SPRING AUCTION 2014 HONG KONG
MODERN
&
CONTEMPORARY
ART
RAVENEL SPRING AUCTION 2014 HONG KONG Modern and Contemporary Art
羅芙奧香港 2014 春季拍賣會 現代與當代藝術拍賣
AUCTION
拍賣日期 / 地點
Sunday, 25 May 2014, 6:00pm Four Seasons Hotel Hong Kong (Four Seasons Grand Ballroom) 8 Finance Street, Central, Hong Kong
2014年5月25日（日） 下午 6:00 香港四季酒店（四季大禮堂） 香港中環金融街8號
PREVIEWS
預展日期 / 地點
Taichung
台中 2014年5月10日（六） 下午1:00至下午6:00 2014年5月11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, 10 May 2014, 1:00pm - 6:00pm Sunday, 11 May 2014, 11:00am - 6:00pm Pao-huei Construction Reception Center Intersection of Shizheng North 2nd Road and Huilai Road, Taichung, Taiwan
Taipei
Saturday, 17 May 2014, 10:00am - 7:00pm Sunday, 18 May 2014, 10:00am - 7:00pm Fubon National Conference Centre B2, No.108, Sec. 1, Dunhua South Road, Taipei, Taiwan
Hong Kong
Friday, 23 May 2014, 2:00pm - 7:00pm Saturday, 24 May 2014, 10:00am - 7:00pm Four Seasons Hotel Hong Kong (Four Seasons Grand Ballroom) 8 Finance Street, Central, Hong Kong
台北 2014年5月17日（六） 上午10:00至下午7:00 2014年5月18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5月23日（五） 下午2:00至下午7:00 2014年5月24日（六） 上午10:00至下午7:00 香港四季酒店（四季大禮堂） 香港中環金融街8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
張淳茹 Sabrina Chang
藝術部副總經理 Vice President, Art Department
營運部 協理 Senior Manager Operation Department
鄧秀麗 Crystal Tang 專家 Specialist
楊千嬅 Kelly Yang 初級專家 Junior Specialist
楊琴 Echo Yang 上海辦事處代表 Representative Shanghai
張鶴軒 Helen Zhang 北京業務代表 Sales Representative Beijing
簡詩蕙 Raze Kan 營運部 營運專員 Operation Officer Operation 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
83
Transaction Rules For Art (Hong Kong) 業務規則
89
Absentee Bid Form 委託競投表格
91
Index 畫家索引
RAVENEL STAFF AND SERVICES FOR THIS SALE ART CONSULTANTS
Shanghai
COLLECTION AND SHIPPING
Taipei President, Art Department
Echo Yang Tel: +86 21 2411 9575 Email: echoyang@ravenel.com
Taiwan
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
Hong Kong Specialist Crystal Tang Tel: +852 2889 0859 ext. 784 Email: crystaltang@ravenel.com
Junior Specialist Kelly Yang Tel: +852 2889 0859 ext. 783 Email: kellyyang@ravenel.com
PHONE BIDS AND WRITTEN BIDS Taiwan Carrie Chen Tel: +886 2 2708 9868 ext. 975 Email: carriechen@ravenel.com
Hong Kong Kelly Yang Tel: +852 2889 0859 ext. 783 Email: kellyyang@ravenel.com
Beijing Helen Zhang Tel: +86 10 8587 8099 ext. 21 Email: helenzhang@ravenel.com
International Kelly Yang Tel: +852 2889 0859 ext. 783 Email: kellyyang@ravenel.com 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. In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly for those of you who need foreign language assistance of the bidding.
CATALOGUE SUBSCRIPTION Taiwan Carrie Chen Tel: +886 2 2708 9868 ext.975 Email: carriechen@ravenel.com
Hong Kong, International Raze Kan Tel: +852 2889 0859 ext.732 Email: razekan@ravenel.com
Beijing Helen Zhang Tel: +86 10 8587 8099 ext.21 Email: helenzhang@ravenel.com
Shanghai Echo Yang Tel: +86 21 2411 9575 Email: echoyang@ravenel.com
The catalogues are available for subscription. For details of subscription, please refer to the explanations of the catalogue or contact the above persons.
ONLINE BIDS Register at LiveAuctioneers www.liveauctioneers.com/sign-up
Dylan Wang Tel: +886 2 2708 9868 ext.973 Email: dylanwang@ravenel.com
Hong Kong, International Raze Kan Tel: +852 2889 0859 ext.732 Email: razekan@ravenel.com
China Jason Dong Tel: +86 10 8587 8099 ext.22 Email: jasondong@ravenel.com
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 春季拍賣會服務部門及連絡人 藝術品諮詢專家
上海
取貨及運輸事宜
台北 藝術部總經理
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北京
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MODERN & CONTEMPORARY ART Sunday, 25 May 2014 6:00 pm Four Seasons Hotel Hong Kong
Lots 001 – 040
001
Walasse TING
(Chinese-American, 1929 - 2010)
Beauty with Flowers in Her Hair
HK$ 65,000 - 95,000 NT$ 254,000 - 371,000 US$ 8,400 - 12,200
Acrylic on ricepaper 63 x 48 cm
丁雄泉
With one seal of the artist
壓克力 紙本 63 x 48 cm
PROVENANCE: Private collection, Europe
花樣麗人
鈐印右上：採花大盜 來源：私人收藏，歐洲
Ravenel
12
002
WANG Hsin-feng
(Taiwanese, b. 1952)
王信豐
The Faint Edge
濱邊秋波
2013 Acrylic on canvas 82 x 82 cm
2013 壓克力 畫布 82 x 82 cm
Signed lower left Wang Hsin-feng in Chinese
簽名左下：王信豐
HK$ 65,000 - 85,000 NT$ 254,000 - 332,000 US$ 8,400 - 11,000
003
CHIU Ya-tsai
(Taiwanese, 1949 - 2013)
Man in Side Profile 1990 Oil on canvas 91 x 73 cm Signed lower right Chiu Ya-tsai in Chinese and dated 90 This painting is to be sold with a certificate of authenticity issued by Fine Art Center, Tainan.
HK$ 80,000 - 120,000 NT$ 313,000 - 469,000 US$ 10,300 - 15,500
Ravenel
14
邱亞才 男子側像 1990 油彩 畫布 91 x 73 cm 簽名右下：90 邱亞才 附梵藝術中心開立之原作保證書
004
PANG Jiun
(Chinese, b. 1936)
龐均
Watching Chess
觀棋
1994 Oil on canvas 51 x 61cm
1994 油彩 畫布 51 x 61cm
Signed lower right Pang Jiun in Chinese, dated 1994 Signed on the reverse PANG JIUN in Chinese, MONET PANG JIUN in English, titled Watching Chess , inscribed 12F and dated 1994 With one painted seal of the artist
HK$ 90,000 - 140,000 NT$ 352,000 - 547,000 US$ 11,600 - 18,000
簽名右下：龐均 1994 簽名畫背：MONET PANG JIUN 1994，龐均 12F <觀棋> 手繪鈐印：均
005
YANG Mao-lin
(Taiwanese b. 1953)
Yuanshan Memorandum (diptych)
圓山紀事（雙聯幅）
1991 Oil, acrylic on canvas 76 x 56.5 cm (x2)
1991 油彩 壓克力 畫布 76 x 56.5 cm (x2)
HK$ 80,000 - 140,000 NT$ 313,000 - 547,000 US$ 10,300 - 18,000
Ravenel
16
楊茂林
006
SU Meng-hung
(Taiwanese, b. 1976)
The Album of Immortal Blossoms in an Everlasting Spring by Giuseppe Castiglione 2013 Acrylic on canvas 116.5 x 91 cm Signed on the reverse Su Meng-hung in Chinese and dated 2013.10.
HK$ 80,000 - 140,000 NT$ 313,000 - 547,000 US$ 10,300 - 18,000
蘇孟鴻 郎世寧畫仙萼長春圖 2013 壓克力 畫布 116.5 x 91 cm 簽名畫背：蘇孟鴻 2013.10.
007
CHIU Ya-tsai
(Taiwanese, 1949 - 2013)
Man with Central Parting Oil on canvas 79 x 64 cm Signed lower left Chiu Ya-tsai in Chinese This painting is to be sold with a certificate of authenticity issued by Chi Cheng Gallery, Taipei.
HK$ 130,000 - 190,000 NT$ 508,000 - 742,000 US$ 16,800 - 24,500
邱亞才 頭髮中分的男子 油彩 畫布 79 x 64 cm 簽名左下：邱亞才 附吉証畫廊開立之原作保證書
During the Tang Dynasty in ancient China, the essences of portraits predicate upon the realities of everyday lives with a focus on figurative spirit and temperament; Portraits entered a golden age during this flourishing period of the Tang dynasty. The essence of Chiu Ya-tsai’s portraits stem from the form and stylistic approach of portraits rendered during the Tang dynasty in ancient China, and the contours of the face is deeply rooted in traditions of Chinese classical painting. The apricot shaped eyes, the oval shaped face and the details featured are significant to Chiu Ya-tsai’s style. The present lot emphasis on the figure’s face, making it lively and realistic and the thin layer of paint extenuate the features and hair of the central figure. The slightly curled central parted hair brings the character to life. The halved portrait of the body depicts a man wearing a red-brown coat, rendered in broad brushstrokes with regard to layers. The application of black and grey as the background color extenuate the contours of the central figure. The composition of this work conveys calm personality of the figure, as if the lively eyes reflect a million sentiments. The emotions associated with the shy smile remains difficult to speculate. This quality matches with Chiu’s approach of lingering tendency towards loneliness. The slightly different themes of melancholy and quietness added a tone of intellectual selfconfidence, simultaneously reflective of the artist’s elegant stylistic approach and the significance of the present lot.
