SELECT: MODERN & CONTEMPORARY ART
Ravenel 3
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 28th November 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 (NT$) or 001-234830-061 (US$) 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 28th November 2018, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 29th November to 1st December 2018). Acceptance will cease on 1st December by noon (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 28th November 2018.
6.
If the bidding deposit has been transferred prior to 28th November 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.
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 11 月 28 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 11 月 28 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 11 月 29 日至 12 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 12 月 1 日中午 12 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 11 月 28 日以前完成匯款至本公司指定帳號。
6.
如於 2018 年 11 月 28 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。
RAVENEL AUTUMN AUCTION 2018 SELECT: Modern & Contemporary Art
羅芙奧 2018 秋季拍賣會 薈萃：國際現代與當代藝術
AUCTION
拍賣日期 / 地點
Saturday, December 1, 2018, 2:00 pm Marriott Taipei 3F (Grand Space) No. 199, Lequn 2nd Road, Zhong Shan District, Taipei
2018年12月1日（六） 下午 2:00 萬豪酒店三樓（博覽廳） 台北市中山區樂群二路199號
PREVIEWS
預展日期 / 地點
Taichung
台中 2018年11月10日（六） 下午1:00至下午6:00 2018年11月11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
Kaohsiung
高雄 2018年11月17日（六）至11月18日（日） 上午11:00至下午6:00 琢璞藝術中心 高雄市前金區五福三路63號8樓
Saturday, November 10, 2018, 1:00 pm - 6:00 pm Sunday, November 11, 2018, 11:00 am - 6:00 pm Fong-Yi Art Gallery B1, No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan
Saturday, November 17 - Sunday, November 18, 2018, 10:00 am - 6:00 pm J. P. Art Center 8F, No. 63, Wu Fu 3rd Road, Qianjin District, Kaohsiung, Taiwan Hong Kong Saturday, November 24 - Sunday, November 25, 2018, 10:00 am - 7:00 pm Grand Hyatt Hong Kong 5F (Chief Executive Suites) No. 1, Harbour Road, Wanchai, Hong Kong
Taipei
Thursday, November 29 - Saturday, December 1, 2018 10:00 am - 7:00 pm Marriott Taipei 3F (Grand Space) No. 199, Lequn 2nd Road, Zhong Shan District, Taipei
香港 2017年11月24日（六）至11月25日（日） 上午10:00至下午7:00 香港君悅酒店五樓（特首廳） 香港灣仔港灣道1號 台北 2018年11月29日（四）至12月1日（六） 上午10:00至下午7:00 萬豪酒店三樓（博覽廳） 台北市中山區樂群二路199號
As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This auction catalogue: NT$ 1,200 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
陳惠黛 Odile Chen
執行長 Chief Executive Officer
國際藝術部 總經理 Head of International Art Department Chief Specialist
陳昱良 Iris Chen 國際藝術部 初級專家 Junior Specialist, International Art Department
陳怡潔 Josephine Chen 藝術部 行政助理 Executive Assistant, Art Department
李政希 Xiu Lee 上海商務代表 Representative, Shanghai
CONTENTS 4
Important Notice to Buyers 給予買家的重要通知
7
Sale Information 羅芙奧秋季拍賣會
10
Ravenel Services 羅芙奧之服務
13
SELECT : Modern and Contemporary Art 薈萃：國際現代與當代藝術
161
Absentee Bid Form 委託競投表格
163
Transaction Agreement 業務規則
167
Index 藝術家索引
RAVENEL STAFF AND SERVICES FOR THIS SALE
ART CONSULTANTS INTERNATIONAL ART DEPARTMENT Head of International Art Department Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odilechen@ravenel.com
Junior Specialist Iris Chen Tel: +886 2 2708 9868 ext. 883 Email: irischen@ravenel.com
Executive Assistant Josephine Chen Tel: +886 2 2708 9868 ext. 881 Email: josephinechen@ravenel.com
Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. It is also possible to bid online for selected lots. Please refer to ravenel.com for more information. In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly for those of you who need foreign language assistance of the bidding.
CATALOGUE SUBSCRIPTION Taiwan
PHONE BIDS AND WRITTEN BIDS Taiwan, International Iris Chen Tel: +886 2 2708 9868 ext. 883 Email: irischen@ravenel.com
Hong Kong Vivi He Tel: +852 2889 0859 Email: vivihe@ravenel.com
Shanghai, Beijing Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com
ONLINE BIDS Register at Invaluable www.invaluable.com/
Josephine Chen Tel: +886 2 2708 9868 ext. 881 Email: josephinechen@ravenel.com
Hong Kong, International Eric Siu Tel: +852 2889 0859 Email: ericsiu@ravenel.com
Shanghai, Beijing Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com The catalogues are available for subscription. For details of subscription, please refer to the explanations of the catalogue or contact the above persons.
COLLECTION AND SHIPPING Taiwan, International Iris Chen Tel: +886 2 2708 9868 ext. 883 Email: irischen@ravenel.com
China Jason Dong Tel: +86 10 8587 8099 Email: jasondong@ravenel.com
Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday. Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you. Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.
羅芙奧2018春季拍賣會服務部門及連絡人
藝術品諮詢專家 國際藝術部 國際藝術部總經理 陳惠黛 電話：+886 2 2708 9868 轉 889 電子信箱：odilechen@ravenel.com
註一：如您無法親臨拍賣現場，可以電話投 標方式競標；亦可利用附在此目錄後面之委 託競投表格；或可參與網上競投，詳情請洽 羅芙奧官方網頁。
初級專家
註二：鑑於拍賣現場電話有限，欲以電話投 標方式競標的投標者，請於拍賣前24小時通 知我們為您安排，尤其對需用外國語言服務 之投標者。
陳昱良 電話：+886 2 2708 9868 轉 883 電子信箱：irischen@ravenel.com
目錄訂閱
行政助理
台灣
陳怡潔 電話：+886 2 2708 9868 轉 881 電子信箱：josephinechen@ravenel.com
陳怡潔 電話：+886 2 2708 9868 轉 881 電子信箱：josephinechen@ravenel.com
電話書面競標聯絡人 台灣．國際 陳昱良 電話：+886 2 2708 9868 轉 883 電子信箱：irischen@ravenel.com
香港 何瑩 電話：+852 2889 0859 電子信箱：vivihe@ravenel.com
上海．北京 李政希 電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com
網上競投 請前往 Invaluable 註冊 www.invaluable.com/
香港．海外 邵俊豪 電話：+852 2889 0859 電子信箱：ericsiu@ravenel.com
取貨及運輸事宜 台灣．國際 陳昱良 電話：+886 2 2708 9868 轉 883 電子信箱：irischen@ravenel.com
中國 董戈 電話：+86 10 8587 8099 電子信箱：jasondong@ravenel.com
註一：所有拍品在貨款結清後，即可取貨； 買家請儘早通知安排取貨事宜，以利倉庫存 貨流通和集中安排辦理，本公司接受個人及 公司支票付款，惟需在兌現後始能提貨。恕 不接受旅行支票付款。其他各項貨品可在羅 芙奧辦公室提領，上班時間為週一至週五上 午9:30至下午6:30。 註二：我們的專業行政部門可為您建議或安 排最適當的運輸方式。
上海．北京 李政希 電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com
本目錄開放各界訂閱，詳細訂閱辦法，請參 照目錄之說明或請洽上述聯絡人。
羅芙奧樂意提供您本次拍賣當中任何一項拍 品的狀況報告書，惟準買家需注意拍品均是 以「當時認定」之狀況賣出，相關細項請參 照目錄後之業務規則。請參照買家需注意事 項。
SELECT MODERN & CONTEMPORARY ART Saturday, December 1, 2018, 2:00 pm Marriott Taipei (Grand Space)
Lots 001 – 077
六角彩子
AYAKO ROKKAKU 六角彩子，1982年1月24日出生於日本千葉縣。2001年開始走創作之
轉變。過去以紙板作畫，她習慣擺在地上塗鴉，後來改成畫布時，當
路，2002年投入報名藝術節展覽。起初不是在素描簿上塗鴉，就是以
她面對著畫布，初次見到顏料滴流下來，內心欣喜無比。顏料順著地
瓦楞紙板作畫。在廢棄的瓦楞紙上作畫，即興、街頭、又有貧窮藝術
心引力，她要抓住作品裡的流動感。不只是徒手，沒有畫筆，不打草
特色。畫畫讓她開心，樂此不疲。因在GEISAI藝祭上屢次獲獎，2006
稿，她也常光著腳丫面對著她的畫布，用手、身體一起參與創作。
年即為六角彩子贏得瑞士、法國與美國等國際參展機會，以及荷蘭畫 廊的全球經紀代理。
六角彩子自己分析她畫畫的三個風格特點：「單純的塗鴉」、「發掘 自我的行為」、「小孩的圖畫」。像孩子一樣的圖畫，原本是用以練
「手帶領著指頭的方向，其力度勝於文字。」她是素人畫家，沒有傳
習線條，而塗鴉讓她覺得充滿樂趣。一開始她看到甚麼就會畫甚麼，
統的史觀，或是偉大的美學理論基礎，成長中浸淫在日本當代動漫文
然後反覆在素描簿上畫著。在開始畫畫時，幾乎不研究習作，就憑直
化的影響，加上與生俱來的靈敏觀察力及細膩的情感，她只是一個喜
覺隨意的畫著。
歡塗鴉、享受塗鴉的人。 女孩與兒童是貫穿她創作的主要母題，採取特寫形式的佈局。畫裡的 在日常生活裡，瓦楞紙是一種隨處可得的素材，材質輕且挺，容易靠
人物往往不見笑容，或睜大雙眼，扁著嘴，表現出憤怒的樣貌。她說
立，加上以手蘸滿壓克力顏料，觸摸時的溫暖手感，亦或是撕開紙板
自己的人物畫有兩個極端：「逃離與追尋」，「遠目與凝視」。主角
的斷面，上色時的感覺，偶而她還是喜歡這樣的作畫方式。
多數有行走的姿態，大步邁開向前。重覆性的隨機塗鴉圖案、動物， 也經常是畫裡的元素。無論是拉長的手臂或是過大的眼睛，鮮艷的色
除了瓦楞紙，她開始在畫布上畫畫，逐一展示這些作品，這是很大的
彩或是簡化的細節，這些皆是日本卡通文化所帶來的影響。
六角彩子作畫現場，照片由德萊夫畫廊提供 Ayako Rokkaku painting in situ, photo courtesy of Gallery Delaive.
001
AYAKO ROKKAKU (Japanese, b. 1982)
Girl Wearing Pink Dress and Necklace 2008 Acrylic on cardboard 92 x 37 cm With a seal of the artist Signed on the reverse Ayako Rokkaku in Japanese PROVENANCE Gallery Delaive, Amsterdam Private collection, Netherlands
NT$ 220,000 - 340,000 HK$ 57,000 - 87,000 US$ 7,200 - 11,200 RMB 50,000 - 77,000
六角彩子 粉紅洋裝與圓珠項練 2008 壓克力 紙板 92 x 37 cm 鈐印右下： ロッカクアヤコ 簽名畫背： ロッカクアヤコ 來源 德萊夫畫廊，阿姆斯特丹 私人收藏，荷蘭
Ravenel 15
"…I WANT TO KEEP DRAWING FOR AS LONG AS POSSIBLE." - AYAKO ROKKAKU
Ayako Rokkaku was born in January 24, 1982, in Chiba Prefecture, Japan. In 2001, when she was nearly 20, Rokkaku started creating at home, in the park, or on the street. In 2002, she signed up for the GEISAI. At the beginning, she either sketched in sketchbooks or painted on cardboard. She developed a skill to paint directly with her hands on abandoned cardboard, hence her art features improvisational, street-art-like, and arte povera characteristics. Painting makes her happy. Since Rokkaku repeatedly won awards at GEISAI in 2006, she was given the opportunity to participate in exhibitions in Switzerland, France, and the United States. Moreover, the Dutch art dealer offered to be her global representation. “The hand directs where the fingers point. They are more powerful than words.” She is a self-taught painter, without conventional views or grand theories on aestheticism as the foundation of her creations. Instead, she grew up under the influence of Japanese contemporary comics and animation. That, together with her acute observation and intricate feelings that she was born with, makes her a person who simply enjoys sketching. In daily life, cardboard is a ubiquitous material. It is light and can stand up straight by itself. When dabbing it with hands filled with acrylic pigments, she can feel the warm sense of touch. Or, the rents torn in the cardboard and the feeling of coloring are both what the painter is fond of. Occasionally, she still paints in this way. In addition to cardboard, she started painting on the canvas and displayed her works one by one. This was a big transformation to her
creation. When she painted on cardboard in the past, she used to place the paper flat on the floor. Later, when she turned to canvas, she chose to erect it and felt delighted when seeing the pigments flowing down from the canvas. She saw the pigments obeying the law of gravity and wanted to capture that sense of fluidity in her work. She not only painted with her bare hands, without brushes and without drafting; she also often faced her canvas barefoot, letting her hands and body participate in the creation. From self-analysis, Rokkaku listed three characteristics of her paintings: “plain scribbling,” “the act of getting out something inside me,” and “kid’s drawing.” The kid-like drawing was to practice lines, but she found scribbling to be fun. At first, she painted whatever she saw and then repeatedly practiced painting the subjects in her sketchbook. When she paints, she almost never studies but paints with intuition. The major themes throughout her painting history are girls and children, and she often portrays them in close-ups. The figures in her painting are often unsmiling. Their eyes may be opened wide and their lips pressed together, or they may look angry. She said her figures went from two sets of extremes: “escaping and chasing” or “looking away and staring.” Most of the main figures in her paintings are walking in large strides. Other common elements in her paintings are repetitive random sketches and animals. Having elongated arms or overly large eyes, bright colors or simplified details, they are all influenced by Japanese animation culture.
002
AYAKO ROKKAKU
六角彩子
(Japanese, b. 1982)
藍圍巾女孩
Little Girl with Blue Scarf
2008 壓克力 紙板 46.5 x 81.5 cm 鈐印右上： ロッカクアヤコ 簽名畫背： ロッカクアヤコ
2008 Acrylic on cardboard 46.5 x 81.5 cm With a seal of the artist Signed on the reverse Ayako Rokkaku in Japanese PROVENANCE Gallery Delaive, Amsterdam Private collection, Netherlands
來源 德萊夫畫廊，阿姆斯特丹 私人收藏，荷蘭
NT$ 220,000 - 340,000 HK$ 57,000 - 87,000 US$ 7,200 - 11,200 RMB 50,000 - 77,000
Ravenel 17
003
AYAKO ROKKAKU
六角彩子
(Japanese, b. 1982)
高領洋裝與蝴蝶結
Girl Wearing High Collar White Dress (AR08-10)
2008 壓克力 紙板 59 x 49 cm 鈐印右下： ロッカクアヤコ 簽名畫背： ロッカクアヤコ
2008 Acrylic on cardboard 59 x 49 cm With a seal of the artist Signed on the reverse Ayako Rokkaku in Japanese PROVENANCE Gallery Delaive, Amsterdam Private collection, Netherlands
NT$ 220,000 - 340,000 HK$ 57,000 - 87,000 US$ 7,200 - 11,200 RMB 50,000 - 77,000
來源 德萊夫畫廊，阿姆斯特丹 私人收藏，荷蘭
004
AYAKO ROKKAKU
六角彩子
(Japanese, b. 1982)
碎花小洋裝
Floral Mini Dress
2008 壓克力 紙板 94.5 x 73.5 cm 鈐印右下： ロッカクアヤコ
2008 Acrylic on cardboard 94.5 x 73.5 cm With a seal of the artist
NT$ 220,000 - 340,000 HK$ 57,000 - 87,000 US$ 7,200 - 11,200 RMB 50,000 - 77,000
Ravenel 19
005
AYAKO ROKKAKU (Japanese, b. 1982)
A Little Girl in a Purple Circle 2013 Acrylic on canvas 60.5 x 60.5 cm Signed lower left Ayako Rokkaku in Japanese and dated 2013 PROVENANCE Gallery Delaive, Amsterdam Private collection, Asia
NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,500 - 15,800 RMB 73,000 - 109,000
六角彩子 女孩與紫色圓圈圈 2013 壓克力 畫布 60.5 x 60.5 cm 簽名左下：2013
ロッカクアヤコ
來源 德萊夫畫廊，荷蘭 私人收藏，亞洲
六角彩子《花園女孩》2009年 壓克力 畫布 100 x 100 cm 羅芙奧2018春季拍賣會 編號010 台幣 1,440,000 成交 Ayako ROKKAKU, Little Girl in the Garden , 2009, oil on canvas, 100 x 100 cm Ravenel Spring Auction 2018, lot 010, US$ 48,257 sold
Ravenel 21
006
MAKOTO AIDA (Japanese, b. 1965)
Edible Artificial Girls, Mi-Mi Chan Series (a set of 8) 2001 Digital print; edition 8/60 28.5 x 42 cm (each) Signed lower right Aida in Japanese With a seal of the artist: Edible Artifical Girls PROVENANCE Mizuma Art Gallery, Tokyo Sotheby’s Hong Kong, October 4, 2010, Lot 673 Acquired from the above by the present owner EXHIBITED Makoto Aida: Edible Artificial Girls, Mi-Mi Chan , NADiff, Tokyo, 2001
Makoto Aida: Edible Artificial Girls, Mi-Mi Chan, Murata & Friend Gallery, Berlin, December 14, 2001 – February 17, 2002 ILLUSTRATED Tetsuro Murobushi, 21st Century Prints: Makoto Aida Empty Soul , Japan, 2004 Aida Makoto, Monument for Nothing: Makoto Aida , Graphic-Sha Publishing Co., Ltd., Japan, 2007, color illustrated, pp. 96-101
會田誠 食用人造美女－美味女孩系列 (八張一套) 2001 數位輸出 版畫 木盒 8/60 28.5 x 42 cm（每件） 簽名右下：あいだ 藝術家鈐印：食用人造美女 來源 三潴畫廊，東京 蘇富比香港，2010年10月4日，編號673 現有收藏者購自上述來源 展覽 「會田誠：食用人造少女－美味女孩」， NADiff，東京，2001 「會田誠：食用人造少女－美味女孩」，Murata & Friends畫 廊，柏林，展期自2001年12月14日至2002年2月17日 圖錄 室伏哲，《二十一世紀版畫季刊：會田誠空虛靈魂》，日本， 2004年（另一版次） 會田誠，《無謂紀念碑》，Graphic-Sha出版社，日本，2007， 彩色圖版，頁96-101
NT$ 300,000 - 460,000 HK$ 77,000 - 118,000 US$ 9,900 - 15,100 RMB 68,000 - 105,000
本拍品附原作木盒 This lot is to be sold with the original wooden box.
Ravenel 23
007
FRANÇOIS-XAVIER LALANNE (French, 1927 - 2008)
Bestiaire nécessaire (a set of 12) 2004 Etching and lithographs, edition no. 25/63 38 x 28 cm each (paper) 40 x 29.5 x 5.5 cm (encasing) 75 copies, of which 63 numbered from 1 to 63 and numbered from I to XII Initialed lower right F.X.L (each print) This lot is to be sold with the original box.
NT$ 360,000 - 500,000 HK$ 93,000 - 129,000 US$ 11,800 - 16,400 RMB 82,000 - 114,000
佛朗索瓦－查威爾•萊蘭 動物寓言 (十二件一組之手工版畫書) 2004 銅版畫與石版畫 版次 25/63 38 x 28 cm 每件 (紙) 40 x 29.5 x 5.5 cm (盒裝) 限量75件，63件以阿拉伯數字編號， 12件以羅馬數字編號 簽名右下：F.X.L (12張版畫) 本拍品附原作精裝書盒
Ravenel 25
008
GEMI
坂 上 祐 斗 (げ み )
(Japanese, b. 1989)
淘氣女孩
Naughty Girl
2011 壓克力 畫布 162 x 130 cm 簽名畫背：H 23.8.11 げみ （平成23年8月11日 即 2011年8月11日）
2011 Acrylic on canvas 162 x 130 cm Signed on the reverse Gemi in Japanese and dated Heisei 23 (2011). 8.11 PROVENANCE KaiKai Kiki Gallery, Taipei Private collection, Asia EXHIBITED Art Taipei Art Fair 2011 , Taipei, August 26 - August 29, 2011
NT$ 340,000 - 500,000 HK$ 87,000 - 129,000 US$ 11,200 - 16,400 RMB 77,000 - 114,000
1989年出生於日本大阪，畢業於京都大學藝術與設計系。坂 上祐斗的繪畫作品深受日本動漫影響，洋溢著少女情懷。他 常以單一位少女人物作為畫面主角，結合超現實場景，浪漫 風格之下帶有強烈的敘事性。這樣獨特的風格使他的作品深 受藏家喜愛。曾出過多本畫冊，並在日本辦過多次畫展，現 居兵庫縣三田市。
Artist Gemi was born in 1989 in Osaka, Japan, and graduated from Kyoto University where he majored in Arts and Design. Deeply influenced by Japanese manga and animation, Gemi’s works feature a girlish style, centering on a lone young woman placed in contemplative situations and combined with a surrealistic setting that adds not only romantic hints, but also a strong narrativity to the picture. Such distinct artistic language has assured Gemi’s popularity among the collectors. The artist has issued many picture albums and held various exhibitions in Japan. He currently lives in Sandai-shi, Hyōgo Prefecture, Japan.
來源 KaiKai Kiki畫廊，台北 私人收藏，亞洲 展覽 「2011台北藝術博覽會」，台北， 展期自2011年8月26日至8月29日
Ravenel 27
009
SUPAKITCH (French, b. 1978)
Supanimals Just Wanna Have Fun 2012 Mixed media on wood panel 120 x 60 cm Signed lower right SupaKitch
NT$ 300,000 - 460,000 HK$ 77,000 - 118,000 US$ 9,900 - 15,100 RMB 68,000 - 105,000
市霸奇奇 只想玩樂 2012 複合媒材 木板 120 x 60 cm 簽名右下：SupaKitch
市霸奇奇出生於巴黎，曾經在許多大都會進行創作，包括 法國的巴黎和比亞里茨，以及美國的洛杉磯和紐約。他特 別鍾情街頭藝術、漫畫、塗鴉、刺青和嘻哈文化，在他的 作品中，這些元素無所不在。1990 年代，他認識了同期的 塗鴉藝術家 Hazy 和音樂製作人 Eone，啟發他的靈感，開 始在創作中納入各種繪畫、攝影、製圖技巧，在創作的同 時探索音樂之美。
SupaKitch, a Parisian-born artist who has worked in many metropolitan cities including Paris, Biarritz, Los Angeles and New York. The artist’s passion for street art, mangas, graffiti and tattoos and the hip-hop culture are elements that appear to be omnipresent in his works. In the 1990s, he met fellow graffiti artist Hazy and music producer Eone, which inspired him to explore works combining various techniques of painting, photography and graphics, and integrate in exploring the theme of music into his creation.
010
SUPAKITCH (French, b. 1978)
Fireworks 2012 Acrylic on canvas 125 x 72 cm Signed lower right SupaKitch
NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,500 - 15,800 RMB 73,000 - 109,000
市霸奇奇 煙花 2012 壓克力 畫布 125 x 72 cm 簽名右下：SupaKitch
市霸奇奇曾經與S i x p a c k、B re n d a n M o n ro e、 Wa y n e H o r s e、K o r a l i e 等品牌合作，為他們的 商店創作壁畫，足跡遍布歐洲各地，包括德國杜 塞道夫、哥本哈根、巴黎、聖塞巴斯提安和里斯 本。市霸奇奇個人的首場重要畫展於2007年舉 辦，並以他所謂的「無所不在」作為畫展的原創 概念。他的作品曾在世界各地的藝廊展出，包括 巴黎、台北、邁阿密等地。
SupaKitch has collaborated with brands such as Sixpack, Brendan Monroe, Wayne Horse, Koralie where the artist painted murals in the brand’s various shops across Europe, Dusseldorf, Copenhagen, Paris, San Sebastian and Lisbon. In 2007, SupaKitch had his first major solo show based upon an original concept he called Ubiquity . He has also been exhibiting worldwide in galleries in Paris, Taipei and Miami.
Ravenel 29
011
BERNARD CHAROY
貝爾納．夏洛瓦
(French, b. 1931)
玫瑰園的露易絲
Louise
2015 油彩 畫布 46 x 38 cm 簽名中右：Bernard Charoy 題識畫背：Louise
2015 Oil on canvas 46 x 38 cm Signed center right Bernard Charoy and titled on the reverse Louise PROVENANCE Private collection, Asia This painting is to be sold with a certificate of authenticity signed by the artist.
NT$ 240,000 - 360,000 HK$ 62,000 - 93,000 US$ 7,900 - 11,800 RMB 55,000 - 82,000
來源 私人收藏，亞洲 附藝術家親筆簽名之照片保證書
012
BERNARD CHAROY
貝爾納．夏洛瓦
(French, b. 1931)
茱莉
Julie
2008 油彩 畫布 61 x 50 cm 簽名右下：Bernard Charoy
2008 Oil on canvas 61 x 50 cm Signed lower right Bernard Charoy PROVENANCE Private collection, Asia
來源 私人收藏，亞洲 附藝術家親筆簽名之照片保證書
This painting is to be sold with a certificate of authenticity signed by the artist.
NT$ 300,000 - 460,000 HK$ 77,000 - 118,000 US$ 9,900 - 15,100 RMB 68,000 - 105,000
Ravenel 31
013
ANDRÉ COTTAVOZ
安德烈．科達沃茲
(Spanish-French, 1922 - 2012)
白瓶紅玫瑰花束
Bouquet rouge au pot blanc
油彩 畫布 55.5 x 38.5 cm 簽名右下：COTTAVOZ 簽名畫背：BOUQUET ROUGE AU POT BLANC COTTAVOZ
Oil on canvas 55.5 x 38.5 cm Signed lower right COTTAVOZ Signed on the reverse BOUQUET ROUGE AU POT BLANC COTTAVOZ
NT$ 240,000 - 360,000 HK$ 62,000 - 93,000 US$ 7,900 - 11,800 RMB 55,000 - 82,000
014
ANDRÉ COTTAVOZ
安德烈．科達沃茲
(Spanish-French, 1922 - 2012)
檸檬與藍壺
La Théière bleue
油彩 畫布 38.2 x 55.1 cm 簽名左下：Cottavoz
Oil on canvas 38.2 x 55.1 cm Signed lower left Cottavoz PROVENANCE Private collection, France
來源 私人收藏，法國 附藝術家工作室開立之原作保證書
This painting is to be sold with a certificate of authenticity issued by Cottavoz Atelier
NT$ 240,000 - 360,000 HK$ 62,000 - 93,000 US$ 7,900 - 11,800 RMB 55,000 - 82,000
Ravenel 33
015
JEAN-PIERRE CASSIGNEUL (French, b. 1935)
Still Life with Flowers and Figs Oil on canvas 92 x 65 cm Signed upper left CASSIGNEUL PROVENANCE MatsArt Auctioneers & Appraisers, Israel, October 25, 2017, lot 55
NT$ 380,000 - 550,000 HK$ 98,000 - 141,000 US$ 12,500 - 18,100 RMB 86,000 - 125,000
尚－皮耶．卡西紐爾 瓶花與無花果靜物 油彩 畫布 92 x 65 cm 簽名左上：CASSIGNEUL 來源 MatsArt 拍賣，以色列， 2017年10月25日，編號 55
尚－皮耶‧卡西紐爾，生於1935年，一個從事高級時裝產業的巴黎 家族。1953年進入法國高等美術學院。五年後於巴黎的精緻藝術畫 廊舉行第一次個人公開展覽。卡西紐爾筆下創造出美麗動人的年輕優 雅仕女，令人聯想起那比畫派，二十世紀後印象派主義的前衛畫家， 如：皮耶爾‧波納爾、愛德華‧烏依亞爾等人常刻劃的主題。而卡西 紐爾充滿故事性的女性畫像，以及他使用的濃烈鮮明色彩，也喚起人 們對基斯‧梵‧鄧肯表現主義手法的記憶。他的作品深受喜愛，展覽 經驗遍及歐洲、日本、美國等地。
Jean-Pierre Cassigneul was born in a Prisienne family working on haute-couture in 1935. In 1953, he admitted to the Ecole national supérieur des Beeaux-Art, and five years later, he had his first exhibition at the Galerie des Beaux-Arts. Cassigneul creates beautiful, striking paintings of young dreamy women reminiscent of Les Nabis, a group of early 20th century Post-Impressionist avant-garde painters, including Pierre Bonnard and Edouard Vuillard. His work also reminds us of that of the expressionist painter Kees van Dongen, especially Cassigneuls' dramatic portraits and his use of intense and vibrant color. His work has been exhibited extensively throughout Europe, Japan and the United States.
Ravenel 35
016
YUKI INOUE (Japanese, b. 1972)
Salamander: Kisaragi
井上裕起，出生於1972年日本神奈川縣，西元2000年於多摩美術大學
2015 FRP, Paint; unique piece 68 (L) x 28 (W) x 49 (H) cm Signed lower center YUKI With a seal of the artist
完成碩士學業。其作品多以「沙羅曼達」此傳奇生物為主角，「進化」
PROVENANCE Uspace Gallery, Taipei Private Collection, Asian EXHIBITED Infinity Japan Contemporary Art Show 2015 , Taichung, March 19-March 25, 2015 This painting is to be sold with a certificate issued by Uspace Gallery, Taipei.
NT$ 460,000 - 650,000 HK$ 118,000 - 167,000 US$ 15,100 - 21,400 RMB 105,000 - 148,000
井上裕起 沙羅曼達系列－如月 2015 玻璃纖維 塗料 單一件 68（長）x 28（寬）x 49（高）cm 簽名中下：YUKI 鈐印中下：裕 來源 Uspace畫廊，台北 私人收藏，亞洲 展覽 「2015日本無極限當代藝術展會」，台中， 展期自2015年3月19日至3月25日 附藝術家代理畫廊Uspace Gallery開立之作品保證書
為其創作理念。曾任教於日本多摩美術大學，獲第20回岡本太郎美術館 現代芸術賞展特別賞，且其多項作品連續數年登上知名藝術拍賣市場， 皆獲相當高評價，藝術節目專訪和雜誌專文報導視其為當代重要雕塑藝 術家。
Yuki Inoue was born in the Kanagawa Prefecture, Japan, and completed his master's degree at Tama Art University in 2000. The majority of his works use Salamandar, a legendary creature as the main character, and "evolve" serves as the concept behind many of her works. He once taught at Tama Art University in Japan, and won the 20th Taro Okamoto Museum of Modern Art Exhibition's Special Award. Many of his works have further been sold to high acclaim at prestigious art auctions for several consecutive years. He has also been interviewed by various art variety shows and magazines, and is one of the most influential contemporary sculptors and artists of our time.
