SELECT: MODERN & CONTEMPORARY ART
RAVENEL SPRING AUCTION 2019 SELECT: Modern & Contemporary Art
羅芙奧 2019 春季拍賣會 薈萃：國際現代與當代藝術
AUCTION
拍賣日期 / 地點
Saturday, June 1, 2019, 2:00 pm Marriott Taipei (Grand Space) 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei
2019年6月1日（六） 下午 2:00 萬豪酒店（博覽廳） 台北市中山區樂群二路199號3樓
PREVIEWS
預展日期 / 地點
Taichung
台中 2019年5月11日（六） 下午1:00至下午6:00 2019年5月12日（日） 上午11:00至下午6:00 豐藝館 台中市西區五權西路一段110號B1
Kaohsiung
高雄 2019年5月18日（六）至5月19日（日） 上午11:00至下午6:00 琢璞藝術中心 高雄市前金區五福三路63號8樓
Saturday, May 11, 2019, 1:00 pm - 6:00 pm Sunday, May 12, 2019, 11:00 am - 6:00 pm Fong-Yi Art Gallery B1, No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan
Saturday, May 18 - Sunday, May 19, 2019, 10:00 am - 6:00 pm J. P. Art Center 8F, No. 63, Wu Fu 3rd Road, Qianjin District, Kaohsiung, Taiwan Hong Kong Saturday, May 26, 2019, 10:00 am - 7:00 pm Grand Hyatt Hong Kong The Poolhouse 11F, No. 1 Harbour Road, Wanchai, Hong Kong
Taipei
Thursday, May 30 - Saturday, June 1, 2019 10:00 am - 7:00 pm Marriott Taipei 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei
香港 2019年5月26日（日） 上午10:00至下午7:00 香港君悅酒店 香港灣仔港灣道1號11樓（The Poolhouse） 台北 2019年5月30日（四）至6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
As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This auction catalogue: NT$ 1,200 per copy.
王鎮華 Arthur Wang 董事長 Chairman
郭倩如 Clara Kuo 副董事長 Vice Chairman
李雅欣 Wendy Lee
陳惠黛 Odile Chen
執行長 Chief Executive Officer
國際藝術部 總經理 Head of International Art Department Chief Specialist
陳昱良 Iris Chen 國際藝術部 初級專家 Junior Specialist, International Art Department
陳怡潔 Josephine Chen 國際藝術部 行政助理 Executive Assistant, International Art Department
李政希 Xiu Lee 上海商務代表 Representative, Shanghai
CONTENTS 5
Sale Information 羅芙奧春季拍賣會
8
Ravenel Services 羅芙奧之服務
10
SELECT: Modern and Contemporary Art 薈萃：國際現代與當代藝術（Session II）
137
Important Notice to Buyers 給予買家的重要通知
139
Absentee Bid Form 委託競投表格
141
Transaction Agreement 業務規則
145
Index 藝術家索引
RAVENEL STAFF AND SERVICES FOR THIS SALE
ART CONSULTANTS INTERNATIONAL ART DEPARTMENT Head of International Art Department Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odilechen@ravenel.com
Junior Specialist Iris Chen Tel: +886 2 2708 9868 ext. 883 Email: irischen@ravenel.com
Executive Assistant Josephine Chen Tel: +886 2 2708 9868 ext. 881 Email: josephinechen@ravenel.com
Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. It is also possible to bid online for selected lots. Please refer to ravenel.com for more information. In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly for those of you who need foreign language assistance of the bidding.
CATALOGUE SUBSCRIPTION Taiwan
PHONE BIDS AND WRITTEN BIDS Taiwan, International Iris Chen Tel: +886 2 2708 9868 ext. 883 Email: irischen@ravenel.com
Hong Kong Vivi He Tel: +852 2889 0859 Email: vivihe@ravenel.com
Shanghai, Beijing Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com
Josephine Chen Tel: +886 2 2708 9868 ext. 881 Email: josephinechen@ravenel.com
Shanghai, Beijing Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com Hong Kong Connie Chau Tel: +852 2889 0859 Email: conniechau@ravenel.com The catalogues are available for subscription. For details of subscription, please refer to the explanations of the catalogue or contact the above persons.
PAYMENT Emily Wang Tel: +886 2 2708 9868 ext. 697 Email: emilywang@ravenel.com
COLLECTION AND SHIPPING Taiwan, International Iris Chen Tel: +886 2 2708 9868 ext. 883 Email: irischen@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”.
ONLINE BIDS Register at Invaluable www.invaluable.com/
羅芙奧2019春季拍賣會服務部門及連絡人
藝術品諮詢專家 國際藝術部 國際藝術部總經理 陳惠黛 電話：+886 2 2708 9868 轉 889 電子信箱：odilechen@ravenel.com
註一：如您無法親臨拍賣現場，可以電話投 標方式競標；亦可利用附在此目錄後面之委 託競投表格；或可參與網上競投，詳情請洽 羅芙奧官方網頁。
初級專家
註二：鑑於拍賣現場電話有限，欲以電話投 標方式競標的投標者，請於拍賣前24小時通 知我們為您安排，尤其對需用外國語言服務 之投標者。
陳昱良 電話：+886 2 2708 9868 轉 883 電子信箱：irischen@ravenel.com
目錄訂閱
行政助理
台灣
陳怡潔 電話：+886 2 2708 9868 轉 881 電子信箱：josephinechen@ravenel.com
陳怡潔 電話：+886 2 2708 9868 轉 881 電子信箱：josephinechen@ravenel.com
電話書面競標聯絡人 台灣．國際 陳昱良 電話：+886 2 2708 9868 轉 883 電子信箱：irischen@ravenel.com
香港 何瑩 電話：+852 2889 0859 電子信箱：vivihe@ravenel.com
取貨及運輸事宜 台灣．國際 陳昱良 電話：+886 2 2708 9868 轉 883 電子信箱：irischen@ravenel.com
註一：所有拍品在貨款結清後，即可取貨；買 家請儘早通知安排取貨事宜，以利倉庫存貨流 通和集中安排辦理，本公司接受個人及公司支 票付款，惟需在兌現後始能提貨。恕不接受旅 行支票付款。其他各項貨品可在羅芙奧辦公室 提領，上班時間為週一至週五上午9:30至下午 6:30。 註二：我們的專業行政部門可為您建議或安排 最適當的運輸方式。
上海．北京 李政希 電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com
羅芙奧樂意提供您本次拍賣當中任何一項拍品 的狀況報告書，惟準買家需注意拍品均是以 「當時認定」之狀況賣出，相關細項請參照目 錄後之業務規則。請參照買家需注意事項。
香港 周媛玲 電話：+852 2889 0859 電子信箱：conniechau@ravenel.com
網上競投 請前往 Invaluable 註冊 www.invaluable.com/
本目錄開放各界訂閱，詳細訂閱辦法，請參 照目錄之說明或請洽上述聯絡人。
上海．北京 李政希 電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com
付款事宜 王美日 電話：+886 2 2708 9868 轉 697 電子信箱：emilywang@ravenel.com
Ravenel 9
SELECT MODERN & CONTEMPORARY ART Session II Saturday, June 1, 2019, 2:00 pm Marriott Taipei (Grand Space)
Lot 022 – Lot 092
022
TAKASHI MURAKAMI
村上隆
(Japanese, b. 1962)
Miss Ko² 美少女計劃 1/5比例藝術公仔
Miss Ko² (Project Ko²) 1/5 Art Model Replica
1999年 寶麗石 上色 限量200件 1/5比例版本 海洋堂Bome製作 高：50 cm
1999 Painted polystone Edition of 200 1/5 model made by Bome (Kaiyodo) H: 50 cm ILLUSTRATED Takashi Murakami , translated by Chiang Ming-yu, The Art Entrepreneurship Theory , Business Weekly Publications, Taipei, 2007, color illustrated, p. 67 (another version)
圖錄 村上隆著、江明玉譯，《藝術創業論》， 商周出版，台北，2007，彩色圖版，頁7（不同版本） 無原始包裝盒
This lot is to be sold without its original product box.
NT$ 80,000 - 120,000 HK$ 20,000 - 31,000 US$ 2,600 - 3,900 RMB 18,000 - 26,000
1990年代後期為了參加美國的展覽，村上隆有意將御宅族的文化發揮極致，找上玩具模型公司海洋堂K a i y o d o合作， 費盡氣力請公仔造型師依照他的設計圖製作出性感爆乳的女僕形象《M i s s K o²》，這是村上隆第一件藝術公仔創作， 具有原創意義。此時公仔潮流隱然即將來臨，藝術家接著繼續火力全開，製作童顏巨乳雕塑《H i ro p o n》（爆乳美少 女），以及靈感源自七龍珠的《我的寂寞牛仔》（My Lonesome Cowboy），兩件全面展現性感的裸體等身公仔，乳 汁、精液噴飛的大膽造型，簡直讓日本藝壇難以忍受，動漫界也怒批他消費御宅族文化。想在歐美的藝術市場創作， 藝術家的主體性必然是創作的動機之一。於是村上依循這樣的法則，回歸日本的文化認同。日本最具知性的藝術資 源，就是「可愛」與「御宅族」，這些日本文化將透過村上隆登上西方博物館的殿堂。
In the 90’s, in order to attend an exhibition in America Murakami collaborated with the toy company Kaiyodo and expended quite a bit of energy to create the sexy large-breasted female figure Miss Ko². Miss Ko² was Murakami’s first doll figure, exhibiting his originality. At the time figurines were becoming a trend as well. He continued on, following with Hiropon , the child-faced giant figure (huge breasted woman) and the sexy Dragonball inspired My Lonesome Cowboy . These two life-sized naked figurines, entwined in breast milk and seminal fluid, infuriated both the Japanese art world and the otaku who were upset at his wanton selling out of their culture. To be a creative in the Euro-American market the artist’s subjectivity must be a part of the creative process. Murakami compiled and returned to Japanese culture. The most well-known aspects of Japanese art are “cute” and “otaku”. Through Murakami these two identities found audience on the pedestals of Western museums.
Ravenel 13
023
GIANLUCA PIACCIONE
吉安路卡．皮亞奇歐尼
(Italian, b. 1971)
我的瑪麗蓮夢露－浮華世界
My Marilyn. Vanity
2013年 壓克力 鏤空 折曲 畫布 70（長） x 50（寬） x 3（深） cm 簽名題識畫背：G. Piaccione "MY MARILYN.. VANITY" Are: A0239-13 660/495 50x70x3
2013 Acrylic on cut-out and folded canvas 70(L) x 50(W) x 3(D) cm Signed on the reverse G. Piaccione , titled "MY MARILYN.. VANITY" and inscribed Are: A0239-13 660/495 50x70x3 PROVENANCE Private collection, Italy This lot is to be sold with a certificate of authenticity handwritten and signed by the artist.
NT$ 140,000 - 220,000 HK$ 36,000 - 56,000 US$ 4,600 - 7,200 RMB 31,000 - 48,000
來源 私人收藏，義大利 附藝術家手寫及親筆簽名之原作保證書 吉安路卡．皮亞奇歐尼利用複雜且規律的方式割開畫布，作品融 合了歐普藝術的視覺效果，以及盧齊歐．封塔納打破傳統「繪 畫」條件的概念。嚴謹的科學設計啟動視覺神經，通過視覺效果 創作出圖像，達到動人的藝術體驗。「繪畫」不再被侷限在於平 面上的所塗抹的顏料。經過設計及計算，皮亞奇歐尼透過各異的 切割規律所排列出的幾何形畫面，除了給予觀著視錯覺感，配合 藝術家別有意味的作品命名欣賞亦饒富趣味。
024
GIANLUCA PIACCIONE
吉安路卡．皮亞奇歐尼
(Italian, b. 1971)
白色傑克
White Jack
2016 年 壓克力 鏤空 折曲 畫布 60（長）x 90（寬）x 3（深）cm 簽名題識畫背：G. Piaccione "WHITE JACK" Are: A0393-16 800/600 60x90x3
2016 Acrylic on cut-out and folded canvas 60(L) x 90(W) x 3(D) cm Signed on the reverse G. Piaccione in Italian, titled "WHITE JACK" in English and inscribed Are: A0393-16 800/600 60x90x3 PROVENANCE Private collection, Italy This lot is to be sold with a certificate of authenticity handwritten and signed by the artist.
NT$ 170,000 - 240,000 HK$ 43,000 - 61,000 US$ 5,500 - 7,800 RMB 37,000 - 53,000
來源 私人收藏，義大利 附藝術家手寫及親筆簽名之原作保證書 Gianluca Piaccione cut out the canvas in a complicated but regulated fashion for his work. Piaccione’s artwork integrated the visual effect of Op-art, as well as the concept of breaking the definition of “painting” which had also been done by the famous Lucio Fontana. Through scientific design, the artist creates visual images by utilizing and arranging visual effects, to achieve artistic experiences. The concept of “painting” is no more just a restricted flat surface with arranged pigments. Piaccione created the dizzying optical illusions with meticulously designed geometric shapes. Meanwhile, the calculated cutting patterns and the intentionally positioned shapes are amazingly interesting when referring to the suggestive title. Ravenel 15
025
ADELINE CALOSCI
艾德琳．卡羅詩琪
(French, b. 1980)
熱情
Passion
2018年 壓克力 木板 熱成型板 91（長）x 91（寬）x 8.5（深）cm 簽名題識下方畫緣：ADELINE CALOSCI 2018 # consomme_ moi # No.5/10 # Passion 簽名題畫背：Adeline Calosci 2018 Passion 1/1
2018 Acrylic on wood and thermoformage 91(L) x 91(W) x 8.5(D) cm Signed lower edge ADELINE CALOSCI , dated 2018 , and titled consomme_moi # No.5/10 # Passion Signed on the reverse Adeline Calosci , dated 2018 and titled Passion 1/1 PROVENANCE A2Z Art Gallery, Hong Kong EXHIBITED Adeline Calosci, Consume Me , A2Z Art Gallery, Hong Kong, October 25 - November 14, 2018
NT$ 300,000 - 440,000 HK$ 77,000 - 112,000 US$ 9,800 - 14,300 RMB 66,000 - 96,000
來源 A2Z Art Gallery，香港 展覽 「艾德琳．卡羅詩琪，消費我」，A2Z Art Gallery， 香港，展期自2018年10月25日至11月14日 艾德琳．卡羅詩琪以創作新普普藝術風的偶像聞名，作品間接呈現向消 費與慾望之間的關聯作出質疑。作品中時常帶有的悲劇感，更加展現出 一個童話世界的反面。
Adeline Calosci is known for her neopop icons. Her work questions in a general way the links between consumption and desire. The tragic, often presenting in her works, evokes the reverse of a world that presents itself as a desirable-fairytale-like.
026
KAMA TAKUMI
釜匠
(Japanese, b. 1985)
白色獨角仙的抽屜
Drawer of White Beetle
2019年 壓克力 畫布 116.7 x 91 cm 簽名題識畫背框條：「グラントシロカブトの引き出し」 2019.3 釜匠
2019 Acrylic on canvas 116.7 x 91 cm Signed on the stretcher Kama Takumi in Kanji, inscribed and dated 2019.3
NT$ 280,000 - 420,000 HK$ 71,000 - 107,000 US$ 9,100 - 13,700 RMB 61,000 - 92,000
釜匠畢業於京都精華大學的油畫部，受到了日本雕刻大師舟越 桂的關注和賞識。作品多以細膩筆觸描繪動物，相信藉由描繪 使他得以從動物的角度出發來思考問題。
Takumi Kama graduated from the Kyoto Seika University with a major in oil painting. Katsura Funakoshi, japanese master sculptor, took notice and interest in his talents. Kama used to draw the animals with very fine strokes, believing through the depiction to be able to think from their perspectives.
Ravenel 17
027
KANA WATANABE (Japanese, b. 1980)
Odes to the Future VI 2010 Oil and tempera on canvas 162.1 x 162.1 cm Signed on the reverse Na in Japanese, titled Odes to the Future VI in Kanji and dated 2010 PROVENANCE Gallery Nichido, Tokyo Star Art Gallery, Taipei Private collection, Taiwan This lot is to be sold with a certificate of authenticity issued by Star Gallery, Taipei.
NT$ 320,000 - 480,000 HK$ 82,000 - 122,000 US$ 10,400 - 15,600 RMB 70,000 - 105,000
渡邊香奈出生於日本岩手縣，學習管理及法律出身，熱愛繪畫， 自2007年起，開始參加畫展並持續獲獎。2009年榮獲第六十三 屆二紀展優秀獎，同年亦獲第四十四屆昭和會展松村謙三獎，該 畫展於1966年由東京日動畫廊創辦，旨在發掘新銳藝術家。榮 獲此獎後，渡邊香奈前往西班牙馬德里進修三年，向當代具象 繪畫大師安東尼奧．洛佩斯（Antonio Lopez）學習西班牙寫實 主義技巧。作品色調溫和，筆觸細膩，渡邊香奈致力於在畫布上 呈現以五感捕捉到的現實，使繪畫在寫實與畫家的想像間達成平 衡。展覽紀錄包括2011年東京日動畫廊的「渡邊香奈個展」、 2013年東京日動畫廊的「女孩們？！」聯展，以及2018年東京 日動畫廊的「渡邊香奈：完美的藍」展。
渡邊香奈 來日讚歌VI 2010年 油彩 蛋彩 畫布 162.1 x 162.1 cm 簽名題識畫背： 來 日讚歌VI な 2010 來源 日動畫廊，東京 藝星藝術中心，台北 私人收藏，台灣 附藝星藝術中心開立之原作保證書
Kana Watanabe was bor n in 1980 in Iwate Prefecture, Japan. She studied management and law at college, but has always been passionate about painting. Since 2007, she has been actively participated in painting competitions and received different awards. In 2009, Watanabe was awarded the Matsumura Kenzo Prize of Showakaiten, a painting competition established in 1966 by Galerie Nichido, Tokyo to select new young artists. After that, she went to Madrid for further study, stayed there for about three years and learnt Spanish realism technique from the contemporary figurative painting master Antonio Lopez. With warm tones and precise brushstroke, Watanabe devoted to represent “one reality” that a painter “captures with five senses” and reach a pictorial balance between the real and the imagination of the artist. Solo and group exhibitions include: "Kana Watanabe Solo Exhibition”, Galerie Nichido, Tokyo (2011); Group exhibition "Girls?!", Galerie Nichido, Tokyo (2013); “Kana Watanabe - Perfect Blue”, Galerie Nichido, Tokyo (2018).
Ravenel 19
028
MAYUKA YAMAMOTO (Japanese, b. 1964)
Night Deer 2009 Oil on canvas 130 x 97 cm Signed Mayuka on the reverse, dated 2009 and titled Night deer PROVENANCE Gallery Tsubaki, Japan Private collection, Taiwan This lot is to be sold with a certificate issued by Gallery Tsubaki, Tokyo.
NT$ 280,000 - 420,000 HK$ 71,000 - 107,000 US$ 9,100 - 13,700 RMB 61,000 - 92,000
山本麻友香
1964年生，日本岡山人，山本麻友香被公認為日本第二代傑出當代藝術家之一。 1990年畢業於武藏野美術大學，主修版畫和油畫。山本麻友香是日本海外留學計 劃的藝術家之一，於1998年至1999年獲日本政府資助到英國倫敦研修。從1992年 起經常參加日本與國際間的個展與聯展發表。山本麻友香的作品中多描寫沈靜的男
夜鹿
孩，或披上動物的套裝，或帶著具有動物特徵的事物，藉此來表達他們的內心世
2009年 油彩 畫布 130 x 97 cm 簽名題識畫背：Night deer Mayuka 2009
界。男孩彷彿穿上防護盔甲，反映出內在的易感的情緒與心理狀態。成為母親之後
來源 椿畫廊，日本 私人收藏，台灣 附椿畫廊開立之作品保證書
的藝術家，開始反思自己的童年，並探索自然本能下、身為父母和成長的憂慮。披 著動物頭套的保護皮膚，或是長有或持有防禦性的動物特徵，如鹿角，男孩凝視著 觀眾時，與觀者產生情感連結，甚至可以從山本的作品裡，孩子的沈思眼眸深處， 去發現自我。
Mayuka Yamamoto (b.1964, Okayama, Japan) is widely recognized as one of Japan’s leading second-generation contemporary artist. She studied print and oil painting at the Musashino Art University where she received her Masters degree in 1990. In 1998-1999, Yamamoto studied in London under the Japanese Government Overseas Study Program for Artists. Since 1992, she has exhibited extensively in solo and group shows in Japan and internationally. Yamamoto is known for her oil paintings portraying children in animal suits or possessing animal features, as a way to reveal their inner world. Like a protective armor in response to their emotions and psychological state, they seem to instinctively hide behind a second skin in the form of animal costumes or some other defensive physical animalistic features. The subtle tension portrayed in Yamamoto’s works becomes a powerful expression of the inner psyche stemming from childhood fears, that has been the central focus of Yamamoto’s works since her pregnancy and becoming a mother when she began to reflect on her own childhood and explored the ideas of natural instinct, parenthood and the anxieties related to growing up. A boy in an animal suit, and sometimes growing animal features, became Yamamoto’s way of representing the physical and psychological changes experienced by the child. Cloaked in the protective skin of the animal suit, or armed with defensive animal features such as deer antlers, the child stares out at the audience, who might connect emotionally, or even find themselves within the depths of the pensive eyes of the child in Yamamoto’s works.
Ravenel 21
029
YOSHITOMO NARA
奈良美智
(Japanese, b. 1959)
女孩看著我
Girl Watching Me
2000年 油性筆 紙本 22.5 x 22.5 cm 簽名右上：な 2000
2000 Marker pen on paper 22.5 x 22.5 cm Signed upper right Na in Japanese and dated 2000 PROVENANCE Mainichi Auction, Tokyo, December 8, 2007, lot 797 Private collection, Japan
來源 每日拍賣行，東京，2007年12月8日，編號797 私人收藏，日本
NT$ 650,000 - 950,000 HK$ 166,000 - 242,000 US$ 21,200 - 30,900 RMB 143,000 - 208,000
奈良美智在德國生活十二年間，前期就讀國立杜塞道夫藝術學 院（1988-1994），後期在科隆成立工作室（1994-2000）， 成為職業畫家。來到德國之後，因為無法以流暢德語溝通的遺 憾，只好用繪畫來表現，就像小時候，用畫畫來溝通，意識 到自我的存在。旅居德國期間，他開始寫日記，不針對他人， 只面對自己的心。德國留學的階段，居住在遙遠僻靜的環境， 孤獨促使他開始和兒時的小美智對話。畫面的空間彷彿小時候 故鄉青森的廣闊大地，畫家能細膩巧妙掌握人物與空間的對應 關係。此時的奈良美智逐漸確立了日後的創作風格，他簡化繪 畫背景的敘述，將背景塗成平面，僅僅凸顯畫面中小孩與動物 的主題。初期和自己的對話過程，有時孤單，有時快樂。一開 始，想得多是悲哀的與傷感的記憶，情緒比較激動。主角呈現 眼神挑釁、帶有邪惡冷漠的象徵。
Nara ended up living in Germany for 12 years. For the first six of these, from 1988 to 1994, he studied at the Kunstakademie Düsseldorf, while spending the later six (1994-2000) setting up a studio and working as a professional artist in Cologne. Since he was unable to communicate fluently in German, he again had to resort to
using his art as a medium for conveying his meaning. Just as he did when a little boy, he spoke to people through his paintings, at the same time raising his awareness of his own identity and existence. During those years he also began to write a diary, not as some kind of official record, but entirely for the purpose of a dialogue with his inner self. Living in what for him was a rather remote and secluded environment, his sense of loneliness prompted him to start a fresh examination of his childhood years. The solitude he had felt in the wide lands of his native Aomori metamorphosed into the vast spaces of his compositions, into which his protagonists are placed with a delicate sense for contrast, balance, and proportion. In Germany, Nara began to gradually develop his trademark artistic style, with flat, simplified backgrounds and a firm focus on the children or animals that are the usual subjects of his paintings. The artist seems to have oscillated between feelings of isolation and happiness when reflecting on his life, and his youth in particular. At first, sadness and melancholy appear to have dominated his mood, and the rawness of his emotions is clearly mirrored in the looks of his protagonists, especially the expressions in their eyes, which range from challenging and provocative to apathetic, callous, or downright evil.
Ravenel 23
030
ob (Japanese, b. 1992)
A Planet in the Bracelet 2011 Oil on canvas 184 x 184 cm Signed on the reverse ob , titled A Planet in the Bracelet in Japanese and dated 2011. 9. 12 PROVENANCE Kaikai Kiki Gallery, Taipei Private collection, Taiwan
NT$ 750,000 - 1,100,000 HK$ 191,000 - 281,000 US$ 24,400 - 35,800 RMB 164,000 - 241,000
ob 手鐲裡的星球
ob出生於1992年的京都，作品所營造的世界，反映出同世代青年的感
2011年 油彩 畫布 184 x 184 cm 簽名題識畫背：2011. 9. 12 「ブレスレットの中に惑星」ob
性。2010年她自京都藝術高等學校畢業，年僅18歲，在京都舉行出道
來源 Kaikai Kiki 畫廊，台北 私人收藏，台灣
個展。2011年舉辦三檔個展，由村上隆主持的Kaikai Kiki畫廊推薦， 並在香港藝術博覽會的個展獲得高度評價。藝術家表示創作時腦海中 所浮現的場景，不是在森林的深處，就在堆滿喜愛物品的家。無論何 處，創作都可以安撫心情，讓她感到歸屬感。
Born in 1992, Kyoto, in the art world that ob created, ob reflects the sensibility of young people in her generation. In 2010, when graduated from Kyoto Art Senior High Shool at 18 years old, ob’s first solo exhibition held in Kyoto. In next year, she had three solo exhibitions, organised by Takashi Murakami’s Kaikai Kiki gallery, and then her works displaying in Art Basel Hong Kong got the high comment from the collectors. During the creation, ob felt the sceneries emerging in mind, are always happened in the deep of the forest or her home where contains the objects she likes. The artist said, no matter where she is, by the process of creating, she can feel the belongingness.
Ravenel 25
031
PETER RIEZEBOS
彼得．萊茲伯斯
(Dutch, b. 1980)
幸福系列 2016-15
Happiness Series 2016-15
2016年 綜合媒材 亞麻布 93 x 73 cm 簽名左上：R'16
2016 Mixed media on linen 93 x 73 cm Initialed upper left R and dated '16
NT$ 380,000 - 550,000 HK$ 97,000 - 140,000 US$ 12,400 - 17,900 RMB 83,000 - 121,000
032
PHILIPPE DECRAUZAT
菲利普．德克羅扎
(Swiss, b. 1974)
流動性之一
Lanquidity I
2010年 壓克力 畫布 213.5 x 220 cm 題識畫背：lanquidity 2010
2010 Acrylic on canvas 213.5 x 220 cm Titled on the reverse lanquidity and dated 2010 EXHIBITED Philippe Decrauzat , Galerie Praz-Delavallade, Paris, March 27-May 1, 2010
NT$ 400,000 - 600,000 HK$ 102,000 - 153,000 US$ 13,000 - 19,500 RMB 88,000 - 132,000 德克羅札融合歐普藝術、極簡主義和動態藝術，創造3D視覺 幻覺，以繪畫、雕塑、影像不同手法表現個人的創作風格。多
展覽 「菲利普．德克羅扎」，帕拉茲－戴拉瓦拉德畫廊，巴黎， 展期自2010年3月27日至5月1日
Philipe Decrauzat integrates Op art, Minimalism, Dynamic art into his works which creates a new visual illusion to the audience. Based in Lausanne, since 1997, he had lots solo exhibitions mostly in France or Switzerland. Artist’s form obtains a great affection from European collectors. Ha has been shown in important group exhibition: “Dynamo” at the Paris Grand Palais in 2013 and “Abstract Generation: Now in Print” at the New York MoMA in the same year.
活動於洛桑，自1997年起舉辦個展於於法國、瑞士各國，其風 格深受歐洲藏家的喜愛。曾參與多項大型聯展，如2013年：參 與巴黎大皇宮的「發電機」及美國紐約現代美術館的「抽象世 代：立即打印」等。 Ravenel 27
033
NOLWENN SAMSON (French, b. 1979)
On se parle? 2018 Mixed media on canvas 100 x 100 cm Signed lower right Nolwenn Samson and dated 2018 Signed on the reverse Samson Nolwenn , dated 13/07/18 , and inscribed oeuvre unique et originale celui par l’artiste peinte This lot is to be sold with a certificate of the authenticity issued by the artist.
NT$ 500,000 - 700,000 HK$ 128,000 - 179,000 US$ 16,300 - 22,800 RMB 110,000 - 154,000
娜溫．參森，1979年生於法國，自幼耳濡目染充滿舞蹈與攝影 藝術的成長環境。以自學開啟藝術創作的旅程，也曾短暫進修 於馬賽藝術學校，增進其人物描寫與構圖技巧。創作多以壓克力
娜溫．參森
顏料、黑墨、樹脂與麥克筆繪於畫布為主。其作品色彩明亮、幽
歡樂家庭－我們談一下？
默，受電影導演：北野武、昆汀．塔倫提諾影響，擅長將日常場
2018年 綜合媒材 畫布 100 x 100 cm 簽名右下：Nolwenn Samson 2018 簽名畫背：oeuvre unique et originale celui par l'artiste peinte Samson Nolwenn 13/07/18
景搭配天真的口號敘述，喚醒觀眾放鬆心情去面對困境。常用大
附藝術家開立之原作保證書
膽鮮豔的背景底色，搭配誇張的黑衣人物表情與動作，令人聯想 美國巴斯奇亞、凱斯．哈林、甚至是法國的羅伯．貢巴斯在自 由造形藝術與街頭藝術之間的變化。藝術家曾說：「時間使我自 由，也發掘了更多的技巧。」
Nolwenn Samson was born in 1979, France, growing up in a family fulling with the dance and photography art. As a totally self-taught artist, Samson had a brief passage through Marseille Art School where she improved her sense of portrait graphics and illustration. Most of her works are presented by acrylic paint, china ink and Marker pen on canvas. These colorful paintings always combine a sense of foolish humor. Influenced by the cinema director as Tarantino and Kitano, Samson is also good at using quotidian scenes with naive slogan description to remind the audience facing the difficulty optimistically. She takes the bright color fond to display figures’ facial expression and their poses, easily remind us the connection with Basquiat, Keith Haring, or even Robert Combas in France who form their style between Liber figuration and Urban street art. Samson said: “I take the time to liber myself, for inventing more technique than before.”
