SELECT II : MODERN & CONTEMPORARY ART Ravenel 1
RAVENEL AUTUMN AUCTION 2017 SELECT II : Modern & Contemporary Art
羅芙奧 2017 秋季拍賣會 薈萃 II：國際現代與當代藝術
AUCTION
拍賣日期 / 地點
Saturday, December 2, 2017, 3:00 pm Marriott Taipei 3F (Grand Space) No. 199, Lequn 2nd Road, Zhong Shan District, Taipei
2017年12月2日（六） 下午 3:00 台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路199號
PREVIEWS
預展日期 / 地點
Taichung
台中 2017年11月11日（六） 下午1:00至下午6:00 2017年11月12日（日） 上午11:00至下午6:00 豐藝館 台中市西區五權西路一段110號
Kaohsiung
高雄 2017年11月18日（六）至11月19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
Saturday, November 11, 2017, 1:00 pm - 6:00 pm Sunday, November 12, 2017, 11:00 am - 6:00 pm Fong-Yi Art Gallery (Next to the National Taiwan Museum of Fine Arts) No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan
Saturday, November 18 - Sunday, November 19, 2017, 11:00 am - 6:00 pm J. P. Art Center 8F, No. 63, Wu Fu 3rd Road, Qianjin District, Kaohsiung,Taiwan
Hong Kong
Saturday, November 25 - Sunday, November 26, 2017, 11:00 am - 7:00 pm Grand Hyatt Hong Kong 5F (Chief Executive Suites) No. 1, Harbour Road, Wanchai, Hong Kong
Taipei
Thursday, November 30 - Saturday, December 2, 2017 10:00 am - 6:00 pm Marriott Taipei 3F (Grand Space) No. 199, Lequn 2nd Road, Zhong Shan District, Taipei
香港 2017年11月25日（六）至11月26日（日） 上午11:00至下午7:00 香港君悅酒店五樓（CES） 香港灣仔港灣道1號 台北 2017年11月30日（四）至12月2日（六） 上午10:00至下午6:00 台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路199號
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Arthur Wang 王鎮華
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李政希 Xiu Lee 上海商務代表 Representative, Shanghai
CONTENTS 5
Sale Information 羅芙奧秋季拍賣會
8
Ravenel Services 羅芙奧之服務
11
SELECT II : Modern and Contemporary Art 薈萃 II：國際現代與當代藝術
111
Absentee Bid Form 委託競投表格
113
Transaction Agreement 業務規則
117
Index 藝術家索引
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SELECT II : MODERN & CONTEMPORARY ART Saturday, December 2, 2017, 3:00 pm Marriott Taipei (Grand Space)
Lots 101 – 150
101
MARC CHAGALL (French, 1887 - 1985)
Jean Paulhan, De Mauvais Sujets (Les Bibliophiles de l'Union Française) 1958 Etchings with aquatint in colors on Arches, Planche 7, edition no. B, limited edition of 153 Image: 34.2 x 27 cm Paper: 43.4 x 33.4 cm Initialed lower right M.C. PROVENANCE: Loudmer Commissaire Priseurs S.C.P, Hôtel Drouot, Paris, June 23, 1997 Private collection, Asia ILLUSTRATED: Patrick Cramer, Marc Chagall: The Illustrated Books , Patrick Cramer Publisher, Geneva, 1995, no. 35 Eberhard W. Kornfeld, Verzeichnis der Kupferstiche, Radierungen, und Holzschnitte. Band I: Werke 1922-1966, Verlag Kornfeld und Klipstein, Bern, 1970, no. 112 Charles Sorlier, Le Livre des Livres : The Illustrated Books , editions André Sauret, Monte Carlo, 1990, color illustrated, p. 82
NT$ 220,000 - 320,000 HK$ 57,000 - 83,000 US$ 7,300 - 10,600
馬克．夏卡爾 惡人集 1958 蝕刻銅版畫版7，版次B，限量153件 畫心：34.2 x 27 cm 紙張：43.4 x 33.4 cm 簽名右下：M.C. 來源： 路德梅拍賣，巴黎德魯奧拍賣行，1997年6月23日 私人收藏，亞洲 圖錄： 派翠克．奎梅，《馬克．夏卡爾：繪圖集》，派翠克．奎 梅出版社，日內瓦，1995，編號35 艾柏罕．W．柯恩菲爾德，《銅版、蝕刻與木刻畫集第一 卷：1922-1966》，柯恩菲爾德與克利斯坦出版社，伯 恩，1970，編號112 查爾斯．索黎埃，《書中之書：繪圖集》，安德烈．索哈 出版社，蒙地卡羅，1990，彩色印刷，頁82
Ravenel 15
102
LÉONARD TSUGUHARU FOUJITA (Japanese-French, 1886 - 1968)
Le Méxicain
藤田嗣治
1933 Watercolor, gouache and ink on paper 42 x 34.7 cm
墨西哥人
Signed lower right Tsuguharu in Japanese, Foujita in English, inscribed Mexico and dated 1933
1933 水彩 水粉 墨 紙本 42 x 34.7 cm 簽名右下：嗣治Foujita Mexico 1933
PROVENANCE: Private collection, Switzerland
來源： 私人收藏，瑞士
This work is to be sold with a certificate of authenticity signed by Sylvie Buisson.
附藤田嗣治專家希薇•布里松﹙Sylvie Buisson﹚簽名之原作保證書
This work will be included in the artist's forthcoming catalogue prepared by Sylvie Buisson, the continuation of Catalogue Géniale de l’Oeuvre de L. Foujita (No. D33.100.A)
NT$ 500,000 - 800,000 HK$ 130,000 - 207,000 US$ 16,600 - 26,600
此作將收錄於由希薇•布里松﹙Sylvie Buisson﹚夫人正籌備編纂的 《藤田嗣治重要作品集》續編，檔案編號D33.100.A.
藤田嗣治
《 自畫像 》 1928 油畫 水粉 畫布 35 x 27 cm 龐畢度中心館藏 作品攝於上海展覽中心 Léonard FOUJITA, Portrait de l'artiste (Autoportrait au chat), 1928, oil and gouache on canvas, 35 x 27 cm Collection of Centre Pompidou, photo taken at Shanghai Exhibition Center
「我所畫的完全是自己的畫，雖然是具象畫，但在技術上迥異於其他畫家。我用日本的筆墨，用前所未有的，具透明 感的顏色來創作...。說到毛筆不可思議的魅力，是習慣，也是遺傳，更是自身流淌著的東方人的血液，因此我越加堅 信，我作為日本人來到西方，就必須在油畫中使用日本的筆和日本的墨，只有徹底理解西方，才能知曉東方藝術的優 秀之處。」 －藤田嗣治 “EVERYTHING I PAINT IS MY OWN STYLE, ALTHOUGH THEY ARE REPRESENTATIONAL, THE PAINTINGS ARE TECHNICALLY VERY DIFFERENT FROM OTHER PAINTERS. I PAINT WITH JAPANESE BRUSH AND INK AND USE COLORS WITH A SENSE OF TRANSPARENCY, SOMETHING THAT HAS NEVER BEEN DONE BEFORE. SPEAKING OF THE INCREDIBLE CHARM OF THE BRUSH, IT IS JUST HABITUAL AND SECOND NATURE TO ME; IT FLOWS THROUGH MY BLOOD AS A DESCENDENT OF THE ORIENT. IT FIRMLY ESTABLISHES MY FOUNDATION AS A JAPANESE THAT TRAVELED TO THE WEST. TO ME, IT IS ABSOLUTELY NECESSARY TO USE JAPANESE BRUSH AND INK IN MY OIL PAINTINGS, AND WITH JUST MY THOROUGH UNDERSTANDING OF THE WEST AM I ABLE TRULY ABLE TO KNOW THE EXCELLENCE OF ORIENTAL ART.” － LÉONARD TSUGUHARU FOUJITA
出生日本的藤田嗣治，以雪白無暇的肌膚與純淨的線條之美著稱，被視為
Paris World Expo exhibition in 1900, 13 years later, Foujita decided to
二十世紀初法國最著名的日本畫家。藤田嗣治18歲時入學於東京美術學院
study in Paris. Not long after his arrival, Foujita befriended with “the
的西洋畫科，師從黑田清輝。藤田嗣治的一件水彩作品被選入展出於1900
outsiders” artists of France, such as Pablo Picasso, Moïse Kisling, Marc
年巴黎世界博覽會，13年後遠赴巴黎，與同為異鄉人的畢卡索、莫迪里亞
Chagall, whom were active in the surroundings of Montparnasse, they
尼、奇斯林、夏卡爾等人進行藝術交流，活躍於蒙巴納斯區，這些藝術群
were referred as the artists of the Ecole de Paris.
體在歐洲藝術史上被稱之為「巴黎畫派」。
In the Pola Museum of Art in Japan, it holds a painting done by Foujita 波拉美術館有一件館藏作品繪製於1914年，是在藤田拜訪完畢卡索工作室
named “Cubist Style Still Life” dated to the 1914, it was painted shortly
後繪製的《立體主義靜物》，畫中的構圖有顯著的立體畫風和幾何形狀，
after Foujita visited Picasso’s studio, where the compositions resembles
當時藤田也像其他藝術家一樣讚嘆前衛藝術，然而，藤田日後的創作很快
the typical cubist style with geometric shapes. However, Foujita did not
的樹立了自我風格，不僅僅鑽研各式繪畫風格，從日本浮世繪到歐洲文藝
follow the style, instead, he was able to establish a distinctive style of
復興時期，對於顏料也相當嚴謹，替自己調配出獨有的「乳白色之肌膚」
his own, combining traditional Japanese Ukiyo-e woodblock paintings
顏料，不願外洩成分，更添神秘感。
with acquire knowledge of the European renaissance techniques, his name was spread in no time across the country of France.
面對風情萬種的花都，藤田嗣治很快的遇見了他畫中的主角─「麥克」是 藤田嗣治所領養的貓，據傳就在藤田初抵巴黎時遇見了麥克，日後與他形
In the beginning of Foujita’s arrival in Paris, he met "Mike", a cat
影不離，而貓對於藝術家而言，其難以捉模的心思和獨立性好似女性一
adopted by Foujita which later became inseparable from his life. To
般，替藝術家的生活帶來許多樂趣。1917年，藤田嗣治即在巴黎的謝隆畫
the artist, cat is very much similar to women in the sense that they are
廊舉辦首次個展，展出作品正是以貓為主的水彩，畢卡索更親自出席首日
both unpredictable yet highly independent, at the same time, making
展覽。短短幾年間，藤田嗣治在1925年被授予法國榮譽團騎士勳章及比利
life much more enjoyable. In 1917, the first solo exhibition was held at
時騎士榮譽勳章，以自身的能力確立了在巴黎美術界的地位。
Galerie Chéron in Paris, presenting cat-themed watercolors, Picasso was present on the first day of the exhibition. In a short period of time,
1933年時，藤田嗣治與當時的戀人賭場舞者瑪德蓮進行了長達三年的世界
Foujita was awarded the Order of Leopold in Belgium and made a
之旅，並在墨西哥停留長達8個月之久進行創作。本次的《墨西哥人》正是
Knight of the Legion of Honour in France.
屬於那短暫停留時所創作的少數作品，面對不同於巴黎的異國風情，藤田 嗣治使用了他擅長的細膩線條結合東方的嚴謹技藝，勾勒了墨西哥人的眉
In 1933, Foujita and his dancer lover Madeleine Lequeux went on
眼及輪廓，再以暈色的技法表現西方繪畫中常見的對比，再透過東方的水
a journey around the world at a length of three-year, and stayed at
墨線條繪出墨西哥男子的輪廓，自成一格。
Mexico for eight months. This particular lot “Le Mexicain” belongs to the limited amount of works that were produced during this period,
Léonard Tsuguharu Foujita was born in Japan, notable for his pure
faced with exotic scenery differed from that of Paris, Foujita combined
exquisite fine lines and snowy skins represented in his paintings, Foujita
the use of delicate fine lines of the Orient, silhouette the eyes and the
was regarded as the most celebrated Japanese artist resided in France
outlines of Mexican men. Additionally, Foujita applied the technique
of the 20th century. Foujita entered Western Painting department of
of shadowing showed the common contrast in Western painting, and
the Tokyo Arts Academy when he was eighteen, and was taught by
then draws the outline of the Mexican man through oriental ink lines,
Kuroda Seiki. One of Foujita’s watercolor paintings was selected for the
established unique style of his own.
Ravenel 17
103
RENÉ GRUAU
(Italian-French, 1909 - 2004)
En tailleur rouge (A Model of Yves Saint Laurent house) 1987 Gouache and watercolor on paper 48 x 37 cm
勒內．格魯瓦 紅粉色洋裝模特兒 1987 水粉 水彩 紙本 48 x 37 cm
Initialed lower right ★G
簽名右下：★G
PROVENANCE: Private collection, France
來源： 私人收藏，法國
NT$ 360,000 - 500,000 HK$ 93,000 - 130,000 US$ 12,000 - 16,600
104
RENÉ GRUAU
(Italian-French, 1909 - 2004)
Elégante au chapeau rouge et nœud papillon bleu c. 1988 Oil, gouache and Chinese ink on paper 44.5 x 36 cm
勒內．格魯瓦 優雅女子─紅帽子與藍色蝴蝶結 約1988年 油彩 水粉 墨 紙本 44.5 x 36 cm
Initialed lower right ★G
簽名右下：★G
PROVENANCE: Private collection, France
來源： 私人收藏，法國
NT$ 360,000 - 500,000 HK$ 93,000 - 130,000 US$ 12,000 - 16,600
Ravenel 19
常玉《女畫家》 水彩 紙本 46 x 28.5 cm 羅芙奧台北2005春拍 編號004 台幣684,400成交 Sanyu, A Female Painter, watercolor on paper, 46 x 28.5 cm Ravenel Spring Auction 2005, lot 004, US$ 22,113 sold
藝術家 勒內．格魯瓦是義大利伯爵與法國貴族後裔，家境富裕。 從1930年代中期後他是歐洲最受推崇與喜愛的高級訂製服藝術 家，長期參與合作的時尚雜誌有《費米娜》、《美麗佳人》、 《L'O ff i c i e l》、《費加洛報特輯》等頂級時裝媒體。勒內．格魯瓦 生前為全世界最具聲望的時尚插畫家，曾經與高級時裝大品牌如迪 奧、皮爾卡登、香奈兒、巴黎世家、皮爾帕門、羅莎、浪凡、伊莉 莎白雅頓、紀梵希等合作。1948年搬到美國後，繼續與《哈波芭 莎》時尚雜誌及《VOGUE》時尚雜誌合作，並作為《Flair》雜誌的 首席藝術指導。
The talented artist René Gruau was the son of an Italian Count and a French aristocrat, Marie Gruau. Gruau became one of the best known and favorite artists of the haute couture since the mid 1930s, he worked with several publications such as "Femina", "Marie-Claire", "L'Officiel", "L'Album Du Figaro" and an assortment of "high-style" magazines. René Gruau was one of the most famous fashion illustrator ever, he worked with the major fashion designers and high fashion brands of his time such as Dior, Cardin, Chanel, Balenciaga, Balmain, Rochas, Lanvin, Elizabeth Arden and Givenchy. In 1948 he moved to America. He contributed to Harper’s Bazaar and Vogue and became the exclusive artist for Flair magazine.
格魯瓦的靈感來源取自於日式木刻板畫以及十九世紀後期的藝術風格和 海報，兩者繪畫風格結合了古典東方書寫及西方速寫風格。保有兼容並 蓄的優美特色。自1910至1930年間，在多數人喜愛透過精細畫筆描繪 的同時，格魯瓦偏好使用厚重墨色及粗線條表現，而他獨樹一格的時尚 繪畫風格正是為他敲開世界成功大門的重要關鍵。格魯瓦這個姓氏其實 是格魯瓦母親的姓氏，格魯瓦沿用了此姓氏，在他的簽字"G"的上方繪 製一顆星星的符號。如今，格魯瓦的作品亦受學術重視，已為巴黎羅浮 宮等美術機構收藏。
René Gruau has drawn inspiration from Japanese woodcuts and late 19th Century art and posters, this syncretic style echoed classical Asian style drawings and Western style sketches. He never liked the fine pen lines and delicate watercolours that pervaded illustration from 1910 to 1930, preferring the heavier brushed ink or charcoal outlines. The distinctive and highly recognizable characteristic of Gruau's illustrations contributed to the key to his worldwide success. Gruau is actually his mother's last name, he borrowed his mother's name, and whenever he signs above the character "G" for a signature, a star is seen surmounted above it. Gruau’s works are nowadays collected and exhibited by the finest art institutions including the Louvre in Paris.
Ravenel 21
105
JEAN JANSEM
(French, 1920 - 2013 )
Personnage sur un mur
強．詹森
1983 Oil on canvas 33.3 x 46.5 cm
觀者
Signed lower right Jansem Titled on the reverse Personnage sur un mur PROVENANCE: Christie's New York, November 5, 1991, lot 230 Acquired from the above by the present owner
1983 油彩 畫布 33.3 x 46.5 cm 簽名右下：Jansem 題識畫背：Personnage sur un mur 來源： 紐約佳士得拍賣，1991年11月5日，編號230 現有藏家得自上述來源
NT$ 140,000 - 200,000 HK$ 36,000 - 52,000 US$ 4,600 - 6,600 強．詹森是少數能將繪畫及立體雕塑表現地淋漓盡至的天才。
outstanding structural technique emphasizes the subject and simplifies
詹森卓越的構圖技巧，強調主題，簡化背景，營造想像的安
the background in order to create an imagined quietude. Taking
靜氣氛。以此幅《觀者》為例，溫潤的用色使畫面中帶有浪漫
“Personnage sur un mur” as an example, the warm colors bestow
靜謐的空間層次，色彩佈局使其畫作籠罩在一種安靜的氛圍之
a romantic tranquility upon the image, the arrangement of colors
下，人們側身望向遠方，尤其女人表情刻入些微的神情。人物
veiling the painting with a silent atmosphere as the people look off
以輪廓渲染，恰到好處地展現出觀者們多樣而複雜的心理。淺
into the distance, with special attention given to the subtleties of
灰水泥扶欄帶著淡藍的清透感，雖然擋住了觀看的人群，卻使
the women’s expressions. The dyed outlines of the subjects perfectly
畫面更層次豐富多變，由上而下地欣賞，能在腦海構築立體的
express the various complex emotions of the spectators. The pale gray
平衡感。藝術家在人物肖像畫中欲追尋的意圖，亦絕不僅限於
cement fence is tinged with a light blue. Though it blocks the crowd
描繪某位主角的外型與外貌，更試圖透過描繪本身將繪畫視作
of spectators, it adds to the variety of the image. Looking at it from
存在的延伸。風趣卻又情感內斂，同時注重投射於人物上的光
top to bottom, one can reconstruct the balance in its composition.
影表現，表達出藝術家對人的關注，畫作流露出女性的浪漫柔
When pursuing their intentions in portrait drawings, artists do not
美氣質，優雅迷人且極具韻味。
limit themselves to superficial appearances; instead, they try to elaborate upon the existence of the subject. Humorous yet emotionally
Jean Jansem was one of the few virtuosos who were
conservative, the expression of lighting on the subjects portrays the
able to perfectly instill the atmosphere of a painting into
artist's attention towards them. The gentle romantic aura emitted by
the three-dimensional expression of sculpture. Jansem's
the women in the image leave an impression of elegant charm.
106
馬可．史都跋在1936年出生於南斯拉夫，於1964年學成於貝爾格勒藝
MARKO STUPAR
術大學後，選擇定居於巴黎，屬巴黎畫派之藝術家。作品描繪了巴黎街
(Yugoslavian, b. 1936)
道、廣場、公園、巴黎人的生活日常，其顏色、光、空間所形成的圖
Le Jardin
馬可 ． 史 都 跋
像飽和、視覺乾淨和諧。除了油畫，亦有粉彩、水粉和水彩畫創作。定
Oil on canvas 50.5 x 73 cm
公園風景
期參與沙龍包含秋季沙龍、法國藝術家沙龍等，更獲得法國藝術家沙龍
油彩 畫布 50.5 x 73 cm
昂、史特拉斯堡、大阪、紐約等。
簽名中下：Stupar
Marko Stupar was born in Yugoslavia in 1936. He chose to settle
Signed lower center Stupar PROVENANCE: Dimensions Art Center, Taipei Private collection, Taiwan
NT$ 120,000 - 180,000 HK$ 31,000 - 47,000 US$ 4,000 - 6,000
來源： 帝門藝術中心，台北 私人收藏，台灣
的銀獎及金獎。史都跋於世界各地有個展展出，包含紐約、日內瓦、里
in Paris in 1964, after he completed his studies at the University of Arts in Belgrade. Stupar is one of the artists of Ecole de Paris. He illustrated Paris street, plaza, park, the Parisian daily activities. The color, light, space of his work together form saturated imageries, which is a clean and harmonious visual experience. In addition to oil painting, Stupar also works with pastels, gouache and watercolor. He participated salons regularly, including Salon d’Automne, Salon des Artistes Français, and also received silver and gold medals from Salon des Artistes Français. Stupar’s solo exhibitions have been held around the world, including New York, Geneva, Lyon, Strasbourg, Osaka, New York.
Ravenel 23
107
GUY BARDONE (French, 1927 - 2015)
Nêige de l'Après-Midi (Jura) Oil on canvas 116 x 89 cm Signed lower left Bardone Signed on the stretcher on the reverse Bardone and titled Nêige de I'Après-Midi Jura PROVENANCE: Galerie Elegance, Taipei Private collection, Taiwan
NT$ 440,000 - 650,000 HK$ 114,000 - 168,000 US$ 14,600 - 21,600
居．巴赫東 結霜的午後 油彩 畫布 116 x 89 cm 簽名左下：Bardone 簽名題識畫背： Bardone Nêige de I'Après-Midi Jura 來源： 愛力根畫廊，台北 私人收藏，台灣
巴赫東出生於東法的聖克勞德，是法國新具象畫派的關鍵成員之一。就 讀於巴黎國立高等裝飾藝術學校時，向莫里斯．布立風頌、朱爾斯．卡 瓦耶、弗朗索瓦．德努瓦耶等大師學習，期間結識了畫家好友賀內．吉 尼斯。1953年，受邀參與巴黎加列拉宮時尚博物館的重要聯展「當代繪 畫的名人與啟示」，1954年，首次參與夏邦提耶畫廊的「巴黎畫派」展 覽。1986年，在雪儂梭堡展開大型回顧展。1952年獲法國學院藝術評 論獎，1957年獲格林希爾茨基金獎。作品典藏於巴黎市現代美術館、法 國國立圖書館、龐畢度藝術中心、瑞士納沙泰爾美術館、日本山形美術 館以及台南奇美博物館。
Guy Bardone was born in Saint Claude, in eastern France. He is one of the important members of the French New Figurative Art. He studied under the master Maurice Bianchon, Jules Cavailles and François Desnoyer in the Ecole National Supérieure des Arts Decoratifs in Paris, where he befriended René Genis. In 1953, Bardone was invited to participate in a group exhibitions at the Musée Galliera in Paris titled “Celebrities and Revelations of Contemporary Painting.” In 1954, he was exhibited in the Ecole de Paris Exhibition in Galerie Charpentier. Some of the award he had won includes the price of Félix Fénéon in 1952 and the price of the Greenshields Foundation in 1957. Bardone’s work was collected by National Museum of Modern Art in Paris, National Library of France, Centre Georges Pompidou, Neuchâtel Art Museum in Switzerland, Yamagata Museum of Art in Japan, and Chimei Museum in Taiwan.
