (右下)
附藝術家親簽之原作保證書
045
PENG KANG LUNG
(Taiwanese, B. 1962)
Floral Rocky Scape
彭康隆
Scroll, mounted and framed, ink on paper 76 x 142 cm. (29 7/8 x 55 7/8 in.) Signed ‘Kang Lung ’ in Chinese (lower right) Painted in 2014
粗麻身世
Provenance
來源 歐洲私人收藏
Private Collection, Europe This painting is to be sold with a certificate of authenticity signed by the artist.
2014 年作 水墨紙本 款識：康隆 (右下)
附藝術家親簽之原作保證書
HK$ 95,000 - 140,000 NT$ 373,000 - 549,000 US$ 12,200 - 18,000
Ravenel
79
彭 康 隆 的 當代 水 墨
彭康隆是中國水墨畫的先驅，尤擅長發掘水墨畫的全新層面，開發另類的繪畫潛力。山明水秀的花蓮為諸位藝術家帶來了如泉湧 般的靈感，那靜謐的山巒在天空下若隱若現，幾株孤樹仰望山頂。另一位藝術家《遺院》作品，以備受推崇的中國傳統水墨畫的 傳統繪畫手法勾勒出鮮花等多種植物，以紅黃薄塗層構圖，令人賞心悅目。觀賞者可以在畫中領略到自然生態的生長與衰亡，蓓 蕾初開及含苞怒放的鮮紅花卉與石縫中凋零的枝葉形成鮮明對比。這一畫面從總體上表現了季節週期的敘事質感，它使人想起 1503年畫家阿爾佈雷希特·杜勒的作品《草地》，這位昔日大師將我們在大自然中瞬間的所見、所遇、所感以繪畫的形式展現眼 前。彭康隆與其形成了鮮明的對比，他的作品是對永恆季節週期的完整表現。他把觀賞者帶入了植物世界，以更為寬廣的生態視 野觀察植物萌芽、開花、結果以及凋謝的過程。落葉慢慢腐朽，片片岩石猶如被落葉浸染，渾然一色。透過這些感性的表現，畫 家引領觀賞者作出更深層的思考，並從大自然的春花秋葉中得到啟發，進而以自身的視角觀察這些花朵，觀察整個自然界。尤為 值得注意的是，彭先生的作品展現出與大自然的心靈溝通，這正是容易被人不經意忽略的細節。
PENG KANG LUNG CONTEMPORARY CHINESE INKS Pang Kang Lung is among the artists at the forefront of the trend in developing the different facets and potential of Chinese ink painting. The aesthetics of the mountainous scape of Hualien have provided the artists with many inspirations and anchors the compositional framework in Floral Rocky Scape , where the skeleton of the serene mountain scene lightly emerges and disappears against the boundless sky, further imbued with traces of what appears to be widow trees along the foot of the mountain. In another one of the artist’s work Forgotten Garden , it reflects an incorporation of the stylistic approach and pedigree from the respected Chinese ink tradition as the flowers, plants and various vegetation in red and yellow washes melodiously compliment each another in the compositional arrangement. It entices the viewer to appreciate and ponder upon the naturalistic ecological vision of growth and decay, whereby the contrasting vibrant red blossoming buds in its various stages of growth is juxtaposed against the decaying leafy sprigs amidst pieced rockworks in the foreground. This compositional arrangement offers the narrative quality of the seasonal cycle in its entirety. In essence, it is reminiscent of Albrecht Dürer’s The Great piece of Turf dated to 1503, as the old master reflects pictorially what we can physically observe, encounter and perceived from an instant in the natural world. In stark contrast, Pang’s creation constitutes a full representation of the eternal seasonal cycle. He invites the viewers into the world of actual vegetation with an even more powerful ecological vision that spans across the cycle of budding, flowering and fruiting and last but not least the final phrase of decay, as the leaves crumble and the pieced rockworks appear to render in the form of decayed trees. Through these sentiments Pang derives a further question from his work for the viewer to evaluate upon, the artist entices one to ponder how observing these flowers and autumn foliage as frozen entities taken out from the seasonal flow of nature affect and impact one’s view on our perceivable nature. In particular, Pang’s work is imbued with the subject matter that exhibits a spiritual connection with Mother Nature, a pertinent aspect of life one often overlooked.
Ravenel
81
046
GAO XING JIAN
(Chinese- French, B. 1940)
Enlightenment
高行建
Ink and color on paper 83 x 83 cm. (32 5/8 x 32 5/8 in.) Signed ‘GAO Xingjian ’, dated '1999' (lower left ) Painted in 1999
思
HK$ 100,000 - 150,000 NT$ 392,000 - 588,000 US$ 12,900 - 19,300
1999 年作 水墨 設色 紙本 款識：GAO Xingjian 1999 (左下)
047
CHEN CHIEN FA
(Taiwanese, B. 1965)
Quiet Night
陳建發
Ink on paper 90 x 120 cm (35 3/8 x 47 1/4 in.) Signed in Chinese; dated '2012' (on the reverse) With two seals of the artist Painted in 2012
靜夜
Provenance
來源 歐洲私人收藏
Private Collection, Europe This painting is to be sold with a certificate of authenticity signed by the artist.
2012 年作 水墨 紙本 款識︰靜夜2012年陳建發 鈐印︰陳氏 (白) 建發 (紅) (左下)
附藝術家親簽之原作保證書
HK$ 140,000 - 220,000 NT$ 549,000 - 863,000 US$ 18,000 - 28,400 Ravenel
83
048
CHEN CHIEN FA
(Taiwanese, B. 1965)
Timeless I
陳建發
Ink and color on paper 90 x 133 cm. (35 2/5 x 52 2/5 in.) Signed in Chinese; dated '2013' (on the reverse) With two seals of the artist Painted in 2013
時空•繁衍I
Provenance
來源 歐洲私人收藏
Private Collection, Europe This painting is to be sold with a certificate of authenticity signed by the artist.
HK$140,000 - 220,000 NT$ 549,000 - 863,000 US$ 18,000 - 28,400
2013 年作 彩墨 紙本 款識︰時空•繁衍 I 2013年陳建發 (畫背) 鈐印︰陳氏，建發 (左上)
附藝術家親簽之原作保證書
049
ZHANG YI RONG
(Chinese, B. 1979 )
Butterfly
張藝蓉
Ink on paper 121 x 142 cm. (47 1/2 x 56 in.) Inscribed in Chinese With one seal of the artist Painted in 2014
蝴蝶 2014 年作 水墨紙本
HK$ 150,000 - 220,000 NT$ 588,000 - 863,000 US$ 19,300 - 28,400
Ravenel
85
050
TENG PU CHUN
(Taiwanese, B. 1957)
No Whales in the Bottom of the Cup
鄧卜君
Ink and color on paper 78 x 141 cm. (30 3/4 x 55 1/2 in.) Painted in 2014
杯底不可養鯨魚
Provenance
來源 歐洲私人收藏
Private Collection, Europe This painting is to be sold with a certificate of authenticity signed by the artist.
HK$ 140,000 - 220,000 NT$ 549,000 - 863,000 US$ 18,000 - 28,400
2014 年作 彩墨紙本
附藝術家親簽之原作保證書
051
TENG PU CHUN
(Taiwanese, B. 1957)
Mountainous Scape
鄧卜君
A set of four hanging scrolls, ink and color on paper Each scroll measures 122 x 35 cm. (48 1/8 x 13 3/4 in.) Signed in Chinese; dated '2014.3.30' (Lower right) One seal of the artist Painted in 2014
山水四柱
Provenance
Private Collection, Europe This painting is to be sold with a certificate of authenticity signed by the artist.
HK$ 220,000 - 400,000 NT$ 863,000 - 1,569,000 US$ 28,400 - 51,500
2014 年作 彩墨紙本四幅 款識： 咖啡 二0一四.三.三0.卜君 (左下) 橘紅 2014.3.30.卜君 (左下) 水藍 二0一四.三.三0.卜君 (右下) 紫色 卜君 2014.3.30 (右下)； 山水四柱 2014.3.30 鄧卜君作 (左下) 鈐印： 咖啡 鄧，君 (左下) 橘紅 鄧，君 (左下) 水藍 鄧，君 (右下) 紫色 鄧，君 (右下)；鄧卜君 (左下) 來源 歐洲私人收藏 附藝術家親簽之原作保證書 Ravenel
87
052
TAI XIANG ZHOU
(Chinese, B. 1968)
Celestial [2014.2]
泰祥洲
Ink on paper 31 x 196 cm. (12 1/4 x 77 1/8 in.) Signed and inscribed in Chinese (lower left) With one seal of the artist Painted in 2014
天象 [2014.2]
HK$ 280,000 - 360,000 NT$ 1,098,000 - 1,412,000 US$ 36,100 - 46,400
2014 年作 水墨 紙本 款識：看似亘古不變的滿天繁星日夜運轉周而復始 對啟迪人類智慧的增長有著不可估量的影响人類通 過對星空的觀察和記錄開啟了認識宇宙的第一扇窗 戶人類通過觀測發現了時間和空間的物理存在建立 了人類的天文曆法正是有了曆法雲漢星空蒼茫大地 逝水流年才不再是渾樸未開的渾沌世界人間秩序似 乎在建立一個井然有序的人倫仙境時間和空間也是 人類宇宙觀形成的基石然而人類的視野和探索能力 終究有限受限於時間和空間面對浩瀚的宇宙人類生 命在無邊的天際中始終難以覓得真實宇宙的脈絡人 開始追問何為宇宙漢代張衡說過此而往者未之或知 也未之或知者宇宙之謂也宇之表無極宙之端無窮近 代愛因斯坦說宇宙最不可理解之處就在於它是可以 理解的宇宙真的可以被人理解嗎結論其實是似是而 非的通過愛因斯坦的宇宙公式算法宇宙被認為是無 限膨脹的但這是宇宙真實的面目嗎而今我們知道宇 宙中最大的存在物無非宇宙本身人之於宇宙恰如塵 埃然而人類的思維卻似乎可以穿越宇宙之浩瀚與廣 大在宇宙的尺度上理解宇宙可是人類為甚麼會存在 於宇宙之中呢人類生命的本質是甚麼人類的存在是 一種偶然還是必然天象與人類世界是否存在某種內 在的邏輯聯繫人類的命運是否可以預測這一系列的 問題時常在我腦海裡激蕩我只知道人類真正的自我 覺醒在於認清自己在宇宙中的位置而吾之於吾畫觀 天乃能明物象之元度物象而取其真方達肇自然之性 成造化之功三境所謂辟天地齡黃之色泄陰陽造化之 機也祥洲。 簽名：祥洲 鈐印：祥洲
In Tai Xiangzhou's Celestial , the artist depicts what he saw during sky watching, so as to express his vision of the universe and the series of thought that come along, enigmatically posing stimulating and inspirational questions on the views. On this scroll, the artist creates the sea of clouds using the techniques of accumulated ink and embellishment. The alternating hues of black and negative spaces create layers of light and shadow, heightening the dimension and dynamics of the sea of clouds. On this bed of white, there seems to be a dragon travelling in and out, corresponding to the script, thinking that the universe is illusory and unreal, paradoxical and sophisticated.
泰祥洲的《天象 [2014.2]》藉描繪觀天所見的景象，寄託藝術 家的宇宙觀和引伸出的連串思考，發人深省。在這幅手卷上， 他以積墨渲染的手法營造一片雲海，墨色的濃淡變化與留白部 份形成光影層次，增強雲海的立體感和動感。在雲霧之中，彷 似有一條龍穿插遊走，若隱若現的形態呼應了尾跋的感悟，認 為宇宙虛無縹緲，似是以非。泰祥洲巧妙地以雲海表達宇宙的 時空，一方面其流動喻示了時間的推進，另一方面雲海超越了 畫心的框架，無止境地向畫外延伸，表現出宇宙的浩瀚無際。 藝術家觀天明物，以筆墨、圖像和文字帶出其對於人類命運的 沉思，總結出自身於自然運行的宇宙中的定位和意義，寓意深 刻。
Tai exquisitely presents the sea of clouds to express the space time of our universe. On one hand it shows the progress of time, on the other hand the sea of clouds transcends the confinement of the frame, boundlessly extends beyond the painting. This attributes to the vastness of the universe. The artist observes the sky and studies the essence of the universe, then with the use of brushes and ink, images and words, he brings out his contemplation of human fate, concluding his own position and significance in this living universe, leaving profound messages deep within.
