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

AUTUMN AUCTION 2016 TAIPEI

羅芙奧台北 2016 秋季拍賣會 亞洲現代與當代藝術

RAVENEL AUTUMN AUCTION 2016 TAIPEI Modern and Contemporary Asian Art

拍賣日期／地點 2016年12月4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11月12日（六）下午 1:00 至下午 6:00 2016年11月13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 台北 2016年12月2日（五）至12月3日（六）上午 10:00 至下午 6:00 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, December 4, 2016, 2:00pm Fubon International Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan

PREVIEWS Taichung

Saturday, November 12, 2016, 1:00pm - 6:00pm Sunday, November 13, 2016, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Taipei

Friday, December 2 - Saturday, December 3, 2016, 10:00am - 6:00pm 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

香港藝術部初級專家 Junior Specialist, Art Department, Hong Kong

羅芙奧台北 2016 秋季拍賣會服務部門及連絡人

藝術品諮詢專家

網上競投

付款事宜

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藝術部副理

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國際

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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

Vice President, Art Department Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggielin@ravenel.com

Manager, Art Department Stella Huang Tel: +886 2 2708 9868 ext. 977 Email: stellahuang@ravenel.com

Assistant Manager, Art Department Olivier Tsai Tel: +886 2 2708 9868 ext. 882 Email: oliviertsai@ravenel.com

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

Hong Kong Crystal Tang Tel: +852 2889 0859 ext. 784 Email: crystaltang@ravenel.com

Beijing Helen Zhang Tel: +86 10 8587 8099 ext. 21 Email: helenzhang@ravenel.com

Shanghai Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com

International Stella Huang Tel: +886 2 2708 9868 ext. 977 Email: stellahuang@ravenel.com

ONLINE BIDS Register at www.liveauctioneers.com/sign-up

Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. Its also possible to bid online for selected lots. Please refer to ravenel.com for more information.

In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly for those of you who need foreign language assistance of the bidding.

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

Hong Kong Eric Siu Tel: +852 2889 0859 ext. 781 Email: ericsiu@ravenel.com

Beijing Helen Zhang Tel: +86 10 8587 8099 ext. 21 Email: helenzhang@ravenel.com

Shanghai Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com

International Gina Yeh Tel: +886 2 2708 9868 ext. 887 Email: ginayeh@ravenel.com The catalogues are available for subscription.

For details of subscription, please refer to the explanations of the catalogue or contact the above persons.

PAYMENT Caroline Shen Tel: +886 2 2708 9868 ext. 696 Email: carolineshen@ravenel.com

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

Hong Kong Eric Siu Tel: +852 2889 0859 ext. 781 Email: ericsiu@ravenel.com

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

11

羅芙奧秋季拍賣會

Sale Information 14

羅芙奧之服務

Ravenel Services 17

藝術家索引

Index 18

翻轉世代

Flipped 78

亞洲現代與當代藝術

Modern and Contemporary Asian Art 265

委託競投表格

Absentee Bid Form 267

業務規則

Transaction Agreement

藝術家索引 / Index

A

Anonymous

佚名

230

C

CHANG Chen-yu CHANG Chia-ying CHANG Wan-chuan Chang-Ling CHAO Chung-hsiang CHEN Chao-Pao CHEN Cheng-po CHEN Ching-jung CHEN Liu CHEN Ting-shih CHIU Ya-tsai CHU Teh-chun CHUANG Che

張振宇 張嘉穎 張萬傳 常陵 趙春翔 陳朝寶 陳澄波 陳景容 陳流 陳庭詩 邱亞才 朱德群 莊喆

396 361 390, 400 408 337 411 330 393, 398 402 414 364, 370, 371 327, 376 354

F

Knud Færch Alixe FU

克努德．法齊 傅慶豊

234 407

G

Yun GEE GUAN Yong

朱沅芷 管勇

324 366

H

HSI Shih-pin HONG Ling HONG Sung-Chul HSIA Yan HSIA YI FU HSIAO Chin HSIEH Hsiao-De HSU Tung Lung HUANG Chih-yang HUANG Gang HUANG Min-Chun Poren HUANG HUANG Yao Tang HUNG Yi HWANG Jyi Michell HWANG

席時斌 洪凌 洪性哲 夏陽 夏一夫 蕭勤 謝孝德 許東榮 黃致陽 黃鋼 黃敏俊 黃柏仁 黃耀堂 洪易 黃楫 黃銘哲

419 373 219 375 387, 415 399, 410 389 363 349 367, 417 409 420 392 381 341 340, 374

I

IIDA Kiriko

飯田桐子

302

J

JU Ming

朱銘

Finn Juhl

芬尤

377, 378, 379, 384, 421 236, 237

KAWS (Brian Donnelly)

布萊恩．唐納利

Hiroto KITAGAWA Jeff Koons Yayoi KUSAMA

北川宏人 傑夫．昆斯 草間彌生

KWON Ki Soo

權奇秀

205, 206, 215, 216, 217 210 212 203, 204, 208, 307, 309, 310, 311 209, 221

L

LEE Chun-Yi Daniel LEE Lampo LEONG LIAO Yu-an LIEN Chien-hsing LIN Dachuan LIU Haisu LIU Keng-I LIU Kuo sung Max LIU LO Chan-peng

李君毅 李小鏡 梁藍波 廖堉安 連建興 林達川 劉海粟 劉耿一 劉國松 劉其偉 羅展鵬

394 207, 386, 388 401 403 351, 362, 413 350 320 397 318, 359, 369 404, 405, 406, 416 372

M

MA Pai-sui Niels O. Møller Sadamasa MOTONAGA Takashi MURAKAMI

馬白水 尼爾斯．奧拓．莫勒 元永定正 村上隆

391 231 305 222, 223

K

N

Yoshitomo NARA

奈良美智

201, 202, 211, 213, 214, 218, 224, 225, 308

O

Shu OHNO Gunni Omann

大野修 高尼．奧曼

220 229

P

Nam June PAIK PANG Jiun

白南準 龎均

312 338, 339

R

RAN In-ting Sigurd Ressell

藍蔭鼎 西格德．拉塞爾

352 228

S

SANYU

常玉

Kazuo SHIRAGA SHIY De-jinn

白髮一雄 席德進

313, 314, 315, 316, 317 303, 304, 306 336, 353, 358

Walasse TING

丁雄泉

TUNG Hsin Ru Tomoya TUSKAMOTO

董心如 塚本智也

319, 322, 323, 343, 344, 345, 347 395 301

W

WANG Keping Andy WARHOL Hans J. Wegner WU Guanzhong

王克平 安迪沃荷 漢斯．韋格納 吳冠中

383 226, 227 232, 233, 235, 238 331, 332, 333, 335

X

XIA Junna

夏俊娜

365, 368

Y

YANG Din YANG Pei-chen YANG San-lang Tzu-chi YEH YU Peng YUE Minjun

楊登雄 楊北辰 楊三郎 葉子奇 于彭 岳敏君

412 382, 385 355, 356, 357 321, 346, 360 342 334

Z

ZAO Wou-ki

趙無極

ZHOU Chunya

周春芽

325, 326, 328, 329, 348 380, 418

T

翻轉世代經典 精緻品味收藏 Flipped Taste

18

隨著拍賣市場與收藏標的愈發多元新穎，以及收藏年齡層的普及與年輕 化，羅芙奧2016年台北秋季拍賣會特別策劃「翻轉世代」小型專場拍賣， 拍品皆著重在低單價佳作為主，以輕鬆玩味的單品和各藝術家與當今流行 文化、風尚潮流碰撞後所產生的新世代藝術品作為本拍軸線，敘述今日藝 術型態多樣化的面貌，當中不乏美國普普藝術教父安迪．沃荷受大眾文化 影響的創作、熱愛塗鴉藝術，現今歐美當代藝術圈炙手可熱的KAWS油畫 與其多件人形雕塑作品外，也加入日本當代藝術巨匠數件小型創作，重新 界定藝術收藏的疆界以外，藉以推廣新世代的輕型收藏。 此外羅芙奧在致力華人藝術推廣以外，介紹了更廣泛的精緻品味標的，今 年秋拍別於以往的在「翻轉世代」拍場當中融入數件北歐名家設計傢俱， 包括了當代偉大設計師之列的漢斯．韋格納以及芬尤等不朽的經典創作， 兩位大師皆以近乎完美的高標準，鍛造出世代相傳的傢俱設計，將工藝品 的質感提升至藝術鑑賞的精神層面，值得細細品味珍藏。 Owing to the diversity in the auction market and the collectables as well as the younger age group in art collection, Ravenel Autumn Auction 2016 Taipei organizes a special auction, “Flipped”, for items with lower value. The auction focuses on single art items and artworks created as channels of communication with contemporary culture and popular trends, including the works by celebrated American pop artist Andy Warhol, the oils and several human body sculptures

by KAWS, one of the most widely-acclaimed artist in contemporary Western art scene, as well as several small creations by contemporary Japanese art masters.

The auction aims not only to redefine the boundary of art collection but also to promote “light collection” among the younger generation.

In addition to promoting Asian art, Ravenel also strives to introduce a wider range of refined and classic items. The autumn auction this year unprecedentedly incorporates Scandinavian design furniture in “Flipped”, including the classic creations by notable contemporary design masters, Hans J. Wegner and Finn Juhl. Adhering to the high standard of creating their artworks to perfection, they brought into being the design furniture that can be passed down from generation to generation, enhancing the quality of artifacts to the spiritual level of artistic appreciation.

201 Yoshitomo NARA (Japanese, b. 1959)

Lonesome Puppy 2000 Watch, wooden case 23(L) x 4(W) x 1(H) cm (watch) 22.7(L) x 8.7(W) x 3.4(H) cm (box) Incised in Japanese and dated 2000 on reverse This work is accompanied with certificate and instruction manual from Citizen Watch Company

NT$ 40,000-60,000 HK$ 10,000-15,000 US$ 1,300-1,900

20

奈良美智 孤獨小狗 2000 手錶 木盒 23(長) x 4(寬) x 1(高) cm (手錶) 27.7(長) x 8.7(寬) x 3.4(高) cm (盒子) 簽名手錶背面：な 2000 此作品附星辰錶保證卡和說明書

202 Yoshitomo NARA (Japanese, b. 1959)

Yoshitomo Nara Drawing File ; Hell Cat (a set of 2) 2000; 2011 Watch, wooden case 37.5(L) x 30(W) x 1.8(H) cm (book) 23(L) x 4(W) x 1(H) cm (watch) 27.7(L) x 8.7(W) x 3.4(H) cm (box) Signed on the book cover in Japanese and dated 2005 Incised in Japanese and dated 2000 on the reverse This work is accompanied with certificate and instruction manual from Citizen Watch Company

NT$ 50,000-70,000 HK$ 12,000-17,000 US$ 1,600-2,200

奈良美智 地獄小貓；奈良美智作品集：橫濱手稿（兩件一組） 2000；2011 手錶 木盒 37.5(長) x 30(寬) x 1.8(高) cm (書) 23(長) x 4(寬) x 1(高) cm (手錶) 27.7(長) x 8.7(寬) x 3.4(高) cm (盒子) 簽名畫冊內頁： 2005 な 雕刻手錶背面：な 2000 此作品附星辰錶保證卡和說明書

203 Yayoi KUSAMA (Japanese, b. 1929)

Hand Bag for Space Travel 2009 Mixed media, cellphone, edition no. 204/1000 11(L) x 5.8(W) x 2(H) cm (cellphone) 14(L) x 19.5(W) x 8.5(H) cm (case)

NT$ 50,000-70,000 HK$ 12,000-17,000 US$ 1,600-2,200

22

草間彌生 宇宙旅行手提包 2009 綜合媒材 手機 204/1000 11(長) x 5.8(寬) x 2(高) cm (手機) 14(長) x 19.5(寬) x 8.5(高) cm (外盒)

204 Yayoi KUSAMA (Japanese, b. 1929)

Dots Obsession 2011 Mixed media, mirror, edition no. 300/300 33(L) x 25.2(W) x 4(H) cm (mirror) 30(L) x 22(W) x 2(H) cm (book) Signed on the reverse y.kusama in English, titled Dots Obsession in English, inscribed 300/300 and dated 2011

NT$ 70,000-90,000 HK$ 17,000-22,000 US$ 2,200-2,900

草間彌生 迷戀圓點 2011 綜合媒材 鏡子 300/300 33(長) x 25.2(寬) x 4(高) cm (鏡子) 30(長) x 22(寬) x 2(高) cm (畫冊) 簽名背後：DOTS OBSESSION 2011 y.kusama 300/300

KAWS (Brian Donnelly) 布萊恩．唐納利

布萊恩．唐納利是一位布魯克林藝術家，曾創作許多具影響力的普 普風作品，創作領域廣泛，包括圖形設計、繪畫、產品設計、壁畫 和大型雕塑。他善於用壓克力顏料創作出明亮的大型帆布畫像，以 及用玻璃纖維、青銅、鋁材、木材等素材雕塑，相同的形象經常在 作品中反覆出現，超越語言與文化的範疇與界線，橫跨藝術與商業 設計的領域。布萊恩．唐納利出生紐澤西，以「KAWS」的名稱廣為 人知，而他之所以選擇「KAWS」作為創作時的屬名，是因為他很 喜歡這四個字串連在一起的組合。在紐澤西市長大的他熱愛滑板， 經常在鐵路運貨車和牆壁上塗鴉，因此啟發了塗鴉的才能。1992 年 從中學畢業後，他開始將圖像畫在廣告看板和海報上，以不帶痕跡 的筆觸讓壓克力顏料與原本的廣告完美結合。他在 1999 年和日本 服飾品牌 Bounty Hunter 聯手推出第一個玩具公仔《伴侶》。在湯 姆．衛塞爾曼與克拉斯．歐登伯格等藝術家的強烈啟發下，他也開 始創作不同的公仔款式。這些早期的創作嘗試讓他在全球藝術玩具 社群大受矚目，而他在商業界引發的流行也開啟了與許多知名品牌 合作的機會，包括日本的 A Bathing Ape、Undercover、Medicom、 Santastic，以及家喻戶曉的西洋商業巨擘 Nike、Supreme、Kiehl's、 Hennessy、Marc Jacobs。 除了偏商業化的創作外，KAWS的創作熱情也展現在大型帆布作品與 繪畫上。這幅《無題（迷彩骷髏頭）》以柔和的交叉骨骷髏和打叉 的雙眼構圖，畫的正是他的作品特色。這些獨特的形象讓角色本身 彷彿獲得生命，也成為KAWS的獨特標誌。KAWS利用色彩的交互作 用製造趣味，他用中性的大地色調為眼睛打叉的骷髏頭著色，並用 明亮的背景襯托圖像。KAWS甚至跨足主流媒體界，他多次與普普文 化圈深具影響力的代表人物合作。舉例來說，他曾經與歌手菲瑞． 威廉斯合作，在他推出個人專輯時攜手為Commes des Garçons公司打 造《Girl》香水。他也曾經為錄音創作歌手肯伊．威斯特的專輯《心 碎節拍》設計封面。此外，他也從漫畫與流行文化汲取靈感，創造 出許多經典角色，將美國主流卡通人物轉換成他的個人代表作。 KAWS表示：「我也覺得奇怪，卡通人物竟能如此深入人們的生活， 影響力甚至可以媲美常見的政治人物。」KAWS也將許多經典角色重 新塑造，包括藍色小精靈、海綿寶寶、米其林寶寶和米老鼠。他以 獨特的創作手法模糊藝術、設計與產品的分野。KAWS的作品經常在 全世界的博物館和藝廊展出，包括賓州藝術學院美術館、沃斯堡現 代美術館、香港海港城、約克郡雕塑公園、巴黎、紐約和香港的沛 宏堂藝廊，以及安諾弗審澤畫廊。目前，KAWS的作品為公共收藏， 展示於紐門當代美術館、英國倫敦的扎布羅多維克茨收藏館，以及 羅森鮑姆收藏館。

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KAWS, a Brooklyn-based artist, has created a prolific body of influential work under the Pop Art tradition. The artist’s wide-ranging practices include graphics, paintings, product design, murals and large-scale sculptures. The artist’s large, bright and graphical canvases immaculately rendered in acrylic paint and monumental large-scale fiberglass, bronze, aluminum and wood sculptures often exhibits many replicating imageries that surpass the realms and boundaries of linguistics and culture that transpires between art and commercial design.

In retrospect, Brian Donnelly is a native of New Jersey, commonly known as KAWS, whose talent was manifested in the form of graffiti through his passion for skateboard growing up in Jersey City, where he would frequently adorned freight-trains and walls with the pseudonym KAWS as he has a liking for how the formation of these letters worked together cohesively. Upon his graduation from secondary school in 1992, he began to subvert imagery on billboards and public advertisements, he would utilized acrylic paint with no visible brushstrokes in attempts to make his additions appears seamlessly as part of the original advertisement. The artist designed his first vinyl toy Companion in 1999 with Japanese apparel Bounty Hunter and began to make editions as artists such as Tom Wassermann and Claes Oldenburg greatly inspired him at the time.

This initial venture garnered much attention in the global art toy community, his prevalence in the commercial sector fostered subsequent collaborations with other labels such as A Bathing Ape, Undercover, Medicom, Santastic in the East and household commercial giants such as Nike, Supreme, Kiehl’s cosmetics, Hennessy and Marc Jacobs from the West.

Alongside the more commercial sector, KAWS portrayed his passion for painting on large canvases and paintings. The present lot Untitled Camo Skulls portrays his trademark figure with its soft skull crossbones and crossed-out eyes. These unique attributes became a trademark of the artist as these characters gain a life of its own. KAWS engages in a playful interplay with colors as the earthy neutral shades of the cross-eyes head stands out against the lightness of the background. The significance is widespread particularly in mainstream media as the artist continues to collaborate with influential figures of the pop-culture such as Pharrell Williams on his perfume bottle Girl the singer had created in junction with Commes des Garcons in celebration of his solo album. The artist has also designed the cover art for recording artist Kayne West’s album 808s & Heartbreak. Furthermore, KAWS’ appropriation of iconic characters from comic books and popular culture are manifested in some of works where predominant American cartoons are subverted into his own artistic productions. KAWS reasons that I found it weird how infused a cartoon could become in people's lives; the impact it could have, compared to regular politics. A reworked of other iconic characters that became the central characters in KAWS’ paintings include the Smurf, Sponge Bob Square Pants, the Michelin Man and Mickey Mouse. KAWS’ unique artistic approach deliberately blurs the boundaries between art, design and product. KAWS regularly exhibits in museums and galleries worldwide. The artist has exhibited in the Pennsylvania Academy of Fine Arts, The Modern Art Museum of Fort Worth, Harbor City in Hong Kong, the Yorkshire Sculpture Park, Gallery Perrotin in Paris, New York and Hong Kong and the Honor Fraser Gallery just to name a few. KAWS works are currently in public collections such as the Nerman Museum of Contemporary Art, the Zabludowicz Collection and the Rosenbaum Collection.

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

Companion: Passing Through 2013 Painted cast vinyl, edition of 500 12(L) x 19(W)x 30(H) cm Trademark © KAWS..13 MEDICOM TOY 2013 CHINA EXHIBITED: KAWS．Ups And Downs, Nerman Museum of Contemporary Art, Kansas, October 25, 2013 – February 16, 2014 (large sculpture) A Shared Space: KAWS, Karl Wirsum, and Tomoo Gokita, Newcomb Art Museum at Tulane University, New Orleans, September 9, 2015 – January 3, 2016 (large sculpture)

NT$ 40,000-80,000 HK$ 10,000-20,000 US$ 1,300-2,500

布萊恩．唐納利 同伴（經過） 2013 彩繪 搪膠 限量500版 12(長) x 19(寬) x 30(高) cm 註冊商標：© KAWS..13 MEDICOM TOY 2013 CHINA 展覽： 「KAWS．上上下下」，諾曼當代美術館，堪薩斯，展期自2013 年10月25日至2月16日（大型雕塑） 「共享空間：KAWS,、卡爾．威瑟姆、五木田智央」，杜蘭大 學紐科姆美術館，紐奧良，展期自2015年9月9日至2016年1月3日 （大型雕塑）

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

Dissected Companion: Resting Place (Black) 2013 Painted cast vinyl, edition of 500 21(L) x 30(W) x 23(H) cm Trademark © KAWS..13 MEDICOM TOY 2013 CHINA

NT$ 40,000-80,000 HK$ 10,000-20,000 US$ 1,300-2,500

布萊恩．唐納利 同伴解剖（休息處） 2013 彩繪 搪膠 限量500版 21(長) x 30(寬) x 23(高) cm 註冊商標：© KAWS..13 MEDICOM TOY 2013 CHINA

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207 Daniel LEE

(Chinese, b. 1945)

Origin (a set of 6) 2003 Ceramic plate no. A/P 33(L) x 33(W) x 3.2(D) cm Painted Daniel Lee / ORIGIN 2003 on the plate Signed Daniel Lee ‘12 and numbered A/P on the reverse of the figure plate

NT$ 100,000-200,000 HK$ 25,000-49,000 US$ 3,200-6,400

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李小鏡 源（六件一組） 2003 瓷盤 A/P 33(長) x 33(寬) x 3.2(厚) cm 印刷簽名：Daniel Lee / ORIGIN 2003 瓷盤背後：Daniel Lee '12 A/P (人型)

208 Yayoi KUSAMA (Japanese, b. 1929)

The Me that I Adore (Teapot, cup set) 2013 Bone China, limited edition of 500 28 cm (diameter) Future 23 cm (diameter) Fish 10 cm (diameter) x 6.5cm(H) Bone china cups 14 cm (diameter) Bone china dish 18 cm (diameter) Bone china plate Engraved on upper middle YAYOI KUSAMA in English Engraved on the reverse, titled, Future Yayoi Kusama 2013 148 Engraved on upper middle YAYOI KUSAMA in English Engraved on the reverse, titled, Fish Yayoi Kusama 2013 084 Engraved on the reverse, titled COSMOS Yayoi kusama, LOVE FOREVER Yayoi kusama, SUN Yayoi kusama, CLOUD Yayoi kusama, FLOWER Yayoi kusama, DREAM Yayoi kusama, SHINE Yayoi kusama in English, 2013 157

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

草間彌生 我熱愛的自己（茶具，杯組） 2013 骨瓷 限量500版 未來：直徑 28 cm 魚：直徑 23 cm 10cm (直徑) x 6.5 cm (高) 骨瓷茶杯 14cm (直徑) 骨瓷杯碟 18cm (直徑) 骨瓷點心盤 印刷簽名中上：YAYOI KUSAMA 瓷盤背後：FUTURE Yayoi KUSAMA 2013 148 瓷盤背後：FISH Yayoi KUSAMA 2013 084 印刷簽名瓷壺背後：COSMOS Yayoi kusama, LOVE FOREVER Yayoi kusama, SUN Yayoi kusama, CLOUD Yayoi kusama, FLOWER Yayoi kusama, HEART Yayoi kusama, DREAM Yayoi kusama, SHINE Yayoi kusama 2013 157

209 KWON Ki Soo (Korean, b. 1972)

In the Forest 2009 Acrylic, aluminium edition no. 2/5 126 x 62.5 cm Signed on the reverse Kwon Ki Soo in Hanja and English, dated 2009 2/5.

NT$ 360,000-460,000 HK$ 89,000-114,000 US$ 11,500-14,600

權奇秀 在林中 2009 壓克力 鋁 2/5 126 x 62.5 cm 簽名：권기수權奇秀 KWON KISOO 2009 2/5.

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210 Hiroto KITAGAWA (Japanese, b. 1967)

Super Girl (a set of 8) 2008 FRP, acrylic, limited edition of 200 8(L) x 9(W) x 29(H) cm (each) Engraved on the back Hiroto in English and dated 08 EXHIBITED: Post New Type: Super Terracotta Sculptures, Eslite Gallery, Dec. 26, 2009 – Jan. 31, 2010

NT$ 260,000-360,000 HK$ 64,000-89,000 US$ 8,300-11,500

北川宏人 女超人（八件一組） 2008 玻璃纖維 壓克力 限量200件 8(長) x 9(寬) x 29(高) cm (每件) 簽名雕刻背部：08 Hiroto 展覽： 「北川宏人新作展」，誠品畫廊，台北，展期自2009 年12月26日至2010年1月31日

211 Yoshitomo NARA (Japanese, b. 1959)

Doggy Radio x RIMOWA 2011 Fiberglass, edition no. 80/200 (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) This Radio is to be sold with a certificate of authenticity signed by the artist.

NT$ 260,000-360,000 HK$ 64,000-89,000 US$ 8,300-11,500

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奈良美智 小狗收音機 x RIMOWA旅行箱

2011 玻璃纖維 80/200 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） 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)

212 Jeff Koons

(American, b.1955)

Balloon Dog (Yellow) 2015 Glazed porcelain, edition no.0906/ 2300 26.7(L) x 26.7(W) x12.8(D) cm Stamped Jeff Koons on the reverse This work is to be sold with a certificate of authenticity issued by Bernardard Group, France

NT$ 280,000-380,000 HK$ 69,000-94,000 US$ 8,900-12,100

傑夫．昆斯 氣球狗（黃） 2015 釉瓷 0906/2300 26.7(長) x 26.7(寬) x 12.8(深) cm 印刷簽名：JEFF KOONS 附Bernardard Group開立之作品保證書

213 Yoshitomo NARA (Japanese, b. 1959)

Mori Girl + Little Mori Girl (a set of 2) 2012 Mixed media, edition no. 58/200 ; limited edition of 1,000 18(L) x 14.5(W) x 30(H) cm (Mori Girl) 9(L) x 9(W) x 14(H) cm ( Little Mori Girl) This sculpture (large) is to be sold with a certificate of authenticity signed by the artist

NT$ 420,000-600,000 HK$ 104,000-148,000 US$ 13,400-19,100

奈良美智 森子 + 小森子（兩件一組）

2012 綜合媒材 58/200；限量1,000件 18(長) x 14.5(寬) x 30(高) cm（森子） 9(長) x 9(寬) x 14(高) cm（小森子） 附藝術家親筆簽名作品保證卡

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214 Yoshitomo NARA (Japanese, b. 1959)

Sleepless Night Sitting 2007 Fiberglass, edition no. 13/300 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$ 160,000-210,000 US$ 20,700-27,100

奈良美智 失眠夜坐著 2007 玻璃纖維 13/300 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（不同版次） 圖錄： 〈奈良美智 + graf: A to Z〉，Foil 有限會社，東京， 日本，2006，彩色圖版 《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） 附作品保證書及木盒

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

Companion (Brown) 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$ 160,000-210,000 US$ 20,700-27,100

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

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

Dissected Companion (black) 2009 Painted cast vinyl, limited edition of 100 31(L)x 54(W)x 128(H)cm Trademark © KAWS,, 09 on left feet, MEDICOM TOY 2009 MADE IN CHINA on right feet

NT$ 650,000-850,000 HK$ 160,000-210,000 US$ 20,700-27,100

布萊恩．唐納利 同伴解剖（黑色） 2009 彩繪 搪膠 限量100版 31(長) x 54(寬) x 128(高) cm 註冊商標：© KAWS.. 09 (左腳底) 註冊商標：MEDICOM TOY 2007 MADE IN CHINA (右腳底)

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

Untitled 1999 Acrylic on canvas 41 x 41 cm Signed on the reverse KAWS in English, number 4 and dated "99

NT$ 1,100,000-2,200,000 HK$ 272,000-543,000 US$ 35,000-70,000

布萊恩．唐納利 無題 1999 壓克力 畫布 41 x 41 cm 簽名畫背：KAWS

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"99

218 Yoshitomo NARA (Japanese, b. 1959)

Untitled 1992 Mixed media on paper 29.5 x 20.5 cm Signed lower center Na in Japanese and dated '92 ILLUSTRATED: Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 61

NT$ 950,000-1,800,000 HK$ 235,000-444,000 US$ 30,200-57,300

奈良美智 無題 1992 綜合媒材 紙本 29.5 x 20.5 cm 簽名中下：な '92 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61

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219 HONG Sung-Chul (Korean, b. 1969)

Marylin Monroe 2011 Print on elastic strings, steel frame 100(L) x 100(W) x 14(D) cm Signed on the reverse HONG Sung-Chul in Korean, Hanja and English, titled 《Marylin Monroe》, dated 2011, 4

NT$ 550,000-750,000 HK$ 136,000-185,000 US$ 17,500-23,900

洪性哲 瑪麗蓮 夢露 2011 彈性繩印刷 鋼鐵框架 100(長) x 100(寬) x 14(厚) cm 簽名畫背：홍성철 HONG Sung-Chul 洪性哲 2011, 4 《Marylin Monroe》

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220 Shu Ohno

(Japanese, b.1981)

Our Forgotten Home Task (Music) 2008 Acrylic on canvas 53.2 x 46 cm Signed on reverse Ohno Ciw in English, titled Our Forgotten Home Task (Music) and dated 2008.11 This painting is to be sold with a certificate of authenticity issued by Art Project Frantic, Tokyo

NT$ 190,000-280,000 HK$ 47,000-69,000 US$ 6,000-8,900

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大野修 我們遺忘的作業（樂器篇） 2008 壓克力 畫布 53.2 x 46 cm 簽名畫背：2008.11 僕だちの忘れでいだ宿題 (樂器篇) Ohno Ciw 附Art Project Frantic開立之原作保證書

221 KWON Ki Soo (Korean, b. 1972)

Silver Forest 2007 Acrylic on canvas 162 x 130 cm Signed on the reverse Kwon Ki Soo in Korean, Hanja and English, dated 2006

NT$ 550,000-750,000 HK$ 136,000-185,000 US$ 17,500-23,900

權奇秀 銀色森林 2007 壓克力 畫布 162 x 130 cm 簽名畫背：권기수權奇秀 Kwon Ki Soo 2007

222 Takashi MURAKAMI (Japanese, b. 1962)

Surprise 2009 Offest lithograph, edition no. 228/300 72 x 72 cm Signed lower right and numbered 228/300

NT$ 40,000-80,000 HK$ 10,000-20,000 US$ 1,300-2,500

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村上隆 驚喜 2009 限量版畫 228/300 72 x 72 cm 簽名右下：M 228/300

223 Takashi MURAKAMI (Japanese, b. 1962)

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 3) 2009; 2010 Limited print, edition no. 147/300; 184/300; 165/300 74 x 140 cm (x3) Signed lower right M in English and numbered 147/300 Signed lower right M in English and numbered 184/300 Signed lower right M in English and numbered 165/300

NT$ 100,000-200,000 HK$ 25,000-49,000 US$ 3,200-6,400

村上隆 獅子牡丹骷髏泉；福臨之獅（三件一組） 2009；2010 限量版畫 147/300；184/300；165/300 74 x 140 cm (每件) 簽名版次右下：M 147/300 簽名版次右下：M 184/300 簽名版次右下：M 165/300

224 Yoshitomo NARA (Japanese, b. 1959)

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

NT$ 80,000-160,000 HK$ 20,000-40,000 US$ 2,500-5,100

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

225 Yoshitomo NARA (Japanese, b. 1959)

Untitled 2005 Print, edition E.A. 2/10 42 x 33 cm Signed lower right Na in Japanese and dated ‘05, numbered lower left E.A. 2/10

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

奈良美智 無題 2005 版畫 E.A. 2/10 42 x 33 cm 簽名下方：な '05 版次左下：E.A. 2/10

226 Andy WARHOL (American, 1928-1987)

Ten Portraits of Jews of the Twentieth Century 1980 Print 17 x 14 cm (each) Signed Andy WARHOL in English

NT$ 60,000-100,000 HK$ 15,000-25,000 US$ 1,900-3,200

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安迪沃荷 10位20世紀猶太裔名人 1980 版畫 17 x 14 cm (每件) 簽名：Andy WARHOL

227 Andy WARHOL (American, 1928-1987)

Grevy’s Zebra 1983 Screenprint, edition no. 4/20 20.5 x 20.5 cm Signed lower right Andy WARHOL in English and numbered 4/20

NT$ 60,000-100,000 HK$ 15,000-25,000 US$ 1,900-3,200

安迪沃荷 斑馬 1983 版畫 4/20 20.5 x 20.5 cm 簽名右下：Andy WARHOL 4/20

傳世經典

Heritage Classics 北歐傢俱設計在20世紀第二次世界大戰結束後於丹麥開始展現蓬勃發展，而在之前，丹麥早已於1927年起定期舉辦 哥本哈根匠師協會展覽，也是因為透過這樣的組織，設計師、工匠們彼此交流，也因為該組織長年得到皇室的支 持，使得其極具公信力，也造就了丹麥設計名聲的長久流傳。而這一時期的中世紀(Mid-Century)木製傢俱製作精細 優良，且選材嚴謹，細節處理皆以完美為標準，從簡單的日常運用到工藝欣賞，透過設計師、工匠們的職人精神映 照在一件件傳世不朽的經典傢俱之上，提升為富含美學的造型藝術創作。 The industry of Scandinavian design furniture began to flourish in Denmark since the end of WWII. Before then, Denmark had already held the Copenhagen Cabinet-makers’ Guild Exhibition since 1927 in Copenhagen on a regular basis. It was because of such an organization that designers and craftsmen had the opportunity for the exchange of ideas. In addition, this exhibition gained credibility about Danish design with the long-standing support from the royalty. The refined mid-century wooden furniture created around this period were produced with strict selection of materials and scrupulous arrangement of details. Suitable from everyday use to artistic appreciation, these immortal design pieces have reflected the meticulous craftsmanship of the designers and the craftsmen and become aesthetic pieces in formative arts.

