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

SPRING AUCTION 2020 TAIPEI

羅芙奧台北 2020 春季拍賣會亞洲現代與當代藝術

RAVENEL SPRING AUCTION 2020 TAIPEI Modern and Contemporary Asian Art 拍賣日期

地點

2020年7月19日（日）下午 2:30 萬豪酒店台北市中山區樂群二路199號3樓（博覽廳）預展日期

地點

台中 2020年7月4日（六）下午1:00至下午6:00 2020年7月5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 台北 2020年7月16日（四）~ 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（博覽廳）

AUCTION Sunday, July 19, 2020, 2:30pm Marriott Taipei Grand Space, 3F , No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

PREVIEWS Taichung

Saturday, July 4, 2020, 1:00pm - 6:00pm Sunday, July 5, 2020, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Taipei

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

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

王鎮華 Arthur Wang 董事長 Chairman

郭倩如 Clara Kuo 副董事長 Vice Chairman

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

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

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

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

International Penny Chen Tel: +886 2 2708 9868 ext.586 Email: pennychen@ravenel.com Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday. Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you. Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.

目次 / Contents

羅芙奧春季拍賣會

Sale Information 10

羅芙奧之服務

Ravenel Services 13

藝術家索引

Index 14

亞洲現代與當代藝術

Modern and Contemporary Asian Art 215

給予買家的重要通知

Important Notice to Buyers 217

委託競投表格

Absentee Bid Form 219

業務規則

Transaction Agreement

藝術家索引 / Index A

AI WEI-WEI Yoshitaka AMANO Daniel ARSHAM

Gary Baseman x Tim Biskup x Seonna Hong x Kathy Stacio-Schorr x Todd Schorr 格里．巴斯曼 x 蒂姆．比斯科普 x 洪森娜 x 凱西．斯達科．紹爾 x 陶德．紹爾 Medicom Toy x Brandalism

艾未未天野喜孝丹尼爾．阿爾軒

115, 245 184 242

Bernard BUFFET

貝爾納．畢費

Chang-Ling SANYU (CHANG Yu) George CHANN CHEN Danqing CHEN Ting-shih (CHEN Ting-shi) CHEN Yin-hui CHIU Ya-tsai CHU Teh-chun CHUANG Che

常陵常玉陳蔭羆陳丹青陳庭詩

159 152, 153, 158 182 170 164

陳銀輝邱亞才朱德群莊喆

169 136 131 144, 168

奈良美智

Shinji OHMAKI Julian OPIE

大巻伸嗣朱利安·奧匹

177 224

221, 223

PANG Jiun

龎均

147

Ayako ROKKAKU

六角彩子

113, 123

SANYU（CHANG YU）常玉 Gary Baseman x Tim Biskup x Seonna Hong x Kathy Stacio-Schorr x Todd Schorr 格里．巴斯曼 x 蒂姆．比斯科普 x 洪森娜 x 凱西．斯達科．紹爾 x 陶德．紹爾 SHEN Che-tsai 沈哲哉 Chiharu SHIOTA 鹽田千春 SHIY De-jinn 席德進 Hajime SORAYAMA 空山基 Kishio SUGA 菅木志雄

152, 153, 189 210

Kaws (Brian Donnelly) x Jun Takahashi Kaws x 高橋盾 Osamu TEZUKA 手塚治虫 TIAN Xiao-chi 田小赤 Walasse TING 丁雄泉 TONG Yang-tze 董陽孜 TSONG Pu 莊普 Yoshimasa TSUCHIYA 土屋仁応

234

WANG Pan-youn

王攀元

Andy WARHOL John WAY WU Hao

安迪．沃荷魏樂唐吳昊

138, 139, 140, 141, 142, 143 110, 116, 206 185 174

XUE Song

薛松

172

YANG Chihung YANG San-lang Tzu-chi YEH YEN Shui-lung Yuyu YANG (YANG Ying-feng) Tzu-chi YEH YEN Shui-lung

楊識宏楊三郎葉子奇顏水龍楊英風

161 156, 162 145 190 193

葉子奇顏水龍

145 189

ZAO Wou-ki

趙無極

166, 181, 182

Tracey EMIN

翠西．艾敏

212

Alixe FU 傅慶豊 (FU Qingli, Ching-Fong) Takashi MURAKAMI x Fujiko. F. Fujio 村上隆 x 藤子．F．不二雄 Katsura FUNAKOSHI 舟越桂

179

217 108

Ai HAIBARA 灰原愛 Keith HARING 凱斯．哈林 HONG Ling 洪凌 Gary Baseman x Tim Biskup x Seonna Hong x Kathy Stacio-Schorr x Todd Schorr 格里．巴斯曼 x 蒂姆．比斯科普 x 洪森娜 x 凱西．斯達科．紹爾 x 陶德．紹爾 HSIAO Chin 蕭勤 HSIEH Hsiao-De 謝孝德 HSU Yu-jen 許雨仁 HUANG Gang 黃鋼 Poren HUANG 黃柏仁 HUNG Jui-lin 洪瑞麟 HUNG Yi 洪易 Michell HWANG 黃銘哲 (HWANG Ming-che)

218, 220 105 133, 155 210

Ｉ

JAN Chin-shui 飯田桐子 Mr. (Masakatsu Iwamoto) Mr. ( 岩本正勝 )

109 127

Ｊ

JAN Chin-shui JU Ming

178 194, 251

KATO Izumi 加藤泉 KAWS (Brian Donnelly) KAWS〈布萊恩．唐納利〉北川宏人小泉悟傑夫．昆斯草間彌生

Mr. Doodle 塗鴉先生 Mr. (Masakatsu Iwamoto) Mr. ( 岩本正勝 ) Takashi MURAKAMI 村上隆

111, 112 228, 229, 230, 231, 232, 233, 248 101, 102, 196, 226 127 208, 213, 214, 215, 216, 217, 225, 235, 246

Yoshitomo NARA

杜溪

Hiroto KITAGAWA Satoru KOIZUMI Jeff KOONS Yayoi KUSAMA

Takesada MATSUTANI 松谷武判 Medicom Toy x Brandalism

247 134 184 135 132

中村萌

DU Xi

詹金水朱銘

李慶美李真李芳枝林風眠羅中立

Moe NAKAMURA

122, 126, 207, 211, 221, 223, 234, 243, 249 173

LEE Kyoung-mi LI Chen LI Fang LIN Fengmian LUO Zhongli

210

228, 229, 230, 231, 232, 233, 248 128

KAWS (Brian Donnelly) x Dior KAWS〈布萊恩．唐納利〉 x Dior KAWS (Brian Donnelly) KAWS 〈布萊恩．唐納利〉

146, 166, 175 195 187 188 245 157 148, 149, 227 137, 150

197 122, 126, 207, 211, 221, 223, 234, 243, 249 236 219 151 114, 129, 198, 199, 200, 201, 202, 203, 204, 205

119, 237, 238, 239, 240, 241 106, 118, 121, 124, 125, 130, 209, 222

163 107 154, 160 250 176

103, 104 190 120, 167, 191, 192 186 171 117

101

Mr. Doodle (British, b. 1994)

DJ Funck 2018 Acrylic on canvas 25.4 x 20 cm This work is accompanied by a certificate of authencity signed by the artist.

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 RMB 12,000 - 24,000

塗鴉先生放克 DJ 2018 壓克力畫布 25.4 x 20 cm 附藝術家親筆簽名之原作保證書

102

Mr. Doodle

塗鴉先生

(British, b. 1994)

餓犬

Hungry Dog

2019

2019 Acrylic on canvas 15.8 x 22.7 cm

15.8 x 22.7 cm

Signed on the reverse MR DOODLE! and dated 2019 This work is accompanied by a certificate of authencity signed by the artist.

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 RMB 19,000 - 38,000

壓克力畫布簽名畫背：MR DOODLE! 2019 附藝術家親筆簽名之原作保證書

103

Osamu TEZUKA

手塚治虫

(Japanese, 1928 - 1989)

原子小金剛與小白獅

Astro Boy and Jungle Emperor Kimba

1985

1985 Marker pen on paper 27 x 24 cm Signed lower right Tezuka Osamu and dated 1985.4.30

NT$ 110,000 - 220,000 HK$ 28,000 - 57,000 US$ 3,700 - 7,300 RMB 26,000 - 52,000

油性筆紙本 27 x 24 cm 簽名右下：手塚治虫 4.30.1985

104

Osamu TEZUKA

手塚治虫

(Japanese, 1928 - 1989)

原子小金剛與天馬博士

Astro Boy and Professor Ochanomizu

1980

1980 Marker pen on paper 27 x 24 cm Signed lower Tezuka Osamu and dated 1980.5.18

27 x 24 cm

NT$ 110,000 - 220,000 HK$ 28,000 - 57,000 US$ 3,700 - 7,300 RMB 26,000 - 52,000

油性筆紙本簽名下方：手塚治虫 5.18.1980

105

Keith HARING

凱斯．哈林

(American, 1958 - 1990)

無題

Untitled

約1983-1989

c.1983-1989 Red marker pen on paper 21 x 22 cm Signed lower left K. Haring in English

21 x 22 cm

This work is to be sold with a certificate of authenticity issued by Angel Ortiz Studio.

NT$ 190,000 - 360,000 HK$ 49,000 - 93,000 US$ 6,300 - 11,900 RMB 45,000 - 85,000

紅色油性筆紙本簽名左下：K. Haring 附Angel Ortiz Studio開立之原作保證書

106

Yoshitomo NARA (Japanese, b. 1959)

Untitled 1999 Marker pen on paper 21 x 9 cm Signed lower Na in Japanese and dated '99 PROVENANCE:

Private collection, Japan This work is to be sold with a certificate of authenticity issued by Art Space Kin Gyo Koo Kan.

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

奈良美智無題 1999 油性筆紙本 21 x 9 cm 簽名下方：な' 99 來源：

私人收藏，日本附金魚空間開立之原作保證書

107

Chiharu SHIOTA

鹽田千春

( Japanese, b.1972 )

兩個人

Two People

2014

2014 Oil pastek thread on Paper 40 x 30 cm Signed lower right CS.

40 x 30 cm

This work is to be sold with a certificate of authenticity issued by HdM GALLERY.

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

油畫棒線紙本簽名右下：CS. 附HdM GALLERY開立之原作保證書

108

Katsura FUNAKOSHI (Japanese, b.1951)

舟越桂素描 No. 1416

Drawing No. 1416

2014

2014 Pencil on paper 54.5 x 39.5 cm Signed lower left KF in English and dated 2014

54.5 x 39.5 cm

This work is to be sold a certificate of authenticity issued by Annely Juda Fine Art.

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

鉛筆紙本簽名右下：KF 2014 附 Annely Juda Fine Art 開立之原作保證書

109

IIDA Kiriko (Japanese, b. 1970)

Drop 2010 Oil on board 103 x 72.5 cm Signed on the reverse Kiriko Iida and dated 2009-2010 EXHIBITED:

November-Iida Kiriko Solo Exhibition, Soka Art Center, Taipei, November 6-28, 2010 ILLUSTRATED:

November- IIDA Kiriko, Soka Art Center, 2010, color illustrated, p. 23 This work is to be sold with a certificate of authenticity issued by Soka Art Center.

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

飯田桐子掉落 2010 油彩木板 103 x 72.5 cm 簽名畫背：Kiriko Iida 2009 - 2010 展覽：

「霜月－飯田桐子個展」，索卡藝術中心，台北，展期自2010年11月6日至28日圖錄：

《霜月－飯田桐子》，索卡藝術中心，台北，2010年，彩色圖版，頁23 附索卡藝術中心開立之原作保證書

110

Andy WARHOL (American, 1928 - 1987)

Kiss 1966 Screenprint on plexiglass, edition of AP 20.3(L) x 14.4(W) x 31.7(H) cm Engraved Andy Warhol in English and numbered A.P ILLUSTRATED:

Andy Warhol Prints Catalogue Raisonne 1962-1987, D.A.P/Ronald Feldman Fine Arts/Andy Warhol Foundation for the Visual Arts , New York, 1997, color illustrated, no. II. 8, p. 57

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

安迪．沃荷吻 1966 絲網印刷膠質玻璃版次 AP 20.3(長) x 14.4(寬) x 31.7(高) cm 簽名雕刻：Andy Warhol A.P 圖錄：

《Andy Warhol Prints Catalogue Raisonne 1962 - 1987》， D.A.P/Ronald Feldman Fine Arts/Andy Warhol Foundation for the Visual Arts，紐約，1997，彩色圖版，編號 II. 8，頁57

111

Takesada MATSUTANI

松谷武判

(Japanese, b. 1937)

圓-06-4-5

Cercle-06-4-5

2006

2006 Graphite, vinyl on wood 25(L) x 21(W) x 3.5(D) cm Signed on the reverse Matisutani in Kenji and English, titled Cercle-06-4-5, dated 2006, and inscribed Paris

25(長) x 21(寬) x 3.5(厚) cm

The work is to be sold with a certificate of authenticity issued by Galerie Friedrich Müller.

NT$ 420,000 - 600,000 HK$ 108,000 - 154,000 US$ 13,900 - 19,900 RMB 99,000 - 142,000

石墨塗料膠水木板簽名畫背: 松谷 Cercle-06-4-5 2006 Paris Matsutani 附Friedrich Müller畫廊開立之原作保證書

112

Takesada MATSUTANI

松谷武判

(Japanese, b. 1937)

兩種形式

Two Forms

1987

1987 Graphite, vinyl on canvas 33(L) x 24(W) x 2(D) cm Signed lower right Matsutani and dated 87 Signed on the reverse Takesada Matsutani, titled Two Forms in Japanese and English, dated 1987, and inscribed Paris 33 x 24 cm

33(長) x 24(寬) x 2(厚) cm

NT$ 480,000 - 600,000 HK$ 123,000 - 154,000 US$ 15,900 - 19,900 RMB 113,000 - 142,000

石墨塗料膠水畫布簽名右下：Matsutani 87 簽名畫背：松谷武判 Matsutani 二ツの型態 "Two Forms" Paris 1987 33 x 24 cm

113

Ayako ROKKAKU (Japanese, b. 1982)

AR11 - 004 2010 Acrylic on cardboard 72 x 105.5 cm Signed upper left Ayako Rokkaku in Japanese Signed on the reverse Ayako Rokkaku in Japanese, titled AR II-004 and dated 2010 PROVENANCE:

Gallery Delaive, Amsterdam Private collection, Europe

NT$ 480,000 - 600,000 HK$ 123,000 - 154,000 US$ 15,900 - 19,900 RMB 113,000 - 142,000

六角彩子 AR11 - 004 2010 壓克力紙板 72 x 105.5 cm 簽名左上：ロッカクアヤコ簽名畫背：2010ロッカクアヤコ AR II-004 來源：

德萊夫畫廊，阿姆斯特丹私人收藏，歐洲

114

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

無題

Untitled

1979

1979 Maker pen on paperboard 27.1 x 24.1 cm Signed upper left Yayoi Kusama and dated 1979

27.1 x 24.1 cm

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

NT$ 480,000 - 700,000 HK$ 123,000 - 180,000 US$ 15,900 - 23,200 RMB 113,000 - 165,000

馬克筆紙板簽名左上：Yayoi Kusama 1979 附草間彌生工作室開立之作品登錄卡

115

AI WEI-WEI ( Chinese 1957 )

艾未未剪紙作品集 (八件一組)

The Papercut Portfolio (a set of 8)

2019

2019 Lithograph, edition no. 231/250 60 x 60 cm (each) Signed lower right Wei Ai in English

60 x 60 cm (每件)

NT$ 700,000 - 900,000 HK$ 180,000 - 231,000 US$ 23,200 - 29,900 RMB 165,000 - 212,000

石版版畫 231/250 簽名右下：Wei Ai

116

Andy WARHOL (American, 1928 - 1987)

Portraits of the Artists 1967 One hundred polystyrene boxes in ten colors silkscreened, framed, edition no. AP, edition of 200 51(L) x 51(W) x 2(D) cm ILLUSTRATED:

Andy Warhol Prints Catalogue Raisonne 1962-1987, D.A.P/ Ronald Feldman Fine Arts/Andy Warhol Foundation for the Visual Arts , New York, 1997, color illustrated, no. II. 17, p. 61

安迪．沃荷藝術家們的肖像 1967 絲網印刷聚苯乙烯盒裝框版次 AP 限量 200 51(長) x 51(寬) x 2(厚) cm 圖錄：

NT$ 750,000 - 850,000 HK$ 193,000 - 219,000 US$ 24,900 - 28,200 RMB 177,000 - 200,000

《Andy Warhol Prints Catalogue Raisonne 1962 - 1987》， D.A.P/Ronald Feldman Fine Arts/Andy Warhol Foundation for the Visual Arts，紐約，1997，彩色圖版，編號 II. 17，頁61

117

Yoshimasa TSUCHIYA (Japanese, b. 1977)

Kirin 2019 Woodcarving, crystal, polychrome 34(L) x 16(W) x 55.5(H) cm Signed on the bottom Yoshimasa Tsuchiya in Japanese EXHIBITED:

Paradise, Nihonbashi Mitsukoshi Main Store, Tokyo, exhibited October16-21, 2019 ILLUSTRATED:

Paradise, Nihonbashi Mitsukoshi Main Store, Tokyo, 2019 color illustrated, p. 6

NT$ 750,000 - 1,500,000 HK$ 193,000 - 386,000 US$ 24,900 - 49,800 RMB 177,000 - 354,000

土屋仁応麒麟 2019 樟木水晶彩色 34(長) x 16(寬) x 55.5(高) cm 簽名底部：土屋仁応展覽：

「樂園－土屋仁応展」，三越伊勢丹，東京，展期自2019年10月16日至10月21日圖錄：

《樂園－土屋仁応展》，三越伊勢丹，東京，2019，彩色圖版，頁6

118

Yoshitomo NARA (Japanese, b. 1959)

Sleepless Night Sitting 2007 Fiberglass, edition no. 190/300 15(L) x 16(W) x 30(H) cm (sculpture) 36(L) x 26(W) x 24(H) cm (box) PROVENANCE:

Acquired directly from Christie’s by the current owner EXHIBITED:

NARA + GRAF, Centro de Arte Contemporáneo de Málaga, Spain,September 21, 2007-January 6, 2008 (different edition exhibited) ILLUSTRATED:

Yoshitomo Nara + graf, A to Z, FOIL Co.,Ltd., Tokyo, Japan, 2006,unpaginated Yoshitomo Nara, The Complete Works 1984-2010, Bijutsu Shuppan Sha,Tokyo, Japan, 2011, color illustrated, p. 314 Yoshitomo Nara: The Complete Works Volume 2, Chronicle Books LLC,San Francisco, 2011, color illustrated, no. E-2007001, p. 314 This sculpture is to be sold with a certificate of authenticity and a woodenbox.

NT$ 1,000,000 - 1,800,000 HK$ 257,000 - 463,000 US$ 33,200 - 59,700 RMB 236,000 - 425,000

奈良美智失眠夜坐著 2007 玻璃纖維 190/300 15(長) x 16(寬) x 30(高) cm（人物） 36(長) x 26(寬) x 24(高) cm（箱子）來源：

現收藏者購自於佳士得拍賣展覽：

「奈良 + GRAF」，馬拉加當代藝術中心，西班牙，展期自 2007年9月21日至2008年1月6日圖錄：

《奈良美智 + graf: A to Z》，Foil 有限會社，東京，日本， 2006，彩色圖版，無頁數《奈良美智全作品集1984-2010》第一卷，美術出版社，東京，日本，2011，彩色圖版，頁314 《奈良美智作品全集第二冊》，編年出版社，舊金山，2011，彩色圖版，編號 E-2007-001，頁314 附作品保證書及木盒

119

Moe NAKAMURA (Japanese, b. 1988)

Hopehole in the Head 2012 Oil on wood 45(L) x 33(W) x 70(H) cm ILLUSTRATED:

Moe Nakamura “Growth”, GALLERY TSUBAKI Co., Ltd, Tokyo, 2020, color illustrated, p. 41 This work is to be sold with a certificate of authenticity issued by Gallery Tsubaki, Tokyo.

NT$ 1,300,000 - 2,400,000 HK$ 334,000 - 617,000 US$ 43,100 - 79,700 RMB 307,000 - 566,000

中村萌無望之洞 2012 油彩木雕 45(長) x 33(寬) x 70(高) cm 圖錄：

《中村萌 Growth》，椿畫廊，東京， 2020，彩色圖版，頁41 附東京椿畫廊開立之作品保證書

120

Walasse TING (Chinese-American, 1929 - 2010)

Woman with Flowers Acrylic on paper 53.5 x 79 cm With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Shoreman Art International.

NT$ 950,000 - 1,800,000 HK$ 244,000 - 463,000 US$ 31,500 - 59,700 RMB 224,000 - 425,000

丁雄泉女人與花壓克力紙本 53.5 x 79 cm 鈐印左上：採花大盜附協民國際藝術開立之原作保證書

121

Yoshitomo NARA (Japanese, b. 1959)

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

NT$ 1,200,000 - 1,700,000 HK$ 308,000 - 437,000 US$ 39,800 - 56,400 RMB 283,000 - 401,000

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

122

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

Stay Steady; The Things That Comfort; No One’s Home (a set of 3) 2015 Silkscreems, edition no. 23/250 74 x 85 cm ; 91.5 x 76.5 cm ; 91.5 x 74 cm Signed KAWS dated 15, and numbered 23/250 in pencil

NT$ 1,300,000 - 2,400,000 HK$ 334,000 - 617,000 US$ 43,100 - 79,700 RMB 307,000 - 566,000

KAWS〈布萊恩．唐納利〉

平穩狀；舒服的事；無人的家 (三件一組) 2015 絲網版畫 23/250 74 x 85 cm ; 91.5 x 76.5 cm ; 91.5 x 74 cm 簽名：KAWS.. 15 ; 版次：23/250

123

Ayako ROKKAKU (Japanese, b. 1982)

Untitled 2014 Acrylic on canvas 80 x 175.5 cm Signed lower left Rokkaku Ayoko in Japenese and dated 2014 PROVENANCE:

Gallery Delaive, Amsterdam Private collection, Europe

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

六角彩子無題 2014 壓克力畫布 80 x 175.5 cm 簽名左下：2014 ロッカクアヤコ來源：

德萊夫畫廊，阿姆斯特丹私人收藏，歐洲

六角彩子：手繪的夢想世界「手帶領著指頭的方向，其力度勝於文字」村上隆加持的藝術家六角彩子，1982年1月24日出生於日本千葉縣。千葉縣鄰近東京，首都的成田機場，以及孩子們的天堂迪士尼樂園都在這裡。六角彩子的成長背景，距離外面的世界不遠，似乎預視著她未來將翱翔天際，往來於世界都市，還有她擅長畫出的女孩們的夢幻國度。

自成一格的繪畫特色與風格表現女孩與兒童是貫穿她創作的主要母題，採取特寫形式的佈局。畫裡的人物往往不見笑容，或睜大雙眼，扁著嘴，表現出憤怒的樣貌。她說自己的人物畫有兩個極端：「逃離與追尋」，「遠目與凝視」。主角多數有行走的姿態，大步邁開向前。重覆性的隨機塗鴉圖案、動物，也經常是畫裡的元素。無論是拉長的手臂或是過大的眼睛，鮮艷的色彩或是簡化的細節，這些皆是日本卡通文化所帶來的影響。未上過任何藝術學校的六角彩子，其畫作技巧與本領皆為自學，靠著她與生俱來的靈敏觀察力及細膩的情感，她的繪畫技巧上已自成一派。六角彩子以手蘸滿壓克力顏料，觸摸時的溫暖手感及天馬行空的塗鴉精神價值，她用即興式的塗鴉將色彩與形式作了有趣的試驗，繪出了她的夢想世界。

AYAKO ROKKAKU: A HAND-PAINTED WORLD OF DREAMS “The hand directs where the fingers point. They are more powerful than words.”An artis appeciated by Takashi Murakami, Ayako Rokkaku was born in January 24, 1982, in Chiba Prefecture, Japan. Chiba Prefecture, which is close to Tokyo, is the home of the airport of the capital of Japan, Narita International Airport, and the children’s paradise, Disneyland. Rokkaku’s background is similar to that of the prefecture in that this world seems to have foretold her future of soaring through the skies and traveling among the cities of the world and a dreamland for girls she is an expert at portraying.

UNIQUE PAINTING CHARACTERISTICS AND STYLE The major themes throughout her painting history are girls and children, and she often portrays them in close-ups. The figures in her painting are often unsmiling. Their eyes may be opened wide and their lips pressed together, or they may look angry. She said her figures went from two sets of extremes: “escaping and chasing” or “looking away and staring.” Most of the main figures in her

paintings are walking in large strides. Other common elements in her paintings are repetitive random sketches and animals. Having elongated arms or overly large eyes, bright colors or simplified details, they are all influenced by Japanese animation culture. She never received formal education of fine art, her painting skill is self-study, and reflected on her inherently sensitive observation and delicate emotions. Her hands dipped in acrylic, with the spirit value of graffiti, Ayako Rokkaku used improvised graffiti to make interesting experiments on colors and forms that created her handpainted world of dreams.

