SELECT: MODERN & CONTEMPORARY ART
LOT 029
LOT 028
LOT 030
LOT 063
羅芙奧2020秋季拍賣會 薈萃國際：現代與當代藝術 RAVENEL AUTUMN AUCTION 2020
SELECT: Modern & Contemporary Art 拍賣日期 / 地點 AUCTION
2020年12月5日（六）下午 3:30 Saturday, December 5, 2020, 3:30 pm 萬豪酒店（博覽廳） 台北市中山區樂群二路199號3樓 Marriott Taipei (Grand Space) 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei
PREVIEWS
預展日期 / 地點
Kaohsiung
高雄 2020年11月14日（六）至11月15日（日） 上午11:00至下午6:00 琢璞藝術中心 高雄市前金區五福三路63號8樓
Taichung
台中 2020年11月21日（六）下午1:00至下午6:00 2020年11月22日（日）上午11:00至下午6:00 豐藝館 台中市西區五權西路一段110號B1
Taipei
台北 2020年12月3日（四）~ 12月5日（六） 上午10:00至下午7:00 萬豪酒店 台北市中山區樂群二路199號3樓
Saturday, November 14 - Sunday, November 15, 2020, 11:00 am - 6:00 pm J. P. Art Center 8F, No. 63, Wu Fu 3rd Road, Qianjin District, Kaohsiung, Taiwan
Saturday, November 21, 2020, 1:00 pm - 6:00 pm Sunday, November 22, 2020, 11:00 am - 6:00 pm Fong-Yi Art Gallery B1, No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan
Thursday, December 3 - Saturday, December 5, 2020 10:00 am - 7:00 pm Marriott Taipei 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei
As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This auction catalogue: NT$ 2,000 per copy.
王鎮華 Arthur Wang 董事長 Chairman
郭倩如 Clara Kuo 副董事長 Vice Chairman
藝術品諮詢專家 國際藝術部 ART CONSULTANTS INTERNATIONAL ART DEPARTMENT
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SELECT: MODERN & CONTEMPORARY ART
目次 CONTENTS 5
羅芙奧秋季拍賣會 Sale Information
6
羅芙奧之服務
11
薈萃國際：現代與當代藝術 SELECT: Modern and Contemporary Art
158
藝術家索引 Index
161
給予買家的重要通知 Important Notice to Buyers
163
委託競投表格 Absentee Bid Form
165
業務規則 Transaction Agreement
Ravenel Services
READY!
001 MR DOODLE
塗鴉先生
(British, b. 1994)
無題
Untitled
2017年 簽字筆 紙本 15 x 21 cm 簽名右下：MR DOODLE!
2017 Marker on paper 15 x 21 cm Signed lower right MR DOODLE!
NT$ 30,000 - 50,000 HK$ 8,000 - 13,000 US$ 1,000 - 1,700 RMB 7,000 - 12,000
002 水谷吉法
水谷吉法1987年出生於日本福井，於日本經濟
(Japanese, b. 1987)
東京鸚鵡 012
大學畢業後，接著進入東京攝影大學琢磨攝影
Tokyo Parrots 012
2013年 典藏數位微噴版畫 版次4/5 53.3 x 80 cm
YOSHINORI MIZUTANI 2013 Archival pigment print, ed. 4/5 53.3 x 80 cm PROVENANCE Aura Gallery, Beijing ILLUSTRATED Tokyo Parrots - Yoshinori Mizutani , Amana Inc., Japan, 2014, color illustrated This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 40,000 - 60,000 HK$ 11,000 - 16,000 US$ 1,400 - 2,100 RMB 9,000 - 14,000
來源 亦安畫廊，北京 圖錄 《水谷吉法－東京鸚鵡》， Amana 株式會社， 日本，2014，彩色圖版
技巧，目前居住於東京生活及工作。水谷吉法 擅長使用鮮豔的色彩來呈現作品的情感，在虛 與實之間，宛如水彩畫一般極具詩意。 B o r n 1987 i n F u k u i, M i z u t a n i a t t e n d e d the Tokyo College of Photography after graduating from Nihon University College of Economics, he lives and works in Tokyo now. s good at using the bright colors to express the emotions of the works. It is very poetic like a watercolor painting between the virtual
附藝術家簽名之原作保證書
and the real. Mizutani is good at using the bright colors to express the emotions of the works. It is very poetic like a watercolor painting between the virtual and the real.
003 IKUMI NAKADA
中田郁美
(Japanese, b. 1982)
沒有生氣
Not Angry
2017年 油彩 鉛筆紙本 手工框 36.5 x 27 cm 簽名題識畫背：Ikumi Nakada 2017.10.19 Not Angry
2017 Oil and pencil on paper With artist hand-made frame 36.5 x 27 cm Signed reverse Ikumi Nakada , dated 2017.10.19 and titled Not Angry PROVENANCE Elsa Gallery, Taipei Private Collection, Taiwan ILLUSTRATED Hiso Hiso-Ikumi Nakada , Elsa Gallery, Taipei, 2019, color illustrated, p.26
NT$ 40,000 - 80,000 HK$ 11,000 - 21,000 US$ 1,400 - 2,700 RMB 9,000 - 19,000
來源 雲清畫廊，台北 私人收藏，台灣 圖錄 《窸窸窣窣－中田郁美》， 雲清畫廊，台北，2019，彩色圖版，頁26
004 YAYOI KUSAMA
草間彌生
(Japanese, b. 1929)
無線的網 #297
Infinity Nets (#297)
2000年 壓印浮凸 版次45/100 紙：精仿羊皮紙 印刷廠：法國Créanog工作室 出版者：日本枚方FMR Trading貿易有限公司 51.5 x 37 cm（紋樣）；59 x 45 cm（紙） 簽名右下：Yayoi Kusama 2000 Infinity Nets 版次右下：45/100
2000 Print embossage, ed. 45/100 Paper: Vélin d'Arches Printer: Atelier Créanog, France Publisher: FMR Trading Limited, Hirakata 51.5 x 37 cm (Pattern); 59 x 45 cm (Paper) Signed lower right Yayoi Kusama , dated 2000 , titled Infinity Nets , and numbered 45/100 ILLUSTRATED Yayoi Kusama Prints 1979-2017 , ABE Publishing, Tokyo, 2017, color illustrated, p. 174
NT$ 70,000 - 110,000 HK$ 19,000 - 29,000 US$ 2,400 - 3,800 RMB 16,000 - 26,000
圖錄 《草間彌生全版画 1979-2017》，阿部出版株式會社，東京， 2017，彩色圖版，頁174
005 PHUNK
PHU N K
(Phunk Studio / Singaporean founded since 1994)
造物 6
Creature 6
2008年 絲網印刷 畫布 版次1/1 119 x 69.5 cm 簽名右下：Phunk 08.
2008 Silkscreen on canvas, ed. 1/1 119 x 69.5 cm Signed lower right Phunk 08. EXHIBITED Phunk Studio's Universe of Modern Mythology, Gallery J. Chen, Taipei, January 19 – February 10, 2008
NT$ 120,000 - 180,000 HK$ 32,000 - 48,000 US$ 4,100 - 6,200 RMB 28,000 - 42,000
展覽 「Phunk Studio現代奇幻宇宙」，J. Chen 畫廊， 台北，2008年1月19日至2月10日
006 KAWS (BRIAN DONNELLY)
布萊恩．唐納利
(American, b. 1974)
海綿寶寶．紅色
Kawsbob, Red
2011年 絲網版畫 版次86/100 50.5 x 50.5 cm 簽名右下：KAWS.. 11 版次左下：86/100
2011 Screenprint, ed. 86/100 50.5 x 50.5 cm Signed lower right KAWS.. and dated 11 Numbered lower left 86/100
NT$ 220,000 - 340,000 HK$ 59,000 - 90,000 US$ 7,500 - 11,700 RMB 52,000 - 80,000
007 LIU YE
劉野
(Chinese, b. 1964)
誰害怕 L 夫人?
Who is Afraid of Madame L?
2010年 絲網版畫 版次16/50 100 x 80 cm 簽名右下：野 2010 題識左下：Madame L 版次下方：16/50
2010 Silkscreen print, ed. 16/50 100 x 80 cm Signed lower right Ye in Chinese and dated 2010 Titled lower left Madame L Numbered lower center 16/50
NT$ 280,000 - 420,000 HK$ 74,000 - 112,000 US$ 9,600 - 14,400 RMB 66,000 - 99,000
008 JOSH SMITH (American, b. 1976)
Diving Fish II
喬許．史密斯於1976年出生於日本沖繩，後移居美國，1994年就讀俄亥俄州的邁阿密大 學（Miami University, Ohio），並於1996年於田納西大學，諾克斯維爾分校（University of Tennessee, Knoxville）取得美術學位（Bachelor of Fine Arts）。其於2003年始於洛 杉磯舉辦個展，至2020年已陸續於紐約、倫敦、維也納、荷蘭、比利時、墨爾本、巴黎、
2010 Monotype on paper 77 x 57 cm Signed lower left JOSH SMITH , dated 1/20/2010 and titled II
東京、羅馬、挪威、瑞士等地舉辦個展。其作品被瑞典斯德哥爾摩當代美術館（M o d e r n a
NT$ 380,000 - 550,000 HK$ 101,000 - 146,000 US$ 13,000 - 18,800 RMB 89,000 - 129,000
American Art, New York）等公共機構所收藏。
喬許．史密斯 潛水魚 II 2010年 單刷版畫 紙 77 x 57 cm 簽名左下：II JOSH SMITH 1/20/2010
Museet, Stockholm, Sweden）、巴黎蓬皮杜藝術中心國家藝術博物館（Musée National d'Art Moderne, Centre Georges Pompidou, Paris）、紐約現代藝術博物館（The Museum of Modern Art, New York）、維也納路德維希現代藝術博物館（Museum Moderner Kunst Stiftung Ludwig W ien, V ienna）、紐約惠特尼美國藝術博物館（Whitney Museum of
Josh Smith was born in Okinawa, Japan in 1976 and moved to the United States. He studied at the Miami University in Ohio in 1994 and got a Bachelor of Fine Arts from the University of Tennessee, Knoxville in 1996. He started his solo exhibition in Los Angeles in 2003. Until 2020, he has successively held solo exhibitions in New York, London, Vienna, the Netherlands, Belgium, Melbourne, Paris, Tokyo, Rome, Norway, Switzerland and other places. His artworks have been selected by Moderna Museet, Stockholm, Sweden, Musée National d'Art Moderne, Centre Georges Pompidou, Paris, the Museum of Modern Art, New York, the Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, and the Whitney Museum of American Art, New York and other public institutions.
009 MR DOODLE
塗鴉先生
(British, b. 1994)
彩虹
Rainbow
2019年 壓克力 麥克筆 畫布 30.5（長）x 30.5（寬）x 4.5（厚）cm 簽名畫背：MR DOODLE! 2019
2019 Acrylic and paint marker on canvas 30.5(L) x 30.5(W) x 4.5(D) cm Signed reverse MR DOODLE! and dated 2019 PROVENANCE Anzai Gallery, Kyoto Private collection, Asia
NT$ 320,000 - 440,000 HK$ 85,000 - 117,000 US$ 11,000 - 15,100 RMB 75,000 - 104,000
來源 安西畫廊，京都 私人收藏，亞洲
010 EDGAR PLANS (Spanish, b. 1977)
Pelé 2019 Oil and mixed media on canvas 30 x 30 cm Signed lower right PLANS PROVENANCE Alzueta Gallery, Barcelona
NT$ 360,000 - 550,000 HK$ 96,000 - 146,000 US$ 12,300 - 18,800 RMB 85,000 - 129,000
艾德加．普連斯
艾德加．普連斯於1977年出生於西班牙馬德里，他喜歡創作漫
球王比利
畫、動物英雄，其作品與里斯本的愛乃理畫廊（Ainori Gallery）、
2019年 油彩 綜合媒材 畫布 30 x 30 cm 簽名右下：PLANS 來源 阿爾祖塔畫廊，巴塞隆納
巴塞隆納的米克爾．阿爾祖塔畫廊（G a l e r í a M i q u e l A l z u e t a） 和P i g m e n t 畫廊、哥倫比亞的C a s a C u a d r a d a 畫廊、義大利的 Tales of art畫廊合作展出，並被古巴國家美術館（Museo Nacional de Bellas Artes de Cuba）、阿斯圖里亞斯藝術博物館（Museo Bellas Artes de Asturias）、阿斯圖里亞斯公國政府委員會（Junta General del Principado de Asturias）、蘭格雷奧市政美術館– Eduardo Úrculo（Pinacoteca Municipal de Langreo - Eduardo Ú r c u l o）、西班牙的L A B o r a l科技與創意產業中心（L A B o r a l Centro de Arte y Creación Industrial）等公共機構收藏。 Edgar Prins was born in Madrid, Spain in 1977. He likes to create comic strips and the Hero Animals. His artworks are exhibited in collaboration with Ainori Gallery in Lisbon, Galería Miquel Alzueta and Pigment Gallery in Barcelona, Casa Cuadrada Gallery in Colombia, and Tales of art Gallery in Italy. His artworks also selected by Museo Nacional de Bellas Artes de Cuba, Museo Bellas Artes de Asturias, Junta General del Principado de Asturias, Pinacoteca Municipal de Langreo - Eduardo Úrculo, LABoral Centro de Arte y Creación Industrial in Spain and other public institutions.
LOT 011
011
012
AKANE TERASHIMA
GARY BASEMAN
(Japanese, b. 1980)
(American, b. 1960)
Forest (a set of 5)
Mushroom
2007 Acrylic on canvas 33.5 x 53 cm/each Signed reverse Akane Terashima in Kanji, dated '07 and titled Forest # 01~05
2006 Porcelain, unique 35(L) x 35(W) x 35(H) cm Signed lower back Baseman
NT$ 100,000 - 200,000 HK$ 27,000 - 53,000 US$ 3,400 - 6,900 RMB 24,000 - 47,000
NT$ 140,000 - 220,000 HK$ 37,000 - 59,000 US$ 4,800 - 7,500 RMB 33,000 - 52,000
格里．巴斯曼 寺島茜
蘑菇
森林 (五聯幅)
2006年 陶瓷；單一件 35（長）x 35（寬）x 35（高）cm 簽名後方下側：Baseman
2007年 壓克力 畫布 33.5 x 53 cm / 件 簽名畫背：Akane Terashima'07 Forest #01~05
正面 One side
LOT 012
反面 The other side
013 石井義人
石井義人多年東方水墨與西洋藝術的薰陶，他
(Japanese, b. 1980)
紫闌
開拓出獨一無二的抽象針筆畫作品。以日本傳
Shikan
2018年 墨 粉畫紙 65 x 53 cm 簽名題識畫背：紫闌 2018 Shikan イシイヨシト Yoshito Ishii
YOSHITO ISHII 2018 Ink on Kent paper 65 x 53 cm Signed reverse Yoshito Ishii , titled Shikan and dated 2018 both in Kanji and English EXHIBITED Kobe Art Marché 2018 , Kobe Art Marché Executive Committee, Hyogo, Japan, September, 2018 Art Fair Asia Fukuoka 2019 , Art Fair Asia Fukuoka Executive Committee, Fukuoka, Japan, September, 2019
NT$ 180,000 - 260,000 HK$ 48,000 - 69,000 US$ 6,200 - 8,900 RMB 42,000 - 61,000
展覽 「神戶藝術博覽會2018」， 神戶藝術博覽會執行委員會， 日本兵庫縣，2018年9月 「福岡亞洲藝術博覽會2019」， 福岡亞洲藝術博覽會執行委員會， 日本福岡，2019年9月
統紋樣、古體字為主題，參入中國宋代院體與 文人畫派精神，重視畫風形神兼備之意境。
With many years of experience in ink wash painting and Western art, Ishii has developed his own unique style of abstract technical pen paintings. His works are themed around traditional Japanese emblems and old calligraphic writings with a sense of the Chinese Yuanti and Kuterati p a i n t i n g s t y l e s o f t h e S o n g D y n a s t y, promoting a style that emphasizes both the form and the spirit.
014 H@L
2000年畢業於大阪藝術大學，為日本知名繪本作家。早年曾
(Japanese, b. 1976)
赤富士
為電視台美術製作，為作家川上弘美的創作散文集插圖，並
Red Fuji Mountain
2016年 壓克力 木板 92（長）x 72（寬）x 4.5（厚）cm 藝術家鈐印於畫背 題名畫背：Red Fuji 赤富士
HARU 2016 Acrylic on wood panel 92(L) x 72(W) x 4.5(D) cm With artist's stamp on the reverse Titled reverse Red Fuji both in Kanji and English EXHIBITED Art Taipei art fair, 2018
NT$ 170,000 - 260,000 HK$ 45,000 - 69,000 US$ 5,800 - 8,900 RMB 40,000 - 61,000
展覽 「台北國際藝術博覽會」，2018
與迪士尼合作展覽的人物繪製。2008年出品《M O I M O I N O P O K K E》（口袋的喵喵），成為高人氣繪本作家。溫暖可愛 的童趣風格，常以森林、海洋動物、貓咪為主角，吸引廣大族 群喜愛。擅於將童年記憶昇華為靈感，明亮多彩的色塊如馬賽 克拼圖，天馬行空構築充滿故事的畫面。
Haru is a Japanese artist renowned for his illustrated books. Having graduated from Osaka University of Arts in 2000, he worked as an art producer at a television studio in his earlier days. Since then, he has gone on to create book illustrations for prominent Japanese writer, Hiromi Kawakami, as well as character paintings for Disney's exhibitions. After publishing his book, MOIMOI NO POKKE , in 2008, he quickly garnered universal popularity as an illustrated book artist. Defined by a tender and childlike nature, his works, frequently featuring animals from the forest and the sea as well as cats, appeal to a wide demographic. By drawing from his childhood memories for artistic inspiration, he illustrates bright mosaic puzzles of inventive imagery that rekindle a sense of innocence.
015 IIDA KIRIKO
飯田桐子
(Japanese, b. 1970)
部屋
Room
2010年 油彩 木板 60 x 74.5 cm 簽名畫背：Kiriko Iida 2010
2010 Oil on board 60 x 74.5 cm Signed reverse Kiriko Iida and dated 2010 PROVENANCE Gallery IDF, Nagoya Japan Soka Art Center, Taiwan EXHIBITED November-Iida Kiriko Solo Exhibition, Soka Art Center, Tainan, November 6 - 28, 2010 ILLUSTRATED November-Iida Kiriko Solo Exhibition, Soka Art Center, Tainan, 2010, color illustrated, p. 52-53 This lot is accompanied with a certificate of authenticity issued by Gallery IDF, Nagoya, Japan.
NT$ 110,000 - 190,000 HK$ 29,000 - 51,000 US$ 3,800 - 6,500 RMB 26,000 - 45,000
來源 IDF 畫廊，名古屋，日本 索卡藝術中心，台灣 展覽 「霜月－飯田桐子個展」，索卡藝術中心，台南， 展期自2010年11月6日至28日 圖錄 《霜月－飯田桐子個展》，索卡藝術中心，台南，2010， 彩色圖版，頁52 附IDF畫廊開立之保證書
016 TAKANORI EBINA
蝦名貴德
(Japanese, b. 1986)
黎明之前
Before the Dawn
2008年 油彩 畫布 99.2（長）x 145（寬）x 5（厚）cm 簽名畫背：蝦名貴德 2008
2008 Oil on canvas 99.2(L) x 145(W) x 5(H) cm Signed reverse Takanori Ebina in Kanji and dated 2008 PROVENANCE Borobudur Auction, Singapore, November 9, 2014, lot 93 Acquired from the above by the present owner
NT$ 280,000 - 420,000 HK$ 74,000 - 112,000 US$ 9,600 - 14,400 RMB 66,000 - 99,000
來源 寶福得拍賣，新加坡，2014年11月9日，編號93 現有收藏者得自上述來源 蝦名貴德於1986年出生於日本茨城縣。2012年畢業於東京造景大學繪 畫學系學士，之後他在和菓子店工作並繼續從事藝術活動。 在2008年 至2015年期間，蝦名貴德贏得了諸多獎項，包括2009年前橋美術大賽 銅賞、2010年第8屆上野皇家博物館競賽大獎、2012年的東京夢想之 牆，和2015年第27屆三菱公司藝術門計劃的優勝獎。
Takanori Ebina was born in Ibaragi, Japan in 1986. After graduating in 2012 from Tokyo Zokei University, he continues art activities while working at a confectionery shop. During 2008 to 2015, Ebina won lots of award including Brown prize of Maebashi Art Competition in 2009, The 8th Ueno Royal Museum Grand Prize Competition in 2010, the Winner prize of Tokyo Wonder Wall in 2012, the Winner prize of 27th Mitsubishi Corporation Art Gate Program in 2015.
017 灰原 愛
2004年畢業於東京藝術大學美術系，主修雕刻，
(Japanese, b. 1981)
眼鏡男（兩件一組）
並於2006年取得碩士學位。其個展如「記憶的
Wearing Glasses (A set of 2)
2018年 木雕；壓克力 木板 23 x 15.5 cm 12.5（長）x 12（寬）x 21.5（高）cm 簽名畫背：2018 Ai Haibara 簽名底部：2018 Ai Haibara
AI HAIBARA 2018 Wooden sculpture, acrylic on board 23 x 15.5 cm 12.5(L) x 12(W) x 21.5(H) cm Signed reverse Ai Haibara and dated 2018 Signed bottom Ai Haibara and dated 2018
NT$ 160,000 - 260,000 HK$ 43,000 - 69,000 US$ 5,500 - 8,900 RMB 38,000 - 61,000
旅 程 」 （ 2 0 0 6 ， 岡 山 ） 、 「悸動」（2 0 0 7 ，東 京）。以及聯展「四人聯展」（2003，東京）、 「東京藝術大學雕刻四人聯展－雕刻的空間」 （2004，東京）。
Ai Haibara graduated from Craft Course of Faculty of Fine Arts and Music, Tokyo National University of Fine Arts and Music in 2004. After that, she got the MD in Craft Course of Faculty of Fine Arts, Tokyo National University of Fine Arts and Music in 2006. Her selected solo exhibition include: "Memories Journey" (2006, Okayama), "A Stir in My Heart" (2007, Tokyo). S e l e c t e d g ro u p e x h i b i t i o n i n c l u d e : " F o u r Persons' exhibition" (2003, Tokyo), "Space with Sculpture - Four persons' exhibition of sculpture" (2004, Tokyo).
018 荒木省三
荒木省三（Shozo Araki）於1973年出生於千葉縣，從桐
(Japanese, b. 1973)
迷惑佇立？
朋學園大學聲學工程系畢業後，他便開始創作繪畫。他
Standing Lost ?
約2008年 壓克力 畫布 161.5（長）x 130（寬）x 4.3（厚）cm
SHOZO ARAKI c. 2008 Acrylic on canvas 161.5(L) x 130(W) x 4.3(D) cm PROVENANCE Borobudur Auction, Singapore, November 9, 2014, lot 92 Acquired from the above by the present owner EXHIBITED Scope Art Show, New York, 2008
NT$ 200,000 - 300,000 HK$ 53,000 - 80,000 US$ 6,900 - 10,300 RMB 47,000 - 71,000
來源 寶福得拍賣，新加坡， 2014年11月9日，編號92 現有收藏者得自上述來源 展覽 Scope藝術博覽會，紐約，2008年
於2003年至2006年在GEISAI上積極地展示自己的作品， 並於2004年在GEISAI 6上獲得了卡地亞當代藝術基金會 的「易北河錢德獎」。從那以後，他在日本和海外的展 覽會和藝術博覽會上展出了自己的作品。圖形元素強烈 反映在荒木昌三的畫作中，畫中角色讓人聯想到漫畫和 動漫，並與日本大眾流行文化。
S h o z o A r a k i w a s b o r n i n 1973 i n C h i b a . A f t e r graduating from Toho Gakuen Acoustics Polytechnic, Sound Engineering Department, he began to create art. From 2003 to 2004, Araki was involved in the GEISAI art fair to show his artworks. In 2004, at the 6th GEISAI, he was awarded the “Herve Chandes Award” held by Foundation Cartier. Since that time, Araki began to show his works and held exhibitions at foreign art fairs. Graphic elements are strongly reflected in Araki's painting. The figures in his paintings are associated with animation and comics, and the Japanese pop-culture.
019 AYAKO ROKKAKU
六角彩子
(Japanese, b. 1982)
打盹兒
A Napping
2007年 壓克力 畫布 38 x 45.5 cm 簽名畫背：2007
2007 Acrylic on canvas 38 x 45.5 cm Signed reverse Ayako Rokkaku in Japanese and dated 2007 PROVENANCE Gallery Beniya, Tokyo Gallery Teo, Tokyo Mallet Japan, Tokyo, September 11, 2009, lot 226 Ravenel Spring Auction 2010, Taipei, June 6, 2010, lot 235 Acquired from the above by the present owner
NT$ 340,000 - 500,000 HK$ 90,000 - 133,000 US$ 11,700 - 17,100 RMB 80,000 - 118,000
ロッカクアヤコ
來源 紅屋畫廊，東京 太兒畫廊，東京 馬雷特拍賣，東京，2009年9月11日，編號226 羅芙奧台北2010春季拍賣會，2010年6月6日，編號235 現有收藏者得自上述來源
020 山本麻 友 香
1964年出生於日本岡山縣，於1990年於武藏野美術
(Japanese, b. 1964)
坦克男孩
大學碩士畢業後，以日本文化廳藝術家研究員身分赴
Tank Boy
2016年 油彩 畫布 91 x 60.5 cm 簽名畫背：Mayuka Tank Boy 2016
MAYUKA YAMAMOTO 2016 Oil on canvas 91 x 60.5 cm Signed reverse Mayuka , titled Tank Boy and dated 2016 EXHIBITED Art Taipei art fair, 2018
NT$ 360,000 - 550,000 HK$ 96,000 - 146,000 US$ 12,300 - 18,800 RMB 85,000 - 129,000
展覽 「台北國際藝術博覽會」，2018年
英國研修至1999年返回日本。其作品自1993年起定 期於日本椿畫廊舉辦多場個展（1993-2006），近期 也在荷蘭畫布國際藝術畫廊舉辦個展「鹿男孩與其他 孩童」（2007，阿姆斯特丹）。
Bor n in 1964 in Okayama, Japan, Yamamoto received her master degree at Masashino Art U n i v e r s i t y i n To k y o i n 1990, a n d j o i n e d t h e Japanese Government Overseas Study Program for Artist to continue her studies in London until 1999. Her works have been shown in several solo shows held by Gallery Tsubaki, Japan since 1993– 2006, and her recent solo show "Deer Boy and Other infants" was held by Canvas International Arts gallery in Amsterdam (2007).
021 HIROYUKI MATSUURA (Japanese, b. 1964)
Walküre 2011 Acrylic on canvas Diameter 110 cm Signed reverse Hiroyuki Matsuura and dated 2011.1.21 PROVENANCE Tokyo Gallery, Tokyo and Beijing Sotheby's Hong Kong, October 5, 2015, lot 770 EXHIBITED Future Pass – From Asia to the World Collateral Event of the 54th International Art Exhibition - la Biennale di Venezia, Abbazia di San Gregorio , Venice, June 4 - November 27, 2011 ILLUSTRATED Future Pass – From Asia to the World Collateral Event of the 54th International Art Exhibition - la Biennale di Venezia, 2011, illustrated, pp. 222-223
NT$ 550,000 - 850,000 HK$ 146,000 - 226,000 US$ 18,800 - 29,100 RMB 129,000 - 200,000
松浦浩之1964年出生於日本東京，自1984年開始擔任平面設計的 工作，從事廣告、出版、包裝、裝訂的商標設計。從1999年起， 開始創作以「角色插圖」為題材的「海報+包裝+滑板」設計，在 國際藝術享有聲名。因一種「百分之百按照自己想法」的慾望，而 開始投入創作。作品中繽紛炫目的光澤及變幻多端的視覺造型，源 自於動畫與漫畫所帶動的新世紀美學，他運用伴隨多數人成長的 「動漫新美學」，憑藉著平面設計師本具有的技巧，將虛擬國度中 的「角色」一一拉出，創造出既純粹又可愛的世界。2001年後於
松浦浩之
村上隆「藝術道場 GP@MOT展」獲星探獎。作品巡迴展於澳洲、
女武神
歐洲及東亞。
2011年 壓克力 畫布 直徑 110 cm 簽名畫背：Hiroyuki Matsuura 2011.1.21
B o r n i n To k y o , J a p a n , M a t s u m a s t a r t e d t o w o r k a s a graphic designer for advertising, packaging, binding and l o g o d e s i g n . S i n c e 1999, t h e a r t i s t s t a r t e d t o p ro d u c e "Poster+Package+Skateboard" designs using "Character Illustration" themes and gained world renown. He began his own creations from a desire of "do in his own way absolutely". The dazzling and diverse shine and variety of visual styles come from the aesthetics driven by the animation and cartoons of the new century. He uses the “New Aesthetics of Comics and Animation” which grow with most people, and the natural techniques of a graphic designer to draw out "characters" in a fictitious kingdom one by one to create a pure and lovely world. In 2001, he gained recognition when he was awarded the Scout Prize at Takeshi Murakami’s GEIJUTSU-DOUJOU/GP at Museum of Contemporary Art Tokyo.
來源 東京畫廊，東京及北京 香港蘇富比拍賣，2015年10月5日，編號770 展覽 「第54屆威尼斯雙年展平行展：未來通行證－從亞洲到全球」， 威尼斯，展覽自2011年6月4日至11月17日 圖錄 《第54屆威尼斯雙年展平行展：未來通行證－從亞洲到全球》， 今日美術館，2011，頁222-223
022 DESIRE OBTAIN CHERISH (D.O.C.) (American, b. 1975)
Ice Blue Meltdown - Midsize 2017 UV cast resin; ed. 21/25 38(L) x 38(W) x 76(H) cm Signed bottom Desire Obtain Cherish and numbered 21/25 With a security laser tag
NT$ 400,000 - 600,000 HK$ 106,000 - 160,000 US$ 13,700 - 20,600 RMB 94,000 - 141,000
強納森．保羅 棒棒糖系列－冰藍色 2017年 樹脂膠 版次21/25 38（長）x 38（寬）x 76（高）cm 簽名底部：Desire Obtain Cherish 21/25 附防偽雷射標籤
023 DESIRE OBTAIN CHERISH (D.O.C.) (American, b. 1975)
Eye Movements 1 2016 Cel-Vinyl on wood; ed. 1/1 136 x 97 cm Signed reverse Desire Obtain Cherish , dated 2016 and titled Eye Movements #1 With a security laser tag
NT$ 440,000 - 650,000 HK$ 117,000 - 173,000 US$ 15,100 - 22,300 RMB 104,000 - 153,000
強納 森 ． 保 羅
D O C 強納森．保羅，畢業於紐約帕森設計學
眼睛運動－1
院，2000年起以街頭塗鴉在藝術圈迅速竄紅，
2016年 Cel-Vinyl 顏料 木板 版次1/1 136 x 97 cm 簽名畫背：Desire Obtain Cherish 2016 Eye Movements #1 附防偽雷射標籤
並於美國各大藝術博覽會嶄露頭角。帶著一絲 黑色幽默，試圖透過作品討論現代社會中關於 性、性別、藥物、金錢、名氣以及社群網路等 敏感議題，挑戰觀者的價值觀。
Jonathan Paul a.k.a. DOC graduated from Parsons School of Design in New York, in 2000, he became an instant hit with his focus on street art, and was widely seen in major art fairs across America. With a sense of dark humor, the artist tries to discuss controversial issues like sex, medicine abuse, money and popularity to irony and to overturn audience’s value.
