薈萃：國際現代與當代藝術 SELECT: Modern & Contemporary Art

SELECT: MODERN & CONTEMPORARY ART

LOT 048

LOT 044

LOT 042

羅芙奧 2019 秋季拍賣會 薈萃：國際現代與當代藝術

RAVENEL AUTUMN AUCTION 2019 SELECT: Modern & Contemporary Art

AUCTION

拍賣日期 / 地點

Sunday, December 1, 2019, 1:00 pm Marriott Taipei (Grand Space) 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei

2019年12月1日（日） 下午 1:00 萬豪酒店（博覽廳） 台北市中山區樂群二路199號3樓

PREVIEWS

預展日期 / 地點

Taichung

台中 2019年11月09日（六） 下午1:00至下午6:00 2019年11月10日（日） 上午11:00至下午6:00 豐藝館 台中市西區五權西路一段110號B1

Kaohsiung

高雄 2019年11月16日（六）至11月17日（日） 上午11:00至下午6:00 琢璞藝術中心 高雄市前金區五福三路63號8樓

Saturday, November 09, 2019, 1:00 pm - 6:00 pm Sunday, November 10, 2019, 11:00 am - 6:00 pm Fong-Yi Art Gallery B1, No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Saturday, November 16 - Sunday, November 17, 2019, 11:00 am - 6:00 pm J. P. Art Center 8F, No. 63, Wu Fu 3rd Road, Qianjin District, Kaohsiung, Taiwan Hong Kong Saturday, November 23 - Sunday, November 24, 2019, 10:00 am - 7:00 pm Grand Hyatt Hong Kong Lounge, M/F, 1 Harbour Road, Hong Kong

Taipei

Thursday, November 28 - Saturday, November 30, 2019 10:00 am - 7:00 pm Marriott Taipei 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei

香港 2019年11月23日（六）至11月24日（日） 上午10:00至下午7:00 香港君悅酒店 香港灣仔港灣道1號 閣樓 中堂 台北 2019年11月28日（四）~ 11月30日（六） 上午10:00至下午7:00 萬豪酒店 台北市中山區樂群二路199號3樓

As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This auction catalogue: NT$ 1,200 per copy.

LOT 045

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 Executive Officer

陳惠黛 Odile Chen 國際藝術部 總經理 Head of International Art Department Chief Specialist

陳昱良 Iris Chen 國際藝術部 初級專家 Junior Specialist, International Art Department

陳怡潔 Josephine Chen 國際藝術部 行政助理 Executive Assistant, International Art Department

李政希 Xiu Lee 上海商務代表 Representative, Shanghai

藝術家索引 INDEX A

L

PIERRE ALECHINSKY

皮耶．阿雷欽斯基

039

MARIE LAURENCIN

瑪麗．羅蘭珊

040

PAUL AMBILLE

保羅．昂畢爾

079

THEO LOHMANN

提奧．洛曼

077

B

M

JACQUES BOUYSSOU

傑克．波依素

075

TSUYOSHI MAEKAWA

前川強

036

HEBRU BRANTLEY

赫布魯．布蘭特里

011

LILIANA MAFTEI

莉莉安娜．馬菲泰

020

ANDRE BRASILIER

安德烈．布拉吉利

043, 044

ACHILLE G. MARCHAL

阿基里斯．加斯頓．馬歇爾

070

BERNARD BUFFET

貝爾納．畢費

048, 049

GEORGES MATHIEU

喬治．馬修

018

HIROYUKI MATSUURA

松浦浩之

008

阿美迪奧．莫迪里亞尼

050

C ALEXANDER CALDER

亞歷山大．卡爾德

017

AMEDEO MODIGLIANI

JAVIER CALLEJA

哈維爾．卡勒加

001, 002, 003

N

BERNARD CATHELIN

貝爾納．卡多蘭

041

LAM NGUYEN

阮林

061, 063

JEAN CARZOU

尚．卡魯茲

025, 032

TRUNG NGUYEN

阮忠

060, 062, 064

BERNARD CHAROY

貝爾納．夏洛瓦

028, 030

O

PATRICK CORDEAU

派翠克．果陀

019

OB

OB

010

CORNEILLE

柯奈爾

037

OKOKUME

奧高古曼

006, 007

D

P

SALVADOR DALI

薩爾瓦多．達利

053

TATYANA PALCHUK

塔提雅娜．帕丘卡

022, 023

HAI PHONG DAO

陶海豐

065, 066

GIANLUCA PIACCIONE

吉安路卡．皮亞奇歐尼

004

DESIRE OBTAIN CHERISH

強納森．保羅

014

R

JEAN DUFY

尚．杜菲

042

SAYED HAIDER RAZA

賽義德．海德爾．拉扎

054

PATRICK REAULT

派特里克．雷奧

074

西瑞．菲茲

015

AUGUSTE RODIN

奧古斯特．羅丹

057, 058, 059

F THIERRY FEUZ G

S

YVES GANNE

伊夫．甘納恩

080

NOLWENN SAMSON

娜溫．參森

012

GÉRARD GAROUSTE

傑哈．賈胡斯特

045, 046

ROBERT SGARRA

羅伯特．史卡哈

013

KAZUO SHIRAGA

白髮一雄

035

市霸奇奇

016

H SHIGEYOSHI HAYASHI

林重義

033

SUPAKITCH

MICHEL HENRY

米歇爾．昂利

029

T

CAMILLE HILAIRE

卡密．伊列魯

027

JULIAN TAYLOR

朱利安．泰勒

076

PHILLIPE HIQUILY

菲利浦．伊其里

051

ORLANDO TERUZ

奧蘭多．特魯茲

052

M. HYNCKES-ZAHN

瑪格莉特．海因克斯－贊恩

078

RICHARD TEXIER

理察．泰西爾

021

PIERRE-YVES TRÉMOIS

皮耶－伊夫．特墨

031

亞歷山大．柴謝加夫斯基

071

RONALD VENTURA

羅納德．溫杜拿

067

MAURICE DE VLAMINCK

莫里斯．德．烏拉曼克

047

I ELAINE G. IMMERMAN

艾琳．伊默曼

072

A. TSCHERNJAWSKI

INVADER

INVADER

005

V

J SACHA JAFRI

沙夏．賈菲利

055

K

W

MASAHIDE KOBAYASHI

小林雅英

034

A. J. WEISSEMBERGH

艾佛列德．揚．維森伯格

073

RAJAN KRISHNAN

拉詹．克里希那

056

PAUL WUNDERLICH

保羅．萬得里奇

068, 069

YAYOI KUSAMA

草間彌生

009, 038

Z 彼得．鄒高斯基

024, 026

PETER ZOKOSKY

目次 CONTENTS 5

羅芙奧秋季拍賣會 Sale Information

8

藝術家索引 Index

10

羅芙奧之服務 Ravenel Services

13

薈萃：國際現代與當代藝術 SELECT: Modern and Contemporary Art

165

給予買家的重要通知 Important Notice to Buyers

167

委託競投表格 Absentee Bid Form

169

業務規則 Transaction Agreement

羅芙奧 2019 秋季拍賣會 服務部門及連絡人

藝術品諮詢專家 國際藝術部 ART CONSULTANTS INTERNATIONAL ART DEPARTMENT

國際藝術部總經理 Head of International Art Department 陳惠黛 Odile Chen 電話：+886 2 2708 9868 轉 889 電子信箱：odilechen@ravenel.com

初級專家 Junior Specialist 陳昱良 Iris Chen 電話：+886 2 2708 9868 轉 883 電子信箱：irischen@ravenel.com

行政助理 Executive Assistant 陳怡潔 Josephine Chen 電話：+886 2 2708 9868 轉 881 電子信箱：josephinechen@ravenel.com

上海商務代表 Representative, Shanghai 李政希 Xiu Lee 電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com

RAVENEL STAFF AND SERVICES FOR THIS SALE

電話書面競標聯絡人 PHONE BIDS AND WRITTEN BIDS

目錄訂閱 CATALOGUE SUBSCRIPTION

取貨及運輸事宜 COLLECTION AND SHIPPING

台灣．國際 Taiwan, International

台灣．國際 Taiwan, International

台灣．國際 Taiwan, International

陳昱良 Iris Chen

陳怡潔 Josephine Chen

陳昱良 Iris Chen

電話：+886 2 2708 9868 轉 883

電話：+886 2 2708 9868 轉 881

電話：+886 2 2708 9868 轉 883

電子信箱：irischen@ravenel.com

電子信箱：josephinechen@ravenel.com

電子信箱：irischen@ravenel.com

香港 Hong Kong

上海．北京 Shanghai, Beijing

註一：所有拍品在貨款結清後，即可取貨；買 家請儘早通知安排取貨事宜，以利倉庫存貨流 通和集中安排辦理，本公司接受個人及公司支 票付款，惟需在兌現後始能提貨。恕不接受旅 行支票付款。其他各項貨品可在羅芙奧辦公室 提領，上班時間為週一至週五上午9:30至下午 6:30。

林琬娸 Kitty Lam

李政希 Xiu Lee

電話：+852 2889 0859

電話：+86 21 6228 2883

電子信箱：kittylam@ravenel.com

電子信箱：xiulee@ravenel.com

上海．北京 Shanghai, Beijing

香港

李政希 Xiu Lee 電話：+86 21 6228 2883

Hong Kong 林琬娸 Kitty Lam 電話：+852 2889 0859

電子信箱：xiulee@ravenel.com

電子信箱：kittylam@ravenel.com

註一：如您無法親臨拍賣現場，可以電話 投標方式競標；亦可利用附在此目錄後面 之委託競投表格；或可參與網上競投，詳 情請洽羅芙奧官方網頁。

本目錄開放各界訂閱，詳細訂閱辦法，請參 照目錄之說明或請洽上述聯絡人。 The catalogues are available for subscription.

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

註二：鑑於拍賣現場電話有限，欲以電話 投標方式競標的投標者，請於拍賣前24小 時通知我們為您安排，尤其對需用外國語 言服務之投標者。 Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. It is also possible to bid online for selected lots. Please refer to ravenel.com for more information.

In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly for those of you who need foreign language assistance of the bidding.

付款事宜 PAYMENT 王美日 Emily Wang 電話：+886 2 2708 9868 轉 697 電子信箱：emilywang@ravenel.com

網上競投 ONLINE BIDS 請前往 Invaluable 註冊 Register at Invaluable www.invaluable.com/

註二：我們的專業行政部門可為您建議或安排 最適當的運輸方式。 羅芙奧樂意提供您本次拍賣當中任何一項拍品 的狀況報告書，惟準買家需注意拍品均是以 「當時認定」之狀況賣出，相關細項請參照目 錄後之業務規則。請參照買家需注意事項。 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”.

11

LOT 035

SELECT MODERN & CONTEMPORARY ART Sunday, December 1, 2019, 1:00 pm Marriott Taipei (Grand Space)

Lot 001 – Lot 080

JAVIER CALLEJA 哈維爾．卡 勒 加 哈維爾．卡勒加 1971 年出生於西班牙馬拉加，2000 年畢業於格拉 納達大學，他的作品看似簡單的美學，透過對日常生活中的物件和 對各種事件作出巧妙的改動，創作出令人驚喜且富幽默感的作品。 自小深受日本動漫文化影響，卡勒加以「大眼」作為他創作的經典 標誌。除了漫畫，波普藝術和超現實主義都影響了哈維爾．卡勒加 的作品；驚喜且富幽默感的表現方式使卡勒加的作品都邀請觀眾進 入有如愛麗絲夢遊仙境般的世界。目前活躍於歐洲以及亞洲，並於 歐洲許多主要城市舉辦多次個展。

Javier Calleja was born in 1971 in Málaga, Spain, and completed his bachelor's degree in Fine Arts, Granada University in 2000.

Adopting a simple aesthetic, Calleja creates surprising and humorous art-pieces through ingenious changes in everyday events. Being a fan of Japanese Manga when he was a child, the artist has adopted “Big Eyes” as an icon of his artistic creation.

In addition to the comics, pop art and surrealism both influence the work of Javier Calleja; the artist invites the viewer to form part of playful scenes, and to interact by participating in his ironies or by reacting to the disproportionate sizes that evoke the world of "Alice in Womderland". He is currently active in Europe and Asia, also has held several solo exhibitions in many major European cities.

哈維爾．卡勒加《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 羅芙奧台北2019春季拍賣會 編號366 台幣240,000 成交 Javier Calleja, Missing The Blue Sky , 2018, mixed media, fiberglass, metal, ed. 123/200, 16(L) x 16(W) x 32.5(H) cm, Ravenel Spring Auction 2019 Taipei, lot 366, US$ 7,594 sold

001

JAVIER CALLEJA (Spanish, b. 1971)

01980; Mr. Eyes (a set of 2) 2017; 2017 Watercolor and pencil on paper 10.5 x 10.5 cm (01980) (Left) 19 x 13 cm (Mr. Eyes) (Right) With a label of Whitestone Gallery on the back of the frame PROVENANCE Nanzuka Contemporary Art Gallery, Tokyo Whitestone Gallery, Hong Kong Private collection, Asia

哈維爾．卡勒加 01980、眼睛先生 (兩件一組) 2017年；2017年 水彩 鉛筆 紙本 10.5 x 10.5 cm（01980）（左） 19 x 13 cm（眼睛先生）（右） 畫框背面貼有白石畫廊標籤 來源 Nanzuka當代藝術畫廊，東京 白石畫廊，香港 私人收藏，亞洲

NT$ 130,000 - 190,000 HK$ 33,000 - 48,000 US$ 4,200 - 6,100 RMB 30,000 - 44,000

15

002

JAVIER CALLEJA (Spanish, b. 1971)

I am in the Pink 2017 Acrylic on canvas 27.5 x 30 cm Signed reverse Javier Calleja and dated 2017 PROVENANCE Nanzuka Contemporary Art Gallery, Tokyo Whitestone Gallery, Hong Kong Private collection, Asia

NT$ 200,000 - 300,000 HK$ 51,000 - 76,000 US$ 6,500 - 9,700 RMB 46,000 - 69,000

哈維爾．卡勒加 我在粉紅裡 2017年 壓克力 畫布 27.5 x 30 cm 簽名畫背：2017 Javier Calleja 來源 Nanzuka當代藝術畫廊，東京 白石畫廊，香港 私人收藏，亞洲

003

JAVIER CALLEJA (Spanish, b. 1971)

What About 2017 Charcoal and mixed media on paper 112 x 76 cm With a label of Whitestone Gallery on the back of the frame PROVENANCE Nanzuka Contemporary Art Gallery, Tokyo Whitestone Gallery, Hong Kong Private collection, Asia

哈維爾．卡勒加 怎麼樣 2017年 炭筆 綜合媒材 紙本 112 x 76 cm 畫框背面貼有白石畫廊標籤 來源 Nanzuka當代藝術畫廊，東京 白石畫廊，香港 私人收藏，亞洲

NT$ 320,000 - 480,000 HK$ 81,000 - 122,000 US$ 10,300 - 15,500 RMB 74,000 - 111,000

17

004

GIANLUCA PIACCIONE (Italian, b. 1971)

Play Marilyn 2013 Acrylic on cut-out and folded canvas, mounted onto board 70(L) x 50(W) x 3(D) cm Signed reverse G. Piaccione , titled Play Marilyn and inscribed Are: A0247-13 220/165 50x70x3 PROVENANCE Private collection, Italy This lot is to be sold with a certificate of authenticity handwritten and signed by the artist.

NT$ 120,000 - 180,000 HK$ 30,000 - 46,000 US$ 3,900 - 5,800 RMB 28,000 - 42,000

吉安路卡．皮亞奇歐尼 花花公子－瑪麗蓮夢露 2013年 壓克力 鏤空 折曲 畫布 木板 70（長）x 50（寬）x 3（深）cm 簽名題識畫背（略） 來源 私人收藏，義大利 附藝術家手寫及親筆簽名之原作保證書 義大利當代藝術家吉安路卡．皮亞奇歐尼利用複雜但規律的方式 割開畫布，作品融合了歐普藝術的視覺效果。皮亞奇歐尼透過各 異的切割規律所排列出的幾何形畫面，給予觀者視錯覺感。

Italian contemporary artist Gianluca Piaccione cuts out the canvas in a complicated but regulated rhythm for his work. Piaccione’s artwork of Pop Art intergrates the visual effect of Op Art and creates dizzying optical illusions with meticulously designed geometric shapes.

005

INVADER (French, b. 1969)

L.E.D. 2017 Screenprint in colors, ed. 96/100 49.5 x 70 cm Signed lower right Invader and dated 17 Numbered lower left 96/100

NT$ 190,000 - 280,000 HK$ 48,000 - 71,000 US$ 6,100 - 9,100 RMB 44,000 - 65,000

Inv ade r

法國街頭藝術家I n v a d e r（侵略者之意）以公共空間為畫布，自

2017年 絲網版畫 96/100 49.5 x 70 cm 簽名右下：Invader 17 版次左下：96/100

（Space Invaders）系列，靈感來自兒時電玩遊戲，用馬賽克磁

L.E.D.

1998年開始在巴黎街頭進行馬賽克拼貼，創作《太空侵略略者》 磚表示數位圖像資訊像素。他的作品既是當代藝術、遊戲、街頭 藝術，也是塗鴉，試圖提醒世人在科技進步下，數位資訊正步步 入侵日常生活。世界上30多個城市皆可見其作品，並展覽於世界 各地，包括巴黎兒童博物館、香港當代藝術基金會、維也納博物 館區、洛杉磯現代美術館。

French street artist Invader started plastering mosaic Space Invaders on the streets of Paris in 1998, drawing inspiration from the video games he plays as a child, using tiles to represent the pixels of digital imaging and information.

Invader’s work is a mixture of contemporary art, game, street art and graffiti, which highlights the growing role of technology, the digital invasion in our everyday life. His works adorns the city streets of more than 30 countries around the world. The artist has exhibited at le Musée en Herbe, Paris, France; HOCA Foundation, Hong Kong; Museums Quartier, Vienna, Austria; MOCA, Los Angeles, CA, USA.

19

006

OKOKUME (LAURA MAS) (Spanish, b. 1985)

Cosmic Water 2017 Acrylic on wood 99(L) x 99(W) x 4(H) cm (including frame) Signed reverse Okokume and dated 2017 PROVENANCE JPS Art Gallery, Hong Kong EXHIBITED Okokume : Cosmic World , JPS Art Gallery, Hong Kong, July 3 - 28, 2017

NT$ 180,000 - 280,000 HK$ 46,000 - 71,000 US$ 5,800 - 9,100 RMB 42,000 - 65,000

奧 高 古 曼 (蘿 拉． 馬 斯) 宇宙之水 2017年 壓克力 木板 99（長）x 99（寬）x 4（高）cm（含框） 簽名畫背：Okokume 2017 來源 JPS畫廊，香港 展覽 「奧高古曼：宇宙世界個展」，JPS畫廊， 香港，展期自2017年7月3日至28日 西班牙藝術家奧高古曼，1985年出生於巴塞隆納省的馬塔羅 （M a t a r ó），8歲起開始在家鄉的藝術學校學習。從小喜愛日本動 畫，她的作品中充滿卡通及亞洲文化元素，多次出現藝妓和穿著和服 的日本女性造型。明亮、花俏、幽默是奧高古曼慣用的表現手法。創 造了恐龍（Dino）、宇宙小精靈（Cosmic Girl）等原創角色。通過想 像，這些藍色精靈總在周遭，暗中保護人類免於危難。色彩上，高對 比的強烈用色是奧高古曼的標誌之一，其作品總見少女系粉亮色調的 畫面主角，和背景的暗黑系氛圍呈現鮮明對比。2012年以來，展覽不 斷，現已是香港、東京、台北、洛杉磯、柏林等地畫廊及各大藝術博 覽會參展常客。

007

OKOKUME (LAURA MAS) (Spanish, b. 1985)

Dreamy Cloud Ceramic Vase (a set of 2) 2018 Handmade ceramic vase with acrylic colors.

Matt Varnish (ceramic vase) Laser and hand painted with acrylic (wood box) 36(L) x 26(W) x 28(H) cm (ceramic vase) 57(L) x 39(W) x 49(H) cm (wooden box) Signed vase bottom Okokume With a seal of the artist and the gallery PROVENANCE JPS Art Gallery, Hong Kong EXHIBITED Art Fair Tokyo 2018 This lot is to be sold with a certificate of authenticity issued by JPS Art Gallery, Tokyo and signed by the artist.

NT$ 220,000 - 340,000 HK$ 56,000 - 86,000 US$ 7,100 - 11,000 RMB 51,000 - 79,000

奧高古曼 (蘿拉 ．馬斯) 夢之雲陶瓶 (兩件一組)

2018年 壓克力彩手繪陶瓶 霧面凡尼斯（陶瓶） 雷射 壓克力彩手繪（木箱） 36（長）x 26（寬）x 28（高）cm（陶瓶） 57（長）x 39（寬）x 49（高）cm（木箱） 簽名陶瓶底部：Okokume 鈐印陶瓶底部：OKOKUME 2018 JPS 來源 JPS畫廊，香港 展覽 2018東京藝術博覽會 附東京JPS畫廊開立及藝術家簽名之原作保證書

Spanish artist Okokume was born in Mataró, Barcelona in 1985. At the early age of 8 she started studying art at the art academy in her hometown. Okokume has developed a great passion for Japanese animation from an early age. Cartoon and Asian culture are important elements in her creation. Geishas and women in Japanese kimono have been constantly depicted by the artist. Okokume uses different mediums spanning from oil painting, graffiti, ceramic, sculpture to limited edition toys. Okokume’s works are bright, fancy and humorous, in which she creates original characters Dino (dinosaur) and Cosmic Girl (turquoise-skinned spirit), a turquoise creature/soul that surrounds and protects us from all the bad things. In terms of color, Okokume develops a personal skill to play with the light and dark contrast by using somber background to highlight the bright pastel hues of the subject. Since 2012, she has been exhibiting internationally in galleries in Hong Kong, Tokyo, Taipei, Los Angeles and Berlin, as well as various art fairs.

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008

HIROYUKI MATSUURA (Japanese, b. 1964)

Pinky Toothache 2009 Acrylic on canvas 35.5 x 35.5 cm Signed reverse Hiroyuki Matsuura and dated 2009.10.10

松浦浩之 粉紅牙痛 2009年 壓克力 畫布 35.5 x 35.5 cm 簽名畫背：Hiroyuki Matsuura 2009.10.10 來源 亦安藝廊，北京

PROVENANCE Aura Gallery, Beijing

附北京亦安畫廊開立之原作保證書

This lot is to be sold with a certificate of authenticity issued by Aura Gallery, Beijing.

松浦浩之出生於日本東京，自1984年開始擔任平面設計的工

NT$ 150,000 - 220,000 HK$ 38,000 - 56,000 US$ 4,800 - 7,100 RMB 35,000 - 51,000

作，從事廣告、出版、包裝、裝訂的商標設計，從1999年起， 開始創作以「角色插圖」為題材的「海報+包裝+滑板」設計， 在國際藝術享有聲名。

B o r n i n To k y o , J a p a n , M a t s u m a s t a r t e d t o w o r k a s a graphic designer for advertising, packaging, binding and logo design. Since 1999, the artist started to produce "Poster+Package+Skateboard" designs using "Character Illustration" themes and gained world renown.

009

YAYOI KUSAMA (Japanese, b. 1929)

Mini Pumpkin (a set of 2) 1993 Mixed media, painted wood (unique) 3.3(L) x 3(W) x 3(H) cm 3.2(L) x 3(W) x 2.8(H) cm Signed bottom KUSAMA (both) PROVENANCE Distributed during Kusama's Happening at Venice Biennale1993 Koller International Auction, Zurich

NT$ 260,000 - 400,000 HK$ 66,000 - 101,000 US$ 8,400 - 12,900 RMB 60,000 - 93,000

草間彌生 小南瓜 (兩件一組) 1993年 綜合媒材 手繪油彩 木（單一件） 3.3（長）x 3（寬）x 3（高）cm 3.2（長）x 3（寬）x 2.8（高）cm 簽名底部：KUSAMA （兩件皆有） 來源 1993年威尼斯雙年展「草間彌生偶發藝術」賓客贈品 Koller Auction，蘇黎世，瑞士 1993年草間彌生代表日本參加45屆威尼斯國際雙年展。展出裝置作品期間，她 將幾件迷你手繪的南瓜雕塑，親自分送給出席的賓客，作為一種「偶發藝術」 的行為表演。這段經歷有收錄在電影紀錄影片《草間∞彌生》中。「我愛南 瓜，因為它們形狀幽默，感覺溫暖以及像人類的特質。」草間如此形容。

In 1993 Yayoi Kusama represented Japan at the 45th Venice Biennale.

During the run of her installation there, she handed out little sculptural pumpkins to visitors. This Happening Art was included in the documentary film “Kusama: Infinity”. “I love pumpkins because of their humorous form, warm feeling, and a human-like quality,” Kusama ever said.

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010

ob (Japanese, b. 1992)

I Can See

o b出生於1992年的日本京都，作品所營造的世界，反映出同

2011 Oil on canvas 162 x 130.5 cm Signed reverse ob , titled I can see in Japanese and dated 2011.4.15

世代青年的感性情懷。2010年她自京都藝術高等學校畢業，年

PROVENANCE KaiKai KiKi Gallery, Tokyo Acquired by the present owner form the above

都可以安撫心情，讓她感到歸屬感。

NT$ 550,000 - 800,000 HK$ 139,000 - 203,000 US$ 17,800 - 25,900 RMB 127,000 - 185,000

ob 我看得見 2011年 油彩 畫布 162 x 130.5 cm 簽名題識畫背：2011.4.15 みえるわ ob 來源 KaiKai KiKi 畫廊，東京 現有收藏者得自上述來源

僅18歲，在京都舉行出道首次個展。2011年舉辦三檔個展， 由村上隆主持的Kaikai Kiki畫廊推薦，並在香港藝術博覽會的 個展獲得高度評價。藝術家表示創作時腦海中所浮現的場景， 不是在森林的深處，就在堆滿喜愛物品的家。無論何處，創作

Born in 1992, Kyoto, in the art world that she created, ob reflects the sensibility of young people in her generation.

In 2010, when graduated from Kyoto Art Senior High School at 18 years old, ob held her first solo exhibition held in Kyoto. In the following year, she had three solo exhibitions, organized by Takashi Murakami’s Kaikai Kiki Gallery, and then her works displaying in Art Basel Hong Kong received the great comments from the collectors.

During the creation, ob felt the sceneries emerging in mind, are always happened in the deep of the forest or at her home that contains objects she likes. The artist said that no matter where she is, through the process of creating, she feels the belongingness.

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011

HEBRU BRANTLEY (American, b. 1981)

Flyboy "Fry" Gloss Black Edition 2017 High-gloss painted impact resin, ed. 15/25 37.5(L) x 22(W) x 41(H) cm (flyboy) 6(L) x 4.7(W) x 9.5(H) cm (small figure) This lot is to be sold with a certificate of authenticity issued by Silent Stage Gallery, Los Angeles and signed by the artist, and accompanied with its original product box.

NT$ 240,000 - 360,000 HK$ 61,000 - 91,000 US$ 7,800 - 11,600 RMB 56,000 - 83,000 赫布魯．布蘭特里1990年代開始從事街頭塗鴉，其複合 媒材繪畫和雕塑富含街頭活力美學。獨創敘事手法及潮流 藝術符號，顛覆傳統「英雄」的概念，圍繞懷舊、心理精 神、力量和希望等複雜概念。靈感來自凱斯．哈林、非 裔美國人歷史、嘻哈文化、動漫，亦受1960、70年代芝 加哥南區的「不良相關藝術家公社」(Commune of Bad Relevant Artists，簡稱COBRA) 黑人美學影響。展覽於倫 敦、舊金山、洛杉磯等城市，以及瑞士和邁阿密巴塞爾、 美國紐約SCOPE、倫敦佛里茲等重要藝術博覽會。

Hebru Brantley began tagging graffiti on the street in the 1990s. His mixed-media paintings and sculpture reflect the street’s energy and aesthetic. Using a distinct narrative and pop-art icons, Brantley’s work challenges the traditional view of hero and addresses complex ideas around nostalgia, mental psyche, power and hope, drawing inspiration from Keith Haring, African American History, Hip-Hop, anime and manga. The artist is also influenced by the 1960s-70s COBRA (The Commune of Bad Relevant Artists) in the South Side of Chicago, seeking to explore what was the “Black aesthetic” creed. Brantley has exhibited in London, San Francisco, Los Angeles and other cities, as well as international art fairs including Art Basel in Switzerland and Miami, SCOPE New York and Frieze London.

赫 布 魯．布 蘭 特 里 飛行男孩（黑光限量版） 2017年 高光塗漆耐衝擊樹脂 15/25 37.5（長）x 22（寬）x 41（高）cm（飛行男孩） 6（長）x 4.7（寬）x 9.5（高）cm（小人物） 附洛杉磯Silent Stage畫廊開立藝術家簽名之 原作保證書和作品原產紙盒包裝

012

NOLWENN SAMSON (French, b. 1979)

Splitting 2016 Mixed media on canvas 146 x 114 cm Signed center right Nolwenn Samson XXX 2016 Inscribed reverse "Splitting" février 2016-oeuvre originale et unique certifiée par l'artiste peintre Samson Nolwenn This lot is to be sold with a certificate of the authenticity issued by the artist.

NT$ 550,000 - 800,000 HK$ 139,000 - 203,000 US$ 17,800 - 25,900 RMB 127,000 - 185,000

娜溫．參森

娜溫．參森，1979年生於法國，其作品色彩

墨西哥嘉年華

明亮、幽默，受電影導演：北野武、昆汀．塔

2016年 綜合媒材 畫布 146 x 114 cm 簽名右中：Nolwenn Samson XXX 2016 簽名畫背（略）

倫提諾影響，擅長將日常場景搭配天真的口號

附藝術家開立之原作保證書

敘述，喚醒觀眾放鬆心情去面對困境。搭配誇 張的黑衣人物表情與動作，另人聯想美國巴斯 奇亞、凱斯．哈林、甚至是法國的羅伯．貢巴 斯在自由造形藝術與街頭藝術之間的變化。

N o l w e n n S a m s o n w a s b o r n i n 1979, France. Influenced by the cinema director as Tarantino and Kitano, Samson is also good at using quotidian scenes with naive slogan and description to encourage the audience to face the difficulty optimistically.

The figures’ facial expression and their poses remind us of Basquiat, Keith Haring, or even Robert Combas in France, who form their style between Liber figuration and Urban street art.

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ROBERT SGARRA (French, b. 1959)

Betty Boop 2018 Mixed media on plexiglas 87 x 65.5 cm (image) Signed lower right SGARRA This lot is to be sold with a certificate of authenticity signed by the artist.

NT$ 300,000 - 460,000 HK$ 76,000 - 116,000 US$ 9,700 - 14,900 RMB 69,000 - 106,000

羅伯特 ． 史 卡 哈

史卡哈運用通俗娛樂的象徵符號，重新詮釋西方主流文化

貝蒂娃娃

所帶出的幻想。並根據自身情緒與幽默感，隨時改變這些

2018年 綜合媒材 塑膠玻璃 87 x 65.5 cm（圖） 簽名右下：SGARRA

象徵「現代性」符號的顏色與造型。他善用複合媒材，將

附藝術家親筆簽名之原作保證書

圖像轉印堆疊，富有飽和色彩。光澤透明的烤漆，帶來獨 特的現代感。他認為普普藝術特有的鮮明色彩，刺激並重 新定義觀者的想像空間，並視為傳統美術的蛻變。

Sgarra utilizes symbols of popular entertainment to rearrange the illusion in the mainstream western culture. According to mood and humor, Sgarra changes the shapes and colors of these symbols of “Modernity”. He makes good use of mixed media, transfers layers of images, and applies saturated colors. The glossy and transparent paint on the picture brings a unique modernity to his works. He considers the vivid color in pop art could revise and redefine viewer’s imagination as an advance transforming from classic fine arts.

014

DESIRE OBTAIN CHERISH (D.O.C) (American, b. 1975)

Peppermint Swirl Meltdown 2016 UV cast resin, ed. 8/10 60(L) x 78(W) x 122(H) cm Signed bottom Desire Obtain Cherish , numbered 8/10 and dated 2016 With a security laser tag

強納森．保羅 棒棒糖系列－薄荷漩渦 2016年 樹脂膠 版次 8/10 60（長）x 78（寬）x 122（高）cm 簽名底部：Desire Obtain Cherish 8/10 2016 防偽雷射標籤 展覽 「飽嘗眼福大展」，納蘇縣美術館，羅斯林港， 紐約州，2016年9月

EXHIBITED Feast For the Eyes Exhibition , Nassau County Museum of Art, Roslyn Harbor, New York, September, 2016

NT$ 650,000 - 850,000 HK$ 165,000 - 215,000 US$ 21,000 - 27,500 RMB 150,000 - 197,000

D.O.C 強納森．保羅，畢業於紐約帕森設計學院，創作結合街頭藝術、普普藝術、概念藝術及挪用藝 術，呈現手法橫跨多樣媒材與型態。2000年起，以街頭塗鴉在藝術圈迅速竄紅，並於美國各大藝術博 覽會嶄露頭角，2015年受邀在威尼斯雙年展期間，於百夫長皇宮酒店展出，2016年受紐約第五大道 精品百貨薩克斯邀請，結合時尚展出其經典系列棒棒糖裝置作品。帶著一絲黑色幽默，試圖透過 作品討論現代社會中關於性、性別、藥物、金錢、名氣以及社群網路等敏感議題，挑戰觀者的價 值觀。「藝術壞痞子」D.O.C.在作品上顯露對世俗文化的批判，透過化名揭明現代社會對於慾 望三階段的無限循環「渴望（Desire）、獲取（Obtain）及珍惜（Cherish）。」

Jonathan Paul a.k.a. D.O.C graduated from Parsons School of Design in New York, he integrates the concepts of pop-art, street art and conceptual art and implemented appropriation technique to reach beyond limitations of medium.

In 2000, he became an instant hit with his focus on street art, and was widely seen in major art fairs across America. In 2015, D.O.C.’s works were shown at the Centurion Palace during the Venice Biennale. Afterwards, he was invited by Saks Fifth Avenue in New York to exhibit his most-known series: "Meltdown" in shapes of lollipops. With a sense of dark humor, the artist tries to discuss controversial issues like sex, medicine abuse, money and popularity to irony and to overturn audience’s value. The artist uses his works to critic the common culture, and also his anonym to reveal an endless circle of needs, in particular: "Desire, Obtain and Cherish" in our modern society.

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THIERRY FEUZ (Swiss, b.1968)

Silent Winds Vega 2019 Lacquer, oil, acrylic and glitter on canvas 210 x 170 cm Signed reverse Thierry Feuz , dated 2019 , titled "Silent Winds Vega" 26/9 and inscribed 210 x 170 cm PROVENANCE Private collection, Asia

西瑞．菲茲 微風系列－織女星 2019年 漆 油彩 壓克力 亮粉 畫布 210 x 170 cm 簽名題識畫背：Thierry Feuz "Silent Winds Vega" 26/9 210 x 170 cm 來源 私人收藏，亞洲

NT$ 750,000 - 950,000 HK$ 190,000 - 241,000 US$ 24,200 - 30,700 RMB 174,000 - 220,000

西瑞．菲茲1968年出生於瑞士，日內瓦藝術與設計大學碩士畢， 目前在日內瓦居住、創作。在他的藝術世界中，藝術、科學、哲 學是相遇的，他關心人類普世間共有的「存在」（Existence）之 意義，並用獨有的繪畫技術呈現未曾可見之境域。作品獲瑞士歷 史與藝術博物館、新加坡藝術基金會、美國薩克斯第五大道精品 百貨公司，以及瑞士銀行等機構收藏。 西瑞．菲茲的作品，混合了多種繪畫基因，包括西班牙巴洛克時 期細膩的靜物畫、波洛克的滴流畫、胡安．米羅的超現實主義、 賽．湯伯利的古典神話。他將具體之物放入虛實之間，創造出一 種無法被定義的繪畫。2019年作品《微風系列─織女星》，描繪 在風中，漫遊漂浮及持續動態的有機生命體。一切就像是存在16 世紀荷蘭藝術家波希（Bosch）作品《人間樂園》（The Garden of Earthly Delights）的紀元前，繽紛色彩的小宇宙。一步步走入 這樣的迷人風景，蘊藏了關於每個人生夢幻變形的時刻。

the humankind around the world. His works have been included in institutional collections of the Musée d’Art et d’Histoire, Neuchâtel, Switzerland, the Singapore Art Foundation, America’s Saks Fifth Avenue Enterprise, and the United Bank of Switzerland (UBS).

Some clues to Feuz’s creative elements can be seen in the delicate still life paintings of Spain’s Baroque period, the drip paintings of Jackson Pollock, the surrealism of Joan Miró, and Cy Twombly’s classical mythology. Feuz places concrete objects between the real and the imagined and creates a kind of painting that defies definition. The 2019 Silent Winds Vega depicts an organic living body that roams, wanders and continues to exist in a dynamic state in the wind. Everything is as in the primordial state of The Garden of Earthly Delights by the 16th century Dutch artist Hieronymus Bosch, a microcosmic universe of riotous colors. Walking step by step into this seductive landscape contains moments within it about magical transformation of each life.

