RAVENEL SPRING AUCTION 2017 SELECT: Modern & Contemporary Art
羅芙奧 2017 春季拍賣會 薈萃：國際現代與當代藝術拍賣
AUCTION
拍賣日期 / 地點
Saturday, 3 June 2017, 2:00 pm Taipei Marriott Hotel 3F (Grand Space Hall) No. 199, Lequn 2nd Road, Zhong Shan District, Taipei
2017年6月3日（六） 下午 2:00 台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路199號
PREVIEWS
預展日期 / 地點
Taichung
台中 2017年5月13日（六） 下午1:00至下午6:00 2017年5月14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
Kaohsiung
高雄 2017年5月20日（六） 上午11:00至下午6:00 2017年5月21日（日） 上午11:00至下午6:00 高雄琢璞藝術中心 高雄市前金區五福三路63號8樓
Taipei
台北 2017年6月1日（四）至 6月3日（六） 上午10:00至下午6:00 台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路199號
Saturday, 13 May 2017, 1:00 pm - 6:00 pm Sunday, 14 May 2017, 11:00 am - 6:00 pm Fong-Yi Art Gallery (Next to the National Taiwan Museum of Fine Arts) No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan
Saturday, 20 May 2017, 11:00 am - 6:00 pm Sunday, 21 May 2017, 11:00 am - 6:00 pm J. P. Art Center 8F, No. 63, Wu Fu 3 Road, Qianjin District, Kaohsiung,Taiwan
Thursday to Saturday, 1-3 June 2017 10:00 am - 6:00 pm Taipei Marriott Hotel 3F (Grand Space Hall) No. 199, Lequn 2nd Road, Zhong Shan District, Taipei
As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This auction catalogue: NT$ 2,000 per copy.
Arthur Wang 王鎮華
Chairman 董事長
Clara Kuo 郭倩如
Vice Chairman 副董事長
Wendy Lee 李雅欣
Chief Operation Officer 營運長
陳惠黛 Odile Chen
傅斐郡 Flora Fu
國際藝術部 總經理 Head of International Art Department Chief Specialist
台北藝術部 總經理 President, Art Department, Taipei
何瑩 Vivi He
林慧菁 Maggie Lin
業務發展部 總監 Head of Business Development Department
台北藝術部 副總經理 Vice President, Art Department, Taipei
游景涵 Carol Yu
黃詩涵 Stella Huang
國際藝術部 初級專家 Junior Specialist, International Art Department
台北藝術部 經理 Manager, Art Department, Taipei
陳昱良 Iris Chen
蔡晉欣 Olivier Tsai
國際藝術部 業務 Sales, International Art Department
台北藝術部 副理 Assistant Manager, Art Department, Taipei
翁境優 Tiff Wong 國際藝術部 業務助理 Assistant, International Art Department
李政希 Xiu Lee 上海商務代表 Representative, Shanghai
CONTENTS 5
Sale Information 羅芙奧春季拍賣會
8
Ravenel Services 羅芙奧之服務
11
SELECT: Modern and Contemporary Art 薈萃：國際現代與當代藝術
197
Absentee Bid Form 委託競投表格
199
Transaction Agreement 業務規則
203
Index 藝術家索引
RAVENEL STAFF AND SERVICES FOR THIS SALE
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Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. It is also possible to bid online for selected lots. Please refer to ravenel.com for more information. 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.
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The catalogues are available for subscription. For details of subscription, please refer to the explanations of the catalogue or contact the above persons.
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Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday. Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you. Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.
羅芙奧2017春季拍賣會服務部門及連絡人
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SELECT: MODERN & CONTEMPORARY ART Saturday, 3 June 2017, 2:00 pm Taipei Marriott Hotel (Grand Space Hall)
Lots 001 – 099
001
WALASSE TING
(Chinese-American, 1929 - 2010)
Woman with Parrots and Flowers
丁雄泉
Acrylic on ricepaper 37.5 x 48.5 cm
六美圖
With one seal of the artist PROVENANCE: Private collection, USA Private collection, Europe
NT$ 280,000 - 420,000 HK$ 72,000 - 108,000 US$ 9,300 - 13,900
壓克力 紙本 37.5 x 48.5 cm 鈐印左上：採花大盜 來源： 私人收藏，美國 私人收藏，歐洲
002
WALASSE TING
(Chinese-American, 1929 - 2010)
Girl with a Blue Hat 1980s Acrylic on paper 47 x 71 cm With one seal of the artist PROVENANCE: London Art Group, USA Private collection, Asia
丁雄泉 戴藍帽的女孩 1980年代 壓克力 紙本 47 x 71 cm 鈐印右上：採花大盜 來源 : 倫敦藝術集團畫廊，美國 私人收藏，亞洲
NT$ 300,000 - 440,000 HK$ 77,000 - 113,000 US$ 9,900 - 14,600
Ravenel 13
003
YANG DIN
(Chinese, b. 1958)
Paysage
楊登雄
2003 Mixed media and oil on canvas 89 x 116 cm
風景
Signed lower right Yang Din in English Signed on the reverse Yang Din , titled Paysage , inscribed 89 x 116 cm and dated 2003 PROVENANCE: Galerie Blom, Dordrecht, Netherlands Private collection, France
NT$ 220,000 - 340,000 HK$ 57,000 - 87,000 US$ 7,300 - 11,300
2003 綜合媒材 油彩 畫布 89 x 116 cm 簽名右下：Yang Din 簽名畫背：Yang Din "Paysage" 2003 89 x 116 cm 來源： 布洛姆畫廊，多德雷赫特，荷蘭 私人收藏，法國
PAYSAGE YANG DIN 華裔旅法藝術家楊登雄，自1980年定居於浪漫之都，透過其細膩純粹的
the viewer often becomes enlightened as to the concept referred
筆觸繪出一張張浩瀚靜謐的風景。透過旅行實踐美學生活，透過記憶繪出
to by Eastern philosophers as “the sensory world is an illusion;” it
無限的想像空間，面對這樣的作品，觀者往往能悟出東方所追求的色即是
is in this illusory void that myriad phenomena of the universe are
空，雖是空卻蘊含了宇宙萬象，同時畫面透過不規則層次的顏料，跳脫物
embodied. At the same time, the scenic backdrops, created using
質本身而晉升到精神性的境界。
uneven layers of pigment, transcend the material world and are elevated into a spiritual plane.
在楊登雄的作品中，畫面常常是由一隻孤鳥、一棟房子 一棵樹等等的單 一主體聚焦，而背景則是無盡的穹蒼世界，引人沈思。然而，畫面卻不使
Throughout Yang’s body of works, the focus of an image is often
人孤單，大面積的留白，反而使人獲得更寬闊的天地。而就在人們傾身找
a single subject--a bird, a house, or a tree, while the background
尋如此和諧的空間時，楊登雄指出「這些風景只存在我個人腦中，別處哪
is the vast and infinite cosmos that draws one into the realm of
兒找不到」。這些地方皆是源自於美好感性的旅程記憶，沉思停留之後自
contemplation. But, one does not derive a sense of loneliness from
然流露於畫面中的和諧。
the paintings; rather, the large areas of spaces left blank provide a greater sense of freedom from restraint. Even as viewers endeavor
而《風景》畫面中出現的斑駁肌理，隱喻著稍縱即逝的時間，貌似生命經
to seek out such a space of serenity and harmony, Yang has been
歷所留下的痕跡。楊登雄筆下的樹木，總是清雅脫俗，簡約俐落，對於外
known to say that, "these sceneries exist only in my mind and cannot
界紛擾的社會，在面對他筆下的大樹的同時，早已忘卻煩惱，跟隨著他從
be found elsewhere. " All of these realms are engendered from the
容不迫的筆觸，去蕪存菁的氛圍，在在體現了楊登雄筆下的魅力。
beauty and sensibilities of his travel memories; following a period of condensation and stillness, harmony flows forth naturally into the
Chinese-French artist Yang Din has resided in Paris since 1980. He
depicted images.
has created many paintings of vast, serene landscapes through the use of simple, delicate brush strokes. He lives out his aesthetic
In "Paysage," the mottled and fading textures of the canvas signify
lifestyle through travels, and has created boundless imaginary spaces
the transience of fleeting time as well as the traces left behind by
inspired by memories. In the face of creative artworks such as these,
life experiences. The trees depicted by Yang Din are always refined and graceful, simple and well-proportioned. In a world abounding in clamor and conflict, all troubles fall away when in view of these trees of magnificent elegance. It is in these unhurried brush strokes and atmosphere of pure, unadulterated essence that the soothing charm of Yang Din can be fully experienced.
楊登雄《紫色》1998 油彩 畫布 110 x 190 cm 羅芙奧台北2010春季拍賣會 台幣900,000元成交 YANG Din, Purple Landscape, 1998, oil on canvas Ravenel 2010 Spring Auction Taipei US$ 27,890 sold
Ravenel 15
005
JEAN CARZOU
(French-Armenian, 1907 - 2000)
Souvenirs de Stresa 1979 Oil, ink, pen, crayon on paper 49 x 63.5 cm Signed lower right Carzou in French and dated 79 PROVENANCE: Private collection, Asia
尚．卡魯茲 斯催沙之憶（義大利） 1979 油彩 墨 鋼筆 鉛筆 紙 49 x 63.5 cm 簽名右下：Carzou 79 來源： 私人收藏，亞洲
NT$ 220,000 - 320,000 HK$ 57,000 - 82,000 US$ 7,300 - 10,600
亞美尼亞裔法國籍藝術家尚．卡魯茲，原名卡尼克．茲
great 20th century writers, including illustrations
魯曼，在其漫長的藝術生涯中創作佳作無數，除油畫之
for various Hemingway and Albert Camus’s classic
外，他亦從事插畫設計和舞台美術的工作。他曾為諸多
novels.
20世紀最偉大的文學家的作品設計插圖，如海明威、 卡繆的多部經典小說的插圖皆出自他的手筆。
Carzou was born in the city of Aleppo in northern Syria, to an Armenian family. He created the stage
卡魯茲出生在敘利亞北部城市阿勒頗的一個亞美尼亞人
name Carzou from the first syllables of his given
家庭。他用自己的名和姓的第一個音節為自己取了藝名
name and sur name. Even though he changed
C a r z o u。雖改了名字，但依舊心繫亞美尼亞傳統，不
his name, his heart never strayed from Armenian
忘族人的困苦與掙扎。他早年在開羅學習，1924年赴
traditions, nor did he forget his people’s struggles.
巴黎學習建築。畢業後從事劇院裝潢工作，但很快便決
He was educated in Cairo, before going to Paris
心投身繪畫事業。自1939年起，他舉行過100次個展，
in 1924 to study architecture. After graduating,
展覽遍及巴黎，法國國內及海外。1976年，卡魯茲的
he started to work as a theater decorator, but
作品被用在法國的郵票上，當時他成為首位獲此殊榮的
soon dedicated himself to painting. From 1939
在世藝術家。1977年，他被選為法蘭西藝術學院終身
onwards, he held over 100 solo exhibitions across
院士，2000年去世後，2002年華裔抽象大師趙無極接
Paris, France, and the rest of the world. In 1976,
替他的席次成為終身院士。
Carzou’s work was featured on France’s stamps, the first contemporary artist to receive such honor. In
Born Karnik Zouloumian, Armenian-French artist
1977, he was elected a member of the Institut de
J e a n C a r z o u c re a t e d c o u n t l e s s m a s t e r p i e c e s
France, Académie des beaux-arts, Carzou passed
throughout his long artistic career. Other than oil
away in 2000. His membership in the Académie was
paintings, he also worked in illustration design
succeed by Chinese-origin abstract artist Zao Wou-
and stage art. He created illustrations for many
ki in 2002.
Ravenel 17
006
BERNARD CHAROY (French, b. 1931)
A Lady Wearing Chiffon Dress
貝爾納．夏洛瓦
c. 1980s Oil on canvas 60.5 x 49.6 cm
輕紗
Signed lower right Bernard Charoy in French Signed on the reverse Bernard Charoy in French PROVENANCE: Galerie Elegance, Taipei Acquired from the above by the present owner in 1991
NT$ 220,000 - 340,000 HK$ 57,000 - 87,000 US$ 7,300 - 11,300
貝爾納．夏洛瓦1931年5月26日出生於法國東部洛林省的大 南。以柔和的女性肖像畫最為人所知，風景作品細膩而頗富詩 意情調。夏洛瓦於1955年，開始在巴黎蒙馬特工作室與當地藝
約1980年代 油彩 畫布 60.5 x 49.6 cm
術家一同工作，並向藝術家、畫家、設計師學習繪畫及版畫。
簽名右下：Bernard Charoy 簽名畫背：Bernard Charoy
自1970年代起至今，夏洛瓦受邀於各地展出。
來源： 愛力根畫廊，台北 現有收藏者於1991年得 自上述來源
known for soft female portraits. His landscape paintings are
1960年代起，接受新聞及雜誌社委託，特別為媒體完成許多旖 旎之作。其油畫作品則更加柔美浪漫、風光明媚，廣受青睞。
Bernard Charoy was born on May 26th, 1931, in Nant-leGrand, in the region of Lorraine in eastern France. He is best exquisite and quite poetic. In 1955, Charoy started working in the workshops of Montmartre with local artists, and learned painting and lithography from artists, painters, and designers. Beginning in the 1960s, with commissions from the press and magazine publishers, he started contributing many mellifluous pieces especially to the media. Particularly graceful and romantic, and depicting beautiful and radiant scenery, his oil paintings attracted wide attention. From the 1970s to the present, Charoy has been invited to exhibit all over the world.
007
JEAN JANSEM
(French, 1920 - 2013)
Nature morte
強．詹 森
1988 Pastel on paper 61 x 46.5 cm
靜物
Signed lower left Jansem and dated 88
1988 粉彩 紙本 61 x 46.5 cm 簽名左下：Jansem 88
來自亞美尼亞的法國藝術家，詹森1920年出生於土耳其布爾薩，因戰 亂隨家族遷移至希臘，後定居發展於巴黎，畢業於巴黎高等裝飾藝術學 院。獨有的風格，深受全球藏家喜愛，兩間詹森美術館設立於日本長 野安曇野及東京都銀座。1977年獲頒法國藝術與文學騎士勳章，2003 年榮譽軍團騎士勳章，2010年獲亞美尼亞總統頒發榮譽勳章。其作品 現典藏於巴黎現代藝術博物館、巴黎丹納瑞博物館、莫斯科普希金博物 館，以及亞美尼亞國家美術館等藝術機構。
PROVENANCE: Chin Tien Gallery, Taipei Acquired by the present owner from the above in 1993
來源： 金典畫廊，台北 現有收藏者於1993年得 自上述來源
A French-Armenian artist, Jean Jansem was born in Bursa, Turkey
This painting is to be sold with a certificate of authenticity issued by Chin Tien Gallery, Taipei.
附金典畫廊開立之原作 保證書
collectors around the world. There are two Jansem art museums in
in 1920. Due to the outbreak of war, his family moved to Greece. Later, he settled down in Paris and graduated from the École des Arts Décoratifs de Paris. His distinctive style is much favored by Japan, namely, the Azumino Jansem Museum in Nagano, and the Jansem Museum Tokyo in Ginza. In 1977, he was awarded the French Ordre des Arts et des Lettres (Order of Arts and Letters) and then
NT$ 260,000 - 380,000 HK$ 67,000 - 98,000 US$ 8,600 - 12,600
the Legion of Honor in 2003. In 2010, he was awarded the Medal of Honor by the president of Armenia. Jansem's works are housed in the Museum of Modern Art in Paris, the Musée d'Ennery in Paris, Moscow's Pushkin Museum, and the National Gallery of Armenia. Ravenel 19
008
WALASSE TING
(Chinese-American, 1929 - 2010)
Fishes (Koi)
丁雄泉
c.1988 Acrylic on ricepaper, mounted onto canvas 65 x 94 cm
鯉魚
With one seal of the artist PROVENANCE: Private collection, USA Private collection, Europe
NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,600 - 15,900
約1988年 壓克力 紙本 裱於畫布 65 x 94 cm 鈐印右上：採花大盜 來源： 私人收藏，美國 私人收藏，歐洲
009
WALASSE TING
(Chinese-American, 1929 - 2010)
Lady with Fruits
丁雄泉
Acrylic on paper 88 x 95.5 cm
美人與果籃
With one seal of the artist PROVENANCE: Private collection, Europe
壓克力 紙本 88 x 95.5 cm 鈐印右下：採花大盜 來源： 私人收藏，歐洲
NT$ 480,000 - 700,000 HK$ 123,000 - 180,000 US$ 15,900 - 23,200
Ravenel 21
010
CHEN TING-SHIH (Taiwanese, 1916 - 2002)
Day and Night #79
陳庭詩
1983 Woodblock print, edition no. 7/50 60 x 60 cm
晝與夜 #79
Signed lower right Chen Ting-Shih , titled lower left Day and Night #79 in English, numbered 7/50 and dated 1983 EXHIBITED: CHEN Ting-shih: 80th Anniversary Retrospective, Taiwan Museum of Art, Taichung, December 25, 1993 - March 13, 1994 Chen Ting-Shih: Sound of Rarity Retrospective Exhibition , Taipei Fine Arts Museum, Taipei, September 28 December 15, 2002 Chen Ting-Shih Memorial Exhibition , Kaohsiung Museum of Fine Arts, Kaohsiung, March 22 - June 12, 2005 ILLUSTRATED: Chen Ting-shih: 80th Anniversary Retrospective , Taiwan Museum of Art, Taichung, 1993, color illustrated, p. 85 Chen Ting-Shih (1915–2000): Sound of Rarity , Taipei Fine Arts Museum, Taipei, 2002, color illustrated, p. 118 Wander Beyond Reality – Chen Ting-Shih , Hsiung Shih Art Book, Taipei, 2004, color illustrated, p. 73
NT$ 130,000 - 190,000 HK$ 33,000 - 49,000 US$ 4,300 - 6,300
1983 蔗版 版次7/50 60 x 60 cm 簽名右下：Chen Ting-shih 1983 題識左下：Day and Night #79 7/50 展覽： 「陳庭詩八十回顧展」，台灣省立美術館，台中， 展期自1993年12月25日至1994年3月13日 「大律希音－陳庭詩紀念展」，台北市立美術館，台北， 展期自2002年9月28日至12月15日 「天問－陳庭詩藝術創作紀念展」，高雄市立美術館，高雄， 展期自2005年3月22日至6月12日 圖錄： 《陳庭詩八十回顧展》，台灣省立美術館，台中，1993， 彩色圖版，頁85 《大律希音－陳庭詩紀念展》，台北市立美術館，台北， 2002，彩色圖版，頁118 《神遊•物外－陳庭詩》，雄獅圖書股份有限公司，台北， 2004，彩色圖版，頁73
011 CLAUDE VENARD (French, 1913 - 1999)
Boat Oil on canvas 33 x 41 cm Signed lower right C. Venard in French This painting is to be sold with a certificate of authenticity issued by Claude Vermassen, Antibes.
NT$ 140,000 - 220,000 HK$ 36,000 - 57,000 US$ 4,600 - 7,300
1913 年 3 月 21 日出生於巴黎，克勞德．維納爾曾為「新力量」畫派的成 員之一；「新力量」藝術運動主張繪畫應在經歷立體主義運動後，回歸 為一種傳統的專業，是法國的後立體主義畫派。然而，自 1950 年代起， 維納爾的作品逐漸脫離了他早期推崇的「新力量」畫派的理念，雖沿襲 了立體派的構圖，但其具像的繪畫風格、用色鮮明的畫面、加上以畫刀 堆疊顏料層的技法，使得其畫作具有個性而獨特的幾何美感。藝術家在 世時，即於法國、德國、美國、巴西等地多次展出。 1999 年過世於法國 薩瓦利，享年 86 歲。其作品典藏於全球各知名美術館，包括倫敦泰特美 術館、巴黎現代藝術博物館、紐約大都會藝術博物館、達拉斯博物館、 德國慕尼黑新繪畫陳列館、東京博物館等。 Claude Venard was born on March 21st, 1913 in Paris. He was one of the members of Forces Nouvelles. The French Post-Cubist art group “Forces Nouvelles” proclaimed that “painting” should return to a traditional profession after the Cubism. However, Venard’s work begun to distanced the ideology of “Forces Nouvelles” which he
克勞德．維納爾 船 油彩 畫布 33 x 41 cm 簽名右下：C. VENARD 附代理畫廊負責人Claude Vermassen開立之原作保證書
used to appraise, since 1950s. Although he followed the composition of cubist paintings, the figurative style, the contrasting colors, and the technique of piling paints with painting knife together shows his unique geometric aesthetic. Venard’s work have been exhibited frequently in France, Germany, United States, Brazil and the others. The artist died in 1999, in Savary, France, aged 86. His work could be found in many major museums’ collection, including Tate in London, Musée d'Art Moderne in Paris, the Metropolitan Museum of Art in New York, Dallas Museum of Art, Neue Pinakothek in Munich and the Tokyo National Museum.
Ravenel 23
012
CHIN SUNG
(Chinese-American, 1932 - 2007)
The Upside Down Chiang 1960 Oil and mixed media on paper, mounted onto carton 55 x 80 cm Signed center left Chin Sung in Chinese and English, dated ‘60 PROVENANCE: Dimensions Art Center, Taipei Private collection, Asia
NT$ 240,000 - 360,000 HK$ 62,000 - 93,000 US$ 8,000 - 11,900
秦松
秦松，安徽人。1949年移居台北後即進入台北師範學校，1952年
倒蔣
畢業。1957年創辦現代版畫會並任該會會長直至1969年。1950年
1960 油彩 綜合媒材 紙裱於紙板 55 x 80 cm
代晚期以後，作品先後獲獎於紐約國際版畫學會及第五屆巴西聖保
簽名左側：秦松 Chin Sung '60
羅雙年展等，秦松對台灣畫壇之發展貢獻良多，除了1959年加入東 方畫會創始會員外，並從1966年至1967年出任現代藝術季主席。 1969年遷居至美國，並繼續活躍於當地及台灣畫壇。1980年至 1982年之間，任紐約華裔美術家協會副主席。1993年獲台北國立
來源：
歷史博物館頒發國家獎章，作品廣為台北國立歷史博物館、台北市
帝門藝術中心，台北
立美術館、耶魯大學圖書館以及哈佛大學等海內外之機構收藏。
私人收藏，亞洲
Born in Anhui, 1932. Chin Sung migrated to Taipei in 1949. He attended Taipei Normal School and graduated from its Department of Fine Arts three years later. In 1957, he founded the Modern Prints Association and became its president, a position he held until 1969. In the late 1950s, Chin was awarded prizes at the International Graphic Art Association in New York and at the 5th International Biennial Art Exhibition in Sao Paolo. Chin has made important contributions to other key artistic groups and events in Taiwan. He joined the Ton Fan (Eastern) Art Association in 1959. After moving to USA in 1969, Chin began to exhibit his works there, primarily in New York. He served as joint chairman of the Artists of Chinese Origin Association in New York from 1980 to 1982. Chin was awarded the National Award of the National History Museum Taipei in 1993 and his works have been collected by the National History Museum Taipei, Taipei Fine Arts Museum, Yale University Library and Harvard University, among other prominent institutions.
Ravenel 25
013
RICHARD TEXIER
(French, b. 1955)
L’Horizon est plus grand
理查．泰西爾
1991-1994 Oil on canvas 81 x 65 cm
地平線更廣大
Signed on the reverse R.TEXIER and dated 1991, 1994 ILLUSTRATED: Patrick Grainville, Richard Texier, Editions de La Différence, Paris, 1995, color illustrated, p. 260
NT$ 240,000 - 360,000 HK$ 62,000 - 93,000 US$ 8,000 - 11,900
1991-1994 油彩 畫布 81 x 65 cm 簽名畫背：1991 R.TEXIER 1994 圖錄： 派翠克．葛漢維爾編著，《理查，泰西爾》，拉迪 菲杭斯出版社，巴黎，1995，彩色圖版，頁260
014
RICHARD TEXIER
(French, b. 1955)
La Vertical du M
理查．泰西爾
1992 Bronze, wooden stand; unique 48(L) x 62(W) x180(H) cm
M之垂軸
Signed on the bottom of the base R. TEXIER , titled La vertical du M, inscribed Paris , and dated 1992 ILLUSTRATED: Patrick Grainville, Richard Texier by Editions de La Différence, Paris, 1995, black-and-white illustrated, p. 306
1992 銅雕 木台座 單一件 48（長） x 62（寬）x 180（高）cm 簽名台座底部：Paris R. TEXIER 1992 La vertical du M 圖錄： 派翠克．葛漢維爾編著，《理查，泰西爾》，拉迪菲杭 斯出版社，巴黎，1995，黑白圖版，頁306
NT$ 500,000 - 750,000 HK$ 129,000 - 193,000 US$ 16,600 - 24,900 Ravenel 27
當代最重要的超現實主義藝術家，來自法國西海岸的開闊洶湧，擁有建築和造型藝術雙博士學位。平面繪畫與雕塑全才，被 東方巨擘趙無極稱為「能使魚兒在天空飛的畫家」。泰西爾相信藝術就是自由，內在精神與外部宇宙的連結。受邀展出在法 國龐畢度藝術中心、盧森堡國家美術館、莫斯科文化陳列館、國立台灣美術館、上海美術館等國際級藝術機構。 藝術不是離群索居，而是圓融地擁抱世界，連結自我與外在的羈絆。1979年從紐約開始，遊牧的工作室，泰西爾隨心所致 地遷移如遠洋水手。投身不熟悉的環境，誠實面對內心現狀，讓一切拋開過去，迎向新的創作挑戰。大自然賜予泰西爾靈 感，如繁星標註航海家的座標，指引他創作方向。繪畫與雕塑，一脈相承，皆是他源源不絕創造精神力的展示。 1992年創作於巴黎近郊的舊鈕扣眼製造廠 （Manufacture des oeillets 現址：Théâtre des Quartiers d'Ivry 伊夫里劇場）， 從十五世紀天文學與航海史汲取靈感，創作出一系列以銅為主體的雕塑裝置。銅雕作品《M之垂軸》來自於環形星球儀 （Armilla），以M為代稱的地平線。質量沈穩的工業零件，造型組合如蒸氣巨輪，穩坐在四腳筆直的高台。視覺感上沉下輕， 如船隻漂浮航行於大洋，受不可見地心引力牽制，牢牢繞行著地球。 泰西爾的雕塑作品，可說是集結各家藝術學說的珍貴精萃。回歸生活感受的表述，同時突破外在寫實的侷限，達到內在精神 的描繪，不受素材限制，凸顯不可見的時間感，並以日常的現成物創作。藝術的汪洋裡，他是昂帆的水手，生乎於海天之 界，開創了自己的航道。泰西爾喜歡在廣闊的空間中創作，隨四季變換，遊牧在大自然無私的靈感。燦金色、寶石藍、象牙 白、鴿血紅，是他描繪海洋的四個顏色。原始藝術的圖騰，賦予創作無窮生命力。變換深海生物、史前動物的型態，創作如 穿越時空，將具象的有機物，簡煉成單細胞生物的蛋形輪廓。 油畫作品《地平線更廣大》，創作在1991至1993年間，如遠洋水手對東方島嶼的想像。聯想到大航海時代，金黃背景如夕 陽灑落，波光閃耀海平面。畫面中心黑色筆觸，如同海上列嶼，以巨龍姿態貫穿畫面，頭角如船首筆直的尖，龍爪似船錨尖 銳的鉤。人心就像一抹越過天際的紅，透過觀星儀和羅盤，即使航向未知領域，也能擁有自信且不失準頭。層層疊疊，以繁 星連結座標，刻畫海面彼岸可能存在的大陸，是人們對發現新世界的嚮往。 泰西爾的創作是創世下濃縮的永恆抽象，人類精神深刻在天地的結晶。關乎生命存續，回歸自然生生不息的精神力，使泰西 爾的作品跨越語言和國界，像溫暖洋流滋養豐富每一位觀者的心。
RICHARD TEXIER 理 查· 泰 西 爾
One of the most important surrealist artists of the contemporary
nature. Vibrant gold, sapphire blue, ivory white, ruby red,
era, Texier hails from the vast shores of the French western
these are the four colors with which he depicts the ocean.
coastline, and has doctorates in both architecture and plastic art.
The patterns of primitive art give him endless creative
Talented in both painting and sculpture, he was once acclaimed
force. By mutating the forms and shapes of deep sea
as "the artist who could make fish fly in the sky " by Zao Wou-ki,
creatures and prehistoric animals, his work is like time travel,
surrealist authority of the East. He believes that art is freedom, the
simplifying figurative organic matter into the egg-shaped
connection between inner consciousness and the outer universe.
silhouettes of single-cell organisms.
He has been invited to exhibit his work at Centre Pompidou, the National Museum of Luxembourg, the House of Culture in
Created between 1991 and 1993, "L’Horizon est Plus
Moscow, Russia, National Taiwan Museum of Fine Arts, Shanghai
Grand" resembles an ocean sailor's imagination of an
Art Museum and other internationally renowned art institutions.
eastern island. Reminiscent of the Age of Discovery, the golden background shines as do rays of the glorious
Art isn't isolation; instead, it is embracing the world with an
setting sun, while the waves of the sea shimmer and
open mind, connecting the inner self and bonding with the
sparkle. The black brushstrokes in the center are like an
outside world. Starting with New York in 1979, Texier has worked
island on the sea, piercing the image in the form of a
nomadically all across the world, moving from place to place
dragon’s descent, with horns as straight and sharp as
at whim like an ocean sailor. He immerses himself in unfamiliar
the head of a ship, and claws as sharp as anchors.
environments, and reflects honestly upon his state of mind,
The human mind is like the streak
letting go of the past to welcome new creative challenges. Nature
of red across the sky, confident
bestows inspiration upon Texier, guiding him in his creations like
and assured with the use of
stars guiding a navigator at sea. Painting and sculpting go hand
astrolabes and compasses while
in hand, both testaments to his endless creative energy.
sailing towards the unknown. Layers upon layers, guided by
I n 1992, a t a o l d e y e l e t f a c t o r y i n t h e s u b u r b s n e a r P a r i s
connecting stars, mapping out
(Manufacture des oeillets, now the Théâtre des Quartiers d’Ivry ),
the land that could possibly exist
he was inspired by 15th century astronomy and navigation history
on the other side of the sea, is
to create a series of bronze sculpture installations. "La Vertical du
mankind's longing to discover a
M" is inspired by the movable M representing the horizon found
new world.
on the armillary sphere. Industrial parts with weighted textures are fitted together like a steam wheel, and firmly positioned atop
Texier's work is the concentrated,
a four-legged stand. Visually, it appears to be substantial on top
eternal abstraction of the
and light on the bottom, like a boat floating at sea, tethered by
c re a t i o n , t h e q u i n t e s s e n c e o f
invisible gravity in its circulation of the earth.
the human spirit etched within the earth. This flowing energy
Texier's sculpture is a rare epitome that encompasses the
that speaks to the continuation
essences of all art theories. It embodies the return to conveying
of life and the return to nature
the true feelings of life while also breaking from the bounds
enables Texier's work to transcend
of realism, depicting the inner spirit free from restriction of
languages and cultures, enriching
materials, emphasizing an unseen sense of time, and using
the viewer's heart and soul with
everyday materials for artistic creations. A sailor with open sails in
the warmth of an ocean current.
the ocean of art, he lives between the sky and the sea, traveling upon his own creative journey. Texier likes to work in open spaces, and with each turn of the season, draws inspiration from the selflessness and generosity of
《M之垂軸》局部 "La Vertical du M" in detail
Ravenel 29
015
KUMI SUGAÏ
(Japanese, 1919 - 1996)
Quatre Pièces
菅井汲
1970 Oil on canvas 40 x 40 cm
四件
Signed lower right SUGAÏ in French
40 x 40 cm
PROVENANCE: Private collection, France Private collection, Asia
簽名右下：SUGAÏ 簽名畫背：QUATRE PIÈCES 1970 SUGAÏ
NT$ 340,000 - 500,000 HK$ 87,000 - 129,000 US$ 11,300 - 16,600
1970 油彩 畫布
來源： 私人收藏，法國 私人收藏，亞洲
菅井汲1919年出生於日本神戶市東灘區。曾入學大阪美術工藝學
characters that he used in his paintings and instead giving
校，後因病退學。1937年就職於阪急電鉄宣傳課主管商業設計一
them his own independently-derived significance. Sugai's later
職。1952年留學法國，把日本傳統的浮世繪木刻版畫形態和技
work tended to use clear, distinct colors and forms to express a
巧，結合自己的獨特藝術理念，融會貫通以其異國風情的藝術風格
modest, down-to-earth aesthetic stance.
享譽巴黎美術界。最初受超現實主義和抽象藝術影響，作品多為 「象形文字」的描繪。1962年逐漸改變創作風格，去掉漢字原先
This particular work by Kumi Sugai, entitled "Quatre Pièces,"
本身的意義，形成菅井汲自創的文字創意。作品多以清晰的色彩和
was created during the period when he was working on a mural
形式的來表達謙遜嚴謹的美學態度。
at the National Museum of Modern Art, Tokyo after returning to Japan following a car accident in Paris. It represents a
菅井汲筆下的這幅《四件》作品是正值他在巴黎交通事故後，回到
new stage in his artistic career, as Sugai once again began to
日本在東京國立近代美術館繪製壁畫的時期所做，在藝術創作的道
emphasize the importance of form, adopting circles and lines
路上再次重申形態的必要性，引入幾何圖案中圓和直線倡導「不定
within geometric shapes that reflected his advocacy of Art
形藝術」。重組的漢字則有一種超然的純粹感，在創新和舊態中無
informel. Sugai's reconstructed Chinese characters have a kind
法識別，似神秘東方的古老方言和西方圖騰的神秘符號，引人入勝
of sublime purity that prevents them from being pigeonholed as
又扣人心弦。
either "innovative" or "traditional." The combination of a quasimystical ancient Asian "dialect" with the mystery of Western-
作品色調幽靜卻有淡淡的光芒，把顏色中的溫暖和人性融入抽象的
style totemic symbolism has a hypnotic power, and exerts a
形態。脫離原有漢字結構，施以既溫和卻又醒目的赭石色，如同千
direct emotional impact on the viewer.
溝萬壑間沙石之光。菅井汲後期作品中的輪廓線條更加深刻，幾何 感強烈，此作有著流暢朦朧的筆觸。菅井汲再次定義「不定形藝
"Quatre Pièces" is painted using muted color tones, and yet it
術」的粗獷輪廓美學，使觀者經過深入觀察，作品遵從漢字嚴謹有
has a faint radiance, with the warmth and humanity of the colors
序的傳統之上，又如超現實主義幻境。不禁要為藝術家的拿捏精準
being somehow fused into the abstract forms. In moving beyond
而感到驚嘆！
the original structure of the Chinese characters, and in utilizing a reddish-brown color that is both warm and visually-striking,
Kumi Sugai was bor n in the Higashinada district of Kobe
Sugai was able to achieve an effect similar to the light emanating
City, Japan in 1919. He enrolled in the Osaka School of Fine
from grains of sand in a deep valley. Kumi Sugai's later work was
Arts, but had to withdraw due to illness. In 1937 he took up a
characterized by more pronounced outline and a strong sense
position in commercial advertising design in the advertising
of geometric form; this particular painting stands out because
department of the Hankyu Kyuko Railway Company. After
of its smooth, "misty" brushwork. Kumi Sugai succeeded in
traveling to France to study in 1952, Sugai integrated traditional
redefining the rough "contour aesthetics" of Art informel, in
Japanese Ukiyo-e woodblock print forms and techniques with
such a way that, as the viewer starts to examine the work more
his own unique artistic vision; his exotic artistic style won him
closely, it becomes clear that the artist has gone beyond the
great renown within artistic circles in Paris. Initially, Sugai was
rigorous, systematic tradition of the Chinese character to create
heavily influenced by the Surrealist and Abstract Impressionist
a surrealist vision. The viewer cannot help but feel astounded at
movements; most of his works during this early period involved
the precision with which the work has been executed!
pictograms. In 1962, Sugai began to gradually change his style, abandoning the original inherent meaning of the Chinese
Ravenel 31
016
HSIAO CHIN (XIAO QIN) (Taiwanese, b. 1935)
Pintura-DK
蕭勤
1959 Oil on canvas 61 x 37 cm
繪畫DK
Signed lower right Hsiao in English, Chin in Chinese and dated 59. PROVENANCE: Dimensions Art Center, Taipei Private collection, Asia
1959 油彩 畫布 61 x 37 cm 簽名右下：HSIAO勤59. 來源： 帝門藝術中心，台北 私人收藏，亞洲
NT$ 480,000 - 700,000 HK$ 123,000 - 180,000 US$ 15,900 - 23,200
回顧蕭勤一生的藝術創作，他於1955年完成一幅最早的抽象作品紙上繪 畫，題目取為《抽象》。他認為這是自己真正創作的始點。蕭勤根據李 仲生的教學方式，放棄各種既定的繪畫形式與流派，探索繪畫的基本元 素。雖然表面上似乎有歐洲畫家米羅與克利的影響，但評論家認為其中 潛藏著「蕭勤風格」，黑色的線條符號來自晚周石鼓文的筆劃結構，線 條的邊緣有墨水的滲透張力，自動性的線條與速度軌跡，「在時間上是 靜止而無限的」，為蕭勤重要的一種用筆風格。
Looking back on the artist's long career, we find that he completed his first abstract painting on paper in 1955, titled "Abstract." Hsiao felt that his creative career truly began with that painting. Following Li Chun-shan's didactic approach, he discarded the idea of slavishly following any one artistic genre or school, and instead began to explore the basic elements of painting. At first glance, the influences of the European painters Miro and Klee appear to be obvious, but many critics find his style to be suffused with his own distinctive structural characteristics, in particular the black calligraphic lines reminiscent of Zhou dynasty stone inscriptions, blurry at the edges where the color is allowed to seep outwards a bit, generating all the tension and sense of movement associated with calligraphic strokes. The overall impression is that "the
static state of the image, frozen in time, yet allows for unlimited expression. " This is one of the trademarks of Hsiao’s style.
Ravenel 33
017
CHU TEH-CHUN
(Chinese-French, 1920 - 2014)
Sans titre
朱德群
1979 Ink and wash on paper 46 x 35 cm
無題 1979 水墨 紙本 46 x 35 cm
Signed lower right Chu Teh-chun in Chinese and English
簽名右下：朱德群 CHU TEH-CHUN.
PROVENANCE: Acquired directly from the artist Important private collection
來源： 直接得自藝術家本人 重要私人收藏
Note: This artwork will be included in the upcoming catalog raisonné of the artist.
註：此作未來將收錄於藝術家的編年目錄 附藝術家妻子朱董景昭女士開立之原作保證書
This work is to be sold with a certificate of authenticity signed by the artist's wife, Ching-chao Chu.
NT$ 650,000 - 1,000,000 HK$ 167,000 - 257,000 US$ 21,500 - 33,100 朱德群1920年出生於江蘇，1941年畢業於國立杭州藝專（今中國
and emotion". This influenced Chu Teh-chun deeply, and
美術學院），師承林風眠。林風眠認為中西繪畫的融合要義在於
influenced him to go to the West to explore the new world.
「形式與情緒之表達」，這對朱德群影響深遠，讓他繼承師後踏
After he went to Paris, he was attracted by abstract paintings
上西方新世界，也讓他到了巴黎馬上被抽象繪畫吸引，進而展開
immediately. As a result, he started his journey of exploring
一生探索抽象繪畫的旅程。初始學習以西方的眼睛觀察對象物，
abstraction. In the beginning, he learned to use a western
試圖以「非」或「去」的哲學，將自然剝離、簡化外部世界、
perspective to observe the environment. For example, he tried
慢慢體會到抽象的內涵不在抽離，而是對「外部世界」的「肯
to simplify the outside world. Gradually, he realized that the
定」。而後內化和交融，「心」與「境」合一，使其深知回到中
meaning of abstraction is not deduction, or simplification. It
國文化的養分中找尋創作內涵與動機。漸漸地，由描寫對象進而
should be a positive attitude towards the outside world. After
內化對象，於是他開始訴說存於心底的自然。
his true understanding of the outside world, he knew he had to get back to Chinese culture to find out the motivation for his
擅長書法藝術之故，用筆、筆觸的表現，一直是朱德群的特色之
creativity. As a result, he changed his style from illustrating the
一。他謹記古代畫家的格言，用毛筆令世事從渾沌中脫穎而出。
true outside world, to expressing the imagination of Mother
他的筆觸無所忌憚，大筆刷出濕潤的韻律，在畫面上形成優美、
Nature.
富涵力度的肌理。光線的運用，讓他的作品有一種古典氣勢，像 古典繪畫般的莊嚴、神聖（朱德群自稱他的「光」來自於林布蘭
S i n c e h e w a s w e l l v e r s e d i n c a l l i g r a p h y, o n e o f t h e
的啟發）。他的光線除了具有光源的性質外，也與印象派相關。
characteristics of his paintings is the use of brush strokes.
光線決定了畫面的色彩和結構，形成色暈的交輝和意境的生成。
He remembered the words from ancient painters, saying
閔希文認為，「朱德群七十年代之後許多作品中的『光』可視為
that the function of a brush is to make things stands out
中國傳統文化中『陰』與『陽』的關係......『光』已從『光源』
from a chaotic world. His brush has a fluid rhythm, creating
散落開來，撒到畫面的每一個角落，使世界在『陰』與『陽』
beautiful, powerful lines on the paintings. On the other hand,
的互補中獲得生機。同時，這些『光』還以『留白』的方式創
his use of light makes his works look classical. (He said the
造了空間，它在『空無』中放飛人的想像，在『無』中催生了
light in his paintings is inspired by Rembrandt.) His use of
『 有 』 —— 朱 德 群 將 中 國 的 智 慧 與 西 方 的 眼 睛 有 機 地 結 合 在 一
light is also influenced by Expressionism. The light decides
起，在一個有限的空間中創 造了無限。」
the arrangement of color and structure in his paintings, it constructs the atmosphere of the images. His fellow artist, Min
Chu Teh-chun was born in Juangsu in 1920. He graduated
Xiwen once said, "The light in Chu Teh-chun's works can be
from Hangzhou National College of Art (the former China
seen as the expression of Yin and Yang. It also creates spaces
Academy of Art) in 1941. His teacher was Lin Fengmian. Lin
in the paintings. He uses Chinese wisdom to fulfill the physical
believed that the point of combining the style of Chinese
world. "
and Western painting is to emphasis "the expression of form
Ravenel 35
018
RENÉ GRUAU
(Italian-French, 1909 - 2004)
Portrait d'élégante (Countess with Hat)
勒內．格魯瓦
1936 Gouache and ink on paper 41 x 28 cm
優雅女爵肖像
Signed lower right Gruau in French PROVENANCE: Important private collection, Monte Carlo
1936 水粉 墨 紙本 41 x 28 cm 簽名右下：Gruau 來源： 重要私人收藏，蒙地卡羅
NT$ 420,000 - 650,000 HK$ 108,000 - 167,000 US$13,900 - 21,500
勒內•格魯瓦1909年2月4日出生於義大利，是義大
René Gruau was born in Italy, on 4 February 1909,
利伯爵與法國貴族之後，家境富裕。從1930年代中
he was the son of an Italian Count and a French
期後他是歐洲最受推崇與喜愛的高級訂製服藝術家，
aristocrat. Gruau became one of the best known
參與合作的時尚雜誌有《費米娜》、《美麗佳人》、
and favorite artists of the haute couture world since
《L'Officiel》、《費加洛報特輯》等頂級時裝媒體。
middle 1930s working with "Femina", "MarieClaire", "L'Officiel", "L'Album Du Figaro" and an
勒內•格魯瓦生前為全世界最具聲望的時尚插畫家之
assortment of "high-style" magazines.
一，曾經與高級時裝大品牌如迪奧、皮爾卡登、香奈 兒、巴黎世家、皮爾帕門、羅莎、浪凡、伊莉莎白雅
René Gruau was one of the most famous fashion
頓、紀梵希等合作。他的繪畫風格回溯古典東方書寫
illustrator ever, he worked with the major fashion
以及如杜魯斯•羅特列克的西方速寫風格的影響。因
designers and high fashion brands of his time
其兼容並蓄的優美特色得以敲開世界成功的大門。格
such as Dior, Cardin, Chanel, Balenciaga, Balmain,
魯瓦的作品亦受學術重視，已為巴黎羅浮宮等美術機
Rochas, Lanvin, Elizabeth Arden, Givenchy...
構收藏。
René Gruau style both echoed classical Asian style drawings and Western style sketches such as of Toulouse-Lautrec ones, this syncretic style is probably the key of his worldwide success. Gruau’s works are nowadays collected and exhibited by the finest art institutions including the Louvre in Paris.