Ravenel 25
108
BERNARD CATHELIN (French, 1919 - 2004)
Bougainvilliea et begonia à la Table Rouge
貝爾納．卡多蘭
1998 Oil on canvas 150.5 x 150.5 cm
紅桌上的九重葛與秋海棠
Signed lower left Cathelin and dated 98 Signed and titled on the reverse Bougainvilliea et Begonia à la table rouge Cathelin and dated 1998 PROVENANCE: Philharmonic Center for the Arts, Naples Buschlen Mowatt Gallery, Vancouver Private collection, Asia EXHIBITED: Bernard Cathelin: Impressions from Les Rebattières , Philharmonic Center for the Arts, Naples, Feb. 9-Apr. 2, 1999 Bernard Cathelin: Impressions from Les Rebattières , Buschlen Mowatt Gallery, Vancouver, May 13-June 10, 1999 ILLUSTRATED: Bernard Cathelin: Impressions from Les Rebattières , Philharmonic Center for the Arts, Naples, 1999, color illustrated Bernard Cathelin: Impressions from Les Rebattières , Buschlen Mowatt Gallery, Vancouver, 1998, color illustrated
1998 油彩 畫布 150.5 x 150.5 cm 簽名左下：Cathelin 98 題識畫背：Bougainvilliea et Begonia à la table rouge Cathelin 1998 來源： 愛樂藝術中心，那不勒斯 普希倫•莫瓦特畫廊，溫哥華 私人收藏，亞洲 展覽： 「貝爾納．卡多蘭：羅巴提耶印象」，愛樂藝術中心，那不勒 斯，展期自1999年2月9日至4月2日 「貝爾納．卡多蘭：羅巴提耶印象」，布希朗．莫華畫廊，溫 哥華，展期自1999年5月13日至6月10日 圖錄： 《貝爾納．卡多蘭：羅巴提耶印象》，愛樂藝術中心，那不勒 斯，1999，彩色圖版 《貝爾納．卡多蘭：羅巴提耶印象》，布希朗．莫華畫廊，溫 哥華，1998，彩色圖版
NT$ 1,600,000 - 3,000,000 HK$ 415,000 - 777,000 US$ 53,100 - 99,600 貝爾納．卡多蘭1919年生於巴黎。1945進入巴黎高等裝飾藝
own unique style. The bold brush strokes of “Bougainvilliea et
術學院學習，同時期於法國繪畫大師布里昂松工作室學習，
begonia à la Table Rouge” exhibit the artist's usual palette of strong
承襲色彩強烈的野獸派畫風，作品風格鮮明。此幅《紅桌上的
colors. The image is divided into two halves by the red tablecloth on
九重葛與秋海棠》筆觸大方，用色上採用藝術家常見的濃烈色
the bottom and the pink wall on top, creating a harmonious sense
調。畫面被紅桌和粉牆分為上下兩個色塊，營造出和諧的空間
of space; however, this balanced contrast is broken by two vases
感；而看似平衡的對比又被兩盆花卉打破，使作品瞬間活躍起
of flowers, livening up the artwork in an instant. The bougainvillea
來。瓶中的九重葛花，長勢豐盛，生氣勃勃。艷麗的色彩在後
flowers in the vase grow in abundance and are full of life. The
牆的映襯下更為亮眼。一盆秋海棠置於旁邊，畫面就此出現錯
bright colors brought out by the wall behind them are especially
落，彌補了構圖上的單調，使畫面向外延伸錯落有序。而在色
dazzling. A vase of begonias is placed at the side, creating a point
彩上，秋海棠花開得正歡，炙熱得彷彿可以融入到紅桌中。乍
of convergence that extends the image outwards in an orderly
看作品覺得色彩比較單一，只有粉和紅色，仔細品過，才覺紅
fashion. With regards to its colors, the begonias bloom happily,
桌之上兩株如陽似火的盆花，在畫家細膩的筆觸下，粉色由淺
their fervency almost melting into the red table. At a glance, one
至深，前後分明，花瓣繽紛，旁邊紅色與桃紅間錯落有致。
may think that the colors are rather monotonous, consisting only
花盆的冷色處理，奠定了作品的中心點。在藝術家精心的安排
of pinks and reds, but a closer look will reveal that the pink of the
下，作品使觀者在幾種顏色中相互跳躍，用色艷而不俗，幽幽
two fiery flower arrangements fade from light to dark with a sense
地散發濃厚的懷舊與浪漫氣息。
of depth thanks to the artist’s meticulous brushwork. There is a method in the madness behind the brilliant petals as well as the
Bernard Cathelin was born in 1919 in Paris. In 1945, he
reds and magentas accompanying them. The cool colors of the
was enrolled in the École Nationale Supérieure des Arts
vase s finalize the focal point of the artwork. Through the artist's
Décoratifs, and was at the same time a student in the
careful arrangement, the artwork makes its viewers skip between the
studio of French painting master Maurice Brianchon.
assortment of colors, which are bright but elegant, evoking a thick
Cathelin adopted the strong, vivid colors of the Fauvist
air ofnostalgia and romance.
school and employed brilliantly contrasting tones in his
Ravenel 27
109
MARIE LAURENCIN (French, 1883 - 1956)
Les enfants du château
瑪麗．羅蘭珊
1930 Oil on canvas 65.7 x 54.5 cm
城堡裡的孩子
Signed upper left Marie Laurencin and dated 1930 PROVENANCE: Galerie Flechtheim, Berlin & Düsseldorf Galerie Paul Rosenberg, Paris Durand-Ruel Galleries, New York (acquired by 1931) Lily Pons, Dallas (sale: Sotheby's, New York, May 26th, 1976, lot 58) Hilde Gerst Gallery, New York (purchased at the above sale) Margaret M. Enoch (acquired from the above in December 1976; sale: Christie's, New York, November 7th, 2007, lot 450) Sotheby’s London, February 5th, 2009, lot 389 Purchased at the above sale by the present owner ILLUSTRATED: Daniel Marchesseau, Marie Laurencin, Catalogue raisonné de l'œuvre peint, Tokyo, 1986, vol. I, no. 522
NT$ 4,000,000 - 6,000,000 HK$ 1,036,000 - 1,554,000 US$ 132,800 - 199,300
1930 油彩 畫布 65.7 x 54.5 cm 簽名左上：Marie Laurencin 1930 來源： 弗萊奇希姆畫廊，柏林、杜塞爾多夫 保羅•羅森伯格畫廊，巴黎 杜朗-盧埃爾畫廊，紐約（1931年購得） 莉莉•潘收藏，達拉斯（紐約蘇富比拍賣，1976年5月26日，編 號58） 希爾德•葛爾斯特畫廊，紐約（藏家得自上述來源） 瑪格麗特•以諾（1976年購自上述來源、紐約佳士得拍賣，2007 年11月7日，編號450） 倫敦蘇富比拍賣，2009年2月5日，編號389 現有藏家購自上述來源 圖錄： 丹尼爾．馬歇索，《瑪麗．羅蘭珊作品全集》，東京，1986，第 一冊，編號522
Ravenel 29
生於巴黎的瑪麗•羅蘭珊，是少數在二十世紀能與布拉克、畢卡索等大
portraits painted in pastel tones, fashion designer Coco Chanel even
師享受平等待遇的女性畫家，其作品也在初期與立體畫派的藝術家們同
commissioned Marie Laurencin to paint her portrait, even though
於沙龍展出。羅蘭珊柔美之作深受東、西方藏家的愛戴，從法國巴黎龐
Chanel was not satisfied with the portrait of her seemed rather weak
畢度藝術文化中心、橘園博物館到日本東京瑪麗羅蘭珊美術館都有珍藏
and feminine, the fame of Laurencin was soon spread amongst the
羅蘭珊的作品。羅蘭珊筆下的人物多是女性肖像，其中也包含了名流香
elite circles. In 1923, Laurencin was in charge of creating the sets
奈兒夫人，指定羅蘭珊替她繪製肖像畫，儘管她未能接受畫中的她顯得
and costumes for the Russian Diaghilev ballet’s production of Les
柔弱矯作，但在當時羅蘭珊的知名度已經引來多位名媛邀約為其繪製肖
Biches, the success of this tour prompted her to enter the stage
像畫。1923年也曾應邀擔任俄羅斯芭蕾舞劇「牝鹿」（Les Biches）的
design field, and she was given the title of “Les Biches of the Ecole
舞台設計及造型，也為她獲得了「巴黎畫派中的牝鹿」讚賞和美名。
de Paris.”
繪於1930年《城堡裡的孩子》是羅蘭珊成熟時期之作，畫面以優雅淡柔
The “Les enfants du château” was painted in 1930, the maturity
的色調描繪了四位姿態優雅的女子，圓潤臉頰配上潔白的肌膚，彷彿與
of executions and compositions are demonstrated in the painting,
世無爭卻顯純潔。如此潔白的用色常見於羅蘭珊的作品中，或許是源自
four elegant women are painted with soft colors, rounded cheeks
早期在法國高級瓷器廠－賽佛爾瓷器擔任學徒有關。賽佛爾瓷器是被譽
coupled with beautiful white complexion, as if the world is as
為歐洲高級瓷器生產廠的代表，當顏料繪製在白瓷上後燒至成釉亮的成
innocent and pure. Such purity of color white is commonly seen in
品後，更顯精緻，同樣的，在畫面中能感受到少女們透亮的白瓷肌，細
the works of Laurencin, perhaps it is a trace of her past experience in
膩圓滑。如此優雅的作品是出自於集詩人、插畫家、工藝家、畫家於一
working at the Ecole de Manufacture de Sèvres (a state-run porcelain
身的羅蘭珊，在90年代時期，深受日本藏家的喜愛，並在日本新宿建立
factory), where she learned to paint on porcelain.
了瑪麗•羅蘭珊美術館。
Sever's porcelain is known as the best of quality and is the M a r i e L a u re n c i n w a s b o r n i n P a r i s , F r a n c e ; s h e w a s o n e o f
representative of the European’s finest porcelain production plant.
the very few female artists who were able to enjoy the same
When the paint is applied on the porcelain, vivid colors will become
acknowledgement as male artists such as Braque and Picasso in
even more refined after burning into glazed finished products. One
the twentieth century; her works were also selected to be shown
can certainly feel the translucent glow of the colors, delicate and
regularly with the Cubists, including at the Salon d’automne, Salon
smooth, exactly as they appear in the works of Laurencin. Laurencin
des indépendants and with the “Section d’Or” at the Galérie La
is at the same time a poet, an illustrator, a craftsmen and a talented
Boétie. Laurencin’s works were adored by both the western and
female painter. Her works of art is loved by the Japanese collectors
eastern collectors. Collection of Laurencin’s artworks can be found
in the 90s, where the love dedicated to her is formed into a Marie
in museums from Musée de l'Orangerie, Pompidou Centre in Paris
Laurencin Museum located in Shinjuku, Japan.
to Marie Laurencin in Tokyo, Japan. Her work is primarily female
Ravenel 31
110
ANTONIUCCI VOLTI (French, 1915 - 1989)
Nikaia (Nu allongé)
安東尼奧奇．沃第
1964 Bronze, edition no. 2/6 Sculpture: 121(L) x 35(W) x 55(H) cm Pedestal: 125(L) x 40(W) x 39(H) cm
妮卡亞（躺臥的裸女）
Signed on the bottom of right arm VOLTI and numbered 2/6 With a stamp of the foundry Susse Frères Paris ILLUSTRATED: Musée Volti , Combier imprimeur Mâcon, Nice, 1981, color illustrated, p.13, no. 8 (titled Nu allongé ) Volti , Madeleine Servera-Boutefoy, Serre Editeur, Nice, 2006, color illustrated, p. 24
NT$ 4,600,000 - 6,500,000 HK$ 1,192,000 - 1,684,000 US$ 152,800 - 215,900
1964 銅雕（石灰岩台座）版次 2/6 雕塑：121（長）x 35（寬）x 55（高）cm 台座：125（長）x 40（寬）x 39（高）cm 簽名雕刻右臀：VOLTI 2/6 鑄造鈐印底座：Susse Frères Paris 圖錄： 《沃第美術館》，梅肯印製，尼斯，1981，彩色圖版，頁13， 編號8 （作品題目為《躺臥的裸女》） 《沃第》，馬德蓮•瑟薇拉．布特法，赦海出版社，尼斯， 2006，彩色圖版，頁24
地中海女人 FEMME DE MÉDITERRANNÉ
沃第 (1915 - 1989) 出生於義大利，是法國偉大的藝術家、雕塑家和畫
地中海女性飽滿的身體曲線，是藝術家創作一生的追求。完整的學院訓
家。他的藝術造詣前承地中海古典文明的形象藝術，後啟當代藝術的人
練提供扎實基礎，雕塑姿態千變萬化，有時甚至幾近圓球形體，結構穩
體抽象表現手法。
固，也不減和諧感與戰後簡斂的風格。集中觀者注意力在造型的整體表 現，無瞳杏眼與束髮造型，減弱真實人物的比擬，此為沃第個人標誌的
《 妮卡亞 》 （躺臥的裸女）全世界僅存六件，位於南法的沃第美術館也
特色。
有典藏一件。創作於1964年，正值藝術家技巧純熟，隨心所欲創作的階 段。裸女身軀修長，穠纖合度。閒適姿態半躺半臥，臉部望向前方，四
家族來自義大利，父親為專業石刻師傅，1920年開始定居於法國。17
肢碩長，體態豐腴優美，下腹部微隆有古典之美。左手曲臂向後支撐，
歲的沃第進入尼斯裝飾藝術學院，並在同年獲得馬賽藝術博覽會金獎。
右手向前搭在腿上，雙腿方向同視線延伸。直角三角形的立體結構，由
進入巴黎美院，師承雕塑家瓊•布雪工作室。分別於1936年獲得羅馬
一連串弧線構成多視角的面，動態與量感兩者兼具，是不可多得的美麗
大獎貳獎，與巴黎美術學院、法蘭西學會的不同獎項。1943年一顆炸
傑作。
彈，摧毀沃第的工作室，也重生了藝術創作的路。重拾石鑿，沃第刻下 「Volti」，開啟專業藝術家的旅程。
二十世紀標誌的新一頁，雕塑發展不滿足侷限於「再現」形體的表現， 只能轉達隱含的敘事性和創作者主觀情感。繼羅丹與其四大弟子麥約、
1945年沃弟獲第一件法國政府委託製作大型雕塑作品，1952年創作《 和
布爾代勒、朋朋、卡蜜兒之後，現代雕塑與繪畫發展共生存，以「造
諧 》 一作，今日典藏於巴黎市立美術館。1956年於巴黎羅丹美術館「國
型」觀點出發。當歷史演進，追求協調感與形式之美，仍是群體社會人
際當代雕塑展覽」展出。1959年於尼斯地中海宮殿舉行回顧展。1963年
類共有的特徵。視覺對線條的細膩度，尤其藝術家手中的人體線條，依
獲藝術與文學騎士勳章，1967年獲選為巴黎秋季沙龍副主席。 1981年
然把持高度的期待與標準。
結合濱海自由之城雕堡成立沃第美術館。作為法國當代表性雕塑家，即 使1989年逝世，沃第的作品仍深受全球藏家喜愛。法國外交部於2014 –
回應這份美感的高標，第一次世界大戰期間出生，安東尼奧奇•沃第是
2015年間，以沃第作為中法建交50週年紀念法國代表藝術家，在中國五
少數能在戰後延續脈絡，發展個人風格的藝術家。除少數動物造型，
大城市巡迴舉辦個人大型回顧展。
含台座示意圖 Sculpture with pedestal
尼斯沃第美術館 Musée Volti, Nice © Willington Lee
Ravenel 33
安東尼奧奇．沃第《回憶》青銅，版次2/6，35 x 100 x 50 cm 2001年展覽於台北市立美術館「台灣珍藏─二十世紀西洋名作選」 © Willington Lee Antoniucci VOLTI, Rêverie , bronze, edition no. 2/6, 35 x 100 x 50 cm Exhibition of Taipei Fine Arts Museum "Taiwan's Treasures: Western Art From Private Collections" in 2001 © Willington Lee
Born in Italy, Antoniucci Volti (1915 - 1989) was a renowned French
renowned disciples, Aristide Maillol, Antoine Bourdelle, François
artist, sculptor, and painter. His artistic style was first influenced by
Pompon, and Camille Claudel, modern sculpture and painting
classical Mediterranean figurative art and then later inspired by the
developed a co-existence where the works stemmed from the
abstract body sculpture techniques of contemporary art.
perspective of "form". Even with the progress of time, the pursuit for a sense of harmony and balance, as well as the aesthetic of form
There are only six sculptures of “Nikaia-Nu Allongé” in the world
is still a shared trait of the human society. Visually, we still have high
and the Musée Volti in souther n France also has one of the
expectations and standards when it comes to the level of finesse in
sculptures in its collection. The sculpture was created in 1964 when
lines, especially the contours of the human body depicted by the
the artist was in a technically-mature stage and producing works
hands of artists.
freely without restraint. The nude female figure is slender with the perfect proportion of slimness and fleshiness. She is reclining in a
The response to this high aesthetic ideal came into being during
leisurely manner while facing upwards, the lines formed by her limbs
WWI, Antoniucci Volti was one of the very few artists who continued
are fluid and streamlined, her breasts are full and firm, her lower
to grow and develop their personal styles after the war. Apart from
abdomen slightly rounded, her left arm is pushed back and bended
a few animal forms, the full-figured body contours of the Femme
at the elbow to support her weight, her right arm is extended to the
de Méditérannée were the lifelong creative pursuit of the artist.
front with her hand resting on her leg, while her legs are extended
His complete art academy training had provided him with a solid
in the same direction as her line of sight. The right-angled triangle
foundation. The shapes and poses of his sculptures take on many
three-dimensional structure is formed from a series of arcs which
variations, sometimes to even resemble spherical objects with a
create a multi-perspective plane. The work expresses both a sense
solid and firm structure, but even so, it does not detract from the
of movement and a sense of presence, resulting in beautifully and
sense of harmony and simple post-war restraint. The attention of the
perfectly proportioned masterpiece.
viewer is focused on the expression of the overall form, the pupilless almond-shaped eyes and the tied-back hairdo diminishes its
The symbols and icons of the twentieth entered a new era and
resemblance to real people, which is a special feature of Volti's own
development in sculpturing was no longer content to be restricted
trademark.
to the "re-presentation" of objects and forms, instead, artworks began to convey an implied narrative and the subjective emotions of the creator. After the age of Auguste Rodin and his four most
The family of the artist came from Italy and his father was a
the Ordre des Arts et des Lettres (Order of Arts and Letters)
professional stone-craftsman, the family moved to France in 1920.
and in 1967, he was selected as vice-chairman of the Salon
At age 17, Volti entered the École Nationale des Arts Décoratifs de
d'Automne in Paris. In 1981, the Musée Volti was established
Nice and won the gold prize at the Marseilles Art Fair in the same
through a merger with the Citadelle de Villefranche-sur-Mer. As
year. He then entered the École Nationale des Beaux-Arts in Paris
one of France's representative contemporary sculptors, the works
and joined the studio of the sculptor Jean Boucher. In 1936, he
of Volti are still much loved by collectors all over the world even
won second prize at the Prix de Rome and an award from l'Ecole
though he passed away in 1989. The Ministry of Foreign Affairs of
des Beaux Arts de Paris, Institut de France respectively. In 1943, a
France had organized a large-scale solo retrospective exhibition
bomb destroyed Volti's studio, but it was also the rebirth of his life
for Volti who served as a representative artist of France for the
in artistic creativity. The artist picked up his chisel once again and
50t h a n n i v e r s a r y o f t h e C h i n a -
carved the word “Volti” and began his journey as a professional
France relations, the exhibition
artist.
toured in five major cities around China which took place
In 1945, he received his first government-commissioned project, his 1952 work “Harmonie” is still in the collection of the Musée des Beaux-Arts de la Ville de Paris. In 1956, he exhibited in the "International Contemporary Sculpture Exhibition" held at the Musée Rodin in Paris. In 1959, a retrospective exhibition was organized at the Palais de la Méditerranée in Nice. In 1963, he was awarded
from 2014-2015.
111
AMEDEO MODIGLIANI (Italian, 1884 - 1920)
Femme au chapeau (Jeanne Hébuterne)
阿美迪奧．莫迪里亞尼
c. 1917-1918 Mixed media on carton 33 x 23 cm
帶圓帽的女人〈珍妮．艾布登〉
Signed upper right Modigliani PROVENANCE: Collection of Madame L. Charpentier from 1919-1937, Paris (acquired directly from the artist) Madame Ribas, Emilio Ribas from 1937-app. 1966, Barcelona Welters van Hattum, Dutch collection, Vice Consul of the Netherlands from app.1968 Private collection, Europe (from the late 1970s till now) EXHIBITED: Works by Amedeo Modigliani in Dutch Possession , Centraal Museum Utrecht, Netherlands, March 15-May 5, 1968 ILLUSTRATED: Works by Amedeo Modigliani in Dutch Possession , Centraal Museum Utrecht, Netherlands, 1968, no. 2, pp. 12-13 Collection Welters van Hattum, Netherlands, no. 2 This work is to be sold with a certificate of authenticity signed by Arthur S. Pfannstiel, the expert for Modigliani’s art in 1966.