在極致嬌媚的外表之下，存在著脆弱卻也墮落的危險。菲茲的作 品跨越文化及抽象的界線，這些捲曲的花萼及微生物，在充滿著 矛盾、沒有邊界的空間中蔓延。在這裡，驚奇的美麗及脆弱並 存，背後暗示著這樣美麗的平衡可以在一瞬間被毀滅，如同《詩 經》中描繪的蜉蝣之姿，朝生暮死的蜉蝣生物，生命是如此短 暫，絕對要活得絢爛。虛構的風景、豐饒的色彩、生命的律動， 西瑞．菲茲藉由繪畫探問人生及人們存在的意義，在沒有邊界及 場域界定的時空中，死亡與生命的意義將永遠並行。

Thierry Feuz was born in 1968 in Switzerland. He graduated with a Master’s degree from the Haute Ecole d’Art et de Design in Geneva, and currently lives and works in Geneva.

Art, science and philosophy meet in his art world. He is concerned about the significance of the “existence” of all

Under the superlative sensuality and appealing appearance, exists a danger of fragility and also a sliding into debauchery. Feuz’s work easily spans the boundaries of culture and abstraction.

These calyces and microbes spread outwards in a space without boundaries and full of contradiction. Here, astounding beauty and fragility coexist, with the implied suggestion that such a beautiful balance can be destroyed in an instant. Like the condition of a mayfly described in the Classic of Poetry, which is born in the morning and dies at night, life is so brief that it has to be lived in brilliant splendor. Through fabricated scenery, rich colors, and the rhythm of life, Thierry Feuz explores life and the meaning of human existence through his painting. In absence of boundaries and delineated realms, the significance of life and death advance eternally in parallel.

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SUPAKITCH (French, b. 1977)

SupaSssnake

市霸奇奇出生於巴黎，曾經在許多大都會進行創作，包括法國的巴黎和比

2013 Acrylic on canvas 153 x 157 cm Signed lower right SupaKitch

亞里茨，以及美國的洛杉磯和紐約。他特別鍾情街頭藝術、漫畫、塗鴉、

PROVENANCE Private collection, Asia

市霸奇奇曾經與Sixpack、Brendan Monroe、Wayne Horse、Koralie 等

NT$ 900,000 - 1,300,000 HK$ 228,000 - 329,000 US$ 29,100 - 42,000 RMB 208,000 - 301,000

畫展於2007年舉辦，並以他所謂的「無所不在」作為畫展的原創概念。他

市霸奇奇 市霸史奈克 2013年 壓克力 畫布 153 x 157 cm 簽名右下：SupaKitch 來源 私人收藏，亞洲

刺青和嘻哈文化，在他的作品中，這些元素無所不在。1990 年代，他認 識了同期的塗鴉藝術家 H a z y 和音樂製作人 E o n e，啟發他的靈感，開始 在創作中納入各種繪畫、攝影、製圖技巧，在創作的同時探索音樂之美。 品牌合作，為他們的商店創作壁畫，足跡遍布歐洲各地，包括德國杜塞道 夫、哥本哈根、巴黎、聖塞巴斯提安和里斯本。市霸奇奇個人的首場重要 的作品曾在世界各地的藝廊展出，包括巴黎、台北、邁阿密等地。

Guillaume Grando a.k.a. SupaKitch, a Parisian-born artist who has worked in many metropolitan cities including Paris, Biarritz, Los Angeles and New York. The artist has a great passion for street art, mangas, graffiti and tattoos and the hip-hop culture, which elements that appear to be omnipresent in his works. In the 1990s, he met fellow graffiti artist Hazy and music producer Eone, who inspired him to explore works combining various techniques of painting, photography and graphics, integrate the theme of music into his creation. SupaKitch has collaborated with brands such as Sixpack, Brendan Monroe, Wayne Horse, Koralie where the artist painted murals in the brand’s various shops across Europe, Dusseldorf, Copenhagen, Paris, San Sebastian and Lisbon. In 2007, SupaKitch had his first major solo show based upon an original concept he called Ubiquity. He has also been exhibiting worldwide in galleries in Paris, Taipei and Miami.

2019年SupaKitch與IKEA 聯名掛毯 © IKEA

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ALEXANDER CALDER (American, 1898 - 1976)

Black Elephant Conceived in 1973 and cast in 2002 Bronze with black patina, hand painted; ed. 686/999 Foundry: ARA Kunst, Germany Publisher: Georges Gordon, USA 32.5 x 47 cm Initialed CA and engraved ed. 686/999 on the rear leg

NT$ 190,000 - 280,000 HK$ 48,000 - 71,000 US$ 6,100 - 9,100 RMB 44,000 - 65,000

亞 歷 山 大 ．卡 爾德

亞歷山大．卡爾德為美國著名雕塑家，以其

黑象

線性動力雕塑聞名全球。1926年他搬居巴黎

1973年構思；2002年翻鑄 黑色銅雕 手繪上色 版次686/999 鑄造廠 ARA Kunst 德國 發行人：喬治．高登，美國 32.5 x 47 cm 簽名：CA 雕刻版次後足部：686/999

求學，並結識歐洲當代藝術先鋒，如：阿爾 普、杜象等人。今日，其作品為世界各大美 術館典藏，包涵：紐約現代美術館、華盛頓 國家藝廊與倫敦泰德美術館等。

Alexander Calder was an American artist best known for his invention of the mobile and his wire sculptures. Calder moved to Paris to continue his studies in 1926, where he met the European avant-garde artists like Jean Arp and Marcel Duchamp.

His works are held in the collections of major museums such as MoMA New York, National Gallery of Art in Washington, D.C., and Tate Gallery in London.

018

GEORGES MATHIEU (French, 1921 - 2012)

Untitled 1965 Ink and collage on thick paper 15.5 x 21.5 cm Signed lower right Mathieu and dated 65

NT$ 240,000 - 360,000 HK$ 61,000 - 91,000 US$ 7,800 - 11,600 RMB 56,000 - 83,000

喬治．馬修

馬修1947年舉辦第一次公開展覽，打破馬列維奇

無題

與蒙德里安的幾何抽象，創出獨步全球的「抒情抽

1965年 彩墨 拼貼於厚紙 15.5 x 21.5 cm 簽名右下：Mathieu 65

象」，被法國首位文化部長馬樂侯讚譽為「西方的書 法家」。展覽足跡遍及全世界，私人藏家也多集中於 歐美國家，全球近百間美術館皆收藏馬修的作品。

In 1947, Georges Mathieu held his first public exhibition. It was there that he broke down the geometric abstractions of Marevich and Mondrian and founded the Lyrical Abstration his first lyrical abstract art. During Charles de Gaulle's presidency, Mathieu was given the title of “Calligrapher of the West” by André Malraux, the first French Minister of Culture. Mathieu’s exhibition steps were all around the world, most of his private collectors came from Europe or North America and nearly a hundred of museums collect Mathieu’s artworks.

35

019

PATRICK CORDEAU (French, b. 1950)

Untitled 1995 Oil on canvas 30 x 60 cm Signed lower left Cordeau P and dated 1995 PROVENANCE Dimensions Art Center, Taipei Private collection, Asia

NT$ 50,000 - 70,000 HK$ 13,000 - 18,000 US$ 1,600 - 2,300 RMB 12,000 - 16,000

派 翠 克．果 陀

派翠克．果陀利用多樣複合媒材，創作於畫布或

無題

木板之上，以「圍籬」為作品理念之濫觴，完成

1995年 油彩 畫布 30 x 60 cm 簽名左下：Cordeau P 1995

輕快、饒富趣味的作品。1983年為伊西萊穆利諾

來源 帝門藝術中心，台北 私人收藏，亞洲

的美術館創作戶外裝飾藝術，於1999年為凡維斯 沙龍製作圍籬作品。自1976年起，於法國伊西萊 穆利諾、蒙貝利耶、塞雷、巴黎及台北等地展開 多次個展。

Patrick Cordeau created intriguing artworks based on the concept of fence, on wood or canvas with various mixed materials. Cordeau accomplished the exterior decoration for the Musuem of Issy-les-Moulineaux in 1983, as well as a fence work for Vanves salon in 1999.

Cordeau's works of art have been exhibited regularly in Issy-les-Moulineaux, Montpellier, Céret, Paris, and Taipei since 1976.

020

莉莉 安 娜． 馬 菲 泰

馬菲泰1979年入選為布拉格藝術家協會成員。馬菲泰善於將

(Czech, b. 1954)

浮現

個人隱喻性思維，轉化為五彩繽紛的幾何形符號，以抽象藝

Emerge

約1990年代 油彩 綜合媒材 畫布 110 x 125 cm 簽名右下：L. MAFTEI

LILIANA MAFTEI

c. 1990s Oil and mixed media on canvas 110 x 125 cm Signed lower right L. MAFTEI PROVENANCE Private collection, Asia

NT$ 160,000 - 240,000 HK$ 41,000 - 61,000 US$ 5,200 - 7,800 RMB 37,000 - 56,000

來源 私人收藏，亞洲

術形式，詮釋其美學觀點並抒發情緒。其獨有的抽象表現帶 有超現實主義夢幻特色，在和諧富有音樂性的構圖下感染觀 者輕快愉悅的氣息。自1977年起受邀許多海外藝術機構舉行 展覽，為捷克、奧地利、瑞士等地藏家支持。

Maftei was elected as a member of the Prague Artists Association in 1979. Maftei is skilled at transforming personal metaphorical thoughts into colorful geometric symbols, using abstract art to illustrate her aesthetics and emotions. Her unique abstract expression comes with a surrealist touch, coloring the viewer with a harmonious, musical composition. Since 1977, Maftei has been invited to many overseas arts institutions for exhibitions, and she’s supported by collectors from Czech, Austria, Switzerland, etc.

37

021

RICHARD TEXIER (French, b. 1955)

Ré: Oxydo Pies 1994 Mixed media on canvas 73 x 54 cm Signed reverse R. Texier Ré , dated 1994 and titled Oxydo Pies PROVENANCE Dimensions Art Center, Taipei Private collection, Asia

NT$ 160,000 - 240,000 HK$ 41,000 - 61,000 US$ 5,200 - 7,800 RMB 37,000 - 56,000

理 察 ．泰 西 爾 光學圓周率 1994年 綜合媒材 畫布 73 x 54 cm 簽名畫背：R. Texier Ré 1994 Oxydo Pies 來源 帝門藝術中心，台北 私人收藏，亞洲

「在我繪畫中捕捉圍繞身旁的神秘色彩」－泰西爾 “CAPTURE ON MY CANVAS THAT SOME BITS OF THE MYSTERY SURROUNDING ME.”－ RICHARD TEXIER 理查．泰西爾是目前當代藝術最傑出的超現實主義藝術家之一，1995年與華 裔法籍藝術家趙無極先生熟識後成了忘年之交，後者更稱他為「能使魚兒在天 空飛的畫家」。泰西爾相信藝術就是自由，內在精神與外部宇宙的連結。由於 泰西爾對於天文學及外太空有著無限的好奇，他的作品中也經常反映出對宇宙 奧妙探索的影子。關乎生命存續，回歸自然生生不息的精神力，使其作品跨越 語言和國界，像溫暖洋流豐富每一位觀者的心。泰西爾曾受邀展出在法國龐畢 度藝術中心、盧森堡國家美術館、莫斯科文化陳列館、國立台灣美術館、上海 美術館等國際級藝術機構。

藝術家攝於工作室 Artist in the studio © Richard Texier

Richard Texier is an internationally acclaimed Surrealist artist in the c o n t e m p o r a r y a r t s c e n e . S i n c e 1995, h e h a s d e v e l o p e d a g o o d relationship with the Chinese born French abstract artist, Zao Wouki, who once acclaimed him as “The artist who could make fish fly in the sky”. Texier believes that art is freedom, the connection between inner consciousness and the outer universe. Texier is also fascinated with the mysterious, the magnificence of the cosmos, astronomy, which are also present in his works. Texier's work speaks to the continuation of life and the return to nature enables, transcending languages and cultures, just like the warmth of an ocean current, to enrich the viewer's heart and soul.

He has been invited to exhibit his work at Centre Pompidou, the National Museum of Luxembourg, the House of Culture in Moscow, Russia, National Taiwan Museum of Fine Arts, Shanghai Art Museum and other internationally renowned art institutions.

39

022

TATYANA PALCHUK (Latvian, b. 1954)

Still Life with Pastel Pencils 2017 Oil on linen 63 x 86 cm Signed lower right T Palchuk and dated 17 Signed and inscribed on the reverse LATVIA, EU TATYANA PALCHUK (TATYANA PALCUKA-RIKANE) STILL LIFE WITH PASTEL PENCILS 63 X 86 oil on linen and dated 2017 PROVENANCE Private collection, Latvia EXHIBITED Tatyana Palchuk, Anthem to Creativity, Galerie Ludwig Trossaert, London, December, 2018 Tatyana Palchuk Solo Show , Iecava, Latvia, March 2019 ILLUSTRATED Tatyanna Palchuk, My Artist Diary , Studio Byblos, Palermo, Italy, 2018, color illustrated, p. 7 This lot is to be sold with a certificate of authenticity signed by the artist.

塔 提 雅 娜．帕 丘 卡 有粉彩鉛筆的靜物 2017年 油彩 亞麻布 63 x 86 cm 簽名右下：T Palchuk 17 簽名題識於畫背：LATVIA, EU TATYANA PALCHUK （TATYANA PALCUKA-RIKANE）STILL LIFE WITH PASTEL PENCILS 63 X 86 oil on linen 2017 來源 私人收藏，拉脫維亞 展覽 「塔提雅娜．帕丘卡：創造力的聖歌」，路德維希． 托薩爾特畫廊，倫敦，2018年12月 「塔提雅娜．帕丘卡個展」，耶察瓦， 拉脫維亞，2019年3月 圖錄 《塔提雅娜．帕丘卡，我的藝術日記》，比布魯斯工作室 出版，義大利巴勒莫，2018，彩色圖版，頁7 附藝術家親筆簽名之原作保證書

NT$ 280,000 - 420,000 HK$ 71,000 - 106,000 US$ 9,100 - 13,600 RMB 65,000 - 97,000

「繪畫是我思考的方式，我的哲學。」－帕丘卡 “PAINTING IS THE WAY I THINK, MY PHILOSOPHY.”－ PALCHUK 塔提雅娜．帕丘卡1954年出生於拉脫維亞的首都里加。1975年至1981年，進入拉脫維亞藝術學院繪畫系學習。1984年至1987年，她參加蘇 聯藝術學院的研究生課程，師從海景畫家愛德華．卡連尼斯（Eduards Kalnins），專研歐洲學院風格繪畫。2003年取得美術與繪畫碩士。其 作品受義大利文藝復興、北方文藝復興和法國泥金裝飾手抄本影響。繪畫技巧傑出，融合古典與現代。音樂、狩獵、靜物是她創作的重要主 題。她的繪畫展現正向思考、人文精神，和對和諧世界的追求。現為拉脫維亞藝術聯盟的成員之一，教授油畫、素描和作曲，經常參展並獲 獎無數。2019年5月應邀參加威尼斯雙年展。作品為公共及私人收藏。

Tatyana Palchuk was born in 1954 in Riga, Latvian. From 1975 to 1981 she studied in the department of painting at the Art Academy of Latvia. From 1984 to 1987 she joined a postgraduate program at the USSR Academy of Arts and studied under marine painter Eduards Kalnins. Palchuk majored in European academic painting. In 2003 she received an MA in Fine Art and Painting. Her works are influenced by the Italian Renaissance, the Northern Renaissance and the French Illuminated Manuscripts, featuring excellent painting skill that mixes sources from modern and classic arts. Music, hunting and still life are important themes of Palcuk’s creation.

Her painting showcases a form of positivism, humanism and harmony with united world. As a member of the Latvian Art Union, Palchuk teaches painting, drawing and composition, and participates regularly in exhibitions. She won several awards and was invited to participate in an official exhibition of the 58th Venice Biennale, May 2019. Her paintings are housed in both public and private collections.

41

023

TATYANA PALCHUK (Latvian, b. 1954)

Minuet (Mozart) 2010 Oil on canvas 70 x 80 cm Signed lower left T Palchuk and dated 10 Signed and inscribed reverse LATVIA, EU TATYANA PALCHUK (TATYANA PALCUKA-RIKANE) ''MINUET'' (MOZART) 70 X 80 OIL ON CANVAS and dated 2010. 6 PROVENANCE Private collection, Latvia EXHIBITED Librart - International Art Fair and Contest , Libramont, Belgium, 2011 Art Takes Time Square - Billboard Premier , New York, 2012 Neverending Story Tatyana Palchuk Retrospective , Cesis Museum Exhibition Hall, Cesis, Latvia, January 2013 Tatyana Palchuk Restropective, Rietumu Bank ExhibitionHall (RCC), Riga, Latvia, May 8-31, 2013

Tatyana Palchuk Solo Show , Art House Juras Varti, Ventspils, Latvia, December, 2013-January, 2014 Tatyana Palchuk Retrospective , Regional Museum, Rezekne, Latvia, October 2014 Tatyana Palchuk Solo Show , Iecava Culture Hall, Iceva, Latvia, February 2015 Tatyana Palchuk Retrospective , Bauska Museum, Latvia, March/April, 2015 Tatyana Palchuk Retrospective , Valmiera Museum, Valmiera, Latvia, October, 2015 Tatyana Palchuk Solo Show , Galerie Ludwig Trossaert, Antwerp, Belgium, 2017 ILLUSTRATED Tatyana Palchuk, Baltic Fine Art , Ludwig Trossaert Galleries, Antwerp, Belgium, 2017, color illustrated, p. 13 This lot is to be sold with a certificate of authenticity signed by the artist.

NT$ 240,000 - 360,000 HK$ 61,000 - 91,000 US$ 7,800 - 11,600 RMB 56,000 - 83,000

塔 提 雅 娜． 帕 丘 卡 小步舞曲．莫札特 2010年 油彩 畫布 70 x 80 cm 簽名左下：T Palchuk 10 簽名題識於畫背：LATVIA, EU TATYANA PALCHUK （TATYANA PALCUKA-RIKANE） "MINUET"（MOZART） 70 X 80 OIL ON CANVAS 2010.6 來源 私人收藏，拉脫維亞 展覽 「Librart國際藝術博覽會與競賽」，利布拉蒙，比利時，2011 「藝術佔領時代廣場」，首席告示牌，紐約，2012 「永不止盡的故事：塔提雅娜．帕丘卡回顧展」， 采西斯博物館展覽廳，采西斯，拉脫維亞，2013年1月 「塔提雅娜．帕丘卡回顧展」，瑞圖銀行展覽廳， 里加，拉脫維亞，2013年5月8日至31日 「塔提雅娜．帕丘卡個展」，尤拉斯．瓦爾提藝術中心， 文茨皮爾斯，拉脫維亞，2013年12月至2014年1月 「塔提雅娜．帕丘卡回顧展」，雷澤克內博物館， 雷澤克內，拉脫維亞，2014年10月 「塔提雅娜．帕丘卡回顧展」，耶察瓦文化廳， 耶察瓦，拉脫維亞，2015年2月 「塔提雅娜．帕丘卡回顧展」，包斯卡博物館， 拉脫維亞，2015年3月至4月 「塔提雅娜．帕丘卡回顧展」，瓦爾米耶拉博物館， 瓦爾米耶拉，拉脫維亞，2015年10月 「塔提雅娜．帕丘卡個展」，路德維希．托薩爾特畫廊， 安特衛普，比利時，2017年12月 圖錄 《塔提雅娜．帕丘卡：波羅的海美術》，路德維希． 托薩爾特畫廊，安特衛普，比利時，2017，彩色圖版，頁13 附藝術家親筆簽名之原作保證書

43

024

PETER ZOKOSKY (American, b. 1957)

Volcano 1988 Oil on canvas 71.5 x 104.5 cm Signed reverse ZOKOSKY and dated 1988 EXHIBITED Peter Zokosky Oil Painting One Man Show , Hsiung Shih Gallery, Taipei, July 9 - 24, 1988 ILLUSTRATED Hsiung Shih Art Monthly , Taipei, July 1988, Vol.209, black and white illustrated, p. 74 This painting is to be sold with a certificate of authenticity issued by Hsiung Shih Gallery, Taipei and signed by the artist.

NT$ 400,000 - 600,000 HK$ 101,000 - 152,000 US$ 12,900 - 19,400 RMB 93,000 - 139,000

彼得．鄒高斯基 火山爆發 1988年 油彩 畫布 71.5 x 104.5 cm 簽名畫背：ZOKOSKY 1988 展覽 「彼得．鄒高斯基油畫個展」，雄獅畫廊， 台北，展期自1988年7月9日至24日 圖錄 《雄獅美術》（月刊），台北，1988年7月， 209期，黑白圖版，頁74 附雄獅畫廊開立藝術家親筆簽名之原作保證書

「觀看鄒高斯基的畫會有時間錯置的迷惑感覺… 他多數的作品都與自然變奏的詩歌有關…彷彿 是自然的現象，又似乎僅僅是夢中的幻想。」 ─ 陸蓉之 "ONE MAY FEEL A LITTLE MISPLACED IN TIME AND SPACE WHEN VIEWING ZOKOSKY'S WORK… MOST OF HIS WORKS ARE PORTRAYED IN POETIC FASHION AND IN RELATIONS TO THE NATURE… YET IT COULD BE A NATURAL PHENOMENON OR AS THE ILLUSIONS IN DREAMS AT THE SAME TIME."－VICTORIA YUNG-CHIH LU 彼得．鄒高斯基於1957年生於美國加州，是80年代自後現代主義中極具 代表性的藝術家之一。鄒高斯基從加州大學畢業後1981年繼續進修於歐 蒂斯藝術學院（Otis Art Institute），並且取得碩士學位。鄒高斯基純熟 的繪畫技巧，使他於1987年獲得美國國家藝術基金會的繪畫獎。《火山 爆發》這幅作品，觀者不禁注意到小男童身後那黑色的灰雲即將佈滿天 際，滾燙岩漿慢慢吞噬崩塌的山城，只見右下角的男童身著白衣與後方 瀰漫的火山灰形成強烈對比，人與大地之間是否即將失衡，這些都是出 自於藝術家對人類的關心，同時也時時刻刻提醒著人們有多渺小。

Peter Zokosky was born in California in 1957 and is one of the bestknown artists since the post-modernist period of the 1980s. After graduating from University of California in 1981, Zokosky continued his study at the Otis Art Institute and received his master's degree.

He received Visual Arts Grant in Painting from the National Endowment for the Arts in 1987. In Volcano for instance, viewers can't help but to notice that the dark clouds behind the little boy are about to dominate the sky, and that the boiling lava is engulfing the town that is already nearly destroyed. In the lower right corner, one can note that the boy in white is in stark contrast with grey volcano ash. Is the balance between mankind and nature falling apart?

Works of Zokosky remind viewers to think carefully and re-evaluate our actions.

45

025

JEAN CARZOU (French-Armenian, 1907 - 2000)

Souvenir de Stresa 1979 Oil, ink, pen and crayon on paper 50 x 65 cm Signed lower right Carzou and dated 79 PROVENANCE Private collection, Asia

NT$ 120,000 - 180,000 HK$ 30,000 - 46,000 US$ 3,900 - 5,800 RMB 28,000 - 42,000

尚．卡魯茲 斯催沙之憶（義大利） 1979年 油彩 墨 鋼筆 鉛筆 紙 50 x 65 cm 簽名右下：Carzou 79 來源 私人收藏，亞洲

026

PETER ZOKOSKY (American, b. 1957)

Two Hares 1988 Oil on canvas 53 x 66 cm Signed reverse ZOKOSKY and dated 1988 EXHIBITED Peter Zokosky Oil Painting One Man Show , Hsiung Shih Gallery, Taipei, July 9 - 24, 1988

彼得．鄒高斯基 兩隻野兔 1988年 油彩 畫布 53 x 66 cm 簽名畫背：ZOKOSKY 1988 展覽 「彼得．鄒高斯基油畫個展」，雄獅畫廊， 台北，展期自1988年7月9日至24日 附雄獅畫廊開立藝術家親筆簽名之原作保證書

This painting is to be sold with a certificate of authenticity issued by Hsiung Shih Gallery, Taipei and signed by the artist.

NT$ 160,000 - 240,000 HK$ 41,000 - 61,000 US$ 5,200 - 7,800 RMB 37,000 - 56,000

47

027

CAMILLE HILAIRE (French, 1916 - 2004)

L’étang de Diane 1990 Oil on canvas 80 x 80 cm Signed lower right Hilaire Signed reverse Hilaire and titled L'étang de Diane With a gallery stamp of Lucien Lefebvre-Foinet, Paris on the reverse, TOILES & COULEURS / [EXTRA FINES] / LUCIEN LEFEBVRE-FOINET / PARIS / 19, RUE VAVIN & 2, RUE BREA PROVENANCE Lucien Lefebvre-Foinet Gallery, Paris Private collection, Asia

NT$ 220,000 - 320,000 HK$ 56,000 - 81,000 US$ 7,100 - 10,300 RMB 51,000 - 74,000

卡 密 ．伊 列 魯 狄安娜池塘（科西嘉島） 1990 年 油彩 畫布 80 x 80 cm 簽名右下：Hilaire 題識畫背（略） 來源 呂西安．雷費布爾—富瓦內畫廊，巴黎 私人收藏，亞洲 伊列魯於1942年進入巴黎法國美術學院，師從立體主義畫家安德烈．洛 特的指導下，創作以立體畫風為主，作品有著精巧奧妙的特質。1948 年，獲威尼斯獎；1950年，獲委拉斯蓋茲獎。作品典藏於巴黎現代美術 館、史特拉斯堡美術館、梅茲美術館、南錫美術館、敦刻爾克美術館等。

Hilaire entered the École des Beaux-Arts in Paris in 1942. His work was heavily influenced by his instructor, the Cubist painter André Lhote. Hilaire’s work features fine flexibility. He had won the Price of Venice in 1948, and the Price of the Casa de Velázquez in 1950.

Hilaire’s work had been collected by Museum of Modern Art in Paris, Museum of Strasbourg, Museum of Metz, Museum of Nancy, Museum of Dunkirk, etc.

028

BERNARD CHAROY (French, b. 1931)

GiGi 2015 Oil on canvas 41 x 33.5 cm Signed lower left Bernard Charoy Titled reverse GiGi PROVENANCE Acquired directly from the artist by the previous owner Private collection, Taiwan

貝爾納．夏洛瓦 綺琪 2015年 油彩 畫布 41 x 33.5 cm 簽名左下：Bernard Charoy 題識畫背：GiGi 來源 原藏家購自藝術家本人 私人收藏，台灣 附藝術家親筆簽名之照片保證書

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

NT$ 200,000 - 300,000 HK$ 51,000 - 76,000 US$ 6,500 - 9,700 RMB 46,000 - 69,000

49

029

米歇 爾 ． 昂 利

法國畫家米歇爾．昂利以風景、海洋及花卉靜物畫聞

(French, 1928 - 2016)

窗邊風景

名，於1928年出生於法國朗格勒。1951年，他畢業於

Still Life by the Window

油彩 畫布 46 x 55 cm 簽名左下：Michel Henry

MICHEL HENRY

Oil on canvas 46 x 55 cm Signed lower left Michel Henry PROVENANCE Dimensions Art Center, Taipei Private collection, Asia

NT$ 100,000 - 150,000 HK$ 25,000 - 38,000 US$ 3,200 - 4,800 RMB 23,000 - 35,000

來源 帝門藝術中心，台北 私人收藏，亞洲

巴黎的法國美術學院，並在之後獲得許多獎項，其中包 含：1981年獲頒法國榮譽軍團騎士勳章，1986年獲頒 巴黎市勳章，1986年獲頒法國藝術家沙龍金章。作品 典藏於法國政府、巴黎市以及法國阿朗松美術館。

Michel Henry is a French painter who was known for his paintings of still life with flowers, landscapes and marines. Michel Henry was born in Langres, France in 1928. He graduated from the Ecole Nationale Supérieure des Beaux Arts of Paris in 1951. Michel Henry has won several awards including Chevalier de l’Ordre National de la Légion d’Honneur in 1981, Médaille de Vermeil of Paris in 1986. His artwork is included in the collection of French Government, the City of Paris, and the Museum of Alençon.

030

BERNARD CHAROY (French, b. 1931)

Zoe 2003 Oil on canvas 65 × 54 cm Signed lower right Bernard Charoy PROVENANCE Acquired directly from the artist by the previous owner Private collection, Taiwan

貝爾納．夏洛瓦 佐伊 2003年 油彩 畫布 65 × 54 cm 簽名右下：Bernard Charoy 來源 原藏家購自藝術家本人 私人收藏，台灣 附藝術家親筆簽名之照片保證書

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

NT$ 340,000 - 500,000 HK$ 86,000 - 127,000 US$ 11,000 - 16,200 RMB 79,000 - 116,000

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031

PIERRE-YVES TRÉMOIS (French, b. 1921)

Le Bison Genèse 1976 - 1977 Polished bronze, ed. 6/8 72 (L) x 12 (W) x 53 (H) cm Engraved base Trémois , inscribed Nous sommes tous fondus ensemble Darwin , numbered 6/8 EXHIBITED Galerie Attali, Paris, 1977 ILLUSTRATED Trémois d'un trait , Éditions Michèle Trinckvel, Paris, 1982, black and white illustrated, p.175; color illustrated, pp. 176-177 This sculpture is to be sold with a certificate of authenticity issued by Elegant Art Center and signed by the artist.

皮耶－伊夫．特墨 金牛創世紀 1976 - 1977年 拋光銅雕 版次6/8 72（長）x 12（寬）x 53（高）cm 簽名雕刻底部：Trémois 6/8 Nous sommes tous fondus ensemble Darwin 展覽 亞特麗畫廊，巴黎，1977 圖錄 《線條之特墨》，米歇．坦克維爾出版社，巴黎， 1982，黑白圖版，頁175，彩色圖版，頁176-177 附雅德畫廊開立與藝術家簽名之原作保證書

皮耶－伊夫．特墨生於巴黎是一位富有才華的藝術家，1938 年，進入法國藝術學院以及法國畫家費爾南．薩巴泰的工作室 學習。1943年即贏得法國的羅馬大獎〈繪畫獎〉。1978年他

NT$ 600,000 - 800,000 HK$ 152,000 - 203,000 US$ 19,400 - 25,900 RMB 139,000 - 185,000

獲選為法蘭西藝術院院士〈版畫組〉。特別喜以達爾文著名的 「進化論」為創作的靈感來源。特墨將細膩線條刻劃在堅硬質 地的金屬上、將人類情慾以平面圖像繪於立體動物雕塑之上， 引領觀者思考其兩者之間的關係。對特墨而言，這些銅雕刻畫 了人體與動物之間，體積與線條之間的融合聚變，並且運用法 國特有的鉛版印刷術之歷史字體，將其字母、文字方式呈現於 雕塑作品之中。

Trémois was born in Paris, France, in 1921, he entered National School of Fine Arts in Paris, France and also the studio of the French painter Fernand Sabatté in 1938.

In the year of 1943, Trémois won the Prix de Rome in Painting. In 1978, he was elected into the highest French Art Institute-Académie des Beaux-Arts for etching. Trémois particularly employed Charles Darwin’s Theory of Evolution as his source of inspirations. Trémois skillfully engraves fine lines onto uneven harden metalwork; depicting twodimensional human erotica scenes on the surface of the three-dimensional animal-shaped sculptures, enlightening the viewers to explore a greater possibilities of the two. To Trémois, these bronze sculptures represented the fusion of mankind and animals, the volume and lines are constantly merging and changing. Trémois incorporated the ancient characters, symbols and literatures found in traditional technique of stereotypy specifically to France onto his sculptures.

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032

JEAN CARZOU (French-Armenian, 1907 - 2000)

La Chambre bleue 1979 Oil on canvas 55 x 65 cm Signed lower left CARZOU and dated 79 Signed reverse CARZOU , titled La Chambre bleue , and dated 1979 EXHIBITED Salon d'automne , Paris, France, October 21-November 12, 1989

NT$ 750,000 - 1,100,000 HK$ 190,000 - 278,000 US$ 24,200 - 35,600 RMB 174,000 - 255,000

尚．卡魯茲 藍色房間 1979年 油彩 畫布 55 x 65 cm 簽名左下：CARZOU 79 簽名題識畫背：La Chambre bleue CARZOU 1979 展覽 「秋季沙龍展」，巴黎，法國， 展期自1989年10月21日至11月12日

卡魯茲出生在敘利亞北部城市阿勒頗的一個亞美尼亞人家庭。他早年在 開羅學習，1924年赴巴黎學習建築。自1939年起，他舉行過100次個 展，展覽遍及巴黎，法國國內及海外。1977年他被選為法蘭西藝術學院 院士。受佛洛依德的影響，卡魯茲採用具有象徵意義的元素再現夢境。 《藍色房間》創作於1979年，藍色和深棕色分割畫面，為畫面平添一絲 憂鬱的色彩。牆面的規則線條增強了畫面縱深，草稿線一樣的線條又好 似舞臺設計圖紙。前景處的人物採用他的經典線條堆疊手法，人物輪廓 由看似雜亂，實則規則的線條層疊構成。多年的舞臺美術和設計經驗滲 入他的藝術語言，油彩的作品也帶有強烈的手繪效果。

Carzou was born in the city of Aleppo in northern Syria, to an Armenian family. He was educated in Cairo, before going to Paris in 1924 to study architecture. From 1939 onwards, he held over 100 solo exhibitions across Paris, France, and the rest of the world.

In 1976, Carzou’s work was featured on France’s stamps, the first contemporary artist to receive such honor. In 1977, he was elected a member of the Institut de France, Académie des beaux-arts.

Inspired by Freud, he used symbolic elements to recreate dreams.

He also published satirical political cartoons in the newspaper.

La Chambre bleue was created in 1979. Blue and dark brown cut through the image, creating a melancholy tone. The regular lines on the wall, like lines on graph paper for stage design, add depth to the image. The figure in the foreground is depicted with Carzou’s classic technique of overlaying lines, so that the silhouette appears messy, when it is actually made up of precise layers of lines. Years of experience in stage art and design have seeped into Carzou’s artistic language, and even his oil paintings have a strong handdrawn effect.

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033

SHIGEYOSHI HAYASHI (Japanese, 1896 - 1944)

Moon Light (Sun Moon Lake) c. 1930s Oil on board 45.5 x 61 cm Signed lower right HAYASHI Signed reverse Shigeyoshi Hayashi in Kanji and titled Moon Ligh t in Kanji

NT$ 140,000 - 220,000 HK$ 35,000 - 56,000 US$ 4,500 - 7,100 RMB 32,000 - 51,000

林重義 月光（日月潭） 約1930年代 油彩 木板 45.5 x 61 cm 簽名右下：HAYASHI 簽名題識畫背：月光 林重義

1896年生於日本神戶市。自幼展現繪畫天分，1913年進入京都市市立繪畫專 門學校，1916年進入關西美術學院進修。後搬居京都，師承名家鹿子木孟郎 學習油畫技巧，翌年入選日本二科會展覽。1925年獲第六屆中央美術展覽之 中央藝術獎。赴法國遊歷，第十七屆二科會展覽其二十多幅歐洲時期的創作。 1930年與兒島善三郎人等十一人，成立並加入日本獨立美術協會，主張前衛 主義如野獸派及超現實畫風，在台灣教育會的支援下，其作品參展1933年的 第二次台灣地區巡迴展覽。台灣前輩藝術家呂基正為其門生。1942年成為日 本國家繪畫協會重要成員。

Born in 1896 in Kobe, Japan, Shigeyoshi Hayashi had shown his talent in painting since he was young. He entered the Tokyo City Painting School in 1913 and pursued his study further at the Kansai Arts College in 1916.

After graduation, he moved to Kyoto where he studied oil painting under the master Takeshiro Kanokogi and he was selected for the Japanese Nika Association exhibition in the following year. In 1925, Hayashi was awarded the Central Art Award from the sixth Central Art Exhibition and he traveled to France afterward. In the 17th Nika Association Exhibition, he showed over 20 paintings that were created during his stay in Europe.

In 1930, Hayashi along with 10 other artists, including Zenzaburo Kojima, co-founded the Japanese Independent Art Association. They advocated avant-garde styles such as fauvism and surrealism. With the support of the Taiwanese Education Association, Hayashi’s work was exhibited on the second regional tour in Taiwan in 1933. Senior Taiwanese artist Lu ChiCheng was a student of Hayashi. In 1942, Hayashi became an important member of the National Japanese Painting Association.