Ravenel 29
034
NG LUNG WAI
伍龍威
(Hong Kong, b. 1971)
伊莉莎白．泰勒
Elizabeth Taylor
2015年 油彩 畫布 182 x 146 cm 簽名畫背：Ng Lung Wai 2015
2015 Oil on canvas 182 x 146 cm Signed on the reverse Ng Lung Wai and dated 2015 PROVENANCE A2Z Art Gallery, Hong Kong EXHIBITED Ng Lung Wai Solo Exhibition: 1960s' World Celebrity Portraits , Comix Home Base, Wanchai, Hong Kong, March 21 - 27, 2015
來源 A2Z Art Gallery，香港 展覽 「伍龍威個展：1960年代名人肖像」，動漫基地， 灣仔，香港，展期自2015年3月21日至27日
NT$ 480,000 - 700,000 HK$ 122,000 - 179,000 US$ 15,600 - 22,800 RMB 105,000 - 154,000
伍龍威，香港中文大學建築碩士畢業，曾與香港藝術館、香港文化博物館、香港海防博物館展、香港規劃及基建展覽館等機構合 作，以創作完成各式的藝術專案計畫。伍龍威以伊莉莎白女王二世、毛澤東、約翰．藍儂等聞名全球的傳奇名人作為主角，利用 非傳統的創作媒材，像是烙畫、郵票、象棋、西洋棋、水墨瓶……等收集而來的物件，在精心的安排下組成大尺幅的人物肖像。 以這種「情景點畫法」的藝術，反映同世代香港居民所陷入的文化認同迷惘。所謂「點畫法」源自於19世紀末期的後印象派藝術 家ー喬治．秀拉，以筆尖沾取顏料，以點的方式鋪滿畫布。傳統畫作講究的精通描繪技巧，能描繪出人物風景栩栩如生且讓人瞧 不出筆觸痕跡才稱得上名家，然而，印象派以明顯的筆觸表達出光影變化的明媚，迷人的風光備受世人喜愛，也因此改變了人們 對於畫作「不可留下筆觸」的執著。新印象派延續其「筆觸」的概念，但改以機械式的「點」來作畫。「情景點畫法」則是再進 一步的新概念，每一個「點」都是由具有象徵意義的物件所構成。伍龍威所用的西洋棋和象棋、水墨瓶和油畫筆尖，是以此表示 香港的社會環境中，中西兩不同文化的融合及衝突，以及其看似一體、實為分化且矛盾的社會認同感。近期獲獎包括2009年的仁 川國際「綠色生活」設計大賽優異獎，義大利 Alessi 協辦的國際餐具設計大賽入圍獎，2010年首爾設計奧林匹克設計大賽入圍 獎，及2013年香港科技園舉辦「給香港一份GIFT」建築設計概念賽優異獎等。
Ng Lung Wai, graduated from The Chinese University of Hong Kong with a master degree in architecture, has completed several art projects cooperating with museums and institutions including Hong Kong Museum of Art, Hong Kong Heritage Museum, Hong Kong Museum of Coastal Defense, and Hong Kong Planning and Infrastructure Exhibition Gallery. Ng Lung Wai created images of Elizabeth the II, Mao Zedong, John Lennon and many other legendary figures with unconventional materials, including pyrography, stamps, Chinese ink bottles, Chinese chess, Western chess …… and more. Whereas “Pointillism” can refer to large-scale portraiture marked by the meticulousness of its composition, today a sort of “contextual pointillism” can be seen in the current inner-generational confusion over cultural identity that prevails amongst Hong Kongers. The concept of pointillism originally relates to late-19th-century Neo-impressionist Georges Seurat, an artist who filled canvases with dots, daubing just the brush tip in the paint. Traditionally, painting was a pursuit of technical proficiency. Becoming famous was a matter of who could paint lifelike portraits in which the brushstrokes were imperceptible to the viewer. This changed, however, when the Impressionists used clear brushstrokes as a means to express radiant variations in light and shadow. Such scenes became a favorite of people around the world and ultimately changed people's persistence on “invisible brushwork.” Neo- impressionists extended this brushwork concept but shifted it to a mechanical one with paintings made up of points. Contextual pointillism, then, is a conceptual progression in which all the points are composed of symbolically significant things. Using both Western and Chinese chess, bottles of sumi ink, and the tips of paint brushes, Ng Lung Wai explores the conflicts and compromises between of Chinese and Western cultures, and how they seem to integrate with each other along the contradictory dividing lines of social identity. Ng Lung Wai has received awards like Incheon “Green Life” in South Korea, Italy Alessi “Aperitivo in 2009. Seoul Design Olympic in 2010, and Hong Kong Technology “Park Gift” architectural design in 2013.
Ravenel 31
035
SUPAKITCH (French, b. 1978)
Gangster of Love 2006 Acrylic on canvas 167(L) x 110(W) x 7(D) cm (including the frame) EXHIBITED SupaKitch: I Was Born to Be Different , Galerie Elegance, Taipei, December 11- 25, 2010 ILLUSTRATED SupaKitch: I Was Born to Be Different , Galerie Elegance, Taipei, 2010, color illustrated, pp. 24-25
NT$ 700,000 - 1,100,000 HK$ 179,000 - 281,000 US$ 22,800 - 35,800 RMB 154,000 - 241,000
市霸奇奇出生於巴黎，曾經在許多大都會裡進行創作，包括法國的巴黎 和比亞里茨，以及美國的洛杉磯和紐約。他特別鍾情街頭藝術、漫畫、 塗鴉、刺青和嘻哈文化，在他的作品中，這些元素無所不在。1990 年 代，他認識了同期的塗鴉藝術家 H a z y 和音樂製作人 E o n e，啟發他的 靈感，開始在創作中納入各種繪畫、攝影、製圖技巧，在創作的同時探 索音樂之美。作品極富音樂性和律動感，讓人迫不及待想一探市霸奇 奇打造的夢幻王國。擬人化的卡通「超級動物」（S u pan i mal），看似 貓熊，又像狐狸。在市霸奇奇的創作中，擬人動物具有象徵性的意義。
市霸奇奇
超自然的迷人角色，其實是市霸奇奇自我的延伸，代表藝術家不同的個
愛情匪徒
性。這些造型的象徵更傳達出藝術家的最深層情緒。市霸奇奇曾經與
2006年 壓克力 畫布 167（長）x 110（寬）x 7（深）cm（含框） 展覽 「市霸奇奇：天生不同」，愛力根畫廊，台北， 展期自2010年12月11日至25日 圖錄 《市霸奇奇：天生不同》，愛力根畫廊， 台北，2010，彩色圖版，頁24-25
Sixpack、Brendan Monroe、Wayne Horse、Koralie 等品牌合作，為 他們的商店創作壁畫，足跡遍常布歐洲各地，包括德國杜塞道夫、哥本 哈根、巴黎、聖塞巴斯提安和里斯本。市霸奇奇個人的首場重要畫展於 2007年舉辦，並以所謂的「無所不在」為畫展的原創概念。作品曾在世 界各地重要藝廊展出，包括巴黎、台北、邁阿密等地。
SupaKitch, a Parisian-born artist who has worked many metropolitan cities including Paris, Biarritz, Los Angeles and New York. The artist’s passion for street art, mangas, graffiti and tattoos and the hip-hop culture are elements that appear to be omnipresent in his works. In the 1990s, he met fellow graffiti artist Hazy and music producer Eone, which inspired him to explore works combining various techniques of painting, photography and graphics in exploring the theme of music. The artist’s has created a universe with pop-romantic and musical where anthropomorphic creatures such as the Supanimal, who looks like a panda, and a fox, are used as metaphors. Through these miraculous and enticing depictions, SupaKitch created a world where the characters are regarded as an extension of himself that represent the different aspects of his personalities. The representation of these imageries further conveys the artist’s innermost emotions. SupaKitch has collaborated with brands such as Sixpack, Brendan Monroe, Wayne Horse, Koralie where the artist painted murals in the brand’s various shops across Europe, Dusseldorf, Copenhagen, Paris, San Sebastian and Lisbon. SupaKitch had his first major solo show based upon an original concept he called “Ubiquity in 2007. He has also been exhibiting worldwide in galleries in Paris, Taipei and Miami.
Ravenel 33
036
RON ENGLISH (American, b. 1959)
Sunflower Grinnie 2018 Acrylic, oil on canvas 122 x 122 cm EXHIBITED Pop Culture, Creation of Modern Sinan , Sinamasions, Shanghai, November 23, 2018 - January 5, 2019
NT$ 850,000 - 1,300,000 HK$ 217,000 - 332,000 US$ 27,700 - 42,300 RMB 186,000 - 285,000
羅恩．英格利什
美國著名普普藝術大師－羅恩．英格利什，被喻為當代最有影響
笑笑向日葵
力的流行藝術家。1990年代初期，英格利什以專門繪製大型廣告
2018年 壓克力 油彩 畫布 122 x 122 cm 展覽 「Pop Culture 寰球潮流文化節」，思南公館， 上海，展期自2018年11月23日至2019年1月5日
（B i l l b o a rd）宣揚反偶像崇拜而聞名，多引用人們熟悉的知名角 色、名作、人物，加以幽默改造。並創造 POPaganda 此一術語， 添加獨特觀點，呈現高、低文化的互相衝擊，現代社會及消費主義 的諷刺現況。拍品《笑笑向日葵》正是卡通化的荷蘭畫家梵谷的畫 作，延續藝術家最有名的「咧嘴」系列。可愛的向日葵擬人化，在 畫面中心如孩子般咧嘴大笑。幽默搭配梵谷名作《星空》背景，下 方還有如玩具速食店的場景，整體視覺效果繽紛有趣，讓人看了不 禁會心一笑。
Ron En glish , th e famou s Ame rican POP- A R T m as t er, i s regarded as the most influential pop artist of the time. In the early 1990s, English was famous for making Billboard advertisements to promote anti-idolatry, and humorously spoofing well-known famous characters, art masterpieces, character to transformation. And he also createds the term POPaganda, adding own unique perspectives, presenting high and low cultural interactions, the irony of modern society and consumerism. The lot 036 Sunflower Grinnie is the work, which English combines Dutch painter Van Gogh’s sunflower image, with his own most famous Pouting series. The lovely Sunflower is anthropomorphized and laughs like a child in the center of the picture, humorously matched with another Van Gogh's masterpiece Starry Sky as the background. There are scenes like toy fast food restaurants below. The overall visual effect is very colorful, interesting and makes the audience laugh.
Ravenel 35
037
RON ENGLISH
羅恩．英格利什
(American, b. 1959)
迷惑小鎮－格爾尼卡
Delusionville Guernica
2018年 壓克力 畫布 103.5 x 226.5 cm 簽名右下：English
2018 Acrylic on canvas 103.5 x 226.5 cm Signed lower right English
NT$ 1,400,000 - 2,000,000 HK$ 357,000 - 510,000 US$ 45,600 - 65,100 RMB 307,000 - 439,000
拍品《迷惑小鎮－格爾尼卡》為羅恩．英格利什「迷惑小鎮」（Delusionville）的系列畫作。迷惑小鎮是藝術家創造的一個地 下虛擬世界，以不同的動物影射人類社會的各種階層。豬代表銀行家，海龜是發明者，而鴨子則是醫生等等設定。而深愛音樂 的英格利什，甚至為迷惑小鎮系列與其他流行樂手創作搖滾主題曲，講述在迷惑小鎮發生的故事。此作結合大師畢卡索描寫西 班牙內戰的巨作《格爾尼卡》，可將此拍品視為跨世代藝術融合的精彩作品。
This lot 037, Delusionville-Guernica , is one of the series Delusionville by Ron English. Delusionville is a underground virtual world, that represent different class of human in the reality society by different animals. The pig represents the banker, the turtle is the science inventor, and the duck symbolizes the doctor etc. English, who also loves the music, even writes theme songs for the Delusionville series with other pop musicians, telling stories happening in this town. This work was inspired by Pablo Picasso's masterpiece Gernica , which can be regarded as a wonderful work of crossgeneration art world.
Ravenel 37
038
PARK SEUNG MO
朴勝模
(Korean, b. 1969)
幻 6469
Maya 6469
2013年 不鏽鋼鐵網 單一件 230（長）x 217（寬）x 20（深）cm
2013 Stainless steel mesh, unique piece 230(L) x 217(W) x 20(D) cm EXHIBITED K-P.O.P.–Korean Contemporary Art , Museum of Contemporary Art, Taipei, April 19 – June 15, 2014 ILLUSTRATED K-P.O.P. Korean Contemporary Art , Museum of Contemporary Art, Taipei, 2016, color illustrated
Seungmo Park , Avenuel Art Hall, Seoul, 2016, color illustrated, pp. 130-131
展覽 「K-P.O.P.－韓國當代藝術展」，台北當代藝術館， 台北，展期自2014年4月19日至6月15日 圖錄 《K-P.O.P 韓國當代藝術展》，台北當代藝術館， 台北，2016，彩色圖版 《朴勝模》，樂天Avenuel 藝術館，首爾，2016， 彩色圖版，頁130-131
NT$ 900,000 - 1,400,000 HK$ 230,000 - 357,000 US$ 29,300 - 45,600 RMB 197,000 - 307,000
朴勝模，1969年生於韓國，1998年韓國東亞大學雕塑系畢 業，曾在倫敦、紐約、韓國及台灣等地舉辦過多次個展，現居 紐約。朴勝模擅長以鋁線和鋼絲為創作媒材，透過不同層次交 疊的線條，營造出如真似幻的圖像及造型。他的創作源自於印 度生活的經驗，他觀察僧侶、修行者的信仰與生活，並從冥想 與曼陀羅繪畫中參悟出個人的創作道路。朴勝模作品不停纏繞 的鋁線和細心修剪的鋼絲，象徵了一種近乎修行式的時間投入 和勞力付出。 《幻M AYA》系列作品，是朴勝模將寫實的人物攝影，轉化為 一種以鋼絲網和非實體的光影共構而成，介於平面素描和立 體雕塑之間的人像作品，在這當中，藝術家展現了精準的技法 操作、材料運用和光影表現，同時也保留了材料本身真實素樸 的原味。在鬆與緊的拿捏之間，藝術家提出了一種「緣份」的 觀點，允許未知和變數的存在，就如同生命中的聚散離合， 原本沒有交集的人、事、物相遇、匯聚、碰撞、互動後，因 為「緣」的作用，而變成了有意義、有趣、有機的獨特組合。 （參考台北當代藝術館展覽新聞稿）
Park Seung Mo was born in Korea in 1969. He graduated from Dong-A University in Korea with a degree in sculpture in 1998, and has held solo exhibitions in London, New York, Korea, and Taiwan. Currently based in New York, Park is known for his creative use of aluminum and steel wires.
Through overlapping lines and contours, he creates layers that form elusive and astonishing images and shapes. He draws his inspiration from the time he spent in India, where he observed the religious practices and lives of monks and yogis, and through meditation and Mandala paintings, he realized the direction for his personal creative journey. The repeated coiling and meticulous shaping of metal wires symbolizes a meditative-like action with devotions of time and labor. In the MAYA series, using realistic photographs of people as references, Park has transformed them into portraitures constructed with metal wires, lights and shadows, resulting in sculptural works in between two-dimensional sketches and three-dimensional sculptures. These artworks demonstrate the artist’s mastering of precision, material applications and dramatic display of lights and shadows. At the same time, the works have also preserved the original essence inherent to the artist’s chosen material. Through the control of loosening and tightening up the wires, Park is also proposing the notion of “serendipity,” by allowing the unknown and variants to take place. Similar to the encounters and the separations in life, individuals, things, incidents may come together and form interactions, and they may become meaningful, amusing, and spontaneous combination due to the reactions prompted by “serendipity.” (reference to the press release of the exhibition at Taipei MoMA)
Ravenel 39
039
PETER RIEZEBOS (Dutch, b. 1980)
Gifted 2017 Mixed media on linen 200 x 200 cm Initialed center right R and dated '17
NT$ 1,600,000 - 2,400,000 HK$ 408,000 - 612,000 US$ 52,100 - 78,200 RMB 351,000 - 526,000
彼得．萊茲伯斯 天賦 2017年 綜合媒材 亞麻布 200 x 200 cm 簽名右中：R'17
彼得．萊茲伯斯，1980年生於荷蘭，融合抽象與當代表現主義，極具個 人特色，為全球活躍的當代藝術家。藉由線條勾勒幾何圖形，與飽和底 色襯托對比，饒富趣味地型塑畫面上的具象形體。創作情感自由奔放， 瞬間帶動筆觸，強烈衝擊視覺感官。創作主題，多來自生命經驗，與內 心淬煉感受的交織。來自多元融合的荷蘭國度，萊茲伯斯善於將各色元 素轉化成自身語彙。近年多受邀於商業藝廊與機構，巡迴展覽於上海、 紐約、洛杉磯與阿姆斯特丹等國際一線城市。
Born in the Netherlands in 1980, Riezebos mixes abstraction and contemporary expressionism with his personal characteristics. He is a globally active contemporary artist. He uses a saturated background to contrast the shape of geometric figures drawn in lines. The free and unrestrained creative emotions and an instant touch of a brush have a strong impact on the visual effect. The theme for his works of art mainly comes from life experiences intertwined with inner feelings. Coming from a multi-integrated country, Riezebos is skilled at transforming various elements into his own vocabulary. In recent year, he has been invited to commercial galleries and institutions and has also exhibited in international first-tier cities such as Shanghai, New York, Los Angeles, and Amsterdam.
Ravenel 41
040
DALE CHIHULY
戴爾．奇胡利
(American, b. 1941)
綠色維也納之籃
Vienna Green Basket
2008年 玻璃雕塑 單一件 28（長）x 23（寬）x 8.5（高）cm 藝術家雕刻簽名於底部
2008 Glass sculpture, unique piece 28(L) x 23(W) x 8.5(H) cm Engraved on the bottom Chihuly PROVENANCE Portland Press (Chihuly Workshop since 2012), Seattle Private collection, Taiwan This lot is to be sold with a certificate of authenticity issued by Portland Press, Seattle.
NT$ 170,000 - 260,000 HK$ 43,000 - 66,000 US$ 5,500 - 8,500 RMB 37,000 - 57,000
來源 波特蘭出版社（藝術家工作室），西雅圖 私人收藏，台灣 附西雅圖波特蘭出版社開立之作品保證書 奇胡利1968年取得羅德島設計學院陶藝美術碩士，同年前往義大利 威尼斯省的穆拉諾島，在著名的玻璃工作室 Venini Fabrica 工作。 奇胡利以色彩繽紛、有機形狀的玻璃雕塑聞名。童年生長於被海洋 與森林環抱的海港城市，作品也流露出這些自然意象，色彩鮮艷， 形狀生動，富含旺盛生命力。1992年台北市立美術館為其舉行「奇 胡利：玻璃藝術」個展，1994年高雄市立美術館亦舉行奇胡利個展 「奇胡利：建築中的玻璃」。
041
DALE CHIHULY
戴爾．奇胡利
(American, b. 1941)
青金色波斯紋系列
Lapis Persian Pair
2006年 玻璃雕塑 單一件 28（長）x 27（寬）x 19（高）cm 藝術家雕刻簽名於底部
2006 Glass sculpture, unique piece 28(L) x 27(W) x 19(H) cm Engraved on the bottom Chihuly PROVENANCE Portland Press (Chihuly Workshop since 2012), Seattle Private collection, Taiwan This lot is to be sold with a certificate of authenticity issued by Portland Press, Seattle.
NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,500 - 9,800 RMB 44,000 - 66,000
來源 波特蘭出版社（藝術家工作室），西雅圖 私人收藏，台灣 附西雅圖波特蘭出版社開立之作品保證書 In 1968, Chihuly received an M.F.A in ceramics from Rhode Island School of Design (RISD). The same year he traveled to Italy and worked at Venini Fabrica, the renowned glassblowing workshop in Murano, Venice. Chihuly is best known for his vibrant colored organic glass creations. Grown up in a port city by ocean and forest, Chihuly integrated these natural elements to his sculpture, creating works characterized by their vibrant color and vivid form that plays with light. His glass sculpture conveys a form of energy and vitality. In 1992, the Taipei Fine Arts Museum held "Dale Chihuly: Glass”, and in 1994, another solo exhibition of Chihuly, “Chihuly: Glass in Architecture” took place at the Kaohsiung Museum of Fine Arts.
Ravenel 43
042
PATRICK REAULT
派特里克．雷奧
(French, b. 1955)
普羅旺斯秋色
Automne dans la campagne Aixoise
2007年 油彩 畫布 130 x 97 cm 簽名右下：P. Reault 簽名題識畫背：P. Reault, Automne dans la campagne Aixoise
2007 Oil on canvas 130 x 97 cm Signed lower right P. Reault Signed on the reverse P. Reault and titled Automne dans la campagne Aixoise PROVENANCE Opera Gallery, Singapore Private collection, Taiwan This lot is to be sold with a certificate of authenticity issued by Opera Gallery, Singapore.
NT$ 280,000 - 420,000 HK$ 71,000 - 107,000 US$ 9,100 - 13,700 RMB 61,000 - 92,000
來源 歌劇畫廊，新加坡 私人收藏，台灣 附新加坡歌劇畫廊開立之作品保證書
法國當代畫家派特里克．雷奧在成為藝術家之前，曾是演員 與音樂家。1980年代初他開始於法國馬賽發展藝術生涯。他 注重畫面中光線的探索，並深受兩位藝術大師史塔耶爾與泰 納的啟發。雷奧的作品用色濃烈，結構簡潔，描繪法國鄉間 獨有的靜謐氣氛。
043
PATRICK REAULT
派特里克．雷奧
(French, b. 1955)
地平線的遠眺（布列塔尼之南）
Regards sur l’Horizon (Bretagne Sud)
2008年 油彩 畫布 130 x 97 cm 簽名右下：P. Reault 簽名題識畫背：P. Reault, Regards sur l'horizon (Bretagne sud)
2008 Oil on canvas 130 x 97 cm Signed lower right P. Reault Signed on the reverse P. Reault and titled Regards sur l'horizon (Bretagne sud) PROVENANCE Opera Gallery, Singapore Private collection, Taiwan This lot is to be sold with a certificate of authenticity issued by Opera Gallery, Singapore.
NT$ 280,000 - 420,000 HK$ 71,000 - 107,000 US$ 9,100 - 13,700 RMB 61,000 - 92,000
來源 歌劇畫廊，新加坡 私人收藏，台灣 附新加坡歌劇畫廊開立之作品保證書
Patrick Reault is a contemporary French painter. He was an actor and musician before starting his career as a painter in Marseille at the beginning of the 1980s. He drew in the search of lights and had been inspired by two artists: Nicolas de Staël and William Turner. Reault's work is intense in color and simple in composition, revealing the tranquil atmosphere in the French countryside.
Ravenel 45
044
塔提雅娜．帕丘卡
塔提雅娜．帕丘卡，1954年出生於拉脫維亞里
(Latvian, b. 1954)
夏日狩獵
加。父親為俄國軍人，早逝，由母親辛苦養育成
The Hunting. Summer
2004年 油彩 畫布 54 x 80 cm 簽名右下：T Palchuk 簽名題識年代畫背
TATYANA PALCHUK 2004 Oil on canvas 54 x 80 cm Signed lower right T Palchuk Signed, titled and dated on the reverse PROVENANCE Private collection, Latvia
NT$ 150,000 - 220,000 HK$ 38,000 - 56,000 US$ 4,900 - 7,200 RMB 33,000 - 48,000
來源 私人收藏，拉脫維亞
人。1967年到1973年間，在雅妮絲羅森塔爾斯藝 術高中學習，完成大專教育。1975年到1981年 間，入拉脫維亞藝術學院的繪畫系學習。從1984 年到1987年，她參加蘇聯藝術學院的研究生課 程，師從海景畫家愛德華．卡連尼斯（E d u a rd s K a l n i n s）。專研歐洲學院風格繪畫。2003年獲 得美術與繪畫碩士學位。其藝術作品受到中世紀 意大利文藝復興、北方文藝復興和法國泥金裝飾 手抄本的影響。拉脫維亞藝術聯盟的成員之一。 教授油畫、素描和作曲，經常參展並獲獎無數。 2019年5月應邀參加威尼斯雙年展。作品為公共 及私人收藏。
045
TATYANA PALCHUK
塔提雅娜．帕丘卡
(Latvian, b. 1954)
金色的旋律
Golden Melody
2011年 油彩 畫布 60 x 70 cm 簽名右下：T Palchuk 簽名題識年代畫背
2011 Oil on canvas 60 x 70 cm Signed lower right T Palchuk Signed, titled and dated on the reverse PROVENANCE Private collection, Latvia
NT$ 260,000 - 380,000 HK$ 66,000 - 97,000 US$ 8,500 - 12,400 RMB 57,000 - 83,000
來源 私人收藏，拉脫維亞
Tatyana Palchuk, original name Tatjana Palcuka was born in 1954 in Riga, Latvian. From 1967 to 1973, she studied at the Jānis Rozentāls Art High School, where she received college-level education. From 1975 to 1981, she studied at the Art Academy of Latvia, in the department of painting. From 1984 to 1987, she attended the USSR Academy of Arts for her postgraduate studies, and studied with Western school academics such as marine painter Eduards K a l n i n s . P a l c h u k s t u d i e d E u ro p e a n a c a d e m i c school of painting. In 2003, she received an MA in Fine Art and Painting. Her artistic productions are influenced by the Italian Renaissance, the Northern Renaissance and the French Illuminated Manuscripts. A member of the Latvian Art Union, she teaches painting, drawing and composition. Palchuk regularly participates in exhibitions. She won several awards and invited to participate in an official exhibition of the 58th Venice Biennale, May 2019. Her paintings are housed in both public and private collections.
Ravenel 47
046
ANDRÉ BRASILIER
安德烈．布拉吉利
(French, b. 1929)
阿蘇山
Mont Aso
1983年 彩繪陶瓷盤 版次14/25 直徑 56 cm 鈐印背面：André Brasilier 陶瓷工作室鈐印：SASSI–MILICI VALLAURIS EMPREINTE ORIGINALE 14/25
1983 Ceramic, ed. 14/25 Diameter 56 cm Engraved on the reverse André Brasilier in French and inscribed SASSI–MILICI VALLAURIS, EMPREINTE ORIGINALE A. BRASILIER ; numbered 14/25
NT$ 240,000 - 320,000 HK$ 61,000 - 82,000 US$ 7,800 - 10,400 RMB 53,000 - 70,000
047
ANDRÉ BRASILIER
安德烈．布拉吉利
(French, b. 1929)
踏浪輕騎
Cavaliers dans les flots
彩繪陶瓷盤 版次6/50 直徑 49.2 cm 鈐印背面：André Brasilier 陶瓷工作室鈐印：SASSI–MILICI VALLAURIS EMPREINTE ORIGINALE 6/50
Ceramic, ed. 6/50 Diameter 49.2 cm Engraved on the reverse André Brasilier in French and inscribed SASSI–MILICI VALLAURIS , EMPREINTE ORIGINALE A. BRASILIER ; numbered 6/50
NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,500 - 9,800 RMB 44,000 - 66,000
Ravenel 49
048
BERNARD CHAROY
貝爾納．夏洛瓦
(French, b. 1931)
地中海的午後
Camille en Méditerranée
1998年 壓克力 畫布 72.5 x 60.5 cm 簽名右下：Bernard Charoy
1998 Acrylic on canvas 72.5 x 60.5 cm Signed lower right Bernard Charoy PROVENANCE Private collection, France (Acquired directly from the artist) This lot is to be sold with a certificate of authenticity signed by the artist.
NT$ 340,000 - 500,000 HK$ 87,000 - 128,000 US$ 11,100 - 16,300 RMB 75,000 - 110,000
來源 私人收藏，法國（直接購自藝術家本人） 附藝術家親筆簽名原作保證書
049
BERNARD CHAROY
貝爾納．夏洛瓦
(French, b. 1931)
安娜貝拉
Annabelle
2006年 油彩 畫布 65 x 54 cm 簽名左下：Bernard Charoy
2006 Oil on canvas 65 x 54 cm Signed lower left Bernard Charoy
附藝術家親筆簽名之原作保證書
This lot is to be sold with a certificate of authenticity signed by the artist.
NT$ 340,000 - 500,000 HK$ 87,000 - 128,000 US$ 11,100 - 16,300 RMB 75,000 - 110,000
Ravenel 51
050
BERNARD BUFFET (French, 1928 - 1999)
Femme nue et papillon-Zizi 1959 Ink, mixed media on paper mounted onto board 50 x 65 cm Signed upper center Bernard Buffet '59 PROVENANCE Private collection, France Tajan Paris, March 28, 1996, lot 53 Private collection, Asia This lot is to be sold with a certificate of authenticity issued by Galerie Maurice Garnier, Paris.