Lot 052 Detail
Ravenel
89
Front (1-1)
reverse (1-2)
Front (2-1)
reverse (2-2)
Front (3-1)
reverse (3-2)
053
DING YAN YONG
Front (4-1)
reverse (4-2)
Front (5-1)
reverse (5-2)
(Chinese, 1902-1978)
Album Leaves
丁衍庸
Ink and color on paper Each 31.8 x 41 cm. (12 1/2 x 16 1/8 in.) (10pcs) Inscribed in Chinese With seals of the artist Painted in 1971
生趣冊
HK$ 360,000 - 480,000 NT$ 1,412,000 - 1,882,000 US$ 46,400 - 61,900
辛亥年，1971 彩墨 紙本 款識：丁衍庸寫 (2-1) 辛亥冬日，丁衍庸寫于思文堂。 (3-1) 濕翠殿殘春，花王作詩臣。興酣頻點墨，燒燭寫來真。 (4-2) 山也零丁，水也零丁，孤帆來去總零丁。丁衍庸寫。 鈐印：丁庸（白） (2-1) 丁庸 (白)、肖形印 (白)
Ravenel
91
054
WANG YE (Taiwanese, B,1934 )
Blessing Ink and cement paint on paper 135.5 x 68.5 cm. (53 3/8 x 27 in.) Signed lower right 'Wang Ye' in Chinese; dated '1994' Painted in 1994 Literature
Mandarin Airlines Magazine , September and October issue 2014, color illustrated, p.52 Eastern Daily News – The Culture column , April 28, 2013, color illustrated This painting is to be sold with a certificate of authenticity issued by Gallery Venus
HK$ 180,000 - 260,000 NT$ 706,000 - 1,020,000 US$ 23,200 - 33,500
王業 造福 1994 年作 墨 水泥漆 紙本 款識：王業一九九四 (右下) 出版 《華信航空雜誌》，2014年9月、10 月刊物，彩色圖版，頁52 《東方報藝文版》，2013年4月28 日，彩色圖版 附維納斯藝廊開立之原作保證書
055
LEE YIH HONG
(Taiwanese, B. 1941)
Meditation
李義弘
Ink and color on paper 96 x 88.5 cm (37 3/4 x 34 7/8 in.) Signed and inscribed in Chinese (left) With two seals of the artist Painted in 1990
靜修圖 1990 年作 彩墨 紙本 款識：靜修圖庚午暮冬在川李義弘于笛音凝室明窸 (左) 鈐印︰義弘染翰；在川小記 (左)
HK$ 160,000 - 220,000 NT$ 627,000 - 863,000 US$ 20,600 - 28,400 Ravenel
93
筆 墨 淋 漓 意猶 存
《愛著》章法緊湊，全篇無多餘的虛位，墨跡彷彿向隔水以外延伸。 《狂草書法》的空間佈局亦同樣趨於繁密，行與行之間互相呼應，亂中 有序，布白得當。在兩幅作品墨色濃淡相間、錯落有致的結構中，得窺 書法家的創作過程，追隨其筆觸在紙上恣意遊走。卜茲用毛筆蘸墨後揮 筆疾書，務求一氣呵成，有若「飛流直下三千尺」之勢，情感豐富澎 湃。其筆走龍蛇，提按運腕隨心而致，形成輕與重、乾筆與濕筆、虛與 實的對比。 卜茲的筆法饒富變化，中側鋒、方圓筆並用。草書與字字獨立的楷、 隸、篆書不同，多連貫而書，行氣自然流暢。《愛著》由幾個字連綴成 一組，字與字之間的承接不著痕跡，時而以乾筆使轉，留下飛白，更顯 豪邁之風；時而用濕筆頓挫，折角蒼勁有力。《狂草書法》中，字與字 之間較少相接，但筆斷意連，加之稍稍欹斜的字體，通篇協調統一。 《狂草書法》多露鋒起筆而以藏鋒收筆，運筆迴環牽引之際的飛白與積 墨處形成對比，顯得活潑而富有節奏感。濃淡不一的墨色為空間帶來縱 深，鈎環盤紆的筆觸則形成轉折，加上以中鋒寫出渾厚圓潤的筆劃，構 成立體的視覺效果，妙趣橫生。 草書一般不易識別，故能突破文字以傳遞訊息為用的框架，成為純藝術 的表現形式，加上其書寫時講求迅捷不受窒礙，流露出書法家的真情至 性。卜茲在眾體書法中選擇以靈活多變的草書作為情感的載體，體現其 熱愛馳騁、動靜皆宜的性格。與此同時，兩幅作品在緊密的佈局和立軸 橫幅的框架之中揮就，《愛著》更有超越侷限之勢，反映卜茲處身政局 複雜多變、發展迅速的時代，尋求自由脫俗的表現。橫幅書法以《愛 著》為題，當中濃淡相宜的墨跡尤如情感的強弱，筆劃字詞間的縈帶連 屬則好比愛意延綿。 《愛著》與《狂草書法》在簡筆表現下如同一幅抽象作品，筆跡錯綜飛 舞，在彰顯書法家的素養與情操的同時，亦激發觀者聯想，以自身的經 歷去解讀作品，趣味盎然。 草書從漢代（西元前206年至西元200年）演變成形，經晉代（265– 420）發展，至唐代（618–907）臻於成熟。卜茲（本名陳宗琛， 1959–2013），承傳古典書法之美和內涵，觀摩明清諸家如徐渭 （1521–1593）、王鐸（1592–1652）和八大山人朱耷（1626–1705） 等的墨跡，經過一番沉殿和醞釀，然後另闢蹊徑，自成一格。在一眾書 法領域中，他最喜歡草書。有說書法是一種自我修煉的方式，能反映書 法家書寫時的心態，更是其個性的真實寫照。卜茲原本任職歷史博物 館，卻毅然辭職，回到家鄉台南舊區生活，專注於書法創作。其澹泊高 逸的氣節，皆彰顯於其獨樹一幟的狂草書法當中。
THE SPLASHING ENCHANTMENT OF INK AND BRUSH
To Love has a compact composition with no extra white space. The ink seems to spread and extend. Cursive Calligraphy has also a tense spatial layout, echoing is found between lines, showing order within chaos, and the white spaces are situated appropriately. From the alternating hues of black and the well-proportioned allocation of the two works, we could take a glimpse at the calligrapher’s creative process, to follow his stroke along the paper. Bu Zi first soaked his brush into the ink, then wrote continuously with ruggedness. He tended to complete the characters in a single brushstroke, exerting power through the whole piece and creating a sense paralleled to the flow of an endless cascade. His works are emotionally rich. Bu Zi’s strokes are nimble and vigorous, he exerts his power or gives a sigh of relief with his wrist according to his own will, which creates the juxtaposition of light and shade, moistness and aridness, void and concretion. Bu Zi’s use of brush expresses versatility in the styles. Central brush and side brush are used side by side. Cursive script is different from standard script (Kai Shu), clerical script (Li Shu) and seal script (Zhuan Shu), which each word is independent with no coherence between each other. In cursive script, words relate to one another for continuity, and the spirit circulates in a smooth and natural flow. In To Love , characters are written continuously as a group with restless strokes. Occasionally, dry brush is used at the turning points, leaving the ‘flying white’, demonstrating an uninhibited expression of spirit; while wet brush is used at pause and tick, leading to rigid and solid turning angles. In Cursive Calligraphy , there is less coherence among the characters, yet intensity runs even with separate strokes. Together with the slightly incline and peculiarity typeface, harmony is present throughout the whole piece. In Cursive Calligraphy , the strokes begin with sharpness while finish with the concealment of acuteness, causing contrast between the ‘flying white’ and ink concentration spots, delivering the impression of liveliness and rhythm. The different hues of black create depth in the organization of space, whereas the twisting, turning and looping strokes form the twine, along with the central brush which shapes round and bulging strokes, they lead to a three dimensional visual effect. Most cursive scripts are difficult to recognize, thus, it breaks through the common view that words are used to convey messages. Instead, it becomes a purely artistic form of expression. Besides, cursive
script is a form of calligraphy that is written with ease and speed, as a result, it is a worthy method to reveal the innermost characteristics of the calligrapher. Buzi has chosen the flexible and ever-changing cursive scripts among all the different style as his way for emotion expression, which shows both the active and sedentary side of his personality. Moreover, the two works were both done in an intense setting within the framework of the hanging scroll and horizontal scroll, To Love even shows the force of transcending the limitation, which reflects that Buzi’s aim of searching for freedom in the era of political uncertainty and rapid development. The horizontal scroll is titled To Love , in which the complimenting brightness and dullness of the ink spots in the calligraphy are the symbol of the intensity of love, whereas the unbroken link of characters are equivalent to the endless love.
To Love and Cursive Calligraphy are presented as a form of abstract art, with the ever restless and wild brushstrokes strokes. While the works shows the cultivation and morality of the calligrapher, they also fuel up the connotation of the viewers, to use their own nostalgic memories to appreciate the pieces and savor the abundance of amusement. Cursive script (Cao Shu) originated from the Han Dynasty (206 B.C.–200 A.D.), it then underwent the developing period through Jin Dynasty (265–420), and finally gained maturity and reached its golden age in Tang Dynasty (618–907). Bu Zi, whose given name was Chen Zongchen (1959–2013), inherited the beauty and connotation of classical calligraphy, observed and learned from a variety of masters in the Ming and Qing Dynasty, such as Xu Wei (1521–1593), Wang Duo (1592–1652) and Zhu Quan (1626–1705), the Bada Shanren. Then, with deep thoughts and reflection, he opened up a new path and established his own distinctive calligraphic style. Among the different styles of Chinese calligraphy, cursive script is his favourite. Some says calligraphy is a way of self-cultivation, revealing the state of mind of the calligrapher during writing. It also portrays the calligrapher’s true personality. Buzi originally worked in a history museum, yet he resigned without hesitation and returned to his hometown Tainan, so as to concentrate on his calligraphy work. His heaven-aspiring morality and integrity are high-lightened in his unique wild cursive.
Ravenel
97
057
PU TZU
(Bu Zi, Taiwanese, 1959-2013)
To Love
卜茲
A set of five hanging scrolls, ink on paper Each scroll measures 210 x 49 cm. (83 x 19 in.)(5pcs) Signed in Chinese (lower left) Painted in 2011
愛着
Literature
The Art of Soul•Sacred Wild Cursive BuZi ─ Reappear in a Sagacious Light,Liaoning Art Publishing House, color illustrated, p. 22
HK$ 180,000 - 260,000 NT$ 706,000 - 1,020,000 US$ 23,200 - 33,500
2011 年作 水墨紙本 立軸五幅 內容： 愛著 本然一本而然 愛著 因為祂愛著 玫瑰花綻放 因為祂綻放 諸神默然 鈐印：卜茲 (右下) 出版 《卜茲萬化之鋒．醉舞旋書》， 遼寧美術出版社 (彩色圖版，頁22)
Ravenel
97
059
TONG YANG TZE
(Taiwanese, B. 1942)
Cursive Calligraphy
董陽孜
Ink on paper 47 x 47 cm. (18 1/2 x 18 1/2 in.) With three seals of the artist
狂草書法 水墨紙本 鈐印：癖斯 (右中) 鈐印：董 (白) 陽孜 (紅) (左下)
HK$ 55,000 - 80,000 NT$ 216,000 - 314,000 US$ 7,100 - 10,300
Ravenel
99
060
WANG JI QIAN (C. C. WANG, Chinese, 1907-2003)
王季遷
C.C. Wang Calligraphy
王季遷書法
Ink on paper 66.2 x 67 cm. (26 x 26 1/3 in.) With two seals of the artist
水墨紙本
Provenance
Collection of Professor Zhu Ji Rong, State of Connecticut, America
HK$ 10,000 - 20,000 NT$ 39,000 - 78,000 US$ 1,300 - 2,600
來源 美國康州朱繼榮教授舊藏
061
WANG FANG YU (Chinese, 1913-1997)
Wang Fangyu Calligraphy Ink on paper 91 x 42 cm (36 x 16 1/2 in.) With two seals of the artist Painted in 1991 Provenance
Collection of Professor Zhu Ji Rong, State of Connecticut, America
HK$ 10,000 - 20,000 NT$ 39,000 - 78,000 US$ 1,300 - 2,600
王 方宇 王方宇書法 1991 年作 水墨紙本 款識：辛未方宇 鈐印：王方宇長壽 (白)、食雞蹠廬(朱) 釋文：子敬嘗向其父雲：古之章草， 未能宏逸，今窮偽略之理，極草縱之 致，不若槁行之間，於往法固殊，大 人宜改體。且法既不定，事貴變通， 然古法亦局而執。 來源 美國康州朱繼榮教授舊藏
Ravenel
101
AN ETERNAL CONTINUANCE TSANG TSOU CHOI
“Tsang Tsou-choi’s sense of the topography of power was not a static one, but displayed awareness of the shifts that occurred with the return of Hong Kong to Chinese rule. At first in artistic contexts and then in a wider way, Tsang became one of the most established symbols of Hong Kong cultural identify. ” – David Clarke.
An Eternal Continuance made references to a phrase of an economic phenomenon that could be widely resonated with by reference to prevalent domain names such as 36.com within the wider context of an international dotcom boom and bust. A time period when the IPOs of internet companies emerged with ferocity and frequency, sweeping the region in euphoria. Executed in 2000, the present lot captivates a period in time where the immediate knowledge at the click of a button is celebrated, more importantly it incorporates visual elements that can be interpreted as the summation of an era while simultaneously constituting an idiosyncratic symbol for Hong Kong culture. Tsang began his life-long career in the 1960s and had committedly written his genealogy and idiosyncratic interpretations of history across Hong Kong. The King of Kowloon derived an individual style and has made his art an extraordinary engaging language at a time when there was no such category to legitimize it. More specifically, his works echo monumental public calligraphy in traditional China and come across as a public form of visual language of power. The characters on the present lot are deftly arranged whereby large and small characters alternate to achieve a style that excels in its plainness and simplicity, but yet reflects cohesion in the overall composition. The structure of the characters in his creations is coherent and well balanced, but never rigid and inflexible. In essence, his bold style is not restricted by formal rules and regulations. Instead, it deviates according to space and time, the texture of the surface to be written on, and his moods. In retrospect, Tsang’s eccentric style of writing inspired many subsequent artistic productions such as the superimposition of his calligraphy on an ad. By the 1990s he started to gain recognition in the art world and was included in a series of integral exhibitions. In essence, the characters on the present lot illuminate ideas that can be easily incorporated into a constellation of very real personal and sociopolitical concerns during the millennium, a period marked with economic prosperity and anxieties that continue to resonate within and far beyond Hong Kong. The art historian David Clarke derived a greater sentimental value from the works of the late King, as Tsang’s works were often deemed to be anti-colonial under British rule but had transferred into a quintessential local phenomenon that affirm a distinctive cultural identity after Hong Kong’s retrocession to mainland China. Tsang calligraphy is reminiscence of a preordained destiny and the survival of a set of ideologies from the past, achieved by a figure standing on the margin of society and popular culture.