034

小林雅英

1978年自愛知縣藝術大學畢業。同年於名古屋

(Japanese, b. 1952)

裸女

舉辦首場個人展覽。獲獎日本國畫會野島賞、中

Nude

約1994年 油彩 畫布 45.5 x 53.5 cm 簽名右下：Masahide Kobayashi 簽名題識畫背：「裸婦」小林雅英

MASAHIDE KOBAYASHI

c. 1994 Oil on canvas 45.5 x 53.5 cm Signed lower right Masahide Kobayashi Signed reverse Masahide Kobayashi in Kanji and titled Nude in Kanji PROVENANCE Galerie Nichido, Nagoya, Japan Private collection, Asia EXHIBITED The '94 Exhibition of Modern Nude Paintings , Galerie Nichido, Nagoya, Japan, 1994

NT$ 90,000 - 140,000 HK$ 23,000 - 35,000 US$ 2,900 - 4,500 RMB 21,000 - 32,000

部國畫會新人賞，1991年獲得第27屆昭和會展 優秀獎。1995年至2009年間與日本知名日動畫 廊合作舉行展覽，數度舉辦個人畫展。創作風格 受法國野獸派、那比畫派影響。主題多以鄉間山 林的寫意景物與女性人物描繪為主，風格和諧雅 致。

來源 日動畫廊，名古屋 私人收藏，亞洲 展覽 「'94現代之裸女展」，日動畫廊， 名古屋，日本，1994

Masahide Kobayashi graduated from Aichi Prefectural University of Art in 1978. In the same year, she hosted her first solo exhibition in Nagoya. She has received Japan’s National Painting Association Nojima Award and C e n t r a l N a t i o n a l P a i n t i n g A s s o c i a t i o n ’s Newcomer Award. In 1991, she also received t h e 27t h S h o u w a E x h i b i t i o n E x c e l l e n c e Award. Between 1995 and 2009, Kobayashi has co-hosted exhibitions with famous anime s t u d i o s i n J a p a n a n d h o s t e d n u m e ro u s solo exhibitions. Her style is influenced by the French fauvism and Nabis. Kobayashi’s works mostly revolve around the relaxing countryside landscape and female characters with an elegant and harmonious style.

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035

KAZUO SHIRAGA (Japanese, 1924 - 2008)

Work 1975 Oil on paper 27.5 x 24.5 cm Signed lower left Shiraga in Kanji Signed reverse Kazuo Shiraga in Kanji, dated November, the 50th year of Showa in Kanji, and titled Work in Kanji PROVENANCE Whitestone Gallery, Hong Kong Private collection, Taiwan

NT$ 950,000 - 1,300,000 HK$ 241,000 - 329,000 US$ 30,700 - 42,000 RMB 220,000 - 301,000

「我決定拋棄所有現成的守則赤裸向前，有一天我 把畫刀換成了木棒，緊接著又不耐煩地把它丟下。 開始用手掌、手指繪畫。然後覺得自己應該更加大 膽，這就是我開始用腳的契機。就是這樣！用腳繪 畫！」－白髮一雄 “I DECIDED TO LET GO OF ALL EXISTING RULES AND MOVE BOLDLY FORWARD. ONE DAY, I REPLACED MY PAINTING KNIFE WITH A WOODEN STICK BEFORE DISCARDING IT IMPATIENTLY. I BEGAN TO PAINT WITH MY PALMS AND

白髮一雄

FINGERS. THEN, I FELT THAT I NEEDED TO BE MORE

作品

FEARLESS. THAT WAS WHEN I STARTED USING MY FEET.

1975年 油彩 紙本 27.5 x 24.5 cm 簽名左下：白髮 簽名題識畫背：作品 白髮一雄 昭和五十年十一月

THAT WAS HOW I BEGAN PAINTING WITH MY FEET!” －KAZUO SHIRAGA 白髮一雄為日本具體派之重要代表性成員。他以「足繪畫法」 出名，其抽 象表現的美感，充滿個人風格與力量。白髮深受全球藏家喜愛，更是支撐

來源 白石畫廊，香港 私人收藏，台灣

起當代藝術脈絡不可或缺的一員。包含：日本國立東京現代美術館、法國 龐畢度藝術中心、美國沃克藝術中心等世界一級美術館皆典藏其作品。濃 烈、高彩度的艷紅用色，也是白髮一雄相當著名且標誌性手法。在東方文 化中紅色具有強烈的象徵性，代表著生命、光明等正向意義，更使得白髮 在西洋思潮為主的當代藝術，擁有獨特且引人注目的吸引力。

藝術家於工作室 Artist in the studio

Kazuo Shiraga was an important and representative member in the Gutai group. He is best known for his performance painting practice with his feet. The aesthetics of this abstract expression is full of Shiraga’s personal style and power. Appreciated by collectors around the world, he is an indispensable member in contemporary art history. Kazuo Shiraga’s works are collected by world-class museums including the National Museum of Modern Art Tokyo in Japan, the Centre Georges Pompidou in France, and the Walker Art Center in the USA. The use of strong, high chroma red is also a part of Kazuo Shiraga’s famous, trademark technique. This color is also a strong symbol in Eastern culture, representing positive elements such as life and brightness. This feature makes Shiraga’s work even more unique and attractive among the majority of contemporary artworks based on Western ideologies.

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036

TSUYOSHI MAEKAWA (Japanese, b. 1936)

86Y09 (Untitled) 1986 - 1991 Burlap, oil on canvas 92 x 131 cm Signed reverse Tsuyoshi Maekawa in Kanji and English and dated ’86’91 PROVENANCE Whitestone Gallery, Hong Kong Private collection, Taiwan

NT$ 1,600,000 - 2,400,000 HK$ 405,000 - 608,000 US$ 51,700 - 77,600 RMB 370,000 - 556,000

「轉化物質最原始的狀態，須要先破壞再論創造 的過程，恰巧說明了藝術的自由及其原創性。」 ─ 前川強 “THE TRANSFORMATION OF MATERIALS FROM THEIR MOST PRIMITIVE STATES IS A PROCESS THAT REQUIRES DESTRUCTION BEFORE RE-CREATION, AND THIS ALSO ILLUSTRATES THE FREEDOM AND ORIGINALITY OF ART.” －TSUYOSHI MAEKAWA 日本具體派大師前川強，1936年生於大阪，1962年至1972間參與二次 大戰後日本具體派藝術運動，成為重要代表人物。其藝術美學內蘊充沛 生命力之美，風格顯見的磅礡力道，如一道清泉洗滌觀者，治癒為俗世 紛擾的心境。他運用各式布材與顏料，開闢繪畫空間的裡外虛實。在創

前川強 86Y09（無題） 1986 - 1991年 麻布 油彩 畫布 92 x 131 cm 簽名畫背：前川強 '86'91 來源 白石畫廊，香港 私人收藏，台灣

作者眼眸手心間，將各式山川、冰河、沙漠與海洋的意象一一實現。

Japanese Gutai master Tsuyoshi Maekawa was born in Osaka in 1936. Between 1962 and 1972, he participated in the Japanese Gutai art movement after World War II and has since become an important representative figure. Maekawa’s artistic aesthetics contains the beauty of life and energy. The majestic force in his style vitalizes viewers like a clear spring that heals inner peace from external disturbances. He used a variety of fabrics and paints to explore the reality inside and outside the painting space. Through the creator’s vision and skillful hands, different images of mountains, glaciers, deserts, and oceans are realized one by one.

61

前川強 TSUYO SH I MAEKAWA (b. 1 9 3 6 ) 1954年具體派創建人：吉原治良訂定最高原則「創造前所未有之物」， 激起日本年輕藝術家群體，決心從戰後的頹敗中，開拓出日本現代美術 嶄新的未來，具革命性的突破，大膽運用各種形式與技巧，顛覆舊有的 印象與規則。具體派成員積極參與世界藝術潮流，使用通訊科技帶來的 資訊方便，跨出國界用行動加速向前接軌歐美藝壇脈動。東亞現代美術 的新篇章展開，而前川強正是這股湧升的時代浪潮下，持續數十年持續 發光發熱，在創作征途中邁進的藝術家。 除早年接觸日本陶器，為古老圖騰所感動，始終運用「粗麻布」這項材 質的原因。前川強本人解釋道：「終其一生，我非常執著於媒材的物質 性，但不是毫無修飾地赤裸呈現。而是為了強調張力，透過麻布、棉布 等織品，努力創造可與表面色彩相對應的線條密度。而轉化物質最原始 的狀態，一種須要先破壞再論創造的過程，恰也說明了藝術自由所在及 其原創性。」 有割捨才有收穫，尋找適合自己的道路中，前川強並非一帆風順，他也 試過其他材質如木頭、鐵、水泥等等。然而，布匹纖維交錯，經緯構成 的邏輯性，遇上色彩與藝術增添了一份未知的可能。藝術家實驗性地交 錯促成，讓顏料滴落、漫延、填滿、覆蓋、浸潤著布面，五顏六色的繽 紛碰撞成自由和漫天開闊的宇宙。帶領觀者視野如飛鷹，翱翔於雲霄俯 視山川大地，將整片宏偉開闊納進心底。1950年代到1972年是前川強 涵蓋探索，參與具體派運動的第一階段。早期色調自然，以織品與顏料

In 1954, Gutai founder Jiro Yoshihara defined the highest principle of Gutai to be “creating unprecedented art.” It encouraged young artist groups in Japan to recover from the post-war defeat and build a new future for Japanese contemporary art by making revolutionary breakthroughs, boldly applying different forms and techniques, as well as challenging existing impressions and rules. Gutai members played active roles in world art trends and used the convenience of information from communications technology to connect with European and American art communities beyond national borders.

East Asian contemporary art began its new chapter, and Tsuyoshi Maekawa is a successful artist for several decades under this rapidly changing era, in his march forward along the journey of creation.

In addition to his early exposure to Japanese pottery, Maekawa has always used “burlap” as a creative material because he is moved by ancient totems. As Maekawa explained, “I have always persisted in the media’s materiality, but it is not about making a bold presentation without any modifications. The aim is to highlight the tension and create a line density that corresponds to surface colors through textiles like burlaps and cotton cloths. The transformation of materials from their most primitive states is a process that requires destruction before re-creation, and this also illustrates the freedom and originality of art.”

間的層疊並置為關注焦點；第二個階段是1970到1980年代，軟薄的棉 布取代堅固的粗麻布料，縫紉技巧精密，衍生出許多幾何形狀的表現形 式。而近年則施行疏落有致，技巧收放自如的規律波紋。 現今，隨世界美術史發展的版圖轉移，各重點美術館更將具體派成員， 視為藝術史上不可忽視的重要典藏標的。其中，1980年代為前川強之極 盛時期，各界展覽邀約不斷，並連續多年獲獎受到學界肯定，如：1981 年第15回現代日本美術展榮獲東京都美術館獎、1982年日本國徽獎美 術作品展榮獲國家美術館獎。尤其1985年與1986年，大小型展覽近20 場。目前前川強作品也為眾多世界級美術館，包括：倫敦泰德美術館、 國立京都近代美術館、東京都現代美術館、香港Ｍ+美術館、上海龍美 術館所典藏。 拍品《86Y09（無題）》，創作於1986年，為藝術家歷程六年才完成 的嘔心之作。原為亞洲重要私人收藏，此次秋拍首度現於拍場。畫面 粗獷不造作的黑色布紋，幾乎像陶土堆砌在畫布平面上。當觀者注視 《86Y09（無題）》其視覺不經意順著蜿蜒的紋路漂流，當順開心境的 煩雜，專注於想像畫面。彷彿見到那旭日東昇，波光淋漓的粉色河面剛 要甦醒。黑布如河域沖積的豐饒黑土，一抹鵝黃Ｖ字型穿越上空，好似 大雁結群，乘著和煦微風與金色曙光自在翱翔。作品跳脫傳統繪畫與雕 塑的限制，二次元的平面推升到三次元立體空間。創作者視空間觀念為 一種烏托邦的形式，運用非傳統藝術媒材創造，途中留下的過程軌跡， 召喚出嶄新且不可預知的無限，也是構成前川強美學，不可切割的完整 性要素。

前川強《兩處交匯》1962 油彩 麻布 畫布 162 x 130 cm 倫敦泰特現代美術館藏 Tsuyoshi Maekawa, Two Junctions , 1962, Oil and burlap on canvas, 162 x 130 cm, Collection of Tate Modern © Tsuyoshi Maekawa

collected by several world-class museums, including the Tate Museum in London, the National Museum of Modern Art in Kyoto, the Museum of Contemporary Art in Tokyo, M+ Pavilion in Hong Kong, and the Long Museum in Shanghai.

盧西歐．封塔納《未來空間概念》1961 油彩 畫布 59.0 x 45.4 cm Lucio Fontana, Concetto Spaziale Attese , 1961, oil on canvas, 59.0 x 45.4 cm © Lucio Fontana

You can’t make an omelette without breaking eggs. Maekawa did not always succeed in finding his own path. He had also experimented with other materials such as wood, iron, and cement.

However, the combination of intertwining fabric fibers and the logical, perpendicular composition with colors and art produced an unknown possibility. The artist experimentally mixed and created a free and open universe of brilliant colors by allowing paint to drip on, expand, fill up, overlay, and infiltrate the fabric. It takes viewers on a journey to see like a flying eagle, overlooking mountains and rivers from the clouds and remembering the grand and open views in their hearts. The period between the 1950s and 1972 marked Maekawa’s first phase of Gutai movement participation, during which he explored and focused on using natural colors and juxtaposing layers of fabrics and paints. The second phase was from 1970 to the 1980s, when he replaced firm burlap materials with soft, light-weight cotton cloths, and derived a style of expression with many geometric shapes from precise sewing techniques. In recent years, Maekawa implemented different patterns of regular ripples by using flexible techniques.

W ith moder n shifts in the development of world art history, influential art museums now perceive the arts of Gutai members as non-negligible, important targets of collection in the history of art. Among these Gutai members, Maekawa was at the peak of his career during the 1980s. He was invited to many exhibitions and he received awards and academic recognition for several years in succession. Some examples include the Tokyo Metropolitan Art Museum Prize at the 15th Contemporary Art Exhibition of Japan in 1981, and the National Museum Prize of the Japanese Emblem Art Award in 1982. In 1985 and 1986, Maekawa held nearly 20 exhibitions of varying scales. Currently, Maekawa’s artworks are

Created in 1986, the auction item 86Y09 (Untitled) is a masterpiece that took the artist six years to complete. It was originally an important private collection in Asia, and it is now presented at this autumn auction for the first time. The bold, explicit black fabric grains look like clay piled up on the canvas plane. When viewers stare at 86Y09 (Untitled) , their sight inadvertently follows the winding patterns as they comb through their inner distractions and focus on imagining the image. They can almost visualize a rising sun with a glittering pink river about to wake up. The black fabric looks like the abundant black earth washed up by the river, while a shade of canary yellow V-shape crosses the sky like a crowd of wild geese, flying freely under the mild breeze and gold morning twilight. The artwork breaks through the barriers of traditional painting and sculpture, and upgrades a 2D plane to a 3D space. The creator viewed spatial concept as a kind of utopia and used non-traditional art media to create this piece of artwork. The process of creation left behind a path that calls for a whole new and unpredictable infinitude. This is also an inseparable element for the integrity of Maekawa’s style of aesthetics.

胡安．米羅《平原上鳥群之爭III》1939 油彩 麻布 89 x 115.6 cm 紐約古根漢美術館藏 Joan Miro, The Flight of a Bird over the Plain III , 1939, Oil on burlap, 89.5 x 115.6 cm Collection of Solomon R. Guggenheim Museum, New York © 2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris

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CORNEILLE (GUILLAUME CORNELIS VAN BEVERLOO) (Dutch, 1922 - 2010)

Une Saison lumineuse et chaude

1987年初春，台北市立美術館盛大舉行了「眼鏡蛇藝術

1991 Oil on canvas 80 x 80 cm Signed lower right Corneille and dated '91 Signed reverse Corneille , titled Une Saison lumineuse et chaude and dated '91

群」特展，該畫派主要成員之一：柯奈爾（或譯作：哥賀

PROVENANCE Dimensions Art Center, Taipei.

Private collection, Asia

上述提及柯奈爾來台交流的例子，他們也堅信不同的藝術

NT$ 1,200,000 - 1,800,000 HK$ 304,000 - 456,000 US$ 38,800 - 58,200 RMB 278,000 - 417,000

In the early spring of 1987, the Taipei Fine Arts Museum hosted the grand “CoBrA” exhibition. Major members of the CoBrA artist group include Guillaume Cornelis van Beverloo, who visited Taiwan with other art historians and collectors during the exhibition period. CoBrA’s group activists had only last three years, but each member has found a shared spirit through learning from each other’s works. Within the group’s core value of tolerance, like the example of Corneille visiting Taiwan for exchange, they also believed in artist collaboration for bringing each other inspirational shock and possibility. As a result, the world is still seeing the collaborative effort of the group today.

柯奈爾 明亮和煦的季節 1991年 油彩 畫布 80 x 80 cm 簽名右下：'91 Corneille 簽名題識畫背：Une Saison lumineuse et chaude Corneille '91 來源 帝門藝術中心，台北 私人收藏，亞洲

內依；原名：季堯姆·梵·貝爾魯 Guillaume Cornelis van B e v e r l o o）也受邀在特展期間，與其他藝術史學者和收 藏家來台參訪。「眼鏡蛇畫派」的團體活動，雖然只有短 暫三年，然而其成員各自發展的過程中，仍透過作品發掘 彼此符合畫派精神的共通性。自由包容的核心價值中，如 家共同創作，能夠彼此帶來更多靈感上的衝擊與可能性。 因此，後世仍可見當時成員共筆的成果。

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「我連作畫時也在作夢，也希望觀眾在欣賞作品時夢遊一下…」 ─ 柯奈爾 “I DREAM WHEN I PAINT THEM AND I HOPE THE SPECTATORS WILL DREAM A LITTLE WHEN THEY LOOK AT THEM.” － CORNEILLE

「眼鏡蛇畫派」成員多來自偏北的歐洲國境，而後各自擴散旅居到不同

體主義。在柯奈爾的繪畫世界中，「女性」作為起點，也時常是整幅作

國域。北歐文化特有的神話、民間傳說與歌謠文學，都成為滋養該畫派

品故事的主軸。側身橫躺的裸女緊貼著大地，亦或是杏眼與高挺鼻樑線

成員生生不息的靈感，也促使他們大量吸收比對不同語境之中，存在人

條，宛如埃及壁畫的女性側臉。法文「Cor neille」，除了作為姓名，更

類社會共有的和諧理念。透過歷史影片展現的柯奈爾工作室，滿牆掛滿

亦作小嘴烏鴉鳥之意。或許這就可以解釋為，為什麼作品風格總是如一

旅途收集而來的原始藝術面具。藝術家曾解釋，擴充「想像力」對自己

首歡愉的詩歌，鳥兒作為藝術家自身的象徵，總是圍繞在女性的身旁相

創作的重要性。他以攝影紀錄自己曾經看過的新穎經驗，等於是捕捉了

偎相依。

不同文化之中的吉光片羽。 柯奈爾後期的作品，越發抒情浪漫，正如拍品《明亮和煦的季節》，亮 在時代背景之下，柯奈爾的藝術，不僅發展出自己的風格，更可見當時

橘紅底色襯托出黑線勾勒，大量對比色鮮綠的形體。幾乎是每每都出現

眾多流派在其歷程中發揮的影響。如以孟克、保羅克利、表現主義或當

的「基本元素」：女性、飛鳥與貓咪，各個都帶著饒富趣味表情互相打

時以法國與比利時主導的超現實主義。曾經目睹戰爭帶來的傷痛，柯奈

量。藝術家想像的國度中，視覺也如飛翔在天空的鳥，俯瞰地上的動物

爾欲以藝術表達如孩童一樣，心靈自由奔放又充滿力量的形象。他反對

和風景，觀者能自由自在解讀畫中的故事。童趣造型減弱「現實性」，

蒙德里安的「理性」，以及任何限於單獨個體的狹隘觀點。紀錄寫實的

涵蓋畫作中諸多抒情象徵的意義。《明亮和煦的季節》右邊帶著金黃尾

表象，或是純粹革新視覺造型不再是目標，如何傳遞自然的生命力，貼

羽的小鳥，從鮮紅鳥喙吐出淡淡藍煙，到底是意味美妙歌聲的意象，還

近「人性」成為柯奈爾創作的驅動力。

是迷倒眾多女性的甜言蜜語？女人雖然表現冷漠，卻不禁在右下角掩藏 不住臉上的笑意。而貓咪一臉不置可否得表情，是否像極了旁觀者的悠

常以橘紅暖色調呈現，則是他時常造訪溫暖非洲、墨西哥等國度，深刻

哉淡然。柯奈爾創造天真明亮的世界，引發各種想像的樂趣，正如柯奈

於腦海中的影響。在他的理念中「顏色」形塑了整個世界的造型。每一

爾著迷的異國情調，宛如耐人尋味一千零一夜的故事。

種顏色擁有其意義，不可隨意配置在不相符的造型中。對比強烈的配 色，不經令人聯想野獸派大師德安的作品。柯奈爾去除標誌著傳統學院 派的「空間透視」與景深，僅以畫面物件大小，彼此的位置來佈局空間 感。在畫面的構築中，柯奈爾更像色彩愈加明亮，更加抒情主觀的立

CoBrA’s members were mostly from Scandinavia and they went on to travel and live in different countries. Myths and folklore specific to Scandinavian culture became an endless source of inspiration for the CoBrA artists. Their cultural heritage also allowed them to absorb and contrast different languages and the harmonious concept of human co-existence.

Shown in a documentary, Corneille’s studio wall was filled with prehistoric art masks he had collected during his travels. The artist once explained the importance of expanding his imagination for his creativity. He had documented new experiences with his camera and captured the feathers of various cultures.

With the backdrop of his era, Corneille’s art not only expressed his unique style but also revealed the influences from other art movements at the time; for example, Edward Munch, Paul Klee, expressionism, and the French- and Belgian-led surrealism. Having once seen the pain brought by the war, Corneille was almost childlike in his artistic expression, full of spiritual freedom and energy. He opposed to Piet Mondrian’s “rationality” and any individualistic body or narrow-minded point of view. Realistic documentary or simplistic, revolutionary visual form was no longer his goal. For Corneille, his creativity was driven by human nature and vitality.

柯奈爾《無題》油彩 畫布 100 x 100 cm 羅芙奧2017秋季拍賣會 編號125 台幣1,800,000成交 Corneille, Untitled , Oil on canvas, 100 x 100 cm Ravenel Autumn Auction 2017, lot 125, US$ 59,960 sold

Often presenting his works in orange-red hue, Corneille was heavily influenced by his trips to warm places like Africa and Mexico.

basic “essential” elements including the women, the birds, and the cat each measured up one another with rich and humorous expressions.

In the artist’s imaginary world, vision is like the birds flying in the sky, overlooking the animals and landscape on the ground.

And the viewer is allowed to freely interpret the story within.

His childlike expression weakens the “reality” and encompasses the various emotional symbolism in his work. In Une Saison lumineuse et chaude , a bird with golden feathers is portrayed to be blowing out faint blue smoke from its bright red beakdoes it represent a beautiful song or the flattery that charms many women? The woman on the left, although appearing aloof, cannot hide the smirk on her face. And the cat’s nonchalant expression resembles the indifference of an observer.

丁雄泉 x 柯奈爾《阿姆斯特丹維納斯》壓克力 畫布 124 x 150 cm 羅芙奧香港2012秋季拍賣會 編號520 港幣1,140,000成交 Walasse Ting x Corneille, The Venus of Amsterdam , Acrylic on canvas, 124 x 150 cm Ravenel Hong Kong Autumn Auction 2012, lot 520, US$ 147,097 sold

Corneille created an innocent and bright world that can spark the joy of limitless imagination, like the exotic appeal that he was obsessed with, like the intriguing tale of the Arabian Nights.

“Colors” had shaped all the for ms in his world. Every color possessed its meaning and it could not be applied to a mismatched subject. His contrasting colors reminded one of fauvist master André Derain’s works. Corneille removed the spatial perspective and depth of view that were symbolic of academicism; he only utilized each object’s size and relevant position to create a sense of space. In his composition, Corneille was more like a cubist with brighter color palettes and more expressionist.

In his world of paintings, Corneille often used “woman” as his starting point and sometimes it was the entire subject of his story: a naked woman lying sideways with her body kissing the ground, or the silhouette of almond-shaped eyes and a tall nose like the profile of a female depicted on those Egyptian murals.

His French name “Corneille” also meant the carrion crow. Perhaps this explains why his works were always like a pleasant poem. Like a bird in spirit, the artist often wanted to stay close to the women.

C o r n e i l l e ’s l a t e r w o r k s b e c a m e i n c re a s i n g l y ro m a n t i c a n d expressionist, like Une Saison lumineuse et chaude , the work for auction. Its bright tangerine background accentuates the black outlines and largely contrasts with the bright green forms. The

柯奈爾（左）與康斯坦（右）在工作室閱讀REFLEX 雜誌 Corneille (left) and Constant in the studio, 1949 Photo: Nico Koster © Cobra Museum of Modern Art

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YAYOI KUSAMA (Japanese, b. 1929)

In the Insomnia Night River 1975 Ink, pastel, collage on paper 39.5 x 54.5 cm Signed upper left Yayoi Kusama and dated 1975 EXHIBITED I Love Myself Too Much!! Yayoi Kusama , Karuizawa New Art Museum, Tokyo, April 11 - September 23, 2013 ILLUSTRATED I Love Myself Too Much!! Yayoi Kusama , exhibition catalogue, Karuizawa New Art Museum, Tokyo, 2013, color illustrated, no. 30, p. 52 This lot is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 1,600,000 - 2,400,000 HK$ 405,000 - 608,000 US$ 51,700 - 77,600 RMB 370,000 - 556,000

草間彌生 失眠夜河裡 1975年 水墨 蠟筆 拼貼 紙本 39.5 x 54.5 cm 簽名左上：Yayoi Kusama 1975 展覽 「最愛自己！草間彌生－感動世界的自戀」， 輕井澤新美術館，東京，展期自2013年4月11日至9月23日 圖錄 《最愛自己！草間彌生－感動世界的自戀》展覽圖錄， 輕井澤新美術館，東京，2013年，彩色圖版，編號30，頁52 附草間彌生工作室開立之作品登錄卡

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草間彌生 YAYO I KUSAMA (b.1929 )

草間彌生自1950年代末由日本引薦到美國發展，在西雅圖、紐約等地 開始展露她佔有領導地位的前衛藝術創作。同時她是美國1960年代性 解放運動和反越南戰爭抗議的積極參與者。而在1970年末因為健康因 素回到日本。在這一時期所創作品，相較之前聞名世界的「無限」系 列與後來的「南瓜」系列，此時「拼貼」系列則頗為神秘與內斂的存 在。1972年與她相戀十年的靈魂伴侶藝術家約瑟夫．康奈爾（Joseph C o r n e l l）去世，1973年由於精神疾病不斷加重，草間彌生結束了15 年的美國生活，從紐約回到東京。在當時日本藝壇較保守的社會氛圍 所壓抑之下，她仍然持續不間斷地創作出大量作品以及頗具爭議的乍 現活動。也正是在這一時期所創作的「拼貼」系列作品，為其職業生 涯中極需藝評家的探索與重新發掘。 1973年，草間彌生回到日本。離開了嘈雜的紐約，遠離喧囂媒體並逃 離大眾視野。一切歸於平靜，對於藝術家本人就像做了一場夢。1977 年，開始接受精神治療，這種與世隔絕的狀態使她逐漸被主流文化和 媒體所遺忘。而在工作室的草間彌生創作更加自由大膽，作品媒介更

草間彌生《草間的深度展覽 / 無限的愛展覽》1966年 "Kusama's Peep Show or Endless Love Show", 1966 © YAYOI KUSAMA

加廣泛，涵蓋拼貼、雕塑等，甚至包括後來的文學創作。在這段時間 裡，藝術創作是她精神上最大的救贖，摒棄了早年在美國的行為裝置 等前衛的藝術形式。藝術家把創作著重於繪畫和雕塑，並嘗試進行了 多種架上繪畫，開始材料與媒介形式的全新探索與嘗試。

色澤，經過重新裁剪、拼貼再度組合相容。光線下的點點光暈，彷佛暗河 中無盡翻滾的砂礫，暗潮湧動，不斷增生出交錯網路。也是夜空中無數繁

草間彌生創作於1975年的作品 《失眠夜河裡》，是打破傳統概念束縛

星，劃過天際與星輝相互交映，鋪展出一無限延伸的小宇宙。是「無限」

的集成之作，即是藝術家生命中極為重要的轉捩點。因受到當時文學

與「網」編織出富有神秘韻味的節奏和既脆弱而又不羈的感官效果，捕捉

創作的影響，此時期繪畫猶如肩負著詩歌般的載體，充滿詩意，是具

下浩瀚的規模與無限的空間。草間彌生的創作中始終孕育著對圓點和無限

有極強敘事性的描繪。這一「拼貼」系列的作品，波點與網的元素以

的世界的渴望，即可詮釋成一種愛與和平的代表，並沿用至今。

更加隱晦的方式出現，卻又被掩蓋。似而錯綜複雜的心理意涵，主題 引入對生命起始與終結的思考，隱約重申了草間彌生揮之不去糾纏一 生的幻覺。每一幅畫作都需要以整體為單位進行解讀，柔美的情節構 圖，帶出潛意識中的不安定成份。 《失眠夜河裡》以「集合藝術」（A s s e m b l a g e）這種藝術形式為創 作初衷，在瓷漆紙板上進行抽象創作。此藝術形式與平面拼貼類似， 可視作拼貼創作的三維表現。縱觀整個系列的創作，花卉、昆蟲、 鳥類或海洋生物是最為常見的題材。作品以「河流」為題，藝術家先 用黑色墨水與螢光油彩勾勒出河流的走向，暗灰色調的網點鑲嵌在畫 面當中，由左向右排列開來，錯落的顏色從畫中蔓延展出網狀猶如開 闢了一條夜河渠道。再施以無限重複的圓點與向外輻射類似螢火的

Yayoi Kusama left Japan for the U.S. in the late 1950s, and began her radical, era-defining style of art in cities like Seattle and New York City. She was also an activist during the sexual revolution and antiwar movement in the 1960s. In the 1970s, she returned to Japan due to health issues. Compared with the earlier, well-renowned Infinity series and the later Pumpkin series, the Collage series of this period was relatively introverted and mysterious. After her soul mate Joseph Cornell, an artist whom she had been in a relationship with for 10 years, passed away in 1972, Kusama ended her 15-year career in the U.S. and returned to Tokyo in 1973, due to her worsening mental illness. In spite of the conservative atmosphere in the Japanese art sector at the time, she continues to create lots of works and

controversial installations. It is exactly the Collage series of this period that require further exploration and rediscovery from art critics.

When Yayoi Kusama returned to Japan in 1973, she left the noisy New York City and the ever-present media behind, disappearing from the public’s view. When everything calms down, it was like waking up from a dream to the artist. In 1977, she started to accept mental treatments. The isolation caused her to be gradually forgotten by the mainstream culture and the press. In her studio, Kusama became increasingly bold, with her increased variety in mediums, including collage, sculpture, and even literature. During this period, art was her primary salvation, and she discontinued her earlier, more radical art forms in the U.S., such as installations. She focused on painting and sculpture, and tried many kinds of paintings, where brand-new explorations and trial-and-errors were done.

right, causing the misplaced colors to spread like a net, opening up a water channel in the night. The infinitely repetitive polka dots radiates outwards, like the shades from the light of fireflies, and were clipped, pasted and reassembled. The dots under the light resemble the countless sand whirling in the dark river, where the tides give rise to endless criss-crossing networks. They also resemble the countless stars in the night sky, which spans across the sky against the starlight, paving out a miniature universe that extends to infinity. It is the concept of “infinity” and “net” that wove the mysterious rhythm and the fragile yet unrestrained effects, and captured the grand scale and the endless space. Kusama’s art always bear her endless desire toward polka dots and an endless world, which can be interpreted as a message of love and peace.

She continues to utilize the concepts even today.

In the Insomnia Night River was created by Kusama in 1975, it was a summary of her style of breaking the traditional limits, as well as an important turning point in her career as an artist.

Being affected by the literature works at the time, her paintings of this period was poetic and extremely narrative. In the Collage series, the elements of polka dots and nets are shown in more implicit ways, and are further covered, resembling a complicated psychological status. The theme includes the thoughts about the start and end of life, which implicitly expressed the illusions that haunted Kusama for her whole life. Every piece of work requires deciphering as a whole, where the soft compositions introduce viewers to the instability in her subconsciousness.

In the Insomnia Night River takes assemblage as its origin, and an abstract art was created on ceramic painted cardboard. Such an art form is similar to flat collage, and can be seen as a threedimensional expression of collage. In the whole series, flowers, insects, birds and marine animals are the most common themes.

This particular piece takes river as its topic, where the artist uses black ink and neon paint to silhouette the direction of the river, and then added dark grey screentones that extends from left to

草間彌生美術館《無限の彼方へかぼちゃは愛を叫んでゆく》 圖片：張維中 Yahoo Kusama Museum "Pumpkins Screaming About Love Beyond Infinity" ©YAYOI KUSAMA

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PIERRE ALECHINSKY (Belgian. b.1927)

D'Ocre Reconstruit (Castle of Ocre) 1994 Oil on paper and mounted onto canvas 122 x 75 cm Signed lower left Alechinsky Signed reverse Alechinsky , dated 1994, titled D'Ocre Reconstruit and inscribed 122 x 75 cm

NT$ 4,200,000 - 6,500,000 HK$ 1,063,000 - 1,646,000 US$ 135,800 - 210,200 RMB 972,000 - 1,505,000

皮 耶 ．阿 雷 欽 斯 基 奧克雷城堡 1994年 油彩 紙 畫布 122 x 75 cm 簽名左下：Alechinsky 簽名題識畫背：Alechinsky 1994 D'Ocre Reconstruit 122 x 75 cm

眼鏡蛇畫派與台灣淵源甚深，是台灣與西洋現代美術交會的重要歷史 時刻。1989年該畫派作品第一次來台展出，1992年台北市立美術館舉 辦阿雷欽斯基版畫回顧展，1994年於高雄市立美術館舉辦卡． 阿貝爾 （Karel Appel）回顧展，1999年慶賀眼鏡蛇畫派成立五十週年，台北 市立美術館與高雄市立美術館，雙雙舉辦眼鏡蛇畫派五十週年展覽， 藝術家柯奈爾 （Guillaume Corneille, 1922-2010）親自訪台（見 lot 037）會面諸多在台學者與藝術家。而上述提及該派重要成員之一： 皮耶． 阿雷欽斯基在1954年與美籍華裔畫家丁雄泉（Walasse Ting） 投緣結識。1960年代兩人赴美創作並連結起巴黎與紐約藝壇之交流， 1980年代台灣藝術家陳正雄訪歐展出，與阿雷欽斯基和該派成員等人結 識，早期作品同樣受到前者啟發。

Alechinky at work. © André Morain 1986

There is a deep connection between the CoBrA movement and Taiwan, where important historical moments for modern art in the West and Taiwan happened. In 1989, their works were exhibited for the first time in Taiwan. In 1992, the Taipei Fine Arts Museum held a retrospective exhibition for Alechinsky’s prints. In 1994, Karel Appel’s retrospective exhibition was held in the Kaohsiung Museum of Fine Arts. Later, in 1999, in celebration of their 50th anniversary, the two museums held retrospective exhibitions dedicated to the CoBrA movement, inviting Guillaume Corneille (1922-2010) to attend in person (see lot 037) and meet with many Taiwanese scholars and artists. Pierre Alechinsky, an important member of the movement, befriended Chinese-American painter Walasse Ting in 1954. The two travelled to the US in the 1960s, linking the art community of Paris with that in New York City. In the 1980s, Taiwanese artist Chen Cheng-Shiung went to Europe to host an exhibition, and met Alechinsky and other members of CoBrA. His early works were also inspired by the movement.