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228 Sigurd Ressell

(Norwegian, 1920 – 2010)

Falcon chair with ottoman 1974 Beech, leather 82(W) x 75(D) x 81(H) cm Manufacturer: Vatne Mobler Country: Norway

NT$ 60,000-120,000 HK$ 15,000-30,000 US$ 1,900-3,800

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西格德．拉塞爾 海鷗椅含腳凳 1974 山毛櫸 皮革 82(長) x 75(深) x 81(高) cm 製造商：Vatne Mobler 出產國：挪威

229 Gunni Omann Model-77 Desk

1960s Rosewood 156(W) x79(D) x 76(H) cm Manufacturer: Omann Jun Møbelfabrik Country: Denmark

NT$ 90,000-180,000 HK$ 22,000-44,000 US$ 2,900-5,700

高尼．奧曼 原型-77 書桌 1960年代 玫瑰木 156(長) x79(深) x 76(高) cm 製造商：Omann Jun Møbelfabrik 出產國：丹麥

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230 Anonymous

Danish sideboard, Kai Kristensen Attributed 1960s Teak 210(W) x 44(D) x 81(H) cm

NT$ 90,000-180,000 HK$ 22,000-44,000 US$ 2,900-5,700

佚名 丹麥柚木邊櫃，向「凱．克里斯坦森」致敬 1960年代 柚木 210(長) x 44(深) x 81(高) cm

231 Niels O. Møller (Danish, 1920-1981)

Model-66 Armchair (Limited) 1974 East Indian rosewood, leather 56(W) x 53(D) x 80(H) cm Manufacturer: JL Moller Country: Denmark

NT$ 120,000-220,000 HK$ 30,000-54,000 US$ 3,800-7,000

64

尼爾斯．奧拓．莫勒 原型-66 扶手椅 (限量版)

1974 東印度玫瑰木，皮革 56(長) x 53(深) x 80(高) cm 製造商：JL Moller 出產國：丹麥

Niels O. Møller

Model-66 Armchair, 1974

232 Hans J. Wegner (Danish, 1914-2007)

CH35 Armchair 1959 Teak, natural leather 62(W) x 50(D) x 71(H) cm Manufacturer: Carl Hansen & Son Country: Denmark LITERATURE: Mobilia No.47-48, June-July, Mobilia Press, Denmark, 1959, pp. 15-25 Dansk Kunsthåndværk, No.6, 1959, pp. 117-125

NT$ 120,000-220,000 HK$ 30,000-54,000 US$ 3,800-7,000

66

漢斯．韋格納 CH35 扶手椅

1959 柚木 原色皮革 62(長) x 50(深) x 71(高) cm 製造商：Carl Hansen & Son 出產國：丹麥 文獻： 《墨比力雅第47-48期》 6-7月，墨比力雅出版， 丹麥，1959，頁15-25 《丹麥工藝設計協會第6期》，1959，頁117-125

233 Knud Færch

Model 521 Cow horn Chair 1958 Teak, natural leather 55(W) x 45(D) x 72(H) cm Manufacturer: Slagelse Møbelvaerk Country: Denmark

NT$ 130,000-220,000 HK$ 32,000-54,000 US$ 4,100-7,000

克努德．法齊 原型-521 牛角椅 1958 柚木 原色皮革 55(長) x 45(深) x 72(高) cm 製造商：Slagelse Møbelvaerk 出產國：丹麥

234 Hans J. Wegner (Danish, b. 1914-2007)

JH501 The Chair 1949 Oak, woven cane 63(W) x 53(D) x 76(H) cm Manufacturer: Johannes Hansen Country: Denmark EXHIBITED: Copenhagen Cabinetmakers’ 23th Guild Exhibition, Design Museum Denmark, Denmark, 1949 LITERATURE: Danish Chair, Noritsugu Oda, illustrated, pp. 108-109

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

漢斯．韋格納 JH501 圓椅

1949 橡木 藤編 63(長) x 53(深) x 76(高) cm 製造商：Johannes Hansen 出產國：丹麥 展覽： 「第23屆哥本哈根匠師協會展覽」，丹麥設計博物館， 丹麥，1949 文獻： 《丹麥單椅》，織田憲嗣，頁108-109

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單椅藝術家漢斯．韋格納歷年的經典作品中，其1949年中所創作的The Chair堪稱單椅世界中的傳奇；該件作品以最平凡簡單的 線條構造以及圓滑且低調的造型問世，隔年卻在美國家居雜誌上大獲推崇，並且在1960年時被約翰甘迺迪所選用為當年首屆總 統電視辯論會的座椅，從此聲名大噪，而該單椅現今則典藏於華盛頓特區，史密森美國歷史博物館，此為另一材質所製單椅。 Among the classic pieces by Wegner “The Chair” created in 1949 is believed to be the legend in the world of single chairs. Presented with the simplest structure as well as a round, smooth shape, it was highly praised on the furniture magazines in the U.S.A. the next year. In 1960, it was chosen by J. F. Kennedy as the chair for the first televised presidential debate, and has since gained great fame. This single chair is now collected by National Museum of American History – Smithsonian, Washington DC. The auction item is made of other material, as well as popular when it was first created.

漢斯．韋格納另一款讓人津津樂道的單椅便是造型宛若孔雀的「孔雀椅」(Peacock Chair)，其源自於另一位單椅藝術家芬尤對這件作品獨特椅背所吸引後而取名。其如 孔雀開屏般的造型加上質樸椅以及洗鍊、摩登的線條構造，很難想像此件創作早於 1947年便已被製造生產。而孔雀椅最初的原型靈感則是來自於18世紀的溫莎椅， 為舊時社會中產家庭富裕生活的象徵。 “Peacock Chair,” another celebrated single chair by Wegner was named by Finn Juhl, who was attracted to the unique back of the chair. It is pretty hard to imagine that such a work with the shape of a peacock spreading its feather and a streamlined, modern structure was produced as early as in 1947.The model of the “Peacock Chair” was originated from the Windsor Chair in the 18th century, which was symbol of the affluent life of the middle-class family in old times.

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235 Hans J. Wegner (Danish, 1914-2007)

Peacock chair 1947 Ash, teak, paper fiber 66(W) x 55(D) x 106(H) cm Manufacturer: Johannes Hansen Country: Denmark LITERATURE: Danish Chair, Noritsugu Oda, illustrated, pp. 106-107

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

漢斯．韋格納 孔雀椅 1947 梣木 柚木 紙纖編織 66(長) x 55(深) x 106(高) cm 製造商：Johannes Hansen 出產國：丹麥 文獻： 《丹麥單椅》，織田憲嗣，頁106-107

與丹麥現代(Danish Modern) 關聯密切的單椅藝術家，芬尤同樣被列入上個 世紀最偉大的設計師之林，其最著名的便是他延續了椅背線條解構，並且 從埃及部落中某些擷取如頭盔、護盔等元素提煉出來的單椅造型，「酋長 椅」(Chieftain Chair)，此件作品亦融入了高雅的線條，架構簡潔不造作， 極為落落大方。當年參展時還引來當時丹麥國王費列克九世試坐，可見其 王者風範極佳，令人多想親臨感受。 Finn Juhl was also listed as one of the greatest designers in Danish modern design.

One of his well-known pieces is the “Chieftain Chair,” in which he deconstructs the lines on the back and blends the elements of Egyptian tribes, such as helmets and armors. “Chieftain Chair” also incorporates elegant lines, making the overall structure appear simple and graceful. Frederik IX, the then King of Denmark, also sat on the chair when it was put on display at the exhibition. Such kingly manner has attracted countless consumers to experience it in person.

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236 Finn Juhl

(Danish, 1912-1989）

Chieftain Chair 1949 Teak, natural leather 102(W) x 91(D) x 94(H) cm Manufacturer: Onecollection Country: Denmark EXHIBITED: Finn Juhl 100 years anniversary, Denmark Design Museum, Denmark, 2012 LITERATURE: Finn Juhl & Onecollection by Tekst Mike Rømer, illustrated pp. 70-75

NT$ 320,000-420,000 HK$ 79,000-104,000 US$ 10,200-13,400

芬尤 酋長椅(Onecollection) 1949 柚木 原色皮革 102(長) x 91(深) x 94(高) cm 製造商： Onecollection 出產國：丹麥 展覽： 「芬尤百年紀念展」，丹麥設計博物館，丹麥，2012 文獻： 《芬尤經典設計》，特克斯特．麥克．羅莫撰，頁70-75

Finn Juhl

Chieftain Sofa, 1949

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237 Finn Juhl

(Danish, 1912-1989)

Chieftain Sofa 1949 Teak, natural leather 148(W) x 91(D) x 94(H) cm Manufacturer: Onecollection Country: Denmark LITERATURE: Finn Juhl & Onecollection by Tekst Mike Rømer, illustrated pp. 78-80

NT$ 460,000-550,000 HK$ 114,000-136,000 US$ 14,600-17,500

芬尤 酋長沙發(Onecollection) 1949 柚木 原色皮革 148(長) x 91(深) x 94(高) cm 製造商： Onecollection 出產國：丹麥

文獻： 《芬尤經典設計》，特克斯特．麥克．羅莫撰， 頁78-80

丹麥傢俱設計當中，以當代偉大設計師之列的漢斯．韋格納最富盛 名。一身設計超過500多件單椅，且作品多被美術館收藏的他於1951 年設計的單人沙發「泰迪熊椅」則是他經典的代表作之一。被評論 如被一隻大熊從後面環抱住，其可愛、溫暖的形象也將這款單椅的 歡迎程度大大提升，被列入單椅藝術珍品之一。 Hans J. Wegner may be the most prestigious designer when it comes to Danish design furniture.Wegner had designed more than 500 chairs all his life, and many of his works are collected by museums worldwide. As one of his classic pieces, his "Teddy Bear Chair" designed in 1951 is described as been held by a big bear from the back. It gained great popularity with such a warm and adorable image, making it listed as one of the must-have collectable chairs.

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238 Hans J. Wegner (Danish, 1914-2007)

Teddy bear chair with ottoman AP19/29 1951 Teak, fabric 92(W) x 65(D) x 101(H) cm Manufacturer: AP Stolen Country: Denmark LITERATURE: Dansk Kunsthåndværk, No.4 April, 1952, p. 62 Dansk Kunsthåndværk, No.6 June, 1952, Advertisement page

NT$ 600,000-800,000 HK$ 148,000-198,000 US$ 19,100-25,500

漢斯．韋格納 泰迪熊椅（含腳凳）AP19/29 1951 柚木 布料 92(長) x 65(深) x 101(高) cm 製造商：AP Stolen 出產國：丹麥 文獻： 《丹麥工藝設計協會第4期》，4月，1952，頁62 《丹麥工藝設計協會第6期》，6月，1952，宣傳頁

301 Tomoya Tsukamoto (Japanese, b. 1982)

Two Elements 2013 Acrylic on canvas 52 x 65 cm Signed on the reverse Tomoya Tsukamoto in English, titled Two Elements 130319, dated 2013 EXHIBITED: Colors of light, Gallery M, Japan, March 24 - April 21, 2013

NT$ 70,000-140,000 HK$ 17,000-35,000 US$ 2,200-4,500

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塚本智也 雙元素 2013 壓克力 畫布 52 x 65 cm 簽名畫背：“2つのエレメント＂ 130319 2013 Tomoya Tsukamoto 展覽： 「光の色」，Gallery M ，日本，展期自2013年3月24 日至4月21日

302 IIDA Kiriko

(Japanese, b. 1970)

Girl 2013 Oil on canvas 60 x 72.5 cm Signed on the reverse Kiriko Iida in English and dated 2013 This painting is to be sold with a certificate of authenticity signed by the artist and issued by Artdish g, Tokyo.

NT$ 60,000-80,000 HK$ 15,000-20,000 US$ 1,900-2,500

飯田桐子 少女 2013 油彩 畫布 60 x 72.5 cm 簽名畫背：Kiriko Iida 2013 附Artdish g與藝術家親筆簽名原作保證書

303 Kazuo SHIRAGA

白髮一雄

(Japanese, 1924 - 2008)

無題

Untitled

壓克力 紙本 10 x 14.5 cm 簽名左下：白髮 簽名畫背：K. Shiraga

Acrylic on paper 10 x 14.5 cm Signed lower left Shiraga in Kanji Signed on the reverse K. Shiraga in English

NT$ 280,000-380,000 HK$ 69,000-94,000 US$ 8,900-12,100

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304 Kazuo SHIRAGA (Japanese, 1924 - 2008)

Untitled 1969 Mixed media on paper, collage 24 x 34 cm Signed lower right Shiraga in Kanji and dated 1969.7 Signed on the reverse :Kazuo SHIRAGA In Kanji and dated July 1969

NT$ 380,000-550,000 HK$ 94,000-136,000 US$ 12,100-17,500

白髮一雄 無題 1969 複合媒材 紙本 拼貼 24 x 34 cm 簽名右下：白髮1969.7 簽名畫背：昭和44年7月 白髮一雄

305 Sadamasa Motonaga (Japanese, 1922 – 2011)

Untitled 1962 Watercolor on paper 27 x 24 cm Signed lower right S.Motonaga in English Signed on the reverse Motonaga Sadamasa and inscribed member of Gutai and dated 1962 in Kanji

NT$ 550,000-650,000 HK$ 136,000-160,000 US$ 17,500-20,700

元永定正 無題 1962 水彩 紙本 27 x 24 cm 簽名右下：S.Motonaga 簽名畫背： 一九六二年 具体美術協會員 元永定正筆

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306 Kazuo SHIRAGA (Japanese, 1924 - 2008)

Viviparity 1996 Acrylic and gouache on paper 55.5 x 76.5 cm Signed lower left Shiraga Kazuo in Kanji With one seal of the artist on the reverse

NT$ 2,800,000-4,800,000 HK$ 691,000-1,185,000 US$ 89,100-152,800

白髮一雄 生命 1996 壓克力 水粉 紙本 55.5 x 76.5 cm 簽名左下：白髮一雄 簽名畫背：胎生平成八年十月白髮一雄 鈐印畫背：白

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307 Yayoi KUSAMA (Japanese, b. 1929)

The Beginning of Life 1987 Acrylic on canvas 53 x 45.5 cm Signed on the reverse Yayoi Kusama in English

草間彌生 生命的開始 1987 壓克力 畫布 53 x 45.5 cm 簽名畫背：Yayoi KUSAMA 附草間彌生工作室開立之原作登錄卡

This painting is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 4,000,000-6,000,000 HK$ 988,000-1,481,000 US$ 127,300-191,000

1929年出身的草間彌生，在國際藝壇的地位已不容忽視，她的作品細微並誠實地承載自身的過去，及其無法擺脫的夢魘；草間用繪畫、雕塑、 行動藝術等手法，帶有超現實般心理性的考究，表達她腦海中的宇宙，高彩度對比的用色，令人回到「迷幻年代」，在視覺藝術、音樂、時尚 留下的印記，她的藝術精彩的緣因之一，亦在於她本人即是一種「偶像」，不遮掩地表露靈魂。 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。 Yayoi Kusama was born in 1929 and her status in the international art industry is not to be neglected. Her artworks candidly depict her own history and inescapable nightmares in details. In the forms of paintings, sculptures and performance art, Kusama peers into surreal "psychology" and expresses the universe of her mind. Her highly contrastive color schemes returns traces of visual art, music and fashion during the psychedelic period. Her significance is perhaps attributable to her "icon" status, and her explicit yet soulful manifestation.

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.

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308 Yoshitomo NARA (Japanese, b. 1959)

Michi 1991 Oil on canvas 34 x 28 cm Signed lower left Yoshitomo Nara in English and dated lower right 1991 Signed on the reverse MICHI in English

奈良美智 美智 1991 油彩 畫布 34 x 28 cm 簽名左下︰Yoshitomo Nara 1991 簽名畫背：MICHI

NT$ 6,000,000-7,000,000 HK$ 1,481,000-1,728,000 US$ 191,000-222,800

身為國際藝術界非常具有影響力的日本當代藝術家，奈良美智的作品通常以插畫風格呈現，重複著兒童肖像的主題。其作品也因為創作型式常 被歸類為村上隆的「超扁平」風格，但藝術家本人卻抗拒這個標籤，公開表示他的靈感來源是他童年所回憶的兒童圖畫故事書與年輕時代所喜 愛的音樂，也曾說過「我只是跟隨自己的感覺去做創作，所有的原因和為什麼都是後來才悟出來的。」，為自己的創作靈感下了註解。 《美智》為奈良美智旅德期間創作，畫中的小女孩與他後期筆下流露著叛逆氣息並憤世暨俗態度的孩童畫像大有落差，反而擁有雙無辜又單純 可愛的臉龐，然而這些看似邪惡或戲謔的表情下，卻是藝術家對於往昔孩提時代的懷舊反思。《美智》雙眼往上凝視，似乎在渴望有人能陪她 一起玩手中拿著的漂浮船，殷殷盼望著孩童最嚮往的陪伴。而畫的標題《美智》是女孩的名字，常被奈良美智在社群媒體上引用，因為它是原 本要留給未出世夭折姊姊的名字，而他的母親便將這名字留給了後來出世的奈良美智，他也曾坦言認為過世的姊姊成為了自己的一部分，姊姊 在他心中佔有一塊田地。 奈良美智作品中的人物常出現的共同點是「孤獨」。肇因於奈良美智幼小時因父母工作忙碌，從小習慣了獨處 。他表示：「我的全部作品其實 是我內心的自畫像，是和自己的對話。至於說這些圖像的來源，是在對話的過程中回憶自己的童年時代。」因此，畫中的《美智》不僅是藝術 家與姐姐的合體，渴求玩伴的年幼主角有可能是奈良美智的自我投射，更可視為藝術家潛意識中創作出了屬於他與姊姊的自畫像，而藝術家也 少見地在作品正面簽上了全名，可見該作品對於創作者的重要性。同樣的，與後期在作品中同樣往上斜視卻顯得淩厲的孩童人物，《美智》呈 現了鮮明的對比，缺乏了些憤怒的情緒，更引人憐愛。 Yoshimoto Nara is an internationally renowned artist from Japan, whose work is often presented in a cartoon style, with bright-eyed children being the recurring motif. Nara’s works have often been put in the category of the “Superflat” postmodern art movement attributed to Japanese artist Takashi Murakami, but Nara himself resists this generalization, often publicly expressing that he acquires inspiration from art books for children and the old records his listened to during his adolescence. He once commented that he painted with what he actually felt, and all the reason and meanings ensued afterwards.

“Michi” is one of Nara’s early creations, produced during his stay in Germany. In the painting, the little girl differs drastically from the rebellious and often misanthropic children of his later works, and instead possesses a pair of innocent eyes and an unassuming expression. Tho these wicked-ish looks somehow reflect the nostalgic sentiments of the artist’s. In “Michi”, the girl’s eyes gaze upwards, as if silently praying for a friend or companion to join her and play with the toy boat she clutches in her hands. The title “Michi” is a female name, often adopted by Nara in his social media accounts, and actually belongs to his older sister that unfortunately passed away before childbirth, however, his mother still gave the name to him. Nara has previously expressed that he believes his deceased sister has become a part of him, and will always hold a special place in his heart.

A reoccurring theme that appears in Nara’s characters is that they appear ‘loneliness’ or ‘solitary’. Resulted in Nara’s childhood that his parents were often occupied with work, leaving the artist to fend for himself, and he eventually grew accustomed to being alone. Nara has stated, “All of my works are actually self-portraits; they are basically conversations with myself. As for the source of these paintings, what emerges are memories from my childhood as I retrace these dialogues.” Therefore, the “Michi” in the painting not only represents the merging of the artist and his sister, but also expresses the strong craving for companionship present in his subconscious during his childhood, moreover, the painting could also be considered a self-portrait of the artist and his sister, which the artist subconsciously created. The artist also rarely signed his full name on the front which emphasized how unique and significant the painting stands to him. In the same vein, though many of Nara’s characters have staring eyes in the later works – the gaze often containing a hint of anger or dissatisfaction – this is absent in the 1991 “Michi”, whose loneliness seems to beg for tender love and care.

88

309 Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1998-2000 Resin, edition of 15 EE 2/2 27(L) x 27(W) x 28(H) cm Engraved YAYOI KUSAMA in English, dated 2000 and EE 2/2 This sculpture is to be sold with a certificate of authenticity issued by FMR Limited, Japan.

NT$ 800,000-1,000,000 HK$ 198,000-247,000 US$ 25,500 -31,800

草間彌生 Photo courtesy © FMR Ltd

南瓜 1998-2000 樹脂 限量15 EE 2/2 27(長) x 27(寬) x 28(高) cm 簽名雕刻：YAYOI KUSAMA EE 2/2 2000 附FMR開立之作品保證書

90

310 Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1998-2000 Resin, edition of 15 EE 2/2 27(L) x 27(W) x 28(H) cm Engraved YAYOI KUSAMA in English, dated 2000 and EE 2/2 This sculpture is to be sold with a certificate of authenticity issued by FMR Limited, Japan.

NT$ 800,000-1,000,000 HK$ 198,000-247,000 US$ 25,500 -31,800

草間彌生 南瓜 1998-2000 樹脂 限量15 EE 2/2 27(長) x 27(寬) x 28(高) cm 簽名雕刻：YAYOI KUSAMA EE 2/2 2000 附FMR開立之作品保證書

311 Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1998 Bronze, edition no. 97/100 27(L) x 27(W) x 28(H) cm Engraved YAYOI KUSAMA in English, dated 1998 and numbered 97/100 This sculpture is to be sold with a certificate of authenticity issued by FMR Limited, Japan.

NT$ 950,000-1,300,000 HK$ 235,000-321,000 US$ 30,200-41,400

草間彌生 南瓜 1998 銅雕 97/100 27(長) x 27(寬) x 28(高) cm 簽名雕刻：YAYOI KUSAMA 1998 97/100 附FMR開立之作品保證書

92

312 Nam June PAIK

(Korean-American, 1932 - 2006)

MT-TV 1994 4 inch TV monitor, electrical wire and mixed media, edition of 20 T/P 32.7(L) x 34.8(W) x 38(H) cm Signed Paik in English Numbered on the back T/P

NT$ 850,000-1,300,000 HK$ 210,000-321,000 US$ 27,100-41,400

白南準 MT-TV

1994 4吋電視螢幕 電線 綜合媒材 限量20 T/P 32.7(長) x 34.8(寬) x 38(高) cm 簽名正面 : Paik 編號背面 : T/P

313 SANYU

(Chinese-French, 1901 - 1966)

Jeune Femme Assise 1931 Pencil on paper 34 x 24 cm Signed lower left SANYU in French and dated 1931 With one painted of the artist This work will be included in the addendum of the Catalogue Raisonné Drawings and Watercolor of Sanyu, Compiled by Rita Wong

NT$ 400,000-600,000 HK$ 99,000-148,000 US$ 12,700-19,100

94

常玉 仕女 1931 鉛筆 紙本 34 x 24 cm 簽名左下：Sanyu 1931 手繪鈐印左下：玉 作品將補充收錄於衣淑凡編撰之 《常玉素描與水彩全集》

314 SANYU

常玉

(Chinese-French, 1901 - 1966)

裸女

Nude

鉛筆 紙本 45 x 28 cm 鈐印左下：常玉

Pencil on paper 45 x 28 cm With one seal of the artist

NT$ 400,000-600,000 HK$ 99,000-148,000 US$ 12,700-19,100

315 SANYU

常玉

(Chinese-French, 1901 - 1966)

俯臥裸女

Nude

炭筆 水墨 紙本 25.5 x 39.5 cm

Charcoal and ink on paper 25.5 x 39.5 cm ILLUSTRATED: Rita Wong, Sanyu - Index of Drawings (L’inventaiedes dessins), The Li-Ching Cultural and Education Foundation, Taipei, February 2014, No. D0018, p. 9 (USB flash drive)

NT$ 440,000-700,000 HK$ 109,000-173,000 US$ 14,000-22,300

96

圖錄： 《常玉素描全集》，衣淑凡，財團法人立青文教基金 會，台北，2014，圖版編號 D0018，頁 9 (隨身碟)

316 SANYU

(Chinese-French, 1901 - 1966)

Seated Lady Charcoal and ink on paper 45 x 28 cm Signed lower right SANYU in French With one painted seal of the artist ILLUSTRATED: Rita Wong, Sanyu - Index of Drawings (L’inventaiedes dessins), The Li-Ching Cultural and Education Foundation, Taipei, February 2014, No. D2060, p. 88 (USB flash drive) This painting is to be sold with a certificate of authenticity issued

by Dimensions Art Center, Taipei.

NT$ 600,000-800,000 HK$ 148,000-198,000 US$ 19,100-25,500

常玉

坐姿仕女 炭筆 水墨 紙本 45 x 28 cm 簽名右下：SANYU 手繪鈐印左下：玉 圖錄： 《常玉素描全集》，衣淑凡，財團法人立青文教基金會， 台北，2014，圖版編號 D2060，頁 88 (隨身碟) 附帝門藝術中心開立之原作保證書

317 SANYU

(Chinese-French, 1901 - 1966)

Resting Nude c.1920-1930s Watercolor and ink on paper 41 x 27 cm Signed lower right SANYU in French With one painted seal of the artist ILLUSTRATED: Rita Wong, Sanyu Catalogue Raisonne Drawings and Watercolor, The Li-Ching Culture and Education Foundation, Taipei, 2014, color illustrated, no. W20, p. 173

NT$ 1,000,000-2,000,000 HK$ 247,000-494,000 US$ 31,800-63,700

常玉 休憩裸女 約1920-1930年代 水彩 水墨 紙本 41 x 27 cm 簽名右下：SANYU 手繪鈐印左下：玉 圖錄： 衣淑凡，《常玉素描與水彩全集》，財團法人立青文教基金 會，台北，2014，彩色圖版，圖版編號W20，頁173

98

318 Liu Kuo sung (Taiwanese, b. 1932)

The Red Land

劉國松

1970 Ink and color on paper 40.5 x 142 cm Signed lower left Liu Kuo-Sung and dated 1970 in Chinese With one seal of the artist

紅色大地

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

by Loftyart Gallery, Taipei.

NT$ 2,000,000-3,000,000 HK$ 494,000-741,000 US$ 63,700-95,500

100

1970 彩墨 紙本 40.5 x 142 cm 簽名左下：劉國松一九七Ｏ 鈐印左下：劉國松 附高士畫廊開立之原作保證書

在海峽兩岸有「中國現代繪畫先驅」、「現代水墨畫之父」之稱的台灣著名藝術家劉國松，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。」 劉國松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。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 artist 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 feelings by drawing. However, our life is changing and our feelings are changing. And drawing is changing. Every great painter in our history had his own invention.

Actually, painting means many techniques. For example, Mi Fu drew with lotus seed pod, Fu Baoshi drew with chalina, whereas some others draw with fingers only. Sticking to central tip of brush can only narrow the space of Chinese painting and push it to a dead end.”

LIU looks for any unprecedented, possible form for his artistic expression and he searches for most probable integration and breakthrough for the twosided issue of the “modern” and “water ink”. His achievements in the technical experimentation include the innovative ink rubbing and ink immersing for traditional Chinese ink painting, bringing white strips to Chinese painting and enriching the forms of expression by water. The artist discards squarehead brush in oil painting. He invented 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 skeleton of Chinese painting but also the texture feeling of Western oil painting.

319 Walasse TING

(Chinese-American, 1929 - 2010)

My Bosom is Blooming 1976 Acrylic on canvas 61.2 x 86.5 cm Signed on the reverse: titled My Bosom is Blooming in English and dated 76

NT$ 2,800,000-3,800,000 HK$ 691,000-938,000 US$ 89,100-120,900

丁雄泉 心花怒放 1976 壓克力 畫布 61.2 x 86.5 cm 簽名畫背：My Bosom is Blooming 76

102

320 LIU Haisu

(Chinese, 1896-1994)

劉海粟 黃山晨曦圖

1983 Ink and color on paper 122 x 242 cm Signed upper right LIU Haisu in Chinese, at the age of 88 and dated 1983 summer.

