薈萃：國際現代與當代藝術 Select: Modern & Contemporary Art by Ravenel International Art Group

SELECT: MODERN & CONTEMPORARY ART

LOT 050

LOT 053

LOT 046

羅芙奧2020春季拍賣會薈萃：國際現代與當代藝術

RAVENEL SPRING AUCTION 2020 SELECT: Modern & Contemporary Art

AUCTION

拍賣日期 / 地點

Sunday, July 19, 2020, 1:00 pm Marriott Taipei (Grand Space) 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei

2020年07月19日（日）下午 1:00 萬豪酒店（博覽廳）台北市中山區樂群二路199號3樓

PREVIEWS

預展日期 / 地點

Taichung

台中 2020年07月04日（六）下午1:00至下午6:00 2020年07月05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

Taipei

台北 2020年07月16日（四）~ 07月18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

Saturday, July 04, 2020, 1:00 pm - 6:00 pm Sunday, July 05, 2020, 11:00 am - 6:00 pm Fong-Yi Art Gallery B1, No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Thursday, July 16 - Saturday, July 18, 2020 10:00 am - 7:00 pm Marriott Taipei 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei

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

王鎮華 Arthur Wang 董事長 Chairman

郭倩如 Clara Kuo 副董事長 Vice Chairman

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

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

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藝術家索引 INDEX A

TAKERU AMANO

天野タケル（天野健）

035

RAFA MACARRON

拉法・馬卡龍

076

YOSHITAKA AMANO

天野喜孝

029, 030

JURGA MARTIN

尤爾嘉・馬賀丹

075

GEORGES MATHIEU

喬治・馬修

050

B GUY BARDONE

居・巴赫東

038

HIROYUKI MATSUURA

松浦浩之

008, 033

HERNAN BAS

赫南・巴斯

071

BURTON MORRIS

伯頓・莫利斯

034, 036, 037

MR. BRAINWASH

洗腦先生

062

TAKASHI MURAKAMI

村上隆

005

GEORGE BYRNE

喬治・伯恩

088

N YOSHITOMO NARA

奈良美智

072

阮忠

082, 083

大久保如彌

087

C JAVIER CALLEJA

哈維爾・卡勒加

001, 002

TRUNG NGUYEN

BERNARD CATHELIN

貝爾納・卡多蘭

046, 056

BERNARD CHAROY

貝爾納・夏洛瓦

039, 042, 043

NAOMI OKUBO

CORNEILLE

柯奈爾

047

ANDRE COTTAVOZ

安德烈・科達沃茲

044

TATYANA PALCHUK

塔提雅娜・帕丘卡

040, 041

GIANLUCA PIACCIONE

吉安路卡・皮亞奇歐尼

084, 086

D STEPHANE DAUTHUILLE

史帝芬・度多耶

073

MR. DOODLE

塗鴉先生

003, 004

AUGUSTE RODIN

奧古斯特・羅丹

045

DESIRE OBTAIN CHERISH

強納森・保羅

059, 060

AYAKO ROKKAKU

六角彩子

006, 070

ELISABETH SABALA

伊莉莎白・莎貝娜

085

SHOZO SHIMAMOTO

嶋本昭三

053, 054

WILLI SIBER

威利・希伯

063, 064

YASUO SUMI

鷲見康夫

055

市霸奇奇

074, 077

F THIERRY FEUZ

西瑞・菲茲

065, 066

G GULLY

古利

061

H KEITH HARING

凱斯・哈林

078, 079

SUPAKITCH

HANS HARTUNG

漢斯・哈同

049

HARU

H@L

057, 058

KAZUKI TAKAMATSU

高松和樹

007

ATSUKO TANAKA

田中敦子

051

OSAMU TEZUKA

手塚治虫

009 - 028

TRAN LUU HAU

陳留厚

081

ANNE VIGNAL

安娜・維拿爾

080

MAURICE DE VLAMINCK

莫里斯・德・烏拉曼克

048

I YOSHITO ISHII

石井義人

031

J SACHA JAFRI

沙夏・賈菲利

068

K KAWS

布萊恩・唐納利

032, 067

FRIEDRICH KUNATH

弗里德里希・庫納什

069

YAYOI KUSAMA

草間彌生

052

目次 CONTENTS 5

羅芙奧春季拍賣會 Sale Information

羅芙奧之服務 Ravenel Services

藝術家索引 Index

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

137

給予買家的重要通知 Important Notice to Buyers

139

委託競投表格 Absentee Bid Form

141

業務規則 Transaction Agreement

001 JAVIER CALLEJA

哈維爾．卡勒加

(Spanish, b. 1971)

請勿觸碰

Do Not Touch

2019年樹脂鋼細繩壓克力彩版次 226/250 19（長）x 22（寬）x 36（高）cm 簽名版次親筆保證書：Javier Calleja 226/250

2019 Resin, steel, string and acrylic paint; ed. 226/250 19(L) x 22(W) x 36(H) cm Signed Javier Calleja and numbered 226/250 on the backside of the canva PROVENANCE Nanzuka Contemporary Art Gallery, Tokyo

NT$ 180,000 - 260,000 HK$ 46,000 - 67,000 US$ 6,000 - 8,600 RMB 42,000 - 61,000

來源 Nanzuka 當代藝術畫廊，東京 1971 年出生於西班牙馬拉加，2000 年畢業於格拉納達大學，他的作品看似簡單的美學，透過對日常生活中的物件和對各種事件作出巧妙的改動，創作出令人驚喜且富幽默感的作品。除了漫畫，波普藝術和超現實主義都影響了哈維爾・卡勒加的作品；驚喜且富幽默感的表現方式使卡勒加的作品都邀請觀眾進入有如愛麗絲夢遊仙境般的世界。目前活躍於歐洲以及亞洲，並於歐洲主要城市舉辦多次個展。

002 JAVIER CALLEJA

哈維爾．卡勒加

(Spanish, b. 1971)

紅髮男孩

Carrot

2017年壓克力畫布 46 x 55 cm 簽名畫背：2017 Javier Calleja

2017 Acrylic on canvas 46 x 55 cm Signed reverse Javier Calleja and dated 2017 PROVENANCE Nanzuka Contemporary Art Gallery, Tokyo Whitestone Gallery, Hong Kong

NT$ 600,000 - 900,000 HK$ 154,000 - 231,000 US$ 19,900 - 29,900 RMB 142,000 - 212,000

來源 Nanzuka當代藝術畫廊，東京白石畫廊，香港 J a v i e r C a l l e j a w a s b o r n i n M á l a g a , 1971 a n d c o m p l e t e d bachelor’s degree in Fine Arts, Granada University in 2000. His work seems to be a simple aesthetic, but he creates surprising and humorous art-pieces through ingenious changes in everyday events. In addition to the comics, pop art and surrealism both influence the work of Javier Calleja; the artist invites the viewer to form part of playful scenes, and to interact by participating in his ironies or by reacting to the disproportionate sizes that evoke the worlds of Alice. He is currently active in Europe and Asia, also has held several solo exhibitions in major European cities. 11

003 MR. DOODLE

塗鴉先生

(British, b. 1994)

彩虹

Rainbow

2019年壓克力麥克筆畫布 30.5 x 30.5 x 5 cm 簽名畫背：MR DOODLE! 2019

2019 Acrylic and marker on canvas 30.5 x 30.5 x 5 cm Signed reverse MR DOODLE! and dated 2019 PROVENANCE Anzai Gallery, Kyoto Private collection, Asia

NT$ 300,000 - 440,000 HK$ 77,000 - 113,000 US$ 10,000 - 14,600 RMB 71,000 - 104,000

來源安西畫廊，京都私人收藏，亞洲

004 MR. DOODLE

塗鴉先生

(British, b. 1994)

擁抱在一起

Turtle Cuddles

2019年壓克力油漆筆畫布 60 x 60 x 4.5 cm 簽名畫背：MR DOODLE! 2019

2019 Acrylic and paint marker on canvas 60 x 60 x 4.5 cm Signed reverse MR DOODLE! and dated 2019 PROVENANCE Anzai Gallery, Kyoto Private collection, Asia

來源安西畫廊，京都私人收藏，亞洲

NT$ 550,000 - 850,000 HK$ 141,000 - 219,000 US$ 18,300 - 28,200 RMB 130,000 - 200,000

反面 The other side

正面 One side

005 TAKASHI MURAKAMI

村上隆

(Japanese, b. 1962)

無題

Untitled

2019年帆布壓克力顏料，聚酯纖維（襯裡），牛皮（提手），金屬（緊固件），鎳（底鉚釘）。單一件 41（長）x 14（寬）x 64（高）cm（含提把）簽名內側：Murakami 2019

2019 Canvas, acrylic paint, polyester (lining), cow leather (handle), metal (fastener), nickel (bottom rivet). Unique piece 41(L) x 14(W) x 64(H) cm (with the handles) Signed and dated inside Murakami 2019 PROVENANCE Galerie Perrotin, Hong Kong Private collection, Asia

NT$ 240,000 - 360,000 HK$ 62,000 - 93,000 US$ 8,000 - 11,900 RMB 57,000 - 85,000

來源貝浩登畫廊，香港私人收藏，亞洲

006 AYAKO ROKKAKU

六角彩子

(Japanese, b. 1982)

花朵女孩

Untitled

2016年壓克力畫布 65.5 x 70 cm 簽名右下：2016

2016 Acrylic on canvas 65.5 x 70 cm Signed lower right Ayako Rokkaku in Japanese and dated 2016 PROVENANCE Gallery Delaive, Amsterdam Private collection, Asia

ロッカクアヤコ

來源德萊夫畫廊，阿姆斯特丹私人收藏，亞洲

NT$ 550,000 - 800,000 HK$ 141,000 - 206,000 US$ 18,300 - 26,600 RMB 130,000 - 189,000

007 高松和樹

1978年生於日本仙台市，高松和樹從受大眾媒體傳播

(Japanese, b. 1978)

保護

與日本卡漫薰陶，創作風格融合東洋傳統文化與當代次

Protection

2018年壓克力水粉粉筆膠片防水油布 41 x 32 cm 簽名內框背板：保護 2018 高松和樹

KAZUKI TAKAMATSU 2018 Acrylic, gouache, chalk, depth mapping on tarpaulin 41 x 32 cm Signed backside board Kazuki Takamatsu in Kanji, dated 2018 and titled Protection PROVENANCE Corey Helford Gallery, Los Angeles Private collection, Asia EXHIBITED Kazuki Takamatsu Exhibition-The Way to Release from the Restraint , Corey Helford Gallery, Los Angeles, January 12 - February 16, 2019

NT$ 280,000 - 420,000 HK$ 72,000 - 108,000 US$ 9,300 - 13,900 RMB 66,000 - 99,000

來源克瑞．艾弗畫廊，洛杉磯私人收藏，亞洲展覽「高松和樹：超越束縛的旅程」，克瑞．艾弗畫廊，洛杉磯，展期自2019年1月12日至2月16日

文化想像。以水粉、粉筆、壓克力等顏料手繪於畫布，黑底色對比紫藍色平滑筆觸，乍看如X光相片精密堆疊，層層堆疊營造三維立體效果，手繪精準度堪比電腦動畫，強烈透明感與線條流動更具柔韌生命力。

Kazuki Takamatsu was bor n in 1978 in Sendai, Japan. He has been inspired by mass media and Japanese anime and comics. His style is a mixture of traditional Eastern culture and the fantasies of modern subcultures. With black backgrounds contrasting his smooth, purple-blue brushworks, he mostly uses poster paint, chalks and acrylic paint. At the first glance, his works resemble sophisticated collections of layered X-ray photographs, with the layers creating a three-dimensional effect along with a hand-drawn accuracy that rivals computer generated animations. The strong sense of transparency and fluid silhouettes enhance the soft vitality in his works.

008 松浦浩之

松浦浩之1964年出生於日本東京，自1984年開

(Japanese, b. 1964)

透明意向

始擔任平面設計的工作，從事廣告、出版、包

Transparent Intention

2015年壓克力鋁箔畫布 53 x 53 cm 簽名畫背：H. Matsuura 2015.10.22

HIROYUKI MATSUURA 2015 Acrylic with platinum foil on canvas 53 x 53 cm Signed reverse H. Matsuura and dated 2015.10.22 PROVENANCE Tokyo Gallery+BTAP, Tokyo Private collection, Taiwan

NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,600 - 10,000 RMB 47,000 - 71,000

來源東京畫廊，東京私人收藏，台灣

裝、裝訂的商標設計。從1999年起，開始創作以「角色插圖」為題材的「海報+包裝+滑板」設計，在國際藝術享有聲名。2001年後於村上隆「藝術道場 GP@MOT展」獲星探獎。作品巡迴展於澳洲、歐洲及東亞。

Born in Tokyo, Japan, Matsuma started to work as a graphic designer for advertising, packaging, binding and logo design. Since 1999, the artist started to produce "Poster+Package+Skateboard" designs using "Character Illustration" themes and gained world renown. In 2001, he gained recognition when he was awarded the Scout Prize at Takeshi Murakami’s GEIJUTSUDOUJOU/GP at Museum of Contemporary Art Tokyo.

日本的動漫產業之所以如此強大，回顧過往歷史，手塚治虫是漫畫與動畫傳入西方的關鍵人物。對多數的外國人而言，手塚治虫（Osamu Tezuka,1928-1989）堪稱是日本漫畫的起點。之於動漫迷，天才型的手塚治虫擁有神級般的地位，在世時已被尊稱為「漫畫之神」。手塚治虫投身漫畫50年，燃燒生命努力不懈，平生創作出大量的作品，漫畫作品約450部（一說700部）。手塚治虫曾說：「我們這個時代，漫畫有如空氣無所不在。」他視動漫畫為正統文化，努力翻轉世人對漫畫次文化或負面形象。無論在漫畫、或是後來的動畫，他與其領導的團隊創意為該產業帶來深厚的影響力。

てづかおさむ

1951年手塚在「少年雜誌」上連載的《小金剛大使》漫畫，編輯建議手塚將配角小金剛獨立出來，於是以《鉄腕アトム》（或翻譯為《原子小金剛》、《鐵臂阿童木》、《小飛俠阿童木》；阿童木 Atom 的日文音譯，「原子」之意）開始在雜誌上連載，果然大受歡迎，充滿冒險與勵志的故事，使得永遠的少年─原子小金剛，幾乎成為手塚治虫的招牌大作，收服全球漫畫迷與影迷。1963年日本自製第一部電視黑白動畫《原子小金剛》於富士電視台放映，到1966年間共193集創下超高的收視率。影片也翻譯成英文，外銷往世界各地，1963年底美國N B C播放英文版《A s t ro B o y》。1980年重新發行60 集，而1980年代在台灣和香港播映的電視動畫即為此版本。同年中國大陸也先引進黑白版本，成為最早打進中國市場的動畫片之一；2003年後才播映第三版的彩色版本。

手塚治虫曾笑稱漫畫是妻子而動畫是情人。動畫是國際語言，可以實現他的夢想，一個與世界溝通的途徑。然而動畫費工耗時，造價昂貴，尤其1960年代距離戰後復甦不遠，透過漫畫、動畫人生攀上高峰，不料繳稅大戶也會遇到經濟困境。迪士尼的動畫每秒至少使用24張圖，一分鐘需要1440張圖；而手塚將動畫《原子小金剛》的一秒鐘畫面，節約至12張，後來更精減至一秒8張圖，所謂「有限動畫」的特殊風格，也成為日本動畫的另類風格。無論如何，每一張圖都需仰賴動漫師精湛的畫功，團隊的合力完成。在數位三D動畫出現之前，動畫是以傳統賽璐璐片手工塗色繪製而成，襯以水彩背景拍攝連環圖片成為影片。賽璐璐片手稿宛如一件美麗的圖畫，而隨時代進步，純手工的圖畫被電腦科技取代，2007年之後改用數位化技術，然而手塚經典的手稿圖畫，因當時不懂保存，大多散佚或毀損，少數留存者為大師的不凡創意留下永恆。手塚治虫是日本第一位導入助手制度與企業化經營的漫畫家，對於日後日本漫畫的啟蒙有著極大的推動作用。1961年他成立自己的「虫製作」動畫製作部，1962年正式成立「虫製作」株式會社。手塚知名動畫如《原子小金剛》、《緞帶騎士》、《森林大帝》、《多羅羅》、《小拳王》等電視動畫；亦有《天方夜譚》、《埃及豔后》、《悲傷的貝拉朵娜》等成人風格作品，都是出品自「虫製作」。昂貴的動畫製作費用，果然在1973年令手塚治虫無法負荷，「虫製作」宣告破產。畢竟整天在工作室畫畫，他根本分身乏術，又不諳經營公司。一位家具公司老闆過去曾受惠於他，聽聞手塚的困境，對其伸出援手，償還債權，慢慢協助他脫離困境。雖然面臨經濟上的艱難，他還是不忘漫畫與動畫，SF科幻風格的《三眼神童》、《怪醫黑傑克》都是這段時間醞釀出來的神作，幫助他走出低潮。尤其《怪醫黑傑克》的創作背後，破產的孤獨感，充滿超現實感，這是世界的第一部醫學漫畫，由真正的手塚醫學博士創作。

1977年，「虫製作」株式會社的工會在東京創立「虫製作株式會社」Mushi Production Co., Ltd.，是舊公司的延續，主要承包該公司旗下的動畫作品，營業至今。不過，虫製作破產時手塚治虫已離開該公司。1968年時他另外成立「手塚製作公司」Tezuka Productions，為便於漫畫製作及版權管理而成立，營運至今。起初，手塚治虫會將其作品發包至「虫製作」，交由他們進行動畫化；但後來能動畫化的漫畫作品不多。今日原子小金剛限量公仔和授權商品，即出自於「手塚製作公司」Tezuka Productions。積勞成疾的手塚治虫於1989年2月9日因胃癌病逝於東京，享年60歲。充滿傳奇的一生，終日沉浸在動漫的想像世界，漫畫生涯上的得意與失意，都交織成一部部的作品，它們如同一篇篇精彩的日本動漫歷史。多數的日本漫畫家都曾受到手塚治虫的影響，包括《哆啦A夢》的作者藤子•不二雄（日本漫畫家藤本弘與安孫子素雄共用的筆名）、《一休和尚》的坂口尚、《七龍珠》的鳥山明、《無敵鐵金剛》的永井豪、《凡爾賽玫瑰》的池田理代子等，和藝術家後進如KAWS。作為日本動漫之神的手塚治虫，他的成就於2019年幾檔慶賀90歲誕辰的專題式展覽可見一斑，如倫敦大英博物館「漫畫」特展、台北北師美術館的「美少女的美術史─從浮世繪到當代藝術及動漫文化」特展、芬蘭坦佩雷藝術博物館（Tampere Art Museum）和西班牙加泰羅尼亞國家藝術博物館（Museu Nacional d'Art de Catalunya）的「漫畫之神手塚治虫」等。羅芙奧2020春拍「薈萃：國際現代與當代藝術」專場，推出「動漫之神手塚治虫」單元小拍，將介紹二十多組膾炙人口的動漫手稿，這些手稿包括原子小金剛、森林大帝、怪醫黑傑克、緞帶騎士、三眼神童、西遊記等代表作，當初因應動畫需要所作的圖畫，精心佈局、用色典雅，一次能夠收藏神級大師的經典創意，饒富意義，機會難得，期待帶動一波經典動漫藝術的風潮。（節錄自《Ravenel》季刊30期「藝術與投資」專欄）

Looking back on the history of the Japanese anime industry, Osamu Tezuka (1928–1989) was the key figure in Japanese manga and animation entering the West. For most foreigners, Tezuka is the origin of Japanese manga. For anime fans, the talented Tezuka holds god-like status. When he was alive, he was bestowed the reverent title "God of Manga." From a young age, Tezuka devoted himself to manga for 50 years. Throughout his life, he diligently composed and created a large body of work, including approximately 450 manga (some say 700). Tezuka once said, "In our era, manga, like air, is everywhere." He considered anime an orthodox culture and strived to overturn the public view that manga belonged to a subculture or was negative. Be it manga or later animations, he and the creative team he led profoundly influenced this industry. In 1951, in the Manga Shōnen magazine, Tezuka serialized Ambassador Atom . The editor of the magazine suggested that he isolate the supporting character, Astro Boy. Later, Astro Boy was serialized in the same magazine and was wildly popular. The stories were adventurous and inspiring, and the forever-young boy, Tezuka's signature work, conquered manga and anime fans worldwide. In 1963, the first Japan-produced black-and-white TV anime show, Astro Boy , premiered on Fuji TV. From then to 1966, the 193 episodes had substantial viewer rates. The anime was also translated into English and sold to other countries. In late 1963, the US television channel NBC broadcast the English version of Astro Boy . In 1980, 60 episodes were reissued; these are the versions broadcast in Taiwan and Hong Kong in the 1980s. In the same year, China imported the black-and-white version, which became one of the earliest anime to enter the Chinese market. It was only in 2003 that the third version, the color version, was shown in China. Tezuka once joked that manga was his wife, and animation was his lover. Animation is an international language, a pathway to communicate with the world and realize his dreams. However, animation production was both time-and labor-consuming. Worse, it was expensive. The 1960s was a period not long after the post-war recovery. Even though Tezuka's manga and animation career peaked and earned him a substantial income, he still encountered financial difficulties. Disney animations used at least 24 pictures per second, and 1 minute required 1,440 pictures. By contrast, Tezuka economized in Astro Boy , using only 12 pictures per second. Later, he further reduced it to only 8 pictures per second. This so-called "limited animation" with its unique style became an alternative style for Japanese animation.

In any case, each picture required the superb skills and teamwork of animation artists. Before the emergence of 3D animation, all animation was painted on celluloid films, colored by hand, and shot on watercolor backgrounds to form a video. Celluloid film manuscripts were like beautiful pictures. As time progressed, pure hand-made pictures were replaced by products of computer technology. In 2007, digital techniques were adopted. However, due to a lack of awareness of preservation, the classic manuscript papers by Tezuka were mostly lost or damaged. The few surviving ones bear witness to the master's extraordinary creativity. Tezuka was also the first manga artist in Japan to introduce the assistant system and corporate management, which had a substantial influence on the later Japan manga industry. In 1961, he established his own animation production company, Mushi Production. In 1962, he officially established the Mushi Production Corporation. Famous TV animations he released under Mushi Production include Astro Boy , Princess Knight , Kimba the White Lion , Dororo and

Ashita no Joe . Mushi Production also had adult-oriented works such as A Thousand and One Nights , Cleopatra , and Belladonna of Sadness . The expensive animation production fees were too much for Tezuka to cover. In 1973, Mushi Production declared bankruptcy. After all, he was painting in his studio all day and had no time for other matters. He also lacked good corporate management skills. The owner of a furniture company who had received favors from Tezuka heard about his hardship and offered to pay off his debts, gradually assisting him in overcoming the difficulties. Despite the financial hardship, Tezuka did not neglect manga or animation. The outstanding science fiction works

The Three-Eyed One and Black Jack were both generated in this period and brought him out of the pit of despair. Specifically, the sense of loneliness from bankruptcy gave Black Jack a surreal feeling. It was the first medical manga in the world to be created by a medical doctor. In 1977, the union of Mushi Production established the Mushi Production Co., Ltd. in Tokyo as a continuation of the old company. It mainly contracted animation works from that company and is still running today. However, when Mushi Production declared bankruptcy, Tezuka left the company. In 1968, Tezuka established Tezuka Productions Co., Ltd., to facilitate manga production and copyright management. It is still running today. At first, Tezuka would contract his works to the Mushi Production Company and have them turn the manga into animations. However, in the later period, not many manga could be adapted into animations. The limitededition Astro Boy figurines and licensed products were issued by Tezuka Productions.

Overworked, Tezuka passed away in Tokyo from gastric cancer on February 9, 1989, at the age of 60. In his legendary life, he immersed himself in the imaginary world of manga and anime. His success and failures in his manga career were woven into one work after another. His works are like a splendid history of Japanese dongman. Most Japanese manga artists have been influenced by Tezuka, including Fujio Fujiko (the penname shared by Japanese manga artists Hiroshi Fujimoto and Motoo Abiko), who created Doraemon ; Hisashi Sakaguchi, author of IkkyĹŤ-san ; Akira Toriyama, author of Dragon Ball ; Go Nagai, author of Mazinger Z ; Riyoko Ikeda, author of The Rose of Versailles ; and later artists such as KAWS. His achievements could be observed in the 90-year anniversary special exhibitions in 2019. For example, his works were included in "The Citi Exhibition: Manga" at the British Museum in London, in the "BISHOJO: Young Pretty Girls in Art History" special exhibition at the Museum of the National Taipei University of Education, at the Tampere Art Museum in Finland, and at the "Osamu Tezuka, the God of Mang" exhibition at Museu Nacional d'Art de Catalunya in Spain. At the Ravenel Spring Auction, "Select: Modern & Contemporary Art," a subunit "The God of Manga and Anime: Osamu Tezuka" will be launched. Over twenty sets of manga and anime manuscripts will be introduced, including representative works of Astro Boy , Kimba the White Lion , Black Jack , Princess Knight , The Three-

Eyed One , and GoKu's Great Adventures . These pictures, generated for animations, were carefully plotted and painted in elegant colors. This will be the chance to collect the classic creativity of this god-like master all at once. The opportunity to obtain these meaningful artworks is rare. It is hoped that it will lead a trend in classic manga and animation arts. (Excerpt from the Column "Art & Investment" of Ravenel Quarterly No. 30) 21

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009 OSAMU TEZUKA (1928-1989) X TEZUKA PRODUCTIONS Astro Boy – Moonlight over the City c. 1980s Acrylic on cel; watercolor on paper 25.5 x 36 cm This lot is to be sold with one piece sketch drawing.

NT$ 110,000 - 160,000 HK$ 28,000 - 41,000 US$ 3,700 - 5,300 RMB 26,000 - 38,000

手塚治虫 x 手塚製作公司原子小金剛－城市月光約1980年代壓克力賽璐璐；水彩紙本 25.5 x 36 cm 附鉛筆草圖一張

010 OSAMU TEZUKA (1928-1989) X MUSHI PRODUCTION X TEZUKA PRODUCTIONS Jungle Emperor Leo – The Movie (a set of 3) Acrylic on cel; watercolor on paper 26 x 36.5 cm (upper) 24.3 x 36.5 cm (middle) 31 x 40 cm (lower) This lot is to be sold with 6 pieces sketch drawings.

NT$ 120,000 - 180,000 HK$ 31,000 - 46,000 US$ 4,000 - 6,000 RMB 28,000 - 42,000

手塚治虫 x 虫製作公司 x 手塚製作公司森林大帝－劇場版（三件一組）壓克力賽璐璐；水彩紙本 26 x 36.5 cm（上） 24.3 x 36.5 cm（中） 31 x 40 cm（下）附線稿圖六張

てづかおさむ

011 OSAMU TEZUKA (1928-1989) X MUSHI PRODUCTION Princess Knight - Assassin in Black c.1980s Acrylic on cel; watercolor on paper 23 x 34 cm This lot is to be sold with one piece sketch drawing.

NT$ 60,000 - 90,000 HK$ 15,000 - 23,000 US$ 2,000 - 3,000 RMB 14,000 - 21,000

手塚治虫 x 虫製作公司緞帶騎士－黑衣刺客約1980年代壓克力賽璐璐；水彩紙本 23 x 34 cm 附線稿圖一張

012 OSAMU TEZUKA (1928-1989) X TEZUKA PRODUCTIONS Astro Boy – Blue Knight c. 1980s Acrylic on cel; watercolor on paper 25.5 x 36.7 cm

手塚治虫 x 手塚製作公司原子小金剛－青騎士約1980年代壓克力賽璐璐；水彩紙本 25.5 x 36.7 cm

NT$ 90,000 - 140,000 HK$ 23,000 - 36,000 US$ 3,000 - 4,600 RMB 21,000 - 33,000

てづかおさむ

013 OSAMU TEZUKA (1928-1989) X TEZUKA PRODUCTIONS Black Jack – Bomb Hole c. 1993 Acrylic on cel; watercolor on paper 24 x 34.5 cm This lot is to be sold with one piece sketch drawing.

