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

SPRING AUCTION 2017 TAIPEI

羅芙奧台北 2017 春季拍賣會 亞洲現代與當代藝術

RAVENEL SPRING AUCTION 2017 TAIPEI Modern and Contemporary Asian Art 拍賣日期／地點 2017年6月4日（日）下午 2:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳） 預展日期／地點 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B1 高雄 2017年5月20日（六）~ 21日（日）上午11:00至下午6:00 琢璞藝術中心 高雄市前金區五福三路63號8樓 台北 2017年6月1日（四）~ 3日（六）上午10:00至下午6:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳）

AUCTION Sunday, June 4, 2017, 2:00pm Marriott Taipei Grand Space, 3rd Floor, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

PREVIEWS Taichung

Saturday, May 13, 2017, 1:00pm - 6:00pm Sunday, May 14, 2017, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Kaohsiung

Saturday, May 20 - Sunday, May 21, 2017, 11:00am - 6:00pm J. P. Art Center 8th Floor, No.63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan

Taipei

Thursday, June 1 - Saturday, June 3, 2017, 10:00am - 6:00pm Marriott Taipei Grand Space, 3rd Floor, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan 拍賣目錄每本售價：NT$2,000 This auction catalogue: NT$2,000 per copy

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

傅斐郡 Flora Fu

陳惠黛 Odile Chen

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

國際藝術部 總經理 Head of International Art Department Chief Specialist

林慧菁 Maggie Lin

何瑩 Vivi He

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

業務發展部 總監 Head of Business Development Department

黃詩涵 Stella Huang

李政希 Xiu Lee

台北藝術部 經理 Manager, Art Department, Taipei

上海商務代表 Representative, Shanghai

蔡晉欣 Olivier Tsai 台北藝術部 副理 Assistant Manager, Art Department, Taipei

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RAVENEL STAFF AND SERVICES FOR THIS SALE

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

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

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

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CATALOGUE SUBSCRIPTION Taiwan．International

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Hong Kong

Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored.

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.

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

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

目次 / Contents

7

羅芙奧春季拍賣會

Sale Information 10

羅芙奧之服務

Ravenel Services 13

藝術家索引

Index 14

亞洲現代與當代藝術

Modern and Contemporary Asian Art 195

給予買家的重要通知

Important Notice to Buyers 197

委託競投表格

Absentee Bid Form 199

業務規則

Transaction Agreement

藝術家索引 / Index

A

Yoshitaka AMANO Chiho AOSHIMA

天野喜孝 青島千穂

329 330

C

George CHANN CHIANG Chao-Shen CHANG Chen-yu CHANG-Ling CHANG Wan-chuan Yoshio CHANG Hilo CHEN CHUANG Che CHU Teh-chun

陳蔭羆 江兆申 張振宇 常陵 張萬傳 張義雄 陳昭宏 莊喆 朱德群

CHIU Ya-tsai

邱亞才

351, 353 311, 312 390 336 392, 393 365 342 347 313, 316, 317, 318, 356 360, 361

D

H

J

K

L

M

KAWS (Brian DONNELLY)布萊恩．唐納利 KAWS (Brian DONNELLY x Hajime SORAYAMA) 布萊恩．唐納利 x 空山基 DU Xi 杜溪

225, 226, 227 228

HSIAO Chin HSIEH Hsiao-De HUANG Gang Michell HWANG HUANG Ming-chang HUNG Jui-lin HUNG Yi Poren HUANG HSU Yung Chin

蕭勤 謝孝德 黃鋼 黃銘哲 黃銘昌 洪瑞麟 洪易 黃柏仁 徐永進

341 395 397 349 352 338, 387 324 401 389

JAN Chin-shui JIA Gang JU Ming

詹金水 賈剛 朱銘

Finn Juhl

芬尤

380 374 322, 358, 371, 404 245, 246, 249

Ryoko KATO KIM Chan-Il KIM Taeho Jeff KOONS Kai KRISTIANSEN Yayoi KUSAMA

Percival LAFER LI Chen LI Mei-shu LI Hui LI Yuan-chia LIU Keng-I Max LIU LIU Ye Hartmut LOHMEYER

加藤遼子 金燦一 金泰浩 傑夫．昆斯 凱．克里斯坦森 草間彌生

珀西瓦爾．拉費爾 李真 李梅樹 李暉 李元佳 劉耿一 劉其偉 劉野 哈特穆特．羅美爾

Svend Aage MADSEN 斯文德．奧格．馬德森 Niels Otto MØLLER 尼爾斯．奧拓．莫勒 Sadamasa MOTONAGA 元永定正 Takashi MURAKAMI x Mark GROTJAHN 村上隆 x 馬克．格羅蒂揚

N

Yoshitomo NARA

奈良美智

203, 204, 207, 208, 209, 210, 211, 212, 213, 214, 215

P

PAN Honghai PANG Jiun PENG Kuan-jun Bern H. PEDERSEN Pablo PICASSO

潘鴻海 龎均 彭光均 伯恩．佩德森 巴布羅．畢卡索

375 310, 367 402 236 350

R

REN Zhe Sigurd RESSELL

任哲 西格德．拉塞爾

403 232

S

SANYU

常玉

SHEN Che-tsai Kazuo SHIRAGA SU Wong-shen

沈哲哉 白髮一雄 蘇旺伸

301, 302, 303, 304, 305, 306, 307, 319 376 222 394

382

325 331 332 229 234, 237 201, 202, 216, 217, 218, 219, 220, 221, 321 230, 242 323, 370 345 359 377, 378 391 384, 385, 386 383 233, 243

238 231, 239, 247 223 206

T

Aya TAKANO 高野綾 T’ANG Haywen (TANG Then Phuo) 曾海文 TANG Zhigang 唐志剛 Walasse TING 丁雄泉 TU Hongtao

屠宏濤

326 396 363 334,339, 340, 344, 355, 357, 362, 364, 368 369

U

Priyantha UDAGEDARA 比央達．烏達格達拉 Chintan UPADHYAY 清滕．屋帕玳伊

327 373

V

Arne VODDER

阿恩．佛德

235

W

Andy WARHOL John WAY Hans J. WEGNER

安迪．沃荷 魏樂唐 漢斯．韋格納

WU Hao

吳昊

205 343, 346 240, 241, 244, 248 337, 381

Y

Mayuka YAMAMOTO 山本麻友香 YANG Din 楊登雄 Yuyu YANG (YANG Ying-feng) 楊英風 YAO Jui-chung 姚瑞中 Tzu-chi YEH 葉子奇 YU Cheng-yao 余承堯

328 335 372 388 348, 354, 366 308, 309

Z

ZAO Wou-ki Zhang Guangbin ZHENG Lu ZHOU Chunya

315, 320 379 398 224, 314, 399, 400

趙無極 張光賓 鄭路 周春芽

12

WHIMSICAL WORLD 異想藝術新潮流 收藏當代新世界

1860年代時出現了一種別與過往的繪畫形式，當時的幾位藝術家們大量地以未經修飾 的筆觸、廣闊無邊際的構圖架構，以及著重在對一日之間光影變化的捕捉和描繪日常 生活中極為平凡的景象與物件的創作主題，遭受到當時學院派主流的攻擊以及各家 藝評大肆抨擊，而這樣的繪畫風格即是目前世人所熟悉的「印象派」，代表人物 如：莫內、馬內、雷諾瓦等。而在19世紀最後三十年裡，印象派成為法國藝壇的 主流，並且影響整個歐美藝壇以及往後的藝術家與各種藝術流派；印象派改革了 畫作中色彩造型的觀點，將日光變化引入繪畫當中，並且在形式上進行大膽且 突破的探索，重新審視美學價值與造型藝術的理念，為現代藝術之濫觴；而 當時曾被評為一文不值的「當代藝術」，至今已經是不可同日而語的經典名 作，抑是藝術市場中高價作品的代名詞。 破壞之間同時帶來建樹與創新；今日熱門的日韓、歐美普普藝術範疇裡， 許多現今的當代藝術家們，也曾遭受到如當時印象派藝術家所經歷的 批評與攻擊；其中飽受精神疾病所苦的日本當代藝術巨擘草間彌生， 與作品帶有反戰意味且插畫風格強烈的奈良美智，兩位起初也不 被那時的日本藝壇接受而飽受抨擊；作品多半向普普藝術大師 們致敬的KAWS，亦是曾經被視為不入流的街頭塗鴉藝術的一 員，而這些今天的當代藝術，皆是昨日無法進入藝術聖殿的 次流創作；事過境遷，時至廿十一世紀，藝評家們所鄙棄過 的諸多創作卻轉而成為眾多美術館、博物館以及私人美術機 構等爭先恐後收藏的傑出大師佳作，亦同時間成為拍賣市場上 最火紅熱門的新寵兒。 物換星移，時移勢遷，隨著創作主流的轉變，收藏標的轉移以及大眾文化層次 的提升與對於美學、造型藝術鑑賞的風向移轉，當待人對於「藝術品」的界線 亦不再侷限與拘泥，是次春拍在這樣的脈絡之下，策畫了一場不同以往收藏 品味的概念性小型專場―「異想世界」；在提供藝術愛好者更多元的藏品選 擇以外，也企圖在瞬息萬變的藝術市場中，以爬梳美術史不斷發生的事件 為軸線，挖掘當代藝術中耀眼的明日經典。

In the 1860s, a never-before-seen style of painting emerged. A few artists decided to paint with unrefined brushstrokes and unbound structures, focusing on capturing how light and shadow change in a day, and depicting commonplace scenes or objects. The movement was attacked and criticized heavily by mainstream academic artists. This style is what is now well known as "Impressionism", with notable artists such as Claude Monet, Édouard Manet, and Pierre-Auguste Renoir. In the last three decades of the 19th century, Impressionism became mainstream in the French art circle, influencing the entire European art world, as well as many artists and artistic styles that came after. Impressionism revolutionized how color is viewed in art, introducing natural light to paintings, and boldly exploring different styles. As one of the foundations of modern art, Impressionism reexamined ideas about aesthetic value and plastic arts. Works of "contemporary art", which had also been heavily criticized in its time, have become classic masterpieces synonymous with a high price tag in the art market.

THE NEW TREND IN WHIMSICAL ART: COLLECTING A CONTEMPORARY NEW WORLD

12

Destruction that brings development and innovation. Within the popular Japanese, Korean, European, and American Pop Art style, many contemporary artists face the same criticism and attacks once faced by Impressionists. In particular, Kusama Yayoi, a Japanese master of contemporary art who was plagued by mental illness, and Yoshitomo Nara, known for antiwar messages and cartoon-like styles, were both ostracized by the Japanese art world, and heavily criticized. KAWS, whose works often pay tribute to Pop Art masters, was also once seen as no more than a graffiti artist. Much of the contemporary art we have today were considered sub-par, and rejected by the art world. Time passed, and by the 21st century, these creations, once scorned by art critics, became masterpieces sought after by many galleries, museums, and private collections. They have also become best sellers on the auction market.

Things change with the passing of years, as mainstream artwork changes, collectors switch focus, and popular culture elevates and changes its ability to appreciate aesthetics and plastic arts. People's idea of "artwork" is no longer limited within strict bounds. This edition of spring auction was organized with this in mind, presenting a small conceptual show of artwork outside conventional collectors' tastes: "Whimsical World". It provides art lovers with a diverse selection of artwork, and, following a pattern that repeats itself in art history, attempts to capture the next contemporary classic in the ever-changing art market.

201 Yayoi KUSAMA (Japanese, b. 1929)

Flowers 2002 Ceramic 91/300 23(L) x 23(W) x 2(D) cm Printed Signature YAYOI KUSAMA in English, dated 2002

NT$ 50,000-70,000 HK$ 13,000-18,000 US$ 1,700-2,300

14

草間彌生 花朵 2002 陶瓷盤 91/300 23(長) x 23(寬) x 2(厚) cm 印刷簽名：YAYOI KUSAMA 2002

202 Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

聖誕

Christmas

2001 陶瓷盤 400/500 23(長) x 23(寬) x 2(厚) cm 印刷簽名：YAYOI KUSAMA 2001

2001 Ceramic 400/500 23(L) x 23(W) x 2(D) cm Printed signature YAYOI KUSAMA in English, dated 2001

NT$ 50,000-70,000 HK$ 13,000-18,000 US$ 1,700-2,300

203 Yoshitomo NARA (Japanese, b. 1959)

Hell Cat 2000 Watch, wooden case, limited edition of 500 23(L) x 4(W) x 1(H) cm (watch) 27.5(L) x 8.5(W) x 3(H) cm (box) Incised on the reverse Na in Hiragana, and dated 2000

NT$ 40,000-60,000 HK$ 10,000-15,000 US$ 1,300-2,000

奈良美智 地獄小貓 2000 手錶 木盒 限量500件 23(長) x 4(寬) x 1(高) cm（手錶） 27.5(長) x 8.5(寬) x 3(高) cm（盒子） 雕刻手錶背面：な 2000

16

204 Yoshitomo NARA (Japanese, b. 1959)

Slash with a Knife 2001 Watch, metal case, limited edition of 500 22.8(L) x 4.3(W) x 1.5(H) cm (watch) 22.5(L) x 17(W) x 3(H) cm (box) This work is a ccompanied with a certificate and instruction manul from Citizen Watch Company

NT$ 50,000-70,000 HK$ 13,000-18,000 US$ 1,700-2,300

奈良美智 小刀劃開 2001 手錶 鐵盒 限量500件 22.8(長) x 4.3(寬) x 1.5(高) cm（手錶） 22.5(長) x 17(寬) x 3(高) cm（盒子） 附星辰錶所發之保證書和說明書

205 Andy WARHOL (American, 1928 - 1987)

Ingrid Bergman with Hat Print 21.5 x 21.5 cm Signed center left Andy W in English

NT$ 60,000-100,000 HK$ 15,000-26,000 US$ 2,000-3,300 18

安迪．沃荷 戴帽子的英格麗．褒曼 版畫 21.5 x 21.5 cm 簽名左中：Andy W

206 Takashi MURAKAMI x Mark GROTJAHN (Japanese, b. 1962) (American, b. 1968)

Untitled (Scarlet Lake and Indigo Blue Butterfly 826); Untitled (Canary Yellow and Black Butterfly 830) (a set of 2) 2010 Print, edition no. 157/300; 158/300 70 x 56 cm (each) Signed lower right M Grotjahn, m in English and numbered 157/300 Signed lower right M Grotjahn, m in English and numbered 158/300

NT$ 70,000-140,000 HK$ 18,000-36,000 US$ 2,300-4,600

村上隆 x 馬克．格羅蒂揚 無題（マークグロッチャン）（二件一組） 2010 版畫 157/300；158/300 70 x 56 cm (每件) 簽名右下：M Grotjahn, m 157/300 簽名右下：M Grotjahn, m 158/300

207 Yoshitomo NARA (Japanese, b. 1959)

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

NT$ 80,000-160,000 HK$ 21,000-41,000 US$ 2,700-5,300 20

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

208 Yoshitomo NARA (Japanese, b. 1959)

Untitled 2005 Print, edition E.A. 3/10 43 x 34 cm Signed lower right Na in Japanese and dated '05, numbered lower left E.A. 3/10

NT$ 160,000-260,000 HK$ 41,000-67,000 US$ 5,300-8,600

奈良美智 無題 2005 版畫 E.A. 3/10 43 x 34 cm 簽名右下：な '05 版次左下：E.A. 3/10

209 Yoshitomo NARA (Japanese, b. 1959)

Y.N. (Self-portrait) 2002 Etching and aquatint printed in colors, edition 34/35 49 x 38 cm Signed lower right Na in Japanese, numbered lower left 34/35, and dated 2002

NT$ 320,000-420,000 HK$ 82,000-108,000 US$ 10,600-13,900

奈良美智 Y.N. （自畫像）

2002 版畫 34/35 49 x 38 cm 簽名下方：な 2002 版次左下：34/35

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210 Yoshitomo NARA (Japanese, b. 1959)

In the Cloud 2003 Print, edition H.C. 1/2 42.5 x 32.5 cm Signed lower right Na in Japanese, numbered lower left H.C. 1/2, and dated 2003

NT$ 360,000-460,000 HK$ 93,000-118,000 US$ 11,900-15,200

奈良美智 在雲中 2003 版畫 H.C. 1/2 42.5 x 32.5 cm 簽名下方：な 2003 版次左下：H.C. 1/2

211 Yoshitomo NARA (Japanese, b. 1959)

Star Island 2003 Screenprint in colors on wove paper, edition E.E.2/2 30 x 30 cm Signed on the reverse Na in Hiragana, numbered 2/2 e.e, and dated 2003

NT$ 360,000-460,000 HK$ 93,000-118,000 US$ 11,900-15,200 24

奈良美智 星之島 2003 版畫 EE 2/2 30 x 30 cm 簽名畫背：な 2/2 e.e 2003

212 Yoshitomo NARA (Japanese, b. 1959)

Doggy Radio x RIMOWA 2011 Fiberglass, edition no. 138/200 (radio); aluminium (suitcase) 43(L) x 22.5(W) x 29.5(H) cm (radio) 53.5(L) x 27.5(W) x 42.5(H) cm (suitcase) This Radio is to be sold with a certificate of authenticity signed by the artist.

NT$ 220,000-360,000 HK$ 57,000-93,000 US$ 7,300-11,900

奈良美智 小狗收音機 x RIMOWA旅行箱

2011 玻璃纖維 138/200；鋁合金手提箱 43(長) x 22.5(寬) x 29.5(高) cm（收音機） 53.5(長) x 27.5(寬) x 42.5(高) cm（旅行箱） 附藝術家親簽保證卡、防塵套 (限量旅行箱組合保證書簽名：な)

213 Yoshitomo NARA (Japanese, b. 1959)

Mori Girl 2012 Mixed media, edition no. 16/200 18(L) x 14.5(W) x 30(H) cm This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 420,000-600,000 HK$ 108,000-154,000 US$ 13,900-19,900

奈良美智 森子 2012 綜合媒材 16/200 18(長) x 14.5(寬) x 30(高) cm（森子） 附藝術家親筆簽名作品保證卡

26

214 Yoshitomo NARA (Japanese, b. 1959)

Sleepless Night Sitting 2007 Fiberglass, edition no. 296/300 15(L) x 19(W) x 28(H) cm (sculpture) 36(L) x 26(W) x 24(H) cm (box) EXHIBITED: NARA + GRAF, Centro de Arte Contemporáneo de Málaga, Spain, September 21, 2007 - January 6, 2008 (different edition exhibited) ILLUSTRATED: Yoshitomo Nara + graf, A to Z, FOIL Co.,Ltd., Tokyo, Japan, 2006, unpaginated.

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

NT$ 950,000-1,800,000 HK$ 244,000-463,000 US$ 31,500-59,600

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奈良美智 失眠夜坐著 2007 玻璃纖維 296/300 15(長) x 19(寬) x 28(高) cm（人物） 36(長) x 26(寬) x 24(高) cm（箱子） 展覽： 「奈良 + GRAF」，馬拉加當代藝術中心，西班牙，展期自2007 年9月21日至2008年1月6日 圖錄： 《奈良美智 + graf: A to Z》，Foil 有限會社，東京，日本， 2006，彩色圖版，無頁數 《奈良美智全作品集1984-2010》第一卷，美術出版社，東京， 日本，2011，彩色圖版，頁314（圖片為不同版次） 附作品保證書及木盒

215 Yoshitomo NARA (Japanese, b. 1959)

Silent 1995 Acrylic on paper 47.3 x 35.8 cm Signed lower left Na in Japanese and dated '95 lower right

NT$ 1,600,000-2,600,000 HK$ 411,000-668,000 US$ 53,000-86,100

奈良美智 靜 1995 壓克力 紙本 47.3 x 35.8 cm 簽名左下：な 年代右下：'95

奈良美智是其中一位最具影響力的日本當代藝術家，他的作品在亞洲以至國際市場上 均受到收藏家的熱烈追捧。隨著他的名氣日漸提升，其作品價格也跟著提升，當中更 不乏價值百萬美元的作品。強烈的孤獨感是奈良美智的創作精神來源，他的作品呈現 強烈的自我意識，很多時反映自身的不安。從宏觀去看，他的作品流露著日本獨特的 文化精神，也暗示現代人的孤寂感。 奈良美智在九十年代的藝壇迅速冒起，與當時日本的藝術運動是息息相關的。他的作 品常被歸類為村上隆的「超扁平」風格—一種由日本動漫文化引申，源自對禦宅文化 狂熱愛好的美學概論。儘管奈良美智的繪畫風格有著「超扁平」藝術的簡約線條和平 面構圖，但其創作題材和方向則不太相似。村上隆的創作概念源自對日本大眾文化的 嘲諷，他透過幼稚的卡通和動漫人物誇張的造型和性徵，批評日本次文化的膚淺。從 這方面去看，奈良美智和這股藝術運動相距甚遠。他的作品沒有諷刺日本文化的傾 向，所描繪的孩童也沒有性的意味。奈良美智拒絕被標籤為「超扁平」藝術家等一切 陳腔濫調的命名， 他明言道：「在整個二十世紀九十年代，整整十年，我並不在日 本。這對於我來說是一個謎，我不明白為什麼常被關聯到這個藝術運動中，一個時間 和地點都如此明確的藝術運動。」 The diversity of Yoshitomo Nara’s followers is an achievement seldom reached by a living artist. With a strong sub-culture cult following across the globe, combined with fine art pieces realizing prices of over one million US dollars, Nara’s meteoric rise to prominence within the past decade comes as no surprise. With this growth in status comes growth in value; Nara’s works have more than doubled in investment worth since 2004, and continue to thrive in a demanding world market.

Nara began his rapid ascension within the art world in the 1990s, and is often closely associated with Japanese artistic movements of that period. His work is commonly attributed as belonging to Takashi Murakami’s “Superflat,” an artistic theory which draws clear inspiration from Japanese manga and anime, with ties and forays into otaku popculture fanatic obsession. However, while Nara’s works share characteristics of Superflat in the use of simple lines and lack of visual dimension, the subject matter vastly differs from that of most Superflat artists. Murakami developed the theory as a mocking critique for consumerism and cultural objectification within the society around him, and often employs the sexualization reminiscent of fetishist Lolita culture, along with playful and childish imagery. In such subject matter, Nara takes a distinct departure from the movement. His works do not focus on a consumerist culture, and the children he depicts are neither sexual nor childish. Indeed, Nara himself rejects the clichéd association of his work with Superflat, distancing himself by stating: “the entire 1990s, the entire decade, I was not even in Japan.

I was absent. It’s a mystery to me why I’m so often associated with a movement that is so specific to that time and to that place.”

30

216 Yayoi KUSAMA (Japanese, b. 1929)

Amour pour Toujours (a set of 10) 2000 Screenprint, 28/60 38 x 45.5 cm (each) Signed lower right Yayoi kusama in English and titled Tulipe(II), Tulipe(I), Panier de fruits(II), Citrouille(I), Papillon(I), Chapeau(I), Panier de fruits(I), Citrouille(II), Papillon(II), Chapeau(II) in French, dated 2000 and numbered 28/60 ILLUSTRATED: All Prints by Kusama Yayoi, Abe Publishing Ltd., Tokyo, 2006, color illustrated, pp. 142-143

NT$ 950,000-1,600,000 HK$ 244,000-411,000 US$ 31,500-53,000

草間彌生 無限的愛（十件一組） 2000 版畫 28/60 38 x 45.5 cm (每件) 簽名下方：28/60, Tulipe(II), Tulipe(I), Panier de fruits(II), Citrouille(I), Papillon(I), Chapeau(I), Panier de fruits(I), Citrouille(II), Papillon(II), Chapeau(II), 2000 Yayoi Kusama 圖錄： 《草間彌生全版畫》，阿部出版，東京，2006， 彩色圖版，頁142-143

32

217 Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1991 Acrylic on canvas 22.7 x 15.8 cm Signed on the reverse YAYOI KUSAMA in English, titled Pumpkin in Hiragana, and dated 1991 This painting is to be sold with a certificate of authenticity issued by Yayoi Kusama Studio

NT$ 3,000,000-4,000,000 HK$ 771,000-1,028,000 US$ 99,400-132,500

草間彌生 南瓜 1991 壓克力 畫布 22.7 x 15.8 cm 簽名畫背：YAYOI KUSAMA 1991 かぼちや 附草間彌生工作室開立之原作登錄卡

34

草間彌生以藝術創作來治療她的創傷，因此她的作品都傳達著她內 心深處的情感。《南瓜》跟草間彌生的其他作品一樣，集合了她各 個系列的視覺元素，呈現自小困擾著這位藝術家的幻覺。草間以大 大小小的黑色圓點排列成南瓜的形狀，艷麗奪目的黃色欲躍而出， 鮮明的對比帶來了巨大的視覺震憾。背景中黃色的幼細線條形成了 「無限的網」，突顯出南瓜的飽滿形態。《南瓜》的主題源自草間 彌生兒時在農場所產生的幻覺，當時她看見南瓜跟她說話，深深被 南瓜圓潤的形狀所吸引。草間彌生把自己的幻覺經歷投射在其作品 中，透過攝人心魄的作品釋放壓抑的情緒。她說：「我就是以這樣 的方式，讓當下感受到的驚嚇和恐懼漸漸沉澱，這些經歷可以說是 我畫畫的初衷。」 Utilizing her art as means for reconciling the obstacles and traumas of her life, each of Yayoi Kusama’s works conveys a deeply personal attachment and connection. Pumpkin is no exception, recalling Kusama’s childhood and combining aesthetic elements from each of Kusama’s signature series.

Varying black dots arrange to establish the structural form of the immense, central gourd, marching in hypnotic lines to create the undulating bulbous surface. The negative space left by the dots allows the vibrant, neon yellow to pulsate through, while the deliberate fractal composition of the dots provides depth and dimension. From negative space to layered construction, the luminous yellow becomes the webbed lines of the “infinity nets” which sweep across the background, illuminating and contrasting with the bulbous form of the pumpkin, throwing the spotted vegetable into further distinction. The subject of the pumpkin originates with Kusama’s childhood spent on a wholesale vegetable farm, where pumpkins were a major local crop. It was during this time that the artist first began to experience the visual and aural hallucinations that would plague her throughout her life. “My art originates from hallucinations only I can see,” Kusama explains, “I translate the hallucinations and obsessional images that plague me into sculptures and paintings.”

36

218 Yayoi KUSAMA (Japanese, b. 1929)

Untitled 1985 Mixed media 10.7(L) x 11(W) x 10.6(H) cm Signed on the bottom YAYOI KUSAMA English and dated 1985.

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

by Yayoi Kusama Studio

NT$ 1,100,000-2,200,000 HK$ 283,000-566,000 US$ 36,400-72,900

草間彌生 無題（單一件） 1985 綜合媒材 10.7(長) x 11(寬) x 10.6(高) cm 簽名底部：YAYOI KUSAMA 1985 附草間彌生工作室開立之原作登錄卡

219 Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1998 Bronze, edition no. 45/100 27(L) x 27(W) x 28(H) cm Engraved YAYOI KUSAMA in English, dated 1998 and numbered 45/100 This sculpture is to be sold with a certificate of authenticity issued by FMR Limited, Japan.

NT$ 900,000-1,200,000 HK$ 231,000-308,000 US$ 29,800-39,800

草間彌生 南瓜 1998 銅雕 45/100 27(長) x 27(寬) x 28(高) cm 簽名雕刻：YAYOI KUSAMA 1998 45/100 附FMR開立之作品保證書

38

220 Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin (a set of 5) 2002 Porcelain, edition of 130, HC 9.5(L) x 9.5(W) x 7.5(H) cm (each) Signed on the bottom YAYOI KUSAMA, inscrbed H.C., and dated 2002 ILLUSTRATED: All Prints of Yayoi Kusama 1979-2004, Abe Publishing, Tokyo, 2005, color illustrated, p. 3 This sculpture is to be sold with a certificate of authenticity issued by FMR Ltd, Japan.

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,600-11,900

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草間彌生 南瓜（五件一組） 2002 瓷器 限量130 H.C. 9.5(長) x 9.5(寬) x 7.5(高) cm (每件) 簽名底部：YAYOI KUSAMA 2002 H.C. 圖錄： 《草間彌生全版畫集1979-2004》，阿部出版， 東京，2005，彩色圖版，頁3 附FMR開立之作品保證書

221 Yayoi KUSAMA (Japanese, b. 1929)

Ashtray

草間彌生

1988 Print edition no. 34/50 73 x 86 cm Signed lower right Yayoi Kusama in English, numbered lower left 34/50, titled Ashtray in kanji, dated 1988

1988 版畫 34/50 73 x 86 cm 簽名右下：Yayoi Kusama 題識左下：34/50 灰皿1988

NT$ 300,000-400,000 HK$ 77,000-103,000 US$ 9,900-13,300

灰皿

222 Kazuo SHIRAGA

扇子

Painted Fan

水彩 紙本 15 x 50 cm 簽名右下：白髮

Watercolor on paper 15 x 50 cm Signed lower right Shiraga in Kanji

NT$ 300,000-400,000 HK$ 77,000-103,000 US$ 9,900-13,300

42

白髮一雄

(Japanese, 1924 - 2008)

223 Sadamasa MOTONAGA

元永定正

(Japanese, 1922 - 2011)

無題

Untitled

1984 陶板 （單一件） 30.5 x 30.5 cm 簽名中下：元永 年代右下：一九八四年

1984 Pottery board painting (unique) 30.5 x 30.5 cm Signed lower center Motonaga in Kanji Dated lower right 1984 in Kanji

NT$ 460,000-550,000 HK$ 118,000-141,000 US$ 15,200-18,200

224 ZHOU Chunya (Chinese, b. 1955)

Green Dog 2016 Porcelain, edition, 6/20 11(L) x 16(W) x 28.5(H) cm (including the base) 16.3(L) x 20.3(W) x 29(H) cm (excluding the base) Signed lower left Zhou Chunya in Chinese, and numbered 06/20 This work is to be sold with a certificate of authenticity issued by Meissen and signed by the artist

NT$ 700,000-900,000 HK$ 180,000-231,000 US$ 23,200-29,800

周春芽 綠狗 2016 瓷器 6/20 11(長) x 16(寬) x 28.5(高) cm (不含底座) 16.3(長) x 20.3(寬) x 29(高) cm (含底座) 簽名左下：周春芽 06/20 附Meissen開立及藝術家簽名之作品保證書

44

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

Companion (Black) 2007 Painted cast vinyl, edition of 100 37(L) x 57(W) x 127(H) cm Trademark © KAWS,, 07 on the bottom of right feet MEDICOM TOY 2007, MADE IN CHINA on the bottom of left feet

NT$ 650,000-850,000 HK$ 167,000-219,000 US$ 21,500-28,200

布萊恩．唐納利 同伴（黑色） 2007 彩繪 搪膠 限量100件 37(長) x 57(寬) x 127(高) cm 註冊商標：© KAWS.. 07 (右腳底) MEDICOM TOY 2007 MADE IN CHINA (左腳底)

46

布萊恩．唐納利是一位布魯克林藝術家，曾創作許多具影響力的普普風作 品，創作領域廣泛，包括圖形設計、繪畫、產品設計、壁畫和大型雕塑。 他善於用壓克力顏料創作出明亮的大型帆布畫像，以及用玻璃纖維、青 銅、鋁材、木材等素材雕塑，相同的形象經常在作品中反覆出現，超越語 言與文化的範疇與界線，橫跨藝術與商業設計的領域。布萊恩．唐納利出 生紐澤西，以「KAWS」的名稱廣為人知，而他之所以選擇「KAWS」作 為創作時的屬名，是因為他很喜歡這四個字串連在一起的組合。在紐澤西 市長大的他熱愛滑板，經常在鐵路運貨車和牆壁上塗鴉，因此啟發了塗鴉 的才能。1992 年從中學畢業後，他開始將圖像畫在廣告看板和海報上，以 不帶痕跡的筆觸讓壓克力顏料與原本的廣告完美結合。他在 1999 年和日 本服飾品牌 Bounty Hunter 聯手推出第一個玩具公仔《伴侶》。在湯姆．衛 塞爾曼與克拉斯．歐登伯格等藝術家的強烈啟發下，他也開始創作不同的 公仔款式。這些早期的創作嘗試讓他在全球藝術玩具社群大受矚目，而他 在商業界引發的流行也開啟了與許多知名品牌合作的機會，包括日本的 A Bathing Ape、Undercover、Medicom、Santastic，以及家喻戶曉的西洋商業 巨擘 Nike、Supreme、Kiehl's、Hennessy、Marc Jacobs。 KAWS, a Brooklyn-based artist, has created a prolific body of influential work under the Pop Art tradition. The artist’s wide-ranging practices include graphics, paintings, product design, murals and large-scale sculptures. The artist’s large, bright and graphical canvases immaculately rendered in acrylic paint and monumental large-scale fiberglass, bronze, aluminum and wood sculptures often exhibits many replicating imageries that surpass the realms and boundaries of linguistics and culture that transpires between art and commercial design.