With three seals of the artist

1983 彩墨 紙本 122 x 242 cm 簽名題識右上：萬波煙海泳奇峯 一九八三年夏劉海粟 年方八八 潑彩畫 鈐印右上：靜遠堂 劉海粟 曾經滄海 鈐印左下：石破天驚

PROVENANCE: A former collection of Yanan Hotel in Shanghai

來源： 上海延安飯店舊藏

Yellow Mountain

NT$ 4,600,000-6,600,000 HK$ 1,136,000-1,630,000 US$ 146,400-210,100

劉海粟，名槃，字季芳，號海翁。漢族，江蘇常州人。現代傑出畫家、美術教育家。早年習油畫，蒼古沈雄。兼作國畫，線條有鋼筋鐵骨之力。 後潛心於潑墨法，筆飛墨舞，氣魄過人。晚年運用潑彩法，色彩絢麗，氣格雄渾。《黃山晨曦圖》是劉先生1988年創作的重要作品，作品自下而 上，層層推進。畫的下部表現了山的近景，大面積使用了特具個性的亮藍綠色，山峰用淡墨稍稍勾勒輪廓，然後大膽潑墨，浩茫洶湧，雲霧氤 氳，韻味十足，幾次潑墨交疊畫面層次分明。 LIU Haisu, given name Pan, style name Jifang, pseudonym Haiweng. Of Han ethnicity, Liu was born in Changzhou, Jiangsu. He was both an outstanding artist and an art educator. In his early years, Liu studied oil painting, and developed a majestic antiquity style. He also painted traditional Chinese painting, in which he showed his firm, determined brush strokes. He later focused on the splash-ink technique of painting, through which he displayed a forceful spirit through brush and ink. In his later years Liu used the splash color technique, expressing himself through vibrant and vigorous colors. Yellow Mountain, composed in 1988, is an important work of Mr. Liu’s. The layers of the work are clearly defined from bottom to top. The bottom part of the painting features a close-up view of mountains, with a large part of the painting composed of characteristic hues of bright blue and green. The mountain peak is lightly outlined in faint ink, then boldly splashed with ink to create a turbulent, misty piece which exudes a deep charm. Ink is splashed several times to create distinct layers.

104

321 Tzu-chi YEH

(Taiwanese, b. 1957)

Zhuilu Ancient Trail in Hwalien 2015-2016 Tempera and oil on linen 102 x 224 cm Signed lower right Tzu-chi YEH in Chinese and dated 2015-2016

葉子奇 錐麓古道．花蓮 2015-2016 卵彩 油彩 亞麻布 102 x 224 cm 簽名右下：葉子奇 2015-2016

NT$ 6,500,000-8,500,000 HK$ 1,605,000-2,099,000 US$ 206,900-270,500

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).

106

322 Walasse TING

(Chinese-American, 1929 - 2010)

Love me? Love me not?

1977 Acrylic on canvas 91 x 102 cm Titled on the reverse Love me? Love me not ?and signed ting, In English, dated 77 Spring

丁雄泉 愛我？不愛我？ 1977 壓克力 畫布 91 x 102 cm 簽名畫背：Love me？Love me not？Spring ting 77

NT$ 6,000,000-8,000,000 HK$ 1,481,000-1,975,000 US$ 191,000-254,600

二十世紀的1970年代起，旅居紐約已超過十年的丁雄泉匯集了巨大的創作能量，畫風從抽象藝術轉變至具象繪畫，而他最多的情感與創作則 都留給了他畢生鍾愛的主題―「女人」；在紐約的丁氏發展了筆觸濃烈狂野，用色強烈不拘帶點驕傲與放縱不羈；這縱然與丁氏天性有關， 而在藝術氛圍大放，自由且充滿未來感的紐約更是引領著他日後風格的確立；1970年代，丁雄泉由抽象作品轉至具象繪畫，畫風大轉以外， 他的心境也隨之更迭，開始大量地創作他一生中摯愛不倦的題材，「女人」；這時期的作品則清楚的看見了野獸派般的描繪線條，然而更多 的是早先在歐洲，眼鏡蛇畫派對他繪畫語彙的影響；華美斑斕，更加強烈放膽地在畫布上繪出一具具風姿綽約、時而艷麗華美又或熱情狂野 的女性姿態，丁雄泉的創作在這時，形式已經不再那麼重要了，作品中流露的是他與生俱來的色彩直覺與無比浪漫的情感；丁氏挑選反差極 大的誇張色彩，構件了一個充滿著「女人」的感情世界，與我們分享他豐沛的情愛，是愛、是情都是丁氏的靈魂；曾有人說過他的作品極具 情色意味，或許這些「情」是丁氏創作的靈感來源，是他生命的主體，而這些「色」是他畫中華麗繽紛的顏色，是血、是肉，而正是透這些 絢爛的色彩使他感覺活著。 By the 1970s, Ting has gathered a tremendous creative energy having spent more than ten years in New York. While his artistic style changed from abstract to figurative paintings, “women” was always his favorite topic where he spent most of his energy. While living in New York, Ting began to develop a style which the strokes were strong and wild, the colors vibrant, proud, and unconventional, an approach reflecting Ting’s character. One cannot deny that the city itself, free, innovative, and blooming with culture, also took part in shaping Ting’s unique style. During the 1970s, as his focus transformed from abstract to figurative paintings, his state of mind also began to change. He spent large amounts of time painting “women”, his favorite topic. During this period, the lines in his works demonstrated similar styles from Fauvism. In actuality, during his early days in Europe, the CoBrA artists already provided Ting with the inspirations for a similar style. With an overall exaggerated tone, the female figures on Ting’s canvas are sometimes graceful, sometimes passionate, but always charming. During this period, Ting no longer cared about artistic forms. Instead, he focused on his instinctive senses of colors and romanticism. The contrasting colors portrayed an emotional world full of “women”, expressing the love and affection overflowing from Ting’s heart. Whether it’s love or affection, it is all a part of Ting’s soul. Some say his works are erotic, perhaps the affections were Ting’s main source of inspiration and life force, and the vibrant colors within his paintings were erotic in nature. The colors were his blood and flesh, and it is through these splendid colors that made Ting feel alive.

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323 Walasse TING

(Chinese-American, 1929 - 2010)

Mia & Alex 1976 Acrylic on canvas 102 x 127 cm Titled on the reverse Mia & Alex ting and signed in English, dated 76 PROVENANCE: Bruun Rasmussen Auction, Copenhagen, September 24, 2013, lot 737

丁雄泉 迷雅與愛麗克絲 1976 壓克力 畫布 102 x 127 cm 簽名畫背：Mia & Alex ting 76 來源： 布魯恩．拉斯穆森拍賣，哥本哈根，2013年9月24日， 編號737

NT$ 8,000,000-10,000,000 HK$ 1,975,000-2,469,000 US$ 254,600-318,300

自稱為「採花大盜」，丁雄泉將自己比擬為翩翩飛舞於花叢之間採集花蜜的花蝴蝶，只不過，他採集的是鮮麗動人的色彩，並且透過他精湛而 獨特的表現手法，將色彩釀造成一幅又一幅豐沛迷人的繪畫，真誠地讚頌生命的美好。完成於1976年的《迷雅與愛麗克絲》展現了丁雄泉卓越 的色彩駕馭能力，他融合了野獸派的大膽用色、以色彩層次取代單點透視的空間鋪陳，並採納抽象表現主義的滴流技法，呈現了在鮮花綠葉簇 擁之間巧笑倩兮的兩位女子，是藝術家風格成熟的精采作品，特別是如此大尺幅的布上繪畫，在丁雄泉以紙本居多的作品當中，更顯得稀有珍 貴。 愛美食、愛美女，丁雄泉善於發掘美，總是盡情擁抱生命，而繪畫，是他一生不變的摯愛。1952年，二十多歲的丁雄泉來到巴黎追尋藝術夢 想，密集地以抽象語彙探索情感與精神性的表達。1958，藝術家再從巴黎來到紐約，迎上了抽象表現主義的蓬勃發展以及普普藝術的形成，受 到當地活躍藝術氛圍的影響，他重拾繽紛的色彩，並且開始把顏料滴濺在畫布上，逐漸形塑出大膽熱烈的個人畫風，特別是1970年代以降，女 人與鮮花的主題發展得愈趨成熟，以大膽的撞色、奔放的潑彩堆疊而成，成為藝術家獨特而鮮明的標記。丁雄泉熱愛生命，盡情地享受這世界 所提供的一切美好，他風格成熟的畫作，無論是畫女人、鮮花、駿馬或鸚鵡，皆豐盛美好且充滿感官的吸引力，如此鮮明且具體的題材，手法 卻有著抽象表現的精神。於是，透過具體事物的描寫，丁雄泉的畫作既充滿物質的豐富愉悅，亦散發出強烈的精神性感染力，讓觀者的心被生 命的豐美熱情深深打動。 丁雄泉難得的畫布作品《迷雅與愛麗克絲》，以一左一右兩位女子為主角，構圖豐富完整，用色飽滿而不混亂，足見藝術家下筆之用心。畫中 金髮女子為藝術家的女兒迷雅，而藍髮女子則是藝術家的女性友人愛麗克絲。丁雄泉作畫從不自限於追求形似，而著重於創造心中所見之美， 《迷雅與愛麗克絲》亦不例外，藝術家以迷雅和愛麗克絲為模特兒，卻將深色髮的迷雅畫成金髮女子，並賦予愛麗克絲深邃的藍髮，再次印證 其不重寫形而重寫意的創作模式。於是，畫中金髮女子一雙碧眼溫柔地望向觀者，明媚熱情，而藍髮女子則支頤凝望它處，似乎若有所思，顯 得神秘而典雅，兩人皆嫵媚萬千，卻各自展現不同的風情。她們豐盈的秀髮間綴以鮮花綠葉，面前的桌面上是酒杯及鮮豔欲滴的水果，呼應了 女子的青春，翠綠的葉子自兩位女子之間恣意漫延開來，掩映紅、桃、橙、藍各色花朵，繽紛耀眼而充滿生命力。丁雄泉以幾近平塗的手法揮 灑薄透純粹的色彩，色彩筆觸本身即帶有活潑快速的韻律感，如此鋪陳而出的畫面缺乏景深，卻層次豐富，飽滿亮麗的色彩似乎要滿溢到畫面 之外，無法定義的時空場景，更為畫面增添了如夢的氛圍。 因著際遇與人格特質的不同，每個人的人生自有其獨特的蜿蜒，丁雄泉一生受美所吸引，他擁抱世間美好，擁抱自身的渴望，透過彩筆抒發他 對生命的熱愛。如同《迷雅與愛麗克絲》一作，畫裡有丁雄泉真誠直率的性格，有他對生命的讚頌，他的繪畫自成一個世界，無畏現實的缺 憾，昇華世間的愁苦，散發一股奇幻的魔力，至真至誠、且酣暢淋漓。

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A self-proclaimed “Casanova”, Walasse Ting compared himself to a colorful butterfly fluttering amongst fragrant blossoms and collecting nectar. But, what he actually collected were vibrant and scintillating colors which were transformed through his unique and refined techniques into paintings bursting with mesmerizing vitality, undying odes to the wonders of life. “Mia & Alex” a work completed in 1976, is a perfect representation of Ting’s brilliant finesse in the transposition of colors.

He integrated Fauvism’s bold use of color tones, utilized different layers of hues to replace the layout of space between single visual points, and incorporated the Abstract Expressionistic drip painting style to present the two smiling girls surrounded by bright verdant flowers and foliage. This work is one of the artist’s signature pieces showcasing the crystallization of his style. In particular, the painting was created on a large sheet of canvas, making it one of the rare creations of Ting who had created the majority of his works on paper.

As a connoisseur of fine food and lovely women, Ting was an adept in discovering beauty and embracing life to the fullest, but painting had always been his deepest passion. In 1952, a 20-something Ting left home for Paris in pursuit of his dream where he explored an abundance of abstract styles to interpret emotional and spiritual expressions. In 1958, the artist moved from Paris to New York where he discovered the exuberance of Abstract Expressionism and the blossoming of Pop Art. Under the impact of the local energetic artistic scene, he returned to the use of bright colors and began experimenting with dripping the paint on canvas, gradually forming his own personal daring and passionate style. Especially after he entered the 1970s, the theme of women and colorful flowers developed into its mature stage, where intrepidly clashing color blocks and wildly layered tones became the artist’s unique and vivid trademark. Ting was passionate about life and he fully embraced all the wonders that the world had to offer. In the works from his mature stage, whether it was women, flowers, stallions or parrots, they all exhibited a lavish splendor and displayed a sensory appeal.

But such vivacious and defined subjects were portrayed with a technique that was imbued with the essence of Abstract Expressionism. Through the depiction of such tangible objects, Ting’s works burst with a profuse joy for the tangible but at the same time, exude a powerful sense of emotive allure, deeply stirring the soul of the viewer through the richness and warmth of life.

In Ting’s rare work on canvas, “Mia & Alex”, the main subjects of the painting are the female figures on the left and right side of the scene. The overall painting is rich in details which give a sense of completion to the work, while the generous use of colors is lively but not messy. Through these features, one can sense the care and attention which the artist had placed in his creations. The blonde figure in the painting is the artist’s daughter, Mia, while the blue-haired woman is Alex, a friend of the artist. Ting’s works are never restricted by a particular form or style, instead, the focus of his creativity is on the depiction of his ideal beauty, and this painting is no exception. The artist used Mia and Alex as his models, depicting dark-haired Mia with golden hair and light-haired Alex with dark blue hair, once again emphasizing the artist’s creative mode of expressing the symbolism and not the reality. Thus, the blonde figure gazes coyly at the viewer with her green eyes, full of playful flirtatiousness while the blue-haired figure gazes at the distance, lost in thought, giving her an air of mysterious elegance. Both women are charming and lovely, but each in her own distinctive way. Their flowing tresses are decorated with colorful flowers and lush leaves, while on the table before them, there is a feast of wine in glasses and ripe juicy fruits which complement the youthful vitality of the woman. Fresh green leaves spread out without restraint from between the two figures, gently veiling the vivacious red, peach, orange, and blue blooms, projecting an eye-catching vitality and liveliness.

Using an almost flat painting-like technique, Ting produced strikingly pure layers of color, while the brushstrokes themselves depict a cheerful rhythmicity. The layout of the scene lacks depth but instead expresses an abundance of layers portrayed by rich and radiant hues which are almost spilling over outside of the frame. The undefinable time setting adds a dream-like atmosphere to the overall scene.

Different life experiences and characteristics give each individual his or her unique path in life.

Walasse Ting was drawn by beauty his entire life, he embraced the wonders of life as well as his own passions, and he used paint and brushstrokes to sing his passion for life. In the work “Mia & Alex”, the viewer catches a glimpse of Ting’s straightforward earnestness and his ode of admiration to life. His paintings depict a self-created world, uncaring of the faults of reality or the miseries of the sublime, instead the works are enchantingly fascinating, full of sincerity and uninhibited delight.

324 Yun GEE

朱沅芷

(Chinese-American, 1906 - 1963)

古堡

Old Castle

油彩 畫布 55 x 46 cm 簽名右下：Yun Gee

Oil on canvas 55 x 46 cm Signed lower right Yun Gee in English

附八大畫廊開立之原作保證書

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

by Pata Gallery, Taipei.

NT$ 12,000,000-20,000,000 HK$ 2,963,000-4,938,000 US$ 381,900-636,500

十五歲那年，朱沅芷從故鄉廣東來到美國西岸舊金山與父親一起生活，嚮往成為一位藝術家的他，之後進入加州美術學校，（現為舊金山藝術 學院）接受學院的美術訓練，對藝術的執著、熱情與聰穎才華，讓他在異鄉的畫壇綻放光采。與他同一時代，負笈海外的的華人藝術家多在學 成之後選擇回到家鄉，朱沅芷是少數留在異鄉闖蕩藝術家之一，先是在舊金山發展，1927年受邀前往巴黎旅居五年，其間展覽不斷，大放異 彩，之後因為經濟大蕭條反回美國，而這次，他選擇落腳當時已然是全球藝術中心的紐約，在此繼續其藝術旅程。1936年朱沅芷再次來到巴 黎，卻在三年後歐戰爆發之時再次回到紐約，並終老於此。 朱沅芷於1920年代特別受到現代主義的影響，著迷於色彩與立體主義的結構，遂發展出「鑽石主義」之繪畫理念，同時，他也不忘中國的豐厚 文化，深研經典，融入個人的藝術創作之中，並以此在舊金山及巴黎獲得諸多肯定。他的晚期作品裡，立體主義式的結構分割逐漸少見，但藝 術家對於造形結構以及色彩的掌握能力已然轉化為更具有表現性的風格，一如《古堡》一作所展現的，整幅畫作展現收放自如的筆觸揮灑，細 膩而成熟，樹幹則以勁力十足的線條勾勒，在在顯示朱沅芷在掌握油彩的功力。 此作描繪陰暗天色中山頂上的古堡景色，偏暗的色調中依然有著豐富多層次的色彩，整個景色壟罩在一股詭譎而充滿動能的氛圍。藝術家在此 採取類似中國長軸山水裡常見的近景、中景、遠景構圖，立於前景的樹木形態各異，它們都有著挺拔的火紅色枝幹，在黑暗中隱隱發出暗光， 中央小樹的淡黃色葉子，以亂中有序的筆法繪就，透明的油彩如火焰般於風中閃爍不定，在整幅色調偏暗的畫作中特別醒目，透露一股奇異 而熾烈的氛圍。一旁等高的另一顆樹，葉子是近乎黑色的神秘深藍，散發如天鵝絨般的光澤；另一側幾乎與整個畫幅等高的樹則有著瘦高的枝 幹，一叢叢層疊往上的黃綠樹葉掩映於黑夜的風中。三株姿態各異的樹木像是有著各自的故事與性格，在這月黑風高的夜晚互相為伴，靜觀世 事。中景的巨大山石陡峭高聳，使得前往古堡的道路崎嶇難行，而佔據山頭的古堡隱沒在黑暗之中，透出點點燈火，騷動的天空裡，空氣與火 光流動旋轉，令人想起梵谷畫裡面那些如火焰燃燒般的天空。 朱沅芷開創性的藝術見解與繪畫風格，既獨特且充滿熱情，他的作品典藏於美國的許多藝術機構，例如位於華盛頓的赫胥宏美術館暨雕塑公 園、紐約的惠特尼美術館、舊金山的奧克美術館、以及北卡羅萊那大學的衛德史本美術館，足見其重要性。二十世紀早期，身為一位生活在西 方世界的亞洲人，所必須面對的種族壓力既巨大且難解，朱沅芷不畏諸多困難，以豐沛的創造力鑽研繪畫理論，提出亮眼的創作成果，從舊金 山，到巴黎，及至紐約皆得到肯定與讚賞，雖然迫於現實環境，晚年的朱沅芷相對消沉不得志，卻不減其藝術造詣與開創性的貢獻，而他留下 的瑰寶，值得世人靜心領略，重新認識那些蘊藏於其中的動人光芒。

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Old Castle

At the age of 15, Yun Gee left his hometown in Guangdong, China for the U.S., yearning to become an artist. In the west coast city of San Francisco, he soon enrolled in the California School of Fine Arts (now the San Francisco Art Institute). It was his dedication, passion and intelligence that allowed him to flourish in the art world on those foreign shores.

During that time most Chinese who studied abroad chose to return home after graduation. Yun Gee, however, was in the minority who decided to stay in a foreign land, making his own way as an artist. At first Yun Gee developed in San Francisco, but in 1927 he accepted a five year residency in Paris. He continued to do shows that displayed his singular skill, but when the Great Depression hit, he returned to the United States. This time, however, he would not return to San Francisco, but chose instead to live in the art capital of the world, New York City. It was here that he continued his journey in art. In 1936 Yun Gee returned to Paris, but three years later World War II broke out, forcing his return to New York, where he lived out the remainder of his life.

In 1920 Yun Gee was heavily influenced by modernism, taken in by its colors and by the structure of cubism. Soon he developed the artistic concept of “diamondism”, yet at the same time not forgetting China’s rich cultural heritage. He immersed himself in the classics, infusing them within his personal creations. It was this unique combination that earned him accolades in both Paris and San Francisco. In his later works, the influence of cubism waned; the artist, with a firmer grasp of form and structure, shifted to a more expressive style. This is displayed in “Old Castle”. The entire painting springs forth from carefree brush strokes, both meticulous and mature, sketched out from tree trunk lines, showcasing Yun Gee’s mastery of oil painting.

The depiction of a darkened sky, cast over a mountain-top castle, layered with dark colors, adds rich depth to a treacherous yet kinetic landscape.

The artist has chosen a landscape structure, similar to that seen in traditional Chinese scroll paintings, with fore-, middle- and background.

Each tree in the foreground has its unique shape, with straight, fire-red

branches that give off a dull light in the darkness. The pale yellow leaves of the middle tree are realized through brush strokes that are ordered in their chaos. The transparent oils, like flames flickering in the wind, bring focus amidst a dark palette, and add an eerie blaze to the atmosphere of the whole. Along one side of this composition is a tree with mysteriously dark blue, almost black, leaves, which exude a velvet-like luster. On the other side of the painting is another tree, nearly as tall as the whole painting, its thin branches piled on top of each other as yellow-green leaves play off each other in the night wind. Three distinct trees, with different postures and personalities, seem to each tell their own story. They sit together, on this dark night, silently waiting and watching the affairs of the world.

In the middle-ground, the large mountainous stone towers precipitously above, making for a treacherous path to the castle; the castle sits atop the mountain, shrouded in darkness. The interplay of the air and sparks, swirling together, reminds one of the works of Vincent van Gogh (18531890), with their skies ablaze.

Yun Gee’s innovative vision and painting style is hallmarked by his unique passion. His works are collected in many American art institutions, such as the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; the Whitney Museum of Modern Art in New York; the Oakland Gallery in San Francisco; and at the Weatherspoon Art Gallery of the University of North Carolina. This is a testament to the importance of his work.

As an Asian living in the West, during the early part of the 20th century, facing racial tensions and incredible difficulties, Yun Gee was not held back. Instead, he studied art theory deeply and with overflowing creativity, and put forth amazing artistic achievements. From San Francisco, to Paris, to New York, he won accolades and praise. Although the realities of his environment in his later years lead to depression, this never diminished Yun Gee’s artistic accomplishments and groundbreaking contributions. He left treasures to the world, worthy of quiet contemplation, that ask us to rediscover the moving light contained within them.

325 ZAO Wou-ki

(Chinese-French, 1921 - 2013)

19.9.85 1985 Oil on canvas 95 x 105 cm Signed lower right: Wou Ki in Chinese and Zao in English Signed on the reverse Zao Wou Ki in French and titled 19.9.85, size 95 x 105 cm

趙無極 19.9.85

1985 油彩 畫布 95 x 105 cm 簽名右下：無極 Zao 簽名畫背：Zao Wou-Ki 95 x 105 cm 19.9.85 附趙無極工作室開立之原作保證書

This painting is to be sold with a certificate of authenticity issued by Atelier Zao Wou-ki.

NT$ 60,000,000-80,000,000 HK$ 14,815,000-19,753,000 US$ 1,909,600-2,546,100

在黑與白構築而出的基礎之上，變化多端的富麗色彩鋪展開來，厚實而深邃，《19.09.85》以磅礡之勢展現天地之間那寬宏、多變、有著無盡可 能的生命奧義，屬於趙無極邁入耳順之年的成熟圓融之作。經歷了兩段刻骨銘心最終卻以分離收場的婚姻，藝術家在52歲結識了第三任妻子弗 朗索瓦．馬爾凱，並於4年後的1977年結為聯理。在抽象繪畫上已卓然有成的藝術家更在1970年代重拾水墨之後，為其油畫創作融入更為豐富的 水墨表現元素，拓展了更為廣闊的意境。約莫自1980年起，藝術家在國際間的聲望更上層樓，除了已經在巴黎的大皇宮國家美術館與國立現代 美術館等法國最重要的藝術單位展出而奠定其作為重要法國藝術家的地位，趙無極幾年之內來到台灣、中國、日本、香港和新加坡等地展出， 顯著地提升他在亞洲地區的聲譽。 相較於早前將力量集中於畫面中心的構圖，展現強烈的企圖心或激昂豐沛的情感，進入1980年代，趙無極作畫傾向全面性的鋪陳，讓畫面的力 量，自四面八方包覆而來，如同《19.09.85》所展現的，寬廣而強大。這件作品綺麗的色彩與高雅的雪白墨黑散發出一股氣宇軒昂的氣質，藝術 家藉由明暗的變化與豐富的肌理，細膩鋪陳出青綠、金黃、到葡萄紫之間的轉折，富麗、神秘而魔幻，如雲似氣的形體難以掌握，卻有著金石 般厚重的量體。或許，那竟如構成宇宙的原始物質，具有高度質量，難以穿透，卻又尚未凝固定形，它們旋轉、碰撞、凝聚，冥冥之中，星體 將由此誕生，生命將隨之繁衍。藝術家巧心地讓畫面下方轉為輕盈，如雪地、如墨跡、如虛空中的煙雲，整幅畫作虛與實之間的平衡，不正呼 應了老莊哲學的精義？而藝術家將重重顏料刷染、層疊，藉由飽滿的色彩與豐富的明暗層次，營造出有如潑墨的效果--這不僅僅是單純地挪用 創作手法，必須對油彩特質有極高超的掌握並對水墨精神有深刻體悟，才足以融合兩者，並以既新穎又宛若天成的面貌呈現，在在展現藝術家 卓越的造詣，盡顯內心的悠然自適。 趙無極的繪畫中總有一股詩的質地，即使是最激越的情感表現、抑或是最磅礡大器的壯志抒發，出塵的詩意從不曾從他的作品裡消失，因而他 的藝術在呼應人生起伏與天地之氣、喚起人們內心最深處情感共鳴的同時，依舊維持超然的優雅姿態，並開啟想像的途徑，將刻骨銘心的情感 以及深刻宏大的哲思昇華至更高的層次，在人們心中留下無窮的餘韻與迴響。這詩的質地不僅僅來自於他成長背景的中國文學素養以及東方文 化對於人類悠遊於天地之間的嚮往，更隨著藝術家學識修養的累積而不斷精進，他27歲來到法國巴黎之後，很快地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．米修的相知相惜，成就了一段長達數十年，藝術家與詩人之間的真摯友誼。正是在藝術家本身對於詩性的 領悟與追求，使得他的畫作如此獨特迷人，《19.09.85》以華麗的青綠、金黃與葡萄紫，映襯清雅如雪的白與靈動如煙的黑，譜就一首壯麗和諧 的詩歌，看似虛無飄渺、難以捉摸，卻又大器莊重，為心靈帶來豐美的富足，這一切，正符合了身兼詩人與歷史學者的伊夫．博納富瓦曾經描 述的，趙無極「成功地在探索『無』的經驗深處，重新提出了『存在』的問題。」（原發表於1997年11月至1998年2月巴黎Galerie Thessa Herold 「Zao Wou-Ki」展）

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Imperceptibly but inexorably, stars have born, and lives multiplied.

Grounded on the foundation constructed by black and white, rich and abundant colors expand in all directions, which is simply profound and solid. “19.09.85” exhibits the vast and changing meanings of life with remarkable magnificence, a mature piece by Zao created in his sixties.

Experiencing two profound and heartfelt marriages that had ended up in separation, the artist met his third wife, Françoise Marquet, at the age of 52. They were married in 1977 four years later. Highly accomplished in abstract painting, Zao regained his interest in Chinese ink painting in the 1970s. He blended the elements of ink and wash into his oils, which deepened his profound artistic conception. Somewhere since the 1980s, the artist became more internationally renowned after exhibitions held at Grand Palais, Musee Nationale d’Art Moderne and other important galleries in France. He was recognized as an important French artist at that time. Zao also flew to Taiwan, China, Japan, Hong Kong and Singapore for exhibitions, which greatly enhanced his reputation in Asia.

In comparison with the composition in his early years, which the artist had tended to focus on the center to demonstrate strong ambitions and powerful feelings, paintings in the 1980s were given a more comprehensive arrangement. Zao allows the forces to engulf the canvas from all directions, as extensive and intense as the scene exhibited in “19.09.85.”A sort of magnificent ambiance has emerged from the glaring colors as well as the elegant snow white and ink black. The artist delicately arranges the twists from blue-green and gold to grape purple with the changes of light and rich texture of color, which appears grand, mysterious and magical. It seems difficult to grasp such cloudy and airy forms, but in fact, they are bodies as solid as golden stones. Perhaps, they are as the original matters that construct the universe, which are extremely thick and impenetrable, but at the same time, unsolidified. They swirl, collide and amalgamate.

Imperceptibly but inexorably, stars have born, and lives multiplied. The artist ingeniously turns the lower part of the canvas into the light smoke that appears on the snow ground, between ink brushes and in the void.

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Isn’t such balance between the void and the solid a reflection of the essence of Daoism? The artist brushes, dyes and accumulates the pigments, creating the effect of splash ink through rich colors and gradational tones.

This is not simple appropriation of a particular artistic skill but perfect combination of oil paint and ink wash, which requires masterly skills of the two art forms. The innovative and natural presentation of oil and ink demonstrates the artist’s remarkable artistic attainment in a state of contented and peaceful happiness.

There is always a sort of poetic quality exuding from the paintings by Zao Wou-ki. Ethereal poetical implication never dies out from his paintings even if they carry the most impassioned messages or convey the deepest and profoundest feelings. It is because his art echoes with the air that goes through the ups and downs of life, which travels between heaven and earth.

Arousing people’s deepest emotional resonance, his art still maintains such transcendent elegance that ascends the most heartfelt feelings and grand philosophy to a higher level, leaving an endless ripple of charm in people’s heart. Such poetical quality originated not just from his Chinese literary background and the yearning for spiritual freedom in Eastern culture but also from his accumulated knowledge and enhancement in art.

Since arriving in Paris at age 27, Zao soon established profound friendship with several poets. One of the most celebrated relationships was his lasting friendship with Henri Michaux for decades. It is the artist’s realization and pursuit of poetic that makes his paintings so unique and appealing. In “19.09.85,” gorgeous blue-green, gold and grape purple set off graceful snow white and spirited smoky black. Together they form a magnificent and harmonious poem, which appear airy and elusive but also solemn and grandeur, bringing us abundant spiritual wealth. As poet and historian Yves Bonnefoy described, Zao “Successfully explored the depth of “void” and brought up a new question about “existence”(originally published at Galerie Thessa Herold “Zao Wou-Ki” from November 1997 to February 1998).

326 ZAO Wou-ki

(Chinese-French, 1921 - 2013)

26.01.60 1960 Oil on canvas 97 x 130 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-Ki in French, inscribed and dated 26.1.60 PROVENANCE : Galerie de France, Paris Private collection, Europe EXHIBITED : “Zao Wou-ki - Oeuvres Récentes”, Galerie de France, Paris, France, 1960 ILLUSTRATED : Zao Wou-ki - Oeuvres Récentes”, Paris, France 1960, black and white illustrated, p. 38 Zao Wou-ki, J. Leymarie, Editions Hier et Demain, Paris, France, 1978, black and white illustrated, no. 289, p. 283 Zao Wou-ki, J. Leymarie, Editions Cercle d’Art, Paris, France, 1986, black and white illustrated, no.321, p. 323 This painting will be listed in the Catalogue Raisonné compiled by Madame Françoise Marquet and Monsieur Yann Hendgen This painting is to be sold with a certificate of authenticity issued by Atelier Zao Wou-ki.

