現代與當代藝術 Modern & Contemporary Art

AUTUMN AUCTION 2020 TAIPEI

羅芙奧台北 2020 秋季拍賣會 現代與當代藝術

RAVENEL AUTUMN AUCTION 2020 TAIPEI Modern and Contemporary Art 拍賣日期

地點

2020年12月6日（日）下午 2:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳） 預展日期

地點

高雄 2020年11月14日（六）上午11:00至下午6:00 2020年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 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 台北 2020年12月3日（四）~ 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（博覽廳）

AUCTION Sunday, December 6, 2020, 2:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

PREVIEWS Kaohsiung

Saturday, November 14, 2020, 11:00am - 6:00pm Sunday, November 15, 2020, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan

Taichung

Saturday, November 21, 2020, 1:00pm - 6:00pm Sunday, November 22, 2020, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Taipei

Thursday, December 3 - Saturday, December 5, 2020, 10:00am - 7:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

拍賣目錄每本售價：NT$2,000 This auction catalogue: US$70 per copy

王鎮華 Arthur Wang 董事長 Chairman

郭倩如 Clara Kuo 副董事長 Vice Chairman

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

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

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

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

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目次 / C ontents

7

羅芙奧秋季拍賣會

Sale Information 10

羅芙奧之服務

Ravenel Services 13

藝術家索引

Index 14

現代與當代藝術

Modern and C ontemporary Art 225

給予買家的重要通知

Important Notice to Buyers 227

委託競投表格

Absentee Bid Form 229

業務規則

Transaction Agreement

藝術家索引 / Index

A

Daniel Arsham

丹尼爾．阿爾軒

322, 330, 331

B

Bernard BUFFET

貝爾納．畢費

221

C

Javier Calleja CHANG Wan-chuan Yoshio CHANG George CHANN CHEN Lai-Hsing CHEN Shuzhong CHEN Wei-Cheng CHENG Tsai-tung (ZHENG Zaidong) CHIU Ya-tsai CHU Teh-chun CHUANG Che Joan Cornella

哈維爾．卡勒加 張萬傳 張義雄 陳蔭羆 陳來興 陳樹中 陳威呈 鄭在東

328 285, 298 287 234, 242, 299 296 294 293 239, 269

邱亞才 朱德群 莊喆 朱安・葛明尼拉

240, 241, 260 224, 235, 301, 302, 303 238 210

D

Mr Doodle

塗鴉先生

205, 206, 245, 304, 305, 332

Ｅ

Tracey EMIN

F

Jason Freeny Jason Freeny Alixe FU 傅慶豊 (FU Qingli, Ching-Fong) Takashi MURAKAMI x Fujiko F. Fujio 村上隆 x 藤子．F．不二雄 Futura Futura

300

G

Gao Xing-jian

高行健

290, 291

H

Ai HAIBARA Keith HARING HUANG Benrui HUANG Chih-yang Poren Huang Patrick HUGHES HUNG Yi HUNG Jui-lin Michell HWANG (HWANG Ming-che)

灰原愛 凱斯．哈林 黃本蕊 黃致陽 黃柏仁 帕特里克．休斯 洪易 洪瑞麟 黃銘哲

250, 251 220 329 286 277, 278 244 336 284 276

J

JU Ming

朱銘

K

Yoshitoshi KANEMAKI 金卷芳俊 KATO Izumi 加藤泉 KAWS (Brian Donnelly) KAWS〈布萊恩．唐納利〉 Satoru KOIZUMI 小泉悟 Yayoi KUSAMA 草間彌生

翠西．艾敏

L

LEE Liang LI Chen LI Yuan-chia LIANG Yi-Feng LIU Kuo-sung LUO Zhongli

李梁 李真 李元佳 梁奕焚 劉國松 羅中立

295 227 274, 275 342 229, 230, 273 228

M

MADSAKI Tomokazu Matsuyama Ikki MIYAKE Mr. Masakatsu Iwamoto Takashi MURAKAMI

MADSAKI 松山智一 三宅ㄧ樹 Mr. ( 岩本正勝 ) 村上隆

309, 314, 315, 316 313 255 312 207, 308, 309, 310, 311, 324, 334, 335

N

NA Wei Moe NAKAMURA

那危 中村萌

Yoshitomo NARA NOBUYOSHI Araki

奈良美智 荒木經惟

266 201, 202, 203, 204, 253, 326, 327 208, 211, 216, 217 333

O

Akio OHMORI Adriana Oliver

大森曉生 阿德里安娜．奧利弗

256 317

P

PANG Jiun

龎均

236, 237, 262, 268

R

Ayako ROKKAKU

六角彩子

218, 219

S

SANYU (CHANG Yu) SHIY De-jinn Hajime SORAYAMA SZETO Keung

常玉 席德進 空山基 司徒強

259 270, 288, 289 320, 321 272

T

Madoka TAKAGI Walasse TING

高木まどか 丁雄泉

Yoshimasa TSUCHIYA

土屋仁応

337 232, 233, 243, 261, 282, 283, 292 248, 249

W

WANG Pan-youn Andy WARHOL

王攀元 安迪．沃荷

271, 280, 281 306, 307

X

XUE Song

薛松

264, 265, 267

Y

Mayuka YAMAMOTO Ryoichi YAMAZAKI YANG Din Tzu-chi YEH

山本麻友香 山崎龍一 楊登雄 葉子奇

209 258 263 231

Z

ZAO Wou-ki

趙無極

223, 225

319

318 279, 297 311

341 257 254 212, 320, 321, 325, 338, 339, 340 252, 323 213, 214, 215, 222, 226

201

Moe NAKAMURA

中村萌

(Japanese, b. 1988)

無題

Untitled

油性筆 紙板

Marker pen on cardboard 34 x 14.5 cm; 34.5 x 14 cm

NT$ 40,000 - 80,000 HK$ 11,000 - 21,000 US$ 1,400 - 2,700 RMB 9,000 - 19,000

14

34 x 14.5 cm; 34.5 x 14 cm

202

Moe NAKAMURA

中村萌

(Japanese, b. 1988)

綠裙女

Lady in a Green Dress

2016

2016 Watercolor on paper 29. 5 x 21.5 cm Signed lower right Moe

29. 5 x 21.5 cm

PROVENANCE

Gallery Tsubaki, Tokyo Private collection, Asia

NT$ 90,000 - 180,000 HK$ 24,000 - 48,000 US$ 3,100 - 6,200 RMB 21,000 - 42,000

水彩 紙本 簽名右下：Moe 來源

椿畫廊，東京 私人收藏，亞洲

203

Moe NAKAMURA

中村萌

(Japanese, b. 1988)

塗鴉

Drawing

2017

2017 Acrylic on paper 38.5 x 26.5 cm Signed lower right Moe

38.5 x 26.5 cm

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

NT$ 110,000 - 220,000 HK$ 29,000 - 59,000 US$ 3,800 - 7,500 RMB 26,000 - 52,000 16

壓克力 紙本 簽名右下：Moe 附椿畫廊開立之作品保證書

204

Moe NAKAMURA

中村萌

(Japanese, b. 1988)

無題

Untitled

2017

2017 Watercolor on paper 21 x 14.7 cm Signed lower right Moe

21 x 14.7 cm

NT$ 110,000 - 220,000 HK$ 29,000 - 59,000 US$ 3,800 - 7,500 RMB 26,000 - 52,000

水彩 紙本 簽名右下：Moe

205

Mr Doodle

塗鴉先生

(British, b. 1994)

超級城市（東京）

Super City (Tokyo)

2019

2019 Acrylic on canvas 14 x 18 cm

14 x 18 cm

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

NT$ 100,000 - 260,000 HK$ 27,000 - 69,000 US$ 3,400 - 8,900 RMB 24,000 - 61,000

18

壓克力 畫布 簽名畫背：MR DOODLE! 2019 附藝術家簽名之原作保證書

206

Mr Doodle

塗鴉先生

(British, b. 1994)

電光城市

Zap City

2019

2019 Acrylic on canvas 22 x 27.3 cm

22 x 27.3 cm

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

NT$ 190,000 - 300,000 HK$ 51,000 - 80,000 US$ 6,500 - 10,300 RMB 45,000 - 71,000

壓克力 畫布 簽名畫背：MR DOODLE! 2019 附藝術家簽名之原作保證書

207

Takashi MURAKAMI (Japanese, b. 1962)

Drawing

村上隆 簽名塗鴉

2011 Marker pen on paper 25.5 x 18 cm Signed lower M

2011

PROVENANCE

來源

Acquired directly from the artist by the present owner in 2011

現有收藏者於2011年得自藝術家本人

Private collection, Taipei

私人收藏，台北

NT$ 60,000 - 100,000 HK$ 16,000 - 27,000 US$ 2,100 - 3,400 RMB 14,000 - 24,000 20

馬克筆 紙本 25.5 x 18 cm 簽名下方：M

208

Yoshitomo NARA (Japanese, b. 1959)

Drawing

奈良美智 簽名塗鴉

2011 Marker pen on paper 25.5 x 18 cm Signed lower Na in Japanese and dated 2011

2011

PROVENANCE

來源

Acquired directly from the artist by the present owner in 2011

現有收藏者於2011年得自藝術家本人

Private collection, Taipei

私人收藏，台北

NT$ 220,000 - 400,000 HK$ 59,000 - 106,000 US$ 7,500 - 13,700 RMB 52,000 - 94,000

馬克筆 紙本 25.5 x 18 cm 簽名下方：な' 2011

209

Mayuka YAMAMOTO

山本麻友香

(Japanese, b. 1964)

小山羊男孩

Little Mountain Goat Boy

2018

2018 Oil on canvas 45.5 x 38 cm Signed on the reverse Mayuka in English, titled little mountain goat boy and dated 2019

45.5 x 38 cm

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

NT$ 300,000 - 400,000 HK$ 80,000 - 106,000 US$ 10,300 - 13,700 RMB 71,000 - 94,000

22

油彩 畫布 簽名畫背：little mountain goat boy Mayuka 2019 附椿畫廊開立之原作保證書

210

Joan Cornella

朱安 葛明尼拉

(Spanish, b. 1981)

做你自己

Be Yourself

油彩 紙板

Oil on cardboard 81.5 x 101.5 cm Signed lower right Joan Cornella

簽名右下：Joan Cornella

PROVENANCE

私人收藏，亞洲

GR Gallary, New York Private collection, Asia

NT$ 420,000 - 550,000 HK$ 112,000 - 146,000 US$ 14,400 - 18,800 RMB 99,000 - 129,000

81.5 x 101.5 cm 來源

GR 畫廊，紐約

211

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

全世界都是你的

All the World is Yours

2000

2000 Graphite and colored pencil on paper 29.5 x 21 cm Signed lower right Na in Japanese and dated 2000

29.5 x 21 cm

PROVENANCE

Blum & Poe, Los Angeles

NT$ 650,000 - 750,000 HK$ 173,000 - 199,000 US$ 22,300 - 25,700 RMB 153,000 - 176,000

24

彩色鉛筆 紙本 簽名右下：な' 00 來源

Blum & Poe畫廊，洛杉磯

212

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

BFF (Black, Pink) (a set of 2) 2019 Polyster, plush, Dior limited-edition outfit edition no.

