SPRING AUCTION 2018 TAIPEI
羅芙奧台北 2018 春季拍賣會 亞洲現代與當代藝術
RAVENEL SPRING AUCTION 2018 TAIPEI Modern and Contemporary Asian Art
拍賣日期／地點 2018年6月3日（日）下午 2:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳） 預展日期／地點 台中 2018年5月12日（六）下午1:00至下午6:00 2018年5月13日（日）上午11:00至下午6:00 豐藝館 台中市西區五權西路一段110號B1 高雄 2018年5月19日（六）~ 20日（日）上午11:00至下午6:00 琢璞藝術中心 高雄市前金區五福三路63號8樓 台北 2018年5月31日（四）~ 6月2日（六）上午10:00至下午6:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳）
AUCTION Sunday, June 3, 2018, 2:00pm Marriott Taipei Grand Space, 3F , No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan
PREVIEWS Taichung
Saturday, May 12, 2018, 1:00pm - 6:00pm Sunday, May 13, 2018, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan
Kaohsiung
Saturday, May 19 - Sunday, May 20, 2018, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan
Taipei
Thursday, May 31 - Saturday, June 2, 2018, 10:00am - 6:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan
拍賣目錄每本售價：NT$2,000 This auction catalogue: NT$2,000 per copy
王鎮華 Arthur Wang 董事長 Chairman
郭倩如 Clara Kuo 副董事長 Vice Chairman
李雅欣 Wendy Lee 執行長 Chief Excutive Officer
傅斐郡 Flora Fu 藝術部總經理 President, Art Department
林慧菁 Maggie Lin 藝術部資深副總經理 Senior Vice President, Art Department
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目次 / Contents
9
羅芙奧春季拍賣會
Sale Information 12
羅芙奧之服務
Ravenel Services 15
藝術家索引
Index 16
亞洲現代與當代藝術
Modern and Contemporary Asian Art 295
給予買家的重要通知
Important Notice to Buyers 297
委託競投表格
Absentee Bid Form 299
業務規則
Transaction Agreement
藝術家索引 / Index
A
Yoshitaka AMANO
天野喜孝
113
B
Banksy
班克斯
103
C
CAI Guo-Qiang Chang Chia-ying Chang-Ling Yoshio CHANG George CHANN CHEN Cheng Wei Chen Chun-Hao CHEN Ting-shih CHIU Tze-yan CHIU Ya-tsai CHU Teh-chun
蔡國強 張嘉穎 常陵 張義雄 陳蔭羆 陳承衛 陳浚豪 陳庭詩 邱紫媛 邱亞才 朱德群
CHUANG Che
莊喆
241 271 277 283 258 291 302 251, 252, 309 278 259, 261, 262, 263 211, 214, 219, 253, 254 249, 256
D
KAWS (Brian Donnelly)
KAWS (布萊恩．唐納利) 109, 110
H
HAN Young Wook HONG Ling HSIAO Chin HSIAO Ju-sung HSU Yu-jen Poren HUANG HUNG Yi
韓永旭 洪凌 蕭勤 蕭如松 許雨仁 黃柏仁 洪易
300 238 240, 257 247 274 307, 308 269, 301
I
Yuki INOUE
井上裕起
135
J
JAN Chin-shui JU Ming
詹金水 朱銘
279, 288 227, 265, 266, 268, 310, 311
K
L
Hideaki KAWASHIMA Satoru KOIZUMI Jeff KOONS KUO Wei-kuo Yayoi KUSAMA
川島秀明 小泉悟 傑夫．昆斯 郭維國 草間彌生
KWON Kyung Yup
權慶燁
299 111 137 290 105, 106, 120, 121, 124, 125, 126, 128, 131, 134, 136, 222, 223, 224, 225 272
LEE Kyoung-mi LEE Ufan LI Chen LI Kuang-yu LIEN Chien-hsing LIN Fengmian LIU Kuo-sung Max LIU Lu Shun
李慶美 李禹煥 李真 李光裕 連建興 林風眠 劉國松 劉其偉 呂順
117, 118 260 228, 267 303 275, 292 212 209, 216, 236 280, 281 284
M
Madsaki Takashi MURAKAMI
Madsaki 村上隆
119 107, 108, 115, 119
N
Moe NAKAMURA Yoshitomo NARA
中村萌 奈良美智
Cindy Ng Sio Ieng
吳少英
101 102, 116, 123, 127, 129, 130, 133, 226 276
O
Akio OHMORI Hiroshi OHASHI
大森曉生 大橋博
132 112
P
PANG Jiun PENG Kuan-jun
龎均 彭光均
213, 237, 289 305
R
REN Zhe Ayako ROKKAKU
任哲 六角彩子
306 298
S
SANYU
常玉
Shinjyuko SHIY De-jinn
真珠子 席德進
201, 202, 203, 204, 205, 206, 207, 208 294 235, 250
T
Madoka TAKAGI 高木まどか T’ANG Haywen (TANG Then Phuoc) 曾海文 Walasse TING 丁雄泉
104 242, 243 229, 230, 231, 232, 233, 234, 239
W
WANG Pan-youn WANG Xinfeng Andy WARHOL
王攀元 王信豐 安迪．沃荷
244, 245, 246 285 114, 122
X
XIA Junna
夏俊娜
286, 287, 293
Y
Mayuka YAMAMOTO 山本麻友香 Takato YAMAMOTO 山本正市玄 YANG Chihung 楊識宏 Yang Pei-Chen 楊北辰 Yuyu YANG (YANG Ying-feng) 楊英風 YEE Bon 余本 Tzu-chi YEH 葉子奇 YIN Kun 尹坤 YOON Jongseok 尹鍾錫
297 295 255 270 304 282 264 273 296
Z
ZAO Wou-ki
趙無極
ZHOU Chunya
周春芽
210, 215, 220, 221, 248 138, 217, 218
101 Moe NAKAMURA (Japanese, b.1988 )
Dome-Together With Nandina 2017 Wood, oil paint, glass 9.6(L) x 19.5(H) cm
中村萌 穹頂之上 2017 木 油彩 玻璃 9.6(長) x 19.5(高) cm 附椿畫廊開立之原作保證書
This sculpture is to be sold with a certificate of authenticity issued by Gallery TSUBAKI
NT$ 60,000-100,000 HK$ 16,000-27,000 US$ 2,100-3,400 RMB 13,000-22,000
「萌」藝術 「當我失去了一些東西，當我覺得缺少某些東西時，或者當我被無意 中的一些重大變化吞噬時，我感覺或多或少地失去了。我是誰，我應 該尋找什麼？事實上，存在本身是模棱兩可的，我們失去了什麼，我 們尋找的真相不在個人的『我』之外，而是在內部。 」─中村萌 日本當代藝術無限可能，身為目前備受矚目的日本當代藝術家中村 萌，於今日東京藝壇堪稱異軍突起，掀起一股療癒系旋風。其作品以 充滿手感溫度的人物木雕創作為主，大部份的雕塑作品皆保留了雕刻 時的刻痕紋路，獨具風格；作品充滿童趣詼諧卻又撫慰人心的質感， 可愛卻不流於俗套的外型，以不誇張的造型取勝；純真、靜謐的氣息 讓人彷彿進入童話故事的綺麗幻想當中。在仔細凝視她的作品後不難 發現，在充滿童稚的表象下隱含著寂寞且孤獨的社會信息，中村萌藉 此探討了身在這資訊迅速蔓延的社會裡個體的存在價值。或許和身處 在手機、網絡發達的資訊社會中許多人的內心一樣，中村萌以不那麼 令人難以親近的藝術語言，內斂、低調地傳達了大部分人所認同地當 代社會人際困境，使她的作品更貼近當代人的內心進而產生共鳴。
“MOE” ART “In the moment I lost something, when I realise something is missing, or when I am engulfed in some unexpected, drastic changes in circumstance, feeling a greater or lesser extent of loss, I wonder about people, myself, and what it is we're supposed to be looking for. If it is existence itself that has been lost by our
ambiguous selves, what we seek might not actually outside of the ‘I’ of the individual, but perhaps it lies inside.”- Moe Nakamura Contemporary art in Japan has infinite potential, and for Moe Nakamura, a contemporary Japanese artist recently in the spotlight, the Tokyo art scene today is on a rapid ascent, set to spur a whirlwind of rejuvenation. Nakamura's art practice focuses on warmly hand-carved figures: sculptural works marked by the unique way the notches and grains of the wood are preserved. Her works are filled with youthful wit and soothing textures — cute but not conforming to the clichéd and exaggerated moulds. They stand out for that, for their sincerity, their quiet breath that leads viewers into a kind of enchanting fantasy land from the pages of a children's story. After taking time with her works, it becomes apparent that embedded under the all so childish surface layer is a social commentary on loneliness and isolation. Nakamura explores this in relation to the value of an individual's existence within a society of rapidly spread information. Or perhaps, Nakamura speaks more to people in a society of rapid information who are always next to a smartphone and online, expressing the interpersonal struggles experienced by so many people in contemporary society, and doing so in an understated, low-key fashion with the relatively accessible language of art. This contributed to her work drawing closer to and resonating with the hearts of people today.
102 Yoshitomo NARA (Japanese, b. 1959)
Slash with a Knife 2001 Watch, metal case, limited edition of 500 23(L) x 4.2(W) x 1.5(H) cm (watch) 22.5(L) x 16.7(W) x 3.4(H) cm (box) This work is accompanied with a certificate and instruction manual from Citizen Watch Company
NT$ 50,000-70,000 HK$ 13,000-19,000 US$ 1,700-2,400 RMB 11,000-15,000
奈良美智 小刀劃開手錶 2001 手錶 鐵盒 限量500件 23(長) x 4.2(寬) x 1.5(高) cm (手錶) 22.5(長) x 16.7(寬) x 3.4(高) cm (盒子) 附星辰錶所發之說明書及手錶保證書
103 Banksy (British, b.1975)
Monkey Sign - Do Nothing You’ll Live Longer (Black) 2016 Resin, limited edition of 600 19(L) x 15(W) x 36(H) cm (Statue) 28.7(L) x 24.5(W) x 45(H) cm (Original Box) Trademark © MMXVI Full Color Black Ltd on the bottom of right foot, MEDICOM TOY 2016 CHINA on the bottom of left foot
NT$ 40,000-80,000 HK$ 11,000-22,000 US$ 1,400-2,800 RMB 9,000-17,000
班克斯 掛牌猴子－什麼都不做你可以活更久 (黑) 2016 樹脂 限量600件 19(長) x 15(寬) x 36(高) cm (雕塑) 28.7(長) x 24.5(寬) x 45(高) cm (原裝外盒) 註冊商標： © MMXVI Full Color Black Ltd. (右腳底) MEDICOM TOY 2016 CHINA(左腳底)
104 Madoka TAKAGI (Japanese, b. 1983)
DECO 2015 Clay and acrylic color 8(L) x 11(W) x 30(H) cm Signed on the bottom Madoka, titled DECO and dated 2005 This painting is to be sold with a certificate of authenticity issued by Gallery TSUBAKI
NT$ 60,000-120,000 HK$ 16,000-32,000 US$ 2,100-4,100 RMB 13,000-26,000
高木まどか 德柯 2015 黏土 壓克力顏料 8(長) x 11(寬) x 30(高) cm 簽名底部：DECO 2005 Madoka 附椿畫廊開立之原作保證書
105 Yayoi KUSAMA (Japanese, b. 1929)
Chrismas ; Love Forever (a set of 2) 2001; 2017 Ceramic edition no. 117/500 (Chrismas) Christmas : 23(diameter) x 2(H) cm Heart : 11.2(H) x 11.5(W) x 3(H) cm Printed signature Yayoi Kusama in English and dated 2001 (Chrismas) Engraved on the reverse, titled, LOVE Yayoi Kusama and dated 2017 (Love Forever)
NT$ 60,000-100,000 HK$ 16,000-27,000 US$ 2,100-3,400 RMB 13,000-22,000
草間彌生 聖誕；永恆的愛 (兩件一組) 2001；2017 瓷盤 117/500 (聖誕) 聖誕：23(直徑) x 2(高) cm 心型小皿：11.2(長) x 11.5(寬) x 3(高) cm 印刷簽名：Yayoi Kusama 2001 (聖誕) 瓷盤背後：LOVE Yayoi Kusama 2017 (心型小皿)
106 Yayoi KUSAMA (Japanese, b. 1929)
Dots Obsession 2011 Mixed media, mirror, edition no. 254 /300 33(L) x 25.2(W) x 4(H) cm Signed on the reverse y.Kusama in English, titled DOTS OBSESSION in English, inscribed 254/300 and dated 2011
NT$ 80,000-160,000 HK$ 22,000-43,000 US$ 2,800-5,500 RMB 17,000-35,000
草間彌生 迷戀圓點 2011 綜合媒材 鏡子 254/300 33(長) x 25.2(寬) x 4(高) cm 簽名背後：DOTS OBSESSION 2011 y.Kusama
107 Takashi MURAKAMI (Japanese, b. 1962)
Takashi Murakami x ComplexCon Mr. DOB (a set of 2) 2016 Vinyl, Plastic Golden limited edition: 250 Red limited edition: 750 28(L) x 19(W) x 24(H) cm (each)
NT$ 70,000-120,000 HK$ 19,000-32,000 US$ 2,400-4,100 RMB 15,000-26,000
村上隆 DOB君 (兩件一組) 2016 彩繪 搪膠 金黃 限量250件 紅藍 限量750件 28(長) x 19(寬) x 24(高) cm (每件)
108 Takashi MURAKAMI (Japanese, b. 1962)
I Met a Panda Family (a set of 3) 2013 Print, edition no. 171/300;137/300; 85/300 50 x 50 cm (each) Initialed lower right M and numbered 171/300 (silver) Initialed lower right M and numbered 137/300 (golden) Initialed lower right M and numbered 85/300 (blue)
NT$ 130,000-220,000 HK$ 35,000-59,000 US$ 4,500-7,600 RMB 28,000-48,000
村上隆 我與熊貓家族（三件一組） 2013 版畫 171/300；137/300；85/300 50 x 50 cm (每件) 簽名版次右下： M 171/300 (銀) M 137/300 (金) M 85/300 (藍)
109 KAWS (Brian Donnelly) (American, b. 1974)
Astro Boy (Red, Gray) (a set of 2) 2012 Painted cast vinyl Edition of 500 16.5(L) x 12(W) x 37(H) cm (each) Trademark © Tezuka Productions Designed by KAWS on the bottom of right foot, MEDICOM TOY 2012 CHINA on the bottom of left foot
NT$ 90,000-140,000 HK$ 24,000-38,000 US$ 3,100-4,800 RMB 20,000-30,000
KAWS (布萊恩．唐納利) 原子小金剛 (紅、灰) (兩件一組) 2012 綜合媒材 搪膠 限量500件 16.5(長) x 12(寬)x 37(高)cm (每件) 註冊商標：© Tezuka Productions Designed by KAWS (右腳底)；MEDICOM TOY 2012 CHINA (左腳底)
110 KAWS (Brian Donnelly) (American, b. 1974)
Dissected Companion: Resting Place (Black, Gray, Brown) (a set of 3) 2013 Painted cast vinyl, edition of 500 21(L) x 30(W) x 23(H) cm (each) Trademark © KAWS..12 MEDICOM TOY 2012 CHINA on the bottom of left feet (Brown) Trademark © KAWS..13 MEDICOM TOY 2013 CHINA on the bottom of left feet (Black) Trademark © KAWS..13 MEDICOM TOY 2013 CHINA on the bottom of left feet (Gray)
NT$ 140,000-240,000 HK$ 38,000-65,000 US$ 4,800-8,300 RMB 30,000-52,000
KAWS (布萊恩．唐納利) 同伴解剖（休息處） (黑、灰、棕)(三件一組) 2013 彩繪 搪膠 限量500件 21(長) x 30(寬) x 23(高) cm (每件) 註冊商標：© KAWS..12 MEDICOM TOY 2012 CHINA (左腳底) (棕) 註冊商標：© KAWS..13 MEDICOM TOY 2013 CHINA (左腳底) (黑) 註冊商標：© KAWS..13 MEDICOM TOY 2013 CHINA (左腳底) (灰)
111 Satoru KOIZUMI (Japanese, b. 1983)
To the Mountain 2012 Woodcarving, polychrome, resin 16.5(L) x 14.5(W) x 26(H) cm Engraved on the back koizumi This sculpture is to be sold with a certificate of authenticity issued by Aki Gallery
NT$ 110,000-220,000 HK$ 30,000-59,000 US$ 3,800-7,600 RMB 24,000-48,000
小泉悟 上山去 2012 木雕 顏料 樹脂 16.5(長) x 14.5(寬) x 26(高) cm 雕刻簽名背後：koizumi 附也趣藝廊開立之原作保證書
112 Hiroshi OHASHI (Japanese, b.1967)
Ageha 2009 Cypress, Japanese lacquer, pigment 31(L) x32(W) x 26(H) cm Singed on the bottom Ohashi Hiroshi, titled Ageha in Chinese and dated 2009 EXHIBITED
Once upon a time: Hiroshi Ohashi Solo Exhibition, My Humble House Art Gallery, Taipei, October 29 - November 14, 2010
NT$ 160,000-260,000 HK$ 43,000-70,000 US$ 5,500-9,000 RMB 35,000-56,000
大橋博 小惡魔 2009 柏木 日本漆 顏料 31(長) x 32(寬) x 26(高) cm 簽名於底部：揚羽 2009 Ohashi Hiroshi 展覽
「 夢十囈」，寒舍空間，台北，展期自2010年10月29日至11月14日
113 Yoshitaka AMANO (Japanese, b. 1952)
Untitled 2003 Ink on paper 32 x 43.5 cm Signed lower right Y.Amano This painting is to be sold with a certificate of authenticity issued by ART VIVANT CO., LTD.
NT$ 60,000-120,000 HK$ 16,000-32,000 US$ 2,100-4,100 RMB 13,000-26,000
天野喜孝 無題 2003 水墨 紙本 32 x 43.5 cm 簽名右下：Y.Amano 附アールビバン株式會社開立之原作保證書
114 Andy WARHOL ( American, b. 1928 - 1987 )
Guns 1981 Print 20 x 28 cm Signed lower center Andy Warhol
NT$ 90,000-180,000 HK$ 24,000-49,000 US$ 3,100-6,200 RMB 20,000-39,000
安迪．沃荷 槍 1981 版畫 20 x 28 cm 簽名中下：Andy Warhol
115 Takashi MURAKAMI (Japanese, b. 1962)
Infinity (a set of 2) 2009 Print, edition no. 117/300; no. 116/300 86 x 67 cm (each) Initialed lower right M 117/300 (left) Initialed lower right M 116/300 (right)
NT$ 70,000-140,000 HK$ 19,000-38,000 US$ 2,400-4,800 RMB 15,000-30,000
村上隆 無限（兩件一組） 2009 版畫 117/300；116/300 86 x 67 cm (每件) 簽名版次右下：M 117/300 (左) 簽名版次右下：M 116/300 (右)
116 Yoshitomo NARA (Japanese, b. 1959)
Cosmic Girl Eyes (Open / Close) (a set of 2) 2008 Print, limited edition of 500 68 x 48 cm (each)
NT$ 110,000-180,000 HK$ 30,000-49,000 US$ 3,800-6,200 RMB 24,000-39,000
奈良美智 宇宙女孩 （睜眼 / 閉眼）（兩件一組） 2008 版畫 限量500件 68 x 48 cm (每件)
117 LEE Kyoung-mi (Korean, b. 1977)
Punctured Hope 2013 Oil on constructed birch panel 55(L) x 55(W) x 7(D) cm Signed on the reverse KYOUNG MI LEE in English ILLUSTRATED
The Artist’s House: LEE KYOUNG MI, Seongbuk Museum of Art, Seoul, 2014, color illustrated, p. 30 This work is to be sold with a certificate of authenticity with artist’s signature issued by TOSEE Art Agency Co., Ltd.
NT$ 130,000-220,000 HK$ 35,000-59,000 US$ 4,500-7,600 RMB 28,000-48,000
李慶美 破滅的希望 2013 油彩 木板 55(長) x 55(寬) x 7 (厚)cm 簽名畫背：KYOUNG MI LEE 圖錄
《李慶美》，城北國立美術館，首爾，2014， 彩色圖版，頁30 附土思藝術開立與藝術家親筆簽名之原作保證書
118 LEE Kyoung-mi (Korean, b. 1977)
Shrunken Nation 2015 Oil on constructed birch panel 55(L) x 55(W) x 7(D) cm Signed on the reverse Kyoung Mi Lee in English This work is to be sold with a certificate of authenticity with artist’s signature issued by TOSEE Art Agency Co., Ltd.
NT$ 130,000-220,000 HK$ 35,000-59,000 US$ 4,500-7,600 RMB 28,000-48,000
李慶美 衰落的國家 2015 油彩 木板 55(長) x 55(寬) x 7 (厚)cm 簽名畫背： Kyoung Mi Lee 附土思藝術開立與藝術家親筆簽名之原作保證書
119 Takashi MURAKAMI x Madsaki (Japanese, b. 1962; Japanese, b. 1974)
ComplexCon Flower (a set of 3) 2017 Screenprint no. 33/100 (Black Version B) no. 35/100 (Red Version B) no. 20/100 (White Version B) 46.8 x 38 cm (each) Signed lower right Takashi, dated 2017 and numbered 33/100 (Black) Signed lower right Takashi, dated 2017 and numbered 35/100 (Red) Signed lower right Takashi, dated 2017 and numbered 20/100 (White)
NT$ 160,000-260,000 HK$ 43,000-70,000 US$ 5,500-9,000 RMB 35,000-56,000
村上隆x Madsaki 花 ComplexCon (三件一組) 2017 絲網版畫 黑B 33/100 紅B 35/100 白B 20/100 46.8 x 38 cm (每件) 簽名版次右下：Takashi 2017 33/100 (黑) 簽名版次右下：Takashi 2017 35/100 (紅) 簽名版次右下：Takashi 2017 20/100 (白)
120 Yayoi KUSAMA (Japanese, b. 1929)
Vase (2) 1992 Lithograph, edition no. 31/50 44.6 x 31.7 cm Signed lower right y. Kusama in English, titled Vase(2) in Japanese and dated 1992 Numbered lower left 31/50 ILLUSTRATED
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017, color illustrated, p. 105, no. 167
NT$ 160,000-260,000 HK$ 43,000-70,000 US$ 5,500-9,000 RMB 35,000-56,000
草間彌生 紅花（二） 1992 版畫 31/50 44.6 x 31.7 cm 簽名右下: かびん(2) 1992 y. Kusama 版次左下：31/50 圖錄
《草間彌生全版畫1979-2017》，阿部出版株式會社，東京， 2017，彩色圖版，頁105，編號167
121 Yayoi KUSAMA (Japanese, b. 1929)
Disappointment 1994 Screenprint edition no. 11/120 65.5 x 50 cm Signed lower right Yayoi Kusama, titled Disappointment in Japanese and dated 1994 Numbered lower left 11/120 ILLUSTRATED
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017, color illustrated, p. 117, no. 191
NT$ 200,000-300,000 HK$ 54,000-81,000 US$ 6,900-10,300 RMB 43,000-65,000
草間彌生 失意 1994 絲網版畫 11/120 65.5 x 50 cm 簽名右下: 失意 Yayoi Kusama 1994 版次左下：11/120 圖錄
《草間彌生全版畫1979-2017》，阿部出版株式會社，東京，2017， 彩色圖版，頁117，編號191
122 Andy WARHOL ( American, b.1928 - 1987 )
Flower 66 1970 Screenprint 67 x 67 cm Signed lower right Andy Warhol
NT$ 300,000-400,000 HK$ 81,000-108,000 US$ 10,300-13,800 RMB 65,000-87,000
安迪．沃荷 花 66 1970 絲網版畫 67 x 67 cm 簽名右下：Andy Warhol
123 Yoshitomo NARA (Japanese, b. 1959)
Slash with a Knife( In the Floating World ) 1999 Lithograph no. 41/50 42.4 x 33 cm Signed lower right Na in Japanese Numbered lower right 41/50 ILLUSTRATED
Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 308, no. E-1999-001
NT$ 340,000-440,000 HK$ 92,000-119,000 US$ 11,700-15,200 RMB 74,000-95,000
奈良美智 小刀劃開 1999 版畫 41/50 42.4 x 33 cm 簽名右下：な 版次右下：41/50 圖錄
《奈良美智作品全集第一冊》，編年出版社，舊金山，2011， 彩色圖版，頁308，編號E-1999-001
124 Yayoi KUSAMA (Japanese, b. 1929)
A Pumpkin YB-A 2004 Screenprint, edition no. 57/120 33 x 38.5 cm Signed lower right Yayoi Kusama Inscribed lower left A PUMPKIN YB-A, dated 2004 and numbered 57/120 PROVENANCE
Private collection in Japan ILLUSTRATED
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 187, no. 325.
NT$ 360,000-460,000 HK$ 97,000-124,000 US$ 12,400-15,800 RMB 78,000-100,000
草間彌生 南瓜 YB-A 2004 絲網版畫 57/120 33 x 38.5 cm 簽名右下：Yayoi Kusama 題識左下：57/120 A PUMPKIN YB-A 2004 來源
私人收藏，日本 圖錄
《草間彌生全版畫1979-2017》，阿部出版株式會社，東京，2017， 彩色圖版，頁187，編號325
125 Yayoi KUSAMA (Japanese, b. 1929)
Infinity Nets 2000 Print, edition no. 32 /35 31.8 x 25.5 cm Signed lower right Yayoi Kusama Inscribed lower left Infinity nets, dated 2000 and numbered 32/35 ILLUSTRATED
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 173, no. 293.
NT$ 420,000-550,000 HK$ 113,000-148,000 US$ 14,500-18,900 RMB 91,000-119,000
草間彌生 無限的網 2000 版畫 32/35 31.8 x 25.5 cm 簽名右下：Yayoi Kusama 題識左下：32/35 無限の網 2000 圖錄
《草間彌生全版畫1979-2017》，阿部出版株式會社，東京， 2017，彩色圖版，頁173，編號293
126 Yayoi KUSAMA (Japanese, b. 1929)
Mushrooms 1979 Marker pen on paperboard 24.2 x 27.3 cm Signed upper left YAYOI KUSAMA in English and dated 1979 Signed on the reverse Yayoi Kusama in English and titled Mushrooms in Japanese, dated 1979 With one seal of the artist This painting is to be sold with a registration card issued by Yayoi Kusama Studio.
NT$ 550,000-750,000 HK$ 148,000-202,000 US$ 18,900-25,800 RMB 119,000-163,000
草間彌生 茸 1979 水性馬克筆 紙板 24.2 x 27.3 cm 簽名左上：YAYOI KUSAMA 1979 鈐印左上：彌生 簽名畫背：Yayoi Kusama 1979 茸 附草間彌生工作室開立之原作登錄卡
127 Yoshitomo NARA (Japanese, b. 1959)
OTO!! 1999 Marker pen on paper 23 x 23 cm Signed lower left Na in Japanese, and dated 99
NT$ 600,000-800,000 HK$ 162,000-216,000 US$ 20,700-27,600 RMB 130,000-174,000
奈良美智 OTO!! 1999 油性筆 紙本 23 x 23 cm 簽名左下：な' 99
128 Yayoi KUSAMA (Japanese, b. 1929)
Flower in a Shady Nook 1978 Ink, enamel on paperboard 27.2 x 24.2 cm Signed upper left Yayoi Kusama in English and dated 1978 titled Flower in a Shady Nook in Japanese on the reverse This painting is to be sold with a registration card issued by Yayoi Kusama Studio
NT$ 750,000-950,000 HK$ 202,000-256,000 US$ 25,800-32,700 RMB 163,000-206,000
草間彌生 綠蔭的花 1978 墨 漆 紙板 27.2 x 24.2 cm 簽名左上：Yayoi Kusama 1978 簽名畫背：Yayoi Kusama 1978 綠蔭の花 草間彌生作 附草間彌生工作室開立之原作登錄卡
Yoshitomo NARA 奈 良 美 智
身為國際藝術界極具影響力的日本當代藝術家，奈良美智的作品常以插畫風格呈現，重複著兒童肖像的主題。藝術家本人公開表示他的靈感來 源是他童年所回憶的兒童圖畫故事書，與年輕時代所喜愛的音樂，也曾說過「我只是跟隨自己的感覺去做創作，所有的原因和為什麼都是後來 才悟出來的。 」，為自己的創作靈感下了註解。 作品中儘管有著類似所謂「御宅族」的美學基礎，簡單的線條繪畫與平面構圖常使得奈良美智的作品被歸類為「超扁平」藝術，但奈良美智嚴 正地拒絕了如此被草率的界定其繪畫風格；在形式與表現方式看來，奈良美智的表現技法與超扁平藝術家雖雷同，但奈良美智的創作題材卻不 曾迴繞「超扁平」藝術家試圖批評當時日本的社會、風俗、藝術、文化的過度膚淺；他著重的是畫出對自己重要的東西，追求赤裸的真實自 我；而另一項影響奈良美智創作的元素則是起源於17世紀，主要描繪當時人們日常生活、風景、和戲劇的日本浮世繪，如：喜多川歌麿、葛飾 北齋、歌川廣重等作品身影亦常見於奈良美智的繪畫之中。 奈良美智作品中，這些孤獨或是疏離的真實感受同時也反映了當前日本社會的城市冷漠或是「御宅族」的生活型態。他在作品上刻畫出的孤獨 身影射自我的獨白，也恰巧契合了那一代人的困窘與屬於那個時代人的困惑心靈；宛若自畫像一般，奈良美智畫作中不可妥協卻又堅強抵禦外 在世界的人像神情，正是所有曾經迷離、孤單的世人身影；藝術家以追求真實內心自我的繪畫與世界相抗衡的當下也與外在世界溝通，透過這 樣的藝術語言，娓娓道出使他存在的力量，也給予孤寂人們撫慰傷感的溫暖。或許是外界的誤解、或許是時時在乎現實社會的目光，奈良美智 逗趣簡單的繪畫創作刻劃出屬於世代人的困境與難堪，更以他一派輕鬆的圖畫形象告訴你：「超越空虛，自由的生活吧！ 」
「奈良美智30年回顧展」Kaikai Kiki Gallery，東京 Yoshitomo Nara「Drawings: 1988-2018 Last 30 Years」, Kaikai Kiki Gallery, Tokyo
Yoshimoto Nara is an internationally renowned artist from Japan, whose work is often presented in a cartoon style, with bright-eyed children being the recurring motif. Nara often publicly expresses that he acquires inspiration from art books for children and the old records his listened to during his adolescence. He once commented that he painted with what he actually felt, and all the reason and meanings ensued afterwards. Although his works often find a base in “otaku” aesthetics, the simple lines and flat composition often cause his work to be classified as “Superflat.” However, the artist has strongly rejected the definition as a careless appraisal of his art style. In terms of form and expression, Nara’s techniques do indeed seem similar to the Superflat artists, but unlike in their works, the subjects of Nara’s works never revolve around criticizing the superficiality of current Japanese society, its traditions, art, or culture. Instead he focuses on painting what is important to him, and pursuing a naked yet true self. Another element that has influenced Nara’s work is Ukiyo-e, an art form from 17th-century Japan which depicts the daily lives, scenery, and theater of the time. The works of artists such as: Kitagawa Utamaro, Katsushika Hokusai, and Utagawa Hiroshige often appear in Nara’s paintings. These real-life feelings of loneliness and detachment that his works display also reflect the indifferent present in Japan’s cities and the “otaku” way of life. He depicts these lonely figures as reflection to his inner soliloquy, which just so happen to echo the dilemma of that generation and the confusion of their souls. Like many self-portraits, Nara’s creations betray an uncompromising spirit and a strong defiance of the outside world. They are pictures of those who have been lost and lonely. While the artist contends with the world by pursuing his true inner self through art, he also communicates with the world, exhibiting the energy of his existence through art, and soothing the wounds of the lonely. Or perhaps it is a misunderstanding of the outside world, constantly caring about where the eyes of society are actually pointed. Through an art practice that involves simple, amusing paintings, Nara has found a way to depict the dilemma and embarrassment of generations of people, speaking to that experience with a relaxed posture: "Well, beyond emptiness, it's a free life!"
129 Yoshitomo NARA (Japanese, b. 1959)
Untitled 2001 Colored pencil and pencil on paper 14.2 x 12.5 cm ILLUSTRATED
Yoshitomo Nara: The Complete Works Volume 2, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 178, no. D-2001-151
NT$ 950,000-1,800,000 HK$ 256,000-485,000 US$ 32,700-62,000 RMB 206,000-390,000
奈良美智 無題 2001 彩色鉛筆 鉛筆 紙本 14.2 x 12.5 cm 圖錄
《奈良美智作品全集第二冊》，編年出版社，舊金山，2011，彩色圖版， 頁178，編號D-2001-151
130 Yoshitomo NARA (Japanese, b. 1959)
World Peace 1998 Colored pencil and pencil on paper 29.5 x 21 cm ILLUSTRATED
Yoshitomo Nara: The Complete Works Volume 2, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 131, no. D-1998-183
NT$ 2,400,000-3,200,000 HK$ 647,000-863,000 US$ 82,700-110,200 RMB 521,000-694,000
奈良美智 世界和平 1998 彩色鉛筆 鉛筆 紙本 29.5 x 21 cm 圖錄
《奈良美智作品全集第二冊》，編年出版社，舊金山， 2011，彩色圖版，頁131，編號D-1998-183
131 Yayoi KUSAMA (Japanese, b. 1929)
Pumpkin 1998 Bronze, edition no. 57/100 27(L) x 27(W) x 28(H) cm Engraved YAYOI KUSAMA in English, dated 1998 and numbered 57/100 This sculpture is to be sold with a certificate of authenticity issued by FMR Limited, Japan.
NT$ 1,000,000-1,800,000 HK$ 270,000-485,000 US$ 34,400-62,000 RMB 217,000-390,000
草間彌生 南瓜 1998 銅雕 57/100 27(長) x 27(寬) x 28(高) cm 簽名雕刻：YAYOI KUSAMA 1998 57/100 附FMR開立之作品保證書
Akio OHMORI 日本新生代雕塑家大森曉生，曾經在二O一一年舉辦一場以收容所 犬貓為主題的個展「群光肖像」，探討安樂死議題，藉以雕刻收 容所內的動物，表達出整體社會對收容所內生命意義的反思。大 森曉生創作的依據正是以零安樂死著稱的熊本市立收容所，充滿 生命張力 的動物雕塑，結合日本傳統木雕工 藝及漆藝，細膩、完整地呈現了動 物的心境。將雕刻藝術融入日常生活 中，是大森曉生的創作理念。他不但善於描 繪動物細膩表情，更使用隱晦、深沉、暗喻 性手法表現出個人之於整個社會文化甚至家庭、城 市、歷史等等。他希望能透過作品，對環境議題產生省 思，也希望表達對社會時事的關心，讓藝術更貼近生活。 As a member of a new generation of Japanese sculptors, Akio Ohmori held a solo exhibition in 2011, with dogs and cats in animal shelters as his main theme to discuss the topic of animal euthanasia. By sculpting the sheltered animals, he expresses reflections by society about the meaning of life inside these shelters. Ohmori’s work was based on the Kumamoto Municipal Animal Care Center, which employed a “zero euthanization” policy that gained widespread recognition. With his sculpture imbued with the animals’ power of life, combined with Japanese traditional wood sculpture craftsmanship and lacquerworks, the thoughts of the animals are expressed completely in detail. Akio Ohmori’s working mindset is to combine the art of sculpture into everyday lives. Not only is he talented in portraying subtle expressions of animals, he is also able to use implicit, hidden and metaphoric means of expression to reflect the relationship between individuals, society, and culture. Furthermore, he also reflects upon the relationships of family, city, history and more. He hopes that his works can make a call for examination about environmental issues, while also express his concerns about society, and bring arts closer to everyday life.