NT$ 16,000,000 - 24,000,000 HK$ 4,145,000 - 6,218,000 US$ 531,400 - 797,100
約1917-1918年 綜合媒材 硬紙板 33 x 23 cm 簽名右上：Modigliani 來源： 夏邦提耶夫人1919-1937年收藏，巴黎（直接得自藝術家） 愛彌力歐．列巴斯、列巴斯夫人1937-1966年左右收藏，巴塞隆納 維爾特斯．梵．哈杜1968年收藏，荷蘭（時任荷蘭副領事） 私人收藏，歐洲（1970年代晚期至今） 展覽： 「荷蘭收藏之阿美迪奧．莫迪里亞尼作品」，烏特勒支中央博物 館，荷蘭，展期自1968年3月15日至5月5日 圖錄： 《荷蘭收藏之阿美迪奧．莫迪里亞尼作品》，烏特勒支中央博物 館，荷蘭，1968，編號 2，頁 12-13 《維爾特斯．梵．哈杜收藏》，荷蘭，編號 2 附莫迪里亞尼專家亞瑟．S．普法斯迪爾（Arthur S. Pfannstiel） 開立之原作保證書，1966年
Ravenel 37
經世人流傳，莫迪里亞尼與其繆斯女神珍妮．艾布登（Jeanne Hébuterne, 1898 - 1920）的 戀情，早已昇華為歷史篇章中的一頁傳奇。世人欣賞莫迪里亞尼的女人畫像，總是讚嘆聲中伴 隨著感慨，惋惜著天妒英才，造成悲戀刻成的永恆。二十世紀初的巴黎盛宴，兩人象徵自由不 羈，恣意揮灑才情，藝術史最令人神思嚮往的風華年代。 1917年春天，經由雕塑家夏納．歐羅夫介紹，風流倜儻的蒙帕納斯王子：莫迪里亞尼與珍妮 相識。芳年十九歲的藝術生珍妮，出生於保守的法國天主教中產階級家庭。雙親的支持，讓珍 妮的藝術天份從小就得到培養。根據作家查爾斯．艾爾伯．辛奎亞描述和史料照片，珍妮的模 樣優雅羞澀而安靜，雙眼神情透露的堅定性格，不難想像她後來為愛情執著，拋下雙親家庭的 抉擇。 藝術運動的蓬勃發展，相較傳統美院的保守，求知若渴的年輕學子，認為政府支持的藝術學 校，有更多機會與創造空間。珍妮進入柯拉何西學院位於大茅屋路，男女混校，招收來自世界 各地的學生。提供學院制的完整訓練，也允許女學生為男性模特兒人體速寫，風氣開放，包括 羅丹弟子：卡蜜兒．克勞岱和莫迪里亞尼本人在內都出於此校。與莫迪里亞尼相識以前，珍妮 早在蒙帕納斯的藝術圈中認識藤田嗣治（註：Lot 102，頁14）為其當過模特兒。 珍妮對藝術家全然崇拜，嚮往波希米亞式的生活，即使不為家人祝福，也執意與莫迪里亞尼同 居。自相識起兩顆炙熱的心難分難捨，莫迪里亞尼離開了紅粉知己女畫家碧翠絲．海絲汀絲， 珍妮開始作為莫迪里亞尼的專屬模特兒與靈感繆斯。同年十二月，藝術家好友兼畫商，波蘭詩 人芝波羅夫斯基在伯斯維爾畫廊安排了莫迪里亞尼生前第一次，也是唯一一次的個人展覽。展 覽只賣出一幅畫，開幕四小時後，戲劇性被巴黎市警廳以畫作裸女太過引人遐思，有妨礙風俗 之嫌的名義取締。 莫迪里亞尼依舊流連咖啡廳與酒吧，內心卻因為有了珍妮的陪伴，和畫商好友的經濟支持，藝 術創作來到人生的巔峰。無數佳作皆是在此時完成。1918年，一次世界大戰的火越演越烈， 莫迪里亞尼的健康狀況也不見好轉。因此，經紀人芝波羅夫斯基安排兩人與畫家蘇丁、藤田嗣 治等人，前往南法蔚藍海岸的尼斯，曝光率及期望在此度過冬日的富裕藏家們，能有機會提高 莫迪里亞尼的曝光率及銷量。 事實上，在南法完成許多重要作品的莫迪里亞尼，仍然承受不小的經濟壓力，他不得不以微薄 的價格出售作品。可以從他寫給芝波羅夫斯基的信中看出，一次路上被小偷扒走了錢包與證 件，更是讓這個小小的家庭生活雪上加霜。1919年六月，兩人帶著剛出生的長女離開南法， 返回巴黎，住進位於巴黎大茅屋路八號的小套房。 1920年一月二十四日，莫迪里亞尼病逝於腦膜炎，深受打擊的珍妮，此時已懷孕九個月，她 答應返回娘家，不料，一日後她竟然從五樓陽台一躍而下，追隨自己永遠的愛人。「為死亡戛 然而止的榮耀時刻」（Struck down by Death at the moment of glory）和「忠誠伴侶無盡的 愛戀與犧牲」（Devoted companion to the extreme sacrifice.）兩段墓誌銘紀念這對為愛和 藝術傾盡生命的戀人。 此次拍品《戴圓帽的女人》（珍妮．艾布登）是經專家亞瑟．方斯提耶先生鑑定為1917年至 1918年間的作品，油彩、粉彩與炭筆畫在硬紙版。女人頭戴呢帽，臉部小巧，頸部修長，一 雙藍眼與淺笑的紅唇，皆是藝術家為世人津津樂道的主題。畫中人物「凝視」看透觀者的靈 魂，也見證前衛的巴黎與義大利古典傳統在莫迪里亞尼身上激盪的火花。 作品來自重要西班牙列巴斯家族的收藏，其家族成員列巴斯．維拉太太與莫迪里亞尼在大茅屋 路八號的公寓鄰居夏邦提耶女士為朋友。夏邦提耶女士是藝術家在世時，經常拜訪他並給予經 濟支援的友人。夏邦提耶女士的財產，其中有一批是得自藝術家本人的作品。1968年為荷蘭 副領事：華爾特斯．梵．哈杜先生買下這批收藏，成為當時莫迪里亞尼在歐洲最大的收藏家之 一。其後，更是展覽於荷蘭烏特列支中央美術館，在當時蔚為轟動。
The romance between Amedeo Modigliani and his muse Jeanne Hébuterne (1898 1920) has been told by so many people, it had already turned into a beautiful legend in a chapter of history. While people admired the portraits of women by Modigliani, the sounds of admiration are always accompanied by sighs of melancholy. They feel sorrow
and regret at the gods' envy of this young talent and the resultant
But in reality, even though Modigliani completed many important
tragedy that has lived on in people's hearts. Paris in the beginning
works in southern France, he still had significant financial pressures and
of the twentieth century was a celebration of life, the couple
he was forced to sell his works for a meager price. This could especially
symbolized freedom and lack of inhibitions, as well as the carefree
been seen in a letter that he wrote to Léopold Zborowski, when his
abandon of creativity and talent. This was the most memorable of
wallet and documents got pick-pocketed, it added even more strain to
periods in art history.
the life of the couple. In June of 1916, the couple left the south with their new-born daughter and first child to return to Paris, and moved
In the spring of 1917, the sculptor Chana Orloff introduced this
into a small apartment on no. 8 rue de la Grande-Chaumière.
debonair and charming prince of Montparnasse, Modigliani, to Jeanne. She was a nineteen year-old art student from a conservative
On January 24, 1920, Modigliani died from meningitis, Jeanne was
Roman Catholic bourgeois family. Her parents had supported and
completely overwhelmed and desolate, also at the time, she was
cultivated her artistic talents from a young age. According to the
already nine-months pregnant. She agreed to return to her parents'
descriptions of writer Charles-Albert Cingria and photos, Jeanne
home but two days later, she jumped from a fifth-floor balcony and
was an elegant, shy, and quiet girl whose determination and firm
followed her lover into eternity. Struck down by Death at the moment
personality shone from her eyes. It's not difficult to imagine that
of glory and Devoted companion to the extreme sacrifice. These two
later on she would give up all for love and leave her parents and
epitaphs had been laid down in remembrance of the two lovers who
family behind.
had given their life for love and art.
With art movements developing and flourishing, when compared
This auction piece, "Woman in Hat" (Jeanne Hébuterne) has been
to the conservativeness of traditional art academies, young
authenticated by the expert, Arthur S.Pfannstiel, as a work produced
students thirsting for knowledge believed that there would be more
between 1917 to 1918; it is an oil, pastel, and charcoal on cardboard.
opportunities and room for creativity at the government-supported
The woman is wearing a felt hat, she has a delicate face with a slender
art schools. Jeanne entered the Académie Colarossi which was
neck, a pair of blue eyes and smiling red lips. All of it are subjects that
located on 10 rue de la Grande-Chaumière. The school was co-
the public admired about the artist. The subject in the painting seems
ed and accepted students from all over the world. It provided full
to "gaze" at the viewer's soul, this also serves as testament to the
training under the academy-system and it also permitted female
inspiration that Modigliani found which was created by the collision of
students have nude male models for sketching and had a forward-
Paris avant-garde and classical Italian traditions.
thinking and open-minded environment. Some of its students include Rodin's disciple, Camille Claudel and Modigliani himself.
This artwork is from the collection of the Spanish Ribas-Vila family, their family member Mme Vve. Ribas-Vila was friends with Modigliani's
J e a nne a d ored the arti st and fo und the bo hemian life style
neighbor Mlle. Charpentier, when they lived at no. 8 rue de la Grande-
mesmerizing, although she did not have the support or blessing
Chaumière. Mlle. Charpentier was a friend of the artist, she had often
of her family, she insisted on moving-in together with Modigliani.
visited him and provided financial assistance when he was alive. In the
Ever since they met each other, these two passionate hearts had
property of Mlle. Charpentier, there was a set of artworks given to her
not been easily separated. Modigliani left his partner, the female
by the artist himself. In 1968, Vice Consul of the Netherlands Welters
artist Beatrice Hastings and Jeanne became the exclusive model
Va n H a t t u m , b o u g h t
and muse of inspiration of Modigliani. In December of the same
this set of artworks and
year, the artist's good friend and art dealer, the Polish poet Léopold
became a collector
Zborowski, organized at the Galerie Berthe Weill, Modigliani's
with one of the biggest
first and only solo exhibition. Only one painting was sold at the
collection of Modigliani
exhibition, four hours after the opening, in a dramatic turn of events,
works in Europe at
the exhibition was banned by the Paris police on the grounds that
t h e t i m e . L a t e r, t h e
the nude female figures in the paintings were too provocative and
collection was exhibited
disrupted public order.
at the Centraal Museum in Utrecht, Netherlands
Modigliani went back to his former lifestyle of wandering from
and it had caused quite
coffee shops and bars, but in the company of Jeanne and with the
a stir at the time.
financial support of his art dealer friend, he reached the pinnacle of his artistic creativity. Numerous masterpieces were completed during this period. In 1918, in the midst of the heated battles of WWI, Modigliani's health continued to deteriorate. Therefore, his agent Léopold Zborowski organized for the couple and the artists Soutine, Léonard Tsugouharu Foujita (Lot 102, p. 14) to go south to Nice on the Côte d'Azur (French Riviera). It was hoped that many of the wealthy collectors who winter there would be able to raise the sales volume for Modigliani.
阿美迪奧．莫迪里亞尼 《珍妮．艾布登肖像》油彩 畫布 私人收藏，巴黎 Amedeo MODIGLIANI, Portrait of Jeanne Hébuterne, oil on canvas, private collection, Paris
Ravenel 39
112
MARC CHAGALL (French, 1887 - 1985)
Femme Bleue, Âne Rouge 1969 Oil on canvas 41 x 33 cm Signed lower center Marc ChAgAll PROVENANCE: Bernard Boussenot, France Private collection, Asia This painting is sold with a certificate of authenticity issued by the artist’s son David Mac Neil.
NT$ 17,000,000 - 24,000,000 HK$ 4,404,000 - 6,218,000 US$ 564,600 - 797,100
馬克．夏卡爾 藍衣女與紅驢 1969 油彩 畫布 41 x 33 cm 簽名下方：Marc ChAgAll 來源： 貝爾納．布索諾，法國 私人收藏，亞洲 附藝術家之子大衛•麥克尼爾所開立之原作保證書
馬克．夏卡爾《我與村莊》1911 油彩 畫布 紐約現代美術館收藏 Marc CHAGALL, I and the Village, 1911, oil on canvas,192.1 x 151.4 cm Collection of Museum of Modern Art, New York © 2017 Artists Rights Society (ARS), New York / ADAGP, Paris
Ravenel 41
《藍衣女與紅驢》 FEMME BLEUE, ÂNE ROUGE
1969年尼斯的夏卡爾美術館開始興建動工，此時他德高望重，藝術成就不凡，也 受到法國政府的重視與高度評價。這一年他畫了一幅精緻油畫《藍衣女與紅驢》 (Femme Bleue, Âne Rouge)，一如過往，他用色自由大膽，紅色表現動物，綠色畫 臉，藍色描繪畫女人，背景是農村的屋舍景致，前景飛翔般的女人與動物，如夢似 幻，色彩仿如節慶般的綺麗與歡愉。夏卡爾向來喜歡畫飛翔的景象，因為能帶給他安 定感。而這無重力、虛幻自我的意象，即是超現實主義畫家表達的特性。 夏卡爾畫裡的動物往往在畫面上佔有極大的比例，獨特的佈局，誇大的色彩，凸顯了 動物主題在其繪畫中的重要性。其原因亦反映出畫家童年所受猶太教精神的薰陶。凡 人的存在是依靠動物的犧牲奉獻，人類與動物之間依存著既感恩卻又虧欠的矛盾情 感。當畫家夏卡爾凝視著畫裡的動物，如同此幅畫作裡的紅色驢子，是其自我內在的 情感投射，也可看作是一種回視，畫裡的驢子也以睜大的眼睛望著創作中的畫家。 評論家認為，夏卡爾的藝術魅力，超脫人類靈感的限制，畫裡面的漂浮、飛翔、跳越 等意象，皆是一種現實解脫的象徵。他將濃烈的詩意蘊藏在畫筆，主角們生動的姿態 是生命力的展現。如幻似夢的藝術圖像裡，實踐了人類嚮往的喜悅、幸福情境。無論 是藍髮的女人、紅色的驢子，皆非寫實的描繪，而是畫家刻意設下的神秘視覺陷阱， 當我們集中目光於畫面之間，心靈上的剖析、接納與調整，使得觀者也身歷其境的體 驗畫中的情景，體驗著藝術家創造的情愛幻境，如閱讀詩歌一般的美好，這也是為何 有無數的觀眾會被夏卡爾迷人的繪畫吸引，進而陶醉於其中。 1887年7月7日馬克•夏卡爾出生於俄國農村的猶太家庭，為10個孩子中的長子，自 小家庭清貧，然而終究在母親的鼓勵下走上藝術之路，先在聖彼得堡學藝術。1910 年前往法國巴黎，結識德洛內和雷捷等前衛藝術家。1920年代戰爭結束後重返巴 黎，成為「超現實主義」畫家。 雖然夏卡爾的繪畫傳遞了愛與幸福，然而他的一生卻是經歷過貧窮、戰爭、猶太屠 殺、親人的生離死別等磨難。他把痛苦轉換為愛情與夢境，寄託理想。1914年歐洲 即將爆發第一次世界大戰，他從巴黎返回俄國，不料竟然歷經八年才能再度重返巴 黎，戰爭期間他在家鄉迎娶富家千金貝拉•羅森菲爾德，貝拉的優雅與文化涵養令他 一見傾心。而貝拉的愛情成為夏卡爾一生重要的創作泉源，貝拉的美是靈感繆斯。 1944年58歲時妻子逝世，他深受打擊。1952年65歲的夏卡爾再婚，娶了同樣來自俄 國的華倫泰•布羅德斯基，暱稱「娃娃」，陪伴他到生命的盡頭。 夏卡爾作品風格具象且具有詩意想像，他的藝術中洋溢著愛情與故鄉的回憶，有時他 也會創作宗教故事主題，傳達敘事性或寓言的品味。他的藝術從故鄉俄國擴延，至整 個歐洲，甚至到美國、亞洲，夏卡爾的作品有淑世價值，備受全球藝術藏家的喜愛。 而他一生到處旅行流浪，個人的形象與藝術完美詮釋了來自遙遠國度的旅人。 夏卡爾成名後，他的藝術受到畫廊、博物館與收藏家的歡迎，除了油畫、紙上作 品、版畫、舞台設計與服裝設計等。他還鍾愛創作公共藝術，如彩繪玻璃，希望 大眾也能欣賞他的作品。後期的著名作品包括耶路撒冷醫療中心猶太教堂的彩繪 玻璃（1961）、巴黎歌劇院的圓頂壁畫（1964）、紐約大都會歌劇院的大型壁畫 （1964）等等。1985年三月病逝於法國汶斯的聖保羅，享壽98歲。夏卡爾曾經說 過，「只有愛情能引起我的興趣，我只關注愛的主 。」畢生創作出的美麗的圖畫， 刻畫出無數純真的愛與幻夢，他的作品傳達出人類內心最溫暖與柔軟的愛意。
In 1969, construction began on the Musée Marc Chagall in Nice.
first sight. Bella's love became an important source of creativity for
His reputation was high at the time and his artistic accomplishment
Chagall and her beauty is his inspiring muse throughout his life. In
outstanding, having also caught the attention and praise of the
1944, Bella's passing at the age of 58 hit him hard. In 1952, at the age
French government. That year he painted "Femme Bleue, Âne
of 65, Chagall marries again to a Russian woman, Valentina Brodsky,
Rouge", as his previous convention, the colors are vivid. Animals
nicknamed Vava, who accompanies him to the end of his life.
are red, the face is green and the woman's body is blue against a background of rural farmland. In the foreground, a woman appears to fly with an animal as if in a dream, colorfully festive and joyful. Chagall likes flying in his paintings, as it brings a sense of stability in the absence of gravity. A fantastic imagination of the self is a signature expression of surrealist painters.
Chagall's work is figurative with poetic imagination. His art is resplendent with love and memories of his country home. Sometimes he creates a religious story to convey the sense of a narration or fable. His art emanates from his hometown in Russia, stretching to the whole of Europe, and even to the United States and Asia. Chagall's artwork has the meaning of indoctrination and they are quite prized
Animals in the paintings of Chagall tend to have gigantic
by art collectors around the world. Having traveled to many places
proportions within the frame. The arresting arrangement coupled
throughout his life, his personal image and his art perfectly capture
with exaggerated colors brings out the importance of animals in
the essence of a visitor from afar.
his paintings. This also reflects the hardship of the artist's Jewish upbringing as man's existence depends on the sacrifice of animals. When Chagall fixed his gaze on the animal in the painting, as he has done in painting the donkey red, it is a projection of his inner sentiment. You can also see in the looking back of the donkey a kind of reflection, as the donkey fixes a wide eye on the painter.
After Marc Chagall became famous, his work was acquired by galleries, museums and collectors, including work on paper, prints, stage design and costumes in addition to his oil paintings. But he also loved public art, such as stained glass, hoping that the public might have the opportunity to appreciate his work. Some of his later well-known works include stained glass windows for the synagogue
Critics feel that the charm of Chagall's painting surpasses the
of Hebrew University's Hadassah Medical Center in Jerusalem (1961),
limitations of human inspiration. The floating, flying and jumping
the dome ceiling of the Opéra national de Paris-Palais Garnier (1964)
in his painting symbolize escape from the constraints of reality. He
and murals for the New York Metropolitan Opera. In March of 1985
brings powerful poetic reserves to the canvas and his subjects are
he passed away in Saint-Paul-de-Vence in southern France, having
resplendent in the bold vitality of life, as if the images in the painting
enjoyed a rich life of 98 years. He once said, "Only love interests me,
are dreaming, expressing human longing for joy and happiness.
and I am only in contact with things that revolve around love." The
Whether the unrealistic blue-haired woman or red donkey, they are
art of his life drew a beautiful canvas, depicting numerous innocent
mysterious visual traps deliberately set by the artist. When we focus
love stories and dreams, his work conveying the warmest and softest
on the screen, spiritual analysis, acceptance and adjustment enables
love of the human heart.
the viewer to also experience the scene in the painting, experience the passion and imagination created by the artist, like the beauty of reading poetry. This is why countless viewers have been drawn to and fascinated by Chagall's paintings, reveling amongst them. On July 7th of 1887, Marc Chagall was born into a Jewish family in a Russian farming village. He was the eldest son of ten children in a poor family. His mother encouraged him along the path of art, sending him to St. Petersburg to study. In 1910 he traveled to Paris where he met Robert Delaunay, Fernand Léger and other avantgarde artists. After the close of the war in 1920 he returned to Paris to become a surrealist painter. Though Chagall's paintings convey love and good fortune, his life story is one of poverty, war, Jewish persecution and the death of loved ones. He transformed his pain into love and dreams. In 1914, as Europe was on the brink of the First World War, he left Paris to return to Russia, only to go back to Paris eight years later. In his hometown during the war, he meets and marries the daughter of a wealthy family, Bella Rosenfield. He falls in love with the elegant and cultured girl at
馬克．夏卡爾《生日快樂》1915 油彩 紙板 紐約現代美術館收藏 Marc CHAGALL, Birthday, 1915, oil on cardboard, 80.6 x 99.7 cm Collection of Museum of Modern Art, New York © 2017 Artists Rights Society (ARS), New York / ADAGP, Paris
Ravenel 43
113
MAURICE DE VLAMINCK (French, 1876 - 1958)
Nature morte aux fruits et à la baguette de pain c.1950 Oil on canvas 50 x 65 cm Signed lower right Vlaminck This painting is sold with certificates of authenticity issued by the Tamenaga Gallery and by Gilbert Petrides.
NT$ 3,200,000 - 5,500,000 HK$ 829,000 - 1,425,000 US$ 106,300 - 182,700
莫里斯．德．烏拉曼克 有長棍麵包和水果的靜物 約1950年 油彩 畫布 50 x 65 cm 簽名右下：Vlaminck 附為永畫廊與烏拉曼克專家吉貝．派特里德開立之原 作保證書
莫里斯．德．烏拉曼克《鄉村風景》油彩 畫布 60 x 73 cm 羅芙奧2017春拍 編號 031 台幣3,840,000 成交 Maurice de VLAMINCK, Village sous la neige , oil on canvas, 60 x 73 cm Ravenel Spring Auction 2017, lot 031, US$ 127,575 sold
Ravenel 45
《有長棍麵包和水果的靜物》完成於1950年代，是現代藝術的迷人篇 章，烏拉曼克（V l a m i n c k）在本靜物畫中展現對水果和水瓶的精微觀 察。畫面構圖豐富，包括佔據前景的半條長棍麵包、水瓶旁邊三隻圓 潤、豐美的梨子，和緊貼著它們的水果盤。厚重的油彩、輕快的筆觸為 畫中靜物染上溫暖的淺黃綠色，凸顯水果和長棍麵包的明暗層次和質 地，共同創造出極為豐富的視覺效果。偏暗的背景大片刷上沈穩的白灰 色更顯現了構圖的嚴謹，襯托出水果和水瓶的輪廓。這種以色彩突出明 暗對照的高超手法為畫面帶來水平的流動感，也傳達出空間感，帶出畫 中靜物的主題。 本拍品代表了烏拉曼克作為大師的完美形式，動人心神且臻至成熟。本 拍品和烏拉曼克1908年以前受梵谷影響而為的野獸派畫作相當不同， 在野獸派時期之後，其畫風明顯受到觀賞塞尚畫作的啟發，轉趨單一色 調，這是烏拉曼克藝術生涯的重要轉變。1909年巴黎的秋季沙龍舉行 大規模的塞 回顧展，更深入影響了烏拉曼克 。一次大戰期間，法國現 代藝術進程由野獸派轉向立體派，身在巴黎的烏拉曼克並未坦然接受。 烏拉曼克希望超越流派，就像馬諦斯（Henri Matisse）和德安（André Derain）一樣，保有個人特色，隨心所欲的作畫。在藝術生涯的不同階 段，烏拉曼克創作了不同風格的靜物畫，表現出他對此一主題的熱愛。 他於1906年對早期靜物畫《蘋果與靜物》的詮釋，用色鮮明大膽，展現 出野獸派的特色，不同於1908年的《水果與靜物》，採用冷調的淺藍與 白色，進一步突顯出畫作中暖色調的部分，可看出塞尚的影響。烏拉曼 克曾受立體派的短暫影響，從1910年畫作《靜物》的幾何圖形也可觀察 出來。戰後1920年完成的《葡萄籃》，相對來說色調則較為溫暖。烏拉 曼克持續不懈的描繪靜物，靜物畫作代表了他在各個藝術生涯階段對真 實世界的感知和內在情緒的投射。 《有長棍麵包和水果的靜物》是標誌烏拉曼克藝術生涯的傑出之作，和 他的後期作品一樣採用了深暗的色調，並以厚重的白色顏料作為畫面的 對照。本拍品作展現烏拉曼克畢生致力實踐各派藝術理念、終於加以融 會貫通後卓然成家的圓熟和精到。《有長棍麵包和水果的靜物》完美展 現了烏拉曼克的個人特色，其中蘊含他作為小提琴家、運動員、作家和 20世紀初創新藝術家的豐富人生體會，是值得珍藏的大師之作。
藝術史學和評論家賽茲曾說，烏拉曼克「明暗對比的運用令人驚嘆，沈穩的用色也讓其畫作達到和諧的境界。」 “VLAMINCK'S STRIKING CONTRASTS OF LIGHT AND SHADE AND INTRODUCTION OF SOMBRE TONES ALL CONTRIBUTE TO THE HARMONY OF VLAMINCK'S CANVAS" SAID ART HISTORIAN AND CRITIC JEAN SELZ.
