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

AUTUMN AUCTION 2018 TAIPEI

羅芙奧台北 2018 秋季拍賣會 亞洲現代與當代藝術

RAVENEL AUTUMN AUCTION 2018 TAIPEI Modern and Contemporary Asian Art 拍賣日期／地點 2018年12月2日（日）下午 2:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳） 預展日期／地點 台中 2018年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 高雄 2018年11月17日（六）~ 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 香港 2018年11月24日（六）~ 25日（日）上午10:00至下午7:00 君悅酒店 香港港灣道1號5樓 （特首廳） 台北 2018年11月29日（四）~ 12月1日（六）上午10:00至下午7:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳）

AUCTION Sunday, December 2, 2018, 2:00pm Marriott Taipei Grand Space, 3F , No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

PREVIEWS Taichung

Saturday, November 10, 2018, 1:00pm - 6:00pm Sunday, November 11, 2018, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Kaohsiung

Saturday, November 17 - Sunday, November 18, 2018, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan

Hong Kong

Saturday, November 24 - Sunday, November 25, 2018, 10:00am - 7:00pm Grand Hyatt Hong Kong Chief Executive Suites, 5F, No. 1, Harbour Road, Hong Kong

Taipei 拍賣目錄每本售價：NT$2,000 This auction catalogue: NT$2,000 per copy

Thursday, November 29 - Saturday, December 1, 2018, 10:00am - 7:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

王鎮華 Arthur Wang 董事長 Chairman

郭倩如 Clara Kuo 副董事長 Vice Chairman

李雅欣 Wendy Lee 執行長 Chief Excutive Officer

傅斐郡 Flora Fu 藝術部總經理 President, Art Department

林慧菁 Maggie Lin 藝術部資深副總經理 Senior Vice President, Art Department

黃詩涵 Stella Huang 藝術部協理 Senior Manager, Art Department

陳怡潔 Josephine Chen 藝術部行政助理 Executive Assistant, Art Department

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Taiwan

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International Stella Huang Tel: +886 2 2708 9868 ext. 977 Email: stellahuang@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. Its 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．International Josephine Chen Tel: +886 2 2708 9868 ext. 881 Email: josephinechen@ravenel.com

Hong Kong Eric Siu Tel: +852 2889 0859 Email: ericsiu@ravenel.com

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For details of subscription, please refer to the explanations of the catalogue or contact the above persons.

PAYMENT Caroline Shen Tel: +886 2 2708 9868 ext. 696 Email: carolineshen@ravenel.com Payment details are described at the back of the catalogue. Please contact the above person if you need any further information.

Tommy Wu Tel: +886 2 2708 9868 ext. 885 Email: tommywu@ravenel.com

Hong Kong Eric Siu Tel: +852 2889 0859 Email: ericsiu@ravenel.com

China Jason Dong Tel: +86 10 8587 8099 ext. 22 Email: jasondong@ravenel.com

International Stella Huang Tel: +886 2 2708 9868 ext. 977 Email: stellahuang@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”.

目次 / Contents

7

羅芙奧秋季拍賣會

Sale Information 10

羅芙奧之服務

Ravenel Services 13

藝術家索引

Index 16

亞洲現代與當代藝術

Modern and Contemporary Asian Art 313

給予買家的重要通知

Important Notice to Buyers 315

委託競投表格

Absentee Bid Form 317

業務規則

Transaction Agreement

藝術家索引 / Index

A

AI Wei Wei Yoshitaka AMANO

艾未未 天野喜孝

329 315, 317

B

Banksy Gary BASEMAN

班克斯 格里 ‧ 巴斯曼

150, 151, 152, 153 145, 154

C

CAI Guo-Qiang Chang Chia-ying Chang-Ling CHANG Chen-yu Yoshio CHANG George CHANN CHEN Cheng Wei Chen Liu CHEN Ting-shih Chen Yin-Huei CHIU Ya-tsai CHU Teh-chun

蔡國強 張嘉穎 常陵 張振宇 張義雄 陳蔭羆 陳承衛 陳流 陳庭詩 陳銀輝 邱亞才 朱德群

218 274 265 286 268, 323 208, 296 266 299 261, 262, 334, 336 297 273 215, 249, 250, 259, 270, 271, 324

D

KAWS (Brian Donnelly)

KAWS ( 布萊恩．唐納利 ) 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119

F

Alixe FU

傅慶豊

269

G

Gao Xing-jian MR. BRAINWASH (Thierry Guetta)

高行健 洗腦先生

236 140

H

Ai HAIBARA Keith HARING HSIAO Chin HSIEH Hsiao-de HSU Meng-han HSU Yu-jen HUANG Gang HUANG Ming-chang Poren HUANG HU Shanyu HUNG Jui-lin HUNG Yi

灰原愛 凱斯．哈林 蕭勤 謝孝德 徐夢涵 許雨仁 黃鋼 黃銘昌 黃柏仁 胡善餘 洪瑞麟 洪易

330 139 206, 290, 291, 308 325 300 321 246 247 283 267 230 257, 258, 326

I

IIDA Kiriko Yuki INOUE

飯田桐子 井上裕起

314, 320 223

J

JAN Chin-shui JIA Gang JU Ming

詹金水 賈剛 朱銘

305, 306 310 219, 254, 255, 338

K

Keng Hao Keng Ishikawa KINICHIRO Hiroto KITAGAWA KO Si-chi Hiroshi KOBAYASHI Satoru KOIZUMI Jeff KOONS KUO Wei-kuo Yayoi KUSAMA

耿皓剛 石川欽一郎 北川宏人 柯錫杰 小林浩 小泉悟 傑夫．昆斯 郭維國 草間彌生

328 231 331 301 312 148 226, 227 243, 275 120, 126, 127, 129, 138, 146, 156, 220, 221, 222, 225

L

Chen-Dao LEE LEE Woo Lim LI Chen LI Kuang-yu LIEN Chien-hsing LIU Kuo-sung Max LIU LO Chan Peng

李承道 李佑林 李真 李光裕 連建興 劉國松 劉其偉 羅展鵬

289 319 252, 253, 256 337 276, 307 211, 212, 213 292, 322 280

M

MA Pai-sui Takesada MATSUTANI Hiroyuki MATSUURA Takashi MURAKAMI

馬白水 松谷武判 松浦浩之 村上隆

228 316 124, 224 134, 135, 142, 147

N

Moe NAKAMURA Yoshitomo NARA

中村萌 奈良美智

Isamu Noguchi

野口勇

128, 149 121, 122, 125, 130, 131, 132, 133, 136, 143 155

P

PANG Jiun PENG Kuan-jun

龎均 彭光均

209, 210 284, 335

R

REN Zhe Ayako ROKKAKU

任哲 六角彩子

333 123, 318

S

SANYU SHEN Che-tsai Hikari SHIMODA SHIY De-jinn Hajime SORYAMA SU Wong-shen

常玉 沈哲哉 下田光 席德進 空山基 蘇旺伸

201, 202, 203, 204 287, 288, 295 327 229, 237, 238, 239 144 277, 304

T

Walasse TING

丁雄泉

TONG Yang-tze

董陽孜

205, 207, 214, 232, 244, 245, 248 235

W

WAN Taifeng WANG Pan-youn Andy WARHOL WENG Xue-song WU Hao

萬太豐 王攀元 安迪．沃荷 翁雪松 吳昊

294 309 137, 141 240 303

X

XUE Song

薛松

279

Y

Mayuka YAMAMOTO YANG Chihung YANG Din YANG Mao-lin YANG San-lang Tzu-chi YEH YOON Jongseok YU Cheng-yao YU Peng

山本麻友香 楊識宏 楊登雄 楊茂林 楊三郎 葉子奇 尹鍾錫 余承堯 于彭

311 242, 281, 282 293 298 264 243, 272, 278 313 233, 234 302

Z

Z ZAO Wou-ki 趙無極 217, 260, 263 ZHOU Chunya 周春芽 216, 251, 285 ZHOU Tiehai x 周鐵海 x 岳敏君 332 x YUE Minjun x KAWS x KAWS x 周春芽 x 金釹 x ZHOU Chunya x 劉野 x JIN Nu x LIU Ye

KAWS

Across Boundaries - Art, Design, Product 藝術浪潮 跨界有理

KAWS，美國布魯克林藝術家，Top Photo Group 達志影像

對於街頭潮流文化的粉絲來說，KAWS、喬治康 多、奈良美智、村上隆等現代藝術家的作品，絕 對是夢寐以求的收藏清單。街頭文化不僅將主流 藝術推向普羅大眾，更進一步地與時尚圈有密不可 分的關係。今年六月，Kim Jones 在 Dior Men的首 場大秀就找來我們耳熟能詳的 KAWS。若你好奇為何 找的是 KAWS? Kim Jones 解釋：「Dior 先生在進入時 尚界前曾經營一間畫廊，裏頭重要的藝術家包括畢卡索和 達利，按照現在的標準來看，這些都很可能被視為商業性質 的藝術家。作為藝術總監，我喜歡將品牌委託藝術家進行創 作，在 Dior Men 首場秀，我委託 KAWS 製作了巨型版且具有 標誌性的 BFF 角色，上面舖滿玫瑰花，藉此展示 Dior 先生的 化身，對我的觀眾來說，我認為他是最重要的藝術家。 」現今 全球掀起一股潮流文化的收藏熱潮，不但擺脫主流的框架，反 建立出自有的獨特收藏市場。 對一般人來說，藝術品太貴， 而街頭藝術或是流行文化不僅能表現藝術家之美，價格方面又 能貼近大眾，反映出潮流趨勢、更新的速度更快、數量更多， 推廣的層面又更廣。隨著市場更加成熟，潮流藝術品的接受度 越來越高，因此也更多傳統拍賣行也慢慢開始加入潮流藝術品 在其拍賣上。此次拍賣會呈現多項 KAWS 作品，其內容不僅 涵括了潮流藝術玩具，也加入了少見的版畫。《寶貝》以小嬰 兒為主題，將臉換上代表經典圖案，早期KAWS也曾以同樣手 法幫 BAPE SOUND 創造出專輯封面。KAWS 喜歡將一切事物 增添趣味意義，將各種卡通形象混搭也是他的一大特色。《海 綿寶寶》KAWS 將自己的創作混合在海綿寶寶裡。值得一提的 是此次有 Be@rbrick x KAWS 早期所合作的藝術熊公仔系列， Bearbrick 可以說是玩具公司 Medicomtoy 最具代表性的商品 之一，早期就與 KAWS 合作推出限量公仔，不但是 KAWS 標 誌性的聯名商品，更是各潮流買家收藏家的夢幻逸品。

《解剖同伴：積木熊 1000% 》為 Bearbrick x KAWS 最具代表性的公仔系 列，以 Ｍedicomtoy 最有名的熊公仔搭上 KAWS 代表性的半剖系列，是每位收藏家 的夢幻名單之一。《積木熊（藍/灰）1000% 》為 Bearbrick x KAWS 的第一隻聯名公仔以及藍色大牙，兩隻不僅是最具代表 性，也是許多人愛不釋手的口袋名單。《積木熊 (灰)》此系列為 Bearbrick x KAWS 的青山限定，為 2006年 Original Fake 南青山 店開幕時所發售的限定商品。72公分的巨大尺寸，不論收藏或是 擺設，都是值得入手的原因。另有四款聯名公仔，因其特殊性賦 予更多收藏價值。「KAWS x 小木偶」向 Disney 的經典卡通「小 木偶奇遇記」致敬。除了小木偶外，更連帶將小木偶的夥伴蟋蟀 一同釋出，細節處也保留遮眼的經典動作。在 2018 年，運用全 木頭材質重塑小木偶公仔，全球限量 100 隻的數量，順利入手的 朋友，價格已經不知道翻漲幾倍了。「KAWS x 史努比&崔蒂」美 國漫畫「花生」及卡通「寶貝樂一通」裡的經典腳色史努比及崔 蒂，一向以可愛著稱的史努比及崔蒂搶攻潮流圈，也算擄獲各大 潮流人士的心。「KAWS x 星際大戰」星際大戰在全球有無數個 支持者，不論是電影或是動畫都有著龐大的效益，其所帶來的經 典聯名更數不盡。KAWS 身為當代藝術大師，也從星戰中的經典 人物 黑武士、風暴兵以及賞金獵人擷取靈感，保留雙方代表性的 元素，也造就出無論是星戰迷或是 KAWS 迷績極想入荷的系列。 「KAWS x 原子小金剛」，原子小金剛為日本漫畫家手塚治虫最成 功的作品，更為全球最為知名的機械人代表之一，為公仔迷們獻 上一波讚嘆合作。「同伴（Karimoku版本）」聯手木製傢具品牌 Karimoku 打造有別於先前的版本，木材搭配工匠手工藝操作，使 其珍貴度大增，讓公仔更具收藏價值。

For fans of street culture, the works of art by contemporary artists, such as KAWS, George Condo, Yoshitomo Nara, and Takashi Murakami, are definitely desirable collectables. Street culture not only introduces mainstream art to the general public but also provides an inseparable link with fashion. In June this year, Kim Jones partnered with the famous KAWS in the first big show for Dior Men. As to why he chose KAWS, Kim Jones states “Mr. Dior ran a gallery before entering the fashion world. He worked with important artists, such as Picasso and Dali who, according to current standards, are likely to be regarded as commercial artists. As an art director, I like to entrust the brand into the hands of an artist.

In the first show for Dior Men, I commissioned KAWS to produce

a giant version of his iconic BFF character, which was covered with roses to showcase the incarnation of Dior. I think that for my audience he is the most important artist.� Nowadays, a trend of collecting cultures has emerged around the world not just as a way to remove the mainstream framework but to create a unique market for collecting. For an average person, works of art are usually too expensive. Street art or pop culture not only express the beauty of the artist, but the prices are also more acceptable and publicly accessible. They also reflect trends, undergo updates faster, and much more abundant with a broader level of promotion. As the market grows and the acceptance of trendy art becomes higher, more traditional auction houses are slowly starting to offer trendy

works of art at their auctions. This time, the auction presents a number of KAWS works, including not only the trendy art toys, but also rare prints. Baby is based on the idea of a small baby with the face replaced with a classic pattern.

In early days, KAWS also applied the same approach to create an album cover for BAPE SOUND. The artist likes to spice up everything. Mixing various cartoon characters is also a major feature of his works. In KAWSbob, KAWS blends his creation with SpongeBob. It is worth mentioning that this time there is an early series of bearbricks created in collaboration between cBe@rbrick x KAWS. Bearbrick is one of the most representative products of the toy company Medicomtoy. In the early days, it cooperated with KAWS to launch a limited edition of toys. It is not only an iconic joint-name product by KAWS, but also an artwork of dreams for buyers and collectors. Dissected Companion: Bearbrick 1000% is the most representative toy series by Bearbrick x KAWS. The most famous bear figurine produced by Medicomtoy is the series of dissected bears, which is also one of the most craved for collectible toys. Bearbrick (Blue/Gray) 1000% is the first jointly created toy with big blue teeth by Bearbrick x KAWS and the most representative toy, which is on a pocket-list of many people.

The Bearbrick (Gray)series by Bearbrick x KAWS can be found only in OriginalFake Boutique Aoyoma, while a limited series of OriginalFake is offered at the opening in OriginalFake Boutique Aoyoma. 72 cm in height, it is worth purchasing it whether it is an addition to a collection or a decoration. KAWS x Pinocchio pays tribute to Disney's classic cartoon Pinocchio. Except for small puppets, their partners are also produced and the details such as classic movements of the eyes are preserved. In 2018, wood was used as a material to reshape the puppet toys. The number was limited to 100 editions around the world. Those who obtained the

toys have seen the prices to rise several times. KAWS x Snoopy & Tweety is based on Snoopy and Tweety, the characters from American comic strip Peanuts and cartoon Tweety, who have always been well-known for their cuteness and who have charmed people following trends. As for KAWS x Star Wars, Star Wars has a vast number of supporters around the world. Both movie and animation have huge benefits and the classic co-branding is uncountable. As a master of contemporary art, KAWS also draws inspiration from the classic characters of the Star Wars, such as Darth Vader, stormtrooper, and bounty h u n t e r, r e t a i n i n g t h e representative elements of both sides and creating a series that is popular among the fans of Star Wars and the fans of KAWS. Regarding KAWS x Astro Boy, the Astro Boy is the most successful work by the Japanese cartoonist Osamu Tezuka. It is one of the most well-known ro b o t i c re p re s e n t a t i v e s i n the world, bringing much joy and cooperation between the toy fans.

Companion (Karimoku Version) is a distinct edition produced in collaboration with a wooden furniture brand Karimoku. The wood and the artisan craftsmanship make the toys even more precious and worthy to collect.

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

OrignalFake x Wonderwall Wonderwall (Black, Red) (a set of 2) 2010 Painted cast vinyl, edition of 500 14.2(L) x 10(W) x 22(H) cm (each) Trademark MEDICOM TOY 2010 CHINA on the bottom right foot; Wonderwall ©KAWS.. 10 on the bottom of left foot ILLUSTRATED

KAWS, Skira Rizzoli, New york, 2010, color illustrated, p. 236

NT$ 30,000-60,000 HK$ 8,000-15,000 US$ 1,000-2,000 RMB 7,000-14,000

KAWS〈布萊恩．唐納利〉 OrignalFake x Wonderwall 驚奇牆 (黑、紅) (兩件一組) 2010 彩繪 搪膠 限量500件 14.2(長) x 10(寬) x 22(高) cm (每件) 註冊商標：MEDICOM TOY 2010 CHINA (右腳底)；Wonderwall ©KAWS.. 10 (左腳底) (x2) 圖錄

《KAWS》，斯基拉，里佐利，紐約， 彩色圖版，頁236

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

Blitz (Green) 2004 Painted cast vinyl, edition of 500 11(L) x 9(W) x 14(H) cm Trademark MEDICOM TOY 2004 CHINA on the bottom right foot; ©KAWS.. 04 on the bottom of left foot This work is accompanied with it’s original product box.

NT$ 40,000-70,000 HK$ 10,000-18,000 US$ 1,300-2,300 RMB 9,000-16,000

KAWS〈布萊恩．唐納利〉 火箭 (綠) 2004 彩繪 搪膠 限量500件 11(長) x 9(寬) x 14(高) cm 註冊商標： ©KAWS.. 04 (左腳底); MEDICOM TOY 2004 CHINA (右腳底) 附作品原產紙盒包裝

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

JPP (Yellow) 2008 Painted cast vinyl edition of 500 14(L) x 10(W) x 20(H) cm Trademark ©KAWS..08 on the bottom of left foot; MEDICOM TOY 2008 CHINA on the bottom of right foot This work is accompanied with it’s original product box.

NT$ 40,000-70,000 HK$ 10,000-18,000 US$ 1,300-2,300 RMB 9,000-16,000

KAWS〈布萊恩．唐納利〉 JPP (黃) 2008 綜合媒材 搪膠 限量500件 14(長) x 10(寬) x 20(高) cm 註冊商標：©KAWS..08（左腳底）；MEDICOM TOY 2008 CHINA（右腳底） 附作品原產紙盒包裝

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

Dissected Companion: Resting Place (Brown) 2012 Painted cast vinyl, edition of 500 21(L) x 30(W) x 23(H) cm Trademark ©KAWS..12 MEDICOM TOY 2012 CHINA This work is accompanied with it’s original product box.

NT$ 40,000-70,000 HK$ 10,000-18,000 US$ 1,300-2,300 RMB 9,000-16,000

KAWS〈布萊恩．唐納利〉 同伴解剖（休息處）（棕色） 2012 彩繪 搪膠 限量500件 21(長) x 30(寬) x 23(高) cm 註冊商標：©KAWS..12 MEDICOM TOY 2012 CHINA 附作品原產紙盒包裝

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

OriginalFake x Neighborhood Zooth Dogs (White & Black) (a set of 2) 2007 Painted cast vinyl, edition of 250 20.3(L) x 10.2(W) x 22.9(H) cm (each) Trademark ©KAWS..07 on the bottom of left-front foot ; NEIGHBORHOODOR ZOOTH on the bottom of right-front foot; NHTOYS COMPANY on the bottom of left-hind foot; OriginalFake MEDICOM TOY MADE IN CHINA on the bottom of right-hind foot PROVENANCE

Private collection, Asia

NT$ 60,000-120,000 HK$ 15,000-31,000 US$ 2,000-3,900 RMB 14,000-27,000

KAWS〈布萊恩．唐納利〉 OriginalFake x Neighborhood 黑白繃帶狗 (兩件一組) 2007 彩繪 搪膠 限量250件 20.3(長) x 10.2(寬) x 22.9(高) cm (每件) 註冊商標：©KAWS..07 (左前腳底)；NEIGHBORHOODR ZOOTH(右 前腳底)；NHTOYS COMPANY (左後腳底)；OriginalFake MEDICOM TOY MADE IN CHINA (右後腳底) 來源

私人收藏，亞洲

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

Cloud Drawing 2010 Metallic green paint, wood 21.5 x 28 cm Signed upper right KAWS" This work is to be sold with a certificate of authenticity issued by Vince Fine Arts.

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 3,000-5,900 RMB 20,000-41,000

KAWS〈布萊恩．唐納利〉 雲朵簽名繪畫 2010 金屬綠色油漆 木板 21.5 x 28 cm 簽名右上：KAWS" 附 Vince Fine Arts 開立之原作保證書

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

Jiminy Cricket and Pinocchio 2010 Painted cast vinyl, edition of 500 12.5(L) x 11.5(W) x 25(H) cm (Pinocchio) 2(L) x 2(W) x 5(H) cm (Jiminy Cricket) Trademark ©Disney KAWS; MEDICOM TOY 2010 CHINA (Pinocchio); KAWS.. ; ©Disney MEDICOM TOY (Jiminy Cricket) ILLUSTRATED

KAWS, Skira Rizzoli, New York, 2010, color illustrated, p. 237 This work is accompanied with it’s original product box.

NT$ 70,000-120,000 HK$ 18,000-31,000 US$ 2,300-3,900 RMB 16,000-27,000

KAWS〈布萊恩．唐納利〉 蟋蟀與小木偶 2010 搪膠 限量500件 12.5(長) x 11.5(寬) x 25(高) cm (小木偶) 2(長) x 2(寬) x 5(高) cm (蟋蟀) 註冊商標：©Disney KAWS; MEDICOM TOY 2010 CHINA (小木偶) KAWS..；©Disney MEDICOM TOY (蟋蟀) 圖錄

《KAWS》，斯基拉．里佐利，紐約，彩色圖版，頁237 附作品原產紙盒包裝

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

Astro Boy (Grey, Red) (a set of 2) 2012 Painted cast vinyl Edition of 500 16.5(L) x 12(W) x 37(H) cm (each) Trademark © Tezuka Productions Designed by KAWS on the bottom of right foot, MEDICOM TOY 2012 CHINA on the bottom of left foot There works are accompanied with their original product boxes.

NT$ 100,000-180,000 HK$ 26,000-46,000 US$ 3,300-5,900 RMB 23,000-41,000

KAWS〈布萊恩．唐納利〉 原子小金剛 (灰、紅) (兩件一組) 2012 綜合媒材 搪膠 限量500件 16.5(長) x 12(寬) x 37(高) cm (每件) 註冊商標： © Tezuka Productions Designed by KAWS (右腳底)；MEDICOM TOY 2012 CHINA (左腳底) 附作品原產紙盒包裝

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

KAWS〈布萊恩．唐納利〉 糊塗塌客；史努比；崔蒂 (三件一組)

2010; 2012 Mixed media vinyl, edition of 500 13(L) x 14(W) x 17(H) cm 14(L) x 11(W) x 21.5(H) cm 11(L) x 17(W) x 23(H) cm Trademark © 2010 PNTS-2011PNTS produced by SPECIAL PROJECT CONSULTING Designed by KAWS; MEDICOM TOY 2010 CHINA (Snoopy) © 2012 Peanuts Worldwide LLG Designed by KAWS MEDICOM TOY 2012 CHINA (Woodstuck) TM & © Warner Bros. Entertainment inc. (S10) KAWS..; MEDICOM TOY 2012 CHINA (Tweety)

2010；2012 綜合媒材 搪膠 限量500件 13(長) x 14(寬) x 17(高) cm 14(長) x 11(寬) x 21.5(高) cm 11(長) x 17(寬) x 23(高) cm 註冊商標：© 2010 PNTS-2011PNTS produced by SPECIAL PROJECT CONSULTING Designed by KAWS; MEDICOM TOY 2010 CHINA (史努比) ©2012 Peanuts Worldwide LLG Designed by KAWS MEDICOM TOY 2012 CHINA (糊塗塌客) TM & © Warner Bros. Entertainment inc. (S10) KAWS..； MEDICOM TOY 2012 CHINA (崔蒂)

There works are accompanied with their original product boxes.

附作品原產紙盒包裝

Woodstuck; Snoopy; Tweety (a set of 3)

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600 RMB 23,000-45,000

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

Chompers Bearbrick 1000%; Bearbrick 1000% (Grey) (a set of 2) 2003; 2002 Mixed media, vinyl, edition of 500 34.5(L) x 23.5(W) x 72(H) cm (each) Trademark B@-000.comLTD013© KAWS..03©axev (blue); B@-000. comLTD006© KAWS..02©MEDICOM TOY 2002 (grey) There works are accompanied with their original product boxes.

NT$ 110,000-200,000 HK$ 28,000-51,000 US$ 3,600-6,600 RMB 25,000-45,000

KAWS〈布萊恩．唐納利〉 藍色大牙積木熊1000%； 積木熊1000%（灰色）（兩件一組） 2003; 2002 綜合媒材 搪膠 限量500件 34.5(長) x 23.5(寬) x 72(高) cm (每件) 註冊商標：B@-000.comLTD013© KAWS..03©axev (藍) B@-000.comLTD006© KAWS..02©MEDICOM TOY 2002 (灰) 附作品原產紙盒包裝

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

Stormtrooper Companion; Darth Vader Companion; Boba Fett Companion (a set of 3) 2008 (left); 2007 (middle); 2013 (right) Mixed media, vinyl, edition of 500 10.4(L) x 7.6(W) x 25.4(H) cm 12.7(L) x 7.6(W) x 25.4(H) cm 12.7(L) x 8.8(W) x 26.6(H) cm Trademark on bottom ©2009 Lucasfilm Ltd & TM. All rights reserved. Designed by KAWS MEDICOM TOY 2009 CHINA (Stormtrooper Companion) ©2007 Lucasfilm Ltd & TM. All rights reserved. Designed by KAWS MEDICOM TOY 2007 CHINA (Darth Vader Companion) ©2013 Lucasfilm Ltd & TM. All rights reserved. Designed by KAWS MEDICOM TOY 2013 CHINA (Boba Fett Companion) ILLUSTRTED

KAWS, Skira Rizzoli, New York, 2010, color illustrated, p239 There works are accompanied with their original product boxes.

NT$ 110,000-220,000 HK$ 28,000-57,000 US$ 3,600-7,200 RMB 25,000-50,000

KAWS〈布萊恩．唐納利〉 帝國風暴兵同伴；黑武士同伴；賞金獵人同伴 (三件一組) 2008（左）; 2007（中）; 2013（右） 綜合媒材 搪膠 限量500件 10.4(長) x 7.6(寬) x 25.4(高) cm 12.7(長) x 7.6(寬) x 25.4(高) cm 12.7(長) x 8.8(寬) x 26.6(高) cm 註冊商標足底部： ©2009 Lucasfilm Ltd & TM. All rights r eserved. Designed by KAWS MEDICOM TOY 2009 CHINA（帝國風暴兵同伴） ©2007 Lucasfilm Ltd & TM. All rights r eserved. Designed by KAWS MEDICOM TOY 2007 CHINA（黑武士同伴） ©2013 Lucasfilm Ltd & TM. All rights r eserved. Designed by KAWS MEDICOM TOY 2013 CHINA（賞金獵人同伴） 圖錄

《KAWS》，斯基拉．里佐利，紐約，2010，彩色圖版，頁239 附作品原產紙盒包裝

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

Chum (Black & Ttransparent) (a set of 2) 2002 Plastic; edition of 500 (black); edition of 1000 (transparent) 23(L) x 11(W) x 33(H) cm (each) Signed on the bottom KAWS.. 03 (black) Trademark: CHUM.. © KAWS.. 02 (black & transparent) Edition on the botton CHUM 1000/0349 (transparent)

NT$ 170,000-240,000 HK$ 44,000-62,000 US$ 5,600-7,900 RMB 39,000-55,000

KAWS〈布萊恩．唐納利〉 米其林 (黑、透明) (兩件一組) 2002 塑膠 限量 500件 (黑)；限量1000件 (透明) 23(長) x 11(寬) x 33(高) cm (每件) 簽名腳底：KAWS.. 03 (黑) 註冊商標：CHUM.. © KAWS.. 02 (黑 & 透明) 版次腳底：CHUM 1000/0349 (透明)

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

Accomplice (Black & Pink) (a set of 2) 2002 Painted cast vinyl, edition of 500 (Black); editin of 1,000 (Pink) 6(L) x 8(W) x 24(H) cm (each) Trademark ©KAWS..02 on the bottom of left foot ; MEDICOM TOY MADE IN CHINA on the bottom of right foot PROVENANCE

Private collection, Asia There works are accompanied with their original product boxes.

NT$ 150,000-240,000 HK$ 39,000-62,000 US$ 4,900-7,900 RMB 34,000-55,000

KAWS〈布萊恩．唐納利〉 共犯兔 (兩件一組) 2002 彩繪 搪膠 限量500件 (黑色)；限量1,000件 (粉紅色) 6(長) x 8(寬) x 24(高) cm (每件) 註冊商標：©KAWS..02 (右腳底)； MEDICOM TOY MADE IN CHINA (左腳底) 來源

私人收藏，亞洲 附作品原產紙盒包裝

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

Bearbrick 1000% (Grey) 2006 Mixed media, plasitc, OriginalFake Boutique Aoyoma limited edition 34.5(L) x 23.5(W) x 72(H) cm Trademark OriginalFake ©KAWS..06 This work is accompanied with it’s original product box.

NT$ 200,000-300,000 HK$ 51,000-77,000 US$ 6,600-9,900 RMB 45,000-68,000

KAWS〈布萊恩．唐納利〉 積木熊1000% (灰) 2006 綜合媒材 塑膠 OriginalFake南青山開幕限定 34.5(長) x 23.5(寬) x 72(高) cm 註冊商標：OriginalFake ©KAWS..06 附作品原產紙盒包裝

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

Dissected Companion: Bearbrick 1000% (Brown, Black, Grey) (a set of 3) 2008; 2010 Mixed media, vinyl, edition of 500 34.5(L) x 23.5(W) x 72(H) cm (each) Trademark KAWS.. 08 OriginalFake; KAWS.. OriginalFake ILLUSTRTED

KAWS, Skira Rizzoli, New York, 2010, color illustrated, p. 40 There works are accompanied with their original product boxes.

NT$ 220,000-360,000 HK$ 57,000-93,000 US$ 7,200-11,800 RMB 50,000-82,000

KAWS〈布萊恩．唐納利〉 解剖同伴：積木熊1000% （棕、黑、灰）（三件一組） 2008；2010 綜合媒材 搪膠 限量500件 34.5(長) x 23.5(寬) x 72(高) cm (每件) 註冊商標：KAWS.. 08 OriginalFake；KAWS.. OriginalFake 圖錄

《KAWS》，斯基拉．里佐利，紐約，2010，黑白圖版，頁40 附作品原產紙盒包裝

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

Companion x Bounty Hunter (Gray, Brown, Black) (a set of 3) & book 1999; 2001 Painted cast, vinyl, edition of 500 10.8(L) x 5.7(W) x 19.7(H) cm (each) 22 x 17 cm (book) Trademark KAWS 99 © on the bottom of right foot Signed on the bottom of right foot KAWS"00 (Brown) Signed on the first page of the book KAWS " 2001 ILLUSTRATED

KAWS, Rizzoli International Publication, New York, 2010, p. 232

NT$ 220,000-320,000 HK$ 57,000-82,000 US$ 7,200-10,500 RMB 50,000-73,000

KAWS〈布萊恩．唐納利〉 同伴 x Bounty Hunter（棕、灰、黑）（三件一組）與書 1999；2001 彩繪 搪膠 限量500件 10.8(長) x 5.7(寬) x 19.7(高) cm (每件) 22 x 17cm (書) 註冊商標：KAWS 99 © (右腳底) (每件) 簽名右腳底：KAWS"00 (棕) 簽名書本首頁：KAWS" 2001 圖錄

《KAWS》，Rizzoli International Publication，紐約，2010，頁 232

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

Baby 2006 Screenprint, PP 1/4 50 x 50 cm Signed lower right KAWS.. and dated 06 Numbered lower left PP 1/4

NT$ 300,000-500,000 HK$ 77,000-129,000 US$ 9,900-16,400 RMB 68,000-114,000

KAWS〈布萊恩．唐納利〉 寶貝 2006 絲網版畫 PP 1/4 50 x 50 cm 簽名右下：KAWS..06 版次左下：PP 1/4

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

KAWSBOB (a set of 3) 2011 Screenprint, edition 25/100 (yellow); 89/100 (black); 36/100 (red) 50.8 x 50.8 cm (each) Signed lower right KAWS.. and dated 2011 Numbered lower left 25/100 (yellow); 89/100 (black); 36/100 (red)

NT$ 850,000-1,000,000 HK$ 219,000-257,000 US$ 28,000-32,900 RMB 193,000-227,000

KAWS〈布萊恩．唐納利〉 海綿寶寶 (三件一組) 2011 絲網版畫 25/100 (黃)；89/100 (黑)；36/100 (紅) 50.8 x 50.8 cm (每件) 簽名右下：KAWS.. 11 (每件) 版次左下：25/100 (黃)； 89/100 (黑)；36/100 (紅)

KAWSBOB KAWS (BRIAN DONNELLY)

此組2011年製作的《海綿寶寶》版畫作品為藝術家當時創作靈感的集大成，結合了從卡通人物抽絲剝繭出來的視覺元素。如上述所說，藝術 家最出名的標誌莫過於人物突出的「XX」眼睛記號，而這些「XX」則可以被觀眾以不同的方式解讀。當然，這些記號能夠簡單的被視為一種 藝術家本人的國際通用註冊商標，亦或是他的品牌記號。然而 KAWS 解釋「X」符號本身也能夠在不同的領域被詮釋成各種不同的意思，例 如用於數學、科學、媒體、語言、電腦、以及電玩遊戲，「X」符號都可以被解讀成一種作用或是表達極端的意思。像是若以英語文字書寫 X 字時則能代表親吻、色情網站上的限制級內容也以 X 來表示、或是當某件事被畫上 X 則代表被移除、被變更。KAWS 的「XX」眼睛以及大手 套則可以表示一種他手中卡通人物貌似有靈魂的人物虛擬的死亡、無生命的狀態。藝術家希望觀眾能被這種狀態誘發出一系列不同的情緒反 應，不管是悲傷、同理心、抑或是幽默感等。 KAWS 利用重新組合了這些平面圖像去表現他對於一些無法具象的情緒波動的抽象敘事，畫面中同時充滿戲劇張力又極簡。透過微改造大眾 普遍認識的卡通人物形象，如米老鼠、史努比以及海綿寶寶等，KAWS 創造了一種專屬於自己的藝術語言，游走於街頭塗鴉、普普藝術與流 行文化之間，利用似是而非的卡通人物造型試圖描繪人類形象的不同狀態。早期受到卡通光碟片的啟發，KAWS 會反覆暫停影片的畫面並截 圖仔細研究這些卡通人物的神韻、他們的肢體型態以及情緒的表現手法。此系列《海綿寶寶》如同他以往的創作持續充滿著活力，融合商業 及藝術性，試圖表現出能夠引起觀眾共鳴的情緒。 “KAWSBOB”, a series of prints produced in 2011, was the culmination of creative inspiration for the artist at the time. It combined visual elements drawn from cartoon characters. As mentioned above, the artist’s most famous symbol is the prominent XX eyes, which can be interpreted by viewers in different ways. Of course, these marks can simply be regarded as an internationally registered trademark of the artist and his brand. However, KAWS explains that the X symbol can be defined differently in various fields, such as mathematics, science, media, language, computers, and video games. They X symbol can be interpreted as a function or as the meaning of “extreme”. For example, if the X word is written in English, it can represent a kiss. Restricted content on a pornographic website can also be represented with an X. X can also mean that something is removed or changed if it is crossed out. Furthermore, KAWS’s XX eyes and big gloves also represent the virtual death or lifelessness of a character who seems to have a soul. The artist hopes to inspire different emotional reactions, such as sadness, empathy, or humor, in viewers.

KAWS rearranges these planar images to depict abstract narratives for undefinable mood swings. The paintings are also filled with a level of dramatic tension and minimalism. Through the micro-reconstruction of popular cartoon characters, such as Mickey Mouse, Snoopy, and Spongebob, KAWS has created a unique artistic language containing street graffiti, pop art, and pop culture. He utilizes cartoon characters to depict the different states and images of humankind. Inspired by cartoon CDs from his earlier years, KAWS would repeatedly pause videos and capture screenshots to carefully study the sense of charm, bodies, and emotional expressions of these cartoon characters. The “KAWSBOB” series continues the vibrancy of his previous works. Blending commerce and artistry, he attempts to express emotions that resonate with viewers.

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

Companion (Karimoku Version) 2011 Wood, edition 87/100 12.4 (L) x 7 (W) x 27 (H) cm Painted signature on the base of right foot KAWS, numbered 87/100 Painted trademark on the base of left foot Karimoku in Japanese, OriginalFake in English This work is accompanied with it’s original product box.

NT$ 900,000-1,400,000 HK$ 231,000-360,000 US$ 29,600-46,000 RMB 205,000-318,000

KAWS〈布萊恩．唐納利〉 同伴（Karimoku 版本） 2011 木雕 87/100 12.4(長) x 7(寬) x 27(高) cm 印刷簽名右腳底：KAWS 87/100 註冊商標左腳底：カリモク OriginalFake 附作品原產紙盒包裝

120 Yayoi KUSAMA (Japanese, b. 1929)

Pears 1978 Marker pen on paperboard 24.3 x 27.3 cm Signed upper left Yayoi Kusama in English and dated 1978 Signed on the reverse Yayoi Kusama in English, titled Pears in Japanese and dated 1978 PROVENANCE

Whitestone Gallery, Tokyo Private collection, Asia This work is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 550,000-650,000 HK$ 141,000-167,000 US$ 18,100-21,400 RMB 125,000-148,000

草間彌生 洋梨 1978 油性筆 紙板 24.3 x 27.3 cm 簽名左上：Yayoi Kusama 1978 簽名畫背：1978 Yayoi Kusama 洋梨 來源

白石畫廊，東京 私人收藏，亞洲 附草間彌生工作室開立之作品登錄卡

121 Yoshitomo NARA (Japanese, b. 1959)

Untitled 1999 Marker pen on paper 29 x 22 cm Signed lower Na in Japanese and dated ‘99

NT$ 600,000-800,000 HK$ 154,000-206,000 US$ 19,700-26,300 RMB 136,000-182,000

奈良美智 無題 1999 油性筆 紙本 29 x 22 cm 簽名下方：な '99

122

Yoshitomo NARA (Japanese, b. 1959)

I am Alone 2003 Lithograph, edition 41/75 66 x 50 cm Signed lower right the character of Na in Japanese and dated 2003, numbered lower left 41/75 ILLUSTRTED

Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 312, no. E-2003-003 This work is to be sold with a certificate of authenticity issued by YOD Gallery.