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《奧克雷城堡》就材質上畫紙的吸水性與顏料的暈染擴散，比起使用油彩， 更能畫出蜿蜒的線條。或許也由於藝術家本身並無受到東方文字書寫訓練的 限制，即能在運筆上發於內在直覺，型塑出新筆法，「被動」受限於媒材的 不熟悉，來解放創作者因後天教育所承載的束縛，縈繞感官腦海的具象形 態，以近似孩童塗鴉的質拙筆觸來完成作品。隱藏在線條構成看似散漫且抽 象隨性的構圖，刻意放大加強辨識性的幾何狀階梯造型，強行聚焦觀者視 覺，既像攀登山城的過程，又如山水卷軸的表現，上下賞閱整幅畫作，藝術 家在此勇於打破西方構圖傳統，淡化明確意義的主體描繪。除了改變創作的 途徑，也是挑戰觀者既有的習性與認知，參與其創作理念與核心思辨過程。 阿雷欽斯基劃時代的藝術成就，很快受到學界的肯定，1983年至1987年間巴 黎高等美術學院邀請阿雷欽斯基教授莘莘學子。各大美術館紛紛提出展覽邀 約，1969年「比利時藝術宮」舉行回顧展，隨後巡展於丹麥「國立路易斯安 那現代美術館」，並與藝術家多特蒙代表比利時參與第三十六屆威尼斯雙年 左：1981年阿雷欽斯基紐約MoMA展覽海報 Left: Poster of Alechinsky exhibition in 1981, MoMA, New York 右：波爾多木桐酒莊酒標，1966年 Right: Château Mouton Rothschild label, 1966

藝術大師杜布菲（Jean Dubuffet）近年的市場行情飛漲，帶動「原 生藝術」（A r t B r u t）同時代相關團體重回市場關注。1949年11月 「眼鏡蛇畫派」（CoBrA）由一群來自哥本哈根（Copenhagen）、 布魯塞（Brussels） 及阿姆斯特丹（Amsterdam）的詩人、畫家， 以三個首都代稱命名正式發表宣言成立。作為戰後藝術發展的重要環 節，其著力回溯原始文明，啟發人類因社會教化而喪失，深植於內在 的天生藝術本能。並反對西方法則的美學形式主義繪畫，對於東方的 書法、原住民藝術、兒童藝術與原生藝術等探索，都是眼鏡蛇藝術家 們創作靈感的泉源。 具猶太血統的阿雷欽斯基，1927年出生於比利時布魯塞爾。1949 年春季年輕的阿雷欽斯基，參觀了眼鏡蛇畫派第一次於布魯塞爾藝 術宮的展覽，受畫派 「精神導師」克里斯蒂． 多托蒙（C h r i s t i a n Dotremont）邀請加入該畫派，而他與柯塞 （Raymond Cossé）共

展。1977年美國匹茲堡「卡內基研究院美術館」、1978年法國巴黎「龐畢 度藝術中心之現代美術館」、1987年美國紐約「現代藝術館」、1987年美 國紐約「古根漢美術館」、1988年法國巴黎「橘園美術館」等全球一級美術 館舉行個人展覽。2018年至2019年，阿雷欽斯基更接受維也納國立歌劇院 （Vienna State Opera），表達敬意與慶賀他九十歲生日的創作邀請，參與 其作品圖案設計歌劇院舞台的當代藝術計畫。

With Jean Dubuffet’s masterpieces trending on the market in recent years, all the groups chronologically related to the Art Brut movement are coming back into the spotlight. In November 1949, a group of poets and painters from Copenhagen, Brussels and Amsterdam formed the CoBrA movement, with the initials of their respective cities as their name.

As a crucial part in post-war art development, the CoBrA movement emphasizes on returning to the early stages of humanity, and to inspire the inherited art instinct that human beings lost in civilization. The movement rejects the formalism paintings of the Western world, and instead promotes Eastern calligraphy, aboriginal art, children art and Art Brut, which have all become inspirations for CoBrA artists.

用的畫室，成為眼鏡蛇群藝術群集會的重要據點。1950年初期得法 國支助獎學金前往藝術之都巴黎深造，在此接觸來自中國的丁雄泉與 日本書道家森田子龍（Morita Shiryu），期間開啟對東方藝術文化藝 術的實驗與研究，在創作媒材的使用和風格形塑上有了極大的蛻變。 1961年阿雷欽斯基拍攝的紀錄短片《日本的書道》（C a l l i g r a p h i e japonaise）在東京獲得獎賞肯定，他轉往美國紐約市，借用丁雄泉的 畫室，並在次年於該市舉行首次個人展覽。 此次拍品《奧克雷城堡》是1994年阿雷欽斯基的創作，走訪位於義 大利南部建於中世紀的奧克雷城堡遺跡，心中有感而發之作。此作自 藝術家完成，即為私人收藏家購藏，首次公開於市，而畫作的汲古 喻今，應證後世觀點，轉襯作品是藝術家習於交融「經驗」與「想 像」，流暢穿梭於古今，悠遊於「現實」和「夢境」之間的證明。阿 雷欽斯基早期學習於正統學院，受當代思潮與時俱進刺激，因此其藝 術風格不僅超脫當時比利時表現主義與法國超現實主義的影響，更昇 華眼鏡蛇畫派宗旨不受教條束縛，廣闊地吸納各種民俗傳說、神話文 學的元素，內蘊成自身創作元素。

藝術家1985年創作《相冊與藍》比利時列日露天公園美術館藏 Pierre Alechinsky, Album et bleu , 1985, Collection of Musée en plein air Liège © Pierre Alechinsky / Musée en plein air Liège

強 烈 的筆觸，遊走具象與抽象之間獨特風格 POWERFUL BRUSH WORK, UNIQUE AMBIVALENT STYLE BETWEEN FIGURATIVE AND ABSTRACT training of Eastern characters, he was able to fully rely on his instinct to control his brush and create a brand new style. By being passively limited by unfamiliarity to the medium, he was able to liberate himself from the boundaries given by his education, and fully rely on his senses and the image in his mind to complete the work with a pure and rough style close to that of a child. The structure of the piece is hidden beneath the silhouettes, which magnifies the recognizable stair geometry to force the viewer’s focus there. The experience is similar to the progress of climbing a mountain castle, or to the expression of a Chinese shan shui scroll. When we see the work as a whole, the artist’s boldness becomes clear in not following the traditional structure of Western painting by reducing the sense of a clear, meaningful subject.

Aside from marking a change in creative practices, this also challenges the viewers’ pre-existing habits and knowledge, asking them to proactively take part in the artist’s creative concepts and core ideology.

眼鏡蛇畫派成員合照約1948年 CoBrA artist members © Cobra Museum of Modern Art

Alechinsky, who is of Jewish origin, was born in Brussels, Belgium in 1927. During Spring 1949, the young Alechinsky attended the first exhibition of CoBrA artists in Paleis voor Schone Kunsten, Brussels, and was invited to join the movement by “The Mentor” of the movement, Christian Dotremont. The studio he shared with Raymond Cossé later became a location for important CoBrA meetings. In the early 1950s, he acquired a French scholarship to extend his study in Paris, where he met Walasse Ting and Japanese calligrapher Shiryu Morita. During this period, he began his research into Eastern arts and culture, which influenced his use of creative material and styles greatly. In 1961, Alechinsky’s documentary clip Calligraphie Japonaise was awarded in Tokyo. He later went to New York City and borrowed Ting’s studio to work, as well as hold his first solo exhibition there the following year.

Alechinsky’s artistic achievements were quickly recognized and acknowledged by scholars. Invited by the École nationale supérieure des Beaux-arts de Paris to join its faculty, he worked there from 1983 to 1987. Museums from around the world also invited him actively, from the retrospective exhibition in Paleis voor Schone Kunsten, Belgium in 1969, the Louisiana Museum of Modern Art in Denmark, to participating in the 36th La Biennale di Venezia on behalf of Belgium with Dortmund. He also held solo exhibitions at Carnegie Museum of Art in Pittsburg, USA in 1977, Musée National d'Art Moderne of the Centre Georges-Pompidou in Paris in 1978, Museum of Modern Art and the Solomon R. Guggenheim Museum in New York City in 1987, as well as Musée de l'Orangerie, Paris in 1988. Between 2018 and 2019, Alechinsky also accepted Vienna State Opera’s invitation to celebrate his 90th birthday, where he participated in the contemporary art project and applied his designs on the opera house’s stages.

The Castle of Ocre was created by Alechinsky in 1994, when he was inspired by the ruins of the medieval castle in Ocre, southern Italy. This particular work was bought by a private collector upon completion, and hasn’t been seen in public until now. The usage of past experience and the relevance of its context in this piece proved the later view that a work of art is made by an artist who is mixing experience with imagination, shifting between the past and present, and wandering between reality and dreams. In his early years, Alechinsky obtained education from art schools, where he was inspired by the ideology of the era. As a result, his style transcended the trend of expressionism in Belgium at the time as well as French surrealism. It even caused the CoBrA movement to become freed of any established norms, while freely accepting and absorbing elements of folklore and myth into creative elements.

The Castle of Ocre utilizes the quality of paper for the spread of paint, allowing the artist to better depict curved silhouettes. Perhaps partly due to the reason that the artist was not constrained by the calligraphic

2018-2019年藝術家設計維也納國立歌劇院舞台 Vienna State Opera's Safety Curtain 2018/19 by the artist. © Pierre Alechinsky / Vienna State Opera

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MARIE LAURENCIN (French, 1883 - 1956)

Trois jeunes filles au chien Watercolour and pencil on paper 24 x 33 cm Signed upper right Marie Laurencin PROVENANCE Sotheby's New York, Impressionist and Modern Art , October 9, 1996, lot 105 Acquired from the above by the present owner

瑪麗．羅蘭珊 三個小女孩與狗 水彩 鉛筆 紙本 24 x 33 cm 簽名右上：Marie Laurencin 來源 紐約蘇富比，「印象派與現代藝術拍賣」， 1996年10月9日，拍賣編號105 現有收藏者購自上述來源

NT$ 1,000,000 - 1,500,000 HK$ 253,000 - 380,000 US$ 32,300 - 48,500 RMB 231,000 - 347,000

唯美、浪漫，瑪麗．羅蘭珊的繪畫，有著令人著迷的優雅筆觸 和粉霧色彩。1883年出生於巴黎，羅蘭珊年輕時曾學習陶瓷 繪畫，之後進入昂貝赫學院（Académie Humbert）接受正式 繪畫訓練。她與立體派、黃金分割派（Section d'Or）等往來 密切，和畢卡索、布拉克等人常在巴黎蒙馬特的「洗濯船」 工作室聚會，稱「洗濯船團體」（Bateau-Lavoir） ，同於沙 龍展出。和詩人阿波里奈爾（Apollinaire）的藝術愛情之旅， 激發許多早期充滿立體派風格的重要作品。擅繪女性優雅的 羅蘭珊，是當時巴黎名流圈炙手可熱的肖像畫家，顧客包括 香奈兒女士。1923年應邀擔任俄羅斯芭蕾舞劇「牝鹿」（L e s Biches）舞台設計兼造型，獲「巴黎畫派中的牝鹿」美名。 少女與動物是羅蘭珊鍾愛的主題。此幅《三個小女孩與狗》， 小巧優雅，正展示其經典夢幻風格。色彩粉嫩淡雅，水藍、 薄荷綠、粉橘、粉灰構織成輕盈柔美的和諧畫面。簡化造型 和弧形線條的運用，可見立體派影響。樹林中，女孩們與小 狗相伴，輪廓圓潤，純潔可愛，踮腳近乎漂浮，如仙子般與 世無爭。白瓷肌表現手法，也反映了藝術家早期曾於賽佛爾 （Sèvres）瓷廠擔任學徒的背景。不論油畫、水彩，羅蘭珊柔 美之作深受東、西方藏家愛戴，珍藏於世界各大藝術機構，如 巴黎橘園、倫敦泰德、紐約大都會美術館，以及東京瑪麗羅蘭 珊美術館等。

Aesthetically pleasing and romantic, Marie Laurencin’s paintings are characterized by char ming, elegant brushstrokes and pastel colors. Born in Paris in 1883, Marie Laurencin studied porcelain painting at a young age before entering Académie Humbert for formal art training.

She had close interactions with Cubism and the Golden Section (Section d’Or), and often met up with artists like Picasso and Braque at the Bateau-Lavoir in Montmartre, Paris. They were known as the Bateau-Lavoir group and exhibited together at the Salons. Marie Laurencin’s artistic love relationship with poet Apollinaire inspired many important early works of Cubism style. With a specialization in painting feminine elegance, Laurencin was a sought-after portrait painter at the time in the Paris celebrity circle with customers including Coco Chanel. In 1923, Laurencin was invited to work on the stage design and styling of Russian Ballet Les Biches , for which she was nicknamed Les Biches of the School of Paris .

Young girls and animals are among Laurencin’s favorite themes. This small and elegant work Trois jeunes filles au chien demonstrates the artist’s classic fantasy style. The mild and elegant colors of aqua blue, mint green, peach, and pastel gray form a graceful and harmonious composition. The use of simplified styles and arc lines display the influences from Cubism. In the woods, the girls are accompanied by a dog, appearing innocent and adorable with round outlines. Walking on tiptoes, the girls look floating and as peaceful as fairies. The method of expressing white porcelain skin also reflects the artist’s early background as an apprentice at the porcelain factory in Sèvres. From oil paintings to watercolors, Marie Laurencin’s feminine artworks are widely acclaimed by eastern and western collectors. Her works are collected by major art institutions around the world, including Musée de l'Orangerie in Paris, Tate Museum in London, the Metropolitan Museum of Art in New York, and the Marie Laurencin Museum in Tokyo.

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BERNARD CATHELIN (French, 1919 - 2004)

Bouquet au vase de Chine 1971 Oil on canvas 92 × 60 cm Signed lower left Cathelin '71 Signed reverse Cathelin , titled Bouquet au vase de Chine and dated Été 1971 PROVENANCE Collection of Mary Ella Griswold, USA Private collection, USA Private collection, Asia

NT$ 1,400,000 - 2,200,000 HK$ 354,000 - 557,000 US$ 45,300 - 71,100 RMB 324,000 - 509,000

貝爾納．卡多蘭 瓷瓶中的花束 1971年 油彩 畫布 92 × 60 cm 簽名左下：Cathelin '71 簽名題識畫背：Bouquet au vase de Chine, Été 1971, Cathelin 來源 瑪莉．艾拉．格里斯沃德莊園舊藏，美國 私人收藏，美國 私人收藏，亞洲

藝術家重要個展 SE LE CTE D SO LO E XH I BI TI ON S 聖普拉希畫廊，巴黎 Galerie Saint-Placide, Paris, 1957 大衛B. 芬德雷畫廊，紐約 David B. Findlay Gallery, New York, 1960 吉井畫廊，東京 Yoshii Gallery, Tokyo, 1967 史泰德藝術館，西德 Städtlische Galerie, West Germany, 1977 BP 畫廊，比利時安特衛普 BP Gallery, Antwerp, Belgium, 1982 雪儂梭城堡，法國 Château de Chenonceaux, France, 1987 浦西萊．莫瓦畫廊，溫哥華 Buschlen-Mowatt Gallery, Vancouver, Canada, 1989 梅田美術館，大阪 Daimaru Museum, Osaka, Japan, 1994 上海美術館，中國 Shangai Art Museum, China, 2000

藝術家照片 © Bernard Cathelin－ Artiste Peintre SARL

凡爾賽伊麗莎白莊園，法國 Orangerie de Domaine de Madame Elisabeth, Versailles, France, 2002

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貝爾納．卡多蘭（B e r n a r d C AT H E L I N, 1919-2004）1919年生於巴黎。 1945年進入巴黎高等裝飾藝術學院學習，同時期於法國繪畫大師布里昂松 （Maurice de Brianchon）的工作室學習，並承襲野獸派畫風的用色鮮明，與 那比畫派（L e s N a b i s）中帶有夢幻和諧感的氣質，並融合二十世紀巴黎畫派 與1960-1970年代全球發展的極簡藝術。他多以大面積色塊意象，描繪半具象 的人物風景和靜物題材。 1947年卡多蘭開始於巴黎高等裝飾藝術學院任教，1950年獲得旨為幫助年輕 法國畫家的布盧門撒爾大獎。1958年被美國紐約大衛．芬尼利畫廊選中舉辦 展覽，並受到紐約《先驅論壇報》週日封面報導，隨後於日本、美國、法國、 歐洲及世界各地皆頻繁舉辦展覽。1995年，法國總統親自授予他榮譽勳位勳 章，成為他一生的最高榮譽。1997年在巴倫西亞博物館舉辦大型回顧展。 2000年在上海美術館舉辦大型回顧展。2004年藝術家過世後，作品仍經常於 世界各地展覽。 自古以來對「花卉」的詮釋，不分藝術類別與地理時空，為東、西方視覺藝術 共同鑽研的主題。越是大眾熟悉的題材，越能考驗創作者自身風格的完整，與 其技巧是否熟稔，或是臻至青出於藍的成功。這種花卉主題的共通性，更促進 史學家能透過作品本身，去比較該創作人在歷史脈絡的定位，以及其藝術語彙 的獨到之處。在二次戰後的藝術發展，旅行和跨文化交流越來越頻繁。而卡多 蘭正是在此風氣中接觸到中國藝術「寫意」的觀念。 卡多蘭精準捕捉風景、一束鮮花，深刻於觀者印象的精神本質。這是高於現實 的深邃真理：透過表象來發現事物的本質，達到和諧完美的生活境界。作品優 雅氛圍滿溢，濃濃的詩意展現出藝術家對美好自然的喜愛。卡多蘭透過鮮活的 用色、半寫實的手法，凸顯題材的自然之美。卡多蘭的作品色彩豐富，經常擷 取過去走訪各國的景致，融入地方色彩和質地，其足跡遍佈法國德隆省、墨西 哥、印度、日本。 賞析卡多蘭的作品，觀者總能不自覺沉澱下心境。簡單明瞭的素材，在藝術家 精心構築下，畫面既豐富又和諧。他常以樸素單色構圖背景，調整色彩的明暗 亮度來營造空間感的深淺。看似整體相同的顏色，近看才發現如古典主義大師 們的用色，複雜精密且細致，由多層色彩交疊，光線投射下富多樣及不同的變 化。技法上他主要是用畫刀與畫筆，利用油彩層層疊加覆蓋的特性，靈活運用 媒材本身可以在畫面中呈現的質地。 作品《瓷瓶中的花束》正中花瓶的亮白，使主體灰色系背景中跳脫。瓶身鮮活 花紋，色彩呼應鮮花束的繽紛。藝術家減弱弧度與曲線的描繪，刻意留下混色 不均、大小一的幾何色塊筆觸。由濃烈、深淺不一的玉綠、松石綠、褐綠色 塊，暗示著畫中時序已來到夏日，綠葉在金燦艷陽下成熟的形貌。橘粉色花瓣 相互簇擁，柔美的韻律中，穿插幾朵深紫葡萄色花朵，氣質沉靜高雅華而不喧 嘩。斑斑彩料覆蓋，畫刀磨擦的凹凸表面，使畫作整體如陶燒釉料富含肌理。 卡多蘭的《瓷瓶中的花束》畫作就像一首饒富詩意的優雅俳句，讓人感到內在 的愉悅和平靜，並享受一場色彩交織，豐富心靈的盛宴。

貝爾納． 卡多蘭 BOU QU E T AU VA S E D E C H INE (1 9 1 9 - 2004) Bernard Cathelin (1919-2004) was born in Paris in 1919. In 1945, he enrolled at the École Nationale Supérieure des Arts Décoratifs in Paris while apprenticing at Maurice de Brianchon’s studio. During this time, he began to adopt Fauvism’s bright use of colors, the serene and dream-like imagery of Les Nabis, also combined the style of École de Paris and Minimalism which globally developed from 1960 to 1970. In Cathelin’s still lifes, he employs many broad swathes of color to convey a semi-abstract scene.

When looking at a Cathelin piece, a viewer often will experience a subconscious serenity. Elements that are simple and easy to understand are arranged by the artist’s careful hand to create a harmonious and full image. He often employed simple colors for the background, adjusting the depth of their hues to create a depth of space. Taking a closer look, his use of color appears to be much like that of the old masters, precise, complex, and detailed, using many different layers to coax texture out of the very medium of the piece.

In 1947, he began teaching at École Nationale Supérieure des Arts Décoratifs. In 1950, he was awarded the Blumenthal Prize that is dedicated to helping the young artists of France. In 1958, his work was selected for exhibition by the David B. Findlay Gallery of New York, and he was featured on the cover of the New York Herald Tribune Sunday supplement, after which his artworks were frequently exhibited in Japan, the US, France, Europe, and all around the world. In 1995, he was elected to the French Légion d’Honneur by the President of the Republic. This was his highest honor in life. In 1997, a largescale retrospective exhibition was dedicated to him at the Valence Museum, France. In 2000, a large-scale retrospective exhibition was held in the Shanghai Art Museum (SAM), China. Even after the artist’s passing in 2004, his work is still frequently exhibited around the world.

The bright white of the vase at the center of Bouquet au Vase de Chine makes the subject leap out from the murky grey background and the lively decorations on the vase evoke the colors of the bouquet it contains. The artist downplays lines and curves, deliberately leaving strokes of uneven color and size. The shades of green, grey-green, jade green, and turquoise, vary from light to dark and suggest that this piece was painted during the summer, with the leaves of the flowers maturing in the full radiance of the summer sun. The pink petals of the flowers crowd around one another in a beautiful rhythm from which several deep violet flowers emerge.

The work has a ceramic like texture imbued by the uneven surface created by the artist’s paint knife. Cathelin’s Bouquet au Vase de Chine reads like a haiku, leaving the viewer with a sense of joy and tranquility at the intermingling of colors, laid out like a rich banquet for the soul.

Since ancient times, the subject of flowers has inspired artists of all disciplines from both the East and West to create their own interpretations. To most audiences, plants and flowers are a familiar subject. Yet, for artists, they are an important test of the maturity of their style, technique, and development. As a subject matter, flora has a kind of universality that allows historians to use these works to define artistic timelines and unique artistic vocabulary. After World War II, many artists began to travel and engage in cultural exchange.

It was through this exchange that Cathelin encountered the Chinese method of freehand painting.

Cathelin is adept at capturing the essence of form, a piece of scenery, or a bouquet of flowers; this is a profound truth that extends beyond reality: the discovery of the essence of things through their surface enables us to attain a sphere of life of perfect harmony. This work is vastly elegant, deeply poetic, and perfectly embodies the artist's love for natural sceneries. Through the use of dynamic colors and semi-realist techniques, Cathelin highlights the natural beauty of the subject matter. His richly colored works are often excerpts of scenes from the countries he has visited, including the Drôme region of France, Mexico, India, and Japan, and incorporate both local colors and textures. Each of Cathelin's works is like a richly poetic haiku.

常玉《綠葉盆菊》油彩 畫布 81 x 45 cm 羅芙奧2010秋季拍賣會 編號19 港幣14,400,000成交 Sanyu, Chrysanthemums with Green Leaves , Oil on canvas, 81 x 45 cm Ravenel Hong Kong Autumn Auction 2010, lot 19, US$ 1,848,524 sold

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JEAN DUFY (French, 1888 - 1964)

Bouquet de fleurs dans un intérieur bleu Oil on canvas 65 x 50 cm Signed lower right Jean Dufy PROVENANCE Sotheby's New York, Impressionist and Modern Art , October 9, 1996, lot 95 Acquired from the above by the present owner

NT$ 1,500,000 - 2,200,000 HK$ 380,000 - 557,000 US$ 48,500 - 71,100 RMB 347,000 - 509,000

尚．杜菲 藍色房間的花束 油彩 畫布 65 x 50 cm 簽名右下：Jean Dufy 來源 紐約蘇富比，「印象派與現代藝術拍賣」，1996年10月9日， 拍賣編號95 現有收藏者購自上述來源

藝術家照片 Artist Photo

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音 樂 與 色 彩 編 織 的 繪 畫－尚．杜菲 THE PAINTINGS INTERWOVEN WITH MUSIC AND COLORS: JEAN DUFY

一戰結束後，尚．杜菲搬到巴黎蒙馬特居住，與布拉克為鄰，交流立體 派創作理念。1920年為音樂劇《屋頂上的牛》製作佈景，因而結識當 時重要音樂家「六人團」成員米勞、奧瑞克、薩蒂等。音樂為他的繪畫 帶來新的轉變，令其用色衍生無窮變化。對他來說，色彩便是音樂和語 言，在畫布上翩翩舞動。 長達三十年，尚．杜菲為利摩日的西奧多．哈維蘭德瓷場（T h e o d o r e H a v i l a n d）繪製裝飾設計，擅長動物及花等圖案。1925年在巴黎舉辦 「現代裝飾藝術及工業應用藝術國際大展」， 尚．杜菲以「法國古堡」 （Châteaux de France）餐具組設計榮獲金牌獎。 此幅《藍色房間的花束》是尚．杜菲風格的典型之作。如色塊拼布般的 畫面構成，展現藝術家過人的用色天賦。藍、綠、黃、紅等暈染塊狀筆 觸，摻雜輪廓勾線，增添動感生趣。如此裝飾性強烈的繪畫，比起對景 中物件逐一真實地刻劃，更重於捕捉當下概括的感覺及印象，令人沉浸 在色光交織的絢爛美好之中。尚．杜菲偏好白色，畫中茶杯、桌巾、花 朵、貓，皆以白色繪成，錯落分布平衡畫面輕重，爐火純青的光線掌 握，聚焦視線於白色桌巾，豐盈的花束彷彿漂浮其上，躍然舞動姿態， 與室內靜景一動一靜間呈現鮮明對比。 亨利．馬諦斯 《在寇里烏爾開啟的窗戶》 1905年 油彩 畫布 作品典藏於華盛頓國家藝廊 Henri Matisse, Fenêtre ouverte à Collioure , 1905, oil on canvas, collection of National Gallery of Art, Washington D. C.

享譽國際的尚．杜菲作品，典藏於歐美各大美術機構，包括巴黎現代美 術館、龐畢度中心、維也納阿爾貝蒂娜博物館、芝加哥藝術學院及紐約 現代美術館等。

法國藝術史上有兩位杜菲，一是胡奧．杜菲（Raoul Dufy），二為尚． 杜菲（J e a n D u f y），二人為兄弟，相差十歲。哥哥胡奧是野獸派著名 畫家，亦為弟弟尚．杜菲創作生涯重要蒙師。尚．杜菲充滿音樂性的後 印象派風格，於二十世紀初法國藝壇獨樹一幟，以豐富色彩描繪戰後巴 黎社會，城市風貌、馬戲團、音樂會、夏日帆船賽、爵士樂等皆是他創 作的主題。 1888年出生於法國西北部諾曼第的港口城市勒阿弗爾（L e H a v re）， 尚．杜菲與哥哥胡奧皆就讀勒阿弗爾美術學院。1906年在一次「現代美

With ten years age difference, the Dufy brothers, Raoul Dury and Jean Dufy, are two big figures in the French art history. The older Raoul is one of the most renowned fauvism artists and important mentor of his younger brother Jean during his artistic career. Jean Dufy’s painting style is considered post-impressionistic with strong musical elements. As a unique emblem on the early 20th-century French art scene, his paintings used vivid colors to depict subjects such as the post-war French society, urban landscape, circuses, concerts, summer sailing competitions, and jazz.

術畫會」畫展中，馬諦斯、德安、馬克也、畢卡索等人的作品激發他成 為畫家的志趣，尤其馬諦斯的《在寇里烏爾開啟的窗戶》，明亮光線和 鮮豔繽紛的色彩，帶給他莫大啟示。 1912 年尚．杜菲追隨兄長的腳步來到巴黎，在其引荐之下，認識了巴 黎後印象派的德安、布拉克、畢卡索等人。1914年在巴黎貝爾特．威 爾畫廊（Galerie Berthe Weill）舉行首次個展，該畫廊是二十世紀初推 動前衛藝術的翹楚，許多年輕潛力藝術家皆在此首次展覽，除杜菲兄弟 外，亦有畢卡索、馬諦斯、朱勒．佛朗德蘭、喬治．盧奧等。

Born in the Northwestern French dock city Le Havre in 1888, Jean Dufy went to Ecole des Beaux-Arts du Havre with his older brother Raoul. At the Cercle de l’Art Moderne exhibition in 1906, his aspiration to become an artist was ignited by many artists, including Henri Matisse, André Derain, Albert Marquet, and Pablo Picasso.

Henri Matisse’s Fenêtre ouverte à Collioure particularly enlightened and inspired him by the bright lighting and vivid colors of the painting.

In 1912, Jean Dufy followed his brother’s step and came to Paris.

With Raoul’s introduction, Jean met many post-impressionism artists, including André Derain, Georges Braque, and Pablo Picasso. In 1914, He had his first solo show at Galerie Berthe Weill in Paris. The gallery had scaled the heights as the frontiers of the 20st-century avantgarde art. Many emerging young artists back then had their first show there. Besides the Dufy brothers, Picasso, Matisse, Jules Flandrin, and Georges Rouault also exhibited there.

After the First World War, Jean Dufy moved back to Paris and lived in Montmartre. He was a neighbor to Braque, who shared with him the ideas about Cubism art. In 1920, he painted the background for musical Le Boeuf sur le Toit . With this occasion, he was able to meet some of the most celebrated musicians at the time, Les Six, including Milaud, Auric, and Satie. Music brought his art into a new transformation and was the major factor of the novel choices of colors he had. To him, colors were the music and language gracefully dancing on his canvases.

Over the course of thirty years, Jean Dufy worked on the ornament design for Theodore Haviland in Limoges. He specialized in animal and floral pattern designs. In 1925, Exposition Internationale des Arts Décoratifs et Industriels Modernes was held in Paris and Jean Dufy won golden awards with the Châteaux de France cutlery design.

The painting Bouquet de fleurs dans un intérieur bleu was Jean Dufy’s most representative work. The composition displays a collage of colors, which manifests the artist’s talent with colors. The heavy strokes of blue, green, yellow, and red color blocks dissolve on the canvas and were livened by the outlines. With its strong decorative characteristics, the painting captured the genuine dynamic and impression of the moment more than a realistic depiction of the still life. It successfully immerses people in the glorious beauty of color and light. Jean Dufy preferred white and he used this color to depict a teacup, table cloth, flowers, and a cat in this painting. These objects scatter in the frame with a balanced composition. The sophisticated use of lights directs the viewers to the white table cloth. An abundant bouquet of flowers is like floating on top of it, dancing, moving, and contrasting with and stillness of the interior setting.

Many of the world-acclaimed artworks by Jean Dufy are now exhibited in the major art institutes in North America and Europe, including the Paris Museum of Modern Art, The Centre Pompidou, The Albertina, Vienna, The Art Institute of Chicago, and The Museum of Modern Art, New York.

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ANDRÉ BRASILIER (French, b. 1929)

Le Retour des cavaliers 1998 Oil on canvas 81 x 100 cm Signed lower right André Brasilier Initialed stretcher A.B. , titled Le retour des cavaliers and dated 1998 PROVENANCE Acquired directly from the artist by the previous owner Private collection, France ILLUSTRATED Xavier de Coulanges, André Brasilier: Catalogue Raisonné, 1982-2002 (v. I), Acatos Publishing, Lausanne, 2004, color illustrated, p. 289

安 德 烈．布 拉 吉 利 騎士返程 1998年 油彩 畫布 81 x 100 cm 簽名右下：André Brasilier 簽名題識畫背框條：Le retour des cavaliers A.B. 1998 來源 原藏家購自藝術家本人 私人收藏，法國 圖錄 沙維亞．德．古朗士，《安德烈．布拉吉利作品目錄， 1982-2002年，第一冊》，阿卡托斯出版，洛桑， 2004年，彩色圖版，頁289

NT$ 1,600,000 - 2,400,000 HK$ 405,000 - 608,000 US$ 51,700 - 77,600 RMB 370,000 - 556,000

布拉吉利作品中安靜的氛圍和情緒使得他的作品兼具東方美學 的優雅氣質。因此，作品在遙遠的東洋亦受歡迎。他自認為自 己不是寫實主義藝術家，他將所見的自然加以簡化處理，以客 觀的視角呈現描摹物件的精髓。這與日本美學中禁欲與崇尚簡 約的偏好不謀而合。布拉吉利同時是一位多才多藝的藝術家， 除了架上繪畫之外，他曾在1985年為兩部戲劇繪製舞臺背景並 設計演員服裝；另於1987年創作鑲嵌壁畫。 《騎士返程》作於1998年，帶有藝術家典型的風格特徵。畫面 被絢爛的色彩分割，遠景湛藍的天空映照著粉色彩霞。中景的 深藍、褐色宛若浩瀚的海洋和安靜的沙灘，越過沙灘則是成片 的藍色、綠色的森林。森林的邊緣是歸途上的四位騎士。布拉 吉利鍾愛的馬，自然都在畫面中得以呈現。正如他所言，他並 未客觀準確的描摹物件，而是用色彩譜寫一曲美妙的旋律。森 林和馬兒都早已擺脫自然界形態的限制，在色彩的交響樂中躍 然紙上。

Travel, exploration and discoveries have always played an important role in his artistic career. Over the years, he has left innumerable, indelible footsteps all over Europe, and created large volumes of sketches and artworks over the course of his journeys. He considers the art of painting to be a material production that must on the other hand reflect the true feelings and sensations of life. His lifelong ob jec tiv e has been to seek a bal ance an d h ar mon y between the two. The tranquility and serenity found in

Brasilier’s works embodies a distinctive elegance typically seen in Eastern aesthetics, which is why his works are so well received in Japan. He does not consider himself a realist because what he undertakes is the simplification and elucidation of natural sights and the representation of these material essences through an objective perspective. This approach coincides perfectly with the self-restraint and simplicity revered in Japanese aesthetics. Brasilier is a gifted artist in many aspects. In addition to easel painting, in 1985 he illustrated stage settings for two plays and designed the performers’ costumes; later on, in 1987, he undertook the creation of mosaic murals.

Painted in 1998, Le Retour des Cavaliers exemplifies the artist’s signature style. The canvas is demarcated by magnificent colors while the azure sky in the background is illuminated with pink-tinted clouds. The deep blues and browns of the medium shot resemble the vastness of billowy waves and sandy beach, while across the beach is a stretch of woodlands tinted blue and green. Traversing along the fringe of the forest are four horsemen on their returning journey back home. Brasilier’s beloved horses and natural sceneries are all conveyed in this painting. As he has stated, he delineates his objects neither objectively nor accurately, choosing instead to compose a beautiful melody using a kaleidoscope of color. From woodland to horses, nothing is restricted by the contours of their natural form, but become part of an eloquent animation upon the canvas orchestrated by Brasilier’s symphony of color.

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ANDRÉ BRASILIER (French, b. 1929)

Sunset 1988 Oil on canvas 65 x 92 cm Signed lower right André Brasilier Initialed reverse A.B. and titled Sunset PROVENANCE Acquired directly from the artist by the previous owner Private collection, France EXHIBITED In search of the Invisible , Galerie Buschlen-Mowatt, Vancouver, Canada, April 7 - May 15, 1988 ILLUSTRATED In search of the Invisible , Galerie Buschlen-Mowatt, Vancouver, 1988, color illustrated, p. 24-25 Xavier de Coulanges, André Brasilier: Catalogue Raisonné, 1982-2002 (v. I), Acatos Publishing, Lausanne, 2004, color illustrated, p. 140

NT$ 2,200,000 - 3,600,000 HK$ 557,000 - 911,000 US$ 71,100 - 116,400 RMB 509,000 - 833,000

安 德 烈．布 拉 吉 利 晚霞 1988年 油彩 畫布 65 x 92 cm 簽名右下：André Brasilier 簽名題識畫背：A.B. Sunset 來源 原藏家購自藝術家本人 私人收藏，法國 展覽 「隱形的探索」，普斯林．莫華特畫廊，溫哥華，加拿大， 展期自1988年4月7日至5月15日 圖錄 《隱形的探索》展覽目錄，普斯林．莫華特畫廊，溫哥華， 1988年，彩色圖版，頁24-25 沙維亞．德．古朗士，《安德烈．布拉吉利作品目錄， 1982-2002年，第一冊》，阿卡托斯出版，洛桑， 2004年，彩色圖版，頁140

法國知名當代畫家安德烈．布拉吉利，以充滿詩意、高雅而色彩 明快的半抽象繪畫享譽國際，獨特的個人風格，揉合簡約和浪 漫，貫穿抽象和表現主義。

André Brasilier is a famous French contemporary painter, who is best known for his poetic, elegant and colorful semiabstract painting. His unique artistic language combines simplicity with romance, while spans from abstract art to expressionism.