The exquisite "Nature morte aux fruits et à la baguette de pain",
application of paint. In retrospect, Vlaminck had depicted various
painted circa 1950s is a derivative from the fascinating interlude in
still-life in different stages during his various artistic phrases, which
the history of modern art from Vlaminck's intensely concentrated
reflects the artist's consistent endeavor in this genre and associated
observation of a still life depiction of fruits and liquid holding vessel.
subject matter. Vlaminck's interpretation of earlier still-life such as
The composition is rich in elements depicting a half-loaf of Baguette
Apple and Still-life in 1906 with vibrant colorful attributes from the
that dominate the foreground, leading to three bulbous luscious
Fauves tradition contrasts with another work of Fruits and still-life
pears next to the liquid-holding vessel and a platter of fruits in near
executed in 1908, adorned with a cooler colour palette of icy-blues
proximity on the frontal plane. The profuse application of pigment
and whites further accented with areas of warmer tones that remains
and the sequence of dabs and short streaks rendered in warmer
reminiscent of Cezanna influences. Vlaminck's brief encounter with
tones of lighter yellowish-green further define the highlights and
cubism is apparent in another work entitled still-life in 1910 with an
dimensionality on the fruits and texture of the baguette, creating
identifiable geometric composition. Grape basket was completed in
an effect of great optical richness. The compositional elements
1920 of the post World War I era and thus exhibits a slightly more
is further extenuated against a sombre backdrop enhanced with
delicate warmer tonal palette comparatively. It is apparent that
bold strokes and areas of contrasting whitish-grey that illuminates
Vlaminck had consistently explored the realms of still-life, whereby
the outlines of the fruits and vessel. This mastery in projecting the
many of these works are manifestations of his reality or inner
stark contrast between light and dark in dabs and streaks of colours
emotions in responses to his artistic indulgence during the various
conveys a sense of motion that cuts horizontally, connotative of
phrases of his artistic development at a particular point in time.
space and brings forth the essential compositional elements in this exquisite painting.
Nonetheless, "Nature morte aux fruits et à la baguette de pain" is truly an exceptional work that represents a significant period of
The present lot represents a masterful consolidation of form that is
Vlaminck's artistic endeavor, which parallels with his later works
both enticing and anchoring. It differs and contrasts with the artist's
that predicates upon the utilization of a darker more sombre
Fauves canvases inspired largely by works of Von Gogh whom the
palette imbued with heavy strokes of contrasting whitish pigments,
artist remained a key proponent of up until the 1908, after which his
as epitomized by the present lot. Furthermore, it testifies to a
palette become more monochromatic largely due to the influence
distinguished maturity and mastery in techniques derived from
and response to the works of Cezanna that he had observed at an
a dedicated lifetime of constant experimentations with different
exhibition, an encounter that constituted a significant phrase of
genres of artistic influences that ultimately lead to the fruition
transition in Vlaminck's artistic development. This prolific phrase
of a stylistic approach that remained very dear to the artist's
subsequently extended to a fruitful personal exhibition of larger
heart. "Nature morte aux fruits et à la baguette de pain" is truly
scale in 1909. In Vlaminck's latter artistic endeavors, the artist
a remarkable work, beautifully imbued with Vlaminck's strident
demonstrated difficulty in accepting Cubism's rise during the war in
individual characteristics derived from a vibrant life of experiences
Paris when artistic modernism was undergoing a delicate transition
from being a Violinist, an athlete, a writer, and a truly revolutionary
from Fauvism to Cubism in France. In essence, Vlaminck sought to
and exceptional artist of the early 20th century.
progress beyond a style much like Henri Matisse and Andre Derain, all whilst retaining his idiosyncratic and instinctive manner of the
Ravenel 47
114
BERNARD CATHELIN (French, 1919 - 2004)
Bouquet de pavots 1962 Oil on canvas 120.5 x 60.3 cm Signed lower left Cathelin and dated 62 Signed on the reverse Cathelin , titled Bouquet de pavots , and dated Juin 1962
NT$ 1,800,000 - 2,600,000 HK$ 466,000 - 674,000 US$ 59,800 - 86,400
貝爾納．卡多蘭
法國著名畫家貝爾納．卡多蘭是法國巴黎國立高等裝飾藝術學院的學
罌粟花
生，曾與亨利．馬諦斯和布里昂松等藝術家一同鑽研和學習，然而，他 卻能樹立高辨識度的風格與同學拉開距離。他的作品以真摯表達了簡
1962 油彩 畫布 120.5 x 60.3 cm 簽名左下：Cathelin 62 題識畫背：Bouquet de pavots, Juin 1962 Cathelin
潔、真誠、純粹的特點顯現其實力。在卡多蘭的作品中能感受到龐大的 能量和活力，這也是為什麼他能在國際上受到認可，是因為卡多蘭的畫 布呈現了人生與藝術結合出的光芒，深得人心。從畫面中更能感受到藝 術家充滿激情的情感，深深吸引了觀者的眼光。至今卡多蘭的作品已在 全球超過50個地方展出，其中一些著名的機構包括展於1985年的馬蒂尼 威爾基金會（瑞士），1987年的舍農索城堡（法國），1992年的普羅 旺斯藝術季（法國），1994年的大丸博物館（日本），巴葛蒂城堡（法 國）、1996年的瑟特博物館（法國）和2000年於中國上海美術館展出 重要回顧展。
The well-established French painter Ber nard Cathelin was a student of the École Nationale Supérieure des Arts Décoratifs in Paris, Cathelin studied among artists such as Henri Matisse and Maurice Brianchon. However, his distinguished style separated him from his peers. His work is recognized for its strength, simplicity and sincerity, and is characterized by purity and potency. His international appeal is in part due to the energy and vitality seen throughout his work, Cathelin’s canvases present a radiant synthesis of life and art. It is the passionate sensibility of the artist that emerges from the canvas to capture the viewer’s attention, resulting in dynamic images. Cathelin's works have been featured in over 50 exhibitions worldwide. Some of the notable prestigious institutions included Fondation Gianadda à Martigny (Switzerland) in 1985, Château de Chenonceau (France) in 1987, Festival d’Aixen-Provence (France) in 1992, Daimaru Museum Tokyo (Japan) in 1994, Château de Bagatelle (France) in 1995, Musée de la Seita (France) in 1996 and major retrospective exhibition at the Shanghai Art Museum, China in 2000.
Ravenel 49
115
BERNARD CHAROY (French, b. 1931)
Jardin en Méditérranée 2009 Oil on canvas 73.5 x 92.5 cm Signed lower center Bernard Charoy This painting is to be sold with a certificate of authenticity signed by the artist.
NT$ 600,000 - 900,000 HK$ 155,000 - 233,000 US$ 19,900 - 29,900
貝爾納．夏洛瓦1931年5月26日出生於法國東部洛林省的大南。以柔和 的女性肖像畫最為人所知，風景作品細膩而頗富詩意情調。夏洛瓦於 1955年，開始在巴黎蒙馬特工作室與當地藝術家一同工作，並向藝術 家、畫家、設計師學習繪畫及版畫。1960年代起，接受新聞及雜誌社委 託，特別為媒體完成許多旖旎之作。其油畫作品則更加柔美浪漫、風光 明媚，廣受青睞。自1970年代起至今，夏洛瓦受邀於各地展出，其足跡 遍佈全球：紐約藝術展、德國科隆、日本東京、台灣台北、新加坡、法 國坎城、比利時安特衛普等地。
Bernard Charoy was born on May 26th, 1931 in Nant le Grand, Lorraine region, East of France. Charoy is famous for his portraits of women. The delicate enchanting sentiment features in his poetic landscape works as well. Charoy began to work at the Montmartre Studio, where he studied painting and lithography from the local artists, painters and designers, in 1955. In the 1960s, Charoy had
貝爾納．夏洛瓦
accepted consignments from news and magazine agencies to create
地中海花園
attractive artwork especially for the press media. Since 1970s,
2009 油彩 畫布 73.5 x 92.5 cm
the United States, Germany, Japan, Taiwan, Singapore, France and
簽名中下：Bernard Charoy 附藝術家親筆簽名之照片保證書
Charoy’s work have been exhibited around the world, including Belgium.
Ravenel 51
116
PAUL WUNDERLICH (German, 1927 - 2010)
GroBer Minotauros (left); GroBe Nike (right) (A set of 2) 1989 Bronze, edition no. 480/1000 45.7(L) x 33(W) x 182(H) cm (left) Signed on the base Wunderlich , dated 89 , numbered 480/1000 and graved Minv Vorne 480
保羅．萬得里奇 牛首人身（左）勝利女神（右）（兩件一組） 1989 銅雕版次 480/1000 45.7（長）x 33（寬）x 182（高）cm （左） 鑄造鈐印底座：Wunderlich 89 480/1000 刻印底座：Minv Vorne 480
1990 Bronze, edition no. 457/2000 45.7(L) x 39(W) x 166.5(H) cm (right)
1990 銅雕版次 457/2000 45.7（長）x 39（寬）x 166.5（高）cm （右）
Signed on the base Wunderlich , dated 90 , numbered 457/2000 and graved Vorne NiKi 457
鑄造鈐印底座：Wunderlich 90 457/2000 刻印底座：Vorne NiKi 457
PROVENANCE: Private collection, Asia (purchased directly from the artist)
來源： 私人收藏，亞洲 （購自藝術家本人）
ILLUSTRATED: Paul Wunderlich: skulpturen und objekte Band II 19891999 , Heinz Spielmann, edition Huber, Offenbach, 2000, color illustrated, p. 20 and p. 298
NT$ 750,000 - 1,200,000 HK$ 194,000 - 311,000 US$ 24,900 - 39,900
圖錄： 《保羅．萬得里奇雕塑與物件 II：1989-1999》，漢茲．史皮爾 曼，予柏出版社，奧芬巴赫，2000，彩色圖版，頁20、頁298
保羅．萬得里奇以木刻、版畫、及雕塑作品聞名於世，其作品造型特 殊新穎且識別度高。雕塑作品受薩爾瓦多．達利所影響，有著超現實 主義的特色，以極為具象寫實的方式表現個人的幻想。萬得里奇於 1927年出生德國，1947年進入漢堡藝術學院學習；於1961年榮獲圖 像青年獎項，在隔年以獎金搬至巴黎發展。1963至1968年間則回到漢 堡藝術學院擔任雕版與繪畫學的教授；1971年與攝影師卡琳．塞凱希 結為連理，一同進行藝術創作生涯。生活工作往來於德國漢堡及法國 普羅旺斯，在2010年6月6日逝世於普羅旺斯，享年83歲。
Paul Wunderlich was known by the world with his woodcut, lithographs, and sculpture works which are highly recognizable with the particularly new and distinct style. Wunderlich’s sculpture work features surrealism character which was influenced by Salvador Dali. The artist created artworks in a realistic and figurative approach to elaborate his personal fantasy. Wunderlich was born in Germany in 1927, he entered the University of Fine Arts of Hamburg in 1947. In 1961 he received the Prize of the Youth for graphics, therefore he went to Paris the next year with the awarded money for further advancement. The artist returned to the University of Fine Arts of Hamburg as a professor for engraving and painting between 1963 and 1968. Wunderlich married the photographer Karin Székessy in 1971, and continued their art pursuit together. Wunderlich used to live and work in Hamburg and Provence before he died in Provence on June 6, 2010, at the age of 83.
Ravenel 53
117
PHILIPPE DECRAUZAT (Swiss, b. 1974)
Lanquidity I 2010 Acrylic on canvas 213.5 x 220 cm Titled on the reverse lanquidity and dated 2010 EXHIBITED: Philippe Decrauzat , Galerie Praz-Delavallade, Paris, March 27-May 1, 2010
NT$ 600,000 - 900,000 HK$ 155,000 - 233,000 US$ 19,900 - 29,900
菲利普．德克羅扎
1974年生於瑞士，融合歐普藝術、極簡主義和動態藝術，創造3D視覺
流動性之一
幻覺，以繪畫、雕塑、影像不同手法表現個人的創作風格。現職獨立空
2010 壓克力 畫布 213.5 x 220 cm
瑞士洛桑，自1997年起舉辦個展於於法國、瑞士各國的當代藝術空間。
題識畫背：lanquidity 2010
術館的「抽象世代：立即打印」等多項聯展。
展覽： 「菲利普．德克羅扎」，帕拉茲─戴拉瓦拉德畫廊， 巴黎，展期自2010年3月27日至5月1日
間「電路」的聯合創辦人，與洛桑州立藝術學校的教師。近年多活動於 其當代優雅的風格，深受歐洲藏家的喜愛。曾參與多項具有歷史意義的 大型聯展，如2013年：參與巴黎大皇宮的「發電機」及美國紐約現代美
Philipe Decrauzat, born in 1974, Switzerland. Following 20th century art history, his own distinct style integrating Op art, Minimalism, Dynamic art which creates a new visual illusion to the audience. Decrauzat is currently a co-founder of the independent space CIRCUIT and the professor at l’École Cantonale d’Art de Lausanne (ECAL). Based in Lausanne, since 1997, mostly in France or Switzerland, he started to exhibit in different contemporary art space around the Europe. Artist’s elegant modern form obtains a great affection from European collectors. Ha has been shown in important group exhibition: “Dynamo” at the Paris Grand Palais in 2013 and “Abstract Generation: Now in Print” at the New York MoMA in the same year.
Ravenel 55
118
GIANLUCA PIACCIONE (Italian, b. 1971)
Constrictions 2015 Acrylic on canvas 100 x 100 cm Signed on the reverse G. Piaccione titled “Constricitons ” and inscribed ARE:A0336-15 1024/F68 100x100x3 PROVENANCE: Private collection, Europe (purchased directly from the artist) This work is to be sold with a certificate of authenticity signed by the artist.
NT$ 340,000 - 500,000 HK$ 88,000 - 130,000 US$ 11,300 - 16,600
吉安路卡．皮亞奇歐尼利用複雜但規律的方式割開畫布，作品融合了歐 普藝術的視覺效果，以及盧齊歐．封塔納打破傳統「繪畫」條件的概 念。歐普藝術家以嚴謹的科學設計啟動視覺神經，藝術通過視覺效果創 作出圖像，達到與傳統繪畫同樣動人的藝術體驗。封塔納的概念則是以 劃開畫布的方式，使「繪畫」不再被侷限在於平面上的所塗抹的顏料，
吉安路卡．皮亞奇歐尼
而是包含畫布前、後的三度空間。經過設計及計算，皮亞奇歐尼透過各 異的切割規律所排列出的幾何形畫面，除了給予觀著視錯覺感，配合藝
收縮
術家別有意味的作品命名欣賞亦饒富趣味。
2015 壓克力 畫布 100 x 100 cm
Gianluca Piaccione cut out the canvas in a complicated but
簽名題識畫背：''Contrictions'' ARE:A0336-15 1024/ F68 100x100x3 G. Piaccione
regulated fashion for his work. Piaccione’s artwork intergrated the visual effect of Op-art, as well as the concept of breaking the definition of “painting” which had also been done by the famous Lucio Fontana. Through scientific design, Op-artists activate
來源： 私人收藏，歐洲（直接得自藝術家本人）
the viewer's’ optic nerve, create visual images by utilizing and
附藝術家親筆簽名之原作保證書
as moving as those inspired by traditional paintings. By cutting
arranging visual effects, to achieve artistic experiences that are just the canvases, Lucio Fontana presented the concept of “painting” as a three-dimensional extension which includes the anterior and inferior of the canvas, rather than a restricted flat surface with arranged pigments. Piaccione created the dizzying optical illusions with meticulously designed geometric shapes. Meanwhile, the calculated cutting patterns and the intentionally positioned shapes are amazingly interesting when referring to the suggestive title.
Ravenel 57
119
LUIGI BENZONI (Italian, b. 1956)
Volto: Modulazione in nero/oro 2000 Oil and acrylic on canvas 150 x 150 cm Signed on the reverse Benzoni and dated 2000 This painting is to be sold with a certificate of authenticity issued by Modern Art Gallery, Taichung
路意吉．班佐尼1956年生於義大利加莫省的克魯索。他自1976年以來 一直住在威尼斯，學習建築專業，同時受穆拉諾當地傳統玻璃技術薰
NT$ 120,000 - 180,000 HK$ 31,000 - 47,000 US$ 4,000 - 6,000
路意吉．班佐尼 臉譜：黑色與金色的調變 2000 油彩 壓克力 畫布 150 x 150 cm 簽名畫背：Benzoni 2000 附現代畫廊開立之原作保證書
陶。他掌握玻璃的特性，融和繪畫技巧，以粗獷線條構成人臉。作為藝 術家常使用的媒材，金箔與彩色玻璃的相互襯托，使作品充滿圓潤光澤 與多彩變化。臉譜系列畫作，半抽象面貌在光線變化下，創造氛圍靜 謐，簡潔大方。 Luigi Benzoni was born in 1956 in Bergamo, Italy. He has been living in Venice since 1976, studying architecture and traditional Murano glassmaking. He knows well the characteristics of glass, composing with drawing skills, to describe human face by lines. Through the use of gold foil and the glass, as the mediums artist often adopts, the sculptures seems to have a glossy multicolored surface under the lights. In the Volto painting series, semi abstract human face formed by simple lines, the artist construct an atmosphere to the audience both clean and harmonious.
120
THÉO TOBIASSE
(Israeli-French, 1927 - 2012)
Peuple aux yeux de gouffres immenses
提歐．托比亞斯
1989 Oil on paper 102 x 70 cm
陷入深坑的百姓
Signed center left tobiasse Titled upper center Peuple aux yeux de gouffres immenses This painting is to be sold with a certificate of authenticity issvel by Elegant Art Gallery, Taipei and signed by the artist.
1989 油彩 紙本 102 x 70 cm 簽名左中：tobiasse 題名中上：Peuple aux yeux de gouffres immenses 附藝術家親簽及愛力根畫廊開立之原作保證書
NT$ 380,000 - 550,000 HK$ 98,000 - 142,000 US$ 12,600 - 18,300
Ravenel 59
121
AWANG DAMIT AHMAD (Malaysian, b. 1956)
Payarama Baru ''Orangan Merah''
阿旺．達密．阿麥德
2016 Mixed media on canvas 91 x 91 cm
新巴雅拉瑪（季節的轉變）－紅色稻草人
Signed on the reverse Awang Damit Ahmad, titled Payarama Baru "Orangan Merah", inscribed mixed media, 91 x 91 cm, dated 2016 EXHIBITED: Art Kaohsiung , Artdoor Gallery, Kaohsiung, December 9-11, 2016 Art Shenzhen , Artdoor Gallery, September 15-18, 2017 This painting is to be sold with a certificate of authenticity signed by the artist.
2016 複合媒材 畫布 91 x 91 cm 簽名題識畫背：Awang Damit Ahmad Payarama Baru "Orangan Merah" mixed media 91 x 91 cm 2016 展覽： 「2016高雄藝術博覽會」，藝境畫廊，高雄，展期自2016 年12 月9日至12月11日 「2017藝術深圳」，藝境畫廊，中國，展期自2017年9月15日至 9月18日 附藝術家親筆簽名之原作保證書
NT$ 300,000 - 460,000 HK$ 78,000 - 119,000 US$ 10,000 - 15,300
馬來西亞知名的抽象畫家阿旺．達密．阿麥德生於1956年，畢業
and environment, his creativity is the result of the meticulous
於馬來西亞瑪拉工藝大學藝術與設計（純美術）學士及美國華盛
observation of such issues. His works turned out the be the
頓特區美國天主教大學藝術創作（繪畫）碩士學位。藝術家獨具
fusion different senses, with sense of smell, sense of hearing,
一格的粗獷筆觸組成抽象畫面，透過對於本土文化、其農、漁業
sense of vision and sensational feelings, that further establish
的成長背景及土地的情感，面對當前環境變化的細緻觀察與感受
his significance in the Malaysian contemporary art scene.
作為其創作議題。融合出見、聞、觸、感以及嗅覺感知的作品， 奠定了他在馬來西亞當代藝術的一線地位。
In 1983, he was awarded as the most outstanding student prizes of the Fine Arts Department of Mara University of
自1983年獲瑪拉工藝大學美術系最傑出學生獎開始，獲國內重要
Technology, besides numerous prizes. The works of Ahmad
項無數，作品屢次在馬來西亞國家美術館個、群展，並獲典藏，
were widely exhibited in the National Art Museum of Malaysia,
代表參加國外重要展覽，在台灣 、美國、英國、中國、孟加拉、
and were collected and represented in several important
印度、日本、韓國、新加坡、泰國、印尼、越南、德國、波蘭及
exhibitions in Taiwan. , China, Bangladesh, India, Japan,
非洲塞席爾展出。作品廣受各地收藏家好評與收藏。
Korea, Singapore, Thailand, Indonesia, Vietnam, Germany, Poland and Africa. His works are very well-received to many
1985年開始《文化的本質》（Essence of Culture）系列至1996
and appealed to worldwide collectors.
年，是畫家個人最初對尋找自身文化的歷程，象徵積極，建設 性和進步等面向。1996至2002年的《追敘往事》（M a r i s t a）系
Awang Damit Ahmad has developed a series of works, from
列，此系列是紀錄他在婆羅洲沙巴漁村的童年時光回憶。阿麥德
1985 onwards till 1996, the painter began to find his own
選擇以大膽的抽象表現直覺性的圖像記憶，大筆揮灑將顏料控制
culture of the course and resulted "Essence of Culture". From
在具象與抽象之間。2011年開始《東北季候風》（Iraga）系列，
1996-2002, the series of the "Recalling the Past" (Marista)
以身為漁夫及農夫之子的角色，去感受務農漁民在面臨時間及自
series was built upon his childhood memories, he recorded
然界的挑戰，表達樸實心靈的感受。而本次的《紅色稻草人》正
his childhood memories of fishing village in Borneo, Sabah.