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

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

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

Dissected Companion: Resting Place (Brown) 2012 Painted cast vinyl, edition of 500 21(L) x 30(W) x 23(H) cm Trademark © KAWS..12 MEDICOM TOY 2012 CHINA on the bottom of left feet

NT$ 50,000-70,000 HK$ 13,000-18,000 US$ 1,700-2,300

布萊恩．唐納利 同伴解剖（休息處）（棕） 2012 彩繪 搪膠 限量500版 21(長) x 30(寬) x 23(高) cm 註冊商標：© KAWS..12 MEDICOM TOY 2012 CHINA (左腳底)

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

Snoopy; Astro Boy; Tweety (a set of 3) 2012 Mixed media plasitc, edition of 500 9.5(L) x 13(W) x 21(H) cm 14(L) x 16.2(W) x 37.6(H) cm 10(L) x 16.1(W) x 23.2(H) cm EXHIBITED : Astro Boy (grey) “KAWS”, Mary Boone Gallery, New York, 2013 “KAWS @ PAFA”, Pennsylvania Academy of the Fine Arts, Philadelphia, 2013 “Beautiful Losers”, Cincinnati Contemporary Art Center, Ohio, 2009 “OriginalFake”, Bape Gallery, Tokyo, 2003

NT$ 110,000-220,000 HK$ 28,000-57,000 US$ 3,600-7,300

布萊恩．唐納利 史奴比；原子小金剛；崔弟（三件一組） 2012 綜合媒材 搪膠 限量500版 9.5(長) x 13(寬) x 21(高) cm 14(長) x 16.2(寬) x 37.6(高) cm 10(長) x 16.1(寬) x 23.2(高) cm 展覽： 原子小金剛(灰) 「KAWS」，瑪莉‧布恩畫廊，紐約，2013 「KAWS @ PAFA」，賓州美術館，賓州，2013 「Beautiful Losers」，辛辛那提當代藝術中心，俄亥俄州，2009 「OriginalFake」，Bape Gallery (安逸猿畫廊)，東京，2003

228 KAWS x Hajime SORAYAMA (Brian Donnelly, American, b. 1974) (Japanese, b. 1947)

No Future Companion (Silver Chrome) 2008 Metal (Silver Chrome); edition no. 165/500 20 (L) x 20 (W) x 32 (H) cm Stamped on the base OriginalFake© EDITION, KAWS,, Sorayama, MEDICOM TOY 2008, MADE IN CHINA ; numbered 165/500

NT$ 240,000-340,000 HK$ 62,000-87,000 US$ 8,000-11,300

布萊恩．唐納利 x 空山基 沒有未來的同伴（銀鉻） 2008 金屬 (銀鉻)；版次 165/500 20(長) x 20(寬) x 32(高) cm 簽名底部：OriginalFake© EDITION, KAWS,, Sorayama, MEDICOM TOY 2008 MADE IN CHINA 165/500

50

229 Jeff KOONS

(American, b. 1955)

Balloon Dog (Yellow) 2015 Glazed porcelain, edition no.854/ 2300 26.7(L) x 26.7(W) x12.7(D) cm Stamped Jeff Koons on the reverse This work is to be sold with a certificate of authenticity issued by Bernardaud Group, France.

NT$ 280,000-360,000 HK$ 72,000-93,000 US$ 9,300-11,900

傑夫．昆斯 氣球狗（黃） 2015 釉瓷 854/2300 26.7(長) x 26.7(寬) x 12.7(深) cm 印刷簽名：JEFF KOONS 附Bernardaud Group開立之作品保證書

INGENUITY INHERITANCE IMMORTAL

52

匠心獨具

傳承不朽

二次世界大戰之後百業待興，人們期待未來，嚮往著更好生活。而 當時各種思潮奔馳，百花盛開，藝術家、詩人、作家、設計師等紛 紛脫去過往傳統的緊箍咒，壓抑的藝術或是創作形式皆不復存在， 加上資訊發達與新知識的積累效應，藝術或是文學創作迅速發展， 如同萬花筒般令人眼花撩亂卻處處充滿驚喜，其中最受矚目的即為 以美國紐約為首的抽象表現主義、新達達主義或是普普藝術，而這 繁花盛開的各種思想解放亦不單單侷限在藝術創作。 在工藝設計等造型藝術上，起初流行於法國巴黎的法國現代主義或 稱裝飾主義曾經獨領風騷引發流行，其與發源於德國的包浩斯主 義蔚為當時最新潮且前衛的設計風格；時至30年代，世界各地皆進 入大蕭條時期，兩種工藝美學派別也彷彿噤若寒蟬般地受到壓抑， 而此時，一股獨特的全新風格正緩慢地發酵。這股來自北歐，斯堪 地那維亞地區的造型工藝與其在傳統手工藝基礎上形成兼具「家庭 功能」的現代設計風格開始產生廣泛的影響。斯堪地那維亞來的風 格在二戰後的1950年代達到高峰，在固守設計理念下，朝著精湛工 藝、簡練結構的風格造型，與大膽創新的獨特美學與創作概念早已 席捲歐洲地區，並已形成一個能與世界相抗衡的設計基地。 北歐風格的斯堪地那維亞美學以三個國家為首，卻也以三個國家的 地理或是政治等各種因素個別相異，但卻各自閃耀；這群深具影響 力藝術家的創作概念不僅左右著當代設計思潮，更是深深地影響著 後代造型藝術的發想創新，甚至被奉為圭臬；最負盛名的即是丹麥 設計巨匠，漢斯．韋格納、現代設計美學大師，芬尤以及，斯文德 ・奧格・馬德森等，他們在追求造型藝術的完美、突破、創新與功 能性之外，亦同時回歸到以人為本的初衷，使得這些單椅傢俱得以 流傳成為偉大的經典創作。在這股北歐浪潮以外，同時間歐洲大陸 德國從包浩斯以降，也衍伸出一股洗鍊、造型優美的設計美學，而 遠在南美洲的巴西亦趕上這股新興的創作思潮，當中最具知名度的 是珀西瓦爾．拉費爾，其作品飽含建築哲學意味之外，他堅持創作 出不媚俗、不追求菁英文化的普世品味與精細玫瑰木的工藝美學使 得他足以站上世界頂尖設計師之林。時至今日，這些各件設計單品 除了本身所具備的功能性之外，亦是世界各地諸多美術館以及博物 館機構收藏標的，這群藝術家所帶來的工藝美學超脫了原本的創作 概念，昇華成一件件作工精細、材質別緻講究、美學造型迷人的雕 塑傑作，別具時代意義。

Finn Juhl

Chieftain Chair, 1949

A LASTING LEGACY OF INGENUITY After WWII, many industries remained to be done, and people looked forward to the future, to a better life. It is a time where different ideas flourished, artists, poets, writers, and designers were free from traditional restrictions. Limitations upon art and creative expression were lifted, and coupled with developing information and new knowledge, art and literature took off, full of kaleidoscopic wonders, most notable of which is Abstract Expressionism, Neo-Dadaism, and Pop Art from New York. This sudden liberation of ideas was not limited to artistic expression.

In plastic arts such as craft design, French Modernism, otherwise known as Art Deco, was a trend that started in Paris that became a sensation. Art Deco and the German Bauhaus style were hailed as the most modern and avant-garde design styles at the time. Then came the 30s, when many places around the world sand into a period of depression. These two aesthetic styles were suppressed, and was silent. At the same time, a brand new style began to develop. A modern design style that integrated "family functions" into traditional craft emerged from Scandinavia, and began its widespread influence. This Scandinavian trend reached its peak in the post-war 1950s. Under strong design principals, the exquisite craftsmanship, simplistically structured appearance, and bold and unique aesthetic concepts of this style swept across Europe, making Scandinavia a design capital in its own right.

The Scandinavian aesthetics were led by three countries, but diverged and shined in different ways due to geological and political differences. The concepts of these highly influential artists not only impacted contemporary design ideas, but also deeply influenced innovation in plastic arts for later generations, even being hailed as the ultimate standard.

Among the most famous of these artists, are Danish designer Hans Wegner, and Finland's aesthetic master of design, Svend Aage Madsen. As they strive towards perfection, breakthroughs, innovation, and functionality, they also held on to their original intention, which is to care for people, and that's what made these chairs and furnitures grand, classic creations. Other than this Scandinavian trend, a sophisticated, elegant design aesthetics stemming from the German Bauhaus style emerged in Europe, while Brazil also caught up with this new wave of creative ideas, with famous designers like Percival Lafer, who not only creates works steeped in architectural philosophy, but also insists on crafting elegant, accessible pieces that does not pander to elitism. His ideals and intricate rosewood designs put him among the top designers of the world. To this day, every one of these pieces are not only functional, but also the prize of many galleries and museums around the world.

The craft aesthetics these artists possess made their works transcend their original creative concept, into intricately crafted and aesthetically pleasing sculptures with exquisite material, that are very much significant to this era.

54

A LASTING LEGACY OF INGENUITY

230 Percival Lafer

珀西瓦爾．拉費爾

Lounge Chair

1970 玫瑰木 皮革 83(長) x 90(深) x 86(高) cm

(Brazilian, b. 1936)

1970 Rosewood, leather 83(W) x 90(D) x 86(H) cm

NT$ 110,000-220,000 HK$ 28,000-57,000 US$ 3,600-7,300

56

休閒椅

231 Niels Otto Møller (Danish, 1920-1988)

Model 62 1962 Rosewood, leather, limited edition 56(W) x 55(D) x 80(H) cm

NT$ 130,000-240,000 HK$ 33,000-62,000 US$ 4,300-8,000

尼爾斯．奧拓．莫勒 原型-62 扶手椅 1962 玫瑰木 皮革 限量版 56(長) x 55(深) x 80(高) cm

232 Sigurd Ressell (Norwegian, 1920-2010)

Falcon Chair Low back (x2) 1974 Steel, leather 76(W) x 71(D) x 80(H) cm (x2)

NT$ 130,000-240,000 HK$ 33,000-62,000 US$ 4,300-8,000

58

西格德．拉塞爾 海鷗椅（兩件） 1974 鋼 皮革 76(長) x 71(深) x 80(高) cm (x2)

233 Hartmut Lohmeyer (German, 1923-1993)

Lounge Chair 1956 Teak, leather, cane 73(W) x 73(D) x 70(H) cm

NT$ 130,000-220,000 HK$ 33,000-57,000 US$ 4,300-7,300

哈特穆特．羅美爾 休閒椅 1956 柚木 皮革 籐 73(長) x 73(深) x 70(高) cm

234 Kai Kristiansen (Danish)

Chest 1960s Brazilian rosewood 80(W) x 44(D) x 111(H) cm

NT$ 110,000-220,000 HK$ 28,000-57,000 US$ 3,600-7,300

60

凱．克里斯坦森 五斗櫃 1960年代 巴西玫瑰木 80(長) x 44(深) x 111(高) cm

62

235 Arne Vodder (Danish, 1926-2009)

Model 63 1958 Teak 182(W) x 50(D) x 115(H) cm

NT$ 140,000-240,000 HK$ 36,000-62,000 US$ 4,600-8,000

阿恩．佛德 Model 63 捲門櫃

1958 柚木 182(長) x 50(深) x 115(高) cm

236 Bern H. Pedersen (Danish)

No. 142 1965 Rosewood 165(W) x 50(D) x 80(H) cm

NT$ 160,000-260,000 HK$ 41,000-67,000 US$ 5,300-8,600

伯恩．佩德森 No. 142 邊櫃

1965 玫瑰木 165(長) x 50(深) x 80(高) cm

64

佩德森的造型能力試圖以材質最初的面貌作為創作的基礎，在簡單不繁雜的斯堪地那維 亞理性風格下融入了些許圓潤且感性的低調美學，其最著名的設計為邊櫃第142號創作， 在強調木質本身的優美紋路以外亦符合當時以功能性作為設計基礎的人文美學，而這款 不朽的邊櫃亦開始重新被生產製造，可見其在現代設計史的地位之重要。 Pedersen created the work which tried to exhibit the original outline and appearance of the material. He brought the modest esthetics and warmth into the rationality which often seen in the Scandinavian design style. His most famous work No. 142 emphasized the texture and the patterns of the material and also corresponded to the aesthetics of humanity and the practicality of that time. This remarkable art work has been reproduced today which proves its significant position in the modern design history.

237 Kai Kristiansen (Danish)

Model 70 Desk 1960s Rosewood 150(W) x 73(D) x 72(H) cm

NT$ 160,000-260,000 HK$ 41,000-67,000 US$ 5,300-8,600

凱．克里斯坦森 Model 70 書桌

1960年代 玫瑰木 150(長) x 73(深) x 72(高) cm

66

238 Svend Aage Madsen (Danish)

Desk

1960s Rosewood 150(W) x 73(D) x 72(H) cm

NT$ 170,000-260,000 HK$ 44,000-67,000 US$ 5,600-8,600

斯文德．奧格．馬德森 書桌 1960年代 玫瑰木 150(長) x 73(深) x 72(高) cm

239 Niels Otto MØLLER (Danish, 1920 - 1988)

Model 254 Dining Table 1950s Teak, cane 161(W) x 51(D) x 50.5(H) cm

NT$ 160,000-260,000 HK$ 41,000-67,000 US$ 5,300-8,600

尼爾斯．奧拓．莫勒 原型-254 餐桌 1950年代 柚木 籐 161(長) x 51(深) x 50.5(高) cm

68

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

AT 309 1959 Teak, oak, brass 178/228(W) x 86(D) x 72(H) cm

NT$ 190,000-280,000 HK$ 49,000-72,000 US$ 6,300-9,300

漢斯．韋格納 AT-309 餐桌

1959 柚木 橡木 黃銅 178/228(長) x 86(深) x 72(高) cm

單椅藝術家漢斯．韋格納歷年的經典作品中，其1949年中 所創作的The Chair堪稱單椅世界中的傳奇；該件作品以最 平凡簡單的線條構造以及圓滑且低調的造型問世，隔年卻 在美國家居雜誌上大獲推崇，並且在1960年時被約翰甘迺 迪所選用為當年首屆總統電視辯論會的座椅，從此聲名大 噪，而該單椅現今則典藏於華盛頓特區，史密森美國歷史 博物館，此為另一材質所製單椅。 Among the classic pieces by Wegner “The Chair” created in 1949 is believed to be the legend in the world of single chairs.

Presented with the simplest structure as well as a round, smooth shape, it was highly praised on the furniture magazines in the U.S.A. the next year. In 1960, it was chosen by J. F. Kennedy as the chair for the first televised presidential debate, and has since gained great fame. This single chair is now collected by National Museum of American History – Smithsonian, Washington DC. The auction item is made of other material, as well as popular when it was first created.

Hans J. Wegner

JH 501 The Chair, 1949

70

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

JH 501 The Chair 1949 Teak, cane 63(W) x 53(D) x 76(H) cm

NT$ 170,000-260,000 HK$ 44,000-67,000 US$ 5,600-8,600

漢斯．韋格納 JH501 圓椅

1949 柚木 籐 63(長) x 53(寬) x 76(高) cm

242 Percival LAFER (Brazilian, b. 1936)

Sofa & Table 1958 Rosewood, leather 200(W) x 95(D) x 96/82(H) cm (sofa) 133(W) x 74(D) x 41(H) cm (table)

NT$ 220,000-320,000 HK$ 57,000-82,000 US$ 7,300-10,600

珀西瓦爾．拉費爾 沙發、茶几 1958 玫瑰木 皮革 200(長) x 95(深) x 96/82(高) cm (沙發) 133(長) x 74(深) x 41(高) cm (茶几) 藝術家所倡導的是不單僅給精英階級的品味，而是 給當代人皆能共賞的美好設計。他的作品捕捉了現 代美學意涵以外同時更具創新與突破的氛圍，也融 入些許熱帶氣息，為中世紀傢俱最獨特且具代表性 的巴西藝術家。 Percival Lafer meant to create the works which not catering for the elites but for his contemporaries.

His works captures the modern esthetics but also the atmosphere of innovation and creativity. The artist melted the tropical elements into this creation which makes him the most remarkable Brazilian mid-century furniture artist.

72

243 Hartmut Lohmeyer (German, 1923-1993)

Sofa 1956 Teak, leather, cane 182(W) x 73(D) x 70(H) cm

NT$ 240,000-340,000 HK$ 62,000-87,000 US$ 8,000-11,300

哈特穆特．羅美爾 沙發 1956 柚木 皮革 籐 182(長) x 73(深) x 70(高) cm

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

CH 27 1949 Oak, cane 72(W) x 76(D) x 78(H) cm

NT$ 240,000-360,000 HK$ 62,000-93,000 US$ 8,000-11,900

漢斯．韋格納 CH 27

1949 橡木 籐 72(長) x 76(深) x 78(高) cm

74

Hans J. Wegner

“The mother of contemporary chair”

此件作品因設計於1945年而得此名，與芬尤另件作品酋長椅在當年首度展出之 後則被丹麥工藝設計中心永久典藏，是藝術家最著名的兩件單椅。作品結構以 實用功能性為主軸，底部的斜面支撐取代傳統水平結構，芬尤招牌的漂浮椅面 亦可見於該件作品。造型優雅，從視覺美學到坐下時的舒適感，讓擁有者體會心 靈美學與功能性並存的完美單椅；45號椅被公認是芬尤最令人驚豔的作品之一， 有著雕塑般細膩且溫潤的有機曲線，被譽為「世界上最美麗的扶手椅」、「當代椅 子之母」。 Designed in 1945 which gave the chair No. 45 is one of the most famous chairs by Finn Juhl along his other creation, the Chieftain Chair. These two chairs were both collected into Danish Design Museum after their first exhibited. The structure of the work is based on its functional purpose and the traditional horizontal structure is replaced by the ramp structure. At the same time the signature floating seat design of Finn Juhl can be seen in this beautiful work. This work provides not only the elegant outline to the visual experience but also the comforting feeling to the owner, a chair which the esthetics and the practicality are co-existing. The No. 45 Chair is praised one the most admirable works with perfection by Finn Juhl. It combines the warm texture of sculpture and organic curving lines and has been recognized “The most beautiful armchair in the world” and “The mother of contemporary chair”.

76

245 Finn Juhl

(Danish, 1912-1989)

45 Chair FJ 4500 1945 Teak, leather 66(W) x 73(D) x 88(H) cm

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,600-11,900

芬尤 45號椅

1945 柚木 皮革 66(長) x 73(深) x 88(高) cm

246 Finn Juhl

(Danish, 1912-1989)

BO 59 Fireplace Armchair 1946 Teak, leather 66(W) x 69(D) x 82(H) cm

NT$ 280,000-380,000 HK$ 72,000-98,000 US$ 9,300-12,600

78

芬尤 BO59 壁爐扶手椅

1946 柚木 皮革 66(長) x 69(深) x 82(高) cm

247 Niels Otto Møller (Danish, 1920-1988)

Model 78 (x6) 1962 Brazilian rosewood, leather 48(W) x 52(D) x 80(H) cm (x6)

NT$ 300,000-400,000 HK$ 77,000-103,000 US$ 9,900-13,300

尼爾斯．奧拓．莫勒 原型-78 （六件） 1962 巴西玫瑰木 皮革 48(長) x 52(深) x 80(高) cm (x6)

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

Valet Chair 1953 Oak, teak 50(W) x 50(D) x 95(H) cm

NT$ 320,000-420,000 HK$ 82,000-108,000 US$ 10,600-13,900

漢斯．韋格納 衣架椅 1953 橡木椅身 柚木坐墊 50(長) x 50(深) x 95(高) cm

此件作品為漢斯‧韋格納造型藝術的另一大突破，獨特的椅 背構造兼具了實用與奇特的美學概念，使得該單椅成為藝術 家最具代表性且識別度極高的作品之一。椅背上方設計為衣 架外形，可懸掛西裝外套，椅座則可掀開掛長褲；座椅下方 設計成置物盒，可收納皮夾、鑰匙等小型物件，亦被暱稱為 「單身漢椅」，丹麥國王腓德烈克九世亦曾收藏此件宛若雕 塑般且高機能性的精湛作品。 The Valet Chair is one of the remarkable fine pieces by Hans Wegner and also the breakthrough in his designing career. The unique outline combines the practicality and the peculiar esthetics concept into one piece which makes the item become one of the most recognizable works by the artist. The chair is shaped into valet form for the usage of hanging the blazer and the seat can be opened as the valet for the trousers. The artist designed the seat into a container which can take in the wallet, keys or other accessories. The Valet Chair is once nicknamed as The Bachelor Chair. The King Frederic IX of Demark had collected this beautiful sculpture-like and highly functional art work.

80

Hans J. Wegner Valet Chair, 1953

249 Finn Juhl

(Danish, 1912-1989)

Chieftain Chair FJ 4900 1949 Walnut, leather 100(W) x 88(D) x 92.5(H) cm

NT$ 400,000-500,000 HK$ 103,000-129,000 US$ 13,300-16,600

芬尤 酋長椅 FJ 4900

1949 胡桃木 皮革 100(長) x 88(深) x 92.5(高) cm

82

Finn Juhl

Chieftain Chair, 1949

301 SANYU (CHANG Yu)

(Chinese-French, 1901 - 1966)

Jeune Femme Assise Charcoal on paper 45 x 28 cm With one seal of the artist ILLUSTRATED: Rita Wong, Sanyu Index of Drawings (L’inventaiedes dessins), The Li Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, No. D2323, p.105 (USB flash drive)

NT$ 360,000-550,000 HK$ 93,000-141,000 US$ 11,900-18,200

14

常玉 仕女 炭筆 紙本 45 x 28 cm 鈐印左下：常玉 圖錄： 《常玉素描全集》，衣淑凡，財團法人立青文教 基金會，台北，2014，彩色圖版，編號D2323， 頁105（隨身碟）

302 SANYU

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

Nu Assis 1920-1930 Ink on paper 28.1 x 22.6 cm With one seal of the artist PROVENANCE: Accquired from the artists by the previous French collector Private Collection, Paris Private Collection, Asian ILLUSTRATED: Rita Wong, Sanyu-Index of Drawings (Linvertaiedes dessins), The Li Ching Cultural and Educational Edundation, Taipei, February 2014, No. D0332, p. 33 (USB flash drive)

NT$ 420,000-650,000 HK$ 108,000-167,000 US$ 13,900-21,500

常玉 側倚裸女 1920-1930 水墨 紙本 28.1 x 22.6 cm 鈐印左下：常玉 來源： 法國私人收藏直接得自藝術家 私人收藏，巴黎 私人收藏，亞洲 圖錄： 《常玉素描全集》，衣淑凡，財團法人 立青文教基金會，台北，2014，彩色圖 版，編號D0332，頁33（隨身碟）

303 SANYU (CHANG YU)

(Chinese-French, 1901 - 1966)

Nude 1920-1930 Charcoal on paper 44 x 20 cm Signed lower left SANYU in French With one painted seal of the artist PROVENANCE: Former collection of Jean-Claude Riedel, Paris ILLUSTRATED: Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolors, The Li Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D1149, p. 95

NT$ 460,000-650,000 HK$ 118,000-167,000 US$ 15,200-21,500

常玉 裸女 1920-1930 炭筆 紙本 44 x 20 cm 簽名左下：SANYU 手繪鈐印左下：玉 來源： 尚．克勞德．希耶戴舊藏，巴黎 圖錄： 《常玉素描與水彩全集》，衣淑凡，財團法人立 青文教基金會，台北，2014，彩色圖版，編號 D1149，頁95

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304 SANYU (CHANG YU) (Chinese-French, 1901 - 1966) Nude of Rear 1920-1930 Charcoal on paper 50 x 32 cm Signed lower right SANYU in French With one painted seal of the artist PROVENANCE: Former collection of Jean-Claude Reidel, Paris ILLUSTRATED: Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolors, The Li Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D1250, p. 89

NT$ 460,000-650,000 HK$ 118,000-167,000 US$ 15,200-21,500

常玉 背影裸女 1920-1930 炭筆 紙本 50 x 32 cm 簽名右下：SANYU 手繪鈐印右下：玉 來源： 尚．克勞德．希耶戴舊藏，巴黎 圖錄： 《常玉素描與水彩全集》，衣淑凡，財團法人立青 文教基金會，台北，2014，彩色圖版，編號D1250， 頁89

305 SANYU (CHANG Yu)

(Chinese-French, 1901 - 1966)

Femme avec un sac 1920-1930 Ink and watercolor on paper 39 x 31 cm Signed center right SANYU in French With one painted seal of the artist PROVENANCE: Acquired from Lin & Lin Gallery, Taipei in 1994 ILLUSTRATED: Rita Wong, Sanyu Catalogue Raisonne Drawings and Watercolors, The Li Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. W108, p. 217 (With a wrong size: 46 x 20 cm)

NT$ 950,000-1,800,000 HK$ 244,000-463,000 US$ 31,500-59,600

常玉 攜皮包的女仕 1920-1930 水墨 水彩 紙本 39 x 31 cm 簽名中右：SANYU 手繪鈐印中右：玉 來源： 約於1994年購自大未來畫廊 圖錄： 《常玉素描與水彩全集》，衣淑凡，財團法人立青文教基金會， 台北，2014，彩色圖版，編號W108，頁217 (誤植尺寸為46 x 20 cm)

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306 SANYU (CHANG Yu)

(Chinese-French, 1901 - 1966)

Woman in Blue Blouse 1920-1930 Ink and watercolor on paper 43 x 28 cm Signed lower left SANYU in French With one painted seal of the artist Provenance: Private collection, France ILLUSTRATED: Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolor, The Li Ching Culture and Educational Foundation, Taipei, 2014, color illustrated, no. W138, p. 233

NT$ 2,200,000-3,200,000 HK$ 566,000-823,000 US$ 72,900-106,000

常玉 藍衣女士 1920-1930 43 x 28 cm 水墨 水彩 紙本 簽名左下：SANYU 手繪鈐印左下：玉 來源： 私人收藏，法國 圖錄： 《常玉素描與水彩全集》，衣淑凡，財團法人立青文教基金會，台 北，2014，彩色圖版，編號W138，頁233

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307 SANYU (CHANG Yu)

(Chinese-French, 1901 - 1966)

Woman with Black Spectacles 1920-1930 Ink and watercolor on paper 48 x 31 cm Provenance: Jean-Claude Riedel, Paris Private collection, France ILLUSTRATED: Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolor, The Li Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. W127, p. 227

NT$ 2,200,000-3,200,000 HK$ 566,000-823,000 US$ 72,900-106,000

常玉 戴黑框眼鏡的女士 1920-1930 水彩 水墨 紙本 48 x 31 cm 來源： 尚．克勞德．希耶戴舊藏，巴黎 私人收藏，法國 圖錄： 《常玉素描與水彩全集》，衣淑凡，財團法人立青文教基金會，台 北，2014，彩色圖版，編號W127，頁227

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308 YU Cheng-yao

(Taiwanese, 1898 - 1993)

Landscape Ink on paper 60 x 120 cm Signed upper left Yu Cheng-yao in Chinese With one seal of the artist

NT$ 1,100,000-2,200,000 HK$ 283,000-566,000 US$ 36,400-72,900

余承堯 山水 水墨 紙本 60 x 120 cm 簽名左上：余承堯 鈐印左上：余承堯印

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309 YU Cheng-yao

(Taiwanese, 1898 - 1993)

Landscape 1988 Ink and color on paper 136 x 55 cm Signed upper right YU Cheng-yao in Chinese With one seal of the artist ILLUSTRATED: Contemporary Taiwanese Ink Painting Series: Yu Cheng-yao, Artist Publishing Co., Taipei, 2005, color illustrated, p. 84

NT$ 1,600,000-2,600,000 HK$ 411,000-668,000 US$ 53,000-86,100

余承堯 築室望高 1988 彩墨 紙本 136 x 55 cm 簽名題識右上： 築室升高岡 氣勢日開張 樹樹俱歡喜 心眼更平康 戊辰秋日 余承堯作 鈐印右上：余承堯印 圖錄： 《台灣近現代水墨畫大系 余承堯—時潮外的巨擘》， 藝術家出版社，台北，2005，彩色圖版，頁84

余承堯，名舜，字承堯。清光緒二十四年生於福建永春縣，早年曾於木器 行學做木器與漆器。19歲參加革命軍，官至陸軍中將，1949年隨國民政府 遷台，未及將家人接赴台灣，從此獨居台北。戎馬半生，奔波軍旅，萍蹤 峻嶺幽林之間，而於壯年急流勇退，解甲自中將軍銜。1954年時齡56歲， 開始嘗試創作生平第一張畫。余氏的書畫創作自成一格，作畫往往喜以淡 墨起草，待墨乾後覆層層皴染，故其筆墨淋漓酣暢，另以細碎密結筆法繪 畫，展現獨特創作語言，將山水的峻奇與靈氣表露無遺。 余承堯的書畫是一則傳奇，不僅是台灣美術史上一座拔地而起的高峰，放 在整個中國水墨傳承中也是一座足以雄峙百代的巨碑。五十餘歲始開始從 事繪畫創作的他，由於能跳脫傳統的羈絆，在其早期水墨作品中，每能以 單純的筆墨，充分利用大塊分割的獨特佈局，營造簡潔有力的形體氣。他 的筆墨山水，源自於記憶裡行踏中國西北、西南的崇山峻嶺而來，他以驚 人的記憶力，再現了山水中令人瞠目結舌的崇高與瑰麗。畫作山體怪奇， 細部線條精心凝鍊，予人亂中有序的視覺觀感，而這也正是余承堯作品總 能滿溢豐沛生命力的原因所在。 Yu Cheng-yao, named Shun, courtesy name Cheng-yao. Born in Yongchun County, Fujian Province in 1898 (24th year of the Qing Dynasty Guangxu reign), Yu learned to make woodenwares and lacquerwares at a woodworking shop in his early years. At age 19, he joined the Revolutionary Army and eventually advanced to the rank of lieutenant-general. He retreated to Taiwan with the Nationalist government in 1949, but was unable to bring his family over in time, and thus lived alone in Taipei ever since. He spent half a lifetime in combat and traveled extensively with the military to lofty mountains and deep forests. He retired as lieutenant-general in his prime years. At the age of 56 in 1954, Yu began working on the first painting in his life. Yu’s paintings and calligraphy were one of a kind. He often liked to draft with light ink, which were left to dry before he added layers of textured contours and washes, creating a free and fluid effect in his ink and brush works. He also made use of minute and concentrated brush strokes to express his unique creative vocabulary as well as the ruggedness and spiritual sense of mountains and waters.

Yu Cheng-yao’s painting and calligraphy works are legendary. Not only are they a conspicuous pinnacle in the art history of Taiwan, they are a giant monument that will stand tall for hundreds of generations in the entire Chinese ink wash heritage. Yu began his artistic attempts after the age of 50; having been able to break from the restraints of tradition, Yu often produced concise and powerful form and spirit in his early ink wash works by utilizing simple ink strokes and unique layouts consisting of large chunks. His ink wash landscapes wer e inspired by recollections of the imposing mountains in northwest and southwest China where he had traveled. With his impressive memory, Yu recreated the astounding and breathtaking magnificence of mountains and waters. The strangeness of his mountains and their meticulously powerful contours create a visual effect of order amidst disarray. Such features are precisely how Yu’s works always display a brimming sense of vigor .

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310 PANG Jiun

(Taiwanese, b. 1936)

Guilin Scenery 2008 Oil on canvas 130 x 162 cm Signed lower right Pang Jiun in Chinese, dated 2008 Signed on the reverse Pang Jiun in Chinese and English, inscribed 100F 130 x 162cm, and dated 2008 With one seal of the artist

NT$ 4,200,000-5,500,000 HK$ 1,080,000-1,414,000 US$ 139,200-182,200

龎均 桂林山水 2008 油彩 畫布 130 x 162 cm 簽名右下：龎均 2008 簽名畫背：無限風光在興坪（甲天下之最） 龎均 PANG JIUN 2008 130 x 162 cm 100F 龎均 Pang Jiun 手繪鈐印右下：均

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311 CHIANG Chao-Shen (Taiwanese, 1925 - 1996)

Mountain and Lake 1991 Ink and color on paper 143.5 x 370 cm With four seals of the artist PROVENANCE: Collection of UMC, Taipei ILLUSTRATED: Han Mo: CHIANG Chao-Shen (Part II), Han Mo Xuan, Hong Kong, 1992, color illustrated, p. E29 This painting is to be sold with a certificate of authenticity issued by Hanart Gallery, Taipei and signed by the artist

NT$ 4,600,000-5,500,000 HK$ 1,183,000-1,414,000 US$ 152,400-182,200

江兆申 長林大澤 1991 彩墨 紙本 143.5 x 370 cm 鈐印右上：埔里 鈐印右下：奇趕無等倫 鈐印左上：江兆申印；茮原近況 來源： 聯華電子股份有限公司收藏，台北 圖錄： 《名家翰墨 ― 江兆申特集(下)》，翰墨軒出版，香港，1992， 彩色圖版，頁E29（誤植為表裏湖山 1992 94 x 186cm） 附漢雅軒開立及藝術家親筆簽名之原作保證書

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長林大澤

江兆申不僅是二十世紀傳承並發揚文人山水傳統的一代大家，更是跨足詩、書、畫、印各項藝術領域、並於藝術史研究卓然有成的文人典 範，他在生命中的各個階段都把握機會勤奮學習，厚植傳統人文學養，而於山水畫集各領域之所成，以深厚的底蘊與開創性的視野，為面 臨僵化困境的文人水墨開創新的篇章。 橫幅山水《長林大澤》是江兆申1991年自故宮博物院退職之後，隱居山林初始的宏偉力作。1990年，時任故宮副院長的江兆申突發心肌梗 塞，一場危急的病痛令他思及自身在書畫創作的領域尚有未竟之願，遂產生退隱山林之心。他在南投埔里鯉魚潭側買地建屋，取《論語． 憲問》「深則厲，淺則揭。」之義，將畫室名為「揭涉園」，1991年退職之後於此回歸山林。《長林大澤》與拍品編號312的《彭蠡秋 光》同是江兆申當年冬天揮就的迷人鉅作。 相較於秋意爽朗的《彭蠡秋光》，《長林大澤》顯的水氣豐潤許多，山嵐雲霧間，雄偉的高山更顯靈秀之氣。然而，此地的山勢並非平緩 易親近，只見一座座拔地而起的山峰雄渾挺健，山壁陡峭險峻，及至山頂乃見林木蓊鬱。近景高台上的樹木或是挺拔奇峻，或是清麗秀 朗，姿態各異，屋舍掩映其間，顯得氣宇非凡；中景山勢儼然、雲霧繚繞，一道瀑布如白練凌空而下，俊逸脫俗；遠方山峰奇崛明暢、大 氣清朗，顯現藝術家開闊舒朗的胸中意氣。整幅畫作的佈局層次分明而完整，藝術家以淋漓筆墨形塑壯闊精神，透過巧妙的留白為雄偉的 山勢增添秀潤靈氣，既有北宋大家雄偉高曠之格局，同時秀麗多姿、氣質出塵而雍容自在。 或許可以說，江兆申天生即擁有文人的靈魂。幼年的江兆申不屬於現代定義下聰慧的孩子，七歲入小學時無法適應，遂在家學習，之後重 入小學四年級，又因父親經商不利，輟學在家。然而生長在書香世家，父親雖經商，家中往來皆為才學之士，江兆申不僅耳濡目染，其才 華更獲得長輩的鼓勵欣賞，經常被帶著參與文人聚會、謁見名士，十歲上下即受託刻印、抄書、刻碑，貼補家用。僅管家境窘迫使得江兆 申早早就需要工作而公務纏身，他卻從未放棄學習，並不斷精進於詩、書、畫、印等領域。江兆申二十五歲因戰亂遷徙到台灣，隔年拜入 他極為景仰的溥心畬門下學習詩文，他曾在《雙谿讀畫隨筆》提及溥心畬之言：「作人第一、讀書第二、畫畫只是遊藝，我們不能捨本而 求末。我沒有從師學過畫，如果把字寫好，詩作好，作畫並不難。」而江兆申果然如同老師的教悔，勤讀詩書，專注研究，終至在山水畫 中展現他深厚的人文修為。他的成就與地位，正如藝術研究者巴東所言：「江兆申的畫風由早期影顯筆墨的精彩開始，進展至泯除筆墨在 畫面上的特殊獨立而消融於物象之中……這其中一方面承繼，一方面發展，這絕非固步自封地回到原地打轉，而是經過時代的蛻變與畫家 賦予新生命之結果。」（巴東〈始知真放在精微--試論江兆申之畫風歷程〉《名家翰墨 35》，香港翰墨軒出版有限公司，1992，頁40。） Chiang Chao-Shen was a 20th century master of traditional landscape paintings, one who both carried the torch from the maestros of the past while also bringing the art form to new realms. What's more, he was also accomplished in other forms of artistic expression, such as poetry, calligraphy, painting, and printmaking. A model scholar who excelled at researching art history, he studied diligently every chance he had, at every stage of his life.

