亞洲現代與當代藝術 Modern & Contemporary Asian Art

SPRING AUCTION 2016 TAIPEI

羅芙奧台北 2016 春季拍賣會 亞洲現代與當代藝術

RAVENEL SPRING AUCTION 2016 TAIPEI Modern and Contemporary Asian Art 拍賣日期

地點

2016年6月5日（日）下午 2:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2 預展日期

地點

台中 2016年5月14日（六）下午 1:00 至下午 6:00 2016年5月15日（日）上午 11:00 至下午 6:00 豐藝館 台中市西區五權西路一段110號B1 香港 2016 年5月27日（五）中午 12:00 至下午 7:00 2016 年5月28日（六）上午 10:00 至下午 7:00 香港君悅酒店（M樓 Tiffin 茶園） 香港灣仔港灣道 1 號 台北 2016年6月3日（五）至6月4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108號B2

AUCTION Sunday, June 5, 2016, 2:00pm Fubon International Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan

PREVIEWS Taichung

Saturday, May 14, 2016, 1:00pm - 6:00pm Sunday, May 15, 2016, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung City, Taiwan

Hong Kong

Friday, May 27, 2016, 12:00pm - 7:00pm Saturday, May 28, 2016, 10:00am - 7:00pm Grand Hyatt Hong Kong - Tiffin 1 Harbour Road, Wanchai, Hong Kong

Taipei

Friday, June 3 - Saturday, June 4, 2016, 10:00am - 7:00pm Fubon International Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan 拍賣目錄每本售價：NT$2,000 This auction catalogue: NT$2,000 per copy

王鎮華 Arthur Wang 董事長 Chairman 郭倩如 Clara Kuo 副董事長 Vice Chairman 李雅欣 Wendy Lee 營運長 Chief Operation Officer

傅斐郡 Flora Fu

陳惠黛 Odile Chen

台北藝術部總經理 President, Art Department, Taipei

香港藝術部總經理 President, Art Department, Hong Kong

林慧菁 Maggie Lin

何瑩 Vivi He

台北藝術部副總經理 Vice President, Art Department, Taipei

香港業務發展部總監 Head of Business Development Department, Hong Kong

黃詩涵 Stella Huang

鄧秀麗 Crystal Tang

台北藝術部經理 Manager, Art Department, Taipei

香港藝術部專家 Specialist, Art Department, Hong Kong

蔡晉欣 Olivier Tsai

張鶴軒 Helen Zhang

台北藝術部副理 Assistant Manager, Art Department, Taipei

北京業務代表 Sales Representative, Beijing

江玉涵 Marguerite Chiang

游景涵 Carol Yu

台北藝術部行政主任 Administrative Officer Art Department, Taipei

香港藝術部業務助理 Sales Assistant, Art Department, Hong Kong

羅芙奧台北 2016 春季拍賣會服務部門及連絡人

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RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS President, Art Department Flora Fu Tel: +886 2 2708 9868 ext. 888 Email: florafu@ravenel.com

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CATALOGUE SUBSCRIPTION Taiwan Marguerite Chiang Tel: +886 2 2708 9868 ext. 884 Email: margueritejiang@ravenel.com

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Payment details are described at the back of the catalogue. Please contact the above person if you need any further information.

COLLECTION AND SHIPPING Taiwan Tommy Wu Tel: +886 2 2708 9868 ext. 885 Email: tommywu@ravenel.com

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China Jason Dong Tel: +86 10 8587 8099 ext. 22 Email: jasondong@ravenel.com

International Stella Huang Tel: +886 2 2708 9868 ext. 977 Email: stellahuang@ravenel.com Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored.

We apologize for no acceptance of traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday.

Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you.

Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.

目次 / Contents

6

羅芙奧春季拍賣會

Sale Information 10

羅芙奧之服務

Ravenel Services 13

藝術家索引

Index 14

亞洲現代與當代藝術

Modern and Contemporary Asian Art 279

委託競投表格

Absentee Bid Form 281

業務規則

Transaction Agreement

藝術家索引 / Index

A

Yoshitaka AMANO

天野喜孝

217

C

CHANG Chen-yu CHANG Chia-Ying CHAO Chung-hsiang Chen Chao-Pao CHEN Cheng-po CHEN Ching-jung CHEN Liu CHEN Ting-shih CHEN Yin-hui CHEN Yin-wei CHIU Ya-tsai CHOI Young Wook CHU Teh-chun CHUANG Che Howard CHEN George CHANN

張振宇 張嘉穎 趙春翔 陳朝寶 陳澄波 陳景容 陳流 陳庭詩 陳銀輝 陳英偉 邱亞才 崔永旭 朱德群 莊喆 陳浚豪 陳蔭羆

366 338,339 237 384 254 374 352 230,233,361,373 278 383 331,332 218 258,261,262,328 288,296 356,393 252

D

DING Yi

丁乙

266

F

Alixe FU

傅慶豊

365,367,390

G

Yun GEE

朱沅芷

251

H

HAN Wu-Lin HSIAO Chin HSIEH Hsiao-De HSU Chih-Wei HSU Tung Lung HSU Yu-jen HUANG Gang HUANG Hung-Teh HUANG Yu-cheng HUNG Jui-lin HUNG Seanpei HUNG Yi Poren HUANG Jaime HAYON

韓舞麟 蕭勤 謝孝德 許智瑋 許東榮 許雨仁 黃鋼 黃宏德 黃玉成 洪瑞麟 洪紹裴 洪易 黃柏仁 亞米 海因

353,388 293,321,322 387 358 340 299 335,394 370 355 314,344 346 272,273,274 395,396,397 399

I

Kiriko IIDA

飯田桐子

210

J

JAN Chin-shui JU Ming

詹金水 朱銘

345,348 270,271,341,402, 403

K

J. C. KUO Yayoi KUSAMA

郭振昌 草間彌生

KENG Hao-Kang KAWS (Brian Donnelly)

耿晧剛 布萊恩．唐納利

375,376 211,212,213,214, 215,220,221,222 385 224,225

Daniel LEE LEE Liang LEE Ming-tse LEE Yih-Hong LENG Bingchuan LI Chen LI Hui LI Jisen LI Kuang-yu LIANG Yi-fen LIEN Chien-hsing LIN Fengmian LIN Wen-chiang LIN Yao-sheng LIU Chi-hsiang LIU Keng-I LIU Kuo-sung

李小鏡 李梁 李明則 李義弘 冷冰川 李真 李暉 李繼森 李光裕 梁奕焚 連建興 林風眠 林文強 林耀生 劉啟祥 劉耿一 劉國松

LIU Shih-tung Max LIU Reed LEE

劉時棟 劉其偉 李德

L

359,392 357 372 297,318 342 268 269 349 391 369 276,291 259 371,386 382,389 315 290 317,324,325,326, 327 377,378 286,294,347,360 330

M

MA Pai-sui Takashi MURAKAMI

馬白水 村上隆

280,363 201,202,227

N

Yoshitomo NARA

奈良美智

203,204,205,206, 207,208,216,223, 226

P

PANG Jiun

龎均

Hung-Chih PENG

彭泓智

277,303,304,305, 306.310,333 350

R

RAN In-ting REN Zhe

藍蔭鼎 任哲

240,298,309 401

S

SA Dji SANYU SHEN Che-tsai SHIY De-jinn

沙耆 常玉 沈哲哉 席德進

Taisei SATO Kazuo SHIRAGA Hiroshi SUGITO

佐藤泰生 白髮一雄 杉戸洋

316 238,239 283,284,292,302 241,242,243,244, 245,246,247,248, 343 209 219 208

T’ANG Haywen

曾海文

TONG Yang-tze Walasse TING

董陽孜 丁雄泉

W

WANG Pan-youn WANG Tiande WANG Tzu-Ting WANG Wei Ho WU Hao WU Hsuehjang John WAY

王攀元 王天德 王姿婷 王為河 吳昊 吳學讓 魏樂唐

295 289 362 351 300 364,368 253

X

XIONG Yu XU Na XUE Song

熊宇 許那 薛松

337 381 354

Y

YANG Chihung Tzu-chi YEH

楊識宏 葉子奇

YANG Mao-lin YANG San-lang YAO Jui-chung YU Cheng-yao YU Peng YUAN Yuan

楊茂林 楊三郎 姚瑞中 余承堯 于彭 袁遠

307 255,256,311,319, 320 308, 400 312,313 285 323 275,287 334

ZAO Wou-ki

趙無極

ZHAN Wang ZHANG Guangbin ZHOU Chunya

展望 張光賓 周春芽

T

Z

229,234,235,236, 279 281 228,231,232,249, 250,264,265,301

257,263,329,379, 380 267 282 260,336,398,399

201 Takashi MURAKAMI (Japanese, b. 1962)

Me and Double-DOB 2009 offset lithograph, edition no. 230/300 72 x 72 cm Signed lower right M and numbered 230/300

NT$ 40,000-80,000 HK$ 10,000-19,000 US$ 1,200-2,500

14

村上隆 兩個DOB君與我 2009 限量版畫 230/300 72 x 72 cm 簽名右下：M 230/300

202 Takashi MURAKAMI

村上隆

(Japanese, b. 1962)

獅子牡丹骷髏泉；福臨之獅（兩件一組）

Of Chinese Lions, Peonies, Skulls and Fountains;As The Interdimensional Waves Run Through Me, I Can Distinguish Between The Voices Of Angel And Devil! (a set of 2)

2012 限量版畫 216/300；215/300 70 x 140 cm (x2) 簽名版次右下：M 216/300 簽名版次右下：M 215/300

2012 Limited Print, edition no. 216/300; 215/300 70 x 140 cm (x2) Signed lower right M in English and numbered 216/300 Signed lower right M in English and numbered 215/300

NT$ 90,000-180,000 HK$ 21,000-43,000 US$ 2,800-5,500

203 Yoshitomo NARA (Japanese, b. 1959)

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

NT$ 90,000-180,000 HK$ 21,000-43,000 US$ 2,800-5,500

16

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

204 Yoshitomo NARA (Japanese, b. 1959)

No Nukes! Love and Peace (In the floating World) 1999 Print edition no. 34/50 25.5 x 34.5 cm Signed lower right Na in Japanese, numbered 34/50 on lower left and dated 99 ILLUSTRATED: Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 309

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,400-6,700

奈良美智 沒有核彈 愛與和平 在浮動世界 1999 版畫 34/50 25.5 x 34.5 cm 簽名右下：な 99 版數左下：34/50 圖錄︰ 《奈良美智作品全集第一冊》，編年出版社，舊金山， 2011，彩色圖版，頁309

205 Yoshitomo NARA (Japanese, b. 1959)

Pain 2002 Aquatint edition no. 9/37 48 x 38 cm Signed lower right Na in Japanese and dated 2002-04’, numbered 9/37 on lower left ILLUSTRATED: Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 313

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,400-6,700 18

奈良美智 疼痛 2002 銅版畫 9/37 48 x 38 cm 簽名右下：な 2002-04' 版次左下：9/37 圖錄︰ 《奈良美智作品全集第一冊》，編年出版社， 舊金山，2011，彩色圖版，頁313

206 Yoshitomo NARA (Japanese, b. 1959)

Acid Rain 1996 Color pencil, watercolor on paper 21 x 29.7 cm Signed lower right Nara in the character of Na in Japanese and dated '96

NT$ 260,000-360,000 HK$ 62,000-86,000 US$ 8,000-11,000

奈良美智 酸性雨 1996 色鉛筆 水彩 紙本 21 x 29.7 cm 簽名右下：な '96

207 Yoshitomo NARA (Japanese, b. 1959)

What's Going On? (In the Floating World) 1999 Print edition no. 38/50 40 x 28.5 cm Signed lower left Na in the character of Na in Japanese, numbered 38/50 and dated 1999 ILLUSTRATED: Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 308

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,400-6,700 20

奈良美智 What's Going On? (In the Floating World) 1999 版畫 38/50 40 x 28.5 cm 簽名左下：38/50 な 99

圖錄︰ 《奈良美智作品全集第一冊》，編年出版社，舊金山， 2011，彩色圖版，頁308

208 Yoshitomo NARA + Hiroshi SUGITO (Japanese, b. 1959) (Japanese, b. 1970)

Untitled 2004 Hand-colored Etching, edition no. 34/66 25.5 x 21 cm Signed lower right Na in Japanese, dated 2004 EXHIBITED: Yoshitomo Nara & Hiroshi Sugito: Over the Rainbow, Germany, Munich, Pinakothek der Moderne, 11 November, 2004 - 13 February, 2005; Germany, Düsseldorf, K21 Kunstsammlung Nordrhein-Westfalen, 12 March - 29 May, 2005 ILLUSTRATED: Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 317

NT$ 180,000-280,000 HK$ 43,000-67,000 US$ 5,500-8,600

奈良美智＋杉戸洋 無題 2004 手繪版畫 色鉛筆 34/66 25.5 x 21 cm 簽名下方：2004 な 展覽： 「奈良美智 & 杉戶洋：彩虹之上」，現代藝術陳列館， 德國 慕尼黑、德國 杜塞爾多夫，展期自2004年11月11日 至2005年2月13日，展期自2005年3月12日至5月29日 圖錄︰ 《奈良美智作品全集第一冊》，編年出版社，舊金山， 2011，彩色圖版，頁317

209 Taisei SATO

佐藤泰生

(Japanese, b. 1945)

白鷺

Egret

水彩 蠟筆 紙本 27 x 21 cm 簽名右下：Taisei S

Watercolor and crayon on paper 27 x 21 cm Signed lower right Taisei S in English EXHIBITED : Taisei Sato’s Original Paintings, Nichido Gallery, Tokyo, Mar. 13-26, Nagoya, Apr. 2-12, Fukuoka, Apr. 17-26, Umeda Gallery, Osaka, May. 7-16, 2008, Japan ILLUSTRATED : Taisei Sato’s Original Paintings, Galerie Nichido Gallery, Tokyo, black and white illustrated, no. 112

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,400-6,700

22

展覽： 「佐藤康夫原展」，日動畫廊東京，展期自2012年3月 13日至26日，名古屋，展期自4月2日至12日，福岡， 展期自4月17日至26日，梅田畫廊大阪，展期自5月7日 至16日，2008 圖錄： 《佐藤泰生原画展》，日動画廊，東京，黑白圖版， 編號 112

210 IIDA Kiriko

(Japanese, b. 1970)

Waterbuck 2009 Oil on canvas 53 x 65 cm Signed on the reverse frame Kiriko Iida and dated 2009

NT$ 140,000-240,000 HK$ 33,000-57,000 US$ 4,300-7,400

飯田桐子 羚羊 2009 油彩 畫布 53 x 65 cm 簽名畫背框條：Kiriko Iida 2009

211 Yayoi KUSAMA (Japanese, b. 1929)

Alice's Adventures in WonderlandLouis Vuitton Deluxe Box Set (A set of 3) 2012 Illustrated book, screen print, and Lambda C-type Print, edition no. 46/111 78 x 55cm (box) 22.5 x 19 cm (book) 36.6 x 29.4 cm (print) 44.1 x 29.4 cm (photo) Signed lower Yayoi Kusama, dated 2012 and numbered 46/111 (print) numbered 46/111 and signed lower Yayoi Kusama (photo) signed on the title page of book Yayoi Kusama (book)

NT$ 190,000-280,000 HK$ 45,000-67,000 US$ 5,800-8,600

24

草間彌生 愛麗絲夢遊仙境—路易威登版畫集（一組三件） 2012 版畫書 46/111（內含一件版畫，一件照片，一本書） 78 x 55 cm（外盒） 22.5 x 19 cm（書本） 36.6 x 29.4 cm（版畫） 44.1 x 29.4 cm（照片） 簽名下方：Yayoi Kusama 2012、46/111 (版畫) 簽名下方：46/111、Yayoi Kusama (照片) 簽名內頁：Yayoi Kusama (書本)

(B)

212 Yayoi KUSAMA (Japanese, b. 1929)

Night Flowers, Night Flowers (B) (a set of 2) 2003 Print, edition no. 6/120 28 x 66.2 cm 28 x 65.9 cm (B) Both signed lower right Yayomi Kusama in English and titled lower left Night Flowers, Night Flowers (B) in Kanji and English dated 2003 This painting is to be sold with a certificate of authenticity issued by Der-Horng Art Gallery, Tainan

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,800

草間彌生 夜の花、夜の花 (B)（兩件一組）

2003 版畫 6/120 28 x 66.2 cm （上） 28 x 65.9 cm (B)（下） 簽名右下：Yayoi kusama 題識左下：6/120 夜の花 2003（上） ; 6/120 夜の花 (B) 2003（下） 附德鴻畫廊開立之原作保證書

213 Yayoi KUSAMA (Japanese, b. 1929)

Red Pumpkin 1992 Print, edition no. 85/120 72.3 x 60.5 cm Signed lower right Yayoi kusama in English and titled Red Pumpkin in Japanese, dated 1992 and numbered 85/120 This painting is to be sold with a certificate of authenticity issued

by Der-Horng Art Gallery, Tainan

NT$ 300,000-400,000 HK$ 71,000-95,000 US$ 9,200-12,300

26

草間彌生 紅色的南瓜 1992 版畫 85/120 72.3 x 60.5 cm 簽名下方：85/120 1992 赤かぼちや Yayoi Kusama 附德鴻畫廊開立之原作保證書

214 Yayoi KUSAMA (Japanese, b. 1929)

Mushrooms 1979 Marker pen on paperboard 24.2 x 27.3 cm Signed upper left Yayoi kusama in English and dated 1979 Signed on the reverse Yayoi Kusama in English and titled Mushrooms in Kanji, dated 1979 With one seal of the artist This painting is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 360,000-550,000 HK$ 86,000-131,000 US$ 11,000-16,900

草間彌生 茸 1979 水性馬克筆 紙板 24.2 x 27.3 cm 簽名左上：YAYOI KUSAMA 1979 鈐印左上：彌生 簽名畫背：Yayoi Kusama 1979 茸 附草間彌生工作室開立之原作登錄卡

215 Yayoi KUSAMA (Japanese, b. 1929)

Corn 1980 Marker pen on paperboard 23.5 x 26 cm Signed lower right Yayoi Kusama and dated 1980 Signed on the reverse Yayoi Kusama in English and titled Corn in Japanese and dated 1980 With one seal of the artist This painting is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 360,000-550,000 HK$ 86,000-131,000 US$ 11,000-16,900 28

草間彌生 玉米 1980 水性馬克筆 紙板 23.5 x 26 cm 簽名右下：Yayoi Kusama 1980 簽名畫背：Yayoi Kusama 1980 もろにし 鈐印右下：彌生 附草間彌生工作室開立之原作登錄卡

216 Yoshitomo NARA (Japanese, b. 1959)

Untitled 1998 Color pencil on paper 21 x 29.7 cm Signed lower left yoshitomo nara in English and dated 1998 ILLUSTRATED : Yoshitomo Nara: The Complete Works Volume 2 Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 132, no. D-1998-198

NT$ 700,000-900,000 HK$ 166,000-214,000 US$ 21,400-27,600

奈良美智 無題 1998 色鉛筆 紙本 21 x 29.7 cm 簽名左下：yoshitomo nara 1998 圖錄： 《奈良美智作品全集第二冊》，編年出版社，舊金山， 2011，彩色圖版，頁132 no. D-1998-198

217 Yoshitaka AMANO (Japanese, b. 1952)

Candy Girls S-9 2008 Automotive paint on aluminum panel 50 x 50 x 10 cm Signed on the right edge Y. Amano

NT$ 440,000-650,000 HK$ 105,000-154,000 US$ 13,500-19,900

30

天野喜孝 糖果女孩 S-9

2008 汽車漆 鋁板 50 x 50 x 10 cm 簽名右側：Y. Amano

218 CHOI Young Wook (Korean, b. 1964)

Karma 2011-2012 Mixed media on canvas 119.5 x 110 cm Signed lower right Choi Young Wook and titled Karma in English, dated 2012 Signed on the reverse Choi Young Wook in English and Korean, titled Karma in English and dated 2011-8-1 EXHIBITED: Choi Young Wook Solo Exhibition, Art Issue Projects, Taipei, December 22, 2012 - February 3, 2013

NT$ 850,000-1,100,000 HK$ 202,000-261,000 US$ 26,000-33,700

崔永旭 因果 2011-2012 綜合媒材 畫布 119.5 x 110 cm 簽名右下：Karma Choi Young Wook 2012 簽名畫背：Karma Choi Young Wook 최영욱 2011-8-1 展覽： 「緣 Karma—崔永旭個展」，藝術計劃，台北，展期 自2012年12月22日至2013年2月3日

219 Kazuo SHIRAGA (Japanese, 1924-2008)

Untitled Oil on canvas 15 x 10 cm Signed lower right Shiraga in Han Characters Signed on the reverse Shiraga Kazuo in Japanese This painting is to be sold with a certificate of authenticity issued by Japan Art Dealers Association, and the Kazuo SHIRAGA Authentitation Committee Japan.

NT$ 900,000-1,300,000 HK$ 214,000-309,000 US$ 27,600-39,800

白髮一雄 無題 油彩 畫布 15 x 10 cm 簽名右下：白髮 簽名畫背：白髮一雄 附日本洋畫商協同組合與白髮一雄鑑定登錄委員會開 立之原作保證書

32

220 Yayoi KUSAMA (Japanese, b. 1929)

Summer Festival 1987 Acrylic on canvas 38 x 45.5 cm Signed on the reverse Yayoi Kusama in English and titled Summer Festival in Japanese, dated 1987 This painting is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 5,000,000-7,000,000 HK$ 1,188,000-1,663,000 US$ 153,200-214,500

草間彌生 夏日祭典 1987 壓克力 畫布 38 x 45.5 cm 簽名畫背：Yayoi Kusama 夏の祭り 1987 附草間彌生工作室開立之原作登錄卡

草間彌生以自我消融為主要概念，進行著無限延展的創作，其創作 更散佈於世界各地，使得草間彌生無限的圓點及網紋在各地蔓延。 這些自我消融的創作源自於草間彌生自幼年時期即開始的幻覺：正 因恐懼在幻覺裡擴散蔓延的圓點，所以進行著與幻覺同樣無盡的藝 術創作，試圖從中得到解脫。當草間彌生自我消融的圓點佈滿物件 及空間時，物件即消融於空間中，物件的邊界、空間的邊界、世界 的邊界以及圓點的邊界似乎皆不再明確。 《夏日祭典》以同樣的圓點、網紋、各種顏色以及無焦點的構圖展 現藝術家眼中祭典的無盡美。圓點、網紋的幾何元素簡單卻飽含能 量，在無限的重複中，各自代表著藝術家一筆一畫的堅持。在草間 彌生的無限系列作品中，無窮無盡的複製性圖樣傳達著神經質似的 執念以及毅力，藝術家以畫筆下不斷繁衍的圖樣展現跨越所有邊界 的無盡的美。 Yayoi Kusama takes on self-sublimation as a primary concept and goes on to achieve an infinite continuation of creation. Kusama’s works are collected the world over and, consequently, her trade-mark unlimited polka dots and net patterns have widespread recognition. The theme of sublimation can be traced back to a hallucination Kusama began having in childhood: her fear of multiplying polka dots, as seen in her hallucination, set off a never-ending stream of artistic creations much like an ever-present hallucination. When Kusama’s sublimating polka dots fill the surfaces of objects and space, the object itself is sublimated into the space, blurring the boundary of objects, space, the world, and the polka dots themselves.

Summer Festival portrays the boundless beauty, which the artist has seen in the festivals by using identical polka dots, net patterns, numerous colors, and a composition without a single focal point. Polka dots and net patterns contain simple yet fully-charged geometry, and the continuous repetition of each stroke represents the artist’s perseverance. In Kusama’s Infinite series, the repeated duplicated graph delivers the artist’s quasineurotic persistence and willpower. The artist creates a kind of beauty that transcends all boundaries and limits via her ever-multiplying images.

34

221 Yayoi KUSAMA (Japanese, b. 1929)

Accumulation of Infinity Dots 1998 Acrylic on canvas 45.5 x 38 cm Signed on the reverse Yayoi Kusama in English; titled Accumulation of Infinity Dots in Japanese, and dated ‘1998’; This painting is to be sold with a registration card issued by Yayoi Kusama Studio, Tokyo.

NT$ 5,500,000-7,500,000 HK$ 1,306,000-1,781,000 US$ 168,500-229,800

草間彌生 無限累積的點 1998 壓克力 畫布 45.5 x 38 cm 簽名畫背：Yayoi Kusama 無限の水玉の累積, 1998 附草間彌生工作室開立之原作登錄卡

在草間彌生發展其「無限的網」系列之際，她漸漸開始注重線條 間的空間，並把這些空間化為圓形，演變成她舉世聞名的波卡圓 點；草間彌生重新審視她早年的創作系列，在意念及視覺上都更 能發揮宇宙無限的感覺。在這件拍品中，草間把視覺重點放在圓 點上，以往作為主體的網線頓時變成了負空間，她把圍繞著她的 宇宙幻化成環環相連的圓點，正如她所言：「波點擁有太陽的形 狀，是世界和生命力的象徵；它同時有著月亮的形狀，散發著安 寧靜謐的氣息。圓形、柔軟、色彩斑斕、無知無覺、不可捉摸， 波點成了一種運動，是通往無限的方式。」 《無限累積的點》為鮮見的紫色，極具沈穩氣質，雖然捨棄了視 覺焦點，但那些鮮艷奪目、大小不一的圓點，產生了絕妙的色彩 效果，這些富有朝氣的波爾卡圓點為畫面注入無窮的生命力，營 造了一個引人入勝的空間和意境，透視著畫家夢幻般的精神世 界。 As Yayoi Kusama developed and refined her Infinity Nets series, she began to emphasize and acknowledge the negative space between the lines, eventually rounding this blankness into her iconic polka-dot motif. Revisiting this early series in later years, Kusama has refined both her conceptual direction and aesthetic ideal to create works which epitomize the sense of boundless space of Infinity Nets. Bringing the round dots to the forefront, in “Accumulation of Infinity Dots”, Kusama has created an expansive cosmos of nets, where the lines have become the negative space in a reversal of her original technique. For Kusama, her dots are intrinsically connected to her visualization of the universe and all that surrounds her. With unbridled affection, Kusama describes her polka dots as “round, soft, colorful, senseless and unknowing. Polka dots become movement. Polka dots are a way to infinity.”

Awash in an overwhelming sea of brightly hued dots, Accumulation of Infinity Dots is a rare color of purple, and it eliminates a focal point, drawing the viewer into the canvas, lost amongst the myriad of spots. Variations in color and size create a topographical landscape of connected circles, giving visual shape to the intangible concept of the infinite.

36

38

222 Yayoi KUSAMA (Japanese, b. 1929)

Untitled 1999 Ceramic enamel 7.5(H) x 20.5(diameter) cm Signed on the botten YAYOI KUSAMA in English and dated 1999 This sculpture is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 1,900,000-2,800,000 HK$ 451,000-665,000 US$ 58,200-85,800

草間彌生 無題 1999 陶瓷琺瑯 7.5(高) x 20.5(直徑) cm 簽名底部：YAYOI KUSAMA 1999 附草間彌生工作室開立之原作登錄卡

223 Yoshitomo NARA (Japanese, b. 1959)

Sleepless Night Sitting 2007 Fiberglass, edition no. 267/300 15(L) x 19(W) x 28(H) cm (sculpture) 36(L) x 26(W) x 24(H) cm (box) EXHIBITED: NARA + GRAF, Centro de Arte Contemporáneo de Málaga, Spain, September 21, 2007 - January 6, 2008 (different edition exhibited) ILLUSTRATED: Yoshitomo Nara + graf, A to Z, FOIL Co.,Ltd., Tokyo, Japan, 2006, unpaginated.

Yoshitomo Nara, The Complete Works 1984 - 2010, Bijutsu Shuppan Sha, Tokyo, Japan, 2011, color illustrated, p. 314 (different edition illustrated) This sculpture is to be sold with a certificate of authenticity and a wooden box.

NT$ 650,000-850,000 HK$ 154,000-202,000 US$ 19,900-26,000

奈良美智 失眠夜坐著 2007 玻璃纖維 267/300 15(長) x 19(寬) x 28(高) cm （人物） 36(長) x 26(寬) x 24(高) cm （箱子） 展覽： 「奈良 + GRAF」，馬拉加當代藝術中心，西班牙，展期自 2007年9月21日至2008年1月6日 圖錄： 《奈良美智 + graf: A to Z》，Foil 有限會社，東京，日本， 2006，彩色圖版，無頁數 《奈良美智全作品集1984-2010》第一卷，美術出版社，東京， 日本，2011，彩色圖版，頁314（圖片為不同版次） 附原作保證書及木盒

40

224 KAWS (Brian Donnelly) (American, b. 1974)

Companion Karimoku Version 2011 Sculpture, wood, edition 18/100 12.4(L) x 6.5(W) x 27(H) cm Painted signature KAWS,, 18/100 on right feet Painted trademark カリモク OrIgInal Fake on left feet

NT$ 420,000-650,000 HK$ 100,000-154,000 US$ 12,900-19,900

布萊恩．唐納利 同伴（Karimoku 版本） 2011 木雕版數 18/100 12.4(長) x 6.5(寬) x 27(高) cm 印刷簽名右腳底：KAWS,, 18/100 註冊商標左腳底：カリモク OrIgInal Fake

42

225 KAWS (Brian Donnelly) (American, b. 1974)

Companion (Gray) 2007 Mixed media Plasitc 37(L) x 57(W) x 127(H) cm trademark © KAWS,, 07 on right feet, MEDICOM TOY 2007 MADE IN CHINA on left feet

NT$ 650,000-850,000 HK$ 154,000-202,000 US$ 19,900-26,000

布萊恩．唐納利 同伴（灰色） 2007 綜合媒材 塑膠 37(長) x 57(寬) x 127(高) cm 註冊商標 © KAWS,, 07 (右腳底) MEDICOM TOY 2007 MADE IN CHINA (左腳底)

226 Yoshitomo NARA (Japanese, b. 1959)

奈良美智 小狗收音機 x RIMOWA旅行箱

2011 Fiberglass, edition no. 27/200 (radio); aluminium (suitcase) 43(L) x 22.5(W) x 29.5(H) cm (radio) 53.5(L) x 27.5(W) x 42.5(H) cm (suitcase)

2011 玻璃纖維 27/200 鋁合金手提箱 43(長) x 22.5(寬) x 29.5(高) cm（收音機） 53.5(長) x 27.5(寬) x 42.5(高) cm（旅行箱） 收音機是日本規格

This Radio is to be sold with a certificate of authenticity signed by the artist.

附藝術家親簽保證卡、防塵套 （限量旅行箱組合保證書簽名：な）

Doggy Radio x RIMOWA

NT$ 200,000-300,000 HK$ 48,000-71,000 US$ 6,100-9,200

44

227 Takashi MURAKAMI (Japanese, b. 1962)

Petit Panda 2009 Acrylic boa, polyester, plastics, edition no. 40/150 30(L) x 42(W) x 55(H) cm This sculpture is to be sold with a certificate of authenticity issued

by Louis Vuitton and signed by the artist.

NT$ 550,000-850,000 HK$ 131,000-202,000 US$ 16,900-26,000

村上隆 小貓熊 2009 綜合媒材 版數40/150 30(長) x 42(寬) x 55(高) cm 附路易・威登與藝術家親筆簽名之原作保證書

228 Walasse TING

丁雄泉

Beauty and Flowers

水墨 紙本 21 x 30 cm 鈐印左下：採花大盜

(Chinese-American, 1929-2010) Ink on paper 21 x 30 cm With one seal of the artist This painting is to be sold with a certificate of authenticity issued

by Jeff Hsu’s Art.

NT$ 160,000-260,000 HK$ 38,000-62,000 US$ 4,900-8,000

46

美女與花

附觀想藝術開立之原作證明書

229 T'ANG Haywen (TANG Then Phuoc)

曾海文

(Chinese-French, 1927-1991)

無題

Untitled

水墨 紙本 70 x 50 cm 簽名右下：T'ang海文

Ink on paper 70 x 50 cm Signed lower right T'ang in English, Haywen in Chinese

NT$160,000-260,000 HK$ 38,000-62,000 US$ 4,900-8,000

230 CHEN Ting-shih (CHEN Ting-shi) (Taiwanese, 1916-2002)

Sea 1975 Ink and color on paper 47.5 x 60 cm Signed center right Ting-shih and titled Sea in Chinese, dated 1975 With one seal of the artist PROVENANCE: Acquired directly from the artist by the current ower

NT$ 190,000-280,000 HK$ 45,000-67,000 US$ 5,800-8,600

48

陳庭詩 海 1975 彩墨 紙本 47.5 x 60.5 cm 簽名右中：海一九七五庭詩 鈐印右中：陳 來源： 現藏者購自藝術家本人

231 Walasse TING

(Chinese-American, 1929-2010)

Horse 1989 Acrylic on paper 22 x 30 cm With one seal of the artist

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,800

丁雄泉 馬 1989 壓克力 紙本 22 x 30 cm 鈐印左下：採花大盜

232 Walasse TING

丁雄泉

(Chinese-American, 1929-2010)

最愛的女人

Favorite Woman

壓克力 紙本 47.5 x 55 cm 鈐印右上：採花大盜

Acrylic on paper 47.5 x 55 cm With one seal of the artist

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,800

50

233 CHEN Ting-shih (CHEN Ting-shi) (Taiwanese, 1916 - 2002)

Paysage 93-4 1993 Ink and color on paper 67 x 61 cm Signed lower left CHEN Ting-shih Paysage 93-4 in Chinese and Chen Ting-shih in English With one seal of the artist PROVENANCE: Acquired directly from the artist by the current ower

NT$ 240,000-340,000 HK$ 57,000-81,000 US$ 7,400-10,400

陳庭詩 風景九三之四 1993 彩墨 紙本 67 x 61 cm 簽名左下：陳庭詩風景九三之四 Chen Ting-shih 鈐印左下：陳 來源： 現藏者購自藝術家本人

234 T'ANG Haywen (TANG Then Phuoc) (Taiwanese, 1927-1991)

Rhyme Ink on paper 70 x 100 cm Signed lower right T'ANG in English and Haywen in Chinese

NT$ 280,000-380,000 HK$ 67,000-90,000 US$ 8,600-11,600

52

曾海文 墨之韻 水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文

235 T'ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927-1991)

Untitled Ink on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese

NT$ 280,000-380,000 HK$ 67,000-90,000 US$ 8,600-11,600

曾海文 無題 水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文

236 T'ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927-1991)

Untitled Ink on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese

NT$ 280,000-380,000 HK$ 67,000-90,000 US$ 8,600-11,600

54

曾海文 無題 水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文

237 CHAO Chung-hsiang (Taiwanese, 1910-1991)

Fishes 1989 Ink and color on paper 66.5 x 69 cm Signed upper right Chao Chung Hsiang and titled Fishes in Chinese and dated 89

NT$ 360,000-460,000 HK$ 86,000-109,000 US$ 11,000-14,100

趙春翔 畫魚 1989 彩墨 紙本 66.5 x 69 cm 簽名右上：趙春翔 畫魚 89年

238 SANYU (CHANG Yu) (Chinese-French, 1901-1966)

Standing Nude 1920s - 30s Charcoal and ink on paper 48 x 24 cm Signed lower left SANYU in French With one painted seal of the artist EXHIBITED : Breeze from Paris, Taipei, Eslite Gallery, 31 May - 29 Jun 2014 ILLUSTRATED: Sanyu Catalogue Raisonne Drawings And Watercolors, Rita Wong, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, included the CD, no. D 0440 Breeze from Paris, Taipei, Eslite Gallery, color illustrated

NT$ 420,000-600,000 HK$ 100,000-143,000 US$ 12,900-18,400 56

常玉 立姿裸女 1920 - 30年代 炭筆 水墨 紙本 48 x 24 cm 簽名左下：SANYU 手繪鈐印左下：玉 展覽： 「來自巴黎的微風」，台北，誠品畫廊， 展期自2014年5月31日至6月29日 圖錄： 《常玉素描與水彩全集》，衣淑凡， 財團法人立青文教基金會，台北，2014， 收錄光碟，編號 D 0440 「來自巴黎的微風」，台北，誠品畫廊， 彩色圖版

239 SANYU (CHANG Yu)

常玉

(Chinese-French, 1901-1966)

仕女背影

The Backview of the Lady

炭筆 水墨 紙本 44 x 27 cm 簽名左下：玉 SANYU

Charcoal and ink on paper 44 x 27 cm Signed lower left Yu in Chinese and SANYU in French ILLUSTRATED : Sanyu Catalogue raisonné Drawings And Watercolors, Rita Wong, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, included in the CD, no. D 2160

NT$ 550,000-750,000 HK$ 131,000-178,000 US$ 16,900-23,000

圖錄： 《常玉素描與水彩全集》，衣淑凡， 財團法人立青文教基金會，台北，2014， 收錄光碟，編號 D 2160

240 RAN In-ting

(Taiwanese, 1903-1979)

Spring Sailing 1963 Ink and color on paper 44 x 67.5 cm Signed lower right In ting and titled Spring Sailing in Chinese, Ran In-Ting in English, inscribed FORMOSA and dated 1963 With one seal of the artist

NT$ 800,000-1,000,000 HK$ 190,000-238,000 US$ 24,500-30,600

58

藍蔭鼎 一帆春風 1963 彩墨 紙本 44 x 67.5 cm 簽名右下：一帆春風 己亥春日 蔭鼎 RAN IN-TING 1963. FORMOSA 鈐印右下：蔭鼎

241 SHIY De-jinn

(Taiwanese, 1923-1981)

Landscape 1979 Ink and color on paper 73 x 70.5 cm Signed lower left SHIY De-jinn in Chinese and dated 1979 With two seals of the artist PROVENANCE : Acquired directly from the artist in the 1980s by the owner’s father

NT$ 850,000-1,000,000 HK$ 202,000-238,000 US$ 26,000-30,600

席德進 山水 1979 彩墨 紙本 73 x 70.5 cm 簽名左下：席德進1979 鈐印左下：席德進印 鈐印右上：席氏書畫 來源： 現有收藏者的父親於1980年代購自藝術家本人

242 SHIY De-jinn

(Taiwanese, 1923-1981)

Riverside Landscape 1979 Watercolor on paper 65 x 110 cm Signed lower right Shiy De-jinn in Chinese and dated 1979 PROVENANCE : Acquired directly from the artist in the 1980s by the owner’s father

NT$ 1,000,000-2,000,000 HK$ 238,000-475,000 US$ 30,600-61,300

席德進 江邊風光 1979 水彩 紙本 65 x 110 cm 簽名右下：席德進1979 來源： 現有收藏者的父親於1980年代購自藝術家本人

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243 SHIY De-jinn

(Taiwanese, 1923-1981)

Landscape 1980 Watercolor on paper 65 x 110 cm Signed lower left SHIY De-jinn in Chinese and dated 1980 PROVENANCE : Acquired directly from the artist in the 1980s by the owner’s father

NT$ 1,000,000-2,000,000 HK$ 238,000-475,000 US$ 30,600-61,300

席德進 風景 1980 水彩 紙本 65 x 110 cm 簽名左下：席德進1980 來源： 現有收藏者的父親於1980年代購自藝術家本人

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244 SHIY De-jinn

(Taiwanese, 1923-1981)

Jade Mountain 1978 Ink and color on paper 69.5 x 137.5 cm Singed upper left Shiy De-jinn in Chinese, inscribed to Mr. Won Chang and dated Autumn 1978, titled Jade Mountain all in Chinese With one seal of the artist

席德進 巍巍玉山 1978 彩墨 紙本 69.5 x 137.5 cm 簽名題識上方：巍巍玉山 六七年正春初遊信義鄉為元 昌兄而作 蜀人 席德進 筆 鈐印左上：席德進

NT$ 1,200,000-2,200,000 HK$ 285,000-523,000 US$ 36,800-67,400

席德進認為在大自然裡寫生，面對千變萬化的山林美景能帶給他一股澎湃的力量。摯友常陪同他一同賞遊作畫。他有善於發現美的眼睛，總會 停駐在最美的角度，等待最合適的雲霧出現，以追求美好的色感氣氛。多位藝術評論家認為他的藝術成就之一，在於從台灣的山林景色表現出 現代中國畫的全新風格。玉山，位於台灣中部，屬高海拔山區，群山環繞、谿谷棋布，四季分明。 迷戀台灣自然美景的席德進曾自豪地說道：「這裡的山是台灣的山，也是席德進的山，這裡的筆墨是秦漢的書法，這裡的意境是現代中國的意 境。因為我的素描根基好，所以對造型的把握，十分準確，因為我的涉獵廣，所以我的水彩融合了油畫色彩的豐潤和水墨氣韻的靈動，是一般 水彩畫家畫不出來的，也是西方畫家畫不出來的─這裡山水的稜線是我勤練毛筆所得來，你看每一轉折都有學問在，每一頓挫都有精神在，這 就是現代的中國畫，道道地地的席德進的畫。」（鄭惠美，《獻祭美神：席德進傳》，聯合文學出版社有限公司，台北，2005，頁257） Shiy De-jinn believed that the ever changing landscape always rendered him a powerful strength. His close friends often went along with him. With a pair of sharp eyes that was good at capturing beauty, he always situated himself at the most beautiful area and waited for the perfect amount of fog to appear in order to capture the wonderful color and atmosphere of the scenery. Many art critics believe one of his artistic achievements lies in expressing Taiwan’s mountains in a modern Chinese painting style. In the middle of Taiwan, Jade Mountain is located in the high-altitude region. Surrounded by the mountains and valleys, Jade Mountain has four distinct seasons.