是屬於《新巴雅拉瑪》（季節的轉變）系列，創作始於退休之
Ahmad visualized the intuitive image memory with bold
後，隱身在農園中作畫的質樸樂趣，顯現阿麥德謙卑的個性。
brush strokes, and controls the paint between figurative and abstract. The "Northeast Monsoon" (Iraga) is the expression
The well-known Malaysian abstract painter Awang Damit
of his personal experience as a fisherman's son. The present
Ahmad is born in 1956, he received the Diploma in Art and
lot of “Payarama Baru” (Orangan Merah) belongs to his recent
Design (Fine Art) Institute Teknologi MARA in Malaysia, then
series of “Payarama”, this series of works begins from his
obtained his MFA in Painting from the Catholic University
retirement from the faculty, he bought an orchard and enjoyed
of America in Washington D.C. The artist's unique style of
painting within the farm. With a humble personality, when he
heavy strokes make up the abstract picture in full, tied to local
searches the meaning and value of life he is also cultivating his
culture, and agriculture, fishery background in the upbringing
minds in expressed through his creations in art.
memories, in the face of the current changes in the climate
Ravenel 61
122
TOM WESSELMANN (American, 1931 - 2004)
Big Blonde 1986-1988 Screenprint in colors on wove paper; edition no. 12/100 141 x 188 cm Signed in pencil and numbed PROVENANCE: Sotheby's, New York, October 29, 2009, lot 247
NT$ 440,000 - 650,000 HK$ 114,000 - 168,000 US$ 14,600 - 21,600
湯姆．韋塞爾曼在1960年代即為極具領導地位的美國普普藝術家，其創作用色明 亮活潑，畫出女性身體局部的作品總能快速的抓住觀者視線。在彰顯色彩與形態 的同時，藝術家風格化的人體繪畫構圖強烈而印象深刻。韋塞爾曼不追從1940年 代盛行的抽象表現主義，反而偏好古典的裸女、靜物以及風景畫。他曾說：「我 的藝術最主要的宗旨，從最初、直到現在，就是使具象藝術畫與抽象藝術同樣令
湯姆．韋塞爾曼 大金髮美女 1986-1988 絲網彩色版畫，版次 12/100 141 x 188 cm 鉛筆簽名及編號 來源： 蘇富比，紐約，2009年10月29日，編號247
人興奮。」 湯姆．韋塞爾曼在1931年2月23日出生於美國俄亥俄州的辛辛納提，曾於1952年 受徵招進入美國軍隊，在服役的兩年期間對卡通製作產生興趣，並創作了個人第 一件的卡通作品；在1954年畢業於辛辛納提大學心理學系後，即進入辛辛納提藝 術學院學習；在1956年赴紐約的柯柏聯盟學院，展開了藝術生涯的新篇章，開始 以繪畫為而非卡通進行創作，以紐約為重心，持續活躍於藝術圈，直至2004年12 月17日辭世。 Tom Wesselmann was one of the leading American pop artists in the 1960s. His artwork are abundant in bright and vivid colors, those close-up depiction of female figures capture viewers' attention immediately. While celebrating color and form, the highly stylized figurative artwork with strong composition simultaneously form the impressive imagery. Wesselmann prefer the classical of nude, still life, and landscape paintings instead of Abstract Expressionism which was prevailing since the 1940s. He once said "The prime mission of my
art, in the beginning, and continuing still, is to make figurative art as exciting as abstract art." Tom Wesselmann was born in Cincinnati, Ohio, on February 23, 1931. Due to the military draft in 1952, Wesselman joined the US Army for two years. During the service he started to gain interest in creating cartoons which led to the first cartoon work he had ever made. In 1954, after graduated from the University of Cincinnati with a major in psychology, he began to study drawing in Art Academy of Cincinnati. Wesselmann moved to New York in 1956 to study in Cooper Union, by creating art with painting instead of cartoon, he entered the next stage of his artist career. Until his death on December 17, 2004, Wesselmann was as a New York-based artist who was constantly active in the art world.
Ravenel 63
123
KUMI SUGAÏ
(Japanese, 1919 - 1996)
Printemp 1987 Oil on canvas 100 x 72.5 cm Signed lower right Sugaï Signed on the reverse Sugaï, titled "printemp" and dated 1987 PROVENANCE: Dimensions Art Center, Taipei Private collection, Asia
NT$ 400,000 - 600,000 HK$ 104,000 - 155,000 US$ 13,300 - 19,900
日本藝術家菅井汲出生神戶的音樂世家，曾於1930至1940年代接受正規西方 藝術及日本畫訓練。1952年移居巴黎，身為巴黎畫派的年輕一代，將日本傳統 木刻藝術與西方藝術結合，初受超現實主義和抽象藝術影響，作品多為「象形 文字」的描繪。1962年逐漸改變創作風格，去掉漢字原先本身的意義，形成菅 井汲自創的文字創意。在融會貫通後，塑造其獨特性，並於1950年代在巴黎舉
菅井汲 春天 1987 油彩 畫布 100 x 72.5 cm 簽名右下：Sugaï 簽名題識畫背：SUGAÏ 1987 "PRINTEMP" 來源： 帝門藝術中心，台北 私人收藏，亞洲
行首場展覽後，迅速躋身成當時重要藝術家之列。菅井汲的作品曾展於1959和 1964年卡塞爾文獻展、1959和1965年聖保羅雙年展及1962年威尼斯雙年展， 彰顯他在國際藝壇的地位。
Kumi Sugai was born in a musician family in Kobe, Japan. Sugai received formal training in Western art and Nihonga (Japanese traditional-style painting) in the 1930s and 1940s. Sugai has moved to Paris in 1952 and was considered part of the younger generation of the Ecole de Paris. Sugai took his stand as a solitary individual and progressively created a new definition of Japanese style in woodblock printing and that of the Western art, originally influenced by the Surrealist and Abstract Impressionist movements; beginning in 1962, Sugai gradually change his style, abandoning the original inherent meaning of the Chinese characters that he used in his paintings and instead giving them his own independentlyderived significance. Sugai was active in European art world since his first exhibition was shown in the 1950s in Paris. Sugai's international recognition is demonstrated by his exhibition at Documenta, Kassel, in 1959 and 1964; Sao Paulo Biennale in 1959 and 1965; and Venice Biennale in 1962.
Ravenel 65
124
PAUL JENKINS
(American, 1923 - 2012)
Phenomena Arch Bow East
保羅．詹肯斯
1968 Acrylic on canvas 88 x 182 cm
現象．弓箭．東
Signed lower left Jenkins Signed on the reverse (canvas edge) Paul Jenkins , titled Phenomena Arch Bow East and dated 1968 PROVENANCE: Dimensions Art Center, Taipei Private collection, Asia
NT$ 800,000 - 1,200,000 HK$ 207,000 - 311,000 US$ 26,600 - 39,900
1968 壓克力 畫布 88 x 182 cm 簽名左下：Jenkins 簽名畫背（布緣）：Paul Jenkins Phenomena Arch Bow East 1968 來源： 帝門藝術中心，台北 私人收藏，亞洲
情牽東方 HEART TIED TO THE EAST 保羅．詹肯斯深受東方哲學影響是美國抽象表現主義大師。自1954年巴黎
and went to studios to marvel at the mesmerizing changes brought to
個展開始，全球超過十個國家，八十五座美術館展覽典藏其作品，橫跨紐
the glaze by the heat in the kiln. Even during WWII, he did not lose his
約與巴黎的抽象藝術舞台。1923年生於美國密蘇里州，美國抽象表現主義
fascination for the Eastern cultures. Jenkins came into contact with the
藝術家保羅•詹肯斯長年旅居巴黎。儘管青少年時期為建築大師法蘭克．洛
Chinese philosophical text, "I Ching" and he called "Tao Te Ching" a
伊．萊特勸說在鄉下務農比當畫家更為踏實，他卻仍追隨天賦，流連於美術
"simplified" masterpiece of the Upanishads.
館的古老東方雕塑，和進入工作室著迷於窯燒為釉色帶來的神奇變化。二次 大戰期間，不改對東方文化的著迷，詹肯斯接觸中國哲學易經，稱老子道德
The unhindered and free-flowing rhythm expressed by Jenkins reminds
經為「簡約」奧義的偉大傑作。
one of the Chinese shan shui paintings, but he emphasized that the independence and modes of expression shown in his creative process are
藝術家展現的舒暢氣韻，讓人聯想中國山水畫，但他強調自己在創作過程中
not from letting the ink flow by itself and expand without restraint on the
的主動性與表現方式並非放任墨水自行在畫布上擴散。自1960年起，他以
canvas. Since the 1960s, he replaced paint brushes with an ivory knife to
象牙刀創作代替畫筆，自然引導顏料在畫布上的流動。藝術家曾這樣形容：
naturally guide the flow of the paint on the canvas. The artist had once
「…當我在刷上底色的畫布創作，我可以控制顏料流向導引至可能的形狀。
given this description: When I work on primed canvas, I can control the
象牙刀是必要的工具，不會傷到布面，而是容許我引導顏料。」
flow of paint and guide it to discover forms. The ivory knife is an essential tool in this because it does not gouge the canvas, it allows me to guide
1968年創作《現象•箭•東方》是藝術家標誌個人風格的傑作，紫藍色弓
the paint.
形弧線拋過畫面，充滿氣韻的留白，米白襯映濃烈色彩，彷若顏料滴於清水 的交融與擴散。題名明示觀者，創作者對禪學的嚮往和深刻研究，技巧手法
"Phenomena Arch Bow East" is an exceptional piece full of his personal
更顯現歌德色彩心理學對藝術家用色的影響。
trademark. The violet arced curve running across the painting, the meaningful blank spaces, and the creamy white shade complementing
西方抽象藝術世界，詹肯斯是少數真正體悟「靜心」的藝術家。色彩的轉
the more vibrant tones almost seem like the merging and expansion of
換，相似腦海中秒秒變化的想法。頃刻間吉光片羽昇華成無色無味的平和。
paint droplets meeting in water. The title of the artwork indicates to the
欣賞他的作品，好似經歷弓道八節的儀式洗禮，踏足發身於動，而殘心止乎
viewer the creator's yearning and intensive study of the Zen philosophy.
於靜。沉澱下紛擾的心緒，將精神心性付諸藝術。
His expressive techniques also show the influence of Goethe's color
Paul Jenkins was a renowned American abstract expressionist painter
psychology on the artist's use of colors.
who was deeply influenced by Eastern philosophy. Since he held his first
In the world of Western abstract art, Jenkins was one of the few artists
solo exhibition in Paris in 1954, 85 art galleries and museums across more
who had truly understood the meaning of "meditation". The changes in
than ten countries have exhibited and collected his works. His paintings
colors are like the ever-fleeting thoughts in the mind. Suddenly, the vivid
had taken the abstract art stages of New York and Paris by storm. The
and vibrant shards of colors become calm and placid peace. Admiring
American abstract expressionist artist, Paul Jenkins was born in Missouri,
the works of the artist is like experiencing the ceremonies of the "Shaho-
USA in 1923 and he lived in Paris for many years. Although when he was
Hassetsu" or the eight stages of archery, starting with Ashibumi or
a youth, the famous architect, Frank Lloyd Wright, tried to convince him
placing the footing and ending with Zanshin, the remaining body or
to start a career in agriculture rather than art, he still followed his gift
mind. Let your tumultuous emotions become still and rest, then place
and wandered among the ancient Eastern sculptures in art museums
your focus on the art.
Ravenel 67
125
CORNEILLE (GUILLAUME CORNELIS VAN BEVERLOO) (Dutch, 1922 - 2010)
Untitled
柯奈爾
1989 Oil on canvas 100 x 100 cm
無題
Signed upper right Corneille and dated '89 This painting is to be sold with two certificates of authenticity, one signed by the artist and the other issued by Dimensions Art Center, Taipei.
1989 油彩 畫布 100 x 100 cm 簽名右上：Corneille '89 附藝術家親筆簽名之原作保證書 附帝門藝術中心開立之原作保證書
NT$ 1,600,000 - 2,400,000 HK$ 415,000 - 622,000 US$ 53,100 - 79,700
荷蘭藝術家柯奈爾在1949年與卡•阿貝爾等人一同成立了一個
1950s, and abandoned the traditional academic approach to art.
實驗性團體，稱之為「眼鏡蛇」畫派。此團體是由歐洲各地的
The common characteristics of the group CoBrA are bright colors,
成員組成，實行了一系列創新的題材，挑戰了1950年代保守的
free expressionism, symbols, and abstractions. The paintings were
風格，將傳統學院派拋諸腦後。此團體共通的特性具有亮麗的
done in childlike silhouettes, expressing pure and innocence.
色彩、自由、多變化的符號及抽象之型體。畫裡經常出現兒童
Despite the group was only formed for three years, Corneille moved
純真般的表現方式。然而，此團體僅成立了短短三年後，柯奈
to Paris when disbanded in 1951. He started using brighter colors,
爾移居巴黎，成員們各奔東西繼續創作。柯奈爾用色鮮豔、手
abstract expression and forming his individualistic style. The source
法抽象，具有強烈的個人繪畫風格，取材靈感源於藝術大師米
of inspirations originated from Joan Miro, Paul Klee, children’s
羅、克利、兒童繪畫、民間藝術及非洲原始藝術。
paintings, folk art and African art.
而這些非洲原始藝術不僅影響了柯奈爾的創作，畢卡索也曾深
The oceanic African art not only influence the work of Corneille,
受影響，創造出立體輪廓的畫作。而此件作品《無題》是屬
Picasso was also strongly influenced by it, giving his works cubist
於柯奈爾後期作品，仍保有他獨有的構圖元素及特殊的鮮豔用
outlines. This particular work by Corneille belongs to the latter work
色。畫面中的右側和左上都分佈著人像、面具的結合，彷彿像
in his career, and still possesses all the characteristics elements
是古埃及人面現身於此，畫中增添未知感，而具有神話象徵的
often seen in his works, including the use of eccentric colors. The
鳥，同樣透過不同面向的圖像，表達自由或是神祕？而捉模不
lower right and the upper left of the painting is seen with portrays
定的黑貓以童稚的手法繪製，使這幅作品增添活潑又神祕的氛
of man figures, that somewhat resembled the look of Egyptian
圍。而此幅畫將物件平面化，去除了透視的技法與空間感，反
Sphinx, added uncertainty in this painting. As for the mythical beast
而能從多方角度欣賞此件作品。
like birds are also portrayed in the present work, suggesting liberty or mystery is unknown. The mysterious black cat is also painted
The Dutch artist Corneille established an experimental
in a childish manner, making the painting look both lively and
group with Karel Appel and others in the 1949, named
mysterious at the same time. This painting is painted with flatten
“CoBrA.” It was formed with a group of European artists
objects, removing the perspective view, and spatial representation,
that looked to challenge the conservative style of the
but it exposes multiple ways to look at this work.
Ravenel 69
126
SRIHADI SUDARSONO (Indonesian, b. 1931)
Procession to the Sea
斯里哈迪．蘇達索諾
1993 Oil on canvas 100 x 147 cm
沿海
Signed upper right SRIHADI S. and dated '93 Signed on the reverse Srihadi, titled procession to the sea, inscribed 100x147 cm Bali and dated 1993
1993 油彩 畫布 100 x 147 cm 簽名右上：SRIHADI S. '93 題識畫背：Procession to the Sea, 100x147cm Bali 1993 SRIHADI
NT$ 3,600,000 - 5,500,000 HK$ 933,000 - 1,425,000 US$ 119,600 - 182,700
馬克．羅斯科 《無題》1957 油彩 畫布 247.3 x 207.8 cm 馬克．羅斯科基金會1986年贈予國家藝廊，華盛頓 影像由華盛頓國家藝廊提供 Mark ROTHKO, Untitled , 1957, oil on canvas, 247.3 x 207.8 cm Gift of The Mark Rothko Foundation, Inc. to the National Gallery Of Art, Washington in 1986 Courtesy National Gallery Of Art, Washington
印尼籍藝術家斯里哈迪．蘇達索諾堪稱是印尼在世最重要的且最享負盛
The incredible lot "Procession to the Sea" presented here is done
名的現代畫家，他得心應手地把握了大自然的色調和情感，懂得運用特
with maturity. Sudarsono employed saturated grassy light green
定色彩來表現極具詩意的畫作。1962年，蘇達索諾獲頒俄亥俄州立大學
upfront, then applied thick impastos of white as depiction of curve
碩士學位，早期也曾嚮往美國戰後的抽象表現主義，在嘗試了多種風格
roads, the eyes are directed along with the white touches towards the
之後，意會到應該走出自己的路，從美國學成後歸國，開始尋根之旅，
seafront, the use of white lines appear like tides at the beach divided
而「根」不僅僅是回到家鄉印尼，反而是找尋找由外而內至心靈層面的
the border of sea and land, finally reaching the boundless deep blue
信仰。身為一位虔誠的爪哇宇宙論信徒，此信仰非常注重個人內在的思
sea, gazing afar. The painting is visually reminiscent of Mark Rothko's
想及其行為，因為只有透過內在的反思與沉澱才能以最純粹的型態化繁
abstract paintings, the color fields are used to divide the sky and
為簡，反映在蘇達索諾的作品之中。
land into two separate worlds. However, what differs from the work of Rothko to that of Sudarsono is that the latter has blended the essence
本季秋拍呈獻的《沿海》是出自於藝術家成熟之筆，蘇達索諾在畫布上
of abstract and figurative paintings, emphasizing expression of
使用了飽和的青草綠鋪陳前景，再以具有斑駁肌理的白色描繪出蜿蜒的
colors. The simplistic layout is harmonized with orderly composition,
步道，視線沿著白色點點筆觸帶領我們走到沿岸海邊，再透過細細白線
Sudarsono projects an abstract, extrasensory vision of the landscape,
勾出畫面裡海洋與陸地的交界處，到達浩瀚無界的靛藍海洋，靜謐的凝
uniting the beauty of nature and the cosmic world. "What you see in
視遠方。此幅作品不禁讓人聯想到馬克·羅斯科的抽象繪畫，透過簡約的
my painting is not a physical impression but rather a manifestation of
色域將天地一分為二，然而蘇達索諾的精湛繪畫是揉合了抽象與具象，
the spiritual essence of the subject", Sudarsono explained.
強調色彩表現主義。透過自然有序的佈景與簡約構圖，層層表達出由衷 感動的景觀體驗，融合宇宙和大自然的靈性之美。蘇達索諾表示：「你
The early works of Sudarsono is characterized of anti-colonial
從我的作品，看到的不是物象的形下描繪，而是其精神靈性的表態。」
themes, they reflected the uncertainty of political situation under the Dutch occupation. Later in the 1960s, he had the good fortune
早期蘇達索諾的作品具有反殖民政府的色彩，繪畫題材也多建立在動盪
to receive a scholarship to study in the United States, where he was
不安的政局之上，然而，自60年代抵美生活數年的經驗與各方主義的洗
exposed to the Western art movements, such as Pop Art, Minimalism,
禮，從普普藝術、極簡藝術到抽象藝術，拓展了蘇達索諾的美學語彙，
and Abstract Expressionism of the decade, it was an eye-opening
同時重新審視心中的核心價值，而一生的心路歷程也猶如蘇達索諾所堅
experience for Sudarsono. The artist began to evaluate the inner core
持的藝術創作一般，堅信著藝術是一個思考過程，透過「藝術活動將心
and beliefs, he believed that Art is a thought process, and thinks that
神、感知、意志合一而散發正能量，乃人類創造力不可或缺的部分。」
"the concept of artistic activity is as of channeling of the positive
蘇達索諾之所以能廣受景仰也是因為他是少數在受過西方教育之後的藝
energy that emanates from a combination of spirit, feeling, and will.
術家，仍懂得飲水思源重返根本，透過藝術營造和諧力量與散發正能量
These factors are at the core of man's creative ability". The reason
的在世藝術家。至今已81歲的蘇達索諾，以一張張充滿生命能量的作
that Sudarsono has been widely admired is because he is among the
品，彰顯善主張和細膩感觸。
very few artists who has returned to the root of their own even after
Indonesian artist Srihadi Sudarsono regarded as one of the most renowned and prolific living modern artists, his ability to capture the constant changes in nature and the cosmic world around him,
receiving Western education. More importantly, Sudarsono continued to distribute positive energy to the world through his creations, even for someone who is already 81 year-old.
is apparent in his poetic paintings. In 1962, Sudarsono received his Master's degree from Ohio State University, exposed to PostWar art in the USA at the zenith of Abstract Expressionism, Srihadi was mesmerized by the potential of Western modernism and began experimenting with myriad styles. However, he soon realized the importance of needs to develop his own individual style. Having returned to Indonesia in search of his root, the "root" begins from the inner beliefs and soul not just the external world. As a believer of Javanese cosmology, strongly relied on one's personal laku batin, or inner behavior, when in the process of building his creative opus, this belief is reflected in the works of Sudarsono.
趙無極 《27.8.84》 1984 油彩 畫布 95 x 105 cm 羅芙奧香港2012春拍 編號034 港幣12,400,000成交 ZAO Wou-ki, 27.8.84, 1984, oil on canvas, 95 x 105 cm Ravenel Spring Auction 2012 Hong Kong, lot 034, US$1,597,938 sold
Ravenel 71
127
GEORGES MATHIEU (French, 1921 - 2012)
Ramira 1970 Oil on canvas 97 x 162 cm Signed lower right Mathieu and dated 70 Titled on the stretcher of the reverse Ramira PROVENANCE: Private collection, Paris Sotheby’s Paris, December 4, 2014, lot 160 Private collection, Asia The authenticity of this work has been confirmed by Georges Mathieu Committee.