NT$ 700,000-900,000 HK$ 180,000-231,000 US$ 23,000-29,600 RMB 159,000-205,000

奈良美智 我很孤單 2003 版畫 41/75 66 x 50 cm 簽名下方：41/75 な 2003 圖錄

《奈良美智作品全集第一冊》，編年出版社，舊金山，2011，彩色圖 版，頁312，編號E-2003-003 附 YOD Gallery 開立之作品保證書

123 Ayako ROKKAKU (Japanese, b. 1982)

Girl in Red Dress 2007 Acrylic on canvas 162 x 130.5 cm Signed on the reverse Ayako Rokkaku in Japanese and dated 2007.8

NT$ 850,000-1,600,000 HK$ 219,000-411,000 US$ 28,000-52,600 RMB 193,000-364,000

六角彩子 紅洋裝女孩 2007 壓克力 畫布 162 x 130.5 cm 簽名畫背：2007.8

ロッカクアヤコ

LITTLE NURSE Hiroyuki MATSUURA

平面設計師出身的松浦浩之，1999年開始創作具動漫特質的「角 色」圖樣，取材動漫中元素製作壓克力繪畫，對藝術家而言，許多 年輕人混淆了現實世界與動漫畫虛構世界，導致不善於和他人互動 或表達個人情緒，甚至某些群眾認為動漫畫只屬於兒童，松浦浩之 的作品也挑戰這樣的成見，並解放之中的可能性及人們的內心意 識。此幅作品《小護士》爽朗的用色、精確的色塊區隔，人物懸浮 般的姿態，彷彿電影停格誘導觀者想像情節的衍生方向。 Hiroyuki Matsuura began as a graphic designer. In 1999, he began to create 'characters' with Manga traits, and drew acrylic paintings with animamix elements. For artists, many youngsters confuse the real world with Manga's virtual world. As a result, they fail at interactions or expressing emotions; some even think comic books are only for children. Matsuura's artworks challenge this bias and attempts to unleash our subliminal potential and consciousness. With a crisp color schemes and precise color clusters in "Maintenance", the floating figures like frozen movie frame shots try to lead viewers into uninhibited imagination.

124 Hiroyuki MATSUURA (Japanese, b. 1964)

Little Nurse 2006 Acrylic on canvas 250 x 75 cm Signed on the reverse Hiroyuki Matsuura in English, and dated 2006.2.26 EXHIBITED

Hiroyuki Matsuura, Mirai Projects, Stockholm, November, 2006 Hiroyuki Matsuura, Eslite Gallery, Taipei, April 7-29, 2007 ILLUSTRATED

2007 Hiroyuki Matsuura, Tokyo Gallery, Tokyo, 2007, color illustrated, p. 49

NT$ 2,400,000-3,200,000 HK$ 617,000-823,000 US$ 78,900-105,200 RMB 545,000-727,000

松浦浩之 小護士 2006 壓克力 畫布 250 x 75 cm 簽名畫背：Hiroyuki Matsuura 2006. 2. 26 展覽

「松浦浩之個展」，未來計劃，斯德哥爾摩，2006年11月 「松浦浩之個展」，誠品畫廊，台北，展期自2007年4月7日至29日 圖錄

《松浦浩之2007》，東京畫廊，東京，2007，彩色圖版，頁49

125 Yoshitomo NARA (Japanese, b. 1959)

Untitled 2009 Coloured pencil and crayon on paper 33.7 x 24.4 cm Signed on the reverse Na in Japanese and dated 09 PROVENANCE

Private collection, Asia LLUSTRATED

Yoshitomo Nara: The Complete Works Volume 2, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. D-2009-021, p. 295

NT$ 6,000,000-7,000,000 HK$ 1,542,000-1,799,000 US$ 197,300-230,200 RMB 1,364,000-1,591,000

奈良美智 無題 2009 彩色鉛筆 蠟筆 紙本 33.7 x 24.4 cm 簽名畫背：な '09 來源

私人收藏，亞洲 圖錄

《奈良美智作品全集第二冊》，編年出版社，舊金山， 2011，彩色圖版，編號D-2009-021，頁295

Yoshitomo NARA 奈 良 美 智

「我的全部作品其實是我內心的自畫像，是和自己的對話。 至於說這些圖像的來源，是在對話的過程中回憶自己的童年時代。」

作為當今炙手可熱的國際性日本當代藝術家，奈良美智的藝術語言 所表述的不僅是自身內省後的呢喃絮語，更多的是代表著他那一代 人的時代精神與對過去懷舊事物的萬般依戀；然而，奈良美智的藝 術與當時或是現今依舊存在著的次文化息息相關，從「卡漫文化」 到所謂的「御宅族文化」，日本的通俗藝術大量充斥著當前社會， 慢慢擴張成主流的藝術消費型態；從日本當地蔓延至台灣、中國、 亞洲以及歐美等全世界，奈良美智這種看似插畫風格的藝術型態逐 漸蔚為風尚，亦成為當代藝術的矚目焦點之一。這樣的藝術表述， 打破了世人對於美學界定的嚴峻標準，使得曾屬於日本次文化的美 學概論成為國際性的重點策展論述，亦讓「藝術」被重新定義，展 現出全然的另一面向。從大眾化走入各地畫廊中心，接著踏進了各 級美術館以及重要私人收藏機構。從小眾的收藏標的走入世界性追 捧的收藏精品，也使得奈良美智從日本愛知縣，走出日本、跨越亞 洲，走入世界舞台，成為一位國際性的藝術家。

作品當中，總是以肖像式的主題描繪出那帶點戲謔、反抗，流露著 叛逆氣息並憤世忌俗態度的孩童畫像，儘管這些小孩的畫像有著各 種怪異、輕挑或是令人憐憫、需要被關愛的眼神，終究是圍繞著強 烈的自我意識，被孤獨籠罩的本我。《無題》為奈良美智2009年創 作，畫中小女孩頂著蘑菇頭，睜著大眼睛，似乎欲言又止，而她眼 中顯示的「孤單」，顯示出藝術家對於往昔孩提時代的懷舊反思。 奈良美智表示：「我的全部作品其實是我內心的自畫像，是和自己 的對話。至於說這些圖像的來源，是在對話的過程中回憶自己的童 年時代。 」這些孤獨或是疏離的真實感受同時也反映了當時日本社 會的城市冷漠或是「御宅族」的生活型態，他在畫布上刻畫出的孤 獨身影射自我的獨白，也恰巧契合了那一代人的困窘與屬於那個時 代人的困惑心靈；宛若自畫像一般，奈良美智畫作中不可妥協卻又 堅強抵禦外在世界的人像神情，正是所有曾經迷離、孤單的世人身 影；藝術家以追求真實內心自我的繪畫與世界相抗衡的當下也與外 在世界溝通，透過這樣的藝術語言，娓娓道出使他存在的力量，也 給予孤寂人們撫慰傷感的溫暖。

「奈良美智30年回顧展」Kaikai Kiki Gallery，東京 Yoshitomo Nara「Drawings: 1988-2018 Last 30 Years」, Kaikai Kiki Gallery, Tokyo

Yoshitomo NARA One of the brightest stars of the international contemporary art scene, Japanese artist Yoshitomo Nara possesses an artistic language that conveys not only murmured musings of self-reflection, but also the spirit of his generation and nostalgia for the objects of the past. And yet his art is closely connected with the subcultures of those past times, and even subcultures that exist today, from “cartoon and comic book culture” to “otaku culture.” Japanese popular art has become a major part of today’s society, gradually expanding and becoming part of mainstream art consumption; it has spread out from Japan to Taiwan, China, and the rest of Asia, as well as to the Americas and Europe, and indeed the whole world. Nara’s almost illustrative style is gradually becoming both fad and focal point for contemporary art. This kind of artistic expression shatters the world’s strict aesthetic standards.

What was once merely a part of the Japanese subculture aesthetic is now a focal point for curators worldwide, one that is redefining and displaying a different side of “art.” His art has changed, from catering to the masses to being showcased in art galleries, museums, and important private collections. Such a transition, from niche collector pieces to collections prized by the world, has allowed Nara to step outside of Aichi Providence, even outside of Japan and Asia, and onto the world stage, where he has become an international artist.

Nara’s works are often portraits of children exuding attitudes of mockery, resistance, a spirit of rebellion, or disdain for the world and its baseness. And although these children’s portraits feature strange, flippant, or pitiful looks, their appearances revolve around a strong self-awareness, a self shrouded in loneliness. “Untitled” created in 2009, In the painting, the little girl with mushroomheaded and big eyes who seems wish to speak out but doesn’t on a second thought. These wicked-ish looks somehow are actually self-reflections of an uneasy, emotionally turbulent childhood.

Nara has stated, “All of my works are actually self-portraits; they are basically conversations with myself. As for the source of these paintings, what emerges are memories from my childhood as I retrace these dialogues.” These real-life feelings of loneliness and detachment also reflect the indifferent present in Japan’s cities and the “otaku” way of life. He depicts these lonely figures as reflection to his inner soliloquy, which just so happen to echo the dilemma of that generation and the confusion of their souls. Like many self-portraits, Nara’s paintings betray an uncompromising spirit and a strong defiance of the outside world. They are pictures of those who have been lost and lonely. While the artist contends with the world by pursuing his true inner self through art, he also communicates with the world, exhibiting the energy of his existence through art, and soothing the wounds of the lonely.

126 Yayoi KUSAMA (Japanese, b. 1929)

Pumpkins (Yellow, Red, Green) (a set of 3) 1998 Resin, edition 5/30 9.5(L) x 9(W) x 8.5(H) cm (each) Signed on the bottom YAYOI KUSAMA in English, numbered 5/30 (each) Signed in box YAYOI KUSAMA in English and titled Yellow Pumpkin in Japanese, numbered 5/30 Signed in box YAYOI KUSAMA in English and titled Red Pumpkin in Japanese, numbered 5/30 Signed in box YAYOI KUSAMA in English and titled Green Pumpkin in Japanese, numbered 5/30

NT$ 900,000-1,200,000 HK$ 231,000-308,000 US$ 29,600-39,500 RMB 205,000-273,000

草間彌生 南瓜 (黃、紅、綠) (一組三件) 1998 樹脂 5/30 9.5(長) x 9(寬) x 8.5(高) cm (每件) 簽名底部：YAYOI KUSAMA 5/30（每件） 簽名木盒： Yayoi Kusama 5/30 黃かぼちせ Yayoi Kusama 5/30 赤かぼちせ Yayoi Kusama 5/30 綠かぼちせ

127 Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1983 Mixed media (unique) 6(L) x 6(W) x 5.3(H) cm Signed on the bottom YAYOI KUSAMA in English, titled Pumpkin in Kanji and dated 1983 This work is to be sold with a registration card issued by Yayoi Kusama Studio

NT$ 800,000-900,000 HK$ 206,000-231,000 US$ 26,300-29,600 RMB 182,000-205,000

草間彌生 南瓜 1983 綜合媒材（單一件） 6(長) x 6(寬) x 5.3(高) cm 簽名底部：YAYOI KUSAMA 1983 南瓜 附草間彌生工作室開立之作品登錄卡

128 Moe NAKAMURA (Japanese, b. 1988 )

Tears 2014 Oil on canvas 17.5 x 14 cm Signed on the reverse NAKAMURA, titled “Tears” in English and dated 2014 PROVENANCE

Gallery Tsubaki, Tokyo

NT$ 50,000-90,000 HK$ 13,000-23,000 US$ 1,600-3,000 RMB 11,000-20,000

中村萌 眼淚 2014 油彩 畫布 17.5 x 14 cm 簽名畫背框條："Tears" NAKAMURA 2014 來源

椿畫廊，東京

129 Yayoi KUSAMA (Japanese, b. 1929)

Town 1995 Etching, edition 50/100 38 x 28.5 cm Signed lower right Yayoi Kusama, titled Town in Kanji and dated 1995 Numbered lower left 50/100 PROVENANCE

Private collecion, Europe ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 124, no. 206 The authenticity of this work is confirmed by Kusama Yayoi Inc.

NT$ 90,000-120,000 HK$ 23,000-31,000 US$ 3,000-3,900 RMB 20,000-27,000

草間彌生 町 1995 版畫 50/100 38 x 28.5 cm 簽名右下: 町 Yayoi Kusama 1995 版次左下：50/100 來源

私人收藏，歐洲 圖錄

《草間彌生全版畫1979-2017》，阿部出版株式會社，東京， 2017，彩色圖版，頁124，編號206 草間彌生工作室已確認本件拍品真實性

130 Yoshitomo NARA (Japanese, b. 1959)

Cosmic Girl Eyes (Open / Close) (a set of 2) 2008 Print, edition of 500 68 x 48 cm (each)

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600 RMB 23,000-45,000

奈良美智 宇宙女孩 （睜眼 / 閉眼）（兩件一組） 2008 版畫 限量500件 68 x 48 cm (每件)

131 Yoshitomo NARA (Japanese, b. 1959)

No Fun! (In the Floating World) 1997 Print, edition 21/50 41.5 x 29.5 cm Signed lower center Na in Japanese and dated ‘97 Numbered lower left 21/50 ILLUSTRATED

Yoshitomo Nara: The Complete Works 1984-2010, Volume. 1, Art Publisher, Inc., Tokyo Japan, 2011, p. 309

NT$ 130,000-220,000 HK$ 33,000-57,000 US$ 4,300-7,200 RMB 30,000-50,000

奈良美智 不好玩 1997 版畫 21/50 41.5 x 29.5 cm 簽名中下：な '97 版次左下：21/50 圖錄

《奈良美智作品全集第一冊》編年出版社，舊金山， 2011，彩色圖版，頁309

132 Yoshitomo NARA (Japanese, b. 1959)

Untitled 2002 C-print, edition 1/50 29.4 x 19.3 cm Signed on the reverse Na in Japanese and number 1/50 PROVENANCE

Tomio Koyama Gallery, Tokoyo ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume I, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 324, no. PH-2000s-005

NT$ 130,000-220,000 HK$ 33,000-57,000 US$ 4,300-7,200 RMB 30,000-50,000

奈良美智 無題 2002 攝影 1/50 29.4 x 19.3 cm 簽名畫背：な 1/50 來源

購自小山登美夫畫廊 圖錄

《奈良美智作品全集第一冊》，編年出版社，舊金山， 2011，彩色圖版，頁324，編號 PH-2000S-005

133 Yoshitomo NARA (Japanese, b. 1959)

Time Goes On 2002 - 2004 Aquatint, edition 31/52 48 x 38 cm Signed lower right Na in Japanese and dated 2002-04 Numbered lower left 31/52 ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume I, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 313, no. E-2004-006

NT$ 130,000-220,000 HK$ 33,000-57,000 US$ 4,300-7,200 RMB 30,000-50,000

奈良美智 時間流逝 2002 - 2004 版畫 31/52 48 x 38 cm 簽名右下：な 2002-04 版次左下：31/52 圖錄

《奈良美智作品全集第一冊》，編年出版社，舊金山， 2011，彩色圖版，頁313，編號 E-2004-006

134 Takashi MURAKAMI (Japanese, b. 1962)

Homage to Francis Bacon (Study for Head of Isabel Rawsthorne and George Dyer) (a set of 4) 2016 Offset print edition 59/300; 58/300; 101/300; 107/300 50 x 50 cm (each) Signed lower right M and number 59/300 (upper left) Signed lower right M and number 58/300 (upper right) Signed lower right M and number 101/300 (lower left) Signed lower right M and number 107/300 (lower right)

NT$ 160,000-260,000 HK$ 41,000-67,000 US$ 5,300-8,500 RMB 36,000-59,000

村上隆 向法蘭西斯 · 培根致敬 （伊莎貝爾·羅斯索恩和喬治·戴爾頭像習作） （四件一組） 2016 版畫 101/300；58/300；107/300；59/300 50 x 50 cm (每件) 簽名版次右下：M 59/300 (左下) M 58/300 (右上) M 101/300 (左下) M 107/300 (右下)

59/300 ｜ 58/300 101/300 ｜ 107/300

135 Takashi MURAKAMI x Madsaki (Japanese, b. 1962; Japanese, b. 1974)

Flower ComplexCon (a set of 3) 2017 Screenprint, edition A 35/100, B 21/100, C 36/100 46.8 x 38 cm (each) Signed lower right Takashi, dated 2017 and numbered 35/100, 21/100, 36/100

NT$ 190,000-280,000 HK$ 49,000-72,000 US$ 6,200-9,200 RMB 43,000-64,000

村上隆x Madsaki 花 ComplexCon (三件一組) 2017 絲網版畫 A 35/100 B 21/100 C 36/100 46.8 x 38 cm (每件) 簽名版次右下：Takashi 2017 35/100 Takashi 2017 21/100 Takashi 2017 36/100

A 35/100 ｜ B 21/100 ｜ C 36/100

136 Yoshitomo NARA (Japanese, b. 1959)

Hardboiled Hard Luck Marker pen on paper 19.5 x 14.5 cm Signed on the first page of the book Yoshitomo NARA in English Signed on the last page of the book Banana YOSHIMOTO in Japanese PROVENANCE

Galerie Tokyo Humanité, Tokyo

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,500-11,800 RMB 59,000-82,000

奈良美智 無情

厄運

油性筆 紙本 19.5 x 14.5 cm 簽名首頁：Yoshitomo NARA 簽名末頁：よしもと ばなな 來源

東京人文畫廊， 東京

137 Andy WARHOL (American, 1928 - 1987)

The Beatles 1980 Print 31 x 92 cm Signed lower right and center left Andy Warhol in English PROVENANCE

Stanford Auctioneers, Inc., USA, May 21, 2016, lot 321

NT$ 220,000-320,000 HK$ 57,000-82,000 US$ 7,200-10,500 RMB 50,000-73,000

安迪．沃荷 披頭四 1980 版畫 31 x 92 cm 簽名右下及左中：Andy Warhol 來源

史丹佛拍賣公司，美國，2016年5月21日，編號321

安迪•沃荷被譽為20世紀藝術界最有名的人物之一，他是美國藝術家、印刷家、電影攝影師，也是普普藝術的宣導者，甚至說主宰了美國的 普普世界。沃荷經常使用絹印版畫技法來重現圖像，表現資本主義生產方式的新一階段。例如使用絹印版畫技法繪製人物肖像，藉以表現出 他俐落的邊線和標誌性大面積的色塊。他的作品中最常出現的是名人以及人們熟悉的事物， 例如瑪麗蓮•夢露、毛澤東、金寶湯罐頭、可口 可樂罐等等，讓大眾文化躍升至藝術殿堂，打破了通俗與高雅的界限。正如安迪沃荷所說的「所有人都有享受藝術的權利。 」他徹底改變了 人們接受藝術的態度，將藝術普遍化，而對現代藝術美學的破壞與改變都是具有歷史性意義的。1960 年代正是「普普」文化的收耕期；好萊 塢明星夢的追逐，貓王、披頭四熱門音樂的崛起，電視傳播業的興盛，超商、牛仔褲漸為普及。沃荷趁勢將社會新聞圖像轉譯為時代藝術的 新圖騰，這個動機不外是讓自己迅速成名。對電影明星的崇拜，對於消費性行為、名人以及工業化再製造的迷戀，普普藝術家沃荷轉而利用 這些靈感，為二十世紀帶來了許多代表性的作品使大眾得以一窺當時社會樣貌。 1980年，出版了一本講述了英國流行樂團名為「披頭四合唱團」的書，並由當時以負盛名的知名藝術家安迪．沃荷為他們製作了封面的畫像 作品。 披頭四合唱團這個風靡全球的樂團於1957年成軍，主要的四位成員包含主唱及節奏吉他手─約翰•藍儂、主唱及貝斯手─保羅•麥卡 尼、主吉他手─喬治•哈里遜，以及鼓手─林哥•史達。他們在1963年從德國紅回英國又攻進美國，披頭四單曲、專輯張張大賣，成為家喻 戶曉的世界級人物，儼然已成為二十世紀文化的一部分。 安迪．沃荷此幅作品根據名人攝影師狄左．霍夫曼的照片設計了上述書籍的封面，為團員們的合照加入了他標誌性的不規則形狀的顏色塊， 並依慣的使用絲網印刷來製作，如彩色紙的拼貼碎片般印上了手繪線使畫面充滿活力。此件畫作對比鮮明的色彩是沃荷作品的特色，大膽的 用色手法更使原本形象乾淨的披頭四團員肖像露出了一絲壞男孩的氛圍，並喚起披頭士樂隊在20世紀60年代製作的迷幻專輯封面的相似之 處。而藉由人人知曉的樂團作為藝術創作的靈感更是再次符合了沃荷認為「所有人都有享受藝術的權利」的創作理念。 Andy Warhol is hailed as one of the most prominent figures in 20th century art. He is an American artist, printmaker, cinematographer, and a leader in the visual art movement known as pop art. One can even go so far as to say that he was the one that propagated pop art in the USA. Warhol often used stencil screen printing techniques to reproduce the same image repeatedly, representing a new era of mass production in a capitalist society. For example, he would use stencil screenprinting to create a portrait of a celebrity to display the sleek edges and iconically large patches of color for which he is renowned. Most commonly appearing in his works are celebrities and familiar everyday objects, such as Marilyn Monroe, Mao Zedong, Campbell’s Soup cans, Coca-Cola cans, etc. Using these, Warhol elevates popular culture into the realm of art, and breaks the boundaries between mundane and elegant. As Andy Warhol once said, “Everyone has the right to appreciate art.” His ideas and his works have completely changed originally existing attitudes toward what constitutes art, universalizing art, and the changes he brought and destruction he reeked to the walls of modern art are all historically significant.The 1960s was the harvesting period for “pop culture”, The embracing of the pursuit of the Hollywood Dream, the rise of pop music icons such as Elvis Presley and the Beatles, the exploding of the TV industry, supermarkets, and jeans becoming the norm. Warhol seized the opportunity to translate images from social news into new images to create a new kind of art for a new era, throwing him into the spotlight to quickly become one of the most famous artists from his time. Andy used celebrity worship, consumer behavior, society’s fascination with the rich and the famous and industrial mass production as his inspiration as a pop artist. His works provide the public with a glimpse into what society of his time looked like.

In 1980, a book about the British pop phenomenon, The Beatles, was published. The cover of the book was designed by no other than Andy Warhol using portraits of the members of the group.The pop phenomenon, the Beatles were formed in 1957. The four main members included lead singer and rhythm guitarist, John Lennon, leader singer and bassist, Paul Mccartney, main guitarist George Harrison, and drummer, Ringo Starr. After their popularity in Germany, they returned and quickly won over British fans, then took over the American music scene. Singles and albums produced by the Beatles resulted in hit after hit, making them a globally known household name, undeniably making them a part of 20th century culture.

Created by Andy Warhol, this work was used as the above mentioned book and is based a photo of the Beatles taken by celebrity photographer Dezo Hoffmann. Warhol adds his iconic irregularly shaped blocks of colors to the group’s photo using fine mesh to create the print as he often did. The print looks as if it were created using pieces of different colored scrap paper and hand drawn lines, giving it a vibrant and energetic look.

138 Yayoi KUSAMA (Japanese, b. 1929)

Pistils and Stamens 1994 Etching, edition 4/75 63 x 45.5 cm Signed lower right Yayoi Kusama in English, numbered lower left 4/75, titled Pistils and Stamens in Kanji and dated 1994 ILLUSTRATED

YAYOI KUSAMA PRINTS 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 120, no. 197 This work is to be sold with a certificate of authencity issued by YOD Gallery, Osaka

NT$ 220,000-320,000 HK$ 57,000-82,000 US$ 7,200-10,500 RMB 50,000-73,000

草間彌生 花蕊 1994 蝕刻版畫 4/75 63 x 45.5 cm 簽名右下：Yayoi Kusama 題識左下：4/75 花蕊 1994 圖錄

《草間彌生全版畫 1979-2017》，阿部出版株式會社，東京， 2017， 彩色圖版，頁120，編號197 附 YOD Gallery 開立之作品保證書

139 Keith HARING (American, 1958 - 1990)

Rock 'n' Roll Star, City, Astronaut (a set of 3) 1989 Offset, edition 28/80 33.5 x 31 cm (each) Signed lower right K. Haring and dated '89; numbered lower left 28/80 (left) Signed lower right William S. Burroughs and dated '89; numbered lower left 28/80 (middle) Signed lower right K. Haring and dated '89; numbered lower left 28/80 (right)

NT$ 300,000-400,000 HK$ 77,000-103,000 US$ 9,900-13,200 RMB 68,000-91,000

凱斯．哈林 搖滾巨星、城市、太空人 (三件一組) 1989 版畫 28/80 33.5 x 31 cm (每件) 簽名右下：K. Haring '89；版次左下 ：28/80 (左) 題識右下：William S. Burroughs 89；版次左下 ：28/80 (中) 簽名右下：K. Haring '89；版次左下 ：28/80 (右)

140 MR. BRAINWASH (Thierry Guetta) (French, b. 1966)

With All My Love - Life is Beautiful Mixed media on paper 57 x 57 cm Signed lower left Mr. Brainwash in English

NT$ 320,000-550,000 HK$ 82,000-141,000 US$ 10,500-18,100 RMB 73,000-125,000

洗腦先生 用我全部的愛－美麗人生 綜合媒材 紙本 57 x 57 cm 簽名左下：Mr. Brainwash

141 Andy WARHOL (American, 1928 - 1987)

Lillian Carter 1977 Color screenprint on paper, A. P. 12/20 99.7 x 74.9 cm Signed lower center Andy Warhol and numbered A. P. 12/20 Inscribed To Fred Hughes, with Love by Lillian Carter PROVENANCE

安迪．沃荷以其獨特的方式詮釋標誌性名人以及批判消費主義而聞名遐邇，他 一直是他所處社會中的一面反思鏡。沃荷利用他那年代的標誌性名人，創作以 眾多名人為人物主題的肖像作品來挑戰當時社會對這些偶像崇拜的看法，並鼓 勵大眾藉以突破這些絢麗表象之外的思考。 同時，沃荷對風雲政的治人物與星光熠熠的名人間的模糊界限深感著迷；進而 將了兩者混合，形成了自己獨樹一格的一種詮釋。透過使用鮮豔明亮的色彩以 及善用塗鴉式的風格，他將肖像裡名人的面容美化，藉以將荷李活巨星的閃耀 帶入選舉造勢的世界裡。此幅《莉莉安．卡特》是一幅彩色繽紛的畫像，主 角則是美國的第39任總統吉米．卡特總統的母親。 這件作品採用了顏色遮擋 法，以絲網印刷出的黑白照片為特色，並強調畫面中人物的黑色輪廓，以強調 莉莉安．卡特臉部和衣服上的某些特徵。

The Great Dane Collection ILLUSTRATED

Frayda Feldman and Jörg Schellmann, Andy Warhol Prints : A Catalogue Raisonné 1962-1987, The Andy Warhol Foundation for the Visual Arts, New York, 1997, color illustrated, p. 91, II. 153

NT$ 420,000-550,000 HK$ 108,000-141,000 US$ 13,800-18,100 RMB 95,000-125,000

安迪．沃荷 莉莉安．卡特 1977 絲網版畫 A. P. 12/20 99.7 x 74.9 cm 簽名中下：Andy Warhol A. P. 12/20 "To Fred Hughes, with Love" Lillian Carter 來源

The Great Dane Collection 圖錄

《安迪．沃荷 1962-1987 版畫全集》，弗瑞達．菲爾曼＆約 格．薛爾曼，安迪．沃荷視覺藝術基金會，紐約，1977，彩 色圖版，頁91 (編號 II. 153)

沃荷選擇性的強調莉莉安．卡特臉上的這些特徵，就像他的許多其他名人肖像 一樣，刻意突出他們已成為標誌性的面部細節。在他的作品中，沃荷非常關 注、研究名人的外在形象，他熱衷於觀察這些能夠迷倒眾人的細節。而在莉莉 安．卡特的肖像中，沃荷就使用了年輕而俏皮的色彩顛覆了她以往於政壇中正 經不苟一笑的嚴肅形象，讓她得以一種隨性自然的樣貌呈現於大眾眼前。這件 特別的肖像隨後也成為吉米．卡特為總統競選籌集資金的作品。 Andy Warhol is known for his unique method of interpreting iconic celebrities and criticizing consumerism in continuous reflections on society.

Using the iconic celebrities of his time, Warhol created many celebritythemed portraits to challenge the views of society on these idols and encourage the public to look beyond these beautiful appearances.

At the same time, Warhol was deeply fascinated by the ambiguous boundaries between politics and the star-studded celebrities. He contributed his own interpretation by mixing the two realms. He utilized bright colors and graffiti and beautified the faces of celebrities in the portraits to bring the shining lives of Hollywood stars into the world of elections. Lillian Carter is a colorful portrait of the mother of the 39th President of the United States, Jimmy Carter. This work of art features a color occlusion method, screenprinted black and white photos emphasized by black outlines on the figure, especially on Carter’s face and clothes.

Warhol selectively emphasizes Carter's facial features, like many of his other celebrity portraits, deliberately highlighting the fact that they have become iconic facial details. In his works, Warhol often pays close attention to the external image of celebrities, and he is keen to observe the details of these fascinating people. In Lillian Carter's portrait, Warhol applied young and playful colors to subvert her serious image often seen in the past in politics, allowing her to present a casual and natural appearance to the public.

This special portrait later was used by Jimmy Carter to raise funds for his presidential campaign.

142 Takashi MURAKAMI (Japanese, b. 1962)

Flowerballs (a set of 10) 2013-2014 Offset lithographs, edition 157/300 (A); 132/300 (B); 165/300 (C); 160/300 (D); 156/300 (E); 161/300 (F); 156/300 (G); 154/300 (H); 157/300 (I); 153/300 (J) 71 x 71 cm (each) Initialed lower right M and numbered 157/300 (A); 132/300 (B); 165/300 (C); 160/300 (D); 156/300 (E); 161/300 (F); 156/300 (G); 154/300 (H)157/300 (I); 153/300 (J)

NT$ 420,000-600,000 HK$ 108,000-154,000 US$ 13,800-19,700 RMB 95,000-136,000

村上隆 花球 (10件一組) 2013-2014 版畫 157/300 (A)；132/300 (B)；165/300 (C)；160/300 (D)；156/300 (E)；161/300 (F)； 156/300 (G)；154/300 (H)；157/300 (I)； 153/300 (J) 71 x 71 cm (每件) 簽名右下：M 157/300 (A)；M 132/300 (B)； M 165/300 (C)；160/300 (D)；156/300 (E)； M 161/300 (F)；M 156/300 (G)；154/300 (H)；157/300 (I)；153/300 (J)

A｜B｜C｜D｜E F｜G｜H｜I｜J

143 Yoshitomo NARA (Japanese, b. 1959)

Doggy Radio x RIMOWA 2011 Fiberglass, edition 28/200 (radio); aluminium (suitcase) 43(L) x 22.5(W) x 29.5(H) cm (radio) 53.5(L) x 27.5(W) x 42.5(H) cm (suitcase) This Radio is to be sold with a certificate of authenticity signed by the artist.

NT$ 300,000-400,000 HK$ 77,000-103,000 US$ 9,900-13,200 RMB 68,000-91,000

奈良美智 小狗收音機 x RIMOWA旅行箱 2011 玻璃纖維 28/200；鋁合金手提箱 43(長) x 22.5(寬) x 29.5(高) cm（收音機） 53.5(長) x 27.5(寬) x 42.5(高) cm（旅行箱） 附藝術家親簽保證卡、防塵套 (限量旅行箱組合保證書簽名：な)

144 Hajime SORAYAMA (Japanese, b. 1947)

Future Mickey Retro (a set of 3) 2004 Zinc, edition 1/100 (red); 0970 (silver); 1/1000 (golden) 21(L) x 27(W) x 34.5(H) cm (each) Trademark TOMY ® MADE IN CHINA © Disney (bottom) Numbered on the bottom 1/1000 (gold) Numbered on the bottom 0970 (sliver) Numbered on the bottom 1/1000 (red)

NT$ 200,000-300,000 HK$ 51,000-77,000 US$ 6,600-9,900 RMB 45,000-68,000

空山基 未來米奇限定版(三件一組) 2004 鋅合金 1/1000 (金)；0970 (銀)；1/1000 (紅) 21(長) x 27(寬) x 34.5(高) cm (每件) 註冊商標：TOMY ® MADE IN CHINA © Disney (底部) 版次底部：1/1000(金) 版次底部：0970(銀) 版次底部：1/1000 (紅)

145 Gary BASEMAN (American, b. 1960)

The Guest 2013 Porcelain, edition 41/250 19(L) x 21(W) x 51(H) cm Numbered on the bottom 41/250

格里．巴斯曼 貴賓 2013 陶瓷 41/250 19(長) x 21(寬) x 51(高) cm 版次底部：41/250 附雅致瓷偶開立之限量版作品證明書

This sculpture is to be sold with a certificate of authenticity issued by Lladró Handmade Porcelain, Spain.

NT$ 110,000-180,000 HK$ 28,000-46,000 US$ 3,600-5,900 RMB 25,000-41,000

乍看格里．巴斯曼的作品，圓滾滾無辜大眼的人物，帶些晦暗迷離色彩以及複雜的背景或影象，總會令人有種身陷詭譎與迷幻的灰色感覺。 主修人文科學的他，認為人之所以美麗，就是因為人有著許多情緒的表現與累積，而面對負面或晦暗的那些情緒，並不需要隱藏或逃避，反 而該正視面對，藉此探索自己深沉的內在，將有不同的獲得。巴斯曼所創作極具個人風格的玩偶人物，除了受到普遍的喜愛，也因為帶著大 人般童趣的角色塑造，更讓他獲獎無數；與迪士尼合作的《酷狗上學去》卡通影集更是榮獲了多屆艾美獎。 現於舊金山生活及工作的巴斯曼，為了頂級瓷器品牌Llardó 的珍藏系列主題，繼蒂姆．比斯科普及日本五人設計團隊 - Devilrobots 後設計了 《貴賓》雕塑；這件作品象徵了某人家所舉辦的歡慶場合中的一束花。巴斯曼在設計中融合了他對該系列的詮釋，包括個人懷舊符號與體會 融入其中，甚至反映出展覽所在空間的壁紙上所出現的各種圖案，宛如聽著他訴說屬於往日記憶與遊歷故事一般，表現出藝術家對於生活體 驗的細膩觀察。 Gary Baseman depicts round people with big innocent eyes using darkly blurred colors on complex backgrounds or images. They always bring about sensations of being trapped or having psychedelic, gray experiences. He majored in the humanities and believes that people are beautiful because they have many emotions, while those who face negative or dark emotions should not hide or escape them, just face them. Exploring your deep inner world may bring various gains. A very personal style inspired Baseman’s doll characters which are loved globally and created in a shape of an adult-like child. These dolls have earned him numerous awards, including a cartoon series Teacher’s Pet, the winner of several Emmy Awards.

Living and working in San Francisco, Baseman, following the work of Tim Biskup and the Japanese five-person design team Devilrobots, teamed up with high-end porcelain house Llardo on a collection of figures for the company’s series, “The Guest”. This piece is analogous to a celebratory bouquet of flowers in someone’s home. His designs for the series incorporates his interpretation of the series, including personal nostalgic symbols and experiences and even reference the space the exhibition is housed in like the pattern appearing on wallpaper. It is like listening to the artist telling memory or travel based story, showing his delicate observation of life experiences.

146 Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin Mixed media (painted; unique) 2.9(L) x 2.8(W) x 2.7(H) cm Signed on the bottom KUSAMA in English

NT$ 60,000-120,000 HK$ 15,000-31,000 US$ 2,000-3,900 RMB 14,000-27,000

草間彌生 南瓜 綜合媒材 (手繪單一件) 2.9(長) x 2.8(寬) x 2.7(高) cm 簽名底部：KUSAMA

147 Takashi MURAKAMI (Japanese, b. 1962)

Mr. DOB (a set of 2) 2016 Vinyl, plastic Golden: edition of 250 Red: edition of 750 28(L) x 19(W) x 24(H) cm (each) Trademark ©TM/KK COMPLEXCON BAIT SWITCH (x2)

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600 RMB 23,000-45,000

村上隆 DOB君 (兩件一組) 2016 彩繪 搪膠 金黃 限量250件 紅藍 限量750件 28(長) x 19(寬) x 24(高) cm (每件) 註冊商標：©TM/KK COMPLEXCON BAIT SWITCH (x2)

148 Satoru KOIZUMI (Japanese, b. 1983)

Wolf 2017 Woodcarving, polychrome, resin 25(L) x 17.5(W) x 32.5(H) cm Engraved on the back KOIZUMI This sculpture is to be sold with a certificate of authenticity issued by Megumi Ogita Gallery.

NT$ 160,000-220,000 HK$ 41,000-57,000 US$ 5,300-7,200 RMB 36,000-50,000

小泉悟 狼 2017 木雕 顏料 樹脂 25(長) x 17.5(寬) x 32.5(高) cm 雕刻簽名背後：KOIZUMI 附 Megumi Ogita Gallery 開立之原作保證書

149 Moe NAKAMURA (Japanese, b. 1988)

Wish for Something 2018 Polystone, edition 019/120 17(L) x 15(W) x 26(H) cm EXHIBITED

2018 Art Fair Tokyo, Gallery Tsubak, Tokyo, 2018

中村萌 給我抱抱 2018 寶麗石粉樹脂 019/120 17(長) x 15(寬) x 26(高) cm 展覽

東京藝術博覽會，Gallery Tsubak，東京，2018 附藝術家親筆簽名之作品保證卡與展覽畫冊簽名

This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 80,000-160,000 HK$ 21,000-41,000 US$ 2,600-5,300 RMB 18,000-36,000

「當我失去了一些東西，當我覺得缺少某些東西時，或者當我被無意 中的一些重大變化吞噬時，我感覺或多或少地失去了。我是誰，我應 該尋找什麼？事實上，存在本身是模棱兩可的，我們失去了什麼，我 們尋找的真相不在個人的『我』之外，而是在內部。 」─中村萌 日本當代藝術無限可能，身為目前備受矚目的日本當代藝術家中村 萌，於今日東京藝壇堪稱異軍突起，掀起一股療癒系旋風。其作品以 充滿手感溫度的人物木雕創作為主，大部份的雕塑作品皆保留了雕刻 時的刻痕紋路，獨具風格；作品充滿童趣詼諧卻又撫慰人心的質感， 可愛卻不流於俗套的外型，以不誇張的造型取勝；純真、靜謐的氣息 讓人彷彿進入童話故事的綺麗幻想當中。在仔細凝視她的作品後不難 發現，在充滿童稚的表象下隱含著寂寞且孤獨的社會信息，中村萌藉 此探討了身在這資訊迅速蔓延的社會裡個體的存在價值。或許和身處 在手機、網絡發達的資訊社會中許多人的內心一樣，中村萌以不那麼 令人難以親近的藝術語言，內斂、低調地傳達了大部分人所認同地當 代社會人際困境，使她的作品更貼近當代人的內心進而產生共鳴。 “In the moment I lost something, when I realise something is missing, or when I am engulfed in some unexpected, drastic changes in circumstance, feeling a greater or lesser extent of loss, I wonder about people, myself, and what it is we're supposed to be looking for. If it is existence itself that has been lost by our ambiguous selves, what we seek might not actually outside of the ‘I’ of the individual, but perhaps it lies inside.”- Moe Nakamura

Contemporary art in Japan has infinite potential, and for Moe Nakamura, a contemporary Japanese artist recently in the spotlight, the Tokyo art scene today is on a rapid ascent, set to spur a whirlwind of rejuvenation. Nakamura's art practice focuses on warmly hand-carved figures: sculptural works marked by the unique way the notches and grains of the wood are preserved. Her works are filled with youthful wit and soothing textures — cute but not conforming to the clichéd and exaggerated moulds. They stand out for that, for their sincerity, their quiet breath that leads viewers into a kind of enchanting fantasy land from the pages of a children's story. After taking time with her works, it becomes apparent that embedded under the all so childish surface layer is a social commentary on loneliness and isolation. Nakamura explores this in relation to the value of an individual's existence within a society of rapidly spread information. Or perhaps, Nakamura speaks more to people in a society of rapid information who are always next to a smartphone and online, expressing the interpersonal struggles experienced by so many people in contemporary society, and doing so in an understated, low-key fashion with the relatively accessible language of art. This contributed to her work drawing closer to and resonating with the hearts of people today.