He was steeped in traditional humanistic studies, which served him well in his landscape paintings. His vast base of knowledge and pioneering vision opened a new chapter for the stagnating ink wash medium.

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Mountain and Lake

The horizontal landscape "Mountain and Lake" is a masterpiece painted after Chiang Chao-Shen retired from his position at the National Palace Museum and began a life of seclusion in 1991. In 1990, Chiang Chao-Shen suffered a sudden myocardial infarction while he was serving as deputy director of the National Palace Museum. The critical illness reminded him of the creative goals he had yet to fulfill, prompting his desire to move to the countryside. He bought land and built a house by Liyu Lake in Puli Township, Nantou County, and taking inspiration from a quote in Book XIV of The Analects: "Act according to the circumstance", he named his studio "Jie She-yuan", and moved in right after his retirement in 1991. "Mountain and Lake" and "Autumn Scenery," with the auction Lot.312, were both masterpieces painted that very winter.

Compared to the fresh autumn atmosphere of "Autumn Scenery", "Mountain and Lake" has more of a water theme. Amidst the clouds and mist, the towering mountain became very mystical. However, the slopes of the mountain do not appear steady or approachable. Majestic mountaintops stand proud and tall, each with steep, dangerous slopes covered by lush forests. In the forefront, the tall trees on the balcony are tall and straight, or slender and elegant, each with different characteristics. A house peeks out through the trees, exuding extraordinary flair. In the center, mountains stand tall, surrounded by clouds and mist. A waterfall tumbles down like white fabric, elegant and refined. In the distance, mountain tops form wild lines, grand and bright, showing the artist's grand spirit. The construction and layers of the painting is clear and complete. The artist used fluid brush strokes to depict a grand atmosphere, while certain places are left blank to add a mystic air to the towering mountains. The painting both retains the majestic style of the Northern Song Dynasty, while also being graceful, elegant, and self-assured.

Or perhaps Chiang Chao-Shen was simply born with a literati's soul. In his youth, Chiang Chao-Shen was not an intelligent child by today's standards.

At age 7, he began homeschooling because he was unable to fit in at school. He later returned to school in the fourth grade, but had to quit school again after his father's business failed. Chiang Chao-Shen was born into a scholarly family, which meant many guests that frequented his home were academics, even though his father was a business owner. Chiang Chao-Shen learned from these scholars, and his talent was praised by his elders, who often brought him along to literati gatherings, or to meet famed scholars. Around the age of 10 he began helping his family by carving seal stamps, copying books, or engraving monuments. Though his family's financial troubles forced Chiang Chao-Shen to find a job quickly, swamping him with work, he never gave up learning, always seeking to better himself in fields such as poetry, calligraphy, painting, and printmaking. When he was 25 years old, Chiang Chao-Shen moved to Taiwan due to the war. A year later, he began studying poetry under Pu Xinyu, whom he greatly respected. He once wrote in his book "Notes Along Two Rivers" that Pu Xinyu once said, "Being a good person comes first, studying comes second, painting is just a hobby, and we shouldn't give up on the former two to pursue it. I never learned how to paint from a teacher. If you can write calligraphy well, and write good poems, painting is not hard at all." Following his mentor's teachings, Chiang Chao-Shen studied diligently and focused on research. His knowledge would eventually be displayed in his landscapes. His achievements and status is as art researcher Ba Dong said, "Chiang Chao-Shen's artistic style began with his riveting, clear brush strokes.

His style later evolved into more subtle brush strokes, where the ink blends with objects in the paintings. Part of him carried the torch of ink wash paintings, the other part developed it further. This is definitely not due to him stagnating in the same artistic medium, but the result of change that came with time, and the new life artists give to this medium. (Dong, Ba "Knowing Always that Truth is in Details - The evolution of Chiang Chao-Shen's Artistic Style") "Han Mo Vol. 35", Han Mo Xuan Publishing, 1992, p40.)

312 CHIANG Chao-Shen (Taiwanese, 1925 - 1996)

Autumn Scenery 1991 Ink and color on paper 192 x 500 cm With four seals of the artist PROVENANCE: Collection of UMC, Taipei ILLUSTRATED: Han Mo: CHIANG Chao-Shen (Part II), Han Mo Xuan, Hong Kong, 1992, color illustrated, pp. 54-55 This painting is to be sold with a certificate of authenticity issued by Hanart Gallery, Taipei and signed by the artist

NT$ 8,000,000-9,000,000 HK$ 2,057,000-2,314,000 US$ 265,100-298,200

江兆申 彭蠡秋光 1991 彩墨 紙本 192 x 500 cm 鈐印右上：埔里 鈐印右下：奇趕無等倫 鈐印左上：江兆申印；茮原 一九九一年江兆申繪《彭蠡秋光》 照片出處：《名家翰墨第三十五期，江兆申特集(下)》，翰墨軒，香港，1991，頁30 Chiang Chao-Shen creating the work Autumn Scenery in 1991 Photo credit: Editorial Section of Han Mo 35th, Special Study of Chiang Chao-Shen (Part II), Han Mo Xuan Publishing. Co., Ltd., Hong Kong, 1991, p30

來源： 聯華電子股份有限公司收藏，台北 圖錄： 《名家翰墨 ― 江兆申特集（下）》，翰墨軒出版，香港，1992， 彩色圖版，頁54-55 附漢雅軒開立及藝術家親筆簽名之原作保證書

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文人藝術經過長遠的歷史與傑出文人雅士的發揚光大，至近代愈趨成熟完整，特別是在文人山水此一領域，歷代已經有許多登峰造極的名 家令人仰之彌高，到了二十世紀漸顯凝滯，在整個亞洲現代化的轉變之下，更顯發展的困境。然而，真正充滿才氣亦執著於夢想的創作者 並不會輕意被時代因素埋沒，江兆申才華洋溢，家學深厚，飽讀詩書且好學不倦，終能以扎實的學養為底蘊，於傳統中創造新意，被譽為 二十世紀裡中興文人藝術的代表人物。 江兆申，字椒原，1925生於安徽歙縣黃山下，年少即才氣縱橫，常隨家中長輩與當時的文人雅士往來，十歲上下就開始替人鬻印、刻碑、 抄書、寫畫，貼補家用，他的篆刻更是深受激賞。戰亂中，江兆申於1949年遷居台灣，隔年應聘到基隆中學教書，那年冬天，他附上所作 的詩稿，寫信向景仰已久的溥心畬求教，溥心畬回函曰：「觀君文藻翰墨，求之今世，真如星鳳」，收為門下詩文弟子。而江兆申自1965 年任職於故宮博物院書畫處後，數十年親炙前人真跡、深入研究中國書畫，卓然有成，亦成為他個人創作上的厚實養份。1991年自故宮博 物院退職後，江兆申移居南投埔里鯉魚潭側的好山好水之間，避世隱居，專致書畫。藝術家澄心靜慮，集以往各時期所長為大成，是年冬 天即在埔里寬闊明朗的畫室裡，創作了畫幅極大的鉅作《彭蠡秋光》，展現其創作生涯的又一新頁。 彭蠡為鄱陽湖古稱，相傳黃帝時期長江邊有一大澤名「彭蠡澤」，到了南北朝時，隨長江改道而形成的鄱陽湖延襲了此一古稱。江兆申以 此為題，在五公尺寬的大尺幅畫面上揮灑出重山伴水的壯麗景色，他採用高雅的灰青色調表現秋季的山林，厚實連綿的山峰間，枝葉依舊 繁茂，空氣顯得乾爽澄明，數十株已然轉紅或黃的山樹錯落其間，點出濃濃秋意，散發一派歲月靜好的閒適。此作縱觀雄偉，細品則處處 都有迷人風景。畫面右側山嶺之間，隱隱有一道階梯隨山勢而上，遂見高聳蓊鬱的樹林掩映之下，屋舍裡有雅士二、三休憩，其後是重山 峻嶺，每座山峰各有奇峻之姿，或是植被茂盛、或是山石險峭，連綿入天際，壯麗懾人，望之心生景仰。 行至約莫畫幅中段，群山環抱的樹林間座落屋舍二、三，幽靜而遠離塵囂，屋前紅、黃樹各一株，雅緻天成，令人無限神往。而隨著畫面 開展，我們的目光攀過一座又一座的山峰，神遊山林秘境，時而在立著奇松的山巔稍作停歇，時而探訪隱密的山谷，或是跟隨山居雅士步 上陡峭的山徑，來到山頂聽風的吟唱與鳥鳴。行至湖畔豁然開朗，遠山環繞著廣闊明澈的湖面，具現藝術家此時廣納山川，靜慮澄澈之心 境。《彭蠡秋光》為江兆申晚期磅礡之作，蘊含了江氏於詩、書、畫、印多項領域的深厚學養，體現他多年對於文人藝術的全面性研究， 內斂而不炫技，熙和雍穆之氣韻有若天成。 Literati art has a long history. It was promoted by esteemed scholars, so much so that the medium has become increasingly mature and complete, especially when it comes to literati landscapes. Over the generations, many celebrated landscape masters have earned great admiration. But since the 20th century, the growth of literati art has stagnated. Furthermore, literati art faces developmental challenges in a gradually modernized Asia. But true creators with talent and dreams will not be swayed by the challenges of their time. Chiang Chao-Shen was talented, well-taught, well-read, and a diligent student. His knowledge eventually allowed him to create new ideas with traditional media. He is hailed as a central figure in the renaissance of literati art the 20th century.

Chiang Chao-Shen, stylized as Jiao Yuan, was born 1925 in She County, Anhui, at the foot of Huangshan Mountain. He showed brilliance and talent from a young age, meeting scholars with family members. From around the age of 10, he started carving seals, engraving monuments, copying text, and painting to help supply his family with money. His ‘small seal’ calligraphy also earned a lot of praise. During the war, Chiang Chao-Shen moved to Taiwan in 1949, and was hired to teach at Keelung Junior High the next year. That winter, he wrote a letter enclosed with his own poetry to Pu Xinyu, whom he had admired for a long time, hoping to learn from him. In response, Pu Xinyu said, “I see your literary talent, which is indeed rare in these times,” and agreed to be his mentor. After he began working at the National Palace Museum Department of Painting and Calligraphy in 1965, Chiang Chao-Shen spent decades studying the works of past artists and researching Chinese painting and calligraphy, learning the knowledge that would later nourish his own paintings. After his retirement from the National Palace Museum in 1991, Chiang Chao-Shen began a secluded life with a gorgeous view by the Liyu Lake in Puli Township, Nantou County, where he focused on his paintings and calligraphy. The artist cleared his mind of idle thoughts, and focused on all he has learned over the years. That year, in his bright new studio in Puli, he painted the large-scale painting “Autumn Scenery”, opening a new chapter of his creative career.

The old name for Poyang Lake is Peng Li. Legend tells of a large lake called Peng Li Lake by the Yangtze River during the reign of the Yellow Emperor. By the time of the Northern and Southern Dynasties, Poyang Lake, formed by shifting waters in the Yangtze River, inherited the same name.

With this as inspiration, Chiang Chao-Shen painted a gorgeous landscape on a 5-meter wide surface, using an elegant grayish green shade to depict autumn forests. Dense foliage peek out from between the thick and continuous mountain peaks, and the air appears bright and dry. A few dozen trees with red or yellow leaves dot the scenery, drawing out a strong sense of autumn, and creating a serene, leisurely atmosphere. Whether looking at this painting from afar or up close, viewers will find charming details. On the right side of the painting, between the mountains, a faint stairway rises along the mountainside, leading to a house among lush trees where a few literati rest. Behind them are steep mountain peaks, each with its own majestic form, covered in foliage, or rocky cliffs. The crags extend stunningly into the sky, an awe-inspiring view.

To the center of the painting, a few houses sit among trees surrounded by mountains, secluded and far from the rest of the world. Before the houses stand two trees, red and yellow respectively, drawing the viewer in. As the scenery unfolds, the viewers’ gazes climb peak after peak, losing themselves in hidden mountain paths, sometimes resting on a mountain top with a eccentric pine tree, other times visiting hidden valleys, or following some literati up a mountain trail, to hear the wind and songbirds. The scene opens up as the viewers reach the lake. Surrounded by mountains, the surface of the lake is bright and clear, reflecting the artist’s welcoming and peaceful state of mind. “Autumn Scenery” is a grand masterpiece painted in Chiang Chao-Shen’s later life, containing his deep knowledge of poetry, calligraphy, painting, and printmaking, while also displaying his long, comprehensive research about literati art. The painting is modest, with simple techniques, yet has a natural, bright, and harmonious atmosphere.

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313 CHU Teh-chun

(Chinese-French, 1920 - 2014)

Multitude en Devenir 2004 Oil on canvas 80 x 100 cm Signed lower right CHU TEH-CHUN in Chinese and French, dated 04' Signed on the reverse CHU TEH-CHUN in Chinese and English, titled "MUTITUDE EN DEVENIR" in French, dated 2004 This painting is to be sold with a certificate of authenticity issued by Atelier Chu Teh-chun.

This painting is to be included in the catalogue raisonné de l’oeuve prepared by the artist’s studio

NT$ 8,000,000-10,000,000 HK$ 2,057,000-2,571,000 US$ 265,100-331,300

朱德群 變幻 2004 油彩 畫布 80 x 100 cm 簽名右下：朱德群 CHU TEH-CHUN. 04' 簽名畫背："MULTITUDE EN DEVENIR" CHU TEH-CHUN 朱德群 2004 附朱德群工作室開立之原作保證書 此作品將收錄於朱德群工作室籌備編攥之《朱德群作品編年集》

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充滿動勢的筆觸、繽紛輝映的色彩、華麗流轉的光影，在藍色與白色為底的畫面上交融迴響出光燦交織的景像，朱德群2004年之作《變幻》以 大膽而有力的配色，揮灑出極富律動感與音樂性的抒情詩篇，行雲流水之間吟詠壯麗奔騰之氣韻，呈現明快而充滿正面能量的喜悅。 作為二十世紀斐聲國際的華裔藝術家，朱德群以其獨特的抒情抽象開創繪畫史上璀燦的篇章，青年時期之前，他在中國奠立了深厚的東方文化 素養，求學於杭州藝專的幾年，因為戰亂不斷遷校，在顛沛學習中亦盡覽中國的大山大水，隱然埋下了他未來藝術之路裡涵納天地情懷的胸 襟。他在三十歲後居留台灣數年，並於1955年遷居法國巴黎，於此發展其成熟的抒情抽象風格並逐漸於歐洲建立名聲，乃至獲得亞洲、美洲各 界廣大的讚譽與追隨。朱德群從德．斯塔耶爾 (1914-1955) 的回顧展發現了抽象語彙的自由寬廣、從林布蘭特 (1602-1669) 的鉅作領略光與影的 互襯技法，從塞尚 (1839-1906) 的作品裡擷取嚴謹卻有無限動感的構圖精髓。另一方面，即使遠居歐洲，書法詩詞一直是朱德群不曾中斷的自我 修行，而中國水墨繪畫，特別是唐宋山水，更受到他的長期推崇與研究。藝術家分別從東西方文化中汲取養分，經年累月鍛造提煉，鎔鑄成屬 於他個人精湛的抽象語彙，終成大家。 集東西之大成並轉化為成熟、獨立而完整的個人藝術系統並非易事，二十世紀無數來自亞洲的藝術家矢志融匯東西，成大家者卻寥寥可數，至 為難得。朱德群曾自言要到六十歲之後才能得心應手，真正創作出滿意的作品，這或許是藝術家的自謙之詞，卻也透露了他數十年在藝術修為 不斷追求精進的內在歷程。朱德群創作《變幻》時已逾八十高壽，他選擇使用較為乾澀的筆觸，讓色彩在清晰的交疊中顯現一種明亮、輕盈的 朝氣，琤琮有聲。畫面上方以層次豐富的藍色調渲染，令人聯想起江南山水的濃厚墨色，既悠遠且深邃，藝術家巧妙融入得自中國山水墨韻之 領悟所顯現的雄渾大器，在中等尺幅的畫面當中，展現亂石崩雲的磅礡壯闊，而其間藍色與橘黃色系形成強烈對比，繽紛的色彩共融，彼此間 激盪而互相輝映，即便是再多的色彩，也不顯雜亂，各自圓滿同時隱隱之間相互聯結，共譜成磅礡樂章，足見藝術家運用色彩的精湛功力。 年過八十，走過千山萬水的朱德群，鬼斧神功般地揮灑出《變幻》一作，構圖看似渾然天成，卻是平衡完整且處處令人驚喜，筆鋒蒼勁，用色 明朗絢麗，明亮的色調與開闊的構圖，再再顯示藝術家的胸襟智慧。他所創造的宇宙正如畫作名稱《變幻》所點明的一般，幻化無窮，寓萬景 於一瞬。 Dynamic brushstrokes, vivid colors, and gorgeous light and shadows weave a vibrant image upon a blue and white base. Chu Teh-Chun’s 2004 painting “Multitude en Devenir” (Multitude of Changes) is a rhythmic, lyrical symphony of bold and powerful colors. It exudes a lyric poetry full of movement and musicality, singing of a grand energy between the moving clouds and the flowing water. The painting manifests joy that is bright and full of positive energy.

As a renowned Chinese artist of the 20th century, Chu Teh-Chun opened up a vibrant chapter of art history with his unique lyric abstract paintings. In his youth in China, he established a solid background in Eastern culture. The years he spent studying in the Hangzhou School of Art (now the China Academy of Art) were turbulent, with the school moving constantly due to the War. Yet it was through his difficult education that he was able to see China’s magnificent mountains and rivers, cultivating the embrace of nature that would be seen in his future works. He lived in Taiwan for a few years in his late 30s, and then moved to Paris, France in 1955. There, he developed his mature style of lyric abstract art . He steadily found fame in Europe, followed by praise and followers in Asia, the Americas, and the rest of the world. Chu Teh-Chun found the liberating language of abstract art in the retrospective exhibition of Nicholas de Stael (1914-1955); learned the art of complementing light and shadow from the masterpieces of Rembrandt Harmenszoon van Rijn (1602-1669); and captured the essence of structuring paintings with precision and dynamics from the work of Paul Cézanne (1839-1906). On the other hand, though he lived in faraway Europe, Chu Teh-Chun never stopped the self-cultivation of Chinese poetry and calligraphy. He always highly valued and studied Chinese ink wash paintings, especially the landscape paintings of the Tang and Song Dynasties. The artist took nourishment from both Eastern and Western culture. Through years of continual honing, he forged his own superb abstract language, finally emerging as a great artist.

Blending the best of both Eastern and Western culture into a mature, individual artistic system is not an easy task. Countless artists from Asia vowed to integrate Eastern and Western styles in the 20th century, but a mere handful have ever succeeded. Chu Teh-Chun once said that it wasn’t until after he turned 60 that his hands were truly able to express what was in his mind, and craft works that he was truly satisfied with. This is perhaps the artist’s modest selfdeprecation, but it also shows his continuous internal journey toward bettering himself, over the decades of his artistic career. Chu Teh-Chun was already more than 80 when he painted “Multitude en Devenir”. He chose a dryer brush, which gave the overlapping colors a bright, lithe, chiming vitality. Rich layers of blue cover the top of the painting. The deep colors are reminiscent of the rich inks of southern Chinese landscape paintings, both distant and deep.

The artist expertly blended the grandeur of Chinese ink wash landscapes into his work, displaying the magnificent grandeur of mountains among clouds within a medium-sized canvas. The blue and orange create sharp contrast; vivid colors converge, clash, and reflect one another, so that no matter how many colors adorn the canvas, the image never muddles. The colors are interconnected, yet each still shines through. Together, they compose a grand symphony that performs the artist's masterful use of color.

Chu had already passed his 80s when masterfully created this "Multitude en Devenir" with the experiences in his lifetime. In structure, it appears as if dashed off in a single masterstroke; yet its balance is perfect, and every corner delights. The strong brushstrokes, vivid colors, bright tone, and broad composition exhibits the artist's wisdom time and time again. The universe he has created is just like the name of the painting, "Multitude en Devenir": constantly changing, encapsulating a myriad of scenes within a fleeting moment.

314 Zhou Chunya (Chinese, b. 1955)

Green Dog 2002 Oil on canvas 150 x 120 cm Signed lower right Zhou Chunya in Chinese and dated 2002

NT$ 9,000,000-16,000,000 HK$ 2,314,000-4,113,000 US$ 298,200-530,200

周春芽 綠狗 2002 油彩 畫布 150 x 120 cm 簽名右下：2002 周春芽

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綠狗系列是周春芽最負盛名的代表作之一，被形容為「畫布上的雕塑」。藝術評論家呂澎在「綠狗敘事」一文中評述：「狗在畫家的生活中是 潛在的需要，這樣與人相比看來似乎無意識的生命成為逐漸減少自然性的都市環境中人的一種渴望。事實上，只有一種通情理的、具有依附性 的生命也許可以讓人感受到慰藉，使你在枯燥和空乏的社會環境裡沾染一點自然與淳樸的氣息。」 綠狗的創作來自「黑根」，藝術家飼養的一隻德國牧羊犬。1997年，周春芽首次將黑根畫成綠色，推出「綠狗」系列。周春芽說：「綠狗是一 個符號，一種象徵，重複畫一隻風格化的狗，變成一種符號，甚至，一隻狗就是一幅畫。」在周春芽看來，綠色是寧靜的、浪漫的、抒情的， 包含了爆發前的寧靜意境。但是這種象徵只在表現黑根時才有具體的意義。1999年，黑根突然病死，周春芽極度痛苦，暫停創作綠狗，而在 2001年初，在心情略為平復後，周春芽開始新的綠狗創作，失去愛犬的藝術家開始回憶及想像各種黑根的姿態，此時的綠狗形象則是更加醒目 刺激，大膽離奇，常出現各種誇張甚至猙獰的面容，或許也恰巧符合創作者當時哀傷、憂鬱狂亂的心情。 2002年時，藝術家在則在心境上有了極為重大的轉變，而在此時，周春芽的繪畫風格也逐漸轉向，在歷經愛犬離世的悲傷、憤怒、接受之後， 他在綠狗的主題創作之上也出現丕變；此件《綠狗》則是他回歸心境安穩、怡然自得的揮就之作。畫中已不復見過去日子那種誇張且懾人的猛 犬面貌及姿態，反而得見的是精簡筆畫的且溫順暖心的狗體造型，可視為周春芽重新回味、破除、再造、昇華黑根的畫作；畫中真正的主體是 寬大的充滿活力的筆觸，它們果斷地構成了畫面的主題，筆刷進退流暢，一氣呵成。綠色的筆觸非常薄，在大幅白色的背景下每一筆都能辨認 出來，仿佛一眼即能看穿狗的靈魂和藝術家的思緒。同樣承襲了藝術家一貫的表現主義手法，但卻少了橫流躁亂的泥濘色彩，而中國繪畫系統 中的留白技法與之相結合，創造了獨特的視覺效果以外更讓畫面清新自然，愈加貼近創作者當時的心情。雖然狗的姿態造型為藝術家腦海中想 像出來的，但牠若有似無地回頭望著遠方，張口貌似一抹微笑，優雅從容且安靜地坐在畫面當中，為《綠狗》主題注入了新的哲學以及嶄新的 觀看方式，營造出令人感受到舒適喜悅的迷人氛圍，而此件創作，消融了原本「黑根」的實質意義，蛻變成藝術家精神上與創作主題相互契 合、揉入思想的突破性作品，確實為周春芽再回到這系列主題卻帶著開創性意味的上上佳作。 The "Green Dog" series is immediately identifiable as one of Zhou Chunya's most recognized works. It has been described as "Sculpture on Canvas". The art critic Lu Peng says in "Narrating the Green Dog"："His dog was a big responsibility in the artist's life more so than human being. A dog as a companion has become an unconscious desire of many people living in cities and urban areas as they have become divorced and separated from nature. The loyalty and dependability of a dog is a comfort to people, and adds a depth of meaning, bringing color and feeling to an otherwise dull and meaningless life."

Zhou's green dog was inspired by Heigen, his close companion during many years. He presented the "Green Dog" series for the first time in 1997. Zhou sees the green dog as a symbol, a sign. 'Green' represents tranquility, romanticism, lyricism, a state of quietness before an outburst of energy. Such a symbol makes sense when it is understood to represent the image of Heigen, his beloved dog. In 1999, the death of Heigen from illness caused Zhou great pain and he stopped painting "green dogs". In early 2001, after the artist was back into peace, he returned to another new series of "Green Dogs" works. The lost of his beloved dog "Heigen", the artist created another more fierce and more bold form of this " Green Dogs" which was resulted in the sadness and the grief that the artist had at that time.

The year 2002 marked a major turning point in the life of artist Zhou Chunya. It was at this time that his style began to shift. As he endured grief and anger brought by the loss of his canine companion before coming to terms with its passing, his themed project "Green Dog" underwent drastic changes. This particular rendition of "Green Dog" is a portrayal of the tranquility he felt upon making peace with himself. Gone are the days of striking exaggerations of the canine's physique and form; instead, the dog is drawn with a gentle simplicity that warms the viewer's heart. This can be interpreted as Zhou Chunya reminiscing as he deconstructs his past work, "Heigen," and enhances it as he makes it anew. The actual main components of the painting are the wide, dynamic brush strokes that make up the subject of the image, with each ebb and flow of the brush perfectly on point. The brushwork of the green is extremely light, to the point where each and every stroke is distinguishable from the vast white background, as if you could see right through the very soul of the dog and the emotions of the artist with a single glance. It also inherits the artist's signature expressionist methods without the usual overflowing chaos of muddy colors. He combines them with negative space painting techniques utilized in traditional Chinese paintings that, aside from creating a unique visual effect, presents the image with a natural clarity that better replicates the artist's state of mind during the creation of this piece. Though the gesture and form of the dog came from the artist's imagination, new philosophies and fresh perspectives are added to "Green Dog" in the way it casually gazes off into the distance, with the ghost of the smile upon its gaping mouth as it sits in the painting with a quiet patience and grace, creating an alluring air of contentment. Not only does this work merge the substantial meaning of "Heigen" into itself, it has evolved to harmonize the spirit of the artist with the subject of his creation. A breakthrough full of ideologies, Zhou Chunya's return to this series truly is a revolutionary masterpiece in itself.

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"His dog was a big responsibility in the artist's life more so than human being.

315 ZAO Wou-ki

(Chinese-French, 1921 - 2013)

Sans titre 1948 Oil on canvas 46 x 38 cm Signed lower left Wou-ki in Chinese, ZAO in French and dated 1948 PROVENANCE: Alisan Fine Arts, Hong Kong This painting is to be sold with a certificate of authenticity issued by Atelier Zao Wou-ki

NT$ 11,000,000-18,000,000 HK$ 2,828,000-4,627,000 US$ 364,500-596,400

趙無極 無題 1948 油彩 畫布 46 x 38 cm 簽名左下：無極 ZAO 1948 來源： 藝倡畫廊，香港 附趙無極工作室開立之原作保證書

一九四八年二月，趙無極與愛妻謝景蘭在上海登上郵輪，他們在一望無盡的海洋上航行三個月，奔赴位於歐亞大陸另一端的巴黎，那是趙無極 想望已久的藝術殿堂，是現代藝術百花齊放的花都，更是他所敬重的杭州藝專校長林風眠、老師吳大羽曾經留學並開啟中西融合藝術之路的啟 蒙之地。抵達巴黎的那天下午，趙無極直奔羅浮宮親炙西方藝術史上的瑰寶，當時的心情，想必是澎湃激動的。初抵巴黎的這一年，趙無極如 同一塊海綿不停吸收養份，大量參觀美術館、逛畫廊、參加音樂會、並結識藝術家，無論是生命視野或對藝術的認知，都是意義重大的蛻變。 在這拓展視野的關鍵一年裡，趙無極鮮少提筆作畫，此件作品《無題》即為創作於1948年、極為稀有的油畫作品，作品濃縮了藝術家這段時間 的領悟、思考與才情，並且在藝術家的生命歷程裡佔據著標誌性的地位，異常之珍稀，可遇而不可求。 《無題》呈現一方宜人的山中風景，藝術家僅僅以簡單的顏色層次與線條，即鋪展出清新迷人而富於希望的景像，恰恰反映了他初抵巴黎的心 境。趙無極以青翠的綠為底，使用簡潔近於樸拙的線條勾勒出山峰與樹木，近景平原上座落一小巧屋舍，小徑隨著山坡蜿蜒而上。山徑以橘紅 輕點，遠山染以灰色，藝術家精心安排構圖，讓我們的視線隨著樹木的引導步上山嶺。遠端山腳下有一寶塔，透露與中國的聯結，而天空中日 月並存，藝術家以最簡單而具有象徵性的符號構築這不尋常的天象，散發出一種優美而神秘氣質。 這小小的畫幅裡精練了趙無極來到歐洲之後豐富的體驗與快速蛻變，他有意識地掙脫早已嫺熟的西畫技巧，大膽地捨棄透視法，並去除空間深 度、物體量感的描寫，他將形象化約為符號，景深壓縮為色彩的層次，顯見意象精神的傳達已經成為藝術家首要的追求。《無題》同時標示趙 無極早已經開始探索繪畫語彙的新方向，試圖駕馭線條與符號的迷人力量，在在顯示其作為一位藝術家的卓越心智，這件作品同時預示了藝術 家往後揚名國際的抽象繪畫中，風景意象、詩意特質與符號象徵等主要元素，是為趙無極藝術生涯中具有關鍵意義的代表之作。

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In February of 1948, Zhao Wou-ki and his beloved wife Xie Jinlan set course for the faraway city of Paris on the other end of the Eurasian continent, embarking on a three-month journey across seas that appeared to extend infinitely into the horizon. To Zhao Wou-ki, Paris was the artistic haven he longed for, the City of Flowers in which the myriad schools of modern art bloomed and prospered. It was moreover the city that had inspired two individuals whom he deeply respected to converge the essences of Eastern and Western art, one of whom was Lin Fengmian, principal of the Hangzhou School of Art (now the China Academy of Art), and Wu Da-yu, a teacher of his who had previously studied abroad in Paris. The very afternoon Zhao Wou-ki arrived in Paris, he rushed straight to the Louvre to experience the treasures of European art history for himself. Without a doubt, that experience left him filled to the brim with surging emotions and vivid excitement. During his first year in Paris, Zhao Wou-ki was like a sponge that constantly absorbed the nutrients in his environment; be it through frequent visits to art museums, browsing through art galleries, attending concerts, or acquainting himself with other fellow artists, these experiences represent important changes in both his perspective toward life and understanding of art. During this crucial year of broadening horizons, Zhao Wou-ki seldom truly worked with paint and canvas. Nevertheless, this particular piece, “Sans Titre,” was create in that very year of 1948; an extremely rare oil painting, it is the condensation and epitome of the artist’s year of discoveries, a single work of art into which is instilled all of the artist’s emerging thoughts and sensibilities, an iconic milestone of the artist’s life journey so rare and precious that one can only hope to chance upon such an opportunity.

“Sans Titre” portrays the charms of mountain scenery. The artist used just a few simple layers of colors and lines to delineate a fresh and enchanting image embedded with a wealth of hope, perfectly reflecting his state of mind back when he first set foot into Paris.

