亞洲現代與當代藝術 Modern & Contemporary Asian Art by Ravenel International Art Group

SPRING AUCTION 2019 TAIPEI

羅芙奧台北 2019 春季拍賣會亞洲現代與當代藝術

RAVENEL SPRING AUCTION 2019 TAIPEI Modern and Contemporary Asian Art 拍賣日期／地點 2019年6月2日（日）下午 2:00 萬豪酒店台北市中山區樂群二路199號3樓（博覽廳）預展日期／地點台中 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 高雄 2019年5月18日（六）~ 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樓香港 2019年5月26日（日）上午10:00至下午7:00 君悅酒店香港港灣道1號11樓（The Poolhouse）台北 2019年5月30日（四）~ 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（博覽廳）

AUCTION Sunday, June 2, 2019, 2:00pm Marriott Taipei Grand Space, 3F , No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

PREVIEWS Taichung

Saturday, May 11, 2019, 1:00pm - 6:00pm Sunday, May 12, 2019, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Kaohsiung

Saturday, May 18 - Sunday, May 19, 2019, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan

Hong Kong

Sunday, May 26, 2019, 10:00am - 7:00pm Grand Hyatt Hong Kong The Poolhouse, 11F, No.1 Harbour Road, Hong Kong

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

Thursday, May 30 - Saturday, June 1, 2019, 10:00am - 7:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

王鎮華 Arthur Wang 董事長 Chairman

郭倩如 Clara Kuo 副董事長 Vice Chairman

李雅欣 Wendy Lee 執行長 Chief Excutive Ofﬁcer

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

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

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

戴衣薰 Felisa Dai 藝術部副理 Assistant Manager, Art Department

李維屏 Apolline Li 藝術部業務助理 Sales Assistant, Art Department

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Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. Its also possible to bid online for selected lots. Please refer to ravenel.com for more information. In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly for those of you who need foreign language assistance of the bidding.

CATALOGUE SUBSCRIPTION Taiwan．International Apolline Li Tel: +886 2 2708 9868 ext. 880 Email: apollineli@ravenel.com

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International Stella Huang Tel: +886 2 2708 9868 ext. 977 Email: stellahuang@ravenel.com Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday. Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you. Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.

目次 / Contents

羅芙奧春季拍賣會

Sale Information 10

羅芙奧之服務

Ravenel Services 13

藝術家索引

Index 14

亞洲現代與當代藝術

Modern and Contemporary Asian Art 277

給予買家的重要通知

Important Notice to Buyers 279

委託競投表格

Absentee Bid Form 281

業務規則

Transaction Agreement

藝術家索引 / Index

Virgil ABLOH x Takashi MURAKAMI Virgil ABLOH x 村上隆 Daniel ARSHAM 丹尼爾．阿爾軒

Banksy Gary BASEMAN

班克斯 330, 331, 360, 361, 362, 373 格里．巴斯曼 333, 339, 359, 384

Javier Calleja x APPortfolio CHANG Chen-yu CHANG Geng-hwa; CHANG Keng-hau Chang-Ling Yoshio CHANG George CHANN CHEN Cheng-po CHEN Cheng Wei CHEN Ting-shih Chen Yin-hui CHENG Tsai-tung CHIU Ya-tsai CHU Teh-chun CHUANG Che Cola King

哈維爾．卡勒加張振宇張耿華；張耿豪常陵張義雄陳蔭羆陳澄波陳承衛陳庭詩陳銀輝鄭在東邱亞才朱德群莊喆可樂王

KAWS (Brian Donnelly)

348, 350, 352 363, 374, 375

366 293 367 304, 311 247 227, 294 237 313 305, 315 296, 317 307 265, 266, 271 229, 322 270 396

KAWS 215, 216, 329, 336,342, 〈布萊恩．唐納利〉 344, 345, 364, 365,376, 377, 379, 380, 381,382, 383, 388, 389, 392, 393, 394

Yayoi KUSAMA

KAWS (Brian Donnelly) x Robert LAZZARINI LI Chen LI Chun-shan LI Kuang-yu LI Shih-chiao LIAO Chi-chun LIEN Chien-hsing LIU Haisu LIU Keng-I LIU Kuo-sung LO Chan Peng LU Shun LUO Zhongli

101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124 KAWS〈布萊恩．唐納利〉x 394 羅伯特．拉札里尼李真 241, 242, 274 李仲生 299 李光裕 282 李石樵 245 廖繼春 246 連建興 260 劉海粟 236 劉耿一 285 劉國松 225, 226, 228, 309 羅展鵬 263, 264 呂順 258 羅中立 248

MADSAKI Takesada MATSUTANI Takashi MURAKAMI

MADSAKI 松谷武判村上隆

Ena NAGAO Moe NAKAMURA

長尾惠那中村萌

草間彌生

349, 353 340 328, 348, 349, 350, 351, 352, 369, 386, 387 324 218, 327, 337, 341, 370, 371, 372, 378 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 214, 217, 368 326

Tracey EMIN

翠西．艾敏

354

Yoshitomo NARA

奈良美智

Léonard Tsuguharu FOUJITA Alixe FU Katsura FUNAKOSHI

藤田嗣治傅慶豊舟越桂

224 312 347

Kunihiko NOHARA

野原邦彥

Yun GEE Gemi Matt GONDEK MR. BRAINWASH (Thierry Guetta)

朱沅芷坂上祐斗麥特．剛迪克洗腦先生

234 334 395 346

PANG Jiun KAWS (Brian Donnelly) x PUSHEAD

龎均 253, 262, 268, 320 KAWS〈布萊恩．唐納利〉x PUSHEAD 379

Ayako ROKKAKU

六角彩子

Ai HAIBARA Keith HARING Korehiko HINO Damien HIRST HSIA Yan HSIAO Chin HSIEH Hsiao-de HSU Yu-jen Poren HUANG HUNG Jui-lin HUNG Tung-lu HUNG Yi

灰原愛凱斯．哈林日野之彥達明．赫斯特夏陽蕭勤謝孝德許雨仁黃柏仁洪瑞麟洪東祿洪易

325 343, 356 335 390 273 255, 272, 306 284 289 280, 281 288, 290, 295, 300 358 252, 278

SANYU SHEN Che-tsai SHIY De-jinn Hajime SORAYAMA SU Wong-shen

常玉沈哲哉席德進空山基蘇旺伸

219, 220, 221, 222, 223 291, 292 259, 310, 318 391 267, 303

TAI Hoi Ying Walasse TING

戴海鷹丁雄泉

298 239, 249, 250, 254, 302, 308, 316

Wang Yan Cheng Andy WARHOL

王衍成安迪．沃荷

IIDA Kiriko

飯田桐子

JU Ming

朱銘

楊識宏楊登雄姚瑞中葉子奇余承堯

269 287 254, 319 240, 314 261, 301

KING Fen-hwa Ishikawa KINICHIRO Hiroto KITAGAWA Jeff KOONS KUO Wei-kuo

YANG Chihung YANG Din YAO Jui-chung Tzu-chi YEH YU Cheng-yao

金芬華石川欽一郎北川宏人傑夫．昆斯郭維國

ZAO Wou-ki ZHOU Chunya

趙無極周春芽

232, 233, 321, 385 230, 231, 238, 251, 397

332 243, 244, 275, 276, 277, 279, 283 286 297 357 323 257

338

235 355

用心點點惟網無限草間彌生

草間彌生自幼有藝術天分，青年時期在故鄉學習膠彩、粉彩等傳統日本畫，受美國女藝術家歐姬芙鼓勵，1957年至紐約發展，感受到自由創作之可貴。草間彌生作品多元，類型包括繪畫、軟雕塑、行為藝術、裝置、影片，涵蓋普普藝術、女權主義、超現實主義、原生藝術、抽象表現主義、乍現藝術等派別。1967至1970年代初，她成為一位環境雕塑家，結合「乍現」的行為演出，在人體上塗畫圓點圖案，把內心畏懼的事物，化為重複的物件，不停地繪畫恐懼的東西，慢慢地將自己包圍，因此能消融自我，和環境合一，回歸宇宙的自然狀態。在紐約生活十七年後，1973年她返回日本定居。 1975年開始創作拼貼作品，1979年創作版畫，並投入文學寫作工作，1983年小說《克里斯多夫南娼窟》榮獲第十屆野性時代新人文學獎。返回日本之後，草間彌生的人生總算苦盡甘來，大量的創作藝術品，痛苦的人生轉為平靜美好。近年美術館回顧展的學術爬梳及國際大型畫廊的藝術價值推廣，再加上時尚潮流品牌的合作，草間婆婆的魅力風潮效應持續不減。現在，全世界無論是藝術收藏家還是一般較沒接觸藝術欣賞的人們都認識了這位開創風格之先的偉大藝術家。草間彌生市場價格自2012 年以來一直表現亮麗，但以網路傳媒效應及經濟結構體變遷再加上新貴世代不排斥限量複數作品的收藏，其藝術感染力與市場潛能仍持續發酵中。此次拍賣會呈現草間彌生各類型作品，內容涵蓋油畫，單一件原創雕塑，珍稀限量版畫及複數立體小型藝品，提供藏家擁有藝術家不同創作材質作品的機會。

無題 (椅子) 軟雕塑，c.1963 Untitle (Chair) c. 1963, stuffed fabric, 92.7 x 85.7 x 88.9 cm © YAYOI KUSAMA

《帽子》、《無限的網（ZYA)》及《網49》三件90年代小尺幅布面

將近400件版畫作品中，創作最多的主題就是南瓜，初期的南瓜採

油畫，都是以50、60年代紐約時期的風格「無限的網」繪畫系列衍

用黃底與黑色圓點風格，後來則出現紅、綠、藍等各種色彩變化。

繪創作而成。草間彌生曾說明這些視覺特色都來自於她的幻覺，她將

《南瓜–黃、紅、綠、藍、黑》如紐約時期般圓點和網重複的抽象風

這些有著原生藝術般豐富的生命力與創作力量的點組成了無限的網，

格，透過色彩與顏色濃淡，使作品更為立體。值得一提的是此系列作

這代表了她的生命。《無限的網（ZYA)》及《網49》，著實感受到草

品，採用質地柔和又厚實的Chiffon-paper印製，每一張紙皆為手工

間透過畫筆將網紋的表徵性圓點詮釋為一種「愛與和平」的象徵，直

製作，且有藝術家簽名水印，它們不但形狀不同，重量也都不同。此

到現在她仍然執意透過許多作品來宣揚「愛與和平」。《真夏的波》

稀有8件版次蝕刻版畫，同時也為最大幅南瓜版畫，5個顏色齊現身拍

變形網紋的構成頗似MOMA收藏的《天之河》，知名日本音樂家坂

場，將會吸引草間迷的目光。《南瓜TWOTEOL》創作於2012年，將

本龍一曾說：「我最喜歡的作品是無限的網系列這張《天之河》，我

南瓜形體抽象化，「TWOTEOL」為草間彌生語，代表著草間式獨特

從作品如同脈搏的反覆當中感受到音樂。」

南瓜，為藝術家近年來最後一件南瓜版畫。

「被版畫的魅力俘虜之後，我便不停在創作版畫。整個過程中，我一直被從它的內在所散發出的光輝所傾倒。」

《南瓜》雕塑作品為90年代美術館收藏等級的金黃色南瓜，南瓜體

版畫，一種以多層疊印版面製作出來的作品，正如同草間彌生藝術創作的形式是「反覆」、是「積累」，她想著這樣就可以創作出相同的作品，對更多人傳遞訊息，所以，便為熱愛版畫的人全心全意地創作著。草間彌生在版畫集首寫著「我想要透過版畫的世界，把溫暖的

風暴吹進你的心。」

態飽滿圓潤，經由藝術家雙手精心捏製，以畫筆排列有序上彩及親簽，更具收藏價值。除了植物、蔬菜水果以外，具有特色的作品主題就是草間彌生自己身邊的物品，如洋裝、鞋子、帽子、包包等。草間彌生在紐約時期就曾開過時尚精品店，對時尚相當關注，後來便正式發展成為作品主題。《無題（帽子）》以陶瓷琺瑯為媒材，為單一件原創立體作品。《高跟鞋（金）》、《高跟鞋（銀）》創作概念源於草間彌生60年代在紐約工作室創作了一系列的軟雕塑《積聚》系列，

《版畫集: 永遠的愛》是草間彌生版畫裡唯一的合集，10件絲網版畫

她大量製作布製填充物象徵的陽具來自我療癒並克服對性的恐懼。

集結成冊，法國著名詩人Alain Jouffroy 並為此作品敘詩〈我們都是

《自畫像》浮雕式作品，左半臉似乎以1966年威尼斯雙年展中大量

網〉。版畫集封面頁以酒紅色皮革印製無限的網壓紋，隨著時間的

的鏡球般隱晦地反射自我；而右半臉就如1967年於黑門劇場發表的

推移展現其獨有之美，由法國出版商Atelier Eric Seydoux以Lame 兩

《自我消融》行為藝術裡的臉部滿佈圓點。《自畫像》浮雕式作品巧

色特殊印製於法國Velin BFK Rives精仿羊皮紙上，色彩鮮明且寓意飽滿，金蔥、銀蔥的綺麗幻境，完美呈現草間彌生的永恆經典。

妙地將「積聚」及「自我消融」系列作品並結合一，為難得稀有的立體作品。

Yayoi Kusama’s

POLKA DOTS AND INFINITY NETS

From childhood, Kusama displayed outstanding artistic talent, and during her youth she learned to paint traditional Japanese-style paintings in a variety of mediums, including gouache and pastel. Encouraged by eminent American female artist Georgia O'Keeffe, she moved to United States in 1957, where her creative abilities soon blossomed in a much more open and tolerant environment. She greatly expanded her vision, and her oeuvre soon comprised not just paintings, but also soft sculptures, performance art, installations, and films. Her themes and formats transcend from pop art, feminism and surrealism to Art Brut (outsider art), abstract expressionism, and happenings. Between 1967 and 1970, Kusama produced many environmental installations, something she often combined with public happenings, in which she painted polka dots and similar patterns on human bodies. Her way of dealing with her innermost fears and apprehensions is to repeatedly paint the things she is afraid of, or sublimate them into recurring designs, until, gradually, she is completely surrounded by them, allowing her “self” to disappear in, and merge with, the originally fearsome environment. This kind of “self-dissolution” marks a return to the natural state, which is one of oneness with the universe. Eventually, after 17 years in New York, she returned to live in Japan in 1973. Two years later, in 1975, she continued enthusiastically collages, and in 1979 expanded her repertoire to include prints. She also started to work as a writer, and her 1983 novel "The Hustler's Grotto of Christopher Street" won the Tenth Literary Award for New Writers from the monthly magazine Yasei Jidai. Generally speaking, Kusama enjoyed much and created numerous new works after returning to her native country. Finally, her life had entered a phase of relative stability, and the hardships and efforts of her earlier life were now paying off.

In recent years, Yayoi Kusama’s style has remained highly popular as the combined result of retrospective art exhibitions organized by academic institutions, art promotion at large international galleries, and collaboration with fashionable trendy brands. Now, everyone around the globe—whether they are art collectors or people with fewer art appreciation experience—knows Yayoi Kusama as a great artist who innovatively creates new styles. Since 2012, the price of Yayoi Kusama’s work has performed exceptionally well in the art market. With Internet media effects, changes in economic structure, and new generation’s acceptance of limited edition artwork, Yayoi Kusama’s artistic inspiration and market potential continue to be on the rise. This auction will showcase different kinds of Yayoi Kusama’s works, including four pieces of original acrylic paintings, single-piece original sculptures, precious limited edition prints, and multiples of small crafts. This is an opportunity for collectors to own the artist’s works in different creative media. Created in the 1990s, the styles of the three small acrylic canvas paintings titled "Hat", "Infinity Nets (ZYA)", and "Nets 49" were derived from the Infinity Nets painting series that Yayoi Kusama created in New York during the 1950s and 1960s. Yayoi Kusama once explained that these visual characteristics came from her hallucinations. By using vibrant polka dots that contain the creative power of raw art, she created infinity nets as a representation of her life. Through her pen strokes, "Infinity Nets (ZYA)" and "Nets 49" truly express Kusama’s interpretation of the net-like, iconic polka dots as a symbol of “love and peace.” She still persists on promoting “love and peace” through many of her works even until now. The transformed nets in Summer Wave has a similar composition as that of The Milky Way at MOMA. As the famous Japanese musician Ryuichi Sakamoto once commented, “My favourite piece of work is "The Milky Way" from the Infinity Nets series because I can feel music from the pulse-like recurrence in this piece of work.”

“I have been creating prints ever since I became captivated by them. During the printmaking process, I am constantly intrigued by the brilliance of its inner nature.” Prints are created by stacking multiple layers together. This is analogous to the “repetitive” and “accumulative” form in Yayoi Kusama’s art creations. Through printmaking, she believed that she could create the same prints and thus send a message to more people. This is why Yayoi Kusama is fully committed to printmaking for print lovers. Yayoi Kusama wrote down a message at the beginning of her print portfolio: “I hope to send a warm storm into your heart through the world of prints.” "Portfolio Amour pour Toujours" is Yayoi Kusama’s only joint album. It is a collection of 10 pieces of silkscreen prints, for which the famous French poet Alain Jouffroy wrote a poem titled "Nous Sommes Tous un Filet". The print portfolio has a wine color leather cover embossed with the pattern of infinity nets, which expresses

a unique sense of beauty as time goes on. The French publisher Atelier Eric Seydoux specially printed the portfolio on Velin BFK Rives’ fine imitation parchment in two lame colors. The vivid and meaningful colors create a fantasy world in metallic gold and silver, which perfectly showcases Yayoi Kusama’s timeless classic. Among nearly 400 pieces of print, pumpkin was the most frequently appearing theme. Early on, the pumpkin was drawn in black polka dots on a yellow background. Other color variations such as red, green, and blue appeared later on. Like the abstract style from Kusama’s New York period, the repetitive polka dots and nets in "Pumpkin-Yellow, Red, Green, Blue, Black" give these paintings a more three-dimensional look through colors and color contrast. It is worth mentioning that this series of work was printed on soft and

sturdy Chiffon-paper. Every piece of paper was handmade with the artist’s watermark signature on it. The papers also vary in shape and weight. On this occasion, the precious 8th edition etching print—the largest pumpkin print appears at the auction in all 5 colors. They will attract the attention from Kusama’s fans. "Pumpkin TWOTEOL" was created in 2012 by abstractifying the form of a pumpkin. “TWOTEOL” was coined by Yayoi Kusama to represent a pumpkin in her unique style. It is the artist’s last piece of pumpkin print in recent years. The sculpture titled "Pumpkin" is a golden pumpkin. The plump and round pumpkin was carefully kneaded by the artist. The orderly arrangement and coloring also make it more worthwhile to collect. Other than plants, vegetables, and fruits, Yayoi Kusama often used her accessories such as dresses, shoes, hats, and bags as the unique themes for her works. Yayoi Kusama had opened a fashion boutique in New York; she paid a lot of attention to fashion before officially using it as a theme in her works. "Untitled (Hat)"

is a single-piece of original three - dimensional work made from vitreous enamel. The creative concepts for "High Heels (Gold)" and "High Heels (Silver)" originated from Yayoi Kusama’s series of soft sculpture titled "Accumulation", which was created in New York in the 1960s. In Accumulation, she used a lot of stuffed fabric to symbolize the penis, as a way of self-healing and overcoming her fear of sex. In the embossment "Self-Portrait", the left face contains many mirrored spheres as an obscure self-reflection like the display at the 1966 Venice Biennale. In contrast, the right face is filled with polka dots like the one in the performance art Self-obliteration debuted at the Black Gate Theatre in 1967. This embossment titled "Self-Portrait" is a rare and precious piece of art that ingeniously combines the "Accumulation" and "Self-obliteration" series.

101

Yayoi KUSAMA (Japanese, b. 1929)

草間彌生南瓜 (五件一組)

Pumpkin (a set of 5)

2002

2002 Porcelain, edition 125/130 9.5(L) x 9.5(W) x 7.5(H) cm (each) Signed on the bottom Yayoi Kusama, dated 2002 and numbered 125/130

9.5 (長) x 9.5 (寬) x 7.5 (高) cm (每件)

This work is to be sold with a certificate of authenticity issued by FMR Ltd.

NT$ 500,000-700,000 HK$ 128,000-179,000 US$ 16,300-22,800 RMB 110,000-154,000

瓷器 125/130 簽名底部：Yayoi Kusama 2002 125/130 附 FMR Ltd. 開立之作品保證書

102

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin (a set of 5) 2002 Porcelain, edition 114/130 8(L) x 8(W) x 9(H) cm (each) Signed on the bottom Yayoi Kusama in English, dated 2002 and numbered 114/130 (each) Signed inside the box cover Yayoi Kusama in English and dated 2002 (each) This work is to be sold with a certificate of authenticity issued by FMR Ltd.

NT$ 500,000-700,000 HK$ 128,000-179,000 US$ 16,300-22,800 RMB 110,000-154,000

草間彌生南瓜 (五件一組) 2002 瓷器 114/130 8 (長) x 8 (寬) x 9 (高) cm (每件) 簽名底部：Yayoi Kusama 2002 114/130 (每件) 簽名盒蓋底：Yayoi Kusama 2002 (每件) 附 FMR Ltd. 開立之作品保證書

103

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin (GSQ) 1998 Screenprint, edition 38/120 30 x 30 cm Signed lower right Yayoi Kusama, dated 1998 and titlied Pumpkin (GSQ) in Japanese on the bottom; numbered lower left 38/120 ILLUSTRATED:

All Prints by Kusama Yayoi, Abe Publishing Ltd., Tokyo, 2006, color illustrated, p. 144 The authenticity of this work is confirmed by Yayoi Kusama Inc.

NT$ 400,000-600,000 HK$ 102,000-153,000 US$ 13,000-19,500 RMB 88,000-132,000

草間彌生南瓜 GSQ 1998 版畫 38/120 30 x 30 cm 簽名右下：Yayoi Kusama 年代題識下方：かぼちゃ（GSQ）1998 版次左下：38/120 圖錄：

《草間彌生全版畫》，阿部出版，東京，2006，彩色圖版，頁 144 草間彌生工作室已確認本件拍品無誤

104

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin TWOTEOL 2012 Silkscreen, edition of 30, HC 3/5 61.3 x 66.8 cm Signed on the bottom Yayoi Kusama, titled Pumpkin in Kanji and TWOTEOL in English, dated 2012, and numbered HC 3/5 ILLUSTRATED:

All Prints by Kusama Yayoi, Abe Publishing Ltd., Tokyo, 2006, color illustrated, p. 220 The authenticity of this work is confirmed by Yayoi Kusama Inc.

NT$ 460,000-600,000 HK$ 117,000-153,000 US$ 15,000-19,500 RMB 101,000-132,000

草間彌生南瓜 TWOTEOL 2012 絲網版畫限量30 HC 3/5 61.3 x 66.8 cm 簽名底部：Yayoi Kusama 南瓜 TWOTEOL 2012 HC 3/5 圖錄：

《草間彌生全版畫》，阿部出版，東京，2006，彩色圖版，頁 220 草間彌生工作室已確認本件拍品無誤

105

Yayoi KUSAMA (Japanese, b. 1929)

Joy of Life 2012 Silkscreen, edition of 30, HC 3/5 71 x 80 cm Signed on the bottom Yayoi Kusama, titled Joy of Life in Japanese, dated 2012, and numbered HC 3/5 ILLUSTRATED:

All Prints by Kusama Yayoi, Abe Publishing Ltd., Tokyo, 2006, color illustrated, p. 225 The authenticity of this work is confirmed by Yayoi Kusama Inc.

NT$ 460,000-600,000 HK$ 117,000-153,000 US$ 15,000-19,500 RMB 101,000-132,000

草間彌生生命的喜悅 2012 絲網版畫限量30 HC 3/5 71 x 80 cm 簽名底部：Yayoi Kusama 生命のよろこび 2012 HC 3/5 圖錄：

《草間彌生全版畫》，阿部出版，東京，2006，彩色圖版，頁 225 草間彌生工作室已確認本件拍品無誤

106

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin (2) 1990 Screenprint, edition 53/150 63 x 53 cm Signed on the bottom Yayoi Kusama in English, dated 1990, titled Pumpkin (2) in Japanese and numbered 53/150 ILLUSTRATED:

All Prints by Kusama Yayoi, Abe Publishing Ltd., Tokyo, 2006, color illustrated, p. 94 This work is to be sold with a certificate of authenticity issued by YOD Gallery

NT$ 900,000-1,300,000 HK$ 230,000-332,000 US$ 29,300-42,300 RMB 197,000-285,000

草間彌生南瓜 (2) 1990 版畫 53/150 63 x 53 cm 簽名下方：Yayoi Kusama 1990 かぼちゃ(2) 53/150 圖錄：

《草間彌生全版畫》，阿部出版，東京，2006，彩色圖版，頁 94 附 YOD Gallery 開立之作品保證書

107

Yayoi KUSAMA (Japanese, b. 1929)

Portfolio Amour pour Toujours 2000 Screenprint, edition 57/60 65 x 50 cm (each) Signed on the bottom Yayoi kusama in English and titled Tulipe(II), Tulipe(I), Panier de fruits(II), Citrouille(I), Papillon(I), Chapeau(I), Panier de fruits(I), Citrouille(II), Papillon(II), Chapeau(II) in French, dated 2000 and numbered 57/60 EXHIBITED:

YAYOI KUSAMA: My Soul Forever, Forever Museum of Contemporary Art, Gion-Kyoto, Japan, June 10, 2017 - February 25, 2018 ILLUSTRATED:

All Prints by Kusama Yayoi, Abe Publishing Ltd., Tokyo, 2006, color illustrated, pp. 167-172 The authenticity of this work is confirmed by Yayoi Kusama Inc.

NT$ 2,400,000-3,400,000 HK$ 612,000-867,000 US$ 78,200-110,700 RMB 526,000-746,000

草間彌生版畫集永遠的愛 (十件一組) 2000 版畫 57/60 65 x 50 cm (每件) 簽名下方：57/60, Tulipe(II), Tulipe(I), Panier de fruits(II), Citrouille(I), Papillon(I), Chapeau(I), Panier de fruits(I), Citrouille(II), Papillon(II), Chapeau(II), 2000 Yayoi Kusama 展覽：

「草間彌生:我的永恆靈魂」，現代美術館，京都，展期自2017年6月10日至2018年2月25日圖錄：

《草間彌生全版畫》，阿部出版，東京，2006，彩色圖版，頁167-172 草間彌生工作室已確認本件拍品無誤

108

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin-Yellow 2006 Etching, edition of 8, HC 3/4 122 x 100 cm Signed on the bottom Yayoi Kusama, titled PUMPKIN - YELLOW in English and numbered H.C. 3/4 PROVENANCE:

Private collection, Europe EXHIBITED:

YAYOI KUSAMA: My Soul Forever, Forever Museum of Contemporary Art, Gion-Kyoto, Japan, June 10, 2017 - February 25, 2018 (different edition) ILLUSTRATED:

All Prints by Kusama Yayoi, Abe Publishing Ltd., Tokyo, 2006, color illustrated, p. 202 The authenticity of this work is confirmed by Yayoi Kusama Inc.

NT$ 2,800,000-4,800,000 HK$ 714,000-1,224,000 US$ 91,200-156,400 RMB 614,000-1,053,000

草間彌生南瓜―黃 2006 蝕刻版畫限量8 HC 3/4 122 x 100 cm 簽名底部：Yayoi Kusama, PUMPKIN - YELLOW H.C. 3/4 來源：

私人收藏，歐洲展覽：

「草間彌生:我的永恆靈魂」，現代美術館，京都，展期自2017年6月10日至2018年2月25日（不同版次）圖錄：

《草間彌生全版畫》，阿部出版，東京，2006，彩色圖版，頁 202 草間彌生工作室已確認本件拍品無誤

109

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin-Red 2006 Etching, edition of 8, HC 3/4 122 x 100 cm Signed on the bottom Yayoi Kusama, titled PUMPKIN - RED in English, numbered H.C. 3/4 and dated 2006 PROVENANCE:

Private collection, Europe EXHIBITED:

YAYOI KUSAMA, Whitestone Gallery, Tokyo, Japan, January 31 -March 26, 2017 (different edition) YAYOI KUSAMA: My Soul Forever, Forever Museum of Contemporary Art, Gion-Kyoto, Japan, June 10, 2017 - February 25, 2018 (different edition) ILLUSTRATED:

All Prints by Kusama Yayoi, Abe Publishing Ltd., Tokyo, 2006, color illustrated, p. 203 The authenticity of this work is confirmed by Yayoi Kusama Inc.

NT$ 2,800,000-4,800,000 HK$ 714,000-1,224,000 US$ 91,200-156,400 RMB 614,000-1,053,000

草間彌生南瓜―紅 2006 蝕刻版畫限量8 HC 3/4 122 x 100 cm 簽名底部：Yayoi Kusama, PUMPKIN - RED H.C. 3/4 2006 來源：

私人收藏，歐洲展覽：

「草間彌生」，白石畫廊，東京，展期自2017年1月31日至2017年3月26日（不同版次）「草間彌生：我的永恆靈魂」，現代美術館，京都，展期自2017年6月10日至2018年2月25日（不同版次）圖錄：

《草間彌生全版畫》，阿部出版，東京，2006，彩色圖版，頁 203 草間彌生工作室已確認本件拍品無誤

110

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin-Blue 2006 Etching, edition of 8, HC 3/4 122 x 100 cm Signed on the bottom Yayoi Kusama, titled PUMPKIN - BLUE in English, numbered H.C. 3/4 and dated 2006 PROVENANCE:

Private collection, Europe EXHIBITED:

YAYOI KUSAMA: My Soul Forever, Forever Museum of Contemporary Art, Gion-Kyoto, Japan, June 10, 2017 - February 25, 2018 (different edition) ILLUSTRATED:

All Prints by Kusama Yayoi, Abe Publishing Ltd., Tokyo, 2006, color illustrated, p. 204 The authenticity of this work is confirmed by Yayoi Kusama Inc.

NT$ 2,800,000-4,800,000 HK$ 714,000-1,224,000 US$ 91,200-156,400 RMB 614,000-1,053,000

草間彌生南瓜―藍 2006 蝕刻版畫限量8 HC 3/4 122 x 100 cm 簽名底部：Yayoi Kusama, PUMPKIN - BLUE H.C. 3/4 2006 來源：

私人收藏，歐洲展覽：

「草間彌生：我的永恆靈魂」，現代美術館，京都，展期自2017年6月10日至2018年2月25日（不同版次）圖錄：

《草間彌生全版畫》，阿部出版，東京，2006，彩色圖版，頁 204 草間彌生工作室已確認本件拍品無誤

111

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin-Green 2006 Etching, edition of 8, HC 3/4 122 x 100 cm Signed on the bottom Yayoi Kusama, titled PUMPKIN - GREEN in English, numbered H.C. 3/4 and dated 2006 PROVENANCE:

Private collection, Europe EXHIBITED:

YAYOI KUSAMA: My Soul Forever, Forever Museum of Contemporary Art, Gion-Kyoto, Japan, June 10, 2017 - February 25, 2018 (different edition) ILLUSTRATED:

All Prints by Kusama Yayoi, Abe Publishing Ltd., Tokyo, 2006, color illustrated, p. 204 The authenticity of this work is confirmed by Yayoi Kusama Inc.

NT$ 2,800,000-4,800,000 HK$ 714,000-1,224,000 US$ 91,200-156,400 RMB 614,000-1,053,000

草間彌生南瓜―綠 2006 蝕刻版畫限量8 HC 3/4 122 x 100 cm 簽名底部：Yayoi Kusama, PUMPKIN - GREEN H.C. 3/4 2006 來源：

私人收藏，歐洲展覽：

「草間彌生:我的永恆靈魂」，現代美術館，京都，展期自2017年6月10日至2018年2月25日（不同版次）圖錄：

《草間彌生全版畫》，阿部出版，東京，2006，彩色圖版，頁 204 草間彌生工作室已確認本件拍品無誤

112

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin-Black 2006 Etching, edition of 8, HC 3/4 122 x 100 cm Signed on the bottom Yayoi Kusama, titled PUMPKIN - BLACK in English, numbered H.C. 3/4 and dated 2006 PROVENANCE:

Private collection, Europe EXHIBITED:

YAYOI KUSAMA: My Soul Forever, Forever Museum of Contemporary Art, Gion-Kyoto, Japan, June 10, 2017 - February 25, 2018 (different edition) ILLUSTRATED:

All Prints by Kusama Yayoi, Abe Publishing Ltd., Tokyo, 2006, color illustrated, p. 203 The authenticity of this work is confirmed by Yayoi Kusama Inc.

NT$ 2,800,000-4,800,000 HK$ 714,000-1,224,000 US$ 91,200-156,400 RMB 614,000-1,053,000

草間彌生南瓜―黑 2006 蝕刻版畫限量8 HC 3/4 122 x 100 cm 簽名底部：Yayoi Kusama, PUMPKIN - BLACK H.C. 3/4 2006 來源：

私人收藏，歐洲展覽：

「草間彌生:我的永恆靈魂」，現代美術館，京都，展期自2017年6月10日至2018年2月25日（不同版次）圖錄：

《草間彌生全版畫》，阿部出版，東京，2006，彩色圖版，頁 203 草間彌生工作室已確認本件拍品無誤

113

Yayoi KUSAMA (Japanese, b. 1929)

Hat 1992 Acrylic on canvas 15.8 x 22.7 cm Signed on the reverse Yayoi Kusama in English, dated 1992 and titled Hat in Japanese This painting is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 5,500,000-6,500,000 HK$ 1,403,000-1,658,000 US$ 179,200-211,700 RMB 1,206,000-1,425,000

"I transform both vitality and nature into dots in the universe, and then the energetic energy flies away with love."

「我將生命力與大自然全部都轉化成宇宙裡的圓點，而後那股盎然的能

草間彌生

量，便跟隨著愛一同振翅飛走了。」

帽子

藝術，一向走在潮流文化的尖端，若我們回顧草間彌生的一生，將會發現

1992

她一手創造的波卡圓點，以及那些被圓點所覆蓋因而消融的帽子、包包乃

壓克力畫布

至高根鞋，長年以來是那麼樣歷久彌新，仍為美學圖騰的代表性符號，深

15.8 x 22.7 cm

具時尚價值，並且絲毫未受時代的演進而有所影響，而此同時，造就了席

簽名畫背：Yayoi Kusama 1992 帽子

捲全球的「草間美學」。

附草間彌生工作室開立之作品登錄卡

此件創作於1992年的《帽子》，畫面當中在底部無限的網的襯托下，帽子的主體就像是受到微風吹拂於空中飛舞般躍然紙上，其黃綠鮮明顏色的交錯，更帶來了充滿春天的氣息。集結了各時期如圓點、無限的網……等代表性圖騰的《帽子》，可說是藝術家集畢生功力於大成的原創性力作，進而體現了草間彌生透過創作，不停地在追求藝術之美、人類之美、死亡之燦與生存意義的那股渴望。

"I transform both vitality and nature into dots in the universe, and then the energetic energy flies away with love." Art has always been at the cutting edge of fashion culture. If we look back at Kusama during her life, Yayoi will discover the polka dots she created and the hats, bags and even high-heeled shoes that are covered by the dots. It has been a long-lasting and long-lasting representation of the aesthetic totem. The symbol is of great fashion value and has not been affected by the evolution of the times. At the same time, it has created a "Kusama aesthetic" which has swept the world. "Hat" was created in 1992. Under the background of the infinite net, the hat is the key figure, like a breeze blowing in the air, floating gently on the paper, with the yellow and green colors interlaced full of the spirit of spring. The "hat" collects symbols such as the dots and infinite nets from various periods can be said to be the original masterpiece of the artist's sucess in lifelong skill, which in turn reflects Yayoi Kusama's unrelenting pursuit of artistic beauty through creation: the beauty of mankind, the sorrow of death and the desire to exist.

114

Yayoi KUSAMA (Japanese, b. 1929)

Nets 49 1998 Acrylic on canvas 22 x 27.3 cm Signed on the reverse Yayoi Kusama in English, dated 1998 and titled Nets 49 in English This painting is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 5,000,000-6,500,000 HK$ 1,276,000-1,658,000 US$ 162,900-211,700 RMB 1,096,000-1,425,000

YAYOI KUSAMA

草間彌生網 49 1998 壓克力畫布 22 x 27.3 cm 簽名畫背：Yayoi Kusama 1998 Nets 49

「彷彿有種莫名的魔力，纏繞在這永無止盡的無限的網之上，在令人目不轉睛、不知道網紋去向的同時，產生了種類似催眠作用的迷幻效果。」紐約知名藝術品經銷商－碧翠斯・佩莉（Beatrice Perry）曾在初次看見草間彌生無限的網時，給予了這樣的盛讚。

附草間彌生工作室開立之作品登錄卡此件1998年的壓克力彩《網49》，其雙色調斑點狀網紋的複製概念，就像是藝術家的代表印記般，搭配上前衛的藝術表現手法，使草間彌生得以跨越民族與性別的限制，獨步於當代藝壇之中。以白色與澄黃兩種顏色構成的畫面，源自於只有藝術家本身才能察覺到的幻覺，同時進一步地於畫布上體現了「無限」的視覺效果。「從創作者的觀點來看，一切都像是賭博，隨著藝術躍向未知。」就像你找不到何處是此作《網49》的起點般，同樣的你也並不知道，這幅畫的終點將會是何方。

"It seems that there is a kind of inexplicable magic, entangled in this endless network of infinity. The viewer does not know the direction of the net, which produces a psychedelic effect similar to hypnosis." The famous New York art dealer Beatrice Perry gave this kind of praise when he first saw the infinite network of Kusama. "Nets 49", acrylic on canvas work dated 1998, the concept is that of the reproduction of a two-tone speckled netting, like the artist's representative imprint, paired with avant-garde artistic expression technique, allowing Yayoi Kusama to cross boundaries of nationality and gender. The restrictions are unique among the contemporary art scene. The two colors of white and yellow are derived from an illusion that only the artist herself can perceive, and further reflects the "infinite" visual effect on the canvas. "From the creator's point of view, everything is like gambling, as the art jumps to the unknown." Just as you can't find the starting point of "Net 49", you don't know where the end will be either.

115

Yayoi KUSAMA (Japanese, b. 1929)

Infinity Nets (ZYA) 1999 Acrylic on canvas 45 x 38.5 cm Signed on the reverse Yayoi Kusama in English, dated 1999 and titled Infinity Nets (ZYA) in English and Infinity Nets in Japanese ROVENANCE:

Acquired directly from the artist Private collection, USA This painting is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 7,000,000-9,000,000 HK$ 1,786,000-2,296,000 US$ 228,000-293,200 RMB 1,535,000-1,974,000

草間彌生無限的網（ZYA）

草間彌生紐約工作室，1960年 Kusama with Net paintings in her New York studio, 1960 © YAYOI KUSAMA

「畫筆下的網紋超越了畫布本身，一直延伸至牆壁、天花板，最終覆蓋整個宇宙。」無限的網，是患有神經性視聽障礙的藝術家草間彌生，精神世界具體化的一種樣貌，雖然今日的她被譽為「圓點女王」，但《無限的網》則是她早在60年代紐約時期一鳴驚人之作，與安迪・渥荷……等眾多藝術大師齊名、並且令人為之驚嘆的代表作品。

1999

此張有著搶眼色彩的《無限的網》(ZYA) 完成於1999年，其橘紅的線條搭

壓克力畫布

配金色的網眼，在暖色調的相互烘托下產生了令人歡愉的溫暖氣息。在此

45 x 38.5 cm

同時，藝術家經典的創作語彙—那宛如細胞般不斷滋長的網狀紋路、隨著

簽名畫背：Yayoi Kusama 1999

油畫顏料的厚重筆觸，時刻挑動著觀者的視神經。在躁動感持續增生，畫

Inﬁnity Nets (ZYA) 無限の網

面的網絡進一步延伸至人們的潛意識深處時，就像創造出一個關於永恆時間與寬闊空間的嶄新概念，而草間彌生的「無限」世界，方於此刻全面開

來源：

直接得自藝術家本人私人收藏，美國附草間彌生工作室開立之作品登錄卡

展。 "The netting under the brush transcends the canvas itself and extends to the wall and ceiling, eventually covering the entire universe." The infinite net is a kind of appearance of the spiritual world in the artist Yayoi Kusama, who suffers from neurological and audio-visual disorders. Although today she is known as the "Queen of the Dot", but “Infinity Net”was a blockbuster hit in 1960's New York in the same vein as many artists such as Andy Warhol... etc., a representative piece that inspires wonder in those who view it. The eye-catching "Infinity Net ZYA" was completed in 1999. Its orange lines and golden mesh creates a pleasant warmth under the warm colors of each other. At the same time, the artist's classic vocabulary—the weblike texture that grows like a cell, with the thick brushstrokes of acrylic paints provokes the viewer's optic nerve. As the sense of turbulence continues to proliferate and the network of images extends further into the depths of people's subconscious, it is like creating a new concept of eternal time and unlimited space, and the "infinite" world of Yayoi Kusama is fully developed in this moment.