132 Akio OHMORI (Japanese, b. 1971)
Bat Merry Go Round 2007 Japanese Cypress, Iron, Lacquer, Colors 194(L) x 101(W) x 281(H) cm Engraved on the reverse of tail membrane Akio in Japanese and dated 2007
NT$ 850,000-950,000 HK$ 229,000-256,000 US$ 29,300-32,700 RMB 184,000-206,000
大森曉生 旋轉蝙蝠 2007 檜 鐵 漆 彩色 194(長) x 101(寬) x 281(高) cm 雕刻簽名尾翼底部：2007
133 Yoshitomo NARA (Japanese, b. 1959)
Mori Girl 2012 Mixed media, edition no. 137/200 18(L) x 14.5(W) x 30(H) cm This sculpture is to be sold with a certificate of authenticity signed by the artist
NT$ 550,000-750,000 HK$ 148,000-202,000 US$ 18,900-25,800 RMB 119,000-163,000
奈良美智 森子 2012 綜合媒材 137/200 18(長) x 14.5(寬) x 30(高) cm 附藝術家親筆簽名作品保證卡
134 Yayoi KUSAMA (Japanese, b. 1929)
The Me that I Adore (Teapot, cup set) 2013 Bone China, edition no. 78/100 Cosmos: 20(L) x 12(diameter) x 14(H) cm (Bone china pot ) Love Forever, Heart, Flower, Cloud, Shine, Dream: 13.5(L) x 11(diameter) x 5(H) cm (Bone china tea cups x 6) Love Forever, Heart, Flower, Cloud, Shine, Dream: 12.3(L) x 10(diameter) x 6.5(H) cm (Bone china saucers x 6) Sun: 17.5(L) x 17.5(W) x 2(H) cm (Bone china cake plate x 6) Love: 11.5(L) x 11.5(W) x 2.5(H) cm (Bone china heart plate) Engraved on the bottom Yayoi kusama and titled COSMOS 078 and dated 2013 Engraved on the bottom of tea cups and saucers LOVE FOREVER Yayoi kusama, SUN Yayoi kusama, CLOUD Yayoi kusama, FLOWER Yayoi kusama, DREAM Yayoi kusama, SHINE Yayoi kusama in English and dated 2013. 078 Engraved on upper middle YAYOI KUSAMA in English, engraved on the bottom, signed Yayoi Kusama, titled, SUN and dated 2013 Engraved on the buttom LOVE YAYOI KUSAMA 2013. 078
NT$ 550,000-750,000 HK$ 148,000-202,000 US$ 18,900-25,800 RMB 119,000-163,000
草間彌生 我熱愛的自己（茶具，杯組） 2013 骨瓷 78/100 宇宙 : 20(長) x 12(直徑) x 14(高)cm (骨瓷茶壺) 永恆的愛、心、花、雲、光、夢 : 13.5(長) x 11(直徑) x 5(高) cm (骨瓷茶杯 x 6) 永恆的愛、心、花、雲、光、夢 : 12.3(長) x 10(直徑) x 6.5(高) cm (骨瓷杯碟 x 6) 太陽 : 17.5(長) x 17.5(寬) x 2(高) cm (骨瓷點心盤 x 6) 愛 : 11.5(長) x 11.5(寬) x 2.5(高) cm(骨瓷愛心盤) 印刷簽名瓷壺底部：COSMOS Yayoi Kusama. 2013. 078 印刷簽名杯碟底部：LOVE FOREVER Yayoi kusama, HEART Yayoi kusama,FLOWER Yayoi kusama, CLOUD Yayoi kusama, SHINE Yayoi kusama, DREAM Yayoikusama, SHINE Yayoi kusama. 2013. 078 印刷簽名杯子底部：LOVE FOREVER Yayoi kusama, HEART Yayoi kusama,FLOWER Yayoi kusama, CLOUD Yayoi kusama, SHINE Yayoi kusama, DREAM Yayoikusama, SHINE Yayoi kusama. 2013. 078 印刷簽名中上：YAYOI KUSAMA 印刷簽名瓷盤底部：SUN Yayoi kusama. 2013. 078 印刷簽名瓷盤底部：LOVE Yayoi kusama. 2013. 078
135 Yuki INOUE
井上裕起
(Japanese, b. 1972)
山椒魚形兜
The Helmet of Salamander’s Hape
2016 玻璃纖維 鐵 漆繪 編織穗 65(長) x 34(寬) x 60(高) cm
2016 FRP, iron, paint, braiding 65(L) x 34(W) x 60(H) cm EXHIBITED
Toy Box - Yuki Inoue Solo exhibition, U space Gallery, Taipei, December 16, 2017~January 14, 2018 SalaMandala/ Childhood Solo exhibition by Yuki Inoue, Takashimaya, Tokyo; Osaka, 2016
展覽
「江戶魂男孩的玩具箱－井上裕起個展」，U Space 畫廊，台北， 展期自2016年12月16日至2017年1月14日 「沙羅曼達－童年井上裕起個展」，高島屋，東京、大阪，2016
NT$ 460,000-550,000 HK$ 124,000-148,000 US$ 15,800-18,900 RMB 100,000-119,000
日本武將的頭盔，正式的名字叫兜（かぶと）。現存常見各式各款的 兜，一般都是在平安時代到江戶時代形成的。武士們的兜一般由麻、 木頭、竹片、皮革為主要材料，除此之外還佩有大量的金屬配飾。 戰國之前，平安時代大部分是弓戰，彼時的頭盔以保護顏面為主，江 戶時代的工藝也比以前提高了，可以用來利用在鎧甲上面的素材也更 多，不僅是大鎧時代的鐵片和竹木草編織物，皮革，皮草甚至象牙， 牛角，和紙，各種稀奇的材料都會用到設計方面，是日本華麗文物的 一部份。
period, the majority of battles during the Heian period were fought using bows. The helmets from this era served primarily to protect the face. During the Edo period, along with improvements in craftsmanship, materials typically used to craft ō-yoroi such as iron, weaved bamboo, and leather, as well as other materials such as fur, ivory, ox horns, and washi were also incorporated into kabuto designs, leading to the creation of these gorgeous Japanese cultural relics.
「兜」是頭盔，有祈福地位提升、飛黃騰達之意，或如武士一樣的威 武勇猛。
Kabuto are helmets that serve as blessings to help elevate status and achieve swift success, or as symbols of the strength and bravery of the samurai
藝術家擅長以再生能力強的活化石- 山椒魚 (salamander) 為創作主體, 結合江戶或當代日本文化元素，以精湛雕塑技法與細緻圖紋完美地呈 現令人目眩神迷的美麗文化。此作品僅創作此一件，雖傳承山椒魚載 體，造型則為作品中罕見，細密並講究的編穗及異材質的無縫結合， 實屬難得。 The official name of the helmet worn by the Japanese samurai is a kabuto (かぶと).In the present, the large variety of kabuto that have been found are mostly remnants from the Heian to Edo eras. Kabuto are generally made of hemp, wood, bamboo, and leather. In addition, a large number of metal accessories have also been found attached to these kabuto.Prior to the Warring States
The artist specializes in using the salamander, a living fossil with incredible regenerative abilities, as the main subject for his works. Combining Edo period cultural elements with contemporary Japanese cultural elements, the artist perfectly blends these two to create beautiful, detail filled figures using the finest sculptural techniques. Only a single one of this work was created. Although it inherits the body of a salamander, the style of this work is rarely seen in the artist’s works. The uniqueness as well as the finely woven detail and combination of different materials make this an especially extraordinary piece of art.
136 Yayoi KUSAMA (Japanese, b. 1929)
Pumpkins Serie 4 (a set of 5) 2002 Limoges porcelain, edition of no. 87/130 10.5(L) x 9(W) x 8.5(H) cm (each) Signed on the bottom YAYOI KUSAMA, inscrbed 87/130, and dated 2002 (each) Singned in the box cover Yayoi Kusama and dated 2002 This sculpture is to be sold with a certificate of authenticity issued by FMR Limited, Japan.
NT$ 300,000-400,000 HK$ 81,000-108,000 US$ 10,300-13,800 RMB 65,000-87,000
草間彌生 南瓜（五件一組） 2002 瓷器 87/130 10.5(長) x 9(寬) x 8.5(高) cm (每件) 簽名底部：YAYOI KUSAMA 2002 87/130 (每件) 盒蓋簽名：Yayoi Kusama 2002 (每件) 附FMR開立之作品保證書
137 Jeff KOONS (American, b. 1955)
Balloon Dog (Orange) 2015 Glazed porcelain, editon no. 2167/2300 26.7(L) x 26.7(W) x12.7(D) cm Stamped Jeff Koons on the reverse This work is to be sold with a certificate of authenticity issued by Bernardaud Group, France.
NT$ 300,000-380,000 HK$ 81,000-102,000 US$ 10,300-13,100 RMB 65,000-82,000
傑夫．昆斯 氣球狗（橘） 2015 釉瓷 2167/2300 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
138 ZHOU Chunya x Meissen® Green Dog, Floral Spray Tea Set and Vase ( a set of 4 ) Porcelain, edition no. 83/299 Teapot: 25(L) x 16(Diameter) x 15(H) cm; opening teapot 7(D) cm Tea cup: 13.5(L) x 11(Diameter)x 5(H) cm Tea Saucer: 16.5(Diameter) x 3(H) cm Vase: 12(Diameter)x 18(H) cm, rim: 3(Diameter) cm Overglazed on the bottom 083/299 bears the “Crossed Swords” and the sign ZHOU Chunya in Chinese This tea set is to be sold with a certificate of authenticity issued by Meissen, German
NT$ 200,000-300,000 HK$ 54,000-81,000 US$ 6,900-10,300 RMB 43,000-65,000
周春芽 x 德國梅森 綠狗、桃花花器與茶組 (四件一組) 瓷器 83/299 茶壺：25(長) x 16(直徑) x 15(高) cm 壺口：7(直徑) cm 茶杯：13.5(長) x 11(直徑) x 5(高) cm 瓷盤：16.5(直徑) x 3(高) cm 瓷瓶：12(直徑) x 18(高) cm 瓶口：3(直徑) cm 釉燒於瓷具底部：83/299 梅森雙劍商標 周春芽 附德國梅森瓷器開立之作品保證書
72
201
SANYU (Chinese-French, 1895 - 1966)
Les Poèmes de T’ao Tsien 1930 Etching print, edition no. 220/290 15 x 9.2 cm (print) 33 x 25.5 x 1 cm (book) With one etching seal, Yu in Chinese on each etching work
常玉 陶潛詩集 1930 蝕刻版畫 220/290 15 x 9.2 cm (版畫) 33 x 25.5 x 1 cm (詩集) 藝術家蝕刻鈐印 玉 來源
PROVENANCE
私人收藏，法國
Private collection, France
展覽
EXHIBITION
「常玉：身體語言」，吉美國立亞洲藝術博物館，巴黎，
Sanyu: l'ecriture du corps, Musée des arts asiatiques Guime,
展期自2004年6月16日至9月13日 (另一版次)
Paris, exhibited 16th June-13th September, 2004
「細看常玉」，誠品畫廊，台北，展期自2018年3月3日至
An Intimate View: Sanyu’s Small Masterpieces, Eslite Gallery, Taipei, exhibited 3rd March-1st April, 2018
4月1日 (另一版次)
ILLUSTRATED
《新法語雜誌 第214期》，伽利瑪出版社，巴黎，1937，
La Nouvelle Revue Française (NRF), Issue 214, Éditions Gallimard, Paris, 1931, pp. 163-165
頁 163-165
Overseas Chinese Fine Arts Series - Sanyu, Antoine Chen (Chen Yen-fon), Artist Publishing Company, Taipei, 1995, color
台北，1995，彩色圖版，頁27
illustrated, p. 27
社，台北，2001，彩色圖版， 頁 50
Sanyu Catalogue Raisonné: Oil Paintings, Rita Wong, Yageo Foundation, Lin & Keng Art Publications, Taipei, 1995, color illustrated, p. 50
圖錄
《常玉華裔美術選集(I 》， 陳炎峰，藝術家出版社， 《 常玉油畫全 》 衣淑凡，國巨基金會與大未來藝術出版 《 常玉畫集 》 高玉珍編，國立歷史博物館，台北， 1995，彩色圖版，頁124-125 《 鄉關何處－常玉的繪畫藝術 》 ，國立歷史博物館，
The Art of San Yu, Gao Yuzhen, National Museum of History, Taipei, 1995, color illustrated, pp. 124-125
台北，2001，彩色圖版，頁150
In Search of a Homeland - The Art of San Yu, National Museum of History, Taipei, 2001, color illustrated, plate 1, p. 150
彩色圖版，頁161，編號55-57
Sanyu: Language of the Body, Skira, Milan, 2004, color
石家莊，2010， 彩色圖版，頁 108
illustrated, plate 55-57, p. 161
《常玉•身體語言》，詩奇拉出版社，米蘭，2004， 《 世界名畫家全集—常玉 》 顧躍編，河北教育出版社， 《 常玉：中國現代主義藝術的先鋒 》，大未來耿畫廊，
World Famous Artist: Sanyu, Gu Yue Hebei Education Press, Shijazhuang, 2010,color illustrated, p. 108
台北2013， 彩色圖版，頁 122-125
Sanyu: A Pioneering Avant-Garde in Chinese Modernist Art, Tina Keng Gallery, Taipei, 2013, pp. 122-125
台北，2014，彩色圖版， 頁 100-107
Rita Wong, SANYU Catalogue Raisonné: Prints, The Li Ching
彩色圖版， 頁 102-107
Cultural and Educational Foundation, Taipei, 2017, color illustrated, pp. 100-107 An Intimate View: Sanyu’s Small Masterpieces, The Eslite Corp., Taipei, 2018, color illustrated, pp.102-107
NT$ 240,000-340,000 HK$ 65,000-92,000 US$ 8,300-11,700 RMB 52,000-74,000
80
《 常玉版畫全集 》，衣淑凡，財團法人立青文教基金會， 《 細看常玉 》，誠品股份有限公司，台北，2018，
202
SANYU (Chinese-French, 1895 - 1966)
Sitting Nude
1920 - 1930s Ink on paper 23.5 x 37 cm Signed lower center Yu in Chinese and SANYU PROVENANCE
Soufiane Bensabra, Paris ILLUSTRATED
Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolor, The Li-Ching Culture and Educational Foundation, Taipei, 2014, color illustrated, p. 26, no. D0250 (flash drive)
NT$ 550,000-850,000 HK$ 148,000-229,000 US$ 18,900-29,300 RMB 119,000-184,000
常玉 坐姿裸女 1920 - 1930年代 水墨 紙本 23.5 x 37 cm 簽名中下：SANYU 玉 來源
蘇費昂．班薩巴拉，巴黎 圖錄
《常玉素描與水彩全集》，衣淑凡，財團法人立青文教基金會， 台北，2014，彩色圖版，頁26，編號D025 （隨身碟）
82
203
SANYU (Chinese-French, 1895 - 1966)
Sans titre 1920 - 1930s Ink on paper 44 x 27.5 cm PROVENANCE
Former collection of Jean-Claude Riedel, Paris Diane de Polignac & Chazournes Private collection, France ILLUSTRATED
Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolors, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, p. 48, no. D0577 (flash drive) This work is to be sold with a certificate issued by Galerie Diane de Polignac & Chazournes.
NT$ 550,000-850,000 HK$ 148,000-229,000 US$ 18,900-29,300 RMB 119,000-184,000
常玉 無題 1920 - 1930年代 水墨 紙本 44 x 27.5 cm 來源
尚．克勞德．希耶戴舊藏，巴黎 戴安娜．德．波立涅克．夏祖那畫廊，巴黎 私人收藏，法國 圖錄
《常玉素描與水彩全集》，衣淑凡，財團法人立青文教基金 會，台北，2014，彩色圖版，頁48，編號D0577（隨身碟） 附戴安娜．德．波立涅克．夏祖那畫廊開立之原作保證書
84
204
SANYU (Chinese-French, 1895 - 1966)
Nude
1920 - 1930s Ink on paper 44.5 x 26.5 cm Signed lower left YU in Chinese and SANYU PROVENANCE
Former collection of Jean-Claude Riedel, Paris Private collection, USA ILLUSTRATED
Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolors, The Li Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, p. 47, no. D0558 (flash drive ) This work is to be sold with the letter of opinion signed by Rita WONG and issued by The Li-Ching Cultural and Educational Foundation.
NT$ 600,000-900,000 HK$ 162,000-243,000 US$ 20,700-31,000 RMB 130,000-195,000
常玉 背影裸女 1920 - 1930年代 水墨 紙本 44.5 x 26.5 cm 簽名左下：SANYU 玉 來源
尚．克勞德．希耶戴舊藏，巴黎 私人收藏，美國 圖錄
《常玉素描與水彩全集》，衣淑凡，財團法人立青文教基金 會，台北，2014，彩色圖版，頁47，編號D0558（隨身碟） 附立青文教基金會衣淑凡女士意見信函
86
205
SANYU (Chinese-French, 1895 - 1966)
The Hidden Beauty
常玉 遮面裸女 1920 - 1930年代
1920 - 1930s Ink on paper 45 x 28 cm Signed lower right YU in Chinese and SANYU
水墨 紙本
PROVENANCE
卡坡蘭舊藏，巴黎（直接得自藝術家）
Former collection of Federico Cappelin, Paris (acquired directly from the artist) Important private collection, Europe
重要私人收藏，歐洲
ILLUSTRATED
台北，2014，彩色圖版，頁45，編號D0523 (隨身碟)
Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolor, The Li-Ching Culture and Educational Foundation, Taipei, 2014, color illustrated, p. 45, no. D0523 (flash drive)
45 x 28 cm 簽名右下：SANYU 玉 來源
圖錄
《常玉素描與水彩全集》，衣淑凡，財團法人立青文教基金會，
NT$ 700,000-1,200,000 HK$ 189,000-323,000 US$ 24,100-41,300 RMB 152,000-260,000
常玉紙上作品以流暢且一氣呵成的線條為著，且擅長以書法氣韻般的 線條勾勒出充滿韻味的裸女，不論是以鉛筆速寫加上炭筆增加體積感 或是以使用毛筆瀟灑勾畫，變形充滿現代感之造型所帶來視覺衝擊， 無論在東方抑或西方，皆屬少見，此亦為常玉素描迷人之處。 20世紀初重要的表現主義畫家，席勒亦擅長以線條描繪扭曲的人物和 肢體，他的線條充滿張力，勾畫出熾烈的情感。二者的相似，皆在於 其畫中表現人體扭曲變形的誇張造型；相較於常玉如騷人墨客般瀟灑 的人文底蘊，席勒的畫作充滿傲慢、張狂的視覺衝擊。德國哲學家班 雅明曾說「黯黯微光中，遊走在城市中孤獨卻自由的靈魂由於波特萊 爾，巴黎第一次成為抒情詩的主題 」。常玉與席勒，一樣生為孤獨卻 愛好自由的靈魂，一樣皆喜好以畫中人物的軀體動作表達自身情感， 對於藝術皆有相同的自我堅持。 此件《遮面裸女》在本次上拍的作品中是非常特別的常玉紙上作品， 遮掩的頭部令人猜不出情感亦透露出欲說還休之意，上半身顯小臀部 與雙腿則不合比例地豐腴為經典的常玉筆下女性，肢體語言內斂而獨 特，如春蠶吐絲般的高古游絲描展現了文人畫中的行雲流水，率性地 體現了常玉繪畫本質的光芒。 Sanyu's works on paper are known for the long and fluid continuous lines he makes on them, as well as the sensual portrayals of nude women using Chinese calligraphic strokes. Whether sketching with pencil and quickly using a charcoal pencil to increase the sense of volume, or a Chinese paint brush to leave gracefully fluid strokes on the paper, the final results are rarely seen modern clashes between Eastern and Western visuals. It is within such clashing visuals that the charm of Sanyu's sketches can truly be seen. One of the most important expressionist painters of the early 20th century, Egon Schiele was a master at depicting twisted figures 88
through sketches. The lines found in his sketches are strung tightly by the tension of the blaze of emotions within his drawings. The similarity between these two is that they both portray the human body using exaggerated shapes and styles. In comparison to Sanyu's works filled with literary and humanistic tones, Schiele's works give off an arrogant and sadistic visual impact. The German philosopher Benjamin once said, "In the glimmer of light, the soul that strolls alone leisurely through the streets belongs to Baudelaire, Paris becomes for the first time, the topic of lyric poem." Sanyu and Schiele, both lonely souls that loved freedom, both artists that enjoyed using the body movements of the figures within their drawings to express their own emotions, and both with the same insistence on their own principles in regards to art. This work, “The Hidden Beauty”, is one of the most unique pieces of work by Sanyu presented at this auction. The concealment of the face within the drawing makes it impossible to use facial expressions to guess the emotions of the figure in the drawing. The disproportionately buxom upper body, buttocks, and legs are typical of the female figures depicted in Sanyu's drawings. The figure's body language is unique and mellow, much like the flowing clouds and running water depicted in the style of filament drawings inspired by the spinning of silk by silkworm, reflecting the unique charm of the essence of Sanyu's drawings. 埃貢．席勒《雙手交握低頭的女人》1918，炭筆 紙本 Egon Schiele, Bending woman with head bowed and crossed hands, 1918, Charcoal on paper, 46 x 29.5 cm 埃貢．席勒 《穿著內衣和黑絲襪的女人》1917，水粉 水彩 黑色蠟筆 紙本 Egon Schiele, Weiblicher Torso in Unterwäsche und schwarzen Strümpfen, 1917, Gouache, watercolor and black Conté crayon on paper, 46 x 29.8 cm
206
SANYU (Chinese-French, 1895 - 1966)
Lady Reading
1920 - 1930s Ink and watercolor on paper 46 x 29 cm Signed lower right YU in Chinese and SANYU PROVENANCE
Cheng Xuan Auction, Beijing, May 16, 2010, lot 32 Soufiane Bensabra, Paris This work will be included in the forthcoming Catalogue Raisonné of Sanyu in preparation by Li-Ching Cultural & Educational Foundation and Mrs. Rita Wong under no. W223
NT$ 1,900,000-2,800,000 HK$ 512,000-755,000 US$ 65,400-96,500 RMB 412,000-607,000
常玉 看書的女士 1920 - 1930年代 水墨 水彩 紙本 46 x 29 cm 簽名右下：SANYU 玉 來源
軒誠拍賣，北京，2010年5月16日，編號32 蘇費昂．班薩巴拉，巴黎 此作品將收錄於財團法人立青文教基金會與衣淑凡女士編撰之 《常玉目錄全集》編號 W223
90
207
SANYU
(Chinese-French, 1895 - 1966)
Standing Nude
常玉 立姿裸女 1920 - 1930年代
1920 - 1930s Ink and watercolor on paper 46 x 29 cm
水墨 水彩 紙本 46 x 29 cm
PROVENANCE
來源
Former collection of Jean-Claude Riedel, Paris Private collection, France
私人收藏，法國
尚．克勞德．希耶戴舊藏，巴黎
ILLUSTRATED
圖錄
Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolors, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, p. 154, no. W18.
《常玉素描與水彩全集》，衣淑凡，財團法人立青文教基金會，
This work is to be sold with the letter of opinion signed by Rita WONG and issued by The Li-Ching Cultural and Educational Foundation.
台北，2014，彩色圖版，頁154，編號W18 附立青文教基金會衣淑凡女士意見信函
NT$ 2,600,000-3,600,000 HK$ 701,000-970,000 US$ 89,600-124,000 RMB 564,000-781,000 紙 上 雅 致 ， 常 玉的波西米亞情懷 「我們的步伐太過時。我們的軀體太脆弱，我們的生命太短暫了。而
時間就像大浪，一層層洗去了塵埃，最終展現本質的光芒 」─ 常玉 常玉於一九二一年踏上巴黎，當 時海明威筆下一席流動的盛宴， 巴黎的繁華吸引了常玉，他在那 裡充分浸淫於最新的藝術思潮。 身為巴黎畫派的一份子，常玉並 沒有進入正規傳統的美術學院， 反而遵循了大茅屋學院的奔放自 由、隨興之至。與當時的同輩林 風眠、徐悲鴻相比，常玉並沒有 遠大的情懷，反而展現騷人墨客 的淡泊瀟灑、忠於藝術之志，在 當時可說是最融入巴黎波西米亞 生活方式的中國畫家。隨心所 致，隨興所畫；大茅屋學院提供的裸體姿態練習，在中國是無法看到 的，常玉除了單以鉛筆速寫加上用以炭筆增加體積感以外，亦使用毛
It was in 1921 that Sanyu first set foot in Paris, during a time when Hemingway’s mighty pen had just began to shake the world, producing a several decade long banquet of lean yet compelling literary works. Sanyu was drawn by the prosperity of Paris, and fully immersed himself into each of the latest artistic trends of the time. As a part of the School of Paris, Sanyu did not enroll in any of the more traditional and esteemed schools of art, but instead preferred the freedom and exuberance of the Académie de la Grande Chaumière. In comparison to his peers such as Xu Beihong and Lin Fengmian, Sanyu did not have any grand aspirations. Instead, displayed a perplexing interest for little more than his art, and can be said to be the Chinese painter who most took to the leisurely Bohemian lifestyle of Parisians, uninhibited and painting as he pleased. The practice revolving around nude portraying at the Académie de la Grande Chaumière were forbidden back home in China. In addition to the use of pencil in his sketches, he also used charcoal to create a greater sense of volume in his drawings. He also used Chinese ink and brushes for a large number of his nude drawings. The fluidity and varying innuendos of the calligraphic strokes made using Chinese ink and brushes became a signature of his nude drawings.
筆，瀟灑地勾畫多張素描，充滿書法氣韻的線條勾勒，其後便成為其 作品的的旨趣。 「他用線條佔領空間，用線來吐訴情懷，在線之畫情伸展中，赤裸裸
呈現了他的任性 」─ 吳冠中 《說常玉》 他的畫，經得起時間的淬煉；他的畫，真情、動人、充滿意境，如同 他的個性一樣敏感、任性、淡泊名利。畫中裸女那如行雲流水般的書 法性線條，未曾矯揉、未經修飾，自然而然地融合了東西文化，率性 地體現了常玉的藝術本質。
ELEGANT ON PAPER, SANYU’S BOHEMIAN SENSUALITY “The steps we take are too slow to keep up with the times. Our bodies are too fragile. Our lives are too short. And time is like a giant wave that washes the dirt away, layer by layer, to finally reveal the shining layer hidden underneath.” - Sanyu 92
“The lines he used to occupy the space were also used to convey his sensualities, as the lines within his drawings unfolded, his stubbornness was portrayed nakedly.” - Wu Guanzhong, On Sanyu His drawings are able to withstand the rigors of time; his drawings are true, moving and full of artistic conception, and are just as sensitive, stubborn, and indifferent to fame and fortune as the artist. The nude lady in the drawing, the cloud-like and flowing lines created using calligraphy techniques are pristine and unaltered, creating a natural blend between Western and Eastern cultures, demonstrating the essence of Sanyu’s art.
尤金．德拉克洛瓦《站立裸女/少女蘿絲》約1824，油彩 畫布，現藏於羅浮宮，巴黎，法國 Eugene Delacroix, Seated Nude/Mademoiselle Rose, c.1824, oil on canvas, 81x65cm, Collection of Musée du Louvre, Paris, France
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SANYU (Chinese-French, 1895 - 1966)
Woman Seated on Stool 1920 - 1930s Ink on paper and watercolor 44.6 x 24.6 cm Signed lower right YU in Chinese and SANYU PROVENANCE
Former collection of Jean-Claude Riedel, France Private collection, Asia ILLUSTRATED
Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolors, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, p. 223, no. W118
NT$ 3,600,000-4,600,000 HK$ 970,000-1,240,000 US$ 124,000-158,500 RMB 781,000-998,000
常玉 凳上的素描女士 1920 - 1930年代 水墨 水彩 紙本 44.6 x 24.6 cm 簽名右下：SANYU 玉 來源
尚．克勞德．希耶戴舊藏，法國 私人收藏，亞洲 圖錄
《常玉素描與水彩全集》，衣淑凡，財團法人立青文教基金會， 台北，2014年，頁223，圖版編號W118
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LIU Kuo-sung (Taiwanese, b. 1932)
Outer Space Series - Sun Arising from Five Flower Pond 2014 Ink and color on paper 69 x 105.5 cm Signed lower left Liu Kuo-sung and dated 2014 in Chinese With one seal of the artist EXHIBITED
Releasing the Future, Asia Art Center, Beijing, 14 June - 14 September, 2014 ILLUSTRATED
Releasing the Future, Asia Art Center, Beijing, 2015, color illustrated, p.134
NT$ 2,600,000-3,600,000 HK$ 701,000-970,000 US$ 89,600-124,000 RMB 564,000-781,000
劉國松 太空系列一紅日升自五花海 2014 彩墨 紙本 69 x 105.5 cm 簽名左下：劉國松 二Ｏ一四 鈐印左下：劉國松 展覽
「釋放未來-中國當代水墨邀請展」，亞洲藝術中心，北京，展期自 2014年6月14日至2014年9月14日 圖錄
《釋放未來-中國當代水墨邀請展》，亞洲藝術中心，北京，2015， 彩色圖版，頁134
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ZAO Wou-ki (Chinese-French, 1920 - 2013)
Red Sun
1949 - 1951 Oil on paper 14.2 x 20.5 cm Inscribed lower center Wou-ki in Chinese, Zao in French and dated 49 (upside down) Signed lower right Wou-ki in Chinese, Zao in French and dated 51 Inscribed beside the sun Wou-ki in Chinese PROVENANCE
Acquired directly form the artist in the mid 50s Important private collection, Europe ILLUSTRATED
This painting will be included in the forthcoming Catalogue Raisonné compiled by Madame Françoise Marquet and Monsieur Yann Hendgen. This painting is to be sold with a certificate of authenticity issued by Atelier Zao Wou-ki
NT$ 2,800,000-4,000,000 HK$ 755,000-1,078,000 US$ 96,500-137,800 RMB 607,000-868,000
趙無極 紅太陽 1949 - 1951 油彩 紙本 14.2 x 20.5 cm 刻畫簽名中下：無極 ZAO 49 (上下顛倒) 簽名右下：無極 ZAO 51 刻畫簽名於太陽旁：無極 來源
1950年代中期直接得自藝術家本人 重要私人收藏，歐洲 圖錄
此作品將收錄於弗朗索瓦．馬凱女士與揚．亨德根所編著之趙無極 作品編年全集 附趙無極工作室開立之原作保證書
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RED SUN ZAO Wou-ki
我畫我自己的生活，但我也試圖描繪出一個無 形的空間，那個夢想的無形空間，一個即使是 在激烈的相對力量中也感覺和諧的地方。 趙無極
「他的油畫和石版畫十分迷人，使我同時想起克利繪畫的神祕和倪瓚
之作品極具稀少，極其珍貴。細看還可見畫中多處有黑色簡筆線條表
山水的簡練，我可以毫不誇張地說，趙無極是當今畫壇最偉大的藝術 家之一。 」 一貝聿銘
現椏枝，這是趙無極保有中國水墨畫中獨特的筆觸線條。此種書法化
趙無極的本名，「無極」兩字取自道教思想，最早出自於老子《道 德經》中以無極稱道表宇宙萬物之恆。身為最具影響力的華人藝術 家之一，趙無極擅長以西方抽象表現型式體現東方道家哲學思維。 他歷經歷史動盪、文化流動，各個時期畫作轉折豐富。從最早的具 象時期、克利式的圖像引領至東方本質的抒情抽象，趙無極透過對 宇宙萬物、人生經歷等細微的想像與感受，形成東西方藝術概念詮 釋的完美精萃。
的線條加上色塊並置的空間，著實為中西文化的薈萃，這種兼容並蓄 的創作融合，為趙無極獨有的心象風景。
兼容並蓄之心象風景 日為實 ，月為虛，虛實相生，趙無極有著濃厚的東方文化背景，他 深受中國傳統美學和東方宇宙生命思想的影響。畫中的太陽以色塊填 滿代表實，月則以線條表示代表虛，形似甲骨文之夕。以虛帶實、實 中有虛，虛實相生是中國美學的一個獨特的審美意識。 我們生活在 週期性的時空轉換中，「無」是「有」的前提，「有」是「無」的價
至一九四八年後，由上
值體現，日與月代表虛與實，兩者互相依存，相互利用構成一個完整
海到巴黎開始他旅居法
體。正是這種「有與無，虛與實」的統一思想奠定了中國繪畫的理論
國的藝術生涯，受到當時
基礎虛實統一，虛實相生，實生於虛。趙無極此幅作品既概括了中國
西歐主流畫派影響，自
藝術的美學特點，以大量的留白底色強調了「虛」的存在，畫面中的
一九四九年至德久貝赫版
大面色塊從而創新了中國繪畫藝術的表現手法，形似宇宙萬物的輪
畫工作室接觸石版畫後
轉，完整體現了老子所認為之宇宙萬物，草木和諧的關係。
為趙無極日後創作奠下基 石。此時期的趙無極，正 處於自我探索的階段， 一九四九至一九五O年 間，趙無極的多幅畫作已 受保羅．克利作品影響。 這件名為紅太陽的作品， 忽略傳統透視法，選用色
趙無極的創作不僅體現了中西文化的融合，也強烈了表達出中國人崇 敬的儒釋道精神。細看，類似花草，或許我們也能推敲這是他所要表 達的思想狀態，正所謂坐亦禪，行亦禪，一花一世界，一葉一如來， 春來花自青，秋至葉飄零，無窮般若心自在，語默動靜體自然。只有 通過細小的事物來發現世界的無窮，正如我們想像浩瀚無窮的宇宙， 其實說穿了就只是一些微小的質子、中子，而這些微小的事物，正是 趙無極心之所向完整的宇宙觀。
塊並置。從畫作表層來看，我們可見他以淺藍色為基底色調，搭配 一個鮮豔的火紅色太陽，表現出神秘又空靈的意境，大片色塊，更 加展現出類似西方表現主義風格特徵，卻富有童趣。趙無極除了於 一九五一年簽下右下角慣用的簽名之外，畫面中央處則有一九四九年 簽下的上下顛倒以刻畫方式署名，透露出他於創作脈絡過程中的思考 與摸索，此件作品在紅太陽旁邊亦有一個垂直式刻畫簽名，三個簽名
保羅•克利《紅色氣球》1922，油彩 粉筆 紗布 木板，現藏於所羅門．古根漢美術館，紐約，美國 Paul Klee, Red Balloon, 1922, oil on chalk-primed gauze, mounted on board, 31.7 x 31.1 cm, Collection of Solomon R. Guggenheim Museum, New York, USA
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creation of such an inclusive and equitable fusion reflects Zao WouKi’s unique mental imagery. “I paint my own life. However, I also try to depict an invisible space - that intangible dimension of dreams, a place that feels peaceful even when caught between intense opposite forces”. - Zao Wou-Ki, Autoportrait
A HARMONIOUS AND BOUNDLESS IMAGERY
“His paintings and lithographs are extremely fascinating. They remind me of the sense of mysteriousness found in Paul Klee’s paintings and simplicity in Ni Zan’s landscapes. It is no exaggeration for me to say that Zao Wou-Ki is one of the greatest artists in the world today.” Ieoh Ming Pei , 1980, New York Zao’s name in Chinese, Wou-Ki, comes from the Taoist concept of “endless, infinite” - a concept which first appeared in Lao Tzu’s “Tao Te Ching” to define the permanence of the universe. Being one of the most influential Chinese artists of all times, Zao WouKi skillfully reflected the Eastern philosophy of Taoism through the forms of Western Abstract Expressionism. Having experienced much historical unrest and cultural mobility, he painted works that represent turning points during these transitional periods. From his earlier phase in figurative art, the Klee-style images suggested a lyrical abstraction that was essentially Eastern. Zao perfectly shaped an interpretation of Eastern and Western Art concepts through subtle imagination and his experiences of life, the universe, and more. In 1948, he moved from Shanghai to Paris and began his artistic career in France. Influenced by Western European mainstream schools in painting, he began experimenting with lithographs at the printmaking workshop of Desjobert. This laid the foundation for Zao Wou-Ki’s future production of works. At this time, Zao Wou-Ki entered a phase of self-discovery. From 1949 to 1950, the influence of Paul Klee could already be seen in many of his paintings. In the work, “Le Soleil Rouge” (The Red Sun), the artist neglected traditional perspectives, choosing instead to juxtapose blocks of color. Looking at the painting’s surface, we can see how he used shades of light blue as a base tone, matching it with a bright red sun that reveal an artistic conception both mysterious and ethereal. Those large blocks of color serve as even clearer evidence of a style close to Western Expressionism that simultaneously exudes a childlike playfulness. With the exception of two works from 1951, which feature a customary signature on their lower-right corners, his paintings from 1949 have been signed with an upside down engraving at the center of the canvas. Providing insight into Zao Wou-Ki’s thoughts and feelings during the creative process, his signature is vertically engraved next to the red sun. This threesigned work is extremely precious and rare. Carefully examining the painting, it is also possible to see how many simple black lines come together to form tree branches. Indeed, the artist retained this unique brushstroke technique from Chinese ink painting. These calligraphic lines, together with the juxtaposed color blocks, unite Chinese and Western culture. The
Like the sun and moon, reality and illusion supplement each other. With a strong Eastern cultural background, Zao WouKi was deeply influenced by traditional Chinese aesthetics and Eastern cosmological concepts regarding life. On the canvas, the mass of color which is the sun fully represents reality, while the moon, impersonated by the lines, symbolizes an imaginary world and resembles the inscriptions on oracle bones. As there’s a hint of reality within imagination, and what is real might carry something fictitious, the “mutuality between truth and fiction” is an aesthetic consciousness unique to Chinese aesthetics. We live in a dimension of periodic spatiotemporal transformation: “nonbeing” is the premise of “being”, “existence” embodies the value of “emptiness”. The sun represents reality, the moon imagination - they are interdependent and utilize each other to form a whole. This unity of thought concerning “fullness and emptiness, being and not-being” laid the theoretical foundations to Chinese painting. Illusion and reality supplement each other, as reality is derived from concepts. Zao Wou-Ki’s works not only summarize the aesthetic features of Chinese art, but they also emphasize the existence of “void” through massive white backgrounds. The large masses of color in the painting thereby innovated the expressive techniques of Chinese painting, just as the rotation of all things in the universe fully embody Lao Tzu’s cosmological concept about the harmony found within nature. Zao Wou-Ki’s creations not only represent a fusion of Chinese and Western culture, but also convey the spirits of Confucianism, Taoism, and Buddhism that are held in the highest regard by the Chinese people. By carefully looking, perhaps we may also deliberate that the state of mind he wants to portray is “walking is Zen, sitting is Zen: through meditation, a state of peace can be reached from within ourselves, the heart becomes stable, as in nature flowers blossom in spring and leaves fall in autumn; no outside phenomenon can break such stability, both in body and mind, everything b e c o m e s c l e a r, b o t h t h e big and small things”. Only paying attention to the small details is it possible to discover the limitlessness of this world. Just as we imagine the infinite vastness of the universe, we are, in fact, just some tiny protons and neutrons. It is through such small details that Zao Wou-Ki shaped his conception of the universe.