Estimate on request 估價待詢

趙無極 26.01.60

1960 油彩 畫布 97 x 130 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-Ki 26.1.60 來源： 法蘭西畫廊，巴黎 私人收藏，歐洲 展覽： 「趙無極近作展」，法蘭西畫廊，巴黎，法國，1960 圖錄： 《趙無極近作展》，法蘭西畫廊出版，巴黎，法國，1960， 黑白圖版，頁38 《趙無極》，雷馬利撰，昨日今日出版社，巴黎，法國，1978， 黑白圖版，編號289，頁283 《趙無極》，雷馬利撰，藝術圈出版社，巴黎，法國，1986， 黑白版圖，編號321，頁323 此作品將被收錄在弗朗索瓦．馬凱女士與揚．亨德根所編著之 趙無極作品全集 附趙無極工作室開立之原作保證書

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天啟之光 振盪至永恆 剛毅、深沉而琤琮有聲，穿破黑暗而來的光芒帶來嶄新的視 界，於混沌無形之中，釋放出一股貫穿千里的振盪。這是趙無 極1960年精采之作《26.01.60》，而這一年，藝術家攀越了個 人藝術生涯前所未有的高峰，亦將藝術的進程，在東西方文化 的融匯之下，推至了新的境界。

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蓄積不懈 乃成大器 趙無極自1948年偕同新婚妻子謝景蘭來到巴黎，在這世界的藝術之都實踐他對藝術的凌雲壯志，一年後即舉行了他在巴黎的第一次個展。 1951年，一次前往瑞士展出的停留期間，趙無極從保羅．克利的畫作中受到極大的啟發，從而脫離了具象寫實的限制，將符號象徵與想像形 式引入繪畫，在非具象的形式與輕靈的線條之間找到內蘊更為深遠、更切合他個人需求的視覺語彙，並由此觸動對於中國文化的探尋，開啟 了突破性的甲骨文時期。之後，趙無極持續旅行各地汲取養份，逐漸確立純粹抽象的發展方向。而就在同一段時間，趙無極也經歷了個人生 活的重大轉折，曾與他比翼雙飛的髮妻謝景蘭在1957年選擇了與他離異，為藝術家帶來了無比沉重的打擊，直至隔年趙無極在香港遇見了陳 美琴，墜入愛河的兩人旋及返回巴黎結婚，趙無極才脫離了傷痛，再次擁抱幸福。隨著創作方向愈見明晰，而澎派的情感重獲歸屬，趙無極 的創作能量不斷積蓄，及至1960年，符號轉化成色彩、線條與筆觸，可辨視的具象形體退位，無形之中，反而蘊藏了千變萬化之意涵，衍生 出無限廣闊的想像，融貫東方與西方文化精神的趙氏抒情抽象，於焉生成。 相對於此前徐徐作畫、細細琢磨的創作節奏，1960年趙無極創作能量甚豐，藝術風格的成熟與內心的篤定，使他思如泉湧，開拓嶄新的藝術 疆域。相較於1960年代中期才開始出現的大尺幅畫作，此時藝術家以中等尺幅為主，《26.01.60》亦不例外，然而，在透過成熟的結構佈局、 潛伏的張力以及疾速的筆勢，凝聚於《26.01.60》畫面中的力量，躍然浮於畫布之上，氣宇非凡之勢確立了該件作品為趙氏在60年代的代表。 趙無極藝術之路上的成就，亦體現在外界的肯定，這一年他在藝壇的聲望也來到新的高點，6至 7月二度在法蘭西畫廊舉辦個展，當時法蘭西 畫廊代理法國戰後重要的抽象藝術家如哈同、蘇拉吉、馬內榭， 有著舉足輕重的地位。1960年秋天，藝術家首次代表法國參加威尼斯雙年 展，再度以其成熟的抒情抽象，吸引世人的目光。

洪荒之中裂變的曙光 趙無極1960年高峰時期的磅礡之作《26.01.60》映照了此時藝術家內在的哲思。他以鐵 灰、深藍與深褐色構成了深邃、騷動的神秘空間，有如太初之始，宇宙洪荒的一片混 沌。就在這一片未明之間，細膩、敏銳、躍動不已的筆觸自畫幅中央水平開展，纖細卻 堅韌的筆觸密集地交錯，如併發的氣旋，亦如舞動的羽翼，譜出充滿張力且質地豐富的 生命律動，銀白光芒從中穿透而出，彷彿自遙遠的宇宙彼端奔馳了幾萬光年而來。藝術 史學者蕭瓊瑞在《中國巨匠美術週刊 – 趙無極》一書中曾如此描述趙無極1960年代的作 品：「…… 在畫面上自由的揮灑、組合，擺脫題材、法則的限制，一切遵從內在的需 求。趙無極呈顯一個深邃、富有動力、荒原中透露著華麗的世界。」而這個世界映照出 一種潛藏於內心的爆發力，展現了藝術家心中積極投身探索未知，堅定而無畏的決心。 趙無極在此採用純粹低限的色彩，恰如天地亘古之始，原始卻涵納無限的變幻，他使用 冷洌的色調，卻營造出如烈火般奔騰的情緒，在有限的畫幅之內揮灑出無垠的廣闊意 象，猶如一個巨大的宇宙，無形的力量互相追逐、激盪與生成，廣納天地之間的氣象萬 千，正如曾任法國總理的詩人暨藝評家多米尼克．德．維爾潘 所說的：「他的繪畫面向 生活，而生活也面向繪畫。他把自己投入未來，追求進步和未知的結局，從這個意義上 說，他的畫是一種智慧。」「（摘錄自多米尼克．德．維爾潘 撰《在光線的迷宮中》，《趙無極》，香港 季豐美術出版社出版，2010，20頁）」。而氣勢壯闊之餘，趙無極的作品總縈繞著一股詩的質地， 以及音樂性的流動韻律，《26.01.60》亦然，這與藝術家血液裡的東方素養有著深刻的關 聯。趙無極曾在一次訪談中提到：「人們都服從於一種傳統，我卻服從於兩種傳統。」 說明中國與法國雙重文化傳統對他的影響。他自幼受到江南山水的薰陶，卻在安身於巴 黎之後，重新領悟了中國哲思的精神內涵，而或許正如同老莊思想所強調的心領神會之 無形價值，隱隱之間促使他走向抽象繪畫。1960年代藝術家尚未投注大量心力於水墨技 法的研究，他的繪畫語彙仍是非常西方的，然而我們卻不難在《26.01.60》的起伏跌宕 之中，領略到中國山水幻化於無形的內在精神，與東方天地哲思的無限意境，如此地浩 瀚、悠遠，直至永恆。

郭熙《早春圖》1072 台北國立故宮博物院收藏 KUO Hsi, Early Spring, 1072, 158.3 x 108.1 cm Collection of National Palace Museum, Taipei

The Light of Revelation to Eternity and Beyond.

Resolute, reserved, and resounding, the light that breaks through darkness brings a new world, exuding a powerful force in the shapeless chaos, and emitting a tremor that travels a thousand miles. This is Zao Wou-ki’s brilliant 1960 piece “26.01.60”. In that year, the artist reached an unprecedented peak in his artistic career, merging eastern and western cultures, and pushing art into a new realm.

ACCUMULATING ENERGY ON THE WAY TO SUCCESS Zao Wou-ki went to Paris with his newly wedded wife Xie Jinglan in 1948. That world capital of art appealed to his ambitions in art, and he held his first solo exhibition in Paris a year later. While staying in Switzerland for an art exhibition in 1951, Zao Wou-ki was deeply inspired by Paul Klee’s (1879-1940) paintings. With this inspiration, Zao broke away from the restraints of realism, incorporating symbols and imagination into his paintings.

He found deeper meaning in abstract forms and agile lines that met his personal need for a visual vocabulary, which prompted him to explore Chinese culture and led to his breakthrough oracle bone script era. After that, Zao Wou-ki continued to travel the world, accumulating creative energy, and steadily solidifying the development of his purely abstract style. But during this period, Zao Wou-ki also faced a major turning point in his personal life. His wife Xie Jinglan, with whom he had been so close, left him in 1957, and this was a huge blow to the artist. He met Chan May-Kan in Hong Kong the following year. The two fell in love and returned to Paris to wed. Only then was he able to overcome his grief and embrace happiness once more. With a clear direction of creative style and newly-found love, Zao Wou-ki continued to accumulate creative energy. By 1960, the symbols had turned into colors, lines, and brush strokes.

The recognizable concrete forms had fallen away.

In formlessness, there lay the implicit promise of infinity of transformation, unleashing a vast imagination. Here, melding the spirit of Eastern and Western cultures, Zao’s lyrical abstraction was born.

In contrast with the slow, meticulous rhythm with which he had previously worked, Zao Wouki had a creative burst in 1960. His mature artistic style and inner calm gave him an endless font of inspiration to draw on and boundless new artistic fields to explore. Unlike the large paintings 趙無極《12.04.60》1960 油彩 畫布 80 x 100 cm that started appearing in the mid-1960s, the artist mostly painted on medium-sized canvas in 佳士得香港2015秋季拍賣會，編號29，3,596萬港幣成交 1960. “26.01.60” is one of those paintings. But with mature structures, hidden tensions, and swift Zao Wou-ki, 12.04.60, 1960, oil on canvas, 80 x 100 cm Christie’s Auction 2015 Hong Kong, lot 29, US$4,638,840 brush strokes, the energy within “26.01.60” is every bit as strong as the larger pieces he would later paint. Zao Wou-ki’s achievement in the art world was also praised by the world, and in this year his reputation reached a new peak. From June to July he had his second solo exhibition at the Galerie de France. At the time, the Gallerie de France played an important role in representing important post-war abstract artists such as Hans Hartung (1904-1989), Pierre Soulages (1919), and Alfred Manessier (1911-1993).In the fall of 1960, he represented France at the Venice Biennale for the first time, once again captivating the eyes of the world with his mature lyrical abstract style.

BURSTING FORTH LIKE THE PRIMORDIAL DAWN Zao Wou-ki’s majestic work from his peak in 1960, “26.01.60”, reflects the artist’s inner philosophy at the time. He used iron gray and dark brown to create a deep, turbulent mystic space. Like the beginning of time, a primordial chaos from the dawn of the universe. Amidst this chaotic unknown, delicate, sharp, and lively brush strokes unfold horizontally from the center of the canvas. Thin but strong brush strokes tightly interlace. Like a sudden cyclone, or fluttering wings, they display the intense and vibrant rhythms of life. The silvery white light shines through from the center, as if galloping from myriad light years away, or from the other side of the universe. Art historian Hsiao Chong-ray has described Zao Wou-ki’s 1960s work in the book Masters of Chinese Painting: - ZAO Wou kiAnd it is this world that reflects a driving force deep within, displaying the artist’s strong and fearless will to dive into the unknown.

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Here, Zao Wou-ki used simple, limited colors, like the primordial earth, primitive yet full of possibility. He used cool tones, but incites flaming emotions, spreading boundless imagery within the bounded canvas, like a gigantic reach of space. Within it, unseen forces chase one another, surge, and form, encompassing all that exists between earth and sky. As former French prime minister, poet, and art critic Dominiquede Villepin said: “His paintings faced life, and his life faced painting. He threw himself in the future, working towards progress and an unknown ending. Speaking from this insight, his paintings are a kind of wisdom.”(Excerpted from DominiquedeVillepin’s book Dans le labyrinthe des lumières, “Zao Wou-ki”, published by Hong Kong Kwai Fung Art Publisher, 2010,

In all its glorious magnificence, Zao Wou-ki’s work always has a poetic tone, and a musical rhythm. The same applies equally to “26.01.60”. This has deeply-ingrained connections with the Eastern influences in the artist’s blood.Zao Wou-ki once said in an interview: “People all follow one tradition, but I follow two.” This demonstrates how Chinese and French cultures influenced him. He had been steeped in the traditions of the southern Chinese landscapes since his youth, but had an epiphany about the spirit of Chinese philosophy after he moved to Paris. Perhaps it was that tacit understanding emphasized by Laozi and Zhuangzi that quietly propelled him towards abstract art. In the 1960s, the artist had yet to invest time and effort into researching ink wash techniques. His artistic vocabulary here is still very much Western. Yet it is not hard to feel the intangible inner spirit of Chinese landscapes and the boundless imagery of Eastern thought among the undulating lines of “26.01.60” – so vast, so boundless, to eternity.

pg. 20.)

趙無極《15.05.60》1960 油彩 畫布 162 x 200 cm 佳士得香港2012秋季拍賣會，編號7，3,426萬港幣成交 Zao Wou-ki, 15.05.60, 1960, oil on canvas, 162 x 200 cm Christie’s Auction 2012 Hong Kong, lot 7, US$4,419,540

327 CHU Teh-chun

(Chinese-French, 1920 - 2014)

Jeux Immatériels 1993 Oil on canvas 200 x 200 cm Signed lower right CHU TEH-CHUN in Chinese and French, dated 93 Signed on the reverse CHU Teh-chun in Chinese and English, titled “Jeux Immatériels” in French, dated 1993 ILLUSTRATED : Chu Teh-chun, Works by Pierre Cabanne, Cercle d’Art, Paris, 1993, color illustrated, p. 190 Overseas Chinese Fine Arts Series II : Chu Teh-chun , Artist Publishing, Taipei, 1999, color illustrated, p. 253 Impressions Classics IX: Chu Teh-chun, Impressions Art Gallery, Taipei, 2005, color illustrated, no. 37, p. 66 This painting is to be sold with a certificate of authenticity issued by Atelier Chu Teh-chun

NT$ 36,000,000-60,000,000 HK$ 8,889,000-14,815,000 US$ 1,145,800-1,909,600

朱德群 無形的境界 1993 油彩 畫布 200 x 200 cm 簽名右下：朱德群 CHU TEH-CHUN 93 簽名畫背：Jeux Immatériels CHU Teh-chun 朱德群 1993 圖錄： 《朱德群》，皮埃爾．卡巴納撰， 藝術圈出版社，巴黎，1993， 彩色圖版，頁190 《華裔美術選集（II）朱德群》，藝術家出版社，台北，1999， 彩色圖版，頁253 《印象經典IX朱德群》，印象畫廊，台北，2005，彩色圖版， 編號37，頁66 附朱德群工作室開立之原作保證書

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Jeux Immatériels 無形的境界

一九五五年，朱德群從台灣搭上前往法國馬賽的船，再經由陸路來 到了巴黎這座曾經啟發其杭州藝專時期老師們如林風眠、吳大羽與 蔡威廉的藝術之都。就在次年，朱德群觀賞了德．史塔耶爾的回顧 展之後，在他心中蘊釀已經有一些時日，關於抽象繪畫的想法似 乎已經成熟，藝術家從此跳脫了形象的束縛，進入更契合他那渴望 自由心靈的抽象繪畫領域，從而開創其令千萬人陶醉神往的藝術天 地。若說朱德群深深得益於西方藝術追求創新呼應時代的態度以及 色彩表現、光影營造與形式結構的精髓，那麼中國的心靈哲思與書 畫美學，則為他的創作注入了卓而不群，令人心生嚮往的氣韻與格 調。 中國國學的學養以及書法水墨之藝術傳統在朱德群的養成教育裡埋 下深深的根基，即使定居巴黎後，藝術家並沒有放棄持續性的書法 練習，而這使得他在進行油畫創作時，展現出西方藝術家難以企及 的線條掌握功力。自1950年代下半期確立了抽象繪畫的創作方向之 後，朱德群的畫作中常見筆力十足、雄渾壯闊的厚重書法性線條， 散發出恢宏萬鈞的氣勢。往後，書法性線條漸趨柔和而與其它元 素形得更加協調的關係，同時更多著墨於營造光影明暗的戲劇性對 比，而中國山水的構圖與意境，亦顯露於藝術家色彩繽紛、流動著 無形力量的抽象畫作之中。水墨的韻味在藝術家晚年的作品漸趨顯 著，此時他喜以較為稀釋的油彩揮灑於畫布之上，賦予原本厚動凝 滯的油彩流動性，如同水墨渲染的意境，卻也具有異於水墨的視覺 厚度以及豐富的色彩層次，如1993年的畫作《無形的境界》，即彰 顯藝術家內心窮盡天地之道，而盡於無形的超然境界。 朱德群衷愛藍色，他筆下的藍既沉靜又飽含張力，往往能夠深刻地 觸動人們心靈深處，《無形的境界》裡，他以恣意深蘊的大色塊鋪 陳出多層次的藍，時而飛躍輕靈、時而勁道深厚的筆觸，建構出一 方明快、開闊而適於冥思的天地。面對比自己還要高的畫布，藝術 家仍然悠遊自在，他以寬闊的大筆觸於畫面水平中段繪出穩固且具 分量感的結構，其意象有如兩側為崇山峻嶺護持的山谷，瑰麗的色 塊錯落其間，像是凝結了天地精粹的彩石，發出琤琮悠揚的樂音， 跳著輕靈的舞蹈，而充滿速度感的筆觸在藝術家輕盈的揮灑之下， 如精靈一閃而過所留下的蹤跡，暗示著那迅捷的能量運行。畫面下 方筆觸依舊寬大然色彩漸淡，像是消融在雲霧之中，為整件作品帶 來了靈秀之氣。而畫面的上方，藝術家藉由色彩的渲染將空間往前 無限延伸，由遠方穿透而來的天際之光，如絲絨般地雪白，明亮而 不強勢，既迷人且純淨聖潔。 法國藝評家皮埃爾．卡巴納曾如此描述朱德群的成就：「在抽象 以外，賦予世界一個形式，連接有形與無形，並使其成為一個現 實，一個可見的存在。」（大象無形：朱德群展，馨昌股份有限公司出版，頁 66）《無形的境界》在藍色的基調上，綠、橘、黃、赭等色塊互相 輝映，如此通透、繽紛，生氣勃勃又互相搭配地恰到好處，宛如 天成。於是，我們的眼前展現了一個充滿靈氣而出塵的世界，遠觀 使人心神壯闊，細看則令人著迷於那變化萬千、能量充沛的細節與 層次，我們彷彿隨著藝術家建構而出的雄峻道路，探索宇宙奧秘之 境，從而體會大自然運行那生生不息的無形力量。

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“beyond the realms of abstraction, endowing the world with manifestations that connect the form and the formless into a reality, a visible existence”

In 1955, Chu Teh-chun boarded a ship from Taiwan to Marseille. He then traveled by land to Paris, the city of art that once inspired his Hangzhou Arts School teachers like Lin Fengmian, Wu Dayu, and Cai Weilian. In the following year, after Chu Teh-chun viewed Nicolas De Staёl’s (19141955) retrospective exhibition, the thoughts regarding abstract painting that had been brewing in his mind for some time seemed to have already matured, and it was from hence that the artist escaped all restrictions of the figurative. He entered the realm of abstract painting that was so fulfilling to his freedom-desiring soul, thereafter engendering an artistic universe that has since fascinated and intoxicated throes of admiring connoisseurs.

If Western art’s pursuit of innovations that reflect the aura of a magnificent epoch and its search for the essences of color representation, lighting, and formal structure contributed greatly to Chu’s artistic achievement, then Chinese spiritual philosophy and its aesthetics of painting and calligraphy are what instilled an unparalleled sense of style and elegance into his works.

The scholarship of Chinese Classics and the artistic traditions of Chinese ink painting and calligraphy were deeply rooted in the formative education of Chu Teh-chun. Even after he settled in Paris, the artist did not forego the regular practice of calligraphy. This enabled him to demonstrate a mastery of strokes and contours in his oil paintings that is rarely attained

by Western artists. Ever since Chu Teh-chun established his own exclusive creative direction of abstract painting in the latter 1950s, his paintings have often exhibited forceful, sweeping strokes of a calligraphic nature that embody awe and magnificence. Further on in his career, these calligraphic lines gradually softened and became more harmoniously integrated with the other elements of his canvas, just as he began accentuating the dramatic contrast between light and shadow. The composition and mood of Chinese landscapes were increasingly exemplified in the artist’s abstract paintings of vivid colors and invisible dynamic force. The charm of ink gradually became even more identifiable in the artist’s later works. At this time, he grew increasingly fond of diffusing diluted paints on his canvas, thereby endowing the originally thick, unadulterated colors with an inklike liquidity. This approach imbued in his paintings the fluid translucency of Chinese ink wash, yet still retained a level of visual substantiality and rich gradient colors that are unattainable with ink. A perfect example of this lightness and fluidity is Chu’s 1993 artwork titled “Jeux immatériels,” which fully conveys the artist’s intrinsic transcendence after having exhaustively interrogated the meanings of heaven and earth.

Chu Teh-chun loved the color blue. His blues are tranquil yet dynamic, filled with a power that deeply touches the souls of his viewers. In “Jeux immatériels”, he used large, profound, unrestrained blocks of color to attain a multi-layered expanse of blue in his configuration of a world of clarity and openness, well suited to meditative thought. This was achieved with brush strokes that were sometimes light and brisk, at other times deep and powerful. In the face of a canvas taller than himself, the artist remained unperturbed. He employed big, broad brush strokes to build a solid, substantial structure horizontally across the canvas, symbolizing a valley enclosed and guarded on either side by grand, towering peaks.

Patches of brilliant color scattered at random upon the canvas signify the condensation and crystallization of heaven and earth into vibrant rocks that tinkle melodiously and dance with ethereal grace. The brush strokes of speed and momentum executed with the weightlessness of a maestro resemble fleeting fairy footsteps and an almost imperceptible dynamic energy. In the lower half of the canvas, brush strokes remain broad and sweeping, yet the colors gradually begin to fade as if diffusing into cloudy airiness, imbuing the entire work with a sense of graceful spirituality. As for the upper hemisphere of the canvas, the artist employed washes of color that infinitely extended toward the space beyond. The penetration of distant light on the horizon was as snowy as white velvet, bright but not overpowering, enchanting yet celestially pure.

French art critic Pierre Cabanne once described Chu Teh-chun’s accomplishments as “beyond the realms of abstraction, endowing the world with manifestations that connect the form and the formless into a reality, a visible existence” (Da Xiang Wu Xing: Chu Teh-chun Exhibition, Thin Chang Co., Ltd. p. 66). Blocks of green, orange, yellow, and ochre complement one another upon a foundation of gradient blue in “Jeux immatériels,” translucent, vibrant, vivacious, yet perfectly harmonious, just as if they were a part of God’s creation. It was thus that a celestial world of infinite sublimity appears before our eyes. From afar, it broadens the mind; up close, ever-changing, dynamic details and layers are forever enchanting.

It is as if we are traversing upon the mighty, precipitous path hewn by the artist, discovering the profound mysteries of the universe, and witnessing the boundless dynamism of the course of nature.

328 ZAO Wou-ki

(Chinese-French, 1921 - 2013)

23.11.83 1983 Oil on canvas 130 x 97 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on reverse ZAO Wou-Ki in French and titled 23. 11. 83 ILLUSTRATED: Zao Wou-ki, Jean Leymarie, Editions Cercle d’Art, Paris, 1986, black and white illustrated, no. 560, p. 353 This painting is to be sold with a certificate of authenticity issued by Atelier Zao Wou-ki.

趙無極 23.11.83

1983 油彩 畫布 130 x 97 cm 簽名右下：無極 ZAO 畫背簽名：ZAO Wou-Ki 23.11 83 圖錄： 《趙無極》，雷馬利，藝術圈出版社，巴黎 ，1986，黑白圖版， 編號560，頁353 附趙無極工作室開立之原作保證書

NT$ 50,000,000-60,000,000 HK$ 12,346,000-14,815,000 US$ 1,591,300-1,909,600

傑出的藝術不僅反映時代精神，更應真誠傳達創作者的內心世界，經過每位創作者獨特而難以言說的方式，精淬、提煉、轉化為觸動人心的作 品。才華與努力固然是藝術家必備的質素，隨著年紀漸長，人生閱歷是否能夠凝煉為內在的智慧修養，往往是創作能否蛻變提昇的關鍵。享有 高壽且一生創作不綴的趙無極，是位難得不斷突破自我且引起世人讚嘆的偉大藝術家，他的人生際遇起伏跌宕，情感生活高潮迭起，但是對藝 術的追尋專注始終如一。藝術是他一生的企圖所在，亦是低潮時期唯一的救贖，他總能化人生的困境為轉機，在藝術生涯上，開創一座又一座 的高峰。而1980年代初，他的繪畫以綺麗的色彩，愉悅的韻律，展現天地之間明媚的氣勢與美好的華光。 相較於1960年代作品裡經常流露的激越情感以及追求卓越、征服宇宙的企圖心，趙無極在《23.11.83》一作中所展現的儼然是不一樣的開朗心 境。趙無極是位至情至性之人，對藝術如此，對愛情亦然。數十年來在藝術道路上的不懈探究、走訪世界各地，都讓他在繪畫上更加篤定與圓 熟，而在1980年代邁入另一個巔峰。他在 1981 年受邀於巴黎大皇宮舉辦個展，是為首位在此一法國藝術殿堂舉辦個展的華人藝術家，意義非 凡。這數年之間，藝術家以充沛的精力創作出多件精采的巨幅作品，最獨特的是，此時的趙無極已然透過重拾水墨而進一步領略水墨韻味的精 萃，並將此精神與油彩飽和的色彩及豐厚的質地完美地融合，遂而展現一座既壯麗深刻又韻味無窮的世界。1972年，趙無極因第二任妻子陳美 琴的久病離世而陷入極大的傷痛，無法作畫的他最終在筆墨與紙張之間找到抒發心緒的出口，水墨喚起了他幼時熟悉的記憶，亦提供了一種輕 靈創作的可能性與源源不絕的啟發。另一方面，喪妻之後的藝術家遇見了法國姑娘弗朗索瓦．馬爾凱，並在1977結婚，我們不難從他1980年前 後的畫作中感受到洋溢的幸福。1983年，趙無極在台灣的歷史博物館辦個展，並拜訪居住於台北的多年老友張大千，欣賞了這位水墨大師晚期 的潑墨戲彩作品。這一年9月，趙無極在遠赴巴黎數十載之後，首次於故鄉的中國美術館推出展覽，並在母校浙江美術學院（前身為杭州藝專） 講學。而就在同年的11月，藝術家揮就了這件有兼具水墨韻致與油彩光華，充滿穎秀之氣、盡顯大器自若的《23.11.83》。 創作《23.11.83》的此時，趙無極已屆耳順，這時期藝術家喜愛層層疊疊地施染富麗的色彩，營造出豐厚層次，他對於色彩的掌握與鋪陳已臻純 熟高妙之境，畫中盡顯愉悅優雅。《23.11.83》一作裡，趙無極即以清朗飽和的青藍色鋪陳出一方出塵的世界，開展出遼闊無垠的宇宙天際，如 浩瀚無邊的穹蒼、亦如孕育生命萬物的海洋，其間透出或濃或淡的鵝黃層次，以及細致的淡紫粉紅，優雅中透露出一股富麗瀲灩，隱隱閃爍細 緻的彩色光芒。畫面右下方一弧月暈般的鵝黃，顯得清麗脫俗，藝術家的簽名恰到好處地落於其上，宛如天成。畫幅偏上方之處，一道連綿著 似山似石的水平結構，黑、褐、藍、紫、黃彼此交融，細節處變化出萬千風景，時而翻騰、時而流動，深沉的色塊更是畫龍點睛，深具體積量 感，宛若凌空而起的山石，亦如飄緲海面上的島嶼，散發耀眼金光，蘊藏宇宙力量的奧秘。整件作品泛著亮麗的神采，如夢如詩，溫柔地包覆 觀者，引人神遊其間而百探不厭，觸發無限的想像。

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黃公望《富春山居圖》（局部）1350年代 Huang Gongwang, Dwelling in the Fuchun Mountains (detail), c. 1350s

Outstanding art not only reflects the zeitgeist of its time, but must also sincerely convey the inner world of its creator, refining, purifying, and evolving into heartwarming pieces through each creator’s unique and indescribable way. Talent and hard work are essential for artists, but as the artists age, the ability to turn life experiences into pearls of wisdom is often the deciding factor in whether an artist can transform and elevate their work. Blessed with longevity, Zao Wou-ki spent his whole life creating works of art. He was that rare artist who had been continuously making breakthroughs and awes the world. His life was filled with ups and downs, with a climactic romantic life, but his focused pursuit of art was unwavering. Art was the ambition of his life, as well as his only salvation in the dark times. He was always able to turn the difficulties of life into opportunities, reaching new heights again and again in his artistic career.

In the early 1980s, his paintings incorporated beautiful colors and cheerful rhythms, depicting the bright atmosphere and glorious days of all the world.

Compared to the passionate emotion and world-conquering ambition to pursue excellence so frequently evident in his 1960s pieces, Zao Wouki displayed a different, cheerful mindset in “23.11.83”. Zao Wou-ki was a man of pure emotion and passionate nature, both in art and in love.

Decades of exploring art and traveling the world brought assurance and maturity to his painting, helping him reach another milestone in the 1980s.

When he was invited to show his work in a solo exhibition at the Galeries Nationales du Grand Palais in Paris, he became the first ever Chinese artist to have a solo exhibition at this French palace of art, an event of deep significance. In these few years, the artist created many large pieces of art with vigorous energy. At this time, Zao Wou-ki revisited ink wash and went further to understand its essence, perfectly blending the spirit of ink wash with the vivid colors and supple texture of oil paint in his unique style, displaying a world of magnificent depth and endless charm. In 1972, Zao Wou-ki fell into great sorrow after his second wife Chan May-Kan passed away from long-term illness. Unable to paint, he found an emotional

134

outlet in ink and paper. Ink wash evoked his childhood memories, and provided the possibility for agile creations and endless inspiration. On the other hand, after his wife passed away, the artist met the French woman Françoise Marquet. They were married in 1977, and it is not hard to see the abundant happiness in his works around 1980. In 1983, Zao Wou-ki had a solo exhibition at National Museum of History in Taiwan. He also visited his friend of many years Chang Dai-chien, who resided in Taipei, and viewed the ink wash master’s late-period splashed ink pieces. In September of that same year, Zao Wou-ki had an exhibition in his homeland at the National Art Museum of China, decades after he left for Paris, and gave lectures at his alma mater, the Zhejiang Academy of Fine Arts (formerly the Hangzhou College of Art). And in November of that year, he completed the brilliant, composed work that merges the spirit of ink wash with the splendors of oil that is “23.11.83”.

Zao Wou-ki was in his sixties at the time he created “23.11.83”. During this time the artist enjoyed layering vivid colors, creating great depth. He had become masterful in his control of colors, and his paintings showed exuberance and elegance. In “23.11.83”, Zao Wou-ki used clear, saturated blue to lay out a sophisticated world, unfurling a vast, boundless universe, like an unending sky, or the ocean from which all life springs. Peeking though are various shades of pale yellow, and delicate light purple and pink, revealing a hint of glittering amidst the elegance, a subtle flash of colorful light. On the bottom right, like pale moonlight, is an elegant stroke of pale yellow. The artist’s signature lays atop it, as natural as could be.

In the upper part of the painting is an unbroken, mountainous horizontal structure of black, brown, blue, purple and yellow melded together.

Billowing in places, flowing in others, a myriad of scenery can be found in the details. The dark block of color is small but momentous, like a towering mountain in the sky or an island floating on the sea, shimmering and hiding the secrets of the universe. The whole piece exudes a bright energy that is dreamlike and poetic, gently embracing the viewer. It draws one in to explore it time and again, inspiring endless imagination.

329 ZAO Wou-ki

(Chinese-French, 1921 - 2013)

18.02.2002 2002 Oil on canvas 81 x 100 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO Wou-ki dated February 18 2002 in French, and inscribed 81cm x 100cm PROVENANCE: Private Callertion, Asia This painting is to be sold with a certificate of authenticity issued

by Atelier Zao Wou-ki.