116

Yayoi KUSAMA (Japanese, b. 1929)

The Waves of Midsummer 1988 Acrylic on canvas 45.5 x 38 cm Signed Yayoi Kusama, dated 1988 and titled The Wave of Midsummer in Japanese on the reverse This painting is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 7,000,000-9,000,000 HK$ 1,786,000-2,296,000 US$ 228,000-293,200 RMB 1,535,000-1,974,000

《天之河》1991-1992年壓克力畫布，194.2 x 391.2 cm 蘇富比香港2011春季拍賣會，編號977，成交價：港幣362萬 The Milky Way, 1991-1992, Acrylic on canvas, 194.2 x 391.2 cm Sotheby's Auction 2011 HK, US$465,568 Sold © YAYOI KUSAMA

無限的網創作的啟發原點，除了出自長年困擾草間彌生的精神疾病，更來

草間彌生

自於當年藝術家遠赴紐約時於飛機航班上所看到的太平洋，進而將海面網

真夏的波

絡來回波動、無限擴張的概念，自腦海中不斷延伸到畫布之上。這也是我

1988

們今天能在她的作品中，見到大量以日本漢字「波」（即水面）命名畫作

壓克力畫布

的由來。

45.5 x 38 cm 簽名畫背：Yayoi Kusama 1988 真夏の波附草間彌生工作室開立之作品登錄卡

此件由草間彌生於1988年所創作的《真夏的波》，以藝術家最為擅長的色澤之一－紅黑配色構成作品的全貌，並以此作為對於盛夏海洋的回憶。若我們將有如火一般炙熱的顏色比喻為盛夏，那滿佈畫面的密集粗黑線條則代表了因潮汐潮起潮落，不甚平靜的海洋表面。同時，在黑色潮汐的下方，仍覆蓋上一層由黑色細線構成的「無限的網」，層疊的細膩構圖不但為畫面帶來多層次的視覺感受，其反覆交疊的波紋更令人不禁感到目眩。在這個念頭於大腦中升起的當下，猶如回到了與藝術家共同身處烈日曝曬的年代—當年那個真夏的波。 The origin of the infinite network of creations stems not only from the mental illness that has plagued Yayoi Kusama for many years, but was also inspired from a concept that the artist saw the Pacific Ocean on the flight when she traveled to New York, and then fluctuated and expanded the sea network. From the mind to the canvas: this is also the reason why we can see a lot of paintings in Japanese kanji "wave" (ie water surface) in her works today. This piece was created by Kusama Yayoi in 1988, "The Wave of Midsummer", which is comprised entirely of the most popular colors of the artist - red and black, and is used as a memory for the midsummer ocean. If we compare the colors of the hot and the hot to the midsummer, the dense black lines of the full picture represent the surface of the ocean which is turbulent due to the tides. An "unlimited net" composed of black thin lines covers the black tide. The layered fine composition brings not only a multi-level visual experience to the picture, but the overlapping ripples are even more awe-inspiring. The moment this thought rises in the brain, it is like returning to the era when the artist was exposed to the sun – the wave of the midsummer.

117

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1990 Acrylic on canvas 162 x 130.3 cm Signed on the reverse Yayoi Kusama in English, titled Pumpkin in Japanese and dated 1990 This painting is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 46,000,000-55,000,000 HK$ 11,735,000-14,031,000 US$ 1,498,400-1,791,500 RMB 10,088,000-12,061,000

草間彌生南瓜 1990 壓克力畫布 162 x 130.3 cm 簽名畫背：Yayoi Kusama 1990 かぼちゃ附草間彌生工作室開立之作品登錄卡

PUMPKIN

Yayoi KUSAMA

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

草間彌生以藝術創作來治療她的創傷，因此她的作品都傳達著她內心深處的情感。《南瓜》跟草間彌生的其他作品一樣，集合了她各個系列的視覺元素，呈現自小困擾著這位藝術家的幻覺。草間以大大小小的黑色圓點排列成南瓜的形狀，艷麗奪目的黃色欲躍而出，鮮明的對比帶來了巨大的視覺震憾。背景中黃色的幼細線條形成了「無限的網」，突顯出南瓜的飽滿形態。《南瓜》的主題源自草間彌生兒時在農場所產生的幻覺，當時她看見南瓜跟她說話，深深被南瓜圓潤的形狀所吸引。草間彌生把自己的幻覺經歷投射在其作品中，透過攝人心魄的作品釋放壓抑的情緒。她說：「我就是以這樣的方式，讓當下感受到的驚嚇和恐懼漸漸沉澱，這些經歷可以說是我畫畫的初衷。」此件拍品尺幅碩大，極為罕有，是拍賣市場上尺幅最大的直式《南瓜》畫作，珍貴非常。 Utilizing her art as means for reconciling the obstacles and traumas of her life, each of Yayoi Kusama’s works conveys a deeply personal attachment and connection. Pumpkin is no exception, recalling Kusama’s childhood and combining aesthetic elements from each of Kusama’s signature series. Varying black dots arrange to establish the structural form of the immense, central gourd, marching in hypnotic lines to create the undulating bulbous surface. The negative space left by the dots allows the vibrant, neon yellow

to pulsate through, while the deliberate fractal composition of the dots provides depth and dimension. From negative space to layered construction, the luminous yellow becomes the webbed lines of the “infinity nets” which sweep across the background, illuminating and contrasting with the bulbous form of the pumpkin, throwing the spotted vegetable into further distinction. The subject of the pumpkin originates with Kusama’s childhood spent on a wholesale vegetable farm, where pumpkins were a major local crop. It was during this time that the artist first began to experience the visual and aural hallucinations that would plague her throughout her life. “My art originates from hallucinations only I can see,” Kusama explains, “I translate the hallucinations and obsessional images that plague me into sculptures and paintings.” By harnessing and addressing the obstacle of mental illness, Kusama creates absorbing works of stunning depth, captivating viewers with their vibrancy and effervescent spirit. Rare on the market, the current lot is unique as the largest vertical Pumpkin composition ever offered on the market. The unusual scale not only emphasizes the bold, arresting nature of the painting, but makes this lot a highly prized work within Kusama’s oeuvre.

118

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1991 Mixed media, unique 17(H) x 25.2(diameter) cm Signed on the bottom YAYOI KUSAMA in English, dated 1991 and titled Pumpkin in Japanese, A Pumpkin in English This sculpture is to be sold with a registration card issued by Yayoi Kusama Studio

NT$ 11,000,000-18,000,000 HK$ 2,806,000-4,592,000 US$ 358,300-586,300 RMB 2,412,000-3,947,000

草間彌生南瓜 1991 綜合媒材 (單一件) 17 (高) x 25.2 (直徑) cm 簽名底部：YAYOI KUSAMA 1991 かぼちゃ A PUMPKIN 附草間彌生工作室開立之作品登錄卡

YAYOI KUSAMA 「當懷裡抱著南瓜時，便會想起遙遠童年時期的回憶。

形狀飽滿的南瓜總能撫慰我的心靈，無論當時心裡多麼困苦，都能因此得到安慰。」

從藝術家的自述，我們能夠得知：由於「南瓜」本身是那麼樣的討喜、富含能量，每當草間彌生身心備感煎熬時，總可以從繪畫或捏製南瓜的過程中，得到強大的精神安定感。同時，因為強烈感受那份來自與藝術家間的精神連結和帶有吉祥寓意的外表，在草間彌生漫長的創作生涯中，「南瓜」自問世以來，始終是一個深具代表性、長年受到收藏群所歡迎的重要圖騰。 80至90年代，是草間彌生進行南瓜創作的重要時期，此件形態圓潤，經由雙手精心捏製、以畫筆排列有序，有著黃底黑色圓點的《南瓜》立體作品，正是來自於她全心投入創作的年代。「當我看到圓點時，眼睛便會閃閃發亮，並且在繪畫的過程中深受感動。」雖然當時已回到日本的草間彌生已入住療養院好些日子，年逾耳順之年，然而她旺盛的創作能量絲毫沒眼減退。若我們定神下來仔細凝視眼前的立體雕塑，那手繪、大小不一的波卡圓點，像是經由縝密思緒計算般細膩編排，於三度空間中密集、井然有序地不斷地擴散著；再者，明明全出自於藝術家雙手形塑，且必須經由不可估量的陶瓷燒製過程，其完成體卻像是由模具製成般呈現左右對稱的完美模樣。其中，在在蘊含著草間彌生關於精準的創作執念。「如果不是為了藝術，我應該很早就自殺了。」因為長年鍾愛的藝術與出自童年時期的回憶，在精神最為困頓之時，「南瓜」成為拯救了藝術家生命的重要存在。當我們靜靜地看著南瓜，彷彿真能重回到草間彌生當下的時空背景，與她因為藝術而得到救贖的一生。

PUMPKIN "When you are holding a pumpkin in your lap, you will remember the memories of a distant childhood. The shape of the pumpkin can always soothe my soul, no matter how hard the heart is, I can be comforted."

《南瓜》1982年，54.6 x 27.6 x 25.4 cm (每件) 北九州市立美術館典藏 Pumpkin, 1982, 54.6 x 27.6 x 25.4 cm (each) Collection of Kitakyushu Municipal Museum of Art © YAYOI KUSAMA

From the artist's self-report, we know that when her body and mind

diminished in the least. If we as viewers set our mind and carefully

are suffering, Kusama receives a strong sense of spiritual stability

stare at the three-dimensional sculpture in front of us, the hand-

from the process of painting or kneading the pumpkin, as the

painted, different-sized polka dots, delicately arranged after

"pumpkin" itself is so pleasing and energetic. At the same time,

meticulous consideration, are densely and orderly spread out in

because of the strong feeling of the spiritual connection with the

the three-dimensional space. It is clear that the piece is shaped by

artist and the appearance of auspiciousness, in the long creative life

the artist's hands and must pass through an incalculable ceramic

of Kusama, "Pumpkin" has always been a representative icon and

ﬁring process. The ﬁnished body is a perfect shape of left and right

an important totem beloved of collectors.

symmetry. Among them, there is a creative creation obsession with

The 80s to the 90s was an important period for the creation of

Yayoi Kusama.

pumpkins by Yayoi Kusama. This piece was round and sleek. It was

"If it wasn't for art, I would have committed suicide by now."

carefully kneaded by both hands and arranged in a brush. The

Because of the art that has been loved for many years and

three-dimensional work of "Pumpkin" with yellow dots on a yellow

memories from childhood, when her spirits were in their most

background was from an era when she devoted herself to creation.

difficult state, "Pumpkin" has become an important thing that

"When I saw the dots, my eyes sparkled and I was deeply touched by the painting process." Although Yayoi, who had returned to Japan at that time, had been in a nursing home for some time and getting on in years, her exuberant creative energy had not

has saved the artist's life. When we look at the pumpkin quietly, it seems that we can really return to the time-space background of Yayoi Kusama, and the life she has redeemed for art.

119

Yayoi KUSAMA (Japanese, b. 1929)

Self-portrait 1999 Ceramic enamel, unique 22.4(L) x 23.4(W) x 3.3(H) cm Signed on the reverse Yayoi Kusama in English, titled Self-portrait and dated 1999 This sculpture is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 3,000,000-3,800,000 HK$ 765,000-969,000 US$ 97,700-123,800 RMB 658,000-833,000

草間彌生自畫像 1999 陶瓷琺瑯 (單一件) 22.4(長) x 23.4(寬) x 3.3(高) cm 簽名題識後背：自畫像 YAYOI KUSAMA 1999 附草間彌生工作室開立之作品登錄卡

《自畫像》浮雕式作品巧妙地將「積聚」及「自我消融」系列作品並結合一，為難得稀有的立體作品。 This embossment titled "Self-Portrait" is a rare and precious piece of art that ingeniously combines the "Accumulation" and "Selfobliteration" series.

120

Yayoi KUSAMA (Japanese, b. 1929)

Untitled (Hat) 1999 Ceramic enamel, unique 7(H) x 7.5(diameter) cm Engraved on the bottom YAYOI KUSAMA in English and dated 1999 This sculpture is to be sold with a registration card issued by Yayoi Kusama Studio

NT$ 1,800,000-2,800,000 HK$ 459,000-714,000 US$ 58,600-91,200 RMB 395,000-614,000

草間彌生無題 (帽子) 1999 陶瓷琺瑯 (單一件) 7(高) x 7.5(直徑) cm 簽名雕刻底部：YAYOI KUSAMA 1999 附草間彌生工作室開立之作品登錄卡

121

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

南瓜

Pumpkin

1998

1998 Bronze, edition 62/100 27(L) x 27(W) x 28(H) cm Engraved YAYOI KUSAMA in English, dated 1998 and numbered 62/100 ILLUSTRATED:

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

NT$ 1,000,000-2,000,000 HK$ 255,000-510,000 US$ 32,600-65,100 RMB 219,000-439,000

銅雕 62/100 27(長) x 27(寬) x 28(高) cm 簽名雕刻：YAYOI KUSAMA 1998 62/100 圖錄：

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

122

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

南瓜 2

Pumpkin 2

1988

1988 Bronze, edition 6/30 15.5(L) x 14(W) x 15.5(H) cm Signed on the bottom Yayoi kusama 6/30 and dated 1988

15.5(長) x 14(寬) x 15.5(高) cm

This Sculpture is to be sold with a certificate of authenticity issued by Whitestone Gallery

NT$ 700,000-900,000 HK$ 179,000-230,000 US$ 22,800-29,300 RMB 154,000-197,000

銅雕 6/30 簽名底部：1988 Yayoi Kusama 6/30 附白石畫廊開立之作品保證書

123

Yayoi KUSAMA (Japanese, b. 1929)

High-Heels (Silver) 2015 Porcelain, edition of 30, PP 2/5 22(L) x 8(W) x 20(H) cm (right foot) 22(L) x 8(W) x 16.5(H) cm (left foot) Signed on the bottom Yayoi Kusama, dated 2015 and numbered PP 2/5 This work is fo be sold with a centificate of authenticiy issued by FMR Ltd.

NT$ 460,000-550,000 HK$ 117,000-140,000 US$ 15,000-17,900 RMB 101,000-121,000

草間彌生高跟鞋 (銀) 2015 瓷器限量30 PP 2/5 22 (長) x 8 (寬) x 20 (高) cm (右腳) 22 (長) x 8 (寬) x 16.5 (高) cm (左腳) 簽名底部：Yayoi Kusama 2015 PP 2/5 附 FMR Ltd. 開立之作品保證書

124

Yayoi KUSAMA (Japanese, b. 1929)

High-Heels (Gold) 2015 Porcelain, edition of 30, PP 2/5 22(L) x 8(W) x 20(H) cm (right foot) 22(L) x 8(W) x 16.5(H) cm (left foot) Signed on the bottom Yayoi Kusama, dated 2015 and numbered PP 2/5 This work is fo be sold with a centificate of authenticiy issued by FMR Ltd.

NT$ 460,000-550,000 HK$ 117,000-140,000 US$ 15,000-17,900 RMB 101,000-121,000

草間彌生高跟鞋（金） 2015 瓷器限量30 PP 2/5 22 (長) x 8 (寬) x 20 (高) cm (右腳) 22 (長) x 8 (寬) x 16.5 (高) cm (左腳) 簽名底部：Yayoi Kusama 2015 PP 2/5 附 FMR Ltd. 開立之作品保證書

YAYOI KUSAMA 1929

出生於日本長野縣

1939

為母親描繪的鉛筆肖像畫，圓點遍佈整個畫面及人物身上

1952

於松本市公民館舉辦首次個展

1957

至紐約發展，發表巨幅平面作品、軟雕塑、行為藝術、裝置

1966

參加第33屆威尼斯雙年展，發表作品《自戀庭園》

1967 1970

Born in Matsumoto City

The portrait of Kusama's mother, started to paint using polka dots and nets

First solo exhibition held at community centre in Matsumoto

Left for the US. Showed large paintings, soft sculptures, performance art and environmental sculptures

Participated unofﬁcially in the Venice Biennale, exhibited an open air installation "Narcissus Garden"

初舉辦人體彩繪，時尚走秀，以及反戰等乍現行動 Staged many happenings such as body painting festivals, fashion shows and anti-war demonstrations

1973

返回日本定居

1975

開始創作拼貼作品

1979

創作版畫，並投入文學寫作工作

1983

小說《克里斯多夫南娼窟》榮獲第十屆野性時代新人文學獎

1986

法國卡萊市立美術館及多勒美術館舉辦個展

1989

紐約國際藝術中心及英國牛津美術館舉辦個展

Returned to live in Japan

Began to do collages

Expanded her repertoire to include prints

Novel "The Hustler Grotto of Christopher Street" won the Tenth Literary Award for New Writers

Held solo exhibition at the Musee Municipal Dole and Musee des Beaux-Arts de Calais, France

Solo exhibition at the Centre for International Contemporary Arts, New York and the Museum of Modern Art, Oxford

1993

代表日本參加第45威尼斯雙年展

1994

開始戶外創作

1995 1999

Represents Japan at the 45th Venice Biennale

Began to create open-air sculpture

洛杉磯州立美術館，紐約現代美術館，東京都當代藝術館舉辦大型回顧展「永恆的愛：草間彌生1958－1968年」 Love Forever: Yayoi Kusama 1958-1968, is shown in Los Angeles, New York, and Tokyo

2002

於松本市立美術館舉辦開館紀念個展。出版自傳《草間彌生：無限的網》 Solo exhibition held in Matsumoto City. Kusama's autobiography, Infinity Net, was published in Japanese.

2004

森美術館舉辦個展。參加紐約惠特尼雙年展 Held solo exhibition Kusama Matrix in Tokyo.

十歲的草間彌生 Kusama at the age of ten, 1939 © YAYOI KUSAMA

Participated in the Whitney Biennial, New York 2004

2006

榮獲藝術領域終生成就獎

2009

獲選為傑出文化功勞者。高古軒畫廊，維多莉亞米羅畫廊舉辦個展

2010

參加雪梨雙年展，愛知三年展，十和田藝術廣場設置永久雕塑裝置藝術

2011

大規模回顧展開始在歐洲巡迴，倫敦泰特現代藝術館，紐約惠特尼美術館舉辦個展。

Received Lifetime Achievement Award

Honored as Person of Cultural Merits in Japan

Participated in Sydney Biennale and Aichi Triennale. Permanent outdoor sculpture at Towada Art Center in Japan

Large-scale retrospective exhibition tours Europe, Solo exhibition at TATE MODERN (London) and Whitney Museum (New York).

2012

與路易威登合作 "LOUIS VUITTON × YAYOI KUSAMA Collection"系列

2013 2015

中南美巡迴展揭開序幕，另於韓國大邱美術館開始亞洲巡迴

2017

「永恆的靈魂」東京國立美術館個展。草間彌生美術館成立於東京

Collaborated with Louis Vuitton on "LOUIS VUITTON × YAYOI KUSAMA Collection"

South America retrospective tour started. "KUSAMA YAYOI, A Dream I Dreamed", recent works exhibition tour started at Daegu Art Museum, Korea.

"YAYOI KUSAMA: My Eternal Soul", The National Art Center, Tokyo. Yayoi Kusama Museum opened in Tokyo.

201

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

我不介意你忘了我

I Don't Mind If You Forget Me

2009

2009 Marker pen on paper 21 x 12.5 cm Signed lower right Na in Japanese and dated '09

NT$ 60,000-120,000 HK$ 15,000-31,000 US$ 2,000-3,900 RMB 13,000-26,000

簽字筆紙本 21 x 12.5 cm 簽名右下：な '09

202

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

沒有人會知道

Nobody Knows

2008

2008 Colored pencil on paper 30 x 21.5 cm Signed lower right Na in Japanese and dated '08

30 x 21.5 cm

NT$ 110,000-220,000 HK$ 28,000-56,000 US$ 3,600-7,200 RMB 24,000-48,000

彩色鉛筆紙本簽名右下：な '08

203

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

宇宙女孩 (睜眼 / 閉眼) (兩件一組)

Cosmic Girl Eyes (Open / Close) (a set of 2)

2008

2008 Print, edition of 500 68 x 48 cm (each) Trademark © Yoshitomo Nara on the bottom left

68 x 48 cm (每件)

NT$ 110,000-220,000 HK$ 28,000-56,000 US$ 3,600-7,200 RMB 24,000-48,000

版畫限量500件商標左下：© Yoshitomo Nara

204

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

不好玩

No Fun! (In the Floating World)

1999

1999 Print, edition 44/50 41.5 x 29.5 cm Signed lower center Na in Japanese and dated ‘99 Numbered lower left 44/50

41.5 x 29.5 cm

PROVENANCE:

Tomio Koyama Gallery, Tokyo ILLUSTRATED:

Yoshitomo Nara: The Complete Works 1984-2010, Volume 1, Chronicle Books, LLC, San Francisco, 2011, color illustrated, p. 309, no. E-1999-010

NT$ 160,000-260,000 HK$ 41,000-66,000 US$ 5,200-8,500 RMB 35,000-57,000

版畫 44/50 簽名中下：な '99 版次左下：44/50 來源：

小山登美夫畫廊，東京圖錄：

《奈良美智作品全集第一冊》，編年出版社，舊金山，2011，彩色圖版，頁309，編號 E-1999-010

205

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

無題

Untitled

2002

2002 Print, edition 4/18 49.5 x 39.5 cm Signed lower right Na in Japanese, dated 2002 and numbered 4/18

NT$ 190,000-300,000 HK$ 48,000-77,000 US$ 6,200-9,800 RMB 42,000-66,000 38

版畫 4/18 49.5 x 39.5 cm 簽名右下：な 2002 4/18

206

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

無題

Untitled

2002

2002 Print, edition 8/18 49.5 x 39.5 cm Signed lower right Na in Japanese, dated 2002 and numbered 8/18

NT$ 190,000-300,000 HK$ 48,000-77,000 US$ 6,200-9,800 RMB 42,000-66,000

版畫 8/18 49.5 x 39.5 cm 簽名右下：な 2002 8/18

207

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

很深很深的水坑

In the Deepest Puddle

1997

1997 Pencil on paper 21 x 14.5 cm Signed lower center YOSHITOMO NARA

21 x 14.5 cm

PROVENANCE:

Private Collection, Tokyo Private Collection, Hong Kong In the Deepest Puddle, Kado kaua Bookstore Writer's signing event, Japan, 1997

NT$ 320,000-420,000 HK$ 82,000-107,000 US$ 10,400-13,700 RMB 70,000-92,000 40

鉛筆紙本簽名中下：YOSHITOMO NARA 來源：

私人收藏，東京私人收藏，香港角川書店「很深很深的水坑」作家簽名會，日本，1997年

208

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

箱子中的女孩

Girl in a Box

2001

2001 Print, edition 10/100 30.5 x 30.5cm Signed lower right in Na in Japanese, numbered 10/100, and dated 01

30.5 x 30.5cm

ILLUSTRATED:

Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, SanFrancisco, 2011, color illustrated, no. E-2001-001, p. 310

NT$ 420,000-550,000 HK$ 107,000-140,000 US$ 13,700-17,900 RMB 92,000-121,000

版畫 10/100 簽名右下：な 01 10/100 圖錄：

《奈良美智作品全集第一冊》，編年出版社，舊金山，2011，彩色圖版，編號 E-2001-001，頁310

209

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

無題

Untitled

1999

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

29 x 22 cm

NT$ 600,000-800,000 HK$ 153,000-204,000 US$ 19,500-26,100 RMB 132,000-175,000

油性筆紙本簽名下方：な '99

210

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

迷你萌芽大使

Sprout the Ambassador Mini

2011

2011 Pencil and acrylic on paper 15 x 10 cm Signed on the reverse Na in Japanese and dated 2011 Signed on the package box Yoshimoto Nara in Japanese, dated 2011 and titled Sprout the Ambassador Mini

15 x 10 cm

NT$ 1,300,000-2,200,000 HK$ 332,000-561,000 US$ 42,300-71,700 RMB 285,000-482,000

鉛筆壓克力彩紙本簽名畫背：な 2011 簽名於包裝盒：奈良美智 2011 Sprout the Ambassador Mini

211

Yoshitomo NARA (Japanese, b. 1959)

Untitled 1995 Pen and colored pencil on paper 25 x 35.5 cm Signed lower left Na in Japanese and dated '95 ILLUSTRATED:

Yoshitomo Nara: The Complete Works 1984-2010, Volume 2, Chronicle Books, LLC, San Francisco, 2011, color illustrated, p. 82, no. D-1995-084

NT$ 2,300,000-3,400,000 HK$ 587,000-867,000 US$ 74,900-110,700 RMB 504,000-746,000

奈良美智無題 1995 原子筆彩色鉛筆紙本 25 x 35.5 cm 簽名左下：な '95 圖錄：

《奈良美智作品全集第二冊》，編年出版社，舊金山， 2011，彩色圖版，頁82，編號 D-1995-084

212

Yoshitomo NARA (Japanese, b. 1959)

Enfant Terrible 1995 Felt pen on paper 29.7 x 21 cm Signed lower right Na in Japanese and dated ‘95 PROVENANCE:

YOD Gallery, Osaka

NT$ 3,600,000-4,600,000 HK$ 918,000-1,173,000 US$ 117,300-149,800 RMB 789,000-1,009,000

奈良美智童言無忌 1995 彩色筆紙本 29.7 x 21 cm 簽名右下：な '95 來源：

YOD畫廊，大阪

213

Yoshitomo NARA (Japanese, b. 1959)

Telstar 2016 Ballpoint pen and colored pencil on paper 15 x 15 cm PROVENANCE:

BLUM&POE, California

NT$ 3,600,000-4,600,000 HK$ 918,000-1,173,000 US$ 117,300-149,800 RMB 789,000-1,009,000

奈良美智通信衛星 2016 原子筆色鉛筆紙本 15 x 15 cm 來源：

BLUM&POE，加州

214

Yoshitomo NARA (Japanese, b. 1959)

Dog with Coffin 1993 Oil on canvas 60 x 60 cm Signed on the reverse Na in Japanese, dated ‘93, titled Dog with Coffin, inscribed OT and Kaulquappenhund mit Sark in German PROVENANCE:

Tomio Koyama Gallery, Tokyo Private collection, Asia ILLUSTRATED:

Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, SanFrancisco, 2011, color illustrated, no. P-1993-038, p. 90

NT$ 7,500,000-13,000,000 HK$ 1,913,000-3,316,000 US$ 244,300-423,500 RMB 1,645,000-2,851,000

奈良美智 Dog with Coffin 1993 油彩畫布 60 x 60 cm 簽名後背：な'93 題識後背：Dog with Cofﬁn；Kaulquappenhund mit Sark 來源：

小山登美夫畫廊，東京私人收藏，亞洲圖錄：

《奈良美智作品全集第一冊》，編年出版社，舊金山， 2011，彩色圖版，編號 P-1993-038，頁90

YOSHITOMO NARA 奈良美智 Travelling Alone with the World's Sorrow 背起了全世界的悲傷獨自遠行

「28歲在德國的我彷彿跨越了時空，開始和身在青森8歲的我對話。」 1988年後的12年間，正是奈良美智前往德國杜塞道夫藝術學院留學，置身於有如與故鄉青森與世隔絕氛圍相仿的科倫旅居的重要時期。時值壯年的他，在廣受新表現主義啟蒙，以及龐克搖滾樂曲風的影響之下，藝術家創作生涯迄今最為膾炙人口—於童真的臉龐上，飽受憤怒與孤獨情緒左右的彆扭小女孩圖騰，便於此時此刻蓬勃地萌發著。. 無論畫筆下揮灑的是小女孩或小狗，都是奈良美智內心孤寂感的延伸、對於美好世界抱持純真想法的一種體現。「小狗溫馴服從的特質，常令我不自覺地想起孩子的形象。」若你經常觀看奈良美智，在小女孩和小狗作為主題的眾多作品當中，都會有如同此件拍品《Dog with Coffin》，雙眼呈現一條簡單直線的神態，當其上揚時會令觀者感到主角像是在夢遊抑或展露出愉悅滿足的情緒；若是出現其他種眼神，再搭配上嘴角或肢體狀態，將會帶來全然不同的氛圍。而此件《Dog with Cofﬁn》，在顯露出藝術家濃烈的鄉愁、那種無從抒發，僅能用畫筆表達的內心孤寂。

於一生備受寵愛後，即將展露最後一次忠誠的決心，背起了全世界的悲傷獨自遠行。而此作的顏色表現更是超卓，小狗嘴巴上的一抹紅，配上兩條肩背帶的黃與腳底一襲綠，完美地平衡了棺木深層且沉重的色澤，藝術家運用了看似簡單的幾個顏色，點綴出極為協調的畫面，並以極具個人特色的粗黑俐落線條勾勒出主角體態。其背景大量的留白，更留給了人們對於「有限生命」的無限想像。在堪稱艱難的直向三分式構圖中，仍能表現得極為生動，不落於僵硬俗套，奈良美智的創作功力於此作上可見一斑。「就算想哭，也不能哭的時候太多了。」旅居德國期間前後長達了12 年，離鄉背井的奈良美智與故鄉間的距離有著好幾萬公里之遙，在語言全然不通的情況下，猶如一場長年自我放逐的創作之旅。「語言方面我依然自卑，和人會面就會感到痛苦。」於那段期間內，藝術家的纖細內心有如擴張到了極限，因而產生了此件作品—將棺木負重於肩上，欲就此遠離人世的感受，同時將一切的無奈、憤怒與難過…… 等，全數寄情於藝術。「平靜」是奈良美智為德國時期所下的簡短註解，然而性格敏感又內向的他，一路自童年時期以來飽受的成長與孤獨，是那麼樣真切地，在一張張的作品上如實呈現。「我畫畫，只是

「據說狗狗在去世之前，並不希望主人過於傷心，將離開原本熟悉的

為了自己。」像寫日記一般，於畫布上紀錄下每日令他有所感觸的事

生活環境，找個靜僻的角落獨自面對死亡的到來。」此件《Dog with

物，直率地表達專屬於自身的喜怒哀樂。而這正是你我所熟知的奈良

Coffin》的創作緣由，便是奈良美智想要傳達人類與寵物間長年相識相知的親密，不願對方面臨別離時出現難過之情，在生命的終點到來前，用僅餘的些許氣力一肩將棺木扛起同時離去的最後體貼。畫作中的小狗兩手前掌因用力而曲起，搭配著臉上的堅毅之情，像是寵物

美智，以及那深蘊於作品的療癒力量。

"At the age 28, I was in Germany where I seemed to transcend time and space to begin a conversation with my 8-year-old self in Aomori." In the 12 years following 1988, Yoshitomo Nara travelled abroad to study at Kunstakademie Dusseldorf in Germany. It was an important period of time when Yoshitomo Nara lived in Cologne, a city that has an isolated atmosphere similar to his hometown Aomori. As an adult, Yoshitomo Nara was enlightened by NeoExpressionism and influenced by punk rock music. Under these influences, Yoshitomo Nara developed the widely popular trademark of his creative career as an artist during this time periodâ&#x20AC;&#x201D;the portrait of an awkward little girl with angry and lonely expressions on her childish face. The portrayal of both little girls and dogs is an extension of Yoshitomo Nara's sense of inner loneliness, as well as a reflection of his pure belief in a wonderful world. "A dog's gentle, obedient characteristics often remind me of the image of children." If you follow Yoshitomo Nara, you would always find something like this auction item titled Dog with Coffin among his numerous works with little girls and dogs as themes. In these works, the character's eyes are drawn by a simple, straight line. When the line curves up, the character appears to be sleepwalking or expressing a pleasurable, satisfied emotion. A different expression in the eyes can be combined with another lip shape or body posture to present a whole different atmosphere. This work titled Dog with Coffin expresses the artist's strong nostalgiaâ&#x20AC;&#x201D;an indescribable kind of inner loneliness that can only be expressed through painting. "I heard that dogs would not want their owners to be heartbroken about their death. Hence they would leave their familiar environment before they die and find a quiet corner to confront the arrival of death on their own." Yoshitomo Nara's creative concept for Dog with Coffin is to express the long-term companionship and intimacy between humans and pets, who do not want the other party to feel sad when the time comes to part ways. The painting expresses the

dog's final contribution as it carries the coffin with its remaining energy and leaves before the end of its life. In the painting, the dog's forepaws are curved, which combine with the determined look on its face to demonstrate a pet's last chance to show loyalty after living a well-loved life. Now the dog is ready to travel alone with the world's sorrow on its shoulders. Moreover, this painting has an exceptional combination of colors. The touch of red on the dog's lips along with the two yellow shoulder straps and green shade on the ground perfectly balance out the coffin's deep and murky color. The artist applied a few seemingly simple colors to produce a highly coherent image. In addition, the artist used extremely unique bold black lines to outline the character's posture. The blank space in the background leaves viewers with infinite imaginations about "a finite life." In a difficult composition with the rule of thirds, the painting still looks vividly real and refreshing. This nicely demonstrates Yoshitomo Nara's creative skills. "There are too many occasions when people need to refrain from crying even if they really want to cry." Yoshitomo Nara had lived in Germany for as long as 12 years, where he was tens of thousands of kilometers away from home. In a place with unfamiliar language, the journey for creation was like a long-term self-exile. "I still feel inferior about the language and I feel painful when I meet other people." During that period of time, the artist's delicate inner world was expanded to reach its maximum limit. That is what led to the birth of this piece of workâ&#x20AC;&#x201D;the feeling of carrying the coffin on his shoulders and going away with the whole world behind him. At the same time, all of the helplessness, anger, and sadness are committed to art. "Tranquility" is the brief remark that Yoshitomo Nara made about his stay in Germany. Nevertheless, with a sensitive and introverted personality, his growth and loneliness since childhood are truthfully displayed in his works. "I only paint for myself." Like writing a diary, Yoshitomo Nara records everything that impresses him on canvas to directly express his own emotions. And this is exactly the Yoshitomo Nara that we know, with a healing power deeply rooted in his works.

215

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

The News (a set of 10) 2017 Screenprint 37/100 60.5cm (diameter) (each) Signed lower KAWS, 17 and numbered 37/100 These works are accompanied with ther original product boxe.

NT$ 3,600,000-4,600,000 HK$ 918,000-1,173,000 US$ 117,300-149,800 RMB 789,000-1,009,000

KAWS〈布萊恩．唐納利〉 The News (十件一組) 2017 版畫37/100 60.5cm (直徑) (每件) 簽名下方：KAWS, 17 版次下方：37/100 附作品原產紙盒包裝

216

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

Dissected Companion (Black) 2009 Painted cast vinyl, edition of 100 31(L) x 54(W) x 128(H) cm Trademark © KAWS,, 09 on left foot, MEDICOM TOY 2009 MADE IN CHINA on right foot

NT$ 1,400,000-2,400,000 HK$ 357,000-612,000 US$ 45,600-78,200 RMB 307,000-526,000

KAWS〈布萊恩．唐納利〉同伴解剖（黑色） 2009 彩繪搪膠限量100件 31(長) x 54(寬) x128 (高) cm 註冊商標：© KAWS.. 09 (左腳底) 註冊商標：MEDICOM TOY 2007 MADE IN CHINA (右腳底)

217

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

森子

Mori Girl

2012

2012 Mixed media, edition 153/200 18(L) x 14.5(W) x 30(H) cm

18(長) x 14.5(寬) x 30(高) cm

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

NT$ 550,000-750,000 HK$ 140,000-191,000 US$ 17,900-24,400 RMB 121,000-164,000

綜合媒材 153/200 附藝術家親筆簽名作品保證卡

218

Moe NAKAMURA

中村萌

(Japanese, b. 1988)

無意識地

Unconsciously

2017

2017 Wood, oil paint 27(L) x 27(W) x 30(H) cm Signed on the bottom Moe and dated 2017

27(長) x 27(寬) x 30(高) cm

This work is to be sold with a certificate of authenticity issued by Gallery Tsubaki, Tokyo.

NT$ 360,000-500,000 HK$ 92,000-128,000 US$ 11,700-16,300 RMB 79,000-110,000

木油彩簽名底部：Moe 2017 附東京椿畫廊開立之作品保證書

219

SANYU (CHANG Yu)

常玉

(Chinese-French, 1895 - 1966)

人物

Figure

1920 - 1930年代

1920s - 1930s Ink on paper 45.5 x 28cm With one seal of artist

45.5 x 28cm

ILLUSTRATED:

Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D2469, p. 114 (E-Catalogue)

NT$ 420,000-650,000 HK$ 107,000-166,000 US$ 13,700-21,200 RMB 92,000-143,000 60

水墨紙本鈴印右下：常玉圖錄：

衣淑凡，《常玉素描全集》，財團法人立青文教基金會，台北，2014，彩色圖版，編號D2469，頁 114（電子圖錄）

220

SANYU (CHANG Yu) (Chinese-French, 1895 - 1966)

常玉裸男

Nude

1920 - 1930年代

1920s - 1930s Ink on paper 45 x 28 cm

45 x 28 cm

ILLUSTRATED:

財團法人立青文教基金會，

Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D0582, p. 82, p. 49 (E-Catalogue)

NT$ 420,000-650,000 HK$ 107,000-166,000 US$ 13,700-21,200 RMB 92,000-143,000

水墨紙本圖錄：

衣淑凡，《常玉素描全集》，台北，2014，彩色圖版，編號D0582，頁82，頁49 (電子圖錄)

221

SANYU (CHANG Yu) (Chinese-French, 1895 - 1966)

慵懶的裸女

Relaxed Nude

1920 - 1930年代

1920s - 1930s Ink on paper 28.5 x 22 cm

28.5 x 22 cm

PROVENANCE:

Former collection of Jean-Claude Riedel, France ILLUSTRATED:

Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D0621, p. 55 (E-Catalogue)

NT$ 700,000-900,000 HK$ 179,000-230,000 US$ 22,800-29,300 RMB 154,000-197,000 62

常玉

水墨紙本來源：

尚．克勞德．希耶戴舊藏，法國圖錄：

衣淑凡，《常玉素描全集》，財團法人立青文教基金會，台北，2014，彩色圖版，編號D0621，頁55（電子圖錄）

222

SANYU (CHANG Yu)

常玉

(Chinese-French, 1895 - 1966)

裸女

Nude

1920 - 1930年代

1920s - 1930s Pencil and Charcoal on paper 50 x 33.3 cm With one painted seal of the artist Signed lower right: YU in Chinese and SANYU in French, inscribed Julienne LEDRAN, rue de l'hôtel Colbert, Paris 5ème arrondissement

50 x 33.3 cm 簽名右下：玉 SANYU

ILLUSTRATED:

Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D1183, p. 67 (E-Catalogue)

NT$ 850,000-1,000,000 HK$ 217,000-255,000 US$ 27,700-32,600 RMB 186,000-219,000

鉛筆炭筆紙本

題識左下：Julienne LEDRAN, rue de l'hôtel Colbert, Paris 5ème arrondissement 圖錄：

衣淑凡，《常玉素描全集》，財團法人立青文教基金會，台北，2014，彩色圖版，編號D1183，頁 67 (電子圖錄)

223

SANYU (CHANG Yu) (Chinese-French, 1895 - 1966)

人物

Figure

1920 - 1930年代

1920s - 1930s Ink on paper 44 x 27 cm

44 x 27 cm

ILLUSTRATED:

Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D2356, p. 107 (E-Catalogue)

NT$ 850,000-1,000,000 HK$ 217,000-255,000 US$ 27,700-32,600 RMB 186,000-219,000 64

常玉

水墨紙本圖錄：

衣淑凡，《常玉素描全集》，財團法人立青文教基金會，台北，2014，彩色圖版，編號D2356，頁 107 (電子圖錄)

224

Léonard Tsuguharu FOUJITA

藤田嗣治

(Japanese-French, 1886 - 1968)

女子側像

Woman Profile

墨水彩紙

Ink and watercolor on paper 27 x 24 cm Signed upper left Tsuguharu in Kanji and Foujita in English

簽名左上：嗣治 Foujita

This work is to be sold with a certificate of authenticity issued by Tokyo Art Club.