024 BERNARD CHAROY (French, b. 1931)
Cohiba c. 1961 Oil on canvas 72 x 59.5 cm Signed lower left Bernard Charoy This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 360,000 - 550,000 HK$ 96,000 - 146,000 US$ 12,300 - 18,800 RMB 85,000 - 129,000
貝爾納．夏洛瓦 古西巴 約1961年 油彩 畫布 72 x 59.5 cm 簽名左下：Bernard Charoy 附藝術家親筆簽名之照片保證書
來自法國的貝爾納．夏洛瓦是捕捉女人靈動之美的翹楚。1955年夏洛瓦搬至 巴黎蒙馬特，在工作坊中學習包含油畫、海報設計、插畫等各式創作技藝。 1960年代夏洛瓦發展出「畫報女郎Pin-ups」系列，個人特色強烈富有濃濃法 式風情，聲名一炮而紅遠播至歐美亞。此一時期，夏洛瓦筆下的嬌俏女郎身 著薄莎馬甲與美國星旗，嘴叼雪茄腳踩跟鞋，目光風情萬種，搭配挑逗意味 的法文標題。觀者甚至能從模特兒模樣，依稀辨認當時紅遍全世界的女星碧 姬．芭杜（Brigitte Bardot）與珍．柏金（Jane Birkin）的輪廓。
Bernard Charoy from France stands as an outstanding talent in capturing the graceful beauty of femininity. Charoy moved to Montmartre in Paris in 1955 to learn a variety of creative skills, such as oil painting, poster design, and illustration in workshops. In the 1960s, Charoy developed the Pin-ups series, which invoked strong personal characteristics with a strongly French style. He instantly became famous with his popularity spreading as far as Europe, America, and Asia. During this time period, Charoy portrayed charming female characters wearing gauze corset and American flags with a cigar in their mouth and high heels on their feet. Their affectionate gaze is matched with teasing titles in French. From the looks of the models, the audience may even vaguely identify the facial outlines of the then world-famous female celebrities Brigitte Bardot and Jane Birkin.
025 ANDRÉ BRASILIER (French, b. 1929)
Forêt Tricolore 2004 Oil on canvas 24 x 33 cm Signed lower right André Brasilier.
NT$ 380,000 - 550,000 HK$ 101,000 - 146,000 US$ 13,000 - 18,800 RMB 89,000 - 129,000
安德 烈．布拉吉利 林間彩姿 2004年 油彩 畫布 24 x 33 cm 簽名右下：André Brasilier.
布拉吉利1929年出生於法國中部索米爾（Saumur），鄉間大宅與自然風光，深刻布 拉吉利的記憶與創作意識。進入巴黎國立高等美術學院，師承畫家莫里斯．布里昂 松（Maurice Brianchon）。1953年獲頒歷史悠久的羅馬大獎（Prix de Rome），從 1960年至今幾乎連年展覽，1974年他受邀首訪日本展覽，受東方美學之薰陶，藝術 家無論構圖、筆觸都飽含東方美學哲思。簡約大面積色彩，區隔平面化構圖。畫家 視「駿馬」為自然造物「神性」的象徵；相較馬術他更擅長以畫筆捕捉馬群與騎士 英姿。馬群減去龐大量感，留下神韻的靈巧和敏捷，剪裁在寫意風景。
André Brasilier was born in 1929 in the central French town of Saumur. Growing up in a country house surrounded by natural scenery made a profound mark on Brasilier's memory and creative consciousness. He enrolled in the École Nationale Supérieure des Beaux-Arts, where he studied under Maurice Brianchon (La Réalité Poétique). In 1953, he won the storied Prix de Rome. Having exhibited his work nearly every year from 1960 to the present, his fame spread through the Far East. In 1974, he was invited to his first Japanese art exhibition. Seeped in Eastern theory, the art Brasilier saw was full of Eastern aesthetic wisdom expressed through both its composition and brushwork. Brasilier is accustomed to keeping pen and paper at hand for drawing sketch whenever inspiration comes out. He regards the horse as a symbol of the divinity of natural creation. Similar to equestrianism, the artist captures, through paint, the noble bearings of horses and riders. Adorning a bare landscape, the horses are painted sparsely, emphasizing their divine dexterity and agility.
026 HSIAO CHIN (Taiwanese, b. 1935)
UZ-109 1960 Oil on canvas 80 x 100 cm Signed lower right HSIAO, Chin inscribed 9 and 4 in Chinese, and dated 60 Signed reverse HSIAO CHIN both in English and Chinese, dated 1960 and titled《UZ-109》 PROVENANCE Principal Art, Barcelona Neumeister Auctions, Munich, May 18, 2006, lot 784 Acquired from the above by the present owner. This lot is accompanied with a certificate of authenticity signed by the artist
NT$ 700,000 - 1,000,000 HK$ 186,000 - 266,000 US$ 24,000 - 34,300 RMB 165,000 - 235,000
生於上海。父親蕭友梅是中國現代音樂的重要啟蒙者。受其影響，童年 在濃厚藝文氣息環境下成長。1949年來台，1951年入台北師範學校藝 術科系，曾隨朱德群學習素描，1952年入李仲生畫室研究現代藝術。 1956年後與畫室成員創「東方畫會」，為「八大響馬」成員之一，作 品多次參加過全國性及國際性展覽。1955年獲西班牙政府獎學金，次
蕭勤 UZ-109 1960年 油彩 畫布 80 x 100 cm 簽名右下：HSIAO勤 九四 60 簽名題識畫背：HSIAO CHIN 蕭勤《UZ-109》1960 來源 普林西帕爾藝廊，巴塞隆納 諾伊麥斯特拍賣，慕尼黑，2006年5月18日，編號784 現有收藏者購自上述來源 附藝術家親筆簽名之照片保證書
年啟程赴歐留學。1959年遷居義大利米蘭，先後工作於巴黎、倫敦及 紐約等地。1961年發起「龐圖（又譯作「點」，PUNTO）國際藝術運 動」，1978年再創辦「太陽（S U RYA）國際藝術運動」，1989年發起 「國際無（SHAKTI）藝術運動」活躍於國際藝壇。1996年起，應聘於 國立台南藝術學院造型藝術研究所，擔任繪畫專任教授。
Hsiao Chin was born in Shanghai. His father, Hsiao Yu-mei, was an important composer in modern music in China. Hsiao grew up in an artistic environment and his childhood remains an important influence on his work. After moving to Taiwan in 1949, Hsiao studied Fine Arts at the National Taiwan Normal University, Taipei. He also studied drawing under Chu Teh-chun. After his graduation, he learned modern art with Li Chun-shan. He then went to Spain to study but changed his mind as he was not inclined towards the conservative style practiced by the Spanish art colleges. Hsiao founded the Ton Fan Art Group in 1956, and was instrumental in bringing modern Taiwanese painting into international exhibitions. In 1959, he moved to Milan, Italy. He then traveled and worked in Paris, London and New York. Since 1966 he is the director of Graduate Institute of Plastic Arts of Tainan National College of Arts.
027 ATSUKO TANAKA (Japanese, 1932-2005)
D.45 1986-D2 1986 Acrylic and lacquer on paper 109.6 x 79 cm Signed reverse Atsuko Tanaka and titled 1986 D2 PROVENANCE Collection of the artist Yoshiaki Inoue Gallery, Japan Acquired from the above by the present owner ILLUSTRATED Atsuko Tanaka: Search for an Unknown Aesthetic 1954-2000 , Ashiya City Museum of Art and History, Ashiya City, Japan, 2001, p. 139, cat. no. D45 This lot is accompanied with a certificate of authenticity issued by Yoshiaki Inoue Gallery, Japan.
NT$ 3,200,000 - 4,800,000 HK$ 851,000 - 1,277,000 US$ 109,700 - 164,500 RMB 753,000 - 1,129,000
1932年生於日本大阪，戰後社會急於復甦，蓬勃發展的力量，澆灌了 田中敦子的藝術生涯。19歲進入京都市立美術大學就讀，後轉於大阪 市立美術館附設美術研究所學習，她在風氣更開放的環境，追尋自己 的藝術道路。1954年加入「0會」（Zero Kai），該會於1952年由金山 明、白髮一雄、村上三郎等人成立，旨在突破現有的藝術概念，發展屬 於日本獨有的當代藝術脈絡。不久，該會成員包含田中敦子，加入吉元 治良主持的「具體美術協會」。「具體派」的藝術理念衍生自襌宗思
田中敦子
想，強調事物原本的物理性與材料性，直視精神與物質兩者之間相立，
D.45 1986-D2
互不從屬的平等互動，進而具體化物質靈性的意志。他們致立於拓展展
1986年 壓克力 漆 紙本 109.6 x 79 cm 簽名題識畫背：1986 D2 Atsuko Tanaka
新的藝術表現形式，無論是物質（媒材）亦或是概念（精神）。
來源 藝術家舊藏 Yoshiaki Inoue 畫廊，日本 現有收藏者購自上述來源 圖錄 《田中敦子：未知的美的探求 1954-2000》， 蘆屋市立美術館，日本蘆屋市，2001，彩色圖版， 頁139，編號 D45 附日本Yoshiaki Inoue畫廊開立之作品保證書
Born in Osaka in 1932, Atsuko Tanaka’s art career was deeply inspired by the resurgent and flourishing power of post-war Japan. At the age of 19, she studied at Kyoto Municipal College of Art (now Kyoto City University of Arts), and later at the Art Institute of Osaka City Museum of Fine Arts (now Art Institute of Osaka Municipal Museum of Art), pursuing her artistic career in a more open environment. In 1954, she joined Zero Kai, an art society founded by Akira Kanayama, Kazuo Shiraga, and Saburo Murakami. The aim of the society was to break down conventions and develop a unique path for Japan contemporary art. Afterwards, the members of the society including Tanaka joined the Gutai Art Association founded by Jiro Yoshihara. The belief of Gutai derives from that of Zen, which looks into the original physicality and materiality of things. Gutai artists explored the non-affiliated interaction between spirit and matter on an equal basis, and further gave form to the spirituality of matter. Whether matter (material)wise or spirit (concept)-wise, the artists dedicated themselves to developing new forms of art.
028 WALASSE TING (Chinese-American, 1929-2010)
Do You Like My Tiger Cat? 1985 Acrylic on canvas 71 x 101 cm Signed reverse Ting , titled Do you like my tiger cat? and dated 1985 PROVENANCE Gallery Delaive, Amsterdam Ravenel Autumn Auction 2009, Taipei, lot 95 Acquired from the above by the present owner
NT$ 3,600,000 - 5,500,000 HK$ 957,000 - 1,463,000 US$ 123,400 - 188,500 RMB 847,000 - 1,294,000
丁雄泉的作品，常有著親暱淺白的命名，如對著想像中的好友絮絮叨叨。 真切又滿溢的情感是註冊商標，歡迎觀者直闖他最眷戀的感官世界。他認 為，女人的身上沒有直線，全是美麗的線條。藝術家用創作垂涎生命的青 春，希望藉此攫取生命最風光的時刻。此幅為丁雄泉仕女畫中難得一見的 畫布媒材 ，以書法筆觸勾勒輪廓，以繽紛飽滿的壓克力彩平塗線條內的
丁雄泉 喜歡我的虎斑貓嗎？ 1985年 壓克力 畫布 71 x 101 cm 簽名畫背：Do you like my tiger cat? Ting 1985 來源 德萊夫畫廊，阿姆斯特丹 羅芙奧2009年秋季拍賣會，台北，編號95 現有收藏者購自上述來源
空間。兩個女子抱著一隻虎般貓，貓跟女人一樣眼神迷濛，表情溫馴而色 彩斑瀾。如丁氏一貫風格，盡量讓畫面以全體簇擁的方式呈現，散發如夏 日般的喧鬧與豐盈。他的作品常出現鸚鵡、貓或馬、孔雀、錦鯉；對這 樣的安排，丁雄泉說只因牠們都是美麗的動物，就如他最愛描繪的花和女 人。換言之，形相本身的美貌，是他將之入畫的主要關鍵。過度的學理剖 析並不適用於丁雄泉的藝術。視覺的歡愉、滿溢而出的色相，以純粹的感 官世界洗滌現代人過於複雜的心境。
Walasse Ting's oil paintings often have a straightforward and lovely name, like a friend talking to you. Genuine and full emotions are his registered trademark, leading the audience directly into his deepest sensory world. According to Ting, there are no straight lines on a female body; all are beautiful lines and curves. The artist worships the youth of life using his artistic creation, in the hope of seizing the most beautiful moment of life. This oil painting uses canvas as the media, which is rare and precious among his belle paintings. The calligraphic brush depicts the contoured outline and the full and rich acrylic colors fill the space encircled by the lines. Two young belles hold a pair of tiger cats in their arms; the cats and the belles have similar misty eyes, tame and colorful. In typical Walasse Ting style, the whole image is presented, conveying hustle and affluence in summer. Frequently seen in his paintings are parrots, cats, horses, peacocks, or golden carp; and Ting explains this is because they are all beautiful animations, just like the flowers and belles he likes best to paint. In other words, beautiful appearance is the focus in his paintings. Excessive theoretic analysis is not suitable for Ting's art. A visual feast, an overflowing beauty, and a pure sensory world cleanse the overly complex mentality of modern people.
029 GEORGES MATHIEU
喬治．馬修
(French, 1921-2012)
大競技場
Ocydrome
1979年 油彩 畫布 97.5 x 130.5 cm 簽名右下：Mathieu 79 題識畫背框條：Ocydrome
1979 Oil on canvas 97.5 x 130.5 cm Signed lower right Mathieu , and dated 79 Titled reverse stretch Ocydrome EXHIBITED Quelques aspects récents de l'oeuvre peint de Georges Mathieu 1976-1984, Théâtre Municipal, Brive, June 27-September 16, 1984 Georges Mathieu Rétrospective, Galerie Nationale du Jeu de Paume, Paris, June 17- October 6, 2002 Georges Mathieu Rétrospective, Salle Saint-Georges et Cathédrale Saint-Paul, Liège, January 23- March 2, 2003 Georges Mathieu Rétrospective, Galleria Gruppo Credito Valtellinese, Milan, September 10- November 15, 2003 ILLUSTRATED Quelques aspects récents de l'oeuvre peint de Georges Mathieu 1976-1984 , Ville de Brive, Brive, France, 1984 Georges Mathieu , Jeu de Paume Catalogue, Silvana Editoriale, Milano, 2003, color illustrated, pp. 198-199
NT$ 6,500,000 - 9,500,000 HK$ 1,729,000 - 2,527,000 US$ 222,8000 - 325,600 RMB 1,529,000 - 2,235,000
展覽 「喬治．馬修近期繪畫的某些面向1976-1984」， 市政劇院，布里夫，1984年6月27日至9月16日 「喬治．馬修回顧展」，國立網球場現代美術館，巴黎， 2002年6月17日至10月6日 「喬治．馬修回顧展」，聖喬治大廳和聖保羅大教堂，列日， 2003年1月23日至3月2日 「喬治．馬修回顧展」，Credito Valtellinese銀行畫廊，米蘭， 2003年9月10日至11月15日 圖錄 《喬治．馬修近期繪畫的某些面向1976-1984》， 布里夫市政府，布里夫，法國，1984 《喬治．馬修－國立網球場現代美術館目錄》， 希爾瓦納出版社，米蘭，2003，彩色圖版，頁198-199
GEORGES MATHIEU OCYDROME
1956年馬修曾會面U N E S C O中國常任代表周麟博士與中國書法家張大
喬治．馬修領軍「抒情抽象藝術」（Lyrical Abstraction），從1940年代
千，之後出版〈抒情類非具象畫與中國書法的多面向相關性〉的論文，
後期萌芽，1950年代之後在歐洲蔚為風潮。對東方文化的深入探討，促
談論東方書法與抒情抽象藝術之關聯性。創作沒有預期的限制與規範，
使他與日本、中國的藝術家頻繁交流。華裔大師趙無極抵法沒多久即與
既定形態理應拋諸於後。馬修習慣深夜中獨自作畫，甚至是開展前三天
馬修相識，兩人交情甚篤傳為藝壇佳話。2003年7月至9月期間，座落於
閉關完成數十幅作品。畫作強調「速度美學」、「流動性」、爆發力的
巴黎杜樂麗花園中–法國國立網球場現代美術館（Jeu de Paume），馬
乍現，色料軟管直接擠出塗抹畫布，成為其標誌型特點。無論是華麗奔
修舉行大型個人回顧展，同年緊接著趙無極也在此地舉行個展。與此同
放，亦或雲開見月之雅態，藝術家筆下的瞬息萬變，一絲一毫牽動觀者
時《大競技場》作為藝術家七零年代末期重要作品，也納為該展覽作品
心境。為了向大眾簡白其概念，開始賦予畫作即興表演特色，留下行動
並巡迴至義大利等地。
繪畫前瞻性的一頁。他曾說：「很少人瞭解在眾人面前畫畫，對我來說 代表著與人真正的溝通。」 《大競技場》1979年創作，其藝術家題名Ocydrome源自古希臘文辭， 作品核心式構圖雄偉霸氣，黑、紅兩色構成呼應藝術家早期代表色。馬 修在七零年代後期畫作約含三項特色：天文星雲狀構圖、扎實織布與不 連續線條構成如「超級符號」的表現。《大競技場》玫瑰底色之高雅氣 質，調性柔中富含熱情，明亮深淺漸層與透明營造空間感；對比畫中粗 黑線條，強而有力的抽象圖形，甚能聯想十七世紀巴洛克風格之華麗雄 偉。《大競技場》明顯著畫家筆勁颯爽，運筆橫折、撇、捺，正面直擊 的剛強姿態盡顯一代大師之氣魄。 《大競技場》最早曾於1984年法國布里夫音樂戲劇廳（T h é â t r e municipal de Brive）藝術家個人展覽中亮相。法國布里夫市（Ville de B r i v e）是從第二次世界大戰德軍佔領中，第一個以獨立抗爭解放的城 鎮。1984年為慶賀8月16日解放四十週年紀念，布里夫市府特別邀請當 時最具代表性的藝術家喬治．馬修來舉行特展，並引用十八世紀德國啟 蒙文學詩人─ 弗里德里希．席勒（Friedrich von Schiller）詩句：「由 美感通向自由之道」(C'est par la beauté que l'on s'achemine ver la liberté. - Friedrich von Schiller) 作為展覽標語。馬修則繪製大型畫作並 題名《布里夫的榮耀》(L'Honneur de Brive) 回贈該市府，藉以表達先烈 為自由精神犧牲之崇高敬意。
In 1956, Mathieu had a meeting with Dr. Zhou, the permanent representative of China at UNESCO, and Chang Dai-Chien, a prodigious Chinese calligrapher. Afterward, he published an essay titled, “Connections between certain aspects of lyrical, non-figurative painting and Chinese calligraphy.” In it, Mathieu addresses the correlation between lyrical abstract painting and Chinese calligraphy. Since creativity has no limitations, any preexistence of forms should be ignored, he argued. Mathieu preferred to paint alone at night, even completing dozens of paintings in reclusion three days before his exhibitions. Painting the canvas directly with paint tubes became a hallmark of his works. Mathieu stressed the aesthetic of rapidity, fluidity, and explosiveness. Each ever-changing spectacle made by the artist, whether it be unrestrained grandeur or an unyielding elegance, exerts subtle influences on the minds of viewers. To simplify his ideas for the public, Mathieu imbued paintings with the purpose of an impromptu performance, leaving a forward-thinking page in history for action paintings. He once said, "few understood that painting in public represents for me a true communion amongst men." The painting lot 029 Ocydrome , created in 1979 by Georges Mathieu, its title comes from ancient Greek terminology. Invoking representative colors from the early works of Georges Mathieu,
「 由 美 感 通 向 自 由 之 道 」 ─ 弗 里德 里 希 ． 席 勒 C'EST PAR LA BEAUTÉ QUE L'ON S'ACHEMINE VER LA LIBERTÉ.－FRIEDRICH VON SCHILLER
the bold red and black composition is magnificent and imposing. The works of Mathieu in the late 1970s are characterized by three features: nebula astronomical configurations, sturdy weavings, and intermittent lines that seem to represent “super symbols”. The deep rosy background color of Ocydrome exhibits passionate energy within gentle elegance, relying on subtle gradients and transparency to create a sense of spatial dimensions. The muscular and powerful abstract graphics, in addition to the dark bold lines, re c a l l t h e f l a m b o y a n t and grandeur baroque style of the 17th century. T h e i n t e n s e p o s t u re s of determined brush strokes either folding horizontally or flinging away or pressing downward, demonstrate fully the potent spirit of the grand master.
liberty is through beauty. (C’est par la beauté que l’on s’achemine ver la liberté). In return, Mathieu created a large-scale painting titled L’Honneur de Brive as a gift for the city, to express his utmost respect for the martyrs who sacrificed themselves in pursuit of freedom.
The movement of Lyrical Abstraction led by Georges Mathieu began flourishing in the 1940s, and became a trend in Europe after the 1950s. To further explore Eastern culture, Mathieu corresponded frequently with artists in Japan and China. Chinese art master Zao Wou-Ki became acquainted with Mathieu soon after arriving in France, and their close friendship became well-known in the art community. Between July and September of 2003, M a t h i e u h e l d a l a rg e scale solo retrospective exhibition at the Jeu I n 1984, O c y d r o m e 喬治．馬修《亨利四世：大主教安諾二世的劫持》 1958 油畫 畫布 200 x 400 cm, 巴黎蘇富比2008春拍 歐元1,152,250 成交 de Paume, locates in made its first public Georges MATHIEU, L'abduction d'Henri IV par l'archeveque Anno de Cologne , t h e Tu i l e r i e s G a r d e n s appearance in the 1958, oil on canvas, 200 x 400 cm, in Paris, which was artist’s solo exhibition Sotheby's Paris 2008 Spring Auction, EUR 1,152,250 sold built as a tennis court at Théâtre municipal and converted later into an art exhibition museum since 1909. de Brive in France. The Ville de Brive was the first French city Subsequently in the same year, Zao Wou-Ki also held his solo liberated by independent forces from German occupation in WWII. exhibition at the museum. As an important art work of Mathieu in As part of the 40th anniversary of liberation on August 16, 1984, the late 1970s, the Ocydrome was part of the exhibition at Jeu de the government of Ville de Brive invited the most representative artist of the times, Georges Mathieu, to put on a special exhibition. Paume, and became part of a touring exhibition to Italy and other A verse by 18th century German poet Friedrich von Schiller of the places. Age of Enlightenment was used as the exhibition title: The path to
030 KAZUO SHIRAGA
白髮一雄
(Japanese, 1924-2008)
妙樂
Taera (Divine Music)
1988年 油彩 畫布 60.5 x 73 cm 簽名右下：白髮 簽名題識畫背：妙樂 みようらく，一九八八年十二月，白髮一雄
1988 Oil on canvas 60.5 x 73 cm Signed lower right Shiraga in Kanji Signed reverse Kazuo Shiraga , dated December 1988 and titled Divine Music in Kanji and Japanese PROVENANCE Private collection (acquired directly from the artist) Tokyo Gallery, Tokyo Sotheby's Hong Kong, April 2, 2017, lot 621 Acquired from the above by the present owner This lot is accompanied with a certificate of registration issued by the Japanese Art Dealers Association.
NT$ 12,000,000 - 18,000,000 HK$ 3,191,000 - 4,787,000 US$ 411,200 - 616,900 RMB 2,824,000 - 4,235,000
來源 私人收藏（直接購自藝術家本人） 東京畫廊，東京 蘇富比拍賣，香港，2017年4月2日，編號621 現藏者購自上述來源 附日本洋畫商協會開立之藝術品登錄卡
「 我 決 定 拋 棄 所 有 現 成 的 守則 赤 裸 向 前 ， 有一天我把畫刀換成了木棒，緊接著又不耐煩地把它丟下。 開 始 用 手 掌 、 手 指 繪 畫 。 然 後 覺 得 自 己 應該 更 加 大 膽 ， 這 就 是 我 開 始 用 腳 的 契 機 。 就 是 這 樣 ！ 用 腳 繪 畫 ！」 － 白 髮 一 雄 “I DECIDED TO LET GO OF ALL EXISTING RULES AND MOVE BOLDLY FORWARD. ONE DAY, I REPLACED MY PAINTING KNIFE WITH A WOODEN STICK BEFORE DISCARDING IT IMPATIENTLY. I BEGAN TO PAINT WITH MY PALMS AND FINGERS. THEN, I FELT THAT I NEEDED TO BE MORE FEARLESS. THAT WAS WHEN I STARTED USING MY FEET. THAT WAS HOW I BEGAN PAINTING WITH MY FEET!”－KAZUO SHIRAGA
白髮一雄K a z u o S H I R A G A以「足繪」畫法聞名於世，更是日本戰後 具體派重點代表性人物。1950年代透過《具體美術宣言》，創始人 吉原治良大聲疾呼：「創造前所未有的事物！」原為「零社」（Z e r o society; Zerokai）立社先鋒，白髮一雄於1955年與村上三郎（Saburo Murakami）、金山明（Akira Kanayama）等人加入具體派，於同年第 一屆具體派發表會，白髮發表《泥濘挑戰》（Challenging Mud）藝術 行動，此創舉不僅驚艷世人並預示其前衛具劃時代性象徵意義。 白髮一雄1924年生於日本尼崎市，京都市立繪畫專科學校畢業。1973 年進入京都比叡山的延曆寺修行，法號「白髮素道」，以苦行鍛鍊提升 精神性開悟。此後，白髮一雄的創作在1980年代掀起另一波高峰。他接 受傳統水墨技法的薰陶，畫作中飽含的東方書法性，流暢韻律之美蘊藏 深厚內力。以佛學哲思為本，自體為驅動力，創作過程如儀式激昂而莊 肅。當他執繩懸吊，將雙足踏滑濃稠色料之上，平衡「物」與「體」在 意念與釋然之間，成果引領觀者神往豐沛的精神世界，將虛妄的世俗執 念皆拋諸於後。 1988年完成《妙樂》畫作，呼應藝術家早期的狂放紅色調。全面積覆蓋 赤紅色，充滿深淺層次不同，氣勢流斂如熔岩沸騰暗湧，色澤鑠金閃閃 充滿力道。妙樂，為佛學之詞，指殊妙之歡樂也。也令人聯想1957年 藝術家身著紅色面具與戲服展演《超現代三番叟》，是以當代手法聯結 日本古老祭典本源之藝術行為。《妙樂》厚蘸的色料層層堆積，一筆一 畫火字型筆觸流過，凝鍊出如火輪旋轉的集中心構圖。觀者如凝視丹爐 熊熊炙焰，照亮靈魂之窗浴火淨化。牽動著一種旺盛再生，勝利絕妙的 喜悅情緒。對比身體感知存在於現實的敏銳，無意識創作過程遺留的痕 跡，更能體現藝術家欲脫離本體，超脫物質維度表達的深度內在。
Famed for painting with his feet, Kazuo Shiraga has been a representative figure of the Gutai group, a radical, post-war artistic group in Japan. Through The Gutai Manifesto in the 1950s, founder Jiro Yoshihara called out to artists: “Create the unprecedented!” Originally a pioneer of the Zero society (Zerokai), Kazuo Shiraga joined the Gutai group in 1955 along with Saburo Murakami, Akira Kanayama, and others. During the first Gutai School exhibition of
the same year, Shiraga debuted a performance art titled Challenging Mud. This unique performance not only dazzled the audience, but also foretold its historical avant-garde symbolic significance. Born in Amagasaki in 1924, Kazuo Shiraga graduated from the Kyoto City University of Arts. In 1973, he began practicing Buddhism with the name Sodo Shiraga after entering the Enryakuji-Temple at Hieizan Mountain, increasing spiritual enlightenment with the austere spiritual practice of Tapas. Subsequently, his art reached another summit in the 1980s. Enriched by traditional ink and wash techniques, his paintings are brimming with elements of Eastern calligraphy, full of inner strength within the beauty of flowing rhythm. With Buddhism as its core philosophy, his own self as the driving force, his creative process was solemn and fervent as a ritual. When he suspended himself by holding onto ropes, and glided his feet on the surface of thick colorants, he attempted to balance the object and the self between his will and the process of letting go. The results guided the viewers to a world with rich spirituality, abandoning obsessions of the inane world.
Taera was completed in 1988, echoing the wild red colors of Kazuo Shiraga’s early works. The entire painting is covered in light and dark shades of crimson, with a dynamic convergence like bubbling lava, and intense colors that seem to sparkle. Taera is a Buddhism term meaning magical joy. The painting also reminds artist’s Chogendai sanbanso in 1957, when he put on a performance with red-colored masks and costumes. It was a modern dance performance that originated from ancient Japanese ritual ceremonies. The paint on Taera was built up layer upon layer, refined as a centralized spinning fire wheel with flowing blazing brushworks. The eyes of the viewers seem to be purified by the flame when they stare at the blazing fire pit, bringing about a type of vigorous rebirth of joy at achieving exquisite victory. In contrast to the sharp reality of physical perception, traces left by an unintentional creative process better reflects the deep inner desire of the artist to transcend the material dimension by disengaging the self.
031 MAURICE UTRILLO
莫里斯．尤特里羅
(French, 1883-1955)
薩努瓦的羅澤大街
Avenue Rozée à Sannois
約1938-1940年 水粉 紙本 50 x 65 cm 簽名右下：Maurice, Utrillo, V 題名左下：Avenue Rozée à Sannois, (Seine-et-Oise)
c. 1938-1940 Gouache on paper 50 x 65 cm Signed lower right Maurice, Utrillo and inscribed V Titled lower left Avenue Rozée à Sannois, (Seine-et-Oise) PROVENANCE Private collection, Germany Sotheby's, London, October 23, 1996, lot 83 Private collection, London Private collection, Japan
來源 私人收藏，德國 蘇富比，倫敦，1996年10月23日，編號83 私人收藏，英國 私人收藏，日本
ILLUSTRATED Jean Fabris, Cédric Paillier, The Complete catalog of Maurice Utrillo , Pierrefitte-Sur-Seine, 2015
圖錄 尚．法布里、塞德里克．佩里耶， 《莫里斯．尤特里羅作品全集》， 皮埃爾菲特塞納河，2015
This lot is accompanied with a certificate of authenticity signed by Jean Fabris and Cédric Paillier, 2015.
附專家尚．法布里與塞德里克．佩里耶 2015年簽名原作保證書
NT$ 1,800,000 - 2,800,000 HK$ 479,000 - 745,000 US$ 61,700 - 96,000 RMB 424,000 - 659,000
MAURICE UTRILLO 享有「巴黎之子」美譽的莫里斯・尤特里羅，是20世紀法國畫壇最傑出的 天才畫家之一。1883年12月出生於巴黎，尤特里羅的母親是畫家蘇珊娜・ 瓦拉東（Suzanne Valadon）。那時瓦拉東已是諸多大牌藝術家的「精神 繆斯」、御用模特了，梵谷、雷諾瓦、德加等著名畫家的筆下都出現過她 的身影。然而對於小尤特里羅來說，這樣的經歷帶給他的卻是私生子的陰 影。伴隨他人的嘲弄渾渾噩噩的青少年時期，18歲那年還因為嗜酒成性住 進療養院。為了不讓尤特里羅虛度年華，瓦拉東鼓勵他提筆繪畫。在尤特 里羅眼中，母親是偉大的女性，最初作畫時他署上全名，綴以母親的姓， 寫作莫里斯・尤特里羅－瓦拉東，藉以表達對母親致深敬愛的情感。 蒙馬特，一個巴黎北部靠山之地，聚集了來自世界各地的藝術家，是二十 世紀初期最具波希米亞生活氛圍的地區，尤特里羅從小在此濃鬱的藝術氣 氛下長大。他深深地為此地的大街小巷，遠山近村吸引，著迷於綠影扶疏 的白粉牆老建築。一個畫家和一個地方的關係如此緊密，這在畫家中也很
Montmartre, a hill to the north of Paris, was a famous site to which artists from around the world visited. It was a quintessential region filled with a Bohemian lifestyle in the early 20th century. Utrillo grew up here under a rich artistic atmosphere. He was deeply attracted by the streets and alleys and also the mountains and villages, fascinated by the old buildings with white-washed walls under green shadows. It is not uncommon for an artist to be closely attached to a particular place. For Paul Gauguin, it was Tahiti; for van Gogh, it was Arles. Utrillo painted various sceneries of Montmartre. His images were tranquil, simple, and beautifully composed. Under the deep autumn or winter sky, windows and doors of the shops on the streets were painted into black squares. Few pedestrians were on the street. Wind blows over the trees, giving out a gloomy atmosphere. He adopted a classical and simple method to simplify the theme of the buildings, forming a semi-abstract realistic style.