NT$ 950,000 - 1,400,000 HK$ 242,000 - 357,000 US$ 30,900 - 45,600 RMB 208,000 - 307,000
貝爾納．畢費 蝴蝶裸女－琪琪 1959年 油墨 綜合媒材 紙本裱於木板 50 x 65 cm 簽名上方：Bernard Buffet '59 來源 私人收藏，法國 巴黎塔尚拍賣，1996年3月28日，編號53 私人收藏，亞洲 附巴黎莫里斯．賈尼耶畫廊開立之原作保證書
1959年貝爾納．畢費主導視覺設計的歌舞劇《老闆P a t r o n》，由知名女星琪 琪．瑪莉（Zizi Jeanmaire）與羅蘭．佩蒂（Roland Petit）擔綱，在巴黎市立 劇院演出。此畢費早期精彩作品《蝴蝶裸女－琪琪》即是當年以琪琪為靈感創 作出來的畫作。裸女主角是中心視覺唯一焦點，大字型的姿態極富張力，就像 琪琪在舞台上自信滿滿、閃耀奪目的樣子。細膩的黑線條一筆一畫，蝴蝶羽翼 像七彩寶石透著繽紛的彩色。這張畫作不僅擁有畢費1950年代的風格特徵，更 是一張充滿故事，記錄藝術家經典年代，值得收藏的珍品。
In 1959, Bernard Buffet dominated the visual design of the cabaret Le Patron , which was performed by the famous actress Zizi Jeanmaire and Roland Petit, and showed at the theatre Sarah Bernhardt in Paris. This early work of Buffet, Femme nue et papillon-Zizi , is a drawing inspired by Zizi Jeanmaire. The naked female figure is the only focus of the central vision, and the four limbs stretch out extremely forceful, just like the confident and brilliant look of Zizi on the stage. The delicate black lines are painted stroke by stroke, and the butterfly wings are just like colorful gemstones glistening with abundant colors. This painting is not only full of the characteristics of Buffet’s 1950s style, but also a treasure that is full of stories and records the classic era of the artist.
Ravenel 53
051
SALVADOR DALI
薩爾瓦多．達利
(Spanish, 1904 - 1989)
向牛頓致敬
Hommage à Newton
構思於1980 年；鑄造於1981 年 綠色銅雕 版次 174/350 高度：35 cm 簽名雕刻台座：Dali © Camblest 1981 編號台座後側：174/350 Venturi Arte
Conceived in 1980; cast in 1981 Bronze with green patina Editor: Camblest Ltd., ed.174/350 Fonder: Venturi Arte H: 35 cm Engraved on the base Dalí with the editor mark © Camblest 1981 Numbered on the base 174/350 with the foundry mark Venturi Arte PROVENANCE Private collection, France Galerie Elegance, Taipei Private collection, Taiwan (since 1989)
來源 私人收藏，法國 愛力根畫廊，台北 私人收藏，台灣 (1989年至今) 附鑄造師及發行人保證書影本及 愛力根畫廊開立之作品保證書
This lot is to be sold with a copy of certificate issued by Camblest Ltd. and a certificate of authenticity issued by Galerie Elegance, Taipei.
NT$ 220,000 - 340,000 HK$ 56,000 - 87,000 US$ 7,200 - 11,100 RMB 48,000 - 75,000
超現實大師薩爾瓦多．達利、畢卡索與米羅為西班牙二十世紀後的三大巨匠，有著過人的想像及創造力，達利 的作品常常讓人有著出乎意料的驚喜。達利的藝術創作涵括了雕塑、繪畫、攝影、電影動畫、珠寶設計等，可 說是跨領域的藝術鬼才。大眾最熟知達利的作品不外乎是那融化扭曲的時鐘、夢境般的幻景和龍蝦電話等，如 此荒謬怪異，卻不得不讓人驚嘆他無限的想像力，達利提供了我們一個可以全新看待藝術品的方式和視野！
The master of Surrealism, Salvador Dali is one of the three of the great masters of Spanish art in the twentieth century. Dali with his exceptional creativity and imaginations, his works are often amazing and surprising. Dali is incredibly skilled in multitude of disciplines, including being a sculptor, painter, photographer, film maker and jeweler. Salvador’s most famous works are undoubtedly including the twisted/melting clocks, fantasized dreamlike settings, and lobster telephone, so bizarre yet, these creations inspired feelings of awe for viewers, as Dali has contributed new ways of looking at art.
Ravenel 55
052
AUGUSTE RODIN (French, 1840 - 1917)
Vénus à la toilette Conceived in 1890; cast in 1998 Bronze with black patina Editor: Artco France, ed. 2/25 Fonder: Airaindor 23(L) x 22(W) x 48(H) cm Engraved on the base A. Rodin with the editor mark Artco France and dated 1998 Numbered on the base 2/25 with the foundry mark Airaindor Cire Perdue PROVENANCE Gallery Artco France, Paris Galerie Elegance, Taipei Private collection, Taiwan This lot is to be sold with a certificate issued by Gallery Artco France, Paris and another certificate issued by Galerie Elegance, Taipei.
NT$ 340,000 - 500,000 HK$ 87,000 - 128,000 US$ 11,100 - 16,300 RMB 75,000 - 110,000
奧古斯特．羅丹 沐浴的維納斯 構思於1890 年；鑄造於1998 年 黑色銅雕 版次 2/25 23（長）x 22（寬）x 48（高）cm 簽名雕刻台座：A. Rodin Artco France 1998 編號台座後側：2/25 Airaindor Cire Perdue 來源 Artco France畫廊，巴黎 愛力根畫廊，台北 私人收藏，台灣 附巴黎Artco France畫廊、愛力根畫廊開立之作品保證書
羅丹被譽為現代雕刻藝術之父，20世紀初最偉大的現實主義雕塑家。承傳了文藝復興 的藝術，對人體結構有深刻研究，精準細膩地捕捉人的情感和美態，創作出膾炙人口 的佳作，當時更被公認為繼米開朗基羅後最偉大的雕塑家。此拍品《沐浴的維納斯》 約1890年構思又名《甦醒》，銅雕的細膩質感，優美呈現女性動人的身體線條。而重 要圖錄與羅丹美術館皆典藏此作，為羅丹一件重要雕塑作品。
Rodin is known as the father of modern sculpture art, the greatest realist sculptor of the early 20th century. Inheriting the art of the Renaissance, he profoundly researches on the human body structure, capturing the emotions and beauty of human body with precision and exquisiteness. Creating the historical masterpieces of sculpture, he was recognized as the greatest sculptor after Michelangelo. The lot Vénus à la toilette was conceived in 1890, also named as Le Reveille . The delicate texture of the bronze gracefully presents the moving motion of female body. The important catalogue and the Rodin Museum of Art both record this sculpture. It’s a representative and important sculpture of Rodin.
Ravenel 57
053
AUGUSTE RODIN
奧古斯特．羅丹
(French, 1840 - 1917)
寧芙仙子跪姿（別名人面獅身像變體）
Nymphe accroupie dite aussi “variante de la Sphinge”
構思於1886 - 1890年；翻鑄於1972年 棕色銅雕 版次 7/13 鑄造者 埃米爾．戈達爾鑄造廠 15（長）x 14.1（寬）x 13.9（高）cm 雕刻簽名台座：A. Rodin No. 7 雕刻簽名台座後側：© BY MUSEE RODIN 1972 E. Godard Fondr'
Conceived from 1886 to 1890 ; cast in 1972 Bronze with brown patina; ed. 7/13 Fonder: Emile Godard 15(L) x 14.1(W) x 13.9(H) cm Engraved and numbered upper of base A. Rodin no. 7 Inscribed with foundry mark on the side of base © BY MUSEE RODIN 1972 E. GODARD Fondr' PROVENANCE Musée Rodin, Paris M.B.G. Cantor, New York (acquired from the above) Private collection, Japan ILLUSTRATED This work will be included in the forthcoming Catalogue Critique de l'Oeuvre Sculpté d'Auguste Rodin currently being prepared by the Comité Auguste Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay, registration No. 2017-53688. This lot is accompanied with a letter of expertise from the comité Auguste Rodin.
NT$ 480,000 - 700,000 HK$ 122,000 - 179,000 US$ 15,600 - 22,800 RMB 105,000 - 154,000
來源 羅丹美術館，巴黎 M.B.G. 康托爾收藏，紐約（得自上述來源） 私人收藏，日本 圖錄 此作品將刊錄於羅丹鑒定委員會即將出版的 《奧古斯特．羅丹雕塑作品藝評圖錄》； 登錄編號2017-53688 附羅丹鑒定委員會信函
Ravenel 59
054
BERNARD BUFFET (French, 1928 - 1999)
Nature morte à la lampe et aux tomates 1948 Oil on canvas 38 x 55 cm Signed upper left Bernard Buffet and dated 48 PROVENANCE Galerie Maurice Garnier, Paris Tajan (S.V.V.), Paris, December 10, 2014, lot 151 Private collection, Asia This lot is to be sold with a certificate of authenticity issued by Galerie Maurice Garnier and signed by both Ida Garnier and Jacques Gasbarian.
NT$ 4,000,000 - 6,000,000 HK$ 1,020,000 - 1,531,000 US$ 130,300 - 195,400 RMB 877,000 - 1,316,000
貝爾納．畢費 有檯燈與番茄的靜物 1948年 油彩 畫布 38 x 55 cm 簽名左上：Bernard Buffet 48 來源 莫里斯．賈尼耶畫廊，巴黎 塔尚拍賣，巴黎，2014年12月10日，編號151 私人收藏，亞洲 附莫里斯．賈尼耶畫廊負責人伊達．賈尼耶與 傑克．賈思布里恩簽名開立之原作保證書
Ravenel 61
貝爾納．畢費 BERNARD BUFFET 漫長的歷史進程，靜物畫作為配角，直至17世紀荷蘭的躍進發展，18
作為二十世紀戰後寫實主義的一代大師，貝爾納．畢費支撐起藝術史洪
世紀法國藝術的延展拓寬，它漸漸擁有獨立表現形式、審美意義，更
流的重要版圖。他因戰火而燃起的藝術之火，為全世界所仰望。一生源
成為另一種紀錄時代文化，富有教育意涵的畫作門類。塞尚作為現代
源不絕的創作，像是對藝術的崇敬，虔誠而純粹的皈依。人們但凡看過
藝術的啟蒙者，將靜物畫更廣的創作自由，交還給藝術家的自我意識
他的作品，無不為其震撼而注目。偉大的藝術不需文字闡述，觀賞者面
去詮釋與雕琢。有別於肖像畫的強烈指涉性與敘事感，靜物畫隱身在
對作品的感受力，建立起同好者跨越各國文化的心靈語言。遍佈於全世
形體背後，那精緻而細微，創作者對於內在精神的巧妙傳遞，亦成為
界的畢費愛好者，更代表其作品市場流通的全球性。近年市場的表現力
觀賞者藝術賞析的另一層進階。
與關注度，更是持續升溫，《有檯燈與番茄的靜物》作為藝術家早年的 稀有作品，更是值得收藏，交由世代流傳的珍貴佳作。
1947年貝爾納．畢費（B e r n a r d B u f f e t）發表首次個人展覽，年僅 十九歲的他在生機蓬勃的藝術之都一鳴驚人。畢費的天才像太陽初 昇，破曉了藝術史的天空。當年深具威望的大藏家吉哈登博士（D r. Girardin）、雷蒙．科尼亞（Raymond Cogniat）一眼看出這位年輕 人非凡的才華，為巴黎國立現代美術物館買下作品，轉贈為國家典藏 的永恆瑰寶。而近代的藝術市場裡，更象徵私人收藏的範圍，一定要 擁有畢費的作品，才能完整收藏脈絡。 此幅《有檯燈與番茄的靜物》創作於1948年，同年六月，年輕的畢 費獲得藝評獎的頭獎殊榮。也是在同年，藝術家遇見了知音伯樂： 艾曼約．大衛（E m m a n u e l D a v i d）和莫里斯．賈尼耶（M a u r i c e G a r n i e r）。畫廊每年二月於蒙田大道六號，固定舉行的畢費畫展。 更是巴黎社交圈鎂光燈閃爍，評論家紛紛齊聚的年度盛事。人們為了 觀看他的畫展，在寒風中受凍等待。日本收藏家更稱其為「藝術的教
In the long progression of history, the role of still life painting was minor until the Netherlands made a leaping development in the 17th century, followed by an expansion of French art during the 18th century. Still life gradually developed an independent style of expression and aesthetic significance. Furthermore, it became another genre of painting that records the culture of a time period with an educational connotation. As a pioneer in contemporary art, Paul Cézanne expanded upon the freedom of creating still life, and left it to artists’ self-consciousness to make interpretations and refinements. As opposed to the strong referential nature and sense of narrative in portrait paintings, still life hides behind tangible objects. The creator’s delicate, subtle, and ingenious expression of inner spirit becomes another level of advancement in art appreciation for viewers.
宗」，為他建立了畢費美術館。 在《有檯燈與番茄的靜物》的構圖中，兩粒番茄、彎曲的叉子配上一 盞煤油燈。桌面上的靜物，用灰色的細線，一絲一絲構築起點線面。 米白底色帶一層薄薄淺淺的灰藍，抿去傳統透視的手法，一種俯視的 角度，粗邊的黑線劃分出焦黃桌面與背景的區隔。以增加線條的密集 程度，代替前人使用細緻與平滑筆觸，營造獨具個人風格的明暗對 比。簡樸到近於清簡的佈置，橘紅色番茄與檯燈的圓體，為作品定調 出一種可愛雅緻的溫暖情境。 畢費的靜物畫，以日常器皿、蔬果、海鮮與牲體等傳統選材，作為主 要的描繪主題。有別於歷代大師，營造靜物畫豐盛奢華的第一印象。 畢費1940年代中後期的靜物作品，間接透露戰爭洗禮之後，歐洲社會 濃厚的存在主義氛圍，以及庶民生活的簡樸節制。他以個人化手法， 重生傳統繪畫的現代性和時代風格。海洋生物與昆蟲標本的題材，更 令人聯想藝術家童年，成長於布列塔尼的回憶，以及他自幼熱愛探索 自然生物的興趣。
貝爾納．畢費《飲酒的人》 1958 油彩 畫布 100 x 65 cm 巴黎市立美術館收藏 Bernard BUFFET, Le Buveur , 1958, oil on canvas, 100 x 65 cm, collection of Modern Art Museum of Paris © 2016 Iris CHEN, Taipei
In 1947, Bernard Buffet launched his first solo exhibition. At the young age of 19, Bernard Buffet became an overnight sensation in the vibrant capital of art. Buffet’s genius was like a rising sun that lit up the sky of art history. As well-respected collectors of the time, Dr. Girardin and Dr. Raymond Cogniat instantly recognized this young man’s extraordinary talent. They bought Buffet’s works for the Paris Museum of Modern Art and left them as national treasures to be kept eternally. Moreover, Buffet’s work is a symbol for the breadth of private collection in the contemporary art market. It is essential to collect Buffet’s works in order to build a comprehensive context. This painting titled Nature morte à la lampe et aux tomates was created in 1948. In June of the same year, young Buffet was awarded the Prix de la Critique. That is also the year when the artist met art connoisseurs Emmanuel David and Maurice Garnier. Every year, the gallery regularly hosts Buffet’s art exhibition on 6 Avenue Montaigne in February. This exhibition is the event of the year that attracts spotlight attention and critics attendance in Paris social circles. People wait in the cold to see Buffet’s exhibitions. Japanese collectors called him the “Pope of French art” and even built the Bernard Buffet Museum for him.
traditional paintings were revived. The themes of marine organisms and insect specimens also remind people of the artist’s childhood memories from growing up in Brittany and his passion in exploring natural organisms since childhood. As a master of post-war realism in the 20th century, Bernard Buffet supported the important territories in the flow of art history. The fire of art that he lit up during the war had inspired the world. His lifelong work paid tribute to art by serving as sincere and pure refuge. Everyone who has viewed Buffet’s work is left shaken and impressed. Great art does not need to be described by words. Based on their perceptions of Buffet’s works, viewers establish a mental language that can cross the barriers of different countries and cultures among enthusiasts. Buffet’s fans around the world also represent the popularity of his works in the global market. The performance of and attention to Buffet’s works have continued to rise in recent years. Nature morte à la lampe et aux tomates is a rare piece of work from the artist’s early career. It is a precious masterpiece worth collecting and passing on to future generations.
In terms of composition, there are two tomatoes, a twisted fork, and a kerosene lamp in Nature morte à la lampe et aux tomates . The inanimate objects on the table are drawn by thin gray lines, which combine to build the point, line, and surface. The milky white background contains a thin layer of blue gray shade. Different from the traditional perspective method, this still life adopts a downward perspective. The sallow table is separated from the background by bold black lines, which increase the density of the lines. By replacing the traditional use of fine, smooth strokes, this creates a highly unique light and dark contrast. The plain and simple arrangement combines with the tangerine-colored tomatoes to produce an adorable and cozy context for this piece of work. In his still life paintings, Buffet chose to draw traditional objects such as daily utensils, fruits and vegetables, seafood, and animals as the main themes. Unlike the generations of masters before him who constructed a rich and luxurious first image for still life paintings, Buffet’s still life works in mid to late 1940s indirectly revealed the powerful atmosphere of existentialism in the European society after the war, as well as the simplicity and abstention of ordinary living. Through Buffet’s personal skills, the modernity and epochal style of
藝術家攝於工作室 Artist in the studio. Photo courtesy of © ADAGP, Paris / Bernard Buffet
Ravenel 63
戰後抽象藝術 POSTWAR ABSTRACT ART
二十世紀「抽象表現主義」或稱「紐約畫派」，執全球拍賣
合韓國簡約樸拙與單色繪畫的傳統，表現東方的典雅氣質，
市場之牛耳。帕洛克（Jackson Pollock）、羅斯科（Mark
朴栖甫（Park Seo-Bo）即為韓國單色畫重要藝術家之一。而
Rothko）、威廉．德庫寧（Willem de Kooning）、克萊因
重複的筆觸如冥想沉思，使用韓紙的回歸自然，與日本畫家
（F r a n z K l i n e）等人的畫作，早已屬天價藝術品，門檻之
齋鹿逸郎（Itsuro Saika）不謀而合，有著類似的簡約風格。
高，已非一般藏家容易觸及。而延續抽象表現主義的同時期
亞洲抽象藝術家對全新的繪畫形式追求，與歐美抽象表現主
歐洲或亞洲抽象藝術，備受收藏家關注，類似主題在學術機
義者的探索同具有時代意義。
構美術館或商業空間已成顯學。 1945年二次大戰結束，現代藝術發展因戰爭引發鉅變與 創新，遷徙、反戰、內省，文化衝擊，新的藝術聚落與流 派不斷崛起。紐約，遠離戰場得以匯聚各地風流人物， 抽象表現風潮延燒二十年。而同時歐洲努力從戰爭的蕭 條與破落中重建秩序，也受到美國藝術家的激勵，開展 出不定形藝術A r t I n f o r m e l的幾支抽象藝術潮流。例如又 名「抒情抽象藝術」或「斑點派」（Ta c h i s m）的喬治． 馬修（G e o r g e s M a t h i e u）、沃爾斯（W o l s）、蘇拉吉 （Pierre Soulages）、趙無極（Zao Wou-ki）、哈同（Hans Hartung）、波利雅科夫（Serge Poliakoff），以及歐洲北部 的眼鏡蛇畫派CoBra等。 喬治．馬修是公認的抒情抽象大師、理論家與創始人，他 的行動繪畫與滴流繪畫帶給後代藝術家諸多啟示。日本具 體派Gutai宗師吉原治良（Jiro Yoshihara）坦言受到馬修法 式抽象的影響，1956年發表「具體派宣言」。具體派畫家 們拋棄傳統畫具，以肉身參與繪畫，如行為藝術與表演：最 著名的如白髮一雄（K a z u o S h i r a g a）的足繪藝術、嶋本昭 三（Shozo Shimamoto）的擲瓶藝術、田中敦子（Atsuko Ta n a k a）的燈泡電氣服裝等，各個驚世駭俗。具體派運動從 1954年至1972年創始人去世為止，成為日本戰後最傑出的美 術大事。爾後，具體派畫家依舊有著不凡的表現。 1970年代韓國發起「單色畫」（Dansaehwa / Monochrome Painting），亦受到法國不定形Art Informel藝術的啟發，結
Twentieth century abstract expressionism, also known as the New York School, has dominated the global auction market. The paintings by Jackson Pollock, Mark Rothko, Willem de Kooning, and Franz Kline are too astronomically priced to be easily accessible for common collectors. On the other hand, contemporary European or Asian abstract art, which developed from abstract expressionism has received substantial attention from collectors. Similar themes have become a prominent subject in academic institutions, art museums, and commercial spaces. When World War II ended in 1945, the development of modern art saw radical changes and innovation. New art communities and schools continued to rise amidst migration, anti-war sentiment, introspection, and culture shock. In New York, far away from the battlefield and the center of prominent figures from around the world, the prevalence of abstract expressionism had persisted for a score. In the meantime, Europe strove to rebuild order in the midst of the gloom and ruin left by war. Inspired by American artists, several art trends within Art Informel came forth. Noted examples of artists and artist groups include Georges Mathieu, who led Lyrical Abstraction, Tachism, Wols, Pierre Soulages, Zao Wou-ki, Hans Hartung, Serge Poliakoff, and the CoBrA group from Northern Europe.
G e o rg e s M a t h i e u i s g e n e r a l l y re c o g n i z e d as master, theorist, and founder of Lyrical Abstraction. His action painting and drip painting provided great inspiration for later artists. Jiro Yoshihara, leader of the Gutai group in Japan, acknowledged the influence of Mathieu’s French abstraction and published the “Gutai Manifesto” in 1956. Gutai artists forsook traditional painting tools and turned to such bodily painting engagement as behavioral art and performance instead. The most famous examples include Kazuo Shiraga’s foot painting, Shozo Shimamoto’s Bottle Crash works, and Atsuko Tanaka’s lightbulb Electric Dress, all stunning the world. The Gutai Movement, lasting from 1954 to 1972, the year its founder passed away, served as the paramount art event of the postwar period in Japan, while Gutai artists have continued to perform eminently thereafter. D u r i n g t h e 1970s , “ D a n s a e h w a , ” o r Monochrome Painting, was launched in Korea. Also inspired by French Art Informal, it incorporated Korea’s simple, plain monochrome painting tradition, manifesting an Easter n elegance. Park Seo-Bo, one of the significant K o re a n m o n o c h ro m e p a i n t e r s , e m p l o y e d repetitive strokes and hanji paper, meditative and natural, sharing a similar minimalist style with Itsuro Saika, a Japanese artist. Both the pursuit of brand-new painting forms by Asian abstract artists and the exploration of European and American abstract expressionists bear epochal significance.
Ravenel 65
055
SHOZO SHIMAMOTO (Japanese, 1928 - 2013)
Silk Road 31 2006 - 2007 Acrylic and oil on canvas 80 x 117 cm Signed lower left S. Shimamoto in English Signed on the reverse S. Shimamoto and Nakao Masanori in Japanese and numbered 425 PROVENANCE Rosanna Chiessi Collection, Reggio Emilia (acquired directly from the artist) Acquired directly from the above by the present owner Bonhams, London, June 29, 2017, lot 027 Private collection, Asia This lot is to be sold with a certificate of authenticity issued by Associazione Shozo Shimamoto and signed by the artist (Archive ID 425).
NT$ 2,400,000 - 3,600,000 HK$ 612,000 - 918,000 US$ 78,200 - 117,300 RMB 526,000 - 789,000
嶋本昭三 絲路 31 2006 - 2007年 壓克力 油彩 畫布 80 x 117 cm 簽名左下：S. Shimamoto 簽名編號畫背：嶋本昭三 中尾公紀 ID 425 來源 羅莎娜．齊耶希收藏，雷焦艾米利，義大利（直接得自藝術家） 私人收藏（得自上述來源） 倫敦邦翰斯拍賣，2017年6月29日，編號027 私人收藏，亞洲 附藝術家協會開立與藝術家簽名之原作保證書，編號425
Ravenel 67
嶋本昭三1928年生於大阪府。1947年進入關西學院大學社會學部哲學科就讀，在學三年時體悟到 抽象藝術的可能性並開始實踐創作，1950年畢業於同大學文學部。1954年結識吉原治良，兩人亦 師亦友共同創立「具體藝術協會」，其後以主要成員之姿活躍於藝壇。在具體派正式展開活動之 前，嶋本昭三便已經著手許多前衛性的藝術創作，如在繪畫材料的報紙上刺出許多小洞的作品等， 為嶄新的藝術領域打下深厚的基礎。身為日本戰後前衛藝術團體「具體派」的核心創始成員，「具 體派」一詞即為嶋本昭三所創，全名「具體藝術協會」。「具體派」強調身體與周遭環境的互動， 且藝術創作必須是原創、前所未見的。嶋本昭三以「讓顏料徹底脫離畫筆束縛」為目標，透過不同 於以往傳統繪畫的創作行為，希望可以將日本本土藝術逐漸滲透進國際主流藝術的圈子。「具體 派」藝術家各出奇招，捨棄畫筆，並身體力行，以前衛的行為實踐其創作主張，取得一種新的文化 身份。 身為「具體派」（GUTAI）藝術命名者的嶋本昭三認為：「藝術就是那種用來衝擊人們的東西」。 拒絕當時日本藝術界對歐美藝術的盲目崇拜，堅決不模仿他人，其創作始終以「人與媒介間的聯 繫」為出發，相信只要將材質與下意識的反應互相融合，就可以達到「前所未知、未見、未曾感受 的境地」。他的良師益友吉原治良在《具體美術宣言》中將之推崇為「歎為觀止的創新」的重要理 論。更強烈地追求材料本身與精神的連接，在當時的年代這讓人感覺有一絲絲的興奮與不安。嶋本 昭三把裝滿顏料的玻璃瓶擲向鋪在堅硬表面或石頭上的畫布，玻璃瓶破碎爆裂，瓶裡的顏料也噴灑 而出，形成生氣盎然、極富動感的圖案，令人目眩神迷。這就是1956年首次嘗試的「擲瓶」方法繪 畫，這一創作形式一鳴驚人，大開風氣之先，以及之後1965年獨創的「渦流」作品創作手法開創先 河。對早期具體藝術貢獻至為重要，為戰後藝術注入不可或缺的動力，體現了從破壞中變革創新、 透過徹底毀滅達至重生與解放的力量。 《絲路31》作品肌底的藍色如一池深淺錯落的湖水，由淺入深變幻有致。顏料疏密有序向前遞進 營造出碧波蕩漾的景緻，在愉悅氛圍中色彩由畫面一角向外噴發，構出如行雲般的形色，由錯落的 綠色在底色的點化下伸展變形，色澤也在隨之變化姿態。顏色的轉換變形在構圖上平衡了畫面，同 時襯托出黃色與紅色鮮豔的戲劇效果。在畫布之上嶋本昭三借助外在的輔助器，加進不同色彩的顏 料，形成一道自製的流動顏料柱，儼如流水，從空中把顏料送到畫布上。多層的顏料接觸畫布便自 動地向外推延，紅、黃、藍、綠等多種顏色交織在一起，十分奇妙，看似沒法控制的流動狀態，卻 出現潑灑感，正如向池水中投擲石塊而泛起的陣陣漣漪，組成由心至外的有機形狀。捨棄使用繪筆 等普遍的創作手法，透過強烈的偶然與巧合，使作品得以超脫藝術家的意圖，營造出獨一無二的存 在感。而就是「擲瓶」與「渦流」的創作技法把嶋本昭三與同時期探討色彩的的具體藝術家分別出 來，成為嶋本昭三獨一無二的標誌。 2013 年，紐約古根漢博物館舉行了「具體：燦爛的遊樂場」（Gutai：Splendid Playground）展 覽廣獲好評。堪稱「具體派」在西方批評界中的「正名之戰」。這次展覽為種種以歐美藝術為中心 的藝術形態揭示了鮮為人知的源頭，無論是偶發藝術、極簡藝術，或是大地藝術、裝置藝術、概念 藝術、關係美學，都可以在具體派藝術中找到先例。此後兩年，具體藝術無論在學術、美學上和市 場上均備受矚目，有關具體派創始人吉原治良、嶋本昭三和核心成員白髮一雄、田中敦子的展覽與 評論源源不絕，作品屢屢刷新拍賣記錄。嶋本昭三他以破壞作表演，甚具戲劇張力，糅合表演與繪 畫兩種藝術，點燃顏料的熾烈活力，爆炸揮灑的材料與洶湧翻騰的人生精神無間融合。可觀性極高 的創作過程，對早期具體藝術貢獻至為重要，為戰後藝術注入不可或缺的動力，體現了從破壞中變 革創新、透過徹底毀滅達至重生與解放的力量。
Shozo Shimamoto was born in the Osaka Prefecture in 1928. In 1947, he enrolled to study Philosophy at the School of Sociology of Kwansei Gakuin University. During his three years of study, Shozo Shimamoto saw the possibilities in abstract art and began to make his own creations. He graduated from the university’s School of Humanities in 1950. In 1954, Shozo Shimamoto met Jiro Yoshihara and developed a relationship as both mentor and friend with him. The duo co-founded the “Gutai Art Association” and actively participated in the art industry as the association’s primary members ever since. Shozo Shimamoto began many avant-garde art creations before the Gutai group officially launched its events. For example, he used newspapers as painting materials and punched many small holes in them,
laying down a solid foundation for a brand new field of art. Shozo Shimamoto was a core founding member of “Gutai group,” a post-war avant-garde artistic group in Japan. He coined the term “Gutai group” whose full name is “Gutai Art Association.” “Gutai” emphasizes on interactions between the body and its surrounding environment, and that artistic creations must be original and never seen before. With the objective of “completely liberating paint from paint brushes, Shozo Shimamoto hoped to gradually introduce Japanese art to global mainstream art through creative behaviors that were different from traditional painting. Instead of using paint brushes, “Gutai” artists created their works by avant-garde techniques to obtain a new cultural identity.