Fascinated by Taiwan’s natural landscape, Shiy once proudly said that “The mountains here are Taiwan’s mountains as well as Shiy De-jiin’s. The strokes and ink here are calligraphy developed in Chin and Han, but it has an artistic concept of modern China. Since I have a good foundation in painting, I can grasp precise shapes. Because I am versatile, my watercolor combines the richness of oil painting and the spirit of ink wash. Other watercolorists cannot produce such a painting, and Western painters cannot create the ridgeline of my mountains and rivers, either. They are the fruit of my diligent practice in calligraphy. Each turn has its own significance. Each pause possesses its own spirit. This is modern Chinese painting, a typical creation of Shiy De-jinn.”

(Cheng Hui-mei, Aphrodite Sacrifice: Shiy De-jinn, UNITAS Publishing Co., Taipei, 2005, p. 257)

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245 SHIY De-jinn

席德進

(Taiwanese, 1923-1981)

秋景

Autumn

彩墨 紙本 69 x 137 cm 簽名右下：席德進 鈐印左上：席氏書畫 鈐印右下：席德進印

Ink and color on paper 69 x 137 cm Signed lower right Shiy De-jinn in Chinese With two seals of the artist PROVENANCE : Acquired directly from the artist in the 1980s by the owner’s father

來源： 現有收藏者的父親於1980年代購自藝術家本人

NT$ 1,600,000-2,600,000 HK$ 380,000-618,000 US$ 49,000-79,700

它融入了畫家特有的水彩畫現代特色，為一幅色感表現性豐富的佳作。遠山濕墨潤渲染，意境幽遠，山下座落著席氏最愛的古屋建築，十 足閒適自得的鄉野景致。前景則是燦爛的的秋樹林，高低有致，溪石水流，妝點出具有詩意又艷麗的現代山水圖畫。 席德進認為應效法五代和宋朝畫家，面對真實的山水來創作。他曾說：「只有自己重新去看自然，體會生活，從眼睛、心靈出發，才能拓 展一個新的中國畫風。」在生命的後半階段，他潛心於體悟自然山林，鑽研中國書法、繪畫、民間藝術與傳統建築。雖然席德進熱愛亞熱 帶台灣的自然美景，但沒忘記自己是四川蜀人，透過中國的胸懷去看待「台灣山水」，在熱情樸真之外，他的畫里亦帶有溫文儒雅的生命 領悟。 迷戀台灣自然美景的席德進曾自豪地說道：「這裡的山是台灣的山，也是席德進的山，這裡的筆墨是秦漢的書法，這裡的意境是現代中國 的意境。因為我的素描根基好，所以對造型的把握，十分準確，因為我的涉獵廣，所以我的水彩融合了油畫色彩的豐潤和水墨氣韻的靈 動，是一般水彩畫家畫不出來的，也是西方畫家畫不出來的─這裡山水的稜線是我勤練毛筆所得來，你看每一轉折都有學問在，每一頓挫 都有精神在，這就是現代的中國畫，道道地地的席德進的畫。」（鄭惠美，《獻祭美神：席德進傳》，聯合文學出版社有限公司，台北，2005，頁257） This piece combines Shiy De-jiin’s unique modern techniques with the unique characteristics of watercolor paintings creating a beautiful work, rich in expression and color. The mountains afar are washed in wet ink, revealing a deep sense of artistic conception. At the foot of the mountain stands Shiy’s favorite historic house, showing a quiet and contented rural landscape. The foreground is a stretch of an autumn forest. The orderly trees, the stones and the water are the garnish of this poetic and gorgeous modern landscape painting.

Shiy believed one should learn from the painters in the Five Dynasties and the Song Period, creating paintings by confronting real landscape. He said: “Only by seeing nature in a whole new way and experiencing life from the eyes and the heart can one create a new Chinese painting style.” In his later years, he immersed himself into nature, studying Chinese calligraphy, painting, folk art and traditional architecture. Although Shiy had a passion for the tropical, natural beauty of Taiwan, he never forgot that he came from Sichuan. He observed “Taiwan’s landscape” through Chinese eyes. Besides his passion and truthfulness, his paintings also carry a kind of refined comprehension of life.

Fascinated by Taiwan’s natural landscape, Shiy once proudly said that “The mountains here are Taiwan’s mountains as well as Shiy De-jiin’s. The strokes and ink here are calligraphy developed in Chin and Han, but it has an artistic concept of modern China. Since I have a good foundation in painting, I can grasp precise shapes. Because I am versatile, my watercolor combines the richness of oil painting and the spirit of ink wash. Other watercolorists cannot produce such a painting, and Western painters cannot create the ridgeline of my mountains and rivers, either. They are the fruit of my diligent practice in calligraphy. Each turn has its own significance. Each pause possesses its own spirit. This is modern Chinese painting, a typical creation of Shiy De-jinn.” (Cheng Hui-mei, Aphrodite Sacrifice: Shiy De-jinn, UNITAS Publishing Co., Taipei, 2005, p. 257)

66

246 SHIY De-jinn

(Taiwanese, 1923-1981)

Chinese Flowering Crabapple 1979 Ink and color on paper 138 x 70 cm Signed lower left SHIY De-jinn and dated 1979 in Chinese With two seals of the artist

NT$ 1,600,000-2,600,000 HK$ 380,000-618,000 US$ 49,000-79,700

席德進 海棠花 1979 彩墨 紙本 138 x 70 cm 簽名左下：席德進一九七九 鈐印左下：席德進印 鈐印右上：席氏書畫 題識左方：生如夏花之絢爛，四川南部縣人

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247 SHIY De-jinn

席德進

(Taiwanese, 1923-1981)

阿里山

Taiwan Ali Mountain

彩墨 紙本 69.5 x 130.5 cm 簽名右下：席德進 鈐印左上：席氏書畫 鈐印右下：席德進印

Ink and color on paper 69.5 x 130.5 cm Signed lower right Shiy De-jinn in Chinese With two seals of the artist PROVENANCE : Acquired directly from the artist in the 1980s by the owner’s father

來源： 現有收藏者的父親於1980年代購自藝術家本人

NT$ 1,700,000-2,600,000 HK$ 404,000-618,000 US$ 52,100-79,700

席德進在〈近百年來國畫的改革者〉專文中曾經提過：「對傳統國畫筆墨的尊重，把國畫重新改回眼前現實的生活裡，並注入新鮮的血 液。尋找新的題材、新的構圖、新的意境。以水彩色感融合於水墨，使國畫的色彩更具有新鮮的活力。」（見1980年11月號《藝術家雜誌》） 1970年代之後，席德進取材台灣山水，將台灣的山水帶入中國水墨畫。席德進認為中國山水畫沒有臨場感，倡導直接面對自然作畫，寫生 之必要，他曾經說道：「我從不閉門作畫，所畫的必是眼前的山水。」他自期創作能顯現現代感的圖畫，而要超越國界的現代感，則必須 從現實生活取得。他的台灣山水畫與人文圖繪，傳達出對土地的濃厚情感。 In “The Reformers of Traditional Chinese Painting over the Last 100 Years,” Shiy De-jinn writes, “To respect Chinese painting is to bring it back into the reality of life in front of us, giving it new lifeblood. Searching for a new subject, a new composition, and a new concept, we blend watercolor into ink wash painting, bringing new vitality to the color of Chinese painting.” (Artist Magazine, November, 1980) In the 1970s, Shiy De-jinn began taking Taiwanese landscapes as subject-matter for his paintings, applying traditional Chinese ink-brush painting techniques to the depiction of these landscapes. Shiy felt that conventional Chinese landscape painting lacked a sense of presence; he advocated a direct contact with nature, and the need to paint from life. Shiy once commented that “I have never shut myself away in a room to paint; what I paint is the landscapes that I see before me.” Shiy sought to create landscape paintings that would have a modern feel to them, a sense of modernity that would transcend national boundaries, and he felt that this could only be achieved by painting directly from life. Both Shiy’s Taiwanese landscapes and his paintings of human scenes reflect a strong attachment to Taiwan.

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248 SHIY De-jinn

(Taiwanese, 1923-1981)

席德進 火炎山景

Ink and color on paper 69 x 137.5 cm Signed lower left SHIY De-jinn in Chinese With two seals of the artist

彩墨 紙本 69 x 137.5 cm 簽名左下：席德進 鈐印左下：席德進印 鈐印右上：席氏書畫

PROVENANCE : Acquired directly from the artist in the 1980s by the owner’s father

來源： 現有收藏者的父親於1980年代購自藝術家本人

Landscape of Mountain Houyan

NT$ 1,900,000-2,800,000 HK$ 451,000-665,000 US$ 58,200-85,800

席德進在生命最後階段側重於水墨畫的探索，個人風格強烈。年少時他歷經過傳統工藝、西洋素描、油畫、粉彩、水彩等技藝磨練，在畫壇佔 有一席之地，隨著年歲的增長，感悟到須以生命體驗為終極關懷。一生致力於繪畫創新的席德進，在後期的創作益發成熟、多元，席德進式的 山水畫，在華人藝壇上獨樹一幟。 鄭惠美女士在席德進的傳記中寫道：「現代國畫的探索開啟了他『台灣山水，中國意境』水彩獨特風格的建立。水彩與水墨已成為一體的兩 面，水墨的探索成就了水彩的風格。水彩的成就隱含著水墨的光芒。」 1970年代之後，席德進取材台灣山水，將台灣的山水帶入中國水墨畫。席德進認為中國山水畫沒有臨場感，倡導直接面對自然作畫，寫生之必 要，他曾經說道：「我從不閉門作畫，所畫的必是眼前的山水。」他自期創作能顯現現代感的圖畫，而要超越國界的現代感，則必須從現實生 活取得。他的台灣山水畫與人文圖繪，傳達出對土地的濃厚情感。 火炎山位於台灣苗栗，因山形地貌特殊，酷似火焰而得名，屬於世界奇景之一。作品《火炎山景》取景自山谷眺望火炎山。在席德進的筆下， 陡峭的岩壁像一大片奇異的銀色世界，山下秋樹暖暖綻放橙黃顏色，溪流的小舟靜靜泊在中央，整幅畫面宛如雪景浮世繪一般綺麗宏偉。新的 題材、新的構圖、新的意境，畫家細膩的觀察與遒勁筆力，為中國水墨畫注入新活力。 At the last stage of his life, Shiy focused on exploring ink wash with his strong personal style. He had received training in traditional craft, Western sketches, oil painting, pastel, and watercolor when he was young, creating a place for himself in the art scene. As he got older, he began to realize that his ultimate concern should be his own life experience. Having spent his whole life striving for innovation in painting, in his later years Shiy found that his work had reached a new level of maturity, while at the same time maintaining a high degree of diversification. The landscapes that Shiy De-jinn painted during this period are unrivaled by any other Chinese artist.

In the biography of Shiy, Cheng Hui-mei writes, “The exploration of modern Chinese painting allowed him to establish ‘Taiwan landscapes, Chinese concepts’–his unique style in watercolor. Watercolor and ink wash became two sides of the same coin. His exploration of ink wash accomplished his unique style of watercolor, while his achievement in watercolor also revealed the spark of ink wash.”

In the 1970s, Shiy De-jinn began taking Taiwanese landscapes as subject-matter for his paintings, applying traditional Chinese ink-brush painting techniques to the depiction of these landscapes. Shiy felt that conventional Chinese landscape painting lacked a sense of presence; he advocated a direct contact with nature, and the need to paint from life. Shiy once commented that “I have never shut myself away in a room to paint; what I paint is the landscapes that I see before me.” Shiy sought to create landscape paintings that would have a modern feel to them, a sense of modernity that would transcend national boundaries, and he felt that this could only be achieved by painting directly from life. Both Shiy’s Taiwanese landscapes and his paintings of human scenes reflect a strong attachment to Taiwan.

Mountain Houyan is located in Miaoli County, Taiwan. The hills take their name “Landscape of Mountain Houyan” from their distinctive appearance, resembling tongues of flame rising up into the air. Shiy’s painting of the hills was painted from a valley-bottom, looking up at the peaks. As depicted by Shiy, the steep, rocky hillsides resemble a mysterious world of gold, while the trees with their autumnal foliage at the foot of the hills give off a warm, orangeyellow glow, and a small boat silently floats along on the stream in the center of the canvas. The painting as a whole has the same magnificent beauty as a Japanese ukiyoe snow painting. The adoption of new subject matter, new forms of composition, and a new artistic conception, combined with Shiy’s keen observation and powerful brushstrokes, helped to instill new vitality into the Chinese ink-brush painting tradition.

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249 Walasse TING

(Chinese-American, 1929-2010)

Ladies with Flowers and Fans 1985 Acrylic on paper mounted onto canvas 178 x 97 cm With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Moon River Fine Art, Taipei.

NT$ 2,400,000-3,400,000 HK$ 570,000-808,000 US$ 73,500-104,200

丁雄泉 拿花和扇子的女郎 1985 壓克力 紙本裱於畫布 178 x 97 cm 鈐印右上：採花大盜 附雲河藝術開立之原作保證書

74

76

250 Walasse TING

(Chinese-American, 1929-2010)

Hot Summer 1985 Acrylic on canvas 56 x 81.5 cm Signed on the reverse ting and titled Hot Sommer ting in English and dated 1985 PROVENANCE: Galerie Birch, Copenhagen

NT$ 2,600,000-3,600,000 HK$ 618,000-855,000 US$ 79,700-110,300

丁雄泉 熱情的夏天 1985 壓克力 畫布 56 x 81.5 cm 簽名畫背：Hot Summer ting 1985 來源： Birch畫廊，哥本哈根

251 Yun GEE

(Chinese-American, 1906-1963)

Jeune Fille Américaine (Portrait of a Young American Woman) 1928 Oil on paper 29 x 20 cm Signed lower right Yun and Yun Gee in Chinese and English Signed upper left Yun Gee in Chinese and English Provenance : Private Collection, France

朱沅芷 美國少女肖像 1928 油彩 紙本 29 x 20 cm 簽名右下：沅Yun；YUN GEE芷沅 簽名左上：民國十七年五月三日，贈與我的朋友啵咯， 紀念在曾近陳列的我和望大傢未來底順遂Yun Gee芷沅 來源： 法國 私人收藏

NT$ 1,400,000-2,400,000 HK$ 333,000-570,000 US$ 42,900-73,500

身為早期在歐美發展的華人藝術家，朱沅芷曾於1920及1930年代活躍於美國紐約與法國巴黎這兩座最重要的藝術中心，特別在美 國現代主義藝術的發展史上，有其一定的地位及影響力。雖然1950年代以後，受到身為在美華人的艱難處境以及大環經濟衰退的 雙重夾擊，朱沅芷在藝壇的發展受阻直至落寞以終，卻無法掩蓋其藝術成就的耀眼光芒。 1926年，二十歲的朱沅芷於舊金山推出第一次個展即受到高度的讚賞，也就在這場個展中，他結識了拿破侖的外甥穆哈特王子夫 婦，並在他們的引介之下於1927年來到巴黎，很快地融入了當地藝術圈，並提出了「鑽石主義」理論，主張將眼前所見的景物分 割為無數塊面，如同鑽石的多個切面，顯然深受立體主義影響，他更試圖透過分割與重組的過程，提煉描繪對象的內在訊息，即 生命與精神的根本，這成為他一生創作的重要軸線。同年底，巴黎的卡明畫廊（Galerie Carmine）為他舉辦了成功的個展，直至 1930年回到美國之前，朱沅芷在巴黎展出不斷，意氣風發。創作於1928年的《美國少女肖像》即為此時期的傑出作品，藝術家將 少女的側面像分割為許多切面，施以大膽對比的鮮豔色彩，黃、綠、藍與桃紅彼此爭輝，卻又巧妙地組成一幅迷人的少女肖像， 桃紅的唇色嬌豔欲滴，臉部明亮多彩，而額上藍色的髮絲則襯托得少女的眉眼更為明豔，令人嘆服於藝術家在形體及色彩的精準 掌握。朱沅芷1928年2月與德裔詩人洛絲結婚，此幅創作於五月的作品有極可能為新婚夫人速寫，實屬珍貴。 A Chinese artist who developed his career early in Europe and the U.S., Yun Gee was active in New York and Paris—two of the most important centers of art—in the 1920s and 1930s. He was particularly prominent and influential in the development of American modernist art. After the 1950s, Yun Gee was hit by the dual challenges of the harsh conditions faced by the Chinese in America and by the economic recession. As a result, his career development in the art scene was disrupted and finally came to an end. However, this did not stop his artistic achievements from shining through.

In 1926, Yun Gee, who was then 20 years old, held his first solo exhibition in San Francisco, and it was very well received. At the exhibition, he became acquainted with Prince Achille Murat (nephew of Napoleon) and his wife Princess Achille Murat. Based on their referral, Yun Gee moved to Paris in 1927 and quickly assimilated into the local art circle, where he proposed the theory of diamondism. The theory, clearly and deeply influenced by cubism, advocated dividing what we see into countless surfaces, just like the many facets of a diamond.

Yun Gee also tried to extract the internal message (the root of life and spirit) of sketched subjects through the process of separation and reassembling. This became an important axis of his works in his lifetime.

At the end of the same year, the Galerie Carmine art gallery of Paris held a successful solo exhibition for him. Yun Gee successfully held a constant stream of exhibitions in Paris, all the way until his return to the U.S. in 1930. Composed in 1928, Jeune Fille Amricaine was an outstanding piece of work from that era. In the work, Yun Gee divided the girl's profile into many surfaces. He boldly used contrasting bright colors—yellow, green, blue and pink, which compete with each other for attention, cleverly creating an attractive portrait of a girl. The girl’s pink lips are gorgeous and her face is filled with bright colors. The blue strands of hair on her forehead make her facial features stand out even more vividly - leaving the audience in awe of the artist's mastery and precision of shapes and colors. Yun Gee married the German Poet paule de Reuss in the February of 1928. This painting could be a portrait of Reuss.

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252 George CHANN

陳蔭羆

(Chinese-American, 1913 - 1995)

甲骨文變奏

Oracle Script Transformation

油彩 畫布 拼貼 100 x 62.5 cm 簽名中下：GEO CHANN

Oil on canvas, collage 100 x 62.5 cm Signed lower center GEO CHANN

NT$ 2,800,000-3,800,000 HK$ 665,000-903,000 US$ 85,800-116,400

陳蔭羆的繪畫生涯大致上可以分為幾個創作年代，從最早40年代起的寫實人物，或是充滿印象派風情的畫作；50年代的水墨創作後，開始可以 瞧見當時全盛的美國抽象表現主義對其創作的影響，在漢字的形象當中發展出富饒筆觸的抽象圖像；正從60年代開始，藝術家進入充沛的創作 時期，而此時藝術家將自身中國文化裡的漢字，加以解構、重組於畫布上再行創作或是以書法表徵，佐以抽象技法，發展了氣韻獨特的抽象表 現主義繪畫。 此幅《甲骨文變奏》是陳氏充分吸收中、西藝術精髓，並跨越兩種文化藩籬，尤其是深受美國抽象表現影響的成熟作品。畫面中解構漢字符號 的形式已銷聲匿跡，銷融的文字符號醞釀成抽象繪畫的佈局，雖未見中國文化背景明顯流入於畫面其中，多的是陳氏醉心研究抽象藝術的枝微 末節，依稀流露出草書般渾厚卻瀟灑的力道，藉由行動繪畫，無拘無束地潑灑、滴流顏料，匯成一幀如錦織般富含肌理的抽象圖畫，在在顯示 了此作為陳氏淬鍊自中、西文明而來的代表佳作。陳蔭羆的藝術語言始終帶有自中國文化的底蘊，憑藉著這股深層的精神，在汲取西方藝術成 就後，豢養出陳氏令人著迷的抽象表現風格，足以奠定他在華人藝術圈以及世界抽象繪畫流派裡，不被遺忘的地位。 George Chann's art career can be divided into several stages. In the earliest stage of his art career, Chann devoted himself to creating realistic figure paintings, portraits, or paintings in the style of impressionism. After he started creating water-and-ink paintings in the 1950s, the influence of Abstract Expressionism, which culminated in the 1950s in the USA, began to play a major role in his later creations. Deriving inspiration from Chinese characters, the artist created abstract drawings full of interesting strokes. By the 1960s, Chann reached a high point in his artistic career. By deconstructing and reassembling Chinese characters – a fundamental component of Chinese culture – the artist reinterpreted Chinese calligraphy through abstract painting techniques and steadily developed his own unique style of abstract expressionist painting.

This particular piece “Oracle Script Transformation” is during which time Chann fully absorbed the essence of Chinese art and Western art and even transcended the cultural boundaries of these two cultures. Moreover, this is a fully-developed creation of the artist’s maturity under the deep influence of the Abstract Expressionism movement in the United States. While there is no conspicuous trace of de-constructed Chinese characters in this painting, faded symbols of Chinese characters are enigmatically intertwined into the composition. The canvas is brimming with copious fine details derived from Chann’s careful and zealous research of abstract techniques, and while elements of Chinese culture seem absent at first glance, the piece remains characterized by its vigorous and bright colors. The bold composition makes this painting substantial and enduring yet as unrestrained as the free-flowing cursive script of Chinese calligraphy. Using techniques of action painting such as free dripping and splashing to achieve highly saturated and audacious hues, Chann created a flamboyant painting reminiscent of an elaborate tapestry. This lot is a fine example of the artist’s ability to transcend the intrinsic notions of what define Chinese culture and Western civilization. Chann’s artistic language has always been rich in his own cultivation of Chinese culture. With this profound cultivation, Chann developed his own captivating abstract expressive art style after learning the tenets of Western art, cementing his distinguished status in the Chinese art circle and in the field of abstract painting worldwide.

80

253 John WAY

(Chinese-American, 1921-2012)

Abstract (diptych) 2001 Mixed media on canvas 162 x 224 cm Signed lower right John Way in English and dated 2001 EXHIBITED: John Way Retrospective-80 Years, Shanghai Art Museum, Shanghai, 2001 ILLUSTRATED: John Way Retrospective-80 Years, Shanghai Art Museum, Shanghai, 2001, color illustrated, pp. 282-283

魏樂唐 抽象（雙聯幅） 2001 綜合媒材 畫布 162 x 224 cm 簽名右下：John Way 2001 展覽： 「魏樂唐八十回顧展」，上海美術館，上海，2001 圖錄： 《魏樂唐八十回顧展》，上海美術館，上海，2001， 彩色圖版，頁282-283

NT$ 2,800,000-3,800,000 HK$ 665,000-903,000 US$ 85,800-116,400

魏樂唐1921年出生於上海，自幼鑽研書法，特別是在周秦彝銘、魏漢碑誌方面卓然有成，深受于右任勉勵讚賞。1937年，十六 歲的魏樂唐於上海大新畫廊舉辦書法個展，于右任、張大千、趙叔孺、劉海粟、何香凝、吳湖帆、王一亭等著名書畫家都為他 題辭，多所肯定。往後從上海到香港，再到美國，魏樂唐與張大千等名家持了數十年相知相惜的友誼。 1949年魏樂唐來到香港，持續書法創作之餘，也開始積極研究西方藝術。1956年，魏樂唐與妻子移居美國波士頓，油畫逐漸成 為其創作重心，從而走出融合了金石書法與抽象表現主義的獨特語彙，自1960年於納思畫廊舉辦在美的第一場個展之後，持續 活躍，1965年參展波士頓現代美術館展覽「不用畫筆的畫作」一同展出的藝術家包括了波洛克、德庫寧及克利等人。 魏樂唐於1973年遷居加州，其藝術創作也更趨成熟，晚期作品更顯金石書法之精神。2001年所作之大尺幅傑作《抽象》雙聯幅 裡，年屆八十的藝術家融合了西方的抽象與拼貼表現手法以及中國的漢磚、魏碑筆意，畫筆法深具速度與重量感，筆意雄健而 重彩斑爛，構圖上則在重複的秩序中存在著有機的變化，並藉由筆刷與拼貼技法營造的豐富肌里，陰陽互現、餘韻不絕，既有 文人傲骨之氣，亦現博大深遠之襟抱。 John Way was born in Shanghai in 1921. He studied calligraphy since childhood, and excelled at inscriptions of the Chou and Qin dynasties as well as tablet inscriptions of the Wei and Han dynasties. Way’s works received encouragement and praise from Yu Youren.

In 1937, the sixteen-year-old Way held a calligraphy exhibition at the Shanghai Da Xin Gallery. Famous calligraphists Yu Youren, Chang Dai-chien, Zhao Shuru, Liu Haisu, He Xiangning, Wu Hufan, and Wang Yiting all wrote inscriptions for him, giving him much recognition. Way later moved from Shanghai to Hong Kong, then to the United States, while maintaining decades of compassionate friendship with Chang Dai-Chien and other famous calligraphists.

John Way came to Hong Kong in 1949. Apart from continuing calligraphy writing, he also started to actively study western art. In 1956, Way and his wife moved to Boston. Oil painting gradually became his creative focus. From there, Way came up with the unique language formed by fusing stone calligraphy with abstract expressionism. After Way’s first exhibition in the US at The Nexus Gallery in 1960, he continued to be active in the scene. In 1965, he participated in the Boston Institute of Contemporary Art exhibition “Painter without a Brush, Contemporary Art Boston” together with other artists including Pollock, de Kooning and Klee.

John Way moved to California in 1973. His art works also matured, with his later works further exemplifying the spirit of stone calligraphy. In his major 2001 work “Abstract (diptych)”, the eighty-year-old artist fused western abstraction and the collage expression method with the calligraphic perception of Chinese Han bricks and Wei tablets, bringing a deep sense of speed and weight to the brush strokes, making his calligraphy robust and brightening his color paintings. Organic changes can be seen within the repetitive order of his structures. Way used the brush and the collage method to construct rich textures, exchanges between yin and yang, and a lingering charm.

Way has the pride of a cultured person and also shows a profound and far-reaching ambition.

82

254 CHEN Cheng-po (Taiwanese, 1895-1947)

Zhongshan Park at West Lake 1929-1934 Oil on wooden board 33 x 24 cm Signed lower left Po in Chinese Signed on the reverse Zhongshan Park at West Lake for Yiyuan Painting Research Institute Chen Cheng-po dedicates in Chinese ILLUSTRATED: Chen Cheng-po Centennial Memorial Exhibition, Chia Yi Municipal Cultural Center, Chia Yi, 1994, color illustrated, p. 92

陳澄波 西湖中山公園 1929-1934 油彩 櫻桃木板 33 x 24 cm 簽名左下：波 簽名畫背：上海西門林蔭路藝苑 陳澄波 贈 西門中山公園 圖錄： 《陳澄波百年紀念展》，嘉義市立文化中心，1994年 出版，頁92

NT$3,200,000-4,200,000 HK$ 760,000-998,000 US$ 98,000-128,700

杭州西湖，向來是文人墨客詠嘆的對象，亦為皇室達官流連忘返之所。陳澄波對西湖美景的喜愛，洋溢在數幅傑出的作品中。 1929至1933年，陳澄波受聘赴上海新華藝專與昌明藝專任教，為日治時代台籍畫家中極少數於大陸大專院校美術學系擔任教職且成 就卓越者之一。旅滬期間，以描繪江南名勝的風景畫創作為數最多。此幅曾於「陳澄波百年紀念展」展出的《西湖中山公園》，畫 背識題：上海西門林蔭路藝苑。「藝苑」（藝苑繪畫研究所）為1928年由引領陳澄波到上海發展的關鍵人物－王濟遠發起主持的綜 合性繪畫研究社團，重要成員有：朱屺瞻、潘玉良、張大千、徐悲鴻…等知名藝術家，陳澄波當時也在此擔任指導教授，與這些中 國藝術家多有接觸。醇厚的學術風氣與和睦的自由探討，使「藝苑」在上海西畫界產生了良好的影響和聲譽。父親為前清秀才的陳 澄波，自幼即對中國書畫特別有興趣，在上海居住的這幾年，他積極地吸收傳統文化的養分，內化融會到自己的創作中。 此幅《西湖中山公園》，空間深淺有致，前景的樹叢與圍籬構成的弧線引人尋幽訪勝，左方羅列的枝幹與右方茂密的林葉虛實呼 應，伸向天空的植物與上揚的飛簷再將視線延伸；動感強烈的線條顯現出豐沛的生命力，蜷曲的筆觸與色彩的熱度似與梵谷爭輝。 石川欽一郎肯定陳澄波畫風「純真、不賣弄技巧、有獨特個性的筆法」實對其人與其創作有深刻瞭解。 Hangzhou’s West Lake has long been a popular subject of eulogy among poets and scholars and a magnet that once attracted royalty and dignitaries to linger and relax. The numerous masterpieces of Chen Cheng-po also overflow with his affection toward West Lake.

From 1929 to 1933, Chen Cheng-po was appointed at Shanghai Xinhua and Changming School of Art—very few Taiwanese artists, also with distinguished accomplishment, was able to get to teach in art school from Mainland China during the era of Japanese rule in Taiwan. During Chen’s time residing in Shanghai, he chose to depict the landscape of the famous scenery in Jiangnan for most of his works. This particular piece, “Zhongshan Park at West Lake”, was showcased at the “Chen Cheng-po Centennial Memorial Exhibition”, and was inscribed with “Shanghai West Gate Linyin Road Yiyuan” on the reverse. “Yiyuan” (Yiyuan Painting Research Institute) was a comprehensive painting research association founded in 1928 by Wang Ji Yuan, who recommended Chen to work in Shanghai. Other important members included wellknown artists, Zhu Qizhan, Pan Yu-liang, Zhang Daqian, and Xu Beihong, and Chen, an advisor professor, was in close communication with them. “Yiyuan” had a positive influence and reputation in Shanghai’s western fine art world with its pure academic atmosphere and amiable intellectual exchange. Chen, whose scholarly father took part in the imperial examination during the Qing Dynasty, was especially interested in Chinese paintings since his childhood. During his years in Shanghai, he heavily absorbed himself in the traditional culture of the region and internalized these qualities in his works.

This particular piece, “Zhongshan Park at West Lake”, manifests a depth by the curved line formed by the foreground grove and hedge which invites people to delve in and explore the painting. Branches spread out on the left seem to respond to the thick foliage on the right as plants reaching up to the sky and flying eaves extend the view. The dynamic movement of the artist’s strokes reveals a vibrant vitality, with curved strokes and warm colors reminiscent of Van Gogh. Kinichiro Ishikawa, who knew Chen and his work very well, once described his strokes as being “pure and distinctive in style without any hint of excess”.

84

255 Tzu-chi YEH

(Taiwanese, b. 1957)

Top of the Tree 2010-2016 Tempera and oil on linen 86.5 x 127 cm Signed lower right Tzu-chi Yen in Chinese and dated 2010-2016

NT$ 3,400,000-4,400,000 HK$ 808,000-1,045,000 US$ 104,200-134,800

葉子奇 大樹之巔 2010-2016 卵彩 油彩 亞麻布 86.5 x 127 cm 簽名右下：葉子奇 2010-2016

樹的成長，是一種堅持，一種承諾。 ── 對風、對雨的堅持， ── 對陽光、對土地的承諾。 生命如是，理想亦如是。 文/葉子奇 (節錄自—葉子奇2015年乙皮畫廊月曆)

以一顆誠實的心，面對一棵樹 你可以看見 上帝的容顏 在光與影的交錯間 浮現 以一顆安靜的心，面對一棵樹 你可以聽見 上帝的聲音 在枝與葉的婆娑間 向你說話 文/賴麗惠 藝評家兼策展人 (節錄自—“流動在畫布裡的氣味”2010年台南加力畫廊「葉子奇個展-台南追想曲」畫冊

近距離仔細觀看時，會感受到畫面的一種流動氣味，藝術家彷彿畫出微風 輕拂的流動姿態、樹葉搖曳的表情，以及老榕樹特有的韻味，讓人對藝術 家純熟的繪畫風格與技巧感到十分的驚嘆；帶些距離的欣賞，則是對畫裡 那豐富又純粹的神秘世界所散發出來的寂靜與孤獨氛圍所感動，葉子奇將 樹景的瞬間定格在這畫布中，讓動態的瞬間畫面成為永恆的詩意。 文/張金催 (前東華大學民族藝術研究所代理所長) (節錄自--藝術家雜誌八月號”吟遊於後現代的古典氛圍中—談葉子奇的繪畫”)

The growth of a tree is a commitment, it is a promise.