常見，如同高更在大溪地，梵谷之於阿爾。莫里斯・尤特里羅畫遍了蒙馬 特的風景，他的畫面處理得幽靜簡樸，構圖優美。在深秋或冬日的天空 之下，窗戶與街道商店的門被畫成黑色塊，街道上行人稀少，樹木顯得蕭 瑟，散發出憂鬱的氣息。畫家運用古典簡樸的處理方法，造成建築主題的 簡化，形成一種半抽象的寫實畫風。 尤特里羅從未受教於任何一所美術學校，他自學成才並且技術嫺熟，風格 帶有些許畢沙羅的氣質。拍品《薩努瓦的羅澤大街》繪製於1938-1940年 間，這段時期藝術家開始重視直線，筆觸更顯輕鬆。淡化初期的厚塗法， 轉而運用更透明的色彩。有別於1910年到1914年的白色時期，此時尤特里 羅偏愛畢沙羅（Pissaro）與希斯黎（Sisley）的作品，但他對照射風景的光 線並不感興趣，反而對顏料本身的特性有興趣。《薩努瓦的羅澤大街》畫 面直接以輕盈筆觸上色，建築物的輪廓不明確，與樹枝互相交錯融合，水 粉暈染出一些紅色的塊面，還使用了大片的綠色。尤特里羅筆下，繁華的 都市景象並不喧囂浮躁，而是一派清新且寧靜。尤特里羅古典簡樸氣質的 風格，令部分藝評者將其表現手法歸屬於印象派。
Maurice Utrillo, known as the “son of Paris,” was one of the most outstanding and ingenious French painters of the 20th century. Born in Paris in December 1883, Utrillo was the son of the painter, Suzanne Valadon. At that time, Valadon had been the “spiritual muse” and exclusive model of many big-name artists. As just a few examples, she appears in the paintings of Vincent van Gogh, Pierre-Auguste Renoir, and Edgar Degas. For the young Utrillo, however, his efforts were overshadowed by the fact that he was a bastard son. His teenage years were haunted by mockery from others. When he was 18, he became an alcoholic and was sent to a sanitarium. To stop Utrillo from wasting his youth, Valadon encouraged him to paint. In Utrillo’s eyes, his mother was a great woman. When he first started painting, he would sign his full name and attach his mother’s family name, “Maurice Utrillo– Valadon,” to show his profound love and respect for her.
Utrillo never attended art school. He was self-taught yet developed mature skills, with a style somewhat resemblant of Camille Pissarro. The auction piece, Avenue Rozée à Sannois , was painted between 1938 and 1980, a period during which he started to emphasize straight lines and a lighter touch of the brush. He softened the thick painting method he had adopted early on and switched to more translucent colors. Unlike his white period from 1910 to 1914, Utrillo favored the works by Pissarro and Alfred Sisley at this time. However, he was not interested in the light shining on the scenery; rather, his interest was in the characteristics of the paints themselves. Avenue Rozée à Sannois is composed using light brush strokes, with the contours of the buildings unclear, staggered and interlaced with the tree branches. Watercolor blooms some red patches, amidst large areas of green. In Utrillo’s work, the busy city image does not seem noisy and unsettling but fresh and tranquil. His classical and simple style makes some art critics categorize his expression techniques as impressionism.
薩努瓦的羅澤大街街景 Picture of Avenue Rozée, Sannois
032 AUGUSTE RODIN (French, 1840-1917)
Le Penseur Conceived in 1880; cast in 1998 Bronze with black patina; ed. 5/25 Foundry: Airaindor 18(L) x 24.5(W) x 37(H) cm Engraved base A. Rodin and dated 1998 Numbered base 5/25 with the foundry mark Airaindor Cire Perdue ILLUSTRATED Serge Gerard, Rodin-L'Homme de Bronze, Cheminements Editions, Paris, 2004, color illustrated, p. 46, 47 Li-jen Shih, Rodin in Taichung , exhibition catalogue, Modern Art Gallery, Taichung, Taiwan, 2007, color illustrated, p. 92 (different edition) This lot is accompanied with a certificate issued by Artco France, Paris.
NT$ 950,000 - 1,500,000 HK$ 253,000 - 399,000 US$ 32,600 - 51,400 RMB 224,000 - 353,000
羅丹被譽為現代雕刻藝術之父，19世紀至20世紀初最偉大的現實主義 雕塑家。他的雕塑承傳了文藝復興的藝術，對人體肌肉和結構有深刻 的研究。他精準而細膩地捕捉人的情感和美態，創作出膾炙人口的佳 作，當時更被公認為繼米開朗基羅後最偉大的雕塑家。羅丹的著名銅 雕《沉思者》，原題名「詩人」，是1880年為「地獄門」所做；1888 年藝術家決定將其獨立成單一作品。1906年羅丹贈與巴黎市政府高約
奧古斯特．羅丹 沉思者 1880年構思，1998年翻鑄 銅雕 版次5/25 鑄造廠 Airaindor 18（長）x 24.5（寬）x 37（高）cm 簽名雕刻台座：Rodin 1998 編號台座後側：5/25 Airaindor Cire Perdue 圖錄 舍吉．傑哈，《羅丹》雕塑作品集，雪米雷蒙出版社，法國， 2004，彩色圖版，頁46, 47（不同版次） 施力仁，《羅丹雕塑展－地獄門 VS. 愛》展覽圖錄，現代畫廊， 台中，台灣，2007，彩色圖版，頁92（不同版次） 附巴黎Artco France畫廊開立之作品保證書
ㄧ米八的大型《沉思者》；並設置於萬神殿（Le Panthéon），1919 年此件雕塑移於羅丹美術館。羅丹曾如此描述《沉思者》：「隨著最 初的靈感，我構思出一個不同的沉思者。那是一個裸體的男人，用腳 指緊扣蹲在一塊岩石上。他正在思考，緊握的拳頭抵著嘴，而蓬勃的 思想則在腦海洶湧。他不是夢想家，而是一位創造者。」
Rodin is known as the father of modern sculpture art, the greatest realist sculptor of the early 20th century. Inheriting the art of the Renaissance, he profoundly researches on the human body structure, capturing the emotions and beauty of the human body with precision and exquisiteness. Creating the historical masterpieces of sculpture, he was recognized as the greatest sculptor after Michelangelo. His well-known work Le Penseur was originally titled as Le Poet, conceived for the Gate of Hell in 1880. In 1888, Rodin decided to independent it as an unique work. In 1906, the bronze of Le Penseur cast in 1904 was erected in front of the Panthéon as a gift to the Paris city government, in 1919 this bronze statue was to be transferred to the Musée Rodin. Rondin said about Le Penseur: Guided by my initial inspiration, I imagined a different Penseur, a male nude, crouching on a rock to which his feet grip tightly. He is thinking, with his fist held against mouth. The fertile thought is developing in his brain. He is not a dreamer, he is a creator.
033 AUGUSTE RODIN
奧古斯特．羅丹
(French, 1840-1917)
森林三女神
Les Trois Faunesses
1882年構思，1998年翻鑄 銅雕 版次1/25 鑄造廠 Airaindor 21（長）x 28（寬）x 17（高）cm 簽名雕刻腿部：Rodin 編號雕刻腳底：1998, 1/25, AIRAINDOR
Conceived in 1882; cast in 1998 Bronze with black patina; ed. 1/25 Foundry: Airaindor 21(L) x 28(W) x 17(H) cm Engraved on the bottom of leg Rodin Engraved on the bottom of foot 1998, 1/25 , with the foundry mark AIRAINDOR ILLUSTRATED Serge Gerard, Rodin-L'Homme de Bronze , Cheminements Editions, Paris, 2004, color illustrated, p. 50 Li-jen Shih, Rodin in Taichung , exhibition catalogue, Modern Art Gallery, Taichung, Taiwan, 2007, color illustrated, p. 116 (different edition) This lot is accompanied with a certificate issued by Artco France, Paris.
NT$ 480,000 - 700,000 HK$ 128,000 - 186,000 US$ 16,400 - 24,000 RMB 113,000 - 165,000
圖錄 舍吉．傑哈，《羅丹》雕塑作品集，雪米雷蒙出版社， 法國，2004，彩色圖版，頁50（不同版次） 施力仁，《羅丹雕塑展－地獄門 VS. 愛》展覽圖錄， 現代畫廊，台中，台灣，2007，彩色圖版，頁116 附巴黎Artco France畫廊開立之作品保證書
034 ÉMILE-ANTOINE BOURDELLE (French, 1861-1929)
Petite Hamadryade 1929 Bronze ed. 6/8 Height 29 cm Engraved base ANTOINE BOURDELLE V, dated MARS AVRIL1929, © BY BOURDELLE , with the foundry mark CIRE A. VALSUANI PERDUE ILLUSTRATED Bourdelle et La Mythologie, Contemporary Sculpture Center, Tokyo, 1997, color illustrated, p. 35 (large size) This lot is accompanied with a certificate of authenticity signed by Rhodia Dufet-Bourdelle, the artist's daughter.
NT$ 750,000 - 1,100,000 HK$ 199,000 - 293,000 US$ 25,700 - 37,700 RMB 176,000 - 259,000
艾米勒－安東尼．布爾代勒 森林仙子 1929年 銅雕 版次6/8 高 29 cm 簽名雕刻台座：ANTOINE BOURDELLE V, © BY BOURDELLE, MARS AVRIL1929 鑄造廠：CIRE A. VALSUANI PERDUE 圖錄 《布爾代勒與神話》，當代雕塑中心，東京，1997年， 彩色圖版，頁35（大尺寸版本） 附藝術家之女羅蒂雅．度菲．布爾代勒開立之原作保證書
035 BERNARD CATHELIN (French, 1919-2004)
Rachel. Nu II
貝爾納．卡多蘭承襲野獸派畫風的用色鮮明，與那比畫派中帶有夢幻和 諧感的氣質，並融合二十世紀巴黎畫派與1960-1970年代全球發展的極
1994 Oil on canvas 60.5 x 92.4 cm Signed lower left Cathelin and dated 94 Signed reverse Cathelin titled Rachel. Nu II, dated 1994 and inscribed 60.5 x 92.4
簡藝術。他多以大面積色塊意象，描繪半具象的人物風景和靜物題材。
NT$ 800,000 - 1,200,000 HK$ 213,000 - 319,000 US$ 27,400 - 41,100 RMB 188,000 - 282,000
Bernard Cathelin adopted Fauvism's bright use of colors, the serene and dream-like imagery of Les Nabis, also combined the style of École de Paris and Minimalism which globally developed from 1960 to 1970. In Cathelin’s still lifes, he employs many broad swathes of color to convey a semi-abstract scene. This work is vastly elegant, deeply poetic, and perfectly embodies the artist's love for natural sceneries. In 1947, he began teaching at École Nationale Supérieure des Arts Décoratifs. In 1995, he was elected to the French Légion d’Honneur by the President of the Republic. In 1997, a largescale retrospective exhibition was dedicated to him at the Valence Museum, France. In 2000, a large-scale retrospective exhibition was held in the Shanghai Art Museum, China. Even after the artist’s passing in 2004, his work is still frequently exhibited around the world.
貝爾納．卡多蘭 裸女系列II－瑞秋 1994年 油彩 畫布 60.5 x 92.4 cm 簽名左下：Cathelin 94 簽名題識畫背：Cathelin Rachel. NuⅡ1994 60.5 x 92.4
作品優雅氛圍滿溢，濃濃的詩意展現出藝術家對美好自然的喜愛。1947 年卡多蘭開始於巴黎高等裝飾藝術學院任教，1995年，法國總統親自授 予他榮譽勳位勳章。1997年在巴倫西亞博物館舉辦大型回顧展。2000 年在上海美術館舉辦大型回顧展。
036 ANDRÉ COTTAVOZ
安德烈．科達沃茲
(French, 1922-2012)
紅白鬱金香花束
Tulipes rouges et blanches
1998年 油彩 畫布 60 x 73 cm 簽名右下：Cottavoz 題名畫背：Tulipes rouges et blanches
1998 Oil on canvas 60 x 73 cm Signed lower right Cottavoz Titled reverse Tulipes rouges et blanches PROVENANCE Private collection, Japan This lot is accompanied with a certificate of authenticity signed by Hélène Cottavoz, the artist's wife.
NT$ 460,000 - 650,000 HK$ 122,000 - 173,000 US$ 15,800 - 22,300 RMB 108,000 - 153,000
來源 私人收藏，日本 附藝術家之妻海倫．科達沃茲開立之原作保證書
037 BERNARD CATHELIN
貝爾納．卡多蘭
(French, 1919-2004)
金頭盔卡特琳娜
Katherine–Casque d'Or
1997年 油彩 畫布 92 x 60.5 cm 簽名左下：Cathelin 97 簽名畫背：Katherine-Casque d'Or ETE 1997 Cathelin
1997 Oil on canvas 92 x 60.5 cm Signed lower left Cathelin and dated 97 Signed reverse Cathelin , titled Katherine-Casque d'Or , and dated ETE 1997 PROVENANCE Kwai Fung Hin Art Gallery, Hong Kong Private collection, Asia
NT$ 500,000 - 700,000 HK$ 133,000 - 186,000 US$ 17,100 - 24,000 RMB 118,000 - 165,000
來源 季豐軒畫廊，香港 私人收藏，亞洲
038 RENÉ GENIS
賀內．吉尼斯
(French, 1922-2004)
春雪
Les dernières Neiges (Pyrenées)
1992年 油彩 畫布 54 x 81 cm 簽名右下：René Genis 簽名畫背框條：René Genis LES DERNIÈRES NEIGES (PYRENÉES) R. GENIS.
1992 Oil on canvas 54 x 81 cm Signed lower right René Genis Signed reverse stretch René Genis, titled LES DERNIÈRES NEIGES (PYRENÉES) R. GENIS. ILLUSTRATED René Genis - Espace du Silence, Galerie Elegance, Taipei, 1992, color illustrated
NT$ 320,000 - 480,000 HK$ 85,000 - 128,000 US$ 11,000 - 16,400 RMB 75,000 - 113,000
圖錄 《吉尼斯－寧靜的國度》，愛力根畫廊，台北，1992，彩色圖版
039 GUY BARDONE
居．巴赫東
(French, 1927-2015)
遠山如黛
Ombres sur la montagne
1993年 油彩 畫布 54 x 65 cm 簽名右下：Bardone. 簽名畫背框條：15F/93 Bardone OMBRES SUR LA MONTAGNE.
1993 Oil on canvas 54 x 65 cm Signed lower right Bardone . Signed reverse Bardone , dated 93 titled OMBRES SUR LA MONTAGNE. and inscribed 15F ILLUSTRATED Promenade à Paris , Galerie Elegance, Taipei, 2011, color illustrated, p. 26
NT$ 320,000 - 480,000 HK$ 85,000 - 128,000 US$ 11,000 - 16,400 RMB 75,000 - 113,000
圖錄 《品味巴黎》，愛力根藝術畫廊，台北，2011年， 彩色圖版，頁26
040 BERNARD CHAROY
貝爾納．夏洛瓦
(French, b. 1931)
蔻伊與花
Chloé aux fleurs
2006年 油彩 畫布 46 x 38 cm 簽名右下：Bernard Charoy
2006 Oil on canvas 46 x 38 cm Signed lower right Bernard Charoy PROVENANCE Private collection, Japan This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 200,000 - 300,000 HK$ 53,000 - 80,000 US$ 6,900 - 10,300 RMB 47,000 - 71,000
來源 私人收藏，日本 附藝術家簽名之原作保證書
041 BERNARD CHAROY
貝爾納．夏洛瓦
(French, b. 1931)
麗莎
Lisa
2015年 油彩 畫布 41 x 33 cm 簽名左下：Bernard Charoy 題識畫背：LISA
2015 Oil on canvas 41 x 33 cm Signed lower left Bernard Charoy Titled reverse LISA This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 190,000 - 280,000 HK$ 51,000 - 74,000 US$ 6,500 - 9,600 RMB 45,000 - 66,000
附藝術家親筆簽名之照片保證書
042 古斯特．格拉斯
古斯特．格拉斯生於1924年，原為盧森堡傳媒大亨，也是該
(Luxembourger, 1924-2020)
光與影之氣息
國最具代表性之抽象藝術家之一。自學成才，格拉斯發展出
The Breath of Light and Shade
2003年 綜合媒材 畫布 103 x 202.5 cm
GUST GRAAS 2003 Mixed media on canvas 103 x 202.5 cm PROVENANCE Kwai Fung Hin Art Gallery, Hong Kong Private collection, Hong Kong
NT$ 260,000 - 380,000 HK$ 69,000 - 101,000 US$ 8,900 - 13,000 RMB 61,000 - 89,000
來源 季豐軒畫廊，香港 私人收藏，香港
屬於自己的繪畫風格。他的畫中同時交織了法國與德國的文 化背景。當他年少留學於巴黎，與數位印象派畫家結識並保 持聯繫，影響其創作以具象繪畫開始。1970年格拉斯獲頒盧 森堡阿道夫大公爵獎。格拉斯早期作品能些許看到法國畫家 莫里斯．埃斯特夫的風格。2019年盧森堡獨立畫廊更是集結 藝術家2003至2018年的作品盛大展出。
Born in 1924, Gust Graas was an important Luxembourg media businessman, also one of the most representative Luxembourg abstract artists. As a self-trained painter, G r a a s d e v e l o p e d a n d re f i n e d h i s o w n s t y l e . I n h i s painting, he mixed the origin of French and German cultures backgrounds. When studying in Paris, he had met several Impressionist painters with whom he maintained contact, therefore painting as figurative at the beginning of his career. In 1970, he was awarded the Prix GrandDuc Adolphe. Some of his earlier abstract works are reminiscent of Maurice Estève. In 2019, the Gallery Independence in Luxembourg brings together the artist’s major works created between 2003 and 2018.
043 賀內． 吉 尼 斯
吉尼斯1922年出生於越南，1931年回到家族的故
(French, 1922-2004)
玫瑰色的農場
鄉法國波爾多。吉尼斯以其高雅的靜物畫為人所
La Ferme Rose (Luberon)
1992年 油彩 畫布 30 x 60 cm 簽名左下：René Genis 簽名畫背框條：La Ferme Rose (Luberon) René Genis
RENÉ GENIS 1992 Oil on canvas 30 x 60 cm Signed lower left René Genis Signed reverse stretch René Genis and titled La Ferme Rose (Luberon) ILLUSTRATED René Genis - Espace du Silence , Galerie Elegance, Taipei, 1992, color illustrated
NT$ 240,000 - 360,000 HK$ 64,000 - 96,000 US$ 8,200 - 12,300 RMB 56,000 - 85,000
圖錄 《吉尼斯－寧靜的國度》， 愛力根畫廊，台北，1992，彩色圖版
知。此外，無論是東方異國風情，或是法式的田園 風景，在吉尼斯的筆下，都充滿詩意典雅的安寧氣 氛。吉尼斯與巴赫東、布拉吉利、卡多蘭、賈曼皆 是巴黎新具象畫派的重要成員。其作品珍藏於巴黎 市立現代美術館、巴黎國立圖書館、里昂美術館、 日本山形美術館等。
Born in 1922, Vietnam. Genis went back with family to hometown Bordeaux in 1931. Genis is famous with his elegant still-life painting. Besides, no matter the theme is oriental s c e n e r y o r f re n c h c o u n t r y s i d e , h e a l w a y s keeps a very poetry serenely ambience. With other artists like Guy Bardone, André Brasilier, Bernard Cathelin, and Paul Guiramand, Genis is also one of the important members of the Parisian Neo-Figurative School. His work is now collected by Musée d'art moderne de la ville de Paris, National Library of Paris, Fine Arts Museum of Lyon, Yamagata Museum of Art etc..
044 TATYANA PALCHUK
塔提雅娜．帕丘卡
(Latvian, b. 1954)
城市公園
City Park
1997年 油彩 麻布 50 x 70 cm 簽名右下：T Palchuk 97 簽名題識畫背
1997 Oil on linen 50 x 70 cm Signed lower right T Palchuk and dated 97 Signed and inscribed reverse PROVENANCE Private collection, Latvia EXHIBITED Group Show, Kuznetsky Most Exhibition Hall, Moscow, 1998 Tatyana Palchuk Solo Show , Vinokurov Gallery, Berlin, 2008 Art Takes Time Square - Billboard Premier , New York, 2012 Tatyana Palchuk Retrospective , Rietumu Bank Exhibition Hall (RCC), Riga, 2013 Tatyana Palchuk Retrospective , Regional Museum, Rezekne, 2014 Solo Show in Homeland , Iecava Culture Hall, Iceva, February 2015 ILLUSTRATED Patiesa Dzive (real life magazine) , N5, Riga, 2012
Tatyana Palchuk, Baltic Fine Art, Ludwig Trossaert Galleries, 2017, color illustrated, p. 22
NT$ 150,000 - 240,000 HK$ 40,000 - 64,000 US$ 5,100 - 8,200 RMB 35,000 - 56,000
來源 私人收藏，拉脫維亞 展覽 「群展」，庫茲涅茨克橋街展覽館，莫斯科，1998年 「塔提雅娜．帕丘卡個展」，維諾庫羅夫畫廊，柏林，2008年 「藝術佔領時代廣場」，首席告示牌，紐約，2012年 「塔提雅娜．帕丘卡回顧展」，瑞圖銀行展覽廳，里加，2013年 「塔提雅娜．帕丘卡回顧展」，雷澤克內博物館，雷澤克內，2014年 「塔提雅娜．帕丘卡回顧展」，耶察瓦文化廳，耶察瓦，2015年 圖錄 《現實生活》，第五期，里加，拉脫維亞，2012 《塔提雅娜．帕丘卡：波羅的海美術》， 路德維希．托薩爾特畫廊，安特衛普，2017，彩色圖版，頁22
045 TATYANA PALCHUK
塔提雅娜．帕丘卡
(Latvian, b. 1954)
秋日狩獵．格雷獵犬
The Hunting with Grey Hounds. Autumn
2005年 油彩 麻布 60 x 80 cm 簽名右下：T Palchuk 05 簽名題識畫背
2005 Oil on linen 60 x 80 cm Signed lower right T Palchuk and dated 05 Signed and inscribed reverse PROVENANCE Private collection, Latvia EXHIBITED Hunting - Tatyana Palchuk Solo Show, Tifana Gallery, Riga, 2005 Tatyana Palchuk Solo Show, Vinokurov Gallery, Berlin, 2008 Tatyana Palchuk Solo Show, Iecava Solo Show, Culture Hall, Iceva, 2009 Librart - International Art Fair and Contest, Libramont, 2011 Never-ending Story Tatyana Palchuk Retrospective, Cesis Museum Exhibition Hall, Cesis, January 2013 Tatyana Palchuk Retrospective, Regional Museum, Rezekne, 2014 ILLUSTRATED Tatyana Palchuk, Baltic Fine Art, Ludwig Trossaert Galleries, Antwerp, 2017, color illustrated, p. 21
NT$ 180,000 - 260,000 HK$ 48,000 - 69,000 US$ 6,200 - 8,900 RMB 42,000 - 61,000
來源 私人收藏，拉脫維亞 展覽 「狩獵─塔提雅娜．帕丘卡個展」，蒂凡娜畫廊，里加，2005年 「塔提雅娜．帕丘卡個展」，維諾庫羅夫畫廊，柏林，2008年 「塔提雅娜．帕丘卡個展」，耶察瓦文化廳，耶察瓦，2009年 「Librart國際藝術博覽會與競賽」，利布拉蒙，2011年 「永不止盡的故事：塔提雅娜．帕丘卡回顧展」， 采西斯博物館展覽廳，采西斯，2013年 「塔提雅娜．帕丘卡回顧展」，雷澤克內博物館， 雷澤克內，2014年 圖錄 《塔提雅娜．帕丘卡：波羅的海美術》， 路德維希．托薩爾特畫廊，安特衛普，2017，彩色圖版，頁21
046 VAL (VALÉRIE GOUTARD) (French, 1967-2016)
Le Petit Prince 2012 Bronze, ed. 4/8 15.5 (L) x 11.5(W) x 65(H) cm Engraved base Val, dated 2012 and numbered 4/8
NT$ 260,000 - 400,000 HK$ 69,000 - 106,000 US$ 8,900 - 13,700 RMB 61,000 - 94,000
瓦兒 小王子 2012年 銅雕 版次 4/8 15.5（長）x 11.5（寬）x 65（高）cm 簽名雕刻底座：Val 4/8 2012
瓦兒，原名瓦萊麗．古塔，出生於法國，以銅雕作品聞名。2004年於泰國 曼谷設立工作室，從泰國當地的鑄造廠研究傳統的鑄銅方式，現與工作室 團隊生活於曼谷工作。2006年起，陸續於亞洲各地展開個展，2010年，於 上海藝術博覽會展出的大型雕塑「都市生活」引起廣大迴響。2015年，獲 法國僑民生活藝術獎。瓦兒的雕塑以曲線呈現出獨特的空間感，以輕巧的 線條對比銅雕的重量，創造出許多極富張力且平衡精妙之作。過去經常在 曼谷、法國、澳洲、新加坡、台北、香港、上海等地可見瓦兒的展覽。
Valérie Goutard a.k.a.Val born in France, is known for her bronze sculpture. In 2004, she established her studio in Bangkok, Thailand, where she discovered the traditional process of casting bronze from the local foundry. Val currently works with a team of assistants in her Bangkok studio. Val had exhibited around Asia since the beginning of 2006. At the Shanghai Art Fair 2010, her exhibited work Urban Life received great appreciation. In 2015, she won the Trophy of French Expatriates in Art of Living. The artist have elaborated a unique sense of space by utilizing the curve lines in her artwork. The contrast which was created by the lightness of the lines and the weightiness of the bronze have generated a tension within the subtly balanced sculpture. Val’s work have been exhibited in France, Australia, Singapore, Taipei, Hong Kong, Shanghai.
047 安德烈．斯 克 拉 良 科
斯克拉良科畢業於俄羅斯列賓美術學院，師從人民畫家葉列梅耶夫。
(Russian, b. 1963)
早晨
他以繪畫創作揭露俄羅斯人民現代生活的多樣面貌。放棄透視法表現
Morning
2006年 油彩 畫布 95 x 95 cm 簽名右下：СКЛАРЕН
ANDREI SKLARENK 2006 Oil on canvas 95 x 95 cm Signed lower right СКЛАРЕН PROVENANCE Elsa Gallery, Taipei Private collection, Taiwan
NT$ 200,000 - 300,000 HK$ 53,000 - 80,000 US$ 6,900 - 10,300 RMB 47,000 - 71,000
形式，以平面化構成的畫面結構。以誇張與變形的效果，呈現人物造 型。施以童話般的亮麗色彩，創造強烈明暗對比。善於以個性化視角 捕捉人與人之間，趣味與幽默的互動景象。1993年至今任教於列賓 美術學院，並加入俄羅斯美術家協會。受邀展覽於北京中國美術館、 與台北、上海、荷蘭等地之藝術覽會。
來源 雲清畫廊，台北 私人收藏，台灣
Andrei Sklarenk graduated from St. Petersburg Academy of Arts, educated by Oleg Eremeev, who was admired as People's artist in Russian. Sklarenk represents the diverse aspects of the modern life of the Russian people through his painting creations. He abandons the form of perspective, but uses the flat structure to compose the painting. The characters are presented with exaggerated and deformed effects. The painter applies fairy-tale bright colors to create a deep contrast between light and dark. He is talented to capture the interactive scene of fun and humor between people with a personalized perspective. Since 1993, he has taught at the St. Petersburg Academy of Arts and joined the Russian Artists Association. Sklarenk has been invited to exhibit in Beijing, Taiwan, Shanghai, and Netherlands.
048 瑪立詠 ・ 亞 歷 山 卓
瑪立詠．亞歷山卓於1982年出生於法國瓦西
(French, b. 1982)
牧神潘恩的馬戲團
（Vassy）。作為ㄧ位素人藝術家，她從自然和文學
Le cirque du grand Pan
2016年 壓克力 畫布 100 x 100 cm 簽名右下：Marion Alexandre 簽名題識畫背：Le cirque du grand Pan 2016 Marion Alexandre
MARION ALEXANDRE 2016 Acrylic on canvas 100 x 100 cm Signed lower right Marion Alexandre Signed reverse Marion Alexandre and titled Le cirque du grand Pan 2016
NT$ 160,000 - 240,000 HK$ 43,000 - 64,000 US$ 5,500 - 8,200 RMB 38,000 - 56,000
中汲取靈感。作品中充滿馬戲團、歐洲寓言故事和 東亞文化元素的超現實主義場景，以詩意的幻想、 戲劇性，及有趣的主題為特色。其具像型繪畫風格 缺乏透視感，大小不等的人物和物體比例，並施以 阿拉伯風格色調。受邀展覽於加拿大素人國際藝術 博物館，和波蘭、捷克、義大利、法國等地的藝術 博覽會。
Born in Vassy, France in 1982, Marion Alexandre creates as an autodidact artist who takes inspiration from nature and literature. W ith surreal scenes mixing the circus, European fable, East-Asian cultural elements, Marion's work is marked by a sense of poetic fantasy and a dramatic, playful theme. A figurative pictorial style with absence of perspective, disproportion in size of the characters and objects and use of colors Arabian. The artist was invited to exhibit at the International Museum of Art Naif in Canada and the art fairs in Poland, Czech, Italy and different cities in France.
049 JURGA MARTIN (French, b. 1977)
Peut-être? 2019 Bronze, ed. 2/8 36(L) x 30(W) x 66(H) cm Engraved back JURGA, dated 2019 and numbered 2/8
NT$ 480,000 - 750,000 HK$ 128,000 - 199,000 US$ 16,400 - 25,700 RMB 113,000 - 176,000
尤爾嘉 ・ 馬賀丹 或許 2019年 青銅 版次 2/8 36（長）x 30（寬）x 66（高）cm 簽名雕刻背面：JURGA 2019 2/8
1977年生於立陶宛藝文世家，畢業於法國魯昂美術學 院。文學素養與跨國境的生活經驗，培植出尤爾嘉鮮明 的創作風格。以雕塑聞名的尤爾嘉．馬賀丹，認為手 作捏製陶土的過程，能最為直覺地融合創作情感。精準 捕捉細微生動的臉部表情，與人物充滿生命力的肢體動 作。作品詩意的氛圍真摯動人，深受私人藏家喜愛。
Born to a family of artists in Lithuania in 1977, Jurga Martin graduated from Rouen Art School in France. Her background in literature along with experiences living around the world shaped her high-contrast style. Martin became renowned for her sculpture. In particular, she considers the hands-on process of shaping clay the most intuitive way to gather creative sentiments. Her focus is set on precisely capturing lively facial expressions and recreating each character’s dynamic and lively movements. The true, touching and poetic atmosphere of her works garnered her wide appreciation from private collectors.