Zhao Wou-ki employed a crisp green as the base for the lines that outline the peaks of mountains and trees so 米芾《春山瑞松》35 x 44 cm 台北故宮博物院藏 simplistically it verges on the edge of rusticity. A cozy little cottage sits on the Mi Fu, Mountains and Pines in Spring plains in the foreground with a narrow path hugging the slopes as it winds up Collection of National Palace Museum, Taipei into the mountain. The mountain trail is lightly dabbed with vermilion while distant peaks are dyed in gray. The artist’s composition is carefully laid out to lead our eyes through the trees all the way to the top of the mountain. At the foot of a faraway mountain sits a pagoda, revealing ties to the artist’s Chinese heritage. By having the sun and the moon coexist in the same skies, the artist utilizes the simplest yet most iconic symbols to construct an abnormal phenomenon that engenders an air of both elegance and mystery.

This small painting is a concentrated version of the colorful experiences and rapid changes that Zhao Wou-ki underwent upon arriving to Europe. He made a conscious effort to break free from the Western painting methodologies that he had already been long familiar with and boldly decided to throw the laws of perspective out the window, thereby ridding himself of portrayals of spatial dimensions as well as depictions of mass and weight. The transformation of abstract visuals into tangible symbols and replacement of visual depth with layered colors clearly demonstrate how the artist viewed impressionistic interpretations as his top priority. Not only does “Sans Titre” exemplify how Zhao Wou-ki has long since begun to explore new directions in his artistic vocabulary by attempting to harness the charm of lines and symbols, it also displays his inclination towards excellency as an artist. This piece also hints at the artist’s eventual international fame in the realm of in abstract art. Created primarily with elements such as scenic visuals, poetic characterizations and symbolism, this piece is representative of a key period in the artistic lifetime of Zhao Wou-ki.

316 CHU Teh-chun

(Chinese-French, 1920 - 2014)

Sombre dans l’obscurité 1976 Oil on canvas 130 x 97 cm Signed on the reverse Chu Teh-Chun, titled Sombre dans l'obscurité in French and Chinese, dated 1976 Exhibited: Chu Teh-Chun 8 Albert Féraud, Galleria San Carlo, Naples, February 20 - March 18, 1978 This painting is to be included in the catalogue raisonné de l’oeuve prepared by the artist’s studio

NT$ 16,000,000-24,000,000 HK$ 4,113,000-6,170,000 US$ 530,200-795,200

朱德群 夜 1976 油彩 畫布 130 x 97 cm 簽名畫背：CHU TEH-CHUN 朱德群 1976 夜 Sombre dans l'obscurité 展覽： 「朱德群與阿爾伯・費浩」，聖卡羅畫廊，那不勒斯， 展期自1978年2月20日至3月18日 此作品將收錄於朱德群工作室籌備編攥之《朱德群作品編年集》 （資料提供／朱德群工作室及董景昭女士）

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當黑夜降臨，白晝的喧囂慢慢沉澱，萬物沉睡的寧靜裡，生命的律動依然持續，晝的活力轉化為夜的能量，蓄積、修補、再生，並且隱藏著只 有澄澈靈敏的心靈才能感知的神秘啟示。這種種關於夜的富豐與奧秘都透過朱德群的彩筆揮灑，具體化地呈現在他創作於1976年，名為《夜》 的抽象繪畫裡。 有別於1960年代個性鮮明、意氣風發的揮灑，朱德群1970年代的畫作逐漸轉為沉穩雄健，他在1970年前往荷蘭阿斯特丹參觀林布蘭（Rembrandt Harmenszoon van Rijn，1606-1669）三百週年誕生紀念大展，對於光與影追求有了進一步的定見，對比強烈的光影漸漸轉為彼此融合襯托，反而 使得光更為閃耀、影更為深邃。及至1976年畫下《夜》一作，展現藝術家在光影的表現與佈局皆達到成熟，即便是將彩度降至最低，色彩減到 最少的條件之下，依舊營造出變化萬千的視覺景觀，映照出澄澈敏銳的心境。在朱德群的筆下，黑夜中依然有光，以一種神聖、內蘊的姿態自 黑夜裡流淌而出，散發翠綠與青綠的瑩瑩光芒，在幽靜如深夜的墨綠色襯托之下，正如林布蘭《夜巡》一作中在暗夜裡映照著畫中人物的光一 般，顯得如此耀眼，卻又難以一窺全貌，讓人想去探索那隱藏在夜色裡，幽微迷人的奧義。 另一方面，朱德群繪畫中的書法性線條也逐漸由早期濃墨揮就般的鏗鏘有力，轉而與整體畫面更為融合，《夜》一作中，藝術家進一步將厚重 見長的油彩稀釋，引入水墨中的渲染、飛白、垂懸等表現性元素，配合藝術家長期寫書法悟得的筆墨心法，在畫布上帶出明快的速度感，使得 畫中光采愈趨純淨，氣質更顯軒昂。在嚴謹的構圖裡，筆勢的俯仰、頓挫與縱橫處處精湛，酣輰淋漓，豐富而優雅，而代表生之能量的翠綠， 如寶石般閃耀其間，蓄勢待發，展現天 地間生命力量循環起伏，既神秘亦令人 期待。《夜》展現了一種極為內斂的生 命節奏，光流轉於有著絲絨般質地的暗 影之上，互相激盪的氣旋之間隱含了生 命振動，環環相扣，繁複而精彩，在朱 德群1970、80年代許多色彩斑爛的作品 中，顯的特別雅致而獨特，有如一曲夜 之奏鳴曲，傳達了藝術家那可貴的明澄 心靈。 When night falls, the hustle and bustle of slumbers in silence, the rhythm of life keeps life force of the night, and as it builds itself the pure and sensitive at heart within itself. night are brought to life by command of 1976, “Sombre dans l′obscurité.”

day begins to settle down. Even as the world beating still. The vitality of day becomes the anew, it conceals a mysterious message for The wealth and profound mysteries of the Chu Teh-Chun in his abstract painting from

Unlike his vivid imagery in high spirits so characteristic of the 1960s, Chu Teh-Chun’s works in the 1970s took on a calmer vigor.

In 1970, he set off for Amsterdam in the Netherlands to attend a grand exhibition of paintings commemorating the 300th 林布蘭《夜巡》1642年 油彩畫布 359 x 435 公分，國立美術館，阿姆斯特丹，荷蘭 anniversary of Rembrandt Harmenszoon van Rijn. From this, he broadened his definition Rembrandt van Rijn, The Nightwatch,1642 of light and shadow, gradually shifting from using strong contrast to merging the two to complement one another. In doing so, his lights shone even brighter, his shadows penetrating deeper into darkness. By the time he created “Sombre dans l′obscurité” in 1976, it was evident that the artist had fully mastered the art of arranging light and shadow. Even though he had reduced the saturation of the piece and cut its colors to a bare minimum, he still created a kaleidoscopically changing scenery that reflects the transparent keenness of the soul. Under Chu Teh-Chun's paintbrush, lights shine even in the darkness of the evening sky.

An intrinsic holiness trickles through the night and radiates with translucent shades of green. The secluded silence of the night as complemented by inky greens are like the lights that map out the shadowy figures of Rembrandt’s “The Night Watch,” dazzling in their brilliance and impossible to take in all at once. It offers an invitation for viewers to investigate the alluring mystery hidden deep within the darkness of the night.

On the other hand, Chu Teh-Chun’s calligraphic brush strokes shift from the solid mightiness of his early days to a flexibility that flows with the whole of the image. In “Sombre dans l′obscurité,” the artist thins his oil paints and introduces washes, dry brush strokes and dripping techniques found in Chinese ink paintings. Paired with an enlightenment drawn from the artist's calligraphic mastery, the canvas gives off a brisk impression of speed that purifies the radiance of the image, which adds to its dignified temperament. Within the strict composition of the image, each lift and contour of the brush is done with extreme care, while remaining both free from inhibition and rich in elegance. The green that represents vitality glows like emeralds, as if waiting for an opportunity to burst all at once. It shows the cycle of life between heaven and earth in a way that leaves one anticipating the mysteries it has in store. “Sombre dans l′obscurité” presents the reserved tempo of life between threads of light woven into shadow. As the two forces stir against each other within a torrent that cloaks the pulse of life, the pieces fall into place in a fascinating complexity. Out of Chu Teh-Chun’s colorful gallery of works from the 1970s and the 80s, this painting is especially unique in its sophisticated charm, conveying the lucidity of the artist’s soul like a midnight sonata.

317 CHU Teh-chun

(Chinese-French, 1920 - 2014)

Abstract No. 82 1961 Oil on canvas 65 x 100 cm Signed lower left CHU TEH-CHUN in Chinese and English Signed on the reverse CHU TEH-CHUN in Chinese and English, titled No. 82, and dated 1961

NT$ 22,000,000-32,000,000 HK$ 5,656,000-8,226,000 US$ 729,000-1,060,300

朱德群 抽象 No. 82

1961 油彩 畫布 65 x 100 cm 簽名左下：CHU TEH-CHUN 簽名畫背：CHU TEH-CHUN 朱德群 No. 82 1961

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一上一下，兩道水平走勢的黑色線條橫躺畫面，如墨跡般濃淡有致，氣勢萬鈞卻又靈活多變，銀白色的清透光芒自遠方而來，映照出層次豐富 的赭紅色層鋪陳延展，如同孕育萬物的土地般，溫暖、豐厚而穩定。朱德群創作於1961年的《抽象No. 82》滿溢著豐沛生命力散發著寧靜寬闊 的智慧光芒，而那引領著我們視線的墨色線條，標示了一位帶著深厚中國素養來到歐陸落地生根的藝術家，將悠遠的西方繪畫傳統與東方文化 精髓融匯貫通，為藝術史的進程開創新局的關鍵時期。 二十世紀初的中國戰亂頻頻、動盪不安，然而，偉大的靈魂往往能無懼於時代的動盪，在大時代的顛沛磨難之中，反而砥礪出更為高貴耀眼的 光芒，朱德群即生長於這樣的大時代裡，在環境的衝擊考驗之下，更見其追求藝術那至誠、至善、至美的堅毅情操。出生於1920年，朱德群15 歲進入當時的國立杭州藝術專科學校（今中國美術學院），師從林風眠、潘天壽和吳大羽等人，時任校長的林風眠帶領的校風開放，朱德群在 此對入西方現代藝術有了進一步的認識，並開啟了對於創作更為廣闊的想像。1937年，隨著中日戰爭爆發，迫於日軍的節節進逼，幾年之中杭 州藝專由杭州遷往內陸，行過安徽、湖北、湖南、貴州、四川、直至雲南，朱德群在戰亂中完成學業，卻也因為不斷遷校而飽覽了人文山川。 中日戰爭結束後，朱德群在南京中央大學任教了4年，卻又因為國共內戰白熱化，於1949年底遷居台北，無比遺憾的是，他留在大陸的作品從 此杳無音訊。在台灣，他先後在台北工專 （今國立台北科技大學）和台灣師範學院 （今國立台灣師範大學）任教，並於1954 年於台北中山堂舉辦人生的首次個展。 兩年後的1955年，朱德群偕同日後成為其 徒不再是迫於戰亂，而是被他內心一股親 在孕育西方現代藝術的花都巴黎，沉浸在 到深遠啟發的文化氛圍裡。流連於藏有數 充滿自由創造活力的大茅屋畫室，朱德群 油畫，亟欲發展更適合自己的藝術語彙， 於巴黎現代美術館觀賞史塔耶爾回顧展 畫創作。於是，光、線條及色彩衝破了可 情的、充滿音樂性的心象風景。如此更為 寬廣的胸襟與抒發心中澎湃情感的渴望， 個展，旋及與莫里斯．巴尼耶所主持的勒 壇展現不可忽視的影響力。

妻子的董景昭乘船來到法國。這一次的遷 炙西方現代藝術的渴望所驅動，他們落腳 數十年前師長如林風眠曾經前往求學而受 世紀以來藝術瑰寶的羅浮宮，也時常造訪 並不滿足於他已經表現得相當出色的寫實 他效法塞尚探索形式的本質，並在1956年 後，動筆嘗試在心中醞釀已久的非具象油 見的具象界線，在畫布上被重新建構為抒 自由、流動的繪畫語彙，正契合了朱德群 他在1958年發表了來到巴黎之後的第一次 讓德爾畫廊簽下合作契約，逐步在歐洲藝

朱德群創作生涯中，跳脫具像描寫的關鍵 文化傳統則在其發展獨特藝術語彙與內在 出生在安徽的醫生世家，朱德群自小奠下 畫，並在父親的親自指導下臨摹許多中國 化的學養無疑在藝術家的創作生涯中不斷 繪畫中所顯露的，即是書法的影響。正如 強烈懷念起水墨創作的手感，苦於在法國 舞文弄墨的酣暢，而他在1960年代初的作 繪畫的表現，融合為完整的、獨特的朱 82》即是其中精采之作。

轉折得益於歐洲現代藝術的啟發，而中國 精神的過程中，扮演著不容忽視的角色。 深厚的國學修養，身邊有父執輩收藏的書 古代的名家碑帖。日後，這些來自東方文 地轉化、發酵為創作能量，而最早在他的 藝術家曾經在日後憶及，他在1961年前後 買不到宣紙，就以吸墨紙代替宣紙，享受 品，已然成熟地將水墨書法精神注入抽像 式藝術語彙，創作於1961年的《抽象No.

自然界並不存在著純然的黑，即使陰影亦 帶有多變的色彩， 這是西方繪畫在長久 朱德群《紅雨村．白雲舍》1960 的發展與研究之後已然普遍被認知與接受 的準則。朱德群卻在其1960年代的創作中 油彩 畫布 2006年5月28日 HK$25,880,000成交於香港 CHU Teh-chun, Rouge, la pluie de petales sur le village. Blanc, le nuage 大量採用濃黑的線條， 原本應是沉重凝 滯的黑色成為畫中主角， 這在講究色彩 au-dessus de la maison, no. 53, 1960, oil on canvas 表現、重現自然之美的西方畫壇， 無疑 是種挑戰與突破。而自朱德群筆下流洩而 195 x 130 cm, US$ 3,351,331, sold on May 28, 2006 in Hong Kong 出的黑， 重擊在畫布之上， 雄渾有力， 他以源自西方的抽象形式承載了天地精 神， 磅礡氣勢有如宋朝名家范寬的山水 畫。《抽象No. 82》一作同時展現藝術家 表現「光」的卓越之處，即便以厚重的黑、低彩度的赭紅為主色，整件畫作並不混濁，反而更顯光的透明純淨，而這樣純淨的光亦在藝術家日 後用色漸趨鮮麗的作品中，以不同姿態展現，正如日本美術史家宮崎克己所言：「朱德群先生從西洋繪畫中學到最多的，應如哥雅、林布蘭在 茫洋黑暗中滲出光芒的感覺吧，也因此他的作品就如同將西洋實體的光、色彩運用中國的墨、暗、及無限空間結合成合體的一種風格。」（美術 史家宮崎克己撰〈朱德群的軌跡〉，《大象．無形》，台灣馨昌株式會社，上野の森美術館，2008，頁52。）

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One above the other, two black lines horizontally extend across the image with tonal gradations as vivid as that of ink wash. It is majestic, imposing, yet effortlessly fluid.

Translucent silvery light glows in the background, illuminating the magnificent layers of ochre-tinted hues meandering across the canvas in emulation of the earth that engenders new life with its warmth, generous bounty and unchanging stability.

Abstract No. 82, created by Chu Teh-Chun in 1961, overflows with a vitality of life, emitting rays of wisdom with infinite serenity and generosity. The dark strokes of ink that guide our vision signify the profound Chinese cultural heritage of an artist who has found an alternate home on European soil. The intricate intersections between long traditions of Western painting aesthetics and the essence of Eastern culture represent the opening up of new possibilities for the progression of the history of art.

At the beginning of the twentieth century, China was entangled in wars, violence, and unrest. Yet the spiritual strength of great souls rose above the hardships and turmoil of their eras and were reborn with the grace and glory that only comes with great pain and hopeless destitution. Chu Teh-Chun was a child of this tumultuous era, but it was precisely these trials and difficulties in his background that made his determination to seek sincerity, goodness, and beauty all the more invaluable. Born in 1920, Chu Teh-Chun was accepted into the National Hangzhou School of Art (now the National Academy of Art) at the age of 15 and was placed under the instruction of masters such as Lin Feng-Mian, Pan Tian-Shou and Wu Da-Yu. Lin Feng-Mian, then President of the academy, advocated a liberal education, which allowed Chu TehChun to gain much insight into Western modern art and inspired him to explore new directions in his artistic creations. In 1937, with the outbreak of the Sino-Japanese War and the aggressive attacks of the Japanese army, the Hangzhou School of Art was forced to relocate further and further inland, moving from Anhui through to Hubei, Hunan, Guizhou, and Sichuan all the way to Yunnan. Chu Teh- Chun completed his studies in the midst of war and chaos, but was serendipitously given the opportunity to experience the wonderful sceneries and local colors of each region as the school moved to each location. After the end of the Sino- Japanese War, Chu Teh-Chun held a teaching position at Nanjing Central University for four years, but was obliged to relocate to Taipei in 1949 with the intensification of the Nationalist-Communist civil war. Sadly, the works of art Chu left behind in Mainland China were irrevocably lost. Upon his arrival in Taiwan, Chu was successively employed at Taipei Industrial Academy (now the National Taipei University of Technology) and Taiwan Teacher’s College (today National Taiwan Normal University). He also held his first solo exhibition ever in 1954 at the Taipei Zhongshan Hall.

Two years later, in 1955, Chu Teh-Chun traveled to France by ship in the company of Dong Jing-Zhao, who would later become his wife. This time his relocation was not due to the horrors of war but to a heartfelt longing for proximity to Western contemporary art, which was why the couple chose to settle down in the city of Paris, birthplace of modern art in the West, and the place where his beloved teacher Lin Feng-Mian once resided in and was profoundly inspired by. Chu Teh-Chun wandered ardently through the Musée du Louvre amidst centuries’ worth of priceless art, and was also a frequent visitor of the Academie de la Grande Chaumiere, an institute brimming with the vitality of freedom and creativity. Chu Teh-Chun was dissatisfied with his accomplished skills in realist oil paintings, and yearned to develop an artistic language that more suited his personal aesthetics. He emulated Paul Cezanne in his search for the essence of form, and finally began attempting non-representational oil painting after attending the Nicolas de Stael retrospective exhibition at the Museum of Modern Art in Paris in 1956. Light, lines and colors escape visible boundaries and are reconstructed on the canvas as lyrical, musical imaginative mindscapes.

This vocabulary of freedom and fluidity coincides with Chu Teh-Chun’s liberality

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and is perfectly suited to the expression of his deep, dynamic emotions. His first solo exhibition after his arrival in Paris was held in 1958, after which he immediately entered into a collaborative contract with the Legendre Gallery, which was then curated by Maurice Panier. This became the first step in the dissemination of his profound influence in world of modern European art.

Chu Teh-Chun’s creative career is the culmination of a breakthrough from realist representations inspired by modern European art as well as the heritage of Chinese cultural traditions. They allowed him to formulate a unique artistic vocabulary and internal spirituality. Both of these influences played integral parts in his creative processes. Born into a renowned physician’s family in Anhui, Chu Teh-Chun received an early education rich in traditional Chinese classics. His world was surrounded by beautiful collections of paintings and calligraphy that were painstakingly assembled by his forefathers, and it was under his father’s personal instruction that he emulated the calligraphy styles of the classic Chinese masters. These scholarships of Oriental influence would later metabolize and transform into different forces of creative energy throughout his artistic career, the earliest and most easily identifiable of which was the influence of Chinese calligraphy. As the artist himself later recalled, in 1961 he experienced a sudden longing for the touch of ink and wash, but was unable to obtain xuan paper anywhere in France. He chose to use blotting paper instead, and reveled in the rhetoric of ink on paper. Chu’s artistic creations from the early 1960s already exemplified his application of ink calligraphy into abstract painting and the formulation of a comprehensive, highly unique Chu-style artistic vocabulary. Abstract No. 82, painted in 1961, is one of the most exhilarating creations from this era.

Pure black does not exist in the natural world; even shadows are made of different gradations of gray and other dark hues. This is a commonly accepted principle of painting in Western culture that has stood the test of time and centuries of aesthetic development. Chu Teh-Chun, however, went against the grain by utilizing heavy strokes of dark, intense black in his paintings of the 1960s, giving the lead role to the originally dark, uninteresting color. In the world of Western art, where representation of color and natural beauty take precedence, Chu’s choice is no doubt both highly audacious and revolutionary.

朱德群《構圖51號―萬家掩映翠微間》 1960 油彩 畫布，120 x 100 cm，羅芙奧香港2012春季拍賣會 編號035，港幣2192萬成交 CHU Teh-chun, Composition No. 51 - Mille vies se cachent dans le bois, 1960, oil on canvas, 120 x 100 cm Ravenel Spring Auction 2012 Hong Kong, US$ 2,824,742 sold

朱德群《抽象 No.82》 1961 油彩 畫布，65 x 100 cm，羅芙奧台北2017春季拍賣會 編號317，預估價：台幣22,000,000-32,000,000 CHU Teh-chun, Abstract No. 82 , 1961, oil on canvas, 65 x 100 cm Ravenel Spring Auction 2017 Taipei, US$ 729,000-1,060,300

The intense black that is engendered by Chu Teh-Chun’s powerful brush strokes is both intrepid and majestic. His use of Western abstract painting techniques to manifest the indomitable spirit of Chinese scenic paintings by Song dynasty master artist Fan Kuan is truly magnificent. Abstract No. 82 also exemplifies Chu’s use of light. Even in a painting that encompasses the use of dark, heavy colors like black and unsaturated ochre, the canvas is far from turbid but instead emanates the brightness and clarity of light. This brightness and purity also became an integral part of the artist later, with more vibrant creations in a multitude of different representational methods. Just as Japanese art historian Katsumi Miyazaki aptly expressed, “What Chu Teh- Chun truly acquired from Western art is the permeation of light through a backdrop of darkness that is so typical of Goya of Rembrandt. This is why his works of art are created with a style that epitomizes the perfect union of the material light of the West and the tonal gradations of Chinese ink paintings within a space of infinite expansiveness.” (“Tracing the Orbit of Chu Teh- Chun,＂ Magnanimity—Formlessness, written by art historian Katsumi Miyazaki, Taiwan Rubycon Corporation, The Ueno Royal Museum, 2008, p. 52)

318 CHU Teh-chun

(Chinese-French, 1920 - 2014)

Accord Parfait 2007 Oil on canvas 130 x 190 cm Signed lower right CHU TEH-CHUN in Chinese and French, dated 07 Signed on the reverse CHU TEH-CHUN in Chinese and French, titled Accord parfait, and dated 2007 EXHIBITED: Chu Teh-chun, Marlborough Gallery, Madrid, November 20, 2007-Jannary 5, 2008 Chu Teh-chun 88 Retrospective, National Museum of History, Taipei, September 19-November 23, 2008 ILLUSTRATED: CHU Teh-chun, Marlborough Gallery, Madrid, 2007, color illustrated, p. 6 CHU Teh-chun, 88 Retrospective, National Museum of History, Taipei, Thin Chang Corporation, Taipei, 2008, color illustrated, p. 255

朱德群 和諧之音 2007 油彩 畫布 130 x 190 cm 簽名右下：CHU TEH-CHUN 07 簽名畫背："Accord parfait" CHU TEH-CHUN 朱德群 2007 展覽： 「朱德群展」，瑪博洛畫廊，馬德里，展期自2007年11月20日至 2008年1月5日 「朱德群八十八回顧展」，國立歷史博物館，台北，展期自2008年 9月19日至11月23日 圖錄： 《朱德群》，瑪博洛畫廊，馬德里，2007，彩色圖版，頁6 《朱德群八十八回顧展》，國立歷史博物館，台北，馨昌股份有限 公司，台北，2008，彩色圖版，頁255

NT$ 30,000,000-40,000,000 HK$ 7,712,000-10,283,000 US$ 994,000-1,325,400

創作此件大型作品時朱德群已年逾九十，然而生理上的逐漸衰老卻從未曾對他造成任何創作上的阻礙，反倒是經年歲月的成長，豢養心靈與精 神上的智慧積累。在這件作品上，深邃的藍色與墨黑交融成遠方幽靜的神秘世界，宛若宇宙開展時的靜默悠遠，而大筆刷的色彩方塊如寶石般 韻律般地舞跳交織，形成一片和諧安樂的愉悅氛圍，更如混屯之際日光灑落黑暗之地，為大地帶來無限生機與祥和的希望。《和諧之音》更像 是一首完整結構的交響樂曲，此起彼落的色彩如音符婉轉高低歌唱，時而高聲鏗鏘、時而低語鳴唱，差時間又響起聚精會神的獨奏令人傾心醉 神，爾後又匯集各個樂音形成氣勢磅礡的交響詩曲，驚艷四座、撼人心弦外更使人心生嚮往。朱德群在此件作品中大筆刷揮就出他自身東方文 化底蘊的深度涵養，看似有型，實際上卻完完整整地揉入西方抽象藝術的精髓裡，他行雲流水般，恣意隨心所欲地駕馭著兩種文化的交會，將 這衝突昇華成難以媲美的綺麗創作。《和諧之音》的畫面明暗對比精采萬分，色彩與筆觸間分界消融無形，盡顯圓融雅緻之際，亦脫俗雍華； 舒適喜悅的畫面層次，藝術家點綴大小錯落的色塊，層層堆疊至深邃神秘的幽藍之中，如同瑰麗的寶石，亦如同繁花燦放使人驚呼藝術家對於 色塊運用的高超智慧。而就在這樣的迷人空間當中，朱德群最令人目眩神迷的細節之精巧，畫面澎湃斑斕的激越更顯得如此難能可貴。在端看 朱德群《和諧之音》同時，他不僅只是譜奏了一闕舒坦泰然的優雅樂曲，亦揮灑出一幅形式、色彩皆為上乘的如夢風景畫，勾勒出藝術家心中 最無私分享的甜蜜記憶，為藝術家晚年抽象作品的傑出成就。 Chu Teh-chun was already over 90 years old when he began this large scale artwork, but his physical decline and growing weakness never became obstacles to his creativity. On the contrary, the advancement of age only honed his imperturbable spirit and added to his insurmountable wisdom. In this piece, deep blue and ink black merge into a serene, mysterious world far far away, like the deep silence at the birth of the universe, while large strokes of colorful gemlike squares dance and converge rhythmically, creating a peaceful, joyous atmosphere. Like rays of sunlight that shine upon the darkness of the earth in times of chaos, the painting embodies hopes of infinite life and perpetual harmony. "Accord Parfait" is like a structurally complete symphony with colors that come and go like changeful yet resounding melodies, sometimes loud and sonorous, other times soft and soothing. Then out bursts a mesmerizing solo before it is joined by other musical tones to form a strong, powerful symphony that fascinates and allures, tugs at heartstrings, and inspires vivid yearnings. In this piece, Chu Teh-chun uses broad, sweeping brushstrokes to display his profound knowledge of eastern culture. His brushstrokes appear to have physical form, but have in fact completely incorporated the essence of western abstract art. He expertly navigates between the two cultures, interweaves them with each other, and deftly transforms clash and conflict into creations of incomparable beauty. The contrast between light and dark in "Accord Parfait" is riveting as the divide between color and brushstroke melts away, leaving only mellow elegance and graceful refinement. In comforting and joyous layers, the artist adds blocks of color in various sizes, creating layers upon layers that reach into the deep and mysterious blue. Like gemstones of sheer brilliance, or flowers in full, vibrant bloom, the multitude of hues inspires viewers with marvel at the artist's masterful use of color blocks. It is in this charming, intimate space with its surging, colorful intensity that Chu Teh-chun's extraordinary attention to detail is most stunning and remarkable.

Upon close observation of Chu Teh-chun's "Accord Parfait," one is able to see that he has not only created a graceful melody of ease and composure, but also dreamlike scenery that mesmerizes in both color and form. The piece depicts the artist’s sweetest memories, which he has so selflessly shared with the world, and is a masterpiece among the artist's later abstract works.

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

Vase of Chrysanthemums with Red Ground 1930-1940s Oil on masonite 91 x 50 cm Signed lower right Yu in Chinese, SANYU in French PROVENANCE: Drout, Paris Y. Bideau, Paris Jean-Claude Riedel, Paris Private collection, Asia ILLUSTRATED: In Search of a Homeland: The Art of San Yu, National Museum of History, Taipei, 2001, color illustrated, pp.85, 119 Rita Wong, Sanyu Catalogue Raisonné Oil Paintings, Yageo Foundation, Lin & Keng Art Publications, Taipei, 2001, color illustrated, no. 112, p. 222 Rita Wong, Sanyu Catalogue Raisonné Oil Paintings Volume Two, The Li Ching Cultural and Educational Foundation, Taipei, 2011, color illustrated, no. 112, p. 128 Chia Chi Jason Wang, Sanyu : A Pioneering Avant-Garden in Chinese Modern Art, Tina Keng Gallery, Taipei, 2013, color illustrated, p. 172

Estimate on request 估價待詢

常玉 紅底白菊 1930-1940年代 油彩 纖維板 91 x 50 cm 簽名右下：玉 SANYU 來源： 德福奧，巴黎 易．畢朵，巴黎 尚．克勞德．希耶戴，巴黎 亞洲私人收藏 圖錄： 《鄉關何處：常玉的繪畫藝術》，國立歷史博物館，台北，2001，彩色圖版， 頁85，119 衣淑凡編，《常玉油畫全集》，國巨基金會，大未來藝術出版社，台北， 2001，彩色圖版，編號112，頁222 衣淑凡編，《常玉油畫全集第二冊》，財團法人立青文教基金會，台北， 2011，彩色圖版，編號112，頁128 王嘉驥編，《常玉─中國現代主義藝術的先鋒》，耿畫廊，台北，2013， 彩色圖版，頁172

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「這位藝術家的特殊才華在於融合東方與西方，他畫中表現的是一種崇高深邃的形態， 而非毫無章法地亂作一團。」 ─若富義(1929-2008)，《論常玉》，引自「"Sanyu: Inventeur d e l'essentialisme" (1946年12月25日)

常玉是華人第一代留法的傑出美術家，優雅、自由的繪畫風格，在同代藝術家中顯得十分突出，作品曾多次入選法國重要沙龍展，被視為「巴 黎畫派」的成員之一。1932年時，常玉的名字還曾被刊載於巴黎藝術出版社所發行的《1910－1930當代藝術家生平辭典》第三卷。在種族偏見 仍深的年代，中國人的名字首度登錄國際性的美術家生平辭典，絕非僥倖可獲致。 早年多位留法的藝術家提起常玉，直言他當年已有大師級的名氣，只是放蕩不羈的性格，拒絕為五斗米折腰，晚年窮困客死異鄉。曾在巴黎與 常玉有一面之雅的老畫家吳冠中，讚揚常玉是真正的藝術家，認為其藝術遠在潘玉良、徐悲鴻等人之上，他曾說道：「常玉的畫相當不錯，有 格調，有性格，我覺得中國人畫油畫到西方去的，常玉是第一個。」在他的觀察，常玉的油畫近乎寫意，但形與色的構成仍本於西方現代造型 觀念。 時至今日，在第一代中國油畫家行列裡，常玉無疑是非常突出的一位，具有超越時空的美學魅力。至今，他仍是許多藝術收藏者的最愛。儘管 今日常玉留世的作品以油畫、水彩、素描、版畫等西方創作形式為主，但他的美學內涵與中國文化其實深不可分。出生於中國四川南充的他， 受到父親常書舫的書畫啟蒙，12歲即展露藝術的才華。常書舫以獅、馬等動物繪畫聞名南充，潛移默化了常玉。在常玉從早期到晚期的作品 中，經常以風景畫中的馬為創作主題，頗有幾分向父親致敬之意。傳統藝術的因子，一直藏在飄浪性格藝術家常玉的創作血液之中，不論是線 條、筆法、構成空間、色彩運用，還有繪畫中透露的禪意與神韻，雖然身在歐洲，但筆下的靈魂，滿溢著中華文化的影響。 1921年常玉從中國抵達世界的藝術之都，他成了巴黎所謂「瘋狂年代」的歷史見證者、參與者。當時歐洲剛剛經歷過第一次世界大戰的摧殘， 經濟困頓與戰爭人禍的陰影尚未褪去，整個1920年代在這座城市興起放縱、自由的享樂主義。於是，巴黎再度成為一個現代而有創造力的城 市，在藝術、服飾、人文、音樂上皆有很大的解放。本是紈褲子弟、翩翩公子的常玉，會演奏曼陀林、打網球、抽水煙、打撞球，喜歡在文人 咖啡廳裡觀看往來的芸芸眾生，還擁有一台名貴的相機，經常偕友人聚會、郊遊，頗能融入巴黎的自由享樂風潮，甚至可說是如魚得水。這段 時間他以粉白、粉紅的色系畫出巴黎生活的歡愉印象，時間一直延續到1930年代。

常玉《瓶菊》1950年代，油彩 纖維板，91.6 x 125 cm，103,580,000 港幣成交，2016年11月26日，香港佳士得秋季拍賣會 Sanyu, Chrysanthèmes dans un vase en verre, 1950s, Oil on masonite, 91.6 x 125 cm, Sold at $ 13,351,460 on 26th November, 2016 at Christie's Hong Kong Autumn Auction 常玉《聚瑞迎馨》1950年代，油彩 纖維板130 x 74 cm，80,760,000 港幣成交，2014年4月5日，香港蘇富比春季拍賣會 Sanyu, Potted Chrysanthemums, 1950s, Oil on masonite, 130 x 74 cm, Sold at $10,409,962 on 5th April, 2014 at Sotheby's Hong Kong Spring Auction 常玉《菊花與玻璃瓶》1950年代，油彩 纖維板，75 x 92 cm，81,880,000港幣成交，2015年5月30日，香港佳士得秋季拍賣 Sanyu, Chrysanthemums in a Glass Vase, 1950s, Oil on masonite, 75 x 92 cm, Sold at $ $ 10,562,520 on 30th May, 2015 at Christie's Hong Kong Spring Auction