124

Yoshitomo NARA (Japanese, b. 1959)

Untitled (Double-sided) 1995 Pen and color pencil on paper 35 x 24.4 cm Signed lower left Na inJapanese and dated lower right 95 ILLUSTRATED:

Yoshitomo Nara: The Complete Works 1984-2010, Volume 2, Chronicle Books, LLC, San Francisco, 2011, color illustrated, p. 82, no. D-1995-081

NT$ 1,800,000 - 2,600,000 HK$ 463,000 - 668,000 US$ 59,700 - 86,300 RMB 425,000 - 613,000

奈良美智無題 (雙面畫) 1995 彩色鉛筆紙本 35 x 24.4 cm 簽名左下：な年代右下：'95 圖錄：

《奈良美智作品全集第二冊》，編年出版社，舊金山，2011，彩色圖版，頁82，編號 D-1995-081

畫背圖像 Reverse image

125

Yoshitomo NARA (Japanese, b. 1959)

Untitled 1992 Acrylic, gesso and color pencil on paper 41.5 x 55.8 cm Signed lower right Yoshitomo in English and dated 92 PROVENANCE:

Kohji Ogura Gallery, Nagoya Whitestone Gallery, Tokyo This work is to be sold with a certificate of authenticity issued by Yoshitomo Nara Studio, Rabbit Hills Co., Ltd.

NT$ 2,400,000 - 3,200,000 HK$ 617,000 - 823,000 US$ 79,700 - 106,200 RMB 566,000 - 755,000

奈良美智無題 1992 壓克力打底劑彩色鉛筆紙本 41.5 x 55.8 cm 簽名右下：Yoshitomo'92 來源：

Kohji Ogura Gallery，名古屋白石畫廊，東京附奈良美智工作室Rabbit Hills 開立之原作保證書

126

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

Pinocchio 2017 Wood, edition no. 83/100 21.9(L) × 19.1(W) × 39.1(H) cm Signed on the bottom KAWS.. and numbered 83/100 Trademark © Disney MEDICOM TOY 2017 JAPAN Karimoku

NT$ 2,900,000 - 3,800,000 HK$ 746,000 - 977,000 US$ 96,200 - 126,100 RMB 684,000 - 896,000

KAWS〈布萊恩．唐納利〉小木偶 2017 木雕 83/100 21.9(長) x 19.1(寬) x 39.1(高)cm 簽名腳底：KAWS.. 83/100 註冊商標：© Disney MEDICOM TOY 2017 JAPAN カリモク

127

Mr. Masakatsu Iwamoto (Japanese, b. 1969)

Murmuring Stream 2009 Acrylic on canvas 116.7 x 80.3 cm Signed on the overlap Mr. in English and dated 2009 PROVENANCE:

Galerie Perrotin Private collection, Asia

NT$ 4,600,000 - 6,000,000 HK$ 1,183,000 - 1,542,000 US$ 152,700 - 199,100 RMB 1,085,000 - 1,415,000

Mr. (岩本正勝) 川流淙淙 2009 壓克力畫布 116.7 x 80.3 cm 簽名畫背折處：Mr. 2009 來源：

貝浩登畫廊私人收藏，亞洲

"MOE" ART OF MR. "Girl Power” in Contemporary Art

"Moe" is an impossible love, it is a desire that will never be accepted." — Mr. 「萌就是『不可能的愛』，是一種永不為人接受的慾望。」

— Mr. 如果村上隆是第一個成功把日本次文化帶入當代藝術中的藝術家，那身為其首席弟子的 Mr. 更是把「御宅族」文化發揚光大的佼佼者。2000 年時村上隆提出超扁平美學理論，嘗試挑戰大眾既有的美學觀點，而 Mr. 則把大眾藝術中的動漫形式推上高峰而大放異彩。本名岩本正勝的 Mr. 畢業於東京創形美術學校，和村上隆合作 10 來年，已成為 Kaikai Kiki 中最出名的藝術家，並在日本、歐洲、美國以及亞洲各地等地舉辦個展。2019 北師美術館盛大推出的展覽「美少女的美術史」中亦展出其大型藝術裝置《Hikari–A Cherry Blossom Path–》，而近年來日本出現「CHAOS LOUNGE」的展示方法即是受到 Mr. 的強烈影響，意為「在自己的骯髒房間裡遍地都是作品」，追隨其創作者亦急遽增加中。 DJAPA 香港，店內一景 DJAPA Hong Kong, a view inside the restaurant

追尋內心的初衷，萌少女拯救世界 Mr. 的作品充分發揮了日本動漫文化的精神，特別是其中蘿莉控和御宅族綺想。常見於動漫電玩中的「萌少女」以標誌性水汪汪的大眼睛和纖細外貌成為日本次文化中不可捉摸之想像。自認御宅族的 Mr. 認為純真女孩擁有無比吸引力，對他而言藝術創作更是一種治療以及對於自身的重新詮釋，讓他從離異的家庭中恢復過來。他曾經說到：「人們都誤解了我的作品，以為只是懷舊、可愛，看似日本動漫，但其實我不斷作畫，是想擺脫那纏繞我靈魂的魔鬼，它隱藏在血管裡，揮之不去，唯有以繪畫對抗。」從小眾至主流，承載國際化的標誌性風格－從新普普至超扁平為了與世界對話，Mr. 加入了西方街頭塗鴉藝術元素，突破過往單純的少女形象、他編織出層次多元且具有強烈敘事性的無邪樂園，並傳達出一種獨特的視覺語言。在層層疊疊的文化底蘊中有著強烈敘事性，這完全是出自他條理分明和嚴謹的態度所精心設計的風格，且他自創常見於日本動漫等次文化中與世無爭的少女樣貌，Mr. 所內藏的本土符號成為獨樹一幟的標誌性風格。近年來 Mr. 以誇張式御宅形式成為了拍賣市場焦點，有別於村上隆多以著名動漫人物「多啦 A 夢」為創作題材，Mr. 以繽紛的色彩且充滿正向能量日本卡漫風格的人物造形，將內心的渴望與幻想具體呈現於畫布上。本次春拍亞洲現代與當代藝術敬獻 Mr. 《川流淙淙》，畫面以紫紅色頭髮的女孩為中心，她水汪汪的大眼與粉嫩稚氣的臉龐流露出無比的純真，於淙淙溪流中高舉雙手，綻放出無比的青春與活力。青春正盛、纖弱可愛的萌女孩除了擁有無比吸引力，同時卻又是 Mr. 內心中可望而不可即的欲望投射，是一種承載著美好理想

「美少女的美術史」，北師美術館，台北，展期自 2019 年

的想像。Mr. 的作品閃耀著魔法的奇幻時刻，洋溢著無邊的熱情與正向能量，充份傳達了

8 月 24 日至 11 月 24 日

青春、可愛又天真無邪的日式「萌」精神。在充滿殘缺困頓的現實世界，開闢出一方幻想

"Bishojo: Young Pretty Girls in Art History" ,Museum of NTUE, Taipei, August 24-November 24, 2019

無邊、充滿活力的夢想世界。

"The blending of a Lolita complex and otaku culture in his works … [has] ‘an unbearable irresistibility in its tiny, innocent world" — Paul McCarthy (American Contemporary Artist) 他的作品包含蘿莉控和御宅族文化的融合，一種無法抗拒的純真世界 — 保羅·麥卡錫 ( 美國當代藝術家 )

If Takashi Murakami was the first ever artist to successfully bring Japanese subculture into the contemporary art, then being his principal disciple, Mr. nevertheless is the leading figure in promoting the otaku culture. In 2000, Murakami proposed the Superflat theory, trying to challenge the public's existing aesthetic viewpoints, and Mr. made anime risen from popular art to its peak and shined brilliantly. Mr., real name as Masakatsu Iwamoto, graduated from College of Fine Arts in Tokyo and having teamed up with Murakami for more than 10 years. He has become the most famous artist in Kaikai Kiki, and has held solo exhibitions in Japan, Europe, the United States, and Asia. The grand exhibition “Bishojo: Young Pretty Girls in Art History” launched by the Museum of NTUE in 2019 also exhibited its large-scale art installation “Hikari– A Chery Blossom Path–”. In recent years, the way of exhibition “CHAOS LOUNGE” in Japan was strongly influenced by Mr., which means “works are all over in one’s own messy room”, and those who follow him to create also rapidly increase.

In order to communicate with the world, Mr. adds the diversity of western graffiti art, exceeds the past of just the portrait of a young girl, but successfully weaves an innocent paradise with multi-layers and strong narrative, and hence conveys an unique visual language.The intertwining layers of cultural heritage have an intensive narrative character, this carefully designed style entirely comes from his organized and rigorous attitude. Moreover he created images of innocent and indisputable young girl, which are often seen in Japanese subcultures such as anime and manga, the native motif that Mr. built-in has therefore become his distinctive iconic style.

The style exaggerated with o t a k u c r e a t e d b y M r. h a s become the focal point in the auction market in recent years. Different from Murakami, who mostly used the famous anime character “Doraemon” a s h i s c re a t i v e t h e m e , M r. employs flourishing colors, creates Japanese animated manga character with style that is full of positive energy, Pursuing the original aspiration and expresses his inner desire from inner heart, Moe girl saves and fantasy on the canvas. the world This Spring Auction Ravenel’s Mr. ( 岩本正勝 )《微型日記》2011 壓克力畫布 131.4 x 194.3 cm，富藝斯香港 2019 Moder n and Contemporary His works have given a full 秋季拍賣會，編號 136，成交價：港幣 4,230,000 Asian Art honestly presented Mr. Mr. Masakatsu Iwamoto, Miniature Diary, 2011, acrylic on canvas, 131.4 x 194.3 cm, play to the spirit of Japanese “Murmuring Stream”, centered Phillips Autumn Auction 2019 HK, lot 136, US $ 434,435 sold animation culture, especially a purple red-haired girl, her big the fancy imagination of lolicon watery eyes and childish face and otaku. The “Moe girl”, which is commonly seen in anime, reveal her incomparable innocence, she raises her hands in the manga and video games, has become an elusive imagination in running water, exerted blooming youth and vitality. The youthful Japanese subcultures with its iconic large watery eyes and slender yet fragile Moe girl overloaded with cuteness is utmost attractive, appearance. As a self-confessed otaku, Mr. believes innocent girl but it is a projection of desire that is totally out of reach, and an is extremely attractive, he considered his artistic creation as a kind imagination that possessed of the ideal of beauty at the same of treatment, and also the reinterpretation of one self, so that he time. The works of Mr. present fantasy moments filling with magic, can recover from his broken family. He once said, "People have brimming with boundless enthusiasm and positive energy, fully misunderstood my work, thinking that it is just nostalgic, cute and conveying the youthful, cute and pure of heart Japanese “Moe” looks like Japanese animation, but in fact, I keep painting in order spirit. In such an incomplete and troubled real world, opens up a to get rid of the devil that entangles my soul, they hide in my vein, world full of dreams with boundless fantasy and vitality.and pure of impossible to escape from, can only confront with paintings. " heart Japanese "Moe" spirit. In such an incomplete and troubled real world, opens up a world full of dreams with boundless fantasy Bearing the iconic style of internationalization from niche to and vitality. mainstream - Neo - Peo to Superflat

128

Bernard BUFFET (French, 1928 - 1999)

Toréro Debout 1961 Oil on canvas 100 x 81 cm Signed upper right Bernard Buffet and dated 61 Inscribed on the reverse 25G EXHIBITED:

Beijing International Art Exposition, Beijing, 1999 The Shanghai Art Fair, Shanghai, 1999 This painting is to be sold with a certificate of authenticity issued by Galerie Maurice Garnier, Paris.

NT$ 15,000,000 - 30,000,000 HK$ 3,856,000 - 7,712,000 US$ 497,800 - 995,700 RMB 3,538,000 - 7,075,000

貝爾納．畢費鬥牛士 1961 油彩畫布 100 x 81 cm 簽名右上：Bernard Buffet 61 題識畫背：25G 展覽：

「北京國際藝術博覽會」，北京，1999 「上海國際藝術博覽會」，上海，1999 附莫里斯．賈尼耶畫廊開立之原作保證書

BERNARD BUFFET The Ultimate Style "I regard a toreador as a nobleman, a prisoner amid the struggle, with the dictatorship of the beast."— Bernard Buffet 我看待鬥牛士如同貴族，拚搏的囚獸 – 野獸的主宰 — 貝爾納 • 畢費

1928 年生於巴黎，成長於布列塔尼海岸，喜愛生物學，貝爾納 . 畢費生性細膩敏感，學業上的困難，無法阻擋旁人發覺他卓越的藝術天賦。1948 年畫作《飲酒的人》展出於杜胡安．大衛畫廊並後來輾轉為巴黎市立美術館收藏。同年，藝術家知遇伯樂畫商：大衛與賈尼耶簽下代理合約，更獲得「藝評獎」從此一炮而紅。1955 年僅 27 歲的畢費，被當時的《藝術鑑賞雜誌》選為「戰後十大最傑出藝術家」之首。1958 年舉辦第一次回顧展時，更被媒體譽為「法國寫實主義繪畫的接班人」。一位害羞生澀的青年，從此蛻變為鎂光燈追捧的天才藝術家。畢費以黑色線條勾勒的繪畫，具有強烈的個人風格，向來能撼動人心，不少藝術家包括臺灣的前輩畫家席德進都曾受到他的影響。日本收藏家更尊他為法國藝術的宗教，為他建造美術館。他的創作大多屬系列，並多重複主題、角色、意象與題材，而鬥牛士則為當中最具標誌性主題之一。作為「鬥牛」的愛好者，畢費對這項源於西班牙的傳統文化活動有著無比的激情。他欣賞鬥牛與鬥士間的致命吸引，一項兩者間注定以「悲劇」結尾的命運。困獸輪番受到挑撥與攻擊，卻無法逃脫「死亡」。鬥士一身華麗裝束，在陽光下璀璨發亮，卻毫無抵擋野獸尖角穿刺的保護功能。而長劍看似雪亮鋒利，面對龐然巨物的威脅，也只能作用在關鍵性的生死時刻。充滿暴力的慾望之舞，透過儀式化得表演程序，為這野蠻活動增添了戲劇性表演成分，沖淡減緩觀眾對死亡的恐懼。本季羅芙奧春拍亞洲現代與當代藝術敬獻《鬥牛士》，此作品完成於 1961 年，身著鑲嵌金的華麗服飾，頭頂貴族黑帽，冷色調的背景與天藍服裝更襯出鑲金之高貴之氣。鬥牛士的面部深邃且表情堅毅並以墨黑線條刻劃稜角使其表情更顯穿透力。構 1966 年安娜貝爾著鬥牛士服坐姿攝於藝術家工作室 Annabelle posing in artist's studio with matador suit © Luc Fournol

圖呈現劇場感，更能聚焦藝術家表現的人物精神性。強而有力的藝術家簽名，高掛於圖像之左上，有如

藝術家自己裝束起鬥士服裝的自畫像，更呼應此時期，畢費已在畫壇已建立起名聲，完整構築自己繪畫脈絡的自信心態。現市場上高價成交之畢費作品，普遍源自其巔峰時期 50、60 年代，1950 年代中期，畢費因為現實生活物質條件的轉好，主題也轉為更加大尺幅的創作。此件作品《鬥牛士》畫面中的主角鬥牛士為少見的全身比例黃金構圖，更顯他早年在高等美術學院的扎根訓練，蘊含畢費經典之畫風以及題材，更為此次春拍屬不容錯過之選。

under the sun, yet there is no protection function to resist the sharp puncture of the beast. The long sword seems to be fairly sharp, still it can only react at the crucial moment of life and death in the facing the threat of giant beast. The dance performed by toreador simultaneously consisted of desire and violence, throughout the ritualization of the performance procedures, nevertheless increases the component of dramatic performance to this barbaric act, in the hope of diluting and reducing audience's fear of death.

Born in Paris in 1928, grew up on the coast of Brittany, Bernard Buffet loves biology. Though he encountered difficulties while Ravenel's Modern and Contemporary Asian Art proudly presented pursuing academic, along with his delicacy and sensitivity, cannot "Toréro Debout" in our upcoming Spring Auction. The painting stop others from discovering his outstanding artistic talent. The was made in 1961, dressed in splendid gold-inlaid costumes, 1948 painting "Le Buveur" was exhibited in Galerie Drouantwearing an aristocratic black hat, the background filled with cool David, and later became the collection of Musée d'Art Moderne colors distinctly contrasted with the outfit in sky blue, eventually de la Ville de Paris. In the same year, the artist met his dealers boosted the spirit of nobility. The face of toreador is deeply and of a lifetime, David and Maurice Garnier, hence signed the profoundly depicted, agency contract, even in addition to his awarded with "Prix de fir m and persistent la Critique", from then expression, the on got famous almost silhouette is outlined overnight. In 1955 while with dark lines to make Buffet was only 27 years his facial expression old, he was named as more penetrating. The the best out of the top composition presents ten post war artists by a theatrical sense, "Connaissance des which can better focus Arts". When his first on the spirituality retrospective exhibition of the characters was held in 1958, he expressed by the was even highly praised artist. A strong and by the media as "the p o w e r f u l s i g n a t u re s u c c e s s o r o f F re n c h marked by the artist, realism painting". A which hanged on shy and jerky young the upper left hand man has since then side of the painting, transformed into a conveying the 1967 年藝術家畢費於「鬥牛」個展佈展現場 talented artist mostly message as if the selfBuffet standing in the exhibition "La Corrida", 1967 © Luc Fournol, France sought after by the portrait of the artist limelight. dressing in the traditional toreador costume. In closely response to the period when this painting was created, Buffet has already The paintings of Buffet outlined with black lines have such a established his reputation in the art world and therefore his strong personal style, always have been able to shock the mentality of self-confidence was completely demonstrated in the inner hearts of the viewers. Many artists, including Taiwan context of this painting. His works recorded with high prices in the predecessor painter Shiy Dejinn, have been deeply influenced by market now generally originate from his peak period of 1950s and him. Japanese collectors even regarded him as the paramount 1960s. In the mid of 1950s, his theme changed to a much larger religion of French art and built an art museum for him. Most of his scale of creations, this is due to the significant improvement of creations are in a string of series, themes, characters, images and material conditions in his real life then. The protagonist toreador subject matters are repeatedly utilised, and the toreador is one of in this magnificent work "Toréro Debout" is in such a rare golden his most iconic themes. composition of the whole body ratio, which clearly demonstrates his early training rooted in the High Academy of Fine Arts. This As an enthusiast in bullfighting, Buffet has a strong passion for painting contains his classic style and theme, sure is one of this traditional cultural activity originated in Spain. He appreciates highlights in our Spring Aution that definitely cannot be missed. the fatal attraction between the beast and the toreador, a fate destined to end in tragedy among them. The trapped beast was challenged and attacked in turn, but still could not escape from death. The toreador wears gorgeous costume, shining brightly

129

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin(B) 1991 Acrylic on canvas 91 x 72.7 cm Signed on the reverse Yayoi Kusama in English, titled Pumpkin(B) in Japanese and English, dated 1991 This painting is to be sold with a registration card reissued by Yayoi Kusama Studio.(2020/03/16 reissued).

NT$ 40,000,000 - 60,000,000 HK$ 10,283,000 - 15,424,000 US$ 1,327,600 - 1,991,400 RMB 9,434,000 - 14,151,000

草間彌生南瓜(B) 1991 壓克力畫布 91 x 72.7 cm 簽名畫背：Yayoi Kusama 1991 かぼちゃ(B) PUMPKIN 附草間彌生工作室開立之作品登錄卡 (2020/03/16再發行)

PUMPKIN(B) Yayoi KUSAMA

圓點是來自宇宙的信號，無限的網代表了她的生命，英國《泰晤士報》將草間彌生列為「二十世紀兩百名最偉大的藝術家」。身為國際間最具影響力的前衛藝術家之一，她的人就如同她赤裸而炙烈的藝術生命，絢麗的令人目眩神迷。她每天以驚人的速度創作，用繪畫、雕

Each day, she creates at an amazing speed. Utilizing means such as painting, sculpture, and performance art, and using surreal psychological studies, she presents the endless creativity in her head.

塑、行動藝術等手法，帶有超現實般心理性的考究，表現出她腦海中

而這些苦痛未曾擊敗她一心奉獻給藝術

Yayoi Kusama utilizes the vibrant pumpkin to unleash a source of radiant energy. The imperfectly symmetrical pumpkin shape is more able to manifest the natural true self. Although the pumpkin appears in a static form, its abundant vitality has not been diminished. Kusama has been attracted to the round shape of pumpkins ever since she experienced hallucinations as a child talking to pumpkins at a farm. She copies their images to her motifs, eventually leading to her work, Pumpkin. With delicate brushstrokes, Kusama neatly paints dense black spots on the pumpkin, arranging the wavy dots into exquisite stripes, and giving the pumpkin a great level of appeal and energy. She believes that the wavy dots bear the shape of the sun, serving as a symbol of vitality and the world. Round, soft, colorful, oblivious, and unpredictable, the wavy dots have become a kind of movement that leads to a path of infinity. It is in this simple paranoia that she escapes her inner spiritual suffering, 草間彌生《南瓜》1990 壓克力畫布 162 x 130.3 cm，羅芙奧 2019 春季 manifesting her raw illusions onto the 拍賣會，編號 117，成交價：台幣 198,560,000 canvas. Yayoi KUSAMA, Pumpkin, 1990, acrylic on canvas, 162 x 130.3 cm,

的決心，難能可貴的是她將這些難以承

Ravenel Spring Auction 2019 Taipei, lot 117, USD 6,283,544 sold

永無止盡的創作泉源。草間彌生以色彩斑斕的南瓜釋放著強韌的生命力，那沒有全然對稱的南瓜造型，更能表現出自然的真我；儘管以靜態的形式出現，但豐盛的生命力並沒有絲毫減退。南瓜對於草間彌生來說是兒時在農場所產生與南瓜對話的幻覺後，深深被南瓜圓潤的形狀所吸引的影響重新複製於後來的藝術語彙上；草間彌生以細膩的筆觸，把密密麻麻的黑點整齊地繪畫在南瓜上，排成列狀的大小波點形成了細緻的條紋，賦予南瓜極大的感染力以及生命力。她認為波點擁有太陽的形狀，是世界和生命力的象徵。圓形、柔軟、色彩斑斕、無知無覺、不可捉摸，波點成了一種運動，是通往無限的方式。正是在這些簡單的偏執之中她消彌了內心的精神苦難，將她所見的幻覺赤裸地呈現在畫布之上。觀看草間彌生的藝術，觀者在視覺上所獲得的感官衝擊總是充滿著驚喜與宛若童趣的欣喜氛圍，然而這些強烈的藝術語言是藝術家飽受多少折磨後的結晶。

受的苦難，來自幻覺中的影像化為獨特而強烈的創意，用畫筆一筆一筆去消除，並且造了一個引人入勝的空間和意境，透視著畫家夢幻般的精神世界，幻化成他最目眩神迷、最受世人矚目的精彩創作。 Polka dots are signals from the universe. A boundless net represents her life. The British daily The Times listed Yayoi Kusama among the Top 200 Artists of the 20th Century to Now. As one of the most influential avant-garde artists worldwide, Kusama is like her naked and burning artistic life, gorgeous and dazzling.

Observing the art of Kusama, viewers cannot help but feel an explosion of surprise and joy due to its visual sensory impact. However, that strong artistic language serves as the crystallization of the artist’s personal hardships. Those sufferings did not diminish her devotion to her art. What is commendable is that she bore that unbearable suffering, transforming her hallucinations into unique and strong ideas, erasing them one at a time with her brushstrokes to create a fascinating space and mood. Examining the painter’s fantastic spiritual world, they transform into her most dazzling and popular creations.