150 Banksy (British, b. 1975)

Flower Bomber 2018 Polystone 35.5(L) x 9(W) x 39(H) cm Trademark © MMXV Full Colour Black Ltd. on the bottom of right foot; MEDICOM TOY 2018 CHINA on the bottom of left foot This work is to be sold with its original product box.

NT$ 50,000-90,000 HK$ 13,000-23,000 US$ 1,600-3,000 RMB 11,000-20,000

班克斯 擲花者 2018 寶麗石粉樹脂 35.5(長) x 9(寬) x 39(高) cm 註冊商標：© MMXV Full Colour Black Ltd. (右腳底)； MEDICOM TOY 2018 CHINA (左腳底) 附作品原產紙盒包裝

151 Banksy (British, b. 1975)

Bomb Hugger 2017 Resin 15.5(L) x 15.5(W) x 39(H) cm (with base) Trademark © MMXV Full Colour Black Ltd. MEDICOM TOY 2016 CHINA on the bottom This work is to be sold with its original product box.

NT$ 50,000-80,000 HK$ 13,000-21,000 US$ 1,600-2,600 RMB 11,000-18,000

班克斯 擁抱炸彈的女孩 2017 樹脂 15.5(長) x 15.5(寬) x 39(高) cm (含底座) 註冊商標：© MMXV Full Colour Black Ltd. MEDICOM TOY 2017 CHINA (底座) 附作品原產紙盒包裝

152 Banksy (British, b. 1975)

Monkey Sign - Do Nothing You’ll Live Longer (White) 2016 Polystone resin, edition of 155 19(L) x 15(W) x 36(H) cm Trademark © MMXVI Full Color Black Ltd on the bottom of right foot, MEDICOM TOY 2016 CHINA on the bottom of left foot This work is to be sold with its original product box.

NT$ 40,000-70,000 HK$ 10,000-18,000 US$ 1,300-2,300 RMB 9,000-16,000

班克斯 掛牌猴子－什麼都不做你可以活更久 (白) 2016 寶麗石粉樹脂 限量155件 19(長) x 15(寬) x 36(高) cm 註冊商標：© MMXVI Full Color Black Ltd. (右腳底) MEDICOM TOY 2016 CHINA (左腳底) 附作品原產紙盒包裝

153 Banksy (British, b. 1975)

Suicide Man; Bucket on Head (a set of 2) (Medicom Toys x Brandalism) 2017 Polystone resin 20(L) x 10(W) x 36(H) cm (Bucket on Head) 11(L) x 11(W) x 36(H) cm (David) Trademark ©MMXV Full Color Black Ltd. MEDICOM TOY 2017 CHINA This work is to be sold with its original product box.

NT$ 60,000-90,000 HK$ 15,000-23,000 US$ 2,000-3,000 RMB 14,000-20,000

班克斯 大衛；頭戴鐵桶 (兩件一組) 2017 寶麗石粉樹脂 20(長) x 10(寬) x 36(高) cm (頭戴鐵桶) 11(長) x 11(寬) x 36(高) cm (大衛) 註冊商標：© MMXV Full Color Black Ltd. MEDICOM TOY 2017 CHINA 附作品原產紙盒包裝

「Ahwroo 又可愛又可怕，牠藉由露出鋸齒狀的利牙帶著笑容來吸引你的注意力。 如果牠沒有如願得到該有的矚目，那牠可能會嗜血地將你抓傷。」 “Cute and scary, Ahwroo bears his snaggle-toothed grin to express his want of attention.

If he does not get it, he just might scratch and draw some blood.”

看似危險又充滿暴力的主人翁《啊嗚》，卻沒有引起觀眾的不悅 感，反而反映了藝術家對於生活體驗的觀察，以及熱愛生命中每一 段無論是美或是不完美的故事，將它形塑成藝術當中的一段記憶。 在巴斯曼的世界裡，他將諸多無法言喻的感受以及人類內心深處不 理性的情感和壓抑的衝動，透過作品具體的表現出來。 即使是自己 摯愛的貓 - Blackie也出現在這個他那獨特的世界裡。貓科動物一直 是創造《啊嗚》的直接靈感，巴斯曼將牠們對愛情和注意力的無盡 渴望扭曲成外表惡毒的野獸。 與一般的創作藝術家不同，巴斯曼筆下所創造出來的形象，有些是 帶著陰森與晦暗的負情感，彷彿仇恨、悲傷或 貪欲，但在這樣的負情感形象當中卻又同 時存在擁有著明亮溫暖的正向情感，像 是愛、關懷與原諒，在看似衝突的影 像表現中，最終透過所創造圖象內的 溫暖包容消彌負面情感，這樣獨特 的藝術風格意外地引起許多共鳴。 以他創作的藝術闡述著，成人世界 或許複雜，有著難懂的渾沌，但 別忘了保持純真童趣的眼光去看 待，坦誠的面對自己與周遭， 接納那些不完美並讓他筆 下的角色帶走心底的 負面情緒，讓美好 浮現在心中，幻 化成微笑。

Appearing seemingly dangerous and violent, Ahwroo does not cause discomfort to the audience. It rather reflects the artist’s observation of life’s experiences and love for every story of life, whether it is a beautiful or imperfect one, and shapes it as a memory into art. In his world, Baseman expresses many unspeakable feelings, irrational emotions, and repressed impulses.

Even his beloved kitty Blackie also appears in this unique world.

Cats have also been the main inspiration for the creation of Ahwroo. Baseman distorted their endless desire for love and attention into a vicious beast.

Unlike many artists, Baseman creates works oppressed by negative emotions, such as hatred, sadness, and greed. Such negative imagery also contains positive emotions with bright and warm feelings, such as love, care, and forgiveness. Amongst such seemingly conflicting imagery, the warmth of the created image eliminates all negative emotions and a unique artistic style unexpectedly causes many resonances. The adult world may seem complicated and chaotic, as show his works, but do not forget to maintain a pure and childish look, face yourself and your surroundings, accept negative emotions that might not be perfect, and let his characters take away all negative emotions, allow good things come to you, and turn them into a smile.

154 Gary BASEMAN (American, b. 1960)

Ahwroo 2012 Hand painted polystone, edition 180/300 30.5(L) x 17(W) x 21(H) cm Trademark © GARY BASEMAN on the attached panel; inscribed Baseman and APPortfolio; numbered 180/300

NT$ 30,000-60,000 HK$ 8,000-15,000 US$ 1,000-2,000 RMB 7,000-14,000

格里．巴斯曼 啊嗚 2012 寶麗石 手繪 180/300 30.5(長) x 17(寬) x 21(高) cm 註冊商標：© GARY BASEMAN Baseman APPortfolio 180/300

155 Isamu NOGUCHI (Japanese-American, 1904 - 1988)

Measured Time (Clock and Kitchen Timer) 1932 Bakelite, metal, enameled metal, printed paper 13.3(L) x 8.9(W) x 15.6(H) cm Titled Hawkeye Measured Time With one metal manufacturer's label on the reverse STEVENSON MFG. CO. PROVENANCE

Produced by Stevenson Manufacturing Company, Indiana, America, 1932 EXHIBITED

Isamu Noguchi, Patent Holder: Designing the World of Tomorrow, The Noguchi Museum, New York, June 4, 2014 - January 4, 2015 Isamu Noguchi, Patent Holder: Designing the World of Tomorrow, Dr. M.T. Geoffrey Yeh Art Gallery at St. John's University in Queens, New York, January 15, 2015 – March 19, 2015

NT$ 40,000-70,000 HK$ 10,000-18,000 US$ 1,300-2,300 RMB 9,000-16,000

野口勇 時間測量 (時鐘與廚房定時器) 1932 電木 金屬 搪瓷金屬 印刷紙 13.3(長) x 8.9(寬) x 15.6(高) cm 題識印刷：Hawkeye Measured Time 商標背後：STEVENSON MFG. CO. 來源

史蒂文森製造公司製造，印第安那州，美國，1932 展覽

野口勇《專利持有人：設計明日世界》，野口勇博物館，紐 約，展期自2014年6月4日至 2015年1月4日 野口勇《專利持有人：設計明日世界》，Dr. M.T. Geoffrey Yeh 藝廊，聖約翰大學，紐約，展期自2015年1月15日至3月19日

「我在雕塑中尋找如何再度創造人類環境中偉大神話的方法，雕塑 的力量也因而增強。在這樣的環境中，人類可以從機械化過程中獲 得解脫，在其中找到與神話的共融，也能審思他的精神重新獲得自 由的愉悅。 」野口勇。 1904年生於美國洛杉磯，母親是美國作家莉歐妮．吉歐蒙，父親是 日本詩人野口米次郎。1924年，由於想要全時間投入雕塑創作， 他從哥倫比亞大學醫學系退學，開始專注在抽象藝術雕塑作品，並 深受布朗庫西的影響，是二十世紀最重要並且最受好評的雕塑家之 一。野口勇堅信藝術和設計在社會中的作用，因此他利用了大量的 時間專研工業設計並赴世界各地創作公共作品，比如公園，廣場和 噴泉。 此件作品《測量時間》先前曾佚名在市場上出現過，但當時並未證 為野口勇的作品，除了鏡面上的《鷹眼》標誌以及於時鐘背部的 「史蒂芬森製造公司」標籤。然而野口勇在自傳中曾自述過他創造 的第一件工業設計作品，是一系列的蛋糕模具(據信這套設計從未 被投入生產) ，隨後提及的作品則依序為「測量時間」、「電台護 士」以及「耳朵守護者」。但由於《測量時間》的實際圖片未曾曝 光過，「電台護士」則被普遍稱作為野口勇的第一件有被記錄下來 的工業化生產設計作品。雖然如此，基於上述這幾件作品風格上的 雷同，以及藝術家於印第安那州與史蒂芬森製造公司的私下交情推 測，野口勇基金會在近期終於確認了《測量時間》這件作品即為藝 術家本人在自傳中所提及過的工業設計作品。確立了本件作品的歸 屬後，《測量時間》在十八年後的現在終於又得以以野口勇的作品 之姿與世人見面，實屬難得。 "I seek ways to recreate the great myths of the human environment in sculpture. The power of sculpture is thus enhanced. Within such an environment, human beings can become liberated from the process of mechanization as they connect with the myths and reflect on their spirit to regain the joy of freedom." Isamu Noguchi

Noguchi was born in Los Angeles in 1904. His mother was an American writer, Leonie Gilmour, and his father was a Japanese poet, Noguchi Yonejirou. In 1924, he wanted to devote all his time to creating sculptures, hence he dropped out of the Department of Medicine, Columbia University and began to focus on abstract sculptures. He was deeply influenced by Constantin Brancusi, one of the most important and most acclaimed sculptors of the twentieth century. Noguchi believes in the role of art and design in society and spends much time specializing in industrial design and creating public works in various places around the world, such as parks, squares, and fountains.

“Measuring Time” has previously appeared in the market, but it could not be proven to be Noguchi's work with the exception of the “hawk eye” logo on the mirror and the “Stephenson Manufacturing Company” label on the back of the clock. However, Noguchi once described his first industrial design work in his biography, which was a series of cake molds (it is believed that this design has never been put into production). Subsequent works referred to are “Measuring Time”, “Radio Nurse”, and “Ear Guardian”. Since the actual picture of “Measuring Time” has never been exposed, Radio Nurse is generally referred to as Noguchi's first industrial production design ever recorded. Nonetheless, based on the similarities in the styles of these works and the relationship between the artist and the Stephenson Manufacturing Company in India, the Isamu Noguchi Foundation has recently confirmed that the work “Measuring Time” is indeed the industrial design work mentioned by the artist in his autobiography. Once the affiliation of this work was established, “Measuring Time” has finally been introduced to the world as Noguchi's work of art after 18 years. This marks an unprecedented occasion.

156 Yayoi KUSAMA (Japanese, b. 1929)

Dots Obsession - Alive, Seeking for Eternal Hope (Glass House Snow Globe) 2016 Glass, mixed media, edition, 88/300 10 (L) x 10 (W) x 12.5 (H) cm This work is to sold with a certificate of authenticity issued by the Glass House.

NT$ 20,000-40,000 HK$ 5,000-10,000 US$ 700-1,300 RMB 5,000-9,000

草間彌生 迷戀玻點－活著，追尋永恆的希望 (玻璃屋雪球） 2016 玻璃 綜合媒材 88/300 10(長) x 10(寬) x 12.5(高) cm 附玻璃屋所發行之保證書

201

SANYU (Chinese-French, 1895 - 1966)

常玉 貓與馬的速寫

Study of Cat and Horse

1931

1931 Ink and pencil on paper / envelope mounted on board 11 x 14 cm Signed center right Yu in Chinese, SANYU and dated 1931

11 x 14 cm

PROVENANCE

Collection of Mr. and Mrs. Neyrinck, France (friends of the artist in 1920s-1930s) Private collection, Asia ILLUSTRATED

Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolor, The Li-Ching Culture and Educational Foundation, Taipei, 2014, color illustrated, p. 136, no. D6003, p. 139 (USB)

NT$ 460,000-550,000 HK$ 118,000-141,000 US$ 15,100-18,100 RMB 105,000-125,000

112

水墨 鉛筆 紙本

信封裱於木板

簽名右中：玉 SANYU 1931 來源

納瑞克先生夫婦收藏，法國（藝術家1920-1930年代友人） 私人收藏，亞洲 圖錄

《常玉素描與水彩全集》，衣淑凡，財團法人立青文教基金 會，台北，2014，彩色圖版，頁136，編號D6003，頁139 （隨身碟）

202

SANYU (Chinese-French, 1895 - 1966)

Figure

Ink on paper 43.7 x 26.3 cm This work is to be sold with the letter of opinion signed by Rita WONG and issued by The Li-Ching Cultural and Educational Foundation.

NT$ 480,000-650,000 HK$ 123,000-167,000 US$ 15,800-21,400 RMB 109,000-148,000

常玉 人物 水墨 紙本 43.7 x 26.3 cm 附立青文教基金會衣淑凡女士意見信函

203

SANYU (Chinese-French, 1895 - 1966)

Standing Nude Ink on paper 43.7 x 26.3 cm

This work is to be sold with the letter of opinion signed by Rita WONG and issued

by The Li-Ching Cultural and Educational Foundation.

NT$ 380,000-550,000 HK$ 98,000-141,000 US$ 12,500-18,100 RMB 86,000-125,000

常玉 立姿裸女 水墨 紙本 43.7 x 26.3 cm 附立青文教基金會衣淑凡女士意見信函

114

204

SANYU (Chinese-French, 1895 - 1966)

Nude

Charcoal on paper 27.5 x 42.5 cm Signed lower right YU in Chinese and SANYU ILLUSTRATED

Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolor, The Li-Ching Culture and Educational Foundation, Taipei, 2014, color illustrated, p. 67, no. D1175 (USB)

NT$ 460,000-650,000 HK$ 118,000-167,000 US$ 15,100-21,400 RMB 105,000-148,000

常玉 裸女 炭筆 紙本 27.5 x 42.5 cm 簽名右下：SANYU 玉 圖錄

《常玉素描與水彩全集》，衣淑凡，財團法 人立青文教基金會，台北，2014，彩色圖 版， 頁67，編號 D1175（隨身碟）

205

Walasse TING (Chinese-American, 1929 - 2010)

丁雄泉 閃耀貓

Shining Cat

壓克力 紙本

Acrylic on paper 44 x 61.5 cm With one seal of the artist

鈐印左上：採花大盜

PROVENANCE

Gallery Delaive, Amsterdam, Netherlands

NT$ 420,000-550,000 HK$ 108,000-141,000 US$ 13,800-18,100 RMB 95,000-125,000

116

44 x 61.5 cm 來源

德萊夫畫廊，阿姆斯特丹，荷蘭

206

HSIAO Chin (Taiwanese, b. 1935)

蕭勤 初始

Beginning

1995-2008

1995-2008 Acrylic on canvas 50 x 70 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled La nascita in Chinese and Italian and dated 1995-2008

50 x 70 cm

This painting is to be sold with a certificate of authenticity with artist signature issued by Lotus Art Gallery.

NT$ 420,000-600,000 HK$ 108,000-154,000 US$ 13,800-19,700 RMB 95,000-136,000

壓克力 畫布 簽名畫背：Hsiao 勤 "La nascita" 初始 1995-2008 附荷軒新藝空間與藝術家親筆簽名之原作保證書

207

Walasse TING (Chinese-American, 1929 - 2010)

丁雄泉 砲彈

Canon Ball

1963

1963

100 x 81 cm

Acrylic on canvas 100 x 81 cm Signed on the reverse Ting in English, titled Cannon Ball, inscribed oil 100 x 81 and dated 63 PROVENANCE

Galerie Birch, Copenhagen, Denmark Private collection, Europe

NT$ 550,000-750,000 HK$ 141,000-193,000 US$ 18,100-24,700 RMB 125,000-170,000 118

壓克力 畫布 簽名畫背：Cannon Ball Ting 63 oil 100 cm x 81 來源

伯希畫廊，哥本哈根，丹麥 私人收藏，歐洲

208

George CHANN (Chinese-American, 1913 - 1995)

陳蔭羆 華麗抽象

Abstract

油彩 畫布

Oil on canvas 61 x 46 cm Signed lower left GEO. CHANN in English

簽名左下：GEO. CHANN

PROVENANCE

Collection of Anthony Zhor, Los Angeles (acquired directly from the George Chann’s family) Collection of Vinicios Silva (a known Brazilian photographer and producer), California

NT$ 600,000-900,000 HK$ 154,000-231,000 US$ 19,700-29,600 RMB 136,000-205,000

61 x 46 cm 來源

安東尼•卓爾收藏，洛杉磯 (得自藝術家家族) 知名巴西裔攝影家與電影導演維尼修斯•席爾瓦收藏，加州

209

PANG Jiun (Taiwanese, b. 1936)

Houses

2006 Oil on canvas 61 x 73 cm Signed lower right Pang Jiun in Chinese and dated 2006.9 With one painted seal of the artist

NT$ 650,000-750,000 HK$ 167,000-193,000 US$ 21,400-24,700 RMB 148,000-170,000

龎均 常熟家居 2006 油彩 畫布 61 x 73 cm 簽名右下：龐均 2006.9 手繪鈐印右下：均

120

210

PANG Jiun (Taiwanese, b. 1936)

Spring Scenery 2018 Oil on canvas 72.7 x 91 cm Signed lower right Pang Jiun in Chinese and dated 2018 With one painted seal of the artist This work is to be sold with a certificate of authenticity issued by the artist.

NT$ 1,300,000-2,400,000 HK$ 334,000-617,000 US$ 42,700-78,900 RMB 295,000-545,000

龎均 春到甲天下 2018 油彩 畫布 72.7 x 91 cm 簽名右下：龎均 2018 手繪鈐印右下：均 附藝術家開立之原作保證書

122

211

LIU Kuo-sung (Taiwanese, b. 1932)

劉國松 靜靜的屹立：西藏組曲127

Standing Silently: Tibet Series No. 127

2010

2010 Ink and color on paper 95.3 x 61 cm Signed lower right Liu Kuo-sung and dated 2010 in Chinese With one seal of the artist

95.3 x 61 cm

EXHIBITED

Mind•Reflection·Transformation: LIU KUO-SUNG, Culture and Tourism Bureau Miaoli City, Miaoli City, November 20 December 8, 2010 ILLUSTRATED

彩墨 紙本 簽名右下：劉國松 二Ｏ一Ｏ 鈐印右下：劉國松 展覽

「心源造化－劉國松特展」，苗栗縣政府國際文化觀光局， 苗栗，展期自2010年11月20日至12月8日 圖錄

《當代藝術大系-心源造化劉國松特展專輯》，苗栗縣政府國 際文化觀光局，苗栗，2010，彩色圖版

Mind·Reflection·Transformation: LIU KUO-SUNG, Culture and Tourism Bureau Miaoli City, Miaoli City, 2010, color illustrated

NT$ 2,400,000-3,200,000 HK$ 617,000-823,000 US$ 78,900-105,200 RMB 545,000-727,000 「中國畫是用點和線來組合的，但是中國畫的點和線都是黑的，如果 能夠把白線也加到中國畫裡，中國畫又有白線又有黑線，那不就把中 國繪畫的領域拓寬了？ 」 劉國松 劉國松可為當今最重要的現代水墨先驅，綜觀劉國松的藝術之旅，便 是一段劃時代的革新歷程。1961至1963年時感悟文人畫家的書法入 畫和抽象表現派的影響，開始試驗狂草入畫以及「抽筋剝皮皴」技法 的抽象山水系列。取法中國傳統「墨池法」的拓墨法及水拓法，運用 水墨滲透特性而發展出的漬墨法，皆體現了劉國松對於繪畫方法的詮 釋與再現、追求傳統技法的突破。秉持「先求異，再求好」的精神， 身體力行倡導革新，激盪並承繼了中國水墨新風貌。 2000年劉國松應西藏大學之邀講學，他前往珠穆朗瑪峰時，受千變 萬化的雲霧流動及千峰百嶂的雪山景色吸引而創作出一系列氣勢滂礡 的「西藏組曲」。以獨創的「抽筋剝皮皴」呈現雪山雲煙之景致。成 長於戰亂，曾經過著顛沛流離的生活，走遍了蒼茫煙水、看盡了無窮 之境，劉國松把大自然純化，總是描繪無人之境的山水，畫的是他記 憶裡真實的感受。 《靜靜的屹立:西藏組曲127》作於2010年，當時正值西藏組曲系列 創作成熟階段。劉國松以獨樹一幟的「抽筋剝皮皴」來強化與製造山 石的肌理美感，花青染色的拓墨再現了雲氣脈動的蒼山雪景，畫面既 厚重又輕盈。風起雲湧的氣韻流動、不同色澤層次的山巒脈動以及雲 煙繚繞的瀲灩波紋，使觀者感心動耳、迴腸蕩氣。他藉由畫筆將生命 的體悟發揮地淋漓盡致，用獨特的視覺經驗再現騷人墨客之自然情 懷、體現心靈自由。劉國松的藝術作品透露出一種崇高永恆的自然之 美，此幅《靜靜的屹立:西藏組曲127》絕對為極具個人風格辨識度的 代表作。 “Chinese painting is an assemblage of dots and lines. But, the dots and lines are all black. If we could introduce white lines into Chinese painting along with black lines, would not the scope of Chinese painting be broadened?” Liu Kuo-Sung Liu Kuo-Sung is the most important pioneer of modern ink painting today. Liu’s artistic journey is an epoch-making innovation. from 1961 to 1963, calligraphy in literati paintings and abstract 124

expressionism had a great influence on him. At the same time, he also started to experiment with kuang cao (cursive script) and “stripping the tendons and peeling the skin” technique in a series of abstract landscapes. Liu applied ink and water rubbing of the traditional Chinese “ink pool method” and used ink’s permeability to develop the ink staining technique. All this reflects his interpretation and reproduction of painting methods and his pursuit of overcoming traditional techniques. Adhering to the spirit of “first seek innovation, then perfection,” practicing and advocating innovation stimulated new appearances to Chinese ink painting.

Liu Kuo-Sung was invited to give lectures in Tibet University in 2000. When he visited Mount Everest, he was inspired by the everchanging clouds and the fascinating snow-capped mountains to create the imposing “Tibet” series. The original “stripping the tendons and peeling the skin” technique presents scenery with snow-capped mountains and smoky clouds. Growing up amidst war, he once lived a life in vain, but now he strolls through vast, smoky waters, gazing at a world without bounds. Liu Kuo-Sung has a purified approach to the natural landscape, always depicting desolate landscapes and painting true feelings of his memory.

“Standing Silently: Tibet Series No.127” was created in 2010, the most mature stage of the “Tibet” series. Liu Kuo-Sung intensifies and creates a beautiful texture of the mountains by applying the unique “stripping the tendons and peeling the skin” technique.

Rubbing of blue ink reproduces pulsating mist on the snowy Cang Mountain, thus bringing some thickness and light to the artwork.

The turbulent flow of the wind, the pulsation of different color levels and the ripples of the clouds allure and thrill viewers. Liu exerts his life’s understanding to the fullest through a brush, also reproduces the feelings of the literary men and reflects the freedom of mind through his unique visual experience. Liu Kuo-Sung’s works of art reveal a supreme and eternal beauty of nature. The work “Standing Silently: Tibet Series No.127” is a masterpiece affirming Liu’s style.

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LIU Kuo-sung (Taiwanese, b. 1932)

Rising Sun (E)

2010 Ink and color on paper 153 x 51.3 cm Signed lower right Liu Kuo-sung and dated 2010 in Chinese Signed on the reverse Rising Sun (E) in Chinese, inscribed 153 x 51.3 cm and dated 2010 With one seal of the artist

劉國松 昇起的太陽 (Ｅ) 2010 彩墨 紙本 153 x 51.3 cm 簽名右下：劉國松 二Ｏ一Ｏ 簽名畫背：昇起的太陽 (E) 2010 153 x 51.3 cm 鈐印右下：劉國松

NT$ 3,200,000-4,200,000 HK$ 823,000-1,080,000 US$ 105,200-138,100 RMB 727,000-955,000

「劉國松的生命是流動的，因為它周行不殆，生生不息，無始無終，

無涯無際。畫面是有限的，可是予人的感覺是無限的，因為那是水的 感覺、雲的感覺、風的感覺，有限對無限的嚮往，剎那對永恆的追 求。 」 —余光中 劉國松於1956年創立五月畫會，以現代水墨理論「革中鋒的命」為 其響亮口號，提倡「以西潤中」的水墨美學作其創作學理基礎，使用 抽象跳脫以往的視覺經驗，超脫自然表象，以表現心靈自由之美，使 之達到永恆。並於2017年獲頒行政院文化獎，此獎項為對弘揚臺灣 文化有功之傑出人士所頒予之國家最高文化獎項。

原 天 地 之 美 而 達萬物之理 一生致力於水墨的革新，劉國松由傳統水墨的墨色運用中體會到侷 限，為了發展出水墨無限可能，他的藝術之旅是一段不斷尋找和革 新。色彩在其藝術中是不可或缺的元素，他已不受繪畫形象及色彩束 縛，豐富的空間內涵及肌理質感並追求色彩在現代水墨畫中的突破。 其「意象構成」的水墨特色融古會今，以心為畫將面對宇宙自然所觀 照的哲學與生命價值，體現於藝術創作中。 在劉國松看到1968年由美國太空總署阿波羅八號進入月軌任務所拍 攝到的清晰地球照後，就一直為其主題深深著迷，並完全顛覆中國傳 統水墨思維而創作出太空系列。此件《升起的太陽(E)》作品上半部以 絢麗鮮明的橘紅色為基調，千輪日出穿過大氣雲層冉冉升起，自太空 遠眺太陽升起的絕倫景色震撼人心；作品下部以其獨創紙筋及拓墨法 表現出豐富的肌理，亦透出湛藍石英般瑰麗的層次，已超脫自然表象 的形式之美，托喻寄興地表現心中之情。絢爛鮮明的色彩營造令人目 眩的維度空間，強烈卻簡單的表現形式，日升日落的永恆億代不移， 使人感到宇宙魁星運行的亙古之美。 “The life of Liu Kuo-Sung is fluid because it is innate and endless, with no beginning, end, or boundaries. Though the paintings are limited, the feelings it invokes are limitless because they are the feelings of water, clouds, and wind. It is an infinite yearning for the infinite, an instant pursuit of eternity.” Yu Kwang-Chung

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Liu Kuo-Sung founded the Fifth Moon Group in 1956. Taking “Revolution of the brush”, a theory of modern ink painting, for its slogan, he advocated ink aesthetics that “fused East and West” as the foundation for creative theory. Using abstraction to escape the visual experiences of the past, he transcended natural appearances to expressed the beauty of spiritual freedom in an eternal fashion.

In 2017, Liu was awarded the National Cultural Award, the highest national cultural award to outstanding individuals who contributed to the promotion of Taiwanese culture.

THE BEAUTY OF THE UNIVERSE AND THE TRUTH OF ALL THINGS Liu Kuo-Sung held a lifelong commitment to the revolutionization of ink painting. Limitations on the use of ink in traditional ink painting had inspired him to develop endless possibilities for ink.

For this reason, his artistic journey became one of a constant search for improvement. Color serves an indispensable element in his art, while boundaries to image and color do not exist. The rich spatial connotation and texture as well as the pursuit of colors marked breakthroughs in modern ink painting. “Image composition,” a feature of traditional ink painting, was carried to modernity, while philosophies and life values regarding the natural universe are given form through artistic creation.

In 1968, Liu Kuo-Sung became so fascinated by a photo of Earth captured by NASA’s Apollo 8 that he began completely subverting traditional philosophies regarding Chinese ink wash to create a series on space. The upper portion of “Rising Sun (E)” is painted in a bright orange-red tone. The sunrise appears through the clouds in the sky, providing a stunning view. Unique paper pulp and ink rubbing techniques are applied to the lower part of the painting, revealing a rich texture and a layer of magnificent azure quartz that transcends forms of natural beauty and expresses metaphorical feelings. The splendid colors create a dazzling dimension of space, as well as a strong but simple form of expression. The eternal image of the rise and fall of the sun allows people to experience the ancient beauty of the universe.

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LIU Kuo-sung (Taiwanese, b. 1932)

The Composition of Distances No.19 1971 Ink, color and collage on paper 154 x 77.5 cm Signed lower right Liu Kuo-sung and dated 1971 in Chinese With one seal of the artist ILLUSTRATED

Liu Kuo-sung Archive, National Museum of History, Taipei, 1996, color illustrated, p. 171 Lui Kuo-sung: Retrospective View, Hanart TZ Gallery, Hong Kong, 2005, color illustrated, p. 2

NT$ 7,000,000-8,000,000 HK$ 1,799,000-2,057,000 US$ 230,200-263,100 RMB 1,591,000-1,818,000

劉國松 距離的組織之十九 1971 墨彩 拼貼 紙本 154 x 77.5 cm 簽名右下：劉國松 一九七一 鈐印右下：劉國松 圖錄

《劉國松研究》，國立歷史博物館，台北，1996，彩色圖版，頁171 《劉國松 : 創作回顧》，漢雅軒，香港，2005，彩色圖版，頁2

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距離的組織之十九 劉國松

「現代水墨畫之父」劉國松，早在上世紀60年代，就積極宣導創新 現代中國水墨畫，提出「中國畫的現代化」的訴求，致力創建「東 方畫系的新傳統」，在傳統水墨上展開大刀闊斧的革新。自1956年 成立五月畫會以來，劉氏持續開創新技法和繪畫題材，將中國傳統 山水畫的特色及宇宙觀與西方繪畫的抽象概念作了完美的融合，開 創出一種嶄新的、形而上的現代水墨山水畫。受西方1950年代抽象 表現主義和1960年代中後期的幾何抽象繪畫影響，劉國松巧妙運用 西式構圖，結合拓墨、抽筋、水拓或拼貼等不同技巧，營造出具超 現實畫面感之抽象表現山水。 劉國松1960年代末、1970年代初所創作的一系列太空畫，可謂東方 美術史上一個全新而獨樹一幟的造型。1968年底，美國太空船登陸 月球，拍下地球和月球弧形表面的照片，人類因此得以看見自月球 上遙望的地球之真實樣貌。對於劉國松而言，這些新奇的畫面帶給 他極大的創作靈感，因此，自1969至1973年四年間，他創作了四、 五百幅以太空為主題的畫作，包含《地球何許？》、《不朽的月 亮》、《子夜的太陽》、《月之蛻變》、《日之蛻變》、《組織的 距離》、《月蝕》、《如來》、《日落印象》、《光環》、《佛光 圖》、《陰陽圖》及《一個東西南北人》等多個系列作品。 此幅《組織的距離之十九》完成於1971年，採ㄧ弧多圓之架構，兩 段式構圖中，上半部為拼貼而成的理性幾何色塊組合，綠色的背景 中呈現ㄧ大一小紅、藍色的圓形意象，設色鮮明對比生動，極具現 代設計造型感；而下半部弧內則帶出具傳統書畫筆觸的蒼茫意境， 黃底上可見狂草筆法之抒情山水，以抽去紙筋後所留下的白色紋 理表現地表的山河肌理。觀看本件作品，觀者彷彿進入畫家自由消 遙的遼闊心界，感受那臨空俯瞰萬物之氣勢和宇宙之浩瀚無垠。劉 氏太空畫將傳統山水畫的範圍擴大至宇宙風景，在思想上，其本質 在於藝術家對人類與宇宙間關係的思考和種種哲學詰問；技法上， 劉氏則秉持中西合璧的信念，認為「我們既非古時之中國人，亦非 現代的西洋人，我們既非生活在宋元的社會，亦非生活在歐美的環 境。我們抄襲中國古畫是作偽，畫西洋現代化又何嘗不是？模仿西 洋新的並不能代替模仿中國舊的。 」縱然借鑑西方繪畫技法在形式 上翻出新意，劉國松的繪畫在精神上仍是承接傳統的。他乃是以一 種超越中西藩籬的藝術語彙來描繪大自然的氣勢與張力，傳達中國 傳統畫家對日月山川之情懷。 劉國松以其創新、叛逆的畫風以及科學家式的實驗精神，成為兩岸 三地藝壇中傳奇性人物。綜觀其藝術歷程，從最早60年代起的拓墨 法、紙筋法，到70年代中期的水拓法，再到從80年代中後期持續至 今的漬墨法，劉氏不斷在繪畫技法和形式上推陳出新。「藝術的本 質是創造，創造的基石在理論，理論的泉源靠思想。」深知這點， 劉氏時時警惕自己勿以抄襲模仿代替創造，他所倡導的現代國畫， 是個人化的藝術語彙和與時俱進的創作風格，在破除傳統的筆墨 中，提煉出適宜當代的中國繪畫。劉國松的藝術觀念及創作力經由 著作、展覽、演說、教學等途徑，影響力日漸擴大，並受到學者、 藝評家、收藏家等各界的推崇與好評。東西方各大美術、博物館共 八十餘所皆先後收藏他的作品。觀察其近年拍賣成交行情趨勢，實 為繼趙無極、朱德群之後，不可錯過之收藏標的。

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THE COMPOSITION OF DISTANCES NO.19 LIU Kuo-sung

Liu Kuo-sung, also known as “the father of modern ink painting”, began actively promoting the modernization of Chinese ink painting in the early 1960s. He proposed ‘the modernization of Chinese paintings’ and persevered to create ‘a new tradition for Eastern paintings’. This marked a bold and decisive line of innovation for traditional ink painting. Ever since the establishment of the Fifth Moon Painting Society in 1956, Liu has continued to develop new techniques and themes for painting by seamlessly integrating the distinctive traits and unique perspectives of traditional Chinese landscape paintings with Western concepts of abstract art. The result is a modern style of landscape ink painting. Influenced by Western abstract expressionism of the 1950s as well as the abstract geometric art of the mid-to-late 1960s, Liu Kuo-sung methodically incorporated Western composition styles with other techniques such as ink-extension, ink-pulling, water-extension or pastiche to create abstract and surreal renditions of landscapes.

The series of outer space paintings created by Liu Kuo-sung in the late 1960s and early 1970s are often described as having an innovative and distinct style in the history of Eastern art.

The Americans landed on the moon in 1968 and brought back photographs of the curved surface of the Earth. For the first time, humans were able to witness the true appearance of the Earth as seen from the Moon. Greatly inspired by these images, Liu Kuo-sung created between four and five hundred space-themed paintings from 1969 and 1973 including“What is the Earth?”, “The Immortal Moon”, “The Midnight Sun”, “The Metamorphosis of the Moon”, “The Metamorphosis of the Sun”, “The Composition of Distances”, “The Lunar Eclipse”,”The Tathagata”, “Sunset Impression”, “Halo”,”Buddha Light”, “The Yin-Yang Painting” and “A Man from North, South, East and West”, among many other paintings.

This piece, titled “The Composition of Distances No. 19”, was completed in 1971. As can be seen, the multi-circle arc structure is employed as part of the two-stage composition. The upper portion is a collage of tangible geometric color shapes. Red and blue circles of different sizes can be seen on the green background, creating a vivid image of contrasts with a hint of contemporary style. On the other hand, the lower portion of the arc is highlighted by the abiding atmosphere brought forth by the Chinese brush, allowing the lyrical landscape of the wild grass foliage to stand out from the yellow background at the bottom. The white texture reminiscent of the surface of mountains and rivers is created by

the paper pulling technique. Viewing this piece of art, viewers gain the privilege of stepping into the boundless mind of the painter, becoming liberated from the material world to feel the power of the heavens and the infinite vastness of the universe.

Liu’s space paintings augment the scope of traditional landscape painting from that of the landscape to that of the universe. In terms of theory, the essence is found in the artist’s musings on the relationship between human beings and the universe among other philosophical questions. In terms of technique, Liu believes in the fusion of Chinese and Western art, once proclaiming,” We are neither ancient Chinese nor modern Westerners, we do not live in the Song or Yuan Dynasties, neither do we live in Europe or America. Imitating ancient Chinese paintings is forgery, yet painting modern Western styles is not? Imitating the new is not a substitute for imitating ancient Chinese art.” Although he borrows new techniques from Western art, Liu Kuo-sung’s paintings are still fundamentally based on a traditional Chinese spirit. His depiction of the vigor and tension of nature utilizes an artistic vocabulary that transcends any notions of Chinese or Western, while conveying ancient Chinese artists’ perceptions of the sun, moon, mountains and rivers.

With his scientific approach towards experimentation along with his inventive, rebellious spirit, Liu Kuo-sung has become a legendary figure in the artistic circles of the Greater China Region. Beginning with the ink-extension method of the early 1960s and the waterextension method of the mid-1970s to the ink-staining method of the mid-to-late 1980s, Liu continued to innovate on his painting style and technique throughout his artistic career. “The essence of art is creation, and the foundation of creation is theory, which comes from thought”. Keenly aware of this, Liu always reminded himself to create rather than copy or mimic. The modern Chinese painting style he is a proponent of is an individualized and progressive expression of one’s artistic vocabulary. During the process of pioneering new techniques with the ink and brush, ancient Chinese paintings styles suitable for the present are preserved. Through books, exhibitions, lectures and seminars, Liu Kuo-sung’s artistic power and originality have gradually expanded his influence. He is held in extremely high regard by scholars, art critics, art collectors and other prominent figures in the art community. Over 80 art museums around the world have collected his art. Observing the trends in the auction market in recent years, Liu Kuo-sung is one of the names you cannot miss along with Zao Wou-ki and Chu TehChun.