Ravenel 37
019
CHEN CHENG WEI (Chinese, b. 1984)
Series on the Republic of China - Lady with Jadite Fragrance 2016 Oil on canvas 60 x 50 cm Signed lower right Chen Cheng Wei in Chinese and English, and dated 2016
陳承衛 大民國系列－玉生香 2016 油彩 畫布 60 x 50 cm 簽名右下：2016 陳承衛 Chen Cheng Wei
NT$ 600,000 - 900,000 HK$ 154,000 - 231,000 US$ 19,900 - 29,800
1984年生於中國浙江，以寫實繪畫聞名。2002年，陳承
he settled in Beijing for his painting career. In 2009, he
衛以全國專業成績第一考入中國美術學院，並獲得中國美
started working at the Chinese Academy of Oil Painting
術學院畢業創作最高獎—學院獎。畢業後定居北京，專職
Department, and, influenced by oil painting masters
繪畫創作。2009年進入中國油畫院，受到楊飛雲等油畫
such as Feiyun Yang, Chen studied abroad in France,
界前輩名師的繪畫美學影響，先後去法國，義大利，荷蘭
Italy, and the Netherlands. Chen admires western oil
等地遊學。陳承衛崇尚林布蘭等西方油畫大師，其作品注
painting masters such as Rembrandt. He accentuates
重古典韻味，光線和人文氣息，將中國元素與當下觀念巧
his work with a hint of high culture, the classical, and
妙結合。
a careful depiction of lighting, integrating Chinese elements with modernity flawlessly.
「大民國系列」如今已經成為他的標誌性符號。這一系列 的作品情感細膩，情緒把握到位，含而不露，隱約可見絲
The Republic of China series has become the
絲情感。繪畫技法屬於半透明罩然技法，有著西方古典繪
representation of Chen. The depiction of sentiments
畫和名師藝術語言的巧妙傳承。「大民國系列」是畫家累
is exquisite - they are felt, yet not shown; so slight,
積過苦學研究的結果，具有文化性與歷史性，又不失當代
but still per ceivable. He utilized glazing on semi-solid
感。畫面中的歲月感和現實感微妙的並存，同時又是一種
media, a technique that he cleverly learned from the
歷史的鏡像，畫中人含情脈脈的眼神，打動人心，帶給人
artistic language of classical western masterpieces.
們無限的遐想空間。
Painted over many years, the series of The Republic of China is both cultural and historical, while also
Born in Zhejiang in 1984, Chen Cheng Wei is known
exhibiting a sense of modernity. Both the passage of
for realistic painting. In 2002, Chen Cheng Wei was
time and the reality of the moment subtly find their
admitted to China Academy of Art with the highest
ways in this work. It is also a mirror for history. The eyes,
score of the year, and was granted with the highest
full of sentiments, touch the viewers' heart and give
award - the Academy Award - by the China Academy of
them an infinite space for imagination.
Art for the best graduation work. After finishing school,
Ravenel 39
020
SANYU (CHANG YU)
(Chinese-French, 1901 - 1966)
Reclining Beauty, Kiki de Montparnasse
常玉
1920s Ink on paper 44.5 x 27 cm
蒙巴納斯的琦琦
Signed lower right Sanyu in French With one hand painted seal of the artist PROVENANCE: Given directly by the artist to Stanley William Hayter (famous British painter, 1901-1988) Private collection, France ILLUSTRATED: Rita Wong, Sanyu – Index of Drawings (L'inventaire des dessins) , The Li-Ching Cultural and Educational Foundation, Taipei, 2014, no. D-0415, p. 38 (USB flash drive) This drawing is to be sold with a certificate of authenticity issued by Liching Foundation, on the 9th of January 2013 and a certificate of authenticity issued and signed by the wife of Stanley William Hayter.
1920年代 水墨 紙本 44.5 x 27 cm 簽名右下：SANYU 手繪鈐印右下：玉 來源： 知名英國版畫家史丹利─威廉．海特舊藏 (得自藝術家本人) 私人收藏，法國 圖錄： 衣淑凡，《常玉素描全集》，財團法人立青文教基金會，台 北，2014年，圖版編號D-0415，頁38（隨身碟） 附原收藏者史丹利－威廉・海特夫人開立親簽之原作保證書 （2013年1月9日） 附立青文教基金會開立之原作保證書
NT$ 800,000 - 1,200,000 HK$ 206,000 - 308,000 US$ 26,500 - 39,800
走向現代之路是常玉藝術發展的既定目標，他的繪畫自書法萌芽、在
just a few deceptively simple strokes, a method he took so far that
素描裡扎根。以水墨或毛筆勾勒人體線條是常玉最為人稱道的風格，
many of these works already border on the expressionist mode. It
藝評家陳炎鋒稱之為「水墨裸女」。常玉的書法技藝，有助於表現線
was Albert Dahan, a former journalist with France Soir and a friend
條勾勒的流暢感，簡單幾筆即可掌握住模特兒的神態，觀念上已接近
of the artist for almost 20 years, who first described Sanyu as “the
抽象畫的表現形式。曾任《法國晚報》的記者艾爾貝．達昂是常玉晚
Chinese Matisse,” a term that stuck and has currency to this day.
年的好友，兩人的交情近二十年，當年他為常玉冠上「中國的馬蒂
Dahan was particularly impressed by Sanyu’s ability to outline the
斯」的稱號，傳頌至今。達昂讚賞常玉裸女畫的黑色線條都是一筆完
contours of his female nudes in one quick succession of subtly
成的，線條功力了得。
connected brushstrokes, repeatedly praising his sure hand and quick instinct.
此幅素描的模特兒是蒙巴納斯區的傳奇人物—琦琦（Kiki, Alice Prin, 1901-1953）。琦琦，巴黎畫派藝術家經常聘用的人體模特兒，1920
In this lot, the model is the legendary Kiki de Montparnasse (Alice
年代活躍於蒙巴納斯區的藝文圈。琦琦在她的日記中寫過曾經學習中
Prin, 1901-1953). Kiki was one of the defining figures of the 1920s
文，或許她與同年紀的常玉經常在咖啡館或大茅屋工作室碰面，因此
art and culture of Paris. She frequently worked as a paid model
常玉有機會為琦琦作畫。此幅素描原為版畫家史丹利．威廉．海特
for artists of the École de Paris, but was also a nightclub singer
(Stanley William Hayter) 的收藏，海特於1927年在巴黎開設版畫工作
and a painter in her own right. In her memoirs she mentions that
室，為後來國際知名「17號工作室 (Atelier 17)」的前身，曾與多位藝
at one point she had been considering to learn Chinese, and it is
術家如米羅、畢卡索、康丁斯基協同創作版畫。常玉在1930年創作了
very likely that she often ran into Sanyu in one of the many cafés
《陶潛詩集》銅版版畫，推測常玉與海特在1920年代晚期曾有過的互
of Montparnasse, or at the Académie de Grande Chaumière. Kiki
動與往來，此作在當時直接得自藝術家本人。
sat model for Sanyu on at least one occasion, for there is one sketched painting of her among the artist's works.
Looking towards progress and taking the road to modernity: that was exactly Sanyu’ s objective in all his artistic pursuits, ever since
This Sanyu drawing was ever owned by Stanley William Hayter,
he started out as a calligrapher and then proceeded to sketching
an English famous painter printmaker who found the legendary
and drawing. Sanyu is best known for his nudes painted with
A t e l i e r 17 s t u d i o i n P a r i s i n 1927. A m o n g t h e a r t i s t s w h o
a brush in a style reminiscent of traditional literati painting, so
frequenting the atelier were Miró, Picasso and Kandinsky. In 1930,
much so that critic Antoine Chen dubbed them “ink wash nudes.”
Sanyu produced 3 etching prints for a French edition of the poems
The artist’s background as a calligrapher was conducive to the
of Tao Yuanming. It’s very likely they knew each other in late
smoothness and sleek flow of his lines and contours, and Sanyu
1920s. During this period, Hayter acquired this drawing directly
was always able to catch his model’s expression and poise with
from the artist.
Ravenel 41
021
WALASSE TING
(Chinese-American, 1929 - 2010)
Parrots Acrylic on ricepaper, mounted onto canvas 90.5 x 181.5 cm With one seal of the artist PROVENANCE: Private collection, USA Private collection, Europe
NT$ 1,300,000 - 2,000,000 HK$ 334,000 - 514,000 US$ 43,100 - 66,300
丁雄泉 七鸚鵡 壓克力 紙本 裱於畫布 90.5 x 181.5 cm 鈐印右上：採花大盜 來源： 私人收藏，美國 私人收藏，歐洲
022
WALASSE TING
(Chinese-American, 1929 - 2010)
Model in the Artist's Studio c. 1984 Acrylic on paper, mounted onto canvas 96 x 179 cm With one seal of the artist PROVENANCE: Gallery Delaive, Amsterdam Private collection, Europe EXHIBITED: Walasse Ting: Recente Acryls , Galerie BBL, Antwerp, Belgium, November 8 - December 22, 1984 ILLUSTRATED: Walasse Ting , Gallery Delaive B.V., Amsterdam, 1984, color illustrated
NT$ 1,400,000 - 2,200,000 HK$ 360,000 - 566,000 US$ 46,400 - 72,900
丁雄泉 畫室的模特兒 約1984年 壓克力 紙本 裱於畫布 96 x 179 cm 鈐印左上：採花大盜 來源： 德萊夫畫廊，阿姆斯特丹 私人收藏，歐洲 展覽： 「丁雄泉壓克力畫近作」，BBL畫廊，安特 衛普，比利時，展期自1984年11月8日至12 月22日 圖錄： 《丁雄泉》，德萊夫畫廊，阿姆斯特丹， 1984，彩色圖版
Ravenel 43
MODEL IN THE ARTIST'S STUDIO WALASSE TING
丁雄泉自1970年代起，其繪畫風格一改早年的單色創作，呈現一副姹紫嫣 紅春滿色的景象。將創作中的靈感來源、作品題材圍繞在他生命中最重要的 主題—「女人」。這一特色在其後儼然成形，而這股創作能量在1980年代 達到高峰。畫家創作出諸多充滿感官愉悅、迴腸盪氣的優秀作品，逐漸成為 藝術家的標誌，以致傳世。他敏銳地從生活中尋求靈感，用太陽給的顏色作 畫，流利的線條，誇大的造型，色彩淋漓繽紛，成為日後獨具一格的繪畫語 言，又以「女人」與「花朵」為此題材來渲染生命年華和青春的美好。 《畫室的模特兒》延續畫家一貫滴流潑灑的風格，無論何種女人的風韻和柔 滑曲線，他總能以揮灑斑爛的色彩和豪放不羈的筆觸，化千嬌百媚於永恆。 挑選反差極大的誇張色彩，構件了一個充滿著「女人」、「花鳥」、「倦 貓」、「瓜果」的感情世界，與我們分享他豐沛的情愛，這份感情都是丁氏 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。 此幅作品充斥著對喜愛的女人與人體的自然美的嚮往，歐洲古典主義的浪漫 精神對他有啟發意義。畫中還添入丁雄泉最喜愛的花卉與貓等裝飾素材。畫 面中那流動性高而易揮灑的彩墨顏料與直率勾勒的線筆細畫，桃粉色的背景 襯著艷紅的披肩襯，落落大方的用色更顯畫中模特兒嫩白透粉的肌膚！她手 持花扇半掩胸前，悠然魅惑的雙眸又流露出嬌羞神態，與那全然信任而敞開 的肢體語言形成強烈的視覺衝擊！ 再度看過這些「採花大盜」時期的彩墨作品，其紙上用筆線條流暢，設色翻 轉快速如波濤。在經歷歲月的洗練後，濃彩沁入紙上，滿眼盡是艷麗。丁雄 泉的世界似乎不需要四季的更迭，只需預留一片春意盎然。其人也似一朵不 凡的花，在每一位看客心中都留下了濃豔的驚鴻一筆。
From the 1970s onwards, Walasse Ting's painting style evolved from the simplistic monotonal schemes of his earlier years into images exuberant with rich, vibrant colors. The focus of his inspiration and subject of his artworks centered around the most important theme in his life - "Women." This characteristic subsequently gained full momentum, of which the creative force reached its apex in the 1980s. The artist created many works of astounding excellence imbued with sensory pleasures and which were vividly moving. This gradually became the hallmark of the artist for which he is best known even to this day. Throughout his life, he has sought after inspiration with a keen sense of perception and created art with the colors gifted by the sun. The use of fluid lines, exaggerated imageries, and brilliant colors became his distinctively unique style of artistic expression, while the subject of "women" and "flowers" emphasized the wonders of vitality and youth. "Model in the Artist's Studio" was created using the artist's iconic painting style of drip and splash. Whatever the unique charms or varying curves of any woman, he was always able to use his unrestrained colors and uninhibited brushstrokes to immortalize their glamor and appeal. Exaggerated colors of great contrast were selected to create the emotive worlds filled with "women," "flowers and birds," "indulgent cats," and "fruits" so that we could also share in his generous love and affection; all of these emotions are a glimpse into the deeps of his soul. It was once said that Ting's works are deeply imbued with sensual eroticism; perhaps it is these "sensations" are the very source of his creative inspiration and the key elements of his life. While "eroticism" is embodied by the vivid and vibrant colors of his paintings, it is also these sensations that form the flesh and blood of his works, while the brilliant colors serve as an assurance of the vigor of life. This painting is suffused with the artist's yearning for the natural beauty of women and the human body; it is clear that the spirit of romanticism of European Classicism served as a source of enlightenment for him. In the painting, Walasse Ting included his favorite decorative elements of colorful blossoms and cats. The image, formulated with fluid and carefree splashes of colorful paints as well as fine clean lines, features a peach hued background that complements the crimson shoulder wrap, while the candid use of colors accentuate the soft snowy skin of the model. She holds a colorful fan in front of her, half covering her chest, her eyes seductive yet giving off a sense of shyness, while the fully trusting and confident body language offers a powerful visual contrast. When we once again view these colorful ink works from the "Casanova" phase of Ting's career, we can see that the lines are clean and unhesitating as colors boldly leap from one to the other like the rapid succession of ocean waves. With the passage of time, the vibrant colors staining the canvas have come to create a scene of glamorous allurement. Walasse Ting's world did not require the onset of different seasons for it remained eternally in the verdant spring of vivacious color. The artist himself was also like an extraordinary flower, one that leaves behind a stunning burst of brilliance in the minds of his viewers.
Ravenel 45
023
PANG JIUN
(Taiwanese, b. 1936)
Watery Wonder - Li River
龎均
2016 Oil on canvas 72 x 90 cm
疑似仙境在人間
Signed lower right Pang Jiun in Chinese and dated 2016 With one painted seal of the artist This painting is to be sold with a certificate of authenticity signed by the artist.
2016 油彩 畫布 72 x 90 cm 簽名右下：龎均 2016 手繪鈐印右下：均 附藝術家親筆簽名之原作保證書
NT$ 1,200,000 - 1,800,000 HK$ 308,000 - 463,000 US$ 39,800 - 59,600
龎均1936年出生於上海一個顯赫的藝術世家，家族三代誕生多位
Pang Jiun was born in 1936 into a prominent artistic family that
知名畫家，父親龎薰琹是中國第一代留學法國的畫家，母親丘堤
had already produced three generations of renowned painters,
則是赴日本學畫的女畫家，藝術世家的出身，讓龎均的一輩子幾
including his father, Pang Xunqin, who belonged to the first
乎與藝術結下不解之緣，父母接受西洋油畫的洗禮，為新派藝術
wave of Chinese artists studying in France, and his mother, Qiu
的推動者。在耳濡目染的影響和扎實嚴格的藝術教育訓練下，龎
Ti, who studied painting in Japan. Born and bred as an artist,
均融會父母的歐洲文化與東方文化，自由地發展出個人的繪畫風
Pang remained active and immersed in art throughout his entire
格。透過水墨畫寫意的筆法帶進油畫，龎均同步將西方現代油畫
life. His parents had undergone the baptism of Western oil
技法和中國水墨文人畫的精神合二為一且發揚光大。
painting, and been great promoters of modern art in China. Absorbing both the experience and knowledge of his parents,
無論是寫生的靜物、或是江南山水，龎均總能將色彩拿捏得恰到
while at the same time being imbued in Oriental art and culture,
好處，如同《疑似仙境在人間》，羞澀的粉白桃花映落在灕江山
Pang Jiun soon began to develop his own individual style of
水中，船夫獨自一人在雲霧繚繞的山水之中滑過仙境，留下一縷
painting. Pang Jiun relates the classical to the modern, and
白色水痕，猶如心中深處所留下的美好記憶。龎均熟稔的技法將
imbibes their peculiarities to his advantage; in the process,
溫和的灰色調山水，透過淡淡的粉白桃花點綴，水中映出山峰倒
he also discovers the thread running through oil painting and
影，整體畫面顯得含蓄卻富含詩意。
Chinese painting, particularly the Xieyi ink painting. Both the modern Western oil painting and the Chinese ink painting leads to his conclusion that a highlight of Xieyi is one of the most important ways to regenerate Chinese oil painting.
Regardless of the topics on still life paintings or Jiangnan landscape, Pang Jiun is able to balance the colors as he wishes. As seen in “Watery Wonder - Li River”, with flourishing pink peach blossoms situated among the Li river landscape, with a boatman tiding over the misty paradise, leaving a trace of white water mark, as if they were the pleasant memories leaving behind. Pang Jiun’s meticulous depiction of tones of grey is evidently shown here, with leaving traces of delicate pinkish white peach blossom in the foreground. Together with the mirror image of the mountain tops embodied the poeticism quality as seen in Pang Jiun’s work.
龎均 《河岸》2014年 油彩 畫布 71.5 x 90 cm 羅芙奧香港2014秋季拍賣會 港幣456,000成交 PANG Jiun, Down the River , 2014 , oil on canvas , 71.5 x 90 cm Ravenel 2014 Autumn Auction Hong Kong US$ 58,763 sold
Ravenel 47
024
PANG JIUN (Taiwanese, b. 1936) Beyond Spring 2016 Oil on canvas 72 x 89 cm Signed lower right Pang Jiun in Chinese and dated 2016 With one painted seal of the artist This painting is to be sold with a certificate of authenticity signed by the artist.
《不似春光勝似春光》前景中大面積綻放的紅楓，隨風春風搖曳， 以東方喜氣的豔紅遍佈在畫面中，與素雅的徽式建築形成對比，卻 不失大氣、層次分明，透過明暗對比的布局帶出激動人心的情緒。 龎均之所以能達到今天的藝術成就，除了自身的修養，更是因為他 具有高敏銳的觀察力，面對變化萬千的風景寫生，龎均是透過心去 意會、去感受和擁抱眼前的美景，而畫筆則是畫出了那份悸動，龎 均也說：「色彩就是感覺」，沒有絕對，但必須透過綜觀的觀察 後，「了解對象、環境、光源三者統一成一個整體，加以感覺」， 才能從客觀世界到感情世界。龎均將禪家所想表達的「空」，透過 借景抒情的方式，將心與自然合一，既能賦予更敏銳的感受更廣大
NT$ 1,200,000 - 1,800,000 HK$ 308,000 - 463,000 US$ 39,800 - 59,600
的想像空間。
In the work of “Beyond Spring”, the foreground is covered with blossoming maples in red, dominating the compositions with the red that is often associated with happiness of the
龎均 不似春光勝似春光 2016 油彩 畫布 72 x 89 cm 簽名右下：龎均 2016 手繪鈐印右下：均 附藝術家親筆簽名之原作保證書
orient, setting against the naturalistic Huizhou architect in the background, the red becomes soften with a well layered composition. T h e a c h i e v e m e n t o f P a n g J i u n i s l a rg e l y d u e t o h i g h l y sophisticated self-cultivations, as well as being an acute o b s e r v e r. P a n g J i u n p a i n t s t h r o u g h f r e e h a n d s t y l e o f calligraphic strokes, while embracing the sentimental feelings deep down, the works of his are felt with passion just as how they were painted. Pang Jiun was said that “Colors are emotions”, there are no certain rules, but “one must have
a well-rounded considerations of such factors: the subject, environment, and lightings, in addition to emotions”, in order for one to see the world with objectivity and subjectivity. Pang Jiun has incorporated the Zen philosophy of “emptiness ” in his works, in the sense that he unites the heart and nature, expressing a much wider and liberated aura.
龎均 《 古巷 》2008年 油彩 畫布 116.5 x 90.5 cm 羅芙奧台北2016春季拍賣會 台幣3,000,000成交 PANG Jiun, Old Alley , 2008 , oil on canvas , 116.5 x 90.5 cm Ravenel 2016 Spring Auction Taipei US$ 92,365 sold
Ravenel 49
025
ZAO WOU-KI
(Chinese-French, 1921 - 2013)
Sans titre
「在巴黎，我滿懷東方人的情感，湧起無限悲鬱與鄉愁。事實上我
1986 Ink on paper 35 x 35 cm
非常喜愛生我養我的中國；但培育我的卻是巴黎。」趙無極是少數 直接參與西方現代美術運動的中國藝術家之一 ，他初抵巴黎後不久 ，正值西方戰後抽象表現主義雲湧之時，趙無極因緣際會趕上這股 潮流，與蘇拉吉、哈同、馬內榭、史奈德爾一道，而在一個偉大時
Signed lower right Wou-ki in Chinese, Zao in English and dated 86’
代中佔了一席之地。
PROVENANCE: Private collection, Asia
1970年代轉入水墨畫的嘗試，賦予趙無極晚期作品更多的豐富性，
ILLUSTRATED: This painting will be included in the future catalogue raisonné to be publishd by the Zao Wou-ki foundation This painting is to be sold with a certificate of authenticity signed by the artist.
他從「墨」之中看到無限的色彩變化，空間的自由寬廣。別人服膺 於一個傳統，「服膺於兩個傳統」的趙無極，在晚期的繪畫表現更 加從容、自在，所欲發抒的情感在畫面中擴張開來。程抱一曾寫 道：「即使是小畫，趙無極的水墨畫能召喚宇宙的維度，回到油 畫，彷彿無法阻擋地，畫家運用的尺寸愈來愈大，此乃後期作品特 有的一種啟發。」
"In Paris, I was filled with the emotions of an Oriental; nostalgia
and a sadness for home surged in me. In reality, although China
NT$ 1,700,000 - 2,600,000 HK$ 437,000 - 668,000 US$ 56,300 - 86,100
gave birth to me and raised me, it was Paris that nurtured and educated me. " Zao Wou-ki is one of the few Chinese artists who were directly involved in the Western modern art movement. Not long after his arrival in Paris, post-war Abstract Impressionism flourished, and fate drew him to join this trend.
趙無極 無題
Together with P. Soulage, H. Hartung, A. Manessier, and G. Schneide, Zao's place in this great era was assured.
1986 水墨 紙本 35 x 35 cm
In the 1970s, Zao began to experiment with ink-and-wash,
簽名右下：無極 ZAO 86'
uninhibited spatial expansion employing nothing but shades
來源： 私人收藏，亞洲
adherence to only a single tradition, Zao, who was 'at home in
圖錄： 此作將收錄於由梵思娃・馬凱及揚・亨德根 正籌備編纂的《趙無極作品編年集》 附藝術家親簽之原作保證書
which added a lot of variety and depth to the works of his later period. Zao was able to express chromatic variation and of grey and black. While others were restrained by their strict two tradition' displayed in his later oeuvre a calm confidence and unbridled creativity that communicates the artist's emotions with a natural ease. “Même de petit format, les encres de Chine
de Zao Wou-ki évoquent la dimension cosmique. Revenantà l'hule, le peinture use, comme irrésistiblement des formats de plus en plus grands. C'est la un trait caractéristique de cette derniêre periode. ” François Cheng ever wrote these words on Zao Wou-ki.
Ravenel 51
026
HSIA YAN
(Taiwanese, b. 1932)
The God of Achievements 1990 Acrylic on canvas 198 x 163.5 cm Signed on the reverse Hsia Yan in English, titled The God of Achievements in Chinese, inscribed acrylic on canvas 78" x 64" and dated 1990 PROVENANCE: Cherng Piin Gallery (Eslite Gallery), Taipei Dimensions Art Center, Taipei Private collection, Asia EXHIBITED: Yan Hsia: Continuation and Rejuvenation. A Retrospective of His Works from 1954 to 1994 , Taipei Fine Arts Museum, Taipei, April 30-June 12, 1994 Retrospective of Hsia Yan From 1954 to 1998 , Taiwan Museum of Art, Taichung, December 11, 1998-January 10, 1999 ILLUSTRATED: Yan Hsia: Continuation and Rejuvenation. A Retrospective of His Works from 1954 to 1994 , Taipei Fine Arts Museum, Taipei, 1994, color illustrated, p. 83 Retrospective of Hsia Yan From 1954 to 1998 , Taiwan Museum of Art, Taichung, 1999, color illustrated, no. 54
NT$ 2,600,000 - 4,000,000 HK$ 668,000 - 1,028,000 US$ 86,100 - 132,500
夏陽 魁星 1990 壓克力 畫布 198 x 163.5 cm 簽名題識畫背： 魁星 夏陽 YAN HSIA ACRYLIC ON CANVAS 78"x 64" 1990 來源： 誠品畫廊，台北 帝門藝術中心，台北 私人收藏，亞洲 展覽： 「夏陽創作四十年回顧展」，台北市立美術館，台北，展期自1994年4月30日至6月12日 「夏陽回顧展」，台灣省立美術館，台中，展期自1999年12月11日至1999年1月10日 圖錄： 《夏陽創作四十年回顧展》，台北市立美術館，台北，1994年，彩色圖版，頁83 《夏陽回顧展》，台灣省立美術館，台中，1999年，彩色圖版，編號54
Ravenel 53
THE GOD OF ACHIEVEMENTS HSIA YAN
曾經跟隨前輩藝術家李仲生習畫的夏陽，曾於1950與蕭勤、霍剛、吳昊等人一同組成「東方畫 會」，為「八大響馬」一員。1963年，夏陽隻身赴巴黎學習西方藝術，開始創作極富個人特色的 「毛毛人」系列作品。僅僅兩年時間，便於巴黎高位畫廊舉辦了在巴黎的首次個展，早期創作受 機械主義、表現主義及超現實主義的影響和啟示。求知若渴的夏陽於1968年移居紐約，受當時照 相寫實的風潮影響，用畫筆精準地捕捉紐約街景，呈現如攝影長時間曝光般的模糊熙攘行人。接 下來的二十多年間，夏陽的作品曾多次於美國各地的美術館和畫廊展出，也因為夏陽展現其精細 寫實的功力，在紐約的藝壇佔有一席之地。 而自1990年間，夏陽開始將創作重心聚焦在傳統神話和民間美術，歷經多年輾轉於三大洋之間 的夏陽，得以站在外界的世界，重新尋找屬於中華傳統文化藝術的根。也因為選擇了中國神話作 為創作題材，不禁透露出鄉愁之意，在1992年決定返台定居。而本件作品《魁星》正是創作於 1990年，既是建立於早期毛毛人風格之上而變化出的神話人物。畫面中的《魁星》依舊保有毛毛 人晃動模糊的特徵，而背景如同紐約時期的背景ㄧ般屹立不搖，變換了時空背景，就在那一動一 靜之間畫面取得了平衡。 傳統神話人物中的魁星正如同作品中的姿態一般，右手執筆、左手托墨印、左腳後翹踢北斗而得 名魁星、右腳踩在鰲頭之上具獨佔鰲頭之意，錄取功名。而從星相圖來看，魁為北斗第一星，因 此自古以來便是眾多學子所供奉之文曲之神，祈求獲得榜首功名之機會。而夏陽正是透過這些民 俗人物表現了更上一層樓的境界，透過人們賦予這些擁有的神力的無形之相，透過隱約抽象的表 現形式探討這些介於虛實之間，靈魂與實體的交錯關係。雖然此幅作品是以西方媒材呈現，但整 體構圖可見其依循中國山水畫所強調的前、中、後景分配。前景由簡潔的浪花紋飾組成，而在露 出部分龍首魚身的鰲則是前景的主體，能在浩瀚洶湧的大海中表現出穩若泰山之樣。而畫面的中 景則是佔據了整體畫面的三分之一，以晃動模糊的線條勾勒出魁星的特徵。而其中因為墨印和毛 筆是唯二的靜止畫面，自然而然視線被帶到了上方的北斗七星。這些細膩的筆觸彷彿是夏陽在畫 面中留下的線索，與觀者訴說著故事的情節。
Hsia Yan, who had once studied under master artist Li Zhong-Sheng, founded the "Ton Fan Art Group" with Hsiao Chin, Huo Gang, and Wu Hao in the 1950s, and was a member of the “Eight Great Outlaws.” In 1963, Hsia Yan moved to Paris to study Western art and began creating the extremely unique "Fuzzy People" series. In just a short span of two years, he was able to hold his first solo exhibition at the Galerie du Haut Pavé of Paris; these earlier works were primarily influenced and inspired by Mechanism, Expressionism, and Surrealism. In his thirst for knowledge, Hsia Yan moved to New York in 1968 and came under the influence of the photorealism movement which was on trend at that time. He used his paint brush to capture the precise details of the New York street scenes and depicted the pedestrians as blurry silhouettes as if their images had been shot using long exposure photography. Throughout the next two decades or so, Hsia Yan's works were exhibited in numerous art museums and galleries around the US; it was due to the exquisitely realistic details portrayed in his works that Hsia Yan succeeded in making a name for himself on the New York art scene. From the 1990s onwards, Hsia Yan began shifting his creative focus to traditional folklores and folk crafts. Having experienced years of constant relocation among three different continents, Hsia Yan was able to look in from an outsider's perceptive and search anew for the roots of Chinese traditional culture and art. The artist’s choice of Chinese mythologies as his creative subjects nonetheless revealed his longing for home, and indeed, he subsequently decided to move back to Taiwan in 1992. "The God of Achievements,” created in 1990, features a mythological figure based on and evolved from the style he had previously adopted for the creation of the Fuzzy People series early in his career. "The God of Achievements" painted upon the canvas has retained the blurry outlines distinctive of the Fuzzy People, while the backdrop remains unchanged from those of the artist’s New York era. With the change of time and space, a balance has been created between the stillness and movement of the image. The traditional mythological character Kui Xing (literally 'Chief Star"), or "God of Achievements," is usually depicted the same way as he has been within the artwork--holding a pen in his right hand and an ink seal in his left, his left leg kicks backward towards a star in the Big Dipper constellation (hence the name Kui Xing) while his right foot steps on the head of a turtle to signify success and attainment. From an astrological point of view, Kui is the first star in the Big Dipper and has therefore since the ancient times been the deity worshiped by students and scholars who pray for top rankings in examinations. Hsia Yan uses these folklore characters to depict a world of even more profound depth. Through the mythical figures that have been imbued with formless powers by worshipers, and through the forms of representation for the obscure and abstract, Hsia Yan explores the relationship between reality and imagination and the interconnection between the body and soul. Although this work is expressed through Western mediums, one can see in the overall composition that division of foreground, middle ground, and background corresponds to the principles of Chinese shanshui painting. The foreground consists of simple wave-like patterns while the main focus of this section is the partially-exposed turtle with its dragon-like head and fish-like body, an animal of immovable serenity as it rises out of the billowing ocean waves. The middle ground of the image consumes one-third of the entire painting, in which the distinctive contours of Kui Xing are depicted using blurred, quivering brushstrokes. Since the only two objects of stillness are the ink seal and the paint brush, the viewer's gaze is drawn naturally to the Big Dipper constellation at the top of the image. These intricate details created by the paint brush seem to be hints left by Hsia Yan in the painting, revealing to the viewers the plot of the story inherent.
Ravenel 55
027
JU MING
(Taiwanese, b. 1938)
Hen and Chicks (Mother)
朱銘
1976 Wooden sculpture; cinnamomum camphora and shorea spp. Pedestal 112.4(L) x 53.2(W) x 41.8(H) cm (including pedestal 6cm) Weight: 31kg
母雞與小雞（阿母）
Engraved on the lower back of the Hen Ju Ming in Chinese and English, dated 1976 Engraved on the lower right of the pedestal Ju Ming in Chinese and English, dated 1976 PROVENANCE: Spring Gallery, Taipei Acquired from the above by the present owner in 1979. This sculpture is to be sold with a certificate of authenticity issued by the NPO Juming Culture and Education Foundation, Taipei.
NT$ 2,800,000 - 4,200,000 HK$ 720,000 - 1,080,000 US$ 92,800 - 139,200
1976 木雕 （樟木 柳安） 112.4（長） x 53.2（寬）x 41.8（高）cm （含台座6 cm） 重量：31 kg 簽名雕刻右側（母雞背後下方）：朱銘 JU MING 1976 簽名雕刻台座右側：朱銘 JU MING 1976 來源： 春之藝廊，台北 現有收藏者於1979得自上述來源 附財團法人朱銘文教基金會開立之作品鑑定報告書
1938年，朱銘出生於台灣苗栗縣通霄。1950年代，後經由父親的引
在1982年由漢雅軒和春之藝廊共同出版的《朱銘雕刻》目錄中，編者黃
薦，於通霄的媽祖廟跟隨老師傅李金川學習傳統雕刻，朱銘向李金川
玉珊便曾在文章中提及朱銘源於草根的生命力，因朱銘「在農村長大，
學習的是台灣木刻延續閩粵民間木刻源流中，最為傳統的木雕技藝，
又當過牧童，由於早年和大地及畜類的接觸，使得他對自然始終抱有一
包括刻花、打磨、上色、與描金等。後期，朱銘曾短暫成立工作室，
份親切感，在早期作品中便很明顯地反映出對
以傳統雕刻的手法，製作工藝品外銷。二戰過後的台灣，崇尚的是西
大地、自然的讚頌，如《伴侶》、《阿母》
方思潮與現代主義，至1970年代，礙於政治情勢，鄉土意識逐漸抬
（本拍品）…就融入了個人對
頭。民族觀念的提倡，也反映在對民間藝術的關懷上，台灣美術亦開
鄉土、傳統文化的愛慕與承
始呼應鄉土文學。三十一歲的朱銘，在多年的寄盼後，終於登門拜訪
續香火之情，這種讚頌，
楊英風，拜其為師，開始了他第二次的學徒生涯。學習現代雕塑，以
跨出了鄉土的範疇，就成
純樸的天性、卓越的才華，將過去賴以維生的木雕工藝，逐次提升為
為對人類的愛與讚美。」
富有生命意味的藝術創作。其作品廣泛而深切地感動了國人，已漸受 西方社會矚目。
因為朱銘對於此片土地的有著深 厚情感及崇敬之意，他透過木訥
在鄉村多年的雕刻和繪畫生涯，讓他沉澱出獨到的技藝和心得。耕耘多
質樸的表現手法,賦予木頭新的溫
年的朱銘現已是享負盛名的國際當代雕塑家，作品以青銅、黏土和木為
度，敏銳的表達出充滿著慈愛的母雞，而
主，其著名的作品有「鄉土」系列、「太極」雕刻、「人間」雕刻等尤
12隻小雞們依偎在母親的羽翼保護下，透露出
為著名。朱銘雕塑的藝術形態以道家思想為宗，形態寫意流暢，寓動於
農村生活的趣味。
靜，亦可見傳統中國畫的意韻。他主張「化繁為簡」的表現方式，取其 意、重其氣，進入返璞歸真的狀態。他的創作題材帶有鄉土色彩，圍繞
朱銘特意將動物擬人化，傳遞傳統儒家的家庭倫理觀。完成於1976年的
著鄉間生活、農村動物、亦或神像雕刻。他從傳統雕刻出發，在關公、
《母雞與小雞》（阿母）為「鄉土系列」中代表作，渾圓母雞帶領著12
孔子、和勞動者的形象中，以粗曠的刀法呈現真誠的鄉土情感。《母雞
隻小雞，詮釋母愛的偉大。雖然在1970年開始「太極系列」的探索，但
與小雞》展露朱銘回顧昔日台灣鄉鎮的謙厚情愫，濃重有力的筆墨，與
他仍未完全放棄鄉土題材，正如藝術家所言「鄉土是他的根」。在此，
其熟練流暢的塑形技巧和剛中帶柔的創作力量同出一轍。
他大膽地一反民間工藝品強調物體精緻光滑的處理原則，刻意在公雞與 母雞的主體形貌上留下了大量的刻鑿、劈剖、刨切的痕跡，木頭纖維的
作品《母雞與小雞》（阿母）靈感來自朱銘幼時的農村生活經驗，創作
紋理也被自然地保留了下來。在早年朱銘贈與友人的木雕作品中，友人
於「鄉土系列」早期的1976年，此時期刀鑿風格更為簡約、明快，粗曠
寫道：「接過手來一看，這小雞木刻的精緻使我眼前一亮。大膽粗獷的
的刀工之下散發著婉約溫潤之感，母雞的低頭俯視，雖無細膩明顯的五
刀痕少到可以數的程度，每一刀都刻出小雞的生命力。我發出了歡愉感
官面孔，仍可透過肢體動作及頸部曲線，感染母雞傳遞出的母愛之情；
嘆之聲。進一步，我便注意刀的運行。這小雞未刻成之前的木塊，朱銘
「母雞」之於女人特有的「母愛」，就像上天對人類的另一項恩賜。像
一定是很仔細的觀察過，而從木質紋理的流動中，他已經在胸中描繪出
無邊的大地，像浩瀚的海洋，讓人類在其中孕育、滋長、壯大。窩在母
小雞的動靜吧！」
親懷裡撒嬌和身後的小雞，藉由精準塊面的熟稔描繪，猶如活靈活現的 充滿生氣。小雞們都還有些懵懂，在媽媽的周圍，一個個縮頭縮腦，不
朱銘於1976年在國立歷史博物館舉辦首次個展，以「鄉土系列」作品一
敢走遠的模樣。雖然雕的是母雞與小雞，但人們欣賞到的卻是母親的眼
鳴驚人，佳評如潮，廣受台灣文化界的重視，更被視為1970年代台灣鄉
神與子女對母親的依戀。
土運動的主要象徵之一。作品都源於出生農家的生活經歷，對於水牛、 雞隻等類型的題材，特別重視且寄寓鄉情，在對動物摹寫的同時也是他 對於農村生活的回憶，更是創作的無限泉源。
Ravenel 57
HEN AND CHICKS (MOTHER) JU MING
JJu Ming was born in a small village in Miaoli County,
painting in his works. He advocates a "simplification"
Taiwan in 1938. In the 1950s, after an introduction from
mode of expression, letting the works return to a state of
his father to the Mazu Temple in TongxiaoTownship,
simplicity and truth. "Hen and Chicks" depicts Ju Ming's
Miaoli County, he was apprenticed to Master Lee Chin-
deep affection for the bygone days of the Taiwanese
Chuan to learn traditional carving. The type of carving
countryside. The thick and powerful ink brush-strokes
Ju Ming lear ned from Lee Chin-Chuan was the most
come from the same mold as his experienced and flowing
traditional wood carving technique among all the
sculpturing techniques, paired with determined yet gentle
sculptural crafts in Taiwan that had passed down from
creative strength.
Fujianese and Cantonese craftsmen. The craft included carving, polishing, coloring, application of gold lines,
The inspiration of "Hen and Chicks" came from Ju Ming's
and other techniques. In the later part of the decade, Ju
own childhood experience in a farming village; it is an
founded a studio and ran it for a short while. In Taiwan
early period work from the "Homeland" series executed
after WWII, Western ideologies and Modernism were
in 1976. During this period, the chiseling is simpler and
fashionable. But in the 1970s, due to the political climate,
more defined. The rugged knife strokes convey a sense of
a nativist consciousness began to grow. The advocacy of
graceful warmth: The hen glances downwards and, even
nationalization was also reflected in more attention being
though there are no fine details showing facial expression,
paid to local folk art. The art scene in Taiwan also began
the body movements and the lines of the neck depict the
to echo local literature. After many years of anticipation,
motherly love of the hen. "Hens" have the same "motherly
the 31 year-old Ju Ming was finally able to pay Yuyu Yang
love" women do, like a heavenly gift bestowed upon
a visit and begin studying with the master. Thus began
humanity. This love is as immeasurable as the earth and
Ju's second apprenticeship. He learned about modern
inexhaustible as the ocean. The chicks nestle closely to
sculpture. Through a simple naturalness and exceptional
the hen and under her wings. With a precision of imagery
talent, he gradually elevated the wood carving crafts that
and mature depiction, the chicks are instilled with a sense
he had relied on in the past for his livelihood into artistic
of energy and liveliness. The chicks are still timid and
creations imbued with the meaning of life.
stayed close to their mother. The expression of love from the mother and the attachment and reliance the children
Many years into carving and painting in the countryside
hold for their mother is well represented in this sculpture.
have enabled Ju Ming to form unique skills and insights.
The grassroots vitality expressed by Ju Ming emphasizes
His works are primarily in bronze, clay or wood. Some
the resilience and determination of common characters
of the best-known pieces include the "Homeland"
in small farming communities. His work illustrates the
series, the "Taichi" sculptures, and the "Living World"
artist's deep devotion and profound respect for this
sculptures. The artistic forms of Ju Ming's sculptures
land. The work depicts the everlasting and
are based on the principles of Taoism. The contours are
all-sacrificing selfless motherly love, the
carefree and fluid, distilling movement into stillness. One
keen sense of physical
can also see the spirit and nuance of traditional Chinese
expression, and the
vividness associated with the creation of life. Through the
From the flow of the wood grain and texture, I could tell he
rustic and pastoral mode of portrayal, the mundane has been
had already imagined every movement of the chick in his
miraculously transformed by the expert hands of the artist Ju
mind !"
Ming. The wood carving has been imbued with the love of a mother .
Ju Ming held his first solo exhibition at the National Museum of History in 1976. He dazzled the public with works from his
Ju Ming has purposely personified animals in order to show
"Homeland Series"; the positive accolades came in waves,
traditional Confucian family ethics. Although the artist began
and he came into the cultural spotlight in Taiwan. He is
his exploration of the "Taichi" series in 1970, he never wholly
deemed as one of the most important symbols of the 1970's
gave up on the subjects of home and motherland. As he put
Taiwan Nativist Movement. Most of his works are inspired by
it, "My homeland is my roots". Therefore, Ju Ming boldly
the experiences of his life growing up in a farming village.
went against the processing principle of folk craft where the
Throughout his themes of buffaloes and chickens, he hold a
emphasis is on the refined details and smoothed-out wood
special emphasis and respect for feelings of home. To him, the
of the products. Instead, he purposely left behind the many
depiction of animals is both a reminiscence of
marks left by chiseling, splitting. He also retained the lines
his childhood in a farming community,
and grain of the natural wood. In his early period, when Ju
and a source of endless inspiration.
Ming gifted a friend with a sculpture, the friend wrote: "When
I took up the sculpture in my hand, I was astonished by the exquisite details of this wood carving of a baby chick. The daring and rugged marks of the chisel are so few that you could count them, but every cut brings out the vitality of the chick. I had to exclaim with wonder and joy. Then, I looked even more closely at the paths made by the knife. Before any carving of the chick was done, Ju Ming must have painstakingly studied this piece of wood.