Ravenel 37
017
MASARU SHICHINOHE (Japanese, b. 1959)
Either is Good 2003 Acrylic on board 44.5 x 32 cm Signed lower right masaru Titled Either is Good in Japanese, dated 2003.11.10 and signed m.Shichinose on the reverse PROVENANCE Aoki Gallery, Tokyo Private collection, Asia ILLUSTRATED Black Angel: Masaru Shichinoche , Ping Art Space, Taipei, color illustrated, pp. 126-127
NT$ 750,000 - 1,100,000 HK$ 193,000 - 283,000 US$ 24,700 - 36,200 RMB 170,000 - 250,000
七戶優 兩面都一樣
七戶優，1959年生於日本青森縣，1981年畢業於武藏野美術大學造型系
2003 壓克力 木板 44.5 x 32 cm 簽名右下：masaru 簽名題識畫背：どっちでもいい 2003.11.10 m. Shichinose
建築學科，後入大成建設株式會社設計部從事建築設計業務，三年後轉為
來源 青木畫廊，日本 私人收藏，亞洲 圖錄 《月下紫羅蘭－七戶優》，藏新藝術有限公司， 台北，2010，彩色圖版，頁126-127
專職插圖畫家。他的小型畫作系列將和諧結合歷史與科學—他對鍊金術、 宇宙學及物理有著無比熱忱，同時熱衷於古典油畫及小說對視覺元素的仔 細描繪。正因其創作靈感涉及多個層面，所以他的藝術理念可說是介乎超 現實與現實之間，構圖均經巧妙鋪排而成作品。七戶優的風格深受早期文 藝復興繪畫以及維也納幻想現實主義學派影響，其細緻筆觸及對光暗比例 的嚴謹控制，在作品中營造出一種如真似幻的神秘氛圍。
Born in Aomori Prefecture, Japan, in 1959, Masaru Shichinohe graduated in 1981 from Musashino Art University College of Art and Design with a degree in Architecture, became an architect at the design department of Taisei Corporation and then a professional illustrator three years later. His small paintings are the harmoniously combination of history and science-he is extremely passionate about alchemy, cosmology, and physics, and exceedingly committed to depicting the details of visual elements from classical oil paintings and fiction. It is precisely because he draws inspiration from so many different fields that his artistic ideal can be said to traverse between the surreal and the real. His works feature compositions that have been arranged with extreme carefullness. Masaru Shichinohe's style is greatly influenced by early Renaissance paintings and the Vienna School of Fantastic Realism (Wienner Schule des Phantastischen Realismus). His delicate strokes and precise control of light-to-dark ratio add a mysterious touch to his artworks, making them both fleetingly real and mysterious fantastic.
Ravenel 39
018
HIROSHI SENJU (Japanese, b. 1958)
Waterfall c.2015 Acrylic and fluorescent pigments on mulberry paper, mounted onto board 45 x 53 cm With a seal of the artist Signed on the back of the frame Hiroshi , with a seal of the artist and titled Waterfall in Japanese PROVENANCE Shinseido-Hatanaka Art Gallery, Tokyo Private collection, Asia
NT$ 3,400,000 - 5,000,000 HK$ 874,000 - 1,285,000 US$ 111,800 - 164,400 RMB 773,000 - 1,136,000
千住博 瀑布 約2015年 壓克力 螢光岩彩 日本桑紙裱於木版 45 x 53 cm 鈐印左下：博 簽名畫框背面：博 鈐印畫框背面：博 題識畫框背面：ウォーターフォール 來源 新生堂，東京 私人收藏，亞洲
Ravenel 41
千 住 博
HIROSHI SENJU
千住博，1958年出生於日本東京，畢業於東京藝術大學。現居紐約的日
我們順著水勢流動的方向觀賞作品，跟隨藝術家細緻地將顏料傾倒在裝裱
當代本藝術家。他以繪畫氣象萬千的大型瀑布與山崖畫作而聞名。千住博
好的日本傳統桑皮紙上，畫出瀑布的姿態，塑造出一種不斷流動、生生不
簡約而具震撼力的視覺藝術語言，是一種抽象表現主義，與日本傳統繪畫
息的效果。因為被水的至柔至剛吸引，我們意識到自然界的力量與美麗。
技巧的完美結合。在千住博早期的都市系列作品，緣起對幼時所成長的高
這背後所支撐的則是日本畫傳統的美意識。藉著有如現代「枯山水」的白
樓林立都市或說「原鄉」的一種凝視。在沒有飛機聲、沒有工廠噪音，只
沙及散佈的岩石所象徵的水與海，將宇宙延伸至無限大的心象風景。垂直
有快速奔馳而無表情的車聲中，午後斜陽照在高聳、冷冷的水泥硬塊作品
美學的瀑布，以藍色的背景襯出有如白煙落下的瀑布景現，與一般藉由瀑
裡；在這到餘暉中似乎也觀照出昔日孤寂略帶疏離感一位少年的臉龐。在
布的「動」與周圍的「靜」，所描繪出的「時間雕刻」有所不同。畫中急
這些以赤、黃、藍、灰為基調的作品，可一窺千住廣而深的心靈世界。透
速下落的瀑布，就像以相機捕捉的景緻般，一切彷彿在剎那間停止。其所
過千住博的都市系列、山水系列、沙漠系列，融合東方的自然有機觀和西
營造的情趣，有如抽象畫。瀑布畫營造時光流逝、歲月變遷的滄桑感，追
方精神世界論，從現實界出發而至無限的未來，其母體即為表現「地球的
溯宇宙誕生和太古時代。
力」，企圖替地球甚至宇宙描繪肖像。 此件《瀑布》是藝術家自1991年發表「沙漠系列」作品之後，又一以描 繪氣勢如虹的瀑布為主題的「山水系列」。作品大致創作於2015年《瀑 布》，正是系列中強調的「藍」，此時作品的特色即是「光與影」強烈的 光映照出寂寞的影。山水系列中，藝術家延續前期作品的「冷」，並以西 方遠眺手法、距離由近而遠所造成的空間感，對大自然做出獨特的詮釋。 花草樹木蟲鳥生死過程的永久循環，以宇宙來觀看一滴水只不過是一瞬 間，但是描繪滴水匯聚成江河卻象徵著恆久。而在其中，證實了「我」的 存在，同時也讓人類明白「我」也只是宇宙的一瞬間。 《瀑布》中大師採用擁有千年歷史的岩彩畫風格來作畫，他以礦物石、貝 殼和珊瑚所研磨出來的顏料，和獸皮膠水來進行創作。他仔細地以半透明 的顏料繪於裝在木板上的宣紙，塑造出大自然無拘無束的動態，引發出平 靜的感覺。觀賞者站立於瀑布前猶如聽著轟鳴的水聲、嗅著濕潤的空氣， 及沾著陰涼的薄霧。在這種處理中藝術家以螢光岩彩創作瀑布畫作。在日 光下，這些畫作呈現黑白兩色，而在紫外線的照射下則發出螢光，並呈現 出攝人的幽藍色，創造出兩種視覺效果，好比我們對當下生活中無所不在 的城市燈光之一曲頌歌，匠心獨運。千住博的瀑布徘徊於白天與黑夜，尤 如他成功跨越繁華與自然、現實與夢幻的境界。
Hiroshi Senju was born in 1958 in Tokyo, Japan, and graduated from Tokyo University of the Arts. Currently residing in New York, Senju is a contemporary Japanese artist famous for his large-scale paintings of waterfalls and cliffs. Senju’s simple and powerful visual art language combines abstract expressionism and traditional Japanese painting techniques in perfect harmony. Senju’s early works feature high-rise buildings and cityscapes, an urban “native land” theme inspired by the urban environment of his childhood. In an environment with no whooshing airplanes or clanking factories, only the emotionless sound of speeding cars, the late-evening sun illuminates tall, cold concrete blocks; the glowing light seems to reflect the lonely and distant face of a young man. In these works, based on a color palette of reds, yellows, blues and greys, one can see the depth and expansiveness of Senju’s inner world. Through his urban series, landscape series and desert series, Senju fuses the natural world of the East and the spiritual world of the West. From the real world to the infinite future, Senju’s overarching focus is an expression of "the power of the Earth,” an attempt to capture images of the Earth and even the universe.
This piece, Waterfall , is among the Landscape Series created by the artist following his 1991 "Desert Series", featuring the theme of "Rainbow Waterfall". Created in 2015, this waterfall painting emphasizes “blue” in the series, and features strong light and shadow application that makes the lonely shadows stand out. In his landscape series, Senju continues with cold-toned imagery. Through western-style remoteness and the application of depth and distance to create space, Senju produces a unique interpretation of nature. The eternal cycle of birth and death of all the earth’s flora and fauna are seen as but a fleeting moment, a drop of water in an infinite ocean; however, the depiction of a trickle of water entering a river is also symbolic of eternity. In these, the existence of the subjective “I” is confirmed; simultaneously, humanity understands that this "I" is only a moment in eternity. In Waterfall , Senju employs ancient techniques of painting with mineral-based pigments made from ground stones, shells and corals mixed with glue from animal hide. He carefully pastes the mulberry paper onto the board in semi-translucent paint, creating a sense of calm and unrestrained movement of nature. Standing before this piece, one can almost hear the roar of the water, smell the damp air, and feel cool mist moistening one’s skin. In this piece, the artist rendered the waterfall in luminous mineral pigments. In daylight, the paintings appear in black and white, and under ultraviolet light, the light colors glow and the dark colors appear in deep blue, creating two kinds of visual effects. The ingenious dual effect is like an ode to the omnipresent city lights in our everyday lives. Senju’s waterfalls hover between day and night, seeming to span the metropolitan and the natural, reality and dream.
The viewer’s eye flows across the painting with the water, following the artist's careful application of pigment on the framed Japanese traditional mulberry paper, drawing out the shape and endless flowing effect of the waterfall. As we are immersed into the water’s softness and force, we become aware of the power and beauty of nature. Behind this is the aesthetic consciousness of traditional Japanese painting. The white sand and scattered rocks evoke a modern Zen garden landscape and symbolize the ocean, extending the universe into an infinite imaginary landscape. The vertical aesthetic of the waterfall, with white mist offset against a blue background, is different from the "engraving of time" depicted by the contrast of the moving waterfall and still background. The rushing waterfall in the painting is like an image captured by a camera. Everything seems to stop in a split second. The feeling it creates is like an abstract painting. Waterfall painting presents the movement of time and space, tracing the birth of the universe and times beyond memory.
千住博《亙古流長》 雕塑裝置 / 故宮南院公共藝術設置計畫 Hiroshi SENJU, Timeless Waterfull , glass and stainless installation Public Art Project od Southern Branch of National Palais Museum © Southern Branch of National Palais Museum
Ravenel 43
019
YAYOI KUSAMA (Japanese, b. 1929)
Ashtray 1981 Acrylic on canvas 15.8 x 22.7 cm Signed Yayoi Kusama , titled Ashtray in Japanese and dated 1981 on the reverse This painting is to be sold with a registration card issued by Yayoi Kusama Studio.
NT$ 3,200,000 - 4,800,000 HK$ 823,000 - 1,234,000 US$ 105,200 - 157,800 RMB 727,000 - 1,091,000
草間彌生 菸灰缸 1981 壓克力 畫布 15.8 x 22.7 cm 簽名題識畫背：灰皿1981 Yayoi Kusama 附草間彌生工作室開立之原作登錄卡
Ravenel 45
「我的每個創作都是我人生旅途中的一步，我以筆、畫布、或是 其他材質為真理而奮鬥。我的前方是一顆遙遠而且光芒四射的星 星，越是想要碰觸它，它就離我越遠。但是藉由我的精神力量以 及一心想要開創出自己的道路，我已經掙脫並爬出這個世界錯綜 複雜的混亂，甚至一步步的接近靈魂的 境 界 ！ 」 － 草 間 彌 生 EACH OF MY CREATIONS IS A STEP IN MY LIFE'S JOURNEY AS I FIGHT FOR THE TRUTH WITH PEN, CANVAS, OR OTHER MEDIA. AHEAD OF ME IS A DISTANT AND RADIANT STAR. THE MORE I TRY TO TOUCH IT, THE FURTHER AWAY I AM FROM IT. BUT WITH MY SPIRITUAL STRENGTH AND A DESIRE TO CREATE MY OWN PATH, I HAVE BROKEN FREE AND CLIMBED OUT OF THE WORLD'S INTRICATE CHAOS; STEP BY STEP, I EVEN APPROACH THE REALM OF THE SOUL! －YAYOI KUSAMA
草間彌生，終其一生都在不斷地嘗試和結構她的「無限」世界。這位已經
在創作初，要在畫布上鋪展一個靜態的完整平面，然後在這平面的表層盡
是杖朝之年的「怪婆婆」總是可以掀起一陣陣全球波點風潮，讓人為之狂
可能增添肌理，用一種微觀的方式一塊一塊組織起來。因為一筆一筆增添
熱的殿堂級藝術大師。紅色B O B頭假髮，明黃色波點大衣，風格搶眼招
筆觸需要花費很長的時間，不斷反覆的動作，讓乾燥的白色顏料出現更多
搖，炯炯目光中閃爍著非凡創作力量。她用色彩繽紛的波點繪畫出自己的
層次。在現實的物質層面上，這樣做可以在空間中堆疊出一種無限延伸的
世界，密集點點看似古怪，其實是她在「以有涯隨無涯」。
實體感。
1956年草間彌生移居美國紐約市，並開始展露她佔有領導地位的前衛藝
正如藝術家所言：「我想要用無窮反覆的韻律和黑白的單一色調，呈現一
術創作。曾與當代卓越的藝術家如安迪・沃荷（A n d y Wa r h o l）、克勒
種不同的『光線』，尋找一種新的繪畫表現形式。這種技巧完全無法用
斯・歐登柏格（Claes Oldenburg）、賈斯培・瓊斯（Jasper Johns）一
傳統繪畫約定俗成的對比或者是方法論來解讀。此外，這批作品放棄了固
起聯展。草間曾說明這些視覺特色都來自於她的幻覺，她認為這些點組成
定的焦點和視覺重心，這是我的原創。」這些一點一點的色點是聚集的量
了一麵無限大的網（Infinity nets），代表了她的生命。她認為網狀結構
子，是黑白反相的網眼。我有一個心願，希望自己能夠掌控這些圓點，從
象徵富有生機的生命本質。
自己的位置，度量宇宙的無限。
草間彌生把藝術視為對自己精神疾病的表達，在她所有的藝術中，波點和
Throughout her life, Kusama has continuously been testing and constructing her "limitless" world. Already in her 80s, this "crazy old lady" has always been able to make waves with new trends, becoming an A-list artist with a fanatical cult following. Sporting a red bob wig and bright yellow dotted coat, her style is eye-catching and ostentatious; her eyes sparkle with creative power. She paints her own world in colorful dots, dense and strange-looking. In fact, she is “using the finite to pursue the infinite”.
無線網是最具有代表性的。《菸灰缸》這張精彩的作品中以黑、白、灰三 色呈現了草間彌生最具標誌性的兩種藝術元素。在1980年代的作品中， 草間創作了大量的三色和原色作品。這一時期畫面的主題本身大多是具體 的實物，如南瓜、高跟鞋、到蛋糕、洋裝、富士山、菸灰缸等。菸灰缸主 體由黑色經典波點圖案組成，小面積幾何圖形堆疊構成菸灰缸的底和沿。 顆粒感倍出，又大小不一，錯落排列的波點，形成如同浮雕一樣的高低起 伏的視覺動感。這種單調會讓觀眾感到茫然，進而慢慢被一種暗示與沉靜 的氣氛感染，進入「無限」的暈眩中。背景的網紋與桌面紋路成反色，使 作品平面化的表達中，也能體會出立體的遠近凹凸和觀賞情緒的變化，時 而緊張，時而舒緩。 整張作品畫的風格，大體上有點像是銅版畫上那種纖細又凝練的雕刻圖 案，或者是蓬鬆卻毫無瑕疵的蕾絲。色彩在點與線之間以強烈對比的運用 手法，正好反映出藝術家的靈活多變本質。表現技巧已經超越東方或西方 文化性的質疑，它結合了雙方的特色，是草間自己累積出來的味道。草間
In 1956, Kusama moved to New York City and emerged as a leader of avant-garde art in the United States. She co-exhibited with prominent contemporary artists such as Andy Warhol, Claes Oldenburg, and Jasper Johns. Kusama once explained that these visual features came from her hallucinations. She believed these dots formed vast “limitless nets” representing her life. She believes that the net structure symbolizes the vital nature of life.
Kusama sees art as an expression of her mental illness. Within her artwork, the most prominent motifs are dots and nets with no lines. Ashtray is a brilliant work in which two of Kusama’s most iconic artistic elements are presented in black, white and grey. In the 1980s, Kusama created a large number of tricolor and primary color works. The subjects of her works during this period were mostly concrete objects, including everything from pumpkins and highheeled shoes to cakes, dresses, Mount Fuji, ashtrays, and so on. The main body of Ashtray is composed in a classical dot pattern in black, with the bottom and edge of the ashtray defined and outlined by the background of geometric shapes. The granular texture is doubled, and the shapes are irregular sizes. The dots are randomly arranged, creating an undulating visual effect that looks like a threedimensional relief sculpture. The monochrome first leaves the viewer feeling blank, allowing the atmosphere of suggestion and silence to take effect slowly, gradually drawing the viewer into the "infinity" vortex. The net-like texture of the background is inversely colored to the pattern on the surface, allowing the work, within a twodimensional expression, to also express three-dimensionality, with far and near, concave and convex. The work evokes changing moods, sometimes tense, sometimes soothing. The overall style of the painting is somewhat like the fine, tight carvings of a copperplate, or a delicate, flawless piece of lace. The use of strong color contrast in the dots and lines perfectly reflects the artist's spontaneous nature. The technique of expression has transcended the cultural challenge of East vs. West; rather, it combines the characteristics of both sides, and demonstrates the unique style which Kusama gradually developed by herself. In her early creations, Kusama sought to first cover the canvas with a static and complete base, then add as much texture to the surface
of the base as possible, arranging micro-patterns together section by section. Because these tiny brushstrokes are time-consuming and require constant movement, the white paint dries and cracks, creating a more multilayered appearance. At the physical level, this technique can create a sense of layers of substance extending into infinity. As the artist puts it, "I want to use infinite repetition of rhythm and black and white monochrome tones to present a different ‘lighting’ and seek a new form of painting. This technique can't be interpreted in terms of traditional painting conventions, conventional comparisons, or methodology. In addition, this series of works abandons the fixed focal point and visual center of gravity; this is my original creation”. These individual dots of color are an aggregated quantum; they are holes inverted in black and white. I have a wish: I wish that I can master these dots and measure the infinity of the universe from where I stand in it.
草間彌生與其作品合照 約1962年 Yayoi Kusama with her work, c. 1962 © Yayoi Kusama Studio
Ravenel 47
020
YAYOI KUSAMA (Japanese, b. 1929)
Mt. Fuji 1982 Acrylic and collage on canvas 15.8 x 22.7 cm Signed Yayoi Kusama , titled Fuji in Japanese and dated 1982 on the reverse PROVENANCE Mainichi Auction, Tokyo, September 5, 2014, Lot 352 Private collection, Asia This painting is to be sold with a registration card issued by Yayoi Kusama Studio.
NT$ 4,600,000 - 6,500,000 HK$ 1,183,000 - 1,671,000 US$ 151,300 - 213,700 RMB 1,045,000 - 1,477,000
草間彌生 富士山 1982 壓克力 拼貼 畫布 15.8 x 22.7 cm 簽名題識畫背：富士1982 Yayoi Kusama 來源 每日拍賣，東京，2014年9月5日，編號352 私人收藏，亞洲 附草間彌生工作室開立之原作登錄卡
草間彌生《富士》1982年 壓克力 畫布 15.8 x 22.7 cm 日本富士美術館館藏作品 Yayoi KUSAMA, Mt. Fuji , 1982, acrylic on canvas, 15.8 x 22.7 cm, collection of Fujiyama Museum, Japan © FUJIYAMA Museum
Ravenel 49
「我不能獨活在這世界上，地球是一個世界，但宇宙是無邊 無際的，我相信我的生或死以及活著的意義只是宇宙裡一個 小小存在，透過藝術，我想談論一些哲理的奧秘及生命的尊 嚴，我想把我對這些東西的敬畏感，表現在我的作品裡。」 －草間彌生 I CANNOT LIVE ALONE IN THIS WORLD. THE EARTH IS ONE WORLD, BUT THE UNIVERSE IS BOUNDLESS. I BELIEVE THAT MY LIFE AND DEATH, AND THE MEANING OF LIFE ITSELF IS BUT ONE SMALL EXISTENCE IN THE UNIVERSE. THROUGH ART, I WANT TO TALK ABOUT THE MYSTERIES OF PHILOSOPHY AND THE DIGNITY OF LIFE. I WANT TO EXPRESS MY AWE OF THESE THINGS IN MY WORK. －YAYOI KUSAMA
2017年草間彌生「わが永遠の魂」（我永遠的靈魂）回顧大展在東京新國
作品中的天空、行雲、富士山、房屋、道路井然有序地被排列在一張小小
立美術館舉辦。是草間彌生藝術生涯中最大規模的個展，亦標誌著美術館
的畫面中，這個小小世界所表達出的情緒，恰恰正是草間當時的世界觀。
開館10周年的重要時刻。本展匯聚她出道初期至今繪畫、雕刻、裝置、映
那一時期的草間沒有被當時日本國內傳統藝評的眼光和無視的態度隨擊
射、小說等不同範疇的作品，反響空前。而在2015年草間彌生又曾以「わ
敗，而是將「宇宙」、「死」、「愛」這一普遍主題延伸到作品中，以立
たしの富士山」（我的富士山）為主題，繼浮世繪大師葛飾北齋和歌川廣
體方式排列圓點，營造出層次豐富的景色。大規模地去創作那些具有象徵
重為之傾倒的富士山景為之挑戰。將富士山的魅力以當代藝術的呈現手法
意識的實物，用五彩繽紛的繪畫語言去構建生活世界。再次回到故土的草
再度傳承演繹，可見富士山在日本藝術家心目中重要地位。
間彌生面對富士山，彼此相視也是對峙，是一場當代與傳統的凝視。
草間彌生自1950年代末引薦到美國，在西雅圖、紐約等地開始展露她佔有
步入1980年代，草間在這一時期的作品背景佈滿細緻的網眼，畫面的主題
領導地位的前衛藝術創作。隨著美國1960年代的嬉皮思潮興起，草間認為
本身大多是具體的實物，從南瓜、高跟鞋、到蛋糕、洋裝、富士山、煙灰
嬉皮文化中的「重返人性」理念與她的創作十分契合，也開始了她在紐約
缸等。這些作品當中完全沒有那種執念性的焦慮，反而是讓人感受到草間
的輝煌時期。就此開始將原本是精神官能症意味的圓點，詮釋成一種愛與
對物體本身的興趣與無限的愛。由此奠定了隨後的1990年代大範圍創作的
和平的代表，並沿用至今。1970年代末因為健康因素回到日本，雖為當時
「南瓜」系列。「南瓜」的出現並非偶然，正是草間在上一個時期對眾多
較保守的社會氛圍所壓抑，不過她仍然持續不間斷地創作出大量作品。
生活所見進行再創作和抽離的基礎之上，把愛、溫暖、波點匯集在人見人 愛的南瓜上，讓這一主題得以傳達出博愛的訊息。
本件《富士山》創作於1982年，正值草間在日本休養時期。作品中的紅色 富士山為這一時期較為代表的單色呈現，以日本傳統用色的紅、白兩色描 繪富士山，名曰「赤富士」。山體與天空的龜裂網紋圖案為草間早期經典 圖形的再度重現，明黃色的波點行雲讓作品瞬間活躍起來。晴空的用色大 膽而沉靜，與山體、樹林、大地之間的色彩相互獨立又融合得恰到好處。 看似相突的用色使富士山視線開闊而悠遠，與近處的房屋相得益彰卻又獨 矗於遠處，傲然升起的存在感是對生命和自然的敬畏之情。探討了時間和 宇宙等問題，令觀者思考周遭事物與自我存在的意義。
In 2017, Yayoi Kusama’s retrospective exhibition My Eternal Sou was held at the National Art Center in Tokyo. It was Kusama’s largest solo exhibition and marked the 10th anniversary of the gallery’s opening. Kusama’s paintings, sculptures, installations, projections, novels, and other works in various categories from her early career received unprecedented response. In 2015, with the theme of My Mount Fuji , Kusama undertook the challenge of presenting images of Mount Fuji
inspired by the ukiyo-e masterpieces of painters Katsushika Hokusai and Utagawa Hiroshige. The charm of Mount Fuji is reinterpreted in the form of contemporary art; the importance of Mount Fuji in the minds of Japanese artists is apparent. Kusama was introduced to the United States in the late 1950s, when she began to display her cutting-edge avant-garde artistic creations in Seattle, New York, and other cities. Kusama felt that the "return to humanity" concept of the emerging 1960s hippie culture was very much in line with her writing; this also launched her period of prominence in New York. At this point, she began using the round dot symbol that once represented neurosis and reinterpreting it as a symbol of love and peace, which she still uses today. She returned to Japan in the late 1970s because of health concerns, and although she was repressed by the more conservative social atmosphere of the time, she continued to produce a large number of works without interruption. Kusama created this Mount Fuji in 1982 during her recuperation in Japan. Mount Fuji appears in the monochrome red that is characteristic of this period. This representation in red and white, Japan’s national colors, is known as "Red Fuji". The patterning that typified Kusama’s early works reappears in the cracked pattern of the mountain and the sky, while the bright yellow dots of the drifting clouds bring the image to life. The clear sky is bold and tranquil, both standing out from and integrating perfectly with the colors of the mountains, woods, and earth. The seemingly abrupt coloration of Mount Fuji creates a visual effect of greater breadth and distance. The mountain appears both complementary to and distinct from the houses nearby. Its towering presence represents the awe of life and nature. This exploration of time and universe inspires viewers to ponder the meaning of the things around them, as well as their own existence.
The sky, clouds, mountain, houses and roads are arranged in a small tableau. The mood expressed by this small world exactly expresses the worldviews of Kusama at that time. At that time, Kusama was not defeated by Japan’s conservative critical view and dismissive attitude toward her art; instead, she extended the universal themes of "universe", "death" and "love" into her work, arranging the dots in a three-dimensional fashion to create a richly layered landscape. To create large-scale symbolic objects, she used colorful painting language to construct the living world. After returning to her homeland, Kusama faced Mount Fuji; their mutual gaze is also a confrontation, the meeting of contemporary and traditional. The backgrounds of Kusama’s works created during the early 1980s are full of fine perforations. The subjects of the images are mostly concrete objects, from pumpkins and high-heeled shoes to cakes, dresses, Mount Fuji, ashtrays, and all manner of items. In these works, there is no such obsessional anxiety at all, but rather a sense of Kusama’s interest in and unconditional love for the object itself. This laid the foundation for Kusama’s subsequent creation of the large-scale Pumpkins series during the 1990s. The appearance of Pumpkins was no coincidence. Kusama builds on the foundation of the re-creations and separations of her many observations of life over the preceding periods, using the universally-beloved image of the pumpkin to bring together love, warmth, and dots, conveying a message of love.
Ravenel 51
021
ATSUSHI SUWA (Japanese, b. 1967)
Stereotype-Japanese 02 2007 Oil and mixed media on canvas 194 x 97 cm Signed lower right with artist's signature EXHIBITED Atsushi Suwa-Solo Painting Exhibition: Realist with Compound Eyes , Sato Museum of Art, Tokyo, from January 17 to Feburary 24, 2008 ILLUSTRATED Atsushi Suwa-Solo Painting Exhibition: Realist with Compound Eyes , Sato Museum of Art, Tokyo, 2008, color illustrated, Exhibition flyer
NT$ 5,500,000 - 8,500,000 HK$ 1,414,000 - 2,185,000 US$ 180,900 - 279,500 RMB 1,250,000 - 1,932,000
諏訪敦 刻板印象－日本人02 2007 油彩 綜合媒材 畫布 194 x 97 cm 藝術家簽名右下 展覽 「諏訪敦個展－複眼的寫實」，佐藤美術館， 東京，展期自2008年1月17日至2月24日 圖錄 《諏訪敦個展－複眼的寫實》，佐藤美術館， 東京，2008，彩色圖錄，展覽折頁
佐藤美術館諏訪敦展覽摺頁 Atsushi SUWA exhibition flyer of the Sato Museum of Art, 2008
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「『藝術』與生活一致固然是理想狀態，但實際上並不順暢，讓我感 到很痛苦。很多畫家在作畫時會自我陶醉和自我膨脹，在我看來不可 思議。 作 畫 是 痛 苦 的 事 情 。 」 － 諏 訪 敦 SUWA ONCE SAID, "ALTHOUGH HARMONIZING ART WITH LIFE IS THE IDEAL, IN REALITY, THE PROCESS IS NOT SMOOTH, AND IT MAKES ME FEEL MISERABLE. M A N Y PA I N T E R S A R E S E L F - A B S O R B E D A N D S E L F - A G G R A N D I Z I N G W H E N PAINTING, WHICH I FIND INCONCEIVABLE. PAINTING IS A PAINFUL THING.” －ATSUSHI SUWA
諏訪敦，1967年出生於日本北海道，武藏野藝術大學藝術設計研究院學習 油畫。1994年，他被日本文化廳推薦到西班牙進修藝術。1995年，在西班 牙巴塞隆納基金會主辦的第五屆國際畫展上奪得頭等獎，是首位獲得此項 殊榮的亞洲藝術家。曾在日本財產保險公司S o m p o藝術館舉行的第廿二屆 精選推廣展中，他獲得「優秀獎」。諏訪敦以古典技法和個人的視角描繪 當代的主題，為常見的主題是裸女。作品除了教人驚歎地栩栩如生地描繪 對象，藝術家更重要為演出者同時繪畫出不平凡的氣氛、態度、感情、思 想、觀念，亦即此人及其這世界的故事。 諏訪敦細緻入微地描繪現實中的對象，不侷限於目之所及的表相，不吝惜 地去觀察即將被繪畫的對象本身及周遭的事物，並以似透視的角度來為原 始本象創作。在諏訪敦看來，技法是寫實，表達才是實質，像記者般以存 疑的目光搜證，走進被畫者們的生活、結識他們的經歷，力求畫布上呈現 的不僅僅是一幅肖像的皮肉，而是一個個活著的人在細說自己的故事。種 種畫布上的微細之處，均非觀眾的肉眼從慣常觀點可以捕捉得到。 諏訪敦以其天賦的超卓寫實繪畫技巧聞名，作品《刻板印象－日本人02》 採用了古典的繪畫技術，達到了宛如一部紀錄片的效果。藝術家運用特異 的技法，跨越了原本以具象繪畫為習的流派性，去嘗試著「觀看和記錄」 的擴展視感。作品中的女主角看似單調地靜坐在床前，凝重的空氣在一根 根頭髮間舒展，皮膚下血脈起伏，手臂上的髮絲隱隱若現，自然光線如一 瓢清水在身體山迴盪，懸浮於一縷綿綿的安詳。女性柔嫩的肉體看似是作 品的全部，但在手和腳上都有光影的眷顧，透過女體到背景冰冷的牆面， 似乎有某種跡象，一種由表相刻板而上升到遠超表面的印象，女主角彷彿 正在畫布上呼吸。 諏訪敦的作品重在還原生命的起伏，配以極端精緻的寫實，他所追求的恰 恰就是遠遠高於表相的重塑。他要走到目之盡頭，以至目不可及的微細沙 塵和肌理脈絡。這一切影響都來源於學業結束後，到訪西班牙之時認識的
and his unique personal perspectives to contemporary themes, with the common subject being female nudes. Suwa’s paintings are not impressive merely for their lifelike realism--more importantly, they are a platform for the artist to create an extraordinary atmosphere and articulate attitudes, feelings, thoughts and ideas. Suwa paints the story of humanity and the world. Suwa's detailed rendering of real-life objects is not limited to what he sees in front of him. He does not hesitate to observe the subject and its surroundings and apply a realistic perspective to create an original image based on it. In Suwa's view, realism is merely the technique; expression is the essence. He is like a reporter with suspicious eyes searching for evidence. He enters subjects’ lives, gets to know their experiences, and tries to recreate them, depicting not only the fleshand-blood appearance of a portrait, but also the life story of a real person. The viewer cannot perceive the fineness of the details on the canvas from the typical point of view. Suwa is famous for his natural skill in realistic painting. The work Stereotype －Japanese 02 uses classical painting techniques to achieve a documentary effect. The artist’s special application of realism transcends the genre of figurative painting and attempts an expanded visual sense of "seeing and recording." The subject appears to sit indifferently in front of the bed. Sombre air seems to fill the space between her wisps of hair; blood seems to pulse under her skin. The fine hairs on her arms are faintly visible, and the natural light reflects off of her body like clear mountain springwater. The subject appears to float in tranquility. The woman’s delicate flesh would appear to be the primary object of the work; however, the light and shadows that bathe her hands and feet tell a different story. Through the woman’s figure to the cold walls in the background, there seems to be some sign, a kind of image that rises above the surface. The heroine seems to breathe on the canvas.