205/500; 249/500 47.5(H) cm (each) 30.1(L) x 24.1(W) x 55.4(H) cm (box) (each) PROVENANCE

Private collection, Asia This lot is accompanied with their certificate of authenticity and original boxes.

NT$ 650,000 - 750,000 HK$ 173,000 - 199,000 US$ 22,300 - 25,700 RMB 153,000 - 176,000

KAWS〈布萊恩．唐納利〉 x Dior BFF(粉紅、黑) (兩件一組) 2019 綜合媒材 聚酯纖維 毛絨 迪奧限量設計牛仔服及西裝 205/500; 249/500 45.7(高) cm (每件) 30.1(長) x 24.1(寬) x55.4(高) cm (原裝盒) (每件) 來源：

私人收藏，亞洲 附作品保證卡和原裝盒

213

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

南瓜(四件一組)

Pumpkin(a set of 4)

2002

2002 Ceramic, edition no. 32/130; 108/130; 54/100; 107/130 10.5(L) x 9.3(W) x 8.5(H) cm 8(L) x 7.5(W) x 9(H) cm 10.5(L) x 10.5(W) x 8.5(H) cm 10.5(L) x 9.3(W) x 8.5(H) cm

10.5(長) x 9.3(寬) x 8.5(高) cm

Signed on the bottom Yayoi Kusama, numbered 32/130 and dated 2002 Signed on the bottom Yayoi Kusama, numbered 108/130 and dated 2002 Signed on the bottom Yayoi Kusama, numbered 54/100 and dated 2002 Signed on the bottom Yayoi Kusama, numbered 107/130 and dated 2002

NT$ 500,000 - 700,000 HK$ 133,000 - 186,000 US$ 17,100 - 24,000 RMB 118,000 - 165,000

26

陶瓷 32/130；108/130；54/100；107/130 8(長) x 7.5(寬) x 9(高) cm 10.5(長) x 10.5(寬) x 8.5(高) cm 10.5(長) x 9.3(寬) x 8.5(高) cm 簽名底部：Yayoi Kusama 2002 32/130 簽名底部：Yayoi Kusama 2002 108/130 簽名底部：Yayoi Kusama 2002 54/100 簽名底部：Yayoi Kusama 2002 107/130

214

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

南瓜

Pumpkin

1998

1998 Rasin, edition no. 16/30 13(L) x 13(W) x 12(H) cm Signed on the bottom Yayoi Kusama, numbered 16/30 and dated 1998

13(長) x 13(寬) x 12(高) cm

PROVENANCE

Beyond Gallery, Taipei.

Acquired from the above by the present owner

NT$ 650,000 - 900,000 HK$ 173,000 - 239,000 US$ 22,300 - 30,800 RMB 153,000 - 212,000

樹脂 16/30 簽名底部：1998 Yayoi Kusama 16/30 來源

非畫廊，台北 現有收藏者購自上述來源

215

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1988 Screenprint, edition no. 38/50 103 x 79.3 cm Signed lower right Yayoi Kusama in English, titled Pumpkin in Japanese and dated 1988 Numbered lower left 38/50 ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017, color illustrated, p. 75, no. 115

NT$ 1,700,000 - 2,600,000 HK$ 452,000 - 691,000 US$ 58,300 - 89,100 RMB 400,000 - 612,000 草間彌生 南瓜 1988 版畫 38/50 103 x 79.3 cm 簽名右下：かぼちゃ 1988 Yayoi Kusama 版次左下：38/50 圖錄

《草間彌生全版畫1979-2017》，阿部出版株式會社， 東京，2017，彩色圖版，頁75，編號115

28

216

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

我不害怕

I’m Not Scared

信封 彩色鉛筆

Color pencil on envelope 12 x 23 cm

來源

12 x 23 cm 私人收藏，亞洲

PROVENANCE

Private collection, Asia

展覽

EXHIBITED

「奈良美智 - 倫敦梅菲爾之家」，斯蒂芬·弗里德曼畫廊，倫敦，展期

Yoshitomo Nara, London Mayfair House, Stephen Friedman Gallery, London, February 3 - March 11, 2006

自2006年2月3日至3月11日

ILLUSTRATED

《奈良美智作品全集第二冊》，編年出版社，舊金山，2011，彩色

Yoshitomo Nara: The Complete Works Volume 2, Chronicle Books LLC, San Francis co, 2011, color illustrated, p. 238

圖版，頁238

圖錄

NT$ 2,800,000 - 3,800,000 HK$ 745,000 - 1,011,000 US$ 96,000 - 130,200 RMB 659,000 - 894,000 奈良美智，無疑是近年藝術市場最炙手可熱的日本藝術家名字之 一，他的作品孤獨卻溫暖、親和簡單卻觸動人心，以童趣卻叛逆的形 象令人著迷，深受收藏家追捧。奈良美智偏好獨立創作，在他不願長 大的回憶童年時代的創作中，描繪出動人的生命經歷。

「我的全部作品其實是我內心的自畫像，是和自己的對 話。」 — 奈良美智 德國留學歸國後的奈良美智於2001年在橫濱美術館舉辦在日本的首 檔個展「i Don't Mind, If You Forget Me」自此打響知名度，以自身 童年為創作靈感，透過易於理解的圖像和標語吸引觀者的目光。此後 許多國際畫展的肯定以及著名公共藝術機構收藏，其中包括︰日本青 森縣立美術館、美國舊金山現代美術館、紐約現代美術館、洛杉磯當 代美術館、芝加哥藝術協會、英國倫敦大英博物館、西班牙馬拉加當 代藝術中心、日本原當代美術館，巴黎國立造型藝術中心、德國紐倫 堡新博物館、以及布里斯本昆士蘭藝術館。而私人收藏更是遍布全 球，為收藏家追逐的夢幻逸品。其畫作更於2019年10月打破了個人 拍賣紀錄（逾七億七千萬台幣），而其裝置雕塑亦拍出逾一億五千萬

After Returning from Germany, Nara held his first solo exhibition in Japan at Yokosuka Museum of Art in 2001, named “I Don’t Mind, If You Forget Me”. He gained his fame quickly after that, when his easy-to-understand slogans and images attracted many viewers.

Since then, many international painting fairs and famous public art institutes have included his works, among them: Aomori Museum of Art, San Francisco Museum of Modern Art, New York Museum of Modern Art, the Museum of Contemporary Art, Los Angeles, The Art Institute of Chicago, British Museum, Contemporary Art Museum Malaga, Hara Museum of Contemporary Art, National Centre for Visual Arts in Paris, Neues Museum Nürnberg and Queensland Museum in Brisbane. His creations are also in private hands around the world, being sought after by many collectors. In October 2019, his paintings broke his own record, being sold at over US$ 25 million (more than NT$750 million). Meanwhile, one of his installations was sold at over US$ 5 million(more than NT$150 million). With these auction results, it is clear that Nara’s works have become new primary collectibles in the Asian market. With his unbound talents and his refusal to grow up, Yoshitomo Nara is continuing his brilliant life experiences.

台幣的高價，顯示奈良美智已奠定其人氣經年不墜的亞洲當代藝術新 標的。不被框限的才情，這位不願長大的藝術家，奈良美智正在持續 他精彩動人的生命經歷。

Yoshitomo Nara is definitely one of the most popular Japanese artists in recent years. His works are lonely, yet warm; simple and approachable, yet touching. His childish yet rebellious style is fascinating, and is sought after by collectors. Nara prefers working alone, and use his age-defying works of childhood memories to portray touching life experiences.