Ravenel
103
062
TSANG TSOU CHOI
永恆的延續
(King of Kowloon, Chinese, 1921-2007)
An Eternal Continuance Calligraphy (Two works) Each 58.5 x 76 cm. (23 1/8 x 29 7/8 in.) (2pcs) signed in Chinese Executed in 2000
HK$ 50,000 - 90,000 NT$ 196,000 - 353,000 US$ 6,400 - 11,600
曾灶財 三三不盡, 六六無窮（兩件作品） 2000 年作 墨寶 款識：曾灶財
《永恆的延續》是香港一個時代經濟現象的寫照，記錄了當年全球 科網業務興旺及科網股泡沫爆破時，如36.c o m等風行一時的科網公 司的盛衰發展，引起觀眾的共鳴。當時網絡公司發展蓬勃，相繼進行 首次公開募股上市，市場反應熾熱，全城雀躍萬分。這兩幅作品寫於 2000年，捕捉了時代變遷的一刻——人們在科技迅速發展的情況下， 走進了一按鍵盤便能於網上獲取資訊的新里程。更重要的是，它將象 徵著時代終結的視覺元素共冶一爐，涵意豐富，反映香港的社會文化 特色。 曾灶財於20世紀60年代開展其街頭藝術創作的生涯，自此努力不懈地 在港九各處以毛筆書寫其家族的宗譜和對香港歷史的獨特詮釋。「九 龍皇帝」的書法極具個人風格，他獨闢蹊徑，創建出一套與別不同的 藝術語彙。更特別的是其作品類似傳統中國碑刻書法，在公共空間展 示時令人深深感受到作品上文字的力量。本拍品上的墨書文字大小相 間，顯得簡樸靈巧；字裡行間沒有太多的虛位，整體結構工整緊湊。 不論是直書或橫書，其佈局均規律有致，勻稱和諧，但絕不墨守成 規。曾氏的粗體筆觸不受任何書法字體的規範，其書寫風格和筆意因 時間、空間、材質和心情而改變。回溯過往的藝術及設計作品，我們 會發現曾氏的書法被巧妙地移植到一些廣告設計上（圖一）。曾灶財 在二十世紀九十年代開始在藝術界為人所認識，作品亦曾於不少大型 矚目的聯展中展出。 曾氏作品的行文中富有時代的象徵意涵，讓人霎時於腦海中浮現過去 有關政治民生的記憶。本拍品上的文字內容勾起了觀眾對於千禧年的 集體回憶，回想起一個不只是香港，亦是全球各地普遍存在的社會現 象。藝術史學家祈大衛對於「九龍皇帝」的作品有更深刻的體會，他 認為曾氏的作品從反對英國殖民統治，過渡到反映香港回歸後的轉 變，是本土文化現象轉化過程的重要見證。曾灶財，一個看似平凡的 老百姓，用毛筆揮就了一段已然注定的命運，是大眾文化中為人熟悉 而難以忘懷的標誌。
「曾灶財對權力情勢的理解絕非一成不變 的 ， 他 意 識 到 香港回歸所產生的轉變。首先是在藝術圈 ， 之 後 是 在 更 大的領域裡，曾灶財漸漸變成了香港文化 中 一 個 最 廣 為 人知的象徵。」 — 祈大衛
Ravenel
105
063
WANG JI QIAN (C. C. WANG, Chinese, 1907-2003)
Blue Mountain Ink and color on paper 69 x 92 cm. (27 x 36 in.) Signed in Chinese (lower right) With three seals of the artist Painted in 1970-1980
HK$ 150,000 - 200,000 NT$ 588,000 - 784,000 US$ 19,300 - 25,800
王季遷 彩墨山水 年作 彩墨紙本 款識：王己千 (右下) 鈐印︰懷雲樓 (右上)；王季遷 (右下)； 非南非北亦古亦今 (左下)
Ravenel
107
064
HSIA YI FU
(Chinese, B. 1925)
Cloud over Green Mountain
夏一夫
Ink and color on paper 63 x 62 cm. (24 7/8 x 24 3/8 in.) Dated '1997 ' (lower right) With one seal of the artist Painted in 1997
雲漫青山
HK$ 170,000 - 260,000 NT$ 667,000 - 1,020,000 US$ 21,900 - 33,500
1997 年作 水墨 設色 紙本 款識：一九九七 (右下) 鈐印︰夫
065
HSIA YI FU (Chinese, B. 1925)
Mountain and Cloud Ink on paper 120 x 61 cm. (47 1/4 x 24 1/8 in.) Signed 'Yi Fu ' in Chinese; dated '2011 ' (lower right) Painted in 2011
HK$ 260,000 - 420,000 NT$ 1,020,000 - 1,647,000 US$ 33,500 - 54,100
夏 一夫 山重雲起 2011 年作 水墨 設色 紙本 款識：二0一一 一夫 (右下)
Ravenel
109
066
LIN FENG MIAN
(Chinese, 1900-1991)
Flowers and Birds Ink and color on paper 33.5 x 44.5 cm. (13 1/4 x 17 1/2 in.) Signed 'Lin Feng mian ' (lower left) With one seal of the artist Painted in 1989 Provenance
Gifted to the present owner in 1989.
HK$ 160,000 - 280,000 NT$ 627,000 - 1,098,000 US$ 20,600 - 36,100
林風眠 花鳥 1989 年作 彩墨 紙本 款識：林風眠 (左下) 鈐印︰林風瞑印 (左下) 來源 畫家贈與現藏者
Ravenel
111
"I ENJOY TANG AND SONG CERAMICS, ESPECIALLY SONG WORKS AND I USE THESE AS A SORT OF INSPIRATIONS AND TECHNIQUES IN THE PAINTING." - LIN FENG MIAN
The present lot (lot x) is dedicated to Cai Ruohong (1910 - 2002), a native of Jiangxi who graduated from the oil painting department at the Shanghai Meizhuan. Cai was a noted artist and a social activist, he had held various prominent positions in the promotion of Chinese arts such as the art editor of the People's Daily Renmin Ribao, the deputy head of the Cultural Affairs Art Department and later as the vice-chairman of the CAA. He was also the deputy head of the Chinese Paintings Research Academy. The fluid and sparing lines forming the silhouette of Lin Fengmian's seated nude is reminiscent of Amedeo Modigliani's portrait depiction of woman's femininity (Fig.1). While physical attributes such as the simplified features and slender neck resemble the depictions of apsaras found in the ancient Chinese murals in Dunhuang, the air of elegance deviating from the feminine posture of the nude is likely to have been adopted from the art of Chinese ceramic. A discipline that the artist incorporated into his work, "I enjoy Tang and Song ceramics, especially Song works and I use these as a sort of inspirations and techniques in the painting." Lin's incorporation of a thin wash of ink in the background accentuates the overlaid of wavy lines that guides the viewer's eye towards the central nude, strengthening the two-dimensional quality of the composition and simultaneously conveying a sense of proximity. In essence, the present lot captivates the seated nude in a moment of serene harmony, which is an inimitable hallmark of the timeless aesthetic apparent in Lin's work. 藝術家將這批畫作獻給蔡若虹(1910-2002) - 蔡若虹為江西人，畢業自上海美 專的油畫系。蔡若宏乃著名的藝術家、社會活動家，也曾擔任數個推廣中國藝 術的要職 - 例如人民日報的美術編輯、文化局藝術系的副主任，且後來擔任中 國美術學院的副會長。他也曾擔任中國畫研究院的副主任。 裸女的軀體以輕柔細謹的流線條淡墨勾出，讓人聯想起阿梅德奧莫迪利亞尼 (Amedeo Modigliani) 作品描繪的女性氣質（圖1）。雖然圖中的形態， 如簡 化的五官和修長的脖子與中國敦煌古壁畫中的仙女相近，但是裸女優雅的姿 態更仿佛是中國陶瓷的化身。林風眠言，「我欣賞唐宋陶瓷，尤其是宋代的 作品。它們給我帶來作畫的靈感和技巧的啟發。」林風眠在背景中抹上薄墨， 凸顯出重疊的波浪線條。波浪線條將觀者的視線引導向畫中央的坐姿裸女，加 強構圖的平面感並同時拉近了觀者於畫之間的距離。這批畫作捕捉了裸女坐著 時，那寧靜、和諧的一幕。這正體現出林風眠畫作裡獨樹一幟、永恆的美感。
(Fig.1) Amedeo Modigliani , Sitzender Akt, 1917, Royal Museum of Fine arts Antwerp, Belgium.
067
LIN FENG MIAN
(Chinese, 1900-1991)
Nude
林風眠
Ink and color on paper 30.2 x 32.6 cm. (11 7/8 x 12 7/8 in.) Signed and inscribed in Chinese With one seal of the artist
裸女
Provenance
來源 香港佳士得，中國近現代書畫拍賣，2012年11 月26-27日，Lot 1282。
Christie’s Hong Kong, Fine Modern and Contemporary Chinese Paintings, 26 April 1998, part of lot 189. Christie ’s Hong Kong, Fine Chinese Modern Paintings, 26-27 November 2012, Lot 1282.
HK$ 650,000 - 900,000 NT$ 2,549,000 - 3,529,000 US$ 83,800 - 116,000
彩墨 紙本 款識：若虹同志正畫 林風眠 (左下) 鈐印︰林風瞑印 (左下)
香港佳士得，中國近現代書畫拍賣，1998年4 月26日，Lot 189 (部分拍品)，美國私人收藏。
Ravenel
113
068
LEE CHUNG CHUNG
(Chinese, B. 1942)
Perceiving Cries of Nature
李重重
Ink and color on paper 90 x 121 cm (35 3/8 x 47 5/8 in.) Signed 'Lee Chung Chung ' in Chinese With one seal of the artist Painted in 2014
傾聽大地之聲
HK$ 130,000 - 200,000 NT$ 510,000 - 784,000 US$ 16,800 - 25,800
2014 年作 彩墨 紙本 款識：李重重 2014 (右下) 鈐印︰李重重 (右下)
069
QIN FENG
(Chinese, B. 1961)
Series Desire Scenery 0133
秦風
Ink and Tea on Paper 120 x 100 cm. (47 x 39 in.) Signed (lower right) Painted in 2012
慾望風景0133
Exhibited
展覽 「新水墨：古董也當代」，香港藝穗會， 展期 2013年10月
Now and Then: Contemporary Ink vs Antiquities, The Fringe Club, Hong Kong, October 2013.
2012 年作 水墨 茶 紙本 款識：Qin Feng (右下)
HK$ 150,000 - 200,000 NT$ 588,000 - 784,000 US$ 19,300 - 25,800 Ravenel
115
070
WU SHI WEI
(Taiwanese, B. 1957)
Autumn
吳士偉
Ink and color on paper 68 x 68 cm (26 3/4 x 26 3/4 in.) Signed 'Wu Shi Wei ' in Chinese; dated '2014 ' (middle right) With three seals of the artist Painted in 2014
秋妍
HK$ 55,000 - 85,000 NT$ 216,000 - 333,000 US$ 7,100 - 11,000
2014 年作 水墨 紙本 款識：二0一四年二月 吳士偉畫 (中下) 鈐印︰幽馥 (左上)；吳士偉 千華百艸 (中下)； 春華秋實 (右下)
071
WU SHI WEI
(Taiwanese, B. 1957)
Spring sprigs
吳士偉
Ink and color on paper 77 x 71 cm (30 3/8 x 28 in.) Signed 'Wu Shi Wei ' in Chinese; dated '2014 ' (middle right) With three seals of the artist Painted in 2014
華枝春滿 2014 年作 彩墨 紙本 款識：二0一四年甲午之夏 吳士偉畫 (中下) 鈐印︰華枝春滿 (左下)；吳士偉 (中下)
HK$ 65,000 - 100,000 NT$ 255,000 - 392,000 US$ 8,400 - 12,900 Ravenel
117
072
RYOZO KATO
(Japanese, B. 1964)
Summer
加藤良造
Watercolor 91 x 72.7 cm. (36 x 29 in.) Signed 'Ryozo Kato ' (on the reverse) With one seal of the artist
夏天
HK$ 20,000 - 32,000 NT$ 78,000 - 125,000 US$ 2,600 - 4,100
水彩 簽名：結夏 加藤良造 (畫背) 鈐印左下
073
LIANG CHANG MING
(Taiwaniese, B. 1971)
A Corner at Longdong
梁震明
Ink and color on paper 48 x 54 cm (18 7/8 x 21 1/4 in.) With one seal of the artist Painted in 2012
龍洞一隅 2012 年作 彩墨 紙本 鈐印︰震明 (右下)
HK$ 24,000 - 32,000 NT$ 94,000 - 125,000 US$ 3,100 - 4,100 Ravenel
119
074
LIANG CHANG MING
(Taiwaniese, B. 1971)
Guishan Island
梁震明
Ink and color on paper 48 x 54 cm (18 7/8 x 21 1/4 in.) With one seal of the artist Painted in 2012
龜山島
HK$ 24,000 - 32,000 NT$ 94,000 - 125,000 US$ 3,100 - 4,100
2012 年作 彩墨 紙本 鈐印：震明 (右下)
075
WU NAN
(Chinese, B. 1982)
Landscape 2013 - The Memory Ink on paper 180 x 85 cm. (71 x 33 in.) Painted in 2013 Exhibition
Flow 2013 , Tokyo, Japan Summer flourishing after spring – Ink Art of Wunan & Kanazawa Yuna ; Shandong,China,2014
HK$ 80,000 - 120,000 NT$ 314,000 - 471,000 US$ 10,300 - 15,500
吳楠 風景2013—記憶裡的情境 2013 年作 水墨 設色 紙本 展覽 「流」—亞洲藝術交流展，柿傅畫廊， 日本東京，2013年 「春生夏長—吳楠，金澤友娜雙個展」， 上青畫廊，中國山東，2014年
吳楠的作品每每予人一種空靈靜逸之美。他鍾愛以意象化的山 水，表現超脫、隱逸的感覺。其畫中常出現女孩與小狗，反映出 他洞悉中國鄉村的生活境況，巧妙地創造出一個揉合了虛幻與現 實的想像世界。畫面描繪一個女孩與小狗在高敞、長了野草和藤 蔓的山洞內，女孩正安坐於靜謐的山洞中，陪伴在側的小狗回頭 顧盼著她，她卻凝望著遠處雲煙繚繞、若隱若現的山峰。畫家成 功地運用空曠、幽深的山洞、女孩與小狗及遠處的山峰，營造出 深遠空靈的景象。畫家的作品另一特色是喜歡把自己以宣紙所繪 的中國山水畫以西方油畫的方式裱於木板上，饒富意趣。總括而 言，畫家以細膩的觀察及體驗，透過寫生把具體的山水景象，以 美化及想像的形態表現出來，創作出畫家心中的超凡意象。 Wu Nan's works always carry a sense of spiritual tranquility and serenity. He enjoys expressing transcendence and subtlety through impressions of nature. Wu often employs little girls and puppies as subjects of his works, showing his understanding of the village life in China and creating exquisitely an imaginary world that blends illusions and reality. The painting depicts a little girl and a puppy in a spacious cave full of vines and grass: the little girl sits in the quiet cave, while her puppy companion turns to look at her; the girl's gaze is however fixed on the faraway peaks hidden in the clouds. The artist successfully used the vast, deep cavern, the little girl, the puppy and the far peaks to create a profound and serene imagery. Another interesting special feature of Wu is his habit of mounting his Chinese scenery paintings on oil canvas frames. To summarize, the artist incorporates his keen observations and experiences in his sketches, depicting the mountains and waters in an artistic imaginary form, creating the sublime image from his mind.