馬德里現實主義畫家安東尼奧・洛佩斯・加西亞(Antonio López-García ， 1936年生)，他否認現實主義只是一絲不差地臨摹對象，這個思想深深影響 了諏訪敦。慣性的視感往往會蒙蔽我們對作品的認知，膚淺觀賞只是視覺 的享受，只有視覺乃至整體感相交融，摒棄我們以往習慣，以經驗與觀念 看待的舊世界，才可讓我們碰到諏訪敦創作的新感官世界。
Atsushi Suwa was born in 1967 in Hokkaido, Japan, and studied oil painting at the Art Design Institute of Musashino Art University. In 1994, he was nominated by the Japanese Agency of Cultural Affairs to study art in Spain. In 1995, he was the first Asian artist to win the first prize at the Fifth International Painting Exhibition hosted by the Barcelona Foundation. After returning to Japan, he was awarded the Award for Excellence at the 22nd Rising Artists Exhibition held by the Sompo Japan Museum of Art. Suwa applies classical techniques
Suwa's works focus on reconstructing the ups and downs of life; what he seeks to recreate, through the medium of highly refined realism, goes far beyond the subject’s external appearance. The artist must push the limits of his vision to depict textures too fine to be seen with the naked eye. It all started when he finished school and went to Spain, where he met Antonio López-García. A realist artist from Madrid, López-García claimed that realism was not merely copying exactly what one saw. His sentiment deeply influenced Suwa. The sense of inertia often obscures our perception of the work. Superficial appearance offers only visual pleasure. Only by integrating visual appearance with holisticness and abandoning old habitual ways of perceiving the world through experience and concept can we engage with the new sensory world created by Atsushi Suwa.
Ravenel 55
022
BERNARD BUFFET (French, 1928 - 1999)
Quatre vues de Paris - le Sacré Coeur, La Tour saint Jacques, la tour Eiffel et le moulin de La Galette (Paravant: a set of 4) 1967 Color Lithograph on wove paper, varnished/chrome frame; edition no. 30/100 164 x 204 cm Signed upper left Bernard Buffet and numbered lower right 30/100 PROVENANCE Shinwa Art Auction, Tokyo, January 23, 2010, lot 31 Private collection, Asia (Acquired from the above by the present owner) ILLUSTRATED Charles Sorlier, Bernard Buffet Lithographe, Editions Michel Trinckvel, Paris, 1979, Nos. 116-119, p. 79
NT$ 650,000 - 950,000 HK$ 167,000 - 244,000 US$ 21,400 - 31,200 RMB 148,000 - 216,000
貝爾納．畢費 巴黎風景屏風－聖心堂、聖賈各塔、 艾菲爾鐵塔、煎餅磨坊 (四件一組) 1967 彩色石版畫 烤漆鉻框 30/100 164 x 204 cm 簽名左上：Bernard Buffet 編號右下：30/100 來源 日本親和拍賣，東京，2010年1月23日，編號31 私人收藏，亞洲（購自上述來源） 圖錄 查爾斯‧索利爾，《貝爾納‧畢費石版畫集》， 米歇．坦克維爾出版社，巴黎，1979，編號116-119，頁79
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戰後的天才藝術大師：貝爾納‧畢費，對巴黎擁有深厚的情感與個人記憶。他分別 於1957年和1988年，完成以巴黎風景為主題的系列油彩畫作。1967年《巴黎風景系 列》的石版屏風之前，畢費已經於1960年與1961年先後創作過《安娜貝爾裸姿》、 《樂器》兩組紙上石版畫屏風。而後創作的《巴黎風景系列》是畢費一生最大尺幅 的風景主題石版畫作品。巴黎指標性的四座城市建築：聖心堂、聖賈各塔、艾菲爾 鐵塔、煎餅磨坊。它們代表不同年代的建築風格及歷史事件，藉由畢費精準的筆 觸，在狹長畫面上展演新一代巴黎風景，讓觀者一窺藝術大師視角的城市風貌。 屏風是中國人的發明，十五世紀開始傳入歐洲。在十七至十八世紀期間，蔚為風行 於歐洲宮廷之間。隨著建築技術的進步，屏風在空間陳設上的性質越趨於裝飾性， 更勝於實用價值。早期僅有貴族能負擔多以細木、黃銅、金箔、絲綢、等貴重材料 製成的屏風，漸漸流傳到民間後多以紙張、薄木代替。彰顯工匠精巧技藝的屏風， 經由東風西漸，日本藝術美學的傳入，啟發了法國那比畫派的藝術家皮耶．波納爾 (Pierre Bonnard) 等人對屏風創作的想像。1939年記錄巴黎風景聞名的莫里斯．尤特 里羅 (Maurice Utrillol)，以蒙馬特知名建築與景點，繪製四聯幅油畫繃於木板，連結 而成的美麗屏風。若說尤特里羅是以鵝卵石的象牙白，串連蒙馬特的山丘巷弄；那 畢費就是用奧斯曼建築的高雅灰色為印象，搭配有力的黑線條，連接起巴黎的天際 與街道。 1967年創作的《巴黎風景系列》高度164公分，四聯幅寬度展開達204公分。每張 畫幅之間，亮銀色金屬框邊相連，色彩豐富的構圖，可想見當時製作所耗費的心力 與巨大工程。畫面以透視法，將下方構圖道路延伸至中心遠處的建築物，當觀者站 立在作品前方欣賞，就彷彿漫步於巴黎街道。位於蒙馬特高地上的天主教宗座聖殿 「聖心堂」，是一座兼具羅馬與拜占庭風的折衷主義式建築。白色的圓形拱頂，好 似巴黎市藍天上的和平白鴿，守護市民心靈的和平與安寧。1889年「艾菲爾鐵塔」 於巴黎世博會開幕落成，312公尺的高度成為當時世界上最高的建築物長達四十年， 僅次於羅浮宮成為巴黎第二多人次參觀過的景點，更與塞納河岸被納入國際教科文 組織的世界文化遺產。1523年「聖賈各教堂」建成，典型的哥德式建築設計，是巴 黎右岸的指標性景點，守護著熙來攘往的繁忙街市。而風車造型的「煎餅磨坊」， 印象派大師雷諾瓦也以它作為名作《煎餅磨坊的舞會》的背景主題，畢費近一百年 後賦予這座磨坊新生命，更彰顯它在藝術史上的代表性與時代象徵意義。 An artistic genius of the post-war era, Bernard Buffet had deeply emotional and personal memories of Paris. In 1957 and 1988, he completed a series of oil paintings with the theme of Paris. Before his lithograph screen prints of the Paris Scenery series (1967), Buffet had created two sets of paper lithograph screen prints titled, Annabel Naked Posture and Musical Instrument between 1960 and 1961. Later on, the Paris Scenery series marks the largest scenerythemed lithograph Buffet ever created. They consist of four Paris landmarks: The Basilica of the Sacred Heart of Paris, Saint-Jacques Tower, Eiffel Tower, and Moulin de la Galette, which represent architectural styles and historical events from different time periods. With the precise brushstrokes of Buffet, they display a new generation of Parisian landscapes across long and narrow screens, providing viewers a glimpse of urban styles through the eyes of an artistic master.
Paravents are a Chinese invention introduced to Europe in the fifteenth century. During the seventeenth to eighteenth centuries, they became particular popular among European courts. With advancements in construction technology, the features of paravents in spatial furnishings tended to become more decorative and practical in value. In earlier periods, only members of the nobility could afford paravents comprised of fine wood, brass, gold foil, silk, and other precious materials. Gradually, they became more popular among commoners, and these materials became replaced with paper and thin layers of wood. The paravents that truly highlight an exquisite level of craftsmanship were the products of Pierre Bonnard and other artists of the Les Nabis movement in France, who were inspired by the introduction of Japanese art aesthetics. In 1939, Maurice Utrillol, who is famous for documenting Parisian scenery, used oil paint to draw famous structures and scenery of Montmartre across four wooden panels, which he then connected to form a beautiful paravent. If one were to say that Utrillol used the ivory white of cobblestones to connect the hills and alleyways of Montmartre, then Buffet used elegant gray tones of Ottoman architecture for impression matched with forceful black lines to connect the skyline and streets of Paris. Created in 1967, the Paris Scenery series stands 164 cm tall. When opened and spread out, the four panels stretch to a width of 204 cm. A bright silver metal frame connects each panel. Along with the colorful composition, the huge amount of effort and work at the time of production can only be imagined. In perspective, the image extends from the road below to the distance structure in the center. As a result, when a viewer stands in front of the work, it is as if they are walking on the streets of Paris. Located in the highlands of Montmartre, the Basilica of the Sacred Heart of the Catholic Church is an eclectic building featuring both Roman and Byzantine styles. The white dome looks like a white dove in the blue sky of Paris, guarding the peace and tranquility of the people. In 1889, the Eiffel Tower was completed for the opening of the World Expo Paris. At a height of 312 meters, it was the tallest structure in the world for forty years. After the Louvre, it became the second most visited location in Paris, and listed as a UNESCO World Heritage Site along with the shores of the Seine. In 1523, Saint-Jacques Tower was constructed. Guarding the bustling market streets, the classical Gothic architectural design is a representative landmark of the right bank of Paris.The impressionist master Pierre-Auguste Renoir also used the windmillshaped Moulin de la Galette for his background theme in the famous Bal du
moulin de la Galette . After nearly a hundred years, Buffet breathed new life into the mill, further highlighting its representative standing and periodic meaning in art history.
Ravenel 59
023
PAUL AÏZPIRI (French, 1919-2016)
Fleurs (2) Oil on canvas 55 x 46 cm Signed lower right AÏZPIRI PROVENANCE Galerie Tamenaga, Tokyo Private collection, Asia
NT$ 700,000 - 1,000,000 HK$ 180,000 - 257,000 US$ 23,000 - 32,900 RMB 159,000 - 227,000
保羅 艾斯比利 花 (2) 油彩 畫布 55 x 46 cm 簽名右下：AÏZPIRI 來源 為永畫廊，東京 私人收藏，亞洲
艾斯比利，1919年生於法國，充滿鮮豔色彩與奔放筆調的創作風格來自流 於血液中的樂天基因。他充滿個人特質的可親畫面，演化融匯自野獸派、表 現主義與立體派。1936年進入法國美術學院，24歲舉辦首次個展後名聲逐 步建立。1946年獲頒青年藝術家獎，與同為戰後最具代表性的畫家畢費、 賀貝羅等人共同展出。1950年代起受邀於各國著名畫廊舉辦個展。1996年 日本艾斯比利美術館開幕。
Born in 1919 in France, Aïzpiri was an optimistic person since birth, a disposition reflected by the vibrant colors and the unrestrained brushstrokes characteristic of his works. His signature composition, always with a touch of friendliness, is his integration of Fauvism, Expressionism, and Cubism. In 1936, he started studying at L’École des Beaux-Arts, and his reputation was built as he held his first solo exhibition when he was 24. In 1946, he won Le Prix de la Jeune Peinture, and exhibited his works along with those of the most influential post-war painters, including Bernard Buffet and Paul Rebeyrolle. From the 1950s, famous galleries all over the world started to invite him for solo exhibitions. In 1996, an Aïzpiri museum (Nakata Museum of Art) opened in Japan.
Ravenel 61
024
JEAN JANSEM (French, 1920 - 2013)
Le Danseur assis
強．詹森
1968 Oil on canvas 92.5 X 73 cm Signed lower left Jansem
舞者坐姿
PROVENANCE Galerie Matignon, Paris ILLUSTRATED Pierre Mazars, Jansem , Editions André Sauret, Monte-Carlo, 1974, black-and-white illustrated, no. 79, p. 122
1968 油彩 畫布 92.5 X 73 cm 簽名左下：Jansem 來源 馬蒂尼翁畫廊，巴黎 圖錄 皮耶．馬札爾，《詹森》，安德烈‧蘇赫出版社， 蒙地卡羅，1974，黑白圖版，編號79，頁122
NT$ 500,000 - 800,000 HK$ 129,000 - 206,000 US$ 16,400 - 26,300 RMB 114,000 - 182,000
強．詹森在1920年出生於土耳其布爾薩，是亞美尼亞裔 的法國畫家，定居巴黎，於巴黎高等裝飾藝術學院學習 繪畫。詹森在2003年獲頒法國榮譽軍團騎士勳章；2010 年獲亞美尼亞總統頒發榮譽勳章。強．詹森是少數能將 繪畫及立體雕塑表現地淋漓盡至的天才。他卓越的構圖 技巧，強調主題，簡化背景，營造想像的安靜氣氛。
Jean Jansem was a French-Ar menian painter, in Bursa, Turkey in 1920, then he attended the Ecole des Arts Decoratifs to study painting. Jansem had been awarded the Knight of the Legion of Honor in 2003 in France, and in 2010 the Medal of Honor by the President of the Republic of Armenia. Jean Jansem was one of the few virtuosos who were able to perfectly instill the atmosphere of a painting into the three-dimensional expression of sculpture. His outstanding structural technique emphasizes the subject and simplifies the background in order to create an imagined quietude.
強 詹森《模特兒睡姿》1960年 油彩 畫布 130 x 97 cm 羅芙奧2017春季拍賣會 編號036 台幣 1,680,000 成交 Jean JANSEM, Modèle endormi , 1960, oil on canvas, 130 x 97 cm Ravenel Spring Auction 2017, lot 036, US$ 55,814 sold
Ravenel 63
025
TADASHI KAMINAGAI
上永井正
(Japanese, 1899 - 1982)
海景
Seascape
油彩 畫布 46 x 55 cm 簽名畫背：T Kaminagai
Oil on canvas 46 x 55 cm Signed T Kaminagai on the reverse PROVENANCE Private collection, Brazil Private collection, Asia This painting is signed and certified by the artist’s wife Mineko Kaminagai on the reverse.
NT$ 70,000 - 110,000 HK$ 18,000 - 28,000 US$ 2,300 - 3,600 RMB 16,000 - 25,000 上永井正，1899年生於日本廣島。1927移居法國，定居巴 黎。在巴黎期間經常與亨利．馬諦斯、皮爾．波納爾、藤田 嗣治等人在郊外寫生。戰爭期間回到日本，之後1941年轉居 里約熱內盧，在巴西獲得國立美術館藝術沙龍銀獎，是1938 年以來第二位獲得此殊榮的日本人。此外，他亦擔任巴西國 家藝術展的評委一職。
來源 私人收藏，巴西 私人收藏，亞洲 藝術家妻子 Mineko Kaminagai簽名於畫背保證此畫 為原作（1985年） Masahiro Nagai was born in Hiroshima, Japan in 1899. The artist moved to France in 1927 and settled in Paris. During this period in Paris, he often sketched in the suburbs with Henri Matisse, Pierre Bonnard, and Léonard Tsugouharu Foujita. He returned to Japan during the war, then moved to Rio de Janeiro in 1941 as he won the Silver Award at the National Gallery of Art Salon in Brazil. He was the second Japanese to have ever received this honor since 1938. He also served as the committee member of the National Art Exhibition in Brazil.
026
ERWIN DOMINIK OSEN
艾爾文－多明尼克．歐森
(Austrian, 1891 - 1970)
女孩與貓
Girl with Cat
1954 油彩 畫布 48.5 x 48.5 cm 簽名右下：ERWIN DOM OSEN 1954 VIENNA
1954 Oil on canvas 48.5 x 48.5 cm Signed lower right ERWIN DOM OSEN , dated 1954 and inscribed VIENNA
NT$ 160,000 - 240,000 HK$ 41,000 - 62,000 US$ 5,300 - 7,900 RMB 36,000 - 55,000 歐森是奧地利二十世紀初期，知名劇場畫家與啞劇藝術 家，奧地利國寶畫家埃貢‧席勒的好友，早期兩人多互 相影響創作風格，並對醫學病理的藝術表達方法有所探 究。歐森的創作形式主題多變，常以當時流行之風格融 合自身特色，深受象徵主義、奧地利分離主義與表現主
Osen was a well-known theater painter and mime artist of the early 20th century in Austria. He was a closed friend of Austrian painter Egon Schiele. In the early days, the two men had an influence on each other’s creative style and explored the artistic expression methods of medical pathology. Osen’s creative form includes a variety of themes, often blending the characteristics of his style with the style that was popular at the time. He was influenced by Symbolism, Vienna Secession, and Expressionism. The color and brushwork also reveal a romantic style of Impressionism developted in the mid to late 19th century.
義影響。用色與筆觸，也帶有十九世紀中後期印象派發 展之浪漫風格。
Ravenel 65
027
玉木勇治
玉木勇治，1916出生。戰後移居南美洲，
(Japanese-Brazilian, 1916 - 1979)
靜物
是在巴西畫壇活躍的日系藝術家。1935年
Still Life
約1952年 油彩 畫布 46 x 38 cm 簽名右上：Y. Tamaki
YUJI TAMAKI c. 1952 Oil on canvas 46 x 38 cm Signed upper right Y. Tamaki PROVENANCE Private collection, Brazil Private collection, Asia
NT$ 70,000 - 110,000 HK$ 18,000 - 28,000 US$ 2,300 - 3,600 RMB 16,000 - 25,000
來源 私人收藏，巴西 私人收藏，亞洲
在半田知雄的倡導之下，以相互促進學習為 主旨，與高岡由也、田中重人、富岡清治創 建聖保羅美術研究會，即「聖美會」。當時 這些藝術家們在聖保羅街上畫肖像畫，艱苦 地相互鼓勵地生活和創作，他們受波蘭藝術 家布魯諾 萊昂斯奇影響，與其亦師亦友認 真研習繪畫。並與藝術家高岡由也一起在美 術館等地臨摹當地繪畫藝術，到野外寫生， 對景物和建築頗有特長。2016年正值藝術 家誕辰100週年之際在聖保羅州恩布市文化 中心舉辦紀念繪畫展。
028
YUJI TAMAKI
玉木勇治
(Japanese-Brazilian, 1916 - 1979)
水果靜物
Still Life with Fruits
油彩 畫布 38 x 46 cm 簽名左下：Y. Tamaki
Oil on canvas 38 x 46 cm Signed lower left Y. Tamaki PROVENANCE Private collection, Brazil Private collection, Asia
NT$ 70,000 - 110,000 HK$ 18,000 - 28,000 US$ 2,300 - 3,600 RMB 16,000 - 25,000
來源 私人收藏，巴西 私人收藏，亞洲
B o r n i n 1916, Yu j i Ta m a k i i s a J a p a n e s e artist, who was active in Brazilian art scene after the war. In 1935, under the advocacy of Masahiro Handa and with the purpose of mutual progression, the Sao Paulo Art Research Association was established along with members such as Takaoka Yuya, Tanaka, a n d To m i o k a . A t t h a t t i m e , t h e s e a r t i s t s painted portraits on the streets of São Paulo, and encouraged each other during hardships. They were influenced by Polish artist Bruno Leonschi, who later became their mentor and friend. Together with artist Takaoka Yuya, Tamaki visited local galleries and study works of prestigious artists to develop his own architectural sketches and natural scenery painting skills. In 2016, an exhibition at the Cultural Center of Embu City, São Paulo State was held on the occasion of Tamaki’s 100th birthday anniversary.
Ravenel 67
029
CLAUDE SCHÜRR
克勞德．索爾
(French, 1921 - 2014)
濱海自由城風景
La Darse de Villefranche
油彩 畫布 54 x 65cm 簽名左下：CLAUDE SCHURR
Oil on canvas 54 x 65cm Signed lower left CLAUDE SCHURR PROVENANCE Private collection, Taiwan
NT$ 130,000 - 190,000 HK$ 33,000 - 49,000 US$ 4,300 - 6,200 RMB 30,000 - 43,000 克勞德．索爾，1921年生於法國巴黎，1956年成為國立 高等應用美術及工藝學院的教授，1962-1968年任國立 高等美術學院評審委員，1969年與讓-馬克西姆‧荷隆吉 一同創立皇港美術學院。作品風格介於立體派及印象派 之間，兼具具象與抽象特質，以獨特的個人藝術語彙， 表現出色彩繽紛而充滿現代感的繪畫。1975年獲頒法國 國家藝術與文學騎士勳章。
來源 私人收藏，台灣 Born in 1921 in Paris, Claude Schürr became a professor at the École nationale supérieure des arts appliqués et des métiers d'art in 1956. From 1962 to 1968, Schürr was a jury member of the École nationale supérieure des beaux-arts de Paris, and in 1969, he founded the Académie de Port-Royal with Jean-Maxime Relange. Schürr’s work shows both cubist and impressionist characteristics, taking the path between figurative and abstract. Based on a unique and personal artistic language, these colorful paintings demonstrate a keen interest in expressing modernity. He received the Chevalier des Arts et des Lettres in 1975.
030
FUKAO RIKIZO
深尾力三
(Japanese, b. 1946)
2006-P30-5
2006-P30-5
2006 油彩 畫布 65 x 92 cm 簽名左下：Rikizo
2006 Oil on canvas 65 x 92 cm Signed lower left Rikizo PROVENANCE Private collection, Asia
NT$ 240,000 - 360,000 HK$ 62,000 - 93,000 US$ 7,900 - 11,800 RMB 55,000 - 82,000 深尾力三，1946年出生於日本群馬縣。於1971年遷 居至巴黎。作品現藏於倫敦大英博物館、日內瓦市 等地。其畫作結合歐洲傳統油畫以及日本傳統印刷 工藝的精神，創作出特殊的質地及紋理。在具有張 力的幾何形構圖中，呈現出富現代感的禪意。作品
來源 私人收藏，亞洲 Rikizo Fukao was born in Gunma Prefecture in 1946. Fukao moved to Paris in 1971. His works have been collected by the British Museum in London, the Geneva City and others. Combining the material of European traditional oil paintings and Japanese traditional printmaking techniques, the artist managed to create a unique sense of texture. The tension of the artwork was created by the large geometric composition, of which a modernized “Zen” spirit were exhibited. The outstanding and profound artworks were especially popular among European and Japanese collectors.
大器且深刻，因而頗受歐洲及日本藏家青睞。
Ravenel 69
031
GABRIEL GODARD
加布里埃爾．戈達
(French, b. 1933)
有籃子的靜物
Nature morte au panier
1965 油彩 畫布 73 x 92 cm 簽名左下：G. Godard 65 簽名題識畫背：G. Godard nature mort au panier 23
1965 Oil on canvas 73 x 92 cm Signed lower left G. Godard and dated 65 Signed on the reverse G. Godard and titled nature morte au panier 23. PROVENANCE Private collection, Taiwan
NT$ 120,000 - 180,000 HK$ 31,000 - 46,000 US$ 3,900 - 5,900 RMB 27,000 - 41,000 戈達是素人藝術家，1933年出生於法國東部的德盧茲， 1986年起，轉為抽象風格，作品用色鮮明、結構簡單。戈 達的作品為各地藏家所購得，遍及法國及世界各地。作品 亦收於龐畢度中心及巴黎現代藝術館。近期展覽：2012年 巴黎秋季沙龍及2018年展覽於勒普利岡貝爾納. 波許美術 館。獲獎紀錄如：1958年獲法國費內昂獎、1977年受法 國藝術與文學騎士勳章、2009 獲泰勒基金會獎等。
來源 私人收藏，台灣 Gabriel Godard was, a self-taught French artist, born in 1933 in Delouze, France. Since 1986, his work has become abstract and characterized by bright color and simple structure. His artworks are part of different private collections that can be found all over the world ; public collections including Pompidou Center and Musée d’art moderne de Paris. Recent exhibitions: 2012 La Salon d’Automne, Paris, France; 2018 Musée Bernard Boesch, Le Pouliguen. Awards: 1957 The Fénéon Price; 1977 Chevalier des Arts et des Lettres; 2009 Prix Fondation Taylor, etc.
032
JEAN FUSARO (French, b. 1925)
Fête de nuit - Riva degli Schiavoni, Venise 1969 Oil on canvas 73 x 100 cm Signed lower right Fusaro Signed Fusaro , titled Fête de nuit - Riva degli Schiavoni, Venise and dated 1969 on the reverse PROVENANCE Private collection, Asia
NT$ 400,000 - 600,000 HK$ 103,000 - 154,000 US$ 13,200 - 19,700 RMB 91,000 - 136,000 讓．費沙羅， 1925 年出生於法國馬賽，曾就讀里昂高等美術 學院，並獲得多項大獎肯定，如：蒙頓雙年展大獎、費內翁 大獎及青年畫家大獎。 1950 年後，受邀參加巴黎、東京、 紐約等世界各地的展覽。早期與科達沃茲及杜菲穆斯三人齊 為「里昂畫派」，隨後也成為「巴黎新具象畫派」的代表人 物，受後印象派和那比派對光學在畫面上的表現的影響。法 國巴黎市立美術館，日本山形美術館，日本名古屋美術館及 各地私人藏家皆有收藏。
讓．費沙羅 威尼斯嘉年華 1969 油彩 畫布 73 x 100 cm 簽名右下：Fusaro 簽名年代題識畫背：Fête de nuit - Riva degli Schiavoni, Venis 1969 Fusaro 來源 私人收藏，亞洲 Born in Marseille, France in 1925, Jean Fusaro studied in the École nationale supérieure des Beaux-Arts de Lyon (National School of Fine Arts in Lyon) and he won various awards, including the Biennale de Menton, Prix Fénéon and the Prix de la Jeune Peinture . He has been invited to the exhibitions in Paris, Tokyo, New York and various cities since 1950. Fusaro, in his early years, was regarded as an important member of the “Lyon School,” along with A. Cottavoz and J. Truphemus. Later, Fusaro also became representative painters of the Parisian Neo-Figurative School. They were influenced by PostImpressionism and the expression of light in the works. Fusaro's works are well-acclaimed, collected in the City of Paris Museum of Fine Arts, the Yamagata Museum, the Nagoya City Art Museum, and by various private collectors.
Ravenel 71
033
GUY BARDONE
居．巴赫東
(French, 1927 - 2015)
希臘風景
Les Poules dans la rue, Serifos
1992 油彩 畫布 61 x 37.5 cm 簽名右下：Bardone 簽名題識畫背：Bardone Les Poules dans la rue, Serifos 92
1992 Oil on canvas 61 x 37.5 cm Signed lower right Bardone Signed Bardone , titled Les Poules dans la rue, Serifos and dated 92 on the reverse PROVENANCE Private collection, Germany
NT$ 130,000 - 190,000 HK$ 33,000 - 49,000 US$ 4,300 - 6,200 RMB 30,000 - 43,000
來源 私人收藏，德國 居．巴赫東出生於東法的聖克勞德，就讀巴黎國立高等裝飾藝術 學校，向莫里斯．布立風頌、朱爾斯．卡瓦耶、弗朗索瓦．德努 瓦耶等大師學習，是法國新具象畫派的關鍵成員之一。1953年， 受邀參與巴黎加列拉宮時尚博物館的重要聯展。1986年，在雪儂 梭堡展開大型回顧展。1952年獲法國學院藝術評論獎，1957年獲 格林希爾茨基金獎。作品典藏於巴黎市現代美術館、龐畢度藝術 中心、日本山形美術館以及台南奇美博物館。
034
GUY BARDONE
居．巴赫東
(French, 1927 - 2015)
普羅旺斯黃色之樹
Sanary à l’arbre jaune, Provence
1992 油彩 畫布 73 x 60 cm 簽名右下：Bardone 簽名題識畫背：Bardone, Sanary à l'arbre jaune, Provence 92
1992 Oil on canvas 73 x 60 cm Signed lower right Bardone Signed Bardone , titled Sanary à l’arbre jaune, Provence and dated 92 on the reverse PROVENANCE Private collection, Germany
NT$ 180,000 - 260,000 HK$ 46,000 - 67,000 US$ 5,900 - 8,500 RMB 41,000 - 59,000
來源 私人收藏，德國 Guy Bardone was born in Saint Claude, in eastern France. He studied under the master Maurice Bianchon, Jules Cavailles and François Desnoyer in the Ecole National Supérieure des Arts Decoratifs in Paris. Bardone is one of the important members of the French New Figurative Art. In 1953, Bardone was invited to participate in a group exhibitions at the Musée Galliera in Paris. In 1986 he had a great personal retrospective at the famous Château de Chenonceau. Some of the award he had won includes the price of Félix Fénéon in 1952 and the price of the Greenshields Foundation in 1957. Bardone’s work was collected by National Museum of Modern Art in Paris, Centre Georges Pompidou, Yamagata Museum of Art in Japan, and Chimei Museum in Taiwan. Ravenel 73
035
BERNARD CHAROY (French, b. 1931)
Louise à Paris 1999 Acrylic on canvas 60 x 73 cm Signed lower right Bernard Charoy Signed on the reverse Bernard Charoy and dated 1999 PROVENANCE Private collection, Luxembourg This painting is to be sold with a certificate of authenticity signed by the artist.