NT$ 46,000,000-55,000,000 HK$ 11,358,000-13,580,000 US$ 1,464,000-1,750,500

趙無極 18.02.2002

2002 油彩 畫布 81 x 100 cm 簽名右下：無極 ZAO 簽名畫背：ZAO Wou-ki 18. février 2002 81 cm x 100 cm 來源： 私人收藏，亞洲 附趙無極工作室開立之原作保證書

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lively and full of hope, as bright and inspiring as if it descended right from the heavens. 生氣盎然，蘊含了無窮的希望，燦然如天 啟

跨越一個千禧年，趙無極也迎來人生的第八個十年，而數十載融匯了 東西方美學系統、交織著大時代悲歡離合的藝術之路未曾停歇，藝術 家依舊不斷地突破自我、探尋藝術新境。走過人生的千山萬水與迭宕 激情，年過八十的趙無極已然獲得各方的肯定尊崇，並於2002年成為 法蘭西藝術院院士，也是在同一年，藝術家完成了《18.02.2002》一 作，透過他著名的抒情抽象語彙，傳達藝術家累積數十載藝術之路上 所領悟的，天地之間一份清新的舒朗圓融。 或許是藝術家心中的智慧豁達，二十一世紀，趙無極收斂起過往作 品中矛盾衝撞的激越情感，昇華了曾經的彭湃與掙扎，色彩漸趨亮 麗柔合，他的筆法結構依舊嚴謹大器，卻將浩然天地之間的無形力 量隱藏於寧靜悠然的氣質之下，雖然不在張揚外顯，卻從未消失。 《18.02.2002》採中心式的構圖，凝聚於畫面中央的深色筆觸輕盈薄 透，有著跳躍奔騰的速度感，同時鏗鏘若金石之勢，流露出藝術家自 1950年代甲骨文時期延續而來的線條駕馭能力。整幅畫作以層次豐富 的藍、綠、黃鋪陳而出，明亮的色彩各有表情，同時又互相和協地交 錯聚合，衍生出細膩多變的韻緻，如風般飄渺無形，流動於大氣之 中。相較於趙無極早期的作品，光的比重勝過於影，大器磅礡之中， 有了一種清新、適意的和諧靜謐。於是，在無垠穹蒼裡的某一處，無 形的力量正匯聚變幻，輕柔祥和中蘊藏著無限堅韌的光燦力量。 或者，《18.02.2002》可以是一片遼闊的海洋，翻騰的浪花映照青藍 與碧綠的晶瑩剔透，吟唱出神秘嘹亮的旋律，鵝黃的天際溫暖深邃， 洋溢著和諧自得的寧靜詩意，充滿智者的光芒。又或者，它也可以是 一方山水，雲霧繚繞之間，隱現起伏的山巒重重疊疊至天際，鵝黃穹 蒼下，是道秀麗的山稜線，中央的潑墨斑彩隱隱如險峻奇石，亦如雲 霧中屹立不搖的蒼勁樹梢，挺拔出塵於陡峭山嶺之間，自在瀟灑，悠 然天地之間，充滿中國山水氣韻生動的無限意境，亦令人想起德國浪 漫主義大師卡斯帕·大衛·弗里德里希1808年的畫作《山中曉靄》 (魯多 爾施塔特國家博物館, 圖林，德國)，詩意如夢的浪漫氛圍裡，呈現的是大自 然的崇高之美，映照出藝術家胸中的偉大情操。然而，不同於《山中 曉靄》皆近灰白色階的冷冽氣息，趙無極在《18.02.2002》裡運用了 明亮的翠錄與海藍，使之互相激盪、提點以躍動的深色筆觸，從而併 發出無盡變化，彷彿一曲遼闊悠揚的音律，生氣盎然，蘊含了無窮的 希望，燦然如天啟。

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趙無極從詩意寫景的克利時期、符號多重寓意的甲骨文時期、及至抒 情抽象的數十年之間所經歷的激越、掙扎、熱情與爆發力，晚期作品 顯得舒坦自在，清麗的色彩如水墨般渲染鋪陳開來，筆隨心走，無論 是或疾或徐，皆顯現悠然的自信自在與圓融的智慧。《18.02.2002》 遼闊無邊且空靈純淨，無形力量的激盪既大器又輕盈，如此引人入 勝，卻已不見一絲火氣。藝術家在有形及無形景物之間取得平衡，為 整幅畫作賦予無窮無盡的空間意念，清麗晶亮的色彩流轉於韻律分明 的構圖之間，既飽滿又輕盈，變幻無窮而細膩，遂達至靜謐忘我之超 然境界。 As people celebrated the new millennium, Zao Wou-Ki welcomed the 8th decade of his illustrious life. Following decades of aesthetic convergence between east and west tempered with the joys and sorrows of the majestic era, the artist’s journey continued on as he persisted in making breakthroughs and the search for new artistic territories. After a long, arduous life of magnificent attainments and dynamic emotions, at 80 years of age Zao Wou-Ki had already gained the great respect of all had come to know him. He became a member of the Academie des BeauxArts de’l’Institute de France in 2002, the same year in which he completed “18.02.2002”. Through his iconic style of lyrical abstraction, a refreshingly mellowed harmony between earth and sky was lovingly conveyed, the culmination of revelations accumulated over decades of artistic endeavor.

Perhaps because of the artist’s immanent wisdom and magnanimity, Zou Wou-Ki’s works century exhibit a conscious restraint of contradictory conflicts and intense emotions in the 21st century. The surge of passion and struggle is elevated, and his use of color became brighter and softer.

His brushstrokes remained superbly rigorous, but the strength was hidden beneath a veil of quietness and serenity, unapparent yet enduring.

“18.02.2002” utilizes central composition; the darker colors aggregated in the center are painted with light, slender brushstrokes that produce a dynamic sense of speed and resounding strength and display the artist’s ability to master lines, a legacy of his “oracle bone script era” in the 1950’s.

The painting is layered with multiple shades of blue, green, and yellow.

Each vibrant color is uniquely expressive yet converges harmoniously with the other colors to create a sophisticated and ever-changing charm, as

ethereal as billows of wind flowing through the atmosphere. Compared to Zao Wou-Ki’s earlier works, the increased presence of light over shadow gives the majestic work an ambiance of refreshing harmony. Somewhere within the boundless void, invisible forces are amassing and transforming, revealing the blazing power that lie underneath the peaceful tranquility.

“18.02.2002” may be otherwise interpreted as a vast expanse of ocean, in which galloping waves reflecting the crystalline colors of blue and green intonate a mysterious, resonating melody. Warmth emanates from the pale yellow horizon, exuding a poetic peace and calm, reflecting the flames of the sages. It could also have been a panoramic view of mountain and valley, with towering mountaintops peeking through shrouded mist and diaphanous clouds. Under the pale yellow sky is the elegant outline of a mountain, while the splashes of paint in the center resembles the rugged, rocky landscape, or a sturdy tree towering above the misty horizon as it stands tall and proudly within the mountains, liberated from the constraints of the universe. The painting is imbued with the boundless vivid spirit of Chinese landscapes, yet also reminiscent of German Romantic master Casper David Friedrich’s 1808 “Morning Mist in the Mountains” (Rudolstadt Staatliche Museum, Thüringen, German), where natural beauty and grand sentiments of the artist are displayed within a poetic atmosphere of dreamy romance.

Unlike the pale gray shades of coldness and frigidity in “Morning Mist in the Mountains”, however, Zao Wou-Ki employed bright greens and blues in “18.02.2002”, making the colors surge, and added lively strokes of darkness to create endless variety. It was as if he were composing a melodious tune, lively and full of hope, as bright and inspiring as if it descended right from the heavens.

After decades of fervor, struggles, passion, and force, Zao WouKi ultimately transcended the poetic landscapes of his Klee era, the symbolic and metaphorical oracle bone script era, through to the elevated emotiveness of lyrical abstraction. His later works appear at ease and carefree, with bright colors that dissipate as naturally as flowing layers of ink wash. His brushstroke came from the heart; whether expeditiously or meticulously slow, each brushstroke exuded assurance, serenity and harmonious wisdom. “18.02.2002” is boundless and ethereal; its invisible forces both intensively dynamic and exquisitely light; captivating, but peacefully. The artist had achieved a perfect balance between tangible and intangible sights and objects, thereby imbuing the painting with endless spatial possibilities. As colors of clarity and brilliance flow through the rhythmic composition, vivid and light, ever-changing and sophisticated, it is as if the soul has transcended to a celestial realm.

卡斯帕．大衛·弗里德里希《山中曉靄》1808年 Casper David Friedrich, Morning Mist in the Mountains, 1808

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

Scenery of the West Lake Baoshi Mountain 1928 Oil on canvas 80 x 129.5 cm Signed lower left Chen Cheng-po in Chinese, dated 1982 ILLUSTRATED: Taiwan Fine Arts Series I: Chen Cheng Po, Artist Publishing Co. Ltd., Taipei, 1992, black and white illustrated, p. 211 Journey Throogh Jiangnan–A Pivotal Moment in Chen Cheng Po’s artistic Quest, Taipei Fine Arts Museum., Taipei, 2012, black and white illustrated, p. 36

陳澄波 西湖寶石山保俶塔之風景 1928 油彩 畫布 80 x 129.5 cm 簽名左下：陳澄波1982 圖錄： 《台灣美術全集第1卷：陳澄波》，藝術家出版社，台北， 1992，黑白圖版，頁211 《行過江南–陳澄波藝術探索歷程》，台北市立美術館， 台北，2012，黑白圖版，頁36

NT$ 44,000,000-55,000,000 HK$ 10,864,000-13,580,000 US$ 1,400,400-1,750,500

陳澄波，一個歷史上獨特的身影。身為出生在台灣的第一代華人西畫家，他的才華與獨立思考精神，以融匯中西的美學觀點直探造形本質，畫 風樸實厚重中蘊藏著熱切的活力。他不但在近代藝術史上走出一道獨特的軌跡，與台灣、日本、中國緊緊交纏的生命，亦是二十世紀亞洲歷史 中一則充滿了奮鬥、理想、熱情與美的傳奇。繪於1928年陳澄波首度拜訪西湖之旅的《西湖寶石山保俶塔之風景》，即標示了藝術家生命裡深 具意義的一頁篇章。 出生於1895年二月，陳澄波尚在襁褓中的同年五月，中國即因中日戰爭失利而將台灣割讓予日本，自此台灣進入為期50年的日治時期。成長於 日治時期的台灣，陳澄波深切地體認身到身為殖民政權下的二等公民，需要的不是向命運低頭，而是奮力實踐理想，以實力贏得尊嚴。他自小 懷抱著遠大的藝術夢想，就讀國語學校時即渴望至日本深造，但因顧及家境，1917年畢業之後選擇先擔任教職，7年之後，年近三十歲的陳澄波 終於前往日本，並順利考取東京美術學校繪畫科。與陳澄波同時期在東京深造的林玉山曾在〈與陳澄波先生交遊之回憶〉一文中寫道：「陳先 生白天上美校，晚上又要往本鄉美術研究所繼續研習素描，不論風雨寒暑從無間斷磨練用功。……又每逢星期天或祭日例假，他都不參加不必 要的遊樂，一定帶了畫具跑到效野寫生……」（《雄獅美術》，1979．12，頁20）。強烈的榮譽感與不懈的努力，讓在台灣未有機會習得太多油畫技巧 的陳澄波在東京的短短幾年之內進展快速，加上高度自覺，逐漸發展出個人獨特的風格。來到東京的第三年，也就是1926年，陳澄波即以《嘉 義街外》一作入選當時日本最具權威的「帝國美術展覽會」，是台灣以油畫作品入選該展的第一人，而他自東京美術學校繪畫科畢業之後，繼 續升上該校研究科深造，此間畫藝多受肯定，亦與來自中國的藝術家王濟遠等人結為好友。 1928年，陳澄波前往中國大陸，遊歷杭州西湖與上海，親身體會歷代以來啟發無數文人雅士的江南風景，激發了無比的壯志雄心，創作了多件 畫作，當地畫友特地為他舉辦了「陳澄波西子湖紀念展」，歡迎這位才華洋溢的青年藝術家。《西湖寶石山保俶塔之風景》即是陳澄波完成於 此次旅行的大作之一，藝術家以橫幅的構圖鋪陳出西湖著名的風光，畫中緩緩起伏的寶石山環繞著波光碧綠的湖水，山上有著蔥鬱的樹林、蜿 蜒的山徑與錯落其間有著白牆紅瓦的屋宅，共同譜出一片色彩豐富、和諧愉悅的風光。右側拔地而起的保俶塔，是西湖著名的風景名勝之一， 將我們的目光引領至白雲悠遊其間，明媚清朗的天空。而西湖上，綠色的山景與房屋倒映於波光瀲灩的湖面，蘇堤橫跨於山水之間，簡約大器 的線條與波光粼粼的湖水相映，優雅動人。一艘小船泛舟於湖面上，盡攬青山綠水、湖光山色，令人好生羨慕。 就在畫下此作的隔年，陳澄波自東京美術學校研究科畢業，並應聘到上海新華美術專科學校擔任西畫系主任，與陳抱一、汪亞塵等一同為當時 的莘莘學子帶來藝術的新觀念與激盪。《西湖寶石山保俶塔之風景》在陳澄波的藝術生涯中，既標示了日本深造之成就，亦代表藝術家的愛國 之情，有著極其重要的歷史地位。1947年，陳澄波的生命在時代的動盪之中倉促地劃下休止符，《西湖寶石山保俶塔之風景》一作亦消聲匿 跡，如今，數十年來首度公開現身，實屬珍貴。

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Scenery of the West Lake Baoshi Mountain

Chen Cheng-po has a unique prominence in history. A first generation Western style painter born in Taiwan, his talent and spirit of independent thinking allowed him to integrate Chinese and Western aesthetics and focus on the essence of form. His style is modest yet weighty, bearing passionate energy. He not only walked a unique path in contemporary art history with a life tied closely to Taiwan, Japan, and China; his struggle, ideals, passion, and aesthetics made him a legend in 20th century Asian history. Painted in 1928 on Chen Cheng-po’s first visit to the West Lake, “Scenery of the West Lake: Baoshi Mountain” represents a meaningful chapter in the artist’s life.

after graduating from the Tokyo School of Fine Arts. His art is widely appreciated, and he befriended Chinese artists such as Wang Jiyuan.

In 1928, Chen Cheng-po set foot in mainland China. He visited Hangzhou West Lake and Shanghai, personally experiencing the southern Chinese scenery that has inspired countless poets and artists for generations. The visit inspired great ambitions, and he created many paintings. Local artists he befriended held a “Chen Cheng-po West Lake Memorial Exhibition” for him to welcome this talented young artist. “Scenery of the West Lake: Baoshi Mountain” is one of the grand pieces completed during this journey.

The artist uses horizontal composition to narrate the famous scenery of West Lake. In the painting, Baoshi Mountain rises gently, surrounding jade green waters. On the mountain are lush woods and winding paths, among which houses with white walls and red tiled roofs peek through. The elements work together to create a colorful, harmonious, and lighthearted scene. Towering on the right is Baochu Pagoda, a famous sight near West Lake, leading our gaze to the bright clear sky, where white clouds float leisurely. And on West Lake, the green mountain and houses are reflected in the clear, shimmering surface. The Su Causeway lays between mountain and water; its simple silhouette sets off the clear, shimmering waters, creating an elegant and moving scene. A small boat travels on the surface of the lake, taking in the grand lake scenery with its mountains and waters, to the viewer ’s envy.

Born in February of 1895, Chen Cheng-po was only an infant when China ceded Taiwan to Japan after a loss in the Sino-Japanese War in May of the same year. For the fifty years that followed, Taiwan was under Japanese colonization. Growing up in Taiwan under Japanese settlement, Chen Cheng-po deeply understood that as a second-class citizen under the colonial government, rather than giving in to fate, what he needed to do was to strive to realize his dreams, and earn respect through his abilities. He had had grand dreams of art since he was young, wanting to study in Japan since he attended elementary school. But due to his family’s financial situation, he chose to become a teacher after graduating in 1917. Seven years later, at almost 30 years old, Chen Cheng-po finally left for Japan, and was accepted into the Painting Department of the Tokyo School of Fine Arts. Also studying in Tokyo at the time was Lin Yu-shan, A year after painting this piece, who once wrote in the article 歡迎陳澄波（中）至西湖之紀念照。下方作品左為《西湖泛舟》、 Chen Cheng-po graduated from “Memories of Befriending Mr. 中為《西湖の東浦橋》、右為畫《西湖寶石山保俶塔之風景》。 the Graduate Department of the Chen Cheng-po”, “Mr. Chen Tokyo University of Fine Arts, studies at the art school by day, and was appointed head of the Western Painting Department at Shanghai’s and by night he goes to the Hongo Art Institute to practice his sketches, Xinhua Art College, bringing new artistic concepts and inspiration to studying tirelessly regardless of whether it’s rain or shine. …on Sundays young artists along with fellow artists Chen Baoyi and Wang Yachen. and holidays, he never participates in unnecessary entertainment, always In Chen Cheng-po’s artistic career, “Scenery of the West Lake: Baoshi off painting in the countryside with his painting supplies.” (“Lionart”, 1979.

Mountain” has an important place in history, representing both the artist’s 12, pg. 20) Though Chen Cheng-po didn’t have the chance to learn many accomplishment after studying in Japan, as well as his patriotism. In oil techniques in Taiwan, his strong sense of honor and tireless effort 1947, Chen Cheng-po’s life came to an abrupt end amidst turbulent times. made him improve rapidly in the span of a few short years in Tokyo, and “Scenery of the West Lake: Baoshi Mountain” also once disappeared, yet his self-awareness led to the development of a unique personal style. In now has resurfaced for the first time in decades — a truly precious piece.

1926, his third year in Japan, Chen Cheng-po’s work “Outside Chiayi Street” was selected for the Imperial Art Exhibition, the most prestigious in Japan, making him the first Taiwanese painter to have an oil painting accepted for the exhibition. He continued to study in the graduate program

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331 WU Guanzhong

(Chinese, b. 1919 - 2010)

A Heap of Stones 1982 Ink and color on paper 65.5 x 65.5 cm With two seals of the artist EXHIBITED : In memory of Wu Guanzhong: A Retrospective Exhibition of Wu Guanzhong’s Most Significant Artworks, Poly Art Museum, Aug. 30 - Sep. 6, 2010 ILLUSTRATED : The Artistic Works of Wu Guanzhong, Hebei Fine Arts publishing House, Hebei, 1984, color illustrated, p. 55 Contemporary Masters of Chinese Painting Wu Guanzhong, Shibuyaseibu Dept. store, 1988, color illustrated, p. 33 The Endless Artistic Journey, Plum Blossoms Gallery, 1990, color illustrated, p. 49 In memory of Wu Guanzhong: A Retrospective Exhibition of Wu Guanzhong’s Most Significant Artworks, Poly Art Museum, 2010, color illustrated, pp. 76-77

NT$ 13,000,000-22,000,000 HK$ 3,210,000-5,432,000 US$ 413,700-700,200

吳冠中 塊磊 彩墨 紙本 1982 65.5 x 65.5 cm 鈐印右上：八十年代 鈐印左下：吳冠中印 展覽： 《風箏不斷線：緬懷吳冠中先生景點作品收藏大展—來自全球華人珍藏》， 保利藝術博物館，北京， 展期自2010年8月30日至9月6日 圖錄： 《吳冠中畫集》，河北美術出版社，河北，1984，彩色圖版，頁55 《當代中國畫大師．吳冠中》，日本西武百貨公司，1988，彩色圖版，頁33 《漫長的藝程》，美國萬玉堂，1990，彩色圖版，頁49 《風箏不斷線：緬懷吳冠中先生景點作品收藏大展—來自全球華人珍藏》， 保利藝術博物館， 2010，彩色圖版，頁76-77

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“brush and ink are almost entirely valueless once viewed in isolation from that which they embody.” 脫離了具體畫面的孤立的筆墨，其價值等於零

作為一位以油畫切入藝術創作，並曾經於1940年代遠赴法國巴黎深造 數年的藝術家，吳冠中掌握了純熟的油畫表現技法並且深具現代主義 的美學觀念。然而，他身為中國人的文化底蘊，以及年輕時所受的水 墨教育一直深植於心，深刻影響著他的為人處事乃至於創作走向，特 別是1970年代後期，藝術家逐漸將創作重心轉往紙上水墨，從而開啟 其藝術生涯的又一高峰。吳冠中的水墨，從來就不屬於水墨主流的任 一師承傳統，而是融貫了中西美學系統提練而成，自成一格，既深刻 反應了藝術家所處的時代性，亦注入了一股難以仿效，獨特的純淨優 雅氣質。 《塊磊》是吳冠中1982年的大器雄渾之作，充份代表了藝術家1980年 代的藝術進程。此時期，吳冠中在他的繪畫中帶入潑墨式的寫意創 作，從中國藝術傳統中悟得筆墨的淋漓暢快，呼應了西方戰後的抽象 表現主義風潮，特別是滴流技法的自動性精神，相互爭輝。《塊磊》 一作由數筆厚實的墨跡構成，力道十足的旋轉、揮灑、重疊，構成了 一方靈秀世界中的奇山峻嶺。大塊墨跡的包覆之間，中央彷彿是一個 洞穴，細致的墨跡中透出紅、黃、藍的色澤，多變的筆觸看似隨性， 卻譜就了擲地有聲、生氣盎然的律動，具有穿透性的空間，有著無限 延伸的意境。畫面右下方的彩墨交錯的墨點，頗有亂石崩雲之勢。整 座山嶺處於青天之下，氣勢萬鈞，同時明淨而悠遠。 這幅豪氣干雲之作，展現的是藝術家胸中的山水，畫面中捨棄傳統的 遠近佈局與筆法構圖，厚重的墨跡有如在虛空中旋轉，落筆已接近抽 象的表現，正是吳冠中著名的理念「筆墨等於零」之最佳寫照。吳冠 中在1990年代提出「筆墨等於零」之說，認為：「脫離了具體畫面的 孤立的筆墨，其價值等於零。」這樣的主張在中國藝術界引起了廣泛 的論戰，卻也真誠揭示了這位長久以來融貫中西的藝術家，在藝術道 路上的過人領悟。吳冠中捨棄了傳統中國繪畫的書法用筆，但是繼承 了水墨講求寫意傳神、氣韻內涵的核心價值；他捨棄了西方藝術傳統 裡的立體透視，選擇延續探尋形式之美的追求。水墨之於吳冠中，並 非一個他試圖融入的傳統體系，而是傳達心中藝術理念乃至於生命精 神的媒介，從而開創出屬於這個時代的藝術語境。《塊磊》一作掙脫 了傳統羈絆，其筆墨縱橫，沉醉而激動，在在體現了藝術家運筆的洗 練酣快。

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即便是如此壯闊雄偉的山景，《塊磊》依舊不失超然的詩性，這或許 是貫穿吳冠中一生數十載的繪畫生涯裡，無論是油畫或水墨作品中 皆能保有，最令人著迷的特質，一種深受江南美學滋養，而源源不絕 於其筆尖的明淨氣韻。吳冠中曾說：「黑、白、灰是江南主調，也是 我自己作品銀灰主調的基石，我藝術道路的起步。我一輩子斷斷續續 總在畫江南……」吳冠中三十多歲前往法國深造，1950年回到中國後 即長居北京直至辭世，雖然在北方渡過的時光長達一甲子，江南水鄉 的壯麗山水與人文精神，一直是他重要的創作養份，而他筆下韻味深 長的行雲流水，標示了承繼中國文人底蘊、亦屬於這個時代的筆墨精 神。 As an artist who began his career with oil painting and studied for numerous years in 1940s Paris, Wu Guanzhong had always enjoyed great renowned for his sophisticated oil painting skills and modern aestheticism.

Nevertheless, ever present in his mind were the profound influences of Chinese culture and the knowledge of ink painting he had acquired during his youth. These two elements deeply affected his principles of thought and conduct and even the direction of his artistic creation, especially during the late 1970s when he shifted his focus to ink painting and attained another pinnacle in his illustrious artistic career. His style of painting ink and color on paper cannot be attributed to the teachings of any particular mainstream school. Instead, Wu combined and refined the aesthetic systems of both Chinese and the Western to form a truly unique approach that reflects the world he lived in with a sheer distinctiveness elegance that simply defies imitation.

“A Heap of Stones” is an artwork of grandeur and vigor created by Wu Guanzhong in 1982 and which fully embodies the progression of his artistic career in the 1980s. During this period, Wu began employing the splash-ink freehand style and experiencing the joy and exhilaration of traditional Chinese brushwork. This resonates with the blossoming of postwar Western abstract expressionism, particularly the automatism of the drip technique. Composed of several large and heavy lumps of ink, “A Heap of Stones” encapsulates the majestic peaks of a fantasy realm manifested

through solid swirls, powerful splashes and textured layering. Encircled by large masses of ink, a cavern seems to be formulated in the center from which emits the delicate luster of red, yellow and blue. The varying strokes appear to be free and spontaneous yet culminate in a compelling, vibrant dynamism that seems to penetrate and resonate throughout the vast, boundless space. The cluster of ink and color dots on the lower right of the painting bears high resemblance to jagged rocks piercing through swashing clouds. Underneath the clear blue sky, the entire mountain, unblemished and aloof, stands erectly in majestic exaltation.

This marvelous piece manifests the landscape within the artist’s mind.

Instead of using traditional layouts that create depth through backdrop and foreground or brushwork composition, the artist employed heavy ink by swirling it through the space of void and landing it upon the paper in effortless abstraction, epitomizing Wu’s notable conviction that “brush and ink are valueless.” Wu proposed the concept in the 1990s under the belief that, “brush and ink are almost entirely valueless once viewed in isolation from that which they embody.” His viewpoint may have sparked wide discussions in the Chinese art scene, but is moreover an indication of the remarkable level of transcendence that this accomplished artist, who had striven to incorporate both Western and Chinese cultures, had achieved within the realm of artistic creation. Wu may have abandoned the techniques of traditional brushwork from Chinese calligraphy, yet he inherited the freehand style that emphasizes the spirituality and intrinsic beauty of ink wash. He may have broken away from the principle of perspective in traditional Western art, yet he continued to explore and pursue the beauty of form. Ink wash, for Wu, was not a system of tradition he tried to become incorporated into but a medium he wielded to convey his artistic ideals and even the spirit of life and the vocabulary with which he forged the artistic context of his contemporary epoch.

Liberated from the shackles of tradition, “A Heap of Stones” is represented through galloping, unrestrained brush strokes, by turns serene or frenetic, which exemplify the artist’s brushwork technique of spontaneity and sophistication.

As awe-inspiring and majestic as the mountain scene appears, “A Heap of Stones” still embodies a poetic transcendence that is perhaps the most alluring quality of all artworks, no matter oil or ink, Wu had created over the course of his long, remarkable career. Born and bred with a graceful Jiangnan aesthetic, the artist’s aura of brilliance and clarity is the defining feature of his creations. Wu once said, “Black, white and gray are the colors of Jiangnan, the inspiration for my silvery gray palette, the point of departure of my artistic career. All my life, Jiangnan has been ever present throughout all of my paintings…” Wu studied in France in his thirties, returned to China in 1950 and resided in Beijing until the day of his passing. Although sixty years of his life were spent in the North, the majestic landscape and humanistic spirit of Jiangnan continued to nourish his artistic soul while his graceful and flowing brushstrokes not only mark his inheritance of Chinese literati culture but exemplify the spirit of contemporary ink painting, of which he is both a shaping force and an enduring influence.

332 WU Guanzhong

吳冠中

(Chinese, 1919 - 2010)

黃山寫生

Landscape of Mount Huang

彩墨 紙本 53 x 35.5 cm 鈐印右上：冠中寫生

Ink and color on paper 53 x 35.5 cm With one seals of the artist EXHIBITED : An Unbroken Line: In Commemoration of Wu Guanzhong, Poly Art Museum, Beijing, 30 August-6 September 2010 ILLUSTRATED : An Unbroken Line: In Commemoration of Wu Guanzhong, Poly Art Museum, Beijing, 2010, color illustrated, pp. 80-81 Art Collection, Sichuan Fine Arts Publishing House, Sichuan, 2006, color illustrated, p. 8

展覽： 「緬懷吳冠中先生經典作品收藏大展―來自全球華人珍藏」， 保利藝術博物館，北京，展期自2010年8月30日至9月6日 圖錄： 《吳冠中緬懷吳冠中先生經典作品收藏大展―來自全球華人珍 藏》，保利藝術博物館，北京，2010，彩色圖版，頁212 《藝術收藏》，四川美術出版社，四川，2006，彩色圖版，頁8

NT$ 8,000,000-10,000,000 HK$ 1,975,000-2,469,000 US$ 254,600-318,300

黃山，自古有「天下第一奇山」之譽，正如明代徐霞客所言：「薄海內外，無如徽之黃山；登黃山，天下無山。觀止矣！」其山勢險峻壯麗， 怪石聳立群峰，奇松蒼勁多姿，歷代以來即為文人墨客詠吟的對象。吳冠中自1973年起數次登臨黃山寫生，曾言：「黃山集中國山川之美，周 莊集中國水鄉之美。」而黃山各處鬼斧神工的雄峻景致，在吳冠中融貫中西的畫筆詮釋之下，成為一幅幅內蘊深厚且綺麗迷人的畫作。 《黃山寫生》一作裡，吳冠中以層層墨色堆疊出壯麗的山勢以及林立於其上的墨綠色古松，黑色山石與墨綠松林之間，一抹朱紅帶來無限的明 媚，而懸崖峭壁之險峻，盡顯大自然的造化之美。奇險富麗的山勢中央，以石板砌成的山徑曲折而上，小徑右方的蒼翠樹林，在黑色襯托之 下，顯得有如玉石般的碧綠深邃，生機盎然。蜿蜒的山徑隨著山勢拔高而起，直達遠方的山巔，不禁令人憶想往後一路的風景又該是多麼地開 闊明朗。而山徑石板之上與鄰近之處，吳冠中特別以朱紅與翠綠的顏料錯落有致地點綴其間，近似於抽象表現的手法，自由揮灑的韻味，抒發 藝術家胸中的自在之意，更為雄渾的山石與蔥鬱勁松構成的景色，增添了秀麗活潑的生機。 Mount Huang has long been known as “The Most Magical Mountain in the World.” As Xu Xia Ke said, “Nowhere on Earth could one find a mountain like Mount Huang of Anhui. Being on top of Mount Huang blinds your sight for any other mountains—it is the true pinnacle!” The mountain is steep and magnificent, with strange stones covering the mountain tops, while pines contort in interesting shapes or stand upright and strong. As such, Mount Huang has always been a favorite theme for painters and the literati.

From 1973 onwards, Wu Guanzhong had visited Mount Huang countless times to depict its beauty. He once said, “Mount Huang is the epitome of the beauty of the mountains and rivers in China, while Zhouzhuang captures the beauty of a lake town.” The splendid scenes—the uncanny works of God—on Mount Huang are both charming and intense with Wu Guanzhong’s strokes of ink wash that combine Eastern and Western techniques.