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Walasse TING (Chinese-American, 1929 - 2010)

I am Snow White/ P.S. She Is My Lover 1985 Acrylic on canvas 102 x 151.5 cm Signed on the reverse Ting and Walasse in English, titled I am Snow White P.S. She is my lover and dated june 28 1985 New York City PROVENANCE

Bruun Rasmussen Auction, Copenhagen Private collection, Asia

NT$ 7,500,000-8,500,000 HK$ 1,928,000-2,185,000 US$ 246,600-279,500 RMB 1,705,000-1,932,000

丁雄泉 雪白的我/ P.S. 她是我的愛人 1985 壓克力 畫布 102 x 151.5 cm 簽名畫背：I AM SNOW WHITE Ting 1985 P.S. She is my lover Walasse june 28 1985 New York City 來源

布魯恩．拉斯穆森拍賣，哥本哈根 私人收藏，亞洲

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I AM SNOW WHITE/ P.S. SHE IS MY LOVER Walasse TING

素有「採花大盜」之稱的丁雄泉，以色彩繽紛的花草與美女畫作享 譽國際。1928年生於中國江蘇無錫，少時曾入上海美專就讀。18歲 移居香港，22歲前往法國巴黎闖蕩，結識眼鏡蛇畫派藝術家如：阿 雷欽斯基、瓊恩、阿貝爾，在巴黎與布魯塞爾的畫廊舉辦展覽。30 歲赴美國紐約發展，受到抽象表現主義影響，逐漸形成燦爛形色獨 特的繪畫藝術。1970年代起，旅居紐約已十餘年的丁雄泉，繪畫從 抽象轉為具象，發展了筆觸濃烈狂野，用色強烈不拘的技法；這縱 然與丁氏天性有關，而在藝術氛圍大放，自由且充滿未來感的紐約 更是引領他日後風格的確立，並開始大量創作他一生摯愛不倦的題 材：「女人」。這時期的作品清楚地看見了野獸派般的描繪線條， 和早先在歐洲，眼鏡蛇畫派對他的影響。本件《雪白的我/ P.S 她是 我的愛人》是丁雄泉1985年在紐約完成的作品，延續70年代開始的 丁氏浪漫鮮豔風格，以女體為創作主題，花草為輔，既寫花的瑰麗 曼妙，亦寫女子的柔媚嬌態，結合鮮艷的用色和大膽的表現方式， 展現繽紛燦爛而充滿魔力的愉悅世界，歌頌生命的美好與感官的豐 美。畫面中，美人斜臥，肌膚雪白，慵懶倘佯在絢爛的黃綠花草之 中，一隻黃貓相伴，風姿綽約、艷麗華美。而花與女人懸浮在無法 定義的藍色背景之中，有如凌駕於現實之外，既夢幻、亮麗又甜蜜 迷人。筆觸中可見藝術家流露其內心的狂野熱情和創作能量，以俐 落的線條勾勒人物，背景則使用充滿力道的顏料潑灑、滴流等抽象 表現主義的手法，融合高彩度的色塊塗抹。丁氏繪畫造型赤裸而真 誠、技法熟練而天真，以獨特的藝術語彙，重新詮釋承襲自堤香、 馬奈、莫迪里亞尼、馬諦斯等大師的斜臥裸女畫作，再創當代經 典。 Walasse Ting, also known as “The Flower Thief,” is internationally renowned for paintings of colorful flowers and beautiful women.

Born in Wuxi, Jiangsu Province, China in 1928, he studied at the Shanghai Academy of Fine Arts. At the age of 18, he moved to Hong Kong. At the age of 22, he traveled to Paris, France, where he met with artists such as Pierre Alechinsky, Asger Jorn, and Karel Apper. He held a few exhibitions in Paris and Brussels. At the age of 30, he moved to New York where he was influenced by abstract expressionism and gradually formed a splendid and unique painting style. By the 1970s, Ting, having spent more than ten years in New York, changed his artistic style from abstract to figurative paintings and began to develop a style in which the strokes were strong and wild. The technique employed vibrant colors, an approach reflecting Ting’s character. In terms of the artistic atmosphere, New York city itself, free and innovative, also took part in

shaping Ting’s later style. He spent large amounts of time painting “women,” his favorite topic. During this period, the lines in his works demonstrated similar styles from Fauvism. During his early days in Europe, the CoBrA artists already provided Ting with the inspiration for a similar style.

“I am Snow White / P.S. She Is My Lover” is a work by Ting created in New York in 1985. The romantic and bright style of Ting, which began in the 1970s, is based on the theme of the female body and supplemented by flowers and plants. Ting depicts the alluring beauty of flowers and women, captured in abundantly rich and bright images. The painting displays Ting’s highly-refined ability to create an alluring and glamorous world with the use of bright, vivid, and fresh colors while offering a feast for the senses. In the painting, a beautiful white-skinned woman is lazily lying among the yellow-green flowers, accompanied by a yellow cat, looking graceful and gorgeous. Flowers and women are suspended in an undefined blue background, as if they are above reality, both dreamy, bright and sweet.The artist reveals his wild passion and creative energy through the brush strokes. The figure is outlined by neat lines, the background is filled with splashing and dripping paint that is full of energy, a technique common to abstract expressionism, and smeared with high-color patches.

T i n g ’s p a i n t i n g s are naked and sincere, skilled and innocent. His unique artistic vocabulary creates contemporary c l a s s i c s b y reinterpreting nude paintings by such masters as Titian, Manet, Modigliani, and Matisse.

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215

CHU Teh-chun (Chinese-French, 1920 - 2014)

Abstract

1984 Oil on canvas 100 x 81 cm Signed lower right CHU TEH-CHUN in Chinese and French, dated 84 Signed on the reverse CHU TEH-CHUN in Chinese and French, dated 1984

NT$ 7,500,000-13,000,000 HK$ 1,928,000-3,342,000 US$ 246,600-427,500 RMB 1,705,000-2,955,000

朱德群 抽象 1984 油彩 畫布 100 x 81 cm 簽名右下：朱德群 CHU TEH-CHUN 84 簽名畫背：CHU TEH-CHUN 朱德群 1984

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ABSTRACT CHU Teh-chun

吳冠中是這樣評價朱德群的：「中國傳統中對筆墨運轉及對絹或宣紙 質感、肌理的講究創造了東方繪畫宜近看而耐人尋味的特點。德群 在大刀闊斧的油畫揮寫中竭力發展中國筆韻、墨趣的時代性、世界 性。 」朱德群的繪畫兼具東方藝術的細膩與西方繪畫濃厚而重的色彩 ，遠看似西洋畫，近看為中國畫，運用黏稠的油彩，表現出的卻是中 國宣紙特有的半透明效果。這種「透明性」展現的是筆墨韻律與空間 感之間的相互結合，打破遠景近景描繪的束縛，卻不失縱深感與形象 性。 1955年，朱德群離開台灣赴法國巴黎深造，在這座曾經啟發其杭州 藝專時期老師們如林風眠、吳大羽與蔡威廉的藝術之都，他順從對自

雄渾中帶有靈秀婉約的氣質，而優雅、舒暢、灑脫的筆致，更是表現 了大自然的生命流動。朱氏1980年代初期的作品在色彩上有更大的 突破，開始創作探索宇宙混沌初始、生命的本質，以及田園之美等帶 有光輝意象的畫作，顯現其心境的轉變。現代藝術家求變求新，多需 求助於外在事物，然而受中國文化影響甚深的朱德群，並未選擇師法 於物的道路，而是信奉范寬「吾與其師於物者，未若師諸心」的信 念。朱德群希望從內心的審美感動開拓新的繪畫世界，他探索自然山 水蘊藏的無盡美感，並融入個人多情易感的情思，在他畫筆下所呈現 的，是物我兩忘的靈性宇宙，而觀者藉由他的筆法、用色和結構，也 展開了一趟精神遨遊。

由心靈的渴望，在繪畫中嘗試跳脫形象的束縛，畫風逐漸轉為抽象，

朱德群以中國詩畫的視覺觀點，彌補西方色彩理論的生硬，演繹出一

從而開創其令千萬人陶醉神往的藝術天地。若說朱德群深深得益於西

幅又一幅滿溢文人情思、內涵豐富的畫作，他將中國文化精神貫注於

方藝術中追求創新、呼應時代的態度以及色彩表現、光影營造與形式

個性化的繪畫語言之中，為中國繪畫傳統增添了活力與國際性。長居

結構的精髓，那麼中國的心靈哲思與書畫美學，則為他的創作注入了

法國的朱德群，不脫其東方靈魂與文人精神，他深厚的中國傳統藝術

卓而不群的氣韻與格調。其實，朱德群從台灣遷居巴黎之後，除了每

內蘊與紮實的繪畫技巧，使其於二次大戰後興起「抒情抽象」的歐洲

日瀏覽法國知識界喜歡閱讀的「世界報」，投入最多的閱讀便是《全

畫壇中，融匯出鶴立於群的個人風格而備受矚目，被喻為二十世紀華

唐詩》和《全宋詞》。多年來他神遊於中國古典詩詞的世界，追求審

人畫家中最傑出之抽象主義大師。

美的愉悅畫，往往能點燃他的靈思，轉化為畫面裡美麗的形形色色。 除了中國詩詞，朱德群也聆聽西方古典音樂，它們自然而然漸漸融入 他的藝術之中，也因此他創造出一幅幅「氣韻生動」之作，畫面中彷 彿可見音樂在空氣中的律動。 本件作品完成於1984年，以冷色調的粉白與藍綠的主調，預示了後 來所發展的白色詩意風格，所謂的「雪景系列」。飛白清透的光線， 呈現晨星般的輕盈醉人的氛圍。畫中靈巧地運用中國書法的線條，勾 勒牽曳，使色彩有了流暢的韻律感。抽象表現主義構圖、筆走龍蛇的 書法技巧，加上無盡的微光、大膽的色彩，以及豐富的音樂性等各種 元素的巧妙結合，這件作品充分展示了這混合式的朱氏抽象畫風格：

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Wu Guanzhong's once made an evaluation of Chu Teh-Chun's style: “In Chinese tradition, the great attention paid to the grains and textures of the papers and silks as well as the brush strokes lends to an Eastern painting, which has the characteristic of revealing more the closer one looks. With his striking and bold oil paintings, Chu Teh-Chun made every effort to broaden the appeal of Chinese ink, with strokes that could speak to a contemporary audience around the world.” The fine detail common to Eastern art and the bold, daring colors common to Western painting can both be found in Chu’s work. From a distance, Chu Teh-Chun's work can appear as

Western painting, or as Chinese painting if seen up close. In Chu’s work, the viscosity of the oil painting is woven through a more translucent mode, allowing to obtain a semitransparent effect originally comes from a type of Chinese paper with a distinctive elegance and style.

In 1955, Chu Teh-chun left for Paris, the city of art that once inspired his Hangzhou Arts School teachers like Lin Fengmian, Wu Dayu, and Cai Weilian. It was in Paris that he entered the realm of abstract painting that was so fulfilling to his freedom-desiring soul. Hence, the artist escaped all restrictions of the figurative, thereafter engendering an artistic universe that has since fascinated and intoxicated throes of admiring connoisseurs. If Western art’s pursuit of innovations that reflect the aura of a magnificent epoch and its search for the essences of color representation, lighting, and formal structure contributed greatly to Chu’s artistic achievement, then Chinese spiritual philosophy and its aesthetics of painting and calligraphy are what instilled an unparalleled sense of style and elegance into his works. As a matter of fact, upon arriving in France, beside the amount of time Chu Teh-chun spent on reading the favorite article among French intellectual circle, "Le Monde"daily, another huge proportion of it was devoted to reading "Works of Tang Poetry"and "Works of Song Poetry" For many years, as his spirit wanders among Chinese classical poetry and prose seeking to make an appreciation of beauty a more joyful process, it often leads to igniting his inspiration, turning it into beautiful forms on paintings.

In this work completed in 1984, the palette is dominated by cool pastels of white and various shades of green and blue, anticipating Chu's later development of his distinctive style of "white lyricism."

As far as use of color was concerned, the early 1980s saw a major breakthrough in Chu's art as he experimented with a wide range of hues and tones to evoke images of churning chaos, aiming to capture the essence of life as it springs from the heart of our cosmos. At the same time, however, his vacillating output from that period also includes more pastoral works featuring sublimated scenery bathed in a gentle and idyllic light. Many contemporary artists rely on assistance from external objects in their pursuit towards excellence and bringing forth of new ideas. Under the deep influence of Chinese culture, Chu Teh- chun did not chose the same path as he is a firm believer in Fan K'uan's statement, "I will rather not rely on external beings but turn to my inner most feelings". With this in mind, Chu Teh-chun opened new frontiers with his innermost aesthetic sense of judgment. From his brushwork, use of color and structure, viewers can enjoy a spiritual journey.

From traditional Chinese poetic point of view, atoning the stiffness from western art theories, and further creates several cultural and cultivated paintings, not just a picture of a landscape or a form of abstract, Chu poured Chinese culture spirits in his own characteristic painting language and pushed Chinese art to a brand new region that is lively and universal. Chu The-chun, who lives in France for almost sixty years, still maintains his Eastern soul and humanistic spirit. In the European art circle of "Lyrical Abstract" that flourished after WWII, he was praised for his unique personal style fused with his intrinsic grounding in traditional Chinese art, as well as for his solid painting skill. He is hailed as one of the best Chinese abstract masters in the 20th century.

216

ZHOU Chunya (Chinese, b. 1955)

Peach Blossoms 2008 Oil on canvas 120 x 150 cm Signed lower right Zhou Chunya in Chinese and in English; dated 2008 This sculpture is to be sold with a certificate of authenticity issued by Northern Banker Art

NT$ 9,500,000-14,000,000 HK$ 2,442,000-3,599,000 US$ 312,400-460,400 RMB 2,159,000-3,182,000

周春芽 桃花 2008 油彩 畫布 120 x 150 cm 簽名右下：2008 周春芽 Zhou Chunya 附北莊藝術開立之作品保證書

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FLOWERS ZHOU Chunya

春路雨添花，花動一山春色。 THE SPRING RAIN HASTENS ROADSIDE FLOWERS TO GROW; THEY UNDULATE AND FILL MOUNTAINS WITH SPRING. 北宋 秦觀《好事近 夢中作》 Northern Song Dynasty, Qin Guan Hao Shi Jin, Composed in Dreams

才氣天成之文人雅韻 周春芽是當今少數能將中國傳統與當代完美融合的藝術家，他以獨特且精湛 的技法、渾然天成的色彩運用，以及寫意般的表現主義創作出許多色彩斑 斕、鮮明經典的代表系列。1986至1989年可說是周春芽創作生命中最重要 的三年，身為中國新表現主義最具代表性的藝術家，他並沒有搭上傷痕美術 的潮流，在八五新潮美術運動於中國轟轟烈烈地展開時，周春芽選擇了遠赴 德國深造。在德國的時期，因遙想故鄉的距離而使其更能反視自身的內在文 化。1989年周春芽從容自適地回到了家鄉，並將中國山水情結和德國表現主 義結合，運用西方的媒材重新體現了中國文人精神。 「因為我們傳統中那種神秘、敏感的東西是西方人所沒有的，這種認識對我 的繪畫個性形成起了很大作用。 」周春芽 自古以來中國傳統人文花卉偏向於寫情述意、意韻清雅，深遠境界更易表現 畫家的思想與感情。此作品《桃花》周春芽承續此精神將中國繪畫傳統題材 的花卉，以一反古人的含蓄幽微方式表現，他用自己獨特的色彩觀念表現花 朵妖冶變幻的色彩，醉心於炙熱緋紅的色彩表現，大膽而情感炙烈的鮮明用 色，畫中豐富的疊色在不斷展開的花朵與曲折的樹枝中體現，搖曳生姿，妙 極自然。 「煙雲渲染為畫中流行之氣，故曰空白，非空紙。空白即畫也。 」 張式《畫 譚》 《桃花》一作筆法輕快疏秀，花團錦簇的折枝桃花入畫成為視覺焦點，這種 表現方式來自中國傳統花鳥畫特有的折枝式構圖，此種布局形式是取一枝 花以近景特寫，不加陪襯點綴，並以背景留白的表現法充分展現花卉形色之 美。宋徽宗時期《宣和畫譜》花鳥敘論中的折枝作品甚多，周春芽使用花鳥 畫所追求的形式美感再現了傳統文人墨客追求的恬淡虛無。 活在時代氣息下的周春芽一直用自己獨特的觀念顛覆中國當代藝術，將「寄 情於景」的文人精神以具時代性的藝術語彙表達出來。「山石」、「綠 狗」、「花」與「桃花」等經典系列乘載了周春芽人文深度的標誌性。此作 品《桃花》精彩結合了中國傳統與當代，灼灼其華的寫意花卉卻帶著柔美絢 爛且清逸雅淡之氣。周春芽亦以西方媒材充分再現了沒骨法點染物象的獨特 魅力，不僅表現出花之魅、葉之絢，春光下的花含煙帶霧，大膽且帶有詩意 的表現，使觀者更能醉心於周春芽如此特殊的藝術語言。

清，惲壽平《桃花圖》現藏於故宮博物院，北京 Qing Dynasty, Yun Shou-Ping Peach Blossoms Collection of The Palace Museum, Beijing

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THE LITERATI RHYME OF AN EXTRAORDINARY TALENT Zhou Chun-Ya is one of a few artists who perfectly blends Chinese traditions with contemporary elements. He created a representative series of colorful and distinctive classics with unique and exquisite techniques, natural colors and freehand-like expressionism. 1986 to 1989 can be considered the most important three years of Zhou’s life. As the most representative artist of China’s New Expressionism, he did not necessarily catch on to the trend of scar art. When the 85 New Wave Art Movement swept through China, Zhou traveled to Germany for further study. Because of the distance from his hometown, he was more able to reflect on his own culture while in Germany. In 1989, Zhou Chun-Ya calmly returned to his hometown and started incorporating German expressionism in Chinese landscapes. He used Western media to revitalize Chinese literati spirit.

“It is because the mysterious, sensitive elements in our traditions are unpossessed by wester ners. Realization of this has a considerable impact on shaping the character of my paintings.”

Zhou Chun-Ya Since ancient times, flower-and-plant paintings by traditional Chinese people have been inclined to contain sentimental and elegant meanings. The far-reaching realms more easily revealed the painter’s thoughts and feelings. In this work, “Peach Blossoms”, Zhou Chun-Ya continues to express this traditional Chinese flowerand-plant painting theme implicitly and subtly of the ancients. He uses his unique color concept to depict flirtatiously changing colors of the flowers, engrossed in scorching red manifestation, bold and vigorously vivid colors. The ever-expanding flowers and the

tortuous branches, swaying and posing, elegant and natural, reflect the vibrant color of the painting.

“Smoke clouds fully fills a painting leaving it blank. Blank is not just a plain paper. Blank is also a painting.” Zhang Shi Hua Tan “Peach Blossoms” is rendered in energetic and elegant brushwork with the flower-like branches of peaches as the visual focus of the painting. This expression originates from the unique “brokenbranch” method of composition seen in traditional Chinese flower-and-bird paintings. This layout provides a close-up view of the flowers without accompanying embellishments, which fully expresses the beauty of the flower shape and color on a white background. During the Emperor Huizong period of the Song Dynasty, there were many works of the flower-like branches with the flower-and-bird narrative. Zhou uses the aesthetics of form pursued in flower-and-bird paintings to repeat the gloom of the traditional literati.

Zhou Chun-Ya, who lives in the spirit of the times, has always subverted Chinese contemporary art with his unique ideas, expressing the literati spirit of “melting feelings to the scenes” with an artistic vocabulary of the times. Classical series such as “Stone,” “Green Dog,” “Flower,” and “Peach Blossom” carry a deep iconic Zhou’s humanism. This work, “Peach Blossoms”, combines Chinese tradition with the contemporary. Freehand-painted flowers are graceful and splendid, also refined and elegant. Zhou fully reproduces the unique charm of a boneless image with Western media, not just the charm of flowers and gorgeous leaves. The flowers under the spring light are surrounded by smoke and fog, bold and poetic expression makes the viewers more fascinated by Zhou Chun-Ya’s special artistic language.

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ZAO Wou-ki (Chinese-French, 1921 - 2013)

24.09.99

1999 Oil on canvas 162 x 130 cm Signed lower right Wou-ki in Chinese, ZAO in French Signed on the reverse ZAO Wou-ki in French, titled 24.09.99, and inscribed 162 x 130 cm EXHIBITED

Zao Wou-ki – Peintures recentes 1996-2000, FIAC 2000, Paris, 24-30 Octobre, 2000 Zao Wou-ki, Tina Keng Gallery, Taipei, December 2009 - January, 2010 ILLUSTRATED

Zao Wou-ki - l’oeuvre 1935-1993, Ides et Calendes, Lausanne, 1993, color illustrated, p. 180 Zao Wou-ki, Foreword by Yves Bonnefoy, La Difference / Enrico Navarra, Paris, 1998, color illustrated, p. 257 Zao Wou-ki - Peintures 1996-2000, Galerie Thessa Herold, Automne, Paris, 2000, color illustrated, pp. 32-33 Zao Wou-ki, Tina Keng Gallery, Taipei, 2010, color illustrated, p. 64

NT$ 80,000,000-120,000,000 HK$ 20,566,000-30,848,000 US$ 2,630,700-3,946,100 RMB 18,182,000-27,273,000

趙無極 24.09.99 1999 油彩 畫布 162 x 130 cm 簽名畫背：ZAO Wou-ki 162 x 130 cm 24.09.99 展覽

「趙無極1996-200作品展」，巴黎國際當代藝術博覽會，巴黎，展 期自2000年10月24日至30日 「趙無極個展」，耿畫廊，台北，展期自2009年12月至2010年1月 圖錄

《趙無極作品1935-1993》，依德卡蘭德出版，洛桑，1993，彩色 圖版，頁180 《趙無極》，伊夫．博納富瓦撰述，恩里科．納瓦拉畫廊，巴黎， 1998，彩色圖版，頁257 《趙無極作品1996-2000》，巴黎，2000，彩色圖版，頁32-33 《趙無極》，耿畫廊，台北，2010，彩色圖版，頁64

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一九四八年，趙無極懷抱著滿腔熱血自中國來到法國巴黎，完全 沉浸於西方藝術之中，追求他自身的藝術道路，並在眾多大師—

生活，而生活也面向繪畫。他把自己投入未來，追求進步和未知 的結局，從這個意義上說，他的畫是一種智慧。 」 （摘錄自多米尼

特別是保羅．克利的啟發之下精進、蛻變並成長，在這歐洲的藝

克．德．維爾潘 撰〈在光線的迷宮中〉（Dans le labyrinthe des lumières），《趙無

術中心闖蕩出一方天地，其光芒並擴及至亞洲與美洲。而出身宋

極》，香港季豐美術出版社出版， 2010 ，頁 20 ） 即便在1960年代即於歐洲

朝皇族後裔之書香世家，趙無極在年少時期即奠下深厚的東方文

畫壇獲得肯定，趙無極總是勇敢地打破穩定，再重新建構其獨一

化素養，這些潛藏於內心的養份，在落腳巴黎之後逐漸發酵昇

無二的豐盛藝術世界，而其畫作中無法言說的力量，也隨著藝術

華，隨著藝術家人生與創作之路的一次次轉折，兩大文化脈絡在

家的人生起伏與藝術上的不斷思考與精進，以不同的面貌展現多

他的藝術生涯中互為參照、相互碰撞並融合。於是，不斷自我突

樣的心靈啟示。

破的創新精神與敬天愛地的涵養哲思相互觸發，西方的抽象與東 方的意象完美結合，趙無極超越了東西方文化的分野，為油畫這 古老的藝術形式，開創出嶄新的藝術語彙與視野，使得他在藝術 上的成就，自1960年代起逐漸受到

較之1980年代內聚外放、以畫面中央為重心的構圖，1990年代 趙無極的繪畫有了進一步的變化，他讓密集的筆觸散發至畫面 各處，經常把中心部位讓給了較為平靜深遠的背景，或者說是 空缺。沒有了單一聚焦的視覺重

各界的肯定。歷經數十年不斷地精

心，也沒有任何消失點，畫面的整

進創作與自我突破，趙無極在歐、

體力量卻不因此而流散迭失，即便

美及亞洲獲得了極高的聲譽與推

是虛空處，也隱隱流動著難以言說

崇，更於1998、1999兩年間，於中

的神秘力量，串聯起整體畫幅的結

國的上海博物館、北京中國美術館

構，足見此階段趙無極對於畫面佈

及廣州美術館巡迴舉辦「趙無極繪

局的高超掌握能力與自信。創作於

畫六十年回顧展」，梳理了其創作

1999年的巨作《24.09.99》即為

生涯裡各階段的精采轉折與高峰，

藝術家此一階段的代表作品，不僅

而正是在1999年，七十餘歲而創

將此打破單一重心的構圖發揮得淋

作力依舊豐沛的趙無極完成了金燦

漓盡致，形象的裂變發展為出人意

華美、令人屏息的《24.09.99》一

表的流動影像，更挑戰將色相環上

作，完美展現了藝術家晚期作品裡

相對位置的對比色：黃與紫作為主

的氣宇軒昂與從容自在。

色調，使之互相激發出源源不絕的

金燦的光凌空迴旋，時而凝聚、時

能量同時和諧共生。以往，相對的

而擴散，如流洩自天際的陽光，

力量往往在畫布上處於彼此競爭的

如飛濺於山崖間的金色瀑布，亦如

地位，進而激盪出耀眼的火花，如

飛旋於空氣中的火焰。金黃色調的

今，更多的是無形力量之間的互相

筆觸纖細卻又顯得堅韌，同時具有

溝通，徊旋共舞，趙無極以數十年

一種輕盈自由的空氣感，光在此舞

來練就的功力，在如此大尺幅的畫

動不歇，折射跳躍於不同的肌理之

布之上運籌帷幄，游刃有餘。而自 1970年代起，在趙無極的抽象油畫

間，難以定形的光影千變萬化，併 射出無盡的能量，炫目而耀眼。虛空之中深淺有致的紫色光芒既

中影響力更形重要的水墨氣質與流動性，及至《24.09.99》一作

閃耀又神秘，由未知的遠方穿透而出，彷若蘊含著宇宙的奧秘 ，

已臻出神入化，水墨的氣韻擴散、變化而形塑出深遠的空間，如

而畫面上方一抹較為深邃的紫色調，與上升的金色光芒相抗衡，

同宋代山水畫般清朗蔌抖，邀請人們走進畫幅裡，神遊其間。

為整個畫面帶來一股穩定的力量，盡顯大器雍容。僅僅藉由金黃 與淡紫兩個色調，趙無極即鋪陳出這件遠觀大器磅礡、細觀又層 次豐富、變化萬千的《24.09.99》，而金與紫正是中國傳統上的 帝王之色，華貴絕倫，難以駕馭。當金黃色彩層層渲染、潑灑於 淡紫的背景之上，時間是連貫的，使得面對這幅畫作的我們，猶 如面對著火焰快速飛旋中最精采的片刻，僅僅透過此一瞬間，我 們便能對於其蘊含的無窮變化以及流動的時間感心領神會。 事實上，在抽象繪畫的世界裡，趙無極不僅僅是捕捉或描繪那些 他的心智所感受到的無形力量，更在畫布上進行主動的建構，透 過光與色彩，藉由勁道十足的筆觸，創造出一方虛實相應、充 滿生命力、和諧卻不凝滯的世界。曾任法國總理的詩人暨藝評 家多米尼克．德．維爾潘曾如此描述趙無極：「他的繪畫面向

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於是，面對著《24.09.99》，我們心神追隨目光走向未知的境 地，耳邊彷彿聽見空氣流動的細語與火焰的輕微爆裂聲，如此的 包覆創造出一種洞穴般的視野，既私密，同時也是孤絕的，正如 藝術家一路走向心靈深處、往未知宇宙探索前行，終究要進入他 人無法陪伴支持的境地，單獨與宇宙間那廣大無邊的奧義對話， 而在領悟這可敬力量的同時，我們懂得謙卑，並尊重自身存在的 價值。 In 1948, Zau Wou-ki arrived in Paris from China, full of enthusiasm, and began to immerse himself in the world of Western art as he sought to find his own artistic path.

Absorbing influences from many great artists – particularly Paul Klee (1879 – 1940) – Zao’s approach to art was transformed,

and he established a name for himself within European art circles; eventually, his fame also spread to Asia and to the Americas. Having been born into a literary family that traced its descent from the imperial family of the Song Dynasty, Zao Wou-ki had received an extensive grounding in East Asian art and culture as a child, and this never left him; after his move to Paris, its influence gradually made itself felt on Zao’s art; accompanying the changes in Zao’s personal circumstances and in his artistic career, the two great cultural streams – Western and Chinese – continued to influence one another in his art, sometimes colliding, and sometimes integrating. As Zao’s spirit of creativity, with its constant striving for innovation, and his philosophy on respecting the nature, continued to inspire and stimulate one another over the years, Zao succeeded in achieving a perfect synthesis of Western abstract art and East Asian conceptual art. Zao Wou-ki overcame the boundaries between Western and Eastern culture, developing a new artistic lexicon and vision for the venerable artistic tradition of oil painting. From the 1960s onwards, Zao’s artistic achievements began to attract recognition in international art circles; after years of perfecting his art and overcoming challenges, Zao came to enjoy a high reputation in Europe, the Americas and Asia. In During 1998 – 1999, the “Zao Wou-ki: 60 ans de peintures” retrospective touring exhibition was held in China at the Shanghai Museum, the National Art Museum of China in Beijing, and the Guangdong Museum of Art, presenting a comprehensive overview of the transformations in Zao’s art at each stage in his artistic career and of the peaks of his artistic achievement. In 1999, when this breathtaking work “24.09.99” was completed, Zao Wou-ki’s creative drive was undimmed, although he was already in his 70s; “24.09.99” is a fine example of the cosmological exploration and masterly skill that characterized Zao’s later works.

In this painting, a brilliant golden light whirls around in the sky, sometimes coming together and sometimes dissipating, like sunlight flowing in from the far reaches of the cosmos, or the spray from a golden waterfall pouring over the edge of a cliff, or a flame shooting up in the air. The goldenyellow brushstrokes are both firm and delicate, while also embodying a sense of light, airy freedom. The light dances tirelessly, reflecting and leaping between different textures; the myriad amorphous forms that the light takes seem to exude an immense, dazzling energy. Within the void, a purple radiance of varying intensity flickers mysteriously, penetrating through from an unknowably distant place, and seeming somehow to embody all the secrets of the universe. In the upper part of the canvas, there is a patch of darker purple in conflict with the rising golden radiance, which brings a feeling of stability and the sense of dignity to the entire painting. Using just two basic color tones – golden-yellow and lavender – Zao Wou-ki had succeeded in filling “24.09.99” with a sense of vast expanse, a detailed, layered richness, and a feeling of transformation.

Traditionally, in China, golden and purple were the colors of emperors and royalty; they symbolized status and refinement, and also absolute authority. The layering of

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golden-yellow tones over a background of lavender color creates a sense of continuity in time, so that, as we stand facing the painting, it is as though we were viewing the most spectacular moment in a rapid dance of flame; through this single moment, we can sense something of the unremitting transformation and the flow of time that the painting represents.

In point of fact, in his abstract art, Zao Wou-ki did more than simply capture or depict the intangible sense of vitality that he felt within himself; he engaged in a proactive process of construction, using light and color, and his powerful brushwork, to create a world in which the virtual and the real reflect one another, a world that is full of energy, and harmonious without stagnation. The poet and art critic Dominique de Villepin (who was Prime Minister of France from 2005 to 2007), once described Zao Wou-ki in the following terms: “His paintings look life in the face, and life looks back at them. He throws himself into the future, striving for progress and an as yet unknown ending; when viewed in these terms, his art constitutes a kind of wisdom.” (Dominique de Villepin, ‘Dans le labryrinthe des lumières’ in “Zao Wou-ki”, published by Kwai Fung Hin Art Gallery, Hong Kong, 2010, p. 20). Even after his work began to win recognition in European art circles in the 1960s, Zao Wou-ki refused to become complacent. He set about reconstructing his rich, unique artistic vision; the inexpressible power of his paintings continued to evolve, offering a diverse range of spiritual meanings, in response to changes in the artist’s life and the development of his thinking.

Whereas those of Zao Wou-ki’s paintings created in the 1980s tended to make the center of the canvas the heart of the composition, with the painting “radiating out” from this central position, however his paintings from the 1990s seemed a renewed change in his style.

During this period, Zao allowed dense clusters of brush-strokes to spread out over every part of the canvas, and a calm, distant-seeming background often took on the role of “center” of the painting; one might say that “absence” was at the heart of these works. Without a single, concentrated focal point, there was also no point at which these paintings lost focus; the lack of a clear focal point did not in any way detract from the overall power of these works. Even the blank spaces on the canvas seem to flow with a mysterious force that is hard to put into words, but which somehow links together the whole canvas into a unified structure. Zao’s paintings from this period display a superb mastery of composition, and great self-assurance.

Painted in 1999, “24.09.99” is one of Zao Wou-ki’s finest works from this period in his artistic career. More than just a superb example of the multi focus point technique, this painting also presents spectacular flowing visual effects based on the breaking down and transformation of conventional images, while at the same time making effective use of contrasting color hues; the utilization of yellow and purple as the main color tones enables the colors to interact harmoniously while providing an endless stream of energy. In the past, colors with a corresponding level of power would have been in competition with one another on Zao’s canvases, producing glittering “flames” of color. In “24.09.99,” by contrast, there is more a sense of two-way communication between intangible forces that whirl round in a dance together. Using skills honed over several decades, Zao Wou-ki was able to exploit this large canvas to the full, demonstrating the full range of his capabilities. From the 1970s onwards, Zao’s abstract oil paintings had shown the influence of traditional Chinese ink brush painting, with its distinctive grace and rhythm. By the time he painted “24.09.99,” Zao had wholly mastered the integration of ink brush painting techniques into his abstract art, and was able to create impressive effects of expansion and change, along with a sense of immense space. And the space Zao had created resembles the atmosphere that the ink brush landscape paintings of the Song Dynasty have built, where the viewer feels that they are being invited into the landscape to explore it for themselves.

When viewing “24.09.99,” we find that our spirit follows our gaze into an unknown landscape; we can almost hear the soft murmuring of the swirling air and the explosive crackling of the flames. This feeling of envelopment creates a kind of “tunnel vision” perspective that is both private and lonely.

It is as though the artist is walking steadily into the depths of his soul, moving ever onwards to explore an unknown universe; eventually, you reach a point where there is no-one to accompany or support you, and you are left alone in a dialog with the boundless mysteries of the cosmos. In becoming aware of this awesome power, we learn both to be humble and to respect the value of our own existence.

郭熙《早春圖》1072 台北國立故宮博物院收藏 KUO Hsi, Early Spring, 1072, 158.3 x 108.1 cm Collection of National Palace Museum, Taipei

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CAI Guo-Qiang (Chinese, b. 1957)

Yellow and White Peonies 2014 Gunpowder on paper 202 x 306 cm Signed lower right Yellow and White Peonies and Cai in Chinese, dated 2014, and inscribed Shanghai in Chinese and PSA PROVENANCE

Private collection, Asia EXHIBITED

Cai Guo-Qiang Solo: The Ninth Wave, Power Station of Art, Shanghai, August 8 - October 26, 2014 This painting is to be sold with a certificate of authenticity issued

by Eslite gallery.

NT$ 28,000,000-38,000,000 HK$ 7,198,000-9,769,000 US$ 920,700-1,249,600 RMB 6,364,000-8,636,000

蔡國強 黃白牡丹 2014 火藥 紙 202 x 306 cm 簽名右下：黃白牡丹 蔡 Cai 2014 上海 PSA 來源

私人收藏，亞洲 展覽

「蔡國強個展：九級浪」，上海當代藝術博物館，上海， 展期自2014年8月8日至10月26日 附誠品畫廊開立之原作保證書

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YELLOW AND WHITE PEONIES CAI Guo-Qiang 從泉州到上海，從東京到紐約，蔡國強的爆破藝術震憾了整個世界， 他以天馬行空又創意十足，結合了裝置、觀念與表演的創作手法，帶 領群眾經歷一場又一場波瀾壯闊的感官饗宴，同時開啟一道道關於 人類文明的提問與想像之窗。他的藝術在跨界、跨地域、跨文化的同 時，明確地具備根源於中國的東方色彩，以獨步藝壇的火藥作為畫 筆，經過「毀滅」而產生「創造」，傳達對於文明、歷史乃至於天地 宇宙的人文關懷。

術〉一文中所評：「面對當代世界持續而來的擾攘與不安，蔡國強以 入世的態度，嘗試提供化外方士的另類丹藥。他以火為藥，表面天馬 行空，實則意在揭露人心之病灶。 」（出自《蔡國強 泡美術館》展覽專輯，台 北市立美術館出版）。 走過世界各地，蔡國強總能精準取擷特定區域的歷史物材，透過結構 重組或再拼湊進行文化再生產，從而回應當地的文化脈絡，難能可貴 的是，他的作品於既聯結了在地文化，亦兼融普世性內涵，蘊含豐厚

作為一位選擇在二十世紀後期走向世界的中國藝術家，蔡國強帶著家

的對話層次。回到故國呈現大型展演的2014年，他以在中國歷史中

鄉賦予的養份，憑藉個人獨特的視野與無比毅力，為當代藝術史寫下

深具文化意義的牡丹花為題，透過火藥點燃其背後所蘊藏的集體文化

絢爛的篇章。1999年，蔡國強以《威尼斯收租院》獲得威尼斯雙年

記憶，成就了《黃白牡丹》此一盛年之作。牡丹作為花中之王，華麗

展的金獅獎，是中國第一位獲此殊榮的藝術家。2002年，上海美術

綽約而高雅脫俗，象徵著雍容與繁盛，唐朝詩人劉禹錫曾如此詠嘆：

館為他舉辦大型個展，寫下了中國官方美術館首度舉辦當代藝術個展

「唯有牡丹真國色，花開時節動京城 」，是善於擷取文化精粹的蔡國

的歷史紀錄。2008年，紐約古根漢美術館首度為中國藝術家舉辦個

強經常使用的母題之一，例如2001年在上海舉辦的亞太經濟合作會

展，這位藝術家不是別人，正是蔡國強。2014年的夏天，已經在世

議，蔡國強受邀創作的大型景觀焰火即在空中施放了千朵藍牡丹，而

界多處感動無數人的蔡國強再度來到上海，於座落於上海外灘的上海

2008年的北京奧運開幕式，牡丹再次於全世界的矚目中綻放。

當代藝術博物館呈現了深受全球藝壇矚目的傳奇性個展《蔡國強：九 級浪》，再創藝術生涯高峰，而《黃白牡丹》正是此鼎盛時期的巔峰 之作。

延續著「牡丹」此一文化符碼的粹煉，蔡國強在2014年完成了《黃 白牡丹》，當精心鋪排的火藥在巨幅紙張上被點燃，電光火石的一霎 間生成了繁麗姿容，煙塵落定之後，幻化出絕美的再生。藝術家以火

隱藏在蔡國強作品裡的敘事往往是宏大而深刻的。正如他喜歡自稱

藥為墨，炸出優雅而高貴的層疊花瓣，藉焦黑的碳跡堆疊出豐厚的葉

「男孩蔡」，如赤子般擁有不受侷束、勇於作夢的心胸。然而，這位

子，對於痕跡感的追求與表達，呼應了東方的審美傳統，左右兩朵盛

男孩不僅僅是保有好奇探問的自由，他的思考無疑兼融了宏觀與細

放的牡丹，遂各自以不同的姿態綻放生命的燦爛。《黃白牡丹》一作

緻、普世且富於人文精神。他善於構築前所未見的計畫，將心中的奇

傳達了破中求立的意念，透過深具毀滅性的爆破，物質在燃燒中崩裂

思妙想具體呈現在世人眼前，透過邀請群眾參與，在視覺與聲響震撼

轉換，充滿生命力的繁麗牡丹於嫣誕生於煙硝火光之中，這其中蘊含

之間開啟人們的心靈之眼，進而以更為宏觀而明晰的視角探問人性，

著破壞與創造的勇氣，象徵生命中那經歷重重烈火粹煉之後所生成，

正如學者王嘉驥〈在空間與時間之間炸出一道通道--論蔡國強的藝

堅韌而豐美的燦爛。

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From Quanzhou to Shanghai to Tokyo to New York, the blasting art of Cai Guo-Qiang has stunned the entire world. Transcending imagination, his creative concepts utilize methods, such as installation, conception, and performance, that lead people to experience a magnificent sensory feast as well as open up questions and imaginations regarding human civilization. His interdisciplinary, interregional, and crosscultural works of art evidently contain Eastern colors that originate from China. Using gunpowder as his paintbrush, the artist employs “destruction” to achieve “creation”, while conveying a humanistic care for civilization, history, and even the universe, heaven, and earth.