130

Yoshitomo NARA (Japanese, b. 1959)

Your Puppy 2016 FRP, edtion no. AP 1/1, edition of 3 271.3(L) x 140.3(W) x 188.3(H) cm PROVENANCE:

Blum & Poe, USA EXHIBITED:

Patong Beach, Phulcet, Tailand 2006 (different version) Yoshino-cho Park, Aomori, Japan 2007 (different version) Asia Art Museum of San Francisco, California, USA, 2017 (different version) Bangkok Art Biennale, Bangkok, Thailand, 2018 (different version)

NT$ 48,000,000 - 60,000,000 HK$ 12,339,000 - 15,424,000 US$ 1,593,100 - 1,991,400 RMB 11,321,000 - 14,151,000

奈良美智 Your Puppy 2016 強化玻璃纖維雕塑 AP1/1 限量3 271.3(長) x 140.3(寬) x 188.3(高) cm 來源：

Blum & Poe畫廊，美國展覽：

芭東海灘，普吉府，泰國，2006 (不同版次) Yoshino-cho Park，青森，日本，2007 (不同版次) 舊金山亞洲藝術博物館，加州，美國，2017 (不同版次) 曼谷藝術雙年展，曼谷，泰國，2018 (不同版次)

Looking Back upon the Childhood Thoughts about Art Creation, I Have the Urge to Shout Out Your Name when Feeling Down: Yoshitomo Nara

奈良美智，無疑是近年藝術市場最炙手可熱的日本藝術家名字之一，他的作品孤獨卻溫暖、親和簡單卻觸動人心，以童趣卻叛逆的形象令人著迷，深受收藏家追捧。奈良美智偏好獨立創作，在他不願長大的

橫掃國際的純真年代德國留學歸國後的奈良美智於 2001 年在橫濱美術館舉辦在日本的首

回憶童年時代的創作中，描繪出動人的生命經歷。

檔個展「I Don't Mind, If You Forget Me」自此打響知名度，以自身

「我的全部作品其實是我內心的自畫像，是和自己的對話。」

許多國際畫展的肯定以及著名公共藝術機構收藏，其中包括︰日本青

— 奈良美智

森縣立美術館、美國舊金山現代美術館、紐約現代美術館、洛杉磯當

孤獨，是奈良美智作品裡的人物的共同點，成長於寒冷的青森縣弘前市，如他所言「我非常的孤單，周遭只有蘋果樹…，我能說話的對象只有大自然，所以我會對樹、對狗、對豬…，所以我對大自然有種特殊的情感，幾年之後，我發現這其實不是件壞事。」旅居德國期間前後長達了 12 年，離鄉背井的奈良美智與故鄉間的距離有著好幾萬公里之遙，在語言全然不通的情況下，猶如一場長年自我放逐的創作之旅。奈良曾說過「杜塞爾多夫的冷與暗很像在青森縣成長的那段時光，與日本疏離，這讓我想起我是誰，也幫助我重新發現自己。」

童年為創作靈感，透過易於理解的圖像和標語吸引觀者的目光。此後

代美術館、芝加哥藝術協會、英國倫敦大英博物館、西班牙馬拉加當代藝術中心、日本原當代美術館，巴黎國立造型藝術中心、德國紐倫堡新博物館、以及布里斯本昆士蘭藝術館。而私人收藏更是遍布全球，為收藏家追逐的夢幻逸品。其畫作更於 2019 年 10 月打破了個人拍賣紀錄 ( 逾七億七千萬台幣 )，而其裝置雕塑亦拍出逾一億五千萬台幣的高價，顯示奈良美智已奠定其人氣經年不墜的亞洲當代藝術新標的。不被框限的才情，這位不願長大的藝術家，奈良美智正在持續他精彩動人的生命經歷。

「沒有人能真正參透生命的意義，我們要做的只是感受。」 — 奈良美智奈良筆下的人物，無論他們正閉著目或瞪著眼，彷彿拒絕與外界交往的表現。以繪本與音樂作伴度過獨處的童年，對奈良美智而言，筆下的人物其實都是以最直觀的角度與感知下所繪出的作品，皆是藝術家面對自我的真切描繪。 1995 年奈良美智首次在東京展覽發表一件大型小狗雕塑，之後逐漸創作更多以玻璃纖維 FRP 為媒材，將畫裡的小孩與動物轉換成雕塑作品。2006 年時奈良美智為了紀念南亞海嘯，於重災區芭東海攤創做了高 3.5 米的大型小狗雕塑雕像《Your Dog In Phuket》。奈良美智的創作一向反映出藝術家心境與生命歷程，有著療癒人心的力量。此次春拍亞洲現代與當代藝術敬獻奈良美智 2016 年所創作的《Your Puppy》此件美術館等級裝置雕塑作品，雪白的大狗除了帶給人內斂、沉穩之力並以全白色調營造出充滿幻想且迷人的療癒細魔力。 A to Z Memorial Dog : A to Z 紀念犬 2007 452.1( 長 ) x 223.5( 寬 ) x 304.8( 高 )cm Yoshino-cho Park，青森，日本 A to Z Memorial Dog, 2007, 452.1(L) x 223.5(W) x 304.8(H) cm, Yoshino-cho Park, Aomori, Japan

Yoshitomo Nara is definitely one of the most popular Japanese artists in recent years. His works are lonely, yet warm; simple and approachable, yet touching. His childish yet rebellious style is fascinating, and is sought after by collectors. Nara prefers working alone, and use his age-defying works of childhood memories to portray touching life experiences. “All my works are actually my self-portrait in my mind, they are my conversations with myself.” -Yoshitomo Nara The characters in Nara’s works all share one thing in common: they are all alone. The cold city of Hirosaki, Aomori Prefecture was where Nara grew up, and as he said, “I was very lonely, with only apple trees around me......Mother Nature is all I can talk to, so I talk to trees, dogs, pigs......That’s why I have a special feeling towards nature. After a few years, I found out that this is not actually a bad thing.” Nara moved and lived in Germany for 12 years in total, with his hometown tens of thousands of kilometers away and language barrier in place, it was like a long journey of self-imposed exile. Nara once said: “The cold and darkness in Dusseldorf was similar to my childhood in Aomori. With the sense of distance from Japan, it reminds me of who I am, and helped me to rediscover myself.” “No-one can really learn the meaning of life, all we can do is to feel it.” -Yoshitomo Nara Whether eyes open or closed, characters in Nara’s works always look like they have refused to interact with the outside world. To Nara, whose childhood was spent with only storybooks and music as his partners, these characters are what was the most natural to him, an accurate portrayal of himself. In 1995, Nara released a large sculpture of a puppy for the first time in Tokyo. After that, he began to use more fiberglass in his works to turn the kids and animals from his paintings into sculptures, which received very positive critical response. In order to commemorate the South Asian tsunami

in 2006, Nara created sculpture of puppy “Your Dog In Phuket” with a height of 3.5 meters in the Phuket beach where is the main disaster area. Nara’s creation always reflects artist’s mind state and life experience with the power of healing. In Ravenel Spring 2020 Auction Modern and Contemporary Asian Art honestly presented this museum-grade sculpture installation “Your Puppy” which created in 2016. The snow-white big dog with a fantasy and charming healing magic, that is in an all-white tone in addition to the introverted, calm power.

SUCCESS AT INTERNATIONAL EXHIBITIONS AND ART MARKETS THE PURE AGE THAT DOMINATED THE INTERNATIONAL MARKET After Returning from Germany, Nara held his first solo exhibition in Japan at Yokosuka Museum of Art in 2001, named “I Don’t Mind, If You Forget Me”. He gained his fame quickly after that, when his easy-to-understand slogans and images attracted many viewers. Since then, many international painting fairs and famous public art institutes have included his works, among them: Aomori Museum of Art, San Francisco Museum of Modern Art, New York Museum of Modern Art, the Museum of Contemporary Art, Los Angeles, The Art Institute of Chicago, British Museum, Contemporary Art Museum Malaga, Hara Museum of Contemporary Art, National Centre for Visual Arts in Paris, Neues Museum Nür nberg and Queensland Museum in Brisbane. His creations are also in private hands around the world, being sought after by many collectors. In October 2019, his paintings broke his own record, being sold at over US$ 25 million (more than NT$750 million). Meanwhile, one of his installations was sold at over US$ 5 million(more than NT$150 million). With these auction results, it is clear that Nara’s works have become new primary collectibles in the Asian market. With his unbound talents and his refusal to grow up, Yoshitomo Nara is continuing his brilliant life experiences.

131

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

5 Mai 1978 1978 Oil on canvas 162 x 128 cm Signed lower right CHU TEH-CHEN in Chinese and in English PROVENANCE

Private Collection, Hong Kong (acquired directly from the artist) Sotheby’s Paris, June 6, 2017 Private collection, Asia EXHIBITED

Chu Teh Chun, The Ueno Royal Museum, Tokyo, 23 June-10 July, 2007 ILLUSTRATED

Chu Teh Chun, The Ueno Royal Museum, Tokyo, color illustrated, p. 173 This work is accompanied by a certificate of authenticity signed by ChingChao Chu and will be included in the forthcoming Catalogue Raisonné.

NT$ 38,000,000 - 46,000,000 HK$ 9,769,000 - 11,825,000 US$ 1,261,200 - 1,526,700 RMB 8,962,000 - 10,849,000

朱德群 5.5.1978 1978 油彩畫布 162 x 128 cm 簽名右下：朱德群 CHU TEH-CHUN 來源：

私人收藏，香港 (直接得自藝術家本人) 蘇富比，巴黎，2017年6月6日私人收藏，亞洲展覽：

「朱德群」，上野之森美術館，東京，展期自2007年6月23日至7月10日圖錄：

《朱德群》，上野之森美術館，東京，彩色圖版，頁173 附朱德群工作室開立之原作保證書此作品將被收錄於朱德群工作室正在編撰的《朱德群作品編年目錄》

A CENTURY OF GLORY: ABSTRACT MASTER CHU TEH-CHUN 光燦百年：抽象藝術大師朱德群

2020 年本為華裔法籍抽象大師朱德群、趙無極百歲誕辰的重要年度。同樣出生於 1920 年，趙無極是冬去春來的二月，朱德群則為秋末冬初的十月。1930 年代時，皆是杭州藝專同窗，相似的師承，先後往巴黎拓展藝術，晚年成為法蘭西美術學院的終身院士，無論在法國或是華人的美術界或學術界對他們投報以敬意，畫商、收藏家遍及各洲，國際拍賣行情也屢創新紀錄。「在抽象畫中，不一定要完全否定物質的自然形象。」史塔耶爾的自由精神，使他聯想起三峽聳立的抽象山峰，巴黎街道斑駁牆面的迷人具象與抽象圖紋。中國老子的「恍兮惚兮，其中有象。」就是抽象畫。中國人的寫意美學、道家哲學，消弭了西方抽象與具象的對立。朱德群的抽象繪畫，從西方人的畫裡觸發，源頭卻在中國文化，在「大象無形」與「恍兮惚兮，其中有象」的理念裡。總覽朱德群的藝術創作，好比欣賞一部抒情史詩，其作品畫面的處理常給人一種精神性的流動，「氣韻生動」為最適合形容其作品之詞。朱德群採用了屬於古典中國金碧山水中慣用的石綠、花青等顏色，畫面上的線條幾乎消解在光線之中，豐富色彩的文化性與表現力達到了西洋繪畫中前所未有的境界。《5.5.1978》充滿動感的佈局，畫面肌理得體，準確優美，極富表現力。畫面中如韻律跳躍、節奏雄健，似交響樂般的點塊表現，無不既融匯了中國草書俐落瀟灑的用筆，又呈現了西方韻律、節奏的視覺美感。光線照射過後的無限次元與空間與時間所交織而成的宇宙，有如探索宇宙空間的心靈昇華。抽象表現主義構圖、筆走龍蛇的書法技巧，加上無盡的微光，優雅、舒暢、灑脫的筆致，更是表現了大自然的生命流動，在他畫筆下所呈現的，是物我兩忘的靈性宇宙，而觀者藉由他的筆法、用色和結構，也展開了一趟精神遨遊。 2020 marks the 100th birth anniversary of the Chinese-French abstract masters, Chu Teh-chun and Zao Wou-ki. Zao was born in February, 1920, Chu in the October of the same year. In the 1930s, they were both students at Hangzhou National College of Art and were trained by the same teachers. Both went to Paris to pursue a career in art. Both became the lifelong members of the French Academy of Fine Arts. The art and the academic communities in both France and the Chinese world hold them in high regard. Dealers and collectors of their works are all over the world. The prices of their works have repeatedly set new records in international auctions.

“Abstract paintings do not have to deny the natural image of things.” De Staël’s free spirit reminded him of the abstract mountains of the Three Gorges, and the enchanting patterns, both concrete and abstract, on the weathered walls of Parisian architecture. Laozi wrote in Tao Te Ching, “The Way is vague and intangible. Yet, in the vague and void, there is image, there is substance.” This also applies to abstract painting. The Chinese aesthetic of “freehand brush work” and the Taoist philosophy erase the distinction between the abstract and the concrete in the Western tradition. Although Chu’s abstract paintings were inspired by a Western artist, their origins can be found in the ancient Chinese wisdom, such as “Great Way is formless,” and “The Way is vague and intangible. Yet, in the vague and void, there is image, there is substance.” The overview of Chu Teh-Chun’s artwork is akin to appreciating a lyrical epic. The methods of textural painting often give the viewers a feeling of spiritual energy. The most appropriate phrase for describing his artworks is “vivid artistic conception.” Chu adopted colors of malachite green and flower blue found in the classical Chinese gold blue-green landscape paintings (jinbi shanhui). Every line of the painting disperses in the light and the cultural richness of colors and expressiveness reach an unprecedented realm of Western painting. “5 Mai 1978” the painting shows the jumping rhythm with power. The dots and blocks seemed like symphony performance, integrated with the fluency of Chinese cursive writing and the Western rhythm of visual aesthetic. The universe in which infinite dimension is interwoven with space and time after the passing of light equals to exploring the spiritual sublimation of the universe. The abstract expressionist composition, the calligraphy skills of the “dragons and snakes following the writing brush” (bi zou longshe) technique, and the endless shimmer, elegant, relaxed, and free style of painting is the manifestation of the flow of nature. Depicted is the forgotten universe taking the viewer on a spiritual journey through his brushwork, color, and structure.

132

LUO Zhongli (Chinese, b.1948)

Girl and Cat 1989 Oil on canvas 76 x 101 cm Signed lower center luo zhong li in English, Lou in Chinese and dated 1989 PROVENANCE:

Acquired directly from the artist by the persent owner

NT$ 9,000,000 - 16,000,000 HK$ 2,314,000 - 4,113,000 US$ 298,700 - 531,000 RMB 2,123,000 - 3,774,000

羅中立女孩與貓 1989 油彩畫布 76 x 101 cm 簽名中下：luo zhong li 羅 1989 來源：

現有收藏者直接得自藝術家

CELEBRATING THE REALISTIC SPIRIT OF RURAL PAINTINGS 歌頌鄉土的寫實靈魂

1986 年自比利時留學歸國後，羅中立回到他曾居住了十多年的大巴山，深刻地描繪田園永恆的寧靜。羅中立在回憶其創作初衷時曾表示，老實的農民總是吃虧，他要為這些被忽視的農民吶喊。正是這樣深刻的個人體驗，以及強烈的使命感，賦予了他的作品豐富的情感。「在今日的中國畫壇上，可能沒有人能像羅中立那樣忠於農村題材的深刻描寫並獲得成功共鳴。...... 試圖在『拙』與『樸』的表現風格中挖掘美的本質，呼籲世人去關心這些樸實無華的人物，尊重熱愛這種樸拙、單純、善良的生命底蘊。」國立歷史博物館館長張譽騰曾如此敘述，《女孩與貓》正描繪於如此時代背景下。

樸實與寂靜的富饒羅中立被譽為「二十世紀中國畫壇旗幟」，於 1984 至 1986 年做為中國最早一批公派留學藝術家，留學比利時安特衛普皇家美術學院。此次春拍亞洲現代與當代藝術敬獻羅中立寫實主義之作《女孩與貓》現收藏者曾為比利時外交官，兩人於羅中立留學比利時結識，待學歸國後依舊保持密切聯繫並對於羅中立作品視之珍藏。羅中立《秋：抱貓的女孩》 1989 油彩畫布 77.5 x 98 cm，羅芙奧香港 2012 春季拍賣會，

在羅中立的畫中，常常出現動物。畫家在描繪時常賦予人的情感，牠

編號 38，成交價：港幣 3,360,000

們受到主人的愛撫、與人嬉戲與主人處在同一情感世界中。《女孩與

LUO Zhongli, Autumn: Girl Holding a Cat, 1989, oil on canvas, 77.5 x 98 cm, Ravenel

貓》捕捉了一個靜謐溫柔的瞬間，女孩與貓在光、影交織下細膩呈現，畫面中的貓眼中綻放著溫和期待的目光。麥秸垛、女孩、白貓，構成令人沉醉的田園氛圍，羅中立於鄉土題材中點出帶有中國文化意識的美感觀念，延續了他早期鄉土寫實繪畫的風格，形體結實、結構精緻，色彩溫潤和諧。羅中立以他樸實的眼與心，透過畫筆真實的紀錄了駐足巴蜀農民的小人物生活，在平凡、普通的生活場景中探掘詩意。而其作品當中時常有著相似的敘事性主題甚至是構圖，為藝術家習慣的創作方式。《女孩與貓》和羅芙奧香港 2012 春季拍賣會，編號 38《秋：抱貓的女孩》有著連貫性的敘事手法，當時以近兩倍低預估價格台幣 1,292 萬 ( 港幣 3,360,000) 成交，此幅《女孩與貓》以具吸引力的估價釋於拍場，此主題亦為實屬難得之佳作。羅中立著重人與自然之間的鄉土情懷，用他的繪畫向世界傳達出自然生命中的樸實美好。

Spring Auction 2012 Hong Kong, lot 38, US $ 432,990 sold

After returning from studying in Belgium in 1986, Luo Zhongli backed to Daba Mountain, where he had lived for more than ten years. He profoundly depicted the eternal tranquility of the countryside. In recalling his original intention, he once said that honest peasant always suffer, and he wanted to shout out for these very much neglected farmer. It is such an impressive personal experience and a strong sense of mission that gives his works rich emotions. "In the Chinese painting world today, no one can be as faithful as Luo Zhongli to the breathtaking depiction of rural subjects and have successfully resonated. ...... trying to excavate the essence of beauty in the expression style of "austere" and "humble", simultaneously appeal to the world to pay attention to these unadorned characters and lovely respect the guileless, simple and kind beneath life." once described by Zhang Yuteng, Director of the National Museum of History, and "Girl and Cat" is exactly created in such a background of the era.

"Themes in ruralism worth to use a lifetime to create" — Luo Zhongli 鄉土題材值得用一生去創作 — 羅中立

THE PROLIFIC OF SIMPLICITY AND SILENT Luo Zhongli was hailed as "the flag of Chinese painting in the twentieth century" (from 1984 to 1986), as one of the earliest public scholars in China, be studied at the Royal Academy of Fine Arts in Antwerp, Belgium. This Spring auction presents his realism work "Girl and Cat", the current collector was once a Belgian diplomat. They met while Luo Zhongli studied in Belgium. Even after returning to China, they still kept in close touch and the current owner still regarded Luo Zhongli's works as his precious collection. Animals often appear in Luo Zhongli's paintings. He always bestow them with human emotions when he paints them. They can feel the tender care of their masters while playing and spending time together, both the animals and their masters are in the same emotional world. "Girl and Cat" captured such a quiet and gentle moment. The girl and cat were delicately presented under the interweaving of light and shadow, and the eyes of cat were blooming with mild anticipation. Wheat straw, young girl and white cat constitute an intoxicating rural atmosphere. Luo Zhongli points out the aesthetic concept with Chinese cultural consciousness in the rural themes, continuing the style of his early vernacular realistic paintings, which includes the use of sturdy form, exquisite structure, warm and harmonious color. With his down-to-earth eyes and heart, he truly recorded the lives of the ordinary Bashu farmers, and explored poetic quality in the most common and normal life scenes. And his works often have similar narrative themes and even composition, which are the creative ways that Luo Zhongli used to. "Girl and Cat" and Ravenel Hong Kong Spring Auction 2012, Lot No. 38 "Autumn: Girl Holding a Cat" have a coherent narrative approach. The selling price reached TWD 12,923,077, equivalent to HKD 3,360,000.,which is nearly twice as much as that of the low estimate. "Girl and Cat" is such a rare work at this attractive estimate, and the theme is also a rare masterpiece in this spring auction. Luo Zhongli focused on the native feelings between mankind and nature, and used his paintings to convey the simplicity and beauty of natural life to the world.

133

HONG Ling (Chinese, b. 1955)

Autumn Pond 1999 Oil on canvas 140 x 200 cm Signed center left Hong Ling in Chinese and dated 99. 10 Titled on the reverse Autumn Pond and inscribed Hong Ling created on 99. 10, 200 x 140 cm ILLUSTRATED:

Concious Landscape, Anhui Art Publishing House, Anhui, 2000, color illustrated, p. 54 Metaphor of Landscape, Soka Art Center, Tainan, 2003, color illustrated, pp. 30-31

NT$ 5,000,000 - 7,000,000 HK$ 1,285,000 - 1,799,000 US$ 165,900 - 232,300 RMB 1,179,000 - 1,651,000

洪凌秋池 1999 油彩畫布 140 x 200 cm 簽名左中：洪凌 99.10 簽名畫背：洪凌作于 99. 10 《秋池》200 x 140 cm 圖錄：

《意象山水》，安徽美術出版社，安徽，2000，彩色圖版，頁54 《意韻江山》，索卡國際藝術中心，台南，2003，彩色圖版，頁30-31

洪凌的畫作，是油彩堆疊的風景，是意境悠遠的山水，有西方抽象表現的精神，亦有東方「外師造化、中得心源」的內涵。他用獨特的東方語言借助西方的媒材，構建出自己獨立的精神繪畫空間，他注重油畫材料本身的特點做為媒介，並用中國式觀照自然的方法去表達自己的油畫山水，在似與不似之間，抒發著個體生命經驗。洪凌所繪的山水畫，一直有著自然物象的餘留，不斷在色彩上豐富，以微妙色差帶來如呼吸吐納般自然的美感，有時候也以大片的氣感模糊，以及滴灑的「渾點」來營造總體的氣氛。同時跳脫西方焦點透視亦不局限於時間感的光影變化，放棄風景式的直觀表述，進入一種情境式的主觀營造。此件作品《秋池》畫面反覆堆積拖曳，使色彩層層重疊又層層襯托輝映，造成色層之斑駁之美。這與中國的積墨法有些暗合，卻是在凝重中求空靈，在斑駁中求閃爍。洪凌注意的是虛實相生的氣韻，所以在作品中，雲、霧、水、雪，穿插形體，組織畫面，形成整體性的基調氛圍，使洪凌的作品虛實掩映、剛柔相濟、空靈透氣。他借鑒傳統繪畫的造型觀念、技術方法與西方油畫藝術的形式相融合，創造出了具有中國繪畫美學精神的藝術作品，嘗試讓傳統的東方文化精神啟動、再生並逐漸建立起自己的山水語言系統。他是少數在中國畫壇上能夠代表中國山水文化精神的藝術家之一。 Hong Ling's paintings utilize oil-stacking to construct landscapes. The vivid artistic conception of mountains and rivers embody the spirit of Western abstract expression, while also harboring the connotation of "Creation from the dialectical unity of naturalism and internal comprehension". Hong uses his unique Eastern language to construct his own independent spiritual painting space with the help of Western media. He values the characteristics of oil painting materials as a medium, and uses the Chinese perception towards nature to express his own landscape oil paintings. Amidst resemblance and non-resemblance, Hong expresses his individual life experiences. His landscape paintings have always had the remnants of natural objects, and being invariably rich in color, the subtle chromatic aberrations bring out a natural aesthetic much like breathing. Sometimes they feature broad ambiguous ambience, utilizing dripping "defects" to produce the general atmosphere. At the same time, the Western perspective is not limited to the lights and shadows that change with time, abandoning the visual expression of the landscape to enter a contextual subjective construction. In "Autumn Pond" he draws on the traditional painting styles and technical methods, integrating them with Western oil painting art to create artworks with the aesthetics of Chinese painting. They serve as attempts to launch the inception of Eastern cultural spirit, and regenerate and gradually establish its own landscape language system. He is one of the few artists in the Chinese art scene who can represent the spirit of Chinese landscape culture.

134

LI Chen

當代雕塑家李真的創作歷程從最起初的，「空靈系列」，在

(Taiwanese, b.1963)

刻畫佛家法相時也融入自我美學意念，帶給觀者宗教上的慰

Soothing Breezes Floating Clouds

藉之餘，也提供了藝術家自己對於佛學概念的實踐，更賦予

2005 Bronze, edition no. 3/8 43(L) x 36(W) x 80(H) cm Engraved Li Chen in Chinese and English, numbered 3/8 and dated 2005

列之一；圓潤線條，飽滿身形的雕塑作品；雖然其創作依舊

EXHIBITED:

充滿著神仙和詩人的浪漫情懷，雕塑形態自若愜意，雲朵竟

Li Chen-In Search of Spiritual Space, National Museum of China, Beijing, 2008

如此輕巧飄然，讓人賞心悅目。李真確實極為擅長處理這種

ILLUSTRATED:

遙」的絕妙東方藝術，直接傳達到心裡。《清風雲露》使觀

Li Chen in 52nd Venice Biennale-Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, cover & pp. 173-177 (different sized version illustrated) Li Chen in Beijing-In Search of Spiritual Space, Asia Art Center, Taipei, 2008, black-and-white illustrated, pp. 116-123 & p. 172 & p. 175 (different sized version illustrated)

賞者有如「初化露、望長空、赤日地、御青煙」是心靈理想

This work is to be sold with a certificate of authenticity issued by Asia Art center.

romantic mood of immortals and poets. The sculpture has

NT$ 3,800,000 - 4,800,000 HK$ 977,000 - 1,234,000 US$ 126,100 - 159,300 RMB 896,000 - 1,132,000

at dealing with this type of corresponding relationship

李真

Soothing Breezes Floating Clouds impresses an ideal world

清風雲露

of "Early dusk, looking out into the void, the red sun sets,

2005

driving away the gray smoke ". as Li Chen writes. It is a

銅雕 3/8

creation infused with a sense of humor and an expansive

43(長) x 36(寬) x 80(高) cm

inner harmony, a leisurely and spirited figure, with the air

簽名雕刻：李真 Li Chen 3/8 2005

of a Taoist immortal floating in paradise. In a supremely

展覽：

moving manner, his auspicious fan directs a remote breeze.