Ravenel
18
中國唐代時期「人物畫」注重對現實生活的反映，以及對人物精神氣質 的刻畫，尤其是唐代貞觀至開元的一百多年間，國力鼎盛，使人物畫在 唐代進入了黃金時期。而邱亞才的人物造型來源正是以中國唐代時期的 人物畫為主要風格，他筆下表現人物臉部的輪廓，與講究線條表現的中 國古典畫傳統有著極深的淵源。唐代人物畫中杏眼、鵝蛋臉、細眉等特 徵在邱亞才筆下傳神氣韶。 本作品著重刻畫人物臉部，能使畫中人物更加傳神、寫實。顏料層略為 薄塗，使畫作表現的五官、髮絲細節盡顯。俐落的中分微捲短髮使主角 精神增色。畫家運用半身特寫描繪穿著紅褐色上衣的男子，上衣用大筆 觸表現，卻不乏細膩層次。背景偏向平塗的上色手法，大致以黑、灰做 為配置，更突顯人像主體。 此作構圖以平視視線來傳達人物沉穩個性，畫中男子雙眼氣定有神，但 又彷彿藏了千萬種思緒，靦腆難以臆測的笑容，透露出沉斂筆觸。此與 邱氏一般為人所熟知傾向揮之不去的孤寂、憂鬱而沈靜主題略有不同， 反而增添一道知性的自信的同時，也盡藏邱氏獨門的內斂優雅風格，更 顯本件拍品的難得可貴。
008
SHIY De-jinn
(Taiwanese, 1923 - 1981)
The Red Crested Bird 1979 Ink and color on paper 39 x 67 cm Signed lower right Shiy De-jinn in Chinese and dated 1979 PROVENANCE: Acquired directly from the artist by the present owner
HK$ 130,000 - 190,000 NT$ 508,000 - 742,000 US$ 16,800 - 24,500
Ravenel
20
席德進 紅冠鳥 1979 彩墨 紙本 39 x 67 cm 簽名右下：席德進 1979 來源： 現藏者購自藝術家本人
009
SHIY De-jinn
(Taiwanese, 1923 - 1981)
The Forktail Door 1978 Ink and color on paper 56 x 76 cm Signed lower left Shiy De-jinn in Chinese and dated 1978
HK$ 160,000 - 220,000 NT$ 625,000 - 859,000 US$ 20,600 - 28,400
席德進 燕尾門 1978 彩墨 紙本 56 x 76 cm 簽名左下：席德進 1978
010
YAO Jui-chung
(Taiwanese, b. 1969)
Brain Landscape: River Sound 2014 Oil ink, oil, brain model with gold leaf on canvas mounted on board 120 x 120 cm Signed lower left Yao Jui-chung in Chinese, titled Brain Landscape: River Sound and dated 2014 spring. EXHIBITED: Good Times-Yao Jui-Chung Solo Exhibition , Tina Keng Gallery, Taipei, Feb 25-Mar 4, 2014
HK$ 150,000 - 200,000 NT$ 586,000 - 781,000 US$ 19,300 - 25,800
姚瑞中 腦山水－漱玉圖（臨錢維城「雲山深靜卷」） 2014 針筆 油彩 金箔模型腦 畫布 木板 120 x 120 cm 簽名左下：腦山水 漱玉圖 姚瑞中 二〇一四 立春 展覧： 「好時光－姚瑞中個展」，耿畫廊，台北 展期自2014年2月25日至3月4日
Ravenel
22
011
CHEN Chun-hao
(Taiwanese, b. 1971)
Imitating The Guardian of the Valley by Li Shixing, Yuan Dynasty, Early 14th Century 2013 Mosquito nail, canvas, wood 162 x 92 cm EXHIBITED: Reclaming the Lost Territories - Chen Chun-hao Solo Exhibition , Tina Keng Gallery, Taipei, Jan 4-Jan 26, 2014 ILLUSTRATED: Mosquito Nail Shan Shui - Chen Chun-hao , Tina Keng Gallery, Taipei, 2014, p. 114
HK$ 180,000 - 240,000 NT$ 703,000 - 938,000 US$ 23,200 - 30,900
陳浚豪 臨摹元李士行秋江寒林圖 2013 不鏽鋼蚊釘 畫布 木板 162 x 92 cm 展覧： 「還我河山一陳浚豪個展」，耿畫廊，台北 展期自2014年1月4日至1月26日 圖錄： 《蚊釘山水－陳浚豪》，耿畫廊出版，台北， 2014，頁114
Ravenel
24
All creatures infatuated with passions and desires, are tangled in a complex and uncertain time and space. Much is like the time when the world was derived from color, sound, smell taste, touch and physical law. Fu seems like a mirror, because he reveals what he has seen and experienced without prolonged introspection and the intentional conveying of messages. Although Fu’s works can be thought of as mirrors, the man himself works too hard to be seen in the same manner. Every inch in his pictures comes only through suffering and great effort. His works become mirrors when the viewers see what they want to perceive—maybe heaven, maybe the world of mortals, maybe hell. Through study of his works one finds spiritual worlds constructed with instinctive sensitivity to form and color. This nature of simple complexity or complicated simplicity is rarely seen in the esthetic circles of Taiwan. In Taiwan, age and professional background are used to measure artist’s achievements. Unfortunately, undue stress is placed on these criteria at the expense of a more natural appreciation of an artist’s talent. Fu embarks for a lost paradise where creativity flows without restraint. He paints with certainty instead of external rules. Therefore, only those whose appreciation is instinctual will perceive his message. Fu’s art is similar to Buddhist doctrines in that no rule can be followed to attain divinity, in another word, but self— actualization can undoubtedly be achieved. Fu as a single case in esthetic circles is similar to Hui Neng—the sixth patriarch of the Zen sect in Buddhism. Fu is carefree and in a state of perfect harmony, without leaning on tutors or a professional background. Each great artist must be in the possession of internal certainty, which urges him to stick to his intuition. Since any law can’t achieve art, can an artist be successful within the confines of any school or tradition? No, absolutely not. Art won’t appear unless an artist rids himself of constraint. As result of his unique creativity, his technique varies greatly from one painting to the next. Coloring, composition, figures and gestures are all subject to new interpretations ─ "The World of Alixe FU - Written by Louie Chang (Ex-director of Taipei Fine Arts Museum)
Ravenel
26
012 Alixe FU (Qingli, Ching-Fong) (Chinese-French, b. 1961)
People and People 1984 Oil on canvas 126 x 320 cm Signed on the reverse Alixe Fu in Chinese and titled People and people
HK$ 320,000 - 420,000 NT$ 1,250,000 - 1,641,000 US$ 41,200 - 54,100
傅慶豊 人們 1984 油彩 畫布 126 x 320 cm 簽名畫背：傳慶豊 People and people
七情六慾的生炙糾結於錯綜複雜的不確定的時空之中，一如這個色聲香味觸法所演化出來的南閣浮提世間，傅慶豊似乎是一面明鏡，他未假思索並不 刻意傳達某一特定的訊息，即顯現出他所經驗及觀照的人間世來；他似乎又不是明鏡，因為他苦心孤詣的經營畫面的一尺、一寸。他的作品反而是一 面明鏡，因為它給予觀者見其所見；是其所是。從他的畫，有人看到天堂，有人看到人間，也有人看到地獄。但是他的畫又似乎不是明鏡，那分明是 一種對造形與色彩的本能敏感性所創造出來的極為個人的心象世界。這種單純的複雜性或複雜的單純性，在台灣的畫壇實不多見。 在台灣，資歷與年齡普遍被當作是藝術成就的衡量標準之一，固然有其真義，但卻也是缺乏自信的一種無可奈何的標準，傅慶豊超越了這個標準，依 他的自性，走向一條久被遺忘了的藝術創作自由之路。他的作品沒有外在法則可以依歸，卻自有其內在之必然性；他的作品雖不能用台灣人的美學標 準來衡量，卻適用於人類本能直覺的標準來測度，換句話說；他的藝術，就像佛法，了無一法可得，卻有其超越主、客觀而實踐自我的本質。傅慶豊 在藝術上的例子，類似於六祖慧能在佛教的例子，他是自在而圓融；不假思索與法則；不靠傳承與資歷的。 每一個獨樹一幟的偉大藝術家，無不有其內在的必然性，驅使他有意無意地服膺自己的直覺本能，而不自限於任何外在標準。藝術既然無一法可得， 藝術家除了反求諸己之外，又怎能依附於任何的流派與傳統呢？秉持自心，拋下傳統與流派，忘掉了所謂的「藝術」，藝術反而原來確實就在此。要 讀他的作品，用法則去「套」是行不通的。他既然以直覺來傳達，觀者就得以直覺來接收，否則，頻率不同是無法溝通的。其實，傅慶豊的作品，有 極佳而微妙的色感與肌理，他的畫中，我們很難找到相同的用色習慣與處理方式，甚至也找不到相同的面貌與姿勢，此乃其獨特的創造心使然。
文／傅慶豊的世界 張振宇 （曾任台北市立美術館館長）
013
Walasse TING
(Chinese-American, 1929 - 2010)
Girl with Flower Acrylic on paper 180 x 96.5 cm With two seals of the artist EXHIBITED: International Master Series - Walasse Ting Solo Exhibition , Tenpo Art Center, Hsinchu, Oct 1 - 31, 2007 ILLUSTRATED: Walasse Ting - Jolies Dames , Yves Rivière Editeur, Paris, 1988, color illustrated
丁雄泉 戴花的女孩 壓克力 紙本 180 x 96.5 cm 鈐印左上：採花大盜 展覧： 「國際大師系列展 採花大盜 丁雄泉個展」， 天寶藝術中心，新竹，展期自2007年10月1日 至10月31日 圖錄： 《丁雄泉－美麗佳人》，伊夫瑞萊出版社， 巴黎，1988，彩色圖版
HK$ 600,000 - 1,100,000 NT$ 2,344,000 - 4,297,000 US$ 77,300 - 141,800
Posing gracefully in languor, the seemingly Western female in this painting exudes a sense of loveliness and charm as her eyes gaze dreamily ahead. With her lips slightly parted, she seems poised to reveal a repressed desire to softly speak out. A thin layer of transparent color composes the slender form, while the fine curves of ink strokes outline the female form, creating an aura of mistiness and litheness. With flowers and fruits spread about the painting, Walasse Ting cleverly creates a methodical, rhythmic space of poetry. The elegant lady’s hand fan, translucent tasseled shawl, as well as flowers and still-life objects, all intensify the colors against the ink-line structure. The fluidity of the acrylic paint selected by the artist moreover enables the free expression of bold brushstroke movement. After relocating to New York in 1958, Ting became highly influenced by abstract expressionism, and his works began to display a distinctive style of natural unrestraint and rhythmic agility. His use of bold splashes, line drawing techniques, and large blocks of color also echo the expressiveness of Henri Matisse and the Fauvist movement of the early twentieth century. This style upended the rules of traditional painting, with fierce and intense colors appearing expressive and vivacious in comparison with classical works of composure and delicateness. Incorporating the styles of East and West, and with a combination of fluid ink-and-wash lines and vivid, bursting color, one cannot help but be wholly enamored with the compelling artistic language of Walasse Ting.
畫面中貌似西方面孔的女性閒適佇立，柔情萬種、大方嫵媚。平視迷矇的眼神與微張的雙唇彷彿欲語還休。構圖冠 以薄透顏料的單纖身形、柔曲幼細墨線勾勒女體輪廓，給人飄渺、輕盈之感。丁雄泉巧妙以花卉、水果作為分佈畫 面各處多點狀的構圖，亦成功打造聚散有致、富節奏感的詩意空間。 作品中的仕女雅扇、若隱若現的流蘇披巾、與花卉靜物彰顯出墨線為骨幹的色彩詮釋。加上藝術家遴選的壓克力顏 料流動性高，更能適意揮灑其筆下的豪邁動勢。1958年，丁雄泉轉赴美國紐約發展，受抽象表現主義影響，作品流 露率性瀟灑且節奏輕盈明快的鮮明風格。畫面中潑灑、線描、開闊的大塊面色調，更帶有二十世紀初，馬蒂斯野獸 派主義的表現手法餘韻，其顛覆了舊式繪畫法則，狂暴濃烈的色彩相較於古典絹秀端莊的作品，顯得奔放靈動。 筆觸亦東亦西，流暢的水墨線條對以傾瀉的鮮麗色彩，丁雄泉的藝術語言在東西匯粹的這一剎那，圓滿成就令人無 限傾慕的美好邂逅。
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014
Michael LIN
(Taiwanese, b. 1964)
林明弘
Flower
花
2010 Oil on canvas 200 x 200 cm
2010 油彩 畫布 200 x 200 cm 簽名畫背 M 2010
Initialed on the reverse M in English, dated 2010
HK$ 440,000 - 650,000 NT$ 1,719,000 - 2,539,000 US$ 56,700 - 83,800
“Fine fragrance does unfurl as the last red petal falls—It is aptly called the flower king! Proudly flaunting unparalleled beauty, there could be no sweeter scent.” 「 落盡殘紅始吐芳、佳名喚作百花王；競誇天下無雙艷、獨佔人間第一香。」 ─ "Peony" by Pi Rixiu (Tang Dynasty) 唐朝 皮日休《牡丹》
According to Pi Rixiu’s poetic praises, the peony has long been viewed as a symbol of wealth. Zhou Dunyi , a Song Dynasty official once wrote that “Peonies — truly, a treasure among flowers .” The positive imagery of peonies flows from the brush of Michael Lin, who adopts traditional Taiwanese peony cloth (grandma’s floral cloth) as the primary visual focus in this series. Lin fosters a dialogue between worldly matters of generations and contemporary art, and in doing so has produced a critically acclaimed result. Lin’s vivid work is often seen in various modern art exhibitions throughout various countries in Asia and the West, and he has swiftly charmed the international art scene with his depictions of traditional Taiwanese peony floral cloth. In 2000, Lin was commissioned to paint peonies and phoenixes on the floor of the Taipei Fine Arts Museum's main lobby. His floral cloth represents a local lifestyle deeply rooted in contemporary art while remaining fresh, offering viewers a brand-new interpretation of local color. The peach pink and bright orange peonies in Flowers possess a sense of traditional elegance and a leisurely aura while the leaves and the background form a layout of cuttings that resemble geometrical figures and splitting cracks. They appear altogether detached yet remain connected to one another. Different color blocks are put together, exhibiting a beautifully succinct aesthetic. The composition highlights two large peonies, revealing the thriving and flourishing nature of myriad flowers in full bloom. 除了唐朝皮日休的詠讚，牡丹自古也為富貴吉祥的象徵。故宋朝周敦頤曰︰「牡丹，花之富貴者也。」 牡丹花所承載的正面意像流轉至林明弘的畫筆下，蛻變為台灣傳統牡丹花布 (阿嬷的花布)為視覺主體的 系列作，將上兩代親切敦厚的人間煙火與當代藝術對話，擲地有聲。於歐美以及亞洲各國現代美術展覽 中經常能見到林氏的鮮明作品，林明弘使臺灣牡丹花布驚豔國際藝壇。2000年，林明弘更將牡丹與鳳凰 繪於台北市立美術館的大廳地板上，林明弘的花布以一種既鄉土又時尚的生命型態深根當代藝術，給予 觀者嶄新的鄉土色彩詮釋。 本拍品《花》，粉桃紅與亮橘色牡丹的豐沛飽滿，蘊含傳統典雅之美與閒適情境。作品葉片與背景中看 似幾何又似縫隙的切割佈陳，看似分離實又連接，構圖中運用不同的色塊進行拼接變化，使畫面簡潔唯 美，突顯兩朵大牡丹的主體性，展現繁花之間再生繁花的花開自在。
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015 PANG Jiun
(Chinese, b. 1936)
Guanyin Mountain 2013 Oil on canvas 102 x 102 cm Signed lower right Pang Jiun in Chinese and dated 2013 With one painted seal of the artist This painting is to be sold with a certificate of authenticity signed by the artist.