Jason Wang wrote: “When facing constant turmoil and uneasiness of the contemporary world, Cai Guo-Qiang is trying to provide an alternative remedy by going into the society. He uses fire as a medicine and presents something what is beyond imagination.

In fact, he intends to expose wounded human feelings.” (Cai Guo-Qiang – Hanging out in the Museum, an exhibition catalog published by the Taipei Fine Arts Museum, Taipei)

Cai Guo-Qiang, a well-worn traveller of the world, has always been able to accurately capture the historical materials of a particular region. By restructuring or re-piecing, he executes cultural reproduction, which resonates with the local cultural context. The most valuable is that his works are connected to a local culture and As a Chinese artist who chose to travel around the world in the contain universal connotations with a high level of communication. late twentieth century, Cai Guo-Qiang took the cultural nutrients In 2014, when Cai returned to his home country to present a largeof his home country and started writing a splendid chapter on scale performance, he used gunpowder and a peony flower, which the history of contemporary art drawing from his unique vision holds a profound level of cultural significance in Chinese history, to and incomparable perseverance. In 1999, Cai Guo-Qiang won ignite a collective cultural memory in his work “Yellow and White the Golden Lion Award at the Venice Biennale for Venice’s Rent Peonies”. Peony, the queen of flowers, is a gorgeous and elegant Collection Courtyard, becoming the first Chinese artist to receive symbol of grace and t h i s h o n o r. I n 2 0 0 2 , prosperity. A poet Liu YuShanghai Art Museum Xi of the Tang Dynasty held a large-scale solo once sang: “Only the exhibition of the artist’s peony is really a national works, making it the first beauty with its bloom exhibition of contemporary shocking the capital.” It art organized by an art is one of the themes Cai museum in China. In 2008, often uses to capture the Guggenheim Museum the essence of culture. in New York held a solo For example, Cai was exhibition of a Chinese invited by the Asia-Pacific artist for the first time.

Economic Cooperation This artist was none other (APEC) held in Shanghai than Cai. In the summer in 2001 to create largeof 2014, Cai Guo-Qiang, scale landscape fireworks whose works of art have that cast thousands of blue touched countless people peonies in the air, and the in many parts of the opening ceremony of the world, once again came 蔡國強《向日葵速寫》2010 火藥爆破 紙本，200 x 300 cm 羅芙奧台北2011春季拍賣會，編號154，成交價：台幣40,640,000 2008 Beijing Olympics, to Shanghai. The Power CAI Guo-Qiang, Study for Sunflower, 2010, Gunpowder on paper, 200 x 300 cm Peony once again Station of Art located in Ravenel Spring Auction 2011 Taipei, US$ 1,417,510 sold bloomed in the eyes of the the Bund presented “Cai world.

Guo-Qiang: The Ni nth Wave,” a legendary and well received by the global art scene solo Continuing the smelting of the cultural symbol of a “peony,” Cai exhibition. This exhibition marked the peak of his artistic career, Guo-Qiang completed the “Yellow and White Peonies” in 2014. and “Yellow and White Peonies” has become the best work of this When the carefully laid gunpowder was ignited on the huge piece heyday period. of paper, the glint of an electric phoenix generated a beautiful appearance. After the smoke settled, it turned out to be a beautiful The narrative hidden within Cai Guo-Qiang's works is often grand resurrection. The artist used gunpowder as ink to blow out elegant and profound. He enjoys calling himself, “Boy Cai”, like a child who and nobly stacked petals. The thick carbon leaves were stacked by is unconstrained and courageous enough to pursue his dreams. the black carbon traces. The pursuit and expression of the sense However, this boy is not only free to be curious and explore, but of trace echo an oriental aesthetic tradition. The two peonies on even his thinking also undoubtedly combines a macroscopic, left and right, each of them blooms in different poses. “Yellow meticulous, universal, and humanistic spirit. He specializes at and White Peonies” conveys the idea of breaking through. In producing entirely original projects and presenting his ideas to the a devastating blast, a substance breaks and transforms due to world. He invites the public to take part in his projects, and uses burning, and the life-filled peony is born in the fire and smoke visual and sound sensors to encourage them to be more opencontaining the courage to destruct and create. It symbolizes the minded. Cai explores humanity through a more macroscopic and glory and magnificence that has been produced after being in clearer perspective. In an article “Exploding the Channel between flames.

Space and Time – On the Art of Cai Guo-Qiang,” scholar Chia Chi

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「太極」系列是朱銘雕刻語言和美學風格的成熟之作，亦是他藝術事業發展的一個

JU Ming

那忘我豁達的創作心境，雕塑出形體簡潔的半抽象作品；其幹練的線條、稜角分明

重要里程碑。他摒棄了精細而寫實的雕刻技法，改以大刀闊斧的方式進行創作。他

(Taiwanese, b. 1938)

Taichi Series - Single Whip Wood 64(L) x 36.4(W) x 44.1(H) cm Engraved on the left side Ju Ming in Chinese This sculpture is to be sold with a certificate issued

by Nonprofit Organization Juming Culture and Education Foundation.

NT$ 13,000,000-19,000,000 HK$ 3,342,000-4,884,000 US$ 427,500-624,800 RMB 2,955,000-4,318,000

朱銘 太極系列－單鞭下勢 木雕 64(長) x 36.4(寬) x 44.1(高) cm 雕刻簽名左側：朱銘 附財團法人朱銘文教基金會開立之 作品鑑定報告書（英文版）

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的塊狀造型，散發著現代雕塑的獨特魅力。此系列迥異於過去探索的傳統主題，趨 向純粹靈性，使其現代雕塑開始進入成熟期。 《太極系列》為藝術家以太極拳調養與修行期間，朱銘體會到自然萬物、大氣運作 的能量與蘊涵，內化為個人思想體系後，漸表諸於雕刻創作上。於是，氣勢磅礡的 快意大作「太極」系列，便在朱銘的領悟與體會下以藝術創作成形，「太極系列」 雕塑的抽象意涵，將中國文化傳統化為超越語言、國界的藝術創作。「太極」系列 中，《單鞭下勢》可算是最廣為人知的創作系列，而此拍品更是當中的典範。此件 作品捕捉蓄勢待發的瞬間姿勢，雕像雙腳一曲一直，雙手張開，重心墜下，形成一 個可攻可守的姿態。作品動靜兼備、剛柔並重，充分表現出太極的和諧的思想。此 件《單鞭下勢》，輪廓簡潔，愈見莊嚴神聖，透過簡單的切削斧鑿表現細節，為其 作品增添力道與重量感，確實為一件上乘太極精品佳作。 The “Taichi” series exhibits the maturity of the artist’s sculptural language and aesthetic style. The series epitomizes the transformation from his previously meticulous and formal craftsmanship to a sculptural aesthetic characterized by complete ease and freedom, achieving a fluid sculptural form that transcends the concept of the self. This series drew him away from the traditional themes he explored in the past and into a type of pure spiritualism that marked the beginning of his mature phase in modern sculpture.

Ju Ming soon discovered that practicing the ancient “martial art” did more than just made him stronger: it gave him much more energy for thought and opened up profound new vistas for his creative work. Ju gained firsthand experience of the aweinspiring vital force that circulates through all living creatures, and as he gradually adopted this new philosophy and internalized its principles, he also started to express it in his art. This was the point of departure for his “Taichi series”, a collection of works brimming with impressive momentum and a joyful spirit. In these pieces, Ju managed to sublimate the abstract essence of traditional Chinese culture and to pour it into his creations that transcend language and geographical barriers. Perhaps the most frequently explored position in Ju Ming’s Taichi oeuvre, “Single Whip” depicts an individual figure gently lowering his body, with one leg deeply bent and the other gracefully straightened. The figure raises his hands in a wide gesture implying readiness, a stance appropriate for both offence and defence. The elegant poise with which Ju has expertly sculpted this staunch figure signifies the harmony and balance between the dualities of strength and tenderness, as well as motion and stillness. This fine work is the mineralised figure reflects the solemnity of the sculpture and Ju gives the dynamic and weighty feelings to the work simply with the cuts and craves. The piece is definitely a fine work of his “Taichi” series.

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Yayoi KUSAMA (Japanese, b. 1929)

草間彌生 花

Flowers

1996

1996 Acrylic on canvas 18 x 14 cm Signed on the reverse Yayoi Kusama in English, titled Flower in Kanji and dated 1996

18 x 14 cm

壓克力 畫布 簽名畫背：Yayoi Kusama 1996 花 附草間彌生工作室開立之作品登錄卡

This painting is to be sold with a registration card issued by Yayoi Kusama Studio

NT$ 9,000,000-11,000,000 HK$ 2,314,000-2,828,000 US$ 296,000-361,700 RMB 2,045,000-2,500,000

被譽為是日本現存國寶級藝術家的草間彌生，1957年前往美國紐 約，開始從事前衛的藝術創作，曾與西方當代重要的藝術家，包括克 來茵、瓊斯與歐登柏格、安迪．沃荷一起聯展，活躍於國際藝壇，並 一度引領當時盛行的普普藝術風潮。1993年，草間彌生成為第一位 單獨代表日本參加威尼斯雙年展的女性藝術家，自此草間彌生在日本 及西方國際藝壇的地位得以確立。 「花卉」一直是草間彌生重要的創作題材之一，它們象徵了生命的綻 放與凋零，慶祝與哀悼，陽剛與陰柔，以有機、脆弱、繁殖的生命型 態，無止盡地纏繞、盤踞整個畫布與藝術家創造的奇幻世界。草間彌 生曾在她的自傳中提到：「大自然、宇宙、人類、血、花，還有各式 各樣森羅萬象的事物，自從我懂事以來，它們便以神奇、恐懼或者是 神秘的方式，在我的視覺、聽覺，還有內心深處留下深刻的印象。它 們牢牢糾纏住我的生命，不放我離開。 」 草間彌生的每張圖都是一種點、線或是色彩層次的自由組合，透過不 斷增生的圓點和層層交錯的網絡，鋪展出一個無限延伸的小宇宙，她 認為網狀結構象徵富有生機的生命本質。此幅《花》是1996年的作 品，藝術家以高超細膩的筆觸、亮麗繽紛的色彩，生動描繪恣意綻放 的花朵，展現出一股強韌而旺盛的生命力。 Yayoi Kusama, who is generally recognized to be one of Japan’s greatest living artists, began to create avant–garde art after moving to New York in 1957. She held joint exhibitions with leading Western artists of the day such as Yves Klein, Jasper Johns, Claes Oldenburg and Andy Warhol, and became a prominent figure on

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the international art scene, playing an important role in the growth of the Pop Art movement. In 1993, Kusama became the first female Japanese artist to represent Japan at the Venice Biennale, firmly establishing her status as a major figure in the art world both in the West and in Japan.

Flowers have always been one of Kusama’s favored themes. They symbolize the flowering and withering of life, celebration and grief, hardness and softness. These fragile, organic, bountiful life– forms sprawl all over the paintings, dominating both the canvas and the fantastical world that the artist is seeking to create. In her autobiography, Yayoi Kusama noted that: “ever since she was a child, nature, the universe, humanity, blood, flowers and all sort of other things have left deep impressions – in a magical, terrifying or mysterious way – on her visual and auditory perception and on her heart. She said that they had entwined themselves around her life, never letting her escape.”

One feature which is common to all of Yayoi Kusama’s paintings is the great freedom with which dots, lines and colors are arranged.

The steadily increasing dots and interleaved networks combine to create a miniature universe with limitless extensibility. Kusama sees the net–like structure as symbolizing the richly organic essence of life. In this 1996 work, “Flowers” the artist makes use of highly detailed brushstrokes and rich colors to depict flowers that are blooming with riotous abandon, portraying a tenacious, vigorous life force.

221

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin

1990 Acrylic on canvas 15.8 x 22.7 cm Signed on the reverse Yayoi Kusama in English, titled Pumpkin in Japanese and dated 1990 This painted is to be sold with a registration card issued by Yayoi Kusama Studio

NT$ 11,000,000-14,000,000 HK$ 2,828,000-3,599,000 US$ 361,700-460,400 RMB 2,500,000-3,182,000

草間彌生 南瓜 1990 壓克力 畫布 15.8 x 22.7 cm 簽名畫背：Yayoi Kusama 1990 かほちや 附草間彌生工作室開立之作品登錄卡

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YAYOI KUSAMA PUMPKIN 我就是以這樣的方式，讓當下感受到的驚嚇和恐懼漸漸沉澱 這些經歷可以說是我畫畫的初衷。 草間彌生

身為亞洲當代藝術圈中最具影響力的女性藝術家，草間彌生在國際藝

大量的創作藝術品，痛苦的人生轉為平靜美好。草間彌生的繪畫呈現

壇的地位早已不容忽視，她的作品細微並誠實地承載自身的過去，及

出個人的精神思考及自傳式內涵，當她拿起畫筆時，透過偶然和無預

其無法擺脫的夢魘。她用繪畫、雕塑、行動藝術等手法，帶有超現實

兆的動機，與神祕的世界連結，內在身體的力量，潛意識的想法，鋪

般心理性的考究，表達她腦海中的宇宙，高彩度對比的用色，在視覺

展出一個宇宙的大空間。她懷有無限作畫的熱情，對藝術存有如宗教

藝術、音樂、時尚留下的印記，她本人即是一種「偶像」且毫不遮掩

般的景仰，才能長期支持她抵抗精神疾病的煎熬。草間彌生以藝術創

地表露靈魂。

作來治療她的創傷，因此她的作品都傳達著她內心深處的情感。《南

她自幼有藝術天分，青年時期在故鄉學習膠彩、粉彩等傳統日本畫， 受美國女藝術家歐姬芙鼓勵，1957年至紐約發展，感受到自由創作 之可貴。草間彌生作品多元，類型包括繪畫、軟雕塑、行為藝術、裝 置、影片，涵蓋普普藝術、女權主義、超現實主義、原生藝術、抽象 表現主義、乍現藝術等派別。1993年草間彌生代表日本參加第45屆 威尼斯雙年展，從此南瓜題材的作品聲名大噪，也受邀創作巨型裝置 作品，如福岡市美術館的戶外雕塑。而題材「南瓜」來自於草間的童 年，在戰爭時期草間的家種滿了南瓜；她說「小時候在家裡植物採種

場玩，摘下來的南瓜會跟我說話。 」「南瓜外型實在太可愛了…吸引 我的是它脂粉未施的大肚子，還有強大的精神安定感。 」

瓜》跟草間彌生的其他作品一樣，集合了她各個系列的視覺元素，呈 現自小困擾著這位藝術家的幻覺。草間以大大小小的黑色圓點排列成 南瓜的形狀，艷麗奪目的黃色欲躍而出，鮮明的對比帶來了巨大的視 覺震憾。背景中紅色的幼細線條形成了「無限的網」，突顯出南瓜的 飽滿形態，與藝術家生生不息、源源不絕的藝術生命力相互呼應。草 間彌生的畫作不落構圖的窠臼她描繪著如同粒子般聚合又消散點線， 所謂畫面的中心，已全然無跡可尋，此種全面鋪開排山倒海的作法和 美國抽象表現主義大師傑克遜•波洛克的風格相得益彰，強調繪畫行 為中所涉及的物質因素，也是一種無限的極致表現。繪畫作品成為情 感所支配的行為的直接記錄，而她作畫過程中的那種充滿節奏的自由 運作。

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“My art originates from hallucinations only I can see, I translate the hallucinations and obsessional images that plague me into sculptures and paintings.”

- Yayoi KUSAMA

As the most influential female artist within the Asian contemporary art scene, Yayoi Kusama’s status on the international art stage cannot be ignored. Her works minutely and truthfully bear the weight of her past, and of nightmares she cannot rid. Kusama makes use of painting, sculpture, performance art, and other techniques to represent the universe residing in her mind from a surreal psychological perspective.

Her highly saturated contrasting colors has left a mark on the visual arts, music, and fashion. Revealing an unconcealed soul, she is herself an “idol”.

Having shown artistic talent since childhood, she studied nihonga, pastel, and other traditional Japanese painting techniques in her hometown. In 1957, encouraged by the American artist Georgia O’Keeffe, she moved to New York, where she learnt the value of creative freedom. Kusama’s work is very diverse, including paintings, soft sculptures, performance art, installations, videos. It covers movements, such as pop art, feminism, surrealism, Art Brut, expressionism, and Happening Art. In 1993 she represented Japan at the 45th Venice Biennale.

From then on, her pumpkin-themed works became famous, leading to the creation of large-scale installations, such as the outdoor sculpture at Fukuoka Art Museum. Inspiration for the “pumpkin” theme originated from the artist’s childhood. During the war, Kusama’s home was filled with pumpkins. She said, “When I was a child I used to play in the plant nursery outside my house. The pumpkins I picked would talk to me. The shape of a pumpkin is way too cute…what attracts me is its bare swollen belly, and the strong sense of mental stability”.

Through continuous production of a great number of artworks, a life of pain is turned into a peaceful beauty. Kusama’s paintings reveal her unique way of thinking and autobiographical connotations. When she picks up the brush, she gets in contact with a mysterious world through fortuitous and unpredictable motives. Her inner strength and subconscious thoughts display a vast universe. An endless passion for painting and a religious reverence towards art have helped her battle mental illness for a long time. Kusama uses art to heal her wounds. Therefore, all her works are an expression of her deepest feelings. Similar to many of her other works, Pumpkin gathers the visual elements of each of her series and presents the hallucinations that trouble the artist. Using big and small black dots, Kusama arranges the shape of her pumpkin, making the bright yellow surface stand out, and creating a contrast that brings about a great visual shock. The red lines in the background form an “infinity net”, which highlights the pumpkin’s plump figure and reflects her endlessly growing artistic vitality. Kusama’s painting does not fall into being just a compositional pattern. Instead, she portrays objects as particles, which aggregate and then dissipate into dots and lines. The center of the so-called picture is completely untraceable. This entirely overwhelming practice matches with the style of Jackson Pollock, the master of American abstract expressionism. Emphasizing the material factors involved in the act of painting is also an extreme manifestation of the infinite.

This painting is the direct record of a behavior dominated by emotions, and of that freestyle filled with rhythm which characterizes her painting process.

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Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin

1998 Bronze, edition 65/100 27(L) x 27(W) x 28(H) cm Engraved YAYOI KUSAMA in English, dated 1998 and numbered 65/100 PROVENANCE

Private collecion, France ILLUSTRATED

Yayoi Kusama's Work Collections, Dynasty Gallery, Taipei, color illustrated,pp. 24-25 (another number) This sculpture is to be sold with a certificate of authenticity issued

by FMR Ltd, Japan.

NT$ 1,000,000-2,000,000 HK$ 257,000-514,000 US$ 32,900-65,800 RMB 227,000-455,000

草間彌生 南瓜 1998 銅雕 65/100 27(長) x 27(寬) x 28(高) cm 簽名雕刻：YAYOI KUSAMA 1998 65/100 來源

私人收藏，法國 圖錄

《草間彌生作品收藏集》，朝代畫廊，台北，彩色圖版， 頁24-25 (另一版次) 附FMR開立之作品保證書

162

223

Yuki INOUE

井上裕起

(Japanese, b. 1972)

沙羅曼達系列（刺青）

Salamander (IREZUMI) 2012 FRP, paint, wood 80 (L) x 130 (W) x 90 (H) cm Signed lower left Yuki in English With one seals of the artist PROVENANCE

2012 玻璃纖維 漆繪 木製底座 80(長) x 130(寬) x 90(高) cm 簽名左下：Yuki 鈐印左下：裕 來源

Uspace 畫廊, 台北

Uspace Gallery, Taipei Private collection, Asian

私人收藏，亞洲

EXHIBITED

「進化v.s.重生-井上裕起雕塑展」，Uspace Gallery 美麗信花園酒

EVOLUTION V.S. REGENERATION, Uspace Gallery/ Miramar Garden, Taipei, April 4 - 20, 2014 EVOLUTION V.S. REGENERATION, Shin Kong Mitsukoshi Zuoying, Kaohsiung, April 26 - May 11, 2014 Infinity Japan, Shin Kong Mitsukoshi, Taichung, March 19 25, 2015

店，台北，展期自2014年4月5至20日

This painting is to be sold with a certificate issued by Uspace Gallery, Taipei.

展覽

「進化v.s.重生-井上裕起雕塑展」，新光三越左營文化會館，高雄， 展期自2014年4月26至5月11日 「日本無極限當代藝術展」，新光三越中港店，台中，展期自2015 年3月19至25日 附 Uspace 畫廊開立之作品保證書

NT$ 800,000-900,000 HK$ 206,000-231,000 US$ 26,300-29,600 RMB 182,000-205,000

「IREZUMI」刺青是Tattoo的日文意思，在日本自成一格的演進 。 這種傳統的風格稱為「和雕」，很多人會將它跟所謂黑社會聯想，但 難掩其精細美麗的質感。兩棲類的進化過程，從水中到陸地進入未知 的世界，而透過刺青表現意味著捨棄一般世道的覺悟，這種捨棄的行 為看似一霎那， 但如此舉動也為自己的生存之道開拓無限的希望。 “IREZUMI” means Tattoos in Japanese, which has unique evolution in Japan.

This traditional style is called ”wabori”, many people connect it with gangs, but it does not hide its beautiful and fine texture.

Evolution of amphibians from water to land into the unknown world, and through tattoos to present the meaning of discarding the general morals consciousness, this discarding behavior seems only in a moment, but such a move also open unlimited hope for their survival.

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224

Hiroyuki MATSUURA (Japanese, b. 1964)

Windy Bunny

2007 Fiberglass, edition 2/5 56(L) x 52(W) x 150(H) cm Signed on the reverse Hiroyuki Matsuura in English and dated 2007

NT$ 550,000-650,000 HK$ 141,000-167,000 US$ 18,100-21,400 RMB 125,000-148,000

松浦浩之 風中的兔子 2007 玻璃纖維 2/5 56(長) x 52(寬) x 150(高) cm 簽名背後：Hiroyuki Matsuura 2007

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225

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin (a set of 5) 2002 Limoges porcelain, edition 100/130 11(L) x 10(W) x 8(H) cm (each) Signed on the bottom Yayoi Kusama in English, inscrbed 100/130, and dated 2002 (each) Signed on the box cover Yayoi Kusama in English and dated 2002 (each) PROVENANCE

Private collecion, France This sculpture is to be sold with a certificate of authenticity issued by FMR Ltd, Japan.

NT$ 500,000-600,000 HK$ 129,000-154,000 US$ 16,400-19,700 RMB 114,000-136,000

草間彌生 南瓜(五件一組) 2002 瓷器 100/130 11(長) x 10(寬) x 8(高) cm (每件) 簽名底部：Yayoi Kusama 2002 100/130 (每件) 簽名盒蓋：Yayoi Kusama 2002 (每件) 來源

私人收藏，法國 附FMR開立之作品保證書

JEFF KOONS

Balloon Swan (Yellow) , Balloon Monkey (Blue)

傑夫．昆斯： 「我所創作的藝術不是關於判斷的藝術，而是關於接納的藝術，我認為接納是藝術的最高階段 」 世界著名的波普藝術家傑夫．昆斯，其作品是當代藝術的指標、也是流行文化的象徵。綜觀他的藝術生涯，他開拓嶄新的現成物藝術方 法，探測先鋒藝術與大眾文化的邊界，挑戰工業製作藝術品的極限。他不僅是在世當代藝術家拍賣紀錄的保持人，他的一舉一動總是撼 動人心，觸動藝術圈的神經，他就是俗艷藝術的王子。 1980年代初期，昆斯以獨樹一幟的風格──混合著波普與觀念藝術，平庸美學與精緻工業──進入藝術世界的舞台。從新當代美術館展 出的鏡區裝置開始，與1985年「平衡」和1988年「平庸」兩檔個展，探討激進資本主義世界的消費戀物風氣，作品呈現群眾和物質慾 望的關係。氾濫庸俗，庸俗卻成了救贖，滿盈的傑夫．昆斯式的感性與性感隱喻，卻又有著無比純真二元性；1991年「來自天堂」的創 作，是真愛秀場，是平庸美學的極致，是藝術家本人主觀的慾望體現，挑戰觀眾客觀的道德底線。 傑夫．昆斯的「慶典系列」，歡慶喧騰，其可愛圓潤的造型及鮮豔飽和的色彩，傳遞 樂觀積極的正面能量，其細緻光亮且誘人的鏡面處理，反映人影讓觀者與藝術品 結合，在欣賞的同時觸發不同觀感，看著象徵快樂的氣球，重新用樂觀的角 度，發現內心不同的世界。在「慶典系列」的「氣球動物系列」中，金黃色 的《氣球天鵝》對傑夫．昆斯來說是特別有意義的作品，這是他一生的第 一件創作，九歲時的昆斯非常努力的花了一年半以上的時間，以陶土作為 媒材，試圖找到天鵝最優雅的頸子弧度；鮮藍的《氣球猴子》，則是迴 響他一生中最重要的一件陶瓷作品，來自1988年平庸個展中的Michael Jackson and Bubbles，人類與靈長類的親密親屬關係總是讓昆斯感到驚 艷，作品的概念轉換為追求幸福、情慾及純真的現代寓言。 廣義地說，慾望是具有靈識的生物共通的主題，是人類文化共通性之所 在。藝術的本真源自於文化，文化來自於社會萬象，囊括宇宙萬物之共通 性，偉大的藝術家正是洞悉的佼佼者，並能表達其中真義，並讓人有所感。 昆斯一生的創作脈絡和慾望兩字緊密貼合，如果「平庸」是人類對物質慾望 的彰顯；「來自天堂」便是更原汁原味，純真的性慾本能；「慶典」更昇華為 人類更高層次的精神糧食，對幸福的想望。藝術家在創作「慶典系列」氣球 動物的同時，頓悟其動物形體之極簡線條，仍含有雄性與陰性的徵象。 《氣球天鵝》高聳的頸部，像極聳立的男性徵象，糾結之下半部形 體，卻是柔美的女性器官；《氣球猴子》雄赳赳腫脹的長尾，和 其圓潤柔美的猴冠，具有陰陽相稱衝突的美感。「氣球動物」 之美學具有極強的當代性，具有現代雕塑之線條美感，僅保留 必要之形體，其鏡面表面更有極簡主義藝術裝置之互動性。 傑夫．昆斯曾自述：「慶典系列的動物們並無任何隱藏的意

涵，就只是純粹的幸福與快樂。 」在神學的角度之下，陰陽 同體可謂是神性，不僅解釋了人們看到昆斯作品為何感到幸 福快樂，更見藝術家在藝術創作之偉大之處。

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" What Art is able to do, it’s about acceptance.

The highest state is the acceptance ofothers.”

- Jeff KOONS 2009

The world famous Pop Art artist Jeff Koons, whose work has been an indicator of contemporary art, is a symbol of popular culture.

Throughout his artistic career, he has explored the brand-new ready-made art method, experimented the boundary between avant-garde art popular culture, and challenged the limits of materialism. He is the holder of auction record of a living artist.

Every move of his has always inspired and touched the nerves of the art world. He is the king of Kitsch.

Koons’ first show was staged in 1980, and he emerged onto the art scene with a style that blended several existing styles—pop, conceptual, craft, appropriation— to create his own unique mode of expression. From his first window display at the New Museum, as well as two monumental exhibitions “Equilibrium” in 1985 and “Banality” in 1988, the theme of the exhibitions was mainly exploring the trend of consumer fetishism in the radical capitalist world, the work shows the relationship between the public and material desires. Once Koons said, “Exploit the masses, Banality as saviour.” His sentimental but a lso sexual metaphor has its own innocence and duality. In 1991, “Made in Heaven” was a live sex show as well as a romantic show of true love, extremely expressing the ultimacy of the aesthetic of banality.

The show was the manifestation of his personal desire and intimacy, challenging the moral bottom line of the audiences. Jeff Koons' "Celebration" series has sleek shapes and bright saturated colors, conveying positive energy. Its delicate, attractive and reflective surface trigger different perceptions while enjoying. Balloons symbolize happiness. With its optimism, viewers can discover a new different world.

The figure of the Swan has significant personal resonance for the artist; It was one of the first sculptures Koons Made at 9 years old in ceramic, for which the young artist diligently worked on to get the angle of the neck correct. The balloon swan took him over a year and a half shaping its graceful neck. The vivid blue “Balloon Monkey” is a reflection of his well-known porcelain artwork created in 1988, Michael Jackson and Bubbles. Humankind’s close kinship with primates has always captured artist’s fascination, serving as an allegorical figure for universal themes such as the pursuit of pleasure, sexuality, and innocence.

Generally speaking, desire is the commonality between all spiritual creatures, which is also the cultural commonality of human beings.

The originality of art derives culture, and culture comes from everything in the society, including the commonality of the universe. A great artist has the ability to see the insights of it and express its true meaning. Desire has been deeply incorporated in the oeuvre of Jeff Koons.

“Banality” is the manifestation of Consumerism; “Made in Heaven” is the purest sexuality of human instinct. “Celebration" has elevated itself to a spiritual level - a pursuit of happiness. As the artist created the simple twisted balloon animals, he had an epiphany that the implicitness of its balloon animals shape has harmonized sexual energy and defines beauty as sexual harmony. The aesthetics of balloon animals is extremely contemporary, with the beauty of modern sculptures simplicity, retaining only the necessary shapes, and the surface is more interactive with its seductive reflective transparent color coating. Jeff Koons once said: "The animals in the celebration series have no hidden meanings, just pure happiness". Under the theological point of view, the combination of male and female totem can be described as divinity. The ideation can explain why the works of Jeff Koons make it’s audience happy. We can also see the greatness of the artist in his artistic creation.

226

Jeff KOONS (American, b. 1955)

Balloon Swan (Yellow) 2017 Glazed porcelain, editon 545/999 21(L) x 16.4(W) x 24.1(H) cm Stamped on the Bottom JEFF KOONS, numbered 545/999 and dated 2017 This sculpture is to be sold with a certificate of authenticity issued by Bernardaud Group, France

NT$ 360,000-480,000 HK$ 93,000-123,000 US$ 11,800-15,800 RMB 82,000-109,000

傑夫．昆斯 氣球天鵝 2017 釉瓷 545/999 21(長) x 16.4(寬) x 24.1(高) cm 印刷簽名：JEFF KOONS 545/999 '17 附法國柏圖瓷器開立之作品保證書

170

227

Jeff KOONS (American, b. 1955)

Balloon Monkey (Blue) 2017 Glazed porcelain, 553/999 39.2(L) x 20.9(W) x 24.9(H) cm Stamped on the Bottom JEFF KOONS, numbered 553/999 and dated 2017 This work is to be sold with a certificate of autheticity issued by Bernardaud Group, France.

NT$ 380,000-480,000 HK$ 98,000-123,000 US$ 12,500-15,800 RMB 86,000-109,000

傑夫．昆斯 氣球猴子(藍) 2017 釉瓷 553/999 39.2(長) x 20.9(寬) x 24.9(高) cm 印刷簽名：JEFF KOONS 553/999 '17 附法國柏圖瓷器開立之作品保證書

228

MA Pai-sui (Taiwanese, 1909 - 2003)

馬白水 風景

Landscape

1969

1969 Ink and color on paper 33.5 x 66.5 cm Signed lower right Pai-sui and dated 1969 in Chinese With one seal of the artist

33.5 x 66.5 cm

NT$ 110,000-220,000 HK$ 28,000-57,000 US$ 3,600-7,200 RMB 25,000-50,000

172

彩墨 紙本 簽名右下：白水一九六九 鈐印右下：MA PAI SUI

229

SHIY De-jinn (Taiwanese, 1923 - 1981)

席德進 篆書

Calligraphy

1980

1980 Ink on paper 61 x 120.5 cm Dated lower right 7/28 1980 With three seals of the artist With one seal of the collector

61 x 120.5 cm

NT$ 130,000-220,000 HK$ 33,000-57,000 US$ 4,300-7,200 RMB 30,000-50,000

水墨 紙本 年代右下：7/28 1980 鈐印右上：席氏書畫 鈐印右下：席德進印 鈐印左下：四川南部縣人 藏印中上：同聲相應

230

HUNG Jui-lin (Taiwanese, 1912 - 1996)

洪瑞麟 湖邊（富士山）

Fuji Mountain

1966

1966 Watercolor on paper 38 x 45.5 cm Dated lower right 1966 With a seal of the artist

38 x 45.5 cm

PROVENANCE

Heritage Arts Auction, Taipei, June 14, 1998, lot 19 Private collection, Asia

NT$ 170,000-240,000 HK$ 44,000-62,000 US$ 5,600-7,900 RMB 39,000-55,000

174

水彩 紙本 鈐印右下：洪 手繪年代右下：1966 來源

傳家藝術拍賣，台北，1998年6月14日，編號19 私人收藏，亞洲

231

Ishikawa KINICHIRO (Japanese, 1871 - 1945)

石川欽一郎 農村

Village

彩墨 絹本

Ink and color on silk 37.5 x 44 cm Signed lower left Kinichiro in Chinese With a seal of the artist

簽名左下：欽一郎

NT$ 190,000-260,000 HK$ 49,000-67,000 US$ 6,200-8,500 RMB 43,000-59,000

37.5 x 44 cm 鈐印左下：各有因緣

232

Walasse TING (Chinese-American, 1929 - 2010)

丁雄泉 七美圖

Seven Beauties

彩墨 壓克力 紙本

Color ink and acrylic on paper 35 x 48.5 cm With one seal of the artist

鈐印右上：採花大盜

NT$ 240,000-340,000 HK$ 62,000-87,000 US$ 7,900-11,200 RMB 55,000-77,000

176

35 x 48.5 cm

233

YU Cheng-yao (Taiwanese, 1898 - 1993)

余承堯 山水

Landscape

水墨 紙本

Ink on paper 34 x 67 cm Signed upper center Yu Cheng-yao in Chinese With one seal of the artist

簽名中上：植槐先生正之 余承堯

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,500-11,800 RMB 59,000-82,000

34 x 67 cm 鈐印中上：余承堯印

234

YU Cheng-yao x HE Huai-shuo (Taiwanese, 1898 - 1993)

Green Landscape Ink and color on paper 17.5 x 33.5 cm (upper) 66.5 x 33.5 cm (lower) With 3 seals of the artist, the artist’s studio and He huai-shuo in Chinese

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,500-11,800 RMB 59,000-82,000

余承堯 x 何懷碩 青松勁節 彩墨 紙本 17.5 x 33.5 cm (上) 66.5 x 33.5 cm (下) 鈐印右上：澀盦 鈐印左下：何懷碩 鈐印左中：余承堯印

178

235

TONG Yang-tze (Taiwanese, b. 1942)

董陽孜 學以聚之 問以辨之 寬以居之 仁以行之

Phrase from Yi Jing: The Book of Changes

2012

2012 Ink on paper 69 x 138 cm With two seals of the artist

69 x 138 cm

EXHIBITED

展覽

Contemplating Change - Calligraphy Works of Tong Yang-Tze, Eslite Bookstore, Taipei, August 30 - September 15, 2013

墨 宣紙 鈐印右上：天地為師 鈐印左中：董陽孜 「觀易－董陽孜作品展」，誠品書店，台北， 展期自2013年8月30日至9月15日

ILLUSTRATED

圖錄

Contemplating Change - Calligraphy Works of Tong Yang-Tze, Eslite Bookstore, Taipei, August 30 - September 15, 2013, Eslite Corporation, Taipei, 2013, color illustrated

2013，彩色圖板

This painting is to be sold with a certificate of authenticity signed by artist and issued by Eslite Gallery

NT$ 320,000-420,000 HK$ 82,000-108,000 US$ 10,500-13,800 RMB 73,000-95,000

《觀易－董陽孜作品展》，誠品股份有限公司，台北， 附誠品畫廊與藝術家親筆簽名之原作保證書

236

Gao Xing-jian (Chinese-French, b. 1940)

高行健 慾望

Le Désir

1995

1995 Ink on paper 119 x 125 cm With one seal of the artist

119 x 125 cm

ILLUSTRATED

Ink Paintings by Gao Xingjian, Taipei Fine Arts Museum, Taipei, 1995, color illustrated, p. 62, no. 33

NT$ 460,000-650,000 HK$ 118,000-167,000 US$ 15,100-21,400 RMB 105,000-148,000

180

水墨 紙本 鈐印左下：高 圖錄

《高行健水墨作品展》，李玉玲總編輯，台北市立美術館， 台北，1995，彩色圖版，頁62，編號33

237

SHIY De-jinn (Taiwanese, 1923 - 1981)

席德進 埔里風光

Landscape of Pu-li

1980

1980 Watercolor on paper 57 x 76.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1980

57 x 76.5 cm

PROVENANCE

Collection of Mr. Lu Sheng-Hua, former founder director of the Shiy De-jinn Foundation (acquired directly from the artist)

NT$ 800,000-900,000 HK$ 206,000-231,000 US$ 26,300-29,600 RMB 182,000-205,000

水彩 紙本 簽名左下：席德進 1980 來源

席德進基金會創會董事盧聲華先生收藏 (直接得自藝術家本人)

238

SHIY De-jinn (Taiwanese, 1923 - 1981)

席德進 原野秋色

Autumn Field

1976

1976 Watercolor on paper 55.5 x 75 cm Signed lower left Shiy De-jinn in Chinese and dated 1976

55.5 x 75 cm

NT$ 650,000-750,000 HK$ 167,000-193,000 US$ 21,400-24,700 RMB 148,000-170,000

182

水彩 紙本 簽名左下：1976 席德進

239

SHIY De-jinn (Taiwanese, 1923 - 1981)

席德進 埔里晨曦

Morning Scenery in Puli

1980

1980 Watercolor on paper 57 x 76.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1980

57 x 76.5 cm

PROVENANCE

Collection of Mr. Lu Sheng-Hua, former founder director of the Shiy De-jinn Foundation (acquired directly from the artist)

NT$ 800,000-900,000 HK$ 206,000-231,000 US$ 26,300-29,600 RMB 182,000-205,000

水彩 紙本 簽名左下：席德進 1980 來源

席德進基金會創會董事盧聲華先生收藏 （直接得自藝術家本人）

240

WENG Xue-song (Chinese b. 1962)

Garden Rock Series No. 5 2014 Oil on canvas 90 (diameter) cm Signed lower right Xue-song in Chinese and dated 2014.5

NT$ 900,000-1,400,000 HK$ 231,000-360,000 US$ 29,600-46,000 RMB 205,000-318,000

翁雪松 山石系列5號 2014 油彩 畫布 直徑 90 cm 簽名右下：雪松 2014.5

184

241

YANG Chihung (Taiwanese, b. 1947)

楊識宏 藍色底流

Blue Undercurrent

2002

2002 Acrylic on canvas 162 x 112 cm Signed on the reverse Chihung Yang in Engilsh, titled Blue Undercurrent and dated 2002

162 x 112 cm

壓克力 畫布 簽名畫背：Chihung Yang Blue Undercurrent © 2002 附亞洲藝術中心開立之原作保證書

This painting is to be sold with a certificate of authenticity issued by Asia Art Center

NT$ 1,000,000-2,000,000 HK$ 257,000-514,000 US$ 32,900-65,800 RMB 227,000-455,000

楊識宏，當代最重要的抽象表現主義華人藝術家之一，其作品不只是 表現一種視覺形象，一直以來更是以探索生命情境、對生活的體驗和 由外而內的觀照。在1980 年代末期與 1990 年代初期，楊識宏稱為 「植物的美學」的系列作品中，他回到了宇宙的和諧結構，以抒情的 視覺思維與圖像思維，表現出一種理性內化之後的浪漫氣氛。這時畫 面上的物象已經不僅僅是物象，而是外在事件時間已經過濾之後的詩 性元素。我們所看到的是，大自然環境與植物隨著時間的變化，亦隨 著筆觸的方向而揮灑出來。 此件《藍色底流》作於2002年，是藝術家從植物的美學時期過渡到 有機抽象的形式語言時期。經歷逾十年的時間，楊識宏的抽象的植物 的美學已然成熟。畫面中仍以楊識宏一貫使用的大地色為主，採取如 波浪與土地的色澤，但抽象手法使波濤和自然環境的形貌有所改變， 藝術家使之模糊化，成功營造了天地海交會成一片時的激動。除了有 畫筆的大片揮灑，也有細小點狀的細部經營，大器與細膩兼備。 站在《藍色底流》這件大尺幅的作品前面，可以感受到自己彷彿被大

universe using a sensual visual and image oriented thought process to express the type of romanticism that comes from an internal rationalization. At this time, what is left is the external event which has already passed and been filtered, leaving a poetic element.

