Ravenel Spring Auction 2012 Taipei 羅芙奧台北2012春季拍賣會

SPRING AUCTION 2012 TAIPEI

羅芙奧台北 2012 春季拍賣會 亞洲現代與當代藝術

RAVENEL SPRING AUCTION 2012 TAIPEI Modern and Contemporary Asian Art

拍賣日期／地點

AUCTION

2012年6月3日（日）下午 2:30 至 7:30 富邦人壽大樓國際會議中心 台北市敦化南路一段48號B2

Sunday, June 3, 2012, 2:30pm – 7:30pm Fubon National Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan

預展日期／地點

PREVIEWS

台中 2012年4月28日（六）至4月29日（日）下午 1:00 至 7:00 由鉅藝術中心（月光流域大樓） 台中市公正路83號1樓

Taichung

北京 2012年5月19日（六）至5月20日（日）上午 10:00 至下午 7:00 國貿大酒店—國貿三期（群賢廳62） 北京市建國門外大街 1 號

Beijing

香港 2012年5月26日（六）至5月27日（日）上午 10:00 至下午 7:00 香港君悅酒店（君悅廳） 香港灣仔港灣道 1 號

Hong Kong

台北 2012年6月1日（五）至6月2日（六）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48號B2

Taipei

拍賣目錄每本售價：NT$2,000 This auction catalogue: NT$2,000 per copy

Saturday, April 28 – Sunday, April 29, 2012, 1:00pm – 7:00pm GSR Gallery 1F, No. 83, Gong Zheng Road, Taichung, Taiwan

Saturday, May 19 – Sunday, May 20, 2012, 10:00am – 7:00pm China World Summit Wing – Summit Ballroom 62 1 Jianguomenwai Avenue, Beijing

Saturday, May 26 – Sunday, May 27, 2012, 10:00am – 7:00pm Grand Hyatt Hong Kong – Salons 1 Harbour Road, Wanchai, Hong Kong

Friday, June 1 – Saturday, June 2, 2012, 10:00am – 7:00pm Fubon National Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan

王鎮華 Arthur Wang 董事長 Chairman 郭倩如 Clara Kuo 副董事長 Vice Chairman 張增偉 Lorries Chang 執行長 C.E.O.

傅斐郡 Flora Fu

林佳樺 Michelle Lin

陳惠黛 Odile Chen

藝術拍賣部總經理 Art Auction Division President

行政資源部總經理 Administration Division President

業務拓展部總經理 Chief Specialist

林慧菁 Maggie Lin

何杏淇 Elaine Holt

業務副總經理 Vice President, Sales Department, Taipei

業務副總經理 Vice President, Sales Department, Hong Kong

黃詩涵 Stella Huang

張淳茹 Sabrina Chang

北京辦公室經理 Head of Beijing

國貿處副理 Assistant Manager, International Trade Unit

吳博峯 Tommy Wu

總務部協理 Senior Manager, General Affairs, Taipei

羅芙奧台北 2012 春季拍賣會服務部門及連絡人

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RAVENEL STAFF AND SERVICES FOR THIS SALE

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PHONE BIDS AND WRITTEN BIDS Taiwan Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggielin@ravenel.com

Hong Kong

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. Its also possible to bid online for selected lots. Please refer to ravenel.com for more information.

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China

Taiwan

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Hong Kong

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.

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China

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International

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目次 / Contents 2

羅芙奧春季拍賣會

Sale Information 3

羅芙奧之服務

Ravenel Services 5

藝術家索引

Index 8

亞洲現代與當代藝術

Modern and Contemporary Asian Art 221

委託競投表格

Absentee Bid Form 223

業務規則

Transaction Agreement

藝術家索引 / Index N

A Yoshitaka AMANO

天野喜孝

187, 192, 195

蔡國強 曹小冬 常陵 陳蔭羆 趙春翔 陳澄波 邱亞才 朱德群 蔡雲程 莊喆

138 228 225 166 121, 209 152 114, 202, 204 143, 148, 149, 233 104 212

C CAI Guo Qiang CAO Xiaodong Chang-Ling George CHANN CHAO Chung-hsiang CHEN Cheng-po CHIU Ya-tsai CHU Teh-chun GHUA Hu CHUANG Che

杜溪

203

關紫蘭

135

G GUAN Zilan

H HE Jian HONG Ling HSIAO Chin HSIAO Ju-sung HU Shanyu HUA Qing HUANG Gang Dennis HWANG Michell HWANG

何劍 洪凌 蕭勤 蕭如松 胡善餘 華慶 黃鋼 黃志超 黃銘哲

155 159, 165 184 158 117 227 162, 170, 214, 234 141 127, 161

詹金水 池龍虎 賈剛 朱銘

109, 116 239 215 131, 153, 154, 177, 179 180, 241

鎌谷徹太郎 金甫珉 金南杓 北川宏人 鴻池朋子 郭振昌 郭柏川 郭維國 草間彌生

189 137 191 236 185 115 120 129 194, 237

李在孝 李德 李真 李銳 李新平 連建興 林風眠 劉國松 劉佳 劉其偉 劉煒 陸先銘

245 222 132, 178 226, 229 217 110, 207 151 122, 123, 164 238 201 173 101, 205

松浦浩之 村上隆

182 181

J JAN Chin-shui JI Yong Ho JIA Gang JU Ming

K Tetsutaro KAMATANI KIM Bo Min KIM Nampyo Hiroto KITAGAWA Tomoko KONOIKE J. C. KUO KUO Po-chuan KUO Wei-kuo Yayoi KUSAMA

L LEE Jae-hyo Reed LEE LI Chen LI Rui LI Xinping LIEN Chien-hsing LIN Fengmian LIU Kuo-song LIU Jia Max LIU LIU Wei LU Hsien-ming

M Hiroyuki MATSUURA Takashi MURAKAMI

奈良美智

183, 246

歐陽春

218

龐均 朴勝模 彭斯

140 244 213

祁海平 錢德華

208 196

任靜 任哲 六角彩子

190 240 193

石秀 七戶優 席德進 蘇勝前 蘇旺伸 蘇笑柏 菅井祐一

198 188 102, 103 199 146 147 186

TAI Hoi-ying Walasse TING

戴海鷹 丁雄泉

TU Ke TUNG Hsin-ru

凃克 董心如

108 105, 106, 107, 130, 142 157, 160, 169 136 119

王攀元 魏樂唐 吳冠中 吳昊

156 112, 113, 118, 197, 210 139, 145 200

熊宇 徐冰

221 163, 232

楊識宏 楊登雄 楊仁明 陽太陽 楊英風 姚瑞中 葉永青 葉子奇

126, 206, 211 224 128 134 235, 242, 243 111 168, 171, 219 124, 125

趙無極 曾梵志 張充仁 張冬峰 張曉剛 鍾山 周春芽

144, 176, 230, 231 174, 175 133 223 216 220 150, 167, 172

O

D DU Xi

Yoshitomo NARA OUYANG Chun

P PANG Jiun PARK Seung Mo PENG Si

Q QI Haiping QIAN Dehua

R REN Jing REN Zhe Ayako ROKKAKU

S SHI Xiou Masaru SHICINOHE SHIY De-jinn SU Shengqian SU Wong-shen SU Xiaobai Yuichi SUGAI

T

W WANG Pan-youn John WAY WU Guanzhong WU Hao

X XIONG Yu XU Bing

Y YANG Chihung YANG Din YANG Ren-ming YANG Taiyang Yuyu YANG YAO Jui-chung YE Yongqing Tzu-chi YEH

Z ZAO Wou-ki ZENG Fanzhi ZHANG Chongren ZHANG Dongfeng ZHANG Xiaogang ZHONG Shan ZHOU Chunya

101

LU Hsien-ming (Taiwanese, b. 1959)

Smoke Oil on canvas 45 x 90 cm Signed on the reverse Lu Hsien-ming and titled Smoke in Chinese

NT$ 120,000-220,000 US$ 4,000-7,400 HK$ 31,000-57,000

8

陸先銘 煙 油彩 畫布 45 x 90 cm 簽名畫背：「煙」陸先銘

102

SHIY De-jinn

席德進

(Taiwanese, 1923-1981)

Han Li Calligraphy 1979 Ink on paper 60.5 x 122 cm Dated center right 6/24 1979 With one seal of the artist

漢隸書法 This painting is to be sold with a certificate of authenticity issued by M Gallery, Taipei.

NT$ 160,000-260,000 US$ 5,400-8,800 HK$ 42,000-68,000

1979 水墨 紙本 60.5 x 122 cm 鈐印下方：席德進印 題識下方：6/24 1979 附M畫廊開立之原作保證書

103

SHIY De-jinn

(Taiwanese, 1923-1981)

Pink Flower Ink and color on paper 33 x 45 cm Signed upper left Shiy De-jinn in Chinese

NT$ 160,000-300,000 US$ 5,400-10,100 HK$ 42,000-78,000

10

席德進 粉色花 彩墨 紙本 33 x 45 cm 簽名左上：席德進

104

CHUA Hu

(Tsai Yun-cheng) (Chinese-Philipino, 1929-2009)

White Lotus - Character and Integrity 1999 Oil on paper 78 x 53.5 cm Signed lower left CHUA HU in English, Cheng in Chinese and dated 1999

NT$ 220,000-350,000 US$ 7,400-11,800 HK$ 57,000-91,000

蔡雲程 白荷—高風亮節 1999 油彩 紙本 78 x 53.5 cm 簽名左下：CHUA HU 呈 1999

105

Walasse TING

(Chinese-American, 1929-2010)

Woman with Flowers 1991 Acrylic on rice paper mounted onto canvas 43 x 57.5 cm With one seal of the artist

NT$ 180,000-280,000 US$ 6,100-9,400 HK$ 47,000-73,000

12

丁雄泉 美人與花 1991 壓克力 宣紙裱於畫布 43 x 57.5 cm 鈐印右上：採花大盜

106

Walasse TING

(Chinese-American, 1929-2010)

Reclining Nude 1989 Acrylic on rice paper mounted onto canvas 39 x 47 cm With one seal of the artist

NT$ 140,000-240,000 US$ 4,700-8,100 HK$ 36,000-62,000

丁雄泉 躺臥的裸女 1989 壓克力 宣紙裱於畫布 39 x 47 cm 鈐印右下：採花大盜

107

Walasse TING

(Chinese-American, 1929-2010)

Smiling Lady Acrylic on rice paper mounted onto canvas 59 x 43 cm With one seal of the artist

NT$ 180,000-280,000 US$ 6,100-9,400 HK$ 47,000-73,000

14

丁雄泉 巧笑倩兮 壓克力 宣紙裱於畫布 59 x 43 cm 鈐印右方：採花大盜

108

TAI Hoi Ying

(Taiwanese, b. 1946)

La Place 1982-1984 Tempera and oil on canvas, mounted onto board 53 x 76 cm Signed lower right Tai in English and dated 82-84

NT$ 120,000-220,000 US$ 4,000-7,400 HK$ 31,000-57,000

戴海鷹 廣場 1982-1984 卵彩 油彩 畫布裱於薄板 53 x 76 cm 簽名右下：Tai 82-84

109

JAN Chin-shui (Taiwanese, b. 1953)

Misty Valley 2011 Mixed media on canvas 145.5 x 112 cm Signed lower left Chin Shui in Chinese and dated 2011 Signed on the reverse Jan Chin-shui, titled Misty Valley in Chinese, inscribed 80F and dated 2011

NT$ 260,000-450,000 US$ 8,800-15,200 HK$ 68,000-117,000

詹金水 空谷煙嵐 2011 綜合媒材 畫布 145.5 x 112 cm 簽名左下：金水 2011 簽名畫背：80F 空谷煙嵐 詹金水 2011年

16

110

LIEN Chien-hsing (Taiwanese, b. 1962)

連建興

Warm Shining of Winter Sun 1992 Oil on canvas 41 x 53 cm Signed lower left Lien Chien-hsing in Chinese and dated 1992 2 Signed on the reverse Lien Chien-hsing, titled Warm Shining of Winter Sun in Chinese and dated 1992.2

18

冬陽暖照 ILLUSTRATED: Lien Chien-hsing Works 1976-1993, Eslite Gallery, Taipei, 1993, color illustrated, p. 94

NT$ 120,000-220,000 US$ 4,000-7,400 HK$ 31,000-57,000

1992 油彩 畫布 41 x 53 cm 簽名左下：連建興 1992 2 簽名畫背：連建興 1992.2 冬陽暖照 圖錄： 《連建興》，誠品畫廊，台北，1993，彩色 圖版，頁94

111

YAO Jui-chung (Taiwanese, b. 1969)

Autumn Colors on the Que and Hua Mountains 2008 Ink and color, handmade paper, and gold foil 45 x 134.5 cm

NT$ 180,000-280,000 US$ 6,100-9,400 HK$ 47,000-73,000

姚瑞中 鵲華秋色圖 2008 彩墨 手工紙本 金箔 45 x 134.5 cm

112

John WAY

(Chinese-American b. 1921)

Abstract (a set of 2) 1976 (upper); 1981 (lower) Acrylic on paper 47.5 x 60 cm (each) Signed lower left John Way in English and dated '76 (upper) Signed lower left John Way in English and dated '81 (lower)

NT$ 220,000-450,000 US$ 7,400-15,200 HK$ 57,000-117,000

魏樂唐 抽象（二件一組） 1976 (上)；1981 (下) 壓克力 紙本 47.5 x 60 cm (x2) 簽名左下：John Way '76 (上) 簽名左下：John Way '81 (下)

20

113

John WAY

(Chinese-American, b. 1921)

Prince of Chu 1999 Oil on canvas 74 x 54 cm Signed lower left John Way dated 1-1 99 ILLUSTRATED: The Pioneer of Chinese Abstract - Anthology of John Way, William Art Center, Taipei, 2007, color illustrated, p. 140

NT$ 220,000-350,000 US$ 7,400-11,800 HK$ 57,000-91,000

魏樂唐 楚狂 1999 油彩 畫布 74 x 54 cm 簽名左下：John Way 1-1 99 圖錄： 《華人抽象先驅─魏樂唐大 集》，威廉國際藝術有限公司， 台北，2007，彩色圖版，頁140

114

CHIU Ya-tsai

(Taiwanese, b. 1949)

Man with Central Parting Oil on canvas 79 x 64 cm Signed lower left Chiu Ya-tsai in Chinese

22

This painting is to be sold with a certificate of authenticity issued by Chi Cheng Gallery, Taipei.

NT$ 220,000-450,000 US$ 7,400-15,200 HK$ 57,000-117,000

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

115

J. C. KUO

(Taiwanese, b. 1949)

Saint Taiwan - Mellow 1996 Acrylic on canvas with painted wooden frame 108(L) x 65(W) x 10(D) cm Signed lower Kuo Jen-chang in Chinese, J.C. Kuo in English and dated '96 ILLUSTRATED: St. Taiwan: J. C. Kuo's 1998 Solo Exhibition , Galerie Elegance, Taipei, 1998, color illustrated, p. 24 EXHIBITED: St. Taiwan: J. C. Kuo's 1998 Solo Exhibition, Galerie Elegance, Taipei, 1998

NT$ 350,000-550,000 US$ 11,800-18,500 HK$ 91,000-143,000

郭振昌 聖台灣—潛 1996 壓克力 畫布 彩繪木框 108(長) x 65(寬) x 10(厚) cm 簽名下方：郭振昌 J.C. Kuo '96 展覽： 「聖台灣．郭振昌 1998 個展」， 愛力根畫廊，台北，1998 圖錄： 《聖台灣．郭振昌 1998個展》， 愛力根畫廊，台北，1998，彩色 圖版，頁24

116

JAN Chin-shui (Taiwanese, b. 1953)

North Tibet Plateau 2011 Mixed media on canvas 130 x 162 cm Signed lower right Chin-shui in Chinese and dated 2011 Signed on the reverse Jan Chin-shui and titled North Tibet Plateau in Chinese, inscribed 100F and dated 2011

NT$ 300,000-500,000 US$ 10,100-16,800 HK$ 78,000-130,000

24

詹金水 藏北高原 2011 綜合媒材 畫布 130 x 162 cm 簽名右下：金水 2011 簽名畫背：100F 藏北高原 詹金水 2011年

117

HU Shanyu

(Chinese, 1909-1993)

Yandang Mountain Oil on canvas 49.5 x 61.5 cm Signed lower right Shanyu in Chinese This painting is to be sold with a picture of the artist's family.

NT$ 450,000-650,000 US$ 15,200-21,900 HK$ 117,000-169,000

胡善餘 雁蕩山 油彩 畫布 49.5 x 61.5 cm 簽名右下：善餘 附藝術家家屬與本拍品合影照片

118

John WAY

(Chinese-American, b. 1921)

Peak & Waterfall Series - Dew on Pine; Songs of Bird (a set of 2) 1974 Oil on canvas 48 x 60 cm (each) Signed lower right John Way and dated '74 (left) Signed lower left John Way and dated '74 (right)

NT$ 400,000-600,000 US$ 13,500-20,200 HK$ 104,000-156,000

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魏樂唐 峰瀑系列—松露鵑啼（二件一組） 1974 油彩 畫布 48 x 60 cm (x2) 簽名右下：John Way '74（左） 簽名左下：John Way '74（右）

119

TUNG Hsin-ru (Taiwanese, b. 1964)

Trace of Realm 1998-1 (triptych) 1998 Mixed media on canvas 117 x 51 cm (x3) Signed on the reverse Tung Hsin-ru, titled Trace of Realm both in Chinese and dated 98-2 1-3

NT$ 500,000-700,000 US$ 16,800-23,600 HK$ 130,000-182,000

董心如 境痕 1998-1（三連幅） 1998 綜合媒材 畫布 117 x 51 cm (x3) 簽名畫背：境痕'98-2/3董心如（左）、 境痕'98-2/2董心如（中）、境痕'98-2/1董心如（右）

120

KUO Po-chuan

(Taiwanese, 1901-1974)

Landscape 1943 Oil on paper 43 x 34 cm Signed lower left Po in Chinese and dated -43EXHIBITED: The Tenth Art Season - Masterpieces of C o n t e m p o r a r y M a e s t ro s , K a o h s i u n g , Kaohsiung National Chiang Kai Shek Cultural Center, Kaohsiung, Apr. 9 - 22, 1999

ILLUSTRATED: The Tenth Art Season - Masterpieces of Contemporary Famous Artists, Kaohsiung; Kaohsiung National Chiang Kai Shek Cultural Center, Kaohsiung, 1991, color illustrated, p. 16

NT$ 850,000-1,000,000 US$ 28,600-33,700 HK$ 221,000-260,000

郭柏川 風景 1943 油彩 紙本 43 x 34 cm 簽名左下：-43- 柏 展覽： 「高雄市第十屆文藝季—現代名家精作 展」，高雄市立中正文化中心，高雄，展期 自1991年4月9日至4月22日 圖錄： 《高雄市第十屆文藝季—現代名家精作展專 輯》，高雄市立中正文化中心；炎黃藝術 館，高雄，1991，彩色圖版，頁16

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121

CHAO Chung-hsiang (Taiwanese, 1910-1991)

Red Star Shining 1987 Acrylic on paper 96 x 60 cm Signed lower left Chung-hsiang in Chinese and Chao in English

NT$ 650,000-850,000 US$ 21,900-28,600 HK$ 169,000-221,000

趙春翔 紅星高照 1987 壓克力 紙本 96 x 60 cm 簽名左下：春翔 Chao

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122

LIU Kuo-sung (Taiwanese, b. 1932)

Soughing of Wind on the Peak 2007 Acrylic on paper 61 x 94.8 cm Signed upper right Liu Kuo-sung and dated 2007 both in Chinese Signed on the back board Liu Kuo-sung, titled Soughing of wind on the peak both in Chinese, inscribed 61 x 94.8 cm and dated 2007 With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Capital Art Center, Taipei.

NT$ 750,000-1,200,000 US$ 25,300-40,400 HK$ 195,000-312,000

劉國松 濤語落孤峰 2007 壓克力 紙本 61 x 94.8 cm 簽名右上：劉國松 二○○七 鈐印右上：劉國松 簽名背板：劉國松作 「濤語落孤峰」 2007 61 x 94.8 cm 附首都藝術中心開立之原作保證書

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LIU Kuo-sung (Taiwanese, b. 1932)

The Divine Mountains: Tibet Series No. 12 2000 Acrylic on paper 89 x 60.5 cm Signed center left Liu Kuo-sung in Chinese and dated 2000 Titled on the reverse Tibet Series, inscribed 89 x 60.5 cm and dated 2000 With one seal of the artist ILLUSTRATED: Mind, Reflection, Transformation Liu Kuosung, Miaoli County Government, Miaoli, 2010, color illustrated, p. 83

NT$ 800,000-1,600,000 US$ 26,900-53,900 HK$ 208,000-416,000

劉國松 神山：西藏組曲之十二 2000 壓克力 紙本 89 x 60.5 cm 簽名左方：劉國松 2000 鈐印左方：劉國松 題識背板：西藏組曲 聖湖 2000 89 x 60.5 cm 圖錄： 《當代藝術大系—心源造化—劉國松特 展》，苗栗縣政府，苗栗，2010，彩色 圖版，頁83

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1995年五月，葉子奇從紐約返台舉辦紀念母親的個 展，當時曾經短住唭哩岸一段時間，那是他喪母的第 二年，對唭哩岸這位於台北盆地邊緣的小小山林所給 他的安慰，有他獨特的情衷。葉子奇說這是相隔五年 後2000年的初夏，他返台再度經過唭哩岸所見的風 景。畫面從遠處的一角藍天、白雲、青山延展至近景 的樹林。山丘上的相思樹有著穿透的光與稜線，近處 各種豐富的小樹則閃耀著初夏的亮麗色彩。 葉子奇的風景作品一直有一種深刻的生命氣息與自然 美麗，我們看見了藝術家對繪畫、信仰的堅持，和對 這片自己生長土地的深情與感思。

124

Tzu-chi YEH

(Taiwanese, b. 1957)

Qilian's Tree - Taipei 2009-2012 Tempera and oil on linen 51 x 76.2 cm Signed lower right Tzu-chi in Chinese and dated 2009-2012

NT$ 550,000-750,000 US$ 18,500-25,300 HK$ 143,000-195,000

葉子奇 唭哩岸的樹．台北 2009-2012 卵彩 油彩 亞麻布 51 x 76.2 cm 簽名右下：子奇 2009-2012

張金催／紐約大學藝術教育博士 In May 1995, Tzu-chi Yeh returned to Taiwan from New York to prepare the Solo Exhibition in memory of his mother, he lived in Qilian for a little while, and that was the second year since his mother was gone. Qilian - the tiny forest located on the edge of Taipei Basin – was a great comfort to him that he developed a special attachment to the place. Yeh said the painting was inspired by the view he saw in Qilian in early summer of 2000, five years after he first stayed in the place, he returned to Taiwan again and traveled past Qilian. In the picture, the blue sky, white cloud and green mountain in the background stretch to the forest in the foreground.

Lights and lines pierce through the acacia tree on the hill, a sparkling early summer radiance shines on the smalls trees nearby.

Tzu-chi Yeh’s landscape paintings always carry a vibrant magic of vitality and natural beauty, through which, we see the artist’s perseverance in art and faith, as well as his profound love and sentiment of the land he grew up.

Dr. Kin Tsuei Chang (Ph.D. in Art Education, New York University)

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Tzu-chi YEH

(Taiwanese, b. 1957)

The Cold Current after Nineteen Years 2007-2008 Tempera and oil on linen 87 x 127 cm Signed lower right Tzu-chi in Chinese and dated 2007-'08

NT$ 1,000,000-2,000,000 US$ 33,700-67,300 HK$ 260,000-519,000

葉子奇 十九年後的寒流 2007-2008 卵彩 油彩 亞麻布 87 x 127 cm 簽名右下：子奇 2007-'08

126

YANG Chihung (Taiwanese, b. 1950)

Climate 2004 Acrylic on canvas 170 x 221 cm EXHIBITED: The Images of the Mind: Chilung Yang's Painting, National Museum of History, Taipei, September 23 - October 24, 2004 ILLUSTRATED: Inner Vision Human Condition - Chihung Yang Solo Exhibition, National Art Museun of China, Beijing, Asian Art Center, Beijing, 2007, color illustrated, pp. 72-73

NT$ 1,000,000-2,000,000 US$ 33,700-67,300 HK$ 260,000-519,000

楊識宏 氣象 2004 壓克力 畫布 170 x 221 cm 展覽： 「象由心生—楊識宏作品展」，國立歷史博 物館，台北，展期自2004年9月23日至10月 24日 圖錄： 《心象情境：2007楊識宏北京中國美術個 展》，亞洲藝術中心，北京，2007，彩色圖 版，頁72-73

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127

Michell HWANG (Taiwanese, b. 1948)

Facing Beijing 2007 Oil on canvas 181 x 121 cm Signed on the reverse Che, titled Facing Beijing, inscribed oil on canvas, 181 x 121 cm all in Chinese and dated 2007 The Painting is to be sold with a certificate of authenticity issued by Goethe Art Center, Taichung.

NT$ 1,000,000-2,000,000 US$ 33,700-67,300 HK$ 260,000-519,000

黃銘哲 面對北京 2007 油彩 畫布 181 x 121 cm 簽名畫背：2007 面對北京 油畫畫布 181 x 121公分 哲 附哥德藝術中心開立之原作保證書

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128

YANG Ren-ming (Taiwanese, b. 1962)

New Plant Growth in Black Water - New Plant 120-2 1993 Oil on canvas 194 x 130 cm Signed on the reverse Yang Ren-ming, titled New Plant Growth in Black Water - New Plant 120-2 in Chinese, inscribed 194 x 130 cm, oil on canvas in Chinese and dated 1993 This painting is to be sold with a certificate of authenticity issued by Insian Gallery, Taipei.

NT$ 1,000,000-2,000,000 US$ 33,700-67,300 HK$ 260,000-519,000

楊仁明 黑水長出來的新植物－苗圃 1993 油彩 畫布 194 x 130 cm 簽名畫背：黑水長出來的新植物－苗圃 1993 194 x 130 cm 油彩 布 楊仁明 附印象畫廊開立之原作保證書

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KUO Wei-kuo (Taiwanese, b. 1960)

Shh... Don’t Tell Little Dress I’m Leaving!