保羅•克利《他們在咬》1920，水彩 油彩 紙本，現藏於泰德現代美術館，倫敦，英國 Paul Klee, They Are Biting, 1920, watercolour and oil paint on paper, 31.1 x 23.5 cm, Collection of Tate Modern, London, UK
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CHU Teh-chun (Chinese-French, 1920 - 2014)
Sans titre
1995 Gouache on paper 50 x 32.5 cm Signed lower right CHU TEH-CHUN in Chinese and French, dated 95. This painting will be included in the forthcoming Catalogue Raisonné compiled by Madame Ching-Chao CHU This painting is to be sold with a certificate of authenticity issued by Atelier Chu Teh-chun.
NT$ 3,200,000-4,200,000 HK$ 863,000-1,132,000 US$ 110,200-144,700 RMB 694,000-911,000
朱德群 無題 1995 水粉 紙本 50 x 32.5 cm 簽名右下：朱德群 CHU TEH-CHUN.95. 此作品將收錄於朱德群妻子董景昭編纂之《朱德群作品編年目錄》 附朱德群工作室開立之原作保證書
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SANS TITRE CHU Teh-chun
勝 日 尋 芳 泗 水 濱，無邊光景一時新。 等 閒 識 得 東 風 面，萬紫千紅總是春。 －宋，朱熹《春日》
超 以 象 外 ， 得 其圜中 吳大羽曾說：「作畫要充實誠懇，不要賣弄小聰明、出風頭，在校六年
能夠畫一張完整可看的畫就夠了。 」這樣的繪畫哲學被朱德群奉為其創 作的圭臬與中心思想。作為中國現代美術抽象繪畫大家的朱德群，在創 作時喜愛聆聽西洋古典音樂，用以陶冶性情之餘，也藉著音樂婉轉與陰 陽頓挫、高低起伏的千萬變化，擷取靈感，將他的平面抽象繪畫帶入更 為細微、精妙的音韻律動之感；藉著朱德群重筆輕下、起筆輕盈的油墨 交融，游刃有餘的中西藝術技法、理論、繪畫表現，筆觸起落如曼妙舞 姿的點步、擲地、跳蹴，鮮明地活躍於畫布之上，色彩的碰撞、交織如 四季更迭的顏色轉變，構築了他內心想像的萬千宇宙與無盡山水。 踏遍萬重山豁，行遍千里江水，朱德群喜周遊列國，再將他眼前所見， 足跡履及之處轉化成心中丘壑，簡化為色彩的斑斕形象；在朱德群的抽 象繪畫之中，他掌握了自小習得的書法造詣，行雲流水地揮灑中帶入了 中國山水的精髓.，賦予作品水墨旨趣；大筆揮掃如萬重山巒氣勢磅礡， 細筆之處飛動如風馳電擎，如此在畫布上以色彩油料暢快酣墨之趣使得 朱德群的藝術帶有令人玩味的東方質感，西方藝術家亦難以企及比擬的 高超技法以外，更是富含精神能量的超脫風景繪畫。 朱德群師法大自然，他將自然視為創作泉源之母，那些他曾見過的最優 美的山水、最綺麗的風景都在眼前飄逝成為他的養分；冬雪、夏雨、春 花、秋葉都紛紛落於他的創作。英國牛津大學藝評家麥可•蘇利文曾以 唐代文學批評家，司空圖所撰寫之《二十四詩品》中「超以象外，得其 圜中」來形容朱德群的藝術智慧與繪畫。此原形容詩詞造詣的雄渾至高 境界之美套用在朱德群的繪畫藝術上，亦是極為適當貼切；而在觀看此 件1995年創作《無題》時，朱德群他熟嫻的東方書墨技法、對於西方色 料的運用智慧等皆無處不見於畫布之中；朱德群更是提煉了書墨旨趣， 將西方油彩帶入「濃、淡、乾、渴、濕、枯、漲」，堆疊出溫潤雄厚的 氣魄、細膩精美的細節，在畫面無盡的微光和燦爛的色彩中將觀者引領 至藝術家構築的浪漫世界，而他無形有意落入的自然正也靜靜地吸引著 觀者，與觀者回憶中的自然景象產生共鳴。
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THE ADVENTURE LEADS TO A RIVERSIDE, A NEW SCENE WITHOUT BOUNDS. WAITING TO MEET THE EASTERN WINDS, SPRING IS ALWAYS IN THOUSANDS OF VIOLETS AND REDS. - A Spring Day. (Song) Zhu Xi
BEYOND THE IMAGE In the words of Wu Dayu, "To create a painting demands complete sincerity. It's not something to get smart about or show off, since it might take six years of schooling before you're able to even make a single finished, agreeable painting." Such a philosophy of painting was adopted as the main idea and standard of practice by Chu TehChun, one of the abstract artists in modern Chinese art. A lover of Western classical music, Chu Teh-Chun would listen to it while working as a way to ignite another side of himself. He would follow the music's mild, 'yin and yang' transitions, drawing inspiration from the depths, heights, and countless undulations, adding detail and a sense of delicate, musical rhythm to his abstract paintings. With the light strokes of Chu Teh-Chun's heavy brush, ink is gracefully blended using both Chinese and Western techniques, theories, and expressions. The brushstrokes rise and fall across the paintings like a dancer, stepping, lunging, and leaping across a stage. There is a clear sense of action on the canvas, with colours colliding and interweaving as if shifting through every season at once. Together, they give structure to the multitude of galaxies and landscapes without end in the artist's imagination. Having hiked mountains and walked rivers thousands of times during his travels in different countries, what Chu Teh-Chun saw and where he stepped he took to heart, later adapting those colours into the bright forms of his work. One can see in Chu TehChun's abstract paintings how the artist had developed techniques in calligraphy since his childhood. The artist's masterful infusion of the spirit behind Chinese landscape painting with a natural and flowing script gives the work a certain connection to ink painting. While a thick brush sweeps through the majestic mountain ranges, a fine brush flies with the electricity in the wind, and together they cover the canvas in a captivating Eastern texture of colourful oils and drunken inks that only Chu Teh-Chun could do. But beyond the technical side of the work which would pose a challenge for Western artists, even more difficult to replicate is the vibrant,
transform before his eyes into nourishment – the winter snow, summer rain, spring flowers, and autumn leaves that all made marks on his art practice. Oxford University art critic Michael Sullivan, who was previously a Tang dynasty literature critic, once described the paintings and artistic wisdom of Chu Teh-Chun in the terms of Sikong Tu as written in Quality of Grandeur in Poetry: 'Leap beyond the external appearance to reach the centre of the circle'. While originally describing the cathartic peak of a poem, it is also extremely befitting of Chu Teh-Chun's beautiful paintings. Taking a look at this 1995 "untitled" work, one can make out the artist's passion for the techniques of Eastern calligraphy and his applied knowledge of Western colour palettes as they are hidden throughout the painting. Yet even more recognisable is Chu Teh-Chun's refinement of ink painting skills such as "heaviness, lightness, dryness, waterlessness, moistness, droughtiness, smudginess" through the vocabulary of Western oil painting, adding soft yet robust layers of delicate yet bold details. The endlessly glimmering brilliance of the colours leads viewers into the artist's romantic world, which is filled with scenes that resonate with audiences' memories of nature, ever so gently pulling them closer.
scenery-transcending energy of the paintings. Chu Teh-Chun was a master of his craft, and he considered nature to be the main fountainhead of his creative inspiration. The most beautiful landscapes and gorgeous scenes he had seen would
北宋，李成《晴巒蕭寺圖》絹本設色，現藏於堪薩斯城納爾遜美術館，堪薩斯，美國 Northern Song Dynasty, Li Cheng, A Solitary Temple Amid Clearing Peaks, color on silk, 111.4 x 56cm, Collection of The Nelson-Atkins Museum of Art, Kansas, USA
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LIN Fengmian (Chinese, 1900 - 1991)
林風眠 蓮花圖
Lotus
約1977 - 1979年
c. 1977 - 1979 Mounted scroll, ink and color on paper 33 x 33 cm Signed lower right Lin Fengmian in Chinese With one seal of the artist
33 x 33 cm
彩墨 紙本
PROVENANCE
Private collection (acquired directly from the artist by Shiy De-jinn as requested by present owner in 1979) Ravenel Shiy De-jinn Special Auction, June 2, 2013, lot 646
簽名右下：林風眠 鈐印右下：林 來源
原藏家委請席德進代購自林風眠本人，1979年 現任收藏者購自羅芙奧2013年春季拍賣會席德進藝術專拍
NT$ 3,800,000-4,600,000 HK$ 1,024,000-1,240,000 US$ 130,900-158,500 RMB 824,000-998,000
林風眠是中國二十世紀美術史上地位崇高的人物，一生致力研究繪畫 創作，兼容中西藝術精髓，在美術教育亦功績卓著，其時任杭州藝專 (今中國美術學院)校長時，不懈引進西方藝術技法與理論，為中國現 代美術的引路者與先驅，其弟子包含了趙無極、朱德群、席德進等。 此件作品《蓮花圖》則呈現了林風眠創作國畫山水之後，以光和色彩 並重的畫風，其西畫修養與透視法、光影明暗對比的呈現，將畫面中 的空間感作最大的發揮，即使滿塘盛開的荷花錯落於前後、遠近，都 帶有繁中有序不至凌亂的視覺效果，在簡單的構圖中，盛開的荷花以 寧靜之姿躍為主角；水與岸的平直，及荷花花瓣重複的造型，都是出 自巧妙安排，這些元素在畫面上形成了一種祥和的統一，而這種多樣 的統一中，形狀的相似性，光和色的變化及平面空間裡的分割，都起 了和諧的作用。 生如夏花之燦爛（泰戈爾，《飛鳥集》)，即便在淡泊中沉寂無語， 亦能不染於塵世地醉心於創作；林風眠雖一度在中國文化大革命中飽 受批鬥，被批為「黑畫家」，但他的藝術造詣不僅貢獻於中國現代美 術一扉，亦是高度格局，難掩其光芒的真誠藝術創作者；借鑑荷花出 淤泥而不染，林風眠風骨亮節，以自由開放的態度，身體力行堅持繪 畫之路。 A highly lauded figure of 20th-century art history in China, Lin Fengmian dedicated his life to the development of an art practice in painting that, at its essence, could be compatible with either Chinese or Western art. He also reached outstanding achievements in art education. As the president of the National Hangzhou School of Art (present day ‘China Academy of Art’), he tirelessly introduced techniques and theories of Western art, becoming a key guide and pioneer of Chinese modern art. Amongst his followers were Zao Wou-Ki, Chu Teh-Chun, and Shiy De-Jinn.
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This work, “Lotus” shows how, after traditional Chinese landscape paintings, Lin Fengmian’s practice placed equal emphasis on both the light and colour of his scenes. It presents a refinement of a perspective drawn from Western painting, in which contrast between light and shadow creates the clearest impressions of space within the frame. Even if the lotuses in full bloom are scattered all over, they all conform to a certain order within their complex arrangement that makes them appear not as a mess, but as a simple composition in which the blooming lotuses assume a serene yet poised-to-leap subject position. Let life be beautiful like summer flower, Tagore, Stray Birds — for even in a silent, indifferent world, one can still avoid catching the sick of the mundane and let oneself stay infatuated by a creative practice. Although Lin Fengmian had been publicly denounced and once blacklisted as an artist during the Chinese Cultural Revolution, his later accomplishments not only helped to open the door for modern Chinese art, it did so to such a highly structured degree that it would be a challenge to cover over the brilliant sincerity of Lin’s art practice. Borrowing from the lotus, Lin Fengmian rose out of the mud unsullied, strong-willed, bent on freedom and openness, practicing what one preaches, and persevering along the painter’s road.
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PANG Jiun
龎均
(Taiwanese, b. 1936)
山在虛無飄緲間
In the Mountains Amongst Clouds 2014 Oil on canvas 115.5 x 180.5 cm Signed lower right Pang Jiun in Chinese and dated 2014 With one painted seal of the artist
2014 油彩 畫布 115.5 x 180.5 cm 簽名右下：龎均 2014 手繪鈐印右下：均
NT$ 4,000,000-5,000,000 HK$ 1,078,000-1,348,000 US$ 137,800-172,200 RMB 868,000-1,085,000
龎均一九三六年出生於上海一個顯赫的藝術世家，家族三代誕生多位 知名畫家，父親龎薰琹是中國第一代留學法國的畫家，母親丘堤則是 赴日本學畫的女畫家，藝術世家的出身，讓龎均的一輩子幾乎與藝術 結下不解之緣。其獨創的油畫風格，是其在漫長的藝術創作生涯中一 直在古典與現代、東方與西方之間尋找精確的平衡點。近些年來作品 在創作上無論是構圖或是配色與線條勾勒中都日漸老辣瀟灑。筆法鮮 明、俐落而熱情，融合油畫和中國水墨的寫意，其風格融匯中西方的 藝術哲學，畫作既能表現西方印象派及野獸派的爆發力，亦蘊涵東方 文人畫的詩情畫意，成功建立了東方油畫的表現主義。 作品《山在虛無飄緲間》完全表現出龎均在描繪山水上的才情。畫中 前景枝枒的小山照應後方飄盪在雲霧間之山巒，層次豐富，令人徜徉 於勝景之中。從此處望去，創造出一片無垠的、深淺灰色調子的視覺 幻象，整體畫面顯得含蓄卻富含詩意，讓觀者浮想連翩。龎均聰慧地 吸取古今中外的繪畫優點，創建其油畫藝術的特質。 Pang Jiun was born in 1936 in a prominent artistic family that had already produced three generations of renowned painters, including his father, Pang Xunqin, who belonged to the first wave of Chinese artists studying in France, and his mother, Qiu Ti, who studied painting in Japan. Born and bred as an artist, Pang remained active and immersed in art throughout his entire life. His parents had undergone the baptism of Western oil painting, and
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been great promoters of modern art in China. Absorbing both the experience and knowledge of his parents, while at the same time being imbued in Oriental art and culture, Pang Jiun soon began to develop his own individual style of painting. Pang Jiun relates the classical to the modern, and imbibes their peculiarities to his advantage; in the process, he also discovers the thread running through oil painting and Chinese painting, particularly the Xieyi ink painting. Both the modern Western oil painting and the Chinese ink painting leads to his conclusion that a highlight of Xieyi is one of the most important ways to regenerate Chinese oil painting. The work”In The Mountains Amongst Clouds” is a perfect example of Pang Jiun’s ingenious approach to landscape painting. Here, hills of branches set in the foreground correspond to the background’s mountains which seem to float in fog and mist of layers so thick the viewer is immersed in the scene. Steeped in deep grey tones, the work presents a sort of visual illusion. While the image has an overall subtlety, poetically it is rich, which allows the viewer to sink further and further inside. And the artist’s ingenious way of balancing techniques borrowed from different painting traditions, on display here, is what truly sets Pang Jiun’s oil painting apart from the rest.
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CHU Teh-chun (Chinese-French, 1920 - 2014)
Sans titre
1983 Oil on canvas 64.5 × 54 cm Signed lower right CHU TEH-CHUN in Chinese and French Signed on the reverse CHU TEH-CHUN in Chinese and French and dated 1983 PROVENANCE
Private Collection, Asia
NT$ 5,000,000-6,000,000 HK$ 1,348,000-1,617,000 US$ 172,200-206,700 RMB 1,085,000-1,302,000
朱德群 無題 1983 油彩 畫布 64.5 × 54 cm 簽名右下：朱德群 CHU TEH-CHUN 簽名畫背： CHU TEH-CHUN 朱德群 1983 來源
私人收藏，亞洲
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SANS TITRE CHU Teh-chun
朱德群的畫作裡面的主要構成因素是『動』 每幅畫都像是一部運動的和聲 運動的節奏之美統一在和諧的色調之中 讓人隔著水晶看狂舞而聽不到一點噪音 粗獷的力溶於寧靜的美 吳冠中
大 時 代 下 的 璀 璨光輝 總覽朱德群的藝術創作，好比欣賞一部抒情史詩，其作品畫面的處理 常給人一種精神性的流動，「氣韻生動」為最適合形容其作品之詞； 他對於繪畫方法的一再追尋與變換，是充滿絕對持續的熱情，對於藝 術的各種詮釋角度與再現自然，幾經轉折已不再是客觀風景的描繪， 而已轉向於主觀化風景的抒情，經由具象轉換成抽象的過渡階段，更 是他對於自身生命感悟的知性寫照。 生於動盪，幾經轉折與文化流動，朱德群由中國文化環境轉向歐洲現 代藝術空間。一九八O年代起，朱德群開始以東方韻味為底，融合西 方表現形式之特點的創作。他所運用的線條、筆法等皆與中國書法中 表現形式極為吻合。南齊謝赫的《古畫品錄》中所提及六法扼要：氣 韻生動；骨法用筆；應物象形；隨類賦彩；經營為置；傳移摹寫；其 中氣韻生動與骨法用筆在朱德群的繪畫創作中即易窺見。
畫面如樂章般，或激昂或溫潤，並以中國書法運筆般的上下揖讓、形 神兼備的大小色點，呈現詩意般的流光波動。此也與同為杭州藝專同 儕，吳冠中所評論朱德群抽象繪畫的字句相呼應：「朱德群的畫作裡 面的主要構成因素是『動』，每幅畫都像是一部運動的和聲，運動的 節奏之美統一在和諧的色調之中，讓人隔著水晶看狂舞而聽不到一點 噪音，粗獷的力溶於寧靜的美。 」 朱德群除了體現對東方文化的認同外，在藝術造型上更擺脫了具體物 象般的存在，呈現出穿透性的大器空間。承接音樂性與中國文人特質 的表徵，朱德群的藝術還有另一表現，這項獨特的精神特質反覆顯現 在他的作品中，即是浩瀚無垠的宇宙冥思，此種無涉的感悟，傳遞了 他對大自然景物的崇敬態度，整體畫面對於空氣感的捕捉與呈現也顯 得特別地靈動。在朱德群的繪畫裡，他將所見風景都做了重新的排列 組合，不管是獨具個人畫法地光線呈現，或是充滿東方底蘊的整體氛 圍，都逐一打破了制式化的判斷原則。他將東方與西方獨有的繪畫特
物 我 兩 忘 的 靈 性宇宙
質做了巧妙的薈萃，用一種抽象的自然主義方式讓這些獨特的文化泉
此件作品《無題》為朱德群於一九八三年所創作，以大筆刷的色彩表
放出如花火般的生命力。
現如傾聽音樂旋律般的抑揚頓挫、節奏律動舞跳交織，線條的粗細交 錯與重疊並置在畫面中，形成一片和諧安樂的愉悅氛圍。暖色調的
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源相互交融、去蕪存菁，如同天際運行、流泊湧動、澎湃又抒情地綻
BEYOND THE FINITE This piece, known as Sans titre, was created by Chu Teh-chun in 1983. Witnessing the masterly brush’s color configuration is like listening to the melody of a great piece of music. The rhythm and cadence are intricately interwoven like a dance. The thickness of the contours are staggered, layered and juxtaposed in the picture, forming a harmonious and ambient atmosphere. The picture with the warm colors is like an impassioned and gentle symphony. Moreover, the spirit of the Chinese style brush strokes is seen in both the large and small dots. Through this, the art manifests a bright and ephemeral poetic spirit. Wu Guang-zhong, the peer in Hangzhou School of Fine Arts, also commented that each one of Chu’s paintings are like kinetic harmonies, the beauty of rhythm is unified in harmonic colors, it’s like “To watch others dance before a crystal, looks intense but also totally silent, as if unconstrained strengths were all melted in one placid beauty.”
THE MAGNIFICENT GLORY OF THE GOLDEN ERA This overview of Chu Teh-chun’s artwork is akin to appreciating a lyrical epic. The methods of textural painting often gives the viewers a feeling of spiritual energy. The most appropriate phrase for describing his artworks is “vivid artistic conception”. He was constantly transforming and refining his methods and was full of an almost supernatural enthusiasm. Regarding the various interpretations of his art as well as his artistic reproduction of nature, it has been pointed out that some of his transformations went beyond an objective rendition of the landscape but rather had become a highly subjective and poetic expression instead. Via the transition from the specific to the abstract, he has created a portrayal of the intellectual realizations he had accumulated throughout his life. Born in a time of turmoil and cultural flows, Chu Teh-chun had transitioned from a traditional Chinese environment to a modern European aesthetic. Beginning in the 1980s, Chu Teh-chun began employing oriental charm as a basis for complementing features of Western artistic expression. The brushstrokes and contours of his art are reminiscent of the forms found in Chinese calligraphy. Xie Hun, an art historian from the Southern Qi Dynasty, describes in his seminal work, “The Record of the Classification of Old Painters”, the Six principles of Chinese painting: spirit resonance, bone method, correspondence to the object, suitability to type, division and planning and transmission by copying. One can easily see that the first two principles, spirit resonance and the bone method, are incorporated in Chu Teh-chun’s artworks. 元，王蒙《夏山高隱圖》(局部)，約1365，絹本設色，現藏與北京故宮博物院，北京，中國 Yuan Dynasty, Wang Meng, A Solitaire Living in Xianshan Peak, c.1365, color on silk, 149x63.5cm, Collection of Palace Museum, Beijing, China
In addition to embodying the representation of oriental culture, Chu Teh-chun had also liberated his artistic forms from the confines of specific matters, manifesting in a penetration of magnificent grandeur. Beyond just representing the unique symbolism and characteristics of music among the Chinese literati, Chu Teh-chun’s art had another manifestation as well: a unique esoteric motif that is repeatedly reflected in his works, namely a meditation on the vastness and boundlessness of the universe. Through this detached sentimental style, he conveys his esteem for the beauty of nature. The overall picture was particularly effective at capturing and conveying the feeling and texture of air. In Chu Teh-chun’s paintings, he had rearranged the scenery that he witnesses. Whether it is the lighting of a portrait or the oriental heritage which permeates the atmosphere, he had broken the principles of conventional judgment one step at a time. His one-of-a-kind artistic forms are an ingenious fusion of Eastern and Western influences. He uses an abstract naturalistic approach to allow these unique cultural sources to blend with each other, preserving their positive attributes while discarding their superfluous elements. It is as so though the horizon were a s u rg i n g , r a d i a t i n g and magnificent flower that bloomed with unprecedented vitality.
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ZAO Wou-ki (Chinese-French, 1920 - 2013)
Sans titre
1977 Ink on paper 48 x 61 cm Signed lower right Wou-ki in Chinese, Zao in French and dated 77 This painting is to be sold with a certificate of authenticity issued by Atelier Zao Wou-ki
NT$ 5,500,000-7,000,000 HK$ 1,482,000-1,887,000 US$ 189,500-241,100 RMB 1,193,000-1,518,000
趙無極 無題 1977 水墨 紙本 48 x 61 cm 簽名右下: 無極 ZAO 77 附趙無極工作室開立之原作保證書
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LIU Kuo-sung (Taiwanese, b. 1932)
Mountain Ranges 2013 Ink and color on paper 94.3 x 186 cm Signed lower right Liu Kuo-sung and dated 2013 in Chinese With one seal of the artist
NT$ 7,500,000-8,500,000 HK$ 2,022,000-2,291,000 US$ 258,400-292,800 RMB 1,627,000-1,844,000
劉國松 綿綿無盡峰連白 2013 彩墨 紙本 94.3 x 186 cm 簽名右下：劉國松 二Ｏ一三 鈐印右下：劉國松
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岱 宗 夫 如 何 ？ 齊魯青未了。
WHAT SHALL I SAY OF THE GREAT PEAK?
造 化 鐘 神 秀 ， 陰陽割昏曉。
THE ANCIENT DUKEDOMS ARE EVERYWHERE GREEN,
盪 胸 生 層 雲 ， 決眥入歸鳥。
INSPIRED AND STIRRED BY THE BREATH OF CREATION,
會 當 凌 絕 頂 ， 一覽眾山小。
WITH THE TWIN FORCES BALANCING DAY AND NIGHT.
－杜甫 望嶽
I BARE MY BREAST TOWARD OPENING CLOUDS, I STRAIN MY SIGHT AFTER BIRDS FLYING HOME. WHEN SHALL I REACH THE TOP AND HOLD ALL MOUNTAINS IN A SINGLE GLANCE? - Du Fu, A View Of Taishan
劉國松於一九五六年創立五月畫會，以現代水墨理論「革中鋒的命」 為其響亮口號，引發藝壇界現代水墨論戰；提倡「以西潤中」的水墨 美學作其創作學理基礎，使用抽象跳脫以往的視覺經驗，超脫自然表 象，以表現心靈自由之美，使之達到永恆。余光中曾論劉國松：「蟠 蜿迴旋在他畫中的，是一股生生不息循環不已虛而不屈動而愈出的活 力，就是那無窮無盡無始無終的生命，恆在吸引我們。」 此件《綿綿無盡峰連白》為劉國松後期作品，走遍了蒼茫煙水、看盡 了無窮之境，劉國松把大自然純化，簡化了所有外界事物而成幾何圖 形，用獨樹一格的皴法來強化與製造山石的肌理美感。「東方的自 覺」於劉國松的藝術創作中體現，藉畫筆將生命的體悟發揮淋漓盡 致，用抽象跳脫以往的視覺經驗，超脫自然表象，表現心靈自由之 美，使之達到永恆。劉國松的「抽筋剝皮皴」把世間山水轉化為自身 的一部分，使用創新技法豐富畫中語境，表達非常個人之感，成就 「劉國松式」的抽象山水，亦為極具個人風格辨識度的代表作。 劉國松窮形盡相地描繪各地的山水面貌，於蒼茫雄渾的大地之上，以 獨特的技法表現寫意山水的視覺意象組構，客觀再現已不再是主要的 創作思路，使用抽象的形式遊戲翰墨，托喻寄興地表現心中之情； 將自然以主觀的意識發展，自我抒發，借景抒情並歌誦人生永恆的一 面。也間接顯現出中華文化的道德內涵，對於生命輪迴的感悟亦表現 於創作之中，除精神性質的特色之外，以創新技法再現中國水墨人文 情懷的特殊氛圍表現，使劉國松的藝術作品更透露出一種崇高的自然 風景之美。 Liu Kuo-Sung founded the Fifth Moon Group in 1956, widely publicising a call to 'overturn the centre tip' in modern ink painting theory, which became the focus of a heated debate in the art world. Liu promoted the incorporation of Western concepts as the aesthetic foundations for ink painting, and he used abstraction as a means to escape the visual experiences of the past. He transcended nature's representations by depicting free-spirited beauty, thereby making his subject eternal. Commenting on Liu Kuo-Sung’s work, writer Yu Kwang-chung once wrote, "His paintings have their own orbit, so full of vitality to have taken on their own endlessly vicious,
unbearable life of a sort that goes on and on with neither beginning nor end, and it constantly draws us in." The piece “Mountain Ranges” is one of Liu Kuo-Sung’s later works, depicting a stroll through vast, smoky waters, gazing at a world without bounds. It exemplifies Liu Kuo-Sung’s purified approach to the natural landscape, each external feature simplified into geometric shapes, and his method of emboldened texturing gives the scene a beautiful, skin-like appearance. An ‘Eastern consciousness’ is embodied in Liu Kuo-Sung’s artwork, and a deep understanding of life is vividly portrayed through his use of the brush. Abstraction is used as a means to escape the visual experiences of the past. And through his depictions of a freespirited beauty, representations of nature are transcended and made eternal. Liu Kuo-Sung’s innovative ‘Ripping the Tendons and Peeling the Skin’ technique enriches the context of the painting and turns the world of landscapes into a part of the self. Exemplary of the artist’s truly unique approach, the technique displayed in this work has also become widely known as the ‘Liu Kuo-Sung Style’ of abstract landscape painting. Liu Kuo-Sung has applied his unique techniques for depicting the visual structures of landscapes to all kinds of vast and striking terrains. Without the goal of objective reproduction factoring into his practice, he finds ways to play with the ink so that the abstract forms subtly express the heartfelt emotion Liu puts into his work. At the same time, the natural landscape takes on its own subjective conscious — a self-expressive feeling that balances the internal with the external and sings an eternal melody for human life. More indirectly, there is also a certain implication of a Chinese cultural ethics that can be found in Liu's work — an understanding of the circle of life present in his art practice. Beyond this spiritual nature of the work, there is also a manifest sentiment for the tradition of Chinese ink painting reproduced through Liu Kuo-Sung's innovative techniques, which so lucidly bring out the majestic beauty of the natural landscape.
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217
ZHOU Chunya (Chinese, b. 1955)
Flora
1999 Oil on canvas 100 x 80 cm Signed lower right ZHOU CHUNYA in Chinese and English, dated 1999
NT$ 7,500,000-12,000,000 HK$ 2,022,000-3,235,000 US$ 258,400-413,400 RMB 1,627,000-2,603,000
周春芽 花神 1999 油彩 畫布 100 x 80 cm 簽名右下：1999 ZHOU CHUN YA 周春芽
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FLORA ZHOU Chunya 1989年周春芽自德國帶著表現主義的刻痕回到中國，之後花費數年 潛心研究傳統的中國文人藝術，特別受到董其昌、石濤、八大山人和 黃賓虹等名家的啟發，他在文人畫的「筆墨情趣」與德國表現主義之 間挖掘出嶄新的可能，90年代後期起，他創作大量以各式花卉為題的 作品，藉由這歷史悠久的文人畫主題開闢新局。這系列花卉多半獨立 懸於空白的畫布當中，呼應中國水墨「留白」的同時，亦一定程度限 制了改筆的可行性，《花神》即為其中的精采之作。 《花神》筆觸明快毫不猶疑，綠與紅在畫布中央衝撞亦融合，濃烈色 彩流淌中，浮現盎然盛開的鮮花與淋漓的枝葉，足見周春芽高超的造 形能力。然而，現實的描寫並非藝術家所關注的，《花神》明顯地透 露他從中國文人傳統裡領略到「寄情於景」的精神，周春芽承接此一 精神的同時，卻一反古人的含蓄幽微，直視人性內在的慾望與渴求。 畫中豐富的疊色與肌理、高度對比的疏密佈局，使得原是靜態的花卉 動感十足、生氣勃發，既有花的嬌柔瀲豔，亦透露一股近忽狂暴的張 力，彷若融高貴、溫柔、激情與衝動為一體的人之本性。周春芽在此 作中則以懷舊的風格點染，簡單數筆便令畫作生動傳神，成功捕捉了 盛開鮮花的神韻，評論家對於八大山人的評論，恰可適用於本作品， 正是「用筆不多不少，恰到好處地傳達出主題之美」。花朵以懷舊簡 練的筆觸繪畫而成，在潔白無垠的背景上成為視覺焦點，這種表現方 式來自水墨畫中的留白，「無一物之處卻有最深遠意」，與詩人畫家 馬德升在八零年代早期詩作中想要表達的想法相同。畫作上，鮮花盛 放的永恆美態令人回溯過去，在以簡約有勁的筆觸描繪的枝葉襯托 下，尤如在畫面上翩翩起舞。 Zhou Chunya returned to China in 1989, having been influenced by Expressionism while in Germany. He devoted the following years to the learning of literati arts of traditional Chinese, and was particularly inspired by the masters Dong Qichang, Shitao, Bada Shanren, and Huang Binhong. What he found were brand new possibilities between the German Expressionism and the “sentiments of brush and ink” of Chinese literati works. Since the late 90s, he created many flower-themed pieces, paving a new road with the historical heritage of literati paintings. In this series the flowers are often suspended alone on the empty canvas, representing a call back to the concept of “negative space” from Chinese ink wash painting, which also restricts the possibility of further alteration. “Flora”is one of the fascinating works among the series.
The brushwork in “Flora” is bold and bright, showing no signs of hesitation. Green and red on the canvas seem to both clash and coalesce at the same time. In the midst of such rich color, blooming red flowers with elegant leaves and stems shine through, displaying Zhou’s superb ability to form his subjects. Yet realistic depictions are not what the artist is truly concerned with. “Flora” clearly conveys what Zhou had learned from Chinese literati traditions: the ethos of “imbuing a scene with feeling.” While Zhou inherited this ethos, his art takes a direction which is opposite to the modesty and grace of the elder generation; he gazes directly into the wishes and desires of humanity. The rich layering of color and the texture of its surface, as well as the high contrast of density in the spacing, enliven the once passive flower into a burgeoning vitality. The painting maintains the flower’s gentle charms, while allowing sudden glimpses of raging tension, mixing gentleness and nobility with passion and impetuosity.While the depiction of a lily in full bloom encompass qualities of a delicate softness frequently found in the classical ink tradition, the nostalgic composition of the brushstrokes adds dimension to the painting. The artist have succeeded in capturing the essence of a lily in full bloom, in line with a saying often utilized to describe the works of Bada Shanren, which posits, “there is not a missed line, nor the requirement of an extra brush stroke to bring out the beauty of the subject matter.” The nostalgic airy brushstrokes of the flowering blossom becomes the focal point against the white backdrop that offers a delimitation of space, this attribute adheres to a theory in the Chinese ink and wash paintings tradition that predicates upon the notion where the void “is not devoid of sense”, as declares a poem from the poet and painter Ma Desheng the early eighties. The timeless beauty of flower in full bloom is reminiscence of tradition while the simplified, more vigorous brushstrokes used to render the stem and leafy sprigs issuing the nostalgic flowering lily dances harmoniously upon the canvas. 梵谷《靜物：有黃色背景的鳶尾花盆景》1890，油彩 畫布 現藏於梵谷美術館，阿姆斯特丹，荷蘭 Van Gogh, Still Life: Vase with Irises Against a Yellow Background, 1890, oil on canvas, 92x 73.5 cm, Collection of Van Gogh Museum, Amsterdam, Netherlands 石濤《清湘老人細筆花卉冊子》（局部），紙本設色 2008年，5月26日，「古代書畫拍場」，佳士得，香港，私人收藏 Shitao, Floral Album (detail), ink and color on paper, 37.5 x 25 cm 26, May, 2008, Fine Chinese Classical Paintings and Caligraphy, Christie's, Hong Kong, Private Collection
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ZHOU Chunya (Chinese, b. 1955)
Taihu Stone
1992 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and dated 1992
NT$ 10,000,000-18,000,000 HK$ 2,695,000 -4,852,000 US$ 344,500-620,000 RMB 2,169,000-3,905,000
周春芽 太湖石 1992 油彩 畫布 100 x 80 cm 簽名右下：1992 周春芽
董其昌《董其昌倣宋元人縮本畫及跋》明，水墨設色 絹本，現藏於國立故宮博物院，台北 Dong Qichan, In imitation of miniature painting and epilogue in Song and, Yuan dynasty, Ming dynasty, ink and colors on silk, Collection of National Palace Museum, Taipei
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「我畫石頭並不是出於圖像或符號的考慮，完全是
由於趣味。我喜歡古典文人筆下石頭的形態，但不 滿足於那種過於溫和、內向的性格，我想到一種張 揚而冒險的嘗試—借助這種典雅的形態去傳達一種 暴力甚至是色情的意味。 」─ 周春芽
TAIHU STONE ZHOU Chunya
“I paint stones not for considerations of images or signs, merely for interests. I like forms of stones by ancient literati, but am not content with the overly mild and introverted personality. So I am thinking about a kind of risky attempt, rely this kind of elegant form to convey a kind of violent even erotic meaning.” - ZHOU Chunya
周春芽一系列以奇石為題材的畫作，以濃烈而富含情感張力的油彩表 現，承載了玩石傳統中對「奇」與「怪」的審美觀。繪於1992年的 《太湖石》，以墨藍的筆觸交融共構，石頭本身明確的輪廓與形狀並 未被具體地交待，而是在色彩層疊之中浮現多重切面，藝術家像是在 畫布上進行雕刻一般，精心琢磨每一處起伏、鏤空和細節，於是，岩 石堅硬的質地、崎嶇銳利的表面觸感與巨大沉重的量體清楚地被傳達 出來。 一些乾筆刷出的筆觸，帶著蒼勁之感，另人想起水墨中的飛 白。深沉曖昧的藍色調，讓原本應是堅實靜止的石頭，披上了一層魅 惑，彷復有機體一般生動起來，如山雨欲來，更增添了整件作品飽滿 的戲劇張力。 中國園林中的山石以太湖石最為著名。太湖石以其形狀奇巧，自成景 致的特點而備受文人青睞，在西方雕刻石頭，東方描繪石頭的傳統 裡，周春芽亦不例外。他用自己獨特的藝術語言為冰冷的石頭賦予情 感和生命。他在《太湖石》一作裡淋漓盡至地發揮油彩的材質特性， 以豐富的細節層次與肌理，形塑出騷動且具有原始侵略性的奇石，顛 覆傳統文人山石那閒逸高雅的形象，成就了前衛狂放而內涵文人底蘊 的代表之作。 Zhou Chunya composed a series of paintings featuring unusual rocks, in which he inherited the aesthetic tradition of rock collectors in valuing “strangeness” and “peculiarity” through strong and emotional expressions in oil paint. Painted in 1999, “Taihu Stone
” was constructed by brushstrokes of heavy blue and dark black. Instead of showing the distinct contours of the rock, the artist depicted multiple dimensions revealed through overlapping colors, as though carefully carving out every bulge, hollow and detail on his canvas. And thus, the solid composition of the rock was clearly presented, as are its sharp, rugged surface and giant, weighty volume. Some dry brush strokes create a forcefulness that reminds viewers of the “dry stroke” (Feibai) in ink wash. A touch of obscure blue adds a captivating charm to the supposedly still and solid rock, which becomes vivid as though a living organism. In the heavy, dark cyan paint spreads over the canvas like wash of ink, as though foreseeing a coming storm and adding a rich theatrical effect to the whole artwork. Taihu stone was the most famous kind of stone being used in traditional Chinese gardens. With its unique shapes, Taihu stone naturally became a key scenic feature in a garden, and attracted the interest of the literati. If the Western tradition is to carve stone, the East Asian tradition is to depict stone as it is, and Zhou Chunya remains faithful to this tradition. Zhou uses his own unique artistic lexicon to endow cold, unfriendly stone with emotion and life. This work completely overturns the elegant image of mountains and rocks in the literati tradition and accomplishes a bold masterpiece that carries the profundity of literati art.