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

-Yoshitomo Nara 30

奈良美智《梅菲爾之家》2006 混合媒材 556.5 x 817 x 321.5 cm，倫敦 Yoshitomo Nara, London Mayfair House, 2006, mixed media, 556.5 x 817 x 321.5 cm, London

217

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

噴氣機

Jet Set

2000

2000 Colored Pencil and pencil on paper 27.9 x 21.6 cm Signed lower right Na in Japanese and dated 2000

27.9 x 21.6 cm

PROVENANCE

Marianne Boesky Gallery, New York Blum & Poe, California Pace Gallery, New York Private collection, Asia ILLUSTRATED:

Yoshitomo Nara: The Complete Works Volume 2, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 166, no. D-2000-245

色鉛筆 鉛筆 紙本 簽名右下：な' 00 來源

Marianne Boesky 畫廊，紐約 Blum & Poe畫廊，加州 佩斯畫廊，紐約 私人收藏，亞洲 圖錄

《奈良美智作品全集第二冊》，編年出版社，舊金山， 2011，彩色圖版，頁166，編號D-2000-245

NT$ 3,600,000 - 4,600,000 HK$ 957,000 - 1,223,000 US$ 123,400 - 157,600 RMB 847,000 - 1,082,000

奈良美智作品當中，總是以肖像式的主題描繪出那帶點戲謔、 反抗，流露著叛逆氣息並憤世忌俗態度的孩童畫像，儘管這 些小孩的畫像有著各種怪異、輕挑或是令人憐憫、需要被關 愛的眼神，終究是圍繞著強烈的自我意識，被孤獨籠罩的本 我。「噴氣機」為奈良美智2000年創作。"噴氣機"(Jet Set) 一詞是一個國際社會富人群體的術語，他們周遊世界，參加 普通人無法參加的社會活動。引申含義則是通過噴氣飛機從 一個時尚或異國風情的地方旅行到另一個地方的生活方式。 Nara’s works are often portraits of children exuding attitudes of mockery, resistance, a spirit of rebellion, or disdain for the world and its baseness. And although these children’s portraits feature strange, flippant, or pitiful looks, their appearances revolve around a strong self-awareness, a self shrouded in loneliness. “Jet Set” created in 2009, "Jet Set" is a term for an international social group of wealthy people who travel the world to participate in social activities unavailable to ordinary people. The term, which represent and came from the lifestyle of travelling from one stylish or exotic place to another via jet plane. 奈良美智 《無題》2002年 壓克力 彩色鉛筆 紙本，72.6 x 51.6 cm 蘇富比香港2017春季拍賣會，編號817，成交價：港幣394萬 Yoshitomo Nara, Untitled, 2002, Acrylic colour pencil on paper 72.6 x 51.6 cm, Sotheby's Spring Auction 2017 HK, US$506,786 Sold

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218

Ayako ROKKAKU (Japanese, b. 1982)

The Sisters 2007 Acrylic on canvas 130.5 x 162 cm Signed on the reverse Rokkaku Ayoko in Japenese and dated 2007 PROVENANCE

Gallery Beniya, Tokyo Private collection, Europe

NT$ 3,000,000 - 5,000,000 HK$ 798,000 - 1,330,000 US$ 102,800 - 171,400 RMB 706,000 - 1,176,000

六角彩子 姊妹 2007 壓克力 畫布 130.5 x 162 cm 簽名畫背：ロッカクアヤコ 2007 來源

ギャラリー紅屋藝廊，東京 私人收藏，歐洲

34

219

Ayako ROKKAKU

六角彩子

(Japanese, b. 1982)

ARP19 - 058

ARP19 - 058

2019

2019 Acrylic on canvas 75.5 x 145 cm Signed lower right Rokkaku Ayoko in Japenese, dated 2019 titled on the reverse ARP19 - 058

75.5 x 145 cm

PROVENANCE

Gallery Delaive, Amsterdam Private collection, Asia

壓克力 畫布 簽名右下：2019 ロッカクアヤコ 題識畫背框條：ARP19 - 058 來源

德萊夫畫廊，阿姆斯特丹 私人收藏，亞洲

NT$ 3,000,000 - 4,000,000 HK$ 798,000 - 1,064,000 US$ 102,800 - 137,100 RMB 706,000 - 941,000

六角彩子：手繪的夢想世界 「手帶領著指頭的方向，其力度勝於文字」村上隆加持的藝術家六

AYAKO ROKKAKU: A HAND-PAINTED WORLD OF DREAMS

裡的人物往往不見笑容，或睜大雙眼，扁著嘴，表現出憤怒的樣

“The hand directs where the fingers point. They are more powerful than words.”An artis appeciated by Takashi Murakami, Ayako Rokkaku was born in January 24, 1982, in Chiba Prefecture, Japan.

Chiba Prefecture, which is close to Tokyo, is the home of the airport of the capital of Japan, Narita International Airport, and the children’s paradise, Disneyland. Rokkaku’s background is similar to that of the prefecture in that this world seems to have foretold her future of soaring through the skies and traveling among the cities of the world and a dreamland for girls she is an expert at

貌。她說自己的人物畫有兩個極端：「逃離與追尋」，「遠目與凝

portraying.

角彩子，1982年1月24日出生於日本千葉縣。千葉縣鄰近東京，首 都的成田機場，以及孩子們的天堂迪士尼樂園都在這裡。六角彩子 的成長背景，距離外面的世界不遠，似乎預視著她未來將翱翔天 際，往來於世界都市，還有她擅長畫出的女孩們的夢幻國度。

自成一格的繪畫特色與風格表現 女孩與兒童是貫穿她創作的主要母題，採取特寫形式的佈局。畫

視」。主角多數有行走的姿態，大步邁開向前。重覆性的隨機塗鴉 圖案、動物，也經常是畫裡的元素。無論是拉長的手臂或是過大的 眼睛，鮮艷的色彩或是簡化的細節，這些皆是日本卡通文化所帶來 的影響。未上過任何藝術學校的六角彩子，其畫作技巧與本領皆為 自學，靠著她與生俱來的靈敏觀察力及細膩的情感，她的繪畫技巧 上已自成一派。六角彩子以手蘸滿壓克力顏料，觸摸時的溫暖手感 及天馬行空的塗鴉精神價值，她用即興式的塗鴉將色彩與形式作了 有趣的試驗，繪出了她的夢想世界。

36

UNIQUE PAINTING CHARACTERISTICS AND STYLE The major themes throughout her painting history are girls and children, and she often portrays them in close-ups. The figures in her painting are often unsmiling. Their eyes may be opened wide and their lips pressed together, or they may look angry.

She said her figures went from two sets of extremes: “escaping and chasing” or “looking away and staring.” Most of the main figures in her paintings are walking in large strides. Other common elements in her paintings are repetitive random sketches and animals. Having elongated arms or overly large eyes, bright colors or simplified details, they are all influenced by Japanese animation culture. She never received formal education of fine art, her painting skill is self-study, and reflected on her inherently sensitive observation and delicate emotions. Her hands dipped in acrylic, with the spirit value of graffiti, Ayako Rokkaku used improvised graffiti to make interesting experiments on colors and forms that created her hand- painted world of dreams.

Tseng Kwong Chi Pop Shop, New York, 1986 Art © The Keith Haring Foundation.

Photo © Muna Tseng Dance Projects, Inc.

220

Keith HARING (American, 1958 - 1990)

Untitled (Pop Shop Counter) 1986 Mixed media 91.4(L) x 121.9(W) x 48.3(H) cm This lot is to be sold with a certificate of authenticity issued by Keith Haring Studio LLC

NT$ 13,000,000 - 18,000,000 HK$ 3,457,000 - 4,787,000 US$ 445,500 - 616,900 RMB 3,059,000 - 4,235,000

凱斯．哈林 無題（潮店櫃台） 1986 綜合媒材 91.4(長) x 121.9(寬) x 48.3(高) cm 附凱斯哈林工作室開立之原作保證書

POP SHOP IN MANHATTAN, 1986 AN EXTENSION OF KEITH HARING'S WORK

“Art should liberate your soul, trigger your imagination and inspire people to move forward.” 「藝術應該解放你的靈魂，觸發你的想像並激勵人們向前走。」

-Keith Haring 自街頭，源於城市的藝術創作，在街頭文化盛行的1980年代凱斯．

相同的。它將人類及世界結合在一起，透過魔法般的方式存在著。」

哈林雖然不是引領塗鴉風潮的第一波發起人，但他的藝術卻如雨後春

許多社會運動中皆有他的身影，即使他的作品亦登上美術館殿堂。

筍般佈滿1980年代紐約的地鐵及街頭。1958年出生於美國賓州，自

1980年代美國大眾文化的盛行，冷戰後的社會氛圍中壓抑卻狂熱，保

小便喜歡畫畫，父親是他卡通繪畫技巧的蒙師。受教於正規學院訓練

守卻激進，藝術與大眾文化之間的反抗關係，於凱斯．哈林的藝術理

1981年首次個展於紐約後便參加多個國際展覽，從紐約至歐洲德國卡

念中嶄露無遺，面對這些議題，他也以鮮明的個人風格站在前線以藝

塞爾文件展、巴西聖保羅雙年展等，聲名享譽國際。凱斯•哈林也進

術表達立場。

行多項公共藝術塗鴉、海報設計和涉及表演藝術領域。

「塗鴉是我見過最美好的事物。」

1986年在紐約蘇活區開了一間名為「Pop Shop」販售T恤、海報以 及自己作品的潮店，而這間潮流背後的理念為「我想繼續與在地鐵塗

— 凱斯．哈林 1982年因在地鐵站塗鴉遭到紐約警方以現行犯逮捕，而其過程被美國

鴉一般地進行相同的交流。我想吸引同樣多的人，而且我希望它成為 一個不僅收藏家可以來，同時布朗克斯區的孩子也可以來的地方。而 重點是我們不想生產會降低藝術品價格的產品；換句話說，這是一種

哥倫比亞電視台報導而聲名大譟。城市即為他的畫布，凱斯．哈林的

藝術的狀態。」此種商業計畫讓更多人可以接觸到凱斯•哈林的藝

街頭創作中時常蘊含許多經典元素，重覆出現的符號如天使、狗、飛

術，他認為創造藝術的目的就是文化交流並為文化做出貢獻，且他相

碟、身體穿洞的人以粗輪廓、單色的線條呈現，看似童趣暨幽默但內

信的藝術，是從大眾而出發的無償創作。而此件作品《無題（潮店櫃

容卻不乏挑釁與隱藏的憤怒。從出生、死亡、愛情、性別和戰爭等議

台）》則為當時凱斯．哈林親筆繪製潮店內的櫃台。

題，凱斯．哈林創造出了普世流傳的符號精神。他對社會及人性的關 懷皆反映在他的創作中，反戰、反核、反毒與愛滋平權運動。

凱斯•哈林以塗鴉圖像傳遞了各種訊息而深入社會並深受大家喜愛， 不為一種舉世共通的符號語言。1982至1989年之間他已於全球10幾

在他短短十年卻充滿爆發力的創作生涯中，凱斯．哈林的藝術從未遠

座城市創造出50幾件公共藝術作品，且大多目的多出於慈善，而他的

離群眾。他曾說過「我對世界的貢獻是我的繪畫能力，我將盡我所

藝術早已超越了藝術家短暫生命的局限，留給世人他對藝術對社會的

能，在此生所及為更多人們而畫。繪畫，從史前直至今日基本上仍是

熱情與關懷。

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Originated from the street, from the city’s artistic creation, while in the 1980s when the street culture was popular, though Keith Haring was not the one initiated the first wave of graffiti, his art has sprung up on the subways and streets of New York then. Born in Pennsylvania in 1958, he likes to paint since he was a child, his father was his enlightenment teacher in cartoon drawing skills.