A commitment to the wind, to the rain, A promise to the sunlight, to the land.

That is the meaning of life, to live with faith and conviction.

Text/ Tzu-Chi Yeh (Excerpt - Tzu-Chi Yeh 2015 iP Gallery calendar)

When you stand before a tree, with an honest heart You will be able to see the face of God Appearing amidst the interplay of light and shadow When you stand before a tree, with a quiet heart You will be able to hear the voice of God Speaking to you betwixt the rustling of leaves and branches Text/Lai Li-Hui, Art Critic and Curator (Excerpt – “Flavors Flowing Upon the Canvas” 2010 “Tzu-Chi Yeh Solo Exhibition – The Memory of Tainan” album from Inart Space, Tainan

If you observe the canvas closely, you will be able to experience the sensuous “flavors” fluctuating upon the image, as if the artist had captured the gentle flow of the breeze, the rustling of the leaves, and the unique charm of old banyan trees in the painting. One cannot not help but be astounded by the artist’s sophisticated style of painting, his poise, and his expertise. Admired from a distance, one is moved by the tranquility and loneliness exuded by the mysterious world so pure yet profound that is depicted in the painting. Yeh has frozen the beauty of the tree at a moment in time, transforming the dynamic scene into an eternal poem.

Text/Zhang Jin-Cui (former Acting Director of the Graduate Program of the Indigenous Arts, National Dong Hwa University) (Excerpt – Artist-Magazine, August Issue “Meandering through the Classical Atmosphere of PostModernism – On the Art of Yeh Tzu-Chi”)

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256 Tzu-chi YEH

(Taiwanese, b. 1957)

Landscape of Hwa-Lien 1993-1999 Tempera and oil on linen 122 x 148 cm Signed lower right Tzu-chi YEH in Chinese and dated 1993-99 ILLUSTRATED : Tzu-Chi Yeh: Landscape, Taiwan, Eslite Gallery, Taipei, 2009, color illustrated, p. 6

葉子奇 山在花蓮 1993-1999 卵彩 油彩 亞麻布 122 x 148 cm 簽名右下：葉子奇1993-99 圖錄： 《葉子奇—風景・台灣》，誠品股份有限公司，台北， 2009，彩色圖版，頁6

NT$ 7,000,000-9,000,000 HK$ 1,663,000-2,138,000 US$ 214,500-275,700

對於山的凝視，葉子奇做了非常多的詮釋，如遠景的仰望；如近觀的雕琢或是迷霧中的一抹青山。他不僅將當代山水繪畫帶入一個新的視角， 也同時開創了屬於他自己最獨特且隱私的風景美學。 在葉子奇的山景繪畫裡不難看出他對於過往生活中的情感依附，都投射在一片片的山林畫當中；如故鄉的花蓮、太魯閣；求學時段的陽明山、 紗帽山等等都蘊藏了他的最深切的羈絆與對故土的深情凝望。若說對山的獨特關照是出自於鄉愁、思念，或許都不及於葉子奇對於雙親的想 念；他將母親的形象化成一朵朵花卉；以盛開的美麗滋長了養花人，如同母親以青春豢養了他。在父親離世之後，他曾說過母親教他去看看大 山大水以平靜心情，而山景的壯麗雄偉，不就像是可以依靠的父親背膀，如此寬闊厚實而未曾動搖。在凝望大山的當下也將對父親的想念全盤 托出，成為他真切的精神寄託，寧靜而巨大。 葉子奇到底是個浪漫的人，在山林中看見的不僅是當代迷人風景，更多的是他對故土的殷切關懷；生長於花蓮的他，心裡念的終究是這片他曾 與父母、手足；他年輕時的愛人；如今的愛妻以及兒女走過的一寸地與見過的一抹山景。他的過去、現在，皆有這片風景的身影，花蓮的山對 他來說便是一段歷史，他畫了許許多多此處的山水、林木都是獻給他最親愛的故土─花蓮(《葉子奇》誠品畫廊，台北2009，頁28)，可是說穿了，那都是 他對已故雙親日夜思念最強大的證據，這溫柔的感情，如同他曾說過的：「恰似遮不住的青山隱隱」。(《葉子奇》誠品畫廊，台北2009，頁18) Tzu-chi Yeh has created many renditions of the subject of gazing on mountains. There have been reverences from afar, elaborate depictions up close, and captures of shades of green in the misty fog. Not only has he introduced a new perspective to the contemporary art of landscapes, he has also created his own unique and intimate aesthetic of scenery.

Yeh’s mountain paintings clearly reflect an attachment to his earlier days, manifested in the stretches of mountains and forests he paints. He hails from Hualien or (Hwa-Lien) and Taroko, but spent his schooling years in Yangmingshan and Mt. Shamao. These mountains embody the artist's intimate connection to and affectionate gaze upon his native land. If his special attention to mountains was derived in part from homesickness and nostalgia, perhaps there is an even greater part inspired by remembrances of his parents. Yeh transforms the image of mothers into flowers that nurture their gardeners with their blooming beauty, an analogy of the way his mother had raised him with her youthful vitality. He once said that after his father had passed away, his mother taught him to find peace of mind by visiting vast mountains and waters. The sublime beauty of mountain sceneries resembles the dependable shoulders of a father—broad, strong and unwavering. In gazing upon a massive mountain, the artist is confessing he misses his father; the mountain becomes a form of spiritual sustenance, standing in tranquility and magnificence.

Tzu-chi Yeh is romantic by nature. What he sees in mountains and forests largely extends beyond the allure of contemporary sceneries, and into a deep affection for his home land. Born and raised in Hualien, he holds in fondest memory the stretches of lands he walked and mountain views he saw with his parents, his siblings, his lovers in his youth, his wife today, and his children. Such spectacles are extant throughout his past and present. The mountains of Hualien represent history to him; Yeh has painted countless landscapes and forests of Hualien, all dedicated to his beloved hometown (Tzu-chi YEH, Taipei: Eslite Gallery, 2009, p. 28). But in the end, they are the most powerful evidence of nostalgic memories for his late parents. Those tender sentiments, as Yeh once described, are “just like the faint green hills that cannot be concealed” (Tzu-chi YEH, Taipei: Eslite Gallery, 2009, p. 18).

88

257 ZAO Wou-ki

趙無極

(Chinese-French, 1921-2013)

14.09.50

14.09.50 1950 Oil on canvas mounted onto cardboard 15.8 x 19.8cm Signed lower right Wou-Ki in Chinese and Zao in French, inscribed A Lanlan pour l’anniversaire

1950 油彩 畫布裱於紙板 15.8 x 19.8cm 簽名右下：A Lanlan pour l'anniversaire 無極 ZAO

NT$ 6,000,000-7,000,000 HK$ 1,425,000-1,663,000 US$ 183,800-214,500

1948年趙無極與妻子謝景蘭前往法國巴黎，抵達巴黎之後立刻前往羅浮宮等藝術殿堂朝聖，並且經常往來於大茅屋工作室。而此時，二次大戰 結束，巴黎藝壇蓬勃發展，許多來自世界各地的傑出藝術家接踵來到此地，豐富了戰後巴黎藝壇，多元的文化背景與藝術形式如：非定型藝術 (Informal Art)等，這些風靡當時的藝術流派對趙氏往後的藝術語彙皆起了影響。 趙無極曾說過在1950年時，他的畫尚未成型但已開始醞釀，而在之前他嘗試了僅以三種顏料套色的石版畫創作，而畫面中簡單線條構成的主題 也在日後的油畫創作可見一斑。創作於1950年的《14.09.50》之小尺幅佳作，清楚地顯示了趙無極對於線條研究與構成的精準，此件作品中，他 單純透過線條表現具象繪畫，這在當時的中國畫家中極為少見。這些簡單的幾何圖形銷融了形式，而單純地與色彩產生對話，建構出和諧任誰 都可以漫遊其中、流連、佇足的靜密空間，如同中國傳統繪畫中的留白精神，而趙氏更體現了將有形的世界昇華到無形的心靈層面，恰巧符合 了中國哲學形而上的精神思想。趙無極不喜歡他人總是用「風景」稱呼他的繪畫，他認為這會讓人落入「山水」的窠臼，而這也是他初到巴黎 時最極力想要擺脫的，同時他以僅單調的色彩如藍、黃、綠三色處理《14.09.50》，捨棄了多樣的色彩融合，反而創造出更加純淨、更為遼闊的 世界，充滿了詩意。 畫中題識「A Lanlan pour l' Anniversaire」為：「致蘭蘭生日快樂」，為趙無極致贈給一路相知相隨的第一任妻子謝景蘭，兩人自他從1935年起 便認識進而相戀到結婚，相伴前往巴黎藝追求更深厚的藝術造詣，而《14.09.50》可視為趙無極對其最難割捨的第一任妻子謝景蘭十五年陪伴最 真摯情感的深情之作。 In 1948, Zao Wou-ki and his wife Xie Jinglan travelled to Paris, France. Upon arriving in Paris, they immediately headed to the Louvre and other temples of art to pay homage, and also became frequent visitors of la Grande Chaumière. At this time, World War II had ended and the Paris art scene flourished as countless outstanding artists from around the world flocked to the city and enriched the post-war Parisian art scene. Diverse cultural backgrounds and art forms such as Informal Art and other popular art genres of the era all heavily influenced Zao’s artistic vocabulary.

Zao Wou-ki once stated that in 1950, his paintings had not yet fully taken shape but were just beginning to evolve. He had previously attempted lithographs with only three chromatic pigments, in which the composition style of simple lines that delineated his themes could also be found in his later oil paintings. The small-scale work of exquisite fineness “14.09.50” created in 1950 clearly exhibits Zao’s study of lines and precision of configuration. In this piece, he conducted figurative painting purely through the use of lines, a style that was rarely seen amongst Chinese painters of the time. These simple geometric figures ablated form and generated a simple dialogue of color, constructing a harmonious space of serenity that invites its viewers to roam, linger, and repose within. In keeping with the traditional Chinese artistic concept of leaving blanks upon the canvas, Zao embodied the sublimation of the tangible world with intangible spiritual dimensions in accordance with Chinese philosophical thoughts in metaphysical spirituality. Zao disliked being categorized as a painter of “scenery.”

He believed that the term evokes stereotypical ideas of landscape, precisely the qualities he most desperately wanted to shake off upon arriving in Paris. At the same time, he employed only monotone colors like blue, yellow and green to compose “14.09.50”. By foregoing the integration of multiple colors, he has instead created a purer, vaster world of poetic meaning.

趙無極第一任妻子謝景蘭 Zao's first wife Lalan

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The inscription on the painting “A Lanlan pour l’Anniversaire” means “To Lan Lan Happy Birthday”. This was dedicated by Zao to his first wife Xie Jinglan, who had accompanied him every step of the way. The two had known each other since 1935, fell in love and married, and travelled to Paris hand in hand to pursue further artistic attainments. “14.09.50” is a work of profound affections symbolizing Zao’s sincere appreciation of the fifteen years of companionship given to him by his first wife Xie Jinglan and the embodiment of his deep, undying love.

258 CHU Teh-chun

(Chinese-French, 1920-2014)

Rebondissement 1994 Oil on canvas 73 x 92 cm Signed lower right CHU TEH-CHUN in Chinese and French, dated 94 Signed on the reverse CHU TEH-CHUN in Chinese and French, titled Rebondissement in French and dated 1994 ILLUSTRATED : Chu Teh-Chun's Abstract World, The Vocabulary of Oriental Abstract, Dimensions Art Center, Taipei, 1994, color illustrated, cover This painting is to be sold with a certificate of authenticity issued

by Dimensions Art Center, Taipei.

NT$ 8,000,000-12,000,000 HK$ 1,900,000-2,850,000 US$ 245,100-367,600

朱德群 迴響 1994 油彩 畫布 73 x 92 cm 簽名右下：朱德群 CHU TEH-CHUN 94 簽名畫背：Rebondissement CHU TEH-CHUN 朱德群 1994 圖錄： 《朱德群的抽象世界．東方抽象之語彙》，帝門藝術中心， 台北，1994，彩色圖版，封面 附帝門藝術中心開立之原作保證書

「朱德群的空間不屬於傳統的透視，而是所謂的『多重』空間，他在蜿 蜒曲折的線條之間，加入厚重濃稠顏料所畫成的小方塊的造型元素。這 種表現手法或許正顯示朱德群新風格的特徵。精巧選擇的色彩以及畫中 小方塊的處置，使色彩變化而產生光的效應。它們不僅是空間，同時也 是結構，而這種結合，幾乎在朱德群的每一幅畫裡都是如此，是他作品 中主要的特質之一。」作為最早探究與發掘朱德群的重要推手，現代藝 術「守護神」巴聶對朱德群繪畫的分析實為精闢。 論及空間與結構，朱德群的構圖從不受限於物質空間，畫中的形象結 構，充滿動勢的點、線、面都是經過審慎考慮與嚴謹組構過，呈現出一 種有目的的自由。縱橫交疊、頓挫有序的書法線條，與隨性而約制的油 彩的巧妙運用，營造出廣闊深邃的宇宙空間。 “Space in the works of Chu Teh-chun is not presented using traditional perspective; rather, it is what might be called ‘manifold space.’ The main formal elements in Chu’s work are small squares created by filling in rich, thick color between the twisting lines. This method of expression can be thought of as constituting the salient characteristic of Chu’s new style. The careful selection of color tone and the precise placement of the small squares in the painting create impressive color variation and light effects. This is not only space, but also structure; this combination of space and structure can be seen in almost every painting by Chu Teh-chun, and is one of the chief features of his work.” This perceptive analysis of the artistic style of Chu Tehchun is by Maurice Panier, the “guardian angel of modern art,” who was the first to “discover” Chu Teh-chun.

Taking up the point about space and structure made by Panier, Chu Tehchun had never allowed himself to be restricted by material space in the composition of his paintings. The structure of the images presented in his works, and his vigorous use of dots and lines, are all the product of careful reflection and rigorous compositional planning; what this creates is a kind of “purposeful” freedom. The crisscrossing of horizontal and vertical lines, the ordered calligraphic lines, and the brilliant utilization of oils - which is at the same time random and controlled - present an immense, all-encompassing visual world, and create on the canvas the boundless reaches of the cosmos.

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259 LIN Fengmian (Chinese, 1900-1991)

Lady Playing Moon Guitar 1950 Ink and color on paper 68 x 68 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist ILLUSTRATED: Zhou Weiming ed., Collection of Art Garden Studio No.72: Sanhuai Tang's Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated no. 40, p. 25

NT$ 10,000,000-20,000,000 HK$ 2,375,000-4,751,000 US$ 306,400-612,700

林風眠 仕女彈阮圖 1950 彩墨 紙本 68 x 68 cm 簽名左下：林風眠 鈐印左下：林風暝印 圖錄： 周衛明編，《藝苑掇英第七十二期：三槐堂現代書畫專輯》， 上海人民美術出版社，上海，2004，彩色圖版，編號40，頁25

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畫家席德進曾以「改革中國畫的先驅者」讚美林風眠的藝術，他認為 繪畫的革新者遠比傳統繼承者艱鉅數十倍。真正能改革中國畫，談何 容易？將幾千年精粹文化的典型加以改造，重新創造繪畫新品種，更 是難上加難。然而，林風眠做到了，他超越傳統、綜合中西之美，他 的繪畫開拓了新的視野與境界。 林風眠為中國第一代留學法國的畫家，1920年留學巴黎，進入學院教 育學習西洋畫，初期喜愛精緻寫實畫。古典繪畫、野獸派、立體派的 風格帶來新的視覺衝擊，但在老師的啟發下，轉而往東方博物館研究 中國雕塑、繪畫及陶瓷工藝，對中國傳統藝術產生濃厚的興趣。對東 方的關注與歐洲當時的思潮是一致的，畢卡索、馬蒂斯等藝術家也正 在借鑑東方的藝術。林風眠曾經臨摹陶瓷上的簡筆山水、花鳥，而瓶 身造型及清冽的光澤感，反映在林風眠後來的白鶴以及仕女圖畫上。 而民間藝術如皮影戲、漢畫雕刻，更加豐富了他的繪畫語言。 林風眠曾是中國史上最年輕的美術學院校長，1926年回國接掌北京藝 專校務時不過26歲，兩年後創立國立藝術院（即杭州藝專）並任校 長，將西洋現代美術思潮引進中國。在從事美術教育期間，林風眠開 明自由的教學，影響了許多後來的學子，被尊為二十世紀中國最偉大 的美術家及美術教育家之一。 在林風眠創作的大量人物形象中，仕女形象是其中獨具風格的一種表 現樣式。這種女性藝術形象，可與西方藝術的維娜斯相媲美，被熱愛 他藝術的觀眾譽為「東方美神」。這種「美神」的形成，是藝術家獨 特的審美經驗有關，並且將我們的視線聚焦在林風眠相關的人物題材 的創作之中。 關於林風眠的仕女畫風格，畫家曾經回憶說，他們「主要是接受來自 中國的陶瓷藝術」，「尤其是宋瓷官窯、龍泉窯那種透明的顏色影 響，我用這種東西的一種靈感技術放在裡面」。林風眠的仕女圖的相 關形式語言，體現了圖形的純淨、色彩的透明和 格調的高雅。畫中人物從其簡約素雅的造型中流 露出迷人的情愫，此源自畫家深藏心間的青春回 憶和情感昇華。因此，林風眠創作的有如東方美 神的女性形象，喚起觀眾純樸、肅穆的美好心靈 感想，成為中國藝術獨特的陰柔之美的形象符 號。

Painter Shiy De-jinn once praised Lin Fengmian’s art as the “Innovation Pioneer of Chinese Painting” He thought that being an innovator in painting was ten times far more difficult than being a successor. To truly revolutionize Chinese painting is easier said than done. To remake a prototype steeped in several thousand years of cultural essence would be even more difficult. Yet, Lin Fengmian managed it. He surpassed traditions and combined the best of both East and West. His paintings opened up a whole new horizon.

Lin Fengmian was among the first generation of artists from China to study in France. In 1920, he went to further his studies in Paris, enrolling into a collegiate education to learn western painting. In the beginning he loved intricate realistic paintings. Styles such as Classical paintings, Fauvism and Cubism brought new impact on his visual sense, but, inspired by his teacher, he turned to study Chinese sculptures, paintings and ceramic art in eastern museums, developing a keen interest in traditional Chinese art. The interest shown in the East was synonymous with European ideologies then.

Even artists such as Picasso and Matisse were learning from the experiences of Eastern art. Lin Fengmian once copied the simplistic landscapes, flowers and birds found on ceramics, while the shapes of the vases and their cool glossy sensations were reflected in his later pictures of cranes and beautiful ladies. Folk art such as shadow puppets, Han script carvings etc, further nourished his painting lingo.

Lin Fengmian is the youngest principal ever in charge of an art school in the history of China. He was only 26 when he returned home to take charge of affairs at the Beijing School of Art. Two years later, he set up the National Academy of Art (i.e. Hangzhou College of Art) and assumed the role of principal, introducing western modern art ideologies into China. During the period of his involvement in art education, Lin Fengmian influenced many upcoming students with his free and easy approach to teaching and learning.

He is hence regarded as one of the greatest artists and art educators in the 20th century.

The current auction lot, “Lady in a Green Dress” is one of Lin Fengmian’s early paintings on beautiful ladies. The approximate date of completion is the 《仕女彈阮圖》的畫中女子，修眉、櫻桃口的 1950s. By then, he had already left his teaching post, 五官表現是屬於中國古典文學中美人的範例。 choosing to ignore the mundane affairs and to reside 「阮」是中國傳統樂器，在中國傳統繪畫裡有仕 in Shanghai without any fanfare. This was the most 女彈阮圖像的記錄，最早源自敦煌石窟唐代壁畫 critical period in the formation of the artist’s personal 的樂伎彈唱。抗日戰爭退居重慶期間，林風眠自 style. Shiy De-jinn believes that the seemingly 然看過極為轟動的張大千臨摹敦煌壁畫展，1950 endless period of residency in Shanghai after 1952 年代初他自己也一度嘗試臨摹過敦煌壁畫。其 林風眠《琵琶女》 was the most productive period for Lin Fengmian’s LIN Fengmian, Lady Playing Moon Guitar 實，林風眠無意於追求、遵循中國繪畫的軌跡， works of art. His paintings took in equal proportions c. 1960s, ink and color on paper, 66.5 x 69 cnm 之所以採取彈唱的題材，當成創作新藝術的研究 of elements from traditional Chinese art as well 題材，乃是期望借助它們畫出比馬蒂斯更新穎的 as 20th century Parisian new art. Taking figure paintings for example, 一種繪畫。他保留中國書畫勾勒的技法、傳統仕女的開臉造型，不過 his ladies in ancient costumes adopted sitting postures alike Guanyin, the 在主角的神態、線性的畫面構成、裝飾性背景的運用上，則加入西方 bent body shapes are Matisse-like, while the inclining postures are from 現代藝術的元素，形成林風眠格體的人物畫像。也驗證了中西繪畫融 Modigliani’s; opera figures, on the other hand, combines the structure of 合的可能性。 cubism with the shapes of shadow puppets.

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Among the many characters composed in Lin Fengmian’s works, the image of a beautiful lady is a unique one among his many manners of composition. Such artistic feminine portrayals are comparable to the Venus in Western art. Audiences passionate about his art have claimed it to be the”Oriental Goddess of Beauty”. The formation of such a “Goddess of Beauty” has to do with the artist’s unique experiences in judging beauty. As such, it has drawn our focus upon the compositions

by Lin Fengmian portraying subjects of relevant figures.

Pertaining to Lin Fengmian’s style of drawing ladies, the artist once recalled saying, they are “primarily from accepting the art of Chinese porcelain” “especially the influences from the clear transparent colors of Song dynasty’s Guan Kiln and Longquan Kiln, employing in them a kind of inspirational technique that I derived from these things.” The form and language associated with Lin Fengmian’s portraits of ladies embodies a purity of figures, transparency of colors and elegance in style. Through a simple and elegant form, the characters in the portrait reveals an enchanting sentiment that stems right from the artist’s inner calling to memories of youth and sublimation of feelings. As such, the feminine images of the Oriental Goddess of Beauty as seen in Lin Fengmian’s compositions awaken the audiences’ solemn and innocent beautiful inner feelings to become a unique symbol and image of feminine beauty in Chinese art.

Though the woman in “Lady Playing Moon Guitar” is in Western dress, her appearance such as the eyebrows, almond eyes and cherrylike mouth were from the archetypes of beauty in traditional Chinese literature. The “Moon Guitar” is a traditional Chinese musical instrument. The earliest record of the lady playing moon guitar theme in Chinese traditional art dates back to the Tang dynasty, with frescoes of performing musicians at the Dunhuang Caves. During the War of Resistance against Japan and his retreat to Chongqing, Lin would have certainly seen the famous exhibition of Dunhuang frescoe paintings made by Chang Dai-chien. During the early 1950’s he himself experimented with painting from the Dunhuang frescoes. What Lin actually sought was not to follow the path of Chinese painting. The musical performance theme was in fact used as a research topic for creating new art, and it was his intention to create a style of art that surpassed Henri Matisse in novelty. He retained the outlining technique and the open face of traditional ladies from Chinese paintings, but for the subject’s form and lines within the composition of the painting, as well as the use of the decorative background, he infused elements of modern Western art. The results were portrait paintings so characteristic of Lin individual style.

260 ZHOU Chunya (Chinese, b. 1955)

Red Rock 1999 Oil on canvas 150 x 120 cm Signed lower right Zhou Chunya in Chinese and English, dated 1999

NT$ 20,000,000-38,000,000 HK$ 4,751,000-9,026,000 US$ 612,700-1,164,200

周春芽 紅石 1999 油彩 畫布 150 x 120 cm 簽名右下：1999 周春芽 Zhou Chunya

二十、二十一世紀交替之際，中國當代藝術首次風靡國際藝壇，受到各 界的追捧，一群畢業自四川美術學院的藝術家，正是帶領中國藝術踏上 觀念與形式革新之路的主力。從1980年前後的傷痕美術，以至於接下來 驚艷歐美收藏界的玩世現實主義與政治普普，中國當代藝術以鮮明的批 判性及易於辨識的圖像符號贏得了世人的目光。身處於這股風潮之中， 周春芽的藝術道路並不追隨潮流而自有定見，當普普風盛行於他的同儕 之間，他在德國汲取更為貼近自己內心、繪畫感豐富的表現性手法，當 眼下的社會狀態成為藝術的熱門題材，他卻一頭栽進中國傳統水墨的研 究，周春芽的作品展現個人的熱忱與興趣多於參與對社會環境的議題式 回應與針砭，成為中國當代藝術風起雲湧之時，一個獨特、充滿才氣、 難以忽略的身影。 周春芽自四川美院畢業之後，在1986年前往德國卡塞爾美術學院留學， 親歷當時的新表現主義熱潮。巴塞利茲（Georges Baselitz） 、波克 （Sigmar Polke）、基佛（Anselm Kiefer）等藝術家透過粗獷筆觸傳達 而出的情感如此地飽滿熱烈，切合了周春芽心中對藝術語彙的想望，往 後無論是畫山石、花卉、狗、人體乃至於近期的桃花，儘管主題與內涵 不同，但藉由張揚的筆觸、違反自然且相互衝撞的色彩鋪陳，總有股強 烈而微妙的情緒張力，在在顯示其敏感的心思。而另一方面，中國傳統 藝術也深深地吸引著周春芽，1989年回國後，在其他當代中國藝術家熱 情參與激進的藝術運動之際，周春芽卻鑽進了傳統水墨及文人美學的世 界，他推崇石濤、八大山人和黃賓虹，研究董其昌、「清初四王」（王 時敏、王鑒、王翬、王原祁）和《芥子園畫譜》，從而自水墨提煉傳統 文人旨趣與精神，融合源自歐洲系統的表現語境，塑造出屬於他自己的 藝術語彙及文化觀點，傳達其深刻的肺腑之情。 周春芽一系列以奇石為題材的畫作，以濃烈而富含情感張力的油彩表 現，承載了玩石傳統中對「奇」與「怪」的審美觀。繪於1999年的《紅 石》，以艷紅與墨黑的筆觸交融共構，石頭本身明確的輪廓與形狀並未 被具體地交待，而是在色彩層疊之中浮現多重切面，藝術家像是在畫布 上進行雕刻一般，精心琢磨每一處起伏、鏤空和細節，於是，岩石堅硬 的質地、崎嶇銳利的表面觸感與巨大沉重的量體清楚地被傳達出來。 一 些乾筆刷出的筆觸，帶著蒼勁之感，另人想起水墨中的飛白。鮮艷欲滴 的紅，流動著難以言喻卻赤裸裸的欲望；黑色筆觸時而飄忽如煙、時而 銳利如刃，加上一抹曖昧的藍，讓原本應是堅實靜止的石頭，披上了一 層魅惑，彷復有機體一般生動起來。背景腥紅陰鬱的天空，暗紅如墨色 渲染開來，如山雨欲來，更增添了整件作品飽滿的戲劇張力。 周春芽曾說過：「我畫石頭並不是出於圖像或符號的考慮，完全是由於 趣味。我喜歡古典文人筆下石頭的形態，但不滿足於那種過於溫和、內 向的性格，我想到一種張揚而冒險的嘗試—借助這種典雅的形態去傳達 一種暴力甚至是色情的意味。」（《周春芽2008》寒舍空間，2008，頁6。英文在12 頁：I painted on stones not for considerations of graphics or signs, merely for interests. I liked forms of stones by ancient literators, but was not content with the overly mild and introverted personality. So I thought about a kind of risky attempt, rely this kind of elegant form to convey a kind of violent even erotic meaning.）

他在《紅石》一作裡淋漓盡至地發揮油彩的材質特性，以豐富的細節層 次與肌理，形塑出騷動且具有原始侵略性的奇石，顛覆傳統文人山石那 閒逸高雅的形象，成就了前衛狂放而內藏文人底蘊的代表之作。

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At the juncture of the 20th and 21st centuries, contemporary Chinese art swept the global art scene for the first time and became widely acclaimed throughout the world. A group of Chinese artists who graduated from the Sichuan Fine Arts Institute constituted the main force that drove the conceptual and formal reforms of Chinese art. From Scar Art in the 1980s to Cynical Realism and Political Pop that subsequently astounded the Western art collector circles, contemporary Chinese art won the world’s attention with its sharp criticisms and unmistakable symbols. Amidst the overwhelming trend, however, Zhou Chunya chose not to drift along but firmly held onto his own beliefs. While Pop art prevailed among his fellow artists, Zhou remained in Germany and pursued expressionist techniques which resonated closer to his heart and expressed abundant emotional experience. When contemporary social phenomena became a popular subject matter in the art circle, he delved into Chinese ink wash. His works focus more on personal enthusiasms than responses to and criticisms of social and environmental issues, making him a unique, talented and notable figure in the surging waves of contemporary Chinese art.

After graduating from the Sichuan Fine Arts Institute, Zhou went to Germany in 1986 to study at the Kunsthochschule Kassel (Art University Kassel) and personally experienced the waves of Neo Expressionism at the time. The emotions exuded through the rough brushstrokes of Georges Baselitz, Sigmar Polke and Anselm Kiefer were passionate and powerful, which happened to fulfill Zhou’s ideals of a proper artistic language.

Since then, Zhou has painted mountains and rocks, flowers, dogs, human figures and, more recently, peach blossoms. Despite the variety in topic and content, however, he always conveyed strong but subtle emotions through his bold brushstrokes and contrasting color arrangement, the artistic style in many ways manifesting his perceptiveness at heart. On the other hand, Zhou was deeply attracted to traditional Chinese art. Upon his return to China in 1989, when other Chinese artists enthusiastically participated in art movements, Zhou plunged into the world of traditional ink wash and literati aesthetics. He praised Shi Tao, Bada Shenran and Huang Binhong; he studied Dong Qichang, the Four Wangs of early Qing Dynasty (Wang Shimin, Wang Jian, Wang Hui and Wang Yuanqi) and Jieziyuan Huapu (Manual of the Mustard Seed Garden). He drew inspiration from the spirit of traditional literati art embodied in ink wash paintings, and by combing them with the expressionist language originating from Europe, shaped his own artistic vocabularies and cultural perspectives, which conveyed the artist’s profound and sincere emotions.

Zhou Chunya composed a series of paintings featuring unusual rocks, in which he inherited the aesthetic tradition of rock collectors in valuing “strangeness” and “peculiarity” through strong and emotional expressions in oil paint. Painted in 1999, “Red Rock” was constructed by brushstrokes of heavy red and dark black. Instead of showing the distinct contours of the rock, the artist depicted multiple dimensions revealed through overlapping colors, as though carefully carving out every bulge, hollow and detail on his canvas. And thus, the solid composition of the rock was clearly presented, as are its sharp, rugged surface and giant, weighty volume. Some dry brush

strokes create a forcefulness that reminds viewers of the “flying white” in ink wash. Unspeakable but naked desire flows amidst the bright scarlet red.

The black strokes vary from airy as smoke to sharp as knives. A touch of evasive blue adds a captivating charm to the supposedly still and solid rock, which becomes vivid as though a living organism. In the heavy, scarlet sky, dark red paint spreads over the canvas like wash of ink, as though foreseeing a coming storm and adding a rich theatrical effect to the whole artwork.

周春芽《石頭系列—雅安上裡》（三聯幅），北京匡時2012秋拍，人民幣2990萬元成交 ZHOU Chunya, Stone Series – Yaan Shang, RMB 29,900,000 sold

周春芽《紅石》1999 150 x 120 cm 北京翰海2011秋拍，人民幣1046.5萬元成交 ZHOU Chunya, Red Stone, RMB 10,465,000 sold

周春芽《紅山石》1998 150 x 120 cm 榮寶齋2012春拍，人民幣1265萬元成交 ZHOU Chunya, Red Stone, RMB 12,650,000 sold

Zhou once said, “I painted on stones not for considerations of graphics or signs, merely for interests. I liked forms of stones by ancient literators, but was not content with the overly mild and introverted personality. So I thought about a kind of risky attempt, rely this kind of elegant form to convey a kind of violent even erotic meaning.” (Zhou Chunya 2008. Taipei: My Humble House, 2008. p. 12). In “Red Rock”, the artist beautifully and thoroughly showcases the quality of oil paint to shape a rock that holds a primitive aggressiveness with abundant details and textures. This work completely overturns the elegant image of mountains and rocks in the literati tradition and accomplishes a bold masterpiece that carries the profundity of literati art.

261 CHU Teh-chun

(Chinese-French, 1920-2014)

Béatitude Entrevue 2003 Oil on canvas 114 x 146 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 03 Signed on the reverse CHU TEH-CHUN in Chinese and English, titled "Béatitude entrevue" in French, dated 2003 EXHIBITED: Solo Exhibition of Chu Teh-Chun, The Ueno Royal Museum, Tokyo, Japan, June 23 - July 10, 2007 ILLUSTRATED: Impressions Classics IX: Chu Teh-chun, Impressions Art Gallery, Taipei, 2005, color illustrated, no. 74, p. 103 Solo Exhibition of Chu Teh-Chun, The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, p. 331 This painting is to be sold with a certificate of authenticity issued

by Archives Chu Teh-Chun.

NT$ 24,000,000-32,000,000 HK$ 5,701,000-7,601,000 US$ 735,300-980,400

朱德群 幸福的相逢 2003 油彩 畫布 114 x 146 cm 簽名右下：朱德群 CHU TEH-CHUN 03 簽名畫背："Béatitude entrevue" CHU TEH-CHUN 朱德群 2003 展覽： 「大象無形—朱德群展」，上野之森美術館，東京，展期自 2007年6月23日至7月10日 圖錄： 《印象經典IX朱德群》，印象畫廊，台北，2005，彩色圖 版，編號74，頁103 《大象無形—朱德群展》，上野之森美術館，東京；馨昌股 份有限公司，台北，2007，彩色圖版，頁331 附朱德群工作室開立之原作保證書

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2003年夏天，上海歌劇院的正門大廳朱德群的巨幅油畫《復 興的氣韻》盛大揭幕，高達四米三，長有七米三，為畫家歷 年來最大尺幅的作品。眾人驚嘆於畫中的磅礡動勢、華麗的 音樂性及創新感。老畫家面對如此巨大的畫布，未有畏懼之 情或遭逢瓶頸的感受，他能從容駕馭空間，盡情享受揮毫的 暢快，逍遙自信如昔，其富麗流暢的造形用色，呼應畢生在 畫裡探求的音樂般的詩意空間。藝評家曾說：「朱德群要與 所有的空間較量！」正是稱許他的大氣風範。 此時，年過八十歲的朱德群筆鋒依舊遒勁，用色明朗絢麗， 創造出無限想像的奇幻風景。他曾經說要在六十歲之後，才 能得心應手，真正畫一點自己滿意的畫。「相對於年輕人來 說，老年者擁有最富足的精神資源，有長長的人生閱歷記 憶。我從八十年代開始，就畫我的記憶，幻遊我的記憶。」 朱德群娓娓道出創作的心境。人的記憶潛藏在心靈的深處， 如同地心的熔岩，蓄積著時間的能量，儘管處於底層幽微， 那可是炙熱無比、湧動激昂的精神核心。面對畫布時，畫家 方得顯露內心記憶之光，那也是你我皆有的內在光輝，因此 他的繪畫總能打動人心，激盪情感。 雖然受西方抽象表現藝術啟迪，朱德群對於唐宋山水畫一直 懷有高度的敬意，平日也喜愛閱讀唐詩宋詞，以陶冶性格。 他的現代抽象畫將詩、畫、意完美地結合，貫徹詮釋古人的 「詩中有畫，畫中有詩」最高境界，被譽為是「二十世紀的 宋代畫家」。他習於作畫時聆聽古典音樂，隨著音符的律動 使得他的畫面帶著音樂性及精神性，有如交響樂章般或激昂 或溫婉，盪氣迴腸。 凡繪畫技巧、文學、哲學、知識皆為畫家重要的基礎，學養 內涵能夠豐富繪畫的深度，勤於充實自我的朱德群，將這些 基礎視為必然。老畫家童心不減，此時仍能輕盈自在地創 作，展現奧妙的記憶風景。他曾說：「抽象畫，就是要畫那 些似是而非、似非而是的沈在記憶中的壯遊圖像，我覺得， 這才是我要去闖蕩的未知之地。」無名的、未知的感動，恍 若烈焰噴發，忽湧而至，朱德群用心去探索描繪這些無以名 狀卻令人驚艷的畫面。 朱德群曾說：「在我的畫面上，其色彩和線條從不是偶然 的，它們和諧地達到同一目的：激活光源，喚起形象及韻 律。」此幅畫作呈現內在宇宙的張力與和諧，混沌黑暗之中 透出寶石般的瑩瑩光輝。光的運用決定了他畫的色彩與結 構，使得朱德群的現代繪畫帶有古典的氣勢，既莊嚴且神 聖。留白的光曜，在有限的空間創造了無限。 《幸福的相逢》是朱德群難得以輕柔色塊與跳躍亮點揮灑極 致浪漫的作品。正如題名所揭，這是一場甜蜜的相遇，抽象 地隱藏在畫面中的戀人，在心動的交會剎那， 放出的旖旎風 光，戀人眼中看到的世界是粉彩的，是最美麗的。《幸福的 相逢》創作於2003年，八旬的畫家，也許再次擷取記憶中最 迴盪的時光，也正反映了畫家在經歷創作與人生成就的高峰 後，恬然美好的生活。

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In Summer, 2003, Chu Teh–chun's giant oil painting “Symphonie Festive” was unveiled at the entrance hall of Shanghai Opera House. With a height of 4.3 meters and a length of 7.3 meters, this was the largest work the painter had ever created. People were amazed at the painting's stunning momentum, luxuriant musical elements and innovation. The old painter felt no fear or hindrance when faced with such a giant canvas. He harnessed space calmly and enjoyed the pleasure of wielding his paintbrush, feeling as confident and unrestrained as he used to be. The form and color are smooth and flamboyant, echoing a musical poetic space the artist had always explored throughout his life. An art critic once praised his majestic art style and said, “Chu Teh–chun wants to compete against all spaces!”