050 MARCOS LUTYENS (British, b.1964)
Tree Of Choices 2019 Acrylic, ink, glazes, stonehenge paper mounted on linen canvas 100 x 100 cm
NT$ 200,000 - 300,000 HK$ 53,000 - 80,000 US$ 6,900 - 10,300 RMB 47,000 - 71,000
馬可斯．盧騰思 選擇之樹 2019年 壓克力 墨水 釉料 紙 裱於畫布 100 x 100 cm
馬可斯．盧騰思在英國倫敦出生和成長，並於蘇格蘭愛丁堡大學取得社會科學之學位， 盧騰思的藝術實踐主要集中在對「意識」的研究上，來探究觀者的藝術體驗。其參展紀 錄包括：維爾紐斯當代藝術中心，立陶宛（2020）；第33屆聖保羅雙年展（2018）；弗 萊博物館，西雅圖（2018）；古根漢美術館，紐約（2017）；第57屆和第55屆威尼斯 雙年展（2013年為馬爾地夫館和2017年）；利物浦雙年展（2016）；第14屆伊斯坦堡 雙年展（2015）；紐約現代藝術博物館P S1分館（2014）；中國國家藝術博物館，北京 （2014）；卡塞爾文件大展（2012）；洛杉磯藝術博物館（2010）；巴黎龐畢度中心 （2010年和2014年）；倫敦皇家藝術學院（2010）；第7屆威尼斯建築雙年展（2000）。
Born and raised in London, Marcos Lutyens studied social sciences at Edinburgh University in Scotland. Lutyens’s practise centres on the investigation of consciousness to engage the visitor’s embodied experience of art. Lutyens has exhibited internationally in numerous museums, galleries and biennials, including: the CAC, Vilnius, Lithuania (2020); the 33rd Bienial de São Paolo (2018); the Frye Museum, Seattle (2018); 57th and 55th International Art Exhibition of La Biennale di Venezia, Venice (2013 for Maldives Pavillion & 2017); Liverpool Biennial, Liverpool (2016); 14th Istanbul Biennial, Istanbul (2015); MoMA PS1, Queens (2014); National Art Musuem of China, Beijing (2014); documenta, Kassel (2012); Los Angeles County Museum of Art, Los Angeles (2010); the Centre Georges Pompidou, Paris (2010 & 2014); the Royal Academy of Arts, London (2010), 7th Venice Biennale of Architecture (2000).
051 RIKIZO FUKAO (Japanese, b. 1946)
2007-120F-1 2007 Oil on canvas 130 x 195 cm Signed lower right RIKIZO and dated 2007
NT$ 550,000 - 850,000 HK$ 146,000 - 226,000 US$ 18,800 - 29,100 RMB 129,000 - 200,000
深尾力三 2007-120F-1 2007年 油彩 畫布 130 x 195 cm 簽名右下：RIKIZO 2007
深尾力三在1946年出生於日本群馬縣，自東京青山學院大學畢業後，過了一段上班族的時期， 24歲時開始學畫，於1971年遷居至巴黎。1973年在瑞士日內瓦擔任工程師，同時作為畫家活 躍於歐洲，1976年受法國文化部頒贈巴黎工作室。在1981年成為全職畫家，持續於巴黎、日 本等地舉辦多次個展，作品現藏於倫敦大英博物館、日內瓦市等地。深尾力三的大尺幅畫作， 結合歐洲傳統油畫以及日本傳統印刷工藝的精神，創作出特殊的質地及紋理。在具有張力的幾 何形構圖中，呈現出富現代感的禪意。作品大器且深刻，因而頗受歐洲及日本藏家青睞。
Rikizo Fukao was born in Gunma Prefecture in 1946. He used to work as a salary man for years after he graduated from the Aoyama Gakuin University in Tokyo. Fukao started to paint at the age of 24, he moved to Paris in 1971. He has been active in Europe as an artist while working as a programmer in Geneva, Switzerland. He was awarded with an atelier in Paris by the French Ministry of Culture in 1976. It is not until 1981 that he became a full-time artist, and continue to exhibit in Paris and Japan. In addition to exhibitions in galleries and museums, his solo exhibitions at the Kodaiji Temple in Kyoto and the Château de Blois in France are extraordinarily bold and sedate. Combining the material of European traditional oil paintings and Japanese traditional printmaking techniques, the artist managed to create a unique sense of texture. The tension of the artwork was created by the large geometric composition, of which a modernized “Zen” spirit were exhibited. The outstanding and profound artworks were especially popular among European and Japanese collectors.
052 托尼 ． 托 斯 科 尼
美國具象藝術家托尼•托斯科尼，畢業於賓州
(American, b. 1986)
白色憂鬱
費城聖約瑟夫大學（Saint Joseph's University,
Melancholy In White
2018年 油彩 亞麻布 96.5 x 86.2 cm 簽名題識畫背：Tony Toscani Melancholy In White 2018
TONY TOSCANI 2018 Oil on linen 96.5 x 86.2 cm Signed reverse Tony Toscani , dated 2018 and titled Melancholy In White PROVENANCE Massey Klein Gallery, New York
NT$ 280,000 - 420,000 HK$ 74,000 - 112,000 US$ 9,600 - 14,400 RMB 66,000 - 99,000
來源 麥西・克萊因畫廊，紐約
Philadelphia, PA）的美術與表演藝術學系（The Fine and Performing Arts Department），2011 年，於紐約視覺藝術學院（The School of Visual Arts, NY）完成其美術碩士學位(Master of Fine A r t s）。其作品參考了畢卡索、費爾南•萊熱 （Fernand Léger）、馬蒂斯和費爾南多•波特羅 （Fer nando Botero）等大師的創作，2008年， 托斯科尼於賓州的帕格斯畫廊（Pagus Gallery） 舉辦其首場個展，並與紐約的梅西•克萊因畫廊 （Massey Klein Gallery）、HERE藝術中心(HERE A r t s C e n t e r）和巴雷特藝術中心（B a r re t t A r t Center）等機構合作展出。
053 TONY TOSCANI
托尼 ． 托 斯 科 尼
(American, b. 1986)
對話
The Conversation
2017年 油彩 亞麻布 71 x 101 cm 簽名題識畫背：Tony Toscani The Conversation oil on linen 2017
2017 Oil on linen 71 x 101 cm Signed reverse Tony Toscani , dated 2017 , titled The Conversation and inscribed oil on linen
NT$ 280,000 - 420,000 HK$ 74,000 - 112,000 US$ 9,600 - 14,400 RMB 66,000 - 99,000
A m e r i c a n f i g u r a t i v e a r t i s t To n y To s c a n i , graduated from The Fine and Perfor ming Arts Department of Saint Joseph’s University, Philadelphia, PA. In 2011, he completed his Master of Fine Arts at The School of Visual Arts, NY. His artworks refer to the creations of masters such as Picasso, Fernand Léger, M a t i s s e , a n d F e r n a n d o B o t e r o . I n 2008, Toscani held his first solo exhibition at Pagus Gallery in Pennsylvania. He has also exhibited in collaboration with Massey Klein Gallery, NY, HERE Arts Center, Barrett Art Center and other institutions.
054 MATT GONDEK (American, b. 1982)
Simpsons Nuclear Family 2018 Vinyl, ed. 11/100 69(L) x 90(W) x 115(H) cm Numbered base 11 of 100 With original product box
NT$ 220,000 - 340,000 HK$ 59,000 - 90,000 US$ 7,500 - 11,700 RMB 52,000 - 80,000
麥特．剛迪克 辛普森家庭 2018年 搪膠 版次11/100 69（長）x 90（寬）x 115（高）cm 版次底座：11 of 100 附原包裝盒
055 PETER RIEZEBOS
彼得．萊茲伯斯
(Dutch, b. 1980)
摩登原始人－弗萊德
Fred Flinstone
2014 壓克力 畫布 90 x 90 cm 簽名右下：R'14
2014 Acrylic on canvas 90 x 90 cm Initialed lower right R and dated '14
NT$ 600,000 - 900,000 HK$ 160,000 - 239,000 US$ 20,600 - 30,800 RMB 141,000 - 212,000
056 威利 ． 希 伯
威利．希伯1949年生於德國施瓦本（U p p e r
(Germany, b. 1949)
板上物件
Swabia），1976 年於德國斯圖加特國家美術學院
Tafelobjekt
2016年 環氧樹脂 木板 單一件 120（長）x 89（寬）x 4.5（厚）cm 簽名年代畫背：Siber 2016
WILLI SIBER 2016 Epoxy on wood, unique 120(L) x 89(W) x 4.5(D) cm Signed everse Siber and dated 2016
NT$ 380,000 - 600,000 HK$ 101,000 - 160,000 US$ 13,000 - 20,600 RMB 89,000 - 141,000
（State Academy of Fine Arts）取得雕塑碩士學 位。威利．希伯擅以木質材料、鋼與環氧樹脂創 作，配以富有光澤感漆料、樹酯的彩色變化，探索 材質的可塑性，去突破因物質固化的視覺印象。雕 塑多用無機或抽象之造形，延伸出光線、空間與作 品獨一無二的感官演繹。希伯以美學概念的感性， 交織理性物件。1980年代起受邀於各地舉辦展 覽，由德國為起點延伸至美洲、亞洲。作品典藏於 德國聯邦議院（Deutscher Bundestag）、德國駐 阿根廷大使館、德意志銀行（Deutsche Bank）、 斯圖加特國立美術館（Staatsgalerie Stuttgart）與 德國辛根市立美術館（Städtisches Kunstmuseum Singen）與數間私人美術館（Kunstwerk）與騎士 博物館（Museum Ritter）等。
057 WILLI SIBER
威利．希 伯
(Germany, b. 1949)
板上物件
Tafelobjekt
2019年 鍍鉻烤漆 纖維板 單一件 100（長）x 100（寬）x 6（厚）cm 簽名年代畫背：Siber 2019
2019 Chrome varnish on MDF, unique 100(L) x 100(W) x 6(D) cm Signed reverse Siber and dated 2019
NT$ 500,000 - 750,000 HK$ 133,000 - 199,000 US$ 17,100 - 25,700 RMB 118,000 - 176,000
Born in Upper Swabia, Germany in 1949, Willi Siber obtained his master’s degree in sculpture at State Academy of Fine Arts in Stuttgart. Talented in the use of wooden materials, steel and epoxy, he explores the plasticity of these materials with his colorful resins and lustrous paint, seeking to break through visual impressions and stereotypes formed due to material aspects. His sculptures mostly take the form of inanimate objects or abstract concepts, from which a unique interpretation of senses among lighting, space and the work itself is derived. Siber forms his objects of sense with his aesthetics of sensibility. Since the 1980s, he has been invited to exhibitions around the world, starting from Germany and then the Americas and Asia. His works are collected by Deutscher Bundestag, Deutsche Botschaft Buenos Aires, Deutsche Bank, Staatsgalerie Stuttgart, Städtisches Kunstmuseum Singen, and other private museums like Kunstwerk and Museum Ritter.
058 THIERRY FEUZ
西瑞．菲茲
(Swiss, b. 1968)
金色微風．法老
Golden Winds Pharao
2020年 漆 油彩 壓克力 亮粉 畫布 210 x 170 cm 簽名題識畫背：Thierry Feuz 2020 Golden Winds Pharao
2020 Lacquer, oil, acrylic and glitter on canvas 210 x 170 cm Signed reverse Thierry Feuz , dated 2020 and titled Golden Winds Pharao
NT$ 850,000 - 1,300,000 HK$ 226,000 - 346,000 US$ 29,100 - 44,600 RMB 200,000 - 306,000
西瑞．菲茲1968年出生於瑞士，日內瓦藝術與設計大學碩士畢， 目前在日內瓦居住、創作。在他的藝術世界中，藝術、科學、哲 學是相遇的，他關心人類普世間共有的「存在」（Existence）之 意義，並用獨有的繪畫技術呈現未曾可見之境域。作品獲瑞士歷 史與藝術博物館、新加坡藝術基金會、美國薩克斯第五大道精品 百貨公司，以及瑞士銀行等機構收藏。 西瑞．菲茲的作品，混合了多種繪畫基因，包括西班牙巴洛克時 期細膩的靜物畫、波洛克的滴流畫、胡安．米羅的超現實主義、 賽．湯伯利的古典神話。他將具體之物放入虛實之間，創造出一 種無法被定義的繪畫。一切就像是存在16世紀荷蘭藝術家波希 （Bosch）作品《人間樂園》（The Garden of Earthly Delights） 的紀元前，繽紛色彩的小宇宙。一步步走入這樣的迷人風景，蘊 藏了關於每個人生夢幻變形的時刻。 在極致嬌媚的外表之下，存在著脆弱卻也墮落的危險。菲茲的作 品跨越文化及抽象的界線，這些捲曲的花萼及微生物，在充滿著 矛盾、沒有邊界的空間中蔓延。在這裡，驚奇的美麗及脆弱並 存，背後暗示著這樣美麗的平衡可以在一瞬間被毀滅，如同《詩 經》中描繪的蜉蝣之姿，朝生暮死的蜉蝣生物，生命是如此短 暫，絕對要活得絢爛。虛構的風景、豐饒的色彩、生命的律動， 西瑞．菲茲藉由繪畫探問人生及人們存在的意義，在沒有邊界及 場域界定的時空中，死亡與生命的意義將永遠並行。
Thierry Feuz was born in 1968 in Switzerland. He graduated with a Master’s degree from the Haute Ecole d’Art et de Design in Geneva, and currently lives and works in Geneva. Art, science and philosophy meet in his art world. He is concerned about the significance of the “existence” of all
the humankind around the world. His works have been included in institutional collections of the Musée d’Art et d’Histoire, Neuchâtel, Switzerland, the Singapore Art Foundation, America’s Saks Fifth Avenue Enterprise, and the United Bank of Switzerland (UBS). Some clues to Feuz’s creative elements can be seen in the delicate still life paintings of Spain’s Baroque period, the drip paintings of Jackson Pollock, the surrealism of Joan Miró, and Cy Twombly’s classical mythology. Feuz places concrete objects between the real and the imagined and creates a kind of painting that defies definition. Everything is as in the primordial state of The Garden of Earthly Delights by the 16th century Dutch artist Hieronymus Bosch, a microcosmic universe of riotous colors. Walking step by step into this seductive landscape contains moments within it about magical transformation of each life. Under the superlative sensuality and appealing appearance, exists a danger of fragility and also a sliding into debauchery. Feuz’s work easily spans the boundaries of culture and abstraction. These calyces and microbes spread outwards in a space without boundaries and full of contradiction. Here, astounding beauty and fragility coexist, with the implied suggestion that such a beautiful balance can be destroyed in an instant. Like the condition of a mayfly described in the Classic of Poetry , which is born in the morning and dies at night, life is so brief that it has to be lived in brilliant splendor. Through fabricated scenery, rich colors, and the rhythm of life, Thierry Feuz explores life and the meaning of human existence through his painting. In absence of boundaries and delineated realms, the significance of life and death advance eternally in parallel.
059 PETER RIEZEBOS (Dutch, b. 1980)
Chicken 2017 No. 7 2017 Mixed media on canvas 100 x 100 cm Initialed upper left R and dated 17
NT$ 900,000 - 1,400,000 HK$ 239,000 - 372,000 US$ 30,800 - 48,000 RMB 212,000 - 329,000
彼得．萊茲伯斯
彼得．萊茲伯斯（P e t e r R i e z e b o s），於1980年出生於荷蘭的哈爾德韋克
2017年的小雞7號
（Harderwijk），是一名新表現主義（Neo-expressionism）風格藝術家，擅長
2017年 複合媒材 畫布 100 x 100 cm 簽名左上：R17
以帶速度感的線條和明亮的色彩來表現其內心世界。受到眼鏡蛇畫派（CoBrA） 藝術家卡．阿貝爾（K a re l A p p e l, 1921-2006）的影響，萊茲伯斯喜歡即興創 作，簡單幾筆便能掌握物象的主要特徵，使其作品具有很高的可識別性。在2017 年與皇家荷蘭郵政（P o s t N L）合作，以荷蘭盾上的歷史人物為創作主題的紀念 郵票中，便能看到萊茲伯斯獨特的具象化手法，其筆下的線條和色塊都轉化成了 一個一個的零件，將形象各異的歷史人物拼裝組合，而畫中重複的線條和色彩， 以及白色的輪廓線，都像為每個人物注入了生命力，使其鮮活了起來。除了物 象的清晰感，萊茲伯斯的線條和色彩，也常能讓觀者感染畫中的情緒，使其常 與抽象表現主義（Abstract Expressionism）藝術家威廉．德庫寧（Willem de Kooning, 1904-1997）聯想在一起。至2020年為止，萊茲伯斯已陸續在上海、 荷蘭、紐約和洛杉磯等地舉辦個展，其作品廣受各地藏家喜愛。
Bor n in Harderwijk, Netherlands in 1980, Peter Riezebos is a Neoexpressionist artist who excels at expressing an inner spiritual world with fast moving lines and bright colors. Influenced by CoBrA artist Karel Appel (1921-2006), he enjoys improvisation, capturing the main essence of objects with just a few strokes, which also makes his works highly recognizable. In collaboration with Netherlands' PostNL in 2017, Riezebos's unique figurative techniques are showcased on memorial stamps depicting historical figures on the Dutch guilder. He transformed lines and color chunks into individual components, and assembled various images of historical characters together. Repetitive lines and colors in the drawing framed by white colored outlines seem to enliven each figure by saturating them with vitality. In addition to object lucidity, viewers are often immersed in the emotion of his art of distinctive lines and colors. As a result, Riezebos is often linked to the abstract expressionist,Willem de Kooning (1904-1997). As of 2020, Riezebos has held solo exhibitions in Shanghai, the Netherlands, New York and Los Angeles, and his works are favored by collectors around the world.
060 KAWS (BRIAN DONNELLY) (American, b. 1974)
BFF Seeing Lamp (Blue) 2018 Alloy, ceramic, LED light and mixed media, ed. 171/250 37(L) x 17.4(W) x 18.6(H) cm Signed in ink underside of the left foot KAWS.., dated 18 , numbered 171/250 by stamp, and titled SEEING Published by AllRightsReserved, Hong Kong This lot is accompanied with its original product box.
NT$ 950,000 - 1,500,000 HK$ 253,000 - 399,000 US$ 32,600 - 51,400 RMB 224,000 - 353,000
布萊恩．唐納利 BFF Seeing 座燈（藍） 2018年 合金 陶瓷 LED燈 綜合媒材 版次171/250 37（長）x 17.4（寬）x 18.6（高）cm 簽名左腿底部：KAWS.. 18 編號鈐印：SEEING 171/250 發行單位香港AllRightsReserved 附作品原裝盒
KAWS，本名布萊恩．唐納利（Brian Donnelly），為目前最受歡迎的街 頭藝術家之一，1974年出生於美國新澤西州（New Jersey），並畢業於 紐約的曼哈頓視覺藝術學院（School of Visual Arts）。其最早的街頭創 作，多為牆壁、廣告看板和貨櫃車側面等大型版面，如1996年作於萬寶路 （Marlboro）廣告看板上的塗鴉，其上已可見KAWS標誌性的交叉骷髏頭 和X X眼。1996年K A W S開始在版面較小的廣告海報上創作，如公車站牌 候車亭和電話亭側面的廣告櫃裡的海報。1997年，KAWS開始受到許多雜 誌和品牌的邀請，使其創作可以公開地出現在雜誌封面和時尚廣告上。
Brian Donnelly, also known as KAWS, is one of the most popular street artists in recent years. Born in New Jersey in 1974, he graduated from the Manhattan School of Visual Arts. His earliest street art was mostly created across large surfaces, such as walls, billboards, and the sides of cargo trucks. KAWS made his iconic skulls and bones and XX marks starting with the graffiti on the Marlboro advertising billboard in 1996. In the same year, he also began to create small-scale advertising posters, such as those in ad spaces at bus stops and on the sides of traditional phone booths. In 1997, after receiving numerous invitations from publications and commercial brands, his works began appearing on magazine covers and fashion advertisements.
KAWS K A W S畢業後，曾在迪士尼動畫工作室J u m b o P i c t u r e s工作了三 年，其繪製動畫電視連續劇的經驗，為日後創作Kimpson、Skurfs、 K AW S B O B、B F F（B e s t F r i e n d s F o re v e r）等卡通形象提供了靈 感。如同過去對廣告所作的干預一樣，K A W S也挪用《辛普森家庭》 （T h e S i m p s o n s）、《藍色小精靈》（T h e S m u r f s）、《海綿寶 寶》（SpongeBob SquarePants）等經典卡通形象。2000年左右， K A W S開始將這些卡通形象繪製於畫布上，這一批壓克力畫作也成為 了目前拍賣市場上最炙手可熱的作品之一。 1999年，K A W S於訪問日本後，開始創作小型雕塑作品，著名的 「同伴」（C o m p a n i o n）於焉誕生。C o m p a n i o n是K A W S最早創 作的玩具形象，有著可識別的交叉骷髏頭和X X眼，並穿戴手套、短 褲和鞋子，以此為始，K A W S接連創作了C o m p a n i o n的其他衍生系 列，Companion（Passing Through）（2011）、Along The Way （2013）、Clean Slate（2015）、Together（2017）、Waiting （2017）等，這些作品都有著K A W S一貫的感性，表現人與人之 間的相互扶持、照顧、安慰與支持。在2019年維多利亞州國立美 術館（National Gallery of V ictoria）的展覽中，甚至展出了名為 《失去》（G o n e）（2019）的大型雕塑，由C o m p a n i o n抱著2016 年出現的新角色B F F，其姿態模仿聖母瑪利亞抱著剛死去的基督， 讓人聯想到米開朗基羅（M i c h e l a n g e l o, 1475-1564）的著名作品 《聖殤》（P i e t à）（1498-1499）。K A W S甚至將28公尺長的充氣 C o m p a n i o n，巡迴展示於全球各地，並執行了「K A W S：H o l i d a y Space」計畫，讓Companion升上太空。 隨著其與大型畫廊貝浩登（Perrotin）、斯卡斯特德畫廊（Skarstedt
cartoon characters in the future, including the Kimpson , Smurfs , KAWSBOB , and BFF （Best Friends Forever). As in the past when he borrowed from commercials, KAWS has also borrowed from the imagery of his cartoon classics, such as the Simpsons , Smurfs , and SpongeBob SquarePants . Around the year 2000, KAWS began to paint these cartoon images on canvas, and these acrylic paintings have become some of the most sought-after works on the auction market. After visiting Japan in 1999, KAWS began to produce smallsized sculptures, with Companion being one of the most notable examples. Companion was the earliest toy figure created by KAWS, with his highly recognizable skull and bones, and XX marks as eyes. The figures are also known for wearing gloves, shorts and shoes. From then on, KAWS created other Companion series, including Companion - Passing Through (2011), Along The Way (2013), Clean Slate (2015), Together (2017), and Waiting (2017). All of these exhibit a touch of sensitivity consistent in the works of KAWS, displaying imagery of mutual support and nurturing between people. KAWS exhibited a large sculpture titled Gone (2019) at the National Gallery of Victoria in 2019, showing Companion cradling BFF , a new character created in 2016. The work imitates the posture of Virgin Mary cradling Christ just after his death, evoking the image of Pietà (1498-1499) by Michelangelo (1475-1564). KAWS has also toured around the world with a 28-meter long inflatable Companion, which was followed by the KAWS: Holiday Space project when Companion traveled upward into space.
G a l l e r y）的合作，以及2016年開始在各大美術館舉辦的個展，如倫 敦的約克郡雕塑公園（Yorkshire Sculpture Park）（2016）、上海 的余德耀美術館（Yuz Museum）（2017）和墨爾本的維多利亞國立 美術館（2019），K A W S的影響力與日俱增。去年4月，更以一幅以 「辛普森家庭」為主題的《The Kaws Album》（2005），締造了3億 8千萬台幣的拍賣紀錄。本次羅芙奧2020秋季拍賣會，推出3件KAWS 的作品，分別代表不同時期創作，精采且值得擁有。
KAWS worked at the Disney animation studio Jumbo Pictures for three years after graduation. His experience making drawings for animated TV series provided inspirations for his well-liked
The artistic impact of KAWS has grown over the years, prompted by collaboration with major galleries, including Perrotin and Skarstedt Gallery, as well as solo exhibitions at various notable art museums, including Yorkshire Sculpture Park (2016), Yuz Museum Shanghai (2017), and the National Gallery of Victoria in Melbourne (2019). KAWS also set an auction record of NT$380 million last April with The Kaws Album (2005) based on the theme of The Simpsons . The Ravenel Autumn Auctions 2020 will feature three works by KAWS from various periods – they are dazzling and worthy of collectors' attention.
061 KAWS (BRIAN DONNELLY)
布萊恩．唐納利
(American, b. 1974)
無題
Untitled
1999年 壓克力 畫布 41 x 41 cm 簽名畫背：KAWS.. 99 PARIS. P.
1999 Acrylic on canvas 41 x 41 cm Signed reverse KAWS.., inscribed Paris. P. and dated 99
NT$ 1,500,000 - 2,400,000 HK$ 399,000 - 638,000 US$ 51,400 - 82,200 RMB 353,000 - 565,000 PROVENANCE Sotheby's, New York
來源 蘇富比，紐約
062 MICHAEL KAGAN (American, b. 1980)
Vettel Malaysia 2015 Oil on canvas 76.2 x 101.6 cm Signed reverse Michael Kagan and dated 2015
NT$ 1,600,000 - 2,400,000 HK$ 426,000 - 638,000 US$ 54,800 - 82,200 RMB 376,000 - 565,000
麥可．卡根 維特爾在馬來西亞 2015年 油彩 畫布 76.2 x 101.6 cm 簽名畫背：Michael Kagan 2015
麥可．卡根於1980年出生於美國的維吉尼亞海灘（Virginia B e a c h），大學就讀於喬治．華盛頓大學（T h e G e o r g e Wa s h i n g t o n U n i v e r s i t y），並因其繪畫而於2003年獲 頒莫里斯．邁耶．艾因紀念獎（T h e M o r r i s M. A e i n M e m o r i a l P r i z e）。2005年就讀於紐約藝術學院（N e w York Academy of Art），並以其優異的成績，成為丘伯研 究生獎學金（The Chubb post graduate fellowship）的獲 獎者。自2012年起，卡根已多次於法屬安的列斯、紐約、 邁阿密等地舉辦個展，並於2019年於維吉尼亞當代美術館 （Virginia Museum of Contemporary Art）舉辦首次博物 館型個展，目前為活躍於紐約的藝術家。 Michael Kagan was born in Virginia Beach, the United States in 1980 and studied at The George Washington University. He was awarded The Morris M. Aein Memorial Prize in 2003 for his painting. He studied at New York Academy of Art in 2005 and became the recipient of The Chubb post graduate fellowship for his outstanding results. Since 2012, Kagan has held many solo exhibitions in French Antilles, New York, Miami and other places, and held his first large solo exhibition at Virginia Museum of Contemporary Art in 2019. Currently active in New York.
063 AYAKO ROKKAKU (Japanese, b. 1982)
Untitled (ARP17-010) 2017 Acrylic on canvas Diameter 130 cm Signed lower right Ayako Rokkaku in Japanese and dated 2017 Inscribed reverse ARP17-010 PROVENANCE Gallery Delaive, Amsterdam Private collection, Asia ILLUSTRATED Ayako Rokkaku-Bright Wind, Another Step , Gallery Delaive, Amsterdan, 2018, color illustrated
NT$ 3,800,000 - 6,000,000 HK$ 1,011,000 - 1,596,000 US$ 130,200 - 205,600 RMB 894,000 - 1,412,000
六角彩子 女孩大步向前 2017年 壓克力 畫布 直徑 130 cm 簽名右下：2017 ロッカクアヤコ 題識畫背：ARP17-010 來源 德萊夫畫廊，阿姆斯特丹 私人收藏，亞洲 圖錄 《六角彩子－明亮的雲，下一步》， 德萊夫畫廊，阿姆斯特丹，2018，彩色圖版
「 在 比 你 身 體 還 大 的 東 西 上 作 畫 ， 真 是 一 種奇 妙 的 感 覺 ； 來回 於 巨 幅 畫 布 的 邊 際 之 間 ， 大 量 的 油 彩 彷 彿 開 始 流 進 我 的 身 體 ， 我 用 手 去 聚 集 油 彩 ， 讓 它 們 自 由 轉 圈 圈 。 」─ 六 角 彩 子 “IT'S AMAZING TO PAINT ON SOMETHING FOR [SIC] BIGGER THAN YOUR BODY. AS I GO BACK AND FORTH BETWEEN THE EDGES OF THE HUGE CANVAS, THE BIG BUNCH OF COLOURS START[S] TO FLOW INTO MY BODY. I TRY TO GATHER THEM IN MY HAND AND LET THEM SPIN.” –AYAKO ROKKAKU
2006年六角彩子年僅24歲，她參加第九屆G E I S A I藝術節，獲頒「後藤 明男賞」（G o t o A k i o P r i z e）。同年，獨具慧眼口碑極佳的荷蘭德萊 夫畫廊（G a l l e r y D e l a i v e），更是積極爭取這位素人藝術家的全球代 理權。畫廊安排下，六角彩子於國際舞台上大放異彩，包括巴塞爾A r t Basel、邁阿密Art Basel Miami、台北藝博Art Taipei等等，皆有藝術家 於公開場合作畫的紀錄。一位徒手赤腳背對著群眾，身旁圍繞顏料、美 術用品席地而坐創作的年輕女孩，閒適自若又專注的神情，完成一幅幅 色彩明亮細膩天馬行空的女孩畫像。 六角彩子沒有傳統教育的制式包袱，身為素人藝術家，除了曾短期參與 插畫訓練，她與生俱來的纖細情感、觀察力，以及沉浸對日本動漫文化 的喜愛，造就她富有直覺性的塗鴉繪畫，完全屬於六角彩子個人的藝術 語彙。有人將她與奈良美智相比，然而六角的「即興式手繪」與獨有的 「女孩氣質」是當代創作最為難能可貴的特徵。重覆性的圖樣層層疊 疊，雲朵、蝴蝶結、小花、動物、骷髏等等，隨機散布於畫面上讓觀者 細細發掘。畫中人物無論雙眼圓瞪，或擺手跨步的樣子，都讓人覺得不 拘小節的女生壞壞也可以很可愛。 六角彩子創作《女孩大步向前》直徑達一米三，畫面繽紛斑斕，令人目 不暇給。巨大的圓型畫作，拍賣場上甚為少見。別於藝術家早期畫於瓦 楞紙，單一人物特寫的構圖。《女孩大步向前》的背景精緻繁密，如同 春日英格蘭玫瑰園，乘著風沐浴暖陽，無邊無際的玫瑰花朵欣欣向榮。
style－an intuitive, doodle-like way of painting. Some people might compare her to Yoshitomo Nara. But, the improvisational method and girlish innocence in Rokkaku's works are truly unique in contemporary art. She layers repetitive patterns on top of each other. Clouds, bowknots, flowers, animals, and skulls are randomly scattered on the canvas, inviting viewers to explore in detail. Her characters, either with eyes wide open or arms swinging in a stride, show the adorable side of carefree and mischievous girls. One of her works, Untitled , is 1.3 meters long in diameter, and features a dazzling level of color. Such a huge and round painting is rarely seen at auctions. Untitled marks a departure from the single character close-ups on corrugated paper presented in Rokkaku's earlier works. Like the England rosy garden during springtime, the background is exquisite and dense with rose flowers on the rolling grass hills blooming in the breeze under the warmth of the sun. In the center, there is a girl with a bun head wearing a navy blue dress. She strides forward, glancing back as there is someone behind calling. This adorable, mischievous girl is the epitome of Rokkaku's works. In them, the artist conveys bravery, confidence, and her faith in life. Among the hustle and bustle, Rokkaku's innocence and positivity brings light to our lives, filling our hearts with laughter and joy.
