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

AUTUMN AUCTION 2019 TAIPEI

羅芙奧台北 2019 秋季拍賣會 亞洲現代與當代藝術

RAVENEL AUTUMN AUCTION 2019 TAIPEI Modern and Contemporary Asian Art 拍賣日期

地點

2019年12月1日（日）下午 2:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳） 預展日期

地點

台中 2019年11月9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 高雄 2019年11月16日（六）~ 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 香港 2019年11月23日（六）~ 24日（日）上午10:00至下午7:00 君悅酒店 香港港灣道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（博覽廳）

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

PREVIEWS Taichung

Saturday, November 9, 2019, 1:00pm - 6:00pm Sunday, November 10, 2019, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Kaohsiung

Saturday, November 16 - Sunday, November 17, 2019, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan

Hong Kong

Saturday, November 23 - Sunday, November 24, 2019, 10:00am - 7:00pm Grand Hyatt Hong Kong Lounge, M/F, No. 1, Harbour Road, Hong Kong

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

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

王鎮華 Arthur Wang 董事長 Chairman

郭倩如 Clara Kuo 副董事長 Vice Chairman

李雅欣 Wendy Lee 執行長 Chief Excutive Officer

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

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

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

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

羅芙奧台北 2019 秋季拍賣會服務部門及連絡人

藝術品諮詢專家

網上競投

取貨及運輸事宜

藝術部總經理

請上 註冊 https://invaluable.com/login/

台灣

傅斐郡 電話：+886 2 2708 9868 轉 888 電子信箱：florafu@ravenel.com

藝術部資深副總經理 林慧菁 電話：+886 2 2708 9868 轉 886 電子信箱：maggielin@ravenel.com

藝術部協理 黃詩涵 電話：+886 2 2708 9868 轉 977 電子信箱：stellahuang@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。 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。

目錄訂閱

電話書面競標聯絡人

台灣．國際

台灣

李維屏 電話：+886 2 2708 9868 轉 880 電子信箱：apollineli@ravenel.com

林慧菁 電話：+886 2 2708 9868 轉 886 電子信箱：maggielin@ravenel.com

香港 林琬娸 電話：+852 2889 0859 電子信箱：kittylam@ravenel.com

上海．北京 李政希 電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com

香港 林琬娸 電話：+852 2889 0859 電子信箱：Kittylam@ravenel.com

中國 朱毅 電話：+86 10 8587 8099 電子信箱：vizhu@ravenel.com

國際 陳亭竹 電話：+886 2 2708 9868 轉 586 電子信箱：pennychen@ravenel.com

上海．北京

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。

李政希 電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.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。

香港 林琬娸 電話：+852 2889 0859 電子信箱：kittylam@ravenel.com

本目錄開放各界訂閱，詳細訂閱辦法，請參 照目錄之說明或請洽上述聯絡人。

國際 黃詩涵 電話：+886 2 2708 9868 轉 977 電子信箱：stellahuang@ravenel.com

吳博峯 電話：+886 2 2708 9868 轉 885 電子信箱：tommywu@ravenel.com

付款事宜 沈麗娟 電話：+886 2 2708 9868 轉 696 電子信箱：carolineshen@ravenel.com 有關付款詳細事宜，說明於本目錄後，如您 需要更進一步的諮詢，請洽上述聯絡人。

羅芙奧樂意提供您本次拍賣當中任何一項拍 品的狀況報告書，惟準買家需注意拍品均是 以「當時認定」之狀況賣出，相關細項請參 照目錄後之業務規則。請參照買家需注意事 項。

RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS

ONLINE BIDS

COLLECTION AND SHIPPING

President, Art Department

Register at https://invaluable.com/login/

Taiwan

Flora Fu Tel: +886 2 2708 9868 ext. 888 Email: florafu@ravenel.com

Senior Vice President, Art Department Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggielin@ravenel.com

Senior Manager, Art Department Stella Huang Tel: +886 2 2708 9868 ext. 977 Email: stellahuang@ravenel.com

PHONE BIDS AND WRITTEN BIDS Taiwan Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggielin@ravenel.com

Hong Kong Kitty Lam Tel: +852 2889 0859 Email: kittylam@ravenel.com

Shanghai．Beijing Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com

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

Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. Its also possible to bid online for selected lots. Please refer to ravenel.com for more information.

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

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

Hong Kong Kitty Lam Tel: +852 2889 0859 Email: kittylam@ravenel.com

Shanghai．Beijing Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com The catalogues are available for subscription.

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

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

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

Hong Kong Kitty Lam Tel: +852 2889 0859 Email: kittylam@ravenel.com

China Walter Zhu Tel: +86 10 8587 8099 Email: vizhu z@ravenel.com

International Penny Chen Tel: +886 2 2708 9868 ext.586 Email: pennychen@ravenel.com Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored.

We apologize for no acceptance of traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday.

Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you.

Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.

目次 / Contents

7

羅芙奧秋季拍賣會

Sale Information 10

羅芙奧之服務

Ravenel Services 13

藝術家索引

Index 14

亞洲現代與當代藝術

Modern and Contemporary Asian Art 257

給予買家的重要通知

Important Notice to Buyers 259

委託競投表格

Absentee Bid Form 261

業務規則

Transaction Agreement

藝術家索引 / Index

A

AI WEI-WEI 艾未未 Yoshitaka AMANO 天野喜孝 Daniel ARSHAM 丹尼爾．阿爾軒 Javier Calleja x APPortfolio 哈維爾卡勒加 x APPortfolio

319 108, 109 315, 316, 323, 324 342

B

Gary BASEMAN 格里．巴斯曼 Medicom Toy x Brandalism

101, 341 307, 308, 309, 310

C

Javier Calleja Chang Chia-ying Chang-Ling CHANG Wan-chuan CHAO Chung-hsiang CHEN Ching-jung CHEN Ting-shih

哈維爾．卡勒加 張嘉穎 常陵 張萬傳 趙春翔 陳景容 陳庭詩

CHU Teh-chun CHUANG Che

朱德群 莊喆

342 160, 161, 221 169, 170 174 197, 198 165 185, 212, 213, 214, 232 143, 144, 145, 200 166, 194, 201

D

F

KAWS (Brian Donnelly) x Dior KAWS〈布萊恩．唐納利〉 x Dior Dong Shawhwei 董小蕙 KAWS (Brian Donnelly) KAWS 〈布萊恩．唐納利〉

180 102, 120, 121, 130, 131, 241, 242, 243, 301, 302, 303, 304, 305, 311, 312, 326, 329, 331, 332, 333, 334, 335, 336, 337, 338, 339, 340 105 168 246, 247

Zilan GUAN (Violet KWAN) 關紫蘭 MR. BRAINWASH (Thierry Guetta) 洗腦先生

164 112

Ai HAIBARA 灰原愛 Kaws (Brian Donnelly) x Hajime SORYAMA Kaws x 空山基 Keith HARING 凱斯．哈林 ZHOU Chunya x Jaime Hayón 周春芽 x 亞米．海因 HO Kan 霍剛 HONG Ling 洪凌 HSIAO Chin 蕭勤 HSU Yu-jen 許雨仁 HUANG Gang 黃鋼 Poren HUANG 黃柏仁 HUNG Jui-lin 洪瑞麟 HUNG Yi 洪易

217, 218 329

J

JAN Chin-shui JU Ming

詹金水 朱銘

195 151, 157, 233

K

KATO Izumi Ishikawa KINICHIRO Hiroto KITAGAWA Jeff KOONS KUO Wei-kuo Yayoi KUSAMA

加藤泉 石川欽一郎 北川宏人 傑夫．昆斯 郭維國 草間彌生

110 211 215, 216 223 176 117, 124, 125, 126, 127, 128, 236, 237, 238, 239, 240

H

LI Chen LI Shih-chiao LIAO Chi-chun LIEN Chien-hsing LIU Kuo-sung LO Chan Peng LUO Zhongli

M

Takesada MATSUTANI 松谷武判 Medicom Toy x Brandalism Yoshinori MIZUTANI 水谷吉法 Takashi MURAKAMI 村上隆

111 307, 308, 309, 310 235 246, 247, 250, 251, 252, 313, 318, 321, 322, 328

N

Moe NAKAMURA

中村萌

Yoshitomo NARA

奈良美智

Isamu Noguchi

野口勇

220, 222, 225, 226, 327 103, 104, 106, 113, 114, 122, 123, 224, 253, 314, 325 306

O

Toul OTSUKI

大槻透

234

P

PANG Jiun

龎均

137, 158, 182

R

RAN In-Ting 藍蔭鼎 REN Zhe 任哲 RIMOWA x Daniel ARSHAM RIMOWA x 丹尼爾．阿爾軒 Ayako ROKKAKU 六角彩子

192 229 324

SANYU（CHANG YU） 常玉 SHEN Che-tsai 沈哲哉 SHIY De-jinn 席德進

139, 146, 179, 199 159 178, 186, 187, 193, 210 329, 330 317, 320

326

Léonard Tsuguharu FOUJITA 藤田嗣治 Alixe FU 傅慶豊 Takashi MURAKAMI x Fujiko. F. Fujio 村上隆 x 藤子．F．不二雄 Riusuke FUKAHORI 深堀隆介

G

L

S

219

Hajime SORAYAMA Pinn Su

T

空山基 蘇俊銓

Kaws (Brian Donnelly) x Jun Takahashi Kaws x 高橋盾 Atsuko TANAKA 田中敦子 T'ANG Haywen 曾海文 Walasse TING 丁雄泉

149, 150 134 135 167 138 172, 173 142, 148

107, 115, 118

311

TZENG Yong-Ning

曾雍甯

119 204 136, 189, 191, 196, 206 205

W

WANG Pan-youn Andy WARHOL

王攀元 安迪．沃荷

175, 202, 203, 207 244, 248, 249

Y

Bob YAN YANG Chihung YANG San-lang Tzu-chi YEH

閻博 楊識宏 楊三郎 葉子奇

181 133 177 140, 171

Z

ZAO Wou-ki ZHOU Chunya

趙無極 周春芽

147, 188, 190 129, 152

116, 245 129 162, 163 141 153, 154, 155, 156 209 183 230, 231 208 227, 228

李真 李石樵 廖繼春 連建興 劉國松 羅展鵬 羅中立

101

Gary BASEMAN (American, b. 1960)

Drawing 2005/2007 Marker pen on paper 29.2 x 20.3 cm Signed lower righ BASEMAN 2005/2007

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 1,900 RMB 7,000 - 14,000

格里•巴斯曼 簽名塗鴉 2005/2007 油性筆 紙本 29.2 x 20.3 cm 簽名右下：BASEMAN 2005/2007.

14

102

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

Drawing 2016 Marker pen on paper 29.2 x 21.3 cm Signed on the right side KAWS.. and dated 16

NT$ 60,000 - 120,000 HK$ 15,000 - 30,000 US$ 1,900 - 3,900 RMB 14,000 - 28,000

KAWS〈布萊恩．唐納利〉 簽名塗鴉 2016 油性筆 紙本 29.2 x 21.3 cm 簽名右：KAWS..16

103

Yoshitomo NARA (Japanese, b. 1959)

YOSHITOMO NARA +graf: A - Z Project Exhibition Invitation Card 2008 Print 21 x 15 cm Provenance:

Private collection, Netherlands EXHIBITED:

Yoshitomo NARA +graf:A-Z project, Baltic Centre for Contemporary Art, Gateshead, June 14 to October 26, 2008.

NT$ 110,000 - 220,000 HK$ 28,000 - 56,000 US$ 3,600 - 7,100 RMB 25,000 - 51,000

奈良美智 奈良美智+GRAF:A－Z計畫 展覽邀請卡 2008 印刷 木板 21 x 15 cm 來源:

私人收藏，荷蘭 展覽：

「奈良美智＋graf:A-Z計劃」，波羅的海當代藝術中 心，蓋茲黑德，展期自2008年6月14日至10月26日

16

104

Yoshitomo NARA (Japanese, b. 1959)

To Mr. Kurokawauchi 1999 Marker pen on paper 19 x 13 cm Signed lower center Na in Japanese, and dated 99 PROVENANCE:

Private collection, Tokyo Private collection, Hong Kong

NT$ 320,000 - 420,000 HK$ 81,000 - 106,000 US$ 10,300 - 13,600 RMB 74,000 - 97,000

奈良美智 致黑河內先生 1999 油性筆 紙本 19 x 13 cm 簽名中下：な' 99 來源：

私人收藏，東京 私人收藏，香港

105

Léonard Tsuguharu FOUJITA (Japanese-French, 1886 - 1968)

Fish and Shellfish Ink on paper 48.5 x 35.5 cm Signed upper right Tsuguharu in Kanji and Foujita in English Signed Tsuguharu Foujita in Kanji and titled Fish and Shellfish in Kanji; signed Togo seiji in Kanji, with one seal of collector on the labal attached to the reverse PROVENANCE:

The collection of Togo Seiji Kogire-Kai Auction, Kyoto

NT$ 320,000 - 420,000 HK$ 81,000 - 106,000 US$ 10,300 - 13,600 RMB 74,000 - 97,000

藤田嗣治 魚貝 水墨 紙本 48.5 x 35.5 cm 簽名右上 : 嗣治 Foujita 簽名提識簽條：藤田嗣治先生筆 魚貝 藏家親簽：東鄉青兒 鈐印：東鄉 來源：

東鄉青兒舊藏 古裂會，京都

18

106

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

浮世繪

UKIYO

1999

1999 Marker pen on paper 28 x 40 cm Signed lower center Na in Japanese, and dated 99

28 x 40 cm

PROVENANCE:

Private collection, New York Hockessin Auction, USA Private collection, Tokyo

NT$ 500,000 - 600,000 HK$ 127,000 - 152,000 US$ 16,200 - 19,400 RMB 116,000 - 139,000

油性筆 紙本 簽名中下：な' 99 來源：

私人收藏，紐約 霍克辛拍賣，美國 私人收藏，東京

107

Ayako ROKKAKU (Japanese, b. 1982)

Girl in Red Dress 2014 Acrylic on cardboard 79 x 67.5 cm

NT$ 420,000 - 650,000 HK$ 106,000 - 165,000 US$ 13,600 - 21,000 RMB 97,000 - 150,000

六角彩子 紅洋裝女孩 2014 壓克力 紙板 79 x 67.5 cm

20

108

Yoshitaka AMANO

天野喜孝

(Japanese, b. 1952)

高空飛翔

Flying High

汽車漆 鋁板

Automotive paint on aluminum panel 50(L) x 50(W) x 10(D) cm Signed on the right edge Y. Amano

簽名右側：Y. Amano

NT$ 500,000 - 600,000 HK$ 127,000 - 152,000 US$ 16,200 - 19,400 RMB 116,000 - 139,000

22

50(長) x 50(寬) x 10(厚) cm

109

Yoshitaka AMANO (Japanese, b. 1952)

Catwoman Automotive paint on aluminum panel 70(L) x 50(W) x 5.5(D) cm Signed on the lower right Y. Amano

NT$ 500,000 - 600,000 HK$ 127,000 - 152,000 US$ 16,200 - 19,400 RMB 116,000 - 139,000

天野喜孝 貓女 汽車漆 鋁板 70(長) x 50(寬) x 5.5(厚) cm 簽名右下：Y. Amano

110

Izumi KATO

加藤泉

(Japanese, b. 1969)

無題

Untitled

2004

2004 Oil on canvas 72.7 x 60.6 cm Signed on the reverse Kato in English and Izumi in Kanji inscribed oil on canvas, 72.7 x 60.6cm (20F) and dated 2004

72.7 x 60.6 cm

NT$ 550,000 - 650,000 HK$ 139,000 - 165,000 US$ 17,800 - 21,000 RMB 127,000 - 150,000

24

油彩 畫布 簽名畫背：2004 oil on canvas 72.7 x 60.6 cm (20F) KATO泉

111

Takesada MATSUTANI (Japanese, b. 1937)

Wave 97 - 5 - 16 1997 Glue, graphite paint on canvas 41 x 33 cm Signed on the reverse Matsutani in English, titled WAVE 975-16 in English and Kenji, dated 1997 and inscribed, Paris 41 x 33 cm

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

松谷武判 波動 97－5－16 1997 膠水 石墨塗料 畫布 41 x 33 cm 簽名畫背：WAVE 97-5-16 波動 97-5-16 Paris 1997 41 x 33 cm Matsutani

112

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

Smack !(Life is beautiful) 2012 Mixed media on canvas 91.5 x 61 cm Signed on the reverse Mr. Brainwash, titled Life is Beautiful and dated 2012

NT$ 700,000 - 1,300,000 HK$ 177,000 - 329,000 US$ 22,600 - 42,000 RMB 162,000 - 301,000

洗腦先生 (泰瑞．庫塔) Smack !(美麗人生) 2012 綜合媒材 畫布 91.5 x 61 cm 簽名畫背：Mr. Brainwash Life is Beautiful 2012

26

113

Yoshitomo NARA (Japanese, b. 1959)

Words Mean Nothing at All 2016 Woodcut print, edition no. 8/25 35.5 x 35.5 cm Signed lower edge Na in Japanese, dated 2016 and numbered 8/25

NT$ 1,100,000 - 1,600,000 HK$ 278,000 - 405,000 US$ 35,600 - 51,700 RMB 255,000 - 370,000

奈良美智 言語不代表一切 2016 木刻版畫 8/25 35.5 x 35.5 cm 簽名下方：8/25 2016 な

28

114

Yoshitomo NARA (Japanese, b. 1959)

Untitled 1992 Mixed media on paper 29.5 x 20.5 cm Signed lower center Na in Japanese and dated ‘92 ILLUSTRATED:

Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC,San Francisco, 2011, color illustrated, p. 61

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

奈良美智 無題 1992 綜合媒材 紙本 29.5 x 20.5 cm 簽名中下：な '92 圖錄︰

《奈良美智作品全集第一冊》，編年出版社，舊金山，2011，彩色圖 版，頁61

30

115

Ayako ROKKAKU

六角彩子

(Japanese, b. 1982)

無題

Untitled

2016

2016 Acrylic on canvas 65 x 175 cm Signed lower right Rokkaku Ayako in Japanese and dated 2016

65 x 175 cm

NT$ 2,200,000 - 3,200,000 HK$ 557,000 - 810,000 US$ 71,100 - 103,500 RMB 509,000 - 741,000

32

壓克力 畫布 簽名右下：2016 ロッカクアヤコ

116

Keith HARING (American, 1958 - 1990)

Untitled 1980s Marker, acrylic on paper 55 x 71 cm Signed lower right © K.Haring

My paintings are widely distinct from traditional paintings since Renaissance.

While those paintings reproduce life through realism, my paintings do not imitate life, but create it instead. -

PROVENANCE:

-- Keith Haring

Interbational Contempany Art Society Inc, New York Galerie Mark Hachem, Paris Pivate Collection, Asia

我的繪畫與文藝復興以來的傳統意義上的繪畫截然不同。那些繪畫

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

by Angel Ortiz Studio, New York.

NT$ 2,200,000 - 3,200,000 HK$ 557,000 - 810,000 US$ 71,100 - 103,500 RMB 509,000 - 741,000

凱斯．哈林 無題 1980 年代 壓克力 油性筆 紙本 55 x 71 cm 簽名右下：© K.Haring 來源：

International Contemparary Art Society Inc，紐約 Mark Hachem畫廊，巴黎 私人收藏，亞洲 附Angel Ortiz Studio開立之作品保證書 凱斯．哈林，活躍於20世紀80年代。其特色以簡單的線條、活潑亮 麗的色彩，看似小孩插圖般的人物、狗、飛碟，如雨後春筍般佈滿 1980年代紐約的地鐵及街頭，變成通勤的紐約市民日常生活的一部 份，這些不僅是塗鴉也是藝術，更是普普藝術家凱斯．哈林透過符 號與圖騰對當時社會議題的表態與反思。 此次的拍品《無題》前景與背景，室內與室外幾乎沒有區別。作品 中無論構圖有多麼複雜，所有動作壓縮在一個沒有深度的平面中。 儘管在凱斯．哈林的創作幾乎每件作品都有一種敍述性，但這個故 事既沒有結尾也沒有開始，很像電腦的任意輸入功能，觀看者或操 作者皆可以在任何一點解讀作品中的局部。他的藝術是對當下最切 身的回應，就如同人生，藝術也必須在時間的流動下不停的變化與 轉換。他反抗既定社會，將文化反思付諸街頭塗鴉，又將街頭塗鴉 帶到畫廊與博物館中，讓藝術界肯定街頭創作的價值。 凱斯．哈林的畫作傳達的不僅僅是外表看到的愛與包容系列，他更 讓出自他手的作品多了許多會讓世人省思社會的動力。透過創作傳 達他對社會的關懷，如政治議題、反種族歧視、反毒品氾濫、提倡 安全性行為等都是他筆下創作且想要帶給世人的提醒。他曾說過： 「藝術應該解放你的靈魂，觸發你的想像並激勵人們向前走。」直

34

用寫實來重現生活，我的畫不是去臨摹生活，而是去創造生活。---凱 斯．哈林

至今日，凱斯．哈林的藝術仍持續對當代藝術產生影響，他所關注 的社會議題仍不斷被探討。而他畫中標誌性的粗線條、童趣式的塗 鴉與不斷浮現的符號，已成為二十世紀普普藝術的代表印象。 Keith Haring was active in the 1980s during the 20th century. His works are characterized by simple outlines and lively bright colors, as his doodle-like figures, dogs, and flying saucers sprang up like mushrooms in New York’s subways and streets in the 1980s, becoming a part of New York commuters’ daily life. These are not only graffiti—they are an art, as well as the pop artist Keith Haring’s declaration and reflection on social issues at that time through symbols and totems.

In this work “Untitled,” there are nearly no distinctions between the foreground and background, indoor and outdoor. Despite the complexity in composition, all the actions in this piece of artwork are compressed into a zero depth plane. Although most of Keith Haring’s creations have a kind of narrative, this story does not have an end or a beginning. It resembles the computer’s arbitrary input function whereby viewers or users can interpret a part of the work from any one point. Keith Haring’s art expresses his most immediate response to a moment, just like it is in life where art must also constantly change and transform under the flow of time. He fought against the established society by putting cultural reflections into street graffiti and bringing street graffiti into galleries and museums. As a result, the value of street creation has been recognized by the art community.

Keith Haring’s paintings do not only convey love and tolerance like the series explicitly appears, but he also instilled the motivation for people to reflect on society into his works. He expressed his concerns for society through creations. For example, political issues, anti-racism, anti-drug abuse, and promotion of safe sex are some of the themes that he wanted to remind the general public through his creations. Keith Haring once said, “Art should liberate your soul, inspire your imagination, and drive people to move forward.” Until this day, Keith Haring’s art continues to influence contemporary art and the social issues that he cared about continue to be discussed. The signature bold outlines, childlike doodles, and recurring symbols in his paintings have become a representative impression of the 20th century pop art.

117

Yayoi KUSAMA (Japanese, b. 1929)

Fresh Verdure 1990 Acrylic on canvas 22.7 x 15.8 cm Signed on the reverse Yayoi Kusama in English, titled Fresh Verdure, and dated 1990 This work is registrated in the Yayoi Kusama Studio under the number 0973. However, the registration card is lost and it is not accompanied with the work.

NT$ 2,400,000 - 3,600,000 HK$ 608,000 - 911,000 US$ 77,600 - 116,400 RMB 556,000 - 833,000

草間彌生 新綠 1990 壓克力 畫布 22.7 x 15.8 cm 簽名畫背：1990 Yayoi Kusama 新綠 已於草間彌生工作室完成登記，登記號碼0973，因作品登錄 卡現已遺失，此件作品未附有登錄卡

36

38

118

Ayako ROKKAKU (Japanese, b. 1982)

Untitled 2017 Acrylic on canvas 120.5 x 190.5 cm Signed lower right Ayako Rokkaku in Japanese and dated 2017

NT$ 3,200,000 - 4,200,000 HK$ 810,000 - 1,063,000 US$ 103,500 - 135,800 RMB 741,000 - 972,000

六角彩子 無題 2017 壓克力 畫布 120.5 x 190.5 cm 簽名右下：2017 ロッカクアヤコ

119

Atsuko TANAKA (Japanese 1932 - 2005)

Untitled c. 1965-1966 Acrylic on canvas 53 x 65.2 cm This painting is to be sold with a certificate of authenticity issued by Akira Kanayama Atsuko Tanaka Association.

NT$ 7,000,000 - 8,000,000 HK$ 1,772,000 - 2,025,000 US$ 226,300 - 258,600 RMB 1,620,000 - 1,852,000

田中敦子 無題 約 1965-1966 壓克力 畫布 53 x 65.2 cm 附金山明及田中敦子協會開立之原作保證書

40

ATSUKO TANAKA 身為日本戰後重要藝術運動「具體派」的代表成員，田中敦子以 具體派所強調的物件本質為出發點，聚焦於有形物質及無形能量 的「聯結」，成就其回應時代脈動的創作體系。而她以一介女性之 姿，能在二十世紀男性主導的日本藝壇發光，進而獲得國際間的關 注，可見其出類拔粹與不可忽略的重要地位。 1932年生於日本大阪，田中敦子在這思想前衛的城市成長並完成藝 術教育。也正是在大阪，吉原治良在1954年發表具體派宣言，開啟 了日本戰後第一個前衛藝術流派的輝煌歲月。當時的日本藝壇深受 西方抽象藝術的影響，而自從明治維新以來即存在於日本文化界中 關於接受抑或是對抗西方思想的辯論也在此時發酵。吉原治良致力 於藉由對自身傳統的重新審視以創造文化再生的機會；具體派的藝 術理念衍生自襌宗思想，強調事物原本的物理性與材料性，直視精 神與物質兩者之間相立而互不從屬的平等互動，具體化物質靈性的 意志。身為第一代具體派核心藝術家的田中敦子，在1956年第二屆 具體藝術展中發表了著名的《電氣服裝》一作，那是一襲以二百多 個彩色燈泡及燈管拼合而成的連身裙，由藝術親自穿在身上，直指 光、電等物理性能量與人的關係，自此，田中敦子發展出一系列繪 畫作品，探討人類與物質、能量之間繁複的交織聯結。 她的畫作往往色彩繽紛，鮮豔的色彩構成諸多圓圈與聯結其中錯綜 複雜的線條，此件《無題》體現了田中敦子經典代表風格。圓圈及 線條組成複雜的網狀結構，呈現物質之間的聯結互動，如同產生強 大動力的電路，彷若生物體內在的訊息與能量系統，亦指涉瞬息萬 變的思緒流轉，或是生物性的混沌動態聯結。動能流竄其間，那能 量脈動，如電流、亦如血液，生命與物質的節奏律動構成了一獨特 的「震動的空間」。右上方的鮮綠色的圓圈巧妙地為紅色調的畫面 注入對比活力，神秘的能量在畫布上悸動交織。這是田中敦子的深 層的的自我心理探索，亦象徵著其所處時代融科技與思想，創新 與改革的風潮。當法國的知名藝評家米榭．塔皮耶在1957年《首 次日本旅程的心理預備》一文中提及具體派藝術時，他曾經寫道： 「我對具體派藝術群體深表敬意，我更認為當中四位藝術家應與享 譽國際的人物齊名，包括白髮一雄、嶋本昭三、吉原治良及田中敦 子。」足見田中敦子在亞洲戰後藝術發展中的重要地位，而《無 題》具體呈現了藝術家關於物性本質、心理聯結與精神活動的多重 思考，以看似紛亂的巧妙佈局，形塑出充滿能量律動的深遠意象。 As an iconic figure in “Gutai”, the most important art movement of post-war Japan, Atsuko Tanaka used Gutai’s emphasis on the intrinsic nature of objects as a starting point to hone in on the “connection” between tangible and intangible objects, achieving a creative system that responded to the ebb and flow of the era.

As a woman who was able to stand out in the predominantly

42

具 體派 Gutai androcentric art scene of 20th century Japan and gained worldwide attention, her talents and significance areshouldn’t not to be taken lightly.

Born in Osaka, Japan in 1932, Atsuko Tanaka grew up and completed her artist education in this ideologically advanced city.

It was also in Osaka where Jiro Yoshihara announced the Gutai declaration in 1954, beginning the glory days of the pioneering art movement of post-war Japan. The art scene of Japan at the time was heavily influenced by western abstract art, which rose alongside the debate over whether Japanese culture should accept or oppose western ideas that have been ongoing since the Meiji Reform. Jiro Yoshihara was committed to creating opportunities for cultural regeneration by reexamining his views towards his own traditions; the artistic concepts of Gutai were derived from zen, emphasizing the original physicality and material aspects of all things. Through a clear view of the balanced interaction between the conflicting nature of the spiritual and the materialistic, the spirit of material spirituality is made concrete. As a key artist of the first generation of Gutai, Atsuko Tanaka released the famous “Electric Dress” at the second edition Gutai art exhibition in 1956. It was a dress made of more than two hundred colored light bulbs and lamps worn by the artist herself as a direct nod towards the relationship between human beings and physical energy, such as light and electricity.

From this, Atsuko Tanaka developed a series of paintings that explore the intricate connections between mankind, objects, and energy.

Her works are often colorful, but her painting “Untitled” features a predominantly pink color palette that adds an emotional warmth to the debate and passionate pursuit of rationality. In the bright colors of the numerous circles that connect the intersections between complicated line“Untitled” presents Atsuko Tanaka classical and representative feminine style. Circles and lines make up a complex web that portrays the interconnections between different objects, like that of electric circuits that generate power, or the internal nervous systems of living organisms, which also refer to our everchanging emotions, or the dynamics of biological chaos. The energy that flows in between is like that of electric currents or blood, where the rhythm of life and the non-living form a “space of resonance.” The bright green circle in the upper right hand corner cleverly injects a contrasting vitality into its reddish palette as a mystical energy weaves throughout the canvas. This exploration into the depths of Atsuko Tanaka’s mind also symbolizes the innovations and revolutions of an era of technology and ideologies.

When renowned French art critic Michel Tapié spoke of Gutai in “A

Mental Reckoning of My First Trip to Japan” in 1957, he wrote, “I have a deep respect for the whole group [members of “Gutai] ”as a group, but I would like to name four artists who should appear alongside the most established international figures: Shiraga Kazuo, Shimamoto Shozo, Yoshihara Jiro, and Tanaka Atsuko.” “I have seen evidence of Atsuko Tanaka’s importance in the artistic development of post-war Asia, and “Untitled” thoroughly presents the artist’s contemplations over the connection between the intrinsic nature of objects, their psychology and spiritual activity. In its seemingly messy yet clever layout, a thoughtful image full of an energetic rhythm is crafted.

田中敦子《90B》1990年 壓克力 畫布，117 x 91 cm, 羅芙奧台北2017秋季拍賣會， 編號344，成交價：台幣12,000,000 Atsuko TANAKA , 90B, 1990, Acrylic on canvas, 117 x 91 cm, Ravenel Spring Auction 2017 Taipei, US$ 399,734 sold

120

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

Untitled (MBFW2) 2017 Acrylic on canvas 101.6 x 101.6 cm Signed on the reverse KAWS.. and dated 17 PROVENCE:

Art Agenda, S.E.A, Singapore Private collection, Asia

NT$ 10,000,000 - 20,000,000 HK$ 2,532,000 - 5,063,000 US$ 323,300 - 646,600 RMB 2,315,000 - 4,630,000

KAWS〈布萊恩．唐納利〉 無題 (MBFW2) 2017 壓克力 畫布 101.6 x 101.6 cm 簽名畫背：KAWS.. 17 來源：

Art Agenda, S.E.A，新加坡 私人收藏，亞洲

44

KAWS KAWS最初的藝術靈感來源於街頭塗鴉，而後把街頭文化發展至玩

具、服裝、滑板設計等衍生品領域，繼而又涉及油畫、素描、版畫和 雕塑等藝術創作媒介。他的實踐旨在彌合街頭塗鴉、產品設計與藝術 創作之間原本涇渭分明的界限，同時也整合出了專屬於他自己的藝術 風格。可以說，不論是在藝術、創新還是商業意義上，他都是具有全 球影響力的成功典範。 早在普普藝術成為主流之前，美國卡通文化和高雅藝術之間已經互生 轇轕。根據邁克爾 奧平（Michael Auping）觀察，四、五十年代很多 美國抽象藝術先驅在創作上的突破要歸功於卡通。他寫道：「對那一 代人而言，最快學會作畫和透過身體動作營造戲劇效果的方法之一， 就是畫插圖和漫畫。邁克爾 奧平亦指出，「卡通是最接近抽象的具象 表達」，「觀看 KAWS 的畫作，就如看到一位對卡通與抽象揮灑自如 的創作者，以此作為視覺比喻的共生語彙。」 當KAWS第一次拜訪日本就擁有了當時候潮流天王朋友的支持，並於 在MEDICOM TOY的資助下，在東京南青山創立了屬於自己的潮牌 OriginalFake。2008-2009 之後他的創作以大尺幅油畫、巨型雕塑計 畫為主，也和美國東西岸畫廊合作，讓更多觀眾看到他的畫。主題包 括KawsBob 海綿寶寶、Kurfs 藍色小精靈等，還有後來的花生Peanut 史奴比等。2010 年是《PEANUTS》誕生 60 周年，那一年還正是 KAWS 的服裝品牌 OriginalFake 的鼎盛時期，為了給《PEANUTS》 賀壽，KAWS 將 史奴比的形象加上招牌X形雙眼印在了 OriginalFake 的衣服上。 KAWS被卡通人物打破語言障礙、跨越文化差異的表現形式深深震 撼，這也驅使他對卡通圖像進行深入探究。KAWS說過：「我對抽象 總是很感興趣，因為它在基礎層面與動畫相關。在所畫之物可供辨認 之前，繪畫本身就是一個抽象的過程。」KAWS談及《PEANUTS》的 創作者查爾斯 舒茲：「作為藝術家、企業代表與潮流指標，我對查爾 斯 舒茲深深著迷。我之所以對他的創作深感興趣，全因我喜愛他筆下 的輕柔線條，若將之帶進我的畫作，想必是一件樂事。」KAWS強調 查爾斯 舒茲的描線，可見他重視速寫和素描技巧、以及藝術和設計的 抽象線條。2017年創作的《無題(MBFW2)》，畫面中史奴比即為美國 經典漫畫《PEANUTS》中的主角，KAWS挪用了經典卡通形象以純粹 平塗的黑線條簡單卻大膽繪於白底畫布上，同時又融入了自己獨樹一 幟的元素——他在人物的眼睛上打上了「XX」，將觀眾與童年時期的 親密卡通面孔聯繫起來。以“X”形雙眼打上KAWS的印記二度創作的 卡通形象，主體形象更加強烈，成為一枚通關密碼，彰顯KAWS跨越 國界族群與世界溝通的符碼。 KAWS's original artistic inspiration came from street graffiti. He then evolved the street culture into toys, clothing, skateboard designs, and other derivatives, eventually undertaking oil painting, sketching, printmaking, and other such art media. His practice aims to bridge the boundaries between street graffiti, product design and artistic creation. At the same time, his artwork also embodies his own artistic style. It can be said that he is a successful epitome of global influence, be it in the artistic, innovative, or commercial sense.