Lot 258 朱德群 迴響 1994 CHU Teh-chun, Rebondissement, 1994

Lot 261 朱德群 幸福的相逢 2003 CHU Teh-chun, Béatitude Entrevue, 2003

Lot 262 朱德群 橘黃的筆跡 2004-2005 CHU Teh-chun, Touches Orangées, 2004-2005

When he reached his eighties, Chu still painted with sharp strokes and colors, with bright and vivid tones, to create a fantastic landscape filled with infinite imagination. He once pointed out that only after his sixties could he be comfortable and skilled enough to create paintings he was satisfied with.

“Compared to young people, the elderly own the most affluent spiritual resources, with lengthy life experiences and memories. Since the 80's, I have been painting my own memory and journeying within.” said Chu when speaking of his mindset in creation. Memory hides in the depths of the mind. Like lava from the center of the Earth, memory accumulates its energy over time. Although buried in a hidden bottom layer, it is a surging and passionate spiritual core that blazes with an incomparable flame. Facing the canvas, the painter can thus manifest the light of memory inside him, which is also the radiance you and I share. This is why his paintings always touch people's hearts and stimulate the deepest emotions.

Although inspired by Western abstract expressionist art, Chu always had a high degree of respect for Chinese landscape painting during the Tang and Song dynasties. He also enjoyed reading Tang poetry and Song Ci (a poetic meter) to cultivate his personality. Chu perfectly combined modern abstract painting with poetry, painting and artistic conception, embodying the ancient saying that “painting dwells in poetry as poetry exists in painting.” He was called “the Song painter of the 20th century.” Chu held a habit of listening to classical music when creating his works. Following the rhythm of the musical notes, he expressed a kind of musical element and spirituality on his canvas.

The soul–stirring emotion surges and falls just like individual movements in a symphony.

Technique, literature, philosophy and knowledge are all important foundations for a painter since culture and knowledge can imbue a painting with added depth. Being diligent in self–enrichment, Chu saw these elements as necessities. The old painter still possesses childlike innocence and created his work in a light and carefree sense, showing a magnificent landscape of memory. He once said, “Abstract painting depicts those paradoxical images of a person's life experiences sinking into memory. I believe this is the unknown land I shall explore.” A kind of unnamed and unknown feeling surges like an eruption of flame. Chu explored and depicted these unspeakable yet stunning scenes wholeheartedly.

Chu once said: “On my canvas, the colors and lines never meet each other incidentally. They all harmoniously achieve a single purpose: activating light sources to evoke images and rhythms.”

Presenting the strength and harmony of an inner universe, revealing a kind of gem–like fluorescent radiance through chaotic darkness. Chu's use of light determines his painting's color and structure, bringing out a classic manner in a modern painting, which is solemn and sacred. The glow from the blank space, moreover, creates infinity out of a finite space.

“Béatitude entrevue” is a rare work of Chu Teh-chun's. He used blocks of soft color and jumping lights to create an extremely romantic painting. As the title suggests, the painting manifests a blissful encounter. Hidden in the picture, in abstraction, is a romantic instant that bursts forth between lovers at the moment of their encounter. In the eyes of the lovers, the world is bright and beautiful. “Béatitude entrevue” was created in 2003, when the artist was at his eighties, bringing forth the most appealing moment from his memory, and the canvas is simply a reflection of his quiet and wonderful life, one in which he reached the pinnacle of artistic creation and achievement.

262 CHU Teh-chun

(Chinese-French, 1920-2014)

Touches Orangées 2004-2005 Oil on canvas 130 x 162 cm Signed lower right CHU TEH-CHUN in Chinese and French, dated 2004-05 Signed on the reverse CHU TEH-CHUN in Chinese and French, titled Touches orangées in French and dated 2004-05 ILLUSTRATED: Chu Teh-chun 88 Retrospective, National Museum of History, Thin Chang Cooporation, Taipei, 2008, color illustrated, p. 83 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 26,000,000-38,000,000 HK$ 6,176,000-9,026,000 US$ 796,600-1,164,200

朱德群 橘黃的筆跡 2004-2005 油彩 畫布 130 x 162 cm 簽名右下：朱德群 CHU TEH-CHUN 2004-05 簽名畫背：Touches orangées 朱德群 CHU TEH-CHUN 2004-05 圖錄： 《朱德群八十八回顧展》，國立歷史博物館，台北；馨昌股 份有限公司，台北，2008，彩色圖版，頁83 附藝術家親筆簽名之原作保證書

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藝術家在創作上的表現，年輕時看天份潛力，青年時期則在才 氣之外，更有需努力與成熟度，壯年以後，不僅需要在過往數 十年積累的基礎上更進一步，內在的學識與修為也盡顯創作之 中，而正是這內在的智慧才足以成就大師無人能企及的超然境 界。朱德群早年歷經時代的動盪，青年遠赴異鄉追尋藝術夢 想，而達到了東西方皆尊崇的藝術成就。他一生致力於攀越一 層又一層的藝術高峰、遊歷各地山川，加上藝術家長久在中西 哲學及中國書畫上的精進，更為其抽象繪畫提供源源不絕的滋 養，豐富的人生經歷與寬闊的胸襟使他晚年的畫作更加自由而 圓熟。及至2000年之後，藝術家心裡有著一生珍貴的閱歷記 憶，那是歲月累積的精神資源，成為此時創作最豐美且源源不 絕的養份，他藉由依舊遒勁的筆峰，明朗絢麗的用色，創造出 無限想像的奇幻風景，色彩優美而結構舒朗的畫作，在在體現 了藝術家的豁達與睿智。 繪製於2004至2005年，《橘黃的筆跡》正是朱德群晚年的精采 畫作，藝術家以色彩與筆跡為題，暗示著回到繪畫性本質的探 究，經由藝術構成的元素而展開關於美學哲思的對話。畫作以 水平式的構圖開展出明朗絢麗且能量充沛的心之意象，藍色為 主色調的畫面中，絢麗的色彩幻化出奪目的光輝，右方多層次 的橘紅色彩於靛藍的掩映之中凝聚堆疊，璀燦如跳動的火焰， 瑰麗如晶瑩的彩寶，成為整件畫作的視覺重心。朱德群極愛藍 色，在他的眼裡，藍色有著包容、凝練的特性，正適合表現他 內心的情感；而作為此作主角的橘黃色調，熱情且充滿活力， 在藝術家出神入化且多變的運筆之下，時而凝練高貴，時而輕 靈躍動，徬若自身蘊含無盡的能量，從而變幻出綺麗的光色。 水平結構一路橫越畫布，橘紅色的重心凝聚在畫面右側偏下， 藝術家更在右下角以橘黃顏料落款，呼應了整幅畫作的色彩佈 局。 年過八十的朱德群，早已能夠從容駕馭空間，盡情享受揮毫的 暢快，逍遙且自信。《橘黃的筆跡》一作裡，富麗流暢的造形 與用色，透露藝術家對色彩的掌握早已出神入化，無論是鮮明 的亮色或溫厚的濃彩，在他的揮灑之下總保有通透純淨的特 質，互相烘托輝映，卻不彼此乾擾，反映出藝術家行遍千山萬 水之後那廣納萬川的心胸與超然睿智的心靈，盡顯大器風範。 早在1970年代，朱氏即受到十七世紀荷蘭繪畫巨匠林布蘭的啟 發，著力於藉由強烈明暗對比以營造出戲劇性光影張力的表現 手法，加上朱氏個人充滿速度感的筆法及色彩搭配，他的暗色 筆觸依舊富有動能而不顯沈鬱，使他的抽象繪畫氣勢萬鈞，同 時不顯得過於沈重。及至晚期作品如《橘黃的筆跡》一作，明 暗對比依舊精采，然色塊筆觸間的分界已彼此消融而顯得圓融 淡雅，從橫越中央的水平深色結構往上方鋪陳，藝術家綴以細 小的色塊，進而延伸至透亮光明之中，這明晰的光折射出迷人 的藍、紫、紅、黃，如此舒朗而極盡遠方，而充滿速度感的細 小筆觸，如同飛濺的水，亦如飛躍的石頭，那滿溢的活躍能 量、閱之不盡的豐富細節令人驚喜，徬若運行宇宙間的能量， 帶領人們的心靈越過激越澎湃，極盡自在泰然的優雅。

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Graceful composure and infinite serenity

An artist’s creative expression at a young age is predicated on natural talent, when the artist gains maturity, persistence and sophistication become more crucial to the exertion of artistic gift. Upon approaching the middle years, not only is the artist expected to surpass the accomplishments over the past decades, intrinsic knowledge and spiritual cultivation also become manifest in the artist’s creations. This is the internal wisdom that enables a master of art to transcend into the realm of incomparable distinction. Chu Teh-chun experienced times of historical upheaval in his early years, and traveled afar to foreign lands in pursuit of artistic aspirations in the bloom of his youth, thereafter attaining great artistic achievements revered by East and West alike. Throughout his life, he created one artistic pinnacle after another, all of which he strove to supersede. His journeys to all corners of the earth, as well as his proficiency in Chinese and Western philosophies, Chinese calligraphy and painting have all provided him with inexhaustible inspirations for the abstract painting. The richness of his life experiences and broad horizons has furthermore imbued in his later works a sense of liberty and elegant refinement. After the passing of the millennium, the artist began delving into his mind for its precious storage of memories and impressions. These spiritual resources accumulated throughout his lifetime had transformed into boundless, fertile fields upon artistic creation could grow and prosper. With brush strokes that remained ever powerful, he employed bright and vivid colors in the canvas of magical landscapes that kindle our unbounded imagination. These paintings of beautiful hues and lucid structures are perfect reflections of the artist’s magnanimity and great wisdom.

the primary tones of orange and yellow emanate passion and vitality.

With the artist’s ingenious and varying strokes, these colors at times appear definitive and refined or lithe and spirited, just as if they were imbued with an infinite power that allows them to transform into a myriad brilliant hues. The painting’s horizontal structure sweeps across the canvas, with tones of red and orange cohering in the lower right.

The artist even signed his name at the bottom right with orange-yellow pigment, complementing the color layout of the entire painting.

At his eighties, Chu, had long since attained a mastery of space and wields his brush with uninhibited freedom, exaltation, and confidence.

The fluid, splendid formations and colors in “Touches orangées” further reveal that the artist is also an unparalleled master of color.

Light, vivid hues or thickly shaded tones, colors always appear pure and translucent under the stroke of his brush. They reflect, complement but never interrupt each other, indicating the artist’s broad, inclusive mind and remarkable wisdom that are the culmination of a lifetime of extensive travels, vivid experiences, and exquisite heartfelt emotions.

As early as the 1970s, Chu was already inspired by 17th century Dutch master, Rembrandt van Rijn (1606-1669), who strove to represent the dramatic expression of brightness and shadow through strong contrasts between light and dark. Chu’s extraordinarily agile brush strokes and unique color composition enabled him to paint in dark colors that remained dynamic and uplifting, instilling immense power into his abstract painting without engendering a sense of weight and heaviness. In later works such as “Touches orangées,” the contrast between light and dark remain significant.

However, the boundaries between blocks of color are already becoming intermingled Painted between 2004 and 2005, “Touches with one another, taking on the appearance orangées” is exemplary of the brilliance of additional grace and tranquility. Working Chu attained in his later years. With the use 林布蘭《夜巡》1642 年油彩•畫布 359 x 435 公分，國立美術館，阿姆斯特丹，荷蘭 upwards from the dark, horizontal structure of color and brush strokes as his central Rembrandt van Rijn, The Nightwatch, 1642 stretching across the center of the canvas, the themes, the artist implies that this piece is artist created embellishments in the form of an investigation into the essence of painting, tiny blocks of color that transmute into shades of brilliant luminosity. based upon which he initiates a dialogue on aesthetic philosophy It is this brilliance from which enchanting rays of blue, purple, that explores the various elements of artistic structure. In this red and yellow are projected to the furthest corners of the canvas. painting, bright, vivid colors are executed in a horizontal composition The miniscule blocks of color reminiscent of speed and movement symbolizing the vibrant energy of sensations and emotions. While blue resemble splashing water or an effusion of flying rocks. Overflowing is the dominant hue of this work, gorgeous colors of brilliant contrast energy and an innumerable amount of detail that occupy our vision emit a dazzling radiance. The multi-layered tones in orange and red are as remarkable and astounding as the energy that flows throughout to the right cohere and cumulate against a serene backdrop of indigo. the universe, guiding our souls in our journey across surging waves Fiery and scorching as blazing fire, resplendent and crystalline as towards graceful composure and infinite serenity. magnificent gems, they become the focal point of the entire canvas.

Chu greatly favors the color blue. In his eyes, blue is inclusive and succinct, the perfect color for exhibiting his inner feelings. Meanwhile,

263 ZAO Wou-ki

(Chinese-French, 1921-2013)

01.11.86 1986 Oil on canvas 89 x 116 cm Signed lower right Wou-ki in Chinese and zao in French Signed on the reverse ZAO Wou-ki in English and titled 1.11.86 ILLUSTEATED: Zao Wou-Ki, in Zao Wou-Ki, Musée des Beaux-Arts de Tours, Nantes, 1990, p. 10

趙無極 01.11.86

1986 油彩 畫布 89 x 116 cm 簽名右下：無極 ZAO 簽名畫背： ZAO Wou-ki 1.11.86 圖錄： 《Zao Wou-Ki, in Zao Wou-Ki》，圖爾美術館，南特， 1990，頁10

NT$ 36,000,000-44,000,000 HK$ 8,551,000-10,451,000 US$ 1,102,900-1,348,000

趙無極的繪畫總有著濃厚的詩意，在其創作生涯不同時期的作品，無論是激情高昂地追尋藝術成就、探問天地浩瀚之力量、甚至在人生起伏時 呈現內心強大的苦痛掙扎、或是抒發愉悅寧靜之胸襟，他的畫作總帶有一種出塵而純粹的優雅。生命的迭宕起伏並沒有折損他的高貴氣度，反 而為他增添了智慧，他畫筆下構築的世界，總在明晰澄靜的心靈節奏之中，延伸出無盡的想像空間。而詩的質地，不僅僅來自於他成長背景的 中國文學素養，他在法國也與多位詩人建立了深刻的友誼，其中最為人稱道的是他與亨利．米修（Henri Michaux）的相知相惜。藝術家的抒情 抽象正如詩歌一般，並不明確地指出描繪對象，也沒有完整的敘事性，其內涵無法被具體掌握，只能意會難以言傳，卻表達了更豐富的內涵， 深刻地感動人們的內心。 《01.11.86》以明亮的青色為主調，在悠遠的詩意之外，整幅畫作瑩瑩生輝，散發明朗純淨的光輝，更是展現了藝術家在光之表現上的卓越技 巧。趙無極深得油畫表現之精髓，早年受到克利（Paul Klee，1879-1940）啟發，同時對中國文字，特別是甲骨文進行深入研究，皆成為其創 作的養份；1970年代，藝術家經歷喪妻之痛後在水墨的世界裡找到平靜，從而進行大量的水墨練習與創作，對於中國山水藝術中無形的意境、 墨色的韻味體會至深，及至1980年代，藝術家的油彩畫作更添東方悠遠深邃的氣質，再次驚豔藝壇。趙無極曾如此描述他重拾水墨後的心境： 「我看到空間在筆下誕生，隨著我的遐思而成形、而逸，一種輕快感蔓延開來—運筆輕快、色彩輕快、時間也輕快的流逝。」（參閱趙無極、 梵思娃著、劉俐譯《趙無極自畫像》，藝術家出版社，台北，1992初版，頁115），於是，他舉重若輕，將抒情抽象帶入了前所未有的另一層境 界。1981年，趙無極首度受邀至法國巴黎大皇宮（Galeries nationales du Grand Palais）舉辦個展，深受各界推崇，已達耳順之年的趙無極，繼續 攀登藝術生涯一座又一座的高峰。 在此晚進階段，趙無極作畫有如信手拈來，淋漓酣暢而瀟灑自在，豐富的人生歷練此時已轉化為智慧的光芒，其畫作依舊氣勢恢弘，藝術家卻 能以輕盈的手法表現偉大而深沉的力量。如同《01.11.86》一作，崇高的天地之氣震懾人心，卻是以一種的寬大溫煦的姿態包圍而來，顯得更 為悠然而自由，像是穿越黑夜而來的黎明般，蘊藏著無限希望。藝術家在明暗對比強烈的佈局之中，展現墨色渲染的旨趣，特別是集中在畫面 下半部細節繁複的筆觸肌理，似乎擁有內在的生命力，有機地生長變化，應對著宇宙萬物源源不絕的生命力。而藝術家將畫面大部分的空間讓 給明亮的藍綠色調，細緻地鋪陳出那穿越了重重物質、自遠方而來的宇宙之光，散發來自光明的巨大能量，蒼茫而壯闊的氛圍，令人想起德國 浪漫主義大師卡斯帕．大衛．佛列德利赫（ Caspar David Friedrich，1774-1840）繪於十九世紀初的精典之作《海邊的修士》 （The Monk by the Sea ，1808-1810），畫中立於海邊的修士，面對浩瀚壯闊的大海，既顯現出個人的渺小，也展現了人類心靈的無限可能。而面對《01.11.86》所 呈現的廣闊無邊、光彩奪目的無形之景，我們再次見證了宇宙間那變幻莫測的奧妙，激起與大自然對話、沉思於古往今來的壯麗胸懷。

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Zao Wou-ki’s paintings are forever imbued with a profound poetic grace. Whether an impassioned pursuit of artistic accomplishments, an exploration of the almighty forces between universe and earth, the revelation of his tortuous inner struggles or expression of his delightful temperament and serene generosity, Zao’s art at each phase of his career always embody a sort of otherworldly purity of elegance.

Life’s ups and downs have never detracted from his noble magnanimity, and have moreover enhanced his accumulation of wisdom. The world he had constructed with lucid brushstrokes expands the limits of our imagination amidst the crystalline clarity and tranquility of his spiritual rhythms.

The quality of his poetic grace, however, was not only a derivation of his Chinese literary background but also the fruit of deep friendships he forged with various poets in his contemporary France. One of the most celebrated anecdotes was his close acquaintance with Henri Michaux. The artist’s lyrical abstractness is like a lyrical song that neither clearly indicates its object of portrayal nor possesses an overarching narrative. Although its intrinsic content defies description and explanation, the wealth of connotations carried within is always touching to the human heart.

Publishing Co., Taipei: 1992, p. 115). With this exceptional ability to convey profound philosophical thought with this indescribable lightness, Zao’s artwork embodies a lyrical abstractness of unprecedented ephemerality. In 1981, Zao was invited to hold his first solo exhibition at Galeries Nationales du Grand Palais, a great success that was highly acclaimed by all. Even in his sixties, Zao continued to forge pinnacles in his artistic career, ceaselessly and persistently.

During his later years, Zao’s art seemed to come into being effortlessly, the culmination of his wealth of profound artistic thought and fluent artistic techniques. His abundant experiences had transformed into the radiance of wisdom.

The paintings still exhibit an awe-inspiring magnificence, yet the artist was capable of embodying profound and powerful forcefulness with exquisite lightness. In “01.11.86,” the eminence and majestic glory of heaven and earth, dauntingly sublime to the human mind, is encircled by a sort of warm, gentle atmosphere appearing to be as light and carefree as the break of dawn that penetrates the darkness of night and heralds infinite possibility. The artist exhibited the delight of washed ink through a composition that strongly features the contrast between light and dark, especially in the lower part of the canvas. The detailed and complicated textures of With bright cyan as its main tone, “01.11.86” glows with brush strokes seem to bestow mighty forces of life, growing clear, pure rays of luminosity that demonstrate the artist’s and changing organically while echoing the infinite source extraordinary skills in the representation of light. Zao was of life emanating within truly a master of the essence the cosmos. The artist left of oil painting. The early most of the space upon the influence of Paul Klee (1879 canvas to light, lucid tones – 1 9 4 0 ) a n d Z a o ’s o w n of blue and green, a delicate investigation into the wonders portrayal of the cosmic light of Chinese characters, that has traveled afar, through especially oracles, evolved various substances, and into indispensable elements yet still emits an extremely for his artistic creation. In the powerful energy and sense 1970s, after the shock and of vast expansiveness. The pain of losing his wife, the atmosphere of the painting artist regained inner peace in 卡斯帕．大衛．佛列德利赫《海邊的修士》 reminds people of the the world of ink and wash.

The Monk by the Sea, Caspar David Friedrich timeless classic “The Monk He conducted a large number by the Sea” (1808 – 1810) by of exercises in ink wash German Romantic master Caspar David Friedrich (1774painting, thereby acquiring a deepening appreciation for 1840), in which the monk standing upon the beach faces a the indescribable grace and intangible artistic conception of vast, infinite expanse of ocean, evincing the insignificance Chinese landscape painting. In the 1980s, his oil paintings of individuals as well as the infinite possibilities of the began to reveal a sort of distant and profound Eastern human mind. Looking into the extensive, boundless and ambience that once again tantalized the art scene. Zao thus magnificent landscape depicted in “01.11.86,” we are once described his mentality after retrieving the techniques of again witnesses to the mysterious wonders of our universe, ink and wash, “I saw how space was given birth through inspired to converse with nature, and invited to contemplate my brush and was formed and disseminated through on the glories of our past, present and the future. my thought. A lightness of being permeates throughout: lightness of brushstroke, lightness of color, even lightness of transient passing time” (Zao Wou-ki & Françoise Marquet, tr. Liu Li, Self-Portrait of Zao Wou-ki, 1st edition, Artist

264 Walasse TING

丁雄泉

(Chinese-American, 1929-2010)

給我一個彩虹

Give Me a Rainbow

1979 壓克力 畫布 102 x 127 cm 簽名畫背：Give me a Rainbow Ting 79

1979 Acrylic on canvas 102 x 127 cm Signed on the reverse Ting in English, titled Give me a Rainbow in English, dated 79 PROVENANCE : Bruun Rasmussen Auction, Denmark, Jun 12, 2012, lot 787

來源： 布魯恩拉斯姆森秋拍賣，丹麥，2012年6月12日，編 號 787

NT$ 8,000,000-9,000,000 HK$ 1,900,000-2,138,000 US$ 245,100-275,700

繽紛色彩斑斕的畫面構成，擅長各式裸女畫的丁雄泉確實為華人藝術範疇裡特例獨行的一位；他遊歷歐美各國，並深受當時最前衛當代的藝 術流派影響，如眼鏡蛇畫派，如抽象表現主義等，在在成就他與眾不同的藝術語彙。 終其一生，丁雄泉都在探求女性之美，他以艷麗鮮明的女體創作抓住眾人眼光，流淌著他最浪漫無度的天性，而畫中女人的魅力就如同春天 百花綻放的嬌鮮欲滴。此作《給我一個彩虹》為藝術家標誌性繪畫，創作於他旅居紐約年間，而當時自由不拘束的藝術氛圍引領著他日後風 格的確立；自始，丁雄泉的創作開始由抽象藝術轉至具象繪畫，心境大為更迭，投入了他畢生鍾愛的女體創作。大膽利落的線條勾勒，手法 流暢帶點不羈的狂野自信，宛若野獸派的灑脫奔放，而其畫中女人慵懶不扭捏的枕著背，半掩著臉龐，泰若自如地呈現女性姿態的優美；背 景充滿力道的顏料潑灑、滴流等抽象表現主義的影子融合高彩度的色塊塗抹，則迸發出藝術家旺盛的創作能量以及川流不息的生命力，更是 丁氏最簡潔有力且獨到的藝術語彙，滿溢著美好的氣息。 丁氏一場華麗又淋灕暢意的色彩旅程，既讓人目眩神迷又充滿著視覺衝擊力的感官饗宴，在裝飾性強烈之外，更傳達出歡愉舒適的情感氛 圍；藝術家在此時已能隨心所欲地揮灑創作，無拘無束地作畫，享受繪畫帶給他的種種美好，而形式以不再重要，作品流露的是丁雄泉與生 俱來的色彩直覺和對藝術的高度熱愛，而他更將這些無可躲藏的情感赤裸地表現在一張張畫布上，如此絢爛。 With canvases encompassed by dazzling diversities of brilliant colors, and an expertise in a variety of styles in female nudes, Walasse Ting is indeed an exceptional figure within the scope of Chinese art. He had traveled extensively throughout Europe and America, and was deeply inspired by the contemporary avant-garde art trends of the time, including CoBrA and abstract expressionism, all of which contributed to his unique artistic vocabulary.

Ting had spent his entire lifetime in the pursuit of female beauty. He attracted the viewer’s attention with vividly colored portrayals of gorgeous feminine bodies in paintings that are direct manifestations of his excessively romantic nature, while the women he portrayed evince a charm and delicacy like the resplendent, ambrosial blossoms of springtime. “Give Me a Rainbow” is a signature work the artist painted during his years in New York. The liberal, unrestrained artistic atmosphere of the era later played a major role in the formulation of Ting’s distinctive personal style. Thence, his paintings transitioned from abstract to figurative art, and his state of mind underwent drastic transformations as he began to devote himself to a lifelong passion for female portrait painting. Outlined with bold, confident brushstrokes, this painting demonstrates the artist’s expert deftness complemented by an unruly sense of assurance—a freedom and spontaneity characteristic of Fauvism artworks. The woman in the painting leaned comfortably on her back, her face half obscured, perfectly composed and unabashed as she displays her feminine beauty. In the background, powerful splashes and drippings of hue invoke the influence of abstract expressionism while blending perfectly into the chunks of highly saturated colors. The boundless creative energy and streaming vitality that burst forth is moreover a succinct and powerful statement of Ting’s extraordinary artistic expression, and imbues the artwork with an air of delighted bliss.

弗朗西斯科·戈雅《裸體的馬哈》 1797年–1800年 油彩 畫布，97 x 190 cm，馬德里普拉多博物館 Francisco de Goya, La maja desnuda, Museo Nacional del Prado, Madrid, Spain

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“Give Me a Rainbow” accompanies the viewer on a splendid and carefree journey of magnificent color. Ting provides a feast for the senses that is both bedazzling and brimming with stunning visual impact. While the artwork is highly decorative, it also conveys a delightful and enjoyable emotional ambiance. By the time this painting was created, the artist was already able to unleash his talents however he pleased, to paint freely without restraint and enjoy all the pleasures of artistic creation. Art form became of little relevance as Ting’s works revealed his natural intuition for color and enthusiastic passion for art. He expressed these inescapable sentiments openly and profusely, creating canvas after canvas of brilliant splendor.

265 Walasse TING

(Chinese-American, 1929-2010)

Kiss Me Kiss Me No.1 1975 Acrylic on paper 80 x 120 cm Signed on the reverse Ting and titled Kiss Me Kiss Me in English, dated 75 PROVENANCE : Christie’s Auction, Hong Kong, May 27, 2007, lot 299

NT$ 3,200,000-4,200,000 HK$ 760,000-998,000 US$ 98,000-128,700

丁雄泉 親我親我 No. 1

1975 壓克力 西洋紙 80 x 120 cm 簽名畫背：Kiss Me Kiss Me Ting 75 來源： 佳士得拍賣，香港，2007年5月27日，編號 299

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266 DING Yi

(Chinese, b. 1962)

Appearance of Crosses 2008-23 2008 Mixed media, chalk charcoal and pencil on canvas 140 x 120 cm Signed lower right Ding Yi and dated 2008

丁乙 十示 2008-23

2008 綜合媒材 粉筆 炭筆 彩色鉛筆 畫布 140 x 120 cm 簽名右下：Ding Yi 2008

NT$ 4,000,000-6,000,000 HK$ 950,000-1,425,000 US$ 122,500-183,800

丁乙，1962年出生於上海，被認為是中國抽象派畫家的領軍人物。他1983年畢業於上海工藝美術學校，後被分配到上海玩具十二廠技術科，從 事玩具和玩具包裝的設計工作。由於在設計時需要繪製大量的圖稿，而「十字」符號則是圖稿上用於標示套色過程中的座標，丁乙由此逐漸在 「使繪畫僅僅回到形式的本質」的理想下，形成了自己最具代表性的創作「十示」系列作品。此外，丁乙早在1993年就參加了威尼斯雙年展， 以及1998年的雪梨雙年展。 80年代後期，丁乙就開始畫「十字」，即「十示」系列作品：這個系列作品，不管是大面積黑色的，或是繪製在成品布上的，亦或是另外一些 強烈螢光色的作品，均以標題「十示」連同創作年份的方式來命名。對藝術家來說，畫中反復出現的主題「+」或「x」是無意義的形式符號， 其語境則是後社會主義時期中國工業化發展步伐下的城市環境。 丁乙對自己作品有著很好的詮釋：「選擇十字恰恰因為它是一個泛含義的符號，在從業經歷中，十字線是無數次被用來標示多次套色的過程中 必須遵循的座標式的精確細線，它只是印刷業的技術術語與符號，沒有任何用象徵手法可以獲得聯想的空間，我要濾去所有實際性，使繪畫僅 僅回到形式的本質，形式即精神。」「十」就是規定四色印刷品中的符號，它的基本元素最簡單，但經過組合排列後，轉換成一種基本形狀， 情況就不一樣了，它具有非常有意思的不確定性和解釋上的無限可能。 1989年開始，丁乙開始利用成品布進行創作，這使其作品更具觀念性。本幅作品，就是創作在成品布上的。此幅作品以格子成品布為基底，再 進行繪畫，隨著筆觸，又使得豐盛而炙熱的色彩逐漸顯露出來，製造出畫面原始的肌理走向。多重的線條厚薄、深淺有致，張弛有度，一橫一 豎「十字」間不再只是單純的符號排列，而是體現了中國書法之美，似乎在預示禪宗中所體現的辨證性。與早期同一系列的「十示」作品相 比，這一時期的格子形成了一個更加豐富和復雜的藝術體系，體現了丁乙對格子語彙的掌控和調度能力。 Ding Yi, who was born in Shanghai in 1962, is one of the leading Chinese abstract artists. After graduating from the Shanghai Art & Design Academy in 1983, Ding Yi was assigned to work in the Technology Section at Shanghai No. 12 Toy Factory, where he was involved in designing toys and toy packagings. Designing the work requires the production of large numbers of drawings, and the "cross" symbol was used extensively on these drawings to denote the need for the application of colors. This gave Ding Yi the inspiration for his "Appearance of Crosses" series of paintings, in which he "sought to bring painting back to its essential formalist nature." Works of Ding Yi have been shown at the Venice Biennale in 1993, and the Biennale of Sydney in 1998.

Ding Yi began working on the "Appearance of Crosses" series since the late 1980s. Regardless of whether these paintings take the form of a large, monochrome work, of a painting on cloth, or of a work using bright fluorescent colors, they are all entitled "Appearance of Crosses" and identified by a date and serial number. From Ding Yi ’s perspective, the repeated "+" or "x" signs are, in and of themselves, meaningless formal symbols; the artistic lexicon utilized in these works derives from the urban environment created by industrial development in post-socialist China.

Ding Yi offers this convincing interpretation of his own work: “The choice of the cross derives from the fact that it is a symbol with great potential meaning.

In Ding Yi’s work as a designer, the cross appeared countless times to indicate precise "coordinates" that had to be followed in the coloration process.” As a printer’s symbol, the cross had no inherent symbolic meaning or connotations. Ding Yi aimed to eliminate every trace of the "real," allowing painting to return to its essentially formalist nature. Given its role as a symbol indicating a four-color printing process, the basic elements of the cross are very simple, and yet once they have been carefully arranged, they are transformed into a fundamental shape that possesses a highly meaningful uncertainty and which offers almost unlimited interpretative potential.

From 1989 onwards, Ding Yi began using fabric in his art, giving it a more conceptual feel. This particular work is an example of Ding Yi’s paintings on cloth. Taking a piece of tartan fabric as its base, the painting is created on top, with rich, warm colors starting to take shape as the brushstrokes are applied, creating a textural effect that could be said to be latent in the work. The multiple layers of lines of varying thickness contrast perfectly with one another, and the latticework of crosses is more than just a simple array of symbols; it embodies the same kind of beauty seen in Chinese calligraphy, and seems to reflect the dialectical hermeneutics of Chan (Zen) Buddhism. By comparing with the earlier works of the "Appearance of Crosses" series, the latticework approach used in this particular painting embodies a richer, more complex aesthetic, reflecting the mastery of the artistic lexicon provided by the latticework method that Ding Yi had achieved by this point, and the flexibility that he displayed in utilizing it.

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267 ZHAN Wang (Chinese, b. 1962)

Artificial Rock No. 76 2006 Stainless steel and wood, edition no. 3/4 49(L) x 38(W) x 131(H) cm (with wood base) Engraved on the bottom Zhan Wang in Chinese, numbered 76, edition number 3/4, dated 2006

NT$ 6,000,000-8,000,000 HK$ 1,425,000-1,900,000 US$ 183,800-245,100

展望 假山石系列＃76 2006 不鏽鋼 木 3/4 49(長) x 38(寬) x 131(高) cm（含底座） 簽名雕刻底部：76# 展望 2006 3/4

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268 LI Chen

(Taiwanese, b. 1963)

Collective Consciousness 2006 Bronze, edition no 6/8 131(L) x 38(W) x 53(H) cm Engraved on the back LI Chen in Chinese and English, numbered 6/8 Engraved on the back LI Chen in Chinese, numbered 6/8 and dated 2006 EXHIBITED : In Search of Spiritual Space, National Art Museum of China, Beijing, April 29- May 11, 2008 Crossover-Group Exhibition: Liu Kuo-Sung, Chiu Ya-Tsai, Li Chen, Hung Yi, River Art•Contemporary, Miaoli, Nov. 1- Dec. 2013 ILLUSTRATED : In Search of Spiritual Space, Asia Art Center Co., Ltd, Taipei, 2008, color illustrated, pp.156, 199 Energy of Emptiness, Asia Art Center Co., Ltd, 2007, color illustrated, pp. 198, 199, 221 Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, 2012, color illustrated, p. 161 This sculpture is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 4,400,000-5,500,000 HK$ 1,045,000-1,306,000 US$ 134,800-168,500

李真 糜糜 2006 銅雕 6/8 131(長) x 38(寬) x 53(高) cm 簽名雕刻底座後方：李真 Li Chen 6/8 (第一隻) 簽名雕刻底座後方：李真 6/8 2006 (第二至四隻) 展覽： 「尋找精神的空間」，中國美術館，北京，展期自2008年4月29日至5月11日 「跨越─劉國松、邱亞才、李真、洪易作品收藏展」，大河美術•當代館，苗栗， 展期自2013年11月1日至12月31日 圖錄： 「尋找精神的空間」，亞洲藝術中心，台北，2008年，彩色圖版，頁156 《Energy of Emptiness》，亞洲藝術中心，2007年，彩色圖版，頁198，199，221 《大氣－李真台灣大型雕塑首展》，亞洲藝術中心，2012年，彩色圖版，頁161 附亞洲藝術中心開立原作保證書

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269 LI Hui

(Chinese, b. 1977)

Amber - Dragon Acrylic, LED lamp, stainless steel, edition no. 3/8 300(L) x 100(W) x 45(H) cm Engraved on the back Li hui in Chinese and English, numbered 3/8

李暉 琥珀-龍 壓克力板 不銹鋼 LED燈 3/8 300(長) x 100(寬) x 45(高) cm 簽名雕刻後方：李暉 Li hui 3/8

NT$ 4,000,000-5,000,000 HK$ 950,000-1,188,000 US$ 122,500-153,200

概念藝術家李暉出生於1977年的北京，成長於中國快速發展變遷的時代。中國快速 發展時期，劇烈、瞬息萬變的生活環境，造成了人們因變動而焦慮的社會狀況。李 暉許多作品反映了中國這段特別時期的人們的共同背景或心境；其中，藝術家擅長 技巧性的利用當代科技及元件，以雕塑的方式營造出充滿不安定感的心理狀態。 《琥珀-龍》此雕塑作品主要由龍的骨骼及如火箭狀的透明外殼構成，其內外兩物 件的對比使得看似安穩的單件作品延伸出無限的寓意。火箭是現代文明的工業產 物，而龍是傳統文化里神話中的奇幻生物；外表和內在的差異及衝突反映著李暉對 於中國人們的心境觀察感想。支撐著生物體的骨骼和具表面特質的外殼各代表不同 的文化，是表示著人們精神、心理層面的反差，也是象徵著當代中國社會矛盾、牴 觸等問題。 李暉的概念藝術作品多元的利用且混合多種當代媒材，以理性的製作組合感性地呈 現詩意的精神面狀態，成功地運用各種素材營造意象並表達主張，創造了其獨特的 科技美學。 The conceptual artist Li Hui was born in Beijing in 1977, an era when China was undergoing rapid development and transitions. The dramatic and fast-changing environment in this period of fast development contributed to social phenomena including anxiety caused by the rapid transformation and change. Many of Li Hui’s works reflect a common background and collective mentality shared by people from this specific period of China’s recent history. In particular, the artist is superb in his adroit use of contemporary technologies and components, utilizing the approach of sculpting to create a psychological state of instability.