HK$ 400,000 - 550,000 NT$ 1,563,000 - 2,148,000 US$ 51,500 - 70,900
龐均 觀音山 2013 油彩 畫布 102 x 102 cm 簽名右下：龐均2013 手繪鈐印：均 附藝術家親簽之原作保證書
016
ZENG Chuanxing
(Chinese, b. 1974)
Sacrifice of Youth No. 3 2004 Oil on canvas 119 x 78 cm Signed lower left Z . and zeng chuanxing in English, chuanxing in Chinese and dated 2004 PROVENANCE: Christie’s Hong Kong, 25 May 2008, Lot 416 EXHIBITED: Exhibition of Contemporary Oil Paintings , Hunan Institute of Art Research, Hunan, China, February 4, 2007
HK$ 750,000 - 1,200,000 NT$ 2,930,000 - 4,688,000 US$ 96,600 - 154,600
曾傳興 青春祭之三 2004 油彩 畫布 119 x 78 cm 簽名左下︰ Z. 傳興 2004 zeng chuanxing 來源： 佳士得香港 2008年5月25日 編號416 展覽： 「當代油畫藝術年展—首屆」，湖南省書畫藝術研究院 美術館，長沙，中國，展期2007年2月4 日
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Rembrandt Peale (1778-1860), Portrait of Miss Knapp, circa 1820, Collection of Milwaukee Art Museum, USA. 伯爾，林布蘭特《納普的肖像》，1820年，美國 密爾沃基藝術博物館藏
Jan Van Eyck, Lucus, circa 1436, Collection of the Frankfurt Städelsches Kunstinstitut, Germany. 揚凡埃克《盧卡聖女》，約1436年，德國 法籣克福施泰德爾藝術研究院藏
The present lot Sacrifice of Youth #3 (Lot 016) depicts a demure central women infused with an air of nostalgia. Zeng Chuanxing’s roots in Classical Realism began to form when he studied at the Minzu University of China during the 1990s. His exquisitely rendered Realist work is utilized as a means to express his feelings and attitudes towards life. The present lot is integral as it was completed during the transitional period as the artist move towards his subsequent Paper Bride series. He adopted the traditions of Nederlanden portraits traditions with a realist technique to portray the central model, the eyes and hands of the figure is meticulously depicted with subtle and refined brushstrokes, as the artist believes that it is a window to one’s soul while simultaneously adds an air of feminine gracefulness and delicacy to the figure, thus enticing the viewer to ponders about the intimate emotions of the central woman. The harmonization of color tones can be observed from the vibrant red hue of the figure’s ensemble, as it greatly contrasts and complements with the dark brownish background, positioning the young female in a state of quiet solitude within a melancholic backdrop. Moreover, her drapery red ensemble greatly complements and accentuates the serenity and the translucent complexion of the young female, resulting in a composition that recalls the ancient iconic images of Virgin Mary in Northern Renaissance art. The oriental red of the drapery outfit is also traditionally symbolic of marriage and celebratory occasions, through which the artist metaphorically questions the institution of marriage and the stereotypical role of women. In this instant, the female form is used as a metaphor to illustrate the agony of isolation and the uncertainty of reality, magnificently illustrating one’s internal struggle and vulnerability within the context of modern China. The aesthetic of Zeng’s Sacrifice of Youth #3 lies in its composition and emphasis on an artistic approach that incorporates the classical realist painting with contemporary ideas, effectively creating a visual dialogue that is uniquely his and entices the viewer to take part in the artist’s discourse.
《青春祭之三》(Lot 016) 描繪一位嫻雅的少女端坐於充滿濃郁的懷舊氛圍中。自1990年代曾傳興在中央民族大學美術院修讀，便深受古 典寫實主義的吸引，他以刻畫入微的寫實作品自抒胸臆及表達其對待生活的態度。《青春祭之三》是畫家由早期肖像畫轉折至其後《紙 新娘》系列的重要作品。 曾傳興採用了尼德蘭畫派肖像畫的傳統寫實技法，他認為眼眸是一個人的靈魂之窗，故運用細膩的筆觸描繪女子的眼眸與手，藉此為她 增添優雅溫婉的氣質，以吸引觀眾探究她的內心世界。作品色調和諧，女子身穿鮮紅色的長袍與深褐色的背景形成強烈的對比，映照出 孤寂的少女置身於昏暗的空間。 此嫻靜而擁有亮麗白皙容顏，身穿紅色長袍的少女不禁令人聯想起北方文藝復興時期聖母的形象。在中國，紅袍乃傳統婚嫁的象徵及於 喜慶節日所穿，畫家借此隱喻對婚姻制度及女性所扮演角色的質疑。與此同時，畫中少女亦暗喻在現今中國社會，人們因被孤立在無常 的世界而感到惴惴不安，內心不斷掙扎及脆弱的一面。《青春祭之三》之美，不僅展現在構圖上，畫家更巧妙地融合古典寫實主義及現 代理念，成功地創建獨樹一幟的視角對話，並吸引觀眾參與其中。
017
YE Yongqing
(Chinese, b. 1958)
I Love You (a set of 65) 2004-2008 Mixed media on canvas 50 x 40 cm ( x65 ) Signed on the reverse 1/65-65/65 Ye in Chinese
HK$ 2,900,000 - 5,000,000 NT$ 11,328,000 - 19,531,000 US$ 373,700 - 644,300
葉永青 我愛你（六十五件一組） 2004-2008 綜合媒材 畫布 50 x 40 cm ( x65 ) 簽名畫背：1/65-65/65 叶
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I LOVE YOU (A SET OF 65) YE Yongqing
YE Yongqing graduated from the Oil Painting Department of the Sichuan Fine Arts Institute in 1982; three years later he went through the baptismal trials of the '85 Movement in Chinese art; then, in 1986, he formed the Southwest Art Group with some of his artist friends, including Zhang Xiaogang, Zhou Chunya, Mao Xuhui, and Pan Dehai. The newly formed circle of artists focused on a new figural style that stressed intuitive feelings and underscored the importance of the value and experience of life. After twenty years of such experience and change, Ye became a dominating figure in the modern Chinese art world. Even as other artists in Sichuan embraced the rise of realistic homegrown art and what was termed “scar art” in the early ‘80s, Ye sidestepped these movements and instead followed his own path by imitating techniques of the modernist artist Paul Cézanne and later the surrealists Giorgio de Chirico and Salvador Dalí. After encountering the art of these surrealists, Ye began using humor and dreams to express the meaning he found in his inner spirit rather than merely re-presenting objects of the outside world. In 1987 Ye finished a number of ink washes, lacquer paintings, and woodblock prints, and his works at this time began to incorporate the “picture frame” structure into the works themselves. Within the context of this new structure, Ye achieved new breakthroughs in terms of materials (oil-paint propylene made into ink wash; canvas and many other types of paper) and mediums of painting (oil and Chinese painting, woodblock printing); his works no longer adhered to realistic or symbolic representation, and his use of colors, once moderate and weak, became bright and fresh.
operate his own art space, earning him the moniker the “Yunnan’s Captain of Modern Art.” "I Love You" was created over the course of 2004 to 2008 and is a combination of 65 separate pieces. It may be seen as a mishmash of smaller side projects and inspired sketches and studies that an artist plays around with while working on a much bigger project. They resemble an array of short quips, fragments, moods, and feelings—even more, they form a diary of moods, where each mood is seen and transcribed before they interact and coalesce to form a whole. Lv Peng once gave his evaluation of Ye’s works as being charged with “poetic significance”: this poetic meaning is injected into the works where it merges with the images there created. In this series, Ye similarly uses “poetic significance” to interpret his work as “a scattered deck of poker cards.” In this respect Ye says, “While preparing the exhibition I saw some connections with neighboring works, but other than that, the smaller single works could all be combined into something new .” The years from 2004 to 2008 were an important period for Ye Yongqing. In 2004 he retired several of his many personas—art gallery manager, curator, art space host—and he also ceased his frequent commute between Beijing and Kunming. During these years, he gave his heart back to the capital city, and went back to being a simple artist fully dedicated to creating art. It is no wonder that this became a high-point in his artistic success.
1991 saw Ye begin his Big Character Poster installation, also known as his Big Poster series. All of our trivial daily matters are clipped and pasted into the series as Ye sees fit; thus we see newspapers, news clippings, bird cages, light bulbs, water piping, automobiles, old photographs, comics…. all coming together to form a collective diary for a special place in time.
Ye’s high point in art was also a high point for his nation. During this period, Ye saw first hand the economic rise of both Beijing and the entire nation— Beijing had just recently won its bid for the 2008 Olympic games, public infrastructure was being improved or newly created, the nation was filled with the vibrancy of life, the burgeoning economy spurred increased growth of industry in China, and all of this further led to the rich growth of the art market.
In 1997, Ye chose to leave Chongqing owing to a physical condition and returned to his hometown, Kunming, where he inaugurated the Riverside Art Hall and the Art Center. This made Ye the first artist to organize, curate, and
Arrows, numbers, screens, circles, crosses, figurines, birds and their birdcages, dead leaves, fish, fruit, posts, and a number of other symbols
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repeatedly appear within the space of his rectangular frames, filling them with childlike fun and imagination—the love story of the older man for his Lolita, the exchange of keys to each others heart, and a rejected love letter. There are also the poker cards on which were ranked the enthusiastic and rising authorities from those years. Owing to this unique historical backdrop, the series became an expression of the states and moods of the excitement, the happiness, the life, and light of the artist. It was an expression of the opened hearts and natures of that generation, it was a recording and venting of moods, and it was a testimonial—a summary—of that era. That is precisely why Ye chose to title this piece “I Love You.” “My paintings from the 1990s showed some changes from my past works, with more use of a ‘scribbling’ style, a type of mood diary. It was a little like what we now call a blog. I wanted to distance myself from the ideological movements in China and instead pursued a freedom of expression that went beyond local symbols. Back then I spent most of my time traveling in Germany, New York, and other places .” (May 1995, The Mirror is Not a Stand: The
great Western master. He uses an impish freedom in the way he scribbles and writes over the canvas, a more genuine and direct expression of concepts, and he mashes an assortment of material applications and expressive techniques together in his mind while remaining in full control of them all. He transcends culture and ethnicity, status, and location. Within the confines of history, time, and space, he found a harmonious world. Symbols and language that are often repeated in his works gradually came to form a distinct set of vocabulary; the different connections and reverbs between these vocabularies in turn led to a linguistic realm which metamorphosed into a wholly unique painting style and artistic language. In the words of the artist himself, “A man’s life is limited; this is especially true in the face of time. History tells us that while human life is short, human art is immortal. When all is measured against time, art may be the only thing that can truly stand the test of time .”