NT$ 850,000-1,000,000 HK$ 217,000-255,000 US$ 27,700-32,600 RMB 186,000-219,000

27 x 24 cm 附東京美術俱樂部鑑定委員會開立之鑑定證書

225

LIU Kuo-sung (Taiwanese, b. 1932)

Embracing the Dew 1964 Ink and color on paper 85.5 x 56 cm Signed lower left Liu Kuo-sung and dated ‘64 in Chinese With one seal of the artist

NT$ 1,600,000-2,600,000 HK$ 408,000-663,000 US$ 52,100-84,700 RMB 351,000-570,000

劉國松承露 1964 彩墨紙本 85.5 x 56 cm 簽名左下：劉國松六四鈐印左下：劉國松

226

LIU Kuo-sung (Taiwanese, b. 1932)

Tiger Sea after Ice Broken 111th of Jiu Zhai Gou 2007 Ink and color on paper 77 x 105.5 cm Signed center right Liu Kuo-sung in Chinese and dated 2007 With one seal of the artist

NT$ 2,800,000-3,800,000 HK$ 714,000-969,000 US$ 91,200-123,800 RMB 614,000-833,000

劉國松冰釋後的老虎海─九寨溝系列之111 2007 彩墨紙本 77 x 105.5 cm 簽名右中：劉國松二OO七鈐印右中：劉

227

George CHANN (Chinese-American, 1913 - 1995)

Script Style Calligraphy c. 1970s Oil on canvas 125 x 82 cm Signed lower right GEO-CHANN in English PROVENANCE:

Private collection, Asia EXHIBITED:

George Chann, Lin&Keng Gallery, Taipei, February 26 - March 21 ILLUSTRATED:

George Chann, Lin&Keng Gallery, Taipei, 2000, color illustrated, pp. 108-109

NT$ 3,000,000-4,000,000 HK$ 765,000-1,020,000 US$ 97,700-130,300 RMB 658,000-877,000

陳蔭羆狂草之歌約1970年代油彩畫布 125 x 82 cm 簽名右下：GEO-CHANN 來源：

私人收藏，亞洲展覽：

「陳蔭羆個展」，大未來畫廊，台北，展期自2000年2月28日至3月21日圖錄：

《陳蔭羆》，大未來畫廊，台北，2000，彩色圖版，頁108-109

228

LIU Kuo-sung (Taiwanese, b. 1932)

Which is Earth No. 95 1970 Ink and acrylic on paper 154 x 76 cm Signed lower left Liu Kuo-sung and dated 1970 in Chinese With one seal of the artist PROVENANCE:

Collection of Prof. & Mrs. Ma Kuo-Kuang, Taipei EXHIBITED:

The Retrospective of 60-year-old Liu Kuo-sung, Taiwan Museum of Art, Taichung, September 26 - November 8, 1992 ILLUSTRATED:

The Retrospective of 60-year-old Liu Kuo-sung, Taiwan Museum of Art, Taichung, 1992, color illustrated, p. 90

NT$ 3,600,000-4,600,000 HK$ 918,000-1,173,000 US$ 117,300-149,800 RMB 789,000-1,009,000

劉國松1960年代末、1970年代初所創作的一系列太空畫，可謂東方美術史上一個全新而獨樹一幟的造型。1968年底，美國太空船登陸月球，拍下地球和月球弧形表面的照片，人類因此得以看見自月球上遙望的地球之真實樣貌。對於劉國松而言，這些新奇的畫面帶給他極大的創作靈感，因此，自1969至1973年四年間，他創作了四、五百幅以太空為主題的畫作，包含《地球何許？》、《不朽的月亮》、《子夜的太陽》、《月之蛻變》、《日之蛻變》、《組織的距離》、《月蝕》、《如來》、《日落印象》、《光環》、《佛光圖》、《陰陽圖》及《一個東西南北人》等多個系列作品。此幅《地球何許之九十五》完成於1970年，採一弧一圓之架構上半部圓形意象，極具現代設計造型感；下半部帶出具傳統書畫筆觸的蒼茫意境，黃底上可見狂草筆法之抒情山水，以抽去紙筋後所留下的白色紋理表現地表

劉國松地球何許之九十五 1970

的山河肌理。觀看本件作品，觀者彷彿進入畫家自由消遙的遼闊心界，感受那臨空俯瞰萬物之氣勢和宇宙之浩瀚無垠。

水墨壓克力紙本 154 x 76 cm 簽名左下：劉國松一九七O 鈐印左下：劉國松來源：

馬國光教授夫婦舊藏，台北展覽：

《劉國松六十回顧展》，台灣省立美術館，台中，展期1992年9月26日至11月8日圖錄：

《劉國松六十回顧展》，台灣省立美術館，台中， 1992，彩色圖版，頁90

The series of outer space paintings created by Liu Kuo-sung in the late 1960s and early 1970s are often described as having an innovative and distinct style in the history of Eastern art. The Americans landed on the moon in 1968 and brought back photographs of the curved surface of the Earth. For the first time, humans were able to witness the true appearance of the Earth as seen from the Moon. Greatly inspired by these images, Liu Kuo-sung created between four and five hundred space-themed paintings from 1969 and 1973 including"What is the Earth?", "The Immortal Moon", "The Midnight Sun", "The Metamorphosis of the Moon", "The Metamorphosis of the Sun", "The Composition of Distances", "The Lunar Eclipse","The Tathagata", "Sunset Impression", "Halo","Buddha Light", "The Yin-Yang Painting" and "A Man from North, South, East and West", among many other paintings. This piece, titled "Which is Earth No. 95", was completed in 1970 as can be seen, the multi-circle arc structure is employed. The upper portion of the circular image is with a contemporary style. The lower portion is highlighted by the abiding atmosphere brought forth by the Chinese brush, allowing the lyrical landscape of the wild grass foliage to stand out from the yellow background at the bottom. The white texture reminiscent of the surface of mountains and rivers is created by the paper pulling technique. Viewing this piece of art, viewers gain the privilege of stepping into the boundless mind of the painter, becoming liberated from the material world to feel the power of the heavens and the infinite vastness of the universe.

229

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

Watery Blue Reaching far Beyond the Horizon 1983 Oil on canvas 92 x 65 cm Signed lower right CHU TEH-CHUN in Chinese and in French and dated 83 Signed on the reverse CHU TEH-CHUN in Chinese and French, dated 1983, inscribed Avec tous mes amitiés, A Pierre HOFMANN PROVENANCE:

Private collection, Europe EXHIBITED:

De la Chine, Entre Tradition et Modernité, Galerie F.Hessler, Luxembourg, October 27 - December 22, 2010 ILLUSTRATED:

De la Chine, Entre Tradition et Modernité, Galerie F.Hessler, Luxembourg, 2010, color illustrated, p. 21 This painting is to be sold with a certificate of authenticity issued by Chu Teh-chun Foundation

NT$ 6,500,000-8,500,000 HK$ 1,658,000-2,168,000 US$ 211,700-276,900 RMB 1,425,000-1,864,000

朱德群一碧萬頃 1983 油彩畫布 92 x 65 cm 簽名右下：朱德群 CHU TEH-CHUN 83 簽名畫背：CHU TEH-CHUN 朱德群1983 Avec tous mes amitiés, A Pierre HOFMANN 來源：

私人收藏，歐洲展覽：

「中國，傳統與現代之間」，F. Hessler 畫廊，盧森堡，展期自2010年10月27日至12月22日圖錄：

《中國，傳統與現代之間》，F. Hessler 畫廊，盧森堡， 2010，彩色圖版，頁 21 附朱德群工作室開立之原作保證書

CHU TEH-CHUN 朱德群 CHANGEFUL COLOR OF LYRIC POETRY

色彩幻變的抒情詩

總覽朱德群的藝術創作，好比欣賞一部抒情史詩，其作品畫面的處

朱德群《一碧萬頃》完成於1983年，此時期的作品在色彩上有更

理常給人一種精神性的流動，「氣韻生動」為最適合形容其作品之

大的突破，以冷色調的藍綠為主調，預示了後來所發展的白色詩意

詞。朱德群採用了屬於古典中國金碧山水中慣用的石綠、花青等顏

風格，飛白清透的光線，呈現星辰般的輕盈醉人的氛圍，光線照射

色，畫面上的線條幾乎消解在光線之中，豐富色彩的文化性與表現

過後的無限次元與空間與時間所交織而成的宇宙，有如探索宇宙空

力達到了西洋繪畫中前所未有的境界。

間的心靈昇華。抽象表現主義構圖、筆走龍蛇的書法技巧，加上無

吳冠中評朱德群：「中國傳統中對筆墨運轉及對絹或宣紙質感、肌

理的講究創造了東方繪畫宜近看而耐人尋味的特點。德群在大刀闊斧的油畫揮寫中竭力發展中國筆韻、墨趣的時代性、世界性。」朱德群的繪畫兼具東方藝術的細膩與西方繪畫濃厚而重的色彩，遠看似西洋畫，近看為中國畫；運用油彩，表現出的卻是中國宣紙特有的半透明效果。這種「透明性」展現的是筆墨韻律與空間感之間的相互結合，打破遠景近景描繪的束縛，卻不失縱深感與形象性。

盡的微光，優雅、舒暢、灑脫的筆致，更是表現了大自然的生命流動，在他畫筆下所呈現的，是物我兩忘的靈性宇宙，而觀者藉由他的筆法、用色和結構，也展開了一趟精神遨遊。

The overview of Chu Teh-Chun's artwork is akin to appreciating a lyrical epic. The methods of textural painting often give the viewers a feeling of spiritual energy. The most appropriate phrase for describing his artworks is "vivid artistic conception." Chu adopted colors of malachite green and flower blue found in the classical Chinese gold blue-green landscape paintings (jinbi shanhui). Every line of the painting disperses in the light and the cultural richness of colors and expressiveness reach an unprecedented realm of Western painting. Wu Guanzhong once made an evaluation of Chu Teh-Chun's style:"In Chinese tradition, the great attention paid to the grains and textures of the papers and silks as well as the brush strokes lends to an Eastern painting, which has the characteristic of revealing more the closer one looks. With his striking and bold oil paintings, Chu Teh-Chun made every effort to broaden the appeal of Chinese ink, with strokes that could speak to a contemporary audience around the world." The fine detail common to Eastern art and the bold, daring colors common to Western painting can both be found in Chu's work. From a distance, Chu Teh-Chun's work can appear as Western painting, or as Chinese painting if seen up close. In Chu's work, the viscosity of the oil painting is woven through a more translucent mode, allowing to obtain a semitransparent effect originally comes from a type of Chinese paper with a distinctive elegance and style. Chu Teh-Chun completed "Watery Blue Reaching far Beyond the Horizon" in 1983. As far as the use of color was concerned, this period saw a major breakthrough in Chu's art as his palette was dominated by cool pastels of green and blue, anticipating Chu's later development of his distinctive style of "white lyricism." The white and pure light appears as a star-like graceful and fascinating atmosphere. The universe in which infinite dimension is interwoven with space and time after the passing of light equals to exploring the spiritual sublimation of the universe. The abstract expressionist composition, the calligraphy skills of the "dragons and snakes following the writing brush" (bi zou longshe) technique, and the endless shimmer, elegant, relaxed, and free style of painting is the manifestation of the flow of nature. Depicted is the forgotten universe taking the viewer on a spiritual journey through his brushwork, color, and structure.

230

ZHOU Chunya

周春芽

(Chinese, b. 1955)

百合花

Lily

2000

2000 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and in English and dated 2000

100 x 80 cm

油彩畫布簽名右下：2000 周春芽 Zhou Chunya

NT$ 7,000,000-8,000,000 HK$ 1,786,000-2,041,000 US$ 228,000-260,600 RMB 1,535,000-1,754,000

荷春光之餘照，托陽山之峻趾，比蓂莢之能連，引芝芳而自擬。

－唐．王

《百合花賦》

Under a sunset in spring. Living at the foot of Yanshan mountain. As auspicious as the legendary fortune plant. As elegant as extraordinary aroma.

周春芽曾堅定地表示，儘管他的藝術風格深受西方文化尤其是德國新表現主義的影響，但他一直認為自己的繪畫始終是保持著深厚的中國情結。他以獨特且精湛的技法、渾然天成的色彩運用以及寫意般的表現主義，創作出許多色彩斑斕、鮮明經典的代表系列。此幅《百合花》以西方油彩為媒材，卻以東方寫意的形式表達自然花卉的精髓。 1990年代起，周春芽開始「花卉」系列的創作，且由歷史悠久的文人畫主題開闢新局。這系列花卉多半獨立懸於空白的畫布當中，呼應中國水墨「留白」的同時，亦一定程度限制了改筆的可行性，《百合花》即為其中的經典之作。花卉題材一直是中國文人樂於表現的內容，在周春芽的手法下有了嶄新詮釋。他開始創作具有中國傳統文化內涵的繪畫。《百合花》是 2000年周春芽在山石、瓶花、綠狗等系列後的成熟嘗試。他充分發揮油畫的材質特性，以色彩渲染、色調交織表現百合花清雅恬淡的姿態。花朵以懷舊簡練且大膽的筆觸繪製而成，一反古人的含蓄幽微方式表現，流動的筆法，寫意般的表現方式，再現了百合盛放的永恆美態，猶如在畫面上翩翩起舞。與詩人畫家馬德生在八零年代早期詩作中想要表達的想法相同。綻放的花朵於簡淡背景中為視覺焦點，這種表現方式來自傳統水墨畫中的留白，「無一物之處卻有最深遠意」，流遷於文人筆墨中，周春芽以自己的藝術語彙再現了典型文人精髓。

Tang dynasty, Wang Mian, "The Lily Ode"

Zhou Chunya once uncompromisingly claimed that his artworks is infused with Chinese complex despite being heavily influenced by western culture especially German neo expressionism. He has created various colorful and distinctive art series with his unique and superb skills, the talent on colors and smooth expressionism. His artwork Lily was created with the picture painted by western oil paint and the spirit of Chinese literati art. Zhou started the creation of Flowers serie in the 90s, which is based on the historic literati painting to create a new original artwork. The flower images are usually floating in the middle of a plain white background, which corresponds the "blank" technique in Chinese ink art and increased the flexibility to modify. Lily is one of the most iconic work of the serie. Flower is a commonly admired and presented theme by Chinese literatis, and the theme is redefined under Zhou Chunya's paint brush. His paintings are infused with Chinese traditional culture. Lily is Zhou's mature attempt after Rocks of the Mountains, Flowers and Green Dog series in 2000. He used the material behavior of oil paint, rendered the color and tone interleaving to depict the elegant appearance of the lily flower. The flower is painted with vintage and bold brush strokes unlike the implicit style in traditional literati art. His flowing skills and freehand presentation draws the eternal beauty of blooming lilies that

231

ZHOU Chunya (Chinese, b. 1955)

Flowers 1993 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and dated 1993 Signed on the reverse Zhou Chunya in Chinese, dated 1993 and titled Flowers in Chinese

NT$ 7,500,000-12,000,000 HK$ 1,913,000-3,061,000 US$ 244,300-390,900 RMB 1,645,000-2,632,000

周春芽褐紅色的花 1993 油彩畫布 100 x 80 cm 簽名右下：1993 周春芽簽名畫背：《褐紅色的花》1993 周春芽

ZHOU CHUNYA 周春芽

滿插瓶花罷出遊，莫將攀折為花愁。不知燭照香薰看，何似風吹雨打休。南宋范成大《瓶花》

周春芽是當今少數能將中國傳統文人精神與新表現主義完美融合的代表性藝術家。才氣天成的文人雅韻，透過西方的表現方式將中國傳統繪畫語言融入其中，文人插花源自唐宋，盛行於元明，作風頗受禪宗與道教精神的影響，取材清新脫俗，格高韻勝，野趣詩意的流露。周春芽以寫意般的表現主義創作出許多色彩斑斕、鮮明經典的花卉代表系列，滿溢文人情思、內涵豐富的文化精神完全體現於周春芽東西方融合的藝術表現。

「因為我們傳統中那種神秘、敏感的東西是西方人所沒有的，這種認識對我的繪畫個性形成起了很大作用。」 — 周春芽花卉題材一直是中國傳統文人樂於表現的內容，而在周春芽的筆下得到了重新詮釋。《褐紅色的花》繪於1993年，造型與色彩已被抽象化，色彩的堆疊、渲染、塗抹與色調交織的繪畫語言，畫面整體採用獨特的對角線式構圖，色彩明快，技法嫻熟。畫中盛開著的花朵與枝節糾纏一起，自古以來中國傳統人文花卉偏向於寫情述意、意韻清雅。周春芽承續此精神將中國繪畫傳統題材的花卉以一反古人的含蓄幽微方式表現，他用自己獨特表現形式，大膽且炙熱變幻。煙雲渲染為畫中流行之氣，渲染的背景凸顯了畫面中央的瓶花。花卉表現上豐富的細節與肌理置換有如傳統筆墨柔淡纖弱的質地，繁複錯落的體積結構改變了文人繪畫扁平的視覺特性，周春芽一直在尋求人文繪畫中的表現主義語言。「跨越人文地理與歷史文化的超然氣息，使人們猶如進入宇宙洪荒、天地蒼茫的夢幻境界。」著名評論家殷雙喜曾如此評價周春芽，花卉在西方繪畫媒材的表現方式下綻放出燃亮的光彩，實現了中西方兩種繪畫語彙的完美融合。《褐紅色的花》中周春芽以較沉穩、內斂的色彩與其大筆觸的表現手法更是相得益彰，鮮紅色的細膩花朵反覆歌詠出典型文人畫中的主體構圖。他把水墨的意蘊成功地運用到油彩表現形式中，長期對於傳統文化的淺心研究，淋酣暢漓地於此幅作品中體現了精練過後的東方詩意。飄逸空靈，如行雲流水，如文人墨客的恬淡虛無。周春芽的藝術為淬鍊過後的西方表現主義以及東方傳統繪畫，他畫中的色彩和形體，完整地呈現了藝術家的情感經驗，他有著文人的審美，無論山石花草，周春芽揮灑自如的輕鬆恣意而又若有所思的意境。活在時代氣息下的周春芽以其獨特的藝術話語描繪當代文人傳奇，《褐紅色的花》以充滿生命盎然的延續性碧空如洗，有如簾捲玉波流，流露出他於創作中生機勃勃的生命的意識。

A vase full of flowers. Don't you worry about the flowers being picked up. They're better to be enjoyed with candle light and aroma. Why let them wither in strong wind and rain. Southern Song, Fan Chengda "Flowers in a vase"

Zhou Chunya is one of the few iconic artists that fuses the traditional Chinese Literati art with Neo-expressionism in artworks. With his intrinsic talent and exquisiteness, Zhou infused the traditional Chinese painting elements to Western style presentation. Chinese Literati art originated from China's Tang and Sung dynasty, and came into its prime during Yuan and Ming dynasty. The style is heavily influenced by Zen and Taoism - fresh, refined, elegant and savor of the wild. Zhou Chunya used Neo expressionism to create various iconic series of colorful and classic flowers. Zhou's fusion of the eastern and the western art defines the spirit of Chinese traditional literatis and connotations in a whole. "It is because the mysterious, sensitive elements in our traditions are unpossessed by westerners. Realization of this has a considerable impact on shaping the character of my paintings." -Zhou Chun-Ya

Flower is a commonly admired and presented theme by Chinese literati, and the theme is redefined under Zhou Chunya's paint brush. Flowers was established in 1993. The shapes and the colors of the flowers are abstractified with layers of colors which were dyed or painted across each other. The structure of the painting was based on an unique diagonal composition along with the sharp colors, which truly shows Zhou's proficient skills. The lush blossoms tangling with the branches in the paint. In traditional Chinese literati arts, the artists tend to focus on expressing the flowers with literatures to show exquisite elegance. Zhou followed that tradition, but presented his own flowers with his own unique style which

absolute contradicts with the old styles - bold, enthusiastic and irregular. The clouds represents the air flow in the background of the painting to focus the spotlight on the flowers in the vase. Exquisite details and texture replacements of the flowers looks as gentle as if they were drawn with traditional ink brush. The complex volume structure breaks the flat visual image of traditional literati art, which is the language of expressionism Zhou has been looking for in literati art. "The superior atmosphere beyond geographic culture and history, so enormous that brings people into a fantastic, powerful universe where earth and heaven were barely formed." Said famous critic Yin Shuangxi on Zhou. With western art technique, Zhou's flowers bloom with bright and lively colors, and that is the perfect combination of the eastern and western art. In Flowers, Zhou uses relatively calm and restrained colors with bold brush strokes which come together perfectly. The cardinal red color of the exquisite flowers present a typical Chinese literati composition. Zhou successfully presented the artistic conception of Chinese ink art with oil paint. Zhou has been dedicated to Chinese traditional culture. In this work, the refined oriental poetry is perfectly presented. It is elegant and ethereal like flowing clouds or traditional literi's zen and spirit. Zhou's art style is a combination of western expressionism and eastern ink painting after years of practice. The colors and shapes he uses represent the emotion and experience of an artist. He has the aesthetic of a literati. Zhou is able to paint mountains, rocks, flowers and plants at ease along with thoughtful artistic conception. Zhou uses his unique art talent to demonstrate the legend of modern literati. Flowers represents a life-filled continuation like blue sky and jade-green steam, and reveals Zhou's consciousness of life.

232

ZAO Wou-ki (b. 1921)

1. 12. 68 (13. 2. 77) 1968-1977 Oil on canvas 162 x 114 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-Ki in French and titled 1.12.68/13.2.77 PROVENANCE:

Aix Gallery, Stockholm Private collection, Asia EXHIBITED:

Zao Wou-ki Retrospective, (organized by Galerie de France), Palais des Beaux-Arts, Charleroi, Brussels, Belgium, 1970 ILLUSTRATED:

Jean Leymarie, Zao Wou-ki, (Palais des Beaux-Arts, Charleroi, retrospective exhibition catalogue), Galerie de France, Paris, 1970, p. 33 Jean Leymarie, Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, black-and-white illustrated, no. 402, p. 334

Estimate on request 估價待詢

趙無極 1. 12. 68 (13. 2. 77) 1968-1977 油彩畫布 162 x 114 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-ki 1. 12. 68/13. 2. 77 來源：

艾斯畫廊，斯德哥爾摩私人收藏，亞洲展覽：

「趙無極回顧展」（法蘭西畫廊籌辦），夏樂華美術皇宮，比利時，1970 圖錄：

尚．雷馬利，《趙無極》夏勒華美術皇宮回顧展目錄，法蘭西畫廊，巴黎，1970，頁33 尚．雷馬利，《趙無極》，藝術圈出版社，巴黎，1986，黑白圖版，編號 402，頁334

ZAO WOU-KI 1. 12. 68 (13. 2. 77) 趙無極

老莊思想的無極二十世紀華人藝壇出現過兩位重量級繪畫大師，一位是所謂的「佛教畫家」，另一位則是「道教畫家」，前者指的是國畫大師張大千，後者指的是西畫大師趙無極。雖然張大千年輕時曾一度出家，創作的主題偶與佛教藝術有關，但此處我們無意深究他們的實質宗教信仰。其實所謂「佛教畫家」與「道教畫家」是兩位大師一次相遇時，彼此以「姓名」戲稱的一段趣事。「大千」、「無極」，在中國的確都是富含哲學意涵的名字。在此，我們要介紹這位繪畫創作中帶有老莊思想的「無極」大師。其實「無極」二字，乃是畫家信奉道教的祖父特意所起的名字。「無極」意指宇宙太初，混混沌沌，一物未有的景象。東漢天文學家張衡曾提出「宇之表無極，宙之表太極」的無限宇宙觀念。而窮究宇宙無窮之哲學思想，後來冥冥之中逐漸成為趙無極畢生服膺的藝術價值。終其一生，他的畫作一貫簽名方式，必見「无極」（無極的古字）兩個漢字，可以想見他時刻惦念自己的文化根源。

重新發現中國趙無極曾說過：「畢卡索教會我們如何去畫畢卡索，但塞尚教會我如何去注視我們中國畫的本質。」他的意思是說，看畢卡索的畫，得到空間的啟示不多，但看塞尚，尤其是看《聖維克多山》，「山與天空色塊連接不可分的情況，完全是中國畫的辦法」。趙無極認為旅行也是充電的良方，自古中國文人從名山大川參透哲理，現代畫家自然也能藉由走覽博物館、探訪各地人文風景名勝，尋獲激盪靈感的好素材。1951年趙無極到瑞士伯恩遊歷，在一次展覽中首度發現保羅•克莉的繪畫，克利以近似書法符號的畫法表達內心的世界。這樣的作品竟能貼近自己的心靈，透過深受中國書法與阿拉伯文字所啟發的克利，此後趙無極的靜物、花卉已經不復存在，他轉向一種想像的符號和不可讀的書寫，趙無極找到西方繪畫的另一種層次，進入「詩」一般自由的境界。法國詩人兼藝評家亞蘭•儒佛魯瓦在《藝術》雜誌中有過一段評述：「趙無極的作品明確地反映了中國人的宇宙觀是如何成為全球性現代觀點：是虛無玄遠，而非冥想的對趙無極《5.12.1969》羅芙奧2006秋季拍賣會，編號060 9093萬台幣成交 ZAO Wou-ki, 5.12.1969

象，反映著冥想的精神。諸如保羅•克利、馬克•托比和亨利•米修等如此不同的人

1969, oil on canvas, 194 x 96 cm Ravenel Autumn Auction 2006, lot 060 US$ 2,813,428 sold

國甲骨文、鐘鼎文等充滿繪畫性的啟發，有一段時間讓趙無極盡情陶醉在故國文化的蘊

物，都求助於這一思想。」中國人的宇宙觀，老莊的道家思想，潛藏在趙無極的細膩思惟裡，進而融入他的繪畫中。趙無極筆下的符號、線條顫動地呈現愉悅自由的感受，中藏。然而克利的影響後來帶來不小的包袱，加以情感上的嚴重受創，讓他一度幾乎要放逐自己。後來，他索性將符號、形象完全放掉。「山窮水盡疑無路，柳暗花明又一村。」曲折之後尋見寬廣空間，大山大水的雄渾氣勢正準備迎向他。1958年後，趙無極的畫作不再有標題，僅在畫布背面註明創作完成的日期。自由超脫的創作歷程趙無極在香港重新找到愛情，他的第二任美麗明星妻子美琴。返回巴黎之後，搬進一間新的住家與畫室，尤其是大畫室幾乎他成為與世隔絕的心靈避風港。此時他的藝術成就正走向巔峰的新階段。趙無極從1960至1970 年的十年間全心地作畫，他在自傳裡回憶，這十年對他而言就像是開保時捷跑車的速度一樣，飛快地逝去，他覺得時間在催促著，要他趕緊把尋得的想法表現出來。愛情也激勵著他，唯一的念頭就是不斷地工作、工作。後來回顧這十年的工作，他方才覺得有了具體的成果，進入繪畫的成熟期。

1960年他應邀參加威尼斯雙年展，1964年

的父親：「我的父親逝世於1968年，正值文

他舉辦個人第一次回顧展。而在巴黎的法蘭

化大革命。」1968年時趙無極早已經揚名異

西畫廊，以及美國的庫茲畫廊等合力的支持

域多年，卻苦於1949年後中國的重大歷史轉

下，趙無極的繪畫每年的展出不斷，在歐美

折，一直無法順利回鄉探視父母。趙無極一

都有極高的能見度，廣受歡迎，尺幅也在自

直到1972年才拿到簽證，返回別離24年的故

信的加持下，愈畫愈大。 1960年代趙無極的豐沛創造力使他登上另一座高峰。趙無極在一次訪問中提到：「人們都服從於一種傳統，我卻服從於兩種傳統。」說明中國文化傳統與西方藝術對他的雙重關係。他不只一次地談到巴黎對他的影響，巴黎使他成為一位真正的藝術家，隨著思想的成熟，他慢慢地重新發現中國，進而在繪畫中反映中國。然而這回溯本源卻須歸功於巴黎。如果未曾留學歐洲，如果不是到人文薈萃的巴黎，那麼他的藝術不會呈現如今的面貌。無疑地，他的繪畫揉合了中國與西方的藝術精髓，「將法國的情致與遠東的空間感知相互結合」（日本美術史學家高階

鄉。這份對父親的深深遺憾一直到1985年，趙無極回杭州母校講學時，才稍稍獲得寬慰。或許是因為失去至親的悲憤，以及妻子重病的雙重折磨，在《1.12.68》畫作裡出現波濤洶湧難以撫平的情緒，如同此時期其他作品一樣顯得氣勢磅礡。《1.12.68》的畫面裡一大片殷紅天地，暗赭色的筆觸在畫面一方翻騰糾結，空間裡也滲透出金與白的溫和光輝，顫動中形成對比的平衡，產生宏大的氣勢與張力。在《1.12.68》作品中，趙無極採用中國山水畫的直幅構圖，而非西方常見的橫幅自然風景形式。直幅構圖，帶有高

米芾《書法》 Calligraphy of Mi-Fu (1051-1107)

遠、深遠的境界，那是中國的自然觀與空間觀念。然而，住在巴黎的趙無極亦長期接觸

西方傳承的美學思惟裡，他巧妙的把西方特

秀爾語）。

有的光線感，融入創作之中。

然而1960年代的作品，因為妻子罹患憂鬱症

表現出的莊嚴光輝耀性，及其奇幻神祕的華

疾病，出現充滿激烈的筆觸與運動感，內心

麗色彩空間，此幅畫作曾在法蘭西畫廊的資

有難以複雜的情感糾葛。多位藝術評論家都

助下，赴比利時夏樂華美術皇宮中展出，後

認為，1972年美琴的離世，成為趙無極繪畫

來輾轉由斯德哥爾摩的艾斯畫廊所購藏。趙

階段的分野，後來在水墨畫中重拾繪畫的動

無極的藝術感染力其實早已跨越疆界，收藏

力。可以說，趙無極在1970年代之後，油畫

其作品的美術機構與收藏家遍佈全世界。多

色彩轉為豔麗，重視繪畫裡的光線感。以作

年前趙無極獲頒日本皇室大獎「高松宮殿下

品《1.12.68 (13.2.77)》為例談趙無極之經典

紀念世界文化賞」（1994），法蘭西學院美

風格從作品《1.12.68》（13.2.77）的題目

術院士（2002）的最高榮耀。而在中國抽象

來看，這是一幅完成於 1968年12月1日，而

藝術的發展史中，趙無極早被譽為扮演了一

1977年2月13日又再加筆的畫作。在趙無極

位先行者的開拓角色。或許在藝術生涯的歷

一些作品中偶而可見兩種年代的款識。1968

程中，趙無極堪稱是幸運的，但同時在他的

年應是畫家創作鬥志高昂、意氣風發的巔峰

生命軌跡裡亦經歷無數的不幸，他堅強地歷

時期，尤其這幅畫作還入選了由法蘭西畫

經許多的困境與波動，過去的激越感懷完全

廊籌備，比利時夏樂華美術皇宮的盛大回顧

抒發在他的繪畫中。過盡千帆之後，畫家逐

展，不論對於畫家或代理畫廊而言，作品的力度與份量不言可喻。然而，1968年卻也是令趙無極悲憤交加的一年。趙無極於1988年與第三任妻子梵思娃合力撰寫的法文自傳裡，第一句話就是提到他

西瑪波《聖母與天使圖》現藏於巴黎羅浮宮 Cenni di pepo, called Cimabue The Virgin and Child Enthroned and Surrounded by Angels 1270, oil on wood, 168x110 1/4 in (427x280 cm) Collection Musée du Louvre, Paris

漸坦然以對，朝向「澹然無極」的中國老莊思想核心精神。

WOU-KI WITH PHILOSOPHICAL THINKING OF LAO ZI AND ZHUANG ZI In the 20th century, two painting masters appeared in Chinese art circles. One was called "Buddhist artist" and the other was called "Taoist painter". The former refers to the Chinese painting master Chang Daichien and the latter refers to the painting master Zao Wou-ki. Although Chang Daichien was a monk at youth, the theme he created was sometimes linked with Buddhist art, but now we have no intent on investigating the essence of their religious beliefs. In fact, the so-called "Buddhist artist" and "Taoism painter" were derived by an anecdote when two masters once met, they just amused each other with the other party's "name". The phrases of "Dachien" and "Wou-ki" in Chinese are indeed rich in philosophical meaning. Here, we would like to introduce the creative painting master, Zao Wou-ki, who has philosophical thinking of Lao Zi and Zhuang Zi.

to enrich the creativity. Chinese literati in the ancient time got the philosophy from visiting the mountains and rivers. Modern artists can naturally find the good materials to excite inspiration by visiting museum and sightseeing scenic spots around the world. In 1951, Zao Wou-ki traveled to Bern, Switzerland, and he discovered Paul Klee's paintings first time in an exhibition. Paul Klee's paintings expressed the inner world by analogous calligraphic symbols, which fitted closed with the artist's mind. Inspired by Klee, who deeply influenced by Chinese calligraphy and Arabic text, Zao Wouki's paintings no longer show motionless objects, nor flowers exist. He has turned to imaginable symbols and unreadable handwriting. Zao Wou-ki has found another level of western painting and entered the "poetical" free world.

The phrase, Wou-ki, was specially granted by the artist's grandfather, who was a believer of Taoism, as the given name of the artist. "Wou-ki" means the primordial state of the universe. It is the primeval chaos and is believed that was the stage before earth and sky were formed. Zhang Heng, an astronomer in Eastern Han Dynasty, had once put forward the concept of the infinite universe with the saying that "Yu represents Wou-ki, zhou symbolizes Taichi." The study of philosophical thinking of infinite universe has gradually become the artistic value abided by Zao Wou-ki in his life. All his paintings have been signed with two ancient Chinese characters, Wou-ki, showing that he is always thinking about his own cultural origin.

FREEDOM OF THE CREATIVE PRACTICE

REDISCOVER CHINA Zao Wou-ki once said: "Picasso taught us how to draw a Picasso, Cézanne taught me how to appreciate the essence of our Chinese paintings." He meant that the appreciation of Picasso's paintings couldn't get much room for inspiration, but for Cézanne, particularly when admiring the "Mont Sainte Victoire", "The undifferentiated hues between the mountains and the sky are strikingly similar to that in classical Chinese ink paintings." Zao Wou-ki thinks that travel is the best way

Alain Jouffroy, a French poet and art critic, made a comment in the "Art" magazine, "Zao Wou-ki's work shows clearly how the Chinese vision of universe, where blurredness and faraway backgrounds mirror, rather than the scenery gazed at, a contemplative mind, has become a universal modern one. Men as different as Paul Klee, Mark Tobey or Henri Michaux also resort to it." The world outlook of Chinese people and the philosophy of Taoist thinking based on Lao Zi and Zhuang Zi have hidden in Zao Wou-ki's delicate mentality, and penetrated into his paintings. The symbols and lines under Zao Wou-ki's brush have presented pleasant and liberated feelings. Inspired by the picturesque Chinese inscriptions on oracle bone and ancient bronze objects, Zao Wou-ki had reveled in the culture of his motherland for a period. However, besides the serious emotional hurt, the impact of Klee brought no small burden on him later on, and he almost banished himself at a time. Afterward, he simply abandoned all symbols and image. "Every cloud has a silver lining." After twists and turns, he started to search for broad space. The magnificent mountains and gorgeous rivers are waiting for him. Since 1958, Zao Wouki's paintings no longer have ahe title, and only the date of completion was noted on the back of the painting canvas.

北宋畫家范寬《谿山行旅圖》絹本淺設色畫軸，206.3 x 103.3 cm 現藏於台北國立故宮博物院 FAN K'uan, Travelers Among Mountains and Streams Hanging scroll, ink and light colors on silk 206.3 x 103.3 cm Collection National Palace Museum, Taipei

Zao Wou-ki found love again in Hong Kong and his second beautiful wife, May, was a film star. When they came back to Paris, they moved into a new house and a large studio, where had especially been the haven for isolating his soul from the outside. At that time, he was moving toward the new prime of his artistic achievement. For the period spanning 1960 to 1970, Zao channeled all his energy towards painting. As written in his autobiography, he took on these 10 years like a speeding Porsche. He was racing against time to present his newfound thoughts. Driven by love, he worked fervently. Looking back, he felt a sense of gratification and achievement, having advanced his works into the matured stage. In 1960, he participated in the Venice Biennale, and in 1964, he held the first retrospective solo exhibition. With the

background in "1.12.68" with dark ochreous brushwork tossing and entangling, a golden and white brilliancy mildly infiltrated in the space of the picture, forming a balance of contrast with the vibration and producing a large momentum and tension.

help of Galerie de France in Paris and Kootz Gallery in the United States, the annual exhibition of Zao Wou-ki was held continuously in Europe and the United States. His exhibition had high visibility and was widely welcomed by most people. The size of his paintings also got bigger and bigger with his self-confidence. The rich creativity of Zao Wou-ki made him reach another high peak in 1960s. Zao Wouki said in an interview, "Most people are subject only to one kind of tradition, but I subordinated to both traditions." It shows that he was influenced by dual relationship of Chinese traditional culture and western art. He spoke of the influence on him by Paris more than once. Paris makes him become a true artist, and with the maturing of thinking, he gradually rediscovered China. In turn, China was reflected in his paintings. However, this has to be attributed to Paris. If he had not studied in Europe, not in Paris, a city with comprehensive humanism and culture, he would have not showed his art features as today. Undoubtedly, his paintings have blended with the essence of Chinese and the western arts. "(He) has combined the affection of France with the space perception of the Far East." (Japanese art historian Shuji Takashina stated.) But in the 1960s, his works had intensified brushwork and the sense of movement, and his heart was filled with complicated emotional entanglement, due to his wife who suffered from depression. Many art critics believe that the death of his wife, May, in 1972, had become the demarcation of Zao Wou-ki's paintings. He picked up the driving force from ink painting later on. It can be said that Zao Wou-ki's oil paintings turned to gorgeous color after 1970s, focusing on the light sense in the painting. Take "1.12.68" (13.2.77) as example to comment the classical style of Zao Wou-ki From the subject of the works "1.12.68" (13.2.77), this is a painting completed on December 1, 1968, and added some strokes on February 13, 1977. Two dates can be seen occasionally in Zao Wou-ki's works. 1968 is the prime for the artist, vigorous and cheerful with creativity. Especially, when this painting was selected for grand retrospective exhibition at Palais des BeauxArts, Charleroi in Belgium, it is beyond

From the layout of painting, Zao Wou-ki adopted vertical scroll as Chinese landscape painting for his works of "1.12.68", rather than the banner as often adopted in west for natural scenery. The vertical structure composes a lofty and far-reaching realm, which is a Chinese world outlook and space concept. However, having been living in Paris for long period, Zao Wou-ki has been also impacted by western heritage aesthetic thinking. He ingeniously put unique light of the west into his creation. 保羅．克利《魚兒上鉤》 1920，油彩水彩紙本，31 x 32.5 cm 倫敦泰德美術館藏 Paul Klee, They're Biting 1920, drawing and oil on paper, 31 x 32.5 cm Collection of Tate Gallery, London

description that the artist or the represented Galerie Fra, as well as the works, is strong and significant. However, 1968 was also the year that the grief and indignation filled up Zao Wouki. The first sentence in his autobiography jointly written by his third wife, Françoise, in French in 1988 mentioned his father, "Mon père est mort en 1968, en pleine Révolution culturelle." Zao Wou-ki has been recognized in the foreign land for many years since before 1968, but he could not be able to return hometown to visit his parents smoothly, because of major historical turning in China since 1949. Zao Wou-ki didn't get the visa until 1972, and he returned to the hometown he left 24 years ago. The deep regret for his father was lasted to 1985 and was slightly relieved, when Zao Wou-ki came back to his alma mater to give lecture in Hangzhou. Perhaps, it was because of the grief for the loss of his beloved father and the torture by the serious illness of his wife, a fierce uncontrollable emotion could be seen in his works of "1.12.68", just as it appeared in his other works of this period with same ponderous momentum. The large red

The magnificent and brilliant performance, as well as the mysterious and splendid colors and fantasy space expressed in the works of "1.12.68", this painting had once been supported by Galerie de France and sent to Palais des Beaux-Arts, Charleroi in Belgium for exhibition. Later, it was purchased by Aix Gallery in Stockholm as a collection. Zao Wou-ki's artistic influence has transcended borders. The art institutions and collectors, who are fond of collecting his works, are around the world. Zao Wou-ki got the Japan Royal Award, "Praemium Imperial Award of Painting from Emperor Akihito and Empress Michiko"(1994), and the highest honor for a member of Académie des Beaux Arts (2002) many years ago. In the developing history of abstract art in China, Zao Wou-ki has already been honored as a pioneer, playing an important role in this field. Perhaps in the course of artistic career, Zao Wou-ki could be considered lucky, but at the same time, in the course of his life, he has experienced numerous misfortunes. He has sturdily overcome a lot of difficulties and emotional turmoil. He has expressed all the heartfelt emotions and touches in his paintings. After experienced the vicissitudes of life, the artist is gradually getting unperturbed and moving toward "primordial serenity", which is the ideological core spirit of Lao Zi and Zhuang Zi in China, and entering a far-reaching painting world, roaming with freedom and leisure.