Amber – Dragon is primarily composed a dragon skeleton and translucent rocketshaped casing. The contrast between the interior and exterior components renders what seems a stable piece of work infinite with imagination and imageries. Rockets are an industrial product of modern civilization, while dragons are a fantastical and mythical organism in the traditional cultures; this contrast and conflict in the outer and the inner reflects Li Hui’s contemplative observation of the state of mind of Chinese people. The skeleton that supports the organism and the casing that contains surface characteristics represent different cultures, signifying the contrast of the spirits and the psyche, as well as symbolizing contradictory issues within contemporary Chinese society.

Li Hui’s conceptual art works show a diverse and mixed use of a wide range of contemporary materials and mediums, with a rational combination in terms of production, perceptually yielding a poetic dimension. His works successfully integrate all numerous materials to create imageries while expressing certain statements and creating a unique science-influenced aesthetic.

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270 JU Ming

(Taiwanese, b. 1938)

Taichi Series – Arch C.1990s Bronze, edition no. 10/10 88(L) x 42(W) x 56(H) cm Engraved lower right side Ju Ming in Chinese and numbered 10/10 This sculpture is to be sold with a certificate of authenticity issued

by Hanart Gallery, 2015, Hong Kong

NT$ 3,600,000-4,600,000 HK$ 855,000-1,093,000 US$ 110,300-140,900

朱銘 太極系列－太極拱門 約1990年代 銅雕 10/10 88(長) x 42(寬) x 56(高) cm 簽名雕刻右側下方: 朱銘 10/10 附2015年漢雅軒開立之原作保證書

朱銘「太極」系列的問世，曾造成藝文界的質疑，許多人無法理解此轉 變，但能靜心去體會的人即可感受到這是其轉化為大師的徵兆之一，已 從過去的鄉土性跳脫出，也是他雕塑方式及藝術風格凝結成形的里程 碑，雖然此系列作品甚多，但仍可以看出作品之間並非一成不變，從學 太極到刻太極，最初創作時還需圖片參考，隨著時間過去，他本身對太 極招式越來越瞭解及熟諳，並對太極的心智作用愈加鑽研，作品也展現 出因徹底體會而透露出的果決，在一座座沉著的形象下藏著是太極的能 量和藝術家的生活經歷。 《太極拱門》特別之處也在於它與其所處之角落和諧共存，並漸漸地成 為周遭中有機的構成要件，融合了中國園林天地圓融的東方哲學思想， 無論它的大或小，所要表現的空間感都是不受限的，也許是因為朱銘賦 予的空靈氣質所致，散發出一種無限延伸之感。 Public presentation of the “Taichi” series was once questioned by the art and cultural circles. Many were unable to understand the transition, but those who were able to calmly experience it could feel it as one of the signs of his transformation into a great master. His departure from local art is also a milestone set by his sculpting method and artistic style. Although the pieces of sculptures included in the series are numerous, they are not invariable.

From learning Taichi to sculpting it, the earliest creations required picture references. With the passage of time, his gradual understanding of and familiarity with Taichi moves increased, and he became more absorbed in the study of the mental effects of Taichi. His sculptures also began to show the firmness and resoluteness revealed through his thorough experience. Under each calm and composed image hides the energy of Taichi and the artist’s experiences in life.

The uniqueness of the “Taichi Arch” lies in its harmonious coexistence with the corner where it is located. It has gradually become an important component of the surroundings, integrating the Oriental philosophical thinking of the union of heaven and earth in the gardens of China. The extensity presented by the sculpture, regardless of its size, is unrestricted.

Perhaps the feeling of infinite extent is a result of the spiritual character it is endowed with by Ju Ming.

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271 JU Ming

(Taiwanese, b. 1938)

Taichi Series 1991 Camphor 47(L) x 22(W) x 28(H) cm Engraved bottom side Ju Ming in Chinese and dated '91 This sculpture is to be sold with a certificate of authenticity issued by the nonprofit organization Juming Culture and Education Foundation - Juming Museum.

NT$ 1,900,000-2,800,000 HK$ 451,000-665,000 US$ 58,200-85,800

朱銘 太極系列 1991 樟木 47(長) x 22(寬) x 28(高) cm 簽名雕刻底部: 朱銘 '91 附財團法人朱銘文教基金會開立之作品鑑定報告書

太極是一種精神的修煉，修煉者與大自然的聯繫互動，以達至陰陽兩極 平衡。朱銘的「太極」系列隱藏了此強烈的傳統東方哲學思想，象徵大 自然神秘的本質。朱銘的作品充滿力量與靈魂，氣勢磅薄，其造型及材 質亦能與大自然融為一體，達至天人合一的境界。朱銘亦巧妙地運用西 方現代雕塑的風格與技巧表達如此深邃的中華文化，反映藝術家對中西 文化融合的意象理解。 朱銘的「太極」系列蘊含著許多傳統中國美學元素。朱銘脫離了精細而 寫實的雕塑技巧，反而講求中國傳統書畫所追求的「氣韻生動」。朱銘 創作的過程是「縱手放意，無心而得」，他說：「所謂『無心』，就是 沒有經過思考，這是我的主張，在創作中，不必想，也不可以想，則堅 守了創作的嚴肅性，因為他不變質。」由早期以木頭為創作素材的時 候，朱銘已用斧頭隨心地創作，藝術家在木頭上刀劈斧削的痕跡清晰可 見，反映其縱手放意的雕塑技法。這些痕跡形成雕塑的負空間，發揮太 極陰陽協調的效果。 In his Taichi series, Ju Ming embodies the serenely powerful ambiance of oriental philosophy and traditional culture. A spiritual practice, Taichi allows practitioners to connect deeply with nature, and achieve a balance between the opposing cosmological forces of yin and yang. Imbued with spiritual power, Ju Ming’s Taichi sculptures epitomize the mystifying essence of nature. Ju Ming masterfully articulates this abstruse traditional Chinese spirit through an aesthetic inspired by Western Modernist expression.

While distinct in form, each exploration in Ju Ming’s Taichi series contains inspiration from traditional Chinese aesthetics. Deliberately departing from his highly meticulous and realistic sculpting techniques, Ju instead elects to imitate the traditional Chinese painting and calligraphic aesthetic of qiyun shengdong—“spiritual resonance and life-like motion”—as a means of articulating a sense of liveliness and vitality. Ju Ming’s unrestricted and unintentional sculpting technique emanates clearly from works such as Taichi Serie, where the wooden medium prominently displays each carved stroke. As seen in this piece, Ju Ming’s artistic style shares similarities with the dafupicun technique of Chinese painting, where strokes are applied with the intention of resembling the cuts made by a large axe. In this wooden Single Whip, the artist has allowed each stroke to remain visible, therefore combining with the finished form as an integral part of the sculpture itself.

Here, the negative space created by act of sculpting and the wooden body which remains merge together as an embodiment of yin and yang which the artist continually celebrates throughout his sculptural series. In keeping with the ideals of this technique, Ju Ming believes that when sculpting, there is no reason to think. Only the most direct way of sculpting can create the most genuine piece of art.

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272 HUNG Yi

(Taiwanese, b. 1970)

Money Frog 2010 Lacquered steel, edition no. 1/6 155(L) x 133(W) x 110(H) cm Signed on the back Hung Yi, dated 2010 and numbered 1/6 in Chinese EXHIBITED : Happy Animal Party-Hung Yi, The Hakone Open-Air Museum, Hakone, July 27-December 1, 2013 This sculpture is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

洪易 金錢蛙 2010 鋼板烤漆 1/6 155(長) x 133(寬) x 110(高) cm 簽名後方：洪易 2010 1/6 展覽： 「洪易動物派對個展」，雕刻の森美術館，箱根， 展期自2013年7月27至12月1日 附印象畫廊開立之原作保證書

NT$ 850,000-1,000,000 HK$ 202,000-238,000 US$ 26,000-30,600

在台灣當代藝術的發展上，洪易是一位具有強烈個人風格與時代特色的原創性藝術家。他的作品色彩鮮豔、生動活潑、造型奇特且千變萬 化。洪易認為：「當代藝術世界百花齊放，多樣的創作形式令人目不暇給，而臺灣的特色是什麼，人們總是容易忽略身邊最貼切的事物， 但我覺得藝術是很生活化，不論創作什麼都要與自己的環境結合，創作才有意義和生命力。」 作品使用全新的雕塑媒材「鋼板烤漆」，反應現代機械文明的新風格。每一件作品皆為獨立鍛造、塑型，造型變化萬千；色彩運用大膽豐 富，結合濃厚的臺灣人文氣息，蘊藏多重的文化底蘊，轉化為獨特的「洪易風格」，洪易的藝術世界充滿想像力，透過色彩雕塑，洪易讓 我們的世界，充滿趣味與驚喜。 近年來洪易廣受國內外展覽邀約，2013年受邀到亞洲最具國際聲望的日本箱根雕刻之森美術館舉辦個展、2014年分別在香港青衣城、台中 市政府廣場及舊金山默塞德湖球場舉辦個展、2015年獲得美國舊金山市李孟賢市長與市政府的邀請，在舊金山市政府廣場舉辦大型地景藝 術展，今年初洪易受邀在台中國立台灣美術館舉辦盛大個展。洪易的雕塑具有豐富的在地元素及天馬行空的圖騰彩繪，藉由這些作品傳遞 給大家很美的心靈喜悅。 作品《金錢蛙》洪易取自民間傳說，三腳金錢蛙能為人們帶來財富，從形體的轉化到符號的轉譯與再詮釋，均來自民間文化與日常生活， 透過色彩及符碼的再創造，他引領觀眾進入繽紛豔麗的世界，糅合對於社會的觀察與生活體驗的一些想法、觀念，透過《金錢蛙》傳遞出 在外奮鬥討生活的每一個人，希望擁有更好、富裕的生活。 Hung Yi is an original artist featuring strong personal style and distinguishing characters in the development history of Taiwanese Contemporary Art. His works are bright, vibrant, lively, peculiar, and whimsical. Hung Yi once said “The diversifying creative forms are overwhelming in the flourishing contemporary art world. In figuring what Taiwanese characters are, I found people often neglected the very close things. I considered art a part of life.

No matter what one is creating, the creation must be combined with one’s surroundings in order to make it vital and meaningful.”

Hung Yi has been using lacquered steel, a brand-new material, as his new style in response to modern mechanical civilization. In order to produce the dynamic form for each sculpture, every piece of work was forged and shaped individually. He utilizes the bold, abundant colors, and elements of Taiwanese cultural, which bears multiple humanities, collectively to form the distinct “Hung Yi Style.” Hung Yi’s art world is brimmed with imagination. Through the sculptures with brilliant colors, he has richened the world with fascinations and amazements.

Recently, Hung Yi has been widely invited to exhibit in Taiwan and abroad. In 2013, he was invited for a solo exhibition at the Hakone Open-Air Museum in Japan, the museum with the great international reputation. In 2014, his solo exhibition was held in Hong Kong Maritime Square, Taichung City Hall Plaza, and San Francisco Lake Merced Golf Club. In 2015, he was invited by Ed Lee, the Mayor of San Francisco, and the San Francisco City Hall to exhibit a large-scale landscape art exhibition in San Francisco’s Civic Center Plaza. Early this year (2016), Hung Yi was invited to exhibit the grand solo exhibition in the National Taiwan Museum of Fine Arts in Taichung. With bountiful local elements and totem paintings in unconstrained imaginative style, Hung conveys a sense of delight and merriment through his sculptures.

“Money Frog” is originally a Chinese folk legend. It was said that the appearance of three-leg money frog could bring wealth to people. Hung leads the audience into a splendid, glamorous world by recreating colors and symbols that were often seen in folk culture and daily life. From the transformation of form to the elaboration of symbol, Hung Yi blends in his social observations and life experiences into “Money Frog” to invoke a better and wealthier life for all.

130

273 HUNG Yi

(Taiwanese, b. 1970)

Money Mouse 2012 Lacquered steel 102(L) x 62(W) x 106(H) cm Signed on the back Hung Yi and dated 2012 engrave in Chinese on the reverse EXHIBITED : Happy Animal Party-Hung Yi, The Hakone Open-Air Museum, Hakone, July 27-December 1, 2013 This sculpture is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

NT$ 650,000-750,000 HK$ 154,000-178,000 US$ 19,900-23,000

洪易 錢鼠 2010 鋼板烤漆 雕版 102(長) x 62(寬) x 106(高) cm 簽名後方：洪易 2012 雕 展覽： 「洪易動物派對個展」，雕刻の森美術館， 箱根，展期自2013年7月27至12月1日

作品《錢鼠》在形體上呈現一種簡化且圓融敦厚的質地，造型上以出乎人們想像的活 潑動物形體，輔之以細心雕琢作品的色彩、線條與富趣昧性的圖案花樣，象徵元寶般 金黃色彩與圓滾滾的可愛外型為作品添增親切感與幸福感。 洪易喜歡以繽紛的色彩為藝術品注入生命，而作品本身的材質使用象徵嶄新時代的鋼 板製成，造型多以動物為主，圓潤飽滿的外型充滿歡樂與熱情，其作品更獲得國內外 重要藝術及公共機構典藏，包括國立台灣美術館、高雄美術館、北京中國美術館、澳 洲白兔美術館及舊金山亞洲藝術博物館典藏等。洪易的作品表現出具有當代觀點的時 代特色，圖騰運用上更充滿喜悅與正面能量，讓藏家感受到來自藝術的擁抱。

附印象畫廊開立之原作保證書

「洪易動物派對個展」，雕刻の森美術館，箱根 Happy Animal Party-Hung Yi, The Hakone Open-Air Museum, Hakone

“Money Mouse” features a simplified form which is round and rich quality which is also brisk and vivid at the same time. Hung had presented a sense of intimacy and bliss through attentive use of colors and lines, and the playful use of patterns. The form of the sculpture was made to be similar with the shape of gold ingots (called “yuan bao” in Chinese) that symbolize good fortune.

Hung Yi favors bright colors that brings his artwork alive, and lacquered steel material that symbolizes the new era. The full and curved forms of his animal sculpture is also one of the traits that brings glee and passion. His works were collected by many significant public art institutions in Taiwan and abroad. Including National Taiwan Museum of Fine Arts in Taichung, Kaohsiung Museum of Fine Arts, National Art Museum of China in Beijing, White Rabbit Gallery in Australia, and Asian Art Museum of San Francisco. Hung Yi’s works expressed a contemporary view point featuring the characters of the era. The playful use of totem reveals a joy and positive energy that allows the collector to enjoy the embrace of art.

132

274 HUNG Yi

(Taiwanese, b. 1970)

Lucky Tiger 2010 Lacquered steel, edition no. 6/9 120(L) x 100(W) x 88(H) cm Signed on the back Hung Yi in Chinese and dated 2010, numbered 6/9 This sculpture is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

NT$ 550,000-750,000 HK$ 131,000-178,000 US$ 16,900-23,000

洪易 福虎 2010 鋼板烤漆 6/9 120(長) x 100(寬) x 88(高) cm 簽名後方：洪易 2010 6/9 附印象畫廊開立之原作保證書

134

275 YU Peng

(Taiwanese, 1955-2014)

The Garden 2003 Ink on paper 28 x 31.5 cm Signed upper left Yu Peng in Chinese and dated 2003 in Chinese With one seals of the artist on the upper left

NT$ 40,000-80,000 HK$ 10,000-19,000 US$ 1,200-2,500

于彭 林園 2003 水墨 紙本 28 x 31.5 cm 簽名左上：癸未于彭字 鈐印左上：于彭

276 LIEN Chien-hsing (Taiwanese, b. 1962)

The Fountain of Fontainebleau 2002 Oil on canvas 27 x 41 cm Signed lower left LIEN Chien-hsing in Chinese, dated 2002 Signed on the reverse LIEN Chien-hsing in Chinese, titled The Fountain of Fontainebleau in Chinese and dated 2002, inscribed 6F This painting is to be sold with a certificate of authenticity issued by Eslite Gallery, Taipei.

NT$ 70,000-140,000 HK$ 17,000-33,000 US$ 2,100-4,300

連建興 楓丹白露之泉 2002 油彩 畫布 27 x 41 cm 簽名左下：2002 連建興 簽名畫背：楓丹白露之泉 2002 6F 連建興 附誠品畫廊開立之原作保證書

136

277 PANG Jiun

(Taiwanese, b. 1936)

Double Fishes 1992 Oil on canvas 22 x 27 cm Signed lower right Pang Jiun in Chinese and dated 1992 This painting is to be sold with a certificate of authenticity with artist's signature

NT$ 90,000-180,000 HK$ 21,000-43,000 US$ 2,800-5,500

龎均 雙魚 1992 油彩 畫布 22 x 27cm 簽名右下：龎均 1992 附藝術家親筆簽名之原作保證書

278 CHEN Yin-hui (Taiwanese, b. 1931)

Flower and Fruit 1991 Oil on canvas 22 x 27.5 cm Signed lower left Yin in Chinese, Chen in English and dated '91

NT$ 70,000-140,000 HK$ 17,000-33,000 US$ 2,100-4,300

陳銀輝 五色堇（花與菓） 1991 油彩 畫布 22 x 27.5 cm 簽名左下：銀. CHEN '91

279 T'ANG Haywen (TANG Then Phuoc)

曾海文

(Chinese-French, 1927-1991)

無題

Untitled

水墨 紙本 38 x 50 cm 簽名右下：T'ang海文

Ink on paper 38 x 50 cm Signed lower right T'ang in English, Haywen in Chinese

NT$ 100,000-200,000 HK$ 24,000-48,000 US$ 3,100-6,100

138

280 MA Pai-sui

(Taiwanese, 1909-2003)

Taroko Gorge 1977 Ink and color on paper 60 x 50 cm Signed lower right Pai-sui in Chinese and dated 1977 With one seal of the artist

NT$ 130,000-240,000 HK$ 31,000-57,000 US$ 4,000-7,400

馬白水 太魯閣 1977 彩墨 紙本 60 x 50 cm 簽名右下：白水 1977 鈐印右下：MA PAI SUI

281 TONG Yang-tze (Taiwanese, b. 1942)

Calligraphy Ink on paper 100 x 39 cm With three seals of the artist

NT$ 130,000-220,000 HK$ 31,000-52,000 US$ 4,000-6,700

董陽孜 意自如 水墨 紙本 100 x 39 cm 鈐印左下：董、陽孜

140

282 ZHANG Guangbin

張光賓

(Taiwanese, b. 1915)

山靜泉鳴

Waterfall from the Mountain

水墨 紙本 68 x 45 cm 簽名左上：張光賓 題識右上：山靜泉鳴 鈐印左上：張、張光賓

Ink on paper 68 x 45 cm Signed upper left Zhang Guangbin in Chinese and titled Waterfall from the Mountain in Chinese With two seals of the artist

NT$ 130,000-220,000 HK$ 31,000-52,000 US$ 4,000-6,700

283 SHEN Che-tsai (Taiwanese, b. 1926)

Flower in a Vase 1983 Oil on canvas 32 x 41 cm Signed lower right Che-tsai in Chinese, dated 1983 This painting is to be sold with a certificate of authenticity issued by Ever Harvest Art Gallery, Taipei.

NT$ 130,000-220,000 HK$ 31,000-52,000 US$ 4,000-6,700

142

沈哲哉 瓶花 1983 油彩 畫布 32 x 41 cm 簽名右下：1983 哲哉 附日升月鴻藝術畫廊開立之原作保證書

284 SHEN Che-tsai (Taiwanese, b. 1926)

Parliament of Canada 1993 Oil on canvas 24 x 33 cm Signed lower right Che-tsai in Chinese and dated 1993 Titled on the reverse Parliament of Canada in Chinese

NT$ 160,000-260,000 HK$ 38,000-62,000 US$ 4,900-8,000

沈哲哉 加拿大國會議事堂 1993 油彩 畫布 24 x 33 cm 簽名右下：1993 哲哉 畫背：加拿大國會議事堂

285 YAO Jui-chung

姚瑞中

(Taiwanese, b. 1969)

鵲華秋色圖

Autumn Colors on the Que and Hua Mountains

2008 彩墨 手工紙本 金箔 45 x 134.5 cm

2008 Ink and color, hand made paper, and gold foil 45 x 134.5 cm

NT$ 170,000-240,000 HK$ 40,000-57,000 US$ 5,200-7,400

144

286 Max LIU

(Taiwanese, 1912-2002)

African Gold Seeker 1992 Mixed media on canvas mounted onto paper 40 x 53 cm Signed upper left Liu Chi-wei in Chinese phonetic alphabet and dated 1992(chinese numerals)

NT$ 170,000-240,000 HK$ 40,000-57,000 US$ 5,200-7,400

劉其偉 非洲的掏金客 1992 綜合媒材 畫布裱於紙本 40 x 53 cm 簽名左上：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〩〡〡

287 YU Peng

(Taiwanese, 1955-2014)

Dancing Crane 2002 Ink on paper 136.5 x 70 cm Signed lower left Yu Peng and dated 2002 in Chinese

NT$ 190,000-280,000 HK$ 45,000-67,000 US$ 5,800-8,600

于彭 鶴舞 2002 水墨 紙本 136.5 x 70 cm 簽名左下：壬年 于彭

146

288 CHUANG Che (Taiwanese, b. 1934)

Self-portrait c.1990-1996 Mixed media on canvas,collage 61 x 50.5 cm Signed lower right CHUANG Che in Chinese EXHIBITED : Without Boundary – Prof. Joan Stanley-Baker’s Clooection, Tainan National University of Arts, Oct. 30 – Nov. 22, 2005, Kao Yuan Art Center, Kaohsiung, Mar. 8 – 31, 2006

NT$ 190,000-280,000 HK$ 45,000-67,000 US$ 5,800-8,600

莊喆 自畫像 約1990-1996 綜合媒材 拼貼 畫布 61 x 50.5 cm 簽名右下：莊喆 展覽： 「無界線–徐小虎教授收藏展」，國立台南藝術大學， 台南，展期2005年10月22日至11月30日， 高苑藝文中心，高雄，展期2006年3月8日至3月31日

289 WANG Tiande (Chinese, b. 1960)

Digital Series–No12–MMS00 2012 Chinese ink on paper, burn marks 29 x 59.5 cm Signed lower right Wang Tiande in English and Chinese, dated 2012 The painting is to be sold with a certificate of authenticity issued

by Leisure Art Center.

NT$ 190,000-280,000 HK$ 45,000-67,000 US$ 5,800-8,600

148

王天德 數碼風景系列之 No12–MMS00

2012 水墨 焰痕 宣紙 29 x 59.5 cm 簽名右下：Wang Tiande 王天德 2012 附悠閒藝術中心開立之原作保證書

290 LIU Keng-I

(Taiwanese, b. 1938)

Rainbow 2000 Pastel on paper 76 x 102 cm Signed lower right Keng-I in Chinese and dated 2000/1 The painting is to be sold with a certificate of authenticity issued

by Caves Gallery, Taipei.

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,800

劉耿一 彩虹 2000 粉彩 紙本 76 x 102 cm 簽名右下：耿一 2000/1 附敦煌畫廊開立之原作保證書

291 LIEN Chien-hsing (Taiwanese, b. 1962)

The Path to Childhood 1995 Oil on canvas 52.5 x 72.5 cm Signed lower left Lien Chien-hsing in Chinese and dated 1995 Signed on the reverse Lien Chien-hsing and titled The Path to Childhood in Chinese, dated 1995

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,800

150

連建興 童鄉路 1995 油彩 畫布 52.5 x 72.5 cm 簽名左下：連建興 1995 簽名畫背：1995 童鄉路 連建興

292 SHEN Che-tsai (Taiwanese, b. 1926)

Nude 1983 Oil on canvas 41 x 32 cm Signed lower right Che-tsai in Chinese and dated 1983

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,800

沈哲哉 裸女 1983 油彩 畫布 41 x 32 cm 簽名右下：1983 哲哉

293 HSIAO Chin (XIAO Qin) (Taiwanese, b. 1935)

Chi 196 1983 Ink and color on paper 32 x 102 cm Signed lower right Hsiao in English and Chin in Chinese Titled lower left Chi 196 in Chinese With two seals of the artist This work is to be sold with a certificate of authenticity issued by Contemporary Art Gallery, Taichung.

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,800

152

蕭勤 氣之196 1983 彩墨 紙本 32 x 102 cm 簽名右下：Hsiao 勤 題識左下：氣之一九六 鈐印右下：蕭勤 鈐印左下：悟無居 附當代藝術有限公司開立之原作保證書

294 Max LIU (LIU Chi-wei)

(Taiwanese, 1912-2002)

Old Man and Sea 2001 Mixed media on canvas mounted onto paper 54 x 39 cm Signed upper right Liu Chi Wei in Chinese phonetic alphabet and dated 2001(Chinese numerals)

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,800

劉其偉 老人與海 2001 綜合媒材 畫布裱於紙本 54 x 39 cm 簽名右上：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ〢OO〡

295 WANG Pan-youn

王攀元

(Taiwanese, b. 1911)

孤寂之沈思

Lonely Meditation

油彩 紙本 38 x 53 cm 簽名右下: P.Y.

Oil on paper 38 x 53 cm Signed lower right P.Y. in English The painting is to be sold with a certificate of authenticity signed by the artist

NT$ 260,000-360,000 HK$ 62,000-86,000 US$ 8,000-11,000

154

附宏文藝廊與藝術家親筆簽名之原作保證書

296 CHUANG Che (Taiwanese, b. 1934)

Abstract (diptych) 1989 Acrylic on canvas 56 x 98 cm Signed on the reverse 89-A-12 in English

NT$ 260,000-360,000 HK$ 62,000-86,000 US$ 8,000-11,000

莊喆 抽象 (雙聯幅)

1989 壓克力 畫布 56 x 98 cm 簽名畫背：89-A12 diptych

297 LEE Yih Hong (Taiwanese, b. 1941)

Afternoon in Yellow Mountain 1993 Ink and color on paper 39.5 x 79.5 cm Signed and titled upper right With two seals of the artist

NT$ 260,000-360,000 HK$ 62,000-86,000 US$ 8,000-11,000

156

李義弘 午後黃山 1993 彩墨 紙本 39.5 x 79.5 cm 簽名題識右上：午後下雨 甫霽 黃山 松林坪常 有此境癸 酉 嘉壬月于海 盧山莊義弘畫 鈐印右上：李義弘；在川小鉨 鈐印左下：水流雲在

298 RAN In-ting

(Taiwanese, 1903-1979)

Wulai 1952 Ink on paper 23.5 x 43 cm Signed upper right In-Ting and titled Wulai both in Chinese and dated December 1952 in Chinese With one seal of the artist PROVENANCE : Acquired directly from the artist by the current owner

NT$ 280,000-380,000 HK$ 67,000-90,000 US$ 8,600-11,600

藍蔭鼎 烏來風光 1952 水墨 紙本 23.5 x 43 cm 簽名右上：烏來風光 五二年十二月 蔭鼎 鈐印右中：蔭鼎 來源： 現有收藏者直接購自藝術家本人

299 HSU Yu-jen

(Taiwanese, b. 1951)

Window 1989 Oil on canvas 89.5 x 71.5 cm Signed lower middle Yu in Chinese and dated 1989

NT$ 300,000-400,000 HK$ 71,000-95,000 US$ 9,200-12,300

158

許雨仁 窗 1989 油彩 畫布 89.5 x 71.5 cm 簽名中下：雨 1989

300 WU Hao

(Taiwanese, b. 1931)

The Rag Doll 1985 Oil on canvas 90 x 70 cm Signed upper left Wu Hao in Chinese and dated 1985 This painting is to be sold with a certificate of authenticity issued

by Contemporary Art Gallery, Taichung.

NT$ 320,000-420,000 HK$ 76,000-100,000 US$ 9,800-12,900

吳昊 布娃娃 1985 油彩 畫布 90 x 70 cm 簽名左上：吳昊 1985 附當代藝術有限公司開立之原作保證書

301 Walasse TING

丁雄泉

(Chinese-American, 1929-2010)

紅髮裸女

Nude with Red Hair

壓克力 紙本裱於畫布 56.5 x 80 cm 鈐印左方：採花大盜

Acrylic on paper mounted onto canvas 56.5 x 80cm With one seal of the artist

NT$ 420,000-650,000 HK$ 100,000-154,000 US$ 12,900-19,900

160

302 SHEN Che-tsai (Taiwanese, b. 1926)

Girl 1981 Oil on canvas 91 x 73 cm Signed lower right Che-tsai in Chinese and dated 1981 Signed on the reverse modified by Che-tsai in Chinese and dated 2003.8 This painting is to be sold with a certificate of authenticity issued

by Fine Art Center, Tainan.

NT$ 460,000-650,000 HK$ 109,000-154,000 US$ 14,100-19,900

沈哲哉 少女 1981 油彩 畫布 91 x 73 cm 簽名右下：1981 哲哉 簽名畫背：2003.8 修改 哲哉 附梵藝術中心開立之原作保證書

303 PANG Jiun

(Taiwanese, b. 1936)

Kunming Street 2004 Oil on canvas 72.5 x 60.5 cm Signed lower right Pang Jiun in Chinese and dated 2004 With one painted seal of the artist ILLUSTRATED : Pang Jiun, Chan Liu Art Museum, Taipei, 2005, color illustrated, p. 102 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 550,000-750,000 HK$ 131,000-178,000 US$ 16,900-23,000 162

龎均 昆明一條街 2004 油彩 畫布 72.5 x 60.5 cm 簽名右下：龎均 2004 手繪鈐印：均 圖錄： 《龎均－走過58年藝術生涯》，長流美術館，台北， 2005年，彩色圖版，頁102 附藝術家親筆簽名之原作保證書

304 PANG Jiun

(Taiwanese, b. 1936)

Still Life 2007 Oil on canvas 72.5 x 60.5 cm Signed lower right Pang Jiun in Chinese and dated 2007 With one painted seal of the artist This painting is to be sold with a certificate of authenticity issued by Der-Horng Art Gallery, Tainan and signed by the artist.

NT$ 550,000-750,000 HK$ 131,000-178,000 US$ 16,900-23,000

龎均 靜物 2007 油彩 畫布 72.5 x 60.5 cm 簽名右下：龎均 2007 手繪鈐印：均 附德鴻畫廊與藝術家親筆簽名之原作保證書

305 PANG Jiun

(Taiwanese, b. 1936)

Lily and Rose 1995 Oil on canvas 60.5 x 72.5 cm Signed lower right Pang Jiun in Chinese and dated 1995 With one painted seal of the artist ILLUSTRATED : Pang Jiun, Chan Liu Art Museum, Taipei, 2005, color illustrated, p. 50 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 550,000-750,000 HK$ 131,000-178,000 US$ 16,900-23,000

164

龎均 香水百合與玫瑰 1995 油彩 畫布 60.5 x 72.5 cm 簽名右下：龎均 1995 手繪鈐印：均 圖錄： 《龎均–走過58年藝術生涯》，長流美術館，台 北，2005年，彩色圖版，頁50 附藝術家親筆簽名之原作保證書

306 PANG Jiun

(Taiwanese, b. 1936)

Fishing Harbour 2006 Oil on canvas 60.5 x 72.5 cm Singed lower left PANG Jiun in Chinese and dated 2006 With one painted seal of the artist ILLUSTRATED : The Art of Pang Jiun, Yan Publishing House Ming-yang Art Gallery, Hong Kong, 2008, color illustrated, p. 3 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 600,000-800,000 HK$ 143,000-190,000 US$ 18,400-24,500

龎均 海港 2006 油彩 畫布 60.5 x 72.5 cm 簽名左下：龎均 2006 手繪鈐印左下：均 圖錄： 《龎均油畫藝術》，一畫出版社，香港，2008年， 彩色圖版，頁3 附藝術家親筆簽名之原作保證書

307 YANG Chihung (Taiwanese, b. 1947)

Tendril 1987-1988 Charcoal and pastel on paper 126.5 x 97 cm Signed lower center C. Yang in English and dated 87-88

NT$ 550,000-650,000 HK$ 131,000-154,000 US$ 16,900-19,900

166

楊識宏 植物 1987-1988 粉彩 紙本 126.5 x 97 cm 簽名中下：C. Yang 87-88

308 YANG Mao-lin

楊茂林

(Taiwanese, b. 1953)

圓山紀事 M9302

Yun Mountain Memorandum M9302

油彩 畫布 117 x 80 cm 簽名背後框條：圓山紀事M9302

Oil on canvas 117 x 80 cm Signed on the stretcher title Yun Mountain Memorandum M9302 in Chinese and English ILLUSTRATED : Yang Mao-lin Album, Galerie Pierre, 1992, color illustrated

NT$ 550,000-650,000 HK$ 131,000-154,000 US$ 16,900-19,900

圖錄： 《楊茂林畫集》，臻品藝術中心，1992年，彩色圖版

309 RAN In-ting

(Taiwanese, 1903-1979)

Duckling 1972 Watercolor on paper, mounted on paper board 44 x 60.5 cm Signed lower left In-Ting in Chinese RAN In-Ting Taiwan in English and dated 7, 1972 With one seal of the artist PROVENANCE : Acquired directly from the artist by the current owner

NT$ 550,000-750,000 HK$ 131,000-178,000 US$ 16,900-23,000

168

藍蔭鼎 養鴨人家 1972 水彩 紙本 44 x 60.5 cm 簽名右下：蔭鼎 RAN IN-TING TAIWAN 7, 1972 鈐印左下：鼎 來源： 現有收藏者直接購自藝術家本人

310 PANG Jiun

(Taiwanese, b. 1936)

Misty River 1989 Oil on canvas 72.5 x 90 cm Signed lower right Pang Jiun in Chinese and dated 1989 With one seal of the artist EXHIBITED: Oil Paintings by Pang Jiun, Contemporary Art Center, Taichung, November, 1989

NT$ 650,000-850,000 HK$ 154,000-202,000 US$ 19,900-26,000

龎均 浪石濛雨 1989 油彩 畫布 72.5 x 90 cm 簽名右下：龎均 1989 手繪鈐印右下：均 展覽： 「龎均油畫展」，當代藝術公司，台中， 展期1989年11月

311 Tzu-chi YEH

(Taiwanese, b. 1957)

This is a Pistol - After / Post-Chris Burden 1991-1992 Tempera and oil on linen 38.5 x 50.5 cm Signed lower right Tzu-chi in Chinese and dated 1991-92

NT$ 500,000-700,000 HK$ 119,000-166,000 US$ 15,300-21,400

170

葉子奇 這是一把槍 – 後克里斯．波登 1991-1992 卵彩 油彩 亞麻布 38.5 x 50.5 cm 簽名右下：子奇 YTC 1991-92

312 YANG San-lang (Taiwanese, 1907-1995)

Autumn Scene Beside the Lake 1968 Oil on canvas 45 x 53 cm Signed lower left S. Yang in English This painting is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

NT$ 700,000-800,000 HK$ 166,000-190,000 US$ 21,400-24,500

楊三郎 湖畔秋景 1968 油彩 畫布 45 x 53 cm 簽名左下：S. Yang 附印象藝術中心畫廊開立之原作保證書

313 YANG San-lang (Taiwanese, 1907-1995)

Still Life with Roses 1979 Oil on board 53 x 45.5 cm Signed lower right S. Young. in English EXHIBITED : Depicting the Lives and Coloring the Times: the Yang San-Lang Memorial Exhibition, Taipei Fine Arts Museum, Taipei, October, 1995 ILLUSTRATED : Taiwan Fine Art Series 7: Yang San-Lang, Artist Publishing Co., Taipei, 1992, colour illustrated, p.144 The Art of Yang San-Lang, Liberty Times, Taipei, June 30, 1995, color illustrated This painting is to be sold with a certificate of authenticity issued

by Ever Harvest Co., Ltd, Taipei.