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「他當時似乎在很勤地作畫，畫些花的盆景，據他說是從吳昌碩的花卉中得到啟示，經過自己的安排，平面化的表現，有的花葉均塗成黑影， 及富裝飾意味。」 ─席德進，《一生沉沒在巴黎的中國老畫家─常玉》

自小習字後隨父親學畫的常玉自身具有中國書藝之相當基礎。雖然後來存世的常玉書藝創作不多，但寫得一手好字的常玉，在巴黎時初期以毛 筆速寫裸女，功力一流，經常一氣呵成，不需太多思索，往往引起其他畫家的讚嘆。後來他也透過油畫，也把書法的功力展現於人體、動物、 靜物、花卉姿態等線條上。「花卉」的題材在常玉一生創作中佔有極大的比重，多以描寫中國傳統書畫中常見的梅、竹、荷、菊，其中尤其偏 愛畫菊。「菊」，經常出現在他的花卉畫裡，隱藏著濃濃的鄉愁記憶。菊是花中隱士，也是詩人的象徵。陶淵明的「採菊東籬下」的優雅，想 必在常玉心裡有深刻的了解。他的生命價值觀與美學思考，透過花卉畫的描寫抒發，彷彿也想藉由花的姿態暗寓自己漂泊異鄉的身軀。 吳冠中曾寫道：「常玉畫了那麼多盆景，盆景裡開出綺麗的繁花，生意盎然；盆景裡芶延著凋零的殘枝，悽悽切切，卻鋒芒畢露。由於剪裁形 式構成的完整飽滿，濃密豐厚的枝葉花朵往往種植於顯然不成比例的極小花盆裡，有人慨嘆那是由於失去大地，只依靠一點點土壤成活的悲 哀。這敏銳的感觸，這意味深長的慨嘆緣於同命運的相憐吧！我覺得常玉自己就是盆景，巴黎花圃裡的東方盆景。」（節錄自吳冠中〈說常玉〉一文） 美學家蔣勳也從常玉的花卉畫裡讀出「此生如花」的聯想，認為花卉的姿態反映出藝術家的自我人生。 大抵而言，常玉的繪畫傾向極簡有致的線條構成，用色不多，1930年代前後他的油畫作品多採白色、粉紅淺色調，偶而加上黑色，屬於巴黎特 有的浪漫風情。不過雖然畫面的構成簡單，然而常玉表現出來的氣息卻是富貴而華麗的，沒有輕挑俗氣之感。他出身富庶家庭，出入流露紈褲 子弟的習性，卻又淡泊名利。以《紅底白菊》作品為例，中國文化中代表喜氣的紅色背景，常玉僅以單筆白色顏料勾勒書出幾朵白菊，細細點 出菊的姿態優雅秀娟，綴以枝葉，出奇高雅脫俗，作品線條流暢自如，宛若中國傳統花卉描繪，可見其自小養成的深厚國學素養；瓶花則靜靜 佇立，露出一股無限生命力，就像是常玉的藝術正在百花齊開的巴黎裡，綻放爭艷；所繪主題「菊」默默地契合常玉他自身的中國文化，也點 出了身為異鄉人對於母國思念的總總情懷，而這類的主題也是常玉創作生涯中不可或缺亦不可抹去的重要象徵。此時的常玉僅保留書法線條與 寫意筆觸，但更能見著的是他在此件作品對於抽象的形式與構圖的運用，代表著他對於現代藝術的熟識，也正式成為一位來自東方中國的現代 藝術家，成為一位中國的現代藝術先鋒。 常玉擅長疏密有致的線條勾勒，兼採中西形式構成，單色調的層層敷染，融入現代繪畫的質感。常玉一生在巴黎追求西方自由開放的藝術空 氣，但他的血脈流淌的，自始至終仍是東方文人的傲氣，這種精神在他的後期花卉作品更是展露無疑，其中他所開創的個人風格，後人全然無 法仿效。而常玉的花卉靜物畫顯現出他的性格，不媚世俗，我行我素，有幾分文人的傲氣，反映出他在巴黎的人生經驗。20世紀初，華人生活 在異鄉的土地，何其不容易，當然要綻放光華，也要開得艷燦、自信。

“The particular gift of this artist is to untie East and West in his painting, not in a confused sacrilegious hotchpotch, but in a sublime form where one loses usual points of reference” ─French art critic, Pierre Joffroy (1929-2008), quoted “ Sanyu: Inventeur de l'essentialisme: (25th December, 1946)

Sanyu was one of the first generation of outstanding Chinese artists who went to France to study and pursue a career as a painter. His elegant yet unrestrained style made him particularly stand out among his many talented peers. His works were shown in numerous important salon exhibitions in France, and he was counted as one of the Ecole de Paris ("School of Paris"). In 1932, Sanyu's name even appeared in the third volume of preeminent arts publisher Art et Editions' "Dictionnaire biographique des artistes contemporains 1910-1930". In a time and age when racial prejudice was still very widespread, it was no small feat for a Chinese painter to make it into a biographical encyclopedia of internationally acclaimed artists-Sanyu was in fact the first Chinese artist to be thus honored, and this was certainly no accident.

Many other Chinese artists who had studied in France in the early 20th century commented that Sanyu has already had the air and reputation of a great master, even in his early years. How ever, his rather reckless and dissolute character, and his unwillingness to break his back to do something as "trivial" as earning his daily bread, meant that in the end he died a poor man in a foreign country. Wu Guanzhong, one of the doyens of modern Chinese painting, met Sanyu once in Paris. He has words of high praise for his fellow painter, calling him a "true artist," and rated him much higher than, say, Pan Yu-liang or Xu Beihong. Wu on Sanyu, "His paintings are quite good, really. They have style, and they have character. I'd say that among all the Chinese oil painters who developed their career in the West, Sanyu deserves the place of honor." In Wu's opinion, Sanyu's brushwork is similar to the traditional Chinese "freehand" style, but his sense of shape and color, and the general structure of his compositions, are largely rooted in modern Western concepts.

Today, there is no doubt that Sanyu was one of the most distinguished members among the first generation of modern Chinese-origin oil painters. The aesthetic appeal of his works surpass the boundaries of time and space, and to this day his paintings remain among the favorite objects of many collectors' desire. Incidentally, Sanyu's aesthetics are clearly indebted to the Chinese cultural tradition, even though most of his output has been in Western genres and formats, in particular oil painting, watercolor, sketch/ drawings and prints. Born in Nanchong in Sichuan Province, China, he was first instructed in calligraphy and painting by his father, Chang Shu-fang. At about the age of 12, Sanyu began to display his extraordinary talent, much influenced and inspired by his father's work. Chang Shu-fang had quite a reputation for his exquisite animal painting, especially his depictions of lions and horses. Possibly as a result of this, and a

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「相思巴黎－館藏常玉展」，國立歷史博物館，台北，展期自2017年3月11日至7月2日 Parisian Nostalgia: the National Museum of History's Sanyu Collection, National Museum of History, Taipei, 11 March - 2 July, 2017

subtle form of paying respect to his father, landscape compositions featuring horses as the dominant theme run through Sanyu's entire oeuvre. The seeds of traditional Eastern art would continue to sprout and bear fruit throughout his whole life, even though he spent most of it as a stranger in strange lands.

Although he roamed in the Western world, the basics of his art are unmistakably pervaded by a Zen-like rhythm, an almost mystical vibrancy that shows in his lines, brushwork, compositional and spatial arrangements, as well as his use of color. Though he chose to make Europe his permanent abode, the core of his work is yet brimming with the essence of Chinese culture.

When Sanyu arrived from China to the City of Light in 1921, he immediately became embroiled in what has been termed Les Années Folles ("The Crazy Years"), witnessing one of the most exciting times in European art and literature: after the ravages of WWI, the "old continent" was still reeling from economic difficulties and the aftermath of disaster, but in the city of Paris, this led to a sort of epicurean libertarianism, an untrammeled pursuit of pleasure and excitement, but also of new forms of expression in literature and fine arts. For a time, Paris again became the most modern city of Europe, a magnet for people with creative talent, be it in the realms of art and fashion, or music and writing. In many ways, Sanyu, born to well-to-do parents and by nature a bit of a playboy, he was fitting quite well in this environment. He played the mandolin, was good at tennis and billiards, smoked a water pipe and loved to spend hours sitting in a café watching people come and go. He also owned an expensive camera, which he used to take pictures during parties or outings with friends and colleagues.

With his gregarious character and fondness of good times, Sanyu was pretty much in his element in the roaring twenties of Paris. In his works of that period, shades of white and pink are the dominant colors, deftly employed to depict the elegance and exuberant high life of France's capital. This wave of wild abandon and romantic devotion to the arts and good living lasted until about 1930s.

“He seemed at the time urged to paint, was inspired by the flower paintings of WU and planar expressions, he sometimes coated a heightened sense of decoration” ─Shiy De-

painting flowers in pots. According to him, he Changshuo. Through personal arrangements flowers and leaves as black shadows, implying jinn, "An Old Chinese Painters Engulfed in Paris"

Learning the Chinese calligraphy in his childhood and later the Chinese painting from his father, Sanyu had accumulated a depth in Chinese artistic tradition. Although not many of Sanyu's calligraphic works are extant today, one can catch more than a glimpse of his fluid brushwork and assured elegance in his early Paris nude female sketches: his technique is impeccable, his compositions all of a piece, done in one go without later corrections or changes. This near perfection, praised and envied by many of his contemporaries, also became a hallmark of his oil paintings, where he employed the lively yet abstract lines of calligraphy to draw the contours of human bodies, animal shapes, still lifes, and flowers. Among these paintings topics, "flowers" make up a large portion of his oeuvres. His favorites were the classical subjects of Chinese painting, plum blossoms, 《陶潛詩選》之封面及常玉所製作三幅銅版畫插圖 bamboo, lotus, and chrysanthemums. Among these, he particularly loved chrysanthemums, 勒馬蓋出版社，巴黎，1930年 Cover and three copperplate prints by Sanyu for The Poems of T'ao Ts'ien and consequently they frequently appear in his flower painting, messengers of a deeply felt Published by Éditions Lemarget, Paris, 1930 nostalgia that is yet never more than hinted with subtle restraint. In the Chinese tradition, chrysanthemums are symbols of a reclusive life, signifying a hermit or a poet. They stand for a spontaneous, independent spirit that has probably been best captured in Tao Yuanming's famous lines from one of his Wine Poems, "Chrysanthemums I was picking under the east hedge / When the South Range met my tranquil eyes ... The soul of nature was here revealed / Too subtle it was for words." We can be sure that Sanyu shared these sentiments on a very profound level, because he revealed his views on life and genuine beauty through his depictions of flowers, using them as an outlet for metaphorically expressing the sadness and forlornness lurking immediately under the surface of his merry Paris life.

As Wu Guanzhong writes, "Sanyu was a great painter of flower stills and potted plants, and they are always blossoming in the most exquisite shapes and colors, brimming with life. Yet in truth, flowers in a vase are beautiful blooms on stalks or branches already severed from the true sap of life - lingering on for a short while, but doomed to fade and wither quickly. It is a mournful sight, really, the sadness only enhanced by the sheer splendour of the subject.

The overwhelming visual density is the result of cutting and arrangement, an effect produced by squeezing thick clusters of lowers into too small a vase or pot, thus losing all sense of natural proportions. When this happens, some have plaintively observed, one forces these delicate plants to subsist on a little water or a few crumbs of soil, cutting them off from the generous nourishment of Mother Earth. Why would Sanyu be so sensitive to these truths? Why, his compassion and sympathy clearly derive from the fact that he was in a similar situation himself! I think he was a 'potted plant,' a 'flower in a vase,' too, a bonsai from the East transplanted to the huge garden that is Paris." (From Wu Guanzhong, 'About Sanyu'.) Scholar-painter and writer Chiang Hsun expressed a similar impression when he said that "Sanyu's life was like the flowers he painted." Looking at the lowers and their graceful yet lonely poise, we can get some idea of what the artist's inner life must have been like.

Generally, Sanyu's oeuvre shows a marked tendency towards simplicity and conciseness. He usually limits his palette to relatively few colors. Around 1930, his oil paintings exhibit an affinity for shades of white and pink, with the occasional dash of black, a combination often regarded as a typically

Parisian "romantic style." For all the much-praised terseness of his approach, Sanyu's paintings are not devoid of grandeur and elegance. Quite the contrary!

Flippancy is not Sanyu's style, and his flamboyance is never carried to gaudy extremes. Coming from a distinguished and wealthy family, he had something of a playboy about him, and he certainly knew how to have a good time. But there was another side to this bon vivant: deep down inside, Sanyu was a devoted artist, and in the final consequence, he was not overly concerned with fame and riches. The work “Vase of Chrysanthemums with Red Ground”, the red background always imply the happiness in Chinese culture. Sanyu simply outlined the elegance and quietness of Chrysanthemums with dry, white brushes and interspersed with leaves which reveals the air of delight. The usage of brushes are like the traditional Chinese floral ink and color paintings which tells the depth of Chinese culture and aesthetic that Sanyu once had cultivated. The flowers stands still and quietly which symbolizes the immense vitality of the flowers as well as the creativity of art that Sanyu wanted to express along his contemporary artists’ art in that time in Paris. The topic of the work is also associated to the “chrysanthemum” which symbols the Chinese culture that Sanyu held for his lifetime. And this topic as well as points out the homesickness to an “étranger” like Sanyu once had, and also this has been an important emblem throughout his works. By the time Sanyu was painting this extraordinary work, he kept the lines and the philosophic brushes often seen in the Chinese calligraphy or ink and color paintings. However, the usage of abstractionism-like form and composition are clearly seen in the work. Thus, this can be considered that Sanyu had a better knowledge of Modern Art, moreover, he could said that he had established his Modern art ever since, an artist of Chinese Modern Art, as well as a pioneer of Chinese Modern Art. Sanyu applies dry monochromatic layers but infuses them with the substance and significance of modern painting. Sanyu spent almost his entire life in Paris in pursuit of the more liberal and uninhibited ways of Western art, yet it was still the blood of a Chinese scholar-painter that was pumping through his veins. It is this proud spirit of the Eastern literati that is fully displayed in his later flower stills, works in which Sanyu finds his definitive and unique style that remains inimitable to this day. Sanyu's character is clearly mirrored in his flower stills, a unique mixture of aloofness and indulgence, of dynamic individualism and a touch of intellectual pride - all in all, a miniature reflection of his experiences in Paris, a city steeped in artistic and cultural traditions.

We should not forget that for a Chinese painter in the early 20th century, it was by no means a small feat to not only survive, but also succeed and prosper in a strange land far away from home. However, Sanyu certainly rose to the challenge, and the splendor of his creative genius was a picture sparkling with joie de vivre and brilliant poise.

亨利•馬諦斯《瓶花》，1924，油彩畫布，60.6 x 73.7 cm，波士頓美術館，美國 Henri Matisse, Vase of Flowers, 1924, oil on canvas, 60.6 x 73.7 cm, Museum of Fine Arts Boston, USA

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馬奈《瓶花》，約1882年，油彩畫布，56 x35 cm 奧賽美術館，巴黎 Édouard Manet, Pinks and Clematis in a Glass Vase, c.1882 Oil on canvas, Musée d'Orsay, Paris

320 ZAO Wou-ki

(Chinese-French, 1921 - 2013)

30.09.97 1997 Oil on canvas 101 x 102 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-KI in French and titled 30.09.97 EXHIBITED: International Contemporary Art Fair in Spain, Madrid, Feburary, 1998 ILLUSTRATED: ZAO Wou-ki, Gallerie Thessa Herold, Paris, 1998, color illustrated, p. 69

NT$ 38,000,000-46,000,000 HK$ 9,769,000-11,825,000 US$ 1,259,100-1,524,200

趙無極 30.09.97

1997 油彩 畫布 101 x 102 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-KI 30.09.97 展覽： 西班牙國際當代藝術博覽會，馬德里，1998年2月 圖錄： 《趙無極畫集》，泰薩．赫洛德畫廊，巴黎，1998，彩色圖版，頁69

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“In the composition, moving continuously, tying together, expressing, and appearing fleetingly in the visible world…”

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作為一位藝術的先行者，趙無極以抽象語彙表現東方精神，關於山川大地、關於天 人合一、關於天地造化的無盡奧妙，他以抽象油畫的形式為東方精神開拓前所未 有、且更為純粹有力量的表現語彙，另一方面，將中國文人寄情於景的概念與東方 哲思帶入源自西方繪畫傳統的抽象繪畫，擴展了觀看世界的視野，無論於西方或東 方的藝術發展脈絡裡，皆帶來開創性的貢獻，成為立足於世界版圖之上，抒情抽象 的代表人物。 1990年代對趙無極而言，是一個過盡千帆、攀過千峰，逐漸朝向悠然自在、坦然遨 遊於天地之間的階段。他自1950年代逐步確立個人的藝術走向，經歷了數個階段的 蛻變，抒情抽象的風格1960年代愈臻成熟，1970年代重拾水墨習作而為他的油畫創 作注入大量的墨韻新意而大放光采，及至1981年受邀於巴黎大皇宮舉辦個展，既是 華人第一，亦代表了藝術家備受讚譽的地位。往後，已屆知天命之年的他腳步未曾 停歇，依然致力於自我突破，而於1989年前後進入又一新的創作階段。此時藝術家 開始採取由外往內包覆，若洞穴般的整體搆圖形式，與此前山脊式內聚外放，力量 聚集於畫面中心的搆圖有著顯著的差異，延續至1990年代後期，《30.9.97》即採取 此包覆性構圖，如此的構圖因為缺乏明確的視覺重心，更需要卓越且宛若天成的結 構與色彩掌握能力以凝聚畫面的力量，藝術家以富麗充滿光采的澄黃與黛綠鋪陳此 作，打造了一方既莊嚴崇高且自在無拘的精神世界。

泰納《光與色彩：大洪水之後－寫創世紀的摩西》 油彩畫布，1843 ，倫敦泰德美術館藏品 William Turner, Light and Colour (Goethe's Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis, Oil on Canvas. Collection of Tate Britain, London

當我們面對《30.9.97》一作，閃爍著光芒的淡淡金黃迎面而來，以一種不斷變動、 無形卻自有規律的能量之姿，於虛空中幻化起舞。不同明度的澄與黃色層層渲染、 潑灑、裂變，創造出琉璃金光，如海濤、如雲海，翻騰在一片黛綠之上，而這片黛 綠從畫面的左側一路延伸變幻，由淺至深，青翠、黛綠、靛藍無盡轉換，如翡翠般 千變萬化，即使是最深沉的色彩也保有澄澈通透的瑩瑩光彩。整幅畫作充滿生之律 動而不顯凝滯，豐富而細緻的層次堆疊成一方深邃而難以一眼探盡的海洋，每個細 節都引人入勝，吸引觀者前往更深更遠之處探索，而其中蘊含了大自然生生不息的 無盡奧義。這是趙無極為世界呈獻的禮讚，帶領我們看見流轉於天地之間，不受時 間拘束的宇宙之光。 是詩人、文學家，亦是藝評者的伊夫．博納富瓦（Yves Bonnefoy，1923-2016）曾 在1997年，也就是趙無極創作《30.9.97》的同一年，如此評論：「趙無極在畫中絲 毫不就單純的感覺品質觀察色彩和形狀，而著意於其協調的能力。他們被使用而非 被固定，在畫面上互相協調著，不斷地移動、交結、展聞，忽隱忽現於可見的世 界……使我們在解散的物質邊緣窺見我們平凡生命所陌生的驚人曙光。」（伊夫．博納 富瓦〈趙無極的思考〉《趙無極繪畫六十年回顧》，上海三聯書店，1999，頁27-28；原載於1997年11月至1998 年2月巴黎Galerie Thessa Herold 「Zao Wou-Ki」展）在情感與藝術事業上皆執著且滿懷熱情的趙 無極，於時代洪流中歷經了悲歡離合，在東、西方文化之洋中摸索，獨行於那未曾 有人踏足的開創之路，一路行來，所有的生命跌宕已然昇華，展現在《30.9.97》一 作中，自然而然地在華麗而神秘的天地裡，散發出莊嚴智慧的光芒。 郭熙《早春圖》1072 台北國立故宮博物院收藏 KUO Hsi, Early Spring, 1072, 158.3 x 108.1 cm Collecttion of National Palace Museum, Taipei

“In the composition, moving continuously, tying together, expressing, and appearing fleetingly in the visible world…”

As a pioneer in art, Zao Wou-ki uses abstract vocabulary to express the Eastern spirit. Whether it is natural scenery, the concept that the Heavenly Person is at one with the universe, or the endless wonders of the power of Nature, the form of Zao's abstract oil paintings open up a never-before-seen, purer, more powerful expressive language for the Eastern spirit. On the other hand, these abstract paintings that blend the Chinese tradition of expressing sentiments through natural scenery and Eastern philosophy with the Western painting tradition — these paintings expand our horizons for viewing the world. Zao made innovative contributions to the context of art development in both the West and the East. He has become a representative of lyrical abstraction who stands alone in the world.

For Zao Wou-ki, after having lived through the many peaks and valleys of his life to that point, the 1990s was a stage where he could gradually move toward becoming truer to himself and calmly making his way in the world. Since the 1950s, Zao had gradually established his personal artistic style. Having experienced multiple stages of metamorphosis, his style of lyrical abstraction became more mature in the 1960s. In the 1970s, he revisited ink wash, and, in a triumph for his genius, began to use ink generously in his oil paintings. And in 1981, he was invited to hold a solo exhibition at the Galeries Nationales du Grand Palais. Not only was he the first Chinese person to have had this accomplishment, this also showed that the artist had attained a place of honor. Later, at an age where, as Confucius put it, he "knew the will of Heaven", Zao never stopped creating and continued to make personal breakthroughs. Around 1989, he entered a new creative stage. During this period, the artist started using a "cave-like" composition, "covering up" the center from the outside.

There was a significant difference from previous works in which the mountains are clustered in the center and radiate outwards, making the center of the composition the source of power. The new approach continued into the second half of the 1990s. The painting 30.9.97 uses precisely this "covered up" composition. Due to the lack of a clear visual focus, this sort of composition requires an even more refined and natural ability in structuring and handling colors to condense the force within the picture. The artist has used rich and bright orange and dark green in this work, creating a spiritual world that is at once solemn and serious, but also free and boundless.

When we look at the work 30.9.97, the beaming light golden yellow faces us. The continuously moving and formless posture, that nonetheless has its own energetic rhythm, becomes transformed into a dance within the void. Oranges and yellows of various brightnesses are rendered into layers, spilled, and fissured, creating a glazed golden beam. Like waves, like a sea of clouds, they run over a field of deep green. This field extends and changes all the way from the left of the painting: from light to dark, endlessly alternating through shades of light jade to dark green, then indigo. Like ever-changing jade, even the darkest tone keeps its clarity and brightness. The entire painting is full of rhythm and does not stagnate. The rich and delicate layers compile into a boundless ocean that cannot be fully plumbed in a single glance. Each detail is alluring, tempting the beholder to keep discovering more deeply and more distantly. And what is contained is the boundless meaning of undying nature. This is Zao Wou-ki's gift to the world. It lets us see the timeless cosmological light that circulates between the sky and the earth.

Poet, writer and art critic Yves Bonnefoy (1923-2016)commented in 1997, the year that Zao Wou-ki created 30.9.97: "In his paintings, Zao Wou-ki is not in the slightest just making simple observations of color and form using his feelings. Rather, it is about his ability to coordinate. The shapes and colors are used but not stabilized. They coordinate with each other in the composition, moving continuously, tying together, expressing, and appearing fleetingly in the visible world… Around the edges of dissolving objects, they give us a peek at an amazing dawn unknowable in our usual lives." (Yves Bonnefoy, "The Thought of Zao Wou-ki", Zao Wou-ki's Sixty Years of Painting, Shanghai Joint Publishing, 1999, pp.27-28. Originally published for the "Zao Wou-ki" exhibition at the Galerie Thessa Herold, Paris, November 1997 to February 1998.) Zao

Wou-ki, who was passionate and persistent in both his internal life and his artistic career, lived through tumultuous times in history.

He explored the seas of Eastern and Western culture, and walked a solitary path, one that he blazed for himself. Throughout his journey, his eventually transcended all the ups and downs. Displayed in the work 30.9.97, they naturally give off a solemn and intelligent glow, in a magnificent and mysterious world.

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321 Yayoi KUSAMA (Japanese, b. 1929)

I Carry on Living with the Pumpkins 2013 FRP, urethane paint 180(L) x 180(W) x 30(D) cm Signed lower center YAYOI KUSAMA, dated 2013 Exhibited: Yayoi Kusama Pumpkins, Victoria Miro, London, September 16 - December 19, 2014 This Painting is to be sold with a registration card issued by Yayoi Kusama Studio

草間彌生 我與南瓜相伴的生活 2013 玻璃纖維 漆 180(長) x 180(寬) x 30(厚) cm 簽名中下：YAYOI KUSAMA 2013 展覽： 「草間彌生 南瓜」，Victoria Miro，倫敦， 展期自2014年9月16日至12月19日 附草間彌生工作室開立之作品登錄卡

NT$ 28,000,000-36,000,000 HK$ 7,198,000-9,254,000 US$ 927,800-1,192,800

年近九十歲高齡的草間彌生，從1960年代至今持續活躍於藝壇。奇異的裝扮與獨特的性格始終引人非議，一生充滿傳奇性。回到日本後數年， 自願住進精神病院，但仍每日固定到醫院對面的工作室作畫，至少創作八個小時以上。直至今日國際展覽的邀約仍不間斷，為當今世上少數備 受敬重的亞洲女性藝術家，其多樣的創作形式與題材深受各界喜愛，包含諸多美術館以及私人收藏機構等，作品曾創下五百萬美元的拍賣成交 紀錄，為目前在世女性藝術家之最。 她自幼有藝術天分，青年時期在故鄉學習膠彩、粉彩等傳統日本畫，受美國女藝術家歐姬芙鼓勵，1957年至紐約發展，感受到自由創作之可 貴。草間彌生作品多元，類型包括繪畫、軟雕塑、行為藝術、裝置、影片，涵蓋普普藝術、女權主義、超現實主義、原生藝術、抽象表現主 義、乍現藝術等派別。1993年草間彌生代表日本參加第45屆威尼斯雙年展，從此南瓜題材的作品聲名大噪，也受邀創作巨型裝置作品，如福岡 市美術館的戶外雕塑。而題材「南瓜」來自於草間的童年，在戰爭時期草間的家種滿了南瓜；她說「小時候在家裡植物採種場玩，摘下來的南 瓜會跟我說話。」「南瓜外型實在太可愛了…吸引我的是它脂粉未施的大肚子，還有強大的精神安定感。」在紐約生活十七年後，1973年她返 回日本定居。1975年開始創作拼貼作品，1979年創作版畫，並投入文學寫作工作，1983年小說「克里斯多夫南娼窟」榮獲第十屆野性時代新人 文學獎。返回日本之後，草間彌生的人生總算苦盡甘來，大量的創作藝術品，痛苦的人生轉為平靜美好。草間彌生的繪畫呈現出個人的精神思 考及自傳式內涵，當她拿起畫筆時，透過偶然和無預兆的動機，與神祕的世界連結，內在身體的力量，潛意識的想法，鋪展出一個宇宙的大空 間。她懷有無限作畫的熱情，對藝術存有如宗教般的景仰，才能長期支持她抵抗精神疾病的煎熬。 草間彌生對圓點是偏執的，這與她的視覺幻覺有關。她以大量的圓點包覆各種物體的表面，牆壁、地板、畫布、物品、人體、甚至自己。藉由 重複性的線條將圓點無限的蔓延，混淆了真實空間的存在，使得觀賞者不自覺的陷入眩暈狀態，不知身處真實或虛幻。此件大型南瓜創作為二 維半立體作品，藝術家以畢生最鍾愛題材，一次又一次地對自我對話，透過這些無數的獨白，為自己飽受精神疾病折磨的靈魂找尋生命的歸屬 與出口。草間彌生把自己的幻覺經歷投射在其作品中，透過攝人心魄的作品釋放壓抑的情緒。她說：「我就是以這樣的方式，讓當下感受到的 驚嚇和恐懼漸漸沉澱，這些經歷可以說是我畫畫的初衷。」而這件創作於2013年的《我與南瓜相伴的生活》完整表現出南瓜獨特的飽滿外型， 為拍賣市場上首度曝光的類雕塑題材作品，實屬難得。 觀看草間彌生的藝術，觀者在視覺上所獲得的感官衝擊總是充滿著驚喜與宛若童趣的欣喜氛圍，然而這些強烈的藝術語言是藝術家飽受多少折 磨後的結晶。她飽受幻覺所擾，而這些苦痛未曾擊敗她一心奉獻給藝術的決心，難能可貴的是她將這些難以承受的苦難，來自幻覺中的影像化 為獨特而強烈的創意，用畫筆一筆一筆去消除並且將之幻化成他最目眩神迷、最受世人矚目的精彩創作，也使得草間彌生終究在世界藝術史上 留下難以比擬的輝煌成就。

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Kusama has been a household name on the global art scene since the 1960s, and remains active today at the age of 88. Unsurprisingly, her off-the-wall rigouts and unique personality have also attracted a fair share of criticism, but nothing can obscure the fact that she has already achieved legendary status. After returning to Japan, she checked herself into an open mental health facility, where she has lived ever since. But that has not prevented her from going to her studio—located just opposite the hospital—every day and working on some new project, a routine she maintains to this day. She has been considered one of the most respectable female Asian artist in the world.

From the childhood, Kusama displayed outstanding artistic talent, and during her youth she learned to paint traditional Japanese-style paintings in a variety of mediums, including gouache and pastel. Encouraged by eminent American female artist Georgia O'Keeffe, she moved to New York in 1957, where her creative abilities soon blossomed in a much more open and tolerant environment. She greatly expanded her vision, and her oeuvre soon comprised not just paintings, but also soft sculptures, performance art, installations, and films. Her themes and formats ranged from pop art, feminism and surrealism to Art Brut (outsider art), abstract expressionism, and happenings. In 1993, Kusama represented Japan in the 45th Venice Biennale. Since then, she became famous for her works on pumpkins and was invited to create large installations, such as the outdoor sculpture at Fukuoka Municipal Museum. The subject of "pumpkins" came from her childhood. During the war, her family planted pumpkins at home. She said, "As a child, I used to play in the garden at home.

The pumpkins that I plucked out would talk to me." "Pumpkins have such lovely shapes... What attracts me are their unpowdered big bellies and their strong sense of security." Eventually, after 17 years in New York, she returned to live in Japan in 1973. Two years later, in 1975, she began to do collages, and in 1979 expanded her repertoire to include prints. She also started to work as a writer, and her 1983 novel The Hustler's Grotto of Christopher Street won the Tenth Literary Award for New Writers from the monthly magazine Yasei Jidai. Generally speaking, Kusama enjoyed much success and created numerous new works after returning to her native country. Finally, her life had entered a phase of relative stability, and the hardships and efforts of her earlier life were now paying off.

Kusama has a partiality for dots due to her hallucinatory visions. She covers the surfaces of all kinds of materials - walls, floors, canvases, objects, human bodies, and even herself - in dots. And by expanding dots into infinity through repeated lines, her work confounds the existence of real space, bringing the viewers into unconscious states of dizziness, not knowing whether they are in reality or illusions. Her diverse creative mediums and themes are beloved by many, including multitudes of museums and private collectors. Her work moreover once set an auction record of 5 million US dollars, highest of all living female artists. This large pumpkin artwork is a 2-dimensional, partially 3-dimensional piece. The artist engages in continuous dialog with her inner self through the use of this adored and treasured theme, and through these soliloquies finds both a sense of belonging and an exit for her tortured soul. Kusama Yayoi incorporates her experiences of hallucination into her work, thereby relieving stress through the creation of stunning, awe-inspiring art. She explains, "This is how I let the shock and fear I am almost succumbed by settle and abate; these experiences are why I started painting." This particular piece, an artwork titled "Pumpkin" created in the year 2013 that embodies the round, uniquely supple form of the plump vegetable, is certainly a rarity, the first semisculpture of its kind made available on the auction market.

In the presence of Kusama Yayoi's art, the visual impact felt by viewers is always infused with a sense of surprise and child-like wonder; this powerful artistic expression however could not have been possible without the crystallization and sublimation of the artist's extreme and excruciating torment. She is haunted by visions, but her pain has never defeated her commitment towards artistic endeavors. It is commendable how she strives to bear the unbearable and finds unique and powerful creativity in her visions by erasing the hallucinations with each stroke of her brush and transforming them into the most mesmerizing and memorable artworks. It is precisely through this persistence and dedication that Kusama Yayoi has been able to attain some of the most exceptional achievements throughout the history of world art.