233

ZAO Wou-ki (Chinese-French, 1920 - 2013)

25.5.2001 2001 Oil on canvas 146 x 114 cm Signed on the lower right Wou-ki in Chinese, ZAO in French Signed on the revesse ZAO Wou-ki in French, titled 25. 5. 2001 and inscribed 146cm X 114cm (PAV) EXHIBITED:

ZAO Wou-ki Exhibition, Marlborough gallery, New Youk, USA, April 30-May 24, 2003 ILLUSTRATED:

ZAO Wou-ki Marlbrough gallery, New York, 2003, p17 PROVENANCE:

Marlbrough gallery, New York, USA Private collection, Asia

NT$ 40,000,000-60,000,000 HK$ 10,204,000-15,306,000 US$ 1,302,900-1,954,400 RMB 8,772,000-13,158,000

趙無極 25.5.2001 2001 油彩畫布 146 x 114 cm 簽名右下：無極 ZAO 簽名畫背：ZAO Wou-ki 25. 5. 2001 146cm X114cm (PAV) 展覽：

「趙無極近作展」，馬爾伯勒畫廊，紐約，美國展出日期2003年４月30日至5月24日圖錄：

《趙無極近作展》，馬爾伯勒畫廊，紐約，美國， 2003 ，彩色圖版，頁117 來源：

馬爾伯勒畫廊，紐約，美國私人收藏，亞洲

ZAO WOU-KI 25.5.2001 趙無極

「抽象常被誤解為趙無極繪畫中的特色，可以更精確地說，其圖像巧妙地捕捉了自然和抽象空間。有時，輕盈地遊走在回憶中國山水圖式的邊緣（如作品《12.12.2000》或《19.01.2001》）。基於對中國美學的認知，他從自身的經驗畫出繪畫的世界，而他所召喚的世界絕對無法和他分割開來。因此，閱讀他的繪畫可以從兩個角度，一是生命經驗召喚的大宇宙環境，另一則是深層私密情感的圖誌。」（摘譯自強納森·杰，〈趙無極，近來〉一文，《趙無極近作展》目錄，瑪勃洛畫廊，紐約，2003，頁7〉

在趙無極的觀念中，借助於繪畫來表達的想法是難以通過語言加以轉

術形式的創造中伴隨著隨心所欲的自我體驗。在他那裡，自由的精神

述的。1959年之後，他便很少為自己的畫作命名，而以作品的完成日

維度追尋不在別處，卻恰恰是在各種顏色的紛亂混雜中，在剛勁筆鋒

期編號或者"無題"作為作品名稱。這不僅由於語言在視覺面前的蒼白

的重迭交錯中。）

無力，更在於明確的語言能指往往會令人陷入對於現實事物的過多聯想。

趙無極的近期作品，和早期充滿火力的作品有極大的變化，改以滲透性、輕盈的顏色，創造畫面的迷濛美感，有時還會採用高色調色彩，

在此幅《25.5.2001》一作中如同西湖垂柳的江南景致，畫家自認不是

洋溢著青春氣息。1970年代轉入水墨畫的嘗試，賦予趙無極晚期作

說故事的人，他的繪畫比較接近詩的意境。但是或許在不經意之間，

品更多的豐富性，他從「墨」之中看到無限的色彩變化，空間的自由

已把青春時期的記憶、內在最濃郁的鄉愁，悄然地投射在繪畫裡面。

寬廣。別人服膺於一個傳統，「服膺於兩個傳統」的趙無極，在晚期

與此前盡情揮灑的純然抽象繪畫頗有不同，顯示出他在晚年對於物象

的繪畫表現更加從容、自在，所欲發抒的情感在畫面中擴張開來。

的重新觀照。藝術家在畫中利用諸多中國水墨式線條的頓挫、綻放、

「即使是小畫，趙無極的水墨畫能召喚宇宙的維度，回到油畫，彷彿

流溢，凝練出兩株小樹的翩躚舞動、綽約有姿，飽含著生意盎然的動

無法阻擋地，畫家運用的尺寸愈來愈大，此乃後期作品特有的一種啟

態之勢。人們在畫家營造的朦朧印象中難以厘定樹木的明確造型，這

發。」（參閱程抱一，〈在那裡東方與西方〉，《趙無極》，網球場

為觀者留下了廣袤的想像空間。（畫面色彩主體呈現為黃、綠、橘、

國家畫廊，巴黎，2003，頁21）因此，在近期趙無極的作品可見較年

粉色基調上的融合貫通、縱橫交錯，其中演繹著生命的歡快節奏，卻

輕時期更大的連作或巨幅作品，色彩的選擇也更青春舒緩。顯現了在

不至過分流于濃烈、豔麗，依然保有色彩的純淨清逸、柔美淡雅。畫

千禧年之後畫家的新境界，他不僅是二十世紀的趙無極，也是新世紀

中情境不僅作為趙無極暮年之時清靜怡然心緒的視覺顯現，其本身也

的趙無極，在繪畫之路他持續有創造力，自在從容令人驚艷。

標示出藝術家于雄渾浩瀚的大幅抽象畫之外，始終如一地堅持在其藝

"Abstraction is somewhat misleading as a description of Zao's paintings; it would be more accurate to say that their image field hovers between nature and abstraction, once in a while slipping over the edge into the reminiscence of a Chinese landscape schema (12.12.2000, for example, or 19.10.2001). Faithful to a fundamental Chinese aesthetic assumption, he paints an experience of the world in which he himself is implicated; the world he summons up is never entirely separate from him. For this reason his paintings can always be read in two directions, either as evocations of the macrocosmic environments of experience or as articulations of a deeply private emotional topography." Jonathan Hay. Zao Wou-ki, Lately. (2003). Catalogue of the exhibition Zao Wou-Ki: Recent Works at Marlborough Gallery, New York. p.7.

As far as Zao Wou-ki is concerned, the ideas expressed via painting are difficult to verbalize. Since 1959, therefore, he had rarely named his works, but instead titled them with the date of their completion or just "untitled". For him, this is not only because words appear colorless and powerless for the eyes, but also because explicit verbal signifiers tend to ascribe excessive associations to real objects.

than magnificent large-scale abstract paintings. For him, he needed to look no further than the intricate blend of myriad colors or the sophisticated weave of vigorous strokes, to find the spiritual dimension of freedom. Zao Wou-ki's later works saw a dramatic shift from his early exuberant works. He began to use translucent, airy colors to bring forth gauzier beauty, or occasionally infuse the canvas with a youthful aura using highkey colors. Zao's experiment with ink paintings in the 1970s inspired greater richness in his late-period works. He found in "ink" infinite changes in color as well as immense freedom in space. While others confined themselves to one single tradition, Zao straddled two, placid and poised, liberating his feelings onto the canvas. "Zao Wou-ki's ink paintings, even small ones, are able to evoke the entire universe. Back to oil paintings, he, as if unstoppable, turns to larger and larger canvases. Such inspiration is unique to Zao's late-period works." (See François Cheng, East and West There,

The painting "25.5.2001" features such Jiangnan scenery as hanging willows by the West Lake. Though Zao considered his paintings more poetic than narrative, he, unwittingly perhaps, sneaked his youth memories as well as his most intense nostalgic feelings within into his works. Fairly different from the unrestrained pure abstract paintings in the past, this painting reveals Zao's new perspective on the world during his later years. Quite a few accentuated, blooming and exuding Chinese ink-wash strokes were employed to create the fluid, graceful and vivacious dynamic posture of two dainty trees. The shape of the trees remains ambiguous (2003), Zao Wou-Ki, catalogue of the exhibition at amidst the intended vagueness, leaving the Galerie nationale du Jeu de Paume, Paris, p. 21.) most of the details to viewers' imagination. With yellow, green, orange and pink folding Therefore, in comparison with those created over and into each other, the painting gives in his youth, amongst Zao's late works are forth a jolly rhythm of life. The colors, rather larger paintings or painting series with more than appearing unpleasantly intense or youthful and soothing color choices. This 郭熙《早春圖》1072 台北國立故宮博物院收藏 garish, retain pure and elegant qualities. manifests his expansion into new realms after The scene depicted in the painting serves the millennium. Zao Wou-ki, a significant icon as a visual display of Zao's tranquil and blissful mind in his twilight of both the 20th and 21st centuries, continues to amaze the world years. Moreover, the painting per se signifies his consistent with his creativity and poise in painting. spontaneous self-exploration amidst his creation of artworks other

234

Yun GEE (Chinese-American, 1906 - 1963)

One Who Loves Himself 1929 Oil on linen 51 x 38 cm Signed lower right Yun Gee in Pinyin, inscribed in Chinese ILLUSTRATED:

Joyce Brodsky, Experiences of Passage: The Paintings of Yun Gee and Li-Lan, University of Washington Press, 2008, p. 30, p. 74

NT$ 18,000,000-24,000,000 HK$ 4,592,000-6,122,000 US$ 586,300-781,800 RMB 3,947,000-5,263,000

朱沅芷自愛 1929 油彩細麻布 51 x 38 cm 簽名右下：Yun Gee 藍五洲芷沅圖錄：喬伊斯•布羅茨基《行旅生涯：朱沅芷與朱禮銀之繪畫》，華盛頓大學出版社，2008年，頁30，頁74

朱沅芷《大師借助於兩個太陽探討道德》1929 墨紙本私人收藏 YUN GEE, Le maitre etudie sa morale a l'aide de ses deux soleils 1929,ink on paper, private collection

YUN GEE ONE WHO LOVES HIMSELF

東學西漸，一境風華朱沅芷璀璨之東方美學

「在巴黎，新世界與舊世界合而為一。當我在羅浮宮名作前流連和暢遊教堂和古代聖蹟之際，那是多麼美好愜意的時光阿。這是巴黎，一個永恆不朽的文化重鎮，給了我新穎的美感。」 — 朱沅芷 1944

身為藝術家、詩人亦熱愛戲劇與舞蹈的朱沅芷才華橫溢以其跨文化的藝術語言，獨特的現代風格譜寫仍輝煌至今的藝術之境。身為二十世紀初中國第一批留學海外之藝術家，他的一生行疆廣闊，從廣州至舊金山至巴黎再至紐約，這種跨地域的歷練造就朱沅芷獨樹一幟的現代主義藝術，豐富的生活經歷及世界性的襟懷，凝練成熟且國際化的藝術語言，為中國藝術史上旅美之先驅。綜觀朱沅芷的藝術歷程，可分為「舊金山共色時期」、「巴黎抒情時期」與「紐約工業時期」。生於東方，成長於美國，兩度闖蕩巴黎，朱沅芷以自身深厚東方文化底蘊致力參與當時西方國際現代藝術運動。他於1927年受到法國穆哈特王子與王妃夫婦的引薦第一次前往巴黎，巴黎豐沛的藝術養分及時代風華深深吸引著朱沅芷。此時期除了以往歐菲斯主義和共色主義影響外，朱沅芷更收到當時巴黎藝壇的主流影響，有著塞尚般色彩薄疊鋪陳、回歸心性的內省精神更反映出一種東方詩意情懷。受到歐洲文化交融影響，朱沅芷試圖藉由西方藝術形式會通東方哲思，並於作品中融入更多的東方文化底蘊，強調如書法般律動般的線條，顯示藝術家已從舊金山時期的幾何結構表現漸漸轉為曲線結構，而此種曲線結構的嘗試最早可從《自愛》體現出來。

「畫中一隻口啣摺扇的鶴站在一個像是地球儀的圓形物體上，面對著一個穿著長袍之傳統服裝的男人。此畫與道家觀念有關，在表達道家養生延壽的觀念，如畫名所指。鶴在道家傳統中為長壽的象微。」此幅《自愛》完整呈現中國道家思想精萃，長壽之仙鶴卓立於宇宙間，右側穿長袍的老人正與其談論，釋義宇宙的真理，背景以抽象色塊呈現，線條的律動為此作品之根本，鶴脖子的S 型與男人左袖的曲線相呼應，抒情線條律動亦是朱沅芷巴黎時期風格的最大主軸。「東方和西方有極相似之處，相去不遠。」為朱沅芷於巴黎時期欲表述之理念。此幅《自愛》最值得重視的獨特之處為右下角「藍五洲芷沅」簽名，五洲有如橫越地球上五大洲亦體現出他藝術創作中獨特的世界觀。朱沅芷的創作已超越了時代的限制，幾經文化流轉，他將心靈悸動下的時代歷練把東方與西方獨有的繪畫特質做了巧妙的精粹。側重個人文化底蘊的展現，對生命價值思考的呈現，體現了人與物並呼應了東方精神的宇宙觀。朱沅芷以東方哲理之詩意及富東方情調的藝術語言綻放出跨時代之璀璨風華。

TRANSMISSION OF EAST TO WEST, ONE MAGNIFICENT VIEW YUN GEE'S EASTERN AESTHETICS

"Here in Paris, the new world was combined with the old. What glorious days I spent roaming through the Louvre, viewing the masterpieces, and passing before the cathedrals and the ancient shrines. This was Paris, the seat of an undying, eternal culture and it created fresh inspiration in me." - Yun GEE, 1944

As an artist, a poet and a fan of drama and dance, Yun Gee's talents are full of artistic styles, cross-cultural artistic language and unique modern style. As the first Chinese artist to study abroad in the early 20th century, his life spans from Guangzhou to San Francisco to Paris and then to New York, this inter-regional experience has created Yun Gee's unique modernist art and rich life experience. With a global mindset, a mature and internationalized artistic language he is a pioneer in the history of Chinese art. Yun Gee's artistic journey can be divided into the "San Francisco Orphism Period", the "Parisian Lyrical Period" and the "New York Industrial Period". Born in the East and raised in the United States with two stints in Paris, Gee, with his rich eastern cultural heritage, was deeply involved in the Western International Modern Art Movement. In 1927, he was first introduced to Paris by the French Prince and Princess Achille Murat. The rich artistic inspiration and the style of Paris were extremely attractive to him. In addition to the influences of Orphism and cocolorism in the past, Yun Gee was influenced by the Parisian art scene of that time. The introspective spirit of CĂŠzanne-like color as well as returning to the core reflected a sort of eastern poetic sentiment. Influenced by the blending of European cultures, Gee tried to use the Western art form as a way to interpret oriental philosophy and incorporate more Eastern cultural heritage into his works, emphasizing rhythmic lines like that of calligraphy while showing the artist's geometric structure from the San Francisco period. Gradually this evolved into into a curved structure, and the attempt of this kind of curve structure to be reflected from his earliest work "One Who Loves Himself".

"In the painting a crane with a fan in its mouth stands on a circular object like a globe, facing a man in a traditional costume wearing a robe. This painting is related to Taoist philosophy and expresses the concept of Taoist longevity. According to the name of the painting, the crane is a symbol of long life in the Taoist tradition." "One Who Loves Himself" presents the essence of Chinese Taoist thought. The longevity of the crane standing in the universe, the old man wearing a robe on the right talking with him, explaining the truth of the universe. The background is presented in abstract color blocks. The rhythmic lines form the basis of this piece. The S-shaped curve of the crane's neck echoes the curve of the man's left sleeve, and the rhythm of the lyrical lines comprise the most notable element of Gee's Parisian style. "The East and the West have many similarities, they are not dissimilar." It is the idea that Yun Gee wanted to express in Paris. The most noteworthy feature of "One Who Loves Himself" is the signature of the "Blue Wuzhou" (five continents) in the lower right corner. The five continents are like the five continents on the earth and also reflect the unique world view of his artistic creation. Yun Gee's creation has transcended the limits of the times. After several cultural exchanges, he created the ingenuity of the unique characteristics of East and the West. Focusing on the expression of personal cultural heritage, the presentation of the value of life reflects the cosmology of the spirit of the East as well as human spirit. With the poetry of Eastern philosophy and the artistry of oriental flavor, Gee has blossomed across the times.

235

Wang Yan Cheng (Chinese, b. 1960)

Untitled 2014 Oil on canvas 150 x 150 cm Signed lower right Wang Yan Cheng in English, Chinese and dated 2014 EXHIBITED:

Painting by Wang Yan - Cheng, National Museum of History, Taipei, December 2 - December 24, 2014 ILLUSTRATED:

Painting by Wang Yan - Chen, National Museum of History, Taipei, 2014

NT$ 18,000,000-24,000,000 HK$ 4,592,000-6,122,000 US$ 586,300-781,800 RMB 3,947,000-5,263,000

王衍成無題 2014 油彩畫布 150 x 150 cm 簽名右下：Wang Yan Cheng 王衍成 2014 展覽：

「王衍成畫展」，國立歷史博物館，台北，展期2014年12月2日至12月24日圖錄：

《王衍成畫展》，國立歷史博物館，台北，2014

WANG YAN CHENG UNTITLED 王衍成

「我時時刻刻跟繪畫在談著戀愛，安排一切，每一個顏色，每一個牽動的符號，都在拉動著我的心弦，跟畫面我能夠說話，不是為了畫畫而畫畫，它是我生命的一部分。」 ─ 王衍成

抒情抽象的飄渺之美王衍成畢業於山東藝術學院，接受西方繪畫的正統訓練，領悟到西方藝術的表現技法可以開拓中國繪畫的侷限。他認為藝術要不斷求新求變，最終擺脫具象的限制，開創抒情抽象的格局。他去過馬德里及倫敦等地，仔細觀察提香、林布蘭及普桑的畫作，從中認識自己的藝術語言，在傳統基礎上重構中西合璧。1989年王衍成前往巴黎，探索並實驗藝術新天地的自由。他欣賞塞尚和畢卡索，並從中獲得啟發，重新闡釋空間並運用光影明暗，傳達畫家眼中獨特的感受和真實。他領悟到象徵、色彩、光影對比，甚至是留白，都有助畫家傳達情緒和感受，像是馬修及史奈德等戰後的巴黎藝術家，都成功結合了抒情意象及自然風景，在本件拍品中，就可以明顯看出這些藝術家影響夢境般的構圖展現輕盈流動的氣氛。畫作的筆觸既細心又大膽，既溫柔又堅強，技精巧又自在，邀請觀者走進王衍成的主觀想像世界。王衍成在其藝術生涯中，持續探索色彩變換的相互關係，以及其對觀畫者的視覺感受。他明白記憶與直覺是觸發畫筆流動的關鍵，因此運用層疊塗抹的技法和瑰麗對比的顏色來表現個人感受。此幅《無題》便展現了這種技法：他刮去油彩再重新塗上，不停重覆後的筆觸深度明顯可見。他巧妙運用色彩的爆發，傳達光線的明亮，自閃爍的黑暗中浮現琥珀紅、亮橘、黃及棕與黑等色調，讓畫面構圖充滿能量。畫作捕捉了時光凍結的一瞬間，其中的線條或連接或破碎，或平順或崎嶇，或輕或重，宛如海市蜃樓一般，抽象大勢中隱約顯現具象的自然痕跡。

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" I am in love with painting in every minute and every moment. I arrange all the things, every color, every tugging action, and every sequent symbol. All of them are touching in my heart, talking to my sake of painting; it's a part of my life." â&#x20AC;&#x201C; Wang Yan Cheng

THE ETHEREAL BEAUTY OF LYRICAL ABSTRACTION Wang Yan Cheng graduated from the Shandong Fine Arts Academy where he studied extensively about the orthodox of Western paintings and discovered that this means of artistic expression renew the limits of the traditions of Chinese painting. Wang's artistic approach induces him to constantly renew and reinterpret that ultimately leads him to abandon the constraints of figurative art and engages in his interpretation of lyrical abstraction. When he traveled to Madrid, London and other places, he analyzed and observed many of Titian, Rembrandt and Poussin's works and understood that his artistic language stems from the basis of traditional arts, coupled with a reconstruction of Western techniques and Chinese traditions. Wang's visit to Paris in 1989 further enriches his experiences as a painter and inspired him in many ways. In this period, he fully explored and experimented with this newfound artistic freedom. Wang's admiration for CĂŠzanne and Picasso gave him many inspirations in this regard, inspiring him to reinterpret form through space, where areas of light and contrast of the composition is deliberately utilized to convey a sensual reality that is uniquely of the artist's experiences. He reasoned that elements such as symbols, colors, areas of light and contrast and most importantly the void have the aggregate effect of transpiring the sentiments and immediate emotions of the painter. Other established artists including Georges Mathieu and Gerard Schneider were important contributors to the art scene in post-war Paris, harmoniously

combining lyrical imagery and naturalistic landscapes in their artistic productions. In reference to the present lot, the dreamy composition exhibits an air of flowing lightness. The brushstrokes are meticulous and bold, soft and strong, delicate and free flowing of great visual appeal, enticing the viewer to enter into Wang's subjective imaginative realm. Wang continued to explore the physical properties and relationship of colors change and their impact on the viewer's vision throughout his artistic career. He understands that an artist's memory and intuition trigger the rhythmic movements of his brush, shown through his mastery in utilization of color overlay and highlights in contrasting rich colors where each layer of paint is further complimented by the next brushstroke. Sans Titre illuminates the case in point as he scraped, reapplied, layerby-layer of continuous and repeated brushstrokes connotative of depths. He magnificently portrays bursts of color that is connotative of light as it emerges from the flickering areas of darkness in tones of amber red, orange, ocher, brown and black, adding a sense of energetic dimension to the overall composition. In essence, the present lot captivated a frozen moment in time through lines that appear connected and broken, smooth and textured, light and heavy like a mirage where the figurative elements emerges and disappears through Wang's approach in lyrical abstraction.

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LIU Haisu

劉海粟

(Chinese, 1896 - 1994)

黃山圖

Yellow Mountain

1988 - 1989

1988 - 1989 Ink and color on paper 143.5 x 365 cm With eight seals of the artist

鈐印左上：藝術畔志(白文)、海粟潑墨(朱文)、曾經滄海(朱文)

PROVENANCE:

Collection of Mr. Zhou Yunjian, Brazil

NT$ 9,500,000-13,000,000 HK$ 2,423,000-3,316,000 US$ 309,400-423,500 RMB 2,083,000-2,851,000

水墨設色紙本 143.5 x 365 cm 鈐印中：靜遠堂(朱文) 鈐印左下：宏約深美(白文)、昔吾師黃山今作黃山友(白文) 鈐印右上：心跡雙清(白文) 鈐印右下：橫掃千軍(白文) 釋文：

天都臉上雲紗繞，蓮花聳若蟠然老。嶺上展金箋，墨潮隨興添。香風吹短笛，耳畔松濤急。山畫兩蒼蒼，鐵崖老更剛，菩薩蠻款識：

戊辰秋十上黃山寫，劉海粟九十三歲來源:

周雲鑑先生舊藏，巴西

LIU HAISU YELLOW MOUNTAIN FROM THE COLLECTION OF MR. ZHOU YUNJIAN

黃山圖 (周雲鑒先生舊藏)

周雲鑒先生是著名的巴西愛國華僑，亦是非常成功的商人和書畫鑑賞

彩墨作品《黃山圖》，即是畫家在這個時期進行彩墨藝術探索的代表

家。尤其喜愛收藏近現代書畫。其回國期間與啟功、趙朴初、黃胄、

例證。畫面中群峰聳立，層層疊嶂，氣勢撼人，雲霧蒸騰，似仙境一

吳作人、劉海粟、黃永玉等書畫大家結交，並成為好友。因此其所藏

般令折服於大自然的天作之功和造化之力。遠處山巒之影，以朱砂相

大部分為書畫家饋贈之佳作。此幅《黃山圖》為周雲鑒先生舊藏。

敷，漸近石峰以水墨加以潑彩，在彩墨的自由滲化之間，施以多次積

蒼雄之筆墨，騰雲紗繞上天都

墨，並以石青渲染其中。前景的神奇蒼松，依託遒勁筆線勾勒而成。大片的墨色與水交合，在宣紙上留下了豐富的肌理效果。留白和著色

自1970年代之後，劉海粟在深入研究繼承「骨法用筆」的基礎上，

的面積對比，使得紅與藍的色彩聯繫既強烈又入調，達到了沈穩厚重

在荷花和黃山的題材的潑彩畫方面進行了大膽的嘗試。同時他對馬蒂

而靈動飄逸的高古境界。

斯、塞尚、梵谷、雷諾瓦、莫內等西方現代藝術的研究和借鑒，在晚年落實到他的潑彩山水與荷花、紅梅上。他的作品中，色墨交融，而

劉海粟最愛黃山，一生最重要的作品多以黃山為題。他曾十度登黃

在水、墨、色的潑瀉中傳達他的激情與浪漫。這種突變，使得文人畫

山，1988年時因此於上海美術館舉辦「十上黃山」畫展。他曾說：

傳統觀念中的「以墨為主，以色為輔」意思得以別開生面。劉海粟的

「黃山真美，是天然的雕塑博物館。黃山的風景，百看不厭，越看越

彩墨之變的重要物件，選擇了風光無限的黃山，並以黃山作為典型的

有味。靜中有動，動中有靜，奇峰、怪石、松樹是靜的，一陣煙雲

藝術表現題材，幻化出場面宏闊和氣勢恢弘的山水畫面。劉海粟運用

來變幻無窮，頓時就都活起來。黃山的氣勢大，黃山有堅貞不屈的毅

中國畫筆法與自然山川的比較，描繪「黃岳雄姿」的畫壇佳話。

力，黃山有深邃莫測的魔力。我每次來，每次都有新的認識，有畫不完的畫。黃山是我的老師，他的美誘發了我的靈感，使我創造了很多藝術作品。在我的眼裡，變幻的煙雲，在光的作用下，就像墨和彩潑在白紙上一樣，我的潑墨潑彩新畫法就是黃山教我的。」

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Zhou Yunjian is a Chinese patriot who lives in Brazil. He is also a

a powerful force resulting from the creation of nature. This work

successful businessman and a connoisseur of Chinese ink painting

is so breathtaking. Shadows of mountains are made by using the

and calligraphy. During his time returning to China, he met and

mercury ore called cinnabar. The rocky mountains in the foreground

befriended several Chinese ink painting masters including Qi Gong,

are made by using water and ink and splash-colour method. With

Zhao Puchu, Huang Zhou, Wu Zuoren, Liu Haisu and Huang Yongyu,

coloured ink's free permeation, the painter applies many layers of

hence Zhou's collections are mainly gifts given by the ink painting

ink and also plays up azurite in this painting. Marvelous pines in the

artists. Liu Haisu's "Yellow Mountain" is Mister Zhou Yunjian's old

front are outlined using forceful brush strokes. Large patches are

collection. Majestic brush strokes rides the cloud up to the city in

made by combining ink colours with water and thus an effect of rich

heaven

texture is left on the rice paper. The blank areas and coloured areas

From the 1970s, based on his solid foundation of the Bone Method, Liu launched a bold attempt to depict the lotus and Yellow Mountain through the splashing technique of watercolor. In addition, he also

make an interesting contrast. Red and blue connected to each other are strong and also make a good match. Thus an aloof and ancient realm of stable, heavy, spiritual and graceful feeling is achieved

applied his research and studies of modern art, such as the works by

Yellow Mountain was greatly appealing to Liu, and was also his

Matisse, Cézanne, Van Gogh, Renoir and Monet, onto the depiction

favorite theme. Liu visited Yellow Mountain ten times. In 1988,

of landscapes, lotus and red plums in his later years. Color and ink

he even held a show titled "Ten Visits to Yellow Mountain" at the

appear in perfect harmony in his art. Water, ink and color convey

Shanghai Art Museum. He once said, "Yellow Mountain is a truly

his passion and feelings through the splashing of watercolor. Such

beautiful place and a veritable natural museum of sculpture—I

kind of unexpected change introduces a novelty within a traditional

never grow tired of its scenery. There is stillness in moving things

idea, ink is regarded as the main focus; colour, as a complement

and a sense of movement in still objects. Gorgeous peaks, unusual

in literati paintings. Liu selects attractively scenic Yellow Mountain

stones, and lush pines seem still, but are instantly brought to life as

as a signiﬁcant object in his colour-ink changes and also as a topic

a bank of wandering clouds rolls in. Yellow Mountain is magnificent

conveying his artistic feeling-thus transforming the mountain into

and steadfast. Yellow Mountain has an almost indescribable aura of

a landscape with vast and magnificent scenery. Liu uses Chinese

mystery surrounding it. Each time I visit, I am inspired in a different

painting skills and comparison in portraying mountains and rivers,

way. The subject matter for painting scenes of Yellow Mountain is

and he connects tradition to actual life.

inexhaustible. Yellow Mountain is my teacher, and its beauty inspires

In his coloured-ink work, Yellow Mountain, sea of clouds and mountains are toweringly erected and magnificently overlapping. Their imposing manner is thrilling and vibrating. Clouds and mists ﬂoat among them. Looking like a fairy land, this picture represents

me to create many artistic works. When I gaze out at the everchanging clouds and interplay of light at Yellow Mountain, I see ink and color splashing across white paper. Yellow Mountain taught me the splashing ink and color painting method."

知名書法家啟功先生與書畫鑑賞家周雲鑑先生於1991年4月30日合影 Mr. QiGong and Mr. Zhou Yunjian, a connoisseur of calligraphy and painting, potographed together on April 30, 1991.

人民代表大會常務委員會副委員長廖承志先生會見巴西台灣同胞觀光團團長周雲鑑先生於1983年4月18日合影於人民大會堂 Vice Chairperson Liao, Chengzhi of standing committee of the National People's Congress with Mr. Zhou Yunjian, head of the Taiwan Compatriots Tour Group. Photographed here at the Great Hall of the People on April 18, 1983.

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CHEN Cheng-po (Taiwanese, 1895 - 1947)

Tai Lake 1934 Oil on canvas 38 x 45.5 cm Signed lower right Cheng-po and dated 1934 in Chinese PROVENANCE:

Private collection, Asia

NT$ 9,500,000-13,000,000 HK$ 2,423,000-3,316,000 US$ 309,400-423,500 RMB 2,083,000-2,851,000

陳澄波太湖 1934 油彩畫布 38 x 45.5 cm 簽名右下：澄波一九三四來源：

私人收藏，亞洲

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CHEN CHENG-PO TAI LAKE 陳澄波

陳澄波與友人於太湖寫生 CHEN Cheng-po sketched by Tai Lake with friends

此幅作品畫面的右下方有「澄波」落款及「三四」題識，研判是陳澄

其中《清流》曾於1931年代表中國參加芝加哥博覽會。可以想見，陳

波創作於1934年的作品，畫作並無標題，就其所描繪的山勢與湖景，

澄波當時對江南風景之熱愛及重視。

類似於1929年的《太湖別墅》以及1931年《五里湖》兩幅油畫作品，因此判斷主要取景的地點應該是江蘇無錫的太湖流域。五里湖，位於無錫西南，狀如葫蘆，亦屬於太湖所延伸出的一座內陸湖泊。相傳春秋時期范蠡與西施曾經泛舟湖上，後人為了紀念范蠡，改稱五里湖為蠡湖。

客居上海五年的時間，教學與創作忙碌，陳澄波以異鄉人身分在十里洋場的畫壇走出一片天地，受到元朝倪雲林及清朝八大山人的畫風啟發，結合中國畫線條的表現力以及西方寫生造型概念，1930年代前後他的油畫創作中融合高古的東方韻味。1932年上海爆發一二八事變，他先將家人遣送回台灣，自己觀望一年後也於1933年6月返台定居。

陳澄波出生於1895年，父親是前清的秀才。陳澄波自幼曾受漢文書房教育。1913年開始受日本水彩畫家石川欽一郎指導，對西洋美術有初步認識，1924年考進東京美術學校師範科。他雖然透過日本近代教育接受近代化事物，然其文化根源與生活習慣仍承襲自中國文化，二十世紀初期台灣的知識分子對於中國其實是有所嚮往的，1928年他首次到上海、杭州旅行，此後連續以中國江南風光為素材的作品參加台展及其他畫展，例如錢塘江、蘇州、普陀山、西湖、上海。1929年的《早春》、1931年的《西湖春色》都是以描繪西湖風景入選日本帝展。

回到台灣之後，陳澄波仍難忘情江南美景，翌年1934年他跟就寫生稿或記憶所及，創作有《西湖春色》、《西湖遠眺》、《西湖泛舟》等膾炙人口的作品；此幅《太湖》油畫亦是於類似情況下所作。《太湖》一作描繪太湖流域附近的風光，與上述的《太湖別墅》及《五里湖》構圖相近，擁有傳統的「之字形構圖」的坡岸山勢，結構簡約而有力度，表現粗獷大膽。蓊鬱的綠樹有誇張的圓弧形筆觸，強勁的筆鋒，具有毛筆撇捺揮灑的意味，使畫面呈現奔放不羈的動勢。

1929年陳澄波從東京美術學校畢業，為了成為專業的藝術家，應允中國畫家王濟遠的邀請，前往上海發展，任教於私立新華藝術專科學校，兼任昌明藝術專科學校教師，並在藝苑繪畫研究所社團任教。抵達上海不久後，即獲邀擔任「第一屆全國美術展覽會」的審查員，以描繪西湖風景的《清流》及蘇州風景的《蘇州》兩幅油畫作品參展；

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《太湖》作品仍帶有濃厚的後印象派風格，山景色彩層次分別，極富生命力；近景以墨綠色勾勒樹梢，厚塗的油彩突顯大自然豐富的色階變化：而明亮的藍天與鳥瞰的湖水，光影變化相映成趣，整幅作品顯示藝術家的熱情進取及旺盛生命力的性格，也將1930年代富饒的中國江南水鄉景象盡現無遺。

works in the Taiwan Fine Arts Exhibition and other art exhibitions depicting southern Chinese scenery. For instance, many of his paintings from this period feature the Qiantang River, Suzhou, Mt. Putuo, West Lake, and Shanghai. His 1928 "Early Spring” and 1931 "Spring Scenery at West Lake,” both of which portray the scenery around West Lake, were finalists at Japan’s Imperial Exhibition.

陳澄波《太湖別墅》1929 油彩畫布 91 x 116.5 cm CHEN Cheng-po, Tai Lake Villas, 1929, oil on canvas, 91 x 116.5 cm

The signature "Cheng-po” in the lower right and the inscription "34” suggest that this untitled painting was made by Chen Cheng-po in 1934. The lake and mountain scenery are reminiscent of two of Chen’s oil paintings, namely the 1929 "Tai Lake Villas” and the 1931 "Wuli Lake.” We can therefore assume that the landscapes depicted in Chen’s paintings are around Tai Lake in Wuxi, Jiangsu Province. Located to the southwest of Wuxi, Wuli Lake is shaped like a bottle gourd and is an inland lake that extends from Tai Lake. Legends speak of the statesman Fan Li and the beautiful Hsi Shih rowing on the lake during the Spring and Autumn Period, and subsequent generations called Wuli Lake "Li Lake” in memory of Fan Li.

Chen, whose father had been a scholar in the Qing imperial civil service, was born in 1895 and received an education in Chinese literature and the traditional arts during his formative years. In 1913 at the age of 18, he began receiving instruction from the Japanese watercolor painter Kinichiro Ishikawa, which gave him his initial exposure to Western art. He gained admission to the normal division of Tokyo School of Fine Arts in 1924. Although he encountered modernity via his contemporary Japanese education, his cultural roots and lifestyle were inherited from traditional Chinese culture. Taiwanese intellectuals in the early 20th century retained a yearning for China, and Chen visited Shanghai and Hangzhou for the first time in 1928. Afterwards, he entered

After graduating from the Tokyo School of Fine Arts in 1929, Chen moved to Shanghai at the invitation of Chinese painter Wang Qiyuan in order to further his career as a professional artist. There, Chen taught at the Xinhua College of Art, a private school, while concurrently teaching at Changming College of Art and the Yiyuan Painting Academy. Not long after arriving in Shanghai, he was invited to serve as a reviewer for the "1st National Fine Art Exhibition.” His oils "Stream,” portraying West Lake scenery, and "Suzhou,” portraying a Suzhou scene, were both entered in this exhibition, "Stream” was exhibited at the 1931 Chicago Exposition as a representative work of China. It is clear that Chen Chengpo was already infatuated with the scenery of southern China.

After five years of teaching and painting in Shanghai, the outsider Chen Cheng-po had carved out a niche for himself in the Shanghai painting community. His work was inspired by that of the Yuan Dynasty painter Ni Yunlin (1306-1374) and the Qing Dynasty painter Bada Shanren (Chu Ta, 1624/16261705), and combined the expressive lines of Chinese painting with Western realistic styling. His oil paintings from around 1930 incorporate age-old Eastern notions of refined taste. When the January 28 Incident broke out in 1932 between Chinese and Japanese forces, Chen first sent his family to Taiwan, and himself returned to Taiwan in 1933 after observing the situation for another year.

Chen did not forget the southern Chinese landscape after his return to Taiwan. Relying on sketches or memory, during 1934 he painted such appealing works as "Spring Scenery at West Lake,” "Distant View of West Lake,” and "Boating on West Lake.” The current oil painting "Tai Lake” was made under similar circumstances. "Tai Lake” depicts the landscape in the Tai Lake basin, and its composition resembles those of the aforementioned "Tai Lake Villas” and "Wuli Lake.” The shore and hills in "Tai Lake” are in accord with the traditional "zig-zag” principle of composition, and the painting as a whole is uncluttered, powerful, and full of bold, rough-hewn expressiveness. The luxuriant trees are portrayed using exaggerated circular strokes, and the brushwork is evocative free-flowing strokes made with a Chinese writing brush. As a result, the painting contains a vibrant sense of energy and movement.

"Tai Lake” is also characterized by a palpable post-impressionist style. The hillsides have clearly-defined colors and are rich in vitality. The branches of the trees in the near scenery are sketched in dark green, and the thick oils highlights nature’s rich color scale – the lake waters below provide an interesting reflection of the bright blue sky, and the work as a whole displays the artist’s enthusiastic and hearty personality. The painting thus encapsulates the beauty of southern China’s lake country during the 1930s.

陳澄波《五里湖》1931 油彩畫布 86 x 116.5 cm CHEN Cheng-po, Wuli Lake 1931, oil on canvas, 86 x 116.5 cm

238

ZHOU Chunya (Chinese, b. 1955)

Standing Green Dog 1998 Oil on canvas 150 x 120 cm Signed lower right Zhou Chunya in Chinese and English and dated 1998 ILLUSTRATED:

Zhou Chunya, Timezone 8, Shanghai, 2010, color illustrated, pp. 322-323

NT$ 7,500,000-12,000,000 HK$ 1,913,000-3,061,000 US$ 244,300-390,900 RMB 1,645,000-2,632,000

周春芽站立的綠狗 1998 油彩畫布 150 x 120 cm 簽名右下：1998 周春芽 Zhou Chunya 圖錄：

《周春芽》，東八時區，上海，2010，彩色圖版，頁322-323

110

ZHOU CHUNYA STANDING GREEN DOG 周春芽

「狗在畫家的生活中是潛在的需要，這樣與人相比看來似乎無意識的

此幅《站立的綠狗》為周春芽1998年之作，屬較早期「綠狗」系列，

生命成為逐漸減少自然性的都市環境中人的一種渴望。事實上，只有

簡潔的形態但擁有像雕塑一樣的質感，狗的形像進退流暢，一氣呵

一種通情理的、具有依附性的生命也許可以讓人感受到慰藉，使你在

成，筆觸結構上又精粹了文人花鳥畫的形象特徵。鮮亮、靜謐的綠色

枯燥和空乏的社會環境裡沾染一點自然與淳樸的氣息。」呂澎〈綠狗

充滿了隱匿之意，「綠狗」作品是周春芽藝術作品中的一個符號，一

敘事〉

種象徵，一種模糊、曖昧的氛圍。中國繪畫系統中的留白技法與之相

周春芽的「石頭」、「花卉」和「桃花」系列都受到文人畫的影嚮，他以猩紅色的山石以及綠色的狗呈現反自然主義的色彩運用，為周春芽系列作品中的一個永恆經典的主題。「綠狗」系列則是周春芽最負盛名的代表作之一，被形容為「畫布上的雕塑」，亦來自於他的生活體現。「綠狗」的創作來自他飼養的一隻純種德國狼狗「黑根」，他與黑根的感情很好，1997年起他以黑根作為創作題材，捕捉牠的舉止和神韻。一開始的時候周春芽是用黑色的，但有次他眸然用上鮮艷的綠色。想不到瞬間的一個念頭，最終會轉化為他獨特的標誌。周春芽重複畫一隻狗，無形中賦予牠多重的象徵意義。

「綠狗是一個符號，一種象徵，綠色是寧靜的、浪漫的、抒情的，包含了爆發前的寧靜的意境。」 — 周春芽

結合，創造了獨特的視覺效果以外更讓畫面清新自然，愈加貼近創作者當時的心情。雖然狗的姿態造型為藝術家腦海中想像出來的，狗的四隻被簡化成樹樁一樣，綠色的筆觸非常薄，在留白的背景上，伶俜地站立著或行走著。筆觸中似乎隱含著巨大的力量，漣漪的層次色彩中也有一種極不穩定的因素，彷彿既不知其所在，也不知其所終。牠若有似無地回頭望著前方如不確定的延伸，暗示了當代社會下人的孤獨以及危機感。寧靜抒情的綠色卻呈現了藝術家在於一種不安定精神的表徵，完全體現了德國表現主義對於周春芽的影響。《站立的綠狗》在視覺上都有著引人注目的視覺效果。主體在曠茫的空間中漂泊著的——狗，以綠色的身影、飽滿的質感充滿著咄咄欲出的爆發力。周春芽也因此創造了一種獨特的個人符號，反映了他1990 年代後期以來藝術生存的狀態。色彩與構圖均給人神秘之感，這種新穎、大膽的藝術創作達到了奇異的效果。在周春芽看來，這種「離經叛道」的作品形態正好契合了他的藝術天性，為早期「綠狗」系列的經典之作。

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"Dogs are potential necessities for paint artists. The relatively soulless life compare to humans is a desire in an unnatural built urban. In fact, all life forms with feelings and dependencies could comfort you from your daily boredom by their natural and simple characteristic". The Green Dog Story - Lu Peng. Zhou Chunya's Stones, Flowers and Peach Blossoms series are influenced by literati art. He uses scarlet red mountain and rocks and green dog to demonstrate the color use of anti-naturalism. This is one of the eternal classics among Zhou's art series. The Green Dog serie, one of the most famous and iconic works of Zhou, is described as "sculptures on canvas" and a representation of Zhou's life experience. The idea of Green Dog comes from Zhou's German shepherd, Heigen. Zhou and Heigen had a really good friendship. Zhou started capturing Heigens actions and expressions as inspiration. Initially Zhou used the color black to portrait the dog until one day the color green came to his mind. No one would expect an idea came out of nowhere would ultimately become his signature. Zhou portraits the same dog repetitively and unconsciously infused multiple meanings in his works. "Green dog is a symbol, an icon. Green means peaceful, romantic, lyrical, including the peace before a storm". - Zhou Chunya The Standing Green Dog was created in 1998, and is one of the earlier paintings of Green Dog serie. The clear, simple appearance shows a texture of a statue. The image of the dog is smooth and

well ordered, as you can see the literati element on the brush strokes. The bright and calm green color fulfills the frame with the characteristic of a hermit. The Green Dog is a symbol among Zhou's artworks, an emblem, a blurry, fuzzy atmosphere. We can also see the blank technique of Chinese painting style that not only created an unique visual effect but also a more natural picture, and represents the mood of the artist at the moment more precisely. The design of the dog is pure imagination of the artist, like the simplified limbs of the dog which look like tree trunks. The green brush stroke is very light, and the dog is standing or walking in front of a plain white background. The brush strokes look like there is a potential strong force in them, the layers of colors seem unstable, erratic and unpredictable. The dog carelessly turns his head around and look at distance with concern in his sight, which represents the loneliness and crisis awareness of modern people. The peaceful and lyrical green color represents the cautiousness of the artist at the moment. That is an example of how German expressionism influences Zhou's work. The Standing Green Dog is very eye-catching with its visual presentation. The main object, the dog, is floating in a plain white background. The green, pumped-up body is filled with explosiveness. Zhou created this exclusive symbol to represent his artistic survival status since late 90s. The colors and compositions are mysterious. The novel, bold art creation brings an amazing effect. In Zhou's point of view, this "rebellious" style fits his art talent perfectly, and has become one of the classics of the Green Dog serie.