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CHU Teh-chun (Chinese-French, 1920 - 2014)
Effluves de Printemps (Emanations of Spring) 1987 Oil on canvas 130 x 195 cm Signed lower right Chu Teh-chun in Chinese and English and dated 87 Titled on the reverse “Effluves de printemps” in French, CHU TEH-CHUN in English and Chinese, dated 1987
NT$ 30,000,000-40,000,000 HK$ 8,086,000-10,782,000 US$ 1,033,400-1,377,900 RMB 6,508,000-8,677,000
朱德群 春天的香氛 1987 油彩 畫布 130 x 195 cm 簽名右下：朱德群 CHU TEH-CHUN 87 簽名畫背："Effluves de printemps" CHU TEH-CHUN 朱德群 1987
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EFFLUVES DE PRINTEMPS CHU Teh-chun
中國古代美學理論追求的至高境界是：所貴於枯澹者，謂其外枯而中
代後期，朱德群趨向對自然光線作更深入的詮釋，並試圖把更多色彩
膏，似澹而實美。這一點，在吳冠中評價朱德群的風格中呼應備至：
納入畫面中，以更豐富、更具情感的創作手法，延續中國文化精神議
「中國傳統中對筆墨運轉及對絹或宣紙質感、肌理的講究創造了東方 繪畫宜近看而耐人尋味的特點。德群在大刀闊斧的油畫揮寫中竭力發 展中國筆韻、墨趣的時代性、世界性。 」「朱德群的作品確是遠看西 洋畫、近看中國畫，他的創造性的手法正適合借來作為我的觀點的闡 明。朱德群表現中另一個突出的特點是透明性，粘糊糊的油彩織成了 透明的新裝，那種半透明效果本是中國宣紙特有的風采，令西方可望 不可攀的風采。朱德群的抽象繪畫不受遠景近景具體物象的約束，他 竭力追求深遠的空間感與具體筆墨的韻律相結合，是縱深感與形象性 都得到最充分的發揮。 」
題，更將色彩納入他創作中，展現出更為豐富、多情的一面。 藍色調是朱德群的最愛，因為它象徵了大自然中海天共用的原色。藍 色既親切又富詩意，充滿了天地間磅礡的氣魄。此幅《春天的香氛》 抑是以藍色為基調。透過神秘而富有浪漫情懷的色彩營造出一種特殊 的意境。細看之下，色塊的輕盈顯露，若隱若現又如繁花，透出明亮 清澈的光線，在他的畫中，你看不到現實的形體，只有一些神秘的幻 想在跳動，但當你用耳去聆聽他的畫，你會聽見動聽的中國曲樂在耳 邊若隱若現。端詳著朱德群一張一張的畫作，觀者會驚訝於藝術家竟
「朱德群以精湛技巧開發了繪畫的空間。 」─法國文學權威及藝術評 論家，余伯·阮 朱德群的繪畫世界中充滿了詩意的氣質；及音樂在空氣中的律動。其 用色上兼容沈穩而奔放，線條揮灑間有如狂草，極具中國山水與書法 的逸趣。其作品裡蘊含著東方藝術的細膩與西方繪畫濃厚而大膽的 色彩表現，他的繪畫中抽象表現是一種自然的流露、熱情而奔放的抒 情創作。光的表現是朱德群作品中重要的元素，經常神秘地穿梭於畫 裡，訴說著大自然與宇宙中的深層奧秘。朱德群的畫和中國的傳統山 水一樣，將人帶進一個新的世界，這個是藉由他的筆法和用色構成， 走了進去就好像走到一個純藝術的世界，隨著他的線條與筆觸任意瀏 覽和探索，而發現到這個世界的清新和醇美，穿插馳騁遨遊其間，使 人感到自由、舒適、痛快、淋漓盡致，充滿了詩意，達到一種忘我 之境，完全浸沉於他創作的世界裡。雖然運用油彩畫於畫布上，然畫 面呈現著十分真摯的中國山水意境，對一個中國人來說，這是十分傳 統，十分熟悉的。
宋，王希孟《千里江山圖》 (局部) 約1113，娟本 設色，現藏於北京故宮博物院，北京，中國 Song Dynasty, Wang Ximeng, A Thousand Miles of Rivers and Mountains (detail), c.1113, color on silk, 51.5x1191.5cm, Collection of Palace Museum, Beijing, China
能點出千百種意境，嗅不出凡夫俗子會想到的「靈感枯竭」之慮，這 在其80年代後的繪畫有了極佳的應證。有了年歲的藝術家便是以他多 經歷過的歲月來決定其價值，描繪出的記憶也好，心情也罷，都令其
「朱德群的空間不屬於古典的透視；我們可以說它是一多次元種空
創作更貼近他的個人內在，物我合一的境地也在此體現，蘊釀出其所
間...。繪畫中色彩的靈活選擇，及小方塊的佈局，產生光線掃過的細 微變化。這些繪畫既是空間也是結構。 」─莫里斯·巴聶
想望的幻化記憶。成功絕非偶然，朱德群開創了一個新的當代繪畫空 間，從其早期畫作可見端倪。畫家結合自身中國書法的涵養，加以感
80年代中，朱德群充分運用中國的書法繪畫的線條、點與粗筆，中國
得敬佩。
染自西方抽象畫的奔放自在，不斷為現代詩情山水再造新意，精神值
書法的俯仰、頓挫與縱橫均可見於這個時期的作品當中。到了80年
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The highest realm in the pursuit of aesthetic theory in ancient China: What is expensive withers, which is to say the surface layer drys up and the inside turns soft, so it appears as tranquil as true beauty. Such an idea is echoed in Wu Guanzhong's evaluation of Chu Teh-Chun's style: “In Chinese tradition, the great attention paid to the grains and textures of the papers and silks as well as the brush strokes lends to an Eastern painting, which has the characteristic of revealing more the closer one looks. With his striking and bold oil paintings, Chu Teh-Chun made every effort to broaden the appeal of Chinese ink, with strokes that could speak to a contemporary audience around the world.” “From a distance, Chu Teh-Chun's work can appear as Western painting, or as Chinese painting if seen up close. For me, his creative approach lends itself well to clarifying one's perspective. Another prominent feature of his work is its translucence, with the viscosity of the oil paint being woven through a more translucent mode. The semitransparent effect originally comes from a type of Chinese paper with a distinctive elegance and style that would be unobtainable in the West. For Chu Teh-Chun's abstraction, objects in the foreground and background of a painting do not pose a constraint but instead motivate the artist's pursuit of a deep spatiality that can coalesce with the concrete rhythms in his ink and brushwork. And this accounts for the ampleness of the depth and form in his work.” “The Chu Teh-Chun has opened up a space for painting with his extraordinary talent.” - Hubert Jiun, art critic and authority on French literature The world of Chu Teh-Chun's paintings abounds in poetic sensibilities, and the rhythms of music fill the air. The colours are complemented in ways both calm and unrestrained while the lines flow like wild prairie grass, likening the work to Chinese painting and calligraphy. The fine detail common to Eastern art and the bold, daring colours common to Western painting can both be found in this work, which also highlights how naturally zealous, warm, and unbarred the artist is in his lyrical approach to abstract expressionism. An important element in Chu Teh-Chun's work is the use of lighting, which often has a mysterious way of hovering in the painting, as if speaking to the deeply kept secrets of mother nature and the cosmos. In the same way as traditional Chinese landscape painting, he places people in a new world, structured by his colours and brushstrokes. Walking inside is like entering a world of pure artistry. If one follows on a whim of the flowing lines of his brushwork, there lies a fresh and pungent world waiting to be discovered. If diving in headfirst and immersing oneself in the poetry of this world, it is possible to lose oneself to the feeling of total inhibition, freedom, comfort, and happiness that exudes from Chu Teh-Chun's work. Even though it is oil on canvas, the
painting still gives a sincere portrayal of the Chinese landscape concept. For a Chinese person, the work would indicate both a reverence for that tradition and a thorough knowledge of it. “The space of Chu Teh-Chun does not conform to that of the classical perspective. We could say it is a space of multiple dimensions… Owing to the enlivened choice of colours and the overall compositions, slight permutations are seen as light washes over them. As much as they are spatial, these paintings are as structural, as well.”- Maurice Panier As Chu Teh-Chun made full use of the lines, dots, and thick strokes of Chinese calligraphy and painting in the 1980s, the angles, modulation, and aspect of Chinese calligraphy are all evident in his work of this period. It was not until the end of the decade that he shifted towards an interpretation of natural light with a greater depth and tried to incorporate more colour into his work. In expanding the emotional breath of his technique, he began to touch on the questions the Chinese cultural spirit, and in adding colour to his work, he enriched the emotional aspect of his practice. Because it stands as symbol for the natural colour found on earth, Chu Teh-Chun was fond of blue tones, which could be both cordial and poetic while saturating the world in majestic hues. “Effluves de Printemps” (‘Emanations of Spring’) is a work based on this blue, exuding a certain mood through its mysterious and romantic colours. Upon closer inspection, the light tone of the colour reveals flowers blooming in and out of focus as rays of light pierce through. While the figures in the painting may be indistinct in a work marked by such enigma as this one, if you lend it your ears and listen closely, there just might be a Chinese melody that trickles through with the same subtly as the image itself. If a full, piece by piece review of Chu Teh-Chun's work were conducted, one would be amazed by the artistic wealth which runs throughout and which never even comes close to an 'uninspired' moment. Excellent evidence of this can be found in his post-1980s work. An artist with years of experience might come to be judged by those years, not to mention the memories and even the moods that are derived from them. They all contribute to a practice that draws nearer to what resides within the individual, which is reflected in a greater unity between the work and its creator. Through a sort of fermentation, thoughts and desires are transformed into memories. Chu Teh-Chun's success is no accident. Even in his early work it can be seen how he came to create a new space within contemporary painting. In integrating his own background in Chinese calligraphy, and by letting that be infected by Western abstraction's lack of inhibition, he was able to continually reshape the modern poetry of landscape painting. And such a feat is more than worthy of appreciation.
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ZAO Wou-ki (Chinese-French, 1920 - 2013)
5.11.62
1962 Oil on canvas 80.5 x 116 cm Signed lower right Wou-Ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-Ki 5.11.62
NT$ 88,000,000-110,000,000 HK$ 23,720,000-29,650,000 US$ 3,031,300-3,789,200 RMB 19,089,000-23,861,000
趙無極 5.11.62 1962 油彩 畫布 80.5 x 116 cm 簽名右下：無極ZAO 簽名畫背：ZAO WOU-Ki 5.11.62
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5.11.62 ZAO Wou-ki
我可以毫不臉紅的說，我畫的是一種很浪漫的 畫，它帶給我極大的快樂，一種最強的快樂， 就是畫繪畫本身。 趙無極
《5.11.62》是趙無極1962年所完成的創作，曾為多倫多市蘭恩畫廊
受巴黎藝術，1969年趙無極生平第二次回顧展，即選擇於加拿大
所擁有。蘭恩畫廊是加拿大執牛耳的藝術畫廊，曾對戰後抽象藝術
的蒙特婁當代美術館與魁北克博物館巡迴展出。趙無極當時在美洲
卓有貢獻，隨著執事者的殞落，如今不復存在。當年負責人是畫商
的活躍程度可見一斑。蘭恩應該是透過上述幾位加拿大藝術家的介
布萊爾．蘭恩，名氣十分響亮，活躍於二十世紀的加拿大藝壇，也
紹，結識來自中國的趙無極，並直接向他購得此作—《5.11.62》。
一度引進英國雕塑家亨利．摩爾的作品至加拿大。1989年他捐贈一
趙無極在巴黎、紐約各有法蘭西畫廊、庫茲畫廊的合作，來自多倫
批價值不斐的收藏給加拿大國家畫廊，傳為藝壇佳話。
多的蘭恩應是為他的畫廊庫存珍藏精選而來，此類的購買在國際畫
從20世紀中期起，畫商布萊爾．蘭恩經常飛往法國，為他的收藏家 們挑選作品，拜訪遠赴巴黎學藝的加拿大畫家，並代理幾位巴黎畫
商之間時有所聞。這件作品後來轉售給加拿大私人藏家，四十多年 來這幅畫作一直留在加拿大，直至今年才得以重現世人眼前。
派的加拿大裔成員，例如培蘭（Alfred Pellan,1906-1988）、博爾迪
趙無極的1960年代達到飛黃騰達的階段，創作力十足，國際間展覽
阿斯（Paul-Émile Borduas, 1905 -1960）以及李歐佩樂（Jean-Paul
邀請不斷。而在創作上，當時他因為重新找到愛情，激發了內在的
Riopelle, 1923-2002）等等， 其中的抽象畫家李歐佩樂，正是趙
情感。當時的年紀風華正茂，他自言可以自由揮灑，認清顏色本身
無極的五十多年知交好友。幾年前，李歐佩樂的過世令趙無極感觸
所具備的生命力，一切的法則此時皆可拋脫，只須因應自我內在世
良多，特地創作一件三聯作黃綠色調大油畫向他致意。此外，蘭恩 1998）以及博爾迪阿斯，從1950年代起與紐約的庫茲畫廊亦有展覽
界的需求。趙無極猶記得當年的創作熱情，他說道：「我可以毫不 臉紅的說，我畫的是一種很浪漫的畫，它帶給我極大的快樂，一種 最強的快樂，就是畫繪畫本身。 」（趙無極、梵思娃．馬凱著，劉俐譯，《趙
合作關係。趙無極曾在蘇拉吉的推薦下，與庫茲畫廊從1957年起開
無極自畫像》，藝術家出版社，台北，1993年初版，1996 年再版，頁115）
畫廊當時經常展出的加拿大籍畫家羅納德（William Ronald, 1926-
始舉辦畫展，關係可謂十分密切。本場拍賣的另一幅1963年的趙無 極油畫《19.7.63》，其來源即可上溯自紐約庫茲畫廊。 這些藝術 家或畫商皆是戰後抽象藝術裡的風流人物，他們的相遇如同風雲際 會，為20 世紀戰後抽象藝術發展譜寫出精彩的史頁。
藝術評論家雷馬利在趙無極第一本法文版編年目錄中，指出1960 年代趙無極的藝術不斷發展，採用對比或和諧的方式，經常表現畫 面裡的韻律、肌理和色調等細微變化的特點：此時比較偏好單色， 時而深暗而盈滿，暈染的棕色上有黑色刮痕；時而乳白而輕盈，例
當1948年趙無極從上海移居巴黎，他的創作很快地獲得巴黎藝術圈
如銀灰色的雲霧。其他有的是雪與藍寶石、慕思和紅寶石的華麗
的認同。從具象畫轉為抽象畫，加速他的知名度在歐洲打開，甚至
和諧。（參閱雷馬利，《趙無極》，藝術圈出版社，巴黎，1978,
連當時不易接受歐洲抽象風格的美國，也從1950年代後期逐漸關注
1986，頁40）雷馬利所指涉的是趙無極的豐富色階變化，及多樣化
趙無極的藝術。加拿大境內因為有法語區，相較於美國，更容易接
的質感。而趙無極的繪畫是因為他個人細膩的感知和豐沛的情感，
134
因為它們的確是來自生活中的感觸，內心波動自然流露，繪畫也常是 他低潮時的避風港，他曾說過他的畫等於是他的日記，他的生活。美 術史家認為，趙無極的作品是抒情的抽象畫，像一首詩，感性的存 在，卻又不說玄論理，引經據典。 作品《5.11.62》採取畫家1960年代最典型的海景型橫式構圖， 氣勢 壯闊而生動。畫面分割成平行的三部份，上下天地是近乎赭色、古銅 色的空間，互為協調，一靜一動；中間部份，是明亮的黃、綠色，光 芒從畫面的中心迸發湧現，黑色的線條穿梭其間，像是奔馳後拖曳的 影子，虛實之間形成拉扯、推擠的動力。我們可以發現， 趙無極在 《5.11.62》作品中空間與光源的完美運用，以及內在的情緒昂揚。 他在自傳中也曾寫道：「大幅畫布，使我必須與空間搏鬥，不但要填 滿它，還要給它生命，把自己完全投注在其中。我想表現動感，或迂 迴纏綿，或風馳電掣。我想藉著對比和同一色彩的多重振顫，使畫布 躍動起來，我要找到一個放光的中心點。 」（參閱《趙無極自畫像》） 在作品《5.11.62》之中， 畫家把對生命追求與情感傾瀉在其中，此 繪畫中所表達的情緒，鏗鏘有力、充滿力度。繪畫裡的律動，如同大 自然裡的風動或海波，帶給人一種音樂性的感受。在一次詩人葉威廉 的對話裡，趙無極曾指出繪畫應該像音樂一樣，必須有休止、寂靜才 成音樂，不能密密實實都是音。學過六年音樂的趙無極，對於光源、 空間的關切留意，以及音樂的抽象性特質，亦起了巧妙的鏈結。台灣
Kootz Gallery in New York. All artists and dealers are important names in abstract art of the post-war era. Their fortunate meeting in the same events has written an important page in the history of post-war abstract art in the twentieth century. Moving to Paris from Shanghai in 1948, Zao's works quickly gained recognition in the Paris art circles. Transformation from concrete art to abstract paintings accelerated his fame in Europe . Eve n America, which did not readily accept the European abstract style, gradually began to pay attention to Zao's art from the 1950s. Compared to the US , Canada accepted art from Paris more readily since it has a French-speaking Province. In 1969, Zao held his second retrospective show in Muséed 'Art Contemporain, Montreal and Musée du Québec. His popularity in America was about average then. It was through the introduction of the aforementioned Canadian artists that Laing came to know about the Chinese painter and directly bought his work titled "5.11.62". Zao had connections with Galerie de France in Paris and Kootz Gallery in New York, and Laing must have come to select works for his gallery. Such purchases are often heard of from among international art dealers. The painting was later resold to a private collector in Canada. It remained in Canada for more than four decades and did not reappear in front of the public until this year.
藝術評論家杜若洲曾如此讚譽：「中國的空間」和「西方的光」是趙 無極在藝術上的可觀成就之一。他不斷融合兩大文化的潛質，以其現 代性的表達語彙，不僅是達到精神上的遨遊，更是締造了一個全新的 視覺世界。 Completed in 1962, Zao's painting titled "5.11.62" was once held by the Laing Galleries in Toronto, the leading art gallery of Canada that once made significant contributions to post-war abstract art. The gallery closed down following the death of its director. Art dealer G. Blair Laing was the person-in charge then. Well-known throughout the art sphere in twentieth-century Canada, Blair also introduced the works of British sculptor Henry Moore to the country at one time. In 1989, he donated a priced collection to the National Gallery of Canada, which is a deed worthy of praise in the art sphere. From the mid twentieth century, Laing began flying to France frequently to select works for his art collectors. He visited Canadian painters who came all the way to study art in Paris, and acted as agent for the Canadian members of Ecole de Paris Alfred Pellan (1906-1988), PaulÉmile Borduas (1905-1960) and Jean- Paul Riopelle (1923-2002). As abstract painter Riopelle turns out to be a close friend of Zao Wou-ki's for more than fifty years, his death a few years ago was quite an emotional experience for Zao, who especially created a triplicate, yellow-green-toned oil painting in memory of his friend. Furthermore, the Laing Galleries often displayed works of Canadian painter William Ronald (19261998) and Borduas, and a partnership with Kootz Gallery of New York was established for joint exhibitions from the 1950s. On the recommendation of Pierre Soulages, Zao began to hold exhibitions at Kootz in 1957, becoming very closely connected to the gallery. Another of Zao's paintings auctioned at the exhibition was a 1963 work titled "19.7.63", the holding of which can be traced back to
趙無極《21.3.1964》羅芙奧2006秋季拍賣會，編號061，3157萬台幣成交 ZAO Wou-ki, 21.3.1964, Ravenel Autumn Auction 2006, lot 061, NT$ 31,570,000 sold, 1964, oil on canvas, 63.5 x 80 cm
Full of creativity, Zao Wou-ki may be said to have made rapid advances in his career in the 1960s, when he was invited to participate in one international exhibition after another. His artistic creation showed the arousal of his innermost feelings as a result of his finding love once again. He was at his prime in terms of age. In his own words, he could express himself freely and recognize the vitality possessed by the colors themselves. One can forget about the rules, as responding to the needs of one's inner world was all
“I dare say my painting is a romantic one. It brings me the greatest happiness. The most powerful happiness is painting itself.” - Zao Wou-Ki
that mattered. Remembering his passion for creation at that time, Zao said, "I dare say my painting is a romantic one. It brings me the greatest happiness. The most powerful happiness is painting itself." (J'avoue, sans complexe, avoir fait une peinture romantique qui m'apporta de très grandes joies et la plus forte, celle de peindre de la peinture.) (Zao Wou-ki & Françoise Marquet, Autoportrait, Fayard, Paris, 1986, pp. 121)
According to art critic Jean Leymarie in Catalogue Raisonné, the first edition in French, Zao continuously developed his art in the 1960s, employing methods of contractor harmony and of ten presenting the rhythm of the picture, its texture and color modulation. There is a preference for monochromatic colors which are occasionally dark and rich; the uneven brown shade shows black scrape marks which are opalescent and light at times. An example is the silver gray brume. Other examples include snow and sapphire, mousse and rubious sumptuous accords (Jean Leymarie, Zao Wouki, edition Cercled' art, Paris, 1978, 1986, p. 40). W h a t L e y m a r i e re f e r s to is the rich variation in shade and the varied texture. As Zao was meticulously perceptive and full of emotions, and because his paintings originate from his feelings about life, his emotional fluctuation is naturally revealed in his paintings, which are also his harbor of refuge in times of distress. Zao once said that his painting was his diary and his life. Art historians consider his works as sentimental abstract paintings. Like poetry, they have a perceptual existence yet they are not abstruse or pedantic.
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The imposing and vivid "5.11.62" shows the seascape in a horizontal frame, which is the most typical form employed by the artist in the 1960s. The painting is divided into three parallel sections. The near ocher top and bottom portions are in harmony with the bronze-colored space, one being static and the other dynamic. The middle section is bright yellow and green, with light emerging from the center of the picture. Black lines shuttle in between like shadows left behind by the rapid movement, forming a pulling and pushing force in the actual situation. Zao's perfect use of space and light source, as well as his high spirits, can be observed in "5.11.62". As he puts it in his autobiography, "The large canvas means I have to battle with space. Not only do I have to fill it, I must give it life and throw myself into it completely. I want to show movement, a lingering circuit, or the whipping movement of wind and lightning. I want to make the canvas come alive through contrast and the action of multiple layers of similar colors. I want to find a center for the radiation of light." (Les grandes surfaces me demandaient de me batter avec l'espace; je devais impérativement remplir cette surface, la faire vivre et me donner à elle. Je cherchais à exprimer le movement, sa lenteur lancinante ou sa fulgurance, je voulais faire vibrer la surface de la toile grâce aux contrastes ou aux multiples frémissements d'une même couleur. Je cherchais un centre qui irradie.) (Autoportrait of Zao Wou-ki)
In "5.11.62", the artist pours out his feelings and aspirations in life. The sentiments expressed in the painting reverberate with energy and are full of vigor. Rhythmic movements such as the wind and waves in nature give one a musical experience. In the dialogue of one- time poet Wai - lim Yip, Zao once pointed out the similarity between painting and music, which must cease and be still in order to become music, and not consist of incessant sounds. Having learned music for six years, Zao is especially careful with light source, space and the abstract nature of music, linking them together in an ingenious manner. Taiwanese art critic Tu Jo-chou once commended, "Chinese space and Western space are one of the noteworthy artistic achievements of Zao Wou-ki." He constantly integrates the potentials of the two great cultures, using their modern expressions and vocabulary not only to attain the spiritual journey but to create a whole new visual world as well.
趙無極《5.12.1969》羅芙奧2006秋季拍賣會，編號060，9093萬台幣成交 ZAO Wou-ki, 5.12.1969, Ravenel Autumn Auction 2006, lot 060, NT$ 90,930,000 sold, 1969, oil on canvas, 194 x 96 cm
221
ZAO Wou-ki (Chinese-French, 1920 - 2013)
09.07.73
1973 Oil on canvas 100 x 81 cm Signed lower right Wou-ki in Chinese, Zao in French Signed on the reverse ZAO Wou-Ki 9. 7. 73 ILLUSTRATED
ZAO WOU-KI, Edition Cercle d’Art, Paris, 1986, black and white illustrated, p. 341, no. 456 This painting is to be sold with a certificate of authenticity issued by Atelier Zao Wou-ki
NT$ 50,000,000-65,000,000 HK$ 13,477,000-17,520,000 US$ 1,722,400-2,239,100 RMB 10,846,000-14,100,000
趙無極 09.07.73 1973 油彩 畫布 100 x 81 cm 簽名右下: 無極 ZAO 簽名畫背：ZAO Wou-Ki 9. 7. 73 圖錄
《趙無極》，藝術圈出版社，巴黎，1986， 黑白圖版，頁341，編號456 附趙無極工作室開立之原作保證書
138
09.07.73
在我成為一名畫家的過程中，巴黎肯定對我產
ZAO Wou-ki
特性逐漸成形，我也慢慢地憶起了中國。
生了影響，但我也必須這麼說，隨著我的藝術
趙無極
思憶東方情 一九七一年為趙無極的創作生涯低潮，其第二任夫人美琴病重，趙無 極無心作畫，此時詩人暨藝術家友人米修建議他開始畫些不那麼吃力 的水墨畫，這使得趙無極重新擁抱東方傳統繪畫之深奧。美琴於隔 年病逝，使趙無極陷入到極度的孤寂與哀思，其有將近一年半無法
彩錘鍊成水墨一般的中間性調子，是西方畫家所難以企及的一項成 就，其色彩的含蓄處深得東方水墨哲理之三昧，但色感的豐又是真正 的水墨所不能夢想的。參閱楚戈，〈自然之真相〉一文，收錄於袁德 星編《趙無極畫冊》，1980，版畫家畫廊展覽目錄， 源成出版有限 公司。
提筆作畫。一九七二年期間趙無極開始將思念轉回中國，這是在自
趙無極的創作不僅體現了中西文化的薈萃，融合東方哲學氣韻使之發
一九四八年離開後，趙無極第一次返回家鄉。他開始重新運用中國媒
展出的宇宙精神，所有的風景都經反覆思考與耐心沉澱，轉而在畫作
材詮釋西方繪畫的透視技法，以及摹仿墨水於絹布或紙上所產生的流
上呈現出自我對生命態度的深刻體驗及反思。在一九七一年重溫中國
動、暈染、滴流；墨色多重變化的焦、濃、重、淡、清，以無形蘊有
水墨後，相較於過去他避免流於中國傳統文化下的束縛，如今此繪畫
形的效果，充滿深湛東方文化之思對他有了新的啟發及觸動，也讓此
形式逐漸帶給他沉穩自若、安之若素的詮釋方式。趙無極一九七O年
時期的趙無極走向藝術創作生涯中另一個轉折階段。此階段的轉折亦
代之佳作，顫動的線條依舊，但已不若以往斑駁粗獷、厚重沉甸；與
賦予趙無極對於創作注入更多的豐富性，他從「墨」之中看到無限的
中國水墨交融之作，留白漸闊、蒼茫雲煙微微顯露出的含蓄肌理，此
變化、空間的自由寬廣以及深邃含蓄的東方哲學思想，在趙無極之後
時已預告著下一階段的風格來臨。
的繪畫表現上更加從容、自在，讓其所欲抒發的情感在畫面中擴張開 來。 高行健曾評趙無極：「他追求形式，卻不流於形式主義，他講究色 彩，而色彩的交響傳達的是意境。 」中國傳統繪畫自宋代以降便拋棄 了色彩，反觀西方繪畫自文藝復興後的色彩與光影運用，相較於東方 繪畫是無法比擬的。觀之趙無極的抽象油彩結合水墨中的特質，多以 色彩傳達出東方哲學之意境並將水墨微妙的韻味融入油彩。
猶 如 色 彩 斑 斕 的交響樂 一九七三年間，趙無極結識了第三任妻子，當時剛考入巴黎美術館實 習生資格的弗朗索瓦．馬凱。之後其作品中開始出現了少見的絢麗色 彩，斑斕的色調道出了趙無極的內心狀態。此件作品《09.07.73》為 趙無極於一九七三年所創作，用色簡淡高雅、強中帶柔，大膽卻細膩 的渲染技法表現出繪畫動作一氣呵成。此作品的畫面呈現一種氣韻流 動之感、悠遠含蓄的空間營造，看得出趙無極嘗試以西方的情境結合 東方悠遠的空間感。此時期，趙無極漸漸地不再追求力重如山、氣吞 山河的筆觸，逐漸地擺脫線條，以色彩流淌、揮灑、交錯堆疊等展現 畫面的和諧與空間流動。好似一種對於生命輪迴的感悟，藉畫筆將生 命的體悟發揮淋漓盡致。 他的每一幅作品色彩上都有主調，每一作品主要的調子絕無原色，而 以相近的色彩烘托層次，雖是油彩但塗抹之間多富渲染的趣味，把油
約瑟夫•瑪羅德•威廉•透納《暴風雪中駛離港口的汽船》1842，油彩 畫布， 現藏於泰德現代美術館，倫敦，英國 Joseph Mallord William Turner, Snow Storm: Steam-Boat off a Harbour's Mouth, 1842, oil on canvas, 91x122cm, Collection of Tate Modern, London, UK
“Although the influence of Paris is undeniable in all my training as an artist, I also wish to say that I have gradually rediscovered China as my deeper personality has affirmed itself. In my recent paintings, this is expressed in an innate manner. Paradoxically, perhaps, it is to Paris I owe this return to my deepest origins.” - Zao Wou-Ki
REMINISCING EASTERN SENTIMENTS The year 1971 marked a low point in Zao Wou-Ki’s creative career. His second wife, Chan May-Kan, was severely ill, and Zao just could not find the heart to create. His friend, Henri Michaux, a poet and an artist, suggested that he compose less-demanding Chinese ink paintings, and Zao re-embraced the profundity of Eastern conventional painting. May-Kan passed away the following year, leaving Zao in an abyss of loneliness and remorse, unable to pick up his brush to paint for almost a year and a half. In 1972, Zao’s thoughts were directed to China. It was his first return to his home country since his departure in 1948. There, he began employing Chinese media to interpret perspective techniques in western painting. He imitated the flow, blooming, and dripping that ink creates on cloth or paper, and the ink colors he used were varied— burnt, thick, heavy, light, or clear. He created the effect of form contained in the formless. The profound thoughts of Eastern culture touched him and inspired him, and this era became a turning point in Zao’s artistic, creative life. The change in this period also enriched Zao’s creations. In Chinese ink, he saw unlimited variations, a free and wide space, and the profound yet reserved concepts of Eastern philosophy. All of these in Zao’s paintings started in this period became freer and more at ease, expanding the emotions Zao wanted to express in the picture.
are simple, light, and elegant, exhibiting tenderness beneath the strength. The bold yet intricate blooming techniques reveal that the painting was composed in a flow. The picture presents a sense of movement, and the special construction is distant and implicit, reflecting that Zao attempted to integrate a western setting with the eastern, distant, spatial sense. It can be observed from this piece that Zao gradually ceased to seek strong and magnificent brush strokes, as if being able to consume the mountains and the rivers. He gradually outgrew lines; instead, he utilized the flow, sway, staggering, and stacking of colors to demonstrate a harmonious picture and spatial movement. As if he understood the circle of life, he used his brushes to express his realization about living life to the fullest. Taiwanese painter and writer Chu Ko once commented on the distinctive colors of Zao Wou-ki: "Each of his works has a principal shade and the principal shade of each piece is never a primary color. Instead, similar colors are set off by contrast in different arrangements. Though the works are oil paintings, they are smeared with rich and interesting colors. Oil paints are tempered to form the neutral tone of watercolors – a feat which western artists find difficult to achieve. The implication of the colors reflects the three popular notions of Oriental watercolor philosophy; nevertheless,the rich tones cannot be attained by real watercolors". (Chu Ko, 'Truth of Nature', Album of Zao Wou-ki, edited by Yuan Dexing, catalogue of Prinkmaker Gallery
Gao Xingjian once commented on Zao, “He sought forms, but he did not fall for formalism. He was particular about color, and what the symphony of colors expressed was an artistic conception.” Since the Song dynasty, traditional Chinese painting abandoned the use of color. By contrast, since the Renaissance period, western paintings have utilized color and light, in ways to which Eastern paintings do not compare. Zao’s abstract oil paints integrated the characteristics of Chinese ink. He mostly used color to express the artistic conceptions of oriental philosophy, and he integrated the subtle charm of Chinese ink into oil painting.
A SYMPHONY WITH GORGEOUS COLORS In 1973, Zao met his third wife, Françoise Marquet, a newlyqualified intern at a museum in Paris. Afterwards, splendid colors that had rarely been present in the past started to appear in his works. The gorgeous color tone spoke volumes about Zao’s mindset. That same year, Zao created the work 09.07.73. The colors
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exhibition, Yuancheng Publishing Co., Taipei, 1980)
Zao’s creations not only embody the essence behind Chinese and western cultures, but he also developed a spirit about the universe through his infusion of Eastern philosophy. The sceneries he painted underwent repeated thinking and patient precipitation before being transformed into paintings that reflect his profound experience and reflections on his attitude about life. Unlike in the past, when Zao avoided being restricted by Chinese traditional culture, Zao instead refamiliarized himself with Chinese ink in 1971, and this painting style gradually granted him a means of interpretation that was stable, easy, and undisturbed. This masterpiece created by Zao in the 1970s retains the usual flickering lines, but they are no longer mottled, rugged, or heavy, as in the past. This work integrated Chinese ink painting. The blank he left is wider, and the sky and the clouds reveal an implicit texture, foretelling the coming of his style of his next era.
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Yayoi KUSAMA (Japanese, b. 1929)
Pumpkin
1995 Acrylic on canvas 24.2 x 33.3 cm Signed on the reverse Yayoi Kusama in English, titled pumpkin in Japanese and dated 1995 This painting is to be sold with a registration card issued by Yayoi Kusama Studio
NT$ 11,000,000-20,000,000 HK$ 2,965,000-5,391,000 US$ 378,900-688,900 RMB 2,386,000-4,338,000
草間彌生 南瓜 1995 壓克力 畫布 24.2 x 33.3 cm 簽名畫背：Yayoi Kusama 1995 かぼちゃ 附草間彌生工作室開立之原作登錄卡
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YAYOI KUSAMA PUMPKIN 我就是以這樣的方式，讓當下感受到的驚嚇和恐懼漸漸沉澱 這些經歷可以說是我畫畫的初衷。 草間彌生
身為亞洲當代藝術圈中最具影響力的女性藝術家，草間彌生在國際藝
大量的創作藝術品，痛苦的人生轉為平靜美好。草間彌生的繪畫呈現
壇的地位早已不容忽視，她的作品細微並誠實地承載自身的過去，及
出個人的精神思考及自傳式內涵，當她拿起畫筆時，透過偶然和無預
其無法擺脫的夢魘。她用繪畫、雕塑、行動藝術等手法，帶有超現實
兆的動機，與神祕的世界連結，內在身體的力量，潛意識的想法，鋪
般心理性的考究，表達她腦海中的宇宙，高彩度對比的用色，在視覺
展出一個宇宙的大空間。她懷有無限作畫的熱情，對藝術存有如宗教
藝術、音樂、時尚留下的印記，她本人即是一種「偶像」且毫不遮掩
般的景仰，才能長期支持她抵抗精神疾病的煎熬。草間彌生以藝術創
地表露靈魂。
作來治療她的創傷，因此她的作品都傳達著她內心深處的情感。《南
她自幼有藝術天分，青年時期在故鄉學習膠彩、粉彩等傳統日本畫， 受美國女藝術家歐姬芙鼓勵，1957年至紐約發展，感受到自由創作 之可貴。草間彌生作品多元，類型包括繪畫、軟雕塑、行為藝術、裝 置、影片，涵蓋普普藝術、女權主義、超現實主義、原生藝術、抽象 表現主義、乍現藝術等派別。1993年草間彌生代表日本參加第45屆 威尼斯雙年展，從此南瓜題材的作品聲名大噪，也受邀創作巨型裝置 作品，如福岡市美術館的戶外雕塑。而題材「南瓜」來自於草間的童 年，在戰爭時期草間的家種滿了南瓜；她說「小時候在家裡植物採種
場玩，摘下來的南瓜會跟我說話。 」「南瓜外型實在太可愛了…吸引 我的是它脂粉未施的大肚子，還有強大的精神安定感。 」
瓜》跟草間彌生的其他作品一樣，集合了她各個系列的視覺元素，呈 現自小困擾著這位藝術家的幻覺。草間以大大小小的黑色圓點排列成 南瓜的形狀，艷麗奪目的黃色欲躍而出，鮮明的對比帶來了巨大的視 覺震憾。背景中黃色的幼細線條形成了「無限的網」，突顯出南瓜的 飽滿形態，與藝術家生生不息、源源不絕的藝術生命力相互呼應。草 間彌生的畫作不落構圖的窠臼她描繪著如同粒子般聚合又消散點線， 所謂畫面的中心，已全然無跡可尋，此種全面鋪開排山倒海的作法和 美國抽象表現主義大師傑克遜•波洛克的風格相得益彰，強調繪畫行 為中所涉及的物質因素，也是一種無限的極致表現。繪畫作品成為情 感所支配的行為的直接記錄，而她作畫過程中的那種充滿節奏的自由 運作。
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“My art originates from hallucinations only I can see, I translate the hallucinations and obsessional images that plague me into sculptures and paintings.” - Yayoi KUSAMA
As the most influential female artist within the Asian contemporary art scene, Yayoi Kusama’s status on the international art stage cannot be ignored. Her works minutely and truthfully bear the weight of her past, and of nightmares she cannot rid. Kusama makes use of painting, sculpture, performance art, and other techniques to represent the universe residing in her mind from a surreal psychological perspective. Her highly saturated contrasting colors has left a mark on the visual arts, music, and fashion. Revealing an unconcealed soul, she is herself an “idol”. Having shown artistic talent since childhood, she studied nihonga, pastel, and other traditional Japanese painting techniques in her hometown. In 1957, encouraged by the American artist Georgia O’Keeffe, she moved to New York, where she learnt the value of creative freedom. Kusama’s work is very diverse, including paintings, soft sculptures, performance art, installations, videos. It covers movements, such as pop art, feminism, surrealism, Art Brut, expressionism, and Happening Art. In 1993 she represented Japan at the 45th Venice Biennale. From then on, her pumpkinthemed works became famous, leading to the creation of largescale installations, such as the outdoor sculpture at Fukuoka Art Museum. Inspiration for the “pumpkin” theme originated from the artist’s childhood. During the war, Kusama’s home was filled with pumpkins. She said, “When I was a child I used to play in the plant nursery outside my house. The pumpkins I picked would talk to me. The shape of a pumpkin is way too cute…what attracts me is its bare swollen belly, and the strong sense of mental stability”.