Conversations of Ye Shuai and Li Xianting )
Ye’s scribbling, casual style, as well as his bright, cheery use of color was formed during this period in the 90s. He began to travel the world, seeing and experiencing new things in Germany, France, the UK; he began looking for ways to make new breakthroughs. Ye might have been called a “vacuum” for all the elements he sucked into his mind. This period allowed him to cut right into and honestly observe himself. His “Big Posters” and the heavy Chinese artistic and political symbols they incorporated were now something he avoided; he instead clung to an expressive style that was lighter, more focused on the self. This was when he took up the uninhibited scribbling and diary styles which he has since used in his works. In many of the interviews Ye has given, he mentions the inspiration he draws from Cy Twombly—an artist whom he greatly admires—which has influenced his own scribbling style and textual quality, his naiveté, and childish pleasure. Ye’s style and art are also in many ways a tribute to this
Photo YE Yongqing and I Love You , Beijing, 2008 (Courtesy of F. Fine Gallery)
葉永青於1982年畢業於四川美術學院油畫系，歷經了85美術新潮運動的 洗禮， 1986 年和好友張曉剛、周春芽、毛旭輝、潘德海等，組成「西 南藝術群體」，以新具象風格為主要的創作走向，重視直覺感受，強調 生命經驗與價值。歷經二十多年的歷練和轉變，這群藝術家如今在中國 當代藝術界都已成為舉足輕重的人物。 1980年代初期，四川適逢傷痕藝術與鄉土寫實的崛起，葉永青卻未捲 入這波浪潮，而是從師法現代主義塞尚大師入手。後來接觸到超現實主 義畫家契裡柯、達利的藝術，繪畫物件從對外在的生命世界轉向精神的 輸出和夢境式的表達，幽默詼諧式的圖像。1987年，他創作了一些水 墨畫、漆畫和版畫，畫面開始出現了框架式結構，在框架的統一下，在 繪畫材料（油畫丙烯轉為水墨，布和各種紙張）、繪畫種類（油畫版畫 國畫）上有了更新的突破，不再拘泥於寫實或者象徵，畫面色彩也從平 和、弱調趨向于鮮豔明亮。 1991年他開始「大字報」的裝置，又稱之為「大招貼」系列。日常生活 中的瑣碎形象，如書刊報紙、畫冊裁剪的消息，鳥籠、燈泡、水管、汽 車、老照片、漫畫...，隨意地書寫、拼貼組裝，成為特定時空的一種公 共日記。 由於身體原因，1997年葉永青從重慶回到故鄉昆明， 並隨後在昆明創辦 了上河藝術會館和創庫藝術中心，也是中國藝術家自營空間的第一位組 織者和策展人，被公認為「現代藝術的雲南總舵主」。 《我愛你》這組作品創作於2004-2008年，是由65幅作品組成，是藝術家 在畫大幅作品之餘日記式的即興塗鴉、隨心創作的小幅作品。它們就像 是一些小的句子、小的片段、小的心情和感覺，更像是一種心情日記， 它們各見性情，各自成章，又互相關聯，構成一個整體。
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呂澎曾評價葉永青的作品充滿「詩意」：他將詩意注入繪畫，並且融合 到他所創造的圖像中。對於這組作品，葉永青也「詩意」地解讀為「一 張張打散了的撲克牌」。他說：「在佈展時，除非有些相鄰作品之間有 所關聯之外，其餘的單幅小品都能重新組合。」 對於葉永青來說，2004-2008年是一個重要的階段。2004年，他卸下了 畫廊老闆、策展人、藝術空間主持人等等多重身份。結束了昆明北京兩 地跑的生活，將重心轉到北京，回歸到做一個純粹的藝術家，全心的投 入藝術創作，也是他創作的一個高峰期。這個階段，也是他親身經歷和 體驗了北京乃至全中國的一個經濟輝煌的時段，中國剛剛申請到2008年 北京奧運會，各項公共設施興建，一片生機勃勃的景象，經濟的騰飛帶 動著各行各業的高速發展，也見證了藝術市場的繁榮景象和發展盛況。 在他的畫筆下，箭頭、數字、屏風、圓圈、打叉、人兒、鳥、鳥籠、落 葉、魚、水果、欄杆等符號反復出現在矩形的方框中，充滿了童趣和想 像，既有身邊大叔和小蘿莉的愛情故事、交予對方心房的鑰匙、被拒絕 的情書。也有撲克牌上面當年熱衷和興起的各種權威排行榜。由於當時 所經歷時代的背景下，這組作品是藝術家當時的歡快、振奮、活力、陽 光的狀態和情緒的體現，對那個時代敞開胸懷、率性、直抒胸臆的表 達，心情的記錄和抒情，以及對那個時代的見證和總結性的意義。因 此，葉永青用《我愛你》來命名這件作品。 「1990年代的繪畫有一些變化，更多是一些塗鴉的風格，是一種心情筆 記，有點類似今天的博客（部落格）。我當時的心態是想遠離一種意識 形態化的中國現在風情和潮流，追求超越地域特徵的自由表達。那時候 我也大多數時間遊離於德國、紐約等。」（摘錄自1997 年5月《明鏡亦非台：葉帥 與老栗對話錄》）
葉永青與《我愛你》合影，北京、2008年（圖檔來源：方音畫廊）
藝術家的這種塗鴉和隨意的風格，明亮歡快的用色，是從九十年代中期 形成的。他開始周遊世界，德國、法國、英國，去尋求突破、嘗試新的 東西，像一個「接收器」一樣吸收各種新元素，這段經歷讓他直觀、真 切地返觀自己。他開始有意識地避開自己之前以「大招貼」為代表的帶 有濃重中國藝術形態和政治符號的風格，追求輕鬆、自我的表達，終於 以塗鴉式、日記式的語言酣暢淋漓的表現出來。
般自由放縱的塗鴉式書寫方式、更真實直接的觀念表達、把各種繪畫材 料的使用和多種表現手段融匯貫通，並超越文化的種族、身份、地域的 局限，在歷史、時間與空間中，尋求一個和諧共處的世界。一些符號和 語言在作品中反覆出現，慢慢逐漸成為一種詞彙，詞彙和詞彙之間的不 同聯繫、互相作用，變成了一種語境，形成一種獨特的繪畫風格和語 言。
葉永青在多次公開接受採訪中，提到他筆下的塗鴉式、天真、童趣、 書寫性，是受到一位他很欣賞和崇拜的塞·湯伯利（Cy Twombly）的啟 發，也是以他獨特的方式，向這位西方藝術大師致敬。他以獨特的頑童
正如葉永青本人所說：「人的生命是有限的，特別是在時間面前，歷史 告訴我們的是人生短促而藝術長久，所有和時間的較量，也許只有藝術 可以留下來。」
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CHU Teh-chun
(Chinese-French, 1920 - 2014)
Souffle de la nature 1992 Oil on canvas 117 x 90 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 92 Signed on the reverse CHU TEH-CHUN in Chinese and English, titled Souffle de la nature in French and dated 1992
HK$ 2,000,000 - 4,000,000 NT$ 7,813,000 - 15,625,000 US$ 257,700 - 515,500
朱德群 大自然的氣韻 1992 油彩 畫布 117 x 90 cm 簽名右下：朱德群 CHU TEH-CHUN 92 簽名畫背："Souffle de la nature" CHU TEH-CHUN 朱德群 1992
Chu Teh-chun was particularly fond of the color blue. He once commented that “the poetic quality of the color and the deep emotions it inspires created the sapphire blue tone in my spiritual ‘palette ’” (Tsu Wei, Biography of Chu Teh-chun , Taipei: Hoke Art Publishing Co., Ltd., 2003, p. 232). Chu Teh-chun felt that, in nature, blue was the color with the greatest “presence.” This particular work has been instilled by the artist with the imposing, magnificent blue tones of mountains and waters. Chu makes expert use of the contrast between thick and thin paint application and between dry and wet that is so important in oil painting to create a misty, gauzy feel, while also achieving the kind of “texture” seen in traditional Chinese ink brush painting. In Chu’s hands, oils are not merely colors; they are transformed into a creative lexicon of immense power. In “”Souffle de la Nature,” Chu uses broad, sweeping brushstrokes to create a black and green background, while the center of the canvas features dark orange, yellow, brown, blue, white and red “gemstone” color patches that sparkle brilliantly. The dynamic “gemstone” color patches whirl around amidst taught, twisting lines, create a sense of multiple dimensions. Refusing to be constrained by traditional rules of perspective, Chu has created a work that is alive with the contrasts between light and dark, producing a complex, interleaved composition. This work demonstrates how, by the 1990s, Chu Tehchun’s shift towards a more abstract style had seen him achieve more freedom and confidence in terms of both his brushwork and his use of color. Under Chu Teh-chun’s masterly brush, a static painting takes on a sense of speed and dynamism; the contrast between light and shadow takes control of the work, magically transforming the dimensionality of the canvas, so that the misty “landscapes” are both still and full of movement. Chu makes the constant change of the cosmos and the relationship between man and nature exude a poetic rhythm that gives off a feeling of joy and acceptance, embodying the spiritual awakening that Chu himself felt that nature had given him, and reflecting the comments that Chu once made to the effect that “What I paint is both my response to nature and the feeling that nature instills in me. You might go so far as to say that the work is the spiritual crystallization of my relationship with nature. ” The sudden appearance of light in the canvas seems like the first light of victory after eons of darkness, embodying the rebirth of hope. “Souffle de la Nature” can fairly be said to constitute one of the finest masterpieces to take its being from Chu Teh-chun’s lifelong artistic journey of the spirit. 朱德群傾慕藍色，曾言：「詩意的斑斕和濃情，在我的心靈的調色板上，調出了我的寶石藍色調。」 (參閱祖慰著，《朱德群傳》，霍克國際藝術股份有限公司出版， 台北，2003，頁232) 朱德群認為，藍是大自然中最有氣魄的顏色，朱氏於此作注入大山大水雄渾氣魄的藍，並充份掌握油彩的厚、薄、乾、濕，展現 渺氤 氳感及傳統水墨的肌理，使油彩不僅代表色譜，更昇華為浩淼的創作語彙。《大自然的氣韻》以大筆觸的寬闊書法線條繪畫出黑色和綠色的背景，畫 布中央顏料深濃的橘、黃、褐、藍、白、紅等繽紛寶石色塊，閃耀玲瓏。充滿動勢的寶石色塊盤旋於蜿蜒有勁的線條，創造出「多重」維度，不囿於 傳統的透視空間，劃分出明暗強烈與跳耀的畫面，使構圖縱橫交疊。1990年代的朱德群，已經歷抽象風格的轉換、畫筆的揮灑與用色越發適意自在。 在朱氏出神入化的大筆刷下，靜止的作品搖昇其空靈的速度感，帶出巍巍能量；深刻的光影掌舵，巧妙推拉搖移畫布維度，使看似雲山煙樹的靈秀山 水亦靜亦動。朱德群睿智地將宇宙變化、人和自然的關係伴隨詩意節奏，散發出喜悅與從容，貫徹大自然賦予朱德群的靈性啟示，並呼應藝術家曾經 敘述：「我所畫的，是我對大自然的感覺，也是大自然賦予我的感覺，徹底的說，是大自然與我靈性的結晶。」畫布中心的靈光乍現，彷彿衝破歲月 囚於黑暗的第一道勝利曙光，勾勒出的柳暗花明的希望之地，《大自然的氣韻》可堪稱為朱德群終生藝術信仰的開花結果之作。
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ZAO Wou-ki
(Chinese-French, 1921 - 2013)
Mars - 3 Avril 2003 2003 Oil on canvas 97 x 195 cm Signed lower left Wou-ki in Chinese and ZAO in French, dated 2003 Signed on the reverse ZAO Wou-ki in French, titled Mars-3 Avril 2003, and inscribed 97cm x 195cm ILLUSTRATED: Connaissance des Arts (hors-série, Zao Wou-ki) , Paris, 2003, color illustrated, pp. 28-29
HK$ 19,000,000 - 30,000,000 NT$ 74,219,000 - 117,188,000 US$ 2,448,500 - 3,866,000
趙無極 3月- 3.4.2003 2003 油彩 畫布 97 x 195 cm 簽名左下：無極 ZAO 2003 簽名畫背：ZAO Wou-ki Mars-3 Avril 2003 97cm x 195cm 圖錄： 《藝術鑑賞雜誌》（趙無極專刊），巴黎，2003，彩色圖版，頁28-29
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MARS - 3 AVRIL 2003 ZAO Wou-ki “An irreversible new stage had now begun; I wanted to paint what I could not see: the breath of life, the wind, the movement of energy, the life-force of form, the unfolding and merging of color. ” – Zao Wou-ki "Mars - 3 Avril 2003" serves as an accumulation of sentiments consolidated throughout Zao Wou-ki’s artistic development from his early poetic figurative work to his subsequent mastery of meditative abstract compositions. In the 1950s, Zao Wou-ki’s adoption of oil painting parallels with his believe that beyond the reproductions of Cézanne, Matisse and Picasso, there were possibilities before him that a strict codified art of traditional Chinese painting could not offer. The dreamlike imagery of the present lot transpires a poetic transcription of reality. It is indeed this well-savored cultural charm, coupled with a synthesis of Western elements that create an artistic language and methodology that is distinctively Zao’s and allow many to resonate with his creations. ABSTRACTION AND AN ETHEREAL PERSPECTIVE In 1954 Zao Wou-ki launched himself into the world of abstract painting, deviating from the former skeletal silhouettes in his early years. Furthermore, upon his return to Paris from New York at the end of 1959, he abandoned all borrowings from natural forms and began tracing spontaneous brushstrokes on his canvases. Moreover, his formats became considerably larger and titles of his works became mere dates acknowledging the day when the painting is completed. “During this period my painting became illegible. I was moving towards imaginary. ” The spontaneity of abstract art signals a new liberty that illuminates the spirit of Zao’s work and its evolution. The impromptu rendering of a beautiful color palette of the present lot contain a sensuous combination of nostagic purple, black, magenta and a pale airy beige of a sumptuous quality, executed with a fluidity that is rendered with brushstrokes amassed in the middle in a light and airy vagabondage, where the artist introduces us to a space with voids and floating forms that is more allusive than realistic. Zao Wou-ki is able to bring out deftly the beautifully executed lines or a subtle delicate stroke built upon a foundation of several basic colors. The artist once referenced the memorable performance of Deserts at the theater des Champs-Elysees. “As from that moment, I began to give rhythm to light, following other pulsations. ” Coincidentally, the purplish mist emanating from the dark masses dances across the canvas harmoniously like a well-choreographed music, the movement of each individual note responds to another note forming a mutually constructed tonality that creates endless permutations and possibilities infused with melody, rhythm and harmony. Simultaneously, the softer palette reflects a more relaxed composition that is also indicative of the artist’s more settled life in France.