239

Walasse TING (Chinese-American, 1929 - 2010)

Pink Roses Biggling 1973 Acrylic on canvas 212 x 243.5 cm Signed on the reverse Ting in English, titled Pink Roses Biggling and dated 73, inscribed "A red apricot climbs out of the wall" just for a smile of Ming-Xin, Qi-Guang by Walasse Ting in Chinese PROVENANCE:

Private collection, USA

NT$ 5,000,000-7,000,000 HK$ 1,276,000-1,786,000 US$ 162,900-228,000 RMB 1,096,000-1,535,000

丁雄泉玫瑰出牆 1973 壓克力畫布 212 x 243.5 cm 簽名題識畫背：Pink Roses Biggling Ting 73"紅杏出牆" 明心，湒光，－笑丁雄泉筆來源：

私人收藏，美國

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WALASSE TING PINK ROSES BIGGLING 丁雄泉

絢爛色彩下的英雄情懷，丁雄泉享譽國際的華裔畫家丁雄泉，他自稱「採花大盜」，一生經歷豐富，

《玫瑰出牆》作於1973年，此作品為丁雄泉難得的稀有大尺幅抽象

四海一家周遊於香港、巴黎、紐約及阿姆斯特丹各地。他的風流瀟

作品。畫面看似任意潑灑，恣意飛揚的繽紛色彩，在靜與動之間帶給

灑，他的玩世不恭，他的真性情畫盡了瀟灑與不羈；用色繽紛絢麗且

觀者酣暢淋漓的視覺饗宴，豐沛的情感間隱含東方留白的寫意精神，

大膽的表現方式，樹立了丁雄泉獨特的藝術風格。

淡雅青翠的底色如大地吐綠，萬物萌生；率性波舞的粉桃色點宛若粉

自詡為素人畫家，丁雄泉一直著重個人生活中的激情表現，以奔放且自由的形式創作。1946年移居至香港生活，1950年代移居於巴黎期間，與前衛著稱的「眼鏡蛇畫派」成員交往密切互結好友，此時期墨色的抽象潑灑和水墨線條的風格一直在後來的作品中仍有發展。隨後轉赴紐約發展的丁雄泉迎上一股抽象表現主義的時代浪潮以及波普運動的蓄勢待發。深受啟發的丁雄泉以鮮豔明亮的色彩取代素墨，並加

色嬌艷的玫瑰般胭脂萬點，占盡春風，如初春日玫瑰颯爽綻放之姿。飽滿靈動的筆韻無不透露出藝術家的率性灑脫，在粗曠與細膩間綻放出如同春日般蓬勃的生命張力。在此件作品中，可輕易地感悟到生命豐沛的流動氣息，丁雄泉以生動潑灑的大小色點串連起韻律節奏，疏放、磅礴地寫意了自然意趣，藝術家誠摯灑脫之情遨遊宇宙世間絢爛瑰麗，亦邀請觀者進入了他充滿浪漫情懷的春日花園。

入潑灑、滴流等率性的表現方式，在快節奏的紐約畫派中漸漸發酵。

藝術品的創作年代、尺幅大小或者是創作主題的豐富性，皆是影響藝

抽象表現主義不以具象描繪為目標，利用點、線、面、色彩、形體、

術家行情的關鍵因素。2015年羅芙奧春季拍賣會場上的《世界小姐》

構圖來傳達各種情緒，此種浪潮席捲了丁雄泉，並逐漸發展出自己屹

創下了丁雄泉作品的最高拍賣紀錄，歌頌女性之美的題材為藏家熟悉

立不搖的繪畫語言。

的丁雄泉作品主題。但丁雄泉抽象畫作於近年來拍賣會場上表現不

60年代至70年代丁雄泉大量地閱讀了金庸的武俠小說，而他也深受小說中人物風姿綽約、細膩刻劃的吸引。此時期的丁雄泉才情盛放，拋開了拘束東方情懷的表達，作品充滿異國情調的奔放燦爛。而在70 年代初期，紐約的鄰居好友夫婦幫助丁雄泉擺脫經濟困頓，丁雄泉則回贈此幅《玫瑰出牆》感謝他們的拔刀相助之舉。畫背「"紅杏出牆 " 明心，湒光一笑」此釋文中「紅杏出牆」帶有幽默調侃，博君一笑之意，丁雄泉如江湖俠氣般奔放瀟灑之情懷嶄露無遺。一枝紅杏出牆頭，原指春天的繁榮景象，亦指春思縈縈大有不勝風情之態，採花大盜的風流不羈彷彿世間的各種花朵皆為他盛開。

116

凡，並且大幅攀升，這股漲勢到了2018年更是銳不可擋，大尺幅的抽象作品拍場價格已直逼《世界小姐》。丁雄泉的才情與對生活的熱情詠吟，也淋漓盡致地體現於他的抽象作品中，此幅稀有大尺幅抽象作品《玫瑰出牆》，歌詠著沐浴於春日之中玫瑰搖曳生姿的生命力，艷態嬌姿、繁花麗色。丁雄泉以他獨特的生命感受性及藝術性為觀者帶來更多的想像空間，同時也為丁雄泉的藝術收藏開啟了新的篇章。

WALASSE TING'S HEROIC SENTIMENTS UNDER SPLENDID COLORS As a world-renowned Chinese artist, Walasse Ting called himself

apricot tree leaning over the garden wall" is meant to be humorous

the "Butterfly Gangster" Throughout his life of extraordinary

and amusing, which fully demonstrates Walasse Ting's chivalry and

experiences, Walasse travelled the world to places like Hong Kong,

charisma. Originally, "a red apricot tree leaning over the garden

Paris, New York, and Amsterdam. His charisma, playful attitude, and

wall" refers to spring prosperity as well as unyielding romantic

authenticity instilled a chic, unrestrained style into his paintings.

thoughts. It is as if all the ﬂowers in the world come into bloom for

Walasse Ting's unique artistic style is characterized by brilliant colors

the charismatic "Butterfly Gangster".

and bold expressions.

Created in 1973, "Pink Rose Biggling" is one of Walasse Ting's

Considering himself a self-taught artist, Walasse Ting had always

rare large abstract paintings. The image features freely splashed,

placed an emphasis on passionate expressions of personal life

unrestrained colors that present a delightful visual experience

through a bold and free form of creation. Walasse moved to Hong

between stillness and movement to the audience. The painting's

Kong in 1946 before moving

complex emotions imply the Eastern

to Paris in the 1950s. During

freehand spirit of empty space. The

the stay in Paris, he interacted

gentle emerald base color depicts the

closely and became friends with

green Earth that grows everything.

the avant-garde group "CoBrA."

The lively and wavy pink spots look

Walasse's sepia, abstract splashes

like beautiful roses that bloom in early

and ink-wash style in this period

spring under the spring breeze. The

continued to develop in later

full and ingenious strokes demonstrate

w o r k s . A f t e r w a rd , Wa l a s s e

the artist's sincerity, which expresses

travelled to New York where a

the flourishing energy in springtime

wave of abstract expressionism

through a contrast between roughness

and Pop Art was ready to

丁雄泉《世界小姐》1975 壓克力畫布，222 x 396 cm

and ﬁneness. The audience can easily

launch. Deeply inspired by these

羅芙奧台北2015春季拍賣會，編號235，成交價：台幣 56,320,000

feel a ﬂow of life in this piece of work.

movements, Walasse replaced

Miss World, WalasseTING, 1975, Acrylic on canvas 222 x 396 cm

Walasse Ting used splashed color

plain ink with bright colors and

Ravenel Spring Auction 2015 Taipei, US$ 1,825,608 sold

spots of different sizes to put together

added natural forms of expression

a rhythm that naturally and boldly

such as splashing and dripping into his works. His style gradually

presents the charisma of nature. The artist did not only demonstrate

matured with the fast-paced New York school. The objective of

the glamor and beauty of this world, but also invited the audience

abstract expressionism is not to pursue concrete depiction; instead

to enter his romantic springtime garden.

it presents different emotions by using points, lines, planes, colors, shapes, and composition. Inﬂuenced by this wave, Walasse gradually developed his own language of painting which stands ﬁrmly to this day.

In a piece of artwork, the year of creation, size, and creative diversity are all critical factors that determine the artist's status. At the Ravenel Spring Auction in 2015, "Miss World" was sold at a record-breaking high for Walasse Ting. To collectors, the praise

Between the 1960s and 1970s, Walasse read a lot of Jin Yong's

of feminine beauty is a common theme in Walasse Ting's works.

martial arts and chivalry novels. He was deeply attracted by the

Nevertheless, Walasse's abstract paintings did exceptionally well

charming characters and meticulous descriptions in the novels.

in recent auctions. The prices increased dramatically and such

During this period of time, Walasse Ting's talents flourished

increase became unstoppable in 2018 as the auction prices for his

tremendously. After setting aside the rigid expression of Eastern

large abstract works approached that of Miss World. Furthermore,

sentiments, Walasse's works became characterized by an exotic

Walasse Ting's abstract works fully demonstrate his talents and

boldness and brightness. In early 1970s, a friendly neighbor couple

passionate admiration for life. This rare large abstract painting "Pink

in New York helped Walasse get out of ﬁnancial difﬁculties. In return,

Rose Biggling" praises the roses' energy to sway in springtime with

Walasse Ting gave them a painting titled "Pink Rose Biggling",

poise and beautiful colors. With his unique sensitivity to life and

in appreciation of their kind act. The caption on the back of the

artistic skills, Walasse Ting brought more room for imagination to

painting reads, "the red apricot tree leaning over the garden wall

the audience as well as opened a new chapter in his art collections.

elicits a smile inside." According to the interpretation, here "the red

240

Tzu-chi YEH (Taiwanese, b. 1957)

Ginger Lily 2017 - 2019 Tempera and oil on linen 127 x 86.5 cm Signed lower right Yeh Tzu-chi in Chinese and dated 2017-19

NT$ 3,400,000-4,600,000 HK$ 867,000-1,173,000 US$ 110,700-149,800 RMB 746,000-1,009,000

葉子奇野薑花 2017 - 2019 卵彩油彩亞麻布 127 x 86.5 cm 簽名右下：葉子奇 2017-19

「曾經，每個人的童年都有一條小河，我的童年也有一條小河，而且，是一條開滿野薑花的小河。它，是屬於我的家鄉花蓮玉里的回憶。」－葉子奇

「野薑花」是葉子奇對童年與愛情的標記葉子奇的作品，一直是他生活的日記與生命的紀錄。不論是風景或靜物，他寫實而帶隱喻的手法，具有一種變換自如的風格，充滿了一種豐富又奇特的個人情懷和一種如謎樣引人卻又具體存在的精神象徵。他擅於選擇可見的景、物，再重塑出一般人所忽略的另一番非凡而獨特的氣質，反射出他對生命理想的追尋與精神。

Once, everyone's childhood had a brook, my childhood had one too. The brook was full of blossomed ginger lily. And it belongs to my hometown memories of - Yuli, Hualien

"GINGER LILY" IS A MARK OF YEH'S CHILDHOOD AND LOVE. The works by Tzu-chi Yeh are records of his daily life. Whether in his landscape or still life paintings, his realistic and subtle approach is filled with rich and personal feelings. The subjects of his works are concrete in existence yet having a metaphoric meaning to the realism. He is good at selecting sceneries and objects, and captures them in a unique charming quality that most people have ignored, reﬂecting his pursuit of the ideal life and spirit.

118

241

LI Chen

李真

(Taiwanese, b.1963)

大羅金掌

Golden Palm 2010 Bronze, edition 1/8 77(L) x 39(W) x 95(H) cm Engraved on the back Li Chen in English, numbered 1/8 and dated 2010 With one seal of the artist

2010 銅雕 1/8 77(長) x 39(寬) x 95(高) cm 簽名雕刻背後：Li Chen 1/8 2010 雕刻鈐印：李真來源：

私人收藏，亞洲

PROVENANCE:

展覽：

Private collection, Asia

「天燧系列：夜光盈昃」，2010上海藝術博覽會國際當代藝

EXHIBITED:

術展，上海，展期自2010年9月9日至12日（不同尺寸版本）

The Beacon–When Night Light Glimmers, ShContemporary 10 The Asia Pacific Contemporary Art Fair, Shanghai, September 9-12, 2010 (different sized version) ILLUSTRATED:

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

圖錄：

《天燧系列：夜光盈昃》，亞洲藝術中心，台北，2010，彩色圖版，頁56-61 附亞洲藝術中心開立之作品保證書

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

NT$ 3,200,000-4,200,000 HK$ 816,000-1,071,000 US$ 104,200-136,800 RMB 702,000-921,000

《大羅金掌》是個無需視覺之神靈，祂自由自在地遨遊天際，撫水中

The "Golden Palm" is the ﬂamboyant deity with an illuminated palm

月，鼎金掌，放蕩不羈。猶如噴射機的外型，呈現速度感，讓靜態雕

who journeys freely in the heavenly realm while caressing the moon

塑，產生動態視覺效果。這我行我素彷彿如意念行空，是解脫的智

in the waters. Spreading his arms like the wings of a jet plane, its

慧，其掌中藏火，更顯雕塑品之神采。

horizontally positioned body conjures the illusion of speed, evoking

作品象徵奮力追求理想的精神，振奮人心。大羅金掌的頭髮想像來自於中國傳統神話，以龍鬚來表現神力。這代表一種力量，中國特有圖騰的力量。而大羅金掌表現的就是一個法力無邊來去自如有著神力的神靈。

120

a sense of movement in an otherwise inanimate piece of sculpture. There is a sense of liberation, as the will is freely unleashed to ram as it pleases. The glowing light from his golden palm further enhances the resplendent charm of the work.

242

LI Chen

李真

(Taiwanese, b. 1963)

思念

Missing

2012

2012 Bronze, edition 1/8 77(L) x 34(W) x 66(H) cm Engraved on the back Li Chen in English, numbered 1/8 and dated 2012 With one seal of the artist ILLUSTRATED:

Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center, Taipei, 2012, color illustrated, p.171

銅雕 1/8 77(長) x 34(寬) x 66(高) cm 簽名雕刻背後：Li Chen 1/8 2012 雕刻鈐印：李真圖錄：

《李真-大氣－李真台灣大型雕塑首展》，亞洲藝術中心，台北，2012，彩色圖版，頁171 附亞洲藝術中心開立之作品保證書

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

NT$ 2,400,000-3,400,000 HK$ 612,000-867,000 US$ 78,200-110,700 RMB 526,000-746,000

此為李真開始製作【青煙】系列後所創作的【大氣神遊】作品，這時期作品常加入雲霧的元素，更顯氣韻靈動，兼具兩個系列的特色。李真將「思念」這種心智活動加以視覺化，銀色部分被馱在肩上，暗示心思念頭脫離軀體，天馬行空。李真在此件作品更強調雲霧的形態，刻意將此作品的雲朵刻劃成微笑的人物，在模糊中彷彿說明了─《思念》是什麼模樣？對李真來說，雲霧的變化，就是思念的臉孔。李真擅長處理量體輕重對應的關係：銀色部分處理得十分溫潤，它與黑色部分所釋放的能量，既對比又和諧；而雲朵卻是一個穩定的支撐物，讓人物在漂浮中獲得安定。

122

Li Chen start proceeding to work on his Spiritual Journey Through the Great Ether series followed by Ethereal Cloud series. As is often the case with these works, they incorporate elements of mist and cloud, imbuing the works with vivid artistic conception. Through sculptures, Li Chen visualizes mental activities such as "missing". The silver cloud is carried on the shoulder, implying that the mind wanders away from the body and soars into the sky. It appears that Li Chen has started to play around with the character of mist/cloud in his Spiritual Journey Through the Great Ether series of 2012. In this particular work the cloud has transformed into a smiley and peaceful human figure, seems to answer the question in obscurity— what does "missing" look like? For Li Chen, the capricious cloud and mist are the faces of it. Li is particularly adept at presenting the relationships between objects of different size. The smoothness of the silver part and the power of the black material showcase both contrast and harmony, while the cloud offers sturdy support, so that even though floating in the air the character is safe and at ease.

243

JU Ming

朱銘

(Taiwanese, b. 1938)

太極系列—拱門

Taichi Series - Arch

1996

1996 Wooden sculpture 43(L) x 12.8(W) x 23.3(H) cm Engraved Ju Ming in Chinese and dated ‘96

43(長) x 12.8(寬) x 23.3(高) cm

This sculpture is to be sold with a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation

NT$ 2,600,000-3,600,000 HK$ 663,000-918,000 US$ 84,700-117,300 RMB 570,000-789,000

124

木雕簽名雕刻：朱銘 '96 附財團法人朱銘文教基金會開立之作品鑑定報告書

244

JU Ming

朱銘

(Taiwanese, b. 1938)

太極系列－對招

Taichi Series - Shadow Boxing

1995

1995 Bronze, AP 1/10 45.3(L) x 29.6(W) x 27.9(H) cm 21.9(L) x 18.1(W) x 33.1(H) cm Engraved Ju Ming in Chinese, numbered AP 1/10 and dated '95 These sculptures are to be sold with the certificates issued by the Nonprofit Organization Juming Culture and Education Foundation

NT$ 2,400,000-3,400,000 HK$ 612,000-867,000 US$ 78,200-110,700 RMB 526,000-746,000

銅雕自1/10 45.3(長) x 29.6(寬) x 27.9(高) cm 21.9(長) x 18.1(寬) x 33.1(高) cm 簽名雕刻：朱銘自1/10 '95 附財團法人朱銘文教基金會開立之作品鑑定報告書

245

LI Shih-chiao

李石樵早期以寫實風格著稱，1950年代受西洋現代藝術影響，開始求新求變，進行現代繪畫實驗，1970年代發展群像和風景主題。1974年從師範大

(Taiwanese, 1908 - 1995)

學退休後，李石樵經常往返美國、台灣兩地，享受天倫以及寫生作畫的樂

Girl and Lily

趣。當時的台灣興起「鄉土文學」風，早期老畫家重新受到注意。他的繪

1982 Oil on canvas 60.5 x 50 cm Signed lower right Shih-chiao in Chinese and dated 1982

退休後，專心繪畫，持續鑽研色彩、空間、質感等問題，用色也更加鮮麗

畫風格也不受左右，吸收更多外來風土的元素，繪畫裡融入新意。李石樵明朗。在他創作生涯晚期，繪畫題材更延伸至花卉靜物，創作一系列瓶花作品受到市場好評。

ILLUSTRATED:

此幅1982年作的《少女與百合》，是李石樵瓶花系列中罕見之作，難得結

Taiwan Fine Arts Series 8: Li Shih-Chiao, Artist Publishing Co., Taipei, 1993, illustrated in black and white, p. 253 Impressions Collection IV - Hommage to The Older Generation of Artists, Impressions Art Gallery, Taipei, 1996, color illustrated, pp. 80-81

合了人物與瓶花兩大主題，花瓶下又增加了瓶墊構圖，比一般的瓶花構圖

This work is to be sold with a certificate of authenticity issued by Impressions Art Gallerys, Taipei.

瓶中，展現貴冑華美之氣。此外，藝術家更著墨於表現花朵及花瓶的立體

NT$ 2,400,000-3,200,000 HK$ 612,000-816,000 US$ 78,200-104,200 RMB 526,000-702,000

出畫面，存在於真實生活的空間中，引發觀畫者的觸覺感受，正如李氏所

李石樵少女與百合 1982 油彩畫布 60.5 x 50 cm 簽名右下：1982.石樵圖錄：

《台灣美術全集8 李石樵》，藝術家出版社，台北， 1993，黑白圖版，頁 253 《印象經典IV 向前輩美術家致敬》，印象畫廊，台北， 1996，彩色圖版，頁 80-81 附印象藝術中心畫廊開立之原作保證書

更為講究。此幅作品經典呈現李石樵繪畫的個人風格，構圖嚴謹扎實，色彩處理精準，筆觸薄塗而理性，瓶中的百合花，姿態互易、各具特色，卻又不失為一整體，足見畫家不僅精於處理個別事物，更用心協調畫面整體結構以及各物體間的群體關係。綻放的群花被放置於具有帝王象徵的九龍感，利用錯落有致的光線明暗變化和色彩的巧妙安排，使畫中物品彷彿走言：「繪畫不允許捉摸不到的作品存在，畫維納斯就必須能夠抱到她！」足見李石樵對繪畫的獨到見解和堅持，批判性思考為台灣美術史開啟新的探討課題。

Li Shih-chiao was famous for his realism style in his early stage of art career. After being influenced by western modern art in 1950s, Li started to look for new aspects by infusing new modern art elements to his works before he started to work on group portraits and landscape artworks in the 1970s. After Li retired from National Taiwan Normal University, he frequently traveled between Taiwan and the US to spend time with his family and dedicate himself in sketching. Post-regional literature was becoming a trend at the time and the old artists from earlier era were regaining their spotlights. Li did not restrict his style. He infused more foreign elements and new aspects in his paintings. After Li’s retirement, he focused on researching colors, spaces and textures, which brightens up the color use in his works. In the later stage of his career, Li included stationary objects such as flowers to his themes, and created series of flower arts admired by the market. Girl and Lily, painted by Li in 1982, is one of the rarest pieces in his flower series. He unusually combined two themes, the figure and the vase of flowers, into one picture, and also added a vase pad to make a more exquisite composition. This piece of art is the classic Li’s style. The composition is rigorous and solid. The color is organized and precise. The brush strokes are thin and reasonable. The lilies in the vase each has individual postures and characteristics, but unite harmoniously as a whole. This shows Li was good at depicting individual objects while keeping the composition well-balanced. The blooming flowers in the nine-dragon vase, an icon of the emperor, shows magnificent aura. On the other hand, Li also focused on presenting stereopsis of the flowers and the vase with brilliant lighting and coloring. That makes the painting so realistic and provokes the viewers' senses of tactile. Li once stated that "Paintings should not be untouchable. If you draw Venus, you should be able to hug her in your arms". Li Shih-chiao's insights, persistence and critical thinking in painting opens a new pathway of Taiwanese art history.

126

246

LIAO Chi-chun (Taiwanese, 1902 - 1976)

Yehliu Scenery 1968 Oil on canvas 32 x 41 cm Signed lower right C.C. LIAO in English and dated 1968. 3 Signed on the reverse LIAO Chi-chun, titled Yehliu Scenery and dated 1968. 3 in Chinese PROVENANCE:

Acquired directly from the artist by Dr. Li Chi-Ying Private collection, Taiwan

NT$ 2,200,000-3,200,000 HK$ 561,000-816,000 US$ 71,700-104,200 RMB 482,000-702,000

廖繼春野柳風景 1968 油彩畫布 32 x 41 cm 簽名右下：C.C. LIAO 1968. 3. 簽名題識畫背：野柳風景廖繼春畫一九六八•三來源：

李枝穎醫師直接購自藝術家本人私人收藏，台灣

128

LIAO CHI-CHUN YEHLIU SCENERY 廖繼春

對於色彩與造型的運用，廖繼春有其看法，他曾說：「我利用簡潔強烈的色彩，以對比和強調來賦予更多的色感，同時在線條的構成中注意造形的趣味。不是寫某一個時間內的印象，而是把希望表現的色彩表現出來。」（參閱林惺嶽，〈跨越時代鴻溝的彩虹─記廖繼春的繪畫生涯〉，《廖繼春畫集》，國泰美術館，台北，1981年3月出版，頁230－231）

情畫意。」評論家認為，粉紅色的運用，正是廖繼春的精神所在。畫家的色彩形式可說是走在尖端，他在自然風景中融入現代化的元素，表現一種年輕的新時代精神。美術史學者王秀雄曾以「華麗諧和的野獸派」讚美廖繼春的藝術。他的筆觸粗獷、樸實，色彩交疊、相互輝映，不失活潑與清新。《野柳風景》雖然畫幅不大，但

評論家認為，而此一改變歸因於1960年代遊歷歐美後的刺激：「體

可見藝術家處處花費構思佈局，流暢自由的筆觸，濃郁瑰麗的色

驗了西洋藝術之鄉最前衛的藝術風潮，廖繼春的潛能大大的被激發

彩，交織成藝術家心中一片美好天地。

出來。回國之後，廖繼春完全解放了傳統的束縛，更大膽自在的創作。即使在邁入晚年的七十年代前後，作品愈加繽紛多采。亮麗

廖繼春喜愛描寫山光水色，尤其是河、港的風景。對於水景的描寫

奔放的色彩中，充滿著和諧與浪漫，使他的畫愈芬芳撲鼻。不執

早緣起於1950年代的大量淡水寫生。1960年代歐美考察回國，途

著於物象的像與否，憑著個人對色彩的敏感度與抽象之美的獨特

中見聞大開眼界，美國抽象畫的風潮以及歐洲文明，皆使廖繼春的

詮釋，廖繼春將自己的創作推向了具國際級畫作水準的境界。」

內心受到極大的憾動。1960──1970年代廖繼春的繪畫創作達到

（參閱高秀朱，《色彩的魔術師：廖繼春教授百歲紀念畫展》目錄，國立故宮博物院，

巔峰。尤其見識到威尼斯的水色天光，舟楫穿梭水間的繁忙景象，

2001，頁6）

自由和諧的創作氣氛，使得他回到台灣以後，將接收到的刺激，轉化為推動的力量，快速地找到自己的方法。無論淡水、愛河、威尼

台灣四面環海，尤其東北角的海邊地形特殊、優美，向來是聞名海

斯、野柳，或生命最後一站的東港，這些以水聞名的名勝景點，在

外的自然風景名勝。民間信仰虔誠，尤其是漁港邊常常有廟宇庇佑

他的筆下呈現出一種近似的繽紛、活潑的氣氛。而包括野柳在內等

漁民。廖繼春的繪畫裡有一項重要的色彩元素，其養分來自於民間

晚期的代表作，可謂是畫家純熟富麗的藝術結晶，透露出人生歷盡

藝術。畫家數幅以野柳為景的油畫作品中，《野柳風景》以明麗的

滄桑之後，心靈超越現實，回歸純真。因此，每個景點在繪畫中已

色彩描繪了山巒、房屋、廟宇、堤岸、船隻，天光水色繽紛，群青

經去除了國別、疆域的差異，超越了文化的衝突，呈現在觀者眼前

色的主調，有如明朝瓷器的色感，紅、綠、黃如民間廟宇的色彩穿

的是畫家心中的一處世外桃源。因此，當他描繪野柳風光時，或許

梭其間，整幅畫充滿歡樂節慶般的漁村情調，洋溢著台灣南國的明

回憶起淡水河，或許聯想起威尼斯的運河，他將最回憶裡美好的一

快節奏與溫度。而明度較高的粉紅色是畫家最擅長的技法，用以使

面透過繪畫呈現出來。所以，《野柳風景》呈現的風光不見得是實

群青色的背景得到平衡、和諧。王素峰女士認為：「無疑地，粉紅

際的野柳風景，而是廖繼春希望表現的歡樂淨土吧。

色是柔和、抒情的象徵，當它隨同其他鮮麗的色彩出現時，真是詩

130

As for the use of colors and shapes, Liao Chi-chun had his own point

poetry when it showed up among other colors." Critics thinks that

of view, he once said: "I use simple, intense colors and the contrast

pink is Liao Chi-chun's spirit.

to bring up more colors, in the mean time, I pay attentions to the aesthetic delight between lines when shaping. It is not about my impressions in a specific time; it's simply about representing the colors that I wanted to represent." (Please refer to "The Rainbow Across the

The artist's approach to color can be said to be trend setting. By fusing modern elements into the natural landscape, he expresses the youthful energy of a new era. The art historian Wang Hsiu-hsiung

Gap Between Generations - Liao Chi-chun's artistic life" by Lin Hsing-yueh, Cathay Art

once praised Liao Chi-chun's art as "gorgeous and harmonious

Museum, Taipei, published on March, 1981, pp. 230 - 231)

Fauvism". His brush strokes are unrestrained and simple, with their

Critics consider it is due to the stimulation from his visit from Europe and America during the 1960s: "After experiencing the avant-grade trend in the home of the western art, Liao Chi-chun's potentials are fully released. After he returned to Taiwan, he was totally disembarrassed from traditional constraints, and created more

colors overlaying and emphasizing each other, retaining the sense of freshness and vitality. "Yehliu Scenery" is not a large painting but the great effort made by the artist in creating the composition, the free ﬂowing brush strokes and the rich tapestry of colors combine to create a wondrous landscape that existed within the artist's mind.

boldly. Even in the 1970s, his later years,

Liao Chi-chun loves to paint about

his works got more colorful, harmony and

landscape, especially the scenery of the

romance can be easily discovered in variety

river and seaport. During the 1950s he

of colors, when he got older, his paintings

did a lot of sketches in Tamshui. After he

got more affecting. He never clung to the

returned to Taiwan from the America in

shape of the object, through his sensitivity

the 1960s, the abstract paintings of the

towards colors, and his own unique way to

America and the civilization in Europe

represent the beauty of the world; he has

had widened his horizon, and he was

proven himself as an international master

greatly affected. From 1960 to 1970,

of art."

(Please refer to "The Magician of Colors:

Liao's creations reached their peak.

Professor Liao Chi-chun's 100 Year memorial exhibition"

Especially when he saw the scenery of

catalogue by Kao Hsiu-chu, National Palace Museum,

Venice, how boats busily come and go in

2001, p. 6)

the river, and the unconﬁned, harmonic

Taiwan is surrounded by the seas, with the unusual and the spectacular terrain around its Northeast coast always having been renowned internationally for its

廖繼春《野柳風光》1972 油彩畫布，45.5 x 53 cm

aura of creation, they transformed a

羅芙奧台北2006春季拍賣會，編號48，成交價：台幣 12,530,000

passion and strength for him, to find

LIAO CHI-CHUN, Yehliu Scenery, 1972, Oil on canvas 45.5 x 53 cm

his own style. When he's paintings, No

Ravenel Spring Auction 2006 Taipei, Lot48, US$ 387,686

matter Tamshui, Ai River, Venice, Yehliu

natural views. The people are also very religious, and temples dedicated to the safety of the fisherman can often be found at in the fishing harbors. The color elements so important to Liao Chichun's paintings have their roots in folk art. Among Liao's many oil paintings which have Yehliu as the background "Yehliu Scenery" is to paint the mountains, houses, temples, shores and ships, the colors of the sky and the water are vivid, they are major blue colors, just like to feelings on the chinas from Ming dynasty, red, green and yellow, the color of the Taiwan's temple, can be seen everywhere. The whole picture is like a carnival in a fishing village, filled with the tempo and the passion of Taiwan. The using of the brighter color, pink, is one of the major techniques of the artist; it balanced and harmonized the blue background. Miss Wang Shu-feng addressed: "Pink is no doubt a symbol of mildness and sentiment, it's simply

or the last stop in his life, Tong Kang, all of them showed a colorful, lively atmosphere. Including Yehliu, his later works are his essence, after the vicissitudinary in life; his mind surpasses, and returns to innocence. Therefore, the paintings of each scenery and location has went far beyond countries and boundaries, transcended the cultural confrontation, what represented to the viewers are the Shangrila in the heart of the artist. When he is painting Yehliu, he might recall the scenery of Tamshui, or even the canal in Venice, he brings the best of his memories to front. Therefore "Yehliu Scenery" might not be the scenery of Yehliu speciﬁcally; it could be the dream land that Liao had been long for.

247

Yoshio CHANG

張義雄

(Taiwanese, 1914 - 2016)

靜物

Still Life

1956

1956 Oil on canvas 65.5 x 91 cm Signed lower left Y. Chang and dated ‘56

65.5 x 91 cm

EXHIBITED:

Restrospective of Chang Yi-Hsiung at the age of eighty, Taipei Fine Art Museum, Taipei, 1994 Missing Hometown: the Inheritance of Chang Yi-Hsiung's Hundred-Year Art Way, Chiayi, January 17- April 6, 2014

油彩畫布簽名左下：Y.Chang '56 展覽:

「張義雄八十回顧展」，台北市立美術館，台北，1994 「原鄉思念─張義雄百歲藝術之道與傳承」，嘉義，展期2014年1月17日至4月6日圖錄:

《張義雄八十回顧展》，台北市立美術館，台北，

ILLUSTRATED

1994，彩色圖版，頁48

Restrospective of Chang Yi-Hsiung at the age of eighty, Taipei Fine Art Museum, Taipei, 1994, color illustrated, p. 48

《原鄉思念─張義雄百歲藝術之道與傳承》，

Missing Hometown: the Inheritance of Chang Yi-Hsiung's Hundred-Year Art Way, Cultural Affairs Bureau of Chiayi City, Chiayi, 2014, color illustrated, p. 39

NT$ 2,200,000-3,200,000 HK$ 561,000-816,000 US$ 71,700-104,200 RMB 482,000-702,000 132

嘉義市政府文化局，嘉義，2014，彩色圖版，頁39

248

LUO Zhongli

羅中立

(Chinese, b. 1948)

磨

The Grind

1984

1984 Oil on canvas 61 x 47 cm Signed lower right Luo in Pinyin, Zhongli in Chinese and dated 1984.2

61 x 47 cm

PROVENANCE:

Acquired directly from the artist by the former owner Christie's, Hong Kong, November 27, 2011, lot 1150

NT$ 1,600,000-3,600,000 HK$ 408,000-918,000 US$ 52,100-117,300 RMB 351,000-789,000

油彩畫布簽名右下：Luo 中立 1984.2 來源：

前藏家直接購自藝術家本人佳士得拍賣，香港， 2011年11月27日，編號1150

249

Walasse TING (Chinese-American, 1929 - 2010)

Three Beauties Acrylic, ink and color on paper 178 x 97 cm With one seal of the artist

NT$ 1,600,000-2,400,000 HK$ 408,000-612,000 US$ 52,100-78,200 RMB 351,000-526,000

丁雄泉三美圖壓克力彩墨紙本 178 x 97 cm 鈐印左上：採花大盜

134

250

Walasse TING (Chinese-American, 1929 - 2010)

I Love Flowers 1985 Acrylic on canvas 52.5 x 60.5 cm Signed on the reverse Ting, titled I love flower and dated 1985

NT$ 1,300,000-2,200,000 HK$ 332,000-561,000 US$ 42,300-71,700 RMB 285,000-482,000

丁雄泉我愛花朵 1985 壓克力畫布 52.5 x 60.5 cm 簽名畫背：I love ﬂower Ting 1985

136

251

ZHOU Chunya (Chinese, b. 1955)

Green Dog 2005 Bronze, 8/8 68(L) x 18(W) x 31.5(H) cm Engraved on the base Zhou Chunya in Chinese, numbered 8/8 and dated 05 This sculpture is to be sold with a certificate of authenticity issued by Northern Banker Art & Culture Corporation, Taipei.

NT$ 1,400,000-2,400,000 HK$ 357,000-612,000 US$ 45,600-78,200 RMB 307,000-526,000

周春芽綠狗 2005 銅雕 8/8 68(長) x 18(寬) x 31.5(高) cm 簽名底座：周春芽 05 8/8 附北莊文化藝術中心開立之作品保證書

138

252

HUNG Yi (Taiwanese, b. 1970)

Red Papercutting Bird 2010 Baked enamel on steel plate, edition EA1/4 68(L) x 39(W) x 156(H) cm Signed on the base Hung Yi in Chinese, dated 2010 and numbered EA 1/4

NT$ 800,000-1,100,000 HK$ 204,000-281,000 US$ 26,100-35,800 RMB 175,000-241,000 洪易的作品一向是入世的。每天被攪拌在生活裡的小人物們，在他的筆下永遠有令人會心一笑的喜怒哀樂。觀看洪易的作品，像是一篇篇情節豐

洪易

富、曲折神奇、又平易近人的民間故事。故事內容很精彩，有溫暖，有傷

紅色剪紙鳥

感，有世故而諧趣的狡詰，也有童稚與純真的夢幻；有你我身邊的人與

2010

事，也有社會百態的眾生相。什麼都有，就是沒有矯揉作態的故作高深，

鋼板烤漆，EA1/4

沒有聲嘶力竭的批判撻伐。即使是揭開世間醜惡，也是引人莞爾地以丑代

68 (長) x 39 (寬) x 156 (高) cm

醜。洪易作品裡，有著鮮活、不受框架限制、豐沛旺盛的無盡生命力，與

簽名底座：洪易2010 EA 1/4

源源不盡的巧思。《紅色剪紙鳥》有著象徵台灣早期剪紙風格的喜氣造型富有純樸的台灣風味，作品上交互層疊著俗民文化的圖騰及象徵，充分表現藝術家對於生活事物的幽默風趣，來自民間文化與日常生活的轉化，將藝術家對於土地的觀察與情感，揉合於造形之中，那些看來有些粗野卻絕對可愛的事物，正是洪易傳達「藝術生活化」理想的使者。洪易認為人間可愛，而台灣更是一座不折不扣的樂園。

Hung Yi's works are always secular. The little characters involved in everyday life can always show joy, anger, grief and happiness in his works that arise a sympathetic laugh. Appreciating Hung Yi's works, you are reading an amazing and common folk story which has magic arcs and abundant plots. His stories have rich contents, everything like warmth, sadness, sophisticated and humorous craftiness, childish and naïve dreams, people and affairs that may happen to anybody among us, image of all human beings in the diverse society. But there is no hoity-toity, fake profoundness or shouting criticism, and he might use metonymy that makes you laugh to disclose the dark side of the society. Hung Yi is alive and free from any restraints in his work, which is so exuberant and abundant that there seems to be infinite vital creative ideas and inexhaustible artful thoughts.Hung Yi's work "Red Papercutting Bird" symbolizes the early period of Taiwanese paper-cut style. The radiant shape shows the lovely style of Taiwan, from which you can feel full native sense. The work Male Tree has sophisticated folk cultural totems and symbols which fully show the artist's sense of humor towards life and everything. The avatars of folk culture and everyday life mix the artist's observation and feelings of land into the image, and the barbariclooking but absolutely lovely things are messengers through which Hung Yi communicates the ideal of "Art Your Life". Hung Yi thinks the human world is adorable while Taiwan is absolutely a Fairland.

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253

PANG Jiun

龎均

(Taiwanese, b. 1936)

鹿港媽祖廟的香火

Lugang Mazu Temple

1989

1989 Oil on canvas 65 x 80 cm Signed lower left Pang Jiun in Chinese and dated 1989 With one painted seal of the artist Titled on the reverse Lugang Mazu Temple; singed PANG JIUN in Chinese and English, dated 1989

65 x 80 cm

This work is to be sold with a certificate of authenticity signed by the artist and a picture of the artist and the work

NT$ 550,000-750,000 HK$ 140,000-191,000 US$ 17,900-24,400 RMB 121,000-164,000

142

油彩畫布簽名左下：龎均 1989 手繪鈐印左下：均簽名畫背：鹿港媽祖廟的香火龎均 PANG JIUN 1989 附藝術家親筆簽名與作品合影之原作保證書

254

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

女人與藍色的貓

Woman with Blue Cat

1986

1986 Acrylic on canvas 40 x 50 cm Signed on the reverse Ting, dated 86, and titled BLUE CAT PROVENANCE:

Private collection, Netherlands

NT$ 600,000-800,000 HK$ 153,000-204,000 US$ 19,500-26,100 RMB 132,000-175,000

壓克力畫布 40 x 50 cm 簽名畫背：BLUE CAT Ting 86 來源：

私人收藏，荷蘭

255

HSIAO Chin (XIAO Qin)

蕭勤

(Taiwanese, b. 1935)

Rottura - 6

1974

1974 Acrylic on canvas 70 x 80 cm Signed on the reverse Hsiao in English, Chin in Chinese, dated 1974 and titled "Rottura - 6"

70 x 80 cm

PROVENANCE:

Private collection, Italy ArteA Gallery, Milan This work is to be sold with a certificate of authenticity issued by AeteA Gallery, Milan.

NT$ 650,000-850,000 HK$ 166,000-217,000 US$ 21,200-27,700 RMB 143,000-186,000 144

壓克力畫布簽名畫背：Hsiao 勤 1974 "Rottura - 6" 來源：

私人收藏，義大利 ArteA 畫廊，米蘭附米蘭ArteA畫廊開立之原作保證書

256

YAO Jui-chung

姚瑞中

(Taiwanese, b. 1969)

腦山水—翠嶺圖（臨盧湛「江山共老圖」）

Brain Landscape: Emerald Ridge

2014

2014 Oil on canvas, brain model with gold leaf 120 cm (diameter) Signed lower left Yao Jui-chung, titled Brain. Landscape: Emerald Ridge, dated 2014 Spring in Chinese EXHIBITED:

Good Times - Yao Jui-Chung Solo Exhibition, Tina Keng Gallery, Taipei, Feb 15-Mar 16, 2014 This work is to be sold with a certificate of authenticity signed by the artist and VT Artsalon, Taipei.

NT$ 650,000-850,000 HK$ 166,000-217,000 US$ 21,200-27,700 RMB 143,000-186,000

油彩畫布金箔模型腦 120 cm（直徑）簽名左下：腦山水翠嶺圖姚瑞中二〇一四立春展覽：

「好時光—姚瑞中個展」，耿畫廊，台北，展期自2014年2月15日至3月16日附非常廟藝文空間及藝術家親筆簽名之原作保證書

257

KUO Wei-kuo (Taiwanese, b. 1960)

Purple-Red Body's Embrace 2008 Oil on canvas 186 x 135 cm Signed lower right Kuo Wei-kuo in Chinese and dated 2008.3 Signed on the reverse Kuo Wei-kuo in Chinese, titled Purple-Red Body's Embrace in Chinese, dated 2008 in Chinese and inscribed 186 x 135 cm ILLUSTRATED:

As A Bright Start from The Deep Forest: Kuo Wei-kuo, Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 24 2008 Hantoo Art Group Exhibition - Hantoo x Impressions, Insian Gallery, Taipei, 2008, p. 50 View Digestion, Scene Creation, Lin & Keng Gallery, Taipei, 2009, color illustrated, p. 138 This work is to be sold with a certificate of authenticity issued by Lin & Lin Gallery, Taipei.