Ravenel
121
076
LUO CHIH HAO
(Taiwanese, B. 1987)
Bridge No. 2
駱志豪
Ink on silk 90.5 x 181.5 cm. (35 5/8 x 71 1/2 in.) Signed on the lower right Painted in 2012
橋2號
Exhibited
展覽 「ART TAIPEI台北國際藝術博覽會」， 台北世界貿易中心，台北，展期2012年11月
Art Taipei , Taipei World Trade Center, Taipei, November 2012 This painting is to be sold with a certificate of authenticity signed by the artist.
HK$ 55,000 - 85,000 NT$ 216,000 - 333,000 US$ 7,100 - 11,000
2012 年作 水墨 絹本 簽名右下
附藝術家親簽之原作保證書
077
LUO CHIH HAO
(Taiwanese, B. 1987)
Floating
駱志豪
Ink on Paper 70 x 70 cm. (27 1/2 x 27 1/2 in.) Signed in Chinese; dated '2014' (lower right) Painted in 2014
浮萍
Exhibited
Art Taichung , Millennium Vee Hotel, Taichung, July 2014；Charity group exhibition, Lee Gallery, Taipei, June 2014 Literature
Art Taichung First Art Issue, Taiwan Art Gallery Association, 2014, color illustrated, p.12. Charity group exhibition, Lee Gallery, Taipei, 2014, color illustrated, p.24. This painting is to be sold with a certificate of authenticity signed by the artist.
2014 年作 水墨紙本 款識：駱子 2014（右下） 展覽 「台中藝術博覽會」，日月千禧酒店，台中，展期 2014年7月；「『流水波光』藝人•藝術家公益聯 展」，黎畫廊，台北，展期2014年6月 出版 《台中藝術博覽會FIRST ART專刊》， 中華民國畫廊協會，2014 (彩色圖版，頁12) 《流水波光-藝人藝術家聯展小畫冊》， 黎畫廊，台北，2014年 (彩色圖版，頁24) 附藝術家親簽之原作保證書
HK$ 16,000 - 24,000 NT$ 63,000 - 94,000 US$ 2,100 - 3,100
Ravenel
123
078
078
HE BAILI
(Chinese, B. 1945)
Fishing Village
何百里
Ink on silk Signed 'Bai Li ' in Chinese With one seal of the artist 11 x 69 cm. (4 3/8 x 27 1/8 in.)
漁村小景
HK$ 50,000 - 80,000 NT$ 196,000 - 314,000 US$ 6,400 - 10,300
水墨絹本 款識：百里 (左上) 鈐印：何氏 (朱)
079
HUANG HAI FEI
(Chinese, B. 1983)
Ego 3
黃海菲
Mixed media on paper 26 x 130 cm. (10 x 51 in.) With one seal of the artist Painted in 2010
我界3
Exhibition
展覽 「國際古玩及藝術品博覽會」，香港，2010年
Fine Art Asia, Hong Kong, 2010
2010 年作 綜合媒材紙本 鈐印：黃海菲 (右下)
HK$ 13,000 - 20,000 NT$ 51,000 - 78,000 US$ 1,700 - 2,600
079
Ravenel
125
080
DING YANYONG (Chinese, 1902-1978)
Peach Blossom Ink on paper 69 x 34.5 cm. (27 1/8 x 13 5/8 in.) Inscribed in Chinese With one seal of the artist Painted in 1970's
HK$ 60,000 - 120,000 NT$ 235,000 - 471,000 US$ 7,700 - 15,500
丁衍庸 桃花相思 1970 年代 款識：阮籍外家途，不知因何哭。 只有豔桃花，可以慰相思。 丁衍庸寫。 鈐印：丁氏 (白)
081
DING YAN YONG (Chinese, 1902-1978)
Bamboo and Grasshopper Ink on paper 98.5 x 40.5 cm. (38 3/4 x 16 in.) Inscribed in Chinese With one seal of the artist Painted in 1967
HK$ 50,000 - 100,000 NT$ 196,000 - 392,000 US$ 6,400 - 12,900
丁衍庸 翠竹草蜢 1967 年作 款識：風瀟瀟，馬急急，女蘿紅，止君泣。 丁未春日，丁衍庸。 鈐印：叔旦 (朱)
Ravenel
127
082
YU PENG (Taiwanese, 1955-2014)
Flourishing Ink on paper 203 x 68 cm. (79 7/8 x 26 3/4 in.) Signed in Chinese (upper right) With two seals of the artist Painted in 2008
HK$ 240,000 - 400,000 NT$ 941,000 - 1,569,000 US$ 30,900 - 51,500
于彭 風生水起 2008 年作 水墨 設色 紙本 款識：戊子年于彭寫 (右上)； 風生水起 08.1021 于彭 戊子年 (畫背上方) 鈐印︰于彭 (右上)；于彭 (畫背上方)
I n h o n o r o f o u r l o v i n g m e m o r y o f Yu P e n g , w h o passed away during the spring of 2014. Ravenel pays its tribute to this Taiwanese artist so natural in talent, soblithe of spirit, so ardent of effort, so kind and affectionate of heart. Yu Peng’s ink painting is predicates upon the merit of tradition that also speaks to a broad contemporary audience. Yu’s signature unorthodox brushwork transpires the aesthetics of the traditional literati. His landscapes are often deliberately fragmented and disorderly with human figures, animals and vegetation juxtaposed without any rational linkages such as the swans that appears in Hope and Mountainouscape. Yu Peng is one of the most important ink painters of his generation in Taiwan, his solo and group exhibitions in both Taiwan and abroad include a number of major exhibitions: En Transe, Bateau-Lavoir Art Gallery (Paris, France, 2004); Mapping the Earth and Mind in Chinese Art , Metropolitan Museum of Art (New York, United States, 2007); The New Aspect 2009 Exhibition of Contemporary Cross-Strait Ink Paintings , National Taiwan Museum of Fine Arts (Taichung, Taiwan, 2008) just to name a few. The artist’s works are presently residing in the collections of major museums and art galleries worldwide, including the British Museum in London.Yu Peng has inspired us with his kindled spirit, inspiration and faith in the realm of Chinese Contemporary Art.
為紀念於2014 年秋天離世的于 彭，羅芙奧對這 位台灣藝術家所 作出的卓越貢獻 致以崇高的敬 意。于彭具有 非凡的藝術天 賦， 對創作孜 孜不倦。其水墨 作品載古通今， 備受觀眾賞識。 于氏繪畫自成一 格，筆法精奇， 重現傳統文人畫 的審美意境。 其筆下的山水畫 構圖獨特，當中 的人物、動物及 植物之間並無特別關聯，如《慾望山水》中的天鵝，顯示了 畫家的匠心獨運。于彭是台灣同期水墨畫家中的重要一員， 曾多次於台灣及海外參與個展及聯展，其中包括以下一些的 大型展覽；「魂遊象外個展」，蒙馬特洗滌船畫廊（法國巴 黎，2004）;「行旅－美國紐約大都會博物館特展」，大都會 博物館，（美國紐約，2007）;「新象－2009兩岸當代水墨 展」，國立台灣美術館，（台灣台中，2008）。于彭的作品 分別被世界各地的主要美術館及畫廊收藏，其中包括大英博 物館。于彭為世人留下了珍貴的作品，他以其熱忱、靈感和 信念啟發當代中國藝壇。
Ravenel
129
083
YU PENG (Taiwanese, 1955-2014)
Hope & Moutainscape Ink on paper 152 x 84 cm. (60 x 33 in.) Painted in 2013
HK$ 260,000 - 320,000 NT$ 1,020,000 - 1,255,000 US$ 33,500 - 41,200
于彭 慾望山水 2013 年作 水墨 紙本 由畫家本人提供
084
YU PENG
(Taiwanese, 1955-2014)
Meditating in the Bamboo Forest
于彭
Ink on paper Each 31 x 20 cm. (11 3/4 x 7 7/8 in.) (2pcs) Signed in Chinese; dated 'March, 2000 ' (upper right ) Painted in 2000
竹林幽坐 2000 年作 水墨 紙本 款識：于彭寫于海上公元兩千年 三月 (右上)
HK$ 46,000 - 70,000 NT$ 180,000 - 275,000 US$ 5,900 - 9,000
Ravenel
131
085
DING YAN YONG (Chinese, 1902-1978)
Lotus and Bird Ink on paper 137.5 x 34 cm. (54 1/8 x 13 3/8 in.) Signed and inscribed in Chinese With one seal of the artist Painted in 1966
HK$ 50,000 - 100,000 NT$ 196,000 - 392,000 US$ 6,400 - 12,900
丁衍庸 芙蓉幽禽 丙午年，1966 款識：丙午秋日寫贈海韶仁弟，丁衍庸 鈐印：叔旦 (朱)
086
MASTER OF THE WATER, PINE AND STONE RETREAT (British, B. 1943)
Cold Mountain Path Ink on paper 137 x 39.5 cm. (54 x 15 1/2 in.) Signed ‘A14.12 Cold Mountain Path ' (on the reverse) With three seals of the artist Painted in 2014
HK$ 28,000 - 36,000 NT$ 110,000 - 141,000 US$ 3,600 - 4,600
水松石山房主人 寒山遠徑 2014 年作 水墨 紙本 款識：A14.12 寒山遠徑 (背面) 鈐印︰二枚 (左上) (右中)；如如居士 (左下)
Ravenel
133
087
QIU ZHI JIE
(Chinese, B. 1969)
Female Ink on paper 251 x 48 cm Signed and titled ‘Female Qiu Zhijie ’ on tab (on reverse) Stamped with the artist’s seal in three places on front along interior edge in English and Chinese characters Painted in 2005 Provenance
Acquired directly from the artist Private collection, New York, America
HK$ 160,000 - 220,000 NT$ 627,000 - 863,000 US$ 20,600 - 28,400
邱志 傑 女性 2005 年作 水墨紙本 款識：女性/邱志傑 (畫背) 鈐印三枚 來源 購自藝術家本人 美國紐約私人收藏
088
WANG JI QIAN (C. C. WANG, Chinese, 1907-2003)
Landscape Ink and color on paper 80.5 x 35 cm. (31 3/4 x 13 3/4 in.) Inscribed in Chinese With one seal of the artist Painted in 1941
HK$ 50,000 - 80,000 NT$ 196,000 - 314,000 US$ 6,400 - 10,300
王 季遷 王季遷仿陳悔遲山水 1941 年作 彩墨紙本 款識：釣竿七尺玉地，夕陽千疊山，山客 恰好晚，正及鳥飛還。仿陳悔遲法，辛巳 春王等等遷。 鈐印：王季遷印 (朱白)
Ravenel
135
089
LI JIN
(Chinese, B. 1958)
Crab
李津
Ink and color on paper 31.7 x 64.8 cm. (12 1/2 x 25 1/2 in.) Signed 'Li Jin ' in Chinese (left) With a seal of the artist
河蟹
HK$ 60,000 - 100,000 NT$ 235,000 - 392,000 US$ 7,700 - 12,900
彩墨紙本 款識：墨分五色 (由右至中)；李津 (左方) 鈐印︰李津之印 (左方)
090
ZHU XIN JIAN (Chinese, 1953-2014)
Beauty Ink on paper 67 x 34.8 cm Painted in 2009 Exhibition
ZHU Xin Jian Solo exhibition, Yunhua Museum , Hebei Province, 2011
HK$ 60,000 - 100,000 NT$ 235,000 - 392,000 US$ 7,700 - 12,900
朱 新建 美人圖 水墨紙本 題識左側：美人圖 題識右下：大豐 鈐印：左上及右下 展覽 「朱新建個展」，雲華美術館，河北， 展期2011年
Ravenel
137
091
TANG HAY WEN (Tang Then Phuoc, Chinese-French, 1927-1991)
唐海文
Abstract
抽象
Ink on paper 68.5 x 98 cm. (27 x 38 1/2 in.) Signed 'Tang Hay Wen ' (lower right)
水墨 設色 紙本 款識：T'ang 海文 (右下)
HK$ 100,000 - 150,000 NT$ 392,000 - 588,000 US$ 12,900 - 19,300
092
WANG MENG SHA (Chinese, B. 1982)
王濛莎
OPPS 2014
OPPS 2014
Ink and color on paper 42 x 33 cm (16 1/2 x 13 in.) With one seal of the artist Painted in 2014
2014 年作 彩墨 紙本 鈐印：莎 (左下)
Exhibited
展覽 博羅那上海當代藝術展，中國上海，2014年
Bologna Fiere Shanghai Contemporary Art Exhibition, Shanghai, China, 2014
HK$ 14,000 - 26,000 NT$ 55,000 - 102,000 US$ 1,800 - 3,400 Ravenel
139
Front
Reverse
093
TENG PU CHUN (Taiwanese, B. 1957)
Waterfall Ink on rock 40 x 30 x 10 cm. (15 3/5 x 12 x 4 in.) Signed in Chinese With two seals of the artist Painted in 2006 Provenanc
Private Collection, Europe Literature
Teng Pu Chun Collection, Piao Piao Gallery, Taipei, 2011, color illustrated, pp.60-61 Exhibited
Ink in Alien Land, Piao Piao Gallery, Taipei, September 21 – October 10, 2010 This painting is to be sold with a certificate of authenticity signed by the artist.