「李真—尋找精神的空間」，中國美術館，北京，2008

In his heavenly world he peacefully melts the boundless

圖錄：

illusions.

《第52屆威尼斯雙年展－虛空中的能量》，亞洲藝術中心，台北，2007，彩色圖版，封面及頁173-177 《尋找精神的空間－李真中國美術館個展》，亞洲藝術中心，台北，2008，彩色圖版，頁116-123，頁172及頁175 附亞洲藝術中心開立之作品保證書

當代佛教造型美學的新格局；而此件作品為「大氣神遊」系帶有佛家哲思與禪意，但已不見手持法器或手勢的形象，反倒是嬉笑淘氣的各種入世姿態，在妙趣橫生外，更顯真摯細膩且溫暖人心的情感。

量體輕重對應關係，如同「獨上雄峰天之界，輕駕浮雲樂逍

世界，加上幽默感與寬闊內韻之造化，氣定神閒的雕塑人物，有如承襲文殊菩薩坐像仙者姿態漂於仙界。 Li Chen completed this work in 2005 as part of his series Spiritual Journey through the Great Ether, and it is full of the a self-satisfied manner, with the figure floating ethereally and aesthetically on top of clouds. Li Chen certainly excels between the form and impact of the image. This type of eastern art has a direct transmittance to the heart, and is as described in his lines of verse: "standing alone on heavenly mountain tops, ﬂoating unfettered on clouds."

REEDS AND WILD GEESE LIN Fengmian

蘆雁系列是林風眠最接近傳統中國畫的主題之一，意境上也接近中國畫，其中蘆葦的畫法，與傳統筆法有深刻的聯繫，來自瓷器上的線條；雁鳥的造型師法四川漢畫的飛禽造型；因此，林風眠的蘆雁畫頗得其他老國畫家的推崇。林風眠畫中的飛禽有時說是「雁」，有時也說成「鶩」，而鶩和雁同族。雁鳥屬於群飛性的禽鳥，遭逢變故時會有失群的孤雁，林風眠的蘆雁風景畫可說是最有個人特色的題材之一。天空、堤岸、水由上而下，平行展開，雁鳥皆從右向左疾速飛進畫面，具有動感與詩意。他所繪的雁鳥，或一隻，或兩三隻，在陰雲密佈時分，蘆葦偃抑中逆風而行，頗有疾風知勁草、板蕩識忠臣的象徵性意涵。杭州西湖曾是林風眠生命過程一處重要驛站，雖然距上海不遠，然而人事更迭、身不由己，離開杭州藝專教職後，潛居在上海，晚年後又轉往香港。西湖上雁鳥低飛過水面蘆葦的畫面，一直長留在他的記憶深處。因此，美術史家郎紹君指出：蘆雁畫不是對景的寫生，而是根據回憶和形象素材來畫，更接近主張「飽遊臥看」、「搜盡奇峰打草稿」的傳統山水畫家。但是林風眠不似傳統山水畫家看重前人的題材、畫法與風格經驗，他較為重視具體景物的經驗，根據他所遺留的鉛筆畫稿，林風眠到過山林寫生，如同西畫家為了掌握對象和特點而先繪習作。所以，林風眠不是從模仿或改造前人的經驗與模式，也不是全然客觀的寫景，而是從自身的經驗不斷淬勵，力圖開創新的繪畫語言。此次的拍品《蘆蕩飛雁圖》早年為是香港中僑國貨公司所有，後為香港知名收藏家三槐堂購藏，珍藏在收藏家手中已有多年。《蘆蕩飛雁圖》畫裡一株株勁拔的蘆葦，以快筆掃出，如同民間瓷器上的筆觸線條，俐落蒼勁，兩三隻雁鳥低空掠過水面，有一種速度感。儘管厚雲罩頂，雲隙間的天光和湖水，白粉的運用產生透明舒暢的感受。中景黃綠色提升畫面的明亮感，是畫家難得較顯愉悅感的蘆雁畫。 In 1962 within the article xpression, Communication and Other Matters?Lin Fengmian mentioned that his inspiration for reeds and wild geese paintings originated from an unusual experience at West Lake in Huangzhou. He said: any years ago, while I was living at West Lake in Huangzhou, I kept having these rubella attacks. My family and doctor wanted me to take walks every day, so every afternoon I would walk all along the Su Levee. It was around autumn, and all this walking back and forth meant that I enjoyed the scenery at West Lake in theirit's entirety for three or four months. Sometimes a flock of wild birds would sweep by low across the tranquil lake surface along the reeds, and scenes such as this have become imprinted on my mind though I had no intention of painting them at the time. After the Liberation I lived in Shanghai, and one day I thought of the line lear islet, white sands, the birds return?from a poem by Du Fu...so I began painting these kinds of paintings. Sometimes the painting is set on the lake, or on a calm river, and ultimately it developed into a variety of back

The Reeds and Wild Geese series is one of the themes oin which Lin Fengmian most closely approaches traditional Chinese paintings, and its tone resembles Chinese paintings as well. The technique used to depict the reeds is closely linked to traditional brush strokes, originating from the lines painted on porcelain; the shape of the wild geese follows the bird designs of the Shichuan Han Dynasty stone reliefs; this areis why Lin Fengmian's paintings of reeds and wild geese have been admired by older masters of Chinese paintings. West Lake in Huangzhou was an important way station in Lin Fengmian's life, and though it wasn far away from Shanghai, the vicissitudes of life meant that after he left his teaching position at the Huangzhou Art College, he lived quietly in Shanghai before moving to Hong Kong for his final years. The image of geese flying low across the reeds on West Lake has always remained in the depths of his memories. This is why the art historian Lang Shaojun noted: the reeds and wild geese paintings were not paintings of actual landscapes, but in fact painted from memory incorporating elements of imagery. In their conception they resembled traditional landscape artists whose ideals were wiew the imagery in repose after countless journeys?and all the wondrous mountains before coming up with a draft?. Unlike traditional landscape artists however Lin Fengmian's concern was not with his predecessors?themes, techniques or styles. Instead, his focus was on the experience of actual objects. Based on the pencil drafts he left behind, Lin Fengmian had in fact sketched actual landscapes just like Western artists who would make practice sketches in order to grasp the subject and specific features. So Lin Fengmian did not imitate or modify the experience or models set by past artists, nor did he make completely true-to-life depictions of the landscape. He instead continued to refine his own personal experiences in order to create a new language of painting. It has been carefully preserved in the hands of collector's hands for many years. In the needs and Wild Geese vigorous stalks of reeds have been created through quick, sweeping brush strokes, giving an impression of neatness and strength like the brushed lines on porcelain. Wild geese skim by low across the water in twos and threes creating a sensation of speed. Despite the heavy clouds, the rays that come through gaps in the cloud and the waters of the lake created through the use of white powder creates a sense of relief and transparency. The yellowish greenery in the middle elevates the scene's brightness, making this a reeds and wild geese painting in which the artists has expressed a rarely seen feeling of happiness.

135

LIN Fengmian

林風眠

(Chinese, 1900 - 1991)

蘆蕩飛雁圖

Reeds and Wild Geese

1970-1978

1970-1978 Ink and color on paper 40 x 50.5 cm Signed lower right Lin Fengmian in Chinese With one seal of the artist ILLUSTRATED:

Zhou Weiming ed., Collection of Art Garden Studio No. 72: Sanhuai House’s Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated, p. 19

NT$ 2,800,000 - 3,800,000 HK$ 720,000 - 977,000 US$ 92,900 - 126,100 RMB 660,000 - 896,000

彩墨紙本 40 x 50.5 cm 簽名右下：林風眠鈐印右下：林風眠印圖錄：

周衛明編，《藝苑掇英第七十二期：三槐堂藏現代書畫專輯》，上海人民美術出版社，上海，2004，彩色圖版，頁19

136

CHIU Ya-tsai

邱亞才

(Taiwanese, 1949-2013)

女人肖像

Female Portrait

1998

1998 Oil on canvas 116 x 91 cm Signed lower left Chin Ya-tsai in Chinese

116 x 91 cm

油彩畫布簽名左下：邱亞才附梵藝術中心開立之原作保證書

This painting is to be sold with a certificate of authenticity issued by Fine Art Canter.

NT$ 1,600,000 - 2,600,000 HK$ 411,000 - 668,000 US$ 53,100 - 86,300 RMB 377,000 - 613,000

「當人們看到我的繪畫與小說，就會經常想到人生有痛苦這回事，詮釋人生痛苦的方式有許多種，而我卻是用繪畫與文字語言來表達而已。 … … 我喜歡用意象的人生來寫實，來傳達面對生老病死的感慨，描繪過週邊生活被傷害的小人物，捲近悲劇漩渦時常是我作品中人物的縮影，刻意以冷漠來突顯人生的荒謬與空乏。例如：流浪漢及漂泊者等等。繪畫是自我表述的工具，表達出我內心抑鬱的複雜意識及孤獨的人我關係。」 ─ 邱亞才邱亞才的創作以人物為中心，他的人物肖像畫裡即有著中、西難辨的氣質存在，大膽有勁、強烈用色的平塗背景有著野獸派的色彩觀念，而中國傳統的白描精神，單純的線條構造勾勒出細緻的五官，不拘泥在形式、細節，卻精彩的描繪出人物的神情。他的創作來自於長時間對於人的細膩觀察，完成於 1998 年的《女人肖像》為其成熟時期的作品，當時的邱亞才已歷經了 20 逾年的油畫創作，對於人物性格的掌握、媒材的熟悉與技巧均已達到爐火純青，他不再直白地平鋪直達人物的喜怒哀樂，而展現了更深的層次與內斂的勁道。畫面中為一位靠在沙發上休憩的女子，從她的面部表情上，看不見外放的情緒，狀似在思考且帶有人文氣質。而其手部動作與身體語言流洩出放鬆氣息，在旁若無人的寂靜空間中，彷若詮釋著人生的孤獨本質。從人物的肢體語言、衣著上的細心描繪以及背景空間中的家具指示，足見藝術家的用心。而這樣的鋪排在邱亞才的肖像作品中較為少見，更顯此作之難得。 “When people see my paintings and novels, they often think about the agony in life. There are many ways to interpret the pain in life, but I use painting and written language to express it……… I like to apply the imagery in life to depict realism, to sorrowfully convey the feelings of facing getting old, sick and finally passing away, describing normal people who have been suffering from the surrounding, involving a swirling vortex of tragic is often the

epitome of the characters in my works, deliberately using apathy to highlight the absurdity of life, such as wanderers and vagabonds etc. Painting is a tool for self-expression, expressing the complex consciousness of my inner depression and the solitary relationship between me and others. “ － CHIU Ya-tsai The creation of Chiu Ya-tsai is centered on figures, and his portraits have a temperament that is difficult to distinguish between Chinese and Western. The bold, powerful and strong colors employed in the background have the color concept of Fauvism. With the traditional Chinese outline drawing, the straightforward, simple lines sketch the contours of delicate facial features, not rigidly adhere to forms and details, but vividly depict the look of each character. His creation came from the thorough observation of mankind in a long period of time. The "Female Portrait" was completed in 1998 and sure reached his mature phase. By that time, Chiu Yatsai had been creating oil paintings for more than 20 years. He not only successfully mastered the nature in his characters, but also reached perfection in the familiarity and skills when deploying the medium. He no longer just directly laid out the joys and sorrows of his characters, but demonstrated a much deeper level and in a restrained strength. The painting shows a woman resting on the sofa, with her ture emotion not only shoe by her facial expression. She aeems to be i deep thought while personifying culture and refinement. Her hand movements and body language exude a sense of relaxation, it seems to interpret the lonely nature of life, in a silent space where no one is around. From the body language of the character, the attentive depiction on the costumes to the setting of furniture in the background space, the artist’s diligent intention is clearly visible. This arrangement is scarcely seen in the portrait paintings of Chiu Ya-tsai, and hence make it even more rare.

PURSUIT OF BELONGINGNESS, THE TRANS-ERA STYLE OF MICHELL HWANG 歸屬的追尋，黃銘哲的跨時代風格

137

作為台灣戰後第一代傑出的當代藝術家黃銘哲，以其獨特的藝術語

Michell HWANG (HWANG Ming-che)

人文溫情主義以及裝置表現時期、1990 年代半抽象的華麗繽紛都會生活風格，頹廢的華麗有著黃銘哲對於世紀末的想像。而 2000 年

(Taiwanese, b. 1948)

之後黃銘哲將創作拓展至大型的立體作品，標誌性以及象徵性的表

A Group of Women in East Taipei

現方式，承襲其油畫創作的造形語彙，都是黃銘哲主觀的情感經驗。

1992-1994 Oil on canvas 180 x 180 cm Signed lower right Che in Chinese and dated 1994 Signed on the reverse HWang Ming-che in Chinese, inscribed 150F and dated 1994

此次春拍亞洲現代與當代藝術敬獻《台北東區一群女人》，有著黃

彙，頗具東方神韻、神秘色彩的繪畫，在華人藝術界享有盛譽。黃

EXHIBITED:

MICHEL HWANG Elegance in Shanghai & Taipei, Shanghai art museum, Shanghai, 2001 ILLUSTRATED:

MICHEL HWANG Elegance in Shanghai & Taipei, Shanghai art museum, Shanghai , 2001, color illustrated, pp. 99-100

NT$ 1,300,000 - 2,200,000 HK$ 334,000 - 566,000 US$ 43,100 - 73,000 RMB 307,000 - 519,000

黃銘哲台北東區一群女人 1992-1994 油彩畫布 180 x 180 cm 簽名右下：哲1994 簽名畫背：黃銘哲1994 150號展覽：

「黃銘哲上海台北風華再現」，上海美術館，上海，2001 圖錄：

《黃銘哲上海台北風華再現》，上海美術館，上海， 2001，彩色圖版，頁99-100

銘哲的藝術，歷經了 1970 年代早期的鄉土寫實風格、1980 年代的

銘哲 1990 年代經典的視覺語言。1990 至 1997 年間，黃銘哲以都會為背景，創作一系列的人物畫像。他於線條與色面之間塑造了桀傲華麗的都會人物樣態，並以線條勾勒女人的身軀，抽象化的型體表現方式流暢地描繪出畫面中的律動感。 Being the first generation of outstanding contemporary artists in Taiwan after the war, Michell Hwang, along with his unique artistic vocabulary, his painting full of characteristic charm and mystic as seen in the Orient, this has eventually brought him prestigious status in the Chinese art world. His art has gone through the style of vernacular realism in the early 1970s, the humanity tenderness in the 1980s, along side the period of installation expression. In the 1990s, his semi-abstract style depicted the vibrant and lively lifestyle in metropolitan city, this distinctive decadent of gorgeousness clearly reflected his imagination while approaching to the end of century. After the year of 2000, he expanded his creation to large-scale three-dimensional works, his symbolic and iconic way of expression, obviously inherited from the language of his oil painting, these are all his subjective emotional experience. This Spring auction of Modern and Contemporary Aisan Art presents "A Group of Women in East Taipei" , which has the classic visual language of Michell Hwang as seen in the1990s. During 1990 to 1997, he created a portrait series of characters with the metropolitan city as background. He created a variety of proud and gorgeous metropolis figures by using lines and colors. By simply outlining the natural body of women, he smoothly depicted the rhythmic movement the rhythmic movement with the abstract expression of from and structure in the painting.

用藝術見證大時代下的孤寂美學，畫布上的詩人，邂逅王攀元他的一生艱苦卓絕，1936年畢業於上海美專，師承劉海粟、潘玉良、潘天壽等人。1949年隨著國民政府來台先落腳鳳山，1952年受堂弟推薦至羅東中學教書並潛居宜蘭，他的一生奉獻於蘭陽藝術教育並持續創作超過一甲子。 2001年獲第五屆國家文藝獎美術類得獎人，當時王攀元以近九旬高齡獲獎，得獎理由實至名歸所述：「一位內省的藝術家......在當今眾聲喧嘩的時代，始終自我觀照，以細膩深邃的情感詮釋簡潔的主題，在台灣特定的時空下，呈現出獨特精煉的風格。」「一個畫家必需要有自己的體系與風格，那就是孤獨。」 — 王攀元他有著中國文人的清高與倨傲，王攀元認為「作品就是畫自己的心境」，而他王攀元《故鄉》水彩紙本 27 x 42.5 cm WANG Pan-youn, Hometown, Watercolor on paper, 27 x 42.5 cm

的心境往往揉合著他最喜歡的詩詞，畫出悲喜交織的情境。藝術評論家謝里法曾敘述，王攀元的境界好比一首詩，莫非以詩的語言來作畫，但更多得是「以家鄉的語言作畫」。無邊天地、太陽、紅衣人、狗與馬的變形、茅草屋與孤帆等主題最常出現於王攀元的作品之中，其背後都有特殊的情感與回憶。他經常繪畫出大塊天地，按王攀元的說法，是描繪自己童年家鄉無邊的草原，自幼失怙，他經常獨自在草地上或與家中的狗兒玩耍，大家族下的爭權奪利，使得他的創作如同踽踽獨行的孤獨文本，風雨飄搖間造就孤高氣度。他的思想超越時代，獨到的色彩，虛空感表達回憶、若有似無的神秘隱喻，深具東方的人文內涵。自傳式的獨白，而畫中的裸女或舞者，則是年輕時的愛情回憶，也是一種思鄉的情感，他把愛情與鄉愁攪在一起，堆疊出夢境與情感的色彩。船、太陽或月亮，都是淒美的象徵符號，抒發情感，像詩一般的意境去淡化生活與思鄉之苦。他的風景圖畫不是屬於唯美的詠嘆調，有時候非常有前衛風格，近乎單色畫的寫景作品，抽象構圖具現代感。越晚期的畫作越單純，達到一種至高無上的絕對感。

王攀元《問君何日歸故里》油彩畫布 60.5 x 72.5 cm WANG Pan-youn, Homeland Return, Oil on canvas, 60.5 x 72.5 cm

獨樹一格的飄泊靈魂他孤寂的詩敘及象徵意涵豐富地體現於他的畫作之中，色彩單純卻充滿現代感的構圖方式，超越了時代並深富東方人文內涵。因一生困苦且物資缺乏，油畫顏料對當時的他來說較為珍貴，在他的創作生涯中油畫產量較為稀少，主要多寄情於水墨及水彩。《問君何日歸故里》亦為其中難得的油彩畫作。從他鄉至故鄉，夢土與家園何處尋，王攀元的一生因戰亂而漂泊，船在他內心蕩漾著年少與季竹君蘇杭泛舟的記憶，亦隱喻著載他回鄉的思鄉心象風景亦是他扁舟孤泊的永恆鄉愁。《大山大水》中的孤帆亦如他看盡了紅塵眾生人生中的歸依，大片面積的藍與黑有著曠達宇宙間的空靈。女兒王多慈曾言，父親畫作大多是非賣品，很多人想買但他執意不賣，2014年時宜蘭聯合勸募中卻不假思索地便將珍藏三十年的《秋意》捐出。《山屋》與《故鄉》有著王攀元精典的黃綠色調的天與地，以自傳性的藝術語言，直觀自身心底，更觸動著觀者心弦，而《山屋》一作更曾被藝術家選為其名片封面。而其中一件《歸》孤人的背影置於畫面右下方，有如當年季竹君所象徵的那段缺憾，成為他終其一生追尋不得的故鄉。王攀元坎坷豐富的一生，都縮影在他一幅幅作品裡，觀者可以從那細膩、情思醇厚的繪畫中閱讀而出。畫中孤淒意境的象徵符號，皆是王攀元情感的抒發，他的苦澀美學像詩一般地淡化了生命之中的思鄉與困頓之苦。他的創作深沉、內斂卻情感豐沛，完整地體現了王攀元歷經歷史動盪、文化流轉的不凡藝術人生。「我始終認為，作品中一定要有的內涵的精神活力。譬如，在大潑墨水墨畫的筆觸去揮灑，讓畫面具備靈動的要素，使畫面氣勢磅礡，趣味盎然，令人看了，好像百戰榮歸的英雄。」在繪畫裡，王攀元一直是熱情澎湃的。回顧畫家的一生，他的人格與畫格令人欽佩，一代美術大師當之無愧。

藝術家名片王攀元《山屋》 Bussiness card of the artist, WANG Pan-Yuan, Thatched Cottage

THROUGH HIS ART WITNESS THE AESTHETICS OF SOLITARY, THE POET ON CANVAS, WANG PAN-YOUN His life was arduous. He graduated from Shanghai Fine Arts School in 1936, and studied under masters such as Liu Hai-su, Pan Yuliang and Pan Tian-shou etc. In 1949, he followed the National Government's step to come to Taiwan and first cettled down in Feng Shan. He was recommended by his cousin to teach at Lo Tung High School and subsequently lived in Yilan in 1952. He has dedicated his whole life to the education of Lan Yang Art and kept on creating over sixty years. In 2001, Wang Pan-youn won the 5th National Award for Arts. He was nearly at ninety years of age. As once said regarding his well deserved award" An artist who has self-reflection… In today such a loud and noisy era, he always closely observes himself, throughout his delicate and passionate emotions to interpret the theme concisely, and present an unique and refined style under the specific environment of Taiwan. "A painter must have his own system and style, that is solitude." — Wang Pan-youn Same as the traditional Chinese literati, he possessed of good virtues as noble and virtuous, Wang Pan-youn believes that "painting is depicting the mood of oneself", and his mindset often blends with his favorite poems and delineates a situation mixed with tragedy and joy. The art critic Hsieh Li-fa once described that the realm of Wang Pan-youn is like a poem, instead of using the language of poetry to paint, but more is "painting in the language of his hometown". Themes such as boundless world, sun, man in red, deformation of dogs and horses, thatched houses and lonely sailboat frequently appear in the works of Wang Pan-youn, clearly beneath them are exceptional emotions and memories. According to his words, he often paints world that depicts the brimless grassland of his childhood hometown, bue to the lost of his father when he was young, he always either played alone in the grassland or with his dogs at home. Because of the power struggling within his extended family, this had eventually led to the unique

王攀元《山屋》水彩紙本 38 x 41 cm WANG Pan-youn, Thatched Cottage, Watercolor on paper, 38 x 41 cm

solitariness found in his creation and reached such a seclusion manner. His thinking transcends times, while his unique use of color and space to convey memories as a faintly discernible mysterious metaphor, the cultural connotation is deeply embedded in Eastern cultures. The themes of his paintings included the creative artistic concepts of people, nudes, nature and animals. Whichever the subject it is, from people, birds, dogs, cows, goats or eagles, they are all incarnations of himself, constituting an autobiographical monologue. Female nudes or dancers in his work signal memories of the loves of his youth, somewhat nostalgic of the place where he grew up. Thus, the artist mingled love and nostalgia together through the layered colors of dreams and feelings. A boat, the sun or the moon, on the other hand, were poignant symbols expressing his feelings, an artistic concept similar to poetry used to dilute the pain of his life and homesickness. His landscape paintings are not expressive melodies of beauty. At times, they have a distinct avant garde style, comprised only of a single color in an abstract composition conveying a modern feeling.

A WANDERING SOUL THAT STANDS ON HIS OWN

王攀元《秋意》水彩紙本 39.5 x 54 cm WANG Pan-youn, Breath of Autumn, Watercolor on paper, 39.5 x 54 cm

His narrative lonely yet poetic, which symbolic meaning are abundantly reflected in his paintings. Though the colour composition is simple but full of modernity, completely transcends in time and encompassed of richness in the humanity that is only seen in the Oriental East. Due to the hardship throughout his life and lack of materials, oil paint was definitely more precious to him at that time. During his creative career, his oil paintings were relatively scarce, mainly focuses on ink and watercolor. "Homeland

Return" is one of his rare oil paintings. From other country to homeland where is his motherland. The life of Wang Pan-youn was sadly drifted because of war, the boat lingered in his heart with fond memories between his young self sailing with Ji Zhu-jun in Suzhou and Hangzhou, the depiction of boat is also a metaphor of homesick to his native land, which he is eternally nostalgia for. The lonesome sailboat depicted in "Magnificent Landscape" as if himself finally saw through the vulnerability in life, mass area of blue and black applied in the canvas created the ethereal spirit of the universe. Daughter Wang Duo-Tzu once said that most of his father's paintings were not for sale, many people wanted to buy them but he insisted on not selling them. Yet in 2014, he generously reacted the call from the non profit organisation Yilan Love to donate "Breath of Autumn" which he has kept for 30 years without hesitation. Both the "Thatched Cottage" and "Hometown" have Wang Pan-youn's timeless yellow and green tones, which represent heaven and earth respectively, “Thatche Cottage” was selected by artist as the cover of his business card. With his artistic language so autobiographical, he fearlessly self examined and even passionately touches the heart of viewers. One of works in this auction "Return" Moreover the feeling of deficiency symbolized by Ji Zhu-jun have therefore become the homeland that he has kept searching for all of his life. The life of Wang Pan-youn bumpy yet rich is epitomized in his works, viewers can clearly feel from his delicate and mellow paintings. The symbolic atmosphere of loneliness depicted in his paintings are all of his emotions expressed, his bitter aesthetics is sort of like poetry that can downplay the nostalgia and distress in life. His creation is profound, restrained but full of emotion, which entirely reflects in his most extraordinary artistic life that was cultivated through historical turbulence and cultural exchange.”I have always felt that there must be an essence or vitality to the substance of a painting. For example, the splash of the brush stroke of a splashed color painting allows the picture to have a dynamic element that renders the picture grand and magnificent and truly interesting, and when people look at it, it’s like seeing a hero with all the glory.” Wang Pan-youn was always passionate about his paintings. Look back at the artist’s life, both of his personal character and the character of his paintings are admirable and deserved being known as the master of the generation.