NT$ 650,000-1,300,000 HK$ 166,000-332,000 US$ 21,200-42,300 RMB 143,000-285,000

郭維國紫紅色身軀的擁抱 2008 油彩畫布 186 x 135 cm 簽名右下：郭維國 2008.3 簽名畫背：郭維國紫紅色身軀的擁抱二OO八年完成 186 x 135 cm 圖錄：

《暴喜圖：柳暗花明－郭維國》，大未來畫廊，台北，2005，彩色圖版，頁 24 《2008 悍圖社聯展悍圖•印象 HANDTOO IMPRESSIONS》，印象畫廊當代館，台北， 2008，頁50 《造境照鏡》，大未來畫廊藝術有限公司，台北，2009，彩色圖版，頁138 附林舍畫廊開立之原作保證書

146

258

LU Shun

呂順

(Chinese, b. 1966)

空中花朵

Floating Flowers

2008

2008 Oil on canvas 160 x 120 cm Signed lower right LU Shun in Chinese and dated 2008

160 x 120 cm

This painting is to be sold with a certificate of authenticity issued by William Contemporary Art Space.

NT$ 750,000-850,000 HK$ 191,000-217,000 US$ 24,400-27,700 RMB 164,000-186,000

油彩畫布簽名右下：呂順 2008 附威廉國際藝術開立之原作保證書

259

SHIY De-jinn (Taiwanese, 1923 - 1981)

黃樹與牛

Yellow Tree and Cattle in a Seascape

1980

1980 Mounted scroll, ink and color on paper 68.5 x 43.5 cm Signed upper left Shiy De-jinn in Chinese With three seals of the artist

68.5 x 43.5 cm

PROVENANCE:

Revenal Auction, Special Auction of Works by shiy De-Jim, His close Friend's collection of 30 years, Taipei, June 1, 2014, lot 151

NT$ 700,000-900,000 HK$ 179,000-230,000 US$ 22,800-29,300 RMB 154,000-197,000 148

席德進

彩墨紙本簽名左上：席德進鈐印左上：席德進印鈐印左下：四川南部縣人鈐印右上：席氏書畫來源：

羅芙奧拍賣，席德進摯友珍藏專拍最終場，台北， 2014年6月1日編號151

260

LIEN Chien-hsing

連建興

(Taiwanese, b. 1962)

隱舞情歌

Hidden Dance, Love Song

2001

2001 Oil on canvas 97 x 145.5 cm Signed lower left Lien Chien-hsing in Chinese and dated 2001 Titled on the reverse Hidden Dance, Love Song in Chinese, size 80P, dated 2001 and signed Lien Chien-hsing in Chinese ILLUSTRATED:

Lien Chien Hsing - Lonely Earth, Eslite Gallery, Taipei, 2001, color illustrated

NT$ 800,000-1,500,000 HK$ 204,000-383,000 US$ 26,100-48,900 RMB 175,000-329,000

油彩畫布 97 x 145.5 cm 簽名左下：連建興 2001 簽名畫背：隱舞情歌 80P 2001 連建興圖錄：

《連建興—寂寞樂土》，誠品畫廊，台北，2001，彩色圖版

261

YU Cheng-yao (Taiwanese, 1898 - 1993)

Leisurely Life in Mountain 1974 Ink on paper 119 x 59.5 cm Signed upper left Yu Cheng Yao With one seal of artist

NT$ 850,000-1,000,000 HK$ 217,000-255,000 US$ 27,700-32,600 RMB 186,000-219,000

余承堯溪山悠居 1974 水墨紙本 119 x 59.5 cm 簽名左上：余承堯作於甲寅夏月鈴印左上：余承堯印

150

262

PANG Jiun (Taiwanese, b. 1936)

Flower 2009 Oil on canvas 90 x 73 cm Signed lower left Pang Jiun in Chinese and dated 2009. 12. 31 With one seal of the artist

NT$ 850,000-1,000,000 HK$ 217,000-255,000 US$ 27,700-32,600 RMB 186,000-219,000

龎均花 2009 油彩畫布 90 x 73 cm 簽名左下：龎均 2009. 12月31日鈐印左下：均

152

263

LO Chan Peng

羅展鵬

(Taiwanese, b. 1983)

紅顏歌 4

The Beauty Ode 4

2009

2009 Oil on canvas 145 x 145 cm

145 x 145 cm

PROVENANCE:

AKI Gallery, Taipei EXHIBITED:

Strawberry Generation Studio - LO Chan-Peng Solo Exhibition, AKI Gallery, Taipei, June 1 - 21, 2009 ILLUSTRATED:

Journal of Strawberry Generation, Aki Gallery, Taipei, 2009, color illustrated, pp. 116-117

NT$ 850,000-1,600,000 HK$ 217,000-408,000 US$ 27,700-52,100 RMB 186,000-351,000 154

油彩畫布來源：

也趣藝廊，台北展覽：

「草莓族工作室入侵 - 羅展鵬油畫個展」，也趣藝廊，臺北，展期2009年6月1日至6月21日圖錄：

《草莓族青春日誌》，也趣藝廊，台北，2009，彩色圖版，頁116-117

慈善義賣聲明：本拍品Lot 263 拍賣所得全數金額將捐贈予公益單位作公益之用。 CHARITY AUCTION ANNOUNCEMENT: The owner of lot 263 will donate the hammer price to the public interest groups.

264

LO Chan Peng

羅展鵬

(Taiwanese, b. 1983)

草莓族百鬼夜行 7 地達羅

Strawberry Generation – The Night Marching 7 – Deidara

2009 油彩畫布 130 x 162 cm

2009 Oil on canvas 130 x 162 cm

來源：

PROVENANCE:

也趣藝廊，台北

AKI Gallery, Taipei EXHIBITED:

Yes, Taiwan - 2010 Taiwan Biennial, National Taiwan Museum of Fine Arts, Taichung, October 2, 2010 - January 9, 2011 Flourishing and Flowing - A Contemporary Art Exhibition across the Strait 2011, National Art Museum of China, Beijing, March 1 - April 20, 2011 Flourishing and Flowing - A Contemporary Art Exhibition across the Strait 2011, National Taiwan Museum of Fine Arts, Taichung, June 11 - September 11, 2011

NT$ 850,000-1,600,000 HK$ 217,000-408,000 US$ 27,700-52,100 RMB 186,000-351,000

展覽：

「台灣報到─2010台灣美術雙年展」，國立台灣美術館，台中，展期2010年10月2日至2011年1月9日「複感•動觀─2011海峽兩岸當代藝術展」，中國美術館，北京，展期2011年3月1日至2011年4月20日「複感•動觀─2011海峽兩岸當代藝術展」，國立台灣美術館，台中，展期2011年6月11日至2011年9月11日

慈善義賣聲明：本拍品Lot 264 拍賣所得全數金額將捐贈予公益單位作公益之用。 CHARITY AUCTION ANNOUNCEMENT: The owner of lot 264 will donate the hammer price to the public interest groups.

265

CHIU Ya-tsai (Taiwanese, 1949 - 2013)

露尖牙的男子

The Man With Sharp Teeth

1995

1995 Oil on canvas 100 x 80 cm Signed loner left CHIU Ya-tsai in Chinese

100 x 80 cm

NT$ 900,000-1,600,000 HK$ 230,000-408,000 US$ 29,300-52,100 RMB 197,000-351,000

156

邱亞才

油彩畫布簽名左下：邱亞才

266

CHIU Ya-tsai

邱亞才

(Taiwanese, 1949 - 2013)

太陽花

Sunflower

油彩畫布

Oil on canvas 162 x 130 cm Signed lower left Chiu Ya-tsai in Chinese

簽名左下：邱亞才

ILLUSTRATED:

Chiu Ya-Tsai, Goethe Art Center, Taichung, 2013, color illustrated

NT$ 950,000-1,800,000 HK$ 242,000-459,000 US$ 30,900-58,600 RMB 208,000-395,000

162 x 130 cm 圖錄：

《邱亞才》，哥德藝術中心，台中， 2013，彩色圖版

267

SU Wong-shen (Taiwanese, b. 1956)

C-08 Mixed Media on canvas 300 x 140 cm Signed on the reverse Su Wong-shen in Chinese and titled C-08 ILLUSTRATED:

Su Wong-shen - Between the Clouds, Eslite Corp., Taipei, 2008, color illustrated plate 048, p. 230

NT$ 1,100,000-2,200,000 HK$ 281,000-561,000 US$ 35,800-71,700 RMB 241,000-482,000

蘇旺伸 C-08 綜合媒材 300 x 140 cm 簽名題識畫背：蘇旺伸 C-08 圖錄：

《蘇旺伸：雲與雲之間》，誠品股份有限公司，台北，2008，彩色圖版048，頁230

158

268

PANG Jiun

龎均

(Taiwanese, b. 1936)

興坪煙雨

Chinese Landscape

1989

1989 Oil on canvas 72 x 90 cm Signed lower right Pang Jiun in Chinese and dated 1989 With one seal of the artist

NT$ 1,300,000-2,200,000 HK$ 332,000-561,000 US$ 42,300-71,700 RMB 285,000-482,000

油彩畫布 72 x 90 cm 簽名右下：龎均 1989 鈐印右下：均

269

YANG Chihung

楊識宏

(Taiwanese, b. 1947)

歷史的回溯

Retrospect of History

2007

2007 Acrylic on canvas 170 x 221 cm Signed on the reverse Chihung Yang in English, titled Retrospect of History in English and dated 2007

170 x 221 cm

EXHIBITED:

Inner Vision, Human Condition: Chihung Yang Solo Exhibition, National Art Museum of China, Beijing, October 16 - 23, 2007 ILLUSTRATED:

Chihung Yang: Inner Vision, Human Condition, Asia Art Center, Taipei, 2007, color illustrated, pp. 172-173 This work to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 1,300,000-2,200,000 HK$ 332,000-561,000 US$ 42,300-71,700 RMB 285,000-482,000 160

「心象情境─楊識宏個展」，中國美術館，北京，展期自 2007年10月16日至10月23日圖錄：

《楊識宏─心象情境》，亞洲藝術中心，台北，2007，彩色圖版，頁172-173 附亞洲藝術中心開立之原作保證書

270

CHUANG Che

莊喆

(Taiwanese, b. 1934)

抽象I

Abstract I

1984

1984 Oil on canvas 105 x 143 cm Signed lower right Chuang Che in Chinese

105 x 143 cm

This work is to be sold with a certificate of authenticity issued by Lighten Art Gallery, Kaohsiung.

NT$ 1,300,000-2,200,000 HK$ 332,000-561,000 US$ 42,300-71,700 RMB 285,000-482,000

油彩畫布簽名右下：莊喆附光喆藝術空間開立之原作保證書

271

CHIU Ya-tsai

文雅

Gentleman

1993

1993 Oil on canvas 130 x 97 cm

130 x 97 cm

ILLUSTRATED:

Chiu Ya-Tsai, Ming Art Gallery, Taipei, 2009, color illustrated, p. 81

NT$ 1,600,000-2,600,000 HK$ 408,000-663,000 US$ 52,100-84,700 RMB 351,000-570,000

162

邱亞才

(Taiwanese, 1949 - 2013)

油彩畫布圖錄：

《邱亞才》，旻谷藝術，台北，2009，彩色圖版，頁 81

272

HSIAO Chin (XIAO Qin)

蕭勤

(Taiwanese, b. 1935)

再生之始 - 8

Origin of Reborn - 8

2003

2003 Acrylic on canvas 140 x 140 cm Signed on the reverse Hsiao in English, Chin in Chinese, dated 2003, titled Origin of Reborn - 8 in Chinese and inscribed 140 x 140 cm acrylic

140 x 140 cm

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

NT$ 1,700,000-2,200,000 HK$ 434,000-561,000 US$ 55,400-71,700 RMB 373,000-482,000

壓克力畫布簽名畫背：Hsiao勤 2003 再生之始 - 8 140 x 140公分壓克力附帝門藝術中心開立之原作保證書

273

HSIA Yan

夏陽

(Taiwanese, b. 1932)

愛迪生電工－紐約

Con Edison Men

1981 油彩畫布

1981 Oil on canvas 95 x 133 cm Signed lower right HSIA Yan in English and dated 81 Signed on the reverse HSIA Yan in English titled Con Edison Men and dated 1981, inscribed oil on canvas 36" x 52" in English

95 x 133 cm 簽名右下：YAN HSIA 81 簽名畫背：YAN HSIA"Con Edison Men"1981, oil on canvas 36"x 52" 來源：

O.K. 哈里斯畫廊，紐約私人收藏，歐洲

PROVENANCE:

O.K. Harris Gallery, New York Private collection, Europe

展覽：

「夏陽」，O.K. 哈里斯畫廊，紐約，1982年5 - 6月

EXHIBITED:

Yan Hsia, OK Harris Gallery, New York, May-June, 1982

NT$ 1,800,000-2,800,000 HK$ 459,000-714,000 US$ 58,600-91,200 RMB 395,000-614,000

紐約時期的自由靈魂「真正的藝術交流是本國的藝術家把文化的觸鬚伸展到國外，但自己創作的本體，依然系於國內」夏陽夏陽，台灣前衛繪畫代表人物之一，曾與蕭勤等人創立「東方畫會」，亦為「八大響馬」一員。生於亂世，幾經流轉，夏陽於1968年移居紐約，並受當時新寫實主義風潮影響，用畫筆精準地捕捉紐約街景。新寫實主義又稱照相寫實主義，以高度寫實的技法以其細膩度著稱，呈現畫面定格中一瞬間的當下，而這個「當下」無關乎實際的時長或短，端倪源於此刻的行動。在這場前衛藝術運動中，夏陽也成為紐約照相寫實主義的代表人物。具有東方風格與哲思，使得夏陽紐約時期在照相寫實的風潮下也能獨樹一幟，然而這種不帶有創作者主觀情感的超寫實主義，是對真實世界的真實再現，身入其境有著臨場感的紀錄性，紀錄一種工業文明下的新美感。此幅《愛迪生電工–紐約》創作於1983年呈現如攝影長時間曝光般的模糊熙攘行人。作品用其獨創自由繪畫的方式，潛心規劃出畫面構圖，靈感又不由自主地意隨心動，夏陽傳神地再現了人在現代主義城市文明中，熙來攘往的忙碌與速度感。這樣的存在，帶著空虛、荒涼與都市生活下的現代感。這個被定格的行走，不受時空羈絆，可以是以往的過去，可以是此刻的當下，更可以是將至的未來。夏陽的藝術將極具張力的生活經驗體現於自然靈動的繪畫語言，並創作出自己對於時代觀察體悟下的經典作品。

THE FREE SOUL OF THAT TIME IN NEW YORK "True artistic exchange happens when an artist extends their cultural influence beyond their own country while the core of their work remains within their home country" - Hsia Yan

164

Hsia Yan, one of the avant-garde artist of his time, who collaborated with Hsiao Chin on Ton Fan Art Group and was instrumental in bringing modern Taiwanese painting into international exhibitions. Being born into a chaotic world, although the world keeps spinning, Hsia Yan emigrated to New York in 1968 and was influenced by New Realism of the time. Using his pen he captured the streetscapes of New York with great accuracy. New Realism at the time was also known as Photorealism, with great emphasis placed on technique and fine execution, creating a "present" moment. This "present" is irrelevant to the actual length of time; it originates in the action of the moment. Within this avant-garde moment, Hsia Yan became a representative of photorealism in New York With Eastern style and philosophy, Hsia Yan's New York period stands out within the trend of photorealism. However, ultra-realism without the subjective emotion of the creator is a reproduction of the real world, the viewer has the feeling of actually being there, recording a sort of beautiful industrial civilization. This "Con Edison Men" was created in 1983: a blurry bustling pedestrian scene, emulating long exposure photography. His works use his free painting method to concentrate on the composition of the picture with the inspiration involuntarily incorporated. Hsia Yan vividly reproduces the bustling feeling of speed of people in modern urban civilization. This existence, with emptiness, desolation, and a feeling of modernity that arises from urban life. Their steps are fixed, free of the constraints of time and space. It could be the past, it could be this very moment, or it could be the future. Hsia Yan's art embodies the most intense life experiences in a natural and dynamic painting language, while creating his own timeless works for the observation of the times.

274

LI Chen (Taiwanese, b. 1963)

Elysium Buddha 2007 Bronze, edition 6/8 32(L) x 23(W) x 64(H) cm Engraved on the back Li Chen in English, numbered 6/8 and dated 2007 With one seal of the artist ILLUSTRATED:

Li Chen : Energy of Emptiness, 2007 Solo Exhibition at 52nd International Art Exhibiton-La Biennale di Venezia, Asia Art Center, Taipei, 2007, color illustrated, p. 201 Li Chen : In Search of Spiritual Space, 2008 Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, 2008, color illustrated, p.182. p.199 Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center, Taipei, 2012, color illustrated, p.14 This sculpture is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 2,000,000-3,000,000 HK$ 510,000-765,000 US$ 65,100-97,700 RMB 439,000-658,000

此時期【大氣神遊】系列李真的人物造型，已完全以寫意的方式處理雕塑的形貌體態。其雙手合十、閉眼冥想，氣能飽滿，體態圓潤，帶著喜悅的表情。一種彷彿是人或佛的…讓人感覺到十分接近人世間的樸拙可愛，一種心懷脫離物質世界的一種超越性的表現，李真讓人物

李真

如球體一般飄於山頂高處。佛教人物也擁有世俗生活的形態、神情與

西風佛來

細節，由此讓人們感覺到它們與人世間情感的接近與可愛。這表明了

2007

藝術家身在世俗生活，而懷想塵外世界的精神訴求，因此本作是一件

銅雕 6/8

超越塵世、自在自為的大像。

32(長) x 23(寬) x 64(高) cm 簽名雕刻背後：Li Chen 6/8 2012 雕刻鈐印：李真圖錄：

《李真−虛空中的能量−第52屆威尼斯雙年展》，亞洲藝術中心，台北，2007，彩色圖版，頁201 《李真−尋找精神的空間2008中國美術館個展》，亞洲藝術中心，台北，2008，彩色圖版，頁182、頁199 《李真−大氣−李真台灣大型雕塑首展》，亞洲藝術中心，台北，2012，彩色圖版，頁14 附亞洲藝術中心開立之作品保證書

166

At this stage in Li Chen's Spiritual Journey Through the Great Ether series of personality sculptures, he has completed the impressionist mode of sculpting his works outward appearance. In this piece we see the hands folded gently, eyes closed meditatively, spirit profoundly full, body completely relaxed, with a deeply joyful presence. As a kind of both human and Buddha like expression... leaving one feeling deeply attached to those common affections of the human spirit, mindful of the little kindnesses we show one another when we embrace the soul and abandon the allure of the physical world, Li Chen masterfully migrates the character of the work's personality as if a balloon gently floating carefree astride the clouds amidst the mountaintops. Buddhist personages may also embrace the manner of the world, full of spirit and rich detail, so that we can visually appreciate their intimacy and playfulness engaged with the emotions of the world. This more than illustrates how the artistic life amongst our lives, expresses the world beyond and its ever present call, escaping from this world, in a frail, veneer superego.

168

275

JU Ming (Taiwanese, b. 1938)

Taichi Series - Kick 1995 Bronze, edition 1/10 52(L) x 38(W) x 65(H) cm Signed Ju Ming in Chinese, dated 95, and numbered 1/10 This sculpture is to be sold with a certificate of authenticity issued by Ever Harvest Art Gallery, Taipei.

NT$ 1,900,000-2,800,000 HK$ 485,000-714,000 US$ 61,900-91,200 RMB 417,000-614,000

朱銘太極系列 - 轉身踢腿 1995 銅雕 1/10 52(長) x 38(寬) x 65(高) cm 簽名：朱銘 '95 1/10 附日升月鴻畫廊開立之作品保證書

276

JU Ming

朱銘

(Taiwanese, b. 1938)

太極系列

Taichi Series

1998

1998 Wooden sculpture 49(L) x 21(W) x 41(H) cm Engraved on the bottom JU Ming in Chinese and dated '98

49(長) x 21(寬) x 41(高) cm

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

NT$ 1,600,000-2,600,000 HK$ 408,000-663,000 US$ 52,100-84,700 RMB 351,000-570,000

170

木雕簽名雕刻底部：朱銘 '98 附台北思維藝術開立之作品保證書

277

JU Ming (Taiwanese, b. 1938)

Taichi Series 1995 Bronze, edition AP 8/10 32(L) x 18(W) x 26(H) cm This sculpture is to be sold with a certificate of authenticity signed by Juan Yong Gallery and the artist.

NT$ 850,000-950,000 HK$ 217,000-242,000 US$ 27,700-30,900 RMB 186,000-208,000

朱銘太極系列 1995 銅雕自8/10 32(長) x 18(寬) x 26(高) cm 附雋永畫廊與藝術家親筆簽名之作品保證書

278

HUNG Yi

洪易

(Taiwanese, b. 1970)

骨頭狗

Bone with Dog

2009

2009 Baking finish on steel plate, marble 60(L) x 24(W) x 72(H) cm Signed left hind foot Hung Yi in Chinese and dated 2009

60(長) x 24(寬) x 72(高) cm

This work is to be sold with a certificate of authenticity issued by Der-Horng Art Gallery, Tainan.

NT$ 500,000-800,000 HK$ 128,000-204,000 US$ 16,300-26,100 RMB 110,000-175,000

172

鋼板烤漆大理石簽名左後腳：洪易 2009 附德鴻畫廊開立之作品保證書

279

JU Ming

朱銘

(Taiwanese, b. 1938)

龍

Dragon

1999

1999 Bronze, edition 19/20 52.2(L) x 15.7(W) x 33.2(H) cm Engraved Ju Ming in Chinese, numbered 19/20 and dated '99

52.2(長) x 15.7(寬) x 33.2(高) cm

This sculpture is to be sold with a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation.

NT$ 400,000-550,000 HK$ 102,000-140,000 US$ 13,000-17,900 RMB 88,000-121,000

銅雕 19/20 簽名雕刻：朱銘 19/20 '99 附財團法人朱銘文教基金會開立之作品鑑定報告書

280

Poren HUANG

黃柏仁

(Taiwanese, b. 1970)

吸收

Absorbing It All

2005

2005 Bronze, edition 30/30 27(L) x 11(W) x 15(H) cm Engraved on the right rear side PR Engraved on the bottom of right front foot PR and numbered 30-30 This sculpture is to be sold with a certificate of authenticity issued by Powen Gallery and signed by the artist.

NT$ 260,000-360,000 HK$ 66,000-92,000 US$ 8,500-11,700 RMB 57,000-79,000

174

銅雕 30/30 27(長) x 11(寬) x 15(高) cm 雕刻簽名右後方：PR 雕刻簽名右前腳底部：30-30 PR 附紅野畫廊及藝術家親筆簽名之作品保證書

281

Poren HUANG

黃柏仁

(Taiwanese, b. 1970)

你好

Hello

2014

2014 Bronze, edition 12/30 21(L) x 12(W) x 26(H) cm Engraved on the right leg PR Engraved on the bottom PR, dated 2014 and numbered 30-12

21(長) x 12(寬) x 26(高) cm

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

NT$ 260,000-360,000 HK$ 66,000-92,000 US$ 8,500-11,700 RMB 57,000-79,000

銅雕 12/30 雕刻簽名右腿：PR 雕刻簽名底部：2014. 30-12 PR 附紅野畫廊及藝術家親筆簽名之作品保證書

282

LI Kuang-yu (Taiwanese, b. 1954)

Quite and Secluded Orchid Bronze, edition 73/120 16.5(L) x 14(W) x 39(H) cm (bronze) 15(L) x 15(W) x 15(H) cm (base) Engraved on the bottom Yu in Chinese and numbered 73/120 This work is to be sold with a certificate of authenticity issued by King Ling Art Center and signed by the artist.

NT$ 190,000-280,000 HK$ 48,000-71,000 US$ 6,200-9,100 RMB 42,000-61,000

李光裕幽蘭銅雕 73/120 16.5(長) x 14(寬) x 39(高) cm (銅雕) 15(長) x 15(寬) x 15(高) cm (黑曜石底座) 簽名雕刻底部：裕 N. 73/120 附金陵藝術中心及藝術家親筆簽名之作品保證書

176

283

JU Ming (Taiwanese, b. 1938)

Dragon 1999 Bronze, edition 2/20 19(L) x 14(W) x 51(H) cm Engraved Ju Ming in Chinese, dated ‘99 and numbered 2/20 This sculpture is to be sold with a certificate of authenticity signed by the artist and issued by Giotto Ltd.

NT$ 160,000-260,000 HK$ 41,000-66,000 US$ 5,200-8,500 RMB 35,000-57,000

朱銘蟠柱青龍 1999 銅雕 2/20 19(長) x 14(寬) x 51(高) cm 簽名雕刻：2/20 '99 朱銘附吉優特國際股份有限公司及藝術家親筆簽名之作品保證書

284

HSIEH Hsiao-de (Taiwanese, b. 1940)

Landscape 2015 Watercolor on paper 78 x 110 cm Signed lower right Hsieh Hsiao-de in Chinese and dated 2015

NT$ 20,000-50,000 HK$ 5,000-13,000 US$ 700-1,600 RMB 4,000-11,000

謝孝德風景 2015 水彩紙本 78 x 110 cm 簽名右下：2015 謝孝德

285

LIU Keng-I (Taiwanese, b. 1938)

Rainbow 2000 Pastel on paper 76 x 102 cm Signed lower right Keng-I in Chinese and dated 2000/1 The painting is to be sold with a certificate of authenticity issued by Caves Gallery, Taipei.

NT$ 40,000-90,000 HK$ 10,000-23,000 US$ 1,300-2,900 RMB 9,000-20,000

劉耿一彩虹 2000 粉彩紙本 76 x 102 cm 簽名右下：耿一 2000/1 附敦煌畫廊開立之原作保證書

178

286

KING Fen-hwa

金芬華

(Taiwanese, b. 1955)

女人與花

Woman with Flowers

1992

1992 Oil on canvas 73 x 61 cm Signed lower right King Fen-hwa in Chinese, F. H. KING in English and dated ‘92

73 x 61 cm

NT$ 60,000-120,000 HK$ 15,000-31,000 US$ 2,000-3,900 RMB 13,000-26,000

油彩畫布簽名右下：金芬華 F.H. KING '92

287

YANG Din

楊登雄

(Chinese, b. 1958)

風景

Paysage

1993

1993 Oil on canvas 61 x 50 cm Signed lower right Yan Din in English Signed on the reverse Yang Din in English and titled Sans titre in French and Chinese, sized 61 x 50 cm

61 x 50 cm

NT$ 70,000-140,000 HK$ 18,000-36,000 US$ 2,300-4,600 RMB 15,000-31,000 180

油彩畫布簽名右下：Yang Din 簽名畫背：Yang Din 1993.7 Sans titre 無題 61 x 50 cm

288

HUNG Jui-lin

洪瑞麟

(Taiwanese, 1912 - 1996)

淡水河畔

Tamsui Riverside

1973

1973 Watercolor on paper 24 x 35 cm Dated lower right 1973.2 With one seal of the artist

24 x 35 cm

ILLUSTRATED:

Impressions Collection II - Humanist and Artist J. L. Hung, Impressions Art Center, Taipei, 1992, color illustrated, p. 195, no. 184 Thie work is to be sold with a certificnte of authenticity issued by Impressions Art Center

NT$ 70,000-140,000 HK$ 18,000-36,000 US$ 2,300-4,600 RMB 15,000-31,000

水彩紙本年代右下：1973.2 鈐印右下：礦山人圖錄：

《印象經典II 人道主義畫家─洪瑞麟》，印象畫廊，台北，1992，彩色圖版，頁 195，編號 184 附印象畫廊開立之原作保證書

289

HSU Yu-jen (Taiwanese, b. 1951)

Rough - Brush Ink Painting Series 2007 Ink on paper 232 x 51.5 cm Signed lower left Hsu Yu-jen in Chinese, initialed H.Y.J. in English and dated 2007

NT$ 80,000-160,000 HK$ 20,000-41,000 US$ 2,600-5,200 RMB 18,000-35,000

許雨仁粗筆系列 2007 水墨紙本 232 x 51.5 cm 簽名左下：許雨仁 H.Y.J 2007

182

290

HUNG Jui-lin

洪瑞麟

(Taiwanese, 1912 - 1996)

蘭嶼的雕刻師傅

Carving Master on Orchid Island

1972

1972 Watercolor on paper 25 x 33.5 cm Signed lower right Hung in Chinese and dated 1972.7

25 x 33.5 cm

ILLUSTRATED:

Impressions Collection II - Humanist and Artist J. L. Hung, Impressions Art Center, Taipei, 1992, color illustrated, p. 172, no. 156

NT$ 90,000-160,000 HK$ 23,000-41,000 US$ 2,900-5,200 RMB 20,000-35,000

水彩紙本簽名右下：洪 1972.7 圖錄：

《印象經典II 人道主義畫家─洪瑞麟》，印象畫廊，台北，1992，彩色圖版，頁 172，編號 156

291

SHEN Che-tsai (Taiwanese, 1926 - 2017)

裸女

Nude

1983

1983 Charcoal, pastel, marker pen on paper 43.5 x 27.5 cm Signed lower right Che-tsai in Chinese and dated 1983

43.5 x 27.5 cm

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,500 RMB 22,000-44,000 184

沈哲哉

炭筆粉彩簽字筆紙簽名右下：1983 哲哉

292

SHEN Che-tsai

沈哲哉

(Taiwanese, 1926 - 2017)

裸女

Nude

1982

1982 Charcoal, pastel, marker pen on paper 27.5 x 44 cm Signed upper left Che-tsai in Chinese and dated 1982

27.5 x 44 cm

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,500 RMB 22,000-44,000

炭筆粉彩簽字筆紙簽名左上：1982 哲哉

293

CHANG Chen-yu

張振宇

(Taiwanese, b. 1957)

蘭嶼風景

Orchid Island Scenery

油彩畫布

Oil on canvas 64.5 x 65 cm Signed lower left Chen-yu in Chinese

簽名左下：振宇

NT$ 110,000-200,000 HK$ 28,000-51,000 US$ 3,600-6,500 RMB 24,000-44,000

186

64.5 x 65 cm

294

George CHANN

陳蔭羆

(Chinese-American, 1913 - 1995)

戴綠領帶的小男孩

Boy with Green Tie

油彩畫布

Oil on canvas 50.8 x 40.7 cm Signed lower left GEO-CHANN in English

簽名左下：GEO-CHANN

PROVENANCE:

Clars Auction Gallery, USA, May 18, 2014, lot6207

NT$ 110,000-220,000 HK$ 28,000-56,000 US$ 3,600-7,200 RMB 24,000-48,000

50.8 x 40.7 cm 來源:

Clars Auction Gallery，美國，2014 年5月18日，編號6207

295

HUNG Jui-lin

洪瑞麟

(Taiwanese, 1912 - 1996)

阿里山即景

Ali Mountain

1969

1969 Watercolor on paper 35 x 27 cm Dated lower left 1969 With one seal of the artist

35 x 27 cm

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

NT$ 110,000-220,000 HK$ 28,000-56,000 US$ 3,600-7,200 RMB 24,000-48,000 188

水彩紙本年代左下：1969 鈐印左下：礦山人附印象畫廊開立之原作保證書

296

CHEN Yin-hui

陳銀輝

(Taiwanese, b. 1931)

靜物

Still Life

1988

1988 Oil on canvas 45 x 53 cm Signed lower left Yin in Chinese, CHEN in English and dated ‘88

45 x 53 cm

NT$ 130,000-240,000 HK$ 33,000-61,000 US$ 4,200-7,800 RMB 29,000-53,000

油彩畫布簽名左下：銀 CHEN '88

297

Ishikawa KINICHIRO

石川欽一郎

(Japanese, 1871 - 1945)

潮來水鄉

Riverside Scenery

水彩紙本

Watercolor on paper 45.5 x 53.5 cm Signed lower right ISHIKAWA KIN in English With one seal of the artist

簽名右下：ISHIKAWA KIN

PROVENANCE:

Private collection, Japan

NT$ 170,000-240,000 HK$ 43,000-61,000 US$ 5,500-7,800 RMB 37,000-53,000

190

45.5 x 53.5 cm 鈐印右下：欽來源：

私人收藏，日本

298

TAI Hoi Ying

戴海鷹

(Chinese-French, b. 1946)

無題

Untitled

1977

1977 Oil on canvas 122 x 85 cm Signed on the reverse Tai and dated 1977

122 x 85 cm

NT$ 180,000-260,000 HK$ 46,000-66,000 US$ 5,900-8,500 RMB 39,000-57,000

油彩畫布簽名畫背：Tai 1977

299

LI Chun-shan

李仲生

(Taiwanese, 1912 - 1984))

抽象

Abstract

水彩紙本

Watercolor on paper 26 x 36 cm

附名門畫廊與門生連署開立之原作保證書

This work is to be sold with a certificate of authenticity issued by Ming Men Gallery

NT$ 180,000-260,000 HK$ 46,000-66,000 US$ 5,900-8,500 RMB 39,000-57,000

192

26 x 36 cm

300

HUNG Jui-lin

洪瑞麟

(Taiwanese, 1912 - 1996)

礦工畫像

Miners

1954

1954 Ink and color on paper 35 x 25.6 cm Signed lower left J L Hung and dated 1954 With one seal of the artist (This painting was signed by the artist in 1991.)

35 x 25.6 cm

ILLUSTRATED:

Mineworker Studio Notes, J. L. Hung Painting Gallery, Taipei, 1989, color illustrated Impressions Collection II - Humanist and Artist J. L. Hung, Impressions Art Center, Taipei, 1992, color illustrated, p. 55, no. 029 Taiwan Fine Arts Series 12: Hung Jui Lin, Artist Publishing Co., Taipei, 1993, color illustrated, p. 130, no. 81

NT$ 190,000-260,000 HK$ 48,000-66,000 US$ 6,200-8,500 RMB 42,000-57,000

彩墨紙本簽名左下：1954 J L Hung 鈐印左下：洪（1991年藝術家本人於作品上補上英文簽名）圖錄：

《礦工畫室手記》，洪瑞麟作品展示中心工作室，台北，1989，彩色圖版《印象經典II 人道主義畫家─洪瑞麟》，印象畫廊，台北，1992，彩色圖版，頁 55，編號 029 《台灣美術全集12 洪瑞麟》，藝術家出版社，台北，1993，彩色圖版，頁 130，編號 81

301

YU Cheng-yao

余承堯

(Taiwanese, 1898 - 1993)

山水

Landscape

彩墨紙本

Ink and color on paper 47 x 60 cm Signed upper right YU Cheng-yao in Chinese With one seal of the artist

NT$ 190,000-280,000 HK$ 48,000-71,000 US$ 6,200-9,100 RMB 42,000-61,000

194

47 x 60 cm 簽名右上：余承堯作鈐印右上：余承堯印

302

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

四裸女

Four Nudes

壓克力彩墨紙本

Acrylic, ink and color on paper 37 x 31 cm With one seal of the artist

鈐印左上：採花大盜

NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,200-10,400 RMB 48,000-70,000

37 x 31 cm

303

SU Wong-shen (Taiwanese, b. 1956)

Between the Pines 2007 - 2008 Acrylicl on cardboard 54 x 78 cm Titled on the reverse Between the Pines, signed SU Wong-shen in Chinese and dated 2007 2008

NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,200-10,400 RMB 48,000-70,000

蘇旺伸松與松之間 2007 - 2008 壓克力紙板 54.5 x 78 cm 簽名畫背：松與松之間蘇旺伸 2007 2008

196

304

Chang-Ling (Taiwanese, b. 1975)

Pork Belly Series - Flesh, Flowers and Birds 2009 Oil on canvas 100 x 100 cm Signed on the reverse Chang- Ling in Chinese, titled Pork Belly Series - Flesh, Flowers and Birds - Flesh, Flowers and Birds - Orioles' Wait and dated 2009

NT$ 260,000-300,000 HK$ 66,000-77,000 US$ 8,500-9,800 RMB 57,000-66,000

1996年到法國留學，常陵對於歐洲當代藝術風潮產生高度興趣；2005年回到台灣後，不斷地思索與探討台灣當代文化的主體性及畫語權，藝術家以自身的基本構成透視這塊記憶中，屬於母土的獨特創作風格，將創作回歸到以「大自然」為起點。常陵的肉花鳥，是肉山水開天闢地後的結晶，古靈精怪的異種生物或跳蹦或潛伏，悠遊天地之間，也許在血紅深澗旁，也許在潺潺肉流溪水邊，靈猴私語，雀鳥雨後輕啼彽泣，變形扭曲的植物在黑暗中花開艷麗與筆直向天的骨竹或樹枝狀的神經叢林，肉花鳥不只是常陵龐大肉世界裡生命的開端，更暗諷人類自我擬神化的生物製造狂想曲。物種、適應和進化三個基本概念形成了達爾文的生物進化論。而相對地適者生存、遺傳變異、過量繁殖和生存競爭這些學說奠定了生物進化論。在常陵的肉世界中，其實變異不是藝術家所直接造成的；它只是在無意中把生物置於新的生存環境中，而後大自然才作用於生物上使之變異。不過當下，人卻能對自然所提供的變異加以選擇，運用新科技操控生物走上奇妙進化史，以滿足人類想

常陵

一窺生命起源的強烈慾望。肉花鳥是對扭曲下生物鏈的詠讚；也是常陵內

五花肉系列─肉花鳥─鶯鶯候日圖

心世界的情慾抒發。

2009 油彩畫布 100 x 100 cm 簽名畫背：五花肉系列－肉花鳥鶯鶯候日圖常陵 2009

Chang Ling's studies brought him to France in 1996, and there he quickly latched on to new movements in contemporary art. Since returning to Taiwan in 2005, he has not let go of his intellectual pursuit and exploration of creative freedom and subjectivity in contemporary Taiwanese culture. In his perspective of this memory, which reflects the artist's self, is also part of the unique creative style of his motherland, which brings his practice back to its original inspiration: Nature. Flesh Flowers and Birds is the baby of Pork Belly Series after the creation of Flesh Landscape. They are the bizarre alien creatures or jumping or hibernating in the widest expanse of the world, perhaps by the side of the bloody red streamlets, perhaps by the side of the flowing fleshy stream, gossiping monkeys, weeping birds after rainfall, bright blossoms of the twisted and deformed vegetation and the straight heaven pointing bone bamboos or the tree-like branches of the forest of nerves. Flesh Flowers and Birds is not only the beginning of life of ChangLing's massive world of flesh but also a satirical comment on man's wild fantasy of producing creatures like god and the strong desire to control creatures in the evolving under new technology. Darwin's theory of Evolution is based on the three basic concepts of species, adaption and evolution. These are the related theories of survival of the fittest, heredity and variation, excess reproduction and struggle for existence have all contributed to the field of evolutionary biology. In Chang-Ling's Flesh World, variation isn't actually directly caused by the artist, but rather is unintentional; organisms are placed in a new environment, and then nature aco upon them to create variations. People can utilize new technology variations provided by nature, and in this way manipulate the organism as it progresses through its marvelous evolutionary journey. This can satisfy our desire to catch a glimpse of life's origins. Flesh Flowers and Birds are in praise of the deformed biological chain and also a wizard of lust and desires in Chang-Ling's intrinsic heart.

198

305

CHEN Ting-shih (CHEN Ting-shi)

陳庭詩

(Taiwanese, 1916 - 2002)

日與夜#57

Day and Night #57

1981

1981 Woodblock print, edition 15/40 92 x 92 cm Signed lowor right Chen Ting-shih and dated 1981, Titled lower left Day and Night #57 in English and numbered lower center 15/40

NT$ 280,000-380,000 HK$ 71,000-97,000 US$ 9,100-12,400 RMB 61,000-83,000

200

版畫 15/40 92 x 92 cm 簽名右下：Chen Ting-shin 1981 題識左下：Day and Night #57 版次中下：15/40

306

HSIAO Chin (XIAO Qin)

蕭勤

(Taiwanese, b. 1935)

飛行 - 7

Fuga - VII

1974

1974 Acrylic on canvas 70 x 60 cm Signed on the reverse Hsiao in English Chin in Chinese and dated 1974 This work is to be sold with a certiﬁcate of authenticity signed by the artist.