The color conversion balanced the image in terms of composition, while displaying a dramatic effect with the yellow and bright red. Shozo Shimamoto used an external device to add different colors of paint onto the canvas, which formed a self-made column of color that looks like running water in delivering paint from mid-air to the canvas. The layers of paint automatically expanded outward when they touched the canvas－the mix of red, yellow, blue, and green look astonishing. While they seem to be a uncontrollable flow of colors, they deliver a sense of splash like the ripples from throwing rocks into the lake. This formed the organic patterns that travelled outward from the heart. Shozo Shimamoto abandoned the use of common creative tools such as paint brushes. Instead, he created a unique sense of existence through intense coincidences, by thinking o u t s i d e o f a n a r t i s t ’s i n t e n t i o n s . T h e c re a t i v e techniques of “bottle crash” and “whirlpool” are what distinguished Shozo Shimamoto from other Gutai artists who also explored colors during the same time period. These techniques have become Shozo Shimamoto’s unique symbol of representation.
As the artist who coined the ter m “Gutai,” Shozo Shimamoto believed that “art is what brings impact to people.” He refused to accept the blind adulation of western art in Japan’s art industry at that time a n d d i s a p p ro v e d o f a n y imitations. He based his creations on “connections between people and media,” believing that he could create “a condition that has never been known, seen, and felt before” by I n 2013, t h e S o l o m o n R . integrating materials with Guggenheim Museum s u b c o n s c i o u s re a c t i o n s . 嶋本昭三《起重表現：拿波里F》2006年 壓克力 畫布 82 x 109 cm i n N e w Yo r k h e l d t h e His friend and mentor Jiro 羅芙奧2018春季拍賣會 編號016 台幣 2,400,000 成交 widely praised exhibition Yo s h i h a r a p r a i s e d t h i s Shozo SHIMAMOTO, Crane Performance Napoli F , 2006, acrylic on canvas, 82 x 109 cm titled “Gutai: Splendid t h e o r y a s “ i m p re s s i v e l y Ravenel Spring Auction 2018, lot 016, US$ 80,429 sold Playground.” It could be innovative” and important called Gutai’s “battle for name rectification” in the western world. in the “Gutai Art Manifesto.” A more intense pursuit of connecting This exhibition revealed the obscure origin of many westernmaterials to spirit was a little exciting and unsettling to the people at centered art forms－all of happening art, minimal art, land art, that time. Shozo Shimamoto hurled paint-filled glass bottles against installation art, concept art, and relational aesthetics can be traced canvases laid out on hard surfaces or stones. The glass bottles burst to Gutai art. In the two years that followed, Gutai art received a lot open and the paint splashed out, forming a vibrant, dynamic pattern of attention in academia, aesthetics, and market. The popularity that is fascinating to see. This is the “bottle crash” painting method of exhibitions and comments on Gutai founders Jiro Yoshihara, that was first invented in 1956, which also inspired the creation Shozo Shimamoto, and core members Kazuo Shiraga, Atsuko of the unique “whirlpool” method in 1965. These works made Tanaka continued to rise, and their works have been auctioned important contributions to the early development of Gutai art and at record-breaking prices. Shozo Shimamoto’s perfor mance instilled indispensable motivation in post-war art. They reflected through destruction is highly dramatic. As a combination of both revolutionary innovation from damage and expressed the power of performance and painting, it ignited the vibrant energy in paints rebirth and liberation through complete destruction. and seamlessly integrated the splashing materials with the turbulent The blue background in Silk Road 31 resembles a lake of varying spirit of life. The highly impressive process of creation did not depth, which changes its look as the water tbecomes deeper. The only make important contributions to early Gutai development, paint was spread out in varying density to create different shades but it also instilled indispensable motivation in post-war art. It of green. In a pleasant atmosphere, the colors burst outward from demonstrated the revolutionary innovation from damage and a corner, producing a smooth flow of green that expanded and expressed the power of rebirth and liberation from complete transformed on the background to form different color patterns. destruction.
Ravenel 69
056
SHOZO SHIMAMOTO (Japanese, 1928 - 2013)
Untitled 2010 Acrylic and broken glasses on canvas 228.3 x 200.5 cm PROVENANCE Whitestone Gallery, Tokyo Private collection, Asia EXHIBITED Shimamoto Shozo , Whitestone Gallery, Hong Kong, September 15-October 17, 2015 This lot is to be sold with a certificate of authenticity issued by Associazione Shozo Shimamoto.
NT$ 4,000,000 - 6,000,000 HK$ 1,020,000 - 1,531,000 US$ 130,300 - 195,400 RMB 877,000 - 1,316,000
嶋本昭三 無題 2010年 壓克力 玻璃碎片 畫布 228.3 x 200.5 cm 來源 白石畫廊，東京 私人收藏，亞洲 展覽 「嶋本昭三個展」，白石畫廊，香港， 展期自2015年9月15日至10月17日 附嶋本昭三協會開立之作品保證書 （2015年10月31日）
Ravenel 71
具體派（Gutai）藝術是1960年代開始活躍於日本的美術協會。作為日本
本首次以「擲瓶」進行創作，一鳴驚人，對早期具體藝術貢獻至為重要，
最具影響力的戰後先鋒藝術群體，這些藝術家剛剛從戰時嚴酷的極權主義
直至具體派於1970年代解散後，嶋本堅持為世界各地觀眾表演「擲瓶」
中掙脫出來，渴望取得一種新的文化身份，這種身份要獨特，同時還要和
繪畫外，並有意透過經典藝術創作演出來宣揚和平訊息，為戰後藝術注入
西方平起平坐。當時的日本在物質層面上效仿歐美文明的行動，因此被置
不可或缺的動力，體現了從破壞中變革創新、透過徹底毀滅達至重生與解
於一個分化的構造中，民眾反思於當下，社會環境尋求恢復和保持日本起
放的力量。作品通過藝術家把裝滿顏料的玻璃瓶擲向鋪在堅硬畫表或石頭
源於鄉土文化的精神純度。在當時的日本藝壇同樣在尋找一種抽象的普世
上的畫布，尋求暴烈地砸碎於不同物件和方向，任由玻璃瓶破碎爆裂，瓶
語言，自我本身成了實驗活力的源泉。作為G u t a i的創建人之一，嶋本昭
裏的五彩顏料與玻璃碎屑噴灑而出，形成生氣盎然、極富動感的圖案。玻
三以「讓顏料徹底脫離畫筆束縛」為目標，創思「具體」一詞。嶋本昭三
璃與顏料聚焦在粗糙表面上，同時也構建成新的巨大立方體畫作。作品顏
命名「具體」中「具」解作工具；「體」解作身體，意指「用工具和身體
色炙熱，紅、黃、橙灑落疊加出全新的質感，畫面的衝擊感如一把暴烈炫
呈現」。成員拋棄了傳統藝術家的工具，尤其是「畫筆」的使用，用各種
目的火炬，喜樂而堅強地燃燒著。
大膽無畏的自我表達，特別是肉身參與。 嶋本昭三以他具有破壞性的創作，甚具戲劇張力，糅合表演與繪畫兩種藝 術，點燃顏料的熾烈活力，爆炸揮灑的材料與洶湧翻騰的人生精神無間 融合。嶋本運用視覺語言，使能量活現眼前，以具體派宗師吉原治良的話 說，「把爆炸的形態固定在顏料中」。藝評人針生一郎曾為1955年的具 體派展覽，解讀「如同看到火星生物一樣」表達其驚異之情與前所未見。 在當時「具體派」每個成員有獨特具實驗性格的藝術表現形式他們會用灑 水壺、遙控玩具、土炮和裸露的雙腳作畫；用泥土堆、一點點天空、電燈 泡、鬧鐘、巨大的氦氣球和撕裂的紙屏製作即逝的現場作品。每個人應用 自身來充當畫筆從而解放顏料。正如「具體派」所言只有損壞、丟棄畫 筆，顏料才能重獲自由，距離感也隨之生成。顏料只有從畫筆下被解放出 來才能綻放活力。成員們在公園、轟炸廢墟和都市天空下舉辦展覽。從最 初的一些藝術節式的活動開始，具體派一直在打破藝術、公眾和日常生活 的邊界，其成員不斷地尋找新的途徑，將身體用於材料、時空、自然與技 術的直接動作中。 嶋本昭三自己曾說：「讓作畫『壞掉』這種看上去很矛盾的創作方式，其 實往往會誕生打破常規的作品……通過執著的『壞畫』試驗，很可能創 造出一種獨一無二的風格。而這也是新藝術的魅力所在，而這時，也正是 創造力發揮作用的時刻。」二十世紀1950和1960年代，嶋本昭三以往大 型畫布上扔瓶子、塗抹厚重的顏料、在布紋紙上打孔等方式探索繪畫的邊 界，他的這種「擲瓶」式創作帶有偶發色彩以及行動繪畫的特徵，將石頭 擺放至畫布的正中央，將裝滿顏料的玻璃瓶用力扔向石頭，伴隨著玻璃的 破碎，顏料在畫布上形成爆炸噴射般的效果，將色彩的速度感表現得淋漓 盡致，極富運動張力，作品令人震撼。 此幅《無題》為嶋本昭三於具體派時期所獨創「擲瓶」的繪畫方式，作品 瑰麗宏大，場面奔放自如，為近期市場少見大尺幅作品。自1956年，嶋
The Gutai group is an art association that emerged and thrived in Japan during the 1960s. It is considered to be the most influential post-war avant-garde art group. Upon breaking free of ruthless totalitarianism implemented during wartime, its artists yearned to acquire a new and unique cultural identity, and to gain equal status with their Western counterparts. At that time, Japanese society was divided as its people attempted to emulate European and American civilizations in their material aspects. The public reflected on their social context, seeking to restore and retain a spiritual purity that originated from native Japanese culture. Artists of the time also sought a universal abstract language, turning themselves into a vibrant source of experimentation. Shozo Shimamoto, co-founder of the Gutai group, coined the word “gutai,” aiming to “set paint completely free from the bounds of paintbrushes.” By combining “gu,” meaning “tools or means,” and “tai,” meaning “body,” Shozo Shimamoto intended for the name “gutai” to signify “performing with tools and human bodies.” Gutai artists forsook traditional art tools, particularly paintbrushes, and instead turned to a variety of audacious, unabashed ways of self-expression, especially in forms of bodily engagement. Marrying performance with painting, Shozo Shimamoto ignited the fiery vigor of paint and seamlessly blended explosive splatters of material and raging spirits of life with his destructive, dramatic creations. He made energy palpable using visual language. In the words of Jiro Yoshihara, leader of the Gutai group, “The shapes of explosions are captured by the paint.” The art critic Ayumi Ichiro once described the 1955 Gutai Art Exhibition as a showcasing of Martian-like creatures to express his astonishment at such an unprecedented display. Back then, each and every artist in the Gutai
group performed art using unique experimental methods. They would paint with watering cans, remote-controlled toys, handmade cannons, or even their bare feet. They would even create transient happenings with mounds of mud, a little piece of sky, light bulbs, alarm clocks, giant helium balloons, or torn paper screens. All liberated paint by utilizing themselves as paintbrushes. As the Gutai group claimed, only by damaging works and discarding brushes could paint be freed and distance be formed. Pigments could radiate vitality only when emancipated from the confines of brushes. Gutai artists held exhibitions in parks, at bombed-out ruins, or under an urban sky. Starting with a few art festivals, they had continued to blur the boundaries between art, the public, and everyday life. They kept searching for new ways to directly engage their bodies in material, time, space, nature, and techniques.
through complete devastation. The artist violently flung glass bottles filled with pigments against the canvas placed on diverse hard surfaces or boulders from different angles, allowing the bottles to explode and the various pigments inside to shoot and spray along with the glass shards, so as to create such a vibrant, dynamic image in the artwork. Glass and paint, focused on the rough surface, constitute a new gigantic cubic painting. Flaming splashes of red, yellow and orange, layer by layer, generate a brand-new texture. Like an explosive, dazzling torch, the impact of the artwork blazes joyfully and robustly.
S h o z o S h i m a m o t o o n c e s a i d t h a t , i n e ff e c t , t h e s e e m i n g l y paradoxical way of creation, in which paintings were “damaged,” would, more often than not, give birth to unconventional works... and that through persistent “damaging” experiments, a distinctive style might well be created, which he believed was the charm of new art and precisely where creativity came into play. During the 1950s and 1960s, Shozo Shimamoto explored the boundaries of painting by hurling bottles onto large-scale canvases, applying heavy paint, or puncturing holes in wove paper. His bottle crash works are characterized by sporadic color bursts and action painting features. Glass bottles filled with pigments were vigorously hurled against a boulder placed in the center of a canvas. As glass shattered into shards, the pigments created explosive splashes across the canvas, perfectly showcasing the thrilling speed of color. These works are truly dynamic and astounding. The work Untitled is one of Sakamoto Shozo's original bottle c r a s h e s c re a t e d d u r i n g t h e G u t a i p e r i o d . M a g n i f i c e n t a n d unrestrained, it is a rare large-scale artwork on the market in recent times. Sakamoto created his first bottle crash in 1956, causing an instant sensation, which is viewed as a pivotal contribution in the early Gutai period. After the Gutai disbanded in the 1970s, Sakamoto, aside from persistently performing bottle crashes around the world, intentionally advocated peace via classic art creation and performance, infusing indispensable momentum into postwar art as well as embodying the power to bring about revolution and innovation amidst destruction and achieve rebirth and liberation
嶋本昭三在拿波里但丁廣場進行公開創作，莫拉基金會，2006年 Shozo SHIMAMOTO, performance at Piazza Dante, Fondazione Morra, Napoli, 2006 ©Associazione Shozo Shimamoto
Ravenel 73
057
BERNARD BUFFET (French, 1928 - 1999)
Nature morte au philodendron 1988 Oil on canvas 130 x 89 cm Signed upper right Bernard Buffet and dated upper left 1988 Titled on the strecher Nature morte au philodendron PROVENANCE Private collection, France This lot is to be sold with a certificate of authenticity issued by Galerie Maurice Garnier, Paris.
NT$ 6,000,000 - 9,000,000 HK$ 1,531,000 - 2,296,000 US$ 195,400 - 293,200 RMB 1,316,000 - 1,974,000
貝爾納．畢費1928年7月10日出生在巴黎第17區。畢費10歲開始學畫， 1 4 歲 在 浮 日 廣 場 的 夜 校 班 遇 到 繪 畫 上 的 啟 蒙 導 師 ： 達 伯 夫 耶 先 生 （ M r. D a r b e f e u i l l e）。15歲年進入巴黎國立高等美術學院鄂簡．納伯恩（E u g è n e N a r b o n n e）工作室見習，在美院學習時，畢費已經被公認非常具有才華。在
貝爾納．畢費
1947年，19歲的他舉辦了人生第一次個展，迴響熱烈，展品全數售出。同年在
蔓綠絨靜物
巴黎的秋季沙龍上，作品《生病的男人》（L'Homme accoudé）引來評論家讚
1988年 油彩 畫布 130 x 89 cm 簽名右上：Bernard Buffet 年代左上：1988 題名畫框：Nature morte au philodendron
譽。雷蒙．科尼亞（Raymond Cogniat）代表法國政府買下作品 《公雞》（Le
來源 私人收藏，法國 附巴黎莫里斯•賈尼耶畫廊開立之原作保證書
Coq mort）。1948年，年僅20歲即事業有成的畢費，遇見足以改變他一生的天 才少年皮耶．貝傑（Pierre Bergé；亦是後來伊夫．聖羅蘭Yves Saint Laurent 一輩子的事業伴侶和愛人）。在其幫助下畢費於30歲前即登上了事業的巔峰， 期間畫出了他的著名代表作《戰爭的恐怖：槍手》（Horreur de la guerre: Les f u s i l l é s），1954成為當時以具象為繪畫為主，法國表現主義畫派的代表人物， 戰後對抗抽象繪畫的的青年才俊。
Bernard Buffet was born on July 10, 1928 in the 17th arrondissement of Paris. Buffet started learning to paint when he was 10 years old. He met his first art mentor, Mr. Darbefeuille, at a night school in the Place des Vosges when he was 14. At the age of 15, Buffet entered the École Nationale Supérieure des Beaux-Arts (French National School of Fine Arts) and interned at Eugène Narbonne’s studio. Buffet’s talent was already beginning to be recognized during the internship. At age 19 in 1947, Buffet held his first solo exhibition, where all of his works were instantly sold. At the Autumn Salon during the same year, Buffet’s work titled L’Homme Accoudé received many positive reviews from critics. Raymond Cogniat also bought Le Coq Mort for the French government. Buffet had a successful career at the mere age of 20. In 1948, he met the boy genius, Pierre Bergé, who would change his whole life. (Pierre Bergé later became Yves Saint Laurent’s lifelong business partner and lover.) With Bergé’s support, Buffet reached the peak of his career before turning 30. During this course of eight years, Buffet created the famous and iconic Horreur de la guerre: Les fusillés . In 1954, he became a representative figure in French Expressionism that took figurative painting as the predominant style; he was a young “expressionist” artist who resisted abstract paintings after the war.
Ravenel 75
畢費儘管本性靦腆，在藝術面前是一個不會妥協讓步的人。但其一生卻不乏跌宕起伏且很早便聲名鵲起。在 那個時代，巴黎仍是風起雲湧的藝術之都，年僅20歲（1948年）即加入了反抽象藝術團體，畢費結識了莫 里斯．布瓦泰爾（Maurice Boitel）和路易．維耶爾莫（Louis Vuillermoz）二人後來均成為巴黎畫派「青年 繪畫」的發起者。在當時的巴黎繪畫領域更是百花齊放，氣勢蓬勃。各大畫廊中，畢卡索（Pablo Picasso） 和馬諦斯（Henri Matisse）等名家之作與「新巴黎畫派」或「青年繪畫」等新興流派同台亮相，關於寫實主 義、具象和抽象風格的討論熱火朝天。而貝爾納．畢費則被視為該畫派最富盛名的代表人物之一，終其一生 都堅持「新寫實主義」（Neo-Realist style）的繪畫創作。他選擇用具象的黑色線條和戲劇性的畫面去描寫 一個「寫實主義者」內心的痛苦。獨樹一幟的風格，隨著年歲的增長，他筆下的線條愈發消瘦鋒利，創作出 一系列前所未見的造型和題材。 作為在亞洲享有極高知名度的法國藝術家，畢費的作品同樣有濃厚的東方情懷。畢費素以身邊所見所聞為 題，早期作品以描繪周遭借喻所思所感，以表現性的風格，透過不同的人物肖像、動物、靜物和城市風景繪 畫，寄託感懷，如一方煙缸、一盞檯燈、昆蟲標本等靜物素材。而「瓶花」又為畢費靜物作品中常見的創作 主題，隨著歲月不斷改變，物換星移間生活的物件出現的次數或有增減。花，藝術家一生最愛之一，貫穿了 各個時期的筆觸，見證了藝術家從經典手法到另一個對繪畫的新體驗與感悟。那一期間作品中多為方桌一 隅，玻璃瓶內的花朵，在藝術家帶有具象和表現手法，傳達植物生生不息的生命力。強韌有力的筆觸，襯托 耀眼鮮明的色彩，畫面流露著當時瀰漫於歐洲社會的沉鬱氣氛。剛毅線條為畫面添加侵略感，然有時亦壓抑 霸氣而顯得內斂。 作品《蔓綠絨靜物》屬於畢費靜物系列中特別帶有濃濃東方符號的作品，藝術家以粗獷有力的黑色線條勾勒 透明玻璃花瓶，而較為柔和的黑線條勾勒東方的瓷器。三件瓷器均衡擺放在畫面的左右和中間，果盤中翠 青的梨子在一抹杏黃綢緞下映襯得出色，兩者搭配鮮明，色彩一致且互相呼應。線條利落地描繪出水果的姿 態，果盤兩側是來自日本伊萬里燒的瓷器。畢費以比較細膩的黑線條，描繪日本葫蘆形花瓶輪廓，又以明黃 為底配以赭石、湖藍、綠松色，在邊處抹上幾道複合著黑線勾勒出絢爛而繁複的東方樣式。與葫蘆瓶相對稱 的龜背竹，碩大向上伸展的枝葉輪廓，葉子和葉柄彷彿要衝破界限的限制，渾身散發著一股讓人不可小覷的 氣燄。新穎的構圖將觀者的視覺焦點由畫中央牽引至後方的景緻，畫面的平衡感得到延展，熾熱的力量彷彿 要從重心處擴散至四面八方。而個性十足的簽名與書寫年代方式，無疑是畢費特有的標籤，不是隱身於畫面 的一隅，而是主體一旁作為畫面平衡構圖的要角。 畢費一生致力於繪畫創作，時間長達50餘年，其中主題則以馬戲團小丑、鬥牛士、肖像、風景、花卉、靜 物為多。從1940年代崛起於藝壇之後，1950年代，畢費專注繪畫，畫面多以憂鬱寡歡的肖像來表達法國人 在戰後的不安心境。到了1960年代，畢費筆下的人與物在尖銳粗曠的線條下更顯高亢激昂。此件《蔓綠絨 靜物》作品是晚期畢費瓶花靜物系列中，東方色彩最為濃重的一幅，過往的作品中花瓶多呈歐式細長的倒三 角狀，本件作品尤為突出了東方伊萬里燒瓷器的華貴，紋飾複雜用筆頗為細膩，可見藝術家對東方文化的熱 忱。與此同時遠在東方的日本藏家對畢費的鍾情是自1970年代開始。究其原因除了藝術不分國界此主因，畢 費以物喻情的藝術本質更是暗合東方人內斂含蓄的修身性格，其筆下尖銳簡練的線條和獨特的空間處理，與 日本傳統版畫有著某種異曲同工之妙。 1963年，日本銀行家岡野喜一郎（1917-1995）在東京一場畢費個展上對其作品一見鍾情，1973年這位收 藏家在跨越半個地球在日本靜岡縣三島的駿河町成立了世界第一座貝爾納．畢費美術館（M u s é e B e r n a rd Buffet）長期展示上千張畢費的作品。畢費在寫實主義上的堅持其實更像是一種具有洞鑒式的勇氣與睿智， 同樣欣賞畢費才華的還有與之相識友誼共五十載的傳奇人物畫商莫里斯．賈尼耶（Maurice Gar nier），自 1970年代後期之後的三十年間，不遺餘力繼續將畢費的影響力推動到法國海外，並促成多個重要美術館展 覽，例如蘇黎世希丹文中心（Seedamm Cultural Center, Zurich, 1983）、東京小田急美術館（The Odakyu Museum, Tokyo, 1987）、莫斯科普希金美術館（Pouchkine Museum, Moscow, 1991）、高雄市立美術館 （1996）等。
Despite having a shy personality, Buffet is the type of person who never compromises in front of art. However, he experienced many ups and downs throughout his life as he became famous at such a young age. Paris was still the vigorous capital of art at that time, and the 20-year old Buffet joined the Anti-Abstract Art Group in 1948. Buffet met Maurice Boitel and Louis Vuillermoz, both of whom later initiated La Jeune Peinture (“Young Picture”) of the School of Paris. Back then, the world of painting was blooming and prospering in Paris. Masterpieces by Pablo Picasso and Henri Matisse were showcased at major galleries alongside emerging art genres such as the “New School of Paris” and “Young Picture.” There were heated discussions about realism as well as figurative and abstract styles. Buffet was recognized as one of the most famous representative figures of this genre of painting as
he persisted in applying the “Neorealism” to his paintings throughout his life. He chose to use figurative black lines and dramatic scenes to demonstrate a “realist’s” internal pain. As Buffet grew older, the unique lines he drew also became thinner and sharper as he created a series of unprecedented looks and themes. As a widely renowned French artist in Asia, Buffet’s work also contain a strong blend of Eastern sentiment. Buffet often used objects in his surroundings as themes. His early works expressed his thoughts and feelings by depicting the people, things, or objects around him. Buffet painted different character portraits, animals, still life, and urban landscapes in an expressive style. He deposited his feelings in visible objects; some examples of the common objects in his still life paintings include an ashtray, a lamp, as well as insect specimens. Vase de Fleurs contains the most common creative theme among Buffet’s still life paintings. The frequency of these daily objects’ appearance in Buffet’s paintings changed over time. Flowers are one of the artist’s lifetime favorites—the strokes of painting through different periods of time demonstrate the artist’s growth from painting in classic styles to developing new experiences and feelings. During that period of time, most of Buffet’s work featured the corner of a table. The artist applied figurative, expressionist techniques in painting flower petals inside a glass bottle with the plant’s strong vitality. Buffet combined steady, powerful pen strokes with vivid, vibrant colors to express the depressed atmosphere in Europe at that time. The steady lines added an invasive feeling to the image, yet this sense of aggressiveness was somehow mitigated by repression. The painting Nature Morte au Philodendron is one of a few in Buffet’s still life series to contain more obvious symbols from the East. As opposed to the artist’s usual way of outlining clear glass vases by bold black lines, more gentle black lines were used to outline the Eastern porcelain ware in this painting. The three pieces of porcelain ware are positioned on the left, right, and center of the image. The green pears in the fruit tray look outstanding near a piece of apricot yellow satin. The vivid contrast between these two colors reflect complexity and consistency. The lines neatly outline the fruits, and the fruit tray was accompanied by porcelain ware from Imari, Japan. Buffet used finer black lines to outline a Japanese gourd-shaped vase, and filled in the space on the sides by drawing brilliant, complex eastern patterns with ocher, lake blue, and turquoise lines on the bright yellow background in addition to the black outlines. In symmetry to the gourdshaped vase, the Swiss cheese plant has large leaves that stretch upward with leaves and petioles breaking through boundary limitation in a powerful expression. The novel composition guides viewers’ visual focus from the center of the painting to its rear view, which not only balances the image but also spreads a passionate energy through it. Finally, the personalized signature with date is undoubtedly Buffet’s trademark—instead of hiding in one corner, the signature is included in the main body to balance image composition. Buffet dedicated his whole life to painting for as long as over 50 years. His themes primarily included circus clowns, bullfighters, portraits, landscapes, flowers, and still life. After Buffet rose to popularity in the art industry during the 1940s, he focused on painting in the 1950s when he mostly produced depressing portraits to express the French people’s restless mind after the war. During the 1960s, the characters and objects in Buffet’s paintings appeared even more complicated in sharp and bold lines. This painting Nature Morte au Philodendron is the most oriental one in Buffet’s Vase de Fleurs still life series created later on in his career. Most of the vases in Buffet’s previous works displayed an European style, narrow inverted triangle shape. In this piece of work, the elegance of Eastern porcelain ware from Imari is emphasized through delicate, complex patterns and pen strokes as a demonstration of the artist’s passion about Eastern culture. Meanwhile, Japanese collectors in the East also fell in love with Buffet’s works since the 1970s. Other than the reason that art is without borders, Buffet’s metaphoric artistic nature is also favored by the implicit culture in the Eastern world. Perhaps Buffet’s sharp, simple lines and unique spatial arrangement shared some kinds of similarities with Japanese traditional prints. At one of Buffet’s solo exhibition in Tokyo in 1963, the Japanese banker Kiichiro Okano (1917-1995) fell in love with Buffet’s work at first sight. Half a world away, this collector established the world’s first Bernard Buffet Museum (Musée Bernard Buffet) in Suruga-machi in Mishima Shizuoka, Japan in 1973. The museum displays over a thousand pieces of Buffet’s paintings for an extended period of time. Buffet’s persistence in Realism was based on straightforward courage and wisdom. Buffet’s talent was recognized by the legendary gallerist Maurice Garnier, who was also Buffet’s friend for over 50 years. Since the late 1970s, Maurice Garnier had worked to promote Buffet’s influences outside France during the thirty years that followed. He also facilitated several important art museum exhibitions at places such as the Seedamm Cultural Center, Zurich in 1983, the Odakyu Museum, Tokyo in 1987, Moscow’s Pouchkine Museum in 1991, and the Kaohsiung Museum of Fine Arts in 1996.