NT$ 60,000 - 90,000 HK$ 15,000 - 23,000 US$ 2,000 - 3,000 RMB 14,000 - 21,000

手塚治虫 x 手塚製作公司怪醫黑傑克－爆破約1993年壓克力賽璐璐；水彩紙本 24 x 34.5 cm 附線稿圖一張

014 OSAMU TEZUKA (1928-1989) X TEZUKA PRODUCTIONS Astro Boy – Fighting in the Dark c. 1980s Acrylic on cel; watercolor on paper 41.5 x 51 cm

手塚治虫 x 手塚製作公司原子小金剛－黑暗裡的戰鬥約1980年代壓克力賽璐璐；水彩紙本 41.5 x 51 cm 附線稿圖一張

This lot is to be sold with one pieces sketch drawing.

NT$ 140,000 - 220,000 HK$ 36,000 - 57,000 US$ 4,600 - 7,300 RMB 33,000 - 52,000

てづかおさむ

015 OSAMU TEZUKA (1928-1989) X TEZUKA PRODUCTIONS Astro Boy – Self Portrait of Osamu Tezuka c. 1980s Acrylic on cel; watercolor on paper 27 x 27 cm This lot is to be sold with one piece sketch drawing.

NT$ 70,000 - 110,000 HK$ 18,000 - 28,000 US$ 2,300 - 3,700 RMB 17,000 - 26,000

手塚治虫 x 手塚製作公司原子小金剛－手塚治虫自畫像約1980年代壓克力賽璐璐；水彩紙本 27 x 27 cm 附線稿圖一張

016 OSAMU TEZUKA (1928-1989) X TEZUKA PRODUCTIONS Astro Boy and Princess Knight c. 1980s Acrylic on cel; watercolor on paper 23.5 x 27 cm

手塚治虫 x 手塚製作公司原子小金剛與緞帶騎士約1980年代壓克力賽璐璐；水彩紙本 23.5 x 27 cm

NT$ 90,000 - 140,000 HK$ 23,000 - 36,000 US$ 3,000 - 4,600 RMB 21,000 - 33,000

てづかおさむ

017 OSAMU TEZUKA (1928-1989) X TEZUKA PRODUCTIONS Black Jack c. 1990s Acrylic on cel; watercolor on paper 23 x 36.5 cm This lot is to be sold with one piece sketch drawing.

NT$ 80,000 - 120,000 HK$ 21,000 - 31,000 US$ 2,700 - 4,000 RMB 19,000 - 28,000

手塚治虫 x 手塚製作公司怪醫黑傑克約1990年代壓克力賽璐璐；水彩紙本 23 x 36.5 cm 附線稿圖一張

018 OSAMU TEZUKA (1928-1989) X TEZUKA PRODUCTIONS Black Jack – Flying Birds c. 1993 Acrylic on cel; watercolor on paper 25.5 x 36.5 cm

手塚治虫 x 手塚製作公司怪醫黑傑克－飛鳥約1993年壓克力賽璐璐；水彩紙本 25.5 x 36.5 cm 附線稿圖五張

This lot is to be sold with 5 pieces sketch drawings.

NT$ 80,000 - 120,000 HK$ 21,000 - 31,000 US$ 2,700 - 4,000 RMB 19,000 - 28,000

てづかおさむ

019 OSAMU TEZUKA (1928-1989) X TEZUKA PRODUCTIONS Astro Boy – Purple Light c. 1980s Acrylic on cel; watercolor on paper 25.5 x 34 cm This lot is to be sold with one piece sketch drawing.

NT$ 90,000 - 140,000 HK$ 23,000 - 36,000 US$ 3,000 - 4,600 RMB 21,000 - 33,000

手塚治虫 x 手塚製作公司原子小金剛－紫色之光約1980年代壓克力賽璐璐；水彩紙本 25.5 x 34 cm 附線稿圖一張

020 OSAMU TEZUKA (1928-1989) X MUSHI PRODUCTION X TEZUKA PRODUCTIONS Jungle Emperor Leo (a set of 3) Acrylic on cel; watercolor on paper 25.5 x 36 cm (upper) 25.5 x 36.5 cm (middle) 25.5 x 36 cm (lower) This lot is to be sold with 7 pieces sketch drawings and an exposure sheet.

NT$ 120,000 - 180,000 HK$ 31,000 - 46,000 US$ 4,000 - 6,000 RMB 28,000 - 42,000

手塚治虫 x 虫製作公司 x 手塚製作公司森林大帝（三件一組）壓克力賽璐璐；水彩紙本 25.5 x 36 cm （上） 25.5 x 36.5 cm （中） 25.5 x 36 cm （下）附線稿圖七張與律表一張

てづかおさむ

021 OSAMU TEZUKA (1928-1989) X MUSHI PRODUCTION Princess Knight - Swords c. 1980s Acrylic on cel; watercolor on paper 22.5 x 34.5 cm This lot is to be sold with one piece sketch drawing.

NT$ 60,000 - 90,000 HK$ 15,000 - 23,000 US$ 2,000 - 3,000 RMB 14,000 - 21,000

手塚治虫 x 虫製作公司緞帶騎士－刀光劍影約1980年代壓克力賽璐璐；水彩紙本 22.5 x 34.5 cm 附線稿圖一張

022 OSAMU TEZUKA (1928-1989) X MUSHI PRODUCTION Princess Knight – Wielding Sword c. 1980s Acrylic on cel; watercolor on paper 25.5 x 36 cm

手塚治虫 x 虫製作公司緞帶騎士－揮劍約1980年代壓克力賽璐璐；水彩紙本 25.5 x 36 cm 附線稿圖一張

This lot is to be sold with one piece sketch drawing.

NT$ 60,000 - 90,000 HK$ 15,000 - 23,000 US$ 2,000 - 3,000 RMB 14,000 - 21,000

てづかおさむ

023 OSAMU TEZUKA (1928-1989) X TEZUKA PRODUCTIONS Black Jack – In the Crowd c. 1993 Acrylic on cel; watercolor on paper 25 x 36.5 cm This lot is to be sold with 3 pieces sketch drawings.

NT$ 40,000 - 60,000 HK$ 10,000 - 15,000 US$ 1,300 - 2,000 RMB 9,000 - 14,000

手塚治虫 x 手塚製作公司怪醫黑傑克－人群中約1993年壓克力賽璐璐；水彩紙本 25 x 36.5 cm 附線稿圖三張

024 OSAMU TEZUKA (1928-1989) X TEZUKA PRODUCTIONS Black Jack (a set of 2) c. 1990s Acrylic on cel; watercolor on paper 23 x 36 cm (upper) 25.5 x 36 cm (lower) This lot is to be sold with 11 pieces sketch drawings.

NT$ 60,000 - 90,000 HK$ 15,000 - 23,000 US$ 2,000 - 3,000 RMB 14,000 - 21,000

手塚治虫 x 手塚製作公司怪醫黑傑克（兩件一組）約1990年代壓克力賽璐璐；水彩紙本 23 x 36 cm（上） 25.5 x 36 cm（下）附線稿圖十一張

てづかおさむ

025 OSAMU TEZUKA (1928-1989) X MUSHI PRODUCTION Princess Knight – Sapphire 1967 Acrylic on cel; watercolor on paper 25 x 30 cm

NT$ 70,000 - 110,000 HK$ 18,000 - 28,000 US$ 2,300 - 3,700 RMB 17,000 - 26,000

手塚治虫 x 虫製作公司緞帶騎士－藍寶 1967年壓克力賽璐璐；水彩紙本 25 x 30 cm

026 OSAMU TEZUKA (1928-1989) X TEZUKA PRODUCTIONS The Three-Eyed One 1990-1991 Acrylic on cel; watercolor on paper 25 x 36 cm

手塚治虫 x 手塚製作公司三眼神童 1990-1991年壓克力賽璐璐；水彩紙本 25 x 36 cm

NT$ 60,000 - 90,000 HK$ 15,000 - 23,000 US$ 2,000 - 3,000 RMB 14,000 - 21,000

てづかおさむ

027 OSAMU TEZUKA (1928-1989) X MUSHI PRODUCTION Goku’s Great Adventures (Journey to the West) 1967 Acrylic on cel; watercolor on paper 26 x 32.5 cm

NT$ 60,000 - 90,000 HK$ 15,000 - 23,000 US$ 2,000 - 3,000 RMB 14,000 - 21,000

手塚治虫 x 虫製作公司悟空大冒險（西遊記） 1967年壓克力賽璐璐；水彩紙本 26 x 32.5 cm

028 OSAMU TEZUKA (1928-1989) X TEZUKA PRODUCTIONS Astro Boy Giant Figure Painted FRP 82(L) x 43(W) x 152(H) cm © Tezuka Productions. ATS PROVENANCE Private collection, Taiwan

NT$ 260,000 - 380,000 HK$ 67,000 - 98,000 US$ 8,600 - 12,600 RMB 61,000 - 90,000

手塚治虫 x 手塚製作公司原子小金剛等身大店頭公仔玻璃纖維強化塑膠上色 82（長）x 43（寬）x 152 （高）cm 「手塚製作公司」ATS 出品來源私人收藏，台灣

029 YOSHITAKA AMANO

天野喜孝

(Japanese, b. 1952)

糖果女孩

Candy Girl

2010年汽車漆鋁板 50（長）x 50（寬）x 10（厚）cm 簽名下側：Y. Amano

2010 Automotive paint on aluminum panel 50(L) x 50(W) x 10(H) cm Signed bottom edge Y. Amano

NT$ 380,000 - 550,000 HK$ 98,000 - 141,000 US$ 12,600 - 18,300 RMB 90,000 - 130,000

天野喜孝 1967 年開始從事日本早期的動畫製作，為日本的電視節目設計角色，包括《救難小英雄》及《宇宙騎士》、《科學小飛俠》及《小蜜蜂》等。畫面中鋪陳著糖果般的螢光對比色彩，與熱鬧喧騰的線條構圖，透過鋁板與烤漆的媒材表現呈現出炫目而潔淨的未來感，在天野喜孝想像飛馳的筆下開展。

030 YOSHITAKA AMANO

天野喜孝

(Japanese, b. 1952)

糖果女孩

Candy Girl

2010年汽車漆鋁板 50（長）x 50（寬）x 10（厚）cm 簽名左側：Y. Amano

2010 Automotive paint on aluminum panel 50(L) x 50(W) x 10(H) cm Signed left edge Y. Amano

NT$ 380,000 - 550,000 HK$ 98,000 - 141,000 US$ 12,600 - 18,300 RMB 90,000 - 130,000

Yoshitaka Amano joined the early Japanese animation movement in 1967, Amano later worked on character design for a number of Japanese TV programs, including popular series such as “Time Bokan”, “Tekkaman”, “Gatchaman”, and “Honey Bee”. The use of aluminum sheet and automobile paint creates a clean, visuallystriking, futuristic atmosphere within which Amano is able to give free rein to his imagination.

031 石井義人

石井義人1980年生於日本群馬縣，2002年畢業於東京日本大學藝術學

(Japanese, b. 1980)

靝

部。多年東方水墨與西洋藝術的薰陶，石井義人開拓出獨一無二的抽象針

Tian (The Heaven)

2013年墨粉畫紙 70 x 60.3 cm 簽名內框背板：2013 Yoshito Ishii イシイヨシト

YOSHITO ISHII 2013 Ink on Ken paper 70 x 60.3 cm Signed backside board Yoshito Ishii , dated 2013 and titled Tian in kanji. PROVENANCE Uspace Gallery, Taipei Private collection, Asia

NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,600 - 10,000 RMB 47,000 - 71,000

來源 Uspace畫廊，台北私人收藏，亞洲

筆畫作品。以日本傳統紋樣、古體字為主題，參入中國宋代院體與文人畫派精神，重視畫風形神兼備之意境。白色背景對比簡樸的墨色，加入少量靛藍、胭紅隱隱點綴其中。細膩的用筆，以豐沛圓點構成流暢線條，再逐一廣闊為氣勢磅礡的獨立宇宙。展覽活動集中於日本東京、香港、台北等地，入選美術獎項並獲得廣大私人藏家肯定。

Born in 1980 in Gunma Prefecture, Japan, Yoshito Ishii graduated from the College of Art of Nihon University, Tokyo in 2002. With many years of experience in ink wash painting and Western art, Ishii has developed his own unique style of abstract technical pen paintings. His works are themed around traditional Japanese emblems and old calligraphic writings with a sense of the Chinese Yuanti and Kuterati painting styles of the Song Dynasty, promoting a style that emphasizes both the form and the spirit. The white background stands in contrast with the rustic ink wash, with a small amount of violet and carmine decorated between them. His detailed pen movements create an abundance of dots that form smooth silhouettes, which then develop into a grand, independent universe. Ishii’s major exhibitions have been held in Tokyo, Hong Kong and Taipei. The artist also received many art awards and been appreciated by collectors.

032 KAWS (BRIAN DONNELLY) (American, b. 1974)

Companion (Karimoku Version) 2011 Wood, ed. 80/100 12.4(L) x 6.5(W) x 27(H) cm Signed KAWS and numbered 80/100 and stamped OriginalFake on the underside This work is accompanied with its original product box.

NT$ 600,000 - 900,000 HK$ 154,000 - 231,000 US$ 19,900 - 29,900 RMB 142,000 - 212,000

K AWS〈布萊恩．唐納利〉同伴（Karimoku版） 2011年木質版次80/100 12.4（長）x 6.5（寬）x 27（高）cm 簽名底部：KAWS 80/100 OriginalFake 附原產紙盒包裝

033 HIROYUKI MATSUURA (Japanese, b. 1964)

Banbi-White Ilex 2008 Fiberglass, ed. 2/2 60(L) x 60(W) x 85(H) cm Engraved bottom Hiroyuki Matsuura and dated 2008 PROVENANCE Eslite Gallery, Taipei Poly Auction Hong Kong, Autumn 2016, lot 0178 Private collection, Taiwan EXHIBITED Hiroyuki Matsuura , Eslite Gallery, Taipei, from December 13, 2008 to January 4, 2009 (another edition)

松浦浩之原先擔任平面設計師，因一種「百分之百按照自己想法」的慾

ILLUSTRATED Hiroyuki Matsuura , Eslite Gallery, Taipei, 2008, color illustrated, p. 29 (another edition)

漫新美學」，憑藉著平面設計師本具有的技巧，將虛擬國度中的「角

NT$ 800,000 - 1,200,000 HK$ 206,000 - 308,000 US$ 26,600 - 39,800 RMB 189,000 - 283,000

展出。松浦浩之說：「『他們』擁有著壓克力的肌膚，想要和我們擁有

松浦浩之

望，而開始投入創作。作品中繽紛炫目的光澤及變幻多端的視覺造型，源自於動畫與漫畫所帶動的新世紀美學，他運用伴隨多數人成長的「動色」一一拉出，創造出既純粹又可愛的世界。本作品《班比：白色幻獸》曾於2008年誠品畫廊「松浦浩之個展」中同樣的生命」。松浦浩之以「他們」這些角色為題，將故事性融入作品中，讓觀者欣賞作品時能有無限的想像空間，更因觀者的想像，賦予角色獨一無二的生命。松浦浩之認為這些角色是一種能超越語言的圖像，會隨著數位化時代的腳步而逐漸進化，進而成為世界性的存在。可以超越成人與孩童、男人與女人、人類所構築的無形城牆，甚至可以代替世界的共通語言。

班比：白色幻獸 2008年玻璃纖維版次 2/2 60（長）x 60（寬）x 85（高）cm 雕刻簽名底部：Hiroyuki Matsuura 2008 來源誠品畫廊，台北保利拍賣，香港，2016年秋拍，編號 0178 私人收藏，台灣展覽「松浦浩之」，誠品畫廊，台北，展期自2008年12月13日至2009年1月4日（另一版次）圖錄《松浦浩之》，誠品股份有限公司，台北， 2008年，彩色圖版，頁29（另一版次）

Matsuura began as a graphic designer. He began his own creations from a desire of "do in his own way absolutely". The dazzling and diverse shine and variety of visual styles come from the aesthetics driven by the animation and cartoons of the new century. He uses the “New Aesthetics of Comics and Animation” which grow with most people, and the natural techniques of a graphic designer to draw out "characters" in a fictitious kingdom one by one to create a pure and lovely world. This Banbi-White Ilex of Matsuura was shown at the "Hiroyuki Matsuura Solo Exhibition" in Eslite Gallery in 2008. Matsuura said, "'They' have acrylic skin and want to live a life like us." Matsuura uses “they”as the subject to blend the stories into the works, and make boundless imagination space for people looking at the work. It is the imaginations of the watching people that give a one and only life to the characters in the works. In Matsuura's opinion, these characters are kinds of images that can surpass language. They will make a gradual evolution following the steps of the digital times to be a worldwide existence. They can surpass the dimmateriality walls built by adults, children, men and women and all human beings. They can even replace the common language of the world.

034 BURTON MORRIS

伯頓．莫利斯

(American, b. 1964)

好萊塢

Hollywood

2006年壓克力畫布 38 x 76 cm 簽名題識畫背：Burton Morris BCM "Hollywood" 編號上側書背：F1977Q

2006 Acrylic on canvas 38 x 76 cm Signed reverse BCM Burton Morris and titled Hollywood Inscribed upper edge #F1977Q (upper panel) PROVENANCE Private collection, Hong Kong EXHIBITED Burton Morris Exhibition , Festival Walk, Kowloon Tong, Hong Kong, June 28 - July 15, 2007

NT$ 110,000 - 170,000 HK$ 28,000 - 44,000 US$ 3,700 - 5,600 RMB 26,000 - 40,000

來源私人收藏，香港展覽「伯頓．莫利斯」，又一城，九龍塘，香港，展期自2007年6月28日至7月15日

035 TAKERU AMANO (Japanese, b. 1977)

Happy Prince 2 2016 Acrylic on canvas 121 x 91 cm Signed reverse Takeru Amano and dated 2016

NT$ 140,000 - 200,000 HK$ 36,000 - 51,000 US$ 4,600 - 6,600 RMB 33,000 - 47,000

天野タケル（天野健）快樂王子2 2016年壓克力畫布 121 x 91 cm 簽名畫背：Takeru Amano 2016

身為知名藝術家天野喜孝的兒子，1977年他出生於東京，1997 至2000年於紐約版畫工作室學習三年之後返日。天野タケル用色彩鮮明活潑，筆下人物有著精簡俐落的輪廓線，擅於結合各種標誌性元素，創作出俏皮又饒富深意的畫作。他成功揉合古典與現代、日本流行文化以及紐約當代藝術風潮。除了與時裝品牌山本耀司（Yohji Yamamoto）合作之外，更自創生活藝術品牌Newart。

As the son of the renowned artist Yoshitaka Amano, Takeru Amano was born in 1977 in Tokyo, he spent 3 years studying lithography in New York from 1997 to 2000 before returning to his hometown. Takeru uses an explosive color palette, accuracy of lines and iconic elements to create paintings which are simultaneously brisk and profound. He successfully combines classicism and modernity, Japanese Pop culture and contemporary art trends of the Big Apple. In addition to his collaboration with brands such as Yoji Yamamoto, he also founded his lifestyle art brand “Newart”.

036 BURTON MORRIS (American, b. 1964)

Superman (diptyque) 2006 Acrylic on canvas 305 x 122 cm Initialed lower right BCM (lower panel) Signed reverse BCM Burton Morris and titled Superman Numbered upper edge #F2019H (upper panel) PROVENANCE Private collection, Hong Kong EXHIBITED Burton Morris Exhibition , Festival Walk, Kowloon Tong, Hong Kong, June 28 - July 15, 2007

NT$ 500,000 - 750,000 HK$ 129,000 - 193,000 US$ 16,600 - 24,900 RMB 118,000 - 177,000

伯頓．莫利斯超人（雙聯幅） 2006年壓克力畫布 305 x 122 cm 簽名右下（下幅）：BCM 簽名題識畫背（上幅）："Superman" (A) BCM Burton Morris 簽名題識畫背（下幅）："Superman" (B) BCM Burton Morris 編號上側（上幅）：F2019H 來源私人收藏，香港展覽「伯頓．莫利斯」，又一城，九龍塘，香港，展期自2007年6月28日至7月15日 A m e r i c a n P o p A r t i s t B u r t o n M o r r i s w a s b o r n i n 1964 i n Pittsburgh, Pennsylvania. After earning a bachelor degree in Fine Arts from Carnegie Mellon University in 1986, he started a career as an art director in advertising. Morris is best known for his bold, graphic pop art depictions of various modern icons. His subject matter includes everyday objects that portray today’s popular culture. His artwork is characterized by radiant black outlines and vivid colors. In 1990, Morris began making his small post-pop icons into large-scale paintings, using his background in advertising to blur the lines between high and low art. Morris’ artwork is included in the collections of The Barack Obama Presidential Center, The Albright-Knox Museum, The Jimmy Carter Center, The Elysee Museum, The United Nations, The International Olympic Museum, The World of Coca Cola Museum, The Senator John Heinz History Museum, and The Academy of Motion Picture Arts & Sciences.

037 BURTON MORRIS (American, b. 1964)

Captain American (diptyque) 2006 Acrylic on canvas 305 x 122 cm Initialed lower left BCM (lower panel) Signed reverse BCM Burton Morris and titled Captain American (upper panel) Signed reverse Burton Morris (lower panel) Numbered upper edge #F19230 (upper panel) PROVENANCE Private collection, Hong Kong EXHIBITED Burton Morris Exhibition , Festival Walk, Kowloon Tong, Hong Kong, June 28 - July 15, 2007

NT$ 500,000 - 750,000 HK$ 129,000 - 193,000 US$ 16,600 - 24,900 RMB 118,000 - 177,000

伯頓．莫利斯美國隊長（雙聯幅） 2006年壓克力畫布 305 x 122 cm 簽名左下（下幅）：BCM 簽名題識畫背（上幅）："Captain American" BCM Burton Morris 簽名畫背（下幅）：Burton Morris 編號上側（上幅）：F19230 來源私人收藏，香港展覽「伯頓．莫利斯」，又一城，九龍塘，香港，展期自2007年6月28日至7月15日美國普普藝術家伯頓•莫利斯，1964年生於賓州匹茲堡。 1986年取得卡內基美隆大學美術學士。畢業後擔任廣告美術指導。莫利斯關注日常生活流行文化，其作品大膽、用色鮮明，以粗黑線條勾勒現當代潮流圖像。具廣告業背景的他， 1990年開始將流行圖案融入大尺幅油畫創作，打破高雅與低俗藝術的界限。作品收藏於巴拉克•歐巴馬總統中心、奧爾布萊特-諾克斯美術館、吉米•卡特中心、愛麗舍攝影博物館、聯合國、國際奧林匹克博物館、可口可樂世界博物館、約翰•海因茨歷史博物館以及美國影藝學院。

038 GUY BARDONE

居．巴赫東

(French, 1927 - 2015)

希臘風景

Les Poules dans la rue, Serifos

1992年油彩畫布 61 x 37.5 cm 簽名右下：Bardone 簽名題識畫背：Bardone Les Poules dans la rue, Serifos 12M/92

1992 Oil on canvas 61 x 37.5 cm Signed lower right Bardone Signed reverse Bardone , titled Les Poules dans la rue , Serifos and dated 92 PROVENANCE Private collection, Germany

NT$ 90,000 - 150,000 HK$ 23,000 - 39,000 US$ 3,000 - 5,000 RMB 21,000 - 35,000

來源私人收藏，德國

039 BERNARD CHAROY

貝爾納．夏洛瓦

(French, b. 1931)

瑪莉

Marie

2004年油彩畫布 46 x 38 cm 簽名右中：Bernard Charoy 題識畫背：MARIE

2004 Oil on canvas 46 x 38 cm Signed center right Bernard Charoy Titled reverse MARIE PROVENANCE Private collection, Taiwan

來源私人收藏，台灣附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.

NT$ 240,000 - 360,000 HK$ 62,000 - 93,000 US$ 8,000 - 11,900 RMB 57,000 - 85,000

040 TATYANA PALCHUK

塔提雅娜．帕丘卡

(Latvian, b. 1954)

落雪

Snow Fall (Sniegs)

2012年油彩畫布 60 x 80 cm 簽名右下：T Palchuk 12 簽名題識畫背：LATVIA, TATYANA PALCUKA-RIKANE, 《SNOW FALL》60 x 80 OIL ON CANVAS 2012

2012 Oil on canvas 60 x 80 cm Signed lower right T Palchuk and dated 12 Signed and inscribed reverse LATVIA, TATYANA PALCUKARIKANE, «SNOW FALL» 60 x 80 OIL ON CANVAS 2012 PROVENANCE Private collection, Latvia EXHIBITED Tatyana Palchuk Solo Show , Art House Juras Varti, Ventspils, Latvia, December, 2013-January, 2014 Tatyana Palchuk Retrospective , Bauska Museum, Latvia, March/April, 2015 ILLUSTRATED Tatyana Palchuk , Baltic Fine Art, Ludwig Trossaert Galleries, Antwerp, Belgium, 2017, color illustrated, p. 46 This lot is to be sold with a certificate of authenticity signed by the artist.

NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,600 - 10,000 RMB 47,000 - 71,000

來源私人收藏，拉脫維亞展覽「塔提雅哪．帕丘卡個展」，尤拉斯．瓦爾提藝術中心，文茨皮爾斯，拉脫維亞，2013年12月至2014年1月「塔提雅哪．帕丘卡回顧展」，包斯卡博物館，拉脫維亞，2015年3月至4月圖錄《塔提雅哪．帕丘卡：波羅的海美術》，路德維希．托薩爾特畫廊，安特衛普，比利時，2017，彩色圖版，頁46 附藝術家親筆簽名之原作保證書

041 TATYANA PALCHUK

塔提雅娜．帕丘卡

(Latvian, b. 1954)

彩虹系列靜物－黑色

Still Life from the Series Rainbow - Black

2017年油彩亞麻布 63 x 86 cm 簽名右下：T Palchuk 17 簽名題識畫背：LATVIA, EU TATYANA PALCHUK （TATYANA PALCUKA-RIKANE）STILL LIFE FROM THE SERIES《RAINBOW》《BLACK》 63 X 86 oil on linen 2017 (BIRDS KINGFISH)

2017 Oil on linen 63 x 86 cm Signed lower right T Palchuk and dated 17 Signed and inscribed reverse LATVIA, EU TATYANA PALCHUK (TATYANA PALCUKA-RIKANE) STILL LIFE FROM THE SERIES《RAINBOW》《BLACK》 63 X 86 oil on linen 2017 (BIRDS KINGFISH) PROVENANCE Private collection, Latvia EXHIBITED Tatyana Palchuk, Anthem to Creativity , Galerie Ludwig Trossaert, London, December, 2018 Tatyana Palchuk Solo Show , Iecava, Latvia, March 2019 This lot is to be sold with a certificate of authenticity signed by the artist.

來源私人收藏，拉脫維亞展覽「塔提雅哪．帕丘卡：創造力的聖歌」，路德維希．托薩爾特畫廊，倫敦，2018年12月「塔提雅哪．帕丘卡個展」，耶察瓦，拉脫維亞，2019年3月附藝術家親筆簽名之原作保證書

NT$ 260,000 - 380,000 HK$ 67,000 - 98,000 US$ 8,600 - 12,600 RMB 61,000 - 90,000

042 貝爾納．夏洛瓦

貝爾納．夏洛瓦以柔和的女性肖像畫最為

(French, b. 1931)

米莉安

人所知，風景作品細膩而頗富詩意情調。

Myriam

1999年油彩畫布 65 x 54 cm 簽名右下：Bernard Charoy 簽名題識畫背：Bernard Charoy Myriam

BERNARD CHAROY 1999 Oil on canvas 65 x 54 cm Signed lower right Bernard Charoy Signed reverse Bernard Charoy and titled Myriam PROVENANCE Private collection, France This work is to be sold with a certificate of authenticity signed by the artist.

NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,600 - 15,900 RMB 75,000 - 113,000

夏洛瓦於1955年，開始在巴黎蒙馬特工作室與當地藝術家一同工作，並向藝術家、畫家、設計師學習繪畫及版畫。1960年代起，接受新聞及雜誌社委託，特別為媒體完成許多旖旎之作。其油畫作品則更加柔美浪漫、風光明媚，廣受青睞。自1970年

來源私人收藏，法國

代起至今，夏洛瓦受邀於各地展出，其足

附藝術家簽名之原作保證書

本東京、台灣台北、新加坡、法國坎城、

跡遍佈全球：紐約藝術展、德國科隆、日比利時安特衛普等地。

043 BERNARD CHAROY

貝爾納．夏洛瓦

(French, b. 1931)

凡爾賽花園

Au parc de Versailles

2004年壓克力畫布 60 x 73 cm 簽名左下：Bernard Charoy 簽名畫背：Bernard Charoy 2004

2004 Acrylic on canvas 60 x 73 cm Signed lower left Bernard Charoy Signed and dated reverse Bernard Charoy 2004 PROVENANCE Private collection, France (Acquired directly from the artist) This work is to be sold with a certificate of authenticity signed by the artist.

NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,600 - 15,900 RMB 75,000 - 113,000

來源私人收藏，法國（直接購自藝術家本人）附藝術家簽名之原作保證書

B e r n a rd C h a ro y i s f a m o u s f o r h i s portraits of women. The delicate enchanting sentiment features in his poetic landscape works as well. Charoy began to work at the Montmartre Studio, where he studied painting and lithography from the local artists, painters and designers, in 1955. In the 1960s, Charoy had accepted consignments from news and magazine agencies to create attractive artwork especially for the press media. Since 1970s, Charoy’s work have been exhibited around the world, including the United States, Germany, Japan, Taiwan, Singapore, France and Belgium.

044 安德烈．科達沃茲

法國藝術家安德烈・科達沃茲1939年進入里昂美

(Spanish-French, 1922 - 2012)

威尼斯早晨

術學院，並於1945年起就受邀於各地展覽其繪畫

Venise, le matin

1994年油彩畫布 73 x 116 cm 簽名右下：COTTAVOZ 簽名題識畫背：VENISE LE MATIN COTTAVOZ

ANDRÉ COTTAVOZ 1994 Oil on canvas 73 x 116 cm Signed lower right COTTAVOZ Signed reverse COTTAVOZ , titled VENISE LE MATIN and dated 1994 PROVENANCE Private collection, France This painting is to be sold with a certificate of authenticity signed by Florent Cottavoz, the artist’s son.

NT$ 600,000 - 900,000 HK$ 154,000 - 231,000 US$ 19,900 - 29,900 RMB 142,000 - 212,000

來源私人收藏，法國附藝術家之子弗洛朗•科達沃茲開立之原作保證書

作品。1950年代起，科達沃茲與費沙羅、夏瀚、杜菲慕斯，並稱之為里昂新具象畫派。受那比畫派波納爾影響，科達沃茲相當注重光影的變化，他使用厚重的鮮豔顏料在畫面上製造出自然的陰影效果。科達沃茲於1953年獲得費內翁藝術大獎，之後更得到國家繪畫大獎及蒙頓雙年展獎的肯定。

André Cottavoz entered into Lyon Fine Arts school in 1939 and his work has been wildly e x h i b i t e d s i n c e 1945. W i t h J . F u s a r o , P. Philibert-Charrin, J. Truphémus, they have been called New Figuration of School of Lyon or Sanzisme since 1950 years. Influenced by Pierre Bonnard, Cottavoz is devoted to the light, he uses thick pigment with pastel tint to create the natural shadow on the painting. Cottavoz obtained the prize Fénéon in 1953 and he has been also awarded by Prix national de Peinture and Biennale de Menton.

045 AUGUSTE RODIN (French, 1840 - 1917)

L'Age d'Airain Conceived in 1876 ; cast in 1998 Bronze with black patina Editor: Artco France, ed. 8/25 Foundry: Airaindor 25(L) x 16(W) x 64(H) cm Engraved on the base Rodin and dated 1998 Numbered on the base 8/25 with the foundry mark Airaindor Cire Perdue This lot is to be sold with a certificate of authenticity issued by Gallery Elegance, Taipei.

NT$ 750,000 - 1,100,000 HK$ 193,000 - 283,000 US$ 24,900 - 36,500 RMB 177,000 - 259,000

奧古斯特．羅丹青銅時代 1876年構思；1998年翻鑄銅雕版次 8/25 翻鑄者 Artco France 鑄造廠 Airaindor 25（長）x 16（寬）x 64（高）cm 簽名雕刻台座：Rodin 1998 編號台座後側：8/25 Airaindor Cire Perdue 附愛力根畫廊開立之原作保證書

《青銅時代》可視為羅丹成名之作，精湛的人體造型帶來巨大的迴響，標誌藝術家風格確立的轉折點。闊胸昂首的優美態勢，切合結實的肌肉線條，栩栩如生的態勢，甚至遭質疑是直接於人體上塑模，使藝術家一時聲名遠播。同年於巴黎沙龍展命名為《青銅時代》，後又稱《初醒之人》或《被征服者》，包括巴黎奧塞美術館、紐約大都會、倫敦V&A博物館皆有典藏。

Universally acclaimed for its meticulous physique, L'Age d'Airain is regarded as the masterpiece that established Auguste Rodin's reputation as well as marked a turning point in his artistic style. With a prideful elegance, its well- defined physique and lifelike demeanor caused many rumors, such as the claim that Rodin had cast a living model for its creation. However, the accusations only further elevated Rodin's fame. The sculpture was exhibited at The Salon in the year of its completion. Initially, Rodin named it The Age of Bronze but later changed its name to The Awakening Man or The Vanquished Ones . It was collected by numerous museums, such as The Metropolitan Museum, Musée d'Orsay, and the Victoria and Albert Museum.

046 BERNARD CATHELIN (French, 1919 - 2004)

Hortensias et Roses d’Inde 1997 Oil on canvas 100 x 73 cm Signed lower left Cathelin and dated 97 Signed reverse Cathelin , dated ETE 1997 and titled “Hortensias et Roses d’Inde”

NT$ 1,200,000 - 1,800,000 HK$ 308,000 - 463,000 US$ 39,800 - 59,700 RMB 283,000 - 425,000

貝爾納．卡多蘭1945年進入巴黎高等裝飾藝術學院學習，於法國繪畫大師布里昂松（Maurice de Brianchon）的工作室學習，並承襲野獸派畫風的

貝爾納．卡多蘭

用色鮮明，與那比畫派（L e s N a b i s）中帶有夢幻和諧感的氣質，並融合

繡球花與萬壽菊

二十世紀巴黎畫派與1960-1970年代全球發展的極簡藝術。他多以大面積

1997年油彩畫布 100 x 73 cm 簽名左下：Cathelin 97 簽名畫背：Hortensias et Roses d'Inde ETE 1997 Cathelin

色塊意象，描繪半具象的人物風景和靜物題材。卡多蘭精準捕捉風景、一束鮮花，深刻於觀者印象的精神本質。這是高於現實的深邃真理：透過表象來發現事物的本質，達到和諧完美的生活境界。作品優雅氛圍滿溢，濃濃的詩意展現出藝術家對美好自然的喜愛。1947年卡多蘭開始於巴黎高等裝飾藝術學院任教，1995年，法國總統親自授予他榮譽勳位勳章，成為他一生的最高榮譽。1997年在巴倫西亞博物館舉辦大型回顧展。2000年在上海美術館舉辦大型回顧展。

Bernard Cathelin (1919-2004) was born in Paris in 1919. In 1945, he enrolled at the École Nationale Supérieure des Arts Décoratifs in Paris while apprenticing at Maurice de Brianchon’s studio. During this time, he began to adopt Fauvism’s bright use of colors, the serene and dream-like imagery of Les Nabis, also combined the style of École de Paris and Minimalism which globally developed from 1960 to 1970. In Cathelin’s still lifes, he employs many broad swathes of color to convey a semi-abstract scene. Cathelin is adept at capturing the essence of form, a piece of scenery, or a bouquet of flowers; this is a profound truth that extends beyond reality: the discovery of the essence of things through their surface enables us to attain a sphere of life of perfect harmony. This work is vastly elegant, deeply poetic, and perfectly embodies the artist's love for natural sceneries. In 1947, he began teaching at École Nationale Supérieure des Arts Décoratifs. In 1995, he was elected to the French Légion d’Honneur by the President of the Republic. This was his highest honor in life. In 1997, a largescale retrospective exhibition was dedicated to him at the Valence Museum, France. In 2000, a large-scale retrospective exhibition was held in the Shanghai Art Museum (SAM), China. Even after the artist’s passing in 2004, his work is still frequently exhibited around the world.

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

Un été floral 1989 Oil on canvas 100 x 100 cm Signed lower left Corneille and dated '89 Signed reverse Corneille , titled un été floral , and dated '89 PROVENANCE Dimensions Art Center, Taipei Private collection, Asia This lot is to be sold with a certificate of authenticity issued by Dimensions Art Center.

NT$ 1,200,000 - 1,800,000 HK$ 308,000 - 463,000 US$ 39,800 - 59,700 RMB 283,000 - 425,000

柯奈爾展翅 1989年油彩畫布 100 x 100 cm 簽名左下：'89 Corneille 簽名題識畫背： un été floral Corneille '89 來源帝門藝術中心，台北私人收藏，亞洲附帝門藝術中心開立之原作保證書

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

CORNEILLE 柯奈爾

荷蘭藝術大師：柯奈爾（Guillaume Corneille）生於1922年，他

「裸女題材」歷經漫長西洋藝術史的發展，由創作者/觀者凝視

的創作風格溫暖抒情、一派浪漫。畫作由如虛構現代烏托邦充滿

的想像，昇華成象徵「理想」，而弭平現實不滿足之心理補償。

女人、鳥群與貓咪。想像的世界充滿著歡愉與閒適，動物擬人化

《展翅》超脫現世的情景，明示觀者不應受限於常理的評判，藝

性格透露一絲慧黠幽默。藝術家模仿孩童塗鴉，先勾勒線條再賦

術創作並非將真實再現於畫布，而是抒發內在渴望的途徑。而這

予色彩。即使明亮對比強烈，也不失和諧自然的平衡。2020年二

樣的觀點，在柯奈爾發展的時空背景中尤為顯著。柯奈爾希冀透

月距柯奈爾辭世滿十周年，因高更而知名的法國阿凡橋（P o n t-

過藝術回歸純真，詩意情境與圖像的並存表現，為現世開啟充滿

Aven）博物館，特別舉行特展紀念這位眼鏡蛇畫派的靈魂人物。

正向與和平的另一扇窗。

1948年「眼鏡蛇畫派」（CoBrA）由來自哥本哈根（C o p e n h a g e n）、布魯塞（B r u s s e l s）及阿姆斯特丹（Amsterdam）的藝術家們，正式發表宣言成立，著力回溯原始文明，抒發因社會教化喪失，原本深植於人們內在的精神力。戰後藝術蓬勃發展，來自上海的丁雄泉，1952年來到巴黎，與柯奈爾成為莫逆之交。倆人曾共筆創作，將藝術世界大同的包容思想，發揮到淋漓盡致。1987年柯奈爾也曾於該畫派成立五十周年之際，受邀來台灣參訪展出。此拍品《展翅》完成於1989年，年近七十的柯奈爾，隨著生命經驗的累積，創作從心所欲，筆觸完成於靈光乍現的一氣呵成。此作自引進來台後，即由私人藏家悉心收藏，首次公開於拍賣市場。為了簡化物件的外在形象，弱化「學院」薰陶的人為痕跡，柯奈爾僅以童趣的手法，幾合圖形描繪建築物的輪廓。而帶有書法韻律的線條、原始圖騰的特徵，則轉敘著柯奈爾行遍各地風景，飽覽各地文化精髓的體悟。中文題名《展翅》呼應畫面中心，描繪成雙的粉色小鳥，線條利落，精神抖擻。展翼高張的鳥，舞蹈鳴唱氣氛生動。藝術家以法文Un Été Floral題識於畫背，中文可直譯為：「百花綻放的夏日」。畫中不見具象的花朵，然而自古以花比喻為女子。構圖下方一對裸女雙手交叉支撐俯臥，體態豐腴。或許女子同鮮花引人入勝是作者隱藏畫中的暗示？所謂「動、靜之間」，若鳥兒代表「動態」，那冷色調的雙姝女體則呈現「靜態」畫面的平衡。

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

Dutch art master: Guillaume Corneille was born in 1922. His creative style is warm, lyrical and romantic. Appearing like a fabricated modern utopia, Corneille’s painting are full of women, birds and cats. This imaginary world assembles joy and leisure, while the animal’s anthropomorphic characters reveal a sense of humor. The artist imitates children’s doodles by drawing the outline first before filling in colors, and manages to keep a harmonious sense of natural balance even with bright and strong contrasting colors. February 2020 marks the tenth anniversary of Corneille’s death. Famed for Gauguin’s art in the French village Pont-Aven, the Museum of Pont-Aven held a special exhibition to commemorate Guillaume Corneille as one of the founders of the CoBrA Movement.

objet. These lines infused with a calligraphic rhythm and characteristics of ancient totems recount Corneille’s awareness after traveling all around the world to experience the cultural essence of each destination.

The painting was titled, Un été floral , echoing the image at the center of the canvas where a pair of pink-color birds are depicted in clean lines and spirited shapes, and the high-flying birds seem to be dancing and chirping in a lively manner. The artist wrote on the back of the painting in French Un été floral meaning “A Floral Summer”. Yet there are no figurative flowers on the canvas, only women, and flowers have long been used to symbolize women. The lower part of the canvas’ composition is The CoBrA Movement occupied by unclothed was formally established voluptuous women in 1948 by artists from in a prone position Copenhagen, Brussels supported by crossed and Amsterdam, with the arms. Perhaps the artist’s signing of a manifesto. words meant to suggest The emphasis of the how the women were as movement was on alluring as the flowers. tracing back to the In terms of “movement origins of civilization and vs. stillness”, if the expressing deep-rooted birds symbolize human inner spiritual movement, then the power lost due to social cool-colored double edification. After WWII, female bodies display 馬蒂斯《藍色裸女》1907年油彩畫布 92.1 x 140.3 cm 美國巴爾的摩美術館藏 Henri Matisse, Souvenir de Biskra , 1907, oil on canvas, 92.1 x 140.3 cm, the development of art stillness to balance Collection of Baltimore Museum of Art, United States flourished. Walasse Ting, the composition. The an artist from Shanghai, theme of nude women China, arrived in Paris in 1952 and became good friends with has undergone a long history of western art development, Corneille. The two artists worked together on art creations, and sublimated into a symbol of “the ideal” from the glaring expressed the idea of inclusiveness in the world of art to the imagination of the artist/observer, to compensate for the fullest extent. In 1987, Corneille was invited to exhibit in Taiwan psychological reality of the unsatiated. Un été floral transcends to celebrate the 50th anniversary of the CoBrA Movement. This the scenery of the contemporary world, clearly directing lot, Un été floral , was completed in 1989 when Corneille was viewers not to be bound by judgement of the common sense. Artistic creation is not reproduction of reality on canvas, but nearly seventy years old. With rich life experiences, Corneille a journey to express inner desires. This type of perspective was free to create as his heart desired, and finished the is particularly significant in the time and space of Corneille’s painting in one sweep of inspiration. After arriving in Taiwan, artistic development. Corneille longs to return to innocence the painting has been kept carefully in a private collection, through art by showcasing the coexistence of poetic scenery and has just become available for the first time in the auction and object imagery, in hopes of opening another window full of market. To simplify the exterior shapes of objects and weaken optimism and peace for the existing universe. artificial traces and influences of academism, Corneille relied on childlike techniques, using geometric shapes to outline

048 MAURICE DE VLAMINCK (French, 1876 - 1958)

Vase de fleurs Oil on canvas 55 x 38 cm Signed lower right Vlaminck PROVENANCE Alex Maguy, Galerie de l’Elysée, Paris Private collection, Japan ILLUSTRATED This lot is to be included in the forthcoming Vlaminck Catalogue Raisonné prepared by the Wildenstein Institute, Inc.. (Reference no. 07.10.08/10439) This lot is to be sold with a catalogue notice issued by the Wildenstein Institute, Inc.

NT$ 2,400,000 - 3,600,000 HK$ 617,000 - 925,000 US$ 79,700 - 119,500 RMB 566,000 - 849,000

莫里斯・德・烏拉曼克（Maurice de Vlaminck）與安德烈・德朗（André D e r a i n）和馬蒂斯（H e n r i M a t i s s e）一起構成了當時野獸派的最重要的三個代表人物。1900年烏拉曼克認識畫家德朗，在巴黎郊外夏圖（Chatou）的畫室一起作畫。1905年會見了畢卡索（Pablo Picasso）、詩人阿波里奈爾（G u i l l a u m e A p o l l i n a i re）。同年年與馬蒂斯（H e n r i

莫里斯．德．烏拉曼克瓷瓶花束

Matisse）、德朗、馬爾肯（Albert Marquet）等共同參展秋季沙龍，成為野獸主義活躍的成員之一。1907年巴黎的秋季沙龍舉行塞尚回顧展，給他很大的衝擊，也促成他改變繪畫的風格。1908年後，捨棄原色轉為暗赫

油彩畫布 55 x 38 cm 簽名右下：Vlaminck

與深藍色調，畫面的構成明顯地受到塞尚的影響。1909年烏拉曼克舉行大

來源亞歷斯・馬奇，愛麗舍畫廊，巴黎私人收藏，日本

調，畫面線條帶有激憤不安的感覺。

圖錄作品將收錄於威登斯坦協會籌備發行之《烏拉曼克作品圖錄》（編號 07.10.08/10439）附威登斯坦協會開立之作品收錄通知書

規模畫展，獲得很大的成功。1915年後脫離塞尚畫風，表現厚重鬱積的感情、黑白強烈對比的雪景，還有瓶花等題材。晚年畫風沉潛於獨自的暗色

Together, Maurice de Vlaminck, André Derain, and Henri Matisse make up the most prominent representative figures in Fauvism from their time. In 1900, Vlaminck met painter André Derain and began painting together in a Chatou studio in the suburbs of Paris. In 1905, Vlaminck met Pablo Picasso and poet Guillaume Apollinaire. In the same year, he attended the Salon d'Automne with Matisse, Derain, and Albert Marquet, becoming one of the leading members of Fauvism. The 1907 Salon d'Automne in Paris hosted a Paul Cézanne retrospective, which not only greatly influenced Vlaminck, but also led him to change his style of painting. Since 1908, he transitioned from using primary colors to dark blue color tones, with image compositions that clearly reflect influences from Cézanne. Vlaminck’s large-scale exhibition in 1909 was highly successful. Since 1915, he shifted away from Cézanne’s style of painting by expressing themes like dense and pent-up sentiments, sharply-contrasting black and white snow landscapes, as well as vases of flowers. In Vlaminck’s later years, his painting style focused on a dark palette with outlines that display indignant, restless feelings.

MAURICE DE VLAMINCK 莫里斯．德．烏拉曼克

作品《瓷瓶花束》表達了烏拉曼克藝術內涵：「我把全部色調的亮度提高，把我所感覺到的每一件東西都轉變成一首純色的管弦樂曲。」畫家在畫筆的運用上，已經可以熟練地發展出傾向於梵穀的不連貫繪法，往往用直接從顏料管中擠出的顏料，喜歡用未經調和的油彩，創造強烈的畫面效果，使得顏色本身具有強烈的感染力。粉菊花從花瓶中傾瀉而出的，點亮整個畫面的中心，花瓣輕快流暢的筆觸流露出典雅的精巧。炙烈的雞冠花把畫面的焦點繼續上移，使得畫面燦爛厚重相互對稱。「野獸派」的情思大膽不羈中又夾雜著畫家對「印象派」技法的自信，色塊的強烈對比關係，使畫面充滿節奏和張力，線條短促有力將花朵的立體感表現無疑。赭石色檯面上的瓶花和背景牆面，有畫家精心的光影佈局，細膩裝飾性手法和對高光運用回歸，讓瓶中的花束呈現出色彩統一、清澈感。《瓷瓶花束》以和諧、平衡、結實、穩定取勝，又無壓迫和喧嘩之感。烏拉曼克認為自己的熱情驅使他去勇敢大膽地反抗傳統的束縛。此作可看出他既發展了梵穀那種斷續的筆觸及色調的濃烈，運用強烈的色彩對比造成視覺上的衝擊，卻又和諧飽滿地展示了靜物的縱深空間感，常給人以華麗的視覺享受。烏拉曼克說：「我曾是一個柔和又狂熱的野人，不依靠任何一個方法，我刻畫的是人性的真理，我感到痛苦的是我未能

of light and shadows. The delicate decoration and utilization of high light present the flowers in unified colors with a sense of freshness. Vase de fleurs is a successful painting that displays harmony, balance, durability, and stability without any feelings of oppression and disturbance. Vlaminck believed that his passion is what drove him to boldly resist against traditional limitations. This piece of work demonstrates how Vlaminck developed Van Gogh’s discontinuous pen strokes and strong color tones in using sharply contrasting colors to create visual impacts. It also harmoniously displays a deep sense of spatiality in still life as a splendid visual enjoyment. As Vlaminck described, “I had been a gentle and passionate savage who does not rely on a single method. I portray the truth of humanity and I feel irritated that I could not work more powerfully on perfecting the levels of density and purity in my paintings.” Every piece of artwork is characterized by a powerful sense of dynamics and vitality. Vlaminck’s important artworks are collected by the Pushkin State Museum of Fine Arts in Moscow and the State Hermitage Museum in Saint Petersburg— they are rarely available on the market.

更有力地來錘煉我繪畫中的濃度與純粹。」每一件作品都賦予了畫作極為強烈的動態感和生命力，莫斯科普希金美術館、聖彼得堡的艾米塔吉美術館收藏有烏拉曼克重要作品，市場上稀有難得。

The artwork Vase de fleurs is an expression of Vlaminck’s artistic connotations, as he “increased the brightness of all the color tones and transformed the perception of every object into solid color orchestral music.” With respect to brushwork, the painter had proficiently developed a painting method that resembles Van Gogh’s discontinuous brushstrokes, which uses paint directly s q u e e z e d o u t o f p a i n t t u b e s a n d u n m i x e d c o l o r s t o c re a t e strong image effects in making the colors vividly expressive. The chrysanthemum pours out of the vase and lights up the center of the painting. The petals’ light and streamline pen strokes display an elegant delicacy. The burning celosia continues to shift the focus of the image upward, making it look brilliant, enriched, and symmetrical. “Fauvism” is characterized by a bold sense of affection and the painter’s confidence in “impressionist” techniques. The sharp contrast between color blocks fills the image with a rhythm and tension, while the outlines concisely and powerfully express the petals’ sense of dimension. The vase of flowers on the ocher table and the background wall feature the painter’s exquisite arrangement

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

049 HANS HARTUNG

漢斯．哈同

(French, 1904 - 1989)

T1970-H40

1970年壓克力畫布 102 x 130 cm

1970 Acrylic on canvas 102 x 130 cm PROVENANCE Galerie de France, Paris De Sarthe Gallery, Hong Kong Christie's, Paris, December 5, 2018, Lot 241 Private collection, Asia EXHIBITED L'exposition du peintre Hans Hartung , Taiwan Museum of Art, Taichung, Taiwan, April 1997 Hans Hartung: Le Champ des Oliviers , Salle d'Exposition du Quai Antoine 1er, Monte Carlo, 1999 Hans Hartung: Spontanes Kalkül , Museum der Bildenden Künste, Leipzig, November 2007-February 2008 Hans Hartung, Le Geste et la Méthode , Fondation Maeght, Saint-Paul de Vence, 2008 Hans Hartung, Abstraction: a Human Language , De Sarthe Gallery, Hong Kong, November 25, 2017-January 20, 2018 ILLUSTRATED Hans Hartung: 1971-1974 , Arts et Métiers Graphiques et Galerie de France, Paris, 1974 J.R. Delahaut, Le Peintre Hans Hartung , Terre d’Europe, Paris, 1974 K. Vanbelleghem, Hans Hartung: Opere dal 1947 al 1989 , Galleria Tega, Milan, 1995 G. Huang, R. Fleck, C. Cheng-Hsiung, L’Exposition du Pentre Hans Hartung , Taiwan Museum of Art, Taichung, 1997 M. Fresia, Hartung: Le Champ des Oliviers , Fondation HartungBergman, Antibes, 1999 H.W. Schmidt, D. Luckow, J. Nicolaisen, Hans Hartung: Spontanes Kalkul , VG Bild-Kunst, Bonn, 2007 M. Enrici, D. Abadie, J. Clair, D. Vallier, Hans Hartung, Le Geste et la Methode , Fondation Maeght, Saint-Paul de Vence, 2008 Hans Hartung, Abstraction: a Human Language , De Sarthe Gallery, Hong Kong, 2017, color illustrated, pp. 58-61

NT$ 4,800,000 - 7,000,000 HK$ 1,234,000 - 1,799,000 US$ 159,300 - 232,300 RMB 1,132,000 - 1,651,000

來源法蘭西畫廊，巴黎德薩畫廊，香港佳士得拍賣，巴黎，2018年12月5日私人收藏，亞洲展覽「漢斯．哈同作品展」，台灣省立美術館，台中， 1997年4月「漢斯．哈同：橄欖園」，安端河堤展覽大廳，蒙地卡羅，1999 「漢斯．哈同：自發微積分」，視覺藝術美術館，萊比錫， 2007年11月至2008年2月「漢斯．哈同：手勢與方法」，梅格基金會，聖保羅山城，2008 「漢斯．哈同。抽象化：一種人類語言」，德薩畫廊，香港，2017年11月25日至2018年1月20日圖錄《漢斯．哈同：1971-1974》，藝術與工藝出版社、法國西畫廊，巴黎，1974 J.R. Delahaut, J.R.德拉奧，《畫家漢斯．哈同》，歐洲大地出版社，巴黎，1974 K. 梵貝爾赫姆，《漢斯．哈同：1947-1989年作品》，泰加畫廊，米蘭，1995 《漢斯．哈同作品展》，台灣省立美術館，台中， 1997年4月，彩色圖版 M. 費西亞，《漢斯．哈同：橄欖園》，哈同－柏格曼基金會，昂蒂布，1999 施密特、路克歐、尼可拉森，《漢斯．哈同：自發微積分》， VG圖像藝術出版社，波昂，2007 M. 恩瑞希、A. 阿巴迪、J. 克萊爾、D.華利耶，《漢斯．哈同：手勢與方法》，梅格基金會，聖保羅山城，2008 《漢斯．哈同。抽象化：一種人類語言》，德薩畫廊，香港， 2017，彩色圖版，頁58-61