另一角度 the other side
Ravenel 59
028 ZHOU CHUNYA (Chinese, b. 1955)
Lilies
周春芽
1999 Oil on canvas 75 x 60 cm
香水百合
Signed lower right Zhou Chunya in Chinese and English and dated 1999
1999 油彩 畫布 75 x 60 cm 簽名右下：1999 周春芽 ZHOU CHUNYA
NT$ 2,600,000 - 3,800,000 HK$ 668,000 - 977,000 US$ 86,100 - 125,900
周春芽在早期時領悟到，只需一枝花便能夠成為主題。傳統水墨畫中盛開的百合細緻 動人，周氏在此作中則以懷舊的風格點染，簡單數筆便令畫作生動傳神。油畫作品 《香水百合花》以簡單的形式表達大自然的精髓，畫家成功捕捉了盛開百合的神韻， 評論家對於八大山人的評論，恰可適用於本作品，正是「用筆不多不少，恰到好處地 傳達出主題之美」。 花朵以懷舊簡練的筆觸繪畫而成，在淡然的背景上成為視覺焦點，這種表現方式來自 水墨畫中的留白，「無一物之處卻有最深遠意」，與詩人畫家馬德升在1980年代早期 詩作中想要表達的想法相同。畫作上，百合盛放的永恆美態令人回溯過去，在以簡約 有勁的筆觸描繪的枝葉襯托下，猶如在畫面上翩然起舞。 The artist realized early on that a floral sprig could be a subject on its own during the early phrase of his artistic career. While the depiction of a lily in full bloom encompass qualities of a delicate softness frequently found in the classical ink tradition, the nostalgic composition of the brushstrokes adds dimension to the painting. "Lily" epitomizes nature in its simplest form through the medium of oil. The artist had succeeded in capturing the essence of a lily in full bloom, in line with a saying often utilized to describe the works of Bada Shanren, which posits, "there
is not a missed line, nor the requirement of an extra brush stroke to bring out the beauty of the subject matter. " The nostalgic airy brushstrokes of the flowering blossom becomes the focal point against the white backdrop that offers a delimitation of space, this attribute adheres to a theory in the Chinese ink tradition that predicates upon the notion where the void "is not devoid of sense", as declares a poem from the poet and painter Ma Desheng the early eighties. The timeless beauty of a lily in full bloom is reminiscence of tradition while the simplified, more vigorous brushstrokes used to render the stem and leafy sprigs issuing the nostalgic flowering lily dance
Ravenel 61
029
BERNARD CATHELIN (French, 1919 - 2004)
Iris au fond gris clair
貝爾納．卡多蘭
1990 Oil on canvas 195 x 114 cm
鳶尾花
Signed lower left Cathelin in French and dated 90 PROVENANCE: Private collection, Asia
1990 油彩 畫布 195 x 114 cm 簽名左下：Cathelin 90 來源 : 私人收藏，亞洲
NT$ 2,600,000 - 3,800,000 HK$ 668,000 - 977,000 US$ 86,100 - 125,900
貝爾納．卡多蘭1919年生於巴黎。1945進入巴黎高等裝飾藝術學院學習，同 時期於法國繪畫大師布里昂松工作室學習，承襲色彩強烈的野獸派畫風，早 期畫作用色鮮明。1947年開始於巴黎高等裝飾藝術學院任教，1950年獲得旨 為幫助年輕法國畫家的布盧門撒爾大獎。1958年被美國紐約大衛．芬尼利畫 廊選中舉辦展覽，並受到紐約先驅論壇報週日封面報導，隨後於日本、美國、 法國、歐洲及世界各地皆頻繁舉辦展覽。1995年，法國總統親自授予他榮譽 勳位勳章，成為他一生的最高榮譽。1997年在巴倫西亞博物館舉辦大型回顧 展。2000年在上海美術館舉辦大型回顧展。2004年藝術家過世後，作品仍經 常於世界各地展覽。 卡多蘭對祖國根深蒂固的熱愛終生不移，對母親的故鄉德隆更是鍾愛有加。 他曾經和莫利斯•布里昂松（Maurice Brianchon）、亨利．馬蒂斯（Henri M a t i s s e）一起學習藝術。作品主要使用畫筆及畫刀以油彩在畫布上作畫，色 彩及質感運用靈活豐富；他行遍世界各地找尋藝術創作靈感，以畫筆呈現最具 詩意的題材。藝術家經歷了現代主義和從1960年至目前的當代藝術時期。藝 術風格上承二十世紀巴黎畫派，下接1960-1970年代極簡主義，並在風景、人 物和靜物題材中自由、大膽表達。其簡約、幾何化和紅色的獨到應用，成為其 藝術特徵。同時，卡多蘭還在作品中成功嘗試、掌握了視覺藝術中詩歌的現代 表現手法，使繪畫真正成為負載心靈的自由之翼，再次讓我們認識到人類所覺 所悟的無限可能性。 卡多蘭擅於用不同的形為元素組織色彩絢麗的畫面，以幾何圖形布色的技巧儼 然成為他的繪畫風格，對顏色具有強烈的觸覺，愛用明亮的顏色營造有深度的 對比，他的畫色彩層次豐富、肌理質感厚實，散發出自然、豪放的氣息，日常 生活中隨處可見的花瓶、鮮花、教堂、農田、衣著俏麗的女子、沉思默想的路 人，都成了他創作靈感的源泉。在他的許多構圖中，我們可以發現到一種莊嚴 的風格，這種風格能激發人們肉體和精神上的熱情。因此卡多蘭的畫充滿了濃 鬱的人情味，一種全球性的魅力。
Ravenel 63
IRIS AU FOND GRIS CLAIR BERNARD CATHELIN
此幅《鳶尾花》筆觸大方，用色上並沒有採用常見的甜美和諧的暖色
Bernard Cathelin was born in Paris in 1919. In 1945, he became
調，而是以米灰的泥土牆來陪襯鳶尾花的赤紅，打破了畫面冷色的調
enrolled in the École Nationale Supérieure des Arts Décoratifs,
子，使得色彩對比強烈且和諧，並富有律動，色調也極具對比，使整
and was at the same time a student in the studio of French
幅畫面富有活力，洋溢著清新的氣息。畫中融入溫暖的米灰色、米白
painting master Maurice Brianchon. Cathelin adopted the strong,
色、淡粉色及春意濃厚的粉綠色，散發無比浪漫懷舊的氣息。米灰色
vivid colors after the style of Les Fauves and employed brilliantly
的背景，與畫中右邊勾勒出的花簇相映襯，使構圖向外延伸。幽靜的
contrasting tones in the early phase of his career. In 1947, he
藍紫色鳶尾花十分突出，它的花形恰似一群翩翩起舞的蝴蝶；藝術家
began teaching at École Nationale Supérieure des Arts Décoratifs.
巧妙地將它那鬱鬱蔥蔥的粉綠色葉子作了低調的處理與高處的花草一
In 1950, he was awarded the Blumenthal Prize that is dedicated to
同襯托出了鳶尾花的生動與靈性；再有低處赤紅鳶尾花，大朵，莖
helping the young artists of France. In 1958, his work was selected
長，花蕊正對前方，成為畫面的亮點。後景則精細地描繪理花瓶上方
for exhibition by the David B. Findlay Gallery of New York, and he
優雅的三朵紫色鳶尾花枝葉，在一簇赤紅中顯得突兀——特立獨行孤
was featured on the cover of the New York Herald Tribune Sunday
傲的身影。二者相容處，以米色的以曲線勾畫出渾圓的花瓶，由瓶腳
supplement, after which his artworks were frequently exhibited in
內縮至中段，乘載著自然插放的花束，花與葉、花與瓶緣情隨性的。
Japan, the US, France, Europe, and all around the world. In 1995,
那炙熱的紅與幽靜的紫是屬於另一種卡多蘭，伴著生命而來。
he was elected to the French Légion d’Honneur by the President of the Republic. This was his highest honor in life. In 1997, a large-
藝術家懂得如何抓住一具形體、一片風景、或者一束鮮花的本質，這
scale retrospective exhibition was dedicated to him at the Valence
是一條高於現實的深邃真理：透過表像來發現事物的本質，來達到
Museum, France. In 2000, a large-scale retrospective exhibition
和諧完美的生活境界。此幅作品優雅氛圍滿溢，濃濃的詩意展現出藝
was held in the Shanghai Art Museum (SAM), China. Even after the
術家對自然美景的喜愛。卡多蘭透過鮮活的用色、半寫實的手法，凸
artist’s passing in 2004, his work is still frequently exhibited around
顯題材的自然之美。他的作品色彩豐富，經常擷取過去走訪各國的景
the world.
致，融入地方色彩和質地，其足跡遍佈法國德隆省、墨西哥、印度、 日本。卡多蘭的作品就像一首首饒富詩意的俳句。
Cathelin remained devoted to his home country throughout his entire lifetime, and was especially fond of his mother's hometown,
卡多蘭是一個創造者。他在無意間締造出一個獨特的世界。它有著開
Drôme. He had learned art in the company of Maurice Brianchon
闊而寬廣的空間，同時又將無限的寬廣匯集在房間一隅，小到一件花
and Henri Matisse. His works comprise mostly of oil on canvas
瓶。和他生活的時間、感受的時間交織在一起，和我們所謂只屬於藝
using paint brush and palette knife, and involve the rich, dynamic
術家的時間交織在一起。與這些時間貫穿一起的，是他對理念中和諧
use of colors and textures. He traveled all over the world for
之境的追求，是他對運用強有力的表現手法來揭示繪畫本質的追求：
artistic inspiration, and embodied the most poetic topics with
透過表像來發現事物的本質，來達到和諧完美的生活境界。他對很多
his paint brush. The artist’s career spanned Modernism as well
細節處理讓人感到趣味無窮：他能畫出一個手勢的優雅、婦女肩膀的
as the period of Contemporary Art from 1960 to this date. In
柔美靈活、靜謐花瓶中的一簇恬靜、一種姿態的韻律。他能展示鮮花
terms of artistic style, Cathelin took after the approach of 20th
的眼花繚亂之美，能一絲不苟地勾勒出房屋和傢俱的精確線條，能捕
Century École de Paris, followed by the Minimalism of the 60s
捉到山的動感，能表現麥田的寧靜。貝爾納．卡多蘭的繪畫讓人頓時
and 70s. His portrayal of scenes, portraits, and still life are
感到一種靈魂的欣悅和平靜，飽享了色彩的盛宴。
freely and boldly expressive.His unique use of the simple, the geometric, and red, has become the defining feature of his artistic oeuvre. Cathelin attempted and successfully achieved the use
of modernist representations of poetry in visual art within his own
enables us to attain a sphere of life of perfect harmony. This work
artworks. His paintings are thus the real embodiment of the wings
is vastly elegant, deeply poetic, and perfectly embodies the artist's
that give freedom to our minds and enable us to become aware of
love for natural sceneries. Through the use of dynamic colors and
the illimitable possibilities in human consciousness.
semi-realist techniques, Cathelin highlights the natural beauty of the subject matter. His richly colored works are often excerpts of scenes
Cathelin is adept at using different shapes as elements for forming
from the countries he has visited, including the Drôme region of
a vividly colored composition of wondrous splendor. The use of
France, Mexico, India, and Japan, and incorporate both local colors
geometric shapes for distributing color has become his iconic
and textures. Each of Cathelin's works is like a richly poetic haiku.
painting style. He is highly sensitive to the texture of color, and adores using vibrant colors for creating vivid contrasts. With their
Cathelin is a creator. Unintentionally, he has created a unique world
dynamic layers of color and solid, weighted textures, his paintings
of wide, open space that at the same time has contained boundless
are natural and unconstrained. Vases, flowers, churches, farmlands,
infinity into a tiny corner of the room--small enough to fit into a vase.
ladies in fancy dress, passengers deep in contemplation--all these
His lived time and sensory time are intertwined into the so-called
common scenes of daily life are the sources of his inspiration. We
time that belongs only to the artist. What connects these times is
are able to identify an atmosphere of solemnity in many of his
the pursuit for harmony within his ideology--that is, his pursuit of
compositions, a style that can ignite both our physical and mental
revealing the essence of painting via strong expressive techniques,
passions. This is why Cathelin's paintings, full of the rich sense of
and the discovery of the essence of things through their surface
humanity, holds a uniquely global appeal.
so as to attain a sphere of life that is perfectly harmonious. His various approaches to details are extremely intriguing: he is able
The brushstrokes of the painting "Iris au Fond Gris Clair" are
to depict the elegance of a hand gesture, the graceful suppleness
gracefully unrestrained. In terms of color, Cathelin refrained from
of a woman's shoulders, the serenity contained in a still vase, and
the use of sweet, harmoniously warm tones and instead employed
the rhythm of a posture. He is able to exhibit the dazzling beauty of
shades of beige and gray. The earthen wall complements the scarlet
fresh, blooming flowers, meticulously outline the forms of houses
red of the irises, breaks up the rigidity of the overall composition,
and furniture, capture the dynamism of mountains, and express the
and imbues the strongly contrasting colors with a sense of dynamic
peacefulness of expansive fields of rye. Bernard Cathelin's paintings
harmony, thereby engendering vitality and and an ambiance of
enable to us to experience the joy and peacefulness of the soul, to
refreshing energy. Warm beige gray, creamy white, pale pink, and
come away satiated by his festival of colors.
the pastel green of springtime verdure incorporated into the painting kindle a sense of romantic nostalgia. The beige gray background complements the bunch of flowers on the right of the painting so that the overall composition extends outwards. The irises of a serene bluish violet are extremely prominent with blossoms resembling a kaleidoscope of dancing butterflies. Very subtly, the artist has toned down the lush, verdant leaves into shades of pastel green so that both the cluster of leaves and the flowers positioned higher above accentuate the vivacity and livelihood of the blooming irises. Positioned lower down the canvas are scarlet red irises with large petals, long stems, and stamens facing the front of the image that inadvertently become the highlight of the composition. In the background, three violet irises and their sword-shaped leaves are delicately depicted high above the vase, particular prominent amidst the cluster of red below—figures of solitary pride and aloofness. Where the two colors converge, beige lines are used to outline the round vase, the shape of which contracts from the base up towards the middle. As if a bouquet had been placed randomly into the vase, the space between the flowers and the leaves, and between the flowers and the edge of the vase are casually and sentimentally depicted. The flaming reds and serene violets seem to belong to an alternative dimension of Cathelin’s soul, colors that have been engendered through the vitality of life. Artists are adept at capturing the essence of form, a piece of scenery, or a bouquet of flowers; this is a profound truth that extends beyond reality: the discovery of the essence of things through their surface
貝爾納．卡多蘭《萬壽菊》1972年 油彩 畫布 162 x 130 cm 羅芙奧香港2016春拍 港幣840,000 成交 Bernard CATHELIN, Roses d'Inde des Rebattières , 1972, oil on canvas, 162 x 130 cm Ravenel 2016 Spring Auction Hong Kong, US$108,108 sold
Ravenel 65
030
MAURICE DE VLAMINCK (French, 1876 - 1958)
Southampton c. 1911 Oil on canvas 51 x 61 cm Signed lower left Vlaminck in French PROVENANCE: Dimensions Art Center, Taipei Acquired from the above by the present owner ILLUSTRATED: Vlaminck , Dimensions Art Center, Taipei, 1992, color illustrated, p. 10 & p. 61 This work will be included in the forthcoming catalogue Critique de l'œuvre de Maurice de Vlaminck , currently under preparation by Maïthé Vallès-Bled and Godeliève de Vlaminck under the sponsorship of the Wildenstein Institute. This painting is to be sold with a certificate of authenticity issued by Wildenstein Institute, Paris.
NT$ 2,400,000 - 3,600,000 HK$ 617,000 - 925,000 US$ 79,500 - 119,300
莫里斯．德．烏拉曼克 南安普敦風景 約1911年 油彩 畫布 51 x 61 cm 簽名左下：Vlaminck 來源： 帝門藝術中心，台北 現有收藏者得自上述來源 圖錄： 《自畫像性的繪畫：論烏拉曼克的藝術》，帝門藝術中心，台北， 1992，彩色圖版，頁10、頁61 此作品將編入於維恩斯坦藝術基金會贊助由Maïthé Vallès-Bled 和 Godeliève de Vlaminck正籌備中的《烏拉曼克評論專集》 附維恩斯坦藝術基金會開立之原作保證書
Ravenel 67
SOUTHAMPTON MAURICE DE VLAMINCK
身為野獸派中極重要的成員畫家莫里斯．德．烏拉曼克，擅長描繪自然的場景，如法國鄉村的景色、繽紛的花束、或是遼闊的 大海、森林和農地，透過強烈對比的色彩和野獸般的誇張筆觸，將生活中略顯平凡的景色以另一種方式呈現，幻化成另一國 界。自1904至1907年間，烏拉曼克以野獸派的畫風名揚畫壇。1905年，烏拉曼克與多位重要藝術家在獨立沙龍展和秋季沙龍 所展出之作品，他們姿意粗野的用色，拋開一切傳統技法，當時眾人瞠目結舌。 自1908年起，可以見到他因受到塞尚晚期繪畫的影響，用色逐漸轉為沉穩，趨近單色調，烏拉曼克將野獸派風格和塞尚風格融 合一體，獨樹一格，淡出野獸畫派。然而，野獸畫派基本訴求就是拒絕忠實於現實的色彩，而忠實於畫家自身的情感，表達出 觀察外界時最純粹的感受和衝擊。因此，即是烏拉曼克後來和其他野獸派畫家一樣脫離野獸派的標籤，卻仍然保有開放的態度 和實驗精神，開闢出個人風格。 在1911年間，烏拉曼克應二十世紀法國重要的畫商伏勒爾（Ambroise Vollard）的邀請至英國，短暫停留了一段時間後繪製了 倫敦近郊的風光，此時的烏拉曼克開始有些實驗性的想法，面對同時期立體化派的巔峰時期，烏拉曼克或多或少都在潛移默化 之中受到影響，因而透過簡化形狀和幾何圖形的體積，體現出畫面中所強調的線面區塊的新美感，同時期的烏拉曼克，也是因 為受到塞尚的畫風影響，整體畫面中是以暗色系色調呈現。 本次作品《南安普敦風景》描繪了英國南部的港口城市，對望著相隔200多公里的家鄉法國，烏拉曼克從塞納河畫到泰晤士河 畔，面對不同的風景，烏拉曼克依舊能透過從容的筆觸，在暗色調的深藍抹上深白色的筆觸，編織出動人的英倫風情。《南安 普敦風景》的畫面構圖豐富，港口邊停泊的三隻船艘透過海面浮動的線條，和流動的風帆與地面上靜止的房子形成對比，卻能 造就視覺平衡。用色雖然不比早期野獸畫派時期的強烈，卻依舊能見其延續的明顯筆觸，分佈在畫面中不規則的光影、雲海及 房屋的牆面上。此幅作品不僅保有烏拉曼克身歷其境的感動，更是一幅成熟時期的佳作。
Maurice de Vlaminck was an important figure of the Fauves
The present lot “Southampton” is a depiction of a harbor
movement, Vlaminck was fond of seeking organic things as his
city located in the southern part of England, overlooking his
main topics, such as French countryside, simple flower bouquet,
hometown, France is 200 kilometers away. Vlaminck moved from
or vast seascape, forests and farm scenes. It is through the use
Le Seine to the Thames, when faced with different landscapes,
of strong contrasted colors and wild beast-like exaggerated
Vlaminck was still painting at ease. The composition of the
brush works, that Vlaminck was able to transform the ordinary
“Southampton” is rich, with three sail boats resting by the
landscape into another world made of strong colors. From 1904
harbor, the unsettling float of lines on the sea surface are
to 1907, Vlaminck’s beast-like painting style was known to many.
counterbalanced with the stagnant houses on land. Vlaminck
In the year of 1905, Vlaminck was showing his works along with
layered dark blue and white strokes as seen in the sky and
other Fauve artists at the Salon of Independents, and Autumn
sea, despite the colors are not as wild as previous years, the
Salon, where they were showing unprecedented techniques, as
rough brush works remained, evenly scattered in the shadows,
were their uninhabited use of colors that ultimately ignited their
clouds and the walls. This painting not only represented the
fame.
mature periods of Vlaminck, it also captured the impressions of Vlaminck as he stood in front of the harbor.
Since 1908 onwards, there was a clear evidence of the influence of Cézanne over works of Vlaminck. Vlaminck darkened his palette and turned monochromatic, Vlaminck merged the style of Fauvism and Cezanne, and developed into his own while fading out from the Fauves. For the Fauvist artists, the key is not to paint in accordance to the colors of the reality, but from the heart. A fauvist painter must be true to his heart and deliver the pure sensations of his observations of the outer world. Hence, even though the Fauve was parted, they kept their experimental spirit and attitudes open to form their own individualistic style. Vlaminck was invited by Ambroise Vollard, a significant art dealer of the 20th century to visit England during 1911, where Vlaminck stayed for a little while and painted the suburbs of London. Meanwhile, Vlaminck was faced with the peak development of Cubism, and was under the influence of them
莫里斯．德．烏拉曼克《馬恩河畔的萊佩爾勒》約1908年 油彩 畫布，38 x 46 cm
to certain extent, it was during this time, and Vlaminck began to
現存：法國土魯斯美術館–喬治・本伯格基金會
experiment some use of geometric shapes and play of volumes in his works. Such as the work seen in “Southampton”, there are
Maurice de VLAMINCK, Le Perreux , circa 1908 oil on canvas, 38 x 46 cm Localisation: Musée Toulouse-Foundation Bemberg, France
some subtle influences.
©ADAGP, Paris
Ravenel 69
031
MAURICE DE VLAMINCK (French, 1876 - 1958)
Village sous la Neige Oil on canvas 60 x 73 cm Signed lower right Vlaminck in French PROVENANCE: Ader-Tajan, Paris, December 16, 1991, lot 39 Private collection, Asia This painting is to be sold with a certificate of authenticity signed by the expert on Vlaminck, Gilbert Petrides in 1991.
NT$ 3,600,000 - 5,500,000 HK$ 925,000 - 1,414,000 US$ 119,300 - 182,200
莫 里斯．德．烏拉曼克 鄉村雪景 油彩 畫布 60 x 73 cm 簽名右下：Vlaminck 來源 : 艾德─塔尚拍賣，巴黎，1991年12月16日，編號39 私人收藏，亞洲 附烏拉曼克專家吉貝．派特里德親筆簽名之原作保證書
Ravenel 71
VILLAGE SOUS LA NEIGE MAURICE DE VLAMINCK
《鄉村雪景》是烏拉曼克創作於法國冬日鄉間，動人心魄的驚鴻之 作。身為野獸派的創始者之一，他說過熱愛梵谷勝過自己的父親。濃 烈、大膽、流動，瀟灑中帶著精緻，這正是烏拉曼克畫作扣人心弦 的原因。無論是早期野獸派的麥田穀屋，抑或晚期銀光閃爍的白雪風 景。畫面中的開闊感，洋洋灑灑，即使是窮山僻壤，也會讓人傾身想 像托爾斯泰的俄羅斯雪原。 日光為雲層阻隔，透不過光線，無法帶給人任何溫暖。像暴風雪前 後，因為天空詭變，動物們恍恍不安尋求庇護的心。路上積雪的順 向，像是汽車輪攪和後，人們將視覺帶向遠處的轉彎，殘積的片段。 白雪染上黑泥，青青灰灰，恍惚之間，畫刀俐落，生動了寂靜，枯枝 張牙向天，爭一絲天邊的光。煙囪沒有裊裊生煙的溫暖，僅剩寒冷凍 紅的手與屋牆。人們靜坐屋內的爐邊，畫家卻任北風張狂，野放自我 在冷冽的冬天。 烏拉曼克跨越各創作時期及階段，分別以多幅作品描繪變化萬千的雪 景，展現對琢磨此類型創作及題材堅毅不懈的付出。他探索風景畫作 各層面鍥而不捨，因而在多幅此類作品，可見他於藝術進程之不同時 期的研究，將其對真實世界的感知與內心情感投注於藝術化境之中。 「野獸派」創始成員之一的烏拉曼克，1876年出生於巴黎，自小在家 庭受音樂洗滌，還能拉得一手不錯的小提琴。1888-91年間曾受過繪 畫的基本訓練。烏拉曼克從20世紀初參與野獸派運動，到晚期的熱衷 表現主義風格，宛如藝術界的革命家，不管旁人的批評，堅持實踐自 我的理念，評論家認為他是現代藝術中偉大的風景大師。烏拉曼克的 繪畫用色從1908年以後轉趨陰暗深沈，而由於受到立體派的影響，更 注重畫面結構的嚴謹性。1954年應邀參加威尼斯雙年展，1956年被 選為比利時藝術學院院士，同年巴黎的夏邦提耶畫廊為他舉行80歲回 顧展。 本拍品代表了烏拉曼克作為大師的完美形式，動人心神且臻至成熟。 本拍品和烏拉曼克1908年以前受梵谷影響而為的野獸派畫作相當不 同，在野獸派時期之後，其畫風明顯受到觀賞塞尚畫作的啟發，轉趨 單一色調，這是烏拉曼克藝術生涯的重要轉變。1909年巴黎的秋季 沙龍舉行大規模的塞尚回顧展，更深入影響了烏拉曼克。一次大戰期 間，法國現代藝術進程由野獸派轉向立體派，身在巴黎的烏拉曼克並 未坦然接受。烏拉曼克希望超越流派，就像馬蒂斯和德安一樣，保有 個人特色，隨心所欲的作畫。
"Village sous la Neige" describe the scenery of french country village
"Village sous la Neige" represents a masterful consolidation of form
in snowy winter, is one of the master pieces of Vlaminck. As one
that is both enticing and anchoring. It differs and contrasts with
of the founders in Fauvism, he once declared, "I loved Van Gogh
the artist’s Fauves canvases inspired largely by works of Von Gogh
better than my own father!" He worked in a style characterized by
whom the artist remained a key proponent of up until the 1908,
bold color and lively brushwork. The delicate texture in his exuberant
after which his palette become more monochromatic largely due
stroke is mostly the reason why his painting is so incredible. The
to the influence and response to the works of Cézanne that he had
openness view was demonstrated from the works of early Fauvism
observed at an exhibition, an encounter that constituted a significant
with dispersed cottages in the wheat field to his late landscapes in
phrase of transition in Vlaminck’s artistic development. This prolific
the snow. Following his lead, viewers could even experience the
phrase subsequently extended to a fruitful personal exhibition of
frozen wind of snowfield as standing in Tolstoy's novel.
larger scale in 1909. In Vlaminck’s latter artistic endeavors, the artist demonstrated difficulty in accepting Cubism’s rise during the war in
In this painting, the sun was obscured by clouds and impossible
Paris when artistic modernism was undergoing a delicate transition
to emanate light and warmth. The sky was so intimidating that the
from Fauvism to Cubism in France. In essence, Vlaminck sought to
animals restlessly surged for shelters. Our sight followed with the
progress beyond a style much like Henri Matisse and Andre Derain,
motion of a vehicle in the road to a gloomy corner far away. The
all whilst retaining his idiosyncratic and instinctive manner of the
snowy passage was tinted black by mud; the dreary branches and
application of paint.
chimneys silently unfolded their torso to the sky. People sat aside to the fireplace rubbing their frozen hands while the artist wandered freely in this wild winter. In retrospect, Vlaminck had depicted various snowscape scenery in different stages during his various artistic phrases, which reflects the artist's consistent endeavor in this genre and associated subject matter. It is apparent that Vlaminck had consistently explored the realms of scenery landscape, whereby many of these works are manifestations of his reality or inner emotions in responses to his artistic indulgence during the various phrases of his artistic development at a particular point in time. Vlaminck, one of the original founders of Fauvism, was born in 1876 in Paris. Vlaminck was from a family of musicians thus he was naturally proficient with violin at young age. He also received basic training in painting between 1888 and 1891. Vlaminck has always been a revolutionary, from his involvement in Fauvism in the early 20th century to his passion for Expressionism in his later years. By 1908, Vlaminck's compositions became more orderly and the use of colors became more subdued due to the influence of Cubism. In 1954, he was invited to participate in the Venice biennial exhibition and in
莫里斯．德．烏拉曼克《雪中的教堂》約1930年代，水彩 水粉 紙本 49 x 57 cm 巴黎龐畢度中心收藏
The following year, Galerie Charpentier in Paris held a retrospective
Maurice de VLAMINCK, Eglise sous la neige , circa 1930s, watercolor and gouache on paper, 49 x 57 cm Collection of Centre Pompidou-Musée national d'art moderne, Paris
for his 80th birthday.
©ADAGP, Paris
1955, he was voted in as a member of L'Académie Royale in Belgium.
Ravenel 73
032
ANDRÉ BRASILIER (French, b. 1929)
Central Park
安德烈．布拉吉利
1983 Oil on canvas 195 x 150 cm
中央公園
Signed lower right André Brasilier in French Initialed on the reverse A.B. and titled Central Park in English PROVENANCE: Private collection, Asia
1983 油彩 畫布 195 x 150 cm 簽名右下: André Brasilier 簽名畫背: Central Park A.B. 來源 : 私人收藏，亞洲
NT$ 4,400,000 - 6,500,000 HK$ 1,131,000 - 1,671,000 US$ 145,800 - 215,400
EXHIBITED:
ILLUSTRATED:
André Brasilier , Musée Picasso - Château Grimaldi, Antibes, France, June 3 - 30, 1988 André Brasilier , Stadthalle Balingen, Balingen, Germany, August 13 - September 9, 1988 Hommage à André Brasilier , Conseil Général, Angers, organized by Mme Sauvage, 1989 Le monde élégant et fantastique de la France, André Brasilier , Electric Museum, Nagoya, Japan, September 13 - October 15, 1989, Collaboration: Foundation of Nichido Kasama Museum, Tokyo. ; Hanshin Department Store, Osaka, Japan, October 26 - 31, 1989 ; Daimaru-Nagasaki Department Store, Nagasaki, Japan, January 3 - 14, 1990 ; Matsuya Department Store, Omuta, Japan, January 24 - 29, 1990 ; Yamakataya Department Store, Kagoshima, Japan, February 1 - 12, 1990 ; Nichido Kasama Museum, Ibaraki, Japan, March 3 - April 8, 1990 L’exposition des Brasilier de Brasilier , Japan, April 2 - September 8, 1992 ; Daimaru Museum, Tokyo, April 2 - 14, 1992 ; Navio Museum, Osaka, April 18 - May 17, 1992 ; Marui Imai Multipurpose Room, Sapporo, July 2 - July 7, 1992 ; Daimaru Fukuoka Tenjin Store, Fukuoka, September 3 - 9, 1992 André Brasilier à Bagatelle , Mairie de Paris, Paris, September 30 November 29, 1992. Organization: Didier Jumeaux et Partenaires André Brasilier , Palais de Carnolès, Musée des Beaux-Arts, Menton, France, August - September, 1994 Brasilier , L’Arsenal et Galerie Arts Gambetta, Metz, France, June 17 - September 10, 1995 André Brasilier , Castle of Vascoeuil, Vascoeuil, France, August September, 1996
Yann le Pichon, André Brasilier: Ses Transfigurations , Editions Séguier, Paris, 1989, color illustrated, p. 177 André Brasilier: Le Monde élégant et fantastique de la France , Kasama Nichido Bijutsukan, Tokyo, 1989, color illustrated, no. 27 L’exposition des Brasilier de Brasilier, Didier Jumeaux et Partenaires, TG. Concepts Inc., Tokyo, 1992, color illustrated, no. 53, p. 76 André Brasilier , Les Éditions Callithos, Paris, 1994, color illustrated, p. 32 Xavier de Coulanges, André Brasilier: Catalogue Raisonnée 19822002 (v.I) , Acatos Publishing, Lausanne, 2004, color illustrated, p. 30 Lydia Harambourg, André Brasilier: Collection Mise en lumière , Editions Cercle d’Art, Paris, 2007, color illustrated, no. 50
Ravenel 75
CENTRAL PARK ANDRÉ BRASILIER 安德烈．布拉吉利出生在藝術世家。1949年進入巴黎高等美術學院，1953年獲得 羅馬大獎，1961年得青年沙龍的查爾斯 · 莫海爾獎。推崇高更為靈感之父，以女 人、音樂、馬群、四季，為創作主題。他融合東方寫意，以繪畫風格高雅著稱，展 覽足跡遍佈全球。1980年作為第一位受邀於法國雪農梭城堡的畫家，舉行個人回顧 展，1988年蔚藍海岸昂蒂布市的畢卡索美術館舉行回顧展。2005年於俄羅斯冬宮 舉行回顧展，2007年德國豪斯路德維希美術館舉行個人回顧展。 「﹝香黛兒﹞我想向她致敬，謝謝她不斷的啟發我。」－ 安德烈．布拉吉利 結縭超過五十個四季，布拉吉利的夫人：香黛兒（C h a n t a l），藝術家對妻子就只 有無限的愛慕之情。從未停止為她創作，布拉吉利永恆的繆思女神，就連龐巴度教 堂（Eglise Pompadour）的委託，禮拜堂內繪製的天使，也都是以夫人為原型。布 拉吉利認為描繪人物的神韻，從古至今是藝術家建立歷史中不可動搖地位、永垂不 朽的唯一表現，也是他一生企及，用來鞭策自己的目標。而自己何其幸運，能夠與 繆思女神相識結褵，從羅馬台伯河岸旁，梅第奇花園相遇的那一天，他的身心、創 作，香黛兒的身影無處不在。 《中央公園》創作於1983年紐約，描繪香黛兒夫人，側臉遠眺，斜倚在中央公園湖 邊的景致。樹林淺墨雙色倒影湖面，騎士三兩策馬漫步，淡藍線條勾勒出摩天大樓 的輪廓，少了喧囂，而多了一分高雅閒適。布拉吉利將這件作品私藏多年，在歐亞 巡迴展覽，並製作限量版畫發行。就如畢卡索的《格爾尼卡》，布拉吉利強調特定 的主題，必須用大尺幅來呈現，開闊的畫面感，能使觀者身歷其境，撼動人心。創 作的一生就是場大冒險，如同出世的第一日，布拉吉利對人生保持熱情，在創作中 完全投入自己，為世人留下愛與和諧的視角，內心對生命的愛慕，感染人心的美麗 繪畫。 畫家自小成長在法國昂儒（Angevin）曼恩與羅亞爾省（Maine-et-Loire）索米爾 鎮（S a u m u r, To u r a i n e）的鄉間城堡，馬兒與樹林標註了他的田園童年與大戰時 期，成年後，巴黎東北邊盧佩涅（Lupeigne）小鎮的生活帶給了他相同的感受：大 自然的力量與平靜。即使現在生活於巴黎楓丹白露，這兩地的美好回憶仍然是帶給 他力量，人親土親，心靈的歸依。從巴哈、貝多芬、舒伯特到巴西的維拉羅伯斯， 音樂也是布拉吉利生活靈感的泉源。 繪畫非記錄寫實，而是融合於「內在的寫意」。他仰慕並欣賞其他藝術家的創作結 晶，多次參觀義大利聖西斯汀禮拜堂，感受米開朗基羅的筆觸，悠遊於美術館，只 為豐富自己的藝術視角，感受人類精神刻畫的遺跡。受法蘭西學院院士華裔法籍漢 語文學家程抱一的文學作品啟發，更與日本畫家東山魁夷是多年好友。 「簡化」是他對藝術創作的追尋，不同於極簡，布拉吉利豐富的學養內在，讓他更 像是東方所云：反璞歸真。具象與抽象之間，布拉吉利選擇運用兩者，刻畫生命間 的真實，如同盧奧、高更、畢卡索，從物質束縛中釋放。畫家不需追隨潮流，而是 審思自身的定位和視角，才能在藝術的洪流中堅若磐石。
展覽： 「安德烈．布拉吉利回顧展」，畢卡索美術館，格里馬迪堡，昂蒂布，法國， 展期自1988年6月3日至30日 「安德烈．布拉吉利回顧展」，巴林根文化中心，巴林根，德國， 展期自1988年8月13日至9月9日 「安德烈．布拉吉利回顧展」，省議會，昂熱，法國，1989年 「法國的優雅與夢幻：安德烈．布拉吉利特展」，電力博物館，名古屋，協辦: 東京笠間日動美術館基金會，展期自1989年9月13日至10月15日；阪神百貨，大 阪，展期自1989年10月26日至10月31日；大丸百貨，長崎，展期自1990年1月3 日至1月14日；松屋百貨，大牟田市，展期自1990年1月24日至1月29日；山形屋 百貨，鹿兒島，展期自1990年2月1日至2月12日；笠間日動美術館，茨城縣， 展期自1990年3月3日至4月8日 「安德烈．布拉吉利特展」，日本，展期自1992年4月2日至9月8日；大丸百 貨，東京，展期自1992年4月2日至4月14日，主辦 : 讀賣新聞；船形美術館，大 阪，展期自1992年4月18日至5月17日，主辦：讀賣新聞與讀賣電視台；丸井今 井百貨展演廳，札幌，展期自1992年7月2日至7月7日，主辦 : 讀賣新聞與札幌 電視台；大丸百貨福岡天神店，福岡，展期自1992年9月3日至9月9日，主辦： 讀賣新聞與福岡電視台；「安德烈．布拉吉利回顧展」，巴黎市政府，巴黎， 展期自1999年9月30日至11月29日，主辦 : 迪迪耶．吉默及合夥人出版 「安德烈．布拉吉利特展」，卡諾萊宮，芒通美術館，法國芒通， 展期自1994年8月至9月 「布拉吉利特展」，兵工廠與坎貝達畫廊，法國梅斯，展期自1995年6月17日至 9月10日 「安德烈．布拉吉利回顧展」，瓦斯科厄伊堡，瓦斯科厄伊，法國， 展期自1996年7月7日至11月3日
圖錄： 楊．勒．畢松，《安德烈．布拉吉利：轉變》，賽吉爾出版社，巴黎，1989， 彩色圖版，頁177 《法國優雅與夢幻的世界： 安德烈．布拉吉利》，笠間日動美術館，笠間市， 1989，彩色圖版，編號27 《布拉吉利特展》，迪迪耶．吉默與合夥人，T.G. 概念出版，東京，1992， 彩色圖版，編號55，頁76 貝爾納．德．孟格非，《安德烈．布拉吉利回顧展》，巴黎市政府，巴黎， 1992，彩色圖版，編號55，頁59 《安德烈．布拉吉利》，卡利多出版社，巴黎，1994，彩色圖版，頁32 沙維亞．德．古朗士，《安德烈．布拉吉利作品目錄1982-2002，第一冊》，阿 卡托斯出版，若桑，2004，彩色圖版，頁30 莉迪亞．海倫伯格，《安德烈．布拉吉利：精選典藏集》，藝術圈出版社，巴 黎，2007，彩色圖版，編號50
Ravenel 77
"...I WANT TO PAY TRIBUTE TO HER (CHANTAL), AND THANK HER FOR HER CONTINUOUS INSPIRATION."－ ANDRÉ BRASILIER
Brasilier was born into an artistic family. Enrolled in the Ecole
themes must be presented on a large canvas, so that the
Nationale des Beaux-Arts in 1949, he won the Premier Grand
vastness of the image corresponds dynamically with the
Prix de Rome for painting in 1953, and in 1961 received the
viewers’ movements and make them feel as if they were part
Prix Charles-Morellet at the Salon de la Jeune Peinture. He
of the painting. A life of creating art is a grand adventure.
hails Gauguin as the father of his inspiration; women, music,
As if it is his first day in this world, Brasilier maintains a
horses, and the four seasons are all subjects of his artwork.
great passion for life, dedicates himself entirely to his art,
Integrating eastern imagery, he is known for his elegant
leaves behind paintings that show a perspective of love and
painting style, and has exhibited his work all over the world.
harmony, and expresses an adoration of life that warms the
In 1980, he held his first retrospective as the first painter
heart.
to be invited by the Château de Chenonceau, and in 1988 he held another retrospective at Musée Picasso-Château
Growing up in the countryside castle of Saumur, Touraine
Grimaldi in Antibe of the French Riviera. In 2005, he held
in Angevin and Maine-et-Loire, France, horses and trees
an Exhibition-retrospective at the Hermitage Museum in
marked his countryside childhood and wartime experience;
Russia, and another exhibition at the Museum Haus Ludwig
as an adult, life in the small town of Lupeigne northeast of
in Germany in 2007.
Paris gave him the same sensations: the power and serenity of nature. Though he now lives in Fontainebleau, Paris, fond
"...I want to pay tribute to her, and thank her for her continuous inspiration. "－ André Brasilier
memories of these two places still give him energy; they are his connection to the earth, sanctuaries of his heart and soul. From Bach, Beethoven, Schubert, to Brazil's Villa-Lobos,
Married for over 50 years, the artist has only endless love
music is another of Brasilier's sources of inspiration.
and adoration for his wife, Chantal. He has never stopped creating art in her name, Brasilier's eternal muse. Even a
Painting is not just recording things with a realistic approach,
commission from the Eglise Pompadour to paint an angel in
but incorporating "the imagery within." He looks up to and
the chapel was painted in her likeness. Brasilier believes that
admires the work of other artists, has visited the Sistine
depicting a character's spirit is an indisputable, everlasting
Chapel in Italy numerous times to feel the brushstrokes of
form of expression in the history of art, and he has spent his
Michaelangelo, and has strolled though museums to broaden
entire life working towards this goal. And how lucky he is, to
his perspective of art and experience the traces etched
have met and become wedded to his muse. From the first
by the human spirit. He is inspired by the literary works of
day they met at the Medici Gardens by the Tiber River, his
Chinese-born French academician and Académie française
heart and soul, as well as his art, have been occupied by her
Francois Cheng, and was close friends with Higashiyama Kaii
image and her image only.
for many years.
"Central Park" was created in New York in 1983. It depicts
"Simplification" is what he strives to achieve in his work.
Lady Chantal, with tilted head and faraway gaze, lying on her
Unlike minimalists, Brasilier's abundant knowledge makes
side by the lake in Central Park. The trees are faintly reflected
him more of what is referred to in the east as a "return
on the surface of the lake; riders on horseback stroll past,
to innocence." Between the figurative and the abstract,
and pale blue lines depict the outlines of skyscrapers. The
Brasilier chooses to use both to depict the realities of life,
image is devoid of bustle, and is instead imbued with a sense
breaking free from the confines of the material world, just
of leisurely elegance. Brasilier kept this piece in his private
as Rouault, Gauguin, and Picasso have all accomplished.
collection for many years, showing it only in exhibitions
Painters need not follow the tide. Instead, it is their mission
around Europe and Asia, and created limited prints. Like
to identify their own orientation and perspective in order to
Picasso did with "Guernica," Brasilier stresses that certain
become a steady stone in the rapid flow of art.
Ravenel 79
033
LIAO CHI-CHUN
(Taiwanese, 1902 - 1976)
Venice
廖繼春
1963 Oil on board 23.5 x 28 cm
威尼斯水都
Signed lower left C. Liao in English Signed on the reverse Liao Chi–chun , titled Venice in Chinese, dated May 1963 in Chinese and inscribed For Ms. Wang as a souvenir PROVENANCE: Collection of Ms. Wang, Taiwan (acquired directly from the artist) Ravenel 2012 Autumn Auction, Taipei, lot 652 ILLUSTRATED: Centurial Rairity: Complete Works of Liao Chi-chun , Ever Harvest Art Gallery, Taipei, January 2017, color illustrated, p. 467
1963 油彩 木板 23.5 x 28 cm 簽名左下：C.Liao 簽名畫背：「威尼斯水都」廖繼春畫 一九六三. 五. 王小姐留念 來源： 王小姐，台灣（得自藝術家贈與） 羅芙奧2012秋季拍賣，台北編號652 圖錄： 《世紀藏春：廖繼春全集》，日升月鴻畫廊，台北， 2017年1月，彩色圖版，頁467
NT$ 4,800,000 - 7,500,000 HK$ 1,234,000 - 1,928,000 US$ 159,000 - 248,500 廖繼春的油畫創作，大體可分三個階段。早年作品受日本外光派影
義、抽象繪畫影響及美國抽象表現主義衝擊，風格改變，愈趨自
響較大，造型誇張，色彩較暗，畫面常顯沉悶之感，風格近似強調
主、成熟。至晚年，達其繪畫藝術的高峰。作品呈半具象半抽象，
個性的後印象主義，兼具學院工夫及鄉土特色；中年作品趨半抽
多表現台灣的鄉土特色，色彩絢麗，筆觸奔放，達到了藝術與人生
象，色彩逐漸明朗，偏愛粉紅色調與淡綠淡藍色調強烈對比，呈野
的和諧之境界。其自在的絢麗色彩至今仍為台灣美術界所稱道。
獸派風格；1962年應美國國務院邀請，赴美考察習畫，遍觀美國各 大美術館，視野得以擴大，畫風漸變，受法國後印象主義、野獸主
廖繼春喜愛描寫山光水色，尤其是河、港的風景。對於水景的描 寫早緣起於1950年代的大量淡水寫生。自1960年代赴歐美考察回 國，途中見聞大開眼界，美國抽象畫的風潮以及歐洲文明，皆使廖 繼春的內心受到極大的憾動。1960–1970年代廖繼春的繪畫創作 達到巔峰。尤其見識到威尼斯的水色天光，舟楫穿梭水間的繁忙景 象，自由和諧的創作氣氛，使得他回到台灣以後，將接收到的刺 激，轉化為推動的力量，快速地找到自己的方法。無論淡水、愛 河、威尼斯、野柳，或生命最後一站的東港，這些以水聞名的名勝 景點，在他的筆下呈現出一種近似的繽紛、活潑的氣氛。 此件《威尼斯水都》創作於1963年更是體現了強烈的野獸主義風 格，色彩表現的自由奔放，構圖甚為嚴謹，強烈的用色表現和諧 不衝突，整幅作品透過大膽的用色、表現出從容不迫的美景，可見 其技術純熟已到達爐火純青的境界。廖繼春透過印象中旅歐的美好 記憶，將內在情感和大自然的美景留存於畫布之中。在《威尼斯水 都》裡，不僅僅有繽紛的青藍色帶出波光粼粼的海水、交錯擺動的
廖繼春《威尼斯水都》油彩 畫布 32 x 41 cm 國立台灣美術館收藏（圖片由日升月鴻畫廊提供） LIAO Chi-Chun, Venice , 1963, oil on canvas, Collection of National Taiwan Museum of Arts (Photo courtesy of Ever Harvest Art Gallery)
船隻，和浪漫的粉色點綴河邊的步道，還有前景處些許的鵝黃色及 遠景處的白色相互對話著，如此豐富的構圖透過廖繼春成熟的筆 觸、線條、細膩的繪出光影的變化，實屬1960年代的代表作。
Ravenel 81
VENICE LIAO CHI-CHUN
Liao Chi–chun’s artworks can be roughly divided
flavor. The works from the middle phase are usually
into three phases. The works in the early phase
semi–abstract with gradually brighter colors. He also
were influenced by Japanese Pleinarisme. W ith
favored the sharp contrast between pink and light
exaggerated designs and muted colors the general
green or light blue in the fauvist style. In 1962 he
feeling is often subdued. The style is similar to Post–
was invited by the US State Department to continue
Impressionism where the sense of self is emphasized
his studies in art, and as a result of touring major
and there is a touch of college–flair and country–
galleries and museums, his horizon expanded and his style gradually changed. Liao was influenced by French Post–Impressionism, Fauvism, abstract art, and Americanism causing his style to become m o re i n d e p e n d e n t a n d m a t u re . H i s l a t e p h a s e was the zenith of his work. The artworks are semi– representational and semi–abstract. They usually depict local Taiwanese areas, with vivid colors and flowing brush–strokes that show the perfect harmony between art and life. The carefree, bright colors are still praised in the Taiwanese art world. Liao Chi–chun delighted in portraying mountains and water, especially the scenery of rivers and harbors. His works in depicting water scenery began in the 1950s with his Tamsui sketches. In the
廖繼春《威尼斯》1973 油彩 畫布 50 x 60.5 cm 羅芙奧台北2007秋季拍賣會 台幣 21,880,000成交 LIAO Chi-chun, Venice , 1973, oil on canvas, 50 x 60.5 cm Ravenel 2007 Taipei Autumn Auction, US$678,134 sold
1960s, returning home from America and Europe, his experiences and perspectives were greatly expanded. American abstract painting and the sophistication of Europe astounded Liao and his artworks reached the summit of their creativity from 1960–1970. After having experienced the splendor of Venice with the lively bustle of gondolas darting around in the canals, the creative atmosphere of freedom and harmony allowed him to transform all his experiences into a creative drive after his return to Taiwan and forge his own path. Whether it is Tamsui, Love River, Venice, Yehliu or his life’s last stop, Donggang, under Liao’s paintbrush, these locations renowned for their water scenery all depict a familiar vivacity and exuberance. In the work of “Venice” that was painted in 1963, explicitly demonstrated a strong Fauvist influences, with a free flow of colors and rigorous compositions, despite the use of bold colors, the painting is well balanced and is a showcase of the conficence of expression. Liao ChiChun had travelled to Europe in the late 50s and the wonderful memory of that was elevated with personal emotions which are later transferred onto canvases. In the work of “Venice”, not only can we see the use of imaginative cyan depicted as the gleaming reflection of waves, boats that flow and swing with the waves, but also seeing romantic pink brushes as the pavement by the riverside. With light yellow up front and outstanding use of white in the back, this creates a sense of spatial conversation. This painting is an excellent work of the 60s, as demonstrated through the sophisticated use of brush strokes and delicate depiction of subtle changes of light.