貝爾納．畢費《鬥牛士》1966年 油彩 畫布 65 x 46 cm 羅芙奧2018春季拍賣會 編號024 台幣 9,000,000 成交 Bernard BUFFET, La Corrida - Tête de Toréro , 1966, oil on canvas, 65 x 46 cm Ravenel Spring Auction 2018, lot 024, US$ 301,609 sold
Ravenel 77
058
PARK SEO-BO (Korean, b. 1931)
Ecriture No. 110218 2011 Mixed media with Korean hanji paper on canvas 165 x 260 cm Signed on the reverse PARK SEO-BO in Chinese and English, titled Ecriture No. 110218 , inscribed 165 x 260 cm , MIXED MEDIA WITH KOREAN PAPER , dated 2011 , and initialed S.B. PARK PROVENANCE Private collection, Asia ILLUSTRATED Park, Seo-Bo Ecriture , Wellside Gallery, Samtuh Art Books, Seoul, 2015, color illustated, p. 27
NT$ 8,000,000 - 12,000,000 HK$ 2,041,000 - 3,061,000 US$ 260,600 - 390,900 RMB 1,754,000 - 2,632,000
朴栖甫 描法 No. 110218 2011年 綜合媒材 韓國紙 畫布 165 x 260 cm 簽名畫背：朴栖甫 命題：描法 No. 110218 2011年作 PARK. SEO-BO <1931~> ECRITURE No. 110218 165 cm x 260 cm MIXED MEDIA WITH KOREAN HANJI PAPER 1993 S.B. PARK 來源 私人收藏，亞洲 圖錄 《朴栖甫描法》，泉水邊畫廊，首爾， 2015，彩色圖版，頁27
Ravenel 79
朴栖甫 PARK SEO-BO 生平 TIMELINE 1931
Born in Yé-Cheon, Kyung-Book, Korea
展 覽 SELECTED EXHIBITIONS 1962
1954
Graduated from Painting department of
National Central Library Gallery, Seoul, Korea 國立中央圖書藝廊，首爾，韓國
生於韓國慶上北道醴泉郡
1970
Hong-Ik University, Korea
Seoul Gallery, Seoul, Korea 首爾畫廊，首爾，韓國
韓國弘益大學油畫系畢業
1978 1977-1980
President of Korea Fine Arts Association,
Tokyo Gallery, Tokyo, Japan 東京藝廊，東京，日本
Seoul, Korea 韓國美術協會理事長
1981
Hyundai Gallery, Seoul, Korea 現代畫廊，首爾，韓國
1986-1990
Dean of College of Fine Arts, Hong-Ik University, Seoul, Korea
1991
The National Museum of Contemporary Art, Seoul, Korea
韓國弘益大學美術學院院長
國立當代藝術博物館，首爾，韓國
1962-1997
Professor at College of Fine Arts Hong-Ik University, Seoul, Korea
1996
1994
2000
Founded Seo-bo Arts and
Basel Art Fair, Musée Basel, Basel, Switzerland 巴塞爾藝博會，巴塞爾美術館，瑞士
韓國弘益大學美術學院教授
2006
Musée d'art Moderne, Saint-Etienne Métropole,
Cultural Foundation, Seoul, Korea
Saint-Etienne, France
設立栖甫美術文化財團
市立現代藝術博物館，聖艾蒂安，法國
Honorary Doctorial Degree on Art Theory
2011
Busan Metropolitan Art Museum, Busan, Korea 釜山市立美術館，釜山，韓國
Hong-Ik University, Seoul, Korea 韓國弘益大學榮譽博士學位
2015
Daejeon Museum of Art, Daejeon, Korea 大田美術館，大田，韓國
「 我自身裡面有兩個我。一是忠於冥 想 的 宗 教 性 格 的 我 ， 另 一個是為創造性慾望而吸引的我。 」 — 朴 栖 甫
朴栖甫作為韓國當代藝術的先鋒者，以抽象表現主義的美學為基
扣合內在精神與物質世界的純粹連結。發展至70年代，以朴栖甫為首，外
礎，推動著韓國藝術脈絡的前進，被視為東亞當代美術代表性藝術
在將這群韓國新一代藝術家，統稱為「單色畫」（Dansaekjo）畫派。
家。他以東方哲學思想為源，融合韓國傳統媒材「韓紙」的獨特 美學，立下抽象藝術發展的里程碑。世界級重要美術館，如：紐
此時期的韓國創作者們以嚴謹細緻，對繪畫媒材運用一私不苟，極簡主義
約古根漢美術館（Guggenheim Museum）、泰德美術館（Tate
的圖像語言表現，轉換深根於韓國文化的內在精神的概念。透過無限次重
Modern）等皆有典藏他的作品。
複單一運動的狀態，達成內在自我修練的過程。朴栖甫說：「極簡或概念 化觀念是西方二分法的手法和結果。單色畫應被視為一種靈性之旅。創作
此次拍品《描法 No. 110218》源自朴栖甫最知名、最具代表性的
是自我修行的工具，而作品就是修行過程的殘留物。」藉繪畫的形式，掏
「描法（Ecriture）」系列。從1967年延續至今的系列，隨著藝術
空自我的意念，去擁抱容納更多的外在。這種隨時間累積變化，無實際目
家數十載的創作歷程，有了不同的變化。最初藝術家試圖模仿稚
的性的概念，即切合東方思想中老莊無為，視人類為大自然的一部分，無
子於作業本上的塗鴉，發現不斷重複單一行為，能從強烈的意識
欲去主宰自然世界或對立不同價值的核心精神。
中掏空自我，達到類似冥想，洗滌心靈的淨化。隨時空與心境的 轉換，早期《描法》系列以黑、白、灰為主色調，迴避掉色彩強
朴栖甫生於1931年韓國慶尚北道醴泉郡，青年時期經歷韓國受日本殖民，
烈的象徵性，也是藝術家選擇對當時威權政治、國族情結、傳統
韓戰爆發，高壓政權統治的等社會動盪不平的時期。早年的貧苦生活，使
文化的詮釋。
朴栖甫體認到，在艱困的情境下，仍對藝術創作抱持無限熱情的性格，與 創作過程能修養身心的體悟。藉由現代藝術手法體現的深刻實踐，將千年
紅色的《描法》系列，為朴氏參加自己在日本的開幕式畫展，旅途
哲思的智慧傳遞給後世。在近年的訪談中，朴氏也提到，面對二十一世紀
中看見山上如火焰燃燒的秋日楓色，有感於大自然生生不息的力
網路發達，圖像資訊爆炸的時代，人們在生活中承受著極大的壓力與資訊
量，深受感動而啟發的系列。《描法 No. 110218》即為2011年創
暴力。他本來不確定自己能夠面對環境如此的巨變，卻發現跨越世代與文
作的同一系列作品，為表現深刻於藝術家腦海，當時剎那成永恆的
化，觀者能夠通過欣賞其作品，感受到舒適與幸福，如同韓紙吸收水分，
感受。此系列的紅色，以多層浸泡過染料的手工韓紙製作，每一張
回歸寧靜與治癒壓力造成的傷害。
韓紙皆擁有的毛細孔紋理，能吸收顏色的程度各自不同，經過三個 月以上的染製，為藝術家層層悉心堆疊於畫布。如樹枝上獨一無二 的片片紅葉，集成一炬炬燃燒於藍天下的火。維妙細緻的繁複手 法，考驗著創作者極大的耐心與意志力。 1980年代，朴栖甫開始將碎紙浸入水性顏料貼上畫布，發揮紙質 韌性，彌補油畫隨時間龜裂的性質。至80年代後期，朴栖甫全面 將韓紙（h a n j i，傳統楮皮紙）融入創作，用手指或工具在浸染顏 料的紙上，產生重複的痕跡。進入二十一世紀，朴栖甫的心境隨 日常生活與城市景觀改變也有所變化，藝術家開始將《描法》系 列原本畫面的單色轉變為明亮色彩。韓紙伏貼於畫布，反覆創造 出的凹陷壟溝，隨觀者視覺角度變化產生動態。而拍品《描法 No. 110218》可說是集上述特徵大成之傑作，標誌朴氏近年來進化個 人創作之精髓。 1940- 1950年代於歐美興起之抽象藝術浪潮席捲了亞洲。朴栖甫 1954年從弘益大學油畫系畢業，作為現代美術家協會主要成員， 推動「不定形藝術」運動（A r t I n f o r m e l）在韓國的發展。1961 年，他得到聯合國際教科文組織獎學金，赴歐洲深造，深入抽象藝 術興起之根源。然而，韓戰後社會動盪不安的年代，間接促使朴栖 甫昇華，回歸探索創作精神狀態的本質，使藝術表現不帶目的性，
朴栖甫《描寫 No.38-75》1975 油彩 鉛筆 195 x 300 cm 香港蘇富比 2017秋拍 編號1056 港幣13,300,000 成交 PARK Seo-bo, Ecriture No.38-75 , 1975, oil and pencil on canvas, 195 x 300 cm, Sotheby's Hong Kong 2017 Autumn Auction, lot 1056, HKD 13,300,000 sold
Ravenel 81
朴栖甫（左二）與其友人 (Left to Right: Choi Myung-young, Park Seo-bo, Lee Yil, Ha Chong Hyun)
As a pioneer of Korean modern art, Park Seo-bo uses abstract expressionism as a foundation to promote Korean art, becoming an iconic East Asian modern artist. He draws on eastern philosophy while integrating the traditional Korean material, “hanji”, into his artwork, setting a milestone in the evolution of abstract art. His works are collected by some of the most mentionable art museums like Guggenheim Museum and Tate Modern.
Ecriture No. 110218 is one of the works from Park’s most famous and iconic Ecriture series. The series has been evolving alongside Park’s art style for decades since 1967. Park’s initial idea was to imitate children’s sketches in textbooks. He discovered that he could release himself from the most intense consciousness to reach a status similar to meditation and spiritual cleansing by doing one thing repeatedly. Based on the transition of time, space and the artist’s attitude, Park’s early works of the Ecriture series avoided the use of intense colors, mainly relying on black, white and grey as the main tones. This describes Park’s attitudes on authoritarian government, nationalism and traditional culture. The story behind the red Ecriture series begins when Park attended his own grand opening exhibition in Japan. He was inspired by the booming life of nature after seeing the flame red autumn maple leaves on the mountains during his trip. Ecriture No. 110218 is one of the works from the series created in 2011. The art represents the unforgettable gorgeous scenes and eternal feelings of the artist. The color red in the series is created with handmade hanji, which is dyed multiple times in the process. The texture of each piece of hanji can absorb the dye at different speeds and levels. After three months of dyeing, the artist finally uses the paper to put them on the canvas layer by layer. The red hanji looks like individual leaves
on the tree branches, flaming under the blue sky. The exquisite and complex creating process reveals the extraordinary patience and determination of the artist. Park Seo-bo started a new technique in the 1980s. He soaked shredded paper in paint and used them across his canvas. Unlike traditional oil paint, the elasticity of paper preserves the paint from cracking over the long term. Park used hanji in all his artworks in the late 80s. He used his hands and tools to create repetitive patterns across the dyed paper. Along with changes in his daily life and city landscapes, Park’s inner mood moved on with time after entering the 21th century. He started to add brighter colors to his Ecriture series, which had been mostly monotone with black, while and grey. The hanji on canvas creates a sunken and cambered surface that creates a sense of motion as the viewer’s visual perspective moves. The item Ecriture No. 110218 is the most iconic masterpiece recently created by Park. Park Seo-bo started a new technique in the 1980s. He soaked shredded paper in paint and used them across his canvas. Unlike traditional oil paint, the elasticity of paper preserves the paint from cracking over the long term. Park used hanji in all his artworks in the late 80s. He used his hands and tools to create repetitive patterns across the dyed paper. Along with changes in his daily life and city landscapes, Park’s inner mood moved on with time after entering the 21th century. He started to add brighter colors to his Ecriture series, which had been mostly monotone with black, while and grey. The hanji on canvas creates a sunken and cambered surface that creates a sense of motion as the viewer’s visual perspective moves. The item Ecriture No. 110218 is the most iconic masterpiece recently created by Park.
“THERE ARE TWO SIDES OF ME. ONE OF THEM IS DEDICATED TO RELIGIOUS AND MEDITATION, AND ANOTHER IS POSSESSED WITH THE DESIRE TO CREATE.” －PARK SEO-BO.
Western abstract art thrived in Asia from the 1940s to 1950s. After graduating from Hongik University with a degree in oil painting, Park Seo-bo started to promote the Art Informel movement in South Korea as a prominent member of the Korean Modern Artists Association. In 1961, Park received a scholarship from UNESCO to further study abstract art in Europe. However, the post-Korean-war era rooted Park to the basic spirit of creating art without specific intention, while focusing on the pure connection between the spirit and realworld objects. As Art Informel developed into the 1970s, the new generation of Korean artists Park inspired is known as “Dansaekjo”.
information crisis was sparked along with the non-stop flood images and infos of the 21st century. He was not sure if he was ready for the great change before he found out how technology could actually connect different eras and cultures. Viewers may browse his artworks and feel a sense of comfort and joy. Much like the natural, inclusive, and durable qualities of hanji, a sense of tranquility is able to heal the wounds caused by trauma.
Korean artists during that period of time were very meticulous on painting materials. They transformed the spirit of Korean culture to art with minimalistic images, and trained themselves through repetition. Park stated that “minimalism or conceptualization is the result of western binary thinking. Dansaekjo is more like a spiritual journey. Creating is a tool for self-discipline, and artworks are just the leftovers of the process”. Empty one’s own mind and build tolerance to others with paintings. The concept of no desire and intentionless builds as time moves on, which corresponds the eastern Lao Zi and Zhuang Zi philosophy. Human is a part of nature, and there is no need to overpower or exclude different values. Park Seo-bo was born in 1931 in Yecheon county of Gyeongbuk province in South Korea. He witnessed Japanese colonization, the Korean Civil War and post-war dictatorship in his younger age. Despite living a impoverished life during his early years, Park retained his passion for art and an understanding behind the meaning of self-cultivation. With modern art, he inherited thousands years of wisdom. In a recent interview, Park stated that people nowadays live under huge pressure. After the popularization of the internet, an
藝術家創作於工作室 Artist in the studio.
Ravenel 83
059
GEORGES MATHIEU (French, 1921 - 2012)
Composition bleue 1958 Oil on canvas 81 x 130 cm Signed lower left Mathieu and dated 58 PROVENANCE Collection of Gunter Sachs, Germany Karl & Fabe Auction, Kunst nach 1945/ Zeitgenössische Kunst , German Munich, December 4, 2014, lot 617 Private collection, Asia
NT$ 7,000,000 - 11,000,000 HK$ 1,786,000 - 2,806,000 US$ 228,000 - 358,300 RMB 1,535,000 - 2,412,000
喬治．馬修 藍色抽象結構 1958年 油彩 畫布 81 x 130 cm 簽名左下：Mathieu 58 來源 攝影師甘特．薩克斯舊藏，德國 卡爾 & 法珀拍賣，「1945年戰後現、當代藝 術」，德國慕尼黑，2014年12月4日，編號617 私人收藏，亞洲
Ravenel 85
在西洋藝術史的時間軸上，二十世紀被視為「抽象藝術」蓬勃發展的黃
第一次創作了大型的兩件作品《向杜倫尼大元帥致敬》（Hommage au
金時期。藝術家秉持理想，相信藝術不再需依賴，物質世界的表象再
Maréchal de Turenne）、《腓力三世之死》（La Mort de Philippe III le
現，或是物品於特定文化背景的象徵意義，才能傳達給人們精神層次的
H a rd i）。1957至1959連續三年，每年在世界各地，舉行九次以上盛況
感受力。當新世紀到來，宗教、道德的價值被撼動，藝術家迴避前人的
空前的個人展覽。1957年馬修的版圖推展至亞洲，他於日本東京舉行展
創作形式，反向探索單純的色彩與造型，希望藉此尋找一種普遍性的原
覽，並與知名藝評米歇爾．塔皮耶（Michel Tapié）前往大阪和日本當代
則，以純粹的形式，表達超越時空、文化，宇宙中深層的精神力連結，
重要的藝術團體：具體派（Gutai）創辦人―吉原治良（Jiro Yoshihara）
與其中運行的秩序。然而，經過兩次世界大戰，人們心中崇高的理想，
等團體成員深度交流，至今更傳為藝術史的代表性篇章。
被虛無與悲愴擊碎。他們重新審視，若不連結主觀意識與曾經發生過的 歷史現實，抽象的表現將流於空泛與重複的形制。
全球權威性美術館皆收藏馬修的作品，包括：紐約現代美術館、紐約古 根漢美術館、巴黎龐畢度藝術中心、東京現代美術館等，全球17個國
此次拍品《藍色抽象結構》完成於1958年，為藝術家喬治．馬修巔峰時期
家，近百家的美術館。代表性的個人展覽為1963年巴黎市立現代美術館
之作。身為戰後抽象藝術的領銜代表，馬修認為身為創作者的三種層次：
的第一次回顧展，1978年於巴黎大皇宮和2002年巴黎國立網球場現代美
「表象描繪」、「連結外部世界」與最後的「自我探索」是最具挑戰性而
術館。即使馬修於2012年逝世，全球畫廊仍不斷為馬修舉行展覽。對比
孤獨，卻也是他深以為核心的信念。馬修習以「化身Incar nation」的方
同期藝術家，馬修目前的市場價值被遠遠低估，而他已被寫入歷史的重
式，將歷史人物、事件、抽象概念用藝術語彙去轉換，欣賞其作品時能將
要性，和作品散發出的高貴氣質，使越來越多藏家將他的作品，納為名
思緒暫時抽離現實時空，間接促使思想的不斷進化。
家收藏的首要名單。
此時的馬修，已確立其標誌性風格。《藍色抽象結構》作品，第一印象
In the history of western art, the 20th century is considered to be the golden age for abstract art. During this period, artists held on to their ideals, believing that art should no longer rely on representations of the material world or symbolic meanings of objects in specific cultural backgrounds to convey a spiritual sense of perception. At the turn of the century, the value of religion and ethics was shaken up. Artists shied away from previous forms of creation and turned to simple colors and shapes in hopes of finding a universal principle as well as a pure form to express the profound spiritual connection and the underlying order in the universe that transcend time, space and culture. However, in the wake of two world wars, the lofty ideals within were shattered by an empty void of misery. They reexamined their beliefs, realizing that abstract expression would only end up an empty and repetitive form if it did not connect a subjective consciousness with the historical realities that had taken place.
是幽藍玄色映入眼簾，中心緩緩而隱隱的漸層，似沉澱下觀者心境，深 海波瀾的暗流。中央符號性的抽象結構，像宇宙流下的神祕訊號。青金 色線條強而有力，創作過程的飆速，烙印在精準運行的筆觸。可想見藝 術家強勁的手勢，上撇、刮除、打圓、滑落，一氣呵成且毫無破綻。作 品兩大構成一動一靜的呈現，藝術家奔放豐沛的創作力，濃縮在每一個 細節。力量一眼瞬間的呈現，深刻於觀者心頭，使其忘我而不自知。 喬治．馬修生於1921年，其成長與思想養成即是在戰間期與第二次世界 大戰。他經歷過法國由盛轉衰，為納粹占領國土，歐洲政權更迭變化的 動盪。年輕的馬修，研讀文學、法律與哲學思想，前人偉大的理想深刻 在他的心胸，面對社會狀況的現實，更催生他連結歷史智慧與新思潮的 創作理念。 1944年至1945年間，他開始嘗試運用動態的手勢，加入繪畫的創作過 程。作為在法國身體力行，抵抗幾何抽象形制的第一人，1947年馬修將 抽象繪畫，從過往的架構規範中釋放出來，命名新的一系列作品為「抒 情抽象」（l'Abstraction Lyrique），並由他本人將此新概念向外推廣。 1944年以降，馬修的創作風格，讓連續的暗色流動線條，分布於畫面全 幅。觀者的視覺如高空俯視，跟隨線條在不規則的地表無意識行走，又 像是顯微鏡下細胞群聚分裂的微型宇宙。 1947年可視為馬修風格蛻變的轉捩點，他發表了「自由即是留白」（L a liberté, c'est le vide.）的創作宣言。視覺焦點中心化，線條由內而外幅 射狀四射。畫面底色與線條色彩，兩者呈現強烈對比。慷慨激昂四字形 容，最能貼切這充滿爆發力及速度感的表現方式。「抒情」原本含蓄溫 柔的意涵，在此時應該解釋為抒發熱情與力量。讓凝聚於創作者腦海的 強烈意識，瞬間傾乍在畫布象徵的虛擬空間。充滿著激情與音樂性，欣 賞者會不自覺隨畫面，試圖模擬藝術家的筆觸路徑。 馬修的獨特風格更被安德烈．馬樂侯（A n d ré M a l re a u x）讚喻為「西 方的書法家」（Calligraphe occidental）。1950年藝術界公、私立機 構，對他的展覽邀約不斷。創作的起承轉合，經歷也被馬修視為創作的 一部分，他開始在大眾面前展演創作的過程，姿態神聖而華麗，宛如宗 教儀式。這新穎且帶有表現性的創作概念，使馬修聲名遠播，1952年他
Completed in 1958, the auction item, Composition bleue , is among the works created at the peak of Georges Mathieu’s career. As a leading figure of post-war abstract art, Mathieu believed that there were three levels of creation, namely, superficial depiction, connection to external world, and finally, self-exploration - the last of which he firmly held to be the core of his belief, though the most challenging and lonely. By means of “incarnation,” Mathieu learned to translate historical figures, events and abstract concepts into artistic language. When appreciating his works, viewers can temporarily take their mind off reality, which indirectly brings about a constant evolution of thought. By then, Mathieu had established his signature style. The first impression of Composition bleue provides is a swath of blue and black unfolding before the eyes. At the center lies a gradual, faint color gradient, settling the viewers’ mind like an undercurrent in a choppy, murky sea. The central symbolic abstract structure seems like a mysterious sign from the universe. From the powerful blue and gold lines drawn with tremendous speed, imprinted with precise brush strokes, one can imagine the artist’s vigorous hand movements slanting upward, scraping, rounding, and sliding downward, smooth
喬治‧馬修《亨利四世：大主教安諾二世的劫持》 1958 油畫 畫布 200 x 400 cm 巴黎蘇富比2008春拍 歐元1,152,250 成交 Georges MATHIEU, L'abduction d'Henri IV par l'archeveque Anno de Cologne , 1958, oil on canvas, 200 x 400 cm, Sotheby's Paris 2008 Spring Auction, EUR 1,152,250 sold
and impeccable. Motion and stillness coexist within the artwork. The artist’s unrestrained and abundant creativity is encapsulated in every detail. Such explosive power gets deeply engraved on the viewers’ mind, leaving them mesmerized and lost in it unawares. Born in 1921, Georges Mathieu matured and formed his thoughts during the interwar period and WWII. He experienced the rise and fall of France, the Nazi occupation, and the turmoil resulting from European regime changes. When he was young, Mathieu studied literature, law and philosophy. With predecessors’ great ideals ingrained in his mind and the harsh social conditions acting as the catalyst, his creation philosophy of combining historical wisdom and new trends was born. From 1944 to 1945, Mathieu began to experiment with dynamic hand movements in painting creation. In 1947, as the pioneer in France, who took action to stand against geometric abstraction, Mathieu liberated abstract painting from the past framework with his new series titled “Lyrical Abstraction” (l’Abstraction Lyrique in French), and promoted the new concept to the world himself. Since 1944, as his new creation style, Mathieu had distributed continuous flowing lines of dark colors across the whole canvas. Viewers experience either a bird’s eye view, unconsciously wandering the irregular ground following the lines, or a microcosm, as if observing cell division under a microscope. The year 1947 could be seen as the turning point of transformation in Mathieu’s style. That year, he published the creation manifesto, “Liberty is the Void” (La liberté, c’est le vide in French). With the visual focus arranged in the center and lines radiating outward, the colors of the background and those of the lines constitute a striking contrast. Such an explosive and unhesitating way of expression can be aptly described as “vehement.” Here, the original sense of “lyrical,” i.e. reserved and gentle, should be reinterpreted as passionate and powerful. The intense consciousness formed in the creator’s mind gets poured, in an instant, into the virtual space represented by the canvas, filling it with fervor and music. Viewers unwittingly engross themselves in the composition, trying to trace the artist’s brush strokes.
Mathieu was hailed as calligraphe occidental, or “western calliographer,” by André Malreaux for his unique style. In 1950, public and private art institutions extended one exhibit invitation after another to him. Mathieu considered the process of creation, from beginning to end, an integral part of creation; therefore, he began to perform art in front of crowds. During his creation, he appeared sacred and majestic, as if conducting religious rituals. For this novel, performative creation concept, Mathieu had gained a widespread reputation. In 1952, he created his first two largescale artworks, Hommage au Maréchal de Turenne and La Mort de Philippe III le Hardi . For three consecutive years from 1957 to 1957, over nine unprecedented solo exhibitions took place around the globe. In 1957, he held an exhibition in Tokyo, Japan, marking his expansion into Asia. During his stay, Mathieu, joined by Michel Tapié, a renowned art critic, visited Gutai, an influential Japanese contemporary art group, in Osaka, and made in-depth exchange with its founder, Jiro Yoshihara. The trip has been viewed as a significant landmark in art history to this day. Mathieu’s artworks are collected by nearly a hundred museums in 17 countries worldwide, including authoritative art museums like the Museum of Modern Art in New York, the Solomon R. Guggenheim Museum in New York, the Pompidou Centre in Paris, and the Museum of Contemporary Art in Tokyo. His representative solo exhibitions include the first retrospective at the Museum of Modern Art of the City of Paris in 1963, as well as two other retrospectives at the Grand Palais in Paris in 1978 and the Jeu de Paume National Gallery in Paris in 1978. Even after Mathieu passed away in 2012, galleries around the world continue to orchestrate exhibitions featuring his works. In comparison with those of his contemporaries, Mathieu’s artworks are far underestimated in terms of the current market value. However, with his importance being recorded in history and the priceless value attached to his works, increasingly more art collectors have begun to see his artworks as must-have collectibles.
Ravenel 87
060
KAZUO SHIRAGA (Japanese, 1924 - 2008)
Rentan 1991 Oil on canvas 131 x 194 cm Signed lower left Kazuo Shiraga in Japanese Signed on the reverse Kazuo Shiraga in Kanji and English, titled RENTAN in Kanji, Japanese and English, dated 1991 and 1991.2.5 in Kanji PROVENANCE Private collection, Aisa This lot is to be sold with a certificate of authenticity issued by Fergus McCaffrey Gallery, New York.
NT$ 60,000,000 - 90,000,000 HK$ 15,306,000 - 22,959,000 US$ 1,954,400 - 2,931,600 RMB 13,158,000 - 19,737,000
白髮一雄 鍊丹 1991年 油彩 畫布 131 x 194 cm 簽名左下：白髮一雄 簽名畫背：RENTAN Kazuo Shiraga 1991 鍊丹れんたん 一九九一年二月五日 白髮一雄 來源 私人收藏，亞洲 附紐約麥卡佛雷畫廊開立之原作保證書
Ravenel 89
藝術家於工作室 Artist in the studio
「我決定拋棄所有現成的守則赤裸向前 ， 有 一 天 我 把 畫 刀 換 成 了 木 棒 ， 緊 接著又不耐煩地把它丟下。開始用手掌 、 手 指 繪 畫 。 然 後 覺 得 自 己 應 該 更 加大膽，這就是我開始用腳的契機。就 是 這 樣 ！ 用 腳 繪 畫 ！ 」 －白髮一雄
二次世界大戰後既有的傳統價值受到挑戰，社會瀰漫存在主義氛圍，寫實
運動的痕跡，如太陽星系運行般，以藝術家自體為中心，由外向內運
主義被視為過時的表現。西方藝術界亟欲以物質、媒材、創作等手法的突
動聚合，帶有潛在的規律性，逐步構成栩栩如生的線條結構。
破，重新審視內在精神價值與創作的關連性。1950年代可謂抽象藝術的 戰國時代，美國抽象的表現主義傑克遜．波洛克（Jackson Pollock）、
從文獻資料中佐證，白髮一雄創作的靈感來自於大自然、宗教、夢
威廉．德庫寧（W i l l e m d e K o o n i n g）；法國抒情抽象的喬治．馬修
境、生活經驗等多種元素。他將這些生活的感知內化於心，再由創作
（Georges Mathieu）、趙無極（Zao Wou-ki）；更有歐普藝術、極簡主
過程的「淺意識」與「身體」去實踐到畫布上呈現。從《鍊丹》的抽
義等思潮，百家爭鳴各抒己見。而1954年日本「具體派」（Gutai）就是
象形式、手法，不僅可以確認當時與「不定形藝術」（Art Informel）
這股浪潮中，由創辦人吉原治良（Jiro Yoshihara）建立在亞洲其中一個
的連結。他使用足繪這種「自動性技巧」的表現，不僅顛覆前人的作
大規模、正式、有組織性的抽象藝術團體；更締造了東、西方現代藝術美
法，釋放自己投入過程中的不確定性，更被後人確認為戰後當代藝術
術融合發展的重要歷史意義。
思潮，東西方文化標竿性的交匯點。
白髮一雄（1924-2008）為具體派之重要代表性成員。他以「足繪畫法」
《鍊丹》尺幅近兩米，如此巨大的尺幅在市場中也非常稀有。構圖張
出名，其抽象表現的美感，充滿個人風格與力量，深受全球藏家喜愛，
力十足，不同層次的深紅色線條交織，如萬物生命力奔放穿梭大地，
更是支撐起當代藝術脈絡不可或缺的一員。包含：日本國立東京現代美
一道金色龍形遨遊天際，天地之間大氣運生，這幅作品滿載白髮一雄
術館、法國龐畢度藝術中心、美國沃克藝術中心（Wa l k e r A r t C e n t e r,
充沛的心靈能量。若說物質層面，白髮一雄當時選擇突破，接受西方
U S A） 等世界一級美術館皆典藏其作品。2013年紐約古根漢博物館，以
理念探索新媒材的可能性。其內在精神性的根基，仍是來自於東方哲
具體派為主題舉辦大型展覽，並引用當年白髮一雄的感言，命名為《具
學，昇華人與物，乃至於天地的關係。在日本，書法又稱「書道」、
體：燦爛的遊樂場》（Gutai: Splendid Playground）。此展如領頭號
「入木道」或「筆道」，是由於佛教抄錄經書東傳日本，作為修身養
角，各大美術館、國際性畫廊也紛紛爭相舉辦系列展覽，令具體派重新受
性的鍛鍊方式。1973年白髮一雄曾遁入空門，進入比叡山的延曆寺，
到世人關注與學界熱烈討論。白髮一雄作為核心代表的成員，其作品名列
擁法號「白髮素道」，因此其畫作中擁有的東方書法性，獨特的流暢
市場榜首的亮眼成績，不分區域受藏家肯定的流通性，更確立他在世人心
與韻律之美，是其作品引人入勝的一大特色。
中，屹立不搖的大師級地位。 戰後的日本社會百廢待舉，白髮一雄從京都市立繪畫專科學校畢業 白髮一雄的足繪創舉，始於1950年代中期，他在平鋪的畫布上，倒入顏
後，很快發現學習的日本畫傳統形制，無法滿足現代藝術需要的新力
料，用單腳支撐平衡，另一隻腳畫動顏料。之後未免受限於人體平衡度，
量。而西洋美術媒材油畫，鮮豔光澤、濃厚質地，正切合他個人對於
發展出獨特的創作方式，以雙手緊握上吊的繩索以保持平衡，雙腳同時在
色彩、情感，以及畫面動態感呈現的需求，以及展望新時代發展的澎
滿是顏料的畫布上滑行。在肌膚感知的敏銳與行動流暢的交互下，白髮一
湃感受。白髮一雄與村上三郎（Saburo Murakami）、金山明（Akira
雄將腦中抽象概念，轉換成為色彩豐富的畫作。這不但符合具體派倡導的
Kanayama），曾經創建前衛藝術團體「零社」（Zero society; Zero-
核心宗旨：「做前人沒做過的事」，更是實踐將物質導入高層次的精神場
kai）的活動。而後，受到吉原治良的邀請，此團體合併加入具體派。
域，往來創作者意識與無意識行為之間的狀態。 曾形容自己繪畫的方式，是如同在戰壕中拼命奔跑，直至耗盡最後 拍品《鍊丹》（R e n t a n）創作於1991年，全幅畫面以朱紅色調為主軸。
一絲力量。二十世紀中期，白髮一雄創出的《挑戰泥土》（M u d
在東方文化中，此色具有強烈的象徵性，代表著生命、光明、歡樂等正向
C h a l l e n g i n g）藝術表演，在群眾圍觀的狀態，全身深陷泥濘之中，
意義。觀者欣賞此作，壯麗肅穆的色調，使人聯想京都神社的鳥居，立刻
彷彿快被淹沒，卻也不屈服於物理的力量，一生懸命地不斷用肢體撞
振奮視覺感官。如此的表現形式無須註解，即能使人意會此作來自東亞的
擊、翻攪、揉合大片泥土。另一次藝術表演，則是全身穿紅色表演
文化根源。而濃烈、高彩度的艷紅用色，也是白髮一雄相當著名且標誌性
服，袖子極長，帽子、面具如圓錐尖刺，同時不斷赤腳旋轉在畫紙
手法。此特點更使得白髮，在西洋思潮為主的當代藝術中，擁有躍然而
上。而最重要的足繪畫法，更凸顯前面兩項早期的計畫，如宣言般預
上，獨特且引人注目的吸引力。原本靜無聲息的各色顏料，經由遺留下的
告「動」的元素，即將貫徹白髮一雄的藝術生命，震撼世人的心靈。
Ravenel 91
趙無極《JUIN-OCTOBRE 1985》1985 油畫 畫布 280 x 1,000 cm, 香港蘇富比2018春拍 編號1004 港幣510,371,000 成交 ZAO Wou-ki, JUIN-OCTOBRE 1985 , 1985, oil on canvas, 280 x 1000 cm, Sotheby's Hong Kong 2018 Spring Auction, lot 104, HKD 510,371,000 sold
A f t e r Wo r l d Wa r I I , e x i s t i n g t r a d i t i o n a l v a l u e s w e re b e i n g challenged. As an existential mood spread across society, realism was being regarded as an outdated expression. The Western art industry strongly desired to re-examine the relevance between intrinsic spiritual values and creations via breakthrough in materials, media, and creative methods. Abstract art was on a verge of transformation during the 1950s, when American abstract expressionists Jackson Pollock, Willem de Kooning, French Lyrical Abstraction artists Georges Mathieu, Zao Wou-ki, and ideological trends, such as Op art and Minimalism, introduced different views and opinions. Amidst this wave in 1954, the Japanese Gutai was established in Asia by its founder Jiro Yoshihara as a large, formal, and organized group for abstract art. The Gutai holds important historical significance in the development and integration of Eastern and Western contemporary art. Kazuo Shiraga (1924-2008) was an important and representative member in the Gutai group. He is famous for “foot painting;” the aesthetics of this abstract performance is full of Shiraga’s personal style and power. Not only is it favored by collectors around the world, but also an indispensable element in supporting contemporary artistic contexts. Kazuo Shiraga’s works are collected by world-class museums including the National Museum of Modern Art Tokyo in Japan, the Centre Georges Pompidou in France, and the Walker Art Center in the USA. A large-scale Gutai exhibition was held at New York’s Solomon R. Guggenheim Museum in 2013. The exhibition was named Gutai: Splendid Playground , in reference to Kazuo Shiraga’s speech that year. This exhibition served as a leading example for other major museums and international galleries to organize similar series of exhibitions, thereby bringing Gutai art back to the world’s attention and academic discussion. As a core member of the Gutai group, Kazuo Shiraga’s works have high rankings and perform exceptionally well in the market. The popularity of Kazuo Shiraga’s works among collectors around the world established his position as a great master in the public’s mind.