正中間女孩頂著丸子頭，身穿海軍藍洋裝，踢著大步向前，還不忘瞪眼 瞧瞧身後，大眼倔強的樣子，正是藝術家畫作最代表性的特徵。作品透 過藝術家的雙手，蘊含著勇敢、自信與生命力的信念。紛擾的日常中， 六角彩子的純真正向，照亮你我生活，使心中充滿歡笑與喜悅。
In 2006, Ayako Rokkaku was only 24 years old when she was awarded the Goto Akio Prize at the 9th GEISAI art fair. In the same year, the reputably tasteful Dutch Gallery Delaive actively fought to represent this talented young artist globally. Under the management of the gallery, Rokkaku shone brightly on the international stage. She has performed live painting at events including Art Basel, Art Basel Miami Beach, and Art Taipei. With her back to the audience, this barefooted young girl sits on the floor, surrounded by paints and art supplies. With a relaxed yet focused expression, she completes brightly colored, complex portraits of a girl drawing from her wild sense of imagination. Rokkaku is unburdened by any formal art education. Having only briefly attended an illustration class, she is self-taught artist. However, her inherent sensitivity and observation skills coupled with her love for anime come together to create her unique, personal
照片由德萊夫畫廊提供 Photos courtesy of Gallery Delaive
064 YOSHITOMO NARA (Japanese, b. 1959)
Untitled (Ich möchte gerne Kulturvampire sein!) 2007 Colored pencile and acrylic on cardboard 65 x 48 cm Signed lower center Yoshitomo Nara , dated 07 and inscribed Köln PROVENANCE Johnen Galerie, Berlin ILLUSTRATED Yoshitomo Nara: The Complete Works 2 , Chronicle Books LLC, San Francisco, 2011, color illustrated, no. D-2007-059, p. 264
NT$ 5,000,000 - 8,000,000 HK$ 1,330,000 - 2,128,000 US$ 171,400 - 274,200 RMB 1,176,000 - 1,882,000
奈良美智 無題（我想成為一個文化吸血鬼！） 2007年 彩色鉛筆 壓克力 紙板 65 x 48 cm 簽名下方：Yoshitomo Nara 07 Köln 來源 瓊漢畫廊，柏林 圖錄 《奈良美智作品全集2》，編年出版社，舊金山，2011， 彩色圖版，編號D-2007-059，頁264
YOSHITOMO NARA ICH MÖCHTE GERNE KULTURVAMPIRE SEIN! 奈良美智筆下的小女孩，會出現在很多個場景或是一個孤獨的空白之
地表達出藝術家人在他鄉因為語言不通而感到的無奈與自嘲。奈良美
上——也會是一間掛滿作品的房間裡。他把自己的手稿集中在一個小
智創作出一個矛盾的混合體，一個擁有反叛個性和天真外表的小女孩
屋子裡，像極了他大學時曾住過的房間，不僅大小接近，就連畫釘在
形象。一種飄浮在一層文化隔膜上的童真的叛逆感，也正是成型於這
牆上的方式也沒有改變。在他各地的展覽中，廳內中央都保留了這樣
個時期，鑄就了後來大家所熟知的小女孩形象，從他那時的畫作中讀
一間小屋子，並逐漸成為他展覽的標誌。每一件創作從個人層面出
出來屬於奈良美智的個人氣質。
發，畫中反叛又寂寞的年幼主角彷佛是奈良美智的自我投射。主角對 外界不妥協的態度，是抵禦外間的一種無可奈何的表現。趣致的人物
從杜塞道夫時代起，奈良美智的風格漸漸走向成熟。他先後收到了來
造型吸引著觀眾的視線，令人聯想到日本的可愛文化。
自阿姆斯特丹和科隆畫廊的展覽邀請。從杜塞道夫藝術學院畢業後， 他順理成章地搬到了科隆的工作室。在科隆工作室，奈良美智終於開
奈良美智出生在日本青森縣西部的弘前市，「1959年12月5日的早
始認真審視自己「藝術家」的身份了，作品在世界各地發表，在藝術
晨，我來到了這個星球。」在這裡他的兒童和青少年時代，是「緩慢
界慢慢站穩了腳跟。不羈、自省、天真，奈良美智認為作為當代人需
而親切」的。童年生活被蘋果樹包圍，與自然對話。與自然對話其實
要具備的品質，在他的畫中無所保留。
就是與自己對話，孤獨的種子因為孤寂的小鎮生活開始發芽。 叛逆青年奈良美智在讀了一年大學之後，就任性地將下一學年的學費 用來歐洲旅行。從巴黎機場出發，他先後去了比利時、荷蘭、德國、 奧地利、瑞士、義大利、法國、西班牙和葡萄牙。獨自歐洲旅行之 後，花完了學費的奈良美智當然無法再在武藏野大學繼續念下去了， 於是經過入學考試，他成為了學費相對便宜一些的愛知縣公立藝術大 學的新生。 1983年， 24歲的奈良美智再次窮遊歐洲。1988年5月奈良美智站上 了名古屋的月臺，即將啟程前往德國，正式求學德國杜塞道夫藝術學 院。波依斯、基弗、李希特、白南准等藝術大師皆畢業於此。奈良美 智在德國一待就是12年，雖然在德國遇到了不少有趣的人，但他還是 會用「孤獨」來形容那段時光。
The little girls portrayed by Yoshitomo Nara may appear in multiple scenes, a solitary void, or in a room hung with scads of paintings. He gathers his manuscripts in a small room, one that bears a striking resemblance to the room he lived in during college - with close affinities not only in size, but even in the way the paintings are nailed to the walls. In his exhibitions worldwide, there is always a small room like this sitting at the center of the hall. This has gradually become the trademark of his exhibitions. Created from a personal perspective, the rebellious and lonesome young figures in his paintings appear to be a self-projection of Yoshitomo Nara. Their uncompromising attitude toward the outside world exhibits a sense of frustration and helplessness in their efforts to resist. Evocative of the Japanese culture of cuteness, their adorable appearances capture the attention and interest of viewers.
到德國之後的奈良美智，畫作中的那個小女孩，永遠都是一幅略帶敵 意的面孔，此件《我想成為一個文化吸血鬼》正值2007年在科隆所 創作。那時的奈良美智彷彿回到了兒時的小鎮生活，永遠站在一片寧 靜的純色背景中，小心翼翼地觀察著周遭的一切。「內省」成為他繪 畫中越來越明顯的特徵。穿淡藍連衣裙的孩童有著誇張的頭部和弱小 的身軀，一雙忿怒的大眼晴緊盯著前方，眼神流露著懷疑和不信任。 小女孩步履匆匆，眼神犀利地與觀者對抗著，手中的兩葉草第一片代 表「信仰」，第二片代表「希望」。而頭頂的德文標題「Ich möchte gerne Kulturvampire sein!（我想成為一個文化吸血鬼）」，又諷刺
Yoshitomo Nara was born in Hirosaki, the west side of Aomori Prefecture, Japan. “On the morning of December 5, 1959, I descended upon this planet .” Here he spent his “slow-paced and down-to-earth” childhood and adolescence. Surrounded by apple trees in his childhood years, he constantly had conversations with nature. Through this, he was actually conversing with himself. The seeds of loneliness began to sprout during his days in this secluded town.
我 的 全 部 作 品 其 實 是 我 內 心 的 自 畫 像 ， 是 和自 己 的 對 話 。 至於 說 這 些 圖 像 的 來 源 ， 是 在 對 話 的 過 程 中 回 憶 自 己 的 童 年 時 代 。 那個時候沒有讀過難懂的書，也沒有好好學習， 是 最 純 粹 地 表 露 自 己 的 感 覺 和 表 情 的 時 代。 － 奈 良 美 智 ALL MY PAINTINGS ARE PORTRAITS OF MY INNER SELF, VEHICLES OF MY SOLILOQUIES. AS FOR THE ORIGIN OF THESE IMAGES, IT CAN BE TRACED BACK TO MY CHILDHOOD YEARS I REMINISCE ABOUT DURING THOSE SOLILOQUIES. IN THOSE DAYS, I DIDN’T READ ABSTRUSE BOOKS OR LEARN PROFOUND KNOWLEDGE. IT WAS A PERIOD WHEN I DISPLAYED MY FEELINGS AND EXPRESSIONS IN THE MOST UNEMBELLISHED MANNER. －YOSHITOMO NARA
After his freshman year in college, Yoshitomo Nara - an unruly, selfwilled young man - used the tuition fees meant for his sophomore year on his trip to Europe. From Paris Airport, he toured across Belgium, the Netherlands, Germany, Austria, Switzerland, Italy, France, Spain and Portugal. Having spent all his money on this solo trip in Europe, Yoshitomo Nara was unable to continue his studies at Musashino University. Therefore, he took the college entrance exams and became a freshman at Aichi Prefectural University of the Arts, a public school with relatively lower tuition fees.
From the Düsseldorf period onward, Yoshitomo Nara gradually matured in his artistic style. He received a succession of invitations to exhibit his creations at galleries in Amsterdam and Cologne. After graduating from Düsseldorf Art Academy, he moved to his studio in Cologne. There, Yoshitomo Nara began to take his “artist” identity seriously. By showcasing his artworks around the world, he has steadily established himself on the global stage of art. Defiance, introspection, and innocence – the qualities Yoshitomo Nara deems indispensable for modern people, unreservedly manifest themselves in his paintings.
In 1983, at the age of 24, Yoshitomo Nara went on another budget trip to Europe. In May 1988, he set off from Nagoya Station for Germany to begin formal study at Düsseldorf Art Academy - the same school numerous master artists, such as Joseph Beuys, Anselm Kiefer, Gerhard Richter, and Nam June Paik, attended. Over twelve years in Germany, Yoshitomo Nara met quite a few interesting people. Yet, he still describes those days as a “lonely” period. T h e l i t t l e g i r l s p o r t r a y e d b y Yo s h i t o m o N a r a d u r i n g h i s d a y s i n Germany always take on a slightly hostile expression. Ich möchte gerne Kulturvampire sein! (I Want to Be a Culture Vampire) was created in Cologne in 2007. As if returning to his childhood small-town life, the figures Nara portrayed during this period always stand against a pure color backdrop of serenity, vigilantly observing everything around them. By then, “introspection” had become an increasingly marked feature of his paintings. Characterized by an exaggerated head and a puny body, the child in a pale blue dress stares into the front with a pair of angry eyes that express doubt and mistrust. With hurried steps, the little girl confronts the viewers with piercing eyes. The two leaves of the two-leaf clover in her hand represent “faith” and “hope”, respectively. Above her head hovers the Ger man phrase, “Ich möchte ger ne Kulturvampire sein! (I want to be a culture vampire),” as a sarcastic, selfdeprecating expression of the helplessness he felt when encountering language barriers in a foreign land. Yoshitomo Nara creates a hybrid of contradictions - a little girl that has both an innocent appearance and a rebellious personality. It was during this period that the juxtaposition of innocence and rebellion over a cultural gap took shape, which gave birth to his iconic little girl image. This lot communicates the idiosyncratic temperament of Yoshitomo Nara.
奈良美智《碟子上的中國娃娃》1993年 壓克力 畫布 130 x 100 cm 羅芙奧2019秋季拍賣會 編號122 台幣 75,360,000 成交 Yoshitomo NARA, Chinese Girl on the Dish ,1993, acrylic on canvas, 130 x 100 cm Ravenel Autumn Auction 2019, lot 122, US$ 2,470,820 sold
065 S PA CE I N VA DER (太 空 侵 略 者 )
INVADER (French, b. 1969)
魔方主義紅色小精靈
Red Rubik Phantom
2007年 魔術方塊陶磁裱於樹脂玻璃；單一件 84.5（長）x 78（寬）x 5.5（厚）cm 鈐印左上：RUBIKCUBISM 簽名左側：Invader 2007 簽名題識畫背：RED RUBIK PHANTOM, INVADER 007
2007 Rubik's cubes mounted on Plexiglas; unique 84.5(L) x 78(W) x 5.5(D) cm With a seal of RUBIKCUBISM Initialed left edge Invader and dated 2007 Signed reverse, INVADER, dated 007 and inscribed RED RUBIK PHANTOM PROVENANCE Jonathan LeVine Projects, New York Private Collection, New York Taglialatella Galleries, New York Michael Lisi / Contemporary Art, New York Sotheby's, London Acquired from the above by the present owner EXHIBITED The Streets of Europe: New Works and Installations by: Blek Le Rat, Blu, Bo130, D*Face, Microbo, and Space Invader, Jonathan LeVine Projects, New York, December 2007 Game On! The Art of Invader , Taglialatella Galleries, New York, May 11– June 11, 2017
NT$ 6,500,000 - 9,500,000 HK$ 1,729,000 - 2,527,000 US$ 222,800 - 325,600 RMB 1,529,000 - 2,235,000
來源 喬納森．勒文畫廊，紐約 私人收藏，紐約 太格里齊．達姆畫廊，紐約 麥可．李希當代藝術，紐約 蘇富比，倫敦 現藏者購自上述來源 展覽 「歐洲街頭藝術新作與裝置：Blek Le Rat, Blu, Bo130, D*Face, Microbo 與Space Invader」，喬納森．勒文畫廊，紐約， 展期2017年12月1日至29日 「遊戲開始！侵略者的藝術」，太格里齊．達姆畫廊，紐約， 展期2017年5月11日至6月11日
S p a c e I n v a d e r或稱I n v a d e r，一位國際知名的街頭藝術家，來自法 國，1969年出生於巴黎，畢業於巴黎美術學院和索邦大學。藝名的靈 感取材自1978年起風靡多時的街頭電玩遊戲機「太空侵略者」S p a c e Invaders，太空侵略者，在台灣暱稱為「小蜜蜂」，玩家用左右平行移 動的方式，發動飛機射擊上方的太空侵略者。Space Invaders是有史以 來，對後來影響最有開創性與影響力的電玩遊戲之一，藝術家少年時期 熱愛的電子遊戲，深植心中，I n v a d e r發展出一格格2D點陣式馬賽克磁 磚拼裝塗鴉，宛如「太空侵略者」遊戲的外星人，悄悄地攀上世界各大 城市的街牆，用一種藝術高度識別度，在21世紀的今日成為另類的經 典，他的像素風圖像創作，無疑是對20世紀數碼時代既懷舊且浪漫的詮 釋。而獨一無二的的馬賽克磁磚或魔術方塊的塗鴉運用，成為Invader最 標誌性的媒材表現。
背面 Reverse
World-renowned French urban artist Space Invader, or just Invader, got his pseudonym from the video game of the same name, which became hugely popular in 1978. Also nicknamed, “Little Honey Bee”, in Taiwan, players moved fighter jets to the left or right while shooting at alien invaders coming from above. “Space Invader” was a groundbreaking and influential video game that the artist loved to play in his youth. Inspired by the game, Invader developed tiled mosaic 2D matrix graffiti where aliens from the game quietly creeped up the walls of metropolis sidewalks around the world. With a highly recognizable aesthetic, his technique has since become a new classic in the 21st century. These pixelated images are no doubt a nostalgic and romantic interpretation of the 20th century digital era, and the unique application of graffiti mosaics and Rubik’s Cubes has become Invader’s most iconic media.
INVADER
- Rubikcubism of 21st Century
21世紀新立體主義 －魔方主義 Spac e I n v ade rs太空侵略者的大計劃，不斷地入侵新空間，公共空間。
術方塊上六種顏色的精確分佈，獲得所需的圖像數據，將實體魔術方塊拼
Inv ade r彷彿空間的駭客，透過美學入侵，打游擊的高難度方式佔領，幾
組於背板上。魔術方塊如同磁磚，組成低像素風格的圖畫，像素越高，所
乎常人難以到達的高度，而後他們與空間共存、發展。21世紀，數碼科
需的魔術方塊數量越高，反之亦然。魔方主義後來也有其他藝術家的加
技宛如是世界的心跳脈動，所有生物都是像素構成，以方形磁磚形式複製
入，但以Invader的影響力最顯著。
再複製。I nv ader將他所有入侵的公共空間計劃創建完整數據庫，圖文詳 細記錄著照片、日期與地點等，集結後出版，至今已有入侵巴黎、洛杉
運用「魔方主義」的創作題材有三：包括恐怖份子首腦賓拉登、007
磯、倫敦、羅馬、邁阿密、香港、馬賽等數本圖冊書籍。龐大又宏觀性的
中的大鋼牙（J a w s）和黑幫老大艾爾．卡彭（A l C a p o n e）等「壞男
全球性藝術裝置，融入城市自身文化，同時吸引城市居民與之互動對話。
人」（B a d M e n）肖像；第二是「經典名作」（M a s t e r p i e c e s）主 題，復刻藝術家達文西（Da Vinci）、德拉克洛瓦（Delacroix）、秀拉
創作至今逾二十年，I n v a d e r的作品高度最高者在瑞士高山村莊，海拔
（Seurat）、安迪渥荷（Warhol）、李奇登斯坦（Lichtenstein）；還
2362公尺，更高者甚至已離開了地球表面，2015年隨著Space 2飛到ISS
有第三的「低傳真」（Low Fidelity）主題，以經典音樂專輯或出版為藍
國際太空站；而最低者，則靜靜地埋藏在墨西哥坎昆灣（Cancun Bay）
圖。
的海洋深處，附在藝術家Jason de Caires的雕塑作品上，只有專業潛水 員才能看得見。世界著名景點：好萊塢標誌（最後一字母D）、巴黎鐵
本次秋拍「薈萃國際」專場中，推薦一件《魔方主義紅色小經靈》，創作
塔，都有他的足跡停留。
於2007年，取材自日本經典電玩P a c-M a n小精靈遊戲中的紅色鬼魂。有 趣的是，紅色鬼魂可能是遊戲界的壞男人、又是經典名作、且「低傳真」
已有多家知名博物館與機構正式舉行過I n v a d e r的個展：如香港當代藝
的像素畫立體作品。1980年出品的小精靈，曾被金氏世界紀錄認可為全
術基金會H O C A（2015）；維也納的博物館區（M u s e u m s Q u a r t i e r）
球最受歡迎的機台遊戲。對於1960年後出生的Invader，當然是非常熟悉
（2008）；美國的洛杉磯當代藝術館M O C A（2011）、聖地亞哥市
又懷舊的電玩遊戲。電玩Pac-Man小精靈，和Space Invaders太空侵略
的聖地亞哥當代藝術館；韓國的大田市立美術館；法國的里昂當代美
者，具有傳承關係的20世紀電玩，非常具有魔性的吸引力與時代趣味。
術館（2001）、蒙托邦的安格爾暨羅浮宮博物館（M u s é e I n g r e s e t
（節錄自Ravenel 季刊第33期）
M u s é e d u L o u v r e, M o n t a u b a n）（2009）、巴黎的赫伯博物館這 （Musée en Herbe）（2017）、馬賽當代藝術中心（MaMo, Centre d'a r t c o n t e m p o r a i n）（2020）；土耳其伊斯坦堡的波路桑文藝中心 （Boru san Cen te r f o r Cul ture a nd A rts）；瑞典的哈爾姆斯塔德市 Mjelby美術館（Mjelby Konstgard Museum, Halmstad）（2002）等。 除此之外，西班牙畢爾包藝術基金會（Fundación BilbaoArte）、英國波 羅的海當代藝術中心（Baltic Centre for Contemporary Art）、巴黎歌劇 院（Opera Garnier）等多家機構永有展示或典藏了他的作品。 21世紀I n v a d e r在巴黎發起的一個美術學派運動─R u b i k c u b i s m，「魔 方主義」或「魔術方塊主義」，顧名思義與魔術方塊有關。」，最早於 2004年開始，呼應了一百年前立體主義風格的創作，在21世紀改以立體 方塊、電玩風格的當代創作。
Space Invader keeps conquering new public spaces according to his grand master plan. Like a space hacker who launches highlydifficult aesthetics guerrilla warfare on a height unreachable by ordinary beings, and remains afterwards to co-exist and co-develop within the invaded space. In the 21st century, digital technology is akin to the heartbeat of the world, where all creatures consist of pixilation, replicated repeatedly via square porcelain tiles. In the database created to keep track of his public space invasion projects, Invader has uploaded text, images, photos, dates, and locations, publishing the collected data. Several books have been published so far, detailing invasions in Paris, Los Angeles, London, Rome, Miami, Hong Kong, Marseille, and more. The grand, macroscopic global art installation has been integrated into the culture of each city, enticing city residents to engage in a dialogue with it.
「魔方主義」系列不同於其他的公共空間牆面創作，為適合室內展示的 作品。I n v a d e r 在此系列創作中，運用1970年代匈牙利建築教授魯比克 （Ernő Rubik）發明的魔術方塊公司為主要媒材，透過計算機程序算出魔
After more than two decades of attempts, Invader has carried out his project as high as 2,362 meters above sea level at villages in Swiss mountains, or even higher into space in 2015, accompanying Space
「我只想在風景中放進可以讓人微笑的東西。有點兒積極正面的。 我的目標是為城市 中 的 每 個 人 製 作 藝 術 ， 並 創 造 一 些 美 麗 的 事 物 。 」 - I n v a d e r “I JUST WANT TO PUT SOMETHING IN THE LANDSCAPE THAT PEOPLE CAN SMILE ABOUT IT. IT’S SOMETHING POSITIVE. MY GOAL IS TO PRODUCE ART FOR EVERYBODY IN THE CITY AND CREATE SOME BEAUTIFUL THINGS.” － INVADER
2 to an International Space Station. The lowest altitude was works buried deep in Cancun Bay affixed to a sculptural work by Jason de Caires, visible only to professional divers. Invader has left his mark even at world renowned scenic spots such as the Hollywood Sign (on the last letter ‘D’), and the Eiffel Tower.
Unlike his works on the walls of public spaces, Invader’s Rubikcubism series was created for indoor displays, using the Rubik’s Cubes invented by Hungarian architecture professor Ernő Rubik in the 1970’s. The location of the six-colors are calculated precisely using computers, to determine image data to create for each Rubik’s Cube, which are then assembled together on a backdrop. The Rubik’s Cubes are like mosaic tiles, forming pictures of low resolution. The higher the resolution, the higher the number of Rubik’s Cubes are needed, and vice v e r s a . S u b s e q u e n t l y, o t h e r artists have joined the school of Rubikcubism, but of course, Invader enjoys the most influence.
N u m e ro u s f a m o u s m u s e u m s and institutions have held Invader solo exhibitions, including: HOCA Foundation, H o n g K o n g (2015) ; M u s e u m s Q u a r t i e r, V i e n n a , A u s t r i a (2008) ; M O C A , L o s A n g e l e s , C A , U S A (2011) ; Museum of Contemporary Art of San Diego, SanDiego, CA, USA; Daejeon Museum of Arts, Daejon, South Korea; Musée d ’ a r t c o n t e m p o r a i n , Ly o n , The Ravenel Autumn Auctions France (2001); Musée Ingres et 2 0 2 0 S E L E C T: M o d e r n & Musée du Louvre, Montauban, Contemporary Art will feature France (2009); Musée en Herbe a 2007 work by Invader, Red in Paris, France (2017), MaMo, C e n t re d ’ a r t c o n t e m p o r a i n , R u b i k P h a n t o m , t a k e n f ro m M a r s e i l l e , F r a n c e (2020) , the red-colored ghost of the Borusan Center for Culture and classic Japanese video game Arts, Istanbul, Turkey; Mjelby Pac-Man . Produced in 1980, Konstgard Museum, Halmstad, Pac-Man was certified by the S w e d e n (2002) , a n d m o r e . G u i n n e s s Wo r l d R e c o rd s a s Furthermore, several institutions the most popular video game have his works on permanent in the world. Interestingly, the 2015年初，Invader 的馬賽克作品隨著太空船Space2飛上地球上方數千公里之外 display or in collection, such as red ghost is an enemy in the Early 2015, the Space2 mosaic floats thousands of kilometers above the Earth Fundación BilbaoArte in Spain, video game, as well as a classic and the Baltic Centre for Contemporary Art in England. masterpiece and a low-fidelity 3D pixilation work. Of course, PacMan was a familiar and nostalgic video game for Invader, who was Rubikcubism, as the name suggests, is associated with the Rubik’s born after 1960. The Pac-Man ghosts and Space Invaders are part of Cube. It is a 21st century aesthetics movement in Paris initiated the 20th century video game heritage, representative of the times and named by Invader. As early as 2004, Rubikcubism echoes the and full of a magical attraction. (Excerpt from Ravenel quarterly No. creative works of Cubism of one century before. In the 21st century, 33) it has transformed into contemporary works with the style of 3D cubes in video games.
066 JAVIER CALLEJA (Spanish, b. 1971)
Green Days with Red Words 2017 Acrylic on canvas 162 x 120 cm Signed reverse Javier Calleja and dated 2017 PROVENANCE Nanzuka Contemporary Art Gallery, Tokyo EXHIBITED Hi - Javier Calleja Solo Exhibition , Nanzuka Contemporary Art Gallery, Tokyo, May 13-June 10, 2017
NT$ 6,500,000 - 9,500,000 HK$ 1,729,000 - 2,527,000 US$ 222,800 - 325,600 RMB 1,529,000 - 2,235,000
哈維爾．卡勒加 綠日紅字 2017年 壓克力 畫布 162 x 120 cm 簽名畫背：2017 Javier Calleja 來源 Nanzuka當代藝術畫廊，東京 展覽 「嗨－哈維爾．卡勒加個展」，Nanzuka當代藝術畫廊， 東京，2017年5月13日至6月10日
JAVIER CALLEJA GREEN DAYS WITH RED WORDS
西班牙藝術家：哈維爾．卡勒加（Javier Calleja）在2020年10月在美
眼男孩，正是哈維爾．卡勒加本人對內心自我的形象認知，在草綠的背
國邁阿密的 Bill Brady Miami 畫廊舉行「早晚」（Sooner or Later）新
景下頭髮如雲朵般蓬鬆，臉頰兩側的淺粉色更顯造型呆萌可愛。寶石般
展。也是 Javier Calleja在美國的首次個展，作品延續藝術家一貫街頭藝
晶瑩剔透的眼睛，顏色由明亮走向深邃。紅色的鼻頭成了全畫最亮眼一
術風格。融匯卡通、動畫、電玩等流行符號，透過大眾化普及元素和觀
點，襯托在天真無邪的笑容中，天藍色的衣服上則寫著代表心情語句。
眾互動。又有全新大型雕塑和畫布作品，以及一系列的繪畫新作帶到展
大膽的用色和簡單的人物一起構成了「大眼仔」風格獨特的作品。如此
覽中。作品跨越傳統藝術媒介，打破繪畫與藝術裝置的界限，在日常所
大尺幅的作品，並沒有因為單一的主角而讓人感覺無聊，雖然沒有過多
見中加入些許微妙的轉折。大眾初識卡勒加大多是從2017年發售的限量
顏色的轉換堆砌，而作品本身亦可給觀者帶來撲面而來的喜感。
立體作品《想念藍天》（Missing The Blue Sky）開始，一個非常可愛生 動的大眼睛公仔，「大眼仔」的形象即詮釋了哈維爾在創作時以人物主
哈維爾．卡勒加的作品像日記一樣妙語如珠地道出日常生活中不經意的
導畫筆，每一個細節的處理又傳達出藝術家當下創作的心境，並提出作
片刻情緒並反映著他的生活。平易近人的大眼公仔，以標誌性的大眼睛
品主題的發展。
男孩頭部來解構他的作品，此種被西方譯為「C u t i s m」的卡哇伊風潮 正在形成一種全新的美學概念—「可愛主義」。帶有著療癒系特質的作
哈維爾．卡勒加，1971年出生於西班牙南部的馬拉加，在成為藝術家以
品，宛如藝術家曾經在家鄉海灘上玩鵝卵石一樣，恬靜的生活，輕描淡
前，他曾是奧林匹克體操競賽的訓練選手。2000年自格拉那達大學美術
寫的簡短文字，驚喜而幽默地輕觸觀者的內心世界。
系畢業，開始他的藝術創作生涯。哈維爾曾在馬拉加當代藝術中心舉辦 的奈良美智展覽中工作過，結合文字與圖像的作風，由此可見奈良美智 對他的影響。此外，自小深受日本動漫影響的他，在作品中融入「大眼 睛」元素。2003年在西班牙舉行首次個展，之後陸續展覽於世界各地如 巴黎、德國瓦爾德基興、漢堡及紐約。2017年起開始在亞洲香港、東京 舉行畫廊個展，並於2019年首次在希臘舉行個人畫展，使他成為全球最 有潛力的當代藝術家之一。 在哈維爾．卡勒加的作品中，黑暗中的眼睛為最初的靈感來源，從紙縫 裡小心翼翼地窺視著周圍。之後，這些「大眼睛」的小東西們慢慢從黑 暗中走出，形態各異。「大眼睛」是日本動漫人物的經典標誌，而今日 本動漫被這位西班牙藝術家重新演繹。哈維爾．卡勒加結合普普藝術的 通俗和漫畫的扁平式表述，在他創作時，又總會在卡通、寫實以及抽象 之間找到平衡，使得作品看起來非純然超扁平卡通風格。 自1996年日本藝術家村上隆提出《超扁平宣言》（Superflat）—「未來
Spanish artist Javier Calleja's new exhibition, Sooner or Later , will run through the month of October, 2020 at the Bill Brady Miami gallery in the United States. This is Javier Calleja's first solo exhibition in the U.S., featuring works that continue his style of street art. Calleja fuses pop symbols, such as cartoons, animation, and video games to interact with the audience through popular and accessible elements. He brings brand-new large sculptures and canvas pieces, as well as a series of drawings to the exhibition. His works transcend traditional art media, breaking the boundaries between drawing and installation to add subtle twists to images in everyday life. The public first learned of Calleja mostly through the limited edition sculpture piece Missing The Blue Sky , a cute and vibrant figure with a pair of big eyes. The image illustrates how the character leads the brush in Calleja's creative process while every detail conveys the state of the artist's mind in the moment as it extends the theme of the work.
的世界或許會像今日的日本一樣——超扁平」（後再2001年完整其整體 論述）。運用混合型的卡通圖式，可愛的形象表達虛擬荒誕、自由爛漫 的世界，烏托邦和反烏托邦的主題並現。隨後村上隆又在2003年發表的 《幼稚力宣言》中便強調了「卡哇伊」在當代社會中的重要性。在《幼 稚力宣言》的這件作品中，也在某種程度上呼應了此理論。畫作的中大
Javier Calleja was born in Malaga in southern Spain in 1971. Before becoming an artist, he was a gymnast training to compete in the Olympics. He began his art career after graduating from the University of Granada with an art degree in 2000. Calleja once
worked at a Yoshitomo Nara exhibition at the Contemporary Art Centre of Malaga. The way he combines text and images in his works is evident of the influence Yoshitomo Nara has on his works. Deeply influenced by Japanese animation from an early age, Calleja also incorporates big anime eyes into his works. His first solo exhibition was held in Spain in 2003. Afterwards, his works were exhibited all over the world in cities such as Paris, Waldkirchen, Germany, Hamburg, and New York. He began holding gallery exhibitions in Asian cities such as Hong Kong and Tokyo in 2017 and had his first solo exhibition in Greece in 2019, making him one of the world's most promising contemporary artists. In Javier Calleja's works, the initial source of inspiration was a pair of eyes in the dark, warily peering at its surroundings through a slit in the paper. Later, these characters with the big eyes gradually emerged out of the dark, showing their unique selves. The big eyes, a hallmark of Japanese animation characters, are reinterpreted by this Spanish artist. Javier Calleja integrates the everyday appeal of pop art with the flat format of manga. In his works, he manages to strike the appropriate balance between the cartoon, reality, and abstraction, making his works so much more than a flat cartoon. I n 1996, J a p a nes e arti st Takashi Murakami co in e d th e te r m "Superflat": The world of the future might be like Japan is today superflat (The idea was rounded out in 2001). A mix of cartoonish styles and cute images are used to present a virtual, absurd, free, and unassuming world, with utopian and dystopian themes included in parallel. In his Kawaii thesis in 2003, Murakami emphasized the importance of cuteness in modern society. In the work, Kawaii, he was, to a degree, conducting a response to this thesis. The wideeyed boy in the painting is a self-portrait by Javier Calleja of his own image in his mind. In front of the grassy green background, the boy's hair is fluffy like the clouds, and the pinkish color on the cheeks brings out the innocence and cuteness of the character. The eyes shine like a gem, with a color gradient that moves from bright to dark. The bright red nose stands out from the rest of the drawing, accentuating the innocent smile, while the sky-blue shirt
is decorated with words that speak his mood. The bold use of colors and simple character lines combine to create this piece and its unique style. The painting, with its immense size, avoids being monotonous despite showing only a lone character. The painting is salient with joy, even without the overuse of colors. Javier Calleja's works are like a diary that highlights the otherwise unnoticed moments and emotions of everyday life with witty words, reflecting his life. He deconstructs his past works, using only the heads of his iconic boys with big eyes, to create this new 3D piece. This trend of cuteness is becoming a whole new aesthetic concept - Cutism. It's healing to look at these works, as it once was for the artist to play with pebbles on his hometown beach. The idyllic life and the effortless simple words brings a light-hearted surprise to the inner minds of the audience.