HK$ 50,000 - 80,000 NT$ 196,000 - 314,000 US$ 6,400 - 10,300
鄧 卜君 千巖飛瀑 2006 年作 石上水墨 款識︰千飛瀑 (左) 己卯 莫名 (左下) 莫名 (左下) 鈐印︰卜 (左下) 卜 (左下) 來源 歐洲私人收藏 展覽 「異域水墨」，一票票藝術空間，台北， 展期2010年9月21日至10月10日 出版 《每逐清溪水細小的光 ─ 鄧卜君作品集》， 一票票藝術空間，台北，2011 (彩色圖版，頁60-61) 附藝術家親簽之原作保證書
144
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Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer. 2.Prior to the Auction a. Authentication We strongly recommend that the prospective buyers conduct their own authentication for the items they are interested in bidding prior to the auction. We provide no guarantees to the buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot’s certificates (with the exception of the guarantee with regard to counterfeits as defined in Article 1 of the Transaction Agreement). b. Important Notice Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The Company does not guarantee that the Lots on auction are in good working condition and the descriptions in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend the Prospective Buyers to personally view the items for which they plan to bid before the auction itself. If a Prospective Buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item’s special characteristics and current condition. However, the Company is not a professional restorer of the Lots; therefore, any description in the catalogue or any statement provided by the Company is purely the Company’s subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in “as is” condition.The Company does not provide any representation or guarantee as to the conditions of any of the items. Unless otherwise stated in laws of Hong Kong, the Company does not provide any warranty with the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue.  Premium Lot In order to bid on “Premium Lots” the Buyer must complete the required pre-registration application and deliver to The Company such necessary financial references, guarantees, deposits and / or such other security as The Company’s may in its absolute discretion require for your bid. The Companydecision whether to accept any pre-registration application shall be final. We recommend you complete and return the Lot pre-registration form in this catalogue in the manner required therein or contact the Company at least 5 working days prior to the relevant sale in order to process the pre-registration. Please bear in mind that we are unable to obtain financial references over weekends or public holidays. The Company will provide a special paddle number for the register of “Premium Lot”. ○ Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer’s Premium.
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d. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots and certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her own judgment or estimation independently regarding the items. 3. In the Auction a. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. b. Registration Prior to the Bidding The Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. The Prospective Buyers should also note that the Company may be requested to conduct credit checks against Buyers. c. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. d.Commission Bids The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the forms attached to the explanations of the catalogue; provided, however, bid commission instructions are delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. e. Bid by Phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if the Prospective Buyer makes arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any Prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. f. Online Bids via LiveAuctioneers If the bidder cannot attend the auction, it may be possible to bid online via LiveAuctioneers for selected Lots to bear individual buyers’ responsibilities. This service is free and confidential. For information about registering to bid via LiveAuctioneers, please refer to ravenel.com. Bidders using the LiveAuctioneers service are subject to the additional terms and conditions for online bidding via LiveAuctioneers, which can be viewed at ravenel.com and be revised by the Company from time to time. g. Exchange Rate Conversion Board There will be an exchange rate conversion board operating at the auctions. The exchange rate is calculated at the exchange rate of the one-month future goods reported to the Company from the bank when starting business on the day of the auction. Nonetheless, the auction will still be conducted in HKdollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. h. Recorded Images There is image projection in the auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. i. Determining Power of the Auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items.If the auctioneer announcethe points for attention before the auction or the bidding, the Buyer shall pay attention for any announcement as its own responsibility. j. Successful Bids Under the sole discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement. The Buyer shall be responsible to the Seller for performing the obligations and responsibility of a Buyer. 4. Following the Auction a. The Buyer’s Premium of Each Lot Payable by the Buyer (1)The Buyer should pay the hammer price and, in addition, the Buyer’s Premium to the Company. For hammer price below HK$ 8,000,000 (inclusive), the Buyer’s Premium should be calculated at 20% of the hammer price. (2)For hammer price higher than HK$ 8,000,000, total amount of the Buyer’s Premium should be that the first HK$ 8,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any government tax any commodity or service taxes or any other value added taxes. The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon request. All payments due (including the hammer price,
Buyer’s Premium and any applicable taxes) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to The Company are made in any currency other than HK dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange Buyer’s Premiums. The exchange rate of the payments to the Company in any currency other than HK dollars should be the exchange rate reported by the Hong Kong and Shanghai Banking Corporation (HSBC) to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Packaging and Transportation The Buyer is requested to note that he should bear all the risks after expiration of the said 7 days period or from collection of such items(whichever is the earlier), without prejudice to the Company’s right. f. Referral of Packaging or Transportation Companies The shipping department of the Company may act as the agent of the Buyer to arrange for delivery. Although we can refer freight forwarders upon special request, the Company will not be held liable for any legal responsibilities in this regard.And the Buyer shall prepay the freight charges. g. Remedies for Non-Payment of Items Sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date: (1)An interest at the annual rate of no higher than 10% plus the base interest rate of Hong Kong and Shanghai Banking Corporation (HSBC) will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and the commission) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer mayoffset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company’s sole decision. (2)To exercise lien of any items owned by the Buyer and held by the Company for any purposeincluding but without limitations other transactions. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his non-payment. The proceeds shall make up for the payment due. (3)If the Buyer owes the Company several payments as a result of different transactions, the payments will setoff any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments. (4)Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/ or to require a security deposit from the Buyer before accepting any future bids from him. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned: (a)To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b)Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c)To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer. h. No Collection of the Lot Sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid in full can the sold Lot be collected. i. Export Permit Except where otherwise agreed in writing by the Company, the fact that the Buyer’s wishes to apply for an export permit does not affect the Buyer’s responsibility to make the payments in 7 days following the auction date; nor does it affect the Company’s right to impose interest on delayed payments. If the Buyer requests that the Company applies for the export permit on his behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes. If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom. 5. The Legal Responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 2, Section 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Buyer, the Company, the employees or the agents of the Company make no guarantee impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein. 6. Return of Payments for Counterfeits The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields; or b. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer’s payment can only be refunded when the following terms are met: 1. The Buyer must notify the Company in writing within 10 days following the auction day that he considers the relevant auction item a counterfeit. The Buyer must return the Lot to the Company within the following 14 days after notice and the said notice and the condition of the item must be the same as on the auction day and without any damage. 2. Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit (The Company has the final and sole discretion and decision and such decision shall not be objected in this regard). The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim.
Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer can not claim interests. The interests of the warrantee cannot be assigned and belong solely to the Buyer who receives the original invoice on which such Buyer’s name is recorded from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction.If the result of appraising and verifying whether the Lot is a counterfeit by the Company conflicts with the evidence provided by the Buyer, the Company’s said result shall prevail over the evidence provided by the Buyer. Article 3.The Seller 1. The Company as the Agent The Company acts as the agent of the Seller at a public auction. The Closing Agreement of the Lot is the agreement by and between the Buyer and the Seller, through the agency of the Company on behalf of the Seller. The Seller shall be responsible to the Buyer for performing the obligations and responsibility of a seller. 2. Expenses The Seller shall bear costs relating to the following: a. Packing of the Lot and shipping to the Company for the auction b. Any applicable shipping insurance c. The packaging and shipping if the item is delivered back to the Seller. Any applicable custom duties d. Insured under the Company art relic insurance policy (explained in detail later) indicate cohere (we point below) e. Any repairs made to the Lot as per prior agreement with the Seller f. Authentication made by independent professionals appointed by the Company which the Company believes to be necessary in preparing the catalogue explanations. g. Any independent professional opinions appointed by the Company which the Company deems proper h. The storage, loading and unloading and custody of the Lot after the auction (if applicable) i. The administration cost of the Company reaches the total amount of 10% of all the expenses and 10% of the damages incurred as a result of client services provided. j. Any marketing and promotional expenses 3. Insurance Coverage to be Arranged by the Company a. Unless otherwise agreed by the Company, the Lot will be automatically insured under the the Company art relic policy in the amount as deemed appropriate and estimated by the Company. However, the insured amount is not the amount the Company undertakes to be successfully reached during the auction. b. The Company will collect 1% of the hammer price from the Seller or 1% of the Reserve Price if the Lot is not successfully auctioned as the insurance fee. If the shipping is arranged by the Company, an additional amount will be collected by the Company from the Seller as the shipping insurance. Such amount varies depending on the individual condition of each auction item. The Company will refer a freight forwarder if necessary. However, in no event shall the Company be not responsible for any legal responsibilities and liabilities incurred therefrom. c. The Lot will remain insured up to 7 days after the auction date. If the Lot has not been sold, it will be at the Seller’s risk upon the expiry of 7 days. d. We are unable to accept responsibility for damage caused by woodworm or changes in atmospheric conditions, moisture, force majeure or unforeseeable conditions, or any reason not attributable to the Company. 4. Insurance Purchased by the Owner If the Seller instructs the Company specifically that it is unnecessary to purchase insurance for the Lot, the risks shall be borne entirely by the Seller until the Buyer makes all the paymentsand the Lot is delivered to the Buyer. The Seller must indemnify the Company, the employees and agents of the Company and the Buyer (if applicable) any claims in connection with the auction against the Company, the employees and agents of the Company and the Buyer, regardless of the cause of such claim, without any conditions. The Buyer must be responsible and also pay for the expenses incurred as a result of such claim if requested by the Company, the employees and agents of the Company and the Buyer, even if such expenses are made as a result of negligence by the Company, the employees and agents of the Company and the Buyer without proof of legal responsibility. The Seller must informby himself/herself the underwriter of the Seller the provision herein. 5. Commitments Made by the Seller with Respect to the Lot The standards for the Company to handle the Lots are provided hereunder. These standards also stipulate and limit the sale relationship between the Seller and Buyer. In the event such standards are incorrect in any aspect, the Company or the Buyer may bring legal actions against the Seller. The Company should base the purchase and handling of auction items on the following undertaking made by the Seller: a. The Seller is the only legal owner of the Lot and has the unlimited rights to assign his ownership to the Buyer which should not concern any third party right or claim (including but without limitations copyright claims, liens, mortgage). b. The Seller complies with all the laws in connection with the import and export of auction items and any other laws and has notified the Company in writing any failure to comply with such rules in the past. c. The Seller has notified the Company in writing of any major modifications in the Lot to the best of his knowledge and any concern the third party has raised with respect to the ownership of the Lot and the condition. In the event of any inaccuracy of the above a, b and c now or in the future, the Seller must guarantee, if requested, to identify fully the Company and/or the Buyer all the claims, legal fees, attorney fees or other costs and expenses arising herefrom, whether caused by the Lot or the auction proceeds. 6. Auction Arrangements a. The Company has absolute discretion over the description of the auction in the catalogue, display layouts, authentication opinions, location and method of the auction, who will be allowed to bid and the acceptance of the bid price, whether to seek professional opinion and whether to combine or separate the Lots. b. Any price estimates, whether verbal or written are strictly opinions and shall not serve as a guarantee of the final price for the Lot to be sold. c. The Seller cannot withdraw the sale of the Lot without obtaining the prior written consent from the Company. The Company reserves the right to withdraw, suspend, or terminate the sale and authorization of the Lots for the following reasons. These reasons include: 1. The Company is doubtful about the definition or authenticity of the Lot or the accuracy of the statement referred to in Articles 5a, b. or c; or 2. Any violations of the Transaction Agreement; or 3. The Company deems it inappropriate to include the Lot in the auction.