Ravenel 83
034
ZHOU CHUNYA
(Chinese, b. 1955)
Blooming Sky: Peach Blossoms Series
周春芽
2006-2014 Oil on canvas 100 x 120 cm
桃花系列：火燒雲
Signed lower right Zhou Chunya in Chinese and English, dated 2006 ILLUSTRATED: Blooming Stories , Sichuan Fine Arts Publishing House, Chengdu, 2007, color illustrated, pp. 96-97
NT$ 7,500,000 - 11,000,000 HK$ 1,928,000 - 2,828,000 US$ 248,500 - 364,500
周春芽是中國當代公認的傑出藝術家，從最初的藏族題材， 到早期1990年代時期因留學德國，創作受到新表現主義繪畫 影響，大膽用色且奔放，如同他的「綠狗」系列，周春芽都有 著階段性的成長與突破自我。到了1990年代中期，周春芽逐 漸遠離新表現主義的影子，將旅居在外所見所聞內化之後，同 時，透過研究中國文人畫的精神，透過古典審美觀和新的表現 方式激盪出新的思維，挑戰新的表現方式走出自我。從「山 石」系列，再到了近期的「桃花」系列，周春芽借助新的技巧 重新詮釋傳統中國山石花卉的繪畫，與傳統對話。 面對不同系列的創作，無論是桃花或是綠狗，它們都可以追溯 至根本的慾望，動物可能有比較強烈的慾望，因此表現方式相 對奔放，而桃花則是暗喻著人的情感和大自然間的互動，周春 芽希望借助古典文人筆下那保留的筆觸，矯情的態度，去表現 一種最根本的、與生俱來的慾望，可能是色情或是暴力，但是 能透過這種反差和繁複錯落的結構，挑戰既有的期待，正式周 春芽所希望傳遞的。
2006-2014 油彩 畫布 100 x 120 cm 簽名右下：2006 周春芽 Zhou Chunya 圖錄： 《花間記》，四川美術出版社，成都，2007， 彩色圖版，頁96-97
Ravenel 85
BLOOMING SKY: PEACH BLOSSOMS SERIES ZHOU CHUNYA
面對中國傳統繪畫常見的花卉，周春芽選擇了桃花，一開始只為陪襯綠葉的桃花後來發展成了「桃花系列」。一年 春天周春芽在成都欣賞滿山遍野的桃花時，感受到生命力量的律動，加上周氏收藏的一幅晚清時期的書法對聯，寫 著：「湖上修眉遠山色、風前薄面小桃花」，對此，周春芽感受到文人詩詞細膩之處，但他希望人們能透過最直接 的色彩和形象，將風流和情色意味傳達出來。因此，在《桃花系列：火燒雲》此幅作品中，透過一朵朵綻放的粉色 桃花象徵了性慾以及無可抗拒的吸引力，在這春風搖曳之中感受到曖昧情感、無拘束的放縱。桃花綻放的季節也代 表了春天的來臨，透過絢爛的桃花，不斷提醒著與生俱來的慾望隨著自然界的生態蠢蠢欲動。周春芽的「桃花系 列」介於現代和傳統之間，他透過生動自由的筆觸與隱澀的東方文化相結合，最後通過一種自然的方式，把此種矛 盾精彩詮釋。
As one of the most outstanding contemporary artists in China, ZHOU Chunya began his artistic career exploring various Tibetan themes and, during his time studying in Germany in the early years of his artistic career in the 1990s, Zhou created the "Green Dog Series", characterized by dashing and bold use of color influenced by the imagery of Neo-expressionist paintings, showcasing Zhou's clear stages of developmental growth and ability to transcend his own artistic limits. During his mid-career years in the 1990s, Zhou gradually relinquished his use of shadow and lighting techniques inspired by Neo-expressionism in favor of internalizing that which he could see and hear in the physical realm of his travels. Meanwhile, through the course of studying the underlying essence of classical Chinese painting, Zhou set out to challenge his own self-perceptions by reappropriating classical aesthetics and adopting novel methods to stimulate new ideas and ways of thinking. Spanning from the "Rock Series" to his more recent "Peach Blossom Series", Zhou Chunya has utilized a range of new techniques in a bid to re-interpret traditional Chinese artistic motifs and methods, including shanshui painting, thereby re-connecting with traditional artistic creative ideals. Whether discussing the "Peach Blossom Series" or the "Green Dog Series", the inspirational essence of Zhou's diverse array of creative works can be traced back to a fundamental desire reflected by the more intense expressions of desire in animals, culminating in a bold and spontaneous artistic effect. Peach blossoms, meanwhile, serve as a metaphor for expressing the interaction between the natural world and our human emotions. In this vein, Zhou Chunya aspires to employ the conservative brush strokes of the
traditional Chinese literati with outlandish mannerisms to reveal the most fundamental and innate desires — which could be erotic or violent — and yet it is precisely this challenge of overcoming pre-existing expectations that Zhou Chunya hopes to achieve by exploring contrasting ideas. When setting out to create a flower commonly represented in traditional Chinese paintings, Zhou Chunya selected the peach blossom. While Zhou initially intended only to use the peach blossom as a contrasting element in a one-time creative endeavor, the concept eventually evolved into the full-fledged "Peach Blossoms Series" we know today. During one spring morning in the sprawling city of Chengdu, Zhou Chunya found himself in a remote mountain area relishing the beauty of peach blossoms, and during this time he felt a stirring sensation of the rhythm of life itself. Coincidentally, Zhou's family had collected a late Qing Dynasty calligraphy rhyming couplet which wrote: "Still waters reflect the beauty of mountains afar / Peach blossoms in the spring breeze." After reading these poetic lines, Zhou Chunya was inspired by the detail and complex nature of the poetic language of the Chinese literati, and the artist hoped that he could convey these sentiments, amplified by his own understanding of unconventional lifestyles and eroticism, to the viewer through explicit use of color and bold imagery. To this end, this particular piece from the "Blooming Sky: Peach Blossoms Series" utilizes symbolism of multitudinous pink peach blossoms to represent base sexual desires and the meaning of irresistible attraction, fostering a sense of ambiguous feelings and unrestrained indulgence which is embodied through an interplay of blossoming spring affections. The annual season in which peach blossoms bloom portends the coming of spring, and the dazzling beauty of peach blossoms serve as a reminder to us that our innermost desires are in a constant state of flux at the whim of nature. The "Peach Blossoms Series" of artwork by Zhou Chunya walks the line between tradition and modernity, and the artist's skillful fusion of esoteric Eastern culture with his own vivid and unbridled strokes culminate in an expression which successfully manifests this great contradiction, and yet does so in a wholly instinctive and natural manner.
周春芽《桃花風景系列 2006—湖上艷色 》 2006 油彩 畫布 200 x 250 cm 羅芙奧台北2012秋拍 台幣31,200,000成交 ZHOU Chunya, Peach Blossoms Series 2006 – Glamorous Lake , 2006 , oil on canvas , 200 x 250 cm Ravenel 2012 Autumn Auction Taipei, US$1,073,641 sold
Ravenel 87
035
AMEDEO MODIGLIANI (Italian, 1884 - 1920)
Autoportrait
阿美迪奧．莫迪里亞尼
1919 Oil on board 52 x 18.5 cm
自畫像
Signed lower right Modigliani in Italian and dated 1919 PROVENANCE: Madame L. Charpentier, Paris (acquired directly from the artist), 1919-1937 Madame Ribas, Barcelona Emilio Ribas, 1937-app. 1966 Welters van Hattum, Dutch collection, Vice Consul of the Netherlands from app.1968 Private collection, Europe (from the late 1970s till now) EXHIBITED: Summer Exhibition: French Paintings and Sculpture of the Nineteenth and Twentieth Centuries , O’Hana Gallery, London, May 12-September 18, 1966 Works by Amedeo Modigliani in Dutch Possession , Centraal Museum Utrecht, Netherlands, March 15-May 5, 1968 ILLUSTRATED: Summer Exhibition: French Paintings and Sculpture of the Nineteenth and Twentieth Centuries , O’Hana Gallery, London, June-September 1966, color illustrated, no. 19 "Autoportrait" posters , Athena publisher, London, 1966 Works by Amedeo Modigliani in Dutch Possession , Centraal Museum Utrecht, Netherlands, 1968, no.15, pp. 34-35
1919 油彩 木板 52 x 18.5 cm 簽名右下：Modigliani 1919 來源： 夏邦提耶夫人1919-1937年收藏，法國巴黎（直接得自藝術家） 愛彌力歐．列巴斯、列巴斯夫人1937-1966年左右收藏，西班牙 巴塞隆納 維爾特斯．梵．哈杜1968年收藏，荷蘭（時任荷蘭副領事） 私人收藏，歐洲（1970年代晚期至今） 展覽： 「十九與二十世紀法國繪畫夏季展覽」，歐哈那畫廊，倫敦， 展期自1966年5月12日至9月18日 「荷蘭收藏之阿美迪奧．莫迪里亞尼作品」，烏特勒支中央博物 館，荷蘭，展期自1968年3月15日至5月5日 圖錄： 《十九與二十世紀法國繪畫夏季展覽》展覽目錄，歐哈那畫廊， 倫敦，1966，彩色圖板，編號19 《自畫像》海報，雅典娜出版社，倫敦，1966 《荷蘭收藏之阿美迪奧．莫迪里亞尼作品》，烏特勒支中央博物 館，荷蘭，1968，編號15，頁34-35 參考文獻： 《法國日子》，雜誌219期，巴黎，1959年1月24出刊 《藝術》，1959年4月號，巴黎 〈尚．考克多發現的莫迪里亞尼畫作〉，《鑑賞家》，倫敦， 1965年5月號 附專家亞瑟．S．普法斯迪爾（Arthur S. Pfannstiel）開立之原作 保證書，1966年
LITERATURE: Jours de France , No. 219, Paris, January 24, 1959 Arts , Paris, April 1959 'Jean Cocteau Discovers Some Modigliani', "The Connoisseur ", London, May issue 1965 This work is to be sold with a certificate of authenticity signed by Arthur S. Pfannstiel, the expert for Modigliani’s art in 1966.
NT$ 28,000,000 - 42,000,000 HK$ 7,198,000 - 10,797,000 US$ 927,800 - 1,391,700
藝術家莫迪里亞尼 約攝於1910年。 Amedeo MODIGLIANI, c.1910.
Ravenel 89
AMEDEO MODIGLIANI AUTOPORTRAIT 《自畫像》為莫迪里亞尼專家亞瑟．普法斯迪爾先生（Arthur S.Pfannstiel）
人尚．考克多肖像》素描的鑑定過程，愛彌力歐．列巴斯先生（E m i l i o
鑑定為藝術家最具巧思獨特性的自畫像作品。因為這件《自畫像》其獨特
Ribas）特別記錄下來。因此，普法斯迪爾耶得到了關於肖像畫的解答。另
的用材即巧思，都將由普法斯迪爾耶收錄在他當時所籌備的莫迪里亞尼作
外，在1961年1月9日，考克多也確認了同一批收藏中油畫《新人》（L e s
品目錄當中。不同於莫迪里亞尼其他的作品，此作品繪於長方形木板，構
M a r i é s）的素描草稿鑑定，並指稱在奇斯林與莫迪里亞尼共用的工作室
圖及用色別有特色，人物臉龐幾乎占滿畫面。最讓觀者驚艷是沒有眼珠的
中，親眼見過這張素描。兩位藝術家的友好交情，當時藝術圈的有目共
深邃雙眼，即是木材上的天然木結紋理，這也是引發藝術家創作靈感的開
睹，甚至記錄在共同好友雕塑家傑克．利普茲（Jacques Lipchitz）的著
端。兩頰削瘦，長鼻梁挺直，深刻的人中下方就是平衡色感的一抹紅色嘴
作中。1968年，由荷蘭副領事：華爾特斯．梵．哈杜先生（We l t e r s Va n
唇，額頭上髮絲一綹垂落，更增添自畫像真實的頹廢感。畫家簽名於畫面
Hattum）買下了這批列巴斯家族的收藏，因此成為當時莫迪里亞尼在歐洲
右下角並註記年份1919年。
最大的收藏家之一。
以含鉛木炭筆和些許墨汁勾勒臉部輪廓線條，顏料以松節油稀釋，在沒有
根據普法斯迪爾的研究，以《男人頭像》又稱《自畫像》（即本拍品）為
打底的媒材上輕輕上色，使木材本身的顏色即木紋肌理浮現在畫面中。頭
例，是藝術家直接受到天然元素啟發將木材尺寸、紋路、天然木結，融
髮與臉頰上的陰影以輕薄的深顏色上色，襯衫與領結是深灰色，同時一絲
入創作的絕妙作品。其他如《一位年輕女孩的肖像》、《戴帽的女人頭
絲帶上木頭透出來的紅色調。藝術家在這件作品上展現出來的驚人巧思，
像》、《荷納》、《小女孩肖像》、《裸女的坐姿》、《保羅居庸的肖
像是自娛娛人的消遣，生動的呈現畫家本人的形象。
像》、《詩人尚·考克多肖像》皆是在紙板、木板或合成板上面，運用蠟 筆、炭筆或是中國墨水創作完成。
1966年這件作品展出於倫敦歐哈納畫廊（O'Hana Gallery）《十九、二十 世紀法國繪畫與雕塑》的展覽當中。印製其圖像編號19，並收錄於展覽目
雕塑家利普茲記錄下，1916年莫迪里亞尼為其繪製與妻子的新婚肖像
錄之中。不只是《自畫像》，同一場展覽共展出四件莫迪里亞尼的作品，
時，在他們面前以快速、令人震驚的精準度完成一張又一張大量的草稿。
包括藝術家最珍愛的妻子和繆思女神珍妮．艾布登（Jeanne Hébuterne）
而另一位朋友，知名德國表現主義藝術家路德維希·米德內爾（L u d w i g
以及露妮亞．切夫斯卡（Lunia Czechowska）女士的油彩木板肖像畫。這
Meidner），更是在1931年德國《藝術雜誌》（Kunstblatt）的〈追憶莫
兩位女性皆是藝術家生平重要的兩位模特兒，許多莫迪里亞尼的代表性油
迪里亞尼〉文中，詳細描述了藝術家創作的過程與技巧。1968年梵・哈杜
畫作品，都是以這兩位女性為主角。
先生的收藏不僅是歐洲的重要收藏，更是顯現藝術家1916至1919年間物資 短缺的情況下，如何創作出不朽作品，經歷豐富創作歷程的重要見證。
1968年3月15日至5月5日，《自畫像》展出於荷蘭烏特勒支中央博物館 （C e n t r a a l M u s e u m U t re c h t）《荷蘭收藏之阿美迪奧．莫迪里亞尼作
阿美迪奧．莫迪里亞尼（Amedeo Modigliani）1884年7月12日生於義大
品》。作品及圖說彩色印製於目錄第34、35頁，展覽目錄由普法斯迪爾耶
利的利佛諾（Livor no），小名叫做迪多（Dedo）。莫氏家族為來自羅馬
先生撰寫序文，詳細記載了這批展覽作品的來源出處。
的猶太名門，但是父親經常在外經商，在這家庭中的角色顯得不甚重要。 母親及娘家是對迪多的教養及影響最大，加上自幼體弱，母愛對他無比重
回溯至1959年夏天，紐約帕克柏奈畫廊（Parke-Bernet Gallery）的執行長
要。1906年1月莫迪葛里亞尼乘了火車，從利佛諾抵達巴黎。20世紀初的
奧斯瓦爾德．戈茨先生（Oswald Goetz），為了一張刊登在同年四月號巴
蒙巴納斯區逐漸湧入一波藝術家，形成一個以「蜂巢」，圓頂、穹頂以及
黎的《藝術雜誌》（A r t s）的莫迪里亞尼油畫《詩人尚．考克多肖像》鑑
丁香園等咖啡屋工作室所形成的藝術新聚落，1909年後莫迪里亞尼也遷
定問題，拜訪了專家普法斯迪爾耶先生。此雜誌，不只展示了這張藝術家
移到此處，在此他結識了包括畢卡索、布朗庫西、蘇汀、奇斯林、藤田
描繪好友法國詩人尚．考克多（Jean Cocteau）的肖像油畫，更揭示了西
嗣治等巴黎畫派藝術家。1917年，波蘭的詩人芝波羅夫斯基（L e o p o l d
班牙有一批非常重要的莫迪里亞尼收藏。1964年4月，普法斯迪爾耶親自
Zborowski）夫婦，也是藝術家的最佳經紀人，為莫迪里亞尼籌募第一次個
前往了西班牙，確認這批素描藏品是莫迪里亞尼親手筆跡的原著作品，並
人畫展，當時未能成功，僅賣出一幅畫。五幅裸體畫在畫廊展出時，被認
釐清了這批重要收藏的來源。
為有色情的聯想，遭警察取締，這個事件反而使莫迪里亞尼一夕成名。
夏邦提耶女士（Mlle. Charpentier）是當時居住於巴黎大茅屋路（4bis rue
莫迪里亞尼的創作題材，不論雕塑或繪畫，幾乎都以人物為主，存世的作
de la Grande Chaumière, Paris），經常拜訪藝術家並給予經濟支援的友
品中只有四幅風景畫。其餘的是他生活所見的人物畫，有職業模特兒，朋
人。據熟識的巴黎畫商和街訪鄰居間的訪問，普法斯迪爾耶確認了夏邦提
友、戀人珍妮的肖像或裸體。在造型風格上他混合了西方傳統及多種文
耶女士在世時與畫家本人密切接觸。然而1937年夏邦提耶女士病逝，將她
化，尤其是義大利古典傳統的仰慕之情。他的靈感來源也有塞尚、前拉斐
自己從莫迪里亞尼本人手上得到的作品、草稿和一些書籍、舊家俱，留給
爾畫派、文藝復興時期繪畫、立體派繪畫、非洲雕刻、柬埔寨浮雕以及日
了臨危病榻時悉心照顧她，來自西班牙的列巴斯·維拉太太（M m e V v e.
本版畫。他將雕塑的研究轉移到繪畫上，避開肌肉的描寫，尋找一種簡化
Ribas-Vila）。
的、表現內在形象的特質。無論男男女女，莫迪里亞尼所描繪的對象，都 透露出一種女性的纖細特質。人物的視線幾乎沒有焦點，眼神茫然空洞，
這批藏品中以素描作品佔了大多數，它們許多是在散落書頁上打的草稿，
彷彿對外在世界視而不見。而莫迪里亞尼對於中國早期留法藝術家更是有
也有完成度極高，藝術家特別上色過的素描作品，上色技法是以松節油
深厚的影響，常玉、潘玉良、林風眠的人體畫，顯著地受到他的啟發。今
將油彩或粉彩混合稀釋，蘸中國墨或黑墨魚汁描繪輪廓。1959年1月23
日的不少當代藝術家肖像畫裡，仍然看出莫迪里亞尼的影響。
日，藝術家的好友，詩人考克多就親自鑑定了這批收藏。尤其針對《詩
《荷蘭收藏之阿美迪奧・莫迪里亞尼作品》，烏特勒支中央博物館，1968年，畫冊封面與封底 Catalogue of Werken van Modigliani in Nederlands Bezit , Centraal Museum, Utrecht, 1968
「荷蘭收藏之阿美迪奧・莫迪里亞尼作品」，烏特勒支中央博物館，1968年展覽場景 Exhibition views of "Werken van Modigliani in Nederlands Bezit ", Centraal Museum, Utrecht, March 15-May 5, 1968 © Centraal Museum, Utrecht
Ravenel 91
According to Arthur S. Pfannstiel, an expert on Modigliani, "Autoportrait" is the most ingenious and unique self-portrait of Modigliani Because the ingenuity of Self-Portrait lies in its choice of material, Pfannstiel included it in his catalogue of Modigliani's work prepared at the time.. Unlike other works of Modigliani's, this piece was painted on rectangular wooden board. The composition and the use of color are well thought out. The face occupies almost the entire picture. What amazes the spectator most is that the eyes, without eyeballs, are filled with natural wood knotting, which was also the inspiration for the artist to start creating. The cheeks are slim, the bridge of the nose is long and straight. Below the deep-set philtrum are red lips that balance the color. A hair on the forehead hangs down, further adding to the true sense of decadence of the self-portrait. The artist's signature is on the bottom right corner of the picture, and the year 1919 is marked. Charcoal pencil with lead and a bit of ink outlines the face's silhouette. Diluted with turpentine oil, the paint is applied lightly as the underpainting on the medium, so that the wood's color — that is, the wood's texture — emerges in the picture. The shadows on the hair and the cheeks are colored lightly with dark tones. The shirt and the tie are dark grey with hints and threads of red tones from the wood. The amazing ingenuity that the artist put into this work is like self-amusement, vividly displaying the artist's image in real life. In 1966, this piece was exhibited at the exhibition, "French Paintings and Sculptures of the Nineteenth and Twentieth Centuries" at the O'Hana Gallery. It was printed as Image No. 19, and was published in the exhibition catalogue. In addition to "Self-Portrait", the exhibition showed a total four works by Modigliani, including the portraits of the artist's beloved wife and muse Jeanne Hébuterne, and the oil on wood portrait of Ms. Lunia Czechowska. These two women were both important models for the artist. Many of Modigliani's most representative oil paintings were painted with these two women as the subjects. From March 15 to May 5, 1968, "Autoportrait" was exhibited in the "Werken Van Amedeo Modigliani in Nederlands Bezit" (English: "Works by Amedeo Modigliani in Dutch Estate") in the Centraal Museum Utretch. The work and its description were printed on pages 34 and 35 of the catalogue. The foreword of the exhibition catalogue was written by Pfannstiel. He detailed the sources of the exhibited works. Tracing back to the summer of 1959, Oswald Goetz, the CEO of the Parke-Bernet Gallery, visited the expert Arthur S. Pfannstiel for the authentication of "Portrait of Poet Jean Cocteau", a painting by Modigliani that was published in April 1959's Parisian magazine Arts. This magazine not only showed the oil portrait of Jean Cocteau, it also revealed that there was a very important Modigliani collection in Spain.In April 1964, Pfannstiel went to Spain. He confirmed that this collection of sketches was the originals by Modigliani, and clarified the sources of this important collection. Mlle. Charpentier lived at 4bis rue de la Grande Chaumière, Paris, and as a friend of Modigliani's, visited him often and gave him financial support. Interviews with Paris art dealers and her neighbors helped Pfannstiel
confirm that Mlle. Charpentier had had a close relationship with
Amedeo Modigliani, nicknamed Dedo, was born in Livorno,
Modigliani. However, Mlle. Charpentier died of an illness. She
Italy on July 12, 1884. The Modigliani family was a prestigious
left the studies, drafts and some books and old furniture that
Jewish family from Rome. Often abroad for business, his
she had received from Modigliani to Mme Vve. Ribas-Vila, a
father seems not to have had an important role in the family.
lady from Spain who had taken care of her when she was ill.
Dedo was raised and influenced mostly by his mother and his mother's family. Moreover, since he had been frail as a child,
The majority of this collection was sketches, many of which were
maternal love was incredibly important to him. In January 1906,
drafts dispersed through books; but there were also specially
Modigliani rode the train and arrived in Paris from Livorno. In
colored sketches that were nearly-complete works. Those were
the beginning of the 20th century, a group of artists gradually
colored with oil paint or pastels diluted with turpentine oil, and
settled in the Montparnasse region, forming a new artistic
the outlines were drawn in Chinese ink or cuttlefish ink. Poet
settlement based on café studios such as "The Bee Hive" (La
Cocteau, the artist's friend, authenticated this collection on
Ruche), "The Rotunda" (La Rotonde), "The Dome" (Le Dôme),
January 23, 1959. In particular, the process of authentication
and "The Circle of Lilacs" (La Closerie des Lilas). After 1909,
of the "Portrait of Poet Jean Cocteau" was recorded by Emilio
Modigliani moved there and got to meet many artists from
Ribas. As a result, Pfannstiel had his answer for the portrait.
the Paris School (École de Paris), including Picasso, Brâncuşi,
In addition, on January 9, 1961, Cocteau also confirmed the
Soutine, Kisling, and Léonard Tsugouharu. In 1917, Polish
authenticity of the sketch draft of the oil painting "Les Mariés",
poet Leopold Zborowski and his wife were also Modigliani's
from the same collection. He claimed that he had seen this
best agents, having planned his first solo exhibition for him.
sketch in person, in the studio shared by Kisling and Modigliani.
It was not a success; only one painting was sold. When five
The two artists' friendship was obvious to everyone in the art
paintings of nudes were shown in galleries, they were thought
circle, and was even recorded in the works of their mutual
to be pornographic, and were prohibited by the police — yet
friend, sculptor Jacques Lipchitz. In 1968, the Vice-Consul of
contrary to expectations, this event made Modigliani famous
the Netherlands, Welters Van Hattum bought this collection of
overnight.
the Ribas family from the Charpentier family and became one of the biggest collectors of Modigliani's works in Europe at the
The topics of Modigliani's creations were almost always human
time.
figures, whether sculpted or painted. There are only four existing landscape paintings. All the rest are portraits of people
According to Pfannstiel's study, for "Tête d'homme", also
he saw in his life, including models, friends, and his lover
known as "Autoportrait"(current lot), Modigliani was directly
Jeanne, both clothed and nude. As for his style, he mixed the
inspired by natural elements; it is an ingenious work that
Western tradition with multiple cultures, especially his love for
integrates the wood's natural dimensions, texture, and
the traditional classical Italian style. His inspiration also came
knotting.
from Cézanne, the Pre-Raphaelites, Renaissance paintings, Cubist paintings, African sculpture, Cambodian reliefs, and
Other works, like "Portrait of a Young Girl" (Portrait d'une
Japanese prints. He transferred his study of sculpture to
jeune fille), "Head of Woman in a Hat" (Tête de femme au
paintings, avoiding the depiction of muscles and instead
chapeau), "Renne" (Renné), "Portrait of a Little Girl" (Portrait
searching for a simplified style that expressed the internal
de fillette), "A Nude Sitting Woman" (Nu d'une femme assiste),
forms. All of the subjects of Modigliani's work — whether men
"Portrait of Paul Guillaume" (Portrait de Paul Guillaume),
or women — display a certain sensitive femininity. The figures'
and "Portrait of Poet Jean Cocteau" (Portrait de Poète Jean
lines of sight almost lack focus, showing confusion and apathy
Cocteau), were all completed either on cardboard, wooden
in the eyes, as if not seeing the external world. Modigliani
board, or synthetic boards with crayon, charcoal pencil, or
had a deep influence on the early Chinese artists who
Chinese ink. According to the records of the sculptor Lipchitz,
studied in France. Sanyu, Pan Yuliang, and Lin Fengmiang's
in 1916, when Modigliani painted a wedding portrait for him
paintings of human figures were clearly inspired by Modigliani.
and his new wife, he completed page after page of drafts with
Modigliani's influence can still be observed in portraits by many
remarkable speed and precision. In the article "Rembering
contemporary artists today.
Modigliani" in the German art magazine Kunstblatt, the famous German expressionist artist Ludwig Meidner, another friend of Modigliani's, detailed Modigliani's creative process and skills. In 1968, Welters Van Hattum's collection was not only an important collection in Europe; it was also a key piece of evidence in how the artist experienced a rich creative period in 1916 to 1919, during a shortage of supplies, and how he was able to create immortal works back then.
Ravenel 93
036
JEAN JANSEM
(French, 1920 - 2013)
Modèle endormi
強．詹森
1980 Oil on canvas 130 x 97 cm
模特兒睡姿
Signed upper right Jansem in English and dated 80 PROVENANCE: Galerie Matignon, Paris Private collection, Asia This painting is to be sold with a certificate of authenticity signed by the director of the Galerie Matignon (wife of the artist), Simé Jansem.
1980 油彩 畫布 130 x 97 cm 簽名右上：Jansem 80 來源： 馬提尼翁畫廊，巴黎 私人收藏，亞洲 附馬提尼翁畫廊負責人希梅・詹森（藝術家妻子）開立之 親簽之原作保證書
NT$ 1,200,000 - 1,800,000 HK$ 308,000 - 463,000 US$ 39,800 - 59,600
作品《模特兒睡姿》中，模特兒側躺雙膝蜷曲，練舞的及
In "Modèle endormi"(Sleeping Model), the subject has her
膝襪仍然穿著，纖細的上身褪去舞衣，白寬簷帽放在旁
legs drawn up, her knee-length dance stockings still on, but
邊，黑髮如瀑布向前散落，雙手交握就像是在夢中祈禱。
the costume gone from her trim upper body. The white wide-
淡紫色漸層沒有任何透視焦點的背景，視覺順著少女的軀
brimmed hat is placed next to her. Her waterfall-like black hair
體姿態，由上而下的欣賞，就能在腦海構築立體的平衡
falls loosely around the top of her head, and her hands are
感。這是詹森卓越的構圖技巧，強調主題，簡化背景，營
clasped together as if praying in a dream. The layered lilac
造想像的安靜氣氛。
background does not offer a place for the perspective to focus on. Instead, the line of sight follows the torso of the girl naturally
詹森筆下的女性人物，為人印象深刻，大多是老婦與青少
from top to bottom, creating a sense of balance in the mind.
女。尤其纖細的青少女，單薄如蟬翼的身軀，隨線條微微顫
This is Jansem's outstanding structural technique, emphasizing
動。少女撇過頭，躲藏在背影之後，看不清她們的羞澀面
the subject and simplifying the background in order to create an
孔。我們像是安靜的旁觀者，在不同世界偷看少女的秘密。
imagined quietude.
曾在描繪自己工作室的靜物畫裡，詹森添上竇加（D e g a s） 芭蕾舞者的明信片。延續竇加的精神，詹森尤其喜歡跳舞的
Jansem's female characters usually leave a deep impression on
少女，芭蕾舞少女。不同於竇加筆下少女的張揚喧鬧，詹森
the viewer. The subjects are primarily older women or teenage
的小舞者，更常以休憩的姿態獨自出現，像是一小朵潔白的
girls, especially slender teenage girls with light and trim bodies,
瑪格麗特淡淡地隨風搖擺。
moving gently with the lines. The young girls' head is often turned sideways and hidden in shadow, so we are not able to see their shy faces clearly. We are like silent observers, peeking in on the secrets of the girls as if from another world. In a stilllife depiction of his own atelier, Jansem added the postcard of a ballerina by Degas. In the spirit of Degas, Jansem was especially fond of young dancing girls, and young ballerinas. But different from the exuberant and lively girls under Degas' brush strokes, Jansem's little dancers usually appear alone and in a posture of repose, reminiscent of a single pure white marguerite daisy blossom swaying gently in the breeze.
Ravenel 95
037
JEAN JANSEM
(French, 1920 - 2013)
L'église Saint-Césaere Oil on canvas 115 x 89 cm Signed lower right Jansem in French PROVENANCE: Ader-Picard-Tajan, Paris, March 6, 1991 Dimensions Art Center, Taipei Private collection, Asia
NT$ 600,000 - 900,000 HK$ 154,000 - 231,000 US$ 19,900 - 29,800
強．詹森 聖雷沙教堂 油彩 畫布 115 x 89 cm 簽名右下：Jansem 來源： 艾德─畢卡─塔尚拍賣，巴黎，1991年3月6日 帝門藝術中心，台北 私人收藏，亞洲
《聖雷莎教堂》作品描繪空氣微涼，薄霧迷濛的清晨，早禱的鐘聲彷彿尚未 響起，詹森用細線條勾勒忽隱忽現遠方教堂的鐘樓。淺灰帶著淡藍的清透 感，層次豐富多變，畫面質地清爽如水彩。相對於遠方後景的朦朧，前景三 兩小樹的用色相對濃烈。黑棕色的枝幹曲折，畫中的一抹綠具體成為樹林。 詹森的風景作品，總是帶著靜謐安寧的氣氛。畫家用他的心和眼，表達寫實 中的寫意，實現化的意會，安撫沈澱下現代人騷動的心。
In "L’église Saint Césaere”, the air is cool in the early morning mist and the bell for the morning prayer has yet to be rung. Jansem used fine lines to sketch the contours of the barely discernible bell tower of the church in the distance. The light gray with watery blue gives a sense of transparency, while the many varied layers of texture imbue the scene with a lightness and delicacy associated with watercolor. When compared to the haziness of the distant background, the use of color for the small trees in the foreground is quite conspicuous. The black-brown branches are twisted; the greenery shown in the scene becomes a forest. The landscape works of Jansem are always imbued with a sense of calm tranquility. The artist used both his mind and eyes to express the poetry that exists within realism, and to make his intuitions manifest. These soothe and alleviate the anxious minds of modern viewers.
Ravenel 97
038
JEAN JANSEM (French, 1920 - 2013) La Couple
強．詹森
1989 Bronze, edition no. 8/8 8(L) x 8(W) x 18(H) cm
情侶
Engraved on the back Jansem and numbered 8/8 PROVENANCE: Elegant Art Center, Taipei Acquired by the present owner from the above in 1991 This sculpture is to be sold with a certificate of authenticity issued by Elegant Art Center, Taipei.
NT$ 400,000 - 600,000 HK$ 103,000 - 154,000 US$ 13,300 - 19,900
詹森是少數能將繪畫氣氛，也用立體雕塑淋漓盡至表現的天 才。小型的半身人物雕塑居多，絲絲入寇的人物表情，充滿 戲劇性的張力。以《情侶》為例，高帽紳士從背後雙手緊 擁，眼神透著挽留與安慰，將側臉緊貼另一半高仰的長頸， 不想兩人有一絲的分離。看著天望向遠方，女人表情刻入些 微的苦澀，彷彿千言萬語都無從說起的愛情關係，難分難 捨。這件傑出的雕塑，細膩表現出情感糾結的掙扎。
Jansem was one of the few virtuosos who were able to perfectly instill the atmosphere of a painting into the three-dimensional expression of sculpture. Most of the sculptures are small-scale busts of people with detailed facial expressions that mesmerize with their theatrical flair. For example, in "Couple", the gentleman in the top hat holds the figure in front tightly in his arms from the back. In his eyes, one can discern reluctance and the wish to comfort. He has pressed the side of his face closely against the neck of the figure, looking up in trying to make sure that the two of them stay as close together as possible. As she gazes into the distant sky, the face of the woman shows a hint of bitterness, as if no words can describe the pain of separation when in love. This excellent sculpture delicately expresses a struggle of tangled emotions.
1989 銅雕 版次 8/8 8（長） x 8（寬） x 18（高）cm 簽名雕刻後側下方：Jansem 8/8 來源： 雅德畫廊，台北 現有收藏者於1991年得自上述來源 附雅德畫廊開立之原作保證書
Ravenel 99
另一面 the other side
039
PIERRE-YVES TRÉMOIS (French, b. 1921)
Hippopodame 1977 Polished bronze, edition E.A. III/IV 62 (L) x 14 (W) x 34 (H) cm Engraved on the bottom Trémois in French, inscribed Nous sommes tous fondus ensembles in French, numbered E.A. III/IV ILLUSTRATED: Trémois: Bestiaire Fabuleux Sculptures , Michèle Broutta Éditeur, Paris, 1977, color illustrated, pp. 56 - 57; black and white illustrated, p. 174 Jacques-Louis Binet, Trémois: Peintures, Gravures , Sculptures, Éditions du Rocher, Éditions Vision Nouvelle, Paris, 1991, color illustrated, p. 119 This sculpture is to be sold with a certificate of authenticity signed by the artist.
NT$ 1,200,000 - 1,800,000 HK$ 308,000 - 463,000 US$ 39,800 - 59,600
皮耶─伊夫．特墨 河馬 1977 拋光銅雕 版次 E.A. III/IV 62（長） x 14（寬） x 34（高） cm 簽名雕刻底部: Trémois E.A. III/IV NOUS SOMMES TOUS FONDUS ENSEMBLES 圖錄: 《特墨：神話動物雕塑集》，米歇．布爾達出 版社，巴黎，1977，彩色圖版，頁56-57，黑 白圖板，頁174 賈各．路易．皮內，《特墨：油畫、版畫、雕 塑》，羅謝出版社，新視野出版社，巴黎， 1991，彩色圖版，頁119 附藝術家親筆簽名之原作保證書
"RÊVES DE FÉCONDATIONS ENGROSSÉE DE SONGES INDÉCIS…GÉNITRICE LOURDEURS MAMMAIRES GENÈSE SILENCIEUSES, BÂILLEMENT, DÉSIRS VÉGÉTARIENS, TORPEURS DIGESTIVES LANGUEURS HYPOSTATIQUES DANS LE LIT RIVIÈRES AUX EAUX DORMANTES… " －"HIPPOPODAME" BY PIERRE-YVES TRÉMOIS 「受孕之夢 懷著翳晦的夢... 孕母 雙乳漸沉 靜謐地孕育，欠伸，慾望止置，消化的昏沈 靜如止 水 地 著 床 於 滋 養 的 河底」 ─ 皮耶─伊夫．特墨《河馬》
特墨借用了法國傳奇歌手賽日·甘斯柏（Serge Gainsbourg）1973年
female beauty. Trémois' citation not only matches the sculpture's
的名曲《Hippopodame》命名達爾文系列的河馬雕塑。人稱壞男孩的
theme very well, but also adds some humor to it, further
甘斯柏大玩文字遊戲，將河馬的法文拼音：Hippopotame 中間的"t"
highlighting its timeliness and reverberating with the zeitgeist.
替換成"d"，使結尾如法文的"d a m e"（女士），整首歌表達對女性豐 盈之美的熱愛。特墨引用的巧思不僅與雕塑主題貼切，增添了一分幽
"Hippopodame" was created in 1977. The sun protrudes slightly
默，更凸顯強烈時代性，喚醒世代的共鳴。
out of the golden surface. Smooth and beaming, the engraved "Horus" symbolizes the Egyptian god of lights, Horus. The two
《河馬》創作於1977年，太陽微突在炫金色表面，光滑閃亮刻著
lively crocodiles under the sunbeams seem to be having an
「Horus」象徵埃及的光明之神荷魯斯。陽光線條照耀下方兩隻栩栩
adventure in mythology — the mysterious force of Ancient Egypt.
如生的鱷魚，好像探險於神話傳奇，古埃及的神秘力量。鑄印在達
The incuse on the sculptures of the Darwin series: a series of words
爾文系列的雕塑上。一連串的文字，刻印在雕塑的另一側。融合法
carved on the other side of the sculpture. Combining French and
文、拉丁文形成獨樹一格的語言，將創作的意念注入作品。鋒利的
Latin, it becomes a unique language. The idea of the creation
字跡充滿雙關語，想要領悟其中的奧妙，知識和寬廣的心胸是不可
is infused into the work. The sharp writing is full of wordplay.
或缺的元素。
Knowledge and an open mind are essential elements for realizing the subtleties within.
理性且剛強有力，果決簡潔就是特墨的特色。他以著名的達爾文「進 化論」為創作靈感。探討萬物起源，生命演化，存在意義的深刻思
Rational and strong, decisive and concise — such is Trémois' style.
考。線條細膩刻畫在堅硬的金屬上，借用生物學的圖像，人類、動物
He has drawn inspiration from the Darwin's well-known Theory of
和細胞，感染人心對原始力量的敬畏。秉持人文學者的精神，特墨對
Evolution. It explores and contemplates deeply the origin of all
於東方文化、生物學、天文學抱持濃厚的興趣，並且深入研究多年，
beings, the evolution of life, and the meaning of existence. The
將淵博知識內化在自己的作品中。
lines are delicately carved into such hard metals. Images borrowed from biology, including human beings, other animals, and cells,
1921年出生的特墨曾就讀巴黎高等藝術學院，22歲即獲得羅馬大獎。
puts one in awe of the primordial forces. Holding onto the spirit
其後榮獲佛羅倫斯繪畫學院院士、比利時佛拉蒙德皇家美術學院院士
of a humanist scholar, Trémois has a strong interest in Eastern
、以及1978年法蘭西學院院士等多項榮譽證明特墨非凡的藝術地位。
cultures, biology, and astronomy. He has delved into these fields for many years, internalizing his vast knowledge into his work.
Tr é m o i s b o r r o w e d t h e n a m e o f t h e f a m o u s 1973 s o n g " H i p p o p o d a m e , " b y t h e l e g e n d a r y F re n c h s i n g e r S e rg e
Born in 1921, Trémois studied at the École nationale supérieure
Gainsbourg as the name for his hippopotamus sculpture in the
des Beaux-arts de Paris, and won the Prix de Rome when he was
Darwin series. Known as a bad boy, Gainsbourg played with words
only twenty-two. Later on, he became a member of the Accademia
and changed the French spelling for 'hippopotamus': The 't' in
delle Arti del Disegno of Florence, the Royal Flemish Academy of
'hippopotame' is changed to a 'd', making the end 'dame,' or
Belgium, and, in 1978, of the Académie Française. Such honors
'madame' in French. The entire song displays his love for plump
show Trémois' extraordinary status in the world of art.
Ravenel 101
040
PIERRE-YVES TRÉMOIS (French, b. 1921)
Double crâne disparate II 1977 Polished bronze, edition E.A. I/IV 36 (L) x 14 (W) x 13 (H) cm Engraved on the bottom Trémois E.A. I/IV ILLUSTRATED: Jacques-Louis Binet, Trémois: Peintures, Gravures, Sculptures , Éditions du Rocher/Éditions Vision Nouvelle, Paris, 1991, color illustrated, p.116 Patrice de Méritens, Trémois , Éditions de Fallois, Paris, 2004, color illustrated, p. 83 This sculpture is to be sold with a certificate of authenticity signed by the artist.
NT$ 800,000 - 1,200,000 HK$ 206,000 - 308,000 US$ 26,500 - 39,800
皮耶─伊夫．特墨 起滅II 1977 拋光銅雕 版次 E.A. I/IV 36（長）x 14（寬） x 13（高） cm 簽名雕刻底部: Trémois E.A. I/IV 圖錄： 賈各．路易．皮內，《特墨: 油畫、版畫、雕塑》，羅謝出版社 新視野出版社，巴黎， 1991，彩色圖版，頁116 巴特里斯．德．梅里當，《特墨》，法羅出版社，巴黎，2004，彩色圖版，頁83 附藝術家親筆簽名之原作保證書
Ravenel 103
041
PAUL GUIRAMAND (French, 1926 - 2007)
Pégase (Pegasus)
保羅．賈曼
1988 Bronze, edition no. 4/8 32(L) x 59(W) x 61(H) cm
飛馬
Engraved on the side of the base guiramand in French and numbered 4/8 PROVENANCE: Elegant Art Center, Taipei Acquired by the present owner from the above in 1990 ILLUSTRATED: Guiramand Sculptures & Gravures , Franconia Corporation, 1988, black-and-white illustrated, no. 2 Guiramand Ateliers , Librairie Séguier, Paris, 1990, blackand-white illustrated, opposite the inside front cover This sculpture is to be sold with a certificate of authenticity issued by Elegant Art Center, Taipei.
NT$ 700,000 - 1,000,000 HK$ 180,000 - 257,000 US$ 23,200 - 33,100
保羅．賈曼生於法國聖康廷，與貝爾納・畢費（B e r n a r d B u f f e t）等藝術家齊名，被譽為法國戰後十大藝術家之一。 1952年獲頒羅馬大獎榮譽，1957年獲蒙頓雙年展獎及青年 繪畫沙龍獎。青年時期師承莫里斯．布里昂松（M a u r i c e Brianchon），歷於西歐各國。受馬蒂斯，波納爾影響，主題 多為音樂、馬群、花卉，色彩鮮豔，以具象繪畫描繪抽象心 境。作品典藏於巴黎市立美術館、法國家圖書館、法國貝桑 頌美術館、美國芝加哥美術館、日本新大谷美術館、台南永 都藝術館等。 Born in Saint-Cantin, France; Paul Guiramand has been awarded as one of the most important french artists after the World War II, as Bernard Buffet. In 1957, Guiramand won the Menton Biennale and Salon des Jeunes Peintres. He was the student of the famous artist Maurice Brianchon, and traveled a lot in western Europe during his early life. Influenced by Matisse and P. Bonnard, the creation themes of Guiramand are always related to music, horses and flower. With bright colors and strong brushwork, he is good at describing the abstractive ambience with the figurative objet. Guiramand's work is collected by Musée d'Art Modern de Ville de Paris, National Library of France, Besançon Fine Arts Museum, Art Institute of Chicago, New Otani Museum in Japan, Tainan Yung Tu Museum of Art.