哈維爾．卡勒加《紅髮男孩》2017年 壓克力 畫布 46 x 55 cm 羅芙奧2020春季拍賣會 編號002 台幣 2,640,000 成交 Javier CALLEJA, Carrot , 2017, acrylic on canvas, 46 x 55 cm Ravenel Spring Auction 2020, lot 002, US$ 89,310 sold
067 EDDIE MARTINEZ (American, b. 1977)
Untitled (White Flower Pot) 2010 Oil, acrylic, spray and silicone on canvas 152.4 x 121.9 cm Signed reverse E. MARTINEZ , titled UNTITLED , inscribed OIL, ACRYLIC, SPRAY, SILICONE and dated 2010
NT$ 6,000,000 - 9,000,000 HK$ 1,596,000 - 2,394,000 US$ 205,600 - 308,400 RMB 1,412,000 - 2,118,000
當代藝術家－艾迪．馬丁內斯（Eddie Martinez），這個以拉丁語發音的名 字之前在亞洲的知名度並不高。他像是藝術市場的一匹黑馬，帶有街頭塗鴉 的精神、神秘的色彩。2019 年時正值42歲的馬丁內斯戲劇化的晉級為百萬
艾迪．馬丁內斯 無題（盆花） 2010年 油彩 壓克力 噴漆 矽膠 畫布 152.4 x 121.9 cm 簽名畫背：E. MARTINEZ UNTITLED OIL, ACRYLIC, SPRAY, SILICONE 2010
美元之列的藝術家，一幅名為《高空飛行的鳥》（High Flying Bird）的三 米半巨幅（逾 500 號）油畫，在2019年11月在香港夜拍拍出1572.5萬港元 （約200萬美元）的耀眼成績，2020年7月因肺炎疫情延後的香港拍賣，馬丁 內斯的兩米四（約200號）大作《佛羅里達#2》（Florida#2）繼續拍出百萬 美元的行情。2020年1月台北當代 Taipei Dangdai藝術博覽會舉辦第二屆活 動，未演先轟動，吸引更多家世界級畫廊參與。具有法國背景的貝浩登畫廊 （Perrotin）在其展位發表了馬丁內斯「花予台灣」（Flowers for Taiwan） 系列新作，色彩斑斕塗鴉、個性化線條筆觸的單一經典主題「靜物畫」，VIP 首日預覽會全數作品火速售罄，成為當天會場上最受關注的個展之一。
Eddie Martinez, a contemporary artist with a Latino name, was not previously a well-known figure in Asia. As a vigorous and mysterious graffiti, he bursts into the art market like a dark house. Then, in dramatic fashion in 2019, 42 year-old Martinez advanced to the level of a million dollar artist when his 3.5 meter large-scale oil painting titled High Flying Bird (over 500F) sold for a stunning HK$ 15,725,000 (approximately US$2 million). In another auction in Hong Kong, which was postponed to July 2020 due to the COVID-19 pandemic, Martinez again fetched millions with a 2.4 meter large-size painting Florida #2 (about 200F). Among the world-class galleries that participated in the second annual Taipei Dangdai Art Fair in January 2020, the French-based Perrotin showcased Martinez's Flowers for Taiwan series with one classic topic - still life paintings delivered in the format of colorful graffiti with characteristic brush strokes. During the VIP-preview and vernissage on the first day, all paintings by Martinez sold out swiftly, becoming some of the most noted works at the fair.
© Eddie Martinez; Courtesy of the artist, Perrotin, and Mitchell-Innes & Nash, New York
EDDIE MARTINEZ FLOWERS FOR LIFE 過去三年間，馬丁內斯也受機構中心的重視，推出有五個博物館大型個展：
2005年28歲時舉辦了生平的首次個展，一檔在瑞典斯德哥爾摩，一
從2017年麻州的戴維斯博物館（D a v i s M u s e u m）的「螞蟻野餐」（A n t s
檔在美國波士頓。主題為具象的人物、靜物、動物、曼荼羅、圓桌
at a Picknic）個展、紐約素描中心（The Drawing Center）的「工作室
面，粗黑線條勾勒，活潑帶有卡通模樣的童趣。他對線條與色彩的
牆」（Stu dio Wall）紙上作品展；2018年在紐約布朗克斯博物館（Bronx
大膽運用，甚獲好評。2010年開始擺脫具象，2012年則全心開始
Museum）「覆蓋以白」（White Outs）雕塑和繪畫近作展；還有2019年底
投入抽象畫，2013年是關鍵的時期，他嘗試了雕塑的作品，把他創
特律當代藝術博物館「快速艾迪新繪畫」（Fast Eddie: New Paintings），
作中對線條、構圖與色彩探索後的立體呈現。日常生活的物件的組
以及和上海余德耀美術館（YuzMuseum）「遊宴」（Open Feast）個展。
合，鑄造成銅件，以色彩賦予雕塑生命，在拼組與構成的過程中進 行物質文化的探索。
馬丁內斯的收藏家早期以歐美市場為主，過去兩年之間亞洲市場有諸多 年輕世代藏家的加入，包括台灣知名藝人周杰倫等。馬丁內斯的其他
2015 開始使用絲網印刷（s i l k s c r e e n），得以將繪描素描轉譯
知名收藏家與機構，包括了世界智慧財產權界知名人物約旦的阿布格
放大，產生豐富的意象。2016年「情書系列」（L o v e L e t t e r
扎拉A b u G h a z a l e h、英國倫敦保險公司 H i s c o x、倫敦的薩奇收藏T h e
S e r i e s），像是放大版的筆記本，圖文交錯，有一種親密的情感。
Saatchi Collection、拉丁美洲最重要的私人當代藝術收藏─胡美斯收藏La
2018 年「覆蓋以白」（W h i t e O u t s）十分前衛顛覆，大膽以白色
Colección Júmex，以及美國洛杉磯的馬其亞諾藝術基金會The Marciano
覆蓋，或者消除色彩、圖樣，達到破壞的內涵，在藝術家眼中，移
Collection 等。
除、抹去本身不是目的，那是構圖時不可或缺的部分。一種新的繪 畫元素與概念，代表著創作生涯的重要轉折。2020年因 COVID-19
馬丁內斯的成長背景有些周折。1977 年出生於美國康乃狄克州的格羅頓
疫情，他的「家庭作業」（Home Work）系列線上個展，則反映封
Groton，童年時住在紐約布魯克林區，成長的過程則遍布美國各州，曾待過
關期間的小型作品。馬丁內斯的畫作題目非常率性，經常是當下的
佛州，麻州，德州和加州等。後來主要工作和生活都回到紐約布魯克林區，
生命狀態，線條與色彩強烈、感性而帶有天真的浪漫情懷。
與知名的當代藝術家山姆．莫耶（S a m M o y e r）結婚，2019年生下一子亞 瑟，「亞瑟」的名字正是 2020年夏天兩人在舊金山聯展的畫展名稱。
「盆花」是馬丁內斯從早期到近期各階段皆喜愛的主題，從繁至簡，演 繹不同年代的生命經驗與成熟狀態。是次拍品《無題》（盆花）創作於 2010年，為藝術家從具象走向抽象的關鍵轉折創作。背景留白不填上色 彩，誇大花朵、葉子的比例，平面化、卡通化的塗鴉，還有黑色輪廓線 描邊稚拙趣味卻無比自信。 提及從具象繪畫到抽象繪畫的轉變，馬丁內斯說：「我的確必須深入研 究這些繪畫，才能更清楚它們，發揮它們的潛力。因為我不必然需要知 道圖像會呈現什麼樣貌，不知道當我一遍又一遍地畫一束鮮花，律動會 像現在一樣容易。」（節錄自Ravenel 季刊第32期）
Prized by art institutions in the past three years, Martinez has launched large-scale solo exhibitions at five museums including: Ants at a Picknic at Davis Museum in Massachusetts, Studio Wall at the Drawing Center in New York in 2017, White Outs featuring recent works of sculptures and paintings at Bronx Museum in New York in 2018, and, for 2019, Fast Eddie: New Paintings at the Museum of Contemporary Art Detroit, and the Open Feast solo exhibition at Yuz Museum in Shanghai. In the early years, collectors of Martinez's works mainly came from the European and American markets. In the last two years, many young collectors in the Asian market have also joined the fray, including well-known Taiwanese singer/composer Jay Chou. Other renowned individual and institutional collectors of Martinez include: Jordan's Abu Ghazaleh, who is well-known in the circle of world intellectual property rights, London insurance company Hiscox, the Saatchi Collection in London, Colección Júmex, which is the most important private contemporary art collector in Latin America, and the Marciano Collection of Los Angeles, USA. Martinez has had some ups and downs in his life. Born in Groton, Connecticut in 1977, he spent his childhood in Brooklyn, New York, and lived in various states while growing up, including Florida, Massachusetts, Texas, and California. Afterwards, he returned to Brooklyn, New York to live and work. He is married to famed contemporary artist Sam Moyer. They had a son named Arthur in 2019 after which their joint exhibition in San Francisco was titled. Martinez held his first solo exhibitions in 2005 when he was 28 years old, at Stockholm, Sweden and in Boston, U.S.A. The subjects of his paintings were figurative people, still life objects, animals, mandalas, and round table tops outlined in thick black lines characteristic of lively cartoon styles. His bold use of lines and colors has won him favorable reviews. In 2010, he began to move away from figurative painting and devoted himself entirely to abstract painting by 2012. 2013 was a critical period for him as he made attempts at sculptural art, turning his explorations of lines, composition and colors into 3D format. Combinations of daily objects are cast into bronze pieces and endowed life with colors, conducting an exploration of material culture in the process of assembly and composition.
In 2015, he began to experiment with silkscreening, which allowed enlargement of sketch drawings and production of rich imageries. His Love Letter Series in 2016 was like an enlarged version of a notebook with texts and drawings that created a sense of intimacy. Meanwhile, the avant-garde White Outs exhibition in 2018 was boldly covered in white, or an elimination of colors and images to achieve the implication of destruction. In the eyes of the artist, removal and erasure are not the objectives, but an indispensable part of composition, a type of new painting element and concept representing a major turning point of his creative career. His Home Work series exhibited online in 2020 includes small-size works reflective of the period of closure due to the COVID-19 pandemic. The subjects of Martinez's paintings are quite straightforward, often representing his situation in life at the moment, with bold lines and colors while conveying sensuality as well as a sense of romantic innocence. Since the early stage of his career, Eddie Martinez has always loved to paint potted flowers. From complex to simple, Martinez’s paintings walk us through his life experience and state of maturity at different ages. The painting to be auctioned titled Untitled (White Flower Pot) was created in 2010, which was a critical period when the artist transitioned from a figurative to abstract style. The painting features a blank background with 2D cartoon-like doodles of exaggerated proportions of flowers and leaves filtered through black contours and childlike brushwork, which exude extreme confidence. On changing from figurative to abstract painting Martinez says: "I really have to go into the paintings a little bit more to figure them out, to pull their potential out of them. Because I don't necessarily know what the imagery is and I don't know what the moves are going to be as readily as I did when painting a bouquet of flowers over and over and over again." (Excerpt from Ravenel quarterly No. 32)
艾迪．馬丁內斯於貝浩登（香港）個展《EMHK19》現場 2019，攝影：Ringo Cheung View of Eddie Martinez's solo exhibition EMHK19 at Perrotin Hong Kong, 2019, Photo Courtesy of Ringo Cheung
068 EDDIE MARTINEZ
艾迪．馬丁內斯
(American, b. 1977)
無題
Untitled
2015年 油彩 壓克力 絹印 墨 瓷釉 噴漆 畫布 182.8 x 274.3 cm
2015 Oil, acrylic, silkscreen, ink, enamel and spray paint on canvas 182.8 x 274.3 cm PROVENANCE Timothy Taylor, London Private collection, Asia
來源 提姆斯．泰勒畫廊，倫敦 私人收藏，亞洲 附藝術家親筆簽名之原作保證書
This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 14,000,000 - 22,000,000 HK$ 3,723,000 - 5,851,000 US$ 479,800 - 753,900 RMB 3,294,000 - 5,176,000
艾迪．馬丁內斯的祖父是波多黎各人，僅管艾迪擁有拉丁裔的姓 氏，他出生時已是道道地地的美國人，不會說西班牙語。他的父親 是一位承建商，專責房屋的油漆。父親可說是小艾迪的藝術啟蒙。 兒時隨著父親工作，對刷油漆一點都不陌生。看著父親在牆上從零 開始，到完成工作，這是他童年時的重要記憶。幫忙之餘，有時會 拿著油漆躲到一旁偷偷畫畫。自小時對繪畫的好奇，以及浸淫在充 滿街頭塗鴉文化的美國大都會，更是培養了他後來成為藝術家的養 分。收集向來是他生活中重要的一部分，無論是郵票、錢幣、漫 畫書，拉拉雜雜的東西，收集成為習慣。1988 年就讀五年級（11 歲）時他住在舊金山，迷上集郵，是個郵票大收藏家，還曾當上少 年集郵組織「富蘭克林集郵俱樂部」（Benjamin Franklin Stamp Club）的treasurer會計，這段經歷令他非常開心。長大後即使不再 集郵，然而收集的樂趣仍在，收集成為創作時的素材。
艾迪•馬丁內斯《高空飛行的鳥》2014 水彩 水粉 綜合媒材 畫布 274.6 x 365.8 cm 佳士得2019香港秋拍, 成交價HK$ 15,725,000 Eddie Martinez, High flying bird , 2014, Watercolor, gouache, mixed media on canvas, 274.6 x 365.8 cm Christie's Hong Kong Autumn Auction 2019, HK$ 15,725,000 sold
Although his grandfather was Puerto Rican, Martinez was an authentic American who did not speak Spanish despite having a Latino surname. A contractor who specialized in house painting, Martinez's father also served as little Eddie's artistic mentor. As a child, he worked alongside his father and became well-versed with painting. Watching his father starting from scratch until the wall is completely painted is an important memory of his childhood. While helping with the sometimes chore he would take a little of the wall paint and do his own drawing on the side. His curiosity about painting and his immersion in urban America full of graffiti culture had become the natural nourishment cultivating him to become an artist during his childhood.
MATCH! MESSY EXPLOSIONS OF PICASSOS 混搭！畢卡索式的混亂爆炸
他回顧自己再度具體關注街頭塗鴉藝術，那是 1992 年九年級（15
卡索式的混亂爆炸」！他欽佩畢卡索的多產，敢於使用各種媒材，勇
歲），搬至加州的聖地牙哥之後。起初不外乎臨摹漫畫的人物角色，
於嘗試並挑戰繪畫歷史。畢卡索經常使用相同的圖像與構圖，變化出
例如《凱文的幻虎世界》、《辛普森家庭》、《制裁者》和《金剛
新的創作。這個方式讓馬丁內斯獲得信心。於是他也重複單一構圖，
狼》等。他非常熱愛寫塗鴉字，率性地塗，自在地畫。他也曾經活
樂此不疲，從中變幻出新的想法，然後快速的完成它們。他自許比畢
躍於街頭創作，「街頭轟炸」（s t re e t b o o m i n g）、「主題創作」
卡索更自由，沒有公式，混亂到爆炸！
（piecing）都是過往經歷。然而街頭突擊式的創作畢竟違法，年輕氣 盛的衝撞和冒險，終究非長久之計，他形容即使熱愛滑板運動，卻無
馬丁內斯的創作本質根源於素描 drawing 的發揮與變奏，每天隨身攜
法冒著折斷脖子的風險犧牲到底。
帶麥克筆和 Moleskine 筆記本，靈感一來隨時可畫。作家海明威、畫 家梵谷和畢卡索也愛用經典的 Moleskine 筆記本，用以捕捉靈感的片
年輕時曾經進入兩所藝術學校，包括一年在波士頓藝術學院（A r t
刻。對多數藝術家而言，紙本繪描常常是一種練習，是作品的前奏。
Institute of Boston），但是都無法完成課業。他曾經遺憾無法建立生
然而對馬丁內斯而言，繪描是他的習慣，創作的主軸。繪描不在工作
命的結構，不過後來問題也能迎刃而解。十年後，他受到母校學生的
室內進行，而是在家裡畫，在旅行途中畫，像是記事與日誌的工具。
崇拜。馬丁內斯可謂是自學成才的藝術家，對塗鴉藝術有其自我的想
然後他把在外隨手素描本上的圖，張貼在工作室牆上，小畫轉譯成大
法，他自承非常容易受環境影響，總會留意街邊建築物上被留下來的
畫，或有時直截移植黏貼在畫布上，使得大畫具有素描的精神內涵與
記號。依照直覺去創作，凡事無須清清楚楚，率性而為的自由創作是
感覺。單純作畫的想法，自動性的素描，他的作品裡沒有強烈的社會
他永不放棄的奢侈。
或政治批判意識。
雖然非學院出身，馬丁內斯的藝術卻有其脈絡。早期作品因流行文化
就地取材，萬物皆可入畫，隨性的材質，凡想得到、想不到的，馬丁
的啟發，傾向於暴力意象、瘋狂的漫畫風格，畫中反覆出現有閃亮大
內斯都把生活的物件拼貼入畫，可能是油彩、噴漆、釉彩、嬰兒濕
眼睛的人物、動物、小丑、骷顱、像粉刷牆壁的即興塗鴉，城市文化
紙巾、披薩盒、網球……，或是以絲網版畫放大於畫布，或塗上色
的縮影集成。後來逐漸轉向抽象畫，藝評家認為，他的藝術屬於街頭
彩，或抹去色彩，像是小孩子作記號一般，繪畫是他的日常，是生命
藝術，拼貼風格，更應回溯到 20 世紀的 1950 年代的傳統經典，彷彿
的紀錄，一種當代文化的「混搭」概念。2015年開始加入絲網印刷
普普藝術、行為藝術、抽象表現主義、眼鏡蛇畫派的大混搭。
（silkscreen）的創新運用，得以將繪描素描轉譯放大，產生豐富的意 念與形象。此次的拍品《無題》即是巧妙混搭的集大成鉅作，將藝術
某方面而言，馬丁內斯的創作精神與內涵，接近於 C o B r A 眼鏡蛇
家的精湛技藝、真情靈感詮釋於此畫之中。
畫派。他對於該團體的成員若恩（A s g e r J o r n）、阿貝爾（K a r e l Appel）和阿雷欽斯基（Pierre Alechinsky）的藝術頗為欣賞。該團體
「每幅畫都是一次盛宴。」美國藝術家暨作家西蒙尼尼（R o s s
成員創作展現的速度感、放棄控制與自動性，還有類似兒童的大型塗
S i m o n i n i）如此形容馬丁內斯的作品。創作發表十多年來，馬丁內斯
鴉，令他傾心。《紐約時報》曾以「眼鏡蛇畫家風格復興」（reviving
不斷挑戰自我，可以是單一的構圖的反覆研究，卻不會耽溺於同一風
styles of the Cobra painters）來形容他的創作。
格，豐富的創意譬如畢卡索們永遠令人驚艷。他的每件作品都像一座 繪畫島，或說垃圾堆積場亦可，承載著當代文化的共通點，也分享了
馬丁內斯不喜歡別人將他的藝術類比於德．庫寧（W i l l e m d e
藝術家的自我，思想記號與生命經驗的累積。（部分節錄自R a v e n e l
Kooning）、古斯頓（Philip Guston）或是巴斯奇亞（Jean-Michel
季刊第32期「藝術與投資」專欄）
B a s q u i a t）的啟發。如果非得要定義他的風格，他毋寧說是一種「畢
Collections have also been an important part of his life as he habitually collects stamps, coins, comic books, and assorted items. In 1988 when he was a fifth grader at age 11, he lived in San Francisco and became fascinated with stamp collecting. Once, he even became the treasurer of Benjamin Franklin Stamp Club, an organization for young stamp collectors, and he was quite happy about that experience. Though he no longer collects stamps as an adult, he still enjoys the act of collecting, and his collections now serve as the creative source of his artistic works. He recalls how he became focused again on graffiti art after moving to San Diego, California in 1992 at age 15 when he was in the ninth grade. In the beginning, he did nothing more than replicating comic characters such as Calvin and Hobbes , the Simpsons , Punisher , and Wolverine . Passionate about the free style with abandon in graffiti writing and painting. After all, guerilla-style street graffiti is illegal and the youthful energetic exploits and adventure cannot last forever. Martinez described it as, even those who love skateboarding would not risk neckbreaking sacrifices to the end. Martinez attended two art schools when he was young, including one year at the Art Institute of Boston, though he never completed his studies. He was once regretful about his inability to establish some structure in life, but the problem eventually solved itself as he became the target of admiration by students at his alma mater 10 years later. Martinez is a self-taught artist who has his own ideas about graffiti art. He admits to being easily affected by the surrounding environment, often noticing marks left on street side buildings. He creates according to instinct, without the need for precision. Creative work based on impulse and freedom is a luxury he would never abandon. Even though he does not come from an academic background, the art of Martinez comes with its own context. Inspired by popular culture, his early works tend to contain violent imagery of a crazy comics style repeatedly featuring figures with big shiny eyes, animals, clowns, skulls, resembling impromptu graffiti wall painting that is also a microcosm of the culture of the metropolis. His style gradually transformed into abstract paintings at a later stage. Art critics believe that his art belongs to the street art and the style of collage may be traced back to the traditional classics in the 1950's, is similar to a mix-and-match of pop art, performance art, abstract expressionism and the art of CoBra. In some aspects, Martinez's creative spirit and intentions are closer to the CoBra group. He admires CoBra artists such as Asger Jorn, Karel Appel, and Pierre Alechinsky, and loves the creative process of CoBra group members, which exhibits a sense of speed, autonomy and abandonment of control, in the presentation of large-scale children's style graffiti. The New York Times once described his art as "reviving styles of the Cobra painters".
Martinez rejects comparison of his art to that of Willem de Kooning, Philip Guston, or Jean-Michel Basquiat. If he had to define his style, he would describe it as "Messy explosions of Picassos ". He admires Picasso's high productivity, and courage to experiment with various media challenging the historical paintings. Picasso often relied on the same images and composition to come up with new paintings, which gives Martinez confidence to use this method. He would use the same composition and come up with new ideas for alteration before completing the paintings quickly. He claims to enjoy more freedom than Picasso with no formula, so messy that it explodes. The essence of Martinez's creativity is rooted in the play and variation of free-hand drawing. He carries markers and a Moleskine sketchbook so he can record his inspirations whenever they appear. The classic style of Moleskine notebooks is also the favorite of writer Hemingway, as well as painters Van Gogh and Picasso, who use it to capture momentary imaginations. For most artists, drawing on paper is a type of exercise that often becomes a prelude to a work of art. For Martinez, however, sketching is his habit and the main focus of his creativity. He draws not only inside his studio, but also at home and while he travels, where drawing becomes a tool to take notes and write journals. Afterwards, he would takes his sketchbook drawings and put them up on the walls of his studio, transforming a little drawing into a large painting or even pasting directly onto the canvas to imbue the spiritual content and feeling of the sketch onto the larger canvas. The pure thought of painting and instinctive sketching leave his work free of strong social or political criticism. Applying whatever is on hand, all things may become part of his paintings regardless of the material. Martinez has included random objects in life in his collages, including oil paint, spray paint, glaze, baby wipes, pizza boxes, or tennis balls. He has also printed onto the canvas with enlargement of silkscreening, put on or scrap away colors. Just like children making marks in life, painting is in his daily life, is a record of living, and is a concept of "mix and match" in contemporary culture. Martinez began incorporating silkscreen printing into his artworks in 2015. This innovative print technique lets the artist translate and enlarge his drawings and sketches to produce richer ideas and images. The artwork, Untitled , to be auctioned is a mixed media masterpiece demonstrating the artist’s brilliant painting technique and authentic inspiration. "Each painting is a feast ", that's how American artist and writer Ross Simonini describes the works of Martinez. For more than a decade, Martinez continued to challenge himself in art presentations, which could be a repetitive research of looking through a single composition without indulging in the same style. His bountiful creativity always amazes just like Picasso. Each one of his works is like an island of painting, or a garbage dump that carries the commonalities of contemporary culture while sharing the artist's self-identity, contemplation symbols and the accumulation of life experience. (Excerpt ‘Art & Investment’ column from Ravenel quarterly No. 32)
069 EMRE NAMYETER (Turkish, b. 1984)
Untitled-Sculpture 2020 Mixed media on tempered glass Diameter 130 cm Signed reverse Emre Namyeter , titled "UNTITLED" and dated 2020 EXHIBITED Now and Future, Contemporary Art Collection, ep.01, World Trade Center, Taipei, June 20-July 12, 2020
NT$ 800,000 - 1,200,000 HK$ 213,000 - 319,000 US$ 27,400 - 41,100 RMB 188,000 - 282,000
埃姆雷•納米伊特於1984年出生於土耳其的伊斯坦堡，2009年於伊 斯坦堡資訊大學（Istanbul Bilgi University）學習廣告和攝影，並 於2012年和2016年分別於舊金山藝術大學（The Academy of Arts University in San Francisco）和加拿大的康考迪亞大學（Concordia
埃姆雷．納米伊特
U n i v e r s i t y）攻讀美術、雕塑和電子藝術。納米伊特於2014年陸續
無題．雕塑
於伊斯坦堡和舊金山舉辦個展，並持續其對知覺的研究。
2020年 綜合媒材 強化玻璃 直徑 130 cm 簽名背面：Emre Namyeter "UNTITLED" 2020 展覽 「NOW AND FUTURE 當代潮流藝術收藏展 ep.01」， 世貿一館，台北，展期自2020年6月20日至7月12日
Emre Namyeter was born in Istanbul, Turkey in 1984. He studied advertising and photography at Istanbul Bilgi University in 2009, and studied fine arts and sculpture at The Academy of Arts University in San Francisco in 2012. Then learned electronic arts at Concordia University, Canada in 2016. Namyeter has held solo exhibitions in Istanbul and San Francisco since 2014. And continue his research on perception.
070 EMRE NAMYETER
埃姆雷．納米伊特
(Turkish, b. 1984)
無題．燈箱
Untitled-Lightbox
2020年 綜合媒材 強化玻璃 直徑100 cm 簽名背面：Emre Namyeter "UNTITLED" 2020
2020 Mixed media on tempered glass Diameter 100 cm Signed reverse Emre Namyeter , titled "UNTITLED" and dated 2020 EXHIBITED Now and Future, Contemporary Art Collection, ep.01, World Trade Center, Taipei, June 20-July 12, 2020
NT$ 600,000 - 900,000 HK$ 160,000 - 239,000 US$ 20,600 - 30,800 RMB 141,000 - 212,000
展覽 「NOW AND FUTURE 當代潮流藝術收藏展ep.01」， 世貿一館，台北，展期自2020年6月20日至7月12日
071 ADAM NEATE
亞當．尼特
(British, b. 1977)
飲酒者
The Wine Drinker
2011年 壓克力 有機玻璃 金屬 氣溶膠 72.5（長）x 83（寬）x 29（厚）cm
2011 Acrylic, perspex, metal and aerosol on board 72.5 (L) x 83 (W) x 29 (D) cm PROVENANCE Elms Lesters Painting Rooms, London EXHIBITED Dimensional Paintings, Elms Lesters Painting Rooms, London, October 2011 Art Taipei art fair, 2012 ILLUSTRATED Dimensional Paintings, Elms Lesters Painting Rooms, London, 2012
來源 艾爾姆斯．萊斯特斯藝廊，倫敦 展覽 「維度繪畫」，艾爾姆斯．萊斯特斯藝廊， 倫敦，2011年10月 「台北國際藝術博覽會」，2012 圖錄 《維度繪畫》，艾爾姆斯．萊斯特斯藝廊，倫敦，2012 附艾爾姆斯．萊斯特斯藝廊開立之原作保證書
This lot is accompanied with a certificate of authenticity issued by Elms Lesters Painting Rooms, London.
NT$ 550,000 - 850,000 HK$ 146,000 - 226,000 US$ 18,800 - 29,100 RMB 129,000 - 200,000 121
072 ADAM HANDLER
亞當．漢德勒
(American, b. 1986)
在懸崖鬱金香附近歇息
Resting Near Cliffside Tulips
2019年 油畫棒 壓克力 畫布 127 x 193 cm 簽名題識畫背：Adam Handler 2019 Resting Near Cliffside Tulips
2019 Oil stick and acrylic on canvas 127 x 193 cm Signed reverse Adam Handler , dated 2019 and titled Resting Near Cliffside Tulips PROVENANCE Antraniq Gallery, New York
NT$ 380,000 - 550,000 HK$ 101,000 - 146,000 US$ 13,000 - 18,800 RMB 89,000 - 129,000
來源 安特拉尼克畫廊，紐約 亞當•漢德勒於1986年出生於紐約皇后區，並在長島長大。成長 過程中待在祖父母所經營的畫框工廠的經歷，養成了他對藝術的熱 情，使他不可避免地選擇了藝術家的道路。漢德勒曾在義大利學習 「裸體素描」（Life Drawing），並就讀於紐約州立大學的帕切斯 學院（Purchase College, State University of New York），並和豪 爾赫•尼維斯（Jorge Nieves）學習工藝設計，亦和黛博拉•梅莎 -佩利（Deborah Mesa-Pelley）學習彩色攝影。漢德勒的作品已在 紐約、康涅狄格州的格林威治、加拿大和德克薩斯州等地展出。
073 ADAM HANDLER
亞當．漢德勒
(American, b. 1986)
潔米女孩
Jamie Girl
2018-2020年 油畫棒 壓克力 畫布 193 x 162 cm 簽名題識畫背：Adam Handler 2018-2020 Jamie Girl
2018-2020 Oil stick and acrylic on canvas 193 x 162 cm Signed reverse Adam Handler , dated 2018-2020 and titled Jamie Girl
NT$ 380,000 - 550,000 HK$ 101,000 - 146,000 US$ 13,000 - 18,800 RMB 89,000 - 129,000
Adam Handler was born in Queens NY and grew up on Long Island. As a young child and adolescent, he spent countless hours at his grandparents framing factory in New York City. There, his passion for the arts grew and it became inevitable that he would choose an artistic path. Handler studied Life Drawing in Italy and received a Purchase College. He has also studied craft design with Jorge Nieves and color photography with Deborah Mesa-Pelley. Handler's work has been exhibited in New York, Greenwich CT, Canada, and Texas.