The pioneering work of Kazuo Shiraga’s foot painting began in mid-1950s. He poured paint onto a flat sheet of canvas and used one foot to spread paint while using the other foot to stay balanced. As to not be constrained by the limits of human balance, he later developed a unique method of painting－holding a suspension rope with both hands for balance while sliding both feet across a canvas full of paint. Through the interaction between the sensitive perception of his skin and the smooth motions of his feet, Shiraga converted abstract concepts inside his mind into colorful paintings. In addition to fulfilling Gutai art’s core philosophy of “doing things that no one has done before,” Shiraga’s method also elevated materials to a higher spiritual realm between an artist’s conscious and unconscious behaviors. The auction lot Rentan was created in 1991. The entire painting is colored in vermilion. This color is a strong symbol in Eastern culture, representing positive elements such as life, brightness, and joy. Viewers often look at the majestic, solemn colors in this painting and associate them with torii gates at the shrines in Kyoto. This instantly stimulates viewers’ sense of vision. Without further explanation, the style of expression in this painting conveys a message about its cultural origins from East Asia. The use of strong, high chroma red is also a part of Kazuo Shiraga’s famous, trademark technique. This feature makes Shiraga’s work even more unique and attractive among the majority of contemporary artworks based on Western ideologies. Through the artist’s movement, the different colors of paint display the pattern of a revolving galaxy, spreading inward from the artist’s position as center. The potential rhythm in this pattern gradually forms vivid looking lines and structures. According to literature, Shiraga’s creative inspirations came from many elements, including nature, religion, dreams, and daily experiences. He internalized these feelings and applied them onto the canvas through his “subconscious” and “body” during the creative process. The abstract style and method in Rentan confirm
“I DECIDED TO LET GO OF ALL EXISTING RULES AND MOVE BOLDLY FORWARD. ONE DAY, I REPLACED MY PAINTING KNIFE WITH A WOODEN STICK BEFORE DISCARDING IT IMPATIENTLY. I BEGAN TO PAINT WITH MY PALMS AND FINGERS. THEN, I FELT THAT I NEEDED TO BE MORE FEARLESS. THAT WAS WHEN I STARTED USING MY FEET. THAT WAS HOW I BEGAN PAINTING WITH MY FEET!”－KAZUO SHIRAGA
its connections to “Art Informel” at that time. Shiraga’s use of foot painting is an “automatic technique” that subverted previous artistic techniques and reduced an artist’s level of uncertainty during the artmaking process. Furthermore, this technique is also perceived as a benchmark intersection between Eastern and Western cultures in post-war contemporary art. At a length of nearly two meters, Rentan presents a sense of power, its great dimension is also very rare in the market. The different layers of vermilion lines intersect like living creatures hustle across the surface. A golden smear of dragon roams through the sky, and the atmosphere between heaven and earth is born. This painting is full of Kazuo Shiraga’s abundant mental energy. From the materials perspective, Kazuo Shiraga chose to accept Western concepts at that time to explore the possibilities of new media. The intrinsic spirit of the painting is based on the Eastern philosophy of enhancing relationships between people, objects, and nature. In Japan, calligraphy is also known as “Shodo,” “Jubokudo” and “Hitsudo” since Buddhist texts entered Japan as a way of cultivating the mind. In 1973, Kazuo Shiraga became a Buddhist monk at Enryakuji on Mount Hiei, under his monk’s name “Sodo Shiraga.” Hence his paintings are characterized by Eastern calligraphy written in a unique flow and beautiful rhythm. This is one of the reasons why Kazuo Shiraga’s works are so intriguing. After the war, the Japanese society was in desperate need for reconstruction. When Shiraga graduated from Kyoto Municipal School of Painting, he quickly realized that traditional forms of Japanese-style painting could not serve as a new source of energy for contemporary art. Alternatively, the vivid colors and rich texture of Western oil paintings perfectly matched his personal requirement for colors, emotions, dynamic image display, and feelings about a new era of development. Shiraga founded the avant-garde art group “Zero society; Zero-kai” along with Saburo Murakami and Akira Kanayama. This group was merged into the Gutai group as per Jiro Yoshihara’s invitation.
Shiraga once described his way of painting as running in a trench until the last breath. In the mid-twentieth century, Shiraga created the artistic performance, Mud Challenging , whereby the audience watched him struggle violently against the mud and the force of physics while his whole body was covered inside. At another artistic performance, Shiraga wore a red costume with very long sleeves. Wearing a spiky cone hat and mask, he continuously spun over a piece of painting paper with his bare feet. Most importantly, this method of foot painting highlighted the two earlier projects mentioned above. In this way, the element of “movement” seemingly foretold the Shiraga’s art career and how it would stun the entire world.
白髮一雄《激動的紅》1969 油畫 畫布 183 x 229 cm 巴黎蘇富比 2014春拍 編號4 歐元3,905,500 成交 Kazuo SHIRAGA, Gekidou Suru Aka , 1969, oil on canvas, 183 x 229 cm Sotheby's Paris 2014 Spring Auction, lot 4, EUR 3,905,500 sold
Ravenel 93
061
ANTONIO CLAVÉ (Spanish, 1913 - 2005)
Guerrier aux feuilles 1973 Oil on canvas 147 x 113.5 cm Signed lower right Clavé in Spanish Signed on the reverse Clavé , titled Guerrier Aux Feuilles and dated 73 and 1973 PROVENANCE Perrin-Royère-Lajeunesse, Versailles, June 24, 1990, lot 61 De Quay, Paris, October 21, 1993, lot 62 Private collection, Asia This lot is to be sold with a certificate of authenticity issued by the Archives Antoni Clavé.
NT$ 1,700,000 - 2,600,000 HK$ 434,000 - 663,000 US$ 55,400 - 84,700 RMB 373,000 - 570,000
1913年生於巴賽隆納，1932年贏得巴賽隆納儲備銀行第二大獎，克拉 維開始接受商業設計得委託，將藝術發展的前衛精神，融入在自己的創 作中。率性俐落的風格，立即獲得業界的一片好評並邀約不斷，如： 1934年由詹姆斯惠爾（J a m e s W h a l e）導演的美國懸疑電影《隱形 人》，其西班牙版的海報即是由他設計。1936年西班牙內戰爆發，隔年 克拉維參與了共和黨軍位在雅拉岡自治區的前線。1939年一月，隨軍隊 流亡到法國並身陷囹圄。獄中透過畫家馬丁維位（Martin V ivès）的協 助，他與其他流亡西班牙藝術家，在法國東庇里牛斯省首府佩皮尼昂的
安東尼．克拉維
維昂沙龍（Ｍaison Vivan）展出數件素描與人物肖像，讓他很快地得到
披葉戰士
釋放。同年四月五日抵達巴黎，克拉維沒有身分證明，僅帶著微薄的展
1973年 油彩 畫布 147 x 113.5 cm 簽名右下：Clavé 簽名畫背：Clavé 73 GUERRIER AUX FEUILLES 1973
覽酬勞，以兒童插畫創作維生，開啟一生與巴黎的不解之緣。
來源 佩漢－華耶爾－拉若內斯拍賣行，法國凡爾賽， 1990年6月24日，編號61 德．奎拍賣會，巴黎，1993年10月21日，編號62 私人收藏，亞洲 附克拉維文獻委員會開立之原作保證書
T h e a r t i s t w a s b o r n i n B a r c e l o n a i n 1913. I n 1932, h e w a s awarded second place in a competition organized by the Caisse d’Epargne de Barcelone. Clavé began to accept commercial design project commissions. He integrated the avantgarde spirit of art development into his work. His daring and immaculate style immediately won accolades in the field, and he received many project commissions, such as, in 1943, the film poster for the Spanish version of the American thriller The Invisible Man (El Hombre invisible in Spanish), directed by James Whale. When the Spanish Civil War broke out in 1936, Clavé joined the Republican army and was posted to the front line in the Aragon autonomous community the following year. In January 1939, he was exiled to France along with the army and interned. While in captivity, with assistance from the artist Martin Vivès, he and other exiled Spanish artists held an exhibition with a number of sketches and portraits at the Maison Vivan in Perpignan, the capital of Pyrénées-Orientales in France. This helped him receive his release soon after. On April 5th of the same year, Clavé arrived in Paris with no identity documents and the meager payment he received for the exhibition. He managed to make ends meet by creating children's illustrations. Thus began his lifelong association with Paris.
Ravenel 95
1941年德軍攻陷巴黎的隔年，克拉維搬進了位於波松納德路45號的新工
1970至80年代，不論是歐洲還是亞洲、美洲，克拉維名聲遠播，展覽
作室，完成第一批石版畫系列。隨後1942年，迎接新生長子賈各與遠從
邀請源源不斷。1978年由巴黎市立美術館為其舉辦個人回顧展，同年為
西班牙到來的母親。此時的創作，克拉維如同其他旅居巴黎的歐洲藝術
西班牙馬德里巴拉哈斯機場製作總長達九公尺，高度達三公尺的巨型壁
家，如：康斯坦丁．德勒柯維奇（Constantin Terechkovitch）、伊凡．
畫。1888年世界博覽會由巴塞隆納市府委託製作高達13公尺的雕塑裝
普尼（Ivan Puni），皆受納比畫派波納爾和維亞爾（Vuillard）的影響。
置，今日仍設立於巴塞隆那的城堡公園。1990年代起，尤其在西班牙，
畫作主題多為日常恬靜景象和人物，溫暖柔和的色調添滿了幸福氣息。
克拉維的大型回顧展不斷推出。他旅行至世界各地，汲取當地文化為靈 感，融入進自己的創作，就如同1990年在巴塞爾藝術博覽會展出的《紐
1944年與畢卡索相識，同樣來自加泰隆尼亞的兩人成為忘年摯友，畢
約視界》系列。
卡索像是靈感泉源地啟發這位年輕藝術家：「看著這位男人（指：畢卡 索）和他的作品，如一記當頭棒喝。我不是學到需要做什麼，反而是去
克拉維一生精彩傳奇，創作風格豐富多元，使其愛好者遍及全球。自
除創作中根本不該出現的事。當天離開他的工作室，我知道自己已經重
2005年離世，國際間藝術機構不斷為他推出個人紀念展覽。2008年，
獲新生。」1946年與畢卡索等人同行，參與了布拉格的旅法西班牙藝術
全球知名的瑞士巴塞爾貝耶勒基金會（Fondation Beyeler）為其盛大舉
家展覽。1985年克拉維創作向畢卡索致敬的「致巴布羅閣下」系列油畫
行個人回顧展。2012年，日本山梨縣清春藝術村，邀請建築大師安藤忠
及拼貼作品，該系列巡迴展覽至巴黎荷蓋畫廊（Galerie Regards）、巴
雄設計，成立「光の美術館 CLAVÉ GALERIE」來紀念這位偉大的藝術
賽隆納賈斯柏畫廊（Galerie Sala Gaspar）和法國昂蒂柏（Antibes）
家。克拉維打動人心的創作熱情持續了一生，依年代細細欣賞其作品，
的畢卡索美術館。2010年斯洛維尼亞首都的盧布爾雅那美術館（Mestni
就如經歷一場二十世紀的藝術史饗宴。
muzej Ljubljana）更為兩人舉行了系列特展。 克拉維的全才和獨到眼光，為他帶來大量的跨界邀請。二戰後1945至 1950年間，他設計芭蕾舞劇的舞台服裝，風格大膽前衛別於他人，一 舉將他的名聲推向國際，如：1946年香榭麗舍劇團《奇想集》、1949 年羅蘭柏蒂的巴黎芭蕾舞團《卡門》、倫敦莎德斯威爾斯芭蕾舞團（現 今：英國皇家芭蕾舞團）《群舞》。同時，克拉維也為書籍設計和製作 石板插畫：普希金《黑桃皇后》、普羅斯佩．梅里美《卡門》、1948年 伏爾泰《憨弟德》等經典文學作品。 1954年，婉謝藝文各界的邀約，克拉維全心投入在純藝術創作。1956 年，他創作了「國王、王后與戰士」的系列作品，以拼貼將複合媒材融 匯於畫作的平面。同年，第二十八屆威尼斯雙年展，得到國際教科文組 織頒獎表揚其版畫作品的傑出成就。隔年，再獲頒第五屆聖保羅雙年展 的馬塔拉索大獎（Prix Matarasso）。 1950年代起，世界各地的畫廊爭相邀約展覽。1965年搬至法國蔚藍海 岸，鄰近聖特羅佩。溫暖宜人陽光充沛，就像巴塞隆那的氣候。日照充 足且高挑的工作室，克拉維開始創作更多大尺幅作品，運用多樣化媒 材，隨直覺決定創作構圖。代替畫筆，多運用刷子、布料、滾筒和印 戳，使得畫面肌理更加豐富多變。另外，延續1957年以來的粗獷風格， 克拉維也製作了更多淺浮雕金屬雕塑和現成物組合的裝置藝術。 《披葉戰士》創作於1973年，是克拉維運用現成物，轉型為抽象表現風 格之前，向西班牙戰士們致敬，喚醒民族記憶的絕品佳作。畫面開闊， 黑色筆觸酣暢大膽，藝術家的爆發力，瞬間攫獲觀者的心。西班牙文 學，高貴的騎士精神，數百年傳承在詩歌與血脈之中。瞳孔黑藍雙色， 眼神堅定，瀟灑騎士，露齒暢笑，如將生死置之於度外。翠綠梧桐的拓 印肌理，一絲血紅的點睛落筆。戰士將要奔赴戰場，策馬呼嘯過梧桐大 道。馬蹄下紅沙滾滾，黃葉飛揚，克拉維謹此紀念偉大的西班牙傳奇。
In 1941, the year after Paris was captured by the German army, C l a v é m o v e d t o h i s n e w s t u d i o a t 45 r u e B o i s s o n n a d e a n d completed his first lithograph series. In 1942, he welcomed his firstborn son, Jacques, and his mother moved to Paris from Spain. During this period, just as with the other European artists living in Paris at that time such as Constantin Terechkovitch and Ivan Puni, all of Clavé's works were influenced by Bonnard and Vuillard of Les Nabis. The subjects of his works were usually the tranquil scenes and people of daily life. His use of warm, gentle colors imbues the paintings with a sense of contentment. In 1944, Clavé met Picasso. Both hailing from Catalonia, the two became lifelong friends, and Picasso served as a font of inspiration for the young artist. "[…] look at this man [referring to Picasso] and his works — they are like a bolt from the blue. I did not learn about what needs to be done; instead I have learned how to remove the things which should not have been there in the first place. When I left his studio that day, I realized that I had been reborn." said Clavé. In 1946, Clavé, Picasso and a group of other artist took part in an exhibition held in Prague for Spanish painters in Paris. In 1986, Clavé created a series of artworks dedicated to Picasso, A Don Pablo, which included oil paintings and collages. This series was exhibited at a number of galleries including Galerie Regards in Paris, Galerie Sala Gaspar in Barcelona, and the Picasso Museum in Antibes, France. In 2010, the Mestni muzej Ljubljana in the capital of Slovenia organized a special exhibition series for the two artists. Clavé's well-rounded expertise and unique style attracted attention a c ro s s m a n y f i e l d s . A f t e r W W I I , b e t w e e n 1945 t o 1950, h e designed stage sets and costumes for ballet. His bold avant-garde style brought his reputation to a global audience. These works
include: The Caprichos for the Ballets des Champs-Elysées, Paris in 1945; Carmen for the Ballets de Paris de Roland Petit in 1949, and Ballabile for Sadler’s Wells Ballet in London (now The Royal Ballet). At the same time, the artist also created designs for books and produced lithograph illustrations for classics such as Pushkin’s The Queen of Spades , Prosper Mérimée's Carmen and in 1948, Voltaire's Candide. In 1954, Clavé declined all commissioned work and concentrated on purely artistic creations. In 1956, he created the Rois, Reines et Guerriers series, where he used collages to incorporate different media into the surfaces of the paintings. In the same year, he was awarded a prize by UNESCO for his outstanding lithograph works at the 28th Venice Biennale. The following year, he won the Prix Matarasso at the 5th Biennial of Sao Paulo. Beginning in the 1950s, galleries around the world competed with each other to invite the artist to exhibit his new works there. In 1965, Clavé moved to Côte d'Azur near Saint-Tropez. The warm, bright, sunny days were just like the climate of Barcelona. In his sunny, high-ceilinged studio, he began to create larger scale works and to use multiple media. He formed the structure of the images through instinct. Instead of paintbrushes, he used decorators' brushes, fabric, rollers and stamps to add more diversity and texture to the paintings. Furthermore, in a continuation of his rugged style since 1957, Clavé began to produce sculptural bas reliefs in metal and installation art pieces composed of found objects.
mural for Madrid–Barajas Airport in Spain. The Barcelona city council commissioned the artist to create a 13 meter sculptural installation for the Universal Exposition of 1888. Today, it still stands in the Parc de la Ciutadelle in Barcelona. From the 1990s onwards, largescale Clavé retrospective exhibitions were continually taking place, especially in Spain. Clavé traveled all over the world and used local culture as sources for inspiration. He integrated these elements into his own works, such as the 1990 series Vu à New York exhibited at Art Basel. Clavé led an exciting and eventful life, and when paired with his diverse and intriguing creative styles, it is no wonder that his admirers can be found all around the world. Since the artist's death in 2005, art institutions around the globe have organized numerous commemorative exhibitions for him. In 2008, the internationally renowned Fondation Beyeler of Switzerland held a major retrospective exhibition for the artist. In 2012, the Kiyoharu Art Village in Yamanashi, Japan invited architecture maestro Andou Tadao to design the Museum of Light Clavé Gallerie to commemorate this great master. His passion, which touched so many hearts, burned brightly throughout his life. Admiring the works of Antoni Clavé in detail, year by year, makes one feel as if they are enjoying a feast of 20th century art history.
His 1973 creation Cavaliers aux Feuilles is a homage to Spanish warriors. In this piece, created before he turned to an abstract expressionist style, the artist used found objects. It is a supreme piece of artwork for calling up patriotic memories. The wide expanse of the scene, with unhesitating and daring strokes, express the striking skills of the artist and instantly capture the heart of the viewer. In Spanish literature, the noble knightly spirit has been passed down for centuries through Epics and bloodlines. The blueblack pupils portray the determination of the dashing cavalier. The carefree laugh with bared teeth seems to imply that life and death are of no matter. Emerald green monotype textures are decorated with a light stroke of crimson. The warrior goes forth to battle and urges his steed down the tree-lined avenue. Dust roils under the horse's hooves and autumn leaves twirl in the air. This is Clavé's homage to Spanish legend. From the 1970s to the 1980s, the fame of the artist spread, and exhibition invitations came unceasingly from all over, whether from Europe, Asia or the Americas. In 1978, Musée des Beaux-Arts de la Ville de Paris organized a retrospective exhibition for the artist. In the same year, Clavé created a 9 meter long, 3 meter high wall
日本山梨縣的「光之美術館―克拉維空間」 Museum of Light / Galerie Clavé © Ken Lee
Ravenel 97
062
ITSURO SAIKA
齋鹿逸郎
(Japanese, 1928 - 2007)
無題－連續的紀錄 （編號10）
Untitled Continuous No.10
1960年 白堊土 胡粉 鉛筆 鳥取縣和紙 88 x 88 cm
1960 Chalk, gofun, pencil on Japanese paper 88 x 88 cm EXHIBITED Itsuro Saika Exhibition: Between White and Pure White, Yonago City Museum of Art, Tottori, Japan, June 25 - July 23, 2015 ILLUSTRATED Itsuro Saika Exhibition - Between Pure White and White , Yonago City Museum, Tottori, Japan, 1995, no. 10, p. 22
展覽 「齋鹿逸郎展－白與純白之間」， 米子市美術館，日本鳥取縣， 展期自1995年6月25日7月23日 圖錄 「齋鹿逸郎展－白與純白之間」， 米子市美術館，日本鳥取縣， 1995，編號10，頁22
NT$ 220,000 - 340,000 HK$ 56,000 - 87,000 US$ 7,200 - 11,100 RMB 48,000 - 75,000 齋鹿逸郎1928年出生於日本鳥取縣，16歲開始跟著和歌作家、文人、畫家早川幾忠及雕刻家辻晉堂學習，23歲到東京代代 木繪畫研究所深造，走上當代藝術創作之路。約1960年起，開始在村松畫廊、白田畫廊、御茶之水畫廊、古心堂畫廊等地 舉辦多場個展。1977年出版畫集《黑》。直到晚年始終持續創作和歌。二戰後日本藝術界掀起一連串革命，具體派、物派 等紛紛崛起，而齋鹿逸郎的獨特風格卻不可輕易被歸入任一流派。出生於以生產和紙聞名的鳥取縣，齋鹿逸郎對於創作重 要媒材─「紙」非常重視，他在作品中大量使用手抄和紙，並自創獨門技法，以鉛筆、胡粉（貝殼製成的畫粉）和白堊土 交叉塗抹在厚和紙上，描繪出深奧而智慧的心象風景。「沒有主題」、「十分強烈的重複性」、「顏料的堆疊」是他作品 的三個重要特色。年少拜師文人，成年負笈東京學習當代繪畫，齋鹿逸郎的作品，呈現了傳統與現代的拉扯，造型前衛， 精神上卻是傳統的。1960年至1994年是他作品發表的高峰期，藏家以日本國內為主。重要展覽紀錄包括1995年米子市美 術館的「齋鹿逸郎展－白與純白之間」、2007年東京目黑區美術館的「線的迷宮」聯展，以及2009年藤澤市民展廊的「齋 鹿逸郎展」。
Itsuro Saika was born in 1928 in Tottori prefecture, Japan. At the age of 16, he started studying with poet, litterateur Ikutada Hayakawa and sculptor Shindo Tsuji. At the age of 23, he left for Tokyo to study contemporary art. Around 1960, Saika started holding solo exhibitions in galleries including Muramatsu Gallery, Shirota Gallery, Ochanomizu Gallery and Koshindo Gallery. In 1977, he published Kuro (Black), a book showcasing collection of his works. Saika kept writing Waka (Japanese poem) until his old age.Japanese art scene after WWII was marked by a series of artistic revolutions, including the rise of Gutai, Mono-Ha and other groups. However, Saika’s unique artistic language cannot be easily categorized. Born in Tottori prefecture, a region well-known for its paper production, Saika paid special attention to “paper”, the paramount medium of painting, and used a great amount of washi (handmade Japanese paper) in his works. He utilized an unique and original technique, overlapping layers of pencil, Gofun (paint powder made from seashells) and chalk to thick washi, creating a series of profound and intelligent landscapes that reflect his mind and emotions. Three important characteristics of his work are “the absence of subject”, “strong repetitiveness” and “juxtaposition of pigments”. With double background of literati and contemporary art studies, Saika produced works that express the tension between modernity and tradition. His work presents avant-garde forms but is still marked by traditional spirit. From 1960 to 1994 is a prolific period of Saika’s career. His works are mainly appreciated by domestic collectors. Important exhibitions include: “Itsuro Saika: Between White and Pure White”, Yonago City Museum of Art (1995); Group exhibition “A Labyrinth of Lines”, Meguro Museum of Art, Tokyo (2007); “An Exhibit of the works of Itsuro Saika”, Fujisawa Civic Art Gallery (2009).
Ravenel 99
063
ATSUKO TANAKA (Japanese, 1932 - 2005)
Work (a set of 3) 2001 Colored pencil on paper 15 x 10 cm (each) Signed on the reverse Atsuka Tanaka and dated 2001 (each) PROVENANCE Est-Ouest Auctions Co., Ltd.: Tuesday, December 1, 2015, Lots 114-116 (Acquired by the present owner from the above) This lot is to be sold with a registration certificate issued by KATAA (Kanayama Akira and Tanaka Atsuko Association).
NT$ 320,000 - 480,000 HK$ 82,000 - 122,000 US$ 10,400 - 15,600 RMB 70,000 - 105,000
田中敦子 作品（三件一組） 2001年 彩色鉛筆 紙本 15 x 10 cm（每件） 簽名畫背：2001 Atsuka Tanaka （每件） 來源 伊斯特拍賣，香港，2015年12月1日，編號114-116 （現有收藏者購自上述來源） 附阿基拉金山與田中敦子協會開立之作品登錄證明
身為日本戰後重要藝術運動「具體派」（Gutai）的代表成員，田中敦子以具體派所強調的物件本質為出發點，聚焦於有形物質及 無形能量的「聯結」，成就其回應時代脈動的創作體系。而她在二十世紀男性主導的日本藝壇發光，進而獲得國際間的關注，可 見其出類拔粹與不可忽略的重要地位。1932年生於日本大阪，田中敦子在這思想前衛的城市成長並完成藝術教育。她的作品已於 日本及國際間大規模展出，包含京都國立現代美術館、紐約大學格雷美術館、東京都現代美術館等。
As an iconic figure in “Gutai,” the most important art movement of post-war Japan, Atsuko Tanaka used Gutai’s emphasis on the intrinsic nature of objects as a starting point to hone in on the “connection” between tangible and intangible objects, achieving a creative system that responded to the ebb and flow of the era. Atsuko was able to stand out in the predominantly androcentric art scene of 20th century Japan and gained worldwide attention, her talents and significance shouldn’t be taken lightly. Born in Osaka, Japan in 1932, Atsuko Tanaka grew up and completed her art education in this ideologically advanced city. Her works have been exhibited in numerous important museums including Kyoto National Museum of Modern Art, Grey Art Gallery, New York University, Museum of Contemporary Art Tokyo.