REFINED NATURE OF CHINESE AESTHETICS Zao Wou-ki pursued audaciously and explored new compositions, rhythms, and ways of expressing himself through synthesizing qualities from both the Eastern and Western traditions. Undoubtedly, it was his Chinese heritage that led him to reconcile oil painting with the influence of traditional ink painting. He had experimented with colours by mixing his paint with large quantities of turpentine in attempts to make it flow like Chinese ink on the canvas. More specifically, Zao admired the serenity of Cimabue’s Maesta and contemplated on how the golden halos created a perspective that is reminiscent of ancient Chinese landscapes where planes were often separated by curtains of mist. The artist build on these conceptions and continued his explorations on the fluidity of ink and the flexibility of the wrist movement through the utilization of a large, flat brush that permitted the application of a thicker, more fluid coat of paint all come together in the end as a fruitful whole, as epitomizes by the present lot "Mars - 3 Avril 2003". It is apparent that the lines flow with the artist’s thoughts, from both sides of the canvas spun brushstrokes that cut horizontally in the middle of the painting, cohesively interpenetrating but without ever blending. The lines are broken yet continuing as it expresses the impulsive dynamics and leads the audience into the dedicate changes in colors in the form of an iridescent mist that is hardly visible yet momentarily perceptible. This quality is akin to the rhythm and expressiveness the free brush xieyi style of the Ming artists. The composition revolves between real colors and abstract shapes that is reminiscence of an ethereal sense of Zen and surrealism, which owes its origins to Zao’s adaptation of Shitao’s theories on painting that is ever so endearing to the heart of traditional Chinese ink painting, which posits “One must work with ease of movement, the hand held high, and the brush-stroke will be capable of brusque metamorphoses. When the wrist is guided by the soul, rivers and mountains surrender their souls.” Moreover, Zao once said, “Chinese painting works best with space and light ” for one thing, his concern with space and the effects of light and shade is fully reflected in the present lot, where the dark heavy elements in the center of the canvas interfere, combine, vanish and spread out before the lines weave into a light gossamer background on which the composition rest, intuitively restoring the principle of tiering in Chinese landscape painting, in which the mass of mountains float in the composition in order to evoke distance. Areas of void retains a pertinent role in the composition, the importance of which had been instilled in Zao since a very young age, when his father tried to show him the beauty in Chinese works of art that were within their reach at the time. More specifically, as in the words of Tao Te King in his reference to the fundamental notion of Chinese thought, that of emptiness. “Clay is modeled to make vessels, but their use depends upon the empty space inside.” In this regard, Zao Wou-ki introduced the essential role of caesura and void visible in the present lot in the form of an ethereal shade of soft beige that is soft, light and diluted, free from confining edges and follows the lyrical flow of the rolling mists. The vague nuances create a space without dimensions or limits by employing the composition of traditional Chinese landscape painting, which predicates upon the balancing of voids and solids to suggest infinite space and allows the imagination of the spectator to manifest. This meticulously executed empty space is further reminiscent of a manner of composition that is a derivative of the stylistic charm of the Song Dynasty, a means through which a poetic transcription of reality is transpired. Indeed, "Mars - 3 Avril 2003" serves as an accumulation of sentiments consolidated throughout Zao Wou-ki’s artistic development, an artist who has had an endless flow of solo exhibitions punctuated with numerous retrospectives. Zao Wou-ki has acted as a bridge between two cultures, as a link that authenticates both the survival of a tradition that is fresh, powerful and unforced. In his oil paintings, he masterfully employs traditional Chinese brush painting techniques to diffuse the surfaces with colors, yet at the same time in his compositional structure, colour treatment and spatial arrangement clearly exhibit the integration of Western painting aesthetics. In seeking to achieve greater levels of contrast and transparency, Zao emphasizes both depth and expansiveness, introducing layers of complexity into a two dimensional canvas that leads to an ultimate sense of breakthrough thus creating his own distinctive style, a testimony of an cultural exchange between the East and the West.
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「一個不可逆轉的新階段的開始：我要畫看不見的東西：生命之氣、風、動力、形體的生命、色彩的開展與融合。」－ 趙無極 《3月- 3.4.2003》是藝術家趙無極別出心裁之作，蘊含了其從詩意具像風格轉化成深邃抽象畫意過程中靈感的積累和思想的沉澱。20世紀50年代，趙 無極轉以油彩繪畫，他相信除了臨摹塞尚、馬蒂斯及畢卡索的作品以外，能探尋一個有別於傳統中國畫的新方向。趙氏的作品融會中西，形成獨樹一 幟的藝術語彙和表達方式。其筆下如夢境般的畫面宛如一幅詩意盎然的禪景畫，令觀眾產生共鳴。 抽象畫風與超凡視野 1954年，趙無極從早期以骨條建構形狀的表現方式，轉而埋首於抽象創作之中。1959年底，他從紐約回到巴黎，開始摒棄自然景物的具像表現，在畫 面上任意揮就。他的作品漸漸傾向為大幅創作，並以繪畫的日期命題。據趙氏形容：「這一時期的作品漸趨迷濛，並開始轉向虛幻。」抽象藝術的即 興特性標誌著藝術家特立獨行和勇於革新的精神。趙無極在畫作上以流暢的筆觸塗抹上幾筆紫黑和品紅，艷麗華貴。畫面的中央光影交錯，猶如雲霧 飄散，飄散到四周空白無垠之地，景象如同夢境。藝術家運筆靈巧，在積聚的色層上以細筆畫上優雅的線條。趙無極的創作方向源於其在香榭麗舍劇 院觀看的一場《荒漠》的表演：「從現在開始，我會根據光的脈動為其賦予節奏。」而這幅畫恰如其分地表達了藝術家的理念—紫色的霧氣從黑暗中 釋出，在畫布上隨著旋律翩翩起舞，彷如一曲音韻節奏和諧的樂章。與此同時，輕柔的色調襯托出簡潔的構圖，是趙氏在法國生活安定的寫照。 中國美學中的雅趣 趙無極勇於作出新嘗試，屢屢在作品中探尋新的構圖和節奏，並以純熟的傳統東西技 法不斷推陳出新。無容置疑，他深受中國文化的薰陶，致力將油彩及水墨技法結合。 他曾試圖將大量的松節油加入顏料中，令其如墨汁在畫布上流淌。趙氏特別欣賞契馬 布埃的《聖母登寶座圖》，並喜歡探究聖人頭上的光輪與中國古代山水畫以霧氣表 達透視效果的關係。藝術家以這些獨特的構思作為出發點，試驗墨汁的流動性及手 執扁平粗筆時的靈活度。趙氏擅用粗筆添加油彩，令畫面充滿層次變化，就如《3月3.4.2003》一樣。他又在畫中央以無約束的筆鋒分別從左右水平畫出暗紫黑色色帶， 到中間時戛然而止，富有動感，並引領觀眾細看霧氣若隱若現的色彩變化。這種表達 方法類似明代畫家富有節奏及表現力的寫意筆法，而重彩形虛的構圖則令人想起帶有 禪味和超現實主義的作品。趙氏同時受石濤的繪畫理論影響，相信「其運筆極重處， 卻須飛提紙上，消去猛氣，所以或濃或淡，虛而靈，空而妙。大山亦加此法。餘者不 足用。」。
Guo Xi, Old Trees, Level Distance , Song Dynasty (A.D. 960 1279), Metropolitan Museum of Art, New York, USA 郭熙 《樹色平遠圖》 宋朝 美國大都會藝術博物館藏
趙無極曾謂：「中國畫擅長空間及光影的處理。」這幅畫便反映了藝術家對佈局及光 影變化的關注。畫中深色的部份與細筆繪就彷如薄紗的背景融為一體，恰似傳統中國 山水畫中的山巒被籠罩於重重雲霧之中，雲霧在山間縈繞穿插，呈現景物的遠近距 離。留白是趙氏畫作不可或缺的一部份。他幼年時受到父親的啟蒙欣賞中國藝術，培 養獨特的美學觀念，同時以《道德經》的思想詮釋空白，認為泥土雖用來塑造器皿， 但器皿的用途是由其內在的空間而定。藝術家因而在這幅畫中加入停頓及柔和米色的 留白，以無形表達空間及卷動飄散的霧氣。藝術家以傳統中國山水畫的格局營造無邊 無際的空間，同時在有形及無形景物之間取得平衡，為觀眾留有想像的空間。而畫中 的留白令人聯想起宋時期的構圖特色，充滿詩意。 誠然，《3月- 3.4.2003》蘊含了趙無極這位舉辦過無數個展及回顧展的藝術家創作生 涯中思想的沉澱。他是中西文化之間的橋樑，活用自然而成、具感染力的傳統技法。 他雖以中國筆法繪畫油畫，但其構圖、色彩運用及佈局均為西畫的特色。趙氏強調景 深及空間的延展，以增強畫面上的對比及透明度。他在平面的畫布上表現出景像的遠 近層次，成為其創作中的一大特色，這一突破同時是中西文化交流的最佳見證。
Joseph Mallord William Turner, Flares in Heavy Seas, 1840, Collection of Stering and Francine Clark Art Institute, Williamstown, USA. 約瑟夫·瑪羅德·威廉·透納《在洶湧大海中閃耀》 1840年作 美國 克拉克 藝術中心館藏
020
JU Ming
(Taiwanese, b. 1938)
Taichi Series 1995 Bronze, edition no. AP 6/8 46(L) x 52(W) x 88(H) cm Engraved Ju Ming in Chinese, numbered AP 6/8, dated '95 This sculpture is to be sold with a certificute of authenticity issued by Kalos Gallery, Taipei.