1988 銅雕 版次 4/8 32（長） x 59（寬） x 61（高） cm 簽名底座側面：guiramand 4/8 來源： 雅德畫廊，台北 現有收藏者於1990年得自上述來源 圖錄： 《賈曼雕塑與版畫》，法蘭克尼亞出版社， 1988，黑白圖版，編號2 《賈曼工作室》，賽吉爾圖書公司，巴黎， 1990，封面內對頁 附雅德畫廊開立之原作保證書
Ravenel 105
042
FERNANDO BOTERO (Columbian, b. 1932)
La Pica
費爾南多．波特羅
1991 Mixed media on paper 48 x 65 cm (image) 54 x 73.5 cm (paper)
鬥牛
Signed lower right Botero in Spanish and dated 1991 This work is to be sold with a certificate of authenticity by issued by Museo de Arte Moderno, Bogota.
1991 複合媒材 紙 48 x 65 cm （畫心） 54 x 73.5 cm （紙） 簽名右下：Botero 1991 附波哥大現代美術館開立之原作保證書
NT$ 700,000 - 1,000,000 HK$ 180,000 - 257,000 US$ 23,200 - 33,100
費爾南多．波特羅是哥倫比亞的藝術家，他的作品是以豐
Fernando Botero is a Colombian artist particularly known
肥體碩的人物和動物塑像，及自然界的元素為特色。波特
for his paintings and sculptures of inflated people, animals
羅年輕時曾短暫的在一所鬥牛士學校就讀，後來轉往西班
and elements of the nature. Botero had attended a matador
牙馬德里皇家藝術學院學習藝術。 18 歲那年在波哥大舉辦
school for a short period of time during his youth, and later
了首次的個展，不久之後，波特羅逐漸獲得國際聲譽，也
studied art at Madris’ Real Academia de Bellas Artes de San
在 1960 年至 1970 年間旅居紐約和巴黎。日後這些巨大的
Fernando. By the age of 18, Botero had a solo exhibition
銅雕和膨脹的人物都成了他的標誌。2012 年，他更是從美
show at Bogota. Not long after Botero began to achieve
國國際雕塑中心獲頒當代雕塑終身成就獎。今天，他的繪
international acclaim, and Botero has lived in New York and
畫和雕塑作品皆在世界各地展出。
Paris from 1960s to the 1970s. The huge bronze animals and figures became his hallmark, in 2012, he was awarded with
而對於體積的表現，波特羅更曾經說：「我想要觸碰這些
the Lifetime Achievement in Contemporary Sculpture award
體積並感受他們，因為體積對於繪畫而言是極為重要的一
from the International Sculpture Centre in the U.S.A. Today, his
環」。雖然年輕時僅在鬥牛學士的學校待了短短兩年，最
paintings and sculptures are exhibited around the world.
終成了沒能成為鬥牛士，此題材卻成了他源源不絕的創作 養分。年幼的波特羅當時因為他的叔叔經常帶他去觀賞鬥
Botero’s fascination with the sensuality of the form is because
牛，因此對於鬥牛士有著極大的興趣，並希望有朝一日能
“I want to touch these volumes and to feel them, volume is a
成為一位鬥牛士，然而，波特羅在歷經訓練和學習的同
very important part in the art of painting. ” Even though Botero
時，卻發現自己的戰場不再鬥牛場上，而是在藝術表現。
was enrolled in an apprentice matador school for two years,
繪畫才是他的競技場，因為如此歷歷在目的鬥牛場景，都
and did not become a bullfighter, the theme of bullfighting
成了一張張波特羅生動的紙上繪畫，他也在鬥牛場上售出
became his source of creations. When Botero was still young,
了他的第一幅鬥牛士的紙上繪畫。
his uncle would take him to see the show and Botero wanted to pursue this as his career, however, as he learned how to
如今， 在 哥 倫 比 亞 首 都 的 波 哥 大 已 於 20 1 1 年 禁 止 鬥 牛 運
become a bullfighter, he realized that his real passion is not in
動，因此充滿回憶的鬥牛競技場已經失去其原有功能，而是
bullfighting arena, but in painting. Botero’s first work on paper
作為一個文化場地。作品《鬥牛》不僅僅是保留了這些難忘
of a portrait of a bullfighter was sold at the arena, and one by
的成長回憶，更是保留了哥倫比亞的部分重要歷史回憶。
one, these intriguing and exciting scenes have been captured by Botero in his works. Since 2011, bullfighting became a forbidden leisure activity in Bogota, the capital of Columbia, hence these corridas arena have lost their original functions, and now served as a cultural sites. “La Pica” not only captured the memorable childhood experiences of Botero, but also kept as an essential part of the Columbian history.
Ravenel 107
043
維士巴修就讀於南錫國立美術學校，精通於各種版畫製作。
CLAUDE WEISBUCH
1951年前後開始在各類沙龍畫展中展露頭角。1961年獲得
(French, 1927 - 2014)
Petite Coquetterie 1985 Oil on canvas 50 x 61 cm Signed lower right Weisbuch in French PROVENANCE: Private collection, France Private collection, Asia
藝評家大獎。他善於描繪人物、馬、音樂歌劇等，1960年代
克勞德 ． 維 士 巴 修 炫技的小騎士 1985 油彩 畫布 50 x 61 cm
後，維士巴修逐漸發展出自己獨特的風格筆觸，用色漸少但 線條更趨於流暢。他經常取材自樂師的演奏來畫，或是義大 利假面舞劇中的駝背丑角、法國木偶劇中的滑稽人物等，以 獨特的筆法來表現肢體的律動，表現動感，彷彿是重複曝光 因而捕捉到多重影格的動態，衍生出一種獨特韻味，是當代 法國代表性畫家之一。
簽名右下：Weisbuch. 來源： 私人收藏，法國 私人收藏，亞洲
Weisbuch studied at the Beaux-arts de Nancy (today's L'École nationale supérieure d'art de Nancy), and excelled at every type of lithograph making. Around 1951, he started making his career through exhibitions in various
NT$ 360,000 - 550,000 HK$ 93,000 - 141,000 US$ 11,900 - 18,200
salons. In 1961, he won the Critics' Prize. He was adept at portraying human figures, horses, and opera. After the 1960s, Weisbuch gradually developed his own style and sense of brush, reducing the use of colors while making the strokes smoother. He often chose performances with musical instruments, hunchbacked clowns in Italian masquerades as subjects of his paintings. He used unique strokes to express bodily movement. The dynamic parts resemble repeated exposures of a camera; through this, the artist captures movement giving his work a unique touch.
044
托比生於羅馬藝文世家。1960年首次於巴黎青年畫家沙龍
BERNARDINO TOPPI
展出。從古羅馬遺跡，尋得藝術語彙的根源。他崇慕法國拉
(Italian, b. 1936)
Regroupment de Cavaliers Fresco on canvas 73.5 x 92 cm Signed lower center B.Toppi in French Signed on the revere B.Toppi , titled Regroupment de Cavaliers and inscribed Fresque in French PROVENANCE: Dimensions Art Center, Taipei Private collection, Asia
斯科洞窟壁畫：人類平面藝術的第一道曙光。托比將油畫顏
貝爾 納 迪 諾 ． 托 比 騎士團練
料稀釋以降低彩度，染繪於敷上石灰塗料的畫布。有厚度的 粗糙表面，製造出壁畫般的效果。構圖中消去透視和陰影， 搭配高透明度的淡彩色調，畫中主角們朦朦朧朧的簡約輪
濕壁畫 畫布 73.5 x 92 cm
廓，塑造出跨時代、民族文化的夢境感。像是一百零一夜故
簽名下方：B. TOPPI 簽名畫背：B. TOPPI Regroupement de Cavaliers Fresque
典、古代帆船及建築，皆是托比的重點題材。作品受到1986
來源： 帝門藝術中心，台北 私人收藏，亞洲
美術館等國際藝術機構。
事集，融合拜占庭帝國與中東情調，遊牧者、驢子、鄉村慶 年獲得法國藝術家沙龍金獎，2010年法國國家美術協會桂冠 獎，2011年個展於巴黎大皇宮。其作品典藏於巴黎市立美術 館 、瑞士日內瓦小皇宮、貝桑頌美術考古博物館、洛特河谷
Toppi was born in a rome artist family. His work was first exhibited in the Paris Young Painter Salon in 1960. Toppi
NT$ 160,000 - 240,000 HK$ 41,000 - 62,000 US$ 5,300 - 8,000
founds his artistic origin from high antiquity heritage. He thinks that the fresco is the most perfect form of monumental painting. In 2011, he held solo exhibition in the Grand Palais in Paris. Toppi has been awarded the Medal of Gold of Salon des Artistes Français in 1986, Taylor Prize of Autumn Salon in 2010, and First Jean Anouilh Prize of S.N.B.A. in 2010. His works are collected by Musée d'art moderne de la Ville de Paris, Petit Palais of Geneva, Besançon Museum of Fine Arts and Archeology and more. Ravenel 109
045
RENÉ GENIS
(French, 1922 - 2004)
Soleil sur la neige (Jura)
賀內．吉尼斯
1991 Oil on canvas 73 x 50.5 cm
雪地上的陽光（法國侏儸省）
Signed lower left René Genis in French Signed on stretcher René Genis and titled Soleil sur la neige (Jura) in French PROVENANCE: Galerie Elegance, Taipei Private collection, Taiwan
1991 油彩 畫布 73 x 50.5 cm 簽名左下：René Genis 簽名畫背：René Genis 簽名畫背框條：Soleil sur la neige (Jura) René Genis 來源： 愛力根畫廊，台北 私人收藏，台灣
NT$ 160,000 - 240,000 HK$ 41,000 - 62,000 US$ 5,300 - 8,000 吉尼斯1922年出生於越南，1931年回到家族的故鄉法國波爾多。吉尼斯以其高雅的靜物畫為人所知。此外，無論是東方異國風 情，或是法式的田園風景，在吉尼斯的筆下，都充滿詩意典雅的安寧氣氛。吉尼斯與巴赫東、布拉吉利、卡多蘭、賈曼皆是巴黎新 具象畫派的重要成員。其作品珍藏於巴黎市立現代美術館、巴黎國立圖書館、里昂美術館、日本山形美術館等。
046
RENÉ GENIS
(French, 1922 - 2004)
Soir d'Orage (Pyrenées)
賀內．吉尼斯
1992 Oil on canvas 54.5 x 81 cm
暴風雪的傍晚（庇里牛斯山）
Signed lower center René Genis Signed on stretcher René Genis and titled Soir d’Orage (Pyrenées) in French PROVENANCE: Galerie Elegance, Taipei Private collection, Taiwan
1992 油彩 畫布 54.5 x 81 cm 簽名下方：René Genis 簽名畫背框條：Soir d'Orage (Pyrenées) René Genis 來源： 愛力根畫廊，台北 私人收藏，台灣
NT$ 220,000 - 340,000 HK$ 57,000 - 87,000 US$ 7,300 - 11,300 Born in 1922, Vietnam. Genis went back with family to hometown Bordeaux in 1931. Genis is famous with his elegant still-life painting. Besides, no matter the theme is oriental scenery or french countryside, he always keeps a very poetry serenely ambience. With other artists like Guy Bardone, André Brasilier, Bernard Cathelin, and Paul Guiramand, Genis is also one of the important members of the Parisian Neo-Figurative School. His work is now collected by Musée d'art moderne de la ville de Paris, National Library of Paris, Fine Arts Museum of Lyon, Yamagata Museum of Art etc.. Ravenel 111
047
RENÉ GENIS
(French, 1922 - 2004)
Bouquet via Air Mail
賀內．吉尼斯
1992 Oil on canvas 46 x 55 cm
花束與航空信
Signed lower left René Genis in French Signed on the stretcher René Genis and titled Bouquet via Air Mail in French PROVENANCE: Galerie Elegance, Taipei Private collection, Taiwan
NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 6,000 - 9,300
1992 油彩 畫布 46 x 55 cm 簽名左下：René Genis 簽名畫背框條："BOUQUET VIA AIR MAIL" René Genis 來源： 愛力根畫廊，台北 私人收藏，台灣
048
GUY BARDONE (French, 1927 - 2015)
Maison aux pins maritimes - Bandol
居．巴赫東
1988 Oil on canvas 73.5 x 60 cm
海邊松林小築
Signed lower right Bardone in French Signed on the stretcher G. Bardone , inscribed 20F titled – MAISON AUX PINS MARITIMES - Bandol in French PROVENANCE: Galerie Elegance, Taipei Private collection, Taiwan
1988 油彩 畫布 73.5 x 60 cm 簽名右下：Bardone. 簽名畫背框條：20F G. Bardone – MAISON AUX PINS MARITIMES - Bandol 來源： 愛力根畫廊，台北 私人收藏，台灣
NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,600 - 9,900 Ravenel 113
049
GUY BARDONE (French, 1927 - 2015)
Jour de Régates - Bandol
居．巴赫東
1990 Oil on canvas 65.5 x 50.5 cm
邦都的帆船
Signed lower right Bardone in French Signed on the stretcher Bardone , inscribed 15P/O , and titled JOUR DE REGATES BANDOL in French PROVENANCE: Galerie Elegance, Taipei Private collection, Taiwan
NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 6,000 - 9,300
巴赫東出生於東法的聖克勞德，是法國新具象畫派 的關鍵成員之一。就讀於巴黎國立高等裝飾藝術學 校時，向莫里斯．布立風頌、卡瓦耶、德努瓦耶
1990 油彩 畫布 65.5 x 50.5 cm
等大師學習，期間結識了畫家好友吉尼斯。1953
簽名右下：Bardone. 簽名題識畫背框條：JOUR DE REGATES -BANDOLBardone 15P/O Bardone
夏邦提耶畫廊的「巴黎畫派」展覽。1986年，在
來源： 愛力根畫廊，台北 私人收藏，台灣
中心、瑞士納沙泰爾美術館、日本山形美術館與台
年，受邀參與巴黎加列拉宮時尚博物館的重要聯展 「當代繪畫的名人與啟示」，1954年，首次參與 雪儂梭堡展開大型回顧展。1952年獲法國學院藝 術評論獎，1957年獲格林希爾茨基金獎。作品典 藏於巴黎市現代美術館、法國國立圖書館、龐畢度 南奇美博物館等。
050
Guy Bardone was born in Saint Claude, in eastern
GUY BARDONE
France. He is one of the important members of the
(French, 1927 - 2015)
Froid Givre, Jura
居．巴赫東
Oil on canvas 116 x 89.5 cm
結霜的清晨
Signed lower right Bardone in French Signed on the reverse Bardone , and titled FROID GIVRE - JURA - in French PROVENANCE: Galerie Elegance, Taipei Private collection, Taiwan
NT$ 440,000 - 650,000 HK$ 113,000 - 167,000 US$ 14,600 - 21,500
油彩 畫布 116 x 89.5 cm
French New Figurative Art. He studied under the master Maurice Bianchon, Jules Cavailles and François D e s n o y e r i n t h e E c o l e N a t i o n a l S u p é r i e u re d e s Arts Décoratifs in Paris, where he befriended René Genis. In 1953, Bardone was invited to participate in a group exhibitions at the Musée Galliera in Paris
簽名右下：Bardone. 簽名畫背：Bardone Froid Givre - JURA
titled “Celebrities and Revelations of Contemporary
來源： 愛力根畫廊，台北 私人收藏，台灣
award he had won includes the price of Félix Fénéon
Painting.” In 1954, he was exhibited in the Ecole de Paris Exhibition in Galerie Charpentier. Some of the in 1952 and the price of the Greenshields Foundation in 1957. Bardone’s work was collected by National Museum of Modern Art in Paris, National Library of France, Centre Georges Pompidou, Neuchâtel Art Museum in Switzerland, Yamagata Museum of Art in Japan, and Chimei Museum in Taiwan. Ravenel 115
051
MICHEL MALY
(French, b. 1936)
Bouquet à la cafetière Oil on canvas 46.5 x 33.5 cm Signed lower right Maly in French
馬利出生於法國布盧瓦市，1955年開始創作，1968年得到巴黎大學的費內翁 文學藝術大獎。2006年出版了由多位藝評、法國小說家賈各·貝禮、希臘導 演・科斯塔・加夫拉斯等人撰文的《馬利》一書。2008年由法國蒙特利馬爾 (Montélimar) 市政府為其舉行「生之旅途清唱」展覽。用色簡潔，筆觸有力， 畫面肌理豐富。多描繪法國咖啡館及義大利威尼斯城市日常街景。善於捕捉人 物表情，將環境香氣與聲音轉為視覺的呈現。展覽遍及歐洲、美洲及日本。作 品典藏於國際美術館及私人收藏。
Born in Blois, France, Michel Maly started painting in 1955. He was
米歇爾．馬利 咖啡壺中的花束
awarded with the "Prix Fénéon", the prize of the University of Paris in 1968. In 2006, he published his book "Maly", including texts written by many influential figures in arts such as Greek movie director Costa Gavras
油彩 畫布 46.5 x 33.5 cm
and French novelist Jacques Perry. In 2008, French municipal government
簽名右下：Maly
of his works. Featuring life in French cafés and Venice, his painting is full
in Montélimar held "Cantate sur le chemin des hommes", the exhibition of texture through simple color and strong brushwork. He is excellent
NT$ 60,000 - 90,000 HK$ 15,000 - 23,000 US$ 2,000 - 3,000
at depicting facial expression and creating a vivid scene as if you could have the smell and hear the noise there. His works have been shown internationally across Europe, America and Japan and collected among many public and private collections.
052
MICHEL HENRY
(French, b. 1928)
Coquelicots aux vitrails Oil on canvas 65 x 81 cm Signed lower left Michel Henry in French PROVENANCE: Dimensions Art Center, Taipei Private collection, Asia
NT$ 100,000 - 150,000 HK$ 26,000 - 39,000 US$ 3,300 - 5,000
米歇爾．昂利 有玻璃窗的麗春花 油彩 畫布 65 x 81 cm 簽名左下：Michel Henry 來源： 帝門藝術中心，台北 私人收藏，亞洲
Ravenel 117
053
托比亞斯1961年贏得了地中海青年油畫大獎，並決
THÉO TOBIASSE
定全心投入藝術創作。於1982年，獲頒巴黎城市勳
(Israeli-French, 1927 - 2012)
章以及美國紐奧良榮譽市民。托比亞斯為勒卡內救世
Comment retrouver son rivage?
提歐．托比亞斯
Gouache, pastel collage on paper 70 x 102 cm
水粉 粉彩 拼貼 紙本 70 x 102 cm
Signed upper right Tobiasse in French, titled lower right Comment retrouver son rivage? in French
簽名右上：Tobiasse 題識右下：Comment retrouver son rivage?
PROVENANCE: Dimensions Art Center, Taipei Private collection, Asia
來源： 帝門藝術中心，台北 私人收藏，亞洲
and his family was forced to hide in an apartment
ILLUSTRATED: Tobiasse: Voyage vers I'amour et la liberté , Dimensions Art Center, Taipei, 1991, color illustrated, no. G-7, p. 20
圖錄： 《托比亞斯：航向愛及自由的 旅程》，帝門藝術中心，台 北，1991，彩色圖版，編號 G-7，頁20
he won the Grand Prize of Young Mediterranean
NT$ 340,000 - 500,000 HK$ 87,000 - 129,000 US$ 11,300 - 16,600
海岸之尋
主教堂所作的裝飾藝術《生命即盛宴》已成為當地景 點。他的作品典藏於法國聖保羅德芳斯、史特拉斯堡 塞法迪猶太會堂，尼斯現代與當代藝術博物館以及洛 杉磯賽門威森塔爾中心。
Théo Tobiasse moved to Paris in 1931 with his Lithuanian parents. From 1942 to 1944, during which Paris was occupied by the Nazi, Tobiasse for 2 years. Tobiasse had worked as a graphic designer for advertising for 15 years. In 1961, painting and had decided to fully devote into art. In 1982, he was awarded the Medal of the City of Paris and the Honorary Citizen of the city of the New Orleans. The decoration art “La vie est une fête” which he created for Chapelle SaintSauveur in Le Cannet is now a well-known local attraction. His artwork had been collected by Saint-Paul-de-Vence in France, the Esplanade Sephardic Synagogue in Strasbourg, Musée d’art moderne et art contemporain in Nice, and Simon Wiesenthal Center in Los Angeles.
054
BERNARD CHAROY
(French, b. 1931)
Elodie Oil on canvas 46 x 38 cm Signed lower right Bernard Charoy in French PROVENANCE: Private collection, Asia This painting is to be sold with a certificate of authenticity signed by the artist.
夏洛瓦1931年出生在洛林的藝文世家。1955年來到巴黎蒙馬特德吉瓦工作 室，學習素描、油畫及版畫技巧。1960年代對人物神韻的精準拿捏，使得 《費加洛日報》、《ICI Paris》雜誌及其他知名媒體，爭相向其邀稿，創作 一系列政治名人肖像。拋開商業廣告的多加約束，1970年代起專注於純藝 術創作，受邀展覽於各大畫廊和藝術博覽會，專門描繪嬌俏可愛的女性肖 像，吸引了許多出版邀約和全世界的收藏愛好者。展覽足跡遍及全球：瑞 士巴塞爾、美國紐約、日本東京、法國坎城等藝術城市。
Charoy was born in 1931 to an artistic family of Lorraine. In 1955, he went to the Atelier Dejoie, in Montmartre, Paris to learn the techniques of sketching, oil painting, and printmaking. Due to his mastery in
NT$ 220,000 - 340,000 HK$ 57,000 - 87,000 US$ 7,300 - 11,300
capturing the exact nuance and essence of his subjects, in the 1960s, Charoy received a rush of invitations from the newspaper Le Figaro, ICI Paris magazine and other well-known media to create the portraits of famous political figures. After abandoning the many restrictions of
貝 爾納．夏洛瓦 少女愛樂蒂 油彩 畫布 46 x 38 cm 簽名右下 : Bernard Charoy
commercial advertising, he focused on purely artistic creations in the 1970s and was invited to exhibit at major galleries and art exhibitions. He specialized in portraits of charming and adorable women, and attracted publishing offers and the attention of collectors from around the world. Charoy has held exhibitions in many countries around the world including: the artistic cities of Basel, Switzerland; New York, USA; Tokyo, Japan; and Cannes, France.
來源 : 私人收藏，亞洲 附藝術家親筆簽名之照片保證書
Ravenel 119
055
BERNARD CHAROY
(French, b. 1931)
Déjeuner à Saint-Tropez 2012 Oil on canvas 73 x 60 cm Signed lower left Bernard Charoy in French PROVENANCE: Private collection, Asia This painting is to be sold with a certificate of authenticity signed by the artist.
貝爾納．夏洛瓦 在聖托佩的午餐 2012 油彩 畫布 73 x 60 cm 簽名左下 : Bernard Charoy 來源 : 私人收藏，亞洲 附藝術家親筆簽名之照片保證書
NT$ 360,000 - 550,000 HK$ 93,000 - 141,000 US$ 11,900 - 18,200
作品《在聖托佩的午餐》背景取自為法國南部有蔚藍海岸之稱的
The background of the work "Déjeuner à Saint-Tropez"
港口城市——聖托佩。20世紀1950年代以前，聖托佩只是一個默
is taken from Saint-Tropez, a port city in the Côte d'Azur
默無名的小漁村，民風純樸。自上世紀1960年代，女星B r i g i t t e
(French Riviera) in southern France. Before the 1950s, Saint-
B a rd o t在這拍攝了電影《上帝創造女人碧姬・芭杜》使得這個法
Tropez was only a small, little-known fishing village with a
國南部默默無名的漁港一舉成為度假天堂。沿著岸邊行走，看到
simple lifestyle. In the 1960s, after the actress Brigitte Bardot
許多遊艇，大大小小，高高矮矮，寬的窄的，機動或者帆船，挨
filmed "Et Dieu… créa la femme" (And God Created Woman)
挨擠擠的都在一塊，而作品試圖將我們帶回那個純真年代。
in Saint-Tropez, this quiet, unknown fishing port became a holiday haven overnight. Walking along the seashore, one can
夏洛瓦繪畫中無論是精緻的人像還是充滿爛漫氣息的風景，總是
see many yachts. Big or small, tall or short, wide or narrow,
可以很詩意地襯托在一起。《在聖托佩的午餐》描繪的是一位身
motorized or sailing vessels are all squeezed together. And the
著雪紡長裙的妙齡少女，在聖托佩海風的吹拂下正在享用午餐
work tries to bring us back to that age of purity.
茶。少女在珍珠配飾和遮陽帽的掩映下，透徹的雙眸使人彷彿感 受到海風徐徐的清涼感。身後港灣的風景和少女的微笑中夾雜著
The delicate portraits or brightly colored scenery in Charoy's
些許神秘的喜悅和新鮮感，畫面給人一種清爽的初夏之感。藝術
paintings always complement each other in a poetic way.
家也總是在用這一份清涼在觀者的心中建立溝通，留下一片冰心
"Déjeuner à Saint-Tropez" depicts a young girl in the prime
在玉壺之感。
of her youth, wearing a long chiffon skirt and enjoying her afternoon tea in the sea breeze along the Saint-Tropez shore. Under the pearl accessories and sun hat, the girl's clear eyes make the beholder feel the coolness of the sea breeze. The scene of the port behind her and her smile is a mix of some amount of mysterious joy and freshness. The overall composition is breezy, like the beginning of summer. The artist also communicates with the viewer through this kind of coolness, leaving one with the feeling of a heart of ice held within a jade vessel.
貝爾納・夏洛瓦《夏日庭院》1988年 油彩 畫布 65 x 54 cm 羅芙奧2016秋季拍賣會 台幣516,000成交 Bernard CHAROY, Lady in the Garden , 1988, oil on canvas, 65 x 54 cm Ravenel 2016 Autumn Auction US$ 16,130 sold
Ravenel 121
056
ANTONIUCCI VOLTI (French, 1915 - 1989)
Eva Bronze, patina bronze, edition no. 6/8 10(L) x 7(W) x 28.8(H) cm Engraved on the base Volti and numbered 6/8 With a stamp of the foundry "E. Godard Cire Perdue" PROVENANCE: Galerie Elegance, Taipei Acquired by the present owner from the above in 1991 ILLUSTRATED: Promenade à Paris , Galerie Elegance, Taipei, 2011, color illustrated, p. 196 This sculpture is to be sold with a certificate of authenticity issued by Galerie Elegance, Taipei.
安東尼奧奇．沃第 夏娃 銅雕 版次 6/8 10（長） x 7（寬） x 28.8（高） cm 簽名雕刻底座側面：VOLTI 版次底座另一側：6/8 鑄造鈐印：E. GODARD CIRE PERDUE 來源： 愛力根畫廊，台北 現有收藏者於1991年得自上述來源 圖錄： 《品味巴黎 看懂巴黎的西洋名畫》，愛力根藝術， 台北，2011，彩色圖版，頁196 附愛力根畫廊開立之原作保證書
NT$ 440,000 - 650,000 HK$ 113,000 - 167,000 US$ 14,600 - 21,500
安東尼奧奇．沃第1915年出生成長於法國蔚藍海岸，以雕塑呈
commissioned by Musée des Beaux-Arts de la Ville de Paris
現地中海女性豐盈之美。年僅十七歲即以兩件彩繪淺浮雕獲頒法
and Centre Pompidou, located in Place Theodol-Herzl, near
國馬賽市藝博會的金獎，進入法國高等美術學院，師承布雪（J.
by the Marais district in Paris. In 1967, Volti was appointed
Boucher）工作室，1936年獲得羅馬大獎第二名的榮譽。龐畢度
as vice president of the Société du Salon d'Automne in
藝術中心和巴黎市立美術館委託製作《和諧》（H a r m o n i e），
Paris; in 1981, the Volti Museum was established by the
現座落在巴黎瑪黑區西奧多・赫茲爾廣場（P l a c e T h e o d o l
French government in south of France. To celebrate the 50th
Herzl）。1967年擔任法國秋季沙龍榮譽副主席。1981年由法國
anniversary of Sino-French diplomatic relations in 2014, the
政府為其成立沃第美術館。2014年為慶祝中法建交五十週年，
solo touring exhibition of Volti started its exhibition tour to
沃第特展巡迴於中國五大城市（北京、天津、成都、武漢及上
the five cities in China, including Beijing, Tianjin, Chengdu,
海），2015年慶祝沃第百年誕辰，該特展巡迴至沃第美術館及
Wuhan and Shanghai. This exhibition toured back to the Volti
2016年曼特穠城堡。
Museum in 2015 and also in Château de Maintenon in 2016 for respectively congraduated the centenary of his birth.
沃第受古典希臘文明薰陶，被讚譽為繼羅丹、布爾代勒、麥約之 後，法國雕塑界的雕塑大師。在雕塑前，習以紅炭筆為模特兒繪
C u l t i v a t e d i n t h e G re e k c u l t u re, A n t o n i u c c i Vo l t i w a s
製素描，也是他著為人知的特點。女體雕塑獨特修長的圓滑線
applauded as a big sculpture master after Rodin, Bourdelle
條，透露生生不息的生命力量。多是女性姿態，或坐或臥，皆
and Maillol. He was known as making drawings of models in
是如圓的渾然一體，強調背部線條延伸至整體。臉部表情杏眼圓
charcoal before executing the sculpture works. His distinctive
瞠，鼻樑修長，短而捲曲的瀏海，簡單盤髮，都是沃第雕塑一眼
female figures were portrayed in a polished contour which
讓人辨識出的特徵。表現生命之悅，沃第和諧詩意的風格，深受
highlight the magnificence of being. The majority of his nude
全球的喜愛，受邀展覽至世界各地。巴黎市立博物館、巴黎國立
works, as reclining or seated figures, were intensified the back
現代藝術博物館、尼斯博物館、楓丹白露博物館、奧爾良博物館
line and created as a whole unity. We are able to recognize his
等十餘家博物館所收藏。
works through certain features such like round eyes, elegant nose, short and curly bangs with simple bun. His harmonious
Born in the Côte d'Azur area, Antoniucci Volti turned to be an
and poetic style which demonstrates the joy of life is highly
artist acclaiming the body beauty of women in Mediterranean,
praised in the world. His works have been shown all over
e s p e c i a l l y i n s c u l p t u re. H e w o n a g o l d m e d a l f o r t w o
the world and collected by various important museums such
polychrome bas-reliefs in the art fair in Marseille at the age of
as Musée des Beaux-Arts de la Ville de Paris, Musée d'Art
seventeen only; then he entered the studio of Jean Boucher
Moderne de la Ville de Paris, Musée de Nice, Château de
at the École Supérieur des Beaux-Arts in Paris. In 1936, he
Fontainebleau and Musée de Orleans.
won the second place of Rome Prize."Harmonie", a work
Ravenel 123
057
ANTONIUCCI VOLTI (French, 1915 - 1989)
Sommeil
安東尼奧奇．沃第
c. 1960 Bronze, edition no. 1/6 36(L) x 13(W) x 11(H) cm
睡美人
Engraved on the base Volti and numbered 1/6 With a stamp of the foundry "Susse Fond Paris" on the lower back PROVENANCE: Moon River Fine Art, Taipei Private collection, Taiwan This sculpture is to be sold with a certificate of authenticity issued by Moon River Fine Art, Taipei.
NT$ 550,000 - 800,000 HK$ 141,000 - 206,000 US$ 18,200 - 26,500
約1960年 銅雕 版次 1/6 36（長） x 13（寬） x 11（高） cm 簽名雕刻底部：VOLTI 版次：1/6 鑄造鈐印： Susse Fond Paris 來源： 雲河藝術，台北 私人收藏，台灣 附雲河藝術開立之原作保證書
058
ANTONIUCCI VOLTI (French, 1915 - 1989)
Nu accroupi c. 1970 Bronze, edition no. 3/6 31(L) x 13(W) x 12.8(H) cm Engraved on the bottom Volti and numbered 3/6 With a stamp of the foundry "Susse Fond Paris" PROVENANCE: Moon River Fine Art, Taipei Private collection, Taiwan This sculpture is to be sold with a certificate of authenticity issued by Moon River Fine Art, Taipei.
NT$ 480,000 - 700,000 HK$ 123,000 - 180,000 US$ 15,900 - 23,200
安東尼奧奇．沃第 趴著裸女 約1970年 銅雕 版次 3/6 31（長）x 13（寬） x 12.8（高）cm 簽名雕刻底部：VOLTI 版次：3/6 鑄造鈐印： Susse Fond Paris 來源： 雲河藝術，台北 私人收藏，台灣 附雲河藝術開立之原作保證書
Ravenel 125
059
JEAN FUSARO (French, b. 1925)
Mystère et Nostalgie, Port de Carbonara 1991 Oil on canvas 60 x 73 cm Signed lower right Fusaro in French Signed on the reverse Fusaro and titled Mystère et Nostalgie, Port de Carbonara in French
讓．費沙羅
讓．費沙羅1925年出生於法國馬賽，曾就讀
卡伯納拉鄉愁
里昂高等美術學院。與生俱來的天賦使他自
1991 油彩 畫布 60 x 73 cm
如：蒙頓雙年展大獎、費內翁大獎及青年畫
簽名右下：Fusaro 簽名畫背：Mystère et Nostalgie, Port de Carbonara Fusaro
杜菲穆斯三人齊為「里昂畫派」的重要成
PROVENANCE: Galerie Elegance, Taipei Acquired from the above by the owner
來源： 愛力根畫廊，台北 收藏者得自上述來源
This painting is to be sold with a certificate of authenticity issued by Galerie Elegance, Taipei.
附愛力根畫廊開立之原 作保證書
NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,600 - 15,900
然走上藝術家之路，並獲得多項大獎肯定， 家大獎。1950年後，受邀參加巴黎、東京、 紐約等世界各地的展覽。早期與柯達沃茲、 員，隨後費沙羅與柯達沃茲也成為「巴黎新 具象畫派」的代表人物。他們受後印象派和 納比派代表藝術家波納爾對光學在畫面上的 表現的影響，尤其費沙羅，更是利用白色直 接創作，呈現出光影律動之美。
060
JEAN FUSARO (French, b. 1925)
Terrasse au bord de Mer
讓．費沙羅
Bor n in Marseille, France in 1925, Jean Fusaro
c. 1990 Oil on canvas 81 x 100 cm
海邊露台
studied in the École nationale superieure des
Signed lower right Fusaro in French Titled on the reverse Terrasse au bord de Mer in French PROVENANCE: Editions Vision Nouvelle, Paris Private collection, Asia
NT$ 400,000 - 600,000 HK$ 103,000 - 154,000 US$ 13,300 - 19,900
Beaux-Arts de Lyon. His exceptional gift in painting
約1990年 油彩 畫布 81 x 100 cm
naturally sent him on the road toward becoming
簽名右下：Fusaro 題識畫背畫框：Terrasse au bord de Mer
de la Jeune Peintre. He has been invited to the
來源： 新視覺出版社畫廊，巴黎 私人收藏，亞洲
regarded as an important member of the “Lyon
an artist, and he won various awards, including the Biennale de Menton, Prix Fénéon and the Prix exhibitions in Paris, Tokyo, New York and various cities since 1950. Fusaro, in his early years, was School,” along with A. Cottavoz and J. Truphémus. Later, Fusaro and Cottavoz became representative painters of the Parisian Neo-Figurative School. They were influenced by Post-Impressionism and the expression of light in the works of P. Bonnard, a representative artist of Les Nabis. Fusaro, even more than the others, creates directly with white to represent the rhythm between light and shadow.
Ravenel 127
BAIGNEURS MAXIMILIEN LUCE
呂斯1858年生於巴黎，1876年成為尤金弗蒙工作室版畫師，並進入瑞
Unlike Georges Seurat, who focused on the recreational activities of
士學術院研習。1887年於獨立沙龍展出，與畢沙羅、秀拉、席涅克等
the middle class, Luce loved to depict the daily lives of the public and
新印象畫派成員相識，自此成為其一員並長期參展於沙龍。1899年由杜
the working class, and recorded the cityscape of late 19th century
朗・魯耶畫廊為其舉行一重要個展。1909年接續席涅克成為獨立沙龍副
industrial development through the eyes of an artist. As for the
主席。1921年參展巴黎大皇宮「1884-1914 三十年獨立藝術大展 」。
composition of his paintings, he utilized the purple and blue tones
1934年獲選為獨立藝術家協會主席。
prevalent to the pointillist techniques of the neo-impressionists. He also emphasized the angle of light, depicting surfaces that faced
不同於秀拉著重中產階級生活的休閒娛樂，呂斯熱愛描繪當時的大眾生活
towards and away from the light source with strong contrast. True
及社會的勞動者，以畫家的雙眼記錄下十九世紀末工業發展的城市景觀。
to the impressionist style, the artist often traveled to Côte d'Azur,
其構圖特色，是以新印象派點描手法考究的紫藍色色調，同時描繪向光源
Normandy, Brittany or London. Shimmering waters and the leisure
及背光面，營造明暗對比強烈的光線角度。承襲印象派的風格，藝術家常
activities of late 19th century Europe is another popular theme of
旅行至蔚藍海岸、諾曼第、布列塔尼或倫敦，水面波光淋漓和十九世紀末
Luce's paintings.
歐洲的休閒生活也是呂斯為人津津樂道的繪畫主題。 "Baigneurs" is Luce's masterful depiction of children playing in water 《沐浴者》為呂斯側寫戲水孩童，夏日光景一隅的精緻佳作。從地面人影
on a summer day. The sunlight and shadows on the ground go from
判斷光源來自右方，近景四位男孩的姿態，由站立、跪坐、趨身向前至
right to left. The positions of the four boys in the foreground create
躬身倒臥，對角線橫切的直角三角形構圖，將觀者視覺自然順暢地帶動。
a right triangle composition along the diagonal line, from standing,
中間男孩的橘紅色短褲，則成為畫面中心，拉開了景深，也對比出後方水
kneeling, leaning forward, to lying hunched on the ground, smoothly
面的淡藍色調。藍中帶青，青中添點紫灰，筆觸一點一點，輕輕柔柔的橫
guiding the movement of the viewer's gaze. The orange shorts of the
撇，舒暢暢地如畫家本人置身水中的清涼。後方的四位游泳者，呂斯僅以
middle boy is the central point of the image, and as such draws out
簡練流暢的一筆勾勒即捕捉出生動姿態，好似和風吹過，孩童們蹦跳奔
the depth of the painting while creating a stark contrast to the light
跑，嬉鬧聲不絕於耳，將和煦溫暖的午後陽光就永遠停格在一瞬間。
blue tones of water in the backdrop. The blues are tinged with green, greens tinged with pale purple; his brushstrokes lightly glide over the
Born in Paris in 1858, Luce became a printmaker at the Atelier Eugène
surface, ever so smoothly, as if the artist himself is submerged in the
Froment in 1876, and later enrolled at l'Académie Suisse. Luce
cool, refreshing water. As for the four swimmers in the back, Luce used
displayed his work at the Salon des indépendants in 1887, where he
only a single, fluid stroke to capture their movements, like a breeze
met up-and-coming members of the neo-impressionist movement
passing through. The children, leaping and ran, chattering in fun and
such as Camille Pissarro, Georges Seurat, and Paul Signac. He became
in play, are forever preserved in this moment out of a warm sunlit
one of their league, and regularly participated in the salons. In 1899,
afternoon.
the Gallery Durand-Ruel held an important solo exhibition for him. In 1909, he succeeded Signac's position as vice chairman of the Salon des indépendants. In 1921, he took part in the "Trente ans d'Art Indépendant, 1884-1914" at the Grand Palais. In 1934 he was voted chairman of the société des artistes indépendants.
061
MAXIMILIEN LUCE (French, 1858 - 1947)
Baigneurs
馬克西米．呂斯
Oil on carton 21.5 x 27 cm
沐浴者
Signed lower right Luce and lower left Luce in French PROVENANCE: Galerie Elegance, Taipei Acquired by the present owner from the above in 1991 ILLUSTRATED: Jean Bouin-Luce & Denise Bazetoux, Maximilien Luce , Catalogue de l’oeuvre peint – tome II , Paris, 1986, black-and-white illustrated, no. 2593, p. 592 This painting is to be sold with a certificate of authenticity issued by Galerie Elegance, Taipei.
油彩 紙板 21.5 x 27 cm 簽名右下：Luce 簽名左下：Luce 來源： 愛力根畫廊，台北 現有收藏者於1991年得自上述來源 圖錄： 尚．布安－呂斯、丹尼絲．巴茲杜，《馬 克西米．呂斯油畫全集第二冊》，巴黎， 1986，黑白圖版，編號2593，頁592 附愛力根畫廊開立之原作保證書
NT$ 440,000 - 650,000 HK$ 113,000 - 167,000 US$ 14,600 - 21,500 Ravenel 129
062
GEORGE CHANN
(Chinese-American, 1913 - 1995)
Little Boy in Ginger Hair
陳蔭羆
Oil on canvas 53 x 40 cm
金髮男童
Signed lower left GEO.CHANN in English This painting is to be sold with a certificate of authenticity issued by Moon River Fine Art, Taipei.
油彩 畫布 53 x 40 cm 簽名左下：GEO.CHANN 附雲河畫廊開立之原作保證書
NT$ 400,000 - 600,000 HK$ 103,000 - 154,000 US$ 13,300 - 19,900
陳蔭羆1913年生於廣東中山縣，12歲隨中醫師父親移民美國，母親和
respect from his contemporary. In the early 20th century the
弟弟留在故鄉，際遇與同為廣東籍的朱沅芷十分近似。朱沅芷長陳蔭
American society was still discriminative of ethnicity. However, the
羆六歲，文獻上顯示兩人結識且互有往來。1934年陳蔭羆進入洛杉磯
prominence of Chann won him recognition at that time. During
的歐蒂斯藝術學院，在校期間獲全額獎學金，成績相當優秀，當時全
wartime he not only sold his works to raise funds for the overseas
校華人不過一、二位，後來他又擔任教職，受人敬重。二十世紀初期
Chinese community but provided service to the Special Service
美國社會仍充斥著種族歧視事件，陳蔭羆卻因繪畫而見容於此。戰爭
Division of the American Army. He painted portraits of presidents
期間，他除了為華僑慈善團體作肖像畫義賣，為美國陸軍特勤部門服
and leaders of war; he was even awarded honorary medals for his
務，描繪歷任美國總統及將領畫像，還因此得到榮譽獎章。陳蔭羆早
contribution. In the early stages of his art career, Chann preferred
年以人像畫聞名，偏好描寫黑人、亞裔、或窮苦的老弱婦孺，一生虔
depicting African Americans, Asians or the old and poor. He had
誠信奉宗教，帶有濃厚的人道關懷。早期繪畫以後印象派及表現主義
been pious throughout his life, demonstrating his humanitarian
的技法及風格為主，1942年他的繪畫專長被洛杉磯郡立美術館館長麥
concer ns. His early paintings were post-impressionist and
堅尼大舉推薦，還曾獲得歐蒂斯藝術學院年度展油畫獎第一名。
expressionist. In 1942, his expertise and command were highly praised by Roland Mckinney, the curator of LA Fine Art Museum.
早年以最難表現的人像畫走紅美國藝壇，陳蔭羆的繪畫成就斐然。
He also won the first place in the annual exhibition of Otis Art
1947年他應邀回到中國寫生，前後近三年之久，期間主要居住香港，
institute with his oil paintings.
並與嶺南畫派名家趙少昂、黃君璧交遊，期間創作百幅以上的油畫、 水彩，也在上海、廣州、香港等地舉辦展覽。返回美國之後，他開始
Chann excelled and had an outstanding artistic achievement with
從具象畫轉向抽象畫的試驗。晚年他曾接受南加州學者的口述歷史專
portraits, the considered most difficult sort of painting. In 1947,
訪，一段文字記錄著這段期間風格轉變的因由：「早年學習西畫，他
he was invited back to China and stayed for about 3 years, during
喜歡描繪窮苦人家、老人、小孩。自中國訪美之後，他發現美國藝術
which he mainly lived in HK and became friends with prominent
已走向現代化之路，為迎頭趕上，於是，透過閱讀書籍，致力使自己
figures of the "Lingnan school" such as Chao Shao-an and Huang
的畫風由傳統邁向現代。」畫家所提的這波現代化風潮，正是1950年
Chun-pi. He had hundreds of oil and water color paintings during
代達到全盛時期的美國「抽象表現主義」。
this period of time and held exhibitions in Shanghai, Guangzhou and Hong Kong. It was after he returned to the USA that he started
George Chann was born in Guangdong Zhongshan in 1913 in
the experiment going from concrete to abstract art. In the latter
China. He immigrated to the US at the age of 12 with his Chinese
stages of his life, he used to have interviews taken for oral history
medicine practitioner father while his mother and younger brother
by scholars in south California. One excerpt recorded the reason
stayed behind. This situation was very similar with that of Yun Gee,
for this change; that, "He started to learn western paintings in
who was also from the same hometown. Gee was senior to Chann
the beginning. In the early years, he liked to paint poor people,
by 6 years; documents and records suggested that they knew
old people and children. After he came back from China he found
each other and were friends. In 1934, Chann was accepted into
the art work was changed. It was modernized. He tried to read
Otis Art Institute in LA with full scholarship and had outstanding
the books and make his paintings change from old fashioned to
performances. By then there were no more than 3 Chinese in the
modern. " The modernization referred to by the artist was the
institute. Chann later taught at the same school and won much
Abstract Expressionism, which culminated in the 1950s in the USA.
Ravenel 131
063
CLAUDE WEISBUCH (French, 1927 - 2014)
Violinist
克勞德．維士巴修
Oil on canvas 92 x 73.5 cm
小提琴手
Signed lower right Weisbuch in French PROVENANCE: Chin Tien Gallery, Taipei Acquired by the present owner from the above in 1993 The painting is to be sold with a certificated of authenticity issued by Chin Tien Gallery, Taipei.