Ravenel 101
064
SERGE HOLLERBACH (Russian, b. 1923)
Figures 1966 Oil on paper, mounted onto board 60.5 x 47.5 cm Signed lower left S. Hollerbach and dated 66 PROVENANCE St Paul Gallery, New York Private collection, Asia
NT$ 100,000 - 150,000 HK$ 26,000 - 38,000 US$ 3,300 - 4,900 RMB 22,000 - 33,000
塞爾吉．霍勒巴赫 行人 1966年 油彩 紙本 裱於木板 60.5 x 47.5 cm 簽名左下：S. Hollerbach 66 來源 聖保羅畫廊，紐約 私人收藏，亞洲
霍勒巴赫1952年進入紐約市美國藝術學院，以描繪現代都 市生活以及都市中的平凡人物著稱。自1994年起，他的 視力開始減退，作品也變得越來越抽象，形狀從清晰變模 糊，色彩從柔順變得較明亮。作品收藏於美國各大公私立 機構，包括紐約的國家設計學院、耶魯大學藝廊以及肯塔 基大學美術館等。
Hollerbach studied the American Art School of New York City in 1952, he is best known for his paintings of modern urban life and common people in the city. As his vision began deteriorating in 1994, Hollerbach’s artistic production became more abstract, shifting from defined shapes to looser forms, from muted colors to brighter tones. His works are included in public and private collections in the US, including the National Academy of Design in New York, the Yale University Art Gallery, the University of Kentucky Art Museum, etc..
065
KATSURA FUNAKOSHI (Japanese, b. 1951)
Drawing-portrait 1994 Watercolor on paper 33.5 x 24.5 cm Initialed lower right K.F.
NT$ 160,000 - 240,000 HK$ 41,000 - 61,000 US$ 5,200 - 7,800 RMB 35,000 - 53,000
舟越桂 繪畫肖像 1994年 水彩 紙本 33.5 x 24.5 cm 簽名右下：K.F. 1951出生於岩手縣，為日本當代藝壇巨擘，其作 品向來以「人」為主題，獨特的人像表現方式，帶 給觀賞者一種超現實的疏離感，作品亦帶有東方內 斂、沉穩的性質。他認為素描能帶出雕塑的要素與 靈魂，有時候比成品更具有深度。展覽及獲獎經歷 豐富，曾參與1988年威尼斯雙年展，1992年德國 卡塞爾文獻展，亦在1995及2003年獲得日本雕塑 界全國大獎的中原悌二郎賞。
Born in 1951 in Iwata Ken in Japan, Katsura Funakoshi is a great Japanese sculpture artist in present day. Through his peculiar works are encircled by his favorite theme, “Human” and often revealing an indifferent atmosphere which the viewers can also discover in some surrealism works. He also believes that the original sketches of the sculpture sometimes reveal the deep strength than the sculpture itself. Katsura Funakoshi is a world-widely awarded artist and he was invited to held exhibition at La Biennale di Venezia in 1988, documenta, Kassel in 1992. He was also rewarded for the national sculpture award, the Nakahara Tezirou Award in 1955 and 2003.
Ravenel 103
066
MICHEL CADORET (French, 1912 - 1985)
Composition c. 1950s Oil on canvas 46 x 61.5 cm Signed lower right Cadoret PROVENANCE Galerie Chalette, New York, 1957 Private collection, Asia
NT$ 70,000 - 110,000 HK$ 18,000 - 28,000 US$ 2,300 - 3,600 RMB 15,000 - 24,000
米歇．卡多瑞 抽象結構 約1950年代 油彩 畫布 46 x 61.5 cm 簽名右下：Cadoret 來源 夏雷特畫廊，紐約，1957年 私人收藏，亞洲
米歇．卡多瑞1912年出生於法國巴黎，1938年在巴黎的法屬海外博物館舉 行首次個展。1948年起定居紐約，隔年展開美國巡迴展覽「法國來到你身 旁」，1953年起往返於巴黎、紐約間舉行個展。與羅斯科、卡爾德、杜象、 瓦雷兹等人為好友。1961年起在紐約新學院教書。1972年在巴黎南郊的塞 爾尼成立工作室。1974年聖日耳曼昂萊博物館為其舉行回顧展。抽象表現手 法，帶有音樂性的構圖，刮刀般的筆觸、厚重的油彩塗抹、利用原色及色塊 拼接是其繪畫特色。作品收藏於法國、美國、南美洲等地美術館。
Michel Cadoret was born in 1912 in Paris, his first exhibition was held at the Musée de la France-Outre Mer in Paris in 1938. He moved to New York in 1948 , the following year, he exhibited with the road exhibition show “France Come to You”, then settled in Erongarícuaro, Mexico for three years. Since 1953 Cadoret had been traveled between Paris and New York, where his solo exhibitions were held. He is close to Rothko, Calder, Duchamp, Varèse. In 1961 he started teaching at the New School of NYC. He established his studio in Cerny in 1972. In 1974, a retrospective dedicated to the artist took place at the Musée de SaintGermain en Laye. Cadoret’s works have been collected internationally by museums in France, the US and South America, featuring abstract expression, musical composition, impasto of color applied by scraperlike brushstrokes, use of pure colors and collage of color blocks.
067
BORIS CHEMETOV (Russian, 1908 - 1982)
Funktion VIII Oil on canvas 38.5 x 46.5 cm Signed lower right Chemetov Titled on the reverse Funktion VIII and inscribed 192 PROVENANCE Christie’s Amsterdam, Nertherlands, March 6, 2007, lot 232 Private collection, Netherlands
NT$ 100,000 - 150,000 HK$ 26,000 - 38,000 US$ 3,300 - 4,900 RMB 22,000 - 33,000
波里斯．謝梅多夫 函數VIII 油彩 畫布 38.5 x 46.5 cm 簽名右下：Chemetov Boris 題名畫背：Funktion VIII 192 來源 佳士得阿姆斯特丹，荷蘭，2007年3月6日，編號232 私人收藏，荷蘭
俄羅斯藝術家波里斯．謝梅多夫1908年出生於莫斯科，1933年前往 巴黎深造，進入大茅屋藝術學院，並在蒙巴納斯藝術圈認識了巴黎畫 派的畫家。其後，他亦至法國立體派畫家安德烈．洛特的工作室學 習。1938年移居法國南部。謝梅多夫致力於將藝術融入生活，人和城 市是他繪畫的兩大重要主題。他的作品深受立體主義、構成主義和俄 羅斯芭蕾影響，運用豐沛的色彩和幾何抽象表現手法，以色塊交錯拼 接創造出充滿平面感、具有音樂性和詩意的當代繪畫。
Russian artist Boris Chemetov was born in 1908 in Moscow. In 1933 he settled in Paris, where he attended l'Académie de la Grande Chaumière. He integrated into the Montparnasse artists’ circle and meet painters of the École de Paris. He continued his studies at French Cubist André Lhote’s studio. In 1938, he moved to the South of France. The artist devoted to introduce art to life. People and city are two major themes of his painting. Cubism, Constructivism and the Russian Ballet had a great influence on Cemetov’s creation, which features abundance of color and abstract geometric expression. Chemetov’s work achieves flatness and non-perspective composition constructed by interlocking jigsaw arrangement of color that reveals the poetry and music of contemporary painting.
Ravenel 105
068
THÉO TOBIASSE
提歐．托比亞斯
(Israeli-French, 1927 - 2012)
巴比倫馬車
Les Chars de Babylone
油彩 紙本 51 x 70 cm 簽名中央：tobiasse 題名左上：Les chars de Babylone
Oil on paper 51 x 70 cm Signed center tobiasse Titled upper left Les chars de Babylone PROVENANCE Gallery Edition Vision Nouvelle, Paris ILLUSTRATED Voyages vers l’Amour et la Liberté: Théo Tobiasse, Dimensions Art Center, Taipei, 1991, color illustrated, no. D-3, p. 31
NT$ 120,000 - 180,000 HK$ 31,000 - 46,000 US$ 3,900 - 5,900 RMB 26,000 - 39,000
來源 新視野出版社畫廊，巴黎 圖錄 《航向愛及自由的旅程》，帝門藝術中心，台北，1991， 彩色圖版，編號D-3，頁31
托比亞斯1961年贏得了地中海青年油畫大獎，並決定全心投入藝術創 作。於1982年，獲頒巴黎城市勳章以及美國紐奧良榮譽市民。托比亞斯 為法國坎城勒卡內救世主教堂所作的裝飾藝術《生命即盛宴》已成為當 地景點。他的作品典藏於法國聖保羅德芳斯、史特拉斯堡塞法迪猶太會 堂，尼斯現代與當代藝術博物館以及洛杉磯賽門威森塔爾中心。
069
THÉO TOBIASSE
提歐．托比亞斯
(Israeli - French, 1927 - 2012)
遊牧的歡樂時光
Lumière emportée entre l'exils
綜合媒材 畫布 73 x 92 cm 簽名左上方：tobiasse 題識右方：Lumière emportée entre l'exils
Mixed media on canvas 73 x 92 cm Signed upper left tobiasse Titled center right Lumière emportée entre l'exils PROVENANCE Nahan Galleries, New Orleans/New York Dimensions Art Center, Taipei Private collection, Asia
NT$ 340,000 - 480,000 HK$ 87,000 - 122,000 US$ 11,100 - 15,600 RMB 75,000 - 105,000
來源 納漢畫廊，紐奧良/紐約 帝門藝術中心，台北 私人收藏，亞洲
In 1961, he won the Grand Prize of Young Mediterranean painting and had decided to fully devote into art. In 1982, he was awarded the Medal of the City of Paris and the Honorary Citizen of the city of the New Orleans. The decoration art La vie est une fête which he created for Chapelle Saint- Sauveur in Le Cannet is now a wellknown local attraction. His artwork had been collected by SaintPaul-de-Vence in France, the Esplanade Sephardic Synagogue in Strasbourg, Musée d’art moderne et art contemporain in Nice, and Simon Wiesenthal Center in Los Angeles.
Ravenel 107
070
SERGE POLIAKOFF (Russian-French, 1900 - 1969)
Composition abstraite c. 1949 Gouache on paper, mounted onto panel 65.5 x 50.3 cm Signed lower right Serge Poliakoff PROVENANCE Private collection, Italy Private collection, Netherlands EXHIBITED Galerie Denise René, Paris, February 11 – March 2, 1950 ILLUSTRATED Alexis Poliakoff, Serge Poliakoff Catalogue Raisonné 1900-1954-Volume 1 , Acatos Editions, Paris, 2006, color illustrated, no. 48-10, p. 291 This work is registered in the Archives Serge Poliakoff, Paris, under no. 846004.
NT$ 480,000 - 700,000 HK$ 122,000 - 179,000 US$ 15,600 - 22,800 RMB 105,000 - 154,000
塞爾日．波利雅科夫 抽象結構 約 1949年 水粉 紙本裱於木板 65.5 x 50.3 cm 簽名右下：Serge Poliakoff 來源 私人收藏，義大利 私人收藏，荷蘭 展覽 丹妮絲．賀內畫廊，巴黎，1950年2月11日3月2日 圖錄 阿雷科斯．波利雅科夫，《塞爾日．波利雅科夫全集 1900-1954》，阿卡多斯出版社，巴黎，2006年， 彩色圖版，編號48-10，頁291 此作品已收錄於塞爾日．波利雅科夫藝術家資料庫， 編號846004
斑點派畫家塞爾日．波利雅科夫，是二戰後著名的抽象色彩派藝術家。 1900年出生於莫斯科，少年時期就讀莫斯科繪畫雕塑建築學校。1917 年俄國發生革命，他逃離祖國，1923年到達巴黎定居深造，先後進入大 茅屋藝術學院和位於蒙馬特的富爾修藝術學院。自1935年至1937年， 波利雅科夫在倫敦斯萊德藝術學院學習繪畫，他見到了康丁斯基和德勞 內夫婦的抽象作品，深深影響他對色彩的認知，自此開始走向純粹抽象 藝術之路。波利雅科夫擅長將簡單、純色而不規則的幾何圖案，組合成 和諧平衡的抽象構圖。畫面中的抽象色塊在藝術家的嚴謹安排之下，巧 妙聯結，加上繽紛的色彩，表現出獨特的能量張力。作品收於紐約現代 美術館、倫敦泰德美術館、瑞典馬爾摩美術館、華盛頓赫須巨集博物館 等世界各大機構。近期重要展覽包含2013年巴黎現代美術館的「塞爾 日．波利雅科夫：形狀的夢」展、2015年倫敦提摩太．泰勒畫廊的「塞 爾日．波利雅科夫：安靜的繪畫」展。
One of the most recognized abstract colorists and tachists after WWII, Serge Poliakoff was born in 1900 in Moscow. As an adolescent, he enrolled at the Moscow School of Painting, Sculpture and Architecture. He fled the Russian Revolution in 1917 then settled in Paris in 1923, where he studied painting at the Académie de la Grande Chaumière and the Académie Forchot in Montmartre. From 1935 - 1937 Poliakoff stayed in London and attended the Slade School of Art. He discovered the abstract works of Wassily Kandinsky and the couple Robert and Sonia Delaunay that had a profound impact on his understanding of color, encouraging him to go pure abstraction. Poliakoff’s abstract work features irregular geometric forms, which are simple, made by pure colors and harmoniously combined into a balanced composition. The forms are arranged with rigor that one fit into another, with the vibrancy of color and texture, creating an unique energetic tension. His works are included in the collections of MoMA in New York, the Tate Gallery in London, the Malmö Konsthall in Sweden, and the Hirshhorn Museum and Sculpture Garden in Washington, D.C., among others. Recent exhibitions include: “Serge Poliakoff: The Dream of Forms”, Musée d’art moderne de Paris (2013); “Serge Poliakoff: Silent Paintings”, Timothy Taylor Gallery, London (2015).
Ravenel 109
071
ANDRÉ COTTAVOZ
安德烈．科達沃茲
(Spanish-French, 1922 - 2012)
海灘追逐
Personnages sur la plage
1958年 油彩 畫布裱於木板 24 x 33 cm 簽名右下：COTTAVOZ 簽名題識畫背：Personnages sur la plage COTTAVOZ 9.58
1958 Oil on canvas mounted on panel 24 x 33 cm Signed lower right COTTAVOZ Signed on the reverse COTTAVOZ , titled Personnages sur la plage and dated 9.58 PROVENANCE Galerie Dresndnere, Montreal, Canada Private collection, France
NT$ 220,000 - 340,000 HK$ 56,000 - 87,000 US$ 7,200 - 11,100 RMB 48,000 - 75,000
來源 德蘭奈爾畫廊，蒙特婁，加拿大 私人收藏，法國
072
ANDRÉ COTTAVOZ
安德烈．科達沃茲
(Spanish-French, 1922 - 2012)
尼斯海濱盎格魯街
La Promenade des Anglais, Le Negresco
油彩 畫布 33 x 41.5 cm 簽名左下：COTTAVOZ 簽名題識畫背：Promenade des Anglais COTTAVOZ
Oil on canvas 33 x 41.5 cm Signed lower left COTTAVOZ Signed on the reverse COTTAVOZ and titled Promenade des Anglais
來源 私人收藏，法國
PROVENANCE Private collection, France
NT$ 280,000 - 420,000 HK$ 71,000 - 107,000 US$ 9,100 - 13,700 RMB 61,000 - 92,000
Ravenel 111
074
羅傑．夏貝蘭－彌迪
法國畫家兼劇場設計師，羅傑 夏貝蘭－彌迪於
(French, 1904 - 1992)
長靴花束
1904年8月出生於巴黎。曾在巴黎高等美術學校
Bouquet à la botte
油彩 畫布 81 x 65 cm 簽名左下：Chapelain-Midy 題識畫背：Bouquet à la botte
ROGER CHAPELAIN-MIDY Oil on canvas 81 x 65 cm Signed lower left Chapelain-Midy Titled on the reverse Bouquet à la botte PROVENANCE Dimensions Art Center, Taipei Private collection, Asia
NT$ 240,000 - 360,000 HK$ 61,000 - 92,000 US$ 7,800 - 11,700 RMB 53,000 - 79,000
來源 帝門藝術中心，台北 私人收藏，亞洲
和柯羅蒙工作室學習。1927年參加秋季沙龍展 出，同年成為會員。1929年後，作品經常展於 獨立沙龍與杜樂麗沙龍展。往來於歐洲和美洲， 作品廣為展出。曾獲得匹茲堡卡內基獎，法國國 家榮譽軍團騎士勳章與文化部文化藝術軍官勳章 榮譽。
B o r n i n P a r i s i n 1904, R o g e r C h a p e l a i n Midy was a painter and theatre designer. Chapelain-Midy trained at L'École des BeauxArts and also in the atelier Cormon. In 1927 he exhibited at the Salon d’Automne and became a member in the same year. After 1929, Chapelain-Midy's work could be found at the Salon des Independents as well as at the Salon des Tuileries. In 1938 he was awarded the Carnegie Prize in Pittsburgh and was made chevalier of the Legion d'Honneur and Officier des Arts et Lettres.
075
菲德利克．曼谷依
曼谷依出生於巴黎，為法國秋季沙龍、國民美術協
(French, 1927 - 2007)
雜耍的小丑
會成員之一。曼谷依繽紛的作品以溫馨愉快為題，
Le Jongleur
油彩 畫布 65 x 54 cm 簽名左下：Menguy 題識畫背：Le Jongleur
FRÉDÉRIC MENGUY Oil on canvas 65 x 54 cm Signed lower left Menguy Titled on the reverse Le Jongleur PROVENANCE Galerie France-Art, Paris Private collection, Asia
NT$ 240,000 - 360,000 HK$ 61,000 - 92,000 US$ 7,800 - 11,700 RMB 53,000 - 79,000
來源 法國藝術畫廊，巴黎 私人收藏，亞洲
多描繪家中靜物與子女或馬戲團活潑生動的場景， 藝術家以鮮明亮麗的顏色為整幅畫作的焦點，並以 喜悅明快的風格在國際建立了識別度。
Frédéric Menguy was born in Paris. He was one of the members of Salon d'Automne and Association Nationale des Arts France. Menguy's artwork features joyance and h a r m o n i o u s s c e n e s m o s t l y. T h e a r t i s t h a d established an international recognition with dazzling colors which brightens up the painting. He painted several scenes of circus and also the interior of his house, presented pictures of peace to the viewer.
Ravenel 115
076
HENRY CARO-DELVAILLE (French, 1876 - 1928)
Still Life 1920 Oil on board 73.5 x 114.5 cm Signed lower right Henry Caro-Delvaille and dated lower left 1920 PROVENANCE Private collection, Asia
NT$ 240,000 - 360,000 HK$ 61,000 - 92,000 US$ 7,800 - 11,700 RMB 53,000 - 79,000
亨利．卡羅－德爾維爾
亨利．卡羅－德爾維爾出生於法國貝永。1897年進入巴黎美
靜物
院，師承里昂．伯納（Léon Bonnat），兩年後首次於法國藝
1920年 油彩 木板 73.5 x 114.5 cm 簽名右下：Henry Caro-Delvaille 年代左下：1920 來源 私人收藏，亞洲
術家沙龍舉行個展。作品風格以帶有古典主義氛圍，優美的 人物構圖著稱。1910年德爾維爾受勳法國騎士勳章，表揚他 對藝術界的貢獻。《靜物》完成於1920年，為藝術家旅居美 國時所作。豐饒的水果靜物，令觀者聯想古希臘酒神盛宴的 神話。
Born in Bayonne, France, Henry Caro-Delvaille was taught by Léon Bonnat in École des Beaux-Arts, Paris since 1897. After two years, he has his first solo exhibition in Salon de la Société des artistes français in Paris. Delvaille’s creation is deeply influenced by the Classicism. He is well-known about the elegant human depiction. In 1910, he was praised with the honnor of Chevalier de la Legion for his contribution. The painting, Still Life , was painted in 1920, when the artist lived in the United States. The plentiful fruits connect audience’s image to the festival of Dionysos in the Greek myth.
Ravenel 117
越南現代藝術 VIETNAMESE MODERN ART
越南現代藝術中具有獨特的歷史與美感經驗，與其他東南亞國家如柬埔寨、寮國、泰國受到更多印度文化影響有所不同，也與印尼和 馬來西亞的馬來文化有所差異。戰爭與殖民文化侵略，是東南亞甚至東亞國家的共同命運。回顧越南近代史，更是交織血淚與苦難。 越南古名交趾、安南，19世紀初始有「越南」之名。自秦朝以來，越南王朝從中國郡縣，乃至藩屬國，關係密切達千年，文化與風俗 相近。19世紀中葉為帝國主義侵略，成為法國殖民地。20世紀在二戰期間也曾為日本占領，1945年共產主義抗法成功。1950年代美 國卻取而代之，於南越扶植政權，中共加入援越抗美，南北越戰蔓延十餘年，1973年美國終被逼退，1976年統一改名為今日之越南 社會共和國。1986年經濟改革開放，將越南帶入新的時代。 百年間曾為法國殖民地，越南的近現代美術受到法國影響深遠。1925年殖民政府在河內創辦印度支那美術學院（Ecole des beauxarts de l'Indochine東洋美術學院），引進西式教育，傳入古典主義與印象派繪畫。而固有的傳統的絹畫、漆畫工藝美術並行，並未 被拋棄，更提升為現代美術的創新形式。越南現代美術家多強調個人的自由性，然民情純樸，風格上較為含蓄。位處熱帶，以農立 國、佛教為主要宗教，在西方文化洗禮下，兼容出越南藝術和諧浪漫的風情。 此次拍賣中推薦四位各具特色的越南現代美術家。有「越南抽象之父」美名的畫家阮忠（Trung Nguyen），擅長抽象與寫實風格， 女性題材獨具特色。受義大利古典繪畫的影響，筆下的女性帶有風格化的表情，軀體如雕塑般的潤澤量感，結構簡潔典雅，色彩透亮 和諧，畫面有靈性之美。兩幅早期作品描繪女人側影《坐姿女子》與《裸女側影》，傳達沉思或冥想的姿態，古典與現代感兼具，其 風格在同代藝術家中顯得突出，個性化十足。 倍珍（陳倍 Boi Tran）是越南少數的傑出女性藝術家，風格上受到前輩恩師阮忠的影響，她也是阮忠的靈感繆思，曾擔任其模特兒。 倍珍的三聯幅大作《優雅的順化姑娘》，採歐洲古典三聯幅形制，一群優美女神華麗的花園裡漫步、安坐或舞蹈，整體結構極為出色 壯觀。 藝術家阮青平（Thanh Binh Nguyen）也以人物畫見長，風格簡約，重視空間佈局與人物的關係，熱愛詩歌的他在繪畫上表現特別 細膩，情感豐富具有神秘魅力。當代畫家陶海豐（Dao Hai Phong）出身藝術家庭，經常創作故鄉河內村莊的風光景緻，運用大膽強 烈的鮮明色彩、半抽象化的結構，使其繪畫具有如寶石般的華麗場景，此呼應其電影設計的傑出背景。越南現代美術隨著經濟蓬勃發 展，成為今日藝術市場矚目的新星。其優久的的歷史人文背景，孕育出其特殊的藝術成就，值得世人探索與細細品味。
Vietnamese modern art features an unique aesthetic sense due to the historical background of the country. Vietnamese culture differs from other Indian-influenced Southeast Asian countries like Cambodia, Laos and Thailand, and does not share many similarities with Malay countries, such as Indonesia and Malaysia. War with and colonization by the West definitely changed the history of all Southeast Asian and East Asian countries. The recent history of Vietnam is filled with blood, tears, and suffering. Vietnam was called by its old name Jiaozhi and Annam before the name, ''Vietnam'', was introduced in the 19th century. Ancient Vietnam had either been a territory or vassal state of China. Due to close relations between the two countries since China's Qin Dynasty, Vietnam and China shared a similar culture for thousands of years. In the mid19th century, France invaded and colonized Vietnam. During World War II, it was also temporarily occupied by Japan. However, Vietnamese communists successfully toppled the French colonial government in 1945. In the 1950s, conflicts between North Vietnam, backed by communist China, and South Vietnam, backed by the U.S., caused the outbreak of the Vietnam War. The war ended after the US military retreat from Vietnam in 1973, as the re-united states of Vietnam named their own country the Socialist Republic of Vietnam, formed in 1976. The economic revolution in 1986 eventually brought Vietnam to a new era. Vietnamese modern art is very influenced by French culture due to centuries of French colonization. The colonial government founded School of Fine Arts of Indochina (Ecole des beaux-arts de l'Indochine) in Hanoi in 1925. Western education was also implemented along with the introduction of classicalism and impressionism art. However, Vietnamese traditional art like silk painting and lacquer painting was retained and continued, which eventually evolved into a new style of modern art creation. Modern Vietnamese artists tend to emphasize the theme of individual freedom. However the pristine custom causes a more implicit presentation. Located in a tropical area, Vietnam is an agriculture-based country. The fusion of tradition and western influences creates a harmonic and romantic art style for the Buddhist country. This auction introduces four distinctive Vietnamese artists. Trung Nguyen, known as ''the father of Vietnamese abstract art'', is known for his abstract and realistic style in female-themed works. Influenced by Italian classic art, the expressions of the women he drew are stylized, and the bodies are just as smooth as Italian statues. Elegant compositions along with bright and harmonic colors show a spiritual beauty in the picture. Two of his earlier works, Seated Woman and Reclining Nude , present subjects in a thinking and meditating posture, exhibiting a classic as well as contemporary style. His style stands as a breakthrough among other artists from the same era, which perfectly describes his unique personality. Boi Tran is one of the few outstanding Vietnamese female artists. Her style is heavily influenced by her teacher, Trung Nguyen. She also worked as Nguyen's model, serving as a source of creative inspiration for Nguyen. Tran's Elegant in Hue trilogy is presented in a classical European triptych form. They depict a group of beautiful goddesses strolling, sitting and dancing in a glorious garden. The composition of the piece is extraordinary and spectacular. Another artist, Thanh Binh Nguyen, is well-known for his portrait paintings. He focuses on the correspondence between spatial composition and human figures. The works by the poetry-loving artist are infused with emotion, showing a mysterious sense of charisma. Born into a family of artists, contemporary artist Dao Hai Phong is well-known for landscape paintings of his hometown, Hanoi. Bold and intense colors and semi-abstract composition come together to make his paintings seem as dazzling as gemstones, echoing his background in film and design. As the economy in Vietnam thrives, modern Vietnamese art has become a rising star in the art market. Its long history and culture have resulted in the development of unique artistic achievements that are definitely worth a look.
Ravenel 119
077
BOI TRAN (Vietnamese, b. 1957)
Elegant in Hue (triptych) Lacquer on panel 119.5 x 238.5 cm Signed lower right BTran (right panel) PROVENANCE Private collection of the artist Christie's Hong Kong, Southeast Asian Modern and Contemporary Art, May 30 2010, lot 1205 Private collection, Taiwan
NT$ 400,000 - 600,000 HK$ 102,000 - 153,000 US$ 13,000 - 19,500 RMB 88,000 - 132,000
倍珍（陳倍） 優雅的順化姑娘（三聯幅） 漆 木板 119.5 x 238.5 cm 簽名右下（右幅）：BTran 來源 藝術家自藏 香港佳士得，「東南亞現代與當代藝術拍賣」， 2010年5月30日，編號1205 私人收藏，台灣
倍珍（陳倍）1957年出生於越南廣治省，師從阮忠。阮忠是 越南著名的畫家及漆畫藝術家。倍珍（陳倍）以漆畫作品著 名，時常採用三聯幅或是四聯幅形式，畫風與阮忠相近，善 於捕捉女性之美，作品呈現越南藝術獨特的美感風情。倍珍 （陳倍）畫筆下的女人，線條優雅，穿著越南傳統長襖，或 凝視遠方，或低頭看花，優美嫻靜氣質展露無疑。
B o i Tr a n w a s b o r n i n 1957 i n Q u a n g Tr i P ro v i n c e , Vietnam. She learnt basic painting skills from Trung Nguyen, one of the greatest contemporary painters and lacquer artists of Vietnam. Tran is best-known for her lacquer pieces. She makes use of triptych and tetraptych. Her artistic expression shows a great similarity with his teacher Trung Nguyen. Both the teacher and the student are skillful in capturing the beauty of women and representing characteristic Vietnamese sensibility and aesthetic. Tran often depicts graceful women wearing traditional Vietnamese dress áo dài. Some of them are gazing into the distance and the others looking down at the flowers, but all calm and elegant.
Ravenel 121
078
TRUNG NGUYEN
阮忠
(Vietnamese, b. 1940)
坐姿女子
Seated Woman
1990年 油彩 畫布 94 x 94.5 cm 簽名右下：ng Trung 2.90
1990 Oil on canvas 94 x 94.5 cm Signed lower right ng Trung 2.90 PROVENANCE Private collection, Asia (The current owner’s family acquired directly from the artist around 1990)
NT$ 240,000 - 360,000 HK$ 61,000 - 92,000 US$ 7,800 - 11,700 RMB 53,000 - 79,000
來源 私人收藏，亞洲 （現藏者家族約1990年前後直接購自藝術家本人） 阮忠，1940年生於越南，以優美越南女性之姿描繪見長。 其筆下人物，身形修長髮絲飄逸，嫻靜高雅氣質，使人聯 想到義大利文藝復興的波提伽利，然背景服飾與衣著姿態 同時保留越南傳統與佛教元素，定位藝術家東西合併，融 會貫通的超脫美學。1963年即獲得越南春季沙龍競賽金 獎。自1990年代起連年受邀於歐亞各地私人畫廊及美術館 巡迴展覽，作品為歐亞等國家級藝術博物館典藏，如：吳 志明市藝術博物館、義大利巴薩諾圖書文獻博物館、新加 坡國家美術館、河內越南美術博物館。
079
TRUNG NGUYEN
阮忠
(Vietnamese, b. 1940)
裸女側影
Reclining Nude
1989年 油彩 畫布 80 x 80 cm 簽名右下：ng Trung 11.89 題識畫背
1989 Oil on canvas 80 x 80 cm Signed lower center ng Trung 11.89 and inscribed on the reverse PROVENANCE Private collection, Asia (The current owner’s family acquired directly from the artist around 1990)
NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,500 - 9,800 RMB 44,000 - 66,000
來源 私人收藏，亞洲 （現藏者家族約1990年前後直接購自藝術家本人） Born in Vietnam in 1940, Trung Nguyen is known for his beautiful works of Vietnamese women. The figures he paints have long slender bodies, flapping hair, and demure elegance, reminiscent of the style of Italian Renaissance painter Sandro Botticelli. However, the background, apparel, clothing, and posture retain Vietnamese traditions and Buddhist elements. This showcases an artistic tendency to merge things and transcend aesthetics. In 1963, he won the gold medal in the Vietnam Spring Salon Exhibition. Since the 1990s, he has been invited to show his paintings in traveling exhibitions organized by private galleries and museums in Europe and Asia. His works of art have been included in the collections of national art museums in Europe and Asia, such as Ho Chi Minh City Fine Art Museum, Museo Biblioteca Archivio in Bassano del Grappa, Singapore National Art Museum, and Vietnam Fine Art Museum in Hanoi.