074 ADAM LISTER (American, b. 1978)
One Dollar Bill 2018 Watercolor on paper 25.4 x 45.7 cm Signed reverse Adam Lister , dated 2019 and titled One Dollar
NT$ 80,000 - 120,000 HK$ 21,000 - 32,000 US$ 2,700 - 4,100 RMB 19,000 - 28,000
雅當．里斯特 美元紙幣 2018年 水彩 紙本 25.4 x 45.7 cm 簽名題識畫背：Adam Lister 2019 One Dollar
亞當．李斯特2003年畢業於紐約視覺藝術學院繪畫學士學位。受美國雅達利和日 本任天堂遊戲機啟發，他運用8位元方形幾何，型塑獨特「低畫素」風格，呼應了 立體派的幾何結構，並刻意避開使用對角線和曲線。李斯特擷取經典藝術名作、 大眾流行文化名人，並以自身的手法解構其視覺形象。巧妙地利用低像素圖形美 學和水彩顏料的柔和特性，展演並連結過去與當代之間的關係。藝術家目前長居 於紐約，並受邀展覽於紐約與舊金山等地的畫廊。
Adam Lister received his B.F.A. in painting from The School of Visual Arts in New York in 2003. Inspired by the 8-bit graphics of Atari and Nintendo game consoles, Lister's unique style deliberately avoids all use of diagonal and curved lines and echoes the geometric structure of Cubism. Lister selects the recognizable artworks or popular cultures icons to deconstruct their images by his methods. He displays and connects the relationship between past and contemporary, by cleverly using his aesthetic of low-pixelated graphics and the soft, tonal mark of watercolor paint. Lister lives in New York and exhibited including the Guy Hepner Gallery, New York, the Spoke Art Gallery, San Francisco and White Walls Gallery, San Francisco.
075 ADAM NEATE
亞當．尼特
(British, b. 1977)
擁抱
The Hug
2012年 有機玻璃 鋁 雙色絲網印刷 版次53/55 76.7 x 61 cm 簽名左下：NeAte 簽名畫背：NeAte
2012 Bonded perspex and aluminum, overprinted with two color screenprint, ed. 53/55 76.7 x 61 cm Signed lower left NeAte Signed reverse NeAte PROVENANCE Elms Lesters Painting Rooms, London Private collection, Asia EXHIBITED Dimensional Editions & Paintings, Elms Lesters Painting Rooms, London, October 2012
Art Taipei art fair, 2012 ILLUSTRATED Adam Neate – Dimensional Editions & Paintings USB film compilation, Elms Lesters Painting Rooms, London, 2013
來源 艾爾姆斯．萊斯特斯藝廊，倫敦 私人收藏，亞洲 展覽 「維度版畫和繪畫」，艾爾姆斯．萊斯特斯藝廊， 倫敦，2012年10月 「台北國際藝術博覽會」，2012 圖錄 《亞當．尼特–維度版畫和繪畫》USB短片匯編， 艾爾姆斯．萊斯特斯藝廊，倫敦，2013
NT$ 80,000 - 120,000 HK$ 21,000 - 32,000 US$ 2,700 - 4,100 RMB 19,000 - 28,000 125
076 李佑林
李佑林1972年出生。透過人體、服裝、景色、光與
(Korean, b. 1972)
紅寶石花
影呈現自己的故事和心靈舞臺。他的作品以象徵手
Ruddy Flower
2008年 油彩 畫布 98.7 x 130 cm
LEE WOO LIM 2008 Oil on canvas 98.7 x 130 cm Signed on the edge Lee Woo Lim in Korean and dated 2008 Signed reverse Lee Woo Lim, titled Ruddy Flower in Korean and dated 2008 PROVENANCE Seoul Auction, Seoul Acquired from the above by the present owner
NT$ 220,000 - 320,000 HK$ 59,000 - 85,000 US$ 7,500 - 11,000 RMB 52,000 - 75,000
簽名右側： 이우림 2008 簽名題識畫背： 이우림 2008 붉은꽃 來源 首爾拍賣，首爾 現有收藏者購自上述來源
法呈現並結合超脫現實之外的異想元素。畫作中的 物體優美且清新，看似無關聯性的擺放實則環環相 扣。李佑林的作品可視為靈性的感召，宛如現代人 與大自然神秘地連結。
Lee intentionally arranges figures, clothes, landscapes, light and shade, to represent his own story and psychological drama. His work appears figurative, yet blends the visible with some imaginative elements, departing from realism. Each object, while delicately and crisply rendered, is not placed in a consistent context but linked to each other fictitiously. Lee WooLim's work is an evocation of the spirituality of modern people derived from their secret, mystic contact with nature.
077 李皓 堜
李皓堜於2006年韓南大學繪畫系取得藝術學士學
(Korean, b. 1978)
重疊影像 080501
位，現於弘益大學繪畫系攻讀碩士學位。他曾榮
Overlapping Image 080501
2008年 油彩 畫布 116.8 x 91 cm 簽名題識畫背： 이호련 Lee, Ho Ryon OVERLAPPING IMAGE 080501 116.8 x 91.0 cm oil on canvas 2008 Lee Ho Ryon
LEE HO RYON 2008 Oil on canvas 116.8 x 91 cm Signed reverse Lee , Ho Ryon both both in Korean and English, titled OVERLAPPING IMAGE 080501 , dated 2008 and inscribed oil on canvas 116.8 x 91.0 cm
NT$ 260,000 - 400,000 HK$ 69,000 - 106,000 US$ 8,900 - 13,700 RMB 61,000 - 94,000
獲第四屆首爾藝術展大獎(首爾大都會博物館)和第 二十五韓國藝術展大獎（韓國國立當代藝術館）。
Lee Ho Ryon obtained his BFA from the Painting Department of Hannam University in 2006 and is currently studying for a MFA from the Painting Department of Hong lk University. He was awarded the 4th Seoul Grand Art Exhibition of Korea, Seoul Metropolitan Museum and the 25th Korea Grand Art Exhibition of Korea, National Museum of Contemporary Art.
078 SUSILOWATI DAVANZO (Chilean, b. 1951)
Tray with Corn
蘇西洛華提生於1951年，現居智利的聖地牙哥。1971年受印尼爪哇群島傳統蠟染 技藝啟發，開創全新創作手法－Virganix，以染料與蜂蠟創作於紙本媒材。習以南 美洲日常所見事物為靈感，例如：農作物、馬車、農人、海景，傳遞對家鄉的無 限熱情與愛護。曾受邀於媒體發表藝術教育相關文章，並於學校教授課程。曾於
Pigment wax on paper 54 x 74.5 cm Signed lower left Susilowati
智利普羅維登西亞文化局、智利國家銀行文化中心、和智利佛羅里達文化之家舉
NT$ 130,000 - 190,000 HK$ 35,000 - 51,000 US$ 4,500 - 6,500 RMB 31,000 - 45,000
Born in 1951, Susilowati lives and creates in Santiago, Chile. Following a visit to the Island of Java in 1971, Susilowati created a new technique in art - ‘Virganix'. This is an adaptation of Indonesian batik but done on paper. Her subjects of paintings, expressing her infinite love and passion for her country, are usually inspired by the Chilean daily scenes as crop, horses, country people, and seascape. She has been invited to publish articles on art education in the media and teach courses in schools. Her exhibition has been held at the Cultural Institute of Providencia, the Cultural Institute of Banco del Estado and the House of Culture in La Florida, and foreign exhibitions in Peru, Colombia, Argentina, Australia, the USA, UK, New Zealand and Holland.
蘇西洛華提．丹華佐 玉米靜物 蠟 染料 畫紙 54 x 74.5 cm 簽名左下：Susilowati
辦個展，國外展覽地點包含秘魯、哥倫比亞、阿根廷、澳洲、美國、英國、紐西 蘭和荷蘭，1998年時獲智利佛羅里達市議會頒發勳章。
079 LOUIS CANE (French, b. 1943)
Oranger 1990 Bronze, ed. 6/12A 20(L) x 20(W) x 42(H) cm Engraved base Cane and numbered 6/12A ILLUSTRATED Marianne & Pierre Nahon, Louis Cane , Galerie Beaubourg, Paris-Vence, 1993, color illustrated, p. 27
NT$ 300,000 - 440,000 HK$ 80,000 - 117,000 US$ 10,300 - 15,100 RMB 71,000 - 104,000
路易．甘 橘子樹 1990年 銅雕 版次6/12A 20（長）x 20（寬）x 42（高）cm 簽名雕刻台座：Cane 6/12A 圖錄 瑪莉納與皮耶．納翁，《路易．甘》，波博畫廊， 巴黎－旺斯，1993，彩色圖版，頁27
1943年法國藝術家路易．甘生於濱海博略（B e a u l i e u-s u rm e r），他畢業於法國高等裝飾藝術學院，並於1968年得羅 馬大獎。為南歐洲海景與家鄉的自然環境所啟發，善於使用 銅媒材擬真縮小版地中海植物。逼真的造型與精緻的色彩， 傳達了對空間、幻覺和作品本身的感官的獨特詮釋。
Born in Beaulieu-sur-mer, a beautiful village of France in 1943, the French artist Louis Cane, graduated from L'École Nationale Supérieure des Arts Décoratifs de Paris, and was awarded the Prix de Rome in 1968. He was inspired by southern Europe seascape and natural surroundings of his hometown, talented in using the bronze material to simulate the Mediterranean plants by smaller dimensions. With the realistic form and delicate colorful paint, a unique interpretation of senses among space, illusion and the work itself is delivered.
080 克勞德．維士巴修
維士巴修就讀於南錫國立美術學校，精通於各種
(French, 1927-2014)
獨奏
版畫製作。1951年前後開始在各類沙龍畫展中
Soliste
2002年 油彩 畫布 27 x 22 cm 簽名右下：Weisbuch 簽名畫背：Weisbuch 2002 Soliste
CLAUDE WEISBUCH 2002 Oil on canvas 27 x 22 cm Signed lower right Weisbuch Signed reverse Weisbuch 2002 Soliste
NT$ 130,000 - 190,000 HK$ 35,000 - 51,000 US$ 4,500 - 6,500 RMB 31,000 - 45,000
展露頭角。1961年獲得藝評家大獎。他善於描 繪人物、馬、音樂歌劇等，1960年代後，維士 巴修逐漸發展出自己獨特的風格筆觸，用色漸少 但線條更趨於流暢。他經常取材自樂師的演奏來 畫，或是義大利假面舞劇中的駝背丑角、法國木 偶劇中的滑稽人物等，以獨特的筆法來表現肢體 的律動，表現動感，彷彿是重複曝光因而捕捉到 多重影格的動態，衍生出一種獨特韻味，是當代 法國代表性畫家之一，其作品更是受到全球重要 機構和美術館收藏，包括紐約現代美術館、巴黎 龐畢度中心及比利時皇家學院美術館等。
081 CLAUDE WEISBUCH
克勞德 ． 維 士 巴 修
(French, 1927-2014)
首席的側影
Concerto
2002年 油彩 畫布 41 x 33 cm 簽名右下：Weisbuch
2002 Oil on canvas 41 x 33 cm Signed lower right Weisbuch
NT$ 190,000 - 280,000 HK$ 51,000 - 74,000 US$ 6,500 - 9,600 RMB 45,000 - 66,000
Weisbuch studied at the Beaux-arts de Nancy (today's L'École nationale supérieure d'art de Nancy), and excelled at every type of lithograph making. Around 1951, he started making his career through exhibitions in varioussalons. In 1961, he won the Critics' Prize. He was adept at portraying h u m a n f i g u re s , h o r s e s , a n d o p e r a . A f t e r t h e 1960s , Weisbuch gradually developed his own style and sense of brush, reducing the use of colors while making the strokes smoother. He often chose performances with musical instruments, hunchbacked clowns in Italian masquerades as subjects of his paintings. He used unique strokes to express bodily movement. The dynamic parts resemble repeated exposures of a camera; through this, the artist captures movement giving his work a unique touch. Being an important contemporary French artist, Weisbuch’s works in widely collected by major institutions and museums of the world, including New York Modern Museum of Art, Centre Pompidou in Paris, Academie Royale in Belgium and more.
082 LEONOR FINI (Argentinian, 1907-1996)
Lady Cat
萊昂諾・菲妮，二十世紀初最具代表性之阿根廷女性藝術家。長期旅居於法 國，受超現實主義影響，其作品帶有強烈自傳性色彩。菲妮其自畫像與神秘氣 氛之畫作，多圍繞夢境與女同志性別傾向之色情主題。1907年生於阿根廷布 宜諾斯，成長於義大利，菲妮早年著迷於死亡的議題，常於當地太平間觀察遺
Watercolor on paper 31.5 x 22.5 cm Signed lower right Leonor Fini
體。僅管沒有接受過正式的藝術訓練，然而義大利矯飾主義的風格深深影響
This lot is accompanied with a certificate of authenticity signed by the expert Dominique Bert.
館、巴黎龐畢度藝術中心、倫敦泰德美術館與多家代表性藝術機構所典藏。
NT$ 100,000 - 150,000 HK$ 27,000 - 40,000 US$ 3,400 - 5,100 RMB 24,000 - 35,000
萊昂諾．菲妮 貓女 水彩 紙本 31.5 x 22.5 cm 簽名右下：Leonor Fini 附專家多明尼克・貝爾特開立之原作保證書
了她。1931年菲妮遷居至法國，並與馬克・恩斯特（Max ERNST）、李歐諾 拉．卡靈頓（Leonora CARRINGTON）結為好友。其作品為紐約大都會博物
Leonor Fini, was one of the representative female Argentina artist in early 20th century. She lived in France. Associated with Surrealist movement, Fini's works relate strongly to her life experiences, her self-portraits and mythological paintings focused on eroticism and dreams. Born on August 30, 1907 in Buenos Aires, Argentina, she grow up in Italy. When Fini was young, she was obsessed on morbid subject and often drew cadavers at the local morgue. Though she didn't take formal fine-art education, she studied a lots the works of Italian Mannerist. In 1931, she moved to France, where she befriended Giorgio de Chirico, Max Ernst, and Leonora Carrington. Today, the artist's works are held in the collections of the Metropolitan Museum of Art in New York, the Centre Georges Pompidou in Paris, and the Tate Modern in London, among others.
083 ANDRÉ COTTAVOZ
安德烈．科達沃茲
(Spanish-French, 1922-2012)
海景餐宴
Le Restaurant devant la mer
約2000年 油彩 畫布 50 x 73 cm 簽名左下：COTTAVOZ 簽名畫背：LE RESTAURANT DEVANT LA MER. COTTAVOZ.
c. 2000 Oil on canvas 50 x 73 cm Signed lower left COTTAVOZ Signed reverse LE RESTAURANT DEVANT LA MER. COTTAVOZ. PROVENANCE Private collection, France EXHIBITED Cottavoz , Galerie Estades, Lyon, May 26-June 30, 2018 Les Maîtres Lyonnais , Galerie Estades, Paris, July, 2020 This lot is accompanied with a certificate of authenticity signed by Florent Cottavoz, the artist's son.
NT$ 220,000 - 340,000 HK$ 59,000 - 90,000 US$ 7,500 - 11,700 RMB 52,000 - 80,000
來源 私人收藏，法國 展覽 「科達沃茲」，埃斯塔德斯畫廊，里昂， 展期2018年5月26日至6月30日 「里昂大師」，埃斯塔德斯畫廊，巴黎，2020年7月 附藝術家之子弗洛朗．科達沃茲開立之原作保證書
084 JULIAN TAYLOR
朱利安．泰勒
(British, b. 1954)
屋頂
Les Toits
油彩 畫布 33 x 46.5 cm 簽名左下：Julian Taylor
Oil on canvas 33 x 46.5 cm Signed lower left Julian Taylor PROVENANCE Dimensions Art Center, Taipei Private collection, Taiwan This lot is accompanied with a certificate of authenticity issued by Dimensions Art Center, Taipei.
NT$ 100,000 - 150,000 HK$ 27,000 - 40,000 US$ 3,400 - 5,100 RMB 24,000 - 35,000
來源 帝門藝術中心，台北 私人收藏，台灣 附帝門藝術中心開立之原作保證書
085 FRÉDÉRIC MENGUY (French, 1927-2007)
Le bouquet rouge Oil on canvas 55 x 46 cm Signed lower left MENGUY Titled reverse Le bouquet rouge
NT$ 160,000 - 240,000 HK$ 43,000 - 64,000 US$ 5,500 - 8,200 RMB 38,000 - 56,000
菲德利克．曼谷依 紅色花束 油彩 畫布 55 x 46 cm 簽名左下：MENGUY 題識畫背：Le bouquet rouge
出生於巴黎，為法國秋季沙龍、國民美術協會成員之一。曼谷依繽紛的作品以溫馨愉快 為題，多描繪家中靜物與子女或馬戲團活潑生動的場景，藝術家以鮮明亮麗的顏色為整 幅畫作的焦點，並以喜悅明快的風格在國際建立了識別度。於1951年進入法國繪畫師範 學院，學成後任教於法國繪畫師範學院，直至1956年方離開教職，專注於繪畫創作。
Frédéric Menguy was bor n in Paris. He was one of the members of Salon d'Automne and Association Nationale des Arts France. Menguy's artwork features joyance and harmonious scenes mostly. The artist had established an international recognition with dazzling colors which brightens up the painting. He painted several scenes of circus and also the interior of his house, presented pictures of peace to the viewer. Menguy’s artwork was once under the influence of post-war society, during which pessimism was dominant in his paintings. Just like Bernard Buffet, André Minaux and other artists of the post-war era, Menguy also had a dark period in terms of artistic style. Menguy graduated from the college of Sarcelles, and the commercial college of Goussainville successively. He established his passion in painting while young. He entered the entered the Normal School of Drawing Education in 1951, then obtained a teaching position after his study. It was in 1956 that he finally dedicated himself entirely in painting.
086 米歇爾 ． 昂 利
法國畫家米歇爾．昂利以風景、海洋及花卉靜物畫
(French, 1928-2016)
宇宙玫瑰
聞名。米歇爾．昂利於1928年初生於法國朗格勒。
Cosmos Roses
約1991年 油彩 畫布 50 x 61 cm 簽名左下：Michel Henry 題識畫背框條：Cosmos Roses
MICHEL HENRY c. 1991 Oil on canvas 50 x 61 cm Signed lower left Michel Henry Titled reverse Cosmos Roses PROVENANCE Dimensions Art Center, Taipei Private collection, Taiwan
NT$ 120,000 - 180,000 HK$ 32,000 - 48,000 US$ 4,100 - 6,200 RMB 28,000 - 42,000
來源 帝門藝術中心，台北 私人收藏，台灣
1951年，他畢業於巴黎的法國美術學院，並在之後 獲得許多獎項，其中包含：1956年獲阿姆斯特丹 Maison Descartes首獎，1957年獲委拉斯蓋茲大獎， 1981年獲頒法國榮譽軍團騎士勳章，1984年獲頒法 國農業騎士勳章，1986年獲頒巴黎市勳章，1986年 獲頒法國藝術家沙龍金章。作品典藏於法國政府、巴 黎市以及法國阿朗松美術館。
087 MICHEL HENRY
米歇 爾 ． 昂 利
(French, 1928-2016)
阿姆斯特丹港
Le Port ďAmsterdam
約1991年 油彩 畫布 81 x 65 cm 簽名右下：Michel Henry 題識畫背框條：Le Port d'Amsterdam
c. 1991 Oil on canvas 81 x 65 cm Signed lower right Michel Henry Titled reverse Le Port ďAmsterdam PROVENANCE Dimensions Art Center, Taipei Private collection, Taiwan
NT$ 200,000 - 300,000 HK$ 53,000 - 80,000 US$ 6,900 - 10,300 RMB 47,000 - 71,000
來源 帝門藝術中心，台北 私人收藏，台灣
Michel Henry is a French painter who was known for his paintings of flower still life, landscapes and marines. Michel Henry was born in Langres, France in 1928. He graduated from the Ecole Nationale Supérieure des Beaux Arts of Paris in 1951. Michel Henry have won several awards including the first price of the Maison Descartes in Amsterdam in 1956, Casa Velázquez price in 1957, Chevalier de l’Ordre National de la Légion d’Honneur in 1981, Chevalier du Mérite Agricole in 1984, Médaille de Vermeil of Paris in 1986. His artwork was included in the collection of French Government, the City of Paris, and the Museum of Alencon.
088 安東尼奧奇 ． 沃 第
安東尼奧奇．沃第1915年出生成長於法國蔚藍海岸，以雕塑呈
(French, 1915-1989)
坐著的裸女
現地中海女性豐盈之美。進入法國高等美術學院，師承布雪（J.
Nu assis
粉彩 紙本 65 x 50 cm 簽名下方：Volti
ANTONIUCCI VOLTI Pastel on paper 65 x 50 cm Signed lower center Volti PROVENANCE Chayette & Cheval Auction, Paris, Dec. 1, 2014, lot 19
NT$ 170,000 - 260,000 HK$ 45,000 - 69,000 US$ 5,800 - 8,900 RMB 40,000 - 61,000
來源 夏耶特與沙瓦爾拍賣，巴黎， 2014年12月1日，編號19
B o u c h e r）工作室，1936年獲得羅馬大獎第二名的榮譽。龐畢度 藝術中心和巴黎市立美術館委託製作《和諧》，現座落在巴黎瑪 黑區西奧多．赫茲爾廣場。1967年擔任法國秋季沙龍榮譽副主 席。1981年由法國政府為其成立沃第美術館。
Born in the Côte d'Azur area, Antoniucci Volti turned to be an artist acclaiming the body beauty of women in Mediterranean, especially in sculpture. He entered the studio of Jean Boucher at the École Supérieur des Beaux-Arts in Paris. In 1936, he won the second place of Rome Prize."Harmonie", a work commissioned by Musée des Beaux-Arts de la Ville de Paris and Centre Pompidou, located in Place Theodol-Herzl, near by the Marais district in Paris. In 1967, Volti was appointed as vice president of the Société du Salon d'Automne in Paris; in 1981, the Volti Museum was established by the French government in south of France.
089 卡密． 伊 列 魯
伊列魯出生於法國梅茲。早年受阿爾布雷希特．杜勒的作
(French, 1916-2004)
瓶花
品啟發；於1942年進入巴黎法國美術學院後，在立體主義
Bouquet de fleurs
約1980年 水彩 紙本 45 x 63.3 cm 簽名左下：Hilaire
CAMILLE HILAIRE c.1980 Watercolor on paper 45 x 63.3 cm Signed lower left Hilaire
NT$ 150,000 - 220,000 HK$ 40,000 - 59,000 US$ 5,100 - 7,500 RMB 35,000 - 52,000
畫家安德烈．洛特的指導下，創作以立體畫風為主，但不 同於立體派早期的僵硬，伊列魯的作品有著精巧奧妙的特 質。1948年獲威尼斯獎，1950年獲委拉斯蓋茲獎。1947 年至1968年間，先後於法國美術學院的南錫即巴黎分校任 教。作品典藏於巴黎現代美術館、史特拉斯堡美術館、梅 茲美術館、南錫美術館、敦克爾克美術館。
Camille Hilaire was born in Metz, France. He was inspired by Albrecht Dürer in the early years. Hilaire entered the École des Beaux-Arts in Paris in 1942. His work was heavily influenced by his instructor, the Cubist painter André Lhote. Hilaire’s work features fine flexibility, which was quite different from the earlier Cubist style. He had won the Price of Venice in 1948, and the Price of the Casa de Velázquez in 1950. Hilaire’s work had been collected by Museum of Modern Art in Paris, Museum of Strasbourg, Museum of Metz, Museum of Nancy, Museum of Dunkirk.
GALLOPING HORSES
CLASSIC CERAMICS BY ANDRÉ BRASILIER AND SHIY DE-JINN
駿馬翩翩 布拉吉利、席德進 的陶藝經典 所有文明的歷史裡，陶瓷擁有悠久歷史，如中國、日本、韓國、克里特
The history of French ceramic art can be traced back to the 17th
島、希臘、波斯，還有現代西方文化。陶藝，透過繪畫、雕塑、其他裝
century, inspired by both Chinese and Japanese porcelain cultures.
飾、鑲嵌等形式流傳，足以作為文化存世的證明。
In the 1830s, combined with the art of design, ceramic ware became sought-after items for collection and gift giving. In the mid-19th
法國陶藝歷史可追溯至17世紀，由中國與日本傳入啟蒙。1830年代
century, an increasing number of famed ceramic artists emerged
陶藝結合設計，自藏與餽贈友人漸成風氣，19世紀中期陸續有知名陶
onto the market. With the rise of Art Nouveau and the development
藝家出現，於市場交流。新藝術（A r t N o u v e a u）興起、結合工藝更
of craftsmanship, ceramic art continued to thrive. In the wake of the
促進陶藝的蓬勃發展。印象派以後，更多藝術家投入，如高更（P a u l
impressionist movement, more artists dived into ceramic creations,
Gauguin）手捏陶土勇於創新、羅特列克（Toulouse-Lautrec）將名媛
such as the innovative hand-sculpted ceramic works by Paul Gauguin,
形象繪於陶板上。
and ceramic plates painted with socialite ladies by Toulouse-Lautrec.
20世紀中期更多大師投入陶藝創作，如封塔那（L u c i o F o n t a n a）
In the mid-20th century, fascinated by this primitive form of art,
（1949-1968年間）、畢卡索（Picasso）（1946-1973年間），著迷於
increasingly more masters devoted themselves to ceramic creations,
原始藝術，反璞歸真。台灣前輩畫家席德進，在1955至1956年間曾受
such as Lucio Fontana (in 1949-1968) and Pablo Picasso (in 1946-
杭州藝專同學吳學讓的邀請，至永生工藝社作仿古藝術陶瓷設計，留下
1973). From 1955 to 1956, Taiwanese painter Shiy De-jinn was invited
漢朝馬車圖騰壺杯陶藝作品（L o t 096），與西方大師同步。旅法的趙
by Wu Hsueh-rang, an old friend of his from Hangzhou National
無極、朱德群亦分別於晚期嘗試陶藝創作，經典流傳。
College of Art, to create retro ceramic art designs at Yongsheng Art
巴黎畫派的布拉吉利（A n d ré B r a s i l i e r），稱高更是藝術上的父親， 以抒情柔和簡約畫風聞名，尤熱愛馬術運動。1980年代將畫馬帶入新 媒材，在坎城附近的瓦洛里（Va l l a u r i s）創作陶藝繪畫（L o t 090-L o t 095）。 Ceramics has a long history in all civilizations, including Chinese, Japanese, Korean, Cretan, Greek, Persian, and modern Western cultures. Circulated through various for ms, such as paintings, sculptures, ornaments, and inlays, ceramic art serves as a solid testament to the existence of cultures.
and Craft Studio. He left behind ceramic pots and cups painted with Han Dynasty horse-drawn carriages (Lot 096), created in the same era as those Western masters. Chinese-French artists Zao Wou Ki and Chu Teh-Chun also experimented with ceramic creations during their later periods, with classic works passed down. André Brasilier, an artist of the School of Paris who viewed Paul Gauguin as his artistic father, is noted for his lyrical, soft and minimalist painting style. With an ardent passion for equestrianism, in the 1980s, he combined new media with horse images to create ceramic paintings in Vallauris, a city near Cannes (Lot 090-Lot 095).
090 ANDRÉ BRASILIER
安德烈．布拉吉利
(French, b. 1929)
馬術表演
Le Chapiteau 1989 Ceramic, unique piece 44(L) x 4(W) x 50(H) cm Engraved on the base André Brasilier. in French and inscribed Vallauris. 2. ll. 89, SASSI-MILICI VALLAURIS
1989年 彩繪陶瓶 單一件 44（長）x 4（寬）x 50（高）cm 鈐印底部：André Brasilier. 年代題識：Vallauris. 2. ll. 89 陶瓷工作室鈐印：SASSI-MILICI VALLAURIS
ILLUSTRATED Yann le Pichon, André Brasilier-Ses Transfigurations, Publiphotoffset, Paris, 1989, color illustrated, p. 97
圖錄 伊恩．勒．畢蕭，《安德烈．布拉吉利－美學進化》， Publiphotoffset出版社，巴黎，1989，彩色圖版，頁97
NT$ 240,000 - 360,000 HK$ 64,000 - 96,000 US$ 8,200 - 12,300 RMB 56,000 - 85,000
091 ANDRÉ BRASILIER
安德烈．布拉吉利
(French, b. 1929)
三騎士
Les trois chevaux Ceramic, edition of 100 Diameter 36 cm Engraved on the base André Brasilier , SASSI-MILICI VALLAURIS, EMPREINTE ORIGINALE A. BRASILIER, EXEMPLAIRE ÉDITEUR.
彩繪瓷盤 限量100件 直徑 36 cm 鈐印底部：André Brasilier 陶瓷工作室鈐印：SASSI-MILICI VALLAURIS, EMPREINTE ORIGINALE A. BRASILIER, EXEMPLAIRE ÉDITEUR
ILLUSTRATED André Brasilier-Ceramiques, Galerie Etienne Sassi, Paris, color illustrated, exhibition flyer
圖錄 《安德烈．布拉吉利－陶瓷》，Etienne Sassi 畫廊，巴黎， 彩色圖版，展覽宣傳品
NT$ 90,000 - 130,000 HK$ 24,000 - 35,000 US$ 3,100 - 4,500 RMB 21,000 - 31,000
092 ANDRÉ BRASILIER
安德烈．布拉吉利
(French, b. 1929)
迎風騎士
Les cavaliers qui passent 1988 Ceramic, edition of 20 44(L) x 50(W) x 4(D) cm Engraved on the base André Brasilier and inscribed SASSI-MILICI VALLAURIS, EMPREINTE ORIGINALE A. BRASILIER, EXEMPLAIRE ÉDITEUR
1988年 彩繪瓷盤 限量20件 44（高）x 50（高）x 4（厚）cm 鈐印底部：André Brasilier. 陶瓷工作室鈐印：SASSI-MILICI VALLAURIS, EMPREINTE ORIGINALE A. BRASILIER, EXEMPLAIRE ÉDITEUR.
ILLUSTRATED André Brasilier-Ceramiques , Atelier Sassi-Milici, Vallauris, color illustrated, exhibition catalogue
圖錄 《安德烈．布拉吉利－陶瓷》，Sassi-Millici 畫廊， 瓦洛里，彩色圖版，展覽圖冊
NT$ 150,000 - 240,000 HK$ 40,000 - 64,000 US$ 5,100 - 8,200 RMB 35,000 - 56,000
093 ANDRÉ BRASILIER
安德烈．布拉吉利
(French, b. 1929)
藍色迴旋
Petite cavalcade bleue 1991 Ceramic, edition of 15 Diameter 18 cm Engraved on the base SASSI-MILICI VALLAURIS, EMPREINTE ORIGINALE A. BRASILIER, EXEMPLAIRE ÉDITEUR.
1991年 彩繪陶瓶 限量15件 直徑 18 cm 陶瓷工作室鈐印：SASSI-MILICI VALLAURIS, EMPREINTE ORIGINALE A. BRASILIER, EXEMPLAIRE ÉDITEUR.