"I prefer paintings with open space. I like to leave space when talking to people. I like to meditate and reflect, and not having to contend with people." — Wang Pan-youn

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WANG Pan-youn

王攀元

(Taiwanese, 1912-2017)

故鄉

Hometown

水彩紙本

Watercolor on paper 27 x 42.5 cm With one seal of the artist

鈐印右下：王攀元印

This painting is to be sold with a photograph of the artist with this lot.

NT$ 320,000 - 420,000 HK$ 82,000 - 108,000 US$ 10,600 - 13,900 RMB 75,000 - 99,000

27 x 42.5 cm 附藝術家與作品合影照片

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WANG Pan-youn

王攀元

(Taiwanese, 1912-2017)

歸

Return

水彩紙本

Watercolor on paper 35 x 40 cm With one seal of the artist PROVENANCE:

Acquired directly from artist’s family This painting is to be sold with certificates of authenticity issued by Hong Wen Tang.

NT$ 320,000 - 460,000 HK$ 82,000 - 118,000 US$ 10,600 - 15,300 RMB 75,000 - 108,000

35 x 40 cm 鈐印右下：攀元書畫來源：

購自藝術家家屬附宏文堂藝廊開立之原作保證書

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WANG Pan-youn

王攀元

(Taiwanese, 1912-2017)

山屋

Thatched Cottage

水彩紙本

Watercolor on paper 38 x 41 cm With one seal of the artist PROVENANCE:

Dynasty Gallery, Yilan Former collection of Dr. and Mrs. Li Acquired by the present owner from the above

NT$ 360,000 - 460,000 HK$ 93,000 - 118,000 US$ 11,900 - 15,300 RMB 85,000 - 108,000

38 x 41 cm 鈐印右下：王攀元印來源：

朝代畫廊，宜蘭李界元醫師伉儷舊藏現有藏家購自上述來源

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WANG Pan-youn

王攀元

(Taiwanese, 1912-2017)

秋意

Breath of Autumn

水彩紙本

Watercolor on paper 39.5 x 54 cm With one seal of the artist PROVENANCE:

Charity sales of United Way of Taiwan, Yilan, January 12, 2014 Former collection of Mr. Chu Acquired by the present owner from the above

NT$ 500,000 - 700,000 HK$ 129,000 - 180,000 US$ 16,600 - 23,200 RMB 118,000 - 165,000

39.5 x 54 cm 鈐印右下：王攀元印來源：

宜蘭聯合勸募慈善義拍賣，2014年1月12日喜互惠董事長朱儒文舊藏現有藏家購自上述來源

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WANG Pan-youn

王攀元

(Taiwanese, 1912-2017)

大山大水

Magnificent Landscape

油彩畫布

Oil on canvas 38 x 46 cm Signed lower right P.Y Wang

簽名右下：P.Y WANG.

PROVENANCE:

Former collection of Dr. and Mrs. Li Acquired by the present owner from the above

NT$ 550,000 - 750,000 HK$ 141,000 - 193,000 US$ 18,300 - 24,900 RMB 130,000 - 177,000

38 x 46 cm 來源：

李界元醫師伉儷舊藏現有藏家購自上述來源

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WANG Pan-youn (Taiwanese, 1912-2017)

Homeland Return Oil on canvas 60.5 x 72.5 cm Signed lower left Wang.P.Y PROVENANCE:

Pretty Gallery, Taipei Former collection of Dr. and Mrs. Li Acquired by the present owner from the above

NT$ 1,400,000 - 2,400,000 HK$ 360,000 - 617,000 US$ 46,500 - 79,700 RMB 330,000 - 566,000

王攀元問君何日歸故里油彩畫布 60.5 x 72.5 cm 簽名左下：Wang.P.Y 來源：

綺麗畫廊，台北李界元醫師伉儷舊藏現有藏家購自上述來源

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CHUANG Che (Taiwanese, b. 1934)

The Begining of Spring 1989 Acrylic on canvas 125 x 125 cm Signed lower right Chuang Che in Chinese and dated 1989 Titled on the reverse The begining of spring 89-4, dated 1989 and inscribed 125 x 125 EXHIBITED:

Chuang Che, Deep Ridge-Remote Way, Solo Exibitiov, National Art Museum of China, Beijing, August 28-September 24, 2007 ILLUSTRATED:

Chuang Che, Deep Ridge-Remote Way, Solo Exhibition in National Art Museum of China, Asia Art Canter, Taipei 2007, color illustrated, p. 60

NT$ 1,600,000 - 2,200,000 HK$ 411,000 - 566,000 US$ 53,100 - 73,000 RMB 377,000 - 519,000

莊喆春光乍現 1989 壓克力畫布 125 x 125 cm 簽名右下：莊喆89 題識畫背：春光乍現 89-4 125 x 125 1989 展覽：

「領深道遠－莊喆中國美術館個展」，中國美術谷，北京，展期自 2007年8月28日至9月24日圖錄：

《嶺深道遠－莊喆中國美術館個展》，亞洲藝術中心，台北， 2007，彩色圖版，頁60

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Tzu-chi YEH (Taiwanese, b. 1957)

Orchid Tree 2019-2020 Tempera and oil on linen 76.2 x 50.8 cm Signed on the lower right Tzu-chi and dated 2019-20

NT$ 1,300,000 - 1,800,000 HK$ 334,000 - 463,000 US$ 43,100 - 59,700 RMB 307,000 - 425,000

葉子奇艶紫荊 2019-2020 卵彩油彩亞麻布 76.2 x 50.8 cm 簽名右下：子奇 2019-20

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146

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

Beyond the Great Threshold - 58 1993 Acrylic on canvas 79.5 x 130 cm Signed on the reverse Hsiao Chin titled Beyond the Greet Threshould-58 in Chinese, dated 1993 and inscribed 130 x 79.5 cm Acrylic on canvas ILLUSTRATED:

Hsiao Chin, JP Art Center, Kaohsiung, 2013, color illustrated, p. 42

NT$ 1,100,000 - 2,200,000 HK$ 283,000 - 566,000 US$ 36,500 - 73,000 RMB 259,000 - 519,000

蕭勤大限外之 58 1993 壓克力畫布 79.5 x 130 cm 簽名畫背：蕭勤九三大限外之58 布上壓克力畫 130 x 79.5 公分圖錄：

《蕭勤》，琢璞藝術中心，高雄，2013，彩色圖版，頁42

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147

PANG Jiun (Taiwanese, b. 1936)

Guilin Landscape 2009 Oil on canvas 60.6 x 72.7 cm Signed lower right Pang Jiun in Chinese and dated 2009 With one seal of the artist

NT$ 950,000 - 1,200,000 HK$ 244,000 - 308,000 US$ 31,500 - 39,800 RMB 224,000 - 283,000

龎均甲天下 2009 油彩畫布 60.6 x 72.7cm 簽名右下：龎均 2009 手繪鈐印右下：均

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148

HUNG Yi

洪易

(Taiwanese, b. 1970)

貓

Cat

2006

2006 Baked enamel on steel plate 170(L) x 60(W) x 125(H) cm Signed Hung Yi and dated 2006

170(長) x 60(寬) x 125(高) cm

鋼板彩繪簽名臀部：洪易 2006 附印象畫廊開立之作品保證書

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

NT$ 1,100,000 - 1,600,000 HK$ 283,000 - 411,000 US$ 36,500 - 53,100 RMB 259,000 - 377,000

洪易的作品傳遞出飽滿、圓融及渾然天成的大氣魄，在洪易的立體雕塑世界中，動物與人類是好朋友，洪易作品給人親近並賦予動物新的註解，帶給社會喜悅與幸福感。這些造型，雖然是我們早已熟悉的事物，特別是動物的造型，但是都已被他改造變形，被賦予了更具趣味性的生命特徵。有別於一般的藝術家在畫布上作畫，洪易是在立體鋼板上彩繪，敘述性強，符號與符號，故事與故事之間有著特殊的關聯性，有著強大的感染力；揉合對於社會的觀察與生活體驗、及對台灣特色的思考。從生活中的各面向民俗形式與生活符號中，不斷累積藝術內在的潛在能量，在立體的雕塑上創造扁平的深度，兼有現代雕塑塑形與當代普普藝術彩繪二元優點，平舖直述的故事帶有更深意涵的祝福與想像。從立體彩繪創作到新媒材的地景裝置運用，洪易為雕塑歷史寫下新的定義，在洪易作品我們看到未來華人世界中，雕塑全新的可能。《貓》是現代人最喜愛的寵物之一，身上的變形圖騰集結繽紛色彩，雙面五官的表情可愛逗人，豐富的元素，是洪易常見的藝術表現方式。而傳統文化創新呈現在雕塑上，跳脫過去簡單的著色，蘊含故事的藝術品，帶有高度的童趣，讓人會心一笑。 Hung Yi's artwork convey a full, round and natural atmosphere. In Hung Yi's sculptural world, animals and humans are good friends. His sculptures bring people intimacy and give animals new annotations, which bring joy and happiness to the society. Although these animals shapes are things we are already familiar with, they have been transformed and given more interesting life characteristics by the artist.

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Unlike ordinary artists who paint on canvas, Hung Yi paints on three-dimensional steel plate, with strong narrative, symbols and a special relationship between stories and stories, with a strong appeal. Combining the observation and life experience from society and the Taiwanese characteristics, Hung Yi is constantly accumulating potential energy inherent in art through various aspects of life and symbols in folks form. With the duality advantage of modern sculpture form and neo-popism, the flatly narrated stories on the sculpture has deeper connotations and imagination. Vivid and bright painting texture strengthens the sense of his sculpture. Hung Yi's sculpture stands harmoniously in modern space and urban architecture. From the creation of threedimensional painted animals to the use of new media landscape installations, Hung Yi has writeten a new definition for the history of sculpture. In Hung Yi's sculptures, we see the new possibilities of sculpture in the future Chinese art world. "Cat" is one of the favorite pets of modern people. The deformed totem on the body gathers fun colors. The double-sided facial expressions are extremely cute with its rich elements and patterns, which is a common artistic expression in Hung Yi. Traditional cultural innovations are presented on sculptures. Free from the simple color of the past, Hung Yi’s colorful animals containing stories, with a high degree of childlike interest, making people smile.

149

HUNG Yi (Taiwanese, b. 1970)

Papercutting Bird 2008 Baked enamel on steel plate 87(L) x 50(W) x 205(H) cm Signed on the base Hung Yi in Chinese and dated 2008

NT$ 550,000 - 750,000 HK$ 141,000 - 193,000 US$ 18,300 - 24,900 RMB 130,000 - 177,000

洪易剪紙鳥 2008 鋼板烤漆 87(長) x 50(寬) x 205(高) cm 簽名底座：洪易 2008

洪易的作品一向是入世的。每天被攪拌在生活裡的小人物們，在他的筆下永遠有令人會心一笑的喜怒哀樂。觀看洪易的作品，像是一篇篇情節豐富、曲折神奇、又平易近人的民間故事。故事內容很精彩，有溫暖，有傷感，有世故而諧趣的狡詰，也有童稚與純真的夢幻；有你我身邊的人與事，也有社會百態的眾生相。什麼都有，就是沒有矯揉作態的故作高深，沒有聲嘶力竭的批判撻伐。即使是揭開世間醜惡，也是引人莞爾地以丑代醜。洪易作品裡，有著鮮活、不受框架限制、豐沛旺盛的無盡生命力，與源源不盡的巧思。《剪紙鳥》有著象徵台灣早期剪紙風格的喜氣造型富有純樸的台灣風味，作品上交互層疊著俗民文化的圖騰及象徵，充分表現藝術家對於生活事物的幽默風趣，來自民間文化與日常生活的轉化，將藝術家對於土地的觀察與情感，揉合於造形之中，那些看來有些粗野卻絕對可愛的事物，正是洪易傳達「藝術生活化」理想的使者。洪易認為人間可愛，而台灣更是一座不折不扣的樂園。 Hung Yi’s works are always secular. The little characters who are involved in everyday life can always show joy, anger, grief and happiness in his works that arouse a sympathetic laugh. Appreciating Hung Yi’s works, you are reading an amazing and

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

150

黃銘哲的繪畫成就是耀眼輝煌且有目共睹的，但他在雕塑作品上的突

Michell HWANG (HWANG Ming-che)

繪畫當中，偶爾會有不規則的畫幅作品出現。如在他創作於 1982 年，

破與優異表現卻較少被人提及。在他開始創作雕塑作品之前，在他的

(Taiwanese, b. 1948)

一件探索家庭世代傳承的系列作品《延續》的三聯屏畫作當中，即可

White

見他突破傳統平面繪畫方整的畫面形式，加入了現成物來打破原有的

2006 Coating on steel, edition no. 1/2 190(L) x 62(W) x 10(D) cm Signed on the back Che in Chinese, dated 2006 and numbered 1/2

他於畫面的正中間安置了放了一根立體如柱狀的結構物，而筆下一

格局，此作品應為他由平面的二維繪畫走向三維探索的第一件作品。

NT$ 550,000 - 750,000 HK$ 141,000 - 193,000 US$ 18,300 - 24,900 RMB 130,000 - 177,000

個懷孕中的母親人物形體，正倚靠著這支柱子，亦象徵著傳承也是延續，而這母親的女體形象，也埋下了藝術家日後在雕塑創作中表現的形態。黃銘哲在 1995 年之前偶爾會創作複合媒材類的立體作品，但件數不多，所使用的材料以木料及半成品為主，而且直到 1995 年他依然搬遷工作室然後設立大型雕塑工廠，經過不斷的試煉，才在 1996 年完成許多精湛的大尺幅不鏽鋼雕塑作品。他的創作表現大放異彩，並得到藝術界以及藏家的肯定，藝術生涯再創另一個高峰。黃銘哲在他的雕塑作品表現上，一反他過去平面作品給人的印象，以

黃銘哲

簡潔俐落的線條與單一而亮眼的色彩來架構，作品與表現形式上更為

白

純粹且極富現代感。在平面作品與立體作品這兩種不同形式的藝術表

2006

現上，他所展現的藝術語彙看似相同，但相剋又相生，呈現他豐沛的

不鏽鋼塗裝 1/2

創作動能與盎然的生命力，著實為一位令人敬佩的藝術家。

190(長) x 62(寬) x 10(厚) cm 簽名背面：哲 2006 1/2

Michell Hwang's achievements in painting are dazzling and obvious to us all, but his breakthroughs and outstanding performance in sculpture are rarely mentioned. There were some irregularities painting occasionally appearing before he started creating sculptures. As a triptyque work called "Continuation" he created in 1982, which explores inheritance among the family, He clearly broke through from the traditional flat surface painting from, and added ready-made objects to change the original structure. This work should be his first work to start explorating into threedimensional paintings. He placed a three-dimensional columnar construction in the middle of his work, and a figure of pregnant woman was leaning on this pillar, which also symbolizes as a continuation. This motherly female body image also laid down the foundation that the artist was going to undertake in his sculpture creation in the future. Michell Hwang sometimes created three-dimensional works with mixed media before 1995, but there are not many of them, the materials used were mainly wood and semi-finished products. Up until 1995, he moved his studio and set up a large sculpture plant, He finally managed to create many superb large-scale stainless steel sculptures in 1996. His creative performance was brilliant, and was affirmed by the art world and collectors, his artistic career hence reached another climax. On contrary to the impression given by his paintings in the past, the sculptures of Michell Hwang are composed with simple and clean lines and along with singular but bright colors, these make the work and its expressions feel like even more pure and modern. In the two different forms of artistic expressions between flat surface and three-dimensional works, the artistic vocabulary that he displayed seems to be the same, but simultaneously they are mutually complementary, distinctly showing his abundant creative energy and exuberant vitality. He is truly an admirable artist.

110

151

Jeff Koons (American, b. 1955)

Balloon Monkey (Orange) 2017 Porcelain, edition no. 260/999 39.2(L) x 20.9(W) x 24.9(H) cm Stamped on the bottom JEFF KOONS, numbered 260/999 and dated 2017 This sculpture is to be sold with a certificate of authenticity issued by Bernardaud Group, France.

NT$ 340,000 - 420,000 HK$ 87,000 - 108,000 US$ 11,300 - 13,900 RMB 80,000 - 99,000

傑夫．昆斯氣球猴子（橘） 2017 釉瓷 260/999 39.2(長) x 20.9(寬) x 24.9(高) cm 印刷簽名：JEFF KOONS 260/999 '17 附法國柏圖瓷器開立之作品保證書

112

"What Art is able to do, it’s about acceptance. The highest state is the acceptance of others." — Jeff Koons 「我所創作的藝術不是關於判斷的藝術，而是關於接納的藝術，我認為接納是藝術的最高階段。」 — 傑夫．昆斯

世界著名的波普藝術家傑夫·昆斯，其作品是當代藝術的指標、也是流行文化的象徵。綜觀他的藝術生涯，他開拓嶄新的現成物藝術方法，探測先鋒藝術與大眾文化的邊界，挑戰工業製作藝術品的極限。他不僅是在世當代藝術家拍賣紀錄的保持人，他的一舉一動總是撼動人心，觸動藝術圈的神經，他就是俗艷藝術的王子。 1980 年代初期，傑夫．昆斯以獨樹一幟的風格─混合著波普與觀念藝術，平庸美學與精緻工業─進入藝術世界的舞台。從新當代美術館展出的鏡區裝置開始，與 1985 年「平衡 Equilibrium」和 1988 年「平庸 Banality」兩檔個展，探討激進資本主義世界的消費戀物風氣，作品呈現群眾和物質慾望的關係。氾濫庸俗，庸俗卻成了救贖，滿盈的傑夫昆斯式的感性與性感隱喻，卻又有著無比純真二元性 ;1991 年「來自天堂」的創作，是真愛秀場，是平庸美學的極致，是藝術家本人主觀的慾望體現，挑戰觀眾客觀的道德底線。傑夫．昆斯的「慶典」系列，歡慶喧騰，其可愛圓潤的造型及鮮豔飽和的色彩，傳遞樂觀積極的正面能量，其細緻光亮且誘人的鏡面處理，反映人影讓觀者與藝術品結合，在欣賞的同時觸發不同觀感，看著象徵快樂的氣球，重新用樂觀的角度，發現內心不同的世界。在慶典系列的氣球動物系列中，氣球猴子則是迴響他一生中最重要的一件金氏世界紀錄陶瓷作品，來自 1988 年平庸 (Banality) 個展中的 Michael Jackson and Bubbles，人類與靈長目的親密親屬關係，讓昆斯感到驚艷，作品的概念轉換為追求幸福、情慾及純真的現代寓言。氣球動物之美學具有極強的當代性，具有現代雕塑之線條美感，僅保留必要之形體，其鏡面表面更有極簡主義藝術裝置之互動性。傑夫·昆斯曾自述 :「慶典系列的動物們並無任何隱藏的意涵，就只是純粹的幸福與快樂。」在神學的角度之下，陰陽同體可謂是神性，不僅解釋了人們看到昆斯作品為何感到幸福快樂，更見藝術家在藝術創作之偉大之處。 The world famous Pop Art artist Jeff Koons, whose work has been an indicator of contemporary art, is a symbol of popular culture. Throughout his artistic career, he has explored the brand-new readymade art method, experimented the boundary between avantgarde art popular culture, and challenged the limits of materialism. He is the holder of auction record of a living artist. Every move of his has always inspired and touched the nerves of the art world. He is the king of Kitsch.

Jeff Koons first show was staged in 1980, and he emerged onto the art scene with a style that blended several existing styles— pop, conceptual, craft, appropriation—to create his own unique mode of expression. From his first window display at the New Museum, as well as two monumental exhibitions “Equilibrium” in 1985 and “Banality” in 1988, the theme of the exhibitions was mainly exploring the trend of consumer fetishism in the radical capitalist world, the work shows the relationship between the public and material desires. Once Koons said, “Exploit the masses, Banality as saviour.” His sentimental but also sexual metaphor has its own innocence and duality. In 1991, “Made in Heaven” was a live sex show as well as a romantic show of true love, extremely expressing the ultimacy of the aesthetic of banality. The show was the manifestation of his personal desire and intimacy, challenging the moral bottom line of the audiences. Jeff Koons "Celebration" series has sleek shapes and bright saturated colors, conveying positive energy. Its delicate, attractive and reflective surface trigger different perceptions while enjoying. Balloons symbolize happiness. With its optimism, viewers can discover a new different world.The Balloon Monkey is a reflection of his well-known porcelain artwork created in 1988, Michael Jackson and Bubbles. Humankind’s close kinship with primates has always captured artist’s fascination, serving as an allegorical figure for universal themes such as the pursuit of pleasure, sexuality, and innocence. The aesthetics of balloon animals is extremely contemporary, with the beauty of modern sculptures simplicity, retaining only the necessary shapes, and the surface is more interactive with its seductive reflective transparent color coating. Jeff Koons once said: "The animals in the celebration series have no hidden meanings, just pure happiness". Under the theological point of view, the combination of male and female totem can be described as divinity. The ideation can explain why the works of Jeff Koons make it’s audience happy. We can also see the greatness of the artist in his artistic creation.

152

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

Nude Pencil on paper 46 x 28.5 cm With one seal of the artist PROVENANCE:

Dimensions Art Center, Taipei

NT$ 500,000 - 600,000 HK$ 129,000 - 154,000 US$ 16,600 - 19,900 RMB 118,000 - 142,000

常玉裸女鉛筆紙本 46 x 28.5 cm 鈐印右下：常玉來源：

帝門藝術中心，台北

114

153

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

Figures Ink on paper 45 x 28 cm Signed lower right YU in Chinese and SANYU in French ILLUSTRATED:

Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D2145 (E-Catalogue)

NT$ 950,000 - 1,600,000 HK$ 244,000 - 411,000 US$ 31,500 - 53,100 RMB 224,000 - 377,000

常玉人物水墨紙本 45 x 28 cm 簽名右下：玉 SANYU 圖錄：

衣淑凡，《常玉素描全集》，財團法人立青文教基金會，台北，2014，彩色圖版，編號D2145 (電子圖錄)

154

SHIY De-jinn

席德進

(Taiwanese, 1923 - 1981)

風景

Landscape

1981

1981 Watercolor on paper 65 x 102.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1981

65 x 102.5 cm

NT$ 550,000 - 750,000 HK$ 141,000 - 193,000 US$ 18,300 - 24,900 RMB 130,000 - 177,000

116

水彩紙本簽名左下：席德進 1981

155

HONG Ling

洪凌

(Chinese, b. 1955)

雪谷

Snow Valley

2004-2005

2004-2005 Oil on canvas 50 x 70 cm Signed lower left Hong Ling in Chinese and dated 2004 Signed on the reverse Hing Ling, titled Snow Valley in Chinese, dated 2005 and inscribed 50 x 70

50 x 70 cm

NT$ 420,000 - 550,000 HK$ 108,000 - 141,000 US$ 13,900 - 18,300 RMB 99,000 - 130,000

油彩畫布簽名左下：洪凌 04 簽名畫背：《雪谷》洪凌 2005 50 x 70

156

YANG San-lang

楊三郎

(Taiwanese 1907-1995)

富士山

Mt. Fuji

油彩畫布

Oil on canvas 50 x 60 cm Signed lower right s.yang in English The painting is to be sold with a certificate of authenticity issued by Heritagr Art, Taipei.