油彩 畫布 92 x 73.5 cm 簽名右下：Weisbuch. 來源： 金典畫廊，台北 現有收藏者於1993年得自上述來源 附金典畫廊開立之原作保證書
NT$ 400,000 - 600,000 HK$ 103,000 - 154,000 US$ 13,300 - 19,900
作品《小提琴手》是藝術家克勞德．維士巴修所擅長的速寫式的
integrate smoothly with the background, simplifying detail
繪畫，畫面中的音樂家身體前傾，左手扶著於小提琴之上，右手
and expressing the depth of the space. In turn, the viewer
持琴弓，面容表情雖沒有被精細描繪，卻能深刻體會到其神情凝
feels drawn within. Time moves discreetly within the quiet
聚、自若儀態，焦點集中於演奏之上。筆觸流暢地與背景交融，
composition. The violinist is a passionate musician immersed
簡化細節處，並交待了空間感之深遠，使觀者仿如身置其中，時
within the notes. The fluid lines meet the pure brown tone in
空在靜謐的畫面中隱隱流動著。小提琴手陶醉於音符的狂熱音樂
a clever way, capturing an instantaneous image of the moving
家，流轉的線條與純褐色調的巧妙相遇，瞬間定格了人物運動間
figure. The figure's movement is expressed via a technique
的影像，以近似照相重複曝光的方式表現人物動感。他準確地描
similar to multiple exposures in photography. The artist has
繪了演奏人一舉手一投足，生命之美隨著純粹線條被瞬間凝結為
depicted the performer's every tiny movement. The beauty of
永恆。
life has been made eternal as it is captured by the pure and simple lines.
克勞德．維士巴修生活在影像發展的蓬勃年代，擅長捕捉影像動 態與戲劇的張力，與人世間疾疾奔走的百態，是其畫作鮮明而獨
Claude Weisbuch lived in a flourishing age for photography.
特的一抹人生剪影。細細品味這些正在演奏中的繪畫作品，內
The movements in images and the tension in theater, as well as
容充滿活力且色彩繽紛，技巧純熟穩健。不僅是其經驗的累積，
the multitude of human activities, are the silhouettes of life that
還可以發現在形象色彩下，隱含著象徽及寓意，充滿無限的奇異
make his works vivid and unique. Delicately appreciating these
幻想，或是引人飄向遠疆的思緒，或是帶有詼諧的意味存在。想
paintings of performers in the mid-performance, the content
來，優秀的藝術作品都是純熟的技法與畫家情感的完美結合。
seems lively and the colors vibrant, skillfully and maturely captured. Not only can one observe his vast experience; one can
The work Violinist is a painting that uses the sketching technique
also see that there is symbolism and meaning hidden under the
Claude Weisbuch is so adept at. The musician leans his body
colors of the image. It is either boundless fantasy, or thoughts
forward. His left hand is placed on the violin, and his right on
that lead one to somewhere faraway, or a humorous intent.
the bow. Although facial expression is not minutely drawn out,
Indeed, all excellent art works are the perfect combination of
one can see how concentrated and comfortable the musician
skillful work and the artist's sentiments.
is, and that he is focusing on his performance. The strokes
Ravenel 133
064
CLAUDE WEISBUCH (French, 1927 - 2014)
Discours de l'inutile
克勞德．維士巴修
1984 Oil on canvas 100 x 81 cm
辯才無礙
Signed lower right Weisbuch in French PROVENANCE: Private collection, Asia ILLUSTRATED: Jean-Denis Bredin, Weisbuch , Editions Galerie Taménaga, France, 1985, color illustrated, unpaginated Jean-Marie Tasset and Jean-Denis Bredin, Weisbuch - peintures, pastels, dessins, Librairie Séguier, Paris, 1989, color illustrated, p. 211
1984 油彩 畫布 100 x 81 cm 簽名右下：Weisbuch. 來源： 私人收藏，亞洲 圖錄： 讓．丹尼．布勒丹，《維士巴修》，為永畫廊， 巴黎，1985，彩色圖版，無頁碼 讓．瑪莉．塔塞，讓．丹尼．布勒丹，《維士 巴修: 版畫、粉彩、素描》，賽吉爾出版社，巴 黎，1989，彩色圖版，頁211
NT$ 700,000 - 1,000,000 HK$ 180,000 - 257,000 US$ 23,200 - 33,100
享年87歲的維士巴修，早年畢業於法國南錫國立美術學校，
characters, where he would capture the dynamics of
精通於繪畫、雕刻和版畫。而其最為眾人熟知的作品則是畫
the characters with literary expressions. Despite of the
面中流暢動感的音樂家、馬匹以及人物。維士巴修擅於將表
limited use of basis colors of dark brownish red, he always
演藝術的人們所陶醉的表情捕捉下來，透過其獨特的暗綜紅
managed to deliver the tensions and live actions with
色調為底，以及流暢的靜態線條表達出動態的臨場感受，使
fluid strokes. Since 1951, Weisbuch began to receive
人如臨現場感同身受。自1951年起，維士巴修開始在巴黎畫
the attention of the art critics and works of his are in the
壇展露頭角，其作品常見於多處沙龍，以及巴黎「時代證人
appearance of several salons, in 1961, he was awarded
畫展」，又過了十年，獲頒藝評家大獎後，更是聲名遠播，
with the annual prize, and since then, his works are widely
其作品足跡遍及歐洲、美國及日本。
seen overseas, including Europe, United States and Japan.
而多數人在觀看維士巴修的作品時，不免對於他使用極簡色 調卻能 帶 出 表 演 者 細 膩 的 情 感 而 感 到 驚 訝 。 如 同 這 張 《 辯
When looking at the works of Weisbuch, most people
才無礙》的背景雖是以模糊筆觸繪出兩大色塊，前景卻能明
cannot help but to notice the passionate expressions he
確的將辯論者的激動神情凝聚在畫布之上，透過自信的手勢
used with as little colors. As seen in the work of “Discours
強而有力的表現出勢在必得的樣子。做為法國當代重要的畫
de l'inutile”, the background are painted in blurry
家，維士巴修的作品更是受到全球重要機構和美術館收藏，
touches, and divided into two sectors, yet, the foreground
包括紐約現代美術館、巴黎龐畢度中心及比利時皇家學院美
clearly captured the excited expressions of the debater, at
術館等，不容忽視其重要地位。
the same time giving out a powerful gesture suggesting a confident in one self. As an important contemporary artist
Claude Weisbuch lived to the age of eighty-seven,
of France, Weisbuch’s works in widely collected by major
and was a pupil at L'École des Beaux-Arts in Nancy,
institutions and museums of the world, including New
France. Weisbuch was an avid painter, engraver and an
York Modern Museum of Art, Centre Pompidou in Paris,
exceptional lithographer. Weisbuch was mostly known
Academie Royale in Belgium and more.
for his characteristic works of musicians, horses and
Ravenel 135
065
ANDRÉ COTTAVOZ
(Spanish-French, 1922 - 2012)
Bouquet d'avril
安德烈．科達沃茲
c. 2002 Oil on canvas 100 x 100 cm
春天的花束
Signed lower right Cottavoz in French Signed on the reverse Cottavoz and titled Bouquet d'avril in French PROVENANCE: Galerie Taménaga, Paris Galerie Elegance, Taipei Private collection, Taiwan
NT$ 900,000 - 1,400,000 HK$ 231,000 - 360,000 US$ 29,800 - 46,400
法國藝術家安德烈・科達沃茲生於1922年。1939年他進入里昂 美術學院，並於1945年起就受邀於各地展覽其繪畫作品。1950 年代起，柯達沃茲與費沙羅、夏瀚、杜菲慕斯，並稱之為里昂新 具象畫派。受那比畫派波納爾影響，科達沃茲相當注重光影的變 化，他使用厚重的鮮豔顏料在畫面上製造出自然的陰影效果。科 達沃茲於1953年獲得費內翁藝術大獎，之後更得到國家繪畫大 獎及蒙頓雙年展獎的肯定。其作品更為國際美術館收藏，包括法 國龐畢度藝術中心、巴黎市立現代美術館、日本山形美術館、日 本新大谷美術館及台南永都美術館。
Born in 1922, André Cottavoz entered into Lyon Fine Arts school in 1939 and his work has been wildly exhibited since 1945. With J. Fusaro, P. Philibert-Charrin, J. Truphémus, they have been called New Figuration of School of Lyon or Sanzisme since 1950 years. Influenced by Pierre Bonnard, Cottavoz is devoted to the light, he uses thick pigment with pastel tint to create the natural shadow on the painting. Cottavoz obtained the prize Fénéon in 1953 and he has been also awarded by Prix national de Peinture and Biennale de Menton. Cottavoz’s work is now collected in Centre Pompidou, Musée d’art moder ne de la Ville de Paris, Yamagata Museum of Art, the New Otani Museum and YungTu Museum of Art in Tainan, Taiwan.
約2002年 油彩 畫布 100 x 100 cm 簽名右下：COTTAVOZ 簽名畫背：BOUQUET D'AVRIL COTTAVOZ 來源： 為永畫廊，巴黎 愛力根畫廊，台北 私人收藏，台灣
Ravenel 137
066
ANTONI CLAVÉ
(Spanish, 1913 - 2005)
Guerrier aux feuilles
安東尼．克拉維
1973 Oil on canvas 147 x 113.5 cm
披葉戰士
Signed lower right Clavé in Spanish Signed on the revese Clavé, titled "Guerrier Aux Feuilles" and dated 73 and 1973 PROVENANCE: Perrin-Royère-Lajeunesse, Versailles, June 24, 1990, lot 61 Private collection, Asia This painting is to be sold with a certificate of authenticity issued by the Archives Antoni Clavé
1973 油彩 畫布 147 x 113.5 cm 簽名右下：Clavé 簽名畫背：Clavé 73 "GUERRIER AUX FEUILLES" 1973 來源： 佩漢─華耶爾─拉若內斯拍賣行，法國凡爾賽， 1990年6月24日編號61 私人收藏，亞洲 附克拉維文獻委員會開立之原作保證書
NT$ 2,400,000 - 3,600,000 HK$ 617,000 - 925,000 US$ 79,500 - 119,300
1913年生於巴賽隆納，十三歲開始就讀巴賽隆納藝術學院夜
到需要做什麼，反而是去除創作中根本不該出現的事。當天離
校，白日於紡織工坊當學徒。在西班牙托羅薩一間室內油彩工
開他的工作室，我知道自己已經重獲新生。」1946年與畢卡索等
作坊當學徒的期間，渾然天成的藝術家天性，克拉維積極學習
人同行，參與了布拉格的旅法西班牙藝術家展覽。1985年克拉維
各種創作技巧：調制顏料、仿木、仿大理石花紋、花體字設計
創作向畢卡索致敬的「致巴布羅閣下」系列油畫及拼貼作品，該
和三維透視畫法。這些訓練皆影響其一生，開創別於其他藝術
系列巡迴展覽至巴黎荷蓋畫廊 （Galerie Regards）、巴賽隆納
家的個人風格。
賈斯柏畫廊（Galerie Sala Gaspar）和法國昂蒂柏（Antibes） 的畢卡索美術館。2010年斯洛維尼亞首都的盧布爾雅那美術館
1932年贏得巴賽隆納儲備銀行第二大獎，克拉維開始接受商業
（Mestni muzej Ljubljana）更為兩人舉行了系列特展。
設計得委託，將藝術發展的前衛精神，融入在自己的創作中。 率性俐落的風格，立即獲得業界的一片好評並邀約不斷，如：
克拉維的全才和獨到眼光，為他帶來大量的跨界邀請。二戰後
1934年由詹姆斯惠爾（J a m e s W h a l e）導演的美國懸疑電影
1945至1950年間，他設計芭蕾舞劇的舞台服裝，風格大膽前衛
《隱形人》，其西班牙版的海報即是由他設計。
別於他人，一舉將他的名聲推向國際，如：1946年香榭麗舍劇 團《奇想集》、1949 年羅蘭柏蒂的巴黎芭蕾舞團《卡門》、
1936年西班牙內戰爆發，隔年克拉維參與了共和黨軍位在雅拉
倫敦莎德斯威爾斯芭蕾舞團（現今：英國皇家芭蕾舞團）《群
岡自治區的前線。1939年一月，隨軍隊流亡到法國並身陷囹
舞》。同時，克拉維也為書籍設計和製作石板插畫：普希金
圄。獄中透過畫家馬丁維位（Martin Vivès）的協助，他與其他
《黑桃皇后》、普羅斯佩・梅里美《卡門》、1948年伏爾泰
流亡西班牙藝術家，在法國東庇里牛斯省首府佩皮尼昂的維昂
《憨弟德》等經典文學作品。
沙龍（Ｍaison Vivan）展出數件素描與人物肖像，讓他很快地 得到釋放。同年四月五日抵達巴黎，克拉維沒有身分證明，僅
1954年，婉謝藝文各界的邀約，克拉維全心投入在純藝術創
帶著微薄的展覽酬勞，以兒童插畫創作維生，開啟一生與巴黎
作。1956年，他創作了「國王、王后與戰士」的系列作品，
的不解之緣。
以拼貼將複合媒材融匯於畫作的平面。同年，第二十八屆威尼 斯雙年展，得到國際教科文組織頒獎表揚其版畫作品的傑出成
1941年德軍攻陷巴黎的隔年，克拉維搬進了位於波松納德路45
就。隔年，再獲頒第五屆聖保羅雙年展的馬塔拉索大獎（P r i x
號的新工作室，完成第一批石版畫系列。隨後1942年，迎接
Matarasso）。
新生長子賈各與遠從西班牙到來的母親。此時的創作，克拉維 如同其他旅居巴黎的歐洲藝術家，如：康斯坦丁．德勒柯維奇
1950年代起，世界各地的畫廊爭相邀約展覽。1965年搬至法國
（Constantin Terechkovitch）、伊凡．普尼 （Ivan Puni），皆
蔚藍海岸，鄰近聖特羅佩。溫暖宜人陽光充沛，就像巴塞隆那
受納比畫派波納爾和維亞爾（Vuillard）的影響。畫作主題多為
的氣候。日照充足且高挑的工作室，克拉維開始創作更多大尺
日常恬靜景象和人物，溫暖柔和的色調添滿了幸福氣息。
幅作品，運用多樣化媒材，隨直覺決定創作構圖。代替畫筆， 多運用刷子、布料、滾筒和印戳，使得畫面肌理更加豐富多
1944年與畢卡索相識，同樣來自加泰隆尼亞的兩人成為忘年摯
變。另外，延續1957年以來的粗獷風格，克拉維也製作了更多
友，畢卡索像是靈感泉源地啟發這位年輕藝術家：「看著這位
淺浮雕金屬雕塑和現成物組合的裝置藝術。
男人（指：畢卡索）和他的作品，如一記當頭棒喝。我不是學
Ravenel 139
GUERRIER AUX FEUILLES ANTONI CLAVÉ
《披葉戰士》創作於1973年，是克拉維運用現成物，轉型為抽象表現
studio in Tolosa, Spain, the naturally artistic Clavé studiously set
風格之前，向西班牙戰士們致敬，喚醒民族記憶的絕品佳作。畫面開
about learning a variety of creative techniques: mixing paints,
闊，黑色筆觸酣暢大膽，藝術家的爆發力，瞬間攫獲觀者的心。西班
mimicking wood grain and marbling, the design of calligraphy
牙文學，高貴的騎士精神，數百年傳承在詩歌與血脈之中。瞳孔黑藍
fonts, and three-point perspective. All of the training played a
雙色，眼神堅定，瀟灑騎士，露齒暢笑，如將生死置之於度外。翠綠
significant role throughout his life and helped him to create a
梧桐的拓印肌理，一絲血紅的點睛落筆。戰士將要奔赴戰場，策馬呼
distinctively personal artistic style.
嘯過梧桐大道。馬蹄下紅沙滾滾，黃葉飛揚，克拉維謹此紀念偉大的 西班牙傳奇。
In 1932, he was awarded second place in a competition organized by the Caisse d’Epargne de Barcelone. Clavé began to accept
1970至80年代，不論是歐洲還是亞洲、美洲，克拉維名聲遠播，展覽
commercial design project commissions. He integrated the avant-
邀請源源不斷。1978年由巴黎市立美術館為其舉辦個人回顧展，同年
garde spirit of art development into his work. His daring and
為西班牙馬德里巴拉哈斯機場製作總長達九公尺，高度達三公尺的巨
immaculate style immediately won accolades in the field, and
型壁畫。1888年世界博覽會由巴塞隆納市府委託製作高達13公尺的雕
he received many project commissions, such as, in 1943, the
塑裝置，今日仍設立於巴塞隆那的城堡公園。1990年代起，尤其在西
film poster for the Spanish version of the American thriller "The
班牙，克拉維的大型回顧展不斷推出。他旅行至世界各地，汲取當地
Invisible Man" ("El Hombre invisible" in Spanish), directed by
文化為靈感，融入進自己的創作，就如同1990年在巴塞爾藝術博覽會
James Whale.
展出的《紐約視界》系列。
When the Spanish Civil War broke out in 1936, Clavé joined the 克拉維一生精彩傳奇，創作風格豐富多元，使其愛好者遍及全球。自
Republican army and was posted to the front line in the Aragon
2005年離世，國際間藝術機構不斷為他推出個人紀念展覽。2008年，
autonomous community the following year. In January 1939, he
全球知名的瑞士巴塞爾貝耶勒基金會（Fondation Beyeler）為其盛大
was exiled to France along with the army and interned. While in
舉行個人回顧展。2012年，日本山梨縣清春藝術村，邀請建築大師安
captivity, with assistance from the artist Martin Vivès, he and other
藤忠雄設計，成立「光の美術館 CLAVÉ GALERIE」來紀念這位偉大的
exiled Spanish artists held an exhibition with a number of sketches
藝術家。克拉維打動人心的創作熱情持續了一生，依年代細細欣賞其
and portraits at the Maison Vivan in Perpignan, the capital of
作品，就如經歷一場二十世紀的藝術史饗宴。
Pyrénées-Orientales in France. This helped him receive his release soon after. On April 5th of the same year, Clavé arrived in Paris
The artist was born in Barcelona in 1913. He started attending
with no identity documents and the meager payment he received
evening classes at the School of Fine Arts in Barcelona when he
for the exhibition. He managed to make ends meet by creating
was thirteen years old, and during the day he was apprenticed in
children's illustrations. Thus began his lifelong association with
a textile workshop. While he was apprenticed to a house painter
Paris.
In 1941, the year after Paris was captured by the German army, Clavé
rollers and stamps to add more diversity and texture to the paintings.
moved to his new studio at 45 rue Boissonnade and completed
Furthermore, in a continuation of his rugged style since 1957, Clavé
his first lithograph series. In 1942, he welcomed his firstborn son,
began to produce sculptural bas reliefs in metal and installation art
Jacques, and his mother moved to Paris from Spain. During this
pieces composed of found objects.
period, just as with the other European artists living in Paris at that time such as Constantin Terechkovitch and Ivan Puni, all of Clavé's
His 1973 creation "Cavaliers aux Feuilles" is a homage to Spanish
works were influenced by Bonnard and Vuillard of Les Nabis. The
warriors. In this piece, created before he turned to an abstract
subjects of his works were usually the tranquil scenes and people of
expressionist style, the artist used found objects. It is a supreme
daily life. His use of warm, gentle colors imbues the paintings with a
piece of artwork for calling up patriotic memories. The wide expanse
sense of contentment.
of the scene, with unhesitating and daring strokes, express the striking skills of the artist and instantly capture the heart of the viewer.
In 1944, Clavé met Picasso. Both hailing from Catalonia, the two
In Spanish literature, the noble knightly spirit has been passed down
became lifelong friends, and Picasso served as a font of inspiration
for centuries through Epics and bloodlines. The blue-black pupils
for the young artist. "[…] look at this man [referring to Picasso] and
portray the determination of the dashing cavalier. The carefree laugh
his works — they are like a bolt from the blue. I did not learn about
with bared teeth seems to imply that life and death are of no matter.
what needs to be done; instead I have learned how to remove the
Emerald green monotype textures are decorated with a light stroke
things which should not have been there in the first place. When I
of crimson. The warrior goes forth to battle and urges his steed
left his studio that day, I realized that I had been reborn " said Clavé.
down the tree-lined avenue. Dust roils under the horse's hooves
In 1946, Clavé, Picasso and a group of other artist took part in an
and autumn leaves twirl in the air. This is Clavé's homage to Spanish
exhibition held in Prague for Spanish painters in Paris. In 1986, Clavé
legend.
created a series of artworks dedicated to Picasso, "A Don Pablo", which included oil paintings and collages. This series was exhibited
From the 1970s to the 1980s, the fame of the artist spread, and
at a number of galleries including Galerie Regards in Paris, Galerie
exhibition invitations came unceasingly from all over, whether from
Sala Gaspar in Barcelona, and the Picasso Museum in Antibes,
Europe, Asia or the Americas. In 1978, Musée des Beaux-Arts de
France. In 2010, the Mestni muzej Ljubljana in the capital of Slovenia
la Ville de Paris organized a retrospective exhibition for the artist.
organized a special exhibition series for the two artists.
In the same year, Clavé created a 9 meter long, 3 meter high wall mural for Madrid–Barajas Airport in Spain. The Barcelona city council
Clavé's well-rounded expertise and unique style attracted attention
commissioned the artist to create a 13 meter sculptural installation
across many fields. After WWII, between 1945 to 1950, he designed
for the Universal Exposition of 1888. Today, it still stands in the
stage sets and costumes for ballet. His bold avant-garde style
Parc de la Ciutadelle in Barcelona. From the 1990s onwards, large-
brought his reputation to a global audience. These works include:
scale Clavé retrospective exhibitions were continually taking place,
"The Caprichos" for the Ballets des Champs-Elysées, Paris in
especially in Spain. Clavé traveled all over the world and used local
1945; "Carmen" for the Ballets de Paris de Roland Petit in 1949,
culture as sources for inspiration. He integrated these elements into
and "Ballabile" for Sadler’s Wells Ballet in London (now The Royal
his own works, such as the 1990 series "Vu à New York" exhibited at
Ballet). At the same time, the artist also created designs for books
Art Basel.
and produced lithograph illustrations for classics such as Pushkin’s "The Queen of Spades”, Prosper Mérimée's "Carmen" and in 1948,
Clavé led an exciting and eventful life, and when paired with his
Voltaire's "Candide".
diverse and intriguing creative styles, it is no wonder that his admirers can be found all around the world. Since the artist's
In 1954, Clavé declined all commissioned work and concentrated
death in 2005, art institutions around the globe have organized
on purely artistic creations. In 1956, he created the "Rois, Reines et
n u m e ro u s c o m m e m o r a t i v e e x h i b i t i o n s f o r h i m . I n 2008, t h e
Guerriers" series, where he used collages to incorporate different
internationally renowned Fondation Beyeler of Switzerland held a
media into the surfaces of the paintings. In the same year, he was
major retrospective exhibition for the artist. In 2012, the Kiyoharu
awarded a prize by UNESCO for his outstanding lithograph works
Art Village in Yamanashi, Japan invited architecture maestro
at the 28th Venice Biennale. The following year, he won the Prix
Andou Tadao to design the Museum of Light Clavé Gallerie to
Matarasso at the 5th Biennial of Sao Paulo.
commemorate this great master. His passion, which touched so many hearts, burned brightly throughout his life. Admiring the works of
Beginning in the 1950s, galleries around the world competed with
Antoni Clavé in detail, year by year, makes one feel as if they are
each other to invite the artist to exhibit his new works there. In 1965,
enjoying a feast of 20th century art history.
Clavé moved to Côte d'Azur near Saint-Tropez. The warm, bright, sunny days were just like the climate of Barcelona. In his sunny, high-ceilinged studio, he began to create larger scale works and to use multiple media. He formed the structure of the images through instinct. Instead of paintbrushes, he used decorators' brushes, fabric,
Ravenel 141
067
PABLO PICASSO (Spanish, 1881 - 1973)
Roi et Reine (a set of two)
巴布羅．畢卡索
1967; 1970 Pen and ink on paper 29 x 23.3 cm (left); 29 x 23.5 cm (right)
國王與王后（兩件一組）
Signed upper center Picasso , dated 10.11.67 and dedicated Pour mon cher ami Feld (Reine) Signed lower right Picasso dated 16.5.70 Dedicated upper center Pour Jacqueline Feld (Roi) PROVENANCE: Collection of Charles Feld, Paris Sotheby's Taipei, October 15, 1995, lot 167 Sotheby’s Hong Kong, January 20, 2015, lot 062 Private collection, Asia The authenticity of this work is confirmed by Claude Picasso, the son of the artist.
NT$ 3,200,000 - 5,000,000 HK$ 823,000 - 1,285,000 US$ 106,000 - 165,700
1967; 1970 鋼筆 墨 紙本 29 x 23.3 cm（左）; 29 x 23.5 cm（右） 簽名上方：Picasso 10.11.67 （王后） 題識上方：Pour mon cher ami Feld（致好友費爾 德）（王后） 簽名右下：Picasso 16.5.70（國王） 題識上方：Pour Jacqueline Feld（國王） 來源： 查爾斯．費爾德收藏，巴黎 蘇富比台北，1995年10月15日，編號167 蘇富比香港，2015年1月20日，編號062 私人收藏，亞洲 克勞德．畢卡索（藝術家之子、畢卡索檔案負責 人）已確認本件拍品的真實性。
巴布羅．畢卡索是二十世紀最富盛名的藝術大師，與米羅、達利
revealed at an early age, even towards the later periods,
同為西班牙藝術史上極具重要性的三位現代藝術家。為藝術系教
he continued to be a prolific artist. Although painting was
授和美術館策展人之子的畢卡索，自小就展露出卓越的繪畫天
Picasso’s principal medium, his works of creativity extends to
份，即使創作生涯到了後期，仍不減其創作力。而畢卡索的創作
sculptures, ceramics, glass, etc, once again validates his status
媒材除了渾然天成的繪畫之外，立體作品如雕塑、陶瓷、玻璃等
as a brilliant artist and master.
等，皆再次證明了他不同凡響的的藝術天份。 Throughout the 92 years of his prolific life, Picasso is among 在 92 歲的創作生涯當中，畢卡索是佔少數持續突破自我的藝術
the very few of the artists that have continued to evolve. For
家，從初期的「藍色時期」（ 1900-1904 ），作品主要以憂鬱的
Picasso, there was “The Blue Period” (1900-1904), with most
藍色為基調、因受到非洲木雕藝術靈感而產生的「立體主義」
of his works are painted in blue, as a reflection of melancholy;
（ 1907-1917 ）、到中後期因婚姻和生活之不順遂而產生的「變
the development of “Cubism” (1907-1917), with inspirations
形時期」（ 1924-1936 ）、「戰爭前後時期」（ 1937-1946 ）、
derived from the themes of African masks; to the rise of
到「晚期作品」（ 1946-1973 ）等，每個時期畢卡索都不斷的發
“Cubism and Surrealism” (1924-1936), where Picasso threw
展出階段性的風格並引領先驅。
himself into experimentation with number of styles, as his marriage came to an end. Finally towards the middle periods
而本次呈獻的兩件一組紙上作品《國王與王后》為畢卡索的晚年
of “Post World War II” (1937-1946) to the “Late Period” (1946-
之作，《國王》上方的題識寫著「獻給賈桂琳」，《王后》的上
1973), Picasso have continued developing distinct styles of his
方則是標示「致好友費爾德」。查爾斯•費爾德為法國信譽極佳
from time to time, and have been a pioneer in many areas.
的藝術出版者，1949年創辦藝術圈出版社，和畢卡索為多年好 友。費爾德於1969年為畢卡索主編《畢卡索：1966-1968近期紙
The current set of works of “Roi et Reine” are Picasso’s works
上作品》畫冊，收錄了近400件作品，隔年，1970年，畢卡索便
on paper painted in late decades. The King was inscribed with
繪製了《國王》，或許作為答謝之禮，與1967年作的《王后》組
“for Jacqueline” on the top, while the Queen was inscribed
成了現在的一對作品。即使是透過簡約的鋼筆與墨色，依舊能將
with “to my dear friend, Feld”. As for this friend of Picasso,
人像的生動表情勾勒得栩栩如生。
Charles Feld, he was the founder of a reputed publisher founder of Editions du Cercle d'art in Paris, which was founded
Pablo Picasso is considered as one of the most influential
in 1949. In 1969, Feld edited a catalogue for Picasso, “Picasso:
artists of the 20th century, along with Joan Miró and Salvador
His Recent Drawings 1966-1968”, included nearly 400 works of
Dali are the three great Spanish masters of the modern art
Picasso. In the next year, the portrait of “Le Roi” was born, and
history. Being a son of an art professor at the school of Fine
perhaps as a reciprocal gift, a pair of the King and the Queen
Arts, and a curator of a museum, Picasso’s talent in arts was
was given to Mr. and Mrs. Feld.
Ravenel 143
068
BERNARD BUFFET (French, 1928 - 1999)
Clown (No. 58 S) 1966 Oil, India ink, pastel and watercolor on paper 65 x 50 cm Signed lower right Bernard Buffet in French and dated 66 PROVENANCE: Galerie David et Garnier, Paris Private collection, Asia This painting is to be sold with a certificate of authenticity issued by Galerie David et Garnier, Paris in 1966.
NT$ 3,400,000 - 5,500,000 HK$ 874,000 - 1,414,000 US$ 112,700 - 182,200
貝 爾納．畢費 小丑 1966 油彩 墨 粉彩 水彩 紙本 65 x 50 cm 簽名右下：66 Bernard Buffet 來源： 大衛與賈尼耶畫廊，巴黎 私人收藏，亞洲 附巴黎大衛與賈尼耶畫廊1966年開立之原作保證書
一生都充滿話題性，畢費是藝壇注意力的焦點。1960、70年代 紙醉金迷的歐洲，若選一位戰後藝術家為法國代表人物，那一定 非畢費莫屬。他不為當時盛行的抽象藝術風格掩沒，充滿情感張 力的畫風，使他成為全世界擁護愛戴的具象表現主義畫家。 畢費是天才型的藝術家，他進入巴黎高等藝術學院，接受完整 的學術訓練，但重要的創作啟發更是親身不間斷地流連於羅浮 宮，賞析歷史古典大師的作品得到的養分：林布蘭特、庫爾貝、 大衛、德拉克拉瓦等大師。畢費也深深喜愛野獸派梵東根（Va n D o n g a n）還有烏拉曼克的作品。同輩的藝術家中克勞德．維 爾納（Claude Vernard）（註：Lot 011）具象立體派的風格， 也深受畢費欣賞，兩人進而在一次前者的展覽開幕成為好友。 1946年在藝壇中第一次正式亮相的畢費，連同多位藝術家，包 括：喬治・馬修（Georges Mathieu）在內，展出於《三十歲未 滿的畫家沙龍》，因為其獨特的個人風格隨即受到注目。
VENICE LIAO CHI-CHUN
Ravenel 145
CLOWN (NO. 58 S) BERNARD BUFFET
1948-1958年，青年歲月經歷過大戰的畢費，人物描寫多是譴責戰爭
個觀察藝術家風格變化的絕佳題材。50年代的小丑，肖像面容仍像現
慘忍，描繪經歷戰亂、害怕、貧窮，人們內心煎熬痛苦的主題。此時
實中的演員，粉墨登場，白粉臉上，黑線條用有力地刻畫，抬頭紋深
的創作，多為充滿細線條的灰色調，人物形象都是瘦骨嶙峋、面目乾
刻，八字眉撇，隨薄扁嘴唇下垂的法令紋，眼神像是直盯盯著望向觀
癟的樣貌。場景無外乎是工作室和清冷的房間，日常生活中接觸到的
眾，又像是千絲萬緒悲傷地望向遠方。
人事物。1948年得藝評大獎 （Prix de la Critique），與畫家羅爾如 （Ber nard Lorjou）同列最高榮譽，而且多幅作品由當時最具權威的
歷史上不乏藝術大師以小丑作為靈感，因為小丑集悲喜於一身，古
收藏家吉哈登博士（Dr. Maurice Girardin）收藏，打響了年輕畢費的
典文學中又是道出社會不公，正義精神的化身。但是只有畢費的小
名聲。
丑那樣多變、貼近真實深植人心。攝影師好友陸克・福爾納 （L u c Fournal）甚至留下了一段如此敘述小丑的句子：小丑恐懼著，粉墨了
1950年春天皮耶·貝爾傑（Pierre Bergé）與畢費相遇，一個十八，
臉。人們也是，比較不被認不出來，但也弄髒了自己的臉。哎！無能
另一個二十一歲，兩個年輕人形影不離生活了八年。貝爾傑是畢費青
為力呀！
年時期，現今僅存最為有力的見證者。其多幅畢費具代表性的私人收 藏畫作，2016年底展出於巴黎市立美術館的畢費回顧展。依據貝爾傑
《小丑》創作於1966年，鵝黃色調豐富層次的背景，是畫家混合油
的描述，從年輕時期畢費創作的速度就非常迅速，無論是大尺幅或是
彩、水彩、粉彩、墨等不同媒材創作出的小丑頭像。紅髮綠衣，M字
小型的作品，畫面總帶著一種流動的急迫感。為遠離人群的喧囂，兩
型的黝黑眉毛，讓表情多了一分愉快和詼諧，嘴唇緊閉，但是法令紋
人多次遷移。畢費無論何時何地，都能克服環境條件創作。外人止步
並沒有下垂。似乎剛卸下舞台妝扮，白裡透紅的臉，鼻樑和下巴也微
的工作室，不管多大尺幅，畢費習慣將畫布直接釘於牆上，直接在一
微泛紅。眼神閃爍而溫柔，這是一位內心安和的小丑，像極了年輕的
張凌亂的桌上調色，創作完成後才繃上畫布內框。這個時期的作品，
畢費。一掃以往，濃濃的憂鬱氣息，1960年代有了其繆思女神安娜
畢費多用墨線勾勒完整的輪廓而後上色。富有層次的灰色調與黑線
貝爾 （Annabel Buffet）的結縭相伴，在藝術上獲得了成就名聲的畢
條，也就此成為畢費畫作最具代表性的特徵。
費，畫風也越趨明亮多彩。
小丑題材開始於1950年代，根據貝爾傑的說法，畢費在他們共同生活
畢費的人物風格多變，然而從「剝皮人」、「女瘋子」和最後的「骷
的期間，從未去過馬戲團。他第一個小丑原型叫髮捲（Bigoudi），是
髏」系列，都足以顯示藝術家超脫現實，年少時經歷戰爭留下的陰暗
一個穿著怪異的白色小丑，創作於名為亞瑟太太（Madame Arthur）
面和死亡氣息。畢費曾說過：沒人知道我到底是誰。或許，唯有小丑
的變裝酒吧。畢費的「小丑」和「馬戲團」，成為他筆下的重點題
像是畢費的分身，為他擔負聚光燈下的掌聲和陰影，嬉笑怒罵，或哭
材。尤其是充滿情緒張力的小丑肖像，更成為人人尋找的收藏逸品。
或笑，擁抱人群溫暖和承受自我的孤獨。創作一生，僅交給後人部分
從1950年代到90年代，這個創作主題持續出現在畢費的一生，也是一
的自己和無限的想像。
Having stirred discussions throughout his life, Buffet is in the
His clown theme started in the 1950s. According to Bergé, Buffet
spotlight in the art world. If one were to choose a post-war artist
never visited the circus when they lived together. His first clown
as the representative of France in the dazzling and indulgent
model was called Bigoudi, a white clown with a weird costume.
Europe of the 1960s and 70s, it could be no one but Buffet. He
It was created at the drag bar "Madame Arthur". Clowns and
was not lost within the abstract style popular at the time. Rather,
the "Circus" became important themes for Buffet. The clown
his work is full of emotional tension, making him the most loved
portraits, so full of emotional tension, were especially sought for
figurative expressionist painter in the world.
collection. From the 1950s to the 1990s, this theme continued to appear in Buffet's life. It also became an excellent theme by
Buffet was a genius artist. He had thorough academic training
which to view changes in the artist's style. The clowns of the
at the École nationale supérieure des Beaux-arts de Paris. But
1950s still looked a lot like actors in real life: with makeup for
his key inspirations for art were from his countless visits at the
performance, white powder on their faces, the black lines strong,
Louvre, where he gained nourishment from the works of classical
the forehead winkles clear, inverted V brows, nose wrinkles that
masters from history, including Rembrandt, Courbet, David,
follow the thin lips down, and the eyes that seem both to be
and Delacroix. Buffet also loved the works of the Fauvists, van
staring straight at the observers and also looking sadly afar.
Dongen and Vlaminck. The figurative cubist style of Claude Vernard (Lot 011), who was of the same generation as Buffet,
Many art masters have taken clowns as their inspiration because
was also appreciated by Buffet. The two befriended each other
clowns embody both sadness and happiness. In classic literature,
in an exhibition of Vernard's. In 1946, Buffet launched his
they are also the paragons of the spirit of justice, speaking out
first exhibition along with multiple artists, including Georges
about social injustice. But only Buffet's clowns are so varied, and
Mathieu, in "The Salon of Artists Under Thirty Years Old" (Salon
so closely reflect our inner feelings. Buffet's photographer friend
des moins de trente ans) at Galerie des Beaux-Arts. Due to his
Luc Fournal even described the clown thusly: "The clown, in fear,
unique personal style, his works gathered much attention.
powdered his face. People are similar — it is just more difficult to see it, and their faces become dirty instead. Ay! There is nothing
From 1948 to 1958, having spent his youth in war, Buffet's
he can do to help!" (“Le clown, c’est la peur et il se peint le
human figures mostly criticized the cruelty of war; he depicted
visage. L’homme ausssi c’est moins voyant mais plus sale et il n’y
the torment people felt after having experienced the chaos of
peut rien hélas”, 1968 )
war, fear, and poverty. The work of this period is mostly in grey tones and full of thin lines. The people are bony and craggy,
"Clown (No. 58 S)" was created in 1966. With its richly layered
with wizened faces. They are mostly set in the studio or chilly
beige-yellow background, the painting is the head of a clown,
rooms — people and things we encounter in everyday life. In
created by the artist through a mixture of oil paint, water color,
1948, he won highest honors in the Prix de la Critique, along with
ink and pastel colors. With red hair and green clothing, M-shaped
Bernard Lorjou. Many of his works were collected by the most
eye brows add humor and joy to the face. The mouth is closed
authoritative collector of the time, Dr. Maurice Girardin, which
but the nose wrinkles do not point downwards. The clown seems
made the young Buffet more famous.
to have just removed his makeup. His face is white with a rosy touch. His nose and chin are also reddish. With a gleaming and
In the spring of 1950, Pierre Bergé met Buffet. One was eighteen
tender look, this is a clown who is peaceful inside, just like the
and the other twenty-one. For eight years, the two lived together
young Buffet. In a complete reversal of his deeply depressive
and were inseparable. Bergé is the best living witness to the
past, in the 1960s, Buffet married his muse Annabel Buffet. As he
youth of Buffet. He has a private collection of many of Buffet's
became more well-known for his art, Buffet's style also became
representative works, which were exhibited at the Musée des
bright and colorful.
Beaux-Arts de la Ville de Paris. According to Bergé, Buffet had worked very fast since his youth. There is always a fluid sense
Buffet's figures have various styles. From "The Flayers", "The
of urgency in both his large and small pieces. To get away from
Madwomen", to his final "The Dead" series, one can see that the
the crowd, the two moved many times. No matter where he
artist overcame reality and the dark side and deadly feelings left
went, Buffet was always able to overcome the conditions of the
by the wars in his youth. Buffet once said, "Nobody knows who
environment to create. In his private studio, no matter how big
I used to be ." (“Personne ne saura jamais qui j’étais vraiment ”.)
the painting, Buffet would nail the canvas to the wall. He would
Perhaps only clowns could be a double for Buffet, to help
mix the colors on the messy desk, and only when the work is
him bear the applause and the shadows under the spotlight.
complete would he frame the canvas. In this period, Buffet
Expressing his emotions freely, sometimes crying and other times
used mostly ink to outline the silhouette first, adding color
laughing, both throwing himself into the crowd's warmth and
after. The layered grey tones and black lines became the most
bearing the loneliness of solitude. All his life, he created, leaving
representative characteristics of Buffet's works.
us part of himself, and an endless imagination.
Ravenel 147
069
ROBERT COMBAS
(French, b. 1957)
Le Roi Soleil 1987 Acrylic on printed fabric 218 x 134 cm Signed lower right Combas and dated 1987 PROVENANCE: Private collection, Asia
NT$ 3,400,000 - 5,500,000 HK$ 874,000 - 1,414,000 US$ 112,700 - 182,200
羅伯．貢巴斯 太陽王 1987 壓克力 印花布 218 x 134 cm 簽名右下：Combas 1987 來源 : 私人收藏，亞洲
羅伯•貢巴斯《中彈頭小夜曲》1985年 壓克力 畫布 197 x 153 cm 亞維儂藝術美術館館藏 Robert COMBAS, Sérénade avec Plomb Dans la Tête , 1985, acrylic on canvas, 197 x 153 cm Collection of Avignon Museum of Contemporary Art © Photo courtesy of Robert Combas Studio
Ravenel 149
LE ROI SOLEIL ROBERT COMBAS 羅伯•貢巴斯生於法國里昂，是法國1980年代引領自由具象派 繪畫運動（La Figuration Libre）的藝壇寵兒，他是位多才多藝 的藝術家、雕塑家、詩人、音樂人。那怕是走了音的吉他，貢巴 斯依然能熱愛音樂的玩得盡興，他也曾表示「他的畫就是搖滾 樂」。今年五月剛滿花甲之年的貢巴斯僅僅是外觀上多了些歲月 的痕跡，但他新穎的思維和前衛的裝扮反映出了充滿活力且俏皮 的一面。因為善於求新求變，不斷地進化，因而造就了持續創新 且引人注目的題材。 1980年代，因應人們嚮往於更自由的生活價值和社會現象，自由 具象派繪畫藝術就此誕生。貢巴斯則是透過人為中心，透過黑色 粗曠線條和突出的雙眼，繪出他對世界的見解。因為貢巴斯的工 作室位於巴黎北站附近的巴貝斯，每天圍繞在多元種族及外來文 化的環境中，無論是非洲明亮的服飾或是誇張的日本漫畫、佛教 圖騰或是回教信仰，全都轉成他取得靈感養分的根基。其色彩鮮 明的作品時而充斥著怵目驚心的暴力，時而露出幽默風趣的表象 嘲諷著當今的社會，但是它們不約而同地透露著一個訊息，就是 應該擁抱如此多樣且多元化的社會。 貢巴斯年僅23歲時即舉辦首次個展，27歲時舉行大型回顧展，其 獨特的個人風格在1984-1988年間趨近成熟，而本件《太陽王》 即是創作於1987年，也在同年，貢巴斯的作品被巴黎龐畢度中心 選入展出於三月份的「時代、潮流、精神、愛好 － 今藝術觀點 1977-1987」展覽中。在貢巴斯的作品裡，總是充滿著無限的想 像力和鮮豔的色彩，如同《太陽王》畫背裡賦予畫面中有趣的故 事一般，畫面中的太陽王，正在調戲著一位名叫可琳的女子，而 畫面裡紫色的人物既是她的兄弟是一位同性戀者，一邊調戲著太 陽王，和因為吃了太多大蒜洋蔥而哭泣的紅帽阿拉伯人。故事或 許有些荒謬卻令人會心一笑，整體構圖以黑色的粗線條繪製於強 烈色彩之上、飽和鮮豔的色彩加上無拘束的藝術風格，替此幅作 品增添了更多的趣味。
羅伯•貢巴斯 Portrait of Robert COMBAS © Photo courtesy of Harald Gottschalk
Robert Combas was born in Lyon, France. Combas was the leader of La Figuration Libre movement of the 80s in France, and is regarded as one of the most prolific artists of today. Combas is a multi-talented artist in painting, sculpting, poetry, and music. The amount of energy and passion Combas has for arts is just the same as for guitar, as he once said that "mine painting is rock (Ma peinture c'est du rock)". It is easy to see that he would excel in them as both activities allow him to express his imaginations wildly and spontaneously. For Combas who just turned the age of sixty this May, there' re mere traces on the appearances, and as seen above, his avant-garde minds with unconventional styling reveals the mischievous and energetic side of him. Combas is continuously evolving and in search of new inspirations, as a result, his creations are rich and innovative. In the 1980s, as people seek for freedom of expressions as their core values, the result of this social phenomenon gave birth to the rise of La Figuration Libre. Combas draws inspirations from his surroundings, and often depicts various kinds of people as his centre theme; he uses bold black contour lines and protruding eyes to depict the world he sees. The studio of Combas was situated at BarbĂŠs near the Gare du Nord of Paris, an area that is surrounded with multi-cultures and ethnicity groups; whether it be the brightly-coloured African clothing, exaggerated Japanese comics, or Buddhist influences and Muslim beliefs, they all turned into the resourceful inspirations base for Combas. Some of his works are filled with colorful yet violent scenes, sometimes it possesses humorous look as a mockery of the society, whichever it may be, they all send the same message, which is the need to embrace a diverse society we live in. Combas had his first solo exhibition when he was only 23, and held a major retrospective at the age of 27, the realization of his style got more sophisticated during 1984-1988. "Le Roi Soleil" was finished in 1987, the same year where his works was chosen to be shown at the March exhibition "L'ĂŠpoque, la mode, la morale, la passion Aspects de l'art aujourd'hui 1977-1987" at the Centre Pompidou in Paris. In the works of Combas, there are always infinite imaginations and vibrant colors, such as seen in the work "Le Roi Soleil", it is given with a story line on the back of the canvas. The King of the Sun was flirting with a lady named Corrine, and the purple thing was her brother, also a homosexual, who was flirting with the King of the Sun and the red hatted Arabian who is crying because he had consumed too much onions and garlic. The story fills the space with humour and strong visual sensations. The painting is composed of black bold contour lines on top of saturated strong colors, with uninhibited styles and saturated colors, all making this painting make much more pleasurable to look at.