HANS HARTUNG 漢斯．哈同

漢斯・哈同（H a n s H a r t u n g, 1904-1989），著名的德裔旅法藝術

漢斯・哈同的《T1970-H40》創作於1970年，亦可以看作是其六十年代

家，其作品以抽象和表現主義見長。哈同於1924年進入德國萊比錫大

系列晚期的具有實驗性作品，也是哈同異於眾多纖細線條作品中更具突

學（L e i p z i g U n i v e r s i t y）學習哲學和歷史，隨後在德勒斯登藝術學院

破的難得佳作。這件壓克力抽像畫的尺幅適中，一改書法留白之構圖，

（Fine Arts Academy of Dresden）深造，在此期間，德勒斯登國際藝

張力湧現，色彩豐滿。畫面中黑色與黃色的強烈對比衝突，畫面中央的

術館收藏的法國及西班牙的現代藝術作品對其藝術創作產生了深遠的影

黑色刷筆大開大合、簡練犀利。

響。隨後由於德國的政治環境的改變而旅居法國巴黎。在巴黎的經歷使得他接觸到了塞尚（P a u l C é z a n n e）的作品，並對他其後的創作產生

義大利著名藝術史家朱利奧・卡洛・阿爾甘（Giulio Carlo Argan）曾

了啟發。哈同隨後師從著名藝術家及藝術理論家麥克斯杜爾納（M a x

這樣評價哈同的作品，「（哈同）所研究探討的課題，實際上是符號的

Dörner），學習繪畫技法。

起源，而不是研究符號的原始層面的意義，相反，是專門去製造並產生符號。」換句話說，這些符號的狀態更多是關於物的層面以及過程的層

法國前文化部長傑克・朗（Jack Lang）曾這樣評價哈同，「構建了我們

面。「哈同在符號與背景的關係中所定義的空間是決定和完善的行動空

這一時代圖像語言的重要一員」。可見其藝術生涯對於歐洲乃至世界所

間，他的符號是意志和行動的符號」。也就是說，哈同通過在繪畫空間

產生的持續的影響力。

之上創造符號，來體現他的意志和行動，這對於後世的藝術創作有著現實的指導意義。

哈同的一生經歷坎坷，1932年，他試圖回到德國，但因其作品「帶有立體主義傾向」與當時的納粹德國意識形態所不容，因此被拒絕入境，隨

在創作方法和媒介的使用上，哈同亦是先鋒。除了本件作品使用了在當

後又因在柏林出售自己的作品而被捕，後在朋友的幫助下成功逃離納粹

時比較罕見的噴漆技藝以外，哈同在六十年代和七十年代使用樹枝、壓

德國。回到法國他的抽象作品在當時並不被看好，在他加入法國外籍軍

克力顏料、畫刷背面、硬材質刮擦等技法，極大地豐富了繪畫的維度，

團，遭到蓋世太保秘密跟蹤，隨之被捕入獄7個月，在得知他是藝術家之

不但詮釋著行動繪畫中繪畫手勢的行動的一面，也因其藝術媒介的多樣

後，又關入紅色房間以「折損其視力」。釋放後，卻被派到北非參加戰

性對同時期以及後世的藝術家的創作都產生了極大的影響，包括趙無極

爭並致殘，失去了一條腿。

以及大洋彼岸的美國的抽象表現主義等。通過探索並展示其精湛的抽象創作技藝，啟發了朱莉・梅雷圖（Julie Mehretu）、魯道夫・史丁格爾

命途多舛的經歷終於在二戰結束後有所好轉，並且終於獲得了認可。

（Rudolf Stingel）等著名藝術家帶來啟發，成就創作之先鋒。

1947年在巴黎舉辦了藝術家的首次個展，到五十年代後期，他的行動繪畫開始受到關注並獲得認可，以有節奏的筆觸和色彩刮擦被世人所熟

這件作品與同時期纖細流暢的線條不同，其粗礪而鋒利的筆觸和大塊色

知。在1960年，他獲得威尼斯雙年展的國際大獎。他的作品對後期美國

彩的運用頗有馬蒂斯的影響，體現出他在這件作品之上所採用的迥然不

的抽象表現主義、抒情表現主義繪畫都有著深遠的影響，從此成為「巴

同的運筆——準確、快速、歷練、堅定。

黎畫派」的代表性人物之一。哈同的作品被眾多國際知名藝術機構展出及收藏。自從1947年在巴黎麗同時作為斑點派（Tachisme）的代表人物，哈同的畫作在戰後的五十年

迪亞・孔迪（Lydia Conti）畫廊舉辦首次個展之後，相繼在歐洲和美國

代表現出具有書法氣質的樣貌。他一生的作品大致可以分為若干階段，

舉辦了展覽，包括卡塞爾文獻展（1955），法蘭西畫廊（1956），克

創作生涯早期的作品在三十年代略顯保守，而戰後的四五十年代則逐漸

拉文畫廊（1956），古根漢美術館（1953-1954），巴黎國立現代藝術

表現出激進的一面，到了六十年代則採用了更加大膽的色彩運用和細膩

館（1969），紐約大都會博物館（1975），巴黎市立現代藝術博物館

而堅韌的筆觸線條，其密佈的線條宛如勁風，襯托在陰暗的漸變色背景

（1980），國立臺灣美術館（1997），萊比錫美術館（2007）等。

之前，彷彿麥田或水藻，體現出堅韌的生命力。而七十年代之後的作品又逐漸轉入晦澀與艱深，標誌性的線條變得更加繁複，且使用了更多的黑色等暗色。

由左至右：漢斯•哈同、美琴（朱纓）、趙無極、安娜-伊娃・伯格曼 From left to right: Hans Hartung, May Choo (Zhu Ying), Zao Wou-Ki, Anna-Eva Bergman, 1962 © Fondation Hartung-Bergman

漢斯•哈同於工作室攝於1975年 Hans Hartung in his studio, Antibes, France, 1975

Hans Hartung (1904-1989), a renowned German artist who lived in France, was known for his abstract and expressionist style. In 1924, Hartung enrolled in Germany's Leipzig University to study philosophy and history before continuing his education at the Fine Arts Academy of Dresden. During this period, the modern French and Spanish works at the Staatliche Kunstsammlungen Dresden exerted a profound and lasting impact on Hartung's life as an artist. Later on, the changes in Germany's political climate prompted him to move to Paris, France. When in Paris, Hartung came across the works of Paul Cézanne, which proved to be an inspiration for his subsequent creations. Hartung then studied painting techniques under Max Dörner, a famous artist and art theorist. Jack Lang, former French Minister of Culture, once described Hartung as "an important artist who constructed the visual language of our generation." Suffice to say, Hartung's artistic career has made a continuing impact on Europe, and even the entire world. The course of Hartung’s life was filled with hardship and obstacles. In 1932, he attempted to return to Germany. However, the "Cubist inclinations" of his paintings were incompatible with the ideologies of Nazi Germany, so he was denied entry into the country. Some time later, Hartung was arrested for selling his paintings in Berlin. Eventually, he escaped Nazi Germany with the help of a friend. Back in France, Hartung's abstract works were not well-received. He then joined the French Foreign Legion, and became a target of the Gestapo's secret tailing, which resulted in Hartung being arrested and imprisoned for 7 months. When the French police learned he was a painter, they locked him in a red cell in an attempt to damage his vision. After his release, Hartung was sent to fight in North Africa and lost a leg in a battle. His tumultuous life finally began to take a turn for the better after the end of World War II, when he was finally recognized as a great artist. In 1947, the artist held his first solo exhibition in Paris. By

the late 1950s, Hartung was in the public spotlight for his gestural paintings, and his artistic achievements were given due recognition. His rhythmic brushstrokes and scratches made him a household name. In 1960, he was presented the International Grand Prix for painting at the Venice Biennale. Hartung became known as one of the most important artists from the School of Paris, and his works had a huge influence on the abstract expressionism and lyrical expressionism painting style that developed subsequently in the United States. Hartung was also an iconic artist in the Tachisme movement. The paintings he produced in the 1950s after the war exhibited a calligraphic orientation. The artist's repertoire, produced over the course of his life, can be roughly divided into several stages. The paintings from the early stages of his career, produced in the 1930s, were rather conservative, while those painted in the 1940s and 1950s after World War II gradually displayed a more radical inclination. In the 1960s, his color choices became bolder, while his brushstrokes and lines became more delicate yet unfaltering. These lines, packed densely on the canvas, remind one of a strong gust; when set against a dark gradient background, they remind one of wheat in a field or a cluster of algae, telling the story of a resilient lifeforce. After the 1970s, Hartung's paintings gradually took a more cryptic and abstruse turn. The iconic lines became more complex, and black and other darker colors were used more frequently. Hans Hartung's T1970-H40 was created in 1970. This painting could be said to be the most experimental one created in the late 1960s, and a breakthrough from his many other "fine lines" paintings. This medium-size acrylic abstract painting does away with the artist's usual use of calligraphic blank spaces and instead features bold and energetic colors that saturate the entire composition. The black and yellow used in the painting create a strong contrast. The stroke of black paint in the center of the picture is wide and bold, yet concise and sharp, dividing the picture into two.

Giulio Carlo Argan, a well-known Italian art historian, said of Hartung's paintings, "What Hartung was concerned with was actually the origin of symbols rather than the original meaning behind symbols. On the contrary, he sought to be a specialist in the creation and production of symbols." In other words, the state of these symbols is more on the level of material objects and creative processes. "The space between symbols and their background, as defined by Hartung, is a decisive and complete space of movement. Hartung's symbols are symbols of will and action." That is to say, Hartung expresses his own will and actions through the creation of symbols on his canvas. His course sets material precedence for the artworks of later generations. In terms of painting techniques and the use of media, Hartung was also ahead of his times. In addition to the use of spray paint techniques, which were rather uncommon in those days, in this painting, Hartung also employed a variety of techniques, materials, and tools in the 1960s and 1970s, such as tree branches, acrylic paint, the back of paintbrushes, and the scratching of hard materials, which greatly enriched the possibilities of painting as a medium. Not only did Hartung give his take on the "gestural" aspect of gestural painting, but the diversity of his chosen media also exerted a powerful influence on both artists of his generation and those that came later, including Zao Wou-Ki and the artists of the American abstract expressionism movement that took place across the Atlantic Ocean. By exploring and demonstrating his superb abstract painting techniques, Hartung inspired accomplished artists such as Julie Mehretu and Rudolf Stingel, who later became pioneers of their fields in their own rights. This painting is markedly different from Hartung's other paintings of the same period, which foreground delicate and flowing lines. The bold and sharp brushstrokes and color blocks are reminiscent of paintings by Henri Matisse. These characteristics point to Hartung's intentional change in his usual approach for this painting, playing up brush movement that is precise, brisk, practiced, and sure. Hartung's works have been showcased and collected by many internationally renowned art institutions. Since Hartung held his first solo exhibition in Galerie Lydia Conti, Paris, in 1947, he had gone on to hold multiple exhibitions in Europe and the United States, including being part of the Kassel Documenta in Germany (1955), and in venues such as a Galerie de France in 1956, Galerie Craven (1956), Guggenheim Museum (1953-1954), Paris Musée National d'Art Moderne (1969), The Metropolitan Museum of Art of New York City (1975), Paris Museum of Modern Art (1980), National Taiwan Museum of Fine Arts (1997), and The Museum der bildenden Künste in Leipzig, Germany, among others.

拍品《T1970-H40》2017年展覽於香港德薩畫廊 T1970-H40 shows in the exhibition in 2017 Courtesy of De Sarthe Gallery, Hong Kong.

050 GEORGES MATHIEU (French, 1921 - 2012)

Labrador 1959 Oil on canvas 89 x 146 cm Signed lower right Mathieu and dated 59 PROVENANCE Collection of Roger Ranson, Saint Cloud, Paris Collection of Madame Solange de Turenne, Paris Private collection, France EXHIBITED Dix ans d’activité , Studio Paul Facchetti, Paris, June 1959

Georges Mathieu Retrospective , Musée d’Art Moderne de la ville Paris, 1963

NT$ 6,500,000 - 9,500,000 HK$ 1,671,000 - 2,442,000 US$ 215,700 - 315,300 RMB 1,533,000 - 2,241,000

喬治．馬修拉布拉多半島 1959年油彩畫布 89 x 146 cm 簽名右下：Mathieu 59 來源侯杰•杭森收藏，巴黎索蘭茲•德•蒂雷納女士收藏，巴黎私人收藏，法國展覽「十年活動」，保羅•法契提畫廊，巴黎，1959年6月「喬治•馬修回顧展」，巴黎市立現代美術館，巴黎，1963年

喬治．馬修，「抒情抽象主義」創始理論與實踐的革命先鋒。早年歷經古典教育之薰陶，懷抱對哲學思想的熱愛，進而省思現代藝術之發展與突破。1940年代開始提出抒情抽象主義之脈絡與論述，全球藝壇頓時驚嘆，一呼百應其革新思想。馬修也是最早將美國的抽象表現藝術引進法國的重要推手之一，為歐洲引薦了傑克森．帕洛克（Jackson Pollock）和阿爾頓．托比（A l t o n To b e y）等人。1950年代他推波助瀾「不定形藝術」（Informal Art）至世界各地，來自中國的趙無極，更是在此時加入這股風潮。馬修遠達日本、巴西、阿根廷、美國、中東巡迴展覽，開辦大型回顧展，所到之處皆造成轟動。1976年馬修獲法蘭西學院院士殊榮，至今全球百間博物館收藏其作，私人收藏更是遍地開花，實屬藝術桂冠之巔。

Georges Mathieu is a pioneer who conceived and applied the theory of Lyrical abstraction. Along with a passion for philosophy, the classical education he received in his earlier years drove Mathieu to reflect on the progression of modern art. During the 1940s, he introduced the core concept and discourse of lyrical abstraction, which took the art world by storm with its revolutionary ideas. Mathieu is also one of the earliest and most important advocates of abstract expressionism in France, having introduced such artists as Jackson Pollock and Alton Tobey to Europe. In the 1950s, he began promoting Informal Art around the world, which attracted Chinese artists, such as Zao Wou-Ki. Mathieu's touring exhibitions and large-scale retrospective exhibitions were tremendous sensations in countries, such as Japan, Brazil, Argentina, and the United States, as well as throughout the Middle East region. In 1976, Mathieu became a member of the Académie des Beaux-Arts. Today, with his works collected by hundreds of museums as well as numerous private collectors around the world, there is no doubt that Georges Mathieu is one of the most exceptional artists in history.

GEORGES MATHIEU 喬治．馬修

拍品《拉布拉多半島》完成於1959年，是馬修巔峰時期佳作。當時年僅38歲的馬修，已經串聯起東西方核心藝術圈，晉身大師級藝術家。畫作《拉布拉多半島》氣度高致，雄深雅健。墨藍底色如極圈深海之幽渺，浸染白雪冰封的格陵蘭海岸。銀白色線質地渾圓，動勢舉重若輕，輕快繚繞。畫面佈局之精妙，完美闡釋留白技巧與藝術「簡、美、雅、真」之風格。十五世紀末葡萄牙探險者胡安•費南迪．拉瓦多（J o ã o Fernandes Lavrador）首探北美洲東北沿海，歐洲移民以他的姓氏命名今日的加拿大拉布拉多半島（Labrador Peninsula）。西元1534 -1763 年法國北美殖民地「新法蘭西」（Nouvelle France），地域擴及拉布拉多半島，涵蓋今日加拿大魁北克省。此地作為歐陸、北美洲的文化樞紐，擁有美洲最大的法語族裔人口，也孕育出獨一無二的多元人文風土。如此有歷史象徵意義，自然也發源成馬修創作靈感。畫作最早於巴黎保羅．法契提藝廊（Studio Paul Fachhetti）公開亮相。1963年巴黎市立現代美術館舉行馬修回顧展，此作也入選參展為期三個月，誠為藝術家風格完整，歷史文獻完整之經典佳作。「戰後抽象藝術」標誌世紀性藝術史發展的里程碑，近年以不同區域為點，互相聯結起來，促成整體市場的穩定成長發展。諸多的代表性藝術喬治•馬修於奧地利劇場創作現場攝於1959年 Georges Mathieu painting during the performance at Theater am Fleischmarkt, Austria in 1959 Photo courtesy © Imagno / Getty Images

家，如：趙無極、朱德群、日本具體派白髮一雄、田中敦子、嶋本昭三等人，早年與歐洲抽象藝術圈淵源甚深，連同帶動亞洲區收藏圈將馬修、哈同、蘇拉吉等法國抒情抽象代表人物，視為國際化收藏群的目標。2021年馬修百歲誕辰紀念，這位藝術史上的巨人，近年拍賣市場佳

1956年馬修曾會面U N E S C O中國常任代表周麟博士與中國書法家張大

績頻傳，回顧展覽與關注度穩定上揚，相較其他同期藝術家未來的市場

千，之後出版〈抒情類非具象畫與中國書法的多面向相關性〉的論文，

發展性更是備受期待。

談論東方書法與抒情抽象藝術之關聯性。創作沒有預期的限制與規範，既定形態理應拋諸於後。馬修習慣深夜中獨自作畫，甚至是開展前三天閉關完成數十幅作品。畫作強調「速度美學」、「流動性」、爆發力的乍現，色料軟管直接擠出塗抹畫布，成為其標誌型特點。無論是華麗奔放，亦或雲開見月之雅態，藝術家筆下的瞬息萬變，一絲一毫牽動觀者心境。為了向大眾簡白其概念，開始賦予畫作即興表演特色，留下行動繪畫前瞻性的一頁。他曾說：「很少人瞭解在眾人面前畫畫，對我來說代表著與人真正的溝通。」馬修生於諾曼第貴冑世家，耳濡目染當地英雄史詩的傳奇。塑造其崇拜過往，嚮往古人風華之浪漫情懷。自許像蕭邦充滿敏感性，作風又如詩人拜倫般風流不羈。劇作家尚．考克多（J e a n C o c t e a u）形容他是「藝術王國中貴族世家的造反者」。也因此馬修留下諸多緬懷大法蘭西輝煌，歷史前人豪情壯麗，感召的巨作。知名法國大畫商兼史學家丹尼爾．威登斯坦（Daniel Wildenstein, 1917-2001）曾對馬修說，「您的繪畫展現著青春與進化，只有如提香和莫內等藝術家才能完成啊！」

In 1956, Mathieu had a meeting with Dr. Zhou, the permanent representative of China at UNESCO, and Chang Dai-Chien, a prodigious Chinese calligrapher. Afterward, he published an essay titled, “Connections between certain aspects of lyrical, non-figurative painting and Chinese calligraphy.” In it, Mathieu addresses the correlation between lyrical abstract painting and Chinese calligraphy. Since creativity has no limitations, any preexistence of forms should be ignored, he argued. Mathieu preferred to paint alone at night, even completing dozens of paintings in reclusion three days before his exhibitions. Painting the canvas directly with paint tubes became a hallmark of his works. Mathieu stressed the aesthetic of rapidity, fluidity, and explosiveness. Each ever-changing spectacle made by the artist, whether it be unrestrained grandeur or an unyielding elegance, exerts subtle influences on the minds of viewers. To simplify his ideas for the public, Mathieu imbued paintings with the purpose of an

impromptu performance, leaving a forward-thinking page in history for action paintings. He once said, "few understood that painting in public represents for me a true communion amongst men." Born into a wealthy family in Normandy, Mathieu was surrounded by tales of the epic legends of local heroes, causing him to idolize the past and yearn for the romantic sense of glory seemingly enjoyed by his ancestors. While comparing his sensibilities with Frédéric Chopin, he had an unruly style that resembled that of Lord Byron. Jean Cocteau even described him as "a rebellious aristocrat in the kingdom of art." Mathieu left behind many masterpieces that commemorate France's glorious and magnificent history. Daniel Wildenstein (1917-2001), a renowned French art dealer and historian, once told Mathieu, " Only artists such as Titian and Monet can achieve the youth and evolution that your paintings portray." The auction item is a painting titled Labrador. Completed in 1959, it is a masterpiece that Mathieu created during his heyday. Having established ties with art circles from both the East and the West, he achieved master status as an artist at the age of 38. Labrador is a painting extremely filled with elegance and profound force of magnanimity. Its black-blue underpainting parallels the ocean that engulfed the snowy coast of Greenland. The argent lines constitute a globular sense that appears poised yet resilient. The meticulously orchestrated image perfectly demonstrates the technique of “intended vacancy” as well as an artistic style encompassing simplicity, beauty, elegance, and realism. From 1534 to 1763, the territory of the French North American Empire, Nouvelle France,

expanded across the Labrador Peninsula including the presentday Canadian province of Quebec, transforming the region into a cultural hub between Europe and North America. With the largest French-speaking community in the Americas, the territory cultivated a wide diversity of unique customs. Its historical significance became an inspiration for Mathieu's Labrador painting, which he first unveiled at Studio Paul Facchetti. Chosen by the Paris Museum of Modern Art for a three-month retrospective exhibition in 1963, this masterpiece completely encapsulates Mathieu's artistic style and the historical context that inspired its creation. Post-war abstraction serves as a milestone in a century of art history development. In recent years, many regions have become interlinked to facilitate a stable development of the overall market. Numerous iconic Asian artists, such as Zao Wou-Ki, Chu Teh-Chun, Kazuo Shigara, and Shozo Shimamoto, who had deeply connected with abstract art circles in Europe, influenced art collectors in Asia to recognize the market value of Georges Mathieu, Hans Hartung, Pierre Soulages, and other principal lyrical abstraction artists, whose paintings could be the choice to globalize art collection. 2021 marks the centennial birthday year of Mathieu, one of the most prominent figures in art history. In recent years in the auction market, his works have been delivering an excellent performance. Looking at the stable increase in attention his works have been receiving in exhibitions and auctions, it is reasonable to conclude that the prospective market value for him is relatively more promising than other artists from the same period.

喬治•馬修《亨利四世：大主教安諾二世的劫持》 1958 油畫畫布 200 x 400 cm 巴黎蘇富比2008春拍歐元1,152,250 成交 Georges MATHIEU, L'abduction d'Henri IV par l'archeveque Anno de Cologne , 1958, oil on canvas, 200 x 400 cm, Sotheby's Paris 2008 Spring Auction, EUR 1,152,250 sold

051 ATSUKO TANAKA (Japanese, 1932 - 2005)

02g 2002 Acrylic and lacquer on canvas 59 x 45.5 cm Signed reverse Atsuko Tanaka , titled 02g and dated 2002 PROVENANCE Private collection, Japan Private collection, Asia This painting is to be sold with a certificate of authenticity issued by Akira Kanayama Atsuko Tanaka Association.

NT$ 2,400,000 - 4,200,000 HK$ 617,000 - 1,080,000 US$ 79,700 - 139,400 RMB 566,000 - 991,000

田中敦子 02g 2002年壓克力漆畫布 59 x 45.5 cm 簽名畫背：2002 02g Atsuko Tanaka Atsuko Tanaka 來源私人收藏，日本私人收藏，亞洲附金山明暨田中敦子協會開立之原作保證書

「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。」─1957年《首次日本旅程的心理預備》米榭．塔皮耶 "I HAVE A DEEP RESPECT FOR THE WHOLE GROUP [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."(MICHEL TAPIÉ, A MENTAL RECKONING OF MY FIRST TRIP TO JAPAN, 1957.)

田中敦子《無題》約1965-1966年油彩畫布 53 x 65.2 cm 羅芙奧2019秋季拍賣會編號119 台幣 7,200,000 成交 Atsuko TANAKA, Untitled , c. 1965-1966, oil on canvas 53 x 65.2 cm Ravenel Autumn Auction 2019, lot 119, US$ 236,066 sold

1932年生於日本大阪，戰後社會急於復甦，蓬勃發展的力量，澆灌了田中敦子的藝術生涯。19歲進入京都市立美術大學就讀，後轉於大阪市立美術館附設美術研究所學習，她在風氣更開放的環境，追尋自己的藝術道路。1954年加入「0會」（Zero Kai），該會於1952年由金山明、白髮一雄、村上三郎等人成立，旨在突破現有的藝術概念，發展屬於日本獨有的當代藝術脈絡。不久，該會成員包含田中敦子，加入吉元治良主持的「具體美術協會」。「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，互不從屬的平等互動，進而具體化物質靈性的意志。他們致立於拓展展新的藝術表現形式，無論是物質（媒材）亦或是概念（精神）。 1955年，田中敦子於該協會第一屆美術展上發表《作品（鈴）》；隔年亦即發表作品《電氣服》。她將電路、霓虹燈管，比喻人體的血路、器官構造。一襲以二百多個彩色燈泡及燈管拼合的連身裙，由藝術家親自穿在身上展演，隨燈光一暗一閃明滅，映照藝術家的臉龐，直指光、電等物理性能量與人的關係。藝術家更曾表示隨電流的通過，她甚至感到一絲死亡的顫慄。田中敦子的前衛一炮而紅，奠定劃時代的藝術突破，開啟自身創作語彙，更是以當時稀有的女性之姿，在群雄的崢嶸中脫穎而出。田中敦子的作品《02g》標誌其經典具特色性的創作風格，乃藝術家晚期貫徹終生藝術意志之作。飽和的五色波點圓圈，彼此緊密靠攏，細胞們融合交集，突破個體之分界；又像電子與正子互相碰撞泯滅，生成光子電流的瞬逝剎那。藝術家精深宏大的精神層次帶來能量，穿梭畫作的各個角落交織連結著錯綜複雜的虛擬空間。大小圓形聚合分散，亦或是內含其中，此因纏繞曲線連結成網。隱形流暢的力量震盪著觀者心智，因理性思辨而生的感性創作，探索宇宙乃至單一細胞千變萬化的未知性。田中敦子的畫作，背馳多數人選擇「空」的追求，回身包容現世以純粹抽象的表現，溫柔堅定地闡述「關係」二字在物質、精神世界所囊括的浩瀚可能。田中敦子展演作品《電氣服》 Atsuko Tanaka dispalys the work Electric Dress , 1956 © Akira Kanayama Atsuko Tanaka Association

Born in Osaka in 1932, Atsuko Tanaka’s art career was deeply inspired by the resurgent and flourishing power of postwar Japan. At the age of 19, she studied at Kyoto Municipal College of Art (now Kyoto City University of Arts), and later at the Art Institute of Osaka City Museum of Fine Arts (now Art Institute of Osaka Municipal Museum of Art), pursuing her artistic career in a more open environment. In 1954, she joined Zero Kai, an art society founded by Akira Kanayama, Kazuo Shiraga, and Saburo Murakami. The aim of the society was to break down conventions and develop a unique path for Japan contemporary art. Afterwards, the members of the society including Tanaka joined the Gutai Art Association founded by Jiro Yoshihara. The belief of Gutai derives from that of Zen, which looks into the original physicality and materiality of things. Gutai artists explored the non-affiliated interaction between spirit and matter on an equal basis, and further gave form to the spirituality of matter. Whether matter (material)-wise or spirit (concept)-wise, the artists dedicated themselves to developing new forms of art. Tanaka’s work, Work (Bell) , was shown at the first Gutai Art Exhibition in 1955. Another work, Electric Dress , was exhibited the next year. The dress consisted of electric wires and hundreds of colored neon light bulbs, analogizing the blood vessels and organs of a human body. Flickering lights were reflected upon the performer's face, illustrating the connection between people and physical energy, such as light and electricity. The artist said that she even shuddered when the electric current flowed through, sensing a glimpse of death. Tanaka’s avant-garde art served as a grand breakthrough in art history, and reached a peak of popularity at the time. She opened up a repository created by the artists themselves and stands out as a rare female talent from that era.