NT$ 650,000-850,000 HK$ 154,000-202,000 US$ 19,900-26,000 172

楊三郎 玫瑰花靜物 1979 油彩 木板 53 x 45.5 cm 簽名左下：S. Yang. 展覽： 「畫繪人生．彩筆歲月：楊三郎紀念展」台北市立美術館， 台北，1995年10月 圖錄： 《台灣美術全集7：楊三郎》，藝術家出版社出版，台北， 1992年，彩色圖版，頁144 《楊三郎畫夢一生》，自由時報，台北，1995年6月30日， 彩色圖版 附日升月鴻國際開發股份有限公司開立之原作保證書

314 HUNG Jui-lin

(Taiwanese, 1912-1996)

Still Life with Flowers 1954 Oil on board 53 x 46 cm Signed lower left J.L. Huang in English and dated 1954. 6.

This painting is to be sold with a certificate of authenticity issued by Ever Harvest Co., Ltd, Taipei.

NT$ 650,000-750,000 HK$ 154,000-178,000 US$ 19,900-23,000

洪瑞麟 靜物 1954 油彩 木板 53 x 46 cm 簽名左下：1954.6. J. L. Hung 附日升月鴻國際開發股份有限公司開立之原作保證書

315 LIU Chi-hsiang (Taiwanese, 1910-1998)

The Sitting Lady 1982 Oil on canvas 65 x 53 cm Signed lower left C. Liou. in English and dated 82 This painting is to be sold with a certificate of authenticity issued by Ever Harvest Co., Ltd, Taipei.

NT$ 750,000-950,000 HK$ 178,000-226,000 US$ 23,000-29,100

174

劉啟祥 仕女坐像 1982 油彩 畫布 65 x 53 cm 簽名左下： C. Liou. - 82 附日升月鴻國際開發股份有限公司開立之原作保證書

316 SA Dji

沙耆

(Chinese, 1914-2005)

人體

Man

油彩 畫布 51 x 35 cm 簽名左方：SA DJI

Oil on canvas 51 x 35 cm Signed center left SA DJI in English The painting is to be sold with a certificate of authenticity issued by Caves Gallery, Taipei.

NT$ 850,000-1,100,000 HK$ 202,000-261,000 US$ 26,000-33,700

附敦煌畫廊開立之原作保證書

317 LIU Kuo-sung (Taiwanese, b. 1932)

Flowing Rivers and Mountains 1985 Ink and color on paper 37 x 57.5 cm Signed upper left Liu Kuo-sung and dated 1985 in Chinese With one seal of the artist The painting is to be sold with a certificate of authenticity issued

by Modern Art Gallery, Taichung.

NT$ 750,000-950,000 HK$ 178,000-226,000 US$ 23,000-29,100

176

劉國松 流動的山川 1985 彩墨 紙本 37 x 57.5 cm 簽名左上：劉國松 一九八五 鈐印左上：劉國松 展覽： 「劉國松創作歷程展：傳承與革新」，現代畫廊， 台中，1997年 附現代畫廊開立之原作保證書

318 Lee Yih-Hong (Taiwanese, b. 1941)

The Magnific Yellow Mountaine 1990 Ink and color on paper 139 x 70 cm With four seals of the artist and inscription

NT$ 800,000-1,000,000 HK$ 190,000-238,000 US$ 24,500-30,600

李義弘 黃山俊峭 1990 彩墨 紙本 139 x 70 cm 鈐印右下：笛音凝室 即事多所欣 鈐印左下：義弘染翰 在川小鉨 落款：始信峰在黃山東部海拔一千六百六十八公 尺 據之古人遊山到此始信黃山之峻峭挺拔及雨 後雲烟之變 因而得名五百里之黃山千峰競秀滿 壑崢嶸 其之都峰有天下第一奇山之稱 庚午初春 歸來得此一稿 李義弘於笛音凝室

319 Tzu-chi YEH

(Taiwanese, b. 1957)

Taro, Sweet Potato 1995 Tempera and oil on linen 30.5 x 91 cm Signed lower left Tzu-chi in Chinese and dated 1995

NT$ 950,000-1,300,000 HK$ 226,000-309,000 US$ 29,100-39,800

178

葉子奇 芋頭、蕃薯 1995 卵彩 油彩 亞麻布 30.5 x 91 cm 簽名左下：子奇 1995

葉子奇在他的靜物繪畫中注入了很多情感，除此之外，他擅善常以 肖像畫的形式營造出靜謐、氣質獨特的古典繪畫氛圍，使畫中主體 更具生命性，而且帶有神秘的戲劇張力，但更多的是藝術家在主體 想要表達的種種故事、意義，他以獨到的視覺符號去譬喻，在畫面 構成上灌注許多象徵性的情緒。 此作《芋頭、番薯》清楚地以台灣常見的根莖作物代表了家鄉，輕 輕流瀉的鄉愁卻是恰到好處，而對於台灣人來講，這兩種作物也代 表過去早期台灣社會存在的「省籍情結」，隨著時間更迭，所謂 「省籍情結」也成為過去的時代產物，但藝術家不講述歷史紛爭， 僅只是借物寄情，在單純的物件上用他最直白的方式，勾起那時代 曾有過的共同記憶，宛若舊識的朋友提起往事的回憶斑斑，然後再 將自己放進這樣的情感河流之中，讓各式各樣浮蕩的片段回憶帶回 他最思念的光景。

Tzu-chi Yeh injects emotions into his still live pieces. He also uses the portrait to create a quiet, unique atmosphere reminiscent of classical paintings, in which his subjects become livelier and filled with a mysterious, dramatic tension. But more importantly are the stories and messages he wishes to express through his subjects, using unique visual metaphors to infuse emotions onto the canvas.

“Taro, Sweet Potato” uses root crops common to Taiwan to represent the author’s homeland. A gentle trickle of nostalgia pervades throughout. For the people of Taiwan, these two crops also represent the “provincialism obsession” that existed in early Taiwanese society. This obsession has become a thing of the past, the product of a bygone era. Artists are not historians; their role is not to describe conflicts of the past but to express their emotions and thoughts through objects. In his most straightforward way, using the simplest of objects, the artist has bought back the collective memory of his generation. Like old friends reminiscing about the past, memories are evoked and viewers are invited to let go, to let their minds wander back to their most treasured memories.

320 Tzu-chi YEH

(Taiwanese, b. 1957)

This is a Urinal - After / Post Duchamp 1991-1992 Tempera and oil on linen 56 x 76.5 cm Signed lower right Tzu-chi in Chinese and dated '91-'92

葉子奇 這是一個尿壺 – 後杜象 1991-1992 卵彩 油彩 亞麻布 56 x 76.5 cm 簽名右下：子奇 '91-'92

NT$ 1,100,000-1,800,000 HK$ 261,000-428,000 US$ 33,700-55,100

葉子奇於1987年赴紐約求學，而身在這處處充滿驚奇以及藝術氣息的文化融爐，無不時時滋長著他的創作養分；無論是美術館，或是林立街區 的藝廊、各類形態的展覽等都成為他最好的教材與靈感來源，其中《這是一個尿壺 – 後杜象》便為創作於旅居紐約時代的作品之一；1917年 時，杜象以一個小便斗反置，簽上假名並且命名為「噴泉」，預計在某次的展覽上展出，雖然最後並非在原展覽地展出，且飽受批評，但杜象 全新的藝術概念被視為達達主義標誌性作品，同時也是「現成物藝術」的濫觴，更是廿十世紀現代藝術的重要里程碑。(原作已佚失，現藏於紐 約現代美術館的作品為杜象的重製品) 與杜象同樣旅居紐約的葉子奇，以肖像畫的形式將「噴泉」置於畫布中央，在畫面中營造出崇拜般的神聖氛圍，聖潔不可侵犯；他的靜物繪畫 當中始終存在著一種獨特的情感因子，而該作以古典主義的光線、透視等表現手法鋪陳卻相對理性、靜謐且具象徵性，更加營造出主體的至高 性與襯托對杜象的敬意。 Tzu-chi Yeh traveled to New York in 1987 to study. Living in a city full of surprises, this melting pot of the artistic and cultural fed his imagination and creativity. Whether it’s an art museum or the many galleries that lined the city’s neighborhoods, the various forms of exhibitions became his best teachers and sources of inspiration. “This is a Urinal - After / Post Duchamp” is one of the works Yeh created while living in New York. In 1917, Duchamp inverted a urinal, signed it with his pseudonym and named the work “Fountain”. The piece was submitted to be displayed at an exhibition. It was never put on display in the main exhibition and garnered much criticism from the committee, but Duchamp gave birth to a new concept of art and Fountain is considered one of Dadaism’s most iconic works. Fountain marked the beginning of ready-made objects becoming works of art and was an important milestone in twentieth century modern art. Unfortunately, the original work has been lost and the piece currently housed in New York’s Museum of Modern Art is a replica commissioned by Duchamp himself.

Yeh, like Duchamp, has lived in New York. In this piece, the “Fountain” is painted right in the center of the canvas in a portrait-like style. The urinal is an object of worship; a hallowed, inviolable atmosphere permeates the piece. A unique emotional factor is always present in Yeh’s still life paintings. In this piece, the use of techniques such light and perspective is reminiscent of classism, yet the work is elaborately rational and quietly symbolic. The supremacy given to its subject complements the author’s respect for Duchamp.

180

321 HSIAO Chin (XIAO Qin) (Taiwanese, b. 1935)

FM-142 1959 Oil on canvas 90 x 60 cm Signed lower right HSiAO in English, Chin in Chinese and dated 59 Signed on the reverse HSiAO CHiN and titled FM-142 in English This painting is to be sold with a photo of the painting signed by the artist

NT$ 1,300,000-2,200,000 HK$ 309,000-523,000 US$ 39,800-67,400

蕭勤 FM-142

1959 油彩 畫布 90 x 60 cm 簽名右下：HSiAO勤 59 簽名畫背：HSiAO CHiN FM-142 附藝術家親筆簽名之原作照片

蕭勤說：「經由老莊及禪的思維，延展對宇宙與我來自中國這塊土地的眷戀和熱愛。」評論家認為， 是一種潛藏著「在時間上是靜止而無限」的「蕭勤風格」。蕭勤以西式顏料表現出中國繪畫新的可能 及風格，進而引起共鳴。 Hsiao Chin said: "The static state of the image, frozen in time, yet allows for unlimited expression." This is one of the trademarks of Hsiao’s style. He used Western palettes and techniques to reinvent the manifold possibilities and styles of Chinese painting, and in the process he raised the human spirit to new heights. Therein lies the attraction of his art, and the reason why it resonates with an increasing number of aficionados.

182

184

322 HSIAO Chin (XIAO Qin) (Taiwanese, b. 1935)

Rh-65 1960 Oil on canvas 80 x 100 cm Signed lower right HSIAO in English, Chin in Chinese and dated 60 Signed on the reverse HSIAO CHIN in English and Chinese, titled RH-65 and dated 1960 This painting is to be sold with a photo of the painting signed by the artist

NT$ 1,700,000-2,400,000 HK$ 404,000-570,000 US$ 52,100-73,500

蕭勤 Rh-65

1960 油彩 畫布 80 x 100 cm 簽名右下：HSIAO 勤 60 五 簽名畫背：HSIAO CHIN 1960 "RH-65" 蕭勤 附藝術家親筆簽名之原作照片

323 YU Cheng-yao

(Taiwanese, 1898-1993)

Landscape 1988 Ink on paper 137 x 55.5 cm Inscribed and signed Yu Chengyao in Chinese, dated wuchen year 1988 in Chinese With one seal of the artist

余承堯 墨筆山水 1988 水墨 紙本 137 x 55.5 cm 款識右上：崇堯石峭 余承堯 戊辰秋日 鈐印右上：余承堯印

NT$ 1,400,000-2,400,000 HK$ 333,000-570,000 US$ 42,900-73,500

余承堯的一生充滿傳奇，1920年入日本早稻田大學就讀經濟系，翌年轉入東京陸軍士官學校就讀，投效軍旅，後參與抗日，官拜上將。抗戰勝 利後，卸甲還鄉，經營藥材生意，讀書、作詩自娛。1956年余承堯已58歲，此時才開始作畫。他淡泊名利，生活清貧不影響他作畫，喜愛演奏 南管古樂的樂趣。1971年大收藏家王季遷首次到陽明山拜訪余承堯，當天即買下一件八屏山水。作畫三十年，一直到88歲時才正式舉辦生平個 人第一次畫展，震撼藝壇。 余承堯認為：「畫幅要畫得滿滿的，那種密實的感覺很好，天空不可留太多。」《墨筆山水》一作畫面結構堅實、綿密，屬於余承堯的中期創 作。綠意猶在山巔，前景的樹叢卻已妝點出秋意，與中景的紅瓦房舍相映成趣。余承堯難得畫初秋的景致，他偏愛綠意盎然的山水畫，因此他 的繪畫裡總是盈滿著春夏的氣息。我們看在這幅《墨筆山水》畫裡仍是一片的林木，層層相迭的山岩、樹叢中的淡淡秋意，更顯出富饒的山水 意境。 Yu Cheng-yao's life is filled with legends. In 1920, he enrolled in Japan's Waseda University to study economics but he transferred to the Tokyo Army Officers' Academy in the following year to volunteer for military service. Later, he participated in the Japanese Resistance under the rank of a general. Upon achieving success in the resistance, he discharged his duties and returned to his hometown where he operated a business dealing in medicinal materials and entertained himself by reading and poetry writing. Already 58 years of age in 1956, Yu Cheng-yao only just started painting then. Uninterested in fame and wealth, the poor and humble life did not affect his painting. Yu enjoyed the pleasures of playing Nanguan, an ancient music. C.C. Wang, a renowned collector, first visited Yu Cheng-yao at Yang Ming Mountain in 1971 and instantly purchased a piece of 8-panel landscape on that very same day. Painting for 30 years, the first of his personal exhibitions was not officially held until he was 88 years of age (1986), sending reverberating shocks throughout the art circle.

Yu Cheng-yao contended: "Pictures must be thoroughly filled, those closely knitted kind of feeling are excellent, not much skies should be left1." The work, "Landscape", belonging to works of Yu Cheng-yao's Middle Period, has a dense and solid compositional structure. With greenery yet still perching atop the mountains, the woods in the foreground are however already decorated with specks of autumn, contrasting interestingly with the red brick houses in the middle. Yu Cheng-yao rarely portrayed scenery of early autumn. He had a particular liking for landscapes decked out in plush greenery, hence his paintings are always fully filled with the flavors of spring or summer. Looking at the painting, "Landscape", we observe yet again, a sea of trees, layers upon layers of mountain rocks and faint traces of autumn, further displaying the rich and abundant mood of landscapes.

186

324 LIU Kuo-sung (Taiwanese, b. 1932)

Landscape 1963 Ink and color on paper 54 x 87 cm Signed upper left Liu Kuo-Sung and dated 1963 in Chinese With one seal of the artist

NT$ 1,100,000-2,200,000 HK$ 261,000-523,000 US$ 33,700-67,400

劉國松 山水 1963 彩墨 紙本 54 x 87 cm 簽名左上：劉國松 一九六三 鈐印左上：劉國松

劉國松立在堅持民族審美精神、古典哲學的意蘊基礎之上，對傳統水墨的創作語 言及工具材料進行了大刀闊斧的創造，開闢出現代水墨的新局面。1960年代轉折 期的劉國松，開始從追求純粹西方形式美感向領悟東方藝術內在價值過渡。這一 時期，在材料方面的大膽實踐為他帶來意想不到的出色成效。他使用摻有甘蔗渣 的特製宣紙，以大排筆賦彩，後以迅猛爽利的濃墨幹筆構畫抽象形象，其線條氣 勢乾脆俐落且一筆而就，其後依畫面需要抽除紙筋，留下紙張的白色肌理，再以 濕墨大筆點畫，如草書運筆般自由流暢，創造出豐富層次。這樣的手法在作品 《山水》中得到完美的表現。整幅作品於簡約均衡中一氣呵成，螢明黃色調到墨 綠的過渡營造出森林微光的神秘效果，狂草疾書的濕筆留在畫面中的黑色宛若山 巒，單純簡煉又引人注目，恰到好處的表現了東方美學意境。 The 1960s were a major turning point for Liu Kuo-sung, in which he began to move away from purely Western forms and aesthetics towards a greater understanding of the inner meaning of East Asian art. Liu’s bold experimentation with new materials during this period produced outstanding achievements that surprised even the artist himself. Liu used specially-made rice paper that contained bagasse (sugar-cane residue), on which he applied color using a flat brush composed of multiple individual brushes attached together, before adding abstract symbols using fierce, rapid strokes of a dry brush with thick, dark ink. The smooth, crisp lines were accomplished with a single brushstroke. Liu would then unpick some of the strands of the paper to expose the paper’s white texture, after which he would add the finishing touches using a wet brush; with freeflowing brushstrokes reminiscent of the cursive script in calligraphy, Liu was able to create a richly layered effect. The effectiveness of this technique can be seen in works such as “Landscape”. This painting has a marvelous simplicity and sense of balance; the transition from luminous yellow to greenish-black creates a mystical effect reminiscent of the dim light inside a forest. The wild strokes of the wet brush have created a black that is as simple and striking as a mountain peak, while the work as a whole embodies the essence of the East Asian aesthetic tradition.

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325 LIU Kuo-sung (Taiwanese, b. 1932)

Down to the Water 1976 Ink and color on paper 53 x 95.5 cm Singed lower left LIU Kuo-sung and dated 1976 in Chinese With one seal of the artist

NT$ 1,600,000-2,600,000 HK$ 380,000-618,000 US$ 49,000-79,700

劉國松 冲入無垠 1976 彩墨 紙本 53 x 95.5 cm 簽名左下：劉國松 一九七六 鈐印左下：劉國松

作為現代水墨先驅，劉國松在其創作領域上始終保有革命繪畫的意味，如 同他提到的「革中鋒的命」、「革筆的命」，他總是不甘於中國傳統水 墨畫的畫地自限，一再地提出諸多想法與創作理念，如他研發的「國松 紙」、「抽筋剝皮皴」等無非是亟欲從傳統水墨藝術出走，但這並非意味 著他對這千年藝術傳統的背棄，相反地，劉國松從深厚的中華文化底蘊出 發，將其作骨，而西方的藝術觀念為血、技法為肉，再造一個新時代水墨 創作的「傳統」。 《衝上無垠》視為劉國松對於現代抽象水墨的創新之作，單僅以墨色的濃 淡運用表現水墨韻染的磅礡氣勢，如黃河之水天上來般地洶湧，灰白淡墨 相映如波光粼粼更可以視為中國傳統山水留白的哲學思想；此作亦可以窺 見藝術家對於開創現代抽象水墨的旺盛企圖心。劉國松曾經說過：「中華 民族視一個抽象思維很強的民族，抽象美學早就滲入中國藝術的骨髓，東 方繪畫精神追求的應該只是氣蘊，天人合一的觀念而不是寫實。」，這樣 的觀念更是他極力提倡的中國繪畫現代化的中心理論。 As a pioneer for modern ink and wash paintings, Liu Kuo-sung and his creative works have always maintained a revolutionary stance. Much like his own statements, “revolutionize the central stroke,” and “revolutionize the brush”, Liu has never been satisfied with the complacency and stagnancy of traditional Chinese ink and wash painting; instead, he has repeatedly advocated a variety of creative ideas. His inventions of Kuo-sung Paper and Skinned and Wrinkled and Tendon-less Cunfa are examples of his revolt against this millennium-old tradition of an art form, as well as his renewal of traditional Chinese Culture by integrating Western aesthetics and techniques and re-creating a new tradition of ink and wash paintings.

“Down to the Water” can be viewed as an innovative work by Liu Kuo-sung, sprung from contemporary ink and wash paintings; the multiple layers and shades of the ink with color-gradation and shading techniques are enough to express grandeur and magnificence, evoking imagery akin to the galloping Yellow River.

The layering of light white and grey ink colors enhance one another, akin to shimmering water in the light, illustrating the Chinese philosophy of ‘blankleaving (Liubai)’ in landscape paintings. This work expresses a message, that the artist is avidly ambitious in his attempt at spearheading modern abstract ink and wash paintings. Liu once stated, “The Chinese, as an ethnic group, tend to be strong in their abstract thinking; abstract aesthetics are a key element of Chinese art. The essence of Eastern paintings should not be realistic approaches, but rather a conception that integrates mans and the nature.” Such is his central motif in his philosophies towards modernizing Chinese paintings.

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326 LIU Kuo-sung (Taiwanese, b. 1932)

Deep in the Verdant Twilight 1967 Ink and color on paper 57.5 x 94 cm Signed lower left Liu Kuo-Sung and dated 1967 in Chinese With one seal of the Artist ILLUSTRATED : Sixty Years of Knowledge : An Exhibition of Modern Ink Paintings by Liu Kuosung, The General Association of Chinese Culture, Taipei, 2013, color illustrated EXHIBITED : Sixty Years of Knowledge : An Exhibition of Modern Ink Paintings by Liu Kuosung, The General Association of Chinese Culture, Taipei, Jan. 8 - Feb. 3, 2013

NT$ 1,300,000-2,400,000 HK$ 309,000-570,000 US$ 39,800-73,500

劉國松 幽邃 1967 彩墨 紙本 57.5 x 94 cm 簽名左下：劉國松 一九六七 鈐印左下：劉國松 圖錄： 《傳功一甲子：劉國松現代水墨創作展》，中華文化總會， 台北，2013年，彩色圖版 展覽： 「傳功一甲子：劉國松現代水墨創作展」，中華文化總會， 台北，展期自2013年1月8日至2月3日

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在海峽兩岸有「中國現代繪畫先驅」、「現代水墨畫之父」之稱的台灣著 名畫家劉國松，早在上世紀60年代，就積極宣導創新現代中國水墨畫， 提出「中國畫的現代化」的訴求。在藝術家看來：「藝術的靈感從造化中 來，造化是 生活，是宇宙，人們的內心感受它，再把自己的感受通過繪畫 表達出來。但我們的生活在變化，感受也在變化，畫 就要變化。歷史上的 大畫家都有自己的發明，繪畫其實有多種畫法，如米芾用蓮蓬畫，傅抱石 用絲瓜瓤畫，還有人用 手指頭畫。一味強調用中鋒，只能使中國畫的領域 越來越窄，把中國畫推向死胡同。」他自己在作品表現上尋求各種 前所未 有的可能形式，並在「現代」與「水墨」的雙重議題上尋求最大的結合與 突破。其技法實驗的成就包括了創作 性地發明了中國水墨畫的拓墨法和 漬墨法，令中國畫裡出現了白線條，而且大大豐富了水的表現形式。此幅 《幽邃》，畫面凝結、透明且立體的肌理感覺是傳統技法表現不出來的。 藝術家摒棄了採用油畫的方頭筆，而是受中國傳 統「蟲食紋」和「屋漏 紋」技法的啟發發明了拓墨法和漬墨法，使得畫面既有中國畫的風骨，又 不乏油畫的質感。 Liu Kuo-sung, well-known painter in Taiwan, known as the Pioneer of modern painting in China and Father of modern ink painting across the Taiwan Straits, advocated innovation in modern Chinese ink painting as early as in 1960s and presented the slogan of Modernization of Chinese painting. In the artist's eyes, The aspiration of art comes from creation, which means life and the universe.

People feel it from inner heart and then express their feeling by drawing.

However, our life is changing and our feeling is changing. This way, drawing is changing. Every famous painter in our history had his own invention. Actually, to paint, there are many techniques. For example, Mi Fu drew with lotus seed pod, Fu Baoshi drew with chalina, whereas some others draw with finger only.

Sticking to the using of the center tip of brush can only narrow the space of Chinese painting and push it to a dead end. He looks for any unprecedented, possible form for his artistic expression and is in search of maximum integration and breakthrough for the two-sided issue of the modern and water ink. His achievements in the technical ex- perimentation include the innovative ink rubbing and ink immersing for traditional Chinese ink painting, bringing white strips to Chinese painting and enriching the forms of expression by water. In The Deep in the Verdant Twilight, the image is condensed, transparent, and solid.

The feeling of texture can never be presented by traditional techniques. The artist discards square-head brush in oil painting. He invents ink rubbing and ink immersing techniques as inspired by the traditional Bug eating grain and Eaves grain in the traditional Chinese painting techniques. This way, the image carries not only the spirit of Chinese painting but also the texture of Western oil painting.

327 LIU Kuo-sung (Taiwanese, b. 1932)

Rhythm of the Moon 1973 Ink and color on paper 100 x 68.5 cm Signed lower right Liu Kuo-Sung and dated 1973 in Chinese With one seal of the Artist

NT$ 1,600,000-2,600,000 HK$ 380,000-618,000 US$ 49,000-79,700

劉國松 月之律動 1973 彩墨 紙本 100 x 68.5 cm 簽名右下：劉國松 一九七三 鈐印右下：劉國松

中國現代水墨畫大師劉國松自1956年成立五月畫會以來，持續開創新技法 及繪畫題材，將中國傳統的山水畫特色及宇宙觀與西方繪畫的抽象概念作 了完美的融合，開創出一種全新的、形而上的現代水墨山水畫，深受國內 外藝術愛好者的喜愛。東西方各大美術、博物館共八十餘所皆先後收藏他 的作品。同時，他的藝術觀念及創作力也經由著作、展覽、演說、教學等 途徑，影響力日漸擴大，並受到學者、藝評家、收藏家等各界的推崇與好 評。尤其山東省博物館於2013年特別開闢了一個約300坪的展覽空間，成立 「劉國松現代水墨藝術館」，長期展示他不同創作時期之佳作。以一個在 台灣成長、養成的水墨畫家非常難得的幾乎就站上了中國現代水墨畫壇的 至高地位。觀察其近年拍賣成交行情趨勢，實為繼趙無極、朱德群之後， 不可錯過之收藏標的，並於2016年入選美國文理科學院士，意義重大。 Ever since his involvement in the establishment of the Fifth Moon Group art association in 1956, leading modern Chinese landscape painter Liu Kuo-sung has continued to develop innovative new techniques and new subject matter. Liu has succeeded in creating a perfect fusion of the key characteristics of traditional Chinese landscape painting and traditional Chinese cosmology with Western abstract art; in doing so, he has developed a brand-new, metaphysical modern landscape painting style which has proved immensely popular with art-lovers both in Taiwan and overseas; Liu’s work can now be found in the collections of more than 80 leading art museums and galleries throughout the world. The influence of Liu’s artistic vision and creative ethos has gradually spread through his writings, exhibitions, lectures and teaching, winning plaudits from academics, art critics and collectors alike. In 2013, Shandong Provincial Museum established a Liu Kuo-sung Modern Ink Brush Painting Gallery with a display area of approximately 1,000 square meters, which hosts permanent exhibitions of works from different periods in Liu’s career. It is noteworthy that an ink brush artist who grew up and trained in Taiwan now stands at the pinnacle of the modern Chinese ink brush painting scene. Examination of the performance of Liu’s works at auction in recent years suggests that Liu is following in the footsteps of Zao Wou-ki and Chu Teh-chun by emerging as an important target for collectors. Liu has been selected into the member of American Academy of Arts and Scences in 2016, he once again made a new milestone to his career life.

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328 CHU Teh-chun

朱德群

(Chinese-French, 1920-2014)

書法－喜遷鶯

Calligraphy - Poem by Li Yu

水墨 紙本 32 x 100 cm 簽名左下：天門居士草 鈐印左下：天門居士 朱德群 鈐印右上：日新閣

Ink on paper 32 x 100 cm Signed lower left Tien-men Householder in Chinese With three seals of the artist in Chinese

NT$ 2,600,000-3,600,000 HK$ 618,000-855,000 US$ 79,700-110,300

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譯文： 曉月墜，宿雲微，無語枕憑欹。 夢回芳草思依依。天遠雁 聲稀。 啼鶯散，餘花亂，寂寞畫堂深院。 片紅休掃儘從 伊，留待舞人歸。

329 ZAO Wou-ki

(Chinese-French, 1921-2013)

Landscape 1981 Ink on paper 65.5 x 66.5 cm Signed lower right Wou-ki in Chinese and ZAO in French,dated 81 and titled Souvenir to Gu Mei in Chinese, and dated 81

趙無極 山水 1981 水墨 紙本 65.5 x 66.5 cm 簽名右下：顧媚留念無極ZAO 81

NT$ 2,600,000-3,600,000 HK$ 618,000-855,000 US$ 79,700-110,300

趙無極的創作當中，各時期的心境更迭與人生經驗皆悄然地顯露於畫 布、紙張之上，同時他也精於在畫面營造各種空間甚至是另一番迷人 天地，在引人入勝之餘更能使觀者心會神領趙氏藝術中的心靈節奏； 1971年，愛妻陳美琴病重，他無心作畫，遂以水墨排遣鬱悶，在歷經 1972年的喪妻之痛後，趙無極再拾筆墨紙張，以一張張近乎無意義且 重複性極高的水墨創作來於抒發內心的苦痛，然而這些無心插柳的作 品卻展現了藝術家深厚的中國文化底蘊與回歸本質的精神性，傳達 了趙無極內心最純粹的藝術語彙。在他從中國返回巴黎之後，當年11 月，法蘭西畫廊(Galerie de France)則策畫了其已過世妻子陳美琴雕塑 與趙無極水墨聯展。 「我的整個藝術修養中，有無可否認的巴黎影響，我也必須說明，我 的真正人格，隨著重新發現中國傳統而晉於成熟」，趙無極如此說 道(《趙無極自畫像》，趙無極與梵斯娃瑪凱合著，藝術家出版社， 1993)。愛妻病逝後，他回到中國並且帶回許多紙墨用以創作，而這些 與自己血脈相近的媒材，竟也轉化成溫暖的懷抱，畫中墨色的渲染如 生命的脈絡悸動，留白的虛無空間帶來了最甜美的寧靜使他得以撫慰 受傷的靈魂。 作於1981年的《山水》可清楚的看見畫面中唐宋文人山水的構圖，也 是趙無極旅居法國潛心創作時一心一意地想要找到的「最美的畫」； 畫中的筆觸已褪於無形，隨心所欲卻巧妙沾染的墨跡創造出更大的空 間；畫面構圖如飛瀑傾瀉而下一氣呵成，又有如朦朧壯麗山川遠景之 美，在意象之外又見抽象繪畫的蹤跡；即便藝術家在創作中拋棄了色 彩、形式與線條，但是單色用調卻更顯力道，墨色濃淡的堆疊、流淌 恰似一首獨奏曲，沒有複雜的合音變化，僅靠著高低有秩的音調鏗鏘 有力地再造無比和諧的婉轉樂音。此時的趙無極再度攀上他創作生涯 的另一波高度，他亟欲從中國文化出走，可卻又在好友亨利米修的建 議下，持續地以筆墨創作，再次走回中國傳統的美麗山水，而這也是 他多年歷練後的心靈智慧與不懈努力的藝術造詣最契合的傳達。 註：顧媚，本名顧嘉瀰，香港歌手。於1960年代後期息影從畫，師從趙少昂、胡念祖，曾舉 辦多次水墨展覽。

In the works of Zao Wou-Ki, the mindsets that alternate during various periods of his career and his experiences of life are quietly but fully revealed upon his canvases and papers. He was also gifted in the creation of spatial dimensions and new universes of delightful unfamiliarity that take his viewers upon a compelling journey and immerse them in the spiritual rhythms of his artistic soul. In 1971, Zao’s beloved wife Chan May-Kan became gravely ill. He was unable to concentrate on his art and could only dabble in ink painting as a means of distraction. Following the grief of his wife’s death in 1972, Zao once again returned to ink painting and created a series of seemingly meaningless and highly repetitive ink works to alleviate

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his inner suffering. These unintentional creations, however, portray the artist’s rich Chinese cultural heritage and a return to his spirit roots by conveying his artistic vocabulary in its purest, most intrinsic form. Upon his return to Paris from China, Galerie de France organized a joint exhibition featuring Zao Wou-Ki’s ink paintings and the sculptures of his deceased wife Chan May-Kan in November of the same year.

“Among my overall artistic cultivations, I cannot deny the influence of Paris; I must also clarify that my true personality has matured with the re-discovery of Chinese traditions,” Zao had stated (in “Zao Wou-Ki: Autoportrait”, co-authored by Zao Wou-Ki and Francoise Marquet, Artists Editions, 1993). After his beloved wife passed away from illness, he went back to China and brought back with him a large quantity of ink and paper for creating his work. These mediums closest to his cultural roots ultimately transformed into a comforting embrace. The washes of ink in the paintings embodied the pulse of life, while the sweet serenity of the voids in between embalmed and soothed his injured soul.

In “Landscape,” created in 1981, the panoramic composition often adopted

by Tang and Song dynasty literati can be clearly seen. This was also precisely the “most beautiful painting style” that Zao had painstakingly sought after while living in France. The brush strokes forming painting have become intangible, carefree, yet still creating a larger, more voluminous space through the coloration of ingeniously placed ink marks. The overall structure is formed by a cascade of strokes as of a rushing waterfall. It bears the muted magnificence of an imposing but distanced landscape but is at the same time an image that evokes a sense of the abstract. Although the artist had abandoned colors, forms and lines in his creation, the singular monotonous tone embodies a hidden strength. The layers of ink in various tones of intensity flow together as effortlessly as a song with none of the complexities found in harmonic choruses. Instead, it relies on powerful, orderly notes that rise and fall in the creation of an exquisitely harmonious melody. Zao attained yet another pinnacle of his artistic career during this time; he had been anxious to leave Chinese culture behind, but the advice of his good friend Henri Michaux caused him to continue working with ink and once again return to the lovely landscapes of traditional Chinese art.

This culmination of spiritual wisdom gained after much experience and ceaseless effort became the most harmonious form of his artistic expression.

Note: Gu Mei, real name Gu Jiami, is a singer from Hong Kong who began to practice painting in the late 1960s after retiring from her role as a performer. She studied under Chao Shao-An and Hu Nian-Zu, and has held many ink painting exhibitions.

330 Reed LEE

李德

(Taiwanese, 1921-2010)

聖維克多山 2010 油彩 畫布 80 x 100 cm 簽名左下：Reed

Mont Sainte-Victoire 2010 Oil on canvas 80 x 100 cm Signed lower left Reed in English

NT$ 3,000,000-4,000,000 HK$ 713,000-950,000 US$ 91,900-122,500

李德是台灣戰後重要的前輩藝術家。1921年出生於江蘇省一個詩、 文、書、畫、古器物與京劇繚繞的書香世家，孕育其豐沛的中國人 文藝術涵養。1937年爆發中日戰爭，李德成為流亡學生到了四川， 1945年自重慶大學畢業，1948年來到台灣。與同時期推動現代繪畫 運動的「五月畫會」、「東方畫會」不同的是，李德並非藝術科班 出身，但愛好文學與藝術的生命，讓他在1956年跟隨前輩畫家陳德 旺習畫，長達八年的學習歷程中，陳德旺開啟李德終其一生對空間 的探索。 創作對李德而言，是『人』、『天』（自然）與『歷史』，一場無 止境的對話，從其中展現出淬鍊學術、提撕生命的過程。在經歷 對物象實體的掌握，李德自1970年後進入抽象的過程，以奔放的筆 觸與厚重的顏料層層堆疊出豐富的肌理，並喜好以詩句題名。1983 年以後，李德回歸對「點」的探索，以及中國水墨畫『皴法』的研 究。在1989年李德創作晚期《空相》系列之前，李德以充滿力道的 筆觸、點與線，描繪勾勒具有豐厚層次的心底風光與意象。

保羅塞尚《從洛夫遠眺聖維克多山》 1904-06 油彩 畫布 60x72cm 巴塞爾美術館 Paul Cézanne, La montagne Sainte Victoire vue des Lauves, 1904-06, Oil on canvas, 60 x 72 cm, Kunstmuseum Basel

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The important postwar veteran Taiwanese artist Reed Lee was born in 1921 to a scholarly family in Jiangsu Province s u r r o u n d e d b y p o e t r y, literature, books, paintings, antiques and Chinese opera.

They provided him with nourishment in Chinese culture and art. When the Sino-Japanese War broke out in 1937, Reed Lee went to Sichuan as an exiled student. He graduated from the Chongqing University

in 1945 and came to Taiwan in 1948. In contrast to members of modern painting movements such as Fifth Moon Group and Ton Fon Art Group at the time, Reed Lee did not receive professional art training. However, with his passion for literature and art, he started studying painting with veteran artist Mr. Chen Te-wang (1910-1984). During his eight years of study (1956-1964), Chen guided Reed Lee in his exploration of space, which would last his entire life.

To Reed Lee, creation was an endless conversation between man, “heaven” (nature) and “history”, involving a process of the condensation of learning and the sublimation of life. After mastering figuration, Reed Lee turned to “abstraction” from 1973, creating layers of rich textures with vigorous brushwork and thick paint, and often using lines of poetry as titles. In 1983, Reed Lee returned to the exploration of “dots” and the study of “modeling” in Chinese ink painting. Before starting his late series “Attribute of Emptiness” in 1989, Reed Lee depicted his layered inner landscapes and images with powerful brushwork, dots and lines.