Ravenel 123
080
THANH BINH NGUYEN
阮青平
(Vietnamese, b. 1954)
裸女側影〈仙人掌〉
Reclining Nude (Cactus)
1989年 油彩 畫布 90 x 120 cm 簽名右下：Binh 89 題識畫背：SD.05 Xương Rồng 1989 90x120
1989 Oil on canvas 90 x 120 cm Signed lower right Binh and dated 89 Titled on the reverse Xương Rồng , dated 1989 and inscribed SD. 05 , 90x120 PROVENANCE Private collection, Asia (The current owner’s family acquired directly from the artist around 1990)
NT$ 120,000 - 180,000 HK$ 31,000 - 46,000 US$ 3,900 - 5,900 RMB 26,000 - 39,000
來源 私人收藏，亞洲 （現藏者家族約1990年前後直接購自藝術家本人） 1954年出生於越南河內，1983年畢業於胡志明市美術大學專攻 油畫。阮青平擅長描繪女人，他筆下的芭蕾舞者、裸女、女學生 等人物，輪廓線條清晰，在單色背景之上，更顯突出。阮氏以 其獨特的優雅美學享譽國際，不隨波逐流，而專注於表現自己所 「見」之美，他欣賞日本俳句濃縮的敘事手法，在他簡單的藝術 語彙中，可見深遠而豐富的思想。
081
THANH BINH NGUYEN
阮青平
(Vietnamese, b. 1954)
窗前少女
Seated Girl by the Window
1987年 油彩 畫布 89.5 x 119 cm 簽名右下：Binh 87 題識畫背：SD.03 1987 90x120
1987 Oil on canvas 89.5 x 119 cm Signed lower right Binh and dated 87 Inscribed on the reverse, dated 1987 and inscribed SD. 03, (90x120) PROVENANCE Private collection, Asia (The current owner’s family acquired directly from the artist around 1990)
NT$ 120,000 - 180,000 HK$ 31,000 - 46,000 US$ 3,900 - 5,900 RMB 26,000 - 39,000
來源 私人收藏，亞洲 （現藏者家族約1990年前後直接購自藝術家本人） Thanh Binh Nguyen was born in 1954 in Hanoi, Vietnam. He studies at The Ho Chi Minh City Fine Arts University in 1983. Specializing in oil painting, Binh is best known for his depictions of women – such as ballerina, nude and schoolgirls – as well as the elegant and simplified aesthetic reflected by his work usually composed by welloutlined figures standing out on a plain monochrome background. The artist refuses to follow any trends and attempts to unveil the beauty that he sees. Influenced by Japanese Haiku and its narrative technique, he aims to condense a maximum idea into minimalist artistic forms.
Ravenel 125
082
DAO HAI PHONG
陶海豐
(Vietnamese, b. 1965)
彩色人生
Colorful Life
2007年 油彩 畫布 90 x 95 cm 簽名右下：PHONG 2007
2007 Oil on canvas 90 x 95 cm Signed lower right PHONG and dated 2007 PROVENANCE Apricot Gallery, Vietnam Private collection, Singapore This lot is to be sold with a certificate of authenticity issued by Apricot Gallery, Vietnam.
NT$ 100,000 - 150,000 HK$ 26,000 - 38,000 US$ 3,300 - 4,900 RMB 22,000 - 33,000
來源 杏子藝廊，越南 私人收藏，新加坡 附越南杏子藝廊開立之作品保證書 1965年生於藝文世家，陶海豐是知名的越南藝術家，1987 年從河內電影戲劇學院畢業。陶海豐的繪畫主題，總是以河 內市以及周遭的鄉村為主，風景的秀麗總是激發他無窮的創 作靈感。而人物的主題則是很少出現在他的作品之中。陶海 豐擅長用色彩捕捉回憶與孩童時期的白日夢。畫作中出現的 大量樹木，則是作為生命與力量的象徵。在畫作中以明亮大 膽的色調展示寧靜、優雅及安詳。
083
DAO HAI PHONG
陶海豐
(Vietnamese, b. 1965)
水上船家
Floating Houses
2007年 油彩 畫布 80 x 100 cm 簽名右下：PHONG 2007
2007 Oil on canvas 80 x 100 cm Signed lower right PHONG 2007 PROVENANCE Apricot Gallery, Vietnam Private collection, Singapore This lot is to be sold with a certificate of authenticity issued by Apricot Gallery, Vietnam.
NT$ 100,000 - 150,000 HK$ 26,000 - 38,000 US$ 3,300 - 4,900 RMB 22,000 - 33,000
來源 杏子藝廊，越南 私人收藏，新加坡 附越南杏子藝廊開立之作品保證書 Born in 1965 into an artistic family, Dao Hai Phong is a renowned vietnamese artist who graduated from Hanoi College of Film and Theatre in 1987. The theme of Dao's painting is always Hanoi city and the surrounding villages, the beauty of which has been his endless source of inspiration. The human figures are rarely seen in his paintings. Dao uses the colors to bring memories and dreams of his childhood to life. The iconic image of voluminous trees in his paintings is a symbol of life and strength. The atmosphere in Dao's landscape is symbolic with bright and bold palette yet radiating tranquility, elegance and serenity. Ravenel 127
084
保羅． 賈 曼
保羅．賈曼生於法國聖康廷，與貝爾納．畢費（B e r n a r d
(French, 1926 - 2007)
亞當與夏娃
Buffet）等藝術家齊名，被譽為法國戰後十大藝術家之一。 1952
Adam et Eva
1990年代 油彩 畫布 38 x 45.5 cm 簽名左下：Guiramand
PAUL GUIRAMAND 1990s Oil on canvas 38 x 45.5 cm Signed lower left Guiramand PROVENANCE Dimensions Art Center, Taipei Private collection, Asia
NT$ 80,000 - 120,000 HK$ 20,000 - 31,000 US$ 2,600 - 3,900 RMB 18,000 - 26,000
年獲頒羅馬大獎榮譽，1957年獲蒙頓雙年展獎及青年繪畫沙龍 獎。青年時期師承莫里斯．布里昂松（Maurice Brianchon），遊 歷於西歐各國。受馬諦斯，波納爾影響，主題多為音樂、馬群、 花卉，色彩鮮豔，以具象繪畫描繪抽象心境。作品典藏於巴黎市 立美術館、法國家圖書館、法國貝桑頌美術館、美國芝加哥美術
來源 帝門藝術中心，台北 私人收藏，亞洲
館、日本新大谷美術館、台南永都藝術館等。
Born in Saint-Cantin, France; Paul Guiramand has been awarded as one of the most important french artists after the World War II, as Bernard Buffet. In 1957, Guiramand won the Menton Biennale and Salon des Jeunes Peintres. He was the student of the famous artist Maurice Brianchon, and traveled a lot in western Europe during his early life. Influenced by Matisse and Bonnard, the creation themes of Guiramand are always related to music, horses and flower. With bright colors and strong brushwork, he is good at describing the abstractive ambience with the figurative objet. Guiramand's work is collected by Musée d'Art Moderne de Ville de Paris, National Library of France, Besançon Fine Arts Museum, Art Institute of Chicago, New Otani Museum in Japan, Tainan Yung Tu Museum of Art.
085
TADASHI ASOMA
塔達希．阿梭瑪
(Japanese - American, 1923 - 2017)
平靜
Tranquility
1989年 油彩 畫布 76.5 x 102 cm 簽名右下：Asoma '89 簽名題識畫背："Tranquility" 30"x40" 1989 TADASHI ASOMA
1989 Oil on canvas 76.5 x 102 cm Signed lower right Asoma and dated '89 Signed on the reverse TADASH ASOMA , titled Tranquility , dated 1989 and inscribed 30”x40” PROVENANCE Dimensions Art Center, Taipei Private collection, Asia
來源 帝門藝術中心，台北 私人收藏，亞洲 塔達希．阿梭瑪1958年榮獲日本政府獎學金至巴黎進修繪畫，其後前往 紐約深深被美國當代繪畫風格吸引。阿梭瑪擅長描繪自然景色及表現季
NT$ 160,000 - 240,000 HK$ 41,000 - 61,000 US$ 5,200 - 7,800 RMB 35,000 - 53,000
節變換，鮮豔繽紛的原色在畫布上綻放，而畫面又帶有些許羽化質感， 風格獨特。受邀展覽於世界各地。
Tadashi Asoma received a Japanese Government scholarship that allowed him to study painting in Paris. After that, he left for New York and deeply influenced by the American contemporary art. Asoma’s paintings show his mastery of nature and reveal the changes of seasons. His works are characterized by their burst of brilliant pure color and slightly feathered texture, representing a unique artistic language. He has participated in the exhibitions throughout the world.
Ravenel 129
086
居．巴赫東
巴赫東出生於法國東部的聖克勞德，是法國新
(French, 1927 - 2015)
希臘紅門
具象畫派的關鍵成員之一。他曾獲法國學院藝
Les Portes rouges, Serifos
1988年 油彩 畫布 65 x 54 cm 簽名右下：Bardone
GUY BARDONE 1988 Oil on canvas 65 x 54 cm Signed lower right Bardone PROVENANCE Private collection, Germany
NT$ 80,000 - 120,000 HK$ 20,000 - 31,000 US$ 2,600 - 3,900 RMB 18,000 - 26,000
來源 私人收藏，德國
術評論獎。1986年在雪儂梭堡展開大型回顧 展，典藏於巴黎市現代美術館、法國國立圖書 館、龐畢度藝術中心、瑞士納沙泰爾美術館、 日本山形美術館等。
Guy Bardone was born in Saint Claude, in eastern France. He is one of the important members of the French New Figurative Art. He had won the price of Félix Fénéon and had a great retrospective exhibition in 1986 in Château de Chenonceau. Bardone’s work was collected by National Museum of Modern Art in Paris, National Library o f F r a n c e , C e n t re G e o rg e s P o m p i d o u , Neuchâtel Art Museum in Switzerland, Yamagata Museum of Art in Japan, etc..
087
賀內．吉尼斯
吉尼斯1922年出生於越南，1931年回到家族
(French, 1922 - 2004)
盛夏綠意
的故鄉法國波爾多。吉尼斯以其高雅的靜物畫
Summer Green
油彩 畫布 61.6 x 51.2 cm 簽名左下：René Genis
RENÉ GENIS Oil on canvas 61.6 x 51.2 cm Signed lower left René Genis PROVENANCE Galerie Elegance, Taipei Private collection, Taiwan
NT$ 160,000 - 240,000 HK$ 41,000 - 61,000 US$ 5,200 - 7,800 RMB 35,000 - 53,000
來源 愛力根畫廊，台北 私人收藏，台灣
為人所知。此外，無論是東方異國風情，或是 法式的田園風景，在吉尼斯的筆下，都充滿詩 意典雅的安寧氣氛。
Born in 1922, Vietnam. Genis went back with family to hometown Bordeaux in 1931. Genis is famous with his elegant still-life painting. Besides, no matter the theme is oriental scenery or french countryside, he always keeps a very poetry serenely ambience.
Ravenel 131
088
賈伯里．杜修
賈伯里．杜修1927年出生於巴黎近郊的利夫里－加爾岡。在
(French, 1927 - 2005)
河邊小船
建築師父親的鼓勵之下，杜修14歲即開始作畫。1942年他進
Boats, Riverside
油彩 畫布 50 x 65 cm 簽名左下：Dauchot
GABRIEL DAUCHOT Oil on canvas 50 x 65 cm Signed lower left Dauchot PROVENANCE Dimensions Art Center, Taipei Private collection, Asia
NT$ 90,000 - 140,000 HK$ 23,000 - 36,000 US$ 2,900 - 4,600 RMB 20,000 - 31,000
來源 帝門藝術中心，台北 私人收藏，亞洲
入巴黎美術學院就讀。杜修有「人間喜劇畫家」之稱，他的畫 作彷彿是社會的縮影，時而描繪小人物，時而描繪都市生活。 杜修採用印象派技法，以自由筆觸捕捉生活的平凡光影，運用 冷灰色、藍色、綠色色調的模糊背景，塑造出氛圍獨特的繪畫 世界。作品收藏於巴黎現代美術館以及其他私人收藏。
Gabriel Dauchot was born in 1927 in Livry-Gargan near Paris. Encouraged by an architect father, he began painting at the age of 14 and enrolled at the Ecole des Beaux Arts de Paris in 1942. Called “the Painter of Human Comedy”, Dauchot produced paintings that epitomized the society, depicting ordinary people and city life. Dauchot utilized impressionist technique, using free brushed colors to capture the light and shade of daily life. By adding cold grey, blue or green tones to the blurred background, Dauchot successfully created an unique atmosphere to the pictorial world that he constructed. His works are included in the Musée d’art moderne de Paris and several private collections.
089
亞歷斯．貝達爾
貝達爾，1945年6月9日出生於法國佩皮尼昂
(French, b. 1945)
午憩
市，為秋季沙龍、法國藝術家沙龍的成員。曾就
Nu au repos
油彩 畫布 80 x 98.7 cm 簽名右下：Berdal
ALEX BERDAL Oil on canvas 80 x 98.7 cm Signed lower right Berdal PROVENANCE CYAA Auction, lot 1562 Dimensions Art Center, Taipei Private collection, Asia
NT$ 100,000 - 150,000 HK$ 26,000 - 38,000 US$ 3,300 - 4,900 RMB 22,000 - 33,000
來源 CYAA拍賣, lot 1562 帝門藝術中心，台北 私人收藏，亞洲
讀巴黎高等藝術學院，是獲獎無數的畫家、雕塑 家。作品典藏於伊朗德黑蘭當代藝術博物館、巴 黎市美術館、楓丹白露宮等。
Alex Berdal was born on June 9, 1945, at Perpignan, France. He is one of the members of th e Au tu mn S alon an d t he Sal on des Artistes Français. His art had been included in the collection of Tehran Museum of Modern Art in Iran, Paris City Museum, and Palace of Fontainebleau.
Ravenel 133
090
米歇爾．馬利
馬利出生於法國布盧瓦市，1955年開始創作，1968年得
(French, b. 1936)
綠色背景的花束
到巴黎大學的費內翁文學藝術大獎。2008年由法國蒙特
Fleurs séchées au fond vert
油彩 畫布 41 x 33 cm 簽名右下：maly
MICHEL MALY Oil on canvas 41 x 33 cm Signed lower right maly PROVENANCE Dimensions Art Center, Taipei Private collection, Asia
NT$ 60,000 - 90,000 HK$ 15,000 - 23,000 US$ 2,000 - 2,900 RMB 13,000 - 20,000
來源 帝門藝術中心，台北 私人收藏，亞洲
利馬爾 (Montélimar) 市政府為其舉行「生之旅途清唱」 展覽。用色簡潔，筆觸有力，畫面肌理豐富。多描繪咖 啡館及城市日常街景。善於捕捉人物表情，將環境香氣 與聲音轉為視覺的呈現。展覽遍及國際，作品多典藏於 美術館及私人收藏。
Born in Blois, France, Michel Maly started painting in 1955. He was awarded with the "Prix Fénéon", the prize of the University of Paris in 1968. In 2008, French municipal government in Montélimar held "Cantate sur le chemin des hommes", the exhibition of his works. Featuring life in cafés and cities, his painting is full of texture through simple color and strong brushwork. He is excellent at depicting facial expression and creating a vivid scene as if you could have the smell and hear the noise there. Maly’s works have been shown internationally and collected among many public and private collections.
091
喬思林．塞甘
喬思林‧塞甘，法國的繪畫風格深受波納爾蔚藍海
(French, 1921 - 1999)
公園裡
岸時期所影響。以地中海光線描繪出微妙美好的色
Au parc
油彩 畫布 61.2 x 51 cm 簽名右下：Jocelyne Seguin
JOCELYNE SEGUIN Oil on canvas 61.2 x 51 cm Signed lower right Jocelyne Seguin PROVENANCE Private collection, Asia
NT$ 70,000 - 110,000 HK$ 18,000 - 28,000 US$ 2,300 - 3,600 RMB 15,000 - 24,000
來源 私人收藏，亞洲
彩、構圖和和諧，讓人聯想到畫家雷諾瓦、瑪莉‧ 卡薩特、貝絲‧莫莉索和瑪麗．羅蘭珊。
French Painter and lithographer Jocelyn Seguin was born in 1921 and her style was influenced by Pierre Bonnard in the Côte d’Azur. Jocelyne Seguin painted with same Mediterranean light of subtle colors, composition, and harmony reminiscent of Pierre-Auguste Renoir, Mary Cassatt, Berthe Morisot, and Marie Laurencin.
Ravenel 135
092
FERNAND ACHILLE LUCIEN BIVEL (French, 1888 - 1950)
Bouquet de roses
費爾南．畢瓦爾生於18881年巴黎，是一位對風景、肖像、 靜物全才的藝術家。1912年起，他成為法國藝術家協會成
Oil on canvas 46 x 38.5 cm Signed lower right F. Bivel
員。八年後，法國政府為表揚其對藝術界的貢獻，特頒發榮
PROVENANCE Private collection, Asia
階級的日常生活。《玫瑰瓶花》中左側的光線溫和的明亮藍
NT$ 80,000 - 120,000 HK$ 20,000 - 31,000 US$ 2,600 - 3,900 RMB 18,000 - 26,000
費爾南．畢瓦爾 玫瑰瓶花 油彩 畫布 46 x 38.5 cm 簽名右下：F. Bivel 來源 私人收藏，亞洲
譽騎士勳章。藝術風格強烈受到點描派以及納比畫派的影 響。畢瓦爾善於描繪人物，反應二十世紀初法國社會與中產 色花瓶中的玫瑰，桌面上的陰影及深色背景營造出靜謐優雅 的氣氛，突顯畫面中心燦麗的花朵。
Fernand Bivel was born in 1888, Paris. He was a talented of landscapes, portraits and still-life. He was a member of the Société des Artistes Français since 1912. After eight years, Bivel was awarded by the French government to be named as a Chevalier de la Legion d’Honneur for his contribution in the art. Bivel’s painting was strongly influenced by the Pointillism and the Nabis. He used to describe the human figures, reflecting french bourgeois’ daily life and the society of the early 20th century. In the Bouquet de roses , the light from the left side gently bright the roses in the blue vase. The shadow on the table and deep color of the fond both create an calm elegant atmosphere and also emphasize the flowers in the center.
給予買家的重要通知 本拍賣會依據「羅芙奧股份有限公司業務規則」舉行，請在參加拍賣會之前仔細閱讀，充分理解以下規則： 1.
有意參與競投的買家需事前辦理登記申請手續：請出示有效證件 ( 如：身份證明、護照…) 並填寫登記文件以及繳納競投保 證金。
2.
競投保證金 : 新台幣陸拾萬元或貳萬美金。
3.
競投保證金需於 2019 年 5 月 29 日以前完成匯款至本公司指定帳號如下 : 銀行： 匯豐（台灣）商業銀行 - 台北分行 銀行代碼：0810016 戶名：羅芙奧股份有限公司 帳號：001-234830-031（新台幣）或 001-234830-061（美金） 地址：台北市基隆路一段 333 號 14 樓 匯款時請指示銀行本公司需實收競投保證金全額，銀行手續費請匯款人負擔。
4.
2019 年 5 月 29 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2019 年 5 月 30 日至 6 月 1 日 ) 以新台幣現鈔支付 ( 恕不接受除現金之外之其他繳納方式 )，收款將於 6 月 1 日中午 12 點截止。
5.
電話／書面／網路競投：競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請手續以及競投保證 金之繳納亦需在 2019 年 5 月 29 日以前完成匯款至本公司指定帳號。
6.
如於 2019 年 5 月 29 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：上限新台幣壹佰萬元。 (2) 信用卡與銀聯卡：刷卡上限為新台幣壹佰萬元。信用卡與銀聯卡持有人必需是買家本人，本公司不接受他人之信用卡。
10. 羅芙奧股份有限公司有權在發生任何不可預見的糾紛或矛盾的狀況之下，對於接受或拒絕付款（包含競投保證金）保留全 部的決定權。
Ravenel 137
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 29th May 2019, details as follow: Beneficiary's Bank: HSBC BANK (Taiwan) Limited. SWIFT Code: HSBCTWTP Beneficiary's Name: Ravenel Ltd. Beneficiary's Account No: 001-234830-031 (NT$) or 001-234830-061 (US$) Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of bidding deposit. The payer will be responsible for any associated bank service fees.
4.
After the 29th May 2019, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 30th May to 1st June 2019). Acceptance will cease on 1st June by noon (No other forms of payment will be accepted).
5.
Telephone / written / internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 29th May 2019.
6.
If the bidding deposit has been transferred prior to 29th May 2019, 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.
委託競投表格 委託競投表格須於拍賣24小時前送抵國際藝術部。競投表格可傳真至： 國際藝術部 電話：+886-2-2708 9868 傳真：+886-2-2701 3306 投標者資料
拍 賣 名 稱：羅芙奧 2019 春季拍賣會 薈萃：國際現代與當代藝術 拍 賣 編 號：TA1901 拍 賣 日 期：2019 年 6 月 1 日（星期六） 下午 2:00 拍 賣 地 點：台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路 199 號
客戶編號 （如有） 姓名 身份證字號 地址 郵碼 電話 （住宅） （辦公室） 傳真
電郵
簽名 （注意：本公司在取得閣下之簽名後方才接受競標；閣下所填報之姓名 及地址資料，將會被列印在發票上，隨後將不能更改） 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託， 以最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，服務費依最後落槌價乘以服務費率得之。詳見業務規則第二條第4項之 規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下者含參 仟貳佰萬元以20％計算；（2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳佰萬元 之部份以12％計算。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。
請用正楷填寫清楚 拍賣品編號 （按數字順序）
名
稱
競投價（新台幣） （服務費不計在內）
為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。
銀行證明 銀行名稱 銀行地址 銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話
羅芙奧股份有限公司 台北市106敦化南路二段76號15樓之2 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com ravenelart.com.cn
ABSENTEE BID FORM The absentee bid forms must be delivered to the International Art Department at least 24 hours before the auction begins. The bid forms may be faxed to: International Art Department Tel: +886 2 2708 9868 Fax: +886 2 2701 3306
Auction Date Sale No. Location Address
RAVENEL SPRING AUCTION 2019 SELECT: Modern & Contemporary Art Saturday, June 1, 2019, 2:00 pm TA1901 Marriott Taipei 3F (Grand Space) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei
Bidderâ&#x20AC;&#x2122;s Details Name ID number Address Post code Tel: (Daytime)
(Evening)
Fax
Signature (Notice: We must have your signature to execute this bid. Billing name and address should agree with your state or local sales tax exemption certificate. Invoice cannot be changed after they have be printed.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder. I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received. I understand that if my bid is successful, I shall pay the final hammer price together with the buyer's premium. The buyer's premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Article 2, section 4 of the Transaction Agreement to the Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the buyer's premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the buyer's premium should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.) The bid shall be subject to the Transaction Agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warranties that may be provided for certain items.
PLEASE PRINT LEGIBLY Auction item number (in numerical order)
Title
Bid price (NT$) (excluding service fee)
Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.
Bank Reference Approval Name of the bank Address of the bank
Name of the account Account number Contact of the bank Tel. No.
Ravenel Ltd. 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 ravenel.com ravenelart.com.cn
業務規則 下述規則，為羅芙奧股份有限公司(下稱「本公司」)與賣家訂立合約，亦 作為賣家之代理人與買家訂立合約之條款。準買家、買家及賣家務須細讀 各項規則並完全同意遵守本業務規則。準買家、買家請特別留意第二條第5 項，其對本公司之法律責任作了限定。 一、本業務規則所用詞彙之定義 在下列規定中，某些常用詞彙需加以解釋。此等詞彙定義如下： 1. 「買家」：指本公司所接受之出價最高之自然人或法人。 2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。 3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣 之自然人或法人。 4. 「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以 任何編號描述之一項或多項物品。 5. 「落槌價」：指本公司就某一拍賣品而接受之最高出價之價款。 6. 「買家服務費」：指買家按落槌價之某一百分比而支付本公司之費用； 收費率如第二條第4a項所列。 7. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之 價格售出。 8. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺 詐意圖，以就拍賣品之作者、來歷、年代、時期、文化或來源進行欺 騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品 在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義， 任何拍賣品均不會因為有任何損壞及／或任何形式之修整（包括重新上 漆）而成為膺品。 9. 「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險 之價值（不論保險是否由本公司安排購買）。 10. 「賣家服務費」：指賣家應支付本公司之費用。 二、買家 1. 本公司作為賣家代理人 本公司作為賣家代理人之身分行事。除另行協定外，在本公司之拍賣中 成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。 2. 拍賣前 a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之 物品。本公司就任何拍賣品及相關證明文件之真偽，均不對買家作任 何保證。 b. 拍賣品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述， 皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。對任何 拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍 賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或 損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議， 準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢 閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述 或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知 悉並瞭解所有拍賣品均以「現狀」售出，本公司對於任何拍出之拍賣 品狀態不作任何承諾或保證。 c. 符號表示 以下為本目錄所載符號之說明 ｏ保證項目 拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次 或一連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由 本公司與第三方共同提供。保證可為由第三方提供之不可撤銷競投之 形式做出。若保證拍賣品成功售出，提供或參與提供保證之第三方可 能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或 參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家 服務費。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、 日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計售 價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳 述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引而已，不應 作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。
141
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％計算之逞罰 性違約金。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競投保證金。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
142
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
143
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 puntive damage 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 bidding 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 sellerâ&#x20AC;&#x2122;s Transaction Agreement. http://ravenel.com http://ravenelart.com.cn
144
INDEX
A TADASHI ASOMA
塔達希．阿梭瑪
85
B
GEORGES MATHIEU
喬治．馬修
59
FREDERIC MENGUY
菲德利克．曼谷依
75
村上隆
22
GUY BARDONE
居．巴赫東
86
TAKASHI MURAKAMI
ALEX BERDAL
亞歷斯．貝達爾
89
N
FERNAND ACHILLE LUCIEN BIVEL
費爾南．畢瓦爾
92
NG LUNG WAI
伍龍威
34
THANH BINH NGUYEN
阮青平
80, 81
ANDRE BRASILIER
安德烈．布拉吉利
46, 47
TRUNG NGUYEN
阮忠
78, 79
BERNARD BUFFET
貝爾納．畢費
50, 54, 57
OB
30
ADELINE CALOSCI
艾德琳．卡羅詩琪
25
MICHEL CADORET
米歇．卡多瑞
66
HENRY CARO-DELVAILLE
亨利．卡羅－德爾維爾
76
TATYANA PALCHUK
塔提雅娜．帕丘卡
44, 45
ROGER CHAPELAIN-MIDY
羅傑．夏貝蘭－彌迪
74
PARK SEUNG MO
朴勝模
38
BERNARD CHAROY
貝爾納．夏洛瓦
48, 49
PARK SEO-BO
朴栖甫
58
BORIS CHEMETOV
波里斯．謝梅多夫
67
GIANLUCA PIACCIONE
吉安路卡．皮亞奇歐尼
23, 24
DALE CHIHULY
戴爾．奇胡利
40, 41
SERGE POLIAKOFF
塞爾日．波利雅科夫
70
ANTONIO CLAVÉ
安東尼．克拉維
61
ANDRE COTTAVOZ
安德烈．科達沃茲
71, 72, 73
PATRICK REAULT
派特里克．雷奧
42, 43
PETER RIEZEBOS
彼得．萊茲伯斯
31, 39
AUGUSTE RODIN
奧古斯特．羅丹
52, 53
ITSURO SAIKA
齋鹿逸郎
62
NOLWENN SAMSON
娜溫．參森
33
JOCELYNE SEGUIN
喬思林．塞甘
91
SHOZO SHIMAMOTO
嶋本昭三
55, 56
KAZUO SHIRAGA
白髮一雄
60
SUPAKITCH
市霸奇奇
35
ATSUKO TANAKA
田中敦子
63
THÉO TOBIASSE
提歐．托比亞斯
68, 69
BOI TRAN
倍珍（陳倍）
77
渡邊香奈
27
MAYUKA YAMAMOTO
山本麻友香
28
YOSHITOMO NARA
奈良美智
29
O
C
OB P
R
D SALVADOR DALI
薩爾瓦多．達利
51
DAO HAI PHONG
陶海豐
82, 83
GABRIEL DAUCHOT
賈伯里．杜修
88
PHILIPPE DECRAUZAT
菲利普．德克羅扎
32
S
E RON ENGLISH
羅恩．英格利什
36, 37
舟越桂
65
RENÉ GENIS
賀內．吉尼斯
87
PAUL GUIRAMAND
保羅．賈曼
84
塞爾吉．霍勒巴赫
64
釜匠
26
米歇爾．馬利
90
F KATSURA FUNAKOSHI
T
G
H SERGE HOLLERBACH
W KANA WATANABE
K KAMA TAKUMI
Y
M MICHEL MALY
145