2008 Oil on canvas 186 x 135 cm Signed lower right Kuo Wei-kuo in Chinese and dated 2008.4 Signed on the reverse Kuo Wei-kuo in Chinese and English, titled Shh.... Don’t Tell Little Dress I’m Leaving! in Chinese, and inscribed 186 x 135 cm EXHIBITED: Theater of Commotion and Desire - The Secret Made Visible, Lin & Keng Gallery, Beijing, October 4 November 11, 2008 A Kudos Power - 2009 Hantoo Ary Group, Lin & Keng Gallery, Beijing, April 11 - May 12, 2009 ILLUSTRATED: View Digestion Scene Creation View Digestion, Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 135

NT$ 1,200,000-2,200,000 US$ 40,400-74,100 HK$ 312,000-571,000

郭維國 噓⋯別告訴小洋裝我走了！ 2008 油彩 畫布 186 x 135 cm 簽名右下：郭維國 2008.4 簽名畫背：噓⋯別告訴小洋裝我走了! 郭維國 Kuo Wei Kuo 186 x 135 cm 展覽： 「暴喜造境—世俗郎君的難隱S h o w—郭維國個 展」，大未來畫廊，北京，展期自2008年10月4日 至11月11日 「惡童力—2009悍圖社聯展」，大未來畫廊，北 京，展期自2009年4月11日至5月12日 圖錄： 《造境照鏡》，大未來畫廊，台北，2009，彩色 圖版，頁135

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丁雄泉在1970年代回歸具象主題，並延續早年抽象主義滴流潑灑的風格，無論何種女人的風 韻和柔滑曲線，他總能以揮灑斑爛的色彩和豪放不羈的筆觸，化千嬌百媚於永恆。畫面中那 流動性高而易揮灑的壓克力顏料與直率勾勒的油蠟筆細線，墨黑的底色襯著深藍的長袍，幽 靜雅致的用色更顯畫中女人嫩白透粉的肌膚！她手持扇子半掩面，僅露出一雙迷濛大眼的嬌 羞神態，與那全然信任而敞開的肢體語言形成強烈的視覺衝擊！

130

Walasse TING

(Chinese-American, 1929-2010)

Flower Girl 1978 Acrylic on canvas 70 x 100 cm Signed upper right ting in English and dated 78

NT$ 2,000,000-3,000,000 US$ 67,300-101,000 HK$ 519,000-779,000

丁雄泉 花女孩 1978 壓克力 畫布 70 x 100 cm 簽名右上：ting 78

丁雄泉曾經說過：「我怕在一地久了厭了，看不見也不在乎。看自然的鮮花和美女，讓他們 活在我的心裡，衍出來的生命，使我覺得活著，將視線從身體進出對話，顏色就源源不絕地 在畫面中表現出來。」 這一切正證明了「採花大盜」丁雄泉畢生對女人、 對性、 對愛、對藝術之無窮盡的眷戀，他 用顏色譜出無數的華麗樂章，而他筆下的女人無疑是傾盡熱情將靈魂躍然於紙上的傑作！

Ting’s artistic creation returned to representational themes in 1970s. Inheriting the flowing and vivacious style of abstractionism from his early years, Ting managed to reveal the charms and tender curves of all sorts of women through bold colors and free brushstrokes, turning beauty to eternity. In this painting, the liquid and active acrylic paints collide with the explicit and solid fine lines of wax oil crayon; the jet black ground color complements the dark blue long robe; the peaceful and elegant color outstands the fair and radiant feminine skin tone. With a fan in her hand and her face hides behind the fan, the belle shows only a pair of misty eyes that brimming with shyness and innocence; while her body language is screaming confidence and openness, creates a strong visual impact.

Ting once said, “I am afraid that once I stay in one place for too long, I can’t see and don’t care anymore. I observe flowers of nature and beauty of women and I let them live inside me, and this energy makes me feel alive. Communicating through lines of bodies, the colors become alive in the pictures ceaselessly.”

All these expressed that Walasse Ting - also known as “butterfly gangster” infinites passion about women, about sex, about love, and above all, about art. He used color as music note, created countless amazing movement; and the beautiful feminine in his works are definitely Ting’s most dedicated master pieces which have successfully captured souls on canvas.

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131

JU Ming

(Taiwanese, b. 1938)

The Ballet Series - Pink 2006 Bronze, edition no. 8/8 63.8(L) x 61.5(W) x 100(H) cm Engraved Ju Ming in Chinese, dated 2006 and numbered 8/8 ILLUSTRATED: 2006 Living World Series - Ju Ming - Skirt Story, Taipei, 2006, color illustrated, pp. 46-47, p. 60, p. 62, p. 64, spread (another similar version) This sculpture is to be sold with a certificate of authenticity issued by Jun Youn Sculpture Gallery, Taipei.

NT$ 1,800,000-2,800,000 US$ 60,600-94,300 HK$ 468,000-727,000

朱銘 芭蕾舞系列—粉紅 2006 銅雕 8/8 63.8(長) x 61.5(寬) x 100(高) cm 簽名雕刻：朱銘 8/8 2006 圖錄： 《2006人間系列–朱銘–裙的故事》，台北， 2006，彩色圖版，頁46-47、頁60、頁62、 頁64與拉頁（展品為另一類似版本） 附雋永雕塑畫廊開立之原作保證書

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132

LI Chen

(Taiwanese, b, 1963)

On Cloud Mountains 2003 Bronze, edition no. 3/8 41(L) x 31(W) x 72(H)cm Engraved Li Chen in Chinese and English, Numbered 3/8 and dated 2003 ILLUSTRATED: Li Chen: In Search of Spiritual Space, 2008 Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, 2008, pp. 8893, p. 197 Li Chen in 52nd Venice Biennale - Energy of Emptiness, Venice, Asia Art Center, Taipei, 2007, pp. 154-157, p. 219 Li Chen 1992-2002 Sculpture, Asia Art Center, Taipei, 2004, pp. 93-94

NT$ 1,800,000-2,800,000 US$ 60,600-94,300 HK$ 468,000-727,000

李真 清涼山 2003 銅雕 3/8 41(長) x 31(寬) x 72(高)cm 簽名雕刻：李真 Li Chen 3/8 2003 圖錄： 《李真—尋找精神的空間》，亞洲藝術中 心，台北，2008，頁88-93，頁197 《虛空中的能量—第52屆威尼斯雙年展》， 亞洲藝術中心，台北，2007，頁154-157， 頁219 《李真雕塑》亞洲藝術中心，台北，2004 ，頁93-94

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2003年的《清涼山》，人物在山峰雲端，若 有仙氣；雕塑的底座為一座山，乃轉化自中 國象形文字的「山」。清涼山也稱五臺山， 山勢高聳、通達天際，以「清涼」為名表避 俗之意。李真用山的高聳和雲的飄渺，將精 神境界之高予以視覺化，他追求的即是如此 完美絕俗的精神層次，因而人物雙手負背而 立，飄然佇立於山巔雲頂，神情形態自若愜 意，不由得發出一抹微笑。李真擅長處理此 種量體輕重對應的關係：銀的溫潤與黑的能 量，既對比又和諧；而雲朵卻是一個穩定的 支撐物，讓人物在漂浮中獲得安定。

“On Cloud Mountains,” a work which Li Chen created in 2003, depicts a figure perched on a cloud above a mountain peak, with the air of an immortal or spirit. The base of the sculpture comprises a mountain, which is in the form of the Chinese character for “mountain”. China’s Qingliang Shan, after which this work takes its Chinese name, is also known as Wutai Shan, or Mt. Wutai, and is known for its soaring peaks which seem to reach right up into the heavens; the name “Qingliang” (“Purity” or “Refreshment”) implies escape from earthly concerns. Li Chen uses the imposing height of the mountain and the ethereal clouds to present the sublimity of the spiritual in visual form.

What Li Chen is seeking to achieve in this work is precisely this kind of spiritual perfection, hence the depiction of the figure perched on the cloud, which is shown supporting themselves on their hands, almost “floating” above the clouds that top the mountain peak, with a look of contentment on their face and the involuntary trace of a smile. Li Chen excels at presenting this kind of contrast between “heavy” and “light.” The warm luster of the silver and the energy exuded by the black are simultaneously in contrast and in harmony with one another, while the cloud provides a stable support, so that, while floating in the air, the figure is also kept steady and secure.

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ZHANG Chongren (Chinese, 1907-1998)

Landscape (a set of 3) 1958 Watercolor on paper 20.5 x 26.5 cm (upper) 20.5 x 27 cm (middle) 16.5 x 27 cm (lower) Signed lower right Chongren in Chinese and dated 58.10.(upper) Signed lower right Chongren in Chinese (middle) Signed lower left Chongren in Chinese (lower)

NT$ 120,000-220,000 US$ 4,000-7,400 HK$ 31,000-57,000

張充仁 風景（三件一組） 1958 水彩 紙本 20.5 x 26.5 cm（上） 20.5 x 27 cm（中） 16.5 x 27 cm（下） 簽名右下：58.10. 充仁（上） 簽名右下：充仁（中） 簽名左下：充仁（下）

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134

YANG Taiyang (Chinese, 1909-2009)

Landscape (a set of 2) Oil on cardboard 26 x 30 cm (upper) 25.5 x 28.5 cm (lower) Signed lower left Taiyang in Chinese and English (upper) Signed lower left Taiyang in Chinese (lower) Provenance: Acquired directly from the son of the artist by the present owner.

NT$ 220,000-400,000 US$ 7,400-13,500 HK$ 57,000-104,000

陽太陽 風景（二件一組） 油彩 紙板 26 x 30 cm（上） 25.5 x 28.5 cm（下） 簽名左下：太陽 Taiyang（上） 簽名左下：太陽（下） 來源： 現有收藏者直接購自於藝術家之子

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GUAN Zilan

關紫蘭 海景

(Voilet KWAN) (Chinese, 1903-1986)

Seaview 1932 Oil on canvas 31.5 x 43 cm Signed lower right Zilan and dated 1932 in Chinese

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PROVENANCE: Chongyuan Auctions, Shanghai, October 23, 2002, lot 1539

NT$ 300,000-500,000 US$ 10,100-16,800 HK$ 78,000-130,000

1932 油彩 畫布 31.5 x 43 cm 簽名右下：紫蘭 一九三二 來源： 「2002首場大型藝術品拍賣�西洋美術」， 崇源拍賣，上海，2002年10月23日，編號 1539

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TU Ke

(Chinese, b. 1916)

Maternal Love 1946 Oil on canvas 81 x 65 cm Signed lower right Tu Ke in Chinese This painting is to be sold with a certificate of authenticity issued by the artist's family.

NT$ 400,000-600,000 US$ 13,500-20,200 HK$ 104,000-156,000

凃克 母愛 1946 油彩 畫布 81 x 65 cm 簽名右下：凃克 附藝術家家屬開立之原作保證書

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KIM Bo Min (Korean b. 1979)

Evening Return; Dawn Fog; Night Flight (triptych) 2010 Tape, colors and Korean ink on linen, mounted onto board 91 x 39 cm (x3) Signed on the reverse BoMin Kim in English, titled Evening Return; Dawn Fog; Night Flight in English and dated 2010

NT$ 350,000-550,000 US$ 11,800-18,500 HK$ 91,000-143,000

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金甫珉 暮返；晨霧；夜行（三聯幅） 2010 膠帶 彩墨 亞麻布 裱於木板 91 x 39 cm (x3) 簽名畫背：BoMin Kim Evening Return; Dawn Fog; Night Flight, 2010

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CAI Guo-Qiang (Chinese, b. 1957)

Golden Yuan Bills - Numinous Talismans 2005 Ink, golden yuan bills, mounted onto paper 38 x 28 cm Signed lower left Cai Guo-Qiang in Chinese and Cai in English, dated 2005 Inscribed lower right KY Tsai in English

NT$ 450,000-650,000 US$ 15,200-21,900 HK$ 117,000-169,000

蔡國強 金圓券—招財平安符 2005 火藥爆破 水墨 金圓券 裱於宣紙 38 x 28 cm 簽名左下：蔡國強 Cai 2005 款識右下：KY Tsai

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WU Guanzhong (Chinese, 1919-2010)

Palm Trees Carbonic ink and pen on paper 41.5 x 31 cm Signed lower right Wu Guanzhong in Chinese With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Mikel Armendia Ibarra, Pamplona, Spain.

NT$ 650,000-950,000 US$ 21,900-32,000 HK$ 169,000-247,000

吳冠中 棕櫚樹 墨 鋼筆 紙板 41.5 x 31 cm 簽名右下：吳冠中 鈐印右下：荼 附米基爾．亞美尼亞．伊巴拉畫廊開立之 原作保證書

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140

PANG Jiun

(Chinese, b. 1936)

The Romance of Lily 2010 Oil on canvas 72.5 x 91 cm Signed lower right Pang Jiun in Chinese and dated 2010 With one seal of the artisit

NT$ 750,000-1,200,000 US$ 25,300-40,400 HK$ 195,000-312,000

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龐均 百合花的浪漫 2010 油彩 畫布 72.5 x 91 cm 簽名右下：龐均 2010 鈐印右下：均

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Dennis HWANG

(Chinese-American, b. 1941)

Flower Market 1994 Acrylic on canvas 181.5 x 145 cm Signed upper right Hwang in English, Chi Chiu in Chinese and dated 94

ILLUSTRATED: Chinese Oil Painting in the 20th Century, Beijing Publishing House; Beijing Fine Art Photography Publishing House, Beijing, 2001, color illustrated, p. 517

NT$ 700,000-900,000 US$ 23,600-30,300 HK$ 182,000-234,000

黃志超 花市 壓克力 畫布 181.5 x 145 cm 簽名右上：Hwang 志超 94 圖錄： 《20世紀中國油畫I-2》，北京出版社；北 京美術攝影出版社，北京，2001，彩色圖 版，頁517

早在1950年代，丁雄泉初至巴黎發展即嶄露頭角，與眼鏡蛇畫派成員如：阿雷欽斯基 (Pierre Alechinsky)、喬恩 (Asger Jorn) 等藝術家共同舉辦聯展，並活躍於歐洲畫壇。1958年，他毅然 前往紐約，紐約艷燦的城市風景豐富了他畫裡的顏色，自由奔放的風氣，激盪出更多的創作 靈感，女人、花、鳥、動物等生活所見，都化為他創作的一部份。

142

Walasse TING

(Chinese-American, 1929-2010)

I Eat Rose (Kiki de Montparnasse) 1996 Acrylic on canvas 80 x 100 cm Signed on the reverse ting in English, titled I eat Rose, and dated 8-2-96

這幅《我吃了玫瑰（蒙巴納斯姬姬）》一作完成於1996年 ，為丁雄泉難得一見的畫布媒材。 畫中的繆斯女神正是蒙巴納斯區的傳奇人物—姬姬（Kiki, Alice Prin, 1901-1953），姬姬活躍 於1920年代蒙巴納斯區的藝文圈，是巴黎畫派藝術家經常聘用的人體模特兒。畫面中女子如 瀑金髮閃閃發光，嬌艷的紅唇叼著一朵玫瑰，撩人姿態引人心醉！ 許多全球首屈一指的現代美術機構：如美國紐約現代美術館、大都會美術館、費城美術館、 芝加哥藝術協會、底特律藝術協會、波士頓美術館；英國泰德畫廊；巴黎東方藝術博物館、 台北市立美術館、上海美術館、香港藝術館等都收藏有丁雄泉的畫作。

Walasse Ting first came to prominence in the 1950s, shortly after arriving in Paris. Ting’s works were shown in joint exhibitions with members of the CoBrA avant-garde art group, such as Pierre Alechinsky and Asger Jorn, and he became an active member of the European art scene. In 1958, Ting relocated to New York, urban landscape enriched the colors of his works, and the freewheeling, liberal atmosphere was an important source of creative inspiration for him. The women, flowers, birds, animals, etc. that he saw all around him were transformed into elements in his creative art.

PROVENANCE: Private collection, Netherlands (a gift from the artist)

NT$ 1,200,000-2,200,000 US$ 40,400-74,100 HK$ 312,000-571,000

丁雄泉 我吃了玫瑰（蒙巴納斯姬姬） 1996 壓克力 畫布 80 x 100 cm 簽名畫背：I eat Rose ting 8-2-96 來源： 私人收藏 荷蘭（得自藝術家贈與）

蒙巴納斯姬姬 Kiki Alice Prin

“I Eat Rose (Kiki de Montparnasse)” is one of his rare works on canvas. The muse depicted in the painting is Alice Prin (1901 – 1953), better known as “Kiki,” who was a legendary figure in the Montparnasse district. Active in artistic and cultural circles in the 1920s, she modeled for Paris-based artists on a regular basis. With her dazzling blond hair and rich red lips holding a rose, the woman depicted in Ting’s painting has an intoxicating allure.

Works by Walasse Ting can be found in collections of many world’s greatest modern art museums, including the Museum of Modern Art (MOMA) in New York, the Metropolitan Museum of Art, the Philadelphia Museum of Art, the Chicago Art Institute, the Detroit Institute of Arts Museum, the Museum of Fine Arts in Boston, the Tate Modern in the U.K., the National Museum of Asian Art in Paris, Taipei Fine Arts Museum, the Shanghai Art Museum, and the Hong Kong Museum of Art.

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143

CHU Teh-chun

(Chinese-French, b. 1920)

Composition No. 233 1965 Watercolor on paper 50 x 32 cm Signed lower right CHU Teh-chun in Chinese and English, inscribed à St. Jeoire in french and dated 65 Signed on the reverse CHU TEH-CHUN in English and Chinese, titled No. 233, inscribed Pour Madeleine Gay très amicalement, à St. Jeoire in French and dated 1967 PROVENANCE: Collection of Madeleine Gay, St. Jeoire, France ILLUSTRATED: Abstraction and Figuration: Concret Chu Tehchun, Walasse Ting and Zao Wou-ki, Vintage Gallery, Taipei, 2012, color illustrated, p. 9

NT$ 1,400,000-2,400,000 US$ 47,100-80,800 HK$ 364,000-623,000

朱德群 構圖 233號 1965 水彩 紙本 50 x 32 cm 簽名右下：朱德群 CHU Teh-chun 65 à St. Jeoire 簽名畫背：CHU TEH-CHUN 朱德群 1965 No. 233, Pour Madeleine Gay très amicalement, 朱德群 à St. Jeoire 來源： 瑪德蓮．蓋伊收藏，聖茹瓦爾，法國 圖錄： 《抽象．具象─朱德群、丁雄泉、趙無 極》，維嘉畫廊，台北，2012，彩色圖版， 頁9

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144

ZAO Wou-ki

(Chinese-French b. 1921)

Sans titre 1967 Watercolor on paper 33 x 49 cm Signed lower right Wou-ki in Chinese, ZAO in French and dated 67 ILLUSTRATED: Abstraction and Figuration: Concret Chu Tehchun, Walasse Ting and Zao Wou-ki, Vintage Gallery, Taipei, 2012, color illustrated, p. 51 The painting is to be sold with a certificate of authenticity issued by artist's wife, Mme Françoise Marquet.

NT$ 2,400,000-3,200,000 US$ 80,800-107,700 HK$ 623,000-831,000

趙無極 無題 1967 水彩 紙本 33 x 49 cm 簽名右下：無極 ZAO 67 圖錄： 《抽象．具象─朱德群、丁雄泉、趙無極》， 維嘉畫廊，台北，2012，彩色圖版，頁51 附藝術家之妻梵思娃．馬凱開立之原作保證書

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145

WU Guanzhong (Chinese, 1919-2010)

吳冠中

Landscape 1999 Ink and color on paper 20 x 70 cm Signed lower rithgt Wu Guanzhong and dated 1999 both in Chinese Titled lower left Life After Survival, for He Bing in Chinese With one seal of the artist

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一方山水

PROVENANCE: Collection of He Bing, Beijing (a gift of theartist)

NT$ 2,300,000-4,200,000 US$ 77,400-141,400 HK$ 597,000-1,091,000

1999 彩墨 紙本 20 x 70 cm 簽名右下：一九九九 吳冠中 鈐印右下：荼 題示：劫後餘生 何冰存念 來源： 何冰收藏，北京（得自藝術家本人饋贈）

山與樹一直是中國文人和畫家吟詠和讚頌的對象，吳冠中對山嶽和樹木更有一種特殊的情緣。1995年的巨幅名作《樹叢》就是以蘇州郊外四株 被雷劈後而重生的漢柏為描繪物件的作品。作者以半抽象手法去描寫實景的精萃，虛實交融，不囿於一景一貌而統攝全域，筆墨之精妙躍然紙 上。 時至九十年代末，古稀之年的吳冠中依然保持著旺盛的創作力和對藝術執著探索的熱情。除孜孜不倦地以筆墨描繪著江南煙雨、記憶中北 方的風景，抽象繪畫則成為他這一時期的主流創作題材。吳冠中並不以為自己所作乃純抽象繪畫，也並不執著於抽象與非抽象的判別，「不見 明顯的具象實物，也可以說是抽象的畫面」。但他自有更深一層的構想：「只緣作者彷徨於時空的上下左右，記憶的前前後後，想表現那難於 捕捉的歲月之流逝。」《雙燕》、《秋瑾故居》乃是藝術家這一時期繪畫思想的絕佳代言。 《一方山水》乃吳冠中饋贈友人的佳作，畫面左下書：「劫後餘生，何冰存念」。大塊面的墨蹟與點彩其間的彩墨交相輝映，形成了豐富有致 的節奏變化，中國的寫意和西方的表現主義在方寸之間得到美妙的協調。

Mountains and trees have been praised and worshiped by Chinese litterateurs and artists for thousands of years, Wu Guanzhong in particular, has a special sentiment to mountains and trees, too. Wu’s masterpiece in 1995, “Forest”, was inspired by the cypresses revived after struck by lightning, in the suburb of Suzhou. The artist applied a touch of semi-abstract to portray the beauty of real scenery, created a fusion of reality and fantasy; he took the broader view of the scene rather than focusing on the feature of a single object, the spirit of the art of brush and ink was captured on paper. Wu Guanzhong was already in his seventies by late 1990s, but he remained a very vibrant creativity and high enthusiasm about art. By this time, besides continuing his painting of the misty Jiangnan (lands immediately to the south of the lower reaches of the Yangtze River) and the northern China in his memory, Wu Guanzhong picked up abstract painting as a major theme of his artistic creations. However, Wu himself did not consider these paintings as works of pure abstract art, and he was very open about the classification between abstract and non-abstract: “picture without obvious material object can also be interpreted as abstract”. Yet he has a profounder concept about this: “it is all because the artist is wandering up and down in space, back and forth in memory, trying to express the elapse of time which is hard to capture.” Pieces such as “Two Swallows” and “Former Residence of Qiu Jin” are typical works of this period which speak for the artist’s creative concepts.

The piece “Landscape” is a painting Wu gave to a friend as a present, on lower left of the picture Wu wrote: “Life After Survival, for He Bing”. The large area of ink mark and colorful ink spots embellish in between complement the beauty of each other, create a vibrant variation of rhythm. The mood of the Chinese Xieyi (freehand brushwork in traditional Chinese painting) and the western expressionism achieve a fantastic harmony in this square of paper.

146

SU Wong-shen (Taiwanese, b. 1956)

Bored Onlookers 2004-2006 Oil on canvas 170 x 200 cm Signed on the reverse Su Wong-shen, titled Bored Onlookers both in Chinese and dated 2004, 2005, 2006 ILLUSTRATED: Su Wong-Shen: Between the Clouds, Eslite Corp., Taipei, 2008, color illustrated, pp. 214-215 & p. 240

NT$ 3,000,000-5,000,000 US$ 101,000-168,400 HK$ 779,000-1,299,000

蘇旺伸 圍觀無聊 2004-2006 油彩 畫布 170 x 200 cm 簽名畫背：蘇旺伸 圍觀無聊 2004 2005 2006 圖錄： 《蘇旺伸：雲和雲之間》，誠品股份有限公 司，台北，2008年11月，彩色圖版，頁214-215 與頁240

72

雖然蘇旺伸沒有什麼淑世的理想或使命，亦不願說教般地揭示什麼公義真理，但一個成長成 熟於80年代的青年，曾經深深體會到台灣社會的劇烈變化，那強烈與深刻的感知，使他對自 身所從出的土地，仍然充滿關情，這種老靈魂的特質無從擺脫。於是，他紀錄下這些心情， 以各種抽象的化身與曲折的形式，暗示著在畫布背後複雜糾結的可能，像一則起了頭即戛然 而止的預言，留予不同的心靈演譯將之完成。無論從內容或為它們命名的方式，蘇旺伸此前 的作品中對社會性議題的關注都是較為外顯的，而在這件作品中，更多的是內省式的精神觀 照，他們依然根植於畫家的生命境遇，只是那思維的面向更為複雜與深沉，少了一些嘲謔， 多了一絲感傷，卻是一般的無所謂。（節錄自誠品畫廊2003年9月《蘇旺伸》畫冊）

Su is not an artist with lofty ideals or a historical mission, and you will not hear him holding forth about truth and justice. Even so, as a young man coming of age in the eighties, he has experienced his fair share of tumultuous change and upheaval as Taiwan underwent a period of rapid political, social and economic transformation. Those times left a deep and lasting imprint on his mind and, if anything, it has made him all the more attached to his native island-a quality that is eloquently betrayed in his artistic work. Abstract images and intricate shapes hint at the complicated emotions that went into each of his compositions, grabbing the viewer’s attention like hesitating divinations of the future, as if Su was reluctant to say too much and rather left it to the observer to complete the artist’s evolving prophecies. From their content and titles it is easy to see that Su’s works touch only supericially on social topics and current issues. This is also true of this lot, which features more tentative representations of the painter’s inner self, introspective musings about his life and the world around him-only now Su’s thinking has become even more complex and profound. There is less irony and more emotion, but it is all still bathed in accustomed cursory nonchalance. (cf. Eslite Gallery Exhibition Catalogue, Su Wong-shen, Sep. 2003)

蘇笑柏 隔色

SU Xiaobai

2008 油彩 木板 大漆 亞麻布 150 x 150 cm 簽名右下：Xiaobai

Fine Differentiation

來源： 大未來林舍畫廊，台北

147

(Chinese, b. 1949)

2008 Oil, lacquer and linen cloth on board 150 x 150 cm Signed lower right Xiaobai in English PROVENANCE: Lin & Lin Gallery, Taipei EXHIBITED: The Dynasty of Colours, Langen Foundation, Nuessm, Germany, 2009 George Chan - Xiaobai Su, Lin & Lin Gallery, Taipei, 2011 ILLUSTRATED: Xiaobai Su - Die Dynastie der Farben, Langen Foundation, Neuss, Germany, 2009, color illustrated, no. 9, p. 56 Xiaobai Su - George Chann, Lin & Lin Gallery, Taipei, 2011, color illustrated, p. 36

NT$ 3,400,000-4,600,000 US$ 114,500-154,900 HK$ 883,000-1,195,000

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展覽： 「色彩王朝」，蘭根基金會，諾伊斯，德 國，2009 「蘇笑柏、陳蔭羆雙個展」，大未來林舍畫 廊，台北，2011 圖錄： 《蘇笑柏─色彩王朝》，蘭根基金會，諾伊 斯，德國，2009，彩色圖版，編號9，頁56 《蘇笑柏》，大未來林舍畫廊，台北， 2011，彩色圖版，頁36

作為一個身處於外國文化中生活和工作的藝 術家，一方面背負著其自身的文化背景與經 歷，另一方面又要融入到一個全新的、不同 的環境與學習過程。他具有或者至少暫時具 有一個微妙的『兩極特性』—在藝術家尋找 突破的過程中，各種不同的出路會一一向他 敞開大門。一個趨勢是他仍忠於其固有的藝 術起源，繼續創作，在某種意義上講 – 回 顧；這樣，他新的創作理念會最終保持其 外來性，而藝術家本身，仍將是一個身處國 外的外國人。或者，藝術家可以跟隨蘇笑柏 的心路歷程，然而，只有極少數的人在條路 上取得了成功。蘇笑柏採取了一個謹慎、安 靜，隔岸而觀的姿態，從他自身與他之前的

生活中抽離開來，同時與浸淫著他的新的文 化環境也保持一定的距離；如此，他從週邊 觀察著這兩個世界。他選擇了一條中間之 道，汲取兩個文化中最好的精粹，以最終 的、由純粹的物體組成的、只保留實質與本 質的宏觀世界為目的地，秉持著這樣的信念 前行。( 節錄自尼可．拜耳教授 ＜繪畫的要素＞《蘇笑 柏德國蘭根基金會個展—彩色王朝》目錄，2009/2010，第 30-32頁。)

An artist who lives and works in an alien culture brings with him his own background and learning and must engage with a new and very different set of conditions and teachings. His situation has, at least temporarily, a “dipolar character’; from which various strategies are open to the artist as he seeks resolution. One tendency is for him to remain wedded to the art that is intrinsic to his origins and work by, in a sense, looking back. Here, the new ideas will ultimately always remain alien, and he will remain a foreigner in a foreign country.