02g is a work Tanaka created later in her life. Reflecting her beliefs, the work perfectly exhibits her classic and characteristic style. Five circles filled with dots cling to each other, as if the cells are fusing, crossing the borders of their individuality. This also symbolizes the moment when electrons and positrons collide, creating light and electricity. In this virtual space of the painting, curves interweave with each other to create an intricate web. The artist’s erudite spirit brings an energy to every corner of the painting, overwhelming the viewers with its invisible power. The artwork, with its rationality and sensibility, explores the unknown from a single cell to the universe. Unlike pursuit of a “non-existence” by many others, Atsuko Tanaka creates works that embrace the real world with pure abstract expression. In a gentle yet resolute manner, she expresses all possibilities that lay in the connection between the material and spiritual worlds. 田中敦子作品《電氣服》 Atsuko Tanaka's Electric Dress . © Akira Kanayama Atsuko Tanaka Association

052 YAYOI KUSAMA (Japanese, b. 1929)

Sky with a Cirrocumulus Cloud 1988 Acrylic on canvas 53 x 45.5 cm Signed reverse Yayoi Kusama , dated 1988 and titled Sky with a Cirrocumulus Cloud in Japanese PROVENANCE Mainichi Auction Inc., April 16, 2011, lot 303 Shinwa Art Auction, Post War & Contemporary Art, Tokyo, April 16, 2016, lot 33 (sold 7,200,000 Japanese Yen) Private collection, Asia This painting is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 11,000,000 - 17,000,000 HK$ 2,828,000 - 4,370,000 US$ 365,100 - 564,200 RMB 2,594,000 - 4,009,000

草間彌生有捲積雲的天空 1988年壓克力畫布 53 x 45.5 cm 簽名畫背：Yayoi Kusama 1988 いわし雲のある空來源每日拍賣公司，2011年4月16日，東京，編號303 新華藝術拍賣「戰後與當代藝術」，東京，2016年4月16日，編號33 私人收藏，亞洲附草間彌生工作室開立之作品登錄卡

YAYOI KUSAMA 草間彌生草間彌生1929年出生於日本長野縣松本市，10歲起她的童年就飽受種種幻聽、幻覺的侵擾，每一天都在與痛苦、不安與恐怖戰鬥。她藉由不斷地繪畫排解心中難以言喻的不安，支持自己在從病症裡掙脫，藝術創作，遂成為支持她存活下去的手段。草間彌生自1950年代受歐姬夫（Georgia O'Keefe）引薦到美國，1956年如願前往西雅圖，後移居紐約市，並開始展露她佔有領導地位的前衛藝術創作。她於1959年在布拉塔畫廊舉辦個展，憑「無限的網」系列在紐約藝壇聲名大噪。曾與當代卓越的藝術家如安迪沃荷（Andy Warhol）、克勒斯・歐登柏格（Claes Oldenburg）、賈斯培・瓊斯（Jasper Johns）一起聯展。草間彌生同時也是美國1960年代性解放運動和反越南戰爭抗議的積極參與者，嬉皮文化中的「重返人性」理念與她的創作十分契合，隨著嬉皮思潮興起，也開始了她在紐約的輝煌時期。1973年，草間彌生回到日本。1977年，開始接受精神治療，這種與世隔絕的狀態使她逐漸被主流文化和媒體所遺忘。而在工作室的草間彌生創作更加自由大膽，作品媒介更加廣泛，涵蓋拼貼、雕塑等，甚至包括後來的文學創作。草間彌生，終其一生都在不斷地嘗試和解構她的「無限」世界。其文學成就卻在其後的研討中鮮有提及，但正是玄幻的故事情節構置，帶出潛意識中的不安定成份，促就視覺藝術的重要靈感源泉。這些作品當中完全沒有那種執念性的焦慮，反而是讓人感受到草間對物體本身的興趣與無限的愛。草間共撰寫超過十九篇的小說、短篇故事以及詩詞，充滿奇特的劇情與幻想的事物，似而錯綜複雜的心理意涵。主題引入對生命起始與終結的思考，隱約重申了草間彌生揮之不去糾纏一生的幻覺。正是草間在上一個時期對眾多生活所見進行再創作和抽離的基礎之上，把愛、溫暖、波點匯集在作品之上，讓這一主題得以傳達出博愛的訊息。 1988年草間彌生在東京富士電視台畫廊（Fuji Television Gallery）舉辦藝展「燃燒靈魂的閃光」（Yayoi Kusama: Soul Burning Flashes）。在當時還是職員的大田秀則的梳理和協助下，草間彌生得以在1980年代後期開始斐聲國際的歷程。同年草間彌生發表小說《天地之間（天と地の間）》（1988年）小說集收錄了同名小說《天與地之間》和《女之園》兩篇。與之前以紐約為舞臺的作品不同，以日本神秘的山為舞臺。草間彌生以她的藝術，率先取得了應該到來的女性時代的「自然」形態。她開闢的道路再也不再封閉了。而且她打算在這裏打開「情與慾」塗鴉的思考之門，將在下個世紀綻放。文學性，這是順應「自然學」的前兆。也正是在這種環境和心態下孕育出1980年代末的一系列作品。《有捲積雲的天空》同樣因受到當時文學創作的影響，此時期繪畫猶如肩負著詩歌般的載體，充滿詩意，是具有極強敘事性的描繪。作品的名字也更具象並富有詩意：雲、雨、夏雨、星辰為命名。傲然升起的存在感是對生命和自然的敬畏之情。探討了時間和宇宙等問題，令觀者思考周遭事物與自我存在的意義。作品《有捲積雲的天空》是草間彌生在「無限的網」系列之後有機裂變的延伸之作。在她的視覺世界中依舊被無數圓點、網狀物以及其他各種無限重複的紋路所包圍。網與線、點與面、胭脂紅與青灰色之間好似相互纏繞，作品中筆觸細膩的壓克力顏料以自然墜落的幾何圖像覆蓋在已經蔓延到無限邊界的色彩之上，再將之勾勒出層疊深淺的結構。正如藝術家回憶起創作經歷：「手與身體處於被淹沒的威脅之中……我藝術表現形式的變化皆是自身內在（活動）的必然後果。」草間彌生遵循自然之道，將細小的波點繪製在明亮底色之上，看似無機的構圖卻巧妙而自然的呈現透視的深邃。視覺在幾何圓點的帶動下，順著網的路徑流動起來，形成了綿密、重複、可以吞噬一切的圓點波浪。呈現出無窮無盡地延展的勢頭，這種無限感，極為引人入勝。草間的藝術處理方式的變化全都是源自於自己內在的必然後果，使畫作似乎有著一股蠢蠢欲動的生命能量。

Born in 1929 in Matsumoto City, Nagano Prefecture, Japan, Yayoi Kusama chronically suffered from auditory and visual hallucinations since the age of 10. Fighting against pain, uneasiness and fear every day, she resorted to drawing constantly to find relief and overcome her illness. Thus, artistic creation became her method of survival. Kusama was introduced to the United States by Georgia O’Keefe in the 1950s. In 1956, she travelled to Seattle before later moving to New York City, where she began her radical, era-defining style of art. In 1959, she held a solo exhibition at Brata Gallery, where her Infinity Nets series earned her great fame in the artists’ circle in New York. She held joint exhibitions with outstanding contemporary artists like Andy Warhol, Claes Oldenburg and Jasper Johns. Kusama was also an activist during the sexual revolution and anti-war movement in the 1960s. During that time, she realized the concept of “return to humanity” within the hippie culture worked very well with her own works. The rise of hippie culture marked the start of her golden age in New York. In 1973, Kusama returned to Japan, and started to accept treatment for her condition in 1977. However, the isolation of the treatment caused her to be gradually forgotten by the mainstream culture and the p re s s . I n h e r s t u d i o , h o w e v e r, Kusama became increasingly bold, expanding on the variety of media, including collage, sculpture, and even literature.

staff member at the gallery, Kusama was able to begin her journey to international fame in the late 1980s. In the same year, Kusama released the novel collection Between Heaven and Earth , which includes a novel of the same name, as well as another one titled Women’s Meadow . Unlike her earlier works that set the stage in New York, these novels instead took place in the mysterious mountains in Japan. Kusama is a pioneer in achieving the “natural” state of the destined era of female artists. With her paths no longer closed off, she plans to open up the conceptual door toward her “passion and lust” graffiti for the next century. The quality of literature is her prelude towards naturalism, and it was in such an environment and mindset that she created her works in the late-1980s. Similarly, Sky with a Cirrocumulus Cloud was influenced by her ongoing creation of literature at the time. Her painting pieces in this period are poetic and extremely narrative, as if they too carry the weight of her poems. The names she bestowed on her works are also more concrete and poetic, inspired by clouds, rain, summer monsoons, and stars.A proud sense of existence expresses her awe towards life and nature, which encompasses time and universe, and inspires viewers to think about the meaning of their existence and objects that surround them in their daily lives.

The work, Sky with a Cirrocumulus Cloud , is an organic extension Kusama spent her whole life from Kusama’s Infinity Nets. Her attempting to deconstruct her visual world is still surrounded by world of “infinity”. However, her countless round spots, nets and achievements in literature were endlessly repeating patterns. The overlooked in later discussions. net and the lines, the dots and the Nevertheless, it is exactly her surfaces, the carmine and blueotherworldly storyline that gave grey all seem to tangle around rise to her subconscious instability, each other in her works. Her which in turn serves as her vital detailed brushwork with acrylic 草間彌生《南瓜》1990年油彩畫布 162 x 130.3 cm inspiration for visual arts. In these paint covered the endless colors 羅芙奧2019春季拍賣會編號117 台幣 198,560,000 成交 literature pieces, her obsessive with naturally falling geometric Yayoi KUSAMA, Pumpkin , 1990, acrylic on canvas, 162 x 130.3 cm Ravenel Spring Auction 2019, lot 117, US$ 6,283,544 sold anxiety is nowhere to be seen. figures, and for med layers of Instead, these works give the structures with different shades. viewers a glimpse of Kusama’s interest in objects and her endless As the artist recalls: “my hands and body are under threat of being sense of love. Kusama wrote more than 19 novels, short stories and overrun…… All the changes of my art forms are the eventual poems, all filled with eccentric plots and fantasies with complicated consequences of my inner (activities).” Kusama follows the natural psychological meaning. Her works of literature encompass issues way to paint tiny round dots on bright backgrounds, cleverly about the beginning and the end of life, as if trying to reiterate her and naturally presenting a depth of perspective. The geometric lifelong struggle against hallucinations. With Kusama’s re-creation of dots lead the vision to flow along the course of the net, forming and distancing from many experiences during the previous period of a dense, repetitive wave of dots that would swallow everything. her life, she is able to concentrate her love, warmth and round dots Such a technique presents an impulse that extends into infinity, onto her works, allowing such topics to convey a message of love. mesmerising the viewer with that sense of endlessness. All of Kusama’s changes in art presentation are the eventual consequences In 1988, Kusama held Yayoi Kusama: Soul Burning Flashes exhibition of her inner self, making her works seemingly radiating a sense of life at Fuji Television Gallery. With the help of Hidenori Ota, who was a energy awaiting to be unleashed. 87

053 SHOZO SHIMAMOTO (Japanese, 1928 - 2013)

Heiwa No Akashi (Proof of Peace) 2007-13

「具體派」（G u t a i）藝術是1960年代開始活躍於日本的美術協會。作為日本最具影響力

2007 Acrylic on canvas, mixed media 143 x 140 cm Signed lower right S. Shimamoto

新的文化身份，這種身份要獨特，同時還要和西方平起平坐。當時的日本在物質層面上效

PROVENANCE Private collection, Italy Private collection, Asia

脫離畫筆束縛」為目標，創思「具體」一詞。嶋本昭三命名「具體」中「具」解作工具；

EXHIBITED Shozo Shimamoto, Recent works , Dellupi Arte, Milan, March 10 - Auguste 30, 2018 This painting is to be sold with a certificate of authenticity issued by Associazione Shozo Shimamoto and signed by the artist. (Archive ID 471)

NT$ 2,400,000 - 3,600,000 HK$ 617,000 - 925,000 US$ 79,700 - 119,500 RMB 566,000 - 849,000

嶋本昭三和平的證明 2007-13 2007 壓克力畫布複合媒材 143 x 140 cm 簽名右下：S. Shimamoto 來源私人收藏，義大利私人收藏，亞洲展覽「嶋本昭三近作展」，德路彼畫廊，米蘭，展期自2018年3月10日至8月30日附嶋本昭三協會開立與藝術家簽名之原作保證書（編號 ID471）

的戰後先鋒藝術群體，這些藝術家剛剛從戰時嚴酷的極權主義中掙脫出來，渴望取得一種仿歐美文明的行動，因此被置於一個分化的構造中，民眾反思於當下，社會環境尋求恢復和保持日本起源於鄉土文化的精神純度。在當時的日本藝壇同樣在尋找一種抽象的普世語言，自我本身成了實驗活力的源泉。作為G u t a i的創建人之一，嶋本昭三以「讓顏料徹底「體」解作身體，意指「用工具和身體呈現」。成員拋棄了傳統藝術家的工具，尤其是「畫筆」的使用，用各種大膽無畏的自我表達，特別是肉身參與。嶋本昭三以他具有破壞性的創作，甚具戲劇張力，糅合表演與繪畫兩種藝術，點燃顏料的熾烈活力，爆炸揮灑的材料與洶湧翻騰的人生精神無間融合。「具體派」藝術命名者的嶋本昭三，1950年畢業於關西學院大學文學部。1954年結識吉原治良，兩人亦師亦友共同創立「具體藝術協會」，其後以主要成員之姿活躍於藝壇。早在加入具體派前，嶋本就已經開始構思並實踐自身的藝術創作行為。為其後嶄新的藝術領域打下深厚的基礎，並發表體驗型的創作《この上を步いてください（Please Walk on To p；直譯：請走在這之上）》（1955年），以及利用大砲將顏料噴灑至畫布的「大砲繪畫」（1956年）。同年於東京•青山小原會館舉行的第2屆具體美術展中，將石頭放置於畫面中央做為標的，投擲裝有顏料與異物的玻璃瓶，利用其飛沫痕跡完成作品「擲瓶繪畫」（1956年），這種創作方式也成為他作品的主要特徵。

Active in Japan since the 1960s, Gutai is the most influential post-war avant-garde art group in Japan. After finding freedom from the harsh totalitarianism during wartime, the founding artists were eager to discover a new cultural identity unique yet equal to those of the West. At the time, Japan sought to imitate Europe and the US on the material level, creating a chasm to erupt in society. People began reflecting how society as a whole would restore and maintain the spiritual purity of Japan’s native culture. At the time, the Japanese art world was also looking for a universal abstract language, and the self became an abundant source for experimentation. As the cofounder of Gutai, Shozo Shimamoto aimed to "free the paint completely from the paintbrush", coining the term "Gutai (具体)". In his interpretation, "gu (具)" means tools, and "tai (体)" means the body. The term "gutai" means to "express through the use of tools and the body". Gutai members abandon traditional art tools, especially the paintbrush, and adopt bold approaches for self-expression, particularly physical participation of the body. With his disruptive and dramatic works, Shimamoto combines performance art with painting. Bringing out the energy within paint, the artist's explosive use of materials blends perfectly with his views on a turbulent life. Shimamoto, who gave Gutai its name, graduated from Kwansei Gakuin University with a literature degree in 1950. In 1954, he met Jiro Yoshihara, who became his mentor and friend. Together, they founded the Gutai Art Association and became active among art circles as the main members of the group. Before forming Gutai, Shimamoto had already been contemplating and practicing his artistic vision, laying a solid foundation for a brand new field of art. In 1955, he published the experiential work Please Walk on Top (この上を歩いてください). In 1956, he created "cannon shooting paintings", in which he shot paint out of a cannon onto canvases. In the same year, the second Gutai art exhibition was held in the Ohara Hall, Aoyama, Tokyo. During the exhibition, he placed a rock at the center of a canvas, and threw a glass bottle full of paint and other objects against it, using the spray patterns to finish the Throwing Paintings (1956). This method later became a primary feature of his works.

SHOZO SHIMAMOTO 嶋本昭三

在過去的2019年，作為日本戰後首個激進藝術團體「具體派」，以獨

證明」的作品之一，可稱為他個人的創作標誌。此件作品第一眼便讓人

具根本的創造精神與極致的純粹，上下求索。成員們在創作當中尋找

心生愉悅，鮮亮的紫色如一團花簇，在畫布的一隅綻放，將各方視線聚

興奮點的魅力，使「具體派」依舊活躍在當今世界舞臺。其中寶龍美

焦在此處。也正是紫色，在中國傳統裡是尊貴的顏色，亦有所謂「紫氣

術館（Powerlong Art Museum）、費格斯・麥卡弗裡畫廊（Fergus

東來」之說，這源於中國古代對北極星的崇拜。受此影響如今日本王室

M c C a f f r e y G a l l e r y）、東京歌劇院畫廊（To k y o O p e r a C i t y A r t

仍尊崇紫色。在藝術家往昔的作品中，多為不可控的創作元素，多重顏

Gallery）、白石畫廊（Whitestone Gallery）、金馬賓館當代美術館

料堆積於畫面之上。

（Alien Art Centre）等美術館或畫廊機構都有對「具體派」舉辦不同規模的回顧展。具體派再次厚積薄發向世界展示探索繪畫顏料，力求身體

而此件《和平的證明 2007-13》明顯是創作前有過深思的作品，具有東

與物質間「新精神靈性」的藝術哲思，亦宣告了具體派作為亞洲現代藝

方哲思的留白。畫面雖以紫色為主，卻因「投擲」的隨機感，紫色顏料

術的重要流派，在世界舞臺上的特殊地位。近年來，藝術市場中的「具

的深淺有度，亦是藝術家有意為之的收放自如。而肌理的表達是二次創

體派」浪潮正如火如荼地展開，席捲整個歐美，並在亞洲屢創佳績。這

作的結果，將自然流淌的顏料經過塗抹，打破原有脈絡的走向使其與邊

也是在半世紀後的今日，人們逐漸認識到具體派的核心是從表演、裝

緣的青綠、明黃、湖藍等色聚攏在紫色之邊緣。單一用色的作品，在嶋

置、科技、聲音、互動、觀念、行動中傳達出一種獨立的藝術精神和形

本昭三的創作中比較少見，藝術家在看似隨機的炮製背後，是將自己對

式，是區別於當時世界任何一種藝術觀念。

「和平」一詞的理解融入其中。2007嶋本昭三在一衣帶水的東亞文化圈中，展開了一系列以「和平」為主題的藝術活動，此件作品無論是從名

在第二次大戰後期，日本的藝術活動即開始平凡與歐洲激進藝術相交

喚上還是歷史意識上都是一件舉足輕重的作品。在「和平的證明」的一

匯，從而發展出趨同感的抽象藝術浪潮。吉原治良在1954年創立具體

系列作品中，無不體現著「具體派」一貫宣導的「脫離傳統藝術的材枓

派，逐漸在1950年代的日本形成反西方的抽象藝術的風潮。1955年，具

和技巧，在實際生活環境找出創作材料，表現物料的內在性」的理念。

體派藝術首次在東京小原會館舉辦藝術展。1957年，來自法國理論家米榭・塔皮耶（Michel Tapié）造訪日本，推崇不定形藝術（Infor mel）的他對戰前流行的抽象藝術的幾何式構圖感到厭倦，這一點與具體派不謀而合，也正是塔皮埃的撰文讓歐美藝術界認識到東方的具體派藝術。1958年，日本具體派於紐約馬薩·傑克遜畫廊（M a r t h a J a c k s o n Gallery）舉行首次美國展覽，卻遭受評論家們毫不留情的批判。1994年紐約古根漢美術館「1945年以後的日本藝術；向天空吶喊」展覽大獲好評；2009年威尼斯雙年展主展區展出具體派作品；而2013年，紐約古根漢博物館再次舉行了「具體：燦爛的遊樂場」展覽廣獲好評。其後「具體派」在多個重要的美術館和畫廊均有回顧性的展出，如紐約的現代美術館「東京1955-1970：新前衛」；洛杉磯當代藝術美術館的「破壞圖畫：繪在空洞1949-1962」展覽。「具體派」核心人物之一－嶋本昭三把裝滿顏料的玻璃瓶擲向鋪在堅硬表面或石頭上的畫布，玻璃瓶破碎爆裂，瓶裡的顏料也噴灑而出，形成生氣盎然、極富動感的圖案，令人目眩神迷。即是1956年首次嘗試的「擲瓶」方法繪畫，這一創作形式一鳴驚人，大開風氣之先，以及之後 1965年獨創的「渦流」作品創作手法開創先河。對早期具體藝術貢獻至為重要，為戰後藝術注入不可或缺的動力，體現了從破壞中變革創新、透過徹底毀滅達至重生與解放的力量。作品《和平的證明 2007-13》亦為藝術家自2000年開始每年在日本西島港口的紀念碑前進行表演，亦為嶋本雄心壯志的一百年計畫—「和平的

In 2019, the first radical Japanese post-war artistic group "Gutai" had been devoted to a unique and extremely pure sense of creativity. With its members creating exciting and charming works of art, Gutai remains relevant on the world stage. Many art museums and galleries have organized retrospective exhibitions of various scales on Gutai, including Powerlong Art Museum, Fergus McCaffrey Gallery, Tokyo Opera City Art Gallery, Whitestone Gallery, and Alien Art Centre. Through the exploration of paint, Gutai once again demonstrates to the world its search for "Neo-spirituality", an artistic philosophy that focuses on the interaction between the body and the materials. It has thus established itself as an important school of Asian modern art, earning a spot on the international stage. In recent years, Gutai fever has been sweeping through the US and European art markets, as well as breaking records in Asia. Half a century after the founding of this art group, people have only begun to gradually realize that the core of Gutai is an independent artistic spirit and form expressed through performance, installations, technology, interaction, concept, and action. This artistic concept was one of a kind in the world at its time. In the late stages of the Second World War, the exchange between Japanese art and European radical art became frequent, converging into a wave of abstract art. In 1954, Jiro Yoshihara founded Gutai. From then, a trend of anti-Western abstract art started to catch on in

「我們首先要做的事，就是讓顏料從畫筆解放出來。我要向顏料灌注生命讓它活起來。」－嶋本昭三 "THE FIRST THING WE ARE GOING TO DO IS TO FREE THE PAINT FROM THE PAINTBRUSH. I AM GOING TO INJECT LIFE INTO THE PAINT AND MAKE IT COME ALIVE."–– SHOZO SHIMAMOTO

1950s Japan. In 1955, Gutai held its first art exhibition at the Ohara Hall in Tokyo. In 1957, the French theorist Michel Tapié visited Japan. An advocate of the Art Informel, Tapié had become tired of the geometric composition in abstract art that was popular before the war. These feelings happened to coincide with the sentiments of Gutai. It was Tapié's writing that first introduced Gutai to the Western art world. In 1958, Gutai held its first US exhibition in New York City’s Martha Jackson Gallery, but was met with relentless criticism. The 1994 Solomon R. Guggenheim Museum exhibition, Japanese Art After 1945; Scream Against The Sky, was widely praised. In 2009, Gutai's works were featured in the main exhibition area of the Venice Biennale. In 2013, the Guggenheim Museum held the exhibition Gutai: Splendid Playground, which once again received wide acclaim. Since then, there have been several retrospective exhibitions on Gutai in major museums and galleries, such as Tokyo 1955–1970: A New Avant-Garde at the Museum of Modern Art (New York City) and Destroy the Picture: Painting the Void, 1949–1962 at Museum of Contemporary Art (Los Angeles).

Heiwa No Akashi 2007-13 is a work obviously composed through much deliberation and thought. Much of the canvas is left empty, reflecting the Eastern philosophy imbued within the work. Although the picture is dominated by purple, the shades of the purple are intentionally different, due to the randomness of the bottle smashing technique. The expression of texture is the result of a secondary creation. By smearing the natural flow of the purple paint, the artist breaks its original pattern, converging it on the edge with turquoise, bright yellow and acid blue. Single-colored Shimamoto works are relatively rare. His creative process may seem unkempt, but the works are infused with the artist's understanding of peace. In 2007, Shimamoto launched a series of artistic activities with the theme of "peace" in closely-connected East Asian cultural circles. This is a significant work both in name and in its historical awareness. The Heiwa No Akashi series embodies the Gutai creed of "breaking away from traditional art materials and techniques; finding materials from the environment we live in and revealing their inner life."

One of the core members of the Gutai is Shozo Shimamoto. In 1956, he attempted a new painting technique––by smashing a glass bottle full of paint against a canvas laid on a hard surface or rocks. As the bottle shatters, the paint within splashes onto the canvas, creating a lively and dynamic pattern that captivates visually. This unique method took the art world by storm, and also laid the foundation for Shimamoto's original series "uzumaki"(meaning whirlpool) in 1965. With important contributions to early Gutai art, he also provided the post-war art scene with much needed momentum by manifesting transformation and innovation within destruction, rebirth and liberation within total annihilation. T h i s w o r k Heiwa No Akashi 2007-13 i s p a r t o f S h i m a m o t o ' s ambitious 100-year project, the Heiwa No Akashi (Proof of Peace) series. Starting in the year 2000, the artist would perform before the monument at Nishijima Yacht Harbour every year. The work is able to delight viewers as soon as they see it. The bright purple blooms in the corner of the canvas, like a cluster of flowers, immediately draw attention. Originating from the ancient Chinese worship of the North Star, purple is considered to be the color of regality in the Chinese tradition. This can be seen in the Chinese expression of good fortune, “紫氣東來” (purple haze comes from the east). Under this influence, Japanese nobility revere the color purple to this day. The past works of Shimamoto are also full of volatile elements, with multiple coats of paint layered on the canvas.

第二屆具體派畫展嶋本昭三的擲瓶繪畫行為表演 Painting with glass bottles of paint, the 2nd Gutai Art Exhibition, Ohara Hall Tokyo October 1956 © Associazione Shozo Shimamoto

054 SHOZO SHIMAMOTO

嶋本昭三

(Japanese, 1928 - 2013)

和平的證明 AU 33

Proof of Peace AU 33

2008年壓克力玻璃碎片畫布 101 x 110 cm 簽名右下：S. Shimamoto

2008 Acrylic and broken glasses on canvas 101 x 110 cm Signed lower right S. Shimamoto PROVENANCE Associazione Shozo Shimamoto, Naples Private collection Sotheby’s London, October 16, 2015, lot 192 SBI Art Auction, Tokyo, April 22, 2017, lot 166 Sotheby’s Hong Kong, April 1st, 2019, lot 540

來源嶋本昭三協會，那不勒斯私人收藏倫敦蘇富比，2015年10月16日，拍賣編號192 SBI藝術拍賣，東京，2017年4月22日，拍賣編號166 香港蘇富比，2019年4月1日，拍賣編號540 附嶋本昭三協會開立與藝術家簽名之原作保證書（編號 ID 883）

This work is to be sold with a certificate of authenticity issued by Associazione Shozo Shimamoto and signed by the artist. (Archive ID 883)

NT$ 1,700,000 - 2,600,000 HK$ 437,000 - 668,000 US$ 56,400 - 86,300 RMB 401,000 - 613,000

作品《和平的證明 AU 33》是嶋本昭三於1976年獲邀為新銳藝術家團體「A U」之代表領袖，攜領日本各地成員藝術家進行創作發表。A U原以「Artist Union」藝術聯盟之名成立於1975年，為日本新達達主義創始人吉村益信號召成立，並於1980年正式更名「Art Unidentified」（未知藝術，縮寫成：A U）積極活躍於國際藝壇。作品正中的粘貼一張褐色牛皮紙（Kraf tpaper）亦可視為這一合作項目中作品的特徵。在原有拋擲顏料瓶的基礎上加入拼貼，使作品更有視覺上的立體層次感。嶋本經過一系列的動作之後，顏料瓶隨之打碎在畫布之上，色彩如此有行動力的繪畫中，被無序解構，玻璃碎屑瓶散落其中。當藍色被明黃所撞擊而產生新出的翠綠色，所有的偶然重新整合，嶋本昭三的創作通過行動慢慢轉移到二維平面的作品。與此同時西方享負盛名的藝術家如盧齊歐・封塔納（Lucio Fontana）、漢斯・哈同（Hans Hartung）也都在以「行動繪畫」在世界藝術舞臺上嶄露頭角。嶋本昭三作為《具體誌》發行人，作品「和平的證明X AU」作為具體派最好的傳達語境，亦可視為日本與國際藝壇間的交流對話網絡，促成具體派與美國戰後抽象表現巨擘傑克遜．波拉克（Jackson Pollock）以及美國郵遞藝術之父雷．瓊森（R a y J o h n s o n）的對話與交流。嶋本昭三其自身發表畫具、畫筆對於藝術的限制，以及關於美的理想論。近幾年來，藝術界重新肯定了此戰後藝術運動的重要性，在美國西岸藏家的追捧下，「具體派」已常見於卓越的藝術藏品中。嶋本昭三的作品藏於倫敦泰特博物館、法國龐畢度中心、義大利國立現代藝術美術館。

T h i s w o r k i s t i t l e d P ro o f o f P e a c e . I n 1976, S h i m a m o t o w a s nominated as the leader of AU, a group of new artists, to help members across Japan create and publish their art. AU, originally an acronym for Artist Union, was established in 1975 by the founder

of Japanese Neo-Dadaism, Masunobu Yoshimura. In 1980, AU changed its name to stand for Art Unidentified, and became active in the international art world. The piece of brown kraft paper at the center is a main feature in this joint project. By adding the element of collage to the bottle-throwing foundation, the work becomes more layered and three-dimensional visually. Shimamoto shattered bottles of paint against the canvas, rendering the dynamic colors in this painting deconstructed by disorder, with the glass smithereens scattered on it. The blue collides with the bright yellow, producing an emerald color, and realigning all the coincidences. Slowly, Shimamoto transferred action into two-dimensional works. At the same time, famous artists in the West, such as Lucio Fontana and Hans Hartung, were also emerging onto the world art stage with "action painting". Shimamoto was the publisher of the Gutai journal. His Heiwa No Akashi X AU (Proof of Peace) series served as the best ambassador for Gutai, connecting Japanese and international art circles. This led to Gutai's exchange with the giant of American post-war abstract expressionism, Jackson Pollock, and the father of American mail art, Ray Johnson. Shimamoto also published treatises on how painting tools and paintbrushes constrain art, as well as his theories on beauty. In recent years, the art world has reaffirmed the importance of Gutai as a post-war art movement. With a high demand from collectors in the west coast of the US, a work of Gutai art has since become a common component in all great art collections. Shimamoto’s works are housed in the Tate Museum in London, the Centre Pompidou in France, and the Galleria Nazionale d'Arte Moderna e Contemporanea in Italy.