HK$ 1,000,000 - 1,500,000 NT$ 3,906,000 - 5,859,000 US$ 128,900 - 193,300
朱銘 太極系列 1995 銅雕 6/8 46(長) x 52(寬) x 88(高) cm 簽名雕刻背後：朱銘 自 '95 6/8 附真善美畫廊開立之原作保證書
Ju Ming's famous sculptures, "Taichi Series", have made him an esteemed carving master worldwide. As he performed with knife and ax chopping and chiseling giant pieces of wood, he created a visualized and artistic of Taichi which embodies a Chinese philosophical outlook on life. During the period when Ju Ming practicing the ancient "Martial Art–Taichi", he soon discovered that Taichi did more than just make him stronger: It gave him much inner energy and opened up profound thoughts for his creative work. Ju gained firsthand experience of the awe-inspiring vital force that circulates through all living creatures, and as he gradually adopted this new philosophy and internalized its principles, he also started to express it in his art. This was the point of departure for his Taichi series , a collection of works brimming with impressive momentum and a joyful spirit. In these pieces, Ju managed to sublimate the abstract essence of traditional Chinese culture and to pour it into his creations that transcend language and geographical barriers. For Ju Ming, the "Taichi Series" is the starting point of his own unique style. He expresses the vital inner force discovered in Taichi boxing in a form that immediately resonates with a profound understanding of the energy within. In the "Taichi Series", Ju creates a tension between geometric abstract forms which bring forth the active and forceful postures of the figures. This, along with the contrast between the dynamic poses and the static material, and the rough and terse finishes create a rich rhythm in the works. As the renowned art historian Michael Sullivan said: "In his Taichi Series, this conflict of forces is explicit, in the dualism of the figures who thrust and retreat, give and take, in a dynamic relationship with one each other. An invisible electric current seems to flow between them. "
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朱銘的「太極系列」雕刻名聞遐邇，以刀斧劈鑿巨木的表現，將太極拳 法的意象予以形體化、藝術化，幾近完美地呈現中國哲人的自然觀，成 為國際間受人敬重的雕刻大師。 在朱銘以太極拳調養與修行期間，他體會到自然萬物、大氣運作的能量 與蘊涵，將其內化為個人思想體系後，漸表諸於雕刻創作上。於是，氣 勢磅礡的快意大作「太極」系列，便在朱銘的領悟與體會下以藝術創作 成形，「太極系列」雕塑的抽象意涵，將中國文化傳統化為超越語言、 國界的藝術創作。 在朱銘眼中，「太極系列」正是他個人風格的代表，而他所要表達的那 份生命力，是由內而外，而非由外而內。太極拳看似柔軟無力，實則陰 陽相生、柔中寓剛、剛柔並濟、動靜相隨，它以架勢誘導身體產生調和 動作的均衡，氣體運行，而達平與靜的效果。著名的藝術歷史學家麥 可．蘇立文說：「在他（朱銘）的『太極』系列中，力量的衝突通過雕 塑的進退和得失得到了明確的體現。它們之間似乎有一種無形的電流在 流動。」
The idea for the medium used in Gate of Wisdom from the "Taichi Series" (Arch) came from Ju Ming’s teacher, noted artist Yang Yuyu; it is a successful parting from the traditional complex realism of his Woodcarving and is instead simplified bronze sculpture. Being much harder and more solid in texture than wood, bronze presents the artist with difficulties in conveying the complexity of change in the final work. Nevertheless, this difficulty forced Ju Ming to acquire greater control of the substance and texture of his medium. Although each finished piece is simple and forceful on the surface, it still embodies within a very rich, abstract philosophical significance. Ju Ming's influence on the art scene is not only confined to Asia, it reaches areas such as Southbank Centre, in the UK with the almost half mile long river Thames. It was the first time Southbank Centre ever exhibited works of a Chinese artist, Ju Ming’s "Taichi" series to be specific. The Times published about the aforementioned exhibition at the time. Professor Michael Sullivan of the Oxford University praises “The accomplishments of Ju Ming exceed beyond the beauty of the beauty and power portrays by his work. More importantly, in comparison to his contemporary peers, connotative of his own cultural traditions, creates a naturalistic language that can be regarded to be inevitable ─ fountain. ” (Meng yu, Yang Carving for Humanity ─ The Biography of Ju Ming , CommonWealth Publishing Company, Taipei, 1997, p189) Professor Michael Sullivan has published a number of works on Chinese art which have since become texts for the teaching of art history at many Western universities. Michael is also the first Western authority to have applied a systematic method to the research of 20th Century Chinese art. Due to his work in this area, he has become an important bridge between Chinese and Western culture. He has also praised and collected pieces of Ju Ming’s art. Ju Ming and the West continue to agitate sparks, the Ashmolean Museum in London’s Oxford University is the world’s oldest museum; In 2003, an addition to their collection encompassed a similar work as the present lot entitled the "Taichi Series – Arch" (2000), presiding residing on the left side of the Museum’s front entrance, contrasting with the British reclining statue by Henry Moore, reflecting on the significance of Ju Ming’s work. In ancient China, relatively less emphasis in artistic development was placed solely on sculpture, rather those artists concentrated on crafts more related to painting. By contrast, forming techniques in Western sculpture began with an accurate portrayal of motion and understanding of the subject. In Ju Ming’s works, one can see the spirit of Western sculpture along with its grace, once again echoing the deep affinity Ju Ming’s works have with those of Henry Moore. The "Taichi Arch" is more abstract and imaginative. Upon a closer examination of the "Taichi Arch" series, the Ju Ming Museum has elaborated: "The Taichi Arch is evolved from the pushing Hands of two Taichi practitioners. The pushing hands of the past has a space between the two practitioners; while the creation of a new "Taichi Arch" will connect the two pushing hands into a whole. The figural image no longer exists and the work enters into a form that deviates from an abstract stylistic approach. The form encompassed a hidden charm, from the left to the right and from the right to the left; through an abstraction with modern qualities to convey the conception of an endless eternity ." This piece for auction is adroitly cut with geometric planes, from which one can tell that Ju Ming’s chisel threw off concern for "form" and instead leisurely followed the "intent" of the work, wandering from form to formlessness, passing through both the solid and the empty. Taichi Arc is truly worthy of belonging in any art lover’s permanent collection.
「太極系列」（拱門）的媒材源於朱銘在恩師楊英風的開示下，成功從傳統木雕繁複寫實表現蛻變，轉入化繁為簡的銅雕作品。由 於銅雕硬度極高，質感沉實，不容易複雜變化，使朱銘對對材質肌理的掌握更上一層樓，外型雖簡潔利落，本質卻蘊含豐富的抽象 的哲學意涵。 朱銘對藝壇的影響不單囿於亞洲，1991年，綿延在泰晤士河畔，長達半英里的英國南岸文化中心，第一次展出中國人的作品，寵兒 正是朱銘的「太極」。當時朱銘作品承蒙《泰晤士報》垂青，被大篇幅報導此展覽。牛津大學藝術史教授麥可蘇利文並歌頌：「朱 銘的成就，其實還不只在於他作品所呈現的懾人力量和美感，最重要的是，他比當世任何一位華裔雕塑家，更睿智地發現他自身的 文化傳統，是創造一種有效語言的自然 ─ 甚至可說是必然 ─ 泉源。」(參閱楊孟瑜，《刻畫人間 ─ 藝術大師朱銘傳》，天下文化出版股份有限公司， 台北，1997，頁189) 麥可蘇利文教授出版的多部中國美術著作，為西方大學美術史的教材。其亦是西方第一位有系統研究20世紀中國美 術的權威，扮演中國與西方世界的重要橋梁，其讚譽並收藏朱銘之作。 朱銘與西方激盪的火花不曾停歇，英國牛津大學艾須莫林博物館（Ashmolean museum）為全世界歷史最悠久的公眾博物館，甫於去 年2013 年正式典藏與本拍品提材相若的「太極系列 ─ 太極拱門」(2000年作)。艾須莫林博物館（Ashmolean museum），並將此作 展示於博物館正門入口處左側，與另一端英國雕塑大師亨利摩爾（Henry Moore）斜臥雕像一中一西相互增色，艾須莫林博物館對朱 銘雕塑的尊敬盡在不言中。在中國古代較少將藝術發展主力放於純粹雕塑品，而傾向具繪畫性的工藝美術；反觀西方雕塑的造型術 精確地從流動感和理解創造作品，於朱銘的作品中可見西方雕塑的泉源靈思和流暢感，再次呼應與亨利摩爾作品本質與朱銘之作的 深刻交融。 「太極系列」完備於更抽象奔放的「太極拱門」。深究「太極拱門」系列，朱銘美術館曾闡述:「太極拱門是由兩人對招的太極推手 演化而來，以前的『推手』兩個個體還有間距；而新創作的『太極拱門』則將雙手連接起來，一氣相通，合為一體，較之先前，人 物圖像形態己不復存在，作品進入了一種完全由抽象量塊所構成的造型領域。作品整體有如蘊藏氣韻於其中，左方傳送至右方，右 方再回送至左方，如此反反覆覆，透過一個抽象兼具現代性的造型語彙，傳達生生不息的概念，永恆而連綿無盡。」本拍品俐落的 幾何切面、手下刀斧不跟隨「形」，蛻變為循「意」游走，從有形到無形，貫穿實虛，著實值得藝術愛好者雋永珍藏。
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021
JU Ming
(Taiwanese, b. 1938)
朱銘
Taichi Series (Arch)
太極系列（拱門）
1987 Bronze, edition no. 3/10 89.6 (L) x 44.8 (W) x 59.2 (H) cm
1987 銅雕 3/10 89.6 (長) x 44.8 (寬) x 59.2 (高) cm
Engraved JU Ming in Chinese, dated '87 , numbered 3/10 This sculpture is to be sold with a certificate of authenticity issued by the nonprofit organization Juming Culture and Education Foundation.