NT$ 340,000 - 500,000 HK$ 87,000 - 129,000 US$ 11,200 - 16,400 RMB 77,000 - 114,000
貝爾納．夏洛瓦 巴黎的露易絲 1999 壓克力 畫布 60 x 73 cm 簽名右下：Bernard Charoy 簽名年代畫背：Bernard Charoy 1999 來源 私人收藏，盧森堡 附藝術家簽名之原作保證書
貝爾納．夏洛瓦，1931年5月26日出生於法國東部洛林省的大南。以柔和的女性 肖像畫最為人所知，風景作品細膩而頗富詩意情調。夏洛瓦於1955年，開始在巴 黎蒙馬特工作室與當地藝術家一同工作，並向藝術家、畫家、設計師學習繪畫及 版畫。1960年代起，接受新聞及雜誌社委託，特別為媒體完成許多旖旎之作。其 油畫作品則更加柔美浪漫、風光明媚，廣受青睞。自1970年代起至今，夏洛瓦 受邀於各地展出，其足跡遍佈全球：紐約藝術展、德國科隆、日本東京、台灣台 北、新加坡、法國坎城、比利時安特衛普等地。
Bernard Charoy was born on May 26th, 1931 in Nant le Grand, Lorraine region, East of France. Charoy is famous for his portraits of women. The delicate enchanting sentiment features in his poetic landscape works as well. In 1955, Charoy began to work at the Montmartre Studio, where he studied painting and lithography from the local artists, painters and designers. In the 1960s, Charoy had accepted consignments from news and magazine agencies to create attractive artwork especially for the press media. Since 1970s, Charoy’s work have been exhibited around the world, including the United States, Germany, Japan, Taiwan, Singapore, France and Belgium.
Ravenel 75
036
CLAUDE WEISBUCH
克勞德．維士巴修
(French, 1927 - 2014)
顫音 (小提琴家)
Vibrato
油彩 畫布 92 x 73 cm 簽名右下：Weisbuch
Oil on canvas 92 x 73 cm Signed lower right Weisbuch PROVENANCE Galerie Tamenaga, Tokyo Private collection, Asia
NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,500 - 15,800 RMB 73,000 - 109,000 克勞德．維士巴修，1961年獲得藝評家大獎。他用色 少但線條流暢，以獨特的筆法來表現肢體的律動，表現 動感，經常取材自樂師的演奏來畫，或是義大利假面舞 劇中的駝背丑角、法國木偶劇中的滑稽人物等，作品為 全球重要機構和美術館收藏，包括紐約現代美術館、巴 黎龐畢度中心等。
來源 為永畫廊，東京 私人收藏，亞洲 Claude Weisbuch won the Critics' Prize in 1961. He reduced the use of colors while making the strokes smoother. He used unique strokes to express bodily movement, and often chose performances with musical instruments, hunchbacked clowns in Italian masquerades as subjects of his paintings. Weisbuch’s works is widely collected by major institutions and museums of the world, including New York Modern Museum of Art, Centre Pompidou in Paris and more.
037
BERNARD CHAROY
貝爾納．夏洛瓦
(French, b. 1931)
安娜貝爾
Annabel
2015 油彩 畫布 65 x 54 cm 簽名右下：Bernard Charoy
2015 Oil on canvas 65 x 54 cm Signed lower right Bernard Charoy PROVENANCE Private collection, Asia
來源 私人收藏，亞洲 附藝術家親筆簽名之照片保證書
This painting is to be sold with a certificate of authenticity signed by the artist.
NT$ 340,000 - 500,000 HK$ 87,000 - 129,000 US$ 11,200 - 16,400 RMB 77,000 - 114,000
Ravenel 77
038
ANDRÉ COTTAVOZ (Spanish-French, 1922 - 2012)
La Grande plage de Cannes c. 1998 Oil on canvas 60 x 92 cm Signed lower left COTTAVOZ Signed Cottavoz and titled on the reverse LA GRANDE PLAGE DE CANNES PROVENANCE Mallet Japan Inc., Tokyo, 28 January, 2011, Lot 293 Private collection, Asia
NT$ 1,000,000 - 1,500,000 HK$ 257,000 - 386,000 US$ 32,900 - 49,300 RMB 227,000 - 341,000
安 德烈．科達沃茲 坎城海景 約1998年 油彩 畫布 60 x 92 cm 簽名左下：COTTAVOZ 簽名題識畫背：LA GRANDE PLAGE DE CANNES COTTAVOZ 來源 Mallet拍賣，東京，2011年1月28日，編號293 私人收藏，亞洲
安德烈．科達沃茲，生於1922年，1939年他進入里昂美術學院，並於 1945年起就受邀於各地展覽其繪畫作品。1950年代起，科達沃茲與費 沙羅、夏瀚、杜菲穆斯，被稱為「里昂新具象」畫派。受那比畫派波納 爾影響，科達沃茲相當注重光影的變化，他使用厚重的鮮豔顏料在畫面 上製造出自然的陰影效果。藝術家於1953年獲得費內翁藝術大獎，之 後更得到國家繪畫大獎及蒙頓雙年展獎的肯定。其作品更為國際美術館 收藏，包括法國龐畢度中心、巴黎市立現代美術館、日本山形美術館、 日本新大谷美術館及台南永都美術館等。
Born in 1922, André Cottavoz entered Lyon Fine Arts school in 1939 and his work has been wildly exhibited since 1945. With J. Fusaro, P. Philibert-Charrin, J. Truphémus, they have been called called New Figuration of School of Lyon or Sanzisme since 1950 years. Influenced by Pierre Bonnard, Cottavoz is devoted to the light, using thick pigment with pastel tint to create the natural shadow on the painting. Cottavoz obtained the prize Fénéon in 1953 and also awarded by the Prix national de Peinture and Biennale de Menton. Cottavoz's work is collected by Center Pompidou, Musée d'art moderne de la Ville de Paris, Yamagata Museum of Art, the New Otani Museum and Yung-Tu Museum of Art in Tainan, Taiwan.
Ravenel 79
039
ANDRÉ BRASILIER (French, b. 1929)
Hyde Park en Automne 1972 Oil on canvas 60 x 81 cm Signed André Brasilier , titled Hyde Park en Automne and dated 1972 on the reverse PROVENANCE Mallet Japan Inc., Tokyo, 24 April, 2015, Lot 288 Private collection, Asia
NT$ 1,700,000 - 2,600,000 HK$ 437,000 - 668,000 US$ 55,900 - 85,500 RMB 386,000 - 591,000
安德烈．布拉吉利 秋日海德公園 1972 油彩 畫布 60 x 81 cm 簽名右下：André Brasilier 簽名題識畫背：André Brasilier Hyde Park en Automne 1972 來源 Mallet拍賣，東京，2015年4月24日，編號288 私人收藏，亞洲
Ravenel 81
「我非常喜愛這種動物 (馬)，尤其是牠的美麗及與生俱來的和 諧。牠們在自然中帶來一種規模感，能夠和天際或海岸線，互相 對映 成一種有趣的比例。」－布拉吉利 “I LIKE THIS ANIMAL [HORSES] VERY MUCH, ESPECIALLY THEIR NATURAL SENSE OF BEAUTY AND HARMONY. THEY EXHIBIT A SENSE OF SCALE IN NATURE AND SHOW INTERESTING PROPORTIONS AGAINST THE SKYLINE OR COASTLINE.” －ANDRÉ BRASILIER
布拉吉利出生於1929年法國昂儒的索米爾鎮，雙親皆為畫家。1949年進
《秋日海德公園》 繪於1972年，是為布拉吉利風華正茂時期，以英國
入法國國立美術學院，師承莫里斯‧布里列松。1952年榮獲佛羅倫斯布
倫敦海德公園為背景主題。高聳的樹木，分列錯落，樹幹的粗細，由
魯蒙梭大獎，隔年他的繪畫更得到羅馬大獎肯定。1960年首次於巴黎的
左至右漸增，營造出景觀的遠近感。現實中矗立的枝幹，柔軟如藤蔓
維爾畫廊舉行展覽。應不同畫廊及博物館邀請，之後連年於世界各地巡迴
向上延伸，形成畫面的流動感。輕騎群穿梭於樹林，藝術家用剪影的
展覽。1980年於法國雪儂梭城堡，舉行第一次個人回顧展，2005年更於
手法，毋需描邊，僅勾勒輪廓，自然形成遠景。活靈活現的生命力，
世界四大博物館－聖彼得堡冬宮，為期三個月的盛大回顧展。
來自發揮油彩延展特性，舒張得宜的運筆。畫筆的塗抹、揮灑，堆疊 出樹影層次，看似揮灑的隨意，其實是畫家經過多年創作，內化於腦
布拉吉利受到浮世繪與表現主義影響，創作理念專注於傳達，一物一景所
海與身體記憶的自然回應。此幅金風颯颯，落英繽紛的海德公園美
伴隨的精神感受。對自然之美的傾慕，藝術家用一生的熱情去禮讚。筆下
景，果真是布拉吉利完美的代表性畫作。
出現的寬闊海景與森林，用變化的色彩，表達時序的轉換，濃、淡交織， 傳達不同的畫面情緒。利用「形」的簡約，大量簡化細微的構築和繁瑣， 集中觀者想像力。他描繪的對象多是女人、音樂家與駿馬，是藝術史脈絡 常見且為人熟悉的題材，但是因為自身風格獨特，每每都能讓觀者過目不 忘，留下深刻印象。風格浪漫，如一陣撲鼻的花香，觀者內心，吹進波波 漣漪，醉心其高雅的藝術情懷。 人類的歷史，處處得見駿馬的身影，牠們是力量、速度與財富地位的象 徵。其高貴的意義，延續了千年，深深烙印在藝術史的洪流。家學淵源的 布拉吉利，自小生長在莊園裡，接觸這些高尚可人的動物。不同於前代大 師，傑克－路易‧大衛在《拿破崙跨越聖伯納隘道》或是郎世寧的《八駿 圖》推崇駿馬壯美、華貴的形象。布拉吉利擅長畫馬，但是他減去龐大量 感與肌理，僅留下牠們的靈巧和敏捷。再用優雅輕巧的手法，點綴在寫意 的風景之中。
André Brasilier was born in 1929 in Saumur, Anjou, France. Both of his parents were painters. In 1949, he entered the École nationale supérieure des Beaux-Arts in France and studied with Maurice Brianchon. In 1952, he won the Florence Blumenthal Prize Award and, in the following year, the Grand Prix de Rome of painting. In 1960, he held his first exhibition in Galerie Weil in Paris. In the following years, he was invited by various galleries and museums to hold exhibitions around the world. In 1980, he held his first retrospective at the Château de Chenonceau, France. In 2005, he held a grand retrospective in one of the four major museums in the world, the Hermitage Museum in Saint Petersburg, Russia, that lasted for three months.
B ra silier wa s inf luenced by uki yo -e and expression ism. H is creative concept focuses on conveying the spiritual perceptions accompanying objects and scenery. Throughout his life, he drew from his passionate worship of the beauty of nature. He has depicted vast ocean scenes and forests, using variations in color to express the changes of time and seasons. With interwoven heavy and light colors, he expresses different emotions in the pictures. He sought simplicity in form, simplifying detailed constructs and complexity to a great extent to bring a focus to the imaginations of viewer. What he portrays are often women, musicians, and horses—topics common in art history and familiar to the viewer— but because of his unique style, his paintings create profound impressions that remain impressed in the minds of viewers. His romantic style is like the fragrance of flowers blowing into viewers’ hearts, intoxicating them with his elegant art sentiment.
Painted when Brasilier was in his prime, Hyde Park en Automne (1972) features the background and theme of Hyde Park in London, England. Staggered, towering trees and the increasing thickness of tree trunks from left to right create a sense of perspective in the scene. The trunks, though rigid in reality, are as supple as vines in the painting as they expand upward, creating a sense of fluidity throughout the picture. A group of horse riders passes through the woods. The artist uses the silhouette technique not to present details but only to depict outlines, which naturally formi the background. The vivid life force comes from the diffusion of oil paints and the painter’s proper control of the brushes, which paint, sway, and stack the layers of the trees and shadows. The seemingly random strokes are in fact the painter’s natural responses from internalized techniques and muscle memory after creating art for many years. This beautiful golden scene of Hyde Park with colorful foliage is indeed a representative painting of Brasilier.
Human history is filled with the traces of horses. Horses symbolize power, speed, wealth, and status. Their noble significance has lasted for over a thousand years, leaving a profound influence on art history. Growing up in a country manor, Brasilier was i n f re q u e n t c o n t a c t w i t h t h e s e n o b l e a n d f r i e n d l y a n i m a l s . Masters of the previous era, such as Jacques-Louis David, who composed Bonaparte crossing the Grand Saint Bernard , and Giuseppe Castiglione, who painted Eight Horses , emphasized the magnificence and luxury of horses. In contrast, Brasilier reduced the grand sense of mass and the muscle texture to focus on the intelligence and agility of horses. He uses elegant and light touches to place horses in a freehand scenery.
Ravenel 83
040
BERNARD BUFFET (French, 1928 - 1999)
Portrait d'homme au foulard 1954 Oil on canvas 92 x 60 cm Signed lower right Bernard Buffet and dated 54 PROVENANCE Galerie Drouant-David, Paris Anon. sale, Christie's, New York, November 9, 2000, lot 197 Christie’s New York, September 12, 2007, lot 98 K-Auction, Hong Kong, October 4, 2015, lot 67 Private collection, Asia
NT$ 1,800,000 - 2,800,000 HK$ 463,000 - 720,000 US$ 59,200 - 92,100 RMB 409,000 - 636,000
貝爾納．畢費 圍領巾的男人 1954 油彩 畫布 92 x 60 cm 簽名右下：Bernard Buffet 54 來源 大衛畫廊，巴黎 佳士得拍賣，紐約，2000年11月09日，編號197 佳士得拍賣，紐約，2007年9月12日，編號98 K-Auction，香港，2015年10月4日，編號67 私人收藏，亞洲
藝術家與其自畫像作品 （攝於1950年代） Artist Bernard Buffet standing next to a self-portrait. Photo courtesy of © ADAGP, Paris / Bernard Buffet
Ravenel 85
生於1928年，畢費十八歲就在藝壇中第一次正式亮相，展出於「三十歲未滿的 畫家沙龍」。青年歲月經歷二次大戰的畢費，人物描寫多是譴責戰爭慘忍，描 繪經歷戰亂、害怕、貧窮，人們內心煎熬痛苦的主題。1948年榮獲「藝評大 獎」（Prix de la Critique）的最高榮譽，而且多幅作品被當時藝術界最具權威 的收藏家吉哈登博士（Dr. Maurice Girardin）收藏，打響了年輕畢費的名聲。 摯友皮耶・貝爾傑（Pierre Bergé）在1950-1958年間，是畢費青年時期最為有 力的見證者之一。他擁有多幅畢費的早期代表性畫作，2016年底展出於巴黎市 立美術館的畢費回顧展。依據貝爾傑的描述，從年輕時期畢費創作的速度就非 常迅速，無論是大尺幅或是小型的作品，下筆時腦海都已有完整的構圖。無論 何時何地，他都能克服環境條件進行創作，就為了捕捉瞬息即逝的靈感。 1954年大衛畫廊推出名為《室內》的畢費年度展覽。同年內，畢費也完成許多 自畫像與代表性作品，如：耶穌受難、戰爭之慄、倒吊的牛肉等系列。並受邀 於巴黎知名的夏邦提耶畫廊展覽，而該畫廊也在四年後舉行畢費生平的第一次 個人回顧展。遠離巴黎的喧囂，外人止步的工作室，讓畢費能夠日以繼夜的創 作。不管多大尺幅，他習慣將畫布直接釘於牆上，在凌亂的桌面上調製油彩， 創作完成後才繃上畫框。風格也逐漸脫離1945年以來，鉛筆細線與灰白色調。 1950年代的作品，畢費多先用墨線勾勒輪廓，逐漸加深的色調和粗黑線條，也 就成為畢費最具個人風格的創作特徵。 同時期，畢費的筆下人物，有一種統一的規律，畫面的色系與構圖幾近模組 化，讓觀眾能一眼辨識他的作品。畫家慣用右手，偏好描繪人物左側，四分之 三邊的側臉，就像他常對鏡子完成的自畫像。具體指名的人物肖像，多為側身 坐姿；身穿相仿的西裝衣著，雙腳交叉，而兩手安於腿上或單手托腮，僅有面 容的修改，能夠辨識人物的身份。室內背景陳設簡單，常用單一角的桌面或是 椅子。獨特之處是偶爾出現在畫面背景，表達以工作室為背景的細木條畫框。 「自畫像」這個人物主題，不僅能定位藝術家的風格與歷史地位，更是後人用 來剖析藝術家內心狀態，期盼塑造於世人的自我形象。畢費外在形象鮮明，一 生創作過的許多自畫像，反應各階段的風格與精神狀態。1954年完成的《圍領 巾的男人》，背景簡潔，暗藍色碎花壁紙，凸顯中心主角的正面頭像。雙肩斜 削下沈，梗直有力的頸部近乎僵硬。刻意放大的頭部比例，完整聚焦人物的傳 神表情。一綹髮絲垂落前額，抬頭紋縱橫。淚溝深刻，雙眼瞳孔迷離，仿若酒 醉者的渙散。細如尖刺的鼻樑，拉長臉部線條，兩側法令紋深刻，嘴角下撇， 微露門齒。不修邊幅的衣領外翻，身著男性勞動者，經常穿著的粗布襯衫與工 作領巾。而這些特徵，都是同年完成的其他自畫像重複出現的元素與風格。 當年二十六歲的年輕畢費，透過報章雜誌可以知道，他的外在形象鮮明，個性 非常羞澀。對於創作，卻是非常有想法及動機。創作力正盛，不斷完成大型極 具衝擊性的主題畫作。畫家渴望在世人眼中，留下如詩人蘭波，那生活不羈、 隨興而才華洋溢的形象。知名藝評安德烈・沃羅，就曾於費加洛日報評論當年 的畢費，作品風格是以一種近乎不適當的形象震撼藝術界。然而，迫切需要新 世代突破以往，從戰爭傷痛中恢復的法國，畢費呼應存在主義精神，刻劃深層 人性的創作，無外乎就是一道強而有力的強心針。因此，在精華年代1954年 完成的《圍領巾的男人》，更可視為法國戰後代表性天才藝術家－貝爾納‧畢 費，一展蓬勃抱負的激昂傑作。
Born in 1928, Bernard Buffet was 18 years old when he made his first official appearance in the art world at the Salon des Moins de Trente Ans exhibit in Paris’s Gallery of Fine Arts. Having experienced the suffering of two world wars, Buffet reflected this theme in his work. His portraits condemn war and depict the human experience of war: suffering, fear, poverty, and pain. In 1948, Buffet won the prestigious Prix de la Critique, and many of the works were collected by collector Dr. Maurice Girardin, a major authority in the art world; as a result, Buffet became a well-known artist early in life. Buffet’s close friend Pierre Bergé was one of the most influential people to witness the young artist’s development from 1950-1958. He owns several important early paintings by Buffet, which were exhibited at the Metropolitan Museum of Art in Paris at the end of 2016. According to Bergé, Buffet was a prolific painter from a young age, producing both large and small works with mature and thoughtful composition. Driven by relentless creativity, Buffet worked at his art heedless of the time and conditions to capture fleeting inspiration. In 1954, the David Gallery launched its annual exhibition, Interior . In the same year, Buffet completed many self-portraits and representative works, such as La Passion du Christ, Horreur de la guerre, Boeuf écorché, etc. He was invited to exhibit at the prestigious Galerie Charpentier in Paris; four years later, the gallery also held Buffet’s first solo retrospective. Away from the hustle and bustle of Paris, in a studio closed to the public, Buffet could work day and night. For both large paintings and small, he would staple the canvas directly to the wall and mix paint on the messy desktop, then frame the piece after it was finished. His style began to break away from the thin pencil lines and gray tones that he customarily used since 1945. Most of Buffet’s works in 1950’s created first by laying the outline with ink and then gradually deepening the tone of colors. After all, these two characters cautiously became his trademark style.
Buffet’s external image is clear, and many self-portraits created in his life reflect the style and mental state of that particular stage in his art. In the 1954 piece Portrait of a Man in Scarf, the simple background of dark blue patterned wallpaper emphasizes the main figure’s face. His shoulders are sloping and his extended neck almost appears rigid. The deliberately oversized head places full focus on the subject’s vivid expression. A wisp of hair falls across his forehead, which is crossed with creases. His tear tracks are deep, and his pupils are indistinct, like the slack eyes of a drunk. His nose is thin and sharp as a razor and deep lines run down alongside it. The corners of his mouth are downturned, slightly exposing his teeth. He wears the clothing of a laborer with a coarse cotton shirt, a rumpled, turned-out collar, and a work scarf. And these characteristics mimic the elements and style of other self-portraits Buffet completed in that year. Newspapers and magazine articles reveal that while Buffet’s external image was already clear at 26, his personality was very shy. This aided his creativity, making him very thoughtful and motivated. His creative force was in full swing as he continuously churned out large-scale and highly impactful paintings. Buffet yearned to emulate the image of wild and uninhibited genius and poet Arthur Rimbaud. Well-known art critic André Warlow, who reviewed Buffet’s work in the Figaro newspaper that year, stated that the artist shook the art world with images that were almost inappropriate. However, during a time when France urgently needed a new generation to break with the past and help it recover from its war wounds, Buffet responded to the existentialist spirit. Buffet’s profound depictions of human nature were a powerful shot in the arm for postwar France. Created in 1954, at this essential point in Buffet’s career, The Man in the Scarf can be regarded as a masterpiece of French postwar art, as well as an exemplary work by Buffet, confirming him as a master of representative art and showing his great artistic ambition.
At the same time, there is a unity about Buffet's subjects. The composition with a near-modular and color palette that makes his portraits instantly recognizable. Buffet used to paint by his right hand and composed his figure with a three-quarter left side profile, just like the self-portraits completed by himself in front of the mirror. Portraits of specific well-known people or of the friends, are mostly seated sideways; dressed in similar clothing with feet crossed, hands resting on the legs or on one side of the cheek, subjects differentiate only in facial characteristics. The backgrounds are simple and often have a single corner table or chair. What's unique is that it occasionally appears in the background, expressing the thin wooden frame with the studio as the background.
貝爾納．畢費《鬥牛士》1966年 油彩 畫布 65 x 46 cm 羅芙奧2018春季拍賣會 編號024 台幣 9,000,000 成交
The self-portrait as a subject can not only identify the artist's style and position in history, but also be used to analyze the artist's inner state and and the self-image he wanted to present to the world.
Bernard BUFFET, La Corrida - Tête de Toréro , 1966, oil on canvas, 65 x 46 cm Ravenel Spring Auction 2018, lot 024, US$ 301,609 sold
Ravenel 87
041
ANDRÉ BRASILIER (French, b. 1929)
Fenêtre sur le parc 1976 Oil on canvas 146 x 114.3 cm Signed lower center André Brasilier , initialed on the reverse A.B ., dated 76 and titled Fenêtre sur le parc PROVENANCE Private collection, USA Sotheby's, New York, May 30, 2014, lot 168 Acquired by the present owner from the above To be included in the forthcoming Catalogue raisonné de l'oeuvre peint d'André Brasilier being prepared by Xavier d'Aleyrac de Coulanges.
NT$ 2,600,000 - 4,200,000 HK$ 668,000 - 1,080,000 US$ 85,500 - 138,100 RMB 591,000 - 955,000
安德烈．布拉吉利 朝向公園的窗扉 1976 油彩 畫布 146 x 114.3 cm 簽名中下：André Brasilier 簽名畫背：A.B. 76 Fenêtre sur le parc 來源 私人收藏，美國 蘇富比拍賣，紐約，2014年5月30日，編號168 現有收藏者購自上述來源 作品將收錄於沙維亞．德．古朗士籌備編集中的 《安德烈．布拉吉利油畫編年目錄》
Ravenel 89
安德烈．布拉吉利，1929年10月29日出生於法國西北索米爾鎮的藝術世 家，雙親皆是畫家，父親賈克．布拉吉利是一位象徵主義畫家，畫風接近 那比派。安德烈．布拉吉利自幼耳濡目染，累積深厚的美學基礎。1949年 進入巴黎國立巴黎國立高等美術學院，師從莫里斯．布里昂松（M a u r i c e B r i a n c h o n）。1953年僅23歲時即榮獲「羅馬大獎」首獎殊榮，此大獎係 由法國政府頒發獎學金，鼓勵年輕藝術家赴羅馬學習。於是布拉吉利前往 梅迪奇家族在羅馬的家族莊園，進行為期三年的創作研習。1961年獲頒青 年沙龍的「查爾斯 · 莫海爾獎」。他推崇高更為其靈感之父，以女人、音 樂、馬群、四季為創作主題。繪畫中融合了東方寫意，以風格高雅著稱， 展覽足跡遍佈全球。 1980年作為法國雪農梭城堡首度獲邀參展的畫家，布拉吉利舉行個人盛大 回顧展。1988年於蔚藍海岸昂蒂布的畢卡索美術館展出回顧展，並在2005 年於俄羅斯聖彼得堡冬宮舉辦大型回顧展、以及位於德國薩爾魯斯的路德 維格美術館，此展覽展出了布拉吉利跨半個世紀（1950-2004）的精彩之 作。除了繪畫之外，布拉吉利的創作還包含了插畫、舞台設計和裝飾、掛 毯、瓷器等。他的瓷器作品，曾經和畢卡索、布拉克、米羅、夏卡爾等人 一同在德國的梅特拉赫陶瓷博物館展出。 自小成長在法國的鄉間城堡，馬兒與樹林標誌出他的童年與大戰時期印 象。成年後，巴黎東北方盧佩涅（L u p e i g n e）小鎮的生活，同樣具有大 自然的感召力量。即使後期生活於巴黎楓丹白露，過去家園的種種美好回 憶，化為創作的動力，心靈的歸依。喜愛聆聽巴哈、貝多芬、舒伯特到巴 西的維拉羅伯斯，音樂亦是布拉吉利滋潤靈感的泉源。 繪畫非記錄寫實，而是融合於「內在的寫意」。布拉吉利仰慕並欣賞其他 藝術家的創作結晶，多次參觀梵諦岡的聖希斯汀禮拜堂，感受米開朗基羅 的筆觸，悠遊於美術館，只為豐富自己的藝術視角，感受人類精神刻畫的 遺跡。受法蘭西學院院士華裔法籍漢語文學家程抱一的文學作品啟發，更 與日本畫家東山魁夷是多年好友。 結合表現主義、東方文學及日本浮世繪錦繪版畫的影響，他創造出個人的 雅致風格。作品《朝向公園的窗扉》描繪頎長優雅的女子，倚靠窗邊，輕 撫盛開的藍白花束。墨綠色的樹林，柔美的粉色調，簡簡單單的色塊組 合，和諧宜人，充滿詩意的空間。畫中的美麗女子是畫家的愛妻香黛兒， 她曾說過：「（香黛兒）我想向她致敬，謝謝她不斷的啟發我。」布拉吉 利對人生保持熱情，在創作中完全投入自己，為世人留下愛情與和諧的視 角，美麗的繪畫感動人心。 布拉吉利曾表示：「人像畫是能夠判別一位畫家重要性的一項指標」。除 了擅長的馬群風景畫之外，人像畫也是畫家有獨特魅力的創作。「簡化」 是他對藝術創作的追尋，不同於極簡，布拉吉利豐富的學養內在，讓他更 像是東方所云：「反璞歸真」。具象與抽象之間，布拉吉利選擇運用兩 者，刻畫生命間的真實，如同盧奧、高更、畢卡索，從物質束縛中釋放。 畫家不需追隨潮流，而是審思自身的定位和觀點，才能在藝術的洪流中堅 持自己穩若磐石。
Born on October 29, 1929 to an artistic family where both of his parents were painters His father Jacques Brasilier is a symbolist painter, close to the Nabis. He attended the École des Beaux-Arts in Paris in 1949, in Maurice Brianchon's studio. Brasilier was awarded with the first prize of the Prix de Rome in 1953, a government grant given to young artists in France to study in Rome, at the age of 23 only. Brasilier stayed at the Villa Medici in Rome for three years. In 1961, he received the Prix Charles-Morellet at the Salon de la Jeune Peinture. He hails Gauguin as the father of his inspiration; women, music, horses, and the four seasons are all subjects of his artwork. Integrating eastern imagery, he is known for his elegant painting style, and has exhibited his work all over the world. In 1980, he held his first retrospective as the first painter to be invited by the Château de Chenonceau, and in 1988 he held another retrospective at Musée Picasso-Château Grimaldi in Antibe of the French Riviera, followed by a major retrospective exhibition being held at the State Hermitage Museum in St. Petersburg, Russia and later at Museum Haus Ludwig at Saarlois, Germany in 2005. The show exhibited the work of Brasilier from 1950 till 2004, that’s over half a century’s work and time devoted in art. The diversified creation of works presented on the show included book illustrations, stage design and decorations, tapestries, ceramics besides paintings. Brasilier is also one of the greatest ceramic artists of the time; his ceramic works were displayed in an exhibition of the Ceramic Museum of Mattlach in Germany alongside Picasso, Braque, Chagall and Miro. Growing up in the countryside castle of Saumur, Touraine in Anjou and Maine-et-Loire, France, horses and trees marked his countryside childhood and wartime experience; as an adult, life in the small town of Lupeigne northeast of Paris gave him the same sensations: the power and serenity of nature. Though he now lives in Fontainebleau, Paris, fond memories of these two places still give him energy; they are his connection to the earth, sanctuaries of his heart and soul. From Bach, Beethoven, Schubert, to Brazil's VillaLobos, music is another of Brasilier's sources of inspiration. Painting is not just recording things with a realistic approach, but incorporating "the imagery within." He looks up to and admires the work of other artists, has visited the Sistine Chapel in Vatican City numerous times to feel the brushstrokes of Michaelangelo, and has strolled though museums to broaden his perspective of art and experience the traces etched by the human spirit. He is inspired by the literary works of Chinese-born French academician François Cheng, and was close friends with Japanese artist Higashiyama Kaii for many years.