NT$ 550,000 - 750,000 HK$ 141,000 - 193,000 US$ 18,300 - 24,900 RMB 130,000 - 177,000

118

50 x 60 cm 簽名右下：s. yang 附傳家藝術開立之原作保證書

157

HUNG Jui-lin

洪瑞麟

(Taiwanese, 1912 - 1996)

青與赤

Cyan and Red

1935 油彩畫布裱於木板

1935 Oil on canvas mounted onto wooden board 45.5 x 53.3 cm Signed lower left Hung in Chinese and dated 1935 Signed on the reverse Hung Jui-lin in Chinese, titled Cyan and Red, inscribed congratulate to your newlywed by Hung Jui-lin and for the kind retention of Mr. Dun Yuan in Chinese

45.5 x 53.3 cm

NT$ 460,000 - 550,000 HK$ 118,000 - 141,000 US$ 15,300 - 18,300 RMB 108,000 - 130,000

簽名左下：洪 1935 簽名畫背"青與赤"祝新婚洪瑞麟筆敦原先生惠存

158

SANYU (CHANG Yu)

常玉

(Chinese-French, 1895 - 1966)

陶潛詩集

Les Poémes de T'ao Ts'ien

1930

1930 Etching, edition no. 150/290; one sepia etching from 5 special edition 19.5 x 15 cm (print) 32.5 x 25.3 x 1 cm (book) With one etching seal, Yu in Chinese on each etching work

19.5 x 15 cm (版畫)

PROVENANCE:

Mrs. F. Bethany Massis Private collection, Europe EXHIBITED:

蝕刻版畫 150/290; 一件棕褐色特別版限量5 32.5 x 25.3 cm (詩集) 藝術家蝕刻鈐印玉來源：

Mrs. F. Bethany Massis 私人收藏，歐洲展覽：

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

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

圖錄：

ILLUSTRATED:

《常玉華裔美術選集(I 》，陳炎峰，藝術家出版社，台北，1995，彩

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

色圖版，頁27

《新法語雜誌第214期》，伽利瑪出版社，巴黎，1937，頁 163-165

《常玉畫集》高玉珍編，國立歷史博物館，台北，1995，彩色圖版，頁124-125 《鄉關何處－常玉的繪畫藝術》，國立歷史博物館，台北，2001，彩色圖版，頁150 《常玉油畫全》衣淑凡，國巨基金會與大未來藝術出版社，台北， 2001，彩色圖版，頁 50 《常玉•身體語言》，詩奇拉出版社，米蘭，2004，彩色圖版，編號 55-57，頁161 《世界名畫家全集—常玉》顧躍編，河北教育出版社，石家莊， 2010，彩色圖版，頁 108 《常玉版畫全集》，衣淑凡，財團法人立青文教基金會，台北， 2014，彩色圖版，頁 100-107

NT$ 360,000 - 460,000 HK$ 93,000 - 118,000 US$ 11,900 - 15,300 RMB 85,000 - 108,000 此本詩集於 1942 年 11 月獻給 F. Bethany Massis 夫人。其中手寫摘錄：「文字無法表達其中蘊藏著深厚的真理。」 This book was dedicated in November 1942 to Mrs. F. Bethany Massis. With a handwritten extract of a T'ao Ts'ien poem: "In those things lies a deep truth, to express it the words fail"

120

159

Chang-Ling

常陵

(Taiwanese, b. 1975)

五花肉系列-肉宗教-天使伏虎圖

Pork Belly Series - Flesh Religion Angel Yield Tiger 2010 Oil on canvas 120 x 120 cm Signed on the reverse Chang Ling in Chinese, titled Pork Belly Series-Flesh Religion-Angel Yield Tiger and dated 2010

2010 油彩畫布 120 x 120 cm 簽名畫背：五花肉系列－肉宗教－天使伏虎圖常陵 2010 附印象畫廊開立之原作保證書

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

NT$ 340,000 - 420,000 HK$ 87,000 - 108,000 US$ 11,300 - 13,900 RMB 80,000 - 99,000

1996 年到法國留學，常陵對於歐洲當代藝術風潮產生高度興趣； 2005 年回到台灣後，不斷地思索與探討台灣當代文化的主體性及話語權，藝術家以自身的基本構成透視這塊記憶中，屬於母土的獨特創作風格，將創作回歸到以「人」為起點。五花肉系列澎湃熱情的穿透了山水空間，花鳥萬靈，都市文明與慾望兵器的遊戰，尖叫奔竄的血液澆淋在肉世界的文化軌跡上，而肉宗教的精神解脫將肉世界的輪迴劃下完整句點。「肉宗教」是肉世界龐大的進化史終結昇華亦是起源，終點不只涅槃、西方極樂與伊甸園，常陵將焦點放在苦行徹悟前對肉體無比的眷戀與割捨七情六慾的痛苦掙扎。扭曲的臉孔與重疊糾纏的軀幹在透過粉紅油嫩的五花肉塊赤裸呈現對神性未知的矛盾嚮往，跨越遠古神話與末世預言，常陵從人本抽離美麗魂魄後卻更加放不下那塊可愛的心頭肉。《五花肉系列 - 肉宗教 - 天使伏虎圖》，取自肉宗教裡對神話與信仰的韻趣，在東西文化衝撞交揉的時代裡顯出別具特色的自然，圖中仿若西方古典畫裡聖喬治天使降臨，手持的不是常見的寶劍，而是雷震子的鎚與鑿，凌空追逐猛虎而行，似書畫而非書畫，似武俠又非武俠，常陵作品中的古典特色及幽默不禁使人會心一笑。 Chang Ling’s studies brought him to France in 1996, and there he quickly latched on to new movements in contemporary art. Since returning to Taiwan in 2005, he has not let go of his intellectual pursuit and exploration of creative freedom and subjectivity in contemporary Taiwanese culture. In his perspective of this memory, which reflects the artist’s self, is also part of the unique creative style of his motherland, which brings his practice back to its original inspiration: Humanity.

122

The Pork Belly series penetrates the mountains and waters, flowers and birds, the civilization of urban civilization and weapons. The screaming and roaming blood is poured on the cultural track of the meat world, and the spiritual liberation of the Flesh Religion will end the reincarnation of the meat world. “Flesh Religion”is the enormous evolution which ends the sublimation but creates the origins. The end is not just Nirvana, Western Paradise and Garden of Eden. Chang Ling focuses on the painful struggle for the unparalleled attachment to the flesh and giving up emotions and desires. Through the pink oily pork belly pieces, the twisted face and the overlapping and entangled torso nakily presents the contradictory yearning for the unknown divinity. Crossing ancient myths and end-time prophecies, Chang Ling could not let go of that lovely heart even after pulling away the beautiful soul from humanity. “Pork Belly Series - Flesh Religion - Angel Yield Tiger”, taken from the charm of mythology and faith in the flesh religion, shows a unique nature in the era of the collision of East and West culture. The figure appears as the angel of St. George in western classical painting. Instead of a common sword, the angel carries the hammer and chisel of Lei Zhenzi, chasing the tiger in the sky. Like but not limited to calligraphy and martial art, the classic characteristics and humor in Changling's works can't help but make people smile.

160

SHIY De-jinn (Taiwanese, 1923 - 1981)

席德進鄉間一景

Countryside Scenery

1961

1961 Watercolor on paper 39.5 x 57.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1961

39.5 x 57.5 cm

PROVENANCE:

Acquired directly from the artist by the present owner’s family

NT$ 190,000 - 280,000 HK$ 49,000 - 72,000 US$ 6,300 - 9,300 RMB 45,000 - 66,000

124

水彩紙本簽名左下：席德進 1961 來源：

現收藏者家屬直接得自藝術家本人

161

YANG Chihung

楊識宏

(Taiwanese, b. 1947)

漩渦

Vortex

1998

1998 Oil on canvas 71 x 100 cm Signed on the reverse Chihung Yang in English, titled Vortex and dated 1998

71 x 100 cm

This work is to be sold with certificates of authenticity issued by Asia Art Center.

NT$ 340,000 - 420,000 HK$ 87,000 - 108,000 US$ 11,300 - 13,900 RMB 80,000 - 99,000

162

YANG San-lang

楊三郎

(Taiwanese 1907-1995)

歐洲街景

European Street Scene

油彩畫布

Oil on canvas 50 x 61 cm Signed lower right s.yang in English PROVENANCE:

Acquired directly from Lung Men Art Gallery

NT$ 320,000 - 420,000 HK$ 82,000 - 108,000 US$ 10,600 - 13,900 RMB 75,000 - 99,000

126

50 x 61 cm 簽名右下：s.yang 來源：

現收藏者購自龍門畫廊

163

SHEN Che-tsai

沈哲哉

(Taiwanese, 1926 - 2017)

紐約博物館

New York Museum 1993 Oil on canvas 45.5 x 53 cm Signed lower right Che-tsai in Chinese and dated 1993 Signed on the reverse Shen Che-tsai in Chinese, titled New York Museum and inscribed 10F This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 300,000 - 400,000 HK$ 77,000 - 103,000 US$ 10,000 - 13,300 RMB 71,000 - 94,000

1993 油彩畫布 45.5 x 53 cm 簽名右下：哲哉 1993 簽名畫背：沈哲哉 10F 紐約博物館附亞洲藝術中心開立之原作保證書

164

CHEN Ting-shih (CHEN Ting-shi)

陳庭詩

(Taiwanese, 1916 - 2002)

晝與夜 #62

Day and Night #62

1981

1981 Woodblock print, edition no. 15/40 90 x 90 cm Signed lower right Chen Ting-Shin in English, titled Day and Night #62, numbered 15/40 and dated 1981

90 x 90 cm

PROVENANCE:

Chen Ting-Shih Modern Art Foundation This work is to be sold with a certificate of authenticity issued by 3 Talents Art Gallery.

NT$ 260,000 - 360,000 HK$ 67,000 - 93,000 US$ 8,600 - 11,900 RMB 61,000 - 85,000

128

版畫 15/40 簽名右下：Chen Ting-Shin 1981 題識左下：Day and Night #62 版次中下：15/40 來源：

陳庭詩基金會附三才畫廊開立之作品保證書

165

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

L’étang(a set of 8) 1972 Etching, edition no. 10/26 38.5 x 28 cm Signed lower right Wou-ki in Chinese, Zao in French and numbered lower left 10/26 (each) ILLUSTRATED:

Jørgen Ågerup, Zao Wou-ki, The Graphic Work A Catalogue Raisonné 1937-1995, Heede & Moestrup, Copenhagen, 1994, color illustrated, no. 226-233, pp. 132-133

NT$ 300,000 - 500,000 HK$ 77,000 - 129,000 US$ 10,000 - 16,600 RMB 71,000 - 118,000

趙無極水塘 (八件一組) 1972 蝕刻版畫 10/26 38.5 x 28 cm 簽名右下：無極 Zao (每件) 版次左下：10/26 (每件) 圖錄：

喬詹．阿格魯普，《趙無極版畫集1937-1995》，黑德與莫斯特魯普出版社，哥本哈根，1994，彩色圖版，編號226-233，頁132-133

166

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

蕭勤飛行 - 8

Fuga VIII

1974

1974 Acrylic on canvas 60 x 40 cm Signed on the reverse Hsiao in English Chin in Chinese and dated 1974

60 x 40 cm

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

NT$ 280,000 - 380,000 HK$ 72,000 - 98,000 US$ 9,300 - 12,600 RMB 66,000 - 90,000

130

壓克力畫布簽名畫背：Hsiao 勤 1974 附藝術家親筆簽名之原作保證書

167

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

女人與花

Woman and Flower

壓克力宣紙

Acrylic on ricepaper 66.5 x 91 cm With oneseal of artist

鈐印左中：採花大盜

PROVENANCE:

Private collection, Netherlands

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

66.5x 91 cm 來源：

私人收藏，荷蘭

168

CHUANG Che

莊喆

(Taiwanese, b. 1934)

無題

Untitled

1963

1963 Oil and ink on canvas 60 x 84 cm Signed lower right Chuang Che in Chinese and dated 63

60 x 84 cm

NT$ 260,000 - 360,000 HK$ 67,000 - 93,000 US$ 8,600 - 11,900 RMB 61,000 - 85,000

132

油彩水墨畫布簽名右下：莊喆 63

169

CHEN Yin-hui

陳銀輝

(Taiwanese, 1931)

天子山

Tianzi Mountain

1992

1992 Oil on canvas 45.5 x 53 cm Signed lower left Yin in Chinese, Chen in English and dated 1992 Titled on the reverse Tianzi Mountain

45.5 x 53 cm

This painting is to be sold with a certificate of authenticity issued by InSian Gallery.

NT$ 240,000 - 340,000 HK$ 62,000 - 87,000 US$ 8,000 - 11,300 RMB 57,000 - 80,000

油彩畫布簽名左下 : 銀 CHEN'92 題識畫背 : 岩塔林立(天子山) 附印象藝術中心畫廊開立之原作保證書

170

CHEN Danqing

陳丹青

(Chinese, b. 1953)

紐約地鐵人物速寫（兩件一組）

Figures (a set of 2)

1995

1995 Watercolor and pencil on paper 19 x 13.5 cm (left) 21.5 x 14 cm (right) Signed for Baoyu to memento from Danqing in 1995, an afterthought in 2008 in Chinese on each work

水彩鉛筆紙本 19 x 13.5 cm ( 左 ) 21.5 x 14 cm ( 右 ) 簽名右下：保玉留念丹青 1995 年留贈 2008 補記簽名左下：保玉留念丹青 1995 年留贈 2008 補記來源：

PROVENANCE:

李品賞 ( 保玉 ) 女士收藏

Collection of Ms. Li Pinshang (Baoyu)

藝術家已確認本件拍品無誤

The authenticity of this lot is confirmed by artist.

NT$ 240,000 - 340,000 HK$ 62,000 - 87,000 US$ 8,000 - 11,300 RMB 57,000 - 80,000

134

171

TSONG Pu

莊普

(Taiwanese, b. 1947)

散盡光芒

Dissipated Halo

2019

2019 Paper, graphite, acrylic, pastel and aluminum on canvas 45.5 x 53 cm Signed on the reverse Tsong Pu, titled Dissipated Halo in Chinese and dated 2019

45.5 x 53 cm

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

NT$ 240,000 - 340,000 HK$ 62,000 - 87,000 US$ 8,000 - 11,300 RMB 57,000 - 80,000

紙石墨鉛筆壓克力顏料粉彩鋁製品畫布簽名畫背：莊普散盡光芒 2019 附誠品畫廊與藝術家親筆簽名之原作保證書

172

XUE Song

薛松

(Chinese, b. 1965)

湖邊覓句

Lakeland

2010

2010 Mix media on canvas 70 x 70 cm Signed on the reverse Xue Song in Chinese and English, titled Lakeland in Chinese, inscribed 70 cm x 70 cm and dated 2010

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

136

綜合媒材畫布 70 x 70 cm 簽名畫背：《湖邊覓句》70 cm x 70 cm 薛松 Xue Song 2010.

173

DU Xi

杜溪

(Chinese, 1980)

海底探險

Deep Sea Adventure

2015

2015 Oil on canvas 140 x 110 cm Signed lower left Duxi in Chinese and English, dated Autumn 2015

140 x 110 cm

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

油彩畫布簽名左下：杜溪 Duxi 2015 秋

174

WU Hao

吳昊

(Taiwanese, 1931 - 2019)

無題

Untitled

2013

2013 Oil on canvas 89 x 89.5 cm Signed lower right Wu Hao in Chinese and dated 2013

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

138

油彩畫布 89 x 89.5 cm 簽名右下：吳昊 2013

175

HSIAO Chin (XIAO Qin)

蕭勤

(Taiwanese, b. 1935)

陣雨前之二十八

Prima della Tempesta 28

1987

1987 Acrylic on paper 53 x 39 cm Signed center right Hsiao in English, Chin and dated 1987 in Chinese Titled center left Prima della Tempesta 28. in Chinese Titled on the reverse Prima della Tempesta 28 in Italian and inscribed acrylic on paper 53 x 39 cm in Italiam

53 x 39 cm

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

壓克力紙本簽名右中：Hsiao 勤八七題識左中：陣雨前之廿八題識畫背：陣雨前之廿八壓克力紙本 53 x 39 cm

176

Kishio SUGA

菅木志雄

(Japanese, b. 1944)

周圍同限

Surrounding Dimension

1990

1990 Acrylic on wood 58(L) x 40.5(W) x 6.5(D) cm Signed on the reverse Kishio Suga in English, titled Surrounding Dimension in Japanese and dated 1990

58(長) x 40.5(寬) x 6.5(厚) cm

This work is to be sold with a certificate of authenticity issued by Tomio Koyama Gallery.

NT$ 170,000 - 240,000 HK$ 44,000 - 62,000 US$ 5,600 - 8,000 RMB 40,000 - 57,000

140

壓克力木簽名畫背：Kishio Suga 1990 周圍同限附小山登美夫藝廊開立之原作保證書

177

Shinji OHMAKI

大巻伸嗣

(Japanese, b. 1971)

漂浮

Flotage

2005

2005 Acrylic and whiteout 50 x 50 cm Signed right edge Shinji Ohmaki in English and dated 2005 With one seal of the artist

50 x 50 cm

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

NT$ 130,000 - 220,000 HK$ 33,000 - 57,000 US$ 4,300 - 7,300 RMB 31,000 - 52,000

壓克力修正液簽名右側面：Shinji Ohmaki 2005 鈐印右側面：大巻伸嗣附東京畫廊開立之原作保證書

178

JAN Chin-shui (Taiwanese,b. 1953)

Above 2006 Mix media on canvas 120 x 80 cm Signed lower left Chin-Shui in Chinese and dated 2006 Signed on the reverse Chan Chin Shui in Chinese, titled Above in Chinese, dated 2006 and inscribed 60M

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

詹金水高遠 2006 綜合媒材畫布 120 x 80 cm 簽名左下：金水 2006 簽名畫背：60M 高遠詹金水 2006年

142

179

Alixe FU (FU Qingli, Ching-Fong)

傅慶豊

(Chinese-French, 1961)

撫心褓母

Soothing; Baby Sitter

1991

1991 Oil on canvas 61 x 50.5 cm 55 x 46 cm Signed lower right Alixe Fu in English and dated 91; signed on the reverse Alixe Fu in Chinese and English, dated 1991 and inscribed 12F Signed lower right Alixe Fu in English and dated 91; signed on the reverse Alixe Fu in Chinese and English, dated 1991 and inscribed 10F

61 x 50.5 cm

This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei. This painting is to be sold with a certificate of authenticity issued by Ever Harvest Art Gallery, Taipei.

NT$ 120,000 - 220,000 HK$ 31,000 - 57,000 US$ 4,000 - 7,300 RMB 28,000 - 52,000

油彩畫布 55 x 46 cm 簽名右下 : Alixe Fu 91；簽名畫背 : 12F 傅慶豊 Alixe Fu 1991 簽名右下 : Alixe Fu 91；簽名畫背 : 10F 傅慶豊 Alixe Fu 1991 附亞洲藝術中心開立之原作保證書附日升月鴻開立之原作保證書

180

ZAO Wou-ki

趙無極

(Chinese-French, 1920 - 2013)

讓．馬利的輓歌

Elegy on Jean-Mari

1978

1978 Lithograph 45 x 33 cm Signed lower right Wou-ki in Chinese, ZAO in French and dated 78

45 x 33 cm

ILLUSTRATED:

Jørgen Ågerup, Zao Wou-ki, The Graphic Work A Catalogue Raisonné 1937-1995, Heede & Moestrup, Copenhagen, 1994, color illustrated, no. 296, p. 162

NT$ 140,000 - 220,000 HK$ 36,000 - 57,000 US$ 4,600 - 7,300 RMB 33,000 - 52,000 144

石版畫簽名右下：無極 ZAO 78 圖錄：

喬詹．阿格魯普，《趙無極版畫集1937-1995》，黑德與莫斯特魯普出版社，哥本哈根，1994，彩色圖版，編號 296，頁162

181

ZAO Wou-ki

趙無極

(Chinese-French, 1920 - 2013)

莎士比亞二十四行詩 (七件一組)

XXIV Sonnets de Shakespeare (a set of 7)

1994

1994 Etching, edition no. 110/195 25 x 19 cm (image) 36 x 28.5 x 6.5 cm (book) Signed on last page Wou-ki in Chinese and Zao in French

36 x 28.5 x 6.5 cm (書本)

EXHIBITED

Zao Wou-Ki: Estampes et livres illustrés, Bibliothèque Nationale de France Paris, June 3-August 24, 2008 ILLUSTRATED:

Jørgen Ågerup, Zao Wou-ki, The Graphic Work A Catalogue Raisonné 1937-1995, Heede & Moestrup, Copenhagen, 1994, color illustrated, no. 366-372, pp. 200-201 Céline Chicha, Marie Minssieux-Chamonard, Hélène Trespeuch, ed., Zao Wou-Ki: Estampes et livres illustrés, Bibliothèque Nationale de France, Paris, 2008, color illustrated, plate 73

NT$ 110,000 - 220,000 HK$ 28,000 - 57,000 US$ 3,700 - 7,300 RMB 26,000 - 52,000

蝕刻版畫 110/195 25 x 19 cm (畫面) 簽名末頁：無極 Zao 展覽：

「趙無極版畫與插圖展」，法國國家圖書館，巴黎，展期自2008年6月3日至8月24日圖錄：

喬詹．阿格魯普，《趙無極版畫集1937-1995》，黑德與莫斯特魯普出版社，哥本哈根，1994，彩色圖版，編號 366-372，頁200-201 塞琳·奇查、瑪麗·敏修斯·夏蒙納、埃琳·特雷斯佩編《趙無極版畫與插圖展》，法國國家圖書館出版，巴黎， 2008，彩色圖版，編號73

182

George CHANN

陳蔭羆

(Chinese-American, 1913 - 1995)

裸女

Nude

油彩畫布

Oil on canvas 52 x 42 cm Signed upper right Geo Chann

簽名右上：Geo Chann

PROVENANCE:

Abell Auction, Los Angeles Private collection, USA

NT$ 100,000 - 180,000 HK$ 26,000 - 46,000 US$ 3,300 - 6,000 RMB 24,000 - 42,000

146

52 x 42 cm 來源：

阿貝爾拍賣行，洛杉磯私人收藏，美國

183

Yoshitaka AMANO (Japanese, b. 1952)

Young Lady 2003 Mixed media and ink on paper 66 x 33 cm Signed lower right Y. Amano in English and dated 2003

NT$ 100,000 - 200,000 HK$ 26,000 - 51,000 US$ 3,300 - 6,600 RMB 24,000 - 47,000

天野喜孝少女 2003 綜合媒材水墨紙本 66 x 33 cm 簽名右下：Y. Amano 2003

184

LI Fang

李芳枝

(Taiwanese, b. 1933)

迎春大吉好彩頭

Welcome Spring with Happiness

1994

1994 Oil on canvas 72 x 96 cm Signed lower right Li fang in chinese and English, dated 1994 Signed on the reverse Li fang in Chinese and English, titled Welcome Spring with Happiness in Chinese, inscribed stilllife oil painting 72 x 96 cm and dated 1994 in Chinese

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 3,000 - 6,000 RMB 21,000 - 42,000

148

油彩畫布 72 x 96 cm 簽名右下：李芳枝 Li fang 1994 簽名畫背：迎春大吉好彩頭靜物油畫 72 x 96 cm 一九九四年李芳枝 Li fang

185

John WAY

魏樂唐

(Chinese-American, 1921 - 2012)

愛的故事

Love Story

1989

1989 Oil on paper mounted on board 61 x 48.5 cm Signed lower left John Way in English and dated ‘89

61 x 48.5 cm

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 3,000 - 6,000 RMB 21,000 - 42,000

油彩紙本裱於木板簽名左下：John Way '89

186

TONG Yang-tze

董陽孜

(Taiwanese, b. 1942)

涓涓不塞終為江河

An Unhampered Stream Could Become a River

1996

1996 Ink on paper 69 x 69 cm With one seal of the artist

鈐印左下：董陽孜

ILLUSTRATED:

Calligraphy works of Grace Y. T. Tong, The Eslite Corporation, Taipei, 1997, color illustrated, pp. 88-89

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 3,000 - 6,000 RMB 21,000 - 42,000

150

水墨紙本 69 x 69 cm

圖錄：

《董陽孜作品集》，誠品股份有限公司，台北，1997，彩色圖版，頁88-89

187

HSU Yu-jen (Taiwanese, b. 1951)

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

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 RMB 19,000 - 38,000

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

188

HUANG Gang

黃鋼

(Chinese b.1961)

紅

Red

2015

2015 Mixed media on board 58 x 45 cm Signed lower right Huang Gang in English and Chinese

58 x 45 cm

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 3,000 - 6,000 RMB 21,000 - 42,000 152

綜合媒材木板簽名右下：Huang Gang 黃鋼

189

YEN Shui-lung (Taiwanese, 1903 - 1997)

Man & Woman 1970 Oil on canvas 32 x 41 cm Signed lower right S. L. Yen in English and dated 1970 The painting is to be sold with a certificate of authenticity issued by Han Hsiang Art Center, Taipei.

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 RMB 19,000 - 38,000

顏水龍 Iamogan的男女 1970 油彩畫布 32 x 41 cm 簽名右下：1970 S. L. Yen 附漢相藝術中心開立之原作保證書

190

TIAN Xiao-chi (Chinese, 1966)

Cat Ink and color on paper 101 x 50 cm Signed lower right Yi bu in Chinese With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Shoreman Art International.