NT$ 4,200,000 - 6,500,000 HK$ 1,088,000 - 1,684,000 US$ 139,500 - 215,900
喬治．馬修 睿智 1970 油彩 畫布 97 x 162 cm 簽名右下：Mathieu 70 題識畫背框條：Ramira 來源： 私人收藏，巴黎 蘇富比，巴黎，2014年12月4日，拍品編號lot 160 私人收藏，亞洲 喬治．馬修委員會已確認本件拍品為藝術家原作
Ravenel 73
戰後的貴族 NOBILITY AFTER THE WAR
喬治•馬修生於1921年法國布洛涅與英國隔著海峽相望，成長於1919-
波爾多五大酒莊之一：木桐酒莊
1939年戰間期，法蘭西斯殖民帝國帶有征服性、驕傲感與侵略性的輝煌
（Château Mouton Rothschild），依
時代。生於銀行世家，求學於文學、法律與哲學，大量閱讀及思考，是
據傳統邀請馬修為1961年波爾多頂級年
往後馬修作品高度精神性的基礎。1942年開始藝術創作，放棄具像藝術
份，設計出獨一無二的酒標。隔年，巴
的路線。1947年舉辦第一次公開展覽，打破馬列維奇與蒙德里安的幾何
黎裝飾藝術博物館首席策展人法蘭斯•
抽象，創出獨步全球的抒情抽象，被戴高樂時期第一任文化部長安德烈
瑪特邀請馬修參加名為「L'O b j e t」的展
•馬樂侯讚譽為「西方的書法家」。
出，為此他設計了一張床與高達12公尺 凱旋門。1967年為法國航空繪製十六幅
馬修創作帶有創作者意識、精神性和感性的抒發。爆發的創造力，靈感
以不同城市為靈感的海報。1975-1983
瞬息萬變的奔騰，自詡為「抒情抽象」代表人物。其重要作品皆有特定
年法國電視二台的商標也由馬修設計。
主題的命名，取材自著名戰役、典故，對歷史偉人致敬和愛國的情懷。
而其一生規模最大的創作，莫過發行於
仿若胸有丘壑，高瞻遠矚，將靈魂俯身縱跳，身心劃過千年歷史。馬修
1974-1987，法國造幣局委託馬修創作
是戰後歐洲，開創非幾何抽象的前鋒，其思想、理論，直接影響無數留
的10法郎硬幣，總發行量超過一億枚。
Chateau Mouton Rothschild, 1961 波爾多木桐酒莊酒標，1961年
法的海外藝術家，而最為人所認識，便是海外華人大師趙無極。以畫風 比喻趙無極是文人筆下，巍峨挺拔，雲霧繚繞的壯闊山勢。馬修就是跨
1976年接續藝術家阿佛列德•吉思的位子，獲選為法蘭西學院院士，馬
越星斗轉移，璀璨壯闊，使人神思嚮往的浩然夜空。
修與法國文化部的良好關係，讓他在1970年代幾乎被視為法國官方代表 的藝術家，直至1980年代，密特朗總統上台政權轉移，被視為「右派」
1952年起，馬修開始於世界各地巡迴展覽，聲勢如日中天，可說是藝術
的馬修才漸漸從幕前淡出。他懂得運用當時蓬勃發展的媒體，直言不諱
家創作量豐沛且具有前瞻性的時期。1957年8月受邀至日本東京展覽，
表達自己的藝術理念，和對現代社會現有體制的質疑，一言一行皆備受
創作了二十一幅作品，其中包括長十五公尺描繪博多之役的紙上壁畫，
關注。與同為院士的貝爾納•畢費，堪稱當時最知名的抽象與具象藝術
展覽在五日內吸引了兩萬五千位觀眾。時代雜誌更是為他在大阪創作的
家。
公開展演，做了全篇幅詳盡的報導，並與全球知名藝評家米契爾•達比 埃參訪了日本藝術團體「具體」。同年，在紐約麥迪遜大道400號的老
展覽足跡遍及全世界，私人藏家也多集中於歐美國家，全球權威性美術
麗池酒店，他獨自於廣闊的地下室，帶著顏料與畫布，三小時內創作出
館皆收藏馬修的作品，包括：紐約現代美術館、紐約古根漢美術館、巴
十四幅作品；藝術家形容：「一生最卡夫卡式的經驗」。
黎龐畢度藝術中心、東京現代美術館等，全球17個國家，近百家的美術 館。代表性的個人展覽為1963年巴黎市立現代美術館的第一次回顧展，
黑、白、紅是早期作品常見用色，後來越趨向鮮艷多變，1970年代的畫
1978年於巴黎大皇宮和2002年巴黎國立網球場現代美術館。即使藝術
風尤其瑰麗優雅，卻不變其獨特風格的高貴氣勢。1970年創作的《睿
家逝世於2012年，畫廊仍不斷為馬修舉行展覽，備受全球藝術市場喜愛
智》以朱紅為底色，大筆刷上靛青色，將視覺延伸並穩定四方的畫面結
與關注。
構，交疊上幾筆黑色粗線條，並以鮮黃色的俐落線條聚焦主題。如智慧 之神的權杖，從烏雲密布的天空劈落一道閃電。馬修認為藝術史的發展 是一連串奔向自由的解放，從複製眼睛所見的束縛中掙脫，創作出心靈 精神的真實。繪畫中的速度感，並非無意識的揮灑顏料，而是他回應內 在感受近乎憤怒的釋放。馬修的筆觸總是一氣呵成，鏗鏘有力。繪畫過 程如斑斕煙花綻放在夜空，顏料管直接擠壓在畫面上，底色與線條色彩 強烈對比，自然將視角停留在線性的符號式構圖。 馬修也是第一位將美國紐約畫派「抽象表現主義」帶入歐洲的藝術家。 1948年11月，以馬修為首與哈同、沃斯、布萊恩、畢卡比亞代表法國 抽像藝術與美國抽象表現藝術家波洛克、德•庫寧、羅斯科、萊茵哈德 等抽象表現藝術家在蒙帕納斯畫廊會面，將巴黎與紐約兩大藝術之都連 結。不僅標注馬修推動藝術運動的不遺餘力，更奠定他在戰後抽象藝術 不可動搖的地位。
趙無極《31.3.63》1963 油彩 畫布 46 x 50 cm 羅芙奧台北2010春拍 編號144 台 幣11,400,000成交 ZAO Wou-ki, 31.3.63, 1963, oil on canvas, 46 x 50 cm Ravenel Spring Auction 2010 Taipei, lot 144, US$353,269 sold
Georges Mathieu was born in 1921 in Boulogne-sur-Mer, France,
of wisdom, a flash of lighting splits through the stor my sky.
on the opposite side of the channel from England, and grew up
Mathieu considered the historical development of art as a series
during the century’s great wars of 1919 to 1939. It was a time
of liberations where the artist breaks free from merely copying
when France was conquering, prideful, and invasive, when the
what was seen and instead ventures forth to create works of
French colonial empire still enjoyed an era of prosperity. Born into
spiritual truth. The sense of speed in his painting comes not from
a family of bankers, Mathieu's intense study of literature, law, and
a thoughtless splashing of paint, but rather the artist responding
philosophy became the foundation of the high spirituality which
to his immediate feelings, almost as if giving free reign to his rage.
marked his later works. He began his artistic journey in 1942, and
Mathieu’s brushwork is consistently confident and strong. His artistic
thereupon abandoned a path in figurative art. In 1947, he held his
process of applying paint directly from tube to canvas could be
first public exhibition. It was there that he broke down the geometric
likened to fireworks bursting across the night sky. It creates a strong
abstractions of Marevich and Mondrian and created his first lyrical
contrast between the base colors and line, and naturally brings the
abstract art. During Charles de Gaulle's presidency, Mathieu was
viewer’s attention to the symbolic figures created by his use of line.
given the title of “Calligrapher of the West” by André Malraux, the first French Minister of Culture.
Mathieu is also the first artist who brought the American Expression Abstraction art into the Europe. In November of 1948, Mathieu,
Mathieu’s works carry expressions of the artist’s will, his spirit and
as head of the group, with other French artists like Hans Hartung,
emotions. Carried by his own explosive creativity and surges of
Wols, Camille Bryen, Picabia representing the French abstraction
ever-changing inspiration, he fashioned himself as a representative
art met the American artists: Janckson Pollock, Willem de Kooning,
figure in “lyrical abstraction.” Each of his important works are
Marc Rothko and Ad Reinhardt in the Gallery de Monpanasse. This
named according to a specific theme, with subject matter deriving
meeting not only successfully associated Paris and New York these
from famous battles and classical sources, or produced as a form of
two cities of art, but also impressed Mathieu’s dedication in art
respect for great figures of history or out of the spirit of patriotism.
revolution and established his importance in the art history.
Able to capture a deeper meaning in his art, he leapt forward with his soul, traversing thousands of years of history. Mathieu pioneered
One of the Five Big Vineyards of Bordeaux: Château Mouton
the movement that diverged from geometric abstraction in post-war
Rothschild, as per tradition, invited Mathieu to design the unique
Europe. His philosophy and theories directly influenced countless
wine label for the Bordeaux Grand Vin of 1961. The following year,
artists studying abroad in France, the most noteworthy being the
the chief curator of Musée des Arts Décoratifs, François Mathey,
Chinese master Zao Wou-ki. To compare the styles of Zao and
invited Mathieu to attend the “L’Objet” an exhibition for which
Mathieu: Zao’s style is akin to how a writer would depict the majestic
he designed a bed and a triumphal arch standing 12 meters tall.
presence of towering mountains entangled by tendrils of cloud
In 1967, he painted 16 posters inspired by different cities for
and mist. Mathieu’s style, then, is like traversing the stars in their
Air France. The logo of Antenne 2 from 1975 to 1983 was also
vastness, one’s mind contemplating the vastness of the night sky.
designed by Mathieu. The highlight of his career, however, was a commission from L'Atelier de Gravure de la Monnaie de Paris to
Mathieu began exhibiting in various places throughout the world
design the 10-franc coin that was in circulation from 1947 to 1987.
in 1952. Like the mid-day sun, Mathieu shined with brilliant
His design appeared on a total of over one-hundred million coins.
productivity during this period, producing works that were truly visionary. In August of 1957, he was invited to hold an exhibition
In 1976, he was selected to inherit Alfred Giess’ position as a
in Tokyo. He created twenty-one pieces for the event, one of them
member of the Académie Française. Mathieu’s friendly relationship
being a fifteen-meter-long paper mural illustrating the Battle of
with the Ministry of Culture allowed him to be somewhat viewed
Hakata. His exhibition attracted twenty-five thousand visitors in a
as the official artist representative of the 1970s; and it wasn’t until
mere five days. Time Magazine even published a full report on his
Mitterrand took the office in the 1980s that the right wing Mathieu
public exhibition in Osaka. During this time, he visited the Japanese
faded from the public eye. Mathieu knew how to utilize the rise of
art group “Gutai” with world-renowned critic Michel Tapié. In
the media of his day to boldly convey his artistic ideologies as well
the same year, bringing only his paints, canvases, and himself to
as his misgivings towards the systems of contemporary society. His
the large basement of the Ritz-Carlton on 400 Madison Avenue,
every word was paid close attention. Along with Bernard Buffet,
New York, he created 14 pieces of art in just three hours. He later
another member of the Académie Française, he was the most
described this as “the most Kafkaesque experience of my life.”
prominent abstract and figurative artist of his time.
Black, white, and red are common colors of his early works.
Mathieu’s exhibition steps were all around the world, most
Gradually, his colors become brighter and greater in variety. His
of his private collectors came from Europe or North America.
style in the 1970s was especially magnificent, though without
MoMA, Guggenheim Museum, Centre Pompidou, Museum of
sacrificing the noble air unique to his works. “Wise,” finished in
Contemporary Art Tokyo and almost hundred museums collect
1970, was painted in broad strokes of indigo on vermilion, which
Mathieu’s artworks. His first retrospective exhibition was held in
visually extended and stabilized the composition from all sides.
1963 in Musée de la Ville de Paris, and in Grand Palais, 1978, in Jeu
Thick, black lines overlap the image, while accents of bright yellow
de Paume Museum, 2002. Although, the artist passed away in 2012,
lining bring the theme into focus. Like the staff of the goddess
he is still favored by the art market, worldwide galleries hold the exhibitions year by year. Ravenel 75
128
WALASSE TING
(Chinese-American, 1929 - 2010)
Miss World
丁雄泉
1975 Acrylic on canvas 211 x 295 cm
世界小姐
Signed on the reverse ting , titled Miss World, inscribed Summer and dated 75
1975 壓克力 畫布 211 x 295 cm 簽名畫背：Miss World Ting 75 Summer
PROVENANCE: Private collection, France
來源： 私人收藏，法國
ILLUSTRATED: Walasse Ting: Red Mouth, Toppan Printing Co. Ltd., Hong Kong, 1977, color illustrated
圖錄： 《紅唇》，丁雄泉自選集，香港，1977，彩色圖版
NT$ 22,000,000 - 32,000,000 HK$ 5,699,000 - 8,290,000 US$ 730,700 - 1,062,800
丁雄泉《世界小姐》1975 壓克力 畫布 222 x 396 cm 羅芙奧台北2015春拍 編號235 台幣56,320,000成交 Walasse TING, Miss World, 1975, acrylic on canvas, 211 x 295 cm Spring Auction 2015 Taipei, lot 235, US$ 1,825,608 sold
此拍品《世界小姐》為1975年盛夏創作，原為法國重要私人收藏，是丁
丁雄泉一生走過無數的國度，親身參與當代藝術運動，見多識廣，知名度
雄泉第二張出現於國際拍場的「世界小姐」。其尺幅高達300號，構圖大
跨越國際，收藏家遍佈全球。1977年時曾獲得古根漢紀念基金會的繪畫
膽、熱情、新鮮，超越以往。各國佳麗千嬌百媚，各顯姿態，其嬌嬈之色
類獎助金。舉凡世界級重要的藝術博物館大都有典藏他的作品：例如美國
的程度，實屬藝術家世上獨一無二的罕見之作。
的舊金山現代美術館、紐約古根漢美術館、紐約大都會博物館、費城博物 館、波士頓美術館、芝加哥藝術學院、底特律藝術中心、匹茲堡卡內基學
丁雄泉愛女人和畫畫，甚至超越自己的生命。《世界小姐》是藝術家最重
院；英國倫敦的泰德畫廊；法國巴黎的東方藝術博物館；荷蘭的阿姆斯特
要的大型油畫系列，而同系列作品出現在世人面前的不過三幅，每張尺幅
丹市立美術館；亞洲台灣的台北市立美術館；中國的香港藝術館、上海美
都超過兩米至三米以上。1970年代正值丁雄泉創作巔峰，其獨特的繽紛
術館等。
色感，恣意瀟灑；橫跨藝術家抽象與具象時期的繪畫風格。 "Miss World" was created in the summer of 1975, belong the French 繪圖用色充滿生命力，像鮮花朵朵五彩斑斕，構圖中心有延續1960年代
important private collection. It is Walasse Ting's second "Miss World"
煙花噴發的抽象斑點，好似花束襯托小姐們的嬌豔欲滴，也更像藝術家本
appeared in the international auction market. Painting size attains to
人的化身，坐擁其中，炫耀縱情東、西方美女的風流韻事。
300 F, with the composition full of bold, passion and fresh emotions, completely beyond artist's other works. Beautiful figures from different
雖然此拍品《世界小姐》九位人物數量，少於羅芙奧2015年春拍編號 235，尺幅高達500號的同名拍品。但是人物構圖放大，動作自然多變， 更加突顯每位小姐眼送秋波，舉手投足的嫵媚。彷彿觀者就是愛人，要
states show their charming body with sultry posture to the audience. Such an enchanting magnificent painting, it is a unique master piece of the artist.
勾起他們的衝動，去親吻、擁抱回應她們的可愛。採花大盜捕捉的眼神 生動，已經難以分捨模特兒是否真有其人，只知道要投身他創造的花花世
Ting loves both women and drawing more than his own life. "Miss
界。
World" belongs to the most important painting series, there are only
1929年(有一說1928年)，丁雄泉出生於江蘇無錫，成長於上海。童年時
three artworks of this series had been showed in public. Their length are all over 2 or 3 meters. 1970s is Ting's creation pinnacle time,
期開始在街頭作畫，曾經進入上海美專短暫學習，然而天生海派的個性，
the colorful style with abandon crisscross both his abstraction and
終究無法適應學院式的教學，他自詡為素人畫家，隨自由意志創作，成
figuration style.
功地創造自我。1946年移居至香港生活，1952年曾於西希爾飯店舉辦個 展，發表創作，隨後轉赴法國巴黎遊學六年，展開他的藝術冒險。
Ting's colors full of vitality as a vibrant posy in the summer. Following his abstract technic in 1960s, the spot image in center area of the
崛起於1940年代末、1950年代初期歐洲的眼鏡蛇畫派，畫派成員與丁雄
picture, like fireworks displaying in the sky, stands out figures' pretty
泉志趣相投，互結好友，在法國巴黎與比利時布魯塞爾的畫廊共同舉辦
faces. Even more, it also like artist's stand-in showing his own romantic
畫展。1958年丁雄泉轉往紐約發展，迎上抽象表現主義的時代浪潮，甚
affairs with beauties to the audience.
至與後來還慧眼發掘安迪•渥荷的專才，與之成為「普普藝術」運動的一 員。丁雄泉的瀟灑浪漫性格，與眼鏡蛇畫派強調自我表現的風格相得益
Although, the figure amount in "Miss World" is less than another
彰；抽象表現主義不以具象描繪為目標，利用點、線、面、色彩、形體、
same named work which has the dimension over than 500 F and
構圖來傳達各種情緒，相當契合其特質；普普藝術肯定現世，文化親和的
sold at Ravenel in 2015. But each figure's composition enlarge in the
姿態，也和丁雄泉重視趣味、大眾化的特色相近。
painting, so the audience could clearly catch every ladies' tender fascial expression and sexy posture. Like teasing their own lover, these
紐約快速的城市節奏、未來感，激發丁雄泉於1960年代之後採用的壓克
pretties try to evoke the audience's excitement to react them with hug
力彩螢光色傳達，自此風格走向鮮豔明亮的西方色彩。潑灑、滴流，率性
or kiss. As known as his pseudonym "Flower Thief", Ting accurately
的抽象表現主義成為一大特色。而馬諦斯的野獸派斑斕色彩及裝飾風格，
describes every women with his drawing pen. It is hard to identify if
潛移默化地影響著丁雄泉的華麗特色。
there is a real model, but we always cheerfully throw ourselves to enjoy in Ting's fantastic world.
Born in China in 1929 (some say 1928) in Wuxi, Jiangsu Province,
experience and international outlook, and the fact that his work is
Walasse Ting grew up in Shanghai. He began painting in the streets of
cherished by collectors around the world, and you may begin to see
the city from early childhood, and at one point entered the Shanghai
why I bring up his name. Back in 1977, Ting was awarded a fellowship
College of Fine Arts for a brief period of study; however, his freedom-
from the John Simon Guggenheim Foundation, and today his work
loving and spontaneous character made him averse to the strictures
is found in the collections of many first-rate museums and galleries,
of an academy education. Ting always prided himself in being self-
including the San Francisco Modern Art Museum, New York's Solomon
taught, and believed in following his impulses and inspirations as
R. Guggenheim Museum, the Metropolitan Museum of Art in New
the best way of creative self-actualization. He moved to Hong Kong
York, the Philadelphia Museum of Art, the Museum of Fine Arts in
in 1946, where he had a single-artist exhibition at the Hotel Cecil
Boston, the School of the Art Institute of Chicago, the Detroit Institute
in 1952. After that, he went to Paris for six years, beginning his
of Arts, the Carnegie Museum of Art in Pittsburgh, London's Tate
"international journey of "artistic adventure."
Gallery, the Guimet Museum of Eastern Art in Paris, the Municipal Museum Amsterdam, the Taipei Fine Arts Museum, the Hong Kong
Ting soon became good friends with several members of the art
Museum of Art, and the Shanghai Art Museum.
group CoBrA, which flourished in Europe in the late 1940s and early 1950s, finding the group's style and outlook congenial to his own nature. During this period, he held simultaneous exhibitions in Paris and Brussels, before moving on to New York in 1958. There he found himself on the cusp of the abstract-expressionist movement, and later became one of the first people to recognize the unique talents of Andy Warhol-Ting himself was also closely associated with the pop art movement. His unconventional character, both debonair and emotional, made the CoBrA group with its focus on free selfexpression his natural playground, while abstract expressionism allowed him to give free rein to his penchant for sublimating his moods via the distinctive dots, lines, planes, colors, shapes and compositions that make up the basic vocabulary of his art. Finally, the everyday, contemporary- reality allure of pop art chimed well with Ting's affinity for striking images with mass appeal. Beginning in the 1960s, New York's fast pace and futuristic feel inspired Ting's acrylic paint phase. From that point on, the artist's palette shifted towards bright and brilliant hues, with drip and splash painting becoming one of his preferred modes of color application. His style now combined a straightforward variety of abstract
丁雄泉《迷雅與愛麗克絲》1976 壓克力 畫布 102 x 127 cm 羅芙奧台北2016秋拍 編號323 台幣10,200,000成交 Walasse TING, Mia & Alex , 1976, acrylic on canvas, 102 x 127 cm Ravenel Autumn Auction 2016 Taipei, lot 323, US＄319,649 sold
expressionism with the mottled tones and decorative patterns of Fauvism in the vein of Matisse, whose work was a dominant influence on Ting's artistic development. Ting has lived and worked in numerous countries, and been part of many modern art movements. Add to this his broad firsthand
Ravenel 79
129
MR. BRAINWASH (THIERRY GUETTA) (French, b.1966)
Chapin-Life is Beautiful
洗腦先生（泰瑞．庫塔）
2010 Stencil and mixed media on canvas 213.5 x 183.5 cm
卓別林－美麗人生
Signed on the reverse Mr. Brainwash, titled Life is Beautiful and dated 2010 This painting is to be sold with a certificate of authenticity issued by the Opera Gallery, New York.
2010 蠟紙模板 綜合媒材 畫布 213.5 x 183.5 cm 簽名題識畫背：Mr. Brainwash. Life is Beautiful 2010 附歌劇畫廊開立之原作保證書
NT$ 2,600,000 - 3,800,000 HK$ 674,000 - 984,000 US$ 86,400 - 126,200
法國當代藝術家洗腦先生，本名泰瑞•庫塔或稱B M W（縮
street artist, he come to be fascinated with the representation of
寫）常駐洛杉磯。庫塔現齡五十初頭，是位知名的街頭藝術
street art after seeing his cousin, Invader installing mosaics in Paris.
家，當他看到他的街頭藝術機家表弟侵略者在巴黎進行馬賽克
Besides that, Guetta is also one of the biggest fans of Banksy, prior
裝置作品之後，從此對街頭藝術著迷。此外，庫塔也是Banksy
to becoming an artist, Guetta was obsessed with video-taping
最大的粉絲之一，在成為藝術家之前，庫塔無論到何處，總是
wherever he goes. Later on, he was intrigued by the LA graffiti
到處攝影紀錄。後來，他對洛杉磯塗鴉藝術家萌生興趣，決定
artists and decided to make video of them in the hope of making
透過錄影方式，希望能拍攝一部紀錄片。在拍攝紀錄片《畫廊
a documentary. Among the notorious street artist, he met and
外的天賦》的過程中，遇上了世界聞名的街頭藝術家Banksy，
worked with Banksy on the documentary film “Exit Through the Gift
他與B a n k s y合作後B a n k s y鼓勵庫塔自己成為藝術家，而不久
Shop”. Banksy encouraged Guetta to be an artist himself, in no
後，庫塔的作品已在洛杉磯展出，並將自己封稱為“洗腦先
time, Guetta‘s works are exhibited in Los Angeles and made himself
生”。據說，庫塔了為了2008年6月份在洛杉磯的前C B S工作
known as “Mr. Brainwash”. It is said that Guetta re-mortgaged
室籌備的大型展覽抵押了其財產。如今，換庫塔鼓勵人人都能
everything he owned in order to finance the massive exhibition that
進行藝術創作，成為藝術家。
took place in the former CBS studios in LA in June 2008. Nowadays, Guetta encourage everyone to create art, and believe that everyone
The French contemporary artist Mr. Brainwash, also known as Thierry Guetta or short for BMW, is based in Los Angeles. Guetta is currently in his early 50s, a well-known
can be an artist.
Ravenel 81
130 VALAY SHENDE (Indian, b. 1980)
The Standing Lady 2008 Nickle plating on brass disc 71(L) x 71(W) x 165(H) cm EXHIBITED: Indi Genius, Sakshi Gallery, Mumbai, May 17-27, 2008 (different edition) ILLUSTRATED: Indigenius: Indian Contemporary Art Exhibition, Soka Art Center, Taipei, 2008, color illustrated, p. 31
印度雕塑家和藝術家瓦雷．湘堤常駐於孟買，但他的作品早已揚名國 際，在印度和世界多處展出。藝術家與人身等比尺寸的雕塑裝置作品展 現了其精湛的技藝，他一件雕塑作品也曾於2002年被國家選為「印度
NT$ 2,000,000 - 3,000,000 HK$ 518,000 - 777,000 US$ 66,400 - 99,600
最佳雕塑」作品，能在全球第二人口最多的國家脫穎而出是極難得的榮 耀。湘堤2004年畢業於孟買J J 藝術學院雕塑系。面對當今社會的詬病 及衍生問題，尤其是在祖國印度，湘堤也提出質疑。他用日常生活中的 常見符號和物件來反映現代與傳統世界之間的對立關係，也對當代消費 價值觀與浪費的進行批判。
瓦 雷．湘堤 站姿的女人
Indian sculptor and artist Valay Shende is based in Mumbai, but his works have been exhibited widely in India and internationally. His
2008 鑄銀 鎳幣 黃銅圓盤 71（長）x 71（寬）x 165（高）cm
life-size sculptural installations revealed superb craftsmanship, and
展覽： 「印度天才」，SASHI畫廊，孟買，展期自2008年5月 17日至5月27日 （不同版次）
is the second most populous nation on earth. Valay completed his
圖錄： 《不可思議：印度當代藝術展》，索卡藝術中心，台 北，2008，彩色圖版，頁31
one of his sculptures was awarded the "best sculpture in India" prize in 2002, it surely was an outstanding award, given the fact that India BFA in sculpture in 2004 from the Sir J.J. School of Art in Mumbai. Valay question the maladies afflicting urban society, especially in his home country of India. He uses everyday symbols and objects in reflecting the tension between modern and tradition worlds, offers critique of consumption and indulgence of the contemporary.