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322 JU Ming

(Taiwanese, b. 1938)

Taichi Series – Single Whip 1991 Wooden sculpture 43.5 (L) x 29.5 (W) x 39 (H) cm Engraved under left arm Ju Ming in Chinese and date '91

朱銘 太極系列—單鞭下勢 1991 木雕 43.5（長）x 29.5（寬）x 39（高）cm 簽名雕刻左臂下方：朱銘'91

NT$ 10,000,000-18,000,000 HK$ 2,571,000-4,627,000 US$ 331,300-596,400

太極拳講究剛柔相濟、陰陽平衡、有輕有沉、急應緩隨、動靜合宜，充分體現美學思想，給人帶來一種美的視覺享受，這更是代表朱銘美學觀 念。朱銘「太極系列」作品中，最為國內外熟知的姿態首推「單鞭下勢」。 朱銘刀下的「單鞭下勢」，本身具有力度與造型的美感，在動靜之間，讓人感到綿綿不絕的形意流轉，因其式有起伏，不拘泥於外在形態的雕 琢，只追求意識流轉的完整呈現，誠如太極拳宗師王宗岳所強調的「力由脊發，步隨身換。收即是放，斷而復連，往復須有折疊，進退須有轉 換」，於單鞭下勢中可獲得最好的詮釋。 細看「單鞭下勢」的動作，其根在腳，發於腿，主宰於腰，形於手，周身節節貫串，完整一氣。力量由下而上地傳遞，由腳而腿而腰，武者進 退靈活、得機得勢。其次，武者沒有面目神態，但作品依然傳神。靠的是以氣傳神。太極系列凝結的不僅是武者的動作、呼吸，還有武者的意 識。朱銘匠心獨具只見輪廓不見五官呈現出武者內斂的神情。所謂「氣宜鼓蕩，神宜內斂」的武術家用語來形容朱銘的作品似乎比一般的藝術 風格論更貼切。 Taichi examines the fusion of strength and tenderness, the balance of ying and yang, light and heavy at the same time, rush actions and slow responses, achieving harmony between movement and stillness. This fully manifests esthetics thought, bringing us a beautiful vision to enjoy. Moreover, this represents Ju Ming's concept toward esthetics. In all the works of "Taichi" series by Ju Ming, "Single Whip" is the most well-known form around the world.

Ju Ming's "Single Whip" epitomizes the fascinating tension between inner tranquility and outward action characteristic of most Taichi moves. In this piece, Ju transcends the limitations of traditional sculpture, focusing not on the physical substance but its gentle motion, the aesthetic appeal that lies in the fluid lines and vigorous momentum of the low single whip move. In doing so, he gives us a hint of how Taichi allows the life force to circulate freely through the adept's body, just as Taichi grandmaster Wang Zongyue put it, "The energy originates in the spine, and flows as the feet follow where the trunk leads.

Contraction and relaxation are one, overlapping and merged in constant repetition, continually alternating as one advances and retreats."

Taking a closer look at the "Single Whip" movement, one discovers that it begins with the feet, continues with the legs, is controlled by the waist and finds its final expression in the hands. The entire body is involved in the fluid motion. Vital energy, or chi, travels from the bottom to the top, from the feet through the legs to the waist, while the adept moves in accordance with the prescribed postures. While the look on the face is blank, the sculpture is yet brimming with expression, conveyed through the chi made visible in its lines and curves: the pieces of the Taichi series portray not only the adept's movements and breathing, but reveal his very mind. Ju Ming paid little attention to its details depiction of facial features, because his concern is the performer's "inner expression", the face of his spirit is seen through the movements. "The chi should flow freely and the mind be calm." nothing could describe the art of Ju Ming better than this old Taichi adage.

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323 LI Chen

李真

(Taiwanese, b. 1963)

清風雲露

Soothing Breezes Floating Clouds 2005 Bronze, edition no. 4/8 43 (L) x 36 (W) x 80 (H) cm Engraved Li Chen in Chinese and English, numbered 4/8 and dated 2005

2005 銅雕 4/8 43(長) x 36(寬) x 80(高) cm 簽名雕刻：李真 Li Chen 4/8 2005 附亞洲藝術中心開立之作品保證書

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

NT$ 2,800,000-3,800,000 HK$ 720,000-977,000 US$ 92,800-125,900

當代雕塑家李真的創作歷程從最起初的，「空靈系列」，在刻畫佛家法相時也融入自我美學意念，帶給觀者宗教上的慰藉之餘，也提供了藝術 家自己對於佛學概念的實踐，更賦予當代佛教造型美學的新格局；而此件作品為「大氣神遊」系列之一；圓潤線條，飽滿身形的雕塑作品；雖 然其創作依舊帶有佛家哲思與禪意，但已不見手持法器或手勢的形象，反倒是嬉笑淘氣的各種入世姿態，在妙趣橫生外，更顯真摯細膩且溫暖 人心的情感。 充滿著神仙和詩人的浪漫情懷，雕塑形態自若愜意，雲朵竟如此輕巧飄然，讓人賞心悅目。李真確實極為擅長處理這種量體輕重對應關係，如 同「獨上雄峰天之界，輕駕浮雲樂逍遙」的絕妙東方藝術，直接傳達到心裡。《清風雲露》使觀賞者有如「初化露、望長空、赤日地、御青 煙」是心靈理想世界，加上幽默感與寬闊內韻之造化，氣定神閒的雕塑人物，有如承襲文殊菩薩坐像仙者姿態漂於仙界。 When examining the artistic career of contemporary sculptor Li Chen, one can see that, in his early “Beauty of Emptiness” series, while seeking to portray different aspects of the Buddha, Li also incorporated some of his own aesthetic attitudes, so that besides the religious power of the work, creating it also provided the artist himself with an opportunity to practice Buddhist self-cultivation in his own life, and the finished work opened up new artistic possibilities for contemporary Buddhist statuary. Li Chen completed this work in 2005 as part of his series “Spiritual Journey” through the Great Ether. The soft, curving lines that have become so characteristic of Li’s work, and from this period onwards his statutes have a distinctive roundness and fullness about them. Although Li Chen’s creative work continued to be influenced by Zen thought and other aspects of Buddhist philosophy, in his later work one no longer sees figures holding Buddhist regalia or making conventional Buddhist hand movements; rather, they are shown in various kinds of “worldly” poses, laughing and happy. Besides the inherent quality of the sculpting, these later pieces also embody a finely expressed emotional sensibility that warms the heart of the viewer.

The work is full of the romantic mood of immortals and poets. The sculpture has a self-satisfied manner, with the figure floating ethereally and aesthetically on top of clouds. Li Chen certainly excels at dealing with this type of corresponding relationship between the form and impact of the image. This type of eastern art has a direct transmittance to the heart, and is as described in his lines of verse: "standing alone on heavenly mountain tops, floating unfettered on clouds." “Soothing Breezes Floating Clouds” impresses an ideal world of "Early dusk, looking out into the void, the red sun sets, driving away the gray smoke ", as Li Chen writes. It is a creation infused with a sense of humor and an expansive inner harmony, a leisurely and spirited figure adapted the sitting posture from Manjushri floating in paradise.

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324 HUNG Yi

(Taiwanese, b. 1970)

Cat 2013 Lacquered steel 173(L) x 58(W) x 130(H) cm Signed on the back Hung Yi and dated 2013 EXHIBITED : Happy Animal Party-Hung Yi, The Hakone Open-Air Museum, Hakone, July 27-December 1, 2013 This sculpture is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

NT$ 1,050,000-1,300,000 HK$ 270,000-334,000 US$ 34,800-43,100

洪易 貓 2013 鋼板 烤漆（單一件） 173(長) x 58(寬) x 130(高) cm 簽名後方：洪易 2013 雕 展覽： 「洪易動物派對個展」，雕刻の森美術館， 箱根，展期自2013年7月27至12月1日 附印象畫廊開立之原作保證書

在臺灣當代藝術家中，洪易是一位具有高度個人特色與時代特色的原創性藝術家，其創作的 靈感與精髓來自生活，作品中融合當代臺灣社會的語言與符號，使他的藝術語言貫穿傳統、 現代與當代，表現出具有當代觀點的時代特色。 洪易的藝術從台中出發，近年來成功在國內外舉辦重要大展，2013年日本東京箱根雕刻之森 美術館、2015美國舊金山市政廣場、2016美國紐約百老匯大道，在台灣廣受民眾喜愛，包括 台北市、新北市、桃園及台中等重要都會都曾舉辦大型公共藝術展出。正因為洪易有著不凡 的人生淬煉，讓他不同階段的作品，皆有著強大的感染力與生命力，無論大人小孩、不同的 文化背景，都能感受到它蘊藏在創作中的無限想像。 洪易的作品貓，曾在日本東京箱根雕刻之森美術館展出，其造型討喜可愛，令人印象深刻。 洪易就像是一個魔術師，透過藝術作品讓我們的世界變得更加活潑可愛，充滿趣味與驚喜。 Amongst the contemporary artists of Taiwan, Hung Yi is a highly individualistic artist of his time, whose creations are inspired by life of artist himself. By merging the languages and symbols of contemporary Taiwan society in his works, his own artistic language transcends tradition, modernism and contemporary society, providing perspectives from the present in a modernistic manner.

Hung Yi’s art career began in Taichung, Taiwan. In recent years, he has successfully held major exhibitions both domestically and internationally, showcasing his works at places such as the Hakone Open-Air Museum in 2013, the San Francisco City Hall in 2015, and the streets of Broadway in 2016.

His works are also popular amongst the locals of Taiwan, as evidenced by the many grand public exhibitions he has held in all of Taiwan’s major cities, including Taipei, New Taipei City, Taoyuan and Taichung. It’s because of Hung Yi’s exceptional upbringing that his works from different stages of his life all have one thing in common: a strong sense of appeal and vitality. Regardless of age or cultural background, all viewers of his work can feel the boundless imagination stored within his creations.

One of Hung Yi’s works, “Cat,” was once displayed at the Hakone Open-Air Museum in Tokyo, Japan. Its adorable figure leaves a long-lasting impression on its viewers. Hung Yi is like a magician who is full of delightful surprises, using his creations to breathe life and joy into our world.

「洪易派對動物個展」，雕刻の森美術館，箱根 Happy Animal party-Hung Yi, The Hakone Open-Air Museum, Hakone

84

325 Ryoko KATO (Japanese, b. 1982)

Ice Lolly and Stripes No. 9: Tragedy 2002 Acrylic on canvas 18 x 18 cm Signed on the reverse ryoko KATO in English and titled Ice Lolly and stripes #9 Tragedy in Japanese

NT$ 50,000-70,000 HK$ 13,000-18,000 US$ 1,700-2,300

86

加藤遼子 條紋冰棒之九：悲劇 2002 壓克力 畫布 18 x 18 cm 簽名畫背：ryoko KATO アイス 条旗シりーズ #9 悲劇

326 Aya TAKANO

高野綾

(Japanese, b. 1976)

和守夜犬一起開車、無重力房間（兩件一組）

Drive with a Night Dog & The Weightless Room (a set of 2)

2006 限量石版畫 70 x 52 cm (左)；76 x 51 cm (右) 簽名右下：06 Aya Takano EP 75/300（左） 簽名右下：06 Aya Takano EP 105/300（右）

2006 Offset lithograph 70 x 52 cm (left); 76 x 51 cm (right) Signed lower right Aya Takano in English, dated 06 and numbered EP 75/300 (left) Signed lower right Aya Takano in English, dated 06 and numbered EP 105/300 (right)

NT$ 60,000-80,000 HK$ 15,000-21,000 US$ 2,000-2,700

327 Priyantha UDAGEDARA (Sri Lanka, b. 1975)

An Hour in Herbal Garden 1 2015 Mixed media on canvas 100 x 160 cm Signed lower right Priyantha in English and dated 2015 PROVENANCE: Saskia Fernando gallery, Colombo EXHIBITED: Herbal Garden, Saskia Fernando gallery, Colombo, December 17, 2015 - January 13, 2016

NT$ 50,000-70,000 HK$ 13,000-18,000 US$ 1,700-2,300

88

比央達．烏達格達拉 香草花園裡的一小時 2015 綜合媒材 畫布 100 x 160 cm 簽名右下：Priyantha 2015 來源： 薩斯基亞．費爾南多畫廊，科倫坡 展覽： 「香草花園」，薩斯基亞．費爾南多畫廊，科倫坡， 展期自2015年12月17日至2016年1月13日

328 Mayuka YAMAMOTO (Japanese, b. 1964)

Rabbit Boy 2009 Oil on canvas 45.8 x 38.3 cm Signed on the reverse rabbit by Mayuka 2009 This painting is to be sold with a certificate of authenticity issued by Gallery Tsubaki, Tokyo.

NT$ 70,000-90,000 HK$ 18,000-23,000 US$ 2,300-3,000

山本麻友香 兔男孩 2009 油彩 畫布 45.8 x 38.3 cm 簽名畫背：rabbit by Mayuka 2009 附椿畫廊開立之作品保證書

329 Yoshitaka AMANO (Japanese, b. 1952)

Hatch Bee Acrylic on canvas 40.5 x 27 cm Signed lower left Y. Amano

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 3,000-6,000

90

天野喜孝 小蜜蜂 壓克力 畫布 40.5 x 27 cm 簽名左下：Y. Amano

330 Chiho Aoshima (Japanese, b. 1974)

The Little Bird and Maiko 2008 Watercolor and color pencil on paper 23 x 22.7 cm Signed lower right Chiho in English

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 3,000-6,000

青島千穂 小鳥與舞妓 2008 水彩 色鉛筆 紙本 23 x 22.7 cm 簽名右下：Chiho

331 KIM Chan-Il (Korean, b. 1961)

Dots 2005 Oil on canvas 40 x 40 cm Signed on the reverse KIM Chan-Il, titled Dots, inscribed 40 x 40 cm, oil, pigment on canvas in English, and dated 2005.

NT$ 80,000-160,000 HK$ 21,000-41,000 US$ 2,700-5,300

92

金燦一 點 2005 油彩 畫布 40 x 40 cm 簽名畫背：KIM, CHAN-IL DOTS 40 x 40 cm OIL PIGMENT ON CANVAS Kim Chanil 2005

332 KIM Taeho

(Korean, b. 1948)

Internal Rhythm 200320 2003 Acrylic on canvas 46.7 x 39.2 cm Signed on the reverse Kim Taeho, titled Internal Rhythm 200320 in Hanja and English. Inscribed 46.7cm x 39.2cm, Acrylic on canvas in English, and dated 2003.

NT$ 220,000-320,000 HK$ 57,000-82,000 US$ 7,300-10,600

金泰浩 內在律 200320

2003 壓克力 畫布 46.7 x 39.2 cm 簽名畫背：金泰浩 內在律 200320 KIM TAE-HO Internal Rhythm 200320 46.7cm x 39.2cm Acrylic on canvas 2003 TaeHo Kim

333 Walasse TING

丁雄泉

Beauty Holding Flower in Mouth

壓克力 紙本 46.5 x 60.5 cm 鈐印右上：採花大盜

(Chinese-American, 1929 - 2010) Acrylic on paper 46.5 x 60.5 cm With one seal of artist PROVENANCE: Rago Arts, New Jersey

NT$ 220,000-320,000 HK$ 57,000-82,000 US$ 7,300-10,600

94

銜花美女

來源： 雷果畫廊，紐澤西

334 Walasse TING

(Chinese-American, 1929 - 2010)

Beauty Acrylic on paper, mounted onto canvas 64.5 x 80 cm With one seal of the artist PROVENANCE: Gallery Delaive, Amsterdam

NT$ 360,000-460,000 HK$ 93,000-118,000 US$ 11,900-15,200

丁雄泉 美人 壓克力 紙本裱於畫布 64.5 x 80 cm 鈐印左上：採花大盜 來源： 德萊夫畫廊，阿姆斯特丹

335 YANG Din

(Chinese, b. 1958)

Coin de jardin 1995 Oil on canvas 100 x 100 cm Signed lower right Yang Din in English Signed on the reverse Yang Din, titled Coin de jardin in Chinese and French, inscribed 100 x 100 cm, dated 1995. 3.

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,600-11,900

楊登雄 院子一角 1995 油彩 畫布 100 x 100 cm 簽名右下：Yang Din 簽名畫背：Yang Din 楊登雄 "Coin de jardin 院子一角 1995. 3. 100 x 100 cm

96

336 Chang-Ling

(Taiwanese, b. 1975)

Pork Belly Series - Flesh Religion - Realm of Mars 2008 Oil on canvas 105 x 140.5 cm Signed on the reverse Chang Ling, titled Pork Belly Series-Flesh Religion-Realm of Mars in Chinese, dated 2008

NT$ 320,000-360,000 HK$ 82,000-93,000 US$ 10,600-11,900

常陵 五花肉系列―肉宗教―戰神領土 2008 油彩 畫布 105 x 140.5 cm 簽名畫背：五花肉系列－肉宗教－戰神領土－常陵2008

常陵從法國回到了台灣，透過『五花肉』系列作品把對社會、生態環境與藝術的渴望 濃縮到原點，並以自己身體的基本構成透視這塊記憶中屬於母土的獨特創作議題，藉 由血與肉，激發出五個文化議題，共稱為「五花肉」系列。從天地空間的生成（肉山 水）、孕育及生物演化（肉花鳥）、智慧文明初現（肉都市）、慾望下的戰爭爆炸（肉 兵器）、回歸寂靜的精神解脫（肉宗教）。 以精神為滋養形成的『肉宗教』戰神領土，由肉兵器衍伸至肉宗教之創作思考概念，以 再現的方式表達成年後於海外求學時面對異國文化下對於東西宗教的衝撞反思，這些呈 現戰爭畫面的場景，是藝術家面對宗教對立，無辜百姓顛沛流離，內心不捨的紀錄，更 是探究人性所進行的文化藝術追尋之路。 When Chang-Ling returned to Taiwan from France, he created the Pork Belly series to return his hunger for society, the environment and art back to his roots, utilizing the basic anatomy of his own body to examine the homeland of his memories, which resulted in this unique creation.

Through blood and flesh, he addresses five cultural issues, which he has collectively dubbed the Pork Belly series. The series proceeds through the creation of heaven and earth (Flesh Landscape), the birth and evolution of life on earth (Flesh, Flowers and Birds), the appearance of intelligent civilization (City of Flesh), and the lust for war (Flesh Weapons), until finally the artist return to peace through spiritual transcendence (Flesh Religion).

Through nourishment of the spirit, the work, “Flesh Religion-Realm of Mars” of his “Pork Belly Series” lays claim to lands of his own. Drawing the conception of his Religion of Flesh from his Flesh Weapons, he reproduces the inner conflict he felt between eastern and western religions during his time studying abroad while immersed in a foreign culture after his coming of age. These scenes of war are a record of the artist’s empathy towards the innocent people who were exiled in the name of religious opposition, while also exploring the journey of humanity’s pursuit for culture and art.

98

337 WU Hao

吳昊

(Taiwanese, b. 1931)

朵朵葵花

Blooming Sunflowers

1989 油彩 畫布 81 x 81 cm 簽名右方：吳昊 1989

1989 Oil on canvas 81 x 81 cm Signed center right Wu Hao in Chinese and dated 1989 This painting is to be sold with a certificate of authenticity issued

by Lung Men Art Gallery, Taipei.

NT$ 340,000-440,000 HK$ 87,000-113,000 US$ 11,300-14,600

100

附龍門畫廊開立之原作保證書

338 HUNG Jui-lin

(Taiwanese, 1912 - 1996)

Harbour 1977 Oil on canvas 38 x 45 cm Signed lower left Hong in Chinese and dated 1977 Exhibited: Musashino Art University Taiwan, Taipei, December 3 - 18, 1994 ILLUSTRATED: Musashino Art University Taiwan, Taipei, 1994, color illustrated

NT$ 360,000-460,000 HK$ 93,000-118,000 US$ 11,900-15,200

洪瑞麟 漁港 1977 油彩 畫布 38 x 45 cm 簽名左下：洪 1977 展覽： 「武藏野美術大學校友會台灣支部」翡冷翠，台北， 展期自1994年12月3日至18日 圖錄： 《武藏野美術大學校友會台灣支部》，翡冷翠藝術中心， 台北，1994，彩色圖版

339 Walasse TING

(Chinese-American, 1929 - 2010)

Butterfly 1961 Acrylic on canvas 33 x 41 cm Signed on the reverse ting, titled Butterfly in English, dated 61 PROVENANCE: Galerie Birch, Copenhagen Bruun Rasmussen, Copenhagen, August 13, 2013, lot 1333

NT$ 360,000-460,000 HK$ 93,000-118,000 US$ 11,900-15,200

102

丁雄泉 蝴蝶 1961 壓克力 畫布 33 x 41 cm 簽名畫背：ting 61 Butterfly 來源： 伯希畫廊，哥本哈根 布魯恩・拉斯穆森拍賣，哥本哈根，2013年8月13日，編號1333

340 Walasse TING

(Chinese-American, 1929 - 2010)

A Bunch of Flower 1985 Acrylic on paper 58 x 88 cm With one seal of the artist

NT$ 400,000-500,000 HK$ 103,000-129,000 US$ 13,300-16,600

丁雄泉 一小束花 1985 壓克力 紙本 58 x 88 cm 鈐印右下：採花大盜

341 HSIAO Chin

(XIAO Qin, Taiwanese b. 1935)

Vortice Cosmico - 7 Acrylic on canvas 70 x 60 cm Signed on the reverse Hsiao in English and Chin in Chinese, titled Vortice Cosmico - 7 in Chinese and Italian, inscribed 70 x 60 cm Acrylic on canvas in Chinese

NT$ 380,000-480,000 HK$ 98,000-123,000 US$ 12,600-15,900

104

蕭勤 宇宙漩渦-7 壓克力 畫布 70 x 60 cm 簽名畫背：Hsiao 勤 宇宙漩渦-7 (Vortice Cosmico - 7) 70 x 60公分 布上壓克力

342 Hilo CHEN

(Taiwanese, b. 1942)

Flower Series 1990 Acrylic and oil on paper 80.3 x 65.2 cm

NT$ 420,000-550,000 HK$ 108,000-141,000 US$ 13,900-18,200

陳昭宏 花蕊系列 1990 壓克力 油彩 紙本 80.3 x 65.2 cm

青春的生命如：帶著水珠的鮮花和乳 房，總是在瞬間就消失了，花容易凋 謝與年華老去，使藝術家更加堅定描繪 「青春生命」 的決心。超寫實畫派又 稱照像寫實，它比相片更逼真的傳達鏡 頭下的物件，冷冷的不帶一點主觀的情 感。 陳昭宏是一名情感氾濫的男人，當他在 描繪嬌豔欲滴的美麗生命時，是進行著 一種和生命搏鬥的過程，因為一幅畫作 的完成，它的題材越是美麗迷人對創作 者而言，越是必須拼命以對。

343 John WAY

(Chinese-American, 1921 - 2012)

Abstract 1998 Oil on canvas 101.5 x 127 cm Signed lower right John Way in English and dated 98 Inscribed on the reverse November No.11 40 x 50, and dated 1992

NT$ 600,000-800,000 HK$ 154,000-206,000 US$ 19,900-26,500

106

魏樂唐 抽象 1998 油彩 畫布 101.5 x 127 cm 簽名右下：John Way 98 題識畫背：November No.11 40 x 50 1992

344 Walasse TING

(Chinese-American, 1929 - 2010)

Blue-Eye Cat Behind the Curtains circa 1990s Ink and colour on paper 63.1 x 69.2 cm With one seal of the artist

NT$ 650,000-750,000 HK$ 167,000-193,000 US$ 21,500-24,900

丁雄泉 簾幕後的藍眼貓 約1990年代 彩墨 紙本 63.1 x 69.2 cm 鈐印左上：採花大盜

345 LI Mei-shu

李梅樹

(Taiwanese, 1902 - 1983)

靜物

Still Life

油彩 畫布 50 x 60 cm 簽名右下：BAi

Oil on canvas 50 x 60 cm Signed lower right BAi in English The painting is to be sold with a certification of authenticity signed by the artist's family and issued by Goethe Art Center

NT$ 650,000-750,000 HK$ 167,000-193,000 US$ 21,500-24,900

108

作品附家屬簽名之哥德藝術中心開立原作保證書

346 John WAY

(Chinese-American, 1921 - 2012)

Abstraction 2003 Oil and enamel on canvas 152 x 127 cm Signed lower right John Way in English and dated 2003 This painting is to be sold with a certificate of authenticity issued by the artist’s descent.

NT$ 950,000-1,800,000 HK$ 244,000-463,000 US$ 31,500-59,600

魏樂唐 抽象 2003 油彩 搪瓷 畫布 152 x 127 cm 簽名右下：John Way 2003 附藝術家家屬開立之原作保證書

110

347 CHUANG Che (Taiwanese, b. 1934)

Dependency 2000 Oil on canvas 76 x 168 cm Signed lower left Chuang Che in Chinese and dated 2000 This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 900,000-1,600,000 HK$ 231,000-411,000 US$ 29,800-53,000

莊喆 相依 2000 油彩 畫布 76 x 168 cm 簽名左下：莊喆 2000 附亞洲藝術中心開立之原作保證書

112

348 Tzu-chi YEH

(Taiwanese, b. 1957)

The Camellia of Lantern Festival 2011-2017 Tempera and oil on linen 38.1 x 91.4 cm Signed lower right Tzu-chi YEH in Chinese and dated 2011-2017

NT$ 1,000,000-1,600,000 HK$ 257,000-411,000 US$ 33,100-53,000

葉子奇 元宵節的茶花 2011-2017 卵彩 油彩 亞麻布 38.1 x 91.4 cm 簽名右下：葉子奇 2011-2017

349 Michell HWANG

(HWANG Ming-Che)

(Taiwanese, b. 1948)

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

NT$ 1,100,000-2,200,000 HK$ 283,000-566,000 US$ 36,400-72,900

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

114

350 Pablo PICASSO (Spanish, 1881 - 1973)

Clown 1969 Pen on paper 30 x 23.5 cm Signed lower right Picasso, dated Le 12.9.63 and dedicated upper left pour C. Baruque Provenance: Galerie Louise Leiris, Paris Private collection, France This painting is to be sold with a certificate of authenticity issued by Galerie Louise Leiris, Paris.

NT$ 1,200,000-2,200,000 HK$ 308,000-566,000 US$ 39,800-72,900

巴布羅．畢卡索 小丑 1969 筆 紙本 30 x 23.5 cm 簽名右下：Picasso Le 12.9.63 題識左上：pour C. Baruque 來源： 路易絲賴瑞斯畫廊，巴黎 私人收藏，法國 附路易絲賴瑞斯畫廊開立之原作保證書

116

351 George CHANN

陳蔭羆

(Chinese-American, 1913 - 1995)

文字變奏系列

Letter Variation

油彩 畫布 拼貼 78 x 63 cm 簽名左下：GEO. CHANN

Oil on canvas, collage 78 x 63 cm Signed lower left GEO. CHANN

NT$ 1,800,000-2,800,000 HK$ 463,000-720,000 US$ 59,600-92,800

回顧陳蔭羆的畫藝發展，大約可分成三類風格，其中第一類是東方旨趣最為鮮明的「文字畫」，約略完成於50年到60年初，這類畫直接從漢字 的符號書寫出發，側重表現不同的筆態趣味和畫面質感，除了展現出陳氏對於繪畫材料的熟擅與精道，更重要的是，明白演示了他想結合文字 意象和歷史想像的一種藝術企圖。於此，他讓中文以不同的體例（行／草／篆／隸圪）伴隨著不同的物相情態（刻石、碑拓、符籙、鳥蟲書、 血書、污壁、殘經、廢紙圪等）出現。這類作品的美學訴求，在於平衡地結合了視覺的形式構成和觸覺的肌理質感，在於有效地發揮了材質的 直接魅力與張力，和由文字符號所啟動的各種時空想像。 陳氏晚期的抽象畫作，讓我們充分體驗到其精妙的色感和亂中有序的佈局能力，同時證明了他做為一個純抽象畫家既嚴謹又不乏詩意的藝術氣 質。在此階段，文字符號已全然消失，點、線、色的書寫運用也變得更純粹、自由和有機化。但見，紗白的線條，貫穿在色點繽紛的畫面上， 或綿綿不盡，或斷斷續續，或重重疊疊，色斑與律動線條的玩融搭配，一如音符元素與整曲旋律的對為關係。這些畫雖不像帕洛克那麼「生猛 帶勁」，但因用色更華豔而沒有一絲火氣，反而更令人覺得有味兒耐看。（摘自石瑞仁撰文《陳蔭羆》，大未來畫廊藝術有限公司，台北，2005初版，頁22） Generally speaking, George Chann’s artistic development reveals three styles. The first of these, and the one with the strongest Eastern character, is “textual paintings” completed from the 1950s through the early 1960s, This type of painting featured scripting of symbols based directly on Chinese characters, bolstered by the expression of various brushstrokes, and textural qualities. Exhibiting Chann’s familiarity and skill with painting materials, more importantly it played out his artistic ambition to marry textural imagery with historical imagination. In this way, he placed Chinese characters of different styles (such as script, running script, block style, etc.) together with different materials (including carvings, rubbings, talismanic writings, images of birds and critters, blood writing, soiled walls, fragments from classic books, and discarded paper). The aesthetic intent of these works was to achieve a balanced combination of formal visual components and textural physical patterns, to effectively tap the charm and tension inherent in each material and the myriad associations triggered by various written characters and symbols.

Chann’s later abstract paintings demonstrate his keen sense of color and capacity for creating order out of chaos, while at the same time proving the meticulous yet nevertheless lyrical artistic qualities of a pure abstract painter. By this time, written words and symbols are no longer present, and the “writing” has become purer, freer, and more organic. In constant streams, or broken fragments, or perhaps overlapping and intermingling, diaphanous white lines wending through and around blasts of color, the complete communion of patches of color and shimmering lines, sing together like notes and melody.

Despite their garnished richness, devoid of all fire, unlike the raw drive of Pollack’s works their unique character rewards repeated viewing. (J.J. Shih, George Chann, Lin & Keng Gallery Inc., Taipei, 2005, p. 22)

118

352 HUANG Ming-chang (Taiwanese, b. 1952)

Songs of the Island - Sea View Series 2001 Oil on canvas 130 x 194 cm Signed lower right edge Huang Ming-chang in Chinese, Huang m. c. in English and dated '01

NT$ 2,600,000-3,400,000 HK$ 668,000-874,000 US$ 86,100-112,700

黃銘昌 海島之歌－海看系列 2001 油彩 畫布 130 x 194 cm 簽名右側：黃銘昌 Huang m. c.'01

海島之歌――海看系列 夏日裡，藍天白雲下，碧波萬頃，海風吹拂，掀起千萬片粼粼波 光。此情此景，令人感到無比舒暢。 出生於花蓮東海岸的我，從小對海洋懷抱一份特殊的情感。我畫這 幅「海島之歌」，除了表現一份大自然無可比擬的遼闊外，也特別 細心描繪了具強韌生命力的亞熱帶海岸植物。這些蔓生滋長的枝 葉，彷佛正與強烈的陽光和海風纏鬥，欲發揮出它們向天際無限擴 充和延展的生命力。這份大自然的生命力是我的創作美學，而「海 島之歌」便也是我個人對生命的謳歌。 ―― 黃銘昌 In the summer days, under the blue sky and white clouds, endless ocean waves; the sea breezed away, thousands of light scales raised. Those images and scenes had made me feel incomparably happy and free from worry.

Grew up in east Hualian seacoast, I embraced a special emotion and passion to the sea. "Songs of the Island"not only shows a nature to be vast, it also carefully describes the tenacious vitality of the subtropics seacoast plants in a detailed way. These branches and leaves lived strongly as they struggled through the blaze of the sun and the chill of the wind, they have elaborated their endless expended and extended vitality.

This vitality of the nature is my esthetics of creation, and "Songs of the Island" is my ode to life.

- By Huang Ming-chang

120

353 George CHANN

陳蔭羆

(Chinese-American, 1913 - 1995)

青綠山水

Blue and Green Landscape

1950-1960 油彩 畫布 拼貼 122 x 76 cm

1950-1960 Oil on canvas, collage 122 x 76 cm ILLUSTRATED : George CHANN, Lin&Keng Gallery, Taipei,2005, color illustrated, pp. 56-57

圖錄： 《陳蔭羆》，大未來畫廊，台北，2000， 彩色圖版，頁56-57

NT$ 3,000,000-4,000,000 HK$ 771,000-1,028,000 US$ 99,400-132,500

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

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

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354 Tzu-chi YEH

(Taiwanese, b. 1957)

Big Banyan Tree 2000-2003 Tempera and oil on linen 86.5 x 127 cm Signed lower right Tzu-chi in Chinese and dated 2000-2003

葉子奇 大榕樹 2000-2003 卵彩 油彩 亞麻布 86.5 x 127 cm 簽名右下：子奇 2000-'03

NT$ 3,200,000-5,500,000 HK$ 823,000-1,414,000 US$ 106,000-182,200

四十多年前，年近六十的父親，牽著年近十歲的我，第一次來到台南。那是我們父子相伴第一次也是唯一的一次環島旅行。我們從玉里出發到 台東，經南迴，過屏東、高雄，兩天後來到台南。我對台南的印象，就是「樹」的印象。.父親牽著我的手，沿著台南公園邊走過。這是一個， 在台灣，人與樹相處得最好的城市，一直都是。. 我也是在這裡，第一次遇見歷史。父親帶著我爬上安平古堡的台階，觀看時代與歷史的交鋒，在高台與海的交界處。我在我的日記本的封面， 留下了我九歲多的僅存素描：一尊古炮。將近十年後，我又來到台南。那是1975年，大學二度落榜後勉力考上國立藝專的八月，我和一起考上 美術科西畫組的高中同學來到他的故鄉，聽他談他悽慘的童年：生父早逝， 家族爭產，凌虐逼迫，身為小妾的母親為了保護他改嫁外省軍人， 遠遁花蓮。 這是為何隨繼父籍貫河南的他，卻操一口台南音調的國語。我們在台南火車站前的水池邊，長談一夜，坐等黎明。. 一年後，我三度叩關聯考，上了華岡，從此鴻飛東西，不再復見。相隔六、七年後，再度來到台南，已是1983年當完兵後的第一個夏天。我和 我現在的妻子，戀情剛剛開始萌芽，我們兩人第一次的遠行也是來到台南，我們來探訪母親也是台南人的玉里同鄉好友。他剛從成功大學畢 業，熱心的為我們引見校園中那一棵我兒時似曾相識的大榕樹。我在台南公園為我的妻子唱了第一首歌。年輕的我們三人一起共乘摩托車，走 走停停，到虎頭埤水庫漫遊。再看到那一棵大榕樹，已經又過了十年。出國、結婚、父親已逝。再過五年，1998年夏天，我在台南新生態藝術 空間（加力畫廊的前身）舉辦我在台南的第一次個展。 往事如昨，今年再回到台南個展，年序又過一輪，12年。樹的成長，是一種堅持，一種 承諾。對風、對雨的堅持，對陽光、對土地的承諾。生命如是，理想亦如是。—葉子奇（台南 追想） Over forty years ago, my father, who was nearly 60 at the time, took my nine-year-old self to Tainan for the first time. That was the first and only time that we went on a journey round Taiwan together. Starting out from Yuli, we traveled to Taitung, then round the Southern Cross-Island Highway to Pingtung, then Kaohsiung, arriving in Tainan two days after we set out. The thing about Tainan that made the biggest impression on me was the trees. Holding my hand, my father led me round Tainan Park. Within Taiwan, Tainan is the city where people and trees live most in harmony with each other, and this has always been the case.