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d. Withdrawal of Mandate or Authorization (1)The Seller may not withdraw, suspend or terminate his/her/its mandate for the Item(s) or the authorization to the Company under this Agreement without prior written consent of the Company. (2)In the case of such withdrawal, suspending or termination stated in paragraph A, the Seller shall pay the Company an amount equivalent to 40% of the Reserve Price as punitive damages in addition to the compensation for damages or economic loss to the Company. (3)In case of default or breach of this Agreement, the Company may cancel or terminate this Agreement anytime and the Seller shall also pay all costs and expenses incurred by the Company under this Agreement. 7. Auction Rules a. The Company will auction the item according to the Reserve Price. The Reserve Price may not be higher than the minimum of the estimates set in the catalogue except otherwise if the Reserve Price agreed is in a currency other than HK dollars and the ReservePrice is higher than the minimum of the estimates caused by the exchange rate fluctuation between the Reserve Price agreement day and the auction day. Under such circumstances, except where otherwise agreed by the Company, the ReservePrice shall be in HK dollars calculated by the exchange rate at the closing of the market the day immediately before the successful auction. b. If the bid price is lower than the ReservePrice, the Company is in no way to be held liable; however, the Company is entitled to auction the item at a price lower than the ReservePrice. If the Company so auctions the item, the Company is responsible to pay the Seller the difference between the closing price and the ReservePrice. c. The Seller may not increase the price with his own or other third parties’ name, nor participate in the bidding of his/her/its auction item(s)with his own or other third parties’ name, however, The Company is authorized to bid on behalf of the Seller at the price not higher than the Reserve Price. 8. After the Successful Auction a. Settlement Upon the successful auction, the Company will request the Buyer to make full payment no later than within 7 days following the auction date, including the compensation payable by the Buyer. Upon payment by the Buyer, unless the Company receives a notice claiming such auction item is a counterfeit (as defined in Article 2 of the Transaction Agreement) or other necessary conditions, the Company will remit to the Seller within 60 workdays following the successful auction day an amount equal to the closing price taking away all the expenses payable by the Seller. In the event the Buyer delays the payment, the Company will remit to the Seller within 7 workdays following the payment in full by the Buyer. Unless otherwise instructed by the Seller in writing, the Company will make its payment in HK dollars. If the Seller requests to pay in currencies other than HK dollars, the exchange rate should be according to what the Hong Kong and Shanghai Banking Corporation (HSBC) reports and the Company announces on the auction date. b. Closing of the Transaction and Handling Fee (1)The transaction is closed when the Buyer has paid the Company in full after the auction. (2)The handling fee is payable to the Company after the closing of the transaction. c. Non-payment by the Buyer If the Buyer fails to make all the payments due within 7 days following the auction day, the Company is entitled to negotiate special terms in connection with the payments, storage, and insurance on behalf of the Seller and act as deemed necessary by the Company to collect payments payable from the Buyer.Any and all damages, costs, expenses or fees incurred shall be borne by the Seller. However, the Company is not responsible for making payment to the Seller nor for bringing any legal actions on behalf of the Seller. The Company will discuss with the Seller to adopt appropriate actions to claim auction payments from the Buyer. d. Counterfeits If the Buyer convinces or make the Company doubt that the Lot is a counterfeit (as defined in Article 1 of the Transaction Agreement) or stolen good or involved in any illegality within ten (10) days after the Buyer settles all payments and collects the Lot from the Company, the Company will return the hammer price (The Company may deduct the reasonable expenses and fees incurred) received from the Buyer and the Lot will be returned to the Seller or forwarded to the Police for handling. The Seller shall not object to the Company’s decision and handling in accordance with this Lot and make any claim or allegation. The Company will notify the Seller of such matter and the Seller shall return to the Company without objection the entire payment received within three (3) days of such notification, and shall pay the Company fees and expenses, and any and all losses, damages or related expenses and fees. In case that the Seller’s failure of payment and compensation obligations, the Seller shall pay the interest for delay of the entire payment by the best saving rate of the Hong Kong and Shanghai Banking Corporation (HSBC)plus ten percent (10%) per annum. In addition, the Company may collect one percent (1%) of the total amount of the hammer price plus the Buyer’s Premium paid by the Buyer as the compensations for breach of contract. The Company may decide to offset the Seller’s payment payable to the Company from the Company’s or other subsidiaries’payments due to the Seller in other transactions. e. Items Not Successfully Auctioned (1)Any items not successfully auctioned, not included in the auction or withdrawn from the auction for any reason must be collected by the Seller within 35 days upon notification by the Company to the Seller that he must reclaim the Lot. (2)A storage fee of HK$300 per day per piece will be imposed on each item not collected after such 35 day period together with an additional charge for purchasing insurance coverage. The Seller may not reclaim such item until all the payments due are made. (3)Such items may be removed to a third party warehouse if not collected in 60 days after the notification of collection is issued. The expenses arising therefrom shall be borne by the Seller. (4)The Company may dispose of the Lot in the manner it deems appropriate if such item is not collected within 90 days following the auction date or the notice date (whichever is the earlier). Such disposal includes removing the item to a third party warehouse with the associated expenses borne by the Seller and to auction such items under terms deemed appropriate by the Company (including the terms of estimates and the ReservePrice). The Company will pay the Seller the auction proceeds after payments owed are offset. (5)The Company is authorized to act as the sole agent of the Seller within 2 months following the auction for any auction item withdrawn from the auction or not sold. The Company may auction in private the item based on net amount the Seller may receive (the amount after deducting all the expenses payable by the Seller) or sell such item in private at a lower price agreed upon by the Company and the Seller. The Company has the rights to offset all expenses payable by the Seller in advance. Under such circumstances, the Seller’s responsibilities and liabilities to the Company are the same as during an auction. 9. Photographs and Display The Seller agrees the Company have rights to make the photographs, illustration, recordings and other reproduced images of the Lot. The Company owns all rights to the photographs, illustration,recordings and other reproduced images of the Lot made by the Company. All the rights(including but without limitation the copyright) of such images shall belong to the Company and the company is entitled to use such images in any manner it deems appropriate,and the Seller has no objection.