055 YASUO SUMI

鷲見康夫

(Japanese, 1925 - 2015)

無題

Untitled

2012年油彩漆畫布 101.5 x 67 cm 簽名左下：鷲見 Y. Sumi 簽名畫背：鷲見康夫 Y. Sumi

2012 Oil and lacquer on canvas 101.5 x 67 cm Signed lower left Sumi in Kanji and Y. Sumi Signed reverse Sumi in Kanji and Y. Sumi PROVENANCE Christie’s Hong Kong, May 29, 2016, lot 555 Poly Auction Hong Kong, March 31, 2019, lot 137 This work is to be sold with a certificate of authenticity issued by the Yasuo Sumi Archive. (ID-516)

NT$ 420,000 - 650,000 HK$ 108,000 - 167,000 US$ 13,900 - 21,600 RMB 99,000 - 153,000

來源香港佳士得，2016年5月29日，拍賣編號555 保利香港拍賣，2019年3月31日，拍賣編號137 附鷲見康夫協會開立之保證書（編號 ID-516）

056 BERNARD CATHELIN

貝爾納．卡多蘭

(French, 1919 - 2004)

銀蓮花束

Bouquet d'anémones

1978年油彩畫布 55 x 38.5 cm 簽名右下：Cathelin 78 題識畫背：Bouquet d'anémones Cathelin

1978 Oil on canvas 55 x 38.5 cm Signed lower right Cathelin and dated 78 Signed reverse Cathelin and titled Bouquet d’anémones

來源私人收藏，日本

PROVENANCE Private collection, Japan

NT$ 550,000 - 850,000 HK$ 141,000 - 219,000 US$ 18,300 - 28,200 RMB 130,000 - 200,000

057 H@L

2000年畢業於大阪藝術大學，為日本知

(Japanese, b. 1976)

空中飛船

名繪本作家。早年曾為電視台美術製作，

Sky Ship

2016年油彩木板 92 x 72.5 x 4.2 cm 簽名右下：H@L 0016

HARU 2016 Oil on wood panel 92 x 72.5 x 4.2 cm Signed lower left H@L and dated 0016 PROVENANCE Private collection, Japan

NT$ 220,000 - 320,000 HK$ 57,000 - 82,000 US$ 7,300 - 10,600 RMB 52,000 - 75,000

來源私人收藏，日本

為作家川上弘美的創作散文集插圖，並與迪士尼合作展覽的人物繪製。2008年出品《M O I M O I N O P O K K E》（口袋的喵喵），成為高人氣繪本作家。溫暖可愛的童趣風格，常以森林、海洋動物、貓咪為主角，吸引廣大族群喜愛。擅於將童年記憶昇華為靈感，明亮多彩的色塊如馬賽克拼圖，天馬行空構築充滿故事的畫面，讓觀賞者會心一笑，重拾遺忘許久的純真童心。

058 HARU

H@L

(Japanese, b. 1976)

樂園

Paradise

2019年油彩木板 92 x 72.5 x 4.2 cm 簽名右下：H@L

2019 Oil on wood panel 92 x 72.5 x 4.2 cm Signed lower right H@L PROVENANCE Private collection, Japan ILLUSTRATED Calendar 2020 issued by the artist

NT$ 220,000 - 320,000 HK$ 57,000 - 82,000 US$ 7,300 - 10,600 RMB 52,000 - 75,000

來源私人收藏，日本圖錄 2020藝術家發行年曆

Haru is a Japanese artist renowned for his illustrated books. Having graduated from Osaka University of Arts in 2000, he worked as an art producer at a television studio in his earlier days. Since then, he has gone on to create book illustrations for prominent Japanese writer, Hiromi Kawakami, as well as character paintings for Disney's exhibitions. After publishing his book, MOIMOI NO POKKE , in 2008, he quickly garnered universal popularity as an illustrated book artist. Defined by a tender and childlike nature, his works, frequently featuring animals from the forest and the sea as well as cats, appeal to a wide demographic. By drawing from his childhood memories for artistic inspiration, he illustrates bright mosaic puzzles of inventive imagery that rekindle a sense of innocence among readers and brings smiles to their faces.

059 DESIRE OBTAIN CHERISH (DOC)

強納森．保羅

(American, b. 1975)

信仰的誓約－25毫克

Testament of Faith-25mg

2015年樹脂膠壓克力（單一件） 102 x 96 x 5.5 cm 藝術家印記：DESIRE OBTAIN TM 25mg DOC.10777 簽名題識畫背：DESIRE OBTAIN CHERISH 1/1 2015

2015 UV cast resin and acrylic; unique 102 x 96 x 5.5 cm Artist mark lower left DESIRE OBTAIN TM 25mg DOC.10777 Inscribed reverse DESIRE OBTAIN CHERISH, 1/1 2015

NT$ 650,000 - 950,000 HK$ 167,000 - 244,000 US$ 21,600 - 31,500 RMB 153,000 - 224,000

DOC 強納森．保羅，畢業於紐約帕森設計學院，2000年起以街頭塗鴉在藝術圈迅速竄紅，並於美國各大藝術博覽會嶄露頭角。帶著一絲黑色幽默，試圖透過作品討論現代社會中關於性、性別、藥物、金錢、名氣以及社群網路等敏感議題，挑戰觀者的價值觀。「藝術壞痞子」D O C 在作品上顯露對世俗文化的批判，透過化名揭明現代社會對於慾望三階段的無限循環「渴望、獲取及珍惜。」

60 DESIRE OBTAIN CHERISH (DOC)

強納森．保羅

(American, b. 1975)

后冠－瑪麗蓮．夢露

Marilyn Crown

2015年 3000顆膠囊有機玻璃版次1/3 73 x 54 cm 簽名下方：Desire Obtain Cherish 簽名題識畫背：DESIRE OBTAIN CHERISH 1/3 2015 防偽雷射標籤

2015 3000 Individually wrapped pills encased in plexiglass, ed. 1/3 73 x 54 cm Signed bottom Desire Obtain Cherish Signed reverse DESIRE OBTAIN CHERISH , numbered 1/3 and dated 2015 With a security laser tag EXHIBITED Desire Obtain Cherish: #YourKiddingRight , Bluerider ART Gallery, Taipei, May 23 - July 1, 2017

NT$ 850,000 - 1,200,000 HK$ 219,000 - 308,000 US$ 28,200 - 39,800 RMB 200,000 - 283,000

展覽「D.O.C. 藝術壞痞子」，藍騎士藝術空間，台北，展期自2017年5月23日至7月1日 Jonathan Paul a.k.a. DOC graduated from Parsons School of Design in New York, in 2000, he became an instant hit with his focus on street art, and was widely seen in major art fairs across America. With a sense of dark humor, the artist tries to discuss controversial issues like sex, medicine abuse, money and popularity to irony and to overturn audience’s value. The artist uses his works to critic the common culture, and also his anonym to reveal an endless circle of needs, in particular: "Desire, Obtain and Cherish" in our modern society. 99

061 古利

古利，法國當代街頭藝術家。以藝術概念「挪用」出發，大膽挑戰主流

(French, b. 1979)

當洛克威爾遇上沃荷

藝術思維。他認為各家藝術創作之表現，象徵該抽象概念形式的實體

Rockwell Meets Warhol

2018年壓克力畫布 100 x 94.5 cm 簽名右下：Gully 2018

GULLY 2018 Acrylic on canvas 100 x 94.5 cm Signed lower right Gully and dated 2018 PROVENANCE A.Style Gallery, Hong Kong Private Collection, Asia

NT$ 500,000 - 750,000 HK$ 129,000 - 193,000 US$ 16,600 - 24,900 RMB 118,000 - 177,000

來源 A.Style畫廊，香港私人收藏，亞洲

化。濃縮歷史時序，擷取不同藝術家創作特點，交叉使用於同一畫面，對於熟習藝術脈絡之觀者，應視為另一種觀點論證之過程。用大眾文化與街頭藝術風格詮釋概念，藉此拓展並啟發新一世代之關注度。展覽足跡遍及：巴黎歌劇畫廊、香港、首爾、杜拜以及各地重點藝術博覽會。

Gully is a contemporary street artist from France. Starting from the concept of appropriation, Gully boldly challenges mainstream artistic mindsets. He argues that artistic expressions from different schools each symbolize a materialization of abstract concepts. The compression of historical chronology, the capture of different artists’ features, and the usage of those elements in the same picture should be considered the progress of solidifying a different perspective for viewers familiar with art. Using a style of popular culture and street art, Gully interprets his concepts to expand and inspire attention from a younger generation. His exhibitions has been held in Opera Gallery, Paris, Hong Kong, Seoul, Dubai and major worldwide art fairs.

062 MR. BRAINWASH (THIERRY GUETTA)

洗腦先生（泰瑞・庫塔）

(French, b. 1966)

米奇

Mickey

2013年綜合媒材紙本 137.5 x 138 cm 簽名右上：Mr. Brainwash

2013 Mixed media on paper 137.5 x 138 cm Signed upper right Mr. Brainwash

附藝術家簽名之原作保證書

This lot is to be sold with a certificate of authenticity issued by the artist.

NT$ 650,000 - 950,000 HK$ 167,000 - 244,000 US$ 21,600 - 31,500 RMB 153,000 - 224,000

101

063 WILLI SIBER (Germany, b. 1949)

Wall Object 2018-2019 Wood, chrome enamel; unique 49 x 145 cm (dimension variable) Signed reverse SIBER and dated 2018/2019

NT$ 460,000 - 700,000 HK$ 118,000 - 180,000 US$ 15,300 - 23,200 RMB 108,000 - 165,000

威利．希伯掛牆物件 2018-2019年木鉻漆（單一件） 49 x 145 cm（尺寸可變）簽名背面：SIBER 2018/2019

威利•希伯1949年生於德國施瓦本（U p p e r S w a b i a），1976 年於德國斯圖加特國家美術學院（State Academy of Fine Arts）取得雕塑碩士學位。威利•希伯擅以木質材料、鋼與環氧樹脂（e p o x y）創作，配以富有光澤感漆料、樹酯的彩色變化，探索材質的可塑性，去突破因物質固化的視覺印象。雕塑多用無機或抽象之造形，延伸出光線、空間與作品獨一無二的感官演繹。希伯以美學概念的感性，交織理性物件。1980年代起受邀於各地舉辦展覽，由德國為起點延伸至美洲、亞洲。作品典藏於德國聯邦議院（Deutscher Bundestag）、德國駐阿根廷大使館、德意志銀行（Deutsche Bank）、斯圖加特國立美術館（Staatsgalerie Stuttgart）與德國辛根市立美術館（Städtisches Ku n s t m u s e u m S i n g e n）與數間私人美術館（Ku n s t w e r k）與騎士博物館（Mu se u m Ritter）等。

Born in Upper Swabia, Germany in 1949, Willi SIBER obtained his master’s degree in sculpture at State Academy of Fine Arts in Stuttgart. Talented in the use of wooden materials, steel and epoxy, he explores the plasticity of these materials with his colorful resins and lustrous paint, seeking to break through visual impressions and stereotypes formed due to material aspects. His sculptures mostly take the form of inanimate objects or abstract concepts, from which a unique interpretation of senses among lighting, space and the work itself is derived. SIBER forms his objects of sense with his aesthetics of sensibility. Since the 1980s, he has been invited to exhibitions around the world, starting from Germany and then the Americas and Asia. His works are collected by Deutscher Bundestag, Deutsche Botschaft Buenos Aires, Deutsche Bank, Staatsgalerie Stuttgart, Städtisches Kunstmuseum Singen, and other private museums like Kunstwerk and Museum Ritter.

064 WILLI SIBER (Germany, b. 1949)

Bondenobjekt (Ground Object) 2016 Steel and chrome varnish; unique 83(L) x 38(W) x 108(H) cm EXHIBITED Willi Siber: Four Seasons, Bluerider ART Gallery, Taipei, July 28-August 31, 2018 ILLUSTRATED Willi Siber-Luft Holten , Galerie Tristan Lorenz, Frankfurt, 2017, color illustrated, p. 36

NT$ 850,000 - 1,300,000 HK$ 219,000 - 334,000 US$ 28,200 - 43,100 RMB 200,000 - 307,000

威利．希伯地面物件 2016年不鏽鋼鉻漆（單一件） 83（長）x 38（寬）x 108（高）cm 展覽「威利•希伯：四季」，藍騎士藝術空間，台北，展期自2018年7月28日至8月31日圖錄《威利•屏息》，崔斯坦•羅倫茲畫廊，法蘭克福，2017，彩色圖錄，頁36

103

065 THIERRY FEUZ

西瑞．菲茲

(Swiss, b. 1968)

春分夜色－生命之業

Night Karma Equinox

2019年漆壓克力畫布 170 x 130 cm 簽名題識畫背：Thierry Feuz 2019 Night Karma Equinox

2019 Lacquer and acrylic on canvas 170 x 130 cm Signed reverse Thierry Feuz and titled Night Karma Equinox and dated 2019

NT$ 700,000 - 1,100,000 HK$ 180,000 - 283,000 US$ 23,200 - 36,500 RMB 165,000 - 259,000

西瑞．菲茲1968年出生於瑞士，日內瓦藝術與設計大學碩士畢業，目前在日內瓦居住、創作。在他的藝術世界中，藝術、科學、哲學是相遇的，關心人類普世間共有的「存在」（E x i s t e n c e）之意義，並用獨有的繪畫技術呈現未曾可見之境域。作品獲瑞士歷史與藝術博物館、新加坡藝術基金會、美國薩克斯第五大道精品百貨公司，以及瑞士銀行等機構收藏。

066 THIERRY FEUZ

西瑞．菲茲

(Swiss, b. 1968)

超自然系列－花中之后

Supernatural Diva Nuclea

2019年漆壓克力畫布 130 x 200 cm 簽名題識畫背：Thierry Feuz 2019 Supernatural Diva Nuclea 130 x 200 cm

2019 Lacquer acrylic on canvas 130 x 200 cm Signed reverse Thierry Feuz, dated 2019, titled Supernatural Diva Nuclea and inscribed 130 x 200 cm

NT$ 800,000 - 1,200,000 HK$ 206,000 - 308,000 US$ 26,600 - 39,800 RMB 189,000 - 283,000

Thierry Feuz was born in 1968 in Switzerland. He graduated with a Master’s degree from the Haute Ecole d’Art et de Design in Geneva, and currently lives and works in Geneva. Art, science and philosophy meet in his art world. He is concerned about the significance of the “existence” of all the humankind around the world. His works have been included in institutional collections of the Musée d’Art et d’Histoire, Neuchâtel, Switzerland, the Singapore Art Foundation, America’s Saks Fifth Avenue Enterprise, and the United Bank of Switzerland (UBS).

105

067 KAWS (BRIAN DONNELLY) (American, b. 1974)

Final Days 2017 Bronze, ed. 23/25 24.1(L) x 21.6(W) x 16.5(H) cm Incised with the artist's name and date KAWS"17 on the underside of the left foot; further numbered 23/25 on the underside of the right foot PROVENANCE Pace Editions, New York Private Collection, New York Private Collection, Asia

NT$ 3,400,000 - 5,000,000 HK$ 874,000 - 1,285,000 US$ 112,800 - 165,900 RMB 802,000 - 1,179,000

K AWS〈布萊恩．唐納利〉

K A W S，本名布萊恩．唐納利，1974年生於紐澤西,以布魯克林為據點的藝術家。他是一個多面性的藝術家，將自己擅長的「卡通美學」融入於塗鴉作品之中，作品從平面設計、產品到商業設計，繪畫、素描、雕刻、壁畫、絹印等，以打破了藝術和設計的界限，橫跨多品牌合作而呈現前所未有的新潮流格局。 2014年K A W S名為「最後的日子」的藝術展在西班牙的馬拉加當代藝術中心 Centro De Arte Contemporáneo De Málaga (CAC de Málaga) 舉行，這是他在美國之外的首次個人博物館展出。本次展覽的作品以前從未展出過，包括木

最後的日子

材處理和不同顏色範圍等新元素。在一個大房間展出的六個黑色人物，各種尺

2017年銅雕版次 23/25 24.1（長）x 21.6（寬）x 16.5（高）cm 簽名版次：KAWS"17（左腳底）23 /25（右腳底）

寸，姿勢和表情引起了特別的關注。作品中包括了「同伴」（Companion）、

來源佩斯出版公司，紐約私人收藏，紐約私人收藏，亞洲

2017年倫敦斐列茲藝術博覽會《最後的日子》大型雕塑 KAWS, Final Days (2013), Galerie Perrotin Frieze Sculpture 2017. Credit: Guy Bell/Alamy Live News

「藍色小精靈」（Kurf）和「皮諾丘」（Pinocchio）等經典角色，又無一例外被刷成純黑色，每一個人偶都帶有一定的人類表情。展覽期間K A W S曾說到：「很有趣的是，當我使用青銅或木材製作大幅面的作品時，它被稱為雕塑，但如果我在小尺寸的塑膠上做同樣的作品，它就被稱為玩具」。

KAWS (real name: Brian Donnelly) was born in New Jersey in 1974. A multi-faceted, Brooklyn-based artist, he applies his iconic style of “cartoon aesthetics” to a diversity of graffiti creations. His works include graphic, product, and commercial designs, as well as paintings, sketches, sculptures, murals, and screen prints. Straddling the worlds of art and design while collaborating with a wide span of brands, KAWS has opened up unprecedented possibilities for artistic trends. In 2014, KAWS held an art exhibition titled, Final Days, at the Center of Contemporary Art of Málaga (Centro De Arte Contemporáneo De Málaga) in Spain. This was KAWS’ first solo museum exhibition outside the United States, featuring works that had never been shown before as well as showcasing new elements, such as wood treatment and distinct color ranges. The six black figures of various sizes, poses, and expressions exhibited in one large room attracted special attention. Classic icons such as Companion, Kurf, and Pinocchio were included in this work, all painted in pure black and wearing specific human-like expressions. As KAWS explained, speaking of his artistic practice of blurring the line between toys and sculptures "To me they involve the same thought process, so it's funny that when I work big in bronze,it's called a sculpture, but something I do that's small and plastic is called a toy...."

107

068 SACHA JAFRI (British, b. 1977)

Field of Dreams 2004-2005 Mixed media on canvas 85 x 125 cm Signed reverse SACHA JAFRI , dated May 2005 and titled Field of Dreams PROVENANCE Galerie Belvedere, Singapore Acquired by the present owner from the above EXHIBITED Latest Collection , New Works , Ryder Street Gallery, St. James’s and Kings Road Gallery, London, December 2004 The Grand Hyatt, Dubai, April 2005 Jafri Meets Warhol , The Art House, Galerie Belvedere, Singapore, May 4-17, 2005 This painting is to be sold with a certificate of authenticity issued by Galerie Belvedere, Singapore.

NT$ 1,200,000 - 1,800,000 HK$ 308,000 - 463,000 US$ 39,800 - 59,700 RMB 283,000 - 425,000

沙夏．賈菲利夢境 2004-2005年綜合媒材畫布 85 x 125 cm 簽名題識畫背：SACHA JAFRI May 2005 Field of Dreams 來源貝爾維德畫廊，新加坡現有收藏者購自上述來源展覽「近作、新作展」，萊德街畫廊與國王路畫廊，倫敦， 2004年12月君悅酒店，2005年4月「賈費利遇見渥荷」展覽，藝術之家，貝爾維德畫廊，新加坡，展期自2005年5月4日至17日附新加坡貝爾維德畫廊開立之原作保證書

沙夏．賈菲利1977年出生於英國，生長在上流社會，並就讀伊頓公學。1999年自牛津大學取得藝術碩士，隔年獲「英國畫家大獎」，國際知名度水漲船高，名人貝克漢、歐巴馬、比爾．蓋茲、喬治．克隆尼等皆收藏其作品。2009年在倫敦皇家藝術學院，與印度藝術大師拉扎（S. H. Raza）、胡森（M. F. Husain）、安尼詩．卡普爾（Anish Kapoor）等藝術家一同展出。藝術家自述：「我想作我這個年代的康丁斯基。」作品《夢境》完成於2004-2005年，曾於「賈費利遇見渥荷」展覽展出。畫面中魔法般恣意揮灑的線條之下，彷彿夾雜了具象的影子，看似隨機，極具視覺上吸引力。

Sacha Jafri was born in 1977 in the UK. Immersed in the high society, Jafri studied at Eton College, and in 1999 he received his BA from Oxford University, awarded The 2000 British Painters Prize, and rose to international prominence. Celebrities including David Beckham, Barack Obama, Bill Gates and George Clooney are among his collectors. In 2009, he exhibited alongside S. H. Raza, M. F. Husain and Anish Kapoor during the exhibition taking place at the Rayal Academy, London. “I want to be the Kandinsky of my time”, the artist said. Field of Dreams completed between 2004 and 2005 has been showed in Jafri Meets Warhol exhibition . The image is composed of magical lines swaying on the surface of the canvas, with figurative elements that seem to remain. The composition is seemingly random and visually arresting.

109

069 FRIEDRICH KUNATH (Germany, b. 1974)

Memory of a Memory 2010 Acrylic, liqueur, India ink, watercolor and pencil on canvas 171 x 105 cm Signed reverse Friedrich Kunath and dated 2010 PROVENANCE KaiKai Kiki Gallery, Tokyo Collection of Takashi Murakami, Tokyo Private collection, Asia

NT$ 1,400,000 - 2,000,000 HK$ 360,000 - 514,000 US$ 46,500 - 66,400 RMB 330,000 - 472,000

「昨日，逝於日昇夕暮之間，黃金的兩小時，每個配上鑽石的60分鐘，它們永遠的消失，毫無獎賞。」－美國教育家：賀拉斯•曼 “LOST, YESTERDAY, SOMEWHERE BETWEEN SUNRISE AND SUNSET, TWO GOLDEN HOURS, EACH SET WITH SIXTY DIAMOND MINUTES. NO REWARD IS OFFERED FOR THEY ARE GONE FOREVER.” － HORACE MANN

弗里德里希．庫納什記憶的記憶 2010 年壓克力、漆、墨、水彩和鉛筆畫布 171 x 105 cm 簽名畫背：Friedrich Kunath 2010

德國當代藝術家庫納什1974年生於東德，曾就讀於德國布倫瑞克造型藝

來源 KaiKai KiKi畫廊，東京村上隆先生自藏，東京私人收藏，亞洲

特的藝術表現，受當代藝壇認可，作品典藏於代表性美術機構，包含：

術學院，後定居美國洛杉磯。他以具個人特色的浪漫主義概念，習於拆解詩句融入畫中，並帶有憂鬱的氣息。從東德共產體制到開放的美國社會，藝術家個人生命的歷程，成為影響其創作重要的轉折點。庫納什獨匹茲堡卡內基美術館、巴黎龐畢度中心、雅典DESTE當代藝術基金會、洛杉磯漢默美術館、紐約MoMA、巴黎皮諾私人藝術博物館等。

Born in 1974 in East Germany, Fredrich Kunath is a contemporary artist. After studying at The Braunschweig University of Art, he moved to Los Angeles, USA. He habitually instills poetic verses into his paintings, giving them a melancholic disposition that distinguishes his works with an individual style of romantic conceptualism. His experiences living in communist East Germany and the more liberal and open society of the United States have significantly influenced his works. Kunath’s distinctive art language is also featured in prominent public and private collections such as the Carnegie Museum of Art, Pittsburgh; Centre Pompidou, Paris; DESTE Foundation for Contemporary Art, Athens; Hammer Museum, Los Angeles; Museum of Modern Art, New York; Pinault Collection, Paris.

111

070 AYAKO ROKKAKU

六角彩子

(Japanese, b. 1982)

圓形花園

Untitled

2019 年壓克力畫布直徑130 cm 簽名左下：2019

2019 Acrylic on canvas Diameter 130 cm Signed lower left Ayako Rokkaku in Japanese and dated 2019 PROVENANCE Gallery Delaive, Amsterdam Private collection, Asia

ロッカクアヤコ

來源德萊夫畫廊，荷蘭私人收藏，亞洲

NT$ 3,200,000 - 4,800,000 HK$ 823,000 - 1,234,000 US$ 106,200 - 159,300 RMB 755,000 - 1,132,000

2006年六角彩子年僅24歲，她參加第九屆GEISAI藝術節，獲頒「後藤明男賞」（Goto Akio Prize）。同年，獨具慧眼口碑極佳的荷蘭德萊夫畫廊（Gallery Delaive），更是積極爭取這位素人藝術家的全球代理權。畫廊安排下，六角彩子於國際舞台上大放異彩，包括巴塞爾Art Basel、邁阿密Art Basel Miami、台北藝博Art Taipei等等，皆有藝術家於公開場合作畫的紀錄。一位徒手赤腳背對著群眾，身旁圍繞顏料、美術用品席地而坐創作的年輕女孩，閒適自若又專注的神情，完成一幅幅色彩明亮細膩天馬行空的女孩畫像。有人將她與奈良美智相比，然而六角的「即興式手繪」與獨有的「女孩氣質」是當代創作難能可貴的特徵。重覆性的圖樣層層疊疊，雲朵、蝴蝶結、小花、動物、骷髏等等，隨機散布於畫面上讓觀者細細發掘。畫中人物無論雙眼圓瞪，或擺手跨步的樣子，不拘小節壞壞的女生顯得可愛。 2019年是六角彩子拍賣市場豐盛的一年。無論是交易量，亦或藝術家整體平均價格，該年度都是以一飛沖天的態勢竄升。從歐洲紅回亞洲，二手交易市場集中在台北、東京、香港，足以了然亞洲藏家對六角彩子的喜愛與重視。同年，六角彩子創作《圓形花園》直徑達一米三，畫面繽紛斑斕，另人目不暇給。如此巨大的圓型畫作，拍賣場上甚為少見。別於藝術家早期畫於瓦楞紙，單一人物特寫的構圖。《圓形花園》的背景精緻繁密，如同春日蘇格蘭荒野，乘著風沐浴暖陽，無邊無際的草嶺野花欣欣向榮。右上方小女孩頂著俏皮馬尾，身穿綠底花洋裝，踢著正步向前，還不忘瞪眼瞧瞧身後爬行的小怪獸，活脫脫調皮可愛的樣子，正是藝術家畫作最代表性的特徵。作品透過藝術家的雙手，蘊含著勇敢、自信與生命力的信念。紛擾的日常中，六角彩子的純真正向，照亮你我生活，使心中充滿歡笑與喜悅。

In 2006, Ayako Rokkaku was only 24 years old when she was awarded the Goto Akio Prize at the 9th GEISAI art fair. In the same year, the reputably tasteful Dutch Gallery Delaive actively fought to represent this talented young artist globally. Under the management of the gallery, Rokkaku shone brightly on the international stage.