Trained in a formal college, he participated in many international exhibitions after his first solo exhibition in New York in 1981, from New York to the Kassel Documenta in Germany, and the Sao Paulo Biennale in Brazil. He also has joined a number of public art in relation to graffiti, poster design and performing art.

“Graffiti is the best thing I have ever seen.”

-Keith Haring In 1982, Keith Haring was arrested by the New York police for graffiti in a subway station, the process was reported by Columbia Television and then brought him became fame. The city became his canvas, his street art creations often contain many classic elements, symbols are repetitive such as angels, dogs, flying objects and people with piercing all over the body are presented in thick silhouettes and monochrome outlines. They seem to be childlike and humorous, but the context is hinting with provocations and hidden anger. Across the agenda of birth, death, love, gender and war, he created a symbolic spirit that is universally spread. His tender care for the society and human nature is reflected in his creations, for instance anti-war, anti-nuclear, anti-drug and AIDS equal rights movements.

Though Keith Haring’s creative career only lasted for a short period of ten years, but is undoubtedly explosive, his art has never been far away from the mass public. He once said, “Here’s the philosophy behind the Pop Shop: I wanted to continue this same sort of communication as with the subway drawings. I wanted to attract the same wide range of people, and I wanted it to be a

place where, yes, not only collectors could come, but also kids from the Bronx. The main point was that we didn’t want to produce things that would cheapen the art. In other words, this was still an art statement.” He has been seen to participate in many social movements, even his works then were already exhibited in museums. The prevalence of American pop culture in the 1980s, repressive but simultaneously fanatical, conservative yet radical social atmosphere in the post Cold War, the rebellious relationship between art and popular culture, all these contradictions are clearly visible in his artistic philosophy. Confronting with these issues, he proudly stands on the front line with a distinctive personal style to express his viewpoint through art.

In 1986, a trendy shop called “Pop Shop” was launched in Soho, New York, selling T-shirts, posters and his own works. The idea behind this initiative was “I want to continue to have the same communication as graffiti in the subway, I want to attract as many people as in the subway, not only collectors can come, but also children in the Bronx. And the crucial point is that we do not want to produce products that will lower the art price, in other words, this is a state of art.” This kind of business venture allows more people to have access to his art. Keith Haring reckons that the purpose of creating art is to communicate and hence contribute to the culture, and the art he believes in is gratuitously created for the mass public. And this work “Untitled (Pop Shop Counter)” was hand painted by him in the counter of his pop shop.

Keith Haring employed graffiti imagery to convey a variety of messages and went deep into the society, was clearly loved by everybody, nevertheless it is an universal symbolic language.

Between 1982 and 1989, he has created at least 50 public artworks in more than 10 cities around the world, and most of them are for charity. His art has long surpassed the limitations of his short yet fascinating life, leaving the world with his enthusiasm and care for the society.

221

Bernard BUFFET

貝爾納．畢費

(French, 1928 - 1999)

聖托佩港口

Saint Tropez, Le Port

1993

1993 Oil on canvas 130 x 195 cm Signed upper left Bernard Buffet, and dated 1993 Titled on the reverse St Tropez Le Port Var

130 x 195 cm

PROVENANCE

Galerie Rienzo, New York Important private collection, American EXHIBITED

油彩 畫布 簽名上方：Bernard Buffet 1993 題識畫背：St Tropez Le Port Var 來源

Rienzo 藝廊 重要私人收藏，美國 展覽

「普羅旺斯散步」，莫里斯．賈尼耶畫廊，巴黎，1993年

Promenade Provencale, Galerie Maurice Garnier, OctoberNovember 1993 Landscapes of France, Galerie Rienzo, New York, April 15-May 15, 1996

10月至11月

ILLUSTRATED

坎佩爾，2007，彩色圖版，頁83-84

Henry Perier, Bernard Buffet et la Provence, Editions Palantines, Quimper, 2007, color illustrated, pp. 83-84 Bernard Buffet Agenda, Editons Palantines, Quimper, 2011 color illustrated, plate #34

《貝爾納．畢費》，Palantines，坎佩爾，2011，彩色圖版，

This lot is to be sold with a certificate of authenticity issued by Galerie Maurice Garnier, Paris.

此作品將被收錄於Le Fonds de Dotation Bernard Buffet 及

「法國風景」，Rienzo藝廊，紐約，1996年4月15至5月15日 圖錄

亨利．波瑞爾，《貝爾納．畢費和普羅旺斯》，Palantines，

圖版34 附巴黎莫里斯．賈尼耶畫廊開立之原作保證書 莫里斯．賈尼耶畫廊正在編撰的畢費編年目錄續集（《畢費 編年目錄：第一集》已於2019年10月出版）

This work will be included in the forthcoming Catalogue Raisonné.

“Bernard Buffet:Catalogue Raisonné de L'oeuvre Peint Vol. 1: 1943-1951" was published by Le Fonds de Dotation Bernard Buffet and Galerie Maurice Garnier in October, 2019.

NT$ 17,000,000 - 32,000,000 HK$ 4,521,000 - 8,511,000 US$ 582,600 - 1,096,600 RMB 4,000,000 - 7,529,000

貝爾納．畢費與妻子安娜貝爾．畢費於聖托佩住所 Bernard Buffet and his wife Annabel Buffet in their residence in Saint-Tropez

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「我們的愛誕生於聖托佩……我知道為什麼我愛樹木和船桅……」 ─ 安娜貝爾．畢費 （引自《聖托佩前世今生》1981）

"Our love was born in Saint-Tropez... I know why I love trees and the boat masts..."

- Annabel Buffet, Saint-Tropez d'hier et d'aujourd'hui, 1981 時代的風格，向來撼動人心，不少藝術家包括臺灣的前輩畫家 席德進都曾受到他的影響。日本收藏家更尊他為法國藝術的宗 教，為他建造美術館。他將現代繪畫與傳統技法巧妙地融合， 深刻描寫戰後的哀愁與苦難。

感受時代的真實性，貝爾納・畢費筆下的南法風情 法國南部獨特風光夙負盛名，對於許多藝術家而言一直有著深 深的吸引力，畢費亦以他獨特表現方式描繪出法國蔚藍海岸迷 人的風情。此幅《聖托佩港口》完成於1993年，雖為藝術家 晚期之作，然畢費仍被其迷人丰采所吸引，號稱擁有法國最美 麗的海灘，亦是名人以及熱愛大海、歷史、藝術及文化遺產的 人們必經之地。憑它的別稱「太陽城」，就知道這裏的陽光是 多麼的燦爛。聖托佩亦身為一座藝術古城，20世紀初雲集了畫 貝爾納．畢費《聖托佩港口》1993 油彩 畫布 130 x 195 cm 現藏於巴黎貝爾納．畢費美術館

家、作家等藝術家成為令人夢寐以求藝術之地。

Bernard BUFFET, Le Port de Saint Tropez, 1993, oil on canvas, 130 x 195 cm

1958年，30歲的畢費與安娜貝爾於聖托佩透過法國攝影師盧

Collection of Musée Bernard Buffet, Paris.

克．福爾諾（Luc Fournol）介紹相識進而瘋狂相戀。安娜貝 爾立即成為了畢費的謬思，聖托佩更啟發了他們的許多藝術創

法國戰後具象藝術的代表大師貝爾納 ． 畢費支撐起藝術史的

作。宜人港灣以及港口旁著名的塞內基耶咖啡館（Senequier）

重要版圖，在亞洲享有極知名高度與全球性的藏家擴及度，使

於此件《聖托佩港口》中一覽無遺，早晨的港灣，是畢費最喜

其公認為殿堂級藝術家。年輕時才華洋溢的畢費，1955年僅27

歡散步的時刻，他時常駐足於塞內基耶咖啡館喝杯咖啡，看著

歲即被當時法國《藝術鑑賞雜誌》選為「戰後十大最傑出藝術

人們流動於碼頭漫步、豪華遊艇停靠，有著偶爾看到任何著名

家」之首，1974年年僅46歲的畢費，更入選為最年輕的法蘭西

的電影明星之期望。畢費以精準俐落之線條筆觸捕捉他眼中此

學院美術學院院士，一生創作了超過八千幅的作品，他驚人的

情此景最美的角度，擺脫常態的灰暗色調，少見的南法藍天及

創作力留下了一系列經典之作。

塞內基耶咖啡館鮮明的紅、白用色，磚牆砌成的粉橘、聖托佩

「繪畫，我們不談它，我們不分析它，我們感覺它。」 ·─貝爾納 ． 畢費 1928年生於巴黎，成長於布列塔尼海岸，喜愛生物學，貝爾納.

聖母升天教堂和遠處山嶺上的綠意，各種色彩交織，畢費充分 展現出他獨特的南法風情。《聖托佩港口》投射藝術家創作當 時安暇豁然之心情，遠離煩喧、湛藍的海洋與天空，給予藝術 家心境上的愉悅和澎湃。

畢費生性細膩敏感，學業上的困難，無法阻擋旁人發覺他卓越

綜觀畢費一生的海景作品，其中又以南法度假勝地為背景的作

的藝術天賦。年輕時的他已才華盡顯，1950年代已聲名遠播。

品最為膾炙人口，受到許多私人藏家的喜愛。畢費曾描繪多幅

他主題的選擇，常常是自己熟悉的人物環境，或者是古代大師

聖托佩港口的小幅水彩，然而唯二兩件博物館級的大尺幅重要

的畫作。而由於童年常於法國西岸的布列塔尼，與母親度過夏

油畫，而其中一幅同樣大尺幅、年代的相同主題之作《聖托佩

日時光。對於大自然的熱愛，造就畢費一生描繪法國各地海

港口》油彩畫作目前典藏於畢費美術館；另一件則為是次秋拍

岸、港灣的創作不斷，他的創作大多屬系列，並多重複主題、

所敬獻《聖托佩港口》為藝術家薈萃了聖托佩港口迷人的南法

角色、意象與題材。灰色都市建築、蕭瑟的花卉與靜物、小丑

風情所創作出標誌性代表作，此件源自於美國珍藏，現首度釋

和鬥牛士。畢費以黑色線條勾勒的繪畫建構出同時屬於個人與

於拍場，誠為頂尖藏家難得的收藏機遇。

44

The representative master of French post-war figurative art, Bernard Buffet, undoubtedly sustains an important domain in art history, is well renowned in Asia and reaches a global scale of collectors, making him acknowledged as the iconic artist. The young and talented Buffet was named as the best out of the top ten post war artists by “Connaissance des Arts”, in 1955, he was only 27 years old then. In 1974, at the age of 46 years old, he became an member of the Académie des Beaux-Arts. He created more than 8,000 works in his life, his amazing creative power has assuredly left a series of classic works.