46

Before pop art became mainstream, American cartoon culture and high art had already started to cross paths. As Michael Auping observes, many of America’s pioneers of abstraction in the 1940s and 1950s owe their artistic breakthroughs to the canon of cartoons.

Auping writes: “For that generation, one of the quickest ways to learn how to draw and create dramatic effects through pose and gesture was through illustration and the comics.” Auping also points out that “Cartoons are the closest figurative equivalent to abstraction”, and that “looking at KAWS’s paintings is to witness someone who very naturally approaches cartoons and abstraction as symbiotic languages of visual tropes”.

When KAWS visited Japan for the first time, he had the support of his friends who knew all the prevalent trends. With the help of MEDICOM TOY, KAWS created his original brand, OriginalFake in Minamiaoyama, Tokyo. After 2008-2009, he began to focus on creating large-scale oil paintings and giant sculptures. He also cooperated with the American galleries on the east and west coasts to reach more viewers with his paintings. Themes included KawsBob, Kurfs, and later Peanut. 2010 marked the 60th anniversary of PEANUTS, and that year was also a prosperous period for KAWS’ apparel brand OriginalFake. To celebrate PEANUTS’ birthday, KAWS printed the image of Snoopy with his signature X-shaped eyes on OriginalFake clothes.

KAWS was deeply awed by how cartoon characters broke language barriers and transcended cultural differences. This drove him to explore the cartoon images in depth. KAWS has said:“Abstraction always interested me, because it relates to and, in a very basic way, animation. Drawing itself is an abstract process until it becomes something recognizable”. Describing his particular interest in PEANUTS creator Charles M. Schulz, KAWS stated: “I’m into Schulz as an artist, a company, an icon; I got into his stuff just because I liked the looseness of the line work, and I thought that it was just sort of a nice thing to bring into my paintings”. KAWS’ specific emphasis on Schulz’s line work is significant, revealing his deepset appreciation for the skill of sketching and drawing as well as the centrality of the abstract line in art and design. His 2017 work, Untitled (MBFR7), features Snoopy, the protagonist of the American classic cartoon PEANUTS. Embodying the classic cartoon style, KAW utilizes pure and simple black lines and boldly paints them on a white canvas. At the same time, he has incorporated his own unique elements - his "XX" on the eyes of the characters, connecting the audience with the intimate cartoon faces of their childhood.

The re-made cartoon image marked by the "X" eyes of KAWS's imprint intensifies the main subjects. It has become secret code that highlights the code that KAWS uses to communicate with the world across national borders.

121

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

T.N.O.N. - Z 2012 Acrylic on canvas 213.5 x 30.5 cm Signed on the reverse KAWS , titled T.N.O.N - Z and dated 12 PROVENANCE:

Ross+Kramer Gallery, New York Private collection, Asia EXHIBITED:

The Nature of Need, Galerie Perrotin, Hong Kong, May 15, 2012 - June 30, 2012

NT$ 10,000,000 - 20,000,000 HK$ 2,532,000 - 5,063,000 US$ 323,300 - 646,600 RMB 2,315,000 - 4,630,000

KAWS〈布萊恩．唐納利〉 T.N.O.N.－Z 2012 壓克力 畫布 213.5 x 30.5 cm 簽名畫背：KAWS,12 T.N.O.N - Z. 來源：

Ross+Kramer 畫廊，紐約 私人收藏，亞洲 展覽 :

「The Nature of Need」，貝浩登畫廊，香港，展期自2012年 5月15日至6月30日

48

KAWS Across Boundaries - Flip the New Power of Art

跨 界 有 理 K AW S ，翻轉藝術新力量 本名是布萊恩．唐納利的KAWS 生於美國紐澤西。 成長於澤西市、熱衷滑板時期，經常以創作筆名 「KAWS」的緊密文字組合圖像，裝飾於貨運列車 和牆壁上，以塗鴉創作的方式宣示般展現自身才 能。KAWS於1992 年畢業於中學後，開始運用看不 到筆觸的畫法，以壓克力顏料添加創作在廣告影像 之上，在創作部分與原廣告無縫銜接的同時，亦推 翻了廣告牌和公共廣告的原始影像。 1987 年布萊恩對塗鴉產生興趣，隨意在筆記本上 塗塗畫畫，因為就讀天主教學校，故意畫一些反宗 教的東西，或是看起來酷酷的怪物。高中時期，他 更加進階，改在牆壁塗鴉，年輕都愛到處 Tag 標籤 自己的名字。然而塗鴉畢竟屬於非法的行為，不能 用本名，於是布萊恩設計了 四個字母 KAWS，從此 以 KAWS 之名闖蕩江湖。 除了商業方面的發展，KAWS 同時在創作巨幅畫 作以及吸塑包裝繪畫之中刻劃著他的熱情。許多人 臆測KAWS加強對於漫畫和流行文化標誌性人物的 運用，是起源他受雇於迪士尼擔任動畫師期間對於 角色文化的關注。再者，對於極具代表性角色所進 行的再製作，已成為 KAWS 作品的中心概念及特 色，他利用過的角色包含藍色小精靈、海綿寶寶、 米其林和米老鼠。他獨特的藝術手法模糊了藝術、 設計和商品的界限。 KAWS 曾說過：「我對抽象 總是很感興趣，因為它在基礎層面與動畫相關。在 所畫之物可供辨認之前，繪畫本身就是一個抽象的 過程。」以"X"形雙眼打上 KAWS 的印記二度創作 的卡通形象，主體形象更加強烈，成為一枚通關密 碼，彰顯 KAWS 跨越國界族群與世界溝通的符碼。 KAWS 於全球各地美術館及藝廊定期設展。包含 美國賓州藝術學院、美國沃斯堡現代藝術博物館、 香港海港城、英國約克郡雕塑公園、法國巴黎貝

50

浩登藝廊；紐約、香港及美國洛杉磯的 HONOR FRASER 等。KAWS 的作品現典藏於美國紐門當 代美術館、英國Zabludowicz 及Rosenbaum。 2008 年KAWS 首度有藝術品出現在日本東京的拍 賣市場，短短十年間在 2018 年全年度拍賣成交 金額約有 2768 萬美元(8.6 億台幣)，2019 年已突 破至 5868 萬美元(約 18 億台幣)，交易量藝術家 排名第 16 位。其實，畫廊私洽或是其他交易平 台，KAWS 的市場絕對遠高於此。他的藝術價值 仍在升值中，後續發展大大可為， 值得期待。 KAWS's real name is Brian. Brian Donnely, born in 1974 in New Jersey, USA. In the 1980s, Hollywood movie Star Wars, Transformers popular, TV show Sesame Street, Snoopy, Garfield, Simpsons and other cartoon albums, these virtual characters accompanied by Brian's childhood, most of the world's children of the same generation, almost popular in the United States Cultural influence. Bit by bit of the growing impression, gradually puzzled his fantasy and imaginative fantasy world.

In 1987, Brian became interested in graffiti, arbitrarily painting on his notebook, because he was studying Catholic school, deliberately painting some anti-religious things, or looking like a cool monster. In high school, he was more advanced and changed to wall graffiti.

Young people loved the Tag label's own name.

However, graffiti is an illegal act after all, and cannot use the real name. So Brian designed the four-letter KAWS, and since then it has been in the name of KAWS. Alongside the more commercial sector, KAWS portrayed his passion for painting on large canvases and paintings inserted into plastic

blister packages. Many speculated that this interest originates from the time when the artists was employed at Disney as an animator, a period which intensified his appropriation of iconic characters from comic books and popular culture. These sentiments are manifested in some of KAWS’ early series executed in the 2000, entitled “The Kimpsons”, where the artist subverted the predominant American cartoon, The Simpsons into his own artistic productions. KAWS reasons that “I found it weird how infused a cartoon could become in people’s lives; the impact it could have, compared to regular politics.” Moreover, a reworked of other iconic characters that became the central characters in KAWS’ paintings include the Smurfs, Sponge Bob Square Pants, the Michelin Man and Mickey Mouse. KAWS’ unique artistic approach deliberately blurs the boundaries between art, design and product. KAWS once said: "I am always interested in abstraction because it is related to animation at the basic level. Before the painting is identifiable, painting itself is an abstract process." The cartoon image created by the "X" shape is KAWS's imprint, and the main image is more intense. It becomes a password, and it also emphasise the way that KAWS communicates with the world across boundaries.

KAWS regularly exhibits in museums and galleries worldwide. The art ist has exhibited in the Pennsylvania Academy of Fine Arts, The Modern Art Museum of Fort Worth, Harbor City in Hong Kong, the Yorkshire Sculpture Park, Gallery Perrotin in Paris, New York and Hong Kong and the Honor Fraser Gallery just to name a few.

KAWS works are currently in public collections such as the Nerman Museum of Contemporary Art, the Zabludowicz Collection and the Rosenbaum Collection. KAWS first appeared in the auction market in Tokyo, Japan in 2008. In just 20 years, the total auction turnover in 2018 was about 27.68 million US dollars, 2019 to the first The three seasons have broken through to $58.68 million, and the volume of artists is ranked 16th. In fact, the galleries are private or other trading platforms, and the market for KAWS is definitely much higher than this. His artistic value is still in the process of appreciation, and the follow-up development is greatly worthwhile.

It is worth looking forward to.

122

Yoshitomo NARA (Japanese, b. 1959)

Chinese Girl on the Dish 1993 Acrylic on canvas 130 x 100 cm Signed on the reverse YOSHITOMO NARA and titled chinese girl on the dish in English, dated '93 PROVENANCE:

Acquired directly from the artist by Galerie Tokyo Humanité, Tokyo Private collection, Asia EXHIBITED:

Be Happy, Galerie Tokyo Humanité, Tokyo, November 29 December 18, 1993 ILLUSTRATED:

Yoshitomo Nara: The Complete Works 1, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. P-1993-016, p. 86

NT$ 40,000,000 - 60,000,000 HK$ 10,127,000 - 15,190,000 US$ 1,293,200 - 1,939,900 RMB 9,259,000 - 13,889,000

奈良美智 碟子上的中國娃娃 1993 壓克力 畫布 130 x 100 cm 簽名畫背：YOSHITOMO NARA chinese girl on the dish '93 來源：

東京人文畫廊直接購自於藝術家 私人收藏，亞洲 展覽：

「要快樂」，人文畫廊，東京，展期自1993年11月29日至12月18日 圖錄：

《奈良美智作品全集》，編年出版社，舊金山，2011，彩色圖版， 編號 P-1993-016，頁86

52

CHINESE GIRL ON THE DISH Yoshitomo NARA

奈良美智是其中一位最具影響力的日本當代藝術家，他的作品在亞洲

奈良美智筆下的小孩單純可親，卻流露著不懷好意的情緒，這是龐克

以至國際市場上均受到收藏家的熱烈追捧。隨著他的名氣日漸提升，

搖滾對他的影響的緣故。奈良美智酷愛搖滾音樂強烈的節奏、粗俗的

其作品價格也跟著提升，當中更不乏價值百萬美元的作品。強烈的孤

旋律和狂傲的歌詞。龐克搖滾歌手對社會的不滿所表達的情緒，觸

獨感是奈良美智的創作精神來源，他的作品呈現強烈的自我意識，很

動了奈良美智內心孤獨的感受，他以疏離和孤寂的人物形象，配上單

多時反映自身的不安。從宏觀去看，他的作品流露著日本獨特的文化

一的淨色背景，表達這種不安的感覺。他筆下的人物把怒火蘊結在心

精神，也暗示現代人的孤寂感。

頭，處處散發著搖滾狂迷的憤怒特質。奈良美智對搖滾的熱愛，更影

奈良美智在九十年代的藝壇迅速冒起，與當時日本的藝術運動是息息

響他對人物和作品的命名，由此可見搖滾文化對他的深遠的影響。

相關的。他的作品常被歸類為村上隆的「超扁平」風格—一種由日本

根據以上所述以反叛和控訴作為主題的角度來看，《碟子上的中國娃

動漫文化引申，源自對禦宅文化狂熱愛好的美學概論。儘管奈良美

娃》正好反映奈良美智要表達的孤寂感。畫中小女孩獨自一人站立在

智的繪畫風格有著「超扁平」藝術的簡約線條和平面構圖，但其創作

綠色背境前，與觀者對抗著。她徘徊在這空間，唯一能依靠的是她腳

題材和方向則不太相似。村上隆的創作概念源自對日本大眾文化的嘲

下的一隻白色小碟。她身上那鮮紅色的軍服與綠色的背境形成強列的

諷，他透過幼稚的卡通和動漫人物誇張的造型和性徵，批評日本次文

對比，使她與周遭環境完全割裂。女孩緊握著拳頭，拘謹地站立著。

化的膚淺。從這方面去看，奈良美智和這股藝術運動相距甚遠。他的

她堅定的雙目嚴肅地向上瞧，站在自己的崗位上，彷佛已進入戒備狀

作品沒有諷刺日本文化的傾向，所描繪的孩童也沒有性的意味。奈良

態，她緊閉的雙唇進一步彰顯了她內心的繃緊。當觀眾置身于成人的

美智拒絕被標籤為「超扁平」藝術家等一切陳腔濫調的命名， 他明

角度望向她時，看見的除了一臉怒容，還有盤繞在頭髮兩旁的一雙圓

言道：「在整個二十世紀九十年代，整整十年，我並不在日本。這對

髮髻。她整個人流露著龐克搖滾憤慨的本質，奈良美智透過簡單的圖

於我來說是一個謎，我不明白為什麼常被關聯到這個藝術運動中，一

像和輪廓分明的線條，以故事書插圖的風格表達出來。

個時間和地點都如此明確的藝術運動。」

奈良美智的創作從個人層面出發，畫中反叛又寂寞的年幼主角彷佛是

拒絕附屬於「超扁平」藝術派系的同時，奈良美智公開表示兒童圖畫

奈良美智的自我投射。主角對外界不妥協的態度，是抵禦外間的一種

故事對他的影響。這個看似平凡簡單的媒介，潛藏著影響奈良美智深

無可奈何的表現。趣致的人物造型吸引著觀眾的視線，令人聯想到日

遠的視覺元素。他曾說：「圖書內一幅簡單的圖案就包含著一整個故

本的可愛文化。奈良美智鮮明的風格，為他帶來無數掌聲和榮譽。同

事。」奈良美智把訊息濃縮在簡單的線條形體中，透過卡通圖像傳達

時，他亦確立了成功的典範，帶領著日本當代藝術走上國際舞臺最前

出來。

線的席位。

奈良美智筆下的孩童是一個矛盾的混合體，擁有反叛個性和天真外

The diversity of Yoshitomo Nara’s followers is an achievement seldom reached by a living artist. With a strong sub-culture cult following across the globe, combined with fine art pieces realizing prices of over one million US dollars, Nara’s meteoric rise to prominence within the past decade comes as no surprise. With this growth in status comes growth in value; Nara’s works have more than doubled in investment worth since 2004, and continue to thrive in a demanding world market.

表。孩童有著誇張的頭部和弱小的身軀，一雙獰起的大眼晴緊盯著前 方，眼神流露著懷疑和不信任。有時候，他更手握著利刀，嘴叼著香 煙，一個人站著抵禦周遭一切看不見的威脅。提到他的童年，奈良美 智簡單說：「當你還年幼時，你不可能理解你內心的孤獨和傷痛。」 然而他筆下的孩童清楚認識到自身的不安，他們站立在畫面中心，以 淩厲的眼神凝視著成人觀眾的位置，一個有能力掌控世界的位置。如 是者，觀眾被迫置身于這個在孩童視覺下的優越的位置，扮演著社會 壓迫者的角色。

54

Nara began his rapid ascension within the art world in the 1990s,

"In a picture book you have a single image that can contain an entire narrative." 「圖書內一幅簡單的圖案就包含著一整個故事。」

and is often closely associated with Japanese artistic movements of that period. His work is commonly attributed as belonging to Takashi Murakami’s “Superflat,” an artistic theory which draws clear inspiration from Japanese manga and anime, with ties and forays into otaku pop-culture fanatic obsession. However, while Nara’s works share characteristics of Superflat in the use of simple lines and lack of visual dimension, the subject matter vastly differs from that of most Superflat artists. Murakami developed the theory as a mocking critique for consumerism and cultural objectification within the society around him, and often employs the sexualization reminiscent of fetishist Lolita culture, along with playful and childish imagery. In such subject matter, Nara takes a distinct departure from the movement. His works do not focus on a consumerist culture, and the children he depicts are neither sexual nor childish.

Indeed, Nara himself rejects the clichéd association of his work with Superflat, distancing himself by stating: “the entire 1990s, the entire decade, I was not even in Japan. I was absent. It’s a mystery to me why I’m so often associated with a movement that is so specific to that time and to that place.”

glowingly lit cigarettes dangling dangerously from their fingers or lips, these children stand defensively alone against the menacing expanse of nothingness surrounding them. Nara plays on the collective perception of innate innocence in children. Speaking in reference to his own childhood, he states simply, “when you are a kid, you are too young to know you are lonely, sad, and upset.”

The children in his work, however, are clearly cognizant of their

While rejecting affiliation with Superflat, Nara openly acknowledges the influence on his artwork from another genre of artistic expression— children’s picture books. Within such a seemingly innocent medium, Nara recognized the potential for greater visual impact, asserting that “in a picture book you have a single image that can contain an entire narrative.” While deceptively simple in form, Nara emulates this theory of a condensed, yet fully formed story conveyed through a solitary impression.

Throughout his works, Nara utilizes the depiction of children as a conduit for the expression of his ideals. Nara’s children form the perfect amalgam, imbued with the subtle ire and rebellious nature of Nara’s thematic approach, while maintaining the outward innocence of his stylistic inspiration. With their comically oversized heads placed upon petite and fragile frames, Nara’s children stare out at the world around them through enormous eyes narrowed in suspicion and distrust. Often armed with miniature knives, or with

奈良美智《背後藏刀》2000年 壓克力 畫布，234 x 208 cm 蘇富比香港2019秋季拍賣會，編號1142，成交價：港幣1.95億 Yoshitomo Nara, Knife behind Back, 2000, Acrylic on canvas, 234 x 208 cm, Sotheby's Autumn Auction 2019 HK, US$24,949,674 Sold

56

discomfort. They stand at attention, glaring up in accusation at the audience placed in the position of the adults that control their world. From this vantage point, the audience takes on the role of the oppressive society that Nara, from the eyes of the children, rebels against.

This underlying rebellious nature comes from Nara’s juxtaposition of the thematic inspiration from children’s books with the altogether contrary stylistic influence of Punk rock. Nara discovered an innate affinity for the dissonant melodies and brash, unrefined nature of the Punk rock movement, and empathized with lyrics saturated with themes of seclusion and angst. The criticisms that the Punk rock artists made concerning society and culture resonated with Nara, already acutely attuned to the inherent isolation he felt around him. Nara displays this discord with society and culture through his artwork, focusing on isolated figures against blank, featureless backgrounds. His figures seethe with an underlying fury characteristic of the ire and rage which play an intrinsic role in the Punk rock persona.

In keeping with this thematic ideology of rebellious accusation, Chinese Girl on the Dish (Lot 509) exemplifies Nara’s emphasis on isolation. A solitary figure standing proudly in defiance against the expanse of green which surrounds her, she seems to hang precariously in the void, secured only by the small white disk on which she has resolutely planted her tiny, black boots. Her scarlet military-style uniform further differentiates her from the contrasting green, positioning the girl in complete divergence from her surroundings. Hands clenched by her side, she stands vigilantly and stiffly at attention. She gazes steadily and solemnly upward, alert and wary of her isolated position. Her tightly pursed lips betray the tension smoldering beneath her penetrating glare. As the audience looks down on her from the high vantage point of an adult, she scowls out from beneath an expanse of black hair, tied up in symmetrical side buns, as tightly wound as the girl herself.

Her entire being radiates the rebellious indignant ideals of Nara’s Punk rock influence, though sweetly and simply painted with thick, defining lines consistent with the artist’s picture-book style.

Nara’s work constantly balances the conflicting influences which he utilizes to expose the discord inherent in the frequent isolation

奈良美智 《然而並非一切（綠屋)》2009年 綜合媒材，320 x 320 x 670 cm 保利香港2019秋季拍賣會，編號165，成交價：港幣4,012萬 Yoshitomo Nara, Not Everything But / Green House, 2009, Mix media, 320 x 320 x 670 cm, Poly Autumn Auction 2019 HK, US$5,114,979 Sold

of an individual within a society seemingly rife with networks and connection. Just as tension teems behind the exterior innocence of his figures, insinuation and intention saturate his deceptively simple paintings and sculpture. As the artist himself states, “I work very hard to make sure my art does not produce a superficial image, that there is much more depth to it.” It is this depth and implication that draws such a diverse and ardent following across the globe.

123

Yoshitomo NARA (Japanese, b. 1959)

Quiet, Quiet 1999 Lacquer on FRP (unique) 94.5(L) x 94.5(W) x 245(H) cm PROVENANCE:

Blum & Poe, USA Eugenio Lopez, Mexico La Colleccion Jumex, Mexico Maloney Fine Art Gallery, USA Private collection, USA Private collection, Asia ILLUSTRATED:

Yoshitomo Nara: The Complete Works 1, Chronicle Books LLC,San Francisco, 2011, color illustrated, no.S-1999-003, p. 268

NT$ 38,000,000 - 48,000,000 HK$ 9,620,000 - 12,152,000 US$ 1,228,600 - 1,551,900 RMB 8,796,000 - 11,111,000

奈良美智 Quiet, Quiet 1999 漆 強化玻璃纖維 (單一件) 94.5(長) x 94.5(寬) x 245(高) cm 來源：

Blum & Poe畫廊，美國 歐亨尼奧•洛佩斯舊藏，墨西哥 Jumex舊藏，墨西哥 Maloney 畫廊，美國 私人收藏，美國 私人收藏，亞洲 圖錄：

《奈良美智作品全集第一冊》，編年出版社，舊金山，2011，彩色 圖版，編號S-1999-003，頁268

58

QUIET, QUIET Yoshitomo NARA

回望童年的創作初心， 悲傷時我好想喊你的名 字— 奈良美智

「沒有人能真正參透生命的意義，我們要做的只是感受。」—

奈良美智，無疑是近年藝

界交往的表現。以繪本與音樂作伴度過獨處的童年，對奈良美

術市場最炙手可熱的日本

智而言，筆下的人物其實都是以最直觀的角度與感知下所繪出

藝術家名字 之一，他的作品 孤獨卻溫暖、親和簡單卻觸動 人心，以童趣卻叛逆的形象令人著 迷，深受收藏家追捧。奈良美智偏好 獨立創作，在他不願長大的回憶童 年時代的創作中，描繪出動人的 生命經歷。

奈良筆下的人物，無論他們正閉著目或瞪著眼，彷彿拒絕與外

的作品，皆是藝術家面對自我的真切描繪。 1995年奈良美智首次在東京展覽發表一件大型小狗雕塑，逐漸 創作更多以玻璃纖維FRP為媒材，將畫裡的小孩與動物，轉換 成雕塑作品，大受好評。《Quiet, Quiet》以四顆大頭娃娃為 主題，看似孩子亦也像小猴子，於茶杯中堆疊起來。奈良美智 的娃娃們一向反映出藝術家心境與生命歷程，雙眼緊閉，沉吟 忖度，帶給觀者極大的想像空間。此件美術館級裝置雕塑作品

孤獨，是奈良美智作品裡

《Quiet, Quiet》高245公分創作於1999年，以獨特的粉色調營

的人物的共同點，成長於

造出充滿幻想且迷人的迷幻空間。

寒冷的青森縣弘前市，如他 所言「我非常的孤單，周遭只 有蘋果樹…，我能說話的對象只有大 自然，所以我會對樹、對狗、對 豬…，所以我對大自然有種特 殊的情感，幾年之後，我發現 這其實不是件壞事。」旅居德 國期間前後長達了12年，離鄉 背井的奈良美智與故鄉間的距 離有著好幾萬公里之遙，在語言全然 不通的情況下，猶如一 場長年自我放逐的 創作之旅。奈良曾 說過「杜塞爾多夫的 冷與暗很像在青森縣 成長的那段時光，與 日本疏離，這讓我想起 我是誰，也幫助我重 新發現自己。」

60

奈良美智

橫掃國際的純真年代 德國留學歸國後的奈良美智於2001年在橫濱美術館舉辦在日本 的首檔個展「i Don't Mind, If You Forget Me」自此打響知名 度，以自身童年為創作靈感，透過易於理解的圖像和標語吸引 觀者的目光。此後許多國際畫展的肯定以及著名公共藝術機構 收藏，其中包括︰日本青森縣立美術館、美國舊金山現代美術 館、紐約現代美術館、洛杉磯當代美術館、芝加哥藝術協會、 英國倫敦大英博物館、西班牙馬拉加當代藝術中心、日本原當 代美術館，巴黎國立造型藝術中心、德國紐倫堡新博物館、以 及布里斯本昆士蘭藝術館。而私人收藏更是遍布全球，為收藏 家追逐的夢幻逸品。其畫作更於2019年10月打破了個人拍賣紀 錄（逾七億七千萬台幣），而其裝置雕塑亦拍出逾一億五千萬 台幣的高價，顯示奈良美智已奠定其人氣經年不墜的亞洲當代 藝術新標的。不被框限的才情，這位不願長大的藝術家，奈良 美智正在持續他精彩動人的生命經歷。

"All my works are actually my self-portrait in my mind, they are my conversations with myself."

-Yoshitomo Nara

LOOKING BACK UPON THE CHILDHOOD THOUGHTS ABOUT ART CREATION, I HAVE THE URGE TO SHOUT OUT YOUR NAME WHEN FEELING DOWN: YOSHITOMO NARA Yoshitomo Nara is definitely one of the most popular Japanese artists in recent years. His works are lonely, yet warm; simple and approachable, yet touching. His childish yet rebellious style is fascinating, and is sought after by collectors. Nara prefers working alone, and use his age-defying works of childhood memories to portray touching life experiences.

The characters in Nara's works all share one thing in common: they are all alone. The cold city of Hirosaki, Aomori Prefecture was where Nara grew up, and as he said, "I was very lonely, with only apple trees around me......Mother Nature is all I can talk to, so I talk to trees, dogs, pigs......That's why I have a special feeling towards

artist's mindset and his life stories.

With their eyes closed, constantly in meditation, they give the viewers a large room of imagination. The museum-grade sculpture installation Quiet, Quiet stands 245 cm tall, and was created in 1999. It uses a unique light color shade to create a magical space filled with fantasies.

THE PURE AGE THAT DOMINATED THE I N T E R N AT I O N A L MARKET

nature. After a few years, I found out that this is not actually a bad

After Returning from

thing." Nara moved and lived in Germany for 12 years in total, with

Germany, Nara held his first

his hometown tens of thousands of kilometers away and language

solo exhibition in Japan at Yokosuka

barrier in place, it was like a long journey of self-imposed exile.

Museum of Art in 2001, named "I Don't Mind, If You Forget Me".

Nara once said: "The cold and darkness in Dusseldorf was similar to

He gained his fame quickly after that, when his easy-to-understand

my childhood in Aomori. With the sense of distance from Japan, it

slogans and images attracted many viewers. Since then, many

reminds me of who I am, and helped me to rediscover myself."

international painting fairs and famous public art institutes have

"No-one can really learn the meaning of life, all we can do is to feel it." -Yoshitomo Nara Whether eyes open or closed, characters in Nara's works always look like they have refused to interact with the outside world. To Nara, whose childhood was spent with only storybooks and music as his partners, these characters are what was the most natural to

included his works, among them: Aomori Museum of Art, San Francisco Museum of Modern Art, New York Museum of Modern Art, the Museum of Contemporary Art, Los Angeles, The Art Institute of Chicago, British Museum, Contemporary Art Museum Malaga, Hara Museum of Contemporary Art, National Centre for Visual Arts in Paris, Neues Museum Nürnberg and Queensland Museum in Brisbane. His creations are also in private hands around

him, an accurate portrayal of himself.

the world, being sought after by many collectors. In October 2019,

In 1995, Nara released a large sculpture of a puppy for the first time

million. Meanwhile, one of his installations was sold at over US$

in Tokyo. After that, he began to use more fiberglass in his works to

5 million. With these auction results, it is clear that Nara's works

turn the kids and animals from his paintings into sculptures, which

have become new primary collectibles in the Asian market. With

received very positive critical response. Quiet, Quiet uses four

his unbound talents and his refusal to grow up, Yoshitomo Nara is

bobbleheads as the theme, resembling kids and also like young

continuing his brilliant life experiences.

monkeys, they are stacked in a cup. Nara's dolls always reflect the

his paintings broke his own record, being sold at over US$ 25

124

Yayoi KUSAMA (Japanese, b. 1929)

The Sea in the Evening Glow 1995 Acrylic on canvas 130.3 x 89.4 cm Signed on the reverse Yayoi Kusama, titled The Sea in the Evening Glow and dated 1995 This work is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 46,000,000 - 55,000,000 HK$ 11,646,000 - 13,924,000 US$ 1,487,200 - 1,778,200 RMB 10,648,000 - 12,731,000

草間彌生 夕映傍照的海 1995 壓克力 畫布 130.3 x 89.4 cm 簽名畫背：Yayoi Kusama 夕映えの海 1995 附草間彌生工作室開立之作品登錄卡

62

64

She created a type of form. With a white overlap like mycelium that is consistent throughout and keeps proliferating, consciousness is enclosed. That is art with a level of self-discipline, which uses unobstructed matter to present a transcendent reality. With an astounding method, this wonderful and beautiful image is vividly imprinted into our sensory organs.

—Herbert Read, Mugen no Ami: Yayoi Kusama Jiden 「她創造出一種形式，用首尾一致、仿若菌絲般不停增殖的白色遮蔽物，把意識封閉起來。那是一種自律的藝術，用毫不遮掩的方式呈現一 種超越的真實。那種奇妙又美麗的形象，以一種令人瞠目結舌的方式，鮮明地在我們的感官上留下烙印」 ─ 赫伯特·里德《無限的網 ，草間彌生自傳 》

圓點是來自宇宙的信號，無限的網代表了她的生命，英國《泰晤士 報》將草間彌生列為「二十世紀兩百名最偉大的藝術家」。身為國 際間最具影響力的前衛藝術家之一，她的人就如同她赤裸而炙烈的 藝術生命，絢麗的令人目眩神迷。她每天以驚人的速度創作，用繪 畫、雕塑、行動藝術等手法，帶有超現實般心理性的考究，表現出 她腦海中永無止盡的創作泉源。. 此件由草間彌生於1995年所創作的《夕映傍照的海》，以藝術家 最為擅長的色澤之一－紅黑配色構成作品的全貌，並以此作為對於 盛夏海洋的回憶。若我們將有如火一般炙熱的顏色比喻為盛夏，那 滿佈畫面的密集粗黑線條則代表了因潮汐潮起潮落，不甚平靜的海 洋表面。同時，在黑色潮汐的下方，仍覆蓋上一層由黑色細線構成 的「無限的網」，層疊的細膩構圖不但為畫面帶來多層次的視覺感 受，其反覆交疊的波紋更令人不禁感到目眩。在這個念頭於大腦中 升起的當下，猶如回到了與藝術家共同身處烈日曝曬的年代—當年 那個真夏的波。 草間彌生一向以色彩斑斕的線釋放著強韌的生命力，佈滿線的畫面 更能表現出自然的真我；儘管以靜態的形式出現，但豐盛的生命力 並沒有絲毫減退。草間彌生以細膩的筆觸，把密密麻麻的紅線整齊 地繪畫在畫布上，排成列狀的粗細線條形成了細緻的波紋，賦予畫 作極大的感染力以及生命力。正是在這些簡單的偏執之中她消彌了 內心的精神苦難，將她所見的幻覺赤裸地呈現在畫布之上。 Polka dots are signals from the universe. A boundless net represents her life. The British daily The Times listed Yayoi Kusama among the Top 200 Artists of the 20th Century to Now. As one of the most influential avant-garde artists worldwide, Kusama is like her naked and burning artistic life, gorgeous and dazzling. Each day, she creates at an amazing speed. Utilizing means such as painting, sculpture, and performance art, and using surreal psychological studies, she presents the endless creativity in her head.