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如 夢 境 般漂 浮 布 拉 吉 利浪 漫 抒 情 的 藝術世界 F LOATING LIKE A DREAM: BRASILIER’S ROMANT IC WORLD OF ART

1929年布拉吉利出生於法國西部的索米爾（S a u m u r）。城堡、莊園、田 野風光等兒時記憶中美好的羅亞爾河畔景致，構築了他日後夢幻的繪畫語 彙。雙親皆為畫家，耳濡目染之下，布拉吉利自小受到藝術的薰陶。1949 年20歲的他進入巴黎美術學院（Ecole des Beaux-Arts de Paris）就讀， 23歲時榮獲羅馬大獎（Prix de Rome），前往羅馬梅蒂奇別墅（即法蘭西 學院羅馬分院）深造。自1959年至今，於海內外多次舉辦展覽，並於各地 舉行個人回顧展，包括法國雪農梭城堡（1980年）、蔚藍海岸昂蒂布市的 畢卡索美術館（1988年）、俄羅斯冬宮（2005年），以及德國豪斯路德 維希美術館（2007年）。除了繪畫，布拉吉利在書本插畫、陶藝、舞台設 計等領域亦有良好成就。 從小即對大自然之美充滿嚮往，布拉吉利擅於捕捉自然的聲音、言語以及 顏色，他的作品生動記錄了大自然無以倫比之美，筆下如詩一般的畫面， 寧靜、和諧而優美，是對大自然的禮讚。而用色上，簡單明快之外，更添 一股魔幻和神秘。布拉吉利喜愛將天空染上粉色，對他而言，這樣如夢似 幻的藍正表現了生命中的美好感動。布拉吉利的畫是對「美」永無止盡的 追尋，揭露我們周遭本就存在的自然美好。 除了自然之外，布拉吉利的創作總不離開馬、音樂和女人。年少時與父母 住在羅亞爾河畔的莊園別墅，原野間奔馳的群馬自然而然成為他繪畫的重 要主題。對布拉吉利而言，馬是神性的象徵，是上天美好的創造，代表力 量、活力和美麗。而音樂更激發他創作的靈感，婉轉的旋律催生出優美流 動的線條筆觸和自由活潑的構圖。關於女人，妻子香黛兒（C h a n t a l）是

Brasilier was born in Saumur, west France in 1929. His childhood was filled by the beautiful sceneries of castles, estates and the countryside near the river of Loire, which contributed to his dreamlike painting language later. Both his parents are painters, so Brasilier has been familiar with fine arts since his childhood. In 1949, he entered Ecole des Beaux-Arts de Paris at the age of 20, and after winning the Prix de Rome later at 23, he went to Villa Medici for further study. Since 1959, he has held many exhibitions at home and abroad, as well as having his personal review fairs, including at Château de Chenonceau, France (1980), Musée Picasso, Antibes, Côte d'Azur (1988), Hermitage Museum, Russia (2005) and the Museum Haus Ludwig, Germany (2007). Aside from painting, Brasilier is also renowned in illustrations, pottery and stage design.

Being fond of the natural beauty since childhood, Brasilier excels at capturing the voices, language and colors of nature. His works are lively records of the incomparable beauty of Mother Nature.

With the epic, quiet, harmonic and elegant style, they praise the beauty of our nature. In terms of color choice, aside from his simple, direct approach, he also has a touch of fantasy and mystery. Brasilier prefers to add some pink touches to the blue sky as he considers such a dream-ish shade would express the beautiful moments of life perfectly. Brasilier’s works are the endless quest towards beauty, which unveils the pre-existing, natural bliss around us.

他的終其一生的謬思女神，自從在羅馬台伯河畔，梅第奇花園與她相遇的 那天起，香黛兒的身影已成為聚集一切美好的女人形象，在他的作品中不 斷繚繞，無所不在。 布拉吉利並非一位寫實畫家，而是超越了現實。他的創作是一種靈性追 求，試圖以繪畫傳達無形的精神感受。在具象與抽象之間，布拉吉利選擇 運用兩者，因而樹立個人獨特的「半抽象」表現手法，以簡化的造型代替 實景，將事物概括描繪之。這樣的處理方式似乎和東方繪畫的寫意精神不 謀而合。 作品《晚霞》完成於1988年，匯聚了布拉吉利繪畫的經典元素。半抽象 表現手法，柔化畫面線條和人物輪廓，大塊用色和裁切式構圖可見日本浮 世繪的影響。前景的神祕女子，肌膚白皙，秀髮烏黑，身著紅衣，微微傾 身，漂浮於白沙步道之上；中景可見藝術家摯愛的馬群，在青蔥原野間奔 馳，成片的樹林融合了深藍和翠綠，白細線勾勒出風起的律動；最後，遠 方紅通的斜陽，緩緩而降，逐漸消失在亮粉和灰藍交織成的魔幻蒼穹，柔 和光線中，彩霞映照一片寧靜祥和的鄉間大地。 被定義為全球極具收藏價值的藝術家之一，布拉吉利作品近年來在市場上 節節攀升，成交量呈上揚趨勢，廣受歐美及亞洲藏家愛戴，作品珍藏於台 灣台南永都美術館及多間私人美術館。

安德烈．布拉吉利《秋日海德公園》1972 油彩 畫布 60 x 81 cm 羅芙奧2018秋季拍賣會 編號39 台幣1,900,000成交 André Brasilier, Hyde Park en Automne , Oil on canvas, 60 x 81 cm Ravenel Autumn Auction 2018, lot 39, US$ 61,628 sold

Aside from nature, Brasilier’s works always feature horses, music and women. When he was young, he used to live in an estate on the side of Loire, and naturally, the horses that galloped in the wilderness became one of his major themes. To Brasilier, horses represents divinity, they are Heaven’s great creations that signifies strength, power and beauty. Music further inspires him, as the twirling melodies gave rise to his elegant, dynamic silhouettes as well as the unbound composition. As for women, his wife Chantal has been his muse for his entire life. Since the day he met her at Medici Garden on the side of the Tiber River in Rome, Chantal has become his perfect model of women, and has appeared everywhere in his works.

Brasilier does not pursue realism, he surpasses it. His works is a kind of spiritual adventure that intends to convey intangible emotions with paintings. Between figurative and abstract, Brasilier chose to utilize both, thus creating his unique “semiabstract” expression, where he uses simplified shapes to replace the actual scene, and portray things in an equally schematic manner. Such a method seems to coincide with the stylized expression of East Asian paintings.

Sunset was completed in 1988. It combines the classic elements of Brasilier’s works. With the semi-abstract expression, softened silhouettes and figure, using colors in large areas and the cuttingoff composition, the influences of Japanese ukiyo-es can be clearly observed. The mysterious woman in the foreground has pale skin, black hair, wearing red clothes and inclining slightly, with her figure floating above the white sand trail. The horses beloved by the artists can be seen in the midground, where they roam along the greenery, and the trees combined the deep blue and fresh green, with the thin white lines expressing the windy rhymes. The red sunset on the background sinks slowly into the horizon, and while it is about to disappear in the bright pink and grey-blue horizon of fantasy, the peaceful countryside is bathed in the dimmed afterglow.

Considered as one of the very collect-worthy artists worldwide, Brasilier’s works have been on the rise in the past years, with more and more of them being sold every year. His works are appreciated by collectors around Europe, America and Asian, and included in the collection of Yung Tu Museum of Art in Tainan, Taiwan and several private museums.

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GÉRARD GAROUSTE (French, b. 1946)

Qohelet 1986 - 1987 Oil on canvas 236 x 200 cm Signed lower right Garouste and inscribed RBUB PROVENANCE Leo Castelli Gallery, New York (GG28) Private collection, Asia This lot is to be sold with a picture of the artwork signed by the artist.

NT$ 3,600,000 - 4,200,000 HK$ 911,000 - 1,063,000 US$ 116,400 - 135,800 RMB 833,000 - 972,000

傑哈．賈胡斯特

法國當代大師傑哈．賈胡斯特（Gérard Garouste），融會古典及

傳道書

當代元素，魔幻超現實表現手法，重現經典文學故事。同時是畫

1986 - 1987年 油彩 畫布 236 x 200 cm 簽名右下：Garouste RBUB

家、雕塑家、版畫家，賈胡斯特1946年出生於巴黎，1965至1972

來源 里奧．卡斯特里畫廊，紐約（編號GG28） 私人收藏，亞洲

就讀於巴黎美術學院，師從比利時抒情抽象畫家古斯塔夫．桑齊埃 （G u s t a v e S i n g i e r）。同時期他也繪製幽默插畫，並從事劇場舞 台設計。1977年賈胡斯特在劇場擔任舞台美術設計時，親自編撰 並導演《經典與印度》（Le Classique et l'Indien） 一劇。「印度 人」這個主題，首先見於他1980年代晚期的畫作，靈感來自《創世 紀》、《出埃及記》、《光明篇》和但丁的《神曲：地獄篇》，主 要宗旨在於深思人類的處境。

附藝術家親筆簽名之作品照片 French contemporary master Gérard Garouste blends historic and modern elements to retell classic literary tales through surrealist expression techniques. A painter, a sculptor, and a woodblock printer, Garouste was born in Paris in 1946. He attended the École des Beaux-Arts in Paris from 1965 to 1972 and in the atelier of Belgian lyrical abstract artist Gustavo Singier. During the same period, he made humorous drawings and developed stage designs for theaters. In 1977, when Garouste worked as a scenographer, he also wrote and directed the play “Le Classique et l'Indien”. The “Indian” theme can be first seen in his late ‘80s paintings, with inspiration drawn from Genesis, Exodus, Zohar, and Dante’s The Divine Comedy: Inferno - all of these meant to ponder on the human condition.

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神秘藝術大師 賈胡斯特 語言、文學與繪畫 ENIGMATIC ARTIST GÉRARD GAROUSTE WORDS, LITTERATURE AND PAINTING

從事劇場設計和室內裝潢的背景，似乎也反映在賈胡斯特的繪畫作品 上。他擅長充滿戲劇張力的情節安排，用色強烈、明暗對比顯著，其畫 作頗具文藝復興時期威尼斯畫家丁托列托（Ti n t o re t t o）和西班牙畫家 艾爾．葛雷柯（El Greco）之大師風範。另一方面，賈胡斯特作品中情 感強烈而扭曲變形的人物臉部、身體，或是無從定義的形而上場景，又 可見法蘭西斯．培根（Francis Bacon）和喬治．德．基里訶（Giorgio de Chirico）等當代藝術大家的影響。 1980年賈胡斯特在巴黎杜宏－迪賽爾畫廊（Galerie Durand-Dessert） 舉行個人首展，一舉成名，前往紐約知名當代藝術經紀人里奧．卡斯特 里畫廊（Leo Castelli Gallery）展出，受到卡斯特里高度評價。1982年 亦於紐約霍利．所羅門畫廊（Holly Solomon Gallery）展出，備受國際 認可。隨後更在1987年獲頒波爾多當代造型藝術中心與卡地亞當代藝術 基金會的獎項，獲得體制內藝術機構肯定。 隨著1980至1987年名聲的逐漸確立，1986至1987年間賈胡斯特完成 了代表作《神曲》系列油畫，近二十件作品長寬皆逾兩米，對應大型博 物館等級收藏。此系列亦展覽於1987年波爾多C A P C當代美術館舉辦的 「傑哈．賈胡斯特：1985－1987年繪畫作品展」，和1988年巴黎龐畢 度中心舉辦之「賈胡斯特作品回顧展」。

傑哈．賈胡斯特《神曲的故事》1986 油彩 畫布 250 x 215 cm 展出於1988年巴黎龐畢度中心舉辦之「賈胡斯特回顧展」 Gérard Garouste, Les Violents contre eux-mêmes , 1986, oil on canvas, 250 x 215 cm, exhibited in Garouste's Retrospective Exhibition at the Centre Pompidou, Paris, 1988.

《神曲》作於西元14世紀前葉，充滿隱喻、象徵的奇幻文學，敘述詩人 但丁幽遊冥界、煉獄，最終至天堂的神祕旅程。此幅《傳道書》即屬於 賈胡斯特《神曲》系列油畫作品之一，由前藏家得自紐約里奧．卡斯特 里畫廊。劇場般構圖、色彩對比和光線安排聚焦視線於畫面中央的情節 場景。寶石色藍綠交雜的魔幻背景，顫動的筆觸散發冥界幽暗不安的沉 鬱氛圍。帶有原始壁畫粗曠感的畫面中，穿著明亮橘袍的畫面主角以及 上方紫紅色的飛行生物，以粗黑線勾勒輪廓，未完成的圖像，彷彿半人 半獸，留下神秘象徵性符碼，帶給觀者無限空間想像。 賈胡斯特將超現實主義和充滿情感的表現場景融為一體，作品中可見古 今大師的影子，然而他拒絕因此歸類在特定的創作族群。他的前衛思 想，顯在有意透過古典文學作品探索人類文化的根源，試圖以當代繪畫 載入象徵符號，讓觀者譯解而感受背後的潛在能量。

Garouste’s background in scenography and interior decoration seems to have reflected in his paintings as well. He is skilled at presenting dramatic tension and plot with strong contrasts in both colors and brightness. His works resemble that of the Renaissance masters such as Venetian painter Tintoretto and Spanish painter El Greco. In addition, the twisted facial expressions and bodies due to strong emotions or the indefinable forms in Garouste’s works can trace back their influence to contemporary art legends like Francis Bacon and Giorgio de Chirico.

In 1980, Garouste had his first solo exhibition at the Durand-Dessert Gallery in Paris and earned his fame overnight. He then exhibited at the world-renowned Leo Castelli Gallery in New York and was highly praised by Castelli himself. In 1982, Garouste went on to have a show at

1988年卡地亞基金會－賈胡斯特 《印度人》展覽場景 View of the exhibition Gérard Garouste, Les Indiennes , Fondation Cartier pour l'art contemporain, Jouy-en-Josas, 1988. © Gérard Garouste.

Picture © P.O Deschamps Agence Vu.

the Holly Solomon Gallery in New York and received international recognition. Afterwards, in 1987, he received awards from both the Centre d'arts plastiques contemporains (CAPC) in Bordeaux and the Fondation Cartier, which brought him institutional recognition.

As Garouste established his fame between 1980 and 1987, he finished his masterpiece series “The Divine Comedy” in 1986-1987. It was a series consisting of nearly 20 pieces of large-scale, museum-collection-level oil paintings, each over 2 meters both in length and width.

This series was also displayed in 1987 at a solo show titled “Gérard Garouste: Paintings From 1985-1987” hosted by CAPC Bordeaux and a retrospective exhibition at the Pompidou Centre in Paris in 1988.

The Divine Comedy was composed by narrative poet Dante Alighieri in the early 14th century. It’s an imaginative literary work filled with allegories and symbolisms. Dante narrated his meditative, mysterious journey through Hell, Purgatory, and eventually Heaven. This work Qohelet belongs to Garouste’s “The Divine Comedy” series of oil paintings and it was purchased by a collector from the Leo Castelli Gallery in New York. The theatrical composition, color contrast, and light arrangement focuses one’s attention at the center where the scene is happening. Sapphire and emerald colors intertwine with each other to form a magical background, and the quivering brushstrokes illustrate the depressing and anxious atmosphere in the underworld. Resembling an archaic mural with its rustic quality, the main character of the scene wearing a bright orange cloak and a flying creature above in the shade of fuschia are both outlined in rough black lines. The unfinished imagery resembles something of a half human and half monster, leaving a mysterious symbol and provoking limitless imagination.

Garouste artfully blends Surrealism and emotional expression into one. In his works, one can see the shadows of master artists both from the past and present. However, he refuses to be labeled in a particular creative genre. His forward thinking lies in his attempts to explore human’s cultural roots through classical literature, to incorporate symbolism with contemporary paintings, and to allow the viewer to interpret and feel the hidden energy from within his works.

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046

GÉRARD GAROUSTE (French, b. 1946)

Les Violents contre eux-mêmes 1986 - 1987 Oil on canvas 250 x 215 cm Signed lower right Garouste and inscribed R13034 PROVENANCE Private collection, Asia This lot is to be sold with a picture of the artwork signed by the artist.

NT$ 3,600,000 - 4,200,000 HK$ 911,000 - 1,063,000 US$ 116,400 - 135,800 RMB 833,000 - 972,000

傑哈．賈胡斯特 神曲的故事 1986 - 1987年 油彩 畫布 250 x 215 cm 簽名右下：Garouste R13034 來源 私人收藏，亞洲 附藝術家親筆簽名之作品照片

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法國藝術家傑哈．賈胡斯特，1946年出生於巴黎，現年73歲 的他，作為法國最傑出的當代藝術家之一，2017年獲選法蘭 西藝術院院士，接替抒情抽象之父喬治．馬修的席次。 賈胡斯特畢業於巴黎美術學院，1970年代開啟創作生涯，當 時法國藝術界前衛當道，藝術創作手法無所禁忌，在媒材和技 法上紛紛推陳出新，藝術的範圍被重新定義。然而賈胡斯特卻 選擇一條看似傳統的創作途徑，在具象美學架構之下，回歸古 典故事畫創作。文學是他作品的重要元素，舉凡希臘羅馬神 話、聖經、猶太教經典、但丁《神曲》、拉伯雷《巨人傳》、 賽萬提斯《唐吉軻德》、歌德《浮士德》等文本，皆是他創作 的靈感來源。 1980年賈胡斯特在巴黎杜宏－迪賽爾畫廊（G a l e r i e Durand-Dessert）舉行個人首展，崛起於法國藝壇，年輕成 名的他來到紐約知名當代藝術經紀人主持的里奧．卡斯特里 畫廊（Leo Castelli Gallery）展出，卡斯特里很欣賞賈胡斯 特，收藏他許多大幅作品。 1980至1987年間賈胡斯特名聲逐漸確立。1986至1987年， 他創作了一系列以但丁《神曲》（The Divine Comedy）為 主題的油畫，近二十件巨幅逸品長寬皆逾兩米，極適合大型 博物館收藏。《神曲》是文藝復興初期義大利詩人但丁的作 品，作於西元14世紀前葉，是一部充滿隱喻性、象徵性，同 時也具現實性的奇幻文學，敘述但丁幽遊三界，歷經地獄、 煉獄，最終來到天堂的神祕旅程，如同一場自我救贖，從暗 地回到光明。 作品《神曲的故事》即為此系列佳作之一。幽暗深藍背景， 粗曠而不規則的筆觸，塑造惶恐不安的地獄氛圍。具象敘 事中摻雜抽象、概要化表現手法，將人物簡化為幾筆粗線輪 廓，令人聯想到東方水墨畫的白紙黑線。而錯落有致的明暗 及光線安排，塑造畫面張力，灌注緊張情緒。 此幅作品描繪詩人但丁走進幽冥，「使用暴力於己身」的罪 人，化為樹的節與瘤，荊棘帶毒，樹枝折斷流出汁液，火燒 般的熾烈，注入寶石色潺動長河。串聯文學和超現實幻境， 賈胡斯特透過繪畫探討人類文化根源，讓觀者解讀圖像符碼 背後的啟示意義，感受畫作的力量。 從巴黎到世界，賈胡斯特於各地一線博物館及畫廊展覽，包 括義大利杜林的思佩羅內畫廊（Galleria Sperone）、德國 科隆的魯道夫．卓納畫廊（Rudolf Zwir ner）、東京東高現 代美術館（Touko Museum）以及洛杉磯現代美術館。1988 年巴黎龐畢度中心為其舉行個展，2009年羅馬法蘭西學院 舉行其大型回顧展。作品收於紐約現代美術館、巴黎龐畢度 藝術家傑哈．賈胡斯特與其作品，攝於2018年3月8日巴黎美術學院展覽。 Artist Gérard Garouste is pictured during an installation of his exhibition, on March 8, 2018 at the Fine Arts school in Paris. © JOEL SAGET/AFP/Getty Images

中心和現代美術館、法國卡昂美術館、聖塔莫妮卡美術館等 機構。亦有公共雕塑作品，如位於巴黎近郊聖克盧公園（L e Parc de Saint-Cloud）的《太陽王》（Le Défi du Soleil）。

French artist Gérard Garouste was born in 1946 in Paris. The 73-yearold artist is credited one of the best French contemporary artists and honored Member of the Académie des Beaux-Arts in 2017, succeeding Georges Mathieu, the leading figure of Lyrical Abstraction.

of expression. The human figure is reduced to several thick brush strokes, relating to the black lines of Chinese ink painting. The wellarranged light and dark elements evoke a sense of tension and anxiety in the viewer.

Garouste graduated from the École nationale supérieure des BeauxArts in Paris, and began his creative career in the 1970s. During this period, the French art scene was in the midst of a pioneering era where nothing was taboo. This era gave birth to a large number of new art mediums and techniques. However, he applied a more traditional approach and retur ned to the history painting with traditional aesthetics. Literature is an important source of inspiration for Garouste, spanning from Greek and Roman mythology, the Bible, Jewish Classics, The Divine Comedy by Dante, Don Quixote by Cervantes, The Life of Gargantua and of Pantagruel by Rabelais to Faust by Goethe.

The painting depicts the poet Dante as he enters Hades. The sinners who "use violence on their own body" are transformed into cancerous tree with poisonous thorns and fluids gushing out of its broken branches, like blazing fire, flowing into the dazzling gem-like river.

Garouste connects literature with surrealistic fantasy to explore the origins of human culture, allowing viewers to interpret the symbolic meanings behind the imagery, and experience the inspiration and power that paintings can bring.

Garouste held his first solo exhibition in 1980 at the Galerie DurandDessert in Paris, and rose quickly to fame in the French art scene. As a young rising star, he came and held an exhibition at the Leo Castelli Gallery in New York. Due to his great admiration of Garouste, Castelli purchased and collected a large number of Garouste's huge pieces.

The work Les Violents contre eux-mêmes is one of the greatest works in this series. The dark and gloomy background coupled with the rough and irregular brushwork creates an unsettling hellscape atmosphere.

The concrete narrative is combined with abstract and schematic forms

From Paris to the world, Garouste has been exhibiting internationally in top museums and galleries, including Italy's Galleria Sperone, Germany's Rudolf Zwirner, Tokyo's Touko Museum, and the Los Angeles Museum of Modern Art. The Centre Pompidou held a solo exhibition for him in 1988. In 2009, the French Academy in Rome hosted a large scale retrospective exhibition of Garouste's works. Collections of his works can be found at the Museum of Modern Art in New York, the Centre Pompidou in Paris, and the Paris Museum of Modern Art, the Musée des Beaux-Arts de Caen, and the Santa Monica Art Museum, and more.

Public sculptures such as his Défi du Soleil in Le Parc de Saint-Cloud, a national park near Paris can also be seen.

傑哈．賈胡斯特公共雕塑《太陽王》，2016年4月7日攝於巴黎近郊聖克盧公園，照片由藝術家陳英德提供 Public sculpture Le Défi du Soleil by Gérard Garouste is pictured on April 7, 2016 at Le Parc de Saint-Cloud, photo courtesy of artist Chen Ying-Te

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047

MAURICE DE VLAMINCK (French, 1876 - 1958)

Bouquet de fleurs de champs c. 1935 - 1938 Oil on canvas 65 x 50 cm Signed lower right Vlaminck PROVENANCE Galerie Saint-Pierre, Lyon Private collection, Europe Artcurial, Lyon, May 30, 2017, no. 308 Galerie Bailly, Geneva Private collection, Asia ILLUSTRATED This work is will be included in the forthcoming Vlaminck Digital Ctalogue Raisonné prepared by the Wildenstein Plattner Institute, Inc. (Reference no. 17.10.20 / 20084) This lot is to be sold with a catalogue notice issued by the Wildenstein Plattner Institute, Inc..

NT$ 2,800,000 - 4,200,000 HK$ 709,000 - 1,063,000 US$ 90,500 - 135,800 RMB 648,000 - 972,000

莫里斯．德．烏拉曼克 璀璨綻放 約 1935 - 1938年 油彩 畫布 65 x 50 cm 簽名右下：Vlaminck 來源 聖皮耶畫廊，里昂 私人收藏，歐洲 艾德拍賣，里昂，2017年5月30日，編號308 巴伊畫廊，日內瓦 私人收藏，亞洲 圖錄 作品將收錄於威登斯坦．普拉特納學會籌備發行之 《烏拉曼克作品數位圖錄》（編號 17.10.20 / 20084） 附威登斯坦．普拉特納學會開立之作品收錄通知書

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好畫如佳餚：品之有味，釋之無言。 －莫里斯．德．烏拉曼克 GOOD PAINTING IS LIKE GOOD FOOD; IT CAN BE TASTED, BUT NOT EXPLAINED. MAURICE DE VLAMINCK

莫里斯．德．烏拉曼克（Maurice de Vlaminck，1876-1958）1876年4月4日 生於巴黎一個音樂家庭，早年生活艱苦，靠演奏小提琴、教授音樂課和參加 職業自行車賽來養家糊口。19歲時開始進修一些繪畫課程，除此之外烏拉曼 克還對音樂和小說有著濃厚興趣。1898-1900年在他預服滿兵役回巴黎休假 的途中，在夏特島遇見當地的畫家安德列．德安，並與少年時代的德安成為 終身至交。二人志趣相投，決定在一起工作，於是便在夏特島上合租了一個 廢舊的小酒館作為畫室。就是在這裡，他們創建了作為「野獸派」源泉之一 的「夏特畫派」。德安曾在回憶二人的這段交往時寫道：「終日沉浸在色彩 之中，談的都是關於顏色的話和使顏色具有生命的太陽。」在此之後，倆人 與馬蒂斯一起去寇里烏爾作畫，正是在那裡，形成了其後來在1905年巴黎的 秋季沙龍展覽上引起轟動和非議的所謂「野獸主義」風格。 作為野獸派最具代表的三位傑出畫家：馬蒂斯、烏拉曼克、德安。他們三人 在1905年至1908年之間的創作，均具有野獸派的特質，個性的表現極為勇 猛。野獸主義（Fauvism）是自1898至1908年在法國盛行一時的一個現代繪 畫潮流。以追求更為主觀和強烈的藝術表現，強調純色彩和裝飾性二維藝術 形式。對西方繪畫的發展，產生了重要的影響。他們吸收了東方和非洲藝術 的表現手法，在繪畫中注意創造一種有別於西方古典繪畫的疏、簡的意境， 有明顯的寫意傾向。 本作品《璀璨綻放》創作於1935-1938年前後，代表了烏拉曼克精湛而高超 的繪畫風采，饒富魅力且臻至成熟之作。作品筆觸仍傾向於梵谷的點繪手 法，使得顏色本身具有強烈的感染力，線條短促有力將花朵的立體感表現無 疑。細膩之外的粗曠落筆又顯野獸派風格之灑脫。花瓣的處理輕快流暢，斷 續的筆觸流露出精巧、無不襯托出瓶花的典雅意味。純粹的色調運用在大片 白色、紅色和藍色，作為主色鋪展。色塊的強烈對比關係，使畫面充滿節 奏和張力。烏拉曼克承接了後印象派的色彩運用，又展現出野獸派的大膽不 羈，畫面背景的處理進一步烘托出花與葉。妙運用點壓和線條，呈現強烈的 明暗對比，在深色的背景下，瓶花中綻放的花朵配以冷靜的花瓶曲線，被勾 勒出寂靜中生如夏花之絢爛的場景，也襯托出這幅精緻作品的構圖主題。關 於這一點，藝術史學家兼藝評家瓊賽爾茲曾經如此讚揚烏拉曼克：「強烈的 明暗對比，巧妙運用幽暗色調，營造了烏拉曼克作品中的和諧氛圍。」 烏拉曼克曾說：「我把全部色調的亮度提高，把我所感覺到的每一件東西都 轉變成一首純色的管弦樂曲。」他總是把那從顏料管中直接擠出的明亮顏 色，按自己的心願施以獨特的風格再堆到畫布上去。在這裡可以看到，烏拉 曼克既發展了梵谷那種不連貫的筆觸及色調的濃烈，卻又和諧飽滿地展示了 靜物的縱深空間感。《璀璨綻放》作品構圖形式完整的傑作，既引人入勝又 平衡莊重，與他受到梵谷啟發而創作的野獸派作品已有區別，這是烏拉曼克 極為重要的藝術發展轉折之作。

Born on April 4, 1876 in Paris, Maurice de Vlaminck (1876-1958) grew up in a family of musicians. He led a hard life in early years and earned his livelihood by performing violin, giving music lessons and cycling professionally. At the age of 19, he began to enroll in some painting classes. In addition, Vlaminck had a strong interest in music and novels.

On his way back to Paris for vacation from his army service between 1898 and 1900, he met a local artist, André Derain, with whom he struck up a lifelong friendship. The two like-minded youths decided to work together, and rented a rundown tavern to serve as their studio in Chatou. It was there they founded the Chatou School of Art, which served as the origin of inspiration for Fauvism. During that period, Derain recalled: “I was immersed in colors all day. We talked about nothing but color - how to use colors which the sun breathes life into.”

Afterwards, along with Henri Matisse, they moved to Collioure to paint. There, they formed a unique style dubbed “Fauvism” that would spark both sensation and controversy at the 1905 Salon d'Automne exhibition in Paris.

Maurice de Vlaminck, André Derain and Henri Matisse are considered the three principal figures in the Fauvism movement. Between 1905 and 1908, their works all reveal Fauvism traits and highlight extremely bold personalities. Fauvism is a modern painting movement that flourished in France from 1898 to 1908. In pursuit of a more subjective and fiercer level of brushwork that emphasizes on the two-dimensional art form of pure color and decoration. Fauvism has had an indelible impact on the development of Western painting. Showing a clear trend for freehand brushwork, they drew on the expressive techniques of Eastern and African art to create an abstract and simple artistic conception different from Western classical painting.

Created during 1935 to 1938, this work, Bouquet de fleurs de champs , exemplifies Vlaminck’s sophisticated and superb level of brushstroke filled with an irrepressible charm and sense of maturity. The brushwork features traces that emulate Van Gogh’ application of paint daubs that endow color with an intense appeal, while completely unmasking the stereoscopic effect of the flowers with short, choppy brushstrokes.

However, in addition to the exquisite brushwork, the wildly loose daubs of paint embody the spontaneous and impulsive nature of Fauve paintings. Brisk and smooth, the petals are managed in intermittent strokes, revealing their exquisiteness and bringing out the elegance of the vase. Pure colors including white, red and blue were applied in thick daubs as the primary colors, whose sharp contrast fills the canvas with a rhythm and tension. Vlaminck continued a Post-impressionism

application of color, as well as showcased the boldness of Fauvism. The processing of the work’s background further enhances the flowers and leaves. The sophisticated use of dabs and lines forms striking contrasts of light and shade. In the dark setting, the blooming flowers in the vase coupled with a scene of calm vase curves produce a poetic scene of “life like gorgeous summer flowers” that sets off the compositional theme of the work. In this regard, art historian and art critic Jean Selz praised Vlaminck, stating that “Striking contrasts of light and shade and introduction of more sombre tones all contribute to the harmony of Vlaminck's canvas.”

Vlaminck once said: "I heightened all the color tones, and transposed all the things I felt into an orchestration of pure color.” He applied intense colors straight from the paint tube onto the canvas in a unique and spontaneous style. As can be seen, Vlaminck not only developed upon Van Gogh’s application of inconsistent brushstrokes and intense color, but also demonstrated a sense of depth and space for still life through a harmonious and ample manner. With a comprehensive composition, the work, Bouquet de fleurs de champs , is a masterpiece characterized by both a sense of enchantment and balanced solemness, marking a departure from Vlaminck’s other Fauve paintings inspired by Van Gogh. This is a distinctly important work by Vlaminck created during a transitional period for his artistic career.

莫里斯．德．烏拉曼克《沙圖河岸》1906年 油彩 畫布 81.6 x 101 cm 美國大都會博物館藏 Maurice de Vlaminck, The Seine at Chatou , 1906, Oil on canvas, 81.6 x 101 cm, Collection of the Metropolitan Museum of Art © 2019 Artists Rights Society (ARS), New York

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048

BERNARD BUFFET (French, 1928 - 1999)

Château l'Arc (Paysage aux pins parasols) 1963 Oil on canvas 82 x 130 cm Signed upper center Bernard Buffet and dated 63 PROVENANCE Galerie David et Garnier, Paris Private collection, Asia

NT$ 8,000,000 - 12,000,000 HK$ 2,025,000 - 3,038,000 US$ 258,600 - 388,000 RMB 1,852,000 - 2,778,000

貝爾納．畢費 拱之城堡 1963年 油彩 畫布 82 x 130 cm 簽名中上：Bernard Buffet 63 來源 大衛．賈尼耶畫廊，巴黎 私人收藏，亞洲

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貝爾納．畢費 Bernard BU FFET (1928 - 1 9 9 9 ) 貝爾納．畢費（B e r n a rd B u ff e t）作為法國現代、當代藝術世代轉換

亞洲收藏圈對畢費的作品並不陌生，早在1980年代隨經濟來往的頻繁，

間，戰後具象藝術的代表大師，美術史崇高地位，與全球性的藏家擴

台灣受畢費風靡全日本的影響，促使畫商與畫廊引進藝術家版畫、原

及度，使其公認為殿堂級藝術家。市場趨緩近二十年後，近年全球拍

作，漸漸將這股風潮帶領進來。1976年日本靜岡縣由私人藏家岡野喜一

場佳績頻傳，與其它大師藝術家如畢卡索、夏卡爾、達利等重要巴黎

郎成立「畢費美術館」，1996年台灣有高雄市立美術館舉辦「畢費回顧

畫派成員，為諸多專家學者指出潛力，位列眾多藏家尋求佳作的標誌

展」。畢費的全球知名度與開創性藝術風格，影響諸多創作後進，如台

型藝術家。

灣藝術家席德進，便有模仿畢費，常用黑線條，俐落勾勒物件外型的特 點。而創作中與東方文化的共通性，更使畢費的創作容易為亞洲大眾所 接受。 《拱之城堡》同時象徵著畢費的私人生活，1963年藝術家小女兒丹妮 爾（Danielle）出生。隨著生活型態的改變，無論是家人肖像、居家用 品、豐富的自然描寫，藝術家的創作題材環繞著家庭。技巧方面，相較 於1950年代的建築風景作品（參考L o t 049）也有了不同的進化。《拱 之城堡》整體以遠景布局，兩株參天的義大利石松，以黑到發亮的厚重 油墨佔據畫面近景。雖然比例上城堡顯得小巧，然而藝術家巧妙將光線 留給城堡，減弱建築物華麗的外型，草皮地面的鮮明綠意映上外牆，溫 暖夕陽散落在屋頂，在天色與地面的交接之處，更添一分「家」的溫馨 意象。 個性羞澀的畢費，曾表達繪畫是他的語言，向外界溝通交流的途徑。然 而法國社會一度獨尊「抽象藝術」的風氣，對堅持具象表現的畢費誠然 是一種打擊。他曾經封閉起自己，不分日夜埋首在工作室，留下豐厚且

貝爾納．畢費《椰林帆影港灣風情》1957 油彩 畫布 97 x 130 cm 羅芙奧台北2018秋季拍賣會 編號43 台幣 8,000,000 成交 Bernard Buffet, Le Port de Beaulieu , 1957, Oil on canvas, 97 x 130 cm Ravenel Autumn Auction 2018 Taipei, lot 43, US$ 259,488 sold

驚人的創作量。用創作找回平靜與心靈自由，疏緩不被理解的苦悶。畢 費留下座右銘：「繪畫，我們不談它，我們不分析它，我們感覺它。」 鼓勵大眾感性且深刻地去擁抱藝術，敞開心房細細體會它回饋的精神感 受。畢費的辭世距今剛好滿二十年，他告別因病痛無法繪畫的失色世

畢費1963年創作《拱之城堡》，該堡建立於十七世紀，位於法國南部 普羅旺斯地區並鄰近馬賽，是藝術家1956年正式入住的居所。1958 年藝術家三十而立，並首度於夏邦提耶畫廊舉行回顧展，夏季與皮耶 爾．貝爾傑（Pierre Bergé）分開後，該年十二月與模特兒作家：安娜 貝爾（Annabelle Schwob）相戀結縭。直至1964年為止，在此地遠離 巴黎喧囂，莊園四周樹林與花園環繞的環境下，創作出許多代表性作 品，如《基督》（C h r i s t）畫作後來更是進獻給教皇保羅六世（P o p e P a u l V I）典藏於梵蒂岡美術館。如此宜人的環境，更吸引藝文圈友 人：伊夫．聖羅蘭 （Pierre-Yves Saint-Laurent）、莎岡（François Sagan）紛紛來到此地渡假。 畢費屬於天才型藝術家，早年顯現才華，後天扎實的學院訓練，更塑

界，然而這位藝術巨人種下的不朽，也將繼續開花結果，豐潤人類歷史 的厚度。

French artist Bernard Buffet was a representative master of postwar figurative art, which flourished during the era of transition to contemporary art. Highly regarded by art historians, Buffet’s works are prized by collectors globally, making him a widely recognized world-class artist. After a lull of nearly two decades, Buffet’s paintings have been well-received at global auctions in recent years. Citing his potential, many experts are recommending Buffet as a landmark artist on the same level as Picasso, Dalí, Chagall and other important members of the School of Paris for collectors seeking fine works.

造其藝術生命的多元與完整。二次大戰期間他於巴黎高等藝術學院， 更是時常流連於羅浮宮賞析歷史古典大師之作：林布蘭特、庫爾貝、 大衛、德拉克洛瓦等人。畢費也深深喜愛野獸派大師：烏拉曼克（L o t 047）的作品，更曾親自拜訪大師位在鄉間的住所。1946年在藝壇中 第一次正式亮相的畢費，連同多位藝術家，包括：抒情抽象主義代表 喬治．馬修（Lot 018）在內，入選《三十歲未滿的畫家沙龍》，並因 為其獨特的個人風格隨即受到注目。1948年得「青年畫家獎」與「藝 評獎」從此一炮而紅。畢費的天賦與才能，立即吸引許多知名收藏家 與畫商的注意力。

Buffet painted Château de l'Arc in 1963. Built in the 17th century and situated in the Provence region of southern France close to Marseille, Château de l'Arc became the artist’s main residence in 1956. In 1958, at the age of 30, the artist held his first retrospective exhibit at the Charpentier Gallery. After parting with Pierre Bergé in the summer, Buffet fell in love and married writer and actress Annabel Schwob in December of the same year. Until 1964, several of Buffet’s representative works were created away from the hustle

and bustle of Paris, and surrounded by the forests and gardens of Château de l'Arc. For example, his Christ series of paintings was later dedicated to Pope Paul VI and exhibited in the Vatican Museum. The pleasant setting of his homestead became a holiday attraction for his friends in the art circle, including Pierre-Yves SaintLaurent and François Sagan.