Ravenel 151
070
YAN PEI MING
(Chinese, b. 1960)
Autoportrait 2002 Oil on canvas 130 x 200 cm Signed on the reverse Yan Pei Ming in English and Chinese, titled Autoportrait and dated Août 2002 PROVENANCE: Private collection, Europe EXHIBITED: Fils du Dragon, Portraits chinois , Musée des Beaux-Arts, Dijon, France, May 14-September 1, 2003 ILLUSTRATED: Yan Pei-Ming , Shanghai People's Fine Arts Publishing House, Shanghai, 2005, color illustrated, unpaginated
NT$ 7,500,000 - 11,000,000 HK$ 1,928,000 - 2,828,000 US$ 248,500 - 364,500
嚴培明 自畫像 2002 油彩 畫布 130 x 200 cm 簽名題識畫背：Autoportrait Août 2002 Yan Pei Ming 嚴培明 來源： 私人收藏，歐洲 展覽： 「龍的傳人：中國人的肖像」，第戎美術館，法國，展期自2003年5月14日至9月1日 圖錄： 《嚴培明》，上海人民美術出版社，上海，2005，彩色圖版，無頁碼
Ravenel 153
AUTOPORTRAIT YAN PEI MING
“PAINTING IS VERY DIFFICULT, BECAUSE THE 'LANGUAGE' OF PAINTING IS A VERY OLD ONE THAT EVERYONE UNDERSTANDS. UNLESS YOUR WORK STANDS OUT FROM THE CROWD, AND YOU HAVE SOMETHING SPECIAL TO SAY, AND YOUR OWN PARTICULAR IDEAS TO GET ACROSS, IT IS VERY DIFFICULT TO GET ANYWHERE IN PAINTING.” －YAN PEI MING 「繪畫是非常困難的一件事情，因為繪畫的語言太古老，以至於不易使大眾能理解，除非你的 作品能與眾不同且突出，並有自我想表達的觀點，否則，要以繪畫作為表達的語彙將會是件困 難之事。」 － 嚴培明 嚴培明認為人類奉獻是繪畫存在的目的，藝術家生有創作
物、政治領袖及其他名人，當中也不乏寂寂無名的人物及
天賦並不只是成為一位藝術家，而是有能力像世人展現他
畫家本人。嚴培明喜愛用寬大而快速的筆觸繪畫人物，為
們自己對生命與世界的觀點。很多藝術家都畫自畫像，這
他的畫作增添抽象的感覺。嚴培明曾在2012年與記者查
是一個探索自我淺意識的好主題。嚴培明的作品以人物為
爾士・舒茲的訪談中說過「人人都以為我畫得很快，因為
主，因為世界是以人組成的社會。創作藝術也是給人看
在我的畫中看不到半滴汗水。…我希望你看到的是一股率
的，像一面鏡子。
性。雖然我付出了很多，但我不想人們在畫中看到一絲勞 力。我只想他們感受到當中的率性和感染力。」
《自畫像》創作於2002年，曾展出於2003年法國第戎美術 館「龍的傳人・中國人肖像－嚴培明特展」。嚴培明認為
如今他以黑、白、紅單色巨幅肖像享譽國際。成為最早進
紅色是希望的顏色，開闊的紅色畫面上，蓄著短髮的額顱
入西方藝術界和藝術市場的中國當代藝術家之一。他以犀
雙眼向他的右看望，配上豐厚的唇與偌大的鼻，讓人一時
利有力、細膩且悲劇性的筆觸刻畫不同個體的生存狀態和
間無法辨識他的身份。十九歲就到了法國，拋開族群和集
精神世界，進而探討人類發展進程中的戰爭、貧困、不
體的束縛，在藝術面前他必須赤裸裸的面對自己。嚴培明
公、生命、死亡等社會命題的深意。
畫了一系列的自畫像，肖像畫是他的一面鏡子，讓他時時 刻刻觀看自己的內心。一件作品中說一個好故事，自畫像
1991年作品進入龐畢度藝術中心館藏，這是繼趙無極、陳
是一個系列，跟隨他一生，讓我們一起看著他一生。
箴之後，嚴培明是第三位作品被龐畢度藝術中心收藏的華 裔藝術家。爾後多次在歐洲著名機構舉辦個展，並參加過
嚴培明在1960年出生於上海，1982年移居法國，曾就讀
威尼斯雙年展、里昂雙年展等眾多國際大展。2009年，嚴
於第戎國家美術學院及巴黎高等藝術研究院。嚴培明以巨
培明成為首位有生之年以個展形式在法國羅浮宮展出作品
大的單色調毛澤東肖像畫著稱。他的肖像畫亦包括歷史人
的當代藝術家。嚴培明現於法國第戎創作及居住。
嚴培明《毛澤東－紅太陽（二聯幅）》1992年 油彩 畫布 95 x 150 cm 羅芙奧香港2008秋季拍賣會 港幣6,460,000成交 YAN Pei Ming, MAO-Soleil rouge (diptych) , 1992 , oil on canvas , 95 x 150 cm Ravenel 2008 Autumn Auction Hong Kong US $ 833,548 sold
Yang Pei Ming thinks that the purpose of painting is to contribute to humanity. Artistic talent is not about being an artist, but being able to express their views of life and world. The theme is all around "Humanity", as he said“I'm interested in humanity. My work can
be considered as kind of a universal portrait. What I paint is always, deep inside, an idea of this humanity. ” Created in 2002, "Autoportrait" has been shown in his solo exhibition "Fils du Dragon, Portraits chinois" at the Musée des Beaux-Arts, Dijon, France in 2003. Yan Pei Ming took self-portrait as a method to explore unconscious and color red as a symbol of hope. He illustrated himself with short hair, prominent nose and lips, looking to the left side. It is less easy for beholders to recognize the artist immediately in such an image. Yan moved alone to France when he was nineteen, where he reexamined his life through art without any concern from Chinese culture. Executing self portrait is like looking at a mirror that he can scrutinize his mind incessantly. "Autoportrait" is a series following Yan's whole life, there are stories of him, when we look at these works, as well as we are sharing his stories. Yan Pei Ming was born in Shanghai in 1960 and he moved to France in 1982. He attended the École Nationale des Beaux-Arts in Dijon and the Institut des Hautes Études en Arts Plastiques in Paris. Yan Pei Ming is renowned for his epic-sized, monochromatic portraits of Mao. His subjects also include historical figures, political leaders, celebrities, as well as anonymous figures and the artist himself. Yan's signature broad and rapid brushstrokes often add a touch of abstraction to his portraits. He said "Everyone imagines I work very
quickly because, in my work, you can't see the sweat. I like that in my work you can see spontaneity. ﹝…﹞Even though I work a lot, I don't want people to see a sense of labor in my paintings. I just want them to sense that spontaneity and impact ." Yan Pei Ming has won international renown for his large red, white and black portraits. He was one of the first Chinese contemporary artists to successful break into the Western art market and to establish himself in Wester n art circles. W ith his perceptive, powerful, detailed, tragedy-embued brush-strokes, Yan's portraits reflect the nature of existence for different individuals, and their respective spiritual worlds. This alternation provides him a base for exploring the deep significance of social issues such as war, poverty, inequality, life and death over the course of human evolution. Yan Pei Ming's work was collected by the Pompidou Center in 1991 made Yan turn into the third ethnic Chinese artist ever to be accorded this honor, following in the footsteps of Zao Wou-ki and Chen Zhen. Since then, Yan has held solo exhibitions in many of Europe's most prestigious art institutions, and has taken part in many leading international art exhibitions, including the Venice Biennale and Lyon Biennale. In 2009, Yan Pei Ming became the first living contemporary artist to have his work shown at the Louvre. The artist lives and works in Dijon.
Ravenel 155
071
ZHANG XIAOGANG (Chinese, b. 1958)
The Son
張曉剛
2005 Oil on canvas 150 x 120 cm
兒子
Signed lower right Zhang Xiaogang in Chinese and dated 2005 PROVENANCE: Private collection, Europe
NT$ 13,000,000 - 19,000,000 HK$ 3,342,000 - 4,884,000 US$ 430,700 - 629,600
2005 油彩 畫布 150 x 120 cm 簽名右下：張曉剛 2005 來源： 私人收藏，歐洲
1958年出生於昆明，1982年畢業於四川美院的張曉剛，一直活躍在
假照片的效果，進一步美化歷史和生活」。他說：「表面來看，這些
中國的藝術界。這位「卡夫卡式的藝術家」， 一直在試圖尋找一種
肖像的面孔平靜如水，但平靜背後卻是巨大的情緒動盪。在衝突狀態
表達自己的抒情方式。從幼時的初學畫畫，到意外地考上了四川美
中，晦澀和曖昧的命運一代代傳播開來。」
院，到遊學德國回國之後自己風格的確立，再到市場中屢屢衝破紀錄 的拍賣，經歷過種種的張曉剛又回歸自己心靈的原點，真誠而坦然的
在張曉剛的作品中人物整齊劃一的姿勢以及模型化的表情被認為受過
面對自己，他自問：「我為什麼要幹這一行？」對於問題的答案，應
去時代的特徵。但是藝術家並不僅僅滿足於此，張曉剛希望呈現的是
該是他從沒有彷徨過的。張曉剛在對楊瀾的訪談時說「我就覺得我真
各種各樣的血緣關係，親情的、社會的、文化的。從張曉剛「大家
的喜歡藝術，我能把握的就是這一點。」
庭」的理念可以看出一種時代的集體特徵，也是讓這系列的畫作能夠 名揚國際的原因，但是張曉剛曾經自嘲的說，他這個畫大家庭的人，
從德國回來之後，他形容自己厭倦再看美術館、畫廊畫展。一邊看一
自己的家庭卻是一塌糊塗。關於家庭和血緣，張曉剛有過一個經典的
邊思考的他深深的意識到，這些藝術史上的大師，是無法超越的，不
總結：「血緣牢不可破，家庭不堪一擊」。跟前任妻子離婚後，他從
是因為技巧，而是因為他們已經存在了。「你再學也就是一個學生而
四川搬到北京，因為太過思念孩子，成為創作「大家庭」之後的系列
已，而且你不在他的文化範圍裡，所以你什麼都不是。我當時很高
作品「失憶與記憶」的緣起。他對孩子的愛，就像現在的妻子佳佳所
興，覺得我能體會到這一點，一下覺得我有根了。當時那個心態很真
說的：「我覺得他女兒是他身體的一部份，他自己也說他女兒就是他
實，老想去找，我到底是誰？我屬於哪裡?就想找這個東西。後來又
身上的一根肋骨。我經常也跟他說，他女兒就是他自己，兩人在一起
回到昆明去看老照片，看自己小時候的照片，結果看到了父母年輕時
不像兩個人，像一個人。」
的照片，我突然發現在那種很私密的家庭照片裡，你同樣能夠感受到 社會對它的影響。」
張曉剛並不承認自己是天才，關於自己的成功，他說：「我覺得一方 面是靠我個人奮鬥，但是我覺得很大的程度上是別人在幫我，別人為
張曉剛的創作靈感來源於文化大革命中的形象和經驗，以及歐洲傳統
什麼會幫我？我感覺到有的力量，每次在我最困難的時候，總會有人
的超現實主義，通過採用當時傳統的全家福照相，來探索這種中國式
來幫我度過難關。所以我一直有這種感覺，好像什麼事你完全靠自
集體主義背後人們的身份觀念。張曉剛的創作圍繞的主題思想是「家
己是不行的，你要想到任何人的成功，實際上是環境裡邊的因素促成
庭」，並隨之擴展到社會，作品描繪了想像中無窮盡的的祖先和前
的，他不是個孤立的現象。我從來不相信自我成就之類的東西，就像
輩的譜系，每個人物都驚人地相似，只在細微處能看出區別。畫作常
我不相信天才一樣。」
常使用黑白色，表現照片風格，通過標準的大眾化照相館人物姿態和 灰度色調處理，作品中的人物似乎是默默無聞的，卻又是超越了時空 的：一系列個人歷史被嚴格限定在公式化框架中。作品中偶然出現的 色斑，在畫面中出人意料地營造出不尋常的界限，讓人聯想到胎記、 老電影、社會歧視，或揮之不去的人物的自我炫耀感。張曉剛的風格 包括了傳統中國炭筆繪畫的審美情趣，在動畫的誇張和禁欲主義的扁 平感之間搖擺。張曉剛的大家庭沉默而順從，個人身份通過無法改變 的身體特徵加以傳達：即碩大的頭部，清澈如水的雙眼和髮型的微妙 變化，這些成為表現親密性格和壓抑情感的線索。夢幻般的扭曲在張 曉剛的作品中營造出複雜的心理空間，提高了幽閉恐懼調節的緊張程 度，引起了暗示性的敘述內容。 此件拍品《兒子》創作於2005年，標準的老照片樣式，標誌性的張 式「光斑」以照片的圖式訴說了主人公的宿命。這樣的照片幾乎中國 人人都有，每個人家中的抽屜裡都會存放這種樣式的證件照片，一吋 的，兩吋的。也如這個孩子年紀時，男孩的照片都是小平頭，女孩 的照片是齊眉的劉海、兩根麻花辮兒、白襯衫、鮮豔的紅領巾，都是 那個時代，那個年紀的記憶。《兒子》的畫像，可能是藝術家自己 的投射，也可能是云云眾生。1994年《血緣—大家庭》出現在「第 二十二屆聖保羅雙年展」上，畫家展示了他心目中的精神的血緣和歷 史的家庭。這個被詩人歐陽江河譽為美術史上第一次明確出現「中 國人的臉，中國人的家庭，中國人的歷史」的作品，給張曉剛本人以 及中國當代藝術步入國際藝林獲得了無數榮譽。在那以後，之後的若 干展覽中，張曉剛獲得了普遍的認可。談到《血緣系列》作品，張曉 剛指出老照片「是一種特殊的視覺語言」，並說：「我正想設法做出
張曉剛《血緣—大家庭：童年1號》1998年 油彩 畫布 130 x 100 cm 羅芙奧香港2012春季拍賣會 台幣34,615,385成交 ZHANG Xiaogang, Bloodline - Big Family: Childhood No. 1 , 1998, oil on canvas, 130 x 100 cm Ravenel 2012 Spring Auction Hong Kong, US$1,159,794 sold
Ravenel 157
THE SON ZHANG XIAOGANG
Born in Kunming in 1958, and a 1982 graduate of the Sichuan Fine
everyday photo studio poses and the grayscale tones, the
Arts Institute, Zhang Xiaogang has a long history of activity on
characters in the scene often appear wordless and mute. Yet at
China's art scene. This 'Kafkaesque artist' continues to seek out a
the same time, they surpass time and space: an entire swath of
way to express his emotions. From his first drawing lessons in his
personal history has been strictly confined within the formalized
childhood, to unexpected acceptance to the Sichuan Fine Arts
frame. Every now and then blotches of color appear in the
Institute, to the establishment of his own style when he returned to
artist's works. They expand the boundaries unexpectedly and
China, to his record-breaking artworks at the auctions — after all
remind one of birthmarks, old films, social discrimination, or
of these experiences, Zhang Xiaogang has returned to his original
even an undeniable sense of self-flattery. Zhang Xiaogang's
starting point, his inner self. When facing himself in frank honesty,
style incorporates the aesthetics of traditional Chinese charcoal
he asks: "Why am I in this field?" He clearly has never faltered in
drawing. It swings between the exaggerated elements of
his answer. At an interview with Yang Lan, Zhang Xiaogang said, "I
animation and the flatness of asceticism. Zhang's family members
just really feel that I like art. This is one thing that I am certain of. "
are silent and timid. Their personal identities are conveyed through unchangeable features of the body: Large heads, clear
When he returned to China from Germany, he revealed that he
limpid eyes, and slight variations of the hairstyle. All of these
had reached a point of "wanting to throw up" when it came to
become hints that express their personalities and repressed
visiting art galleries and museums. While visiting and pondering,
emotions. The fantastical distortions in Zhang Xiaogang's
he gained the clear understanding: the reason the masters of art
works created a complex mindscape. This enhances the level
throughout history could not be surpassed was not that they were
of claustrophobic distress and points to a hinted descriptive
more skilled, but just that they already existed. "You can try to
narrative.
learn as much as you can, but you will only remain a student. Also, because you are not a part of his culture, you are actually nothing.
"The Son", created in 2005, is in the standard format of an old
At that moment I was very glad to have come to understand this. I
photograph. With Zhang's iconic 'blotch of light' in a photo-like
finally felt rooted. Back then my attitude was one of honesty. I kept
presentation, it describes the fate of the character. Almost every
trying to find out exactly who I was. Where did I belong? I really
Chinese person has a photo like this. In the drawers of every home
wanted to find that out. Later when I came back to Kunming I was
can be found ID photos in this style, some one-inch photos, some
going through some old photos, I saw photos of my childhood
two-inch. At the same age as this child, the photos of girls always
self. I saw photos of my parents when they were young, and
show them with eyebrow-length bangs, two pigtails, a white shirt,
I suddenly realized that in those intimate and personal family
and a bright red neckerchief. Such are the memories of that era,
pictures, you could still feel the impact of society on them."
that age. In 1994's "Bloodline: Big Family", which appeared at the 22nd Biennial of Sao Paulo, the artist portrayed the essence
Zhang Xiaogang's creative inspiration comes from the imagery
of bloodlines and the history of the family that existed in his
and experiences of the Cultural Revolution, as well as from
mind. It was lauded by the poet Ouyang Jianghe as the first piece
traditional European Surrealism. He used the for m of that
of art in art history to clearly portray "Chinese peoples' faces,
period's traditional family photo to explore the concepts of
Chinese peoples' families, Chinese peoples' history ". The piece
personal identity behind Chinese collectivism. The themes of
won numerous accolades for Zhang Xiaogang, and propelled
Zhang Xiaogang's works generally surround 'family' and extend
the artist and Chinese contemporary art onto the international
from there to society. The works depict imagined ancestors
art stage. From then on, Zhang Xiaogang received widespread
and older generations going back to time immemorial. Each of
affirmation for his subsequent exhibitions. When discussing the
the characters are eerily alike, with only minute differences in
works from the "Bloodline" series, Zhang Xiaogang pointed out
the details. The works are often portrayed in black and white
that old photos are "a type of unique visual language". He also
to express a photo-like quality. With the characters' standard
said, "I am trying to create the effects of fake photos in order to
aestheticize history and life" . He said, "from the surface, the faces of these portraits are as placid as the surface of water, but under the calm facade is great emotional turmoil. In a state of conflict, obscure and ambiguous fate spreads and passes down, generation by generation." In Zhang's works, the neat and uniform poses of the characters and the standardized facial expressions are seen as features from a bygone era. But these alone are not enough to satisfy the artist. He wishes to depict every type of bloodline relation, whether familial, societal, or cultural. From Zhang's concept of "Big Family" can be seen the collective features of an era. This is also the reason that this series of artworks has become internationally acclaimed. But the artist once said self-deprecatingly that, while he might be the person who paints big families, his own family is a mess. Zhang Xiaogang has a definitive conclusion on families and bloodlines: "A
bloodline will remain unbroken, but a family cannot bear any strife" . After divorce from his ex-wife, he moved from Sichuan to Beijing, because he had missed his child desperately. This became the inspiration behind the creation of the "Amnesia and Memory" series that came after "Big Family". His love for his child is described aptly by his current wife, Jia Jia: "I feel
that his daughter is a part of him. He has also said himself that his daughter is like one of his own ribs. I often tell him that his daughter is himself. When the two of them are together, they are not like two separate people; they are like one person" . Zhang Xiaogang does not admit that he is a genius. Regarding his success, he has said, "I think it was partly due to my own
hard work, but I think mostly it is because I received a lot of help from others. Why did they help me? I feel that there is this power. Whenever I encounter difficulties, someone always appears to help me overcome this obstacle. So I have always believed that you cannot only rely on yourself for everything. If you think of anyone's success, in reality, it was achieved because of the factors in the environment which they were in; it was not an isolated phenomenon. I do not believe in things like self-accomplishment, just like I don't believe there are geniuses" .
Ravenel 159
072
HIROAKI KANO (Japanese, b. 1983) Garden (diptych)
狩野宏明
2006 Oil on canvas 227.3 x 363.6 cm
花園（雙聯幅）
Signed on the reverse Hiroaki Kano in Han character EXHIBITED: The 3nd Doctoral Course Exhibition , Tsukuba Museum of Art, Tsukuba, December 26, 2006 - January 8, 2007
This painting to be sold with a certificate of authenticity issued by Gallery Hirota Bijutsu, Tokyo.
NT$ 850,000 - 1,300,000 HK$ 219,000 - 334,000 US$ 28,200 - 43,100
2006 油彩 畫布 227.3 x 363.6 cm 簽名畫背：狩野宏明 展覽： 「第三回DC展」，筑波美術館，日本茨城縣， 展期自2006年12月26日至2007年1月8日 附東京廣田美術畫廊開立之原作保證書
狩野宏明1983年出生於日本本州東北山形縣，2005年畢
In the world of Hiroaki Kano's painted artworks,
業於筑波大學藝術專科，2010年獲藝術學博士。自2010
enormous trees fill the canvas and our vision is largely
年至2012年受日本文化部推舉，遠赴義大利的佛羅倫斯
occupied by the presence of sturdy tree trunks, bushy
研習藝術。現任奈良教育大學副教授一職。其作品風格
branches and verdant leaves. Animals, miscellaneous
華麗鮮明，自學生時代至今，遊歷過的各地風景揉合在
objects, daily commodities, and all sorts of toppled
油畫和攝影創作中。無論是出生地山形縣，還是筑波大
"things" are lined across the canvas, either in some
學，或是留學時期的佛羅倫薩以及現在的奈良，所見之
sort of order or at random, like the way trash is
景一一截取至繪畫中，藝術家樂於重新把不同場景繪製
scattered upon the ground. The artist uses bright
在同一幅作品中。
colors and delicate strokes to recreate a chaotic and orderless world. This disorderly scene is precisely the
在狩野宏明的繪畫世界裡，龐大的樹木佈滿畫面，目之
world in which we live; hidden under the layers of
所及均被粗壯的樹幹、繁雜的枝葉所遮蓋。動物、雜
green are all the unknown burdens of today's society.
物、日用品及各類傾倒的「物件」被有序或無序地排列
Indeed, the artist does seem to accentuate this sort of
開來。藝術家以明亮的色彩、精緻的筆觸重繪一個散落
"complexity" as a sophisticated part of the painting
無章的世界。而此散亂的場景，象徵著我們生活的世
by enabling the viewer to gradually experience the
界，繁複的綠色下潛伏著現代社會所背負的一切未知。
appeal of surrealism through observation of the
似乎也正是藝術家想提升「盤根錯節的複雜」作為繪畫
amusing.
的質感，從中逐漸去體會超現實主義的魅力所在。 "G a r d e n (d i p t y c h)" i s H i r o a k i K a n o's m o s t 作品《花園》是狩野宏明最具代表性的作品，雨林般的
representative work. In this painting resembling a
場景扮演著現實世界中的各類環境：城市環境，自然環
scene within a rain forest are embodied the various
境，身體內環境，網絡環境。環境的演變正在吞噬現實
environments of the world in which we live: the
的世界，威脅著我們的辨識度。一張紅色的歐式睡床靜
urban environment, the natural environment, the
置在遠處，這一處理正是作品的獨到之處，有別於藝術
body's internal environment, the Internet-connected
家以往的亂物散落的創作路線。狩野宏明曾一度迷戀物
environment. The evolution of these environments
件大量羅列物件的效果，導致看不清世界的結構和故事
i s e n g u l f i n g a n d c o n s u m i n g o u r re a l w o r l d a n d
的隱藏性。
threatening our ability to discern—even within the same spatial sphere, we are unable to distinguish
《花園》中孤置的床，被理解為「強烈的子宮回歸願
the attributes of the time that is passing. Into such
望」，場景中的奇花異草和粗壯植物莖幹圍繞著紅色的
a complex environment, a single red bed made of
床，它是在畫面中被描繪成母親的子宮，作為一個幸福
European wood is visible in the distance. Unlike
的渴望之地，如此曝露出來，它也會被詭異的一幕不堪
the artist's previous approach to his works in that
重負難以回歸初始之地。若在作品前我們的感知將被超
objects are scattered at random, spatial configuration
越，無法辨識出現實與虛構。狩野宏明對世界中那深度
is what makes this work unique. Hiroaki Kano was
觀點，帶來了強烈的印象。作品動態陰影深刻的感受，
once obsessed with the display of large quantities
感覺無處不在，確實是可存在的表現的方式。
of "things" in his works, an approach that made it difficult for viewers to discern the world's structure and
H i ro a k i K a n o w a s b o r n i n Ya m a g a t a P re f e c t u re,
narratives that lie within.
Japan, in 1983. He graduated from the University of Tsukuba School of Art and Design in 2005, and
Th e bed, th e sol e obj ec t e mb odi ed in "G a rd e n
completed the second half of AA doctoral program
(diptych)", is interpreted as a "strong desire for a
in 2010. Nominated by the Agency of Cultural Affairs
return to the uterus." Alien-looking flowers, strange
of Japan, he studied art in Florence, Italy, from 2010
grasses and sturdy plant stems surround the red
to 2012. He currently holds the position of Associate
bed, which in this composition is depicted as the
Professor at Nara University of Education. The works
mother's uterus and the place where the happiness
of Hiroaki Kano are vibrant and sumptuous. All of the
we desire can be attained. So exposed, however,
panoramas he has experienced since his school days
in such bizarre settings, it also becomes a place of
are blended into his oil paintings and photographic
origin, overburdened with desire, that can never be
works. Regardless of whether it is his birthplace,
again returned to. In the face of an artwork like this,
Yamagata Prefecture, the University of Tsukuba, the
our sensations are transcended and we are unable to
Florence of his time abroad, or the everyday sceneries
distinguish between the real and the imagined. This
of Nara—all that comes into his view is extracted and
is precisely the sophisticated perspective offered to
incorporated into his paintings in the way that artists
us in Hiroaki Kano's world, a perspective that has
are always eager to incorporate their impressions of
given us such strong, lasting impressions. The intense
different sceneries into the same work.
sensibilities inspired by the work's dynamic movement of shadows demonstrate that it is indeed possible to portray and represent the sense of pervasive boundlessness.
Ravenel 161
SWEET? MASARU SHICHINOHE
七戶優1959年生於日本青森縣。1981年畢業於武藏野美術大學造型系建
precise control of light-to-dark ratio add a mysterious touch to his
築學科。後入大成建設株式會社設計部從事建築設計業務，三年後轉為專
artworks, making them both fleetingly real and mysterious fantastic.
職插圖畫家。他的小型畫作系列將和諧結合歷史與科學——對鍊金術、宇
When he first became a painter, both his artist colleagues and the
宙學及物理有著無比熱忱，同時熱衷於古典油畫及小說對視覺元素的仔細
art market favored "Superflat” graphics and the Japanese anime
描繪。正因其創作靈感涉及多個層面，所以他的藝術理念可說是介乎超現
painting style. Masaru Shichinohe, however, maintained his personal
實與現實之間，構圖均經巧妙鋪排而成作品。
approach, focused on the study of realism, and subsequently became a surrealist. He prefers the use of acrylic paint for his creations,
七戶優的風格深受早期文藝復興繪畫以及維也納幻想現實主義學派影響，
and would apply multiple layers of paint onto canvas or wood so
其細緻筆觸及對光暗比例的嚴謹控制， 作品營造出一種如真似幻的神秘
as to create the appearance of either transparency or solid hues in
氛圍。初期，雖然藝壇同儕及藝術市場均偏重「超扁平」及日本動漫風
different parts of the painting. He likes to apply additional paint using
格，但七戶優依然故我，集中鑽研現實主義畫風，並逐漸蛻變成超現實主
the dry brush method to emphasize details and at the same time add
義。壓克力顏料是七戶優偏好的創作媒介，他在畫布或木板上先後塗上多
substance to the artwork. This approach opened up new possibilities
層顏料，使畫面不同部分產生透明至實在的質感。喜歡以乾筆再添上顏
for his subsequent painting career.
料，在強調細節之餘又可為作品增加厚重感，為日後的繪畫事業之路開闢 了新的領域。
"Sweet?" is one of Masaru Shichinohe's best works from his "Box Teenager" series, most of which were created using an almost
作品《甜嗎？》是七戶優「箱少年」系列中的力作，其大部分作品採用近
descriptive method rich in the unique aura of fantasy tales such as
乎敘事式手法，瀰漫「綠野仙蹤」及「愛麗絲夢遊仙境」等奇幻故事的
The Wizard of Oz and Alice's Adventure in Wonderland. In addition
獨特氛圍。而在童話之外，藝術家也展現搖滾樂的熱忱如齊柏林飛船、平
to fairy tale influences, the artist's love for rock-and-roll music is also
克・佛洛伊德的唱片封面元素也經常會出現在畫面中。如此幅《甜嗎？》
apparent in his work. Elements from the cover art of Led Zeppelin
重現齊柏林飛船和電影《錫鼓》中的場景。畫中孩童目光空洞，凸顯於前
and Pink Floyd often appear in his compositions; for instance, both
景的明暗對照的場景效果，也淡化故事背後的境界。藝術家利用柔和的筆
a Led Zeppelin airship and scenes from the movie "Blechtrommel,
觸和用色，強化細節與立體感之餘亦增加厚實的量感，使畫中物和人像均
Die" are vividly embodied in the artwork titled "Sweet?”. The child
展現微妙而富戲劇性的光暗變化。正是七戶優糾正了當代具象油畫中帶有
in the painting has a vacant stare that emphasizes the contrasting
的甜俗、華美的低審美取向，保有歐洲古典性的傳統精髓之外，又引導了
light and dark in the foreground and prevents the beholder from
當代日本青年前衛藝術的探索方向。
further exploring the world hidden within this story. The artist used soft tones and strokes to accentuate the details and increase the
「七戶優的世界充滿怪誕的抽離感」，其畫中人物仿佛「永不長大，永不
material weight of the painting, so that the figure and objects within
衰老，永遠停留在某一時空，不能到達未來」，在其作品中有如一個容納
the image exhibit subtle yet dramatic changes under the play of light
萬物的展覽櫥窗，又好似一場劇中劇的舞台， 我們呈現光怪陸離的世界。
and shadow. It is precisely Masaru Shichinohe's style of painting that
這位創造力豐沛的畫家一直推出妙想天開的異色之作，以故事性的繪畫作
addresses and ameliorates the kitsch, opulent style the deplorable
品展示震撼人心的獨特美學，在當代藝壇打造獨有風格的出色才華。
aesthetics of contemporary realist oils had been mired in. His style is one that not only retains the essence of European classicism but
Born in Aomori Prefecture, Japan, in 1959, Masaru Shichinohe graduated in 1981 from Musashino Art University College of Art
also opens up a path of adventure for contemporary Japanese youths devoted to avant-garde art.
and Design with a major in Architecture, became an architect at the design department of Taisei Corporation and then a professional
"The world of Masaru Shichinohe is immersed in the detachment
illustrator three years later. His smaller paintings are the harmoniously
of the curious and the absurd. " In particular, the subjects of his
incorporation of history with science—he is extremely passionate
portraits seem to "never grow, never age, exist within a perpetual
about alchemy, cosmology, and physics, and exceedingly committed
time and space, unable to move forward into the future ." In his
to depicting the details of visual elements from classical oil paintings
work, there seems to be a window of display within which all things
and fiction. It is precisely because he draws inspiration from so many
in the universe are contained, or a stage for a drama within a
different dimensions that his artistic ideal can be said to traverse
drama that presents to the audience a grotesque and variegated
in between the surreal and the real. His works moreover all feature
world. This prolific artist has continued to create extraordinarily
compositions that have been arranged with extreme care.
interesting artworks, using storytelling in his paintings to exhibit unique, awe-inspiring aesthetics while showcasing his undeniable
Masaru Shichinohe's style is greatly influenced by early Renaissance paintings and the Vienna School of Fantastic Realism (Wienner Schule des Phantastischen Realismus). His delicate strokes and
talent in shaping a unique personal style within the vast expanse of contemporary art.
073
MASARU SHICHINOHE (Japanese, b. 1959)
Sweet?
七戶優
2002 Acrylic on board 26.4 x 26.4 cm
甜嗎？
Signed lower left Masaru in English PROVENANCE: Aoki Ctally, Tokyo
2002 壓克力 木板 26.4 x 26.4 cm 簽名左下：Masaru 來源： 青木畫廊，東京
NT$ 460,000 - 700,000 HK$ 118,000 - 180,000 US$ 15,200 - 23,200 Ravenel 163
LITTLE GIRL WITH ANIMALS AYAKO ROKKAKU
六角彩子從2002年正式開啟其繪畫創作之路，其畫作技巧與
use of brushes or utensils; instead, she dips her fingers into
本領皆為自學，2006年她榮獲第十屆「藝祭」的「選拔評審
paint and draws directly on cardboard or canvas. Her works
獎」，一舉成為日本藝術市場上才華橫溢的年輕畫家。六角彩
give off a unique and inherent sense of Japanese anime.
子的繪畫風格十分獨特：無需使用鉛筆勾勒出線條，腦海中也
At first glimpse, the subject of the painting appears simple
不會進行任何構思或佈局，全部即興創作。她不使用畫筆，而
but is actually imbued with a wealth of narrative elements
是用手指沾上顏料在紙板或畫布上創作。作品給人一種日本式
just as the girl depicted in the painting is also part of a
的獨特而固有的漫畫氛圍，看似題材單一的作品中，卻蘊含著
larger narrative. Rokkaku Ayako has retained a child-like
強大的敘事元素，畫中的女孩子也正是從一個個故事中走出
style wherein she uses her unique painting techniques to
來。六角彩子一直保有小孩子般的天性，以自己獨特的繪畫技
depict a world of innocence and color. Painting straight with
法去描繪單純而繽紛的世界。徒手直接進行創作，用最原始的
her fingers, using the most primitive techniques and the
手法、最單純的型式，構畫一幅幅單純的美好風景。
most simple of imageries, she has created many scenes of loveliness and pure simplicity.
《女孩與小動物》延續其作品一貫風格，以大眼睛、長胳膊的 小女孩為主角，對此她通常採用特寫的手法來描繪。當我們還
"Little Girl with Animals" was created in her usual fashion
不曾學會執筆時，就懂得用手去塗抹，這是人的本能。此幅作
where the main subject is a little girl with big eyes and
品大膽地使用螢光藍、粉、綠為配色，充實的畫面、花簇般的
long arms. For depictions of such subject matters, the artist
線條流暢塗抹。單純的畫面卻有說不盡的情感，也正是藝術家
typically employs a close-up technique. Before we learned
高明之處，紅色似印章的小動物以生動而鮮明的姿態遊走於畫
to use pens and paint brushes, we all already knew how
面，充滿天真的童趣、活潑及生命力，令人過目不忘，即便我
to draw using our hands, it is in our nature. This artwork
們未曾瞭解小女孩是誰，其風格卻已經深烙在我們意識裡。
boldly employs florescent blues, pinks and greens as the secondary colors, while the dynamic, bustling imagery is
Rokkaku Ayako for mally embarked upon the path of
created using fluid colorful lines. The scene of innocent
painting and creativity in 2002, using painting techniques
purity is full of unspoken emotions, a characteristic in which
and skills that were purely self-taught. In 2006, she was
the artist’s greatest strength lies. Small, red, almost stamp-
awarded the "Akio Goto Prize" at GEISAI#10, an event that
like animals roam visibly and vibrantly across the painting,
propelled her into the limelight and enabled her to become
instilling a sense of childlike naiveté, liveliness, and vitality.
one of the most sought-after talented young painters on
The scene is unforgettable; even though we don't know
the Japanese art scene. Rokkaku Ayako's artistic style is
who the little girl is, the remarkable style is already deeply
extremely distinctive: she does not first form the outline in
branded into our consciousness.
pencil, nor does she set out a mental scheme or layout; all of her works are improvised creations. She does not make
074
AYAKO ROKKAKU (Japanese, b. 1982)
Little Girl with Animals
六角彩子
2009 Acrylic on canvas 100 x 150 cm
女孩與小動物
Signed lower right Ayako Rokkaku in Japanese and dated 2009 PROVENANCE: Gallery Delaive, Amsterdam Private collection, Europe
2009 壓克力 畫布 100 x 150 cm 簽名右下：2009 ロッカク アヤコ 來源： 德萊夫畫廊，荷蘭 私人收藏，歐洲
NT$ 380,000 - 600,000 HK$ 98,000 - 154,000 US$ 12,600 - 19,900
Ravenel 165
075
AYAKO ROKKAKU (Japanese, b. 1982)
Little Girl Wearing Red Dress 2007 Acrylic on canvas 145 x 75.5 cm Signed lower left Ayako Rokkaku in Japanese and dated 2007 PROVENANCE: Gallery Delaive, Amsterdam Private collection, Europe
NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,600 - 15,900
六角彩子 紅洋裝女孩 2007 壓克力 畫布 145 x 75.5 cm 簽名左下：2007 ロッカク アヤコ 來源： 德萊夫畫廊，荷蘭 私人收藏，歐洲
076
AYAKO ROKKAKU (Japanese, b. 1982)
Little Girl in Blue Cheongsam 2007 Acrylic on canvas 145 x 75.5 cm Signed lower left Ayako Rokkaku in Japanese and dated 2007 PROVENANCE: Gallery Delaive, Amsterdam Private collection, Europe
NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,600 - 15,900
六 角彩子 藍旗袍女孩 2007 壓克力 畫布 145 x 75.5 cm 簽名左下：2007 ロッカク アヤコ 來源： 德萊夫畫廊，荷蘭 私人收藏，歐洲
Ravenel 167
077
TAKUMI KAMA (Japanese, b. 1985)
Namaqua Chameleon
釜匠
2012 Acrylic on canvas 41 x 53 cm
納米比變色龍
Signed on the stretcher Kama Takumi in Kanji, titled Namaqua Chameleon in Japanese and dated 2012.2 EXHIBITED: Lunch Box, Oil Paintings by Kama Takumi, Matsuzakaya Art Gallery, Nagoya, April 4-10, 2012
2012 壓克力 畫布 41 x 53 cm 題識畫背框條：2012.2 「ナマクアカメレオン」釜匠 展覽： 「午餐盒：釜匠洋畫展』，松坂屋美術畫廊，名古屋， 展期自2012年4月4日至4月10日
NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 6,000 - 9,300
釜匠1985年出生於日本大阪。2007年畢業於京都精華大學藝術學
The artwork is titled "Namaqua Chameleon," with a
部造形學科的洋畫專業。畢業後就職於大阪的繪畫教室擔任講師。
chameleon as the main subject, belongs to Takumi Kama's
在校期間便受到了日本藝術界屈指可數的雕刻家舟越桂先生的關注
"Bookshelf" series. Contrasting light and dark appear upon
和賞識。借此，釜匠便正式走上了繪畫藝術的道路並發展至今。
the chameleon's body: under the lights, the scaly armor looks sophisticated and real. The horizontal and vertical patterns
作品《納米比變色龍》是屬於釜匠「書架」系列中一幅以變色龍為
complement the wooden textures of the bookshelf. The scenes
主角。體色明暗突出，立體的鱗甲在光的作用下，細膩而有觸感。
and the animals depicted within the frame embody both the
紋理走向錯綜與書架的木質紋路相應成章。在其框架作品中所描繪
classic methodologies of western oil painting and the artist's
的風景與動物，西洋油畫的古典繪畫方式及其所表現的思想，並為
thoughts and concepts. It is evident that the artist has devoted
了掌握熟練的技巧而發奮於繪畫創作之中。
much time and effort into his paintings so as to fully master these techniques.
釜匠的作品圍繞著除人類以外的動物，原因之一是他本身對於動物 的熱愛。而另一個原因則是藝術家確信，對於動物的描繪使他得以
One of the reasons that much of Takumi Kama's works depict
從動物的角度出發來思考問題。而同樣作為一種生物而存在於地球
live creatures other than humans is his strong compassion for
上的人類，是和動物有著相互依存的緊密聯繫的。是人類文明用地
animals. Another reason is that the artist believes, through the
球的自然環境作為犧牲品而換取和建造出的所謂地球現代社會的容
depiction of animals, he will be able to think and contemplate
貌。在他作品中所出現的動物，則有著超越一般常識的形象。釜匠
from their perspectives. Human beings, as organisms of
把幽默的筆調和強烈的諷刺色彩賦予其作品中，傳遞出了其內心的
the Earth, have strong ties with other animals－there is a
世界觀。
mutual dependence between living creatures both human and non-human. It was moreover human civilization that has
Born in Osaka City, Osaka Prefecture in 1985, Takumi Kama
sacrificed the natural environment in exchange for the so-
graduated from the Department of Design, the Faculty of Art,
called "appearance of modern society on Earth." The animals
Kyoto Seika University, with a major in Western Painting. Upon
that appear in his works transcend our commonsensical
graduation, he began working as an instructor at a painting
impressions. Takumi Kama imbues his works with strokes of
school in Osaka. It was during this time that one of the top
humor and colors of irony, thereby expressive his unique inner
sculptors in Japan, Mr. Katsura Funakoshi, took notice and
worldview to the beholder.
interest in Takumi Kama’s talents. This was the launch of Takumi Kama’s painting career, one that has continued to this day.
Ravenel 169
078
RIUSUKE FUKAHORI (Japanese, b. 1973)
Goldfish (AKENOYU) 2008 Acrylic and epoxy resin, wooden container Diameter: 33 cm Signed on the base of wooden box Riusuke Fukahori , titled Akenoyu in Japanese and dated 2008 With one seal of the artist
NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,600 - 15,900
深堀隆介 紅緋金魚池 2008 壓克力 環氧樹脂 木桶 直徑：33 cm 簽名題識木盒底部： 緋ノ湯 あけのゆ Riusuke Fukahori 2008 鈐印木盒底部：R
深堀隆介1973年出生於日本愛知縣，1995
這金魚原來是畫出來的。眼見並不為實，特
年畢業於愛知縣立藝術大學美術學部工藝設
別是資訊都擬幻似真的年代裡。
計 。1999年從設計公司辭職後陷入人生低 谷。2002年開始金魚的3D繪畫與製作，創
在深堀隆介的美學的思考中他參考了村上隆
作了許多金魚相關的作品。現在他仍然持續
超扁平的概念，兼合日本傳統繪畫裡的透視
嚐試不同風格金魚的藝術創作。
方法，或許該說是「非透視方法」——強調 物件與人物的輪廓，而於立體的空間裡面，
藝術家曾這樣說，16年前放棄了原有工作，
從一個視點出發所看到的「面」。水裡的金
感到前途茫茫之際，在人生低谷的他被自己
魚，明明立體，卻似平面，遊弋於兩者之
飼養的金魚所救贖。那是一條並不起眼的紅
間，他希望能透過作品表現出這不可言喻的
色金魚，七年間他沒有精心照料和飼養牠。
立體美感。
對於深堀隆介來說：「為什麼以前都沒有發 現牠的美麗呢？金魚有善也有惡，牠們擁有
藝術家在此理念之上必須相當熟悉金魚，也
全部的面相，這也正是牠們迷人之處啊！」
必須擁有一個立體的思維，開啟他自創且步
這金魚在藝術家沒有信心的處境下，以它的
驟繁瑣的立體層疊技法，作品一層一層地被
優美讓人見到美的存在與靈動的信念。
畫出來。其製作工藝也相當考究：首先要在 器皿中倒入樹脂，乾燥兩天後畫上第一層圖
金魚，代表著「財富」與「幸福」，金魚於
案—魚的腹鰭，乾燥後再倒進第二層樹脂。
水中優美的泳姿，向世人演繹出動靜之間的
透過相當繁瑣的三明治式技法，將金魚的細
美態與神韻，是集靈動、高貴、吉祥於一身
節層層疊疊逐層繪製，一層乾了再畫金魚腹
的觀賞魚。自古以來在日本都有手藝匠人陸
部，由底而上再倒進一點樹脂，乾了再繪其
陸續續地以不同的表現手法在繪製「金魚」
側鰭周而復始直到背鰭畫畢為止。金魚就是
這一主題。初看深堀隆介的清酒杯裡的金魚
一點一點慢慢地描繪出來，每一層每一個細
相片時，它們生活在那麼狹小的空間裡，憐
微之處，都被活靈活現地呈現出來。
憫之情油然而生。而定睛再一看文字描述，
Born in Aichi Prefecture in 1973, Fukahori Ryusuke graduated from
process is also highly sophisticated. First, resin has to be poured
the Faculty of Art at Aichi Prefectural University of Fine Arts and
into the container. After two days of drying, the patterns for the first
Music with a major in Crafts Design. He was plummeted into the all-
layer－the fish's ventral fin—is painted onto the resin, and once that
time low of his lifetime after quitting from a design company in 1999.
has dried, the second layer of resin is added. Through this complex
In 2002, he began creating 3D painting and resin productions of
sandwich technique, the intricate details of the goldfish are painted
goldfish, and has since completed many goldfish-related artworks.
layer by layer. After the first layers have dried, the goldfish's belly
Even today, he continues to attempt at different styles of goldfish
is painted, followed by another layer of resin that is applied from
artistic creation.
the bottom. Once dried, the side fins are added, and the procedure is repeated until the
The artist once said that in the valley of shadows when he gave up his
dorsal fins are completed. The
job 16 years ago and had no foreseeable future prospects, it was the
silhouette of the goldfish
goldfish he kept that maintained his sanity, a red goldfish that didn’t
is thus delineated;
really catch the eye. During the 7 years under his care, it had never
little by little,
been well fed nor taken good care of. Fukahori Ryusuke commented,
each tiny
"Why had I never discovered its beauty? Goldfish can be good and
detail in
evil; they are the face of everything, and this is precisely what makes
every
them so appealing! " With the elegant glow that had sustained the artist through his lack of confidence, this goldfish enables us see the existence of beauty and the belief of an inspiration. Goldfish symbolizes "wealth" and "happiness." As the goldfish swims elegantly through the water, it exhibits to the world the beauty and charm of its every movement and posture. It is a fish to be appreciated, a fish that is inspiring, graceful, and auspicious all at the same time. Throughout the ages, craftsmen in Japan have been painting "goldfish" using a variety of methods and techniques. When we first look at the picture of a goldfish within a sake cup made by Fukahori Ryusuke, we cannot help but notice how small the space is in which they are confined and experience a flow of compassion. Only after reading the description do we learn that this goldfish is painted, not real. Seeing is not necessarily believing—especially in an age where all information appears to be true. In terms of aesthetic conceptualization, Fukahori Ryusuke adopted the concept of "superflat" proposed by Takashi Murakami and combined it with the perspective method of traditional Japanese painting, or rather the "non-perspective method,” an approach that emphasizes the contours of objects and figures and outlines the "facet" seen from a particular vantage point within three-dimensional space. The goldfish in the water, swimming purposelessly between two and three-dimensional realms, is supposed to be three-dimensional and yet appears to be flat. This is precisely the inexpressible three-dimensional beauty that Fukahori Ryusuke hopes to create through his works. To accomplish this stunning visual effect, the artist has to be extremely familiar with the movements and habits of goldfish, equipped with strong capabilities for three-dimensional conceptualization, and able to develop a 3D layering technique with complex procedures so as to complete the many layers of the artwork that will later represent an integrated whole. The crafting
single layer is exquisitely and vividly represented. The resulting artwork is a g o l d f i s h t h a t , i n c re d i b l y a n d amazingly, almost looks as if it could come to life! Ravenel 171
KIKAZARU (THREE WISE MONKEYS : HEARS NO EVIL) YAMAMOTO RYUKI
山本龍基1976年出生於日本三重縣伊勢市。1997年獲第6屆
had led to his paintings expressing his personal style, while
U R B A N A R T優秀作品獎。2001年畢業於東京造形大學美術
preserving the appellation of the "reproduced self-portrait".