This piece was created by Kusama Yayoi in 1995, "The Sea in the Evening Glow", which is comprised entirely of the most popular colors of the artist - red and black, and is used as a memory for the midsummer ocean. If we compare the colors of the hot and the hot to the midsummer, the dense black lines of the full picture represent

the surface of the ocean which is turbulent due to the tides. An "unlimited net" composed of black thin lines covers the black tide.

The layered fine composition brings not only a multi-level visual experience to the picture, but the overlapping ripples are even more awe-inspiring. The moment this thought rises in the brain, it is like returning to the era when the artist was exposed to the sun – the wave of the summer.

Yayoi Kusama utilizes the vibrant brushstrokes to unleash a source of radiant energy. The full lines in the painting is more able to manifest the natural true self. Although the those lines appear in a static form, its abundant vitality has not been diminished. With delicate brushstrokes, Kusama neatly paints dense red lines on the surface of painting, arranging the wavy pattern into exquisite stripes, and giving the painting a great level of appeal and energy.

She believes that the wavy dots bear the shape of the sun, serving as a symbol of vitality and the world. Round, soft, colorful, oblivious, and unpredictable, the wavy dots have become a kind of movement that leads to a path of infinity. It is in this simple paranoia that she escapes her inner spiritual suffering, manifesting her raw illusions onto the canvas.

125

Yayoi KUSAMA (Japanese, b. 1929)

Infinity - Nets [ TWXZ ] 2005 Acrylic on canvas 162 x 162 cm Singed on the reverse Yayoi Kusama, titled Infinity - Nets (TWXZ) in English and dated 2005 PROVENANCE:

Arndt & Parner, Berlin David Zwirner, Hong Kong Private collection, Asia This work is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 48,000,000 - 75,000,000 HK$ 12,152,000 - 18,987,000 US$ 1,551,900 - 2,424,800 RMB 11,111,000 - 17,361,000

草間彌生 無限的網 [ TWXZ ] 2005 壓克力 畫布 162 x 162 cm 簽名畫背：Yayoi Kusama Infinity - Nets (TWXZ) 2005 來源：

Arndt & Parner，柏林 卓納畫廊，香港 私人收藏，亞洲 附草間彌生工作室開立之作品登錄卡

「畫筆下的網紋超越了畫布本身，一直延伸至牆壁、天花板，最終覆蓋整個宇宙。」無限的 網，是患有神經性視聽障礙的藝術家草間彌生，精神 世界具體化的一種樣貌，雖然今日的 她被譽為「圓點女王」，但《無限的網》一作則是她早在60年代紐約時期一鳴驚人之作，與 安迪 渥荷……等眾多 藝術大師齊名、並且令人為之驚嘆的代表作品。 此張有著搶眼色彩的 《無限的網 [TWXZ] 》 完成於2005年。草間彌生把自己的幻覺經歷投射在其作品中，透過攝 人心魄的作品釋放壓抑的情緒。她說：「我就是以這樣的方式，讓當下感受到的驚嚇和恐懼 漸漸沉澱，這些經歷可以說是我畫畫的初衷。」藝術家經典的創作語彙，不斷滋長的網狀紋 路，創造出一個永恆的無限空間。 “The netting under the brush transcends the canvas itself and extends to the wall and ceiling, eventually covering the entire universe.” The infinite net is a kind of appearance of the spiritual world in the artist Yayoi Kusama, who suffers from neurological and audio-visual disorders. Although today she is known as the “Queen of the Dot”, but “Infinity Net”was a blockbuster hit in 1960’s New York in the same vein as many artists such as Andy Warhol... etc., a representative piece that inspires wonder in those who view it. The “Infinity Net [TWXZ] ” was completed in 2005. By harnessing and addressing the obstacle of mental illness, Kusama creates absorbing works of stunning depth, captivating viewers with their vibrancy and effervescent spirit, she use constantly growing mesh lines create an eternal infinite space.

66

126

Yayoi KUSAMA (Japanese, b. 1929)

Infinity - Nets [ PERR ] 2013 Acrylic on canvas 130 x 162 cm Singed on the reverse Yayoi Kusama, titled Infinity - Nets [PFRR] in English and dated 2013 PROVENANCE:

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

NT$ 36,000,000 - 50,000,000 HK$ 9,114,000 - 12,658,000 US$ 1,163,900 - 1,616,600 RMB 8,333,000 - 11,574,000

草間彌生 無限的網 [ PERR ] 2013 壓克力 畫布 130 x 162 cm 簽名畫背：YAYOI KUSAMA INFINITY - NETS [PFRR] 2013 來源：

大田秀則畫廊，東京 私人收藏，亞洲 附草間彌生工作室開立之作品登錄卡 「彷彿有種莫名的魔力，纏繞在這永無止盡的無限的網之上，在令人目不轉 睛、不知道網紋去向的同時，產生了種類似催眠作用的迷幻效果。」紐約知名 藝術品經銷商－碧翠斯 佩莉（Beatrice Perry）曾在初次看見草間彌生無限的網 時，給予了這樣的盛讚。此件2013年的壓克力彩《無限的網 [PERR] 》，其雙色 調斑點狀網紋的複製概念，就像是藝術家的代表印記般，搭配上前衛的藝術表 現手法，使草間彌生得以 跨越民族與性別的限制，獨步於當代藝壇之中。以澄 黃構成的畫面，源自於只有藝術家本身才能察覺到的幻覺，同時進一步地於畫 布上體現了「無限」的視覺效果。「從創作者的觀點來看，一切都像是賭博， 隨著藝術躍向未知。」就像你找不到何處是此作《無限的網 [PERR] 》的起點 般， 同樣的你也並不知道，這幅畫的終點將會是何方。 "It seems that there is a kind of inexplicable magic, entangled in this endless network of infinity. The viewer does not know the direction of the net, which produces a psychedelic effect similar to hypnosis." The famous New York art dealer Beatrice Perry gave this kind of praise when he first saw the infinite network of Kusama. "Infinity - Nets [PERR] ", acrylic on canvas work dated 1998, the concept is that of the reproduction of a two-tone speckled netting, like the artist's representative imprint, paired with avant-garde artistic expression technique, allowing Yayoi Kusama to cross boundaries of nationality and gender. The restrictions are unique among the contemporary art scene. The yellow is derived from an illusion that only the artist herself can perceive, and further reflects the "infinite" visual effect on the canvas. "From the creator's point of view, everything is like gambling, as the art jumps to the unknown." Just as you can't find the starting point of "Infinity - Nets [PERR] ", you don't know where the end will be either.

68

127

「彷彿有種莫名的魔力，纏繞在這永無止盡的無限的網之上，在令 人目不轉睛、不知道網紋去向的同時，產生了種類似催眠作用的迷

Yayoi KUSAMA

幻效果。」紐約知名藝術品經銷商－碧翠斯 佩莉在初次看見草間彌

(Japanese, b. 1929)

生無限的網時，給予了這樣的盛讚。

Nets 19

草間彌生的網就像一張無法捉摸的謎：我們在其中同時找到陽剛和

1998 Acrylic on canvas 53 x 65.2 cm Signed on the reverse Yayoi Kusama, titled Nets 19 and dated 1998 PROVENANCE:

陰柔、勇氣和脆弱、理性和直覺，不過更重要的是這些兩極元素 之間的相生共濟。這種互動來自每張網包含的兩個平面之間的潛意 識空間：第一個平面是垂直的畫面本身，第二個是網中厚塗圓圈組 成的起伏平面。兩個平面分分合合，永無休止，令畫面游移不定， 以優美的韻律向著觀者漂來又蕩去，漲起又退散。草間彌生形容其

Robert Miller Gallery, New York Private collection, Asia

筆觸「單調地重複又重複，像機械裝置一樣」，憶述自己煞費苦心

EXHIBITED:

1998年的壓克力彩《網19》，其雙色調斑點狀網紋的複製概念，

Yayoi Kusama: Now, Robert Miller Gallery, New York, June 11, August 7, 1998 Yayoi Kusama, Bass Museum of Art, Miami, 2002

作品美學既簡且繁，筆觸既如機械運行般單調乏味，亦如突發奇想

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

「無限」的視覺效果，就像你找不到何處是此作《網19》的起點

NT$ 12,000,000 - 18,000,000 HK$ 3,038,000 - 4,557,000 US$ 388,000 - 582,000 RMB 2,778,000 - 4,167,000

“The endless Infinity Nets seem to contain an inexplicable magic power that produces a mesmerizing illusory effect as people stare at the nets and have no idea where the patterns lead to.” Beatrice Perry, the renowned art dealer in New York gave the compliment when she saw Yayoi Kusama’s Infinity Nets for the first time.

草間彌生 網 19 1998 壓克力 畫布 53 x 65.2 cm 簽名畫背：Yayoi Kusama 1998 Nets 19 來源：

羅伯 米勒畫廊，紐約 私人收藏，亞洲 展覽：

「Yayoi Kusama: Now」， Robert Miller 畫廊，紐約，展期自1998年 6月11日至1998年8月7日 「草間彌生」，巴斯藝術博物館 ，邁阿密，2002 附草間彌生工作室開立之作品登錄卡

70

地創作同一構圖，是為了刻意對抗抽象表現主義的抒情表現。此件

般無法預測，散發出雙重氣質；以黑與黃兩色構成的畫面，源自於 只有藝術家本身才能察覺到的幻覺，同時進一步地於畫布上體現了 般，同樣的你也並不知道幅畫的終點將會是何方。

Yayoi Kusama’s nets are like an enigmatic riddle, from which we can simultaneously find masculinity and femininity, courage and vulnerability, rationality and intuition, and more importantly, the mutual complementarity between these bipolar elements. This kind of interaction comes from the subconscious space between the two planes of each net: the first plane is the perpendicular image itself, while the second one is the rippling plane composed of thickly painted circles in the net. These two planes intersect endlessly to produce a wavering image that shifts toward and away from viewers in a beautiful rhythm, rising up and falling back down. Yayoi Kusama described the pen strokes as “monotonous repetitions analogous to a mechanical device.” As Yayoi Kusama recalled, she invested a lot of effort into creating the same composition in intention to fight against lyrical expressions of abstract expressionism. This piece of acrylic painting “Nets 19” was created in 1998 with the concept of replicating dichromatic spotted patterns. The artwork is composed of simple and complex aesthetics. The pen strokes appear monotonous and dull like an operating machine, yet they also display the dual temperament of being unpredictable as in a sudden inspiration. The image is composed of black and yellow, which originated from the artist’s personal illusions. At the same time, these two colors also produce the visual effect of “infinity” on the canvas. You cannot find a starting point in this piece of “Nets 19,” just like you do not know where it ultimately leads to.

128

Yayoi KUSAMA (Japanese, b. 1929)

In Hope 1988 Acrylic on canvas 41 x 31.8 cm Singed on the reverse Yayoi Kusama, titled In Hope in Japanese and dated 1988 This painting is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 10,000,000 - 20,000,000 HK$ 2,532,000 - 5,063,000 US$ 323,300 - 646,600 RMB 2,315,000 - 4,630,000

草間彌生 懷抱希望 1988 壓克力 畫布 41 x 31.8 cm 簽名畫背：Yayoi Kusama 1988 希望をもつて 附草間彌生工作室開立之作品登錄卡

72

74

"The way I see it, by living in a contemporary position, I'm just attempting to breath in the atmosphere of the times and wanting to open up a bright red flower for the future. It's the same as the butterfly seeking out the barren mountains for its final destination before death, the silkworm spitting out its silk in spring, or the flowers showing off their vitality in brilliant colours."

– Yayoi Kusama, Mugea no Ami Kusama / Yayoi Jiden

她的南瓜，她的點，她的線條，她的自我消融，已是大眾耳熟

inspiration and aesthetic element is the polka dot, which was

能詳的符號；近年來，草間彌生的作品在國際藝術市場已是藏

also an important symbol of the hippie era. Kusama was active

家們爭相追捧的重要標的。「圓點」是草間彌生創作的主要元

in the international art scene in the 1960s, during the hippie

素，也是嬉皮年代的重要符號。在嬉皮、性解放、反戰的1960

era of sexual liberation and the anti-war movement. Known at

年代裡，草間彌生活躍於國際藝壇，人稱 「圓點女王」、「嬉

the time as "Queen of the Dots", "Queen of the Hippies" or

皮女王」或是「前衛天后」，當時的知名度與影響力不輸普普

"Queen of the Avant-Garde", Kusama's was almost as famous

藝術大師安迪．沃荷。草間彌生的作品中重複出現的「波卡圓

and influential as pop art icon Andy Warhol. The polka dot

點」圖案，啟發了後輩當代藝術家戴米恩．赫斯特和村上隆。

motif that appeared again and again in Kusama's works also

《懷抱希望》 完成於1988年，其紅底及大小不一的白點為藝術 家經典的創作語彙，那宛如細胞般不斷滋長的紋路、隨著顏料

influenced the younger generation of contemporary artists including Damien Hirst and Takashi Murakami.

的厚重筆觸，時刻挑動著觀者的視神經。在躁動感持續增生，

The eye-catching "In Hope" was completed in 1988. Its red

畫面的網絡進一步延伸至人們的潛意識深處時，就像創造出一

surface and different sizes of white polka dots creates the

個關於永恆時 間與寬闊空間的嶄新概念，而草間彌生的「無

artist's classic vocabulary—the weblike texture that grows like

限」世界，方於此刻全面開展。

a cell, with the thick brushstrokes of acrylic paints provokes

The details of remarkable achievements Kusama has attained needn't to be given here as she is already a well-known artist; art lovers are highly acquainted with her monumental pumpkins, her dots and lines, and even her "obliteration" in ideology. Over the past few years, Kusama's creation has performed strongly at the art market, and collectors in droves are eager to purchase her works. Kusama's primary artistic

the viewer's optic nerve. As the sense of turbulence continues to proliferate and the network of images extends further into the depths of people's subconscious, it is like creating a new concept of eternal time and unlimited space, and the "infinite" world of Yayoi Kusama is fully developed in this moment.

129

ZHOU Chunya x Jaime Hayón (Chinese, b. 1955) (Spanish, b. 1974)

Kicking 2012 Bronze alloy, gold plating, rose gold plating, tainted mahogany, edition no.1/8 22(L) x 8(W) x 11(H) cm (Golden Dogs) 160(L) x 60(W) x 190(H) cm (vitrine) Engraved Zhou Chunya in Chinese and numbered 1/8 (each) EXHIBITED:

ALIVE AND KICKING, Museum of Contemporary Art Chengdu, Chengdu, October 24 - November 3, 2012 (different edition) ART TAIPEI, World Trade Center, Taipei, November 8-11, 2013 (different edition) This work is to be sold with a certificate of authenticity signed by artists and issued by MOT/ARTS

NT$ 5,000,000 - 6,000,000 HK$ 1,266,000 - 1,519,000 US$ 161,700 - 194,000 RMB 1,157,000 - 1,389,000

周春芽 x 亞米．海因 Kicking 2012 銅合金 鍍玫瑰金 桃花心木 1/8 22(長) x 8(寬) x 11(高) cm (玫瑰金狗) 160(長) x 60(寬) x 190(高) cm (玻璃櫃) 簽名雕刻：周春芽 1/8 (每件) 展覽：

「周春芽+Jaime Hayon 展現爆發生命力」，成都當代美術館，成都，展期自2012 年10月24日至11月3日 (另一版次) 「台北國際藝術博覽會」，世貿中心，台北，展期自2013年11月8日至11月11日 (另一版次) 附MOT/ARTS開立與藝術家親筆簽名之作品保證書

76

130

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

Ups and Downs (a set of 10) 2013 Silkscreen print, edition no. 94/100 88.9 x 58.4 cm (each) Signed lower right KAWS.. dated 13 and numbered 94/100 (each)

NT$ 4,800,000 - 5,600,000 HK$ 1,215,000 - 1,418,000 US$ 155,200 - 181,100 RMB 1,111,000 - 1,296,000

KAWS〈布萊恩．唐納利〉 Ups and Downs (十件一組) 2013 絲網版畫 94/100 88.9 x 58.4 cm (每件) 簽名右下：KAWS..13 版次左下：94/100 (每件)

78

80

131

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

Stay Steady; The Things That Comfort; No One’s Home (a set of 3) 2015 Screenprint, edition no. 126/250 74 x 85 cm ; 91.5 x 76.5 cm ; 91.5 x 74 cm Signed KAWS, dated 15 and numbered 126/250 (each) PROVENANCE:

Pace Gallery, Inc., New York

NT$ 1,300,000 - 2,400,000 HK$ 329,000 - 608,000 US$ 42,000 - 77,600 RMB 301,000 - 556,000

KAWS〈布萊恩．唐納利〉

平穩狀；舒服的事；無人的家 (三件一組) 2015 絲網版畫 126/250 74 x 85 cm ; 91.5 x 76.5 cm ; 91.5 x 74 cm 簽名中下：KAWS.. 15 版次中下：126/250 (每件) 來源：

佩斯畫廊，紐約

132

HUNG Yi (Taiwanese, b. 1970)

Lucky Tiger 2010 Baked enamel on steel plate (unique) 168(L) x 110(W) x 137(H) cm Signed on the back Hung Yi in Chinese and dated 2010 This sculpture is to be sold with a certificate of authenticity issued by Impressions Art Gallery Taipei.

NT$ 1,100,000 - 1,600,000 HK$ 278,000 - 405,000 US$ 35,600 - 51,700 RMB 255,000 - 370,000

洪易 福虎 2010 鋼板烤漆 (單一件) 168(長) x 110(寬) x 137(高) cm 簽名於後方：洪易 2010 附印象畫廊開立之原作保證書

在台灣當代藝術的發展上，洪易是一位具有強烈個人風格與時代特色的 原創性藝術家。他的作品色彩鮮豔、生動活潑、造型奇特且千變萬化。 洪易認為：「當代藝術世界百花齊放，多樣的創作形式令人目不暇給， 而臺灣的特色是什麼，人們總是容易忽略身邊最貼切的事物，但我覺得 藝術是很生活化，不論創作什麼都要與自己的環境結合，創作才有意義 和生命力。」 近年來洪易廣受國內外展覽邀約，2013年受邀到亞洲最具國際聲望的日 本箱根雕刻之森美術館舉辦個展、2014年分別在香港青衣城、台中市政 府廣場及舊金山默塞德湖球場舉辦個展、2015年獲得美國舊金山市李 孟賢市長與市政府的邀請，在舊金山市政府廣場舉辦大型地景藝術展， 今年初洪易受邀在台中國立台灣美術館舉辦盛大個展。洪易的藝術世界 充滿想像力，透過色彩雕塑，洪易讓我們的世界，充滿趣味與驚喜。他 的雕塑亦具有豐富的在地元素及天馬行空的圖騰彩繪，藉由帶來幸運的 《福虎》，傳遞給大家很美的心靈喜悅。 Hung Yi is an original artist featuring strong personal style and distinguishing characters in the development history of Taiwanese Contemporary Art. His works are bright, vibrant, lively, peculiar, and whimsical. Hung Yi once said “The diversifying creative forms are overwhelming in the flourishing contemporary art world. In figuring what Taiwanese characters are, I found people often neglected the very close things. I considered art a part of life. No matter what one is creating, the creation must be combined with one’s surroundings in order to make it vital and meaningful.”

Recently, Hung Yi has been widely invited to exhibit in Taiwan and abroad. In 2013, he was invited for a solo exhibition at the Hakone Open-Air Museum in Japan, the museum with the great international reputation. In 2014, his solo exhibition was held in Hong Kong Maritime Square, Taichung City Hall Plaza, and San Francisco Lake Merced Golf Club. In 2015, he was invited by Ed Lee, the Mayor of San Francisco, and the San Francisco City Hall to exhibit a largescale landscape art exhibition in San Francisco’s Civic Center Plaza.

Early this year (2016), Hung Yi was invited to exhibit the grand solo exhibition in the National Taiwan Museum of Fine Arts in Taichung.

With bountiful local elements and totem paintings in unconstrained imaginative style, Lucky Tiger brings the good luck, Hung conveys a sense of delight and merriment through his sculptures.

82

133

YANG Chihung (Taiwanese, b. 1947)

Dusk 2012 Oil on canvas 198 x 152.5 cm Signed on the reverse Chihung Yang, and titled Dusk in English and dated 2012 on the reverse This painting is to be sold with a certificate of authenticity signed by artist and issued by J.P Art Center.

NT$ 1,200,000 - 2,200,000 HK$ 304,000 - 557,000 US$ 38,800 - 71,100 RMB 278,000 - 509,000

楊識宏 霞光 2012 油彩 畫布 198 x 152.5 cm 簽名畫背：Chihung Yang Dusk©2012 附琢璞藝術中心與藝術家親筆簽名之原作保證書

84

86

134

LI Shih-chiao

李石樵

(Taiwanese, 1908 - 1995)

美國風景

American Landscape

1977

1977 Oil on canvas 38 x 45.5 cm Signed lower left Shih-chiao in Chinese and dated 1977

38 x 45.5 cm

油彩 畫布 簽名左下：1977 石樵 附印象藝術中心畫廊開立之原作保 證書

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

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

李石樵素有「畫家中的畫家」、「畫壇的萬米長跑者」的美譽，終生創作不惙。早期以寫實 風格著稱，1950年代受西洋現代藝術影響，開始求新求變，進行現代繪畫實驗，1970年代 發展群像和風景主題。1974年從師範大學退休後，李石樵經常往返美國、台灣兩地，享受天 倫以及寫生作畫的樂趣。當時的台灣興起「鄉土文學」風，早期老畫家重新受到注意。他的 繪畫風格也不受左右，吸收更多外來風土的元素，繪畫裡融入新意。李石樵退休後，專心繪 畫，持續鑽研色彩、空間、質感等問題，用色也更加鮮麗明朗。 70年代至90年代，李石樵開始由抽象回歸到寫實主義，吸收了波納爾與塞尚的風格，表現出 高彩度明亮之美。此幅《美國風景》為此時期經典風格。意境寫實、色彩明亮，在客觀理性 的景致中融入主觀感性的色調，是相當出色細膩的寫實作品。 LI Shih-chiao is known as the “painter among painters” and “the long-distance runner of the painting scene”. He was famous for his realism style in his early stage of art career.

After being influenced by western modern art in 1950s, Li started to look for new aspects by infusing new modern art elements to his works before he started to work on group portraits and landscape artworks in the 1970s. After Li retired from National Taiwan Normal University, he frequently traveled between Taiwan and the US to spend time with his family and dedicate himself in sketching. Post-regional literature was becoming a trend at the time and the old artists from earlier era were regaining their spotlights. Li did not restrict his style. He infused more foreign elements and new aspects in his paintings. After Li’s retirement, he focused on researching colors, spaces and textures, which brightens up the color use in his works.

Li Shih-chiao has consistently created all his life. From the 1970s to the 1990s, Li started began to return from abstraction to realism, absorbing the style of Bonaire and Cézanne, manifesting the beauty of bright and vivid colors. This painting, American Landscape, is a classic work featuring the style of this period. The artistic conception is realistic and bright, and the subjective and sensual colors are incorporated into the objective and rational landscape. It is a very exquisite and realistic work.

135

LIAO Chi-chun

廖繼春的繪畫作品無論造形、色彩、筆觸、質感都是受畫壇肯定

(Taiwanese, 1902 - 1976)

的。特別是在色彩的運用更為精彩，經常運用粉紅、石綠、水藍、

Spring and Autumn Pavilions

淺藍、淺黃、以及特別喜歡使用紅、綠對比色，使作品畫面更和諧 溫暖。廖繼春的藝術風格始終都是美的，特別是作品常以台灣風景

1960 Oil on canvas 31.5 x 41.5 cm Signed lower right Chi-chun in Chinese and dated 1960. 4 Signed on the reverse Liao Chi-chun, titled Spring and Autumn Pavilions and dated 1960.6 in Chinese

為題材，例如孔廟、小南門、淡水、野柳、龜山島、春秋閣、愛河

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

廖繼春 春秋閣 1960 油彩 畫布 31.5 x 41.5 cm 簽名左下：繼春 1960.4 簽名畫背：春秋閣ㄧ九六〇.六. 廖繼春畫

等。 本件拍品《春秋閣》位於高雄左營，也是廖繼春喜愛的名勝之一， 傳統建築物的對比色系，在此完整呈現。畫家也有拙趣的表現，像 是左邊的樹，以直而有力粗線畫出樹幹與樹葉，剛好與紅閣樓互相 呼應。右旁的帆船讓畫面更增添動感，極富生命力。 Liao Chi-chun’s painting, whether its shape, color, touch or texture, have received positive response in the painters’ circle. In particular, his color usage was exceptional, as he often uses pink, stone green, water blue, light blue, light yellow, and above all, the contrast between red and green, in order to make the whole work looks warmer. Liao’s style is all about beauty, and he particularly use sceneries in Taiwan as his topic, including the Confucius Temple, Xiaonanmen, Tamsui, Yehliu, Guishan Island, Spring and Autumn Pavilions and Love River.

This auction object, the Spring and Autumn Pavilions, is located in Zuoying, Kaohsiung. It was one of Liao’s favorite attractions.

The work expresses the color contrast of traditional Taiwanese buildings. The artist also added some clumsy yet interesting expressions, like the tree on the left, whose trunk and leaves were portrayed with strong and straight lines, responding to the red pavilion. The boat on the right added some motion to the whole picture, giving the whole piece more vitality.

廖繼春 《春秋閣 》 1958 油彩 木板 LIAO Chi-chun, Spring and Autumn Pavilions, 1958, Oil on wood

88

136

Walasse TING (Chinese-American, 1929 - 2010)

I Love Pink Cat 1986 Acrylic on canvas 50 x 76.5 cm Signed on the reverse Ting, titled I Love Pink Cat in English and dated 1986 PROVENANCE:

Bruun Rasmussen, Copenhagen, December 4, 2012, lot 950

NT$ 2,200,000 - 3,200,000 HK$ 557,000 - 810,000 US$ 71,100 - 103,500 RMB 509,000 - 741,000

丁雄泉 我愛粉紅貓 1986 壓克力 畫布 50 x 76.5 cm 簽名畫背：I Love Pink Cat Ting 1986 來源：

布魯恩 拉斯穆森拍賣，哥本哈根，2012年12月4日，編號950

90

137

PANG Jiun (Taiwanese, b. 1936)

Spring of Bamboo Forests 2009 Oil on canvas 91 x 116.8 cm Signed lower right Pang Jiun in Chinese and dated 2009 With one painted seal of the artist ILLUSTRATED

Pang Jiun Landscape Art Solo Exhibition, Red Gold Fine Art, Taipei, 2012, color illustrated, pp. 18-19 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 2,200,000 - 3,200,000 HK$ 557,000 - 810,000 US$ 71,100 - 103,500 RMB 509,000 - 741,000

龎均 竹林之春 2009 油彩 畫布 91x 116.8 cm 簽名右下：龎均 2009 手繪鈐印右下：均 圖錄

《龐均風景藝術專展》，赤粒藝術經紀策展有限公司，台北， 2012年，彩色圖版，頁18-19 附藝術家親筆簽名之原作保證書

92

138

LIU Kuo-sung

劉國松

(Taiwanese, b. 1932)

星宿海日出

Sunrise at Xing Xiu Hai

2013

2013 Ink and color on paper 97.5 x 72.4 cm Signed lower right Liu Kuo-sung and dated 2013 in Chinese With two seals of the artist

彩墨 紙本 97.5 x 72.4 cm 簽名右下：劉國松 二O一三 鈐印右下：劉國松 鈐印左下：大吉羊 附羲之堂與藝術家簽名之原作保證書

This work is to be sold with a certificate of authenticity signed by the artist issued Xi Zhi Tang.

NT$ 2,600,000 - 3,600,000 HK$ 658,000 - 911,000 US$ 84,100 - 116,400 RMB 602,000 - 833,000

「視繪畫為第一生命」—劉國松 綜觀其藝術歷程，超越了筆墨有限的範疇，種種技法如紙筋、水拓、 滲墨、漬墨的利用融會貫通，各種在技巧上的新創造和其形成的特殊 視覺效果，擴拓筆墨的界限牽動「技法革命」的浪潮。抽象畫的表現 形式而又蘊含中國水墨的精神境界，為新水墨在傳統與創新的探索帶 來啟迪。太空畫的磅礡氣勢與世界觀的表現形式，在構圖題材的選取 和營造上，開拓了面對世界的新面貌和現代意義。劉氏對現代水墨無 窮變化的可行性，將之以山水與自然景觀相融合，暗合自然與天人合 一的境界，超越傳統山水的意象，與萬物齊一、與宇宙同觀。 《星宿海日出》在過去技巧掌握和技法的開拓下，劉國松已不再刻意 追求初期的抽象化畫法或如太空畫那種匠心經營而富於設計意味的表 現形式，而是回到山水無窮意境中，既不是全然具象，也非抽象，畫 面呈現太陽甫升於水平面上光芒乍現的初始，其半自動技巧的運用， 讓水色衍化成種種流淌、空濛、幻變的畫面，彷彿令觀者吐納呼吸於 天地之間的元氣，步進宇宙間莫可名狀的幽玄境界。 By taking a broader view of his artistic history, we can see that he transcended the limitations of brush-and-ink to incorporate a variety of techniques such as paper technology, water rubbing, ink osmosis and steeped ink. The novel visual effects and artistic styles created by these techniques help the artist broaden the horizon of art beyond brush-and-ink. His work helped to usher a technological

94

revolution in Chinese art. Chinese ink painting contains an abstract and spiritual dimension that fuels the exploration of tradition and innovation. The boundless expanse found in painting outer space and the resulting expanded-worldview have uncovered new perspectives and modern meanings in the selection and construction of composition themes. Liu’s ability to endlessly innovate his artistic style combined with his focus on natural landscapes and environments expertly reveals the heavenly realm where nature and man exist in harmony. His art transcends traditional landscape paintings to bring about a unified perspective of all things in the universe.

“Sunrise at Xing Xiu Hai”. Following his mastery of various artistic techniques and pioneering of new styles, Liu Kuo-sung stopped pursuing the deliberate abstraction of art and outer space themes often seen in his earlier works but, rather, he re-focused his attention on the boundless potential of landscape art - which is neither one-hundred percent tangible or abstract. The painting shows the initial rise of the sun as it approaches the horizon. The use of semi-automatic techniques transforms the water color into a mosaic of flowing, vacuous and ephemeral images. Viewers have the privilege of breathing in the vibrant pulse running through the heavens and the earth while stepping through the awe-inspiring wonders of the universe.

139

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

Woman with Clipboard 1920 - 1930s Ink and watercolor on paper 53 x 32 cm Signed center right YU in Chinese and SANYU in French PROVENANCE:

Jean-Clande Riedel, France Soufiane Bensabra, France ILLUSTRATED:

Rita Wong, Sanyu: Catalogue Raisonne Drawings and Watercolor, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. W141, p. 234

NT$ 2,400,000 - 3,400,000 HK$ 608,000 - 861,000 US$ 77,600 - 109,900 RMB 556,000 - 787,000

常玉 拿著畫板的女人 1920 - 1930年代 彩墨 紙本 53 x 32 cm 簽名右中：玉 SANYU 來源：

尚 克勞德 希耶戴，法國 蘇費昂 班薩巴拉，法國 圖錄：

衣淑凡，《常玉水彩與素描全集》，財團法人立青文教基金會， 台北，2014，彩色圖版，編號W141，頁234

96

140

Tzu-chi YEH (Taiwanese, b. 1957)

Mountain in Hualien 2005 - 2007 Tempera and oil on linen 71 x 234 cm Signed lower right Tzu-chi YEH in Chinese and dated 2005-07

NT$ 2,800,000 - 3,800,000 HK$ 709,000 - 962,000 US$ 90,500 - 122,900 RMB 648,000 - 880,000

對於山的凝視，葉子奇做了非常多的詮釋，如遠景的仰望；如近觀 的雕琢或是迷霧中的一抹青山。他不僅將當代山水繪畫帶入一個新 的視角，也同時開創了屬於他自己最獨特且隱私的風景美學。 在葉子奇的山景繪畫裡不難看出他對於過往生活中的情感依附，都 投射在一片片的山林畫當中；如故鄉的花蓮、太魯閣；求學時段的 陽明山、紗帽山等等都蘊藏了他的最深切的羈絆與對故土的深情凝 望。若說對山的獨特關照是出自於鄉愁、思念，或許都不及於葉子 奇對於雙親的想念；他將母親的形象化成一朵朵花卉；以盛開的美 麗滋長了養花人，如同母親以青春豢養了他。在父親離世之後，他 曾說過母親教他去看看大山大水以平靜心情，而山景的壯麗雄偉， 不就像是可以依靠的父親背膀，如此寬闊厚實而未曾動搖。在凝望 大山的當下也將對父親的想念全盤托出，成為他真切的精神寄託， 寧靜而巨大。 葉子奇到底是個浪漫的人，在山林中看見的不僅是當代迷人風景，

葉子奇

更多的是他對故土的殷切關懷；生長於花蓮的他，心裡念的終究是

山在花蓮•霧在山間

這片他曾與父母、手足；他年輕時的愛人；如今的愛妻以及兒女走

2005 - 2007

過的一寸地與見過的一抹山景。他的過去、現在，皆有這片風景的

卵彩 油彩 亞麻布

身影，花蓮的山對他來說便是一段歷史，他畫了許許多多此處的山

71 x 234 cm

水、林木都是獻給他最親愛的故土─花蓮。

簽名右下：葉子奇 2005-07

98

Tzu-chi Yeh has created many renditions of the subject of gazing on mountains. There have been reverences from afar, elaborate depictions up close, and captures of shades of green in the misty fog. Not only has he introduced a new perspective to the contemporary art of landscapes, he has also created his own unique and intimate aesthetic of scenery.