What we see is the changing of the natural environment and plants along with time and strokes of the brush.

This work “Blue Undercurrent” was created in 2002 during the artist's transition from his period focusing on plant aesthetics to that on an organically abstract language. After more than a decade, Yang Chihung's abstract plant aesthetic has already matured. In the painting, Yang Chihung's use of earth colors can still be seen in the waves and the ground, but the abstraction methods create changes to the natural landscape. The artist utilizes blurring to successfully create the frenzy that results when sky, earth, and water meet. In addition to the large generous strokes brush strokes, there are also small, delicate details throughout, making the picture both grand and intricate.

自然的氣息包圍，有風的聲音和速度，楊識宏擅長以抽象手法捕捉自 然界的色相和意象，表達騷動與自由，中國審美觀中「雄渾」的感 覺，對比於康德「崇高」的概念，楊識宏的藝術無疑是崇高美學的當 代詮釋。 Yang Chihung is one of the most important abstract expressionist artists in modern Chinese art history. His works not only portray a type of visual image, but also explore different scenarios in life and accompanying experiences using outside perspectives. In his Botanical Studies series created in the late 1980s and early 1990s, Yang Chihung returns to the harmonious structure of the

186

Standing in front of the “Blue Undercurrent”, a painting that is also large in size, one can feel themselves being surrounded by the breath of nature. The wind and the sounds it carries, and its speed can almost be felt. Yang Chihung is adept at using abstraction to capture the colors and images of nature. The pictures he creates are restless and free, the feeling of “majestic” in Chinese aesthetics compared to Kant's concept of “exalted”, Yang Chihung's art undoubtedly provides a contemporary interpretation of exalted aesthetics.

242

KUO Wei-kuo (Taiwanese, b. 1960)

郭維國 天鵝游泳圈

Swan Swim Ring

2009

2009 Oil on canvas 150 x 200 cm Signed lower left Kuo Wei-kuo in Chinese and dated 2009.9 Signed on the reverse Kuo's in English, titled Swan Swim Ring in Chinese, inscribed 150 x 200 cm and finished in early (September) in Chinese ; dated 2009.9

150 x 200 cm

EXHIBITED

館，四川，展期2010年4月22日至5月16日

Hantoo Art Group's Adventure to the West, Chongqing Art Museum, Art Gallery of Sicuan Fine Arts Institute, Sicuan, April 22 - May 16, 2010 10 Years On: Liao Chi-Chun Oil Painting Awards, Taipei Fine Arts Museum, Taipei, April 16 - June 12, 2011 Sentimental Boys, Kaohsiung Museum of Fine Arts, Kaohsiung, July 23 - September 25, 2011 A Tale of Two Cities - Kuo Wei-Kuo Exhibition: Gardens of Spirits, Museum of Contemporary Art, Taipei, Januaty 17 - March 15, 2015 ILLUSTRATED

Hantoo Art Group’s Adventure to the West, Yamore Books & Publishing CO.,LTD., Taiwan, 2010, color illustrated, p.37 10 Years On: Liao Chi-Chun Oil Painting Awards, Taipei Fine Arts Museum, Taipei, 2011, color illustrated, p.81 Sentient Garden, Lin & Lin Gallery, Taipei, 2014, color illustrated, p. 92 A Tale of Two Cities - Kuo Wei-kuo Exhibition/ Gardens of Spirits, Taipei Culture Foundation/ Museum of Contemporary Art, Taipei, Taipei, 2015, color illustrated, p. 112 This painting is to be sold with a certificate of authenticity signed by the artist and issued by Lin & Lin Gallery

NT$ 1,100,000-2,000,000 HK$ 283,000-514,000 US$ 36,200-65,800 RMB 250,000-455,000

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油彩 畫布 簽名左下：郭維國 2009.9 簽名畫背：《天鵝游泳圈》150 x 200 cm 2009.9.初完成 Kuo's 展覽

「撼＆懾悍圖社西遊記」，重慶美術館、四川美術學院美術 「廖繼春獎十年聯展」，台北市立美術館，台北，展期 2011年4月16日至6月12日 「創作論壇多情兄：悍圖社」，高雄市立美術館，高雄，展 期2011年7月23日至9月25日 「雙城記：萬園有靈」，台北當代藝術館，台北，展期自 2015年1月17日至3月15日 圖錄

《悍圖社西遊記：撼＆懾》，雅墨文化事業有限公司，台 灣，2010，彩色圖版，頁 37 《廖繼春獎10年聯展》，台北市立美術館，台北，2011， 彩色圖版，頁 81 《眾生之園 異化的新世界》，大未來林舍畫廊有限公司， 台北，2014，彩色圖版，頁 92 《雙城記 - 萬園有靈 / 郭維國特展》，財團法人台北市文化 基金會台北當代藝術館，台北，2015，彩色圖版，頁 112 附林舍畫廊與藝術家親筆簽名之原作保證書

243

Tzu-chi YEH (Taiwanese, b. 1957)

2016 Spring Festival 'Cantonese Pink' 2018 Tempera and oil on linen 61 x 61 cm Signed lower right side Yeh Tzu-chi in Chinese and dated 2018

NT$ 1,200,000-1,600,000 HK$ 308,000-411,000 US$ 39,500-52,600 RMB 273,000-364,000

葉子奇 2016農曆春節．廣東粉 2018 卵彩 油彩 亞麻布 61 x 61 cm 簽名右下：葉子奇 2018

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244

Walasse TING (Chinese-American, 1929 - 2010)

Abstraction

1962 Acrylic on canvas 92 x 129 cm Signed on the reverse Ting in English and dated 62 PROVENANCE

Christie’s Auction, Hong Kong, 26 May 2013, lot 3431 Private collection, Europe

NT$ 1,200,000-2,200,000 HK$ 308,000-566,000 US$ 39,500-72,300 RMB 273,000-500,000

丁雄泉 抽象 1962 壓克力 畫布 92 x 129 cm 簽名畫背：Ting 62 來源

佳士得拍賣，香港，2013年5月26日，編號 3431 私人收藏，歐洲

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245

Walasse TING (Chinese-American, 1929 - 2010)

Reclining Nude

1974 Acrylic on paper laid down on cardboard 68.5 x 97.5 cm This work is to be sold with a certificate of authenticity issued by Shoreman Art International.

NT$ 1,600,000-2,600,000 HK$ 411,000-668,000 US$ 52,600-85,500 RMB 364,000-591,000

丁雄泉 斜躺裸女 1974 壓克力 紙本 紙板 68.5 x 97.5cm 附協民藝術中心開立之原作保證書

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246

HUANG Gang (Chinese, b. 1961)

黃鋼 雪域佛經（雙聯幅）

Sutra from Snow Land (diptych)

2006

2006 Mixed media on panel 170 x 245 cm Signed lower middle Huang Gang in Chinese and English; dated 2006 north in Chinese

170 x 245 cm

ILLUSTRATED

Huang Gang Solo Exhibition, Modern Art Gallery, Taichung, 2008, color illustrated, pp. 36-37 & p. 39

複合媒材 木板 簽名中下：Huang Gang 黃鋼. 2006 北方 圖錄

《黃鋼個展》，現代畫廊，台中，2008，彩色圖版， 頁36-37，頁39 附現代藝術空間開立之原作保證書

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

by Modern Art Gallery.

NT$ 1,600,000-2,600,000 HK$ 411,000-668,000 US$ 52,600-85,500 RMB 364,000-591,000

此件作品《雪域佛經》，藝術家採用了一種對畫面整體化的協調手法，畫面洋溢著懷舊，甚至有些古典的氛圍。黃鋼並沒有過多的干涉其中的 主要現成物品「佛經雕版」其自身的視覺效果和力量，他把這些經歷過時間驗證的文化遺跡看作自足的生命體，如上訴所說因為它們可以通過 自身的形式來言說自己的歷史和文化內涵。《雪域佛經》在不同時代的大眾文化之間做出一種聯結，建立了一種關於歷史的敘事。與此同時， 藝術家通過身體力行，在表達著對傳統文化的敬重—正如黃鋼自己多次表述的那樣，傳統文化並不僅僅是被用來調侃的，這種深厚的東方文化 傳統不但值得尊重，而且是未來文化發展的源泉和動力之一。在尊重傳統文化資源的基礎上，黃鋼更將傳統的視覺圖像以一種當代藝術的方式 呈現出來，努力於傳統的現代化。藝術家只需要對其進行極簡式的調整即可，但這種調整卻是必要的，因為這些形式上的考究並不僅僅是一種 「審美」的需要，而表明了藝術家對待傳統文化的一種態度，其中，既包含著對自我成長中至關重要的文化基礎的尊重，亦顯示出他將其轉化 為現代藝術視覺樣式的努力。 In this work, entitled “Sutra form Snow Land”, the artist approaches the picture holistically. The picture is steeped in nostalgia and even contains a certain classical ambience. Huang Gang did not significantly alter the primary artifact of the Buddhist engravings, retaining its visual effects and elemental power. He regarded these time-tested cultural relics as self-sufficient and autonomous bodies. To drive the point home, these forms by themselves are sufficient to speak of their own history and cultural contents. The “Snow Sutra” establishes a living connection between the popular cultures of different eras through a historical narrative. At the same time, his respect for traditional culture is expressed by the artist himself putting into practice what he preaches. Just as Huang Gang himself has noted countless times, traditional culture does not only exist for ridicule. The rich and profound Eastern cultural tradition is not only deserving of respect, but will in fact become the fountainhead and impetus of future cultural development. On the basis of venerating traditional cultural sources, Huang Gang renders traditional visual images in a contemporary fashion in his strive for the modernization of the traditional. The artist only needs to make minor adjustments but these revisions are essential – not due to any ‘aesthetic’ obligation – but, rather as an expression of the artist’s position on traditional culture. Included among these, they simultaneously embody the cultural foundation that is vital to self-growth while displaying his efforts to transform the works through a modern visual style.

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247

HUANG Ming-chang (Taiwanse, b. 1952)

Rice Field Series – Egret 1999 Oil on canvas 112 x 162 cm Signed on the lower right side edge Huang Ming-chang in Chinese and Huang m.c in English, dated '99 PROVENANCE

InSian Gallery, Taipei Private collection, Asia This painting is to be sold with a certificate of authenticity issued

by Impressions Art Gallery (Insian Gallery), Taipei, and a photo certificate signed by the artist.

NT$ 1,900,000-2,800,000 HK$ 488,000-720,000 US$ 62,500-92,100 RMB 432,000-636,000

黃銘昌 稻田系列─白鷺之歌 1999 油彩 畫布 112 x 162 cm 簽名右下側面：黃銘昌 Huang m.c. '99 來源

印象畫廊，台北 私人收藏，亞洲 附印象畫廊開立之原作保證書與藝術家親筆簽名之照片保證書

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248

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

等待你的情書

Waiting for your Love Letter 1979 Oil on canvas 76 x 102 cm Signed on the reverse Ting in English, titled Waiting for your love letter and dated 79

1979 油彩 畫布 76 x 102 cm 簽名畫背：Waiting for your love letter Ting 79 來源

布洛斯卡畫廊，瑞典

PROVENANCE

Bülowska Galleriet, Sweden

NT$ 2,600,000-3,600,000 HK$ 668,000-925,000 US$ 85,500-118,400 RMB 591,000-818,000

江蘇無錫人，丁雄泉成長於上海；香港、巴黎、紐約，及阿姆斯特 丹，都曾是他落腳的城市。其中紐約和他的關係最為密切，在此生活 了數十年之久，多位知名抽象表現畫家、普普藝術家和他結為友好， 他是美國當代藝術界活躍的一份子。紐約的霓虹燈豐富了他畫裡的顏 色，自由開放的風氣，激盪出更多的想像空間，女人、花、鳥、動物 等生活所見，都化為他創作的一部份。 丁雄泉是國際知名度最高的華裔畫家之一，十多年前藝術界有人如是 形容他：「中國人在國際畫壇上佔有重要地位的畫家並不多，在巴黎 有趙無極，在古巴有林飛龍、在紐約則有丁雄泉。他們的作品為世 界大博物館收藏，為民間收藏者所熱愛。 」（參閱黃于玲〈有情人碰上有情 人〉一文，《台灣畫》，台北，1993年9月號，頁15）全球首屈一指的現代美術機 構：如美國紐約現代美術館、大都會美術館、費城美術館、芝加哥藝 術協會、底特律藝術協會、波士頓美術館；英國泰德畫廊；巴黎東方 藝術博物館、台北市立美術館、上海美術館、香港藝術館等都收藏有 丁雄泉的畫作。 1977年古根漢基金會提供獎學金，邀請丁雄泉出版一本畫集《朱 唇》，書中收錄一系列的情色素描及繪畫。畫家坦承喜愛女人，自命 風流，別號「採花大盜」。他其實也擅長寫浪漫情詩，筆下盡是戀愛 中的女人，既情慾又柔美。《等待你的情書》一作完成於1979年， 為畫家難得一見的畫布媒材，延續了早年抽象表現主義滴流潑灑的風 格。丁雄泉非常喜歡花卉，曾經用花為主題作成衣服，送給當時訪問 他的NHK記者，並且樂於人分享，對於收藏品不會私藏送人，因此在 畫作如《等待你的情書》當中，可以看出許多花卉的作品以及歡樂的 畫面。1970年代後丁雄泉個人獨特風格漸漸成形，以書法筆觸勾勒 輪廓，豔麗的壓克力彩平塗線條內的空間，此乃為一般人較為熟悉的 後期作品。 Walasse Ting was from Wuxi, Jiangsu, and grew up in Shanghai; and once lived in Hong Kong, Paris, New York and Amsterdam. Of all the places, Ting forged the closest relationship with New York, where he spent about a decade. He befriended various modern abstract painters and pop artists and became an active member of the American art circle. New York’s bright neon lights enriched the colors of his paintings while the liberal social backdrop inspired his imagination. Women, flowers, birds, animals and many elements in his daily life all melded into his work.

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The artist is one of the most internationally eminent overseas Chinese artist. About a decade ago, someone from the art world once said, “Very few Chinese artists have influence internationally in painting. In Paris, there is Zao Wou-ki, in Cuba, Wifredo Lam and in New York, Walasse Ting. Their works have been collected by big museums around the world and adored by private collectors.”(From Huang Yu-ling, “When a Sentimental Person Meets Another” Taiwan School, Taipei,

Top-notch modern museums and art institutes such as: Museum of Modern Art in New York, the Metropolitan Museum of Art also in New York, the Philadelphia Museum of Art, Chicago Art Institute, Detroit Institute of Art, Museum of Fine Art in Boston, Tate Gallery in London, Musee Cernuschi of Paris, Taipei Fine Arts Museum, Shanghai Museum of Art and Hong Kong Museum of Art all collect works by Walasse Ting.

Sept. 1993, p. 15)

In 1977, the John Simon Guggenheim Foundation offered a grant to Ting to publish an art book, Red Mouth, which collected a series of erotic sketches and paintings. The artist admitted to be a great admirer of women and went by the self-styled nickname “Butterfly Gangster.”He also wrote romantic poetry, depicting sensuous and exquisite women in love. When Ting finished “Waiting for your Love Letter”in 1979, a rare work on canvass, he continued the fluent abstractionism present in his earlier works, and at the same time, began the “titillating”works on paper of his latter years.

After 1970s, Ting’s unique style gradually appeared, with outlining strokes from Chinese calligraphy and vibrant acrylic colors filling into solids, which may be more familiar to viewers in his later works.

The image of “Waiting For Your Love Letter” can be seen as one of the representative oil paintings from the 1970s. Author Huang Yu-ling once wrote a critique regarding this beautiful painting, “The girl bearing a flower basket symbolizes love; the blossoming flowers and vivid spots extend the abstract expressionism of his early works. The fluid yet simple lines accurately captures a woman’s elegance. An artist who loves women and self-named ‘Butterfly Gangster’ excelled in depicting the charisma of women in love. This is a representative work from the 1970s. Its posters were once partially distributed by Nan Gallery.” (Quote from Love, Oil Painting Exhibition: Passion Art in Paintings Exhibition, Nan Gallery, Taipei, 1992, p.17)

249

CHU Teh-chun (Chinese-French, 1920 - 2014)

Sketches in Baxian

1954 Oil on board 53 x 45.5 cm Signed lower left Chu Teh-chun and dated the 43th year of the Republic era in Chinese (1954) EXHIBITED

Chu Teh-chun 88 Retrospective, National Museum of History, Taipei, September 19-November 23, 2008 ILLUSTRATED

Chu Teh-Chun, Galerie Enrico Navarra, Paris, 2000, color illustrated, pp. 18-19 CHU Teh-chun, 88 Retrospective, National Museum of History, Taipei, Thin Chang Corporation, Taipei, 2008, color illustrated, p. 75 Chu Teh-chun, Artist Publishing Co., Taipei, 2011, color illustrated, p. 33 (the above dimensions were incorrectly put as 72 x 60 cm in the illustration)

NT$ 3,400,000-4,600,000 HK$ 874,000-1,183,000 US$ 111,800-151,300 RMB 773,000-1,045,000

朱德群 八仙寫生 1954 油彩 木板 53 x 45.5 cm 簽名左下：朱德群四十三年 展覽

「朱德群八十八回顧展」，國立歷史博物館，台北，展期自 2008年9月19日至11月23日 圖錄

《朱德群》，昂利哥．那瓦哈畫廊，巴黎，2000，彩色圖版， 頁170-171 《朱德群八十八回顧展》，國立歷史博物館，台北，馨昌股份 有限公司，台北，2008，彩色圖版，頁75 《渾厚．燦爛．朱德群》，藝術家出版社，台北，2011， 彩色圖版，頁33 (以上尺寸皆誤植為72 x 60cm)

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SKETCHES IN BAXIAN CHU Teh-chun

綜觀朱德群繪畫從具象走向抽象的歷變脈絡，可見其作品自1950年

寫生》反應朱式創作歷程中第一個成熟時期和轉折階段，風格十分貼

代初在台創作的「寫實風景」，演變至50年代晚期，朱氏抵法後開始

近塞尚等後印象派的特色，注意色彩、光線的微妙嬗變，也開始探索

的「抽象構圖系列」，最終邁向90年代「色彩絢爛的水墨式油畫」。

書法線條的表現性。在《憶吳大羽先生》一文中，朱德群追述：「我 在吳師的教導下成了塞尚的崇拜者，在國內多年工作，沒有遠離後期 印象派的範圍，直到1953年去八仙山寫生，在兩千多公尺的山峰深 谷雲霧叢林中，突然領悟了中國水墨畫的虛實，具有詩意的傳統精神 與自然的關系。煙霧彌漫，松柏縱橫交錯，聯想到書法用筆的境界， 與過去學習寫、畫的心情連接融合，不知不覺我對繪畫觀念有了轉 變。 」可見，八仙山對朱德群的藝術生涯有重要意義，這無疑為他日 後走向融合中西的抒情抽象風格提供了契機。

這三個時期之間相互呼應，完整地呈現了一個中國藝術大師半個世紀 的探索歷程和藝術成就。 1949年朱德群自中國大陸遷徙至台灣定居，1951年起任教於台灣師 範學院藝術系，教學之餘仍不斷自我創作。朱氏與同任教的袁樞真曾 多次帶領學生到台中縣和平鄉的八仙山寫生，此山海拔2000餘米， 以林木茂密景色優美著稱。 本件《八仙寫生》完成於1954年，朱氏尚未赴法深造前，是其台灣 時期「寫實風景」的代表之作。作品描繪參天古木與茂密森林，畫面 結構理性、沈穩，足見朱德群的寫實功力與構圖經驗。他筆觸活潑、 設色鮮明，線條生動，在油畫中表現出中國傳統繪畫的氣韻。《八仙

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見證朱德群早期寫實功力的作品，今日尋找極為不易，尤其杭州藝專 時期的創作，已全毀於戰亂與遷徙，足見《八仙寫生》此類作品之珍 稀。

Thick mists surrounded me, crisscrossed with branches of pine and cypress. This reminded me of the styles of brushwork used in calligraphy. Additionally, mixed in were the feelings I remembered having as I learned calligraphy and painting. Before I knew it, my view of painting had changed.

- CHU Teh-chun

Looking at the changes of Chu Teh-chun’s painting style from figurative to abstract, it can be seen that the “Realistic Landscapes” he created in Taiwan in the early 1950s evolved into the “Abstract Composition Series” in the late 1950s when Chu travelled to France. Then, in the 1990s, it became “Splendid Color Ink Painting”. These three periods echo one another, comprehensively presenting the exploration and artistic achievements of a Chinese art master over half a century.

In 1949, Chu Teh-chun moved from mainland China to settle in Taiwan.

Starting in 1951, he served as an instructor in the fine arts department of Taiwan Normal University while continuously creating art. Along with fellow teacher Yuan Shu-jen, Chu would bring students to the Baxian Mountain in Heping Township of Taichung County to sketch. The mountain is more than 2,000 meters above sea level and is famous for its lush forest scenery.

Created in 1954, “Sketches in Baxian” is a representative work of “Realistic Landscapes” from Chu Teh-chun while in Taiwan. The work depicts towering ancient trees and dense forests. The structure of the painting is rational and calm, showing Chu’s skill in realism and abundant experience in composition. His brushwork is lively, his colors are bright, and his lines are vivid. This work painted in oil reveals the charm of traditional Chinese painting. “Sketches in Baxian” marks Chu’s entrance into a more mature stage of his career as well as serves as a turning point in the methods of his creative style. Stylistically, it exhibits features very similar to those of post-impressionist painters like Paul Cézanne. Chu pays close attention to subtle details of color and light effects, while also exploring expressive lines with a calligraphic character. In an article, Remembering Wu Da-yu, Chu Teh-chun recounts: “As a student of Wu Da-yu, I worshipped Cézanne. During my years of work in China, I never strayed far from the methods of post-impressionists. But in 1952, I was painting scenes on Baxian Mountain. And, there on that 2000-plus meter peak, with its deep valleys, mists, and forests, I had a sudden revelation.

I began to understand the way Chinese ink-wash painting presents forms and empty spaces, and the relationship of its poetic, traditional spirit with nature. Thick mists surrounded me, crisscrossed with branches of pine and cypress. This reminded me of the styles of brushwork used in calligraphy. Additionally, mixed in were the feelings I remembered having as I learned calligraphy and painting. Before I knew it, my view of painting had changed.” This shows the significance of Baxian Mountain in Chu’s artistic career. It undoubtedly provided him with an opportunity to move toward a more lyrical and abstract style by combining Chinese and Western styles.

Chu Teh-chun’s early works produced in a realistic manner are extremely difficult to find today, especially the paintings from his time at the Hangzhou Academy of the Arts. The works were completely destroyed during war and migration. Therefore, such works as those of the “Sketches in Baxian” series are very rare.

Chu Teh-chun, Pa-Shian Mountain , 1954, oil on canvas 80.3 x 65.2 cm, Beijing Cheng Xuan Auction Spring 2010 US$ 450,000 sold 朱德群《八仙山》油彩 晝布 80.3 x 65.2 cm 北京誠軒2010春拍 RMB 2,800,000 成交

Chu Teh-chun, Pa-Shian Mountain, 1953, oil on canvas 65.5 x 81cm, Christie's Hong Kong Spring 2010 US$ 340,000 sold 朱德群《八仙山》油彩 晝布 65.5 x 81 cm 香港佳士得2010春拍 HK$ 2,420,000 成交

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CHU Teh-chun (Chinese-French, 1920 - 2014)

Jade Mountain

1984 Oil on canvas 55 x 46 cm Signed lower right CHU TEH-CHUN in Chinese and French Signed on the reverse CHU TEH-CHUN in Chinese and French, inscribed A Philippe bien amicalement in French and dated 1984 EXHIBITED

Albert Féraud & Chu Teh-Chun exhibition, Gentilly Art center, Gentilly, 9 November - 24 November, 1985 This painting is to be sold with a certificate of authenticity issued

by Chu Teh-chun studio.

NT$ 4,800,000-5,500,000 HK$ 1,234,000 -1,414,000 US$ 157,800-180,900 RMB 1,091,000-1,250,000

朱德群 蒼山瓊雪 1984 油彩 畫布 55 x 46 cm 簽名右下：朱德群 CHU TEH-CHUN 簽名畫背：A Philippe bien amicalement 朱德群 CHU TEH-CHUN le 10, nov, 1984 展覽

「朱德群與亞爾貝菲羅繪畫雕塑展」，讓蒂伊藝術中心， 讓蒂伊，展期自1985年11月9日至11月24日 附朱德群工作室開立之原作保證書

206

「東西方融合不是東西拼湊，而是思想的融合。我是在中

國受的教育，所以我的油畫是具有中國詩意的抽象畫。我 比較傾向於唐宋時代的藝術意境。 」 朱德群

朱德群獨鍾於唐宋山水與詩意，他的現代抽象畫將詩、畫、意完美地結 合，貫徹詮釋古人的「詩中有畫，畫中有詩」之宋代山水畫意，法國畫 壇更將他譽為是「二十世紀的宋代畫家」。生於時代動盪，幾經轉折與 文化流動，朱德群由東方轉向歐洲現代藝術的幾十年間，他身處巴黎卻 不醉心於當時的流行畫派，專心一致地獨創出一個充滿詩意的自然空 間。他於1983年受香港中文大學之邀擔任評審並重遊中國，這次與中國 當地山川景致接觸，更加深了多年來貫徹的理念，西方現代抽象和中國 寫意山水，以東方韻味為底，融合西方表現形式之特點的創作。

遠 觀 山 水 ， 如 睹異境 宋代文化會通集成、兼容開放表現於詩學與繪畫當中，中國繪畫在北宋 時期發展至成熟完備的階段。北宋的山水畫以詩表述空間與抒情基調， 郭熙在其《林泉高致》中提出「詩是無形畫，畫是有形詩 」；另有以畫 「山水寒林，情致閑雅，體象雍容」之平遠山水見長的北宋畫家宋迪， 其「瀟湘八景圖」以象徵意義瀟湘的山水隱喻文化傳統，而思索其內在 的抒情基調所產生之內心情懷。風景之於宋代山水畫是一種對文化想 像，一種內心表述建構或象徵環境的方式。宋代文學上的繁盛，不僅表 現在文人將詩詞作為詠物抒情的手段；畫家更以山水抒情，畫中山水已 不再是客觀物象，主觀地體現其創作者之生命情懷。

大 氣 之 韻 ， 渾 然天成 朱德群的「山水」來自其記憶中的風景，在朱德群的繪畫裡，他將所見 風景都做了重新詮釋，心靈悸動下的現實景色以東方與西方獨有的繪畫 特質做了巧妙的精萃，用一種抽象的自然主義方式讓這些獨特的文化泉 源相互交融、去蕪存菁，重新體現生命之美。那股透過光線放射出來蓬 勃生命魅力裡喚起對唐代詩人司空圖《二十四詩品》中「超以象外，得 其環中」超脫於物象之表現，原形容詩文意境雄渾、超脫之美也比喻置 身度外，套用在朱德群的繪畫藝術上，亦是極為適當貼切。 朱德群的抽象藝術，由六、七Ｏ年代的赭紅色調系發展至八Ｏ年代的藍 綠色調系。此幅作品《蒼山瓊雪》以朱德群最喜愛的藍綠色調為主，用 色淡雅、溫潤，搭配雪白色半透明如光芒般的色調營造畫面氛圍，預示 了後來所發展的白色詩意風格「雪景系列」。流暢的大筆刷如中國書法 運筆上下揖讓如音符律動抑揚頓挫、舞跳交織，渾圓的墨點展露出氣韻 生動亦有水墨之蒼勁。吳冠中曾述：「朱德群的抽象繪畫不受近景遠景

具體物象的約束，他竭力追求深遠的空間感與具體筆墨的韻律相結合， 使縱深感與形象性都得到最充分的發揮。 」朱德群承繼了宋代山水畫的 構圖與韻意，畫面中後方雪白的遠山煙嵐浮動，營造出穿透性的大器空 間，「烟樹雲山」的表現形式亦展現出了悠遠卻氣勢渾成，古樸高雅卻 情趣盎然，讓觀者能縱情於其中，體現其生命情懷更表現出物我兩忘的 宇宙之氣。此幅作品曾在1985年11月展覽於法國讓蒂伊藝術中心，為 朱德群獻給展覽策展人菲利浦先生之作品。 208

“The fusion of East and West is not just a process of putting things together; instead, it is a combination of ideas. I was educated in China, thus my oil painting integrates abstract painting with Chinese poetry. I prefer the artistic conception of the Tang and Song Dynasties.”

- CHU Teh-chun

longer an objective image, rather, it subjectively reflected the feelings of the creator.

THE ATMOSPHERE OF THE RHYME LIKE NATURE ITSELF

宋迪《瀟湘八景圖》"Eight Views of Hsiao and Hsiang" by Song Di

The uniqueness of Chu Teh-Chun's artistic ability hides within his mastery of landscapes and the poetry of the Tang and Song Dynasties. His modern abstract painting perfectly combines poetry, painting, and meaning, implementing the interpretation of “painting in poetry and poetry in painting” of the ancient Song Dynasty landscape painting. In the French art scene, he is hailed as the “Song Dynasty painter of the 20th century”. Born into a time of political turbulence, Chu Teh-Chun turned from the East to modern art in several decades after several transitions and cultural shifts. During this time, he stayed in Paris but was not fascinated by the popular painting school at the time. Instead he concentrated on creating a poetic landscape. He was invited by the Chinese University of Hong Kong to be a judge and visited China in 1983 once again.

This time, he connected with the mountainous scenery of China and deepened the concept that has been implementing for many years in Western modern abstraction and Chinese landscapes. He created works based on Eastern atmospheres, which he blended with the characteristics of Western art.

LOOKING AT DISTANT SCENERY AS IF SEEING A FAIRY-TALE WORLD The integration and compatibility of the Song Dynasty culture were expressed in poetry and painting. Chinese painting developed to a mature stage in the Northern Song Dynasty (960-1127). Landscape paintings of the Northern Song Dynasty utilize poetry to express space and lyrics. For example, in Linquan Gaozhi Ji, Guo Xi proposed that “poetry is an invisible painting, painting is a visible poem”; or a painter of the Northern Song Dynasty, Song Di, who specialized in painting “wintry, magnificent, elegant, and graceful” flat distance landscapes of misty water and trees. His Eight Views of Hsiao and Hsiang symbolizes the metaphorical cultural tradition of Hsiao Hsiang and contemplates on feelings arising from the inner lyrical tone. In the Song Dynasty, landscape for landscape painting was a way of thinking about culture, a construction of inner expressions or a way to symbolize environment. The prosperity of literature in the Song Dynasty was not only manifested in the literati's lyrical poetry as a means of chanting; painters lyricized landscape even more, and a landscape in the painting was no

Chu Teh-Chun's “landscape” originates from the scenery in his memory. In the paintings, he reinterprets the scenery he observes.

The realistic scenery is ingeniously refined with the unique characteristics of the East and the West painting. He applies an abstract naturalistic approach by blending these unique cultural sources together to recreate the beauty of life. The light radiates out the vitality of life and evokes the charm of being detached from the object, or, “creating the emotion beyond the image,” as presented by the Tang Dynasty poet Tu Sikong in Twenty-Four Poems. Originally described as poetry’s artistic conception, the beauty of detachment is also a metaphor, which can also be applied describing to Chu Teh-Chun's paintings.

Chu Teh-Chun's abstract art evolved from the crimson tone of the 1960s and 1970s to the blue-green tone of the 1980s.

“Jade Mountain” is painted in Chu’s favorite blue-green tone.

Light, elegant, white, translucent, and radiant tones create the atmosphere of the painting. Which anticipating Chu’s later development of his distinctive style of “White lyricism”. Large brushstrokes painted in a smooth manner, like a brush bowing when moving up and down in Chinese calligraphy, like the rhyme and cadence of the music or dance and jumping interviewed together.

Wu Guan-Zhong once said: “For Chu Teh-Chun's abstraction, objects in the foreground and background of a painting do not pose as constraints, but instead motivate the artist's pursuit of a deep spatiality that can coalesce with the concrete rhythms in his ink and brushwork. And this accounts for the ampleness of the depth and form in his work.”Inheriting composition and rhyme of the landscape painting of the Song Dynasty, Chu Teh-Chun paints snowy distant mountains covered in a floating haze, thus creating a penetrating space. Mist, Tree, Cloud, and Mountain depicts a distant but imposing, simple and elegant but filled with joy manner of expression, which allows the viewers to indulge in it, reflecting vivid feelings and displaying the forgotten cosmic atmosphere.

“Jade Mountain” was part of the Albert FERAUD and CHU Teh-chun exhibition that took place between the 9th to the 24th of November 1985 at the Gentilly Art Center in France. It belonged to the collection of Mister Philippe N. the curator of this exhibition. The back of the painting is indeed dedicated

by Chu Teh-Chun to him “A Philippe bien amicalement” (To Philippe sincerely).

1985年「蒼山瓊雪」展覽海報 Poser of exhibition in 1985

251

ZHOU Chunya (Chinese, b. 1955)

Green Dog into Taihu Lake Stone 2005 Bronze, edition 5/8 87(L) x 43(W) x 84(H) cm Engraved on the back Zhou Chunya in Chinese, numbered 5/8 and dated 05 This sculpture is to be sold with a certificate of authenticity issued

by Northern Banker Art

NT$ 2,800,000-3,800,000 HK$ 720,000-977,000 US$ 92,100-125,000 RMB 636,000-864,000

周春芽 綠狗化成太湖石 2005 銅雕 5/8 87(長) x 43(寬) x 84(高) cm 簽名雕刻後方：周春芽 05 5/8 附北莊藝術開立之作品保證書

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LI CHEN Golden Palm, The Pursuer

天燧是一種儀式，「盈昃」才是它的生命 2009年某日，李真一個人從忙碌中回到家裡，點亮佛堂裡久未燃燒 的燈燭，享受那份寧靜的温暖引發出「天燧系列」的靈感。天燧系 列只製作八件，主題更為聚焦。 人們因為有火而能飽餐，是文明起源，在各個文化、宗教中都有傳 說，例如中國的燧人氏、希臘神話中的普羅米修斯、原始部落的圖 騰等等對火的崇拜皆指向光明、指引心靈，人與火的互動之間洋溢 著温暖、平安、智慧與幸福，對人的意義因此歷久而彌新。在焰舞 光躍之際，靈動而具生命力，這氣氛充滿了循環不息的呼吸。李真 說：「天燧是一種儀式，『盈昃』才是它的生命。 」，藝術家意圖 使作品在點燈的過程中讓雕塑更具有「互動性」。從不同角度觀察 光影搖曳與雕塑明暗的變化，在視覺層次上說明了作品的立體感。 這三維的實體存在，觸動感官知覺，點亮心境的靈性，在影子氣氛 呼息空間的關係中，雕塑的生命意義因而更豐富。 《追燭》與「追逐」諧音，清楚表達此作意涵。李真形塑一尊大步 邁開，單腳站立的人物正穿雲而過的模樣，一腳佇立、一腳向後 揚起，呈現出動態平衡。雙手合十向前延伸，手中捧著燭火，彷彿 指引去路的光明所在。那絕妙的人體姿態，不由得令人讚嘆，動態 形體及速度感，彷彿夸父追日，但目標為何？我們看見追逐雕塑手 中之燭光，而這燭火的意義，是一個目標？一個信仰？還是一個夢 想？全都取決於每個人對生命追求的不同定義與體悟。腰間環繫的 一縷雲朵猶如舞衣，或令人想起泡泡浴，詼諧地引發不同聯想，其 創意與奇特性讓人驚豔。 在道教思想中，大羅金仙乃是等級最高的神仙，祂自由自在地遨遊 天際，撫水中月，鼎金掌，放蕩不羈。據說修道之人若能臻達此 境，便可形神俱妙、不落輪迴。《大羅金掌》一作取題無疑出自此 處。作品中人物形象側身，一隻手單手撫水中月，另一隻金掌向上 高舉，營造出現代噴射機疾速而過的動態與速度感，讓靜態雕塑， 產生動態視覺效果。這我行我素彷彿如不受拘束的意念行空，是解 脫的智慧，其掌中藏火，更顯雕塑品之神采。

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"Behind the Beacon series is a ceremonial process; its essence lies in Yinze - the full of diminishing glory and the moon."

- LI CHEN

One day in 2009 Li Chen returned home after a busy day at work, lit the oil lamp in the family hallway for worship where that had sat idle for so long and sat there enjoying the warmth of silence. This experience provided the inspiration for Beacon series. This series was completed with just eight pieces and was very focused interims of its motif.

Fire provided Mankind with the ability to cook food, marking the beginning of civilization. All cultures and religions have legends about the birth of fire, in Chinese legends it is Suiren, in Greek legend Prometheus. Even the totems of primitive tribes and their reverence for fire points in the direction of light and the idea of providing spiritual direction. The interaction people and fire is replete with warmth, security, knowledge and happiness and as such the significance of fire for Mankind has been remained unshakeable over the years. The dancing flames and light seem infused with spirituality and vitality, an atmosphere that is infused with an endless cycle of life. Li Chen says: "Behind the Beacon series is a ceremonial process: its essence lies in Yinze - the full of diminishing glory of the sun and the moon." The artist attempts to ensure that the the act of lighting the lamp makes the sculpture more "interactive". If we observe the movement in light and shade from different angles and changes in lightness and darkness on the sculpture then this visual layering explains the three dimensions stimulates the viewer's sensory awareness and speaks to the spirituality the human soul, as the interplay of shade, atmosphere, breathing and space combines to enrich the meaning of the sculpture.