In “Landscape of Mount Huang,” Wu Guanzhong used layers of ink to delineate the striking hills and the pines in dark green—and the brush of vermilion hints at its boundless seductive powers. The steep peak at the edge presents the beauty of nature’s work at its finest. In the center of the splendid mountain is a path made of stone tiles. To the right of the path, there is a verdant forest, and with its contrast against the black, its greenness stands out and glows with vitality, akin to the hues of jade. The mountain path, winding as it is, follows the steepness of the mountain and goes all the way to the pinnacle on the far end, inviting viewers to imagine the bright and clear views along the way. The spots of vermilion and emerald green splatter neatly on and near the slate path, reminiscent of Wu Guanzhong’s ingenuity and the techniques of abstract art. The free sprinkles of ink not only express the artist’s comfort, but also enliven the majestic and serious aura of the mountains and pines.

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333 WU Guanzhong (Chinese, 1919 - 2010)

Blooming Plums 1983 Ink and color, acrylic on paper 68 x 68 cm Signed lower left Wu Guanzhong in Chinese and dated 1983 With two seals of the artist

吳冠中 紅梅 1983 彩墨 壓克力 紙本 68 x 68 cm 簽名左下：吳冠中1983 鈴印左下：荼 鈴印右上：冠中寫生

NT$ 5,000,000-6,000,000 HK$ 1,235,000-1,481,000 US$ 159,100-191,000

倚著青山，點點紅梅圍繞著白牆黑瓦綻放，些許新抽的新芽點綴其間，增添了幾分清新，而墨色的屋瓦黑到極至，在白牆的襯托之下竟顯得豔 麗，散發出一股素雅卻高貴的氣質，坐落於群山與紅梅的簇擁之間，優雅出塵的世外之境，多麼地引人嚮往。 吳冠中受過西方現代藝術洗禮，且深研中國書法水墨精髓，融合東西美學卻不受其所制，提煉成為獨特清雅的畫風。1980年代後，吳冠中對墨 色的駕馭更臻爐火純青，此時他在單純的黑白水墨畫裡漸漸添加上顏色，而多了繽紛活潑的風貌。1983年的《紅梅》展現了藝術家出神入化的 筆墨功力，濃淡之間、不同筆法的轉折共同譜出引人入勝的世外之境，特別是淡墨勾勒出梅樹，筆鋒流暢奔放，盡顯梅樹堅韌勁拔的精神，一 方面充滿東方書法精神，另一方面，疏密有致的樹幹與紅梅、綠芽交織出點、線、面的旋律，展現了抽象表現的意趣。吳冠中出生於江蘇宜 興，學習成長於江南，對此地有著深刻的情感，近三十歲赴法國進修數年後回到中國，雖然往後大半生都居住在北京，但江南永遠是他生命裡 的原鄉，也是其藝術創作生涯中不斷描繪的主題。此幅《紅梅》即以藝術家心目中的江南山水為原型，而經歷風雪寒霜的梅花正如吳冠中的傲 然風骨，他走過了大時代的動盪，無論身處困頓或受人追捧，總是一本初衷，執著於對藝術的追尋與開創，終致成就無可取代的大師地位。 Plums blossom around white walls and black tiles. New buds are sprinkled throughout a forest that nestles against the violet mountains, lending the whole scene a fresh air. The ink black roof, contrasted with the white walls, becomes starkly attractive and exudes an aura of both simplicity and nobility. The house, surrounded by mountains and red plums, seems particularly graceful and terrifically alluring.

Wu Guanzhong learned modern Western art, and also delved into the essences of Chinese calligraphy. He combined both Eastern and Western aesthetics and yet was constrained by neither, refining a style that was uniquely and elegantly his own. After the 1980s, having come into full mastery of black ink painting, Wu Guanzhong started to add colours to give his white and black ink paintings vividness. The 1983 work “Blooming Plums” demonstrates the artist’s superb skills in ink wash: the light and heavy applications, and the twisting and turning strokes, combine to create an attractive and secluded utopia.

In particular, the lines that outline the plum trees in light ink are smooth and bold, highlighting the firmness and strength of plum trees. On the one hand, it is saturated with the spirit of Eastern calligraphy. On the other hand, there is also the charm of an abstract piece, as the orderly tree trunks, the red plums, and the green sprouts create a melody of points, lines, and surfaces.

Wu Guanzhong was born in Yixing, Jiangsu and was raised in Jiangnan; he felt a deep connection with that area. After studying in France for several years, he returned to China when he was nearly thirty. Even though he spent most of his life in Beijing, Jiangnan was always his home and a source of inspiration that he returned to time and again. “Blooming Plums,” for instance, is based on the scenery of Jiangnan as the artist envisioned it. The plums that withstand the coldest winters symbolize Wu Guanzhong’s indomitability. He traversed the most unstable times, and whether he was in a tight spot or in the spotlight, he has always held fast to his beliefs. His focus on the pursuit and development of art led him to become an irreplaceable master.

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334 YUE Minjun (Chinese, b. 1962)

Manipulation -16 2004 Oil on canvas 220 x 200 cm Signed lower left Yue minjun in English and dated 2004

岳敏君 處理–16 2004 油彩 畫布 220 x 200 cm 簽名左下：Yue minjun 2004

NT$ 5,500,000-8,500,000 HK$ 1,358,000-2,099,000 US$ 175,000-270,500

作為中國當代藝術的代表性人物，岳敏君的創作立基於他對身處之當代境遇的敏銳思考，在其著名的瞇著眼睛裂嘴大笑的自畫像系列之外，進 行多年的「處理」系列繪畫，是另一個與藝術家內心有著更為深沉連結的創作軸線，2004年的《處理-16》即為此系列之重要作品。 朝氣蓬勃的紅衛兵望著遠方綻放燦爛的笑容，似乎正迎向美好的未來，這是《處理-16》一作的主角，然而畫面上紛亂的筆觸卻覆蓋了圖像原本 的樣貌，也侵犯、拆解了圖像原本的意義，這其中所產生的違和張力，真切透露了藝術家下筆時的激昂心緒。「處理」，意味著進行改變。這 系列作品，岳敏君主要取材自他所熟悉的圖像，可能是來自於藝術史中的經典繪畫，更多是來自中國電影以及文革時期的新聞照片，例如《處 理-16》裡的少年紅衛兵，帶有其時空背景特有的文化及意識形態。透過去色彩化的單色調臨摹，藝術家重現了這個深深印刻在藝術家以及同 時代中國人記憶裡的圖像，而在畫面未乾之前，以紛亂的筆觸一筆一筆地刷過，同時在視覺上及意義上進行破壞。正如藝術家所強調的：「只 要把握住了處理，便能夠更好地認清處理背後的意圖，從而使我們能更加清楚地認知事物的本質。」當他回頭「處理」曾經深深影響自己的圖 像，岳敏君挑戰並重整對於過往的認知，這也令人想起德國藝術家李希特的「照片繪畫」系列作品 。 A defining member of China’s contemporary art scene, Yue Minjun’s art is built upon his acute thoughts on being a part of contemporary circumstances.

Aside from his famous grinning self-portraits, “Manipulations” is another collection Yue Minjun worked on for many years, with an even deeper connection to the artist’s inner thoughts. 2004’s “Manipulation - 16” is an important piece in the collection.

The subject of “Manipulations-16” is a cheerful Red Guard looking into the distance with a bright smile, as if facing a wonderful future. But chaotic brushstrokes have covered the original image, invading and taking apart its meaning, resulting in uncomfortable tension that honestly conveys the excitement the artist had while painting the piece. “Manipulation” means altering; in this series, Yue Minjun took inspiration from images familiar to him, such as classic paintings from art history, or Chinese films and news photos from the Cultural Revolution era, with culture and consciousness unique to that time, such as the Red Guard in “Manipulations - 16”. By eliminating color with a monochromatic copy, the artist has recreated an image that was carved deeply into the minds of the artist and all Chinese people in that era. And before the copy dried, he brushed over it with messy brushstrokes, destroying it visually and symbolically. As the artist stresses, “We only have to grasp the manipulation to better recognize the motive behind that manipulation, and therefore we better understand the nature of things.” When he reflects on and “manipulates” those images that once deeply influenced him, Yue Minjun challenges and reconfigures his understanding of the past, similar to German artist Gerhard Richter’s “Photo Paintings” series.

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335 WU Guanzhong (Chinese, 1919 - 2010)

Landscape 1999 Ink and color on paper 20 x 70 cm Signed lower rithgt Wu Guanzhong and dated 1999 both in Chinese Titled lower left Life After Survival, for He Bing in Chinese With one seal of the artist PROVENANCE: Collection of He Bing, Beijing (a gift from the artist)

NT$ 2,600,000-3,600,000 HK$ 642,000-889,000 US$ 82,700-114,600

154

吳冠中 一方山水 1999 彩墨 紙本 20 x 70 cm 簽名右下：一九九九 吳冠中 鈐印右下：荼 題識：劫後餘生 何冰存念 來源： 何冰收藏，北京（得自藝術家本人饋贈）

山與樹一直是中國文人和畫家吟詠和讚頌的對象，吳冠中對山嶽和樹木更有一種特殊的情緣。1995年的巨幅名作《樹叢》就是以蘇州郊外四株 被雷劈後而重生的漢柏為描繪物件的作品。作者以半抽象手法去描寫實景的精萃，虛實交融，不囿於一景一貌而統攝全域，筆墨之精妙躍然紙 上。 時至九十年代末，古稀之年的吳冠中依然保持著旺盛的創作力和對藝術執著探索的熱情。除孜孜不倦地以筆墨描繪著江南煙雨、記憶中北 方的風景，抽象繪畫則成為他這一時期的主流創作題材。吳冠中並不以為自己所作乃純抽象繪畫，也並不執著於抽象與非抽象的判別，「不見 明顯的具象實物，也可以說是抽象的畫面」。但他自有更深一層的構想：「只緣作者彷徨於時空的上下左右，記憶的前前後後，想表現那難於 捕捉的歲月之流逝。」《雙燕》、《秋瑾故居》乃是藝術家這一時期繪畫思想的絕佳代言。 《一方山水》乃吳冠中饋贈友人的佳作，畫面左下書：「劫後餘生，何冰存念」。大塊面的墨蹟與點彩其間的彩墨交相輝映，形成了豐富有致 的節奏變化，中國的寫意和西方的表現主義在方寸之間得到美妙的協調。 Mountains and trees have been praised and worshiped by Chinese litterateurs and artists for thousands of years, Wu Guanzhong in particular, had a special sentiment to mountains and trees, too. Wu’s masterpiece in 1995, “Forest”, was inspired by the cypresses revived after struck by lightning, in the suburb of Suzhou. The artist applied a touch of semi-abstract to portray the beauty of real scenery, created a fusion of reality and fantasy; he took the broader view of the scene rather than focusing on the feature of a single object, the spirit of the art of brush and ink was captured on paper. Wu Guanzhong was already in his seventies by late 1990s, but he remained a very vibrant creativity and high enthusiasm about art. By this time, besides continuing his painting of the misty Jiangnan (lands immediately to the south of the lower reaches of the Yangtze River) and the northern China in his memory, Wu Guanzhong picked up abstract painting as a major theme of his artistic creations. However, Wu himself did not consider these paintings as works of pure abstract art, and he was very open about the classification between abstract and non-abstract: “picture without obvious material object can also be interpreted as abstract”. Yet he has a profounder concept about this: “it is all because the artist is wandering up and down in space, back and forth in memory, trying to express the elapse of time which is hard to capture.” Pieces such as “Two Swallows” and “Former Residence of Qiu Jin” are typical works of this period which speak for the artist’s creative concepts.

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

336 SHIY De-jinn

席德進

(Taiwanese, 1923 - 1981)

海山相照

A Delightful Contrast of Sea and Mountain

1979 彩墨 紙本 69 x 136.5 cm 簽名左上：蜀人席德進 鈐印右上：席氏書畫 鈐印左上：席德進印

1979 Ink and color on paper 69 x 136.5 cm Signed upper left Shiy De-Jinn in Chinese With two seals of the artist Inscription: A Delightful Contrast of Sea and Mountain Traveling to Jiufen to capture this landscape finally made me realize that Taiwanese scenery cannot be depicted using traditional techniques Shiy De-jiin of Sichuan, a guest in Taiwan for thirtytwo years PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation (acquired directly from the artist)

NT$ 1,800,000-2,800,000 HK$ 444,000-691,000 US$ 57,300-89,100

題識： 海山相照 遊九份 得此景 始知台灣山水不能以傳統皴法寫之 蜀人席德進 客居寶島卅又二年矣 來源： 席德進基金會前董事盧聲華先生收藏 （直接得自藝術家本人） 附盧聲華開立之原作保證書

師從林風眠，同樣是一心超越傳統、勇於創新，席德進捨棄傳統國畫的皴法，選擇以墨法取勝，濕潤飽滿的色感，巧妙運用畫中留白，將空白 當作一種色、光、空間，重新和諧墨與色的相互和諧關係。在改革傳統的同時又尊重中國筆墨的優越性，努力探求自己的風格，作品以渲染的 墨法為重，墨氣淋漓的重山，畫面呈現出「山水丹青雜，煙雲紫翠浮」的美感，以現代的眼睛看山水，創造新的造型與意志。層巒疊翠，上出 重霄，再創藝術成就的另一高峰。 前半生畫西洋畫，在生命最後的幾年，席德進喜愛書法與中國文人畫，他用心投入中國水墨畫的創新。以《海山相照》為例，表現山水畫裡群 山聳立的蒼鬱宏遠，用色濃重，大塊塗抹，有幾分向前輩李可染致敬之意。「海山相照」系列中，群山聳立的蒼鬱宏遠，近悅遠來墨色鋪張開 來。凸顯山的宏偉，深淺不一的墨藍，富有層次，令人回味無窮。濃淡變化的墨韻染出遠近的層次，再用筆寫出山形、礁石的結構，筆刷掠過 的留白形成海天一色效果。孤舟而三，又使空間不顯太過慘白，表現出畫家的用心與嫻熟。 Like Lin Fengmian, under whom he studied in his youth, Shiy Dejinn refused to allow himself to be constrained by tradition, and became a bold innovator.

Abandoning the conventional texturing methods of traditional Chinese painting, Shiy chose to make use of techniques from ink brush painting, creating rich, warm color tones and making effective use of empty space, so that white space itself became a kind of color, a kind of light, and a kind of spatial element.

Shiy succeeded in building a new, harmonious relationship between ink and color. While making changes to traditional techniques, Shiy continued to respect the strengths of Chinese ink brush painting, and sought to develop his own personal style within the framework of the tradition. Shiy’s work makes extensive use of wash effects to create images of serried rows of hills that embody the essence of ink brush painting, producing complex landscapes in which the superb coloration of the mist and clouds creates outstanding aesthetic beauty. By casting a modern eye over landscape painting, Shiy succeeds in creating new forms and a new sense of will. His verdant, textured landscapes, covered in multi-fold layers of mist, represent a peak of artistic achievement.

Having created many Western paintings in the first half of his life, Shiy devoted the later years of his life to calligraphy and traditional Chinese painting.

During this time, he was fully engaged in innovating within the field of Chinese ink wash painting. Take “A Delightful Contrast of Sea and Mountain” for example: magnificent lofty peaks and the vibrant life thereon are portrayed through dark colors and thick brush strokes, which show Shiy’s respect for the elder artist Li Keran. In the “A Delightful Contrast of Sea and Mountain” series, the verdant peaks are depicted in contrasting tones, with different shades of ink blue being used to great effect to bring across the majestic, awe-inspiring appearance of the mountain peaks; the richly layered effect created in this way is deeply impressive. Slight changes in the texture of the ink produce a pronounced threedimensional contrast between the foreground and the far distance; careful brushwork traces out the form of the hills and the structure of the rocks, and a faint wash effect ensures that sea and sky seem to blend into one. The depiction of a handful of boats on the water prevents the scene from appearing too empty, reflecting the artist’s skill and attention to detail.

156

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

Fish c.1958-1988 178 x 94 cm Ink on paper Signed upper left Chao in English ILLUSTRATED: CHAO Chung-hsiang, Crown Art Center, Taipei

NT$ 1,600,000-2,600,000 HK$ 395,000-642,000 US$ 50,900-82,700

趙春翔 魚 約1958-1988年代 水墨 紙本 178 x 94 cm 簽名左上：Chao 圖錄： 《趙春翔》，皇冠藝文中心，台北

158

338 PANG Jiun

(Taiwanese, b. 1936)

Red Flowers 2001 Oil on canvas 27 x 22 cm Signed lower right Pang Jiun in Chinese and dated 2001 With one painted seal of the artist

NT$ 60,000-80,000 HK$ 15,000-20,000 US$ 1,900-2,500

龎均 紅花 2001 油彩 畫布 27 x 22 cm 簽名右下：龎均 2001 手繪鈐印右下：均

339 PANG Jiun

(Taiwanese, b. 1936)

Flowers 1997 Oil on canvas 27.5 x 22 cm Signed lower right Pang Jiun in Chinese and dated 1997 With one painted seal of the artist

NT$ 60,000-80,000 HK$ 15,000-20,000 US$ 1,900-2,500

龎均 花 1997 油彩 畫布 27.5 x 22 cm 簽名右下：龎均 1997 手繪鈐印右下：均

160

340 Michell HWANG (HWANG Ming-che) (Taiwanese, b. 1948)

Mask of Chinese Opera 1985 Oil on canvas 53 x 45 cm Signed lower right Che in Chinese and dated 1985 Signed on the reverse Che in Chinese and dates 1985

NT$ 60,000-120,000 HK$ 15,000-30,000 US$ 1,900-3,800

黃銘哲 國劇臉譜 1985 油彩 畫布 53 x 45 cm 簽名右下：哲1985 簽名畫背：1985哲

341 HWANG Jyi

(Taiwanese, b. 1953)

Beautiful Clothes 1987 Oil on canvas 39 x 51 cm Signed lower left and on the reverse Hwang Jyi in Chinese and dated 1987, titled Beautiful Clothes on the reverse

NT$ 60,000-120,000 HK$ 15,000-30,000 US$ 1,900-3,800

黃楫 彩衣 1987 油彩 畫布 39 x 51 cm 簽名左下：楫 1987 簽名畫背：彩衣 黃楫 1987

342 YU Peng

(Taiwanese, 1955 - 2014)

Woman 1994 Ink and color on paper 72 x 56 cm Signed lower right Yu Peng in Chinese and dated 1994

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

162

于彭 女人 1994 彩墨 紙本 72 x 56 cm 簽名右下：于彭 1994

343 Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

貓與花

Cat and Flowers

壓克力 紙本 43 x 43 cm 鈐印左上：採花大盜

Acrylic on paper 43 x 43 cm With one seal of the artist PROVENANCE: Private collection, Europe

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

來源： 私人收藏，歐洲

344 Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

雙姝競艷

Two Beauties

約1991 壓克力 紙本 46 x 60 cm 鈐印右下：採花大盜

c. 1991 Acrylic on paper 46 x 60 cm With one seal of the artist

NT$ 260,000-360,000 HK$ 64,000-89,000 US$ 8,300-11,500

164

345 Walasse TING

(Chinese-American, 1929 - 2010)

Nude 1990 Acrylic on paper 20.5 x 30 cm With one seal of the artist This painting is to be sold with a certificate of authenticity issued

by Kunzt Gallery

NT$ 280,000-380,000 HK$ 69,000-94,000 US$ 8,900-12,100

丁雄泉 裸女 1990 壓克力 紙本 20.5 x 30 cm 鈐印中上：採花大盜 附Kunzt Gallery開立之原作保證書

346 Tzu-chi YEH

(Taiwanese, b. 1957)

Camellia 1995-1998 Tempera and oil on linen 30.5 x 38 cm Signed lower right Tzu-chi in Chinese and dated 1995-98

NT$ 260,000-360,000 HK$ 64,000-89,000 US$ 8,300-11,500

166

葉子奇 茶花 1995-1998 卵彩 油彩 亞麻布 30.5 x 38 cm 簽名右下：子奇 1995-98

347 Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

執扇女人

Lady with a Fan

約1990年代 彩墨 紙本 63.5 x 86.5 cm 鈐印右下：採花大盜

c. 1990s Ink and color on paper 63.5 x 86.5 cm With one seal of the artist

NT$ 380,000-550,000 HK$ 94,000-136,000 US$ 12,100-17,500

348 ZAO Wou-ki

(Chinese-French, 1921 - 2013)

Catherine Zittaun Empreintes (a set of 6) 2003 Lithographs, edition no. 55/55 37 x 40 cm (each) Signed lower right Wou-ki in Chinese, ZAO in French and dated 2003

NT$ 300,000-500,000 HK$ 74,000-123,000 US$ 9,500-15,900

168

趙無極 足跡（六件一組） 2003 版畫書 55/55 37 x 40 cm (每件) 簽名下方：55/55 無極 ZAO 2003

349 HUANG Chih-yang (Taiwanese, b. 1965)

Lover’s Library 1999 Ink on silk paper, mounted onto board 243 x 122 cm Signed lower center Dominigue + Vincent in English and Chih-yang in Chinese, dated Taipei 99 No. 3 With one seal of the artist EXHIBITED: Lover’s Library, Hanart TZ Gallery, Hong Kong, 1999 Lover’s Library, Ethan Cohen Gallery, New York, 2000 Lover’s Library, Hanart TZ Gallery, Taipei, 2001 ILLUSTRATED: Modern Art, Taipei Fine Arts Museum, Taipei, 2004 Lover’s Library, Hanart Gallery, Taipei, 2005

NT$ 360,000-480,000 HK$ 89,000-119,000 US$ 11,500-15,300

黃致陽 戀人絮語 1999 彩墨 絹 木板 243 x 122 cm 簽名中下：Dominigue + Vincent 致陽 Taipei 99 No. 3 鈐印中下：黃志陽 Huang Chih-yang 戀人絮語 Lover's Library 展覽： 「戀人絮語」，漢雅軒，香港，1999 「戀人絮語」，伊桑．科恩畫廊，紐 約，2000 「戀人絮語」，漢雅軒，台北，2001 圖錄： 《現代美術》雜誌，台北市立美術館，台北，2004 《戀人絮語》，漢雅軒，台北，2005

350 LIN Dachuan

林達川

(Chinese, 1912 - 1985)

西湖風光

West Lake

油彩 畫布 26.5 x 37 cm 簽名右下：D.T. Lin

Oil on canvas 26.5 x 37 cm Signed lower right D.T. Lin in English

NT$ 260,000-360,000 HK$ 64,000-89,000 US$ 8,300-11,500

170

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

The Beginning of a Legend I 1991 Oil on canvas 65 x 90 cm Signed lower right LIEN Chien-hsing and dated 1991 in Chinese Signed on the reverse LIEN Chien-hsing, titled The Beginning of a Legend I in Chinese, inscribed The Beginning of a Legend I in Chinese and dated 1991 ILLUSTRATED: Lien Chien-hsing Works 1976-1993, Eslite Gallery, Taipei, 1993, color illustrated, no. 21, pp. 48-51

NT$ 320,000-420,000 HK$ 79,000-104,000 US$ 10,200-13,400

連建興 傳說的開始（一） 1991 油彩 畫布 65 x 90 cm 簽名右下：連建興 一九九一 簽名畫背：連建興 1991 傳說的開始（一）林布蘭 顏料 林xx 筆跡媒劑 圖錄： 《連建興》，誠品畫廊，台北，1993，彩色圖版， 編號21，頁48-51

352 RAN In-ting

(Taiwanese, 1903 - 1979)

Look out the Scenery 1928 Watercolor on paper 34 x 50.5 cm Signed lower right RAN IN-TING and in English, and dated 1928. 7. 31 With two seals of the artist on the reverse PROVENANCE: The current owner’s father purchased directly from the artist

NT$ 280,000-380,000 HK$ 69,000-94,000 US$ 8,900-12,100

172

藍蔭鼎 眺望高塔 1928 水彩 紙本 34 x 50.5 cm 簽名右下： RAN IN-TING 1928. 7. 31 簽名畫背：支那 遼陽白塔 1928.7.31 鈐印畫背：嶺南 蔭鼎 來源： 現有藏家父親購自藝術家本人

353 SHIY De-jinn

(Taiwanese, 1923 - 1981)

Landscape 1973 Watercolor on paper 50 x 60 cm Signed lower left SHIY De-jinn in Chinese and dated 1973

NT$ 400,000-500,000 HK$ 99,000-123,000 US$ 12,700-15,900

席德進 風景 1973 水彩 紙本 50 x 60 cm 簽名左下：席德進1973

354 CHUANG Che (Taiwanese, b. 1934)

Abstract (diptych) Oil on canvas 50 x 122 cm Signed lower right CHUANG Che in Chinese

NT$ 420,000-550,000 HK$ 104,000-136,000 US$ 13,400-17,500

莊喆 抽象（雙聯幅） 油彩 畫布 50 x 122 cm 簽名右下：莊喆

174

355 YANG San-lang

楊三郎

(Taiwanese, 1907 - 1995)

裸女

Nude

油彩 畫布 33 x 45.5 cm 簽名左上：S. Yanģ

Oil on canvas 33 x 45.5 cm Signed upper left S. Yanģ in English

NT$ 460,000-650,000 HK$ 114,000-160,000 US$ 14,600-20,700

356 YANG San-lang

楊三郎

(Taiwanese, 1907 - 1995)

歐洲街景

Scenery in Europe

油彩 畫布 45.5 x 53 cm 簽名左下：S. Yang

Oil on canvas 45.5 x 53 cm Signed lower left S. Yang in English

NT$ 650,000-850,000 HK$ 160,000-210,000 US$ 20,700-27,100

176

357 YANG San-lang

楊三郎

(Taiwanese, 1907 - 1995)

玫瑰花靜物

Flower in a Vase

油彩 畫布 60.5 x 49.5 cm 簽名左下：S. Yang

Oil on canvas 60.5 x 49.5 cm Signed lower left S. Yang in English The painting is to be sold with a certificate of authenticity issued by Metaphysical Art Gallery

NT$ 650,000-850,000 HK$ 160,000-210,000 US$ 20,700-27,100

附形而上畫廊開立之原作保證書

358 SHIY De-jinn

(Taiwanese, 1923 - 1981)

Boat 1976 Watercolor on paper 56 x 75.5 cm Signed lower left SHIY De-jinn in Chinese and dated 1976

NT$ 600,000-800,000 HK$ 148,000-198,000 US$ 19,100-25,500

178

席德進 舟 1976 水彩 紙本 56 x 75.5 cm 簽名右下：席德進1976

359 Liu Kuo-sung (Taiwanese, b. 1932)

Rainy Spring Water 2009 Ink and color on paper 43.8 x 46 cm Signed center right Liu Kuo-Sung and dated 2009 in Chinese With two seals of the artist This painting is to be sold with a certificate of authenticity signed by the artist and issued by Loftyart Gallery, Taipei.

NT$ 650,000-850,000 HK$ 160,000-210,000 US$ 20,700-27,100

劉國松 瀧瀧春水 2009 彩墨 紙本 43.8 x 46 cm 簽名右中：劉國松 二ＯＯ九 鈐印右中：劉 鈐印右中：國松 附高士畫廊與藝術家親筆簽名之原作保證書

360 Tzu-chi YEH

(Taiwanese, b. 1957)

Peacock Flower 1998-1999 Tempera and oil on linen 61 x 61 cm Signed lower right Tzu-chi in Chinese and dated 1998-99

NT$ 500,000-700,000 HK$ 123,000-173,000 US$ 15,900-22,300

180

葉子奇 鳳凰木 1998-1999 卵彩 油彩 亞麻布 61 x 61 cm 簽名右下：子奇 1998-99

361 Chang Chia-ying (Taiwanese, b. 1982)

Toto is Staring Left ; Fairy Rabbit is Staring Right(a set of 2) 2014 Acrylic on canvas 53 x 65 cm (x2) Signed lower right on the two frames Chia Ying and dated 2014 EXHIBITED: Fairy Tale Reincarnation, Museum of Contemporary Art, Taipei, October 25 - November 30, 2014 ILLUSTRATED: Fairy Tale Reincarnation, Museum of Contemporary Art, Taipei, 2014, color illustrated, pp. 64-65

NT$ 600,000-800,000 HK$ 148,000-198,000 US$ 19,100-25,500

張嘉穎 左瞪的多多；右瞪的小兔精（兩件一組） 2014 壓克力 畫布 53 x 65 cm (x2) 簽名兩件邊框右下: Chia Ying 2014 展覽： 「童話轉生術」，台北當代藝術館，台北， 展期自2014年10月25日至11月30日 圖錄： 《童話轉生術》，台北當代藝術館，台北， 2014，彩色圖版，頁64-65

182

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

lllusory Vagrant Trip 2004 Acrylic on canvas 89 x 130 cm Signed lower right Lien Chien Hsing in Chinese and dated 2004 Signed on the reverse LIEN Chien-hsing in Chinese, titled lllusory Vagrant Trip in Chinese and dated 2004, inscribed 60P EXHIBITED : LIEN CHIEN HSING, Eslite Gallery, Taipei, Jun. 9 - Jul. 6, 2012.