李德《望鄉》1983 油彩 畫布 91 x 116.5 cm 羅芙奧香港2015春季拍賣會 編號028 預估價：台幣5,263,000-8,097,000 Reed LEE, Homesickness, 1983 oil on canvas, 91 x 116.5 cm Ravenel 2015 Spring Auction Hong Kong lot 028, estimate: US$ 167,600-257,900

331 CHIU Ya-tsai

邱亞才

(Taiwanese, 1949-2013)

紅色青年

Youth in Red

油彩 畫布 130 x 97 cm 簽名右下：亞才

Oil on canvas 130 x 97 cm Signed lower right Ya-tsai in Chinese

NT$ 2,400,000-3,400,000 HK$ 570,000-808,000 US$ 73,500-104,200

邱亞才的畫作表現的是人性的原型，他的人像畫似乎流露出某種來自歷史人物的共通光采。邱亞才偏愛的繪製主題包括了詩人和作家，畫中人 物的藝術教養和青春叛逆，和他自己的成長經歷形成微妙的對比。他的畫作總是潛藏古老時代的氣息，因為他相信古聖孔子乃至於莎士比亞和 杜斯托也夫斯基的經典之作，對人性的刻畫最為深刻。《紅色青年》充滿懷舊的情調，沿著畫面中心人物的形狀，畫筆刷出暖黃色的粗糙背 景，襯托出主角流暢清晰的身體輪廓線條，同時背景的筆觸也為畫面營造出多層次的空間感。 畫中人物穿著柔軟的紅毛衣，雙手插在腰間，似 乎沉浸在自己憂鬱的冥想中。邱亞才有意不賦予畫中人物太多的面部表情，因為他認為人的表情變化無常，捉摸不定。 相反的，他想要捕捉的 是人物的內在性情和氣質。邱亞才筆下的人物是理想的化身，具有精煉的特質，同時反映出他對於每位複雜角色的主觀陳述，一如作品裡人物 的圓眼鏡框住細眉毛，臉上留著鬍疵，身形瘦削，流露出歲月和智慧。 邱亞才在現實的紛亂中追求畫作的秩序，這些人物原型意境幽遠，讓他的肖像畫令人一見難忘。邱亞才堅持其創作精上承自唐宋的人物畫， 彷 彿古代畫家對文士高官的描繪，邱亞才畫中人物的表情和姿態，也傳達了他們的個性和思想。 邱亞才揉合了中國肖像畫傳統和西方繪畫元素， 他的畫作和莫迪里亞尼有相似之處。 邱亞才創作的動力來自對於歷史的傳統虔信，以先賢的智慧為本。邱亞才畫中的人物永遠冷靜自持，沒有 太多動作，精采傳達了人類本質的游移和神秘。 Chiu Ya-tsai's works predicates upon ideal archetypes in human nature, his portraits seem to accrue a certain public grandeur reminiscence of historical personages. Chiu's favored subject of poets and writers, the aesthetes and disaffected youths with privileged upbringing contrasts moderately with his personal upbringing, there is always a hint of the old world in Chiu's art as he believes that humanity can be best portrayed by the ancient confucius and the great figures from classic literatures such as Shakespeare and Dostoyevsky. "Youth in Red" is imbued with an air of nostalgia as the textured warm yellow backdrop is executed in brushstrokes that runs along the shape of the exterior of the central figure, which essentially extenuates the contours of the smooth and clear outline of the body. Simultaneously, the effect of these strokes in the background opens up the plain space delineating space. The velvety red sweater of the central melancholic figure appears to be indulging in a moment of deep rumination in the nest of his malaise with his hands placed firming on his waist. In essence, Chiu deliberately rid his central figures in his portraits of excessive facial emotions as he regards expressions as fickle with a tendency to deviate and fluctuates continuously. Instead, the artist strived to paint the inner spirit and temperament of his subjects. Chiu's figures could be deemed as idealized visions with essences of refinement as he reflects a narrative quality to these complex characters, much like the circular glasses that frames the thin eyebrows and moustache of the slender central figure that adds a hint of age and wisdom.

The artist yearned for orders within the composition and out of the chaos and the unreadable emotions of these memorable archetypes results in his unforgettable portraits. Chiu insisted that the spirit of his art is a derivative of the figure paintings dated to the Tang and Sung Dynasties. Similar to the ancient depictions of scholars and officials, the faces and gesture of his subjects are connotative of personality and mindset. In essence, Chiu's synthesizes traditions of Classical Chinese portraiture with Western elements, which results in parallels between his characters and those of Modigliani. It is Chiu Yatsai's old-fashioned faith in history and the wisdom of great men that prompt his paintings. Chiu's figures are truly portraits in that they are always poised and limited in body language, which work magnificently in portraying the precarious nature of man's being with a touch of mystery.

202

332 CHIU Ya-tsai

邱亞才

(Taiwanese, 1949-2013)

讀書人

Literati

油彩 畫布 130 x 97 cm 簽名右下：亞才

Oil on canvas 130 x 97 Signed lower right Ya-tsai in Chinese

NT$ 2,000,000-3,000,000 HK$ 475,000-713,000 US$ 61,300-91,900

在中、西方的繪畫藝術史上，肖像畫始終是不朽的題材，藉由畫中人物衣著、背景點出時代以外，也提供當代人一扇得以窺視畫中人當時生活 樣貌的觀景窗。而無論是中、西肖像畫，寫實精神的落實逐漸成為肖像畫的核心，如文藝復興以降帶來肖像畫的興盛和精準的真實表達，或者 是中國唐代傳統人物畫裡看似寄情寫意，卻有精緻輪廓的神韻表達。 邱氏的才氣來自於他的哀愁，他也曾說過畫中人物都是他想像得來；懷才不遇的藝術家、漂泊浪跡的男子或是失意的商人，這群孤獨的身影， 在在都成了觀者去一探藝術家內心世界的線索。他鍾愛文學，暢情於寫作，再將他的情感化成一幅幅人物畫，而畫中人物總是不卑不亢，雖偶 有哀傷滿容或是冷靜的悲痛傷感，但卻總是悠悠平靜的淡然處世，反倒顯得優雅從容。邱氏的繪畫語言是他周遭生活的縮影，透過畫筆表述自 我，說書人般的講述一篇篇故事，是畫中人物的風雪，更是邱亞才的獨白，而正是這些孤寂的靈魂，成就了他的藝術精神。 Throughout the history of both Chinese and Western art, portraiture has remained a consistently popular genre. The clothing worn by the people portrayed, and the background scenes, help to give as a feel for the era in which the portrait was painted, and portraits from the past give people living in today’s world a window onto what life was like for the portrait subjects and their contemporaries. In both the Chinese and Western portraiture traditions, realism gradually became a core aspect of portrait painting; in the West, the Renaissance ushered in a new era in which portraiture grew increasingly popular and portraits grew ever more realistic, while in China the portraits painted during the Tang Dynasty may seem somewhat expressionist, but they still feature precise, detailed depiction of facial features.

Chiu Ya-tsai’s artistic talent derived in no small part from his own sorrows; he once commented that all of the figures depicted in his paintings had something of himself about them: the struggling artist, the rootless wanderer, or the unsuccessful businessman. These lonely images provide the viewer with clues as to the artist’s own inner world. A lover of literature who also wrote as a form of self-expression, Chiu was able to condense his feelings into a series of portraits. The individuals shown in these paintings are never wholly broken down by life; although sorrow or sadness may appear on their faces, they always maintain a steady calmness in the face of the problems that the world throws at them, and the overall effect is one of refined, gentlemanly bearing.

The artistic lexicon of Chiu Ya-tsai’s paintings reflects in microcosm the life of the artist himself. Through his brushstrokes, Chiu was able to express his own identity, becoming a “storyteller” whose own tale is told through the figures in his portraits. It was precisely this lonely, unique spirit that gave Chiu Ya-tsai’s art its power.

204

333 PANG Jiun

(Taiwanese, b. 1936)

Old Alley 2008 Oil on canvas 116.5 x 90.5 cm Signed lower right Pang Jiun in Chinese and dated 2008 With one painted seal of the artist

NT$ 1,600,000-2,600,000 HK$ 380,000-618,000 US$ 49,000-79,700

龎均 古巷 2008 油彩 畫布 116.5 x 90.5 cm 簽名右下：龎均 2008 手繪鈐印右下：均

206

334 YUAN Yuan (Chinese, b. 1973)

Museum V 2013 Oil on canvas 195 x 130 cm Signed on the reverse Y. yuan and titled Museum V both in English and Chinese

NT$ 1,900,000-2,800,000 HK$ 451,000-665,000 US$ 58,200-85,800

袁遠 博物館V 2013 油彩 畫布 195 x 130 cm 簽名畫背：Y. yuan 《Museum》V〈博物館之王〉袁遠 2013

生於1973年的袁遠，作品跨越東方與西方、連結個人與集體、融合 真實與想像，旋即在國際藝壇獲致好評，曾於巴黎、柏林、紐約、 北京、上海、香港、新加坡、台北等地展出。他曾在訪談中提到： 「我對那些因為人們過於熟悉或習慣而忽略的角落很感興趣，我會 想要怎樣在我的畫布上重新表現它，可以讓人覺得有所不同…因為 我的畫非常具體，所以很多人可能誤解我是看到一個實際的地方開 始有創作想法的，其實是恰恰相反，我是會先腦海裡隱約出現一個 抽象的印象，也可能只有一個光線或是一個空間的影像，然後我會 這裡出發，添加具體的東西，像是線條、天花板等…在這個過程就 會揉合一些實際的景。」 The art of Yuan Yuan (born in 1973) integrates East and West, links the individual with the collective, and fuses the imagined with the real. Yuan Yuan's work has won widespread international recognition, and his paintings have been exhibited in Paris, Berlin, New York, Beijing, Shanghai, Hong Kong, Singapore and Taipei.

While discussing his art in an interview, Yuan Yuan noted that "I am very interested in those corners that people overlook because they are too familiar with them or take them for granted. I start thinking about how I can present them in a new way on my canvas, so that they seem different to people … Because my paintings are so concrete, many people are under the mistaken impression that I get my inspiration from seeing a real place, but it's actually quite the opposite of that; I start off with an indistinct abstract image in my mind, which may consist of just a ray of light or a particular type of space, and then I take that as my starting point, adding something more concrete to it, such as lines, a ceiling, etc. … and through this process a realistic-looking scene gets teased out."

208

335 HUANG Gang (Chinese, b. 1961)

Revolving 2002 Mixed media on panel 180 x 120 cm Signed middle right Huang Gang in Chinese and English, dated 2002 Beijing ILLUSTRATED: Eminent Chinese Artist: Huang Gang–Revolving Golden Imprint, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, pp. 98-99 (the year mistook as 2005-2007 in the catalogue)

NT$ 1,300,000-2,400,000 HK$ 309,000-570,000 US$ 39,800-73,500 210

黃鋼 法輪常轉 2002 綜合媒材 木板 180 x 120 cm 簽名右中：Huang Gang 黃鋼 2002 北京 圖錄： 《中國當代名家系列：黃鋼—轉動黃金印記》， 藏新藝術有限公司，台北，2008，彩色圖版，頁98-99 （年份誤值為2005-2007）

336 ZHOU Chunya (Chinese, b. 1955)

Mountain House of Sliced Stones 2013 Color pencil on paper 30 x 41 cm Signed lower right Zhou Chunya in Chinese and dated 2013 The painting is to be sold with a certificate of authenticity issued by Lin & Lin Gallery, Taipei.

NT$ 1,100,000-2,200,000 HK$ 261,000-523,000 US$ 33,700-67,400

周春芽 片石山房一景 2013 彩色鉛筆 紙本 30 x 41 cm 簽名右下：2013周春芽 附大未來林舍畫廊與藝術家親筆簽名之原作保證書

337 XIONG Yu

(Chinese, b. 1975)

Three-Winged Portrait 2007 Oil on canvas 200 x 150 cm Signed lower right Xiong Yu in Chinese and dated 2007 EXHIBITED : Chinablue in Berlin, Berlin Art Centre, Berlin, Germany, September 2007

NT$ 1,000,000-2,000,000 HK$ 238,000-475,000 US$ 30,600-61,300

熊宇 三個翅膀的肖像 2007 油彩 畫布 200 x 150 cm 簽名右下：熊宇 2007 展覽： 「環碧堂在柏林」，柏林藝術中心，柏林，德國，展期自2007年9月

212

338 CHANG Chia-Ying

EXHIBITED : The Moebius Fairy Tale of Chang Chia-Ying, My Humble House Art Gallery, Taipei, Oct. 23 - Nov. 21, 2010

Fatty Monster Adventure in Brainless Kingdom I Fatty Monster Adventure in Brainless Kingdom II

ILLUSTRATED : The Moebius Fairy Tale of Chang Chia-Ying Solo Exhibition, My Humble House Art Gallery Co., Ltd, Taipei, 2010, color illustrated, pp. 46-47

(Taiwanese, b. 1982)

2008 Acrylic on canvas 145.5 x 112 cm (x2) Signed lower right on the two frames Chia Ying and dated 2008

This painting is to be sold with a certificate of authenticity issued

by My Humble House Art Gallery, Taipei.

NT$ 650,000-850,000 HK$ 154,000-202,000 US$ 19,900-26,000 214

張嘉穎 ㄉㄨㄞ妖妖之無腦王國的冒險 1 ㄉㄨㄞ妖妖之無腦王國的冒險 2

2008 壓克力 畫布 145.5 x 112 cm (x2) 簽名兩件邊框右下: Chia Ying 2008

展覽： 「莫比烏斯 ∞ 童話」張嘉穎個展，寒舍空間，台北， 展期自2010年10月23日至11月21日 圖錄： 張嘉穎《莫比烏斯 ∞ 童話》個展，寒舍空間股份有限 公司，台北，2010年，彩色圖版，頁46-47 附寒舍空間畫廊開立之原作保證書

339 CHANG Chia-Ying (Taiwanese, b. 1982)

The Journey to the West 2010 Acrylic on canvas 200 x 200 cm Signed lower right on frame Chin Ying in English and dated 2010 EXHIBITED : The Moebius Fairy Tale of Chang Chia-Ying, My Humble House Art Gallery, Taipei, Oct. 23 - Nov. 21, 2010 ILLUSTRATED : The Moebius Fairy Tale of Chang Chia-Ying Solo Exhibition, My Humble House Art Gallery Co., Ltd, Taipei, 2010, color illustrated, pp. 84-85 Opening Dream, Artitude, Issue 14, Nov. 2010, Taipei, color illustrated, p. 123

NT$ 900,000-1,800,000 HK$ 214,000-428,000 US$ 27,600-55,100

張嘉穎 西遊記 2010 壓克力 畫布 200 x 200 cm 簽名右下畫框：Chin Ying 2010 展覽： 「莫比烏斯 ∞ 童話」張嘉穎個展，寒舍艾美酒店，台北， 展期自2010年10月23日至11月21日 圖錄： 張嘉穎《莫比烏斯 ∞ 童話》個展，寒舍空間股份有限公司，台北，2010年， 彩色圖版，頁84-85 《正開啟的夢境》，藝外雜誌2010年11月14期，台北，彩色圖版，頁123

216

340 HSU Tung Lung (Taiwanese, b. 1947)

Angel 2014 White Marble 52(L) x 45(W) x 75(H) cm Engraved on the reverse Tung Lung in Chinese and dated 2014 EXHIBITED : New Works of Tung Lung Hsu Solo Exhibition Tour, Frank Lin Art Center, Beijing, Aug. 23 - Sep. 21, 2014 New Works of Tung Lung Hsu Solo Exhibition Tour, Pata Gallery Shanghai, Shanghai, Sep. 27 - Oct. 21, 2014

NT$ 550,000-750,000 HK$ 131,000-178,000 US$ 16,900-23,000 218

許東榮 天使 2014 漢白玉 52(長) x 45(寬) x 75(高) cm 簽名雕刻底部後方：東榮 2014 展覽： 「大象無形– 許東榮新作巡迴展」，林正藝術空間， 北京，展期自2014年8月23日至9月21日 「大象無形– 許東榮新作巡迴展」，八大畫廊上海， 上海，展期自2014年9月27日至10月21日

341 JU Ming

(Taiwanese, b. 1938)

Living World Series (a set of 2) 2004；2005 Wood 13.5(L) x 10.2(W) x 33.5(H) cm 14.8(L) x 10.5(W) x 34(H) cm Engraved Ju Ming in Chinese and dated 2004 (left) Engraved Ju Ming in Chinese and dated 2005 (right) Those sculptures are to be sold with a certificate of authenticity issued by Lee Chi Creativity Co., Ltd. and signed by the artist, Taipei.

NT$ 550,000-650,000 HK$ 131,000-154,000 US$ 16,900-19,900

朱銘 人間系列 （兩件一組） 2004；2005 木雕 13.5(長) x 10.2(寬) x 33.5(高) cm 14.8(長) x 10.5(寬) x 34(高) cm 簽名雕刻：朱銘 2004 (左) 簽名雕刻：朱銘 2005 (右) 附李記創意股份有限公司與藝術家親筆簽名 之原作保證書

342 LENG Bingchuan (Chinese, b. 1961)

Scattering Flervers 2006 Mixed media on canvas 125 x 100 cm Signed on the reverse and Bingchuan in Chinese and Ban in English, titled Scattering Flervers in Chinese, inscribed 125 x 100, and dated 2006 EXHIBITED : Leng Bingchuan | About Simpleness, Lin & Lin Gallery, Taipei, Apr. 7 - 29, 2012 ILLUSTRATED : About Simple: Leng Bingchuan, Lin & Lin Gallery, Taipei, 2012, color illustrated, p. 22 The painting is to be sold with a certificate of authenticity issued by Lin & Lin Gallery, Taipei.

NT$ 550,000-750,000 HK$ 131,000-178,000 US$ 16,900-23,000

220

冷冰川 散佚 2006 綜合媒材 畫布 125 x 100 cm 簽名畫背：散佚 125 x 100 冰川 2006 Ban 展覽： 「至素樸」，大未來林舍畫廊，台北，台灣， 展期自2012 年4月7日至29日 圖錄： 《至素樸：冷冰川》，大未來林舍畫廊，台北， 2012年，彩色圖版，頁22 附大未來林舍畫廊開立之原作保證書

343 SHIY De-jinn

(Taiwanese, 1923-1981)

Boatman 1966 Watercolor on paper 43.5 x 60 cm Signed upper left Shiy De-Jinn in Chinese and dated 1966

NT$ 440,000-650,000 HK$ 105,000-154,000 US$ 13,500-19,900

席德進 船伕 1966 水彩 紙本 43.5 x 60 cm 簽名左上：席德進 1966 智愚先生雅屬

344 HUNG Jui-lin

(Taiwanese, 1912 - 1996)

Puli Scenery 1964 Oil on paper 31.5 x 41 cm Signed lower right J.L. Huang in English and dated 1964 With one seal of the artist on the lower left This painting is to be sold with a certificate of authenticity issued by Taiwan Gallery.

NT$ 380,000-480,000 HK$ 90,000-114,000 US$ 11,600-14,700

222

洪瑞麟 埔里風光 1964 油彩 紙本 31.5 x 41 cm 簽名右下：J. L. Hung 1964 鈐印左下：洪 附台灣畫廊開立之原作保證書

345 JAN Chin-shui (Taiwanese, b. 1953)

Glacial Waterfalls 2014 Mixed media on canvas 130.5 x 163 cm Signed lower right Chin-shui in Chinese, dated 2014 Signed on the reverse Jan Chin-shui in Chinese, titled Glacial Waterfalls in Chinese, inscribed 100F, and dated 2014

NT$ 320,000-550,000 HK$ 76,000-131,000 US$ 9,800-16,900

詹金水 冰谷流泉 2014 綜合媒材 畫布 130.5 x 163 cm 簽名右下：金水 2014 簽名畫背：100F 冰谷流泉 2014年 詹金水

346 Hung Seanpei (Taiwanese, b. 1979)

Folding Surface 50 2009 Acrylic on canvas 73 x 73cm Signed on the reverse Hung in Chinese, Seanpei in English, dated 2009 and titled Folding Surface in Chinese With on engraved seal of the artist EXHIBITED : Hong Seanpei & Li Bo, J. Chen Gallery, Taipei, Dec. 12, 2009 - Jan, 10, 2010 The painting is to be sold with a certificate of authenticity signed by the artist and issue Gallery J. Chen

NT$ 360,000-460,000 HK$ 86,000-109,000 US$ 11,000-14,100 224

洪紹裴 折畫面 50

2009 壓克力 畫布 73 x 73cm 簽名畫背：洪Seanpei 2009, 折50 浮刻鈐印右下：洪 展覽： 「洪紹裴＆李博」，J. Chen Gallery，台北， 展期自2009年12月12日至2010年1月10日 附Gallery J. Chen開立之藝術家親筆簽名之原作保證書

347 Max LIU (LIU Chi-wei)

(Taiwanese, 1920-2002)

Evening Call - Po Yu Bird 1980 Mixed media on paper 61 x 46 cm Signed lower right Liu Chi-wei in Chinese phonetic alphabet and dated 1980(chinese numerals) ILLUSTRATED : LIU Chi-wei 2007, Capital Art Center, Taipei, 2007, color illustrated

NT$ 360,000-460,000 HK$ 86,000-109,000 US$ 11,000-14,100

劉其偉 薄暮的呼聲--婆憂鳥 1980 綜合媒材 紙本 61 x 46 cm 簽名右下：ㄌ一ㄡˊㄑ一ˊㄨㄟˇ 〡〩〨〇 圖錄： 《劉其偉畫集 2007》，首都藝術事業有限公司，台北， 2007年，彩色圖版

348 JAN Chin-shui (Taiwanese, b. 1953)

A Distant View 2013 Mixed media on canvas 162.5 x 112 cm Signed lower right Chin-shui in Chinese, dated 2013 Signed on the reverse Jan Chin-shui in Chinese, titled A Distant View in Chinese, inscribed 100P, and dated 2013

NT$ 320,000-550,000 HK$ 76,000-131,000 US$ 9,800-16,900 226

詹金水 登高望遠 2013 綜合媒材 畫布 162.5 x 112 cm 簽名右下：金水 2013 簽名畫背：100P 登高望遠 2013年 詹金水

349 LI Jisen

(Chinese, b. 1970)

Moths' Story No. 18 2004 Oil on canvas 151 x 105.5 cm Signed lower right Jisen in Chinese and dated 2004,11

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,800

李繼森 飛蛾的故事 No. 18

2004 油彩 畫布 151 x 105.5 cm 簽名右下：繼森 2004,11

350 PENG Hung-Chih (Taiwanese, b. 1969)

Post-Inner Scripture – Vertebral Bud 2013 Acrylic on canvas 110 x 110 cm Signed lower right PENG Hung-Chih in Chinese and dated 2013 EXHIBITED : Post-Inner Scripture Peng Hung Chih Solo Exhibition, Art Issue, Taipei, Sep. 7 - Oct. 20 This painting is to be sold with a certificate of authenticity issued

by Art Issue, Taipei.

NT$ 320,000-420,000 HK$ 76,000-100,000 US$ 9,800-12,900

228

彭泓智 後內經圖之椎芽 2013 壓克力 畫布 110 x 110 cm 簽名右下：彭泓智2013 展覽： 「後內經圖─彭泓智個展」，藝術計畫， 台北，展期自2013年9月7日至10月20日 附藝術計畫開立之原作保證書

351 Wang Wei Ho (Taiwanese, b. 1961)

Harn 2010 Oil on canvas 116.5 x 91 cm Signed lower right Wei-Ho in Chinese and dated 2010 Signed on the upper edge Wang Wei-Ho in Chinese, titled harn in Chinese and English, dated 2010 and inscribed 116.5 x 91cm, meterial oil on linen

NT$ 320,000-420,000 HK$ 76,000-100,000 US$ 9,800-12,900

王為河 含 2010 油彩 畫布 116.5 x 91 cm 簽名右下：為河 2010 簽名上側：王為河 "含 harn" 2010 油麻 116.5 x 91cm

352 CHEN Liu

(Chinese, b. 1973)

The Celestial Series - The Black Horse 2007 Oil on canvas 140 x 200 cm Signed lower left CHEN Liu in Chinese and dated 2007.6.5 EXHIBITED : Chen Liu．Chen Changwei Art Exhibition, Blue Dreamland Gallery, Sichuan, Nov. 24 - Dec. 23, 2007 ILLUSTRATED: Eminent Chinese Artist: Chen Liu – The Celestial, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, pp. 82-83

NT$ 300,000-500,000 HK$ 71,000-119,000 US$ 9,200-15,300

230

陳流 天空界之飛躍黑馬 2007 油彩 畫布 140 x 200 cm 簽名左下：陳流 2007.6.5 展覽： 「得意．忘形」陳流、陳長傳作品展，藍色空間畫廊， 四川，展期自2007年11月24日至12月23日 圖錄： 《中國當代名家系列：陳流─天降大任》， 藏新藝術有限公司，台北，2008，彩色圖版，頁82-83

353 HAN Wu-Lin

(Taiwanese, 1947-2009)

Pumpkin 1998 Oil on canvas 50 x 90 cm Signed lower right Wu in Chinese, lin in English and dated '98 With on seal of the artist

NT$ 260,000-360,000 HK$ 62,000-86,000 US$ 8,000-11,000

韓舞麟 金瓜 1998 油彩 畫布 50 x 90 cm 簽名右下：舞 lin '98 鈐印右下：韓

354 XUE Song

(Chinese, b. 1965)

Super Star - Zhou Xuan 2006 Mixed media on canvas 60 x 60 cm Signed lower right Xue Song in Chinese Signed on the reverse Xue Song in Chinese and English, titled Star-Beauty in Chinese, inscribed 60 cm x 60 cm, dated 2006

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,800

232

薛松 大明星周旋 2006 綜合媒材 畫布 60 x 60 cm 簽名右下：薛松 簽名畫背：《星》60 cm x 60 cm 薛松 Xue Song 2006

355 HUANG Yu-cheng (Taiwanese, b. 1948)

The Park Corner 1992 Oil on canvas 60 x 72.5 cm Signed lower left Yu-cheng in Chinese, dated 92 This painting is to be sold with a certificate of authenticity issued

by Asia Art Center, Taipei.

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,800

黃玉成 公園一隅 (一)

1992 油彩 畫布 60 x 72.5 cm 簽名左下：玉成 92 附亞洲藝術中心有限公司開立之保證書

356 Howard CHEN (CHEN Chun-hao) (Taiwanese, b. 1971)

Stone and Bamboo Mosquito nail, canvas, wood 119 x 60 cm With one seal of the artist

NT$ 300,000-400,000 HK$ 71,000-95,000 US$ 9,200-12,300

陳浚豪 石竹圖 不鏽鋼蚊釘 畫布 木板 119 x 60 cm 鈐印左下：墨華

234

357 LEE Liang

(Chinese, b. 1985)

Mid-Autumn 2014 Oil on canvas 120 x 100 cm Signed lower left Lee Liang and titled Mid-Autumn in Chinese, dated 2014.9

NT$ 190,000-280,000 HK$ 45,000-67,000 US$ 5,800-8,600

李梁 中秋 2014 油彩 畫布 120 x 100 cm 簽名右下：中秋 李梁 2014.9

C

G

D

F

358 HSU Chih-wei (Taiwanese, b. 1972)

The Volley-C,The Volley-D, The Volley-G,The Volley-F (a set of 4) 2013 Oil on canvas 53 x 41 cm (The Volley-C & D) 65 x 53 cm (The Volley-G) 53 x 45.5 cm (The Volly-F) Signed on the reverse HSU Chih-wei in Chinese and dated 2013 (The Volley-C & D) EXHIBITED : Living alone in the city - Hsu Chih-Wei Solo Exhibition, Lipen Art Galerie, Taipei, Dec. 20, 2014 - Jan. 10, 2015 ILLUSTRATED : Living alone in the city - Hsu Chih-Wei Solo Exhibition, Lipen Art Galerie, Taipei, 2014, color illustrated, pp. 20. 21. 26 The painting is to be sold with a certificate of authenticity issued by Lipen Art Galerie, Taipei.

NT$ 190,000-280,000 HK$ 45,000-67,000 US$ 5,800-8,600

236

許智瑋 凌空–C，凌空–D，凌空–G，凌空–F（四件一組） 2013 油彩 畫布 53 x 41 cm (凌空-C & D) 65 x 53 cm (凌空-G) 53 x 45.5 cm (凌空-F) 簽名畫背：許智瑋 2013 (凌空-C & D) 展覽： 「一個人的城市」許智瑋個展，麗品畫廊，台北， 展期自2014年12月20日至2015年1月10日 圖錄： 《一個人的城市》許智瑋個展，麗品畫廊，台北， 2014年，彩色圖版，頁20，21，26 附麗品畫廊開立之原作保證書

359 Daniel LEE

(Chinese, b. 1945)

Nightlife – Noga & Tanya 2002 Digital C-print, edition no.2/6 126 x 88.5 cm Signed lower left Daniel Lee '02 Numbered lower right 2/6

NT$ 130,000-220,000 HK$ 31,000-52,000 US$ 4,000-6,700

李小鏡 夜生活系列–Noga & Tanya 2002 數位輸出 2/6 126 x 88.5 cm 簽名左下：Daniel Lee '02 版次右下：2/6

360 Max LIU (LIU Chi-wei)

(Taiwanese, 1920-2002)

Mother and Child 1996 Mixed media on canvas mounted onto paper 38 x 46 cm Signed lower left Liu Chi-wei in Chinese phonetic alphabet and dated 96 ILLUSTRATED : LIU Chi-wei 2007, Capital Art Center, Taipei, 2007, color illustrated

NT$ 190,000-280,000 HK$ 45,000-67,000 US$ 5,800-8,600 238

劉其偉 母與子（一） 1996 綜合媒材 畫布裱於紙本 38 x 46cm 簽名右下：ㄌ一ㄡˊㄑ一ˊㄨㄟˇ '96 圖錄： 《劉其偉畫集 2007》，首都藝術事業有限公司， 台北，2007年，彩色圖版

361 CHEN Ting-shih (CHEN Ting-shi) (Taiwanese, 1916-2002)

Signal from the Outer Space #1 1973 Print, edition no. 7/25 60 x 60 cm Signed lower right Chen Ting-shih and dated June 1973 in English titled lower left Signal from Outer Space #1 in English PROVENANCE : Acquired directly from the artist by the current owner

NT$ 190,000-280,000 HK$ 45,000-67,000 US$ 5,800-8,600

陳庭詩 來自外太空的訊息#1 1973 版畫 7/25 60 x 60 cm 簽名右下：Chen Ting-Shih June 1973 題識左下：Signal from Outer Space #1 來源： 現藏者購自藝術家本人

362 WANG Tzu-Ting (Taiwanese, b. 1987)

Being Together II 2009 Acrylic and charcoal on canvas 112.5 x 145.5 cm Signed on the reverse Wang Tzu-Ting in Chinese, dated 2009 Signed on the reverse frame WANG TZU-TING in English

NT$ 190,000-280,000 HK$ 45,000-67,000 US$ 5,800-8,600

240

王姿婷 只要我們在一起 II

2009 壓克力 炭筆 畫布 112.5 x 145.5 cm 簽名畫背：王姿婷 2009 簽名畫背樞條：WANG TZU-TING

363 MA Pai-sui

(Taiwanese, 1909-2003)

Dawn 1993 Watercolor on cotton 45 x 55 cm Signed lower right Pai-sui in Chinese, dated 1993 With one seal of the artist Exhibited : MA Pai-Sui Solo exhibition, Modern Art Gallery, Taichung, November 6-25, 1993 The painting is to be sold with a certificate of authenticity issued

by Modern Art Gallery, Taichung.

NT$ 160,000-260,000 HK$ 38,000-62,000 US$ 4,900-8,000

馬白水 黎明 1993 水彩 棉布 45 x 55 cm 簽名右下：白水 1993 鈐印右下：MA PAI SUI 展覽： 「馬白水個展」現代畫廊，台中，展期自1993年 11月6日至11月25日 附現代畫廊開立之原作保證書

364 WU Hsuehjang

(Taiwanese, 1923-2013)

Gooses 2012 Batik on silk cloth 36.5 x 54.5 cm With one seal of the artist

NT$ 170,000-240,000 HK$ 40,000-57,000 US$ 5,200-7,400

242

吳學讓 三鵝圖 2012 蠟染 絹布 36.5 x 54.5 cm 鈐印右下：吳

365 Alixe FU (FU Qing-li, Ching-Fong) (Chinese-French, b. 1961)

Tahiti 1989 Oil on canvas 81 x 65 cm Signed lower left Fu Qing-li in Chinese and Alixe Fu in English, dated 89 ILLUSTRATED: Alixe Fu, East Gallery, Taipei; Galerie Patrick Chemama, Paris, 1990, color illustrated, p. 8

NT$ 160,000-260,000 HK$ 38,000-62,000 US$ 4,900-8,000

傅慶豊 大溪地 1989 油彩 畫布 81 x 65 cm 簽名右下：傅慶豐Alixe Fu 89 圖錄： 《傅慶豊》，東之畫廊，台北；派帝克畫廊，巴黎， 1990，彩色圖版，頁8

366 CHANG Chen-yu

張振宇

(Taiwanese, b. 1957)

大樹

Tree

油彩 畫布 84.5 x 85 cm 簽名右下：振宇

Oil on canvas 84.5 x 85 cm Signed lower right Chen-yu in Chinese

NT$ 130,000-240,000 HK$ 31,000-57,000 US$ 4,000-7,400

244

367 Alixe FU (FU Qing-li, Ching-Fong) (Chinese-French, b. 1961)

Ombre d’Arbre (Shadow of Tree) 1992 Oil on canvas 73 x 60 cm Signed lower right Alixe Fu in English and dated 92 EXHIBITED : Alixe Fu, Galerie Pierre-Marie Vitroux, Paria, 1993 ILLUSTRATED : Alixe Fu, Glerie Pierre Marie Vitoux, Paris, 1993, color illustrated, p.12 This painting is to be sold with a certificate of authenticity issued

by Ever Harvest Art Gallery, Taipei.

NT$ 130,000-220,000 HK$ 31,000-52,000 US$ 4,000-6,700

傅慶豊 樹的影子 1992 油彩 畫布 73 x 60 cm 簽名右下： Alixe Fu 92 展覽： 「傅慶豊」，皮耶．瑪莉．維圖畫廊，巴黎，1993 圖錄： 《傅慶豊》，皮耶．瑪莉．維圖畫廊，巴黎， 1993，彩色圖版，頁12 附日升月鴻畫廊開立之保證書

368 WU Hsuehjang

(Taiwanese, 1923-2013)

吳學讓 一家人

2012 Batik on canvas 45 x 43 cm Signed lower right Tui-Bo in Chinese and dated 2012 With two seal of the artist

2012 蠟染 畫布 45 x 43 cm 簽名右下：二〇一二 退伯 鈐印右下：吳 鈐印左下：多

EXHIBITED : A Memorial Exhibition of Wu Xue-rang: Paintings and Calligraphy, National Museum of History, Taipei, May. 8 - Jun. 14, 2015

展覽： 「真水無香─吳學讓書畫紀念展」，國立歷史博物館， 台北，展期2015年5月8日至6月14日

Family

ILLUSTRATED : A Memorial Exhibition of Wu Xue-rang: Paintings and Calligraphy, National Museum of History, Taipei, 2015, color illustred, p. 78

NT$ 150,000-260,000 HK$ 36,000-62,000 US$ 4,600-8,000

246

圖錄 《真水無香》吳學讓書畫紀念展，國立歷史博物館， 台北，2015，彩色圖版，頁78

369 LIANG Yi-fen (Taiwanese, b. 1937)

The Lady in Front of a Screen 2008 Oil on canvas 116.5 x 91 cm Signed lower right LIANG in English, Yi-fen in Chinese and dated 2008 ILLUSTRATED: Liang Yifen 2009, Sunny Art Museum, Hsinchu, 2009, color illustrated, no. 69, p. 78

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,400-6,700

梁奕焚 屏風前的仕女 2008 油彩 畫布 116.5 x 91 cm 簽名右下：LIANG 奕焚 2008 圖錄： 《梁奕焚畫冊．2009》，名冠藝術，新竹，2009， 彩色圖版，編號69，頁78

370 HUANG Hung-Teh (Taiwanese, b. 1942)

Magnet and Children 1995 Oil on canves 26.5 x 45 cm Signed lower left 8383

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,400-6,700

248

黃宏德 磁鐵與小孩 1995 油彩 畫布 26.5 x 45 cm 簽名左下：8383

371 LIN Wen-chiang (Taiwanese, b. 1943)

Rosy Clouds 1988 Oil on canvas 65 x 53 cm Signed lower left Wen-chiang in Chinese and dated '88 ILLUSTRATED: Wen Chiang Lin - 1974-1990, Galerie Elegance, Taipei, 1990, color illustration, pp. 108-109

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,400-6,700

林文強 彩霞 1988 油彩 畫布 65 x 53 cm 簽名左下：文強 88 圖錄： 《林文強作品集1974-1990》，愛力根畫廊，台北， 1990，彩色圖版，頁108-109

372 LEE Ming-tse (Taiwanese, b. 1957)

Landscape in Kaohsiung 1980 Acrylic on paper, mounted on wood board 100 x 32 cm With five painted seals of the artist

NT$ 130,000-220,000 HK$ 31,000-52,000 US$ 4,000-6,700

李明則 高雄山水 1980 壓克力 紙本 裱於木板 100 x 32 cm 手繪鈐印左上：山水 明則 手繪鈐印右上：高雄 羊 80

373 CHEN Ting-shih (CHEN Ting-shi) (Taiwanese, 1916-2002)

Day and Night #89 1985 lithograph 92 x 92 cm Signed lower right Chen Ting-shih in English, dated 1985 Titled lower left Day and Night #89 in English This painting is to be sold with a certificate of authenticity issued by Dimensions Art Center, Taipei.