Tainan is also the place where I encountered history for the first time. My father led me up onto the ramparts of Anping Fort (the historic fort in Tainan built by the Dutch in the 17th century). It seemed to me that the location of this fort next to the sea was somehow also a conjuncture of time and history. I made a sketch of one of the ancient cannons in the fort on the inside cover page of my diary – the only sketch from this time that I still have in my possession. Nearly ten years later, I came back to Tainan again. That was in 1975, in August; I had just managed to scrape into National Taiwan Academy of Arts after failing the university entrance examination twice in a row. I traveled to Tainan with a classmate of mine from senior high school who had also been accepted into the Western Painting Section at the National Taiwan Academy of Arts, and who wanted to visit the city where his parents had come from originally. I heard all about the terrible childhood he had endured; his father died young, and the relatives started fighting over the inheritance. Bullied and threatened to give up the property she had inherited from his father, his mother (who only had the status of concubine, not wife), ended up leaving Tainan and moving to Hualien, because she had remarried (to a professional soldier born in Mainland China) was afraid something bad might happen to her second husband.

This was why, although his identity card listed his “native place” as Henan Province in China, like his step-father, he actually spoke Mandarin Chinese with a pronounced Tainan accent. We talked all night, sitting by the fountain in front of Tainan Railway Station, until the sun came up the next day.

A year later, I finally passed the joint university entrance examination on the third attempt, and was accepted into Chinese Culture University. We went different ways, and I never saw him again. After another six or seven years had passed, I came back to Tainan again. It was in the summer of 1983, just after I had completed my compulsory military service. I had just met the woman who is now my wife, and the first long journey we made together was to Tainan.

We went to visit a friend from Yuli whose mother was from Tainan. He had just graduated from National Cheng Kung University, and was happy to show us the big banyan tree on the University campus, which I thought I remembered seeing from my first visit as a boy. Standing in Tainan Park I sang a song for my future wife, for the first time ever. We three young people drove around the city, the three of us sharing one motorcycle, stopping as the mood took us, and eventually went to have a look at Hutoupei Reservoir. The next time I saw that big banyan tree was more than a decade later. During the interval, I had lived overseas, got married, and my father had passed away. Another five years on, in the summer of 1998, I had my first solo exhibition in the New Phase Art Space gallery (now InArt Space) in Tainan. It seems like only yesterday, but when I came back to Tainan for another solo exhibition this year, 12 years had elapsed in the meantime. The growth of a tree is a kind of steadfastness, a sort of commitment. Steadfastness in facing up to the wind and rain. Commitment to the sunlight, and to the soil. Life is like this, and so are ideals. –Tzu-chi Yeh. (Memories of Tainan) 124

355 Walasse TING

(Chinese-American, 1929 - 2010)

Outside Raining 1979 Acrylic on canvas 76.5 x 102.5 cm Signed on the reverse Ting, titled Outside Raining in English, and dated 79

丁雄泉 外頭正下著雨 1979 壓克力 畫布 76.5 x 102.5 cm 簽名畫背：Outside Raining Ting 79

NT$ 3,400,000-4,200,000 HK$ 874,000-1,080,000 US$ 112,700-139,200

大膽的用色與放縱恣意的畫面潑灑，除了可以看見馬諦斯等野獸派藝術家對他的影響以外，50年代前往美國的他更是受到當時抽象表現主義的 領導，開始他興之所致，無拘無束的畫面結構以艷麗的壓克力彩平塗線條內的空間，自然優美卻又瀟灑暢快，形成他自我風格的標致性表現。 1970年代起，旅居紐約已超過十年的丁雄泉匯集了巨大的創作能量，而他最多的情感與創作則都留給了他畢生鍾愛的主題―「女人」；在紐約 的丁氏發展了筆觸濃烈狂野，用色強烈不拘帶點驕傲與放縱不羈；此件雙美圖確實是丁氏藝術的傑作之一，華美斑斕、浪漫無盡，而畫中的人 像、靜物、花畫、水果等都是他對生命的歌頌；二位女性的雙眸若有似無地望著他方，好似講述著一段風花雪月的迷人邂逅；這場華麗又淋灕 暢意的色彩旅程，既讓人目眩神迷又充滿著視覺衝擊力的感官饗宴，這也是丁氏最善於營造的想像空間；在裝飾性強烈之外，更傳達出歡愉舒 適的情感氛圍；藝術家在此時已能隨心所欲地揮灑創作，無拘無束地作畫，享受繪畫帶給他的種種美好，而形式已經不再重要，作品流露的是 丁雄泉與生俱來的色彩直覺和對藝術的高度熱愛，而他更將這些無可躲藏的情感赤裸地表現在一張張畫布上，如此絢爛。 丁雄泉大膽不拘，將調色盤上最豔麗直接的色彩潑灑在畫布上卻未曾流入粗美庸俗，反而帶有層次堆疊之美，他對色彩的敏銳以及處理總是難 以讓人左右；他是那時代的獵豔高手，也是一位飽富對生命、對藝術熱愛的生活家。 Walasse Ting’s daring use of colors and willful, unhindered splashing of paint on the canvas not only portray the influence Matisse and other Fauvist artists have exerted upon him, after he moved to the US in the 1950s he was moreover inspired by the abstract expressionism prevalent during that period. In the beginning, he expressed himself freely through unconstrained compositions of spaces formulated out of acrylics painted in brilliantly-colored parallel lines, iconic images that embodied a natural and graceful beauty but were at the same time unbridled and liberating.

From the 1970s, Walasse Ting began harnessing the enormous amounts of creative force he had accumulated from having lived for over a decade in the city of New York. Meanwhile, the majority of his emotions and creativity were directed toward the most beloved subject of his entire lifetime--”Women."

In New York, Ting developed his style of wild and powerful brush strokes, as well as the unapologetic use of vibrant colors tinged with arrogance, extravagance, and lack of inhibition. This artwork depicting the two beauties can indeed be regarded as one of Ting's masterpieces. Resplendent and exuberant, infused with the romantic sublime, the figures, still-life objects, flowers and fruits are all part of his celebration of life. The eyes of both women gaze out into the distance, as if reliving a fleeting memory of intimate passion and intriguing charm. This extravagant and poetic journey of color filled with visual impact dazzles the eye but it is also a feast for the senses, one that transcends the viewer into an imaginary dimension that Ting had always been adept at creating. In addition to being highly decorative, the image furthermore portrays an atmosphere filled with joy and contentment. At this moment in life, the artist was free to create whatever pleased him. Completely free from restraint, he was able to enjoy the little wonders brought to him through the creation of art; form was no longer a concern. The painting reveals the artist's innate intuition for color and his extreme passion for art--he had proudly bared all of these insuppressible emotions on the canvas, and how splendid they are indeed.

Walasse Ting's daring boldness has enabled him to splash the brightest colors of his palette directly onto the canvas without resulting in any sort of vulgarity or insolence. His artworks instead exhibit the magnificent beauty of colors layered with an acute perceptiveness and attention to detail that never ceases to amaze. He was the Casanova of his time, a master of life who devoted his love and passion to art and lived life to the fullest.

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356 CHU Teh-chun

(Chinese-French, 1920 - 2014)

Untitled 1970s Oil on canvas 65 x 62 cm Signed lower right CHU TEH-CHUN in Chinese and French This artwork will be included in the upcoming catalog raisonné of the artist.

朱德群 無題 1970年代 油彩 畫布 65 x 62 cm 簽名右下：朱德群 CHU TEH-CHUN 此作品未來將收入藝術家的編年目錄 附朱德群工作室開立之原作保證書

This painting is to be included in the catalogue raisonné de l’oeuve prepared by the artist’s studio

NT$ 5,000,000-6,000,000 HK$ 1,285,000-1,542,000 US$ 165,700-198,800

朱德群在1970年於荷蘭阿姆斯特丹的國立博物館欣賞了林布蘭特大展，深深著迷於大師作品裡的光影對比與隨之而起的激越情緒，自此朱德群 更用心於光影的經營，為他的抽象繪畫注入了幽微神秘的光采，而1972年遊歷德國時於慕尼黑研究表現主義繪畫，也鼓勵藝術家更為瀟灑地抒 發胸中心緒，俐落瀟灑的用筆，在藝術家精準的構圖之下展現流暢力道與美感，為其作品帶來更強大的感染力。 1970年代的作品用色轉趨亮麗，從暗色調的基底中浮現耀眼的色彩，如《無題》畫面上半部至中心的橘紅與黑；而油彩在朱德群筆下一改其濃 厚黏滯的特性，宛若水墨渲染般地輕盈流動開來，如此作畫面上半部的鋪陳，有著水墨渲染般的氛圍，顯得意境深遠而神秘。於焉，早期抽象 繪畫那直接撞擊心靈的強大力量，已然化為隱沒在繽紛色彩後的巨大聲響，如同大自然中水的飛濺、風的吹動、萬物生長的背後，那無形的巨 大力量。整個1970年代的作品量在朱德群的創作生涯中相對稀少，更顯得《無題》的難得可貴。 In 1970, Chu saw the exhibition on Rembrandt Harmenszoon van Rijn (1606-1669) at Rijksmuseum in Amsterdam, Netherlands. He was deeply attracted by how Rembrandt could trigger various emotions in the viewers just by his depiction of lights and shadows. As such, Chu started spending more time on mastering skills of portraying lights and shadows to veil his painting with a bit of mystery. In 1972, during his travels in Germany, he delved into the techniques of expressionism in Berlin. There, he was inspired to express his feelings more directly on the canvas. The unrestricted strokes in Chu's precisely arranged composition become smooth and gorgeous, making these works more powerful.

In his 1970 works, the overall tone was brighter, and colors dazzled in the dark background. In "Untitled" for example, the upper half to the center of the composition is in orange-red and black. And Chu diluted the oil paint so that it is no longer gluey, but washes through the canvas as does ink wash. Like the careful composition in the upper half, the light texture reminds the viewers of ink wash, making the painting intense and mysterious. In this way, the direct impact of his early abstract paintings has become the fury covered by colors, just like the invisible force behind such natural phenomena as water splashing, wind blowing, and things growing. Chu created relatively fewer works in the 1970s, making "Untitled" particularly valuable.

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357 Walasse TING

(Chinese-American, 1929 - 2010)

Give Me a Hug 1977 Acrylic on canvas 76 x 102 cm Signed on the reverse ting, and titled give me a hug in English, and dated 77

丁雄泉 擁抱我 1977 壓克力 畫布 76 x 102 cm 簽名畫背：give me a hug ting 77

NT$ 4,600,000-5,500,000 HK$ 1,183,000-1,414,000 US$ 152,400-182,200

丁雄泉的畫始終如他的人一樣坦率、自然而天真，以艷麗的色彩及大膽的表達方式展露出他的真性情。帶著拋開世俗羈絆的氣度，丁雄泉是畫 家亦像詩人，源源不斷地攫取生活中的美。他喜歡畫花，更愛畫如花朵般綻放的女人。在他的筆下，女人的萬千風情甚至連她們心中的秘密都 躍然畫布上，畫面中所洋溢的歡愉使觀者很難不為其感動。 眼鏡蛇畫派的年輕藝術家們倡導的是摒棄教條、理論，並且創立奠基於自由、樂觀生活哲學上的新藝術；在藝術表現技法上大致上承襲了表現 主義手法，畫面繽紛斑斕的色彩、狷狂直接，擺脫了過往既定的美學形式與不追求資產階級的喜好品味；在此件《擁抱我》當中，大量的黃、 綠色調非常醒目，而丁氏大膽地描繪出女性特徵，在暢情揮灑中流洩出川流不息的生命力，一種肆無忌憚、毫不拘束的原始慾望；把他最熱愛 的主題與他最私密的愛戀、情感，赤裸地呈現給世人。畫面中那流動性高而易揮灑的壓克力顏料與直率勾勒的油蠟筆細線標註著他的藝術風 格，而女主角毫無扭捏的全然自信與丁雄泉揮灑的藝術語彙巧妙地融融合，帶給觀者極度香豔刺激的視覺衝擊，極為強烈、坦蕩。 這一切也與自稱「採花大盜」的丁雄泉相呼應，表述他畢生對女人、 對性、 對愛、對藝術之無窮盡的眷戀，他用顏色譜出無數的華麗樂章，而 他筆下的女人無疑是傾盡熱情與靈魂的傑作。 Walasse Ting's paintings have always been as straightforward, natural and naive as his person, with bold, vibrant colors and daring modes of expression that reveal his true temperament. Free, unconstrained, and unfettered by the worries of the world, Walasse Ting was both an artist and a poet who found endless beauty in life. He liked to paint flowers, and enjoyed painting women who cham as flourishing flowers, even more. Through his brush strokes, the many emotions of women and even their innermost secrets are expressed upon the canvas. Rare is the viewer who remains unmoved by the joyousness overflowing out of his painted images.

The young artists under the COBRA movement advocated the renouncement of rules and theories, and created a new art based on freedom and a positive life philosophy. In terms of the techniques of artistic representation, Expressionist approaches were primarily adopted. The vibrant, lively colors and the unbridled audacity of the images are thus liberated from the shackles of the past, established aesthetic forms, and no longer catered to the taste and preferences of the bourgeoisie. In the artwork titled "Give Me a Hug," the generous application of yellow and green hues are extremely striking, particularly because it was through these colors that Ting had audaciously delineated the exquisite details of the female form. Out of the spirited portrayal flows a pulse of unceasing vitality, a primal desire completely free of inhibition. Together with his most intimate affections and sentiments, the artist had through this painting bared his favorite subject to the world. The fluidly and freely-sprayed acrylic paint as well as the fine, candid lines of crayon inscribed upon the image are the hallmarks of his artistic style. The natural, unabashed confidence of the female subject is incorporated delightfully with Ting's intrepid artistic vocabulary so as to offer the viewer a highly charged and erotically sensual visual impact that is both powerful and explicit.

All of this corresponds with the personality of Walasse Ting, who was a self-proclaimed "Casanova," and illustrates the perpetual appreciation and devotion he harbored towards women, sex, love, and art throughout his lifetime. He used vibrant colors to create countless artworks of lavish opulence, while the women born of his brushstrokes are undoubtedly the masterpieces into which he had instilled the entirely of his heart and soul.

130

358 JU Ming

(Taiwanese, b. 1938)

Taichi Arch 1991 Bronze sculpture, edition no. 18/20 92(L) x 37.5(W) x 44(H) cm Engraved lower left side Ju Ming in Chinese, dated 91 This sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei.

NT$ 4,000,000-5,000,000 HK$ 1,028,000-1,285,000 US$ 132,500-165,700

朱銘 太極拱門 1991 銅雕 18/20 92(長) x 37.5(寬) x 44(高) cm 雕刻簽名左側下方：朱銘 91 附真善美畫廊開立之作品保證書

132

359 LI Hui

(Chinese, b. 1977)

Buddhist Altar No. 2 2007 Acrylic, LED lamp, stainless steel, edition no. 7/8 240(L) x 130(W) x 80(H) cm Engraved on the back Li Hui in Chinese and English and numbered 7/8 EXHIBITED: Reality Impalpable - A Solo Exhibition by Li Hui, Museum of Contemporary Art Taipei, Taipei, April 29 - June 26, 2011

李暉 佛龕 No. 2

2007 壓克力 LED燈 不銹鋼 7/8 240(長) x 130(寬) x 80(高) cm 簽名雕刻：李暉 Li Hui 7/8 展覽： 「不確定的真相－李暉個展」，台北當代藝術館，台北， 展期自2011年4月29日至6月26日 附新時代畫廊開立之原作保證書

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

NT$ 3,400,000-4,400,000 HK$ 874,000-1,131,000 US$ 112,700-145,800

實際存在的光，是李暉作品裡的重要元素，無論是以雷射或LED等現代科技的形式產生，光在李暉極具觀念性的作品裡，既暗示了充滿可能性 的未來，亦營造出神秘氛圍，直指如宗教、戰爭、生、老、病、死等人類本質議題，在同時代的中國藝術家中，展現關於材料運用的獨特敏感 度與突出的表現語彙。2007年作品《佛龕 No. 2》即以他擅長的壓克力光雕，探討關於宗教、科技、與當代人類處境的種種思索。 《佛龕 No. 2》以透明壓克力塑出一輛跑車，內部藉著材料的特質雕出佛的形象，當接上LED燈源，即發出瑩瑩的藍光，照見隱藏在跑車內部的 佛像，混雜者神聖與荒謬，在黑暗的場域中，更顯得既神秘又迷人。人類以高超的科學技術打造跑車，達至超越所有自然界生物的驚人速度， 代表了人類文明的先進與凌駕大自然的渴望。當佛以此現代科技產物為龕，象徵宗教與科技力量的圖像並置互融，這當中的衝擊不僅帶來視覺 上的震撼，亦引發種種關於信仰、關於科技、關於欲望的提問與思辯，具有悠久歷史的佛教文化在新時代意義為何？善與惡如何定義？在在耐 人尋味。藝術家進一步讓跑車被俐落地切分成好幾塊，內部的佛像連帶地也崩裂分解，暗示著易逝與脆弱，科技如此，信仰亦然，反映了處於 這個價值觀不斷變動的年代，諸多的疑惑，以及諸多的可能。 Existing sources of light are important elements in the works of Li Hui. Even when presented through modern technologies such as laser or LED lighting, light in Li Hui's highly conceptual works hints at a future that is full of possibility. The light creates an atmosphere full of mystery, in which basic human themes such as religion, war, life, aging, illness, and death are directly portrayed. Among his Chinese art contemporaries, Li exhibits a unique sense of acuity in the use of materials, as well as a distinctive language of expression. His 2007 piece "Buddhist Altar No. 2" explores a great many ruminations on religion, technology, and the modern human condition through acrylic light sculpture, a medium he handles deftly.

"Buddhist Altar No. 2" uses clear acrylic to construct a sports car; the interior is sculpted into the shape of a Buddha, through the unique characteristics of the material. When the LED light is connected to the sculpture, it emits a blue glow and dimly illuminates a Buddha hidden within the car. The effect is a mixture of holiness and absurdity, but in a darkened setting, it appears both mysterious and mesmerizing. Humans have used advanced technology to create sports cars that are able to achieve astonishing speeds, surpassing that of any natural organism. This represents the advancement of human civilization, as well as the desire to surmount nature. When a Buddha becomes an altar through such modern technology, it symbolizes the icons of religion and modern technology existing side by side, incorporated within each other. This conflict not only creates a sense of visual impact, it also triggers a series of questions and speculations on religion, technology, and desire. What significance does the richly historic Buddhist culture hold in a new era? How should good and evil be defined? These are all questions that require much contemplation. The artist goes further by deftly dividing the sports car into many distinct sections; in turn, the Buddha sculpture within has also broken into pieces. This hints at transitoriness and frailty, both of technology and religion. It acts as a reflection of the many doubts and possibilities that exist in this era of ever-changing values.

134

360 CHIU Ya-tsai

邱亞才

(Taiwanese, 1949 - 2013)

仕女

Lady

油彩 畫布 131 x 97 cm 簽名右下：邱亞才

Oil on canvas 131 x 97 cm Signed lower right Chiu Ya-tsai in Chinese

NT$ 3,200,000-4,200,000 HK$ 823,000-1,080,000 US$ 106,000-139,200

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

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

136

361 CHIU Ya-tsai

(Taiwanese, 1949 - 2013)

Sitting in a Cafe 1996 Oil on canvas 160 x 131 cm Signed lower right Chiu Ya-tsai in Chinese EXHIBITED: Two Taiwan Artists, ABN AMRO Bank, Monaco, 14 December 1998-28 February 1999.

Menton, France, Musee de Menton, May-June 1999.

Two Contemporary Taiwanese Artists, Plum Blossoms Gallery, New York, USA, , 3-24 November 2001.

邱亞才 咖啡廳閒坐 油彩 畫布 160 x 131 cm 簽名右下：邱亞才 展覽： 「台灣藝術家雙個展」，荷蘭銀行，摩納哥，展期自 1998年12月14日至1999年2月28日 檬頓博物館，檬頓，法國，展期至1999年5月至6月 「台灣當代藝術家雙個展」，萬玉堂，紐約，美國， 展期自2001年11月3日至24日

NT$ 2,800,000-3,800,000 HK$ 720,000-977,000 US$ 92,800-125,900

在中、西方的繪畫藝術史上，肖像畫始終是不朽的題材，藉由畫中人物衣著、背景點出時代以外，也提供當代人一扇得以窺視畫中人當時生活 樣貌的觀景窗。而無論是中、西肖像畫，寫實精神的落實逐漸成為肖像畫的核心，如文藝復興以降帶來肖像畫的興盛和精準的真實表達，或者 是中國唐代傳統人物畫裡看似寄情寫意，卻有精緻輪廓的神韻表達，。 邱亞才的人物畫裡即有著中、西難辨的氣質存在，大膽有勁、強烈用色的平塗背景有著野獸派的色彩觀念，而中國傳統的白描精神，單純的線 條構造勾勒出細緻的五官，不拘泥在形式、細節，卻精彩的描繪出人物的神情。此幅作品畫中人物，杏眼、柳眉、紅唇，看似氣定神閒的注視 遠方，但白皙的皮膚透著對比的藍色氛圍，隱約看出些微的情感表徵。 邱氏的才氣來自於他的哀愁，他也曾說過畫中人物都是他想像得來；懷才不遇的藝術家、漂泊浪跡的男子或是失意的商人，這群孤獨的身影， 在在都成了觀者去一探藝術家內心世界的線索。他鍾愛文學，暢情於寫作，再將他的情感化成一幅幅人物畫，而畫中人物總是不卑不亢，雖偶 有哀傷滿容或是冷靜的悲痛傷感，但卻總是悠悠平靜的淡然處世，反倒顯得優雅從容。邱氏的繪畫語言是他周遭生活的縮影，透過畫筆表述自 我，說書人般的講述一篇篇故事，是畫中人物的風雪，更是邱亞才的獨白，而正是這些孤寂的靈魂，成就了他的藝術精神。 Throughout the history of both Chinese and Western art, portraiture has remained a consistently popular genre. The clothing worn by the people portrayed, and the background scenes, help to give as a feel for the era in which the portrait was painted, and portraits from the past give people living in today’s world a window onto what life was like for the portrait subjects and their contemporaries. In both the Chinese and Western portraiture traditions, realism gradually became a core aspect of portrait painting; in the West, the Renaissance ushered in a new era in which portraiture grew increasingly popular and portraits grew ever more realistic, while in China the portraits painted during the Tang Dynasty may seem somewhat expressionist, but they still feature precise, detailed depiction of facial features.

Chiu Ya-tsai’s portraits have an indefinable quality to them that resembles both Chinese and Western styles of portraiture. His flat backgrounds with their bold, powerful use of color seem to reflect the attitude towards color of the Fauvists, but Chiu’s paintings are also characterized by effective use of the traditional Chinese baimiao monochromatic brush-line technique, in which simple lines delineate the facial features, bringing across the spiritual essence of the person portrayed without being constrained by formal conventions or overburdened with excessive detail. The figure shown in this particular painting, with his almond-shaped eyes, arched eyebrows and red lips, appears to be gazing calmly into the distance, and yet the contrast between his white skin and the blue surrounding it hints at a slight sense of emotional expression.

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

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

138

362 Walasse TING

(Chinese-American, 1929 - 2010)

Where is the Mr. Ting?

1986 Acrylic on canvas 62 x 76 cm Signed on the reverse ting, titled Where is the MR. TING? in English, dated 86 PROVENANCE: Catto Gallery, London This painting is to be sold with a certificate of authenticity issued by Walasse Ting Archive

NT$ 2,600,000-3,600,000 HK$ 668,000-925,000 US$ 86,100-119,300

丁雄泉 丁先生在哪兒?

1986 壓克力 畫布 62 x 76 cm 簽名畫背：Where is the MR. TING? ting 86 來源： 卡托畫廊，倫敦 附丁雄泉基金會開立之原作保證書

140

363 TANG Zhigang

唐志剛

(Chinese, b. 1959)

兒童會議

Children in Meeting

1998 油彩 畫布 150 x 180 cm 簽名右下：Tang 98 簽名畫背：150 x 180 cm 唐志剛

1998 Oil on canvas 150 x 180 cm Signed lower right Tang in English and dated 98 Signed on the reverse Tang Zhigang in Chinese, inscribed 150 x 180 cm

NT$ 2,400,000-3,400,000 HK$ 617,000-874,000 US$ 79,500-112,700

唐志剛在「兒童會議」系列作品中直接表現了思想，幼兒形象以荒謬的手法被置於會議桌後，表情誇張又不失孩童的興奮，把一種成人需要面 對的恐懼感和心理壓力被反射地擱置在兒童身上。唐志剛解釋說，在人類的歷史中，人們總是不斷地試圖超越自己、超越極限，而恰當人們在 創造一個又一個紀錄的同時，也給自己不斷帶來了新的壓力；因而，從某種角度來看，競技場充斥著人們面對極限時的恐懼心理，唐志剛以嘲 諷的口氣和比喻的方式對現實提出批評，反映每天處於競爭環境中的人所面臨的壓力。 在作品《兒童會議》中唐志剛採用的繪畫技巧愈來愈凝練簡潔，這很符合中國傳統寫意畫刪繁就簡以神寫形的精神。他關注周遭的事件，他體 會到當代人們普遍的心態與這個時代蔓延著的焦慮和心理負擔，最終通過他慣有的活潑、輕快的兒童形象將這種沈痛感消解掉。這是唐志剛的 高明與智慧。《兒童會議》給我們一個童話般的世界，其實並非一部天真的兒童讀物，而是成人世界裡普遍存在的種種心理壓力、焦慮和危機 感的暗示性寫照。 Tang directly expresses his thoughts in the “Children in Meeting” series. The children are arranged behind the table, where exaggerated expressions and childlike excitement are juxtaposed. The artist injects fear and pressure, two adult emotions, into his portrayal of those children. He explains that over the course of history men have always tried to exceed their limits. While men are setting records one after another, they also subject themselves to new pressure.

Therefore, to some point, the arena is filled with the fear generated from confronting extremes. Tang criticizes such a reality with irony and comparison, presenting the stress of those living in a competitive environment.

In this painting, Tang adopted a more simplistic and straightforward painting technique, which meets the essence of Chinese freehand (Xieyi) painting, a style that removes complexity for simplicity and portrays forms with spirit. Being sensitive about his surroundings, he noticed the common mindset of modern people and the anxiety and psychological burdens spreading through the whole world. Eventually, he tried to dissolve such heaviness through his customary bright and lighthearted images of children, and that was no doubt a brilliant and wise design. “Children in Meeting” presents us with a fairy tale world, but in fact it is not an innocent children’s book. Instead, it conveys implications of the pressure, anxieties and the sense of crisis prevailing in the adult world.

142

364 Walasse TING

(Chinese-American, 1929 - 2010)

I Tell You a Beautiful Story 1985 Acrylic on canvas 55 x 71 cm Signed on the reverse ting, titled I tell you a beautiful story in English, dated 1985 PROVENANCE: Gallerie Knud Grothe, Copenhagen, Danmark Bruun Rasmussen Auction, Copenhagen, Danmark

NT$ 1,800,000-2,800,000 HK$ 463,000-720,000 US$ 59,600-92,800

丁雄泉 告訴你一個美麗的故事 1985 壓克力 畫布 55 x 71 cm 簽名畫背：I tell you a beautiful story ting 1985 來源： 克努・葛羅德，哥本哈根，丹麥 布魯恩・拉斯穆德拍賣，哥本哈根，丹麥

144

365 Yoshio CHANG

(Taiwanese, 1914 - 2016)

Still Life 2008 Oil on canvas 90.8 x 72.7 cm Signed lower left CHANG. Y and dated 2008 EXHIBITED: Clown Life - Yoshio Chang 100 Years Old Exhibition, Shinkong Mitsukoshi, Taipei, Taichung, Tainan, Kaohsiung, March 6 - August 10, 2014 This painting is to be sold with a certificate of authenticity issued by the artist.

NT$ 1,800,000-2,400,000 HK$ 463,000-617,000 US$ 59,600-79,500

張義雄 靜物 2008 油彩 畫布 90.8 x 72.7 cm 簽名左下：CHANG. Y 2008 展覽： 「小丑人生－張義雄百歲展」，新光三越，台北信義新天地，台中， 台南，高雄，展期自2014年3月6日至8月10日 附藝術家親筆簽名之原作保證書

146

366 Tzu-chi YEH

(Taiwanese, b. 1957)

Taipei, Landscape with Wind 1993-1995 Oil on canvas 89 x 127 cm Signed lower right Tzu-chi in Chinese, and dated 1993-1995

NT$ 1,600,000-2,400,000 HK$ 411,000-617,000 US$ 53,000-79,500

葉子奇 台北有風 1993-1995 油彩 畫布 89 x 127 cm 簽名右下：子奇 1993-1995

148

367 PANG Jiun

(Taiwanese, b. 1936)

Misty Mountains 1987 Oil on canvas 88 x 73 cm Signed lower left Pang Jiun and dated year of dingmao both in Chinese With one painted seal of the artist Signed on the stretcher PANG JIUN in Chinese and English and titled Misty Mountains in Chinese ILLUSTRATED: Pang Jiun, Techniques for Oil Painting, Artist Publishing Co., Taipei, 1988, color illustrated, p. 221

NT$ 1,300,000-2,200,000 HK$ 334,000-566,000 US$ 43,100-72,900

龎均 煙雨之鄉 1987 油彩 畫布 88 x 73 cm 簽名左下：丁卯年 龎均 手繪鈐印：均 簽名畫背框條：煙雨之鄉 龎均 PANG JIUN 圖錄： 龎均，《油畫技法哲學》，藝術家出版社，台北，1988， 彩色圖版，頁221

150

152

368 Walasse TING

(Chinese-American, 1929 - 2010)

Open All Windows and Let Me In Acrylic on rice paper 89 x 96.5 cm This painting is to be sold with a certificate of authenticity issued by De Vuyst, Belgium.

NT$ 1,100,000-2,200,000 HK$ 283,000-566,000 US$ 36,400-72,900

丁雄泉 打開窗讓我進來 壓克力 紙本 89 x 96.5 cm 附比利時德・菲思特畫廊開立之原作保證書

369 TU Hongtao (Chinese, b. 1976)

Araki's Friends 2008 Oil on canvas 180 x 230 cm Signed lower center Tutu in English and dated 08 EXHIBITED: Fly Through the Troposphere: Memo of the New Generation Painting, Iberia Center for Contemporary Art, Beijing, June 25 August 27, 2011 ILLUSTRATED: Fly Through the Troposphere: Memo of the New Generation Painting, Iberia Center for Contemporary Art, Beijing, 2011, color illustrated, p. 220

屠宏濤 荒木的朋友 2008 油彩 畫布 180 x 230 cm 簽名底部：Tutu 08 展覽： 「飛越對流層—新一代繪畫備忘錄」，伊比利亞當代藝術中心， 北京，展期自2011年6月25日至2011年8月27日 圖錄： 《飛越對流層—新一代繪畫備忘錄》，伊比利亞當代藝術中心， 北京，2011，彩色圖版，頁220

NT$ 1,100,000-2,200,000 HK$ 283,000-566,000 US$ 36,400-72,900

「屠宏濤氣質中的那種壞男孩式小頹廢，使他一度迷戀荒木經惟的情色表達，並且將荒木的形象引入到畫面之中，而在畫面結構方面他受到了 新萊比錫畫派的推動，逐漸顯示出交錯、傾軋的時空感，所描繪的形象不斷衍生並且幾乎摞疊在一起，造成散點透視的蔓延和覆蓋，形象的密 集和膨脹幾乎造成了畫面空間的坍塌，對應著一個頹靡的欲望幻境，同時，也暴露出空洞、荒寂的內心體驗。他的個人筆觸細碎而敏感，對於 細節具有出色的經營能力」摘自《灰色的狂歡節：2000年以來的中國當代藝術》，朱朱著，桂林，廣西師範大學出版社，2013年11月，pp.171-175 屠宏濤利用一個舞臺化的場景來透視城市現實，其中雜陳的形象與密集的細節對應著我們光怪陸離的都市生活，更表徵著浮華背後的心理感 受。作品中所指涉的意象並不隱晦，真正需要我們悉心體會的是他隱藏在畫面中的表演者。《荒木的朋友》 中戴著潛水鏡的荒木經惟，混跡於 喧鬧的人群。他就從「裡面」看著我們，而不是冷漠的「局外人」。 "The bad-boy, decadent side of Tu Hongtao has drawn him to the erotic expression in the work of Araki Nobuyoshi. Tu brought the imagery used by Araki into his own paintings. In the structuring of his images, Tu has been influenced by the style of the New Leipzig School; he has gradually begun to display inter-layered and inverted spatial arrangements. The forms portrayed extend continuously and are almost stacked together, which creates a dispersed, penetrating perspective that expands and envelops. The density and inflation of the forms almost result in a collapse of the space within the scene. This corresponds to the decadent fantasy-scape of desire, while at the same time, it also reveals an inner experience of emptiness and loneliness. Tu's brushstrokes speak of finesse and sensitivity. He holds an admirable mastery over the organization of detail." (Excerpt from The Gray Carnival: Chinese Contemporary Artist from the 2000s, Zhu Zhu, Guangxi Normal University Press, Guilin, November 2013, pp.171-175)

Tu Hongtao uses a stage-like setting to peer into modern urban reality. The complex images and the concentrated details mirror our dazzling yet bizarre urban lives. It also symbolizes the true emotions behind the lavishness. The images portrayed in the artwork are not obscured. Instead, what is truly hidden and requires more in-depth attention from us are the performers hidden within the scene. In Araki’s Friends, the character wearing the dive mask is Araki Nobuyoshi himself, blending in with the bustling crowd. He looks at us from 'within', instead of being an uncaring 'outsider'.