Buffet was an artistic genius whose talent emerged early in his life.

His thorough academic art training helped shaped the diversity and integrity of his artistic life. During WWII when he studied at the École Nationale Supérieure des Beaux-arts in Paris, he lingered in the Louvre Museum to observe and analyze the great works by classical masters, such as Rembrandt, Courbet, David, and Delacroix. Buffet appreciated deeply the works of the Fauvists: Vlaminck’s painting (Lot 047). He once even visited Vlaminck at his countryside residence. In 1946, Buffet’s unique individual style garnered attention with his first exhibition at The Salon of Artists Under Thirty Years Old (Salon des moins de trente ans) along with several other artists including Georges Mathieu (Lot 018), who is considered the father of European lyrical abstraction. In 1948, Buffet shot to fame after winning the highest honors in the Critic’s Prize (Prix de la Critique), drawing attention at the Young Painting Prize (Prix de la Jeune Peinture). Buffet’s talent and ability quickly attracted the interest of many well-known collectors and art dealers.

The exterior walls reflect the bright green grassy ground while the warm sunset scatters on the roof. Where the sky meets the ground, the warm image of “home” is apparent.

Bashful by nature, Buffet had stated that painting served as both his language and avenue of communication with the outside world.

However, French society at the time only placed value on abstract art, which was quite a blow to Buffet’s insistence on figurative art expression. At one point, he closed himself off in his studio working day and night, producing a rich and bountiful amount of work.

Creativity helped him find spiritual peace and freedom to alleviate the depressive state of being undervalued. “Painting, we do not talk about it, we do not analyze it, we feel it.” (La peinture, on n’en parle pas, on ne l’analyse pas, on la sent.) Buffet’s motto encourages the public to embrace art emotionally and profoundly, to open their hearts and experience in detail the spiritual feedback of art. It has been 20 years since Buffet’s death, when he bid farewell to the world, unable to work due to illness. Nevertheless, this artistic giant had been granted a form of immortality, continuing to flower and bear fruit, enriching human history.

The Asian collector’s circle is not unfamiliar with Buffet’s works.

As early as the 1980’s, through frequent economic exchanges and swept by Buffet’s popularity in Japan, Taiwan art dealers and galleries began introducing the artist’s prints and original w o r k s . I n 1976, B e r n a rd B u ff e t M u s e u m w a s e s t a b l i s h e d i n Japan’s Shizuoka Prefecture by private collector Kiichiro Okano.

In 1996, the Kaohsiung Museum of Fine Arts in Taiwan hosted a “Buffet Retrospective Exhibition”. Buffet’s global popularity and groundbreaking artistic style have had an impact on artists after him.

For example, Taiwan artist Shiy De-Jinn imitated Buffet’s style and often used black lines to outline the characteristics of object shapes.

Common elements between Buffet’s creativity and eastern culture also facilitated the acceptance of Buffet’s works by the Asian public.

Château de l'Arc also serves as a symbol of Buffett's private life. In 1963, Buffet’s youngest daughter (Danielle) was born. As a result of lifestyle changes, the artist’s creative theme revolved around family, whether it was family portraits, household items or depiction of his natural surroundings. His techniques also evolved compared to his 1950 works of architectural landscape (reference Lot 049).

The overall layout of Château de l'Arc features a perspective of the structure from afar, with two sky-reaching Italian stone pines in the front occupying the up-close perspective with thick black ink.

Proportionally, the chateau seems rather small, but the artist cleverly left the light to the chateau and skimped on architectural splendor.

藝術家與夫人安娜貝爾攝於拱之城堡 Artist with his wife Annabelle at the Château l'Arc © Foundation Bernard Buffet / ADAGP, Paris

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049

BERNARD BUFFET (French, 1928 - 1999)

La Rue Soufflot et le Panthéon 1956 Oil on canvas 97 x 130 cm Signed lower center Bernard Buffe t and dated 56 Titled reverse La Rue Soufflot et le Panthéon PROVENANCE Galerie Maurice Garnier, Paris Private collection, Asia This lot is to be sold with a certificate of authenticity issued by Galerie Maurice Garnier, Paris.

NT$ 14,000,000 - 22,000,000 HK$ 3,544,000 - 5,570,000 US$ 452,600 - 711,300 RMB 3,241,000 - 5,093,000

貝爾納．畢費《艾菲爾鐵塔》1955 油彩 畫布 145 x 96 cm 2016年2月MatsArt Israel拍賣 編號91 約台幣 31,303,746 成交 Bernard Buffet, La Tour Eiffel , Oil on canvas, 145 x 96 cm MatsArt Israel Auction, Feburary 2016, lot 91, US$ 996,300 sold

貝爾納．畢費 巴黎萬神殿 1956年 油彩 畫布 97 x 130 cm 簽名下方：Bernard Buffet 56 題識畫背：La Rue Soufflot et le Panthéon 來源 莫里斯．賈尼耶畫廊，巴黎 私人收藏，亞洲 附巴黎莫里斯．賈尼耶畫廊開立之原作保證書

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藝術家攝於工作室 Artist in the studio. © Bernard Buffet Foundation / ADAGP, Paris

畢 費 眼 中的 巴 黎 萬 神 殿 人 文 思 想的 載 體 象 徵 LE PANTHÉON IN BUFFET’S EYES: A SYMBOLIC EMBODIMENT FOR THE HUMANITIES

貝爾納．畢費（Bernard Buffet）被譽為「戰後寫實主義的接班人」，大

《巴黎萬神殿》視角隨街景兩旁併列建築物，向中間延伸聚集到中心的透

師畢卡索與安迪．沃荷都讚賞的天才，其近年拍賣佳績贏得各界關注。此

視點。觀者如臨現場在蘇夫洛街底，遙望盡頭的巴黎萬神殿。隨緩坡漸行

次秋拍，畢費於1956年創作的《巴黎萬神殿》，自1950年代起作為重要

而上，如穿越時光流轉，徜徉在英豪賢者留芳百世的功業事蹟。絲絲入扣

私人收藏，首度公開拍賣，稀有難得。細數歷年紀錄，1950年代巴黎城市

的線條，幾何橫豎貫注著理性和冷漠。隨畫面灰階色調的轉變，由向上遠

風景系列，尤其屢創紀錄《艾斐爾鐵塔》在2016年拍賣成交價超越百萬美

望的天光布局連至建築的暗色陰影，內心悄然而生一股存在主義式的淡淡

金門檻，高居其全球個人紀錄第三名，乃是該藝術家擁有最高評價、市場

憂鬱。色彩轉述青年藝術家纖細敏感洞察力，渲染情緒引導觀者進入情

潛力與歷史代表性兼具之風景系列。

景。雙方沉靜地開啟內省對話，試問應當熙來攘往的街道，為何不見人 車，徒留龐大的疏離感攏罩四周。當畫中的建築物佔據畫面中央，逼迫觀

漫步於巴黎左岸拉丁區，不難感受濃厚的人文氣息，當行人穿越盧森堡

者直視，拭去人跡的城市，如一具抽離靈魂的軀殼，淡淡流露對人性與戰

公園，順延蘇夫洛街（R u e S o u f f l o t）緩緩而上，映入眼簾是路底矗立

爭的失望傷感。

宏偉的建築：巴黎「萬神殿」（L e P a n t h é o n）。建築物本體散發的巨 大肅穆之美，作為法國文化人文思想的載體象徵，細數守護歷代先賢對

1948年畢費於巴黎聖博拉西德畫廊獲得「藝評獎」。1955年他被法國

國家乃至人類文化進步的偉大貢獻。更是藝術家靈感創作之泉源，無論

《藝術鑑賞雜誌》選為「戰後十大最傑出藝術家」之首。1971年他獲頒法

是梵谷、馬奈筆下的巴黎風景，或拉至近代2014年當代藝術家J R《內

國騎士榮譽勳章。1973年日本大收藏家岡野喜一郎在靜岡縣三島的駿河

而外，萬神殿！》藝術計畫，2015年當代藝術大師奧拉維亞．埃利亞松

町，成立貝爾納．畢費美術館，藝術家的卓越成就受到世人肯定。宏觀藝

（Olafur Eliasson）與米尼克．羅辛（Minik Rosing）合作限時藝術展演

術市場，畢費更是少見，能在全球重點地區，北達俄羅斯南至澳大利亞，

《冰錶》；2017年當代舞蹈新星布爾喬亞（Yoann Bourgeois）完成名為

橫跨歐亞大陸，縱橫南北美洲，皆有資深藏家與愛好者的藝術家。其拍賣

《歷史機制》的作品，皆可見跨越歷史洪流，藝術家們對萬神殿的仰慕與

場近年穩健上升，成交數量不斷攀升的佳績，已是全球市場有目共睹，未

崇敬。

來增值性可以預見。

畢費以畫筆紀錄所見，獨特美學構成篇章，轉譯成創作者內蘊主觀感受的 畫作。巴黎風景系列1957年於巴黎賈尼耶畫廊畢費的個人年度展覽發表。 知名詩人藝術評論家尚．考克多評論：「這是一流的展覽，那龐大且誠然 的巴黎印象，彷彿抽離了生命毫無人跡。一位畫家被認可的證明，乃是與 世界相融為他的畫作 … 當結束參觀，暮色落下，我透過畢費的眼看見了 這座城市。」當藝術家欲利用歷史為基礎，並超脫建築物本體美學的範 疇，進而觸動欣賞者心中底蘊共鳴，必須克服觀者層層疊疊的既定印象， 宛如一項行走於高山稜線的挑戰，若非登峰造極，即是墜入谷底 …。 生於巴黎的畢費，分別於1950年代與1980年代創作其藝術生涯顛峰，巴 黎重要歷史建築的系列風景畫作，包含：艾菲爾鐵塔、亞歷山大三世橋、 巴黎歌劇院、凡登廣場、蒙馬特聖心堂等等。畢費自幼對建築報以濃厚興 趣，他在巴黎高等美術學院求學期間，修習鑽研建築之美。作為歐洲建築 史明珠，巴黎歷經數百年演變擴張，保有眾多建築大師之作，見證歷史軌 跡演變，更僥倖逃過二次世界大戰火的洗禮。畢費作為與巴黎，有不解之 緣的創作者及見證人，汲取這座城市賦予的靈感，以畫筆寄情抒發對巴黎 的深刻記憶便是再自然不過。

宇貝爾．羅伯特《巴黎象徵》1789年 油彩 畫布 加拿大鮑爾集團藝術典藏 Hubert Robert, Les Monuments de Paris , 1789, Oil on canvas, Collection of the Power Corporation of Canada Art Collection © Power Corporation of Canada Group

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2015年藝術家奧拉維亞．埃利亞松《冰錶》 Art Project Ice Watch by artist Olafur Eliasson and Minik Rosing in 2015 © Olafur Eliasson Studio

Known as the "successor of post-war realism", Bernard Buffet was a genius who was highly appreciated by both Pablo Picasso and Andy Warhol. His works of art have seen consistent success at auctions in recent years, attracting widespread attention throughout various circles. This autumn auction will feature La Rue Soufflot et le Panthéon , which was created by Bernard Buffet in 1956 and has been an important item of private collection since the 1950s. This debut auction will provide a rare opportunity for collectors to purchase it. According to the records of Buffet’s works over the years, the Paris Landscape series produced in the 1950s is considered a historically representative landscape series with the highest appraisal and greatest market potential.

In particular, his repeatedly record-breaking La Eiffel Tower resulted in a hammer price exceeding a million dollars in 2016, placing it third in the records of the private collection of his works worldwide.

S t ro l l i n g o v e r t h e l e f t b a n k o f t h e L a t i n Q u a r t e r o f P a r i s , pedestrians are able to easily experience a thick humanities atmosphere, with magnificent buildings rising straight from the ground. The Panthéon jumps into their vision as they cross the Luxembourg Gardens and walk along the Rue Soufflot street. As symbolic embodiments of French culture and humanities, these buildings radiate an enormously solemn beauty that speaks to the great contributions made by distinguished French citizens across generations for the progress of the country and even human culture. The Panthéon also serves as a source of creative inspiration for artists. Whether that be the Paris landscape under the painting brush of Van Gogh and Manet, the Inside out-Au Panthéon! Art Project produced by contemporary artist JR in 2014, the limited-time art show Ice Watch co-organized by contemporary art masters Olafur Eliasson and Minik Rosing in 2015, or the La Mécanique de l’Histoire completed by the contemporary dance star Yoann Bourgeois in 2017, they brim with the admiration and respect of artists for the Panthéon regardless of the changes through history.

Recording what he saw with a brush by sketching his unique aesthetics into beautiful chapters, Buffet managed to translate

an artist’s subjective feelings into paintings. He exhibited the Paris Landscape Series at his personal annual exhibition in Galerie Maurice Garnier in 1957. As commented by the well-known poet and art critic Jean Cocteau: "The exhibition is first rate. A large number of Paris images, all naked, seemingly pulled away from any lives without traces of human presence left. The proof that a painter is a painter is when everything starts to look like his painting... After the visit (evening was falling) I saw the city with Bernard's eyes.” Should an artist attempt to strike a chord with viewers’ hearts through history and going beyond the aesthetics of buildings themselves, the artist must break through the long-standing stereotypes of viewers. This is a challenge just like walking on a cliff edge, reaching a mountaintop, or falling into the valley bottom.

Born in Paris, Buffet reached the pinnacles of his artistic career in the 1950s and the 1980s, respectively. He created a series of landscape paintings featuring significant historical buildings in Paris, including the Eiffel Tower, Pont Alexandre III, Palais Garnier, Place Vendôme,

貝爾納．畢費《街景》1956 油彩 畫布 97 x 130 cm 1990年2月紐約蘇富比拍賣 編號185 美金797,500 成交 Bernard Buffet, Scène de rue , Oil on canvas, 97 x 130 cm Sotheby's New York, Feburary 1990, lot185, US$ 797,500 sold

Basilique du Sacré-Cœur de Montmartre and more. Since childhood, Buffet held a keen interest in architecture, and explored the beauty of architecture during his studies at École nationale supérieure des Beaux-arts de Paris. Hailed as the crown jewel of European architectural history, Paris has undergone centuries of evolution and expansion, while preserving the masterpieces of architectural masters, witnessing the evolvement of history, and even surviving the baptism of World War II. Buffet, an artist and witness who had an unbreakable bond with Paris, drew inspiration from the city. It is no wonder why he was so fascinated to express his deep memories of Paris with his brush.

The visual angle of La Panthéon expands to the center of the perspective point along the juxtaposed buildings at the sides of the Rue Soufflot Street, so that viewers feel as if they are standing on the street, looking up at the Pantheon at the end. As the slope gradually goes up, the viewers embark on a travel through time, immersed in the magnificent feats. Intricately woven lines in geometry reveal rationality and indifference, while the varying tones with painting grayscale link the hovering skylight layout with the dark shadows of the buildings, making viewers sense a faint existential melancholy well up in their hearts. The tone variance narrates the young artist's sense of delicacy and keen insight into viewer’s emotions that guides them into the scene. An introspective dialogue is initiated between the painter and viewers on why there are no people or vehicles on a street that should be bustling, replaced with a sense of alienation. The buildings’ domineering occupation over the center of the painting forces viewers to face the empty city directly. Like the empty husk of a person without a soul, the painter expresses his disappointment towards humanity and his grievances regarding war.

Buffet was granted the Prix de la Critique by Galerie Saint Placide in 1948, rated as the top of “The Ten Best Post-war Artists” by the magazine Connaissance des Arts in 1955, and awarded the French Knight Medal of Honor in 1971. In 1973, the Bernard Buffet Museum was founded

by Kitaro Okano in Surugadaira, Japan, so that the artist's outstanding achievements could be recognized across the world. Seen from the macroscopic perspective of the art market, few painters can rival Buffet, whose works are being passionately sought after by collectors and enthusiasts across the world. Furthermore, in recent years, the world has seen a steady increase of Buffet’s works that repeatedly break records in transaction volume at auctions. As a result, their continuous rise in value is very foreseeable.

2014年藝術家JR《內而外，萬神殿！》 Art Project Inside out-Au Panthéon by the artist JR in 2014 © JR / Galerie Perrotin, Paris

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050

AMEDEO MODIGLIANI (Italian, 1884 - 1920)

Portrait of Lunia Czekowska (Lunia Czechowska) 1917 Crayon, lavé and mixed media on plywood 43 x 26.5 cm Signed lower left Modigliani PROVENANCE Madame L. Charpentier, Paris (acquired directly from the artist), 1919-1937 Madame Ribas, Barcelona Emilio Ribas, 1937-app. 1966 Welters van Hattum, Dutch collection, Vice Consul of the Netherlands from app.1968 Private collection, Europe (from the late 1970s till now) EXHIBITED Works by Amedeo Modigliani in Dutch Possession , Centraal Museum Utrecht, Netherlands, March 15 - May 5, 1968 ILLUSTRATED Works by Amedeo Modigliani in Dutch Possession , Centraal Museum Utrecht, Netherlands, 1968, black-and-white illustrated, no.10, pp. 24-25 This lot is to be sold with a certificate of authenticity signed by Arthur S. Pfannstiel, the expert in Modigliani's art in 1966.

NT$ 18,000,000 - 26,000,000 HK$ 4,557,000 - 6,582,000 US$ 582,000 - 840,600 RMB 4,167,000 - 6,019,000

藝術家莫迪里亞尼 約攝於1910年。 Amedeo Modigliani, c.1910.

阿 美 迪 奧． 莫 迪 里 亞 尼 露妮亞．切可斯卡肖像 1917年 蠟筆 漆 綜合媒材 膠合板 43 x 26.5 cm 簽名左下：Modigliani 展覽 「荷蘭收藏之阿美迪奧．莫迪里亞尼作品」， 烏特勒支中央博物館，荷蘭，展期自1968年3月15日至5月5日 來源 夏邦提耶夫人1919-1937年收藏，法國巴黎（直接得自藝術家） 愛彌力歐．列巴斯、列巴斯夫人1937-1966年左右收藏， 西班牙巴塞隆納 維爾特斯．梵．哈杜1968年收藏，荷蘭（時任荷蘭副領事） 私人收藏，歐洲（1970年代晚期至今） 圖錄 《荷蘭收藏之阿美迪奧．莫迪里亞尼作品》， 烏特勒支中央博物館，荷蘭，1968，黑白圖版， 編號10，頁24-25 附專家亞瑟．S．普法斯迪爾（Arthur S. Pfannstiel）開立之 原作保證書（1966年）

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阿美迪奧．莫迪里亞尼（A m e d e o M o d i g l i a n i 18841920），出生於義大利萊克亨一個猶太人家庭。自幼身體 羸弱，曾患多種疾病，最終死於肺結核，年僅36歲。1905 年，藝術家曾先後就讀於威尼斯美術學院和佛羅倫斯美術學 院。1909年後莫迪里亞尼也遷移到蒙巴納斯區，在此他結 識了包括畢卡索、布朗庫西、蘇汀、奇斯林、藤田嗣治等 藝術家，1916年加入在當時生活風格十分前衛的「巴黎畫 派」大家庭。同一時期中，莫迪里亞尼對於中國早期留法藝 術家更是有深厚的影響，常玉、潘玉良、林風眠的人體畫， 顯著地受到他的啟發。今日的不少當代藝術家肖像畫裡，仍 然看出莫迪里亞尼的遺風。在莫迪里亞尼的作品中，學習和 繼承了多種傳統藝術風格，繪製了許多肖像畫，其中在對變 形美的探索上卓有成效。

阿美迪奧．莫迪里亞尼《露妮亞．切可斯卡肖像》 1918年 油彩 畫布 46 x 37.8 cm 私人收藏 Amedeo Modigliani, Portrait of Lunia Czekowska , 1918, oil on canvas, 46 x 37.8 cm, Private collection

在莫迪里亞尼的平生創作中，芸芸眾生即為他生活所見的人物畫，有職業模特兒，朋友、 戀人珍妮的肖像或裸體。在造型風格上他混合了西方傳統及多種地域文化，受到多位古典 大師畫作的靈感啟發，尤其是對義大利古典傳統的仰慕之情。到達巴黎後，莫迪里亞尼逐 漸形成了拉長的身材和面具般的面孔的藝術風格，正是1910年，在布朗庫西（Constantin Brancusi）的影響下，他創作了近30個石雕頭像，雕塑的研究轉移到繪畫上，避開肌肉的 描寫，尋找一種簡化的、表現內在形象的特質。無論男女，莫迪里亞尼所描繪的對象，都 透露出一種女性的纖細特質。日後眾多的件珍妮的畫像中儘管是他獨特的拉長風格，像文 藝復興時期的聖母像，但同時也受其他影響，包括立體派和古埃及藝術。 此件作品《露妮亞．切可斯卡肖像》主角即為珍妮的好友，也正是這位露妮亞．切可斯卡 小姐的幫助下，使得莫迪裏亞尼能擁有大茅屋街的工作室。除了資助藝術家創作之外，她 還兼顧照顧珍妮的生活，算是交情很好的朋友，莫迪里亞尼也曾畫過多幅她的肖像。正沉 醉於愛情中的莫迪里亞尼為友人創作了此幅作品，這一時期還創作了大量不願正視現實的 女性形象。這些肖像畫的特點是：頭部傾斜，脖子細長，眼睛為核桃形，多數不點眼珠， 塗上純淨的色彩，好像山中秋天的湖水，流露出無限的哀怨神情若有所思地在等待中。 此件《露妮亞．切可斯卡肖像》在這一批作品最早來源都是夏邦提耶女士（M l l e.

Charpentier），一位經常拜訪藝術家並給予經濟支援的友人。她的這批藏品中以素描作品 佔了大多數，它們許多是在散落書頁上打的草稿，也有完成度極高，藝術家特別上色過的 素描作品，上色技法是以松節油將油彩或粉彩混合稀釋，蘸中國墨或黑墨魚汁描繪輪廓。 1968年3月15日至5月5日，《露妮亞．切可斯卡肖像》展出於荷蘭烏特勒支中央博物館 （Centraal Museum Utrecht）《荷蘭收藏之阿美迪奧．莫迪里亞尼作品》。作品其圖像編 號10，收錄於展覽目錄之中，圖說彩色印製於目錄第24、25頁，展覽目錄由普法斯迪爾耶 先生撰寫序文，詳細記載了這批展覽作品的來源出處。

阿美迪奧．莫迪里亞尼《女人畫像－芮妮》 約1916-1917 水粉 綜合媒材 綠色繪紙板 51 x 30 cm 羅芙奧台北2018秋季拍賣會 編號28 台幣 25,800,000 成交 Amedeo Modigliani, Portrait d'une Dame (Renée) , c. 1917-1918, Gouache, mixed media on the green drawing cardboard, 51 x 30 cm Ravenel Autumn Auction 2018 Taipei, lot 28, US$ 864,611 sold

《露妮亞．切可斯卡肖像》中流露出莫迪里亞尼式的優雅、慵懶的風格，富有節奏的線條 佔據主導，使作品中的女主角與背景柔和的顏色混合在一起，人物臉龐幾乎居中於畫面， 最讓觀者驚艷是雙眸的深邃與輕盈。也都在莫迪里亞尼其他作品中都有體現，女性修長的 脖子、傾斜的肩膀和掩藏的表情中表現得尤為明顯，將觀眾的眼睛吸引至人像而不被外象 影響。作品展現了他成熟期發展出的高雅美學，波提切利對這種美學有著強烈的影響。這 種處理的手法，為了突出人物感性的線條，背景保持原色。 莫迪里亞尼短暫的一生中，藝術生涯的後期作品趨於表達自我的執著的情感，也因為珍妮 無怨無悔的愛，身為藝術家的繆思女神珍妮以及露妮亞．切可斯卡這兩位女性皆是藝術家 生平重要的兩位模特兒。莫迪里亞尼始終沉浸在自己的繪畫世界中，彷彿對外在世界視而 不見，此作品中的女性形象，也正是莫迪里亞尼這個時期最為更成熟知性的佳作。

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Amedeo Modigliani (1884-1920) was born into a Jewish family in Livorno, Italy. Having been in frail health since childhood, he suffered from several illnesses and ultimately died of tuberculosis at the mere age of 36. In 1905, the artist had enrolled at the Accademia di Belle Arti di Venezia followed by Accademia di Belle Arti di Firenze. Since 1909, Modigliani moved to Montparnasse where he met artists like Picasso, Brâncuşi, Soutine, Kisling, and Léonard Tsuguharu Foujita. In 1916, he joined the School of Paris, which was characterized by an avant-garde lifestyle at that time.

During the same period, Modigliani also profoundly influenced early Chinese artists in France, since the figure paintings by Sanyu, Pan Yuliang, and Lin Fengmian are clearly inspired by Modigliani. Today, Modigliani’s legacy still remains in many of the portraits created by contemporary artists. Various kinds of traditional artistic styles have been learned and inherited from Modigliani’s works. These styles have been applied to many portraits, with particularly outstanding effects on transformative art.

Among Modigliani’s lifetime of creations, he based his figure paintings on people he saw in daily life, including professional models, friends, and his lover Jeanne Hébuterne’s portraits or nude paintings. In terms of styles, he combined western traditions with numerous regional cultures under the inspiration of many classical master artists. Particularly, he had an admiration for Italian classical traditions. After arriving in Paris, Modigliani gradually formed an artistic style with elongated figures and mask-like faces. It was 1910 when he created nearly 30 stone head sculptures under the influence of Constantin Brancusi. By shifting the focus from sculpture to painting, Modigliani skipped muscle depictions in search for a simplified quality to express intrinsic images. Regardless of whether the characters are male or female, Modigliani’s depictions of them always demonstrated a feminine delicate quality. Later on, he created many portraits of Jeanne in his unique elongated style that resembled Renaissance Madonnas. Nevertheless, he was also simultaneously influenced by other styles such as Cubism and ancient Egyptian art.

The character in this Portrait of Lunia Czekowska is one of Jeanne’s good friends. Ms. Lunia Czekowska is also the person who helped Modigliani to own the studio on rue de la Grande Chaumière. In addition to sponsoring artists, she also took care of Jeanne as a close friend, and Modigliani had painted multiple portraits of her.

Modigliani was in love when he created this piece of artwork for his

friend. During this period, he also created many female images that were unwilling to face the reality. These portraits are characterized by: tilted head, elongated neck, walnut-shaped eyes, and blank eyes. Filled in with pure colors, these images look like autumn lake water in the mountains, waiting thoughtfully with infinite sadness on their faces.

Mlle. Charpentier lived at 4bis rue de la Grande Chaumière, Paris, and as a friend of Modigliani's, visited him often and gave him financial support. The majority of this collection was sketches, many of which were drafts dispersed through books; but there were also specially colored sketches that were nearly-complete works. Those were colored with oil paint or pastels diluted with turpentine oil, and the outlines were drawn in Chinese ink or cuttlefish ink. From March 15 to May 5, 1968, Portrait of Lunia Czekowska , was exhibited in the Werken Van Amedeo Modigliani in Nederlands Bezit (English: Works

by Amedeo Modigliani in Dutch Estate) in the Centraal Museum Utretch. The work was numbered 10 and its description was printed on pages 24 and 25 of the catalogue. The foreword of the exhibition catalogue was written by Pfannstiel. He detailed the sources of the exhibited works.

The Portrait of Lunia Czekowska displays Modigliani’s style of elegance and idleness. The rhythmic lines dominate the image, blending the female character with the soft background color. The character’s face almost sits in the center, with deep and graceful eyes that are greatly impressive to viewers. These features are also demonstrated in Modigliani’s other artworks. The long female necks, tilted shoulders, and implicit facial expressions are especially apparent, as they attract viewers’ eyes to the portrait from being affected by other external images. The artwork demonstrates Modigliani’s elegant aesthetics during his period of maturity, and this type of aesthetics had been strongly influenced by Botticelli.

This kind of processing method aimed to sensibly highlight the character’s outlines while keeping the background in primary colors.

In Modigliani’s short lifetime, the works from the later phases of his art career tend to express his persistent emotions. As a result of Jeanne’s unconditional love, the artist’s muses, Jeanne Hébuterne and Lunia Czekowska, had both been important models during the artist’s career. Modigliani was always immersed in his own world of painting and seemed to ignore the external world. The female image in this piece of work is one of the more mature and sensible masterpieces that Modigliani created during this period of time.

《荷蘭收藏之阿美迪奧 莫迪里亞尼作品》，烏特勒支中央博物館，1968年，畫冊封面及封底 Catalogue of Werken van Modigliani in Nederlands Bezit, Centraal Museum, Utrecht, 1968

「荷蘭收藏之阿美迪奧 莫迪里亞尼作品」，烏特勒支中央博物館，1968年展覽場景 Exhibition views of "Werken van Modigliani in Nederlands Bezit", Centraal Museum, Utrecht, March 15-May 5, 1968 © Centraal Museum, Utrecht

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051

PHILLIPE HIQUILY (French, 1925 - 2013)

L'Ambigüe 1990 Bronze, ed. EA 2/2 75(L) x 21(W) x 137(H) cm Engraved Hiquily and numbered EA 2/2 with foundry mark bocquel Fd. on the back side of base This lot is to be sold with a certificate of authenticity issued by Modern Art Gallery, Taichung and signed by the artist.

NT$ 1,400,000 - 2,200,000 HK$ 354,000 - 557,000 US$ 45,300 - 71,100 RMB 324,000 - 509,000

菲利浦．伊其里 尋覓愛情（男人與女人） 1990年 銅雕 版次EA 2/2 75（長）x 21（寬）x 137（高）cm 簽名雕刻台座：Hiquily 編號台座後側：bocquel Fd. EA 2/2 附台中現代藝術空間開立之藝術家親簽保證書 法國代表性雕塑大師：菲利浦．伊其里（1925-2013），其作 品為紐約現代美術館、紐約古根漢美術館、巴黎龐畢度藝術 中心等頂尖殿堂級美術館典藏。坐落於上海市靜安公園，三 座十二米高的動力景觀藝術裝置《巨型風向車》（G i r o u e t t e Monumentale），更是藝術家受委託製作，慶賀2010上海世界博 覽會，融合中國文化與現代藝術概念的指標性巨作。

Phillipe Hiquily (1925-2013) was an iconic sculptor from France, whose works are collected by top museums like the Museum of Modern Art and the Guggenheim Museum in New York City, and the Centre Georges-Pompidou in Paris. He was also tasked with making three sets of the 12-meter-high powered landscape art Girouette Monumentale , an iconic combination of Chinese culture and modern art concepts to celebrate the Universal Exposition of 2010 in Shanghai.

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菲利浦．伊其里 P HILLIPE H IQ U ILY (1925 -2 0 1 3 ) 1990年代發展「戀人系列」，詮釋男女之間的激情與戲謔。此次拍品 《尋覓愛情》銅雕，是該系列之代表作。2019年6月至9月，法國南部埃 居松·尚桐市政府（Maire d'Éguzon-Chântom）特別邀請伊其里的藝術 家委員會協辦，舉行為期三個月的回顧展。而展覽中另一件同樣年份、 尺寸，不同版次的《尋覓愛情》雕塑，更成為媒體精選報導，象徵藝術 家理念的代表之作。作品人物揚起手勢與雙腳，姿態既像遠眺搜尋，更 像雙人探戈舞。結合男女雙面為一體，如同兩人背對背緊靠，卻看不見 彼此，只能猜測心意。宛若捉摸不定的愛情，使人既期待又怕受傷害。 造型上由基座樹立著中心，彷彿雕塑懸空於地表。流暢簡化的人體輪 廓，以扁弧塊狀作為本體，四肢向外延伸，營造出輕快的動視感。金屬 材質的反光特性，三百六十度與外在光線互動，隨時間地點不同，改變 陰影與色澤。簡潔又充滿豐富多樣性，久久停留在觀者腦海引發精神觸 動，是伊其里作品最耐人尋味的特質。

藝術家與夫人美美．楊．伊其里女士合照 Artist with his wife Mei-Mei Yang Hiquily © Archives Hiquily

1960年代中期連結現代應用美學，伊其里接受眾多歐洲知名收藏家委 託，發展出一系列雕塑設計傢俱。直至今日無論是紐約高級公寓、布魯 塞爾貴族宅邸、巴黎近郊古堡，無一不見其身影。作品用古銅或白銀金 屬打造，圓弧表面質地光滑，流線造型契合大理石或玻璃。氣質沉穩高 雅，令人讚嘆，更表彰其擁有者的非凡品味和眼光，更是全球室內美學 指標性設計師推薦收藏的珍品。 伊其里1925年生於巴黎，二戰期間隨父親居於中南半島兩年，對於亞洲 文化的接觸，深刻影響其一生的創作。返回歐洲後進入巴黎高等藝術學 院，學習雕塑，並拓展藝術好友圈。1953年榮獲雕塑大獎，接連數檔展

During the mid-1960s, Hiquily accepted requests from many famous collectors in Europe, and used his mastery in modern applied aesthetics to develop a series of sculptic furniture pieces. To this date, his creations can still be seen in high-end apartments in New York City, royal residences in Brussels and castles near Paris. He used copper and silver as his materials, with curved surfaces and smooth textures, and sleek silhouettes to work with marble or glass. His designs are elegant and calm, celebrating the owners’ extraordinary taste while become collectables recommended by iconic interior designers like Ekaterina Fedorchenko, Pierre Yovanovitch and Cullman & Kravis.

Hiquily was born in 1925 in Paris. During World War Two, he moved with his father to live in the Indochina Peninsula for two years.

His contact with Asian culture there would shape his creations throughout his life. After his return to Europe, he entered the École Supérieure des Beaux-Art de Paris, where he studied sculpture and expanded his network of friends in the artist community. In 1953,

覽，超乎想像前衛的作品，跨越大西洋在美國贏得巨大迴響。1959年古 根漢美術館典藏其作品，伊其里在訪美期間與會多位當代普普藝術先鋒 的好友，如：勞森伯格、李奇登斯坦、賈斯伯瓊斯等人。1976年他與 來自大溪地具有廣東華裔血統，攝影藝術家曼瑞（Man Ray）的美麗繆 思：美美．楊．伊其里女士（Meei Meei Yen Hiquily）結縭。珍藏於工 作室的照片，與早期為夫人創作的雕塑首飾，不言而喻這位外型酷帥的 藝術家對妻子的一往情深。 伊其里在學時期，經常造訪人類博物館，受地中海地區考古物件啟發。 尤其舊石器時代的維納斯小雕塑，強化女性軀體生育力形象的豐腴身 形，更是深植藝術家腦海成為其創作原點。歷經數十年伊其里個人風格 演變，然而視女性軀體為自然美學起點的概念，從一而終貫穿他的一 生。藝術家淡化人體肌肉和曲線，身體主幹扁平又充滿厚實量感，四肢 手腳猶如樹梢的纖細。並未遵從古典美學，卻能兩者結合達成美妙的合 諧。當視覺平衡從容延伸，動靜兼具的韻律達成，飽含於創作核心是藝 術家是對於美學不懈的追求和突破。

作品《尋覓愛情》（不同版次）刊登於2019年六月法國L'ECHO日報 The work L'Ambigüe (different cast) published on the French newspaper L'ECHO © L'ECHO / Archives Hiquily

1976年巴黎帝多畫廊 伊其里展覽海報 Exposition Pièges à Louves, Galerie Bideau, Paris, 1976 © Archives Hiquily

he won a prize in sculpture, and his unimaginably radical works in subsequent exhibitions won him fame across the Atlantic Ocean in the United States. In 1959, the Guggenheim Museum took his works into its collection, and he met several contemporary pop artists during his visit to the US, including Rauschenberg, Lichtenstein and Jasper Johns. In 1976, he married his beautiful muse from Tahiti, Meei Meei Yen Hiquily, a Cantonese decedent who inspired photography artist Man Ray (1890-1976). From the photographs he kept in his workshop and the sculpted jewelry he made for her in earlier days, we can see how devoted the handsome artist was towards his wife.

2019, the local gover nment of Éguzon-Chântome, souther n France invited Hiquily’s artist committee to assist in a three-month review exhibition. In the exhibition, another cast of L'Ambigüe from the same year, attracted press attention, who considered it as representing the artist’s concept. In the piece, the figure raised their one arm and foot, establishing an attitude that resembles both looking afar and dancing tango. The two-sided body represents a man on one side and a woman on the other, like a pair of lovers sitting back-to-back, unable to see each other and left to guess each other’s thoughts. This situation resembles the unpredictable nature of love, in which lovers have expectations, but are also afraid of getting hurt. The base piece erects the center, making the sculpture looks like it floats above the ground. The simplified body silhouette extends from the flat, curved chunk, creating a sense of agile motion. The reflective quality of metal makes the piece interact with external illumination all around, changing the shadows and shades according to the time and place it is placed. The simplicity and diversity are the most intriguing quality of Hiquily’s works, which lingers around the viewer’s mind and inspiring further contemplation.