She has performed live painting at events including Art Basel, Art Basel Miami Beach, and Art Taipei. With her back to the audience, this barefooted young girl sits on the floor, surrounded by paints and art supplies. With a relaxed yet focused expression, she completes brightly colored, complex portraits of a girl drawing from her wild sense of imagination. Some people might compare her to Yoshitomo Nara. But, the improvisational method and girlish innocence in Rokkaku's works are truly unique in contemporary art. She layers repetitive patterns on top of each other. Clouds, bowknots, flowers, animals, and skulls are randomly scattered on the canvas, inviting viewers to explore in detail. Her characters, either with eyes wide open or arms swinging in a stride, show the adorable side of carefree and mischievous girls. In terms of auction, 2019 marks a year of great success for Rokkaku. The trade volume and average price of her works have both skyrocketed. Her success in Europe has sparked the interest of Asian collectors, as can be seen from the fact that the auction markets for her works are primarily in Taipei, Tokyo, and Hong Kong. One of her 2019 works, Untitled , is 1.3 meters long in diameter, and features a dazzling level of color. Such a huge and round painting is rarely seen at auctions. Untitled marks a departure from the single character close-ups on corrugated paper presented in Rokkaku's earlier works. Like the Scottish wilderness during springtime, the background is exquisite and dense with wildflowers on the rolling grass hills blooming in the breeze under the warmth of the sun. In the upper right, there is a gleeful girl with a ponytail wearing a green floral dress. She strides forward, glancing back at the small creature behind her. This adorable, mischievous girl is the epitome of Rokkaku's works. In them, the artist conveys bravery, confidence, and her faith in life. Among the hustle and bustle, Rokkaku's innocence and positivity brings light to our lives, filling our hearts with laughter and joy.

113

071 HERNAN BAS

赫南．巴斯

(American, b. 1978)

林中之林

The Forest Through the Forests

2010年壓克力顏料、絲網及木刻印刷、噴繪、油性粉蠟筆及拼貼紙本 153 x 130 cm 簽名右下：HB 10

2010 Mixed media drawing (acrylic, silkscreen, block print; airbrush, oil pastel, collage)/paper 153 x 130 cm Initialed lower right HB and dated 10 PROVENANCE Fredric Snitzer Gallery, Miami Sotheby's Hong Kong, Curated: Turn It Up , June 8, 2018, lot 116 EXHIBITED Hernan Bas: The Forest for The Trees , Fredric Snitzer Gallery, Miami, March 12- April 14, 2011

來源佛羅德里克・斯奈策畫廊，邁阿密香港蘇富比，「當代藝術專場：TURN IT UP」， 2018年6月8日，拍賣編號 116 展覽「赫南・巴斯：樹的森林」，弗雷德里克・斯奈策畫廊，邁阿密，展期自2011年3月12日至4月14日

NT$ 1,700,000 - 2,600,000 HK$ 437,000 - 668,000 US$ 56,400 - 86,300 RMB 401,000 - 613,000

赫南．巴斯1978年生於美國邁阿密，卓越的繪畫天份使他十八歲就從藝術學校畢業並專職於藝術創作。國際一級商業畫廊，如：斯奈策（Fredric Snitzer Gallery）、貝浩登（Galerie Perrotin）、侯巴克（Galerie Thaddaeus Ropac）、薩奇（Saatchi Gallery）等畫廊邀約合作展出，包含亞洲地區其私人收藏群更是遍及全球，是新一代備受矚目的美國青年藝術家。作品更是被紐約M o M A現代藝術博物館、惠特尼博物館、布魯克林美術館等代表性藝術機構所典藏。赫南．巴斯受到文學經典、歷史題材與現代影視媒體的影響，作品呈現強烈的敘事性。畫作凝結故事的片段，觀者則代替作者運用想像，補敘未完成的劇情。巴斯筆下的少年主人翁，不僅外型相似，中性的俊美慧黠，總帶著一絲孤傲的氣質，無視外在的注目。巴斯於2010年創作《林中之林》並於2011年邁阿密弗雷德里克•斯奈策畫廊為藝術家策劃之「樹的森林」個人展覽中展出。而該畫廊也是全球第一間為巴斯舉行個展的商業畫廊。藝術家曾自述生長於森林環繞的自然環境，從小烙印腦海對森林獨有神秘氣氛的感受，表現於往後的創作之中成為靈感。如此獨樹一格的自我風格，可說在《林中之林》完整體現。人物形體的渺小對比巨大空間，以擴增強大的疏離感與孤獨。綠衣人物和聖誕樹彩帶從暗色背景中鮮艷突

Bas’ art has a strong narrative quality that shows influence of literary classics, historical themes and the film and television media of the modern era. The young masters in Bas' paintings not only look physically alike, but their androgynous appearances also come with a sense of loneliness and pride, ignoring the scrutiny of those around them. Bas painted The Forest Through the Forests in 2010, which was exhibited in 2011 at his solo exhibition The Forest for the Trees curated by the Fredric Snitzer Gallery in Miami - the first commercial gallery to organize a solo exhibition for Bas. The artist once described the natural environment where he grew up: Surrounded by forests, his young mind was branded with the mysterious atmosphere of the woodlands, which became his artistic inspiration later on. Such a distinctive style is displayed comprehensively in The Forest Through the Forests , where the smallness of the people and objects, in contrast with the magnanimity of the space, expands and strengthens the sense of alienation and loneliness. The green figures and Christmas tree ribbons shine through the dark-colored background, a technique frequently used by artists in surreal scenes to increase delight by adding highlights.

出，這是藝術家慣用在超現實情境中加入亮點提升趣味的技巧。

Born in Miami, USA in 1978, Hernan Bas’ exceptional talent in painting enabled him to graduate from art school at the age of 18 and devote his time to becoming an artist. Bas has been invited for exhibitions by international commercial galleries, including Fredric Snitzer Gallery, Galerie Perrotin, Galerie Thaddaeus Ropac, and Saatchi Gallery. As a high-profile young American artist, Bas’ works are prized by New York’s most emblematic art institutions, such as MoMA, Whitney Museum of American Art, and the Brooklyn Museum, and sought after by private collectors around the globe, especially in the Asia region.

2011年拍品《林中之林》展覽於邁阿密斯奈策畫廊

The Forest Through the Forests shows in the exhibition in 2011 © Hernan Bas / Courtesy of Fredric Snitzer Gallery, Miami.

115

072 YOSHITOMO NARA

奈良美智

(Japanese, b. 1959)

小朝聖者（夢遊娃娃）

The Little Pilgrim (Night Walking)

2002年玻璃纖維限量20件 18（長）x 16（寬）x 27（高）cm 簽名底部：2002 な

2002 Fiberglass, edition of 20 18 (L) x 16(W) x 27(H) cm Signed on the bottom Na in Japanese, numbered and dated 2002 PROVENANCE Private collection, Los Angeles Sotheby’s, New York Private collection, Asia ILLUSTRATED Yoshitomo Nara: The Complete Works Volume 1 , Chronicle Books LLC, San Francisco, 2011, color illustrated, no. S-2000-001, p. 270 (different size version illustrated)

來源私人收藏，洛杉磯蘇富比拍賣，紐約私人收藏，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-2000-001，頁270（另一尺寸版本）

NT$ 2,400,000 - 3,600,000 HK$ 617,000 - 925,000 US$ 79,700 - 119,500 RMB 566,000 - 849,000

奈良美智，1959年出生於日本青森縣。愛知縣立藝術大學畢業，研究所期間兼任高中美術教師。1987年取得碩士學位後，轉赴德國杜塞道夫藝術學院進修，在歐洲生活十二年。1998年移居美國，擔任U C L A加州大學洛杉磯分校客座教授三個月。2000年返回日本定居至今。他的藝術超越年齡、性別、國籍，受到全球收藏界喜愛。作品總是透露著童年的孤獨成長經歷，最早雕塑可回溯至大學時期的複合媒材與木雕創作。兒童與動物為奈良美智兩大創作主題。1990年代初主要多為孩童單人像的刻畫，1994-1995年後開始有小狗雕塑的出現。1999年他創作最具代表性的系列─「小朝聖者」，又名「夢遊娃娃」，為奈良美智生涯的重要轉折。藝術的多樣性突破自我，他的雕塑作品尤其令西方藝術界驚艷，海外展覽邀約不斷。「小朝聖者」系列最早發表於1999年東京世田谷美術館（S e t a g a y a A r t M u s e u m）聯展，2000年芝加哥當代藝術館（M u s e u m o f Contemporary Art Chicago）展覽中，五彩的小朝聖者群像裝置以《夢遊》（Wa l k O n）為題，此系列重要性不言可喻；2002年德國的「催眠超市」（Lullaby Supermarket）專題，小朝聖者群像再度現身，將藝術家的國際能見度再度推升。此次拍品於2002年製作，有白色、巧克力色二個版本，各限量20件，誠為稀有難得。《小朝聖者》，他身穿長袍，雙眼閉合臉龐純真，微微抬起頭，雙手向前，宛如夢遊狀態。藝術家透過不同顏色的嬰孩形象，以可愛淡化朝聖的莊嚴感與宗教性。此時的奈良美智從龐克搖滾轉向柔合的童話世界，玻璃纖維 fiberglass 媒材的運用，增加光滑輕盈的玩樂感。

Yoshitomo Nara was born in 1959 in Aomori Prefecture, Japan. After graduating from Aichi Prefectural University of the Arts, he worked as an art teacher in high school while attending graduate school. After obtaining his master’s degree in 1987, he enrolled at Dusseldorf Art Academy in Germany for further education, and ended up spending 12 years in Europe. In 1998, he moved to the USA, where he spent

three months as a visiting professor at UCLA. In 2000, he returned to Japan, where he continues to live. His works have attracted global collectors across age, gender, and nationality. Nara’s works always feature traces of his lonely childhood, starting from his earliest composite and wooden sculptures of his college years. He often uses children and animals as the topic for his works. Most of his works from the early 1990s portray a single child, with dog sculptures beginning to appear around 1994-1995. In 1999, he created his most iconic series: the Little Pilgrim, or Night Walking series, which marked a crucial shift in Nara’s career. With the diversity of his works always challenging new heights, his sculptures have attracted particular attention from the West. He has also continuously received invitations to attend overseas exhibitions.

The Little Pilgrim series was first released in 1999 at Setagaya Art Museum, Tokyo. In the exhibition held in 2000 at Museum of Contemporary Art Chicago, an installation consisting of colorful little pilgrims was shown under the title Walk On, proving the importance of the series. In 2002, the little pilgrims made another appearance in the Lullaby Supermarket theme shown in Germany, which further boosted the artist’s level of international fame. This particular auction item was created in 2002. The work features a white and a chocolate-colored version. For each version has a total of 20. The special background made it a rare and valuable piece. The Little Pilgrim wears a robe, with his eyes closed and a pure expression on his face. His head is slightly raised and his arms lifted forward as if he is sleepwalking. By using the figures of colorful young children, the seriousness and religious nature of pilgrimage is toned down. At the time of this creation, Nara was shifting from a punk rock style to the softer, gentler world of fairy tales. With the use of fiberglass materials, he adds a smooth and light sense of playfulness to his works.

117

073 STÉPHANE DAUTHUILLE (French, b. 1965)

Fool's Head, Children with Birds 2015 Mixed media on canvas 100 x 81 cm Initialed lower left SD and dated 015 Signed and dated reverse S. Dauthuille 2015

NT$ 220,000 - 340,000 HK$ 57,000 - 87,000 US$ 7,300 - 11,300 RMB 52,000 - 80,000

史帝芬．度多耶愚者－童與鸝鳥起舞 2015年綜合媒材畫布 100 x 81 cm 簽名右下：SD 2015 簽名題識畫背：S. Dauthuille 2015

1965年生於法國布列塔尼，畢業於雷恩歐洲藝術學院。1990年代以紙上的單色抽象創作為主，後期越趨於具象表現，由室內景物進階至想像的人物描寫。灰色溫穩柔和，風格夢幻詩意，主題富有童趣與戲劇性。超現實情景，交揉藝術家旅行經驗與東方文化元素，更添神祕與想像空間。受邀展覽於巴黎、布魯塞爾、史特拉斯堡、里爾、南特、亞維儂等城市。

B o r n i n B r i t t a n y, F r a n c e i n 1965, S t é p h a n e D a u t h u i l l e graduated from European Academy of Art in Brittany at Rennes. His works from the 1990s are mostly monochromatic, abstract graphic works, while his later works gradually shifted to figurative expressions with the subject advancing from indoor inanimate objects to fictional characters. With gentle and smooth shades of grey, his style is marked by a sense of poetic fantasy and a dramatic, playful theme. With surreal scenes mixing the travel experiences of the artist and East-Asian cultural elements, his works are filled with mystery, leaving the viewer with endless imagination. The artist was invited to exhibit in Paris, Brussels, Strasbourg, Lille, Nantes, Avignon.

074 SUPAKITCH

市霸奇奇

(French, b. 1977)

星盤樂手

Vincil From Ummo-Hamptown.mp3

2009年綜合媒材 PCB 50 x 50 cm 簽名左下：SupaKitch 藝術家鈐印右下

2009 Mixed media on PCB 50 x 50 cm Signed lower left SupaKitch With one seal of the artist PROVENANCE Private collection, Asia

來源私人收藏，亞洲附愛力根畫廊開立之原作保證書

This lot is to be sold with a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 260,000 - 380,000 HK$ 67,000 - 98,000 US$ 8,600 - 12,600 RMB 61,000 - 90,000

119

075 JURGA MARTIN (French-Lithuanian, b. 1977)

S’il te plaît 2019 Bronze, ed. 1/8 31(L) x 30(W) x 97(H) cm Engraved backside JURGA 2019 and numbered 1/8

NT$ 480,000 - 750,000 HK$ 123,000 - 193,000 US$ 15,900 - 24,900 RMB 113,000 - 177,000

尤爾嘉．馬賀丹拜託 2019年銅雕版次 1/8 31（長）x 30（寬）x 97（高）cm 簽名雕刻後側：JURGA 2019 1/8

1977年生於立陶宛藝文世家，畢業於法國魯昂美術學院。文學素養與跨國境的生活經驗，培植出尤爾嘉鮮明的創作風格。以雕塑聞名的尤爾嘉．馬賀丹，認為手作捏製陶土的過程，能最為直覺地融合創作情感。精準捕捉細微生動的臉部表情，與人物充滿生命力的肢體動作。作品詩意的氛圍真摯動人，深受私人藏家喜愛。作品由法國馬茲柰畫廊（Galerie Maznel）、菲利浦貝慕畫廊（Gallery Bergamo）、埃居松畫廊（Galerie de l'Ecusson）等畫廊展覽推薦。

Born to a family of artists in Lithuania in 1977, Jurga Martin graduated from Rouen Art School in France. His background in literature along with experiences living around the world shaped his high-contrast style. Martin became renowned for his sculpture. In particular, he considers the hands-on process of shaping clay the most intuitive way to gather creative sentiments. His focus is set on precisely capturing lively facial expressions and recreating each character’s dynamic and lively movements. The true, touching and poetic atmosphere of his works garnered him wide appreciation from private collectors. Her works are recommended by Galerie Maznel, Gallery Bergamo, Galerie de l'Ecusson and other art institutions.

076 拉法．馬卡龍

西班牙當代藝術家拉法•馬卡龍，1981年生於馬德里，對藝術的熱情與天賦

(Spanish, b. 1981)

新世界

自學成師。色彩豐富且獨特的畫風，使馬卡龍的作品備受歐美藏家愛戴。他創

Caos

2020年綜合媒材畫布 188 x 143 cm 簽名右下：RM CAOS 20

RAFA MACARRON 2020 Mixed media on canvas Initialed lower right RM , titled CAOS and dated 20 188 x 143 cm

NT$ 650,000 - 1,000,000 HK$ 167,000 - 257,000 US$ 21,600 - 33,200 RMB 153,000 - 236,000

造的畫中世界，日常場景帶有一絲懷舊的氣息，靈感來自孩童時期的記憶，或是如孩童腦海中，天馬行空對外太空的想像。藝術家筆下形形色色的人物，外型比例好像外星人，大眼睛有著長睫毛，四肢軟如水管搭配誇張的肢體語言，畫中無時不上演精彩逗趣的劇情。如同真實世界，每個人都有自己的想法、外型和故事，人們彼此相似卻又不盡相同。

Born in 1981, Madrid, Rafa Macarron is a self-taught contemporary artist from Spain. His eccentric and colorful style has captivated many European and American art collectors. Drawing from his childhood memories as inspiration, Macarron created nostalgic scenery from ordinary life. With an unrestrained and childlike creativity, he created many whimsical illustrations of outer space. In his paintings, Macarron depicted his characters with proportions of extra-terrestrial humanoids. With huge eyes and long eyelashes, they hold exaggerated poses with their soft rubbery limbs, conveying many humorous stories within the paintings. In his works, people are similar yet very different - similar to real life, everyone harbors a distinctive mind, appearance, and background. 121

077 SUPAKITCH (French, b. 1978)

Pop the Clock 2007 Mixed media on canvas 195 x 114 cm With one seal of the artist PROVENANCE Private collection, Taiwan EXHIBITED SupaKitch: I was born to be different , Galerie Elegance, Taipei, December 11- 25, 2010 ILLUSTRATED SupaKitch: I was born to be different , Galerie Elegance, Taipei, 2010, color illustrated, p. 36

NT$ 850,000 - 1,200,000 HK$ 219,000 - 308,000 US$ 28,200 - 39,800 RMB 200,000 - 283,000

市霸奇奇 SupaKitch，以法文Super（超級）＆德文 Kitsch（艷俗）二字結合自創藝名。1978年生於法國蒙佩利爾（M o n t p e l l i e r），本名紀堯姆・岡鐸（Guillaume Grando）。市霸奇奇的創作語彙，顛覆傳統塗鴉的印象。從噴漆隨性到花體字型流暢，他交錯運用不同媒材，精湛風格從眾脫穎而出，深受私人藏家的喜愛。除了歐洲古典美術，生於嘻哈世代的 SupaKitch 也喜好當代風靡的日本卡漫、好萊塢影視，他的創作養成浸淫在多元開放的世界文化。1999年成為廣告公司藝術總監。而無窮的創作慾望和傑出天分，很快讓他成為專職藝術創作者，建立出獨一無二的個人風格。2002年舉行首次展覽，五年後他搬至紐約布魯克林，街頭文化的獨有氣息與流行音樂，刺激他筆下新一虛擬世界誕生。各種擬人化奇獸 SupAnimal，披上華麗外羽，牠們或是唱歌的獅子、旋轉唱片的浣熊，也可能是酷炫抽菸的幫派角色 SupAl

市霸奇奇

C a p o n e。逗趣的圖像，主題千變萬化，任由色彩如音符生動跳躍，活脫脫

時鐘潮客

表達作者內心的活躍面向。

2007年綜合媒材畫布 195 x 114 cm 藝術家鈐印中央來源私人收藏，台灣展覽「市霸奇奇：天生不同」，愛力根畫廊，台北，展期自2010年12月11日至25日圖錄《市霸奇奇：天生不同》，愛力根畫廊，台北，2010，彩色圖版，頁36

SupaKitch made up his own artist's pseudonym by combining two words,the word for super in French (Super) and the word for gaudy in German (Kitsch). SupaKitch named Guillaume Grando was born in 1978 in Montpellier, France. Hi's creative language subverts the impression of traditional street graffiti. SupaKitch uses spray paint and copperplate writing skill juxtaposing different material on the canvas. His exceptional style stands out becoming one of the icon choices by private collectors. In addition to classical European art, SupaKitch grew up in a Hip-Hop Generation, he also likes Japanese manga and Hollywood films, it's shown his creative inspirations are rooted in open multi-culture. Day and night, he roamed in the vast ocean of creativity and the joy of painting called out to him to become a professional creator. In 1999, SupaKitch became the artistic director of an advertising agency. However, his endless creative desire and outstanding talent soon made him a full-time artist, establishing his own distinctive personal style. In 2002, SupaKitch held his first art exhibition. Five years later he moved to Brooklyn, New York, where the unique atmosphere of street culture and pop music spurred him on to create a new virtual world with his paintbrush. He created a variety of anthropomorphic monsters cloaked in the splendor of feathers. Also known as SupAnimal, they could be a singing lion, a record-spinning racoon D.J., or a cool smoking gang character SupAl Capone. The amusing images present the painter's dynamic inner world with ever-changing subjects and colors jumping vividly as musical notes.

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078 KEITH HARING (American, 1958 - 1990)

Untitled 1983 Gouache and ink on paper 27 x 27.3 cm Initialed lower right K. H. PROVENANCE CRG Gallery, New York This lot is to be sold with a certificate of authenticity issued by CRG Gallery, New York.

NT$ 360,000 - 550,000 HK$ 93,000 - 141,000 US$ 11,900 - 18,300 RMB 85,000 - 130,000

凱斯．哈林無題 1983年水粉墨紙本 27 x 27.3 cm 簽名右下：K.H. 來源 CRG 畫廊，紐約附CRG畫廊開立之原作保證書

此次的兩件作品《無題》分別以最具個人風格元素組合之作！哈林從舞蹈中提取了「跳舞小人」的形象，這也成為了他作品中代表性符號之一。哈林在「跳舞小人」的主體物旁邊通常都會加上一些外散射的光芒。這些外散射的光芒使人想起童年無憂、快樂、純真「跳舞小人」紅色輪廓，黑邊圖形，非常直觀的表現出是最簡單炙熱的愛喜歡，使用白色基底，多為粗輪廓線，單色、空心的抽象人、動物等圖案，他的作品經常猶如某種複雜花紋。

His two works, Untitled , feature a pair of his signature symbols. Inspired by dancing, Haring created the image of “dancing figures,” one of the most representative symbols in his works. This image is actually derived from his previous “baby” motif, of which the “Radiant Baby” is seen as a seminal character, an iconic symbol and a significant inspiration for his later creations. His works often consist of intricate, maze-like patterns with the use of bold lines, single colors, and abstract hollow images of humans or animals against a pure white background.

079 KEITH HARING (American, 1958 - 1990)

Untitled 1984 Marker pen on paper 42 x 29.5 cm Signed lower right K. Haring and dated 84 with artist's monogram PROVENANCE Tony Shafrazi Gallery, New York This lot is to be sold with a certificate of authenticity issued by Tony Shafazi Gallery, New York.

NT$ 360,000 - 550,000 HK$ 93,000 - 141,000 US$ 11,900 - 18,300 RMB 85,000 - 130,000

凱斯．哈林無題 1984年馬克筆紙本 42 x 29.5 cm 簽名右下：K. Haring 84 來源 Tony Shafrazi 畫廊，紐約附 Tony Shafazi 畫廊開立之原作保證書

另一張《無題》蛇形人，大量地使用單線條，再平塗顏色，構圖簡潔明快，形象高度概括，充滿了卡通角色的趣味感。哈林熱衷高度的抽象與具象之間轉換原則，各種圖案充滿了整個構圖，往往沒有透視，也沒有肌理，色彩與一般的常規性色彩寫生也有所區別，存在獨特的色彩語言，使其具有許多象徵性的感情。作品中的電視機具有大眾文化的某些特點，節奏快，可複製性強，普眾化，低成本。這些卡通似的人物形象在讓觀者感受到詼諧幽默文化的同時，對社會政治等方面的警示，將文化反思付諸街頭塗鴉，可是卻能引起廣大人民思想的共鳴。

In his other painting, Haring uses an abundance of single lines and flat wash techniques to create a crisp, graphic image of a snake-shaped figure, delivering a cartoonish sense of fun. Haring was particularly adept at transitioning between abstract and figurative styles, often filling up his compositions with a variety of flat, two-dimensional, and textureless patterns. Moreover, Haring developed a singular visual language packed with rich symbolic emotions, using colors that were distinct from regular color sketches. The TV console in this painting manifests certain features of pop culture - fast-paced, replicable, popular, and inexpensive. Seemingly casually arranged, this painting is able to strike a chord with a vast number of viewers.

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080 安娜· 維拿爾

安娜•維拿爾1964年生於法國巴黎藝文世家，畢業於巴

(French, b. 1964)

風景：海洋氣息

黎國立高等美術學院。自1983年起於巴黎大皇宮參展青

Paysage-Oceanic Atmosphere

2004年油彩畫布 100 x 100 cm 簽名題識畫背：A.Vignal 2004 Paysage 100/100 cm

ANNE VIGNAL 2004 Oil on canvas 100 x 100 cm Signed reverse A. Vignal, dated 2004 , titled Paysage and inscribed 100/100 cm PROVENANCE Kwai Fung Hin Art Gallery, Hong Kong Private collection, Hong Kong

NT$ 140,000 - 200,000 HK$ 36,000 - 51,000 US$ 4,600 - 6,600 RMB 33,000 - 47,000

來源季豐軒畫廊，香港私人收藏，香港

年畫家沙龍獲得肯定，三年後由巴黎慕斯卡畫廊首次舉行個展。獨特的個人風格，以抒情抽象畫風表現，富有色彩層次的心靈風景。展覽經歷遍及歐洲與亞洲商業畫廊，作品典藏於私人基金會或公共機構：克拉斯私人基金會、埃及文化部當代藝術基金會等。

Born in 1964 into a Paris artistic family, Anne Vignal graduated from National School of Fine Arts, Paris. In 1983, her work was exhibited in Salon of Young Painting, Grand Palais, Paris, after three years, Gallery Muscade held her first solo exhibition. Vignal’s exceptional abstract style displays her personal mind scenery enriching by vivid colors. Vignal’s exhibition experiences crossed Europe and Asian commercial galleries, her works were also collected by private foundation or public institutions, including Fondation Colas, Contemporary Art Fund of the Ministry of Culture Egypt.

081 陳留厚

陳留厚生於越南河內。1949至1954年就讀於北越南美術學院。1956

(Vietnamese, 1928 - 2020)

花

至1962年赴莫斯科蘇里科夫藝術學院繼續修習。曾任教於越南河內

Flowers

2002年油彩畫布 90 x 80 cm 簽名左下：Hau 02

TRAN LUU HAU 2002 Oil on canvas 90 x 80 cm Signed lower left Hau and dated 02 PROVENANCE Ravenel Autumn Auction 2010 Hong Kong, lot 72 Private collection, Hong Kong

NT$ 260,000 - 380,000 HK$ 67,000 - 98,000 US$ 8,600 - 12,600 RMB 61,000 - 90,000

來源羅芙奧香港2010秋季拍賣會，編號 72 私人收藏，香港

美術學校，一直是其美術協會的主要成員。作品受邀參加越南全國各大美術展覽。1980年他的繪畫於越南國際藝術展覽獲得銀獎，1985 年也於繪畫展獲頒金獎。1993年獲邀至巴黎舉辦展覽，其作品也收藏於河內美術館、波蘭的亞洲博物館及前蘇聯亞洲博物館等。 Born in Hanoi, Vietnam. From 1949 to 1954, Tran was a student of Viet Bac Fine Arts School. He continued his study at Surikov Fine Arts Academy in Moscow from 1956 to1962. He taught at the Hanoi School of Fine Arts, and has been a leading member of the Association. Invited to participate in nearly all of the National Fine Arts Exhibitions in Vietnam, he won the second prize at the Vietnam national fine arts exhibition in 1980 and the first prize at the graphic exhibition in 1985. In 1993, he has held solo Vietnamese contemporary art exhibitions in Paris. His work is included in the collections of Hanoi Museum of Fine Arts, the Asian Museum in Poland, and the Asian Museum of former Soviet Union.