Through continuous production of a great number of artworks, a life of pain is turned into a peaceful beauty. Kusama’s paintings reveal her unique way of thinking and autobiographical connotations. When she picks up the brush, she gets in contact with a mysterious world through fortuitous and unpredictable motives. Her inner strength and subconscious thoughts display a vast universe. An endless passion for painting and a religious reverence towards art have helped her battle mental illness for a long time. Kusama uses art to heal her wounds. Therefore, all her works are an expression of her deepest feelings. Similar to many of her other works, Pumpkin gathers the visual elements of each of her series and presents the hallucinations that trouble the artist. Using big and small black dots, Kusama arranges the shape of her pumpkin, making the bright yellow surface stand out, and creating a contrast that brings about a great visual shock. The yellow lines in the background form an “infinity net”, which highlights the pumpkin’s plump figure and reflects her endlessly growing artistic vitality. Kusama’s painting does not fall into being just a compositional pattern. Instead, she portrays objects as particles, which aggregate and then dissipate into dots and lines. The center of the so-called picture is completely untraceable. This entirely overwhelming practice matches with the style of Jackson Pollock, the master of American abstract expressionism. Emphasizing the material factors involved in the act of painting is also an extreme manifestation of the infinite. This painting is the direct record of a behavior dominated by emotions, and of that freestyle filled with rhythm which characterizes her painting process.
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Yayoi KUSAMA (Japanese, b. 1929)
Pumpkin
1997 Acrylic on canvas 22 x 27.3 cm Signed on the reverse Yayoi Kusama in English, titled Pumpkin in Japenese and dated 1997 This painting is to be sold with a registration card issued by Yayoi Kusama Studio
NT$ 9,000,000-16,000,000 HK$ 2,426,000-4,313,000 US$ 310,000-551,200 RMB 1,952,000-3,471,000
草間彌生 南瓜 1997 壓克力 畫布 22 x 27.3 cm 簽名畫背：Yayoi Kusama かぼちや 1997 附草間彌生工作室開立之原作登錄卡
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YAYOI KUSAMA PUMPKIN “She created a type of form. With a white overlap like mycelium that is consistent throughout and keeps proliferating, consciousness is enclosed. That is art with a level of self-discipline, which uses unobstructed matter to present a transcendent reality. With an astounding method, this wonderful and beautiful image is vividly imprinted into our sensory organs.� - Herbert Read, Mugen no Ami: Yayoi Kusama Jiden
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她創造出一種形式，用首尾一致、仿若菌絲般不停增殖的白色遮 蔽物，把意識封閉起來。那是一種自律的藝術，用毫不遮掩的方 式呈現一種超越的真實。那種奇妙又美麗的形象，以一種令人瞠 目結舌的方式，鮮明地在我們的感官上留下烙印 赫伯特·里德《無限的網 ，草間彌生自傳 》
圓點是來自宇宙的信號，無限的網代表了她的生命，英國《泰晤士 報》將草間彌生列為「二十世紀兩百名最偉大的藝術家」。身為國際 間最具影響力的前衛藝術家之一，她的人就如同她赤裸而炙烈的藝術 生命，絢麗的令人目眩神迷。她每天以驚人的速度創作，用繪畫、雕 塑、行動藝術等手法，帶有超現實般心理性的考究，表現出她腦海中 永無止盡的創作泉源。. 草間彌生以色彩斑斕的南瓜釋放著強韌的生命力，那沒有全然對稱的 南瓜造型，更能表現出自然的真我；儘管以靜態的形式出現，但豐盛 的生命力並沒有絲毫減退。《南瓜》對於草間彌生來說是兒時在農場 所產生與南瓜對話的幻覺後，深深被南瓜圓潤的形狀所吸引的影響重 新複製於後來的藝術語彙上；草間彌生以細膩的筆觸，把密密麻麻的 黑點整齊地繪畫在南瓜上，排成列狀的大小波點形成了細緻的條紋， 賦予南瓜極大的感染力以及生命力。她認為波點擁有太陽的形狀，是 世界和生命力的象徵。圓形、柔軟、色彩斑斕、無知無覺、不可捉 摸，波點成了一種運動，是通往無限的方式。正是在這些簡單的偏執 之中她消彌了內心的精神苦難，將她所見的幻覺赤裸地呈現在畫布之 上。 觀看草間彌生的藝術，觀者在視覺上所獲得的感官衝擊總是充滿著驚 喜與宛若童趣的欣喜氛圍，然而這些強烈的藝術語言是藝術家飽受多 少折磨後的結晶。而這些苦痛未曾擊敗她一心奉獻給藝術的決心，難 能可貴的是她將這些難以承受的苦難，來自幻覺中的影像化為獨特而 強烈的創意，用畫筆一筆一筆去消除，並且造了一個引人入勝的空間 和意境，透視著畫家夢幻般的精神世界，幻化成他最目眩神迷、最受 世人矚目的精彩創作。 Polka dots are signals from the universe. A boundless net represents her life. The British daily The Times listed Yayoi Kusama among the Top 200 Artists of the 20th Century to Now. As one of the most influential avant-garde artists worldwide, Kusama is like her
naked and burning artistic life, gorgeous and dazzling. Each day, she creates at an amazing speed. Utilizing means such as painting, sculpture, and performance art, and using surreal psychological studies, she presents the endless creativity in her head. Yayoi Kusama utilizes the vibrant pumpkin to unleash a source of radiant energy. The imperfectly symmetrical pumpkin shape is more able to manifest the natural true self. Although the pumpkin appears in a static form, its abundant vitality has not been diminished. Kusama has been attracted to the round shape of pumpkins ever since she experienced hallucinations as a child talking to pumpkins at a farm. She copies their images to her motifs, eventually leading to her work, Pumpkin. With delicate brushstrokes, Kusama neatly paints dense black spots on the pumpkin, arranging the wavy dots into exquisite stripes, and giving the pumpkin a great level of appeal and energy. She believes that the wavy dots bear the shape of the sun, serving as a symbol of vitality and the world. Round, soft, colorful, oblivious, and unpredictable, the wavy dots have become a kind of movement that leads to a path of infinity. It is in this simple paranoia that she escapes her inner spiritual suffering, manifesting her raw illusions onto the canvas. Observing the art of Kusama, viewers cannot help but feel an explosion of surprise and joy due to its visual sensory impact. However, that strong artistic language serves as the crystallization of the artist’s personal hardships. Those sufferings did not diminish her devotion to her art. What is commendable is that she bore that unbearable suffering, transforming her hallucinations into unique and strong ideas, erasing them one at a time with her brushstrokes to create a fascinating space and mood. Examining the painter’s fantastic spiritual world, they transform into her most dazzling and popular creations.
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Yayoi KUSAMA (Japanese, b. 1929)
Pumpkin (a set of 2) 1985; 1983 Mixed media 11.5(H) x 10.3(diameter) cm 5.5(H) x 6(diameter) cm Each sculpture is to be sold with a registration card issued by Yayoi Kusama Studio
NT$ 5,000,000-6,000,000 HK$ 1,348,000-1,617,000 US$ 172,200-206,700 RMB 1,085,000-1,302,000
草間彌生 南瓜 (兩件一組) 1985；1983 複合媒材 11.5(高) x 10.3(直徑) cm 5.5(高) x 6(直徑) cm 附草間彌生工作室開立之原作登錄卡（每件）
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Yayoi KUSAMA (Japanese, b. 1929)
LOVE – FOREVER 2005 Mixed media, edition no. 1/15 (painted; unique) 44(H) x 38(D) cm This sculpture is to be sold with a registration card issued by Yayoi Kusama Studio
NT$ 5,500,000-6,500,000 HK$ 1,482,000-1,752,000 US$ 189,500-223,900 RMB 1,193,000-1,410,000
草間彌生 永恆的愛 2005 複合媒材 1/15（手繪單一件） 44(高) x 38(直徑) cm 附草間彌生工作室開立之原作登錄卡
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YAYOI KUSAMA LOVE – FOREVER 對我來說，我只是以活在當代的身分，努力吸取時代的 氣息，想要向未來開一朵豔紅的花。就像蝴蝶尋覓死亡 歸宿時會飛進荒山、春蠶吐絲，或者是花朵展現奼紫嫣 紅的生命力那樣。 草間彌生《無限的網：草間彌生自傳 》
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“The way I see it, by living in a contemporary position, I’m just attempting to breath in the atmosphere of the times and wanting to open up a bright red flower for the future. It’s the same as the butterfly seeking out the barren mountains for its final destination before death, the silkworm spitting out its silk in spring, or the flowers showing off their vitality in brilliant colours.” - Yayoi Kusama, Mugen no Ami : Yayoi Kusama Jiden
草間彌生於二十八歲前往美國，一切都是為了逃離保守的日本以及威 權的母親，她曾說過，如果沒有美國就沒有現在的草間彌生，即使是 對現在的草間而言「前往美國」還是她心中一個最具有決定性、攸關 命運的關鍵時刻。草間彌生作品多元，類型包括繪畫、軟雕塑、行為 藝術、裝置、影片，涵蓋普普藝術、女權主義、超現實主義、原生藝 術、抽象表現主義、乍現藝術等派別。她以藝術療癒自己，每日大量 且不間斷的創作療癒了她的心靈甚至當今許多跨界合作，皆展現了她 豐富的藝術生命。 「什麼都不能實現，如果只有一個圓點。在宇宙中，有太陽，月亮， 地球和數億顆恆星。 在這樣的情況下通過藝術追求的宇宙哲學影響 了我，也是我所呈現的重複。 」─草間彌生 當各界開始嘗試各種可能性的探索，希冀藉由凌駕於造型藝術之上的 創作思維，使人文空間出現更多意想不到的別緻與玩味。「型變」形 成一股風潮，穿梭於藝術與造型之間成為最有魅力的當代雕塑工藝。 她以大量的圓點包覆各種物體的表面，牆壁、地板、畫布、物品、人 體、甚至自己。藉由重複性的線條將圓點無限的蔓延，混淆了真實空 間的存在，使得觀賞者不自覺的陷入眩暈狀態，不知身處真實或虛 幻。此件作品《永恆的愛》有著草間彌生經典意象，經典圓點。密實 彩亮的單色重複線點圖案佈滿整個作品，這種無盡的重複製造了某種 暈眩、催眠感。這樣鮮明的色彩超越了我們的視覺經驗，彷彿在整個 宇宙中蔓延開來，她的幻覺和實體經驗以及環境、物體之間產生了結 合，她的自我進入了永恆場域，形成一個徹底排他的世界，「草間彌 生」狀態完美的呈現，圓點的反覆增生與變形，進行突破窠臼的造型 藝術型變，創作出具有草間彌生反覆增生意象之作品。 When Yayoi Kusama left for the United States at the age of 28, she might have simply sought sought to break free from her mother’s grip and her country’s conservatism. As she has said herself, the Yayoi Kusama we know today wouldn’t be around if it weren’t for the US. For her, the fateful decision to move on to America remains one of the most critical moments of her life. Yayoi Kusama’s works range from painting and sculpture, to performance art, installation,
and film, containing different methods and elements from pop art, feminism, surrealism, native art, abstract expressionism, and happenings. She heals herself through art and demonstrates her rich artistic life with a significant and continuous daily practice that soothes the spirit and extends a collaborating hand across disciplines. “With just one polka dot, nothing can be achieved. In the universe, there is the sun, the moon, the earth, and hundreds of millions of stars,” the artist has mused. “Pursuing the philosophy of the universe through art under such circumstances has led me to what I call stereotypical repetition.”- Yayoi Kusama She hoped that people of different backgrounds would begin attempting to explore the realm of all that is possible and prioritise creative thought in the plastic arts to make room for new creative and playful potential in arts and cultural spaces. Her work became a sensation as it bounced between art and design and took form as the most alluring of contemporary plastic arts: a multitude of dots that cover the surfaces of all kinds of things, from walls and floors, to canvases, objects, and bodies, even the artist herself. Repeated lines of dots extend into infinity, creating confusion about what a space actually is, and leading the viewer to unconsciously fall into a dizzied state, unsure of how to distinguish the reality from the illusion. This work, “Love-Forever”, contains Yayoi Kusama’s classic imagery and dots. A densely coloured, monochromatic polka dot pattern fills the work and is repeated to the point of producing a certain dizzy, hypnotic feeling. Its vivid colour goes beyond our visual experience and seems to spread through the cosmos. As her hallucinations are combined with real experiences, environments, and material things, her ego enters an infinite plane, forming a world that floats totally on its own. It is a perfect presentation of what makes the work of Yayoi Kusama truly original, and the everproliferating, deforming dots can be thanked for having spurred a breakthrough in the plastic arts and making this work an undeniable ‘Yayoi Kusama’.
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Yoshitomo NARA (Japanese, b. 1959)
Monkey Baby Go-Go 1993 Acrylic on cotton 85.2 x 55 cm Signed on the reverse Yoshitomo Nara and titled Monkey baby GoGo both in English, inscribed 85 x 55 cm and dated 93 EXHIBITED
Be Happy, Galerie Humanité, Nagoya, October 12-30, 1993 Be Happy, Galerie Humanité, Tokyo, Japan, November 29 December 18, 1993 ILLUSTRATED
Be Happy, Galerie Humanité, Nagoya, 1993, color illustrated In the Deepest Puddle, Kadokawa Shoten Publishing Co., Ltd.,Tokyo, 2006, color illustrated Yoshitomo Nara: The Complete Works 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. P-1993-049, p. 93
NT$ 6,000,000-8,000,000 HK$ 1,617,000-2,156,000 US$ 206,700-275,600 RMB 1,302,000-1,735,000
奈良美智 小猴仔加油 1993 壓克力 棉布 85.2 x 55 cm 簽名畫背：Yoshitomo Nara Monky baby Go-Go 85 x 55 cm 93 展覽
「要快樂」，人文畫廊，名古屋，展期1993年10月12至10月30日 「要快樂」，人文畫廊，東京，展期1993年11月29日至12月18日 圖錄
《要快樂》，人文畫廊，名古屋，1993，彩色圖版 《最深的泥坑中》，角川書店，東京，2006，彩色圖版 《奈良美智作品全集第一冊》，編年出版社，舊金山，2011，彩色 圖版，編號P-1993-049，頁93
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YOSHITOMO NARA MONKEY BABY GO-GO 《小猴仔加油》一畫展現了奈良美智的風格特質，這位藝術家不旦深 獲藝評家肯定，更擁有廣大的國際粉絲。奈良美智筆下的孩童頭大， 眼睛也大，乍看之下十分可愛，但定睛再看，這些孩童的眼神裡顯現 某種讓人不安的思緒，似乎充滿焦慮，甚至恨意。 奈良美智和許多日本當代藝術家一樣，藝術作品深受動漫畫的影響。 他畢業於愛知縣立藝術大學，畢業後在東京發展，他在東京看見一 個失落的世代，找不到自我定位，充滿困惑與反社會情緒。1988至 1993年這五年期間，他到德國杜塞道夫藝術學院留學。1990年代初 回到日本後，奈良美智開始受由村上隆提倡的日本普普藝術運動「超 扁平」風格影響，畫中人物屬於動漫畫風，卻又充滿濃厚的情緒張力 與衝擊力。線條簡單，背景空蕩，將觀者的注意力集中於畫中人物身 上。成長過程中，他熱愛龐克搖滾樂，透過音樂來發洩抑鬱、幻滅與 焦慮的青春。 《小猴仔加油》畫中手舞足蹈的小孩看起來十分快樂，黃色調背景明 亮溫暖，畫中的孩子似乎自得其樂，但是他獨自一人，看起來相當獨 立，雙眼似乎流露出同齡兒童不該有的堅強。奈良美智一代的許多日 本孩童都曾經歷這種「孤單」狀態，這幅畫作深刻描繪出這個世代的 特質。孩童需要人陪伴、關愛與照顧，如果缺乏這些最基本的情感， 孩童內心會留下長遠傷痕。逗趣的標題「小猴仔」讓人聯想到孩童玩 耍的可愛情景，但對於許多當代日本人，包括奈良美智而言，他們的 成長過程缺乏人類兒童應有的親情與關懷，只有宛如猴子般的非人對 待。奈良美智刻劃出這一世代的困惑心靈，也為他帶來無數讚譽與大 批忠實畫迷。 "Monkey Baby Go-Go" displays many of the elements of Yoshitomo Nara's work which has brought him critical acclaim and a world-wide cult following. Nara often depicts small children with big heads and large eyes, which at first glance seem cute and benevolent, but as the viewer dwells on the child, they seem to be filled with angst and almost hatred, as their eyes reveal something uneasy.
Nara's artwork like many contemporary Japanese artists is influenced by the style of anime and manga. Having graduated from the Aichi Prefectural University of Fine Arts and Music, he based himself in Tokyo, where he encountered a generation that has lost its way, wondering what its place in the world is, and as adults are bewildered and sociopathic. He spent five years in Germany studying at the Kunstakademie Dusseldorf from 1988 to 1993. Returning to Japan in the early 1990s he was influenced by the Japanese Pop art movement or "Superflat" style as defined by Takashi Murakami. His figures are stylized in the manga form, however they are infused with great emotional power and impact. Using simple lines and empty backgrounds, Nara focuses our attention on his characters. Growing up, he was attracted to punk rock music, the outlet for an unhappy, disillusioned and aggravated youth. "Monkey Baby Go-Go" depicts an apparently happy child, dancing with himself. The yellow background color is bright and warm and the child seems happy in himself. However, he is alone, and while seemingly independent, as we focus on his eyes we see a hardness that we don't expect in a child. It is this "aloneness" that so many Japanese suffered in Nara's generation, that he so powerfully depicts in this portrait. Children need to be surrounded by people, being loved and taken care of, and if these essential necessities are missing, the child's inner wellbeing suffers enormously.The title "Monkey Baby" makes us smile when we first hear it, with its connotations of childish play, but for many of Japan's current generation their upbringing lacked the love and attention that human children need, and for many of them, including Nara, they may feel that they were treated as little more than non-human monkeys. It is Nara's ability to portray so powerfully the inner turmoil of his generation that has brought him so many accolades and a huge worldwide following.
TAICHI SERIES SINGLE WHIP JU Ming
太極拳法講究剛柔相濟、陰陽平衡、有輕有沉、急應緩隨、動靜合 宜，充分體現美學思想，給人帶來一種美的視覺享受，這更是代表 朱銘美學觀念。細看「單鞭下勢」的動作，其根在腳，發於腿，主 宰於腰，形於手，周身節節貫串，完整一氣。力量由下而上地傳 遞，由腳而腿而腰，武者進退靈活、得機得勢。 朱銘的雕塑作品為現代化的公共空間賦予廣闊的視覺創造以及經典 人文圖景。其中尤以「太極系列」之獨特的視覺符號和雕塑形態， 成為都市生活的互補和自然造化的延伸。作品形成以靜制動的視覺 張力，震撼人心的體量感，具有特定的時代感召力，富有當代審美 精神的想像和陶冶。藝術家匠心獨具，刻劃只見輪廓不見五官的形 象，呈現出武者內斂的神情；雖沒有面目神態，但作品依然以氣傳 神。太極拳法凝結的不僅是武者的動作、呼吸，還有武者的意識， 所謂「氣宜鼓蕩，神宜內斂」的武術家用語來形容朱銘的作品似乎 比一般的藝術風格論更貼切。 「太極系列」創作同時參照、融合架上雕塑與空間環境雕塑，引進 現代雕塑的新觀念。連結了幾何化抽象體面以及人物動勢造型， 「太極系列」雕塑在三度空間語言中動與靜、粗放與簡潔的對比， 形成豐富有致的節奏變化；雕塑在光線和陰影之中形成有層次的變 化效果。朱銘刀下的「單鞭下勢」，本身具有力度與造型的美感， 在動靜之間，讓人感到綿綿不絕的形意流轉，因其式有起伏，不拘 泥於外在形態的雕琢，只追求意識流轉的完整呈現，誠如太極拳宗 師王宗岳所強調的「力由脊發，步隨身換。收即是放，斷而復連， 往復須有折疊，進退須有轉換」，於「單鞭下勢」中可獲得最好的 詮釋。朱銘憑藉著自身的閱歷與判斷，將太極文化，以及相關的拳 術套路轉化為一種藝術形式，從以往的意象架構中脫離出來，讓人 生動地感覺出單鞭即下的大器、力沉與勢不可擋。 Tai Chi stresses the importance of combining hardness and softness, the balance between yin and yang, the alternating of lightness and heaviness, rapid movements followed by slow ones, and the comeliness of both motion and stillness. Being the full embodiment of such aesthetic ideology, Tai Chi allows people to look at and admire beauty, and that is what Ju Ming’s aesthetic concept stands for. Carefully observing the move “Single Whip”, we can see how the root of the tai-chi master’s posture is at the feet, the movement starts from the legs, is controlled by the waist, and expressed by the hands, each body part is coordinated as a whole, unified into a single impulse. Strength is transferred from the bottom to the top: feet, legs, and then waist; in this way a warrior can flexibly move with precise timing and from the most advantageous position.
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Ju Ming’s sculptures endow modern public spaces with extensive visual creativity, as well as classic humanistic images. The unique symbols and sculptural forms of his “Tai-Chi Series” have become a complementary and natural extension of urban life. The works are formed by the visual tension of coping with all motions by remaining motionless, a powerful sense of body mass, the inspiration of a specific era, the imagination and edification of a rich contemporary aesthetic spirit. With great craftsmanship, the artist has etched the figure of a tai-chi practitioner omitting all features, just through contours, showing the inside of his soul. Although the statue has no facial expression, it still looks alive. The practice of Tai-Chi doesn’t only revolve around body movements and breathing techniques, it is also about the consciousness of a master, the so called martial language idiom of “rousing the qi (vital energy), and collecting the spirit (shen) within” describes Ju Ming’s work better than any art style theory. The “Tai-Chi Series” creations refers to, and at the same time integrate, stand sculpture and spatial environment sculpture, introducing a new concept of modern sculpture. Connecting geometric abstract bodies and a figurative dynamic modeling, the “Tai-Chi Series” sculptures create many rhythmic variations of a three-dimensional language which compares between stillness and movement, extensiveness and concision. A layering effect is obtained in the sculptures with contrasts of light and shadow. The “Single Whip” carved by Ju Ming is strongly and beautifully modeled: caught between stillness and movement, the figure gives the feeling of a continuous flow of Hsing-I movements. Because of its undulating pattern, this sculpture doesn’t rigidly adhere to an outer shape carving style, it only seeks to fully represent the flow of consciousness. As emphasized by the Tai-Chi Master Wang Tsung-Yueh: “Power comes from the spine, as your steps follow your opponent's changes. Receiving his approach, you must let go, cut off, and again join. Backwards or forwards, you must be collapsible. Advancing and retreating, you must be constantly converting his energy”, “Single Whip” perfectly interprets such words. Relying on his own experience and judgment, Ju Ming has transformed the Tai Chi Culture and its boxing routines into an art form. Detached from previous imagery structures, life feels like a single whip movement: effective, powerful, unstoppable.
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JU Ming (Taiwanese, b. 1938)
Taichi Series – Single Whip 1971 Chinese juniper 60(L) x 15(W) x 25(H) cm Engraved on the bottom Ju Ming in Chinese and dated 71 This sculpture is to be sold with a certificate of authenticity issued by Jun Youn Sculpture Gallery, Taipei.
NT$ 7,500,000-9,500,000 HK$ 2,022,000-2,561,000 US$ 258,400-327,200 RMB 1,627,000-2,061,000
朱銘 太極系列—單鞭下勢 1971 檜木 60(長) x 15(寬) x 25(高) cm 簽名雕刻底部：朱銘 '71 附雋永藝術開立之原作保證書
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LI Chen (Taiwanese, b. 1963)
李真 若水
Blessing Water
2005
2005 Bronze, edition no. 8/8 45(L) x 46(W) x 79(H) cm Engraved on the back Li Chen in English, numbered 8/8 and dated 2005 With one seal of the artist
45(長) x 46(寬) x 79(高) cm
ILLUSTRATED
銅雕 8/8 雕刻簽名背後：Li Chen 8/8 2005 雕刻鈐印：李真 圖錄
《李真中國美術館個展─尋找精神的空間》，亞洲藝術中 心，台北，2008，彩色圖版，頁126（另一尺寸版本）
Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, color illustrated, p. 126 (similar version)
NT$ 4,000,000-5,000,000 HK$ 1,078,000-1,348,000 US$ 137,800-172,200 RMB 868,000-1,085,000
「若水」一詞出自道德經若水篇，意旨為最無私的德惠、良善應如水 一般的不與人爭私利；身處低下或是艱難處依舊自得其然；更能相處 於任何環境、虛懷若谷兼容萬物；處世待人亦能守信守時；無為不爭 的得道修養。 李真淬鍊了繁複精細的木雕工法，以簡代繁，將渾圓的造型線條提升 至心靈層面的精神依託，積累了多年的禪思冥想刻畫出屬於當前時代 精神的暖心創作，不僅昇華了藝術創作的美學概念，更將美學延伸至 人性純真的善美圓融。李真善以當代的造型藝術，兼容自身修性養身 飽讀經書後的質樸哲思內化再造，帶領東方雕塑的生命走向一股嶄新 的樣貌與神態；此《若水》一作便以中華思想千年來對於「善」的最 高想像為中心，將無形的內涵作以具體的雕塑呈現；藝術家賦予作品 本身的厚重質感傳達了虛谷智慧的無量無限；低頭開懷的外型意味著 謙虛謙卑、廣納百善；面目慈祥閉眼，開臂而立給與作品本身安穩沉 著的氣韻質地，同時帶給觀者精妙的想像空間，更讓其創作在當代的 時空中突顯幾乎被淹沒的中華文化中內斂含蓄的處事哲學。 Derived from the “Blessing Water (ruo shui)” chapter of the Tao Te Ching, the term itself means that truly selfless moral deeds and goodness should be like water, in that they should not be done in competition with others for purposes of self-interest. Even in low or difficult positions, contentment and delight can always be maintained. Moreover, one should have the ability to adapt to any environment in an all encompassing manner, and in harmony with their surroundings. The term also suggests maintaining credibility and punctuality when dealing with people, and cultivating oneself and achieving Tao without conflict.
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Li Chen practices a complex and elaborate wood carving method that simplifies complexities, and elevates the lines of the rounded form to a spiritual level of support. Having meditated for many years on how to portray warm-hearted works that belong to a modern spirit, Li Chen has not only sublimated aesthetic concepts of artistic creation, but also extends aesthetics to a pure and perfect harmony with humanity. Li Chen generously uses modern plastic arts, while incorporating a internalization and reshaping of a rustic philosophy achieved after a period of self-cultivation of reading sutra. Leading the direction of Eastern sculpture, he brings a new appearance and expression to the field. At its core, this work, Blessing Water, sets the highest imaginations in Chinese thought over a thousand years regarding “goodness”, while presenting intangible connotations as figurative sculptures. The artist imbues a thick and heavy texture to the work to convey the boundless wisdom of Xu Gu. The appearance of a bowing head and open arms signifies modesty, humility, tolerance, and an embodiment of goodness. A good natured expression, closed eyes, and open arms provides the work with a calm and stable texture and rhyme. At the same time, it draws viewers into a space for exquisite imaginations. Furthermore, this also enables his creations to highlight the introspective and restrained philosophies of Chinese culture that have been nearly submerged in the contemporary time and space.
上 善 若 水 ， 水善利萬物而不爭。 處 眾 人 之 所 惡，故幾於道。 居 善 地 ， 心 善淵，與善仁，言善信， 政 善 治 ， 事 善能，動善時。 夫 唯 不 爭 ， 故無尤。 － 老子，《道德經》
The highest excellence is blessing water. Water is benevolent, a merit to all being; Always steady and non-competing; It dwells in places abhorred by most people; Thus, it is closest to Dao. Best be like water. Live in the right place; Keep your heart at peace; Communicate with honesty; Speak with trust; Rule with legitimacy; Act according to your capabilities; Move at the right time; Only the non-competing shall have no resentment. - Lao-Tzu (Tao Te Ching)
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Walasse TING (Chinese-American, 1929 - 2010)
丁雄泉 粉紅鑽石女孩
Pink Diamond Girl
1986
1986 Acrylic on canvas 74.5 x 99.5 cm Signed on the reverse Ting in English, titled Pink Diamond girl and dated 86 Amsterdam
74.5 x 99.5 cm
壓克力 畫布 簽名畫背：Pink Diamond girl ting 86 Amsterdam 來源
現收藏者購自於德萊夫畫廊，阿姆斯特丹，荷蘭
PROVENANCE
Present ower acquired directly from Gallery Delaive, Amsterdam, Netherlands
NT$ 3,800,000-4,800,000 HK$ 1,024,000-1,294,000 US$ 130,900-165,300 RMB 824,000-1,041,000
終其一生，丁雄泉都在探求女性之美，他以艷麗鮮明的女體創作抓住 眾人眼光，流淌著他最浪漫無度的天性，而畫中女人的魅力就如同春 天百花綻放的嬌鮮欲滴。此作《粉紅鑽石女孩》為藝術家標誌性繪 畫，創作於他旅居紐約年間，而當時自由不拘束的藝術氛圍引領著他 日後風格的確立；自始，丁雄泉的創作開始由抽象藝術轉至具象繪 畫，心境大為更迭，投入了他畢生鍾愛的女體創作。 大膽利落的線條勾勒，手法流暢帶點不羈的狂野自信，宛若野獸派的 灑脫奔放，而其畫中女人慵懶不扭捏的枕著背，泰若自如地呈現女性 姿態的優美；背景充滿力道的顏料潑灑、 滴流等抽象表現主義的影子融合高彩度的 色塊塗抹，則迸發出藝術家旺盛的創作能 量以及川流不息的生命力，更是丁氏最簡 潔有力且獨到的藝術語彙，滿溢著美好的 氣息。此件裸女作品承襲了古典主義以來 的裸女畫作構圖，從堤香、馬奈、莫迪里 亞尼至馬諦斯等等，皆以此類似的造型創 作過無數經典佳作，而丁雄泉將古典畫作 姿態轉化成內心最澎拜、最狂熱的熱情， 絲毫不減的將內心渴望赤裸地呈現在世人 眼前，也因此成為那個時代的真藝術家。 Ting had spent his entire lifetime in the pursuit of female beauty. He attracted the viewer’s attention with vividly colored portrayals of gorgeous feminine bodies in paintings that are direct manifestations of his excessively romantic nature, while the women he portrayed evince a charm and delicacy like the resplendent, ambrosial blossoms of springtime. “Pink Diamond Girl” is a signature work the artist painted during his years in New York. The liberal, unrestrained artistic atmosphere of the era later played a major role in the formulation of Ting’s distinctive personal
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style. Thence, his paintings transitioned from abstract to figurative art, and his state of mind underwent drastic transformations as he began to devote himself to a lifelong passion for female portrait painting. Outlined with bold, confident brushstrokes, this painting demonstrates the artist’s expert deftness complemented by an unruly sense of assurance—a freedom and spontaneity characteristic of Fauvism artworks. The woman in the painting leaned comfortably on her back, perfectly composed and unabashed as she displays her feminine beauty. In the background, powerful splashes and drippings of hue invoke the influence of abstract expressionism while blending perfectly into the chunks of highly saturated colors. The boundless creative energy and streaming vitality that burst forth is moreover a succinct and powerful statement of Ting’s extraordinary artistic expression, and imbues the artwork with an air of delighted bliss. This portrait of a nude women references the classicism paintings of Titian, Manet, Modigliani, Matisse, and others who created countless masterpieces in similar composition. In Walasse Ting’s work, a posture of classical painting is translated into one of utmost passion and zeal. It reveals the heart’s unwavering desire to be naked before the world’s eyes, and for this reason elevated Ting as one of true artists in the era’s. 亨利•馬諦斯《往後仰的裸女/粉紅裸女》1935，油彩畫布，現藏於巴爾的摩美術館，巴爾的摩，美國 Henri Matisse, Large Reclining Nude/ Pink Nude, 1935, oil on canvas, 66 x 92 cm Collection of Baltimore Museum of Art, Baltimore, USA
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Walasse TING (Chinese-American, 1929 - 2010)
Lady (quadriptych)
丁雄泉 仕女（四聯幅） 1986
1986 Ink and color on paper 175 x 47.5 cm (X4) With one seal of the artist
彩墨 紙本
ILLUSTRATED
《丁雄泉畫集──風花·雪月·女人──女人》，龍門畫廊、
Walasse Ting - Love, Affairs, Woman-Woman, Lung Men Art Gallery; Apollo Gallery; Asia Art Center, Taipei, 1992, color illustrated, p. 1, no. 001,
阿波羅畫廊、亞洲藝術中心，台北，1992，彩色圖版，
175 x 47.5 cm (X4) 鈐印：採花大盜 圖錄
頁1，編號001
NT$ 3,200,000-4,200,000 HK$ 863,000-1,132,000 US$ 110,200-144,700 RMB 694,000-911,000 丁雄泉畫風大膽不羈，以艷麗用色著稱，作品洋溢著浪漫春色的氣 息，反映他多姿多彩的絢爛人生。其熱情奔放的個性，在他的畫作和 詩歌上表露無遺。他喜以歡愉的情色畫面，歌頌人的情感慾望和現世 生活的美好，除了女人，美酒佳餚同時構成丁雄泉的生命軌跡。丁雄 泉先後移居巴黎和紐約，沒有傳統思想的約束，同時受到當地藝術文 化思潮所熏陶，漸漸發展出灑脫獨特的自由畫風。 紮實畫風充沛創意，他捨棄傳統構圖中的深遠、高遠、平遠法與留 白，取而代之的是「滿」空間的構圖，平壓密實的空間景觀，布滿絢 爛的花葉茂盛綻放，整體畫面顯得堅實沉著，柔媚的花卉煥發清新的 視覺張力。即物象在藝術家的主觀意識驅動之中，使之超越自然生成 意念描摹之表象，得以宣洩流露出人性內在深層的精神狀態，惹花弄 彩如同在迷夢中駕馭著強烈的潛意識之書寫，改變了超乎尋常的章 法。 此幅四聯作《仕女》創作於1980年代末期，是丁雄泉罕見的多聯作 品。更是丁雄泉少見的大尺幅宣紙創作，為他成熟期的典型作品。描 繪的花卉與水果靜物題材一直是中西藝術繪畫的亙古主題，丁雄泉他 藉同樣的主題，加入他鍾愛的女人、駿馬、鸚鵡圖象等元素，誇張的 對比顏色、奔放熱情的線條結構，反映了他人生的狂放不羈，畫面中 的歡愉氛圍、恣意青春，流瀉出酣暢淋漓的快意。《仕女》巧妙地融 和了中西繪畫的風格，體現了丁雄泉強烈的表現手法和獨特的藝術魅 力，是他絕佳的作品。相比起其他華人藝術家，丁雄泉更關注自身的 情感慾望。絢麗的色彩，散發著豐盈的生命力。 Walasse Ting's painting style is daring and unruly. Widely known for its gorgeous palettes, his work overflows in swelling waves of spring colour that reflects the artist's dazzling life. His passionate and unrestrained personality also shines through in his paintings and poems alike. With a fondness for a happy, erotic scene that extols people's emotional cravings and the beauty of their mundane lives, apart from women, fine wine and feasting dining take a central role in Walasse Ting's work and life. Walasse Ting moved to Paris and later New York, where he was freed from the constraints of
traditional thinking and could instead ingrain himself in the local trends of art and culture. This led to the development of his own unique, unaffected style of freeform painting. With a grounded and abundantly imaginative approach to painting, Walasse Ting chose to forgo the use of traditional features of deep, high and sprawling compositional elements, even blank space, and replace it all with spatial compositions marked by filled, flat, and compact scenes bursting with flowers in bloom. The whole canvas could present a solid, steady, and fresh visual tension with a touch of soft, glowing flowers. That is, the object in the work would be directed by the artist's subjective consciousness, made to transcend the images that came from naturally generated ideas, and to better uncover the deep inner layers of the spirit. Hence, colours would be brought to flowers as if caught in a dream being steered by an intensely subconscious book, where all the words have been reworked as extraordinary phrases. A quadriptych made in the late-1980s, "Lady" is a rare multi-piece work by Walasse Ting. Even less commonly seen from the artist is a work of this large of a scale on rice paper, exemplary of his lateperiod practice. The flowers and fruits at the centre of this still life are standard fare in the traditions of both China and the West but Walasse Ting added to this the women, horses, parrots, and other symbolic elements that he so adored. The exaggerated contrasts of the colours and the enthusiastic structure of the lines reflect the wild illogic of the artist's life. The revelry seen on the canvas is uninhibited, youthful, flowing like words spoken to the heart's content and elation. The smooth fusion of Chinese and Western painting styles in "Lady" is a tactful embodiment of Walasse Ting's fervently expressive methods and unique artistic appeal. It is an exceptional work, and it shows how Walasse Ting, in comparison to other Chinese artists, gave a greater weight to his own emotions and desires. The colours are gorgeous, emitting the vital energy of life lived to the fullest.