Ravenel 83
131
VIK MUNIZ
(Brazilian, b. 1961)
Marilyn de Sangue (Bloody Marilyn)
維克．穆尼斯
2001 Chromogenic print on Ilfochrome in artist's frame, edition no. 3/3 (this work is number three from an edition of three plus three artist's proofs) 102 x 88 cm
紅色瑪麗蓮夢露
Signed Vik MUNIZ on a paper label affixed to the backing board PROVENANCE: Galerie Xippas, Paris Private collection, Europe EXHIBITED: Vik Muniz, Irish Museum of Contemporary Art, Dublin, April 2-June 13, 2004 Pictures of People, BALTIC Centre for Contemporary Art, Gateshead, January 31-April 15, 2007 (another edition exhibited) Vik Muniz Reflex, Musée d’art contemporain de Montréal, Montreal, October 4, 2007-January 6, 2008 (another edition exhibited) Vik Muniz: Pictures of Anything, Tel Aviv Museum of Art, Tel Aviv, March 27- August 2, 2014 (another edition exhibited) ILLUSTRATED: Vik Muniz “After Warhol”, exh. cat., Galerie Xippas, Paris, 2000, color illustrated, p. 29 (another edition). Vik Muniz, exh. cat., Centro Galego de arte Contemporanea, Santiago de Compostela, 2003-2004, color illustrated, pp. 142-143 (another edition) J. Elkins, M. Dos Anjos and S. Rice, Vik Muniz: Obra Incompleta - Incomplete Works, Rio de Janeiro, 2004, color illustrated, p. 54 (another edition) Vik Muniz “Le Museé Imaginaire”, exh. cat., Collection Lambert, Avignon, 2006, color illustrated, p. 115 (another edition) P. Corrêa do Lago (ed.), Vik Muniz: Obra Completa 19872009: Catálogo Raisonné, Rio de Janeiro 2009, color illustrated, p. 308 (another edition)
NT$ 2,600,000 - 3,800,000 HK$ 674,000 - 984,000 US$ 86,400 - 126,200
2001 顯色印刷 正片 藝術家自製框 版次 3/3 （限量3件, 藝術家保留版3件） 102 x 88 cm 簽名畫背紙標：Vik MUNIZ 來源： 希巴斯畫廊，巴黎 私人收藏，歐洲 展覽： 「維克•穆尼斯」，愛爾蘭當代藝術美術館，都柏林，展期自2004 年4月2日至6月13日 「人物圖像」，波羅的海當代藝術中心，蓋茨黑德，英國，展期自 2007年1月31日至4月15日 （另一版次） 「維克．穆尼斯反射」，蒙特婁當代美術館，蒙特婁，加拿大，展期 自2007年10月4日至2008年1月6日 （另一版次） 「維克．穆尼斯：萬物圖像」，台拉維夫藝術館，台拉維夫，以色 列，展期自2014年3月27日至8月2日 圖錄： 《維克．穆尼斯臨摹沃荷》展覽目錄，希巴斯，巴黎，2000，彩色 圖版，頁29 （另一版次） 《維克．穆尼斯》展覽目錄，加利西亞當代藝術中心，聖地亞哥•德 •孔波斯特拉，2003-2004，彩色圖版，頁142-143 （另一版次） J. 艾肯斯、M. 多斯．安卓斯與S. 萊斯合編，《維克．穆尼斯作品全 集》，里約熱內盧，2004，彩色圖版，頁54 《維克．穆尼斯夢想博物館》展覽目錄，蘭貝爾收藏館，亞維儂， 2006，彩色圖版，頁115 P. 柯瑞爾．德．拉戈編輯，《維克．穆尼斯作品全集1987-2009》， 里約熱內盧，彩色圖版，頁308
Ravenel 85
紅色瑪麗蓮夢露 MARILYN DE SANGUE (BLOODY MARILYN)
維克•穆尼斯1961年生於巴西聖保羅，自1980年代移居紐約後定居，現
London; International Center for Photography, New York. Muniz also
於紐約和巴西兩地工作。此位享譽國際的藝術家擅以意想不到的媒材創
represented the Brazilian Pavilion at the Venice Biennale back in
作而聞名，如鑽石、垃圾、巧克力、鐵絲、義大利麵、糖等素材出現於
2001.
作品之中，爾後拍攝成攝影作品加以放大，同時也增強了驚人的視覺效 果。穆尼斯的作品藏於許多重要公共機構，如紐約的古根漢美術館、巴
Muniz originally worked as a sculptor; later on in the career he
黎的卡地亞當代藝術基金會、倫敦泰德美術館、紐約國際攝影中心等。
gradually developed deeper interests in the field of photography.
穆尼斯也曾於2001年代表巴西參加威尼斯雙年展。
As a child growing up in the autocratic ruled country, Muniz learned to express things in indirect way, and has always been interested in
穆尼斯起初是位雕塑家，日後對攝影逐漸發展更深的興趣。從小成長於
the media. From dictatorship to media explosion of the 80s in the
獨裁統治的穆尼斯，早學會以迂迴曲折的方式表達他的想法，也對於媒
States, he has found the platform for his artistic creations. Muniz has
體深感興趣。從如此的環境轉移到80年代媒體盛行的美國，穆尼斯一系
created several series based on recognizable images throughout art
列的影像重製作品就此找到發揮的舞台。穆尼斯的系列作品中，截取藝
history and remix it with pop culture, creating another layer of visual
術史上眾人熟悉的作品為素材，融合當今流行文化元素，加以後製成新
experiences. In “The Pictures of Magazines Series,” Impressionist
的視覺體驗。在〈雜誌照片系列〉作品中，莫內的《睡蓮》是以撕碎的
masterpieces like Claude Monet’s Nymphéas was reconstructed
雜誌重組而成、在〈鑽石照片系列〉作品裡，知名女星則是以鑽石編排
with torned magazine scraps; in “The Picture of Diamonds Series,”
出奧黛莉•赫本和伊莉莎白•泰勒的肖像、〈巧克力照片系列〉中則是
portraits of famous stars like Audrey Hepbur n and Elizabeth
以巧克力重新繪出攝影師漢斯 納穆斯拍攝藝術家傑克森•波拉克作畫時
Taylor have been made into mosaic of diamonds; In the “Pictures
的片刻。除了以上甜蜜又耀眼的作品之外，穆尼斯實際上是一位有遠見
of Chocolate Series,” Muniz recreated a photograph taken by
且對社會有許多貢獻的一位藝術家。
Hans Namuth of Jackson Pollock when he was making one of his paintings. Besides the sweet and dazzling visualization of Muniz’s
身為攝影藝術創作者的穆尼斯，擅於透過非同凡響的視角表現，穆尼斯
creations, his visions and contributions to the society are far greater
也相信藝術是可以用來改變部分弱勢群體的生活，因此已長期與許多非
than that.
政府機構合作，回饋社會，如2010年協助籌備拍攝的紀錄片《垃圾狂想 曲》，除了受到多項獎項與重視之外，所有的〈垃圾照片系列〉攝影作
Being a photographer, Muniz is good at delivering his unique
品售出的金額最終全數反饋於巴西的拾荒者們，試圖為他們提供的生活
point of view of the world. Muniz believed that art can be used to
上的改變。穆尼斯偉大之處不只是在於表現光鮮亮麗的一面，而是賦予
change the lives of the disadvantaged, and he had work with several
這些作品更多檯面下的意義，
NGOs. In 2010, Muniz made a series of photographic portraits of these caradores made from garbage, with references to art history,
穆尼斯的創作往往出乎意料，此件《紅色瑪麗蓮夢露》的原有繪畫原料
and exhibited “The Pictures of Garbage Series” to the public. The
其實是紅色糖漿，這並非藝術家第一次使用奇特媒材創作，他也持續與
documentary film of ‘Waste Land’ was released in 2010 and received
麻省理工學院研發使用菌種、癌細胞等物質作為創作的媒材製作肖像畫
in numerous awards. The money received from the sale of those
或是圖樣等。穆尼斯努力將人們所忽略的細節畫面重現眾人眼前，持續
portraits was given back to the catadores to initiate changes of their
透過藝術為改變世界盡一份心力。
lives.
Vik Muniz was born in Sao Paulo in Brazil in 1961, and currently
Muniz is always surprising in terms of his use of visual language.
resides in New York since the 1980s and work between Brazil and
Such as the current lot “Marilyn de Sangue (Bloody Marilyn”, is
New York. This internationally prominent artist is famous for his use
actually painted in syrup. It wouldn’t be the first time for Muniz
of unconventional materials, such as diamonds, garbage, chocolate,
undertaking new challenges in using unimaginable materials, he
wires, spaghetti, sugar canes, etc, incorporated in his works, then
even worked with MIT in deriving medium from bacteria and cancer
transformed into enlarged photographs further enhanced the
cells as the medium for a series of patterns and portraits. Muniz’s
awe of visual impact. Muniz’s works are included in major public
attempt and approach has exposed the less noticeable side of the
institution like the Guggenheim Founation, New York; MoMA, New
picture to us and continued to contribute to the changes of this
York, the Foundation Cartier pour l’Art Contemporain, Paris; Tate,
world through art.
維克•穆尼斯《256種色彩—臨摹葛 哈．利希特》（顏料照片系列）2015 攝影作品 160.8 x 302.3 cm 影像提 供：Ben Brown Fine Arts Vik MUNIZ, 256 Colours, after Gerhard Richter (Pictures of Pigment) , 2015, Digital C-print,160.8 x 302.3 cm Image courtesy: Ben Brown Fine Arts
維克•穆尼斯《自畫像》「雜誌照片」系 列 攝影作品 影像提供:達志影像 Vik MUNIZ, Self Portrait (from Pictures of Magazines) , chromogenic print, Image Courtesy: Top Photo Group
維克•穆尼斯個展現場，龍美術館， 上海，2014年 影像提供：Ben Brown Fine Arts Vik MUNIZ Solo Exhibition View, Long Museum, Shanghai, 2014 Image courtesy: Ben Brown Fine Arts
Ravenel 87
132
MR. BRAINWASH (THIERRY GUETTA) (French, b.1966)
Dr. Dre
洗腦先生（泰瑞．庫塔）
Broken Vinyls and CDs on Wood 83.5 x 67 cm
德瑞博士 CD 黑膠唱片 木板 83.5 x 67 cm
Signed on the reverse Mr. Brainwash
簽名畫背：Mr. Brainwash
EXHIBITED: Mr. Brainwash solo exhibition: ICONS: Part One, Meat Packing District, New York, February 14- April 30, 2010
展覽：
This painting is to be sold with a certificate of authenticity issued by the Opera Gallery, New York.
「洗腦先生圖像」個展：第一部分，米特帕金區，紐約，展期自 2010年2月14日至4月30日 附歌劇畫廊開立之原作保證書
NT$ 1,000,000 - 1,500,000 HK$ 259,000 - 389,000 US$ 33,200 - 49,800
「我想表現不同的人臉，僅是一般人，他們因為相信自己想做的事情而得到更非凡的東西 ... 我想（向觀 者）表達一切事情皆有可能。」 － 洗腦先生評論破碎黑膠唱片系列作品 “I WANTED TO SHOW DIFFERENT FACES OF PEOPLE, JUST NORMAL PEOPLE — WHO ENDED UP WITH E X T R A O R D I N A RY T H I N G S B E C A U S E T H E Y B E L I E V E D I N W H AT T H E Y WA N T E D T O D O . … I WA N T T O COMMUNICATE [TO THE AUDIENCE] THAT ANYTHING IS POSSIBLE.” – MR. BRAINWASH COMMENTED ON THE BROKEN VINYL SERIES.
洗腦先生曾經是一家舊衣回收店的負責人，這種永續經營的思想延續到他後來的創作，如回收舊輪胎和分解的黑膠唱片，如此件特別的拍品 －《德瑞博士》，博士是位美國饒舌歌手，唱片製作人，及Aftermath Entertainment和Beats Electronics唱片公司的創辦人兼首席執行官。 透過黑膠唱片媒材來表現音樂圈的才子也是對他表示敬意。
Mr. Brainwash used to own a recycled clothing store; the sustainable mind was entrenched in his later creations, such as recycled tires and broken records such as this particular lot, “Dr. Dre”. Dr. Dre is an American rapper, record producer and the founder and CEO of Aftermath Entertainment and Beats Electronics companies. The current work is seen as paying a tribute to Dr. Dre.
Ravenel 89
133
PAUL GUIRAMAND (French, 1926 - 2007)
Bouquet aux deux violons
保羅．賈曼
c. 2002 Oil on canvas 100 x 81 cm
花束前的小提琴
Signed lower right Guiramand
約2002年 油彩 畫布 100 x 81 cm 簽名右下：Guiramand
NT$ 750,000 - 1,100,000 HK$ 194,000 - 285,000 US$ 24,900 - 36,500
保羅．賈曼生於法國聖康廷，與貝爾納 畢費（Bernard Buffet）
a lot in western Europe during his early life. Influenced by Matisse
等藝術家齊名，被譽為法國戰後十大藝術家之一。1952年獲頒
and P. Bonnard, the creation themes of Guiramand are always
羅馬大獎榮譽，1957年獲蒙頓雙年展獎及青年繪畫沙龍獎。青
related to music, horses and flower. With bright colors and strong
年時期師承莫里斯．布里昂松（Maurice Brianchon），歷於西
brushwork, he is good at describing the abstractive ambience with
歐各國。受馬蒂斯，波納爾影響，主題多為音樂、馬群、花卉，
the figurative objet. Guiramand's work is collected by Musée d'Art
色彩鮮豔，以具象繪畫描繪抽象心境。作品典藏於巴黎市立美術
Modern de Ville de Paris, National Library of France, Besançon Fine
館、法國家圖書館、法國貝桑頌美術館、美國芝加哥美術館、日
Arts Museum, Art Institute of Chicago, New Otani Museum in Japan,
本新大穀美術館、台南永都藝術館等。
Tainan Yung Tu Museum of Art.
作品《花束前的小提琴》是藝術家最擅長的主題作品—靜物。作
“Bouquet aux deux violons” features the artist’s notable theme -
品大多是以鄉下的田園風光為背景，有著詩一樣的復古情懷。當
still life. Most of his works are of rural countryside scenery, with a
保羅．賈曼還是個學生時，早已難掩天賦，他對靜物的描繪乍看
poetic touch of nostalgia. When Paul Guiramand was still a student,
起來就含有某種神諭般的色彩。他將古典浪漫轉化為現代唯美的
his works could hardly conceal his talent, as his depictions of still
感覺，讓欣賞者產生心靈無限之遙思，而略帶超現實空間之處，
life seemed almost mystical. He converted classical romance into
令人產生神秘及歷史亙古之遙想。此幅作品充滿動感，光影的處
contemporary beauty in such a way that it gives viewers much food
理，反色的運用，構圖精準平衡，組織精密，花束與小提琴之間
for thought; where it exists in the spaces of reality, one can’t help
色彩的濃度強度及感應度皆超過同時代其他藝術家。保羅．賈曼
but wonder about the mysteries and history behind it all. This piece
作品一貫畫風大膽而含蓄，線條向人的思緒交織穿梭在畫布上，
is extremely dynamic in its handling of light and shadow, color
是當代具象色彩派的代表畫家。
contrast, compositional balance, and structure. The colors of the bouquet and the violin are intense and convincing, surpassing the
Born in Saint-Cantin, France; Paul Guiramand has been
works of other artists from the same era. Paul Guiramand’s art style
awarded as one of the most important french artists after the
is daring yet conservative, his lines traversing through the thoughts
World War II, as Bernard Buffet. In 1957, Guiramand won the
of viewers across the canvas and marking him as an iconic member
Menton Biennale and Salon des Jeunes Peintres. He was the
of the contemporary figurative color movement.
student of the famous artist Maurice Brianchon, and traveled
Ravenel 91
134
THÉO TOBIASSE
(Israeli-French, 1927 - 2012)
Histoire d'une femme dans le velours biblique Mixed media on canvas 73 x 92 cm Signed on the right tobiasse Titled upper left Histoire d'une femme dans le velours biblique PROVENANCE: Dimensions Art Center, Taipei Private collection, Asia
NT$ 400,000 - 600,000 HK$ 104,000 - 155,000 US$ 13,300 - 19,900
提歐．托比亞斯 穿著天鵝絨女人的故事 綜合媒材 畫布 73 x 92 cm 簽名右方：tobiasse 題識左方：Histoire d'une femme dans le velours biblique 來源： 帝門藝術中心，台北 私人收藏，亞洲
135
MICHEL HENRY (French, 1928 - 2016)
Le Grand Palais and Anemone Bouquet
米歇爾．昂利
Oil on canvas 73 x 92 cm
大皇宮
Signed lower right Michel Henry PROVENANCE: Dimensions Art Center, Taipei Private collection, Asia
油彩 畫布 73 x 92 cm 簽名右下：Michel Henry 來源： 帝門藝術中心，台北 私人收藏，亞洲
NT$ 100,000 - 150,000 HK$ 26,000 - 39,000 US$ 3,300 - 5,000
Ravenel 93
136
BERNARD CHAROY (French, b. 1931)
Clara
貝爾納．夏洛瓦
Oil on canvas 61 x 50 cm
克拉拉
Signed lower left Bernard Charoy Titled Clara and inscribed 12F Bernard Charoy on the reverse
NT$ 300,000 - 460,000 HK$ 78,000 - 119,000 US$ 10,000 - 15,300
油彩 畫布 61 x 50 cm 簽名左下：Bernard CHAROY 題識畫背：Clara 12F Bernard Charoy
137
BERNARD CHAROY (French, b. 1931)
Claire nue
貝爾納．夏洛瓦
2007 Oil on canvas 61 x 46 cm
裸體的克萊兒
Signed lower right Bernard Charoy This painting is to be sold with a certificate of authenticity signed by the artist.
2007 油彩 畫布 61 x 46 cm 簽名右下：Bernard Charoy 附藝術家親筆簽名之照片保證書
NT$ 300,000 - 460,000 HK$ 78,000 - 119,000 US$ 10,000 - 15,300
Ravenel 95
138
MICHEL MALY (French, b. 1936)
Bouquet au found rose
米歇爾．馬利
Oil on canvas 55.2 x 46 cm
玫瑰色背景的花束
Signed lower right maly PROVENANCE: New Vision Gallery, Taipei Private collection, Asia
NT$ 80,000 - 120,000 HK$ 21,000 - 31,000 US$ 2,700 - 4,000
油彩 畫布 55.2 x 46 cm 簽名右下：maly 來源： 新視覺藝術畫廊 （帝門藝術中心），台北 私人收藏，亞洲 馬利出生於法國布盧瓦市，1968年得到巴黎大學的費內翁文學藝術大獎。善於捕捉人 物表情，將環境香氣與聲音轉為視覺的呈現。藝術家展覽遍及國際，作品典藏於各大美 術館及私人收藏。
Born in Blois, France, Michel Maly was awarded with the "Prix Fénéon", the prize of the University of Paris in 1968. He is excellent at depicting facial expression and creating a vivid scene as if you could have the smell and hear the noise there. Maly's works have been shown internationally and collected among many public and private collections.
139
RENÉ GENIS
(French, 1922 - 2004)
Le Givre (Pyrenées)
賀內．吉尼斯
1992 Oil on canvas 60.5 x 60 cm
霧淞（庇里牛斯山）
Signed lower right René Genis Signed on the reverse René Genis and titled Le Givre (Pyrenées) PROVENANCE: Galerie Elegance, Taipei Private collection, Taiwan
1992 油彩 畫布 60.5 x 60 cm 簽名右下：René Genis 題識畫背："LE GIVRE" (Pyrenées) René Genis 來源： 愛力根畫廊，台北 私人收藏，台灣
NT$ 160,000 - 240,000 HK$ 41,000 - 62,000 US$ 5,300 - 8,000
Ravenel 97
140
GEORGES LAPORTE (French, 1926 - 2000)
Bord de mer Oil on canvas 35 x 27 cm Signed lower right G. Laporte
喬治．拉波德的創作多為海岸景色，以筆觸及顏色表現了海水的流動感、波濤的多 變；畫中總是灰白的天空使觀賞者更易聚焦於海平面上的光線折射及波動。喬治．拉 波德在1926年12月17日生於法國蒙馬特，學成國際貿易後曾擔任海關代理人。1952 年與妻子金妮．史密特結婚後前往勃艮第沙隆定居，1959年搬至勃艮第吉夫里，拉波 德的畫中景色多為吉夫里村景。在1958年獲得法國藝術家沙龍的巴斯蒂昂．勒帕獎 項，其後在歐洲各地展出皆廣受好評。拉波德於2000年12月7日逝世於巴黎。
NT$ 50,000 - 80,000 HK$ 13,000 - 21,000 US$ 1,700 - 2,700
George Laporte created works around coastal scenery mostly. With the touch of colors he presents the flow of water and the constantly changing waves nicely. Laporte’s typical gray sky allows the viewer to focus on sea level where the light refraction and fluctuations are occurring. George Laporte was born in December
喬治．拉波德 海的光輝 油彩 畫布 35 x 27 cm 簽名右下：G. Laporte
17, 1926 in Montmartre, he used to work as a customs agent after his study in international trade. He married Jeannine Schmitt and move to Burgundy Chalon in 1952, and then Burgundy Givry a few years after, where Laporte painted many village views and surroundings. The artist won the Prix Bastien-Lepage fo Salon des artistes français in 1958, in consequence, many of his exhibition around Europe are widely acclaimed. Laporte passed away in Paris on December 7, 2000.
141
RENÉ GENIS
(French, 1922 - 2004)
Les Prunes Bleus
賀內．吉尼斯
1992 Oil on canvas 60.5 x 60 cm
藍李子
Signed lower centor René Genis Signed on the reverse René Genis and titled Les Prunes Bleues PROVENANCE: Galerie Elegance, Taipei Private collection, Taiwan
1992 油彩 畫布 60.5 x 60 cm 簽名中下：René Genis 題識畫背："LES PRUNES BLEUES" René Genis 來源： 愛力根畫廊，台北 私人收藏，台灣
NT$ 160,000 - 240,000 HK$ 41,000 - 62,000 US$ 5,300 - 8,000
Ravenel 99
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ALAIN BONNEFOIT (French, b. 1937)
Nu 1989 Oil on board Diameter 79.5 cm Signed lower left A. Bonnefoit 89
NT$ 140,000 - 220,000 HK$ 36,000 - 57,000 US$ 4,600 - 7,300
阿蘭．龐華 小憩 1989 油彩 木板 直徑約：79.5 cm 簽名左下：A. Bonnefoit 89
阿蘭．龐華以裸女畫作聞名於世，在單幅畫作中，利用油彩、水
contrasting textures of various materials. Bonnefoit was born in
彩、蠟筆、墨、鉛筆等多種媒材處理，繪出女體纖細、冰涼的觸
Montmartre in 1937. After studied in L'Ecole des Arts Appliqué,
感；除了呈現裸女細膩的肌理及柔滑體態，藝術家以材料質地的差
L'Ecole des Beaux-Arts, L'Ecole des Beaux Arts, Bonnefoit
異，利用具對比性的質感，做出特殊的空間感。龐華於1937年出生
returned to Paris in 1962 to study under the famous sculptor
於法國蒙馬特，曾就讀於法國應用藝術學院、法國藝術學院、布魯
Antoniucci Volti. It is also due to the influence of Volti, Bonnefoit
塞爾藝術學院，在1962年返回巴黎，開始向著名雕塑家安東尼奧
began to dedicate his oeuvre to nude figures.