ILLUSTRATED : LIEN CHIEN HSING, Eslite Gallery, Taipei, 2004, color illustrated, p. 10 LIEN CHIEN HSING, Eslite Gallery, Taipei, 2012, color illustrated, p. 30

NT$ 650,000-850,000 HK$ 160,000-210,000 US$ 20,700-27,100

連建興 虛幻的行腳 2004 壓克力 畫布 89 x 130 cm 簽名右下：2004 連建興 簽名畫背：60P 虛幻的行腳 2004 連建興 展覽： 「連建興」，誠品畫廊，台北，展期自2012年6月9日至7月6日 圖錄:： 《連建興》，誠品畫廊，台北，2004，彩色圖版，頁10 《連建興》，誠品畫廊，台北，2012，彩色圖版，頁30

363 HSU Tung Lung (Taiwanese, b. 1947)

Starry Sky 4 2014 Mixed media on canvas 180 x 150 cm Signed on reverse Hsu Tung Lung in Chinese and T. L Hsu in English, dated 2014 EXHIBITED : Painting without figure—2015 Tung Lung Hsu solo Exhibition Tour, Pata Gallery, Shanghai, Nov. 14 - Dec. 31, 2015 ILLUSTRATED : Painting without figure—2015 Tung Lung Hsu solo Exhibition Tour, Pata Gallery, Shanghai, ccolor illustrated, pp. 70-71

NT$ 800,000-900,000 HK$ 198,000-222,000 US$ 25,500-28,600

許東榮 星空4 2014 綜合媒材 畫布 180 x 150 cm 簽名畫背：許東榮 T. L Hsu 2014 展覽： 「無圖之畫」，八大畫廊，上海，展期自2015年11月14日至12月31日 圖錄： 「無圖之畫」，八大畫廊，上海，2015，彩色圖版，頁70-71

184

364 CHIU Ya-tsai

(Taiwanese, 1949 - 2013)

Sage 1991 Oil on canvas 79 x 64 cm Signed lower right Yatsai in Chinese, dated ′91

NT$ 1,000,000-2,000,000 HK$ 247,000-494,000 US$ 31,800-63,700

邱亞才 智者 1991 油彩 畫布 79 x 64 cm 簽名右下：亞才 '91

186

365 XIA Junna

(Chinese, b. 1971)

Girl in Garden 2010 Oil on canvas 110 x 60 cm Signed lower right XJN in English and dated 2010

NT$ 1,200,000-2,200,000 HK$ 296,000-543,000 US$ 38,200-70,000

夏俊娜 賞花圖 2010 油彩 畫布 110 x 60 cm 簽名右下：XJN 2010

188

366 GUAN Yong (Chinese, b. 1975)

Red Carpet 2006-2007 Oil on canvas 200 x 150 cm Signed on the reverse Guan Yong, titled “Red Carpet”, inscribed oil on canvas in Chinese and English, 200 x 150 cm, dated 2006-7

NT$ 1,300,000-2,200,000 HK$ 321,000-543,000 US$ 41,400-70,000

管勇 紅地毯 2006-2007 油彩 畫布 200 x 150 cm 簽名畫背：Red Carpet Oil on canvas 200 x 150 cm 管勇 GUAN Yong 2006-7 紅地毯

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367 HUANG Gang (Chinese, b. 1961)

Ark of Dream (diptych) 2006 Mixed media on board 244.5 x 180 cm Signed lower right Huang Gang in English and Chinese ILLUSTRATED: Huang Gang, Linda Gallery, Beijing, 2008, color illustrated, pp. 18-19

黃鋼 夢之舟（雙聯幅） 2006 綜合媒材 木板 244.5 x 180 cm 簽名右下：Huang Gang 黃鋼 圖錄： 《黃鋼》，林大美術館出版，北京，2008，彩色圖版， 頁18-19

NT$ 1,600,000-2,600,000 HK$ 395,000-642,000 US$ 50,900-82,700

懾人的大器，儀式般的準確與專注，內斂的震撼力，是黃鋼優雅的絕對美學。黃鋼的這件作品《夢之舟》以他最著名的西藏佛經刻版入畫，既 是架上繪畫，同時也是裝置藝術。擁有深厚骨董鑑賞及收藏背景的黃鋼，選用佛經刻版作為創作媒材，觀者除了感受到其神秘的宗教性，更加 感動於僧人虔誠誦經、刀刀刻畫、傳頌經書的巨大無形力量。對於古物的熟悉以及自身技法的完美，黃鋼在畫面上堆疊出的層次色彩，與承載 歷史的佛經刻版，一起呈現積累時間沖刷的豐富質感。佛教刻版是僧人們手工藝與精神力的極致作品，黃鋼選擇富有文化底蘊的現成物以當代 藝術手法再次創作，接續了時空，他對藝術的崇敬也正如僧人對宗教的至高表現。畫面中央似一葉輕舟，飄移在如星河、如塵世的背景上，無 論以宗教或人生角度觀看，皆予人無限聯想。黃鋼抱持著藝術家對所處的社會環境做出探討的想法，使他的作品獲得廣大的迴響與認同。曾於 德國、法國、美國、瑞士、香港以及台灣等地舉辦個展，得到各國高度評價。 A striking generosity, a ceremonial precision and deliberation, a restrained inner strength, these are the elegant and absolute aesthetics executed by Huang Gang in his works. The piece “Ark of Dream” incorporates Huang Gang’s well-known Tibetan Buddhist scripture engravings, so that it is not only a painting but also an installation piece. Huang Gang has a background in antiques and collectibles, and he selected Buddhist scripture engravings to be his creative medium. Viewers are transported to a mysterious world of religion, where they are awed and moved by the immense but unseen power of faith in monks devotedly chanting scriptures, painstakingly carving pictures, and piously teaching the wisdom from their books. Through his familiarity with ancient artifacts and his own expert techniques, Huang Gang layered colors onto the image, and combined them with history-laden Buddhist scripture engravings to create a portrayal of the rich and varied texture of accumulated time. Buddhist engravings are the crystallization of the monks’ handcrafts and devotion; time and space are connected through Huang Gang’s choice to recreate contemporary art through using a pre-existing, culturally meaningful artifact. His reverence for art is an utmost reflection of the monks’ dedication to their faith. The shape in the center appears to be a canoe floating on the stars of the cosmos, transcending mortal concerns, inexorably pulling one into an infinite religious and philosophic contemplation of life. Huang Gang’s works are highly praised and resonate with audiences due to his exploration of the societies and environs around him through his art. He has held exhibitions in Germany, France, the USA, Switzerland, Hong Kong and Taiwan, and is highly esteemed in each country.

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368 XIA Junna

(Chinese, b. 1971)

Flowers Talk 1999 Oil on canvas 160 x 130 cm Signed lower right XJN in English and dated 99

夏俊娜 花解語 1999 油彩 畫布 160 x 130 cm 簽名右下：XJN 99

NT$ 1,800,000-2,600,000 HK$ 444,000-642,000 US$ 57,300-82,700

雅靜女孩、鮮果、花卉是夏俊娜創作的主要題材，這些生活場景題材的描繪也體現了夏俊娜積極樂觀的生活態度和她對人文自然的關照。八年 的學院教育為她的繪畫事業打下良好的基礎，從畫面的個性構成到對材料的獨特把握，從整體佈局到細節刻畫，她都顯得得心應手，揮灑自 如。尤其是她對畫面強有力的控制能力常常使人驚異。 畫如其人，夏俊娜作品的畫面中洋溢著青春與浪漫、熱情與純真，厚薄冷暖、點劃塗抹之中滲透著她對生活的關愛，對人與自然的深情。創作 的情感在刀、筆、材料、畫布之間的傳遞，也是夏俊娜創作風格的獨特之處。油彩的厚薄、肌理的糙細、筆觸的點畫塗抹都依據自身的特性， 轉化為精神表達的手段。那些完全不經意的點、塗、抹，使畫面魔術般地散射出奇異的光彩，鉛灰的色調中跳蕩的黑白，構成了僅她畫中才有 的一種神秘的光影秩序。局部的抽象性和表現性與整體的現實主義完美結合始終貫穿著夏俊娜幾年來的創作，也是她畫面獨具個性的重要原 因。就夏俊娜作品本身而言，她更關注繪畫語言的抒發和情感在筆和材料之間的傳遞，這裡沒有社會批判，也沒有觀念的介入，保持作品繪畫 性純正是她繪畫的最大特點。 Elegant girl, fresh fruit and flower are main themes of Xia's creation. The themes depicting of these life scenes also showed Xia's positive and optimistic life attitude and her care of human and nature. Eight years of college education has laid a good foundation for her painting career. From the personality constitution of the painting to unique grasp of the material, from overall layout to detail description, she seems handy and free in paintings. Especially her strong image control ability often surprised people.

The style of painting mirrors the painter herself. Xia's work is filled with youth, romance, passion and naivety. Between thick and thin, cold and warm, touch and paint, spread and smear, penetrate her love to life and her passion to nature. Creative emotional transfer between knives, pens, materials and canvas, and this is also Xia's unique creative style. The thickness or thinness of paint, the coarseness or fineness of texture, the touch, paint, spread and smear of the paintbrush are all based on their own characteristics, and convert to the means of spiritual expression. Those totally casual touch, spread and smear magically emit the fantastic brilliance on the painting. Sparkling black and white between lead gray color constitute a mysterious shadow order which only exist in her painting. Perfect combination of local abstract and expression with overall realism has run through Xia's creation over the past few years, which is also important reason why her work has unique personality. As Xia's work itself, she is more concerned about the expression of painting language and the transmission of emotion between paintbrush and materials. There is no social criticism, nor concept intervention, and keeping the purity of painting is her biggest feature in paintings

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369 Liu Kuo-sung (Taiwanese, b. 1932)

Autumn : Jinzhaigou Series No. 80 2005 Ink and color on paper 65.8 x 70.6 cm Signed center left Liu Kuo-sung and dated 2005 both in Chinese With one seal of the artist ILLUSTRATED: 21st Century, Latest Works of Liu Kuo-sung, Chung Hua University Arts Center, Hsin-chu, 2006, color illustrated, p. 120 The Universe in the Mind – A Retrospective of Liu Kuo-sung, Cultural Affairs Bureau of Taoyuan County Government, Taoyuan, 2007, color illustrated, p. 141

NT$ 1,900,000-2,600,000 HK$ 469,000-642,000 US$ 60,500-82,700

劉國松 秋夜：九寨溝系列八十 2005 彩墨 紙本 65.8 x 70.6 cm 簽名左下：劉國松 二〇〇五 鈐印左下：國松 圖錄： 《21世紀 劉國松 新作集》，中華大學藝文中心，新竹， 2006，彩色圖版，頁120 《宇宙心印︰劉國松回顧展》，桃園縣政府文化局，桃園， 2007，彩色圖版，頁141

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370 CHIU Ya-tsai

邱亞才

(Taiwanese, 1949 - 2013)

藍色青年

Blue Youth

1989 油彩 畫布 133 x 77 cm 簽名左下：邱亞才 89

1989 Oil on canvas 133 x 77 cm Signed lower left Chiu Ya-tsai in Chinese and dated 89

NT$ 2,400,000-3,400,000 HK$ 593,000-840,000 US$ 76,400-108,200

邱亞才是一位富有文采的畫家， 著有多本小說 ，並曾經獲得文學獎。從連環圖畫走入繪畫世界。三十歲開始懂得繪畫，三十五歲開始寫作。他 從觀察人開始，再完成於在紙上及畫布上，無論是小說或繪畫，主題幾乎都圍繞在人物。 邱亞才的人物繪畫不重形似，以情寫意，極力塑造畫中主角的內心世界而不拘泥於表面情感。使用單一大色塊為背景，寫意平塗，以對比色或 加入些微的裝飾性元素，悠然推出前景人物，根植於歐洲現代派畫家，如莫迪里亞尼及畢卡索。精緻的臉部輪廓線承襲中國唐代古典肖像畫傳 統，五官的處理上，則展現出他對西方現代藝術形式及技巧的熟稔，精巧地揉合了東方傳統文人畫的神韻。 此幅畫作，主題為藍衣男子，畫面中人物有著修長纖瘦的體態，眼神憂鬱疏離，神情內斂且沉靜，展現出較優雅、安靜和東方文人的氣質。線 條與用色的簡約，則營造了孤寂憂鬱的氛圍。藝術家藉此描繪出這些孤獨心靈在面對理想和現實相悖時，選擇默然以對，不流俗的風骨氣節和 脫俗的凝重優雅，傳神地顯露於作品中。 Chiu Ya-tsai was a painter of great literary talent who wrote several novels and also received a literary award. His artistic life began with comic strips; he learned to paint at thirty, and began writing at the age of thirty-five. In his works on paper and canvas, he began by observing people. The subjects of both his novels and paintings almost invariably revolve around people.

Chiu’s portraits prioritize not strict formal resemblance, but the expression of affections through freehand strokes, constructing the inner world of the subjects beyond apparent emotions. His use of large blocks of solid, flat color for backdrops—at times adding bits of adorning elements in contrasting colors—serve to highlight the subject in the foreground. These techniques were derived from European modernist painters such as Amedeo Modigliani and Pablo Picasso. Chiu’s delicate outlines of faces, meanwhile, inherit the figure painting traditions of Tang Dynasty China. The facial features display the artist’s familiarity with the forms and techniques of modern Western art, while exquisitely incorporating the spirit of literati paintings in the Eastern tradition.

This portrait is entitled Man in Blue. The subject possesses a slim, elongated figure, with a sense of melancholy and detachment visible in his eyes. His expression is composed and self-possessed, exuding the graceful tranquility of Eastern literati, while the simplicity in lines and color create a sense of pensiveness and solitude. The artist thus depicted the silence of solitary souls in facing conflicts between ideals and realities, the subjects’ moral integrity and dignified elegance evident in his paintings.

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371 CHIU Ya-tsai

(Taiwanese, 1949 - 2013)

Young Man Oil on canvas 130 x 97 cm Signed lower left Chiu Ya-tsai in Chinese

NT$ 2,400,000-3,400,000 HK$ 593,000-840,000 US$ 76,400-108,200

邱亞才 青年 油彩 畫布 130 x 97 cm 簽名左下：邱亞才

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372 LO Chan-peng (Taiwanese, b. 1983)

Strawberry Generation - The Super Smash 2009 Oil on canvas 195 x 390 cm ILLUSTRATED: Taiwan Business Topics, Taipei, 2011, color illustrated, p. 16

羅展鵬 草莓族大亂鬥 2009 油彩 畫布 195 x 390 cm 圖錄： 《美國商會雜誌》，台北，2011，彩色圖版，頁16

NT$ 2,800,000-4,200,000 HK$ 691,000-1,037,000 US$ 89,100-133,700

文/ 徐婉禎 初見羅展鵬的繪畫，幾乎所有人的第一個反應，便是為他畫作極端的「寫實」所驚訝。在這裡所言及的「寫實」，其意義在表現高超繪畫技巧 下的細膩描繪，觀者驚訝於畫面精闢入裡的細節處理，因為「細微」，所以「相像」；因為「相像」，所以「寫實」。「寫實」，意謂「描寫 真實」，然而「真實」在不同地方確有所歧義，這裡的「真實」不是存有學本體論定義下的真理或實在，而是「相似」。如果再進一步去釐清 則是，這裡的「相似」不是就單一固定對象的複製而言，而是對普遍人類全體形象的描摹。不只精確掌握了外型輪廓的比例，就連頭上的毛髮 也是根根分明，就連皮膚表層的皴皺也是歷歷清晰，甚至皮膚還透顯出青筋似網絡的分佈與血管緩緩流動。但是，夾雜在對細微、對相像、對 寫實的驚呼聲中，我們不免要提出一連串的疑問：「藝術或繪畫難道只要細微、相像、寫實…就足夠？」、「羅展鵬的繪畫除了細微、相像、 寫實，難道就沒有其他？」 如果從古典的西方美學切入，例如：柏拉圖，那麼藝術（美；Kalos）將不與道德的善或實存的概念相區隔，藝術（美）是有層次階段的，開 始於知覺對象的感性而通達至形而上的精神，於是，藝術（美）作品便就是對現實世界可感事物的模仿，而現實世界則是對理相的模仿。文藝 復興時期的米開朗基羅也說：「藝術是模仿最理想的自然。」，對此「模仿論」或進一 步的「表象論」而言，藝術（美）在於盡其藝術家之所 能，精心細膩地描摹對象，描摹的同時也是分析與研究，分析研究對象的形象，最後所描摹的對象將不僅限於單一的個體對象，而是對普遍成 立的「最理想的自然」。若以此來詮釋羅展鵬的畫作，似乎相當程度上是成立的，羅展鵬的作品的確畫出了人之最細微的形象。 但是，中國美學卻有不一樣的看法，中國宋朝詩人蘇東坡於「論畫詩」有云：「論畫以形似，見與兒童鄰；作詩必此詩，定知非詩人。」對 中國美學體系而言，藝術（美）不在「形似」，甚至「形似」是作畫最低下的一環，中國美學講究「神逸」、講究「象外」、講究「氣韻生 動」。所以，若以此來闡述羅展鵬的作品，那他的作品是不是還有「形似」之外的其他？而且，從印象派乃至後印象派以降的繪畫，愈來愈脫 離對象的客觀性表象，而愈來愈傾向主體本身的主觀性表現，直至二十世紀則又以普遍客觀概念的存有論思辨，作為西方藝術的再一次轉向。 羅展鵬的繪畫是不是也受到這股巨大浪潮的影響？除了形似的表象，我們是不是也見到了竄流其中的藝術家的思考？ 細察羅展鵬的畫作可發現，畫作的表面有一層光暈，羅展鵬畫作上的光，和十七世紀巴洛克時期講求明暗強烈對比而猶如舞台聚光燈下的光不 同，也和十九世紀印象派探討太陽光照射下的色彩變化不同。羅展鵬作畫，不在強調光於畫面中入射的角度或位置，所以沒有刻意畫出光和影 之間的相對關係；他也不強調相異時間下光照不同所產生之色彩變化，所以沒有刻意以原色或互補色並置去製造視覺閃爍的效果。羅展鵬作 畫，不是直接面對「實物」寫生，實際作畫之前，他會將所欲描繪的人物對象以數位相機先拍成照片，再將此照片檔案傳輸至電腦，部分經過 軟體程式的處理呈現在螢幕，然後，他再描摹螢幕上的影像。因為經過以上手續的前製作業，他以他高超的技巧「忠實」描繪出螢幕上的影 像，於是，他的作品畫面幾乎都泛著光。羅展鵬畫作上的光，是漾泛在畫面之上的「螢光」，即螢幕由內向外射擊而出的電子光束，這是當代 籠罩在大量數位資訊之下的資訊社會才會有的當代語彙，這是資訊革命之後普遍人類的視覺型態，這也是羅展鵬畫作之能具有時代性的特點之 一。

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截至目前為止，羅展鵬的作品共有：「紅顏歌」系列、「草莓族大亂 鬥」系列、「草莓族百鬼夜行」系列、「草莓族青春日誌」系列、 「草莓族細胞分裂」系列。姑且不視其中的細節，綜觀所有作品，無 論哪一個系列，全都是他同年齡層的人物描寫，沒有老態的父執長 輩，沒有庸碌的中產階級，沒有學步的孩童以及慈愛的母親。他描畫 的盡是現今正發生的雙十年華的年輕歲月，全然沒有背景之肖像畫， 帶有祭壇遺照式的神聖，頗有當事者為當代事作史的企圖。這些尚屬 衝撞階段的「草莓族」，如位列司馬遷「史記」的編排體系，在「本 紀」、「表」、「書」、「世家」、「列傳」之中，當以事蹟能傳後 世的「列傳」屬之。羅展鵬尤其畫出他們各顯奇能、各展神通的本 事，儘管這些奇能與神通的本事只是虛張聲勢地故作姿態，但這虛張 聲勢與故作姿態似乎恰恰正是「草莓族」的寫照，我們可將羅展鵬的 這些作品稱為台灣二十一世紀的「草莓列傳」。 一九八三年生於嘉義的羅展鵬，其生長背景正值台灣社會劇烈變動的 時期，政治上是解嚴前後人民追求自由民主、經濟上是爆發戶的財富 剩餘、社會上由封閉而急速開放，在這個時期成長的世代，因為強烈 自我意識已成定調，因為優渥的物質生活使之難有上一代人辛勤打拼 的吃苦耐勞，極端的口號是：只要我喜歡，有什麼不可以？故而被比 喻為是承受不住壓力的草莓，有「草莓族」的封號。草莓的外表包裹 著自以為是的嬌滴紅豔，內裡的甜卻隱隱然只是小甜，內裡的酸也是 隱隱然的微酸，「草莓族」的喜怒愛恨就像那微酸小甜，在小小的、 微微的幅度裡翻滾。羅展鵬以他的作品充分展現出這些草莓特色，動 輒百號的畫幅，鄭重其事地為單一的個人立像，就像是為歷史偉人立 傳，細緻描繪的寫實手法就像是草莓的紅豔外衣，引人讚嘆、引人遐 思。然後那篤定堅實的目光、那齜牙咧嘴的兇狠、那撩撥蠱惑的慵 懶，就是虛虛輕晃的小甜微酸，滋味是有，但一點兒也不濃烈、一點 兒也不紮實。 濃重的外表與稀輕的內裡之間，形構出一種既輕且重的巧妙平衡，而 羅展鵬的作品便立足於這個平衡點上發展。他的態度是疏離冷漠的， 但他為之作傳的同世代對象正是自己的投射，這就像是用一種無熱度 的袖手旁觀，冷酷無情地看向自己，自己既是身著白袍、冷靜手執手 術刀的外科醫生，同時自己也是臥躺在床上無病呻吟的病患。這種自 己解剖自己的能力，在宇宙萬物之中是人類所獨有，這就是自我意識 的自省能力。面對自己，進而為當事人，出而為旁觀者，進進出出的 過程中，我們方得以有所領會、有所提升。羅展鵬的作品踩在內外衝 突的矛盾鋼索，為他以及他的同輩人立「草莓列傳」，為我們製造了 一個契機，讓我們看到台灣八０世代的草莓們，是如何審視自己以及 如何反省自己。 Text/Xu Wanzhen Seeing Lo Chan-peng’s paintings for the first time, almost all viewers are amazed by the extreme “realism” of his works. “Realism”, here, suggests the artist’s delicate and detailed depiction presented through his outstanding painting skills; viewers are amazed by his precise handling of detail. Precision gives semblance, and semblance achieves realism. To be realist means to depict reality. However, “reality” means different things in different places. “Reality” here does not imply ontological “reality” or “existence”, but resemblance. If we clarify this further, “resemblance” involves not just the duplication of a single object, but a sort of universal depiction of humanity. The artist not only grasps the proportion of physical outlines, but also the precise details of the hair and even the wrinkles on

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the skin. One may almost see the distribution of the blue veins and red arteries under the skin. Amid the cries about details, resemblance and realism, however, we can’t help but wonder: Are details, resemblance and realism enough for art or paintings? In addition to those features, are there no other qualities shown through Lo’s paintings?

In Western classical aesthetics, such as Plato’s dialogues on beauty, beauty (kalos) is not separated from the goodness of morality or from the concept of existence. Art (that is, beauty) is hierarchical, ascending from the sensibility of the perceived subjects to a kind of metaphysical state. Artistic works, therefore, can be seen as the imitation of perceivable objects in reality, and reality is an imitation of the ideal. Renaissance art master Michelangelo said, “Art is to imitate the most ideal nature”. In Imitation or Presentationism, the beauty of art is derived from the artist’s dedication to carefully delineating, researching and analyzing the images of the objects. In the end, the object represents not just a single individual but the universal and ideal “nature.” As a result, it seems possible to interpret Lo’s paintings in terms of such an understanding of beauty, since he does produce highly detailed images of people.

Chinese aesthetics views art differently. In On Painting and Poetry, Su Dungpo (1037 -1101), a Chinese poet of the Song dynasty, stressed that “seeking resemblance in painting comes close to the level of children, and pointing directly to the meaning in poetry is not the act of a poet”.

In Chinese aesthetics, the value of art (beauty) lies not in resemblance — this might even be said to be the basest level in Chinese painting. Chinese artists instead pursue “charm”; they seek “forms outside tangibility”; they seek “spirited rhythm”. In terms of such standards, are there any other qualities worth discussing except resemblance in Lo’s art? In the course from Impressionism to Post-Impressionism, Western painting also began to depart from the depiction of objective appearance to subjective expression.

In the 20th century, ontological debates over existence once again changed the currents of Western art. Was Lo influenced by the impact of those giant waves? In addition to resemblance, do we perceive the artist’s thoughts flowing through his works?

Viewing Lo’s paintings carefully, one sees a surface aura. The light in Lo’s paintings is different from the spotlight effect that emphasizes strong contrasts in 17th century Baroque paintings, and from the changes of color in sunlight explored by 19th century Impressionists. Lo does not stress the angles or positions of his light, nor purposefully create a glimmering visual effect with the juxtaposition of primary colors or complementary colors. Rather than directly making sketches of the “real objects”, Lo takes digital photos of his subjects first. He then transmits the files to his computer, partially edits them with software programs, displays them on the monitor, and finally copies from those images. Because of this process, he is capable of loyally depicting the images with his outstanding painting skills; this is why almost all of his paintings give off a glimmer of light.

The light shimmering on Lo’s paintings is the fluorescence, the electron beams emitted from inside the screen. This is the unique vocabulary of an information society overwhelmed by a mass of digital information. This is also the light common to all of humanity following the Information Revolution. And it is one of the characteristics that makes Lo’s painting so characteristic of the age.

Lo has so far created works including the “Young Beauty” series, the “Strawberry Generation: the Super Smash” series, the “Strawberry Generation: The Night Marching” series, the “Journal of Strawberry Generation” series and the “Youth Diary of Strawberry Division” series.

Regardless of the details of these works, all the figures he depicts belong to his generation. People of his father’s generation; the busy middle class; toddlers and loving mothers — all are nowhere to be seen. What he depicts is the younger generation in their twenties. Those portraits without backgrounds look like solemn pictures of the deceased; the artist seems to be writing contemporary history, as one involved in it. Sima Qian, a Chinese historian of the Han dynasty, wrote the Records of the Grand Historian (Shiji), which was divided into five categories: “Basic Annals”, “Tables”, “Treaties”, “Hereditary Houses” and “Ranked Biographies”.

If Lo’s “Strawberry Generation” were to be classed as one of these, still impulsive and emotional at their age, they would fit with the “Ranked Biographies”. Lo presents their marvelous and extraordinary talents in his paintings. Although they are just bluffing and posturing, such pretense and attitude make for a precise reflection of the “Strawberry Generation”.

We may call Lo’s works “the Ranked Biographies of the Strawberry Generation” for Taiwan in the 21st century.

Born in Chiayi in 1983, Lo grew up from the time when society in Taiwan experienced rapid changes. Politically, there was striving for democracy and freedom, before and after the lifting of martial law; in economics, the newly rich gained massive wealth; and socially, Taiwan transformed from being conservative to liberal and open. A strong sense of self became the norm, and wealthy material lives made it difficult for the young to be as diligent and frugal as the previous generation; an extreme slogan of that generation goes, “As long as I like doing it, why not do it?” They are

seen as “strawberries”, incapable of enduring pressure. Strawberries are encircled by a self-righteous glowing scarlet on the surface, yet on the inside they are just slightly sweet and slightly sour. Like the light sweetness and light sourness of strawberries, the emotions of the Strawberry Generation shift around on that modest scale. Lo fully demonstrates the features of those Strawberries through his paintings. Over hundreds of paintings, creating a portrait for one individual seems to be writing the biography of a great historical figure. Lo’s delicate and detailed figures always appear amazing and appealing, as gorgeously appealing on the surface as a strawberry. However, those certain and stern eyes, the fierce and angry grimaces, and that alluring idleness, are in fact just a projection of light and shallow feelings, neither strong nor solid.

Between the heavy exterior and the thin interior, there forms a kind of balance that is heavy as well as light, where Lo conceives the creation of his art. Lo maintains a cold and distant attitude, and yet the objects for which he writes these “biographies” are precisely projections of himself.

He coolly watches himself with the unconcerned indifference of a surgeon calmly wielding a scalpel. At the same time, he is also the patient in bed moaning and groaning, without illness. In all the world, humanity is the only species that possesses this ability to self-dissect, this sort of introspection evolved from self-awareness. One can be the person involved and yet simultaneously the onlooker. In the process of changing roles, we gain insight and spiritual elevation. Lo’s work walks a tightrope between inner and outer conflicts. He composes these “Strawberry Biographies” for himself and those of his generation, creating an opportunity for us to see how Taiwanese strawberries born in the 1980s reflect on and examine themselves.

373 HONG Ling (Chinese, b. 1955)

Spring Valley 2004 Oil on linen 210 x 180 cm Signed upper left Hong Ling in Chinese and dated 2004, Spring Snow in Chinese Signed on the reverse Hong Ling and titled Spring Valley in Chinese, inscribed 180cm x 210cm and dated 2004

NT$ 2,600,000-3,800,000 HK$ 642,000-938,000 US$ 82,700-120,900

洪凌 春鬧幽谷 2004 油彩 亞麻布 210 x 180 cm 簽名左上：洪凌 2004 春雪 簽名畫背：春鬧幽谷 180 cm x 210 cm 洪凌作于2004年

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374 Michell HWANG (HWANG Ming-che) (Taiwanese, b. 1948)

The Face of Eastern District 1992-94 Oil on canvas 180 x 230 cm Signed lower right Che in Chinese and dated 1994 Signed on the reverse titled The Face of Eastern District in Chinese, inscribed 180 x 230 and dated 1992-94 ILLUSTRATED: Michell Hwang-Faces of the Modern City, Galerie Pierre, Taichung, 1994, color illustrated

NT$ 3,200,000-4,200,000 HK$ 790,000-1,037,000 US$ 101,800-133,700

黃銘哲 台北東區的臉譜

作為台灣戰後第一代傑出的當代藝術家黃銘哲，以其獨特的藝術語彙，頗 具東方神韻、神秘色彩的繪畫，在華人藝術界享有盛譽。黃銘哲的藝術， 歷經了1970年代的鄉土寫實、1980年代的人文溫情主義、1990年代半抽象 的華麗繽紛都會生活風格。黃銘哲成長於禮教嚴明的宜蘭地區，因此其作 品常傳達出一種宗教性的感受，重複疊加的形體，帶有象徵主義和表現主 義的意味。從1985年首次個展開始，他的繪畫以男人和女人為主題的創作 ――男人全部是憂傷的國王形象，偏向表現主義；女人則從早期的少女漸 漸成熟為類似聖母的形象，氣息也由羞澀轉化為虔誠。黃銘哲的畫，重視 繪畫中高彩度色彩並置，以書寫性線條的交錯重疊製造肌理和層次。無 論是平面或是立體，「線」始終是黃銘哲藝術中最為突出、最為注重的特 質。這些靈動飛舞而蒼勁有力的線，構成一種介於理性與感性中的獨特韻 味。作品中繽紛燦爛的色彩、線的疾緩、粗細、流轉等高度反差所醞釀而 出的多端變化，將神秘世界抒寫得千變萬化。 Michell Hwang, first-generation splendid modern artist after WWII, is wellknown in the Chinese artistic circle because of unique artistic terms, glossaries and paintings with dense color of the oriental demeanor and mystery. The art of Michell Hwang has experienced the countryside realist painting in 1970s, the humanistic leniency in 1980s, and the semi-abstractive, colorful metropolitan lifestyle in 1990s. Michell Hwang grew up in Yilan, Taiwan, well-known for the education on rigorous Confucian ethical code. This way, his works always deliver a kind of religious experience. the connotation of symbolism and expressionism.

From his irst art show in 1985, Hwang’s paintings have focused on the theme of man and woman – all the men take the form of sad king, oriented towards expressionism; the women have grown from young ladies in the early stage to a figure like the Virgin Mary, with the atmosphere from shy to loyal. Michell Hwang addresses parallel layout of high tone colors in his paintings and builds texture and layers by interweaving and overlapping descriptive strips. “Line” is from time to time the most highlighted, emphasized property in the art of Hwang for no matter plane or solid. These flying, dynamic, and yet vital lines constitute a unique flavor amidst ration and sensibility. The changes cultivated by splendid colors, quick or slow lines, thickness and thinness, turning, and other sharp contrasts compose an ever-changing, mysterious world.

1992-94 油彩 畫布 180 x 230 cm 簽名左下：哲1994 簽名畫背：台北東區的臉譜 180 x 230 1992-94 圖錄： 「都會的臉譜」，臻品藝術中心，台中，1994，彩色圖版

375 HSIA Yan

(Taiwanese, b. 1932)

Pigeons in the City-New York 1989 Oil on canvas 102 x 142.5 cm Signed lower right YAN HSIA in English and dated 89

NT$ 3,200,000-4,000,000 HK$ 790,000-988,000 US$ 101,800-127,300

夏陽 都市之鳥–紐約 1989 油彩 畫布 102 x 142.5 cm 簽名右下：HSIA YAN 89

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376 CHU Teh-chun

(Chinese-French, 1920 - 2014)

Running and Cursive Script – Song of the Great Wind by Liu Bang 2000 Ink on paper 33 x 100 cm Signed lower left Tien-men Householder in Chinese With three seals of the artist

NT$ 3,200,000-4,200,000 HK$ 790,000-1,037,000 US$ 101,800-133,700

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朱德群 行草橫幅—劉邦大風歌 2000 水墨 紙本 33 x 100 cm 簽名左下：天門居士草 鈐印右上：朱德群書畫印 鈐印左下：龍城朱德群 釋文：大風起兮雲飛揚 威加海內兮歸故鄉 安得猛士兮守四方 劉邦 大風歌

377 JU Ming

(Taiwanese, b. 1938)

Taichi Series – Arch 1987 Wooden sculpture 38(L) x 46(W) x 54(H) cm Engraved Ju Ming in Chinese and dated '87

朱銘 太極系列-拱門 1987 木雕 38(長) x 46(寬) x 54(高) cm 簽名雕刻：朱銘 '87 附真善美畫廊開立之作品保證書

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

by Kalos Gallery, Taipei.