Influenced by expressionism, Chinese literature and Japanese ukiyo-e, André Brasilier’s work is typified by a breezy lyricism, wherein real-life subjects are transposed into dreamlike settings. In the present work of, Fenétre sur le parc , depicts an excellent landscape with the tall and elegant lady Chantal, his beloved wife, relying on the window and caressing the blooming blue and white bouquet. There are green woods and grass outside the window. It portrays a poetic world, with delicate compositional and color harmonies bathed in soft, cool light."...I want to pay tribute to her (Chantel), and thank her for her continuous inspiration." said André Brasilier. A life of creating art is a grand adventure. As if it is his first day in this world, Brasilier maintains a great passion for life, dedicates himself entirely to his art, leaves behind paintings that show a perspective of love and harmony, and expresses an adoration of life that warms the heart. Brasilier is fond of painting fine-looking herd of horses, beautiful scenery and figurative paintings, as he once claimed “One can measure the importance of a painter by his or her ability to portray the human form.” Simplification is what he strives to achieve in his work. Unlike minimalists, Brasilier's abundant knowledge makes him more of what is referred to in the east as a "return to innocence." Between the figurative and the abstract, he chooses to use both to depict the realities of life, breaking free from the confines of the material world, just as Rouault, Gauguin, and Picasso have all accomplished. Painters need not follow the tide. Instead, it is their mission to identify their own orientation and perspective in order to become a steady stone in the rapid flow of art.
安德烈．布拉吉利 《中央公園》 1983年 油彩 畫布 195 x 150 cm 羅芙奧2017春季拍賣會 編號032 台幣4,800,000 成交 André BRASILIER, Central Park , 1983, oil on canvas, 195 x 150 cm Ravenel Spring Auction 2017, lot 032, US$ 159,468 sold
Ravenel 91
042
MARIE LAURENCIN (French, 1883 - 1956)
Julia 1937 Oil on canvas 64.5 x 54 cm Signed upper right Marie Laurencin and dated 1937 PROVENANCE Collection of Heinrich Riss, Ranshofen, Austria (acquired around 1930s/1940s to 1969) Collection of the widow of Heinrich Riss, Vienna (inherited from 1969 till her death in 1989) Collection of the Riss family (inherited since 1989)
NT$ 3,600,000 - 5,500,000 HK$ 925,000 - 1,414,000 US$ 118,400 - 180,900 RMB 818,000 - 1,250,000
瑪麗．羅蘭珊 茱莉雅的畫像 1937 油彩 畫布 64.5 x 54 cm 簽名右上：Marie Laurencin 1937 來源 海因里希‧瑞斯舊藏，蘭斯霍芬，奧地利 （1930-1940年代間取得，收藏至1969年過世） 海因里希‧瑞斯遺孀收藏，維也納 （1969年繼承至1989年過世） 瑞斯家族遺產，維也納 （1989年繼承至今）
拍品含框示意圖 The work with frame
Ravenel 93
擁有「巴黎的牝鹿」美譽–瑪麗‧羅蘭珊，二十世紀初巴黎洗濯船團體 (Bateau Lavoir) 核心成員，與畢卡索、布拉克平起平坐，唯一的女性藝術 家。相較其他立體派成員的陽剛，她的夢幻風格，廣受藏家的喜愛，也是 在當時少數被巴黎藝文界認可，綻放才華的女性藝術家。作品更典藏於巴 黎橘園、倫敦泰德、紐約大都會美術館等世界級藝術機構。 羅蘭珊生為議員的私生女，從小遭遇不平的社會偏見，與母親相依為命， 造就她勇敢追求自我的性格。她與詩人阿波里奈爾 (Guillaume Apollinaire) ，擁有相似的家庭背景，兩人濃烈的戀情，更成為她一生創作的靈感，激 發許多早期充滿立體派風格的重要代表作。羅蘭珊的獨特天賦為傳奇畫商 保羅．羅森伯格 (Paul Rosenberg) 相中，簽下長達二十多年的合約，而同 樣與羅森伯格合作的藝術家，更包含：馬蒂斯、德朗、勒澤、畢卡索等重 要大師。 羅蘭珊的一生，除了少數風景、花卉靜物，幾乎都是以人物為主題的作 品，更切確的形容，除了周遭好友的肖像，主角應該是巴黎美好年代的貴 族與中產階級仕女。構圖受到立體派影響，多以線條切割幾何背景。畫中 的女性，擁有心型臉蛋，尖下巴與修長四肢。黑色細邊，勾勒出尖銳的輪 廓，她們踮腳幾近漂浮的姿態，三兩成群，衣帶飄逸，歌舞奏樂，頗有新 古典主義寧芙仙子群像之延續。而自畫像或人物頭像，都是身著華服，頭 戴軟帽並持扇，以四分之三側臉，回眸斜瞄觀眾，神情相當神秘倨傲。 第一次世界大戰後，羅蘭珊急欲脫離戰爭陰霾，與婚姻帶來的不愉悅和束 縛，1920年她重回巴黎，重新投入藝術之都與藝文好友的懷抱，將感情 與生命都寄託於創作來抒發。創作中保有的女性氣質，蘊含溫柔而堅毅的 力量，使觀者能暫且放下心中因戰爭感受的殘酷與憂鬱。回到巴黎的羅蘭 珊在社交圈中極受歡迎，名流貴婦與文人雅士，紛紛請求她繪製畫像。脫 離立體派的影響，用色更加柔美明亮，人物肢體纖和有度。進展到1930 年代，畫家筆下人物白裡透紅的豐潤面頰柔和眼神，也更勝以往的從容高 貴，間接顯示出畫家因為經濟狀況寬裕，能夠逐漸放鬆的平靜心境。 工程師總監 海因里希．瑞斯先生訃告 1969年5月
《茱莉亞的畫像》創作於1937年，受到文學戲劇的影響，肖像人物華麗裝
Director Ingenior Heinrich Riss Obituary in May 1969
扮如希臘古典女神，是羅蘭珊1930年代開始直至1956年離世前的重要創作 特色。藝術家融合早期創作人物常見的陶瓷白肌膚與色塊對比，用色層次 更加細緻豐富。主角神韻生動靈活，上身披攬綠綢絲巾，脖上的多彩絲巾 垂綴胸膛，大膽高雅且不失含蓄。頭戴鮮花桂冠，纏繞珠鏈，綴有金黃彩 絲的髮間，呼應耳邊珍珠的潤白色澤。女主角眼角微昂，看向右側遠方， 宛若酒神戴奧尼修斯的微醺女祭司，相當嫵媚動人。可看作是一幅彰顯羅 蘭珊成熟時期，集大成之經典創作。 《茱莉亞的畫像》原為奧地利維也納－海因里希‧瑞斯先生( Heinrich Riss ) 的舊藏，他的藝術收藏為1930年代到1940年代初期在德國、法國、義大利 等地蒐集而來。1945年以前海因里希‧瑞斯先生一直都擔任維也納克林孛 什金銀製作廠 ( Klinkosch Gold-und Silberwarenfabrik ) 總監，這間公司 位於奧地利貝恩多夫 ( Berndorf Niederösterreich )，是歷史悠久的亞瑟‧ 克魯伯金銀名廠 ( Metallwarenfabrik Arthur Krupp ) 的子公司。而海因里 希的兄弟－法蘭茲‧瑞斯博士( Dr. Franz Riss) 也在該廠擔任秘書長直至二 次大戰結束。儘管海因里希‧瑞斯先生收藏精彩豐富，但是大戰後，奧地 利被美、蘇、英、法等同盟國占據，時局動盪，因此羅蘭珊《茱莉亞的畫
海因里希．瑞斯先生（右）與家人（攝於1952年）
像》從未展覽紀錄。直到1969年海因里希‧瑞斯先生逝世，才由家族成員
Mr Heinrich Riss (right) and his family, 1952
繼承。今日首次公開拍賣，非常稀珍難得。
Known as "La Biche (the Doe)", Marie Laurencin, a key member of Bateau Lavoir in the early twentieth century, is the only female artist on the same level as Picasso and Braque. Compared with male Cubists, her dreamy style is widely loved by collectors. Also, she was one of the few female artists recognized for her blooming talent by the art and literature circles of Paris at the time. Her works are also collected in world-class art institutions, such as Musée de l'Orangerie (Paris), Tate Modern (London), and Metropolitan Museum of Art (New York). Laurencin was the illegitimate daughter of a French Parliament member. Since childhood, she and her mother suffered social discrimination, causing her to develop a strong and courageous character. Bonded by a similar family background, she and the poet, Guillaume Apollinaire, shared an intense love affair, which became her lifelong source of creative inspiration. In fact, many important cubist masterpieces from her early career were inspired by this time. Laurencin’s unique talent was noticed by legendary art dealer, Paul Rosenberg, who signed a 20 year contract with her. Other artists who worked with Rosenberg also included: Henri Matisse, André Derain, Fernand Léger, Pablo Picasso, and other masters. Despite a few scenery and still life flower paintings, the themes of Laurencin’s works almost entirely consists of human figures. In addition to portraits of her friends, she accurately depicts noble- and middleclass ladies during the Belle Epoque of Paris. Their compositions are influenced by Cubism, while lines divide and segment the geometric backgrounds. The woman in the painting has a heart-shaped face, a pointed chin, and slender limbs. The fine black edges highlight sharp outlines. Standing on tiptoe, the women almost appear to be floating. In groups, they wear elegant clothes as they sing and dance, serving as continuation of the neoclassical representation of groups of nymphs and fairies. However, the subjects in both the self-portraits and portraits are beautifully dressed, wearing bonnets and holding fans. With a sidelong glance that reveals three-quarters of their faces, they look back at the audience with relatively mysterious and proud expressions. After the First World War, Laurencin was eager to leave the haze of war as well as the unhappiness and constraints brought by her marriage. In 1920, she returned to Paris and re-embraced the world of art, dedicating her emotions and life to her work. Her works were infused with a feminine temperament that contains a gentle yet determined power that enabled viewers to find temporary relief from the cruelties and melancholy of war. Returning to Paris, Laurencin gained great popularity among social circles. Debutantes and literati would all ask her to draw their portraits. Without the influence of Cubism, her use of colors is softer and brighter, while the subjects’ limbs are more wellproportioned. In the 1930s, the figures she painted featured gentle gazes and cheeks that were white touched with red. Even more, they featured more peaceful and noble expressions, indirectly showing the artist’s calmer state of mind due to an elevation of economic status.
Julia was created in 1937. Influenced by literature and theatre, the subject is gorgeously dressed, like a classical Greek goddess. This
marked an important creative feature of Laurencin from the 1930s until her death in 1956. The artist combines the ceramic pale skin and color block contracts commonly found in her earlier subjects, while the layers of color are more detailed and rich. The charm of the subject is vivid and flexible. The upper body is covered with green silk scarves, and the the colorful silk scarves on her neck embellish her chest. Bold and elegant, they do not lose any of its subtlety. Wearing a laurel wreath on her head, a bead chain around her neck, she is adorned with golden silk hair, echoing the polished whiteness of the pearls next to her ears. The subject's eyes are slightly tilted, looking into the distance to the right. Like a priestess for the wine god Dionysus, she exhibits a moving sense of charm. It can be considered a classical work that represents the mature period of Laurencin’s career.
Julia was originally from the Heinrich Riss collection in Vienna, Austria. The works in his collection were gathered from Germany, France, Italy and other countries from the 1930s to the early 1940s. Prior to 1945, Heinrich Riss served as the Director of Klinkosch Goldund Silberwarenfabrik which is a subsidiary of the longstanding Metallwarenfabrik Arthur Krupp located in Berndorf Niederösterreich, Austria. Riss’ brother, Dr. Franz Riss, also served as secretary-general of the plant until the end of World War II. Riss indeed had a rich collection of works. However, after the war, Austria was occupied by the United States, the Soviet Union, Britain, France, and other allies. Due to ensuing turbulence, Laurencin’s Julia was never recorded. It was not until Mr. Heinrich Riss passed away in 1969 that the painting was passed down to his family members. As a result, this first appearance at a public auction today marks a very rare occasion.
瑪麗．羅蘭珊《城堡裡的孩子》 1930年 油彩 畫布 65.7 x 54.5 cm 羅芙奧2017秋季拍賣會 編號109 台幣 4,800,000 成交 Marie LAURENCIN, Les enfants du château , 1930, oil on canvas, 65.7 x 54.5 cm Ravenel Autumn Auction 2017, lot 109, US$ 159,893 sold
Ravenel 95
043
BERNARD BUFFET (French, 1928 - 1999)
Le Port de Beaulieu 1957 Oil on canvas 97 x 130 cm Signed upper right Bernard Buffet and dated 57 PROVENANCE Galerie David et Garnier, Paris. Private collection, circa 1962-2007 Christie’s, New York, May 10, 2007, lot 398 Acquired by the present owner from the above
NT$ 9,000,000 - 14,000,000 HK$ 2,314,000 - 3,599,000 US$ 296,000 - 460,400 RMB 2,045,000 - 3,182,000
貝爾納．畢費 椰林帆影港灣風情 1957 油彩 畫布 97 x 130 cm 簽名右上：Bernard Buffet 57 來源 大衛與賈尼耶畫廊，巴黎 私人收藏，約1962-2007 佳士得拍賣，紐約，2007年5月10日，編號398 現有收藏者購自上述來源
貝爾納．畢費《椰林港灣》1957年 油彩 畫布 89 x 130 cm 蘇富比倫敦2013春季拍賣會 編號358 英鎊 314,500 成交（約台幣1,474 萬元） Bernard BUFFET, Port de Beaulieu , 1957, oil on canvas, 89 x 130 cm Sotheby's London 2013 Spring Auction, lot 358, US$ 491,437 sold
Ravenel 97
「 繪 畫 ， 我 們不談它，我們不分析它 ，我們感覺它。」 － 貝 爾 納 ． 畢費
畢費被譽為「戰後寫實主義的接班人」，是一位被安迪‧沃荷崇拜，連大
畢費主題的選擇，常常是自己熟悉的人物環境，或者是古代大師的畫作。
師畢卡索都曾讚揚與關注的天才藝術家。他與生俱來的創作天賦，促使這
他臨摹古代大師畫作想要向前者致敬，如：庫爾貝《午睡》 或是林布蘭
位年輕學生日以繼夜，在寒冬沒有暖氣的工作室，依靠天窗透下的日光，
特《杜爾博士的解剖學課》 ，淺意識展現他渴望超越前代的企圖心。
全心全意創作。他要自己的作品被世人看見，從戰火的無情和困頓蛻變出
作為藝壇的新秀，畢費也常受文壇邀約跨界合作。1957年發表《巴黎風
獨一無二的畢費美學。
景》系列啟發了女詩人露易斯‧德‧魏夢的新作；並在同一年與知名詩人 尚‧考克多合作，繪製劇本《人聲》的插畫。隨同友人皮耶爾‧貝爾傑前
畢費從1946年第一次參加「三十歲未滿青年沙龍展」以及1947年的「獨
往美國，返程時於紐約逗留兩日，繪製多幅速寫，作為1959年《紐約》
立沙龍展」開始展露頭角。直到1948年得到大衛畫廊舉辦的「青年畫家
系列的構思。成名後的畢費，全世界邀約展覽，周遊列國，隨到之處的地
獎」與聖‧普拉席德畫廊「藝評獎」從此一炮而紅。畢費的天賦與才能，
理風景，往往成為筆下創作靈感。
立即吸引許多知名收藏家與畫商的注意力，他們紛紛收藏他的作品，並且 邀約展覽合作的機會。其中，畫商莫里斯‧賈尼耶，從一開始的維斯康提
此幅《椰林帆影港灣風情》完成於1957年，描繪法國東南邊，介於摩納
畫廊、大衛與賈尼耶畫廊，到最後的莫里斯‧賈尼耶畫廊，長達半個世紀
哥城與尼斯之間的小型渡假港灣：濱海博略城，拉丁名直譯「適合居住的
的合作，更是畢費的藝術生涯重要的推手。1952年起，每年二月，畫廊
美麗地區」，歷史上早有記載其完美的地中海型氣候。十九世紀起，以鐵
都會推出不同主題的畢費新展覽，而參加展覽開幕式的慣例，當時就成為
路網連結附近的大城市，成為許多歐洲皇室貴族，建立豪華別墅的渡假盛
巴黎藝術圈的年度盛事。
地。畫面上白帆昂立，倒影在光潔如鏡的湛藍海面。萬里無雲的晴空與港 灣交界，相間一抹磚牆砌成的粉橘和遠處山嶺上的綠意，各種色彩交織成
1950年代開始，抽象藝術大行其道，文化部長馬樂侯甚至公開表明，對
趣。近景處，熱帶植物棵棵並列，精神抖擻。而黑色筆觸簡潔有力，更十
於抽象藝術的支持，以及表態認為具象藝術，是屬於過往的藝術表現而不
足顯現年輕畫家心境上的愉悅和澎湃。相似構圖和重複出現的海景元素，
值一提。然而優秀的藝術創作並不會被忽視。畢費每場展覽參觀群眾的等
作者通過巧妙佈局，讓觀者的視角生動活躍。寬敞潔淨的海岸步道，似乎
候，與藏家支持就是最好的證明。他更曾鼓勵大眾，面對藝術創作，直接
正透露炎炎夏日，午睡時光的慵懶氣息。畫面上彷彿真有微風輕拂樹梢，
用心去感受，更勝於言語上的談論或是分析。藝術家用繪畫傳達曾經感受
帆船微盪於豐盈的海面。
的人、事、物，不僅是生命過程的記錄，更是將自身觀察社會的獨特視角 分享給世人。
畢費童年常於法國西岸的布列塔尼，與母親度過夏日時光。對於大自然的 熱愛，造就他一生描繪法國各地海岸、港灣的創作不斷。綜觀畢費一生
畢費源源不絕的創造力是全面性的。任何媒材或是主題，經過他的雙手，
的海景作品，其中又以1950年代以南法尼斯、坎城兩大度假勝地為背景
都能轉成風格深刻的畢費式美感。串連筆下的共通元素，就是他強烈的線
的作品最為膾炙人口，受到私人藏家的熱烈歡迎。2013年倫敦蘇富比拍
條感。從早期，好像黑白電視雜訊，佈滿畫面的鉛筆細線，或是後期，描
賣，與《椰林帆影港灣風情》的同系列作品，成交價約台幣1,474萬元，
邊逐漸加深加粗的黑色線條，都離不開線性的縱橫構築。德國藝術史學家
為目前名列第一，畢費海景作品最高拍賣價。而市場上，畢費總體連年穩
亞歷山大‧魯博就曾結論，畢費熱衷於線條表現，同時完美融合了法國現
健提升的成交金額，與近期頻繁出現的全球拍場紀錄，更是肯定藝術家獨
代主義的東方元素、埃及聖書體的表現形式以及現代印刷的白描線條。
特美學，隨著收藏世代的交替，仍然深受藏家喜愛，極具市場競爭力的強 烈佐證。
Ravenel 99
"LA PEINTURE, ON N'EN PARLE PAS, ON NE L'ANALYSE PAS, ON LA SENT." －BERNARD BUFFET
Buffet is known as "the successor of post-war realism". Buffet was a talented artist worshiped by Andy Warhol and praised by masters such as Picasso. Driven by natural talent and creative passion, Buffet often worke d day and night; in his unheated studio, relying on natural sunlight through the skylight, he poured his heart into his painting, even in the bitter winter. He wanted his work to be seen by the world. From the ruthlessness and the hardship of war, Buffet’s unique aesthetic evolved. Buffet made his artistic debut at the Salon des Moins de Trente Ans in 1946, followed by the Société des Artistes Indépendants in 1947. In 1948 he was awarded the ‘Prize for Young Painters’ by the Galerie Drouant-David and the Art Award by the Galerie SaintPlacide. Buffet's talent and skill quickly attracted the attention of many well-known collectors and artists who collected his works and asked for opportunities to collaborate with exhibitions. Among these was art collector Maurice Garnier, with whom Buffet collaborated for over half a century--from the Visconti, David and Garnier galeries at the beginning, to the Maurice Garnier Gallery at the end. Their collaboration was a vital part of Buffet’s artistic career. Every February since 1952, the gallery has had a new exhibition on different subjects; the opening of the exhibition became a time-honored annual event in the Parisian art scene. Since the 1950s, abstract art has become mainstream. French Minister of Culture André Malraux even publicly stated that the support for abstract art and representational art were outdated expressions of art that were not worth mentioning. However, the crowds of art lovers queuing up in front of all of Buffet’s exhibitions, along with the ongoing support of collectors, prove that good art cannot be overlooked. Buffet has even encouraged the public, when engaging with an artistic creation, to experience it directly and with heart, rather than through verbal discussion or analysis. Buffet uses painting to convey the people, things and objects that he felt. His work is not only a record of his life, but also a way of sharing his unique perspectives and observations of society with the world.
藝術家攝於工作室 Artist in the studio. Photo courtesy of © ADAGP, Paris / Bernard Buffet
Buffet's boundless creativity is comprehensive. In his hands, any medium or theme can be transformed into a representation of Buffet aesthetics. The common element that connects his works is his strong sense of line. From his earliest works, in which fine pencil lines fill the image like static on a black and white TV, to later works, in which his lines gradually deepened and thickened into bold black contours, the linear vertical and horizontal composition remain constant. The German art historian Alexsander Roob stated that Buffet was devoted to line expression; at the same time, his works perfectly combine the Oriental elements of French modernism with the expressive forms of sacred Egyptian texts and the lines of modern print.
Buffet’s theme of choice is often a familiar personage or a painting by an ancient master. He wanted to pay tribute to the masters by copying their paintings, such as Gustave Courbet's Le sommeil or Rembrandt's Anatomy Lesson of Dr. Nicolaes Tulp, which appear to show a subconscious desire to surpass his predecessors. As an up-and-coming artist, Buffet was also often invited by the literary world to collaborate internationally. In 1957, the Paysages de Paris series inspired the new works of the poetess Louise de Vilmorin; in the same year, he collaborated with the well-known poet Jean Cocteau to illustrate the script for La voix humaine. Following his friend Mr. Pierre Bergé, Buffet travelled to the United States. On his return trip, he stayed in New York for two days and drew many sketches which became part of his 1959 series New York. The now-famous Buffet was invited to exhibit his works around the world; the geography and scenery he encountered on his travels often became the inspiration for his paintings. This painting Le Port de Beaulieu , completed in 1957, is located in the southeast of France at Beaulieu-sur-mer, a small resort between Monaco City and Nice. Named “beautiful dwelling on the sea” in Latin, the area has long been known for its perfect Mediterranean climate. Starting in the 1800s, when the railway network connected the area to nearby cities, it became a resort town where European royalty built luxurious villas. In the picture, the white sails stand tall with their reflections mirrored in the glassy blue sea. A cloudless clear sky borders the harbor, while the pink-orange hues of the brick wall and the green of the distant mountains creates an interesting interplay of color. Tropical plants stand side by side in the foreground, full of energy and vitality. The wide, neat walking path seems to express the languid appeal of a quiet nap on a hot summer day. Featuring similar composition and repeated ocean scenes and elements, these paintings bring the viewers into the painting through clever use of perspective and layout. The picture seems to show a gentle breeze blowing through the treetops while sailboats float on the abundant sea; the black brush strokes are concise and powerful, suggesting the young painter's mood of pleasure and excitement. As a child, Buffet spent his summers with his mother in Brittany, on the west coast of France. His lifelong love of nature inspired him to paint coastal scenes and harbors all over France. In an overview of the artist's life-long oeuvre of seascapes, his 1950s works set against the backgrounds of vacation meccas Nice and Cannes in the south of France are the most popular, and are highly sought by private collectors. One of works from the same Beaulieu-sur-mer series sold by 2013 Sotheby's auction in London at a price of US$ 491,437, setted a record for highest auction price to date among Buffet’s seascapes. The steady rise in the sales of Buffet’s works over the years, in line with his increasingly frequent appearance in global auctions, serve to reaffirm Buffet’s unique aesthetics and timeless appeal. As art changes from generation to generation, Buffet is still deeply loved by art collectors and is strongly backed by its competitiveness in the market.