攻 。 2 0 0 5 年 獲 第 8屆 岡 本 太 郎 記 念 現 代 藝 術 大 獎 — 優 秀 獎 。
During his time in Beijing, he had many levels of exchanges
2011至2014年受邀日本寶麗美術振興財團贊助在北京研習美術
with Chinese contemporary art. This has imbued his works
其間多次在日本本土及北京、上海等地舉辦個人展覽。山本竜
with a painterly style that express both traditional culture
基的作品中多以自己的肖像為主角，使他的作品即保有「複製
and contemporary art.
的自畫像」之稱的顯著個人風格。在北京期間與中國當代藝術 多層次的交流後，使其作品呈現出傳統文化與當代藝術並顧的
"Kikazaru (Three Wise Monkeys: Hears no Evil)" continues in
繪畫效果。
the artist's self portrait style. The painting is of an expression taken from Three Mystic Apes Mythology: "see no evil, hear
《不聽》仍然延續了藝術家自畫像的創作手法，作品擷取了三
no evil, speak no evil, do no evil". The painting depicts the
猿的典故－「不見、不聞、不聽」中畫家以事必躬親的精神地
part of "hear no evil" and the artist has used a hands-on
來演繹這一古訓。意思是在教導我們「不合乎禮的不去看，不
and personal approach to interpret this ancient teaching.
合乎禮的不去聽，不合乎禮的不去說，不合乎禮的不去做。」
This saying teaches us that "we should not look at things
藝術家將傳統文化中的睿智思維融入到新的藝術創作中，赤裸
lacking in propriety, listen to things lacking in propriety, say
的男性身體打破了亞洲人自古以來對身體的禁忌，光源打在男
things that are lacking in propriety, or do things that are
性左肩即畫面中心點上，在視覺上象徵了不可輕易突破沉重
lacking in propriety. " The artist has incorporated traditional
感，為畫面添上強烈的震撼感。作品的內在力量跨越了時代的
Confucian teachings into new art creations. The naked male
界限，直白地表達出在當今急速發展的社會中，每個人對自我
figure breaks free from the nudity taboos that Asian people
的定義日益模糊，從而在疏離的環境裏事與願違。在建立人與
have held since ancient times. The light-source shines on
人、人與環境的聯繫中，迷失了自我。《不聽》即「非禮勿
the left shoulder of the male figure who is also the center
聽」藝術家相信只有當一個人徹底瞭解自己，才可能充分了解
of the painting. Visually, it symbolizes an oppression from
環境，從而和諧共處。
which it is difficult to break free, and adds a powerful sense of impact to the imagery. The innate energy of the work
Yamamoto Ryuki was born in Ise, Mie Prefecture, Japan in
surpasses the boundaries of time. With a frank directness,
1976. He received the Winner's Award at URBANART #6 in
it depicts a gradually blurring sense of self — a sense that
1997. He graduated with a BA from Tokyo Zokei University
each of us experiences, in today's rapidly advancing society,
i n 2001. I n 2005, h e re c e i v e d t h e 8t h Ta ro O k a m o t o
where nothing goes as we wish due to disconnection with
Memorial Award for Contemporary Art - Outstanding
our environment. In trying to establish the link between
Award. From 2011-2014, he was invited and sponsored by
people and people, people and the environment, the self
the POLA Art Foundation (Japan) to study art in Beijing;
is lost instead. "Kikazaru", or "hear no evil", expresses the
during this period, he also held numerous solo exhibitions
artist's belief that only when we fully understand ourselves is
in Japan, Beijing, and Shanghai. In most of Yamamoto
it then be possible to truly understand our environment and
Ryuki's works, he uses his own portrait as the subject. This
thus live together in harmony.
079
YAMAMOTO RYUKI (Japanese, b. 1976)
Kikazaru (Three Wise Monkeys : Hears no Evil)
山本龍基
2006 Pencil on paper 183 x 141 cm
不聽
EXHIBITED: 1000 Self-Portraits , Mizuma Action, Tokyo, July 26-August 26, 2006. This painting is to be sold with the certificate of authenticity signed by the artist, issued by Mizuma Art Gallery, Tokyo.
2006 鉛筆 紙 183 x 141 cm 展覽： 「千之自畫像」，三潴畫廊，東京，展期 自2006年7月26日至8月26日 附三潴畫廊開立之藝術家簽名保證書
NT$ 340,000 - 500,000 HK$ 87,000 - 129,000 US$ 11,300 - 16,600
Ravenel 173
080
LEE LEE NAM
(Korean, b. 1969)
New-Danbalryeong Manggeumgang
李二男
2009 Video installation (Monitor, mixed media) Video length: 5'30"; edition no. 1/6 66 x 120 cm
新—斷髮嶺望金剛山
EXHIBITED: Lee Lee Nam Solo Exhibition , Hakojae Gallery, Seoul, November 18 - December 13, 2009 ILLUSTRATED: Lee Lee Nam Solo Exhibition , Hakojae Gallery, Seoul, 2009, pp. 76-77 (another edition) This work is to be sold with the certificate of authenticity issued by Hakojae Gallery, Seoul.
NT$ 550,000 - 750,000 HK$ 141,000 - 193,000 US$ 18,200 - 24,900
2009 錄影裝置（綜合媒材 螢幕） 影片長度 5'30"；版次 1/6 66 x 120 cm 展覽： 「李二男個展」，學古齋，首爾，展期自2009年11月18日至 12月13日 圖錄： 《李二男個展》，學古齋，首爾，2009，頁76-77（另一版 次） 附學古齋開立之原作保證書
影片截圖Film stills
李二男1969年生於韓國譚陽郡，2007年獲延世大學博士學位，繼白南準
Day. Lee also serves as Consultant for UNESCO Creative City. His
之後的韓國多媒體藝術的代表性人物。2005年獲光州美術館年度年輕藝
work is selected into secondary school textbook of Korean, and
術家獎項。2009年獲韓國藝術家日年度年輕藝術家。聯合國教科文組織
collected by the Blue House of Korean, MMCA, and Collection of Uli
U N E S C O的創意城市顧問，創作內容更被編入韓國中學教科書。作品為
Sigg
韓國總統府青瓦台、韓國國立現代美術館、知名瑞士藏家烏利·希克等藝 術機構收藏。
Lee Lee Nam provides us a new vision with his video artworks in which he combines different image and reflection across traditional
李二男以錄像手法，融合古典美學與當代藝術視角，銜接東西文化的創
a n d m o d e r n a g e , w e s t a n d e a s t c u l t u re . A f t e r re c e i v i n g h i s
作思維，揭示藝術發展的新突破。獲得了雕塑及美術碩士學位，李二男
master's degree in sculpture, he continuously works on the themes
持續專研視覺傳播，思索如何跨越物質與無形的意識界線。他積極迎向
of visual culture and try to overcome the constraint in both the
自我挑戰，跳脫傳統媒材限制，超越美術館的高牆。有了新興科技輔
material and intangible world. Regardless of the norm in medium
助，他站上藝術史巨人的肩膀，取材於經典，二度創作大師的作品。跨
and exhibition space, he integrates the use of technology with
越時空的限制，《新一斷髮嶺望金剛山》，是他連結過去與未來的對
advanced presentations. By reworking on the classic, he introduces
話，烏紗帽仕紳與仕女悄悄搭上山中的電動纜車，煙霧山水漸漸隨光影
a new meaning to the works of old masters. “New-Danbalryyeong
流動，浮現世界各處的地標和飛船。古代文人的清雅情治，如東風般吹
Manggeumagang” is a work that Lee would like to bridge the past
進了電視畫面。作品風格充滿莞爾一笑的趣味性與寓意，令觀者愉悅且
and the future. In this piece, several city landmarks and airships
過目不忘。李二男讓經典藝術也充滿當代的思維，貼近更多觀賞者。隱
emerge from the foggy scenery background, while gentry-literati and
身在動畫影像的表達，李二男傳達了藝術無界限，擁抱觀者的精神。
beauty figures tacitly take on the cable car in the mountain. Viewers are expected to indulge in the nostalgic charm of the ancient and the
Born in 1969 at Damyang, Lee graduated with a Ph.D in 2007 from
meticulous details of the setup where they can search for metaphors
Yongsei University, Seoul, Korea. He is one of the representative
and have fun. Behind the impression of animation or contemporary
new-media art artist after Nam June Paik. In 2005, Lee won the prize
art, Lee Lee Nam guides viewers to go through a fantastic journey
Young Artist of the year from Gwangju Museum of Art. In 2009, he
and conveys an idea that art is without borders.
was awarded as the Young Artist of the Year from The Korean Artist's
Ravenel 175
081
TSUI KUANG-YU (Taiwanese, b. 1974)
The Shortcut to the Systematic Life – City Spirits (Taipei) 2005 DVD (Video length 3’09”, edition no. 4/15) 2 Chromogenic prints, 80 x 80cm edition no. 4/20 Signed lower right Tsui Kuang-yu in Chinese With an embossed seal of the artist EXHIBITED: Tsui Kuang-Yu: The Shortcut to the Systematic Life: City Spirits , IT Park Gallery & Photo Studio, Taipei, December 31, 2005 - January 28, 2006 This lot is to be sold with a certificate of authenticity signed by the atrist and issued by IT Park Gallery, Taipei.
NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,600 - 9,900
崔廣宇1974年生於台灣，1997年國立藝術學院（現國立台北藝 術大學）學士畢業。1990年代中期起以系列性的表演錄像手法 創作。拍攝語彙幽默詼諧，引發觀者深刻的哲學思考。藝術家以 日常生活為背景，日常物件為創作道具，快速與跨語言文化的觀 者建立起對話。分別於2003年和2008年獲得「台新藝術獎」的 評審團特別獎和年度視覺藝術獎。作為台灣當代錄像藝術的代表 性人物，崔廣宇的作品受邀展出於全球各大國際藝術機構如：威 尼斯雙年展、泰德美術館、雀爾喜美術館、巴塞隆納國際錄影藝 術展、墨爾本國際媒體藝術雙年展，為國際間最活躍的台灣當代 藝術家之一。 Born in 1974, Tsui graduated from Taipei National University of the Arts in 1997. Since the middle of 1990, he started to create the series of video art performance. Attending to motivate the audience to reflect the philosophy behind his sense of humor, Tsui's work is usually built in daily background with quotidian objet for easily connecting with the spectator from different cultures. He granted both the Jury's Special award in 2003 and The Visual Arts Award of Taishin Arts Award in 2008. His work has been exhibited in Venice Biennale, Tate Museum, Chelsea Art Museum, Gwangju Biennial, Saint Paul Art Biennale and other art museums and galleries.
崔廣宇 系統生活捷徑－城市精神 （台北） 2005 DVD （片長3分9秒，版次 4/15） 攝影照片2張，版次4/20 80 x 80cm (照片) x2 簽名右下：崔廣宇 附藝術家鋼印 展覽： 「崔廣宇個展：系統生活捷徑—城市精神」， 伊通公園畫廊，台北，展期自2005年12月31 日至2006年1月28日 附伊通公園畫廊開立之藝術家親簽原作保證書
影片截圖 film stills
Ravenel 177
082
PANDE KETUT TAMAN (Indonesian, b. 1970)
Tiga Petani (Three Farmers)
潘德．克圖．塔曼
2000 Pencil, acrylic and oil collage on canvas 200 x 145 cm
三位農夫
Signed lower left Pande K Taman and dated 2000 PROVENANCE: Christie's Hong Kong, Southeast and Asian Modern and Contemporary Art, May 28, 2008, lot 046
NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,600 - 9,900
2000 鉛筆 壓克力 油彩拼貼 畫布 200 x 145 cm 簽名左下：Pande K Taman / 2000 來源： 香港佳士得東南亞現代與當代藝術拍賣， 2008年5月24日，編號46
TIGA PETANI PANDE KETUT TAMAN
潘德．克圖．塔曼於1970年出生在印尼峇里島烏布貝里阿丹的一個藝術
Since the advent of the Art Nouveau movement in Indonesia
家庭。自幼天賦異稟，後在印尼藝術學院學習繪畫。藝術家以敏銳的視
(1974-1979), a wide range of artistic languages and expressions
角觀察周遭，一直擅長用令人驚奇、印象深刻的「新奇見解」詮釋生活
have been developed within the realm of Indonesian art. Pande
中各種議題。之後與妻子和家人遷往蒙蒂蘭小鎮，他的生活和工作中既
Ketut Taman is extremely innovative in terms of interpretation and
有古佛寺的寧靜致遠，又能見到火山的沸騰翻攪。也正是這種動靜有常
perception; he utilizes a diverse number of approaches to achieve
的環境使得藝術家的創作日趨對自然敬畏的力量。
the "deconstruction" of each artwork in order to explore the concepts hidden within its visual imagery. The artist uses cultural
自印尼新藝術運動（1974-1979）崛起以來，印尼藝術陸續發展多元化的
issues to exhibit his care towards society, politics and economics,
藝術言論與實踐。潘德．克圖．塔曼同樣的在解讀和意義方面，也會有
fields that provide conceptualized foundations for artistic creation.
多種方式去「解構」每種藝術作品其視覺形象背後的觀念。藝術家透過
The elements present in Taman's sculptures and paintings as well as
文化議題，尋找概念和想法多方面去探索、去關心社會、政治和經濟，
his naturalistic style all embody the most fundamental of forms and
這些都替藝術創作提供了概念化的基礎。潘德的雕塑和繪畫的有形元
conditions as well as changes in material attributes.
素，以及他的自然主義風格，顯示出他在形式和材質的研究興趣。
The artwork titled "Tiga Petani" (Three Farmers) belongs to a series 作品《三位農夫》是潘德在他的系列作品中採用了一種半抽象的方式進
that was created through a semi-abstract approach. Earthen colors
行創作的，以泥土色調的褐色，赭石和接近岩石原色為人物，人物的面
form the base tones of the artwork while human figures are depicted
目又傳達出岩石或石頭的堅固性。三位農夫的手勢也表達得非常細膩，
in ocher and the hues of natural rock so that the visages of the
手中的農作用具傳達了一種堅韌的力量和對家園保護性的態度。他們的
subjects imbue a sense of rock-like strength. The hand gestures of
國家正處在轉變時期，頭頂的烏雲帶來雨水，人與土地之間的情感，及
the three farmers have also been exquisitely expressed; the farming
感謝上天的哺育之恩，大自然的力量對潘德的藝術有著強烈影響。
tools held in their hands depict a resilient tenacity and protectiveness toward their home. The farmers live in an era wherein their nation
在潘德．克圖．塔曼的創作中，作品所欲傳達的是來自大地深層的精神，
is undergoing drastic transformation, as symbolized by the raining
樸拙筆下描繪出無數古老的神話故事人物。對於潘德來說，藝術是日常生
thunderclouds gathered above their heads. Natural beauty and
活的實踐，像太極和冥想，滋養和體會其中精神。對自然是從中心向外，
gratitude for the nurturing heavens are engendered between men
像是曼荼羅是從身體而出。藝術家的家人，他的小鎮，森林和山脈環繞著
and nature, a perfect representation of how the forces of nature have
他，他所屬社會，就如宇宙包括我們所有的人都要用心敬畏。
exerted profound influence upon Taman's artistic creations.
Pande Ketut Taman was born in Peliatan, Bali into an artistic family
Pande Ketut Taman, through his artworks, endeavors to express the
in 1970. A child prodigy, he previously studied art at the Indonesian
primal spirit from deep within Mother Earth to the viewers in order
Institute of the Arts. The artist observes the world around him
to connect us to nature, and has told many tales of ancient myths
with a particularly acute perception, and has always been skilled
and folklores using brush strokes of rustic simplicity. To Taman, art
in using stunningly intriguing "novel perceptions" to interpret the
is an integral part of lived existence just as the practice of Taichi
many facts and facets of everyday life. Later on, he moved with his
and meditation nurtures our wellbeing and immerses us in spiritual
wife and family to a small town in Muntilan where he bathed in the
contemplation. Our sensibility towards nature comes from within,
encompassing serenity of the ancient temples and rejoiced in the
in the same way that the mandala begins with our physical being.
fiery flames of the volcanoes in the distance. This environment, home
The artist is enveloped and enclosed by the beloved members of his
to both tranquility and motion, gradually imbued the works of Taman
family, a small town, surrounding forests, and mountains; the society
with veneration for nature.
to which he belongs is like the universe in which we are encompassed and to which we must all express our care and respect.
Ravenel 179
083
MAX LIU (Taiwanese, 1912 - 2002) Eros
劉其偉
1996 Mixed media on cotton 50 x 38 cm
伊拉斯（一）
Signed lower left Liu Chi-wei in Chinese phonetic alphabet and dated 1996 Titled upper center EROS in English This painting is to be sold with a certificate of authenticity issued by Capital Art Corporation, Taipei.
NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 6,000 - 9,300
1996 綜合媒材 棉布 50 x 38 cm 簽名左下：ㄌ一ㄡˊㄑㄧˊㄨㄟˇ 1996 題識上方：EROS 附首都藝術中心開立之原作保證書
084
LEE AI-CHEN
(Taiwanese, b. 1972)
Psalms 121: 1~2
李艾晨
2006 Oil on aluminum 100 x 129 cm
詩篇121:1~2
Signed on the reverse Ai-chen Lee in Chinese and English, dated 2006
2006 油彩 鋁板 100 x 129 cm 簽名畫背：李艾晨 Ai-chen LEE 2006
PROVENANCE: Eslite Gallery, Taipei Acquired from the above by the present owner
來源： 誠品畫廊，台北 現有收藏者得自上述來源
EXHIBITED: Light and Darkness - Solo Exhibition by LI Ai-chen , Eslite Gallery, Taipei, March 10 - April 1, 2007
展覽： 「李艾晨個展：晝與夜」，誠品畫廊，台北，展期自2007 年3月10日至4月1日
ILLUSTRATED: Li Ai-chen: Light and Darkness, Eslite Gallery , Taipei, 2007, color illustrated
圖錄： 《李艾晨：晝與夜》，誠品畫廊，台北，2007，彩色圖版 附誠品畫廊開立之原作保證書
This painting is to be sold with a certificate of authenticity issued by Eslite Gallery, Taipei.
NT$ 280,000 - 420,000 HK$ 72,000 - 108,000 US$ 9,300 - 13,900 Ravenel 181
085
HOU CHUN-MING (Taiwanese, b. 1963)
Love Taiwan 2003 Mixed media on Taiwan map 82 x 25 cm With one seal of the artist and dated lower left 2003 PROVENANCE: Lee Gallery, Taipei Private collection, Taiwan EXHIBITED: Fertile Man - Hou Chun-ming, Chang Liyeh, Chen Yilang Cooperate Creation , Art Taipei, Homer Lee Art International Corp., Taipei, March 5-14, 2004
NT$ 120,000 - 180,000 HK$ 31,000 - 46,000 US$ 4,000 - 6,000
侯俊明 愛台灣 2003 綜合媒材 台灣地圖 82 x 25 cm 鈐印左下：阿麗神宮2003 來源： 黎畫廊，台北 私人收藏，台灣 展覽： 「強力肛交─侯俊明、張立曄、陳義郎交插創作」，台 北國際藝術博覽會，黎明藝文空間，台北，展期自2004 年3月5日至14日
086
巴西藝術家馬科斯．馬林利用歐普藝術技巧，創作了許多獨具
MARCOS MARIN
特色的肖像、畫作以及紀念雕塑。他所作的歐普藝術名人肖像
(Brazilian, b. 1967)
營照錯視藝術的效果，給予觀賞者一種嶄新的視覺體驗。其作
Brigitte Bardot
馬科斯．馬林
品曾於法國坎城機場、摩納哥綜藝劇院、義大利托斯卡尼博爾
2012 Acrylic on canvas 82 x 60 cm
碧姬．芭杜
戈聖菲麗奇、巴黎皮爾．卡登畫廊等地展出。馬林目前生活、
Signed lower left Marcos in English
工作於摩納哥。
2012 壓克力 畫布 82 x 60 cm 簽名左下：Marcos
NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,600 - 9,900
Marcos Marin has created unique portraits, paintings, and monumental sculptures utilizing optical art techniques. His optical portraits of famous people provides a refreshing visual experiences for its audience. His works had been exhibited in Cannes Airport, Théâtre des Varietés de Monaco, Borgo San Felice in Toscany and Espace Pierre Cardin in Paris. Marin currently lives and works in Monaco.
Ravenel 183
087
HSU YIN-LING
(Taiwanese, b. 1987)
The Place I am Born Next Time III
許尹齡
2010 Oil on canvas 41 x 32 cm
下次出生的地方III
Signed on the reverse Hsu Yin-Ling in Chinese and English, dated 2010
2010 油彩 畫布 41 x 32 cm 簽名畫背：許尹齡 Hsu, Yin-Ling 2010
PROVENANCE: Sakshi Gallery, Taipei Acquired from the above by the present owner, 2010
來源： 夏可喜當代藝術，台北 現有收藏者2010年得自上述來源
EXHIBITED: Art Hong Kong 2010, May 27-30, 2010
展覽： 2010年香港藝術博覽會
NT$ 40,000 - 60,000 HK$ 10,000 - 15,000 US$ 1,300 - 2,000
088
DENNIS HWANG
(Chinese-American, b. 1941)
Chair and Cat
黃志超
1993 Oil on canvas 91 x 61 cm
椅子與貓
Signed upper right Chi-chao in Chinese, Hwang in English and dated 93 PROVENANCE: Dimensions Art Center, Taipei Private collection, Asia
1993 油彩 畫布 91 x 61 cm 簽名右上：志超 Hwang 93 來源： 帝門藝術中心，台北 私人收藏，亞洲
NT$ 170,000 - 260,000 HK$ 44,000 - 67,000 US$ 5,600 - 8,600
Ravenel 185
089
LIN WEN-CHIANG
(Taiwanese, b. 1943)
Harvest
林文強
1997 Oil on canvas 91 x 72.5 cm
豐收
Signed lower left Wen-chiang in Chinese PROVENANCE: Metaphysical Art Gallery, Taipei Acquired from the above by the present owner This painting is to be sold with a certificate of authenticity signed by the artist, issued by Metaphysical Art Gallery, Taipei.
NT$ 150,000 - 220,000 HK$ 39,000 - 57,000 US$ 5,000 - 7,300
1997 油彩 畫布 91 x 72.5 cm 簽名左下：文強 來源： 形而上畫廊，台北 現有收藏者得自上述來源 附形而上畫廊開立之藝術家親筆簽名之保證書
090
JU MING
(Taiwanese, b. 1938)
Dharma Wooden sculpture 17(L) x 9.5(W) x 43.5(H) cm Engraved on the bottom JU Ming in Chinese This sculpture is to be sold with a certificate of authenticity issued by Caves Gallery, Taipei.
NT$ 500,000 - 750,000 HK$ 129,000 - 193,000 US$ 16,600 - 24,900
朱銘 達摩 木雕 17（長） x 9.5（寬） x 43.5 （高）cm 雕刻簽名底部：朱銘 附敦煌畫廊開立之原作保證書
Ravenel 187
091
CHEN CHI-KWAN (Taiwanese, 1921 - 2007)
Morning Mist 1986 Ink and color on paper (hanging scroll) 34 x 43 cm Signed lower right Chen Chi-kwan in Chinese With one seal of the artist PROVENANCE: Magnet Art Gallery, Taipei Acquired from the above by the present owner ILLUSTRATED: Painting and Architecture of Chen Chi-kwan , Taipei Fine Arts Museum, Taipei, 2003, color illustrated, no. 297, p. 229 This work is to be sold with a certificate signed by the artist, issued by Magnet Art Gallery, Taipei.
NT$ 360,000 - 550,000 HK$ 93,000 - 141,000 US$ 11,900 - 18,200
陳其寬 朝露 1986 彩墨 紙本（立軸） 34 x 43 cm 簽名右下：陳其寬 鈐印右下：陳其寬印 來源： 吸引力畫廊，台北 現有收藏者得自上述來源 圖錄： 《雲煙過眼：陳其寬的繪畫與建築》，台北市立美術館， 台北，2003，彩色圖版，編號297，頁229 附吸引力畫廊開立藝術家親筆簽名保證書
092
HE HUAISHUO
(Chinese, b. 1941)
The Sound of Morning Waves
何懷碩
c. 1990 Ink and color on paper 68 x 88 cm
晨海濤聲
Signed lower left He Huaishuo and titled The Sound of Morning Waves in Chinese With three seals of the artist
約1990年 彩墨 紙本 68 x 88 cm 題識左下：晨海濤聲何懷碩於澀盦 鈐印右下：澀盦 鈐印左下：何、懷碩
NT$ 380,000 - 550,000 HK$ 98,000 - 141,000 US$ 12,600 - 18,200
Ravenel 189
095
DING YANYONG
(Chinese, 1902 - 1978)
Birds and Rocks
丁衍庸
Ink on paper 33 x 33 cm
全家福
Signed lower right Painted by Ding Yanyong and inscribed Ai-Chen My Student in Chinese With one seal of the artist PROVENANCE: Christie’s New York, March 24, 2011, lot 1182 Acquired from the above by the present owner
水墨 紙本 33 x 33 cm 簽名右下：愛貞女弟 丁衍庸畫 鈐印右下：叔旦 來源： 紐約佳士得拍賣，2011年3月24日， 編號 1182 現有收藏者得自上述來源
NT$ 100,000 - 150,000 HK$ 26,000 - 39,000 US$ 3,300 - 5,000 丁衍庸的花鳥畫擷取朱耷、徐渭、金農的特點，卻自成一格。筆觸
layout revolutionary, the blank spaces imbued with meaning,
膽大豪放，佈局革新，留白巧妙，意境深遠；將中國傳統水墨的意
and the imagery full of depth. Ding excelled in incorporating
境之美，與西方野獸派的狂野縱恣相結合，以簡約流暢的線條、樸
the conceptual aesthetics of traditional Chinese ink painting
拙生動的造型創造出特有的風格。作品突出「極力還原」，推崇回
with the unbridled willfulness of Western Fauvism. He used
歸兒童般「單純」而又「稚拙」的繪畫形式，內容卻是「廣大」而
clean flowing lines and infused a simplistic vitality into his
「複雜」。
images to create his own unique style of expression. The emphasis of the work lies in the "absolute return to origin."
Ding's paintings of birds and flowers capture the essence of
It’s the celebration of a return to a child-like drawing of both
Zhu Da, Xu Wei, and Jin Nong but are yet also expressive of his
"innocence" and "clumsiness” with content that is however
own singular style. His brushstrokes were bold and daring, the
"all-encompassing" and "complex".
096
TONG YANG TZE (Taiwanese, b. 1942)
Calligraphy: A Sea is Vast, as it Rejects No Water
董陽孜
1986 Ink on paper with frame 68 x 68 cm
海不辭水故能成其大（管子）
Signed lower left Tong Yang Tze in Chinese, titled A Sea is Vast, as it Rejects No Water in Chinese, dated 1986 in Chinese With one seal of the artist
1986 水墨 紙本（鏡框） 68 x 68 cm 鈐印左下：董陽孜 題識左下：海不辭水故能成其大 董陽孜 一九八六
PROVENANCE: Spring Gallery, Taipei Acquired from the above by the present owner in 1987
來源： 春之藝廊，台北 收藏者於1987年得自上述來源
ILLUSTRATED: The Works of Grace Yang-Tze Tong , Highlight International, Taipei, 1987, color illustrated, pp. 92-93
圖錄： 《董陽孜作品集》，漢光文化事業股份有限公司， 台北，1987，彩色圖版，頁92-93
NT$ 160,000 - 240,000 HK$ 41,000 - 62,000 US$ 5,300 - 8,000 Ravenel 191
097
LI XIN (Chinese, b. 1971) Mountain No. 8
李鑫
Oil on canvas 180 x 150 cm
蒼山如鏡之八
Signed on the reverse Li Xin in Chinese, titled Mountain No. 8 in Chinese, and inscribed 180 x 150 cm EXHIBITED: Soul of the Land II – The Abstract Aesthetics of Contemporary Landscape , Amelie Gallery, Beijing, April 9 – May 31, 2011
NT$ 360,000 - 550,000 HK$ 93,000 - 141,000 US$ 11,900 - 18,200
油彩 畫布 180 x 150 cm 簽名題識畫背： 《蒼山如鏡之八》尺寸：180 x 150 cm 作者：李鑫 展覽： 「山水靈心II－當代中國風景繪畫之抽象 美學」，龍藝榜畫廊，北京，展期自2011 年4月9日至5月31日
098
POREN HUANG (Taiwanese, b. 1970)
Everyday is a New Start 2007 Bronze, gold foil, edition no. 9/30 38(L) x 23(W) x 30(H) cm Engraved on the back of the right leg PR and dated 2007 , initialed PR and numbered 30-9 on the base
NT$ 380,000 - 600,000 HK$ 98,000 - 154,000 US$ 12,600 - 19,900
黃柏仁 每一天 2007 銅 金箔 版次9/30 38（長） x 23（寬） x 30（高） cm 簽名雕刻右後方：2007 PR 簽名雕刻底部：30-9. PR
EXHIBITED: The Artistic Conversation of Love Dogs, Adore Dogs , Powen Gallery, Taipei, May 15 – June 12, 2015 (another cast) The Dog's Note – Poren Huang Solo Exhibition , Williamsburg Art & Historical Center, New York, November 7 – December 6, 2015 (another cast) The Dog's Note – Poren Huang Solo Exhibition , aquabitArt Gallery, Berlin, February 2 – 28, 2016 (another cast) ILLUSTRATED: The Dog's Notes , Powen Gallery Co., Ltd., Taipei, 2014, color illustrated, p. 14 & pp. 76-79 Return To Innocence – The Dog's Note by Poren Huang , Artco Magazine, Taipei, January 2015, issue no. 268, color illustrated, p. 84 This sculpture is to be sold with a certificate of authenticity signed by the artist, issued by Powen Gallery, Taipei.
展覽： 「愛狗，敬狗的對話藝術 – 狗札記·黃柏仁個展」，紅野畫廊，台 北，展期自2015年5月15日至6月12日（另一版次） 「狗札記：黃柏仁雕塑個展」，紐約WAH藝術中心，紐約，展期 自2015年11月7日至12月6日（另一版次） 「狗札記：黃柏仁雕塑個展」，aquabitArt畫廊，柏林，展期自 2016年2月2日至2月28日（另一版次） 圖錄： 《狗札記－黃柏仁》，紅野畫廊，台北，2014，彩色圖版，頁14 與頁76-79 《反璞歸真－黃柏仁的狗札記》，典藏今藝術，台北，2015年1月 號，第268期，頁84 附紅野畫廊開立及藝術家親筆簽名之原作保證書 Ravenel 193
099
POREN HUANG
(Taiwanese, b. 1970)
Dog's Note - Friends 2008 Bronze, baking paint, edition no. 18/30 31(L) x 22(W) x 36(H) cm Engraved on the back PR in English Engraved lower back PR in English, numbered 30- 18 and dated 2008 EXHIBITED: Huang Po-ren , Art Taipei, Taipei, 2008 (another cast) Huang Po-ren, Shanghai Art Fair, Shanghai, 2008 (another cast) Huang Po-ren , Ming Art Gallery, Beijing, 2008 (another cast) The Dog's Note – Poren Huang Solo Exhibition , Powen Gallery, Taipei, September 16 – October 5, 2014 (another cast) The Artistic Conversation of "Love Dogs, Adore Dogs ", Powen Gallery, Taipei, May 15 - June 12, 2015 (another cast) The Dog's Note – Poren Huang Solo Exhibition , Williamsburg Art & Historical Center, New York, November 7 - December 6, 2015 (another cast) ILLUSTRATED: The Dog's Notes , Powen Gallery Co., Ltd., Taipei, 2014, color illustrated, p. 14 & pp. 88-97 (another cast)
黃柏仁 狗札記—世界那麼大 2008 銅雕 烤漆 版次 18/30 31（長） x 22（寬） x 36（高） cm 簽名雕刻臀部：PR 簽名雕刻腿部後方：2008.30- 18.PR 展覽： 「黃柏仁個展」，台北國際藝術博覽會， 台北，2008 (另一版次) 「黃柏仁個展」，上海國際藝術博覽會， 上海，2008 (另一版次) 「黃柏仁個展」，旻谷畫廊，北京，2008 (另一版次) 「愛狗，敬狗的對話藝術—狗札記黃柏仁個展」，紅 野畫廊，台北，展期自2014年5月15日至6月12日(另 一版次) 「狗札記─黃柏仁雕塑展」，紅野畫廊，台北，展期 自2014年9月16日至10月5日(另一版次) 「狗札記」黃柏仁雕塑個展，紐約WAH藝術中心， 紐約，展期自2015年11月7日至12月6日(另一版次)
This sculpture is to be sold with a certificate of authenticity signed by the artist.
圖錄： 《狗札記—黃柏仁》，紅野畫廊有限公司，台北， 2014，彩色圖版，頁14與頁88-97 (另一版次)
NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,600 - 15,900
附藝術家親筆簽名之原作保證書
黃柏仁的雕塑媒材多元，包括木頭、鐵材、甚至單車零件都是他創作的
Poren Huang is adept at reducing complex form into pithy shapes
材料，早期的鐵雕作品《神射手》曾被編入台灣高中美術課本裡，近
with clean lines while retaining the spirit of the object. The
期則專注於「狗札記」銅雕系列之創作，以俗稱台灣高山犬的台灣土
animals in Poren Huang's sculptures show different emotions and
狗為主角，其中《快樂時光》一作以乘風飛翔的飛行狗傳達自由單純的
characters, and sometimes imply various sides of human nature.
快樂，在2006年由國立台灣美術館購藏。2008年，狗兒有了一位新朋
The panda and dog in "Friends" are shaking hands friendly. The
友—熊貓，作品呈現了更為豐富的互動語彙。「狗札記」系列作品呈現
panda bends himself for the smaller dog, while the dog standing
動物單純直率的面貌之外，也以動物擬人，暗喻人性百態，幽默的手法
on tiptoe, raising his head and chest to reach out to the panda. Like
總引人莞爾。
the other bronze sculptures by Poren Huang, "Friends" has a clean and bold form, which creates a calm atmosphere while touching
黃柏仁以簡潔的塊面、俐落的線條，形塑出《世界那麼大》裡互相握手
the viewer's heart.
的狗與熊貓。胖胖的熊貓一臉憨厚福氣，微彎著腰與個頭小上一大截的 狗兒握手，和善可親，而個頭較小的狗兒也不甘示弱地墊起腳尖，抬頭
Whether reflecting human nature or the international situation,
挺胸迎向熊貓，模樣甚是驕傲有個性。牠們造型簡潔卻不失動物直率單
Poren Huang's sculptures always have a touch of warm humor
純的神韻，厚實的體形，散發出一種穩定人心的氛圍。《世界那麼大》
within the sometimes serious subject matter. His works are like kind
裡的土狗與熊貓，很容易讓人聯想到台灣與中國，牠們互動，或許正反
warnings that remind people to take a break from this busy life
映出藝術家內心想像。
to regain a pure mind. This might be the best attitude to face the ever-changing world.
無論是撫慰人心的情感交流，或是剖析人性的弱點與慾求，甚或回應國 際局勢的有感而發，黃柏仁的作品總蘊含著正向的能量。黃柏仁的雕塑 以厚實承載情感，對世態的針貶總帶著一絲幽默，像是一種善意的提 醒，提醒人們在節奏快速的現代生活中，偶而放慢腳步檢視一下自我與 周遭，重拾單純直率的心境，或許，這是面對詭譎多變的世局，最好的 態度。
Poren Huang uses various media including wood, iron, even parts from bicycles to create fine sculptures. His iron sculpture, "The Archer", was included in the Art text book for senior high schools in Taiwan. He has been concentrating on creating a series of bronze sculptures called Dog's Note in the past few years. Poren Huang takes the Formosan Mountain Dog (commonly referred to as Formosan, a breed of dog indigenous to Taiwan) as the original model for his sculpture. One sculpture from this series, "Happy Time", expressing the simple joy of freedom was purchased by the National Taiwan Museum of Fine Arts for the museum's collection. In the newest works, Poren Huang introduces a new friend, the blissful panda, and adds richer meaning to the series. The dog and the panda might be taken to represent Taiwan and China respectively, and their interaction in the sculpture could be the artist's wish for the future.
另一角度 side view
Ravenel 195
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客戶編號 （如有） 姓名 身份證字號 地址 郵碼 電話 （住宅） （辦公室） 傳真
電郵
簽名 （注意：本公司在取得閣下之簽名後方才接受競標；閣下所填報之姓名 及地址資料，將會被列印在發票上，隨後將不能更改） 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託， 以最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，（連同該最後落槌價及服務費之營業稅）服務費依最後落槌價乘以服 務費率得之。詳見業務原則規定第4條a,c,d之規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公 司，落槌價於新台幣參仟貳佰萬元以下者含參仟貳佰萬元以20％計算；（2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳 佰萬元以20％計算，超過新台幣參仟貳佰萬元之部份以12％計算。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。
請用正楷填寫清楚 拍賣品編號 （按數字順序）
名
稱
競投價（新台幣） （服務費不計在內）
為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。
銀行證明 銀行名稱 銀行地址 銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話
羅芙奧股份有限公司 台北市106敦化南路二段76號15樓之2 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com ravenelart.com.cn
ABSENTEE BID FORM The absentee bid forms must be delivered to the International Art Department at least 24 hours before the auction begins. The bid forms may be faxed to: International Art Department Tel: +886 2 2708 9868 Fax: +886 2 2701 3306
Auction Date Sale No. Location Address
RAVENEL SPRING AUCTION 2017 SELECT: MODERN & CONTEMPORARY ART Saturday, 3 June 2017, 2:00 pm TA1701 Taipei Marriott Hotel 3F (Grand Space Hall) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei
Bidder’s Details Name ID number Address Post code Tel: (Daytime)
(Evening)
Fax
Signature (Notice: We must have your signature to execute this bid. Billing name and address should agree with your state or local sales tax exemption certificate. Invoice cannot be changed after they have be printed.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder.
I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received.
I understand that if my bid is successful, I shall pay the final hammer price together with the service fee and any applicable sales tax. The service fee shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Articles 4a, c and d of the Transaction Agreement to the
Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below NT$ 32,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.)
The bid shall be subject to the Transaction Agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warranties that may be provided for certain items.
PLEASE PRINT LEGIBLY Auction item number (in numerical order)
Title
Bid price (NT$) (excluding service fee)
Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.
Bank Reference Approval Name of the bank Address of the bank
Name of the account Account number Contact of the bank Tel. No.
Ravenel Ltd. 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 ravenel.com ravenelart.com.cn
業務規則
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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INDEX B
L
GUY BARDONE
居．巴赫東
048, 049, 050
LEE AI-CHEN
李艾晨
084
FERNANDO BOTERO
費爾南多．波特羅
042
LEE LEE-NAM
李二男
080
ANDRÉ BRASILIER
安德烈．布拉吉利
032
LI XIN
李鑫
097
BERNARD BUFFET
貝爾納．畢費
068
LIAO CHI-CHUN
廖繼春
033
LIN WEN-CHIANG
林文強
089
JEAN CARZOU
尚．卡魯茲
005
MAX LIU
劉其偉
083
BERNARD CATHELIN
貝爾納．卡多蘭
029
MAXIMILIEN LUCE
馬克西米．呂斯
061
GEORGE CHANN
陳蔭羆
062
M
BERNARD CHAROY
貝爾納．夏洛瓦
006, 054, 055
MICHEL MALY
米歇爾．馬利
051
CHEN CHENG WEI
陳承衛
019
MARCOS MARIN
馬科斯．馬林
086
CHEN CHI-KWAN
陳其寬
091
AMEDEO MODIGLIANI
阿美迪奧．莫迪里亞尼
035
CHEN TING-SHIH
陳庭詩
010
P
CHIN SUNG
秦松
012
PANG JIUN
龎均
023, 024
CHU TEH-CHUN
朱德群
017
PABLO PICASSO
巴布羅．畢卡索
067
ANTONI CLAVÉ
安東尼．克拉維
066
R
ANDRÉ COTTAVOZ
安德烈．科達沃茲
065
AYAKO ROKKAKU
六角彩子
074, 075, 076
ROBERT COMBAS
羅伯．貢巴斯
069
S SANYU (CHANG YU)
常玉
020
丁衍庸
095
MASARU SHICHINOHE
七戶優
073
KUMI SUGAÏ
菅井汲
015
C
D DING YAN YONG
F RIUSUKE FUKAHORI
深堀隆介
078
T
JEAN FUSARO
讓．費沙羅
059, 060
PANDE KETUT TAMAN
潘德．克圖．塔曼
082
RICHARD TEXIER
理查．泰西爾
013, 014
WALASSE TING
丁雄泉
001, 002, 008,
G RENÉ GENIS
賀內．吉尼斯
045, 046, 047
RENÉ GRUAU
勒內．格魯瓦
018
PAUL GUIRAMAND
保羅．賈曼
041
009, 021, 022
H
PIERRE-YVES TRÉMOIS
皮耶─伊夫．特墨
039, 040
TSUI KUANG-YU
崔廣宇
081
HSIAO CHIN
蕭勤
016
THÉO TOBIASSE
提歐．托比亞斯
053
MICHEL HENRY
米歇爾．昂利
052
TONG YANG TZE
董陽孜
096
HE HUAISHUO
何懷碩
092
BERNARDINO TOPPI
貝爾納迪諾．托比
044
HOU CHUN-MING
侯俊明
085
V 克勞德．維納爾
011
HSIA YAN
夏陽
026
CLAUDE VENARD
HSU YIN-LING
許尹齡
087
MAURICE DE VLAMINCK
莫里斯．德．烏拉克曼
030, 031
沃第
056, 057, 058
克勞德．維士巴修
043, 063, 064
POREN HUANG
黃柏仁
098, 099
ANTONIUCCI VOLTI
DENNIS HWANG
黃志超
088
W CLAUDE WEISBUCH
J JEAN JANSEM
尚·詹森
007, 036, 037, 038
Y
JU MING
朱銘
027, 090
YAMAMOTO RYUKI
山本龍基
079
YANG DIN
楊登雄
003
嚴培明
070
ZAO WOU-KI
趙無極
025
ZHANG XIAOGANG
張曉剛
071
ZHOU CHUNYA
周春芽
028, 034
K TAKUMI KAMA
釜匠
077
YAN PEI MING
HIROAKI KANO
狩野宏明
072
Z
203