ILLUSTRATED André Brasilier, Callithos Editions, Paris, 1992, color illustrated, p. 166
圖錄 《安德烈．布拉吉利》，Callithos出版社，巴黎， 1992年，彩色圖版，頁166
NT$ 90,000 - 130,000 HK$ 24,000 - 35,000 US$ 3,100 - 4,500 RMB 21,000 - 31,000
094 ANDRÉ BRASILIER
安德烈．布拉吉利
(French, b. 1929)
綠色背景前的黑色雙輪馬車
Sulky noir sur fond vert
1987年 彩繪陶瓶 限量20件 33（長）x 12（寬）x 36（高）cm 鈐印底部：André Brasilier. 陶瓷工作室鈐印：SASSI-MILICI VALLAURIS, EMPREINTE ORIGINALE A. BRASILIER
1987 Ceramic, edition of 20 33(L) x 12(W) x 36(H) cm Engraved on the base André Brasilier. in French and inscribed SASSI-MILICI VALLAURIS, EMPREINTE ORIGINALE A. BRASILIER
NT$ 110,000 - 170,000 HK$ 29,000 - 45,000 US$ 3,800 - 5,800 RMB 26,000 - 40,000
095 ANDRÉ BRASILIER
安德烈．布拉吉利
(French, b. 1929)
三駿馬
Les trois chevaux
1991年 彩繪陶瓶 單一件 17.5（長）x 15（寬）x 17.5（高）cm 鈐印底部：André Brasilier 1991 陶瓷工作室鈐印：SASSI-MILICI VALLAURIS, VALLAURIS
1991 Ceramic, unique piece 17.5(L) x 15(W) x 17.5(H) cm Engraved on the base André Brasilier in French, dated 1991 and inscribed SASSI-MILICI VALLAURIS, VALLAURIS
NT$ 170,000 - 260,000 HK$ 45,000 - 69,000 US$ 5,800 - 8,900 RMB 40,000 - 61,000
096 SHIY DE-JINN
席德進
(Taiwanese, 1921-1981)
漢代馬車黑金釉陶瓷壺杯
A Pottery Jug and Beaker
約1954-1956 陶瓷 單一件 執壼 13（長）x 16.5（寬）x 21（高）cm 杯子 14.6（高）cm 簽名底部：永生 席德進刻 (執壼) 簽名底部：席刻 (杯子)
c.1954-1956 Ceramic, unique Jug 13(L) x 16.5(W) x 21(H) cm Beaker 14.6 (H) cm Incised Shiy De Jinn Ke and Yong Sheng ("engraved by Shiy De Jinn" and "live forever") Incised Shiy Ke ("engraved by Shiy") both in Chinese PROVENANCE Collection of Andrew Franklin, UK Christie's London – South Kensington, May 10, 2006, lot 220 Acquired from the above by the present owner
NT$ 160,000 - 240,000 HK$ 43,000 - 64,000 US$ 5,500 - 8,200 RMB 38,000 - 56,000
來源 前英國駐台理事安德魯．法蘭克林收藏 倫敦南肯辛頓佳士得拍賣會，2006年5月10日，編號220 現有收藏者購自上述來源
097 CHRISTOPHE GABRIEL ALLEGRAIN (French, 1710-1795)
Venus au bain Conceived in 18th century Bronze 17(L) x 16(W) x 48.5(H) cm With a stamp of BRONZE ARTISTIQUE DE PARIS and Foundry inscription MARNYHAC. 1 Rue de la Paix, Paris PROVENANCE Modern Art Gallery, Taichung Acquired from the above by the present owner ILLUSTRATED An exhibition flyer of Modern Art Gallery, Taichung
NT$ 200,000 - 300,000 HK$ 53,000 - 80,000 US$ 6,900 - 10,300 RMB 47,000 - 71,000
克里斯多－加布里耶．阿萊格罕 沐浴的維納斯 十八世紀構思 銅雕 17（長）x 16（寬）x 48.5（高）cm 鑄造廠鈐印底座：BRONZE ARTISTIQUE DE PARIS 鑄造廠雕刻：MARNYHAC. 1 Rue de la Paix, Paris 來源 現代畫廊，台中 現有收藏者購自上述來源 圖錄 現代畫廊展覽折頁傳單
098 JEAN ANTOINE HOUDON (French, 1741-1828)
Diane chasseresse Conceived 1790; cast in 19th century Bronze 20(L) x 32.5(W) x 62.5(H) cm Engraved base Houdon PROVENANCE Modern Art Gallery, Taichung Acquired from the above by the present owner ILLUSTRATED An exhibition flyer of Modern Art Gallery, Taichung
NT$ 200,000 - 300,000 HK$ 53,000 - 80,000 US$ 6,900 - 10,300 RMB 47,000 - 71,000
讓－安托萬．烏東 黛安娜獵神 1790年構思；十九世紀翻鑄 銅雕 20（長）x 32.5（寬）x 62.5（高）cm 簽名雕刻台座: Houdon 來源 現代畫廊，台中 現有收藏者購自上述來源 圖錄 現代畫廊展覽折頁傳單
正面 One side
反面 The other side
099 PIERRE ALEXANDRE SCHOENEWERK
皮耶－亞歷山大．舒尼韋克
(French, 1820-1885)
坐在溪邊的女神
Femme à la cruche symbolisant un fleuve (A Nymph by a stream, Arethusa)
十九世紀構思 銅雕 38（長）x 23（寬）x 41（高）cm 簽名雕刻底座：Schoenewerk Scptr
Conceived in 19th century Bronze 38(L) x 23(W) x 41(H) cm Engraved base Schoenewerk Scptr PROVENANCE Modern Art Gallery, Taichung Acquired from the above by the present owner
NT$ 200,000 - 300,000 HK$ 53,000 - 80,000 US$ 6,900 - 10,300 RMB 47,000 - 71,000
來源 現代畫廊，台中 現有收藏者購自上述來源
100 全相 玉
全相玉2001年畢業於韓國暻園大學繪畫系。2006
(Korean, b. 1970)
盛裝
年於首爾D o s畫廊舉辦個人展覽，並受邀展覽於
A Dress
2000年 油彩 畫布 162 x 130 cm
JUN SANG OK 2000 Oil on canvas 162 x 130 cm EXHIBITED Color Field: Group Exhibition of Jun Sang Ok, Kang Yujin and Lee Gil Woo , Gallery J. Chen, Taipei, November 9 - December 2, 2007
NT$ 160,000 - 240,000 HK$ 43,000 - 64,000 US$ 5,500 - 8,200 RMB 38,000 - 56,000
展覽 「色域：全相玉、姜流真、 李吉雨」聯展，J. Che畫廊，台北， 展期自2007年11月9日至12月2日
韓國大邱藝術中心、京畿道美術館、一民美術 館、首爾美術館。她精緻細膩的照相寫實風格， 多以歐美時尚圈模特兒為主角。運用大量黑影或 曝光，突顯畫面明暗對比的效果。
In 2001, Jun Sang Ok took her B.F.A. and graduated from the Painting Department of Gion College, South Korea. In 2006, she held a solo exhibition at Seoul Dos Gallery. She was invited to exhibit at Daegu Culture and Arts Center, Gyeonggi Cultural Foundation Art Center, Ilmin Museum of Art, Seoul and also Seoul Museum of Art. Her exquisite photographic realism style is inspired by Western fashion photography, the protagonist is mostly the fashion model. She uses a lot of black shadows or exposures to highlight the contrast of light and dark in the picture.
101 HOU CHUN-MING (Taiwanese, b. 1963)
A Monument of Beauty 1988 Mixed media on canvas 156.5 x 89 cm Signed lower right Hou , dated 1988 , and inscribed Serving in Chi-shan and presenting this work at the Yung Han Gallery, supplementing signature in 2007, now has a daughter and a son, styling myself as the father of Miduo all in Chinese With one seal of the artist EXHIBITED October Three Men Exhibition , Yong Han Gallery, Taipei, 1988
NT$ 100,000 - 180,000 HK$ 27,000 - 48,000 US$ 3,400 - 6,200 RMB 24,000 - 42,000
侯俊明 美麗紀念碑 1988年 綜合媒材 畫布 156.5 x 89 cm 簽名右方：六腳侯氏 一九八八年役於旗山 並發表此作 於永漢文化會場 二○○七年補簽名 時已有一女一男 自號米朵之父 鈐印右下：六腳侯氏 展覽 「食月三人展」，永漢文化會場， 台北，1988年
1963年生於台灣嘉義，1987年畢業於國立藝術學院美術 系。1985年創作「工地秀」作品系列，1990年發表個展 「極樂圖懺」、1994年發表「世祭圖」等版畫。1988年 起陸續舉辦個展及多次入選代表台灣參加義大利威尼斯雙 年展。其作品廣為國內外人士、美術館及私人藏家收藏。
B o r n i n C h i a y i i n 1963, g r a d u a t e d f r o m t h e Department of Fine Arts, National Institte of the Arts in 1987. He created a series of Construction Site Show works in 1985 and held his personal exhibition "Paradise" in 1990. His "World Sacrifice" and other woodcuts were published in 1994. Since 1988, he held a series of personal exhibitions and was selected to participate in Italy's Venice Biennale on behalf of Taiwan many times. His works are widely collected by local and foreign art museums and individuals.
102 TORU KUWAKUBO
桑久保徹
(Japanese, b. 1978)
紅星燈下的女人
Woman under Red Star Light
2006年 油彩 畫布 41 x 32 cm 簽名畫背：赤い星に照らされた女 2006 Kuwoud Bonet
2006 Oil on canvas 41 x 32 cm Signed reverse Kuwoud Bonet , titled Woman under Red Star Light in Japanese and dated 2006 PROVENANCE Tomio Koyama Gallery, Tokyo Shinwa Art Auction, Tokyo, July 6, 2008, lot 216 J. Chen Gallery, Taipei Private collection, Taiwan Ravenel Spring Auction 2016, Hong Kong, lot 101 Acquired from the above by the present owner EXHIBITED 2014 Summer Collection Show , Gallery J. Chen, Taipei, July 26 – August 24, 2014
NT$ 120,000 - 180,000 HK$ 32,000 - 48,000 US$ 4,100 - 6,200 RMB 28,000 - 42,000
來源 小山登美夫畫廊，東京 親和拍賣，東京，2008年7月6日，編號216 J. Chen畫廊，台北 私人收藏，台灣 羅芙奧香港2016春拍，編號101 現有收藏者購自上述來源 展覽 「2014年夏日收藏展」，J. Chen 畫廊，台北， 展期自2014年7月26日至8月24日
103 HSIAO CHIN
蕭勤
(Taiwanese, b. 1935)
氣之一四七
Senza titolo (Air No.147)
1983年 綜合媒材 紙本 37 x 53 cm 簽名右下：氣之一四七Hsiao勤八三 鈐印右下：蕭、勤 鈐印左下：悟無居
1983 Mixed media on paper 37 x 53 cm Signed lower right Hsiao, Chin and 83 , and titled Air No. 147 in Chinese With three seals of the artist PROVENANCE Casa d'Aste Capitolium, Brescia BS, Italy, April 16, 2014, lot 128 This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 140,000 - 220,000 HK$ 37,000 - 59,000 US$ 4,800 - 7,500 RMB 33,000 - 52,000
來源 卡皮托利拍賣行，蒙布雷西亞，義大利， 2014年4月16日，編號128 附藝術家親筆簽名之照片保證書
104 JOHN WAY
魏樂唐
(Chinese-American, 1921-2012)
驚虹
Abstract
1999年 油彩 紙本 76.5 x 56 cm 簽名左下：John Way 99
1999 Oil on paper 76.5 x 56 cm Signed lower right John Way and dated 99 PROVENANCE William Gallery, Taipei Acquired from the above by the present owner This lot is accompanied with a certificate of authenticity issued by William Gallery, Taipei.
NT$ 160,000 - 240,000 HK$ 43,000 - 64,000 US$ 5,500 - 8,200 RMB 38,000 - 56,000
來源 威廉藝術中心，台北 現有收藏者得自上述來源 附威廉藝術中心開立之原作保證書
105 TEHCHING HSIEH (SAM HSIEH) (Taiwanese, b. 1950)
One Year Performance (1978-1979) 1980 ; 1993 Print, statement and poster, ed. 69/365 96.7 x 127 cm (print); 28 x 21.5 cm (statement); 44.7 x 28.5 cm (poster) Signed lower right Sam Hsieh , Tehching and dated 1980 and 1993 (print) Numbered lower left 69/365 (print) EXHIBITED Performance 1: Tehching Hsieh , Museum of Modern Art, New York, January 21–May 18, 2009 ILLUSTRATED Adrian Heathfield & Tehching Hsieh, Out of Now: The Lifeworks of Tehching Hsieh , Live Art Development Agency, London; MIT Press, Cambridge, USA, 2009 Adrian Heatherfield & Tehching Hsieh, Out of Now: The Lifeworks of Tehching Hsieh , Taipei Fine Arts Museum; Art & Collection Group, Taipei, 2011, color illustrated, p. 72-74 & p. 87
NT$ 280,000 - 360,000 HK$ 74,000 - 96,000 US$ 9,600 - 12,300 RMB 66,000 - 85,000
出生於屏東。1967年高中肄業後開始繪畫。謝德慶曾在臺灣的美國新聞 處畫廊舉辦個人畫展。隨後開始了一系列行為作品，包括《跳》，在其 中他折斷雙腳腳踝。從1978至1986年起完成五件「一年行為表演」系 列作品，依序是《籠子》、《打卡》、《戶外》、《繩子》和《禁止談 論藝術》。「十三年計劃」完成於1999年，在1986-1999這13年他完
謝德慶 一年行為表演（1978-1979） 1980年；1993年 版畫 聲明 海報 版次 69/365 96.7 x 127 cm（版畫） 28 x 21.5 cm（聲明） 44.7 x 28.5 cm（海報） 簽名右下：Sam Hsieh 1980 Tehching 1993（版畫） 版次左下：69/365（版畫） 展覽 「行為藝術之一：謝德慶」，現代美術館，紐約， 展期自2009年1月21日至5月18日 圖錄 亞德里安．希斯菲爾德與謝德慶，《現在之外：謝德慶生命作 品》，即場藝術推廣協會，倫敦；麻省理工學院出版，美國劍 橋，2009 亞德里安．希斯菲爾德與謝德慶〈龔卓軍譯〉，《現在之外： 謝德慶生命作品》，台北市立美術館；典藏藝術家庭，台北， 2011，彩色圖版，頁72-74與頁87
全不發表自己的作品，直到2000年發表了一個《我存活了》的作品。展 覽：2010年「韓國光州雙年展」，韓國；2009年「古根漢在新竹─新 竹國家藝術園區美術館開館首展」，台灣：2009年「行為藝術之一：謝 德慶」，紐約。
Born in Ping-Tung, Taiwan. Hsieh dropped out from high school in 1967 and took up painting. Hsieh had his first solo show at the gallery of the American News Bureau in Taiwan. He made a performance action "Jump Piece" in which he broke both of his ankles. Starting from 1978 to 1986, Hsieh made five One Year Performances. He spent one year locked inside a cage, one year punching a time clock every hour, one year completely outdoors, one year tied to another person, and, lastly, one year without making, viewing, discussing, reading about, or in any other way participating in art. "Thirteen Years Plan" was completed in 1999. Since the Millennium, he released from the restriction of not showing his works during the thirteen-year period and showing the work "I kept myself alive". 2010 "Kwangju Art Biennial", Korea; 2009 "Guggenheim in Hsinchu - Art Museum@The Art Park Grand Opening Exhibition", Taiwan; 2009 "Performance 1: Tehching Hsieh", New York.
藝術家索引 INDEX A
G
MARION ALEXANDRE
瑪立詠．亞歷山卓
048
CHRISTOPHE-
克里斯多
GABRIEL ALLEGRAIN
加布里耶．阿萊格罕
097
SHOZO ARAK
荒木省三
018
RENÉ GENIS
賀內．吉尼斯
038, 043
MATT GONDEK
麥特．剛迪克
054
GUST GRAAS
古斯特．格拉斯
042
AI HAIBARA
灰原愛
017
HARU
H@L
014
ADAM HANDLER
亞當．漢德勒
072, 073
MICHEL HENRY
米歇爾．昂利
086, 087
CAMILLE HILAIRE
卡密．伊列魯
089
HOU CHUN-MING
侯俊明
101
H B GUY BARDONE
居．巴赫東
039
GARY BASEMAN
格里．巴斯曼
012
ÉMILE-ANTOINE
艾米勒－
BOURDELLE
安東尼．布爾代勒
034
ANDRÉ BRASILIER
安德烈．布拉吉利
025, 090-095
C JAVIER CALLEJA
哈維爾．卡勒加
066
JEAN ANTOINE HOUDON
讓－安托萬．烏東
098
LOUIS CANE
路易．甘
079
HSIAO CHIN
蕭勤
026, 103
BERNARD CATHELIN
貝爾納．卡多蘭
035, 037
TEHCHING HSIEH
謝德慶
105
BERNARD CHAROY
貝爾納．夏洛瓦
024, 040, 041
I
ANDRÉ COTTAVOZ
安德烈．科達沃茲
036, 083
INVADER
太空侵略者
065
YOSHITO ISHII
石井義人
013
全相玉
100
MICHAEL KAGAN
麥可．卡根
062
KAWS
布萊恩．唐納利
006, 060, 061
D DESIRE OBTAIN CHERISH
強納森．保羅
022, 023
MR DOODLE
塗鴉先生
001, 009
JUN SANG OK
K
E TAKANORI EBINA
J
蝦名貴德
016
F THIERRY FEUZ
西瑞．菲茲
058
IIDA KIRIKO
飯田桐子
015
LEONOR FINI
萊昂諾．菲妮
082
YAYOI KUSAMA
草間彌生
004
RIKIZO FUKAO
深尾力三
051
TORU KUWAKUBO
桑久保徹
102
L
S
LEE HO RYON
李皓堜
077
LEE WOO LIM
李佑林
076
ADAM LISTER
雅當．里斯特
074
LIU YE
劉野
007
MARCOS LUTYENS
馬可斯．盧騰思
050
PIERRE ALEXANDRE-
皮耶－
SCHOENEWERK
亞歷山大．舒尼韋克
099
KAZUO SHIRAGA
白髮一雄
030
SHIY DE-JINN
席德進
096
WILLI SIBER
威利．希伯
056, 057
JOSH SMITH
喬許．史密斯
008
ANDREI SKLARENK
安德烈．斯克拉良科
047
SUSILOWATI DAVANZO
蘇西洛華提．丹華佐
078
ATSUKO TANAKA
田中敦子
027
JULIAN TAYLOR
朱利安．泰勒
084
AKANE TERASHIMA
寺島茜
011
WALASSE TING
丁雄泉
028
TONY TOSCANI
托尼．托斯科尼
052, 053
莫里斯．尤特里羅
031
VAL
瓦兒
046
ANTONIUCCI VOLTI
安東尼奧奇．沃第
088
JOHN WAY
魏樂唐
104
CLAUDE WEISBUCH
克勞德．維士巴修
080, 081
山本麻友香
020
M JURGA MARTIN
尤爾嘉．馬賀丹
049
EDDIE MARTINEZ
艾迪．馬丁內斯
067, 068
GEORGES MATHIEU
喬治．馬修
029
HIROYUKI MATSUURA
松浦浩之
021
FRÉDÉRIC MENGUY
菲德利克．曼谷依
085
YOSHINORI MIZUTANI
水谷吉法
002
T
N IKUMI NAKADA
中田郁美
003
EMRE NAMYETER
埃姆雷．納米伊特
069, 070
YOSHITOMO NARA
奈良美智
064
ADAM NEATE
亞當．尼特
071, 075
P TATYANA PALCHUK
塔提雅娜．帕丘卡
044, 045
PHUNK
PHUNK
005
EDGAR PLANS
艾德加．普連斯
010
U MAURICE UTRILLO
V
W
R PETER RIEZEBOS
彼得．萊茲伯斯
055, 059
AUGUSTE RODIN
奧古斯特．羅丹
032, 033
AYAKO ROKKAKU
六角彩子
019, 063
Y MAYUKA YAMAMOTO
LOT 067
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Auction Date Sale No. Location Address
RAVENEL AUTUMN AUCTION 2020 SELECT: Modern & Contemporary Art Saturday, December 5, 2020, 3:30 pm TA2003 Marriott Taipei 3F (Grand Space) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei
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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。
拍賣價格之估計，不應依據為拍賣品會成功拍賣之價格或拍賣品作 其他用途之價值陳述。 許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有 些說明或鑑定意見書會提述拍賣品之損壞及／或修整資料。此等資 料僅作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺 陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。 e. 買家之責任 有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任自行查 明並瞭解，並就拍賣品為自己獨立之判斷及評估，並確使自己感到 滿意。 3. 拍賣時 a. 估價 目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍 賣會須以新台幣結算，買家如須以新台幣之外其他貨幣繳付，須依 拍賣日現場公佈之匯率，折合所繳付之等值貨幣計算。 b. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地 進行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣 場地或參與拍賣。 c. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身 分證明。準買家應注意，本公司通常會要求對買家作出信用核查。 d. 競投保證金 競投者，應在領取競投號牌前繳納競投保證金，競投保證金的金額 由本公司在拍賣日前公佈。 (1) 若競投者未支付競投保證金，本公司有權不接受其競投。若競 投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證 金。 (2) 若競投者成為買家，則本公司有權將此保證金自動轉化為已成 交拍賣品購買款項之一部（包含落槌價、服務費或運費等相關 費用），若尚有餘款須退回給買家；若買家無正當理由未於成 功拍賣日期後七天內支付全部應支付之成交拍賣品購買款項 （包含落槌價、服務費或運費等相關費用）予本公司，買家不 得請求返還競投保證金。 e. 競投者為買家 競投者將被視為買家而須承擔個人法律責任，除非登記時已經與本 公司書面協定，競投者僅為第三人之代理人，且該第三人復為本公 司所接受者。 f. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公 司將盡適當努力代其競投，但代為競投指示須於拍賣前送抵本公 司。如本公司就某一拍賣品而收到多個委託競投之相等競投價，而 在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣品會歸其 委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承 諾所限，而拍賣進行之情況可能使本公司無法代為競投。由於此項 承擔乃本公司為準買家按所述條款提供之免費服務，如未能按委託 作出競投，本公司將不負任何法律責任。準買家如希望確保競投成 功，應親自出席競投。 g. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競 投者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無 法參加電話競投，本公司對賣家或任何準買家均不負任何責任。 h. 透過 Invaluable 進行網上競投 若準買家未能出席拍賣會，或可透過Invaluable網上競投服務於網上 競投屬意拍品，而承擔買家獨立責任。此項服務乃免費及保密。有 關透過 Invaluable 網上競投服務登記，進行網上競投之詳情，請參閱 本公司網頁 ravenel.com。使用Invaluable網上競投服務之準買家須接 受透過Invaluable網上競投服務進行即時網上競投之附加條款（可參 閱網站），以及適用於該拍賣之業務規則所規範，本公司得隨時修 改該業務規則。 i. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參 考，不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外 匯，其準確程度均可能會出現非本公司所能控制之誤差。買家因依 賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之任何損 失，本公司概不負責。
j. 錄映影像 在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是 否與成功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買 家均不負任何責任。 k. 拍賣官之決定權 拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動 出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併， 以及如遇有誤差或爭議，將拍賣品重新拍賣。拍賣官會於拍賣開始 前或於相關拍賣品競標前對注意事項作出通告，準買家須負責自行 注意所有於拍賣會場發表之通告。建議使用即時網上競投服務參與 競投的準買家，於拍賣開始前登入，以確保準買家得知拍賣開始前 所作出之通告。 l. 成功競投在拍賣官之決定權下，下槌即顯示對最高競投價之接受， 亦即為賣家與買家合意依落槌價拍定拍賣品，視為成功拍賣合約之 訂立。 4. 成功拍賣後 a. 買家支付每件拍賣品之服務費費率 (1) 買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台 幣參仟貳佰萬元以下者含參仟貳佰萬元以落槌價之20％計算。 (2) 落槌價於新台幣參仟貳佰萬元以上者，採分為二階段計費，其中 新台幣參仟貳佰萬元以落槌價之20％計算，超過新台幣參仟貳 佰萬元之部份再以落槌價之12％，加總計算服務費金額。 b. 稅項 買家應付予本公司之款項，如須另行支付貨物、服務稅或其他稅則 時（不論由台灣政府或別處所徵收）。買家須負責按有關法律所規 定之稅率及時間，自行繳付稅款。 c. 付款 成功拍賣後，買家須向本公司提供其真實姓名及永久地址。如經本 公司要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳 號。買家應於拍賣日期後七天內悉數支付應支付予本公司之款項 （包含落槌價、服務費或運費等相關費用）。即使買家希望將拍賣 品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有 權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之 款項為新台幣以外之貨幣，須依拍賣日現場公佈之匯率（台灣銀 行），並以本公司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣 之拍賣項目，直至欠本公司之款項已悉數支付為止。已購拍賣品在 暫時保留期間，由成功拍賣日後起算七天將受保於本公司之保險， 如屆時拍賣品已被領取，則受保至領取時為止。七天期滿後或自領 取時起（以較早者為準），已購拍賣品之風險全由買家承擔。 e. 介紹裝運及運輸公司 本公司之貨運部門在買家要求下，可為買家介紹運輸公司、安排付 運及購買特定保險，但本公司在此方面不負任何法律責任。買家必 須預先繳付運輸費用。 f. 不付款或未有領取已購拍賣品之補救辦法 如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下 述一項或多項權利或補救辦法： (1) 在成功拍賣日後起算超過七天仍未付款，則按不超過台灣銀行基 本放款利率加收10%之年利率收取整筆欠款之利息。此外本公司 可同時按日收取依成交價（含落槌價、服務費）1％計算之懲罰 性違約金。本公司亦得自行選擇將買家未付之款項，用以抵銷 本公司或其他關係企業在任何其他交易中欠下買家之款項，買 家絕無異議。 (2) 對任何屬於買家所有而因任何目的(包含但不限於其他交易)而由 本公司管有之已購拍賣品行使留置權，並在給予買家有關其未 付之欠繳之十四天通知後，安排將該物品出售並將收益用以清 償該未付之欠款。 (3) 如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項 用以清償已購拍賣品就任何特定交易而欠下之任何款項，而不 論買家是否指示用以清償該筆款項。 (4) 在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆競投保證金。如買家 未有在三十五天內付款，本公司除上述辦法外，另有權為下述 一項或多項權利或補救辦法：
(a) 代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉 數賠償為基準之法律程序訴訟費。 (b) 取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售 予買家之拍賣品交易。 (c) 安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連 同因買家未有付款而引致之任何費用一併向買家索償。 g. 未有領取已購拍賣品 如已購得之拍賣品未有在成功拍賣日後起算七天內領取，則不論是 否已付款，本公司將安排貯存事宜，費用由買家承擔。而買家在付 清所引起之貯存、搬運、運輸、保險及任何其他費用，連同欠本公 司之所有其他款項後，方可領取已購拍賣品項目。 h. 出口許可證 除本公司另有書面同意外，買家希望申請出口許可證，並不影響買 家在成功拍賣日後起算七天內付款之責任，亦不影響本公司對延遲 付款收取利息之權利。 如買家要求本公司代為申請出口許可證，本公司有權向其收取與此 項申請有關之款項及零碎開支連同任何有關之稅則。 如買家不需要出口許可證而作出付款，本公司並無責任退還買家因 此而引致之任何利息或其他開支。 5. 本公司之法律責任 本公司僅在第二條第6項所列之情況下，得退還款項予買家。除此之 外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之 作者、來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說 明之誤差，任何拍賣品之任何瑕疵或缺陷，均不負有任何責任。賣家、 本公司、本公司之僱員或代理人，不論是明示或暗示均無就任何拍賣品 作出任何保證。任何種類之任何擔保，均不包含在本條之內。 6. 膺品/贓物之退款 本公司之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實 為膺品、贓物或涉及不法情事者，則交易將取消，已付之款項於交付賣 家前將退還予買家。但如： a. 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納 之意見，或清楚表明有牴觸當時學者或專家普遍接納之意見。 b. 或證明拍賣品為膺品或贓物之方法，只是一種在目錄出版前仍未普遍 獲接納使用之科學程序，或是一種在拍賣日仍屬昂貴得不合理或並 不實際或很可能會對拍賣品造成損壞之程序，則本公司無論如何並 無責任退還任何款項。此外，買家只在滿足下述條件下方可獲得退 款： (1) 買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有 關拍賣品乃膺品或贓物之詳細理由及證據。 (2) 且買家需於書面通知後十四天內將拍賣品送還本公司，而其狀況 應維持與拍賣當日相同，不得有任何損壞。 (3) 送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品 乃膺品或贓物(本公司保有最終及不可異議之決定權)，買家並可 將拍賣品之完整所有權及相關權利轉讓予本公司，而與任何第 三人之索償無涉。在任何情況下，本公司均毋須向買家支付多 於買家就有關拍賣品而支付之款項，而買家亦不能索取利息。 本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本 發票之買家所有(該買家名稱被記載於發票上)，該名買家並須自拍賣後 一直保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何 第三人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺品 或贓物，不論該程序在拍賣當日是否已使用或已在使用，如本公司驗證 拍賣品是否屬於贗品或贓物結果與買家出示證據相衝突者，應以本公司 驗證結果為準。
賣方業務規則請參閱羅芙奧網站 http://ravenel.com http://ravenelart.com.cn
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
and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many Lots fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her/its own judgment or estimation independently regarding the Lots.ing his/her own judgment or estimation independently regarding the Lots. 3. In the Auction a. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate announced by the Company on the day of auction. b. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. c. Registration Prior to the Bidding Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may request to conduct credit checks against Buyers. d. The Bidding Deposit The bidder shall pay the bidding deposit before receiving the bidding number. The Company will announce the amount of the bidding deposit before the auction day. (1) If the bidder fails to pay the bidding deposit in advance, the Company has the right to refuse the bid. If the bidder is not able to purchase any Lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. (2) If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs ) of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). If the Buyer ,without any good cause, fails to pay any and all payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs) of the Lot to the Company within 7 days after the auction date ,the Buyer shall not claim for the return of the bidding deposit. e. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission Bids The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the provided forms attached to the explanations of the catalogue; however, bid commission instructions must be delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. g. Bid by Phone The Company will make proper effort to contact the bidder so he/she can participate in the auction by phone if the Prospective Buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. h. Online Bids via Invaluable If the bidder cannot attend the auction, it may be possible to bid online via Invaluable for preferred Lots to bear individual buyer's responsibilities. This service is free and confidential. For information about registering to bid via Invaluable, please refer to Ravenel.com. The Bidders using the Invaluable online bidding service are subject to the additional terms and conditions for online bidding via Invaluable, which can be viewed at Ravenel.com and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating in auctions. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board.
j. Recorded Images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. k. Determining Power of the Auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his/her discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the commencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction. l. Successful Bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement on Hammer Price. 4. Following the Auction a. The Buyer's Premium of Each Lot (1) The Buyer should pay the hammer price and, in addition, the Buyer's Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the Buyer's Premium should be calculated at 20% of the hammer price. (2) For hammer price higher than NT$ 32,000,000, total amount of the Buyer's Premium should be that the first NT$ 32,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12% of the hammer price. b. Taxes All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his/her/its true name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon the company request. All payments due (including the hammer price, the Buyer's Premium and any freights or other expenses) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the exchange rate of the payments to the Company should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Referral of Packaging or Transportation Companies The shipping department of the Company may introduce the forwarder, assist in the arrangement of delivery, or purchase particular insurance upon the Buyer's request. The Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. Costs and expenses for shipping and insurance shall be paid in advance. f. Remedies for Non-Payment or Non-Collection of Items Sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and Buyer's Premium) multiplied by the number of delayed days as puntive damage for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company's sole decision. (2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose including but without limitations other transactions. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his/hers/its non-payment. The proceeds shall make up for the payment due. (3) If the Buyer owes the Company several payments as a result of different transactions, the payments will set-off any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments. (4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a bidding deposit from the Buyer before accepting any future bids from him/her/it. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned: (a) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer.
g. No Collection of the Lot Sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, handling, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid in full can the sold Lot be collected. h. Export Permit Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days following the auction date; nor does it affect the Company's right to impose interest on delayed payments. If the Buyer requests that the Company applies for the export permit on his/hers/its behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes. If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom. 5. The Legal Responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 2, Section 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Seller, the Company, the employees or the agents of the Company make no guarantee impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein. 6. Return of Payments for Counterfeits or stolen goods The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit or stolen goods, or involved in obvious illegality by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields. b. Or the method used to prove that the Lot is a counterfeit or stolen goods is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he/she considers the relevant auction item a counterfeit or stolen goods. (2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day without any damage. (3) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit or stolen goods (The Company has the final and sole discretion and decision and such decision shall not be objected in this regard). The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim. Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer cannot claim interests. The interests of the warranty cannot be assigned and belong solely to the Buyer who receives the original invoice on which such Buyer's name is recorded from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit or stolen goods based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. If the result of appraising and verifying whether the Lot is a counterfeit or stolen goods by the Company conflicts with the evidence provided by the Buyer, the Company's said result shall prevail over the evidence provided by the Buyer.
Please refer to our website for seller’s Transaction Agreement. http://ravenel.com http://ravenelart.com.cn