Ravenel 101
044
GEORGES MATHIEU (French, 1921 - 2012)
Hommage à Dollard des Ormeaux 1963 Oil on canvas 97 x 194.5 cm Signed lower left Mathieu , inscribed Montreal and dated 63 PROVENANCE Dominion Gallery, Montréal, Canada, 1963 Private collection, Canada Sotheby’s Paris, Contemporary Art Sale, December 6, 2016, lot 23 Acquired by the present owner from the above EXHIBITED Georges Mathieu , Dominion Gallery, Montreal, Canada, February 1963 ILLUSTRATED Jacques Folch-Ribas, Mathieu et le dandysme , Vie des Arts No.31 , Montreal, Summer 1963, color illustrated
NT$ 9,500,000 - 16,000,000 HK$ 2,442,000 - 4,113,000 US$ 312,400 - 526,100 RMB 2,159,000 - 3,636,000
喬治．馬修 向多拉爾－德索莫致敬 1963 油彩 畫布 97 x 194.5 cm 簽名左下：Mathieu Montreal 63 來源 多明尼恩畫廊，蒙特婁，加拿大 私人收藏，加拿大 蘇富比當代藝術拍賣，巴黎，2016年12月6日，編號23 現有收藏者購自上述來源 展覽 「喬治．馬修個展」，多明尼恩畫廊， 蒙特婁，加拿大，1963年2月 圖錄 賈克‧佛許－席巴，〈馬修與耽諦主義〉， 《藝術生活雜誌》31期夏季號，蒙特婁，1963，彩色圖版
耽諦主義 者 之 獨 美 創 新
THE UNIQUELY BEAUTIFUL CREATION OF THE DANDYIST 多拉爾－德索莫（D o l l a rd d e s O r m e a u x）既是一個地名，
馬修，有著尊貴無比的出身，家族可上溯至皇室王族。自幼即
當年《向多拉爾－德索莫致敬》以華麗耀眼的形象，展現在眾人的面前，
也是一個偉人之名。它是一座古老小城，位於加拿大魁北克
學習拉丁語，12歲時遷居至凡爾賽（Versailles），中學時習希
馬修創作他時不過42歲，成熟穩健，懷有無比旺盛的創造力與戰鬥力。
省西南蒙特婁島上，簡稱D.D.O或者多拉爾。地名由來是為
臘語、俄語和西班牙語。大學時還曾取得英文學士學位，具有
1963年巴黎的市立美術館為他舉辦生平的首次回顧展，聲譽處於巔峰，如
了紀念十七世紀法國英勇烈士亞當 多拉爾－德索莫（A d a m
語言的天賦。成長時期遷徙各地，生活裡處處可見中古世紀遺
同藝壇的王子。此畫作呈獻出藝術家固執而尊貴的情操，如同英雄人物多
Dommard des Ormeaux），1660年他在保衛戰役中捐軀，得
留的古蹟，再加上本身的貴族血緣，他十分熱衷歷史典故，路
拉爾－德索莫一般的青春洋溢、勇氣逼人。藝術家傾注滿腔的情感，向多
年24歲。多拉爾－德索莫是新法蘭西（New France）殖民歷史
易國王統治的時代事蹟，君主專政體制的浪漫主義情懷在心裡
拉爾－德索莫致敬，投諸於壯觀華美的線條與構成之間。
中的代表人物，1658年從法國渡海擔任殖民地駐軍指揮官，他
滋長著，培養後來的獨特尊榮品味。 馬修的繪畫充滿劇場式的魔力，也具有深遠的影響力，他的滴流繪畫早於
驍勇善戰，被推為新法蘭西的救世主，也是加拿大新法蘭西殖 民文化形象的表徵人物，代表著英
賈克 佛許－席巴（Jacques Folch-Ribas）是知名西班牙裔加
傑克森 帕洛克（Jackson Pollock），行動藝術及現場作畫，曾經啟發了艾
雄主義與勇氣，加拿大的文學、音
拿大的小說家兼藝術評論家，曾在
倫 卡普羅（Allan Kaprow）的「偶發藝術」（Art Happenings）和伊夫 克
樂與戲劇上都曾給予讚揚，更有雕
1963年《藝術生活雜誌》31期發
萊因（Yves Klein）的「人體測量學」（Anthropometry）系列，還有大受
塑家為他立碑造像。
表一篇評論文章，主要是看過馬修
日本具體派創始人吉原治良的推崇，讚譽喬治 馬修和傑克森 帕洛克二人的
個展後所寫的心得，文章的題目為
藝術「擺脫了傳統的規範」。
喬治．馬修領軍的抒情抽象藝術
〈馬修與耽諦主義〉（Mathieu et
（Lyrical Abstraction），從1940
le dandysme）耽諦主義一詞出自
馬修曾經被法國文化部長馬樂侯（A n d ré M a l r a u x）讚譽為「終於有了西
年代後期萌芽，1950年代之後在
於法國文學家波特萊爾，簡單的說
方的書法家！」已故的國立西洋美術館館長富永惣一（Soichi Tominaga,
歐洲蔚為風潮。1963年應加拿大
法即為「紈絝子弟」、「花花公子
1902-1980）盛讚他是「自畢卡索以來最偉大的法國畫家」。美國評論家克
電視台法語頻道邀請現場創作油
主義」，也是形容如波特萊爾等輩
萊門特 格林伯格（Clement Greenberg）當年看過紐約庫茲畫廊（Kootz
畫，同年2月22日至23日兩天即興
的浪漫主義者。耽諦主義，除了指
Gallery）的畫展後，也稱呼馬修是「歐洲最偉大的畫家」。
快速在蒙特婁創作10幅油畫，連
藝術家的尊貴出身，也是不盲從群
同另外的30幅水粉紙上作品，舉
體、以個人興趣及審美觀追求事物
馬修是歐洲抒情抽象之父，處於時代的鉅變中，面對二十世紀繪畫擁有悠
行一場盛大特展，2月25日在多明
的態度。
久的傳統，他毫不畏懼地提出自己的見解。厭惡順從主義，大膽挑戰繪畫 的狹隘定義。「在最狂野的希望的高度，開闢一條重生的道路。」馬修如
尼恩畫廊（Dominion Gallery）正 式開幕。《向多拉爾－德索莫致
賈克 佛許－席巴顯然把馬修視為
同科學家一般，創造出獨特的藝術，創造出生命的理論，以驚人的速度
敬》即是此展的作品之一。
一位紈絝子弟藝術家，讚賞其獨特
感，翻新、創造，如同進行一場「迷幻革命」，馬修是昂首尊貴的鬥士、
又帥氣的美學形式。在此篇專文中
英挺帥氣的耽諦主義者與浪漫主義者。
馬修擅長快速的作畫，直接從顏料 管中擠出條狀色料，在單色的畫布 上，來回揮灑書寫，如同草書般的
藝術家於奧地利劇場創作現場攝於1959年 Artist painting during the performance at Theater am Fleischmarkt, Austria in 1959 Photo courtesy © Imagno / Getty Images
選了1963年2月的三幅參展油畫與 一幅紙上作品插圖，以及另兩幅 1959年舊作，進行精彩的剖析與 介紹。《向多拉爾－德索莫致敬》
一氣呵成。色彩在形成線性的輪廓 與肌理，風格強烈。1957年馬修在日本東京展覽前夕，以三天
正是是其中的一件作品。他寫道：「這幅畫採用常用主題的變
時間內畫完21幅油畫，展現驚人的體能和創造力。創作就像一
體。於加拿大電視台前所完成創作的油畫：啞紅色調背景的
場華麗戰鬥，而馬修手上的顏料就像是武器，站在畫布之前，
《向多拉爾－德索莫致敬》。在馬修的畫中極為稀有閉合的符
展開對峙，刀光劍影間，用速度與即興爆發，詮釋內心的激情
號（圓形、方形），迸發而出、擴張延展，此處幾度使用此符
表現。1963年這場加拿大的畫展，更壓縮到兩天內完成所有在
號。」
蒙特婁的多明尼恩畫廊展出的畫，一口氣地畫完。 佛許－席巴在文中描述馬修應多明尼恩畫廊的邀請參展，一身 喬治．馬修，1921年1月27日生於法國北部的濱海布洛涅
華服盛裝宛如鬥牛士一般。彷彿說著「我向您敬禮。當您走進
（Boulogne-sur-Mer），家族從事銀行業。布洛涅是一座古老
競技場，您冒著生命的危險。我當眾畫畫時，我只有冒著個人
的海港城市，保存許多文化古蹟，與英國僅海峽之隔。馬修的
榮耀的風險。」「那是一樣的東西啊！」對方回道。馬修在兩
全名是喬治－維克－雅多夫‧馬修‧德斯寇朵弗（G e o r g e s-
天內畫完所有在蒙特婁參展的畫作，宛如是展開一場激烈戰
Victor-Adolphe Mathieu d'Escaudoeuvres），都是中世紀最
鬥。首先需要的經驗是速度，必須能經受得起考驗。
榮耀的聖人之名的組合。與古典音樂作曲家莫札特同天生日的
喬治‧馬修《亨利四世：大主教安諾二世的劫持》1958 油畫 畫布 200 x 400 cm 巴黎蘇富比2008春拍 編號17 歐元1,152,250 成交 Georges MATHIEU, L'abduction d'Henri IV par l'archeveque Anno de Cologne , 1958, oil on canvas, 200 x 400 cm, Sotheby's Paris 2008 Spring Auction, lot 17, EUR 1,152,250 sold
Dollard des Ormeaux is both the name of a place and the name of a great man. Called D.D.O. or Doral for short, Dollard des Ormeaux is a suburb on the Island of Montreal in southwestern Quebec, Canada. It was named in memory of the French martyr Adam Dollard des Ormeaux, who died in battle at the age of 24 in the year 1660. Dollard des Ormeaux is an iconic figure in the colonial history of New France. In 1658, he sailed to Montreal from France and was appointed commander of the colonial garrison. Des Ormeaux is considered an important figure in the establishing of New France and a symbol of French Canadian colonial culture. He has been memorialized in Canadian literature, music and drama, and public sculptures have been erected in his honor. The Lyrical Abstraction movement, pioneered by Georges Mathieu, emerged in Europe in the late 1940s and has been a trend since the 1950s. In 1963, Mathieu was invited by a French-Canadian television channel to do live oil-painting performances. That same year, from February 22 to 23, he improvised and quickly created 10 paintings in Montreal. These, along with 30 other works of gouache on paper, were included in a grand exhibition which opened on February 25 at the Dominion Gallery. Hommage à Dollard des Ormeaux was one of the works in this exhibition. Mathieu excelled at fast painting. He would squeeze strips of paint directly out of the tube onto the canvas and spread pigment back and forth over a monochrome canvas like a kind of cursive script. His distinctive style used color to form linear contour and texture. In 1957, before an exhibition in Tokyo, Japan, Mathieu created 21 paintings in three days, displaying incredible physical energy and creativity. His live painting was like a beautiful battle; the paint was a weapon in Mathieu's hand as he faced off with his canvas, fighting with color and light, using speed and improvisation to give pure representation to his artistic passion. For his 1963 exhibition in Canada, he completed all of the paintings on display at the Dominion Gallery in Montreal in two days. Georges Mathieu was a critical French abstract painter, a theorist, and a member of the Académie des Beaux-Arts. Mathieu was born to a banking family on January 27, 1912, in Boulogne-sur-Mer in northern France. Boulogne-sur-Mer is an ancient harbor city where several cultural heritages are preserved, and it is only a strait away from Great Britain. Mathieu’s full name was Georges-Victor-Adolphe Mathieu d'Escaudoeuvres, a combination of glorious saints of the Middle Ages. Mathieu shared the same birthday as the classical music composer Wolfgang Amadeus Mozart and was of a noble birth. His ancestry can be traced back to the royal family. He studied Latin from a young age. When he was 12, his family moved to Versailles. In junior high school,
he studied Greek, Russian, and Spanish. In university, he acquired a bachelor’s degree in English. All of these reflect his talent in languages. When he was growing up, his family moved to several places, and he was surrounded by monuments from the Middle Ages. That together with his noble blood made him enthusiastic about historical events. The events during the reign of Louis XIV and the romantic sentiment of absolute monarchy fomented in his heart and developed into his later unique, honorable taste. Jacques Folch-Ribas is a famous Spanish-Canadian novelist and art critic. In 1963, Folch-ribas published an editorial in issue 31 of Vie des Arts magazine entitled "Mathieu and Dandyism" (Mathieu et le dandysme) summarizing his feelings after seeing Mathieu’s exhibit. The term “dandyism” comes from the French writer Baudelaire and can be described as a form of exaggerated romanticism and artificial refinement. This term was also used to describe Baudelaire’s generation of romantics. In addition to referencing the artist’s privileged background, dandyism also infers the pursuit of personal interests and aesthetic standards rather than blindly following convention. Jacques Folch-Ribas clearly regarded Mathieu as a worthwhile artist and admired his unique and handsome form of aesthetic. In this article, Folch-Ribas selected three oil paintings exhibited in February 1963 and one work of illustration on paper, as well as two previous works from 1959, for a lively analysis and explanation. Hommage à Dollard des Ormeaux was one of these works. Folch-Ribas wrote: "The painting takes a variation on common themes. The work Hommage à Dollard des Ormeaux , an oil painting completed live on Canadian Television, has a dull red background. Closed signs (circles, squares), which are very rare in Mathieu’s works where everything explodes and continues, are used here several times.”
presents the artist's obstinate and honourable sentiments, like the young and courageous Dollard des Ormeaux. The artist pours out his feelings and salutes des Ormeaux, his respect and awe showing through the spectacular beauty of the lines and composition. Mathieu's paintings are full of theatrical magic and far-reaching influence. His splatter paintings predate Jackson Pollock. Performance art and live painting inspired Allan Kaprow’s Art Happenings and Yves Klien’s Anthropometry series. Jackson Pollock and Georges Mathieu were praised by Jiro Yoshihara, the founder of the Japanese Gutai Group movement, for "breaking away from traditional norms." Mathieu was also praised by André Malraux, France's culture minister, who said, "finally, there is a Western calligrapher!" Soichi Tominaga (1902-1980) the late director of Japan’s National Museum of Western Art also praised Mathieu as "the greatest French painter since Picasso". American critic Clement Greenberg, after seeing the Kootz Gallery in New York, also called Mathieu "the most important European painter.” Mathieu, the father of lyrical abstraction in Europe, is in the midst of the changes of our times. Regarding the long tradition of 20th century painting, he has not been afraid to put forward his opinions: hate conventionality, and dare to challenge the narrow definition of painting. “At the height of the wildest hope, chart a path of rebirth." Mathieu is like a scientist, creating a unique art, a theory of life. With astonishing speed, his acts of renewal and creation are like a "psychedelic revolution." Mathieu was a proud fighter, an elegant dandy, and a romantic.
In Folch-Ribas’ description of Mathieu’s gallery appearance, Mathieu is like a matador dressed up in all his fine clothes as if to say "I salute you. When you enter the arena, you risk your life. When I paint, I only risk personal glory.” “That's the same thing!” replies the other. Mathieu created all the paintings in his Montreal exhibit in two feverish days that were like a fierce battle. The first requirement is speed, which is crucial to pass such a test. That year, Hommage à Dollard des Ormeaux was created before a live audience in brilliant and dazzling style. Created when Mathieu was only 42 years old, the piece is mature and steady, carrying a tremendous amount of creativity and fighting spirit. In 1963, the Metropolitan Museum of Art in Paris held Mathieu’s first retrospective exhibit. He was at the height of his career, a prince in the art world. This painting
趙無極《5.11.62》1962 油彩 畫布 80.5 x 116 cm 羅芙奧台北2018春拍 編號220 台幣153,760,000成交 ZAO Wou-ki, 5.11.62 , 1962, oil on canvas, 80.5 x 116 cm Ravenel Spring Auction 2018 Taipei, lot 220, US$5,152,815 sold
045
AMEDEO MODIGLIANI
阿美迪奧．莫迪里亞尼
(Italian, 1884 - 1920)
少女的畫像
Portrait d’une jeune fille
1917-1918 水粉 粉彩 鉛筆 綜合媒材 硬紙板 33 x 21 cm 簽名左上：Modiglani
1917-1918 Gouache, pastel, crayon and mixed media on carton 33 x 21 cm Signed upper left Modigliani PROVENANCE Madame L. Charpentier, Paris, 1919-1937 (acquired directly from the artist) Madame Ribas, Emilio Ribas, Barcelona 1937-app. 1966 Welters van Hattum, Dutch collection,from app.1968 (Vice Consul of the Netherlands) Private collection, Europe (from the late 1970s till now) EXHIBITED Works by Amedeo Modigliani in Dutch Possession , Centraal Museum Utrecht, Netherlands, March 15-May 5, 1968 ILLUSTRATED Works by Amedeo Modigliani in Dutch Possession , Centraal Museum Utrecht, Netherlands, 1968, no.1, pp.12-13
Collection Welters van Hattum , Netherlands, no.2 This work is to be sold with a copy of confirmation letter from Jean Cocteau to Madame Ribas signed around 1961, as well as a certificate of authenticity signed by Arthur S. Pfannstiel, the expert for Modigliani’s art in 1966.
NT$ 16,000,000 - 24,000,000 HK$ 4,113,000 - 6,170,000 US$ 526,100 - 789,200 RMB 3,636,000 - 5,455,000
來源 夏邦提耶夫人1919-1937年收藏，法國巴黎（直接得自藝術家） 愛彌力歐．列巴斯、列巴斯夫人1937-1966年左右收藏，西班牙 巴塞隆納 維爾特斯．梵．哈杜1968年收藏，荷蘭（時任荷蘭副領事） 私人收藏，歐洲（1970年代晚期至今） 展覽 「荷蘭收藏之阿美迪奧．莫迪里亞尼作品」，烏特勒支中央博物 館，荷蘭，展期自1968年3月15日至5月5日 圖錄 《荷蘭收藏之阿美迪奧．莫迪里亞尼作品》，烏特勒支中央博物 館，荷蘭，1968，黑白圖版，編號1，頁12-13 《維爾特斯．梵．哈杜收藏》，荷蘭，編號 2 附藝術家好友尚．考克多寫給列巴斯夫人的簽名照片保證書 影本（約1961年）；專家亞瑟．S．普法斯迪爾（Arthur S. Pfannstiel）開立之原作保證書（1966年）
Ravenel 107
阿美迪奧．莫迪里亞尼被譽為「蒙巴那斯王子」，是一位風流倜儻的美男子。2017年11 月，倫敦泰德現代美術館，為紀念莫迪里亞尼逝世一百周年，盛大舉行回顧展。展覽抽 絲剝繭諸多史料，希望為世人重新釐清，這位如璀璨流星短暫即逝的藝術家，他的傳奇 人生與創作脈絡。 1884年7月12日，他生於義大利的利佛諾，小名叫做迪多。莫氏家族為來自羅馬的猶太 名門，但是父親經常在外經商，在這家庭中的角色顯得不甚重要。母親及娘家是對迪多 的教養及影響最大，加上自幼體弱，母愛對他無比重要。1906年1月莫迪葛里亞尼乘了 火車，從利佛諾抵達巴黎。 20世紀初的蒙巴納斯區逐漸湧入一波藝術家，形成一個以「蜂巢」，圓頂、穹頂以及丁 香園等咖啡屋工作室所形成的藝術新聚落，1909年後莫迪里亞尼也遷移到此處，在此他 結識了包括畢卡索、布朗庫西、蘇汀、奇斯林、藤田嗣治等巴黎畫派藝術家。1917年， 波蘭的詩人芝波羅夫斯基夫婦，也是藝術家的最佳經紀人，為莫迪里亞尼籌募第一次個 人畫展，當時未能成功，僅賣出一幅畫。五幅裸體畫在畫廊展出時，被認為有色情的聯 想，遭警察取締，這個事件反而使莫迪里亞尼一夕成名。 莫迪里亞尼的創作題材，不論雕塑或繪畫，幾乎都以人物為主，存世的作品中只有四幅 風景畫。其餘的是他生活所見的人物畫，有職業模特兒，朋友、戀人珍妮的肖像或裸 體。在造型風格上他混合了西方傳統及多種文化，尤其是義大利古典傳統的仰慕之情。 他的靈感來源也有塞尚、前拉斐爾畫派、文藝復興時期繪畫、立體派繪畫、非洲雕刻、 柬埔寨浮雕以及日本版畫。 藝術家將雕塑的研究轉移到繪畫上，避開肌肉的描寫，尋找一種簡化的、表現內在形象 的特質。無論男男女女，莫迪里亞尼所描繪的對象，都透露出一種女性的纖細特質。人 物的視線幾乎沒有焦點，眼神茫然空洞，彷彿對外在世界視而不見。而莫迪里亞尼對於 中國早期留法藝術家更是有深厚的影響，常玉、潘玉良、林風眠的人體畫，顯著地受到 他的啟發。今日的不少當代藝術家肖像畫裡，仍然看出莫迪里亞尼的影響。 莫迪里亞尼筆下的少女，相較於成熟女性畫像的風韻，少女們的雙頰更加豐潤，眼神柔 和。《少女的畫像》主角人物的面容占據整個畫面，齊瀏海的髮式搭配一雙湛藍眼睛， 莫迪里亞尼照片
透露著純真，甚至看得到長長睫毛和睫下閃爍的淚光。畫面帶有淺珍珠灰色的陰影，挺
Photo of Modigliani
直的鼻梁延伸至下方，櫻桃小嘴帶上一抹玫瑰色。莫迪里亞尼的名言：「當我認出妳的 靈魂時，就會畫出妳的眼睛。」少女「凝視」觀者的靈魂，觸動心弦，也見證巴黎與義 大利古典傳統在莫迪里亞尼身上激盪的火花。 此拍品《少女的畫像》經專家亞瑟．方斯提耶先生鑑定為1917年末至1918年初期間藝 術家以蠟筆與粉彩在硬紙板上的創作。畫面左上方有藝術家的簽名。法國知名詩人： 尚．考克多也曾開立作品保證書，向原收藏者列巴斯．維拉太太說明，此畫作出自藝術 家之手。作品來自重要西班牙列巴斯家族的舊藏，其家族成員列巴斯．維拉太太與莫 迪里亞尼在大茅屋路八號的公寓鄰居夏邦提耶女士為朋友。夏邦提耶女士是藝術家在世 時，經常拜訪他並給予經濟支援的友人。夏邦提耶女士的財產，其中有一批是得自藝術 家本人的作品。1968年為荷蘭副領事：華爾特斯．梵．哈杜先生買下這批收藏，成為當 時莫迪里亞尼在歐洲最大的收藏家之一。
《荷蘭收藏之阿美迪奧 莫迪里亞尼作品》，烏特勒支中央博物館，1968年，畫冊封面與封底 Catalogue of Werken van Modigliani in Nederlands Bezit, Centraal Museum, Utrecht, 1968
「荷蘭收藏之阿美迪奧 莫迪里亞尼作品」，烏特勒支中央博物館，1968年展覽場景 Exhibition views of "Werken van Modigliani in Nederlands Bezit", Centraal Museum, Utrecht, March 15-May 5, 1968 © Centraal Museum, Utrecht
Ravenel 109
Amedeo Modigliani, a handsome artist from Italy, was known as the Prince of Monpanasse in the begging of 20th centuries. The Tate Modern Museum, London, held a grand retrospective exhibition of Modigliani, for the hundred anniversary after he died, in the November, 2017. The exhibition re-analyses many historical references about Modigliani, hoping the public re-know his art and legendary life, which shined like a meteor, very bright but too short. Amedeo Modigliani, nicknamed Dedo, was born in Livorno, Italy on July 12, 1884. The Modigliani family was a prestigious Jewish family from Rome. Often abroad for business, his father like to have had an important role in the family. Dedo was Raised and influenced mostly by his mother and his mother's family. Moreover, since he had been frail as a child, maternal love was incredibly important to him. In January 1906, Modigliani rode the train and arrived in Paris from Livorno.
阿美迪奧．莫迪里亞尼《少女頭像》1916年 油彩 畫布 66 x 51 cm 佳士得倫敦1993春季拍賣會 編號020 落槌價 英鎊 2,600,000 Amedeo MODIGLIANI, Tête de jeune fille , 1916, oil on canvas, 66 x 51 cm Christie's London 1993 Spring Auction, lot 020, Hammer price US$ 3,770,000
The twentieth century, a group of artists gradually settled in the Montparnasse region, forming a new artistic settlement based on café studios such as "The Bee Hive" (La Ruche), "The Rotunda" (La Rotonde), "The Dome" Le Dôme), and "The Circle of Lilacs" (La Closerie des Lilas). After 1909, Modigliani moved there and got to meet many artists from the Paris School (École de Paris), including Picasso, Brâncuşi, Soutine, Kisling, Léonard Tsugouharu. In 1917, Polish poet Leopold Zborowsk I and his wife were also Modigliani's best agents, having planned his first solo exhibition for him. It was not a success; only one painting was sold. When five paintings of nudes were shown in galleries, they were thought to be pornographic, and were Prohibited by the police - no contrary expected expectations, this event made Modigliani famous overnight. The topics of Modigliani's creations were almost always females, were sculpted or painted. There are only four existing landscape paintings. All the rest are portraits of people he saw in his life, including models, friends, and his lover Jeanne, both clothed and Nity. As for his style, he mixed the Western tradition with multiple cultures, especially his love for the traditional classical Italian style. His inspiration also came from Cézanne, the Pre-Raphaelites, Renaissance paintings, Cubist paintings, African sculpture, Cambodian reliefs, and Japanese prints. He transferred his study of sculpture to paintings, surgical the depiction of muscles and instead searching for a simplified style that expressed the internal forms. All of the subjects of Modigliani's work whether men or women - display a certain sensitive femininity. The figures' lines of the sight of the lack of focus, showing confusion and apathy in the eyes, as if not seeing the external world. Modigliani had a deep influence on the early Chinese artists who studied in France. Sanyu, Pan Yuliang, and Lin Fengmiang's paintings of human figures were conducted inspired by Modigliani. Modigliani's influence can still observed in portraits by many contemporary artists today. The young girls described by Modigliani, comparing with Ladies’ elegance, they have more chubby cheeks and gentle
deer eyes. In the Portrait d’une jeune fille , the subject positioned on the center composition, the blue eyes under the baby bangs, present the innocent of youth. The audience even can see the flashing tears under the long lashes. The pearl gray shadow covers her face, and the straight nosebridge elongates to her rosy small lips. Modigliani said: 「When I know your soul, I will paint your eyes.」The girl in the oeuvre seems to gaze at the viewer's soul, this also serves as testament to the inspiration that Modigliani found which was created by the collision of Paris avant-garde and classical Italian traditions. The auction piece is Portrait d’une jeune fille . Art expert Arthur S. Pfannstiel has certified that this piece was created by Modigliani between 1917 and early 1918, with crayon on cardboard. On the upper left of the painting, there is a signature of the artist. A friend of the artist, French famous poet Jean Cocteau, also signed a certificate to Mme Ribas to confirm that the work was made by the artist’s hands. This artwork is the ancient collection of the Spanish RibasVila family, their family member Mme Vve. Ribas-Vila was friends with Modigliani's neighbor Mlle. Charpentier, when they lived at no. 8 rue de la Grande-Chaumière. Mlle. Charpentier was a friend of the artist, she had often visited him and provided financial assistance when he was alive. In the property of Mlle. Charpentier, there was a set of artworks given to her by the artist himself. In 1968, Vice Consul of the Netherlands Welters Van Hattum, bought this set of artworks and became a collector with one of the biggest collection of Modigliani works in Europe at the time.
Ravenel 111
046
GEORGES MATHIEU (French, 1921 - 2012)
Orestide 1976 Oil on canvas 89 x 116 cm Signed lower right Mathieu and dated 76
NT$ 2,400,000 - 3,600,000 HK$ 617,000 - 925,000 US$ 78,900 - 118,400 RMB 545,000 - 818,000
喬治．馬修 奧勒提斯 1976 油彩 畫布 89 x 116 cm 簽名右下：Mathieu 76
Ravenel 113
浪 漫 史 詩 的 遙 想
ROMANTIC EPIC 知名法國大畫商兼史學家丹尼爾‧維恩斯坦（Daniel Wildenstein, 1917-
展覽足跡遍及全世界，私人藏家也多集中於歐美國家，全球權威性美術館
2001）曾對馬修說，「您的繪畫展現著青春與進化，只有如提香和莫內
皆收藏馬修的作品，包括：紐約現代美術館、紐約古根漢美術館、巴黎龐
等藝術家才能完成啊！」而維恩斯坦是研究莫內、馬內、庫爾貝和高更的
畢度藝術中心、東京現代美術館等，全球17個國家，近百家的美術館。
專家，這是無比崇高的禮讚！
代表性的個人展覽為1963年巴黎市立現代美術館的第一次回顧展，1978 年於巴黎大皇宮和2002年巴黎國立網球場現代美術館等。
喬治‧馬修生於1921年法國布洛涅與英國隔著海峽相望，成長於19191939年戰間期，法蘭西殖民帝國帶有征服性、驕傲感與侵略性的輝煌時 代。生於銀行世家，深度研究文學、法律與哲學，大量閱讀及思考，是往 後馬修作品高度精神性的基礎。1942年開始藝術創作，放棄具象藝術的 路線。1947年舉辦第一次公開展覽，打破馬列維奇與蒙德里安的幾何抽 象，創出獨步全球的抒情抽象，被戴高樂時期第一任文化部長安德烈‧馬 樂侯讚譽為「西方的書法家」。 黑、白、紅的單色背景是馬修早期常見用色，多採單色背景，簡單的符 號自由律動，帶有禪宗的意象。後來的作品則趨向鮮艷多變化，尤其是 1970年代後的風格顯得瑰麗優雅，而其獨有的高貴依舊氣勢不凡。1970 年代馬修非常專注於畫面動勢與平衡，畫面中心有色塊的組合。作品《奧 勒提斯》具有畫家典型的1970年代色彩，土耳其藍、洋紅色交錯為上下 兩個空間，畫面中心的白色、金色與黑色的色塊，呈現希臘羅馬時期古典 輝煌的風格。 1976年，馬修創始抒情抽象繪畫屆滿三十年，在巴黎的畢卡索美術館特 地為此舉辦紀念畫展，表彰其貢獻。同年，馬修創作一系列與希臘相關的 畫作，帶有希臘柱式的結構元素。作品《奧勒提斯》即為其一。奧勒提 斯，本為歐洲希臘古老的地名，先後屬於古希臘時期的伊庇魯斯和馬其頓 王國。一如過往，具有貴族血統的畫家馬修，獨鍾浪漫史詩與致敬題材， 也賦與歷史新的詮釋與情懷。喬治・馬修的華麗畫作宛如閃電、如火焰 般，充滿令人目眩神迷的符號與標誌，他的畫作帶有光明的情感力度，神 秘又熾烈。 1976年馬 接續藝術家阿佛列德・吉思（Alfred Giess）的位子，獲選為 法蘭西學院院士，馬修與法國文化部的良好關係，使其在1970年代幾乎 被視為法國官方代表的藝術家，直至1980年代，密特朗總統上台政權轉 移，被視為「右派」的馬修才漸漸從幕前淡出。馬修懂得運用當時蓬勃發 展的媒體，直言不諱表達自己的藝術理念，和對現代社會現有體制的質 疑，一言一行皆備受關注。與同為院士的貝爾納・畢費，堪稱當時最知名 的抽象與具象藝術家。
The famous painting merchant and historian Daniel Wildenstein (1917–2001) once told Mathieu, “Votre peinture montre une jeunesse et une évolution que seuls des artistes comme Titien et Monet ont accompliés” (Your paintings show a youth and an evolution that only artists like Titian and [Claude] Monet have accomplished.) Since Wildenstein was an expert on Monet, Édouard Manet, Gustave Courbet, and Paul Gauguin, this was extremely high praise! Georges Mathieu was born in 1921 in Boulogne-sur-Mer, France, on the opposite side of the channel from England, and grew up during the century’s great wars of 1919 to 1939. It was a time when France was conquering, prideful, and invasive, when the French colonial empire still enjoyed an era of prosperity. Born into a family of bankers, Mathieu's intense study of literature, law, and philosophy became the foundation of the high spirituality which marked his later works. He began his artistic journey in 1942, and thereupon abandoned a path in figurative art. In 1947, he held his first public exhibition. It was there that he broke down the geometric abstractions of Marevich and Mondrian and created his first lyrical abstract art. During Charles de Gaulle's presidency, Mathieu was given the title of “Calligrapher of the West” by André Malraux, the first French Minister of Culture. Black, white, or red monochromic backgrounds were commonly u t i l i z e d b y G e o rg e s M a t h i e u i n h i s e a r l y d a y s . T h e v i b r a n t monochromic backgrounds revealed the simple symbolic rhythm of liberty, harboring Zen imagery. Mathieu’s later works tended to be brighter and more varied. His style after the 1970s were especially imposing with an extraordinary flair. In the 1907s, Mathieu focused heavily on the dynamical balance on canvas, materializing combinations of color blocks in the center of canvases. The work Orestide harbors Mathieu’s typical colors with Turkish blue and magenta interlaced into two spaces. The white, gold and black color
blocks are juxtaposed in the center of the picture, forming a brilliant style from the classical Greco-Roman period. 1976 marked the 30th year of Mathieu’s lyrical abstract paintings, and the Picasso Museum in Paris held a commemorative exhibition to recognize his contribution. In the same year, Mathieu created a series of Greek-themed works that carry the structural element of Greek columns. The work Orestide is one of them. Orestide is the name of an ancient Greek region which belonged to the ancient Greek period of Epirus and Macedonia. With a passion for history, Mathieu, a painter of noble blood illustrates romantic rhetoric and themes of tribute, providing new interpretations and sentiments of history. Mathieu’s magnificent paintings are like lightning and flames inundated with stunning symbols and signs. Mysterious and blazing, his paintings harbor a bright emotional intensity, In 1976, he was selected to inherit Alfred Giess’ position as a member of the Académie Française. Mathieu’s friendly relationship with the Ministry of Culture allowed him to be somewhat viewed as the official artist representative of the 1970s; and it wasn’t until Mitterrand took the office in the 1980s that the right wing Mathieu faded from the public eye. Mathieu knew how to utilize the rise of the media of his day to boldly convey his artistic ideologies as well as his misgivings towards the systems of contemporary society. His every word was paid close attention. Along with Bernard Buffet, another member of the Académie Française, he was the most prominent abstract and figurative artist of his time. Mathieu’s exhibition steps were all around the world, most of his private collectors came from Europe or North America. MoMA, Guggenheim Museum, Centre Pompidou, Museum of Contemporary Art Tokyo and almost hundred museums collect Mathieu’s artworks. His first retrospective exhibition was held in 1963 in Musée de la Ville de Paris, and in Grand Palais, 1978, in Jeu de Paume Museum, 2002.
喬治．馬修《中央公園婚約－勃艮第公爵與 盧森堡女公爵》1958年 油彩 畫布 162.5 x 97.5 cm 羅芙奧2018春季拍賣會 編號020 台幣6,600,000 成交 Georges MATHIEU, Traité du Duc de Bourgogne et de la Duchesse de Luxembourg ,1958, oil on canvas, 162.5 x 97.5 cm Ravenel Spring Auction 2018, lot 020, US$ 221,180 sold
Ravenel 115
047
PETER RIEZEBOS (Dutch, b. 1980)
Striking Villains 2016 Mixed media on linen 120 x 160 cm EXHIBITED Ni Chi Bao Le Ma? - Peter Riezebos Solo Exhibition , Artgogo, Shanghai, May 8 - 21, 2018
NT$ 850,000 - 1,300,000 HK$ 219,000 - 334,000 US$ 28,000 - 42,700 RMB 193,000 - 295,000
彼得．萊茲伯斯 教訓惡人 2016 綜合媒材 亞麻布 120 x 160 cm 展覽 「你吃飽了嗎? －彼得萊．茲伯斯個人作品展」， 藝高高，上海，展期自2018年5月8日至21日
彼得．萊茲伯斯，1980年生於荷蘭，融合抽象與當代表現主義，極具個人 特色，為全球活躍的當代藝術家。藉由線條勾勒幾何圖形，與飽合底色襯 托對比，饒富趣味地型塑畫面上的具象形體。創作情感自由奔放，瞬間帶 動筆觸，強烈衝擊視覺感官。創作主題，多來自生命經驗，與內心淬煉感 受的交織。來自多元融合的荷蘭國度，萊茲伯斯善於將各色原素轉化成自 身語彙。近年多受邀於商業藝廊與機構，巡迴展覽於上海、紐約、洛杉磯 與阿姆斯特丹等國際一線城市。
Born in the Netherlands in 1980, Riezebos mixes abstraction and contemporary expressionism with his personal characteristics. He is a globally active contemporary artist. He uses a saturated background to contrast the shape of geometric figures drawn in lines. The free and unrestrained creative emotions and an instant touch of a brush have a strong impact on the visual effect. The theme for his works of art mainly comes from life experiences intertwined with inner feelings. Coming from a multi-integrated country, Riezebos is skilled at transforming various elements into his own vocabulary. In recent year, he has been invited to commercial galleries and institutions and has also exhibited in international first-tier cities such as Shanghai, New York, Los Angeles, and Amsterdam.