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370 LI Chen

(Taiwanese, b. 1963)

Clear Soul 2002 Bronze, edition no. 7/8 75(L) x 36(W) x 54(H) cm Engraved Li Chen in English, numbered 7/8 and dated 2002 With two seals of the artist EXHIBITED: The Contemporary Road of Media and Tradition: Top10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, April 7 May 6, 2007 Li Chen Solo Exhibition - In Search of Spiritual Space / Energy of Emptiness, The Venice Biennale: the 52nd International Art Exhibition, Telecom Italia Future Centre, Venice, June 10 - November 21, 2007 (large version) ILLUSTRATED: Li Chen Sculpture 1992-2002, Asia Art Center Co. Ltd., Taipei, 2004, color illustrated, pp. 88-89 (small version) Top 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center Co. Ltd., Beijing, 2007, color illustrated, p. 50 Li Chen in Venice-Energy of Emptiness, Asia Art Center Co. Ltd., Taipei, 2007, color illustrated, pp.140-141; black-and-white illustrated, p. 219 Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center Co. Ltd., Taipei, 2008, color illustrated, pp. 64-71; black-and-white illustrated, p. 197 This work is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 1,900,000-3,800,000 HK$ 488,000-977,000 US$ 63,000-125,900

李真 無心海 2002 銅雕 7/8 75(長) x 36(寬) x 54(高) cm 雕刻簽名： Li Chen 7/8 2002 雕刻鈐印：李真 展覽： 「中國當代雕塑十人展」，亞洲藝術中心，北京，展期自2007年 4月7日至5月6日 「第52屆威尼斯雙年展—尋找精神的空間．虛空中的能量：李真 雕塑展」，未來展望美術館，威尼斯，展期自2007年6月10日至 11月21日（較大版本） 圖錄： 《李真雕塑1992-2002》，亞洲藝術中心，台北，2004，彩色圖 版，頁88-89（較小版本） 《中國當代雕塑十人展》，亞洲藝術中心，北京，2007，彩色圖 版，頁50 《李真第52屆威尼斯雙年展—虛空中的能量》，亞洲藝術中心， 台北，2007年，彩色圖版，頁140-141；黑白圖版，頁219 《李真：中國美術館個展—尋找精神的空間》，亞洲藝術中心， 台北，2008，彩色圖版，頁64-71；黑白圖版，頁197 附亞洲藝術中心開立之作品保證書

透過獨創的「鎏銀」材質，塑造出一宛若明鏡之倒影，「大氣神遊」系列之一《無心海》比喻人唯有保持澄淨無垢的「清淨心」，致若赤子的 境界，才能無憂無慮的徜徉在清澈的湖水之上。《無心海》純淨無瑕的赤子之身，無欲無求，不拘於七情六欲，師法自然，以最真的態度來面 對生命、享受生活。似有心，若無心；是實境，若虛境，生命是真、非真，在時間中消失。宛若明鏡之倒影，它是澄淨無垢的「清淨心」，致 若諸佛境界，才能無憂無慮的徜徉在清澈湖水之上。細品李真作品，沒有過度繁瑣的線條，渾圓純樸的造型總令觀者會心一笑，精簡中有渾然 天成氣韻之美。 "Clear Soul", created in 2002 by Li Chen, is part of his series "Spiritual Journey through the Great Ether". The sculpture exclusively adopts a silvering material and creates a mirror-like inverting effect. "Clear Soul" figuratively suggests that only a pure and spotless soul, such as that of a newborn baby, may freely fly over the serene and clear lake. The infant-like "Clear Soul" actually means freedom from desires or demands, negating mortal emotions or desires, complying with the rules of nature, and facing and enjoying life with the most genuine attitude. "Clear Soul" seems as if a mind of concerns has seemingly cast off the concerns of mortal toil; it is substantial but feels weightless. Life is real and yet full of illusions, which are doomed to vanish as time goes by. This philosophy can be compared to a mirror-like inverting effect. Pure and spotless "Clear Soul," which is the boundary of Buddhism, will enjoy the freedom of flying over the serene and clear lake. Li abandons the over-complicated or lines in his sculptures and the perfectly round and unsophisticated image of figure always bring the viewers the purest movement through looking at these simple works.

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371 JU Ming

(Taiwanese, b. 1938)

Living World Series – Swimming 2009 Stainless steel , edition no. 2/8 70.4(L) x 29.4(W) x 104.6(H) cm Engraves on the back Ju Ming in English, numbered 2/8, and dated 09 EXHIBITED: 2009 Ju Ming’s Lastest Exhibition Living World Series - Swimming, Ju Ming Museum, New Taipei, September 19, 2009 - May 5, 2010 The Singapore debut of Ju Ming’s Living World Series Swimming & Stone Sculpture, Ipreciation Art Gallery, Singapore, November 19, 2010 January 8, 2011 ILLUSTRATED: Ju Ming: Liring World, Guangxi Fine Arts Publishing Guangxi, 2010, color illustrated, p.

190 This sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei.

NT$ 1,200,000-2,200,000 HK$ 308,000-566,000 US$ 39,800-72,900

朱銘 人間系列—游泳 2009 銅雕 2/8 70.4(長) x 29.4(寬) x 104.6(高) cm 簽名雕刻後方：Ju Ming 09 2/8 展覽： 朱銘新作「人間系列—游泳展」，朱銘美術 館，新北市，展期自2009年9月19日至2010年 5月5日 朱銘「人間系列—游泳及石雕展」，誰先 覺畫廊，新加坡，展期自2010年11月19日至 2011年1月8日 圖錄： 《朱銘：人間雕塑》，廣西美術出版社，廣 西，2010，彩色圖版，頁190 附真善美畫廊開立之作品保證書

158

372 Yuyu YANG (YANG Ying-Feng) (Taiwanese, 1926 - 1997)

Advent of the Phoenix I 1970 Stainless steel, edition no. 8/20 72(L) x 86(W) x 73(H) cm Engraved on the base Yuyu YANG in Chinese and English, numberes 8/20 dated 1970 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 900,000-1,600,000 HK$ 231,000-411,000 US$ 29,800-53,000

楊英風 鳳凰來儀(一) 1970 不鏽鋼 8/20 72(長) x 86(寬) x 73(高) cm 雕刻底座：'1970 呦 呦 楊英風 Yuyu YANG Fong 8/20 附財團法人楊英風藝術教育基金會呦呦事業有限公 司開立之作品保證書

373 Chintan UPADHYAY (Indian, b. 1972)

The Players 2008 Oil and acrylic on canvas 151 x 151 cm Titled on the reverse “The Players”, signed Chintan UPadhyay, Unlimited media Oil & Acrylic on Canvas, size 5ft x 5ft, Chintan 2008 in English EXHIBITED: New Indians by Chintan UPADHYAY, Galerie Natalie Serouss, Paris, May 29 - June 29, 2008

NT$ 440,000-550,000 HK$ 113,000-141,000 US$ 14,600-18,200

160

清滕．屋帕玳伊 遊戲者 2008 油彩 壓克力 畫布 151 x 151 cm 簽名畫背：CHINTAN UPADHYAY UN LIMITED "THE PLAYERS", Oil x Acrylic Canvas 5ft x 5ft Chintan 2008 展覽： 「清滕．屋帕玳伊－新印度」，娜塔莉．塞魯西畫 廊，巴黎，展期自2008年5月29日至6月29日

374 JIA Gang

(Chinese, b. 1974)

Missing Lao Shi No. 2 2004 Oil on canvas 150 x 100 cm Signed lower right Jia Gang in Chinese and dated 2004 This painting is to be sold with a certificate of authenticity issued by New Age Gallery, Taichung.

NT$ 600,000-700,000 HK$ 154,000-180,000 US$ 19,900-23,200

賈剛 想念老十 No. 2

2004 油彩 畫布 150 x 100 cm 簽名右下：賈剛2004 附新時代畫廊開立之原作保證書

375 PAN Honghai

潘鴻海

Portrait of a Young Lady

油彩 畫布 88 x 115 cm 簽名右下：H.H.PAN 鴻海

(Chinese, b. 1942)

Oil on canvas 88 x 115 cm Signed lower right H.H.PAN in English, Honghai in Chinese

NT$ 460,000-550,000 HK$ 118,000-141,000 US$ 15,200-18,200

162

少女肖像

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

Paris (Gate) 1982 Oil on canvas 72 x 91 cm Signed lower right Che-tsai in Chinese and dated 1982 EXHIBITED: SHEN Che-tsai 70 Years Retrospective Exhibition, National Taiwan Museum of Fine Arts, Taichung, November 18 - December 24, 1995 ILLUSTRATED: SHEN Che-tsai 70 Years Retrospective Exhibition, National Taiwan Museum of Fine Arts, Taichung, 1995, color illustrated, p. 40

NT$ 650,000-750,000 HK$ 167,000-193,000 US$ 21,500-24,900

沈哲哉 巴黎（門） 1982 油彩 畫布 72 x 91 cm 簽名右下：1982 哲哉 展覽： 「沈哲哉七十回顧展」，臺灣省立美術館，台中，展期自 1995年11月18日至12月24日 圖錄： 《沈哲哉七十回顧展》，臺灣省立美術館，台中，1995， 彩色圖版，頁40

377 Li Yuan-chia

(Taiwanese, 1929-1994)

Untitled 1948 Ink and watercolor on paper 35.9 x 76.9 cm Signed upper left Yuan-chia in Chineses and dated 48

李元佳 無題 1948 水墨 水彩 紙本 35.9 x 76.9 cm 簽名左上：元佳 48 附理查·薩爾頓畫廊開立之原作保證書

This work is to be sold with a certificate of authenticity issued by Richard Saltoun Gallery, London.

NT$ 320,000-420,000 HK$ 82,000-108,000 US$ 10,600-13,900

藝術往何處去？一點，一點為萬物的開始和，終止 李元佳題 O Art, where is it you are going? One dot, slowly becomes the beginning and end of all creation.

by Li Yuan-Chia

李元佳的藝術語彙起自於1956年與同輩藝術家創立東方畫會開始，他曾經提到他的作品深受中國傳統哲學家老子與書法線條的基本概念影響， 並且試圖用色彩捕捉中國瓷器與古代洞穴壁畫的特質；而這樣的繪畫精神全然躍上他遠赴歐洲定居創作前的紙本作品。他從傳統的中國書法線 條之美悟出最純粹的抽象藝術，化繁為簡，制定他心中的宇宙觀，再從這樣的觀念發展出他最獨到的藝術語彙，而這樣的繪畫也導致他走上了 概念性的創作軸線。 在遊歷歐洲之後，李元佳的創作大為丕變，但他始終回歸於他心中最根本的創作理念「點、線」；他認為「點」為一切的起源以及終點，這也 包括了他創作的核心；他追求的是表現出物質本性的藝術創作，而「點」則是他畫面中的主角，「線」是用來創造出畫面空間的韻律感以及流 動性，在如此簡單的構圖之間建構了他所認為最乾淨、純粹的藝術，雖然與當時台灣社會的藝術潮流大相逕庭，但這樣獨創性的作品造就了畫 面上的特有構圖；他開創了中國書法線條對於抽象藝術的可能性，這樣的概念遠遠走在同輩藝術家之前，同時造就了他前所未見的繪畫，以及 一位獨具前瞻性的藝術先驅。 Li Yuan-Chia started developing his language of art when he founded the Ton Fan Group with other artists of his generation in 1956. He once mentioned that his art was influenced by the Chinese philosopher Laozi and the basic concepts of Chinese calligraphy, and that the colors in his work were selected to capture the essence of Chinese porcelain and cave paintings. This attitude towards painting is vividly expressed in the art he created before he emigrated to Europe. From the beauty of the lines in traditional Chinese calligraphy, Li Yuan-Chia realized how to create pure abstract art, transforming the complex into something simple and shaping his worldview. Li Yuan-Chia developed his own unique art language with these beliefs, and he was encouraged by this painting style to pursue conceptual creation in his art.

After emigrating to Europe, Li Yuan-Chia's art underwent considerable changes, but he eventually returned to his own fundamental ideals for creation— "dots and lines." He considered the "dot," a singular point in space, to be the beginning and end of everything, which includes the core of his creativity. Li Yuan-Chia strove to express the essence of all things in his art; the "dot" was the main character in his painting and the "line" was used to convey the rhythm and fluidity depicted within the spaces of the painting. In this seemingly simple artwork, Li Yuan-Chia has created what he thinks is the cleanest and purest form of art. Although this style of art wasn't in the mainstream in Taiwan back then, this unique art work has produced the fantastic visual illusions you see in the paintings. Li Yuan-Chia introduced the possibility of incorporating Chinese calligraphy lines into abstract art, and his pioneering concepts were conceived long before any of the artists of his contemporaries did so. Li Yuan-Chia is lauded as a progressive avant garde artist that created paintings which had never been seen before.

164

166

378 Li Yuan-chia

(Taiwanese, 1929-1994)

Untitled 1962 Ink and oil on red paper 20 x 62.5 cm Signed lower right Li in English, Yuan-chia in Chinese This work is to be sold with a certificate of authenticity issued by Richard Saltoun Gallery, London

NT$ 320,000-420,000 HK$ 82,000-108,000 US$ 10,600-13,900

李元佳 無題 1962 水墨 油彩 紙本 20 x 62.5 cm 簽名右下：Li元佳 附理查·薩爾頓畫廊開立之原作保證書

379 Zhang Guangbin (Taiwanese, 1915 - 2016)

The Distant Water from the South 2006 Ink on paper 177 x 43.7 cm With Four seals of the artist

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,600-11,900

張光賓 遠浦南軒 2006 水墨 紙本 177 x 43.7 cm 鈐印左上：張光賓印 于寰九十 鈐印右上：知足 鈐印右下：無限江山

168

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

Foggy Lake 2011 Oil on canvas 136.5 x 168.5 cm Signed lower left Chin-Shui in chinese, dated 2011 This painting is to be sold with a certificate of authenticity issued by Arty Art Certer, Taipei

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,600-11,900

170

詹金水 霧漫冰湖 2011 油彩 畫布 136.5 x 168.5 cm 簽名左下：金水2011 附亞帝藝術開立及藝術家親筆簽名之原作保證書

381 WU Hao

(Taiwanese, b. 1931)

Roses and Persimmons 2008 Oil on canvas 62.5 x 72.5 cm Signed upper left Wu Hao in Chinese and dated 2008 ILLUSTRATED: WU HAO ALBUM, Moon Gallery, Taichung, 2009, color illustrated, p. 38 This painting is to be sold with a certificate of authenticity issued by Moon Gallery, Taichung.

NT$ 220,000-320,000 HK$ 57,000-82,000 US$ 7,300-10,600

吳昊 玫瑰和柿子 2008 油彩 畫布 62.5 x 72.5 cm 簽名左上：吳昊 2008 圖錄： 《吳昊作品集》，月臨畫廊，台中，2009，彩色圖版，頁38 附月臨畫廊開立之原作保證書

382 DU Xi

(Chinese, b. 1980)

Conjugal Love 2011 Oil on canvas 100 x 160 cm Signed lower right Du Xi in Chinese and English, and dated 2011.

EXHIBITED: Do Xi Legendary Heroes, William Art Salon, Taipei, Feburary 11-25, 2012 This painting is to be sold with a certificate of authenticity issued by William Art Gallery, Taipei.

NT$ 200,000-300,000 HK$ 51,000-77,000 US$ 6,600-9,900

172

杜溪 鳳凰于飛 2011 油彩 畫布 100 x 160 cm 簽名右下：杜溪 DU XI 2011 展覽： 「杜溪—英雄傳」，威廉藝術沙龍，台北，展期自 2012年2月11日至25日 附威廉藝術中心開立之原作保證書

383 LIU Ye

(Chinese, b. 1964)

Miss 2010 Print, edition no. 4/68 89 x 102 cm Signed lower right Ye in Chinese, numbered 4/68, dated 2010 Titled lower left MISS in English

NT$ 220,000-320,000 HK$ 57,000-82,000 US$ 7,300-10,600

劉野 Miss

2010 版畫 版次 4/68 89 x 102 cm 簽名下方：MISS 4/68 2010 野

384 Max LIU

(Taiwanese, 1912 - 2002)

Chameleon 1993-1995 Mixed media on paper 34 x 46 cm Signed lower right in Liu Chi-wei Chinese phonetic alphabet and dated 95 Titled upper right Chameleon in English ILLUSTRATED: Son of the Nature - Max Liu, Chi - Chan Art Space Co., LTD., Kaohsiung, 1996, color illustrated, no. 110

NT$ 170,000-260,000 HK$ 44,000-67,000 US$ 5,600-8,600

174

劉其偉 變色龍 1993-1995 綜合媒材 紙本 34 x 46 cm 簽名右下：'95 ㄌ一ㄡˊ ㄑㄧˊ ㄨㄟˇ 題識右上：CHAMELEON 圖錄： 《自然之子：劉其偉》，積禪藝術事業股份有限 公司，高雄，1996，彩色圖版，編號110

385 Max LIU

(Taiwanese, 1912 - 2002)

King Cobra 1993-1995 Mixed media on paper 46 x 34 cm Signed upper left Liu Chi-wei in Chinese phonetic alphabet and dated 1995 ILLUSTRATED: Son of the Nature - Max Liu, Chi - Chan Art Space Co., LTD., Kaohsiung, 1996, color illustrated, no. 116

NT$ 170,000-260,000 HK$ 44,000-67,000 US$ 5,600-8,600

劉其偉 眼鏡王蛇 1993-1995 綜合媒材 紙本 46 x 34 cm 簽名左上：ㄌ一ㄡˊ ㄑㄧˊ ㄨㄟˇ 1ㄆ ㄆ ㄌ 圖錄： 《自然之子：劉其偉》，積禪藝術事業股份有限公 司，高雄，1996，彩色圖版，編號116

386 Max LIU

(Taiwanese, 1912 - 2002)

Egretta Intermedia 1994 Mixed media on paper 39 x 52 cm Signed lower left Liu Chi-wei in Chinese phonetic alphabet titled Egretta intermedia in English, and dated 1994 ILLUSTRATED: Wildlife - God’s Script, The Chinese Natural Resources Conservation Association, Taipei, 1995, color illustrated, no. 97

NT$ 170,000-260,000 HK$ 44,000-67,000 US$ 5,600-8,600

176

劉其偉 中白鷺 1994 綜合媒材 紙本 39 x 52 cm 簽名左下：ㄌ一ㄡˊ ㄑㄧˊ ㄨㄟˇ 1994 Egretta intermedia 圖錄： 《野生動物－上帝的劇本》，中華自然資源保育協會，台 北，1995，彩色圖版，編號97

387 HUNG Jui-lin

洪瑞麟

(Taiwanese, 1912 - 1996)

圍聚的礦工

Gathered Miners

1955 水墨 水彩 紙本 25.5 x 36.5 cm 年代右下：1955 鈐印右下：洪

1955 Ink and color on paper 25.5 x 36.5 cm Dated lower right 1955 With one seal of the artist

NT$ 160,000-260,000 HK$ 41,000-67,000 US$ 5,300-8,600

388 YAO Jui-chung (Taiwanese, b. 1969)

Two Forgotten at Breathing Water 2007 Ink and color on handmade paper, and gold leaf 100 x 66.5 cm

NT$ 130,000-220,000 HK$ 33,000-57,000 US$ 4,300-7,300

178

姚瑞中 倆忘煙水圖 臨巨然「雪圖」 2007 彩墨 手工紙本 金箔 100 x 66.5 cm

389 HSU Yung Chin (Taiwanese, b. 1951)

Abstract Cinnabar and gold lacquer on paper 68 x 69 cm With one seal of the artist

NT$ 150,000-260,000 HK$ 39,000-67,000 US$ 5,000-8,600

徐永進 抽象 硃砂 金漆 紙本 68 x 69 cm 鈐印右下：徐永進

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

Landscape 1989 Oil on canvas 89 x 64 cm Signed lower left Chen-yu in Chinese, dated 89

NT$ 110,000-220,000 HK$ 28,000-57,000 US$ 3,600-7,300

180

張振宇 風景 1989 油彩 畫布 89 x 64 cm 簽名左下：振宇 '89

391 Liu Keng-I

(Taiwanese, b. 1938)

Harbour 1998 Oil on canvas 51 x 75.4 cm Signed lower left Keng-I in Chinese and dated 1998.3

NT$ 120,000-220,000 HK$ 31,000-57,000 US$ 4,000-7,300

劉耿一 海濱城垣 1998 油彩 畫布 51 x 75.4 cm 簽名左下：耿一 1998.3

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

Nude 1986 Oil and crayon on paper 31 x 41 cm Signed lower left CHANG in English, Wan-chuan in Chinese, and dated 1986 This painting is to be sold with a certificate of authenticity issued by Mingshan Art, Taipei.

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 3,000-6,000

182

張萬傳 裸女 1986 油彩 蠟筆 紙本 31 x 41 cm 簽名左下：CHANG. 万伝. 1986 附名山藝術開立之作品保證書

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

Still Life 1985 Oil on canvas 30 x 40 cm Signed lower left CHANG in English, Wan in Chinese and dated 1985

NT$ 110,000-220,000 HK$ 28,000-57,000 US$ 3,600-7,300

張萬傳 靜物 1985 油彩 畫布 30 x 40 cm 簽名左下：CHANG 万 1985

394 SU Wong-shen (Taiwanese, b. 1956)

Flying in Every Direction 2007-2008 Oil on canvas 25.5 x 18 cm ILLUSTRATED: SU Wong-shen: Between the Clouds, Eslite Gallery, Taipei, 2008, color illustrated, pp. 8, 240

NT$ 50,000-100,000 HK$ 13,000-26,000 US$ 1,700-3,300

蘇旺伸 氣球亂飛 2007-2008 油彩 畫布 25.5 x 18 cm 圖錄： 《蘇旺伸 雲與雲之間》，誠品畫廊，台北， 2008，彩色圖版，頁8、240

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

Scenery 2011 Oil on paper 77 x 108.5 cm Signed lower right Hsieh Hsiao-De in Chinese and dated 2011

NT$ 50,000-70,000 HK$ 13,000-18,000 US$ 1,700-2,300

謝孝德 風景 2011 油彩 紙本 77 x 108.5 cm 簽名右下：2011. 謝孝德

184

396 T'ANG Haywen

(TANG Then Phuoc, Chinese-French, 1927 - 1991)

Untitled (Diptych) Ink and color on paper 29 x 42 cm Signed lower right T'ang in English and Haywen in Chinese

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600

曾海文 無題（雙聯幅） 彩墨 紙本 29 x 42 cm 簽名右下：T'ang 海文

397 HUANG Gang

黃鋼

(Chinese, b. 1961)

好！好（三件一組）

Good! Good (a set of 3)

2007 銅鑄 7/18 49(長) x 27(寬) x 112.5(高) cm (x2) 42(長) x 40(寬) x 114(高) cm 簽名雕刻：Haung Gang 黃鋼 7/8 三個一組

2007 Bronze, edition no. 7/18 49(L) x 27(W) x 112.5(H) cm (x2) 42(L) x 40(W) x 114(H) cm Engraved Haung Gang in Chinese and English, inscribed a set of 3, and numbered 7/8 The sculptures is to be sold with a certificate of authenticity issued by Butchart International Contemporary Art Space, Taipei.

NT$ 460,000-550,000 HK$ 118,000-141,000 US$ 15,200-18,200

186

附布查國際當代藝術空間開立之作品保證書

398 ZHENG Lu

鄭路

Revelation

2008 不鏽鋼 78(長) x 60(寬) x 100(高) cm

(Chinese, b. 1978) 2008 Stainless steel 78(L) x 60(W) x 100(H) cm EXHIBITED: Solo Exhibition Interfreting Nonexistence, New Age Gallery, Bejing, September 12 - October 6, 2009 This work is to be sold with a certificate of authenticity issued by New Age Gallery, Beijing

NT$ 700,000-800,000 HK$ 180,000-206,000 US$ 23,200-26,500

問語心覺

展覽： 「讀空－鄭路雕塑個展」，新時代畫廊，北京， 展期自2009年9月12日至10月6日 附新時代畫廊開立之作品保證書

399 Zhou Chunya (Chinese, b. 1955)

Brotherhood 2006 Bronze, edition no. 2/8 28(L) x 15(W) x 18(H) cm Engraved on the base Z.C.Y in English, numbered 2/8 and dated 2006.3 ILLUSTRATED: Blooming Stories, Sichuan Fine Art Publishing Co., Chengdu, 2007, color illustrated, p. 124

NT$ 360,000-460,000 HK$ 93,000-118,000 US$ 11,900-15,200

188

周春芽 桃園結義 2006 銅雕 2/8 28(長) x 15(寬) x 18(高) cm 簽名雕刻底座：2006.3. Z.C.Y 2/8 圖錄： 《花間記》，四川美術出版社，成都，2007， 彩色圖版，頁124

400 Zhou Chunya (Chinese, b. 1955)

Green Dog No.1 2011 Bronze, edition no. 6/10 20(L) x 27(W) x 37(H) cm Signed on lower back Zhou Chunya in Chinese and English, numbered 6/10 EXHIBITED : Image Spirit – Contemporary Chinese Art Collection Exhibition, K Gallery, Chengdu, January 19 - February 6, 2013 This sculpture is to be sold with a certificate of authenticity issued by Northern Banker Art & Culture Corporation, Taipei.

NT$ 420,000-550,000 HK$ 108,000-141,000 US$ 13,900-18,200

周春芽 綠狗 No.1

2011 銅雕 6/10 20(長) x 27(寬) x 37(高) cm 簽名左後：6/10 周春芽 Zhou Chunya 展覽： 「圖像精神之中國當代藝術名家藏品展」， K空間，成都，展期自2013年1月19日至2月6日 附北莊文化藝術中心開立之作品保證書

401 Poren HUANG (Taiwanese, b. 1970)

Sticking to My Post 2007 Bronze with gold foil, edition no. 7/12 33(L) x 24(W) x 52(H) cm Engraved on the back of the right leg PR and dated 2007, initialed PR and numbered 12-7 on the base

黃柏仁 堅守崗位 2007 銅雕 金箔 7/12 33(長) x 24(寬) x 52(高) cm 簽名雕刻右後方：2007 PR 簽名雕刻底部：12-7 PR

EXHIBITED: The artistic conversation of “Love dogs, adore dogs”, powen Gallery, Taipei, May 15 - June 12, 2014 (different edition) The Dog’s Note-Huang Po-Ren Solo Exhibition, Williamsburg Art & Historical Center New York, November 7-December 6, 2015 (different edition)

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2014年5月15日至6月12日（不同版次） 「狗札記・黃柏仁雕塑個展」，紐約威廉斯堡藝術與歷史中心， 紐約，展期自2015年11月7日至12月6日（不同版次）

ILLUSTRATED: The Dog’s Notes - Poren Huang, Powen Gallery, Taipei, 2014, color illustrated, p. 14

圖錄： 《狗札記－黃柏仁》，紅野畫廊，台北，2014，彩色圖版，頁14

NT$ 380,000-480,000 HK$ 98,000-123,000 US$ 12,600-15,900

190

402 PENG Kuan-jun (Taiwanese, b. 1961)

Listen to Spring 2005 Bronze, edition no. 4/6 65(L) x 40(W) x 115(H) cm Engraved KUAN JUN in English, numbered 4/6, and dated 2005.

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

NT$ 340,000-460,000 HK$ 87,000-118,000 US$ 11,300-15,200

彭光均 聽春 2005 銅雕 4/6 65(長) x 40(寬) x 115(高) cm 簽名雕刻：2005 KUAN JUN 4/6 附威廉藝術中心開立之作品保證書

403 REN Zhe

(Chinese, b. 1983)

Push Deep into Battle 2007 Bronze, edition no. 9/12 70(L) x 33(W) x 56(H) cm Engraved Ren in Chinese, Ren Zhe in English and numbered 9/12 ILLUSTRATED: Ren Zhe Sculpture, Rong Bao Zhai, Beijing, 2009, color illustrated, pp. 32-33 This sculpture is to be sold with a certificate of authenticity issued

by William Art Gallery, Taipei.

NT$ 220,000-320,000 HK$ 57,000-82,000 US$ 7,300-10,600

192

任哲 長驅直入 2007 銅雕 9/12 70(長) x 33(寬) x 56(高) cm 簽名雕刻：Ren Zhe 任哲 9/12 圖錄： 《任哲作品集》榮寶齋出版社，北京，2009， 彩色圖版，頁32、33 附威廉藝術中心開立之作品保證書

404 JU Ming

(Taiwanese, b. 1938)

Taichi Series – Single Whip 1987 Unsaturated polyester resin, calcium carbonate, oil color paste, edition no. 185/300 28.5(L) x 14.4(W) x 18.2(H) cm Numbered on the bottom 185/300 This sculpture is to be sold with a certificate of limited reproduction issued by Ju Ming Museum, Taipei.

NT$ 120,000-220,000 HK$ 31,000-57,000 US$ 4,000-7,300

朱銘 太極系列—單鞭下勢 1987 不飽和聚酯樹脂 碳酸鈣 油性色母 185/300 28.5(長) x 14.4(寬) x 18.2(高) cm 版次底部：185/300 附朱銘美術館限量複製品證明書

194

給予買家的重要通知

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2.

保證金 : 新台幣肆拾萬元。

3.

保證金需於 2017 年 5 月 31 日以前完成匯款至本公司指定帳號如下 : 銀行： 匯豐（台灣）商業銀行 - 台北分行 銀行代碼：0810016 戶名：羅芙奧股份有限公司 帳號：001-234830-031 地址：台北市基隆路一段 333 號 14 樓 匯款時請指示銀行本公司需實收保證金全額 , 銀行手續費請匯款人負擔。

4.

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5.

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6.

如於 2017 年 5 月 31 日以前完成保證金匯款，請提供我方可證明已匯款的證明文件。確認收到保證金匯款後，我們將與競投者聯繫並與之 確認其競標牌號。

7.

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8.

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9.

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諮詢

台北 黃詩涵

stellahuang@ravenel.com

+886 2 2708 9868 ext. 977

IMPORTANT NOTICE TO BUYERS

The auction will strictly abide by the rules and regulations set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1. Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a security deposit are required.

2. Security deposit in the amount of NT $400,000.

3. The security deposit must be transferred to Ravenel's specified Bank account prior to 31th May 2017, details as follow: Beneficiary's Bank: HSBC BANK (Taiwan) Limited.

SWIFT Code: HSBCTWTP Beneficiary's Name: Â Ravenel Ltd. Beneficiary's Account No:Â 001-234830-031 Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of security deposit. The payer will be responsible for any associated bank service fees.

4. After the 31th May 2017, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 1st to 3rd, June 2017). Acceptance will cease on 3rd of June by 6 pm (No other forms of payment will be accepted).

5. Telephone/written/ internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the security deposit transferred to Ravenel's specified Bank account before the 31th May 2017.

6. If the security deposit has been transferred prior to the 31th May 2017, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her paddle number.

7. If the payment of the security deposit is made on the day of the auction, the payer may obtain his/her paddle number with valid personal identification (i.e.

Identification Card, passport, etc.) for purposes of verification.

8. Return of the Security Deposit:

(1) Completed Transaction: For successful bidder with a security deposit made through wire transfer, the hammer price and buyer's premium will be deducted from the security deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer. For bidders with security deposit made by Cash, the hammer price and buyer's premium will be deducted from the security deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund.

(2) Nil Transaction: For individuals with a security deposit transferred by wire, the security deposit will be returned within 14 business days through means of a wire transfer. Cash security deposit will be returned to individuals on the same day after the auction.

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(1) A cash payment in NTD 1,000,000.

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10. Ravenel Ltd. retains full discretion to accept or decline a payment in the event of any unforeseen disputes or discrepancies.

contact Person TAIPEI

Stella Huang

stellahuang@ravenel.com

+886 2 2708 9868 ext. 977

委託競投表格 委託競投表格須於拍賣24小時前送抵藝術部。競投表格可傳真至：

拍 賣 名 稱：羅芙奧台北2017春季拍賣會

藝術部

亞洲現代與當代藝術

電話：+886-2-2708 9868

拍 賣 編 號：TA1702

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台北拍賣日期：

投標者資料

台北萬豪酒店

客戶編號 （如有）

台北市中山區樂群二路199號3樓 （博覽廳）

2017年6月4日（星期日）下午2:00

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）

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Auction

Sale Number Date

RAVENEL SPRING AUCTION 2017 TAIPEI Modern and Contemporary Asian Art TA1702 Sunday, June 4, 2017, 2:00pm

Location

Marriott Taipei

Address

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ZhongShan Dist., Taipei, Taiwan

ID number Address Post code Tel: (Daytime)

(Evening)

Fax

Email

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Title

Bid price (NT$) (excluding service fee)

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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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