NT$ 110,000 - 220,000 HK$ 28,000 - 57,000 US$ 3,700 - 7,300 RMB 26,000 - 52,000

田小赤貓彩墨紙本 101 x 50 cm 簽名右下：乙卜鈐印右下：乙卜印附協民國際藝術開立之原作保證書

154

191

Walasse TING (Chinese-American, 1929 - 2010)

Parrot and Flowers Acrylic on ricepaper 16 x 20.5 cm With one seal of artist PROVENANCE:

Private collection, Netherlands

NT$ 50,000 - 80,000 HK$ 13,000 - 21,000 US$ 1,700 - 2,700 RMB 12,000 - 19,000

丁雄泉鸚鵡與花壓克力宣紙 16 x 20.5 cm 鈐印左中：採花大盜來源：

私人收藏，荷蘭

192

Walasse TING (Chinese-American, 1929 - 2010)

Rooster Acrylic on ricepaper 35 x 47 cm With one seal of artist PROVENANCE:

Private collection, Netherlands

NT$ 100,000 - 160,000 HK$ 26,000 - 41,000 US$ 3,300 - 5,300 RMB 24,000 - 38,000

丁雄泉金雞獨立壓克力宣紙 35 x 47 cm 鈐印右上：採花大盜來源：

私人收藏，荷蘭

193

Yuyu YANG (YANG Ying-feng)

楊英風

(Taiwanese, 1926 - 1997)

東西門

East West Gate

1973

1973 Steel edition no. 18/20 59(L) x 59(W) x 32(H) cm Engraved Ying feng in Chinese, numbered 18/20 and dated 73

59(長) x 59(寬) x 32(高) cm

This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation.

NT$ 160,000 - 260,000 HK$ 41,000 - 67,000 US$ 5,300 - 8,600 RMB 38,000 - 61,000

156

不鏽鋼 18/20 簽名雕刻：'73 英風 18/20 附財團法人楊英風藝術教育基金會呦呦藝術事業有限公司開立之作品保證書

194

JU Ming (Taiwanese, b. 1938)

Living World Series Unsaturated polyester resin, calcium carbonate, environmentally friendly water based mineral paint, edition no. 163/300 9.8(L) x 6.6(W) x 40(H) cm Numbered on the bottom 163/300 This sculpture is to be sold with a certificate of limited reproduction issued by Ju Ming Museum.

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 RMB 12,000 - 24,000

朱銘人間系列─彩繪木雕不飽和聚酯樹脂水性環保礦物顏料 163/300 9.8(長) x 6.6(寬) x 40(高) cm 版次底部：163/300 附朱銘美術館限量複製品證明書

195

HSIEH Hsiao-De (Taiwanese, b. 1940)

Landscape 2015 Watercolor on paper 78.5 x 110 cm Signed lower left Hsieh Hsiao-De in Chinese and dated 2015

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000 RMB 7,000 - 14,000

謝孝德風景 2015 水彩紙本 78.5 x 110 cm 簽名左下：2015 謝孝德

196

Mr. Doodle

塗鴉先生

(British, b. 1994)

黃色太陽花；藍色機器人；橘色魚；粉紅鳥 (四件一組)

Yellow Flower; Blue Robot; Orange Fish; Pink Bird (a set of 4)

2019

2019 Screenprint, edition no. 40/100; 30/100; 24/100; 37/100 35 x 35 cm (each) Signed lower right MR. DOODLE! , dated 2019 and numbered 40/100; 30/100; 24/100; 37/100 (each)

簽名及版次右下：Mr. DOODLE! 2019 40/100 (黃色太陽花)

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 3,000 - 6,000 RMB 21,000 - 42,000

158

絲網版畫 40/100; 30/100; 24/100; 37/100 35 x 35 cm (每件) 簽名及版次右下：Mr. DOODLE! 2019 30/100 (藍色機器人) 簽名及版次右下：Mr. DOODLE! 2019 24/100 (橘色魚) 簽名及版次右下：Mr. DOODLE! 2019 37/100 (粉紅鳥)

197

KATO Izumi

加藤泉

(Japanese, b. 1969)

無題

Untitled

2017

2017 Print, edition no. 28/36 57 x 76 cm Signed lower right Kato in English, numbered 28/36 and dated 2017

57 x 76 cm

NT$ 110,000 - 220,000 HK$ 28,000 - 57,000 US$ 3,700 - 7,300 RMB 26,000 - 52,000

版畫 28/36 簽名右下：Kato 2017 版次左下：28/36

198

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

帽子

Hat

1982 石版拼貼 67/100

1982 Lithograph with collage, edition no. 67/100 27 x 33.5 cm Signed lower Yayoi Kusama in English titled Hat, numbered 67/100 and dated 1982

27 x 33.5 cm

EXHIBITED:

Love, Yayoi Kusama’s selected Exhibition, Beyond Gallery, Taipei, March 23-May 4, 2013 ILLUSTRATED:

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017, color illustrated, p. 18, no. 13 This work is to be sold with a certificate of authenticity issued by Beyond Gallery.

NT$ 110,000 - 220,000 HK$ 28,000 - 57,000 US$ 3,700 - 7,300 RMB 26,000 - 52,000

160

簽名下方：Yayoi Kusama 1982 版次左下：帽子 67/100 展覽：

「愛–草間彌生作品精選展」，非畫廊，台北，展期自2013年 3月23日至5月4日圖錄：

《草間彌生全版畫1979-2017》，阿部出版株式會社，東京， 2017，彩色圖版，頁18，編號13 附非畫廊開立之作品保證書

199

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

無限的網 (YBL)

Infinity Nets (YBL)

2004

2004 silkscreen, edition no. 18/40 55 x 45.5 cm Signed lower right Yayoi Kusama, titled Infinity Nets (YBL) in English and dated 2004, numbered lower left 18/40

55 x 45.5 cm

ILLUSTRATED:

Yayoi Kusama Prints 1979-2017, A be Publishing Ltd, Tokyo 2017, color illustrated, p. 186, no. 233

NT$ 160,000 - 260,000 HK$ 41,000 - 67,000 US$ 5,300 - 8,600 RMB 38,000 - 61,000

絲網版畫 18/40 簽名右下：Yayoi Kusama 版次左下：18/40 Inﬁnity Nets (YBL) 2004 圖錄：

《草間彌生全版畫 1979-2017》，阿部出版株式會社，東京，2017，彩色圖版，頁 186，編號 324

200

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

果物

Fruits

1997

1997 Lithograph, edition no. 105/125 34 x 43.2 cm Signed lower right Yayoi Kusama in English, titled Fruits in Japanese, dated 1997 and numbered lower left 105/125

34 x 43.2 cm

EXHIBITED:

石版版畫 105/125 簽名右下：Yayoi Kusama 版次左下：105/125 果物 1997 展覽：

「愛–草間彌生作品精選展」，非畫廊，台北，展期自 2013年3月23日至5月4日

Love, Yayoi Kusama’s selected Exhibition, Beyond Gallery, Taipei, March 23-May 4, 2013

圖錄：

ILLUSTRATED:

東京，2017，彩色圖版，頁140，編號234

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017, color illustrated, p. 140, no. 234

附非畫廊開立之作品保證書

This work is to be sold with a certificate of authenticity issued by Beyond Gallery.

NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 6,000 - 9,300 RMB 42,000 - 66,000 162

《草間彌生全版畫1979-2017》，阿部出版株式會社，

201

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

南瓜(RY)

Pumpkin (RY)

1996 絲網版畫 54/120

1996 Screenprint, edition no. 54/120 32.5 x 40 cm Signed lower right Yayoi Kusama in English, titled pumpkin (RY) in Japanese, dated 1996 and numbered 54/120

32.5 x 40 cm

ILLUSTRATED:

東京，2017，彩色圖版，頁139，編號233

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017, color illustrated, p. 139, no. 233

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

簽名右下：Yayoi Kusama 版次左下：54/120かぼちゃ (RY) 1996 圖錄：

《草間彌生全版畫1979-2017》，阿部出版株式會社，

202

Yayoi KUSAMA (Japanese, b. 1929)

Vuitton Deluxe Box Set (a set of 3) 2012 Illustrated book, screenprint, and Lambda C-type Print, edition no. 74/111 78 x 55cm (box) 22.5 x 19 cm (book) 36.6 x 29.4 cm (print) 44.1 x 29.4 cm (photo) Signed lower Yayoi Kusama, dated 2012 and numbered 74/111 (print) numbered 74/111 and signed lower Yayoi Kusama (photo) signed on the title page of book Yayoi Kusama (book)

NT$ 300,000 - 400,000 HK$ 77,000 - 103,000 US$ 10,000 - 13,300 RMB 71,000 - 94,000

164

草間彌生愛麗絲夢遊仙境—路易威登版畫集 (一組三件) 2012 版畫書 74/111 (內含一件版畫，一件照片，一本書) 78 x 55 cm (外盒) 22.5 x 19 cm (書本) 36.6 x 29.4 cm (版畫) 44.1 x 29.4 cm (照片) 簽名下方：Yayoi Kusama 2012、74/111 (版畫) 簽名下方：74/111、Yayoi Kusama (照片) 簽名內頁：Yayoi Kusama (書本)

203

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

波(2)

Waves(2)

1998

1998 Screenprint, edition no. 30/60 56.5 x 70.8 cm Signed lower right Yayoi Kusama in English, titled Waves (2) in Japanese and dated 1998, numbered lower left 30/60

56.5 x 70.8 cm

ILLUSTRATED:

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017,color illustrated, p. 142, no. 239 This work is to be sold with a certificate of authenticity issued by L’ Orangerie Art Consultant Co., Ltd.

NT$ 360,000 - 460,000 HK$ 93,000 - 118,000 US$ 11,900 - 15,300 RMB 85,000 - 108,000

絲網版畫 30/60 簽名右下：Yayoi Kusama 版次左下：30/60 波 (2) 1998 圖錄：

《草間彌生全版畫1979-2017》，阿部出版株式會社，東京，2017，彩色圖版，頁142，編號239 附橘園國際藝術策展股份有限公司開立之作品保證書

204

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

花(AZ)

Flower (AZ)

1993

1993 Screenprint, edition no. 69/90 84 x 71 cm Signed lower right Yayoi Kusama in English, titled Flower (AZ) in Japanese, dated 1993 and numbered lower left 69/90

84 x 71 cm

EXHIBITED:

Love, Yayoi Kusama’s selected Exhibition, Beyond Gallery, Taipei, March 23-May 4, 2013 ILLUSTRATED:

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017, color illustrated, p. 109, no. 175 This work is to be sold with a certificate of authenticity issued by Beyond Gallery.

NT$ 420,000 - 600,000 HK$ 108,000 - 154,000 US$ 13,900 - 19,900 RMB 99,000 - 142,000

166

絲網版畫 69/90 簽名右下：Yayoi Kusama 版次左下：69/90 花(AZ) 1993 展覽：

「愛–草間彌生作品精選展」，非畫廊，台北，展期自2013 年3月23日至5月4日圖錄：

《草間彌生全版畫1979-2017》，阿部出版株式會社，東京，2017，彩色圖版，頁109，編號175 附非畫廊開立之作品保證書

205

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin (a set of 3) 1991 Screenprint, edition no. 48/250 28 x 59 cm (each) Signed lower right Yayoi Kusama in English, titled Pumpkin in Japanese, numbered 48/250 and dated 1993 EXHIBITED:

Love, Yayoi Kusama’s selected Exhibition, Beyond Gallery, Taipei, March 23-May 4, 2013

草間彌生南瓜 (三件一組) 1991 絲網版畫 48/250 28 x 59 cm (每件) 簽名右下：Yayoi Kusama 版次左下：48/250かぼちゃ1991 展覽：

「愛–草間彌生作品精選展」，非畫廊，台北，展期自2013 年3月23日至5月4日圖錄：

ILLUSTRATED:

《草間彌生全版畫1979-2017》，阿部出版株式會社，

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017, color illustrated, p. 96, no. 146

東京，2017，彩色圖版，頁96，編號146

This work is to be sold with a certificate of authenticity issued by Beyond Gallery.

NT$ 440,000 - 550,000 HK$ 113,000 - 141,000 US$ 14,600 - 18,300 RMB 104,000 - 130,000

附非畫廊開立之作品保證書

206

Andy WARHOL

安迪．沃荷

(American, 1928 - 1987)

瑪麗蓮夢露

Marilyn Monroe

印刷品

Print 17 x 17 cm Signed lower right Andy Warhol in English

NT$ 70,000 - 140,000 HK$ 18,000 - 36,000 US$ 2,300 - 4,600 RMB 17,000 - 33,000

168

17 x 17 cm 簽名右下：Andy Warhol

207

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

KAWS〈布萊恩．唐納利〉你應該知道我知道

You Should Know I Know

2015

2015 Screenprint, edition no. PP 5/9 94.5 x 81.3 cm Signed lower right KAWS.., dated 15 and numbered lower left pp 5/9

94.5 x 81.3 cm

This painting is to be sold with a certificate of authenticity issued by Dane Fine Art.

NT$ 320,000 - 420,000 HK$ 82,000 - 108,000 US$ 10,600 - 13,900 RMB 75,000 - 99,000

版畫 PP 5/9 簽名右下：KAWS.. 15 版次左下：pp 5/9 附Dane Fine Art開立之作品保證書

208

Takashi MURAKAMI

村上隆

(Japanese, b. 1962)

我們滑稽一族 (十件一組)

We Are the Square Jacular Clan (Rainbow) (a set of 10) 2018 Offset lithograph, edition no. 166/300 50 cm (diameter) (each) Signed lower right M and numbered 166/300 (each)

NT$ 240,000 - 360,000 HK$ 62,000 - 93,000 US$ 8,000 - 11,900 RMB 57,000 - 85,000 170

2018 版畫 166/300 50 cm (直徑) (每件) 簽名右下：M 166/300 (每件)

209

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

陰天

Haze Day

2002

2002 Intaglio in colors, edition no. 30/35 30 x 22 cm Signed lower right Na in Japanese, dated 2002 and numbered 30/35

30 x 22 cm

ILLUSTRATED:

Yoshitomo Nara:The complete Works Volumel, Chronicle Books LLC, SanFrancisco, 2011, color illustrated. E-2002004, p. 310 This work is to be sold with a certificate of authenticity issued by Chini Gallery.

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

版畫 30/35 簽名右下：な 2002 版次左下：30/35 圖錄：

《奈良美智作品全集第一冊》，編年出版社，舊金山， 2011，彩色圖版，編號E-2002-004，頁310 附采泥藝術開立之作品保證書

210

Gary Baseman x Tim Biskup x Seonna Hong x Kathy StacioSchorr x Todd Schorr (American, b. 1960) x (Korean American, b.1973) x (American) x (American, b.1954)

Neo-Kaiju Project (a set of 9) 2005 Print, edition no. 9/300 35.5 x 27.3 cm (each) Signed BASEMAN 2005, t. Biskup, K. Stacio Schorr ‘05, Todd Schorr 2005, Sng, numbered 9/300 and dated 2005

NT$ 60,000 - 120,000 HK$ 15,000 - 31,000 US$ 2,000 - 4,000 RMB 14,000 - 28,000

格里．巴斯曼 x 蒂姆．比斯科普 x 洪森娜 x 凱西．斯達科．紹爾 x 陶德．紹爾新怪獸作品集 (九件一組) 2005 版畫 9/300 35.5 x 27.3 cm (每件) 簽名：BASEMAN 2005, t. Biskup, K. Stacio Schorr '05, Todd Schorr 2005 版次左下：9/300 (每件)

172

211

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

簽名塗鴉

Drawing

2016

2016 Marker pen on paper 29.1 x 21.2 cm Signed lower center KAWS.. 16

29.1 x 21.2 cm

NT$ 60,000 - 120,000 HK$ 15,000 - 31,000 US$ 2,000 - 4,000 RMB 14,000 - 28,000

油性筆紙本簽名下方：KAWS.. 16

212

Tracey EMIN

翠西．艾敏

(British, b. 1963)

我最喜歡的鳥；吻曾經是美麗的(兩件一組)

My Favorite Little Bird; The Kiss Was Beautiful (a set of 2)

2010; 2013 印刷於相紙限量500件

2010; 2013 Offset lithography on silk finish paper, edition of 500 70 x 50 cm (each) Signed lower right Tracy Emin X Trademark lower right My Favorite Little Bird, 2010, Installation © The Artist Trademark lower left Tracy Ewin The Kiss Was Beautiful, 2013, Installation © The Artist

簽名右下：Tracy Emin X

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 RMB 19,000 - 38,000

174

70 x 50 cm (每件) 商標底部：Tracy Emin, My Favorite Little Bird, 2010, Installation © The Artist 商標底部：Tracy Emin, The Kiss Was Beautiful, 2013, Installation © The Artist

213

Takashi MURAKAMI (Japanese, b. 1962)

村上隆然後 x 727

And Then x 727

2013

2013 Silkscreen 87/300; 64/300 49.5 x 49.5 cm (each) Signed lower right M and numbered 87/300; 64/300

49.5 x 49.5 cm (每件)

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 3,000 - 6,000 RMB 21,000 - 42,000

版畫 87/300; 64/300 簽名右下：M 87/300；簽名右下：64/300

214

Takashi MURAKAMI (Japanese, b. 1962)

Maiden in Yellow Straw Hat; Me and Mr. DOB (a set of 2) 2010; 2009 Print, edition no. 100/300; 19/300 60 x 60 cm; 68 x 68 cm Signed lower right M and numbered 100/300, 19/300

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 3,000 - 6,000 RMB 21,000 - 42,000

村上隆黃草帽少女；DOB 君與我 (兩件一組) 2010；2009 版畫 100/300；19/300 60 x 60 cm；68 x 68 cm 簽名右下：M 100/300；簽名右下：M 19/300

176

215

Takashi MURAKAMI (Japanese, b. 1962)

Flowerball (3D) From the Realm of the Dead; Flowerball (a set of 2) 2009 Offset lithograph, edition no. 53/300; 76/300 71 cm (diameter) (each) Signed lower right M and numbered 53/300, 76/300

NT$ 110,000 - 220,000 HK$ 28,000 - 57,000 US$ 3,700 - 7,300 RMB 26,000 - 52,000

村上隆小花球 (3D) 魔笛；小花球 (兩件一組) 2009 版畫 53/300; 76/300 71 cm (直徑) (每件) 簽名右下：M 53/300；簽名右下：M 76/300

216

Takashi MURAKAMI (Japanese, b. 1962)

New Day (a set of 3) 2011 Offset lithograph, edition no. 152/300 68 x 68 cm (each) Signed lower right M and numbered 152/300 (each)

NT$ 110,000 - 180,000 HK$ 28,000 - 46,000 US$ 3,700 - 6,000 RMB 26,000 - 42,000

村上隆新日子；新希望 (三件一組) 2011 版畫 152/300 68 x 68 cm (每件) 簽名版次右下：M 152/300 (每件)

178

217

Takashi MURAKAMI x Fujiko F. Fujio (Japanese, b. 1962)

Anywhere Door in the Filed of Flower; We Can Go Anywhere With Mr. Fujiko F. Fujio and the Time Machine!(a set of 2) 2019 Screenprint, edition no. 227/300; 210/300 60 × 60 cm (each) Signed lower left Fujiko. F. Fujio and signed lower right M, dated 2019 and numbered 227/300 Signed lower left Fujiko. F. Fujio and signed lower right M, dated 2019 and numbered 210/300

NT$ 130,000 - 220,000 HK$ 33,000 - 57,000 US$ 4,300 - 7,300 RMB 31,000 - 52,000

村上隆 x 藤子．F．不二雄

我們通過任意門來到花園；和藤子 F 不二雄先生以及時光機去任何地方！ (兩件一組) 2019 絲網版畫 227/300; 210/300 60 x 60 cm (每件) 簽名左下：藤子．F．不二雄簽名右下：M 2019 227/300 簽名左下：藤子．F．不二雄簽名右下：M 2019 210/300

218

Ai HAIBARA (Japanese, b. 1981)

The Border - A Tug of War 2009 Acrylic on wood 60(W) x 12(D) x 17(H) cm Signed on the base Ai Haibara in English and dated 2009 The work is to be sold with a certificate of authenticity issued by Butchart International Contemporary Art Space.

NT$ 140,000 - 180,000 HK$ 36,000 - 46,000 US$ 4,600 - 6,000 RMB 33,000 - 42,000

灰原愛拔河 2009 壓克力彩樟木 60(長) x 12(寬) x 17(高) cm 簽名底座：2009 Ai Haibara 附布查國際當代藝術空間開立之原作保證書

180

219

Satoru KOIZUMI (Japanese, b. 1983)

Empty Bucket 2019 Red Birch, edition no. 20/100 30cm (H) Engraved SATORU KOIZUMI on the bottom of left foot and numbered 020/100; Trademark APPortfolio ® on the bottom of right foot This work is to be sold with a certificate of authenticity signed by the artist.

NT$ 190,000 - 280,000 HK$ 49,000 - 72,000 US$ 6,300 - 9,300 RMB 45,000 - 66,000

小泉悟空桶 2019 紅櫸木 20/100 30 cm (高) 簽名版次與商標雕刻：SATORU KOIZUMI (左腳底) APPortfolio 020/100 (右腳底) 附藝術家親筆簽名作品保證卡

220

Ai HAIBARA (Japanese, b. 1981)

Little Girl 2009 Acrylic on wood 29(L) x 21(W) x 73.5(H) cm Signed on the back Ai Haibara in English and dated 2009

NT$ 320,000 - 420,000 HK$ 82,000 - 108,000 US$ 10,600 - 13,900 RMB 75,000 - 99,000

灰原愛小女孩 2009 壓克力木雕 29(長) x 21(寬) x 73.5(高) cm 簽名背部：2009 Ai Haibara

182

221

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

KAWS〈布萊恩．唐納利〉 x Dior BFF (絨毛玩具) (粉紅、黑) (兩件一組)

BFF (Plush) (Black, Pink) (a set of 2)

2019

2019 Polyster, plush, limited-edition outfit designed and made by Dior, edition no. 446/500; 029/500 47.5(H) cm (each) 30.1(L) x 24.1(W) x 55.4(H) cm (box) (each)

446/500; 029/500

PROVENANCE:

Private collection, Asia These works are accompanied with their certificate of authenticity and original boxes.

NT$ 650,000 - 750,000 HK$ 167,000 - 193,000 US$ 21,600 - 24,900 RMB 153,000 - 177,000

綜合媒材聚酯纖維毛絨迪奧限量設計牛仔服及西裝 45.7(高) cm (每件) 30.1(長) x 24.1(寬) x55.4(高) cm (原裝盒) (每件) 來源：

私人收藏，亞洲附作品保證卡和原裝盒

222

Yoshitomo NARA (Japanese, b. 1959)

Doggy Radio x RIMOWA 2011 Fiberglass, edition 137/200 (radio); aluminium (suitcase), edition no. 137/200 43(L) x 22.5(W) x 29.5(H) cm (radio) 53.5(L) x 27.5(W) x 42.5(H) cm (suitcase) Signed lower right Na in Japanese and dated 2011 This work is to be sold with a certificate of authenticity signed by the artist.

NT$ 260,000 - 360,000 HK$ 67,000 - 93,000 US$ 8,600 - 11,900 RMB 61,000 - 85,000

奈良美智小狗收音機 x RIMOWA旅行箱 2011 玻璃纖維；鋁合金手提箱 137/200 43(長) x 22.5(寬) x 29.5(高) cm (收音機) 53.5(長) x 27.5(寬) x 42.5(高) cm (旅行箱) 簽名右下：な 2011 附藝術家親簽保證卡 (限量旅行箱組合保證書簽名:な)

184

223

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

BFF (Plush) (Black) 2019 Polyster, plush, limited-edition outfit designed and made by Dior, edition no. 486/500 47.5(H) cm 30.1(L) x 24.1(W) x 55.4(H) cm (box) PROVENANCE:

Private collection, Asia This work is accompanied with certificate of authenticity and original box.

NT$ 260,000 - 360,000 HK$ 67,000 - 93,000 US$ 8,600 - 11,900 RMB 61,000 - 85,000

KAWS〈布萊恩．唐納利〉 x Dior BFF (絨毛玩具) (黑) 2019 綜合媒材聚酯纖維毛絨迪奧限量設計牛仔服及西裝 486/500 45.7(高) cm 30.1(長) x 24.1(寬) x55.4(高) cm (原裝盒) 來源：

私人收藏，亞洲附作品保證卡和原裝盒

224

Julian OPIE (British, b. 1958)

朱利安·奧匹藝廊員工 4

Gallery Staff 4

2010

2010 Screenprint on glass, edition no. 16/20 57.5(L) x 93.5(W) x 6.5(D) cm Signed on the reverse Julian Opie

57.5(長) x 93.5(寬) x 6.5(厚) cm

The work is to be sold with a certificate of authenticity issued by Mike Art Kunst.