Yeh’s mountain paintings clearly reflect an attachment to his earlier days, manifested in the stretches of mountains and forests he paints. He hails from Hualien or (Hwa-Lien) and Taroko, but spent his schooling years in Yangmingshan and Mt. Shamao.

These mountains embody the artist's intimate connection to and affectionate gaze upon his native land. If his special attention to mountains was derived in part from homesickness and nostalgia, perhaps there is an even greater part inspired by remembrances of his parents. Yeh transforms the image of mothers into flowers that nurture their gardeners with their blooming beauty, an analogy of the way his mother had raised him with her youthful vitality.

He once said that after his father had passed away, his mother taught him to find peace of mind by visiting vast mountains and waters. The sublime beauty of mountain sceneries resembles the dependable shoulders of a father—broad, strong and unwavering.

In gazing upon a massive mountain, the artist is confessing he misses his father; the mountain becomes a form of spiritual sustenance, standing in tranquility and magnificence.

Tzu-chi Yeh is romantic by nature. What he sees in mountains and forests largely extends beyond the allure of contemporary sceneries, and into a deep affection for his home land. Born and raised in Hualien, he holds in fondest memory the stretches of lands he walked and mountain views he saw with his parents, his siblings, his lovers in his youth, his wife today, and his children.

Such spectacles are extant throughout his past and present. The mountains of Hualien represent history to him; Yeh has painted countless landscapes and forests of Hualien, all dedicated to his beloved hometown.

141

洪凌的畫作，是油彩堆疊的風景，是意境悠遠的山水，有西方抽象表現

HONG Ling

言借助西方的媒材，構建出自己獨立的精神繪畫空間，他注重油畫材料

的精神，亦有東方「外師造化、中得心源」的內涵。他用獨特的東方語

(Chinese, b. 1955)

本身的特點做為媒介，並用中國式觀照自然的方法去表達自己的油畫山

Snowscape

水，在似與不似之間，抒發著個體生命經驗。洪凌所繪的山水畫，一直

2010 Oil on canvas 185 x 215 cm Signed right edge Hong Ling in Chinese and dated 2010.6 Signed on the reverse Hong Ling in Chinese, titled Snowscape in Chinese and dated 2010, inscribed 215 x 185 cm

般自然的美感，有時候也以大片的氣感模糊，以及滴灑的「渾點」來營

有著自然物象的餘留，不斷在色彩上豐富，以微妙色差帶來如呼吸吐納 造總體的氣氛。同時跳脫西方焦點透視亦不局限於時間感的光影變化， 放棄風景式的直觀表述，進入一種情境式的主觀營造。他借鑒傳統繪畫 的造型觀念、技術方法與西方油畫藝術的形式相融合，創造出了具有中 國繪畫美學精神的藝術作品，嘗試讓傳統的東方文化精神啟動、再生並 逐漸建立起自己的山水語言系統。

ILLUSTRATED:

Any Scene You Want - Hong Ling Solo Exhibition, Soka Art Canter, Taipei, 2010, color illustrated, p. 57

洪凌喜歡雪景圖，從初雪到瑞雪，從凝寒到雪痕，從穹雪到雪霽，從高

This work is to be sold with a certificate of authenticity issued by Soka Art Center

格復活了。作品《寒眼》是洪淩盛年之作，畫面呈現在潔白空靈而又生

NT$ 6,000,000 - 8,000,000 HK$ 1,519,000 - 2,025,000 US$ 194,000 - 258,600 RMB 1,389,000 - 1,852,000

洪凌 寒眼 2010 油彩 畫布 185 x 215 cm 簽名右中：洪凌 2010.6 簽名畫背：《寒眼》洪凌作於2010年 215 x 185 cm 圖錄：

《呼峯喚語，洪凌個展》，索卡藝術，台北，2010，彩色圖版， 頁57 附索卡當代藝術開立之原作保證書

雪到殘雪，洪凌似乎把整個傳統山水畫的所有雪景圖都重新以自己的風 氣盎然的雪景中，以反覆堆積拖曳，使色彩層層重疊又層層襯托輝映， 造成色層斑駁之美，在凝重中求空靈，在斑駁中求閃爍。洪凌著重於虛 實相生的氣韻，是以在作品中，雲、霧、水、雪，穿插形體，組織畫 面，形成整體性的基調氛圍，呈現出虛實掩映、剛柔相濟，蒼茫壯闊徜 徉大山大水的心靈意象。 Hong Ling’s paintings utilize oil-stacking to construct landscapes. The vivid artistic conception of mountains and rivers embody the spirit of Western abstract expression, while also harboring the connotation of “Creation from the dialectical unity of naturalism and internal comprehension”. Hong uses his unique Eastern language to construct his own independent spiritual painting space with the help of Western media. He values the characteristics of oil painting materials as a medium, and uses the Chinese perception towards nature to express his own landscape oil paintings. Amidst resemblance and nonresemblance, Hong expresses his individual life experiences. His landscape paintings have always had the remnants of natural objects, and being invariably rich in color, the subtle chromatic aberrations bring out a natural aesthetic much like breathing. Sometimes they feature broad ambiguous ambience, utilizing dripping "defects" to produce the general atmosphere. At the same time, the Western perspective is not limited to the lights and shadows that change with time, abandoning the visual expression of the landscape to enter a contextual subjective construction. He draws on the traditional painting styles and technical methods, integrating them with Western oil painting art to create artworks with the aesthetics of Chinese painting. They serve as attempts to launch the inception of Eastern cultural spirit, and regenerate and gradually establish its own landscape language system.

Hong Ling likes snow scenes, fromthe first snowfall to auspicious snow, the freezing temperature to the snow marks, the snowy sky to the final snowfall, and high snow to residual snow. Hong Ling seems to have revived all the snow scenes of the entire traditional landscape painting in his own style. The work, Winter Eye, is one of Hong Ling’s prime works. The picture is presented in a white, ethereal and vibrant snow scene, which is repeatedly stacked and dragged, so that the layers of color overlap and contrast layer by layer. The resulting mottled beauty of the color layers seeks ethereal in dignity, flickering among the dots.

Hong Ling focuses on the illusion of reality and virtuality. In his works, clouds, fog, water, and snow intersperse as shapes. The organized canvas forms a holistic tone of ambience, illustrating the images of the soul reality and virtuality, as well as rigidness and softness, manifesting the spiritual image of the vast mountains and waters.

100

142

LUO Zhongli (Chinese, b. 1948)

The Cattle and the Child 1991 Oil on canvas 65 x 80 cm Signed lower left Luo zhong li in English and Luo in Chinese PROVENANCE:

Acquired directly from the artist in 1991 by the persent owner This painting is to be sold with a photograph of the artist with this lot.

NT$ 7,000,000 - 9,000,000 HK$ 1,772,000 - 2,278,000 US$ 226,300 - 291,000 RMB 1,620,000 - 2,083,000

羅中立 牛和小孩 1991 油彩 畫布 65 x 80 cm 簽名左下：Luo zhong li 羅 來源：

現有收藏者於1991年直接得自藝術家 附藝術家與本拍品合影照片

102

"I need a certain amount of workload to train myself and accumulate experiences. And I have always painted farmers in Rural Realism-related themes as my lifework."

— Luo Zhongli 「我需要一個量來錘鍊自己，累積經驗，而我始終以描繪農民鄉土題材為職志。」 — 羅中立

歌頌鄉土的寫實靈魂 CELEBRATING THE REALISTIC SPIRIT OF RURAL PAINTINGS 中國鄉土繪畫興起於上個世紀80年代初期，曾經為四川畫派的主要

Chinese Rural Realism paintings emerged in the early 1980s, and

重心。1980年代時，因歷史的反思、民族精神的回望而造就了「傷

they had once been a main focus in the Sichuan school of painting

痕美術」、「鄉土美術」等等的派流。在此大時代背景下，中國藝術

during the last century. In the 1980s, different schools of art such

創作也進入一個「新時期」。而四川畫派的崛起，因匡條限制較少的

as "scar art" and "Rural Realism soil art" were created as a result of

四川美院，亦也受到當時人文藝術思想的激烈碰撞造就活躍的學術氛

historical reflections and ethos recollections. Under the background

圍，孕育出一批知名的當代藝術家。羅中立、周春芽、張曉剛等等在

of such an era, Chinese art creation also progressed into a "new

中國藝術界特別稱之為「川美現象」。

period." The Sichuan school of painting came to a rise because the

羅中立在回憶其創作初衷時曾表示，老實的農民總是吃虧，他要為這 些被忽視的農民吶喊。正是這樣深刻的個人體驗，以及強烈的使命 感，賦予了他的作品豐富的情感。1980年羅中立以作品《父親》在 中國引起廣大風潮與迴響；並使鄉土繪畫成為中國現代藝術史上具有 里程碑意義的四川畫派推向高峰，回歸藝術真諦，描繪一個時代的真 實。並擅長以照相寫實的手法和過去重大歷史題材才允許使用的超大 尺幅細緻刻畫一個中國農民的形象，當時觸動了千萬人。 《牛和小孩》及《爬樓梯的人》皆首現拍場，精彩呈現各有風韻地不 同時期作品。《牛和小孩》創作於1991年，描繪大巴山農民真實樣 貌以及地域性生活的再現，細膩的表現，藉由對於農民生活的刻畫， 重新詮釋了對於文化的理念。畫面中捕捉了一個靜謐溫柔的瞬間：女 孩與牛，以及陽光與影子交織下的細膩呈現，譜成令人沉醉的田園氛 圍。女孩略微低頭彷彿思囑，看似年幼，卻有著經世的成著，人物豐 富的層次和肌膚紋理，牛隻形體結實且精細地描繪方式也使整幅畫面 栩栩如生。光影交織、靜謐樸實，色彩溫潤和諧，精緻又寫實的表現 方式，為純樸田園生活中道盡最詩意的表現。

104

Sichuan Fine Arts Institute was subjected to fewer restrictions, and the dynamic academic atmosphere from intense collisions between humanities and artistic ideas at that time cultivated a group of famous contemporary artists. In the Chinese art community, artists such as Luo Zhongli, Zhou Chunya, and Zhang Xiaogang are specially called the "phenomenon of Sichuan Fine Arts Institute."

In recalling the original intentions of his creation, Luo Zhongli once expressed his aspiration to speak for these honest, neglected farmers as they always get the short end of the stick. This profound personal experience and strong sense of mission are exactly what brought the rich emotions into his works. In 1980, Luo Zhongli's artwork titled Father became widely acclaimed in China. By focusing on the true meaning of art and depicting the reality of an era, he led Native Soil paintings and the Sichuan school of painting to achieve a new milestone, reaching a new high in Chinese contemporary art history. In addition, Luo Zhongli delicately

藝術家與《牛和小孩》合影 Photo of artist and "The Cattle and the Child"

《牛和小孩》1991 油彩 畫布 65 x 80 cm

portrayed the image of a Chinese farmer by demonstrating

The Cattle and the Child, 1991, Oil on canvas, 65 x 80 cm

photographic realistic details at a large scale that used to be only permitted for major historical themes. The artwork touched tens of millions of people at that time.

Auctioned for the first time, "The Cattle and the Child" beautifully display the styles from different stages of his career. "The Cattle and the Child" was created in 1991 in depicting the real looks of farmers in Daba Mountains and re-illustrating the regional way of living. The delicate expression redefines the philosophy of culture through the portrayal of farmers' life. The painting captures a still and gentle moment: the girl and the yak, along with a delicate display of sunshine and shadow that combine to form an immersing country atmosphere. The girl slightly bows her head and seems to be pondering; she looks young but also has some sophistication from experience. The characters' abundant layers, skin textures, and the detailed depiction of the yak's solid physique make the entire painting look vividly real. Together, the interactions between light and shadow, stillness and harmonious colors, in addition to exquisitely realistic methods of expression create the most poetic demonstrations of simple country living.

《爬樓梯的人》1996 油彩 畫布 101.5 x 77.5 cm Man Walkimg Up Stairs, 1996, Oil on canvas, 101.5 x 77.5 cm

143

中國古代美學理論追求的至高境界是：所貴於枯澹者，謂其外枯而

CHU Teh-chun

至：「中國傳統中對筆墨運轉及對絹或宣紙質感、肌理的講究創造

中膏，似澹而實美。這一點，在吳冠中評價朱德群的風格中呼應備

(Chinese-French, 1920 - 2014)

了東方繪畫宜近看而耐人尋味的特點。德群在大刀闊斧的油畫揮寫

Vibrations lumineuse I (Splendid Light)

中竭力發展中國筆韻、墨趣的時代性、世界性。」「朱德群的作品

1986 Oil on canvas 65 x 92 cm Signed lower right CHU TEH-CHUN in Chinese and English Signed on the reverse CHU TEH-CHUN in Chinese and French, titled Vibrations lumineuse I in French and dated 1986

我的觀點的闡明。德群表現中另一個突出的特點是透明性，粘糊糊

ILLUSTRATED:

1980年代中，朱德群充分運用中國的書法繪畫的線條、點與粗筆，

Solo Exhibition of Chu Teh-Chun, The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, p. 196

中國書法的俯仰、頓挫與縱橫均可見於這個時期的作品當中。到了

NT$ 9,000,000 - 12,000,000 HK$ 2,278,000 - 3,038,000 US$ 291,000 - 388,000 RMB 2,083,000 - 2,778,000

朱德群 璀璨之光 1986 油彩 畫布 65 x 92 cm 簽名右下：朱德群 CHU TEH-CHUN 簽名畫背：Vibrations lumineuse I 朱德群 CHU TEH-CHUN 1986 圖錄：

《大象無形—朱德群作品展》，上野之森美術館，東京；台灣馨昌 股份有限公司，台北，2007，彩色圖版，頁196

確是遠看西洋畫、近看中國畫，他的創造性的手法正適合借來作為 的油彩織成了透明的新裝，那種半透明效果本是中國宣紙特有的風 采，令西方可望不可攀的風采。朱德群的抽象繪畫不受遠景近景具 體物象的約束，他竭力追求深遠的空間感與具體筆墨的韻律相結 合，是縱深感與形象性都得到最充分的發揮。」

1980年代後期，朱德群趨向對自然光線作更深入的詮釋，並試圖把 更多色彩納入畫面中，以更豐富、更具情感的創作手法，延續中國 文化精神議題，更將色彩納入他創作中，展現出更為豐富、多情的 一面，如1986年創作的《璀璨之光》，充滿動感的佈局，畫面肌理 得體，準確優美，極富表現力。畫面中如韻律跳躍、節奏雄健，似 交響樂般的點塊表現，無不既融匯了中國草書俐落瀟灑的用筆，又 呈現了西方韻律、節奏的視覺美感。 Ancient Chinese aesthetic theory pursues the utmost ambit: The precious of withered is the innermost rich, though withered in appearance, it is beautiful actually. This has been reflected in the appraise by Wu Guanzhong, "In traditional Chinese ink painting, the moving of brush, the characteristic of rice paper and silk, and the texture have been regarded as the intriguing features of oriental painting, which is suitable for close look. Chu Tehchun did his utmost in developing Chinese painting rhyme and fascinating modern painting with bold and resolute strokes in his paintings." "Chu Teh-chun's works is really like Western painting when viewed from afar, as Chinese painting when stared at nearby.

His creative approach is suitable to be used as I stated the view.

Chu Teh- chun's painting has another prominent feature, which is transparent. The slimy oil paints have formed transparent dress, and the translucent effect is the features of Chinese rice paper, which is unrivaled by the West. Chu Teh-chun's abstract painting is free from the restriction of the objects, whether in close-range or beyond vision. He has pursued a far-reaching sense of combining space and rhythm of specific ink together. His painting has given full play to the painting in respect of depth and image."

In the 1980s, Chu Teh-chun had fully used lines, dots, and rough strokes in Chinese calligraphy and painting. The pitching, pause and transition, strokes and brushes in Chinese calligraphy could be found in his works during this period. By the late 1980s, Chu Teh-chun inclined to use natural light in his painting for deeper interpretation and tried to put more colors into picture. He adopted a more extensive and emotional creative way to extend the spirit of Chinese culture. He has also put rich colors into his creative works, which shows affluent and sentimental feelings. "Vibrations lumineuse I" created in 1986, is depicted in a dynamic layout with delicate fabric, accurate beauty and extreme expression.

The painting shows the jumping rhythm with power. The dots and blocks seemed like symphony performance, integrated with the fluency of Chinese cursive writing and the Western rhythm of visual aesthetic.

106

144

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

Fête Nocturne 1999 Oil on canvas 73 x 92 cm Signed lower right Chu Teh-chun in Chinese and French, dated 99 Signed on the reverse Chu Teh-chun in Chinese and French, titled Fête nocturne in French and dated 1999 EXHIBITED:

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

Solo Exibition of Chu Teh-chun, The Ueno Royal Museum (cataloue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illuetrated, p. 314 (hard back edition) Solo Exibition of Chu Teh-chun, The Ueno Royal Museum (cataloue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illuetrated, p. 37 (brochure) Chu Teh-chun, 88 Retrospective, National Museum of History, taipei; Thin Chang Corporation, Taipei, 2008, color illuetrated, p. 170 (hard back edition) Chu Teh-chun, 88 Retrospective, National Museum of History, taipei; Thin Chang Corporation, Taipei, 2008, color illuetrated, p. 74 (brochure)

NT$ 9,000,000-12,000,000 HK$ 2,278,000-3,038,000 US$ 291,000-388,000 RMB 2,083,000 - 2,778,000

朱德群 夜之饗宴 1999 油彩 畫布 73 x 92 cm 簽名右下：朱德群 CHU TEH-CHUN 99 簽名畫背："Fête nocturne"CHU TEH-CHUN 朱德群 1999 展覽：

「朱德群88回顧展」，國立歷史博物館，台北，展期自2008年 9月19日至11月23日 圖錄：

《大象無形—朱德群作品展》，上野之森美術館，東京，馨昌股份 有限公司，台北，2007，彩色圖版，頁314（精裝本） 《大象無形—朱德群作品展》，上野之森美術館，東京，馨昌股份 有限公司，台北，2007，彩色圖版，頁37（簡冊） 《朱德群八十八回顧展》，國立歷史博物館，台北，馨昌股份有限 公司，台北，2008，彩色圖版，頁170（精裝本） 《朱德群八十八回顧展》，台北，馨昌股份有限公司，台北， 2008，彩色圖版，頁74（簡冊）

108

145

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

Neige de Mai 1987 Oil on canvas 65 x 81 cm Signed lower right CHU TEH-CHUN in Chinese and French Signed on the reverse CHU TEH-CHUN, titled Neige de Mai in Chinese and French, dated 1986-87 PROVENANCE:

Lung Men Art Gallery, Taipei Acquired directly from Lung Men Art Gallery in 1987 by the present owner This painting is to be sold with a certificate of authenticity issued by Chu Teh-chun Foundation

NT$ 28,000,000 - 36,000,000 HK$ 7,089,000 - 9,114,000 US$ 905,300 - 1,163,900 RMB 6,481,000 - 8,333,000

朱德群 五月雪 1987 油彩 畫布 65 x 81 cm 簽名右下： CHU TEH-CHUN 朱德群 簽名畫背：五月雪 Neige de Mai CHU TEH-CHUN 朱德群 1986-1987 來源：

龍門畫廊，台北 現有收藏者於1987年購自上述來源 附朱德群工作室開立之原作保證書

110

白色詩意的默想，朱德群「超脫之風景畫」 充盈的宇宙博大，無窮無盡的色階，雲霧千姿萬態之美於畫中形成 了靈性空間。朱德群的「山水」來自其記憶中的風景，在朱德群的 繪畫裡，他將所見風景都做了重新詮釋，心靈悸動下的現實景色以 東方與西方獨有的繪畫特質做了巧妙的精萃，用一種抽象的自然主 義方式讓這些獨特的文化泉源相互交融、去蕪存菁，重新體現生命 之美。那股透過光線放射出來蓬勃生命魅力裡喚起對唐代詩人司空 圖《二十四詩品》中「超以象外，得其環中」超脫於物象之表現， 原形容詩文意境雄渾、超脫之美也比喻置身度外，套用在朱德群的 繪畫藝術上，亦是極為適當貼切。 「最真實的繪畫來自回憶。」—皮耶．卡班所 「我曾畫過好幾個白色調子的畫，那是我在日內瓦的途中，看到了 阿爾卑斯山覆滿了白雪，當雲霧瀰漫之時，雲霧的白和雪山的白層 次分明而充滿了變化，此時我心中只有雲霧在白地上移動的景象以 及湧現的層次，心靈似乎也跟著那深淺濃淡的變動而若浮若沉，一 下子浮現了很多唐詩的意象。」朱德群曾經回憶那份靈光乍現的悸 動。1985年，在一次飛行途中，朱德群看到阿爾卑斯山上大雪紛飛 的景象，心中浮現了李白、杜甫等人的詩句，內心激動不已。大自 然中蕩氣迴腸的美景悸動，激發了他對抽象畫的新闡述，因而發展 出最膾炙雋永的「雪景系列」。 「山萬重兮一雲，混天地兮不分。 樹晻曖兮氛氳，猿不見兮空 聞。」— 王維 朱德群以「雪景系列」再次達到創作的高峰，他的山水空間彷彿結 合了大氣的脈動，自廣闊的天際與深沉的地底吹拂而來，大氣之 韻，渾然天成。此幅《五月雪》創作於1987年，展露出白皚清流之 美、飄渺雲霧的千姿百態。「雪景系列」之稀有性更為收藏標的， 亦是藝術家創作生命中的最高傑作。朱德群曾經回憶那份靈光乍 現的悸動。《五月雪》僅用極簡的藍、白、黑三色為主調交織出記 憶中白皚景致，流暢的大筆刷如中國書法運筆上下揖讓，如音符律 動抑揚頓挫、舞跳交織。以油彩均織出凝雪冰霜的意境，渾圓的墨 點展露出氣韻生動亦有水墨之蒼勁，細線錯落如網，色感與構圖如 神來之筆；優雅、舒暢、灑脫的筆致，更是表現了大自然的生命流 動。 1987年國立歷史博物館舉辦了「朱德群首度回國邀請展」。此次 展覽為他離台32年後第一次回台展覽，並展出其1953至1987年間 的重要作品四十件；對於當時正在萌芽的台灣藝術市場亦有著重要 影響，亦之於再次回到台灣的朱德群同時重新共構了他繪畫中的東 方成分。朱德群ㄧ生的創作量十分豐沛，1980年代後期的「雪景系 列」因數量稀少，更為許多藏家之收藏標的，亦是朱德群作品在藝 術市場中最搶手的兩大時期作品之一。幾經動盪與文化流轉，朱德 群的豐沛的生命洗鍊，透過繪畫表現了他與大自然的靈性融合；他 的藝術蘊含生命力與東方文人精神，體現其生命情懷更表現出物我 兩忘的宇宙之氣。

112

WHITE POETIC CONTEMPLATION - CHU TEH-CHUN’S "TRANSCENDING LANDSCAPE PAINTING" The vast universe is full of endless color gradations. The beautiful forms of clouds construct a spiritual space in the painting. Chu Tehchun’s “landscape” originates from the scenery in his memory. Chu reinterprets the scenes in his paintings, ingeniously refining his heartfelt realistic scenes through the unique painting characteristics of the East and the West. He applies an abstract naturalistic approach by blending these unique cultural sources together to recreate the beauty of life. The light radiates out the vitality of life and evokes the charm of being detached from the object, or, “creating the emotion beyond the image,” as presented by the Tang Dynasty poet Tu Sikong in Twenty-Four Poems. Originally described as poetry’s artistic conception, the beauty of detachment is also a metaphor, which can also be applied describing to Chu Teh-Chun’s paintings.

The most realistic paintings come from memories.”– Pierre Cabanne “I have painted several white-toned paintings. When I was on a trip to Geneva, I saw the Alps covered with white snow and permeating white clouds. When the clearly defined white layers of snow and clouds filled with change, my heart only held the scene of the clouds hovering over the white ground along with the emerging layers.

My mind seemed to follow the depth and shades of the changes, and suddenly, the image of many Tang poems materialized. “ Chu has reminisced about the instigation of the aura. During a flight in 1985, Chu saw the snowy scenes of the Alps, and the poems of Li Bai, Du Fu, and other such poets emerged in his heart, giving Chu much excitement. The stimulating beauty of nature has inspired his new interpretation of abstract paintings, thus developing his most praised and meaningful and “Snow Scene series”.

calligraphy, much like interweaving dance manifested by the rhythm of notes. The oil colors are woven into the artistic conception of the condensed frost, and the round ink spots illustrate the spirit’s vitality and the vigorousness of the ink. The thin lines are staggered like nets, and the color and composition are all a stroke of genius. The elegant, comfortable, and liberating brush strokes exhibit the vitality flow of nature.

In 1987, the National Museum of History held “Chu Teh-chun: Retrospective” exhibition. The exhibition was the first time Chu returned to Taiwan 32 years after he left. It exhibited 40 important works from 1953 to 1987. It also had an important influence on the then-burgeoning Taiwanese art market, and Chu, who returned to Taiwan again, re-constructed the oriental elements of his paintings.

Chu created an abundant amount of works in his life. Since the “Snow Scene” series created in the late 1980s were scarce, they became immensely popular with collectors. The series is among the two most sought-after periods of Chu’s works in the art market.

After several turbulences and cultural circulation, Chu expresses his abundant life experiences through painting, showcasing his spiritual integration with nature. His art contains vitality and the spirit of the Eastern literati, reflecting his life feelings and showing the cosmic atmosphere that he has become one with.

“The mountains are covered with foggy clouds, and there is no difference between the sky and earth. In the dark forest of the mountains, one can only hear and not see the sound of howling monkeys.” - Wang Wei Chu has once again reached a creative peak with his “Snow Scene” series. His landscape space seems to combine the pulsation of the atmosphere. Ranging from the vast sky to the rooted ground, the rhythm of the atmosphere is one with nature. This painting, Neige de Mai, was created in 1987. It reveals the beauty and various formations of flowing clouds. The rare “Snow Scene”series is of even more collective value. It is also the finest masterpiece created by the artist during his life. Chu once recalled the inspiration of that aura. Neige de Mai only uses the minimalist blue, white, and black colors to interweave the white landscape of his memory.

The smooth brushstrokes are like the brush grazes of Chinese

透納《暴風雪-汽船離港》1842年作 英國倫敦 泰特不列顛美術館 J.M.W Turner, Snoe Storm - Steam-Boat off a Harbour's Mouth, 1842, Tate Britain, London, U.K.

146

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

Chrysanthemums in a Vase on a Red Table 1950s Oil on masonite 62 x 92 cm Signed lower right Yu in Chinese and SANYU in French PROVENANCE:

Private collection, Europe Christie’s Hong Kong, May 27, 2005, lot 265 Ravenel, Hong Kong, December 1, 2008, lot 133 Private collection, Asia ILLUSTRATED:

Rita Wong, Sanyu: Catalogue Raisonne Oil Paintings Volume Two, The Li-Ching Cultural and Educational Foundation, Taipei, 2011, color illustrated, no. 276, p. 84

Estimate on request 估價待詢

常玉 紅桌上的瓶菊 1950年代 油彩 纖維板 62 x 92 cm 簽名右下：玉 SANYU 來源：

私人收藏，歐洲 佳士得拍賣，香港，2005年5月27日，編號265 羅芙奧拍賣，香港，2008年12月1日，編號133 私人收藏，亞洲 圖錄：

衣淑凡編，《常玉油畫全集第二冊》，財團法人立青文教基 金會，台北，2011，彩色圖版，編號D276，頁84

114

在第一代中國油畫家行列裡，常玉無疑是非常突出的一位，具有超越

各時期的花卉創作各具特色，1930年代前後的花卉畫多以粉色作

時空的美學魅力。至今，他仍是許多藝術收藏者的最愛。儘管今日常

畫，形式簡潔，花卉多半是剪枝，插在素瓶或花籃裡，姿態纖巧造型

玉留世的作品以油畫、水彩、素描、版畫等西方創作形式為主，但

可愛，經濟上因有外來資助，材質以畫布為多；1940年代經歷過二

他的的美學內涵與中國文化其實深不可分。出生於四川南充的他，受

次大戰，物資缺乏，此時無法購買畫布或昂貴顏料，改在纖維板上反

父親常書舫啟蒙，跟隨父親習畫，十二歲即展露藝術的才華。常書舫

覆作畫，花枝或瓶身常以粗線條勾勒，色彩組成簡單，構圖帶有寫意

以獅、馬等動物繪畫聞名南充，潛移默化了常玉。在常玉從早期到晚

的拙趣。晚期接近1960年代時，轉以斑斕的色彩裝飾，描繪華麗卻

期的作品中，經常以風景畫中的馬為創作主題，頗有幾分向父親致敬

又遠離真實的瓶花盆景，帶給人一種絕美的感受。

之意。傳統藝術的因子，一直藏在飄浪性格藝術家常玉的創作血液之 中，不論是線條、筆法、構成空間、色彩運用，還有繪畫中透露的禪 意與神韻，雖然身在歐洲，但筆下的靈魂，滿溢著中華文化的影響。

常玉的後期花卉畫很少標明年代，依照風格判斷，《紅桌上的瓶菊》 的創作時期，約莫完成於1950年代。這幅創作符合法國評論作家皮 耶·儒芙瓦（Pierre Joffroy）的觀察：「他不依常理而又不落俗套的

少年常玉在父親的安排下，曾跟隨四川名書法家趙熙（1877-1938）

創作手法，毫不含糊地把東西方之優點融合於他的畫作中。常玉只運

習字。趙熙的詩書畫名聞遐邇，墨跡存於四川名勝古蹟間。在其優雅

用三種色調架構的畫面，常玉以這樣一個詞去概括，那就是簡單主

的藝術涵養與尚美的情操薰陶下，常玉頗受感召，得到父兄的許可與

義。」常玉畢生奉行「簡單主義」，他以食物的烹調比喻自己的繪

鼓勵之下，走上藝術之路。他轉赴上海生

畫，有別於歐洲繪畫的燒烤、煎炸及肉類

活，接收了廣告月份牌和宣傳海報圖式的

的豐盛口味，比較接近蔬菜、水果及沙

民間藝術的視覺刺激，當時盛行的海上畫

拉，他自認為其藝術有助於人們改變欣賞

派、金石畫派等花卉的表現技法，傳承自

藝術的品味。

石濤、八大山人等藝術古風，對後來常玉

在《紅桌上的瓶菊》創作中僅出現黃、

的繪畫思維起了一定的影響，奠定藝術養

黑、紅三色：以大片明亮的金黃色為主

分之基礎。1918至1919年間，常玉到東

調，黑色花朵枝葉表現簡樸的力度，近景

京探望二哥，停留一年餘，期間傳有其書

低水平處，艷紅色的桌面為平面構成暗示

法作品刊載於日本藝術雜誌，足見當時常

出空間，低視覺感巧妙地使得畫面產生平

玉已有中國書藝之相當基礎。雖然後來存

穩與變化的效果。金黃與豔紅為中國民間

世的常玉書藝創作不多，但寫得一手好字

喜慶常見的色彩，象徵吉祥富貴，在民間

的常玉，在巴黎時初期以毛筆速寫裸女，

工藝藝術有廣泛的運用。然而，常玉巧妙

功力一流，經常一氣呵成，不需太多思

地運用這些色彩，卻一點也不流於俗氣，

索，往往引起其他畫家的讚嘆。後來他也

反而顯得高貴雅緻，若非天賦無法達成。

透過油畫，也把書法的功力展現於人體、

而花葉的墨黑，不正是中國正統書畫裡的

動物、靜物、花卉姿態等線條上。

用色？它是中國畫家最擅長的色彩，但常

就創作的主題來看，常玉多選擇女體、花

玉不是以傳統的暈染，而是平塗描繪菊的

卉、靜物、動物及少數的風景，並樂此不

花瓣，造型類似中國剪紙的圖案，頗有童

疲。其中「花卉」題材在常玉一生創作

心童趣。

中佔有極大的比重，多以描寫中國傳統書

馬諦斯《瓶菊》1902 油彩 畫布 舊金山現代藝術博物館

畫中常見的梅、竹、荷、菊，其中尤其偏

Henri Matisse, Chrysanthemums in a Chinese Vase, 1902,

對象物瓶菊，一如常玉其他的作品布局於

oil on canvas, San Francisco Museum of Modern Art

畫面中央，枝葉扶疏單色勾勒，瓶身與背

愛畫菊。菊花，經常出現在他的花卉畫 裡，隱藏著濃濃的鄉愁記憶。菊是花中隱

士，也是詩人的象徵。陶淵明的「採菊東籬下」的優雅，想必在常玉 心裡有深刻的了解。他的生命價值觀與美學思考，透過花卉畫的描寫 抒發，彷彿也想藉由花的姿態暗寓自己漂泊異鄉的身軀。吳冠中曾寫 道：「常玉畫了那麼多盆景，盆景裡開出綺麗的繁花，生意盎然；盆 景裡芶延著凋零的殘枝，悽悽切切，卻鋒芒畢露。由於剪裁形式構成 的完整飽滿，濃密豐厚的枝葉花朵往往種植於顯然不成比例的極小花 盆裡，有人慨嘆那是由於失去大地，只依靠一點點土壤成活的悲哀。 這敏銳的感觸，這意味深長的慨嘆緣於同命運的相憐吧！我覺得常玉 自己就是盆景，巴黎花圃裡的東方盆景。」美學家蔣勳也從常玉的花 卉畫裡讀出「此生如花」的聯想，花卉的姿態也反映出藝術家的自我 人生。