“Painting, we do not talk about it, we do not analyse it, we feel it.”

- Bernard Buffet Born in Paris in 1928, he grew up on the coast of Brittany and has always been fond of biology. The delicate and sensitive Bernard Buffet although encountered difficulties while pursuing academic, cannot stop others from discovering his outstanding artistic talent.When he was young, he was already full of talents, and his reputation has already been widespread in the 1950s. The themes he chosen often are related to the character or environment he is familiar with, or the paintings of ancient masters. Precisely because of his childhood spent on the west coast of France, Brittany, the endless summers there he spent with his mother. The love of nature has contributed to the continuous depiction of the coasts and harbours of France throughout his life. Most of his creations are in series, with repeated subjects, characters, imagery and themes, such as urban architecture in greyish tone, desolate flower and still life, clowns and toreadors. The paintings of Buffet outlined with black lines have such a strong personal and epoch style, have always been able to shock the inner hearts of the viewers. Many artists, including Taiwan predecessor painter Shiy Dejinn, have been profoundly influenced by him. Japanese collectors even accredited him as the paramount religion of French art and built an art museum for him. He skillfully integrated modern painting with traditional techniques, deeply described the sorrow and suffering after the war.

an ancient art city, at the beginning of the 20th century, artists including painters and writers gathered to become a coveted art scene.

In 1958 in Saint-Tropez, the photographer Luc Fournol introduced his friend Annabel Schwob to Bernard Buffet, they fell madly in love with each other, Annabel became his muse. The region Saint Tropez also inspired many of their artistic creations.The pleasant harbour and the famous Senequier Cafe located in the heart of port can be clearly seen in this work of “Saint Tropez Le Port”.

Strolling around the harbour in the morning is Buffet’s most favorite time, he often enjoys a cup of coffee at the cafe Senequier, looking at visitors wandering around the pier, with luxury yachts docking, building up an expectation of might be meeting any famous movie stars. With precise and neat brushstrokes, Buffet captures the most beautiful point of view out of this scenery from his eyes, instead of the usual greyish hue, he adopted the rare bright colors, such as the mesmerizing blue sky of southern France, the vivid contrast of red and white for the Senequier Cafe, the brick walls in pinkish orange, not to forget the Notre-Dame de l’Assomption and the greenery from the mountains in the far distance. All the intertwined colors fully demonstrate his superb southern French style. “Saint Tropez Le Port” projects his state of mind during creation, which is completely at ease and away from the turbulent annoying, both the captivating blue ocean and sky enrich him with a surging mood of joy.

Over viewing across the seascape works by Buffet, the works with the southern French resort as the background are the most popular and are clearly the most favourite by many private collectors. He made several small scale watercolors depicting the port in Saint Tropez, yet there are only two important museum-level large-scale oil paintings, both are in the same size and theme, one “Le Port de Saint Tropez” which is currently in the collection of Musée Bernard Buffet. While the other “Saint Tropez Le Port” is proudly presented in this autumn auction. It is an iconic masterpiece assembling the charming southern French style in the port of Saint Tropez.

This work is originated from an American collection and is now presented in auction for the first time, definitely is the once in a lifetime opportunity for top collectors.

FEEL THE AUTHENTICITY OF THE ERA, THE SOUTHERN FRENCH STYLE OF BERNARD BUFFET The unique scenery of southern France has a long-standing reputation and has always been remarkably attractive to many artists. Buffet also utilized his distinctive expression to depict the charming style of the French Riviera. This “Saint Tropez Le Port” was made in 1993, though was painted in his late stage, Buffet is still attracted by the abundant enchantment of Saint Tropez. It claims to have the most beautiful beach in France, is also a place where celebrity and those who loves sea, history, art and cultural heritage must pay tribute with visit. Nicknamed as the “Sun City”, one can tell how splendid is the sun here. Saint Tropez is also

聖托佩港口 Saint Tropez harbour

222

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

花 - 綻放在午夜

Flowers - That Bloom at Midnight

2009

2009 FRP, metal, paint (unique) 228(L) x 220(W) x 136(H) cm

228(長) x 220(寬) x 136(高) cm

Signed on the petal Yayoi Kusama and dated 2009

私人收藏，亞洲

PROVENANCE

Private collection, Asia EXHIBITED

Yayoi Kusama, Gagosian Gallery, Beverly Hills, USA, 30 May - 17 July 2009 This lot is to be sold with a registration card issued by Yayoi Kusama studio

NT$ 30,000,000 - 40,000,000 HK$ 7,979,000 - 10,638,000 US$ 1,028,100 - 1,370,800 RMB 7,059,000 - 9,412,000

46

玻璃纖維 金屬 塗料（單一件） 簽名花瓣上：YAYOI KUSAMA 2009 來源

展覽

「草間彌生」，高古軒畫廊，比佛利，美國，展期自 2009年5月30日至7月17日 附草間彌生工作室開立之作品登錄卡

BEYOND THE CANVAS — ENVIRONMENTAL SCULPTOR YAYOI KUSAMA 超 越 畫 布 之 外 — 環境雕塑家草間彌生

「我筆下的網不僅超越自己，更超越畫布本身。這些網一 直延伸至牆壁、天花，最終覆蓋整個宇宙。」 — 草間彌生

畫布以外，草間彌生亦以立體進行創作，她把畫布上的主題呈現在感 官所能觸及的真實空間，提供多一層次的視覺刺激。其色彩斑斕的雕 塑釋放著強韌的生命力《花 - 綻放在午夜》創作於2009年，充滿生 命力的花朵為草間彌生大型雕塑之一，質感細膩且色彩豐富。縱向的

被譽為是日本現存國寶級藝術家的草間彌生，1957年前往美國紐

葉子外伸展，綻放的花朵似是天真爛漫，頭狀花蕊則換上一隻大眼

約，開始從事前衛的藝術創作，曾與西方當代重要的藝術家，包括克

睛，別具感染力且極具震撼力。草間彌生造了一個引人入勝的空間和

來茵、瓊斯與歐登柏格、安迪．沃荷一起聯展，活躍於國際藝壇，並

意境，透視著藝術家夢幻般的精神世界，幻化成他最目眩神迷、最受

一度引領當時盛行的普普藝術風潮。1993年，草間彌生成為第一位

世人矚目的精彩創作。

單獨代表日本參加威尼斯雙年展的女性藝術家，自此草間彌生在日本 及西方國際藝壇的地位得以確立。 草間彌生在90年代末著手創作雕塑，並將自己定位為雕塑家多於畫 家，2000年她開始創作大型公共戶外雕塑，其中包括2002年創作 日本長野縣松本市美術館的《幻之華》、2003年日本新潟松代町 的《妻有花開》、2007年美國比佛利山莊的《生命讚歌：鬱金香》 「花卉」一直是草間彌生重要的創作題材之一，它們象徵了生命的綻 放與凋零，慶祝與哀悼，陽剛與陰柔，以有機、脆弱、繁殖的生命型 態，無止盡地纏繞、盤踞整個畫布與藝術家創造的奇幻世界。草間彌 生曾在她的自傳中提到：「大自然、宇宙、人類、血、花，還有各式 各樣森羅萬象的事物，自從我懂事以來，它們便以神奇、恐懼或者是 神秘的方式，在我的視覺、聽覺，還有內心深處留下深刻的印象。它 們牢牢糾纏住我的生命，不放我離開。」 「有一天，當我還小的時候，我身處突然出現的人形花卉之中，發 覺自己全身發抖，感到恐懼。我被花園裡數百朵紫羅蘭包圍。那些 紫羅蘭長有奇怪表情，像人一樣互相聊天。我與它們進行心靈對話 後，開始迷戀它們，不能自拔地陷入幻想中的絢麗意境，脫離這個 世界。」（引自草間彌生，〈自我靈魂的掙扎與遊盪〉，《草間彌 生》展覽圖錄，費頓出版社，1975，頁118）

48

"The net under my brush transcends not only myself, but also the canvas itself. These nets extend to the walls and ceilings, and eventually cover the entire universe."

create. In her autobiography, Yayoi Kusama noted that: "ever since she was a child, nature, the universe, humanity, blood, flowers and all sort of other things have left deep impressions – in a magical, terrifying or mysterious way – on her visual and auditory perception and on her heart. She said that they had entwined themselves around her life, never letting her escape."

— Yayoi Kusama

"One day, when I was a little girl, I found myself trembling, all over

Yayoi Kusama, who is generally recognized to be one of Japan's

my body, with fear, amid flowers incarnate, which had appeared all

greatest living artists, began to create avant–garde art after moving to New York in 1957. She held joint exhibitions with leading Western artists of the day such as Yves Klein, Jasper Johns, Claes Oldenburg and Andy Warhol, and became a prominent figure on the international art scene, playing an important role in the growth of the Pop Art movement. In 1993, Kusama became the first female Japanese artist to represent Japan at the Venice Biennale, firmly establishing her status as a major figure in the art world both in the West and in Japan.