HK$ 1,000,000 - 1,500,000 NT$ 3,906,000 - 5,859,000 US$ 128,900 - 193,300
簽名雕刻：朱銘 '87 3/10 附財團法人朱銘文教基金會開立之作品 鑑定報告書
022
TANG Haywen
(Chinese-French, 1927 - 1991)
Abstract (diptych) 1980s Ink on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese
HK$ 50,000 - 100,000 NT$ 195,000 - 391,000 US$ 6,400 - 12,900
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唐海文 抽象（雙聯幅） 約1980 水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文
023
ZHANG Guangbin (Chinese, b. 1915)
The Sensuous Temple 1999 Ink on paper 69.5 x 68 cm
張光賓 靈岩古寺 1999 水墨 紙本 69.5 x 68 cm 簽名左上：己卯張光賓
Signed upper left Zhang Guangbin in Chinese
鈐印左上：張光賓印 于寰
With three seals of the artist
鈐印右下：欲令眾山皆響
HK$ 80,000 - 140,000 NT$ 313,000 - 547,000 US$ 10,300 - 18,000
024 ZHU Xinjian
(Chinese, 1953 - 2014)
The Nocturnal Mountain Rain Ink and color on paper 44 x 53 cm Signed lower center da feng xinjian With one seal of the artist
HK$ 42,000 - 55,000 NT$ 164,000 - 215,000 US$ 5,400 - 7,100
朱新建 一夜山中雨 不知溪水長 彩墨 紙本 44 x 53 cm 簽名中下：大豐新建 鈐印中下：新建畫印 題識：一夜山中雨 不知溪水長
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This particular piece is characterized by Oriental elements in composition and style, yet also completes the difficult task of simultaneously displaying the curvaceous figure featured in Western paintings, especially evident in the shapes of the limbs. While the lower body appears rather ample, her hands and feet are exceptionally delicate—the female body and the poetry of the artwork mutually echo one another. The exquisite, emerald green wristlets and ear pendants further enhance the delicacy and purity of the woman, adding to the enchantment of the piece. The female body is depicted in a style of artful simplicity, with bold calligraphy lines contrasting the delicacy of the woman’s flawless skin. The unadorned delightfulness pays no heed to popular preferences, with a greater emphasis focused on fully expressing the unique elegance inherent in Chinese ink painting. Ink and wash reached the peak of its development during the Song Dynasty, and increased popularity of literati paintings gave rise to diverse styles. The calligraphy and composition styles of this work are reminiscent of works by Song Dynasty artist Liang Kai and calligrapher and artist Sun Jinlong . 本拍品構圖的氣質富涵東方情愫，但最為難人可貴之處在於人 物同時表現出西畫的體態感，特別在手腳部位其輪廓的運用， 女體下盤身型稍寬粗，但手腳卻格外溫柔纖細，作品中的詩意 與女子體態相互輝映。加上綴以小巧精緻的翠綠手鐲與耳環， 皆相襯出女子散發的嬌嫩與純美氣息，使整體畫面扣人心弦。 雖然畫中描繪女體，但其筆法樸實，書法線條架構粗獷襯托女 子皮膚嬌嫩，富含拙趣而不俗媚，盡展中國彩墨的韻味。宋代 隨著「文人畫」興起，水墨畫達到高峰，風格日趨多元，此作 在碑帖筆法與構圖呈現方面，與宋朝梁楷、書畫家孫金龍的作 品遙相呼應。
025 ZHU Xinjian
(Chinese, 1953 - 2014)
Appreciating the Flowers 1991 Ink and color on paper 47 x 56.5 cm Signed lower left da feng xinjian, dated 91, inscribed visiting Beijing . With one seal of the artist
HK$ 42,000 - 55,000 NT$ 164,000 - 215,000 US$ 5,400 - 7,100
朱新建 觀花圖 1991 彩墨 紙本 47 x 56.5 cm 簽名左下： 大豐新建製九十一年客在北京 鈐印左下：新建畫印 題識：觀花圖
This painting applies a single-figure composition to portray the charming nature of the curvaceous female form. The woman's leaning pose proffers subtle, flowing curves that highlight the femininity of the subject. The artist leaves ample space in the background and uses simple strokes to accentuate the subject matter. The cheerful, and eager looking woman leans against a tree branch while gazing out over her shoulder, visually expanding the space of the piece. The look in her eyes seems to reveal the artist's restless mind. The composition of this piece in particular is especially atypical; the slightly slanted perspective brings out a heightened sense of agility even as the artist deftly maintains a clever balance, generating a strong sense of harmony and rhythm. The woman's braided hair on the left is set off by the tree branches extending to the right; similarly, the title of the art on the right "Appreciating the Flowers" complements the artist's signature on the left da feng xinjian, dated 91, inscribed visiting Beijing. The rough-to-fine calligraphy strokes and thin-to-bold inky lines also exhibit balanced and playful simplicity, with the tree branches painted in a way that doubly reflects the inherent beauty of calligraphy. The thickness of the branches imitates the flow of calligraphy and stands in contrast to the delicate strokes that define the woman's curves, revealing a captivating and distinctive scene that gently enthralls the viewer. 此作品以單人構圖的形式，對曼妙曲線的女體進行刻畫。女子斜倚姿態， 使其曲線波動微妙具流動感，更明確突顯主題柔美的姿態。水墨背景大量 留白，繪畫線條簡單，使整體作品主次分明。女子低倚樹身，回眸斜望右 側遠處，充滿歡欣與期待，拓寬畫面的空間視野。雙眸帶花般的眼神與奇 韻，彷彿傳達藝術家千迴百轉的思緒。 本拍品構圖最為難得，略為傾斜的構圖營造水墨的靈動感，女子左邊的辮 子與畫中延伸至右側的樹梢左右平衡;右邊「觀花圖」文字和左邊「大豐 新建製九十一年客在北京」於作品空間相互填補，兩側巧妙呼應，使畫面 節奏與韻律十分協調而穩重。書法筆觸由粗收細抑或由細通往剛勁的黑線 都有互為平衡的樸實拙趣，特別在樹枝的描繪中，盡顯畫中樹枝與書法韻 味的連接與相襯。在靜與動之間，追隨書法勾勒樹枝的粗實，對比女性線 條更為嬌嫩細緻的筆觸，筆情墨趣於此作一覽無遺，別開生面。
026
ZHANG Guangbin
(Chinese, b. 1915)
Appreciation of the Mountain Scape 2007 Ink on paper 25 x 365 cm With two seals of the artist
HK$ 180,000 - 220,000 NT$ 703,000 - 859,000 US$ 23,200 - 28,400
張光賓 江山臥遊 2007 水墨 紙本 25 x 365 cm 鈐印左上：張光賓印 于寰九十 題識：
江山臥遊 年來寫字餘墨未嘗廢去 即就揮運 點點惡墨枝橫斜 疊疊青山幾隱栖 亦夢亦真 不可知也 姑名之為臥遊云耳 兩千零七年元月 九三蒙叟張光賓並記
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Zhang Guangbin was born in 1915 in Sichuan. He spent his childhood emerged in the beautiful landscape of Sichuan and the impressive experience became the fountain of his creativity in art. Zhang learnt from masters such as Fu Baoshi, Li Keran, Huang Junbi, Pan Tianshou, Feng Zikai and Kao Hungchin. Zhang’s research covers clerical script and tablet inscriptions of the Northern Wei Dynasty. Furthermore, his cursive script captures the spirit of Bada Shanren. After coming to Taiwan at the age of 53 years old, Zhang worked in Department of Painting and Calligraphy at the National Palace Museum and was responsible for the dicipline of calligraphy education. The artist issued dozens of vital essays related to Chinese art history during that time. Moreover, Zhang got The 29th National Culture Award of R.O.C. (Taiwan) in 2010 which textifies to his important role as a contemporary painting and calligraphy artist. Zhang held exhibitions in Taipei Fine Art Museum, National Taiwan Museum, and National Museum of History. His paintings were also collected by many magnificent art institutions such as National Museum of History, China Academy of Art and Kaohsiung Museum of Fine Arts. Selected Exhibitions:
300 years of fine arts in Taiwa n, National Taiwan University of Fine Arts, Taichung, Taiwan, 1990 Zhang Guang-bin at 90: A Retrospective Exhibition of Calligraphy and Ink Paintings , National Museum of History, Taipei, Taiwan, 2004
張光賓， 1915年生於四川，幼年成長於巴山蜀水之間，山居歲月的深刻 印象成為張光賓日後山水創作裡的重要沃土。張氏早期從傅抱石、李可 染、黃君璧、潘天壽、豐子愷、高鴻縉等諸名家學習。張光賓並涉獵隸 書、魏碑研究；才華洋溢不僅於此，更在草書創作上，又兼囊八大山人 神韻。 張氏53歲來台灣之後，進入「故宮博物院書畫處」任職，並兼任書法教 學，期間發表過數十篇有關中國藝術史重要論文。2010年獲第29屆行政 院文化獎殊榮，為台灣當代重要書畫家。 展覽遍及臺北市立美術館、省 立博物館 (今國立台灣博物館)、國立歷史博物館等。作品蒙多家重要美 術機構館藏，例如國立歷史博物館、中國美術學院、高雄市立美術館。 精選展覽： 《臺灣美術三百年作品展》, 台灣省立美術館，台中，台灣，1990年 《筆花墨雨─張光賓教授九十回顧展》，國立歷史博物館，台北， 台灣，2004年 《向晚逸興書畫情 ─ 張光賓教授九十歲後書畫展》，國父紀念館， 台北，台灣，2010年
027
YU Cheng-yao
(Taiwanese, 1898 - 1993)
White Rock Peaks 1986 Ink on paper 120.5 x 57 cm Signed upper left Yu Chengyao and titled White Rocks Peaks in Chinese With one seal of the artist PROVENANCE: Hsiung Shih Gallery, Taipei Acquired by the present owner from the above in 1986 November This painting is to be sold with a certificate of authenticity issued by Hsiung Shih Gallely, Taipei.
HK$ 240,000 - 340,000 NT$ 938,000 - 1,328,000 US$ 30,900 - 43,800
余承堯 白石峰奇（峰高入雲） 1986 水墨 紙本 120.5 x 57 cm 簽名左上：白石峰奇 余承堯作 鈐印左上：余承堯印 來源： 雄獅畫廊，台北 1986年11月購自上述來源 附雄獅畫廊開立之原作保證書
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028
LIU Kuo-sung
(Taiwanese, b. 1932)
The Autumn Landscape 2005 Mounted scroll, ink and color on paper 92 x 85 cm Signed upper right Liu Kuo-sung in Chinese and dated 2005 With one seal of the artist
HK$ 460,000 - 700,000 NT$ 1,797,000 - 2,734,000 US$ 59,300 - 90,200
劉國松 天山之秋 2005 彩墨 紙本 92 x 85 cm 簽名右上：劉國松 2005 鈐印右上：劉國松
Liu Kuo-sung, well-known painter in Taiwan, known as the "Pioneer of modern painting in China" and "Father of modern ink painting" across the Taiwan Straits, advocated innovation in modern Chinese ink painting as early as in 1960s and presented the slogan of "Modernization of Chinese painting". In the artist's eyes, "The aspiration of art comes from creation, which means life and the universe. People feel it from inner heart and then express their feeling by drawing. However, our life is changing and our feeling is changing. This way, drawing is changing. Every famous painter in our history had his own invention. Actually, to paint, there are many techniques. For example, Mi Fu drew with lotus seed pod, Fu Baoshi drew with chalina, whereas some others draw with finger only. Sticking to the using of the center tip of brush can only narrow the space of Chinese painting and push it to a dead end. " He looks for any unprecedented, possible form for his artistic expression and is in search of maximum integration and breakthrough for the two-sided issue of the "modern" and "water ink". His achievements in the technical experimentation include the innovative ink rubbing and ink immersing for traditional Chinese ink painting, bringing white strips to Chinese painting and enriching the forms of expression by water. In "The Autumn Landscape", the image is condensed, transparent, and solid. The feeling of texture can never be presented by traditional techniques. The artist discards square-head brush in oil painting. He invents ink rubbing and ink immersing techniques as inspired by the traditional "Bug eating grain" and "Eaves grain" in the traditional Chinese painting techniques. This way, the image carries not only the spirit of Chinese painting but also the texture of Western oil painting.
在海峽兩岸有「中國現代繪畫先驅」、「現代水墨畫之父」之稱的台灣著名畫家劉國松，早在上世紀60年代，就積 極宣導創新現代中國水墨畫，提出「中國畫的現代化」的訴求。在藝術家看來：「藝術的靈感從造化中來，造化是 生活，是宇宙，人們的內心感受它，再把自己的感受通過繪畫表達出來。但我們的生活在變化，感受也在變化，畫 就要變化。歷史上的大畫家都有自己的發明，繪畫其實有多種畫法，如米芾用蓮蓬畫，傅抱石用絲瓜瓤畫，還有人用 手指頭畫。一味強調用中鋒，只能使中國畫的領域越來越窄，把中國畫推向死胡同。」他自己在作品表現上尋求各種 前所未有的可能形式，並在「現代」與「水墨」的雙重議題上尋求最大的結合與突破。其技法實驗的成就包括了創作 性地發明了中國水墨畫的拓墨法和漬墨法，令中國畫裡出現了白線條，而且大大豐富了水的表現形式。此幅《天山之 秋》，畫面凝結、透明且立體的肌理感覺是傳統技法表現不出來的。藝術家摒棄了採用油畫的方頭筆，而是受中國傳 統「蟲食紋」和「屋漏紋」技法的啟發發明了拓墨法和漬墨法，使得畫面既有中國畫的風骨，又不乏油畫的質感。
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029
Fernandez ARMAN
(American-French, 1928 - 2005)
Violon Double Phoenix 2004 Bronze sculpture, edition no. I / XXX AP 17(L) x 62.5(W) x 29(H) cm Engraved on the base arman in English, inscribed bocquel Fd. and numbered I / XXX This sculpture is to be sold with a certificate of authenticity issued by Taglialatella Galleries, Paris.