116

景的用色接近，形成遼闊感。構圖採水平 式，在藝術家的創作裡並不多見，多數都是直立式的構圖居多，台北 的國立歷史博物館的藏品中二、三件名為《插瓶菊花》作品有類似的 構圖。較為特殊之處，《紅桌上的瓶菊》在布局花的姿態時，採用了 中國傳統畫論的「鹿角枝」，這種畫法可以在其他的直立式構圖中也 可看到，「鹿角枝」描寫向上生長的樹枝。常玉有時喜歡藉由精心安 排瓶花、盆景的花卉姿態，使畫面產生獨特的力度。常玉以率性自我 的性格，結合民族藝術特有的美學，在歐洲美術界揮灑出一片天地， 六十五歲的短暫人生中，留存的油畫創作估計不到三百幅，他所遺留 的瑰寶，相信百年後仍舊發光璀璨。

advertising billboards, posters, and calendars one could encounter Today, there is no doubt that Sanyu is one of the most distinguished everywhere in the big city. Another influence on Sanyu were the members of the irst generation of modern Chinese-origin oil flower painting styles of the Shanghai and Jinshi schools, and the painters. The aesthetic appeal of his work surpasses the boundaries artist in particular absorbed the classical tradition of artists like Shi of time and space, and to this day his paintings remain among the Tao (1642-1718) and Chu Ta (1626-1705) and incorporated them in favorite objects of many collectors' desire. Incidentally, Sanyu's his own stylistic repertoire. Between 1918 and 1919, Sanyu visited aesthetics are clearly indebted to the Chinese cultural tradition, his second brother in Tokyo, where he spend more than a year and even though most of his output has been in Western genres and managed to have some of his calligraphy published in Japanese formats, in particular oil painting, watercolor, sketch/ drawings art magazines - an indication that at this point in his career, he had and prints. Born in Nanchong in Sichuan Province, he was irst already reached a considerable degree of skill and maturity in the instructed in calligraphy and painting by his father, Chang Shu-fang. traditional Chinese genres. While not many of Sanyu's calligraphic At about the age of 12, Sanyu began to display his extraordinary works are extant today, one can catch more than a glimpse of his talent, much influenced and inspired by his father's work. Chang luid brushwork and assured elegance in his early Paris nude female Shu-fang had quite a reputation for his exquisite animal painting, sketches: his technique is impeccable, his compositions all of a especially his depictions of lions and horses. Possibly as a result of piece, done in one go without later corrections or changes. This this, and a subtle form of paying respect to his father, landscape near perfection, praised compositions featuring and envied by many horses as the dominant of his contemporaries, theme run through also became a hallmark Sanyu's entire oeuvre. of his oil paintings, The seeds of traditional where he employed Eastern art would the lively yet abstract continue to sprout and lines of calligraphy to bear fruit throughout his draw the contours of whole life, even though human bodies, animal he spent most of it as a shapes, still S lifes, and stranger in strange lands. lowers.Sanyu's preferred Although he roamed motifs were female in the Wester n world, nudes, lowers and the basics of his art are other still lifes, animals, unmistakably pervaded and a small number of by a Zen-like rhythm, an landscape paintings. almost mystical vibrancy He never tired of these that shows in his lines, themes, and especially brushwork, compositional 常玉 《瓶菊》1950年 油彩 纖維板，91.6 x 125 cm pictures of flowers and and spatial arrangements, 佳士得香港2016秋季拍賣會，編號2503，成交價：港幣1.03億 plants make up a large as well as his use of color.

Sanyu, Chrysanthèmes dans un vase en verre, 1950, oil on masonite, 91.6 x 125 cm, portion of his oeuvre.

Though he chose to make Christie's Autumn Auction 2016 HK, US$13,351,460 Sold His favorites were the Europe his per manent classical subjects of Chinese painting, plum blossoms, bamboo, abode, the core of his work is yet brimming with the essence of lotus, and chrysanthemums. Among these, he particularly loved Chinese culture. chrysanthemums, and consequently they frequently appear in his When he was still a young man, his father arranged for Sanyu to flower painting, messengers of a deeply felt nostalgia that is yet study calligraphy under the famous Sichuan master Zhao Xi (1877never more than hinted at with subtle restraint. In the Chinese 1938). Zhao Xi's poetry, calligraphy, and painting (the three of tradition, chrysanthemums are symbols of a reclusive life, signifying which were considered to be an integral unit in classical Chinese a hermit or a poet. They stand for a spontaneous, independent art) enjoyed wide renown across the country, and some of his art spirit that has probably been best captured in Tao Yuanming's (mostly calligraphy) is preserved in the temples, steles, and other famous lines from one of his Wine Poems, "Chrysanthemums I was historical relics of Sichuan Province. Under the tutelage of this picking under the east hedge / When the South Range met my master, the foundations of Sanyu's aesthetical education were tranquil eyes ... The soul of nature was here revealed / Too subtle it laid, with a strong emphasis on grace, elegance and beauty. With was for words." We can be sure that Sanyu shares these sentiments the blessing and encouragement of his father, Sanyu embarked on a very profound level, because he reveals his views on life and on his journey as an aspiring artist. Moving to Shanghai, he genuine beauty through his depictions of lowers, using them as an received much visual stimulation from the folk art designs of the outlet for metaphorically expressing the sadness and forlornness

lurking immediately under the surface of his merry Paris life. As Wu Guanzhong writes, "Sanyu was a great painter of flower stills and potted plants, and they are always blossoming in the most exquisite shapes and colors, brimming with life. Yet in truth, lowers in a vase are but beautiful blooms on stalks or branches already severed from the true sap of life - lingering on for a short while, but doomed to fade and wither quickly. It is a mournful sight, really, the sadness only enhanced by the sheer splendour of the subject.

The overwhelming visual density is but the result of cutting and arrangement, an effect produced by squeezing thick clusters of lowers into too small a vase or pot, thus losing all sense of natural proportions. When this happens, some have plaintively observed, one forces these delicate plants to subsist on a little water or a few crumbs of soil, cutting them off from the generous nourishment of Mother Earth. Why would Sanyu be so sensitive to these truths?

Why, his compassion and sympathy clearly derive from the fact that he was in a similar situation himself! I think he was a 'potted plant,' a 'lower in a vase,' too, a bonsai from the East transplanted to the huge garden that is Paris." (From Wu Guanzhong, 'About Sanyu'.) Scholar-painter and writer Chiang Hsun expressed a similar impression when he said that "Sanyu's life was like the lowers he painted." Looking at the lowers and their graceful yet lonely poise,

118

we can get some idea of what the artist's inner life must have been like.

Flower stills from different periods of Sanyu's creative career display marked stylistic differences. Around the 1930s, pastel tones and simple, succinct shapes dominate the pictures, and most of the "flowers" shown are cut branches inserted in a plain vase or basket - delicate structures pleasing to the eye. Since the artist received much sponsorship and support during this time, most of these works are on canvas. By the 1940s, the economic situation had worsened dramatically due to WWII, and decent painting materials were hard or impossible to come by. Sanyu was forced to paint on fiberboard, often recycling the same piece for multiple paintings.

The lowers and vases from this phase are usually outlined with thick strokes, and colors and composition are kept terse, giving the paintings a certain naive charm that is further enhanced by the freehand brushwork. In his later works from the late ifties and early sixties, the coloring suddenly becomes mottled, brighter and more varied, and the lowers shown are dazzlingly beautiful in a more abstract, surreal manner, their pure aestheticism offering keen pleasures to the observer's eye.

Sanyu very rarely dated his later flower paintings, but judging

CHRYSANTHEMUMS IN A VASE ON A RED TABLE

from its style and execution, "Chrysanthemums in a Vase on a Red Table with Yellow Background" is very likely a piece from the late forties or early fifties. This lot perfectly illustrates the observations of French critic Pierre Joffroy, "The particular gift of this artist is to unite East and West in his paintings, not in a confused, sacrilegious way, but with an elevated awareness where one loses usual points of reference. Sanyu has found one word to describe his minimalist art using basically three tones of color: Simplicism." Indeed, Sanyu was a lifelong proponent of "Simplicism," and he would sometimes use cooking metaphors to illuminate the concept, stating that while standard European cuisine reveled in the rich lavors of cooked, roasted or fried meats, his own creations focused more on fruits and vegetables, resembling a light salad rather than an opulent feast.

Sanyu also felt that his art had the potential to change the way people appreciate artistic works, and thus ultimately revolutionize their tastes.

The three basic tones of color in "Chrysanthemums in a Vase on a Red Table with Yellow Background" are yellow, black and red, with broadly applied strokes of orange- golden yellow setting the main tone, the black of the uniform, silhouette-like stalks, leaves and blossoms supplying the simple yet powerful dynamics of the painting's theme, and the bright red of the table extending into the picture in the very foreground adding a sense of space to the otherwise mostly two- dimensional composition. The overall visual effect of this simplistic arrangement can be described as a stunning combination of balance and vigor, tranquility and excitement. One might also point out that orange gold and bright red are frequently used colors in Chinese folk arts, and displayed in lavish abundance during festivals, weddings and other happy occasions, as they symbolize good fortune and prosperity. But for all their somewhat mundane connotations, Sanyu manages to employ these colors without the slightest suggestion of triteness or banality. Quite on the contrary, there is an air of tasteful elegance, an understated refinement about the painting that someone of lesser talent could never have achieved. As for the black of the chrysanthemums: it is probably no coincidence that this is the very color that is also at the heart of traditional Chinese calligraphy and painting.

Chinese painters excel at working with black ink, but in this piece, Sanyu does not use the conventional yunran ("haloed coloring") technique, applying the color in a lat and even fashion instead to create an effect reminiscent of Chinese paper cutting (jianzhi), fresh and innocent in its appeal.

As in Sanyu's other works, the subject of the painting is placed more or less in the middle of the composition. The stalks, leaves and flowers are highlighted in forceful strokes of black, setting them irmly apart from the background. The vase, on the other hand, almost seems to merge with the background at points, as it is kept in very similar shades of orange and gold, although for the most part a deeper and more intense coloring is employed for clearer contours and a three- dimensional effect. The composition with its spreading branches is arranged along horizontal lines, which is rather unusual for Sanyu: in most of his still lifes, he prefers a vertical arrangement. However, the National Museum of History has a few stills titled "Chrysanthemums in a Glass Vase" that show a similar layout to this lot. Another thing that deserves our attention is that in "Chrysanthemums in a Vase on a Red Table with Yellow Background", the artist gives us "antler branches" (lujiaozhi in the parlance of classical Chinese painting theory), which can also be seen in many of the vertical- style still lifes mentioned above.

Basically, the term describes branches that grow upwards more than outwards or sideways. Sanyu was fond of creating dynamic tension in his paintings through unusual arrangements and techniques, as here with a mixture of lateral and vertical curved lines representing the chrysanthemum branches. Fusing the particular aesthetics of folk art with his individualistic attitude and natural, unaffected lair, Sanyu was able to make a name for himself in European art circles.

Leaving us prematurely at 65, he yet gave us many wonderful oil paintings (a little less than 300 are extant according to recent estimates) to remind us of his unique talent and creative power.

His body of work is an artistic treasure that will continue to shine brightly for many years to come.

147

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

Mars - 3 Avril 2003 2003 Oil on canvas 97 x 195 cm Signed lower left Wou-ki in Chinese and ZAO in French, dated 2003 Signed on the reverse ZAO Wou-ki in French, titled Mars-3 Avril 2003, ILLUSTRATED:

Connaissance des Arts (hors-série, Zao Wou-ki), Paris, 2003, color illustrated, pp. 28-29

NT$ 60,000,000 - 100,000,000 HK$ 15,190,000 - 25,316,000 US$ 1,939,900 - 3,233,100 RMB 13,889,000 - 23,148,000

趙無極 3月－3.4.2003 2003 油彩 畫布 97 x 195 cm 簽名左下：無極 ZAO 2003 簽名畫背：ZAO Wou-ki Mars-3 Avril 2003 97cm x 195cm 圖錄 :

《藝術鑑賞雜誌》（趙無極專刊），巴黎，2003，彩色圖版， 頁28-29

120

《3月- 3.4.2003》是藝術家趙無極別出心裁之作，蘊含了其從詩意具

趙無極曾謂：「中國畫擅長空間及光影的處理。」這幅畫便反映了藝

像風格轉化成深邃抽象畫意過程中靈感的積累和思想的沉澱。20世紀

術家對佈局及光影變化的關注。畫中深色的部份與細筆繪就彷如薄紗

50年代，趙無極轉以油彩繪畫，他相信除了臨摹塞尚、馬蒂斯及畢卡

的背景融為一體，恰似傳統中國 山水畫中的山巒被籠罩於重重雲霧

索的作品以外，能探尋一個有別於傳統中國畫的新方向。趙氏的作品

之中，雲霧在山間縈繞穿插，呈現景物的遠近距 離。留白是趙氏畫

融會中西，形成獨樹一 幟的藝術語彙和表達方式。其筆下如夢境般

作不可或缺的一部份。他幼年時受到父親的啟蒙欣賞中國藝術，培

的畫面宛如一幅詩意盎然的禪景畫，令觀眾產生共鳴。

養獨特的美學觀念，同時以《道德經》的思想詮釋空白，認為泥土雖

抽 象 畫 風 與 超 凡視野

在這幅畫中加入停頓及柔和米色的 留白，以無形表達空間及卷動飄

1954年，趙無極從早期以骨條建構形狀的表現方式，轉而埋首於抽

用來塑造器皿， 但器皿的用途是由其內在的空間而定。藝術家因而 散的霧氣。藝術家以傳統中國山水畫的格局營造無邊 無際的空間，

象創作之中。1959年底，他從紐約回到巴黎，開始摒棄自然景物的

同時在有形及無形景物之間取得平衡，為觀眾留有想像的空間。而畫

具像表現，在畫面上任意揮就。他的作品漸漸傾向為大幅創作，並以

中 的留白令人聯想起宋時期的構圖特色，充滿詩意。

繪畫的日期命題。據趙氏形容：「這一時期的作品漸趨迷濛，並開始

誠然，《3月- 3.4.2003》蘊含了趙無極這位舉辦過無數個展及回顧

轉向虛幻。」抽象藝術的即 興特性標誌著藝術家特立獨行和勇於革 新的精神。趙無極在畫作上以流暢的筆觸塗抹上幾筆紫黑和品紅，艷 麗華貴。畫面的中央光影交錯，猶如雲霧 飄散，飄散到四周空白無 垠之地，景象如同夢境。藝術家運筆靈巧，在積聚的色層上以細筆畫 上優雅的線條。趙無極的創作方向源於其在香榭麗舍劇 院觀看的一 場《荒漠》的表演：「從現在開始，我會根據光的脈動為其賦予節 奏。」而這幅畫恰如其分地表達了藝術家的理念—紫色的霧氣從黑暗 中 釋出，在畫布上隨著旋律翩翩起舞，彷如一曲音韻節奏和諧的樂 章。與此同時，輕柔的色調襯托出簡潔的構圖，是趙氏在法國生活安 定的寫照。

中 國 美 學 中 的 雅趣 趙無極勇於作出新嘗試，屢屢在作品中探尋新的構圖和節奏，並以純 熟的傳統東西技法不斷推陳出新。無容置疑，他深受中國文化的薰 陶，致力將油彩及水墨技法結合。 他曾試圖將大量的松節油加入顏 料中，令其如墨汁在畫布上流淌。趙氏特別欣賞契馬 布埃的《聖母 登寶座圖》，並喜歡探究聖人頭上的光輪與中國古代山水畫以霧氣表 達透視效果的關係。藝術家以這些獨特的構思作為出發點，試驗墨汁 的流動性及手 執扁平粗筆時的靈活度。趙氏擅用粗筆添加油彩，令 畫面充滿層次變化，就如《3月- 3.4.2003》一樣。他又在畫中央以 無約束的筆鋒分別從左右水平畫出暗紫黑色色帶， 到中間時戛然而 止，富有動感，並引領觀眾細看霧氣若隱若現的色彩變化。這種表達 方法類似明代畫家富有節奏及表現力的寫意筆法，而重彩形虛的構圖 則令人想起帶有 禪味和超現實主義的作品。趙氏同時受石濤的繪畫 理論影響，相信「其運筆極重處， 卻須飛提紙上，消去猛氣，所以 或濃或淡，虛而靈，空而妙。大山亦加此法。餘者不 足用。」。

122

展的藝術家創作生涯中思想的沉澱。他是中西文化之間的橋樑，活用 自然而成、具感染力的傳統技法。 他雖以中國筆法繪畫油畫，但其 構圖、色彩運用及佈局均為西畫的特色。趙氏強調景 深及空間的延 展，以增強畫面上的對比及透明度。他在平面的畫布上表現出景像的 遠 近層次，成為其創作中的一大特色，這一突破同時是中西文化交 流的最佳見證。 Mars - 3 Avril 2003 serves as an accumulation of sentiments consolidated throughout Zao Wou-ki’s artistic development from his early poetic figurative work to his subsequent mastery of meditative abstract compositions. In the 1950s, Zao Wou-ki’s adoption of oil painting parallels with his believe that beyond the reproductions of Cézanne, Matisse and Picasso, there were possibilities before him that a strict codified art of traditional Chinese painting could not offer. The dreamlike imagery of the present lot transpires a poetic transcription of reality. It is indeed this well-savored cultural charm, coupled with a synthesis of Western elements that create an artistic language and methodology that is distinctively Zao’s and allow many to resonate with his creations.

ABSTRACTION AND AN ETHEREAL PERSPECTIVE In 1954 Zao Wou-ki launched himself into the world of abstract painting, deviating from the former skeletal silhouettes in his early years.

Furthermore, upon his return to Paris from New York at the end of 1959, he abandoned all borrowings from natural forms and began tracing spontaneous brushstrokes on his canvases. Moreover, his

rhythms, and ways of expressing himself through synthesizing formats became considerably larger and titles of his works became qualities from both the Easter n and Wester n traditions. mere dates acknowledging the day when the painting is completed.

Undoubtedly, it was his Chinese heritage that led him to reconcile “During this period my painting became illegible. I was moving oil painting with the influence of traditional ink painting. He had towards imaginary.” The spontaneity of abstract art signals a new experimented with colours by mixing his paint with large quantities liberty that illuminates the spirit of Zao’s work and its evolution. The of turpentine in attempts to make it flow like Chinese ink on the impromptu rendering of a beautiful color palette of the present canvas. More specifically, Zao admired the serenity of Cimabue’s lot contain a sensuous combination of nostagic purple, black, Maesta and contemplated on how the golden halos created a magenta and a pale airy beige of a sumptuous quality, executed perspective that is reminiscent of ancient Chinese landscapes where with a fluidity that is rendered with brushstrokes amassed in the planes were often separated by curtains of mist. The artist build on middle in a light and airy vagabondage, where the artist introduces these conceptions and continued his explorations on the fluidity of us to a space with voids and floating forms that is more allusive ink and the flexibility of the wrist movement through the utilization than realistic. Zao Wou-ki is able to bring out deftly the beautifully of a large, flat brush that permitted the application of a thicker, executed lines or a subtle delicate stroke built upon a foundation more fluid coat of several basic of paint all colors. The artist come together once referenced in the end as a the memorable fruitful whole, performance as epitomizes of Deserts at by the present the theater lot Mars - 3 des ChampsAvril 2003. It is Elysees. “As apparent that from that the lines flow moment, I with the artist’s began to give thoughts, from rhythm to light, both sides of following other the canvas spun pulsations.” brushstrokes Coincidentally, t h a t c u t the purplish 趙無極《4.4.85》 羅芙奧台北2007春季拍賣會，編號068，1.18億台幣成交 horizontally in mist emanating ZAO Wou-ki, 4. 4. 85, 1985, Oil on canvas, 97 x 195 cm Ravenel Spring Auction 2007 Taipei, lot068, US$ 3,579,107 sold the middle of f r o m t h e the painting, cohesively interpenetrating but without ever blending. dark masses dances across the canvas harmoniously like a wellThe lines are broken yet continuing as it expresses the impulsive choreographed music, the movement of each individual note dynamics and leads the audience into the dedicate changes in responds to another note forming a mutually constructed tonality colors in the form of an iridescent mist that is hardly visible yet that creates endless permutations and possibilities infused with momentarily perceptible. This quality is akin to the rhythm and melody, rhythm and harmony. Simultaneously, the softer palette expressiveness the free brush xieyi style of the Ming artists. The reflects a more relaxed composition that is also indicative of the composition revolves between real colors and abstract shapes that artist’s more settled life in France. is reminiscence of an ethereal sense of Zen and surrealism, which REFINED NATURE OF CHINESE AESTHETICS owes its origins to Zao’s adaptation of Shitao’s theories on painting Zao Wou-ki pursued audaciously and explored new compositions, that is ever so endearing to the heart of traditional Chinese ink

124

“An irreversible new stage had now begun; I wanted to paint what I could not see: the breath of life, the wind, the movement of energy, the life-force of form, the unfolding and merging of color.”

– Zao Wou-ki

painting, which posits “One must work with ease of movement, the hand held high, and the brush-stroke will be capable of brusque metamorphoses. When the wrist is guided by the soul, rivers and mountains surrender their souls.”

Moreover, Zao once said, “Chinese painting works best with space and light” for one thing, his concern with space and the effects of light and shade is fully reflected in the present lot, where the dark heavy elements in the center of the canvas interfere, combine, vanish and spread out before the lines weave into a light gossamer background on which the composition rest, intuitively restoring the principle of tiering in Chinese landscape painting, in which the mass of mountains float in the composition in order to evoke distance. Areas of void retains a pertinent role in the composition, the importance of which had been instilled in Zao since a very young age, when his father tried to show him the beauty in Chinese works of art that were within their reach at the time. More specifically, as in the words of Tao Te King in his reference to the fundamental notion of Chinese thought, that of emptiness. “Clay is modeled to make vessels, but their use depends upon the empty space inside.” In this regard, Zao Wouki introduced the essential role of caesura and void visible in the present lot in the form of an ethereal shade of soft beige that is soft, light and diluted, free from confining edges and follows the lyrical flow of the rolling mists. The vague nuances create a space without dimensions or limits by employing the composition of traditional Chinese landscape painting, which predicates upon the balancing of voids and solids to suggest infinite space and allows the imagination of the spectator to manifest. This meticulously executed empty space is further reminiscent of a manner of composition that is a derivative of the stylistic charm of the Song Dynasty, a means through which a poetic transcription of reality is transpired.

Indeed, Mars - 3 Avril 2003 serves as an accumulation of sentiments consolidated throughout Zao Wou-ki’s artistic development, an artist who has had an endless flow of solo exhibitions punctuated with numerous retrospectives. Zao Wou-ki has acted as a bridge between two cultures, as a link that authenticates both the survival of a tradition that is fresh, powerful and unforced. In his oil paintings, he masterfully employs traditional Chinese brush painting techniques to diffuse the surfaces with colors, yet at the same time in his compositional structure, colour treatment and spatial arrangement clearly exhibit the integration of Western painting aesthetics. In seeking to achieve greater levels of contrast and transparency, Zao emphasizes both depth and expansiveness, introducing layers of complexity into a two dimensional canvas that leads to an ultimate sense of breakthrough thus creating his own distinctive style, a testimony of an cultural exchange between the East and the West.

黃公望《富春山居圖》 Dwelling in the Fuchun Mountains (''The Remaining Mountain'')

148

LUO Zhongli (Chinese, b. 1948)

Man Walking Up Stairs 1996 Oil on canvas 101.5 x 77.5 cm Signed lower right Luo zhong li in English and Luo in Chinese Signed on the reverse Luo Zhong li in Chinese, dated 1996.7 and inscribed NOT For Sale in Chinese PROVENANCE:

Acquired directly from the artist in 1996 by the persent owner

NT$ 12,000,000 - 18,000,000 HK$ 3,038,000 - 4,557,000 US$ 388,000 - 582,000 RMB 2,778,000 - 4,167,000

羅中立 爬樓梯的人 1996 油彩 畫布 101.5 x 77.5 cm 簽名右下：Luo zhong li 羅 簽名畫背：非賣品 1996.7. 羅中立 來源：

現有收藏者於1996年直接得自藝術家

126

128

"It is worthwhile to spend a lifetime creating native soil art."

—Luo Zhongli 「鄉土題材值得用一生去創作」 — 羅中立

中國當代著名油畫家羅中立，在20世紀80年代以超寫實主義作品

resources to express an urban intellectual's realistic attitudes and

《父親》已經享譽中國畫壇。羅中立的作品，實際上為我們提供了一

value concepts on contemporary living.

個生存的參照，一個恆久的人與人交往的模式。這樣，大巴山區的農 民生活，就超越了地域性的自然風情，成為一種現代化進程中對民族 精神和價值模式觀念的反思。不只是鄉土意義上的「農民畫家」，而 是使用不同的地域文化資源，來表現都市知識分子對當代生活的現實

Luo Zhongli finds wonders in repetitions. Every piece of artwork on the farmer theme is charmingly appealing. The exaggerated body posture and facial expression undisguisedly demonstrate

態度和價值觀念的當代藝術家。

the simplicity and sincerity of a farmer's life. The content of these

羅中立在重複中尋找驚奇，每一幅農民題材作品都具有動人的感染

since teenage years.

力，誇張的肢體、表情，毫無掩飾的呈現農民生活的的拙樸與純真， 這些具有「情節張力」的內容，即是從青年時期的經驗與本領累積而

"story-like tension" is built on Luo Zhongli's experiences and talents

During the 1990s, Luo focused on changing and developing his

來。

personal language and artistic style. He also experimented with

進入了90年代，注重在個人語言、藝術風格的變化和發展，以及在

contemporary cultural features and oriental aesthetics at the same

藝術語言的實驗上，探索一種既有當代文化特徵，又能體現東方審美

time. His painting style gradually transitioned from realism to

趣味的藝術風格。其繪畫語言逐漸以寫實轉向變形和誇張，在他的筆

deformation and exaggeration. With his paintbrushes, Luo created

下，出現了一幅幅誇張變形的大巴山農民形象、奔放自由的線條和色

many exaggerated, deformed paintings of Daba Mountains farmers

彩。1980年代以後，其繪畫語言逐漸以寫實轉向變形及誇張，以樸

by freestyle lines and colors. After the 1980s, Lou's painting style

拙粗曠的筆觸描繪農民的生活點滴，試圖以「樸」與「拙」的表現風

transformed from being realistic to deformed and exaggerated. He

格，喚醒人們尊重熱愛這種單純、善良的生命底蘊。

used "simple" and "sincere" styles of expression to call on people

《爬樓梯的人》抓住特定光線、特定氛圍和特定心情中的眼前景物，

artistic languages in exploration of an artistic style that contains

to respect and love this simple, warm-hearted life connotation.

並留下那一頃刻的感覺、感受、感悟和感動。畫面中將人物形象誇

In the "Man Walking Up Stairs", the image captures the feelings,

張，風格更加粗獷，在表達上逐漸脫離寫實，趨向表現主義。以直覺

perceptions, understandings, and sentiments under a specific

和主觀的書寫表現取代早期注重寫實的手法，質樸的線條、參差錯雜

lighting, atmosphere, and mood. The character in the painting is

的筆觸、斑駁厚重的肌理使作品具有古拙的原生性和原始意味；特殊

exaggerated by bold styles of drawing. The expression gradually

的處理和刀砍斧劈的用力效果，亦使得畫面更加樸實有力。山民生活

transitions from realism to expressionism, and Luo used intuitive,

的極度原始，生動和強烈，使觀者感受到巨大的時空錯位，並對習以

subjective expressions of writing to replace his realistic styles

為常的城市生活產生一種新的眼光。羅中立以作品表達他對鄉土的尊

in the early stages. The simple lines, staggering pen strokes,

重與愛惜，厚重、圓渾的造型，人物形象粗獷、樸實、重拙之中更得

and speckled, thick skin texture give the artwork an ancient and

自然含蓄。此件作品畫背題有「非賣品」藝術家並在旁簽名，原是羅

primitive nature. The special processing and force effect also makes

中立欲自己留藏的重要作品，卻在偶然的機緣下由現任藏家購自藝術

the image simpler and more powerful. The mountaineer's life is

家，可見其重要性實屬難得。

extremely primitive, vivid, and intense. This makes viewers feel

The famous Chinese contemporary oil painter Luo Zhongli became highly acclaimed in the Chinese painting community with his hyper realistic artwork titled Father during the 1980s of the 20th century. In fact, Luo Zhongli's artworks provide us with a reference of survival and a lasting model of social interaction. In this way, the farmer's life in Daba Mountains transcends regional landscape and becomes a reflection on ethos and value models during the process of modernization. Instead of only being a "farmer painter," Luo Zhongli is a contemporary artist who uses different regional cultural

greatly displaced in time and space, in addition to producing a new perspective on the urban life they are used to having. Luo Zhongli uses his artwork to express his respect and love for native soil. The thick and round styles make the character look bold, simple, and more natural. The back of the artwork is labeled "not for sale," with the artist's signature beside it. This is an important piece of work that Luo Zhongli intended to keep himself until the current collector coincidentally purchased it from him. Hence, it is indeed an important rare find.

149

LI Chen (Taiwanese, b. 1963)

Fire Master 2010 Bronze, edition no. 7/8 54(L) x 41(W) x 124(H) cm Engraved on the back Li Chen in English, numbered 7/8 and dated 2010 With one seal of the artist

"The beacon is a ceremony. Yingze is what gives it life." - Li Chen

PROVENANCE:

【天燧】系列對李真而言，點燈像是一種生活的「養息」，也有進

Private collection, Asia ILLUSTRATED:

The Beacon Series: When Night Light Glimmers, Asia Art Center Co. Ltd., Taipei, 2010, color illustrated, pp. 50-55 Greatness of Spirit – Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center Co. Ltd., Taipei, 2012, color illustrated. p. 200 This sculpture is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 4,000,000 - 6,000,000 HK$ 1,013,000 - 1,519,000 US$ 129,300 - 194,000 RMB 926,000 - 1,389,000

李真 天火 2010 銅雕 7/8 54(長) x 41(寬) x 124(高) cm 簽名雕刻背後：Li Chen 7/8 2010 雕刻鈐印：李真 來源：

私人收藏，亞洲 圖錄：

《天燧系列：夜光盈昃》，亞洲藝術中心，台北，2010，彩色圖 版，頁50-55 《李真-大氣－李真台灣大型雕塑首展》，亞洲藝術中心，台北， 2012，彩色圖版，頁200 附台北亞洲藝術中心開立之作品保證書

130

「天燧是一種儀式，『盈昃』才是它的生命。」— 李真

行某種儀式的樂趣，在人與火的互動中，一種浪漫的情懷將隨著燭 火漫舞，心境也會隨之緩慢，提供人與自身對話的契機。李真透過 佛學之"空"與道家之"氣"，用當代語言融合抽象與具象，塑造溫潤 活潑而不失禪意的雕塑。《天火》，其中人物如高邁亙久的神靈面 容祥和嘴角微揚，身體姿態一派悠然，舒服自在的斜倚著雲朵於山 巔之上。或把玩或提煉著胸前的火焰，如燧人氏降臨般憑空生火， 在焰舞光躍之際，暧暧中充滿生命力，成就了循環不息的呼吸，洋 溢著平安、智慧與幸福。千年暗，一燈明，光影搖曳的火焰、明暗 起伏的雕塑與夜光盈昃的映照渲染著悠然靈動的氣韻。 In the “Beacon” series, Li Chen portrays the lighting of a lamp as a kind of rejuvenating repose that contains the subtle joy of a simple ceremony. Between us and the light a sense of romance emerges from the slow dance of the candle’s flame that allows the mind to settle, giving us an opportunity to begin a dialogue within ourselves. Li Chen utilizes the Buddhist concept of emptiness and the Daoist concept of “Qi” in combination with modern language to blend the abstract with the concrete and create a figure that is gentle and lively while preserving its meditative stillness.The piece, “Fire Master” is centered around a timeless spirit whose peaceful and auspicious visage is defined by the upturned corners of its mouth. It’s leisurely posture appears peaceful and comfortable reclined within a cloud perched upon a mountaintop. In front of its chest is a flame that it manipulates as if to refine or in play, reminiscent of the fire brought by Suiren. The warmth within the dance of the flame’s light is filled with life and successfully recalls a never-ending cycle of breath, filled with peace, wisdom and good fortune. Like a light appearing after a thousand years of darkness, the swaying glimmer of the flame casts the figure in both light and shadow in a wise and serene style inspired by yingze and gilded by light.