NT$ 280,000-380,000 HK$ 71,000-97,000 US$ 9,100-12,400 RMB 61,000-83,000

壓克力畫布 70 x 60 cm 簽名畫背：Hsiao 勤 1974 附藝術家簽名之原作保證書

307

CHENG Tsai-tung (ZHENG Zaidong) (Taiwanese, b. 1953)

秋菊

Chrysanthemum

2004

2004 Ink and color on paper 174 x 94 cm Signed on the center Cheng Tsai-tung in Chinese and dated ‘04

174 x 94 cm

PROVENANCE:

Acquired directly from the artist by the former owner

NT$ 300,000-400,000 HK$ 77,000-102,000 US$ 9,800-13,000 RMB 66,000-88,000 202

鄭在東

彩墨紙本簽名中間：鄭在東 '04 來源：

原藏家直接得自藝術家本人

308

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

粉紅貓

The Pink Cat

壓克力彩墨紙本

Acrylic, ink and color on paper 55 x 42 cm With one seal of the artist

鈐印右上：採花大盜

NT$ 320,000-420,000 HK$ 82,000-107,000 US$ 10,400-13,700 RMB 70,000-92,000

55 x 42 cm

309

LIU Kuo-sung

劉國松

(Taiwanese, b. 1932)

山外山 & 寒月何許 (兩件一組)

Beyond Mountain & Which is moon (a set of 2)

1968；1969

1968; 1969 Ink and color on paper (left) Ink on paper (right) 23 x 28 cm (left) 42 x 22.5 cm (right) Signed lower right Liu Kuo-sung and dated 1968 in Chinese With one seal of the artist (left) Signed lower right Liu Kuo-sung and dated 1969 in Chinese With one seal of the artist (right)

23 x 28 cm (左)

NT$ 320,000-480,000 HK$ 82,000-122,000 US$ 10,400-15,600 RMB 70,000-105,000

204

彩墨紙本 (左) 水墨紙本 (右) 42 x 22.5 cm (右) 簽名右下：劉國松一九六八鈐印右下：劉國松 (左) 簽名右下：劉國松一九六九鈐印右下：劉 (右)

310

SHIY De-jinn

席德進

(Taiwanese, 1923 - 1981)

梨山一景

Landscape in Lishan

1971

1971 Watercolor on paper 45.5 x 53 cm Signed center left Shiy De-jinn in Chinese and dated 1971

45.5 x 53 cm

PROVENANCE:

Ravenel, Special Auction of Works by Shiy De-Jinn: His Close Friend's Collection of 30 Years: December 1, 2013, lot 681

NT$ 360,000-460,000 HK$ 92,000-117,000 US$ 11,700-15,000 RMB 79,000-101,000

水彩紙本簽名左中：席德進 1971 來源：

羅芙奧，席德進藝術專拍─摯友三十年珍藏：席德進，台北，2013年12月1日，編號681

311

Chang-Ling

常陵

(Taiwanese, b. 1975)

五花肉系列－肉花鳥鱷魚圖

Pork Belly Series - Flesh, Flowers and Birds Crocodile

2007

2007 Oil on canvas 112 x 145.5 cm Signed on the reverse Chang Ling in Chinese, titled Pork Belly serie-Flesh Flower and Birds Crocodile and dated 2007

簽名題識畫背：常陵 2007 五花肉系列－肉花鳥鱷魚圖

NT$ 340,000-460,000 HK$ 87,000-117,000 US$ 11,100-15,000 RMB 75,000-101,000

206

油彩畫布 112 x 145.5 cm

312

Alixe FU (FU Qingli, Ching-Fong)

傅慶豊

(Chinese-French, 1961)

生機

Vitality

1993

1993 Oil on canvas 116 x 89 cm Signed upper right Alixe FU and dated 93 Titled on the reverse Vatality, inscribed 116 x 89 cm (50F) and signed Alixe FU in Chinese and English.

116 x 89 cm

NT$ 360,000-500,000 HK$ 92,000-128,000 US$ 11,700-16,300 RMB 79,000-110,000

油彩畫布簽名右上：Alixe Fu 93 簽名題識畫背：生機 116 x 89 cm (50F) 傅慶豊 Alixe Fu

313

CHEN Cheng Wei (Chinese, b. 1984)

大民國－清夜思君

Still Night

2014

2014 Oil on canvas 60 x 50 cm Signed lower right Chen Cheng Wei in Chinese and pinyin; dated 2014 and fingerprint

60 x 50 cm

NT$ 340,000-460,000 HK$ 87,000-117,000 US$ 11,100-15,000 RMB 75,000-101,000 208

陳承衛

油彩畫布簽名右下：陳承衛chen cheng wei 2014 及指印

314

Tzu-chi YE

葉子奇

(Taiwanese, b. 1957)

對話蓮霧 II

Dialogue Bell Fruit II

2003 - 2013

2003 - 2013 Tempera and oil on linen 38 x 45.7 cm Signed lower right Tzu-chi in Chinese and dated 2003-2013

38 x 45.7 cm

NT$ 380,000-460,000 HK$ 97,000-117,000 US$ 12,400-15,000 RMB 83,000-101,000

卵彩油彩亞麻布簽名右下：子奇2003-2013

315

CHEN Ting-shih (CHEN Ting-shi)

陳庭詩

(Taiwanese, 1916 - 2002)

日與夜#58

Day and Night #58

1981

1981 Woodblock print, edition 17/40 61 x 121.5 cm Signed lower right Chen Ting-Shin and dated 1981, titled lower left Day and Night #58 in English and nunbered lower center 17/40

61 x 121.5 cm

NT$ 420,000-550,000 HK$ 107,000-140,000 US$ 13,700-17,900 RMB 92,000-121,000

210

版畫 17/40 簽名右下：Chen Ting-Shin 1981 版次中下：17/40 題識左下：Day and Night #58

316

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

持花雙美

Ladies with Flower Bouquets

壓克力彩墨紙本

Acrylic and ink on paper 46 x 64 cm With one seal of the artist

鈐印中下：採花大盜

PROVENANCE:

Private collection, USA Private collection, Netherlands

NT$ 420,000-550,000 HK$ 107,000-140,000 US$ 13,700-17,900 RMB 92,000-121,000

46 x 64 cm 來源：

私人收藏，美國私人收藏，荷蘭

317

CHEN Yin-hui

陳銀輝

(Taiwanese, b. 1931)

印度所見

India

1983

1983 Oil on canvas 72.5 x 91 cm Signed lower right Yin in Chinese, CHEN in English and dated ‘83

72.5 x 91 cm

油彩畫布

EXHIBITED:

The 18th Century Exhibition of Fine Arts, Taiwan, November, 1983

NT$ 420,000-550,000 HK$ 107,000-140,000 US$ 13,700-17,900 RMB 92,000-121,000

212

簽名右下：銀 CHEN '83 展覽：

「第十八屆世紀美展」，台灣，1983年11月

318

SHIY De-jinn

席德進

(Taiwanese, 1923 - 1981)

曼哈頓街景

Manhattan Streetscape

1963

1963 Watercolor on paper 38 x 56 cm Signed lower left Shiy in English, Shiy De-jinn in Chinese and dated 1963

38 x 56 cm

PROVENANCE:

George and Harriet Trask Estate, Palm Beach, Florida, USA Private collection, Florida, USA

NT$ 440,000-650,000 HK$ 112,000-166,000 US$ 14,300-21,200 RMB 96,000-143,000

水彩紙本簽名左下：Shiy 席德進 1963 來源：

崔斯克遺產，棕櫚灘，佛羅里達，美國私人收藏，佛羅里達，美國

319

YAO Jui-chung

姚瑞中

(Taiwanese, b. 1969)

腦山水－漱玉圖（臨錢維城「雲山深靜卷」）

Brain Landscape: River Sound 2014 Oil on canvas, brain model with gold leaf mounted on board 120 cm (diameter) Signed lower left Yao Jui-chung in Chinese, titled Brain Landscape: River sound and dater 2014, spring EXHIBITED:

Good Times-Yao Jui-Chung Solo Exhibition, Tina Keng Gallery, Taipei, February 25 - March 4, 2014

NT$ 500,000-800,000 HK$ 128,000-204,000 US$ 16,300-26,100 RMB 110,000-175,000

214

2014 油彩畫布金箔模型腦 120 cm (直徑) 簽名左下：腦山水漱玉圖姚瑞中二〇一四立春展覽：

「好時光－姚瑞中個展」，耿畫廊，台北，展期2014年2月25日至3月4日

320

PANG Jiun

龎均

(Taiwanese, b. 1936)

太平洋

Pacific Ocean

2011

2011 Oil on canvas 60.6 x 72.7 cm Signed lower left Pang Jiun in Chinese and dated 2011 With one painted seal of the artist Singed on the reverse PANG JIUN in Chinese and English; inscribed 60.6 x 72.7 cm 20F, titled Pacific Ocean and dated 2011 This work is to be sold with a certificate of authenticity issued by Der-Horng Art Gallery

NT$ 550,000-750,000 HK$ 140,000-191,000 US$ 17,900-24,400 RMB 121,000-164,000

油彩畫布 60.6 x 72.7 cm 簽名左下：龎均 2011 手繪鈐印左下：均簽名畫背：龎均 PANG JIUN 60.6 x 72.7 cm 20F 太平洋 2011 附德鴻畫廊開立之原作保證書

321

ZAO Wou-ki

趙無極

(Chinese-French, 1921 - 2013)

比薩詩章 (八件一組)

Canto Pisan (a set of 8)

1972

1972 Etching, edition 16/50 32.3 x 26.3 cm 31.5 x 25.2 cm 32.5 x 26.3 cm (x2) 40.3 x 25 cm (x2) 40.5 x 25.3 cm (x2) Signed lower right Wou-ki in Chinese and Zao in French; numbered lower left 16/50 (each)

32.3 x 26.3 cm

蝕刻版畫 16/50 31.5 x 25.2 cm 32.5 x 26.3 cm (x2) 40.3 x 25 cm (x2) 40.5 x 25.3 cm (x2) 簽名右下：無極 ZAO (每件) 版次左下：16/50 (每件) 圖錄：

ILLUSTRATED:

喬詹．阿格魯普，《趙無極版畫集1937-1995》，

Jørgen Ågerup, Zao Wou-ki, The Graphic Work A Catalogue Raisonné 1937-1995, Heede & Moestrup, Copenhagen, 1994, color illustrated, no. 218-225, pp. 130-131

黑德與莫斯特魯普出版社，哥本哈根，1994，

NT$ 550,000-650,000 HK$ 140,000-166,000 US$ 17,900-21,200 RMB 121,000-143,000

216

彩色圖版，編號218-225，頁130-131

322

CHU Teh-chun

朱德群

(Chinese-French, 1920 - 2014)

墨之風暴 (版畫書) (九件一組)

Encre Orageuse

2008

2008 Lithogtaphs, edition of 99 HC 11/20 41 x 30.5 cm 41 x 30 cm 41 x 29 cm 41.5 x 29.5 cm 40 x 60 cm 40.5 x 29 cm 44.8 x 69.7 cm 45 x 35 cm 45 x 34.8 cm Signed lower right CHU THE-CHUN in French and Chinese; with the artist's seal on the lower right, and numbered H.C. 11/20 on all six of the lithographs; stamped on the upper right and lower left with artist's seal on each calligraphy

41 x 30.5 cm

NT$ 550,000-650,000 HK$ 140,000-166,000 US$ 17,900-21,200 RMB 121,000-143,000

石版畫限量99 HC 11/20 41 x 30 cm 41 x 29 cm 41.5 x 29.5 cm 40 x 60 cm 40.5 x 29 cm 44.8 x 69.7 cm 45 x 35 cm 45 x 34.8 cm 版次左下：H.C. 11/20 簽名右下：朱德群 CHU TEH-CHUN 鈐印右下：朱德群

323

Jeff KOONS (American, b. 1955)

Balloon Dog (Orange) 2015 Glazed porcelain, edition 2142/2300 26.7(L) x 26.7(W) x12.7(D) cm Stamped Jeff Koons on the reverse

1980年代初期，昆斯以獨樹一幟的風格──混合著波普與觀念藝術，平庸美

This work is to be sold with a certificate of authenticity issued by Bernardaud Group, France.

庸俗，庸俗卻成了救贖，滿盈的傑夫昆斯式的感性與性感隱喻，卻又有著無

NT$ 300,000-380,000 HK$ 77,000-97,000 US$ 9,800-12,400 RMB 66,000-83,000

學與精緻工業──進入藝術世界的舞台。從新當代美術館展出的鏡區裝置開始，與1985年「平衡Equilibrium」和1988年「平庸 Banality」兩檔個展，探討激進資本主義世界的消費戀物風氣，作品呈現群眾和物質慾望的關係。氾濫比純真二元性；1991年「來自天堂」的創作，是真愛秀場，是平庸美學的極致，是藝術家本人主觀的慾望體現，挑戰觀眾客觀的道德底線。傑夫昆斯的「慶典」系列，歡慶喧騰，其可愛圓潤的造型及鮮豔飽和的色彩，傳遞樂觀積極的正面能量，其細緻光亮且誘人的鏡面處理，反映人影讓觀者與藝術品結合，在欣賞的同時觸發不同觀感，看著象徵快樂的氣球，重新用樂觀的角度，發現內心不同的世界。

傑夫．昆斯

氣球狗之美學具有極強的當代性，具有現代雕塑之線條美感，僅保留必要之形體，其鏡面表面更有極簡主義藝術裝置之互動性。傑夫昆斯曾說：「氣球狗沒

氣球狗（橘）

有任何隱藏的意涵，就只是純粹的幸福快樂。」從此可見藝術家在藝術創作之

2015

偉大之處。

釉瓷 2142/2300 26.7(長) x 26.7(寬) x 12.7(深) cm 印刷簽名：JEFF KOONS 附法國柏圖瓷器開立之作品保證書

Koons' first show was staged in 1980, and he emerged onto the art scene with a style that blended several existing styles—pop, conceptual, craft, appropriation—to create his own unique mode of expression. From his first window display at the New Museum, as well as two monumental exhibitions "Equilibrium" in 1985 and "Banality" in 1988, the theme of the exhibitions was mainly exploring the trend of consumer fetishism in the radical capitalist world, the work shows the relationship between the public and material desires. Once Koons said, "Exploit the masses, Banality as saviour." His sentimental but also sexual metaphor has its own innocence and duality. In 1991, "Made in Heaven" was a live sex show as well as a romantic show of true love, extremely expressing the ultimacy of the aesthetic of banality. The show was the manifestation of his personal desire and intimacy, challenging the moral bottom line of the audiences. Jeff Koons' "Celebration" series has sleek shapes and bright saturated colors, conveying positive energy. Its delicate, attractive and reflective surface trigger different perceptions while enjoying. Balloons symbolize happiness. With its optimism, viewers can discover a new different world. The aesthetics of balloon animals is extremely contemporary, with the beauty of modern sculptures simplicity, retaining only the necessary shapes, and the surface is more interactive with its seductive reflective transparent color coating. Jeff Koons once said: "The animals in the celebration series have no hidden meanings, just pure happiness". The ideation can explain why the works of Jeff Koons make it's audience happy. We can also see the greatness of the artist in his artistic creation.

218

324

Ena NAGAO

長尾惠那

(Japanese, b. 1982)

正座

The Rightness

2011

2011 Camphor Wood 49(L) x 52(W) x 89(H) cm Signed on the bottom ENA NAGAO in English and dated 2011

49(長) x 52(寬) x 89(高) cm

This work is to be sold with a certificate of authenticity signed by the artist and Piaopiao Gallery, Taipei.

NT$ 300,000-400,000 HK$ 77,000-102,000 US$ 9,800-13,000 RMB 66,000-88,000

220

樟木簽名底部：ENA NAGAO 2011 附一票人票畫空間及藝術家簽筆簽名之作品保證書

325

Ai HAIBARA

灰原愛

(Japanese, b. 1981)

你所看見的世界

The World You See

2009

2009 Acrylic, wood 45(L) x 13(W) x 35(H) cm Signed on the bottom Ai Haibara and dated 2009

簽名腳底：2009 Ai Haibara

This sculpture is to be sold with a certificate of authenticity issued by Butchart International, Contemporary Art Space, Taipei.

NT$ 170,000-280,000 HK$ 43,000-71,000 US$ 5,500-9,100 RMB 37, 000-61,000

壓克力顏料樟木 45(長) x 13(寬) x 35(高) cm 附布查國際當代藝術空間開立之作品保證書

326

Kunihiko NOHARA (Japanese, b. 1982)

Eat and Swim 2009 Acrylic, wood 22.5(L) x 13.8(W) x 41.3(H) cm EXHIBITED:

Have A Good Time !, The Ueno Royal Museum, Tokyo, December 24, 2017 - January 2, 2018 IILUSTRATED:

Have A Good Time !, Gallery UG, Tokyo, 2017 , color illustrated This work is to be sold with a certificate of authenticity issued by gallery UG, Tokyo.

NT$ 170,000-280,000 HK$ 43,000-71,000 US$ 5,500-9,100 RMB 37,000-61,000

野原邦彥吃與游泳 2009 壓克力欅木 22.5(長) x 13.8(寬) x 41.3(高) cm 展覽：

「Have A Good Time !」，上野之森美術館，東京，展期自2017年12月24日至2018年1月2日圖錄：

《Have A Good Time !》，Gallery UG，東京， 2017，彩色圖版附東京 gallery UG 開立之作品保證書

222

327

Moe NAKAMURA

中村萌

(Japanese, b. 1988)

漫長

Grow Longer

2018 木油彩

2018 Wooden oil, paint 9(L) x 9(W) x 18.5(H) cm Signed on the bottom Moe and dated 2018

9(長) x 9(寬) x 18.5(高) cm

PROVENANCE:

Gallery TSUBAKI, Tokyo

NT$ 110,000-220,000 HK$ 28,000-56,000 US$ 3,600-7,200 RMB 24,000-48,000

簽名底部：Moe 2018 來源：

椿畫廊，東京

328

Takashi MURAKAMI (Japanese, b. 1962)

無題

Untitled

2002

2002 Marker pen on paper 18.8 x 12.5 cm Signed on the bottom Takashi and dated 02

18.8 x 12.5 cm

NT$ 40,000-90,000 HK$ 10,000-23,000 US$ 1,300-2,900 RMB 9,000-20,000

224

村上隆

油性筆紙本簽名下方：Takashi 02

329

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

雲朵簽名繪畫

Cloud Drawing

2010

2010 Marker pen on paper 21.7 x 21.5 cm Signed on the bottom KAWS..10 This work is to be sold with a certificate of authenticity issued by VINCE Fine Arts, Miami

27.1 x 21.5 cm

NT$ 60,000-120,000 HK$ 15,000-31,000 US$ 2,000-3,900 RMB 13,000-26,000

油性筆紙本簽名下方：KAWS..10 附邁阿密 VINCE Fine Arts 開立之原作保證書

330

Banksy

班克斯

(British, b. 1975)

暗黑樂園－氣球女孩 & 擲花者(兩件一組)

Dismaland-Girl with Balloon & Flower Bomber(a set of 2) 2015 Spray paint on cardboard; edition 28/100 (Girl with Balloon); 32/100 (Flower Bomber) 39.5 x 38.5 cm (Girl with Balloon) 40.5 x 28 cm (Flower Bomber) Inscribed on the reverse ENJOY YOUR FREE ART and BANKSY IS DISMAL!!; numbered 28/100 and 32/100

NT$ 50,000-100,000 HK$ 13,000-26,000 US$ 1,600-3,300 RMB 11,000-22,000

226

2015 噴漆紙板 28/100 (氣球女孩) 32/100 (擲花者) 39.5 x 38.5 cm (氣球女孩) 40.5 x 28 cm (擲花者) 題識版次後背：ENJOY YOUR FREE ART BANKSY IS DISMAL!! 28/100; 32/100

331

Banksy

班克斯

(British, b. 1975)

暗黑樂園－蒙娜麗莎火箭筒

Dismaland-Mona Lisa Bazooka

2015

2015 Spray paint on edition cardboard, edition 4/10 46.5 x 56 cm Inscribed on the reverse ENJOY YOUR FREE ART and BANKSY IS DISMAL!!; numbered 4/10

NT$ 50,000-100,000 HK$ 13,000-26,000 US$ 1,600-3,300 RMB 11,000-22,000

噴漆紙板 4/10 46.5 x 56 cm 題識版次後背：ENJOY YOUR FREE ART BANKSY IS DISMAL!! 4/10

332

IIDA Kiriko

飯田桐子

(Japanese, b. 1970)

夜船

Night Ship

2016

2016 Oil on canvas 53 x 65.2 cm Signed on the reverse Kiriko Iida in English and dated 2016

53 x 65.2 cm

This work is to be sold with a certificate of authenticity signed by the artist and Gallery IDF, Nagoya.

NT$ 110,000-220,000 HK$ 28,000-56,000 US$ 3,600-7,200 RMB 24,000-48,000

228

油彩畫布簽名畫背：Kiriko Iida 2016 附名古屋IDF畫廊與藝術家親筆簽名之原作保證書

333

Gary BASEMAN

格里‧巴斯曼

(American, b. 1960)

親吻 (雙聯幅)

Bisous (diptych)

2007

2007 Acrylic on wood panel 50 x 101 cm

50 x 101 cm

EXHIBITED:

Hide and Seek in the Forest of ChouChou, Billy Shire Fine Arts, Culver City, California, July 14 - August 11, 2007 This work is to be sold with a certificate of authenticity issued by Metaphysical Art Gallery, Taipei.

NT$ 130,000-220,000 HK$ 33,000-56,000 US$ 4,200-7,200 RMB 29,000-48,000

壓克力木板展覽：

「在咻咻森林中玩捉迷藏」，Billy Shire Fine Arts，卡爾弗城，加州，展期2007年7月14日至8月11日附形而上畫廊開立之原作保證書

334

Gemi

坂上祐斗

(Japanese, b. 1989)

來我這邊

Come by My Side

2011

2011 Acrylic on canvas 91 x 91 cm Signed on the reverse Gemi in Japanese and dated H 23. 8. 11 This work is to be sold with a certificate of authenticity issued by Kaikai Kiki Co., Ltd., Tokyo.

NT$ 160,000-260,000 HK$ 41,000-66,000 US$ 5,200-8,500 RMB 35,000-57,000

230

壓克力畫布 91 x 91 cm 簽名畫背：H 23. 8. 11 げみ附東京 Kaikai Kiki Co., Ltd. 開立之原作保證書

335

Korehiko HINO

日野之彥

(Japanese, b. 1976)

我看到了那道光芒

I Saw That Light

2014

2014 Oil on canvas 33.5 x 33.5 cm Signed on the reverse Korehiko Hino in Kanji, dated 2014 and titled I saw that light in Japanese

33.5 x 33.5 cm

NT$ 160,000-260,000 HK$ 41,000-66,000 US$ 5,200-8,500 RMB 35,000-57,000

油彩畫布簽名題識畫背：オレは光るあれを見た 2014 日野之彥

336

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

簽名塗鴉 (三件一組)

Drawing (a set of 3)

2016 油性筆紙本

2016 Marker pen on paper 29.2 x 20.8 cm (each) Signed on the bottom KAWS,, and dated 16(each)

29.2 x 20.8 cm (每件)

PROVENANCE:

YOD Gallery, Osaka

NT$ 160,000-260,000 HK$ 41,000-66,000 US$ 5,200-8,500 RMB 35,000-57,000

232

簽名下方：KAWS,, 16(每件) 來源：

YOD 畫廊，大阪

337

Moe NAKAMURA

中村萌

(Japanese, b. 1988)

萌芽

Germ of Something

2016

2016 Pastel on board 51.5 x 36.5 cm Signed lowr right Moe in English

51.5 x 36.5 cm

This work is to be sold with a certificate of authenticity issued by Gallery Tsubaki, Tokyo.

NT$ 160,000-260,000 HK$ 41,000-66,000 US$ 5,200-8,500 RMB 35,000-57,000

粉筆木板簽名右下：Moe 附東京椿畫廊開立之原作保證書

338

Ayako ROKKAKU (Japanese, b. 1982)

Baby with Flower 2008 Acrylic on cardboard 70 x 30 cm With one seal of the artist Signed on the reverse Ayako Rokkaku in Japanese

NT$ 170,000-260,000 HK$ 43,000-66,000 US$ 5,500-8,500 RMB 37,000-57,000

六角彩子小花寶貝 2008 壓克力紙板 70 x 30 cm 鈐印右下：ロッカクアャコ簽名畫背：ロッカクアャコ

234

339

Gary BASEMAN

格里‧巴斯曼

(American, b. 1960)

咻咻的洗禮 (雙聯幅)

The Baptism of Chou Chou (diptych)

2007

2007 Acrylic on wood panel 50 x 101 cm Signed lower right BASEMAN

50 x 101 cm

EXHIBITED:

The Door is Always Open - Gary Baseman Solo Exhibition, MOCA Taipei, Taipei, June 28 - August 24, 2014 This painting is to be sold with a certificate of authenticity issued by Metaphysical Art Gallery, Taipei.

NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,200-10,400 RMB 48,000-70,000

壓克力木板簽名右下：BASEMAN 展覽：

「歡迎來我家─蓋瑞•貝斯曼個展」，台北當代藝術館，台北，展期自2014年6月28日至8月24日附形而上畫廊開立之原作保證書

340

Takesada MATSUTANI

松谷武判

(Japanese, b. 1937)

無題

Untitled

1988

1988 Mixed media on paper 65 x 50 cm Signed lower right Matsutani, inscribed PARIS and dated 88

NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,200-10,400 RMB 48,000-70,000

236

綜合媒材紙本 65 x 50 cm 簽名右下：Matsutani PARIS, 88

341

Moe NAKAMURA (Japanese, b. 1988)

Grow M 2017 Acrylic on canvas 33.4 x 24.4 cm Signed lower right Moe in English PROVENANCE:

Gallery TSUBAKI, Tokyo

NT$ 320,000-420,000 HK$ 82,000-107,000 US$ 10,400-13,700 RMB 70,000-92,000

中村萌生長M 2017 壓克力畫布 33.4 x 24.4 cm 簽名右下：Moe 來源：

椿畫廊，東京

342

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

你應該知道我知道

You should know I know

2015

2015 Screenprint, edition 77/250 94.5 x 81.3 cm Signed lower right KAWS and dated 15

94.5 x 81.3 cm

NT$ 420,000-550,000 HK$ 107,000-140,000 US$ 13,700-17,900 RMB 92,000-121,000

238

版畫 77/250 簽名右下：KAWS.. 15

343

Keith HARING

凱斯．哈林

(American, 1958 - 1990)

地鐵塗鴉

Subway Drawing

1980 - 1985

1980 - 1985 Chalk on paper 105 x 72 cm

105 x 72 cm

PROVENANCE:

Collection of Chandler Wade, former maintenance employee of NYC metro lines, who took off this subway drawing in a metro station in New York. This work is to be sold with a certificate of authenticity issued by Galerie Unik, Paris.

NT$ 500,000-700,000 HK$ 128,000-179,000 US$ 16,300-22,800 RMB 110,000-154,000

粉筆紙本來源：

Chandler WADE，紐約地鐵線維修的前退休員工，他自己在紐約的地鐵站取下了這張紙牌附巴黎 Galerie Unik 開立之作品保證書

344

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

無題

Untitled

2002

2002 Screenprint, edition of 85 41.5 x 58.5 cm

41.5 x 58.5 cm

NT$ 420,000-550,000 HK$ 107,000-140,000 US$ 13,700-17,900 RMB 92,000-121,000

240

版畫限量85件

345

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

超模一號

Supermodel #1

1999

1999 Screenprint, edition 40/50 71 x 53 cm Signed KAWS, dated 1999 and numbered 40/50 on the bottom PROVENANCE:

Private Collection, USA

NT$ 420,000-650,000 HK$ 107,000-166,000 US$ 13,700-21,200 RMB 92,000-143,000

版畫 40/50 71 x 53 cm 簽名下方： KAWS 40/50 99 來源：

私人收藏，美國

346

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

Madonna (Black) 2012 Screenprint (unique) 56 x 56 cm Signed center right Mr. Brainwash Signed on the reverse Mr. Brainwash, Life is Beautiful, dated 2012 and numbered R69458761H

NT$ 320,000-420,000 HK$ 82,000-107,000 US$ 10,400-13,700 RMB 70,000-92,000

242

洗腦先生 (泰瑞．庫塔) 瑪丹娜 (黑) 2012 絲網版畫 (單一件) 56 x 56 cm 簽名右中：Mr. Brainwash 簽名畫背：Mr. Brainwash, Life is Beautiful 2012 N°R69458761H

347

Katsura FUNAKOSHI

舟越桂

(Japanese, b. 1951)

在藍森林的地方 & 重要的言語 (兩件一組)

At the Blue Forest & The Important Words (a set of 2)

2013

2013 Mezzotint and aquatint, edition 11/25 69.5 x 53 cm (each) Signed lower right Katsura Funakoshi in English, dated '13 and numbered lower left 11/25

簽名右下：Katsura Funakoshi '13

ILLUSTRATED:

Katsura Funakoshi's Prints, Imavision Gallery, Taipei, 2013, color illustrated, p. 6, p. 19, p. 23 These works are to be sold with the certificates of authenticity issued by Imavision Gallery and an exhibition catalogue signed by the artist.

NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,200-10,400 RMB 48,000-70,000

版畫 11/25 69.5 x 53 cm (每件) 版次左下：11/25 圖錄：

《靈魂的交會：舟越桂原創版畫》，晴山藝術中心，台北，2013，彩色圖版，頁6，頁19，頁23 附晴山藝術中心開立之作品保證書及藝術家親筆簽名之展覽畫冊

348

Virgil ABLOH x Takashi MURAKAMI (American, b. 1980) (Japanese, b. 1962)

Memento Mori (Black, White) (a set of 2) 2018 Silkscreen, edition 61/100 (White) 54/100 (Black) 46.7 x 36.7 cm (each) Signed lower right Takashi, dated 2018 and numbered 61/100 ; signed lower left VIRGIL and dated 2018 (White) Signed lower right Takashi, dated 2018 and numbered 54/100 ; signed lower left VIRGIL and dated 2018 (Black)

NT$ 260,000-360,000 HK$ 66,000-92,000 US$ 8,500-11,700 RMB 57,000-79,000

244

349

Takashi MURAKAMI x MADSAKI

村上隆 x MADSAKI

(Japanese, b. 1962) (Japanese, b. 1974)

花 ComplexCon (黑) (三件一組)

Flowers ComplexCon (black) (a set of 3)

2017

2017 Screenprint, edition of 100 46.8 x 38 cm (each) Signed lower right Takashi, dated 2017 and numbered 60/100 Signed lower right Takashi, dated 2017 and numbered 61/100 Signed lower right Takashi, dated 2017 and numbered 60/100

46.8 x 38 cm (每件)

NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,200-10,400 RMB 48,000-70,000

版畫限量100件簽名右下：Takashi 2017 60/100 簽名右下：Takashi 2017 61/100 簽名右下：Takashi 2017 60/100

350

Virgil ABLOH x Takashi MURAKAMI (American, b. 1980) (Japanese, b. 1962)

Hollow Man & Kyoto Enso (a set of 2) 2018 Silkscreen, edition 175/300(Hallow Man); 47/300(Kyoto Enso) 46.7 x 39.7 cm (each) Signed lower right Takashi, dated 2018 and numbered 175/300 ; Signed lower left VIRGIL and dated 2018 (Hollow Man) Signed lower right Takashi, dated 2018 and numbered 47/300 ; Signed lower left VIRGIL and dated 2018 (Kyoto Enso)

NT$ 130,000-240,000 HK$ 33,000-61,000 US$ 4,200-7,800 RMB 29,000-53,000

VIRGIL ABLOH X 村上隆知名街頭品牌Off-White創辦人Virgil Abloh聯名日本殿堂級藝術家村上隆。充滿諷刺與標的性街頭藝術風格，淋漓盡致地碰撞出極具辨識度地時代性藝術標誌。

VIRGIL ABLOH X TAKASHI MURAKAMI Virgil Abloh, founder of the well-known streetwear brand Off-White, has crossover with the most influential Japanese artist Takashi Murakami. The marriage of the satirical and iconic street art styles has, sensationally, given birth to a highly recognizable, epochal artistic label.

246

351

Takashi MURAKAMI (Japanese, b. 1962)

Flowerballs (a set of 2) 2016; 2017 Offset lithograph, edition 49/300 (upper); 62/300 (lower) 71 x 71 cm (each) Signed lower right M and numbered 49/300 (upper) Signed lower right M and numbered 62/300 (lower)

NT$ 110,000-220,000 HK$ 28,000-56,000 US$ 3,600-7,200 RMB 24,000-48,000

村上隆花球(兩件一組) 2016; 2017 版畫

49/300 (上) 62/300 (下) 71 x 71 cm (每件) 簽名右下：M 49/300 (上) 簽名右下：M 62/300 (下)

352

Virgil ABLOH x Takashi MURAKAMI (American, b. 1980) (Japanese, b. 1962)

Branded in Time & Glance Past the Future (a set of 2) 2018 Silkscreen, edition 32/300; 70/300 48 x 40 cm (each) Singned lower right Takashi, dated 2018 and numbered 32/300 Signed lower left VIRGIL and dated 2018 (Branded on time) Singned lower right Takashi, dated 2018 and numbered 70/300 Singned lower left VIRGIL and dated 2018 (Glance Past the Future)

NT$ 130,000-220,000 HK$ 33,000-56,000 US$ 4,200-7,200 RMB 29,000-48,000

248

353

MADSAKI (Japanese, b. 1974)

Three Flags 3P, Two Flags 2P and White Flag (a set of 3) 2018 Offset lithograph, edition 170/300 (Three Flags 3P) 164/300 (Two Flags 2P) 164/300 (White Flag) 46 x 68.2 cm (Three Flags 3P) 68.3 x 50 cm (Two Flags 2P) 50 x 77 cm (White Flag) Signed lower right Madsaki, dated 2018 and numbered 170/300 (Three Flags 3P) Signed lower right Madsaki, dated 2018 and numbered 164/300 (Two Flags 2P) Signed lower right Madsaki, dated 2018 and numbered 164/300 (White Flag)

NT$ 110,000-220,000 HK$ 28,000-56,000 US$ 3,600-7,200 RMB 24,000-48,000

MADSAKI 三面國旗；兩面國旗；白色國旗 (三件一組) 2018 版畫 170/300 (三面國旗) 164/300 (兩面國旗) 164/300 (白色國旗) 46 x 68.2 cm (三面國旗) 68.3 x 50 cm (兩面國旗) 50 x 77 cm (白色國旗) 簽名右下：Madsaki 2018 170/300 (三面國旗) 簽名右下：Madsaki 2018 164/300 (兩面國旗) 簽名右下：Madsaki 2018 164/300 (白色國旗)

354

Tracey EMIN

翠西．艾敏

(British, b. 1963)

你像遠方星星般愛著我 & 但是呀 (兩件一組)

You Loved Me Like A Distant Star& But Yea (a set of 2)

2012 (You Loved Me Like A Distant Star)；

2012 (You Loved Me Like A Distant Star); 2005 (But Yea) Photography 70 x 50 cm (each) Signed lower right Tracey Emin Signed lower right Tracey Emin X Trademark lower left Tracey Emin, You Loved me like a distant Start, 2012, Installation shot © The Artist Trademark lower left Tracey Emin, But Yea, 2005, Installation shot © The Artist

70 x 50 cm (每件)

NT$ 80,000-160,000 HK$ 20,000-41,000 US$ 2,600-5,200 RMB 18,000-35,000

250

2005 (But Yea) 攝影簽名右下：Tracey Emin 簽名右下：Tracey Emin X 商標左下：Tracey Emin, You Loved me like a distant Start , 2012, Installation shot © The Artist 商標左下：Tracey Emin, But Yea, 2005, Installation shot © The Artist

355

Andy WARHOL

安迪．沃荷

(American, 1928 - 1987)

米克．傑格

Mick Jagger

1975

1975 Screenprint 11.5 x 7.3 cm Signed lower right Andy Warhol in English

11.5 x 7.3 cm

ILLUSTRATED:

Frayda Feldman and Jörg Schellmann, Andy Warhol Prints : A Catalogue Raisonné 1962-1987, The Andy Warhol Foundation for the Visual Arts, New York, 1997, color illustrated, p. 89, no. II. 143

NT$ 60,000-120,000 HK$ 15,000-31,000 US$ 2,000-3,900 RMB 13,000-26,000

絲網版畫簽名右下：Andy Warhol 圖錄：

《安迪 . 沃荷 1962-1987 版畫全集》，弗瑞達•菲爾曼 & 約格•薛爾曼，安迪 . 沃荷視覺藝術基金會，紐約，1977，彩色圖版，頁89，編號 II. 143

356

Keith HARING (American, 1958 - 1990)

Untitled (a set of 2) Lithograph, edition 20/250; 52/250 10.3 x 10 cm (upper) 13 x 15 cm (lower) Signed lower right K. Haring in English and numbered lower left 20/250 (upper) Signed lower right K. Haring in English and numbered lower left 52/250 (lower)

NT$ 50,000-100,000 HK$ 13,000-26,000 US$ 1,600-3,300 RMB 11,000-22,000

凱斯．哈林無題 (兩件一組) 版畫 20/250; 52/250 10.3 x 10 cm (上) 13 x 15 cm (下) 簽名右下：K. Haring；版次左下：20/250 (上) 簽名右下：K. Haring；版次左下：52/250 (下)

252

357

Hiroto KITAGAWA

北川宏人

(Japanese, b. 1967)

花豹 (綠、粉紅) (兩件一組)

Floral Panther (Green, Pink) (a set of 2)

2009

2009 Ink-jet output on Washi, edition 2/20 99.5 x 64 cm (each) Signed lower right HIROTO KITAGAWA in English and dated ‘09; numbered lower left 2/20

99.5 x 64 cm (每件)

These works are to be sold with the certificates of authenticity issued by Eslite Gallery and signed by the artist.

NT$ 60,000-100,000 HK$ 15,000-26,000 US$ 2,000-3,300 RMB 13,000-22,000

噴墨輸出和紙 2/20 簽名右下：'09 HIROTO KITAGAWA 版次左下：2/20 附誠品畫廊及藝術家親筆簽名之作品保證書

358

HUNG Tung-lu (Donglu HONG)

洪東祿

(Taiwanese, 1968)

小紅的誕生

The Birth of Xiao Hung

2002 - 2006

2002 - 2006 Color photography, edition 5/8 93 x 124 cm Titled lower left The Birth of Xiao Hung in English and numbered 5/8 Signed lower right Hung Tung Lu in English and dated 2002 - 2006

93 x 124 cm

NT$ 130,000-200,000 HK$ 33,000-51,000 US$ 4,200-6,500 RMB 29,000-44,000

254

彩色照片 5/8 題識左下：The Birth of Xiao Hung 5/8 簽名右下：Hung Tung Lu 2002 - 2006

359

Gary BASEMAN (American, b. 1960)

Ahwroo 2012 Hand painted polystone, edition 275/300 30.5(L) x 17(W) x 21(H) cm Trademark © GARY BASEMAN on the attached panel; inscribed Baseman and APPortfolio; numbered 275/300 This work is to be sold with its original product box

NT$ 30,000-60,000 HK$ 8,000-15,000 US$ 1,000-2,000 RMB 7,000-13,000

360

Banksy (British, b. 1975)

Flower Bomber 2017 Polystone 35.5(L) x 9(W) x 39(H) cm Trademark © MMXV Full Colour Black Ltd. on the bottom of right foot; MEDICOM TOY 2017 CHINA on the bottom of left foot This works is accmpanied its original product box

NT$ 40,000-90,000 HK$ 10,000-23,000 US$ 1,300-2,900 RMB 9,000-20,000

班克斯擲花者 2017 寶麗石粉樹脂 35.5(長) x 9(寬) x 39(高) cm 註冊商標：© MMXV Full Colour Black Ltd. (右腳底)； MEDICOM TOY 2017 CHINA (左腳底) 附作品原產紙盒包裝

256

361

Banksy (British, b. 1975)

Flower Bomber 2016 Polystone 35.5(L) x 9(W) x 39(H) cm Trademark © MMXV Full Colour Black Ltd. on the bottom of right foot; MEDICOM TOY 2018 CHINA on the bottom of left foot This work is accompanied with its original product box

NT$ 50,000-100,000 HK$ 13,000-26,000 US$ 1,600-3,300 RMB 11,000-22,000

班克斯擲花者 2016 寶麗石粉樹脂 35.5(長) x 9(寬) x 39(高) cm 註冊商標：© MMXV Full Colour Black Ltd. (右腳底)；MEDICOM TOY 2018 CHINA (左腳底) 附作品原產紙盒包裝

362

Banksy

班克斯

(British, b. 1975)

掛牌猴子－什麼都不做你可以活更久 (黑)

Monkey Sign - Do Nothing You'll Live Longer (Black) 2016 Resin, edition of 600 19(L) x 15(W) x 36(H) cm Trademark © MMXVI Full Color Black Ltd on the bottom of right foot, MEDICOM TOY 2016 CHINA on the bottom of left foot This work is accompanied with its original product box

NT$ 50,000-100,000 HK$ 13,000-26,000 US$ 1,600-3,300 RMB 11,000-22,000

258

2016 樹脂限量600件 19(長) x 15(寬) x 36(高)cm (雕塑) 註冊商標：© MMXVI Full Color Black Ltd. (右腳底) MEDICOM TOY 2016 CHINA (左腳底) 附作品原產紙盒包裝

363

Daniel ARSHAM

丹尼爾．阿爾軒

(American, b. 1980)

破裂熊

Cracked Bear

2018

2018 Fabric, plaster and acrylic paint, edition of 500 22.6(L) x 18.6(W) x 24.4(H) cm

22.6(長) x 18.6(寬) x 24.4(高) cm

This work is accompanied with its original product box

NT$ 50,000-100,000 HK$ 13,000-26,000 US$ 1,600-3,300 RMB 11,000-22,000

織品石膏壓克力顏料限量 500件附作品原產紙盒包裝

364

KAWS (Brian Donnelly) x Tokyo Tribe

KAWS〈布萊恩．唐納利〉x 東京暴族

(American, b. 1974)

哈希姆

Hasheem

2007年

14(長) x 10(寬) x 21(高) cm

NT$ 50,000-100,000 HK$ 13,000-26,000 US$ 1,600-3,300 RMB 11,000-22,000

260

365

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

史努比；崔蒂 (兩件一組)

Snoopy; Tweety (a set of 2)

2010

2010 Mixed media, vinyl, edition of 500 14(L) x 11(W) x 21.5(H) cm 11(L) x 17(W) x 23(H) cm Trademark © 2010 PNTS - 2011 PNTS produced by SPECIAL PROJECT CONSULTING Designed by KAWS; MEDICOM TOY 2010 CHINA (Snoopy) TM & © Water Bros. Entertainment Inc. (s10) KAWS (Tweety)

14(長) x 11(寬) x 21.5(高) cm

This work is accompanied with its original product box.