《大羅金掌》泥塑 Clay Phase of "Golden Palm" at Li Chen studio

In Chinese, “The Pursuer” sounds like the word for “chasing after”, which clearly expresses the meaning behind the work. Taking a huge stride forward with only one foot on the ground and arms extended forward, the figure holds a candle flame in both hands as he dashes through the clouds. Here, the candle flame seems to signify the light that will direct one’s path. The artist created an amazing human form that exudes grace and speed. Its powerful physique is reminiscent of Kua Fu, the giant famous for his relentless pursuit of the sun in an attempt to catch it according to Chinese mythology. But what is Li Chen’s heroic figure chasing after? Could the answer possibly lie in the flame burning in his outstretched hands? Is he chasing after goals and dreams or undertaking a quest of faith? Ultimately its interpretation depends on how one defines his goals in life as well as his understanding and experiences of life. A white cloud twirling around the waist of the figure is evocative of a bubble foam bath or just like one of a dance costume, triggering the imagination and lending a surprising touch of humor to the otherwise thought-provoking theme. Such is the wondrous creativity of Li Chen.

Golden Deity Daluo, the inspiration behind the work “Golden Palm”, is known as the Taoist deity of the highest order. If a devotee can attain his level of sage hood through cultivation of the Way, then his physical body and spirit will undergo a divine transformation that will help release him from the eternal cycle of birth and death. While we know for sure the origin of the Chinese title for Golden Palm, the portrayal of a figure in a horizontal position with one hand in the waters touching the moon and the other holding a flame heavenward conveys the movement and speed of a modern jet plane, its horizontally positioned body conjures the illusion of speed, evoking a sense of movement in an otherwise inanimate piece of sculpture. There is a sense of liberation, as the will is freely unleashed to roam as it pleases. The glowing light from his golden palm further enhances.

《追燭》泥塑 Clay Phase of "The Pursuer"

252

LI Chen (Taiwanese, b. 1963)

Golden Palm

2010 Bronze, edition 1/8 65.5(L) x 31(W) x 80(H) cm Engraved on the back Li Chen in English, numbered 1/8 and dated 2010 With one seal of the artist PROVENANCE

Private collection, Europe ILLUSTRATION

The Beacon Series When Night Light Glimmers, Asia Art Center, Taipei, 2010, color illustrated, pp. 56-61 EXHIBITION

The Beacon–When Night Light Glimmers, ShContemporary 10 The Asia Pacific Contemporary Art Fair, Shanghai, September 9-12, 2010 (different sized version) This sculpture is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 2,800,000-3,800,000 HK$ 720,000-977,000 US$ 92,100-125,000 RMB 636,000-864,000

李真 大羅金掌 2010 銅雕 1/8 65.5(長) x 31(寬) x 80(高) cm 簽名雕刻背後：Li Chen 1/8 2010 雕刻鈐印：李真 來源

私人收藏，歐洲 圖錄

《天燧系列：夜光盈昃》，亞洲藝術中心，台北，2010，彩 色圖版，頁56-61 展覽

「天燧系列：夜光盈昃」，2010上海藝術博覽會國際當代藝 術展，上海，展期自2010年9月9日至12日（不同尺寸版本） 附亞洲藝術中心開立之作品保證書

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253

LI Chen

李真

(Taiwanese, b. 1963)

追燭

The Pursuer

2010 Bronze, edition 4/8 84(L) x 32(W) x 41(H) cm Engraved on the back Li Chen in English, numbered 4/8 and dated 2010 With one seal of the artist

2010 銅雕 4/8 84(長) x 32(寬) x 41(高) cm 簽名雕刻背後：Li Chen 4/8 2010 雕刻鈐印：李真 來源

私人收藏，歐洲

PROVENANCE

圖錄

Private collection, Europe

《天燧系列：夜光盈昃》，亞洲藝術中心，台北，2010，

ILLUSTRATION

彩色圖版，頁70-77 (不同尺寸版本)

The Beacon Series When Night Light Glimmers, Asia Art Center, Taipei, 2010, color illustrated, pp. 70-77(different sized version) Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center, Taipei, 2012, color illustrated, pp. 114-115 & pp. 204-205(different sized version) Li Chen's Major Sculpture Solo Exhibition, Asia Art Center, Taipei, 2014, color illustrated, p.17, 32, 62-63, 73, 106-107 (different sized version)

《大氣－李真台灣大型雕塑首展》，亞洲藝術中心，台北，2012，

EXHIBITION

Running the Silk Road, Destination of ultramarathon, Xian, 2011 (different sized version) Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, Chang Kai-shek Memorial Hall, Taipei, November 6 - December 4, 2011(different sized version) Li Chen's Major Sculpture Solo Exhibition, Place Vendôme, Paris, September 2-29, 2013 (different sized version) This sculpture is to be sold with a certificate of authenticity issued

by Asia Art Center, Taipei.

NT$ 2,400,000-3,200,000 HK$ 617,000-823,000 US$ 78,900-105,200 RMB 545,000-727,000

《追燭》展於巴黎凡登廣場 "The Pursuer" stands in balance on the Place Vendóme

216

彩色圖版，頁33, 頁114–115及頁204-205 (不同尺寸版本) 《李真2013巴黎凡登廣場大型雕塑個展》，亞洲藝術中心，台北， 2014，彩色圖版，頁17, 32, 62-63, 73, 106-107 (不同尺寸版本) 展覽

「擁抱絲路」，超級馬拉松終點，西安，2011年（不同尺寸版本） 「大氣－李真台灣大型雕塑首展」，中正紀念堂，台北， 展期自2011年11月6日至12月4日（不同尺寸版本） 「李真2013巴黎凡登廣場大型雕塑個展」，凡登廣場，巴黎， 展期自2013年9月2日至29日（不同尺寸版本） 附亞洲藝術中心開立之作品保證書

254

JU Ming (Taiwanese, b. 1938)

Taichi Series

1995 Bronze, edition AP 3/10 32.5(L) x 29(W) x 57(H) cm Engraved on the reverse Ju Ming in Chinese, numbered AP 3/10 and dated '95 This sculpture is to be sold with a certificate issued by Lee Chi Creativity Co., Ltd. and signed by the artist

NT$ 2,600,000-3,400,000 HK$ 668,000-874,000 US$ 85,500-111,800 RMB 591,000-773,000

朱銘 太極系列 1995 銅雕 自3/10 32.5(長) x 29(寬) x 57(高) cm 簽名雕刻背面下方：朱銘 自3/10 '95 附李記創意股份有限公司與藝術家親筆簽名之作品保證書

218

255

JU Ming (Taiwanese, b. 1938)

Tachi Series

1991 Bronze, edition 10/20 37(L) x 40.9(W) x 60.4(H) cm Engraved on the bottom Ju Ming, numbered 10/20 and dated 1991 This sculpture is to be sold with a certificate of authenticity issued by the nonprofit organization Juming Culture and Education Foundation.

NT$ 2,200,000-3,200,000 HK$ 566,000-823,000 US$ 72,300-105,200 RMB 500,000-727,000

朱銘 太極系列 1991 銅 10/20 37(長) x 40.9(寬) x 60.4(高) cm 簽名雕刻下方：朱銘 '91 10/20 附財團法人朱銘文教基金會作品鑑定報告書

220

256

LI Chen (Taiwanese, b. 1963)

李真 山行旅

Traveling in Mountains

2003

2003 Bronze, edition 8/8 34(L) x 35(W) x 37(H) cm Engraved on the back Li Chen in English, numbered 8/8 and dated 2003 With one seal of the artist

34(長) x 35(寬) x 37(高) cm

PROVENANCE

銅雕 8/8 簽名雕刻背後：Li Chen 8/8 2003 雕刻鈐印：李真 來源

私人收藏，歐洲 圖錄

Private collection, Europe

《李真第52屆威尼斯雙年展─虛空中的能量》，亞洲藝術中

ILLUSTRATION

心，台北，2007，彩色圖版，頁162-163

Li Chen in 52nd Venice Biennale - Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, pp. 162-163 Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, color illustrated, pp. 98-99

《李真中國美術館個展─尋找精神的空間》，亞洲藝術中心， 台北，2008，彩色圖版，頁98-99 附亞洲藝術中心開立之作品保證書

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

NT$ 1,200,000-2,200,000 HK$ 308,000-566,000 US$ 39,500-72,300 RMB 273,000-500,000

山中旅遊的行者，沉浸於山裡的雲團中，一座座的山峰，從雲 朵中探出，行者悠閒自在的神情，與山間大自然的寧靜與悠哉 氛圍結為ㄧ體。山行旅描繪出世間自然的美妙與清幽，供為悠 遊的人間仙境，點出潛在於人類喜悅心情與無憂釋懷的正面能 量，頓時將觀者的心情由喧囂的塵世帶入超然脫俗的境界，令 人心曠神怡、放意暢懷。 “Traveling in Mountains” is part of Li Chen’s “Spiritual Journey through the Great Ether” series. The figure in this piece is immersed in the cloud and surrounded by the mountain with a satisfied facial expression. Through this piece, the artist expresses a sense of spiritual content and joyfulness in a lighthearted and playful air.

222

257

HUNG Yi (Taiwanese, b. 1970)

洪易 馬上發財

Horse Wealthy

2015

2015 Lacquered steel, enamel, edition 6/6 100(L) x 50(W) x 111(H) cm Signed on the back Hung Yi in Chinese, numbered 6/6 and dated 2015

100(長) x 50(寬) x 111(高) cm

鋼板 彩繪 6/6 手繪簽名背部：洪易 6/6 2015

NT$ 950,000-1,300,000 HK$ 244,000-334,000 US$ 31,200-42,700 RMB 216,000-295,000

在台灣當代藝術的發展上，洪易是一位具有強烈個人風格與時代特色的原創性藝術家。他的作品色彩鮮豔、生動活潑、造型奇特且千變萬化。 洪易認為：「當代藝術世界百花齊放，多樣的創作形式令人目不暇給，而臺灣的特色是什麼，人們總是容易忽略身邊最貼切的事物，但我覺得 藝術是很生活化，不論創作什麼都要與自己的環境結合，創作才有意義和生命力。 」 作品使用全新的雕塑媒材「鋼板烤漆」，反應現代機械文明的新風格。每一件作品皆為獨立鍛造、塑型，造型變化萬千；色彩運用大膽豐富， 結合濃厚的臺灣人文氣息，蘊藏多重的文化底蘊，轉化為獨特的「洪易風格」，洪易的藝術世界充滿想像力，透過色彩雕塑，洪易讓我們的世 界，充滿趣味與驚喜。 Hung Yi is an original artist featuring strong personal style and distinguishing characters in the development history of Taiwanese Contemporary Art. His works are bright, vibrant, lively, peculiar, and whimsical. Hung Yi once said “The diversifying creative forms are overwhelming in the flourishing contemporary art world. In figuring what Taiwanese characters are, I found people often neglected the very close things. I considered art a part of life. No matter what one is creating, the creation must be combined with one’s surroundings in order to make it vital and meaningful.”

Hung Yi has been using lacquered steel, a brand-new material, as his new style in response to modern mechanical civilization. In order to produce the dynamic form for each sculpture, every piece of work was forged and shaped individually. He utilizes the bold, abundant colors, and elements of Taiwanese cultural, which bears multiple humanities, collectively to form the distinct “Hung Yi Style.” Hung Yi’s art world is brimmed with imagination. Through the sculptures with brilliant colors, he has richened the world with fascinations and amazements.

224

258

HUNG Yi (Taiwanese, b. 1970)

Dragon Fortune 2015 Lacquered steel, granite, edition EA 120(L) x 55(W) x 76(H) cm Signed right side Hung Yi in Chinese and dated EA 2015 This sculpture is to be sold with a certificate of authenticity issued

by InSian Gallery.

NT$ 900,000-1,600,000 HK$ 231,000-411,000 US$ 29,600-52,600 RMB 205,000-364,000

洪易 福龍 2015 鋼板 烤漆 EA 120(長) x 55(寬) x 76(高) cm 簽名右側：洪易 EA 2015 附印象畫廊開立之作品保證書

大尺寸福龍被舊金山亞洲藝術博物館收藏，自2016年起放在博物館館入口前廣場。 The large-sized Lucky Dragon is collected by the Asian Art Museum of San Francisco, and has been placed in the square in front of the museum entrance since 2016.

226

259

CHU Teh-chun (Chinese-French, 1920 - 2014)

G

D B E I C A

朱德群 墨之風暴（版畫書）（九件一組）

Encre Orageuse (Stormy Ink) (a Set of 9)

2008

2008 Lithographs, edition 10/99 45 x 35.3 x 3.5 cm (Book) A: 41 x 29.6 cm B: 44.8 x 35 cm C: 40.7 x 29.2 cm D: 41 x 59.6 cm E: 41.5 x 29.7 cm F: 45 x 69.5 cm G: 41 x 29.2 cm H: 44.7 x 35 cm I: 41.3 x 29.8 cm Signed lower right CHU TEH-CHUN in French and Chinese (C, D, I); with the artist’s seal on lower right (A, E, G), and numbered 10/99 on all six of the lithographs; stamped on the upper right and lower left with the artist's seal on each calligraphy.

45 x 35.3 x 3.5 cm (書)

NT$ 600,000-700,000 HK$ 154,000-180,000 US$ 19,700-23,000 RMB 136,000-159,000 130

F H

石版畫 10/99 A: 41 x 29.6 cm B: 44.8 x 35 cm C: 40.7 x 29.2 cm D: 41 x 59.6 cm E: 41.5 x 29.7 cm F: 45 x 69.5 cm G: 41 x 29.2 cm H: 44.7 x 35 cm I: 41.3 x 29.8 cm 版次左下：10/99 簽名右下：朱德群 CHU TEH-CHUN（C,D,I） 鈐印右下：朱德群 （A, E, G）

260

ZAO Wou-ki (Chinese-French, 1921 - 2013)

趙無極 普魯斯特

Proustiennes

1991

1991 Etching with aquatint, edition VI/VI; book edition HC 6/18 19.7 x 14 cm (print) 32.4 x 24 cm (book) Signed lower right Wou-ki in Chinese, Zao in French, and numbered lower left VI / VI

版畫書 HC 6/18

版畫 VI/VI 19.7 x 14 cm（版畫） 32.4 x 24 cm（書） 簽名右下：無極 ZAO 版次左下：VI /VI

ILLUSTRATED

圖錄

ZAOWOUKI, The Graphic Work: A Catalogue Raisonné, 1937-1995, Edition Heede & Moestrup, Copenhagen, Denmark, 1994, p. 194, plate 347-348

丹麥，哥本哈根，1994，頁194，編號 347-348

NT$ 170,000-240,000 HK$ 44,000-62,000 US$ 5,600-7,900 RMB 39,000-55,000

《趙無極版畫集1937-1995》，Edition Heede & Moestrup ，

261

CHEN Ting-shih (Taiwanese, 1916 - 2002)

Day and Night No. 44 1980 Woodblock print, edition 5/40 62 x 62 cm Signed lower right Chen Ting-Shih, dated Jan. 1980, titled lower left Day and Night #44 in English, and numbered lower center 5/40

NT$ 220,000-320,000 HK$ 57,000-82,000 US$ 7,200-10,500 RMB 50,000-73,000

230

陳庭詩 日與夜 #44 1980 版畫 5/40 62 x 62 cm 簽名右下：Chen Ting-shih Jan. 1980 題識左下: Day and Night #44 版次中下：5/40

262

CHEN Ting-shih (Taiwanese, 1916 - 2002)

Will #17

1981 Woodblock print, edition 2/50 61 x 61 cm Signed lower right Chen Ting-Shih, dated Nov. 1981, titled lower left WILL #17 in English, and numbered lower center 2/50

NT$ 240,000-340,000 HK$ 62,000-87,000 US$ 7,900-11,200 RMB 55,000-77,000

陳庭詩 意志 #17 1981 版畫 2/50 61 x 61 cm 簽名右下：Chen Ting-shih Nov. 1981 題識左下: WILL #17 版次中下：2/50

263

ZAO Wou-ki (Chinese-French, 1921 - 2013)

趙無極 慢步

Randonnées (Rambles)

1974

1974 Etching with aquatint, edition 27/125 24 x 18.5 cm (x5) Signed on the print at the first page Wou-ki in Chinese, Zao in French and dated 74 Signed on the last page Wou-ki in Chinese, Zao in French

24 x 18.5 cm (x5)

EXHIBITED

版畫書 27/125 簽名首頁版畫：無極 ZAO 74 簽名末頁：無極 ZAO 展覽

「趙無極版畫與插圖展」，法國國家圖書館，巴黎，法國， 展期自2008年6月3日至8月24日 （另一版次）

Zao Wou-Ki: Estampes et livres illustrés, Bibliothèque Nationale de France, Paris, June 3 - August 24, 2008 (another edition)

圖錄

ILLUSTRATED

Graphiques，巴黎，1975，頁142-143，圖版 258、262

Zao Wou-ki: Les estampes 1937-1974, Paris, 1975, illustrated in black and white, pp. 142-143, plate 258, 262 ZAOWOUKI, The Graphic Work: Catalogue raisonné, 1937-1995, Edition Heede & Moestrup, Copenhagen, Denmark, 1995, color illustrated, pp. 142-143, plate 258, 262 Zao Wou-Ki: Estampes et livres illustrés, Bibliothèque Nationale de France, Paris, 2008, p. 103, plate 53

NT$ 240,000-340,000 HK$ 62,000-87,000 US$ 7,900-11,200 RMB 55,000-77,000 232

《趙無極版畫集 1937-1974》，Arts et Mètiers 《趙無極版畫1937-1995》 ，Heede & Moestrup，哥本哈 根，1995，彩色圖版，頁146-147，圖版 257、261 《趙無極版畫與插圖展》，法國國家圖書館出版 ，巴黎， 2008，頁103，圖版 53

264

YANG San-lang (Taiwanese, 1907 - 2015)

楊三郎 海邊房舍

House by the Seaside

油彩 木板

Oil on board 38 x 45.5 cm Signed lower left S. Yang in English

簽名左下：S. Yang

PROVENANCE

Sotheby’s Auction, Taipei, April 11, 1999, lot 46 Sotheby’s Auction, Hong Kong, October 7, 2012, lot 574 Private collection, Asia

NT$ 380,000-550,000 HK$ 98,000-141,000 US$ 12,500-18,100 RMB 86,000-125,000

38 x 45.5 cm 來源

蘇富比拍賣，台北，1999年4月11日，編號46 蘇富比拍賣，香港，2012年10月7日，編號574 私人收藏，亞洲

265

Chang-Ling (Taiwanese, b. 1975)

Pork Belly Series - Flesh, Flowers and Birds - Wild Orchids 2007 Oil on canvas 112 x 145.5 cm Signed on the reverse Chang-Ling in Chinese, titled Pork Belly Series - Flesh, Flowers and Birds Wild Orchids in Chinese and dated 2007

NT$ 360,000-420,000 HK$ 93,000-108,000 US$ 11,800-13,800 RMB 82,000-95,000

常陵 五花肉系列-肉花鳥-野放蘭 2007 油彩 畫布 112 x 145.5 cm 簽名畫背：五花肉系列－肉花鳥 野放蘭 常陵 2007

234

266

CHEN Cheng Wei (Chinese, b. 1984)

大民國-點絳唇

Series on the Republic of China - Rouged Lips

2017

2017 Oil on canvas 60 x 50.5 cm Signed lower right Chen Cheng Wei in Chinese

60 x 50.5 cm

NT$ 380,000-480,000 HK$ 98,000-123,000 US$ 12,500-15,800 RMB 86,000-109,000

236

陳承衛

油彩 畫布 簽名右下：陳承衛

267

HU Shanyu (Chinese, 1909 - 1993)

胡善餘 河邊樹林

Forest by the River

油彩 畫布

Oil on canvas 63.5 x 49.5 cm Signed lower right Shanyu in Chinese

簽名右下：善餘

PROVENANCE

Bonhams Auction, Hong Kong, Nov. 24, 2010, lot 584 Private collection, Asia

NT$ 400,000-600,000 HK$ 103,000-154,000 US$ 13,200-19,700 RMB 91,000-136,000

63.5 x 49.5 cm 來源

邦瀚斯拍賣，香港，2010年11月24日，編號584 私人收藏，亞洲

268

Yoshio CHANG (Taiwanese, 1914 - 2016)

車廂

Coach

1982

1982 Oil on canvas 61 x 50 cm Signed lower left Y. CHANG in English and dated ‘82

61 x 50 cm

NT$ 420,000-550,000 HK$108,000-141,000 US$ 13,800-18,100 RMB 95,000-125,000

238

張義雄

油彩 畫布 簽名左下：Y. CHANG '82

269

Alixe FU (FU Qingli, Ching-Fong) (Chinese-French, b. 1961)

傅慶豊 蝴蝶與人

Butterfly and the Person

1996

1996 Oil on canvas 130 x 130 cm Signed lower right Alixe Fu in English, dated '96

130 x 130 cm

EXHIBITIED

Eye-Color, Alixe Fu Solo Exhibition 1998, Dimensions Art Center, Taipei, May 23 - July 19, 1998 ILLUSTRATED

Alixe Fu Solo Exhibition 1998, Dimensions Art Center, Taipei, 1998, color illustrated, pp. 14 - 15

NT$ 460,000-650,000 HK$ 118,000-167,000 US$ 15,100-21,400 RMB 105,000-148,000

油彩 畫布 簽名右下：Alixe Fu '96 展覽

「眼．色－1998博慶豐個展」，帝門藝術中心，台北， 展期自1998年5月23日至7月29日 圖錄

《博慶豐－「眼色」》，帝門藝術中心，台北，1998， 彩色圖版，頁 14 - 15

E C

270

CHU Teh-chun (Chinese-French, 1920 - 2014)

2000 E / 2000 C / 2000 D (a set of 3)

D

朱德群 2000 E / 2000 C / 2000 D (三件一組) 2000 石版畫

2000 Lithograph, edition 51/150 (2000E); 52/150 (2000C); 138/150 (2000D) 72 x 92 cm (2000E); 62 x 80 cm (2000C); 82 x 60 cm (2000D) Signed lower right CHU TEH-CHUN in Chinese and French and numbered lower left 51/150 (2000E) Signed lower right CHU TEH-CHUN in Chinese and French and numbered lower left 52/150 (2000C) Signed lower right CHU TEH-CHUN in Chinese and French and numbered lower left 138/150 (2000D)

51/150 (2000E)；52/150 (2000C)；138/150 (2000D)

ILLUSTRATED

《朱德群院士 原創石版畫紀念輯》，名山藝術股份有限公司，

CHU TEH-CHUN The Graphic Work 2000-2008, Hoke Art, Taipei, 2008, color illustrated, p. 14, p. 15, p. 16 (another cast) CHU TEH-CHUN The Graphic Work of Lithograph 2000-2008, Mingshan Art collection Co., Ltd, Taipei, 2015, color illustrated, p. 26, p. 28, p. 30

2015，台北，彩色圖版，頁26，頁28，頁30

NT$ 420,000-650,000 HK$ 108,000-167,000 US$ 13,800-21,400 RMB 95,000-148,000

240

72 x 92 cm (2000E)；62 x 80 cm (2000C)；82 x 60 cm (2000D) 簽名右下：朱德群 CHU TEH-CHUN ；版次左下：51/150 (2000E) 簽名右下：朱德群 CHU TEH-CHUN ；版次左下：52/150 (2000C) 簽名右下：朱德群 CHU TEH-CHUN ；版次左下：138/150 (2000D) 圖錄

《朱德群 石版畫》，霍克國際藝術股份有限公司，台北，2008， 彩色圖版，頁14，頁15，頁16（另一版次）

271

CHU Teh-chun (Chinese-French, 1920 - 2014)

Dusk; Abstract Halidome; Pastoral (a set of 3) 2002 ; 2003 ; 2008 Lithograph, edition 109/150 (Dusk); 13/150 (Abstract Halidome); 71/150 (Pastoral) 85 x 64 cm (Dusk); 70 x 96 cm (Abstract Halidome); 63 x 81 cm (Pastoral) Signed lower right CHU TEH-CHUN in Chinese and French and numbered lower left 109/150 (Dusk) Signed lower right CHU TEH-CHUN in Chinese and French and numbered lower left 13/150 (Abstract Halidome) Signed lower right CHU TEH-CHUN in Chinese and French and numbered lower left 71/150 (Pastoral) ILLUSTRATED

CHU TEH-CHUN The Graphic Work 2000 - 2008, Hoke Art, Taipei, 2008, color illustrated, p. 40 (Pastoral) CHU TEH-CHUN The Graphic Work of Lithograph 2000-2008, Mingshan Art collection Co., Ltd, Taipei, 2015, color illustrated, p. 54, p. 60 (Abstract Halidome, Pastoral)

NT$ 420,000-650,000 HK$ 108,000-167,000 US$ 13,800-21,400 RMB 95,000-148,000

朱德群 暮輝；瞻仰；田園 (三件一組) 2002 ; 2003 ; 2008 石版畫 109/150 (暮輝)；13/150 (瞻仰)；71/150 (田園) 85 x 64 cm (暮輝)；70 x 96 cm (瞻仰)；63 x 81 cm (田園) 簽名右下：朱德群 CHU TEH-CHUN ；版次左下：109/150 (暮輝) 簽名右下：朱德群 CHU TEH-CHUN ；版次左下：13/150 (瞻仰) 簽名右下：朱德群 CHU TEH-CHUN ；版次左下：71/150 (田園) 圖錄

《朱德群 石版畫》，霍克國際藝術股份有限公司，台北，2008， 彩色圖版，頁40（田園） 《朱德群院士 原創石版畫紀念輯》，名山藝術股份有限公司， 2015，台北，彩色圖版，頁54，頁60（瞻仰、田園）

272

Tzu-chi YEH (Taiwanese, b. 1957)

葉子奇 藝術家的椅子

Artist's Chair

1991-92

1991-92 Tempera and oil on linen 50 x 40 cm Signed lower right Tzu-chi in Chinese and with the artist’s monogram; dated 1991-92

50 x 40 cm

EXHIBITION

Monolog II, New Trends Gallery, Taichung, 2013

NT$ 420,000-550,000 HK$ 108,000-141,000 US$ 13,800-18,100 RMB 95,000-125,000 242

卵彩 油彩 亞麻布 簽名右下：子奇

1991-92

展覽

「獨白II」，新展望畫廊，台中，2013

273

CHIU Ya-tsai (Taiwanese, 1949 – 2013)

邱亞才 青年

Young Man

油彩 畫布

Oil on canvas 80 x 65 cm Signed lower right Ya-tsai in Chinese

簽名右下：亞才

NT$ 550,000-750,000 HK$ 141,000-193,000 US$ 18,100-24,700 RMB 125,000-170,000

80 x 65 cm

274

CHANG Chia-ying (Taiwanese, b. 1982)

張嘉穎 頭花花之貓小姐與松鼠先生

The Colorful Head - Ms. Cat and Mr. Squirrel

2008-2009

2008-2009 Acrylic on canvas 130 x 194 cm Signed lower right edge Chia Ying in English and dated 2009

130 x 194 cm

This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 550,000-650,000 HK$ 141,000-167,000 US$ 18,100-21,400 RMB 125,000-148,000

244

壓克力 畫布 簽名右下側邊：Chia Ying 2009 附藝術家親筆簽名之原作保證書

275

KUO Wei-kuo (Taiwanese, b. 1960)

郭維國 入侵桃花源（雙聯幅）

Invasion of Shangri-la (diptych)

1996

1996 Mixed media on canvas 80 x 242 cm Signed lower left Kuo’s in English and dated 1996

80 x 242 cm

This painting is to be sold with a certificate of authenticity with artist's signature issued by Lin & Keng Gallery.

NT$ 600,000-900,000 HK$ 154,000-231,000 US$ 19,700-29,600 RMB 136,000-205,000

混合媒材 畫布 簽名左下：Kuo's 1996 附大未來畫廊與藝術家親筆簽名之原作保證書

276

LIEN Chien-hsing (Taiwanese, b. 1962)

連建興 好水岩

Good Water and Rocks

1998

1998 Oil on canvas 97 x 145.5 cm Signed lower right LIEN Chien-hsing in Chinese and dated 1998 Signed on the reverse LIEN Chien-hsing in Chinese, titled Good Water and Rocks in Chinese and dated 1994, inscribed 80P

97 x 145.5 cm

ILLUSTRATED

LIEN Chien-hsing, Eslite Gallery, Taipei, 2012, color illustrated, p. 233

NT$ 600,000-900,000 HK$ 154,000-231,000 US$ 19,700-29,600 RMB 136,000-205,000 246

油彩 畫布 簽名右下：連建興 1998 簽名畫背：連建興 80P 題識畫背：好水岩 1998 圖錄

《連建興》，誠品畫廊，台北，2012，彩色圖版，頁233

277

SU Wong-shen (Taiwanese, b. 1956)

蘇旺伸 假山假水

Artificial Landscape

1997

1997 Oil on canvas 80 x 80 cm Signed on the reverse Su Wong-shen in Chinese and titled Artificial Landscape in Chinese, dated 1997

80 x 80 cm

ILLUSTRATED

Su Wong-shen - Between the Clouds, Eslite Corp., Taipei, 2008, color illustrated, plate 224, p. 237

NT$ 600,000-700,000 HK$ 154,000-180,000 US$ 19,700-23,000 RMB 136,000-159,000

油彩 畫布 簽名畫背：假山假水 蘇旺伸 1997 圖錄

《蘇旺伸：雲與雲之間》，誠品股份有限公司，台北， 2008，彩色圖版，圖版224，頁237

278

Tzu-chi YEH (Taiwanese, b. 1957)

A Tree (Rennes, Brittany, France) 1996 Tempera and oil on linen 66 x 40 cm Signed lower right Tzu-chi in Chinese, with artist’s monogram and dated 1996 EXHIBITED

Tzu-chi Yeh - Landscape, Home Gallery, Taipei, January 11 - February 6, 1997 ILLUSTRATED

Tzu-chi Yeh - Landscape, Home Gallery, Taipei, color illustrated, pp. 17-18

NT$ 650,000-850,000 HK$ 167,000-219,000 US$ 21,400-28,000 RMB 148,000-193,000

葉子奇 獨樹 1996 卵彩 油彩 亞麻布 66 x 40 cm 簽名右下：子奇 1996 展覽

「葉子奇個展─走過風景的心情」，家畫廊，台北， 展期自1997年1月11日至2月6日 圖錄

《葉子奇個展─走過風景的心情》，家畫廊，台北， 1997，彩色圖版，頁17-18

248

279

XUE Song (Chinese, b. 1965)

薛松 接見

The Interview

2000

2000 Mixed media on canvas, collage 150 x 120 cm Signed lower right Xue Song in Chinese Signed on the reverse Xue Song in Chinese and English, titled The Interview in Chinese, inscribed 150 x 120 cm and dated 2000

150 x 120 cm

NT$ 650,000-750,000 HK$ 167,000-193,000 US$ 21,400-24,700 RMB 148,000-170,000

綜合媒材 畫布 拼貼 簽名右下：薛松 簽名後背：《接見》 150×120 cm 薛松 Xue Song 2000

280

LO Chan Peng (Taiwanese, b. 1983)

Ashen Face – Spider Web 2013 Oil on canvas 162 x 97 cm ILLUSTRATED

Chan-Peng LO Ashen face, Aki Gallery, Taipei, 2014, color illustrated, p. 21 This painting is to be sold with a certificate of authenticity issued by AKI Gallery.

NT$ 750,000-850,000 HK$ 193,000-219,000 US$ 24,700-28,000 RMB 170,000-193,000

羅展鵬 白面者 – 蜘蛛之絲 2013 油彩 畫布 162 x 97 cm 圖錄

《Chan-Peng LO 白面者》，也趣藝廊，台北， 2014，彩色圖版，頁21 附也趣藝廊開立之原作保證書

250

281

YANG Chihung (Taiwanese, b. 1947)

楊識宏 郊遊

Excursion

2012

2012 Acrylic on canvas 91 x 179.5 cm Signed on the reverse Chihung Yang, titled Excursion in English, dated 2012

91 x 179.5 cm

EXHIBITED

Mindscape-Chihung Yang Solo Exhibition, Asia Art Center, Taipei, November 3 - December 9, 2012 This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 750,000-850,000 HK$ 193,000-219,000 US$ 24,700-28,000 RMB 170,000-193,000

壓克力 畫布 簽名畫背：Chihung Yang Excursion ©2012 展覽

「心境－楊識宏個展」，亞洲藝術中心，台北， 展期自2012年11月3日至12月9日 附亞洲藝術中心開立之原作保證書

282

YANG Chihung (Taiwanese, b. 1947)

Composition of Leaves and Branches 1993 Oil on canvas 127.5 x 97 cm Signed on the reverse Chihung Yang, titled Composition of Leaves and Branches in English, dated 1993

NT$ 800,000-900,000 HK$ 206,000-231,000 US$ 26,300-29,600 RMB 182,000-205,000

楊識宏 枝與葉的構圖 1993 油彩 畫布 127.5 x 97 cm 簽名畫背：Chihung Yang Composition of Leaves and Branches 1993

252

283

Poren HUANG (Taiwanese, b. 1970)

黃柏仁 狗札記—世界那麼大

Dog's Note - Friends

2008

2008 Bronze, baking paint, edition 11/12 33(L) x 46(W) x 54(H) cm Engraved on the back PR in English Engraved lower back PR in English, numbered 12-11 and dated 2008

33(長) x 46(寬) x 54(高) cm

EXHIBITED

Poren Huang, Art Taipei, Taipei, 2008 (another cast) Poren Huang, Shanghai Art Fair, Shanghai, 2008 (another cast) Poren Huang, Ming Art Gallery, Beijing, 2008 (another cast) The Dog's Note – Poren Huang Solo Exhibition, Powen Gallery, Taipei, Sep. 16 – Oct. 5, 2014 (another cast) The Artistic Conversation of Love Dogs, Adore Dogs, Powen Gallery, Taipei, May 15 – Jun. 12, 2015 (another cast) The Dog's Note – Poren Huang Solo Exhibition, Shin Kong Mitsukoshi, Taipei, Jan. 5 – Mar. 2, 2015 (another cast) The Dog's Note – Poren Huang Solo Exhibition, Williamsburg Art & Historical Center, New York, Nov. 7 – Dec. 6, 2015 (another cast) ILLUSTRATED

The Dog's Notes, Powen Gallery Co., Ltd., Taipei, 2014, color illustrated, p. 14 & pp. 88-97 (another cast) Return To Innocence – The Dog's Notes by Poren Huang, Artco Magazine, Taipei, January 2015, issue no. 268, color illustrated, p.88 (another cast) Taiwanese Artist Being Active On The International Stage – Poren Huang and The Dog’s Notes, Art. Investment, Taipei, November 2015, issue no.97, color illustrated, p. 57 Bright Star overseas – Poren Huang, Art. Investment, Taipei, January 2016, issue no.99, color illustrated, p. 94 (another cast) Marching Forward Alongside Eagle With Head Held High, Artco Magazine, Taipei, November 2016, issue no. 290, color illustrated, p. 108 (another cast)

NT$ 650,000-750,000 HK$ 167,000-193,000 US$ 21,400-24,700 RMB 148,000-170,000

254

銅雕 烤漆 11/12 簽名雕刻臀部：PR 簽名雕刻腿部後方：2008. PR 12-1 展覽

「黃柏仁個展」，台北國際藝術博覽會，台北，2008 (另一版次) 「黃柏仁個展」，上海國際藝術博覽會，上海，2008 (另一版次) 「黃柏仁個展」，旻谷畫廊，北京，2008 (另一版次) 「愛狗，敬狗的對話藝術—狗札記黃柏仁個展」，紅野畫廊， 台北，展期自2014年5月15日至6月12日 (另一版次) 「狗札記─黃柏仁雕塑展」，紅野畫廊，台北， 展期自2014年9月16日至10月5日 (另一版次) 「狗札記」黃柏仁雕塑個展，紐約WAH藝術中心，紐約， 展期自2015年11月7日至12月6日 (另一版次) 「狗札記」黃柏仁雕塑個展，新光三越百貨，台北， 展期自2018年1月5日至3月2日 (另一版次) 圖錄

《狗札記—黃柏仁》，紅野畫廊有限公司，台北，2014， 彩色圖版，頁14與頁88-97 (另一版次) 〈反璞歸真 – 黃柏仁的狗札記〉，《典藏今藝術》，台北， 2015年1月號, 第268期，頁88 (另一版次) 〈台灣藝術家站上國際舞台–黃柏仁「狗札記」〉， 《典藏投資》，台北，2015年11月號，第97期，頁57 〈邁向海外的耀眼新星》，《典藏投資》，台北， 2016年1月號，第99期，頁94 (另一版次) 〈與EAGLE齊步同行，昂首向前〉，《典藏今藝術》， 2016年11月號，頁108 (另一版次)

284

PENG Kuan-jun

彭光均

(Taiwanese, b. 1961)

姑射御風

The Goddess

2000 Bronze, edition 5/6 78(L) x 11(W) x 48(H) cm Engraved on the back Kuan-jun in Chinese, numbered 5/6 and dated 2000 EXHIBITED

2000 銅雕 5/6 78(長) x 11(寬) x 48(高) cm 簽名雕刻後方：2000 光均 5/6 展覽

「纖語香腮—彭光均個展」，威廉當代藝術空間， 台北，展期自2007年7月10日至7月25日 (另一版次)

PENG KUANG CHUN, William Gallery, Taipei, July 11 -25, 2007 (another cast)

圖錄

ILLUSTRATED

2009，彩色圖版，頁14-15

PENG KUANG CHUN, William Gallery, Taipei, 2009, color illustrated, pp. 14-15

附威廉藝術空間與藝術家親筆簽名之作品保證書

This painting is to be sold with a certificate of authenticity signed by artist and issued by William Gallery.

NT$ 130,000-200,000 HK$ 33,000-51,000 US$ 4,300-6,600 RMB 30,000-45,000 158

《彭光均 纖語香腮》，威廉當代藝術空間，台北，

285

ZHOU Chunya (Chinese, b. 1955)

Shouting

2006 Bronze, edition 5/8 32(L) x 24.8(W) x 47(H) cm Engraved on the back ZHOU Chunya in Chinese Signed ZHOU CHUNYA in English on the base and inscribed No: 5/8 ILLUSTRATED

Blooming Stories, Sichuan Fine Art Publishing Co., Chengdu, 2007, color illustrated, pp. 106-107 (another cast) This sculpture is to be sold with a certificate of authenticity issued by Northern Banker Art.