NT$ 170,000 - 260,000 HK$ 44,000 - 67,000 US$ 5,600 - 8,600 RMB 40,000 - 61,000

186

絲網版畫玻璃 16/20 簽名畫背：Julian Opie 附Mike Art Kunst開立之作品保證書

225

Takashi MURAKAMI

村上隆

(Japanese, b. 1962)

DOB章魚君（兩件一組）

Mr. DOBtopus (a set of 2)

2017

2017 Vinyl, plastic edition of 800 edition of 400 30(L) x 20.5(W) x 25(H) cm 34(L) x 26.5(W) x 26.6(H) cm

限量800件

These works are accompanied with their original product boxes.

NT$ 130,000 - 220,000 HK$ 33,000 - 57,000 US$ 4,300 - 7,300 RMB 31,000 - 52,000

彩繪搪膠限量400件 30(長) x 20.5(寬) x 25(高) cm 34(長) x 26.5(寬) x 26.6(高) cm 附作品原產紙盒包裝

226

Mr. Doodle (British, b. 1994)

The Doodler 2019 Resin, edition no. 106/250 17(L) x 17(W) x 34(H) cm Signed Mr. DOODLE! and dated 2019 This work is to be sold with a certificate of authenticity signed by the artist This work is accompanied with its original product box.

NT$ 40,000 - 90,000 HK$ 10,000 - 23,000 US$ 1,300 - 3,000 RMB 9,000 - 21,000

塗鴉先生塗鴉先生 2019 樹酯 106/250 17(長) x 17(寬) x 34(高) cm 簽名腳底：Mr. DOODLE!；2019 附藝術家親筆簽名作品保證卡附作品原產紙盒包裝

188

227

HUNG Yi (Taiwanese, b. 1970)

Lucky Dragon 2017 Porcelain, edition no. 969/999 37.5(L) x16.5(W) x19.5(H) cm Stamped on the bottom Hung Yi in Chinese, dated 2017 and numbened 969/999 Signed on the bottom Hing Yi in Chinese and dated 2019 This work is to be sold with an instruction manual and a certificate of authenticity issued by Mr. Hung Yi Art Studio.

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000 RMB 7,000 - 14,000

洪易福龍 2017 瓷器 969/999 37.5(長) x16.5(寬) x19.5(高) cm 印刷簽名底部：洪易 2017 969/999 簽名底部：洪易 2019 (親簽) 附洪易藝術工作室開立之保證書及說明卡

228

Medicom Toy x Brandalism Banksy - Flower Bomber

2018 Polystone 35.5(L) x 9(W) x 39(H) cm Trademark© MMXV Full Colour Black Ltd. MEDICOM TOY 2018 CHINA This work is accompanied with its original product box.

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 RMB 12,000 - 24,000

Medicom Toy x Brandalism 班克斯：擲花者 2018 寶麗石粉樹脂 35.5(長) x 9(寬) x 39(高) cm 註冊商標：© MMXV Full Colour Black Ltd. MEDICOM TOY 2018 CHINA 附作品原產紙盒包裝

190

229

Medicom Toy x Brandalism Banksy - Bomb Hugger

2017 Polystone 15.5(L) x 15.5(W) x 39(H) cm (with base) Trademark © MMXV Full Colour Black Ltd. MEDICOM TOY 2017 CHINA This work is accompanied with its original product box.

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 RMB 12,000 - 24,000

Medicom Toy x Brandalism 班克斯：擁抱炸彈的女孩 2017 寶麗石粉樹脂 15.5(長) x 15.5(寬) x 39(高) cm (含底座) 註冊商標：© MMXV Full Colour Black Ltd. MEDICOM TOY 2017 CHINA 附作品原產紙盒包裝

230

Medicom Toy x Brandalism Banksy - Flower Bomber

2018 Polystone 35.5(L) x 9(W) x 39(H) cm Trademark © MMXV Full Colour Black Ltd. MEDICOM TOY 2018 CHINA This work is accompanied with its original product box.

NT$ 50,000 - 90,000 HK$ 13,000 - 23,000 US$ 1,700 - 3,000 RMB 12,000 - 21,000

Medicom Toy x Brandalism 班克斯：擲花者 2018 寶麗石粉樹脂 35.5(長) x 9(寬) x 39(高) cm 註冊商標：© MMXV Full Colour Black Ltd. MEDICOM TOY 2018 CHINA 附作品原產紙盒包裝

192

231

Medicom Toy x Brandalism Banksy - Bucket on Head

2017 Polystone 27(L) x 12.5(W) x 39(H) cm Trademark © MMXV Full Colour Black Ltd. MEDICOM TOY 2017 CHINA This work is accompanied with its original product box.

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 RMB 12,000 - 24,000

Medicom Toy x Brandalism 班克斯：頭戴鐵桶 2017 寶麗石粉樹脂 27(長) x 12.5(寬) x 39(高) cm 註冊商標：© MMXV Full Colour Black Ltd. MEDICOM TOY 2017 CHINA 附作品原產紙盒包裝

232

Medicom Toy x Brandalism

Banksy - Flower Bomber (Black) 2019 Polystone 35.5(L) x 9(W) x 39(H) cm Trademark © MMXV Full Colour Black Ltd. MEDICOM TOY 2019 CHINA This work is accompanied with its original product box.

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 RMB 12,000 - 24,000

Medicom Toy x Brandalism 班克斯：擲花者 (黑) 2019 寶麗石粉樹脂 35.5(長) x 9(寬) x 39(高) cm 註冊商標：© MMXV Full Colour Black Ltd. MEDICOM TOY 2019 CHINA 附作品原產紙盒包裝

194

233

Medicom Toy x Brandalism

Banksy - Monkey Sign - Do Nothing You’ll Live Longer (Black) 2016 Polystone, limited edition of 600 19(L) x 15(W) x 36(H) cm Trademark © MMXVI Full Color Black Ltd. MEDICOM TOY 2016 CHINA This work is accompanied with its original product box.

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 RMB 12,000 - 24,000

Medicom Toy x Brandalism

班克斯：掛牌猴子－什麼都不做你可以活更久 (黑) 2016 寶麗石粉樹脂限量600件 19(長) x 15(寬) x 36(高) cm © MMXVI Full Color Black Ltd. MEDICOM TOY 2016 CHINA 附作品原產紙盒包裝

234

Kaws (Brian Donnelly) x Jun Takahashi (American, b. 1974; Japanese, b. 1969)

Undercover Bear (White, Black) (a set of 2) 2009 Cast vinyl, edition of 500 14(L) x 12(W) x 15(H) cm (each) Trademark:'UNDERCOVER® ©KAWS..09 MEDICOM TOY 2009 CHINA' This work is accompanied with its original product box.

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 RMB 12,000 - 24,000

Kaws〈布萊恩．唐納利〉 x 高橋盾同伴遮眼熊(白、黑) (兩件一組) 2009 搪膠限量500件 14(長) x 12(寬) x 15(高) cm (每件) 註冊商標：'UNDERCOVER® ©KAWS..09 MEDICOM TOY 2009 CHINA' 附作品原產紙盒包裝

196

235

Takashi MURAKAMI (Japanese, b. 1962)

Mr. DOB 2016 Vinyl, plastic, edition of 750 28(L) x 19(W) x 24(H) cm Trademark © TM / KK COMPLEXCON BAIT SWITCH This work is accompanied with its original product box.

NT$ 60,000 - 100,000 HK$ 15,000 - 26,000 US$ 2,000 - 3,300 RMB 14,000 - 24,000

236

Hiroto KITAGAWA (Japanese, b. 1967)

Hero Series 2013 Acrylic on terracotta (Unique) 8.5(L) x 6(W) x 13(H) cm (blue) 9.5(L) x 8(W) x 14(H) cm (red) 11(L) x 7.5(W) x 14(H) cm (white) Signed on the back Hiroto in English and dated 13 (each) PROVENANCE:

Private collection, Japan These works are to be sold with certificates of authenticity issued by Art Space Kin Gyo Koo Kan.

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

北川宏人英雄系列 2013 壓克力赤陶 (單一件) 8.5(長) x 6(寬) x 13(高) cm (藍) 9.5(長) x 8(寬) x 14(高) cm (紅) 11(長) x 7.5(寬) x 14(高) cm (白) 簽名背後：13 Hiroto (每件) 來源：

私人收藏，日本附金魚空間開立之作品保證書

198

237

Moe NAKAMURA (Japanese, b. 1988)

Waiting for You 2016 Polystone, edition no. 27/100 15(L) x 15(W) x 20(H) cm Signed on the bottom Moe in English and dated 2016. 10. 7 Trademark © Moe Nakamura 2016 © GALLERY TSUBAKI 2016 © MONSTER TAIPEI 2016 PRODUCED BY HOW2WORK This work is to be sold with a rertificate of authenticity signed by the artist. This work is accompanied with its original product box.

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 3,000 - 6,000 RMB 21,000 - 42,000

中村萌等待 2016 寶麗石粉樹脂 27/100 15(長) x 15(寬) x 20(高) cm 簽名底部：Moe 2016. 10. 7 註冊商標：© Moe Nakamura 2016 © GALLERY TSUBAKI 2016 © MONSTER TAIPEI 2016 PRODUCED BY HOW2WORK 附藝術家親筆簽名作品保證卡附作品原產紙盒包裝

238

Moe NAKAMURA (Japanese, b. 1988)

Mt. Fuji 2014 Polystone, edition no. 21/100 13(L) x 12(W) x 20(H) cm Signed on the bottom Moe in English and numbered 21/100 Trademark © Moe Nakamura 2014 © GALLERY TSUBAKI 2014 © MONSTER TAIPEI 2014 Produced by how2work Signed on the product box Moe and dated 2014. 10. 12 This work is to be sold with a rertificate of authenticity signed by the artist. This work is accompanied with the its original product box.

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 RMB 19,000 - 38,000

中村萌富士山 2014 寶麗石粉樹脂 21/100 13(長) x 12(寬) x 20(高) cm 簽名版次底部：21/100 Moe 註冊商標：© Moe Nakamura 2014 © GALLERY TSUBAKI 2014 © MONSTER TAIPEI 2014 Produced by how2work 簽名包裝盒上：Moe 2014. 10. 12 附藝術家親筆簽名作品保證卡附作品原產紙盒包裝

200

239

Moe NAKAMURA

中村萌

(Japanese, b. 1988)

圈圈

Loop Loop

2015

2015 Polystone, edition no. 56/130 14(L) x 11(W) x 20(H) cm Signed on the bottom of right foot Moe in English Trademark © Moe Nakamura 2015 © GALLERY TSUBAKI 2015 © MONSTER TAIPEI 2015 PRODUCED BY HOW2WORK Signed on the product box Moe and dated 2015. 10. 8

14(長) x 11(寬) x 20(高) cm

寶麗石粉樹脂 56/130 簽名右腳底：Moe 註冊商標：© Moe Nakamura 2015 © GALLERY TSUBAKI 2015 © MONSTER TAIPEI 2015 PRODUCED BY HOW2WORK 簽名包裝盒上：Moe 2015. 10. 8 圖錄：

ILLUSTRATED:

《中村萌 Growth》，椿畫廊，東京，2020，彩色圖版，

Moe Nakamura “Growth”, GALLERY TSUBAKI Co., Ltd, Tokyo, 2020, color illustrated, p. 47

附藝術家親筆簽名作品保證卡

This work is to be sold with a certificate of authenticity signed by the artist. This work is accompanied with its original box.

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 RMB 19,000 - 38,000

頁47

附作品原產紙盒包裝

240

Moe NAKAMURA

中村萌

(Japanese, b. 1988)

母子筍

Bambooshika

2018

2018 Polystone, edition no. 105/160 15.5(L) x 16(W) x 21(D) cm 11(L) x 10.2(W) x 15.5(D) cm Print on the bottom Moe in English Trademark ©Moe NAKAMURA 2018 © GALLERY TSUBAKI

15.5(長) x 16(寬) x 21(高) cm

2018 © MONSTER TAIPEI 2018 PRODUCED BY HOW2WOR This work is to be sold with a certificate of authenticity signed by the artist. This work is accompained with its original product box.

NT$ 90,000 - 160,000 HK$ 23,000 - 41,000 US$ 3,000 - 5,300 RMB 21,000 - 38,000

202

寶麗石粉樹脂 105/160 11(長) x 10.2(寬) x 15.5(高) cm 簽名印刷底部：Moe 註冊商標：© Moe NAKAMURA 2018 © GALLERY TSUBAKI 2018 © MONSTER TAIPEI 2018 PRODUCED BY HOW2WOR 附藝術家親筆簽名保證卡附作品原產紙盒包裝

241

Moe NAKAMURA

中村萌

(Japanese, b. 1988)

給我抱抱

Wish for Something

2018

2018 Polystone, edition no. 106/120 17(L) x 15(W) x 26(H) cm

17(長) x 15(寬) x 26(高) cm

EXHIBITED:

寶麗石粉樹脂 106/120 展覽：

「東京藝術博覽會」，Gallery Tsubak，東京，2018 (另一版本)

2018 Art Fair Tokyo, Gallery Tsubak, Tokyo, 2018 (another edition)

附藝術家親筆簽名作品保證卡

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

附作品原產紙盒包裝

This work is accompained with its original product box.

NT$ 100,000 - 200,000 HK$ 26,000 - 51,000 US$ 3,300 - 6,600 RMB 24,000 - 47,000

242

Daniel ARSHAM (American, b. 1980)

Cracked Bear (Blue, Pink) (a set of 2) 2018 (Blue) 2019 (Pink) Fabric, plaster and acrylic paint, edition no. 236/500 (Blue);180/500 (Pink) 22.6(L) x 18.6(W) x 24.4(H) cm (each) These works are accompanied with their original product boxes.

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

丹尼爾．阿爾軒破裂熊 (藍、粉紅) (兩件一組) 2018 (藍) 2019 (粉) 織品石膏壓克力顏料 236/500 (藍)；180/500 (粉) 22.6(長) x 18.6(寬) x 24.4(高) cm (每件) 附作品原產紙盒包裝

204

243

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

Dissected Companion: Bearbrick 1000% 2002 Painted cast vinyl, edition of 500 34(L) x 24(W) x 72(H) cm Trademark B@-000.comLTD006 © KAWS..02 ©MEDICOM TOY 2002 This work is accompained with its original product box.

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 RMB 19,000 - 38,000

KAWS〈布萊恩．唐納利〉解剖同伴：積木熊 1000% 2002 彩繪搪膠限量500件 34(長) x 24(寬) x 72(高) cm 註冊商標：B @ -000.comLTD006 © KAWS..02 ©MEDICOM TOY 2002 附作品原產紙盒包裝

244

AI WEI-WEI (Chinese 1957 )

Artist's Hand 2017 Electroplated rhodium on cast urethane resin limited edition of 1000 10.1(L) x 10.1(W) x 12.7(H) cm Signed on the bottom Wei Ai in English This work is accompanied with its original product box.

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 3,000 - 6,000 RMB 21,000 - 42,000

艾未未藝術家的手 2017 電鍍聚氨酯樹脂限量1000件 10.1(長) x 10.1(寬) x 12.7(高) cm 簽名底部：Wei Ai 附作品原產紙盒包裝

206

245

Poren HUANG

黃柏仁

(Taiwanese, b. 1970)

任務

On Duty

2005

2005 Bronze, edition no. 17/30 23(L) x 10(W) x 20(H) cm Engraved on the bottom PR, 30-17 and dated 2005

23(長) x 10(寬) x 20(高) cm

PROVENANCE:

Powen Gallery, Taipei Private collection, Taiwan EXHIBITED:

銅雕 17/30 簽名雕刻底部：2005 PR 30-17 來源：

紅野畫廊，台北私人收藏，台灣展覽：

「狗札記：黃柏仁個展」，quabitArt 畫廊，柏林，展期

The Dog’s Notes – Huang Poren Solo Exhibition, aquabitArt gallery, Berlin, Germany, February 1 – 28, 2016 The Dog’s Notes – Huang Poren Solo Exhibition, Belvedere Gallery, Beirut, Lebanon, December 18, 2018 – March 31, 2019

自2016年2月1日至2月28日

ILLUSTRATED:

《狗札記─黃柏仁》，紅野畫廊，台北，2014，彩色圖

Huang Po-Ren Sculpture , Taichung City Cultural Center, Taichung, 2005, color illustrated, pp. 68-69 The Dog’s Notes, Powen Gallery Co., Ltd., Taipei, 2014, color illustrated, p.12

版，頁12

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

NT$ 90,000 - 130,000 HK$ 23,000 - 33,000 US$ 3,000 - 4,300 RMB 21,000 - 31,000

黃柏仁「狗札記」展覽，美景宮畫廊，貝魯特，黎巴嫩，展期自2018年12月18日至2019年3月31日圖錄：

《黃柏仁雕塑》，台中縣立文化中心，台中，2005，彩色圖版，頁68-69

附紅野畫廊開立之原作保證書

246

Takashi MURAKAMI (Japanese, b. 1962)

Mr. DOB (a set of 2) 2016 Vinyl, plastic Golden: edition of 250 Red: edition of 750 28(L) x 19(W) x 24(H) cm (each) Trademark © TM / KK COMPLEXCON BAIY SWITCH These works are accompanied with their original product boxe.

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

208

247

LEE Kyoung-mi (Korean, 1977)

"Nana" The Astro 2019 Oil on FRP, edition no. 6/10 21(L) x 23(W) x 35.5(H) cm Signed on the back Kyoung Mi Lee in English This work is to be sold with a certificate of authenticity issued by Tosee Art and a certificate of authenticity signed by artist and issued by S K M Lab.

NT$ 100,000 - 200,000 HK$ 26,000 - 51,000 US$ 3,300 - 6,600 RMB 24,000 - 47,000

李慶美太空人娜娜 2019 油彩玻璃纖維 6/10 21(長) x 23(寬) x 35.5(高) cm 簽名背部： Kyoung Mi Lee 附土思藝術開立與時慶美研究所及藝術家親筆簽名之作品保證書

248

Medicom Toy x Brandalism

Banksy - Flying Balloons Girl (Black, White) (a set of 2) 2018 Polystone, edition no. 9/100 (black) ; 69/396 (white) 19(L) x 15(W) x 55(H) cm (each) Trademark © MMXV Full Colour Black Ltd. MEDICOM TOY 2018 CHINA These works are accompanied with their original product boxes.

NT$ 110,000 - 220,000 HK$ 28,000 - 57,000 US$ 3,700 - 7,300 RMB 26,000 - 52,000

Medicom Toy x Brandalism 班克斯：氣球女孩（黑、白）（兩件一組） 2018 寶麗石粉樹脂 9/100 (黑) 69/396 (白) 19(長) x 15(寬) x 55(高) cm (每件) 註冊商標：© MMXV Full Colour Black Ltd. MEDICOM TOY 2018 CHINA 附作品原產紙盒包裝

210

249

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

Astro Boy (Grey, Red) (a set of 2) 2012 Painted cast vinyl, edition of 500 16.5(L) x 12(W) x 37(H) cm (each) Trademark © Tezuka Productions Designed by KAWS MEDICOM TOY 2012 CHINA These works are accompanied with their original product boxes.

NT$ 110,000 - 220,000 HK$ 28,000 - 57,000 US$ 3,700 - 7,300 RMB 26,000 - 52,000

KAWS〈布萊恩．唐納利〉原子小金剛 (灰、紅) (兩件一組) 2012 綜合媒材搪膠限量500件 16.5(長) x 12(寬) x 37(高) cm (每件) 註冊商標： © Tezuka Productions Designed by KAWS MEDICOM TOY 2012 CHINA 附作品原產紙盒包裝

250

Hajime SORAYAMA

空山基

(Japanese, b. 1947)

衝浪機器人

Classic Robot Surf

2018

54.5(長) x 47.5(寬) x 45.5(高) cm

This work is accompanied with the original box.

NT$ 110,000 - 220,000 HK$ 28,000 - 57,000 US$ 3,700 - 7,300 RMB 26,000 - 52,000

212

251

JU Ming

朱銘

(Taiwanese, b. 1938)

太極系列─單鞭下勢

Taichi Series – Single Whip

不飽和聚酯樹脂碳酸鈣油性色母 272/300

Unsaturated polyester resin, calcium carbonate, oil color paste, edition no. 272/300 28.5(L) x 14.4(W) x 18.2(H) cm Numbered on the bottom 272/300

版次底部：272/300

This sculpture is to be sold with a certificate of limited reproduction issued by Ju Ming Museum Taipei.

NT$ 90,000 - 160,000 HK$ 23,000 - 41,000 US$ 3,000 - 5,300 RMB 21,000 - 38,000

28.5(長) x 14.4(寬) x 18.2(高) cm 附朱銘美術館限量複製品證明書

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。

電話／書面／網路競投 : 競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請手續以及競投保證金之繳納亦需在 2020 年 7 月 15 日以前完成匯款至本公司指定帳號。

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。

競投保證金退還方式 : (1) 有成交 : (a) 競投保證金以「匯款」方式完成者，扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額需退還，本公司將於拍賣日後十四個工作天內以匯款方式退還給買家。 (b) 競投保證金以「現金」方式完成者 , 扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額需退還，本公司將於拍賣當日以現金退還給買家。 (c) 若買家無正當理由未於成功拍賣日期後七天內支付全部應支付之款項（包含落槌價、服務費及其他費用）予本公司，買家不得請求返還競投保證金。 (2) 未成交 : 若競投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證金。競投保證金以「匯款」方式完成者 , 本公司將於拍賣日後十四個工作天內以匯款方式退還給買家。競投保證金以「現金」方式完成者 , 本公司將於拍賣當日以現金退還給買家。

若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價、服務費及其他費用 ) 金額超過競投保證金金額時，買方得以下列方式結清帳款 : (1) 現鈔：上限新台幣壹百萬元。 (2) 信用卡與銀聯卡 : 刷卡上限為新台幣壹百萬元。信用卡與銀聯卡持有人必需是買家本人，本公司不接受他人之信用卡。

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

諮詢

台北黃詩涵

stellahuang@ravenel.com

+886 2 2708 9868 ext. 977

IMPORTANT NOTICE TO BUYERS

The auction will strictly abide by the Transaction Agreement set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1. Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a bidding deposit are required. 2.

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

3. The bidding deposit must be transferred to Ravenel's specified Bank account prior to 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 (NTD) or 001-234830-061 (USD) Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of bidding deposit. The payer will be responsible for any associated bank service fees. 4. After the 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 12 pm (No other forms of payment will be accepted). 5.

Telephone/written/ internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 15th July 2020.

6. 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. 7.

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

8. Return of the Security Deposit: (1) Completed Transaction: (a) For successful bidder with a bidding deposit made through wire transfer, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer. (b) For successful bidders with bidding deposit made by Cash, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund. (c) If the Buyer, without any good cause, fails to pay any and all payment (including but without limitation, hammer price, buyer's Premium, and other expenses) of the Lot to the Company within 7 days after the auction date, the Buyer shall not claim for the return of the bidding deposit. (2) Nil Transaction: If the bidder is not able to purchase any lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. For individuals with a bidding deposit transferred by wire, the bidding deposit will be returned within 14 business days through means of a wire transfer. Cash bidding deposit will be returned to individuals on the same day after the auction. 9.

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

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

Contact Person TAIPEI Stella Huang

stellahuang@ravenel.com

+886 2 2708 9868 ext. 977

委託競投表格委託競投表格須於拍賣24小時前送抵藝術部。競投表格可傳真至：

拍賣名稱：羅芙奧台北2020春季拍賣會

藝術部

亞洲現代與當代藝術

電話：+886-2-2708 9868

拍賣編號：TA2002

傳真：+886-2-2701 3306

台北拍賣日期：

投標者資料

台北萬豪酒店

客戶編號（如有）

台北市中山區樂群二路199號3樓（博覽廳）

2020年7月19日（星期日）下午2:30

姓名身份證字號地址郵碼電話（住宅）（辦公室）傳真

電郵

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

請用正楷填寫清楚拍賣品編號（按數字順序）

名

稱

競投價（新台幣）（服務費不計在內）

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

銀行證明銀行名稱銀行地址銀行帳戶名稱銀行帳號銀行聯絡者銀行電話

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

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

Auction Sale Number Date

RAVENEL SPRING AUCTION 2020 TAIPEI Modern and Contemporary Asian Art TA2002 Sunday, July 19, 2020, 2:30pm

Location

Marriott Taipei

Address

Grand Space, 3F, No. 199, Lequn 2nd Road,

ZhongShan Dist., Taipei, Taiwan

ID number Address Post code Tel: (Daytime)

(Evening)

Fax

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

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Title

Bid price (NT$) (excluding service fee)

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

Bank Reference Approval Name of the bank Address of the bank

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

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

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

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

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

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

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 fine for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company’s sole decision. (2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose including but without limitations other transactions. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his/hers/its non-payment. The proceeds shall make up for the payment due. (3) If the Buyer owes the Company several payments as a result of different transactions, the payments will set-off any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments. (4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him/her/it. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned: (a) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any

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

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

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