On the other hand, he can engage unreservedly with the totally new art. Or an artist can follow a course like the one pursued by Xiaobai Su, although very few have succeeded. He adopts a cautious, quiet, renunciation position, stepping back from himself and his previous life, but also keeping a certain distance from the new culture surrounding him. In this way, he observes both worlds from the outside. Taking a middle path, he seeks the best from both cultures, with the aim and conviction that ultimately only the macro world of things, the substance and the essence will last. (an excerpt from Prof. Nicole Beyer, “The Essence of the Pictures”, Xiaobai Su Die Dynastie Der Farben, ZDF and Langen Foundation, 2009/2010, pp. 30- 32)

148

CHU Teh-chun

(Chinese-French, b. 1920)

Composition No. 203 1965 Oil on canvas 65 x 54 cm Signed lower right CHU TEH-CHUN in Chinese and English Signed on the reverse CHU TEH-CHUN in English and Chinese, titled No. 203 and dated 1965

NT$ 3,600,000-4,600,000 US$ 121,200-154,900 HK$ 935,000-1,195,000

朱德群 構圖203號 1965 油彩 畫布 65 x 54 cm 簽名右下：朱德群 CHU TEH-CHUN 簽名畫背：CHU TEH-CHUN 朱德群 1965 No. 203

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在朱德群長期的藝術生涯中，旅居巴黎算是最為重要的一個事件，1950年代後期開始，西方 開展了各流派的抽象性繪畫，在西方藝術家中有不少深受東方繪畫哲學影響的例子，而來到 巴黎的朱德群則是以其深厚的東方思維，來吸取在那時期強烈發酵的戰後文化，也許是東方 人獨特的內斂性格，日後其推展開的朱氏抽象，西方特質是隱隱約約透出，而非截長補短的 作用方式。 朱德群作畫的開端並不像大部份的藝術家一樣，會有預先設定的主題或是約略構思的雛型， 過度的隨意絕非是他這位將繪畫視為首要的藝術家之態度，他的繪畫根源於對大自然的悟 性，而從中覓得對萬物的深情款待，則也刺激其繪畫的欲望，站在畫布前，畫家內在的真實 情感也不再隱匿；對於觀畫者來說，他們的私人情緒是被充分鼓勵的，即使朱德群的抽象畫 作時常會有標題，但觀眾們可以保有其個人的感知方式，去挖掘，去奔馳，甚至鑽研，而朱 德群所建造出的畫布是個有機的環境，任不同的性情及思維方式都找到抒發的角落。

Moving to Paris could be the most important event in the long span of Chu’s art career, there were many schools of western abstract paintings since the late ‘50s, and many of art were influenced by eastern philosophies. Chu went to Paris with his profound oriental thinking, and absorbed the postwar western cultures. Maybe it’s due to his modest characteristics, add his later established abstract painting style some western particularities, and this unique style is not the result of using only what he’s good at.

Unlike other artists, when Chu commences to paint, he doesn’t set a theme or create a scratchy form beforehand, but absolutely free and unrestrained isn’t the attitude for such an artist who placed paintings as the most important thing in his life as well, the source of his paintings came from his understandings of nature, he discovered his love for nature, and this stimulates him to paint. When standing in front of the canvas, the artist can no longer hide his feelings, from a viewer’s point, their private feelings could be encouraged, although there are titled for each of Chu’s paintings, however the viewers can still keep their own way of sensing, to dig, to run in, or even to study it, and what Chu created is an organic environment on the canvas, all the characteristics or ways of thinking could find their place to be released.

149

CHU Teh-chun

(Chinese-French, b. 1920)

Limites franchies 2004 Oil on canvas 73 x 93 cm Signed lower right CHU TEHCHUN in Chinese and English and dated 04 Signed on the reverse CHU TEHCHUN in English and Chinese, titled "limites franchies" and dated 2004

NT$ 4,000,000-6,000,000 US$ 134,700-202,000 HK$ 1,039,000-1,558,000

朱德群 超越界限 2004 油彩 畫布 73 x 93 cm 簽名右下：朱德群 C H U T E HCHUN 04 簽名畫背："limites franchies" CHU TEH-CHUN 朱德群 2004

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擅長書法藝術之故，用筆、筆觸的表現， 一直是朱德群的油畫特色之一。他謹記古 代畫家的格言，用毛筆令世事從渾沌中脫穎 而出。他的筆觸無所忌憚，大筆刷出濕潤的 韻律，在畫面上形成優美、富涵力度的肌 理。光線的運用，讓他的作品有一種古典氣 勢，像古典繪畫般的莊嚴、神聖（朱德群自 稱他的「光」來自於林布蘭的啟發）。他的 光線除了具有光源的性質外，也與印象派相 關。光線決定了畫面的色彩和結構，形成色 暈的交輝和意境的生成。畫友閔希文認為， 「朱德群七十年代之後許多作品中的『光』 可視為中國傳統文化中『陰』與『陽』的 關係......『光』已從『光源』散落開來， 撒到畫面的每一個角落，使世界在『陰』 與『陽』的互補中獲得生機。同時，這些 『光』還以『留白』的方式創造了空間，它 在『空無』中放飛人的想像，在『無』中催 生了『有』—朱德群將中國的智慧與西方的 眼睛有機地結合在一起，在一個有限的空間 中創 造了無限。」

Since he was well versed in calligraphy, one of the characteristics of his paintings is the use of brush strokes. He remembered the words from ancient painters, saying that the function of a brush is to make things stands out from a chaotic world. His brush has a fluid rhythm, creating beautiful, powerful lines on the paintings. On the other hand, his use of light makes his works powerful in the classical way. (He said the light in his paintings is inspired by Rembrandt.) His use of light is also influenced by Expressionism. The light decides the arrangement of color and structure in his paintings, it constructs the atmosphere of the images. His fellow artist, Min Xiwen once said, "The light in Chu Teh-chun's works can be seen as the expression of Yin and Yang. It also creates spaces in the paintings. He uses Chinese wisdom to fulfill the physical world."

150

ZHOU Chunya (Chinese, b. 1955)

The Spirit of Landscape 1992 Oil on canvas 100 x 80 cm Signed lower right ZHOU Chunya in Chinese and dated 1992 EXHIBITED: 1971-2010 40-year Retrospective Exhibition of Zhou Chunya, Shanghai Art Museum, Shanghai, 2010 ILLUSTRATED: Zhou Chunya, Timezone 8, Hong Kong, 2010, color illustrated, p. 451

NT$ 8,800,000-12,000,000 US$ 296,300-404,000 HK$ 2,286,000-3,117,000

周春芽 山水精神 1992 油彩 畫布 100 x 80 cm 簽名右下：1992 周春芽 展覽： 「1971—2010周春芽藝術四十年回顧展」， 上海美術館，上海，2010 圖錄： 《周春芽》，東八時區，香港，2010年，彩 色圖版，頁451

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1955年出生於浙江寧波的周春芽，現居重慶，是中國當代藝術中最富有才情和表現力的藝術 家之一。其作品從早期的《藏民寫生》，直至德國留學歸國後「山石」、「風景」、「黑 根」、「綠狗」、「紅人」、「桃花」等一系列富有變化與激情的畫作，都是當代藝術市場 中備受青睞的成功作品。 追溯到1986年，三十一歲的周春芽已經是中國享有名氣的年輕藝術家，就好像一齣經典的戲 劇一樣，他決定拋開一切身懷一百美元和一箱速食麵，毅然踏上留學德國之路。1989年周春 芽歸國後，經歷了人生眾多的衝擊，環境的巨大變化，八九學潮，第一次婚姻的失敗，德國 東西的統一。可以說「山石」及「風景」系列是經歷了種種變化之後，周春芽的破繭之作。 出身於文化之家的周春芽，父母都是極有藝術素養的文人。「文化大革命」中，47歲的父親 早逝，留給年僅14歲的周春芽的遺囑是：「一要鍛煉身體，二要堅持畫畫。」同時留下的還 有一大批外國和中國古典文藝理論叢書和幾幅張大千原作，可以說中國傳統藝術元素是根源 在周春芽的記憶和身體血液裡的。就像近現代一些大師一樣，周春芽對於傳承，和西方文化 投射於藝術領域的消化也經歷了一個經典的過程：對於中國傳統文化的認識，拋棄傳統文化 的桎梏，追求西方文化的吸取，兩種文化的糅合，捨棄西方文化回歸本源這樣的過程。在接 受了德國表現主義畫風的影響後，結束了留學生涯的周春芽將大部分他在德國的創作留給了 他的老師和房東。「因為看過了世界，才認識了自己」— 回到祖國後，各種動盪使他無法創 作，彼時中國傳統繪畫卻像早就埋好的伏筆開始發揮了它的魅力。這些古典文人的傳統精華 和高度深刻的刺激活化了他的創作思維，他體悟到中國文人畫傳統發展脈絡裡，和西方藝術 發展中比較一致的法門—透過對前人極致地摹寫仿效致敬後，從中發展出獨立完整而成熟的 自我風格。 這件《山水精神》畫於1992年，正值周春芽創作歷史中，最為大破大立厚積薄發之時。畫面 中溢出的當代藝術氣息和藝術家本身在那一時期的積壓、磅礡、釋放和激情讓觀者無法忘 懷。細細品味，又似乎飽有「元四家」、董其昌、「四僧」等中國古典文人畫的精髓--筆墨雖 然枯索，但卻包含奔放的真激情。畫面中似乎設在高遠處的山峰，若隱若現的石徑、流水、 和森然的亂草無不透出古代文人的山水精神，那幾抹清淩的藍，也好似借用了明末清初「金 陵八家」龔賢的筆下看似安靜平常，實則透出憂傷孤寂之氣的風景。讓人叫絕的是，除了載 體媒介的當代性—畫布和帶有強烈筆觸的油彩以外，畫面中似乎是破壞性的西方現代主義的 框框叉叉，完美表現了藝術家的豪情。同時，也昭示了他對於畫面整體的操控力和無法掩蓋 的才情。 作為一個藝術家，周春芽忠誠的借用自己的天才服務於自己最真實的情感經驗和生命經歷， 是讓人尊敬的。

Zhou Chunya, born in Ningbo, Zhejiang province in 1955 and currently lives in Chongqing, is one of the most talented and expressive artists in Chinese contemporary art. His paintings are full of changes and passions, ranging from his early works, such as “New Generation Tibetan”, to the pieces after studying in Germany, such as “Mountain Rocks”, “Scenery”, “Heigen”, “Green Dog”, “Red Man”, and “Peach Blossom”; have gained extensive popularity and attention for him in contemporary art market.

周春芽《紅石》羅芙奧台北2011秋季拍賣會 編號191，504萬台幣成交 ZHOU CHUNYA, Red Rocks 1994, oil on canvas, 72.5 x 61 cm Ravenel Autumn Auction 2011 Taipei, lot 191 US$ 167,164 sold

It dates back to the year of 1986, when Zhou was already an established young artist. Just like the classic movie script, with only 100 US dollars and a box of instant noodles, the young artiest decided to give up everything and set foot on the road to Germany. Returned to China in 1989, he went through a rollercoaster of impacts in his life: dramatic changes in social environment, the student unrest in 1989, failure of his first marriage, and the reunification of Eastern and Western Germany… In a way, his series of Mountain and Stone, landscape are, as it were, breakthrough works of Zhou after such a rough experience.

Zhou was born into a literary family; his parents are well-educated scholars with artistic attainments. His father died at an early age of 47 during the Cultural Revolution when Zhou was only 14, his last wish to Zhou was “Keep fit, keep drawing.” He also left Zhou a broad range of Western and Chinese classical art theory series and a few original works of Zhang Daqian. Chinese traditional artistic elements are in Zhou blood and rooted in his memory and body. Like many grandmasters of modern contemporary art, Zhou went through a traditional digestion process in terms of culture

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heritage, influence and projection of Western culture: recognition of traditional Chinese culture, abandoning its shackles, imbibing western culture, combination of two different cultures, abnegation of western culture and regression to the origin. German Expressionism has a great influence on Zhou, he left the majority of his art pieces to his professors and landlord in Germany. “I know myself, because I have explored the world with my eyes.”

After returning to China, flood of instability destroyed his artistic creativity; meanwhile, Chinese traditional painting began to emerge its glamour in his artworks, as if it is premeditated.

The traditional essence and profoundness of classical literati significantly inspired his creation, which made him understood that the development of Chinese traditional painting and western art are identical – a unique, independent, integrated and sophisticated style is developed from imitations of predecessors.

The piece “The Spirit of Landscape” was finished in 1992, when Zhou was experiencing a disruptive breakthrough and rising abruptly based on his accumulated strength among his creation history. The breath of contemporary art gushes out from the painting, along with the accumulation of artist during that period, which is unforgettably magnificent, liberate and passionate. The painting, after a thorough savoring, also delivered the essences of Chinese traditional painting, such as “Four Masters of the Yuan dynasty”, Dong Qichang, “Four Monks” – the brush strokes are very laconic yet full of effusive genuine passion. The spirit of ancient literati is flowing smoothly out of the scene, embellished by the lofty mountain, the loom stone path, the flowing stream and the massive grass. Apart from the contemporaneity of intermediary – canvas and oil paint with vivid brush stroke, the discordant lines and blocks of Western Modernism style appear in the scene indistinctly, which reflects the fervor of Zhou, and also demonstrates his control of the entire scene and his glorious talent.

As an artist, it is respectable that Zhou devotes his talent to his most authentic emotional and life experience.

評論家有云：「畫者，本於天地之靈氣，結於人心之妙想。」此話用於林風眠頗為貼切，觀 林之作品，猶如萬象在旁，神思融融。他的繪畫取材廣泛，其中仕女、花鳥、風景最為常 見。早年顛沛輾轉上海、重慶等多地，長期流連於長江與嘉陵江岸，雄偉的山河景象和船舶 給畫家留下難以磨滅的印象，其後的風景繪畫的創作也多取材於這一時期的回憶。

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LIN Fengmian (Chinese, 1900-1991)

Fishing Boats Ink and color on paper 66 x 66 cm Signed lower left Lin Fengmian in Chinese, With one seal of the artist PROVENANCE: Jiann Chyn Gai Art Center, Taipei Acquired directly from the above by the present owner

NT$ 7,800,000-9,800,000 US$ 262,600-330,000 HK$ 2,026,000-2,545,000

林風眠 漁舟 彩墨 紙本 66 x 66 cm 簽名左下：林風眠 鈐印左下：林風暝印 來源： 倦勤齊，台北 原收藏者購自上述來源

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此幅「漁舟」描摹的應屬早年的江岸印象。作品採用了林風眠作品創作中較為典型的方形佈 陣式構圖。以中國傳統繪畫中平遠式處理畫面。前景中深色的水面泛起白浪，中景漁舟破浪 前行，遠景漁舟漸遠，層層深入，簡練的線條和平塗的彩墨渲染出平和、寧靜的氣氛。平直 的斜線、弧線賦予平和在狀態以動勢與活力。材料方面，以墨為主，色彩輔之，乍看似全水 墨，細品可見墨中有色，且色調豐富，層次分明。實屬林氏風景繪畫中的佳品。

An art critic once said that “A painter combines the spiritual essence of heaven and earth with the wondrous imaginings of the human soul.” This description is definitely applicable to Lin Fengmian.

When viewing Lin’s works, it is as though all of creation was present, and imbued with a sense of harmonious reflection. The subject matter of Lin’s paintings is extremely varied, with the most common themes including court ladies, “bird and flower” paintings, and landscapes. As a young man, Lin experienced considerable hardships, and was constantly on the move (with periods of residence in Shanghai and Chongqing). He spent a considerable amount of time on the banks of the Changjiang (Yangtze) River and the Jialing River, whose magnificent mountain and river scenery, as well as the numerous boats to be seen on the rivers, was bound to leave an indelible impression on any artist.

Many of Lin Fengmian’s later landscape paintings took their subject matter from Lin’s memories of this time.

This painting, “Fishing Boats,” probably reflects these memories of river scenes from Lin’s youth.

The painting employs the “rectangular matrix” composition that is so typical of Lin’s work, along with a “middle distance” perspective (one of the “three distances” of traditional Chinese painting).

In the foreground, white waves can be seen on the surface of the dark waters, while in the center of the canvas fishing boatss cut through the water. The fishing boatss gradually recede into the distance, creating a layered effect. The spare, succinct lines and patches of color combine to create a peaceful, harmonious atmosphere, while diagonal and curving lines add a sense of motion and energy to the scene. This is basically an ink painting, with color playing a supporting role. At first glance, it appears to be a pure ink brush painting, but closer examination reveals traces of color; the painting in face makes use of a rich variety of color tones, with clear, distinct layering. Without question, this is one of Lin Fengmian’s finest landscape paintings.

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CHEN Cheng-po (Taiwanese, 1895-1947)

Tai Lake 1934 Oil on canvas 38 x 45.5 cm Signed lower right Cheng-po and dated 1934 in Chinese

NT$ 16,000,000-24,000,000 US$ 538,700-808,100 HK$ 4,156,000-6,234,000

陳澄波 太湖 1934 油彩 畫布 38 x 45.5 cm 簽名右下：澄波 一九三四

陳澄波與友人於太湖寫生

此幅作品畫面的右下方有「澄波」落款 及「三四」題識，研判是陳澄波創作於 1934年的作品，畫作並無標題，就其所描 繪的山勢與湖景，類似於1929年的《太湖 別墅》以及1931年《五里湖》兩幅油畫作 品，因此判斷主要取景的地點應該是江蘇 無錫的太湖流域。五里湖，位於無錫西 南，狀如葫蘆，亦屬於太湖所延伸出的一 座內陸湖泊。相傳春秋時期范蠡與西施曾 經泛舟湖上，後人為了紀念范蠡，改稱五 里湖為蠡湖。

CHEN Cheng-po sketched by Tai Lake with friends

陳澄波出生於1895年，父親是前清的秀 才。陳澄波自幼曾受漢文書房教育。1913年開始受日本水彩畫家石川欽一郎指導，對西洋美 術有初步認識，1924年考進東京美術學校師範科。他雖然透過日本近代教育接受近代化事 物，然其文化根源與生活習慣仍承襲自中國文化，二十世紀初期台灣的知識分子對於中國其 實是有所嚮往的，1928年他首次到上海、杭州旅行，此後連續以中國江南風光為素材的作品 參加台展及其他畫展，例如錢塘江、蘇州、普陀山、西湖、上海。1929年的《早春》、1931 年的《西湖春色》都是以描繪西湖風景入選日本帝展。 1929年陳澄波從東京美術學校畢業，為了成為專業的藝術家，應允中國畫家王濟遠的邀請， 前往上海發展，任教於私立新華藝術專科學校，兼任昌明藝術專科學校教師，並在藝苑繪畫 研究所社團任教。抵達上海不久後，即獲邀擔任「第一屆全國美術展覽會」的審查員，以描 繪西湖風景的《清流》及蘇州風景的《蘇州》兩幅油畫作品參展；其中《清流》曾於1931年 代表中國參加芝加哥博覽會。可以想見，陳澄波當時對江南風景之熱愛及重視。 客居上海五年的時間，教學與創作忙碌，陳澄波以異鄉人身分在十里洋場的畫壇走出一片天 地，受到元朝倪雲林及清朝八大山人的畫風啟發，結合中國畫線條的表現力以及西方寫生造 型概念，1930年代前後他的油畫創作中融合高古的東方韻味。1932年上海爆發一二八事變， 他先將家人遣送回台灣，自己觀望一年後也於1933年6月返台定居。 回到台灣之後，陳澄波仍難忘情江南美景，翌年1934年他跟就寫生稿或記憶所及，創作有 《西湖春色》、《西湖遠眺》、《西湖泛舟》等膾炙人口的作品；此幅《太湖》油畫亦是於 類似情況下所作。《太湖》一作描繪太湖流域附近的風光，與上述的《太湖別墅》及《五里 湖》構圖相近，擁有傳統的「之字形構圖」的坡岸山勢，結構簡約而有力度，表現粗獷大 膽。蓊鬱的綠樹有誇張的圓弧形筆觸，強勁的筆鋒，具有毛筆撇捺揮灑的意味，使畫面呈現 奔放不羈的動勢。 《太湖》作品仍帶有濃厚的後印象派風格，山景色彩層次分別，極富生命力；近景以墨綠色 勾勒樹梢，厚塗的油彩突顯大自然豐富的色階變化：而明亮的藍天與鳥瞰的湖水，光影變化 相映成趣，整幅作品顯示藝術家的熱情進取及旺盛生命力的性格，也將1930年代富饒的中國 江南水鄉景象盡現無遺。

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Afterwards, he entered works in the Taiwan Fine Arts Exhibition and other art exhibitions depicting southern Chinese scenery. For instance, many of his paintings from this period feature the Qiantang River, Suzhou, Mt. Putuo, West Lake, and Shanghai.

His 1928 “Early Spring” and 1931 “Spring Scenery at West Lake,” both of which portray the scenery around West Lake, were finalists at Japan’s Imperial Exhibition.

After graduating from the Tokyo School of Fine Arts in 1929, Chen CHEN Cheng-po, Tai Lake Villas, 1929, oil on canvas, 91 x 116.5 cm moved to Shanghai at the invitation of Chinese painter Wang Qiyuan in order to further his career as a professional The signature “Cheng-po” in the lower right artist. There, Chen taught at the Xinhua and the inscription “34” suggest that this College of Art, a private school, while untitled painting was made by Chen Chengconcurrently teaching at Changming College po in 1934. The lake and mountain scenery of Art and the Yiyuan Painting Academy. Not are reminiscent of two of Chen’s oil paintings, long after arriving in Shanghai, he was invited namely the 1929 “Tai Lake Villas” and the to serve as a reviewer for the “1st National Fine 1931 “Wuli Lake.” We can therefore assume Art Exhibition.” His oils “Stream,” portraying that the landscapes depicted in Chen’s West Lake scenery, and “Suzhou,” portraying paintings are around Tai Lake in Wuxi, a Suzhou scene, were both entered in this Jiangsu Province. Located to the southwest exhibition, “Stream” was exhibited at the 1931 of Wuxi, Wuli Lake is shaped like a bottle Chicago Exposition as a representative work gourd and is an inland lake that extends from of China. It is clear that Chen Cheng-po was Tai Lake. Legends speak of the statesman already infatuated with the scenery of southern Fan Li and the beautiful Hsi Shih rowing China. on the lake during the Spring and Autumn Period, and subsequent generations called After five years of teaching and painting in Wuli Lake “Li Lake” in memory of Fan Li. Shanghai, the outsider Chen Cheng-po had carved out a niche for himself in the Chen, whose father had been a scholar in Shanghai painting community. His the Qing imperial civil service, was born in work was inspired by that of the Yuan 1895 and received an education in Chinese Dynasty painter Ni Yunlin (1306literature and the traditional arts during his 1374) and the Qing Dynasty painter formative years. In 1913 at the age of 18, he Bada Shanren (Chu Ta, 1624/1626began receiving instruction from the Japanese 1705), and combined the expressive watercolor painter Kinichiro Ishikawa, which lines of Chinese painting with Western gave him his initial exposure to Western realistic styling. His oil paintings art. He gained admission to the normal from around 1930 incorporate age-old division of Tokyo School of Fine Arts in Eastern notions of refined taste. When 1924. Although he encountered modernity the January 28 Incident broke out in via his contemporary Japanese education, 1932 between Chinese and Japanese his cultural roots and lifestyle were inherited forces, Chen first sent his family from traditional Chinese culture. Taiwanese to Taiwan, and himself returned to intellectuals in the early 20th century retained a Taiwan in 1933 after observing the yearning for China, and Chen visited Shanghai situation for another year. and Hangzhou for the first time in 1928. 陳澄波《太湖別墅》1929 油彩 畫布 91 x 116.5 cm

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Chen did not forget the southern Chinese landscape after his return to Taiwan. Relying on sketches or memory, during 1934 he painted such appealing works as “Spring Scenery at West Lake,” “Distant View of West Lake,” and “Boating on West Lake.”

The current oil painting “Tai Lake” was made under similar circumstances. “Tai Lake” depicts the landscape in the Tai Lake basin, and its composition resembles those of the aforementioned “Tai Lake Villas” and “Wuli Lake.” The shore and hills in “Tai Lake” are in accord with the traditional “zig-zag” principle of composition, and the painting as a whole is uncluttered, powerful, and full of bold, roughhewn expressiveness. The luxuriant trees are portrayed using exaggerated circular strokes, and the brushwork is evocative free-flowing strokes made with a Chinese writing brush. As a result, the painting contains a vibrant sense of energy and movement.

“Tai Lake” is also characterized by a palpable post-impressionist style. The hillsides have clearly-defined colors and are rich in vitality.

The branches of the trees in the near scenery are sketched in dark green, and the thick oils highlights nature’s rich color scale – the lake waters below provide an interesting reflection of the bright blue sky, and the work as a whole displays the artist’s enthusiastic and hearty personality. The painting thus encapsulates the beauty of southern China’s lake country during the 1930s.

陳澄波《五里湖》1931 油彩 畫布 86 x 116.5 cm CHEN Cheng-po, Wuli Lake 1931, oil on canvas, 86 x 116.5 cm

朱銘1938年出生於台灣的苗栗縣通宵鎮，早年未接受完善的美術教育，十五歲時跟隨李金川 師傅學習傳統木雕技藝。三十歲時，他放棄在大雕刻廠首席師傅的高薪，離開故鄉，向雕 刻大師楊英風學藝術現代雕塑，為期八年。當年朱銘身體瘦弱，楊英風建議他修習太極拳養 身。練太極拳原本僅為了強身，然而領悟力極強的朱銘，卻從中體會到思想與心靈上的奧 妙。

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JU Ming

(Taiwanese, b. 1938)

Taichi Series - Single Whip Bronze, edition no. 1/20 102(L) x 53.5(W) x 66.8(H) cm Engraved on the back Ju Ming in Chinese and numbered 1/20 This sculpture is to be sold with a certificate of authenticity issued by the Nonprofit Organization Juming Culture and Education Foundation.

NT$ 15,000,000-26,000,000 US$ 505,100-875,400 HK$ 3,896,000-6,753,000

朱銘 太極系列—單鞭下勢 銅雕 1/20 102(長) x 53.5(寬) x 66.8(高) cm 簽名雕刻後側：朱銘 1/20 附財團法人朱銘文教基金會所開立之作品鑑 定報告書

以太極拳調養與修行期間，朱銘體會到自然萬物、大氣運作的能量與蘊涵，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。 連結了幾何化抽象體面以及人物動勢造型，「太極系列」雕塑在三度空間語言中動與靜、粗 放與簡潔的對比，形成豐富有致的節奏變化；雕塑在光線和陰影之中形成有層次的變化效 果。

Ju Ming was born in 1938 in Tunghsiao, Miaoli County, which is a center of wood carving in Taiwan.

He received very little formal education in the arts, and at the age of 15, he was apprenticed to Lee Chin-chuan, a famous traditional master wood-carver. When he was 30, he decided to give up a wellpaid position as a chief craftsman in a large woodcarving factory. He left Miaoli to study sculpture with the master sculptor Yuyu Yang with whom he studied for eight years. Yang suggested to Ju Ming that he should take up Taichi boxing, the traditional Chinese boxing, as he had a frail constitution, and it would help him to improve his health.

Ju Ming soon discovered that practicing the ancient “martial art” did more than just made him stronger: it gave him much more energy for thought and opened up profound new vistas 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.

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 creates a rich rhythm in the works. The sculptures also play with a colorful effect of change between light and shadow.

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在朱銘眼中，「太極系列」才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。太極拳講究 勻、慢、柔、圓，充分體現美學思想，宛如不同的人練太極同一招式時，會展現不同的力 度。因此，當朱銘在雕塑每一件太極時，也賦予他們獨特的生命力。

154

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Show Boxing 1988(left); 1982(right) Wooden sculpture 16.7(L) x 20.3(W) x 33.3(H) cm (left) 16.3(L) x 23.5(W) x 28(H) cm (right) Engraved JU Ming and dated '88 (left) Engraved JU Ming and dated '82 (right) This pair sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei.