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10. Taxes a. According to the tax laws of Hong Kong, The Company shall submit to the competent revenue agency the name of the Sellerand other relevant documents supplied by the Seller. b. If the Seller is a Hong Kong resident (corporation or individual), according to the tax laws of Hong Kong, no withholding amount of the profit tax will be deducted. However, The Company shall reserve the rights to claim for the tax amount and other related expenses (including but not limited to interests, penalty) from the Seller if the representation made or document provided by the Seller is not true. c. Where the Seller is a foreigner, the Seller agrees that The Company may deduct an amount equivalent to 0.5% of the hammer price or the Reserve Price (if the Reserve Price is higher than hammer price) and submit the deducted amount as Profits tax to the competent revenue agency. The amount to be withheld by The Company shall be subject to change once the applicable tax rate is adjusted. Article 4.Terms Applicable to Both the Buyer and the Seller 1. Intellectual Property Rights Intellectual property rights (including but without limitations, the copyright or patent) of all the images, photographs and written material in connection with the Lot shall maintain and belong to the Company at any time. The Buyer or any person may not use such items without obtaining prior written consent from the Company. 2. Notices All the notices distributed according to the Transaction Agreement herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by mail. If the recipient is abroad, the notice shall be deemed served on the fifth working day following delivery by mail. 3. Severability a. If any part of the Transaction Agreement is deemed invalid, illegal or unenforceable by any court, such part can be ignored and the rest of the Transaction Agreement continues to be valid and enforceable to the maximum extent permitted by the law. b. The conditions of the Buyer under Article 2 exclusively apply to the relationship between the Company and the Buyer, which the Seller shall not apply. And the conditions of the Seller under Article 3 exclusively apply to the relationship between the Company and the Seller, which the Buyer shall not apply. 4. This Agreement is entered into the parties in English and Chinese. If there is any conflict with two versions, the Chinese version shall prevail. 5. This Agreement may be revised or modified by the Company from time to time, and the Prospective Buyer, the Buyer andthe Seller agree to obey the revision or modification. 6. Jurisdiction The Transaction Agreement is governed under the Hong Kong laws and the interpretation and effect of the Rules shall be subject to the laws of Hong Kong. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the Hong Kong courts for the interests of the Company.
香港藝術品業務規則
本業務規則，為羅芙奧香港拍賣有限公司 (「本公司」)作為拍賣公司與賣家訂立合約之條 款，亦作為賣家之代理人與買家訂立合約之條款。準買家、買家及賣家務須細讀各項規則並 完全同意遵守本業務規則。準買家、買家請特別留意第二條第5項，其對本公司之法律責任作 了限定。 一. 本業務規則所用詞彙之定義 在本業務規則中，某些常用詞彙需加以解釋。此等詞彙定義如下： 1.「買家」：指本拍賣公司所接受之出價最高之自然人或法人。 2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。 3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣之自然人或法人。 4.「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以任何編號描述之一 項或多項物品。 5.「落槌價」：指本拍賣公司就某一拍賣品而接受之最高出價之價款。 6.「買家佣金」：指買家按拍賣落槌價之某一百分比而支付之費用；收費率如第二條第4a項 所列。 7.「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之價格售出。 8.「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺詐意圖，以就拍賣 品之作者、來歷、年代、時期、文化或來源進行欺騙，而對此等事項之正確描述並未在目 錄之描述上反映出來，而拍賣品在拍賣當日之價值，遠低於按照目錄之描述所應有之價 值。按此定義，任何拍賣品均不會因為有任何損壞及 或任何形式之修整而成為膺品。 9.「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險之價值（不論保險 是否由本公司安排購買）。 二.買家 1. 本公司作為賣家之代理人 作為拍賣公司，本公司以作為賣家代理人之身分行事。除另行協定外，在本公司之拍賣中 成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。 2.拍賣前 a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之物品。除香港法例 (如商品說明條例)另有規定外，本公司不會就拍賣品及其證明文件之真偽對買家作任何 保證。 b. 拍賣品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述，皆已提及顯著的損 壞，惟不包括所有的缺陷、瑕疪與不完整。對任何拍賣品之描述亦不應視作表示其無經 過重整或修理，亦不應視作對拍賣品狀態或保存情況的陳述或保證。在目錄中若有狀態 陳述的缺乏或損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議，準買 家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢閱，不應依據目錄中的 描述或陳述，因為任何在目錄中所列出的描述或陳述是為純粹本公司的主觀意見，並非 提供聲明或擔保。準買家知悉並瞭解所有拍賣品均以「現狀」售出。除香港法例(如商 品說明條例)另有規定外，本公 司對於任何拍出之拍賣品狀態不作任何承諾或保證。 c. 符號表示 以下為目錄中所載符號之說明 高估價拍賣品 為對「高估價拍賣品」（ ）作出競投，買家必須填妥拍賣品預先登記表，並向本公司 交付所需的財務狀況證明、擔保、存款證明及 或本公司可絕對酌情要求買家為競投須 作出的其他抵押。本公司對是否接受任何預先登記申請有最終決定權。本公司建議買家 在有關拍賣日期至少五個工作日前聯絡本公司，以進行預先登記。請注意本公司不能在 週末或公眾假期期間取得財政狀況證明。「高估價拍賣品」登記競投者，本公司將提供 特殊的競投牌號參與競投。 ○ 保證項目 拍賣品編號旁註有○ 符號者，表示賣家已取得本公司保證，可在一次或一連串拍賣中得 到最低出售價格。此保證可由本公司、第三方或由本公司與第三方共同提供。保證可為 由第三方提供之不可撤銷競投之形式做出。若保證拍賣品成功售出，提供或參與提供保 證之第三方可能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或參與 保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家佣金。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、日期、年代、尺 寸、材質、歸屬、真實性、產地、保存狀況或估計售價之陳述，或另行對此等方面之口 頭或書面陳述，均僅屬本公司主觀意見之陳述，不應依據為確實事實之陳述，亦不應視 為本公司對於任何拍賣品之狀態所作之承諾或保證。目錄圖示亦僅作為參考而已，不應 作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。拍賣價格之估計， 不應依據為拍賣品會成功拍賣之價格或拍賣品作其他用途之價值陳述。 許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說明或鑑定意見書 會提述拍賣品之損壞及 或修整資料。此等資料僅作為參考而已，如未有提述此等資 料，亦不表示拍賣品並無缺陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。 e. 買家之責任 有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任自行查明並了解，並就拍賣 品為自己獨立之判斷及評估，確使自己感到滿意。 3.拍賣時 a. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行，本公司具有完 全之決定權，可行使權利拒絕任何人進入拍賣場地或參與拍賣而無須作出任何解釋。 b. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分證明。準買家應注 意，本公司通常會要求對買家作出信用核查。 c. 競投者為買家 競投者將被視為買家而須承擔獨立之法律責任，除非登記時已經與本公司書面協定，競 投者僅為第三人之代理人，且該第三人須為本公司所同意接受者。
d. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司將盡適當努力代 其競投，但代為競投指示須於拍賣前送抵本公司。如本公司就某一拍賣品而收到多個 委託競投之相等競投價，而在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣 品會歸其委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承諾所限， 而拍賣進行之情況可能使本公司無法代為競投。由於此項承擔乃本公司為準買家按所 述條款提供之免費服務，如未能按委託作出競投，本公司將不負任何法律責任。準買 家如希望確保競投成功，應親自出席競投。 e. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投者，使其能以電 話參與競投，但在任何情況下，如未能聯絡或無法參加電話競投，本公司對賣家或任 何準買家均不負任何責任。 f. 即時網上競投 若準買家未能出席拍賣會，或可透過 LiveAuctioneers 網上競投服務於網上競投指 定拍品，而承擔買方獨立責任。此項服務乃免費及保密。有關透過 LiveAuctioneers 網上競投服務登記，進行網上競投之詳情，請參閱本公司網頁 ravenel.com。使用 LiveAuctioneers 網上競投服務之準買家須接受透過 LiveAuctioneers 網上競投服務進行 即時網上競投之附加條款（可參閱羅芙奧 ravenel.com），以及適用於該拍賣之業務規 則所規範，本公司得隨時修改該業務規則。 g. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板，然而競投仍會以港幣進行。匯率轉換顯示 板僅供參考，不論是顯示板所示之拍賣品編號或是港幣競投價之相等外匯，其準確程 度均可能會出現非本公司所能控制之誤差。買家因依賴匯率轉換顯示板（而非因以港 幣競投）所導致而蒙受之任何損失，本公司概不負責。 h. 錄映影像 在拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是否與成功拍賣之拍賣品 相配合，或是如翻版影像之質素，本公司對買家均不負任何責任。 i.拍賣官之決定權 拍賣官具有絕對決定權，包括但不限於有權拒絕任何競投、以其決定之方式推動出 價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併拍賣，以及如遇有誤差 或爭議，將拍賣品重新拍賣。拍賣官會於拍賣開始前或於相關拍賣品競標前對應注意 事項作出通告，買家須自行注意此等通告。 j. 成功競投 在拍賣官之決定權下，下槌即顯示對最高競投價之接受，視為賣家與買家之成功拍賣 合約之訂立。買家即應對賣家負擔買受人之義務及責任。 4.拍賣後 a. 買家支付每件拍賣品之佣金費率 (1)買家除支付落槌價外，另須支付買家佣金予本公司，落槌價於港幣捌佰萬元以下 者（含港幣捌佰萬元），以20％計算。 (2)落槌價於港幣捌佰萬元以上者，採分二級計價，其中港幣捌佰萬元以20％計算， 超過港幣捌佰萬元之部份再以12％計算，加總計算佣金金額。 b. 稅項 買家應付予本公司之所有款項均不包括任何國家或地區稅賦、貨物或服務稅或其他稅 款。如有任何此等稅項適用，買家須負責按有關法律所規定之稅率及時間，自行繳付 此稅款。 c. 付款 成功拍賣後，買家須向本公司提供其姓名及永久地址。如遇要求，買方亦須提供付款 銀行之詳情，包含但不限於付款帳號。買方應於拍賣日期後起算七天內悉數支付應付 予本公司之款項（包含落槌價、佣金，以及任何適用之稅款及其他費用）。即使買家 希望將拍賣品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付應付之全部款項，則不能取得拍賣品之所有權，即使本公司已 將拍賣品交付予買家亦然。如支付予本公司之款項為港幣以外之貨幣，本公司將向買 家收取所引致之任何外匯費用。這包括銀行收費與兌換貨幣之規費及匯差。 以港幣以 外之貨幣付款予本公司之匯率，依拍賣日現場由香港匯豐銀行公佈之匯率，並以本公 司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之拍賣品，直至所 有應付予本公司之款項已悉數由買家支付為止。拍賣品在暫時保留期間，由成功拍賣 日後起算七天將受保於本公司之保險，如屆時拍賣品已被領取，則受保至領取時為 止。七天期滿後或自領取時起（以較早者為準），拍賣品之風險全由買家承擔。 e. 包裝及搬運 本公司謹請買家注意，成功拍賣日後起算七天期滿後或自領取時起，拍賣品之風險全 由買家承擔，但不得損及本公司之權益。 f. 介紹裝運及運輸公司 本公司之貨運部門在買家要求下可為買家介紹運輸公司、安排付運及購買特定保險， 但本公司在此方面不負任何法律責任。買家必須預先繳付運送費用。 g. 不付款之補救辦法 如買家並未有在成功拍賣日後起算七天內付款，本公司即有權行使下述一項或多項權 利或補救辦法： (1)在成功拍賣日後起算七天仍未付款，則按不超過香港匯豐銀行最優惠利率加10%之 年利率收取整筆欠款之利息。此外本公司可同時按日收取依賣價（含佣金）1％計 算之違約金。本公司亦得自行選擇將買家未付之款項，用以抵銷本公司或其他附屬 公司在任何其他交易中欠下買家之款項，買方絕無異議。 (2)對任何屬於買家所有而因任何目的（包含但不限於其他交易）而由本公司管有之 物品行使留置權，並在給予買家有關其未付之欠繳之14天通知後，安排將該物品出 售並將收益用以清償該未付之欠款。 (3)如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項用以清償就任何 特定交易而欠下之任何款項，而不論買家是否指示用以清償該筆款項。 (4)在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投，或在接受其任何 競投之前先收取買家一筆保證金。如買家未有在三十五天內付款，本公司除上述者 外，另有權為下述一項或多項權利或補救辦法： (a)代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉數賠償為基準 之法律程序之訴訟費及律師費等相關費用。 (b)取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予買家之拍賣 品之交易。 (c)安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連同因買家未有 付款而引致之任何費用一併向買家索償。 h. 未有領取已購拍賣品 如已購得之拍賣品未有被買家在成功拍賣日後起算七天內領取，則不論是否已付款， 本公司將安排貯存事宜，費用由買家承擔。而買方在付清所引起之貯存、搬運、保險 及任何其他費用，連同欠本公司之所有其他款項付清後，買家才可領取已購得之拍賣 品。
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i. 出口許可證 除本公司另有書面同意外，買家希望申請出口許可證之事實，並不影響買家在成功拍 賣日後起算七天內付款之責任，亦不影響本公司對延遲付款收取利息之權利。 如買家要求本公司代為申請出口許可證，本公司有權向其收回與此項申請有關之付出款 項及零碎開支連同任何有關之稅款。 如買家不管需要有出口許可證之事實而作出付款，本公司並無責任退還買家因此而引致 之任何利息或其他開支。 5. 本公司之法律責任 本公司僅在第二條第6項所列之情況下，得將退還款項予買家。除此之外，不論賣家或本 公司，或本公司任何僱員或代理人，對任何拍賣品之作者、來歷、日期、年代、尺寸、 材質、歸屬、真實性、產地、保存狀況或估計售價之陳述，或任何拍賣品之任何缺陷， 均不負有任何責任。賣家、本公司、本公司之僱員或代理人，不論明示或暗示，均無就 任何拍賣品作出任何保證。 6. 膺品/贓物之退款 如經本公司拍賣之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實為膺品 或贓物，則交易將取消，已付之款項於交付賣方前將退還予買家。但如： a. 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納之意見，或清楚 表明有抵觸當時學者或專家普遍接納之意見，或 b. 證明拍賣品為膺品之方法，只是一種在目錄出版前仍未普遍獲接納使用之科學程序， 或是一種在拍賣日仍屬昂貴得不合理或並不實際或很可能會對拍賣品造成損壞之程 序，則本公司無論如何並無責任退還任何款項。此外，買家只在滿足下述條件下方可 獲得退款： 1. 買家必須在付款領取拍賣品後的十日內以書面通知本公司，說明買家認為有關拍賣 品乃膺品或贓物之詳細理由及證據，並通知後十四日內及將拍賣品送還本公司，而 其狀況應維持與拍賣當日相同，不得有任何損壞；及 2. 送還拍賣品時，買家須出示證據，足以使本公司確信拍賣品乃膺品或贓物(本公司保 有最終及不可異議的決定權)。在任何情況下，本公司均毋須向買家支付多於買家就 有關拍賣品而支付予本公司之款項，而買家亦不能索取利息或任何賠償。 本條款之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本發票之買家所有 (該買家名稱確係被記載於發票上)，該名買家並須自拍賣後一直保持拍賣品擁有人之身 分，而且並無將拍賣品之任何利益讓予任何第三人。本公司有權依據任何科學程序或其 他程序確定拍賣品並非膺品，不論該程序在拍賣當日是否已使用或已在使用，如本公司 驗證拍賣品是否屬於贗品之結果與買家出示證據相衝突者，應以本公司驗證結果為準。 三.賣家 1. 本公司作為代理人 本公司在公開拍賣會中，以作為賣家代理人身份行事。拍賣品成功拍賣後，即產生賣家 通過本公司之代理與買家達成之合約，由賣家負責向買家履行出賣人義務及責任。 2. 開支 賣家須負責與下述各項有關之費用： a. 將拍賣品包裝並運予本公司作拍賣。 b. 任何適用之運送保險。 c. 如拍賣品交回賣家其包裝與付運。若拍賣品由海外進口，付運費與進口適用之稅項。 d. 受保於本公司之精品保險單（下文另有解釋）。 e. 預先與賣家協定之對拍賣品作出之任何修整。 f. 本公司為擬定目錄說明指定需由外界專家作出之鑑定。 g. 本公司指定之任何外界專家意見。 h. 拍賣品拍賣前後之裝卸、貯存及保管等費用。 i. 本公司之行政費用，金額為因賣家而引致之一切費用及損害金額之10%。 j. 任何市場之推廣及廣告費用。 3. 由本公司安排保險事宜 a. 除非與本公司另有協定外，否則拍賣品將自動受保於本公司藝術品精品保險單，保險 值為本公司自行評估 當時認為適當者。然而保險金額並非本公司承諾拍賣品會成功拍 賣之款額。 b. 本公司將向賣家收取拍賣落槌價之1%或若未拍賣成功時以拍賣品底價之1%，作為保險 費。如由本公司安排運送，本公司將向賣家收取額外款項，作為運送保險費，款額視 每宗拍賣品之特定情況而定。如有需要，本公司可建議/介紹承運人，但不論於何種情 況下，本公司均不承擔任何有關此方面之運送法律責任。 c. 拍賣品在成功拍賣日後起算七天內保險仍然有效。如拍賣品未能成功拍賣，保險屆期 以後風險全由賣家承擔。 d. 由蛀木蟲、空氣、水份情況轉變或其他不能預見或人力不可抗拒情況而對拍賣品造成 之損壞，或其他非可歸責於本公司之事由所致之損壞，本公司不承擔任何法律責任。 4. 物主購買保險 如賣家特別指示本公司毋須為拍賣品購買保險，風險全由賣家承擔，直至拍賣品交付予 買家為止。賣家無條件同意須保障本公司、本公司之僱員與代理人，以及買家（如適 用）免負因拍賣品而針對本公司、本公司之僱員與代理人，以及買家索償之賠償責任， 而不論索償因何引起。賣家亦同意應本公司、本公司之僱員與代理人，以及買家所要 求，負責償還因此種索償而引致之開支，縱使本公司、本公司之僱員與代理人，以及買 家有疏忽之處，而未證明有任何法律責任而作出之付款，亦須償還。賣家須自行將本條 條款揭露予賣家之承保人。 5. 賣家就拍賣品所作之承諾 本項列出本公司處理拍賣品之基準，規範賣家與買家之間的買賣關係。如此基準在任何 方面有不確實之處，本公司或買家可採取針對賣家之法律行動。本公司處理拍賣品及購 買拍賣品，均以賣家所作之下述承諾及擔保為基準，賣家承諾及擔保如下： a. 賣家為拍賣品之唯一所有權人及/或合法持有人，具備將其所有權及相關所有權利(於無 質押、無產權負擔及無涉及第三人權益或申索的情況下)轉讓予買家之無限制權利。 b. 賣家已遵守一切與拍賣品之進出口有關之法律或其他方面之規定，並已將過去任何第 三人未能遵守此等規定之事以書面通知本公司。 c. 賣家已將其所知之有關拍賣品之任何重大修改以及第三人就拍賣品之所有權、狀況或 歸屬所表示之任何關注以書面通知本公司。 如上述a、b或c等三項擔保有任何不確實之處，賣家須應本公司及/或買家之要求，完全負 責及彌償本公司及 或買家一切因此而引起之損失索償、訴訟費、律師費、所有費用及 開支，而不論是因拍賣品還是因拍賣收益而引起。