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Walasse TING (Chinese-American, 1929 - 2010)
丁雄泉 給我一個擁抱
Give Me a Hug
1977
1977 Acrylic on canvas 66 x 86 cm
66 x 86 cm
PROVENANCE
Bruun Rasmussen Auction, Copenhagen, Denmark Private Collection, Asia
壓克力 畫布 來源
布魯恩．拉斯穆森拍賣，哥本哈根，丹麥 私人收藏，亞洲
NT$ 2,800,000-3,800,000 HK$ 755,000-1,024,000 US$ 96,500-130,900 RMB 607,000-824,000
二十世紀的1970年代起，旅居紐約已超過十年的丁雄泉匯集了巨大 的創作能量，從抽象藝術轉變至具象繪畫，而他最多的情感與創作則 都留給了他畢生鍾愛的主題─「女人」；在紐約的丁氏發展了筆觸濃 烈狂野，用色強烈不拘帶點驕傲與放縱不羈；這縱然與丁氏天性有 關，而在藝術氛圍大放，自由且充滿未來感的紐約更是引領著他日後 風格的確立；畫風大轉以外，他的心境也 隨之更迭，開始大量地創作他一生中摯愛 不倦的題材，「女人」；這時期的作品則 清楚的看見了野獸派般的描繪線條，然而 更多的是早先在歐洲，眼鏡蛇畫派對他繪 畫語彙的影響；華美斑斕，更加強烈放膽 地在畫布上繪出一具具風姿綽約、時而艷 麗華美又或含情脈脈的女性姿態。 此件同樣完成於巔峰時期的《給我一個擁 抱》，則宛若沿用印象派畫家竇加描繪 女性肖像之溫柔細膩，同時展現了丁雄泉 令人讚嘆的色彩掌握力，繽紛飽合的顏色 構成充滿魔力的愉悅世界，他的寫意重在 寫態，寫花的瑰麗曼妙、寫女子的柔媚嬌 態，歌頌著生命的美好與感官的豐美。而花與女人懸浮在無法定義的 藍色背景之中，有如凌駕於現實之外，既夢幻、亮麗又甜蜜迷人。 By the 1970s, Ting has gathered a tremendous creative energy having spent more than ten years in New York. While his artistic style changed from abstract to figurative paintings, “women” was always his favorite topic where he spent most of his energy. While living in New York, Ting began to develop a style which the strokes were strong and wild, the colors vibrant, proud, and unconventional, an approach reflecting Ting’s character. One
cannot deny that the city itself, free, innovative, and blooming with culture, also took part in shaping Ting’s unique style. As his focus transformed from abstract to figurative paintings, his state of mind also began to change. He spent large amounts of time painting “women”, his favorite topic. During this period, the lines in his works demonstrated similar styles from Fauvism. In actuality, during his early days in Europe, the CoBrA artists already provided Ting with the inspirations for a similar style. With an overall exaggerated tone, the female figures on Ting’s canvas are sometimes graceful, sometimes emotional, but always charming. "Give Me a Hug" resembles the delicate atmosphere that the Impressionist Edgar Degas once created in his female portrait paintings. The painting displays Ting’s highly-refined ability to create an alluring and glamorous world with the use of bright, vivid, fresh color is on full display. Ting’s most prominent feature is to depict the alluring beauty of flowers and women, captured in abundantly rich and bright images while offering a feast for the senses. With the flowers and the woman drifting on the background in the indefinable turquoise color, this auctioned piece exudes a mysterious, dreamy charm and abundance of sweetness.
愛德華•竇加《坐著瓶花旁的女士》1865，油彩 畫布，現藏於大都會美術館，紐約，美國 Edgar Degas, A Woman Seated beside a Vase of Flowers, 1865, oil on canvas, 73.7 x 92.7 cm, Collection of Metropilian Museum of Art, New York, USA
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Walasse TING (Chinese-American, 1929 - 2010)
丁雄泉 溫暖的太陽
Warm Sun
1961
1961 Oil on canvas 100 x 150 cm Signed on the reverse Ting in English, titled WARM SUN inscribed 100 x 150 and dated 61
100 x 150 cm
PROVENANCE
油彩 畫布 簽名畫背：WARM SUN 100 x 150 Ting 61 來源
伯希畫廊，哥本哈根，丹麥 布魯恩．拉斯穆森拍賣，哥本哈根，丹麥
Galerie Birch, Copenhagen, Denmark Bruun Rasmussen Auction, Copenhagen, Denmark
NT$ 2,600,000-3,600,000 HK$ 701,000-970,000 US$ 89,600-124,000 RMB 564,000-781,000
丁雄泉在其漫長精彩的藝術生涯中留下佳作無數，其以用色繽紛絢 麗，善以墨筆勾勒女體的性感聞名。丁雄泉的瀟灑浪漫性格在其藝術 生涯中表露無遺，從五O年代抽象表現形式至七O年代以後的浪漫不 羈，他的作品忠實呈現了其獨特的藝術風采。 一九五八年丁雄泉前往紐約，此時此刻的美國正值六O年代抽象表現 主義藝術的鼎盛時期，普普藝術也在蘊釀中。他與美國抽象表現主義 中最具歐洲人文傳統的畫家山姆·弗朗西斯成為好友，迎上抽象表現 主義的時代浪潮。抽象表現主義不以具象描繪為目標，利用點、線、 面、色彩、形體、構圖來傳達各種情緒，相當契合其特質；普普藝術 肯定現世，文化親和的姿態，也和丁雄泉重視趣味、大眾化的特色相 近。紐約快速的城市節奏、未來感，激發丁雄泉於一九六O年代之後 採用的壓克力和螢光色彩傳達，自此風格走向鮮豔明亮的西方色彩。 潑灑、滴流，率性的抽象表現主義成為一大特色。而馬蒂斯的野獸派 斑斕色彩及裝飾風格，潛移默化地影響著丁雄泉的華麗特色。 《溫暖的太陽》作於一九六一年，此作品完美呈現了藝術家這一時期 的探索與嘗試，為難得一見丁雄泉抽象時期之畫作。畫面看似任意潑 灑，其下筆如揮刀一般呈現太陽的光芒；並帶給觀畫者飛揚、酣暢 淋漓的視覺衝擊力，豐沛的情感隱含東方精神且極富暴發力。畫面中 跳躍的紅及覆蓋大面積的明黃無不透露著藝術家率性灑脫的性格，青 翠的綠色在粗礦及細膩間綻放出澎派的生命張力。也因此時期受到抽 象表現主義的影響，使其繪畫表現形式與手法有顯著的文化衝擊與改 變，丁雄泉以其才情使之形成形色獨特、屹立不搖的藝術風格。 During his long and extraordinary art career, Walasse Ting created countless masterpieces. Skillfully using a profusion of vibrant colors along with the ink brush, he became famous for outlining the sensuality of the female body. Ting’s naturally unrestrained romantic disposition had shown throughout his career - from the abstract expressionism in the 1950s to the unrestrained romanticism after the 70s. His works faithfully displayed his unique style.
In 1958, Walasse Ting moved to New York. In the 60s, abstract expressionism was at its peak in the United States, and pop art had also started to emerge. At that time, Ting became close friends with Sam Francis, the American expressionist painter who infused European humanist traditions, and welcomed the wave of abstract expressionism. Abstract expressionism didn’t aim to achieve a figurative depiction of things. Instead, it conveyed all kinds of emotions through points, lines, surface, colors, and shapes, particularly fitting special characteristics. Pop art is an affirmation of the present and cultural affinities. It captured Walasse Ting’s interest as it represented everything captivating and popular. After the 60s, New York’s fast pace and futuristic outlook inspired the artist to use acrylic paints and fluorescent colors. His style began moving towards bright Western shades. His splashing and dripping technique looked effortless, and became a major feature of abstract expressionism. The vivid colors and decorative style of Matisse’s fauvism also exerted a subtle influence on Walasse Ting’s flamboyant features. Warm Sun was created in 1961. This work is a perfect representation of the artist’s exploration and practice during those years. It serves as one of the rare paintings from Ting’s phase of abstract painting. The image seems as if it was created by arbitrarily splashing paint. The sunshine rays seem painted onto canvas by waving a knife instead of a brush. The viewer is provided with a flying, carefree and unrestrained visual impact. A stream of emotions hides an Eastern spirituality and a highly explosive force. The leaping stripes of red cover a large yellow patch, revealing the artist’s personality and whims. Verdant green strokes present the tension of life in full bloom between rough and smooth layers. The influence of abstract expressionism had a significant cultural impact on Walasse Ting, changing his forms of expression and technique. Such talent gives birth to a distinctive and outstanding art style.
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Walasse TING (Chinese-American, 1929 - 2010)
Rose Thunder
1963 Oil on canvas 65 x 81 cm Signed on the reverse Ting in English, titled ROSE THUNDER inscribed oil 65 x 81 and dated 63 PROVENANCE
Galerie Birch, Copenhagen, Denmark Bruun Rasmussen Auction, Copenhagen, Denmark
NT$ 1,400,000-2,400,000 HK$ 377,000-647,000 US$ 48,200-82,700 RMB 304,000-521,000
丁雄泉 粉紅雷電 1963 油彩 畫布 65 x 81 cm 簽名畫背：ROSE THUNDER oil Ting 63 65 x 81 來源
伯希畫廊，哥本哈根，丹麥 布魯恩．拉斯穆森拍賣，哥本哈根，丹麥
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Walasse TING (Chinese-American, 1929 - 2010)
Beauty with Pink Hair
c. 1991 Acrylic on paper, mounted onto canvas 124 x 161 cm With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Gallery Delaive, Amsterdam
NT$ 1,400,000-2,400,000 HK$ 377,000-647,000 US$ 48,200-82,700 RMB 304,000-521,000
丁雄泉 粉紅佳人 約1991年 壓克力 紙本 裱於畫布 124 x 161 cm 鈐印右上：採花大盜 附德萊夫畫廊開立之原作保證書
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SHIY De-jinn (Taiwanese, 1923 - 1983)
席德進 瑞濱海岸
Ruei Bin Seashore
1978
1978 Watercolor on paper 56.5 x 76.5 cm Signed lower left SHIY De-jinn in Chinese and dated 1978
56.5 x 76.5 cm
PROVENANCE
水彩 紙本 簽名左下: 席德進 1978 來源
私人收藏，亞洲
Private collection, Asia
NT$ 1,200,000-2,200,000 HK$ 323,000-593,000 US$ 41,300-75,800 RMB 260,000-477,000
夕 日 傍 照 的 瑞 濱海岸 「你一走台北就空了 」是詩人余光中對這位一生精彩的畫家離世所做 的描述。一九八一年，是席德進生命的末年，他曾讚嘆當世畫荷以張 大千最著，並以手中沒有張大千的荷花畫作為憾。一九八一年六月， 藝術圈好友們為席德進舉辦了六十歲生日特展，張大千特地於席德進 畫冊中挑選了三幅作品欲購買，豈料這時的席德進已不再賣畫，兩人 最後以畫作互換為紀念，惺惺相惜之情溢於言表。張大千贈予席德進 一幅荷花，席德進則回贈了他覺得近年來畫得最好的《瑞濱海岸》， 此次會面別具紀念價值與意義。 早晨與黃昏，是席德進最愛作畫的時刻，此時的山巒層次豐富，天地 氤氳最容易表現山韻與雲霧的豐沛。三幅《瑞濱海岸》分別繪於凌 晨、白天以及黃昏三個時辰和不同角度的東北海岸，目前典藏於國立 臺灣美術館、張大千先生紀念館以及私人收藏。此幅私人收藏 《瑞 濱海岸》為席德進畫於夕日傍照的東北角海岸，一抹金黃色餘暉從遠 處地平線暈染開來，照映於墨藍的山群、層次豐富，描繪出雋永的台 灣山水。
SUNSET ON RUEI BIN SEASHORE “Taipei is empty without you”. This is the sentiment described by poet Yu Guangzhong upon Shiy De-jinn’s passing. In 1981, the brilliant painter had entered the final year of his life. He once praised Zhang Da-qian as the world’s most renowned painter of
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lotus flower, and expressed regret that he did not have one of Zhang’s lotus paintings in his collection. In June 1981, friends from Shiy De-jinn’s art circle held a special exhibition for his 60th birthday. Zhang Da-qian specifically selected three works from Shiy De-jinn’s collection for purchase, but Shiy De-jinn had stopped selling his paintings at this time. Instead, the two artists finally commemorated each other through the exchange of paintings. Zhang chose one of his lotus paintings, and Shiy decided on “Ruei Bin Seashore” in return. Shiy felt it was his best work in recent years. The meeting between the two artists holds a unique meaning and significance. Dawn and dusk were Shiy De-jinn’s favorite time to paint. In these hours, the hillside is richly layered. The rhythm of mountains and the fullness of clouds are most easily revealed through a thick dense mist. The three pieces from the “Ruei Bin Seashore” collection were painted at three different angles along Taiwan’s northeast coast in the early morning, day, and evening. They currently reside in the National Taiwan Museum of Fine Arts, Chang Dai-ch’ien Residence, and a private collection. The privately owned “Ruei Bin Seashore” was painted by Shiy De-jinn during sunset at the northeastern corner of Taiwan. A streak of golden glow spreads out from the distant horizon and casts a reflection on multiple layers of blueshaded mountains, depicting a timeless Taiwanese landscape.
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LIU Kuo-sung (Taiwanese, b. 1932)
Foggy Yunbaoding 2005 Ink and color on paper 46.8 x 60.2 cm Signed lower left Liu Kuo-sung and dated 2005 in Chinese With one seal of the artist ILLUSTRATED
Liu Kuo-sung 60 years of painting, Chan Liu Art Museum, Taoyuan, 2007, color illustrated, pp. 228-229 This painting is to be sold with a certificate of authenticity with artist’s signature issued by Loftyart Gallery
NT$ 1,200,000-2,200,000 HK$ 323,000-593,000 US$ 41,300-75,800 RMB 260,000-477,000
劉國松 霧罩雲寶鼎 2005 彩墨 紙本 46.8 x 60.2 cm 簽名左下：劉國松 二ＯＯ五 鈐印左下：劉 圖錄
《劉國松繪畫一甲子》，長流美術館，台北，2007，彩色圖版， 頁228-229 附高士畫廊開立之藝術家親筆簽名原作保證書
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PANG Jiun (Taiwanese, b. 1936)
Moonlight Over the Li River 2017 Oil on canvas 72.5 x 91 cm Signed lower right Pang Jiun in Chinese and dated 2017 With one seal of the artist PROVENANCE
Private collection, Asia
NT$ 1,200,000-2,200,000 HK$ 323,000-593,000 US$ 41,300-75,800 RMB 260,000-477,000
龎均 夜灕江─月下漁夫 2017 油彩 畫布 72.5 x 91 cm 簽名右下：龎均2017 手繪鈐印右下：均 來源
私人收藏，亞洲
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HONG Ling (Chinese, b. 1955)
A Timely Snow 2002 Oil on canvas 60 x 72 cm Signed lower right Hong Ling in Chinese and dated 2002
NT$ 1,100,000-2,200,000 HK$ 296,000-593,000 US$ 37,900-75,800 RMB 239,000-477,000
洪凌 瑞雪 2002 油彩 畫布 60 x 72 cm 簽名右下：洪凌 2002
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239
Walasse TING (Chinese-American, 1929 - 2010)
丁雄泉 女孩與馬
Girl and Horse
1961
1961 Ink and color on paper 23 x 31 cm With one seal of the artist
23 x 31 cm
PROVENANCE
彩墨 紙本 鈐印右下：採花大盜 來源
蘇富比香港拍賣，2014年4月6日，編號0253
Sotheby's Sale, Hong Kong, April 6, 2014, Lot 0253
NT$ 110,000-220,000 HK$ 30,000-59,000 US$ 3,800-7,600 RMB 24,000-48,000
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HSIAO Chin (Taiwanese, b. 1935)
蕭勤 立潮
Onda Verticale
1996
1996 Ceramic dish 51 cm (diameter) Signed lower right HSiAO in English, Chin in Chinese, titled and dated 96 in Chinese
直徑51 cm
NT$ 220,000-320,000 HK$ 59,000-86,000 US$ 7,600-11,000 RMB 48,000-69,000
瓷盤 簽名右下：HSiAO 勤九六 題識右：立潮
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CAI Guo-Qiang (Chinese, b. 1957)
Project for Extraterrestrials No.10 — Project to Add 10,000 Meters to the Great Wall of China Mixed media on paper 21.5 x 43.5 cm Signed lower center Cai GuoQiang
NT$ 220,000-320,000 HK$ 59,000-86,000 US$ 7,600-11,000 RMB 48,000-69,000
蔡國強 萬里長城延長一萬米計畫 綜合媒材 紙本 21.5 x 43.5 cm 簽名中下: Cai GuoQiang
關於真實的名字 Project for Extraterrestrials No. 10 project to Add 10,000 meters to the Great wall of China 萬里長城延長一萬米計畫 萬里の長城を一萬メートル延長するプロジェクト 對中國人而言，這樣的標題並不適合中國，所以在 中國取名為宇宙中的長城 About the real name Project for Extraterrestrials No. 10 project to Add 10,000 meters to the Great wall of China For Chinese people, this title is not suitable for China, so it is named The Great Wall of the Universe in China
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T’ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927 - 1991)
Untitled
Ink on paper 70 x100 cm ILLUSTRATED
T’ANG Haywen, Museum Leader corp., Taipei, 1993, color illustrated, p. 26
NT$ 220,000-320,000 HK$ 59,000-86,000 US$ 7,600-11,000 RMB 48,000-69,000
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曾海文 無題 水墨 紙本 70 x100 cm 圖錄
《唐海文》，標竿藝術事業股份有限公司，台北， 1993，彩色圖版，頁27
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T’ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927 - 1991)
Untitled
Ink on paper 70 x100 cm ILLUSTRATED
T’ANG Haywen, Museum Leader corp., Taipei, 1993, color illustrated, p. 26
NT$ 220,000-320,000 HK$ 59,000-86,000 US$ 7,600-11,000 RMB 48,000-69,000
曾海文 無題 水墨 紙本 70 x100 cm 圖錄
《唐海文》，標竿藝術事業股份有限公司，台北，1993， 彩色圖版，頁26
我喜歡繪畫多留空白，我喜歡對人說話應有餘地 我喜歡靜思反省不與人爭。
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王攀元
WANG Pan-youn (Taiwanese, 1912-2017)
Snowscape
他的思想超越時代，獨到的色彩，虛空感表達回憶、若有似無的神
1980 Watercolor on paper 38.8 x 29.2 cm Initialed lower left P.Y.
物的寫意造境。畫人，鳥、狗、牛、羊或鷹，都是自己的化身，自
This painting is to be sold with a certificate of authenticity with artist’s signature issued by Metaphysical Art Gallery
圖，寄情含蓄的空靈畫面，靜靜地述說他一生對創作的執著與藝術
NT$ 130,000-220,000 HK$ 35,000-59,000 US$ 4,500-7,600 RMB 28,000-48,000
“I like paintings that leave open space. I like to leave space when talking to people. I like to meditate and reflect, and not having to contend with people.”
王攀元 雪景 1980 水彩 紙本 38.8 x 29.2 cm 簽名左下：P.Y. 附形而上畫廊開立與藝術家親筆簽名之原作保證書
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秘隱喻，深具東方的人文內涵。主題上不外乎人、裸女、自然、動 傳式的獨白。王攀元的人格高尚，一生嚐盡人情冷暖，生活困窘， 仍堅持最愛的繪畫，他的修為具有中國文人的清高與倨傲氣質， 而這樣的精神修養也皆反映在他的創作之中，那傳統水墨山水的構 哲學。
─Wang Pan-youn His thinking transcends the times, while his unique use of color and space to convey memories as a faintly discernible mysterious metaphor, which are cultural connotation deeply embedded in Eastern cultures. The themes of his paintings are nothing more than the creative artistic concepts of people, nudes, nature and animals. Whether painting people, birds, dogs, cows, goats or eagles, they are all incarnations of himself, constituting an autobiographical monologue. Wang Pan-youn ‘s character was noble, having known the warmth of life and also its cold destitution, yet persevered in his love of painting, cultivating the lofty and proud temperament of the Chinese literati. Thus, this particular spiritual accomplishment also reflects on his unique creations in which we see the composition of the traditional ink and water landscape painting, and the subtle emotions on his works all quitely and lyrically tells Wang’s lifelong persistence and philosophy of art. t.
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WANG Pan-youn (Taiwanese, 1912-2017)
The Rising Sun
1975 Watercolor on paper 51.5 x 51.5 cm Initialed upper right P.Y. This painting is to be sold with a certificate of authenticity with artist’s signature issued by Metaphysical Art Gallery.
NT$ 200,000-300,000 HK$ 54,000-81,000 US$ 6,900-10,300 RMB 43,000-65,000
王攀元 旭日 1975 水彩 紙本 51.5 x 51.5 cm 簽名右上：P.Y. 附形而上畫廊開立與藝術家親筆簽名之原作保證書
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WANG Pan-youn (Taiwanese, 1912-2017)
Boat
「一個畫家要有自己的體系與風格，那就是孤獨。 」 ─王攀元
1983 Watercolor on paper 55.5 x 79.5 cm Initialed lower left P.Y. EXHIBITED
Wang Pan-you, Taiwan Museum of Art, Taichung, June 27 August 16, 1992 ILLUSTRATED
Wang Pan-you, Taiwan Museum of Art, Taichung, 1992, color illustrated, p. 22
NT$ 320,000-480,000 HK$ 86,000-129,000 US$ 11,000-16,500 RMB 69,000-104,000
王攀元 船 1983 水彩 紙本 55.5 x 79.5 cm 簽名左下 P.Y. 展覽
「王攀元畫展」，台灣省立美術館（今國立台灣美術館）， 台中，展期自1992年6月27日至8月16日 圖錄
《王攀元畫展》，台灣省立美術館，台中，1992，彩色圖版， 頁22
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王攀元的一生都縮影在他一幅幅的圖畫裡，畫格即人格，他坎坷豐 富的一生，人們可以從那細膩、情思醇厚的繪畫中閱讀而出。船、 太陽或月亮，都是淒美的象徵符號，抒發情感，像詩一般的意境去 淡化生活與思鄉之苦。他的風景圖畫不是屬於唯美的詠嘆調，有時 候非常有前衛風格，近乎單色畫的寫景作品，抽象構圖具現代感。 越晚期的畫作越單純，達到一種至高無上的絕對感，令人激賞與驚 嘆。 “A painter must have his own system and style, which is lonely." ─Wang Pan-youn Wang Pan-youn’s life was present in miniature in each of his paintings. The character of the painting reflects the character of the person. His at once rough and fortunate life, people can discern from his fine, tender and wholesome paintings. A boat, the sun or the moon, on the other hand, were poignant symbols expressing his feelings, an artistic concept similar to poetry used to dilute the pain of his life and homesickness. His landscape paintings are not expressive melodies of beauty. At times, they have a distinct avant garde style, comprised of a single color in an abstract composition conveying a modern feeling. The later the work in Wang’s oeuvre, the simpler they become, achieving a supreme sense of the absolute, an exciting and amazing experience.
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HSIAO Ju-sung (Taiwanese, 1922 - 1992)
蕭如松
Landscape by River
河畔風景
1984 Watercolor on paper 72 x 53 cm Initialed lower right -JSSigned on the reverse inscribed, titled and dated in Chinese
水彩 紙本
NT$ 320,000-420,000 HK$ 86,000-113,000 US$ 11,000-14,500 RMB 69,000-91,000
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1984 72 x 53 cm 簽名右下：-JS題識畫背：73年度文藝學 新竹藝術家聯展 頭前溪 74年 3月 蕭如松 20P
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ZAO Wou-ki (Chinese-French, 1921 - 2013)
趙無極
Beauregard
比爾蓋德
1981 Etching book, prints, edition no. 15/120 24 x 18 cm Signed on the last page Wou-ki in Chinese, Zao in French; Philippe Jaccottet in French
版畫書 15/120
ILLUSTRATED
Zao Wou-Ki Les estampes, Edition Heede & Moestru, Copenhagen, 1995, p. 172
NT$ 240,000-340,000 HK$ 65,000-92,000 US$ 8,300-11,700 RMB 52,000-74,000
1981 24 x 18 cm 簽名末頁：無極 ZAO Philippe Jaccottet 圖錄
《趙無極版畫集1937-1995》，Edition Heede & Moestrup， 哥本哈根，1995，頁172
200
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CHUANG Che (Taiwanese, b. 1934)
Variation of Cypress and Mountain-II Oil on canvas 44.5 x 119.6 cm
NT$ 500,000-600,000 HK$ 135,000 -162,000 US$ 17,200 -20,700 RMB 108,000 -130,000
莊喆 柏岩變奏曲之II 油彩 畫布 44.5 x 119.6 cm
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SHIY De-jinn (Taiwanese, 1923 - 1983)
Farmland
1977 Watercolor on paper 54 x 75.5 cm Signed lower left SHIY De-jinn in Chinese and dated 1977 PROVENANCE
Private Collection (acquired directly from the artist ) ILLUSTRATED
Shiy De Jinn water-colors, The studio of Shiy De-Jinn, Taipei, 1977, color illustrated, back cover artwork, p. 3
NT$ 550,000-650,000 HK$ 148,000-175,000 US$ 18,900-22,400 RMB 119,000-141,000
席德進 水田 1977 水彩 紙本 54 x 75.5 cm 簽名左下: 席德進 1977 來源
現收藏者購自藝術家本人 圖錄
《席德進水彩畫集1977：說我．想我．畫我》，席德進工作室， 台北，1977，彩色圖版，封底圖，頁3
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CHEN Ting-shih (Taiwanese, 1916 - 2002)
陳庭詩 日與夜 #34b
Day and Night #34b
1976
1976 Woodblock print, edition no. 8/40 105 x 135.5 cm Signed lower right Chen Ting-Shih, dated Feb. 1976, titled lower left Day and Night #34b in English, and numbered lower center 8/40 With one seal of the artist
105 x 135.5 cm
NT$ 550,000-650,000 HK$ 148,000-175,000 US$ 18,900-22,400 RMB 119,000-141,000
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版畫 8/40 簽名右下：Chen Ting-shih Feb. 1976 題識左下: Day and Night #34b 版次中下：8/40 鈐印右上：陳
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CHEN Ting-shih (Taiwanese, 1916 - 2002)
陳庭詩 日與夜 #34A
Day and Night #34A
1976
1976 Woodblock print, edition no. 8/40 104.5 x 136 cm Signed lower right Chen Ting-Shih, dated Feb. 1976, titled lower left Day and Night #34A in English, and numbered lower center 8/40
104.5 x 136 cm
NT$ 550,000-650,000 HK$ 148,000-175,000 US$ 18,900-22,400 RMB 119,000-141,000
版畫 8/40 簽名右下：Chen Ting-shih Feb. 1976 題識左下: Day and Night #34A 版次中下：8/40
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CHU Teh-chun (Chinese-French, 1920 - 2014)
朱德群 雪景 (三件一組)
Timely Snow (a set of 3)
2000 - 2001
2000 - 2001 Lithograph, edition no. 137/150 (left); 129/150 (middle); 14/150 (right) 60 x 80 cm 92 x 69 cm 70 x 96 cm Signed lower right CHU TEH-CHUN in Chinese and French and numbered lower left 137/150 (left) Signed lower right CHU TEH-CHUN in Chinese and French and numbered lower left 129/150 (middle) Signed lower right CHU TEH-CHUN in Chinese and French and numbered lower left 14/150 (right)
60 x 80 cm
石版畫 137/150 (左)；129/150 (中)；14/150 (右) 92 x 69 cm 70 x 96 cm 簽名右下：朱德群 CHU TEH-CHUN ；版次左下：137/150 (左) 簽名右下：朱德群 CHU TEH-CHUN ；版次左下：129/150 (中) 簽名右下：朱德群 CHU TEH-CHUN ；版次左下：14/150 (右) 圖錄
《龍在西方迤邐東還》，朱德群石版畫，霍克國際藝術股份有限 公司，台北，2003，彩色圖版，頁26，頁34，頁38（左至右） 《朱德群 石版畫》，霍克國際藝術股份有限公司，台北， 2008，彩色圖版，頁13，頁17，頁23（左至右）
ILLUSTRATED
《朱德群院士 原創石版畫紀念輯》，名山藝術股份有限公司，
CHU TEH-CHUN The Graphic Work 2000 - 2002, Hoke Art, Taipei, 2003, color illustrated, p. 26, p. 34, p. 38 (from left to right) CHU TEH-CHUN The Graphic Work 2000 - 2008, Hoke Art, Taipei, 2008, color illustrated, p.13, p.17, p. 23 (from left to right) CHU TEH-CHUN The Graphic Work of Lithograph 2000-2008, Mingshan Art collection Co., Ltd, Taipei, 2015, color illustrated, p. 25, p. 33, p. 37 (from left to right)
2015，台北，彩色圖版，頁25，頁33，頁37（左至右）
NT$ 600,000-700,000 HK$ 162,000-189,000 US$ 20,700-24,100 RMB 130,000-152,000
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F
E
G D B H I C A
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CHU Teh-chun (Chinese-French, 1920 - 2014)
朱德群 墨之風暴（九件一組）
Encre Orageuse (a set of 9)
2008
2008 Lithographs, edition no. 50/99 45 x 35.3 x 3.5 cm (Book) A: 40.7 x 29.3 cm B: 44.8 x 34.7 cm C: 40.7 x 28.9 cm D: 40.6 x 59.6 cm E: 44.6 x 34.8 cm F: 44.4 x 69.5 cm G: 40.5 x 28.8 cm H: 41.1 x 29.6 cm I: 41.3 x 29.8 cm Signed in English and Chinese and numbered 50/99 on three of the six lithographs; numbered 50/99 and stamped with the artist’s seal on the rest of the six lithographs; stamped with the artist’s seal on each calligraphy.
45 x 35.3 x 3.5 cm (書)
NT$ 650,000-750,000 HK$ 175,000-202,000 US$ 22,400-25,800 RMB 141,000-163,000
石版畫 50/99 A: 40.7 x 29.3 cm B: 44.8 x 34.7 cm C: 40.7 x 28.9 cm D: 40.6 x 59.6 cm E: 44.6 x 34.8 cm F: 44.4 x 69.5 cm G: 40.5 x 28.8 cm H: 41.1 x 29.6 cm I: 41.3 x 29.8 cm 版次左下：50/99 簽名右下：朱德群 CHU TEH-CHUN（C,D,I 右下） 鈐印右下（A, H.G 右下與每件書法作品）
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YANG Chihung (Taiwanese, b. 1947)
Wave
楊識宏 浪 2015
2015 Acrylic on canvas 87 x 115 cm Signed on the reverse Chihung Yang, titled Wave and dated 2015
壓克力 畫布
PROVENANCE
私人收藏，亞洲
Private Collection, Asia
圖錄
ILLUSTRATED
《楊識宏》，亞洲藝術中心，台北，2016，
YANG Chihung, Asia Art Center, Taipei, color illustrated, p. 109
彩色圖版，頁109
87 x 115 cm 簽名畫背：Chihung Yang Wave ©2015 來源
NT$ 600,000-800,000 HK$ 162,000-216,000 US$ 20,700-27,600 RMB 130,000-174,000
在一九八O年代末期與一九九O年代初期，楊識宏稱為「植物的美 學」的系列作品中，他回到了宇宙的和諧結構，以抒情的視覺思維與 圖像思維，表現出一種理性內化之後的浪漫氣氛。這時畫面上的物象 已經不僅僅是物象，而是外在事件時間已經過濾之後的詩性元素。我 們所看到的是，大自然環境與植物隨著時間的變化，亦隨著筆觸的方 向而揮灑出來。 此件《浪》作於二O一五年。已經歷數十年，楊識宏的抽象的植物的 美學已然成熟。畫面中仍以楊識宏一貫使用的大地色為主，採取如波 浪與土地的色澤，但抽象手法使波濤和自然環境的形貌有所改變，藝 術家使之模糊化，成功營造了天地海交會成一片時的激動。除了有畫 筆的大片揮灑，也有細小點狀的細部經營，大器與細膩兼備。 In the late 1980s and the early 1990s, in the series "the aesthetics of flora" which Yang Chi-Hung himself called, he returned to the harmony of the universe to express a kind of romantic ambience which is rationality having been internalized through poetic
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iconography. During this period, the things and their images in Yang's paintings were more beyond the images themselves. They were rather the element of poet which had been filtered from external affairs through time. What we could see was the changes of nature and plants over time, and they were also vividly demonstrated with the directions of Yang's strokes. Wave was made in 2015. Back than Yang Chi-Hung's aesthetics of botanic patterns had experienced more than decades and had become more sophisticated. The appearance and color in this painting still inherit his previous style, using main color of the earth and wave. But the abstract approach to the morphology of the waves and the natural environment has changed. The artist intentionally blurred the concrete images, successfully making the intensity when sky, earth, and sea come to an encounter. Both big unrestrained strokes and minute spots on the canvas bring the painting greatness and delicateness.
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CHUANG Che (Taiwanese, b. 1934)
Fire Land
1967 Oil and collage on canvas 100 x 65.5 cm Signed lower right Chuang Che in Chinese and dated 1967 Titled on the reverse Fire Land, signed Chuang Che in English, and dated 1967
莊喆 火地 1967 油彩 拼貼 畫布 100 x 65.5 cm 簽名右下：莊喆1967 簽名畫背：Fire Land 1967 Chuang Che
NT$ 600,000-700,000 HK$ 162,000 -189,000 US$ 20,700 -24,100 RMB 130,000 -152,000
莊喆繪畫的一大特色，即是他溯源於故宮珍藏畫作之用墨技法的渲 染，將此神髓潛移默化，植於西方的現代繪畫之中。中國繪畫的「筆 法」，他有意的滲入了西畫的創作，於是中西渾融，自創一格。此東 方書藝自藝術的角度審視，不外乎剛柔、疏密、陰陽、濃淡、枯潤， 莊喆是一位非常著重於「筆勢」的畫家，用中國行草的運筆重顯大自 然的山川萬物，試圖召回書法的最原始性。 六O年代莊喆的繪畫多以書寫文字入畫，同時融合了拼貼與水墨，畫 布、宣紙拼貼是創作實驗的重心，畫面充滿詩的語境轉化成視覺意 象。莊喆強調詩意的抽象化，在視覺與觸覺上，強化了紙在畫布上柔 性與韌性的衝擊勁道。他雖藉由西方的表現手法但畫面的構成空間真 實地展現東方精神。解構現實風景，自然與歷史人文對話，才是莊哲 藝術的核心內容。 The major feature of Chuang's work is that he traces back to the Chinese ink technique from the National Palace Museum collections, and apply to western modern painting theory, he intentionally infiltrates the "brush strokes" from Chinese paintings into western paintings, thus the eastern and western integrates beautifully and this becomes his unique artistic language. From an
artistic point of view, eastern painting and calligraphy embraced resolute and mild, sparse and concentrated, ying and yang, dense and pale, wither and moist. Chuang is an artist who emphasizes the "brush strength " through the Chinese book and script style of writing, representing the landscape of the nature; as an effort to return to the primitives of the calligraphy. In the 1960s, the artist applied traditional Chinese calligraphy characters onto his canvas while integrating ink and wash, collage of canvas and Chinese paper to create his importance of experimental creation. Hence, the works during this period often disclosed a poetic transformation of visual images. Chuang focused on the poetic abstraction and visually and physically refined the strength and the flexibility of paper texture that he applied on canvas. The artist though practiced the western painting methodology on his works, the space and the composition he built on the canvas still faithfully developed the oriental spirit which originated from his inner culture. To deconstruct the landscape of reality, the natural spirit and the dialogue between human and history remains in Chuang’s philosophy of art.