NT$ 8,000,000-12,000,000 US$ 269,400-404,000 HK$ 2,078,000-3,117,000

朱銘 太極系列－對招 1988 (左)；1982 (右) 木雕 16.7(長) x 20.3(寬) x 33.3(高) cm (左) 16.3(長) x 23.5(寬) x 28(高) cm (右) 簽名雕刻：朱銘 '88 (左) 簽名雕刻：朱銘 '82 (右) 附真善美畫廊開立之原作保證書

朱銘的「太極系列」大致分為兩大類，一類展現個體的技巧與姿態，另一類則講求兩股力量 之間的對立關係，也就是雙人對打。在單一人物的太極雕塑中，太極的力量和節奏透過身體 的運動和姿勢來表達。但太極在本質上可謂兩極相生，即「陰」與「陽」，兩極相互關聯， 循環往復合而為一，構成和諧而有力的運動。此件《太極系列》動靜、虛實之間，將太極拳 隨屈就伸、人剛我柔、借人之力、順人之勢的精義顯露無疑。 牛津大學美術史學家蘇立文曾說：「太極同時也是一種儀式性的格鬥形式，兩個形體相互對 峙。在太極對招中，藉由參與者的移動，他（較少是她）得以勝過自己。古代的軍事分析師 孫子寫道：知己知彼，百戰百勝。」（參閱《朱銘太極系列雕塑》，漢雅軒，香港，1993）

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. The sculptures also play with a colorful effect of change between light and shadow. In “Single Whip”, Ju Ming found his own voice and creates works of tremendous vitality and irresistible power as he explores the pure energy of traditional Taichi Series.

The “Taichi Series” by Ju Ming can be broadly divided into two categories: those depicting individuals demonstrating their skills and postures, and those that examine the contradictory relationship between opposing forces - the twin sparring figures. With the single Taichi figures, the force and rhythm of Taichi are expressed through body movements and postures. However the nature of Taichi is such that there are two types of chi: the Yin and the Yang. These two entities share a reciprocal relationship and are united as one, creating a harmonious and powerful movement.In this “Taichi Series”, he has given ultimate presentation the pith of shadowboxing yielding to dissolve attacking force, treating rigidity with suppleness, borrowing external force and complying with external orientation.

The scholar of art history in Oxford University, Michael Sullivan, said: “Taichi is also a form of ritual combat in which two figures actively oppose each other. In Taichi boxing, the participant moves so that he (more rarely she) extends beyond himself. Know your enemy as well as yourself, wrote the ancient military strategist Sun Zi, and you will be invincible!” (Ju Ming Taichi Sculptures, Hanart T Z Gallery, Hong Kong, 1993)

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155

HE Jian

(Chinese, b. 1978)

Take a Photo as a Souvenir; Travel (a set of 2) 2004; 2003 Mixed media on rice paper 121 x 94 cm (upper) 164.5 x 122 cm (lower) Signed lower right HE JIAN in English and dated 2004 (upper) Signed lower right HE JIAN in English and dated 2003 (lower) With one seal of the artist (x2) EXHIBITED: Living in the World – Solo Exhibition by He Jian, Art Seasons Gallery, Beijing & Singapore, 2005 ILLUSTRATED: Living in the World, the Paintings of He Jian, Art Seasons Gallery, Beijing, 2005, p. 40 & p. 43

NT$ 260,000-400,000 US$ 8,800-13,500 HK$ 68,000-104,000

何劍 拍照留念；旅遊（二件一組） 2004；2003 綜合媒材 宣紙 121 x 94 cm（上） 164.5 x 122 cm（下） 簽名右下：HE JIAN 2004（上） 簽名右下：HE JIAN 2003 （下） 鈐印右下：何劍畫 (x2) 展覽： 「塵世：何劍個人作品展」，季節畫廊，北 京與新加坡，2005 圖錄： 《塵世：何劍作品》，季節畫廊，北京， 2005，彩色圖版，頁40及頁43

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156

WANG Pan-youn (Taiwanese, b. 1912)

Solitude Watercolor on paper 55 x 80 cm Initialed lower left P.Y.

NT$ 300,000-500,000 US$ 10,100-16,800 HK$ 78,000-130,000

王攀元 湖畔獨坐 水彩 紙本 55 x 80 cm 簽名左下：P.Y.

157

Walasse TING

丁雄泉 鸚鵡

(Chinese-American, 1929-2010)

Three Parrots with Feathers

PROVENANCE: London Arts Group, Michigan

2000 Acrylic on rice paper 65 x 101 cm With one seal of the artist

NT$ 450,000-700,000 US$ 15,200-23,600 HK$ 117,000-182,000

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2000 壓克力 紙本 65 x 101 cm 鈐印右下：採花大盜 來源： 倫敦藝術集團，密西根

158

HSIAO Ju-sung (Taiwanese, 1922-1992)

Toucian River 2006 Watercolor on paper 52.5 x 72 cm Initialed lower right -JS- in English Signed on the reverse Hsiao Ju-sung and titled Toucian River, inscribed member of Taiyang Fine Arts Association and 20P in Chinese

NT$ 550,000-750,000 US$ 18,500-25,300 HK$ 143,000-195,000

蕭如松 頭前溪 2006 水彩 紙本 52.5 x 72 cm 簽名右下：-JS簽名畫背：頭前溪 台陽展會員 蕭如松作 20大

159

HONG Ling (Chinese, b. 1955)

Lotus Pond 1991 Oil on canvas 80 x 80 cm Signed lower right Hong Ling in Chinese and dated 91.3

NT$ 350,000-550,000 US$ 11,800-18,500 HK$ 91,000-143,000

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洪凌 荷塘 1991 油彩 畫布 80 x 80 cm 簽名右下：洪凌 91.3

160

Walasse TING

(Chinese-American, 1929-2010)

Pink & Yellow Twins 2000 Acrylic on rice paper 54 x 80 cm With one seal of the artist PROVENANCE: London Arts Group, Michigan

NT$ 450,000-700,000 US$ 15,200-23,600 HK$ 117,000-182,000

丁雄泉 姊妹 2000 壓克力 紙本 54 x 80 cm 鈐印左下：採花大盜 來源： 倫敦藝術集團，密西根

161

Michell HWANG (Taiwanese, b. 1948)

City Symbol 1997 Oil on canvas 182 x 61 cm Signed lower right Che in Chinese and dated 1997 This painting is to be sold with a certiicate of authenticity issued by Goethe Art Center, Taichung.

NT$ 550,000-800,000 US$ 18,500-26,900 HK$ 143,000-208,000

黃銘哲 都會符號 1997 油彩 畫布 182 x 61 cm 簽名右下：哲 1997 附哥德藝術中心開立之原作保證書

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162

黃鋼

HUANG Gang (Chinese, b. 1961)

Wings 2005 Mixed media on board 105 x 69 cm Signed lower right Huang Gang in English and Chinese

飛翔 ILLUSTRATED: Huang Gang: Revolving Golden Imprint, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, pp. 54-55 & p. 222

NT$ 550,000-750,000 US$ 18,500-25,300 HK$ 143,000-195,000

2005 綜合媒材 木板 105 x 69 cm 簽名右下：Huang Gang 黃鋼 圖錄： 《黃鋼—轉動黃金印記》，藏新藝術有限 公司，台北，2008，彩色圖版，頁54-55與 頁222

163

XU Bing

(Chinese, b. 1955)

Chairman Mao Red Book 2001 Mixed media sculpture (Chairman Mao red book encased in silkworm) 32(L) x 32(W) x 2(D) cm Signed on the reverse Xu Bing in English and dated 2001 PROVENANCE: Eslite Gallery, Taipei Acquired directly from the above by the present owner

NT$ 600,000-800,000 US$ 20,200-26,900 HK$ 156,000-208,000

徐冰 紅寶書 2001 蠶絲 毛語錄 木板 32(長) x 32(寬) x 2(厚) cm 簽名背板：Xu Bing 2001 來源： 誠品畫廊，台北 現藏者購自上述來源

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164

LIU Kuo-sung (Taiwanese, b. 1932)

Landscape 1967 Ink and color on paper 59 x 91.5 cm Signed upper left Liu Kuo-sung and dated 1967 both in Chinese With one seal of the artist

NT$ 850,000-1,200,000 US$ 28,600-40,400 HK$ 221,000-312,000

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劉國松 風景 1967 彩墨 紙本 59 x 91.5 cm 簽名左上：劉國松 一九六七 鈐印左上：劉國松

165

HONG Ling (Chinese, b. 1955)

Early Summer 2001 Oil on canvas 80 x 100 cm Signed lower left Hong Ling in Chinese and dated 01 Signed on the reverse Hong Ling, titled "Early Summer" in Chinese and inscribed retouched in 2010 at Soka Art Center, 100 x 80 cm

NT$ 900,000-1,200,000 US$ 30,300-40,400 HK$ 234,000-312,000

洪凌 初夏 2001 油彩 畫布 80 x 100 cm 簽名左中：洪凌 01 簽名畫背：此畫作于2001年 2010年補筆于 索卡 洪凌 100 x 80 cm 《初夏》

陳蔭羆出生廣東，曾拜師習書法，12歲時隨父親移民美國。他接受完整的西方美術教育，入 洛杉磯名校奧蒂斯藝術學院（今洛杉磯藝術學院前身），擅長印象派寫實風格，因成績優異 留校任教職。他的藝術深受洛杉磯郡立美術館館長賞識，獲推薦在加州主要美術館展覽，還 為美國名人畫像，頗富盛名。

166

George CHANN

(Chinese-American, 1913-1995)

除精通肖像油畫、風景水彩及後期描寫聖經故事，1950年代陳蔭羆投入抽象表現主義浪潮， 擷取東方古老文字、歷史紋飾等視覺元素，混合自動性、原生藝術之率性，創作出斑斕的抽 象形式，最能代表陳蔭羆的個人風格。憑藉對文化探索的熱誠，數十年創作不輟。

Calligraphic Variations 1960s Oil on canvas, collage 91 x 71 cm ILLUSTRATED: George Chann, Lin & Keng Gallery, Taipei, 2005, color illustrated, pp. 93-95

NT$ 900,000-1,500,000 US$ 30,300-50,500 HK$ 234,000-390,000

陳蔭羆 書體變奏 1960年代 油彩 畫布 拼貼 91 x 71 cm 圖錄： 《陳蔭羆》，大未來畫廊，台北，2005， 彩色圖版，頁93-95

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《書體變奏》挪用青銅饕餮紋飾的文化表徵，混雜紙糊、裱貼等媒材聚合、堆砌，完成一幅 碑帖式的現代圖畫書寫。其繪畫是古老文化的尋根溯源，色彩瑰麗、交錯的線性結構具現代 感，雖繁複交錯卻有某種秩序感，反映藝術家生活於南加州的繁華都會文化狀態。

George Chann was born in Guangdong, China, where he learned calligraphy as a young boy. He immigrated to the USA with his father at the age of 12. He received a Western art education in the Otis Art Institute (currently the Los Angeles Art Institute), where he became accomplished in impressionism and the realistic style. Because of his achievements, he was offered a position by the institute as an instructor. His works were especially appreciated by the director of the Los Angeles County Museum, who recommended his artwork for exhibitions in the major art museums of California. Chann also painted portraits for American social celebrities and built up a strong reputation.

George Chann was skillful in oil portrait and watercolor landscapes. Later he also illustrated Bible stories. In the 1950s, he dedicated himself to the tide of abstract expressionism. He selected various visual elements from the essence of ancient oriental characters, historical patterns and decorations, mixing them with automatism and the forthrightness and sincerity of native and primitive art. The multicolored abstract form created by Chann typically represents his individual style. He continued his enthusiasm for cultural exploration which influenced his creations over many decades.

In the painting “Calligraphic Variations”, the artist appropriated cultural symbols of Tao-Tie decorative patterns on ancient bronze vessels. He employs materials such as paper pasting and mounting to aggregate and build up his work, thus completing a modern painting and work of handwriting inspired by stone inscription rubbing style. The painting explores the root of ancient culture; the colorful and interlaced linear structure of the modern style, which is complicated but still in a certain order, reflecting the cultural position of the bustling metropolitan areas in Southern California, where the painter lived.

1981年夏天，周春芽和張曉剛應同學鐘長青的邀請一起到四川阿壩草原體驗生活。草原絢爛 的色彩成就了他藝術歷程的里程碑作品《藏族新一代》，也影響其八十年代的創作。草原特 有的環境和光影，加之印象派的影響，忠實的反映在藝術家這一時期的作品中。

167

ZHOU Chunya (Chinese, b. 1955)

Landscape 1983 Oil on canvas, mounted onto board 34.5 x 44 cm Signed lower right Zhou Chunya in English and dated 1983

NT$ 1,000,000-2,000,000 US$ 33,700-67,300 HK$ 260,000-519,000

周春芽 風景 1983 油彩 畫布裱於木板 34.5 x 44 cm 簽名右下：周春芽 1983

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1983年的《風景》作品正是這一時期的佳品。草原的光影在他獨特的色彩運用手法中呈現。 畫面前景和中景描繪了簡易的木樁橋、藍色的河流、青色的馬駒；多層次的黃色從畫面的 這端沿著蜿蜒的小徑延伸至遠景，遠山則被淡淡的赭色一筆帶過。粗獷的塊狀筆觸，厚重的 顏色強烈的表現高原的陽光。是年，周春芽已被分配至成都畫院工作，仍堅持到藏區寫生、 創作。他就曾在1983年與張曉剛的通信中這樣寫道：「我現在特別喜歡躁動的情緒來支配畫 面，也很想用強烈的日光來衝擊成都的灰天氣……」藝術家正是借著畫筆、大地與藏區獨特 的民族色彩宣洩著自己的熱情。

In the summer of 1981, Zhou Chunya and Zhang Xiaogang were invited by their schoolmate Zhong Changqing to experience the life on Aba Grassland in Sichuan. The luscious and colorful grassland not only inspired Zhou Chunya’s masterpiece “New Generation Tibetan”, which is considered as the milestone work of his artistic career; but also influenced Zhou’s artistic creation in the entire 1980s.

The unique environment and images of the grassland are heartedly recorded by the artist in his works during this period, with a touch of impressionism.

This painting “Landscape” is a typical master work from this period. The light and shadow of the grassland is well presented by Zhou’s extraordinary utilizing of colors. The artist delineated the simple wooden bridge, blue stream and azury horse in the foreground and middle ground; aside the multiple levels of yellow along the winding road stretching out to background, and mountains in the background was expressed with a light brush of brown.

The raw and blocky brushstrokes and heavy and saturated color both bring out the fierce highland sunshine. The next year, Zhou Chunya was relocated to Chengdu, but he kept going back to Tibet for sketching and inspiration. In his letter to Zhang Xiaogang in 1983, Zhou wrote “I am very fond of dominating the picture with an agitated emotion these days, and I am also eager to pierce the smoggy weather of Chengdu with strong sunlight…” In a word, the artist is voicing his enthusiasm with his painting brushes, through the portraying the fascinating land and culture of Tibet.

168

YE Yongqing (Chinese, b. 1958)

Poetry 2001 Oil on canvas 217 x 197 cm Signed lower right Ye Yongqing in Chinese and English, dated 2001

NT$ 1,300,000-2,200,000 US$ 43,800-74,100 HK$ 338,000-571,000

葉永青 詩 2001 油彩 畫布 217 x 197 cm 簽名右下：葉永青 Ye Yongqing 2001

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169

Walasse TING

(Chinese-American, 1929-2010)

Lady, Flowers and Birds Acrylic on paper 177 x 95 cm With one seal of the artist ILLUSTRATED: Abstration and Figuration: Chu Tehchun, Walasse Ting and Zao Wou-ki, Vintage Gallery, Taipei, 2012, color illustrated, p. 36

NT$ 1,600,000-2,600,000 US$ 53,900-87,500 HK$ 416,000-675,000

丁雄泉 仕女與花鳥 壓克力 紙本 177 x 95 cm 鈐印右上：採花大盜 圖錄： 《抽象．具象─朱德群、丁雄泉、 趙無極》，維嘉畫廊，台北， 2012，彩色圖版，頁36

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170

HUANG Gang (Chinese, b. 1961)

Revolving in the Snow Terrain 2004-2008 Mixed media on board 220 x 122 cm ILLUSTRATED: Huang Gang: Revolving Golden Imprint, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, pp. 100-103 & p. 222

NT$ 1,600,000-2,600,000 US$ 53,900-87,500 HK$ 416,000-675,000

黃鋼 雪域法輪 2004-2008 綜合媒材 木板 220 x 122 cm 圖錄： 《黃鋼—轉動黃金印記》，藏新藝術 有限公司，台北，2008，彩色圖版， 頁100-103與頁222

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171

YE Yongqing (Chinese, b. 1958)

Letter 1997 Mixed media on canvas 100 x 80 cm Signed upper right Ye Yongqing in English and dated 1997 ILLUSTRATED: Chinese Contemporary Artists Volumes, Series IV- Ye Yongqing, Sichuan Fine Arts Publishing House, Chengdu, 2007, color illustrated, p. 52

NT$ 2,000,000-3,000,000 US$ 67,300-101,000 HK$ 519,000-779,000

葉永青 離家出走 1997 綜合媒材 畫布 100 x 80 cm 簽名右上：Ye Yongqing 1997 圖錄： 《葉永青─當代藝術家叢書第四輯》，四川 美術出版社，成都，2007，彩色圖版，頁52

綠狗系列是周春芽最負盛名的代表作，被形容為「畫布上的雕塑」。 藝術評論家呂澎在《綠 狗敘事》一文中評述：「狗在畫家的生活中是潛在的需要，這樣與人相比看來似乎無意識的 生命成為逐漸減少自然性的都市環境中人的一種渴望。事實上，只有一種通情理的、具有依 附性的生命也許可以讓人感受到慰藉，使你在枯燥和空乏的社會環境裡沾染一點自然與淳樸 的氣息。」

172

ZHOU Chunya (Chinese, b. 1955)

Green Dog 2003 Oil on canvas 115 x 90 cm Signed lower right Zhou Chunya in Chinese and English, dated 2003

NT$ 6,400,000-8,600,000 US$ 215,500-289,600 HK$ 1,662,000-2,234,000

周春芽 綠狗 2003 油彩 畫布 115 x 90 cm 簽名右下：周春芽 Zhou Chunya 2003

周春芽說，綠狗是一個符號，一種象徵，重複畫一隻風格化的狗，變成一種符號，甚至，一 隻狗就是一幅畫。在周春芽看來，綠色是寧靜的、浪漫的、抒情的，包含了爆發前的寧靜意 境。但是這種象徵只在表現黑根時才有具體的意義。1999年，黑根突然病死，周春芽極度痛 苦，暫停畫「綠狗」。2001年初，在心情平復後，周春芽開始新的綠狗創作，則變成了「大 綠狗」，圖像更加醒目刺激。 在「大綠狗」系列中，畫家進一步放棄形體的追求，直接將綠狗置於視覺中心，巨大而空曠 的白色畫布上，綠色的身影、充實的質感和強烈的攻略性，令人久久無法忘懷。狗被色彩和 筆觸虛擬化了，對象的存在與特徵只是通過不同的筆法提示著。綠狗或站立，或打滾，或跳 躍，或行走，在畫面中呼之欲出。另一方面，綠狗已不實在，牠轉變成狗的姿態、畫面結構 和畫家態度的完整整合。 The “Green Dog” series is immediately identifiable as one of Zhou Chunya’s most recognized group of works. It has been described as “Sculpture on Canvas”. The art critic Lu Peng says in Narrating the Green Dog, “His dog was a big responsibility in the artist’s life more so than human being. A dog as a companion has become an unconscious desire of many people living in cities and urban areas as they have become divorced and separated from nature. The loyalty and dependability of a dog is a comfort to people, and adds a depth of meaning, bringing color and feeling to an otherwise dull and meaningless life.”

Zhou said the green dog as a symbol, a sign. “Green” represents tranquility, romanticism, lyricism, a state of quietness before an outburst of energy. Such a symbol makes sense when it is understood to represent the image of Heigen, his beloved dog. In 1999, the death of Heigen from illness caused Zhou great pain and he stopped painting green dogs. Then, in early 2001, once he had come to terms with his loss, he began to paint again his green dog. Almost in celebration of Heigen, he painted very big green dogs and the images produced were much more striking and exciting than before.

Taking a more expressionist viewpoint, Zhou placed the big green dog in the visual center of his canvases. The silhouette of the green dog against a huge white backdrop, the luxuriant texture of the paintwork and the heightened emotional displays of the dog, leave a deep impression on the viewer.

The dog is brought into being through color and brush strokes. The pure existence of the subject is not so important anymore, the essence, the spirit of the subject is now express in the brush strokes.

Whether the dog is standing, rolling, jumping or walking, its energy is so vividly captured and rendered that it seems the dog will respond immediately to our call, almost ready to bound from the canvas. The big green dog is a true expression of the artists understanding of the meaning of a great friend that he was lucky to encounter in his life.

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173

LIU Wei

(Chinese, b. 1965)

Landscape 2006 Oil on canvas with painted wooden frame 113(L) x 113(W) x 6(D) cm Signed center Liu Wei in Chinese and English, dated 2006

NT$ 11,000,000-22,000,000 US$ 370,400-740,700 HK$ 2,857,000-5,714,000

劉煒 風景 2006 油彩 畫布 手繪木框 113(長) x 113(寬) x 6(厚) cm 簽名中央：劉煒 Liu Wei 2006

史論家慣常於歸納、對比、分析；評論家則熱衷於歸類、定性。中國當代藝術躁動的三十 年，活躍的藝術家和藝術作品多被納入不同風格和「主義」。劉煒被譽為中國最具「才情」 的「玩世現實主義」的代表藝術家。對於藝術家本人，未必在意自己屬於哪個流派。於劉煒 而言，無論「玩世現實主義」還是「化神奇為腐朽」，皆不能為其藝術定性。因藝術之本質 仍是私密的個人行為，所表達的依舊是主觀層面的思考。無論時評如何定調，宏大敘事抑或 是對社會、對人的精神狀態的關注等，都沒有成為他創作的羈絆。作品伴隨著藝術家時刻在 成長，在變化。 這個北京軍屬大院長大的老男孩用畫筆詮釋著內心，作品中始終帶著一股他特有的散漫和不 羈。他說道：「我畫畫非常尊重自己的內心感受，用自己的方式、方法解讀我眼中的風景。 大家一看就知道是我畫的，只有畫家畫得有感覺，才能觸動觀者，才能談得上美。」 作為中國最早兩度參加威尼斯雙年展的藝術家，劉煒的作品也很早即為西方收藏家所熟知。 作品直接流露著他所感受到的生存狀態和情緒。其作於上世紀1980年代的作品，充滿了夢幻 和純真的想像，受西方超現實主義大師的影響頗深。畫面中變形的人物和風景在他1990年代 的作品中得以延伸、發展。當年西藏題材風靡，大批的寫實作品湧現，劉煒則堅持自己的超 現實主義風格，以變形的人物造型和誇張的色彩詮釋自己的感受。 1991年，他和同班同學方力鈞一起舉辦了人生第一個重要的展覽。在這次展覽中，栗憲庭第 一次提出了「玩世現實主義」的概念。這一時期，「革命家庭」系列、「水調歌頭」系列中 符號化的「父親」和領袖形象，往往與漫畫化的風景疊加呈現。畫面中目光呆滯，嘴唇歪斜 的人物重複出現，視覺衝擊力極強，無聲地反抗著父權和意識形態的禁錮。法伯（Howard and Patricia Farber）夫婦、尤倫斯夫婦等知名當代藝術收藏家的藏品體系中皆可見到劉煒各 時期的佳作。當中國前衛藝術日漸升溫的時候，他卻選擇了一條不同的路。放棄了重複自己 作品中典型視覺符號，轉而投向新的風格探索。1995年，自「你喜歡肉」的系列之後，政治 符號消失；名為「1989年出生」的系列作品，以狗和兒童為主要描繪物件，開始陸續創作完 成，也逐漸形成了所謂「化腐朽為神奇」的新風格。 花朵、風景、人物皆在其這一時期標誌性的細碎、流動又不經意的塗抹的筆觸中「潰爛」。 他的創作依舊隨性多變，即使題材相同，創作手法也會不斷推新。因為不能容忍重複：「一 批東西做完，我以後就不會做一樣的。」 2006年夏，劉煒搬進了宋莊喇嘛村的新畫室。在一次訪談中，他談到在新的畫室，需要適應 新的環境才能進入到新作品的創作中。同年，新作品在上海虹橋畫廊展出。這一次他將視野 投向了不斷翻新的材料和媒介上。細碎的筆觸和流淌的油彩突破了畫布、風格、甚至畫框的 禁錮。流淌的風景溢出了裝飾的畫框，畫框與畫面融為一體。 這幅《風景》保留了藝術家典型的「化腐朽為神奇」的風格。如肉糜般紅豔的山坡佔據了畫 面的半邊疆域，天空則被綠色填滿。山坡和天空蔓延出常規的畫幅之外，作為裝飾的畫框自 然的被納入畫面，打破了常規欣賞的習慣。學院所給予的知識和中國傳統繪畫的影響，皆滲 透在其看似不經意的細碎筆觸裡。

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Historians have the habit of concluding, comparing and analyzing while critics are fond of classification and determination of the nature. In the past 30 restless years of Chinese contemporary art, active artists and artworks are categorized into different styles and doctrines. Liu Wei is recognized as the most talented representative artist of Cynical Realism. However, as to the artists themselves, they may not care about the categories. For Liu, the nature of his artistic creation cannot be simply defined by Cynical Realism or the saying of “transformingdecay into wonder”. Attitude of criticism, significant social phenomenon, attention to the society and human spiritual world - he did not let any of these become obstacles to his creation, even more, his artworks are growing and transforming along with the artist himself.

The old boy, grown up in the military community in Beijing, expresses his internal feelings with painting brushes. His artworks breathe out a unique sense of wildness. He said “I respect my internal feelings; I interpret the view in my eyes through a unique approach. The audience may recognize my paintings at a glance. A painting can only connect with the audience when the painter created it with emotions; I think that is beautiful.”

As the first artist who twice participated Venice Biennale, Liu’s artworks have gained extensive awareness among western collectors. His livelihood and emotions are presented through his art works directly. His works in 1980s were full of dreams and innocentimaginations, significantly affected by western super-realism artists. Distorted characters and landscape were developed in his artworks in 1990s; although realistic artworks related to Tibetan themes were popular during those years, Liu insisted on super-realism style, utilizing distorted characters and exaggerated color to express his feelings.

In 1991, Liu had his very first significant exhibition, with his classmate Fang Lijun; during which, the concept of Cynical Realism was brought up by Li Xianting for the first time. Around that period, symbolic “father” and leader image were presented with caricature landscape in works such as “Revolutionary Family” and the “Swimming Series”. Glassy-eyed characters with askew lips are displayed repeatedly, which showcases intense visual impact, revolt the imprisonment of paternity and ideology silently. Liu’s masterpiece of all times can be foundin the collection of Howard and Patricia Farber, Guy and 劉煒《風景》1998油彩 畫布 150 x 130 cm Myriam Ullens. As avant-garde art became popular gradually, Liu 2011年春季在中國以667萬人民幣成交 Liu Wei, Landscape, 1998, oil on canvas, 150 x 130 cm, chose a different direction, giving up the typical visual symbol to US$1.056 million sold in China, in Spring 2011 explore a new style. In 1995, political symbol disappeared after the series of “You Love Meat”; a new series, named “Born in 1989”, were successively created, taking dogs and children as his major theme, formed his new style of “transforming the decay into wonder”.

Flower, landscape and character all melt in the exquisite, flowing and unintended brush strokes. His creation is still free wheeling and multivariant, his creative approaches are always innovative even in identical theme, as reiteration is unbearable: “I will never do the same thing after they're done.”

In the summer of 2006, Liu moved into the new studio in Song Zhuang art district. During an interview, he mentioned that he needed to adapt the new environment in order to create new artworks. The same year, his new art pieces were exhibited in Shanghai Hongqiao Gallery. This time, he cast his attempt into constantly refurbished material and media. Exquisite brush strokes and flowing oil paint break the leash of canvas, style and frame. The flowing landscape spills out of the frame, melting the frame and scene together.