附作品原產紙盒包裝

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 2,900-5,900 RMB 20,000-39,000

綜合媒材搪膠限量500件 11(長) x 17(寬) x 23(高) cm 註冊商標：2010 PNTS -2011 PNTS produced by SPECIAL PROJECT CONSULTING Designed by KAWS; MEDICOM TOY 2010 CHINA (史努比) TM & © Water Bros. Entertainment Inc. (s10) KAWS; MEDICOM TOY 2010 CHINA (崔蒂)

366

Javier Calleja x APPortfolio (Spanish, b. 1971)

Missing The Blue Sky 2018 Mixed media, fiberglass, metal; edition 123/200 16(L) x 16(W) x 32.5(H) cm Trademark By jAViER CALLEjA on the bottom of right foot; APPORTFOLIO on the bottom of left foot This sculpture is sold with hand numbered Wooden board and accompanied with its original product box.

NT$ 50,000-100,000 HK$ 13,000-26,000 US$ 1,600-3,300 RMB 11,000-22,000

哈維爾‧卡勒加 x APPortfolio 想念藍天 2018 綜合媒材玻璃纖維金屬 123/200 16(長) x 16(寬) x 32.5(高) cm 註冊商標：By jAViER CALLEjA (左腳底) APPORTFOLIO (右腳底) 附藝術家親筆簽名之作品保證卡附作品原產紙盒包裝

262

367

CHANG Geng-hwa (Taiwanese, b. 1980)

CHANG Keng-hau (Taiwanese, 1980 - 2018)

Jido 2007 Fiberglass, edition 3/8 29(L) x 24(W) x 55(H) cm Signed on the base Geng Hwa in Chinese and keng hau in English, dated 2007 and numbered 3/8

NT$ 100,000-180,000 HK$ 26,000-46,000 US$ 3,300-5,900 RMB 22,000-39,000

張耿華；張耿豪筋斗雲 2007 玻璃纖維 3/8

29(長) x 24(寬) x 55(高) cm 簽名底部：耿華 keng hau 2007 3/8

368

Yoshitomo NARA (Japanese, b. 1959)

Doggy Radio 2011 Fiberglass, edition 2231/3000 43(L) x 22.5(W) x 29.5(H) This work is accompanied with its original product box

NT$ 70,000-130,000 HK$ 18,000-33,000 US$ 2,300-4,200 RMB 15,000-29,000

奈良美智小狗收音機 2011 玻璃纖維 2231/3000 43(長) x 22.5(寬) x 29.5(高) 附作品原產紙盒包裝

264

369

Takashi MURAKAMI

村上隆

(Japanese, b. 1962)

怪怪奇奇 (兩件一組)

Kaikai Kiki (a set of 2)

2018

2018 Soft vinyl 13(L) x 8(W) x 23.5(H) cm (Kaikai) 13(L) x 9(W) x 20(H) cm (Kiki) Trademark COMPLEXCON © TM/KK on the bottom of left foot ; MADE IN JAPAN on the bottom of right foot These work are accompanied with their original product boxes

NT$ 50,000-80,000 HK$ 13,000-20,000 US$ 1,600-2,600 RMB 11,000-18,000

軟搪膠 13(長) x 8(寬) x 23.5(高) cm (怪怪) 13(長) x 9(寬) x 20(高) cm (奇奇) 註冊商標：COMPLEXCON © TM/KK (左腳底)； MADE IN JAPAN (右腳底) 附作品原產紙盒包裝

370

Moe NAKAMURA (Japanese, b. 1988)

Wish for Something 2018 Polystone, edition 027/120 17(L) x 15(W) x 26(H) cm EXHIBITED:

2018 Art Fair Tokyo, Gallery Tsubak, Tokyo, 2018 This sculpture is to be sold with a certificate of authenticity signed by the artist

NT$ 70,000-160,000 HK$ 18,000-41,000 US$ 2,300-5,200 RMB 15,000-35,000

中村萌給我抱抱 2018 寶麗石粉樹脂 027/120 17(長) x 15(寬) x 26(高) cm 展覽：

「東京藝術博覽會」，Gallery Tsubak，東京，2018 附藝術家親筆簽名作品保證卡

266

371

Moe NAKAMUR

中村萌

(Japanese, b. 1988)

圈圈

Loop Loop

2015

2015 Polystone, edition 55/130 14(L) x 11(W) x 20(H) cm Signed on the bottom of right foot Moe in English Trademark © Moe Nakamura 2015 © GALLERY TSUBAKI 2015 © MONSTER TAIPEI 2015 PRODUCED BY HOW2WORK Signed on the product box Moe and dated 2015. 10. 8

14(長) x 11(寬) x 20(高) cm

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

NT$ 60,000-120,000 HK$ 15,000-31,000 US$ 2,000-3,900 RMB 13,000-26,000

寶麗石粉樹脂 55/130 簽名右腳底：Moe 註冊商標：© Moe Nakamura 2015 © GALLERY TSUBAKI 2015 © MONSTER TAIPEI 2015 PRODUCED BY HOW2WORK 簽名包裝盒上：Moe 2015. 10. 8 附藝術家親筆簽名之作品保證卡

372

Moe NAKAMURA (Japanese, b. 1988)

Waiting for You 2016 Polystone, edition 63/100 15(L) x 15(W) x 20(H) cm Signed on the bottom Moe in English and dated 2016. 10. 10 Trademark © Moe Nakamura 2016 © GALLERY TSUBAKI 2016 © MONSTER TAIPEI 2016 PRODUCED BY HOW2WORK This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 60,000-120,000 HK$ 15,000-31,000 US$ 2,000-3,900 RMB 13,000-26,000

中村萌等待 2016 寶麗石粉樹脂 63/100 15(長) x 15(寬) x 20(高) cm 簽名底部：Moe 2016. 10. 10 註冊商標：© MOE NAKAMURA 2016 © GALLERY TSUBAKI 2016 © MONSTER TAIPEI 2016 PRODUCED BY HOW2WORK 附藝術家親筆簽名作品保證卡

268

373

Banksy

班克斯

(British, b. 1975)

氣球女孩(黑、白) (兩件一組)

Flying Balloons Girl (Black, White) (a set of 2)

2018

2018 Polystone, 78/100 (black) ; 157/280 (white) 19(L) x 15(W) x 55(H) cm (each) Trademark © MMXV Full Colour Black Ltd. MEDICOM TOY 2018 CHINA These works are accompanied with their original product boxes.

78/100 (黑)

NT$ 70,000-140,000 HK$ 18,000-36,000 US$ 2,300-4,600 RMB 15,000-31,000

374

Daniel ARSHAM (American, b. 1980)

Hourglass I & Exoplanet Transmission 2018 Glass, resin and edition sand 417/500 (Hourglass I) Plaster, fragrance, aluminum bottle and wick 314/500 (Exoplanet Transmission) 11.4(L) x 11.4(W) x 24.1(H) cm (Hourglass I) 31.5(L) x 31.5(W) x 13.5(H) cm (Exoplanet Transmission) These works are accompanied with their original product boxes.

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 2,900-5,900 RMB 20,000-39,000

丹尼爾．阿爾軒時光沙漏 I & 外星傳輸器 2018 玻璃樹脂沙 417/500 (時光沙漏 I) 石膏香氛精鋁瓶燈芯 314/500 (外星傳輸器) 11.4(長) x 11.4(寬) x 24.1(高) cm (時光沙漏 I) 31.5(長) x 31.5(寬) x 13.5(高) cm (外星傳輸器)

附作品原產紙盒包裝

二十一世紀最令人驚豔的美國新銳前衛藝術家丹尼爾．阿爾軒，他的藝術創作跨越了不同媒材與平台，並以觀賞者的體驗為出發點，透過材質的轉換丹尼爾．阿爾軒藝術作品時常帶給觀者驚奇的感官體驗。身為色盲藝術家的丹尼爾．阿爾軒，缺少對於顏色的敏銳度，透過單色或漸層的表現方式，充滿未來感的造型藝術，極簡又矛盾，重新解構我們對於材質以及空間的想像力。藝術家對於考古的熱愛，跨越了時間軸，以新穎並帶有未來感的表現方式，再現了他跨越歷史、時空的藝術表現。此種跨時代的潮思，透過二維或三維的肌理堆疊，創造出宛如夢境般的視覺饗宴，細緻且層次豐富，丹尼爾．阿爾軒締造了一種永恆潮流。

Daniel Arsham, the most amazing, up-and-coming American avant-garde artist, creates art that spans a broad spectrum of media and platforms and aims to enhance viewers' experience. With the use of various materials, his artworks often bring viewers mind-blowing sensory experience. Though Daniel Arsham, as a colorblind artist, lacks sensitivity to colors, he deconstructs and reconstructs our imagination about material and space through his futuristic plastic art utilizing monochrome hues or shades of gray. His passion for archaeology transcends time. Using a novel and futuristic way of expression, he brings forth artistic performance that cuts across time and space. Daniel Arsham, a man of crossera vision, has created a dreamlike visual feast by means of 2D or 3D texture layering, and an everlasting trend.

270

375

Daniel ARSHAM (American, b. 1980)

ARSHAM Monograph-Studio Guidelines; Hollow Figure 2018 Book and cotton gloves, edition 127/1000 Resin, edition 404/500 31.5(L) x 27.5(W) x 3.5(H) cm (book) 27.5(L) x 34(W) x 31.5(H) cm (sculpture) These works are accompanied with their original product boxes.

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 2,900-5,900 RMB 20,000-39,000

丹尼爾．阿爾軒阿爾軒工作室教戰手冊；空洞人物 2018 書本棉質手套 127/1000 樹脂 404/500 31.5(長) x 27.5(寬) x 3.5(高) cm (書本) 27.5(長) x 34(寬) x 31.5(高) cm (雕塑) 附作品原產紙盒包裝

272

376

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

Chompers Bearbrick 1000%; 400%; 100% (a set of 3) 2003 Mixed media, vinyl, edition of 500 34(L) x 24(W) x 71(H) cm (large) 13(L) x 9(W) x 17.1(H) cm (medium) 3.2(L) x 2.5(W) x 7.2(H) cm (small) Trademark: B@000.comLTD013 © KAWS..03 © axev (large) B@000.comLTD011 © KAWS..03 © axev (medium) B@000.comLTD010 © KAWS..03 © axev (small) These works are accompanied with their original product boxes

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 2,900-5,900 RMB 20,000-39,000

KAWS〈布萊恩．唐納利〉藍色大牙積木熊 1000%；400%；100% (三件一組) 2003 綜合媒材搪膠限量500件 34(長) x 24(寬) x 71(高) cm (大) 13(長) x 9(寬) x 17.1(高) cm (中) 3.2(長) x 2.5(寬) x 7.2(高) cm (小) 註冊商標： B@000.comLTD013 © KAWS..03 © axev (大) B@000.comLTD011 © KAWS..03 © axev (中) B@000.comLTD010 © KAWS..03 © axev (小) 附作品原產紙盒包裝

274

377

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

解剖同伴：積木熊 400% (紅、黑、灰) (三件一組)

Dissected Companion: Bearbrick 400% (Red, Black, Grey) (a set of 3)

2008(紅)

2008 (red) 2010 (black) 2010 (grey) Mixed media, vinyl, edition of 500 13(L) x 9(W) x 27.5(H) cm (each) Trademark KAWS.. OriginalFake

綜合媒材搪膠限量500件

These works are accompanied with their original product boxes

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 2,900-5,900 RMB 20,000-39,000

2010(黑) 2010(灰) 13(長) x 9(寬) x 27.5(高) cm (每件) 註冊商標：KAWS.. OriginalFake 附作品原產紙盒包裝

378

Moe NAKAMURA (Japanese, b. 1988)

Melty Dark 2012 Resin 14(L) x 14(W) x 19.5(H) cm Signed on the bottom Moe in English This work is to be sold with a certificate of authenticity issued by Gallery Tsubaki, Tokyo.

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,500 RMB 22,000-44,000

中村萌融化的夜 2012 樹脂 14(長) x 14(寬) x 19.5(高) cm 簽名底部：Moe 附東京椿畫廊開立之作品保證書

276

379

KAWS (Brian Donnelly) x PUSHEAD

KAWS〈布萊恩．唐納利〉x PUSHEAD

(American, b. 1974)

同伴 (銀、黑) (兩件一組)

Companion (Silver, Black) (a set of 2)

2005 綜合媒材搪膠限量500件

2005 Mixed media vinyl, edition 09 500 14.6(L) x 8.3(W) x 27.9(H) cm (each) Trademark © PUSHEAD; © KAWS..05 on the bottom of left foot ; MEDICOM TOY CHINA on the bottom of right foot

14.6(長) x 8.3(寬) x 27.9(高) cm (每件)

These works are accompanied with their original product boxes.

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,500 RMB 22,000-44,000

380

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

JPP (黃、黑) (兩件一組)

JPP (Yellow, Black) (a set of 2)

2008年

2008 Mixed media vinyl, edition of 500 14(L) x 10(W) x 20(H) cm (each) Trademark ©KAWS..08 on the bottom of left foot ; MEDICOM TOY 2008 CHINA on the bottom of right foot

14(長) x 10(寬) x 20(高) cm (每件)

These works are accompanied with their original product boxes.

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,500 RMB 22,000-44,000

278

381

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

火箭 (藍、灰、綠) (三件一組）

Blitz (Blue, Grey, Green) (a set of 3)

2004 彩繪搪膠限量500件

2004 Painted cast vinyl, edition of 500 11(L) x 9(W) x 14(H) cm (each) Trademark © KAWS..04 on the bottom of left foot ; MEDICOM TOY 2004 CHINA on the bottom of right foot

11(長) x 9(寬) x 14(高) cm (每件)

These works are accompanied with their original product boxes.

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,500 RMB 22,000-44,000

382

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

同伴 (經過) (棕、灰、黑) (三件一組)

Companion: Passing Through (Brown, Grey, Black ) (a set of 3)

2013

2013 Painted cast vinyl, edition of 500 17(L) x 19(W) x 29(H) cm (each) Trademark © KAWS..13 MEDICOM TOY 2013 CHINA on the bottom of right foot.

These works are accompanied with their original product boxes.

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,500 RMB 22,000-44,000

280

彩繪搪膠限量500件 17(長) x 19(寬) x 29(高) cm (每件) 附作品原產紙盒包裝

383

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

原子小金剛 (灰、紅) (兩件一組)

Astro Boy (Grey, Red) (a set of 2)

2012

2012 Painted cast vinyl, edition of 500 16.5(L) x 12(W) x 37(H) cm (each) Trademark © Tezuka Productions Designed by KAWS on the bottom of right foot, MEDICOM TOY 2012 CHINA on the bottom of left foot

16.5(長) x 12(寬) x 37(高) cm (每件)

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,500 RMB 22,000-44,000

384

Gary BASEMAN (American, b. 1960)

The Guest 2013 Porcelain, edition 226/250 19(L) x 21(W) x 51(H) cm Numbered on the bottom 226/250 This sculpture is to be sold with a certificate of authenticity issued by Lladró Habdmade Porcelain, Spain.

NT$ 110,000-200,000 HK$ 28,000-51,000 US$ 3,600-6,500 RMB 24,000-44,000

格里‧巴斯曼貴賓 2013 陶瓷 226/250 19(長) x 21(寬) x 51(高) cm 版次底部：226/250 附雅致瓷偶開立之限量版作品證明書

282

385

ZAO Wou-ki

趙無極

(Chinese-French, 1921 - 2013)

花

Fleur

1970

1970 Porcelain plate, edition 2/70 26 cm (diameter) Signed on the reverse Wou-ki in Chinese, Zao in French and numbered 2-70

26 cm（直徑）

NT$ 60,000-120,000 HK$ 15,000-31,000 US$ 2,000-3,900 RMB 13,000-26,000

瓷盤 2/70 簽名背面：無極 ZAO 2-70

386

Takashi MURAKAMI

村上隆

(Japanese, b. 1962)

DOB章魚君 (兩件一組)

Mr. DOBtopus (a set of 2)

彩繪搪膠

Vinyl, plastic edition of 800; edition of 400 30(L) x 20.5(W) x 25(H) cm 34(L) x 26.5(W) x 26.6(H) cm

限量400件

These works are accompanied with their original product boxes

NT$ 130,000-220,000 HK$ 33,000-56,000 US$ 4,200-7,200 RMB 29,000-48,000

284

限量800件 30(長) x 20.5(寬) x 25(高) cm 34(長) x 26.5(寬) x 26.6(高) cm 附作品原產紙盒包裝

387

Takashi MURAKAMI

村上隆

(Japanese, b. 1962)

DOB君 (兩件一組)

Mr. DOB (a set of 2)

2016 彩繪搪膠

2016 Vinyl, plastic, edition of 250 (Golden); edition of 750 (Red) 28(L) x 19(W) x 24(H) cm (each) Trademark © TM / KK COMPLEXCON BAIY SWITCH

限量250件 (金黃)

These works are accompanied with their original product boxes

NT$ 110,000-200,000 HK$ 28,000-51,000 US$ 3,600-6,500 RMB 24,000-44,000

388

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

同伴 (棕、灰、黑) (三件一組)

Companion - Five Years Later (Brown, Grey, Black) (a set of 3)

2004

2004 Mixed media, plastic, edition of 500 16.5(L) x 11(W) x 37(H) cm (each) Trademark ©KAWS..04 on the bottom of right foot ; MEDICOM TOY 2004 CHINA on the bottom of left foot (each)

These works are accompanied with their original product boxes.

NT$ 130,000-240,000 HK$ 33,000-61,000 US$ 4,200-7,800 RMB 29,000-53,000

286

綜合媒材搪膠限量500件 16.5(長) x 11(寬) x 37(高) cm (每件) MEDICOM TOY 2004 CHINA(左腳底 (每件) 附作品原產紙盒包裝

389

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

Dissected Companion: Resting Place (Gray, Black, Brown) (a set of 3)

2012

(American, b. 1974)

2012 Painted cast vinyl, edition of 500 21(L) x 30(W) x 23(H) cm 87(each) Trademark ©KAWS..13 MEDICOM TOY 2013 CHINA on the bottom of left foot These works are accompanied with their original product boxes

NT$ 130,000-220,000 HK$ 33,000-56,000 US$ 4,200-7,200 RMB 29,000-48,000

同伴解剖 (休息處) (棕、灰、黑) (三件一組) 彩繪搪膠限量500件 21 (長) x 30 (寬) x 23 (高) cm (每件) 註冊商標：©KAWS..13 MEDICOM TOY 2013 CHINA (左腳) (每件) 附作品原產紙盒包裝

390

Damien HIRST (British, b. 1965)

Micky Mouse 2018 Plastic, clock, edition of 333 208(L) x 32(W) cm Printed signature on the back Hirst These works are accompanied with their original product boxes

NT$ 130,000-220,000 HK$ 33,000-56,000 US$ 4,200-7,200 RMB 29,000-48,000

達明．赫斯特米老鼠 2018 塑膠時鐘馬達限量333件 208(長) x 32(寬) cm 印刷簽名：Hirst 附作品原產紙盒包裝

288

391

Hajime SORAYAMA

空山基

(Japanese, b. 1947)

未來米奇限定版 (兩件一組)

Future Mickey Retro (a set of 2)

2004年

2004 Zinc, 0823 (silver); 1/1000 (red) 21(L) x 27(W) x 34.5(H) cm (each) Trademark TOMY ® MADE IN CHINA © Disney (bottom) Numbered on the bottom 0823 (sliver) Numbered on the bottom 1/1000 (red)

21(長) x 27(寬) x 34.5(高) cm (每件)

These works are accompanied with their original product boxes.

NT$ 130,000-220,000 HK$ 33,000-56,000 US$ 4,200-7,200 RMB 29,000-48,000

392

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

共犯兔 (黑、粉紅) (兩件一組)

Accomplice (Black, Pink) (a set of 2)

2002

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

限量500件(黑色)

NT$ 150,000-240,000 HK$ 38,000-61,000 US$ 4,900-7,800 RMB 33,000-53,000

290

彩繪搪膠限量1,000件(粉紅色) 6(長) x 8(寬) x 24(高) cm (每件) 註冊商標：KAWS.. 02 (右腳底)； MEDICOM TOY MADE IN CHINA (左腳底)

393

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

帝國風暴兵同伴；黑武士同伴；賞金獵人同伴 (三件一組)

Stormtrooper Companion; Darth Vader Companion; Boba Fett Companion (a set of 3)

2008(左)；2007(中)；2013(右)

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

12.7(長) x 8.8(寬) x 26.6(高) cm

ILLUSTRATED:

KAWS, Skira Rizzoli, New York, 2010, color illustrated, p. 239 These works are accompanied with their original product boxes.

NT$ 160,000-260,000 HK$ 41,000-66,000 US$ 5,200-8,500 RMB 35,000-57,000

綜合媒材搪膠限量500件 10.4(長) x 7.6(寬) x 25.4(高) cm 12.7(長) x 7.6(寬) x 25.4(高) cm 註冊商標足底部： ©2009 Lucasfilm Ltd & TM. All rights r eserved. Designed by KAWS MEDICOM TOY 2009 CHINA (帝國風暴兵同伴) ©2007 Lucasfilm Ltd & TM. All rights r eserved. Designed by KAWS MEDICOM TOY 2007 CHINA (黑武士同伴) ©2013 Lucasfilm Ltd & TM. All rights r eserved. Designed by KAWS MEDICOM TOY 2013 CHINA (賞金獵人同伴) 圖錄：

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

394

KAWS (Brian Donnelly) x Robert LAZZARINI (American, b. 1974) (American, b. 1965)

KAWS〈布萊恩．唐納利〉x 羅伯特．拉札里尼扭曲變形 (棕、灰、黑) (三件一組)

Dissorted Companion (Brown Grey and Black) (a set of 3)

2010

2010 Painted cast vinyl, edition of 1000 13(L) x 6.2(W) x 17.5(H) cm (Brown) 13(L) x 6(W) x 21.5(H) cm (Grey) 13.5(L) x 8.2(W) x 18.5(H) cm (Black) Trademark KAWS / LAZZARINI 2010 on the bottom of right foot; MEDICOM TOY CHINA on the bottom of left foot

10(長) x 6(寬) x 21.2(高) cm (灰)

These works are accompanied with their original product boxes.

NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,200-10,400 RMB 48,000-70,000

292

彩繪搪膠限量 1000件 13(長) x 6.2(寬) x17.5(高) cm (棕) 13.5(長) x 8.2(寬) x 18.5(高) cm (黑) 註冊商標：KAWS / ROBERT LAZZARINI 2010 (右腳底) MEDICOM TOY CHINA (左腳底) 附作品原產紙盒包裝

395

Matt GONDEK (American, b. 1982)

Simpsons Nuclear Family 2018 Vinyl, edition 23/100 69(L) x 90(W) x 115(H) cm This work is accompanied with its original product box.

NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,200-10,400 RMB 48,000-70,000

麥特．剛迪克辛普森家庭 2018 搪膠 23/100 69(長) x 90(寬) x 115(高) cm 附作品原產紙盒包裝

396

Cola King (Taiwanese, b. 1971)

A Beautiful Morning 2012 Fiberglass, edition 5/6 55(L) x 60(W) x 105(H) cm Signed on the base Cola King in English, numbered 5/6 and dated 2012

NT$ 260,000-360,000 HK$ 66,000-92,000 US$ 8,500-11,700 RMB 57,000-79,000

可樂王美好一天的早晨 2012 玻璃纖維 5/6 55(長) x 60(寬) x 105(高) cm 簽名底座：5/6 2012 可樂王

1971年生於台灣基隆，專精動漫、插畫和純藝術。 90年代初期以插畫家身分在三大報副刊出道，更是開啟「圖文書」風潮的旗手。隨後創立詩刊《壹詩歌》，並以「拜金小姐」樂團組合和陳珊妮、李端嫺發表概念唱片屢獲獎項，打破次文化和純藝術的彊界。可樂王是台灣六年級世代以「跨領域流行藝術」活躍的代表性人物，合作對象橫跨潮牌、電視台、電影、劇團等。藝術家可樂王所創造的每一個人物角色，都是陪伴人生的重要標誌，是「像小狗和小貓可愛般寵物的存在」。在世界末日之前，人類內在童真和青春不老可以永存。重要個展包括：「哥哥妹妹百貨公司」（2000）、「那個往日的我」（2007）、「自己的皇宮」（2009 ）、「西門町大襲擊」（2010 ）、「勿忘我」（2015）。其作品除了多次受邀國內外美術館展覽及典藏，更遍及公共藝術等。

294

397

ZHOU Chunya (Chinese, b. 1955)

Green Dog Cigar Box 2018 Cedar 8/20 30(L) x 22.5(W) x 13(H) cm Signed in the box and numbered 8/20 This work is to be sold with a certificate of authenticity, humidity controller and key.

NT$ 260,000-360,000 HK$ 66,000-92,000 US$ 8,500-11,700 RMB 57,000-79,000

周春芽綠狗雪茄盒 2018 雪松木 8/20 30(長) x 22.5(寬) x 13(高) cm 簽名盒內：周春芽 8/20 附作品保證書，濕度控制器及鑰匙

296

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。

競投保證金 : 新台幣陸拾萬元或貳萬美金。

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。

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 2019 年 6 月 1 日中午 12 點截止。

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。

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。

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。

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。

若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價與佣金 ) 金額超過競投保證金金額時，買方得以下列方式結清帳款 : (1) 現鈔：上限新台幣壹百萬元。 (2) 信用卡與銀聯卡 : 刷卡上限為新台幣壹百萬元。信用卡與銀聯卡持有人必需是買家本人，本公司不接受他人之信用卡。

10. 羅芙奧股份有限公司有權在發生任何不可預見的糾紛或矛盾的狀況之下，對於接受或拒絕付款（包含競投保證金）保留全部的決定權。

諮詢

台北黃詩涵

stellahuang@ravenel.com

+886 2 2708 9868 ext. 977

IMPORTANT NOTICE TO BUYERS

The auction will strictly abide by the Transaction Agreement set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1.

Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a bidding deposit are required.

Bidding deposit in the amount of NT$ 600,000 or US$ 20,000.

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 (NTD) or 001-234830-061 (USD) Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of bidding deposit. The payer will be responsible for any associated bank service fees.

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 12 pm (No other forms of payment will be accepted).

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.

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.

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.

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.

Successful bidder must settle the payment (hammer price with buyer's premium) prior to receiving the lot(s) on site. If the price exceeds the amount of the bidding deposit, the successful bidder may settle the outstanding balance through the following means: (1) A cash payment must not exceed NT$ 1,000,000. (2) A credit or China UnionPay payment: The credit payment must not exceed NT$ 1,000,000. The holder of the credit card or China UnionPay must be the successful bidder, credit payments from any title except for the successful bidder will not be permitted nor accepted.

10. Ravenel Ltd. retains full discretion to accept or decline a payment in the event of any unforeseen disputes or discrepancies.

Contact Person TAIPEI

Stella Huang

298

stellahuang@ravenel.com

+886 2 2708 9868 ext. 977

委託競投表格委託競投表格須於拍賣24小時前送抵藝術部。競投表格可傳真至：

拍賣名稱：羅芙奧台北2019春季拍賣會

藝術部

亞洲現代與當代藝術

電話：+886-2-2708 9868

拍賣編號：TA1902

傳真：+886-2-2701 3306

台北拍賣日期：

投標者資料

台北萬豪酒店

客戶編號（如有）

台北市中山區樂群二路199號3樓（博覽廳）

2019年6月2日（星期日）下午2:00

姓名身份證字號地址郵碼電話（住宅）（辦公室）傳真

電郵

簽名（注意：本公司在取得閣下之簽名後方才接受競標；閣下所填報之姓名及地址資料，將會被列印在發票上，隨後將不能更改）茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，以最先收到者優先辦理。本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，服務費依最後落槌價乘以服務費率得之。詳見業務規則第二條第4項之規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下者含參仟貳佰萬元以20％計算；（2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳佰萬元之部份以12％計算。）本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。

請用正楷填寫清楚拍賣品編號（按數字順序）

名

稱

競投價（新台幣）（服務費不計在內）

為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查證。該等資料應及時提供，以便在拍賣前著手處理。

銀行證明銀行名稱銀行地址銀行帳戶名稱銀行帳號銀行聯絡者銀行電話

羅芙奧股份有限公司台北市106敦化南路二段76號15樓之2 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com ravenelart.com.cn

ABSENTEE BID FORM The absentee bid forms must be delivered to the Art Department at least 24 hours before the auction begins. The bid forms may be faxed to: Art Department Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 Bidder’s Details Name

Auction Sale Number Date

RAVENEL SPRING AUCTION 2019 TAIPEI Modern and Contemporary Asian Art TA1902 Sunday, June 2, 2019, 2:00pm

Location

Marriott Taipei

Address

Grand Space, 3F, No. 199, Lequn 2nd Road,

ZhongShan Dist., Taipei, Taiwan

ID number Address Post code Tel: (Daytime)

(Evening)

Fax

Signature (Notice: We must have your signature to execute this bid. Billing name and address should agree with your state or local sales tax exemption certificate. Invoice cannot be changed after they have be printed.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder. I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received. I understand that if my bid is successful, I shall pay the final hammer price together with the buyer's premium. The buyer's premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Article 2, section 4 of the Transaction Agreement to the Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the buyer's premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the buyer's premium should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.) The bid shall be subject to the Transaction Agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warranties that may be provided for certain items.

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Title

Bid price (NT$) (excluding service fee)

Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.

Bank Reference Approval Name of the bank Address of the bank

Name of the account Account number Contact of the bank Tel. No.

Ravenel Ltd. 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 ravenel.com ravenelart.com.cn

業務規則下述規則，為羅芙奧股份有限公司(下稱「本公司」)與賣家訂立合約，亦作為賣家之代理人與買家訂立合約之條款。準買家、買家及賣家務須細讀各項規則並完全同意遵守本業務規則。準買家、買家請特別留意第二條第5 項，其對本公司之法律責任作了限定。一、本業務規則所用詞彙之定義在下列規定中，某些常用詞彙需加以解釋。此等詞彙定義如下： 1. 「買家」：指本公司所接受之出價最高之自然人或法人。 2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。 3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣之自然人或法人。 4. 「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以任何編號描述之一項或多項物品。 5. 「落槌價」：指本公司就某一拍賣品而接受之最高出價之價款。 6. 「買家服務費」：指買家按落槌價之某一百分比而支付本公司之費用；收費率如第二條第4a項所列。 7. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之價格售出。 8. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺詐意圖，以就拍賣品之作者、來歷、年代、時期、文化或來源進行欺騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義，任何拍賣品均不會因為有任何損壞及／或任何形式之修整（包括重新上漆）而成為膺品。 9. 「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險之價值（不論保險是否由本公司安排購買）。 10. 「賣家服務費」：指賣家應支付本公司之費用。二、買家 1. 本公司作為賣家代理人本公司作為賣家代理人之身分行事。除另行協定外，在本公司之拍賣中成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。 2. 拍賣前 a. 鑑定物品本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之物品。本公司就任何拍賣品及相關證明文件之真偽，均不對買家作任何保證。 b. 拍賣品狀況之重要注意事項請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述，皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。對任何拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議，準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知悉並瞭解所有拍賣品均以「現狀」售出，本公司對於任何拍出之拍賣品狀態不作任何承諾或保證。 c. 符號表示以下為本目錄所載符號之說明ｏ保證項目拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次或一連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由本公司與第三方共同提供。保證可為由第三方提供之不可撤銷競投之形式做出。若保證拍賣品成功售出，提供或參與提供保證之第三方可能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家服務費。 d. 目錄說明本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計售價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引而已，不應作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。

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拍賣價格之估計，不應依據為拍賣品會成功拍賣之價格或拍賣品作其他用途之價值陳述。許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說明或鑑定意見書會提述拍賣品之損壞及／或修整資料。此等資料僅作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。 e. 買家之責任有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任自行查明並瞭解，並就拍賣品為自己獨立之判斷及評估，並確使自己感到滿意。 3. 拍賣時 a. 估價目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍賣會須以新台幣結算，買家如須以新台幣之外其他貨幣繳付，須依拍賣日現場公佈之匯率，折合所繳付之等值貨幣計算。 b. 拒絕入場拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣場地或參與拍賣。 c. 競投之前作出登記每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分證明。準買家應注意，本公司通常會要求對買家作出信用核查。 d. 競投保證金競投者，應在領取競投號牌前繳納競投保證金，競投保證金的金額由本公司在拍賣日前公佈。 (1) 若競投者未支付競投保證金，本公司有權不接受其競投。若競投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證金。 (2) 若競投者成為買家，則本公司有權將此保證金自動轉化為已成交拍賣品購買款項之一部（包含落槌價、服務費或運費等相關費用），若尚有餘款須退回給買家；若買家無正當理由未於成功拍賣日期後七天內支付全部應支付之成交拍賣品購買款項（包含落槌價、服務費或運費等相關費用）予本公司，買家不得請求返還競投保證金。 e. 競投者為買家競投者將被視為買家而須承擔個人法律責任，除非登記時已經與本公司書面協定，競投者僅為第三人之代理人，且該第三人復為本公司所接受者。 f. 委託競投如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司將盡適當努力代其競投，但代為競投指示須於拍賣前送抵本公司。如本公司就某一拍賣品而收到多個委託競投之相等競投價，而在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣品會歸其委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承諾所限，而拍賣進行之情況可能使本公司無法代為競投。由於此項承擔乃本公司為準買家按所述條款提供之免費服務，如未能按委託作出競投，本公司將不負任何法律責任。準買家如希望確保競投成功，應親自出席競投。 g. 電話競投如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無法參加電話競投，本公司對賣家或任何準買家均不負任何責任。 h. 透過 Invaluable 進行網上競投若準買家未能出席拍賣會，或可透過Invaluable網上競投服務於網上競投屬意拍品，而承擔買家獨立責任。此項服務乃免費及保密。有關透過 Invaluable 網上競投服務登記，進行網上競投之詳情，請參閱本公司網頁 ravenel.com。使用Invaluable網上競投服務之準買家須接受透過Invaluable網上競投服務進行即時網上競投之附加條款（可參閱網站），以及適用於該拍賣之業務規則所規範，本公司得隨時修改該業務規則。 i. 匯率轉換顯示板拍賣會中，本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參考，不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外匯，其準確程度均可能會出現非本公司所能控制之誤差。買家因依賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之任何損失，本公司概不負責。

j. 錄映影像在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是否與成功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買家均不負任何責任。 k. 拍賣官之決定權拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併，以及如遇有誤差或爭議，將拍賣品重新拍賣。拍賣官會於拍賣開始前或於相關拍賣品競標前對注意事項作出通告，準買家須負責自行注意所有於拍賣會場發表之通告。建議使用即時網上競投服務參與競投的準買家，於拍賣開始前登入，以確保準買家得知拍賣開始前所作出之通告。 l. 成功競投在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家與買家合意依落槌價拍定拍賣品，視為成功拍賣合約之訂立。 4. 成功拍賣後 a. 買家支付每件拍賣品之服務費費率 (1) 買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下者含參仟貳佰萬元以落槌價之20％計算。 (2) 落槌價於新台幣參仟貳佰萬元以上者，採分為二階段計費，其中新台幣參仟貳佰萬元以落槌價之20％計算，超過新台幣參仟貳佰萬元之部份再以落槌價之12％，加總計算服務費金額。 b. 稅項買家應付予本公司之款項，如須另行支付貨物、服務稅或其他稅則時（不論由台灣政府或別處所徵收）。買家須負責按有關法律所規定之稅率及時間，自行繳付稅款。 c. 付款成功拍賣後，買家須向本公司提供其真實姓名及永久地址。如經本公司要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳號。買家應於拍賣日期後七天內悉數支付應支付予本公司之款項（包含落槌價、服務費或運費等相關費用）。即使買家希望將拍賣品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項為新台幣以外之貨幣，須依拍賣日現場公佈之匯率（台灣銀行），並以本公司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之拍賣項目，直至欠本公司之款項已悉數支付為止。已購拍賣品在暫時保留期間，由成功拍賣日後起算七天將受保於本公司之保險，如屆時拍賣品已被領取，則受保至領取時為止。七天期滿後或自領取時起（以較早者為準），已購拍賣品之風險全由買家承擔。 e. 介紹裝運及運輸公司本公司之貨運部門在買家要求下，可為買家介紹運輸公司、安排付運及購買特定保險，但本公司在此方面不負任何法律責任。買家必須預先繳付運輸費用。 f. 不付款或未有領取已購拍賣品之補救辦法如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下述一項或多項權利或補救辦法： (1) 在成功拍賣日後起算超過七天仍未付款，則按不超過台灣銀行基本放款利率加收10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依成交價（含落槌價、服務費）1％計算之逞罰性違約金。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

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TRANSACTION AGREEMENT The following provisions are entered into by and between Ravenel Ltd., as the auctioneer, (hereinafter referred to as the “Company”),and the Seller (hereinafter referred to as the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Prospective Buyer, the Buyer should pay special attention to Article 2, Section 5 which provides limitations as to the legal responsibilities of the Company. ARTICLE 1.DEFINITION Some of the phrases commonly seen herein are defined as follows: 1. "The Buyer" shall mean highest bidder accepted by the Company. 2. "The Prospective Buyer" shall mean any potential bidder willing to attend the auction sale hosted by the Company. 3. "The Seller" shall mean the Seller who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company. 4. "The Lot" shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue. 5. "Hammer price" shall mean the highest bid with respect to one particular Lot accepted by the auctioning party. 6. The " Buyer's Premium" shall mean the fee based on a certain percentage of the Hammer price paid to the Company by the Buyer; the percentage shall be as prescribed in Article 2, Section 4a. 7. "The Reserve Price" shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price. 8. "Counterfeit" shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints). 9. "Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company). 10. The "Seller Service Fee” shall mean the fee is paid to the Company by the Seller. ARTICLE 2.THE BUYER 1. The Company as the Agent of the Seller The Company, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer. 2. Prior to the Auction a. Authentication We strongly recommend that the Prospective Buyers conduct their own authentication for the items they are interested in bidding prior to the auction. The Company provides no guarantee to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot and related certificates. b. Important Notice Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The description of the auction items also do not imply and guarantee that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally. We strongly recommend the Prospective Buyers shall personally view the items for which they plan to bid before the auction. Any description in the catalogue or any statement provided by the Company is purely the Company's subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in "as is" condition. The Company does not provide any representation or guarantee as to the condition of any of the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ○ Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer's Premium. d. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lot and certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions

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and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many Lots fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her/its own judgment or estimation independently regarding the Lots.ing his/her own judgment or estimation independently regarding the Lots. 3. In the Auction a. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate announced by the Company on the day of auction. b. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. c. Registration Prior to the Bidding Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may request to conduct credit checks against Buyers. d. The Bidding Deposit The bidder shall pay the bidding deposit before receiving the bidding number. The Company will announce the amount of the bidding deposit before the auction day. (1) If the bidder fails to pay the bidding deposit in advance, the Company has the right to refuse the bid. If the bidder is not able to purchase any Lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. (2) If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs ) of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). If the Buyer ,without any good cause, fails to pay any and all payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs) of the Lot to the Company within 7 days after the auction date ,the Buyer shall not claim for the return of the bidding deposit. e. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission Bids The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the provided forms attached to the explanations of the catalogue; however, bid commission instructions must be delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. g. Bid by Phone The Company will make proper effort to contact the bidder so he/she can participate in the auction by phone if the Prospective Buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. h. Online Bids via Invaluable If the bidder cannot attend the auction, it may be possible to bid online via Invaluable for preferred Lots to bear individual buyer's responsibilities. This service is free and confidential. For information about registering to bid via Invaluable, please refer to Ravenel.com. The Bidders using the Invaluable online bidding service are subject to the additional terms and conditions for online bidding via Invaluable, which can be viewed at Ravenel.com and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating in auctions. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board.

j. Recorded Images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. k. Determining Power of the Auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his/her discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the commencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction. l. Successful Bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement on Hammer Price. 4. Following the Auction a. The Buyer's Premium of Each Lot (1) The Buyer should pay the hammer price and, in addition, the Buyer's Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the Buyer's Premium should be calculated at 20% of the hammer price. (2) For hammer price higher than NT$ 32,000,000, total amount of the Buyer's Premium should be that the first NT$ 32,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12% of the hammer price. b. Taxes All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his/her/its true name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon the company request. All payments due (including the hammer price, the Buyer's Premium and any freights or other expenses) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the exchange rate of the payments to the Company should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Referral of Packaging or Transportation Companies The shipping department of the Company may introduce the forwarder, assist in the arrangement of delivery, or purchase particular insurance upon the Buyer's request. The Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. Costs and expenses for shipping and insurance shall be paid in advance. f. Remedies for Non-Payment or Non-Collection of Items Sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and Buyer's Premium) multiplied by the number of delayed days as 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.

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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

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