NT$ 3,600,000-4,600,000 HK$ 889,000-1,136,000 US$114,600-146,400

「太極拱門」原本是從雙人太極推手演化而來。藝術家說：「以前的推手，兩個個體間還有間距，而現在，我讓雙手連接起來，一連接，氣的 流動、肌肉的牽動，就相互貫通、活絡，合為一體，轉化成拱門的造型。」太極拳法瀟灑飄逸，你來我往之間，雙方拳者象徵著中國的陰陽兩 儀，推手的兩方又構成了太極的本體。朱銘從練太極拳中獲得自然的啟示，1970年代後期開始專研太極造型，逐漸發表一系列蜚聲國際的太極 系列雕塑，其中「太極拱門」可謂是頗具動感的一種姿態。 「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， 無論其大小，所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，散發出無限延伸之感。 "Taichi Series - Arch" originally evolved from "Taichi Pushing Hands". The artist said: "There are distances between two objects in the 'Pushing Hands' from the past, now, I have connected those too hands, once they are connected, the flow of chi, and movements of muscles are connected and alive, becoming a single object, and are transformed to an arch." Far from being just a martial art, Taichi is unrestrained and graceful, the relationship of two boxers are like the Chinese Ying Yang, pushing hands between two formed Taichi. Ju Ming was inspired by nature when he practiced Taichi, and gradually completed his world–famous Taichi Series. Among the series, "Arch" is one of the liveliest pieces of work.

The uniqueness of the "Taichi Series - 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 intensity 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

214

378 JU Ming

(Taiwanese, b. 1938)

Taichi 1992 Bronze, edition no. 3/20 61(L) x 51(W) x 56(H) cm Engraved on the back Ju Ming in Chinese and numbered 3/20 This sculpture is to be sold with a certificate of authenticity issued by Hanart TZ Gallery, Hong Kong.

NT$ 1,900,000-2,800,000 HK$ 469,000-691,000 US$ 60,500-89,100

朱銘 太極 1992 銅雕 3/20 61(長) x 51(寬) x 56(高) cm 簽名後側：朱銘 3/20 附香港漢雅軒畫廊開立之作品保證書

216

379 JU Ming

(Taiwanese, b. 1938)

Living World Series 1999 Wooden sculpture 67(L) x 57(W) x 28(H) cm Engraved Ju Ming in Chinese and dated '99 EXHIBITED : Collection of Ju Ming Charity Auction for 921 earthquake re-build program, Taipei, Nov. 2 - 4, 2000 ILLUSTRATED : Collection of Ju Ming Charity Auction, Taipei, 2000, color illustrated The sculpture is to be sold with a certificate of authenticity issued by Caves Gallery, Taipei.

NT$ 1,900,000-2,800,000 HK$ 469,000-691,000 US$ 60,500-89,100

朱銘 眾生群像 1999 木雕 67(長) x 57(寬) x 28(高) cm 簽名雕刻：朱銘 '99 展覽： 《典藏朱銘》慈善拍賣會，台北，展期自2000年11月2日至4日 (2000年911大地震，重建希望工程募款) 圖錄： 匯流大愛 同心協力打造希望工程《典藏朱銘》，台北，2000，彩色圖版 附敦煌畫廊開立之作品保證書

218

380 ZHOU Chunya (Chinese, b. 1955)

Green Dog 2005 Baked enamel on stainless steel, edition no. 8/8 68(L) x 18(W) x 31.5(H) cm Engraved on the base Zhou Chunya in Chinese, numbered 8/8 and dated 05

NT$ 1,100,000-2,200,000 HK$ 272,000-543,000 US$ 35,000-70,000

周春芽 綠狗 2005 鋼板 烤漆 不銹鋼 8/8 68(長) x 18(寬) x 31.5(高) cm 簽名底座：周春芽 05 8/8

220

381 HUNG Yi

(Taiwanese, b. 1970)

Floral Pattern Duck 2013 Lacquered steel 160(L) x 80(W) x 124(H) cm Signed on the back Hung Yi and dated 2013 engrave in Chinese on the back EXHIBITED: Happy Animal Party, The Hakone Open-Air Museum, Tokyo, Jul. 27 - Dec. 1, 2013 Happy Animal Party, Taichung Cultural & Creative Industries Park, Taichung, Jan. 1 - Mar. 4, 2014

NT$ 850,000-1,200,000 HK$ 210,000-296,000 US$ 27,100-38,200

洪易 花布鴨 2013 鋼板 烤漆 雕版 160(長) x 80(寬) x 124(高) cm 簽名後方：洪易 2013 雕 展覽： 《快樂動物派對》，森美術館，東京， 展期自2013年7月27日至12月1日 《快樂動物派對》，台中文創園區，台中， 展期自2014年1月4日至3月1日

222

382 Yang Pei-Chen (Taiwanese, b.1970)

Boot in My Twenties 2009 Wood 11(L) x 29(W) x 22(H) cm 10.5(L) x 29(W) x 21.5(H) cm Engraved bottom side Chen in Chinese and dated ′09 EXHIBITED: Engraving Memories : Yang Pei-Chen Solo Exhibition, My Humble Art Gallery, Taipei, Nov. 20 - Dec. 12, 2010 ILLUSTRATED: Engraving Memories : Yang Pei-Chen Solo Exhibition, My Humble Art Gallery, Taipei, 2010, color illustrated

NT$ 900,000-1,200,000 HK$ 222,000-296,000 US$ 28,600-38,200

楊北辰 二十歲的短靴 2009 桂楠木 11(長) x 29(寬) x 22(高) cm 10.5(長) x 29(寬) x 21.5(高) cm 簽名雕刻底部：辰 '09 展覽： 《雕刻記 憶–楊北辰個展》，寒舍空間，台北， 展期自2010年11月20日至12月26日 圖錄： 「雕刻 記 憶–楊北辰個展」，寒舍空間，台北， 2010，彩色圖版

224

383 Wang Keping (Chinese, b. 1949)

Kissing Couple 2000 Maple wood 37(L) x 32(W) x 47(H) cm signed on the bottom Wang in Chinese and K in Pinyin initial ILLUSTRATED: Wang Keping, Vibrant Life Publication, Hong Kong, 2008, color illustrated, p. 193

NT$ 850,000-1,200,000 HK$ 210,000-296,000 US$ 27,100-38,200

王克平 吻 2000 楓木 37(長) x 32(寬) x 47(高) cm 簽名底部：王K 圖錄： 《王克平》，律動生命出版社，香港，2008，彩色圖版，頁193

226

384 JU Ming

(Taiwanese, b. 1938)

Living World Series 2005 Wood 18.2(L) x 14.6(W) x 33.1(H) cm Engraved bottom side JU Ming in Chinese and dated 2005 This sculptures are to be sold with a certificate of authenticity issued by the artist

NT$ 500,000-800,000 HK$ 123,000-198,000 US$ 15,900-25,500

228

朱銘 人間系列 2005 木雕 18.2(長) x 14.6(寬) x 33.1(高) cm 簽名雕刻底部: 朱銘 2005 附藝術家親筆簽名之作品保證書

385 Yang Pei-Chen (Taiwanese, b.1970)

Beauty of the Night 2010 Cypress 24.5(L) x 10.3(W) x 6(H) cm Engraved top side Chen in Chinese and dated ′10 EXHIBITED: Engraving Memories: Yang Pei-Chen Solo Exhibition, My Humble Art Gallery, Taipei, Nov. 20 - Dec. 12, 2010

NT$ 700,000-900,000 HK$ 173,000-222,000 US$ 22,300-28,600

楊北辰 夜之華 2010 台灣檜木 24.5(長) x 10.3(寬) x 6(高) cm 簽名雕刻頂部: 辰 '10 展覽： 《雕刻記 憶–楊北辰個展》，寒舍空間，台北， 展期自2010年11月20日至12月26日

386 Daniel LEE

(Chinese, b. 1945)

Jungle 2007 Digital print, edition no. 26/75 40.5 x 102 cm Signed lower right Daniel Lee ′07 and numbered 26/75 EXHIBITED : Circus, Tangram Art Center, Shanghai, Mar. 5 - Apr. 4, 2011 Circus, Bridge Gallery, Beijing, Oct. 22 - Nov. 4, 2011 Circus, at In-Art Space, Tainan, Dec. 22, 2013 - Jan. 25,2014 Circus, at Moon Gallery, Taichung, Oct. 18 - Nov. 22, 2014 Looking Glass / Daniel Lee Retrospective, Taipei Fine Art Museum, May. 21 - Aug. 14 (all Exhibited in different editions)

NT$ 70,000-90,000 HK$ 17,000-22,000 US$ 2,200-2,900

李小鏡 叢林 2007 數位輸出 26/75 40.5 x 102 cm 簽名右下：26/75 Daniel Lee '07 展覽： 「馬戲團」李小鏡個展，7 藝術中心，上海，展期自2011年3月5日至4月4日 「馬戲團」李小鏡個展，橋畫廊，北京，展期自2011年10月22日至11月4日 「馬戲團」李小鏡個展，加力畫廊，台南，展期自2013年12月22日至2014年1月25日 「馬戲團」李小鏡個展，月臨畫廊，台中，展期自2014年10月18日至11月22日 「鏡—李小鏡回顧展」，臺北市立美術館，台北，展期自2016年5月21日至8月14日 (以上皆為不同版次)

387 HSIA YI FU

(Chinese, 1925-2016)

Green Pine 2011 Ink and color on paper 58 cm (diameter) Signed lower left ‘Yi Fu’ and dated 2011 both in Chinese This painting is to be sold with a certificate of authenticity issued by Howard Salon, Taipei.

NT$ 90,000-180,000 HK$ 22,000-44,000 US$ 2,900-5,700

夏一夫 綠松 2011 彩墨 紙本 58 cm（直徑） 簽名左下：二〇一 一 一夫 附福華沙龍與藝術家親筆簽名之原作保證書 230

388 Daniel LEE

(Chinese, b. 1945)

Circus 2010 Archival print edition no. 6/75 36 x 100 cm Signed lower right D Lee ′10, edition numbered 6/75 EXHIBITED : Circus, Tangram Art Center, Shanghai, Mar. 5 - Apr. 4, 2011 Circus, Bridge Gallery, Beijing, Oct. 22 - Nov. 4, 2011 Circus, at In-Art Space, Tainan, Dec. 22, 2013 - Jan. 25,2014 Circus, at Moon Gallery, Taichung, Oct. 18 - Nov. 22, 2014 Looking Glass / Daniel Lee Retrospective, Taipei Fine Art Museum, May. 21 - Aug. 14 (all Exhibited in different editions) This art work is to be sold with a certificate of authenticity signed by the artist and Boss Art Gallery

NT$ 70,000-90,000 HK$ 17,000-22,000 US$ 2,200-2,900

389 HSIEH Hsiao-De (Taiwanese, b. 1940)

Guanyin Mountain 2011 Watercolor on paper 77 x 108 m Signed lower left Hsieh Hsiao-De in Chinese and dated 2011

NT$ 40,000-60,000 HK$ 10,000-15,000 US$ 1,300-1,900

謝孝德 觀音山 2011 水彩 紙本 77 x 108 cm 簽名左下：2011謝孝德

李小鏡 馬戲團 2010 數位輸出 6/75 36 x 100 cm 簽名右下：D Lee '10 展覽： 「馬戲團」李小鏡個展，7 藝術中心，上海， 展期自2011年3月5日至4月4日 「馬戲團」李小鏡個展，橋畫廊，北京， 展期自2011年10月22日至11月4日 「馬戲團」李小鏡個展，加力畫廊，台南， 展期自2013年12月22日至2014年1月25日 「馬戲團」李小鏡個展，月臨畫廊，台中， 展期自2014年10月18日至11月22日 「鏡—李小鏡回顧展」，臺北市立美術館，台北， 展期自2016年5月21日至8月14日 (以上皆為不同版次) 附東之畫廊與藝術家親筆簽名之作品保證書

390 CHANG Wan-chuan

張萬傳

(Taiwanese, 1909 - 2003)

四條魚

Four Fishes

水彩 紙本 21.5 x 28 cm 簽名右下：CHANG. 万

Watercolor on paper 21.5 x 28 cm Signed lower right CHANG in English and Wan in simplified Chinese This painting is to be sold with a certificate of authenticity issued by Mingshan Art, Taipei

NT$ 50,000-70,000 HK$ 12,000-17,000 US$ 1,600-2,200

232

附名山藝術開立之作品保證書

391 MA Pai-sui

(Taiwanese, 1909-2003)

Taroko Gorge 1980 Ink and color on paper 60 x 45.5 cm Signed lower right Pai-sui and dated 1980 both in Chinese With one seal of the artist

NT$ 90,000-180,000 HK$ 22,000-44,000 US$ 2,900-5,700

馬白水 太魯閣 1980 彩墨 紙本 60 x 45.5 cm 簽名右下：白水 一九八〇 鈐印右下：MA PAI SUI

392 HUANG Yao Tang (Taiwanese, b.1948)

A Room with a View 2005 Oil on canvas 40 x 30 cm (x2) Signed on the reverse: E.M. FOSTER HUANG.2005 BRUXEUES in English and dated 2005 EXHIBITED: Buddha Jump the Wall, William Gallery, Taipei, Aug. 1 - 20, 2008

NT$ 60,000-80,000 HK$ 15,000-20,000 US$ 1,900-2,500

234

黃耀堂 窗外有藍天 2005 油彩 畫布 40 x 30 cm (x2) 簽名畫背：E.M. FOSTER (x2) HUANG.2005 BRUXEUES 展覽： 「香檳佛跳牆」，威廉藝術中心，台北， 展期自2008年8月1日至8月20日

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

Seashore c. 1970s Oil on paperboard 31.5 x 41 cm Signed lower right Ching-jung in Chinese RPOVENANCE: Collection of Mike M. Isaji, Taipei, since 1970s

NT$ 80,000-160,000 HK$ 20,000-40,000 US$ 2,500-5,100

陳景容 海邊 約1970年代 油彩 紙板 31.5 x 41 cm 簽名右下：景容 簽名畫背框條：陳景容作「海邊」(雙面畫) 來源： 伊左次勝先生收藏，台北 (1970年代至今)

394 LEE Chun-Yi (Taiwanese, b. 1965)

Landscape of Huangshan 2015 Ink on paper 25.5 x 30.5 cm This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 90,000-180,000 HK$ 22,000-44,000 US$ 2,900-5,700

236

李君毅 黃山詩意 2015 水墨 紙本 25.5 x 30.5 cm 附藝術家親筆簽名之原作保證書

395 TUNG Hsin Ru (Taiwanese, b. 1964)

Image of Mind 98-3 1998 Oil on canvas 60 x 60 cm Signed on the reverse TUNG Hsin Ru in Chinese and dated ′98

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

董心如 心影 98-3

1998 油彩 畫布 60 x 60 cm 簽名畫背：董心如 '98

396 CHANG Chen-yu (Taiwanese, b. 1957)

Island 1989 Oil on canvas 85 x 85 cm Signed lower left Chen-yu in Chinese and dated 89

NT$ 110,000-200,000 HK$ 27,000-49,000 US$ 3,500-6,400

238

張振宇 孤島 1989 油彩 畫布 85 x 85 cm 簽名左下：89 振宇

397 LIU Keng-I

(Taiwanese, b. 1938)

Yaco Seashore in Pingtung 1997 Pastel on paper 76 x 102 cm Signed lower left Keng-I in Chinese and dated 1997 The painting is to be sold with a certificate of authenticity issued

by Caves Gallery, Taipei.

NT$ 130,000-220,000 HK$ 32,000-54,000 US$ 4,100-7,000

劉耿一 屏東啞口海乾 1997 粉彩 紙本 76 x 102 cm 簽名左下：耿一 1997 附敦煌畫廊開立之原作保證書

398 CHEN Ching-jung

陳景容

(Taiwanese, b. 1934)

秋林

Forest in Autumn

約1970年代 油彩 畫布 53 x 40.5 cm 簽名畫背：陳景容

c. 1970s Oil on canvas 53 x 40.5 cm Signed on the reverse Chen Ching-jung in Chinese RPOVENANCE: Collection of Mike M. Isaji, Taipei, since 1970s

NT$ 140,000-240,000 HK$ 35,000-59,000 US$ 4,500-7,600

240

來源： 伊左次勝先生收藏，台北 (1970年代至今)

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

Senza Titolo 1987 Mixed media on paper 36 x 54 cm Signed lower right Hsiao in English, Chin in Chinese dated 87 in Chinese This painting is to be sold with a certificate of authenticity issued

by Allegrini Arte, Italy

NT$ 150,000-260,000 HK$ 37,000-64,000 US$ 4,800-8,300

蕭勤 無題 1987 綜合媒材 紙本 36 x 54 cm 簽名右下：HSiAO 勤 八七 附阿萊格里尼當代藝術開立之原作保證書

400 CHANG Wan-chuan (Taiwanese, 1909 - 2003)

Nude 1987 Oil on canvas 19 x 36 cm Singed lower left CHANG in English, Wan in Simplified Chinese and dated 87.2

NT$ 140,000-200,000 HK$ 35,000-49,000 US$ 4,500-6,400

242

張萬傳 裸女 1987 油彩 畫布 19 x 36 cm 簽名左下：CHANG 万 87. 2

401 Lampo LEONG

(Chinese-American, b. 1961)

Elation I 2016 Ink on paper 144.7 x 90.2 cm Signed lower left Lampo Leong in English With three seals of the artist EXHIBITED: Inkscape with works by Lampo Leong, Imago Gallery and Cultural Center, April 15-22, 2016 Inkscape Lampo Leong Ink Painting Exhibition, Central Academy of Fine Arts, Beijing, Sep 1-12, 2016

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

梁藍波 激蕩 I

2016 水墨 紙本 144.7 x 90.2 cm 簽名左下：Lampo Leong 鈐印左下：藍波 鈐印右上：藍波 鈐印右下：梁 展覽： 《墨象》梁藍波當代水墨展，哥倫比亞意象畫廊 和文化中心，美國，展期自2016年4月15日至22日 《墨象》梁藍波水墨藝術展，中央美術學院，北 京，展期自2016年9月1日至12日

402 CHEN Liu

(Chinese, b. 1973)

The Celestial Series - Nappping 2007 Oil on canvas 140 x 80 cm Signed lower right CHEN Liu in Chinese and dated 2007.4.

ILLUSTRATED: Eminent Chinese Artist: Chen Liu – The Celestial, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, p. 92 This painting is to be sold with a certificate of authenticity issued by Loftyart Gallery, Taipei.

NT$ 130,000-220,000 HK$ 32,000-54,000 US$ 4,100-7,000 244

陳流 天空界之沈睡入神 2007 油彩 畫布 140 x 80 cm 簽名右下：陳流 2007.4. 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92 附高士畫廊開立之原作保證書

403 LIAO Yu-an

(Taiwanese, b. 1979)

Battle Before Getting Out of Bed No. 2 2007 Acrylic on canvas 130 x 130 cm Signed on the reverse Liao Yu an in Chinese and English, dated 2007

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

廖堉安 起床前的奮鬥 No. 2

2007 壓克力 畫布 130 x 130 cm 簽名畫背：廖堉安 LIAO Yu-an 2007

404 Max LIU

(Taiwanese, 1912 - 2002)

A Bumper Harvest 1981 Mixed media on paper 37 x 50 cm Signed lower right Max. L in English and in Chinese phonetic alphabet and dated 81 PROVENANCE : Acquired directly from the artist

NT$ 160,000-260,000 HK$ 40,000-64,000 US$ 5,100-8,300

246

劉其偉 年年有餘 1981 綜合媒材 紙本 37 x 50 cm 簽名右下：Max. L ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 81 來源： 現有藏家購自藝術家本人

405 Max LIU

(Taiwanese, 1912 - 2002)

Year of the Horse 1989 Mixed media on paper 50 x 35 cm Signed lower right Liu Chi-wei in Chinese phonetic alphabet and dated 1988 (Chinese numerals) This painting is to be sold with a certificate of authenticity issued

by InArt Space, Tainan.

NT$ 170,000-280,000 HK$ 42,000-69,000 US$ 5,400-8,900

劉其偉 馬年 1989 綜合媒材 紙本 50 x 35 cm 簽名右下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〨〩 附加力畫廊開立之原作保證書

406 Max LIU

(Taiwanese, 1912 - 2002)

Africa series 1988 Mixed media on canvas mounted onto paper 47 x 35 cm Signed lower left Liu Chi-wei in Chinese phonetic alphabet and dated 1988 (Chinese numerals) This painting is to be sold with a certificate of authenticity issued by InArt Space, Tainan.

NT$ 170,000-280,000 HK$ 42,000-69,000 US$ 5,400-8,900 248

劉其偉 非洲系列 1988 綜合媒材 畫布裱於紙本 47 x 35 cm 簽名左下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〨〨 附加力畫廊開立之原作保證書

407 Alixe FU (FU Qingli, Ching-Fong) (Chinese-French, b. 1961)

Nue au dessus d’un vase 1990 Oil on canvas 81 x 60 cm Signed lower right Alixe Fu in English ILLUSTRATED: Alixe Fu, East Gallery, Taipei; Galerie Patrick Chemama, Paris, 1990, color illustrated, p. 50

NT$ 170,000-280,000 HK$ 42,000-69,000 US$ 5,400-8,900

傅慶豊 花瓶上的裸體 1990 油彩 畫布 81 x 60 cm 簽名右下：Alixe Fu 圖錄： 《傅慶豊》，東之畫廊，台北；派帝克畫廊，巴黎，1990， 彩色圖版，50頁

408 Chang-Ling

(Taiwanese, b. 1975)

Pork Belly Series - Flesh, Flowers and Birds A Haunting Swallow 2007 Oil on canvas 117 x 91 cm Signed on the reverse Chang Ling and titled Pork Belly Series Flesh, Flowers and Birds -A Haunting Swallow both in Chinese, dated 2007

NT$ 180,000-280,000 HK$ 44,000-69,000 US$ 5,700-8,900

250

常陵 五花肉系列－肉花鳥－夢縈燕燕圖 2007 油彩 畫布 117 x 91 cm 簽名畫背：五花肉系列—肉花鳥—夢縈燕燕圖 常陵 2007

409 HUANG Ming-chun (Taiwanese, b. 1971)

Sunny 2009 Oil on canvas 92 x 116.5 cm Signed lower center Huang Ming in English, titled Fish in Chinese and dated ′09 Signed on the reverse Huang Ming titled Sunny both in Chinese EXHIBITED: No. 25 the Soul of Light, Fish Art Center, Taipei, Dec. 11, 2009 - Jan. 31, 2010

NT$ 200,000-300,000 HK$ 49,000-74,000 US$ 6,400-9,500

黃敏俊 晴 2009 油彩 畫布 92 x 116.5 cm 簽名中下：HUANG MINGCHUN '09 魚 簽名畫背：黃敏俊 晴 展覽： 「25號光靈魂之彩虹雨」，秋刀魚藝術中心，台北， 展期自2009年12月11日至2010年1月31日

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

Prima della Tempesta 28 1978 Acrylic on paper 53 x 39 cm Signed lower right Hsiao in English, Chin in Chinese dated 1987 in Chinese Signed on the reverse titled Prima della Tempesta 28 in Italian

NT$ 200,000-300,000 HK$ 49,000-74,000 US$ 6,400-9,500

252

蕭勤 陣雨前之廿八 1978 壓克力 紙本 53 x 39 cm 簽名右下：Hsiao 勤八七 簽名題識左中：陣雨前之廿八 簽名畫背：陣雨前之廿八 壓克力 紙本 53 x 39 cm

411 Chen Chao-Pao (Taiwanese, b. 1948)

Seaside 2003 Mixed media on paper 47 x 137 cm Signed lower right Chao-Pao in Chinese and A PAO in English With two seal of the artist

NT$ 200,000-300,000 HK$ 49,000-74,000 US$ 6,400-9,500

陳朝寶 海濱 2003 綜合媒材 紙本 47 x 137 cm 簽名右下：朝寶A PAO 鈐印右下：朝寶書畫

412 YANG Din

(Chinese, b. 1958)

Sérénité 2009 Mixed media on canvas 100 x 100 cm Signed lower right : Yang Din Signed on the reverse Yang Din in English, titled Sérénité inscribed 100 x 100 cm and dated 2009 exhibited: Daydream Voyage - A solo exhibition by Tang Din, Modern Art Gallery, Taichung, May. 23 - Jun. 23, 2009

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

254

楊登雄 觀賞 2009 綜合媒材 畫布 100 x 100 cm 簽名右下：Yang Din 簽名畫背：Yang Din Sérénité 2009 100 x 100 cm 展覽： 「神遊–楊登雄個展」，現代畫廊，台中，展期自2009 年5月23日至6月23日

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

Flowing 1989 Oil on canvas 65.5 x 91 cm Signed lower left LIEN Chien-hsing in Chinese and dated 1989 EXHIBITED: Second Solo Oils Exhibition-No. 2 Seasonal Exhibition, Tri-Color Art Center, Taipei, 1989 ILLUSTRATED: Second Solo Oils Exhibition-No. 2 Seasonal Exhibition, Tri-Color Art Center, Taipei, 1989, color illustrated

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

連建興 流 1989 油彩 畫布 65.5 x 91 cm 簽名左下：連建興 1989 展覽： 「心靈的放生者」，三原色藝術中心，台北，展期 1989年 圖錄： 「心靈的放生者」，三原色藝術中心，台北，1989， 彩色圖版

414 CHEN Ting-shih (Taiwanese, 1916 - 2002)

Abstract 1986 Acrylic on paper 95 x 70 cm Signed upper right Chen Ting-shih and dated 1986 in Chinese and English

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

256

陳庭詩 抽象 1986 壓克力 紙本 95 x 70 cm 簽名右上：陳庭詩 86 CHEN Ting-shih

415 HSIA YI FU

(Chinese, 1925 - 2016)

Landscape 2012 Ink on paper 48 x 27 cm Signed lower right ‘Yi Fu’ in Chinese and dated 2012 With one seal of the artist This painting is to be sold with a certificate of authenticity issued by PiaoPiao Gallery, Taipei.

NT$ 220,000-320,000 HK$ 54,000-79,000 US$ 7,000-10,200

夏一夫 山澗 2012 水墨 紙本 48 x 27 cm 簽名左下：二〇一二 鈐印：一夫 附一票人票畫空間與藝術家親筆簽名之原作保證書

416 Max LIU

(Taiwanese, 1912 - 2002)

Sitting on Horse (Self-Portrait) 2002 Mixed media on paper 39.5 x 54.5 cm Signed lower middle Liu Chi-wei in Chinese phonetic alphabet and dated 2002 (Chinese numevals)

NT$ 260,000-360,000 HK$ 64,000-89,000 US$ 8,300-11,500

258

劉其偉 馬上威風－自畫像 2002 綜合媒材 紙本 39.5 x 54.5 cm 簽名中下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〢 〇 〇 〢

417 HUANG Gang (Chinese, b. 1961)

Beijing, My Home 2008 Mixed media on board 150 x 150 cm Signed lower right Huang Gang in Chinese and English

NT$ 850,000-1,300,000 HK$ 210,000-321,000 US$ 27,100-41,400

黃鋼 北京我的家 2008 綜合媒材 木板 150 x 150 cm 簽名右下：Huang Gang 黃鋼

418 ZHOU Chunya (Chinese, b. 1955)

Green Dog 3 2011 Bronze, edition no. 4/10 23(L) x 33(W) x 29(H) cm Signed on lower back Zhou Chunya in Chinese and English, numbered 4/10 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$ 99,000-123,000 US$ 12,700-15,900

260

周春芽 綠狗 3

2011 銅雕 4/10 23(長) x 33(寬) x 29(高) cm 簽名左後：4/10 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作品保證書

419 HSI Shih-pin

(Taiwanese, b. 1977)

Uhugu II - The Little Phoenix 2012 Stainless steel, titanium plating, edition no. 1/3 63(L) x 28(W) x 86(H) cm Engraved HSI Shih-pin in Chinese and English, titled Uhugu II dated 2012, numbered #1/3 EXHIBITED : Mercury, Accton Gallery, Hsinchu, Jul. 11 – Aug. 29, 2012 A horoscope built out of our chariots, Liang Gallery, Taipei, Mar. 4 – 31, 2012 The Memory Palace, Museum of Contemporary Art, Taipei, Taipei, Sep. 6 – Nov. 2, 2014

NT$ 460,000-650,000 HK$ 114,000-160,000 US$ 14,600-20,700

席時斌 烏忽古II–小鳳鳥 2012 不鏽鋼 鍍鈦 1/3 63(長) x 28(寬) x 86(高) cm 雕刻簽名：席時斌 Uhugu II #1/3 2012 展覽： 「水星」席時斌個展，智邦藝術館，新竹，展期 自2012年7月11日至8月29日 「在我們的馬車上製作一座星盤」席時斌個展， 尊彩藝術中心，台北，展期自2012年8月4日至31 日 「記憶之宮」席時斌個展，台北當代藝術館， 台北，展期自2014年9月6日至11月2日

420 Poren HUANG (Taiwanese, b. 1970)

What the Heck !

2010 Stainless, edition no. PR 3/12 28(L) x 28(W) x 31(H) cm Engraved on the base PR in English, numbered 12-3 PR and dated 2010

NT$ 260,000-360,000 HK$ 64,000-89,000 US$ 8,300-11,500

262

黃柏仁 哇靠 2010 不鏽鋼 PR 3/12 28(長) x 28(寬) x 31(高) cm 簽名底座：2010. 12-3, PR

421 JU Ming

(Taiwanese, b. 1938)

Taichi Series – Single Whip 1987 Unsaturated polyester resin, calcium carbonate, oil color paste, edition no. 244/300 28.5(L) x 14.4(W) x 18.2(H) cm Numbered on the bottom 244/300 This sculpture is to be sold with a certificate of limited reproduction issued by Ju Ming Museum, Taipei.

NT$ 110,000-220,000 HK$ 27,000-54,000 US$ 3,500-7,000

朱銘 太極系列—單鞭下勢 1987 不飽和聚酯樹脂 碳酸鈣 油性色母 244/300 28.5(長) x 14.4(寬) x 18.2(高) cm 版次底部：244/300 附朱銘美術館限量複製品證明書

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2016年12月4日（星期日）下午2:00

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RAVENEL AUTUMN AUCTION 2016 TAIPEI Modern and Contemporary Asian Art TA1603 Sunday, 4 December 2016, 2:00 pm

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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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