During Hiquily’s years of studying, he used to visit Musée de l'Homme often, and was inspired by the archaeological objects discovered in the Mediterranian Sea. In particular, the Venus sculpture from the Paleolithic Age, which features a chubby figure that emphasizes the fertility of the female body, became the artist’s starting point for his creations. Though Hiquily’s style has changed over the decades, he maintained the concept of female bodies as the origin of natural beauty throughout his life. The artist lightened the muscles and curves of the human body, making the torso flat and filled with a sense of mass, while the limbs are thin, like the smallest branches of a tree. Without following the classic aesthetics, he was able to achieve a harmony between the elements. When the visual balance extends in its own pace, achieving the rhythm both when static and dynamic, the core of the work is filled with the artist’s relentless quest and breakthrough towards true beauty.

In the 1990s, Hiquily developed the Couple Series , in which he interpreted the passion and playfulness between lovers. The auction item this time is the L'Ambigüe copper sculpture, which is a very iconic piece from the series. Between June and September,

伊其里藝術裝置《巨型風向車》於上海靜安雕塑公園 Hiquily's Art Installation, Girouette Monumentale , at Jing'an Sculpture Park, Shanghai. © Archives Hiquily

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052

ORLANDO TERUZ (Brazilian, 1902 - 1984)

Nude 1979 Oil on canvas 82 x 66 cm Signed lower right TERUZ PROVENANCE Private collection, Asia

NT$ 100,000 - 150,000 HK$ 25,000 - 38,000 US$ 3,200 - 4,800 RMB 23,000 - 35,000

奧蘭 多 ．特 魯 茲

1902年出生，特魯茲為巴西現代藝術重要代表畫家。1920至

裸女

1923年間學習於里約熱內盧的藝術學院，與同為新寫實主義藝

1979年 油彩 畫布 82 x 66 cm 簽名右下：TERUZ

術家的坎迪多．波爾蒂納里（Candido Portinari）是多年好友。 1970年代成立其個人美術館，並受邀參展於世界各地，包括：俄 羅斯冬宮美術館、聖保羅藝術博物館等。特魯茲的風格強烈，卓 越的繪畫技巧令人聯想起歐洲古典大師。畫作主題多以童年場景 孩童嬉鬧玩樂與巴西原住民肖像為主。

來源 私人收藏，亞洲

Born in 1902, Teruz is an important representative painter of Brazilian modern art. Between 1920 and 1923, he studied at the Academy of Fine Arts in Rio de Janeiro, where he became friends with Candido Portinari, a neo-realist artist in Brazil. He established his own museum in the 1970s. He was invited to hold the exhibition around the world, including the Hermitage Museum of Winter Palace in Russia and the São Paulo Art Museum in Brazil. Teruz creats a strong personal style with his outstanding painting skills, which could be associated with European classical masters. The theme in Teruz’ works are mostly childhood scenes with children playing in the grand yard or empty houses, and some Brazilian aboriginal portraits.

053

SALVATOR DALI (Spanish, 1904 - 1989)

Woman Aflame 1981 Bronze, ed. 204/350 38(L) x 25(W) x 84(H) cm Engraved Dali and numbered 204/350 with the editor mark © Camblest 1981 and the foundry mark Venturi Arte This lot is to be sold with a certificate issued

by Camblest Ltd., London.

NT$ 600,000 - 900,000 HK$ 152,000 - 228,000 US$ 19,400 - 29,100 RMB 139,000 - 208,000

薩爾瓦多．達利 火焰女神 1981年 銅雕 版次 204/350 38（長）x 25（寬）x 84（高）cm 簽名雕刻台座：Dali © Camblest 1981 編號台座後側：204/350 Venturi Arte 附國外鑄造師及發行人開立之作品保證書 達利於1904年生於西班牙東北部加泰隆尼亞地 區的費格拉斯，可稱是二十世紀最富變化的藝術 家，在近代藝術史的地位上與畢卡索、米羅齊 名，可謂西班牙近代藝術三大家。達利的作品充 滿活力、加上意想不到的變形，其特殊的創作風 格描繪出不可思議的超現實世界早已獨樹一格。 達利的創作領域極為寬廣，如：繪畫、雕塑、建 築、文學、編劇、導演皆有精采演出，其中雕塑 無疑是達利作品中最具代表性的藝術創作。

Dali he was born in 1904 in Figueres, Catalonia in Spain, he was referred to the most vigorous artist of the 20th century. He was one of the three Spanish artists, besides Pablo Picasso and Joan Miro to share the same importance in the art history. Dali’s unique techniques challenged the traditional view. His works were avant-garde. Dali’s expansive artistic repertoire i n c l u d e d p a i n t i n g , s c u l p t u re , l i t e r a t u re , choreographer, film, etc., and sculpture was the most significant works among all.

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054

SAYED HAIDER RAZA (Indian, 1922 - 2016)

Bindu-Radiation 2007 Acrylic on canvas 100 x 100 cm Signed reverse RAZA in English and Hindu, titled "BinduRadiation" in English and Hindu, dated 2007 and inscribed 100 x 100 cm, Acrylique sur toile PROVENANCE Claude Aguttes, Paris, December 21, 2007 Private collection, France This painting is to be sold with a certificate of authenticity issued by S. H. Raza Foundation.

(Archive number: RF1007)

NT$ 3,200,000 - 4,800,000 HK$ 810,000 - 1,215,000 US$ 103,500 - 155,200 RMB 741,000 - 1,111,000

賽義德．海德爾．拉扎《靜修林》1972 壓克力 畫布 160 x 189 cm 紐約佳士得「南亞現代與當代藝術」2018年3月21日 編號222 美元4,452,500成交 Sayed Haider Raza, Tapovan , 1972, acrylic on canvas, 160 x 189 cm, Christie's New York, South Asian Modern + Contemporary Art Sale, March 21, 2018, lot 222, sold for USD 4,452,500

賽 義 德．海 德 爾． 拉 扎 明點－輻射 2007年 壓克力 畫布 100 x 100 cm 簽名題識畫背：RAZA 2007 "Bindu-Radiation" 100 x 100 cm Acrylique sur toile 來源 奧古特拍賣，巴黎，2007年12月21日 私人收藏，法國 附賽義德．海德爾．拉扎基金會開立之原作保證書 (編號：RF1007)

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傳奇印度抽象藝術大師 賽義德．海德爾．拉扎 THE LEGENDARY INDIAN ABSTRACT ART MASTER － SAYED HAIDER RAZA 知名印度畫家賽義德．海德爾．拉扎，長達六十年的旅法生涯，用繪畫搭起印度文化與西方藝術的橋樑， 一幅幅色彩豐富的抽象繪畫，承載著印度哲學宇宙觀的靈性符碼。1922年出生於印度中央邦巴巴利亞村 （B a b a r i a），父親為政府森林管理官員，兒時家鄉的森林，是他繪畫重要的靈感來源。黑夜林間杳無人 跡，時而傳來貢德族（Gond tribes）的夜舞之聲，而在集市之日，豔陽下的村莊，又化身充滿色彩的仙境。 拉扎12歲開始學畫，高中畢業進入那格浦爾藝術學校(Nagpur Scool of Art)，1943至1947年就讀孟買名校詹 姆塞特吉．吉吉博伊爵士藝術學院（Sir J. J. School of Art）。 1947年正逢印度獨立，拉扎與蘇札（F. N. Souza）、胡森（M. F. Husain）等人共同創立「激進藝術家團 體」（Progressive Artists' Group），主張印度藝術史與西方現代藝術接軌。1950年他取得法國政府獎學 金，前往巴黎美術學院深造，畢業後定居法國。拉扎的繪畫風格兼具表現主義的筆觸、立體派的造型和野獸 派的顏色。風景是貫穿他創作的母題，從早期的表現主義，抵法後逐漸轉向幾何化、筆觸有力、油彩厚重的 法國城市風景，之後又發展成以色彩主導畫面的幾何抽象繪畫。 1970年代是他繪畫的轉折點，造型轉為純抽象，並加入印度傳統元素。他回到印度旅行，遊歷阿旃陀 （A j a n t a）、埃洛拉（E l l o r a）等石窟，體悟自身血液中印度文化的民族根源。1980年開始創作「明點」 （B i n d u）系列，象徵他作為畫家的重生，以及從抽象表現主義轉變到幾何抽象風格的確立。「明點」是一 切造物的原點，由此衍生萬千形式、顏色、能量、聲音、空間及時間。另一方面，其實「明點」造型的靈感 來源，來自他的小學老師，為了集中拉扎的專注力，在黑板上畫一圓點讓他盯著專心。繼「明點」之後，拉 扎又嘗試三角形，以直立和倒立的三角形，象徵印度文化中陰陽的互補力量。 此幅《明點─輻射》作於2007年，黑點作為構圖中心，向外擴張成色彩飽和、載滿能量的黑圓，與完美的方 形切邊，持續延伸、溢出，彷彿就要突破外框的桎梏。邊角交錯的藍、黃、橘線條，如光暈般同心圓方向律 動著，好比穿著幾何抽象外衣的曼陀羅（Mandala），是印度宗教圖騰與西方現代繪畫的跨時空結合。平塗 筆觸、極簡造型和鮮明色彩的運用，呈現超越寫實的心像風景。明點作為主題圖像，象徵視覺和心靈的集中 點，帶領觀者進入冥想的場域，追尋近乎宗教性的精神感受。 拉扎一生，獲獎無數。1956年獲巴黎藝評獎（Prix de la Critique），為首位榮獲該獎的外籍藝術家。此外亦 獲三項印度最高公民榮譽獎：1981年蓮花士勳章（Padma Shri）、2007年蓮花裝勳章（Padma Bhushan） 和2013年蓮花賜勳章（Padma Vibhushan）。2015年更受勳法國政府頒發騎士勳章。參展紀錄包括1956年 義大利威尼斯雙年展、1958年巴西聖保羅雙年展、1966、1968、1978年法國芒通雙年展，亦曾在倫敦皇家 藝術學院、新德里國立藝術學院（Lalit Kala Akademi）舉行展覽。2018年3月作品《Tapovan》(1972)（或 譯為《靜修林》）在紐約佳士得以近450萬美元高價成交，刷新藝術家拍賣紀錄。拉扎已然成為南亞藝術指 標性收藏標的。

In his 60 years of journey in France, famous Indian painter Sayed Haider Raza had bridged Indian culture with Western art with his paintings. Each and every one of his vibrant and abstract painting carried the spirit of Indian philosophy’s worldview. Born in 1922, Raza was raised in Babaria, Central India, where his father was a Deputy Forest Ranger. The forest of his childhood had become a significant inspiration for his paintings; it was pitch black at night without anyone in sight, but one could sometimes hear the sounds of the Gond tribes dancing. But on market gathering days, the village turned into a colorful paradise under the radiating sun. Raza had started drawing since 12.

After graduating from high school, he was admitted into Nagpur School of Art. From 1943 to 1947, he studied at the renowned Sir J.J. School of Art in Mumbai.

In 1947, coinciding with India’s independence, Raza co-founded the Progressive Artists’ Group with fellow artists like F.N. Souza and M.F. Husain. The group advocated bridging the gap between

traditional Indian art and Western contemporary art. Raza received the French government’s scholarship in 1950 and went to further his studies at the École Nationale Supérieure des BeauxArts in Paris. He resided in France after graduation. Raza’s painting style incorporated expressionist strokes, cubic forms, and fauvist colors. Landscape was the running theme in his works, with his early paintings consisting of mostly expressionist landscapes. After arriving in France, however, Raza’s works have gradually evolved into portraying French cityscapes with geometrical interpretations, energetic brushstrokes, and heavily impasto application of oil paint. Eventually, his paintings flourished into geometric abstraction that was visually led by colors.

The 1970s was a turning point for Raza’s paintings, when he changed forms into pure abstraction with traditional Indian elements. He went back to travel around India and visited caves such as Ajanta and Ellora, where he was inspired by his ethnic roots stemming from Indian cultural heritage. In 1980, Raza started creating the “Bindu” series, which symbolized his rebirth as a painter and solidified his style transition from expressionism to geometric abstraction. “Bindu” means the origin of everything, from which it births tens of thousands of forms, colors, energy, sounds, space, and time. In fact, “Bindu” was inspired by Raza’s elementary school teacher, who wanted him to concentrate his attention by drawing a dot on the blackboard and asking him to stare at it. After “Bindu,” Raza uses triangle, in which the complementary Ying Yang energy in Indian culture was represented by upright and inverted triangles.

Completed in 2007, Bindu - Radiation centers its composition around a black dot, from which it expands outward into a harmonious and energetic black circle; it edges against a perfect square and continues to extend and pour out, as if it’s going to break through the frame’s constraint. The intersecting blue, yellow, and orange lines on the corners pulse toward the circle, like a Mandala that’s coated in geometric abstraction - it’s a crossover between Indian religious totem and Western contemporary painting. Flat brushstrokes, minimalist forms, and the utilization of bright colors reflect an inner landscape that’s beyond realism. Bindu as the subject image represents the convergence of vision and soul, bringing the viewer into a meditative space to seek for an almost religious spiritual experience.

Raza had earned countless awards in his life. In 1956, he received the Prix de la Critique in Paris, becoming the first foreign artist to be honored with such award. He was also given three highest citizen honors by India: Padma Shri (1981), P a d m a B h u s h a n (2007) , P a d m a V i b h u s h a n (2013). He was even granted Commandeur de la Legion d'honneur by the French government in 2015. His past exhibitions included the 1956 Biennale de Venice, the 1956 Biennale de São Paulo, and the Biennale de Menton in 1966, 1968, and 1978. His works were also exhibited in London’s Royal Academy and New Delhi’s Lalit Kala Akademi. In March, 2018, his work Tapovan (1972) was sold for nearly US$4.5 million at Christie’s in New York, breaking his own auction record. Raza has become the quintessential South Asian artist for collectors.

藝術家創作於工作室 Artist at work in the studio.

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055

SACHA JAFRI (British, b. 1977)

The Dance of the Midnight Samurai 2004 - 2005 Oil on board 91 x 111.5 cm Signed lower right Sacha Jafri Signed reverse SACHA JAFRI and titled The Dance of the Midnight Samurai PROVENANCE Galerie Belvedere, Singapore Acquired by the present owner from the above EXHIBITED Jafri Meets Warhol , The Art House, Galerie Belvedere, Singapore, May 4-17, 2005

沙夏．賈菲利 夜侍之舞 2004 - 2005年 油彩 木板 91 x 111.5 cm 簽名右下：Sacha Jafri 簽名題識畫背：The Dance of the Midnight Samurai SACHA JAFRI 來源 貝爾維德畫廊，新加坡 現有收藏者購自上述來源 展覽 「賈費利遇見渥荷」展覽，藝術之家，貝爾維德畫廊， 新加坡，展期自2005年5月4日至17日 附新加坡貝爾維德畫廊開立之原作保證書

This painting is to be sold with a certificate of authenticity issued by Galerie Belvedere, Singapore.

NT$ 1,900,000 - 2,800,000 HK$ 481,000 - 709,000 US$ 61,400 - 90,500 RMB 440,000 - 648,000

沙夏．賈菲利1977年出生於英國，高祖父是印度王公，祖父是甘地好友，而父親為外交官，派駐倫敦。身長在上流社會，賈菲利 就讀伊頓公學，威廉王子是其同儕，1999年自牛津大學取得藝術碩士，2000年獲「英國畫家大獎」，國際知名度水漲船高，名 人貝克漢、歐巴馬、比爾．蓋茲、喬治．克隆尼等皆收藏其作品。2008年於世界頂級博物館舉行個人創作生涯十年巡迴回顧展。 2009年在倫敦皇家藝術學院舉行的「印度偉人展」中，與拉扎（S. H. Raza）、胡森（M. F. Husain）、安尼詩．卡普爾（Anish K a p o o r）等藝術家一同展出。亦有公共委託如2012年倫敦奧運倒數100天繪畫，展出於倫敦自然博物館。作品《夜侍之舞》完成 於2004-2005年，展現賈菲利獨樹一幟的個人風格。畫面豐富多彩、活潑鮮麗，色彩和造型的運用，傳達無形能量，魔法般恣意揮 灑的線條之下，彷彿夾雜了具象的影子，看似隨機，極具視覺上吸引力。自述：「我想作我這個年代的康丁斯基。」，賈菲利被公 認為魔幻寫實主義的創立者，以獨特創作手法和超凡想像力，玩轉繪畫於抽象與具象之間。全球政治、人類共同經驗，以及城市景 色都是他創作的主題。亦涉略策展和行為藝術。作為國際最傑出的當代畫家之一，賈菲利被紐約時報和金融時報評為「精明的投資 對象」，目前居住及工作於杜拜。

Sacha Jafri was born in 1977 in the UK. His great-great grandfather was one of the maharajas of India; his grandfather was close friends with Gandhi, and his father a diplomat, whose final post was in London. Immersed in the high society, Jafri studied at Eton College, counting Prince William as fellow. In 1999 he received his BA from Oxford University, awarded The 2000 British Painters Prize, and rose to international prominence. Celebrities including David Beckham, Barack Obama, Bill Gates and George Clooney are among his collectors. In 2008, he had his 10-year Retrospective World Tour visiting the top museums of the world. In 2009, he exhibited alongside S. H. Raza, M. F. Husain and Anish Kapoor during the exhibition Indian Greats taking place at the Rayal Academy, London. Commissions include The 2012 London Olympic Painting on view at the Natural History Museum in London. Dance of the Midnight Samurai completed between 2004 and 2005 showcases Jafri’s unique personal artistic style. The picture is colorful, vibrant, and energetic. The color and form embody intangible energy. The image is composed of magical lines swaying on the surface of the canvas, with figurative elements that seem to remain. The composition is seemingly random and visually arresting. “I want to be the Kandinsky of my time”, the artist said. In fact, he has been credited with inventing the genre of “magical realism” in art. Using an experimental approach and extraordinary imagination, Jafri oscillates between abstraction and figuration. Global politics, shared experience and cityscapes are recurrent themes of his creation. His practice also combines curation and performance. Jafri has recently been described by New York Times and Financial Times as “a shrewd investment”. He currently lives and works in Dubai.

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056

RAJAN KRISHNAN (Indian, 1967 - 2016)

Embryo 2006 Acrylic on canvas 182.5 x 152.5 cm Signed reverse Rajan M Krishnan , titled EMBRYO and dated 2006 PROVENANCE Bodhi Art, Singapore Acquired by the present owner from the above EXHIBITED Rajan Krishnan: Embryo - Solo Show , Art Singapore 2006, Bodhi Art

拉 詹． 克 里 希 那 胚芽系列 2006年 壓克力 畫布 182.5 x 152.5 cm 簽名題識畫背：Rajan M Krishnan 2006 EMBRYO 來源 菩提藝術畫廊，新加坡 現有收藏者購自上述來源 展覽 「拉詹．克里希那個展：胚芽」， 2006新加坡藝術博覽會，菩提藝術畫廊，新加坡 附新加坡菩提藝術畫廊開立之原作保證書

This painting is to be sold with a certificate of authenticity issued by Bodhi Art, Singapore.

NT$ 320,000 - 480,000 HK$ 81,000 - 122,000 US$ 10,300 - 15,500 RMB 74,000 - 111,000

印度戰後當代畫家拉詹．克里希那，1967年出生於印度西南部喀拉拉邦，大學時曾學習經濟，之後投入藝術創作。1994年於印度 特里凡得琅市政府藝術學院取得繪畫美術學士。1996年自巴羅達薩亞吉王公大學取得繪畫美術碩士。於世界各地藝廊舉行展覽，如 印度、美國、新加坡、英國、法國等。2016年不幸病逝，印度藝術界惋惜。克里希那關注自然環境議題，家鄉喀拉拉邦的原野和村 落是他創作的靈感泉源，作品中常見芒果、麻雀、菠蘿蜜樹、鳳梨、鐵道、紅旗、示威抗議的人群等意象。早期作品多描繪兒時回 憶，之後逐漸轉為對都市化遽變之下環境退化而嘆息。人類和其居住環境之間的平衡，是他作品持續探討的議題。

Post-war contemporary painter Rajan Krishnan was born in 1967 in Kerala, on the southern west coast of India. Holding a BA in Economics from Calicut University in Kerala, Krishnan later devoted himself to artistic creation. He received a BFA in Painting from the Government College of Fine Arts, Thiruvananthapuram in 1994, and a MFA in Painting from the Maharaja Sayajirao University of Baroda in 1996. His work has been featured in galleries around the world, including India, the US, Singapore, United Kingdom, France and more. The artist passed away in 2016. Krishnan’s work centered on the natural environment. The fields and villages of Kerala of his youth play a principal role in his artistic creation. Mango, sparrow, jackfruit tree, pineapple, railway track, red flags, protestors in demonstrations are common imageries that can be found in his paintings. His early works depict his childhood memories, which later give way to a cynicism that records the environmental degradation caused by rampant urbanization. The balance between humanity and its habitats has remained the primary focus of his work.

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AUGUSTE RODIN

奧古斯特．羅丹

( French, 1840 - 1917 )

達那伊德

La Danaïde

1885年構思，1998年翻鑄 黑色銅雕 版次 G 1/25 鑄造廠 Airaindor-Valsuani 28（長）x 39（寬）x 22（高）cm（雕塑） 45（長）x 35（寬）x 10（高）cm（木台座） 雕刻簽名：A. Rodin 雕刻鑄造廠簽名：Airaindor cire perdue 雕刻年代：Reproduction 1998 雕刻版次：G 1/25

Conceived in 1885; cast in 1998 Bronze with black patina; ed. G 1/25 Foundry: Airaindor-Valsuani 28(L) x 39(W) x 22(H) cm (sculpture) 45(L) x 35(W) x 10(H) cm (wooden base) Engraved bottom A. Rodin, Airaindor cire perdue , Reproduction 1998 , and numbered G 1/25 PROVENANCE Private collection, Europe ILLUSTRATED Antoinette Le Normand-Romain, Rodin et le bronze , RMN, Paris, 2007, color illustrated, p. 292 This lot is to be sold with a certificate of authenticity issued

by Airaindor-Valsuani foundry.

來源 私人收藏，歐洲 圖錄 安托瓦內特．勒 諾曼－侯曼，《羅丹與銅雕》， 法國國家博物館聯合會，巴黎，2007，彩色圖版，頁292 附艾倫多爾－維蘇阿尼鑄造廠開立之原作保證書

NT$ 360,000 - 550,000 HK$ 91,000 - 139,000 US$ 11,600 - 17,800 RMB 83,000 - 127,000

羅丹被譽為現代雕刻藝術之父，19世紀至20世紀初最偉大的現實主義雕塑家。他的雕塑承傳了文藝復興的藝術，對人體肌肉和結 構有深刻的研究。他精準而細膩地捕捉人的情感和美態，創作出膾炙人口的佳作，當時更被公認為繼米開朗基羅後最偉大的雕塑 家。此次秋拍推薦雕塑作品包括《達那伊德》、《永恆的春天》、《加萊市民》等名作。早年創作深受古希臘、古羅馬以及文藝復 興時期的藝術影響。1880年他開始了「地獄門」的製作，作品花費了羅丹畢生的心血。1880年，法國政府委託羅丹，為巴黎裝飾 藝術博物館設計一扇門，成為了藝術家代表作之一《地獄之門》。1900年羅丹參與巴黎的萬國博覽會沙龍展出了150件作品。

Rodin is known as the father of modern sculpture art, the greatest realist sculptor from the 19th to the early 20th century.

His sculptures inherit the art of the Renaissance with profound study of human muscles and structures. He captures the emotions and beauty of people with precision and exquisiteness, and creates many remarkable masterpieces favored by the public. At that time, he was recognized as the greatest sculptor after Michelangelo. In this autumn auction, his famous works La Danaïde , L’Eternel Printemps and Les Bourgeois de Calais-Pierre de Wiessant are all included to recommend. Rodin’s early works were inspired by ancient Greek, Roman and Renaissance art. In 1880, the French State commissioned Rodin to design a pair of doors for a proposed Museum for Decorative Arts in Paris, afterwards, it became artist’s representative work La Porte de l’Enfer. In 1990, Rondin exhibited 150 works at the Paris Exposition Universelle.

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058

AUGUSTE RODIN

奧古斯特．羅丹

(French, 1840 - 1917)

永恆的春天

L’Eternel Printemps

1884年構思，1998年翻鑄 銅雕 版次 1/75 翻鑄者 Airaindor 鑄造廠 Airaindor 30（長）x 18（寬）x 24（高）cm 簽名雕刻台座：A. Rodin Artco France 1998 編號台座後側：1/75 Airaindor Cire Perdue

Conceived in 1884; cast in 1998 Bronze with black patina Editor: Artco France, ed. 1/75 Foundry: Airaindor 30(L) x 18(W) x 24(H) cm Engraved on the base A. Rodin with the editor mark Artco France and dated 1998 Numbered on the base 1/75 with the foundry mark Airaindor Cire Perdue PROVENANCE Gallery Artco France, Paris Private collection, Taiwan EXHIBITED Rodin , Fondation Pierre Gianadda, Martigny, Switzerland, May 12 - October 17, 1984 (different edition) Rodin in Taichung , Modern Art Gallery, Taichung, Taiwan, September 22 - December 22, 2007 (different edition) ILLUSTRATED Pierre Gassier, Rodin , Fondation Pierre Gianadda, Martigny, Switzerland, 1984, color illustrated, p. 111 (different edition) Li-jen Shih, Rodin in Taichung , exhibition catalogue, Modern Art Gallery, Taichung, Taiwan, 2007, color illustrated, p. 124 (different edition) This lot is to be sold with a certificate issued

by Gallery Artco France, Paris.

NT$ 550,000 - 850,000 HK$ 139,000 - 215,000 US$ 17,800 - 27,500 RMB 127,000 - 197,000

來源 Artco France畫廊，巴黎 私人收藏，台灣 展覽 「羅丹」，皮耶．吉安納達基金會，馬蒂尼， 瑞士，展期自1984年5月12日至10月17日（不同版次） 「羅丹雕塑展－地獄門 VS. 愛」，現代畫廊， 台中，台灣，展期自2007年9月22日至12月22日（不同版次） 圖錄 皮耶．賈西耶，《羅丹》展覽圖錄，皮耶．吉安納達基金會， 馬蒂尼，瑞士，1984，彩色圖版，頁111（不同版次） 施力仁，《羅丹雕塑展－地獄門 VS. 愛》展覽圖錄， 現代畫廊，台中，台灣，2007，彩色圖版，頁124（不同版次） 附巴黎Artco France畫廊開立之作品保證書

137

059

AUGUSTE RODIN

奧古斯特．羅丹

(French, 1840 - 1917)

加萊市民－皮埃爾．維桑

Les Bourgeois de Calais-Pierre de Wiessant

1884-1895年構思，1998年翻鑄 銅雕 版次 4/25 翻鑄者 Artco France 鑄造廠 Airaindor 19（長）x 22（寬）x 45（高）cm 簽名雕刻台座：A. Rodin Artco France 1998 編號台座後側：4/25 Airaindor Cire Perdue

Conceived in 1884-1895; cast in 1998 Bronze with black patina Editor: Artco France, ed. 4/25 Foundry: Airaindor 19(L) x 22(W) x 45(H) cm Engraved base A. Rodin with the editor mark Artco France and dated 1998 Numbered base 4/25 with the foundry mark Airaindor Cire Perdue PROVENANCE Gallery Artco France, Paris Private collection, Taiwan EXHIBITED Rodin in Taichung , Modern Art Gallery, Taichung, Taiwan, September 22 - December 22, 2007 (different edition) ILLUSTRATED Antoinette Le Normand-Romain and Annette Haudiquet, Rodin, Les Bourgeois de Calais , Rodin Museum, Paris, 2002, color illustrated, p. 47 (different edition) Li-jen Shih, Rodin in Taichung , exhibition catalogue, Modern Art Gallery, Taichung, Taiwan, 2007, color illustrated, p. 118 (different edition)

來源 Artco France畫廊，巴黎 私人收藏，台灣 展覽 「羅丹雕塑展－地獄門 VS. 愛」，現代畫廊，台中， 展期自2007年9月22日至12月22日（不同版次） 圖錄 安托瓦內特．勒諾曼－羅曼、安妮特．歐迪凱， 《羅丹：加萊市民》，羅丹美術館，巴黎，法國，2002， 彩色圖版，頁47（不同版次） 施力仁，《羅丹雕塑展－地獄門 VS. 愛》展覽圖錄， 現代畫廊，台中，台灣，2007，彩色圖版，頁118（不同版次） 附巴黎Artco France畫廊開立之作品保證書

This lot is to be sold with a certificate issued

by Gallery Artco France, Paris.

NT$ 600,000 - 900,000 HK$ 152,000 - 228,000 US$ 19,400 - 29,100 RMB 139,000 - 208,000

藝術家創作《加萊市民群像》法國巴黎羅丹美術館藏 Auguste Rodin, Les Bourgeois de Calais , Collection of Musée Rodin, Paris Photo: Odile Chen © Musée Rodin, Paris

139

060

TRUNG NGUYEN (Vietnamese, b. 1940)

Nude 1989 Oil on canvas 108 x 65 cm Signed upper left ng Trung and dated 9.89 Signed and inscribed reverse PROVENANCE Private collection, Taiwan (The current owner’s family acquired directly from the artist around 1990)

NT$ 300,000 - 460,000 HK$ 76,000 - 116,000 US$ 9,700 - 14,900 RMB 69,000 - 106,000

阮忠

1940年生於越南，以優美越南女性之姿描繪見長。其筆下人物，身

裸女

形修長髮絲飄逸，嫻靜高雅氣質，使人聯想到義大利文藝復興的波

1989年 油彩 畫布 108 x 65 cm 簽名左上：ng Trung 9.89 簽名題識畫背

提伽利，然背景服飾與衣著姿態同時保留越南傳統與佛教元素，定 位藝術家東西合併，融會貫通的超脫美學。1963年即獲得越南春季 沙龍競賽金獎。自1990年代起連年受邀於歐亞各地私人畫廊及美術 館巡迴展覽，作品為歐亞等國家級藝術博物館典藏，如：吳志明市 藝術博物館、義大利巴薩諾圖書文獻博物館、新加坡國家美術館、 河內越南美術博物館。

來源 私人收藏，台灣 （現藏者家族約1990年前後直接購自藝術家本人）

Born in Vietnam in 1940, Trung is known for his beautiful works of Vietnamese women. The figures he paints have long slender bodies, flapping hair, and demure elegance, reminiscent of the style of Italian Renaissance painter Sandro Botticelli.

However, the background, apparel, clothing, and posture retain Vietnamese traditions and Buddhist elements. This showcases an artistic tendency to merge things and transcend aesthetics.

In 1963, he won the gold medal in the Vietnam Spring Salon Exhibition. Since the 1990s, he has been invited to show his paintings in traveling exhibitions organized by private galleries and museums in Europe and Asia. His works of art have been included in the collections of national art museums in Europe and Asia, such as Ho Chi Minh City Fine Art Museum, Museo Biblioteca Archivio in Bassano del Grappa, Singapore National Art Museum, and Vietnam Fine Art Museum in Hanoi.

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061

阮林

越南畫家阮林，1941年出生於芹苴市，1965年

(Vietnamese, b. 1941)

抽象

畢業於西貢市國立美術學院。自1962年起獲獎無

Abstract

1974年 油彩 畫布 80 x 80 cm 簽名左上：n.g. Lâm 74

LAM NGUYEN

1974 Oil on canvas 80 x 80 cm Signed upper left n.g. Lâm and dated 74

NT$ 90,000 - 140,000 HK$ 23,000 - 35,000 US$ 2,900 - 4,500 RMB 21,000 - 32,000

數，展覽於歐洲、美洲及亞洲各地，任教於嘉定 省國立裝飾及美術學院至1975年。現為胡志明市 美術協會成員、越南美術協會成員。作品典藏於 越南國家美術館、胡志明市美術館，以及各地私 人收藏，包括義大利、荷蘭、比利時、法國、瑞 士、日本、新加坡、馬來西亞、香港及美國。 阮林擅長漆畫及油畫，漆畫技藝達五十年以上， 2013年從眾多競爭者中脫穎而出，被法國政府指 定修復越南傳奇漆畫大師阮嘉治（1908 - 1993） 一幅稀有畫作。個人創作方面，阮林油畫風格以 極簡現代抽象為主，同時也承繼了越南當地繪畫 傳統，厚筆塗抹及黑色油彩的運用，即是源自東 方書法的影響。

062

TRUNG NGUYEN (Vietnamese, b. 1940)

Nude on Blue Back Ground 1989 Oil on canvas 80 x 80 cm Signed lower right ng. Trung 11.89 Signed reverse ng. Trung and dated 89 PROVENANCE Private collection, Asia (The current owner’s family acquired directly from the artist around 1990)

阮忠 藍色背景的裸女 1989年 油彩 畫布 80 x 80 cm 簽名右下：ng. Trung 11.89 簽名題識畫背：ng. Trung 89 來源 私人收藏，亞洲 （現藏者家族約1990年前後直接購自藝術家本人）

NT$ 200,000 - 300,000 HK$ 51,000 - 76,000 US$ 6,500 - 9,700 RMB 46,000 - 69,000

143

063

LAM NGUYEN

阮林

(Vietnamese, b. 1941)

午後黃山

Afternoon Mountain Huang

1974年 油彩 畫布 80 x 90 cm 簽名右上：ng Lâm 74 簽名題識畫背（略）

1974 Oil on canvas 80 x 90 cm Signed upper right ng Lâm and dated 74 Signed reverse NGUYỄN LÂM, titled CHIỀU TRÊN ĐỒI HOANG, inscribed 80 x 90 cm , and dated 1974

NT$ 100,000 - 150,000 HK$ 25,000 - 38,000 US$ 3,200 - 4,800 RMB 23,000 - 35,000

Vietnam artist Lam Nguyen was born in 1941 in Can Tho and graduated from National School of Fine Arts Saigon in 1965. Since 1962, the artist has received numerous awards and exhibited internationally in Europe, America and Asia.

Before 1975, he taught at the Nation School of Decoration and Fine Arts, Gia Dinh. Nguyen is a member of Ho Chi Minh City Fine Arts Association and Vietnam Fine Arts Association. His work is included in permanent collections of Vietnam National Museum of Fine Arts and Ho Chi Minh City Museum of Fine Arts, and private collections spanning from Italy, Netherlands, Belgium, Switzerland to Japan, Singapore, Malaysia, Hong Kong and the US. Lam Nguyen masters in lacquer and oil paintings, and is recognized for his over-50-year experiences in lacquer painting. In 2013, he was chosen by the French government among other international candidates to restore a rare painting by the legendary Vietnamese lacquer painter Gia Tri Nguyen (1908 - 1993). In terms of his own artistic production, Lam Nguyen is best known for his abstract minimalist modern paintings. However, the Vietnamese tradition remains in his art, especially the use of heavy brushstrokes and black paint, which is reminiscence of calligraphy technique.

064

TRUNG NGUYEN

阮忠

(Vietnamese, b. 1940)

玫瑰色背景的裸女

Nude on Rose Back Ground

1989年 油彩 畫布 80 x 80 cm 簽名右下：ng. Trung 12.89 簽名題識畫背：ng. Trung 89

1989 Oil on canvas 80 x 80 cm Signed lower right ng. Trung 12.89 Signed reverse ng. Trung , dated 89 PROVENANCE Private collection, Asia (The current owner’s family acquired directly from the artist around 1990)

來源 私人收藏，亞洲 （現藏者家族約1990年前後直接購自藝術家本人）

NT$ 200,000 - 300,000 HK$ 51,000 - 76,000 US$ 6,500 - 9,700 RMB 46,000 - 69,000

145

065

DAO HAI PHONG (Vietnamese, b. 1965)

Moonlit Night 2006 Oil on canvas 95 x 90 cm Signed lower right PHONG and dated 2006 PROVENANCE Apricot Gallery, Hanoi Private collection, Singapore This lot is to be sold with a certificate of authenticity issued by Apricot Gallery, Vietnam.

NT$ 120,000 - 180,000 HK$ 30,000 - 46,000 US$ 3,900 - 5,800 RMB 28,000 - 42,000

陶海豐

1965年生於藝文世家，陶海豐是知

月光之夜

名的越南藝術家，1987年從河內電

2006年 油彩 畫布 95 x 90 cm 簽名右下：PHONG 2006

影戲劇學院畢業。陶海豐的繪畫主

來源 杏子藝廊，河內 私人收藏，新加坡 附越南杏子藝廊開立之作品保證書

題，總是以河內市以及周遭的鄉村 為主，風景秀麗總是激發他無窮的 創意靈感。而人物的主題則是很少 出現在他的作品之中。陶海豐擅長 用色彩捕捉回憶與孩童時期的白日 夢。畫作中出現的大量樹木，則是 作為生命宇與力量的象徵。在畫作 中以明亮大膽的色調展示寧靜、優 雅及安詳。

066

DAO HAI PHONG (Vietnamese, b. 1965)

Flames of Sunset 2007 Oil on canvas 90 x 95 cm Signed lower right PHONG and dated 2007 PROVENANCE Apricot Gallery, Hanoi Private collection, Singapore This lot is to be sold with a certificate of authenticity issued by Apricot Gallery, Vietnam.