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HSIAO Chin (Taiwanese, b. 1935)
蕭勤 紫源
L’origine Viola
2009
2009 Acrylic on canvas 75 x 90 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled L’origne Viola, inscribed 75 x 90 cm, acrylic on canvas and dated 2009
75 x 90 cm
壓克力 畫布 簽名畫背：Hsiao 勤 題識畫背：2009 L'origine Viola, 75 x 90 cm 布上，压克力
NT$ 750,000-850,000 HK$ 202,000-229,000 US$ 25,800-29,300 RMB 163,000-184,000
一個有思想的創作者的本責，在他的工作過程中，必須了解自我，分 析自己個人，其傳統文化及精神的來龍去脈，敏感地接受生活及時代 的考驗，然後來探討自己的路子 。 ─蕭勤 談到當代藝術史上卓然不群的「PUNTO-龐圖國際藝術運動，影響了 後期數十年的繪畫風格。Punto於義大利文中是「點」的意思，此點 為「始」亦為「終」；其主張「觀念的純粹性及創作的理由，是在於 了解在『無限』之中之『有限』的條件，其思想的現實及對生命真諦 之領悟」。蕭勤與時俱進，以「點」串起了東西方抽象藝術，亦開啟 了台灣現代繪畫出走前衛的步伐。 回顧蕭勤一生的藝術創作，表面上看似受到米羅與克利的影響，卻有 著充滿東方哲學性的禪意氛圍。他曾說道:「我的希求，是透過藝術
的各種媒材，表達我經過不停及不時內省歷練的省思，向觀者傳達我 對人生、宇宙及無限進化的學習及探討。 」 蕭勤於一九九O年代起的《永久的花園》系列為蕭勤創作生涯的重要 轉折，超越個人之精神、將重生的意象化為流動的色彩，以飛白呈現 永恆的澄靜。《紫源》可看作是《永久的花園》系列作的衍伸，在抽 象的表現之外，此階段後的作品，更近似藝術家個人的對話與療癒過 程。紫色熱烈而不外露、高貴而神秘彷彿蘊藏無限能量的意涵；「紫 氣」除了被視為帝王之氣外，也預示著罕見的寶物存在及尊王之色 彩。蕭勤內涵靈性的哲學思想，透過西方表現形式呈現中國繪畫的新 可能性以外更追求超越天人、生死的無限境界。 "One should always try to explore the limited physical space to the maximum and to generate maximum energy in the confines of space, to learn in a material world that transcends the boundaries of time, and in so doing to grasp the deeper meanings of life. And it is through my awkward brush work and the bright primary colours that I achieve such goals."- Hsiao Chin
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When it comes to art history's phenomenal PUNTO International Art Movement, it is said that it had a decades-long influence on styles of painting. Meaning 'point' in Italian, Punto was just as much a 'starting' as an 'ending'. It stood for the purity of ideas and reasons for creation based on an understanding of "finite" and "infinite" conditions, the truth in such thinking, and understanding of the true meaning of life. Always one to progress with the times, Hsiao Chin has served as a 'point' that connects the abstract art of the East with the West while also initiating the pace of avant-garde modern painting in Taiwan. Reflecting on Hsiao Chin's lifelong creations, on the surface it appears that he was influenced by Miró and Klee, although the Eastern philosophy of Zen has strong presence, too. The artist himself has said, "My hope is to express through various artistic mediums the intermittent and unceasing practice of introspection that I experience, and to convey to the viewer my studies and explorations of life, the universe, and unbounded evolution." Since beginning the series in the 1990s, Eternal Garden has been an important turning point in Hsiao Chin's art career. It goes beyond an individual spirit and turns the imagery of rebirth into flowing colours, evoking eternal clarity in flights of white. “L'orgine viola” can be seen as an extension of the Eternal Garden series. The work after this stage, apart from its abstract forms, begins to resemble more of a personal dialogue and healing process. No longer exposed outright, the noble and mysterious colour of purple seems to be suggestive of a boundless energy. And the 'purple cloud', apart from being viewed as being of an imperial ilk, also function as a sign of rare treasure and respect for the king. This spiritual philosophy suggested in Hsiao Chin's work presents new potential for Chinese painting by way of Western expressive forms that further the pursuit of the endless realm that transcends life and death.
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George CHANN (Chinese-American, 1913 - 1995)
Composition-III
1970 - 1980s Oil on canvas 60 x 46 cm Signed lower center GEO, CHANN With one seal of the artist on the reverse ILLUSTRATED
George CHANN Solo exhibition, Lin & Keng Gallery, Taipei, 2000, color illustrated, pp. 112-113
NT$ 850,000-950,000 HK$ 229,000-256,000 US$ 29,300-32,700 RMB 184,000-206,000
陳蔭羆 形色繽紛-III 1970 - 1980年代 油彩 畫布 60 x 46 cm 簽名中下：GEO, CHANN 鈐印畫背：陳蔭羆印 圖錄
《陳蔭羆》，大未來畫廊，台北，2000，彩色圖版，頁112-113
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CHIU Ya-tsai (Taiwanese, 1949 - 2013)
Perfection
1991 Oil on canvas 80 x 65 cm Signed lower right Chiu Ya-tsai in Chinese ILLUSTRATED
CHIU Ya-tsai, Goethe Art Center, Taichung, 2006, color illustrated, p. 161 This painting is to be sold with a certificate of authenticity issued by Ming Art Gallery
NT$ 1,100,000-2,200,000 HK$ 296,000-593,000 US$ 37,900-75,800 RMB 239,000-477,000
邱亞才 完美 1991 油彩 畫布 80 x 65 cm 簽名右下：邱亞才 圖錄
《邱亞才》，歌德藝術中心，台中，2006，彩色圖版，頁161 附旻谷藝術開立之原作保證書
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LEE Ufan (Korean, b. 1936)
李禹煥 始於線
From Line
1978
1978 Oil and mineral pigment on canvas 38 x 45.5 cm Signed lower right L. UFAN in English and dated 78 Signed on the reverse Lee ufan and inscribed From line
38 x 45.5 cm
NO.780142 in English
油彩 礦物顏料 畫布 簽名右下：L. UFAN 78 簽名畫背：From line NO.780142 Lee ufan 來源
私人收藏，日本
PROVENANCE
Private Collection, Japan
NT$ 1,800,000-2,800,000 HK$ 485,000-755,000 US$ 62,000-96,500 RMB 390,000-607,000
作為當今在世最重要的亞裔藝術家之一，李禹煥是1960年代末至 1970年代「物派」的主要推動者，深刻影響了戰後日本藝術的發 展，他也是稍晚興起於韓國的「單色畫」運動代表人物，不僅帶領東 亞藝術走出新局，深受西方世界認同與推崇，且影響深遠。 1973年起，李禹煥轉向繪畫領域，以低限的元素與色彩，延續他早 期立體創作關於作品、環境與觀者之間的對應關係與相互作用的探 討，成就其獨樹一幟的極簡畫風。藝術家以單一的藍色調與最基本的 線條在空白畫布上建構出簡潔、精煉、高度規律的畫面，揭露了時間 與空間的流動與深度，單純卻蘊含絕對的張力與高度精神性。畫面凝 聚高度專注力，融合了藝術家對於哲學、音律與物理學的領悟，此作 以謙懷的姿態，瞬間喚起寧靜的感知，強而有力地回應西方現代主義 的抽象與極簡，提出以東方哲思為本的藝術理論系統。而這一切只有 起點，沒有終點。 As one of the most significant living Asian artists today, Lee Ufan is the driving force behind the Mono-Ha movement from the late 60s to 70s, and deeply influenced the development of Japanese postwar art. He is also an iconic figure in the Dansaekhwa
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(monochrome painting) movement that rose to prominence later in contemporary Korean art scene. He led East Asian art in a new direction, and not only was he recognized and highly praised by the western world, but also making a lasting impact. Since 1973, Lee Ufan has turned his attention to painting, using minimal elements and colors to continue his exploration of the connection between the artwork, the environment, and the viewer, concepts that he previously explored with his three-dimensional pieces, creating a minimalist style like no other. The artist uses monochromatic blue and simple lines on the blank canvas to create a simple, refined, and highly steady pattern, revealing the flow and depth of time and space. The painting is simple, but contains absolute tension and high spirituality. With a high level of focus combining the artist's understanding of philosophy, sound, and physics, and a humble attitude, this piece instantly evokes a sense of peace and a strong response to the abstract and minimalist western Modernism, and proposes an artistic theory based on eastern philosophy. This is only the beginnings, and there is no end.
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CHIU Ya-tsai (Taiwanese, 1949 - 2013)
Lady in Floral Dress 1994 Oil on canvas 130 x 97 cm Signed lower right Chiu Ya-tsai in Chinese ILLUSTRATED
CHIU Ya-tsai, Galerie Elegence, Taipei, 1994, color illustrated, p. 7
NT$ 2,000,000-3,000,000 HK$ 539,000-809,000 US$ 68,900-103,300 RMB 434,000-651,000
邱亞才 穿花衫的女人 1994 油彩 畫布 130 x 97 cm 簽名右下：邱亞才 圖錄
《邱亞才》，愛力根畫廊，台北，1994，彩色圖版，頁7
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Chiu Ya-tsai (Taiwanese, 1949–2013)
Lady in Red and Yellow Oil on canvas 130 x 97 cm Signed lower right Chiu Ya-tsai in Chinese
NT$ 2,200,000-3,200,000 HK$ 593,000-863,000 US$ 75,800-110,200 RMB 477,000-694,000
邱亞才 穿著紅黃條紋衣的女子 油彩 畫布 130 x 97 cm 簽名右下：邱亞才
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Chiu Ya-tsai (Taiwanese, 1949–2013)
Bullfighter
1994 Oil on canvas 194 x 130 cm Signed lower right Chiu Ya-tsai in Chinese ILLUSTRATED
CHIU Ya-tsai, Ming Art Gallery, Taipei, 2009, color illustrated, p. 26
NT$ 4,000,000-5,000,000 HK$ 1,078,000-1,348,000 US$ 137,800-172,200 RMB 868,000-1,085,000
邱亞才 鬥牛士 1994 油彩 畫布 194 x 130 cm 簽名右下：邱亞才 圖錄
《邱亞才》，旻谷藝術，台北，2009，彩色圖版，頁26
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Tzu-chi YEH (Taiwanese, b. 1957)
Wulai Waterfull 2017 - 2018 Tempera and oil on linen 102 x 152.5 cm Signed on lower right Tzu-Chi in Chinese and dated 2017-18
NT$ 4,400,000-6,000,000 HK$ 1,186,000-1,617,000 US$ 151,600-206,700 RMB 954,000-1,302,000
葉子奇 烏來瀑布 2017 - 2018 卵彩 油彩 亞麻布 102 x 152.5 cm 簽名右下：子奇 2017-18
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WULAI WATERFULL Tzu-chi YEH
「第一次看見烏來瀑布大概是40多年前的往事了，那時初到台北的 大學新生都時興安排一次烏來瀑布郊遊，那是轎車不多，機車還未 氾濫，沒有手機，大家都搭公車，專心欣賞窗外風景的年代。少年 十五二十，意興風發，盡是歡笑。
多年過去，烏來瀑布早已消逝在久遠的記憶裡。 2016年底，陪巴黎友人再度造訪，冬日時晴時雨的天氣，遊人杳 然，滿是悠閒，山雨陣陣，偶有陽光灑落溪谷林間，夾雜著蒸騰而 上、由遠而近的山嵐水霧，遠山渺渺，近水澎湃，煞是好看，當年那 份初遇的賞興與心怡又被喚起。數十寒暑過去，彷彿四季在眼前急速 興替，既見春夏，也見秋冬，人生回眸，也有風雨，也有情。緣以誌 之。 」 ─葉子奇 現象學大師梅洛•龐蒂曾說「繪畫的深度不是透視的建構或攝影真實 性的自動財產，它必須是有鬥爭性的，是經常反對基礎性的圖案代 表。 」追求繪畫的深度，一直是葉子奇努力的目標，透過層層敷染的 過程中，建立作品色彩所引發的深度，無論明亮跳躍或沉鬱陰暗，都 富於變化。葉子奇對畫面結構的處理和一般寫實畫家不同。他真實性 的建構意象是來自於自然原型的密碼，像遙遠的原始回聲，一個看不 見的藝術性激發來源，喚起一個消失的魔幻意象。在葉子奇《烏來瀑 布》的作品中，山稜線與雲霧飄渺的邊緣，結合著微光、進入隱藏著 曖昧光暈的山林，用古典的曲線空間表示手法，塑造出一種無垠的距 離感，觀者因此引進到神秘主義的核心、似真似幻、充滿各種美學判 斷的可能性。其層層建構的奇幻視野，千變萬化，時間在空間流轉， 空間隨著光影舞動，處處是寶藏， 處處是驚喜，令人流連忘返。 看葉子奇的作品，我們見到了台灣的「真山」、「真水」，一種過去 從未展現的「山」「水」之美，一種深刻的生命氣息與自然美麗，我 們也看見了藝術家對繪畫、信仰的堅定，和對這片自己生長土地的深 情與感思，一如在山間行走禱告的修行者或海邊凝視吟詠的行旅者， 專注的追尋他與自然的對話及藝術心靈的無限探索。 文：張金催 (前東華大學民族藝術研究所代理所長)
between, lighting up the valley's trees. A fog or mist steamed off the mountains, murky in the distance, as waters roared nearby. It was a sight to behold, and memories from that first encounter suddenly rushed back to me. Having experienced temperatures switch from hot to cold and back dozens of times, it seemed as if all at once the seasons were changing before my eyes. Spring and summer, autumn and winter, all returning to view when I looked back on my life. And with the winds and the rains, there came this feeling, too. Fate leaves its mark.” - Tzu-chi Yeh The phenomenologist Maurice Merleau-Ponty once said that “the depth of a painting is not the automatic product of perspective or photographic realism; it must be the result of struggle, a symbolic icon that goes against the foundations of reality.” Seeking depth in his paintings has always been one of Tzu-chi Yeh’s goals. Through a process of creating layered washes, Yeh establishes a sense of depth that arises out of the colors used in the painting; whether bright and exuberant or dark and gloomy, Yeh’s paintings are always in a state of transformation. The way Tzu-chi Yeh approaches the structure of his paintings is different from that of most realist artists. Yeh’s construction of realism derives from the inherent “codes” of nature, like a distant, primitive echo, an invisible source of artistic inspiration that reawakens a magic that had long since disappeared. In Yeh’s painting “Wulai Waterfullien,” the line of mountain peaks and the border of the drifting mist are fused with a soft light that penetrates the forested hills to create a faint corona effect. Employing the classical technique of using curved lines to delineate space, Yeh succeeds in creating a sense of boundless distance; the viewer of the painting is drawn into the heart of mystery, into a world that is both real and fantastical, the aesthetic significance of which can be interpreted in many different ways. The multi-layered fantastical vision that Yeh creates is full of constant change. Time moves within space; space dance with light and shadow. Everywhere there are hidden treasures and surprises that ensure one never tires of viewing the painting anew.
“The first time I saw the Wulai Waterfall was over four decades ago. It was an outing arranged for university freshmen new to Taipei. There weren’t many cars at that time, and there weren't scooters flooding the streets. There weren't mobile phones, either. When we were riding the bus, we all had our eyes locked on the view out the window. It was that kind of time. The fifteen or twenty of us on the trip were all young, and we laughed the whole way. After many years went by, the Wulai Waterfall had long since faded away as a distant memory.
In the work of Tzu-chi Yeh, we see the authentic Taiwanese landscape, and we see the beauty of this landscape in a way that has never been seen before – a deeply-rooted vitality and natural beauty. We also see the steadfastness of Yeh’s faith in the power of painting, and the strength of his feelings for the land where he grew up. Yeh is like a pilgrim chanting his prayers as he walks through the mountains, or a travel intoning verse as he gazes out to sea; he is wholly focused on the search for dialog between himself and nature, and on exploring the limitless potential of the artistic soul.
At the end of 2016 I payed another visit — this time with a friend from Paris. It was winter, when the weather tends to flip between rain and shine, so there weren't many tourists. We could take it easy. Rain would come and go in bursts, with the sun shining in
Text by Kin Tsuei Chang (former Acting Dean, Graduate Institute of the Indigenous Arts, National Dong Hwa University)
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JU Ming (Taiwanese, b. 1938)
Taichi Series
1992 Cinnamomum micranthum Hay 41.6(L) x 21.2(W) x 23.8(H) cm Engraved on the lower right Ju Ming in Chinese and dated 92 This work is to be sold with a certificate of authenticity issued by Juming Culture & Education Foundation
NT$ 3,000,000-4,000,000 HK$ 809,000-1,078,000 US$ 103,300-137,800 RMB 651,000-868,000
朱銘 太極系列 1992 木雕 牛樟 41.6(長) x 21.2(寬) x 23.8(高) cm 雕刻簽名右側下方：朱銘 '92 附財團法人朱銘文教基金會-朱銘美術館開立之作品鑑定報告書
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JU Ming (Taiwanese, b. 1938)
Taichi Series - Side Kick 1991 Cinnamomum micranthum Hay 30(L) x 17(W)x 48(H) cm Engraved on the bottom Ju Ming in Chinese and dated 91 This sculpture is to be sold with a certificate of authenticity issued by Jun Youn Sculpture Gallery, Taipei.
NT$ 2,000,000-3,000,000 HK$ 539,000-809,000 US$ 68,900-103,300 RMB 434,000-651,000
朱銘 太極系列—側踢 1991 木雕 樟木 30(長) x 17(寬) x 48(高) cm 簽名雕刻底部：朱銘 '91 附雋永藝術開立之原作保證書
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LI Chen
(Taiwanese, b. 1963)
Wisdom Bodhisattva & Fulfillment Bodhisattva (a set of 2) 2001 Bronze, edition no. 8/8 30(L) x 40(W) x 44(H) cm (left) 27(L) x37(W) x 43(H) cm (right) Engraved Li Chen in English, numbered 8/8 and dated 2001 With one seal of the artist (both) ILLUSTRATED
Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, pp. 80-81 Li Chen in 52nd Venice Biennale - Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, pp. 110-115; black-and-white illustrated, pp. 218-219 (similar version) Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, color illustrated, pp. 40-49; black-and-white illustrated, pp. 196-197 (similar version) This sculpture is to be sold with a certificate of authenticity issued by Asia Art Center.
NT$ 2,200,000-3,200,000 HK$ 593,000-863,000 US$ 75,800-110,200 RMB 477,000-694,000
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李真 文殊與普賢（兩件一組） 2001 銅雕 8/8 30(長) x 40(寬) x 44(高) cm (左) 27(長) x 37(寬) x 43(高) cm (右) 雕刻簽名：2001 Li Chen 8/8；雕刻鈐印：李真（左） 雕刻簽名：2001 Li Chen 8/8；雕刻鈐印：李真（右） 圖錄
《李真雕塑1992-2002》，亞洲藝術中心，台北，2004， 彩色圖版，頁80-81 《李真第52屆威尼斯雙年展─虛空中的能量》，亞洲藝術 中心，台北，2007，彩色圖版，頁110-115；黑白圖版， 頁218-219（另一尺寸版本） 《李真中國美術館個展─尋找精神的空間》，亞洲藝術 中心，台北，2008，彩色圖版，頁40-49；黑白圖版， 頁196-197（另一尺寸版本） 附亞洲藝術中心開立之作品保證書
WISDOM BODHISATTVA & FULFILLMENT BODHISATTVA LI Chen
當代雕塑家李真的創作歷程從最起初的空靈系列，在刻畫佛家法相時也融 入自我美學意念，帶給觀者宗教上的慰藉之餘，也提供了藝術家自己對於佛 學概念的實踐，更賦予當代佛教造型美學的新格局；而創作風格在1998年開 始轉變，「虛空中的能量」起便可見到李真標誌性圓潤線條，飽滿身形的雕塑 作品。雖然其創作依舊帶有佛家哲思與禪意，但已不見手持法器或手印的形象，反 倒是嬉笑淘氣的各種入世姿態，在妙趣橫生外，更顯真摯細膩且溫暖人心的情 感。 漢傳佛教思想當中，華嚴三聖其二便是文殊與普賢；文殊手持寶劍斬斷俗 世一切煩惱，無慮無掛亦意味著斷開愚行癲痴，是無上智慧的表徵，坐騎 祥獅以獅吼降伏罪孽，更代表其無限智慧的堅無不摧，說明智慧乃是根本 之道；普賢又名捨得，願度化眾生實踐法道，手握蓮柄如意，象徵圓滿， 騎象而來取其堅忍之意，行勸不悔，具足無量行願無懼無畏之意涵。李真 得以簡化法相之餘，將雕塑的開臉與線條減至極簡，將佛學哲思融入當代造 型，並且注入內化的精神能量，在「去法相」、「去神化」的創作之中，李 真圓融的雕塑作品融合了西方簡約的藝術形象，墨黑的身軀與表層細緻的質 感更顯得其作品當代感強烈，破除了既有的宗教藩籬，以獨特的造型表現原屬 於東方的雕塑主題。 When examining the artistic career of contemporary sculptor Li Chen, one can see that, in his early “Beauty of Emptiness” series, while seeking to portray different aspects of the Buddha, Li also incorporated some of his own aesthetic attitudes, so that besides the religious power of the work, creating it also provided the artist himself with an opportunity to practice Buddhist self-cultivation in his own life, and the finished work opened up new artistic possibilities for contemporary Buddhist statuary. 1998 saw the beginnings of a shift in Li’s style; starting with his “Energy of Emptiness” series, one begins to see the soft, curving lines that have become so characteristic of Li’s work, and from this period onwards his statutes have a distinctive roundness and fullness about them. Although Li Chen’s creative work continued to be influenced by Zen thought and other aspects of Buddhist philosophy, in his later work one no longer sees figures holding Buddhist regalia or making conventional Buddhist hand movements; rather, they are shown in various kinds of “worldly” poses, laughing and happy. Besides the inherent quality of the sculpting, these later pieces also embody a finely expressed emotional sensibility that warms the heart of the viewer. In Han Buddhism thought, two of the Three Holy Ones of the Huayan (Flower Garland) School of Buddhism are Manjusri and Samantabhadra. Holding a treasured sword, Manjusri cuts down all the troubles of the secular world in a carefree manner, representing the disconnecting of all foolishness. This serves as symbol of supreme wisdom. Riding on an auspicious lion that scares away corruption with its roar represents an infinite wisdom, and explains how wisdom is the fundamental way. Samantabhadra, also known as Great Conduct Bodhisattva, willingly practices dharma with sentient beings. Holding a lotus in the palm of his hand symbolizes fulfillment and perfection. Riding on an elephant represents fortitude, a lack of regret, and a boundless fearlessness. Li Chen was able to simplify the dharma-character and minimize the face and lines of the sculpture. Integrating Buddhist philosophy into contemporary shapes and infused with an internal spiritual energy, Removing Dharmacharacter and Removing Deification are two harmonious sculpture works in which Li Chen incorporates the artistic imagery of western minimalism. The dark body and delicate texture of the surface reveal a strong contemporary sense in these works, eliminating existing religious barriers and expressing a unique form belonging to an Eastern theme of sculpture.
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JU Ming (Taiwanese, b. 1938)
Taichi Series – Underarm Strike 1971 Chinese juniper 37(L) x 11(W) x 38(H) cm Engraved on the bottom Ju Ming in Chinese and dated 71 This sculpture is to be sold with a certificate of authenticity issued by Jun Youn Sculpture Gallery, Taipei.
NT$ 1,600,000-2,600,000 HK$ 431,000-701,000 US$ 55,100-89,600 RMB 347,000-564,000
朱銘 太極系列—十字手 1971 木雕 檜木 37(長) x 11(寬) x 38(高) cm 簽名雕刻底部：朱銘 '71 附雋永藝術開立之原作保證書
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HUNG Yi (Taiwanese, b. 1970)
Lucky Dog
洪易 旺狗 2013
2013 Lacquered steel, enamel (unique) 150(L) x 50(W) x 120(H) cm
鋼板 烤漆 (單一件)
EXHIBITED
「洪易動物派對個展」，雕刻之森美術館，箱根，展
Happy Animal Party - Hung Yi, The Hakone Open-Air Museum, Hakone, July 27 - December 1, 2013 Fancy Animal Carnival, Civic Center Plaza, San Francisco, April 16 - May 2, 2015
期自2013年7月20至12月1日
This painting is to be sold with a certificate of authenticity issued by In Sian Gallery
150(長) x 50(寬) x 120(高) cm 展覽
「花漾動物嘉年華」，舊金山市政廣場，舊金山，展 期自2015年4月16至5月2日 附印象畫廊開立之原作保證書
NT$ 1,500,000-1,900,000 HK$ 404,000-512,000 US$ 51,700-65,400 RMB 325,000-412,000 台灣知名當代藝術家洪易以彩繪動物雕塑見長，作品以色彩斑斕造型 圓潤，豐富的傳統元素與民俗文化為特色，帶來豐富的想像空間。不 僅點綴了台灣的公共空間，近年來更在日本、香港、舊金山、紐約、 華盛頓DC等國際城市受邀舉辦大型個展。 洪易的作品是新時代雕塑的象徵，每一件作品皆為獨立鍛造、塑型， 造型變化萬千。近期作品更是挑戰鋼鐵鍛造的極限，在作品角度的運 用上不斷朝向高難度挑戰，他的作品讓我們的世界變得更加活潑可 愛，充滿趣味與驚喜。 此件作品《旺狗》，2013年曾前往日本雕刻之森美術館及2015年美 國舊金山市政廳展出廣受喜愛。狗，對於現代人來說，如同摯友般同 甘共苦、無私分享，真誠相待。洪易的作品充滿希望與喜悅，其內涵 和元素更是當代雕塑的創新表現。 The famous contemporary Taiwanese artist Hung Yi is known for his painted animal sculptures, which are marked by their colourful and sleek shapes with wealth of traditional Taiwanese elements and folk culture, that give us full of imaginations. His works not
「花漾動物嘉年華」，舊金山市政廣場，舊金山 Fancy Animal Carnival, Civic Center Plaza, San Francisco
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only decorate many public spaces in Taiwan, but also be invited to hold for large-scale solo exhibitions in such international cities as Washington D.C., New York, San Francisco, Hong Kong, and in Japan. Hung Yi's works have come to symbolise a new generation of sculpture, with each piece independently forged, sculpted, and moulded in myriad variations. His recent works have also challenge the limits of iron and steel forging. By routinely using angles that demand a high degree of artistry for his work, his works make our world a more lively and charming place full of fun and surprise. The work "Lucky Dog" has been positively received at exhibitions in both Japan and the United States of America: in 2013 at the Mori Art Museum in Japan and in 2015 at San Francisco City Hall. For modern people, a dog can have the same weal and woe of a friend, selflessly sharing and being true to others. It is this hope and joyfulness that bounds in Hung Yi's work, which presents innovative elements and connotations for contemporary sculpture.
「洪易動物派對個展」，雕刻之森美術館，箱根 Happy Animal Party - Hung Yi, The Hakone Open-Air Museum, Hakone
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Yang Pei-Chen (Taiwanese, b. 1970)
Forgotten Gloves 2007 Camphor Wood 37(L) x 25.5(W) x 10.5(H) cm Engraved on the bottom Chen in Chinese and dated 07 EXHIBITED
Engraving Memories Yang Pei-Chen Solo Exhibition, My Humble House Art Gellery, Taipei, November 20 - December 26, 2010 ILLUSTRATED
Not Merely Realism - Protfolio of Yang Pei-Chen, My Humble House Art Gallery ,Taipei, 2008 Engraving Memories Yang Pei-Chen Solo Exhibition, My Humble House Art Gallery ,Taipei, 2010
NT$ 650,000-750,000 HK$ 175,000-202,000 US$ 22,400-25,800 RMB 141,000-163,000
楊北辰 只是一雙被遺忘的手套 2007 樟木 37(長) x 25.5(寬) x 10.5(高) cm 雕刻簽名於底部：辰 07 展覽
「雕．刻．記．憶—楊北辰個展」，寒舍空間，台北，展期自2010 年11月20至12月26日 圖錄
《非．關．寫．實—楊北辰作品集》，寒舍空間，台北，2008 《雕．刻．記．憶—楊北辰個展》，寒舍空間，台北，2010
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271
Chang Chia-ying (Taiwanese, b. 1982)
Variable Series - The Booted Cat and One Lover; Little Fox and Clown 2012; 2015 Acrylic on canvas 121.5 x 72.5 cm (x2) Signed on the reverse in Pinyin: Chia Ying and dated 2012 (Left) Signed on the reverse in Pinyin: Chia Ying and dated 2015 (Right) EXHIBITED
Fairy Reincarnation: 2014 Solo Exhibition, Museum of Contemporary Art, Taipei, October 25 - November 30, 2014 (Right) ILLUSTRATED
Fairy Reincarnation of Chang Chia-Yang: 2014 Solo Exhibition, My Humble House Art Gallery, Taipei, 2014, p 46 (Right)
NT$ 800,000-1,000,000 HK$ 216,000-270,000 US$ 27,600-34,400 RMB 174,000-217,000
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張嘉穎 換頭系列-鞋貓與未知的戀人； 小狐仙與躲貓貓的小丑 2012；2015 壓克力 畫布 121.5 x 72.5 cm (x2) 簽名畫背右下：Chia Ying 2012 (左) 簽名畫背右下：Chia Ying 2015 (右) 展覽
「張嘉穎—童話轉生術」，台北當代藝術館， 台北，展期自2014年10月25日至11月30日 (左) 圖錄
《張嘉穎—童話轉生術》，寒舍空間，台北， 彩色圖版，2014，頁46 (左)
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KWON Kyung Yup (Korean, b.1975)
權慶燁 愛
Love
2008
2008 Oil on canvas 97x 162 cm Signed on side Kwon Kyung Yup in Korean
97 x 162 cm 簽名側邊：컨경엽
油彩 畫布
NT$ 20,000-60,000 HK$ 5,000-16,000 US$ 700-2,100 RMB 4,000-13,000
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273
YIN Kun (Chinese, b. 1969)
尹坤 中國寶貝
Chinese Baby
2007
2007 Oil on canvas 150 x 180 cm Signed lower right Yin Kun in Chinese and dated 2007. 4 Signed on the reverse YIN Kun in Chinese, titled CHINESE BABY in English, inscribed oil on canvas, 150 x 180 cm and dated 2007.3
150 x 180 cm
NT$ 60,000-120,000 HK$ 16,000-32,000 US$ 2,100-4,100 RMB 13,000-26,000
油彩 畫布 簽名右下：尹坤 2007. 4 簽名畫背：CHINESE BABY OIL ON CANVAS 150 x 180 cm 尹坤 2007. 3
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HSU Yu-jen (Taiwanese, b. 1951)
Flower
2007 Ink on paper 227.5 x 49 cm Signed lower center HSU Yu-jen in Chinese, initialed HYJ in English and dated 2007
NT$ 80,000-160,000 HK$ 22,000-43,000 US$ 2,800-5,500 RMB 17,000-35,000
許雨仁 花 2007 水墨 紙本 227.5 x 49 cm 簽名中下：許雨仁 HYJ 2007
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275
LIEN Chien-hsing (Taiwanese, b. 1962)
連建興 小徑
Path
1994
1994 Oil on canvas 41 x 53 cm Signed lower left LIEN Chien-hsing in Chinese and dated 1994 Signed on the reverse LIEN Chien-hsing in Chinese, titled Path in
41 x 53 cm
Chinese and dated 1994
圖錄
ILLUSTRATED
LIEN CHIEN-HSING, Metropolitan Art Space, 1997, color illustrated, p. 71, no. 82
NT$ 90,000-180,000 HK$ 24,000-49,000 US$ 3,100-6,200 RMB 20,000-39,000
油彩 畫布 簽名左下：連建興 1994 簽名畫背：1994 連建興 題識畫背：小徑 《連建興畫集》，大都會藝術環境，1997，彩色圖版， 頁71，編號82
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Cindy Ng Sio Ieng (Macau, b. 1966)
Variation of Ink and Wash Ink and color on paper 92 x 155 cm Signed lower left Sio Ieng in Chinese With one seal of the artist
NT$ 160,000-320,000 HK$ 43,000-86,000 US$ 5,500-11,000 RMB 35,000-69,000
吳少英 水墨變奏曲 彩墨 紙本 92 x 155 cm 簽名左側：英子 鈐印左側：女子無才
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Chang-Ling (Taiwanese, b. 1975)
Pork Belly Series – Waterside – Flower Figure 2017 Oil on canvas 146 x 70 cm Signed lower right Chang Ling in Chinese and dated 2017 Signed on the reverse Chang Ling, titled Pork Belly Series – Waterside– Flower Figure in Chinese, dated 2017
常陵 五花肉系列－肉山水 水畔一花圖 2017 油彩 畫布 146 x 70 cm 簽名右下：常陵 2017 簽名畫背：五花肉系列－肉山水 水畔一花圖 常陵 2017 附印象畫廊開立之原作保證書
This painting is to be sold with a certificate of authenticity issued by In Sian Gallery
NT$ 240,000-320,000 HK$ 65,000-86,000 US$ 8,300-11,000 RMB 52,000-69,000
常陵是一位全身充滿藝術細胞的藝術家，1996年到法國留學，對於 歐洲當代藝術的新風潮產生高度興趣；2005年回到台灣後，不斷地 在思索與探討台灣當代文化的主體性及畫語權，藝術家以自身的基本 構成透視這塊記憶中屬於母土的獨特創作風格，將創作回歸到以「大 自然」為起點。 「新系列作品-肉山水」是融合藝術家自身心靈上的沉澱、繪畫技法 上的創新突破與博大東方思維的精進，組構出奇幻又唯美的常陵式山 水意境，我們看到畫面上以肉塊堆成疊疊不同粉紅色的山嶺，透過藝 術家精湛的運筆技法在表面上呈現一道道捲動似雲、似霧又似海的抒 情意境。肉山水並非傳統山水的再造，當人類科技文明日新月異的同 時，藝術家透過創作提出對於當下環境、土地的保育呼籲。 《水畔一花圖》是常陵突破性的創作，除了蘊含遠古神話寓言及意想 不到的驚奇，在圖面架構上有種紋路層次及中國古典書畫大千山水之 美，畫布上大面積的留白彷彿讓人在常陵畫前感受到當代山水的意念 呈現。 Chang-Ling is an artist with full of artistic soul. His studies brought him to France in 1996, and there he quickly latched on to new movements in contemporary art. And since returning to Taiwan in 2005, he has not let go of his intellectual pursuit and exploration of creative freedom and subjectivity in contemporary Taiwanese
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culture. In his perspective of this memory, which reflects the artist's self, is also part of the unique creative style of his motherland, which brings his practice back to its original inspiration: Nature. “Pork Belly Series — Meaty Landscape” incorporates deposits from the shores of Chang-Ling’s mind and the artist’s innovative approach to painting, along with advancements in broader Eastern thought. The combination creates a fantasy landscape of a distinctly ChangLing-style aesthetic. We see in the work piles of meat in mountains of different pinks and demonstrating the artist’s technical prowess with the brush, a strip of road appears like a wisp of cloud or mist and is as emotive as the sea. At a time when the technology of human civilisation brings about new changes each day The meaty landscape is not a representation of traditional landscape painting, it is a work that means to be a call for the conservation of the earth and present environment. A groundbreaking work by Chang-Ling, “Waterside – Flower Figure” not only alludes to the unforeseen wonder and allegories of ancient mythology, it also contains in its composition a certain textural dimension and aesthetic from the expansive landscapes of classical Chinese painting and calligraphy. A large space on the canvas is left blank as if to impart on viewers the notion that ChangLing's painting presents a landscape of contemporary times.
278
CHIU Tze-yan (Taiwanese, 1961 - 1999)
Untitled
Oil on canvas 100 x 122 cm
NT$ 220,000-320,000 HK$ 59,000-86,000 US$ 7,600-11,000 RMB 48,000-69,000
254
邱紫媛 無題 油彩 畫布 100 x 122 cm
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JAN Chin-shui (Taiwanese, b. 1953)
詹金水 冰原深湖
Glacial Lake
2006
2006 Oil on canvas 145.5 x 120 cm Signed lower right Chin-shui in Chinese and dated 2006 Signed on the reverse Jan Chin-shui in Chinese, titled Glacial Lake in Chinese, inscribed 80F, and dated 2006
145.5 x 120 cm
This painting is to be sold with a certificate of authenticity signed by 99 Degree ART CENTER
NT$ 300,000-400,000 HK$ 81,000-108,000 US$ 10,300-13,800 RMB 65,000-87,000
油彩 畫布 簽名右下：金水 2006 簽名畫背：冰原深湖 80F 詹金水 2006年 附99度藝術中心開立之原作保證書
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Max LIU (Taiwanese, 1912 - 2002)
劉其偉 馬來雨林黑豹
Panther in Malaysian Rainforest
1983
1983 Mixed media on canvas mounted onto paper 31.5 x 43 cm Signed lower left Liu Chi-wei in Chinese phonetic alphabet and dated 1983 (Chinese numerals)
31.5 x 43 cm
NT$ 240,000-340,000 HK$ 65,000-92,000 US$ 8,300-11,700 RMB 52,000-74,000
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綜合媒材 畫布裱於紙本 簽名左下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〨川
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Max LIU (Taiwanese, 1912 - 2002)
劉其偉 向保羅克利致敬
Homage to Paul Klee
1988
1988 Mixed media on canvas mounted onto paper 32 x 45.6 cm Signed lower left Liu Chi-wei in Chinese phonetic alphabet and dated 1988 (Chinese numerals)
32 x 45.6 cm
NT$ 260,000-360,000 HK$ 70,000-97,000 US$ 9,000-12,400 RMB 56,000-78,000
綜合媒材 畫布裱於紙本 簽名左下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〨〨
保羅•克利《死亡與火》1940，油彩 畫布 現藏於克利基金會，伯恩，瑞士 Paul Klee, Death and Fire, 1940, oil on canvas, 43 cm × 43 cm, Collection of Zentrum Paul Klee, Bern, Switzerland
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YEE Bon (Chinese, 1905 - 1995)
余本 靜物
Still Life
1950
1950 Oil on canvas mounted onto board 25.5 x 35.5 cm Signed lower left Yee Bon in English With one painted seal of the artist
25.5 x 35.5 cm
NT$ 240,000-340,000 HK$ 65,000-92,000 US$ 8,300-11,700 RMB 52,000-74,000
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油彩 畫布 裱於木板 簽名左下：Yee Bon 手繪鈐印左下：余本
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Yoshio CHANG (Taiwanese, 1914 - 2016)
張義雄 法國風景
Scenery, France
1995
1995 Oil on canvas 40 x 54 cm Signed lower left CHANG. Y. 95
40 x 54 cm
ILLUSTRATED
Chang Yi hsiung at Ninety: A Retrospective, National Museum of History, Taipei, 2004, color illustrated, p. 100
NT$ 280,000-380,000 HK$ 75,000-102,000 US$ 9,600-13,100 RMB 61,000-82,000
油彩 畫布 簽名左下：CHANG. Y. 95 圖錄
《張義雄90回顧展》，國立歷史博物館，台北，2004， 彩色圖版，頁100
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Lu Shun (Chinese, b. 1966)
呂順 空中花朵之二
Floating Flower II
2006
2006 Oil on canvas 100 x 80 cm Signed lower right LU Shun in Chinese and dated 2006.4
100 x 80 cm
This painting is to be sold with a certificate of authenticity signed by the artist and issued by My Humble House.