150

LI Chen (Taiwanese, b. 1963)

On Cloud Mountains 2003 Bronze, edition no. 1/8 41(L) x 31(W) x 72(H) cm Engraved Li Chen in Chinese and English, Numbered 1/8 and dated 2003

《清涼山》為李真「大氣神遊」系列的代表作之一。李真創作從中

ILLUSTRATED:

觀賞者沉浸在自身清淨的樂土，似乎在仙境雲朵間嬉戲遊樂，不自

Li Chen 1992-2002 Sculpture, Asia Art Center, Taipei, 2004, pp.

93-94 Li Chen in 52nd Venice Biennale - Energy of Emptiness, Venice, Asia Art Center, Taipei, 2007, pp. 154-157, p. 219 Li Chen: In Search of Spiritual Space, 2008 Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, 2008, pp. 88-93, p. 197 This sculpture is to be sold with a certificate of authenticity issued

by Asia Art Int’l Group Corporation.

NT$ 3,000,000 - 4,000,000 HK$ 759,000 - 1,013,000 US$ 97,000 - 129,300 RMB 694,000 - 926,000

李真 清涼山 2003 銅雕 1/8 41(長) x 31(寬) x 72(高) cm 簽名雕刻：李真 Li Chen 1/8 2003 圖錄：

《李真雕塑》亞洲藝術中心，台北，2004 ，頁93-94 《虛空中的能量—第52屆威尼斯雙年展》，亞洲藝術中心，台北， 2007，頁154-157，頁219 《李真—尋找精神的空間》，亞洲藝術中心，台北，2008， 頁88-93，頁197 附亞洲藝術國際集團股份有限公司開立之藝術品原作鑑定書

132

國意境粹取，作品帶有一種「仙氣」，強調的是「遊」，以空明境 界讓觀賞者沉澱與紓解，在精氣神內自在悠遊，李真用物化的《清 涼山》去強調精神面的感受，「萬念由心造」，李真作品中的的心 靈世界，加上幽默感與寬闊內韻之造化，呈現虛幻清靜的氣質，讓 覺會心一笑。塑像面容安詳和平，臉部表情渾圓敦厚慈悲，是喜樂 也是祥和。雕塑的底座為一座山，轉化中國象形文字的「山」，物 象為一座雕塑。遊者雙手負背而立，飄然佇立於山巔雲頂，神情形 態自若愜意，逍遙而自在。《清涼山》成功表現出山、神、人的完 美連結，將佛學的「空」及老莊思想的「氣」價值概念生活化，同 時也更入世傳達和平理念。 On Cloud Mountains is one of the representative works in Wandering in the Greatness of Spirit series of Li Chen. The idea of his creation is inspired by Chinese philosophy and religions, which is the reason his work is carried with “spirit of the immortals”.

The viewers could easily get into his work and calmly wander and relax in the spiritual world, since Li puts emphasis on the idea of “wandering” in his work. Li uses On Cloud Mountain as the material medium to accentuate the spirituality. As a Buddha saying goes, “Every thought comes from one’s mind”, the spiritual world that Li creates in his work, with a sense of humor and connotation, brings out the ethereal atmosphere, which allows the viewers to wander around in the peaceful and joyful wonderland. The facial expression of the figure of the sculpture is serene and merciful, showing the joy and peace in his mind. The bottom is a mountain, which transforms one of the Chinese pictograms “mountain” into a part of the sculpture. The wanderer puts his hands behind his back, standing on the top of the cloud with the expression of ease and joy. On Could Mountains successfully portrays the relations between mountains, the immortals and humans, brings out the idea of “Śūnyatā” (emptiness) in Buddhism and “Qi” (vital force in every creature) in Taoism, as well as shows the ideal of peace.

151

JU Ming (Taiwanese, b. 1938)

Taichi Arch 1991 Bronze, edition no.17/20 94(L) x 36(W) x 45(H) cm Engraved Ju Ming in Chinese and dated ‘91, numbered 17-20 This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 3,600,000 - 4,600,000 HK$ 911,000 - 1,165,000 US$ 116,400 - 148,700 RMB 833,000 - 1,065,000

朱銘 太極拱門 1991 銅雕 17/20 94(長) x 36(寬) x 45(高) cm 簽名雕刻：朱銘 '91 17-20 附吉優特與藝術家親筆簽名作品保證書

134

152

ZHOU Chunya (Chinese, b. 1955)

Drunk Beauty 2006 Oil on Polyester 160(L) x 230(W) x 130(H) cm Engraved lower right Zhou Chunya in Chinese and dated 2006 EXHIBITED:

Blooming Stories Paintings & Sculptures by Zhou Chunya, Today Art Museum, Beijing, 2007 Zhou Chunya New Painting Solo Exhibition, My Humble House Art Gallery, Taipei, 2008 ILLUSTRATED:

Blooming Stories, Sichuan Fine Arts Publishing House, Sichuan, 2007, color illustrated, pp.126-129 Zhou Chunya New Painting Solo Exhibition, My Humble House Art Gallery, Taipei, 2008, color illustrated, pp. 48-49

NT$ 3,000,000 - 4,000,000 HK$ 759,000 - 1,013,000 US$ 97,000 - 129,300 RMB 694,000 - 926,000

周春芽 醉東風 2006 玻璃纖維 油彩 160(長) x 230(寬) x 130(高) cm 簽名雕刻右下：周春芽 2006 展覽：

「花間記－周春芽繪畫雕塑作品展」，今日美術館，北京，2007 「周春芽新繪畫個展」，寒舍空間，台北，2008 圖錄 :

《花間記－周春芽繪畫雕塑作品展》，四川美術出版社，四川， 2007 彩色圖版，頁126-129 《周春芽 2008 新繪畫個展》，寒舍空間，台北，2008，彩色圖 版，頁48-49

136

HSIAO CHIN Sublimation Beyond Eternity

- Hsiao Chin’s Eastern Abstractionism

1959年移居米蘭的蕭勤感受到時代的脈動，反思自身文化，捨棄

超 越 永 恆 的 昇 華 ─ 蕭勤的東方抽象 「人們須在有限的空間中達到一種無限大的能量和探索，在超越時 間的非物質性世界中去學習、瞭解生命深刻的意涵。」—蕭勤 以禪的態度觀看宇宙生命的流變，蕭勤以西方的表現方式詮釋東方 靜觀哲學，開創出戰後中國繪畫新的可能及風格，一種潛藏著「在

油彩表現而改以墨及水性顏料恣意流轉於畫布之上。1961年與李 元佳、義大利畫家卡爾代拉拉和日本雕塑家吾妻兼治郎發起了西方 藝術史上卓然不群的「龐圖國際藝術運動」以東方哲思浸潤西方藝 術。在1967至1976年期間創作「硬邊」系列，視平塗色面的色相對 比，1970年代至1980年代時蕭勤繼續於西方藝壇發起「太陽國際藝

時間上是靜止而無限」的「蕭勤風格」。

術運動」（Surya語出梵文）以及「炁」（SHAKTI）運動，他敏銳地

戰後華人抽象藝術先驅發展的根源與脈絡，從中國，台灣至歐美，

內在探索。

感受時代浪潮的流動，但對於蕭勤而言，藝術仍是一場自身持續的

從最初西方藝術的單向傳入至1950年代後的藝術思 想東學西漸。歷經時代動盪、文化流轉，趙無極、朱

禪境過後的色彩幻變

德群、吳冠中、謝景蘭等藝壇現代先驅的文化體認至

1990年，蕭勤歷經個人生命中的巨大頓挫，面對生

潛心創作經典風格舉世流傳。其身處戰後藝術形式變

死兩茫茫，他轉向性靈深處的自我度化以及生命議

化萬千的大時代，蕭勤以東方哲思活躍於戰後西方藝

題的思索；藉由尋求超脫的心境變化，悟出生命的

壇，接通中西文化的重要橋樑，藝術史上地位舉足輕

永恆。「莎芒妲之昇華」以及「度大限」等經典系

重。戰後抽象藝術領軍當代市場提及現今藝博會或拍

列作為一種諦觀生命的態度，透過充滿個人情感的

賣行目前競相推薦的流派或團體，「戰後抽象藝術

色彩為敘事體、流動性的畫面構成，為藝術家對於

家」絕對是領軍市場的天價標的之一。

生命意義的思索與觀照。而其中蕭勤最為深入的標

與 時 俱 進 的 劃 時代風格

的性系列「永久的花園」為藝術家歷經生命中衝擊

蕭勤創作概念的形成，來自李仲生的前衛藝術觀念，

Parrione》、《鴻之無限》以及《走向永久的花園》

非僅受到當時戰後所發展出的抽象藝術概念影響，蘊

精彩呈現藝術家歷經禪境後的心之所在，「永久的花

蓄保羅克利的造型力學、抽象主義以及重現自動性技

園」為至今是仍相當受到藏家喜愛的經典系列作品。

後的的重生。《在永久花園的Samantha-6》、《La

法的超現實主義毋寧是蕭勤進入西方藝壇的座標軸。 在1950年代，蕭勤也是第一位將歐洲藝壇訊息領進 台灣的先鋒，發起華人藝術史上第一個前衛藝術運動 「東方畫會」，為亞洲的二戰後抽象藝術發展中的重

「當經歷且參悟了之後，終於明瞭，永恆的生命， 趙無極出席蕭勤於巴黎個展 Zao Wou-ki attended Hsiao Chin's solo exhibition in Paris

要變遷，並孕育出具革命性的東方抽象繪畫精神。 「觀念的純粹性及創作的理由，是在於了解在『無限』之中之『有

並不僅僅止於此生、此世，而是在於生死大限度過後 的化外光明彼岸。」— 蕭勤 《在永久花園的Samantha- 6 》粉色畫面上方一抹

紫色，為藝術家女兒的象徵，已超越有限的生命，走入「無限」

限』的範疇，其思想的現實及對生命真諦之領悟」

的大境之中。較多顏色那方為彼岸，象徵來自女兒源源不絕靈感泉

—龐圖國際藝術運動宣言

素，主要由兩組顏色組成，中間總隔着一些留白，為畫家及女兒遙

138

源，亦為心之歸屬所在。《鴻之無限》有著非常經典永久的花園元

對之能量，豐沛且流動，亦將東方世界觀注入更多人間情思。《La Parrione》為1995至2005年的作品，歷經極深痛處後的悟出，蕭勤 重新闡述了對於生命的永恆性，他以重複性的溫潤色塊化為流動的色 彩彷彿層層浪沙，顯示此時藝術家的心靈狀態透出澄淨永恆的意象。 《走向永久的花園》為藝術家2011年所創作，為充滿豐沛能量的應 許之地。

國 際 美 術 館 及 重要機構收藏新標的 1990年代起，蕭勤相繼於歐美藝壇、台灣及中國等不同地方舉辦作 品回顧展。豐富的國際博物館典藏，及眾多私人收藏，足跡踏遍許多 重要城市。與來自倫敦及香港的3812畫廊有著密切海外合作，澳門 美獅美高梅酒店亦有其收藏。2018年於上海中華藝術宮舉辦「世界 大同 — 蕭勤回家」回顧展以及於香港慈山寺「禪・藝術：明光 — 向 昇華致敬」蕭勤作品展。2019年3月於法國巴黎吉美國立亞洲藝術博

2018年蕭勤於香港慈山寺「禪．藝術」個展畫冊封面

物館展出「禪色：蕭勤的繪畫」，是繼2004年常玉個展後所展出的

Album cover of "Zen - Art" Hsiao Chin's exhibition, wich held at TSZ Shan Morastery,

第二位東方藝術家。該博物館為亞洲地區之外有最大量亞洲藝術收藏

Hong Kong in 2018

之博物館，此展覽亦為藝術家重要里程碑之一。

The origins and history of post war Asian abstract art from China to

蕭勤曾獲台灣文藝界最高殊榮 — 國家文藝獎，自2013年以後拍賣市

Taiwan and in some western countries, span the time when there

場價格日趨攀升，更於2018年突破最高成交紀錄。近期，台北與香

was a one way movement of western art influencing Asia. In the

港兩地的拍賣市場，不斷推介蕭勤的藝術，隨著行情的看漲，已成為

1950's we start to see the reverse, and Eastern cultures prevailed.

收藏家們關注收藏標的。

Experiencing the change of time and cultural shifts, Zao Wou-ki,

"Man must reach a kind of limitless energy and exploration within a limited time, learning to understand the depths of the meaning of life in the non-physical world that is beyond time "- Hsiao Chin Observing the changing flow of the universe with the attitude of Ch'an, Hsiao Chin expresses eastern mindfulness philosophy with a western style, beginning a new possibility for post-war Chinese paintings. A style that frames the hidden feeling that "Time seems still yet infinite "

Chu Teh-Chun, Wu Guanzhong, Xie Jinglan, became pioneers of the modern art scene, their cultural recognition and creation from the heart leaves a classic style that is spread around the world.

In this era of millions of potential forms of post war art, Hisao Chin shines in the western art scene with his Ch'an philosophies.

A bridge connects the east and the west, and Hsiao Chin plays an important role. These days, post war abstraction is leading in modern markets, auctions and exhibitions, and so as a post war abstract artist, Hsiao Chin is in high demand.

A STYLE TRANSCENDING TIME The origins of Hsiao Chin's creative style come from the progressive

a spiritual path and the search for the deeper meaning of life.

concepts of Li Chun-shan, the modelling mechanics of Paul Klee,

Through this search for what lies beyond, he discovered the eternal

post war abstract art and a desire to re-introduce the surrealism of

nature of life itself. "The Sublimation of Samantha'" and "Passage

automatic techniques. This is what Hsiao Chin wishes to bring to

Through the Great Threshold" are both series that show an attitude

the Western art scene. In the 1950's Hsiao Chin was the first one to

of contentment and well being, his emotions and story are revealed

bring European art influences into Taiwan. He started a movement

through the colour and movement in the works. Hsiao Chins most

that included the "Tong-fang Art Group", the first in Asian art

iconic work is "Eternal Garden" in which he is reborn after passing

history, changing the world of post war abstract art forever and

through many trials. This series of works is still the most popular at

revolutionising Chinese abstract painting.

auction, and the following 4 pieces represent brilliantly the state of

"The purity of ideas and the reasons for creation are to understand the "finite" in" infinity", the reality of its thoughts and the understanding of the true meaning of life" - manifesto of Punto International Art Movement In 1959, Hsiao Chin moved to Milan, Italy. Here, he felt the movement and heartbeat of the times and he reflected on his own culture. He stopped using his oil paints and began to explore the medium of ink and water based paints to fill his canvas.

Then, in 1961, he began the remarkable, "Punto International Art Movement" with Italian artist Antonio Calderara, Japanese Sculptor Kenjiro Azuma, and Chinese artist Li Yuan-jia. They were to steep the Western art scene in their Chinese philosophy. From 1967 to 1976 Hisao Chin created the series "Hard-Edge", in an attempt to establish a "static and yet constantly dynamic" living environment in this symbolic universe. 1970 to 1980 Hisao Chin evoked the "SURYA" and "SHAKTI" movements. Although Hsiao Chin recognised the cutting edge of ever changing art, he still saw art as a journey within.

Hsiao Chin's heart after his Ch'an experience.

A CHANGEFUL OF COLOUR AFTER CH'AN "After experiencing an enlightenment, it is finally clear that eternal life does not stop at this life, or in this world, but it is beyond the limits of life and death." - Hisao Chin In The Eternal Garden Samantha - 6 there is a purple form above the pink background that represents the eternal form of the artist's daughter. The other side of the canvas shows more colour, representing the "other shores" from which his daughter sends inspiration from an unlimited source, those other shores are where the artists heart belongs, and where he will go when he leaves this life behind. Enormita nell' Infinito has a classic, "Eternal Garden" element, combining 2 colours, always leaving a blank area in the center that represents the channel between the artist and his daughter, an abundant well, a fine blend of Eastern perspective and the energies behind people's relationships. La Parrione is a culmination of work between 1995 and 2005, after experiencing feelings of deep pain and having many revelations, Hsiao Chin

In the 1990's. Hsiao Chin faced difficulties in his personal life and

expresses his feelings again on the eternity of life. His repeated use

was confronted with aspects of life and death that led him onto

of warm colours in patches symbolises how waves and sand filter

140

his spirit, settling down to a zen like clarity. Verso il Giardino Eterno was created in 2011, it is the promised land of abundance in energy and inspiration.

INTERNATIONAL MUSEUMS AND OTHER RELEVANT FACILITIES SEARCH FOR PRIMARY COLLECTIONS Since 1990, Hsiao Chin had exhibited his work in Europe, America, Taiwan and China. His works are displayed in many international museums as well as personal collections, his presence has been felt in many important cities of the world. Hsiao Chin is very intimate with the 3812 London/ Hong Kong gallery and the MGM Macau have a fine collection of Hsiao Chins works. In 2018, the artists works were exhibited in Shanghai at the Chinese Art Palace "Retrospective Exhibition: Hsiao Chin – Coming Home" and in Hong Kong at the Tsz Shan Monastery "ZEN。ART Bright Light – Homage to Ascendence" in March of 2019 his works were displayed in an exhibition entitled, "Les Couleurs du Zen: Peintures de Hsiao Chin" at the Musée National des Arts Asiatiques Guimet, in Paris, France. This exhibition in Paris was the second by any Eastern Artist, after the 2004 exhibition of Sanyu. This museum is home to the largest collection of Asiatic art outside of Asia, Hsiao Chin's exhibition was a milestone for Eastern art in the West.

Hsiao Chin has won the highest honor in Taiwan's literary and art circles - the National Literary Award. In the post-2013 auction market, Hsiao Chin's works have risen steadily in price, and in 2018 he broke the highest transaction record. Recently, the auction market in Taipei and Hong Kong has continuously promoted Hsiao Chin's art. In a competitive world, collectors are looking to acquire Hsiao Chin's works more and more.

153

HSIAO Chin (XIAO Qin)

蕭勤

(Taiwanese, b. 1935)

鴻之無限

Enormita nell’ Infinito

2008

2008 Acrylic on canvas 110 x 250 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled Enormita nell’ Infinito in Chinese and Italian, dated 2008 and inscribed 110 x 250 cm, acrylic

110 x 250 cm

NT$ 3,800,000 - 5,000,000 HK$ 962,000 - 1,266,000 US$ 122,900 - 161,700 RMB 880,000 - 1,157,000 142

壓克力 畫布 簽名畫背：Hsiao勤 2008 鴻之無限 Enormita nell' Infinito 110 x 250 cm 壓克力

154

HSIAO Chin (XIAO Qin) (Taiwanese, b. 1935)

The Eternal Garden Samantha - 6 1999 Acrylic on canvas 160 x 130 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled Samanthe nel giandino eterno-6 in Chinese and Italian, dated 1999 and inscribed Acrylic ILLUSTRATED:

Lagend of the Rambling King - Side View of Hsiao Chin, Punto Press, 2018, Kaoshiung, color illustrated, p. 169

NT$ 3,600,000 - 4,600,000 HK$ 911,000 - 1,165,000 US$ 116,400 - 148,700 RMB 833,000 - 1,065,000

蕭勤 在永久花園的Samantha－6 1999 壓克力 畫布 160 x 130 cm 簽名畫背：Hsiao勤 1999 在永久花園之Samanthe-6 "Samanthe nel giandino eterno-6" Acrylic 圖錄 :

《逍遙王外傳─側寫蕭勤》，龐圖出版社，2018，高雄，彩色圖版，頁169

144

155

HSIAO Chin (XIAO Qin) (Taiwanese, b. 1935)

Verso il Giardino Eterno 2011 Acrylic on canvas 90 x 110 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled Verso il giardino eterno in Chinese and Italian, dated 2011 and inscribed 90 x 110 cm, acrylic

NT$ 1,500,000 - 2,600,000 HK$ 380,000 - 658,000 US$ 48,500 - 84,100 RMB 347,000 - 602,000

蕭勤 走向永久的花園 2011 壓克力 畫布 90 x 110 cm 簽名畫背：Hsiao勤"Verso il giardino eterno" 90 x 110 cm 「走向永久的花園」2011 壓克力

146

156

HSIAO Chin (XIAO Qin) (Taiwanese, b. 1935)

La Parrione 1995 - 2005 Acrylic on canvas 80 x 100 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled La Parrione, dated 1995-2005 and inscribed 80 x 100 cm, acrylic on canvas in Italian ILLUSTRATED:

Majestic Island. The development of modern art in Taiwan, Foundation of Taiwanese culture, Taipei, 2013, color illustrated, p. 169 This work is to be sold with a certificate of authenticity signed by the artist.

NT$ 1,300,000 - 2,200,000 HK$ 329,000 - 557,000 US$ 42,000 - 71,100 RMB 301,000 - 509,000

蕭勤 La Parrione 1995 - 2005 壓克力 畫布 80 x 100 cm 簽名畫背：Hsiao勤 1995-2005 "La Parrione" 80 x 100 cm acrilico su tela 圖錄 :

《美麗臺灣-臺灣近現代名家經典作品展1911-2011》，財團法人 台灣文化會館基金會，台北，2013，彩色圖版，頁169 附藝術家簽名之原作保證書

148

157

JU Ming (Taiwanese, b. 1938)

Taichi Series - Kick 1995 Bronze, edition no. 2/20 49.2(L) x 32(W) x 52.6(H) cm Engraved lower back Ju Ming in Chinese, numbered 2/20 and dated 95 This sculpture is to be sold with a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation.

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

朱銘 太極系列－踢腿 1995 銅雕 2/20 49.2(長) x 32(寬) x 52.6(高) cm 簽名雕刻後側下方：朱銘 2/20 '95 附財團法人朱銘文教基金會開立之作品鑑定報告書

150

158

PANG Jiun

龎均

(Taiwanese, b. 1936)

媽祖香火

Mazu Temple

1997

1997 Oil on canvas 22 x 27 cm Signed lower left Pang Jiun in Chinese and dated 1997 With one painted seal of the artist

22 x 27 cm

This work is to be sold with a certificate of authenticity issued by Chin Show Art Center.

NT$ 70,000 - 140,000 HK$ 18,000 - 35,000 US$ 2,300 - 4,500 RMB 16,000 - 32,000

152

油彩 畫布 簽名左下：龎均 1997 手繪鈐印左下：均 附錦繡藝術中心開立之原作保證書

159

SHEN Che-tsai

沈哲哉

(Taiwanese, 1926 - 2017)

舞者

Ballet Dancer

1992

1992 Oil on canvas 33 x 24 cm Signed lower right Che-tsai in Chinese, dated 1992 and titled Dancer 4F

33 x 24 cm

ILLUSTRATED:

SHEN Che-tsai Solo Exhibition 1993, Yonghan Art Center, Taipei, 1993, p. 6

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 2,900 - 5,800 RMB 21,000 - 42,000

油彩 畫布 簽名右下：1992 哲哉 題識畫背：舞者 4F 圖錄 :

《沈哲哉1993年個展目錄》，永漢藝術中心， 台北，1993，頁6

160

CHANG Chia-ying ( Taiwanese, b. 1982)

Conjoined Eggs are Staring Left and Have an Anatomy Lesson 2014 Acrylic on canvas 45(L) x 38(W) x 6(D) cm Signed on lower right edge Chia Ying and dated 2014

張嘉穎 左瞪連體蛋頭的解剖課 2014 壓克力 畫布 45(長) x 38(寬) x 6(厚) cm 簽名右下側邊：Chia Ying 2014 展覽：

「童話轉生術─張嘉穎個展」，台北當代藝術館，台北，

EXHIBITED:

展期自2014年10月25日至2014年11月30日

Fairy Reincarnation Chang Chia-Yng Solo Exhibition, MOCA, Taipei, October 25, - November 30, 2014

圖錄 :

ILLUSTRATED:

台北，2014，彩色圖版，頁70

Fairy Reincarnation Chang Chia-Yng Solo Exhibition, My Humble House Art Gallery, Taipei, 2014, color illustrated, p. 70

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 2,900 - 5,800 RMB 21,000 - 42,000

154

《童話轉生術─張嘉穎個展》，寒舍空間股份有限公司，

161

CHANG Chia-ying

張嘉穎

( Taiwanese, b. 1982)

左瞪的波斯貓;右瞪的樹妖(兩件一組)

Persian is Staring Left ; Dryad is Staring Right (a set of 2)

2014

2014 Acrylic on canvas 35.5(L) x 27(W) x 6(D) cm (each) Signed lower right edge Chia Ying in English and dated 2014 (each)

簽名右下側邊：Chia Ying 2014 (每件)

壓克力 畫布 35.5(長) x 27(寬) x 6(厚) cm (每件) 展覽：

「童話轉生術─張嘉穎個展」，台北當代藝術館，台北， 展期自2014年10月25日至2014年11月30日

EXHIBITED:

圖錄 :

Fairy Reincarnation Chang Chia-Yng Solo Exhibition, MOCA, Taipei, October 25, - November 30, 2014

台北，2014，彩色圖版，頁62，頁71

ILLUSTRATED:

Fairy Reincarnation Chang Chia-Yng Solo Exhibition, My Humble House Art Gallery, Taipei, 2014, color illustrated, p. 62, p. 71

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

《童話轉生術─張嘉穎個展》，寒舍空間股份有限公司，

162

HO Kan (Taiwanese, b. 1932)

Untitled 1998 Oil on canvas 40 x 50 cm Signed on the reverse HO-KAN in English and Chinese

NT$ 110,000 - 220,000 HK$ 28,000 - 56,000 US$ 3,600 - 7,100 RMB 25,000 - 51,000

156

霍剛 無題 1998 油彩 畫布 40 x 50 cm 簽名畫背：HO-KAN 霍剛

163

HO Kan

霍剛

(Taiwanese, b. 1932)

無題

Untitled 1993 Oil on canvas 50 x 50 cm Signed on the reverse HO-KAN in English and Chinese, dated 1993

NT$ 130,000 - 240,000 HK$ 33,000 - 61,000 US$ 4,200 - 7,800 RMB 30,000 - 56,000

1993 油彩 畫布 50 x 50 cm 簽名畫背：HO-KAN 霍剛 1993

164

Zilan GUAN (Violet KWAN) (Chinese 1903 - 1985)

Seaview 1932 Oil on canvas 31.5 x 43 cm Signed lower right Zilan and dated 1932 in Chinese

NT$ 110,000 - 220,000 HK$ 28,000 - 56,000 US$ 3,600 - 7,100 RMB 25,000 - 51,000

158

關紫蘭 海景 1932 油彩 畫布 31.5 x 43 cm 簽名右下：紫蘭 一九三二

165

CHEN Ching-jung

陳景容

(Taiwanese b. 1934)

瓶花

Vase of Flowers Oil on canvas 60.5 x 50 cm Signed lower left Ching-jung in Chinese

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

油彩 畫布 60.5 x 50 cm 簽名左下：景容

166

CHUANG Che (Taiwanese, b. 1934)

Landscape 1977 Oil on canvas 86.5 x 86.5 cm Signed lower right Chuang Che in Chinese and dated 1977

NT$ 260,000 - 360,000 HK$ 66,000 - 91,000 US$ 8,400 - 11,600 RMB 60,000 - 83,000

160

莊喆 風景 1977 油彩 畫布 86.5 x 86.5 cm 簽名右下：莊喆1977

167

LIEN Chien-hsing

連建興

(Taiwanese, b. 1962)

無量安頓 II

Immeasurable Settling II 2001 Oil on canvas 80 x 117 cm Signed lower left Lien Chien-hsing in Chinese and dated 2001 Signed on the reverse Lien Chien-hsing and titled Immeasurable Settling II in Chinese, dated 2001 and inscribed 50P ILLUSTRATED:

LIEN Chien-hsing, Eslite Gallery, Taipei, 2012, color illustrated, p.185 This painting is to be sold with a certificate of authenticity issued by Impressions Art Gallery.

NT$ 280,000 - 360,000 HK$ 71,000 - 91,000 US$ 9,100 - 11,600 RMB 65,000 - 83,000

2001 油彩 畫布 80 x 117 cm 簽名左下：連建興 2001 簽名畫背：2001 50P 連建興 無量安頓 II 圖錄：

《連建興》，誠品畫廊，台北，2012，彩色圖版，頁185 附印象畫廊開立之原作保證書

168

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

Un Jeu de Train 1990 - 1991 Oil on canvas 116 x 89 cm Signed lower right Alixe Fu in English and dated 91 Signed on the reverse Alixe Fu in Chinese and English, titled un jeu de train in Chinese, inscribed 116 x 89 cm (50F), dated 1991.11.1 ILLUSTRATED:

Alixe Fu, Taipei, 1992, color illustrated, pp. 44-45 This painting is to be sold with a certificate of authenticity issued by Ever Harvest Art Gallery, Taipei.

NT$ 320,000 - 500,000 HK$ 81,000 - 127,000 US$ 10,300 - 16,200 RMB 74,000 - 116,000

162

傅慶豊 小火車 1990 - 1991 油彩 畫布 116 x 89 cm 簽名右下：Alixe Fu 91 簽名畫背：傅慶豊 Alixe Fu 1991.11.1 畫題:小火車 116 x 89cm (50F) 圖錄：

《傅慶豊》，台北，1992，彩色圖版，頁44–45 附日升月鴻畫廊開立之原作保證書

169

Chang-Ling

常陵

(Taiwanese, b. 1975)

五花肉系列－肉山水－老樹慾春圖

Pork Belly Series - Flesh City 2007 Oil on canvas 145 x 112 cm Signed on the reverse Chang-Ling in Chinese, titled Pork Belly Series - Flesh City in Chinese and dated 2007 This work is to be sold with a certificate of authenticity issued by Impressions Art Gallery.

NT$ 360,000 - 420,000 HK$ 91,000 - 106,000 US$ 11,600 - 13,600 RMB 83,000 - 97,000

2007 油彩 畫布 145 x 112 cm 簽名畫背：五花肉系列-肉山水 老樹慾春圖 常陵 2007 附印象畫廊開立之原作保證書

170

Chang-Ling (Taiwanese, b. 1975)

Pork Belly Series–Flesh Landscape–Mountain Among Flowers 2015 Oil on canvas 145.5 x 112 cm Signed lower right Chang Ling in Chinese and dated 2015 Signed on the reverse Chang Ling, titled Pork Belly Series–Flesh Landscape–Mountain Among Flowers in Chinese, and dated 2015 This painting is to be sold with a certificate of authenticity issued by Impressions Art Gallery.

NT$ 360,000 - 440,000 HK$ 91,000 - 111,000 US$ 11,600 - 14,200 RMB 83,000 - 102,000

常陵 五花肉系列－肉山水－花山繡球 2015 油彩 畫布 145.5 x 112 cm 簽名右下：常陵 2015 簽名畫背：五花肉系列-肉山水-花山繡球 常陵 2015 附印象畫廊開立之原作保證書

164

171

Tzu-chi YEH (Taiwanese, b. 1957)

Tree 2003 Tempera and oil on linen 25 x 30 cm Signed lower right Tzu-chi in Chinese and dated 2003

NT$ 440,000 - 550,000 HK$ 111,000 - 139,000 US$ 14,200 - 17,800 RMB 102,000 - 127,000

葉子奇 樹 2003 卵彩 油彩 亞麻布 簽名右下：子奇 2003

166

172

LO Chan Peng (Taiwanese, b. 1983)

Ashen Face – Understand 2011 Oil on canvas 72.5 x 91 cm

NT$ 280,000 - 380,000 HK$ 71,000 - 96,000 US$ 9,100 - 12,300 RMB 65,000 - 88,000

168

羅展鵬 白面者—瞭解 2011 油彩 畫布 72.5 x 91 cm

173

LO Chan Peng

羅展鵬

(Taiwanese, b. 1983)

白面者

Ashen Face 2014 Oil on canvas 90.5 x 116 cm Signed on the reverse Lo Chan Peng in English and Chinese, dated 2014

NT$ 440,000 - 550,000 HK$ 111,000 - 139,000 US$ 14,200 - 17,800 RMB 102,000 - 127,000

2014 油彩 畫布 90.5 x 116 cm 簽名畫背 : 羅展鵬 Lo Chan Peng 2014

174

CHANG Wan-chuan (Taiwanese, 1909 - 2003)

Guanyin Mountain 1984 Oil on canvas 31.5 x 41 cm Signed lower right CHANG in English, Wan in Chinese, and dated 84 Signed on the reverse CHANG Wan-chuan in Chinese ILLUSTRATED:

CHAN WAN CHUAN, Impressions Art Gallery, Taipei, 1994, color illustrated This painting is to be sold with a certificate of authenticity issued by Impressions Art Gallerys, Taipei.