NT$ 120,000 - 180,000 HK$ 30,000 - 46,000 US$ 3,900 - 5,800 RMB 28,000 - 42,000

陶海豐 彩霞之炎 2007年 油彩 畫布 90 x 95 cm 簽名右下：PHONG 2007 來源 杏子藝廊，河內 私人收藏，新加坡 附越南杏子藝廊開立之作品保證書

Born in 1965 into an artistic family, Dao Hai Phong is a renowned Vietnamese artist who graduated f ro m H a n o i C o l l e g e o f F i l m a n d Theatre in 1987. The theme of Dao’s painting is always Hanoi city and the surrounding villages, the beauty of which has been his endless source of inspiration. The human figures are rarely seen in his paintings. Dao uses the colors to bring memories and dreams of his childhood to life. The iconic image of voluminous trees in his paintings is a symbol of life and strength. The atmosphere in Dao’s landscape is symbolic with bright and bold palette yet radiating tranquility, elegance and serenity.

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067

RONALD VENTURA (Filipino, b. 1973)

Untitled 2013 Oil on canvas 41 x 31 cm Signed lower right Ventura and dated 13 PROVENANCE Perrotin Gallery, Hong Kong

羅納德．溫杜拿 無題 2013年 油彩 畫布 41 x 31 cm 簽名右下：Ventura 13 來源 貝浩登畫廊，香港

NT$ 600,000 - 900,000 HK$ 152,000 - 228,000 US$ 19,400 - 29,100 RMB 139,000 - 208,000

羅納德．溫杜拿1973年出生於馬尼拉。1993年畢業於菲律賓聖 托瑪斯大學。溫杜拿的「動物人系列」以人體為創作主題，從中 寄托與人體關聯的各種意念。藝術家受十七世紀初蝕刻版畫上人 性化動物造型的啟發，其作品中的動物配以人體結構呈現，而 人物則加入了動物的特徵展示。以纖維樹脂玻璃塑造的雕塑成形 後，藝術家精心地為此作品親手上色和簽名。近年來，溫杜拿屢 獲殊榮，包括2003年「菲律賓文化中心十三大傑出藝術家獎」 及2008年日本「第9屆大分亞洲雕塑藝術展公開賽優秀獎」。

羅納德．溫杜拿《空隙與籠》 2013 油彩 畫布 213.5 x 152 cm 2019年5月香港佳士得拍賣 編號9 港幣2,375,000成交 Ronald Ventura, Voids and Cages (Untitled) , 2013, Oil on canvas, 213.5 x 152 cm Christie's Ｈong Kong, Ｍay 2019, lot 9, US$ 302,576 sold

Born in Manila, Philippines in 1973, Ventura received a B.F.A from the School of Fine Arts of the University of Santo Tomas in 1993. Ventur's oeuvre has been a conscious preoccupation in treating the human body as a radical terrain from which a multitude of meanings may be derived, as epitomizes by his Zoomanities series. Finding inspirations in the early 17th century etchings of humanized animals he once saw, Ventura frequently gives his animal subjects human anatomies and vice versa. The fiber resin glass sculptures are each meticulously hand painted and signed by the artist. Over the years, his awards include, 2003 "Thirteen Artist Award, Cultural Center of the Philippines", Philippines; 2008 "Award of Excellence by the 9th OITA Asian Sculpture Exhibition Open Competition” in Japan.

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068

PAUL WUNDERLICH (German, 1927 - 2010)

Minotauros 1977 Bronze with dark-brown patina, stainless steel, brass; ed. 480/2000 Foundry Venturi Arte, Bologna 14.7(D) x 18.5(W) x 78(H) cm Engraved bottom of leg Wunderlich and numbered 480/2000 PROVENANCE Private collection, Asia (Acquired directly from the artist) ILLUSTRATED Heinz Spielmann, Paul Wunderlich: skulpturen und objekte , Edition Volker Huber, Offenbach, 1988, color illustrated, no. 37, p. 291

NT$ 160,000 - 240,000 HK$ 41,000 - 61,000 US$ 5,200 - 7,800 RMB 37,000 - 56,000

保羅．萬得里奇 牛首人身 1977年 銅雕、不鏽鋼、黃銅 鑄造廠 Venturi Arte, Bologna；版次480/2000 14.7（長）x 18.5（寬）x 78（高）cm 簽名雕刻腿部：Wunderlich 版次腿部：480/2000 來源 私人收藏，亞洲 (購自藝術家本人) 圖錄 漢茲．史皮爾曼，《保羅．萬得里奇雕塑與物件》， 予柏出版社，德國奧芬巴赫，1988，彩色圖版， 編號37，頁291 保羅．萬得里奇以木刻、版畫、及雕塑作品聞名於世，其作品 造型特殊新穎且識別度高。雕塑作品受薩爾瓦多．達利所影 響，有著超現實主義的特色，以極為具象寫實的方式表現個人 的幻想。萬得里奇於1927年出生德國，1947年進入漢堡藝術 學院學習；於1961年榮獲圖像青年獎項，在隔年以獎金搬至巴 黎發展。1963至1968年間則回到漢堡藝術學院擔任雕版與繪 畫學的教授；1971年與攝影師卡琳．塞凱希結為連理，一同進 行藝術創作生涯。

069

PAUL WUNDERLICH (German, 1927 - 2010)

Kleine Nike 1975 Bronze with brownish patina, brass, portoro marble; ed. 353/1000 Foundry Venturi Arte, Bologna 10(L) x 6.5(W) x 47(H) cm (sculpture) 8(L) x 11.3(W) x 12.2(H) cm (base) Engraved foot Wunderlich and numbered 353/2000 With foundry mark Cerapersa Ventura PROVENANCE Private collection, Asia (Acquired directly from the artist) ILLUSTRATED Heinz Spielmann, Paul Wunderlich: skulpturen und objekte , Edition Volker Huber, Offenbach, 1988, color illustrated, no. 24, p. 290

NT$ 180,000 - 280,000 HK$ 46,000 - 71,000 US$ 5,800 - 9,100 RMB 42,000 - 65,000

保羅．萬得里奇 勝利女神 1975年 銅雕、黃銅、波特羅大理石 版次 353/1000 鑄造廠 Venturi Arte, Bologna 10（長）x 6.5（寬）x 47（高）cm（雕塑） 8（長）x 11.3（寬）x 12.2（高）cm（底座） 簽名雕刻足部：Wunderlich 353/1000 鑄造廠簽名底座：Cerapersa Venturi 來源 私人收藏，亞洲 (購自藝術家本人) 圖錄 漢茲．史皮爾曼，《保羅．萬得里奇雕塑與物件》， 予柏出版社，德國奧芬巴赫，1988， 彩色圖版，編號24，頁290 Paul Wunderlich was known by the world with his woodcut, lithographs, and sculpture works which are highly recognizable with the particularly new and distinct style. Wunderlich’s sculpture work features surrealism character which was influenced by Salvador Dali. The artist created artworks with a realistic and figurative approach to elaborate his personal fantasy. Wunderlich was bor n in Ger many in 1927, he entered the University of Fine Arts of Hamburg in 1947. In 1961 he received the Prize of the Youth for graphics, therefore he went to Paris the next year with the awarded money for further advancement. The artist returned to the University of Fine Arts of Hamburg as a professor for engraving and painting between 1963 and 1968. Wunderlich married the photographer Karin Székessy in 1971, and continued their art pursuit together.

151

070

ACHILLE GASTON MARCHAL (French, 1874 - 20th century)

Landscape 1929 Oil on canvas 61 x 46 cm Signed lower right A. Marchal and dated 1929

阿 基 里 斯． 加 斯 頓． 馬 歇 爾 風景 1929年 油彩 畫布 61 x 46 cm 簽名右下：A. Marchal 1929 馬歇爾出生於1974年法國。受到印象派影響，他習於表現風景主題的

NT$ 100,000 - 150,000 HK$ 25,000 - 38,000 US$ 3,200 - 4,800 RMB 23,000 - 35,000

作品，並且專注於光線表現。馬歇爾強調光現變化在繪畫中營造的溫 暖和諧氣氛。空無人物的場景帶來平靜安寧的感受。

Marchal was born in 1874. He was inspired by the Impressionism, and used to paint the theme of Landscape. Marchal involves into the study of light, also emphasis its changing to accentuate the effect of the warm harmony atmosphere in the painting. The scenery without human express an emotion clam and peaceful.

071

ALEXANDER TSCHERNJAWSKI (Yugoslavian American, b. 1933)

Self Portrait Oil on canvas 107 x 86 cm Signed lower right A.Tschernjawski

NT$ 160,000 - 240,000 HK$ 41,000 - 61,000 US$ 5,200 - 7,800 RMB 37,000 - 56,000

亞歷山大 ．柴謝加夫斯基 藝術家自畫像 油彩 畫布 107 x 86 cm 簽名右下：A. Tschernjawski

1933年出生於南斯拉夫，長年生活與創作於美國波士頓。擅長描寫現代 都市風景與人物肖像畫，其黑白木刻版畫、墨水手稿作品也同為世人喜 愛。其創作風格，風景畫構圖扎實，習以大量黑色線條構成景物，並用強 烈對比橘紅暖性色調，突顯畫中視覺主軸。自畫像為藝術家經典題材，人 物削瘦形象，身著工作服或手持畫筆、香菸，頹廢淡泊的氛圍，顯見其畫 作精神承自二十世紀初期西歐發展的藝術風格。

Born in 1933 in Yugoslavia, Alexander Tschernjawski resides and works in Boston, USA. He is adept at illustrating modern urban scenery and portraiture, among which his black-and-white woodblock printings and ink drawings are also well-liked. Tschernjawski’s scenery paintings have a solid composition, usually forming the subjects with a large number of black lines, strongly contrasting red-orange warm hue to emphasize key visual elements. Self-portraiture is a classic subject matter for the artist. His character is slim in a painter’s suit, either holding a paintbrush or a cigarette, creating an apathetic, decadent atmosphere and reflecting a spirit inherited from the artistic style in the early 20th century Western Europe.

153

072

ELAINE GELBAND IMMERMAN (American, 1925 - 2014)

Still Life 1978 Oil on canvas 76 x 60.5 cm Signed lower right E. G. Immerman PROVENANCE Cairndow Gallery, New York

NT$ 120,000 - 180,000 HK$ 30,000 - 46,000 US$ 3,900 - 5,800 RMB 28,000 - 42,000

艾 琳 ．伊 默 曼 靜物 1978年 油彩 畫布 76 x 60.5 cm 簽名右下：E. G. Immerman 來源 凱倫多畫廊，紐約

073

ALFRED JAN WEISSEMBERGH (French, 19th - 20th century)

Portrait of a Boy 1938 Oil on curved panel 41 x 33 cm Signed upper left Alfred Jan Weissembergh and dated 1938

艾 佛 列 德． 揚 ．維 森 伯 格 男孩畫像 1938年 油彩 弧形木板 41 x 33 cm 簽名左上：Alfred Jan Weissembergh 1938 來源 私人收藏，荷蘭

PROVENANCE Private collection, Netherlands

NT$ 90,000 - 130,000 HK$ 23,000 - 33,000 US$ 2,900 - 4,200 RMB 21,000 - 30,000

155

074

PATRICK REAULT (French, b. 1955)

Soir d'automne 2008 Oil on canvas 120 x 120 cm Signed lower right P. Reault Signed reverse P. Reault and titled Soir d'automne PROVENANCE Opera Gallery, Singapore Private collection, Taiwan

派 特 里 克． 雷 奧 秋夜 2008年 油彩 畫布 120 x 120 cm 簽名右下：P. Reault 簽名題識畫背：Soir d'automne, P. Reault 來源 歌劇畫廊，新加坡 私人收藏，台灣 附新加坡歌劇畫廊開立之作品保證書

This lot is to be sold with a certificate of authenticity issued by Opera Gallery, Singapore.

NT$ 280,000 - 420,000 HK$ 71,000 - 106,000 US$ 9,100 - 13,600 RMB 65,000 - 97,000

法國當代畫家派特里克．雷奧在成為藝術家之前，曾是演員與音樂家。1980年代初他開始於法國馬賽發展藝術 生涯。他注重畫面中光線的探索，並深受兩位藝術大師史塔耶爾與泰納的啟發。雷奧的作品用色濃烈，結構簡 潔，描繪法國鄉間獨有的靜謐氣氛。

Patrick Reault is a contemporary French painter. He was an actor and musician before starting his career as a painter in Marseille at the beginning of the 1980s. He drew in the search of lights and had been inspired by two artists: Nicolas de Staël and William Turner. Reault's work is intense in color and simple in composition, revealing the tranquil atmosphere in the French countryside.

157

075

JACQUES BOUYSSOU (French, 1926 - 1997)

Grandcamp Régate c. 1980s Oil on canvas 46.5 x 53 cm Signed lower left Jacques Bouyssou with a monogram of the artist Titled verso Grandcamp Régate EXHIBITED Jacques Boussous Solo Exhibition , Dimensions Art Center, Taipei, November 11 - 30, 1989 ILLUSTRATED Jacques Boussous , Dimensions Art Center, Taipei, 1989, color illustrated

NT$ 120,000 - 180,000 HK$ 30,000 - 46,000 US$ 3,900 - 5,800 RMB 28,000 - 42,000

傑 克 ．波 依 素

波依素出生於法國北部翁弗勒區域。擅於以

大營地競渡

乾淨明亮的顏色，描繪水邊景色、街景的光

約 1980 年代 油彩 畫布 46.5 x 53 cm 簽名左下：Jacques Bouyssou 題識畫背：Grandcamp Régate

線與氛圍。波依素自小及熟識奧東．弗里耶

展覽 「1989法國和諧大師波依素個展」， 帝門藝術中心，台北， 展期自1989年11月11日至30日 圖錄 《傑克．波依素畫輯》，帝門藝術中心， 台北，1989，彩色圖版

茨、莫依斯．奇斯林、費爾南．勒澤、胡 奧．杜菲等繪畫大師。曾在特魯瓦藝術學院 學習建築，而日後至巴黎大茅舍藝術學院、 奧東．弗里耶茨工作室時，才開始學習繪 畫。1955年獲下諾曼第沙龍首獎，1965年 獲多維爾首獎，1978年獲頒巴黎市勳章。

Jacques Bouyssou was born in Honfleur commune, France. He was acquainted with painting masters Othon Friesz, Raoul Dufy, Moïse Kisling, and Fernand Léger at his early age. Bouyssou had studied architecture at the Beaux Arts de Troyes.

He started to paint at the time when he began to study in Othon Friez’s studio at Académie de la Grande Chaumière in Paris. Bouyssou won the first price of the Lower Normandy Salon in 1955, the first price of Deauville in 1965, and the Medal of the City of Paris in 1978.

076

朱 利 安．泰 勒

英國當代具象畫家泰勒，曾於英國美術學

(British, b. 1954)

巴黎屋頂

院進修兩年後決定自行創作。自1975年以

Les Toits de Paris

油彩 畫布 60 x 81 cm 簽名左下：Julian Taylor 題識畫背框條：Les Toits de Paris

JULIAN TAYLOR

Oil on canvas 60 x 81 cm Signed lower left Julian Taylor Titled stretcher Les Toits de Paris PROVENANCE Private collection, Asia

NT$ 180,000 - 260,000 HK$ 46,000 - 66,000 US$ 5,800 - 8,400 RMB 42,000 - 60,000

來源 私人收藏，亞洲

來長居於法國。泰勒最喜歡的創作題材包 括燈塔、碼頭、港口、老式索具或帆船。 泰勒精準的繪畫技巧為其作品帶來一種精 緻的氛圍。他運用自身藝術語言，重新表 達一個抒情和詩意的世界，來提升觀者現 實生活中的感受。

As a figurative painter, Julian Taylor studied for two years in an art school in England and decided to paint as an autodidact. He started living in France in 1975. His favorite creation subjects are such as lighthouses, piers, harbors, vintage riggings or sailing boats. Taylor’s drawing accuracy establishes a sense of exquisite atmosphere in his works. He moves up viewer’s real-life experiences by re-expressing a world full of his own lyric and poetic art language.

159

077

THEO LOHMANN (Dutch, 1880 - 1963)

Bollenveld (A Tulip Field) 1928 Oil on canvas 28.5 x 45 cm Signed lower left Theo Lohmann Signed reverse Theo Lohmann and inscribed Drift 9 Blaricum PROVENANCE Private collection, Netherlands EXHIBITED Amsterdam Autumn Exhibition , The Independents - Association of Visual Artists, 1940

NT$ 120,000 - 180,000 HK$ 30,000 - 46,000 US$ 3,900 - 5,800 RMB 28,000 - 42,000

提 奧．洛 曼 鬱金香花田 1928年 油彩 畫布 28.5 x 45 cm 簽名左下：Theo Lohmann 簽名題識畫背：Theo Lohmann, Drift 9 Blaricum 來源 私人收藏，荷蘭 展覽 「阿姆斯特丹秋季畫展」，獨立視覺藝術家協會， 阿姆斯特丹，1940 提奧．洛曼1880年出生於荷蘭萊頓，繪畫自學而成，是當時著名的風景畫家。荷 蘭奧拉涅沃德「觀景台美術館」收藏的1925年之作《鬱金香花田》，與此幅拍品 色彩互異，但構圖相同，同以攝影式手法捕捉花田局部，對角線建構景深。

Self-taught landscape painter Theo Lohmann was born in 1880 in Leiden, Netherlands. The 1925 Tulip Field from the collection of the Museum Belvédère in Oranjewoud, Netherlands appears to be the pendant of the present lot. The two are different in color, but with the same composition.

Referring to photographic technique, they both capture and depict the partial field, using a strong diagonal to construct the perspective.

078

MARGUERITE HYNCKES-ZAHN

瑪 格 莉 特． 海 因 克 斯－ 贊 恩

(Dutch, 1897 - 1978)

靜物

Still Life

油彩 畫布 45.5 x 60.5 cm 簽名右下：MHZ

Oil on canvas 45.5 x 60.5 cm Initialed lower right MHZ PROVENANCE Private collection, Netherlands

來源 私人收藏，荷蘭 瑪格莉特．海因克斯－贊恩1897年出生於荷蘭，荷蘭魔幻

NT$ 180,000 - 280,000 HK$ 46,000 - 71,000 US$ 5,800 - 9,100 RMB 42,000 - 65,000

寫實主義畫家拉烏爾．海因克斯（R a o u l H y n c k e s）的妻 子，曾在巴黎大茅屋學院和阿姆斯特丹皇家美術學院學畫。

W i f e o f t h e D u t c h m a g i c a l re a l i s t p a i n t e r R a o u l Hynckes, Marguerite Hynckes-Zahn was born in 1897 in the Netherlands. She received her education at the Académie de la Grande Chaumière in Paris and the Amsterdam Rijksakademie.

161

079

PAUL AMBILLE (French, 1930 - 2010)

Polo à Bagatelle 1973 Oil on canvas 65 x 54 cm Signed lower left ambille 73 Signed reverse ambille , titled Polo à Batagalle and inscribed 15F, 65 x 54 PROVENANCE Private collection, Japan

NT$ 130,000 - 190,000 HK$ 33,000 - 48,000 US$ 4,200 - 6,100 RMB 30,000 - 44,000

保羅 ．昂 畢 爾

具像畫家保羅．昂畢爾，1930年出生於法國南部的貝濟

巴嘉戴爾馬球賽

耶（Bézier），畢業於巴黎美術學院，為當代享譽國際的

1973年 油彩 畫布 65 x 54 cm 簽名左下：ambille 73 簽名題識畫背：ambille, ''Polo à Batagalle'', 15F, 65 x 54

畫家之一，獲獎無數。1955年榮獲「羅馬大獎」，前往

來源 私人收藏，日本

羅馬羅馬梅蒂奇別墅（即法蘭西學院羅馬分院）深造。 1992年獲「海景沙龍金獎」，得「海景畫家」美譽。 1995至2007年任泰勒基金會理事長。其作品色調鮮明活 潑，筆觸間夾帶著顫動，霧面質感彷彿透過一層薄紗觀 看，氣氛夢幻，詩意盎然。

Figurative painter Paul Ambille was born in 1930 in Bézier in Southern France and graduated from the Ecole des Beaux-Arts in Paris. He is one of the most internationally acclaimed painters of our time and has received numerous awards. In 1955, he won the Prix de Rome and went to Villa Medici (Academy of France in Rome) for further study. In 1992, the artist was awarded the gold medal of the Salon de la Marine, thus credited “Painter of the Marine”. Ambille was the President of Taylor Foundation from 1995 to 2007. His work is composed of a spectrum of vibrant colors and trembling brushstrokes that create a matte finish as if the picture is seen through a veil, adding a dream-like atmosphere and infinite poetry to his painting.

080

YVES GANNE

伊 夫 ．甘 納 恩

(French, b. 1931)

青鳥

L'envol II

油彩 畫布 34 x 46 cm 簽名左上：Y. Ganne 簽名題識後背：Y. Ganne, L'envol II

Oil on canvas 34 x 46 cm Signed upper left Y. Ganne Signed reverse Y. Ganne and titled L'envol II PROVENANCE Private collection, Japan This lot is to be sold with a certificate of authenticity issued by World Home Products Inc.

來源 私人收藏，日本 附 World Home Products Inc. 開立之原作保證書 伊夫．甘納恩1931年出生於法國昂熱，就讀南特美術學院，其後前往巴黎，師 從費爾南．雷捷。1950年其作品在「青年繪畫沙龍展」受到注目，同年獲「芒

NT$ 130,000 - 190,000 HK$ 33,000 - 48,000 US$ 4,200 - 6,100 RMB 30,000 - 44,000

通市大獎」。1954年於杜魯安─大衛畫廊舉行巴黎首次個展，亦於倫敦圖斯及 桑斯畫廊展覽。作品為法國政府、巴黎市政府，以及巴黎現代美術館收藏。

Yves Ganne was born in 1931 in Angers, France. He studied at the Ecole des Beaux-Arts of Nantes and later with Fernand Léger in Paris. In 1950, he received critical notice at the exhibition of the Prix de la Jeune Peinture, the same year, he was awarded the Prix de la Ville de Menton. In 1954, he had his first Paris exhibition at Drouant-David Gallery, and later exhibited at Tooth and Son’s Gallery in London. His works were acquired by the French Government, City of Paris, and the Museum of Modern Art in Paris.

163

LOT 016

給予買家的重要通知 本拍賣會依據「羅芙奧股份有限公司業務規則」舉行，請在參加拍賣會之前仔細閱讀，充分理解以下規則： 1.

有意參與競投的買家需事前辦理登記申請手續：請出示有效證件 ( 如：身份證明、護照…) 並填寫登記文件以及繳納競投保 證金。

2.

3.

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 11 月 27 日以前完成匯款至本公司指定帳號如下 : 銀行： 匯豐（台灣）商業銀行 - 台北分行 銀行代碼：0810016 戶名：羅芙奧股份有限公司 帳號：001-234830-031（新台幣）或 001-234830-061（美金） 地址：台北市基隆路一段 333 號 14 樓 匯款時請指示銀行本公司需實收競投保證金全額，銀行手續費請匯款人負擔。

4.

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5.

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6.

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8.

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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。

165

IMPORTANT NOTICE TO BUYERS The auction will strictly abide by the Transaction Agreement set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1.

Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.).

The completion of a registration form and the payment of a bidding deposit are required.

2.

Bidding deposit in the amount of NT$ 600,000 or US$ 20,000.

3.

The bidding deposit must be transferred to Ravenel's specified Bank account prior to 27th November 2019, details as follow: Beneficiary's Bank: HSBC BANK (Taiwan) Limited.

SWIFT Code: HSBCTWTP Beneficiary's Name: Ravenel Ltd. Beneficiary's Account No: 001-234830-031 (NT$) or 001-234830-061 (US$) Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of bidding deposit. The payer will be responsible for any associated bank service fees.

4.

After the 27th November 2019, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 28th November to 1st December 2019). Acceptance will cease on 1st December by noon (No other forms of payment will be accepted).

5.

Telephone / written / internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 27th November 2019.

6.

If the bidding deposit has been transferred prior to 27th November 2019, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her/its paddle number.

7.

If the payment of the bidding deposit is made on the day of the auction, the payer may obtain his/her/its paddle number with valid personal identification (i.e. Identification Card, passport, etc.) for purposes of verification.

8.

Return of the Security Deposit: (1) Completed Transaction: (a) For successful bidder with a bidding deposit made through wire transfer, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer. (b) For successful bidders with bidding deposit made by Cash, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund. (c) If the Buyer, without any good cause, fails to pay any and all payment (including but without limitation, hammer price, buyer's premium, and other expenses) of the Lot to the Company within 7 days after the auction date, the Buyer shall not claim for the return of the bidding deposit.

(2) Nil Transaction: If the bidder is not able to purchase any lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. For individuals with a bidding deposit transferred by wire, the bidding deposit will be returned within 14 business days through means of a wire transfer. Cash bidding deposit will be returned to individuals on the same day after the auction.

9.

Successful bidder must settle the payment (hammer price, buyer's premium, and other expenses) prior to receiving the lot(s) on site.

If the price exceeds the amount of the bidding deposit, the successful bidder may settle the outstanding balance through the following means: (1) A cash payment must not exceed NT$ 1,000,000.

(2) A credit or China UnionPay payment: The credit payment must not exceed NT$ 1,000,000. The holder of the credit card or China UnionPay must be the successful bidder, credit payments from any title except for the successful bidder will not be permitted nor accepted.

10. Ravenel Ltd. retains full discretion to accept or decline a payment in the event of any unforeseen disputes or discrepancies.

委託競投表格 委託競投表格須於拍賣24小時前送抵國際藝術部。競投表格可傳真至： 國際藝術部 電話：+886-2-2708 9868 傳真：+886-2-2701 3306 投標者資料

拍 賣 名 稱：羅芙奧 2019 秋季拍賣會 薈萃：國際現代與當代藝術 拍 賣 編 號：TA1903 拍 賣 日 期：2019 年 12 月 1 日（星期日） 下午 1:00 拍 賣 地 點：台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路 199 號

客戶編號 （如有） 姓名 身份證字號 地址 郵碼 電話 （住宅） （辦公室） 傳真

電郵

簽名 （注意：本公司在取得閣下之簽名後方才接受競標；閣下所填報之姓名 及地址資料，將會被列印在發票上，隨後將不能更改） 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託， 以最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，服務費依最後落槌價乘以服務費率得之。詳見業務規則第二條第4項之 規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下者含參 仟貳佰萬元以20％計算；（2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳佰萬元 之部份以12％計算。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。

請用正楷填寫清楚 拍賣品編號 （按數字順序）

名

稱

競投價（新台幣） （服務費不計在內）

為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。

銀行證明 銀行名稱 銀行地址 銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話

羅芙奧股份有限公司 台北市106敦化南路二段76號15樓之2 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com ravenelart.com.cn

ABSENTEE BID FORM The absentee bid forms must be delivered to the International Art Department at least 24 hours before the auction begins. The bid forms may be faxed to: International Art Department Tel: +886 2 2708 9868 Fax: +886 2 2701 3306

Auction

Date Sale No. Location Address

RAVENEL AUTUMN AUCTION 2019 SELECT: Modern & Contemporary Art Sunday, December 1, 2019, 1:00 pm TA1903 Marriott Taipei 3F (Grand Space) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

Bidder’s Details Name ID number Address Post code Tel: (Daytime)

(Evening)

Fax

Email

Signature (Notice: We must have your signature to execute this bid. Billing name and address should agree with your state or local sales tax exemption certificate. Invoice cannot be changed after they have be printed.)

It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder.

I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid.

If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received.

I understand that if my bid is successful, I shall pay the final hammer price together with the buyer's premium. The buyer's premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Article 2, section 4 of the Transaction Agreement to the Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the buyer's premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the buyer's premium should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.)

The bid shall be subject to the Transaction Agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warranties that may be provided for certain items.

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Title

Bid price (NT$) (excluding service fee)

Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.

Bank Reference Approval Name of the bank Address of the bank

Name of the account Account number Contact of the bank Tel. No.

Ravenel Ltd. 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 ravenel.com ravenelart.com.cn

業務規則 下述規則，為羅芙奧股份有限公司(下稱「本公司」)與賣家訂立合約，亦 作為賣家之代理人與買家訂立合約之條款。準買家、買家及賣家務須細讀 各項規則並完全同意遵守本業務規則。準買家、買家請特別留意第二條第5 項，其對本公司之法律責任作了限定。 一、本業務規則所用詞彙之定義 在下列規定中，某些常用詞彙需加以解釋。此等詞彙定義如下： 1. 「買家」：指本公司所接受之出價最高之自然人或法人。 2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。 3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣 之自然人或法人。 4. 「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以 任何編號描述之一項或多項物品。 5. 「落槌價」：指本公司就某一拍賣品而接受之最高出價之價款。 6. 「買家服務費」：指買家按落槌價之某一百分比而支付本公司之費用； 收費率如第二條第4a項所列。 7. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之 價格售出。 8. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺 詐意圖，以就拍賣品之作者、來歷、年代、時期、文化或來源進行欺 騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品 在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義， 任何拍賣品均不會因為有任何損壞及／或任何形式之修整（包括重新上 漆）而成為膺品。 9. 「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險 之價值（不論保險是否由本公司安排購買）。 10. 「賣家服務費」：指賣家應支付本公司之費用。 二、買家 1. 本公司作為賣家代理人 本公司作為賣家代理人之身分行事。除另行協定外，在本公司之拍賣中 成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。 2. 拍賣前 a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之 物品。本公司就任何拍賣品及相關證明文件之真偽，均不對買家作任 何保證。 b. 拍賣品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述， 皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。對任何 拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍 賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或 損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議， 準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢 閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述 或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知 悉並瞭解所有拍賣品均以「現狀」售出，本公司對於任何拍出之拍賣 品狀態不作任何承諾或保證。 c. 符號表示 以下為本目錄所載符號之說明 ｏ保證項目 拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次 或一連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由 本公司與第三方共同提供。保證可為由第三方提供之不可撤銷競投之 形式做出。若保證拍賣品成功售出，提供或參與提供保證之第三方可 能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或 參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家 服務費。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、 日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計售 價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳 述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引而已，不應 作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。

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拍賣價格之估計，不應依據為拍賣品會成功拍賣之價格或拍賣品作 其他用途之價值陳述。 許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有 些說明或鑑定意見書會提述拍賣品之損壞及／或修整資料。此等資 料僅作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺 陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。 e. 買家之責任 有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任自行查 明並瞭解，並就拍賣品為自己獨立之判斷及評估，並確使自己感到 滿意。 3. 拍賣時 a. 估價 目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍 賣會須以新台幣結算，買家如須以新台幣之外其他貨幣繳付，須依 拍賣日現場公佈之匯率，折合所繳付之等值貨幣計算。 b. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地 進行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣 場地或參與拍賣。 c. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身 分證明。準買家應注意，本公司通常會要求對買家作出信用核查。 d. 競投保證金 競投者，應在領取競投號牌前繳納競投保證金，競投保證金的金額 由本公司在拍賣日前公佈。 (1) 若競投者未支付競投保證金，本公司有權不接受其競投。若競 投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證 金。 (2) 若競投者成為買家，則本公司有權將此保證金自動轉化為已成 交拍賣品購買款項之一部（包含落槌價、服務費或運費等相關 費用），若尚有餘款須退回給買家；若買家無正當理由未於成 功拍賣日期後七天內支付全部應支付之成交拍賣品購買款項 （包含落槌價、服務費或運費等相關費用）予本公司，買家不 得請求返還競投保證金。 e. 競投者為買家 競投者將被視為買家而須承擔個人法律責任，除非登記時已經與本 公司書面協定，競投者僅為第三人之代理人，且該第三人復為本公 司所接受者。 f. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公 司將盡適當努力代其競投，但代為競投指示須於拍賣前送抵本公 司。如本公司就某一拍賣品而收到多個委託競投之相等競投價，而 在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣品會歸其 委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承 諾所限，而拍賣進行之情況可能使本公司無法代為競投。由於此項 承擔乃本公司為準買家按所述條款提供之免費服務，如未能按委託 作出競投，本公司將不負任何法律責任。準買家如希望確保競投成 功，應親自出席競投。 g. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競 投者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無 法參加電話競投，本公司對賣家或任何準買家均不負任何責任。 h. 透過 Invaluable 進行網上競投 若準買家未能出席拍賣會，或可透過Invaluable網上競投服務於網上 競投屬意拍品，而承擔買家獨立責任。此項服務乃免費及保密。有 關透過 Invaluable 網上競投服務登記，進行網上競投之詳情，請參閱 本公司網頁 ravenel.com。使用Invaluable網上競投服務之準買家須接 受透過Invaluable網上競投服務進行即時網上競投之附加條款（可參 閱網站），以及適用於該拍賣之業務規則所規範，本公司得隨時修 改該業務規則。 i. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參 考，不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外 匯，其準確程度均可能會出現非本公司所能控制之誤差。買家因依 賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之任何損 失，本公司概不負責。

j. 錄映影像 在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是 否與成功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買 家均不負任何責任。 k. 拍賣官之決定權 拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動 出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併， 以及如遇有誤差或爭議，將拍賣品重新拍賣。拍賣官會於拍賣開始 前或於相關拍賣品競標前對注意事項作出通告，準買家須負責自行 注意所有於拍賣會場發表之通告。建議使用即時網上競投服務參與 競投的準買家，於拍賣開始前登入，以確保準買家得知拍賣開始前 所作出之通告。 l. 成功競投在拍賣官之決定權下，下槌即顯示對最高競投價之接受， 亦即為賣家與買家合意依落槌價拍定拍賣品，視為成功拍賣合約之 訂立。 4. 成功拍賣後 a. 買家支付每件拍賣品之服務費費率 (1) 買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台 幣參仟貳佰萬元以下者含參仟貳佰萬元以落槌價之20％計算。 (2) 落槌價於新台幣參仟貳佰萬元以上者，採分為二階段計費，其中 新台幣參仟貳佰萬元以落槌價之20％計算，超過新台幣參仟貳 佰萬元之部份再以落槌價之12％，加總計算服務費金額。 b. 稅項 買家應付予本公司之款項，如須另行支付貨物、服務稅或其他稅則 時（不論由台灣政府或別處所徵收）。買家須負責按有關法律所規 定之稅率及時間，自行繳付稅款。 c. 付款 成功拍賣後，買家須向本公司提供其真實姓名及永久地址。如經本 公司要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳 號。買家應於拍賣日期後七天內悉數支付應支付予本公司之款項 （包含落槌價、服務費或運費等相關費用）。即使買家希望將拍賣 品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有 權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之 款項為新台幣以外之貨幣，須依拍賣日現場公佈之匯率（台灣銀 行），並以本公司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣 之拍賣項目，直至欠本公司之款項已悉數支付為止。已購拍賣品在 暫時保留期間，由成功拍賣日後起算七天將受保於本公司之保險， 如屆時拍賣品已被領取，則受保至領取時為止。七天期滿後或自領 取時起（以較早者為準），已購拍賣品之風險全由買家承擔。 e. 介紹裝運及運輸公司 本公司之貨運部門在買家要求下，可為買家介紹運輸公司、安排付 運及購買特定保險，但本公司在此方面不負任何法律責任。買家必 須預先繳付運輸費用。 f. 不付款或未有領取已購拍賣品之補救辦法 如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下 述一項或多項權利或補救辦法： (1) 在成功拍賣日後起算超過七天仍未付款，則按不超過台灣銀行基 本放款利率加收10%之年利率收取整筆欠款之利息。此外本公司 可同時按日收取依成交價（含落槌價、服務費）1％計算之懲罰 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.

g. No Collection of the Lot Sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, handling, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid in full can the sold Lot be collected. h. Export Permit Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days following the auction date; nor does it affect the Company's right to impose interest on delayed payments.

If the Buyer requests that the Company applies for the export permit on his/hers/its behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes.

If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom.

5. The Legal Responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 2, Section 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Seller, the Company, the employees or the agents of the Company make no guarantee impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein.

6. Return of Payments for Counterfeits or stolen goods The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit or stolen goods, or involved in obvious illegality by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields. b. Or the method used to prove that the Lot is a counterfeit or stolen goods is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he/she considers the relevant auction item a counterfeit or stolen goods.

(2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day without any damage.

(3) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit or stolen goods (The Company has the final and sole discretion and decision and such decision shall not be objected in this regard). The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim. Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer cannot claim interests.

The interests of the warranty cannot be assigned and belong solely to the Buyer who receives the original invoice on which such Buyer's name is recorded from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit or stolen goods based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. If the result of appraising and verifying whether the Lot is a counterfeit or stolen goods by the Company conflicts with the evidence provided by the Buyer, the Company's said result shall prevail over the evidence provided by the Buyer.

Please refer to our website for seller’s Transaction Agreement. http://ravenel.com http://ravenelart.com.cn

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