The piece “Landscape” retains the classical “transforming the decay into wonder” style of the artist. Red hillside occupies half of the scene, while the sky is filled in green. They spread out of the painting, yet dammed by the frame, which breaks the traditional habit of appreciation. Academic knowledge and influence of Chinese traditional painting are both permeated in the seemingly random yet exquisite brush strokes.

174

ZENG Fanzhi (Chinese, b. 1964)

Grass Series 2007 Oil on canvas 180 x 260 cm Signed lower right Zeng Fanzhi in Chinese and English, dated 2007

NT$ 27,000,000-38,000,000 US$ 909,100-1,279,500 HK$ 7,013,000-9,870,000

曾梵志 亂草系列 2007 油彩 畫布 180 x 260 cm 簽名右下：曾梵志 Zeng Fanzhi 2007

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曾梵志堪稱最受矚目的當代中國藝術家，持 續不懈的開發新主題、新風格與新技巧，吸 引了全球各地藝術愛好者。他的創作充滿強 烈的表現主義特質與深受傳統中國繪畫影響 的抽象精神，呈現出一種迥異於他人的繪畫 語言，每個創作系列都能同時贏得評論家與 一般大眾的好評。曾梵志致力探討畫中主角 的內心世界，尤其擅長挖掘日益隔絕、孤寂 與疏離的現代世界，個人內心裡的黑暗經 驗。從原創的「醫院」與「肉」，到傑出的 「面具」、趨向抽象的「面具之後」，再到 目前的「亂草」和「風景」系列，曾梵志對 混亂心靈的描繪不斷加深，表現風格也更加 純熟與豐富。 2004年曾梵志開始創作風景系列，目前展 出的這件作品是其中之一。「天空系列」 的人物持續呈現過往疏離、孤寂與隔絕的形 象，而「亂草系列」則似乎代表某種救贖的 可能，狂野混亂的筆觸描繪出在高山與狂風 中自在生長的野草，強壯而充滿生命力。曾 梵志彷彿開始接受他自己內在混亂騷動的情 緒，將其視為自然和本質的一部分，不需要 恐懼，無論情緒多麼讓人驚恐不安，都應鬆 脫與釋放，掙脫桎梏並最終坦然揭露於陽光 之下。 《亂草系列》是曾梵志近期創作之一，展現 強烈而濃鬱的氣氛。畫面中暗黑混亂的野草 以劍拔弩張的姿態在山嶺間抽長，月光在地 面灑下斑駁的光影，野草狂亂地交織糾纏， 將深黑陰鬱的山丘全面包圍，襯托著午夜幽 藍的天空。曾梵志逐漸脫離早期的表現主義 風格，走向傳統中國藝術中較抽象與精神性 的層次。這些深色、強壯、失序的野草，宛 如一張天羅地網，或夢魘中糾纏、捕捉我們 的野生植物，漆黑陰鬱的高山更增添不安之 感。但是，畫面前方草上與地上的點點月光

帶來光明與平靜，彷彿告訴我們無需害怕 踏入這片亂草，月光就像歡迎人們的燈光一 樣，指出一條回家的路。當情緒與情感如亂 草般倉皇不安時，我們無需壓抑或逃離。夜 色降臨，野草猖狂亂竄、生氣勃勃的時刻， 也許就像人的內心深處意欲勃發的情感與思 緒。 曾梵志以純熟的筆觸表現出更強烈的力量與 情感，顯示出個人自由流動、探索潛意識的 畫風，畫家的心情狀態與情感盡情流洩於紙 上。曾梵志以單手持兩枝畫筆，夾於不同手 指間，藉此創造出凌亂狂野的筆觸，就像拿 筷子一樣，一支畫筆用姆指、食指、中指穩 穩握住，另一支畫筆則輕鬆夾在中指和無名 指之間。第一枝筆負責畫出細心安排的筆 觸，第二枝則自在隨意的刻劃線條；第一種 筆觸就像可以控制的意識層，第二種筆觸則 是不可收束的狂野情感，兩者並行，便能創 造出人類內心的抽象風景。這種心理狀態進 一步透過籠罩在黑暗神秘山丘與張狂野草上 的斑駁月光來表現，巧妙的呈現出寧靜與混 亂的心境。 曾梵志的畫法創造出融合理性與非理性心境 的全新再現語彙，理性的心靈與直覺而情緒 性的潛意識心靈同時並存，正如手中兩枝並 行的畫筆一樣。筆鋒在畫布留下深刻的線 條，讓觀者注意到畫面本身以及野草的混亂 本質，這種畫風神似中國古代草書筆法。曾 梵志的創作宗旨是結合理性與非理性兩種層 面，並且依主題選擇繪畫技巧，賦予畫作獨 特的能量與活力。 曾梵志的創作大量探討藝術家身處疏離社會 中的情緒與心理狀態，他的藝術語言獨特而 忠於自我，成功表達個人內在的不安與騷 亂。

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Zeng Fanzhi is perhaps the most acclaimed of contemporary Chinese artists, as his consistent development of series, styles and techniques, has won him many admirers worldwide. His strong expressionistic qualities combined with his flair for abstractness influenced by traditional Chinese painting has given him an unique voice which is unmistakable. Each of his series of works has been met with both critical and general accolades. Always preoccupied with the internal world of his protagonists, Zeng is a master at exploring the dark experiences of the individual mind especially in a modern world of increasing alienation, loneliness and detachment. From his original “Hospital” and “Meat” series through his great “Mask” series, followed by the increasingly more abstract “After Mask Series” series and now to his “Grass” and “Landscape” series, Zeng has followed a path of deepening maturity and expression in relation to portraying inner turmoil.

new creations. It depicts dark and disturbing grasses growing menacingly on a hill at night with moonlight dappling the ground. The wild grasses dramatically intertwine around each other as they weave luxuriantly around a dark brooding mountain set against a twilight blue sky. Zeng has moved away from his earlier expressionism and has moved closer to the abstractness and spiritualism of traditional Chinese art. The grasses are strong and chaotic in dark colors, almost net like, or a wild plant in our nightmares entangling and ensnaring us.

The dark colors of the brooding mountain add further to a sense of uneasiness. However, the dappled moonlight falling on the grasses in the foreground and on the ground evoke light and

曾梵志《風景》羅芙奧香港2010春季拍賣會，編號038，288萬港幣成交 In 2004, Zeng began to produce Zeng Fanzhi, Landscape, 2006, oil on canvas, 70 x 200 cm landscapes from which the Ravenel Spring Auction 2010 Hong Kong, lot 038, US$ 369,705 sold present work comes. In his ‘Sky’ series, his portrayal of individuals continues calmness suggesting that we do not need to his themes of detachment, loneliness and fear to enter. They serve almost as a welcoming alienation, while the “Grass” series seems to light, a beacon showing us the way home. offer some sort of redemption. Wild and chaotic While our emotions and feelings as represented strokes depict strong and vibrant grasses by the grasses are chaotic and frightening, growing around mountains and blowing freely they are not something we need to repress or in the wind. It is as if Zeng is finally beginning run away from. As night falls, the grasses are to accept that his deep emotional inner turmoil strong, vigorous and vibrant, perhaps like our and perturbations are something natural and deepest emotions and thoughts. part of nature, something not to be afraid of, something to be let loose and freed no matter Zeng’s masterful brush strokes add to the how frightening, to be unconstrained and heightened sense of power and emotion. ultimately to be unmasked.

They are indicative of his free flowing and subconscious painting style, allowing his “Grass Series” is an astoundingly strong and moods and emotions to flow onto the canvas. atmospheric painting from Zeng’s recent Zeng uses two brushes held in one hand

between different fingers to create his chaotic, wild strokes. Just as with a pair of chopsticks, one brush is held firmly with three fingers while the second one moves freely between two fingers. The first one creates deliberate thought out strokes, the second follows, freely creating whatever lines it wants. The first stroke is like our conscious, controlled thoughts, the second stroke like our wild, uncontrolled emotions allowing Zeng to create an abstract landscape of our inner psychological state.

This psychological state is further represented by the dappled moonlight juxtaposed with the dark, mysterious hill covered in wild vigorous grasses. Calmness and turmoil are wonderfully rendered.

Zeng’s brush technique has created a new representational language combining the logical and irrational.

The logical mind sits side by side with the unconscious, intuitive and emotional mind, just as the two brushes sit side by side in the hand.

The deep linear marks stroked into the surface of the painting draw attention to the surface of the painting and the chaotic nature of the grasses. This is highly reminiscent of the abstract calligraphic representational techniques of ancient Chinese art. This combination of the rational and irrational is central to Zeng’s themes, and his matching of technique with subject lends a special vibrancy and life to his paintings, which is highly lauded.

Z e n g F a n z h i ’s o e u v r e c h a r t s a m a j o r exploration of the emotional and psychological state of the artist in an alienating and chaotic society. Zeng’s unique voice is the true voice of an artist as he expresses his innermost turmoil and deep emotional disturbances.

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ZENG Fanzhi (Chinese, b. 1964)

Portrait 2005 Oil on canvas 200 x 150 cm Signed lower right Zeng Fanzhi in Chinese and English, dated 2005

NT$ 26,000,000-40,000,000 US$ 875,400-1,346,800 HK$ 6,753,000-10,390,000

曾梵志 肖像系列 2005 油彩 畫布 200 x 150 cm 簽名右下：曾梵志 Zeng Fanzhi 2005

曾梵志的繪畫成就在許多方面都超越了其他 當代中國藝術家，無論是表達與技巧，都展 現一種不凡的成熟氣度。他以內心世界為創 作主題，反映出個人置身徬徨未知世界的不 安心境與追尋意義的渴望。其他當代藝術家 多以正在開放的新中國政治與社會議題為主 題素材，但曾梵志從創作生涯初始，便著重 於探索個人在混亂的新環境中所面臨的疏離 與焦慮。曾梵志不僅創作主題特殊，在繪畫 技巧上也大膽實驗，中國傳統筆法與空間安 排對他影響尤深。這些探討孤寂與疏離的普 世主題，以及絕妙純熟的筆法，使他享譽全 球，成為當代中國最重要的藝術家之一。 曾梵志於1964年出生於武漢，從小性格內 向，當時混亂而失去理性的社會氛圍深深影 響了他，敏感受創的心靈，只能訴諸畫筆來 宣洩內在不安。在湖北美術學院唸書時，他 立即為德國表現主義藝術所吸引，這些研究 也影響他一生的創作與技法，狂野的筆觸、 強烈的色彩與陰鬱的氣氛都成為他作品的特 徵，讓他得以透過末日般的意象與色彩來表 達個人的焦慮與疏離感。但是，這種內省 與表現主義式畫風在故鄉武漢並無法獲得認 同，因此曾梵志於1994年移居北京，初期在 北京也深受孤單、寂寥之苦。 曾梵志的作品細細描繪出他在每個人生階段 的心理狀態。當代藝術家大多安於重複自己 的成功模式，曾梵志卻不同，他持續開發創 作系列，拓展自己的藝術風格，陸續創造出 獨特的內在表達手法。在武漢時，他創作出 最早的兩個系列「醫院」與「肉」，兩者都 與這位內向的年輕藝術家早年恐怖經歷直接 相關。1960年代，大部分中國家庭裡都沒有 浴室，年輕的曾梵志也只能到當地醫院洗 澡，由於生性敏感，這些每日所見的混亂場 景深深刺激他的心靈。「醫院系列」描繪那 些冷漠的醫護人員與惶惶不安的病人；「肉 系列」則描繪每日上下學途中經過當地肉販 的經歷，炙熱夏日裡，這些工人只能躺在凍 肉上消暑，結果卻讓他們渾身沾滿血漬，這 一幕讓敏感的曾梵志感到十分不安。 初至北京時，曾梵志原本希望能找到認同其 藝術的同好知音，未料，他發現自己與主流 當道格格不入。面對孤寂、疏離與冷漠，他 創作出讓他聲名大噪的「面具系列」，每個 作品人物的臉都隱藏於扁平面具下，昇華了 一切表情與情感。穿著入時、專業、年輕的 都會白領階級隱藏了真實的自我，壓抑個人 感情，否定自己的生活。 繼「面具系列」後，曾梵志開始走向更抽象

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的道路，2000年，他開始描繪不戴面具的人 物，例如目前這張畫所示。人物卻比之前戴 面具的人更退縮，因為雙眼空洞無表情，深 刻呈現出個人寂寞與孤立的一面。曾梵志作 品中的人物都有一雙碩大突兀的手，色彩強 烈逼真，似乎在強調，儘管人可以將內心情 感隱藏在冷漠無情的外表下，但焦慮激動的 雙手卻總會洩漏最原始的不安悸動。 「面具之後系列」中，曾梵志展現與傳統中 國繪畫的深刻共鳴，結合表現主義與中國傳 統水墨畫的抽象精神，畫中人物似乎漂浮懸 盪於空曠背景中，細節極為簡單寫意，充分 傳達人物的孤寂與疏離感，這種強而有力的 效果是拜傳統中國繪畫風格之賜。曾梵志的 筆觸畫風也深受傳統中國水墨畫筆法影響， 大筆一揮而就的寬廣筆觸呈現抽象感受，而 細窄筆觸則創造出強烈深刻的線條，神似中 國書法。 「肖像系列」是該系列的傑作之一，孤單的 個人形象戲劇性的出現在畫面中央，深深擄 獲觀者的目光，曾梵志讓孤絕的畫中人漂浮 於虛空中，使觀者感受到主角置身孤單寂寥 環境中的不安與恐懼。這幅畫的重點在於， 畫中人物的站姿與服裝與之前「面具系列」 當中一個人物極為相似，但這次畫中人摘下 面具，情緒表現更強烈、更痛苦，也更駭 人。 畫中人物身穿作工講究的服裝，外披時髦長 版風衣，十足現代中國都會時尚年輕人的樣 板，昂然挺立的酷帥身形，卻與向前瞪視的 空洞大眼，以及臉上、手上毫無遮掩的表現 主義式色彩描繪出的傷口，形成鮮明對比。 拉長的身軀，尤其是脖子部份，顯得脆弱易 斷，讓人聯想到中古時代在肢刑架上遭受拷 問折磨的受害者。和這套想對罪犯逼供的刑 具一樣，曾梵志似乎也想鼓動這位外表如此 昂然自信的畫中人，坦然說出內心的不安與 焦慮。 相較於「面具系列」的人物以平靜冷漠的方 式將情緒與情感隱藏於面具之下，此系列的 人物卻是被迫赤裸裸的顯現內在的煎熬，畫 中人物向前瞪視的雙眼宛如死屍般呆滯，同 時也努力將內心澎湃的情感火焰澆熄掩滅， 黃色的雙眼呈現空洞之感，深深震懾人心。 即使觀者想轉移視線，但雙眼必將難以離 開，因為他的苦悶已引起我們的共鳴與同 情，誇張的臉部、耳朵、鼻子線條讓這幅受 難像更深刻傳神，豐腴的雙頰似乎顫動著豐 富的情感，儘管他努力抑制自己的情緒仍無 法隱藏，扭曲的髮絲擺盪在頭頂上，彷彿因

無法控制的情感熱氣竄出頭頂，怒髮衝冠。 曾梵志將人物置於空蕩的背景中，與傳統中 國繪畫大幅留白的作風十分相似，虛無的背 景讓觀者將全部注意力放在主角身上，無從 分心。而省略細節的描寫，如衣服細節的刻 意簡單，也讓觀者直接注意到人物的眼神， 一旦與其四目相交，便無所遁逃，低調的色 彩呈現同樣也迫使觀者將注意集中於人物臉 部。曾梵志的心理畫像在當代中國藝術家當 中堪稱獨樹一幟，數千年來，中國藝術向來 不重視個人，而人物肖像在漫長的藝術史中 幾乎完全缺席。曾梵志深受傳統中國繪畫的 許多面相吸引，並將其融入肖像畫當中，讓 觀者注意到人物內在發生的心理騷動。

Zeng Fanzhi was born in Wuhan in Hubei Province in 1964. As a child, he was introverted and was deeply affected by the chaos and irrationality in the society of his youth. His psyche was deeply traumatized by what it observed and art was the only outlet for his inner turmoil. He was immediately attracted to German Expressionism at the Hubei Academy of Fine Arts, and his studies were to have a life-long influence on his works and techniques. Wild strokes, fleshy colors and brooding expressions were to become part of

「肖像系列」可說是曾梵志作品中蓄勢待發 的傑作，這幅畫屬於卸下面具後的晚期作 品，代表「面具系列」中，取下面具的假面 都會白領階級。曾梵志的創作都指向他個人 內在的不安與焦慮，在1990年代的「面具」 中，那份混亂與騷動因為難以正視，只能 隱藏於冷漠的面具之下；2000 年初期，他 開始畫出疏離的原始力量及其造成的心理狀 態；2004年起的「亂草」、「天空」與「風 景」系列中，他結合表現主義與抽象型態， 透過狂野有力的野草來描繪混亂的心境。他 越來越能坦然檢視並描繪內在陰暗世界，也 終於能摘下年輕專業人士的面具，創造出我 們面前這幅真誠的作品。

Zeng Fanzhi stands out in many ways from his peers in contemporary Chinese art, displaying an uncommon maturity both in terms of expression and technique. Primarily concerned with the inner world, his body of work reflects his deep psychological unease and search for meaning in a bewildering new world. While his contemporaries mostly focused on political and social issues in a newly open and emerging China, Zeng from the beginning of his career focused on the alienation and detachment of the individual in a frightening new environment.

Zeng is not just unique in his themes, he has also been an experimental technician in painting methods and particularly in the great Chinese tradition of brush strokes and use of space. Both his universal theme of the pain of alienation and detachment and his masterful use of the paintbrush have brought him worldwide recognition and made him one of the most important of Chinese contemporary artists.

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and arresting expressions of his inner-state.

While still in Wuhan, he produced his first two series of works “Hospital” and “Meat” both of which were directly influenced by horrifying early experiences for the young introvert. In the 1960’s most homes in China didn’t have a bathroom, the young Zeng had to use the one in the local hospital. His sensitivities were traumatized by the chaotic scenes he witnessed there on a daily basis. His resulting “Hospital” series typically depicts uncaring doctors and terrified patients. “Meat”, his second series, results from his experience of passing by his local butchers on his way to and from school everyday. In the heat of summer, the only way for the workers to cool down was to lie on the frozen carcasses which resulted in them being covered in blood. For the highly sensitive Zeng, this was deeply disturbing.

his hallmarks and were to allow him to express his angst and alienation in apocalyptic imagery and colors. However, such introspection and expressionistic tendencies found little acceptance in his native Wuhan and so in 1994 Zeng moved to Beijing. Here, he suffered the full trauma of alienation and disconnection.

On moving to Beijing Zeng was hoping to find acceptance and understanding of his art. Instead he found himself isolated and cut off from the mainstream. Faced with loneliness, detachment and alienation, he produced his ‘Mask’ series for which he has become most famous. The face of each of his protagonists is hidden by a flat mask, which sublimates all expression and feeling. Well-dressed, professional, young urbanites mask their true inner selves subjugating their feelings and emotions, and negating their lives. After the “Mask” series, Zeng started to move to more abstract forms. In 2000, he began to depict figures without masks such as in the present painting. These figures may have regressed even more than his masked characters as their vacant and expressionless eyes are empty, hauntingly portraying the loneliness and isolation of the individual. As in all Zeng’s works, the depicted persons have very large hands depicted in strong fleshy colors almost raw in their import, seemingly emphasizing that although we can hide our inner most feelings most carefully behind an expressionless face our agitated hands will always betray our raw inner turmoil.

Zeng’s body of work is a detailed expression of his psychological state at each period in his life. Unlike most of his contemporaries who are happy to stick with winning formulas in their artwork, Zeng has consistently introduced new series of works, and pushed the boundaries of his artistic style to constantly create new

The “After Mask Series” also marks a deeper connection for Zeng with traditional Chinese painting techniques, combining expressionism with the abstractness of traditional Chinese water and ink painting. The figures often float suspended in an empty background while any details are portrayed in a very minimalist

曾梵志《女人》羅芙奧台北2011秋季拍賣會 編號196，4064萬港幣成交 ZENG Fanzhi, Woman, 2002,Oil on canvas, 220 x 145 cm Ravenel Autumn Auction 2011 Taipei, lot 196 US$ 1,347,927 sold

way, allowing Zeng to emphasize the isolation and detachment of his character. This very forceful effect is taken directly from traditional Chinese paintings. Zeng’s brush strokes are also strongly influenced by traditional Chinese water and ink brush strokes. Large single strokes with wide brushes create an abstract feeling while narrow brush strokes are used to create strong, emphatic lines reminiscent of Chinese calligraphy.

those of the protagonist as we are empathically drawn to share his anguish. The exaggerated features of the face, the ears, the nose, add poignancy to the suffering. The fleshy chin seems to tremble with feelings as the figure tries hard to keeps his emotions below the surface. The stretched hair, which shimmies above the head, is evocative of steam rising, as the heat generated by uncontrollable feelings escapes from the head.

“Portrait Series” is a masterpiece from this series of works. The lone individual is dramatically placed in the center of the canvas, powerfully capturing the viewer’s gaze while demanding our attention. Vividly isolating the figure, which is floating in empty space, Zeng captures the full terror of his protagonist in an alienating and vacant world. This painting is important in that the character closely resembles one of his entities from his “Mask” series both in pose and dress. However, lacking his mask, the emotions are stronger, more painful and more alarming.

Zeng isolates the character in an empty background evoking the great use of empty space of traditional Chinese paintings. This nothingness demands that we focus on the protagonist, and forces us to concentrate only on that individual. The lack of details, such as on the clothes, contributes significantly to directing our attention to his gaze, which once we meet, we become entranced by.

The subdued colors likewise force our attention towards the face. Zeng is unique among contemporary Chinese painters in his psychological portrayals. For thousands of years, Chinese art ignored the individulity, and portraiture is practically non-existent in its long history. Zeng has emphatically embraced many facets of traditional Chinese painting into the genre of portraiture focusing the viewer’s attention on the psychological turmoil going on within.

Dressed in a long sophisticated overcoat worn over highly tailored clothes, the individual is the epitome of the stylish, urbane youth of contemporary China. Standing tall and poised, the classy image he wants to portray is negated by his vacant, staring eyes, and by the almost raw wounds on his face and hands masterfully evoked by the expressionistic fleshy colors. The elongation of the body, particularly the neck, which appears weak and brittle, is reminiscent of a victim of the rack, which was used to torture people through stretching in the Middle Ages. As with this torture machine, the primary purpose of which was to extract confessions, Zeng seems to be provoking his individual to reveal his inner turmoil and angst as he tries to stay poised and confident.

While the protagonists of the “Mask” series keep their emotions and feelings checked behind masks in a cool and cold way, the figures of the series from which our work comes, are forced to display their inner torment with a powerful rawness. The staring eyes are almost dead-like, as the individual tries to bury the boiling cauldron of feelings within. The yellow of the eyes creates a vacancy, which is both haunting and profound. Although we want to turn away our gaze, our eyes are locked to

“Portrait Series” is a seminal masterpiece in Zeng’s oeuvre. Painted late in the series of unmasked protagonists, it is representative of the unmasked masked urbanite of his acclaimed “Mask” series. Zeng’s works are indicative of his own inner turbulence and angst. In the ‘Mask’ series of the 1990s, that inner turmoil was too difficult to confront, hence the cool and cold masks. In the early 2000s, he was able to start portraying the raw power of alienation and its psychological consequences. In his “Grass”, “Sky” and “Landscape” series begun in 2004, he found a way to expressionistically and abstractedly portray psychological turmoil through representing that chaos with wild and strong grasses. As he grew more comfortable examining and portraying the darkness within, he was finally truly able to unmask the masked young professional, resulting in our magnificent painting.

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ZAO Wou-ki

(Chinese-French, b. 1921)

19.02.2005 2005 Oil on canvas 97 x 195 cm Signed lower right Wou-Ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-KI in French, titled and dated 19-févrie 2005, inscribed 97 x 195 PROVENANCE: Marlborough Gallery, New York EXHIBITED: Art 37 Basel 2006, Marlborough Gallery Zurich, Basel, June 14-18, 2006 ILLUSTRATED: José Frèches, Zao Wou-ki, Oeuvres, écrits, entretiens, Paris, Edtions Hazan, 2007, illustrated, p. 134 (French version) José Frèches, Zao Wou-ki, Works, Writings, Interviews, Paris, Ediciones Poligrafa, 2007, illustrated, p. 134 (English version) José Frèches, Zao Wou-ki, Obras, escritos, entrevistas, Paris, Ediciones Poligrafa, 2007, illustrated, p. 134 (Spanish version) The painting is to be sold with a certificate of authenticity issued by the artist's wife, Mme Fraçoise Marquet. (To be included the forthcoming Catalogue Raisonné).