NT$ 600,000-700,000 HK$ 154,000-180,000 US$ 19,700-23,000 RMB 136,000-159,000

周春芽 吶喊的黑根 2006 銅雕 5/8 32(長) x 24.8(寬) x 47(高) cm 簽名雕刻後方：周春芽 簽名底座：ZHOU CHUNYA No: 5/8 圖錄

《花間記》，四川美術出版社，成都，2007，彩色圖版， 頁106-107（另一版次） 附北莊藝術開立之作品保證書

286

CHANG Chen-yu (Taiwanese, b. 1957)

張振宇 夏雲

Summer Cloud

1989

1989 Oil on canvas 60 x 72.5 cm Signed lower right Chen-yu in Chinese and dated 89

60 x 72.5 cm

PROVENANCE

East Gallery, Taipei Private collection, Asia EXHIBITED

CHANG Chen-yu Solo Exhibition, East Gallery, Taipei, September 16 - 28, 1989 ILLUSTRATED

CHANG Chen-yu, East Gallery, Taipei, 1989, color illustrated

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600 RMB 23,000-45,000 258

油彩 畫布 簽名右下：振宇 89 來源

東之畫廊，台北 私人收藏，亞洲 展覽

「張振宇個展─燃燒的心靈」，東之畫廊，台北， 展期自1989年9月16日至28日 圖錄

《張振宇作品集》，東之畫廊，台北，1989，彩色圖版

287

SHEN Che-tsai (Taiwanese, 1926 - 2017)

沈哲哉 裸女

Nude

油彩 畫布

Oil on canvas 60.5 x 45 cm Signed lower right Che-tsai in Chinese

簽名右下：哲哉

NT$ 160,000-260,000 HK$ 41,000-67,000 US$ 5,300-8,500 RMB 36,000-59,000

60.5 x 45 cm

288

SHEN Che-tsai (Taiwanese, 1926 - 2017)

Nude

Charcoal, pastel, marker pen on paper 45.5 x 30.5 cm

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600 RMB 23,000-45,000

260

沈哲哉 裸女 炭筆 粉彩 簽字筆 紙 45.5 x 30.5 cm

289

LEE Chen-dao (Taiwanese, b. 1982)

李承道 午夜藍調

Midnight Blues

2014

2014 Oil on canvas, classical frame 61 x 91.5 cm (image) 93 x 122 cm (with frame) Branded on the reverse LEE CHENDAO. COM in English and dated 2014 With one seal of the artist

61 x 91.5 cm (畫心)

PROVENANCE

私人收藏，亞洲

Aki Gallery, Taipei Private collection, Asia

NT$ 160,000-240,000 HK$ 41,000-62,000 US$ 5,300-7,900 RMB 36,000-55,000

油彩 畫布 仿古雕花框 93 x 122 cm (含框) 簽名畫背：LEE CHENDAO. COM 2014 鈐印畫背：道 來源

也趣藝廊，台北

290

HSIAO Chin (Taiwanese, b. 1935)

蕭勤 紅

Red

1960

1960 Ink and color on paper 41.5 x 57 cm Signed lower center HSIAO in English, Chin in Chinese and dated November 8, 1960 With one seal of the artist

41.5 x 57 cm

NT$ 160,000-260,000 HK$ 41,000-67,000 US$ 5,300-8,500 RMB 36,000-59,000

262

彩墨 紙本 簽名中下：HSIAO 勤 十一. 八. 1960. 鈐印中下：蕭勤

291

HSIAO Chin (Taiwanese, b. 1935)

Black and White 1961 Ink and color on paper 68.5 x 44 cm Signed lower left HSIAO in English, Chin in Chinese and dated 61 With one seal of the artist

NT$ 110,000-220,000 HK$ 28,000-57,000 US$ 3,600-7,200 RMB 25,000-50,000

蕭勤 黑白 1961 彩墨 紙本 68.5 x 44 cm 簽名左下：HSIAO 勤.61 鈐印中下：蕭勤

292

Max LIU (Taiwanese, 1912 - 2002)

劉其偉 南與北的對話（兩位姑娘）

South-North Dialogue in Korea

1984

1984 Mixed media on paper 49 x 36 cm Signed lower left Liu Chi-wei in Chinese phonetic alphabet and dated ‘84

49 x 36 cm

This painting is to be sold with a certificate of authenticity issued by Modern Art Gallery.

NT$ 170,000-240,000 HK$ 44,000-62,000 US$ 5,600-7,900 RMB 39,000-55,000

264

複合媒材 紙本 簽名左下：ㄌ一ㄡˊ ㄑㄧˊ ㄨㄟˇ '84 附現代藝術空間開立之原作保證書

293

YANG Din (Chinese, b. 1958)

楊登雄 及食行樂

Carpe Diem

1990

1990 Mixed media on canvas 90 x 90 cm Signed lower right Yang Din in English and dated 90

90 x 90 cm

PROVENANCE

Christie’s Auction, Taipei, November 28, 1999, lot 40

NT$ 170,000-240,000 HK$ 44,000-62,000 US$ 5,600-7,900 RMB 39,000-55,000

複合媒材 畫布 簽名右下：Yang Din 90 來源

佳士得拍賣，台北，1999年11月28日，編號40

294

WAN Tai-feng (Chinese, b. 1980)

靜水深流•2

Still Waters Run Deep. 2

2012

2012 Oil on canvas 150 x 120 cm

150 x 120 cm

PROVENANCE

Chuan Cheng Art Center, Taipei Private collection, Asia ILLUSTRATED

Wan Taifeng Oil Painting Collection - Life Like a Dream, Chuan Cheng Art Center, Taipei, 2012, color illustrated

NT$ 190,000-280,000 HK$ 49,000-72,000 US$ 6,200-9,200 RMB 43,000-64,000 266

萬太豐

油彩 畫布 來源

傳承藝術中心，台北 私人收藏，亞洲 圖錄

《萬太豐油畫集－浮生若夢》， 傳承藝術中心，台北，2012年， 彩色圖版

295

SHEN Che-tsai (Taiwanese, 1926 - 2017)

沈哲哉 芭蕾舞

Ballerina

1997

1997 Oil on canvas 31.5 x 41 cm Signed lower right Che-tsai in Chinese and dated 1997 Signed on the reverse Shen Che-tsai in Chinese

31.5 x 41 cm

NT$ 190,000-220,000 HK$ 49,000-57,000 US$ 6,200-7,200 RMB 43,000-50,000

油彩 畫布 簽名右下：1997 哲哉 簽名畫背：沈哲哉

296

George CHANN (Chinese-American, 1913 - 1995)

陳蔭羆 深邃

Profound

油彩 畫布

Oil on canvas 46 x 61 cm Signed lower right GEO. CHANN in English

簽名右下：GEO. CHANN

NT$ 220,000-420,000 HK$ 57,000-108,000 US$ 7,200-13,800 RMB 50,000-95,000

268

46 x 61 cm

297

CHEN Yin-huei (Taiwanese, b. 1931)

陳銀輝 群峰競秀

Mountain Peaks

1992

1992 Oil on canvas 50 x 60.5 cm Signed lower right Yin in Chinese, CHEN in English and dated '92

50 x 60.5 cm

ILLUSTRATED

Chen Yin-hui, Retrospective at the Age of 64, Li Shih-chiao Museum, Taipei, 1994, color illustrated, p. 90

NT$ 220,000-320,000 HK$ 57,000-82,000 US$ 7,200-10,500 RMB 50,000-73,000

油彩 畫布 簽名右下：銀 CHEN '92 圖錄

《陳銀輝64回顧展》，李石樵美術館，台北，1994， 彩色圖版，頁90

298

YANG Mao-lin (Taiwanese, b. 1953)

Contemporary Bodhisattva in Great Future of Maha 2005 Bronze sculpture with gold foil, edition 4/6 67.5(L) x 67.5 (W) x 117.5 (H) cm Engraved on the base Yang Mao-lin in Chinese, numbered 4/6 and dated 2005 ILLUSTRATED

Canonization of the Gods – The Pure Land of Maha, Lin & Keng Gallery, Taipei, 2006, color illustrated This sculpture is to be sold with a certificate of authenticity with artist's signature issued by Lin & Keng Gallery.

NT$ 480,000-700,000 HK$ 123,000-180,000 US$ 15,800-23,000 RMB 109,000-159,000

楊茂林 摩訶未來光世界的思維飛俠小菩薩 2005 銅 金箔 4/6 67.5(長) x 67.5(寬) x 117.5(高) cm 簽名雕刻底座：2005 4/6 楊茂林 圖錄

《封神演義—摩訶—極樂世界》，大未來畫廊，台北， 2006，彩色圖版 附大未來畫廊與藝術家親筆簽名之作品保證書

270

299

CHEN Liu (Chinese, b. 1973)

陳流 新天空界之看似超人

New Celestial Series- Just Like Superman

2008

2008 Oil on canvas 200 x 140 cm Signed lower left Chen Liu in Chinese and dated 2008

200 x 140 cm

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

by Ping Art space.

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,500-11,800 RMB 59,000-82,000

油彩 畫布 簽名左下：陳流 2008 附平藝術空間開立之原作保證書

300

HSU Meng-han (Taiwanese, b. 1988)

Futile Struggle to Hang on the Elapsed 2/5 2011 Acrylic on canvas 112 x 145.5 cm Signed on the reverse Meng-han in Chinese and dated 2011 EXHIBITED

Made in Taiwan-Young Artist Discovery 2012, Art Taipei Art Fair, Taipei, November 9-12, 2012 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,500-11,800 RMB 59,000-82,000

272

徐夢涵 我們還能有多少個以後 2/5 2011 壓克力 畫布 112 x 145.5 cm 簽名畫背：夢涵 2011 展覽

「2012 MADE IN TAIWAN─新人推薦特區」，台北國際藝術 博覽會，台北，展期自2012年11月9日至11月12日 附藝術家親筆簽名之原作保證書

301

KO Si-chi (Taiwanese, b. 1929)

柯錫杰 等待維納斯

Wait for Venus

1979

1979 Dye transfer print on photographic paper, 38/75 45 x 69 cm Signed lower right Sichi Ko in English and dated 1979, with edition lower left DYE T. P. 38/75

45 x 69 cm

ILLUSTRATED

A World of Grace, Locus Publishing Company, Taipei, 2006, color illustrated, p. 61

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,500-11,800 RMB 59,000-82,000

轉染法 相紙 38/75 簽名右下：Sichi Ko 1979 版次左下：DYE T. P. 38/75 圖錄

《心的視界：柯錫杰的攝影美學》，大塊文化出版股份有限 公司，台北，2006，彩色圖版，頁61

302

YU Peng (Taiwanese, 1955 - 2014)

Actress

1994 Oil on paper 111.5 x 76.5 cm Signed lower left Yu Peng in Chinese and dated 94

NT$ 220,000-420,000 HK$ 57,000-108,000 US$ 7,200-13,800 RMB 50,000-95,000

于彭 戲子 1994 油彩 紙本 111.5 x 76.5 cm 簽名左下：于彭 94

274

303

WU Hao (Taiwanese, b. 1931)

吳昊 吹鼓手

Trumpeters

1967

1967 Oil on linen, mounted onto canvas 79 x 78 cm Signed lower left Wu Hao in Chinese and dated 1967.5

79 x 78 cm

PROVENANCE

私人收藏，美國

Private collection, USA

NT$ 300,000-500,000 HK$ 77,000-129,000 US$ 9,900-16,400 RMB 68,000-114,000

油彩 麻布 裱於畫布 簽名左下：吳昊 1967.5 來源

304

SU Wong-shen (Taiwanese, b. 1956)

蘇旺伸 枯樹上的排演

Rehearsal on Snag

2005

2005 Oil on board 60 x 50 cm Signed on the reverse Su Wong-shen in Chinese and dated 2005

60 x 50 cm

ILLUSTRATED

Su Wong-shen - Between the Clouds, Eslite Corp., Taipei, 2008, color illustrated, plate 302, p. 239

NT$ 320,000-420,000 HK$ 82,000-108,000 US$ 10,500-13,800 RMB 73,000-95,000

276

油彩 木板 簽名畫背：蘇旺伸 2005 圖錄

《蘇旺伸：雲與雲之間》，誠品股份有限公司，台北， 2008，彩色圖版，圖版302，頁239

305

JAN Chin-shui (Taiwanese, b. 1953)

詹金水 空谷煙嵐

Misty Valley

2011

2011 Mixed media on canvas 145.5 x 112 cm Signed lower right Chin-Shui in Chinese and dated 2011 Signed on the reverse Jan Chin-shui in Chinese, titled Misty Valley in Chinese, inscribed 80F and dated 2011

145.5 x 112 cm

NT$ 320,000-500,000 HK$ 82,000-129,000 US$ 10,500-16,400 RMB 73,000-114,000

綜合媒材 畫布 簽名右下：金水 2011 簽名畫背：80F 空谷煙嵐 詹金水 2011年

306

JAN Chin-shui (Taiwanese, b. 1953)

詹金水 初露

First Rays of the Morning Sun

2004

2004 Mixed media on canvas 130 x 162 cm Signed lower right Chin-shui in Chinese and dated 2004 Signed on the reverse Jan Chin-shui, titled First Rays of the Morning Sun in Chinese, inscribed 100F and dated 2004

130 x 162 cm

NT$ 320,000-500,000 HK$ 82,000-129,000 US$ 10,500-16,400 RMB 73,000-114,000

278

綜合媒材 畫布 簽名右下：金水 2004 簽名畫背：詹金水 2004年100F 初露

307

LIEN Chien-hsing (Taiwanese, b. 1962)

連建興 林澗隱叟

Man Hidden in the Woods and Brooks

1999

1999 Oil on canvas 80 x 117 cm Signed lower left LIEN Chien-hsing in Chinese and dated 1999 Signed on the reverse LIEN Chien-hsing, titled Man Hidden in the Woods and Brooks in Chinese and dated 1999

80 x 117 cm

ILLUSTRATED

LIEN Chien-hsing, Eslite Gallery, Taipei, 2012, color illustrated, p. 193

NT$ 360,000-500,000 HK$ 93,000-129,000 US$ 11,800-16,400 RMB 82,000-114,000

油彩 畫布 簽名左下：連建興 1999 簽名畫背：1999 林澗隱叟 連建興 圖錄

《連建興》，誠品畫廊，台北，2012，彩色圖版，頁193

308

HSIAO Chin (Taiwanese, b. 1935)

蕭勤 抽象

Abstract

1963

1963 Oil on canvas 80 x 80 cm Signed lower center Hsiao in English, Chin in Chinese and dated 63

80 x 80 cm

NT$ 380,000-480,000 HK$ 98,000-123,000 US$ 12,500-15,800 RMB 86,000-109,000

280

油彩 畫布 簽名中下：Hsiao 勤 63

309

WANG Pan-youn (Taiwanese, 1909 - 2017)

王攀元 海的那邊

The Other Side of the Sea

1970

1970 Watercolor on paper 66.5 x 55.5 cm With one seal of the artist

66.5 x 55.5 cm

EXHIBITED

Wang Pan-you, Taiwan Museum of Art, Taichung, 1992 ILLUSTRATED

Wang Pan-you, Taiwan Museum of Art, Taichung, 1992, color illustrated, pp. 34-35

NT$ 380,000-550,000 HK$ 98,000-141,000 US$ 12,500-18,100 RMB 86,000-125,000

水彩 紙本 鈐印右下：攀元畫室 展覽

「王攀元畫展」，台灣省立美術館 （今國立台灣現代美術館），台中，1992 圖錄

《王攀元畫展》，台灣省立美術館，台中，1992， 彩色圖版，頁34-35

310

JIA Gang (Chinese, b. 1974)

賈剛 不要悲傷要快樂

Happiness Without Sadness

2003

2003 Oil on canvas 100 x 100 cm Signed lower right Jia Gang in Chinese and dated 2003.9

100 x 100 cm

EXHIBITED

2004 Mood of the Youth - Exhibition of Rewarded Paintings of Chinese Newly Emerging Artists, He Xiang Ning Art Museum, Shenzhen, 2004 ILLUSTRATED

2004 Mood of the Youth - Exhibition of Rewarded Paintings of Chinese Newly Emerging Artists, He Xiang Ning Art Museum, Shenzhen, 2004, color illustrated, p. 77

NT$ 380,000-550,000 HK$ 98,000-141,000 US$ 12,500-18,100 RMB 86,000-125,000

282

油彩 畫布 簽名右下：2003.9 賈剛 展覽

「2004年少年心氣展覽中國新銳」，何香凝美術館，深圳， 2004年 出版

《2004年少年心氣展覽中國新銳》，何香凝美術館，深圳， 2004，彩色圖版，頁77

311

Mayuka YAMAMOTO (Japanese, b. 1964)

山本麻友香 紅羔羊

Red Lamb

2008

2008 Oil on canvas 162 x 130.5 cm Signed on the reverse Mayuka Yamamoto in English, titled Red Lamb in English and dated 2008

162 x 130.5 cm

NT$ 650,000-750,000 HK$ 167,000-193,000 US$ 21,400-24,700 RMB 148,000-170,000

油彩 畫布 簽名畫背：Red Lamb Mayuka Yamamoto 2008

312

Hiroshi KOBAYASHI (Japanese, b. 1967)

小林浩 第三隻眼

The Third Eye

2006

2006 Acrylic on canvas 112 x 145.5 cm Signed on the reverse Hiroshi Kobayashi in English and dated 2006

112 x 145.5 cm

PROVENANCE

Private collection, Asia

NT$ 600,000-700,000 HK$ 154,000-180,000 US$ 19,700-23,000 RMB 136,000-159,000

284

壓克力 畫布 簽名畫背：Hiroshi Kobayashi 2006 來源

私人收藏，亞洲

313

YOON Jongseok (Korean, b. 1970)

尹鍾錫 隱藏在內心的垂網─紅狗

A Hanging Net Concealed inside the Heart - Red Dog

2008

2008 Acrylic on canvas 112 X 162 cm Signed upper right side Yoon Jongseok in English and dated 2008

簽名右上側面：Yoon Jongseok 2008

This painting is to be sold with a certificate of authenticity issued by Artside Gallery, Beijing.

NT$ 460,000-600,000 HK$ 118,000-154,000 US$ 15,100-19,700 RMB 105,000-136,000

壓克力 畫布 112 X 162 cm 附阿特塞帝畫廊開立之原作保證書

314

IIDA Kiriko (Japanese, b. 1970)

飯田桐子 回家的旅程

Homeward Journey

2014

2014 Oil on canvas 130.3 x 97 cm Signed on the reverse Kiriko Iida in English and dated 2014

130.3 x 97 cm

EXHIBITED

White Words: IIDA Kiriko Solo Exhibition, Soka Art, Tainan, April 27 - May 31, 2014

NT$ 320,000-420,000 HK$ 82,000-108,000 US$ 10,500-13,800 RMB 73,000-95,000 286

油彩 畫布 簽名畫背：Kiriko Iida 2014 展覽

「白の物語－飯田桐子個展」，索卡藝術中心，台南， 展期自2014年4月27日至5月31日

315

Yoshitaka AMANO (Japanese, b. 1952)

天野喜孝 科學小飛俠–珍珍

Gatchaman - June the Swan

汽車漆 鋁板

Automotive paint on aluminum panel 50(L) x 50(W) x 10(D) cm Signed on side Y. Amano in English

簽名側面：Y.Amano

NT$ 300,000-400,000 HK$ 77,000-103,000 US$ 9,900-13,200 RMB 68,000-91,000

50(長) x 50(寬) x 10(厚) cm

316

Takesada MATSUTANI (Japanese, b. 1937)

Landscape

2000 Wood, canvas, glue, graphite paint 29 x 18 cm Signed on the reverse Matsutani in English, titled Landscape in English, inscribed 29 x 18 cm, Paris and dated 2008

NT$ 280,000-380,000 HK$ 72,000-98,000 US$ 9,200-12,500 RMB 64,000-86,000

松谷武判 風景 2000 木材 畫布 膠水 石墨塗料 29 x 18 cm 簽名畫背：LANDSCAPE 2000 29 x 18 cm Paris Matsutani

288

317

Yoshitaka AMANO (Japanese, b. 1952)

天野喜孝 金色糖果女孩之一

Candy Gold I

2012

2012 Gold leaves on board 100 x 100 cm Signed lower left Y. Amano in English

100 x 100 cm

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,500-11,800 RMB 59,000-82,000

金箔 木板 簽名左下：Y. Amano

318

Ayako ROKKAKU (Japanese, b. 1982)

Untitled

2012 Acrylic on cardboard 124.5 x 66 cm Signed lower right Ayako Rokkaku in Japanese and dated 2012 PROVENANCE

Gallery Delaive, Amsterdam Private collection, Netherlands EXHIBITED

Where the Smell Comes From, Danubiana Meulensteen Art Museum, Bratislava, Slovakia, September 23 - December 9, 2012

NT$ 240,000-360,000 HK$ 62,000-93,000 US$ 7,900-11,800 RMB 55,000-82,000

六角彩子 無題 2012 壓克力 紙板 124.5 x 66 cm 簽名右下：2012 ロッカク アヤコ 來源

Gallery Delaive, 阿姆斯特丹 私人收藏，荷蘭 展覽

「香氣從哪來」，布拉提斯拉瓦美術館，布拉迪斯拉 法，斯洛伐克，展期自2012年9月23日至12月9日

290

319

LEE Woo Lim (Korean, b. 1972)

李佑林 在森林裡

In the Forest

2008

2008 Oil on canvas 181.5 x 227 cm Signed lower right Lee Woo Lim in Korean and dated 2008 Signed on the reverse Lee Woo Lim in English, titled In the Forest in Korean and dated 2008

181.5 x 227 cm 簽名右下：이우림 2008

NT$ 110,000-220,000 HK$ 28,000-57,000 US$ 3,600-7,200 RMB 25,000-50,000

油彩 畫布

簽名畫背：숲속에서 Lee Woo Lim 2008

320

IIDA Kiriko (Japanese, b. 1970)

飯田桐子 漲潮

The High Tide

2010

2010 Oil on canvas 65 x 65 cm Signed on the stretcher Kiriko Iida in English and dated 2010

65 x 65 cm

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 3,000-5,900 RMB 20,000-41,000

292

油彩 畫布 簽名畫背框條：Kiriko Iida 2010

321

HSU Yu-jen (Taiwanese, b. 1951)

Vase of Flowers 2007 Ink on paper 231.5 x 51.5 cm Signed lower center HSU Yu-jen in Chinese, initialed H.Y.J. in English and dated 2007

NT$ 80,000-160,000 HK$ 21,000-41,000 US$ 2,600-5,300 RMB 18,000-36,000

許雨仁 瓶花 2007 水墨 紙本 231.5 x 51.5 cm 簽名中下：許雨仁 H.Y.J. 2007

322

Max LIU (Taiwanese, 1912 - 2002)

劉其偉 母與子

Mother and Child

2001

2001 Watercolor on paper 25 x 38 cm Signed lower left Liu Chi-wei in Chinese phonetic alphabet and dated 2001 (Chinese namevals)

25 x 38 cm

NT$ 70,000-140,000 HK$ 18,000-36,000 US$ 2,300-4,600 RMB 16,000-32,000

294

水彩 紙本 簽名左下：ㄌㄧㄡˊ ㄑㄧˊ ㄨㄟˇ ＩＩＯＯＩ

323

Yoshio CHANG (Taiwanese, 1914 - 2016)

張義雄 荷蘭都市風景

Cityscape in Netherlands

1985

1985 Oil on canvas 22 x 27 cm Signed lower right CHANG Y. in English and dated 85

22 x 27 cm

NT$ 70,000-100,000 HK$ 18,000-26,000 US$ 2,300-3,300 RMB 16,000-23,000

油彩 畫布 簽名右下：85. CHANG Y.

324

CHU Teh-chun (Chinese-French, 1920 - 2014)

朱德群 構圖

Composition

2000

2000 Lithograph, edition 50/90 76 x 56 cm Signed lower right Chu Teh-Chun in Chinese and French, numbered lower left 50/90

76 x 56 cm

NT$ 50,000-80,000 HK$ 13,000-21,000 US$ 1,600-2,600 RMB 11,000-18,000

296

石版畫 50/90 簽名右下：朱德群 CHU TEH-CHUN 版次左下：50/90

325

HSIEH Hsiao-de (Taiwanese, b. 1940)

謝孝德 風景

Landscape

2015

2015 Watercolor on paper 78.5 x 110 cm Signed lower right Hsieh Hsiao-de in Chinese and dated 2015

78.5 x 110 cm

NT$ 40,000-70,000 HK$ 10,000-18,000 US$ 1,300-2,300 RMB 9,000-16,000

水彩 紙本 簽名右下：2015 謝孝德

326

HUNG Yi (Taiwanese, b. 1970)

Golden Mandarin Ducks 2016 Porcelain, edition 222/ 999 17.5(L) x 12.5(W) x 15(H) cm 17(L) x 11.5(W) x 14(H) cm Signed on the bottom HUNG Yi and dated 2016 This work is accompanied with an instruction manual and a certificate of authenticity issued by Mr. Hong Yi Art Studio

NT$ 20,000-50,000 HK$ 5,000-13,000 US$ 700-1,600 RMB 5,000-11,000

洪易 黃金鴛鴦 2016 瓷器 222/ 999 鴛：17.5(長) x 12.5(寬) x 15(高) cm 鴦：17(長) x 11.5(寬) x 14(高) cm 簽名底部：洪易 2016 附洪易藝術工作室開立之保證書及說明卡

黃金鴛鴦，自古有云：只羨鴛鴦不羨仙。長久以來，鴛鴦象徵著浪漫 與幸福。「藝術是一種感性的創造力」，洪易運用鮮豔的彩繪圖騰， 充分表現出藝術家廣闊、豐富的想像力，此組鴛鴦除了是限量999款 中的No.222，更有來自藝術家親自簽名紀念，彌足珍貴。 洪易是台灣當代雕塑的指標性藝術家，展覽足跡遍布全球，「鴛鴦」 是藝術家重要的創作，曾受邀在日本、香港、舊金山、台中國美館展 出，近年來其限量文創更是廣受年輕朋友喜愛，引起年輕世代的收 藏、分享。 "Golden Mandarin Ducks" harkens back to an ancient Chinese saying that advises one to only admire the affectionate couple, literally the mandarin ducks, and not to admire the celestial being.

298

Since ancient time, mandarin ducks have symbolised romance and happiness. Hung Yi, for whom "art is the creative force of emotion", is an artist who demonstrates his vast and rich imagination through his use of vibrant colour. This collection is not only limited to NO. 222 in an edition of 999, but it also includes the extremely rare, commemorative signature of the artist.

Hung Yi is an artist at the forefront of contemporary sculpture in Taiwan, and his work has been exhibited around the world.

Mandarin Ducks is an important piece which has been invited for exhibition in Japan, Hong Kong, San Francisco, and at the National Art Museum in Taichung. In recent years, the positive reception of limited edition series has even extended to a younger generation of people who have been inspired to collect and share it.

327

Hikari SHIMODA (Japanese, b. 1984)

下田光 星球上的孩子

Children of this Planet

2017

2017 PVC, ABS; edition 249/300 25.5(L) x 20.5(W) x 30.2(H) cm

25.5(長) x 20.5(寬) x 30.2(高) cm

Issued by Apportfolio, Hong Kong.

This work is accompanied its original product box and a certificate of authenticity signed by the artist.

NT$ 20,000-40,000 HK$ 5,000-10,000 US$ 700-1,300 RMB 5,000-9,000

300

聚氯乙烯 日本複合膠；249/300 香港Apportfolio發行 附原裝紙盒與包裝內容物 附藝術家親簽之作品保證書

328

KENG Hao-kang (Taiwanese, b. 1969)

耿皓剛 今天；現在（兩件一組）

For Today; For Now (a set of 2)

2012-2013

2012-2013 Mixed media (unique) 15.5(L) x 20.5(W) x 22.5(H) cm (each) Signed on the bottom Keng in English and dated 2012-13

15.5 (長) x 20.5 (寬) x 22.5 (高) cm (每件)

This work is to be sold with a certificate of authenticity signed by artist and issued by Metaphysical Art Gallery

NT$ 80,000-120,000 HK$ 21,000-31,000 US$ 2,600-3,900 RMB 18,000-27,000

綜合媒材 (單一件) 簽名底部：2012-13 Keng 附形而上畫廊與藝術家親筆簽名之作品保證書

329

AI Wei Wei (Chinese, b. 1957)

Artist's Hand 2017 Electroplated rhodium on cast urethane resin limited edition of 1000 10.1(L) x 10.1(W) x 12.7(H) cm Sign on the bottom Wei Ai in English

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 3,000-5,900 RMB 20,000-41,000

艾未未 藝術家的手 2017 電鍍 聚氨酯樹脂 限量1000件 10.1(長) x 10.1(寬) x 12.7(高) cm 簽名底部：Wei Ai

302

330

Ai HAIBARA (Japanese, b. 1981)

Planetarium

2010 Painted wood carving 24(L) x 24(W) x 50(H) cm Signed on the bottom Ai Haibara and dated 2010 This work is to be sold with a certificate of authenticity issued by Unseal Contemporary, Tokyo.

NT$ 140,000-240,000 HK$ 36,000-62,000 US$ 4,600-7,900 RMB 32,000-55,000

灰原愛 天文館 2010 木雕 上色 24(長) x 24(寬) x 50(高) cm 簽名底部：2010 Ai Haibara 附東京Unseal Contemporary 開立之作品保證書

331

Hiroto KITAGAWA (Japanese, b. 1967)

北川宏人 女超人（八件一組）

Super Girl (a set of 8)

2008

2008 FRP, acrylic, edition of 200 8(L) x 9(W) x 29(H) cm (each) Engraved on the back Hiroto in English and dated 08

8(長) x 9(寬) x 29(高) cm (每件)

EXHIBITED

「北川宏人新作展」，誠品畫廊，台北，展期自2009年12

Post New Type: Super Terracotta Sculptures, Eslite Gallery, Dec. 26,2009 – Jan. 31, 2010

月26日至2010年1月31日

NT$ 260,000-360,000 HK$ 67,000-93,000 US$ 8,500-11,800 RMB 59,000-82,000

304

玻璃纖維 壓克力 限量200件 簽名雕刻背部：08 Hiroto 展覽

332

ZHOU Tiehai x YUE Minjun x KAWS x ZHOU Chunya x JIN Nu x LIU Ye

周鐵海 x 岳敏君 x KAWS〈布萊恩．唐納利〉 x 周春芽 x 金釹 x 劉野

(Chinese, b. 1966)(Chinese, b. 1962)(Brian Donnelly) (American, b. 1974)(Chinese, b. 1955)(Chinese, b. 1984) (Chinese, b. 1964)

卡通：美人魚) (五件一組)

為大眾的藝術─藝術玩具(摩登駱駝：露齒大笑：綠狗：美麗 2008

Art For the Masses - Art Toys (a set of 5)

樹脂；塑膠；植絨；水晶樹脂；陶瓷 9/100

2008 Resin; ABS plastics; botanic fluff; crystal Pitch; FRP and pottery edition 9/100 19(L) x 14.5(W) x 30(H) cm 14(L) x 15.5(W) x 30(H) cm 28(L) x 19(W) x 21(H) cm 10(L) x 12.5(W) x 30(H) cm 17(L) x35(W) x 30(H) cm Signed on the bottom Zhoutiehai in English and numbered 9/100 Signed on the bottom Liu in English and Ye in Chinese, numbered 9/100 Signed on the bottom Jin Nu in Chinese and numbered 9/100 Signed on the bottom Yueminjun x KAWS in English and numbered 9/100 Signed on the bottom Zhou Chunya in Chinese and numbered 9/100

14(長) x 15.5(寬) x 30(高) cm

PROVENANCE

「Art for the Masses」(為大眾的藝術)，MOT/Arts，台北，

MOT/Arts, Taipei, Taiwan Private Collection, Asia

展期自2008年6月27日至7月27日 (另一版次)

EXHIBITED

2010年8月（另一版次）

Art for the Masses, MOT/Arts, Taipei, 27 June-27 July, 2008 (another number) Art Toy, Art Taipei, 2010 (another number) Art Toy, Art Taipei, 2011 (another number) Art for the Masses, Hua Gallery, London, June 2012 (another number) Art for the Masses, Red Star Gallery, Beijing, July 2012 (another number) MOT Style, Vol.1, JUT Living Development Co., Taipei, 2008 (another number) This work is to be sold with a certificate of authenticity signed by the artist and original box.

NT$ 380,000-550,000 HK$ 98,000-141,000 US$ 12,500-18,100 RMB 86,000-125,000

19(長) x 14.5(寬) x 30(高) cm 28(長) x 19(寬) x 21(高) cm 10(長) x 12.5(寬) x 30(高) cm 17(長) x 35(寬) x 30(高) cm 簽名底部：Zhoutiehai；Yueminjun × KAWS；周春芽； 金釹；劉野 簽名底部：Zhoutiehai 9/100；Liu 野 9/100；金釹 9/100； Yueminjun × KAWS 9/100；周春芽 9/100 來源

MOT/ARTS，台北 私人收藏，亞洲 展覽

「Art Toys」(藝術玩具)，台北國際藝術博覽會，台北， 「Art Toys」(藝術玩具)，台北國際藝術博覽會，台北， 2011年8月（另一版次） 「Art for the Masses」(為大眾的藝術)，HUA畫廊，倫敦， 2012年6月 (另一版次) 「Art for the Masses」(為大眾的藝術)，紅星畫廊，北京， 2012年7月 (另一版次) 《MOT Style》第1期，忠泰生活開發股份有限公司，台北， 2008 (另一版次) 附藝術家親筆簽名之作品保證書及作品原裝盒

333

REN Zhe (Chinese, b. 1983)

躍馬揚鞭

Warrior on Rearing Horse

2006

2006 Bronze, edition AP1 85(L) x 80(W) x 88(H) cm Engraved left side Ren Zhe in Chinese and English and numbered AP1

85(長) x 80(寬) x 88(高) cm

ILLUSTRATED

Ren Zhe - Warriors from the Tang Dynasty, Ping Gallery, Taipei, 2007, color illustrated, p. 25 The sculpture is to be sold with a certificate of authenticity issued

by William Gallery.

NT$ 360,000-460,000 HK$ 93,000-118,000 US$ 11,800-15,100 RMB 82,000-105,000

306

任哲

銅雕 AP1 簽名雕刻左側：任哲 Ren Zhe AP1 圖錄

《任哲：盛唐戰士》，藏新出版社，台北，2007， 彩色圖版，頁25 附威廉藝術空間開立之作品保證書

334

CHEN Ting-shih (CHEN Ting-shi) (Taiwanese, 1916 - 2002)

Untitled

1995 Iron 17(L) x 20(W) x 93(H) cm Signed on the bottom Chen Ting-Shih and dated 95

NT$ 550,000-650,000 HK$ 141,000-167,000 US$ 18,100-21,400 RMB 125,000-148,000

陳庭詩 無題 1995 鐵 17(長) x 20(寬) x 93(高) cm 簽名下方：Chen Ting-Shih 95

335

PENG Kuan-jun (Taiwanese, b. 1961)

Authority

2006 Bronze, glass, edition 9/10 64(L) x 80(W) x 104(H) cm Engraved on the back Kuan-jun in Chinese, numbered 9/10 and dated 2006 The sculpture is to be sold with a certificate of authenticity issued by William Gallery and signed by the artist

NT$ 360,000-460,000 HK$ 93,000-118,000 US$ 11,800-15,100 RMB 82,000-105,000

彭光均 權 2006 銅雕 琉璃 9/10 64(長) x 80(寬) x 104(高) cm 雕刻簽名：2006 光均 9/10 附威廉藝術空間與藝術家親筆簽名之作品保證書

308

336

CHEN Ting-shih (Taiwanese, 1916 - 2002)

Work No.84

Iron 20.5(L) x 18(W) x 41(H) cm This work is to be sold with a certificate of authenticity issued by Chen Ting-Shih Modern-Art Foundation.

NT$ 240,000-400,000 HK$ 62,000-103,000 US$ 7,900-13,200 RMB 55,000-91,000

陳庭詩 作品 84 號 鐵 20.5(長) x 18(寬) x 41(高) cm 附財團法人陳庭詩現代藝術基金會開立之作品保證書

337

LI Kuang-yu (Taiwanese, b. 1954)

Quite and Secluded Orchid 1990 Bronze, edition 85/120 16.5(L) x 14(W) x 39(H) cm (bronze) 17(L) x 17(W) x 22(H) cm (base) Engraved on the back lower left Yu in Chinese and numbered 85/120 PROVENANCE

Molly Gallery, Kaohsiung Private collection, Taiwan ILLUSTRATED

Lee Kuang-Yu Sculpture, Kuo Mu Sheng Foundation, Taipei, 1999, color illustrated, pp. 60-63 (larger edition)

NT$ 190,000-280,000 HK$ 49,000-72,000 US$ 6,200-9,200 RMB 43,000-64,000

李光裕 幽蘭 1990 銅雕 85/120 16.5(長) x 14(寬) x 39(高) cm（銅雕） 17(長) x 17(寬) x 22(高) cm（大理石底座） 簽名雕刻左下方：裕N. 85/120 來源

茉莉畫廊，高雄 私人收藏，台灣 圖錄

《境界抒情──李光裕雕塑集》，郭木生文教基金會，台北， 1999，彩色圖版，頁60-63 (較大版本)

310

338

JU Ming (Taiwanese, b. 1938)

朱銘 太極系列—單鞭下勢

Taichi Series – Single Whip

不飽和聚酯樹脂 碳酸鈣 油性色母 193/300

Unsaturated polyester resin, calcium carbonate, oil color paste, edition 193/300 28.5(L) x 14.4(W) x 18.2(H) cm Numbered on the bottom 193/300

版次底部：193/300

This sculpture is to be sold with a certificate of authenticity issued by Ju Ming Museum.

NT$ 110,000-220,000 HK$ 28,000-57,000 US$ 3,600-7,200 RMB 25,000-50,000

28.5(長) x 14.4(寬) x 18.2(高) cm 附朱銘美術館限量複製品證明書

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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。

諮詢

台北 黃詩涵

stellahuang@ravenel.com

+886 2 2708 9868 ext. 977

IMPORTANT NOTICE TO BUYERS

The auction will strictly abide by the Transaction Agreement set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1.

Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a bidding deposit are required.

2.

Bidding deposit in the amount of NT$ 600,000 or US$ 20,000.

3.

The bidding deposit must be transferred to Ravenel's specified Bank account prior to 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 (NTD) or 001-234830-061 (USD) Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of bidding deposit. The payer will be responsible for any associated bank service fees.

4.

After the 28th November 2018, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 29th November to 30th November 2018). Acceptance will cease on 30th November by 6 pm (No other forms of payment will be accepted).

5.

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

Contact Person TAIPEI

Stella Huang

stellahuang@ravenel.com

+886 2 2708 9868 ext. 977

委託競投表格 委託競投表格須於拍賣24小時前送抵藝術部。競投表格可傳真至：

拍 賣 名 稱：羅芙奧台北2018秋季拍賣會

藝術部

亞洲現代與當代藝術

電話：+886-2-2708 9868

拍 賣 編 號：TA1804

傳真：+886-2-2701 3306

台北拍賣日期：

投標者資料

台北萬豪酒店

客戶編號 （如有）

台北市中山區樂群二路199號3樓 （博覽廳）

2018年12月2日（星期日）下午2:00

姓名 身份證字號 地址 郵碼 電話 （住宅） （辦公室） 傳真

電郵

簽名 （注意：本公司在取得閣下之簽名後方才接受競標；閣下所填報之姓名 及地址資料，將會被列印在發票上，隨後將不能更改） 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託， 以最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，服務費依最後落槌價乘以服務費率得之。詳見業務規則第二條第4項之 規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下者含參 仟貳佰萬元以20％計算；（2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳佰萬元 之部份以12％計算。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。

請用正楷填寫清楚 拍賣品編號 （按數字順序）

名

稱

競投價（新台幣） （服務費不計在內）

為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。

銀行證明 銀行名稱 銀行地址 銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話

羅芙奧股份有限公司 台北市106敦化南路二段76號15樓之2 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com ravenelart.com.cn

ABSENTEE BID FORM The absentee bid forms must be delivered to the Art Department at least 24 hours before the auction begins. The bid forms may be faxed to: Art Department Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 Bidder’s Details Name

Auction

Sale Number Date

RAVENEL AUTUMN AUCTION 2018 TAIPEI Modern and Contemporary Asian Art TA1804 Sunday, December 2, 2018, 2:00pm

Location

Marriott Taipei

Address

Grand Space, 3F, No. 199, Lequn 2nd Road,

ZhongShan Dist., Taipei, Taiwan

ID number Address Post code Tel: (Daytime)

(Evening)

Fax

Email

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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