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6.拍賣安排 a.本公司對目錄內拍賣品之描述與圖示方式、鑑定意見書、拍賣地點與方式、讓何人進場 競投以及競投價之接受、是否應尋求專家意見，以及將物品合併或分開拍賣等均有完 全之決定權。 b.任何估價，不論口頭或書面，均只屬意見，而非拍賣品最終可賣得的價錢之保證。 c.未得本公司事前書面同意，賣家不可撤回拍賣品之委託。但本公司保留隨時因後述原因 而撤回、中止或終止拍賣品委託授權之權利。此等原因為： (1)本公司對拍賣品之界定或真實性或上述第5a、 b或c項所指之承諾之準確性有懷疑； 或 (2)有任何違反本業務規則之情況；或 (3)本公司認定將拍賣品納入或繼續執行拍賣並不適當者。 d. 撤銷委託或授權條款 (1)非經本公司事前書面同意，賣家不得撤回、中止或終止對於標的作品之委託或授予 本公司之權利。 (2)賣家依前項規定撤回、中止或終止拍賣品之委託或授與本公司之權利者，委託者除 應對本公司負損害賠償或經濟上損失賠償責任外，尚須支付委託底價之40%作為懲 罰性違約金付與本公司。 (3)如賣家有任何違約情事，本公司有權隨時終止委託事項，賣家須支付本公司所有之 前為履行委託或授權工作所產生之費用及開支。 7. 拍賣守則 a. 本公司將會參照底價進行拍賣品之拍賣程序。底價不得高於拍賣目錄所印登載估價之 下限，但如所同意之底價為港幣以外之貨幣，並因協定底價之日與成功拍賣之日上匯 率波動而致底價高於估價下限，則不在此限。在此情況下，除本公司另行同意外，底 價須為相等於以緊接成功拍賣前一個工作天之收市匯率計算之港幣款項。 b. 如競投價不能達到底價，本公司在任何情況均不負有任何責任，但本公司有權決定將 拍賣品以低於底價拍賣。如本公司如此將拍賣品拍賣，本公司將有責任向賣家支付成 交價與底價之差額。 c. 賣家不得以自己或第三人名義隨意哄抬競投價格，不得以自己或第三人名義參與競標 拍賣品，亦不得聘請任何人代賣家參與競投，惟本公司有權代理賣家參與競投。 8.成功拍賣後 a. 結算 成功拍賣後，本公司協助賣方要求買家最遲於成功拍賣日後7日內全數付款。在買家付 款後，除非本公司收到通知謂拍賣品為膺品，否則，本公司會於成功拍賣日期後60個 工作天，將一筆相等於成交價減去賣家應支付之所有費用之款額匯予賣家。如遇買家 延遲付款，則本公司將在買家付款後7個工作天內匯款予賣家。如因任何理由而使本公 司在買家付款前即已付款予賣家，則本公司即獲得拍賣品之完整之擁有權與所有權。 但在本公司因拍賣品為膺品而被迫向買家收回拍賣品下，賣家方須將已收取之拍賣收 益退還予本公司。 除賣家另有書面指示外，本公司將以港幣付款。如賣家要求以港幣以外之貨幣付款， 依拍賣現場由香港匯豐銀行公佈之匯率計算付款金額。 b.賣家支付每件拍賣品之手續費： (1)本公司之拍賣須至拍賣完成後買家實際付清所有款項予本公司時，視為交易完成。 (2)當交易完成，賣家須依約定支付本公司手續費。 c. 買家不付款 如買家在成功拍賣日後起算7天內未支付應付之全部款項，本公司即有權代理賣家就 付款、貯存與保險而協定特別條款，並有權代理賣家採取本公司認為適當的任何步驟 以向買家收取其應付之款項，因而產生之相關費用及損害，概由賣家自行承擔。但本 公司並未承擔任何付款責任，亦無義務代理賣家採取任何行動(包括但不限於法律行 動)。但本公司將與賣家討論如何採取適當行動以向買家追討拍賣款額。 d. 膺品/贓物 如買家於付款領取拍賣品後之十日內，使本公司相信或懷疑拍賣品為膺品或贓物或涉 及任何不法情事者，本公司得自行決定無條件買家交付之拍賣落槌價(本公司得扣處因 此所致之相關處理費用)予買家時，而拍賣品將由本公司退回賣家或送交警方處理，賣 家不得異議或對本公司主張任何權利或請求，賣家並應於本公司通知後，於三日內無 條件退還其所得之全數金額予本公司，賣家並應於十日內付清相關基本支出費用，及 賠償本公司因此所致之所有損失、損害及相關費用等。逾期退還、給付者，賣家應另 外支付按不超過香港匯豐銀行最優惠利率加10%之年利率收取整筆欠款之利息。此外 本公司可同時按日收取依賣價（含佣金）1％計算之違約金。本公司亦得自行選擇將賣 家未付之款項，用以抵銷本公司或其他附屬公司在任何其他交易中欠下賣家之款項， 賣家絕無異議。 e. 未能成功拍賣之拍賣品 (1)任何拍賣品如未能成功拍賣，或不包括在拍賣之內，或因任何理由而撤回、中止或 終止拍賣，則在本公司發出通知予賣家要求賣家領回拍賣品後之35天內，賣家必須 領回拍賣品。 (2)任何此等拍賣品如在35天過期後仍未領回，本公司可向委託者徵收每天每件標的作 品參佰港元 (HK$300)貯存費，並收取額外費用以購買保險。賣家須在付清所有未付 費用後，方可領回拍賣品。 (3)此等拍賣品如在發出領回通知後之60天內仍未領回，則可被移往第三人之貨倉貯 存，開支費用由賣家承擔。 (4)任何此等拍賣品如在拍賣日期後或上述通知日期後之90天內（以較早之日期為準） 未被領回，則本公司可視乎是否合適而將該拍賣品處置。處置包括將拍賣品移往第 三人之貨倉而開支費由賣家承擔，以及將該拍賣品按本公司認為適當之條款（包括 有關估價與底價之條款）公開拍賣。本公司其後會將拍賣收益扣除所有欠款後支付 予賣家。 (5)任何拍賣品如在拍賣中收回或未能成功拍賣，則本公司有權代理賣家在拍賣後的兩 個月內作為賣家之獨家代理人，按賣家可收取之淨款額（即扣除賣家應付之一切費 用後之款額），私下出售拍賣品。本公司得事前扣除所致之費用。在此情況下，賣 家就該拍賣品而對本公司所負有之責任、義務及付款條件等，與拍賣品成功拍賣時 一樣。 9. 圖片與圖示 賣家同意本公司有權對拍賣品制作照片、圖示、錄像或其他形式的影像制品，此等照 片、圖示、錄像及影像制品之著作權及其他一切權利均屬本公司所有，且本公司有權以 任何本公司認為適合之方式使用之，賣家絕無異議。
10.稅制 a. 依香港稅法規定，拍賣品成交後委託者須提供報稅名單及相關資料，由本公司提報稅 捐單位。 b. 如果賣家為香港公司或香港居民，根據香港稅法，本公司毋須向賣家代扣香港利得 稅。如果本公司其後發現賣家之聲明及文件不實，本公司保留向賣家追討香港稅款及 其他相關費用（如利息、罰款及律師費等）的權利。 c. 若委託者非香港本地人士，委託者並同意本公司直接代扣落槌價或底價(如底價高於落 槌價)之0.5%，作為拍出後之利得稅，由本公司代為申報並繳交稅捐單位。由本公司 扣除的款項將隨著當時的稅率而調整。 四.買家與賣家均適用之條件 1. 智慧財產權 與拍賣品有關之一切影像、圖示與書面材料之相關智慧財產權(包括但不限於著作權、 專利等)，於任何時候均屬於本公司之財產及所有。未得本公司事先書面同意，賣家、 買家或任何人均不得使用。 2. 通知 a. 根據本業務規則發出之通知，均須以書面發出。如採用郵遞發出，則在付郵寄出後第 二個工作天，視為收件人已合法收受；如收件人在海外，則為付郵寄出後第五個工作 天，視為收件人已合法收受。 b. 本公司根據本業務規則、委託授權書或買家所提供之聯絡資料對賣家或買家發出之通 知，凡已依據委託授權書後附或買家所提供資料上所載的地址、電子郵件地址或傳真 號碼統稱「聯絡方式」)以書面發出該通知者，均視為該通知已有效發出。若賣家或 買家之聯絡方式有變更時，應立即以書面通知本公司。 3.可分割性 a. 如本業務規則有任何部份遭任何法院認定為無效、不合法或不可強制執行，則該部分 可不予理會，而本業務規則之其他條款仍繼續有效及可強制執行。 b. 本業務規則第二條買家條款項下之各條款，專屬適用本公司與買家間法律關係，賣家 不得主張適用。本業務規則第三條賣家條款項下之各條款，專屬適用於本公司與賣家 間法律關係，買家不得主張適用。 4.本業務規則同時存在中文及英文版本，如二版本內容有所歧異，應以中文版條文為準。 5. 本業務規則得隨時由本公司修改，買方及賣方均同意遵守修改後之業務規則。 6. 法律及管轄權 本業務規則受香港法律規範，本業務規則之解釋與效力均適用香港法律。賣家與買家須 服從香港法院之排他性管轄權。
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ABSENTEE BID FORM The absentee bid forms must be delivered to the Customer Service Department at least 24 hours before the auction begins. The bid forms may be faxed to: Tel: +852 2889 0859 Fax: +852 2889 0850
Auction Date Sale No. Location Address
RAVENEL AUTUMN AUCTION 2014 HONG KONG Modern & Contemporary Art Sunday, 23 November 2014, 5:30pm HA1402 Grand Hyatt Hong Kong (Grand Ballroom) 1 Harbour Road, Wanchai, Hong Kong
Bidder’s Details Name ID number Address Post code Tel Mobile Fax Email Signature (We must have your signature to execute this bid.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder. I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received. I understand that if my bid is successful, I shall pay the final hammer price together with the Buyer’s Premium and any applicable sales tax. The Buyer’s Premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Articles 4a, c and d of the Transaction Rules to the Buyer. (4a. The Buyer’s Premium of Each Lot Payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the Buyer’s Premium to the Company. For hammer price below HK$ 8,000,000 (inclusive), the Buyer’s Premium should be calculated at 20% of the hammer price. (2) For hammer price higher than HK$ 8,000,000, total amount of the Buyer’s Premium should be that the first HK$ 8,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12%.) The bid shall be subject to the Transaction Rules prescribed in the catalogue. Please note especially the limited guarantee and exclusive warrantees that may be provided for certain items.
PLEASE PRINT LEGIBLY Auction item number (in numerical order)
Title
Bid price (HK$) (excluding buyer’s premium)
Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.
Bank Reference Approval Name of the bank Address of the bank
Name of the account Account number Contact of the bank Tel. No.
Ravenel Auction Hong Kong Limited Room 1307A, 13/F, 39 Healthy Street East, North Point, Hong Kong Tel: +852 2889 0859 Fax: +852 2889 0850 ravenel.com
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委託競投表格 委託競投表格須於拍賣24小時前送抵客戶服務部。競投表格可傳真至： 電話：+852 2889 0859 傳真：+852 2889 0850
拍 賣 名 稱： 羅芙奧香港 2014 秋季拍賣會 現代與當代藝術 拍 賣 編 號：HA1402 香港拍賣日期：2014 年 11 月 23 日（星期日） 下午 5:30 香港君悅酒店（宴會大禮堂）香港灣仔港灣道 1 號
投標者資料 客戶編號 （如有） 姓名 身份證號碼 地址 郵碼 電話 傳真 簽名
行動電話 電郵
（本公司在取得閣下之簽名後方才接受競標）
茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，以 最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上買家佣金（連同該最後落槌價及買家佣金之營業稅）買家佣金依最後落槌價乘以 佣金費率得之。詳見業務原則規定第4條a,c,d之規定。（4a.買家支付每件拍品之買家佣金費率：（1）買家除支付落槌價外，另須支付買家佣金予 本公司，落槌價於港幣捌佰萬元以下者（含捌佰萬元）以20％計算；（2）落槌價於港幣捌佰萬元以上者，採分二級計價，其中港幣捌佰萬元以 20％計算，超過港幣捌佰萬元之部份以12％計算；加總計算佣金金額。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。
請用正楷填寫清楚 拍賣品編號 （按數字順序）
名
競投價（港元） （買家佣金不計在內）
稱
為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。
銀行證明 銀行名稱 銀行地址 羅芙奧香港拍賣有限公司 香港北角健康東街13樓1307A室 Tel: +852 2889 0859 Fax: +852 2889 0850 ravenel.com
銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話
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INDEX A 018 019
ADRIEN JEAN LEMAYEUR DEMERPRES 勒邁耶
C 012 013 CHEN CHENG WEI 陳承衛 047 048 CHEN CHIEN FA 陳建發 021 022 CHIU YA TSAI 邱亞才 023 024 025 026 027 038 CHU SHU CHI 朱書麒 037 CHU TEH-CHUN 朱德群
058
FU CHUAN FU 傅狷夫
G 046 030
GAO XING JIAN 高行建 GEORGE CHANN 陳蔭羆
H 078 014 064 065 079
HE BAILI 何百里 HE DUO LING 何多苓 HSIA YI FU 夏一夫 HUANG HAIFEI 黃海菲
L
D 004 053 080 081 085
F
DAIDO MORIYAMA 森山大道 DING YAN YONG 丁衍庸
031 015 068
LALAN 謝景蘭 LE PHO 黎譜 LEE CHUNG CHUNG 李重重
055 040 041 089 073 074 066 067 039 009 011 076 077
LEE YIH HONG 李義弘 LEUNG SIU HEE 梁兆熙 LI JIN 李津 LIANG CHANG MING 梁震明 LIN FENG MIAN 林風眠 LIU GU PING 劉谷平 LU XI 盧曦 LUI LIU 劉溢 LUO CHIH HAO 駱志豪
M 010 086
MA JING HU 馬精虎 MASTER OF THE WATER, PINE AND STONE RETREAT 水松石山房主人
N 001 002
NOBUYOSHI ARAKI 荒木經惟
P 028 044 045 056 057
PANG JIUN 龐均 PENG KANG LUNG 彭康隆 PU TZU 卜茲
Q 069 087
QIN FENG 秦風 QIU ZHIJIE 邱志傑
R 043 072
RUAN WENG MONG 阮文盟 RYO ZO KATO 加藤良造
T 052 091 050 051 093 059 016 062
TAI XIANG ZHOU 泰祥洲 TANG HAY WEN 唐海文 TENG PU CHUN 鄧卜君 TONG YANG TZE 董陽孜 TOSHIMITSU IMAI 今井俊 TSANG TSOU CHOI 曾灶財
W 007 008 033 034 061 060 063 088 003 092 005 054 020 075 070 071
WALASSE TING 丁雄泉 WANG FANG YU 王方宇 WANG JI QIAN 王季遷 WANG JIA NONG 王家農 （瀰力村男） WANG MENG SHA 王濛莎 WANG XINFENG 王信豐 WANG YE 王業 WILLEM GERARD HOFKER 威廉．傑拉德．賀夫卡 WU NAN 吳楠 WU SHI WEI 吳士偉
Y 006 YE HONG XING 葉紅杏 017 YOSHITA KA AMANO 天野喜孝 082 083 084 YU PENG 于彭 Z 035 036 029 042 049 090 032
ZAO WOU-KI 趙無極 ZHAN WANG 展望 ZHANG DA LI 張大力 ZHANG YI RONG 張藝蓉 ZHU XINJIAN 朱新建 ZHOU CHUN YA 周春芽
I N T E R N A T I O N A L
A R T
G R O U P