NT$ 75,000,000-95,000,000 US$ 2,525,300-3,198,700 HK$ 19,481,000-24,675,000

趙無極 19.02.2005 2005 油彩 畫布 97 x 195 cm 簽名右下：無極 ZAO 簽名畫背：ZAO Wou-ki 97 x 195 19-févrie 2005

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來源： 瑪博洛畫廊，紐約 展覽： 「第三十七屆巴塞爾藝術博覽會」，蘇黎世 瑪博洛畫廊，巴塞爾，展期自2006年6月14 日至18日 圖錄： 荷西�佛瑞奇，《趙無極：作品、著述、訪 談》，巴黎，阿贊出版社，2007，圖版，頁 134（法文版） 荷西�佛瑞奇，《趙無極：作品、著述、訪 談》，巴黎，波利格拉法出版社，2007，圖 版，頁134（英文版） 荷西�佛瑞奇，《趙無極：作品、著述、訪 談》，巴黎，波利格拉法出版社，2007，圖 版，頁134（西班牙文版） 作品將收錄於籌備中之編年目錄 附藝術家之妻梵思娃．馬凱開立之原作保證 書

趙無極的繪畫成就是有目共睹的，他是法蘭 西學院美術學院院士，法國政府賦予藝術家 最高榮譽的肯定，重要博物館都有典藏他的 創作。探討現代東西方的抽象藝術史，無法 不提他的名字。他在國際藝壇的成功，帶領 中國後起藝術家對抽象畫的追尋，足以被譽 為抒情抽象的先行者。法國《世界報》的藝 評家菲利普．塔尚（Philippe Dagen）曾以 「漂浪者」（a vagabond）形容其人其畫， 點明了這位中國畫家在西方畫壇的奮鬥歷 程。 旅居法國的趙無極一開始的繪畫是屬於西 方的，漸漸地向歸中國，早期畫面的構成 緊密，後期作品則較為空靈。他過去認為， 畫滿是容易的，畫空則要困難許多。而一生 幾乎奉獻給藝術，趙無極對於媒材的運用熟 練，已能隨心所欲，達到「反虛入渾」、 「氣韻生動」的境界。在追求太虛畫境的漫 長過程裡，他早已簡化了畫面上的中法文簽 名，將空間留給色彩與構成，筆隨心意遊 走，或疾或徐，舒緩自在，無處不顯繪畫大 師的瀟灑氣度。 1980年代以後，趙無極的繪畫風格有顯著的 變化，增添溫潤逸秀的特質，例如1985年的 知名油畫鉅作《4.4.85》與1986年的《向馬

蒂斯致敬》，融入更多中國水墨畫的意境， 呈現藝術家恢弘寬闊的氣度。隨著時間的歷 練與心境的轉移，1990年代後油彩愈用來愈 稀薄，色彩高妙、輕盈，具滲透性，藝術家 此時追求空靈悠遠的繪畫心靈空間。 千禧年過後，趙無極依舊創作大尺幅的畫 作，甚至是雙聯幅或三聯幅的巨製，作品彩 度較高。2004年加拿大蒙貝里耶的法布爾美 術館舉辦名為「致敬」的趙無極專題展覽， 展出多幅大尺寸或聯作油畫向藝術前輩、故 舊友好或愛情致意，件件膾炙人口。其中不 少創作都完成於千禧年後，最受到關注的兩 件三聯作：《向李歐佩樂致敬23.10.2003》 及《向梵思娃致敬23.10.2003》。此後，趙 無極仍繼續創作大尺幅的畫作，例如2005 年的《向塞尚致敬06.11.2005》雙聯幅作 品，以及2006年完成的《向尚．雷馬利致敬 15.04.2006》單幅大畫等。儘管年歲已高， 風格依舊老辣自信，用筆甚至更為大膽奔 放。 趙無極年屆八十時曾經說過：「我不怕老 去，也不怕死亡，只要我還能拿畫筆、塗顏 料，我就一無所懼，我只希望能有足夠的時 間完成手上的畫，要比上一幅更大膽、更自 由。」只要還能創作，畫家就能放手大開大 闔，盡情地去畫。 藝術評論家丹尼爾．阿巴迪（Daniel Abadie），曾任法國現代美術館策展人及網 球場國家畫廊前館長，他認為多數人僅關注 藝術家的早年創作，咸認後期作品多為重複 舊作。阿巴迪以畢卡索為例批評此類觀點之 謬誤。據了解，1970年畢卡索後期作品在法 國亞威農展出時，被當時知識份子譏為老態 龍鍾之作。然而它們啟發了1980年代初期新 表現主義，成為前衛藝術的先行者。數十年 過去後，畢卡索的晚期畫作如今被譽為二十 世紀最重要的圖像之一。 阿巴迪如此評述趙無極千禧年後的創作， 他說道：「近幾年，或許是他不再需要向 任何人證明什麼，他採取華麗冒險，以最意 想不到的解決方式完成一幅畫。甚至構圖上 有時也是意想不到的。當然不是每次都能成 功，但是當他辦到時，結果往往非常強而有 力。在他的生命後期，自由已經成為一種推 動力。這種慾望將他拉回競賽位置，要去冒 險，儘管每件事情他都已經達成了。趙無極 近期作品迷人之處，在於他在畫過去從未畫

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過的，他知道如何畫，然而他仍持續重新創 造繪畫。」 作品《19.02.2005》為趙無極完成於2005年 的橫幅形制大畫，色彩以藍、紫、褐、紅、 澄等淺色調為主，洋溢華麗的愉悅感。一如 趙無極其他的晚期作品，《19.02.2005》融 入藝術家充沛的情感與溫柔的沉思，令人聯 想起他於2003年獻給妻子的《向梵思娃致敬 23.10.2003》。而作品《19.02.2005》描繪更 多的輕柔若有似無纖維性線條，以及書畫常 見的皴法斑痕，它與1960年代反覆出現的激 烈敏感的情緒不同，所欲表達的內涵增添了 溫情與靈逸，緩緩召喚著青春年歲對大自然 的記憶懷想。 1958年以後趙無極不再為抽 象畫 標 上畫作 題目 ，除 了 少 數的 「 致敬」 系列 作品 ， 幾 乎都 以 完成日 期當 作畫 題 。 不過 ， 千禧年 後趙 無極 不 再 堅持 ， 他不再 擔心 畫題 會 侷 限觀者去欣賞抽象畫，2004 年開始回歸到1954年捨棄的 具象 繪 畫，偶 而為 某些 作 品 標示 題 目：例 如《 紅楓 樹 》 （Erabe rouge）、《風景─山 的故事》（Paysage - Histoire sur montagnes）、《蘭花》 （Orchidée），一直到《漢 代 寺 廟 》 （ L e Te m p l e d e s Hans），符號象徵愈來愈明顯，甚至接近完 全的具象。 作品《19.02.2005》儘管仍以日期為題，符 號的提示較以往的作品更具體而微，豐富的 抽象結構，宛如描繪花朵盛放的一座自然的 大花園，明麗的色彩展現春天般的活潑氣 息。趙無極向來擅長表現富麗的色彩變化與 詩意抒情的光輝，融合中西藝術的精髓，成 就出趙無極個人風格強烈的抽象表現繪畫。 在此作品中，藝術家運用開闊華麗巨大的格 局，飛舞奔放的線條，勾勒出悠揚的自然樂 音律動。生命美好的感悟在此盡情展現，滿 懷至情至性的情感，大膽又有自信地揮灑出 無限的想像空間。

Zao Wou-ki’s accomplishments as an artist are widely recognized. He is a Member of

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the Académie des beaux-arts, which is the highest honor that can be bestowed on an artist in France, and all leading art museums have examples of his work in their collections. Any discussion of modern abstract art (whether Western or Asian) must make reference to Zao Wou-ki. Zao’s success on the international art scene encouraged many younger Chinese artists to explore the possibilities presented by abstract art, and he has come to be seen as the father of lyrical abstract art. Philippe Dagen, the art critic of Le Monde, once described Zao Wou-ki as a “vagabond” artist, in reference to the struggle that Zao underwent to establish

趙無極《4.4.85》1985 油彩 畫布 97 x 195 cm 羅芙奧香港2011秋季拍賣會，編號018，4432萬港幣成交 ZAO Wou-ki, 4.4.85, 1985, oil on canvas, 97 x 195 cm Ravenel Autumn Auction 2011 Hong Kong, lot 018, US$ 5,689,345 sold

himself as a Chinese artist within Western art circles.

Having established himself in France, Zao Wou-ki’s early work was very much Western in style, but over time he began to turn towards a more Chinese approach. Whereas Zao’s early paintings are characterized by very dense composition, his later work has an airy, spiritual feel. Zao has said that it is easy to fill up a canvas, but not so easy to leave large areas of the canvas blank. Having dedicated more or less his whole life to art, Zao Wouki gained a high level of mastery over various different artistic media, enabling him to express himself freely in all of them, and to achieve a state of “return to original inner truth” and “activation of spiritual energy.” During the many years in which he sought for ultimate

truth in his paintings, Zao Wou-ki simplified both his Chinese and French signatures on his works, preferring to dedicate the space to color and composition. His brush moves freely over the canvas as his spirit guides it, sometimes fast and sometimes slow. The overall effect is one of calm self-assurance; in every inch of the canvas, one can see the artist’s casual yet refined bearing exemplified.

From the 1980s onwards, there was a pronounced change in Zao Wou-ki’s painting style, with an added element of warmth and luster. Works such as “4.4.85” (a large oil painting which Zao produced in 1985) and “Hommage à Henri Matisse” from 1986 incorporate more conceptual elements from Chinese ink brush painting, and are a testimony to the breadth of the artist’s vision. With the passage of time and the transformation of Zao’s own vision, by the late 1990s his work was becoming characterized by a more limited use of oils, even more masterly deployment of color, and a sense of lightness and “permeability.”

In these works, Zao is exploring the spiritual spaces of eternity.

In the new millennium, Zao Wou-ki has continued to produce large-scale canvases, some of them taking the form of huge doubleor even triple-screen works, which display an enhanced use of color. In 2004, an exhibition of Zao Wou-ki’s work entitled “Hommages” was held at the Musée Fabre, Montpellier; this exhibition included of the large-scale paintings (including screen paintings) that Wou had created as homage to his artistic mentors, old friends (some of them deceased) and lovers; these works attracted a great deal of interest. Many of the works on show had been completed since the year 2000. The works that attracted the most attention were two three-screen paintings: “Hommage à JeanPaul Riopelle – 21.06.2003” and “Hommage à Françoise - 23.10.2003.” Since then, Zao

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has continued to create large-scale canvases, including “Hommage à Cézanne - 06.11.2005,” which was completed in 2005, and “Hommage à Jean - 15.04.2006,” completed in 2006.

Despite his advanced age, Zao’s work shows no loss of self-assurance; if anything, his brushwork has become even bolder and more unrestrained.

warmth and spirituality, and a gentle recalling of memories of nature from the artist’s youth.

At the age of 80, Zao Wou-ki said: “Old age and death can never scare me. As long as I can hold the brush and paint the cloth, nothing will scare me. My only hope is to complete the painting on hand and this painting is braver and more liberal than the last one.” For as long as he can still paint, Zao will continue to paint in earnest.

Art critic Daniel Abadie has served as exhibition curator at the Musée National d'Art Moderne and as director of the Galerie Nationale du Jeu de Paume. He feels that many people tend to concentrate too much on an artist’s early work, assuming that later work just constitutes a re-hash of work the artist did when they were younger. Abadie uses the example of Picasso to show just how ludicrous this attitude is. When an exhibition of Picasso’s later work was held at Avignon in 1970, the intellectuals of the time criticized the paintings as being tired and formulaic. And yet these same paintings inspired the neo-expressionist movement of the early 1980s, making Picasso the forerunner of these avant-garde artists.

Today, several decades on, Picasso’s later paintings are viewed as constituting some of the most important works of art produced in the twentieth century.

In his appraisal of the work that Zao Wou-ki has produced since the year 2000, Abadie notes that “In recent years, and perhaps because he has nothing to prove to anybody anymore, he has taken the luxury of taking every possible risk, and to come up with the most unexpected solutions to complete a painting. Even the composition is sometimes unexpected. Of course, he does not succeed every time, but when he does, the result is very powerful.

This freedom has been a driving force in the latter part of his life. This desire to put himself back in a challenging position, to take risks, although he has already achieved everything, is the aspect I most appreciate in an artist’s career. What is fascinating in Zao Wou-ki’s recent work is that he is painting as he never painted before. He knows how to paint, but nevertheless he constantly keeps reinventing painting.”

This particular painting, “19.02.2005,” is a large, banner-like work that Zao Wouki completed in 2005. The colors used are mostly lighter tones of blue, purple, brown, red and orange, creating a resplendent, joyful effect. Like Zao Wou-ki’s other later works, “19.02.2005” embodies the artist’s strong emotion and contemplative reflection; in particular, it brings to mind “Hommage à Françoise - 23.10.2003,” a 2003 work that Zao dedicated to his wife. “19.02.2005” makes extensive use of soft, almost invisible threadlike lines, and of the type of texturing method commonly seen in traditional Chinese painting and calligraphy. The emotive significance of this painting is dramatically different from the intense sensibility that characterized so much of Zao’s work in the 1960s; what Zao is seeking to express here has an additional sense of

From 1958 onwards, Zao Wou-ki ceased to give explanatory titles to his abstract paintings; with the exception of a handful of paintings dedicated to a particular individual, almost all of his work after that time used the date of completion as the painting’s title. However, starting around the year 2000, Zao Wouki became less insistent on this practice; he ceased to worry that giving titles to his abstract paintings would restrict the viewer’s ability to appreciate them fully. In addition, in 2004 Zao began to produce figurative art again, something he had abandoned in 1954. Several of Zao’s recent paintings have thus been given titles, such as “Erabe rouge,” “Paysage Histoire sur montagnes,” and “Orchidée.” By the time “Le Temple des Hans” was painted, the symbolic meaning of the paintings was being made more and more transparent, and the paintings themselves were starting to bear a strong resemblance to figurative or representational art.

While “19.02.2005” has the date of completion as its title, the use of symbols in the painting is more concrete and precise than in much of Zao Wou-ki’s previous work. This is a rich, abstract composition, bringing to mind a large garden filled with flowers in full bloom. The bright, beautiful colors exude a spring-like vigor and energy. Zao has always excelled at the depiction of transformation in coloration and in the presentation of a poetic, lyrical atmosphere. Here, he successfully fuses the essential elements of Chinese and Western art to create a masterpiece of his own unique abstract expressionist style. In this work, Zao employs a huge, spreading, gorgeous scene and free, unconstrained lines to portray the gently flowing rhythmic pulse of nature. Appreciation of the beauty of life is expressed to the utmost in a painting that is full of heartfelt emotion, and in which the artist boldly and self-assuredly explores the unconstrained realms of his imagination.

朱銘 太極系列－起式 177

JU Ming

(Taiwanese, b. 1938)

Enter Taichi 1991 Bronze, edition no. 4/6 145(L) x 95(W) x 180(H) cm Engraved Ju Ming in Chinese and dated '91, numbered 4/6 EXHIBITED: Ju Ming One-man Exhibition, Hakone OpenAir Museum, Hakone, August 5 - October 15, 1995 (another edition).

1991 銅雕 4/6 145(長) x 95(寬) x 180(高) cm 簽名雕刻：朱銘 '91 4/6 展覽： 「朱銘個展」，雕刻森林公園， 箱根，漢 雅軒主辦（展品為另一版數），展期1995年 8月5日至10月15日 圖錄： 《朱銘太極雕塑》，漢雅軒，香港，圖版， 1991 《朱銘》，新加坡美術館，新加坡，2004， 頁43（圖版為另一版數） 《朱銘太極雕塑》，廣西美術出版社，廣 西，2006，頁30（圖版為另一版數） 附台北漢雅軒開立之原作保證書

ILLUSTRATED: Ju Ming Taichi Sculptures, Hanart TZ Gallery, Hong Kong, 1991, illustrated Ju Ming, Singapore Art Museum, Singapore, 2004, p. 43 (another edition) Ju Ming Taichi Sculpture, Guangxi Fine Arts Publishing House, Guangxi, 2006, p. 30 (another edition) This sculpture is to be sold with a certificate of authenticity issued by Hanart TZ Gallery, Taipei.

NT$ 18,000,000-28,000,000 US$ 606,100-942,800 HK$ 4,675,000-7,273,000

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朱銘說到：「太極拳是古代中國人所創造的 一種健身術，它是我所知道的一個『人與自 然結合』的最好例子。首先，它是用人自己 的身體（四肢、五官、血液、呼吸）來接觸 和模仿宇宙中的自然現象。」朱銘追求自然 的韻律，透過練習太極、雕刻太極，達成 「人與自然結合」的完美表現。這項新的創 作主題，也使他攀上創作的巔峰。 這件作品，昂然鼎立於天地之間，彷彿是一 座山，剛毅中又流露出平和的氣韻，不疾不 徐，沉穩持重。如此簡單的造型，卻散發出 澎湃懾人的威力，神氣如生，彷彿隨時可以 展開一場對話。朱銘在學藝的過程中，不斷 將繁瑣的細節拋開，將精確的技法遺忘，讓

心手合一，透過刀斧，將自己的生命精華貫 穿於作品中。造型簡單的太極系列之所以感 人，正為它傳達生命的寧靜和諧。

Ju Ming says, “Taichi is a method, invented by the ancient Chinese, of maintaining your health through regular soft exercise. It is also the best example of "achieving oneness between man and nature" that I am aware of. Through our own body (i.e. our four limbs, internal organs, blood and breath) taichi allows us to directly experience and emulate the natural phenomena that make up our universe” Ju's lifelong pursuit of taichi's natural rhythm is manifest in his sculptures. Having internalized the principles of this ancient sport through constant practice, he is able to merge taichi and art into straightforward, unadulterated representations of man's union with nature'. In his taichi-themed works Ju reaches the peak of his creativity.

This piece of work stands like a mountain between heaven and earth. There is a subtle sense of gentleness in its fortitude, it is neither too aggressive nor too moderate, it is solid and profound. Waves of rushing energy bursts out from the simple shape, it is so vivid that seem like a conversation could happen at any time.

In the path of exploring art, Ju Ming gradually frees himself from cumbersome details, and forgets about the fancy techniques, lets his hands and mind become one, dedicates the essence of his life in his work through works of knives and axes. The most touching character of the simple formed Taichi Series is it has conveyed the peacefulness and harmony of life.

178

LI Chen

(Taiwanese, b. 1963)

Pure Land 1998 Bronze, edition no. 4/8 157(L) x 53(W) x 89(H) cm Engraved on the base Li Chen in Chinese and dated 1998 Engraved under the foot Li Chen in Chinese EXHIBITED: Li Chen in 52nd Venice Biennale – Energy of Emptiness, Telecom Italia Future Centre, Venice, June 10 – November 21, 2007 Li Chen: Mind. Body. Spirit, Singapore Art Museum, Singapore, September 25 - December 9, 2009 Greatness of Spirit - Li Chen Premiere Sculpture Exhibition in Taiwan, Road of Democracy and the Main Plaza of CKS M e m o r i a l H a l l , Ta i p e i , N o v e m b e r 6 – December 4, 2011

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ILLUSTRATED: Li Chen 1992-2002 Sculpture, Asia Art Center, Taipei, 2004, color illustrated, pp. 40-42 Li Chen Energy of Emptiness 52nd International Art Exhibition - La Biennale de Venezia, Asia Art Center Co., Ltd., Taipei, 2007, color illustrated, pp. 30-31; black-andwhite illustrated, p. 216 Li Chen: In Search of Spiritual Space, 2008 Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, 2008, color illustrated, p. 194

NT$ 6,600,000-8,200,000 US$ 222,200-276,100 HK$ 1,714,000-2,130,000

李真 無憂國土 1998 銅雕 4/8 157(長) x 53(寬) x 89(高) cm 簽名雕刻底座：李真 1998 簽名雕刻腳底：李真 展覽： 「第52屆威尼斯國際藝術雙年展—尋找精神 的空間．虛空中的能量：李真雕塑展」，未 來展望美術館，威尼斯，展期自2007年6月 10日至11月21日

「李真：精神．身體．靈魂」，新加坡美術 館，新加坡，展期自2009年9月25日至12月9 日 「大氣─李真台灣大型雕塑首展」，中正紀 念堂─民主大道、兩廳院藝文廣場(自由廣 場)，台北，展期自2011年11月6日至12月4 日 圖錄： 《1992-2002李真雕塑》，亞洲藝術中心， 北京，2004，彩色圖版，頁40-42 《李真－虛空的能量：第52屆威尼斯國際 藝術雙年展》，亞洲藝術中心有限公司， 台北，2007，彩色圖版，頁30-31；黑白圖 版，頁216 《李真—尋找精神的空間》，亞洲藝術中 心，台北，2008，彩色圖版，頁194

李真涉略佛道學等經典、物外尋真，在藝術作品的追求上，是以雕塑來傳達東方文 化的精神與內涵。李真以「虛空」為其重要的創作美學概念，「空」與「虛」是 中國文化中佛學及道學的重要思想，佛學中的「空」並不是代表沒有，而是代表一 個巨大寂靜的生滅智慧境界，在道家思想有兩句話：「虛空粉碎，大地平沉」，就 是描述一個破與靜的極點狀態，在「易」之中求道。李真的雕塑是在探討虛空的能 量，但他所表現出的雕塑實體，卻是空於外，道氣入內而充塞，一點也不空，原因 是李真再現能量是以一種精神的形式，用誇張、通體漆黑的實體來表現攝人的物質 精神，但雕塑所傳達確是甜美、浪漫、喜悅與滿足的精神概念，正因如此，即便他 的部分作品巨大無比，但卻不顯壓迫笨重，似漂浮於空中，令人有「既重又輕」的 感覺，這正是精神能量與物質能量完美的結合所致。不但如此，李真竟能突破千年 佛教雕塑既有的形式藩籬，轉化唐代佛教造像的豐厚飽滿，以及宋代俊美秀麗的精 神暨形象特質，將雕塑的開臉與線條減至極簡，並且萃取中國5000年歷史文化的元 素，如中國的仙、佛、龍、神話、民間故事等，更進一步注入當代藝術的元素及物 件，成功的結合古典與當代，使其作品呈現一種前所未見的獨特型態及樣貌，賦予 東方雕塑新的生命。

Li Chen has acquired Buddhism, Taoism, and other classics to search for truth, which transmitted into his sculpture in an attempt to represent the Oriental spirit and essence.

Li Chen uses "emptiness" as his important aesthetic concept in creation. Emptiness and non-being are the major concepts of Buddhism and Taoism in the Chinese culture.

Emptiness embedded in Buddhism does not refer to nothing, but signifying a grand serene life and dead witty stage. Similarly, the Taoism saying goes, "Emptiness breaks; Silence resumes,” suggesting a perfect moment of breaking and silencing, in search of a way in the moderation. Li Chen’s sculpture conveys the energy of emptiness in a sculpture object, empty outside but filled up with energy inside.

Owing to Li Chen’s rebirth of energy in a spiritual form, the sculpture is highlighted in an exaggerated and lacquered black object to display a sweet, romantic, joyful, and satisfactory spiritual concept. Hence, despite Li’s art is in gigantic form, but never heavy but flowing in the sky to transmit a “heavy and light” feeling, and a perfect fusion of spiritual energy and material energy. Li Chen’s art, determined to break from the traditional thousandyear religious Buddhist formality of its structures, results in transforming Tang Dynasty’s Buddhist round and complete igurative sculpture and the Song Dynasty’s beautiful spirit and unique characteristics into simplistic sculpture’s smiling face and lines. In addition, Li obtains the cultural elements from the 5000 years of Chinese history, such as spirits, Buddha, dragon, fables, and legends, blending contemporary artistic elements and materials into fusion of tradition and modernity. Hence, Li’s work displays an unprecedented unique style and panorama to endow the Eastern sculpture with a new life.

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JU Ming

(Taiwanese, b. 1938)

Taichi Series 1995 Bronze, edition no. 8/10 68(L) x 38(W) x 72(H) cm 47(L) x 47(W) x 7.5(H) cm (base) Engraved on base Ju Ming, dated '95 and numbered 8/10 This sculpture is to be sold with a certificate of authenticity issued by Jun Youn Sculpture Gallery, Taipei.

NT$ 5,000,000-7,000,000 US$ 168,400-235,700 HK$ 1,299,000-1,818,000

朱銘 太極系列 1995 銅雕 8/10 68(長) x 38(寬) x 72(高) cm 47(L) x 47(W) x 7.5(H) cm（底座） 簽名雕刻底座：朱銘 8/10 '95 附雋永藝術開立之原作保證書

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180

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Kick 1995 Bronze, edition no. 15/20 48(L) x 52(W) x 30(H) cm Engraved Ju Ming in Chinese, numbered 15-20, and dated 95 This sculpture is to be sold with a certificate of authenticity issued by Ever Harvest Art Gallery, Taipei.

NT$ 2,200,000-3,200,000 US$ 74,100-107,700 HK$ 571,000-831,000

朱銘 太極系列—踢腿 1995 銅雕 15/20 48(長) x 52(寬) x 30(高) cm 簽名雕刻：朱銘 15-20 95 附日升月鴻畫廊開立之原作保證書

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181

Takashi MURAKAMI (Japanese, b. 1962)

And Then (Blue); And Then (Red) Flower 2; Flower 1 (a set of 4) Print 67.5 x 67.5 cm (x2) 52 x 52 cm (x2) Initialed lower right M and numbered 24/700 (upper left) Initialed lower right M and numbered 22/700 (upper right)

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村上隆 Initialed lower right M and numbered 34/700 (lower left) Initialed lower right M and numbered 34/700 (lower right)

NT$ 100,000-200,000 US$ 3,400-6,700 HK$ 26,000-52,000

然後（藍）；然後（紅） 花 No. 2；花 No. 1（四件一組） 版畫 67.5 x 67.5 cm (x2) 52 x 52 cm (x2) 簽名右下：M 24/700（左上） 簽名右下：M 22/700（右上） 簽名右下：M 34/700（左下） 簽名右下：M 34/700（右下）

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Hiroyuki MATSUURA (Japanese, b. 1964)

Blister Collection (a set of 8) Print, edition no. 36/88 22(L) x 22(W) x 2(D) cm (each) Signed on the reverse Hiroyuki Matsuura and titled Blister Collection and numbered 36/88 (each)

NT$ 60,000-100,000 US$ 2,000-3,400 HK$ 16,000-26,000

松浦浩之 模型塑膠盒系列（八件一組） 版畫 36/88 22(長) x 22(寬) x 2(厚) cm (x8) 簽名畫背：Blister Collection Hiroyuki Matsuure No. 36/88 (x8)

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Yoshitomo NARA (Japanese, b. 1959)

Cosmic Girl Eyes (Close/Open) 2008 Print, edition of 500 68 x 48 cm (x2)

NT$ 55,000-120,000 US$ 1,900-4,000 HK$ 14,000-31,000

150

奈良美智 宇宙女孩（閉眼／睜眼） 2008 版畫 限量500件 68 x 48 cm (x2)

184

HSIAO Chin

(Taiwanese, b. 1935)

Chi-106 1981 Ink and color on Japan paper 64 x 62 cm Signed lower right Hsiao in English and Chin in Chinese Titled center right Chi-106 in Chinese With three seals of the artist

NT$ 30,000-60,000 US$ 1,000-2,000 HK$ 8,000-16,000

蕭勤

炁系列之106 1981 彩墨 日本紙 64 x 62 cm 簽名右下：Hsiao 勤 題示右方：气之一○六 鈐印右下：蕭 鈐印右下：勤 鈐印左方：悟無居

185

Tomoko KONOIKE (Japanese, b. 1960)

Odyssey Mimio Pencil on paper 25.5 x 36 cm Signed on the reverse Konoike Tomoko in English

NT$ 60,000-100,000 US$ 2,000-3,400 HK$ 16,000-26,000

鴻池朋子 漫長的冒險旅行 鉛筆 紙本 25.5 x 36 cm 簽名畫背：Konoike Tomoko

186

Yuichi SUGAI (Japanese, b. 1952)

Bunn 2010 Oil on canvas, collage 133 x 96.5 cm Initialed upper side Y.S. in English and dated 2010

NT$ 100,000-200,000 US$ 3,400-6,700 HK$ 26,000-52,000

152

菅井祐一 文 2010 油彩 畫布 拼貼 133 x 96.5 cm 簽名右上側：Y.S. 2010

187

Yoshitaka AMANO (Japanese, b. 1952)

Monochrome 5 2010 Acrylic on canvas 45 x 62 cm Signed lower edge Y. Amano in English

NT$ 100,000-200,000 US$ 3,400-6,700 HK$ 26,000-52,000

天野喜孝 單色畫 5 2010 壓克力 畫布 45 x 62 cm 簽名下側：Y. Amano

188

Masaru SHICHINOHE (Japanese, b. 1959)

Trademark Girl 2010 Acrylic on board 27.3 x 41 cm Signed lower right Shichinohe in English Signed on the reverse M Shichinohe in English, titled Trademark Girl, inscribed acrylic on board + Lignitex Gross Varnish + holbein Acrylic SATAIN VARNISH all in English and dated 2010.12.31

NT$ 350,000-550,000 US$ 11,800-18,500 HK$ 91,000-143,000

154

七戶優 商標女孩 2010 壓克力 木板 27.3 x 41 cm 簽名右下：Shichinohe 簽名畫背：Trademark Girl，2010.12.31, M Shichinohe, acrylic on board + Lignitex Gross Varnish + holbein Acrylic SATAIN VARNISH

189

Tetsutaro KAMATANI (Japanese, b. 1979)

Little Paradise 2009 Acrylic on canvas 162 x 130 cm Signed on the reverse Kamatani, titled Little Paradise in English and dated 2009

NT$ 300,000-600,000 US$ 10,100-20,200 HK$ 78,000-156,000

鎌谷徹太郎 小天堂 2009 壓克力 畫布 162 x 130 cm 簽名畫背：Little Paradise Kamatani 2009

190

REN Jing

(Chinese, b. 1975)

任靜

After the Rain EXHIBITED: Mystery - Ren Jing Solo Exhibition, Unseal Contemporary, Tokyo, October 2 - 24, 2009

2008 壓克力 畫布 150 x 200 cm 簽名右下：Ren Jing 08 簽名畫背：任靜 "雨後天空" 布面丙烯 200 x 150 cm 2008

NT$ 450,000-650,000 US$ 15,200-21,900 HK$ 117,000-169,000

展覽： 「迷─任靜個展」，Unseal當代畫廊，東京， 展期2009年10月2日至10月24日

2008 Acrylic on canvas 150 x 200 cm Signed lower right Ren Jing in English and dated 08 Signed on the reverse Ren Jing, titled After the Rain and inscribed acrylic on canvas both in Chinese, 200 x 150 cm and dated 2008

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雨後天空

191

KIM Nampyo (Korean, b. 1973)

Instant Landscape 62 2008 Acrylic and charcoal on canvas, artificial fur 130 x 162 cm Signed on the reverse Nampyo Kim, titled instant landscape 62 both in English and dated 2008

NT$ 500,000-700,000 US$ 16,800-23,600 HK$ 130,000-182,000

金南杓 即刻風景 62 2008 壓克力 炭筆 畫布 人造毛皮 130 x 162 cm 簽名畫背：instant landscape 62 nampyo, kim 2008

192

Yoshitaka AMANO (Japanese, b. 1952)

Candy Girl 2011 Automotive paint on aluminum panel 50(L) x 50(W) x 11(D) cm Signed on side Y. Amano in English

NT$ 500,000-700,000 US$ 16,800-23,600 HK$ 130,000-182,000

158

天野喜孝 甜心女孩 2011 汽車漆 鋁板 50(長) x 50(寬) x 11(厚) cm 簽名右下側：Y. Amano

193

Ayako ROKKAKU (Japanese, b. 1982)

Girls 2008 Acrylic on canvas 130 x 162 cm Signed on the reverse Ayako Rokkaku in Japanese and dated 2008

NT$ 650,000-850,000 US$ 21,900-28,600 HK$ 169,000-221,000

六角彩子 女孩們 2008 壓克力 畫布 130 x 162 cm 簽名畫背：2008 ロッカクアヤコ

194

Yayoi KUSAMA (Japanese, b. 1929)

Flowers 1995 Acrylic on canvas 32 x 23 cm Signed on the reverse Yayoi Kusama in English, titled Flowers in Japanese and dated 1995

NT$ 750,000-1,400,000 US$ 25,300-47,100 HK$ 195,000-364,000

草間彌生 花 1995 壓克力 畫布 32 x 23 cm 簽名畫背：Yayoi Kusama はな 1995

被譽為是日本現存國寶級藝術家的草間彌 生，1957年前往美國紐約，開始從事前衛的 藝術創作，曾與西方當代重要的藝術家，包 括克來茵、瓊斯與歐登柏格、安迪�沃荷一 起聯展，活躍於國際藝壇，並一度引領當時 盛行的普普風潮。1993年，草間彌生成為第 一位單獨代表日本參加威尼斯雙年展的女性 藝術家，自此草間彌生在日本及西方國際藝 壇的地位得以確立。 「花卉」一直是草間彌生重要的創作題材之 一，它們象徵了生命的綻放與凋零，慶祝與 哀悼，陽剛與陰柔，以有機、脆弱、繁殖的 生命型態，無止盡地纏繞、盤踞整個畫布與 藝術家創造的奇幻世界。草間彌生曾在她的 自傳中提到：「大自然、宇宙、人類、血、 花，還有各式各樣森羅萬象的事物，自從我 懂事以來，它們便以神奇、恐懼或者是神秘 的方式，在我的視覺、聽覺，還有內心深處 留下深刻的印象。它們牢牢糾纏住我的生 命，不放我離開。」 草間彌生的每張圖都是一種點、線或是色彩 層次的自由組合，透過不斷增生的圓點和層 層交錯的網絡，鋪展出一個無限延伸的小宇 宙，她認為網狀結構象徵富有生機的生命本 質。此幅《花》是1995年的作品，藝術家以 高超細膩的筆觸、亮麗繽紛的色彩，生動描 繪恣意綻放的花朵，展現出一股強韌而旺盛 的生命力。

Yayoi Kusama, who is generally recognized to be one of Japan’s greatest living artists, began to create avant-garde art after moving to New York in 1957. She held joint exhibitions with leading Western artists of the day such as Yves Klein, Jasper Johns, Claes Oldenburg and Andy

160

Warhol, and became a prominent figure on the international art scene, playing an important role in the growth of the Pop Art movement. In 1993, Kusama became the first female Japanese artist to represent Japan at the Venice Biennale, firmly establishing her status as a major figure in the art world both in the West and in Japan.