Yayoi Kusama set out to create sculptures in the late 1990s and positioned herself as a sculptor more than a painter. In 2000, she began to create large-scale public outdoor sculptures, including "The Visionary Flowers" in Matsumoto City Art Museum, Nagano Prefecture, Japan in 2002, "Tsumari in Bloom" in Matsushirocho, Niigata, Japan in 2003, and "Hymn of Life: Tulips" in Beverly Hills, USA in 2007. Flowers have always been one of Kusama's favored themes. They symbolize the flowering and withering of life, celebration and grief, hardness and softness. These fragile, organic, bountiful life– forms sprawl all over the paintings, dominating both the canvas and the fantastical world that the artist is seeking to

of a sudden. I was surrounded by hundreds of violets in a flower garden. The violets, with uncanny expressions, were chatting among themselves like human beings. No sooner had they and I had spiritual dialogues than I became infatuated with them, drawn into glitter of illusion, away from this world" (Kusama Yayoi, "The Struggle and Wandering of My Soul", 1975, in exh. cat. Yayoi Kusama, Phaidon, p. 118).

In addition to the canvas, Yayoi Kusama also engages in three dimensions creation. Through exhibiting her theme originally on canvas, the actual space that can be touched by all senses, providing an extra level of visual stimulation. "Flowers - That Bloom at Midnight" created in 2009, which multicolored releases a strong sense of vitality. This vibrant flower is one of the large scale sculptures of Kusama, with delicate texture and abundant colors. The longitudinal leaves stretch out, the blooming flower looks innocent and the stamen is replaced with a large eye, that is so infectious and powerful. Kusama creates a fascinating space and artistic conception, which sees through her dreamlike spiritual world, that in turn transforms into her most dazzling and wonderful creation.

223

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

21. 3. 1964 1964 Oil on canvas 63.5 x 80 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reversse ZAO WOU-KI in French and dated 21.3.64 PROVENANCE

Private collection, Asia

NT$ 50,000,000 - 80,000,000 HK$ 13,298,000 - 21,277,000 US$ 1,713,500 - 2,741,600 RMB 11,765,000 - 18,824,000

趙無極 21. 3. 1964 1964 油彩 畫布 63.5 x 80 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-KI 21.3.64 來源

私人收藏，亞洲

50

21. 3. 1964 ZAO Wou-ki

趙無極

趙無極的繪畫在中、外的成就已是有目共睹，近來他成為法蘭西學院

重關係。他不只一次地談到巴黎對他的影響，巴黎使他成為一位真正

美術學院院士，法國政府賦予藝術家最高榮譽的肯定。如欲探討中

的藝術家，隨著思想的成熟，他慢慢地重新發現中國，進而在繪畫中

國或西方的繪畫史，我們都無法跳過他的名字。他在國際藝壇的成

反映中國。然而這回溯本源卻須歸功於巴黎。如果未曾留學歐洲，如

功，帶領中國後起藝術家對抽象畫的追尋，足以被譽為抒情抽象的先

果不是到人文薈萃的巴黎，那麼他的藝術不會呈現如今的面貌。無疑

行者。法國《世界報》的藝評家菲利普．塔尚曾以「漂浪者」形容其

地，他的繪畫揉合了中國與西方的藝術精髓，「將法國的情致與遠東

人其畫，點明了這位中國畫家在西方畫壇的奮鬥歷程。

的空間感知相互結合」（日本美術史學家高階秀爾語）。

那年是1948年的春天，趙無極搭輪船自上海離開，航向歐洲的藝術

從1960 至1970 年的十年間趙無極全心作畫，在他的自傳裡，這十

學習之路，懷著對塞尚、後印象派的孺慕，一路循著西方現代藝術的

年對他而言就像開保時捷跑車的速度一樣，飛快地逝去，他覺得時間

軌跡，找尋西洋繪畫的源頭。他在巴黎羅浮宮瞻仰大師的巨作，住進

在催促著，要他趕緊把尋得的想法表現出來。愛情激勵著他，唯一的

藝文人士聚集的蒙巴納斯區，成為雕塑家傑克梅第的鄰居。趙無極一

念頭就是不斷地工作、工作。後來回顧這十年的工作，他方才覺得有

邊學法語，一邊在大茅屋工作室作畫，他希望在巴黎確定自我的位

了具體的成果，進入繪畫的成熟期。

置。巴黎真是現代藝術的聖地 ，來自四方的藝術家群聚於此 ，趙無 極結識當時幾位已成名的藝術家：哈同、史塔耶、蘇拉吉、達．西爾 瓦、李歐佩樂，更在作家米修的幫助下躋身於巴黎藝文圈的核心。

趙無極第一本法文編年目錄的作者雷馬利，指出1960年代趙無極的 藝術不斷地開展，以對比或和諧化一表現出韻律、肌理和色調的細 微變化；時而偏好單色，時而深暗而盈滿，暈染的棕色上有黑色刮

趙無極說：「畢卡索教會我們如何去畫畢卡索，但塞尚教會我如何去

痕；時而乳白而輕盈，如銀灰色的雲霧 。其他有的是雪與藍寶石、

注視我們中國畫的本質。」他的意思是說，看畢卡索的畫，得到空間

慕思和紅寶石的華麗和諧。

的啟示不多，但看塞尚，尤其是《聖維克多山》，「山與天空色塊連 接不可分的情況，完全是中國畫的辦法」。趙無極認為旅行是充電的 好方法，自古中國文人從名山大川參透哲理，現代畫家自然也能藉由 走覽博物館、探訪各地人文風景名勝，尋獲激盪靈感的好素材。他在 瑞士伯恩的一個展覽中發現克利的繪畫，從中發現他的作品竟能貼近 自己的心靈，透過深受中國藝術啟發的克利，他找到西方繪畫的另 一種層次，進入「詩」的境界。他以符號、線條顫動，呈現愉悅的 感受。中國甲骨文、古文中充滿繪畫性的啟發，趙無極在繪畫裡頭 盡情地挖掘自我文化底層的蘊藏。後來，他索性將符號、形象完全 放掉，曲曲折折之後尋見一片寬廣的空間，如同大山大水的雄渾氣 勢、如同浩瀚宇宙的幽遠縹緲。 1960年代趙無極的抽象繪畫走紅於歐美兩地，豐沛的創造力使他登

法國的藝術史學家索里耶曾問趙無極對色彩的品味 ，趙無極回說： 「我喜歡所有的顏色 ！」對方接著問：「哪些是主色？」「都沒 有。我沒有偏愛的顏色，我對顫動特別有感受力。」此一簡短的回答 說明了趙無極其繪畫與風采的祕訣。色彩不是他畫裡的主旨，光的躍 動才是。他更關注的是裡頭的空間。 趙無極的畫意進入詩的領域，進入自然宇宙的探尋。《21.3.1964 》 這幅畫以黃色、棕色、黑色筆觸交匯而成，快意奔放。詩人葉維廉認 為看趙無極的畫，「彷彿獨立在舞台的邊緣，聆聽色澤與線條在那裡 演奏演出」；「像杜甫讓雲滌盪在雄奇雄渾的胸懷裡」。這恰是符合 杜甫的詩「胸盪生層雲」的意境呢！ 參考書目：Jean Leymarie, Zao Wou-ki, Edition Cercle d'art, Paris, 1978,1986葉維廉，《與當代

上另一座高峰。趙無極在一次訪問中提到：「人們都服從於一種傳

藝術家的對話-中國現代畫的生成》，東大圖書股份有限公司，台北，1987年12月初版，1996年2

統，我卻服從於兩種傳統。」說明中國文化傳統與西方藝術對他的雙

月再版

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Zao Wou-ki’s accomplishments within and outside the realms of painting are indisputable: Just recently, he was honored with the highest accolade given to an artist by the French government, by being elected to the Acad?ie des arts et lettres in Paris. Whenever someone discusses Chinese or Western art history, it is hard not to come across Zao’s name. As a forerunner in Abstract Expressionism, his achievement in the art arena has garnered quite a following in later Chinese artists. Just as how art critic Philippe Dagen, from the French publication Le Monde, described Zao and his paintings - as a vagabond - the journey of this Chinese artist in the Western art scene has been an adventure.

traditional Chinese cultures and Western art have a concomitant effect on him. More than once, he talked about the influence Paris had on him - Paris made him a true artist. As his thoughts matured, Zao gradually rediscovered China. This was progressively being reflected in his paintings. Ironically, credit goes to Paris - because if not for his study trip to Europe, and if not for his exposure to the artistic hustles of Paris, Zao’s art would not have been in the form that we see today. Without a doubt, his paintings amalgamate the essence of both Chinese and Western art. As Japanese art historian Shuji Takashina puts it, Zao Wou-ki has allied “the French way of feeling to the far eastern awareness of space.”

In the spring of 1948, with a heartful of admiration for Paul C’ezanne and Post-Impressionism, Zao left Shanghai on an ocean liner. He traced along the path of Western art form towards its origin, in a bid to learn and understand European art. During the time when he was in Paris, marveling at the works of the great masters in the Louvre, Zao stayed at the Montparnasse - a favourite haunt of many literary and arts personnel. There, he became sculptor Giacometti’s neighbor.

For the period spanning 1960 to 1970, Zao channelled all his energy towards painting. As written in his autobiography, he took on these 10 years like a speeding Porsche. He was racing against time to present his newfound thoughts. Driven by love, he worked fervently. Looking back, he felt a sense of gratification and achievement, having advanced his works into the matured stage.

Zao tried to establish himself in Paris concurrently learning French and painting at La Grande Chaumiere. In this artistic Mecca where artists from all over the world convened, Zao had the pleasure of being acquainted with some famous names, including Hans Hartung, Nicolas de Stael?, Pierre Soulages, Vieira da Silva, and Jean-Paule Riopelle. With the help of writer Henri Michaux, Zao managed to progress into the heart of the Parisian art circle.

In Zao’s first catalogue raisonne written in French, author Jean Leymarie described the constant development of his art in the 1960s with respect to the use of contrast and har mony to portray rhythm, texture and color modulation: sometimes Zao favours monochrome, and at times rich dark dyes of brown with streaks of black; other times the tone is opalescent and light, like silver grey brume. While other modulations include snow and sapphire, mousse and rubious sumptuous accords.