NT$ 550,000 - 650,000 HK$ 139,000 - 165,000 US$ 17,800 - 21,000 RMB 127,000 - 150,000

170

張萬傳 觀音山 1984 油彩 畫布 31.5 x 41 cm 簽名右下：CHANG. 万. 84 簽名畫背：張萬傳畫 圖錄：

《張萬傳的繪畫世界》，印象畫廊，台北，1994，彩色圖版 附印象畫廊開立之原作保證書

175

WANG Pan-youn

王攀元

(Taiwanese, 1912 - 2017)

落日

Sunset Oil on canvas 53 x 45.5 cm Signed lower left P.Y. in English

NT$ 600,000 - 700,000 HK$ 152,000 - 177,000 US$ 19,400 - 22,600 RMB 139,000 - 162,000

油彩 畫布 53 x 45.5 cm 簽名左下： P.Y.

176

KUO Wei-kuo (Taiwanese, b. 1960)

The Fortune and the Peace 2011 Oil on canvas 200 x118 cm Signed on the reverse Kou Wei-kuo, titled The Fortune and the Peace No:001 in Chinese, dated 2011.12 and inscribed 200 x 118 cm EXHIBITED:

Sentient Garden: Alienation in a New World, Today Art Museum, Beijing, April 26-May 8, 2014 ILLUSTRATED:

Sentient Garden: Alienation in a New World, Lin&Lin Gallery, Taipei, 2014,color illustrated, p. 135 This work is to be sold with a certificate of authenticity issued by Lin & Lin Gallery, Taipei.

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

郭維國 富貴平安圖 2011 油彩 畫布 200 x118 cm 簽名畫背：吉祥物語 No:001 "富貴平安圖" 郭維國 200 x 118 cm 2011.12 展覽 :

「眾生之園：異化的新世界」，今日美術館，北京， 展期自2014年4月26日至5月8日 圖錄 :

《眾生之園 ─ 異化的新世界》，大未來林舍畫廊藝 術有限公司，台北，2014，彩色圖版，頁135 附大未來林舍畫廊開立之原作保證書

172

177

YANG San-lang

楊三郎

(Taiwanese 1907 - 1995)

春芽

Spring Bud Oil on canvas 60.5 x 72.5 cm Signed lower right S.YANG in English This painting is to be soid with a certificate of authenticity issued by Fine Art Center, Tainan.

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

油彩 畫布 60.5 x 72.5 cm 簽名右下 : S.YANG 附梵藝術中心開立之原作保證書

178

SHIY De-jinn (Taiwanese, 1923 - 1981)

Red Salvia

席德進 一串紅 1979

1979 Watercolor on paper 57 x 76.5 cm Signed center left Shiy De-jinn in Chinese and dated 1979

水彩 紙本

PROVENANCE:

席德進基金會創會董事盧聲華先生收藏

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

(直接得自藝術家本人)

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

174

57 x 76.5 cm 簽名左中：席德進1979 來源：

179

SANYU (CHANG Yu)

常玉

(Chinese-French, 1895 - 1966)

臥姿裸女

Reclining Nude Ink on paper 25.6 x 43 cm Signed lower right YU in Chinese and SANYU in French PROVANCE:

Private collection, France ILLUSTRATED:

Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D0214, p. 23 (E-Catalogue)

NT$ 600,000 - 700,000 HK$ 152,000 - 177,000 US$ 19,400 - 22,600 RMB 139,000 - 162,000

水墨 紙本 25.6 x 43 cm 簽名右下：SANYU玉 來源：

私人收藏，法國 圖錄：

衣淑凡，《常玉素描全集》，財團法人立青文教基金會， 台北，2014，彩色圖版，編號D0214，頁 23 (電子圖錄)

180

DONG Shawhwei (Taiwanese, b. 1962)

Black Chair 2009 Oil on canvas 100 x 80 cm Signed lower right S.Hwei and dated 2009

NT$ 700,000 - 900,000 HK$ 177,000 - 228,000 US$ 22,600 - 29,100 RMB 162,000 - 208,000

176

董小蕙 黑椅子 2009 油彩 畫布 100 x 80 cm 簽名右下：S.Hwei 2009

181

Bob YAN

閻博

(Chinese, b. 1970)

小孩與狗

Child and Dog 2005 Oil on canvas 97 x 147 cm Signed lower right YAN in English and dated 2005

NT$ 700,000 - 900,000 HK$ 177,000 - 228,000 US$ 22,600 - 29,100 RMB 162,000 - 208,000

2005 油彩 畫布 97 x 147 cm 簽名右下：YAN 2005

182

PANG Jiun (Taiwanese, b. 1936)

Still Life with Peonies 2009 Oil on canvas 91 x 72.7 cm Signed lower right Pang Jiun in Chinese and dated 2009 With one painted seal of the artist This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 850,000 - 950,000 HK$ 215,000 - 241,000 US$ 27,500 - 30,700 RMB 197,000 - 220,000

178

龎均 富貴家族 2009 油彩 畫布 91 x 72.7 cm 簽名右下：龎均 2009 手繪鈐印右下：均 附藝術家親筆簽名之原作保證書

183

HUANG Gang

黃鋼

(Chinese b. 1961)

天梯

Sacred Ladders 2007 Mixed media on board 160.5 x 122 cm Signed lower left Huang Gang in English and Chinese and dated 2007

NT$ 850,000 - 950,000 HK$ 215,000 - 241,000 US$ 27,500 - 30,700 RMB 197,000 - 220,000

2007 綜合媒材 木板 160.5 x 122 cm 簽名左下：Huang Gang 黃鋼 2007

184

CHAO Chung-hsiang (Taiwanese, 1910 - 1991)

Curiosity 1969 Acrylic, ink and color on paper 94 x 94 cm Signed upper left Chung-hsiang in Chinese, Chao in English and dated 69 EXHIBITED:

CHAO Chung-hsiang Retrospective, Taiwan Museum of Art, Taichung, June 4 - July 24, 1994 ILLUSTRATED:

CHAO Chung-hsiang Retrospective, Taiwan Museum of Art, Taichung, 1994, p.120

NT$ 1,300,000 - 2,200,000 HK$ 329,000 - 557,000 US$ 42,000 - 71,100 RMB 301,000 - 509,000

趙春翔 好奇心 1969 壓克力 彩墨 紙本 94 x 94 cm 簽名左上：春翔 Chao 69 展覽 :

「趙春翔遺作展」，台灣省立美術館，台中，展期自1994年6月4日 至1994年7月24日 圖錄

《趙春翔遺作展》，台灣省立美術館，台中，1994，頁120

180

185

CHEN Ting-shih (CHEN Ting-shi) (Taiwanese, 1916 - 2002)

Day and Night #49 - 52 1980 Lithograph, edition no. 10/40 183.5 x 31.5cm (each) Signed lower right Chen Ting-Shih, titled Day and Night#49-52 in English, dated 1980 and numbered 10/40 (each)

NT$ 1,100,000 - 2,200,000 HK$ 278,000 - 557,000 US$ 35,600 - 71,100 RMB 255,000 - 509,000

陳庭詩 晝與夜＃49－52 1980 版畫 10/40 183.5 x 31.5cm (每件) 簽名右下 : ChenTing-shin 1980 Day and Night#49-52 10/40 (每件)

182

186

SHIY De-jinn (Taiwanese, 1923 - 1981)

Dawn Landscape, Puli 1980 Ink and color on paper 69 x 94 cm Signed lower left Shiy De-jinn in Chinese and dated 1980 With two seals of the artist PROVENANCE:

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

NT$ 900,000 - 1,800,000 HK$ 228,000 - 456,000 US$ 29,100 - 58,200 RMB 208,000 - 417,000

184

席德進 埔里晨曦 1980 彩墨 紙本 69 x 94 cm 簽名左下：席德進1980 鈐印左下：席德進印 鈐印右上：席氏書畫 來源：

席德進基金會創會董事盧聲華先生收藏 (直接得自藝術家本人)

187

SHIY De-jinn

席德進

(Taiwanese, 1923 - 1981)

武陵農場

Landscape of Wu - Ling 1979 Watercolor on paper 57 x 76.5 cm Signed lower right Shiy De-jinn in Chinese and dated 1979 PROVENANCE:

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

NT$ 800,000 - 1,600,000 HK$ 203,000 - 405,000 US$ 25,900 - 51,700 RMB 185,000 - 370,000

1979 水彩 紙本 57 x 76.5 cm 簽名右下：席德進 1979 來源：

席德進基金會創會董事盧聲華先生收藏 (直接得自藝術家本人)

188

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

À la Gloire de L’image Suivi de Art Poétique (a set of 15) 1976 Lithograph, edition no. 118/330 49.5 x 70 cm (each) Signed on the lower right Wou-ki in Chinese, ZAO in French and dated 76 (each) LITERATURE:

Zao Wou-Ki The Graphic Work: A Catalogue Raisonné 1937-1995, Edition Heeds & Moestrup, 1995, Copenhagen, no. 271- 285, pp. 152-157

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

趙無極 圖像和詩意的榮耀 (十五件一組) 1976 石版畫 118/330 49.5 x 70 cm (每件) 簽名右下：無極 ZAO 76 (每件) 圖錄 :

《趙無極版畫集 1937-1995》，Jørgen Ågerup編，Heede & Moestrup出版，哥本哈根，1995，編號271 - 285，頁152-157

186

189

Walasse TING (Chinese-American, 1929 - 2010)

Kiss me, Kiss me

丁雄泉 親我 親我 1973

1973 Acrylic on paper 56 x 76 cm Signed on the reverse Ting in English, titled kiss me, kiss me and dated 1973

壓克力 紙本

ILLUSTRATED:

廊，上海，2012，彩色圖版，頁89

Walasse Ting Red Mouth Series: Kiss Me Kiss Me19731977, Longmen Art Projects, Shanghai, 2012, color illustrated, p. 89

NT$ 650,000 - 750,000 HK$ 165,000 - 190,000 US$ 21,000 - 24,200 RMB 150,000 - 174,000

188

56 x 76 cm 簽名畫背：Kiss me, Kiss me Ting 1973 圖錄︰

《丁雄泉紅唇系列：吻我吻我1973-1977》，龍門雅集畫

190

ZAO Wou-ki

趙無極

(Chinese-French, 1920 - 2013)

光芒(八件一組)

Illuminations ( a set of 8) 1967 Etching, edition no. 172/200 31 x 23.5 cm 26.5 x 23.5 cm 31 x 23.5 cm 31.5 x 23.5 cm 31 x 23.5 cm 31 x 23.5 cm 31 x 23.5 cm 26.5 x 23.5 cm Signed in inner page Wou- ki in Chinese amd ZAO in French LITERATURE:

Zao Wou-Ki The Graphic Work: A Catalogue Raisonné 19371995, Edition Heeds & Moestrup, 1995, Copenhagen, no. 174-181, pp. 106-107

NT$ 460,000 - 550,000 HK$ 116,000 - 139,000 US$ 14,900 - 17,800 RMB 106,000 - 127,000

1967 蝕刻版畫 172/200 31 x 23.5 cm 26.5 x 23.5 cm 31 x 23.5 cm 31.5 x 23.5 cm 31 x 23.5 cm 31 x 23.5 cm 31 x 23.5 cm 26.5 x 23.5 cm 簽名內頁：無極 ZAO 圖錄 :

《趙無極版畫集 1937-1995》，Jørgen Ågerup編，Heede & Moestrup出版，哥本哈根，1995，編號174-181， 頁106-107

191

Walasse TING (Chinese-American, 1929 - 2010)

Blue Lady, Purple Lady

丁雄泉 藍色女士，紫色女士 1990年代

1990s Acrylic on paper 48 x 60 cm With one seal of the artist

壓克力 紙本

PROVENANCE:

卡托畫廊，倫敦

Catto Gallery, London This painting is to be sold with a certificate of authenticity issued by Walasse Ting Archive

NT$ 420,000 - 550,000 HK$ 106,000 - 139,000 US$ 13,600 - 17,800 RMB 97,000 - 127,000

190

48 x 60 cm 鈐印左上：採花大盜 來源:

附丁雄泉基金會開立之原作保證書

192

RAN In-ting

藍蔭鼎

( Taiwanese 1903 - 1979 )

福爾摩沙

Formosa Ink and color on paper 39 x 54.5 cm Signed lower right In-Ting in Chinese, RAN IN-TING in English and inscribed FORMOSA in English With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Nan Gallery

NT$ 420,000 - 550,000 HK$ 106,000 - 139,000 US$ 13,600 - 17,800 RMB 97,000 - 127,000

彩墨 紙本 39 x 54.5 cm 簽名左下：蔭鼎 RAN IN-TING. FORMOSA 鈐印左下：鼎 附南畫廊開立之原作保證書

193

SHIY De-jinn

《基隆風景》創作於席德進甫旅歐歸來後，他曾在海天畫廊舉

(Taiwanese, 1923 - 1981)

辦過歸國的講座，當時在現場更是播放著巴黎時期所拍攝的幻

Landscape of Keelung

燈片。此幅作品為海天畫廊陳靜曾夫人所收藏，直接得自於藝

1966 Watercolor on paper 40 x 49 cm Signed upper left Shiy De-jinn and dated 1966

筆調，一氣呵成地掌握住大塊面主調色彩，再以強烈線條勾勒

術家本人。此時期的席德進開始捕捉台灣鄉土情懷，他以舒暢 前景人物，造形簡潔有力，為席德進經典之筆法。他深耕人文 與自然風貌，傳達詩意、豪情與對土地情感闡揚，以生命揮灑 出最雋永之台灣風景。

PROVENANCE:

Former collection of Mrs. Chen Ching-Tsen, Haitian Gallery, Taipei

NT$ 420,000 - 550,000 HK$ 106,000 - 139,000 US$ 13,600 - 17,800 RMB 97,000 - 127,000

The concept of "Landscape of Keelung" came after Shiy Dejinn returned from his trip to Europe. He once held a lecture on returning to Taiwan at Hai Tian Gallery, where he played a slide shot of his time in Paris. This piece is collected by Mrs. Chen Jing-zeng from Haitian Gallery and was obtained directly from the artist himself. During this period, Shiy Dejinn began to capture the local culture and nostalgia of Taiwan. He used a relaxed style to seamlessly grasp the main

席德進

colors the big piece. The bold outline of the foreground

基隆風景

character utilizes a simple and powerful construction,

1966

embodying the classic brushwork of Shiy De-jinn. He deeply

水彩 紙本 40 x 49 cm 簽名左上：席德進1966 來源：海天畫廊陳靜曾夫人舊藏

192

cultivates the humanities and nature, conveying poetry, pride, and his emotions for the local land, vividly manifesting the most enduring Taiwan scenery.

194

CHUANG Che

莊喆

(Taiwanese, b. 1934)

抽象

Abstract 1992 Ink and acrylic on paper 107 x 93 cm Signed lower right Chuang in Chinese and dated 92

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

1992 水墨 壓克力 紙 107 x 93 cm 簽名右下：92 莊喆

195

JAN Chin-shui (Taiwanese, b. 1953)

Mountain Dawn Light 2010 Oil on canvas 162 x 112 cm Signed lower left Chin-Shui in Chinese and dated 2010 Signed on the reverse Jan Chin-Shui and titled Mountain Dawn Light in Chinese, inscribed 100P, dated 2010 This painting is to be sold with a certificate of authenticity issued by Artyart Gallery.

NT$ 300,000 - 400,000 HK$ 76,000 - 101,000 US$ 9,700 - 12,900 RMB 69,000 - 93,000

194

詹金水 高山晨曦 2010 油彩 畫布 162 x 112 cm 簽名左下：金水 2010 簽名畫背：詹金水 2010年 100P 高山晨曦 附亞帝藝術中心開立之原作保證書

196

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

雙美賞花圖

Two Girls with Flowers 1990s Ink and acrylic on paper 97 x 180 cm With one seal of the artist PROVENANCE:

Longmen Art Projects, Shanghai Private collection, Asia This work is to be sold with a certification of authenticity issued by Walasse Ting Archive, New York.

NT$ 2,800,000 - 3,800,000 HK$ 709,000 - 962,000 US$ 90,500 - 122,900 RMB 648,000 - 880,000

1990 年代 水墨 壓克力 紙本 97 x 180 cm 鈐印左中：採花大盜 來源：

龍門雅集，上海 私人收藏，亞洲 附丁雄泉基金會開立之原品保證書

197

CHAO Chung-hsiang (Taiwanese, 1910 - 1991)

Fish Swimming Acrylic, ink and color on paper 48 x 45 cm Signed lower right Chung-hsiang in Chinese and Chao in English

NT$ 280,000 - 380,000 HK$ 71,000 - 96,000 US$ 9,100 - 12,300 RMB 65,000 - 88,000

196

趙春翔 優游 壓克力 彩墨 紙本 48 x 45 cm 簽名右下：春翔 Chao

198

CHAO Chung-hsiang

趙春翔

(Taiwanese, 1910 - 1991)

天倫

Blessedness Acrylic, ink and color on paper 47 x 44.5 cm Signed upper left Chung-hsiang in Chinese and Chao in English, inscribed New York in Chinese

NT$ 260,000 - 360,000 HK$ 66,000 - 91,000 US$ 8,400 - 11,600 RMB 60,000 - 83,000

壓克力 彩墨 紙本 47 x 44.5 cm 簽名左上：春翔 Chao 紐約

199

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

Les Poémes de T’ao Ts’ien 1930 Etching, edition no. 215/290 15 x 9.2 cm (print) 33 x 25.5 x 1 cm (book) With one etching seal, Yu in Chinese on each etching work EXHIBITION:

Sanyu: l’ecriture du corps, Musée des arts asiatiques Guime,Paris, exhibited 16th June-13th September, 2004 LLUSTRATED:

La Nouvelle Revue Française (NRF), Issue 214, ÉditionsGallimard, Paris, 1931, pp. 163-165 Overseas Chinese Fine Arts Series - Sanyu, Antoine Chen(Chen Yen-fon), Artist Publishing Company, Taipei, 1995, colorillustrated, p. 27 The Art of San Yu, Gao Yuzhen, National Museum of History,Taipei, 1995, color illustrated, pp. 124-125 In Search of a Homeland - The Art of San Yu, National Museumof History, Taipei, 2001, color illustrated, p. 150 Sanyu Catalogue Raisonné: Oil Paintings, Rita Wong, YageoFoundation, Lin & Keng Art Publications, Taipei, 1995, colorillustrated, p. 50 Sanyu: Language of the Body, Skira, Milan, 2004, colorillustrated, plate no. 55-57, p. 161 World Famous Artist: Sanyu, Gu Yue Hebei Education Press,Shijazhuang, 2010,color illustrated, p. 108 Sanyu: A Pioneering Avant-Garde in Chinese Modernist Art,Tina Keng Gallery, Taipei, 2013, pp. 122-125 Rita Wong, SANYU Catalogue Raisonné: Prints, The Li ChingCultural and Educational Foundation, Taipei, 2017, colorillustrated, pp. 100-107

NT$ 280,000 - 380,000 HK$ 71,000 - 96,000 US$ 9,100 - 12,300 RMB 65,000 - 88,000

展覽 :

「常玉：身體語言」，吉美國立亞洲藝術博物館，巴黎，展期自2004年6月16日至9 月13日 (另一版次) 圖錄 :

《新法語雜誌 第214期》，伽利瑪出版社，巴黎，1937，頁 163-165 《常玉華裔美術選集(I 》， 陳炎峰，藝術家出版社，台北，1995，彩色圖版，頁27 《 常玉畫集 》 高玉珍編，國立歷史博物館，台北，1995，彩色圖版，頁124-125 《 鄉關何處－常玉的繪畫藝術 》 ，國立歷史博物館，台北，2001，彩色圖版， 頁150 《 常玉油畫全 》 衣淑凡，國巨基金會與大未來藝術出版社，台北，2001，彩色圖

常玉

版， 頁 50

陶潛詩集

《常玉•身體語言》，詩奇拉出版社，米蘭，2004，彩色圖版，頁161，編號55-57

1930

《 世界名畫家全集—常玉 》 顧躍編，河北教育出版社，石家莊，2010， 彩色圖

銅版畫 215/290

版，頁 108

15 x 9.2 cm (版畫)

《 常玉：中國現代主義藝術的先鋒 》，大未來耿畫廊，台北，2013， 彩色圖版，

33 x 25.5 x 1 cm (詩集)

頁 122-125

藝術家蝕刻鈐印 玉

《 常玉版畫全集 》，衣淑凡，財團法人立青文教基金會，台北，2014，彩色圖 版， 頁 100-107頁

198

200

CHU Teh-chun

朱德群

(Chinese-French, 1920 - 2014)

藍季(七件一組)

Blue Season (a set of 7) 2006 Lithograph, edition no. 57/99 41 x 32cm 44.5 x 34.5cm 41.2 x 30.2cm 45 x 69cm Signed lower right CHU TEH-CHUN in Chinese and French, numbered lower left 57/99

NT$ 260,000 - 360,000 HK$ 66,000 - 91,000 US$ 8,400 - 11,600 RMB 60,000 - 83,000

2006 石版畫 57/99 41 x 32cm 44.5 x 34.5cm 41.2 x 30.2cm 45 x 69cm 簽名右下：朱德群 CHU TEH-CHUN 版次左下：57/99

201

CHUANG Che (Taiwanese, b. 1934)

Abstract #8620 1986 Acrylic on paper 45 x 60 cm Signed lower right Chuang Che in Chinese and dated 86

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

200

莊喆 抽象 8620 1986 壓克力 紙本 45 x 60 cm 簽名右下：莊喆 86

202

WANG Pan-youn

王攀元

(Taiwanese, 1912 - 2017)

鄉野

Country 1996 Watercolor on paper 39 x 53.5 cm Signed lower right P.Y. Signed on the reverse Wang Pan-youn in Chinese, dated 1996.11.18 in Chinese, inscribed painted in Yilan, Taiwan in Chinese, and titled Country Field in Chinese With a seal of the artist

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

1996 水彩 紙本 39 x 53.5 cm 簽名右下：P.Y. 簽名畫背：王攀元 一九九六 十一月十八日 作於台灣宜蘭 畫題：鄉野 鈐印畫背：王攀元

203

WANG Pan-youn (Taiwanese, 1912 - 2017)

Flying

王攀元 沐 水彩 紙本

Watercolor on paper 36.5 x 38.2 cm

36.5 x 38.2 cm

PROVENANCE

亞洲藝術中心，台北

Asia Art Center, Taipei Acquired from the above by the present owner

現有收藏者購自上述來源

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

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

202

來源

附亞洲藝術中心開立之原作保證書

204

T'ANG Haywen (TANG Then Phuoc)

曾海文

(Chinese-French 1927 - 1991 )

舞 (雙聯幅)

Dancing (diptych) Ink and acrylic on Paper 70 x 100 cm Signed lower right T’ang in English and Haywen in Chinese PROVENANCE:

Heritagr Art Auction, Taipei, December 14, 1997. Lot 83

NT$ 110,000 - 220,000 HK$ 28,000 - 56,000 US$ 3,600 - 7,100 RMB 25,000 - 51,000

水墨 壓克力 紙本 70 x 100 cm 簽名右下：T'ang 海文 來源：

傳家藝術拍賣，台北，1997年12月14日，編號83

205

TZENG Yong-Ning Taiwanese, b. 1978)

Bloom 32 2014 Ballpoint pen on paper 107 x 75 cm Signed lower right TZENG in English and dated 2014

NT$ 130,000 - 240,000 HK$ 33,000 - 61,000 US$ 4,200 - 7,800 RMB 30,000 - 56,000

204

曾雍甯 綻放 32 2014 原子筆 紙本 107 x 75 cm 簽名右下:TZENG 2014

206

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

裸女、花朵與貓

Resting Nude with Flowers and Cat

壓克力 紙本

Acrylic on paper 20 x 27.5 cm With one seal of the artist

20 x 27.5 cm

PROVENANCE:

私人收藏，荷蘭

Private collection, Netherlands

NT$ 120,000 - 220,000 HK$ 30,000 - 56,000 US$ 3,900 - 7,100 RMB 28,000 - 51,000

鈐印左上：採花大盜 來源：

207

WANG Pan-youn

王攀元

(Taiwanese, 1912 - 2017)

歸巢(倦鳥)

Homing Bird

水彩 紙本

Watercolor on paper 53 x 38 cm With one seal of the artist

鈐印左下：王后

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 2,900 - 5,800 RMB 21,000 - 42,000

206

53 x 38 cm

208

HUNG Jui-lin

洪瑞麟

(Taiwanese, 1912 - 1996)

無題

Untitled 1975 Watercolor on paper 30 x 46 cm Signed lower left J L. Hung in English and dated 1975 With one seal of artist

NT$ 80,000 - 160,000 HK$ 20,000 - 41,000 US$ 2,600 - 5,200 RMB 19,000 - 37,000

1975 水彩 紙本 30 x 46 cm 簽名左下：1975 J L. Hung 鈐印左下：洪

209

HSU Yu-jen (Taiwanese, b. 1951)

The Birth of Lotus 2007 Ink on paper 230 x 50 cm Signed lower left Shiy HSU Yu-jen in Chinese and dated 2007

NT$ 80,000 - 160,000 HK$ 20,000 - 41,000 US$ 2,600 - 5,200 RMB 19,000 - 37,000

許雨仁 荷之生 2007 水墨 紙本 230 x 50 cm 簽名左下：許雨仁 2007

208

210

SHIY De-jinn

席德進

(Taiwanese, 1923 - 1981)

人物 (女仕)

Figure 1952 Charcoal on paper 39 x 27cm Signed lower right Shiy De-jinn in Chinese and dated 1952

NT$ 80,000 - 160,000 HK$ 20,000 - 41,000 US$ 2,600 - 5,200 RMB 19,000 - 37,000

1952 炭筆 紙本 39 x 27cm 簽名右下: 席德進 1952

211

Ishikawa KINICHIRO (Japanese, 1871 - a1945)

Okutama Akigawa Watercolor on paper 39 x 36 cm Signed lower left Kinichiro Signed on the reverse Ishikawa KINICHIRO in Kanji and titled Okutama Akigawa With one seal of artist

NT$ 60,000 - 120,000 HK$ 15,000 - 30,000 US$ 1,900 - 3,900 RMB 14,000 - 28,000 210

石川欽一郎 奧多摩秋川 水彩 紙本 39 x 36 cm 簽名左下：欽一郎 簽名畫背：奧多摩秋川 石川欽一郎 鈐印左下及畫背：欽一盧

212

CHEN Ting-shih (CHEN Ting-shi)

陳庭詩

(Taiwanese, 1916 - 2002)

合歡山之冬

Winter of Hehuan Mountain 1974 Ink and color on Paper 46.8 x 68.5 cm Signed lower right Ting-Shih, titled Winter of Hehnan Miuntain and dated 1974 in Chinese.

With one seal of artist

NT$ 60,000 - 120,000 HK$ 15,000 - 30,000 US$ 1,900 - 3,900 RMB 14,000 - 28,000

1974 彩墨 紙本 46.8 x 68.5 cm 簽名右下：合歡山之冬庭詩一九七四年 鈐印右下：陳

213

CHEN Ting-shih (CHEN Ting-shi)

陳庭詩

(Taiwanese, 1916 - 2002)

日與夜

Day and Night

1975

1975 Woodblock print, edition no. 33/90 79 x 55.5 cm Signed lower right Chen Ting-Shih, dated 1975, titled lower left Day and Night in English, and numbered lower center 33/90

NT$ 70,000 - 140,000 HK$ 18,000 - 35,000 US$ 2,300 - 4,500 RMB 16,000 - 32,000

212

版畫 33/90 79 x 55.5 cm 簽名右下：Chen Ting-shi 1975 題識左下：Day and Night 33/90

214

CHEN Ting-shih (CHEN Ting-shi)

陳庭詩

(Taiwanese, 1916 - 2002)

日與夜#36

Day and Night#36

1976 版畫 425/500

1976 Woodblock print, edition no. 425/500 63 x 45 cm Signed lower right Chen Ting-Shih, dated 1976 May, titled lower left Day and Night#36 in English, and numbered lower center 425/500

題識左下：Day and Night#36 425/500

ILLUSTRATED:

台中，2008，彩色圖版，頁 43

Day and Night, Providence University Art Center, Taichung, Taiwan, 2008, color illustrated, p. 43

NT$ 50,000 - 100,000 HK$ 13,000 - 25,000 US$ 1,600 - 3,200 RMB 12,000 - 23,000

63 x 45 cm 簽名右下：Chen Ting-shin May 1976 圖錄 :

《晝與夜 - 陳庭詩版畫中的天地觀》，靜宜大學藝術中心，

215

Hiroto KITAGAWA (Japanese, b. 1967)

Doll 2001 Acrylic on terracotta 20(L) x 16(W) x 64(H) cm Engraved on the back Hiroto in English and dated ‘01

NT$ 110,000 - 220,000 HK$ 28,000 - 56,000 US$ 3,600 - 7,100 RMB 25,000 - 51,000

北川宏人 人偶 2001 壓克力 赤陶 20(長) x 16(寬) x 64(高) cm 簽名雕刻後背：Hiroto '01

214

216

Hiroto KITAGAWA (Japanese, b. 1967)

Miyu Kanno 2009 Acrylic on terracotta 18(L) x 18(W) x 48(H) cm Engraved on the back Hiroto in Engilsh and dated'09

NT$ 110,000 - 220,000 HK$ 28,000 - 56,000 US$ 3,600 - 7,100 RMB 25,000 - 51,000

北川宏人 菅野美優 2009 壓克力 赤陶 18(長) x 18(寬) x 48(高) cm 簽名雕刻後背：'09 HiroTo

217

Ai HAIBARA (Japanese, b. 1981)

Lion Girl 2009 Acrylic on wood 23.5(L) x 23(W) x 75(H) cm Signed on the bottom Ai Haibara and dated 2009 This work is to be sold with a certificate of authenticity issued by Unseal Contemporary.

NT$ 220,000 - 420,000 HK$ 56,000 - 106,000 US$ 7,100 - 13,600 RMB 51,000 - 97,000

灰原愛 Lion Girl 2009 壓克力 木雕 23.5(長) x 23(寬) x 75(高) cm 簽名底部：Ai Haibara 2009 附Unseal Contemporary開立之原作保證書

216

218

Ai HAIBARA (Japanese, b. 1981)

Sheep Boy 2009 Acrylic on wood 22.5(L) x 24(W) x 75(H) cm Signed on the bottom Ai Haibara and dated 2009 This work is to be sold with a certificate of authenticity issued by Unseal Contemporary.

NT$ 220,000 - 420,000 HK$ 56,000 - 106,000 US$ 7,100 - 13,600 RMB 51,000 - 97,000

灰原愛 Sheep Boy 2009 壓克力 木雕 22.5(長) x 24(寬) x 75(高) cm 簽名底部：Ai Haibara 2009 附Unseal Contemporary開立之原作保證書

219

Riusuke FUKAHORI (Japanese,b. 1973)

Kingyo - Sake - Mandevilla 2007 Resin and acrylic 9(L) x 9(W) x 5.5(H) cm (Box) 23 x 33 cm (Feeding instruction) Signed on the box cover Riusuke Fukahori, titled Kingyo Sake and dated 2007 To new owner Thank you very much for adopting my goldfish This child dose not need feeds, or bubbles, only your love Please love it forever

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

深堀隆介 金魚酒－藤黃花 2007 樹脂 壓克力 9(長) x 9(寬) x 5.5(高) cm (木盒) 23 x 33 cm (飼養說明書) 簽名盒蓋：Riusuke Fukahori 2007 金魚酒 給新飼主 非常感謝你接收了我的金魚。 這個孩子不需要飼料也不需要泡泡，只需要你的愛。 請永遠地疼愛牠。

218

220

Moe NAKAMURA (Japanese, b. 1988)

Stairs to Hole 2013 Clay, oil color 27.5(L) x 27(W) x 36(H) cm Signed on the bottom Moe and titled Stairs to Hole in English

NT$ 220,000 - 420,000 HK$ 56,000 - 106,000 US$ 7,100 - 13,600 RMB 51,000 - 97,000

中村萌 天梯 2013 石塑黏土 油彩 27.5(長) x 27(寬) x 36(高) cm 簽名底部：Moe Stairs to Hole

221

Chang Chia-ying ( Taiwanese, b.1982)

Dryad V

張嘉穎 小樹妖之五 2014

2014 Acrylic on bronze, edition no. 5/12 12(L) x 17(W) x 23(H) cm Signed on the bottom C.Y. in English and numbered 5/12

壓克力 銅雕 5/12

EXHIBITED:

「童話轉生術─張嘉穎個展」，台北當代藝術館，台北，展

Fairy Reincarnation Chang Chia-Yng Solo Exhibition, MOCA, Taipei, October 25, - November 30, 2014 (another cast)

期自2014年10月25日至2014年11月30日(另一版次)

ILLUSTRATED:

北，2014，彩色圖版，頁55 (另一版次)

Fairy Reincarnation Chang Chia-Yng Solo Exhibition, My Humble House Art Gallery, Taipei, 2014, color illustrated, p. 55 (another cast)

NT$ 260,000 - 320,000 HK$ 66,000 - 81,000 US$ 8,400 - 10,300 RMB 60,000 - 74,000

220

12(長) x 17(寬) x 23(高) cm 簽名腳底：C. Y. 5/12 展覽：

圖錄 :

《童話轉生術─張嘉穎個展》，寒舍空間股份有限公司，台

222

Moe NAKAMURA

中村萌

(Japanese, b. 1988)

希望之角

Hopehorn 2014 Wood and oil paints 26.5(L) x 34(W) x 38(H) cm Signed on the bottom Moe in English This work is to be sold with a certificate of authenticity issued by Gallery Tsubaki, Tokyo.