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082 阮忠

阮忠，1940年生於越南，以優美越南女性之姿描

(Vietnamese, b. 1940)

黃衣少女

繪見長。其筆下人物，身形修長髮絲飄逸，嫻靜

Girl in Yellow Dress

2008年油彩畫布 99 x 99 cm 簽名右上：ng Trung 08

TRUNG NGUYEN 2008 Oil on canvas 99 x 99 cm Signed upper right ng Trung and dated 08 PROVENANCE Private collection, Asia (The current owner acquired directly from the artist.)

NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,600 - 15,900 RMB 75,000 - 113,000

來源私人收藏，亞洲（現藏者直接購自藝術家本人）

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

083 TRUNG NGUYEN

阮忠

(Vietnamese, b. 1940)

沉睡的女子

Sleeping Girl

2011年油彩畫布 99.5 x 99.5 cm 簽名左上：ng Trung 2011

2011 Oil on canvas 99.5 x 99.5 cm Signed upper left ng Trung and dated 2011 PROVENANCE Private collection, Asia (The current owner acquired directly from the artist.)

NT$ 360,000 - 480,000 HK$ 93,000 - 123,000 US$ 11,900 - 15,900 RMB 85,000 - 113,000

來源私人收藏，亞洲（現藏者直接購自藝術家本人）

Born in Vietnam in 1940, Trung is known for his beautiful works of Vietnamese women. The figures he paints have long slender bodies, flapping hair, and demure elegance, reminiscent of the style of Italian Renaissance painter Sandro Botticelli. However, the background, apparel, clothing, and posture retain Vietnamese traditions and Buddhist elements. This showcases an artistic tendency to merge things and transcend aesthetics. In 1963, he won the gold medal in the Vietnam Spring Salon Exhibition. Since the 1990s, he has been invited to show his paintings in traveling exhibitions organized by private galleries and museums in Europe and Asia. His works of art have been included in the collections of national art museums in Europe and Asia, such as Ho Chi Minh City Fine Art Museum, Museo Biblioteca Archivio in Bassano del Grappa, Singapore National Art Museum, and Vietnam Fine Art Museum in Hanoi.

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084 吉安路卡．皮亞奇歐尼

吉安路卡．皮亞奇歐尼利用複雜但規律的方式

(Italian, b. 1971)

朦朧

割開畫布，作品融合了歐普藝術的視覺效果，

Obscure

2010年壓克力鏤空折曲畫布 40（長）x 40（寬）x 2（深）cm 簽名題識畫背："OBSCURE" A0183-10256/192 40x40x2 G. Piaccione

GIANLUCA PIACCIONE 2010 Acrylic on cut-out and folded canvas 40(L) x 40 (W) x 2(D) cm Signed reverse G. Piaccione in Italian, titled "OBSCURE " in English and inscribed A0183-10256/192 40x40x2 PROVENANCE Private collection, Italy This lot is to be sold with a certificate of authenticity signed by the artist.

NT$ 80,000 - 120,000 HK$ 21,000 - 31,000 US$ 2,700 - 4,000 RMB 19,000 - 28,000

以及盧齊歐．封塔納打破傳統「繪畫」條件的概念。歐普藝術家以嚴謹的科學設計啟動視覺神經，藝術通過視覺效果創作出圖像，達到與傳統繪畫同樣動人的藝術體驗。封塔納的概念則是以劃開畫布的方式，使「繪畫」不再被侷限在於平面上的所塗抹的顏料，而是包含畫布

來源私人收藏，義大利

前、後的三度空間。經過設計及計算，皮亞奇

附藝術家簽名照片保證書

面，除了給予觀著視錯覺感，配合藝術家別有

歐尼透過各異的切割規律所排列出的幾何形畫意味的作品命名欣賞亦饒富趣味。

085 伊莉莎白．莎貝娜

伊莉莎白．莎貝娜來自巴塞隆納，巴塞隆納

(Spanish, b. 1956)

去曬黑一點。我寧可先喝啤酒。

工藝藝術學院學習工業設計，取得中央大學

Go ahead to get some suntan. I prefer first to have a beer.

約2000年油彩畫布 162 x 130 cm 簽名中下：SABALA

ELISABETH SABALA

c. 2000 Oil on canvas 162 x 130 cm Signed lower center SABALA PROVENANCE Kwai Fung Hin Art Gallery, Hong Kong Private collection, Asia

NT$ 240,000 - 360,000 HK$ 62,000 - 93,000 US$ 8,000 - 11,900 RMB 57,000 - 85,000

來源季豐軒畫廊，香港私人收藏，亞洲

繪畫美術學位。透過創作記錄自身生命經驗。以幽默的情境主題，鼓勵人們正向面對生命挫折。充滿樂觀詼諧的藝術精神，如同晴空高照的太陽，溫暖觀賞者的心情。

Elisabeth Sabala is a painter from Barcelona. She studied industrial design at the school of Arts and Crafts in Barcelona and has a degree in Fine Arts, from the Central University of the same city. Her records life experiences through creation. Her works of art depicting humorous situations encourage people to face life setbacks. Full of optimistic and witty artistic spirit, like the sun shining in the sky, her paintings warm the mood of the viewers.

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086 GIANLUCA PIACCIONE

吉安路卡．皮亞奇歐尼

(Italian, b. 1971)

紅色行走

Walking in Red

2015年壓克力鏤空折曲畫布 100（長）x 100（寬）x 10（深）cm 簽名題識畫背："WALKING IN RED" Arc: 298A0-15 800/2000 100x100x3 G. Piaccione

2015 Acrylic on cut-out and folded canvas 100(L) x 100(W) x3(D) cm Signed reverse G. Piaccione , titled "WALKING IN RED " and inscribed Arc: 2 98A0-15 800/2000 100x100x3 PROVENANCE Private collection, Italy

NT$ 280,000 - 420,000 HK$ 72,000 - 108,000 US$ 9,300 - 13,900 RMB 66,000 - 99,000

來源私人收藏，義大利

Gianluca Piaccione cut out the canvas in a complicated but regulated fashion for his work. Piaccione’s artwork intergrated the visual effect of Op-art, as well as the concept of breaking the definition of “painting” which had also been done by the famous Lucio Fontana. Through scientific design, Op-artists activate the viewer's’ optic nerve, create visual images by utilizing and arranging visual effects, to achieve artistic experiences that are just as moving as those inspired by traditional paintings. By cutting the canvases, Lucio Fontana presented the concept of “painting” as a three-dimensional extension which includes the anterior and inferior of the canvas, rather than a restricted flat surface with arranged pigments. Piaccione created the dizzying optical illusions with meticulously designed geometric shapes. Meanwhile, the calculated cutting patterns and the intentionally positioned shapes are amazingly interesting when referring to the suggestive title.

087 大久保如彌

1985年出生於日本東京，畢業於武藏野美術大學。作品大量

(Japanese, b. 1985)

初次見面

繁複的自然元素，鮮豔色澤與花紋圖案，令人感到豐富溫柔且

Nice to meet you

2010年油彩壓克力棉布裱於木板 162 x 130 cm 簽名畫背：大久保如彌題識畫背：はじめまして 2010.2 Naomi Okubo

NAOMI OKUBO 2010 Oil, acrylic on cotton, cloth mounted onto panel 162 x 130 cm Signed reverse Naomi Okubo in Kanji and English Inscribed reverse Nice to Meet you in Japanese and dated 2010.2 PROVENANCE Gallery MoMo Ryogoku, Japan Private Collection, Asia

NT$ 280,000 - 420,000 HK$ 72,000 - 108,000 US$ 9,300 - 13,900 RMB 66,000 - 99,000

來源 MoMo Ryogoku 畫廊，日本私人收藏，亞洲

目不暇給，讚嘆其營造出獨有的青少女美學。場景如同夢境精緻華麗，分化為畫面元素，削弱敘事性，僅作為藝術家自我意識之表徵，探討自我與外在人際關係之互動。展覽經歷集中於東京、香港、紐約，並曾受邀參展於東京現代美術館、水青年美術館等地。

B o r n i n 1985 i n To k y o , J a p a n , N a o m i O k u b o l a t e r graduated from Musashino Art University. The vast complexity of natural elements, bright colors and patterns all exude a sense of abundance and gentleness, keeping the viewer dazzled and impressed by the unique girlish beauty she creates. In delicate and gorgeous scenes, differentiated as an element on the frame with a weakened narrative, the girl only serves as a symbol of the artist’s self-awareness in exploring the interpersonal interaction between the self and other people. Okubo’s major exhibitions have been held in Tokyo, Hong Kong, New York and to be invited to show at Museum of Contemporary Art, Tokyo and Yarimizu Museum of Art, Tokyo.

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088 GEORGE BYRNE (Australian, b. 1981)

Post Truth 2018 Archival pigment print on canson platine, ed. 3/3 171 x 138 cm Signed lower right G. Byrne , titled Post Truth , numbered 3/3 and dated 2018 EXHIBITED George Byrne: Post Truth , Olsen Gallery, Sydney, January 29-February 17, 2019 (another size) George Byrne: Exit Vision , Olsen Gruin NY, New York, September 4 - October 6, 2019 (another size) George Byrne: Post Truth , Powen Gallery, Taipei, March 8-April 5, 2020 ILLUSTRATED George Byrne: Post Truth , Olsen Gallery, Sydney, 2019, color illustrated, cover page (another size) Robb Report (Australia & New Zealand), Summer Issue, 2019, color illustrated, cover page This work is to be sold with a certificate of authenticity signed by the artist.

NT$ 120,000 - 180,000 HK$ 31,000 - 46,000 US$ 4,000 - 6,000 RMB 28,000 - 42,000

喬治•伯恩是洛杉磯知名的洛杉磯的影像藝術家，1976年出生於雪梨，2001年畢業於雪梨藝術學院後到處旅行，最終於2011年決定定居洛杉磯。他創作的大型圖像作品，將日常的表象及風景，以抽象畫的描繪方式呈現，伯恩的影像創作將平凡的都市景像蛻變得活潑且具有感染力。喬治•伯

喬治・伯恩後真實 2018年藝術微噴無酸純棉相紙版次 3/3 171 x 138 cm 簽名右下：Post Truth, 3/3, 2018, G.Byrne 展覽「喬治・伯恩：後真實」，奧爾森畫廊，澳洲雪梨，展期自2019年1月29日至2月17日（其他尺寸）「喬治・伯恩：後真實」，奧爾森－葛若恩紐約畫廊，紐約，展期自2019年9月4日至10月6日（其他尺寸）「喬治・伯恩：後真實」，紅野畫廊，台北，展期自2020年3月8日至4月5日圖錄《喬治・伯恩：後真實》，奧爾森畫廊，澳洲雪梨，2019，彩色圖版，封面（其他尺寸）《Robb報告》夏季號（紐澳），彩色圖版，2019，封面附藝術家簽名原作保證書

恩的作品在國際上廣泛地被珍藏；他目前有紐約、溫哥華、奧斯陸及雪梨等地畫廊的展覽與經紀。

Bor n in Sydney in 1976, George Byr ne graduated from Sydney College of The Arts in 2001, travelled extensively, and then settled in Los Angeles in 2011. George Byr ne is photographic artist based in Los Angeles, he creates large-scale images that depict everyday surfaces and landscapes as painterly abstractions. Byrne’s keen interest in the deconstructive principles of abstract painting paired with a sharp compositional eye results in photographs photo-collage that provide a fresh contemporary perspective of the American landscape. Byrne’s oeuvre is to spin banal urban scenes into seismic moments. Byrne’s work is collected internationally; he is currently represented by galleries in New York, Vancouver, Oslo & Sydney.

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LOT 047

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

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

競投保證金 : 新台幣陸拾萬元或貳萬美金。

競投保證金需於 2020 年 7 月 15 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。

2020 年 7 月 15 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2020 年 7 月 16 日至 7 月 18 日 ) 以新台幣現鈔支付 ( 恕不接受除現金之外之其他繳納方式 )，收款將於 7 月 18 日中午 12 點截止。

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如於 2020 年 7 月 15 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我們將與競投者聯繫並與之確認其競標牌號。

拍賣當天已繳納競投保證金之競投者欲領取所登記的牌號時，請出示有效證件 ( 如：身份證明、護照…) 以確認身份。

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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：上限新台幣壹佰萬元。 (2) 信用卡與銀聯卡：刷卡上限為新台幣壹佰萬元。信用卡與銀聯卡持有人必需是買家本人，本公司不接受他人之信用卡。

10. 羅芙奧股份有限公司有權在發生任何不可預見的糾紛或矛盾的狀況之下，對於接受或拒絕付款（包含競投保證金）保留全部的決定權。

137

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

Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a bidding deposit are required.

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

The bidding deposit must be transferred to Ravenel's specified Bank account prior to 15th July 2020, details as follow: Beneficiary's Bank: HSBC BANK (Taiwan) Limited. SWIFT Code: HSBCTWTP Beneficiary's Name: Ravenel Ltd. Beneficiary's Account No: 001-234830-031 (NT$) or 001-234830-061 (US$) Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of bidding deposit. The payer will be responsible for any associated bank service fees.

After the 15th July 2020, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 16th July to 18th July 2020). Acceptance will cease on 18th July by noon (No other forms of payment will be accepted).

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If the bidding deposit has been transferred prior to 15th July 2020, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her/its paddle number.

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

Return of the Security Deposit: (1) Completed Transaction: (a) For successful bidder with a bidding deposit made through wire transfer, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer. (b) For successful bidders with bidding deposit made by Cash, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund. (c) If the Buyer, without any good cause, fails to pay any and all payment (including but without limitation, hammer price, buyer's premium, and other expenses) of the Lot to the Company within 7 days after the auction date, the Buyer shall not claim for the return of the bidding deposit. (2) Nil Transaction: If the bidder is not able to purchase any lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. For individuals with a bidding deposit transferred by wire, the bidding deposit will be returned within 14 business days through means of a wire transfer. Cash bidding deposit will be returned to individuals on the same day after the auction.

Successful bidder must settle the payment (hammer price, buyer's premium, and other expenses) prior to receiving the lot(s) on site. If the price exceeds the amount of the bidding deposit, the successful bidder may settle the outstanding balance through the following means: (1) A cash payment must not exceed NT$ 1,000,000. (2) A credit or China UnionPay payment: The credit payment must not exceed NT$ 1,000,000. The holder of the credit card or China UnionPay must be the successful bidder, credit payments from any title except for the successful bidder will not be permitted nor accepted.

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

委託競投表格委託競投表格須於拍賣24小時前送抵國際藝術部。競投表格可傳真至：國際藝術部電話：+886-2-2708 9868 分機 883 傳真：+886-2-2701 3306 投標者資料

拍賣名稱：羅芙奧 2020 春季拍賣會薈萃：國際現代與當代藝術拍賣編號：TA2001 拍賣日期：2020 年 7 月 19 日（星期日）下午 1:00 拍賣地點：台北萬豪酒店三樓（博覽廳）台北市中山區樂群二路 199 號

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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

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ABSENTEE BID FORM The absentee bid forms must be delivered to the International Art Department at least 24 hours before the auction begins. The bid forms may be faxed to: International Art Department Tel: +886 2 2708 9868 ext. 883 Fax: +886 2 2701 3306

Auction Date Sale No. Location Address

RAVENEL SPRING AUCTION 2020 SELECT: Modern & Contemporary Art Sunday, July 19, 2020, 1:00 pm TA2001 Marriott Taipei 3F (Grand Space) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

Bidderâ&#x20AC;&#x2122;s Details Name ID number Address Post code Tel: (Daytime)

(Evening)

Fax

Signature (Notice: We must have your signature to execute this bid. Billing name and address should agree with your state or local sales tax exemption certificate. Invoice cannot be changed after they have be printed.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder. I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received. I understand that if my bid is successful, I shall pay the final hammer price together with the buyer's premium. The buyer's premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Article 2, section 4 of the Transaction Agreement to the Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the buyer's premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the buyer's premium should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.) The bid shall be subject to the Transaction Agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warranties that may be provided for certain items.

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

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Bid price (NT$) (excluding service fee)

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

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

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

j. 錄映影像在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是否與成功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買家均不負任何責任。 k. 拍賣官之決定權拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併，以及如遇有誤差或爭議，將拍賣品重新拍賣。拍賣官會於拍賣開始前或於相關拍賣品競標前對注意事項作出通告，準買家須負責自行注意所有於拍賣會場發表之通告。建議使用即時網上競投服務參與競投的準買家，於拍賣開始前登入，以確保準買家得知拍賣開始前所作出之通告。 l. 成功競投在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家與買家合意依落槌價拍定拍賣品，視為成功拍賣合約之訂立。 4. 成功拍賣後 a. 買家支付每件拍賣品之服務費費率 (1) 買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下者含參仟貳佰萬元以落槌價之20％計算。 (2) 落槌價於新台幣參仟貳佰萬元以上者，採分為二階段計費，其中新台幣參仟貳佰萬元以落槌價之20％計算，超過新台幣參仟貳佰萬元之部份再以落槌價之12％，加總計算服務費金額。 b. 稅項買家應付予本公司之款項，如須另行支付貨物、服務稅或其他稅則時（不論由台灣政府或別處所徵收）。買家須負責按有關法律所規定之稅率及時間，自行繳付稅款。 c. 付款成功拍賣後，買家須向本公司提供其真實姓名及永久地址。如經本公司要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳號。買家應於拍賣日期後七天內悉數支付應支付予本公司之款項（包含落槌價、服務費或運費等相關費用）。即使買家希望將拍賣品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項為新台幣以外之貨幣，須依拍賣日現場公佈之匯率（台灣銀行），並以本公司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之拍賣項目，直至欠本公司之款項已悉數支付為止。已購拍賣品在暫時保留期間，由成功拍賣日後起算七天將受保於本公司之保險，如屆時拍賣品已被領取，則受保至領取時為止。七天期滿後或自領取時起（以較早者為準），已購拍賣品之風險全由買家承擔。 e. 介紹裝運及運輸公司本公司之貨運部門在買家要求下，可為買家介紹運輸公司、安排付運及購買特定保險，但本公司在此方面不負任何法律責任。買家必須預先繳付運輸費用。 f. 不付款或未有領取已購拍賣品之補救辦法如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下述一項或多項權利或補救辦法： (1) 在成功拍賣日後起算超過七天仍未付款，則按不超過台灣銀行基本放款利率加收10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依成交價（含落槌價、服務費）1％計算之懲罰性違約金。本公司亦得自行選擇將買家未付之款項，用以抵銷本公司或其他關係企業在任何其他交易中欠下買家之款項，買家絕無異議。 (2) 對任何屬於買家所有而因任何目的(包含但不限於其他交易)而由本公司管有之已購拍賣品行使留置權，並在給予買家有關其未付之欠繳之十四天通知後，安排將該物品出售並將收益用以清償該未付之欠款。 (3) 如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項用以清償已購拍賣品就任何特定交易而欠下之任何款項，而不論買家是否指示用以清償該筆款項。 (4) 在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投，或在接受其任何競投之前先收取買家一筆競投保證金。如買家未有在三十五天內付款，本公司除上述辦法外，另有權為下述一項或多項權利或補救辦法：

(a) 代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉數賠償為基準之法律程序訴訟費。 (b) 取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予買家之拍賣品交易。 (c) 安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連同因買家未有付款而引致之任何費用一併向買家索償。 g. 未有領取已購拍賣品如已購得之拍賣品未有在成功拍賣日後起算七天內領取，則不論是否已付款，本公司將安排貯存事宜，費用由買家承擔。而買家在付清所引起之貯存、搬運、運輸、保險及任何其他費用，連同欠本公司之所有其他款項後，方可領取已購拍賣品項目。 h. 出口許可證除本公司另有書面同意外，買家希望申請出口許可證，並不影響買家在成功拍賣日後起算七天內付款之責任，亦不影響本公司對延遲付款收取利息之權利。如買家要求本公司代為申請出口許可證，本公司有權向其收取與此項申請有關之款項及零碎開支連同任何有關之稅則。如買家不需要出口許可證而作出付款，本公司並無責任退還買家因此而引致之任何利息或其他開支。 5. 本公司之法律責任本公司僅在第二條第6項所列之情況下，得退還款項予買家。除此之外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之作者、來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說明之誤差，任何拍賣品之任何瑕疵或缺陷，均不負有任何責任。賣家、本公司、本公司之僱員或代理人，不論是明示或暗示均無就任何拍賣品作出任何保證。任何種類之任何擔保，均不包含在本條之內。 6. 膺品/贓物之退款本公司之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實為膺品、贓物或涉及不法情事者，則交易將取消，已付之款項於交付賣家前將退還予買家。但如： a. 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納之意見，或清楚表明有牴觸當時學者或專家普遍接納之意見。 b. 或證明拍賣品為膺品或贓物之方法，只是一種在目錄出版前仍未普遍獲接納使用之科學程序，或是一種在拍賣日仍屬昂貴得不合理或並不實際或很可能會對拍賣品造成損壞之程序，則本公司無論如何並無責任退還任何款項。此外，買家只在滿足下述條件下方可獲得退款： (1) 買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有關拍賣品乃膺品或贓物之詳細理由及證據。 (2) 且買家需於書面通知後十四天內將拍賣品送還本公司，而其狀況應維持與拍賣當日相同，不得有任何損壞。 (3) 送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品乃膺品或贓物(本公司保有最終及不可異議之決定權)，買家並可將拍賣品之完整所有權及相關權利轉讓予本公司，而與任何第三人之索償無涉。在任何情況下，本公司均毋須向買家支付多於買家就有關拍賣品而支付之款項，而買家亦不能索取利息。本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本發票之買家所有(該買家名稱被記載於發票上)，該名買家並須自拍賣後一直保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何第三人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺品或贓物，不論該程序在拍賣當日是否已使用或已在使用，如本公司驗證拍賣品是否屬於贗品或贓物結果與買家出示證據相衝突者，應以本公司驗證結果為準。

賣方業務規則請參閱羅芙奧網站 http://ravenel.com http://ravenelart.com.cn

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TRANSACTION AGREEMENT The following provisions are entered into by and between Ravenel Ltd., as the auctioneer, (hereinafter referred to as the “Company”),and the Seller (hereinafter referred to as the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Prospective Buyer, the Buyer should pay special attention to Article 2, Section 5 which provides limitations as to the legal responsibilities of the Company. ARTICLE 1.DEFINITION Some of the phrases commonly seen herein are defined as follows: 1. "The Buyer" shall mean highest bidder accepted by the Company. 2. "The Prospective Buyer" shall mean any potential bidder willing to attend the auction sale hosted by the Company. 3. "The Seller" shall mean the Seller who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company. 4. "The Lot" shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue. 5. "Hammer price" shall mean the highest bid with respect to one particular Lot accepted by the auctioning party. 6. The " Buyer's Premium" shall mean the fee based on a certain percentage of the Hammer price paid to the Company by the Buyer; the percentage shall be as prescribed in Article 2, Section 4a. 7. "The Reserve Price" shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price. 8. "Counterfeit" shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints). 9. "Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company). 10. The "Seller Service Fee” shall mean the fee is paid to the Company by the Seller. ARTICLE 2.THE BUYER 1. The Company as the Agent of the Seller The Company, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer. 2. Prior to the Auction a. Authentication We strongly recommend that the Prospective Buyers conduct their own authentication for the items they are interested in bidding prior to the auction. The Company provides no guarantee to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot and related certificates. b. Important Notice Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The description of the auction items also do not imply and guarantee that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally. We strongly recommend the Prospective Buyers shall personally view the items for which they plan to bid before the auction. Any description in the catalogue or any statement provided by the Company is purely the Company's subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in "as is" condition. The Company does not provide any representation or guarantee as to the condition of any of the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ○ Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer's Premium. d. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lot and certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions

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and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many Lots fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her/its own judgment or estimation independently regarding the Lots.ing his/her own judgment or estimation independently regarding the Lots. 3. In the Auction a. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate announced by the Company on the day of auction. b. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. c. Registration Prior to the Bidding Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may request to conduct credit checks against Buyers. d. The Bidding Deposit The bidder shall pay the bidding deposit before receiving the bidding number. The Company will announce the amount of the bidding deposit before the auction day. (1) If the bidder fails to pay the bidding deposit in advance, the Company has the right to refuse the bid. If the bidder is not able to purchase any Lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. (2) If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs ) of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). If the Buyer ,without any good cause, fails to pay any and all payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs) of the Lot to the Company within 7 days after the auction date ,the Buyer shall not claim for the return of the bidding deposit. e. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission Bids The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the provided forms attached to the explanations of the catalogue; however, bid commission instructions must be delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. g. Bid by Phone The Company will make proper effort to contact the bidder so he/she can participate in the auction by phone if the Prospective Buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. h. Online Bids via Invaluable If the bidder cannot attend the auction, it may be possible to bid online via Invaluable for preferred Lots to bear individual buyer's responsibilities. This service is free and confidential. For information about registering to bid via Invaluable, please refer to Ravenel.com. The Bidders using the Invaluable online bidding service are subject to the additional terms and conditions for online bidding via Invaluable, which can be viewed at Ravenel.com and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating in auctions. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board.

j. Recorded Images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. k. Determining Power of the Auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his/her discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the commencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction. l. Successful Bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement on Hammer Price. 4. Following the Auction a. The Buyer's Premium of Each Lot (1) The Buyer should pay the hammer price and, in addition, the Buyer's Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the Buyer's Premium should be calculated at 20% of the hammer price. (2) For hammer price higher than NT$ 32,000,000, total amount of the Buyer's Premium should be that the first NT$ 32,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12% of the hammer price. b. Taxes All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his/her/its true name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon the company request. All payments due (including the hammer price, the Buyer's Premium and any freights or other expenses) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the exchange rate of the payments to the Company should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Referral of Packaging or Transportation Companies The shipping department of the Company may introduce the forwarder, assist in the arrangement of delivery, or purchase particular insurance upon the Buyer's request. The Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. Costs and expenses for shipping and insurance shall be paid in advance. f. Remedies for Non-Payment or Non-Collection of Items Sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and Buyer's Premium) multiplied by the number of delayed days as puntive damage for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company's sole decision. (2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose including but without limitations other transactions. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his/hers/its non-payment. The proceeds shall make up for the payment due. (3) If the Buyer owes the Company several payments as a result of different transactions, the payments will set-off any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments. (4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a bidding deposit from the Buyer before accepting any future bids from him/her/it. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned: (a) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer.

g. No Collection of the Lot Sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, handling, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid in full can the sold Lot be collected. h. Export Permit Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days following the auction date; nor does it affect the Company's right to impose interest on delayed payments. If the Buyer requests that the Company applies for the export permit on his/hers/its behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes. If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom. 5. The Legal Responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 2, Section 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Seller, the Company, the employees or the agents of the Company make no guarantee impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein. 6. Return of Payments for Counterfeits or stolen goods The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit or stolen goods, or involved in obvious illegality by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields. b. Or the method used to prove that the Lot is a counterfeit or stolen goods is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he/she considers the relevant auction item a counterfeit or stolen goods. (2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day without any damage. (3) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit or stolen goods (The Company has the final and sole discretion and decision and such decision shall not be objected in this regard). The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim. Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer cannot claim interests. The interests of the warranty cannot be assigned and belong solely to the Buyer who receives the original invoice on which such Buyer's name is recorded from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit or stolen goods based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. If the result of appraising and verifying whether the Lot is a counterfeit or stolen goods by the Company conflicts with the evidence provided by the Buyer, the Company's said result shall prevail over the evidence provided by the Buyer.

Please refer to our website for sellerâ&#x20AC;&#x2122;s Transaction Agreement. http://ravenel.com http://ravenelart.com.cn

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