When French art historian Rene de Solier asked Zao about his tastes Zao once said: “Picasso taught us how in colors, Zao replied, “I love all to draw a Picasso, Chaumiere taught colors!” de Solier then asked, “Which me how to appreciate the essence of dominate?” Zao said, “None. I have our Chinese paintings.” In other words, no preference. I’m just motivated when Zao looks at Picasso’s paintings, by vibrations.” This short dialogue he does not get inspired or enlightened. re v e a l e d t h e s e c re t b e h i n d t h e But looking at Chaumiere, in particular elegance in Zao’s paintings: His “Mont Sainte Victoire” Zao claims: focus is not on colors, but on the “The undifferentiated hues between fluid nature of light. His key interest the mountains and the sky are strikingly revolves around the inner space. similar to that in classical Chinese ink paintings.” He also believed that traveling His paintings exude a poetic calm is one of the best ways to recharge: While akin to the vast universe. The ancient Chinese literati seek to fathom painting “21.3.1964” is built around philosophies from the mountains and red, brown and black brush traces valleys, modern artists naturally too, can 郭熙《早春圖》台北國立故宮博物院收藏 intertwined against a background of turn to museums, diverse cultures, and white to accentuate the vibrant colors various places of interest, for inspiration. giving the yellow and purple an even more exquisite rhythm. As Once, Zao discovered Paul Klee’s paintings in an exhibition in Bern, poet Wai-lim Yip so aptly describes: “Looking at Zao’s painting is Switzerland. Paul’s works, very much influenced by Chinese art, like standing alone at the edge of a stage, listening intensely to struck a chord in Zao’s heart. It brought Zao to a whole new level the orchestral performance by the luster and light.” This illustrates in Western art - a level of poetic significance. For instance, he used the perfect setting for Du Fu’s poem “I bare my breast towards symbols and wavering lines to depict feelings of joy. He also got opening clouds” as his barrel chest parts the incoming clouds. his inspiration from ancient Chinese hieroglyphics and characters, as he immersed himself in the lower rungs of self-fashioning.

Subsequently, he abandoned the symbols and images altogether, leaving only an expansive space, not unlike that of magnificent mountains and the endless universe.

His copious creative energy brought Zao to yet another peak in the 1960s. By then, his Abstract paintings were already very well received in Europe and America. In an interview, Zao mentioned: “Everybody is tied up by one tradition, I am by two.” Clearly, both

References:Jean Leymarie, Zao Wou-ki, Edition Cercle d’Art, Paris, 1978, 1986 Wai-lim Yip, Dialogues With Contemporary Artists - Birth and Growth of Chinese Modern Oil Paintings, Tung Ta Book Company, Taipei, December 1987 (first edition), February 1996 (second edition) Zao Wou-ki & Francoise Marquet, Liu Li (translated), Zao Wou-ki Autoportrait, Artist Publishing Co., Taipei, January 15, 1992 (first edition), January 15, 1006 (second edition) Zao Wou-ki 60 ans de peintures, Shanghai Joint Publishing, Shanghai, 1998

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

L’inconnu 1992 Oil on canvas 97 x 130 cm Signed lower right CHU TEH-CHUN in Chinese and English and dated 92 Signed on the reverse CHU TEH-CHUN in Chinese and English, titled L'incnnu and dated 1992 ILLUSTRATED

Overseas Chinese Fine Arts Series II: Chu Teh-Chun, Artist Publishing Co., Taipei, 1999, color illustrated, plate 187, p. 246

NT$ 20,000,000 - 30,000,000 HK$ 5,319,000 - 7,979,000 US$ 685,400 - 1,028,100 RMB 4,706,000 - 7,059,000

朱德群 陌生之地 1992 油彩 畫布 97 x 130 cm 簽名右下：CHU TEH-CHUN 朱德群 92 簽名畫背：L'incnnu CHU TEH-CHUN 朱德群 1992 圖錄

《華裔美術選集 II：朱德群》，藝術家出版社 ，台北 ， 1999年，彩色圖版，編號187，頁246

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58

“The blue hue is the most daring tone in nature. But this verve blue has a poetic connotation, encompassing a broad affinity.”

- Chu Teh-chun 「藍色調是大自然中最有氣魄的色調。但是這種大氣魄的藍，卻有著詩意的含蓄， 有著博大的親和性。」 ─ 朱德群 充盈的宇宙博大，無窮無盡的色階，雲霧千姿萬態之美於畫中形成了 靈性空間。朱德群的「山水」來自其記憶中的風景，在朱德群的繪畫 裡，他將所見風景都做了重新詮釋，心靈悸動下的現實景色以東方與 西方獨有的繪畫特質做了巧妙的精萃，用一種抽象的自然主義方式讓 這些獨特的文化泉源相互交融、去蕪存菁，重新體現生命之美。那股 透過光線放射出來蓬勃生命魅力裡喚起對唐代詩人司空圖《二十四詩 品》中「超以象外，得其環中」超脫於物象之表現，原形容詩文意境 雄渾、超脫之美也比喻置身度外，套用在朱德群的繪畫藝術上，亦是 極為適當貼切。 踏遍萬重山豁，行遍千里江水，朱德群喜周遊列國，再將他眼前所 見，足跡履及之處轉化成心中丘壑，簡化為色彩的斑斕形象；在朱德 群的抽象繪畫之中，他掌握了自小習得的書法造詣，行雲流水地揮灑 中帶入了中國山水的精髓.，賦予作品水墨旨趣；大筆揮掃如萬重山 巒氣勢磅礡，細筆之處飛動如風馳電擎，如此在畫布上以色彩油料暢 快酣墨之趣使得朱德群的藝術帶有令人玩味的東方質感，西方藝術家 亦難以企及比擬的高超技法以外，更是富含精神能量的超脫風景繪 畫。 《陌生之地》完成於1992年，朱德群充分運用中國的書法中的氣韻 生動，藍色調不囿於單色，而是包含著豐富變化。簡約中流露優雅的 經典藍，就像是薄暮時的天空。朱德群他熟嫻的東方書墨技法、對於 西方色料的運用智慧等皆無處不見於畫布之中；朱德群更是提煉了書 墨旨趣，將西方油彩帶入「濃、淡、乾、渴、濕、枯、漲」，堆疊出 溫潤雄厚的氣魄、細膩精美的細節，在畫面無盡的微光和燦爛的色彩 中將觀者引領至藝術家構築的浪漫世界，而他無形有意落入的自然正 也靜靜地吸引著觀者，與觀者回憶中的自然景象產生共鳴。氣韻生動 亦有水墨之蒼勁，細線錯落如網，色感與構圖如神來之筆；優雅、舒 暢、灑脫的筆致，更是表現了大自然的生命流動。

The boundless universe, along with immense color gradations, the beauty of clouds and mists form a spiritual space in his paintings.

Chu Teh-chun’s “landscape” comes from the scenery in his memory.

In his paintings, he reinterprets the scenes he came across. The realistic scenery under his throbbing heart is masterly made with the unique characteristics of Eastern and Western paintings. He uses an abstract naturalistic way to let this distinctive cultural essence blend with each other, in order to re-emerge the beauty of life. The vigorous charm of life radiated through the light evokes

the expression of transcendence that being detached from the object, or, “creating the emotion beyond the image,” as presented by the Tang Dynasty poet Tu Sikong in Twenty-Four Poems.

Originally described the beauty of the poetic artistic conception and detachment, it is also a metaphor of incomparability, applying to the art of Chu Teh-chun is extremely appropriate too.

Traveling across the mountains and thousands miles of rivers, Chu Teh-chun likes to pay visits around the country, then transforms what he sees and the footsteps he walks passed into the hills and valleys in his heart, simplified them into colorful images.

His abstract paintings clearly demonstrated the techniques in calligraphy he has mastered, which was first developed in his childhood. His brushstroke is equipped with the essence of Chinese landscape, his natural and flowing script gives his works a peculiar connection to ink painting. He employs the thick brush with momentum like sweeping through the majestic mountains, while the delicate fine brush is utilised just as speedy as an engine. The invigorating fun of ink and color displayed on the canvas gives Chu Teh-chun’s art a playful oriental texture. In addition to his superb techniques that hardly any Western artists can compare with, his detached landscape painting undoubtedly is full of spiritual energy.

“L’inconnu” was completed in 1992, Chu Teh-chun made full use of the vivid charm of Chinese calligraphy. The blue tone is not just limited to monochromatic color, but contains rich variations. The simplicity reveals an elegant classic blue, just like the sky at dusk.

His proficient oriental calligraphy and ink techniques, along with his wisdom in the use of Western colors are clearly visible in the canvas. He has refined the interest of ink calligraphy, combining the Western oil painting with “dense, light, dry, thirst, damp, dry, swelling”, these all different stages of shades. He stacks up with a warm and strong spirit, paired with delicate and exquisite details, leading the viewers to the romantic world he portrayed in the endless gleam and brilliant colors in his paintings. The nature that Chu invisibly yet intentionally depicted also quietly attracts the viewer, the natural scenery resonates within their memory.

The vigor is vivid and the ink is intensive and passionate. The thin lines are intertwined as an exquisite net, and the sense of color and composition are orchestrated as if there was a magical touch.

His sophisticated, pleasant and unrestrained brushwork indeed expresses the circulation of life in nature.