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,400-6,700

陳庭詩 晝與夜＃89 1985 版畫 92 x 92 cm 簽名右下：Chen Ting-shih 1985 題識左下：Day and Night #89 附帝門藝術中心開立之原作保證書

374 CHEN Ching-jung (Taiwanese, b. 1934)

Contemplation 1985 Oil on canvas 60 x 30 cm Signed lower left Ching-jung in Chinese, dated 1985 The painting is to be sold with a certificate of authenticity issued by Modern Art Gallery, Taichung.

NT$ 130,000-220,000 HK$ 31,000-52,000 US$ 4,000-6,700

陳景容 沈思 1985 油彩 畫布 60 x 30 cm 簽名左下：景容 1985 附現代畫廊開立之原作保證書

375 J. C. KUO (Jen-chang KUO)

郭振昌 圖騰與禁忌–老子

Totem and Taboo -Laozi

2003 混合媒材 畫布裱於木板 40 x 30.5 cm

2003 Mixed media canvas mounted onto board 40 x 30.5cm

展覽： 「圖騰與禁忌：郭振昌個展」，台北市立美術館， 展期自2008年7月2日至9月21日

(Taiwanese, b. 1949)

EXHIBITED : Totem and Taboo 2008 KUO Jen Chang, Taipei Fine Arts Museum, Taipei, Taiwan, July 2-September 21, 2008 ILLUSTRATED : Totem and Taboo 2008 KUO Jen Chang, Taipei Fine Arts Museum, Taipei, Taiwan, 2008, color illustrated, p. 105.

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

NT$ 100,000-200,000 HK$ 24,000-48,000 US$ 3,100-6,100 252

圖錄： 《圖騰與禁忌：郭振昌個展》，台北市立美術館， 2008年，彩色圖版，頁105 附威廉藝術中心開立之原作保證書

376 J. C. KUO (Jen-chang KUO) (Taiwanese, b. 1949)

Totem and Taboo -Zhuangzi 2003 Mixed media canvas mounted onto board 40 x 30.5 cm Signed lower right Kuo Jen-chang in Chinese, J. C. Kuo in English and dated 2003 EXHIBITED : Totem and Taboo 2008 KUO Jen Chang, Taipei Fine Arts Museum, Taipei, Taiwan, July 2-September 21, 2008 ILLUSTRATED : Totem and Taboo 2008 KUO Jen Chang, Taipei Fine Arts Museum, Taipei, Taiwan, 2008, color illustrated, p. 105.

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

NT$ 100,000-200,000 HK$ 24,000-48,000 US$ 3,100-6,100

郭振昌 圖騰與禁忌–莊子 2003 混合媒材 畫布裱於木板 40 x 30.5 cm 簽名右下：郭振昌2003 J C Kuo 展覽： 「圖騰與禁忌：郭振昌個展」，台北市立美術館， 展期自2008年7月2日至9月21日 圖錄： 《圖騰與禁忌：郭振昌個展》，台北市立美術館， 2008年，彩色圖版，頁105 附威廉藝術中心開立之原作保證書

377 LIU Shih-tung (Taiwanese, b. 1970)

Distant Landscape 2013 Mixed media on board 60 cm (diameter) Signed on the reverse LIU Shih-tung and titled Distanced Scenery in Chinese, inscribed diameter 60 cm in Chinese and dated 2013 EXHIBITIED : Liu Shih-Tung | Polysemy, LIN & LIN Gallery, Taipei, Sep. 7 - 29, 2013 ILLUSTRATED : Liu Shih-Tung | Polysemy, LIN & LIN Gallery, Taipei, 2013, color illustrated, p. 83 The painting is to be sold with a certificate of authenticity issued

by Lin & Lin Gallery, Taipei.

NT$ 100,000-200,000 HK$ 24,000-48,000 US$ 3,100-6,100 254

劉時棟 遠處的風景 2013 綜合媒材 木板 60 cm（直徑） 簽名畫背：遠處的風景 劉時棟 直徑60公分 2013 展覽： 「化外影語」，大未來林舍畫廊，台北， 展期自2013年9月7日至29日 圖錄： 《化外影語》，大未來林舍畫廊出版，台北， 2013年，彩色圖版，頁83 附大未來林舍畫廊開立之原作保證書

378 LIU Shih-tung (Taiwanese, b. 1970)

The Forgotten Vase 2012 Mixed media on canvas 65 x 65 cm ILLUSTRATED : Liu Shih-Tung | Polysemy, Lin & Lin Gallery, Taipei, 2013, color illustrated, p. 104 The painting is to be sold with a certificate of authenticity issued by Lin & LIN Gallery, Taipei.

NT$ 100,000-200,000 HK$ 24,000-48,000 US$ 3,100-6,100

劉時棟 被遺忘的花瓶 2012 複合媒材 畫布 65 x 65 cm 圖錄： 《化外影語》，大未來林舍畫廊出版，台北，2013年， 彩色圖版，頁104 附大未來林舍畫廊開立之原作保證書

379 ZAO Wou-ki

(Chinese-French,1921-2013)

Untitled 1998 lithographs edition no. 12/99 45.4 x 64.6 cm Signed lower right Wou-ki in Chinese and ZAO in French, dated 98 and number 12/99 ILLUSTRATED : Zao Wou-ki, The Graphic Work 1995-2000, Edition Heede & Moestrup, Copenhagen, 2001 color illustrated, no.395, p. 10 The painting is to be sold with a certificate of authenticity issued

by Caves Gallery.

NT$ 100,000-200,000 HK$ 24,000-48,000 US$ 3,100-6,100

256

趙無極 無題 1998 石版畫 12/99 45.4 x 64.6 cm 簽名右下：無極ZAO 98 12/99 圖錄： 《趙無極版畫集1995-2000》，黑德與莫斯特魯普出版社， 哥本哈根，2001，彩色圖版，編號395，頁10 附敦煌畫廊開立之保證書

380 ZAO Wou-ki

(Chinese-French, 1921-2013)

Untitled-2, Untitled (a set of 2) 1981 ; 1986 Etching with aquatint on Guarro paper 76/99; 5/99 52 x 42 cm (image); 64.5 x 50 cm (paper) (upper) 56 x 41 cm (image); 76 x 57 cm (paper) (lower) Signed lower right Wou-ki in Chinese, Zao in French; numbered lower right 76/99 and dated 81 (upper) Signed lower right Wou-ki in Chinese, Zao in French; numbered lower left 5/99 and dated 86 (upper) ILLUSTRATED: Jørgen Ågerup, Zao Wou-ki, The Graphic Work A Catalogue Raisonné 1937-1995, Heede & Moestrup, Copenhagen, 1994, color illustrated, no. 318, p. 178 (upper); no. 328, p. 182 (lower)

NT$ 190,000-280,000 HK$ 45,000-67,000 US$ 5,800-8,600

趙無極 無題-2；無題 1981；1986 石版畫 版次 76/99；凹銅版畫 版次 5/99 52 x 42 cm (圖心) 64.5 x 50 cm (紙張) (上) 56 x 41 cm (圖心) 76 x 57 cm (紙張) (下) 簽名右下：無極 ZAO '81 76/99（上） 簽名右下：無極 ZAO 86 5/99（下） 圖錄： 《趙無極版畫集1937-1995》，黑德與莫斯特魯普出版社， 哥本哈根，1994，彩色圖版，編號318，編號328，頁178，182

381 XU Na

(Chinese, b. 1968)

The Meet in the Spring 2014 Oil on canvas 42.9 x 35.2 cm Signed lower right Na in Chinese This painting is to be sold with a centificate of authenticity signed by the artist and issued by Chin Der Jyu Gallery, Taipei.

NT$ 90,000-180,000 HK$ 21,000-43,000 US$ 2,800-5,500

258

許那 相約在春季 2014 油彩 畫布 42.9 x 35.2 cm 簽名右下：那 附沁德居藝廊開立之原作保證書

382 LIN Yao-sheng (Taiwanese, b. 1954)

Spring Valley 1996 Oil on canvas 65 x 91 cm Signed lower left Yao-sheng in Chinese, dated ‘96

NT$ 90,000-180,000 HK$ 21,000-43,000 US$ 2,800-5,500

林耀生 春暖幽谷 1996 油彩 畫布 65 x 91 cm 簽名左下：耀生'96

383 CHEN Yin-wei (Taiwanese, b. 1960)

Flying Angel 1992 Oil on canvas 91 x 73 cm Signed lower left Kingway C in English and Chinese, dated '92 Titled on the reverse Flying Angel in Chinese

NT$ 80,000-160,000 HK$ 19,000-38,000 US$ 2,500-4,900

陳英偉 飛天使 1992 油彩 畫布 91 x 73 cm 簽名左下： Kingway C 陳英偉 '92 題識畫背：飛天使

384 CHEN Chao-Pao (Taiwanese, b. 1948)

XO Man 2002 Acrylic on canvas 53 x 65 cm Signed lower right Chao-Pao in Chinese and A PAO in English, dated 02 ILLUSTRATED: Glory Resurged-Chen Chao Pao’s painting,Yue-bao Publishing. Co, Taipei, 2006, color illustrated, p. 93

NT$ 90,000-180,000 HK$ 21,000-43,000 US$ 2,800-5,500

陳朝寶 XO男人

2002 壓克力 畫布 53 x 65 cm 簽名右下：朝寶A PAO 02 圖錄： 《藏寶徒–陳朝寶他的繪畫藝術世界》，悅寶文化出版，台北， 2006年，彩色圖版，頁93

260

385 KENG Hao-kang (Taiwanese, b. 1969)

For Zebra 1 Animal Series Geometric Composition 2013 Acrylic on Board, Mixed media, Image from INVESTEC Assee Management advertising 30 x 42 cm EXHIBITIED : The Difference Between-A Solo Exhibition by Keng Hao Kang, Galerie Grand Siecle, Taipei, Sep. 27 - Oct. 25, 2013 This painting is to be sold with a centificate of authenticity signed by the artist and issued by Galerie Grand Siecle, Taipei.

NT$ 60,000-120,000 HK$ 14,000-29,000 US$ 1,800-3,700

耿晧剛 幾何構圖動物系列–斑馬Ⅰ 2013 綜合媒材 壓克力 木板 30 x 42 cm 展覽： 「差異之間」，新苑藝術，台北，展期自 2013年9月27日至10月25日 附新苑藝術開立之原作保證書

386 LIN Wen-chiang (Taiwanese, b. 1943)

Mother and Son; Sisters (a set of 2) 1991 Oil on canvas 25.5 x 18 cm (Left) / 27.5 x 22.5 cm (Right) Signed lower right Chiang in Chinese (Mother and Son) Signed lower right Chiang in Chinese and dated 91 (Sisters)

NT$ 70,000-140,000 HK$ 17,000-33,000 US$ 2,100-4,300

林文強 母子；姊妹 (兩件一組) 1991 油彩 畫布 25.5 x 18 cm (左) 27.5 x 22.5 cm (右) 簽名右下：強 (左) 簽名右下：強91 (右)

387 HSIEH Hsiao-De (Taiwanese, b. 1940)

Guanyin Mountain 2011 Watercolor on paper 79 x 110.5 cm Signed lower right Hsieh Hsiao-De in Chinese and dated 2011

NT$ 50,000-100,000 HK$ 12,000-24,000 US$ 1,500-3,100

謝孝德 觀音山 2011 水彩 紙本 79 x 110.5 cm 簽名右下：2011 謝孝德

388 HAN Wu-Lin

(Taiwanese, 1947-2009)

Old House 1989 Oil on canvas 65 x 50 cm Signed lower right Wu in Chinese, Lin in English and dated 89.1

NT$ 70,000-140,000 HK$ 17,000-33,000 US$ 2,100-4,300

韓舞麟 古厝 1989 油彩 畫布 65 x 50 cm 簽名右下：舞Lin 89.1

262

389 LIN Yao-sheng (Taiwanese, b. 1954)

Penghu 1993 Oil on canvas 60.5 x 72.5 cm Signed lower right Yao-sheng in Chinese, dated '93

NT$ 70,000-140,000 HK$ 17,000-33,000 US$ 2,100-4,300

林耀生 澎湖風光 1993 油彩 畫布 60.5 x 72.5 cm 簽名右下：耀生'93

390 Alixe FU (FU Qing-li, Ching-Fong) (Chinese-French, b. 1961)

Soothing 1991 Oil on canvas 60.5 x 50 cm Signed lower right Alixe Fu in English and dated 91 This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 80,000-160,000 HK$ 19,000-38,000 US$ 2,500-4,900

傅慶豊 撫心 1991 油彩 畫布 60.5 x 50 cm 簽名右下：Alixe Fu 91 附亞洲藝術中心有限公司開立之原作保證書

391 LI Kuang-yu

(Taiwanese, b. 1954)

Finger Citron Bronze, edition no. 20/20 7(L) x 10(W) x 16.5(H) cm (finger citron) 8.5(L) x 8.5(L) x 10(L) cm (wood base) Engraved on the reverse Yu in Chinese and numbered 20/20

NT$ 70,000-140,000 HK$ 17,000-33,000 US$ 2,100-4,300

264

李光裕 佛手 銅雕 20/20 7(長) x 10(寬) x 16.5(高) cm (佛手) 8.5(長) x 8.5(寬) x 10(高) cm (木底座) 簽名雕刻後方：裕 20/20

392 Daniel LEE

(Chinese, b. 1945)

Origin (a set of 6) 2003 Ceramic plate 33(L) x 33(W) x 3.2(D) cm Painted Daniel Lee / ORIGIN 2003 on the plate Signed Daniel Lee '13 and numbered 14/26 on the reverse of the figure plate

NT$ 90,000-180,000 HK$ 21,000-43,000 US$ 2,800-5,500

李小鏡 源（一組6件） 2003 瓷盤14/26 33(長) x 33(寬) x 3.2(厚) cm 印刷簽名：Daniel Lee / ORIGIN 2003 瓷盤背後：Daniel Lee '13 14/26 (人型)

393 Howard CHEN (CHEN Chun-hao) (Taiwanese, b. 1971)

Dog in Tacks No. 2 2009 Thumbtacks on resin, edition no. 2/8 84(L) x 44(W) x 86(H) cm Signed CHEN Chun hao and titled Dog in Tacks in Chinese, numbered 02 and dated 2009 This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 90,000-180,000 HK$ 21,000-43,000 US$ 2,800-5,500

266

陳浚豪 大刺獸 No. 2

2009 圖釘 樹脂 烤漆 2/8 84(長) x 44(寬) x 86(高) cm 簽名左前腳：陳浚豪 大刺獸 #02 2009 附藝術家親筆簽名之原作保證書

394 HUANG Gang (Chinese, b. 1961)

Fairy Returned Bronze, edition, no. 3/10 44(L) x 24(W) x 83(H) cm Engraved Huang Gang in English and Chinese, numbered 3/10

NT$ 220,000-320,000 HK$ 52,000-76,000 US$ 6,700-9,800

黃鋼 仙人歸來 銅雕 3/10 44(長) x 24(寬) x 83(高) cm 簽名雕刻：Huang Gang 黃鋼 3/10

395 Poren HUANG (Taiwanese, b. 1970)

Snobbery 2005 Bronze, edition no. 11/30 10(L) x 9(W) x 28(H) cm Engraved on the back left PR in English Engraved on the base number 11/30 EXHIBITED : The Artistic Conversation of "Love Dogs, Adore Dogs", Powen Gallery, Taipei, May 15 - June 12, 2014 (different edition) The Dog's Note - Huang Po-Ren Solo Exhibition, Williamsburg Art & Historical Center, New York, November 7 - December 6, 2015 (different edition) ILLUSTRATED: Huang Po-Ren Sculpture, Taichung City Cultural Center, Taichung, 2005, color illustrated, p. 52 (study version) The Dog's Notes: Poren Huang, Powen Gallery, Taipei, 2014, color illustrated, p. 12 (different edition) This sculpture is to be sold with a certificate of authenticity issued

by Fish Art Center, Taipei.

NT$ 170,000-240,000 HK$ 40,000-57,000 US$ 5,200-7,400

黃柏仁 狗眼看人低 2005 銅雕 11/30 10(長) x 9(寬) x 28(高) cm 簽名雕刻左後：PR 版次雕刻底部：30-11 展覽： 「愛狗敬狗的藝術對話 – 狗札記．黃柏仁個展」，紅野畫廊， 台北，展期自2014年5月15至6月12日（不同版次） 「狗札記 – 黃柏仁雕塑個展」，紐約WAH藝術中心，紐約，展 期自2015年11月7日至12月6日（不同版次） 圖錄： 《黃柏仁雕塑》，台中縣立文化中心，台中，2005，彩色圖 版，頁52（習作） 《狗札記/黃柏仁》，紅野畫廊，台北，2014，彩色圖版，頁12 （不同版次） 附秋刀魚藝術中心開立之原作保證書

268

396 Poren HUANG (Taiwanese, b. 1970)

Target 2010 Bronze, edition no. 5/8 53(L) x 58(W) x 63(H) cm Engraved on the back PR in English Engraved on the base PR in English and number 8-5

NT$ 360,000-550,000 HK$ 86,000-131,000 US$ 11,000-16,900

黃柏仁 目標 2010 銅雕 5/8 53(長) x 58(寬) x 63(高) cm 簽名雕刻背面：PR 簽名雕刻底座：8-5 PR

397 Poren HUANG (Taiwanese, b. 1970)

The Dog's Notes - Home 2010 Bronze, edition no. 7/30 15(L) x 40(W) x 22(H) cm Engraved on the back of the leg PR , numbered 30-7 and initialed PR on the base EXHIBITED: The Artistic Conversation of "Love Dogs, Adore Dogs", Powen Gallery, Taipei, May 15 - June 12, 2014 (different edition) The Dog's Note - Huang Po-Ren Solo Exhibition, Williamsburg Art & Historical Center, New York, November 7 - December 6, 2015 (different edition) ILLUSTRATED: Huang Po-Ren Sculpture, Taichung City Cultural Center, Taichung, 2005, color illustrated, p. 52 (study version) The Dog's Notes: Poren Huang, Powen Gallery, Taipei, 2014, color illustrated, pp. 12, 32, 35 (different edition)

NT$ 550,000-750,000 HK$ 131,000-178,000 US$ 16,900-23,000

黃柏仁 狗札記系列─回家 2010 銅雕 7/30 15(長) x 40(寬) x 22(高) cm 簽名雕刻底部：30-7. PR 簽名雕刻後側：PR 展覽： 「愛狗敬狗的藝術對話 – 狗札記．黃柏仁個展」，紅野畫廊， 台北，展期自2014年5月15至6月12日（不同版次） 「狗札記 – 黃柏仁雕塑個展」，紐約WAH藝術中心，紐約， 展期自2015年11月7日至12月6日（不同版次） 圖錄： 《黃柏仁雕塑》，台中縣立文化中心，台中，2005，彩色圖版， 頁52（習作） 《狗札記/黃柏仁》，紅野畫廊，台北，2014，彩色圖版， 頁12、32、35（不同版次）

270

398 ZHOU Chunya (Chinese, b. 1955)

Green Dog 4 2011 Bronze, edition no 3/10 28(L) x 26(W) x 25(H) cm Signed on lower back Zhou Chunya in Chinese and English, numbered 3/10 EXHIBITED : Image Spirit – Contemporary Chinese Art Collection Exhibition, K Gallery, Chengdu, January 19 - February 6, 2013 This sculpture is to be sold with a certificate of authenticity issued by Northern Banker Art & Culture Corporation, Taipei.

NT$ 400,000-500,000 HK$ 95,000-119,000 US$ 12,300-15,300

周春芽 綠狗 4

2011 銅雕 3/10 28(長) x 26(寬) x 25(高) cm 簽名左後：3/10 周春芽 Zhou Chunya 展覽： 「圖像精神之中國當代藝術名家藏品展」，K空間，成都， 展期自2013年1月19日至2月6日 附北莊文化藝術中心開立之原作保證書

272

399 ZHOU Chunya & Jaime HAYON (Chinese, b. 1955 & Spanish b. 1974)

Alive 2012 Epoxy resins, lacquer, edition no. 31/88 (sculpture) Lacquered wood, edition no. 31/88 (vitrine) 14(L) x 5(W) x 8(H) cm (x30) 53(L) x 40(W) x 23(H) cm (box) 130(L) x 55(W) x 81.5(H) cm (vitrine) Signed on the bottom Zhou Chunya in Chinese and numbered 31/88 (each sculpture) Signed on bottom Jaime Hayon in English and numbered 31/88 (Vitrine) EXHIBITED: Alive & Kicking, Museum of Contemporary Art Chengdu, Sichuan, Oct. 24 - Nov. 3, 2012 This sculpture is to be sold with a certificate of authenticity with the artist's signature

NT$ 460,000-700,000 HK$ 109,000-166,000 US$ 14,100-21,400

周春芽 + 亞米 海因 綠狗 2012 環氧樹脂 亮面漆 31/88（雕塑） 亮面漆木 31/88（玻璃櫃） 14(長) x 5(寬) x 8(高)cm (x30) 53(長) x 40(寬) x 23(高)cm (外盒) 130(長) x 55(寬) x 81.5(高) cm (玻璃櫃) 簽名底部：周春芽31/88（每件雕塑） 簽名底部：Jaime Hayon numbered 31/88（玻璃櫃） 展覽： 「Alive and Kicking 爆發的生命力：周春芽＋亞米。海因」， 成都當代美術館，四川，展期自2012年10月24日至11月3日 附藝術家親筆簽名之原作保證書

400 YANG Mao-lin (Taiwanese, b. 1953)

Contemporary Bodhisattva in Great Future of Maha II 2007 Bronze Sculpture with Gold Foil, no. 6/8 63(L) x 63(W) x 123(H) cm Engraved on the back Yang Maolin in Chinese, dated 2007 and numbered 6/8 on the reverse EXHIBITED: Yang Mao-Lin: A Restropective, Taipei, Taipei Fine Arts Museum, 30 January-24 April (the other edition)

NT$ 550,000-750,000 HK$ 131,000-178,000 US$ 16,900-23,000

楊茂林 摩訶未來光世界的思維-飛俠小菩薩 II 2007 鑄銅 金箔 6/8 63(長) x 63(寬) x 123(高) cm 簽名：'07 茂林 簽名雕刻背部：6/8 '07 楊茂林

展覽： 「Made in Taiwan：楊茂林回顧展」， 台北，台北市立美術館，展期自2016年1月30日 至4月24日（其他版次）

274

401 REN Zhe

(Chinese, b. 1983)

Drive Straight 2005-2008 Bronze, edition no. 9/12 65(L) x 35(W) x 56(H) cm Engraved Ren in Chinese, RZ Zhe in English and numbered 9/12

NT$ 260,000-360,000 HK$ 62,000-86,000 US$ 8,000-11,000

任哲 長驅直入 2005-2008 銅雕 9/12 65(長) x 35(寬) x 56(高) cm 簽名雕刻：9/12 任 RZ Zhe

402 JU Ming

(Taiwanese, b. 1938)

Living World Series – Endless 2007 Nickel-copper, edition no. 148/200 31(L) x 17(W) x 52(H) cm Engraved on the back Ju Ming in Chinese, inscribed Audi A6 Masterpiece, numbered 148/200 and dated 2007 This sculpture is to be sold with a certificate issued by Caves Gallery, Taipei.

NT$ 380,000-500,000 HK$ 90,000-119,000 US$ 11,600-15,300

朱銘 人間系列—生生不息 2007 銅鍍鎳 148/200 31(長) x 17(寬) x 52(高) cm 簽名雕刻右後方：朱銘 2007 Audi A6 Masterpiece 148/200 附敦煌畫廊開立之保證書

276

403 JU Ming

朱銘

Taichi Series – Single Whip

不飽和聚酯樹脂 碳酸鈣 油性色母 204/300 28.5(長) x 14.4(寬) x 18.2(高) cm 版次底部：204/300

(Taiwanese, b. 1938) Unsaturated polyester resin, calcium carbonate, oil color paste, edition no. 204/300 28.5(L) x 14.4(W) x 18.2(H) cm Numbered on the bottom 204/300 This sculpture is to be sold with a certificate of limited reproduction issued by Ju Ming Museum, Taipei.

NT$ 110,000-220,000 HK$ 26,000-52,000 US$ 3,400-6,700

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下述規則，為羅芙奧股份有限公司(下稱「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。準買家、買家及 賣家務須細讀各項規則並完全同意遵守本業務規則。準買家、買家請特別 留意第二條第5項，其對本公司之法律責任作了限定。 一、本業務規則所用詞彙之定義 在下列規定中，某些常用詞彙需加以解釋。此等詞彙定義如下： 1. 「買家」：指本拍賣公司所接受之出價最高之自然人或法人。 2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。 3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣 之自然人或法人。 4. 「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以 任何編號描述之一項或多項物品。 5. 「落槌價」：指本拍賣公司就某一拍賣品而接受之最高出價之價款。 6. 「買家佣金」：指買家按落槌價之某一百分比而支付之費用；收費率如 第二條第4a項所列。 7. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之 價格售出。 8. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺 詐意圖，以就拍賣品之作者、來歷、年代、時期、文化或來源進行欺 騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品 在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義， 任何拍賣品均不會因為有任何損壞及／或任何形式之修整（包括重新上 漆）而成為膺品。 9. 「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險 之價值（不論保險是否由本公司安排購買）。 二、買家 1. 本公司作為代理人 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。本公司就任何拍賣品及拍賣證明文件之真偽，均不對買家作任 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。對任何 拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍 賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或 損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議， 準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢 閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述 或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知 悉並瞭解所有拍賣品均以「現狀」售出，本公司對於任何拍出之拍賣 品狀態不作任何承諾或保證。 c. 符號表示 以下為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 佣金。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、 日期、年代、尺寸、材質、歸屬、真實性、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。

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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，買家有責任自行查明並 瞭解，並就拍賣品為自己獨立之判斷及評估，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，並由本公司處 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 實繳付拍賣日當日之匯率，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 競投者將被視為買家而須承擔個人法律責任，除非登記時已經與本公 司書面協定，競投者僅為第三人之代理人，且該第三人復為本公司所 接受者。 f. 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。 g. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投 者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無法參 加電話競投，本公司對賣家或任何準買家均不負任何責任。 h. 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 網上競投指定拍品，而承擔買方獨立責任。此項服務乃免費及保密。 有關透過 LiveAuctioneers 網上競投服務登記，進行網上競投之詳情， 請參閱本公司網頁 ravenel.com。使用 LiveAuctioneers 網上競投服務 之準買家須接受透過 LiveAuctioneers 網上競投服務進行即時網上競投 之附加條款（可參閱羅芙奧 ravenel.com），以及適用於該拍賣之業務 規則所規範，本公司得隨時修改該業務規則。 i. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參 考，不論是顯示板所示之拍賣品編號或是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. 買家支付每件拍賣品之佣金費率 1. 買家除支付落槌價外，另須支付佣金予本公司，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，採分為二階段計費，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 再以12％，加總計算佣金金額。 b. 稅項 買家應付予本公司之所有款項均不包括任何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，自行繳付稅款。 c. 付款 成功拍賣後，買家須向本公司提供其姓名及永久地址。如遇要求，買 方亦須提供付款銀行之詳情，包含但不限於付款帳號。買方應於拍賣 日期後七天內悉數支付應支付予本公司之款項（包含落槌價、佣金， 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。 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。 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止。拍賣品在暫時保留 期間，由成功拍賣日後起算七天將受保於本公司之保險，如屆時拍賣 品已被領取，則受保至領取時為止。七天期滿後或自領取時起（以較 早者為準），拍賣品之風險全由買家承擔。 e. 包裝及搬運 本公司謹請買家注意，成功拍賣日後起算七天期滿後或自領取時起， 拍賣品之風險全由買家承擔，但不得損及本公司之權益。 f. 介紹裝運及運輸公司 本公司之貨運部門在買家要求下，可為買家介紹運輸公司、安排付運 及購買特定保險，但本公司在此方面不負任何法律責任。買家必須預 先繳付運送費用。 g.不付款或未有領取已購拍賣品之補救辦法 如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下述 一項或多項權利或補救辦法： (1) 在成功拍賣日後起算超過七天仍未付款，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。本公司亦得自行選 擇將買家未付之款項，用以抵銷本公司或其他附屬公司在任何其 他交易中欠下買家之款項，買方絕無異議。 (2) 對任何屬於買家所有而因任何目的(包含但不限於其他交易)而由 本公司管有之物品行使留置權，並在給予買家有關其未付之欠繳 之14天通知後，安排將該物品出售並將收益用以清償該未付之欠 款。 (3) 如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項 用以清償就任何特定交易而欠下之任何款項，而不論買家是否指 示用以清償該筆款項。 在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆保證金。如買家未有在 三十五天內付款，本公司除上述者外，另有權為下述一項或多項 權利或補救辦法： (a) 代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以 悉數賠償為基準之法律程序之訴訟費。

(b) 取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他 售予買家之拍賣品之交易。 (c) 安排將拍賣品公開或私下重售，如重售所得價格較低，就差額 連同因買家未有付款而引致之任何費用一併向買家索償。 h. 未有領取已購拍賣品 如已購得之拍賣品未有在成功拍賣日後起算七天內領取，則不論是否 已付款，本公司將安排貯存事宜，費用由買家承擔。而買方在付清所 引起之貯存、搬運、保險及任何其他費用，連同欠本公司之所有其他 款項後，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 響買家在成功拍賣日後起算七天內付款之責任，亦不影響本公司對延 遲付款收取利息之權利。 如買家要求本公司代為申請出口許可證，本公司有權向其收回與此項 申請有關之付出款項及零碎開支連同任何有關之增值稅。 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 本公司僅在第二條第6項所列之情況下，得退還款項予買家。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，不論是明示或暗示均無就任何拍賣品 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/贓物之退款 如經本公司拍賣之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定 報告證實為膺品或贓物，則交易將取消，已付之款項於交付賣方前將退 還予買家。但如： 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納之 意見，或清楚表明有牴觸當時學者或專家普遍接納之意見，或 證明拍賣品為膺品或贓物之方法，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 關拍賣品乃膺品之詳細理由及證據；且 (2) 買家需於書面通知後十四天內將拍賣品送還本公司，而其狀況應 維持與拍賣當日相同，不得有任何損壞；及 (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 乃膺品或贓物(本公司保有最終及不可異議之決定權)，買家並可 將拍賣品之完整所有權及相關權利轉讓予本公司，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(該買家名稱被記載於發票上)，該名買家並須自拍賣後 一直保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何 第三人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺 品，不論該程序在拍賣當日是否已使用或已在使用，如本公司驗證拍賣 品是否屬於贗品結果與買家出示證據相衝突者，應以本公司驗證結果為 準。

賣方業務規則請參閱羅芙奧網站 http://ravenel.com http://ravenelart.com.cn

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Transaction Agreement The following provisions are entered into by and between Ravenel Ltd., as the auctioneer, (hereinafter referred to as the “Company”),and the Seller (hereinafter referred to as 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").

The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Buyer should pay special attention to Article 1, Section 5 which provides limitations as to the legal responsibilities of the Company.

Article 1.Definition Some of the phrases commonly seen herein are defined as follows: 1. "The Buyer" shall mean highest bidder accepted by the Company.

2. “The Prospective Buyer” shall mean any potential bidder willing to attend the auction sale hosted by the Company.

3. “The Seller” shall mean the Seller who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company.

4. "The Lot" shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue.

5. "Hammer price" shall mean the highest bid with respect to one particular auction item accepted by the auctioning party.

6. "The Buyer’s Premium paid by the Buyer" shall mean the fee based on a certain percentage of the Hammer price paid by the Buyer; the percentage shall be as prescribed in Article 2, Section 4a.

7. "The Reserve Price" shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price.

8. "Counterfeit" shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints).

9. "Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company).

Article 2.The Buyer 1. The Company as the Agent The Company, as the auctioning party, shall act as the agent of the Seller.

Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer.

2. Prior to the Auction a. Authentication We strongly recommend that The Prospective Buyers conduct their own authentication for the items they are interested in bidding prior to the auction. We provide no guarantees to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot’s certificates (with the exception of the guarantee with regard to counterfeits as defined in Article 1 of the Transaction Agreement). b. Important Notice Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The Company does not that it is unable to guarantee that the Lots on auction are in good working condition and the descriptions in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend the Prospective Buyers to personally view the items for which they plan to bid before the auction itself. If a prospective buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item's special characteristics and current condition. However, the Company is not a professional restorer of Lots; therefore, any description in the catalogue or any statement provided by the Company is purely the Company's subjective opinion and not a statement of fact, not for representations or warranties.

The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in "as is" condition. The Company does not provide any representation or guarantee as to the condition of any of the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ○ Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions.

This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer’s Premium.

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d. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots and certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes.

Many auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her own judgment or estimation independently regarding the Lots.

3. In the Auction a. Sales Tax Payable by the Buyer 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 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 The Company for the relevant shipments. The Buyer shall notify The Company 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. Commission Bids The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the forms attached to the explanations of the catalogue; provided, however, bid commission instructions are delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned.

The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. g. 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 or any failure to participate in the auction by phone under any circumstances. h. Online Bids via LiveAuctioneers If the bidder cannot attend the auction, it may be possible to bid online via LiveAuctioneers for selected Lots to bear individual buyers’ responsibilities. This service is free and confidential. For information about registering to bid via LiveAuctioneers, please refer to the Company.com.

Bidders using the LiveAuctioneers service are subject to the additional terms and conditions for online bidding via LiveAuctioneers, which can be viewed at the Company.com and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating at some auctions. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board.

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. If the auctioneer announces the points for attention before the auction or the bidding, the Buyer shall pay attention for any announcement as its own responsibility. 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. The Buyer shall be responsible to the Seller for performing the obligations and responsibility of a Buyer.

4. Following the Auction a. The Buyer’s Premium of Each Lot Payable by the Buyer 1. The Buyer should pay the hammer price and, in addition, the The Buyer’s Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the The Buyer’s Premium should be calculated at 20% of the hammer price.

2.For hammer price higher than NT$ 32,000,000, total amount of the The Buyer’s Premium should be that the first NT$ 32,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any 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, including but without limitations the payment account, should also be provided upon request. All payments due (including the hammer price, the Buyer’s Premium and any applicable taxes) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit.

If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange The Buyer’s Premiums. 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. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period.

The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Packaging and Transportation The Buyer is requested to note that he should bear all the risks upon expiration of the said 7 days period or from collection of such items (which is the earlier), without prejudice to the Company’s right. f. Referral of Packaging or Transportation Companies The shipping department of the Company may act as the agent of the Buyer to arrange for delivery. Although we can refer freight forwarders upon special request, the Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. g. Remedies for Non-Payment 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 following the auction date: (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.

Beides, 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 may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company’s sole decision.

(2)To exercise lien of any items owned by the Buyer and held by the Company for any purpose including but without limitations other transactions. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his non-payment. The proceeds shall make up for the payment due.

(3)If the Buyer owes the Company several payments as a result of different transactions, the payments will set off any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments.

(4)Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him.

If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned:

(a)To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b)Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c)To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer. h. No Collection of the Lot Sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid in full can the sold Lot be collected. i. Export Permit Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days following the auction date; nor does it affect the Company's right to impose interest on delayed payments.

If the Buyer requests that the Company applies for the export permit on his behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes.

If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom.

5. The Legal Responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 2, Section 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Buyer, the Company, the employees or the agents of the Company make no guarantee impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein.

6. Return of Payments for Counterfeits The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields; or b. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: 1. The Buyer must notify the Company in writing within 10 days following the auction day that he considers the relevant auction item a counterfeit.

2. The Buyer must return the Lot to the Company within the following 14 days following the said notice and the condition of the item must be the same as on the auction day without any damage.

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 Company has the final and sole discretion and decision and such decision shall not be objected in this regard）. The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim.

Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer cannot claim interests.

The interests of the warranty cannot be assigned and belong solely to the Buyer who receives the original invoice on which such Buyer’s name is recorded from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. If the result of appraising and verifying whether the Lot is a counterfeit by the Company conflicts with the evidence provided by the Buyer, the Company’s said result shall prevail over the evidence provided by the Buyer.

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

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