Flowers have always been one of Kusama’s favored themes. They symbolize the flowering and withering of life, celebration and grief, hardness and softness. These fragile, organic, bountiful life-forms sprawl all over the paintings, dominating both the canvas and the fantastical world that the artist is seeking to create. In her autobiography, Yayoi Kusama noted that: “ever since she was a child, nature, the universe, humanity, blood, flowers and all sort of other things have left deep impressions – in a magical, terrifying or mysterious way – on her visual and auditory perception and on her heart. She said that they had entwined themselves around her life, never letting her escape.”

One feature which is common to all of Yayoi Kusama’s paintings is the great freedom with which dots, lines and colors are arranged.

The steadily increasing dots and interleaved “networks” combine to create a miniature universe with limitless extensibility. Kusama sees the net-like structure as symbolizing the richly organic essence of life. In this 1995 work, “Flowers,” the artist makes use of highly detailed brushstrokes and rich colors to depict flowers that are blooming with riotous abandon, portraying a tenacious, vigorous life force.

195

Yoshitaka AMANO (Japanese, b. 1952)

Monochrome 2004 Acrylic on canvas 195 x 195 cm Signed lower right Y. Amano in English and dated 2004 EXHIBITED: 3L4D - 3rd Life 4th Dimension, National Dr. Sun Yat-sen Memorial Hall, Taipei, October 20 - November 8, 2007 ILLUSTRATED: 3L4D - 3rd Life 4th Dimension, Metaphysial Art Gallery, Taipei, 2007, color illustrated, p. 20

NT$ 1,000,000-2,000,000 US$ 33,700-67,300 HK$ 260,000-519,000 天野喜孝 單色畫 2004 壓克力 畫布 195 x 195 cm 簽名右下：Y. Amano 2004 展覽： 「3L4D動漫美學新世紀」，國父紀念館， 台北，展期自2007年10月20日至11月8日 圖錄： 《3L4D動漫美學新世紀》，形而上畫廊， 台北，2007，彩色圖版，頁20

162

196

QIAN Dehua (Chinese, b. 1943)

Autumn in Grass Land 1991 Oil on canvas 49.5 x 89 cm Signed lower right Qian Dehua in Chinese and dated 1991 Signed on the reverse Qian Dehua and titled Autumn in Grassland in Chinese

NT$ 100,000-200,000 US$ 3,400-6,700 HK$ 26,000-52,000

164

錢德華 草源之秋 1991 油彩 畫布 49.5 x 89 cm 簽名右下：錢德華 1991 簽名畫背：草源之秋 錢德華

197

John WAY

(Chinese-American, b. 1921)

Abstract 1966 Oil on canvas 45 x 60 cm Signed upper left John Way in English and dated '66

NT$ 120,000-300,000 US$ 4,000-10,100 HK$ 31,000-78,000

魏樂唐 抽象 1966 油彩 畫布 45 x 60 cm 簽名左上：John Way '66

198

SHI Xiou

(Chinese, b. 1957)

石秀

Still Life Oil on canvas 91 x 91 cm Signed on the reverse Shi Xiu, titled Still Life, inscribed Henan Zheng Zhou, The Department of Architecture and Civil Engineening in Huanghe University in Chinese and 91 x 91 cm in English

166

ILLUTRATED: An Exhibition of Contemporary Realistic Oil Paintings, color illustrated, p. 32

NT$ 140,000-240,000 US$ 4,700-8,100 HK$ 36,000-62,000

靜物 油彩 畫布 91 x 91 cm 簽名畫背：河南省鄭州市 黃河大學建工系 石秀 《靜物》91 x 91 cm 圖錄： 《中國現代寫實油畫》，彩色圖版，頁32

199

SU Shengqian (Chinese, b. 1969)

Clue on Buddhist 2006 Oil on canvas 160 x 140 cm Signed lower right Su Shengqian in Chinese and dated 2006.10

NT$ 180,000-280,000 US$ 6,100-9,400 HK$ 47,000-73,000

蘇勝前 禪的提示 2006 油彩 畫布 160 x 140 cm 簽名右下：蘇勝前 2006.10

200

WU Hao

(Taiwanese, b. 1931)

Mandolin Player 1969 Oil on canvas 76.5 x 57.2 cm Signed lower left Wu Hao in English and dated 1969

NT$ 160,000-260,000 US$ 5,400-8,800 HK$ 42,000-68,000

168

吳昊 曼陀林樂手 1969 油彩 畫布 76.5 x 57.2 cm 簽名左下：Wu Hao 1969

201

Max LIU

(Taiwanese, 1912-2002)

Crocodile 1986 Mixed media on paper 35 x 46 cm Signed lower right Liu Chi-wei in Chinese phonetic alphabet and dated 86

劉其偉 This painting is to be sold with a certificate of authenticity issued by Apollo Art Gallery, Taipei.

NT$ 160,000-260,000 US$ 5,400-8,800 HK$ 42,000-68,000

鱷魚 1986 綜合媒材 紙本 35 x 46 cm 簽名右下： ㄌㄧㄡˊ ㄑㄧˊ ㄨㄟˇ 86 附阿波羅畫廊開立之原作保證書

202

CHIU Ya-tsai

(Taiwanese, b. 1949)

Wiser Oil on canvas 76 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.

NT$ 220,000-450,000 US$ 7,400-15,200 HK$ 57,000-117,000

170

邱亞才 智者 油彩 畫布 76 x 64 cm 簽名左下：邱亞才 附吉證畫廊開立之原作保證書

203

DU Xi

(Chinese, b. 1980)

Farewell My Concubine 2012 Oil on canvas 100 x 130 cm Signed lower right DU XI in Chinese and English, dated 2012

NT$ 350,000-450,000 US$ 11,800-15,200 HK$ 91,000-117,000

杜溪 霸王別姬 2012 油彩 畫布 100 x 130 cm 簽名右下：杜溪 DU XI 2012

204

CHIU Ya-tsai

(Taiwanese, b. 1949)

Gentleman Oil on canvas 116.5 x 92 cm Signed lower right Chiu Ya-tsai in Chinese

NT$ 450,000-700,000 US$ 15,200-23,600 HK$ 117,000-182,000

172

邱亞才 紳士 油彩 畫布 116.5 x 92 cm 簽名右下：邱亞才

205

LU Hsien-ming (Taiwanese, b. 1959)

Night Walk 1995 Oil on canvas 112.5 x 162.5 cm Signed lower left Hsien-ming in Chinese and dated '95

NT$ 450,000-650,000 US$ 15,200-21,900 HK$ 117,000-169,000

陸先銘 夜行 1995 油彩 畫布 112.5 x 162.5 cm 簽名左下：先銘 '95

206

YANG Chihung (Taiwanese, b. 1950)

Composition of Leaves and Branches 1993 Oil on canvas 127.5 x 97 cm Signed on the reverse Chihung Yang, titled Composition of Leaves and Branches in English, dated 1993

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楊識宏 This painting is to be sold with a certificate of authenticity issued by JP Art Centre, Kaohsiung.

NT$ 450,000-700,000 US$ 15,200-23,600 HK$ 117,000-182,000

枝與葉的構圖 1993 油彩 畫布 127.5 x 97 cm 簽名畫背：Chihung Yang Composition of Leaves and Branches 1993 附琢璞藝術中心開立之原作保證書

207

LIEN Chien-hsing (Taiwanese, b. 1962)

Immeasurable Settle Down II 2001 Oil on canvas 80 x 117 cm Signed on the reverse Lien Chien-hsing, titled Immeasurable Settle Down II both in Chinese, inscribed 50P and dated 2001

NT$ 500,000-700,000 US$ 16,800-23,600 HK$ 130,000-182,000

連建興 無量安頓 II 2001 油彩 畫布 80 x 117 cm 簽名畫背：2001 50P 連建興 無量安頓 II

208

QI Haiping

(Chinese, b. 1957)

祁海平

Bass No. 1 2006 Oil on canvas 100 x 120 cm Signed lower right Haiping in Chinese and dated 2006.4 Signed on the reverse Qi Haiping, titled " Bass No.1" , Tianjin Academy of Fine Arts all in Chinese, inscribed 120 x 100 cm and dated 2006.4

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低音 No. 1 This painting is to be sold with a certificate of authenticity issued by 5000 Years Fine Art Gallery, Kaohsiung.

NT$ 500,000-800,000 US$ 16,800-26,900 HK$ 130,000-208,000

2006 油彩 畫布 100 x 120 cm 簽名右下：海平 2006.4 簽名畫背：《Bass No. 1》2006.4 120 x 100 cm 祁海平 天津美術學院 附五千年藝術空間開立之原作保證書

209

CHAO Chung-hsiang (Taiwanese, 1910-1991)

Love of the Cosmos 1988 Ink and color on paper 69 x 71 cm Signed upper left Chung-hsiang in Chinese, Chao, titled Love of the Cosmos in English and dated 88

趙春翔 This painting is to be sold with a certificate of authenticity issued by Dimensions Art Center, Taipei.

NT$ 800,000-1,200,000 US$ 26,900-40,400 HK$ 208,000-312,000

宇宙之愛 1988 彩墨 紙本 69 x 71 cm 簽名左上：Love of the Cosmos 春翔 Chao 88 附帝門藝術中心開立之原作保證書

210

John WAY

(Chinese-American, b. 1921)

魏樂唐

Manifestation

1999 油彩 琺瑯 畫布 151 x 127 cm 簽名左下：John Way 99

1999 Oil and enamel on canvas 151 x 127 cm Signed lower left John Way in English and dated 99 ILLUSTRATED: Album of Unique Treasure, William Art Center, Taipei, 1994, color illustrated, cover ﹠ p. 121 John Way, William Art Center, Taipei, 2006, color illustrated, p. 49

178

凝結的樂章

The Pioneer of Chinese Abstract- Anthology of John Way, William Art Center, Taipei, 2007, color illustrated, p. 147

NT$ 850,000-1,600,000 US$ 28,600-53,900 HK$ 221,000-416,000

圖錄： 《臻寶錄》，威廉國際藝術有限公司，台 北，1994，彩色圖版，封面與頁121 《魏樂唐畫集》，威廉國際藝術有限公 司，台北，2006，彩色圖版，頁49 《華人抽象先驅─魏樂唐大集》，威廉國 際藝術有限公司，台北，2007，彩色圖版， 頁147

211

YANG Chihung (Taiwanese, b. 1950)

Anxiety 1985 Acrylic on canvas 198 x 152 cm Signed on the reverse chihung yang, titled "anxiety", and inscribed acrylic on canvas, 78 x 60 inches all in English, dated 1985

NT$ 850,000-1,200,000 US$ 28,600-40,400 HK$ 221,000-312,000

楊識宏 焦慮 1985 壓克力 畫布 198 x 152 cm 簽名畫背：chihung yang "anxiety", 1985 acrylic on canvas 78 x 60 inches

212

CHUANG Che (Taiwanese, b. 1934)

Abstract 1985 Acrylic on canvas 126 x 191 cm Signed center right Chuang Che in Chinese and dated 85

NT$ 1,000,000-2,000,000 US$ 33,700-67,300 HK$ 260,000-519,000

莊喆 抽象 1985 壓克力 畫布 126 x 191 cm 簽名右方：85 莊喆

180

213

彭斯

PENG Si

(Chinese, b. 1980)

You Come from the Mountain 2007 Oil on canvas 98 x 138 cm Signed lower right PENG SI in English and dated 07.9

182

ILLUSTRATED: Style - Oil Painting Exhibition of Pengsi, Poly Art Museum, Hanno Art Gallery, Triumph Art Space, Beijing, 2005-2007, color illustrated, pp. 160-161

NT$ 1,000,000-2,000,000 US$ 33,700-67,300 HK$ 260,000-519,000

你從山中來 2007 油彩 畫布 98 x 138 cm 簽名右下：PENG SI 07.9 圖錄： 《風—彭斯》，保利藝術博物館，世紀翰墨 畫廊，藝．凱旋藝術空間共同出版，北京， 2005-2007，彩色圖版，頁160-161

214

HUANG Gang (Chinese, b. 1961)

Red Mandara 2003 Mixed media on board 108 x 108 cm Signed lower right Huang Gang in Chinese and English

This painting is to be sold with a certificate of authenticity issued by William Art Center, Taipei.

NT$ 1,100,000-2,200,000 US$ 37,000-74,100 HK$ 286,000-571,000

黃鋼 紅色曼陀羅 2003 綜合媒材 木板 108 x 108 cm 簽名右下：Huang Gang 黃鋼 附威廉藝術中心開立之原作保證書

184

215

JIA Gang

(Chinese, b. 1974)

Beautiful Bird, Please Stay! (diptych) 2009 Oil on canvas 150 x 120 cm (x2) Signed lower left Jia Gang in Chinese and dated 2009 12 This painting is to be sold with a certificate of authenticity issued by New Age Gallery, Taichung.

NT$ 1,300,000-2,300,000 US$ 43,800-77,400 HK$ 338,000-597,000

賈剛 美麗的鳥兒請你留下來（雙聯幅） 2009 油彩 畫布 150 x 120 cm (x2) 簽名左下：2009 12 賈剛 附新時代畫廊開立之原作保證書

186

216

ZHANG Xiaogang (Chinese, b. 1958)

The Storyteller's Enchantments of Zhang Xiaogang (a set of 20) Lithograph on cotton fiber paper in a aluminum case, edition no. 23/130 120 x 80 cm (paper) (each)

張曉剛 NT$ 3,600,000-4,800,000 US$ 121,200-161,600 HK$ 935,000-1,247,000

說書人的魔法（二十件一組） 石版畫 鋁製包裝盒 23/130 120 x 80 cm (紙) (x20)

217

LI Xinping

(Chinese, b. 1973)

Meridian 2006 Oil on canvas 178.5 x 130 cm Signed center right Xinping in English and dated 06 This painting is to be sold with a certificate of authenticity issued by Osage Gallery, Hong Kong.

NT$ 950,000-1,800,000 US$ 32,000-60,600 HK$ 247,000-468,000

李新平 子午線 2006 油彩 畫布 178.5 x 130 cm 簽名右方：Xinping 06 附奧沙畫廊開立之原作保證書

188

218

OUYANG Chun (Chinese, b. 1974)

Abandoning Painting No. 1 2005 Oil and acrylic on canvas 240 x 180 cm Signed on the reverse Ouyang Chun, titled Abandoning Painting, inscribed oil, acrylic on canvas all in Chinese and dated 2005

在以天真與感性的繪畫吸引公眾的同時，藝術家卻有相對複 雜的生活經歷、對藝術之路有過多理性的思考。他在中學時 放棄學業，並曾經和社會各階層的人相處以汲取更豐富的生 活經驗，而這些人在歐陽春日後的作品中化身為罪惡的代 表。

ILLUSTRATED: Luminescence, Star Gallery, Beijing, 2006, color illustrated

Ridiculousness and sarcasm can be found in most paintings of Ouyang Chun. Ouyang believes “reality and fantasy overlap in everyone’s world everyday, it is happening in the human society all the time; hence ridiculousness is meant to be the theme of this world”. Without any deliberate mystification, his works are not lack of intensions: the bright colors and childlike raw strokes, no signs of repeated symbols or similar pictures; his paintings are vibrant with fascination and emotional appeal, breathing out childhood delight. The piece “Abandoning Painting” was completed in 2005, portraying a little boy overlooking his drawing tools with his mouth open, implying the artist’s dedication and vision in art. The drawing is natural and sincere, full of the simple joy of childishness.

NT$ 900,000-1,500,000 US$ 30,300-50,500 HK$ 234,000-390,000

歐陽春 丟棄繪畫 No. 1 2005 油彩 壓克力 畫布 240 x 180 cm 簽名畫背：丟棄繪畫 歐陽春 2005 布面丙烯 油彩 圖錄： 《璀璨》，星空間藝術中心，北京，2006， 彩色圖版

190

歐陽春的繪畫，作品主題大多與荒謬、諷刺分不開。歐陽春 認為「真實和虛假的重疊每天在每個人的世界裡呈現，在人 的集體社會中演繹，所以荒誕註定就是這個世界的內容」。 他的作品既沒有深不可測，也不膚淺，鮮豔的色彩，兒童般 稚拙的線條，沒有重複性的符號，沒有相似的畫面，卻充 滿了無窮的感染力，帶給觀者童真的樂趣。《丟棄繪畫》是 2005年歐陽春創作的作品，畫面中一個小男孩張著大嘴眺望 他的畫具，隱約暗示著藝術家對於藝術的堅持、憧憬。畫面 質樸率真，充滿盎然童趣。

While communicating with the public through innocent and emotional drawings, the artist himself has a relatively complicated life experience and redundant rational thinking of art career.

Ouyang dropped out high school and came into contact with people in all walks of life, including many low lives and hooligan which later became the typical figure of evil in his art works.

219

YE Yongqing (Chinese, b. 1958)

Graffiti Series 2 2005 Mixed media on paper 53 x 55 cm Signed lower center Ye Yongqing in Chinese and English, dated 2005

NT$ 800,000-1,200,000 US$ 26,900-40,400 HK$ 208,000-312,000

葉永青 塗鴉系列 2 2005 綜合媒材 紙本 53 x 55 cm 簽名中下：葉永青 Ye Yongqing 2005

192

220

ZHONG Shan (Chinese, b. 1971)

鍾山

Double Images (a set of 2) 2006 Oil on canvas 162 x 120 cm (x2) Signed lower left Zhong Shan in Chinese and dated 2006 (left) Signed lower right Zhong Shan in Chinese and dated 2006 (right)

194

This painting is to be sold with a certificate of authenticity issued by New Age Gallery, Taichung.

NT$ 750,000-1,000,000 US$ 25,300-33,700 HK$ 195,000-260,000

雙相（二件一組） 2006 油彩 畫布 162 x 120 cm (x2) 簽名左下：鍾山 2006（左） 簽名右下：鍾山 2006（右） 附新時代畫廊開立之原作保證書

221

XIONG Yu

(Chinese, b. 1975)

Blue Light 2003 Oil on canvas 120 x 150 cm Signed lower right Xiong Yu and dated 2003 Signed on the reverse Xiong Yu, titled Blue Light both in Chinese, inscribed 150 cm x 120 cm and dated 2003

NT$ 700,000-1,000,000 US$ 23,600-33,700 HK$ 182,000-260,000

熊宇 藍色的光 2003 油彩 畫布 120 x 150 cm 簽名右下：熊宇 2003 簽名畫背：《藍色的光》熊宇 150 cm x 120 cm 2003

222

Reed LEE

(Taiwanese, 1921-2010)

After Bath c. 1960 Oil on canvas 65.5 x 50 cm Signed lower left Reed Lee in English and De in Chinese

NT$ 450,000-650,000 US$ 15,200-21,900 HK$ 117,000-169,000

196

李德 浴後 約1960 油彩 畫布 65.5 x 50 cm 簽名左下：Reed Lee 德

223

ZHANG Dongfeng (Chinese, b. 1958)

Little Lemon Eucalyptus 1994 Oil on canvas 50 x 60 cm Signed on the reverse Zhang Dongfeng and titled Little Lemon Eucalyptus both in Chinese

NT$ 450,000-650,000 US$ 15,200-21,900 HK$ 117,000-169,000

張冬峰 小檸檬桉 1994 油彩 畫布 50 x 60 cm 簽名畫背：題目：小檸檬桉 作者：張冬峰

224

YANG Din

(Chinese, b. 1958)

Fête de melon 1995 Oil on canvas 196 x 130 cm Signed lower right Yang Din in English Signed on the reverse Yang Din in English, and titled "Fête de melon" in French, inscribed 196 x 130 cm, dated 1995.8 ILLUSTRATED: Yang Din, Kwai Fung Hin Art Gallery, Hong Kong, 2002, color illustrated, pp. 58-59

NT$ 400,000-600,000 US$ 13,500-20,200 HK$ 104,000-156,000

楊登雄 瓜節 1995 油彩 畫布 196 x 130 cm 簽名右下：Yang Din 簽名畫背：Yang Din 1995.8 196 x 130 cm "Fête de melon" 圖錄： 《楊登雄》，季豐軒畫廊，香港， 2002，彩色圖版，頁58-59

198

225

Chang-Ling

(Taiwanese, b. 1975)

Pork Belly Series - Flesh Weapons - Paratrooper Parachuting 2008 Oil on canvas 182 x 227 cm Signed on the reverse Chang-Ling, titled Belly Series - Flesh Weapons - Paratrooper Parachuting all in Chinese, dated 2008

NT$ 400,000-600,000 US$ 13,500-20,200 HK$ 104,000-156,000

常陵 五花肉系列—肉兵器—傘兵空降 2008 油彩 畫布 182 x 227 cm 簽名畫背：五花肉系列—肉兵器—傘兵空降 常陵 2008

226

李銳

LI Rui

記憶系列—兄弟 No. 1

(Chinese, b. 1984)

2009 油彩 畫布 110 x 130 cm 簽名畫背：兄弟 No.1 李銳 2009

Memory Series - Brother No. 1 2009 Oil on canvas 110 x 130 cm Signed on the revese Li Rui, titled Brother No.1 and dated 2009 EXHIBITED: Son of Heaven, Ping Art Space, Taipei, 2009

200

ILLUSTRATED: Son of Heaven, Ping Art Space, Taipei, 2009, p. 32

展覽： 「李銳2009作品展—天子」，平藝術空間， 台北，2009

NT$ 300,000-500,000 US$ 10,100-16,800 HK$ 78,000-130,000

圖錄： 《天子誕生》，平藝術出版，台北，2009， 頁32

227

HUA Qing

(Chinese, b. 1962)

Conversation 2 2007 Oil on canvas 162 x 130 cm ILLUSTRATED: The Upanishad of Human Being, Asian Art Center, Beijing, 2008, color illustrated

NT$ 350,000-550,000 US$ 11,800-18,500 HK$ 91,000-143,000

華慶 交談 2 2007 油彩 畫布 162 x 130 cm 圖錄： 《人的奧義書》，亞洲藝術中心， 北京，2008，彩色圖版

228

CAO Xiaodong (Chinese, b. 1961)

After the Dance 1993 Oil on canvas 63 x 90 cm Signed on the reverse Cao Xiaodong, inscribed oil on canvas both in Chinese and 63 x 90 cm

NT$ 220,000-350,000 US$ 7,400-11,800 HK$ 57,000-91,000

202

曹小冬 舞蹈之後 1993 油彩 畫布 63 x 90 cm 簽名背板：曹小冬 布面油畫 63 x 90 cm

229

LI Rui

(Chinese, b. 1984)

Sacred Eagle No. 4 2011 Oil on canvas 150 x 130 cm With one seal of the artist

NT$ 260,000-500,000 US$ 8,800-16,800 HK$ 68,000-130,000

李銳 神鷹 No. 4 2011 油彩 畫布 150 x 130 cm 鈐印右下：李銳

230

ZAO Wou-ki

(Chinese-French, b. 1921)

Untitled (a set of 2) 1986 (upper); 1998 (lower) Etching with aquatint on Guarro paper, edition no. 95/99 (upper) Lithograph on Arches paper, edition no. 66/99 (lower) 41.2x56 cm (image); 56x76 cm (paper) (upper) 45.5x64.7 cm (image); 56x75.7 cm (paper) (lower) S i g n e d l o w e r r i g h t Wo u - k i i n C h i n e s e , numbered lower left 95/99 and dated 86 (upper) S i g n e d l o w e r r i g h t Wo u - k i i n C h i n e s e , numbered lower left 66/99 and dated 98 (lower) ILLUSTRATED: Jørgen Ågerup, Zao Wou-ki, The Graphic Work A Catalogue Raisonné 1937-1995, Heede & Moestrup, Copenhagen, 1994, color illustrated, no. 325, p. 181 (upper) Jørgen Ågerup, Zao Wou-ki, The Graphic Work 1995-2000, (supplement), Heede & Moestrup, Copenhagen, 1994, color illustrated, no. 394, p. 9 (lower)