奇．沃第學習，也因此受沃第影響而轉以裸女為軸心發展創作。
Bonnefoit fused the spirit of East and West in his art. The artist 龐華在70年代早期旅日學習水墨畫，作品融合東西藝術之特色，對
used to live in Japan in the early 70s to study Sumi-e, Japanese
於水墨的技巧研究及通透理解，造就他擅於流暢地拉出線條，畫出
ink wash painting. With profound research in ink paintings
柔而不弱的優雅身段。「應避免笨重、壓抑、具阻礙感或無生氣的
and comprehension of its techniques, he present elegant
造型，」關於創作，藝術家認為「如同武術的道理，呼吸的質量是
figures which are soft but not weak. “One should always avoid
造就成功之必要。」龐華的作品典藏於法國政府收藏、巴黎市藝術
blocked, stunted, inhibited, breathless gestures,” Bonnefoit
收藏以及義大利切塔爾多的薄伽丘美術館；曾於位在佛羅倫斯，以
says. “As in martial arts, the quality of breathing is essential
雕塑大師馬里諾．馬里尼為名的馬里尼博物館展出大型回顧展。
for achievement.” His work have been collected by the French Government, the City of Paris and the Boccaccio museum
Alain Bonnefoit is widely known for his nude paintings. By
in Certaldo. A major retrospective of Bonnefoit have been
utilizing multiple medias including oil, watercolor, crayon, ink
exhibited in the Marino Marini Museum, which was named after
and pencil on one single piece, the artist illustrated the delicate
the master sculptor Marini, in Florence.
and cold tactile sensation of female figure wonderfully. The exquisite touch of the smooth body form was created along with an unique sense of space, which was composed with the
143
PAUL GUIRAMAND (French, 1926 - 2007)
Adam et Eva
保羅．賈曼
1990s Oil on canvas 38 x 45.5 cm
亞當與夏娃
Signed lower left Guiramand PROVENANCE: Dimensions Art Center, Taipei Private collection, Asia
1990年代 油彩 畫布 38 x 45.5 cm 簽名左下：Guiramand 來源： 帝門藝術中心，台北 私人收藏，亞洲
NT$ 140,000 - 200,000 HK$ 36,000 - 52,000 US$ 4,600 - 6,600
Ravenel 101
144
DESIRE OBTAIN CHERISH (D.O.C) (JONATHAN PAUL) (American, b. 1975)
Panacea Series - One's Pacifier is Another's Panacea - HERMÈS 2014 Cast resin, treated fabric, acrylic edition no. 9/10 41(L) x 36(W) x 66(H) cm Signed and dated on bottom of base Desire Obtain Cherish 2014 EXHIBITED: Desire Obtain Cherish: #YourKiddingRight , Bluerider Art Gallery, Taipei, May 23-July 1, 2017
NT$ 380,000 - 550,000 HK$ 98,000 - 142,000 US$ 12,600 - 18,300
D.O.C.（美國，1975年生）本名強納森．保羅（Jonathan Paul），現 居住及創作於美國洛杉磯。2000年起以街頭塗鴉在藝術圈迅速竄紅，於 美國各大藝術博覽會嶄露頭角，2015年D.O.C.受邀在威尼斯雙年展期間 於著名的百夫長皇宮酒店（Centurion Palace）展出，2016年更受紐約 第五大道精品百貨薩克斯（Saks Fifth Avenue）邀請合作，結合時尚與 藝術展出其經典系列棒棒糖（Meltdown）裝置作品。 畢業於世界著名設計學府紐約帕森設計學院（P a r s o n s S c h o o l o f Design）的D.O.C.，創作結合街頭藝術、普普藝術、概念藝術及挪用藝 術，呈現手法橫跨多樣媒材與型態。帶著一絲黑色幽默，試圖透過作品 討論現代社會中關於性、性別、藥物、金錢、名氣以及社群網路等敏感 議題挑戰觀者的價值觀。人稱「藝術壞痞子」的D.O.C.不僅在作品上顯 露他對世俗文化的批判，也透過化名揭明現代社會對於慾望三階段的無 限循環，「渴望（Desire）、獲取（Obtain）及珍惜（Cherish）。」
D.O.C. as known as Jonathan Paul, he is an American artist living and creating in Los Angeles. In 2000, he became an instant hit with his focused in street art, and was widely seen in major art fairs across
強納森．保羅
America. In 2015, D.O.C.’s works were exposed at the Centurion
萬靈丹系列。 一個人的奶嘴是另一個人的萬靈丹：愛馬仕
Palace during the Venice Biennale. Afterwards, he was invited by
2013 樹脂膠 加工織品 壓克力 版次 9/10 41（長）x 36（寬）x 66（高）cm
lollipops.
簽名底部：Desire Obtain Cherish 2014
D.O.C. integrates the concepts of pop-art, street art and conceptual
展覽： 「D.O.C. 藝術壞痞子」個展，藍騎士畫廊，台北，展期 自2017年5月23日至7月1日
the department store, Saks Fifth Avenue in New York to exhibit his most-known art installation series: "Meltdown" in shapes of
Graduated from the famous Parsons School of Design in New York, art and implemented appropriation technic to reach beyond limitations of medium. Implying a sense of dark humor, the artist tries to discuss controversial issues like sex, medicine abuse, money and popularity to irony and to overturn audience’s value. People call D.O.C. as fine-art world’s hooligan, the artist not only uses his works to critic the common culture, but also his anonym to reveal an endless circle of needs, in particular: Desire, Obtain and Cherish in our modern society.
藝術家D.O.C © Bluerider ART
Ravenel 103
145
KAWS
(Brian Donnelly) (American, b. 1974)
4 FT Companion (Gray) 2007 Painted cast vinyl, edition of 100 37(L) x 57(W) x 127(H) cm Trademark © KAWS,, 07 on the bottom of right foot, MEDICOM TOY 2007 MADE IN CHINA on the bottom of left foot
NT$ 650,000 - 850,000 HK$ 168,000 - 220,000 US$ 21,600 - 28,200
KAWS （ 布 萊 恩 ． 唐 納 利） 4呎同伴（灰色） 2007 彩繪 搪膠 雕塑 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）
Ravenel 105
146
KAWS
(Brian Donnelly) (American, b. 1974)
Astro Boy (Gray) 2013 Painted cast vinyl, edition of 500 14(L) x 16.2(W) x 37.6(H) cm Trademark © Tezuka Productions Designed by KAWS on the bottom of left foot, MEDICOM TOY 2012 CHINA on the bottom of right foot
NT$ 50,000 - 80,000 HK$ 13,000 - 21,000 US$ 1,700 - 2,700
KAWS (布萊恩．唐納利) 原子小金剛 （灰色） 2013 綜合媒材 搪膠 限量500版 14（長）x 16.2（寬）x 37.6（高）cm 註冊商標：© Tezuka Productions Designed by KAWS （左腳底）；MEDICOM TOY 2012 CHINA （右腳底）
147
KAWS
(Brian Donnelly) (American, b. 1974)
The Twins (Pink) (A set of 2)
KAWS （ 布 萊 恩 ． 唐 納 利 )
2006 Painted cast vinyl, edition of 500 Each: 7(L) x 6(W) x 20(H) cm
雙胞胎（粉紅色）（兩件一組）
Trademark © KAWS.06 on the bottom of left foot and © REAS, MEDICOM TOY 2006 CHINA on the bottom of right foot
2006 綜合媒材 搪膠 限量500版 單一件：7（長）x 6（寬）x 20（高）cm 註冊商標：© KAWS.06 （左腳底）； © REAS，MEDICOM TOY 2006 CHINA （右腳底）
NT$ 80,000 - 120,000 HK$ 21,000 - 31,000 US$ 2,700 - 4,000
Ravenel 107
148
KAWS
(Brian Donnelly) (American, b. 1974)
Dissected Companion: Bearbrick 1000% (Brown) 2008 Painted cast vinyl, edition of 500 36(L) x 22(W) x 72(H) cm Trademark © KAWS..08 on the bottom of right foot
NT$ 80,000 - 120,000 HK$ 21,000 - 31,000 US$ 2,700 - 4,000
KAWS (布萊恩．唐納利) 解剖同伴：積木熊1000%（棕色） 2008 綜合媒材 搪膠 限量500版 36（長）x 22（寬）x 72（高）cm 註冊商標：© KAWS..08 （右腳底）
149
KAWS
(Brian Donnelly) (American, b. 1974)
Tweety (Yellow, Black) (A set of 2)
KAWS (布 萊 恩 ． 唐 納 利 )
2010 Painted cast vinyl, edition of 500 Each: 10(L) x 16.1(W) x 23.2(H) cm
崔弟（黃、黑）（兩件一組）
Trademark TM &© Warner Bros. Entertainment inc. (S10) KAWS.. on the bottom of left foot; MEDICOM TOY 2010 CHINA on the bottom of right foot
2010 綜合媒材 搪膠 限量500版 單一件：10（長）x 16.1（寬）x 23.2（高）cm 註冊商標： TM &© Warner Bros. Entertainment inc. (S10) KAWS.. （左腳底）； MEDICOM TOY 2012 CHINA （右腳底）
NT$ 50,000 - 80,000 HK$ 13,000 - 21,000 US$ 1,700 - 2,700
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150
JEFF KOONS (American, b.1955)
Balloon Dog (Magenta)
傑夫．昆斯
2015 Glazed porcelain, editon no. 927/2300 26.7(L) x 26.7(W) x12.7(D) cm
氣球狗（洋紅）
Stamped Jeff Koons on the reverse This work is to be sold with a certificate of authenticity issued by Bernardaud Group, France.
2015 釉瓷 版次 927/2300 26.7（長）x 26.7（寬）x 12.7（深）cm 印刷簽名：JEFF KOONS 附法國柏圖瓷器開立之作品保證書
NT$ 340,000 - 500,000 HK$ 88,000 - 130,000 US$ 11,300 - 16,600
傑夫．昆斯，1955年出生於美國賓夕法尼亞州約克縣，是當代
and compassion while discussing topics that resonate with people.
著名的藝術家之一。他是為數不多的能從先鋒派藝術（尤其是波
Jeff Koons’s works have been exhibited all over the world and are
普藝術）中汲取精髓的藝術家，以一雙巧手令平凡的事物成為體
collected by several public and private museums.
現美國流行文化的標記。他的作品傳達了接納、包容與仁慈的正 能量，探討能夠引起普世共鳴的主題。傑夫．昆斯的作品曾於世
The “Balloon Dog” work comes from Koons’s most famous series
界各地展出，並被多間公立及私人博物館收為藏品。
“Celebration,” marking the start of a new chapter in his creative career. As the artist once said, “We are ourselves just like these
作品《氣球狗》來自昆斯最廣為人知的系列「慶祝」，同時也見
inflatables; we take a breath, we expand, we contract... Our last
證了他創作生涯當中的新篇章。如藝術家本人所說「我們就像這
breath in life leads to our deflation.” This series of large sculpted
些充氣物一樣，我們呼吸、膨脹……最後一口氣，即是洩氣」。
installations have been displayed around the world. It was exhibited
此系列大型裝置雕塑，更在世界各地展出，也曾於2008年在紐
at the roof top of the New York Metropolitan Museum of Art in 2008.
約大都會藝術博物館的屋頂展出。這些色彩繽紛的雕塑不僅呈現
These colorful sculptures not only exhibit an impressive display of
出精湛的技術，更讓觀者在觀賞過程感受到極致喜悅。
skills, they also give viewers a sense of pure joy.
傑夫．昆斯對利摩日的陶瓷情有獨鍾並被其深深吸引，150多年
Jeff Koons is especially enamored with the pottery of Limoges. Over
以來，柏圖瓷器在法國利摩日的工作室彙聚了眾多技藝精湛的工
the past 150 years or so, Bernardaud’s studio in Limoges, France
藝大師，打造出《氣球狗》如此精美的作品。無論是絢麗奪目的
has brought together many skillful craftsmen, who have gone on
反光效果，還是錯綜複雜的扭結、褶皺和纏繞方式，這些作品都
to make beautiful works such as “Balloon Dog.” Be it the dazzling
彰顯了藝術家對細節的精益求精。
reflections or the complicated criss-crossing of knots, folds, and twists, these works highlight the artist’s careful eye for detail.
Jeff Koons, born in 1955 in York County, Pennsylvania, is a renowned contemporary artist. He is one of the few artists who are able to extract the essence of avant-garde art (especially pop art). With a pair of clever hands, he has turned ordinary objects into icons of American pop culture. His works convey positive energies of acceptance, inclusion
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拍 賣 名 稱：羅芙奧 2017 秋季拍賣會 薈萃 I：濃淡總相宜－常玉、丁雄泉的東方之韻 薈萃 II：國際現代與當代藝術 拍 賣 編 號：TA1703 拍 賣 日 期： 2017 年 12 月 2 日（星期六） 下午 2:30 ( 薈萃 I) 2017 年 12 月 2 日（星期六） 下午 3:00 ( 薈萃 II) 拍 賣 地 點：台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路 199 號
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RAVENEL AUTUMN AUCTION 2017 SELECT I: Master Drawings - Sanyu & Walasse Ting SELECT II: Modern & Contemporary Art Saturday, 2 December 2017, 2:30 pm (SELECT I) Saturday, 2 December 2017, 3:00 pm (SELECT II) TA1703 Marriott Taipei 3F (Grand Space) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei
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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」)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」：指本公司就某一拍賣品而接受之最高出價之價款。 6. 「買家服務費」：指買家按落槌價之某一百分比而支付本公司之費用； 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）。 10. 「賣家服務費」：指賣家應支付本公司之費用。 二、買家 1. 本公司作為賣家代理人 本公司作為賣家代理人之身分行事。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相關證明文件之真偽，均不對買家作任 何保證。 b. 拍賣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 服務費。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、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 有關拍賣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. 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，買家如須以新台幣之外其他貨幣繳付，須依 拍賣日現場公佈之匯率，折合所繳付之等值貨幣計算。 b. 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。 c. 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。 d. 保證金 競投者，應在領取競投號牌前繳納競投保證金，競投保證金的金額 由本公司在拍賣日前公佈。若競投者未支付競投保證金，本公司有 權不接受其競投。若競投者未能購得拍賣品且對本公司無任何欠款 則將無息退還保證金。若競投者成為買家，則本公司有權將此保證 金自動轉化為已成交拍賣品購買價款，若尚有餘款須退回給買家。 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 Invaluable 進行網上競投 若準買家未能出席拍賣會，或可透過Invaluable網上競投服務於網上 競投屬意拍品，而承擔買家獨立責任。此項服務乃免費及保密。有 關透過 Invaluable 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Invaluable網上競投服務之準買家須接 受透過Invaluable網上競投服務進行即時網上競投之附加條款（可參 閱網站），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。拍賣官會於拍賣開始 前或於相關拍賣品競標前對注意事項作出通告，準買家須負責自行 注意所有於拍賣會場發表之通告。建議使用即時網上競投服務參與 競投的準買家，於拍賣開始前登入，以確保準買家得知拍賣開始前 所作出之通告。 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， 亦即為賣家與買家合意依落槌價拍定拍賣品，視為成功拍賣合約之 訂立。 4. 成功拍賣後 a. 買家支付每件拍賣品之服務費費率 (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落槌價之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落槌價之20％計算，超過新台幣參仟貳 佰萬元之部份再以落槌價之12％，加總計算服務費金額。 b. 稅項 買家應付予本公司之款項，如須另行支付貨物、服務稅或其他稅則 時（不論由台灣政府或別處所徵收）。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真實姓名及永久地址。如經本 公司要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳 號。買家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、服務費或運費等相關費用）。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，須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。已購拍賣品在 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），已購拍賣品之風險全由買家承擔。 e. 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 須預先繳付運輸費用。 f. 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 本放款利率加收10%之年利率收取整筆欠款之利息。此外本公司 可同時按日收取依成交價（含落槌價、服務費）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 或其他關係企業在任何其他交易中欠下買家之款項，買家絕無 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 本公司管有之已購拍賣品行使留置權，並在給予買家有關其未 付之欠繳之十四天通知後，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 用以清償已購拍賣品就任何特定交易而欠下之任何款項，而不 論買家是否指示用以清償該筆款項。 (4) 在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆保證金。如買家未有 在三十五天內付款，本公司除上述辦法外，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。 g. 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。而買家在付 清所引起之貯存、搬運、運輸、保險及任何其他費用，連同欠本公 司之所有其他款項後，方可領取已購拍賣品項目。 h. 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，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，本公司有權向其收取與此 項申請有關之款項及零碎開支連同任何有關之稅則。 如買家不需要出口許可證而作出付款，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，任何拍賣品之任何瑕疵或缺陷，均不負有任何責任。賣家、 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 本公司之拍賣品，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、贓物或涉及不法情事者，則交易將取消，已付之款項於交付賣 家前將退還予買家。但如： a. 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納 之意見，或清楚表明有牴觸當時學者或專家普遍接納之意見。 b. 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 關拍賣品乃膺品或贓物之詳細理由及證據。 (2) 且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。 (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 或贓物，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或贓物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 Prospective Buyer, 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 Lot accepted by the auctioning party. 6. The " Buyer's Premium" shall mean the fee based on a certain percentage of the Hammer price paid to the Company 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). 10. The "Seller Service Fee” shall mean the fee is paid to the Company by the Seller. ARTICLE 2.THE BUYER 1. The Company as the Agent of the Seller The Company, 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. The Company provides no guarantee to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot and related certificates. 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 description of the auction items also do not imply and guarantee 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. We strongly recommend the Prospective Buyers shall personally view the items for which they plan to bid before the auction. 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. 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 Lot 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
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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 Lots 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/its own judgment or estimation independently regarding the Lots.ing his/her own judgment or estimation independently regarding the Lots. 3. In the Auction a. 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 announced by the Company on the day of auction. b. 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. c. 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 request to conduct credit checks against Buyers. d. The Bidding Deposit The bidder shall pay the bidding deposit before receiving the bidding number. The Company will announce the amount of the bidding deposit before the auction day. If the bidder fails to pay the bidding deposit in advance, the Company has the right to refuse the bid. If the bidder is not able to purchase any Lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). 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 provided forms attached to the explanations of the catalogue; however, bid commission instructions must be 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/she 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 Invaluable If the bidder cannot attend the auction, it may be possible to bid online via Invaluable for preferred Lots to bear individual buyer's responsibilities. This service is free and confidential. For information about registering to bid via Invaluable, please refer to Ravenel.com. The Bidders using the Invaluable online bidding service are subject to the additional terms and conditions for online bidding via Invaluable, which can be viewed at Ravenel.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 in 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/her 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 Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the commencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction. 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 on Hammer Price. 4. Following the Auction a. The Buyer's Premium of Each Lot (1) The Buyer should pay the hammer price and, in addition, the Buyer's Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), 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 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% of the hammer price. 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/her/its true 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 the company request. All payments due (including the hammer price, the Buyer's Premium and any freights or other expenses) 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 exchange rate of the payments to the Company 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. Referral of Packaging or Transportation Companies The shipping department of the Company may introduce the forwarder, assist in the arrangement of delivery, or purchase particular insurance upon the Buyer's request. The Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. Costs and expenses for shipping and insurance shall be paid in advance. f. 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. Besides, we have the right of charging also 1% selling price (including of hammer price and Buyer's Premium) 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/hers/its 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/her/it. 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. g. 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, handling, 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.
h. 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/hers/its 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 Seller, 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 or stolen goods 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 or stolen goods, or involved in obvious illegality 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. b. Or the method used to prove that the Lot is a counterfeit or stolen goods 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/she considers the relevant auction item a counterfeit or stolen goods. (2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day 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 or stolen goods (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 or stolen goods 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 or stolen goods 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
118
INDEX A AWANG DAMIT AHMAD
M 阿旺．達密．阿麥德
121
B
MICHEL MALY
米歇爾．馬利
138
GEORGES MATHIEU
喬治．馬修
127
GUY BARDONE
居．巴赫東
107
AMEDEO MODIGLIANI
阿美迪奧．莫迪里亞尼
111
LUIGI BENZONI
路意吉．班佐尼
119
VIK MUNIZ
維克．穆尼斯
131
ALAIN BONNEFOIT
阿蘭．龐華
142
P DESIRE OBTAIN CHERISH 強納森．保羅 (D．O．C) (JONATHAN PAUL)
144
GIANLUCA PIACCIONE
吉安路卡．皮亞奇歐尼
118
VALAY SHENDE
瓦雷．湘堤
130
MARKO STUPAR
馬可．史都跋
106
SRIHADI SUDARSONO
斯里哈迪．蘇達索諾
126
菅井汲
123
WALASSE TING
丁雄泉
128
THÉO TOBIASSE
提歐．托比亞斯
120, 134
MAURICE DE VLAMINCK
莫里斯．德．烏拉曼克
113
ANTONIUCCI VOLTI
安東尼奧奇．沃第
110
TOM WESSELMANN
湯姆．韋塞爾曼
122
PAUL WUNDERLICH
保羅．萬得里奇
116
C BERNARD CATHELIN
貝爾納．卡多蘭
108, 114
MARC CHAGALL
馬克．夏卡爾
101, 112
BERNARD CHAROY
貝爾納．夏洛瓦
115, 136, 137
CORNEILLE 柯奈爾 (GUILLAUME CORNELIS VAN BEVERLOO)
125
D
S
PHILIPPE DECRAUZAT
菲利普．德克羅扎
117
KUMI SUGAÏ
KAWS (BRIAN DONNELLY)
布萊恩．唐納利
145, 146, 147, 148, 149
T
F LÉONARD TSUGUHARU FOUJITA 藤田嗣治
102
V
G RENÉ GENIS
賀內．吉尼斯
139, 141
RENÉ GRUAU
勒內．格魯瓦
103, 104
MR． BRAINWASH (THIERRY GUETTA)
洗腦先生（泰瑞．庫塔） 129, 132
PAUL GUIRAMAND
保羅．賈曼
133, 143
米歇爾．昂利
135
JEAN JANSEM
強．詹森
105
PAUL JENKINS
保羅．詹肯斯
124
傑夫．昆斯
150
GEORGES LAPORTE
喬治．拉波德
140
MARIE LAURENCIN
瑪麗．羅蘭珊
109
W
H MICHEL HENRY
J
K JEFF KOONS
L
119
I N T E R N A T I O N A L
A R T
G R O U P
羅芙奧2017秋季拍賣會 RAVENEL AUTUMN AUCTION 2017
薈萃 I 濃淡總相宜 常玉、丁雄泉的東方之韻 MASTER DRAWINGS SANYU & WALASSE TING
薈萃：國際現代與當代藝術 SELECT: Modern & Contemporary Art 拍賣
12月2日 | 台北萬豪酒店 Marriott Taipei 三樓（博覽廳） PM 2:30 薈萃專場 I ：濃淡總相宜－常玉、丁雄泉的東方之韻 PM 3:00 薈萃專場 II：國際現代與當代藝術
預展
台中 | 11月11-12日 | 台中豐藝館 高雄 | 11月18-19日 | 高雄琢璞藝術中心 香港 | 11月25-26日 | 香港君悅酒店五樓 台北 | 11月30日-12月2日 | 台北萬豪酒店三樓（博覽廳）
諮詢
陳惠黛 Odile Chen +886 2 2708 9868 ext.889 odilechen@ravenel.com