Ravenel 117
048
PETER MAX
彼得．馬克思
(American, b. 1937)
魔法師
Wizard
1970 壓克力 畫布 116 x 125 cm 簽名右上：Peter Max 1970 N.Y.C.
1970 Acrylic on canvas 116 x 125 cm Signed upper right Peter Max , dated 1970 and inscribed N.Y.C. PROVENANCE London Arts Gallery, London, UK Private collection, USA London Arts Group, USA EXHIBITED London Arts Gallery, London, UK, 1973 London Arts Gallery, Detroit, USA, 1974
NT$ 420,000 - 600,000 HK$ 108,000 - 154,000 US$ 13,800 - 19,700 RMB 95,000 - 136,000
美國當代藝術家彼得・馬克思，二戰期間出生於德國柏林，以 標誌性大膽而鮮明的色彩聞名，1960至1970年代初期，馬克 思的作品影響了美國的商業視覺設計。童年隨家人四處逃難， 從上海到以色列，輾轉於1953年定居美國。2000年，美國大 陸航空公司曾委託馬克思替波音777噴氣式客機的外觀進行彩 繪。馬克思的作品也代表了多樣性的美國流行文化。
Peter Max was born in Berlin, German. He is an American artist known for using bright colors in his work. From 1960s to 1970s, his works influenced the American’s design and commercial visual industry. Max has travelled extensively from Shanghai to Israel, in 1953, his family decided to settle in the United States. In 2000, Max was commissioned by the Continental Airlines to illustrate the exterior of a Boeing 777 jet. Max’s works represented the diversity of American pop cultures.
來源 倫敦藝術畫廊，倫敦，英國 私人收藏，美國 倫敦藝術集團畫廊，美國 展覽 倫敦藝術畫廊，倫敦，英國，1973 倫敦藝術畫廊，底特律，美國，1974
Ravenel 119
049
ELISABETH SABALA (Spainish, b. 1956)
Go ahead to get some suntan. I prefer first to have a beer. c. 2000 Oil on canvas 162 x 130 cm Signed lower center SABALA PROVENANCE Kwai Fung Hin Art Gallery, Hong Kong Private collection, Asia
NT$ 500,000 - 800,000 HK$ 129,000 - 206,000 US$ 16,400 - 26,300 RMB 114,000 - 182,000
伊莉莎白．莎貝娜 去曬黑一點。我寧可先喝啤酒。 約2000年 油彩 畫布 162 x 130 cm 簽名中下：SABALA 來源 季豐軒畫廊，香港 私人收藏，亞洲
伊莉莎白．莎貝娜來自巴塞隆納，透過創作記錄自身生命經驗。以幽默的情境 主題，鼓勵人們正向面對生命挫折。莎貝娜居於夜生活聞名的巴塞隆納拉巴爾 區（Raval），每日觀察夜夜笙歌的盛裝女性和嘉賓之中超過二十年；歡笑娛樂 的夜總會、派對、馬戲團場景，自然而然成為莎貝娜筆下靈感。人物體型豐腴 卻四肢纖細，搭配誇張生動的肢體動作。優雅俏皮不覺使觀者會心一笑，充滿 樂觀詼諧的藝術精神，如同晴空高照的太陽，溫暖觀賞者的心情。
Sabala is a painter from Barcelona who records life experiences through creation. Her works of art depicting humorous situations encourage people to face life setbacks. Sabala lived in Raval, a place famous for its nightlife, where she observed dressed-up women and guests every day for over twenty years. The nightclubs, parties, and circus scenes filled with laughter and entertainment have become an inspiration for the artist. In her works, the human body is plump but the limbs are slender with exaggerated and vivid body movements; elegance and playfulness bring out a smile on the viewer’s face. Full of optimistic and witty artistic spirit, like the sun shining in the sky, her paintings warm the mood of the viewers.
Ravenel 121
050
JEFF KOONS
傑夫．昆斯
(American, b. 1955)
氣球狗（黃）
Balloon Dog (Yellow)
2015 釉瓷 889/2300 26.7（長）x 26.7（寬）x12.7（深）cm 印刷簽名：JEFF KOONS
2015 Glazed porcelain, edition 889/ 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 the certificates of authenticity issued by Opera Gallery, Hong Kong and by Bernardaud Group, France.
NT$ 300,000 - 380,000 HK$ 77,000 - 98,000 US$ 9,900 - 12,500 RMB 68,000 - 86,000
附香港歌劇畫廊及法國柏圖瓷器開立之作品保證書
傑夫．昆斯，1955年出生於美國，是當代著名的藝術家。作品 傳達了接納、包容與仁慈的正能量，探討能夠引起普世共鳴的 主題。傑夫．昆斯的作品曾於世界各地展出，並被多間公立及 私人博物館收為藏品。《氣球狗》來自昆斯最廣為人知的系列 「慶祝」，同時也見證了他創作生涯當中的新篇章。如藝術家 本人所說「我們就像這些充氣物一樣，我們呼吸、膨脹……最 後一口氣，即是洩氣」。這些色彩繽紛的雕塑不僅呈現出精湛 的技術，更讓觀者在觀賞過程感受到極致喜悅。
051
JEFF KOONS (American, b. 1955)
Balloon Dog (Magenta) 2015 Glazed porcelain, edition 1088/ 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$ 77,000 - 98,000 US$ 9,900 - 12,500 RMB 68,000 - 86,000
Jeff Koons, born in 1955 in U.S.A., is a renowned contemporary artist. His works convey positive energies of acceptance, inclusion and compassion while discussing topics that resonate with people. Jeff Koons’s works have been exhibited all over the world and are collected by several public and private museums. The “Balloon Dog” work comes from Koons’s most famous series “Celebration” marking the start of a new chapter in his creative career. As the artist once said, “We are ourselves just like these inflatables; we take a breath, we expand, we contract... Our last breath in life leads to our deflation.” These colorful sculptures not only exhibit an impressive display of skills, they also give viewers a sense of pure joy.
傑夫．昆斯 氣球狗（洋紅） 2015 釉瓷 1088/2300 26.7（長）x 26.7（寬）x12.7（深）cm 印刷簽名：JEFF KOONS 附法國柏圖瓷器開立之作品保證書
Ravenel 123
052
AUGUSTE (French, b. 1977)
Marilyn vs Iron Man
奧古斯特
2014 Mixed media on aluminum plate 100 x 100 cm Signed lower right Auguste Titled Marilyn vs Iron Man , dated 2014 and numberd 1/2 on the reverse Signed Auguste , dated 2014 and numberd 2/2 on the reverse
夢露 vs 鋼鐵人
PROVENANCE Private collection, France
2014 綜合媒材 鋁板 100 x 100 cm 簽名右下：Auguste 題名年代畫背：Marilyn vs Iron Man 2014, 1/2 簽名年代畫背：Auguste 2014, 2/2 來源 私人收藏，法國 附藝術家簽名之原作保證書
This painting is to be sold with a certificate of authenticity signed by the artist.
NT$ 440,000 - 650,000 HK$ 113,000 - 167,000 US$ 14,500 - 21,400 RMB 100,000 - 148,000
奧古斯特，生於1977年，來自法國波爾多。奧古斯特定 義創作精神，是為「世代交替」找回共同記憶。集結大眾 媒體文化元素，尤其是美國巨星、漫威英雄、品牌商標， 連結不同時代之共鳴。通過通俗娛樂的象徵符號，重新洗 牌歐美主流文化「經典」一詞所帶出的想像。善用複合媒 材，將圖像層層轉印堆疊，富有飽和色彩，最後於畫面施 以光澤透明的烤漆，帶來獨特的現代感。裁切鋁板造型， 將核心人物以拼圖造型凸顯，呼應腦海印象「記憶拼圖」 的強烈概念。
Born in Bordeaux, France, in 1977, Auguste defines the spirit of creation, which is to find a common memory for "alternation of generations." He concentrates on the elements of mass media culture, especially American superstars, Marvel heroes, brand trademarks, which resonance different eras. He utilizes symbols of popular entertainment to rearrange the imagination of the word "classic" in the mainstream culture in Europe and America. He makes good use of mixed media, transfers layers of images, and applies saturated colors. Finally, he employs glossy and transparent paint on the picture to bring a unique modernity. Cut in a shape of an aluminum plate, the work highlights the puzzle-shaped characters, thus echoing a strong concept of the mind memory, “memory pieces.”
作品局部 work in detail
Ravenel 125
053
NG LUNG WAI (Hong Kong, b. 1971)
Audrey Hepburn 2015 1960s European stickpin badges on canvas 138 x 104 cm Signed NGLUNGWAI and dated 2015 on the reverse
NT$ 300,000 - 440,000 HK$ 77,000 - 113,000 US$ 9,900 - 14,500 RMB 68,000 - 100,000
伍龍威 奧黛莉．赫本 2015 1960年代歐洲徽章 畫布 138 x 104 cm 簽名年代畫背：NGLUNGWAI 2015 伍龍威，1971年出生於香港，香港中文大學建築碩士畢業。此件 《奧黛莉．赫本》，經荷蘭國王文化辦公室確認，以該國各色老 徽章所製作之作品。靈感來自赫本發表的精神格言，強調人類個 體，甚至是老物件，皆具有重生賦予新生的價值與意義。伍龍威 曾多次與香港藝術館、文化博物館與海防博物館展等機構合作藝 術計劃。常以收集多種非傳統媒材，如：郵票、烙畫、象棋，以 「情景點畫法」精心構築大尺幅的全球名人肖像，暗喻香港社會 環境，中西不同的文化融合及衝突，看似一體、實為分化且矛盾 的社會認同感。
B o r n i n H o n g K o n g i n 1971, Wa i g r a d u a t e d f ro m t h e Chinese University of Hong Kong with a master’s degree in architecture. This work of art, Audrey Hepburn, confirmed by the Dutch King’s Office of Arts and Culture, is made of the colored old badges of the country. The inspiration for this work came from a spiritual maxim stated by Hepburn, which emphasizes that there are a value and meaning in the rebirth of human beings, even old objects. Ng Lung Wai has many times cooperated with the Hong Kong Museum of Art, Hong Kong Heritage Museum, and the Hong Kong Museum of Coastal Defence. He often collects various nontraditional media, such as stamps, pyrography, chess, and utilizes “contextual pointillism” to carefully construct largescale portraits of globally-known celebrities. It is a metaphor emphasizing Hong Kong’s social environment, different cultural integrations and conflicts between China and the West, which seems to be one, truly differentiated, and contradictory social identity.
作品局部 work in detail
Ravenel 127
054
YI CHEN
陳屹
(Chinese-American, b. 1966)
吶喊
Untitled (Scream)
2009 油彩 畫布 76 x 61 cm 簽名畫背：Yi Chen
2009 Oil on canvas 76 x 61 cm Signed Yi Chen on the reverse PROVENANCE Gallery Beijing Space, Beijing Acquired from the above by the present owner
NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 5,900 - 9,200 RMB 41,000 - 64,000 陳屹，出生於文革末期的北京，2003年在紐約州立大學波 切斯美術學院取得碩士。陳屹的第一次展覽在紐約切爾希 的畫廊舉行，之後正式簽約瑪莉安．博斯基畫廊，其作品 受到許多國際藏家、畫廊及美術館的歡迎。陳屹所學貫穿 中西，他的作品巧妙地融合東西方元素，取材自通俗流行 文化及時尚雜誌。藝術家目前居住及工作於紐約。
來源 北京空間畫廊，北京 現有收藏者購自上述來源 Yi Chen was bor n in Beijing at the end of the Cultural Revolution. He finished his studies at SUNY Purchase College, New York University and graduated in 2003 with an MFA. With his first exhibition held in a gallery in Chelsea, New York, Yi Chen became later one of the most prominent young artists in Marianne Boesky Gallery. His works have been sought after by different galleries, museums and international collectors. Chen’s artwork successfully combines his Chinese origin and western artistic training, drawing inspiration from popular culture and fashion magazines. Yi Chen currently lives and works in New York.
055
GIANLUCA PIACCIONE
吉安路卡．皮亞奇歐尼
(Italian, b. 1971)
思緒
Lines of Thought
2017 壓克力 鏤空 折曲 畫布 110（長） x 110（寬） x 3（深）cm 簽名畫背："Lines of Thought" Are: A02426-17 960/720 110x110x3 G. Piaccione
2017 Acrylic on cut-out and folded canvas 110 (L) x 110 (W) x 3 (D) cm Signed G. Piaccione , titled “Lines of Thought” and inscribed Are: A02426-17 960/720 110x110x3 on the reverse PROVENANCE Private collection, Italy
NT$ 280,000 - 420,000 HK$ 72,000 - 108,000 US$ 9,200 - 13,800 RMB 64,000 - 95,000 吉安路卡．皮亞奇歐尼利用複雜但規律的方式割開畫布，作品 融合了歐普藝術的視覺效果，以及盧齊歐．封塔納打破傳統 「繪畫」條件的概念。經過設計及計算，皮亞奇歐尼透過各異
來源 私人收藏，義大利 Gianluca Piaccione cut out the canvas in a complicated but regulated fashion for his work. Piaccione’s artwork intergrated the visual effect of Op-art, as well as the concept of breaking the definition of “painting” which had also been done by the famous Lucio Fontana. Piaccione created the dizzying optical illusions with meticulously designed geometric shapes. Meanwhile, the calculated cutting patterns and the intentionally positioned shapes are amazingly interesting when referring to the suggestive title.
的切割規律所排列出的幾何形畫面，除了給予觀著視錯覺感， 配合藝術家別有意味的作品命名欣賞亦饒富趣味。
Ravenel 129
056
KUNIHIRO AKINAGA
秋永邦洋
(Japanese, b. 1978)
擬態化－犬
Mimicry - Dog
2014 陶瓷 單一件 72（長）x 20（寬）x 36（高）cm
2014 Ceramics; unique 72(L) x 20(W) x 36(H) cm PROVENANCE Aki Gallery, Taipei Private collection, Taiwan EXHIBITED Art Taipei, Aki Gallery, Taipei, 2014
NT$ 260,000 - 380,000 HK$ 67,000 - 98,000 US$ 8,500 - 12,500 RMB 59,000 - 86,000
來源 也趣藝廊，台北 私人收藏，台灣 展覽 台北藝術博覽會，也趣藝廊，台北2014
057
KIM YE-JIN
金藝晉
(Korean, b. 1988)
心文藝復興
Heart to Renaissance
2011 - 2012 綜合媒材 畫布 72.5 x 120 cm 簽名年代右下：KIM YE JIN'11
2011 - 2012 Mixed media on canvas 72.5 x 120 cm Signed lower right KIM YE JIN and dated 11 ILLUSTRATED Kim Ye-jin, William Art Salon, Taipei, 2014, color illustrated, pp. 26-27 This lot is to be sold with a certificate of authenticity issued by William Art Space. (with incorrect size of 70 x 180 cm)
NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 5,900 - 9,200 RMB 41,000 - 64,000
圖錄 《金藝晉》，威廉藝術沙龍，台北，2014， 彩色圖版，頁26-27 附威廉藝術空間開立之原作保證書（尺寸誤植為70 x 180 cm） 韓國具象藝術的高度發展更融合了表現題材與媒材的多樣化；女性藝術 家金藝晉，在畫作裡以多媒材物質營造出肌理深厚的作品，在研究立體 媒材與平面畫作的關係以外更探討內在與自我的對話。
Figurative art in Korea has come a long way towards maturity. Female artists Kim Ye-Jin adopt mixed media to instill textures into their art. The method does not only examine the relationship between three-dimensional media and two-dimensional paintings, but also explores the artist’s interaction with her inner selve.
Ravenel 131
神秘 之 美 － 東 南 亞 藝 術
MYSTERIOUS BEAUTY- THE ART OF SOUTHEAST ASIA
自古以來，東南亞位居世界交通樞紐，不同的民族在此相遇、交會，共
Dwiarso），出生於1960年代印尼的爪哇島。蘇吉約以爪哇人對身體哲
同生存。公元前一千年，印度人與東南亞有所接觸，部分印度文化為原
學特有的崇敬與迷戀，展現高超的寫實技巧。反思印尼的歷史、政治、
住民所吸收；印度教、佛教以及從西亞傳入的伊斯蘭教，也傳入東南亞
經濟、宗教、文化等議題，畫家以身體的姿態承載，將其理念傳達於幽
地區。16世紀，荷蘭、葡萄牙進入東亞，而後是帝國主義的英國、法
微之處。東南亞藝術幅員廣大，向來重視藝術傳承，雖受全球化衝擊，
國、日本的殖民，一直到20世紀中葉，東南亞各國才重獲自由。而所謂
仍保有神秘而迷人的韻味，值得藝術愛好者去探尋與發現。
的「東南亞」一詞也是從二次大戰後期才有的名詞。 東南亞有悠久的歷史，複雜的宗教，幾世紀間面對戰爭和殖民帶來的文 化衝擊。多數東南亞現代與當代藝術，有跨國界、殖民文化與歷史傷痕 的遺緒，藝術家探討民族認同及文化權力的關係。東南亞藝術之議題， 隨著經濟崛起，在過去一、二十年間逐漸成為國際藝壇深感興趣的範 疇，1990年代有國際間以東南亞藝術專題，在日本、新加坡、澳洲與台 灣的美術館或雙年展中有策畫展覽出現。2005年前後拍賣市場有以「東 南亞藝術」專場拍賣，介紹此新興項目，獲得國際收藏家的關注。 熱度持續延續至千禧年以後，2013年紐約古根漢美術館提出「無國度」 （No Country: Contemporary Art for South and Southeast Asia）的 概念，探討南亞及東南亞當代藝術；2015年新加坡國家美術館開幕成 立，展出收藏全球最豐沛的400多件東南亞藝術藏品；2017年東京森美 術館與國家新美術館合辦「太陽雨：從1980年代至今的東南亞當代藝 術」（Sunshower: Contemporary Art from Southeast Asia 1980s to N o w）專題展；2018年初紐約的亞洲協會博物館也有類似專題展出， 蔚為風潮。 此次在「薈萃國際」（Sel ec t）專場拍賣中，精選呈獻四位東南亞藝術 家共六件拍品。首推阮忠（Trung Nguyen, 1940年生），他是越南最 有影響力的現代藝術家之一，作品受古典繪畫風格的影響。越南雖然為 法國殖民地，接受現代美術洗禮，但因民情保守，偏愛古典藝術與印象 派繪畫。阮忠的女性肖像，其實也是裸女畫，創作時為1980年代後期， 為免過度前衛新穎，畫家刻意加上薄紗蔽體，合於當地柔情純樸的特 質。越南繪畫重視個人特質，面對新都會文化的衝擊，阮忠的繪畫生平 呈現出越南藝術家從古典跨至現代的轉折過程。此二幅創作為其壯年階 段創作，極為稀珍罕見。另一位越南畫家阮青平（Thanh Binh Nguyen, 1954年生），擅長描繪芭蕾舞者、裸女、女學生等女性肖像。精妙的線 條與形式布局，創作一種阮青平式的詩意極簡風格與優雅美學。 齊．克索羅瓦（K i d K o s o l a w a t）是泰國已故寫實主義現代美術家， 擅長油畫與水彩畫，風格寫實兼具東方寫意，揉合西方繪畫的光影表 現技法，將傳統泰國鄉間風景及日常景致，透過他獨特的空間構圖、 形式美感，傳達對對寧靜烏托邦的懷想。當代藝術家蘇吉約（S u g i y o
Southeast Asia was the global transportation hub since ancient times. Different races met, interacted, and coexisted there. Indians had contact with Southeast Asia as early as 1000 B.C.E, and the indigenous people absorbed part of the Indian culture. Thereafter, Hinduism, Buddhism, and Islamism from Western Africa also spread to Southeast Asia. In the 16th century, Dutch and Portuguese arrived in East Asia and the colonialism of imperial Great Britain, France, and Japan followed to Southeast Asia. It was only until the mid-20th century did the countries in Southeast Asia regained their national sovereignty and independence. The term “Southeast Asia” actually only appeared in the later part of World War II. Southeast Asia has long history and complicated religion. Wars and colonialism that last for several centuries inflicted cultural conflicts in the region. The majority of modern and contemporary Southeast Asian art embodied the traces of historical sufferings, colonial cultures, and multi-national interactions. Moreover, Southeast Asian artists often explored the relationship between cultural power and national identity in their works. As the economy of Southeast Asia booming in the past 10 to 20 years, the issues expressed by Southeast Asian art gradually gained increasing international interests. During the 1990s, exhibitions of Southeast Asian art were held in museums or biennial exhibitions in Japan, Singapore, Australia, and Taiwan. Special auctions also appeared in auction markets around 2005 to introduce the emerging Southeast Asian art. Such auctions attracted wide attentions from art collectors around the world. The enthusiasm about Southeast Asian art continues to the 21th century. In 2013, Guggenheim Museum in New York proposed the idea of “No Country: Contemporary Art of South and Southeast Asia” to understand the contemporary art of South and Southeast Asia. Opened in 2015, National Gallery Singapore collects and exhibits the largest collection (more than 400 pieces) of Southeast Asian art. In 2017, Mori Art Museum and the National Art Center, both in Tokyo, held a joint exhibition “Sunshower: Contemporary
Art from Southeast Asia 1980s to Now.” Asia Society Museum in New York also had a similar exhibition in the early 2018. These exhibitions represented the growing popularity and interests towards Southeast Asian art. The special auction “Select” features 6 pieces of art works by 4 Southeast Asian artists. The most notable among them is one of the most influential modern artists in Vietnam, Trung Nguyen (1940), whose works was influenced by classical style. Although Vietnam was once a French colony and experienced the influence of modern art, its conservative society prefers classical art and impressionist paintings. Nguyen’s female portraits which are actually paintings of nude women as well were completed in late 1980s. To avoid being viewed as too novel and avant-garde and to present the gentle and simple characteristics of local customs, the artist intentionally covered the nude body with veils. Vietnamese paintings emphasize personal qualities. Nguyen’s works shows how a Vietnamese artist transformed from classical style to modern style while facing challenges from the new metropolitan culture. This auction presents two extremely rare pieces from Nguyen’s early years of adulthood. Thanh Binh Nguyen (born in 1954) is another Vietnamese artist who is also considered as an expert in portraits of ballerinas, nude women, and female students. He uses dedicated lines, style, and layout to create his signature simple, poetic style and elegant aesthetics. The deceased Thai artist of modern realism, Kid Kosolawat (19171988) was an expert in oil and water paintings. His style presents not only realism but also oriental symbolism. He integrated the techniques of presenting light and shadow in western paintings to illustrate landscapes of traditional Thai countryside and scenes of daily life. Using his unique spatial layout, style, and aesthetics, Kosolawat’s works conveyed the longing for a peaceful utopia. The contemporary Indonesian artist Sugiyo Dwiarso was born on Java Island in 1960s. Sugiyo displays his superb skills of realism through his paintings on the respect and admiration Java people had towards human body and philosophy. Reflecting on issues of the history, politics, economics, religion, and culture of Indonesia, the artist attaches his ideas to postures of human body and promotes them to secluded places. Southeast Asian art covers a wide range of subjects and emphasizes artistic heritage. Regardless of being impacted by globalization, Southeast Asian art still preserves its mysterious and charming flavors and thus deserves further explorations and discoveries of art lovers.
Ravenel 133
058
SUGIYO DWIARSO (Indonesian, b. 1968)
The Calling 2009 Acrylic on canvas 160 x 120 cm Signed lower left with artist's monogram and dated VIII/ 2009. Signed on the reverse SUGIYO D and with artist's monogram, titled The Calling , and inscribed 2009 160 x 120 cm acrylic on canvas PROVENANCE Langgeng Gallery, Magelang, Central Java, Indonesia Private collection, Asia This painting is to be sold with a certificate of authenticity signed by the art curator Deddy Irianto and the artist.
NT$ 150,000 - 240,000 HK$ 39,000 - 62,000 US$ 4,900 - 7,900 RMB 34,000 - 55,000
蘇吉約．德維阿爾蘇
蘇吉約．德維阿爾蘇，1968年出生於印尼中爪哇省的馬格朗。1997年
召喚
畢業於印尼藝術學院，該校位於爪哇中南部的日惹。2005年雅加達愛
2009 壓克力 畫布 160 x 120 cm 簽名題識左下 畫背簽名題識：SUGIYO D The Calling 2009 160 x 120 cm acrylic on canvas 來源 永恆畫廊，中爪哇馬格朗市，印尼 私人收藏，亞洲 附永恆畫廊負責人Deddy Irianto 與藝術家共同簽名之原作保證書
德溫畫廊舉行蘇吉約．德維阿爾蘇與蘇吉特・桑托索雙人展：「悖論 極限」，展出蘇吉約油畫及壓克力畫佳作。技法上，其作品帶有強烈 的寫實主義色彩，以人類的身體、動作、手、翅膀、蓮花及石頭作為 視覺性象徵符號。蘇吉約透過創作傳達他對當代社會的疑問，繪畫是 他抒發個人思想的渠道。聯展經驗包含：2004年「赤道之熱」，四川 美術館；2006年「主權亞洲藝術獎決賽」，香港；2007年「印尼當 代」，1918藝術空間，上海；2008年「新時代・新交融：中國／印尼 新一代藝術家交流展」，新時代藝廊，北京；2008年「宣言」，印尼 國家藝廊，雅加達。
Indonesian artist Sugiyo Dwiarso was born in 1968 in Magelang, Central Java, and graduated from Indonesia Institute of Art, Yogyarkarta, in 1997. In 2005, Edwin’s Gallery, Jakarta, held a joint exhibition “Paradoks Batas” featuring Sugiyo Dwiarso and Sigit Santoso’s works, including oil and acrylic paintings by the former. Executed with a mastery of realistic technique, Sugiyo’s works are composed of visuals signs created by forms of body gestures, human hands, wings, lotus and rocks. Through his canvases, the artist expresses his personal thoughts and questions the contemporary society. His group shows include 2004 “Equatorial Heat”, Sichuan Museum (collaboration with Edwin Gallery), China; 2006 “Finalist of Sovereign Asia”, Art Award, Hong Kong; 2007 “Indonesian Contemporary”, 1918 Art Space, Shanghai, China; 2008 “Age-New Blending: New Generation Chinese & Indonesian A r t i s t s E x c h a n g e ” , N e w A g e G a l l e r y, B e i j i n g , C h i n a ; 2008 “Manifesto”, Galerie Nasional Indonesia, Jakarta.
Ravenel 135
059
KID KOSOLAWAT (KOSOLOWAT) (Thai, 1917 - 1988)
Village Lake 1968 Oil on canvas 60 x 90 cm Signed lower right Kid PROVENANCE Christie’s Hong Kong, May 30, 2011, Lot 1778 Acquired from the above by the present owner
NT$ 260,000 - 380,000 HK$ 67,000 - 98,000 US$ 8,500 - 12,500 RMB 59,000 - 86,000
齊．克索羅瓦 鄉村湖畔 1968 油彩 畫布 60 x 90 cm 簽名右下：Kid 來源 香港佳士得春季拍賣會， 2011年5月30日，編號1778 現有收藏者購自上述來源
齊．克索羅瓦是泰國已故寫實主義現代美術家，擅長油畫與水彩 畫，風格寫實兼具東方寫意，揉合西方繪畫的光影表現技法，將傳 統泰國鄉間風景及日常景致，透過他獨特的空間構圖、形式美感， 傳達對對寧靜烏托邦的懷想。
The deceased Thai artist of modern realism, Kid Kosolawat (1917-1988) was an expert in oil and water paintings. His style presents not only realism but also oriental symbolism. He integrated the techniques of presenting light and shadow in western paintings to illustrate landscapes of traditional Thai countryside and scenes of daily life. Using his unique spatial layout, style, and aesthetics, Kosolawat’s works conveyed the longing for a peaceful utopia.
Ravenel 137
060
KID KOSOLAWAT (KOSOLOWAT) (Thai, 1917 - 1988)
Thai Houses 1968 Oil on canvas 105.5 x 54.5 cm Signed lower right Kid PROVENANCE Collection of Mary A. Dunham, USA Christie's, Hong Kong, May 30, 2010, Lot 1179 Acquired from the above by the present owner
NT$ 260,000 - 380,000 HK$ 67,000 - 98,000 US$ 8,500 - 12,500 RMB 59,000 - 86,000
齊．克索羅瓦 泰屋 1968 油彩 畫布 105.5 x 54.5 cm 簽名右下：Kid 來源 瑪莉．鄧漢女士收藏，美國 佳士得香港春季拍賣會， 2010年5月30日，編號1179 現有收藏者購自上述來源
齊．克索羅瓦，1917年出生於泰國東北部四色菊府，1936年進入位於 曼谷的泰國藝術大學修習繪畫藝術。畢業後擔任博昌大學藝術教師， 並出任泰國美術協會主席。以泰國傳統文化及東方藝術精神為基礎， 融合西洋繪畫表現技法，為泰國現實主義的代表性畫家。作品風格介 於寫實與寫意之間，擅長以水彩及油畫為媒材，描繪泰國鄉間風景、 日常生活及佛教寺廟等主題。以扎實的筆觸，獨特空間佈局的構圖形 式，傳達既真實又超脫平和如烏托邦國度的寧靜氣質。作品典藏於曼 谷當代藝術館，更接連三屆以繪畫獲得泰國國家藝術展覽大獎。
Born in Sisaket, northeastern Thailand, in 1917, Kosolawat entered Silpakorn University in Bangkok in 1936 to study painting. After graduation, he undertook a teaching position at Poh Chang University and became the chairman of the Thai Art Association. Drawing on the foundation of the traditional Thai culture and the spirit of Eastern art, he blended Western painting techniques into his works of art. Kosolawat is the representative painter of Realism in Thailand. The style of his works sits between realistic and freehand. He specializes in watercolor and oil painting to depict country scenery in Thailand, daily life, and Buddhist temples. With a solid brushwork and a unique spatial layout, he conveys a real, unconventionally flat, and utopian tranquility of the country. His works have been included in the collection of the Museum of Contemporary Art in Bangkok. He has also received the National Art Exhibition Award for three consecutive years.