NT$ 160,000-260,000 US$ 5,400-8,800 HK$ 42,000-68,000

趙無極 無題（二件一組） 1986（上）；1998（下） 銅版畫 版次 95/99（上） 石版畫 版次 66/99（下） 41.2 x 56 cm（圖）；56 x 76 cm（紙）（上） 45.5 x 64.7 cm（圖）；56 x 75.7 cm（紙）（下） 簽名右下：無極 ZAO 86 95/99（上） 簽名右下：無極 ZAO 98 66/99（下） 圖錄： 喬詹．阿格魯普，《趙無極版畫集19371995》，黑德與莫斯特魯普出版社，哥本哈 根，2001，彩色圖版，編號325，頁181（上） 喬詹．阿格魯普，《趙無極版畫集19952000》（增訂本），黑德與莫斯特魯普出 版社，哥本哈根，2001，彩色圖版，編號 394，頁9（下）

204

231

ZAO Wou-ki

(Chinese-French, b. 1921)

Untitled (a set of 2) 1986 (upper); 1973 (lower) Etching with aquatint on Guarro paper, edition no. 96/99 (upper) Lithograph on Arches paper, edition no. 14/95 (lower) 56.1 x 41.1 cm (image); 76 x 56 cm (paper) (upper) 62.5 x 46 cm (image); 76 x 56 cm (paper) (lower) Signed lower right Wou-ki in Chinese, Zao in French; numbered lower left 96/99 and dated 86 (upper) Signed lower right Wou-ki in Chinese, Zao in French; numbered lower left 14/95 and dated 73 (lower) ILLUSTRATED: Jørgen Ågerup, Zao Wou-ki, The Graphic Work A Catalogue Raisonné 1937-1995, Heede & Moestrup, Copenhagen, 1994, color illustrated, no. 328, p. 182 (upper); no. 241, p. 137 (lower)

NT$ 180,000-280,000 US$ 6,100-9,400 HK$ 47,000-73,000

趙無極 無題 (二件一組) 1986（上）；1973（下） 銅版畫 版次 96/99；石版畫 版次 14/99 56.1 x 41.1 cm（圖）；56 x 76 cm（紙)（上） 62.5 x 46 cm（圖）；76 x 56 cm（紙）（下） 簽名右下：無極 ZAO 86 96/99（上） 簽名右下：無極 ZAO 73 14/95（下） 圖錄： 喬詹．阿格魯普，《趙無極版畫集19371995》，黑德與莫斯特魯普出版社，哥本 哈根，2001，彩色圖版，編號328，頁182 （上）；編號241，頁137（下）

232

XU Bing

(Chinese, b. 1955)

An Analysed Reflection of the World: the Final Volume of the Century 1987-1991 Lithograph, edition no. AP 42 x 52.5 cm Signed lower right Xu Bing in Chinese and English, dated 1987-1991

206

Titled lower left An Analysed Refleetion of the World: the Final Volume of the Century in Chinese, numbered A/P With two seals of the artist

NT$ 400,000-600,000 US$ 13,500-20,200 HK$ 104,000-156,000

徐冰 析世鑒 第二冊第二十四頁 / AP 1987-1991 版畫 AP 45 x 52.5 cm 簽名右下：徐冰 Xu Bing 1987-1991 款識左下：A/P 析世鑒-第二冊 第二十四頁 鈐印右下：冰 鈐印右上：徐

233

CHU Teh-chun

(Chinese-French, b. 1920)

Encre Orageuse (a set of 9) 2008 Lithographs, calligraphy of peoms 45 x 35 cm (x7); 70 x 45 cm (x2), edition no. 55/99 (all)

NT$ 280,000-400,000 US$ 9,400-13,500 HK$ 73,000-104,000

朱德群 墨之風暴 2008 石版畫 紙本 55/99（全部） （內含六件石版畫，三件書法集） 紅色深秋 45 x 35 cm 泛黃初秋 45 x 35 cm 夏日黃昏 70 x 45 cm 春雨 45 x 35 cm 春天 45 x 35 cm 暴風雪 45 x 35 cm

蘇軾詩 45 x 35 cm 林逋詞 70 x 45 cm 李煜詞 45 x 35 cm 簽名右下：朱德群 CHU TEH-CHUN（暴風 雪、夏日黃昏） 鈐印右下：朱德群（春雨、泛黃初秋、紅色 深秋） 鈐印右下：群園（林逋詞、李煜詞、蘇軾 詩） 鈐印左下：天門居士 朱德群（蘇軾詩、李 煜詞、林逋詞） 版次左下：55/99（全部）

234

HUANG Gang (Chinese, b. 1961)

All Reactionaries are Paper Tigers 2007 Bronze, edition no. 3/18 53(L) x 41(W) x 32(H) cm Engraved Huang Gang in Chinese and English, numbered 3/18

208

黃鋼 ILLUSTRATED: Huang Gang: Revolving Golden Imprint, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, p. 210 & p. 223

NT$ 220,000-400,000 US$ 7,400-13,500 HK$ 57,000-104,000

一切反動派都是紙老虎 2007 銅雕 3/18 53(長) x 41(寬) x 32(高) cm 簽名雕刻：Huang Gang 黃鋼 3/18 圖錄： 《黃鋼—轉動黃金印記》，藏新藝術有限公 司，台北，2008，彩色圖版，頁210與頁223

235

Yuyu YANG

(YANG Ying-feng) (Taiwanese, 1926-1997)

Landscape Bronze, edition no. 20/20 22(L) x 96(W) x 25.5(H) cm Engraved Yuyu YANG in English, Ying-feng in Chinese, inscribed Taipei and numbered 20/20, dated 72 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 350,000-550,000 US$ 11,800-18,500 HK$ 91,000-143,000

楊英風 山水 1972 銅雕 20/20 22(長) x 96(寬) x 25.5(高) cm 簽名雕刻：Yu y u YA N G 英風 作 72 台北 20/20 附財團法人楊英風藝術教育基金會呦呦藝術 事業有限公司開立之原作保證書

236

Hiroto KITAGAWA (Japanese, b. 1967)

Untitled (a set of 2) 2006 (Red); 2007 (White) Terracotta, acrylic 18(L) x 18(W) x 50(H) cm (x2) (including the base) 20.5(L) x 53.5(W) x 25.7(H) cm (x2) (box) Engraved Hiroto and dated '06 (red) Engraved Hiroto and dated '07 (white)

NT$ 350,000-550,000 US$ 11,800-18,500 HK$ 91,000-143,000

北川宏人 無題（二件一組） 2006（紅）；2007（白） 赤陶 壓克力 18(長) x 18(寬) x 50(高) cm (x2) （包含底座） 20.5(長) x 53.5(寬) x 25.7(高) cm (x2)（盒） 簽名雕刻：'06 Hiroto（紅） 簽名雕刻：'07 Hiroto（白）

210

237

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin (a set of 5) 2002 Porcelain, edition no. 51/130 (x5) 10.5(L) x 9(W) x 9(H) cm (x5) Signed on base Yayoi Kusama in English, numbered 51/130 and inscribed LIMOGES FRANCE (x5), dated 2002 Signed under the box cover Yayoi Kusama in English (x5)

NT$ 350,000-550,000 US$ 11,800-18,500 HK$ 91,000-143,000

草間彌生 南瓜（五件一組） 2002 瓷器 51/130 10.5(長) x 9(寬) x 9(高) cm (x5) 簽名底部：Ya y o i K u s a m a 2002 51/130 LIMOGES FRANCE (x5) 簽名盒蓋底：Yayoi Kusama 2002 (x5)

238

LIU Jia

(Chinese, b. 1982)

Living World Drama Series Hippo 2006 Fiberglass, edition no. 3/4 49(L) x 29(W) x 80.5(H) cm PROVENANCE: Acquired directly from the artist by the current owner EXHIBITED: Return of China - Group Exhibition of Young Chinese Artists, Les Abattoirs – Modern and Contemporary Museum, Toulouse, France, 2006 ILLUSTRATED: Legend - Liu Jia Sculpture Solo Exhibition, Shanghai Art Museum, Shanghai, 2008, color illustrated, p. 140

NT$ 400,000-600,000 US$ 13,500-20,200 HK$ 104,000-156,000

劉佳 人間戲劇系列之河馬 2006 玻璃纖維 3/4 49(長) x 29(寬) x 80.5(高) cm 來源： 現有收藏者直接購自於藝術家本人 展覽： 「回歸中國—中國年輕藝術家聯展」，阿巴 圖瓦現代藝術館，土魯斯，法國，2006 圖錄： 《傳奇—劉佳雕塑作品展》，上海美術館， 上海，2008，彩色圖版，頁140

212

239

JI Yong Ho

(Korean, b. 1978)

Mutant Spider 2006 Used tire, steel 117(L) x 199(W) x 160(H) cm Engraved JYH in English and dated 06

NT$ 450,000-650,000 US$ 15,200-21,900 HK$ 117,000-169,000

池龍虎 變體蜘蛛 2006 舊輪胎 鋼 117(長) x 199(寬) x 160(高) cm 簽名雕刻：JYH 06

240

REN Zhe

(Chinese, b. 1983)

To Bristle with Anger 2010 Bronze, edition no. 6/8 45(L) x 34(W) x 48(H) cm Engraved on the base Ren Zhe in Chinese and English, numbered 6/8

NT$ 450,000-700,000 US$ 15,200-23,600 HK$ 117,000-182,000

任哲 怒髮衝冠 2010 銅雕 6/8 45(長) x 34(寬) x 48(高) cm 簽名雕刻底座：任哲 Ren Zhe 6/8

214

241

JU Ming

(Taiwanese, b. 1938)

Flying Dragon 1999 Bronze, edition no. AP 10/10 54(L) x 16(W) x 34(H) cm Engraved Ju Ming in Chinese, numbered AP 10/10 and dated '99 This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 450,000-650,000 US$ 15,200-21,900 HK$ 117,000-169,000

朱銘 飛龍在天 1999 銅雕 自10/10 54(長) x 16(寬) x 34(高) cm 簽名雕刻：朱銘 自 10/10 '99 附藝術家親筆簽名之原作保證書

242

Yuyu YANG

(YANG Ying-feng) (Taiwanese, 1926-1997)

楊英風 東西門

The East and West Gates 1973 Stainless steel, edition no. 17/20 59(L) x 59(W) x 36(H) cm (including the base) Engraved Ying-feng in Chinese, numbered 17/20, and dated '73 ILLUSTRATED: Yuyu Yang Corpus, Artist Publishing Co., Taipei, 2005, color illustrated, p. 258

216

This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 450,000-650,000 US$ 15,200-21,900 HK$ 117,000-169,000

1973 不鏽鋼 17/20 59(長) x 59(寬) x 36(高) cm (含底座) 簽名雕刻：'73 英風 17/20 圖錄： 《楊英風全集第一卷》，藝術家出版社， 台北，2005，彩色圖版，頁258 附財團法人楊英風藝術教育基金會呦呦藝術 事業有限公司開立之原作保證書

243

Yuyu YANG

(YANG Ying-feng) (Taiwanese, 1926-1997)

The Information Century 1997 Stainless steel, edition no. 5/10 43(L) x 54(W) x 98(H) cm Engraved Yuyu YANG feng in Chinese and English, dated '97 and numbered 5/10 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 550,000-750,000 US$ 18,500-25,300 HK$ 143,000-195,000

楊英風 資訊世紀 1997 不鏽鋼 5/10 43(長) x 54(寬) x 98(高) cm 簽名雕刻：'97 楊英風 Yuyu YANG feng 5/10 附財團法人楊英風藝術教育基金會呦呦藝術 事業有限公司開立之原作保證書

244

PARK Seung Mo (Korean, b. 1969)

Bicycle 2010 Fiberglass, mold, aluminum wire (unique) 150(L) x 74(W) x 95(H) cm

NT$ 750,000-950,000 US$ 25,300-32,000 HK$ 195,000-247,000

218

朴勝模 腳踏車 2010 鋁線 玻璃纖維 鑄模（單一件） 150(長) x 74(寬) x 95(高) cm

245

LEE Jae-hyo (Korean, b. 1970)

0121-1110=1110711 2011 Wood (big cone pine) 115(L) x 112(W) x 51(H) cm Engraved 0121-1110=111

NT$ 750,000-950,000 US$ 25,300-32,000 HK$ 195,000-247,000

李在孝 0121-1110=1110711 2011 松木 115(長) x 112(寬) x 51(高) cm 簽名雕刻：0121-1110=111

246

Yoshitomo NARA (Japanese, b. 1959)

Sleepless Night Sitting 2007 Fiberglass, edition no. 172/300 36(L) x 26(W) x 24(H) cm (box) 15(L) x 19(W) x 28(H) cm (sculpture) This sculpture is to be sold with a certificate of authenticity and a wooden box.

NT$ 400,000-600,000 US$ 13,500-20,200 HK$ 104,000-156,000

奈良美智 失眠夜坐著 2007 玻璃纖維 172/300 36(長) x 26(寬) x 24(高) cm (箱子) 15(長) x 19(寬) x 28(高) cm (人物) 附原作保證書及木盒

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拍品徵集

INVITATION TO CONSIGN 諮詢：珠寶部門林品妘 Enquiry: Ms. Dannie Lin, Jewelry Department Email: dannielin@ravenel.com Tel: +886 2 2708 9868 ext. 385

羅芙奧2012秋季珠寶首拍預告 Ravenel's Inaugural Jewelry Auction Autumn 2012 羅芙奧藝術集團特別邀請陳正銘先生任珠寶部總經理 帶領專家團隊於今年11月在香港舉行珠寶首拍 Ravenel International Art Group has specifically recruited Mr. Benjamin Chen to be the Head of Jewelry Department.

Mr. Chen will lead our jewelry team to be instrumental in the success of Ravenel's Inaugural jewelry auction in Hong Kong this November.

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

拍 賣 名 稱：羅芙奧台北2012春季拍賣會 亞洲現代與當代藝術

至： 藝術拍賣部

台北拍賣日期：

電話：+886-2-2708 9868

2012年6月3日（星期日）下午2:30至7:30

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電郵

簽名 （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服務費，（連同該最後落槌價及服務費之營業稅）服務費依最後落槌價乘以服 務費率得之。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服務費率：（1）買家除支付落槌價外，另須支付服務費予本公 司，落槌價於新台幣參仟貳佰萬元以下者含參仟貳佰萬元以20％計算；（2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟 貳佰萬元以20％計算，超過新台幣參仟貳佰萬元之部份以12％計算。） 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

稱

競投價（新台幣） （服務費不計在內）

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 銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話

羅芙奧股份有限公司 台北市106敦化南路二段76號15樓之2 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com

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: Art Auction Division Tel: +886 2 2708 9868 Fax: +886 2 2701 3306

Auction

Date

RAVENEL SPRING AUCTION 2012 TAIPEI Modern and Contemporary Asian Art Sunday 3 June 2012 at 2:30pm-7:30pm

Location

Fubon National Conference Center

Address

B2, No. 108, Section 1, Dunhua South Road,

Taipei, Taiwan

Bidder’s Details Name ID number Address Post code Tel: (Daytime)

(Evening)

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 service fee and any applicable sales tax. The service fee 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 Agreement to the Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below NT$ 32,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.)

The bid shall be subject to the Transaction Agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warrantees that may be provided for certain items.

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Title

Bid price (NT$) (excluding service fee)

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.

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Name of the account Account number Contact of the bank Tel. No.

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業務規則

下述規則，為本公司作為拍賣公司與賣家訂立合約，亦作為賣家之代理人 與買家訂立合約之條款。買家及賣家務須細讀各項規則。買家請特別留意 第5條，其對本公司之法律責任作了限定。 Ⅰ.買家 1. 羅芙奧（以下稱本公司）作為代理人 作為拍賣人，本公司以作為賣方代理人之身分行事。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。本公司除就膺品（如本業務規則第Ⅲ項所界定者）作出之證明外，不 對買家作任何保證。 b. 拍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。羅芙奧恕無保證 任何拍賣腕錶處於良好運作狀態，同時目錄中任何拍賣品之描述皆不應視 為如此。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。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、運作正常或可享有免費 修復或更換機件。 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，如果準買家無法對拍品進行檢閱，本公司基於服務至上 的原則，將非常樂於應客戶之要求提供拍品特性與狀況之意見，惟本公司 並不是專業鐘錶修復者，因此任何在目錄中所列出的陳述是為純粹本公司 的主觀意見。 務請注意，多數防水錶的錶殼已被開啟並檢查其運轉狀態及類型，因此不 應假定其仍為防水狀態。建議買家應在使用前安排經由具資格的鐘錶匠檢 查該等手錶。 務請注意，拍買品早前的修復工作或許已經導致原廠零件的更換，因此我 們不保證任何拍賣品的單一組成零件之確實性。所有的拍品一致以「現 狀」售出。本公司對於任何拍出之狀態不作代表或保證，除非另有註明， 否則將不提供保單。 c. 符號表示 以下為本目錄所載符號之說明 ｏ保證項目 拍賣品編號旁註有ｏ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服務費。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品之作者、來歷、日期、年代、 尺寸、材質、歸屬、真實性、出處、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，均僅屬意見之陳述，不應依據為確實事實 之陳述。目錄圖示亦僅作為指引而已，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。此等資料僅作為指引 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 有關物品之狀況以及目錄說明所提述之事項，買家有責任弄清楚並確使自 己感到滿意。 3. 拍賣時 a. 買方應繳之營業稅 依據中華民國法律規定，凡進口藝術品由買方在台取貨者，買方需繳交 「落槌價」百分之五的（加值）營業稅。此等進口藝術品（目錄內有＊符 號之編號者），若係於中華民國境外交付買方，並由羅芙奧處理相關之運 貨事宜，則買方無須支付營業稅。買方若欲於中華民國境外取貨，應於拍

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賣日後兩個工作天內以書面通知本公司。 b. 估價 目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍賣會須 以新台幣結算，買方如須以新台幣之外其他貨幣繳付，請買方核實繳付當 日匯率，折合所繳付之等值貨幣計算。 c. 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。 d. 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。 e. 競投者為買家 除非登記時已書面協定，競投者將為代第三人行事之代理人，而該第三人 為本公司所接受者，否則競投者將被視為買家而須承擔個人法律責任。 f.透過 LiveAuctioneers 進行網上競投 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 競投部分拍品。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，請參閱羅芙奧網頁 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限。 g. 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。 h. 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，本公司對賣家或 任何準買家均不負任何責任。 i. 匯率轉換顯示板 在有些拍賣中，會有一具匯率轉換顯示板操作。匯率按拍賣日當天銀行開 市時向本公司報出之一個月期貨匯率計算。然而競投仍會以新台幣進行。 匯率轉換顯示板並非時常可靠，不論是顯示板所示之拍賣品編號或是新台 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（而非因以新台幣競投）所導致而蒙受之 任何損失，本公司概不負責。 j. 錄映影像 在有些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，或是翻版影像之質素，本公司對買家均不負任何 責任。 k. 拍賣官之決定權 拍賣官具有絕對決定權，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，以及如遇有誤 差或爭議，將拍賣品重新拍賣。 l. 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，亦即為賣家與買 家之成功拍賣合約之訂立。 4. 拍賣後 a. 買家支付每件拍品之服務費率 （1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣 參仟貳佰萬元以下者含參仟貳佰萬元以20％計算。 （2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳

佰萬元以20％計算，超過新台幣參仟貳佰萬元之部份以12％計算。 b. 稅項 買家應付予本公司之所有款項均不包括任何貨物或服務稅或其他增值稅 （不論由台灣政府或別處所徵收）。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，亦須提 供付款銀行之詳情。然後於拍賣日期後七天內悉數支付所欠款項（包含落 槌價、拍賣支付之酬金，以及任何適用之增值稅）。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。 本公司雖接受個人支票與公司支票，但請留意買家須於支票承兌後方可提 取拍賣品。如以現金或銀行本票繳付款項，則可立即提取拍賣品。惟本公 司的原則為不接受超過台幣貳拾伍萬元或等值外幣之現金付款，無論以單 筆或多筆形式支付。本公司接受信用卡（Visa、MasterCard、Union Pay） 付款之上限為台幣壹佰萬（每一場拍賣會），但須受相關條件與條款約 束。請與羅芙奧財務部查詢信用卡付款詳情。本公司不接受旅行支票付 款。 買家如未向本公司支付所欠之全部款項，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新台幣以 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。以新台幣以外之貨幣付款予本公司之匯率，依 拍賣日現場公佈之匯率（台灣銀行），並以本公司就此兌換率而發出之憑 證為準。 務請注意，除於拍賣前買家與羅芙奧取得協議外，羅芙奧不會接受買家以 外任何人士之拍品付款。 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 項目，直至欠本公司之款項已悉數支付為正。拍賣品在暫時保留期間， 由成功拍賣日期起為期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，七天期滿後或自領取時起，拍賣品之風險全由買家 承擔。 f. 介紹裝運及運輸公司 本公司之貨運部門可作為買家之代理人，代為安排付運。雖然在特別要求 下本公司可介紹承運人，但本公司在此方面不負任何法律責任。 g. 不付款或未有領取已購拍賣品之補救辦法 如買家未有在七天內付款，本公司即有權行使下述一項或多項權利或補救 辦法： （1）在拍賣日期後超過七天仍未付款，則按不超過台灣銀行基本利率加 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。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。 （2）對任何屬於買家所有而因任何目的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： （5）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。 （6）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。 （7）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。

險及任何其他費用，連同欠本公司之所有其他款項付清後，方可領取已購 拍賣項目。 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增值稅。 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 本公司有責任在第6條所列之情況下退還款項予買家。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、歸屬、真實性或出處之陳述，或任何其他說明之誤差，任何 拍賣品之任何毛病或缺陷，均不負有任何責任。買家、本公司、本公司之 僱員或代理人，均無就任何拍賣品作出任何保證。任何種類之任何擔保， 均不包含在本條之內。 6. 膺品之退款 如經本公司拍賣之拍賣品證實為膺品，則交易將取消，已付之款項則退還 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，或清楚表明意見有抵通告符合當時學者或專家普 遍接納之意見，或清楚表明意見有牴觸之處，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）買家必須在拍賣日起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； （2）買家隨後必須在十四天內將拍賣品送還本公司，而其狀況與拍賣當 日相同；及 （3）送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品乃 膺品，買家並可將拍賣品之良好所有權轉讓予本公司，而與任何第三人之 索償無涉。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 品而支付之款項，而買家亦不能索取利息。 本擔保之利益不能轉讓，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。 本條件不適用於硬幣、獎牌、珠寶及畫。 II.買家與賣家均適用之條件 1. 版權 與拍賣品有關之一切影像、圖示與書面材料之版權，於任何時候均屬於本 公司之財產。未得本公司事先書面同意，買家或任何人均不得使用。 2. 通知 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 郵後第二個工作天即當作已由收件人收妥；如收件人在海外，則為付郵後 第五個工作天。 3. 可分割性 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部份在法律許可之最大範 圍內須繼續有效及可強制執行。 4. 法律及管轄權 本業務規則受中華民國法律規限，本業務規則之解釋與效力均適用台灣法 律。為本公司之利益而言，賣家與買家須服從台灣法院之排他性管轄權。

賣方業務規則請參閱羅芙奧網站 http://ravenel.com

h. 未有領取已購拍賣品 如已購得之拍賣品未有在成功拍賣後七天內領取，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。而只在所引起之貯存、搬運、保

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Transaction Agreement

The following provisions are entered into by and between the Company, as the auctioneer, and the Seller (hereinafter the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). Both the Buyer and the Seller must carefully review all provisions hereunder. The Buyer should pay special attention to Article 5 which provides limitations as to the legal responsibilities of the Company.

I. The Buyer 1. Ravenel 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 (with the exception of the guarantee with regard to counterfeits as defined in Section III of the Transaction Agreement). b. Important Notice Attention, 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 regrets that it is unable to guarantee that the wristwatches 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 prospective buyers to personally view the items for which they plan to bid before the auction itself. If a prospective buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item's special characteristics and current condition. However, the Company is not a professional restorer of wristwatches; therefore, any description in the catalogue is purely the Company's subjective opinion and not a statement of fact.

Please note: The outer shells of many of the water-resistant watches have been opened in order to investigate their working condition and their type; therefore, it must not be assumed that they are currently water-resistant. We recommend buyers to have such watches checked by a competent watchmaker before use.

Please note: The restoration of the items on auction may have resulted in original parts being replaced; therefore, we are unable to guarantee that any given watch's parts are from the original set of parts.

All of the items on auction are being sold in "as is" condition.the Company does not provide any representation or guarantee as to the condition of any of the items. Unless otherwise stated, the Company does not provide any warranty with the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ď˝?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 service fee. 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 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.

3. In the auction Sales Tax Payable by the Buyer a. The Buyer shall pay (value added) sales tax in the amount of 5% of the Hammer Price with respect to imported works of art collected by the

225

Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not required to pay sales tax if such imported works of art (with * marks by the number in the catalogue) are delivered to the buyer outside the R.O.C. and are handled by Ravenel for the relevant shipments. The buyer shall notify Ravenel in writing within two business days following the auction day if he desires to collect the items auctioned outside the R.O.C. b. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate of the payment day. c. 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. d. Registration prior to the bidding Prospective buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective buyers should also note that the Company may be requested to conduct credit checks against buyers. e. 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. f. Online Bids via LiveAuctioneers If the bidder cannot attend the auction, it may be possible to bid online via LiveAuctioneers for selected Lots. 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. g. Commission bids The Company will make every 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. Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. h. 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 make 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 under any circumstances. i. Exchange rate conversion board There will be an exchange rate conversion board operating at some 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 NT dollars.

The exchange rate conversion board is not absolutely reliable. 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. j. Recorded images There is image projection in some 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. k. 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. l. Successful bids Under the 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.

4. Following the auction a. The service fee of each lot payable by the Buyer (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below NT$ 32,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price.

(2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). 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 should also be provided upon request. All payments due (including the hammer price, service fee 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.

Although personal and company cheques are accepted, buyers are advised that purchases will not be released until such cheques have cleared. Payment by cash or banker’s draft will enable immediate release of purchases. It is Ravenel’s company policy not to make or accept single or multiple payments in cash or cash equivalents of more than NT$250,000 or the equivalent value in another currency. Ravenel accepts payments by credit cards (Visa, MasterCard, Union Pay) up to NT$1,000,000 per auction sale although conditions and restrictions apply. For details on credit card payments, please contact Ravenel Finance Department. Traveller’s cheques are not accepted.

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 Ravenel are made in any currency other than NT dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange service fees.

The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate.

Please note that Ravenel will not accept payments for purchased Lots from any party other than the buyer, unless otherwise agreed between the buyer and Ravenel prior to the sale. d. Collection of the Lot sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfuly 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 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 upon expiration of the said 7 days period or from collection of such items. 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. g. Remedies for non-payment or non-collection 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: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan 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 should offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions.

(2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose. 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 the following rights in addition to the aforementioned: (5) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees resulting from such proceeding based on a total claim.

(6) 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.

(7) 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 of 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 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; 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 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 with respect to any auction items. Any warrantee of any kind shall not be included herein.

6. Return of payments for counterfeits The transaction will be cancelled and payments made will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit. 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; 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.

(2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day.

(3) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit. 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 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.

The aforementioned does not apply to coins, medals, jewelry and paintings.

II. Terms applicable to both the Buyer and the Seller 1. Copyright The copyright 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 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.

4. Jurisdiction The Transaction Agreement are governed under the ROC law and the interpretation and effect of the Rules shall be subject to the laws of Taiwan. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the Taiwanese court for the interests of the Company.

Please refer to our website for seller’s Transaction Agreement. http://ravenel.com

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羅芙奧香港 2012 春季葡萄酒拍賣會

尊釀雲集

Ravenel Spring Auction 2012 Hong Kong Finest and Rarest Wines

拍賣日期 2012 年 5 月 27 日 香港君悅酒店 Grissini 餐廳 Auction: Sunday, May 27, 2012, 11:30 am, Grand Hyatt Hong Kong - Grissini Taipei 吳舜雯 Ariel Wu / arielwu@ravenel.com Hong Kong 何杏淇 Elaine Holt / elaineholt@ravenel.com

Château Mouton Rothschild 1945-2009 垂直年份珍藏

Domaine de La Romanée-Conti 及布根地酒神 Henri Jayer 稀有佳釀

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