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

2014 木雕 油彩 26.5(長)x 34(寬) x 38(高)cm 簽名底部：Moe 附東京椿畫廊開立之作品保證書

223

Jeff KOONS (American, b. 1955)

Balloon Rabbit(Violet) 2017 Glazed Porcelain, edition no. 504/999 13.9(L) x 21(W) x 29.2(H) cm Stamped on the bottom JEFF KOONS, numbered 504/999 and dated 2017 This sculpture is to be sold with a certificate of authenticity issued

by Bernardaud Group, France.

NT$ 360,000 - 440,000 HK$ 91,000 - 111,000 US$ 11,600 - 14,200 RMB 83,000 - 102,000

「慶典系列的動物們並無任何隱藏的意涵，就只是純粹的幸福與快 樂。」── 傑夫．昆斯 世界著名的波普藝術家傑夫．昆斯，其作品是當代藝術的指標、也 是流行文化的象徵。綜觀他的藝術生涯，他開拓嶄新的現成物藝術 方法，探測先鋒藝術與大眾文化的邊界，挑戰工業製作藝術品的極 限。他不僅是在世當代藝術家拍賣紀錄的保持人，他的一舉一動總 是撼動人心，觸動藝術圈的神經，他就是俗艷藝術的王子。 傑夫．昆斯的「慶典系列」，歡慶喧騰，其可愛圓潤的造型及鮮豔 飽和的色彩，傳遞樂觀積極的正面能量，其細緻光亮且誘人的鏡 面處理，反映人影讓觀者與藝術品結合，在欣賞的同時觸發不同觀 感，看著象徵快樂的氣球，重新用樂觀的角度，發現內心不同的世 界。廣義地說，慾望是具有靈識的生物共通的主題，是人類文化共 通性之所在。藝術的本真源自於文化，文化來自於社會萬象，囊括 宇宙萬物之共通性，偉大的藝術家正是洞悉的佼佼者，並能表達其 中真義，並讓人有所感。昆斯一生的創作脈絡和慾望兩字緊密貼

傑夫．昆斯 氣球兔子 (紫羅蘭色) 2017 精瓷 504/999 13.9(長) x 21(寬) x 29.2(高) cm 印刷簽名：JEFFKOONS 504/999'17 附法國柏圖瓷器開立之作品保證書

合，如果「平庸」是人類對物質慾望的彰顯；「來自天堂」便是更 原汁原味，純真的性慾本能；「慶典」更昇華為人類更高層次的精 神糧食，對幸福的想望。「氣球動物」之美學具有極強的當代性， 具有現代雕塑之線條美感，僅保留必要之形體，其鏡面表面更有極 簡主義藝術裝置之互動性。 The world famous Pop Art artist Jeff Koons, whose work has been an indicator of contemporary art, is a symbol of popular culture.

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

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

The show was the manifestation of his personal desire and intimacy, challenging the moral bottom line of the audiences.

Jeff Koons’ ‘’Celebration’’ series has sleek shapes and bright saturated colors, conveying positive energy. Its delicate, attractive and reflective surface trigger different perceptions while enjoying.

Balloons symbolize happiness. With its optimism, viewers can discover a new different world. Generally speaking, desire is the commonality between all spiritual creatures, which is also the cultural commonality of human beings. The originality of art derives culture, and culture comes from everything in the society, including the commonality of the universe. A great artist has the ability to see the insights of it and express its true meaning. Desire has been deeply incorporated in the oeuvre of Jeff Koons.”Banality” is the manifestation of Consumerism; “Made in Heaven” is the purest sexuality of human instinct. “Celebration’’ has elevated itself to a spiritual level - a pursuit of happiness. The aesthetics of balloon animals is extremely contemporary, with the beauty of modern sculptures simplicity, retaining only the necessary shapes, and the surface is more interactive with its seductive reflective transparent color coating.

222

224

Yoshitomo NARA (Japanese, b. 1959)

Mori Girl 2012 Mixed media, edition no. 5/200 18(L) x 14.5(W) x 30(H) cm PROVENANCE:

Tomio Koyama Gallery, Tokyo Private collection, Asia This sculpture is to be sold with a certificate of authenticity signed by the artist.

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

奈良美智 森子 2012 綜合媒材 5/200 18(長) x 14.5(寬) x 30(高) cm 來源：

小山登美夫畫廊，東京 私人收藏，亞洲 附藝術家親筆簽名作品保證卡

224

225

Moe NAKAMURA

中村萌

(Japanese, b. 1988)

溶解頭

Melty Head 2016 Wood and oil paints 45(L) x 43(W) x 28(H) cm This work is to be sold with a certificate of authenticity issued by Gallery Tsubaki, Tokyo.

NT$ 700,000 - 900,000 HK$ 177,000 - 228,000 US$ 22,600 - 29,100 RMB 162,000 - 208,000

2016 木雕 油彩 45(長) x 43(寬) x 28(高) cm 附東京椿畫廊開立之作品保證書

226

226

Moe NAKAMURA

中村萌

(Japanese, b. 1988)

家 (兩件一組)

Home (a set of 2) 2010 Insulation, cement, linen, oil paints, veneer 51(L) x 31(W) x 92(H) cm (each) These works are to be sold with certificates of authenticity issued by Gallery Tsubaki, Tokyo.

NT$ 950,000 - 1,800,000 HK$ 241,000 - 456,000 US$ 30,700 - 58,200 RMB 220,000 - 417,000

2010 水泥 麻布 油彩 薄木片 51(長) x 31(寬) x 92(高) cm (每件) 附東京椿畫廊開立之作品保證書

227

HUNG Yi (Taiwanese, b. 1970)

Red Papercutting Male Tree 2009 Baked enamel on steel plate, edition no. 4/9 100(L) x 55(W) x 166(H) cm Signed on the pot Hung Yi in Chinese, numbered 4/9 and dated 2009 This work is to be sold with a certificnte of authenticity issued by Impressions Art Gallery.

NT$ 550,000 - 650,000 HK$ 139,000 - 165,000 US$ 17,800 - 21,000 RMB 127,000 - 150,000

228

洪易 紅色剪紙公樹 2009 鋼板烤漆 4/9 100(長) x 55(寬) x 166(高) cm 簽名底盆：洪易 2009 4/9 附印象畫廊開立之作品保證書

228

HUNG Yi

洪易

(Taiwanese, b. 1970)

小招財貓

Lucky Cat 2011 Lacquered steel, granite, edition no. 4/9 78(L) x 30(W) x 70(H) cm Signed right hind foot Hung Yi in Chinese, dated 2011 and numbered 4/9 This work is to be sold with a certificnte of authenticity issued by Impressions Art Gallery.

NT$ 550,000 - 750,000 HK$ 139,000 - 190,000 US$ 17,800 - 24,200 RMB 127,000 - 174,000

2011 鋼板烤漆 花崗石 4/9 78(長) x 30(寬) x 70(高) cm 簽名右後足：洪易 2011 4/9 附印象畫廊開立之作品保證書

229

REN Zhe (Chinese, b. 1983)

Prepared and Waiting 2005 Bronze, edition no. 7/8 37.5(L) x 30(W) x 57(H) cm Signed on the back Ren in Chinese, RZ in English and numbered 7/8

NT$ 420,000 - 550,000 HK$ 106,000 - 139,000 US$ 13,600 - 17,800 RMB 97,000 - 127,000

任哲 蓄勢待發 2005 銅雕 7/8 37.5(長) x 30(寬) x 57(高) cm 簽名背面：RZ 任 ; 7/8 任RZ

230

230

Poren HUANG

黃柏仁

(Taiwanese, b. 1970)

世界那麼大

Friends

2008

2008 Bronze, baking paint, edition no. 16/30 31(L) x 22(W) x 36(H) cm Engraved on the back PR in English, numbered 16/30 and dated 2008

31(長) x 22(寬) x 36(高) cm

EXHIBITED:

Huang Po-ren , Art Taipei, Taipei, 2008 (another cast) Huang Po-ren, Shanghai Art Fair, Shanghai, 2008 (another cast) Huang Po-ren , Ming Art Gallery, Beijing, 2008 (another cast) The Dog's Note – Poren Huang Solo Exhibition , Powen Gallery, Taipei, September 16 – October 5, 2014 (another cast) The Artistic Conversation of Love Dogs, Adore Dogs , Powen Gallery, Taipei, May 15 - June 12, 2015 (another cast) The Dog's Note – Poren Huang Solo Exhibition , Williamsburg Art & Historical Center, New York, November 7 - December 6, 2015 (another cast) ILLUSTRATED:

The Dog's Notes , Powen Gallery Co., Ltd., Taipei, 2014, color illustrated, p. 14 & pp. 88-97 (another cast) This work is to be sold with a certificate of authenticity issued by Powen Gallery.

NT$ 360,000 - 460,000 HK$ 91,000 - 116,000 US$ 11,600 - 14,900 RMB 83,000 - 106,000

232

銅雕 烤漆 16/30 簽名雕刻後方：2008 30-16 PR; PR 展覽 :

「黃柏仁個展」，台北國際藝術博覽會，台北，2008 (另一版次) 「黃柏仁個展」，上海國際藝術博覽會，上海，2008 (另一版次) 「黃柏仁個展」，旻谷畫廊，北京，2008 (另一版次) 「愛狗，敬狗的對話藝術—狗札記黃柏仁個展」，紅野畫廊，台 北，展期自2014年5月15日至6月12日(另一版次) 「狗札記─黃柏仁雕塑展」，紅野畫廊，台北，展期自2014年9月16 日至10月5日(另一版次) 「狗札記」黃柏仁雕塑個展，紐約WAH藝術中心，紐約，展期自 2015年11月7日至12月6日(另一版次) 圖錄 :

《狗札記—黃柏仁》，紅野畫廊有限公司，台北，2014，彩色圖 版，頁14與頁88-97 (另一版次) 附紅野畫廊開立之原作保證書

231

Poren HUANG (Taiwanese, b. 1970)

The Guard 2005 Bronze, edition no. 26/30 24(L) x 20(W) x 19(H) cm Engraved on the bottom 30-26 R and engraved PR on the right leg PROVENANCE:

Private collection, Taiwan.

This work is to be sold with a certificate of authenticity issued by Powen Gallery.

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

黃柏仁 保全 2005 銅雕 26/30 24(長) x 20(寬) x 19(高) cm 簽名雕刻底部：30-26 R 簽名雕刻右腿：PR 來源：

私人收藏，台灣 附紅野畫廊開立之作品保證書

232

CHEN Ting-shih (Taiwanese, 1916 - 2002)

Untitled 2000 Iron 26(L) x 19(W) x 51(H) cm Signed C.T.Shin on the base and dated 2000

NT$ 160,000 - 260,000 HK$ 41,000 - 66,000 US$ 5,200 - 8,400 RMB 37,000 - 60,000

陳庭詩 無題 2000 鐵 26(長) x 19(寬) x 51(高) cm 簽名底座：C.T.Shin 2000

234

233

JU Ming

朱銘

(Taiwanese, b. 1938)

太極系列

Taichi Series 2018 Unsaturated polyester resin, calcium carbonate, oil color paste, edition no. 294/300 25.3(L) x 16(W) x 26(H) cm Numbered on the bottom of left foot 294/300 This sculpture is to be sold with a certificate of limited reproduction issued by the Nonprofit Organization Juming Culture and Education Foundation.

NT$ 110,000 - 200,000 HK$ 28,000 - 51,000 US$ 3,600 - 6,500 RMB 25,000 - 46,000

2018 不飽和聚酯樹脂 碳酸鈣 油性色母 294/300 25.3(長) x 16(寬) x 26(高) cm 版次雕刻底部 294/300 附財團法人朱銘文教基金會開立之限量複製品證明書

234

Toul OTSUKI (Japanese, b. 1973)

Girl in Kimono 2009 Oil, tempera, gold leaf and rhinestone on canvas 66.8 x 24.3 cm Signed lower right Toul in English and dated 2009 This work is to be sold with a certificate of authenticity issued by Ever Harvest Art Gallery, Taipei.

NT$ 100,000 - 200,000 HK$ 25,000 - 51,000 US$ 3,200 - 6,500 RMB 23,000 - 46,000

大槻透 和服女孩 2009 油彩 卵彩 畫布 金箔 水鑽 66.8 x 24.3 cm 簽名右下：Toul 2009 附日升月鴻畫廊開立之原作保證書

236

235

Yoshinori MIZUTANI (Japanese, b. 1987)

Tokyo Parrots 2013 145.6 x 97 cm Archival pigment print on Hahnemuhle Fine Art Baryta Paper, edition of 3+2AP PROVENANCE:

Acquired directly from Sotheby’s S|2 Gallery, Hong Kong EXIBITED

SHASHIN! Japanese Photography then/ Now, Sotheby’s, Hong Kong, Jun 26 - July 10, 2015

NT$ 130,000 - 220,000 HK$ 33,000 - 56,000 US$ 4,200 - 7,100 RMB 30,000 - 51,000

水谷吉法 東京鸚鵡 2013 顏料墨水打印於哈內硫化鋇藝術紙 此版共3件，另有AP版2件 145.6 x 97 cm 來源：

現收藏者購自於蘇富比S|2畫廊，香港 展覽：

「寫真！日本攝影的歷史與當下」，蘇富比， 香港，展期自2015年6月26日至7月10日

236

Yayoi KUSAMA (Japanese, b. 1929)

草間彌生

Self - portrait

自畫像

1995 Screenprint, edition no. 56/75 53.5 x 38 cm Signed lower right Yayoi Kusama, titled Self-portrait in Japanese and dated 1995, numbered lower left 56/75

1995 絲網版畫 56/75 53.5 x 38 cm 簽名右下: Yayoi Kusama 版次左下：自畫像 1995 56/75

ILLUSTRATED:

圖錄 :

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017, color illustrated, p. 132, no. 218

《草間彌生全版畫1979-2017》，阿部出版株式會社，東 京，2017，彩色圖版，頁132，編號218

The authenticity of this work is confirmed by Yayoi Kusama Inc.

草間彌生工作室已確認本件拍品無誤

NT$ 130,000 - 220,000 HK$ 33,000 - 56,000 US$ 4,200 - 7,100 RMB 30,000 - 51,000

238

237

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

失意

Disappointment 1994 Screenprint, edition no. 103/120 65.5 x 50cm Signed lower right Yayoi Kusama, titled Disappointment in Japanese and dated 1994, numbered lower left 103 /120 ILLUSTRATED:

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017,color illustrated, p. 117, no. 191 The authenticity of this work is confirmed by Yayoi Kusama Inc.

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

1994 絲網版畫 103/120 65.5 x 50 cm 簽名右下：Yayoi Kusama 版次左下：失意1994 103 /120 圖錄 :

《草間彌生全版畫1979-2017》，阿部出版株式會社，東 京，2017，彩色圖版，頁117，編號191 草間彌生工作室已確認本件拍品無誤

238

Yayoi KUSAMA (Japanese, b. 1929)

Meditation 1994 Screenprint, edition no. 61/120 65.5 x 50 cm Signed lower right Yayoi Kusama, titled Meditation in Japanese and dated 1994, numbered lower left 61/120

草間彌生 瞑想 1994 絲網版畫 61/120 65.5 x 50 cm 簽名右下: Yayoi Kusama 版次左下：瞑想 1994 61/120

ILLUSTRATED:

圖錄 :

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017,color illustrated, p. 117, no. 192

《草間彌生全版畫1979-2017》，阿部出版株式會社，東

The authenticity of this work is confirmed by Yayoi Kusama Inc.

草間彌生工作室已確認本件拍品無誤

NT$ 240,000 - 340,000 HK$ 61,000 - 86,000 US$ 7,800 - 11,000 RMB 56,000 - 79,000

240

京，2017，彩色圖版，頁117，編號192

239

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

愛麗絲夢遊仙境—路易威登版畫集 (三件一組)

Alice's Adventures in Wonderland - Louis Vuitton Deluxe Box Set (a set of 3) 2012 Illustrated book, screen print, and Lambda C-type Print, edition no. 74/111 78 x 55cm (box) 22.5 x 19 cm (book) 36.6 x 29.4 cm (print) 44.1 x 29.4 cm (photo) Signed lower Yayoi Kusama, dated 2012 and numbered 74/111 (print) Signed lower Yayoi Kusama and numbered 74/111 (photo) Signed on the title page of book Yayoi Kusama (book)

NT$ 300,000 - 400,000 HK$ 76,000 - 101,000 US$ 9,700 - 12,900 RMB 69,000 - 93,000

2012 版畫書 74/111 (內含一件版畫，一件照片，一本書) 78 x 55 cm (外盒) 22.5 x 19 cm (書本) 36.6 x 29.4 cm (版畫) 44.1 x 29.4 cm (照片) 簽名下方：Yayoi Kusama 2012、74/111 (版畫) 簽名下方：74/111、Yayoi Kusama (照片) 簽名內頁：Yayoi Kusama (書本)

240

Yayoi KUSAMA (Japanese, b. 1929)

Flowers BH

草間彌生 花 BH 1993

1993 Screenprint, edition no. 46/90 84 x 71 cm Signed lower right Yayoi Kusama, titled Flower BH in Japanese and dated1993, numbered lower left 46/90

絲網版畫 46/90

ILLUSTRATED

《草間彌生全版畫1979-2017》，阿部出版株式會社，東

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017,color illustrated, p. 110

京，2017，彩色圖版，頁110

The authenticity of this work is confirmed by Yayoi Kusama Inc.

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

242

84 x 71 cm 簽名右下: Yayoi Kusama 版次左下：花BH 1993 46/90 圖錄

草間彌生工作室已確認本件拍品無誤

241

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

Isolation Tower 2016 Screenprint, edition no. 12/50 152.4 x 109.2 cm Signed lower right KAWS.., dated 16 and numbered lower left 12/50 PROVENANCE:

Pace Gallery, New York

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

KAWS〈布萊恩．唐納利〉 隔離塔 2016 絲網版畫 12/50 152.4 x 109.2 cm 簽名右下：KAWS.. 16 版次左下：12/50 來源：

佩斯畫廊，紐約

242

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

No Reply 2015 Screenprint, edition no. 27/100 88.5 x 59 cm Signed lower right KAWS.., dated 15 and numbered lower left 27/100

NT$ 320,000 - 420,000 HK$ 81,000 - 106,000 US$ 10,300 - 13,600 RMB 74,000 - 97,000

244

KAWS〈布萊恩．唐納利〉 No Reply 2015 絲網版畫 27/100 88.5 x 59 cm 簽名右下：KAWS.. 15 版次左下：27/100

243

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

You Should Know I Know 2015 Screenprint, edition no. PP 5/9 94.5 x 81.3 cm Signed lower right KAWS.., dated 15 and numbered lower left pp 5/9

NT$ 320,000 - 420,000 HK$ 81,000 - 106,000 US$ 10,300 - 13,600 RMB 74,000 - 97,000

KAWS〈布萊恩．唐納利〉 你應該知道我知道 2015 絲網版畫 PP 5/9 94.5 x 81.3 cm 簽名右下：KAWS.. 15 版次左下：pp 5/9

244

Andy WARHOL (American, 1928 - 1987)

Marilyn Monroe

安迪．沃荷 瑪麗蓮夢露 1981

1981 Offset lithograph 30.5 x 30.5 cm Signed lower center Andy Warhol on the bottom

版畫

PROVENANCE:

卡斯提里繪畫公司，紐約

Castelli Graphics, New York

NT$ 320,000 - 420,000 HK$ 81,000 - 106,000 US$ 10,300 - 13,600 RMB 74,000 - 97,000

246

30.5 x 30.5 cm 簽名中下：Andy Warhol 來源：

245

Keith HARING

凱斯．哈林

(American, 1958 - 1990)

無題

Untitled 1988 Lithograph, edition no. 728/1000 28 x 21.5 cm Signed lower right K.Haring, dated 88 and numbered lower left 728/1000

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

1988 版畫 728/1000 28 x 21.5 cm 簽名右下：K.Haring 88 版次左下：728/1000

246

Takashi MURAKAMI x Fujiko. F. Fujio (Japanese, b. 1962)

Doraemon in the Field of Flowers Mr. Fujiko F. Fujio and Doraemon Are in the Field of Flowers Doraemon’s Daily Life (a set of 3) 2019 Screenprint, edition no. 118/300; 116/300; 116/300 58.2 x 51 cm (esch) Signed lower Fujiko. F. Fujio and M, dated 2019 and numbered 118/300 Signed lower Fujiko. F. Fujio and M, dated 2019 and numbered 116/300 ( x 2)

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

村上隆 x 藤子．F．不二雄

哆啦A夢在花園 ; 藤子．F．不二雄和哆啦A夢在花園 ; 哆啦A夢的日常生活 ( 三件一組) 2019 絲網版畫 118/300; 116/300; 116/300 58.2 x 51 cm (每件) 簽名下方：藤子·F·不二雄 M 2019 118/300 藤子·F·不二雄 M 2019 116/300 ( x 2)

248

247

Takashi MURAKAMI x Fujiko. F. Fujio (Japanese, b. 1962)

Anywhere Door in the Filed of Flower; We Came to the Field of Flowers Through Anywhere Door (a set of 2) 2019 Screenprint, edition no. 246/300; 114/300 50 x 50 cm (each) Signed lower right M, dated 2019 and numbered 246/300; Signed lower right, dated 2019 and numbered 114/300; Signed lower left Fujiko. F. Fujio in Japanese (each)

NT$ 140,000 - 240,000 HK$ 35,000 - 61,000 US$ 4,500 - 7,800 RMB 32,000 - 56,000

村上隆 x 藤子．F．不二雄

花園中的任意門；我們通過任意門來到花園 (兩件一組) 2019 絲網版畫 246/300；114/300 50 x 50 cm (每件) 簽名右下：M 2019 246/300 M 2019 114/300 簽名左下：藤子·F·不二雄 (每件)

248

Andy WARHOL (American, 1928 - 1987)

Mao’s Prints Book Description Card

安迪．沃荷 毛澤東版畫集說明卡 1972

1972 Print 17.5 x 35 cm Signed upper left Andy Warhol in English

印刷品

PROVENANCE:

卡斯提里繪畫公司，紐約

Castelli Graphics, New York

NT$ 130,000 - 240,000 HK$ 33,000 - 61,000 US$ 4,200 - 7,800 RMB 30,000 - 56,000

250

17.5 x 35 cm 簽名左上：Andy Warhol 來源：

249

Andy WARHOL

安迪．沃荷

(American, 1928 - 1987)

米奇

Mickey Mouse Print 17.5 x 17.5 cm Signed lower center Andy Warhol in English PROVENANCE:

Castelli Graphics, New York

NT$ 110,000 - 220,000 HK$ 28,000 - 56,000 US$ 3,600 - 7,100 RMB 25,000 - 51,000

印刷品 17.5 x 17.5 cm 簽名中下：Andy Warhol 來源：

卡斯提里繪畫公司，紐約

250

Takashi MURAKAMI (Japanese, b. 1962)

Of Chinese Lions, Peonies, Skulls, and Fountains; As The Interdimensional Waves Run Through Me, I Can Distinguish Between The Voices Of Angel And Devil! (a set of 2) 2012 Offset lithograph, edition no. 85/300 ; 98/300 70.9 x 140 cm (each) Signed lower right M and numbered 85/300 ; 98/300

NT$ 130,000 - 220,000 HK$ 33,000 - 56,000 US$ 4,200 - 7,100 RMB 30,000 - 51,000

252

村上隆 獅子牡丹骷顱泉；福臨之師(兩件一組) 2012 版畫 85/300 ; 98/300 70.9 x 140 cm (每件) 簽名右下：M 85/300 ; M 98/300

251

Takashi MURAKAMI (Japanese, b. 1962)

New Day (a set of 3) 2018 lithograph, edition no. 49/300; 143/300 ( x 2) 72 x 72 cm (each) Signed lower right M 143/300 ; M 49/300; M 143/300

NT$ 110,000 - 220,000 HK$ 28,000 - 56,000 US$ 3,600 - 7,100 RMB 25,000 - 51,000

村上隆 新日子，新希望（三件一組） 2018 版畫 49/300；143/300 ( x 2) 72 x 72 cm (每件) 簽名右下 : M 143/300 ；M 49/300；M 143/300

252

Takashi MURAKAMI (Japanese, b. 1962)

Another Dimension Brushing Against Your Hands & Hands Clasped (a set of 2) 2015 Offset lithograph, edition no. 46/300; 42/300 66 x 87.5 cm (each) Signed lower right M 46/300; M 42/300

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 2,900 - 5,800 RMB 21,000 - 42,000 254

村上隆 異次元輕觸你手；握緊雙手 (兩件一組) 2015 版畫 46/300；42/300 66 x 87.5 cm (每件) 簽名右下：M 46/300；M 42/300

253

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

宇宙女孩 (睜眼 / 閉眼) (兩件一組)

Cosmic Girl Eyes (Open / Close) (a set of 2) 2008 Print, edition of 500 68 x 48 cm (each) Trademark © Yoshitomo Nara on the bottom left

NT$ 110,000 - 220,000 HK$ 28,000 - 56,000 US$ 3,600 - 7,100 RMB 25,000 - 51,000

2008 版畫 限量500件 68 x 48 cm (每件) 商標左下：© Yoshitomo Nara

給予買家的重要通知

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

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

2.

競投保證金 : 新台幣陸拾萬元或貳萬美金。

3.

競投保證金需於 2019 年 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。 2019 年 11 月 27 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2019 年 11 月 28 日至 11 月 29 日 ) 以新台幣現鈔支付 ( 恕不接

4.

受除現金之外之其他繳納方式 )，收款將於 11 月 29 日下午 6 點截止。 5.

電話／書面／網路競投 : 競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請手續以及競投保證金之繳納亦需在 2019 年 11 月 27 日以前完成匯款至本公司指定帳號。

6.

如於 2019 年 11 月 27 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我們將與競投者聯 繫並與之確認其競標牌號。

7.

拍賣當天已繳納競投保證金之競投者欲領取所登記的牌號時，請出示有效證件 ( 如：身份證明、護照…) 以確認身份。

8.

競投保證金退還方式 : (1) 有成交 : (a) 競投保證金以「匯款」方式完成者，扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額需退還，本公司 將於拍賣日後十四個工作天內以匯款方式退還給買家。 (b) 競投保證金以「現金」方式完成者 , 扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額需退還，本公司 將於拍賣當日以現金退還給買家。 (c) 若買家無正當理由未於成功拍賣日期後七天內支付全部應支付之款項（包含落槌價、服務費及其他費用）予本公司，買家不得請 求返還競投保證金。 (2) 未成交 : 若競投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證金。競投保證金以「匯款」方式完成者 , 本公司將於拍賣日 後十四個工作天內以匯款方式退還給買家。競投保證金以「現金」方式完成者 , 本公司將於拍賣當日以現金退還給買家。

9.

若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價、服務費及其他費用 ) 金額超過競投保證金金額時，買方得以下列方式結清帳款 : (1) 現鈔：上限新台幣壹百萬元。 (2) 信用卡與銀聯卡 : 刷卡上限為新台幣壹百萬元。信用卡與銀聯卡持有人必需是買家本人，本公司不接受他人之信用卡。

10. 羅芙奧股份有限公司有權在發生任何不可預見的糾紛或矛盾的狀況之下，對於接受或拒絕付款（包含競投保證金）保留全部的決定權。

諮詢

台北 黃詩涵

stellahuang@ravenel.com

+886 2 2708 9868 ext. 977

IMPORTANT NOTICE TO BUYERS

The auction will strictly abide by the Transaction Agreement set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1. Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a bidding deposit are required.

2.

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

3. The bidding deposit must be transferred to Ravenel's specified Bank account prior to 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 (NTD) or 001-234830-061 (USD) Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of bidding deposit. The payer will be responsible for any associated bank service fees.

4.

After the 27th November 2019, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 28th November to 29th November 2019). Acceptance will cease on 29th November by 6 pm (No other forms of payment will be accepted).

5.

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

Contact Person TAIPEI Stella Huang

stellahuang@ravenel.com

+886 2 2708 9868 ext. 977

委託競投表格 委託競投表格須於拍賣24小時前送抵藝術部。競投表格可傳真至：

拍 賣 名 稱：羅芙奧台北2019秋季拍賣會

藝術部

亞洲現代與當代藝術

電話：+886-2-2708 9868

拍 賣 編 號：TA1904

傳真：+886-2-2701 3306

台北拍賣日期：

投標者資料

台北萬豪酒店

客戶編號 （如有）

台北市中山區樂群二路199號3樓 （博覽廳）

2019年12月1日（星期日）下午2:00

姓名 身份證字號 地址 郵碼 電話 （住宅） （辦公室） 傳真

電郵

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

請用正楷填寫清楚 拍賣品編號 （按數字順序）

名

稱

競投價（新台幣） （服務費不計在內）

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

銀行證明 銀行名稱 銀行地址 銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話

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

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

Auction

Sale Number Date

RAVENEL AUTUMN AUCTION 2019 TAIPEI Modern and Contemporary Asian Art TA1904 Sunday, December 1, 2019, 2:00pm

Location

Marriott Taipei

Address

Grand Space, 3F, No. 199, Lequn 2nd Road,

ZhongShan Dist., Taipei, Taiwan

ID number Address Post code Tel: (Daytime)

(Evening)

Fax

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。

261

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

262

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

263

and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes.

Many Lots fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her/its own judgment or estimation independently regarding the Lots.ing his/her own judgment or estimation independently regarding the Lots.

3. In the Auction a. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay

by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate announced by the Company on the day of auction. b. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. c. Registration Prior to the Bidding Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may request to conduct credit checks against Buyers. d. The Bidding Deposit The bidder shall pay the bidding deposit before receiving the bidding number. The Company will announce the amount of the bidding deposit before the auction day.

(1) If the bidder fails to pay the bidding deposit in advance, the Company has the right to refuse the bid. If the bidder is not able to purchase any Lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder.

(2) If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment (including but without limitation, Hammer price, Buyer’s Premium, Costs and expenses for shipping and related costs ) of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). If the Buyer ,without any good cause, fails to pay any and all payment (including but without limitation, Hammer price, Buyer’s Premium, Costs and expenses for shipping and related costs) of the Lot to the Company within 7 days after the auction date ,the Buyer shall not claim for the return of the bidding deposit. e. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission Bids The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the provided forms attached to the explanations of the catalogue; however, bid commission instructions must be delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions.

The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. g. Bid by Phone The Company will make proper effort to contact the bidder so he/she can participate in the auction by phone if the Prospective Buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. h. Online Bids via Invaluable If the bidder cannot attend the auction, it may be possible to bid online via Invaluable for preferred Lots to bear individual buyer’s responsibilities. This service is free and confidential. For information about registering to bid via Invaluable, please refer to Ravenel.com. The Bidders using the Invaluable online bidding service are subject to the additional terms and conditions for online bidding via Invaluable, which can be viewed at Ravenel.com and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating in auctions.

Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the

control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. j. Recorded Images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. k. Determining Power of the Auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his/her discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the commencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction. l. Successful Bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement on Hammer Price.

4. Following the Auction a. The Buyer’s Premium of Each Lot (1) The Buyer should pay the hammer price and, in addition, the Buyer’s Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the Buyer’s Premium should be calculated at 20% of the hammer price.

(2) For hammer price higher than NT$ 32,000,000, total amount of the Buyer’s Premium should be that the first NT$ 32,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12% of the hammer price. b. Taxes All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his/her/its true name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon the company request. All payments due (including the hammer price, the Buyer’s Premium and any freights or other expenses) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit.

If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the exchange rate of the payments to the Company should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period.

The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Referral of Packaging or Transportation Companies The shipping department of the Company may introduce the forwarder, assist in the arrangement of delivery, or purchase particular insurance upon the Buyer’s request. The Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. Costs and expenses for shipping and insurance shall be paid in advance. f. Remedies for Non-Payment or Non-Collection of Items Sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and Buyer’s Premium) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company’s sole decision.

(2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose including but without limitations other transactions.

The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his/hers/its non-payment. The proceeds shall make up for the payment due.

(3) If the Buyer owes the Company several payments as a result of different transactions, the payments will set-off any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments.

(4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him/her/it. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned: (a) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any

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

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

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

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

6. Return of Payments for Counterfeits or stolen goods The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit or stolen goods, or involved in obvious illegality by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields. b. Or the method used to prove that the Lot is a counterfeit or stolen goods is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances.

In addition, the Buyer’s payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he/she considers the relevant auction item a counterfeit or stolen goods.

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

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

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

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

264