HK$ 120,000 - 170,000 NT$ 469,000 - 664,000 US$ 15,500 - 21,900
費爾戴儂•阿曼 鳳凰雙提琴 2004 銅雕 I / XXX AP 17(長) x 62.5(寬) x 29(高) cm 簽名雕刻底座：arman, bocquel Fd. I / XXX 附巴黎Taglialatella Galleries開立之原作保證書
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030
Chiharu NISHIZAWA (Japanese, b. 1970)
Awaiting 2007 Acrylic on canvas 53 x 62.5 cm
HK$ 38,000 - 50,000 NT$ 148,000 - 195,000 US$ 4,900 - 6,400
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西澤千晴 等待大事的發生 2007 壓克力 畫布 53 x 62.5 cm
031
Tomoya TSUKAMOTO (Japanese, b. 1982)
Colors of the Wind 2012 Acrylic on canvas 117 x 91 cm Signed on the reverse Tomoya Tsukamoto in English, titled Colors of the Wind in Japanese and dated 121118 ILLUSTRATED: Tomoya Tsukamoto , Kawata Gallery, Kobe, 2014, color illustrated, cover
HK$ 34,000 - 70,000 NT$ 133,000 - 273,000 US$ 4,400 - 9,000
塚本智也 風之色 2012 壓克力 畫布 117 x 91 cm 簽名畫背：風の色 121118 Tomoya Tsukamoto 圖錄： 《塚本智也》，川田畫廊，神戶， 2014，彩色圖版，封面
032
ZHANG Nian
(Chinese, b. 1964)
Chinese Dream Chairman Mao
中國夢 毛澤東
2005 Acrylic on canvas 160 x 130 cm
2005 壓克力 畫布 160 x 130 cm
Signed lower right Zhang Nian in Chinese and dated 2005.7
簽名右下：張念2005.7
HK$ 60,000 - 80,000 NT$ 234,000 - 313,000 US$ 7,700 - 10,300
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張念
033
YIN Kun
(Chinese, b. 1969)
尹坤
Chinese BABY-19/05
中國寶貝 19/05
2005 Oil on canvas 150 x 150 cm
2005 油彩 畫布 150 x 150 cm
Signed lower right Yin Kun in Chinese and dated 2005.8 Signed on the reverse Yin Kun in Chinese, titled CHINESE BABY-19/05 in English, inscribed oil on cauvas 150 x 150 and dated 2005
HK$ 65,000 - 85,000 NT$ 254,000 - 332,000 US$ 8,400 - 11,000
簽名右下：尹坤 2005.8 簽名畫背：CHINESE BABY-19/05 Oil on canvas 150 x 150 尹坤 2005
034
CHEN Shuxia
(Chinese, b. 1963)
Rest
棲
2001 Oil on canvas 120 x 180 cm
2001 油彩 畫布 120 x 180 cm
Signed upper left Shuxia in Chinese and dated 2001.11
簽名左上：淑霞 2001.11 簽名畫背：《栖》布面油畫 120 x 180 cm 2001 陳淑霞
Signed on the reverse titled Rest, inscribed oil on canvas , 120 x 180 cm and dated 2001 PROVENANCE: Private collection, Asia ILLUSTRATED: Chen Shuxia , Hebei Education Publishing House, Shijiazhuang, 2002, color illustrated, p. 53
HK$ 60,000 - 80,000 NT$ 234,000 - 313,000 US$ 7,700 - 10,300
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陳淑霞
來源： 亞洲私人收藏 圖錄： 《陳淑霞》，河北教育出版社，石家莊，2002，彩色圖版，頁53
035
TU Hongtao
(Chinese, b. 1976)
屠宏濤
Lonely Tree
一棵樹，很孤獨
2006 Oil on canvas 70 x 55 cm
2006 油彩 畫布 70 x 55 cm
Signed lower center Tutu in English and dated 06
簽名中下：Tutu 06
Signed on the reverse Tu Hongtao and titled Lonely Tree in Chinese, and dated 2006.11
HK$ 110,000 - 150,000 NT$ 430,000 - 586,000 US$ 14,200 - 19,300
簽名畫背：<一棵樹，很孤獨> 屠宏濤 2006.11
036
Chintan UPADHYAY (Indian, b. 1972)
New Avatar a Virtual Truth 2008 Oil, acrylic on canvas 91 x 91 cm Signed on the reverse Chintan Upadhyay Unlimited , titled New Avatar in English, inscribed Oil & Acrylic on canvas 3ft x 3ft and dated 2008
HK$ 55,000 - 100,000 NT$ 215,000 - 391,000 US$ 7,100 - 12,900
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清滕•屋帕玳伊 虛幻的真實 聖嬰的降臨 2008 油彩 壓克力 畫布 91 x 91 cm 簽名畫背：Chintan2008 Chintan Upadhyay Unlimited New Avatar Oil & Acrylic on canvas 3ft x 3ft
037
CHANG Jui-pin (Taiwanese, b. 1964) Singapore's 2 SGD, 1997 Edition 2013 Gouache on P-Tex 53 x 138 cm Signed lower left Chang in English and dated 2013
HK$ 75,000 - 130,000 NT$ 293,000 - 508,000 US$ 9,700 - 16,800
張瑞頻 新加坡1997年版2元紙鈔 2013 古壁畫顏料 宣影布 53 x 138 cm 簽名左下：Chang 2013
038
LI Jikai
(Chinese, b. 1975)
Note 2006 Oil on canvas 95 x 105 cm Signed center left Li Jikai in English and dated 2006 Signed on the reverse Li Jikai in Chinese and English, titled Note in Chinese, inscribed 95 x 105 cm and dated 2006
HK$ 130,000 - 190,000 NT$ 508,000 - 742,000 US$ 16,800 - 24,500
李繼開 紙條 2006 油彩 畫布 95 x 105 cm 簽名左方： Li Jikai 2006 簽名畫背：《紙條》95 x 105 cm Li Jikai 李繼開 2006
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039
Haris PURNOMO
(Indonesian, b. 1956)
Anak Garuda 2007
Acrylic on canvas 119 x 98 cm Signed lower right HARÍS PURNOMO and dated 2007
HK$ 260,000 - 360,000 NT$ 1,016,000 - 1,406,000 US$ 33,500 - 46,400
哈里斯．普爾諾莫 小鷹 2007 壓克力 畫布 119 x 98 cm 簽名右下：HARÍS PURNOMO 2007
Born in Indonesia, Haris Purnomo graduated from Sekolah Seni Rupa Indonesia Art School, Yogyakarta in 1975 and Sekolah Tinggi Seni Rupa Indonesia Asri College of Fine Arts in 1984. He has painted babies with tattoos over twenty years and became one of the most popular Indonesian artists. The artist went through Suharto’s time who built a military-dominated government. Therefore Haris was much more focus on carefully nuanced, photorealistic images of naked babies with tattoos which inspired him instead of themes catering to the general public. His works shows the introspections and possibilities toward culture and evokes a strong contrast from an impossible reality. Moreover the tattoos with a hint of pain and mysterious symbol underline the big difference between the painted innocent pure subjects and the ideas that people usually have about babies. Selected Exhibitions: 3rd Nanjing Triennial ─ Reflective Asia , Nanjing Museum, Nanjing, China, 2008 Haris Purnomo: Visual Poetry , Center on Contemporary Art (COCA), Seattle, America, 2009 HARIS Purnomo: Babies in Transcendent Space , Primo Marella Gallery, Milan, Italy, 2012
哈里斯．普爾諾莫於1975年從爪哇日惹市的印尼藝術學院畢業，1984年畢業於汀吉藝術大學。藝術家醉 心於刺青嬰兒繪畫創作已超過二十年，亦成為印尼當地最受推崇的藝術家之一。哈里斯．普爾諾莫歷經 印尼獨裁者蘇哈托的統治，度過一段荒誕的民族歷史，其作品並非單以華美取寵，而是細心描繪筆下帶 真實感的刺青嬰兒，此類繪畫呈現強烈撞擊對比：以嬰孩的純潔、無知，對比充滿神秘意味與疼痛象徵 的刺青圖騰，展現對既有文化的反思與可能性。 精選展覽： 「第三屆南京三年展─亞洲方位」，南京博物院，南京，中國，2008 「哈里斯．普爾諾莫：視覺之詩」，當代藝術中心，西雅圖，美國，2009 「哈里斯．普爾諾莫：超然空間的新生」，瑪蕊樂畫廊，米蘭，義大利，2012
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040
Hiroshi SUGIMOTO (Japanese, b. 1948)
Hall of Thirty-Three Bay 1995 Gelatin silver print, edition no. 6/25 42 x 54 cm
HK$ 110,000 - 220,000 NT$ 430,000 - 859,000 US$ 14,200 - 28,400
杉本博司 三十三間堂 1995 銀鹽相紙 6/25 42 x 54 cm
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TRANSACTION RULES FOR ART (HONG KONG)
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Article 1.Definition Some of the phrases commonly seen herein are defined as follows: 1. “The Buyer” shall mean highest bidder accepted by the Company. 2. “The Prospective Buyer” shall mean any potential bidder willing to attend the auction sale hosted by the Company. 3. “The Seller” shall mean the mandator who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company. 4. “The Lot” shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue. 5. “Hammer price” shall mean the highest bid with respect to one particular auction item accepted by the auctioning party. 6. “The Buyer’s Premium paid by the Buyer” shall mean the fee based on a certain percentage of the Hammer price paid by the Buyer; the percentage shall be as prescribed in Article 2, Section 4a. 7. “The Reserve Price” shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price. 8. “Counterfeit” shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints). 9. "Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company). Article 2.The Buyer 1. The Company as the Agent The Company, as the auctioning party, shall act as the agent of the Seller. 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. 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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 Bidder’s Details Name ID number Address
Auction Date Sale No. Location Address
RAVENEL SPRING AUCTION 2014 HONG KONG Modern & Contemporary Art Sunday, 25 May 2014, 6:00pm HA1403 Four Seasons Hotel Hong Kong (Four Seasons Grand Ballroom) 8 Finance Street, Central, Hong Kong
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)
Bid price (HK$) (excluding buyer’s premium)
Title
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 春季拍賣會 現代與當代藝術 拍 賣 編 號：HA1403 香港拍賣日期：2014 年 5 月 25 日（星期日） 下午 6:00 香港四季酒店（四季大禮堂）香港中環金融街 8 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 029
Fernandez ARMAN
費爾戴儂．阿曼
C 037 011 034 003 007 018
CHANG Jui-pin 張瑞頻 CHEN Chun-hao 陳浚豪 CHEN Shuxia 陳淑霞 CHIU Ya-tsai 邱亞才 CHU Teh-chun 朱德群 F
012
Alixe FU
傅慶豊
J 020 021
JU Ming
朱銘
L 038 014 028
LI Jikai 李繼開 Michael LIN 林明弘 LIU Kuo-sung 劉國松 N
030
Chiharu NISHIZAWA
西澤千晴
P 004 015 039
PANG Jiun 龐均 Haris PURNOMO
哈里斯．普爾諾莫
S 008 009 006 040
SHIY De-jinn 席德進 SU Meng-hung 蘇孟鴻 Hiroshi SUGIMOTO 杉本博司 T
022 001 013 031 035
TANG Haywen 唐海文 Walasse TING 丁雄泉 Tomoya TSUKAMOTO TU Hongtao 屠宏濤
塚本智也
U 036
Chintan UPADHYAY
清滕•屋帕玳伊
W 002
WANG Hsin-feng
王信豐
Y 005 010 017 033 027
YANG Mao-lin 楊茂林 YAO Jui-chung 姚瑞中 YE Yongqing 葉永青 YIN Kun 尹坤 YU Cheng-yao 余承堯 Z
019 016 023 026 032 024 025
ZAO Wou-ki 趙無極 ZENG Chuan-xing 曾傳興 ZHANG Guangbin 張光賓 ZHANG Nian 張念 ZHU Xin-jian 朱新建
I N T E R N A T I O N A L
A R T
G R O U P