Ravenel 139
061
TRUNG NGUYEN
阮忠
(Vietnamese, b. 1940)
裸女
Nude
1989 油彩 畫布 108 x 65 cm 簽名左上：ng Trung 9.89 簽名題識畫背
1989 Oil on canvas 108 x 65 cm Signed upper left ng Trung and dated 9.89 Signed and inscribed on the reverse PROVENANCE Private collection, Taiwan (the current owner’s family acquired directly from the artist around 1990)
來源 私人收藏，台灣 （現藏者家族約1990年前後直接購自藝術家本人）
NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,600 - 9,900 RMB 45,000 - 68,000
阮忠，1940年生於越南，以優美越南女性之姿描繪見長。其筆下人物，身形修長髮絲飄逸，嫻靜高雅氣質，為人聯 想義大利文藝復興波提伽利，然背景服飾與衣著姿態同時保留越南傳統與佛教元素，定位藝術家東西合併，融會貫 通的超脫美學。1963年即獲得越南春季沙龍競賽金獎。自1990年代起連年受邀於歐亞各地私人畫廊及美術館巡迴 展覽，作品為歐亞等國家級藝術博物館典藏，如：吳志明市藝術博物館、義大利巴薩諾圖書文獻博物館、新加坡國 家美術館、河內越南美術博物館。
Born in Vietnam in 1940, Trung is known for his beautiful works of Vietnamese women. The figures he paints have long slender bodies, flapping hair, and demure elegance, reminiscent of the style of Italian Renaissance painter Sandro Botticelli. However, the background, apparel, clothing, and posture retain Vietnamese traditions and Buddhist elements. This showcases an artistic tendency to merge things and transcend aesthetics. In 1963, he won the gold medal in the Vietnam Spring Salon Exhibition. Since the 1990s, he has been invited to show his paintings in traveling exhibitions organized by private galleries and museums in Europe and Asia. His works of art have been included in the collections of national art museums in Europe and Asia, such as Ho Chi Minh City Fine Art Museum, Museo Biblioteca Archivio in Bassano del Grappa, Singapore National Art Museum, and Vietnam Fine Art Museum in Hanoi.
Ravenel 141
062
TRUNG NGUYEN
阮忠
(Vietnamese, b. 1940)
女郎
Lady
1989 油彩 畫布 130 x 85 cm 簽名左下：ng Trung 11.89 簽名畫背：10.11.89 ng Trung
1989 Oil on canvas 130 x 85 cm Signed lower left ng Trung and dated 11.89 Signed and dated on the reverse 10.11.89 ng Trung PROVENANCE Private collection, Taiwan (the current owner’s family acquired directly from the artist around 1990)
來源 私人收藏，台灣 （現藏者家族約1990年前後直接購自藝術家本人）
NT$ 300,000 - 460,000 HK$ 77,000 - 118,000 US$ 9,900 - 15,100 RMB 68,000 - 105,000
阮忠，他是越南最有影響力的現代藝術家之一，作品受古典繪畫風格的影響。越南雖然為法國殖民地，接受現代美術洗禮， 但因民情保守，偏愛古典藝術與印象派繪畫。阮忠的女性肖像，其實也是裸女畫，創作時為1980年代後期，為免過度前衛 新穎，畫家刻意加上薄紗蔽體，合於當地柔情純樸的特質。越南繪畫重視個人特質，面對新都會文化的衝擊，阮忠的繪畫生 平呈現出越南藝術家從古典跨至現代的轉折過程。此二幅創作為其壯年階段創作，極為稀珍罕見。
Trung Nguyen is one of the most influential modern artists in Vietnam, whose works was influenced by classical style. Although Vietnam was once a French colony and experienced the influence of modern art, its conservative society prefers classical art and impressionist paintings. Nguyen’s female portraits which are actually paintings of nude women, were completed in late 1980s. To avoid being viewed as too novel and avant-garde and to present the gentle and simple characteristics of local customs, the artist intentionally covered the nude body with veils. Vietnamese paintings emphasize personal qualities. Nguyen’s works show how a Vietnamese artist transformed from classical style to modern style while facing challenges from the new metropolitan culture. This auction presents two extremely rare pieces from Nguyen’s early years of adulthood.
Ravenel 143
063
THANH BINH NGUYEN (Vietnamese, b. 1954)
Nude 1989 Oil on canvas 90 x 120 cm Signed lower left BinH and dated 89 PROVENANCE Private collection, Taiwan (the current owner’s family acquired directly from the artist around 1990)
NT$ 80,000 - 120,000 HK$ 21,000 - 31,000 US$ 2,600 - 3,900 RMB 18,000 - 27,000
阮青平 裸女 1989 油彩 畫布 90 x 120 cm 簽名左下：BinH 89 來源 私人收藏，台灣 （現藏者家族約1990年前後直接購自藝術家本人）
阮青平1954年出生於越南河內，1972年畢業於河內美術學院，1983年畢 業於胡志明市美術大學，專攻油畫。他擅長描繪女人，筆下的芭蕾舞者、 裸女、女學生等人物，輪廓線條清晰，在單色背景之上，更顯突出。阮氏 以其獨特的優雅美學享譽國際，不隨波逐流，而專注於表現自己所「見」 之美，他欣賞日本俳句濃縮的敘事手法，在他簡單的藝術語彙中，可見深 遠而豐富的思想。藝術家目前居住及創作於越南胡志明市。
Thanh Binh Nguyen was born in 1954 in Hanoi, Vietnam. After graduating from The Vietnam Fine Arts College, Hanoi in 1972, he continued his studies at The Ho Chi Minh City Fine Arts University, where he received his degree in 1983. Specializing in oil painting, Binh is best known for his depictions of women – such as ballerina, nude and schoolgirls – as well as the elegant and simplified aesthetic reflected by his work usually composed by well-outlined figures standing out on a plain monochrome background. The artist refuses to follow any trends and attempts to unveil the beauty that he sees. Influenced by Japanese Haiku and its narrative technique, he aims to condense a maximum idea into minimalist artistic forms. The artist currently lives and works in Ho Chi Minh City, Vietnam.
Ravenel 145
064
GENNADY MALYSHEV
格納迪．馬雷舍夫
(Russian, 1922 - 1999)
風景
Landscape
油彩 紙本 61 x 59.5 cm 簽名右下：Малышев 題識於畫背
Oil on paper 61 x 59.5 cm Signed lower right MALYSHEV in Russian and inscribed on the reverse PROVENANCE Private collection, Taiwan
NT$ 90,000 - 130,000 HK$ 23,000 - 33,000 US$ 3,000 - 4,300 RMB 20,000 - 30,000
來源 私人收藏，台灣
格納迪．馬雷舍夫，生於1922年，畢業於奧德薩藝術學 院，為烏克蘭藝術家聯盟代表性的重要印象派風景畫家。 擅長捕捉短暫的腦海印象，將之轉化為永恆的藝術表現形 式。作為其繪畫特色，常以珍珠光色調為基底，樹林光影 與乾濕雪地表現，加上強烈的明暗反差。構圖形式善用景 觀中狹窄的天際線、樹木道路與地勢高低起伏，佈局疏落 有致的南俄風景。熱衷於釣魚與戶外活動，也將現代工業 港口情境融匯於創作之中。作品多典藏於奧德薩美術館， 2000年該館更為藝術家舉行大型紀念展覽。
065
GENNADY MALYSHEV
格納迪．馬雷舍夫
(Russian, 1922 - 1999)
風景
Landscape
約1975年 油彩 畫布 60 x 90 cm 簽名右下：Малышев75 題識於畫背
c. 1975 Oil on canvas 60 x 90 cm Signed lower right MALYSHEW 75 in Russian and inscribed on the reverse PROVENANCE Private collection, Taiwan
NT$ 140,000 - 220,000 HK$ 36,000 - 57,000 US$ 4,600 - 7,200 RMB 32,000 - 50,000
來源 私人收藏，台灣 Born in 1922, Malyshev graduated from Odessa Art College, and now is a representative painter in the impressionistic landscape of the Ukrainian Union of Artists. He is good at capturing brief impressions of mind and turning them into eternal artistic expressions. The main features of his paintings are the light as pearl background, the shadow of the woods, the wet and dry snow, and a strong contrast between light and dark. In terms of composition, he utilizes a narrow skyline in the landscape, the path of trees, the ups and downs of the terrains, and the layout of the South Russian landscape. His works have been included in the collection of Odessa Art Museum, which in 2000 held a largescale commemorative exhibition of the artist’s works.
Ravenel 147
066
CONSTANTIN TERECHKOVITCH
康斯坦丁．德勒柯維奇
(Russian, 1902 - 1978)
天倫之樂
Family
水彩 紙本 48.5 x 34 cm 簽名右下：C. Terechkovitch
Watercolor on paper 48.5 x 34 cm Signed lower right C. Terechkovitch PROVENANCE Christie’s, New York, December 16, 2009, lot 114 Mallet Japan Inc.. Tokyo, July 23, 2010, lot 326 Private collection, Japan
NT$ 120,000 - 180,000 HK$ 31,000 - 46,000 US$ 3,900 - 5,900 RMB 27,000 - 41,000
來源 佳士得拍賣，紐約，2009年12月16日，編號119 日本Mallet拍賣，東京，2010年7月23日，編號326 私人收藏，日本
067
PAUL AÏZPIRI
保羅．艾斯比利
(French, 1919 - 2016)
菱格男孩與小鳥
L’Oiseleur
水粉 紙本 53.5 x 48.5 cm 簽名右下：Aïzpiri
Gouache on paper 53.5 x 48.5 cm Signed lower right Aïzpiri PROVENANCE Cannes Enchères SARL, Febuary 25, 2017, Lot 218 Private collection, France
來源 坎城拍賣，法國，2017年2月25日，編號218 私人收藏，法國 附藝術家協會開立之原作保證書
This painting is to be sold with a certificate of authenticity issued by Association Paul Aïzpiri.
NT$ 120,000 - 180,000 HK$ 31,000 - 46,000 US$ 3,900 - 5,900 RMB 27,000 - 41,000
Ravenel 149
068
ANDRÉ DUNOYER DE SEGONZAC (French, 1884 - 1974)
Nue au chapeau de paille
瑟貢扎克，生於1884年巴黎北邊。遊覽足跡遍佈歐美亞各洲，以地理
Oil on canvas 93 x 74 cm Signed lower right A.D. de Segonzac
風景為創作靈感，將遺世獨立的鄉間氛圍，視為大自然的恩惠。同時專
PROVENANCE Christie's, New York, November 8, 2000, Lot 122 Private collection, Asia
立沙龍，與讓．杜菲、莫里斯．德．烏拉曼克、馬克思．傑可布等藝術
注於捕捉動態的人物姿態，以現代舞創始人依莎朵拉．鄧肯為繆思創作 《一千零一夜的公主》特輯。1900年代初期參與秋季沙龍展、藝術家獨 家友好。1930年代旅居倫敦與紐約，以國際級大型展覽活動於倫敦、芝 加哥、巴塞爾、日內瓦。1947年承襲倫敦皇家學院院士席位，隔年則成 為布魯塞爾皇家學院院士。
NT$ 160,000 - 240,000 HK$ 41,000 - 62,000 US$ 5,300 - 7,900 RMB 36,000 - 55,000
安德烈．德．瑟貢扎克 戴帽的裸女 油彩 畫布 93 x 74 cm 簽名右下：A.D. de Segonzac 來源 佳士得拍賣，紐約，2000年11月8日，編號122 私人收藏，亞洲
Born in the north of Paris in 1884, Segonzac toured in Europe, America, and Asia where he was inspired by local geographical landscape treating the independent atmosphere of the countries as the grace of nature. He also focused on capturing the gestures of dynamic characters and created a special edition of Sheherazade with the founder of modern dance, Isadora Duncan. In the early 1900s, he participated in the exhibitions at Salon d’Automne and Salon des Indépendents. He was friends with Jean Dufy, Maurice de Vlaminck, and Max Jacob. In the 1930s, he lived in London and New York and traveled to London, Chicago, Basel, and Geneva with large-scale exhibitions. In 1947, he inherited a seat in the Royal College of Art in London and in the following year he became a member of the Royal College of Art in Brussels.
069
ADRIEN-JEAN LE MAYEUR DE MERPRES (Belgian, 1880 - 1958)
Sortie de la ville & Vue du Souk (a set of 2) Watercolor on paper 14 x 21 cm (each) Signed lower right J. Le Mayeur Signed lower left J. Le Mayeur PROVENANCE Brussels Horta Auction, Belgium, October 17, 2016, Lot 59-60 Private collection, Asia
NT$ 160,000 - 240,000 HK$ 41,000 - 62,000 US$ 5,300 - 7,900 RMB 36,000 - 55,000 勒邁耶，1880年出生於比利時貴族世家，主修建築，但他真正投 注熱情的是繪畫創作。勒邁耶曾新加坡舉辦多次展覽，1933年首 次展出，無論在吉隆坡或新加坡的展覽皆廣受好評，受到藝術圈的
勒邁耶 城門，北非市集（兩件一組） 水彩 紙本 14 x 21 cm（每件） 簽名右下：J. Le Mayeur 簽名左下：J. Le Mayeur 來源 Horta拍賣，比利時，2016年10月17日，編號59、60 私人收藏，亞洲 Adrien-Jean Le Mayeur De Merpes was born into an aristocratic Belgian family in 1880. When the artist was young, Le Mayeur was brought up in an artistic environment. He majored in architecture. However his real passion was to paint and he seized every opportunity to indulge in this. Le Mayeur has held exhibitions in Singapore, and the first one was in 1933. He gained critical recognition through these remarkable exhibitions. Le Mayeur is a gifted watercolor painter, his warm-hued color using extremely shows this character in the works. AdrienJean Le Mayeur De Merpes once told his father, “I don’t need anything except painting.”
高度推崇。成長在充滿藝術的環境，勒邁耶是位才華洋溢的水彩畫 家，喜歡使用溫暖色調，尤其在呈現色彩的運用上出神入化。更曾 經告訴父親：「除了創作，我不需要其他事物。」
Ravenel 151
070
ARISTIDE MAILLOL
阿里斯蒂德．馬約爾
(French, 1861 - 1944)
沉睡的裸女
La Pensive
約1902年 炭筆 紙本 13.45 x 18 cm 簽名右下：Maillol
c. 1902 Charcoal on paper 13.45 x 18 cm Signed lower right Maillol PROVENANCE Private collection, France Galerie Elegance, Taipei Private collection, Asia This work is to be sold with a certificate of authenticity issued by the expert of artist Mme Dina Vierny and a certificate of authenticity issued by Galerie Elegance, Taipei.
NT$ 90,000 - 140,000 HK$ 23,000 - 36,000 US$ 3,000 - 4,600 RMB 20,000 - 32,000
來源 私人收藏，法國 愛力根畫廊，台北 私人收藏，亞洲 附藝術家專家迪娜・維耶妮女士開立之原作保證書 附愛力根畫廊開立之原作保證書
071
ARISTIDE MAILLOL (French, 1861 - 1944)
Model Pastel on paper 28 x 37 cm With a seal of the artist
NT$ 160,000 - 240,000 HK$ 41,000 - 62,000 US$ 5,300 - 7,900 RMB 36,000 - 55,000
阿里斯蒂德．馬約爾 模特兒 粉彩 紙本 28 x 37 cm 鈐印右中
馬約爾（或譯作麥約），1861年出生於法國西南沿海邊界的班與勒鎮， 24歲進入巴黎高等美術學院就讀，32歲時受到保羅‧高更和那比派的 影響，開始從事織毯設計，作品充滿裝飾藝術風格。將近40歲時罹患眼 疾，馬約爾放棄織毯設計轉而從事雕塑創作，其作品展現古典希臘羅馬 雕像風格，莊嚴而構圖清晰。成熟女性是貫穿他創作的主要母題。作品 典藏於華盛頓赫胥巨集博物館、巴黎奧塞美術館、馬約爾博物館以及紐 約現代藝術博物館。
Born in 1861 in Banyuls-sur-Mer in the southwest France, Aristide Maillol is a painter, sculptor, and tapestry designer. At the age of 24, he was admitted to the Ecole des Beaux-Arts de Paris. In 1893, influenced by Paul Gauguin, Maillol started working on tapestry design, creating works that reflected his great admiration for the Nabis. When he was almost 40 years old, an eye disease forced him to give up tapestry weaving and start focusing on sculpture. Featuring the classicizing depictions of mature women, Maillol’s work determines to preserve the Greco-Roman sculptural tradition through emotional restraint and precise composition. Today, his sculptures are collected in collections worldwide, including Hirshhorn Museum in Washington D.C., Musée d’Orsay and Musée Maillol in Paris, and the MoMA in New York.
Ravenel 153
072
JUAN-CARLOS QUINTANA (Spanish-French)
Wired Bird 1996 Ceramic, unique piece 34(L) x 34(W) x 46(H) cm Engraved Q and dated 96 on the base EXHIBITED Cheng Shan-Hsi, Quintana Juan-Carlos, Porcelain-Ceramic Joint Exhibition , Modern Gallery, Taichung, September 7-31, 1996 ILLUSTRATED Cheng Shan-Hsi, Quintana Juan-Carlos, Porcelain-Ceramic Joint Exhibition , Modern Gallery, Taichung, 1996, color illustrated This sculpture is to be sold with a certificate of authenticity issued by Modern Gallery, Taichung.
NT$ 90,000 - 130,000 HK$ 23,000 - 33,000 US$ 3,000 - 4,300 RMB 20,000 - 30,000
金大南 怪誕夜鳥 1996 陶塑 單一件 34（長） x 34（寬） x 46（高） cm 雕刻簽名年代：Q '96 展覽 「鄭善禧、金大南彩瓷陶塑雙人展」， 現代畫廊，台中，展期自1996年9月7日至31日 圖錄 《鄭善禧、金大南彩瓷陶塑雙人展》， 現代畫廊，台中，1996，彩色圖版 附現代畫廊開立之原作保證書 金大南，西班牙裔法國藝術家，以奇幻風格充斥幽默著稱。筆下帶有童趣 的原創角色，處於非現實空間，舉止怪誕，不合邏輯卻又富滿故事性。強 烈的敘事感，勾起觀者探究其靈感來源，與創作者對社會議題反思聯想。
Quintana is known for his fantasy style with humor. A childlike character is in a non-realistic space, grotesque, illogical but full of story. A strong sense of narrative provokes the viewer to explore the source of inspiration and creators' reflection on social issues. The common narration of the text in the painting is interspersed, and the title of the work is funny. In fact, it is full of meaning and intrigue.
073
ANDRÉ BRASILIER
安德烈．布拉吉利
(French, b. 1929)
維納斯陶瓶
Vénus Vase
1988 陶瓷 單件 20（長）x 12.5（寬）x 26（高）cm 簽名下方：André Brasilier 年代題識：Vallauris 8 III 88
1988 Ceramic, unique piece 20 (L) x 12.5(W) x 26(H) cm Signed André Brasilier and inscribed Vallauris 8 III 88 on the base PROVENANCE Galerie Elegance, Taipei Private collection, Asia EXHIBITED Fine Arts and Wine Auction , Hong-Ting Social Club, Taipei, June 14, 1996 ILLUSTRATED Fine Arts and Wine Auction , Hong-Ting Social Club, Taipei, 1996, color illustrated, p.21
來源 愛力根畫廊，台北 私人收藏，亞洲 展覽 「藝術與美酒拍賣會」，虹頂商務聯誼社， 台北，1996年6月14日 圖錄 《藝術與美酒拍賣會目錄》，虹頂商務聯誼社， 台北，1996，彩色圖版，頁21
NT$ 130,000 - 190,000 HK$ 33,000 - 49,000 US$ 4,300 - 6,200 RMB 30,000 - 43,000
Ravenel 155
074
ANTONIUCCI VOLTI
安東尼奧奇．沃第
(French, 1915 - 1989)
站姿雙姝
Deux nues debout
1986 墨水 鉛筆 紙本 34 x 26.5 cm 簽名右下：Volti
1986 Ink on paper 34 x 26.5 cm Signed lower right Volti PROVENANCE Galerie Elegance, Taiepi Private collection, Asia EXHIBITED Fine Arts and Wine Auction, Hong-Ting Social Club, Taipei, June 14, 1996 ILLUSTRATED Fine Arts and Wine Auction, Hong-Ting Social Club, Taipei, 1996, color illustrated, p.29
NT$ 60,000 - 90,000 HK$ 15,000 - 23,000 US$ 2,000 - 3,000 RMB 14,000 - 20,000
來源 愛力根畫廊，台北 私人收藏，亞洲 展覽 「藝術與美酒拍賣會」，虹頂商務聯誼社， 台北，1996年6月14日 圖錄 《藝術與美酒拍賣會目錄》，虹頂商務聯誼社， 台北，1996，彩色圖版，頁29
075
JEAN-FRANÇOIS MILLET
尚－法蘭索瓦．米勒
(French, 1814 - 1875)
風景
Landscape
炭筆 紙本 23 x 33 cm 鈐印右下：J.F.M
Charcoal on paper 23 x 33 cm With a stamp of the artist’s studio PROVENANCE Private collection, Japan
NT$ 220,000 - 320,000 HK$ 57,000 - 82,000 US$ 7,200 - 10,500 RMB 50,000 - 73,000 尚－法蘭索瓦‧米勒，1814年出生於法國北部，1849年 搬到巴黎近郊楓丹白露森林附近的巴比松村，開始專注於 鄉村風景的描繪，為巴比松畫派的創建人之一，並與古斯 塔夫‧ 庫爾貝和奧諾雷‧杜米埃並列法國19世紀寫實主 義的三大代表。作品多取材自農村人物及田園生活，構圖 嚴實，注重思想的傳達，以真摯、純樸的藝術語言歌頌平
來源 私人收藏，日本 Jean-François Millet was bor n in 1814 in Norther n France. In 1849, the painter moved to the village of Barbizon located near the Forest of Fontainebleau, focusing on depicting rural scenes and becoming one of the founders of the Barbizon school. With Gustave Courbet and Honoré Daumier, Millet is considered one of the representatives of the 19th-century French Realism. Millet took peasant figures and village life as his subject matter. With rigorous composition, sincerity and simplicity of his artistic language, the painter conveyed a message that glorified labor’s grandeur and dignity, the representative works like The Sower, The Gleaners and The Angelus .
凡勞動者的偉大及尊嚴，代表作如：《播種者》、《拾 穗》、《晚禱》。
Ravenel 157
076
ANNAPIA ANTONINI
安娜琵雅．安東尼尼
(Swiss, b. 1942)
瑞士的蘋果園
Swiss Orchard
1987 水彩 紙本 14 x 14 cm 簽名右下：A.ANTONINI 87
1987 Watercolor on paper 14 x 14 cm Signed lower right A. ANTONINI and dated 87 PROVENANCE Galerie Elegance, Taipei Private collection, Asia EXHIBITED Annapia Antonini Solo Exhibition , Galerie Elegance, Taipei, 1988 ILLUSTRATED Antonini , Galerie Elegance, Taipei, 1988, color illustrated This work is to be sold with a certificate of authenticity issued by Galerie Elegance, Taipei.
NT$ 30,000 - 50,000 HK$ 8,000 - 13,000 US$ 1,000 - 1,600 RMB 7,000 - 11,000
來源 愛力根畫廊，台北 私人收藏，亞洲 展覽 「法國藝壇之珍珠－安東尼尼個展」， 愛力根畫廊，台北，1988年 圖錄 《安東尼尼》，愛力根畫廊，台北，1988年，彩色圖版 附愛力根畫廊開立之原作保證書
077
ANNAPIA ANTONINI
安娜琵雅．安東尼尼
(Swiss, b. 1942)
窗邊海棠
Le Petit bouquet
約1980年代 油彩 畫布 22 x 16 cm 簽名右下：A.ANTONINI
c.1980s Oil on canvas 22 x 16 cm Signed lower right A. ANTONINI PROVENANCE Galerie Elegance, Taipei Private collection, Asia
NT$ 50,000 - 70,000 HK$ 13,000 - 18,000 US$ 1,600 - 2,300 RMB 11,000 - 16,000 擅長繪畫與版畫的安東尼尼，1942年出生於瑞士盧加諾， 1962年前往巴黎深造，在朱利安美術學院學習繪畫與素描，
來源 愛力根畫廊，台北 私人收藏，亞洲 Born in Lugano, Switzerland in 1942, Annapia Antonini is a painter and etcher. She moved to Paris in 1962 to study drawing and painting at the Académie Julian and learn to etch at Friedlaender's atelier. After her first exhibition held in Paris around 1965, she has participated in major shows in Switzerland, France, Germany, England, the USA and Japan. Antonini focuses on still life, trying to reveal the poetry existing among everyday objects.
並在強尼‧佛里蘭德的工作室學蝕刻版畫技術。約1965年首 次展覽於巴黎，其後更展覽於瑞士、法國、德國、英國、美 國和日本等地。靜物是安東尼尼創作的中心主題，她以獨特 的視角，觀察存在日常生活物品中的詩意。
Ravenel 159
委託競投表格 委託競投表格須於拍賣24小時前送抵國際藝術部。競投表格可傳真至： 國際藝術部 電話：+886-2-2708 9868 傳真：+886-2-2701 3306 投標者資料
拍 賣 名 稱：羅芙奧 2018 秋季拍賣會 薈萃：國際現代與當代藝術 拍 賣 編 號：TA1803 拍 賣 日 期：2018 年 12 月 1 日（星期六） 下午 2:00 拍 賣 地 點：萬豪酒店三樓（博覽廳） 台北市中山區樂群二路 199 號
客戶編號 （如有） 姓名 身份證字號 地址 郵碼 電話 （住宅） （辦公室） 傳真
電郵
簽名 （注意：本公司在取得閣下之簽名後方才接受競標；閣下所填報之姓名 及地址資料，將會被列印在發票上，隨後將不能更改） 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託， 以最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，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
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ABSENTEE BID FORM The absentee bid forms must be delivered to the International Art Department at least 24 hours before the auction begins. The bid forms may be faxed to: International Art Department Tel: +886 2 2708 9868 Fax: +886 2 2701 3306
Auction Date Sale No. Location Address
RAVENEL AUTUMN AUCTION 2018 SELECT: Modern & Contemporary Art Saturday, December 1, 2018, 2:00 pm TA1803 Marriott Taipei 3F (Grand Space) No. 199, Lequn 2nd Road, Zhong Shan District, Taipei
Bidder’s Details Name ID number Address Post code Tel: (Daytime)
(Evening)
Fax
Signature (Notice: We must have your signature to execute this bid. Billing name and address should agree with your state or local sales tax exemption certificate. Invoice cannot be changed after they have be printed.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder. I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received. I understand that if my bid is successful, I shall pay the final hammer price together with the 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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INDEX A
PETER MAX
彼得．馬克思
48
MAKOTO AIDA
會田誠
6
JEAN-FRANCOIS MILLET
尚－法蘭索瓦．米勒
75
PAUL AIZPIRI
保羅．艾斯比利
23, 67
AMEDEO MODIGLIANI
阿美迪奧．莫迪里亞尼
45
KUNIHIRO AKINAGA
秋永邦洋
56
N
ANNAPIA ANTONINI
安娜琵雅．安東尼尼
76, 77
NG LUNG WAI
伍龍威
53
AUGUSTE
奧古斯特
52
THANH BINH NGUYEN
阮青平
63
TRUNG NGUYEN
阮忠
61, 62
B GUY BARDONE
居．巴赫東
33, 34
O
ANDRÉ BRASILIER
安德烈．布拉吉利
9, 41, 73
ERWIN DOMINIK OSEN
BERNARD BUFFET
貝爾納．畢費
22, 40, 43
P
C
GIANLUCA PIACCIONE
艾爾文－多明尼克．歐森 26
吉安路卡．皮亞奇歐尼
55
金大南
72
BERNARD CHAROY
貝爾納．夏洛瓦
11, 12, 35, 37
Q
JEAN-PIERRE CASSIGNEUL
尚－皮耶．卡西紐爾
15
JUAN-CARLOS QUINTANA
YI CHEN
陳屹
54
R
ANDRÉ COTTAVOZ
安德烈．科達沃茲
13, 14, 38
FUKAO RIKIZO
深尾力三
30
PETER RIEZEBOS
彼得．萊茲伯斯
47
讓．費沙羅
32
AYAKO ROKKAKU
六角彩子
1, 2, 3, 4, 5
F JEAN FUSARO G
S
GEMI
坂上祐斗 (げみ)
8
ELISABETH SABALA
伊莉莎白．莎貝娜
49
GABRIEL GODARD
加布里埃爾．戈達
31
CLAUDE SCHÜRR
克勞德．索爾
29
ANDRÉ DUNOYER DE SEGONZAC
安德烈．德．瑟貢扎克
68
HIROSHI SENJU
千住博
18
MASARU SHICHINOHE
七戶優
17
SUPAKITCH
市霸奇奇
9, 10
SUGIYO DWIARSO
蘇吉約．德維阿爾蘇
58
ATSUSHI SUWA
諏訪敦
21
YUJI TAMAKI
玉木勇治
27, 28
CONSTANTIN TERECHKOVITCH
康斯坦丁．德勒柯維奇
66
安東尼奧奇．沃第
74
克勞德．維士巴修
36
I YUKI INOUE
井上裕起
16
J JEAN JANSEM
強．詹森
24
K TADASHI KAMINAGAI
上永井正
25
KIM YE-JIN
金藝晉
57
JEFF KOONS
傑夫．昆斯
50, 51
KID KOSOLAWAT (KOSOLOWAT)
齊．克索羅瓦
59, 60
YAYOI KUSAMA
草間彌生
T
19, 20
V
L
ANTONIUCCI VOLTI
FRANÇOIS-XAVIER LALANNE 佛朗索瓦－查威爾．萊蘭 7 MARIE LAURENCIN
瑪麗．羅蘭珊
42
ADRIEN-JEAN LE MAYEUR DE MERPRES
勒邁耶
69
ARISTIDE MAILLOL
阿里斯蒂德．馬約爾
70, 71
GENNADY MALYSHEV
格納迪．馬雷舍夫
64, 65
GEORGES MATHIEU
喬治 ．馬修
44, 46
W CLAUDE WEISBUCH
M
167