NT$ 260,000-360,000 HK$ 70,000-97,000 US$ 9,000-12,400 RMB 56,000-78,000 260
油彩 畫布 簽名右下：呂順 2006.4 附寒舍空間開立與藝術家親筆簽名之原作保證書
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WANG Xinfeng (Taiwanese, b. 1952)
王信豐 海景
Seascape
1986
1986 Ink and watercolor on paper mounted onto wooden board 91 x 192 cm Signed lower right Wang Hsin-feng and dated 1986 both in Chinese
91 x 192 cm
NT$ 320,000-420,000 HK$ 86,000-113,000 US$ 11,000-14,500 RMB 69,000-91,000
彩墨 紙本 裱於木板 簽名右下：一九八六年 王信豐
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XIA Junna
夏俊娜
The World of Mortals in April I
2001
(Chinese, b. 1971)
2001 Watercolor on paper 41.9 x 29.6 cm Signed lower right XJN in English and dated 2001
人間四月天 水彩 紙本 41.9 x 29.6 cm 簽名右下：XJN 2001 圖錄
ILLUSTRATED
《夏俊娜畫集》，沁德居畫廊，台北，2002，彩色圖版，頁119
Paintings by Xia Junna, Chin Der Jyu Gallery, Taipei, 2002, color illustrated, p. 119 Drawing World of Xia Junna, Liaoning Fine Art press, Shenyang, 2003, color illustrated, p. 62
《夏俊娜的繪畫世界》，遼寧美術出版社，瀋陽，2003，彩色圖
This painting is to be sold with a certificate of authenticity issued by Chin Der Jyu Gallery, Taipei.
NT$ 360,000-550,000 HK$ 97,000-148,000 US$ 12,400-18,900 RMB 78,000-119,000 262
版，頁62 附沁德居畫廊開立之原作保證書
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XIA Junna (Chinese, b. 1971)
夏俊娜 新春音樂會
New Years Concert
2002
2002 Watercolor on paper 41.7 x 29.5 cm Signed lower right XJN in English and dated 2002
41.7 x 29.5 cm
ILLUSTRATED
Paintings by Xia Junna, Chin Der Jyu Gallery, Taipei, 2002, color illustrated, p. 100 This painting is to be sold with a certificate of authenticity issued by Chin Der Jyu Gallery, Taipei
NT$ 360,000-550,000 HK$ 97,000-148,000 US$ 12,400-18,900 RMB 78,000-119,000
水彩 紙本 簽名右下：XJN 2002 圖錄
《夏俊娜畫集》，沁德居畫廊，台北，2002，彩色圖版，頁100 附沁德居畫廊開立之原作保證書
288
JAN Chin-shui (Taiwanese, b. 1953)
詹金水 秋水連天
Autumn Water Emerged into Vast Sky
2006
2006 Oil on canvas 145 x 111.5 cm Signed lower right Chin-shui in Chinese and dated 2006 Signed on the reverse Jan Chin-shui in Chinese, titled Autumn Water Emerged into Vast Sky in Chinese, inscribed 80F, and dated 2006
145 x 111.5 cm
NT$ 400,000-500,000 HK$ 108,000-135,000 US$ 13,800-17,200 RMB 87,000-108,000
264
油彩 畫布 簽名右下：金水 2006 簽名畫背：80F 秋水連天 詹金水 2006年
289
PANG Jiun (Taiwanese, b. 1936)
龎均 草莓與鳳梨
Strawberry and Pineapple
1993
1993 Oil on canvas 53 x 65 cm Signed lower right Pang Jiun in Chinese and dated 1993 With one painted seal of the artist
53 x 65 cm
NT$ 460,000-550,000 HK$ 124,000-148,000 US$ 15,800-18,900 RMB 100,000-119,000
油彩 畫布 簽名右下：龎均 1993 手繪鈐印右下：均
290
KUO Wei-kuo (Taiwanese, b. 1960)
郭維國 紅色布簾
Red Curtain
2002
2002 Oil on canvas 130 x 97 cm Signed lower left Kuo’s in English and dated 2002.10
130 x 97 cm
EXHIBITED
The Era of Contention: Contemporary Taiwanese Visual Culture, Cornell University Herbert F. Johnson Museum of Art, Ithaca, New York, April – August, 2004 ILLUSTRATED
Diagram of Commotion and Desire – Towards a Bright Start From the Deep Forest, Kuo Wei–Kuo, Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 45 Wu Chia–chi, A Study of the “Diagram of Commotion and Desire” by Kuo Wei–Kuo, (master thesis), Institute of Art Studies, NCKU, Tainan, Taiwan, 2007, color illustrated, no. 29
NT$ 420,000-550,000 HK$ 113,000-148,000 US$ 14,500-18,900 RMB 91,000-119,000 266
油彩 畫布 簽名左下：Kuo's 2002.10 展覽
「正言世代展：台灣當代視覺文化」，康乃爾大學強生美術 館，紐約，展期自2004年4月至8月 圖錄
《暴喜圖：柳暗花明—郭維國》，大未來畫廊，台北， 2005，彩色圖版，頁45 吳家綺，《郭維國暴喜圖系列之研究》（碩士論文）， 國立成功大學藝術研究所，台南，台灣，2007，彩色圖版， 編號29
291
CHEN Cheng Wei (Chinese, b. 1984)
陳承衛 大民國-新娘
Series on the Republic of China - Bride
2016
2016 Oil on canvas 50 x 60 cm Signed lower right Chen Cheng Wei in Chinese and English, and dated 2016
50 x 60 cm
EXHIBITED
館，浙江，2018
Young Realist Oil Painting of the Contemporary Chinese, Ningbo Museum of Art, Zhejiang, 2018
圖錄
ILLUSTRATED
寧波市文學藝術界聯合會出版，彩色圖版，頁18
Young Realist Oil Painting of the Contemporary Chinese, Ningbo Federation of Literary and Art Circles, color illustrated, p. 18
NT$ 420,000-550,000 HK$ 113,000-148,000 US$ 14,500-18,900 RMB 91,000-119,000
油彩 畫布 簽名右下：2016 陳承衛 Chen Cheng Wei 展覽
第四屆經典與傳承-全國中青年寫實繪畫名家作品展，寧波美術
《經典與傳承-全國中青年寫實繪畫名家作品邀請展作品集》，
292
LIEN Chien-hsing (Taiwanese, b. 1962)
連建興 一號跑水道
Lane No. 1
1982
1982 Oil on canvas 89 x 130 cm Signed lower left LIEN Chien-hsing in Chinese and dated 1982.10.24 Inscribed on the reverse Lane No. 1 in Chinese, signed Lien Chienhsing in Chinese and dated 1982.10.24
89 x 130 cm
EXHIBITED
圖錄
Lien Chien-hsing Solo Exhibition 1993, Eslite Gallery, Taipei, 1993
《連建興》誠品畫廊，1993，彩色圖版，頁101，
ILLUSTRATED
編號83
LIEN CHIEN-HSING WORKS 1976~1993, Eslite Gallery, 1993, color illustrated, p. 101, no. 83
NT$ 550,000-650,000 HK$ 148,000-175,000 US$ 18,900-22,400 RMB 119,000-141,000 268
油彩 畫布 簽名左下：連建興1982.10.24 題識畫背：一号跑水道 連建興畫於巫雲 198貳 10.24 完成 展覽
「1993連建興個展」，誠品畫廊，台北，1993
293
XIA Junna (Chinese, b. 1971)
夏俊娜 酒頌
The Wine Ode
2003
2003 Oil on canvas 50 x 50 cm Initialed lower center XJN and dated 2003
50 x 50 cm
NT$ 550,000-650,000 HK$ 148,000-175,000 US$ 18,900-22,400 RMB 119,000-141,000
油彩 畫布 簽名中下：XJN 2003
294
Shinjyuko (Japanese, b. 1968)
Yo. That’s in Blossom, Cordyceps Sinensis (polyptych) 2006 Fusuma paper, acrylic, gouache 176 x 360 cm Signed on the reverse Shinjuko in English and dated 2006 This painting is to be sold with a certificate of authenticity signed by the artist.
NT$ 650,000-750,000 HK$ 175,000-202,000 US$ 22,400-25,800 RMB 141,000-163,000
真珠子 櫻花開了（四聯幅） 2006 壓克力 水粉 紙本 176 x 360 cm 簽名畫背：2006 Shinjuko 附藝術家親筆簽名之原作保證書
270
295
Takato YAMAMOTO (Japanese, b.1960)
山本正市玄 神聖羽化
Sacred Emergence
2013
2013 Oil on canvas 100 x 73 cm Initialed lower left Ty Signed on the reverse Takato Yamamoto in English and Japanese;
100 x 73 cm
titled Sacred Emergence and dated 2013
來源
PROVENANCE
Gallery Kogure, Tokyo, Japan
NT$ 650,000-750,000 HK$ 175,000-202,000 US$ 22,400-25,800 RMB 141,000-163,000 272
油彩 畫布 簽名左下：TY 簽名畫背：Sacred Emergence 2013 Takato Yamamoto 神聖羽化 山本タカト畫 小暮畫廊，東京，日本
296
YOON Jongseok (Korean, b. 1970)
尹鍾錫 隱藏的垂網─點的圖案
Net Hanging Down the Concealed Inside Pattern of Dot
2008
2008 Acrylic on canvas 97 x 162 cm Signed on side Yoon Jongseok in English and dated 2008
簽名側邊：Yoon Jongseok 2008
NT$ 360,000-460,000 HK$ 97,000-124,000 US$ 12,400-15,800 RMB 78,000-100,000
壓克力 畫布 97 x 162 cm
297
Mayuka YAMAMOTO (Japanese, b. 1964)
山本麻友香 雪
Snow
2008
2008 Oil on canvas 146 x 112 cm Signed on the reverse Mayuka Yamamoto and titled Snow in English, dated 2008
146 x 112 cm
ILLUSTRATED
Beyond Portait, Gallery J. Chen, Taipei, 2008, color illustrated, p. 37
NT$ 360,000-460,000 HK$ 97,000-124,000 US$ 12,400-15,800 RMB 78,000-100,000 274
油彩 畫布 簽名畫背：Snow Mayuka Yamamoto 2008 圖錄
《肖像背後》，J. Chen 畫廊，台北，2008， 彩色圖版，頁37
298
Ayako ROKKAKU (Japanese, b. 1982)
六角彩子 黃洋裝女孩
Girl Wearing Yellow Dress
2008
2008 Acrylic on canvas 116.5 x 90.5 cm Signed on the reverse Ayako Rokkaku in Japanese and dated 2008.3
116.5 x 90.5 cm
NT$ 320,000-420,000 HK$ 86,000-113,000 US$ 11,000-14,500 RMB 69,000-91,000
壓克力 畫布 簽名畫背: 2008.3ロッカク アヤコ
299
Hideaki KAWASHIMA (Japanese, b. 1969)
川島秀明 沉思
Reflection
2003
2003 Acrylic on canvas 61 x 61 cm Signed on the reverse Kawashima in Japanese, titled reflection in English and dated 2003
61 x 61 cm
NT$ 260,000-320,000 HK$ 70,000-86,000 US$ 9,000-11,000 RMB 56,000-69,000
276
壓克力 畫布 簽名畫背："reflection" 川しま 2003
300
HAN Young Wook (Korean, b. 1963)
韓永旭 臉
Face
2009
2009 Oil on aluminum scratch 65 x 91 cm Signed lower right Y Wook in English and dated 2009
65 x 91 cm
EXHIBITED
FACE – Han Young-Wook 2011 Solo Exhibition, Asia Art Center, Taipei, August 20 - September 18, 2011
NT$ 260,000-360,000 HK$ 70,000-97,000 US$ 9,000-12,400 RMB 56,000-78,000
油彩 鋁板 簽名右下：Y Wook 2009 展覽
「凝視的臉龐 – 韓永旭(漢永旭) 2011台北個展」亞洲 藝術中心，台北，展期自2011年8月20日至9月18日
301
HUNG Yi (Taiwanese, b. 1970)
洪易 黃金鴛鴦
Golden Mandarin Ducks
2016
2016 Porcelain, edition no. 777/ 999 17.5(L) x 12.5(W) x 15(H) cm 17(L) x 11.5(W) x 14(H) cm Signed on the bottom HUNG Yi and dated 2016
鴛：17.5(長) x 12.5(寬) x 15(高) cm
瓷器 777/ 999 鴦：17(長) x 11.5(寬) x 14(高) cm 簽名底部：洪易 2016 附洪易藝術工作室開立之保證書及說明卡
This work is accompanied with an instruction manual and a certificate of authenticity issued by Mr. Hong Yi Art Studio
NT$ 20,000-50,000 HK$ 5,000-13,000 US$ 700-1,700 RMB 4,000-11,000
黃金鴛鴦，自古有云：只羨鴛鴦不羨仙。長久以來，鴛鴦象徵著浪漫 與幸福。「藝術是一種感性的創造力」，洪易運用鮮豔的彩繪圖騰， 充分表現出藝術家廣闊、豐富的想像力，此組鴛鴦除了是限量999款 中的No.777，更有來自藝術家親自簽名紀念，彌足珍貴。 洪易是台灣當代雕塑的指標性藝術家，展覽足跡遍布全球，「鴛鴦」 是藝術家重要的創作，曾受邀在日本、香港、舊金山、台中國美館展 出，近年來其限量文創更是廣受年輕朋友喜愛，引起年輕世代的收 藏、分享。 "Golden Mandarin Ducks" harkens back to an ancient Chinese saying that advises one to only admire the affectionate couple, literally the mandarin ducks, and not to admire the celestial being.
278
Since ancient time, mandarin ducks have symbolised romance and happiness. Hung Yi, for whom "art is the creative force of emotion", is an artist who demonstrates his vast and rich imagination through his use of vibrant colour. This collection is not only limited to NO. 777 in an edition of 999, but it also includes the extremely rare, commemorative signature of the artist. Hung Yi is an artist at the forefront of contemporary sculpture in Taiwan, and his work has been exhibited around the world. Mandarin Ducks is an important piece which has been invited for exhibition in Japan, Hong Kong, San Francisco, and at the National Art Museum in Taichung. In recent years, the positive reception of limited edition series has even extended to a younger generation of people who have been inspired to collect and share it.
302
Chen Chun-Hao (Taiwanese, b. 1971)
陳浚豪 刺獸(兩件一組)
Dog in Thumbtacks (a set of 2)
2008
2008 Thumbtacks on resin, edition no. 8/10 (Golden) ; 10/10 (Sliver) 45(L) x 20(W) x 50(H) cm (x2) Signed Chun in Chinese and dated 2008 on right rear leg (golden) Signed Chun in Chinese and dated 2008 on left rear leg (sliver)
8/10 (金)
This sculpture are to be sold with a certificate of authenticity issued by VT Artsalon and signed by the artist
NT$ 60,000-90,000 HK$ 16,000-24,000 US$ 2,100-3,100 RMB 13,000-20,000
280
圖釘 樹脂 烤漆 10/10 (銀) 45(長) x 20(寬) x 50(高) cm (x2) 簽名右後腳：浚 2008 (金) 簽名左後腳：浚 2008 (銀) 附非常廟股份有限公司與藝術家親筆簽名 之作品保證書
303
LI Kuang-yu (Taiwanese, b. 1954)
Finger Citron
Bronze, edition no. 18/20 7(L) x 10(W) x 16.5(H) cm (finger citron) 8.5(L) x 7.7(W) x 14.8(H) cm (wood base) Engraved on the reverse Yu in Chinese and numbered 18/20
NT$ 60,000-120,000 HK$ 16,000-32,000 US$ 2,100-4,100 RMB 13,000-26,000
李光裕 佛手 銅雕 18/20 7(長) x 10(寬) x 16.5(高) cm (佛手) 8.5(長) x 7.7(寬) x 14.8(高) cm (木底座) 簽名雕刻後方：裕 18/20
304
Yuyu YANG (YANG Ying-feng) (Taiwanese, 1926 - 1997)
楊英風 龍嘯太虛
Dragon’s Song in the Cosmic Void
1991
1991 Stainless steel, edition no. 12/20 57(L) x 26(W) x 57(H) cm Engraved on the base Yuyu YANG in Chinese and English, numbered 12/20
57(長) x 26(寬) x 57(高) cm
EXHIBITED
Yuyu Yang Exhibition, Johnson & Johnson Sculpture Grounds, N.Y. USA., 20 May - 30 September, 1995 (another cast) Yuyu Yang, Chelsea Harbour, London, 1996 (another cast) ILLUSTRATED
Yuyu Yang Lifescape Sculpture, Yuyu Yang Lifescape Sculpture Museum, Taipei, 1995 Landscape Architecture - Free - Yuyu Yang, Hsiung Shih Books Pte. Ltd., Taipei, 2004, color illustrated, p. 16 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.
NT$ 140,000-240,000 HK$ 38,000-65,000 US$ 4,800-8,300 RMB 30,000-52,000 282
不鏽鋼 12/20 雕刻簽名於台座：呦呦楊英風 Yuyu YANG Yang F, 12/20 展覽
「雕塑大地」春夏季「楊英風大雕塑個展」，紐澤西州，展期自 1995年5月20日至1995年9月30日 「楊英風個展」，倫敦Chelsea Harbor，1996 (另一尺寸版次) 圖錄
《呦呦楊英風──豐實的'95》，楊英風美術館，台北，1995， 彩色圖版 《景觀·自在·楊英風》，雄獅圖書股份有限公司，台北，2004， 彩色圖版，頁16 附財團法人楊英風藝術教育基金會呦呦藝術事業有限公司開立之 作品保證書
305
PENG Kuan-jun (Taiwanese, b. 1961)
彭光均 蜜 (左)；伸 (右)
Honeyed (left); Stretch (right)
2006
2006 Bronze, glass, granite, edition no. 22/30 (Honeyed) Bronze, glass, granite, edition no. 17/10 (Stretch) 27(L) x 11(W) x 39(H) cm (Honeyed) 42(L) x 21(W) x 31.5(H) cm (Stretch) Engraved on the back Kuan-jun in Chinese, numbered 22/30 and dated 2006 (Honeyed) Engraved on the back Kuan-jun in Chinese, numbered 17/30 and dated 2006 (Stretch)
銅雕 琉璃 花崗岩 17/30 (伸)
This sculpture is to be sold with a certificate of authenticity signed by the artist issued by Moon River Fine Art. (Honeyed) This sculpture is to be sold with a certificate of authenticity signed by the artist issued by William Art Space. (Stretch)
NT$ 220,000-320,000 HK$ 59,000-86,000 US$ 7,600-11,000 RMB 48,000-69,000
銅雕 琉璃 花崗岩 22/30 (蜜) 27(長) x 11(寬) x 39(高) cm (蜜) 42(長) x 21(寬) x 31.5(高) cm (伸) 雕刻簽名：2006 光均 22/30 (蜜) 雕刻簽名：2006 光均 17/30 (伸) 附雲河藝術開立與藝術家親筆簽名作品保證書 (蜜) 附威廉藝術空間開立與藝術家親筆簽名作品保證書 (伸)
306
REN Zhe (Chinese, b. 1983)
Majestic - Looking 2007 Bronze edition no. 3/10 30(L) x 28(W) x 60(H) cm Engraved on the back Ren Zhe in Chinese and English, numbered 3/10 ILLUSTRATED
Ren Zhe Work Collection 2005-2008, Rong Bao Zhai, Beijing, 2009, color illustrated, p. 82 This sculpture is to be sold with a certificate of authenticity issued by PING Art Space This sculpture is to be sold with a collection certificate signed by the artist.
NT$ 260,000-360,000 HK$ 70,000-97,000 US$ 9,000-12,400 RMB 56,000-78,000
任哲 威風凜凜 2007 鑄銅 3/10 30(長) x 28(寬) x 60(高) cm 雕刻簽名後方：任哲 Ren Zhe 3/10 圖錄
《任哲作品集2005-2008》，榮寶齊出版社，北京，2009，彩色圖 版，頁82 附平藝術空間開立之作品保證書 附藝術家親筆簽名之收藏證書
284
307
Poren HUANG (Taiwanese, b. 1970)
黃柏仁 狗札記—世界那麼大
Dog’s Note - Friends
2008
2008 Bronze, baking paint, edition no. 29/30 31(L) x 22(W) x 36(H) cm Engraved on the back PR in English Engraved lower back PR in English, numbered 30-29 and dated 2008
31(長) x 22(寬) x 36(高) cm
PROVENANCE
銅雕 烤漆 29/30 簽名雕刻臀部：PR 簽名雕刻腿部後方：2008.30- 29. PR 來源
私人收藏，亞洲 展覽
Private collection, Asia
「黃柏仁個展」，台北國際藝術博覽會，台北，2008 (另
EXHIBITED
一版次)
Poren Huang, Art Taipei, Taipei, 2008 (another cast) Poren Huang, Shanghai Art Fair, Shanghai, 2008 (another cast) Poren Huang, Ming Art Gallery, Beijing, 2008 (another cast) The Dog’s Note–Poren Huang Solo Exhibition, Powen Gallery, Taipei, Sep. 16 – Oct. 5, 2014 (another cast) The Artistic Conversation of Love Dogs, Adore Dogs, Powen Gallery, Taipei, May 15 – Jun. 12, 2015 (another cast) The Dog’s Note – Poren Huang Solo Exhibition, Williamsburg Art & Historical Center, New York, Nov. 7 – Dec. 6, 2015 (another cast) The Dog’s Note – Poren Huang Solo Exhibition, Shin Kong Mitsukoshi, Taipei, Jan. 5 – Mar. 2, 2015 (another cast) ILLUSTRATED
The Dog’s Notes, Powen Gallery Co., Ltd., Taipei, 2014, color illustrated, p. 14 & pp. 88-97 (another cast) Return To Innocence – The Dog’s Notes by Poren Huang, Artco Magazine, Taipei, January 2015, issue no. 268, color illustrated, p.88 (another cast) Taiwanese Artist Being Active On The International Stage – Poren Huang and The Dog’s Notes, Art. Investment, Taipei, November 2015, issue no. 97, color illustrated, p. 57 Bright Star overseas – Poren Huang, Art. Investment, Taipei, January 2016, issue no. 99, color illustrated, p. 94 (another cast) Marching Forward Alongside Eagle With Head Held High, Artco Magazine, Taipei, November 2016, issue no. 290, color illustrated, p.108 This sculpture is to be sold with a certificate of authenticity signed by the artist.
NT$ 260,000-360,000 HK$ 70,000-97,000 US$ 9,000-12,400 RMB 56,000-78,000
286
「黃柏仁個展」，上海國際藝術博覽會，上海，2008 (另 一版次) 「黃柏仁個展」，旻谷畫廊，北京，2008 (另一版次) 「愛狗，敬狗的對話藝術—狗札記黃柏仁個展」，紅野 畫廊，台北，展期自2014年5月15日至6月12日(另一版 次) 「狗札記─黃柏仁雕塑展」，紅野畫廊，台北，展期自 2014年9月16日至10月5日(另一版次) 「狗札記」黃柏仁雕塑個展，紐約WAH藝術中心，紐 約，展期自2015年11月7日至12月6日(另一版次) 「狗札記」黃柏仁雕塑個展，新光三越百貨，台北，展 期自2018年1月5日至3月2日(另一版次) 圖錄
《狗札記—黃柏仁》，紅野畫廊有限公司，台北， 2014，彩色圖版，頁14與頁88-97 (另一版次) 〈反璞歸真 – 黃柏仁的狗札記〉，《典藏今藝術》，台 北，2015年1月號, 第268期，頁88 (另一版次) 〈台灣藝術家站上國際舞台–黃柏仁「狗札記」〉，《典 藏投資》，台北，2015年11月號，第97期，頁57 〈邁向海外的耀眼新星》，《典藏投資》，台北，2016 年1月號，第99期，頁94 (另一版次) 〈與EAGLE齊步同行，昂首向前〉，《典藏今藝術》， 2016年11月號，頁108 (另一版次) 附藝術家親筆簽名之作品保證書
308
Poren HUANG (Taiwanese, b. 1970)
黃柏仁 暖冬
Hold You Dear
2006
2006 Bronze, baking paint, edition no. 10/12 24(L) x 26(W) x 62(H) cm Engraved PR in English, numbered 12-10 and dated 2006
24(長) x 26(寬) x 62(高) cm
PROVENANCE
Private collection, Asia EXHIBITED
The Dog’s Notes – Poren Huang Solo Exhibition, Williamsburg Art & Historical Center, New York, November 7 – December 6, 2015 (another cast) The Dog’s Notes – Poren Huang Solo Exhibition, Offline Gallery, New York, December 10 – January 17, 2016 (another cast) The Dog’s Notes – Poren Huang Solo Exhibition, aquabitArt Gallery, Berlin, February 4 – 28, 2016 (another cast)
銅雕 烤漆 10/12 簽名雕刻：10-12 2006. PR 來源
私人收藏，亞洲 展覽
「狗札記：黃柏仁雕塑個展」，紐約WAH藝術中心，紐 約，展期自2015年11月7日至12月6日 (另一版次) 「2016 狗札記個展」，Offline Gallery，紐約，展期自 2015年12月10日至2016年1月17日 (另一版次) 「狗札記：黃柏仁雕塑個展」，aquabitArt畫廊，柏 林，展期自2016年2月4日至2月28日 (另一版次) 圖錄
《狗札記—黃柏仁》，紅野畫廊有限公司，台北，
ILLUSTRATED
2014，彩色圖版，頁13 (另一版次)
The Dog’s Notes, Powen Gallery Co. Ltd., Taipei, 2014, color illustrated, p. 13 (another cast) Taiwanese Artist Being Active On The International Stage – Poren Huang and The Dog’s Notes , Art. Investment, Taipei, November 2015, issue no. 97, color illustrated, p. 152 (another cast)
〈台灣藝術家站上國際舞台–黃柏仁「狗札記」〉，
This sculpture is to be sold with a certificate of authenticity signed by the artist.
NT$ 460,000-650,000 HK$ 124,000-175,000 US$ 15,800-22,400 RMB 100,000-141,000
288
《典藏投資》，台北，2015年11月號，第97期， 頁152 (另一版次) 附藝術家親筆簽名之作品保證書
309
CHEN Ting-shih (Taiwanese, 1916 - 2002)
Untitled
2001 Iron 29(L) x 22(W) x 67(H) cm Signed C.T.S on the base and dated 2001
NT$ 360,000-460,000 HK$ 97,000-124,000 US$ 12,400-15,800 RMB 78,000-100,000
陳庭詩 無題 2001 鐵 29(長) x 22(寬) x 67(高) cm 簽名底座：C.T.S 2001
290
310
JU Ming (Taiwanese, b. 1938)
Buffalo
1981 Bronze, edition no. 19/20 16.3(L) x 10.7(W) x 20.5(H) cm Engraved on the back Ju Ming in Chinese 19/20 and dated 81 This work is to be sold with acertificate of authenticity issued by Juming Culture & Education Foundation
NT$ 220,000-320,000 HK$ 59,000-86,000 US$ 7,600-11,000 RMB 48,000-69,000
292
朱銘 水牛 1981 銅雕 19/20 16.3(長) x 10.7(寬) x 20.5(高) cm 雕刻簽名後方：朱銘19/20 '81 附財團法人朱銘文教基金會-朱銘美術館開立之作品 鑑定報告書
311
JU Ming (Taiwanese, b. 1938)
朱銘 太極系列—單鞭下勢
Taichi Series – Single Whip
不飽和聚酯樹脂 碳酸鈣 油性色母 204/300
Unsaturated polyester resin, calcium carbonate, oil color paste, edition no. 204/300 28.5(L) x 14.4(W) x 18.2(H) cm Numbered on the bottom 204/300
版次底部：204/300
This sculpture is to be sold with a certificate of limited reproduction issued by Ju Ming Museum Taipei
NT$ 110,000-220,000 HK$ 30,000-59,000 US$ 3,800-7,600 RMB 24,000-48,000
28.5(長) x 14.4(寬) x 18.2(高) cm 附朱銘美術館限量複製品證明書
給予買家的重要通知
本拍賣會依據「羅芙奧股份有限公司業務規則」舉行，請在參加拍賣會之前仔細閱讀，充分理解以下規則： 1.
有意參與競投的買家需事前辦理登記申請手續：請出示有效證件 ( 如：身份證明、護照…) 並填寫登記文件以及繳納競投保證金。
2.
競投保證金 : 新台幣陸拾萬元或貳萬美金。
3.
競投保證金需於 2018 年 5 月 30 日以前完成匯款至本公司指定帳號如下 : 銀行： 匯豐（台灣）商業銀行 - 台北分行 銀行代碼：0810016 戶名：羅芙奧股份有限公司 帳號：001-234830-031（新台幣）或 001-234830-061（美金） 地址：台北市基隆路一段 333 號 14 樓 匯款時請指示銀行本公司需實收競投保證金全額，銀行手續費請匯款人負擔。
4.
2018 年 5 月 30 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2018 年 5 月 31 日至 6 月 1 日 ) 以新台幣現鈔支付 ( 恕不接受除 現金之外之其他繳納方式 )，收款將於 6 月 1 日下午 6 點截止。
5.
電話／書面／網路競投 : 競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請手續以及競投保證金之繳納亦需在 2018 年 5 月 30 日以前完成匯款至本公司指定帳號。
6.
如於 2018 年 5 月 30 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我們將與競投者聯 繫並與之確認其競標牌號。
7.
拍賣當天已繳納競投保證金之競投者欲領取所登記的牌號時，請出示有效證件 ( 如：身份證明、護照…) 以確認身份。
8.
競投保證金退還方式 : (1) 有成交 : (a) 競投保證金以「匯款」方式完成者，扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額需退還，本公司 將於拍賣日後十四個工作天內以匯款方式退還給買家。 (b) 競投保證金以「現金」方式完成者 , 扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額需退還，本公司 將於拍賣當日以現金退還給買家。 (c) 若買家無正當理由未於成功拍賣日期後七天內支付全部應支付之款項（包含落槌價、服務費及其他費用）予本公司，買家不得請 求返還競投保證金。 (2) 未成交 : 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。競投保證金以「匯款」方式完成者 , 本公司將於拍賣日 後十四個工作天內以匯款方式退還給買家。競投保證金以「現金」方式完成者 , 本公司將於拍賣當日以現金退還給買家。
9.
若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價與佣金 ) 金額超過競投保證金金額時，買方得以下列方式結清帳款 : (1) 現鈔：上限新台幣壹百萬元。 (2) 信用卡與銀聯卡 : 刷卡上限為新台幣壹百萬元。信用卡與銀聯卡持有人必需是買家本人，本公司不接受他人之信用卡。
10. 羅芙奧股份有限公司有權在發生任何不可預見的糾紛或矛盾的狀況之下，對於接受或拒絕付款（包含競投保證金）保留全部的決定權。
諮詢
台北 黃詩涵
stellahuang@ravenel.com
+886 2 2708 9868 ext. 977
IMPORTANT NOTICE TO BUYERS
The auction will strictly abide by the Transaction Agreement set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1.
Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a bidding deposit are required.
2.
Bidding deposit in the amount of NT$ 600,000 or US$ 20,000.
3.
The bidding deposit must be transferred to Ravenel's specified Bank account prior to 30th May 2018, details as follow: Beneficiary's Bank: HSBC BANK (Taiwan) Limited. SWIFT Code: HSBCTWTP Beneficiary's Name: Ravenel Ltd. Beneficiary's Account No: 001-234830-031 (NTD) or 001-234830-061 (USD) Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of bidding deposit. The payer will be responsible for any associated bank service fees.
4.
After the 30th May 2018, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 31th May to 1st, Jun 2018). Acceptance will cease on 1st Jun by 6 pm (No other forms of payment will be accepted).
5.
Telephone/written/ internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 30th May 2018.
6.
If the bidding deposit has been transferred prior to 30th May 2018, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her/its paddle number.
7.
If the payment of the bidding deposit is made on the day of the auction, the payer may obtain his/her/its paddle number with valid personal identification (i.e. Identification Card, passport, etc.) for purposes of verification.
8.
Return of the Security Deposit: (1) Completed Transaction: (a) For successful bidder with a bidding deposit made through wire transfer, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer. (b) For successful bidders with bidding deposit made by Cash, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund. (c) If the Buyer, without any good cause, fails to pay any and all payment (including but without limitation, hammer price, buyer's Premium, and other expenses) of the Lot to the Company within 7 days after the auction date, the Buyer shall not claim for the return of the bidding deposit. (2) Nil Transaction: 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. For individuals with a bidding deposit transferred by wire, the bidding deposit will be returned within 14 business days through means of a wire transfer. Cash bidding deposit will be returned to individuals on the same day after the auction.
9.
Successful bidder must settle the payment (hammer price with buyer's premium) prior to receiving the lot(s) on site. If the price exceeds the amount of the bidding deposit, the successful bidder may settle the outstanding balance through the following means: (1) A cash payment must not exceed NT$ 1,000,000. (2) A credit or China UnionPay payment: The credit payment must not exceed NT$ 1,000,000. The holder of the credit card or China UnionPay must be the successful bidder, credit payments from any title except for the successful bidder will not be permitted nor accepted.
10. Ravenel Ltd. retains full discretion to accept or decline a payment in the event of any unforeseen disputes or discrepancies.
Contact Person TAIPEI
Stella Huang
stellahuang@ravenel.com
+886 2 2708 9868 ext. 977
委託競投表格 委託競投表格須於拍賣24小時前送抵藝術部。競投表格可傳真至：
拍 賣 名 稱：羅芙奧台北2018春季拍賣會
藝術部
亞洲現代與當代藝術
電話：+886-2-2708 9868
拍 賣 編 號：TA1802
傳真：+886-2-2701 3306
台北拍賣日期：
投標者資料
台北萬豪酒店
客戶編號 （如有）
台北市中山區樂群二路199號3樓 （博覽廳）
2018年6月3日（星期日）下午2:00
姓名 身份證字號 地址 郵碼 電話 （住宅） （辦公室） 傳真
電郵
簽名 （注意：本公司在取得閣下之簽名後方才接受競標；閣下所填報之姓名 及地址資料，將會被列印在發票上，隨後將不能更改） 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託， 以最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，服務費依最後落槌價乘以服務費率得之。詳見業務規則第二條第4項之 規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下者含參 仟貳佰萬元以20％計算；（2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳佰萬元 之部份以12％計算。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。
請用正楷填寫清楚 拍賣品編號 （按數字順序）
名
稱
競投價（新台幣） （服務費不計在內）
為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。
銀行證明 銀行名稱 銀行地址 銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話
羅芙奧股份有限公司 台北市106敦化南路二段76號15樓之2 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com ravenelart.com.cn
ABSENTEE BID FORM The absentee bid forms must be delivered to the Art Department at least 24 hours before the auction begins. The bid forms may be faxed to: Art Department Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 Bidder’s Details Name
Auction Sale Number Date
RAVENEL SPRING AUCTION 2018 TAIPEI Modern and Contemporary Asian Art TA1802 Sunday, June 3, 2018, 2:00pm
Location
Marriott Taipei
Address
Grand Space, 3F, No. 199, Lequn 2nd Road,
ZhongShan Dist., Taipei, Taiwan
ID number Address Post code Tel: (Daytime)
(Evening)
Fax
Signature (Notice: We must have your signature to execute this bid. Billing name and address should agree with your state or local sales tax exemption certificate. Invoice cannot be changed after they have be printed.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder. I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received. I understand that if my bid is successful, I shall pay the final hammer price together with the buyer's premium. The buyer's premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Article 2, section 4 of the Transaction Agreement to the Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the 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, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.) The bid shall be subject to the Transaction Agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warranties that may be provided for certain items.
PLEASE PRINT LEGIBLY Auction item number (in numerical order)
Title
Bid price (NT$) (excluding service fee)
Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.
Bank Reference Approval Name of the bank Address of the bank
Name of the account Account number Contact of the bank Tel. No.
Ravenel Ltd. 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 ravenel.com ravenelart.com.cn
業務規則 下述規則，為羅芙奧股份有限公司(下稱「本公司」)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. 競投保證金 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。 (1) 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。 (2) 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 交拍賣品購買款項之一部（包含落槌價、服務費或運費等相關 費用），若尚有餘款須退回給買家；若買家無正當理由未於成 功拍賣日期後七天內支付全部應支付之成交拍賣品購買款項 （包含落槌價、服務費或運費等相關費用）予本公司，買家不 得請求返還競投保證金。 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 2, 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. (1) 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. (2) If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment (including but without limitation, Hammer price, Buyer’s Premium, Costs and expenses for shipping and related costs ) of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). If the Buyer ,without any good cause, fails to pay any and all payment (including but without limitation, Hammer price, Buyer’s Premium, Costs and expenses for shipping and related costs) of the Lot to the Company within 7 days after the auction date ,the Buyer shall not claim for the return of the bidding deposit. 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
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