225

ZAO Wou-ki (Chinese-French, 1921 - 2013)

Sans Titre 1979 Watercolor on paper 57 x 76 cm Signed lower right Wou-ki in Chinese, ZAO in French and dated 79 ILLUSTRATED

L'Encre, l'eau, l'air, la couleur- Zao Wou-ki: Encres de Chine et aquarelles 1954-2007, Musée de l'Hospice Saint-Roch, France, 2008, color illustrated, p. 109 Zao Wou-Ki: Watercolor - Ink on Paper - Porcelain, New York, 2018, Melbourne, color illustrated, cover work This lot is to be sold with a certificate of authenticity issued by Foundation ZAO Wou-ki

NT$ 13,000,000 - 20,000,000 HK$ 3,457,000 - 5,319,000 US$ 445,500 - 685,400 RMB 3,059,000 - 4,706,000

趙無極 無題 1979 水彩 紙本 57 x 76 cm 簽名右下：無極 ZAO 79 圖錄

《墨，水，氣，顏色：趙無極的水墨和水彩1954-2007》，Musée de l'Hospice Saint-Roch，法國，2008，彩色圖版，頁109 《趙無極：水彩-水墨 紙上-瓷器》，紐約．2018，Melbourne，彩 色圖版，封面作品 附趙無極工作室開立之原作保證書

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SANS TITRE ZAO Wou-ki

趙無極

1972年期間趙無極開始將思念轉回中國，這是在自1948年離開後，

以西方的情境結合東方悠遠的空間感。此時期，趙無極漸漸地不再追

趙無極第一次返回家鄉。他開始重新運用中國媒材詮釋西方繪畫的透

求力重如山、氣吞山河的筆觸，逐漸地擺脫線條，以色彩流淌、揮

視技法，以及摹仿墨水於絹布或紙上所產生的流動、暈染、滴流；墨

灑、交錯堆疊等展現畫面的和諧與空間流動。好似一種對於生命輪迴

色多重變化的焦、濃、重、淡、清，以無形蘊有形的效果，充滿深湛

的感悟，藉畫筆將生命的體悟發揮淋漓盡致。

東方文化之思對他有了新的啟發及觸動，也讓此時期的趙無極走向藝 術創作生涯中另一個轉折階段。此階段的轉折亦賦予趙無極對於創作 注入更多的豐富性，他從「墨」之中看到無限的變化、空間的自由寬 廣以及深邃含蓄的東方哲學思想，在趙無極之後的繪畫表現上更加從 容、自在，讓其所欲抒發的情感在畫面中擴張開來。

他的每一幅作品色彩上都有主調，每一作品主要的調子絕無原色，而 以相近的色彩烘托層次，雖是油彩但塗抹之間多富渲染的趣味，把油 彩錘鍊成水墨一般的中間性調子，是西方畫家所難以企及的一項成 就，其色彩的含蓄處深得東方水墨哲理之三昧，但色感的豐又是真正 的水墨所不能夢想的。參閱楚戈，〈自然之真相〉一文，收錄於袁德

高行健曾評趙無極：「他追求形式，卻不流於形式主義，他講究色

星編《趙無極畫冊》，1980，版畫家畫廊展覽目錄， 源成出版有限

彩，而色彩的交響傳達的是意境。」中國傳統繪畫自宋代以降便拋棄

公司。

了色彩，反觀西方繪畫自文藝復興後的色彩與光影運用，相較於東方 繪畫是無法比擬的。觀之趙無極的抽象油彩結合水墨中的特質，多以 色彩傳達出東方哲學之意境並將水墨微妙的韻味融入油彩。

猶如色彩斑斕的交響樂 此件作品《無題》為趙無極於1979年所創作，用色簡淡高雅、強中 帶柔，大膽卻細膩的渲染技法表現出繪畫動作一氣呵成。此作品的畫 面呈現一種氣韻流動之感、悠遠含蓄的空間營造，看得出趙無極嘗試

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趙無極的創作不僅體現了中西文化的薈萃，融合東方哲學氣韻使之發 展出的宇宙精神，所有的風景都經反覆思考與耐心沉澱，轉而在畫作 上呈現出自我對生命態度的深刻體驗及反思。在1971年重溫中國水 墨後，相較於過去他避免流於中國傳統文化下的束縛，如今此繪畫形 式逐漸帶給他沉穩自若、安之若素的詮釋方式。趙無極1970年代之 佳作，顫動的線條依舊，但已不若以往斑駁粗獷、厚重沉甸；與中國 水墨交融之作，留白漸闊、蒼茫雲煙微微顯露出的含蓄肌理，此時已 預告著下一階段的風格來臨。

TIn 1972, Zao’s thoughts were directed to China. It was his first return to his home country since his departure in 1948. There, he began employing Chinese media to interpret perspective techniques in western painting. He imitated the flow, blooming, and dripping that ink creates on cloth or paper, and the ink colors he used were varied— burnt, thick, heavy, light, or clear. He created the effect of form contained in the formless. The profound thoughts of Eastern culture touched him and inspired him, and this era became a turning point in Zao’s artistic, creative life. The change in this period also enriched Zao’s creations. In Chinese ink, he saw unlimited variations, a free and wide space, and the profound yet reserved concepts of Eastern philosophy. All of these in Zao’s paintings started in this period became freer and more at ease, expanding the emotions Zao wanted to express in the picture.

Gao Xingjian once commented on Zao, “He sought forms, but he did not fall for formalism. He was particular about color, and what the symphony of colors expressed was an artistic conception.”

Since the Song dynasty, traditional Chinese painting abandoned the use of color. By contrast, since the Renaissance period, western paintings have utilized color and light, in ways to which Eastern paintings do not compare. Zao’s abstract oil paints integrated the characteristics of Chinese ink. He mostly used color to express the artistic conceptions of oriental philosophy, and he integrated the subtle charm of Chinese ink into oil painting.

A SYMPHONY WITH GORGEOUS COLORS The gorgeous color tone spoke volumes about Zao’s mindset. Zao created the work Sans Titre in 1979. The colors are simple, light, and elegant, exhibiting tenderness beneath the strength. The bold yet intricate blooming techniques reveal that the painting was composed in a flow. The picture presents a sense of movement, and the special construction is distant and implicit, reflecting that Zao attempted to integrate a western setting with the eastern, distant, spatial sense. It can be observed from this piece that Zao gradually ceased to seek strong and magnificent brush strokes, as if being able to consume the mountains and the rivers. He gradually outgrew lines; instead, he utilized the flow, sway, staggering, and stacking of colors to demonstrate a harmonious picture and spatial movement. As if he understood the circle of life, he used his brushes to express his realization about living life to the fullest.

Taiwanese painter and writer Chu Ko once commented on the distinctive colors of Zao Wou-ki: Each of his works has a principal shade and the principal shade of each piece is never a primary color. Instead, similar colors are set off by contrast in different arrangements. Though the works are oil paintings, they are smeared with rich and interesting colors. Oil paints are tempered to form the neutral tone of watercolors – a feat which western artists find difficult to achieve. The implication of the colors reflects the three popular notions of Oriental watercolor philosophy; nevertheless,the rich tones cannot be attained by real watercolors.

(Chu Ko, ‘Truth of Nature’, Album of Zao Wou-ki, edited by Yuan Dexing, catalogue of Prinkmaker Gallery exhibition, Yuancheng Publishing Co., Taipei, 1980)

Zao’s creations not only embody the essence behind Chinese and western cultures, but he also developed a spirit about the universe through his infusion of Eastern philosophy. The sceneries he painted underwent repeated thinking and patient precipitation before being transformed into paintings that reflect his profound experience and reflections on his attitude about life. Unlike in the past, when Zao avoided being restricted by Chinese traditional culture, Zao instead refamiliarized himself with Chinese ink in 1971, and this painting style gradually granted him a means of interpretation that was stable, easy, and undisturbed. This masterpiece created by Zao in the 1970s retains the usual flickering lines, but they are no longer mottled, rugged, or heavy, as in the past. This work integrated Chinese ink painting. The blank he left is wider, and the sky and the clouds reveal an implicit texture, foretelling the coming of his style of his next era.dry, swelling”, these all different stages of shades. He stacks up with a warm and strong spirit, paired with delicate and exquisite details, leading the viewers to the romantic world he portrayed in the endless gleam and brilliant colors in his paintings. The nature that Chu invisibly yet intentionally depicted also quietly attracts the viewer, the natural scenery resonates within their memory. The vigor is vivid and the ink is intensive and passionate. The thin lines are intertwined as an exquisite net, and the sense of color and composition are orchestrated as if there was a magical touch. His sophisticated, pleasant and unrestrained brushwork indeed expresses the circulation of life in nature.

226

Yayoi KUSAMA (Japanese, b. 1929)

Fruit 1992 Acrylic on canvas 15.8 x 22.7 cm Signed on the reverse Kusama in English, titled Fruit in Japanese and dated 1992 This lot is to be sold with a registration card issued by Yayoi Kusama studio

NT$ 8,000,000 - 10,000,000 HK$ 2,128,000 - 2,660,000 US$ 274,200 - 342,700 RMB 1,882,000 - 2,353,000

草間彌生 果物 1992 壓克力 畫布 15.8 x 22.7 cm 簽名畫背：果物 Kusama1992 附草間彌生工作室開立之作品登錄卡

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

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

圓點是來自宇宙的信號，無限的網代表了她的生命，英國《泰晤士 報》將草間彌生列為「二十世紀兩百名最偉大的藝術家」。身為國際 間最具影響力的前衛藝術家之一，她的人就如同她赤裸而炙烈的藝術 生命，絢麗的令人目眩神迷。她每天以驚人的速度創作，用繪畫、雕 塑、行動藝術等手法，帶有超現實般心理性的考究，表現出她腦海中 永無止盡的創作泉源。 《果物》正充分反映了草間自小面對的視聽幻覺與精神病困擾。佈 滿畫面的線條與鮮艷的底色形成了強烈的對比，令人聯想到草間的 「無限的網」系列。草間以平面的方式繪畫簡單的水果圖案，而水果 上大小不一的圓點則為這些圖形增添立體感。草間彌生對圓點是偏 執的，這與她的視覺幻覺有關。她以大量的圓點包覆各種物體的表 面，牆壁、地板、畫布、物品、人體、甚至自己。藉由重複性的線條 將圓點無限的蔓延，混淆了真實空間的存在，使得觀賞者不自覺的陷 入眩暈狀態，不知身處真實或虛幻。她賦予畫作極大的感染力以及生 命力。正是在這些簡單的偏執之中她消彌了內心的精神苦難，將她所 見的幻覺赤裸地呈現在畫布之上。

Polka dots are signals from the universe. A boundless net represents her life. The British daily The Times listed Yayoi Kusama among the Top 200 Artists of the 20th Century to Now. As one of the most influential avant-garde artists worldwide, Kusama is like her naked and burning artistic life, gorgeous and dazzling.

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

The flamboyant, playful colors of the piece juxtapose sharply with the jarring effect of the fractured lines which recall the Infinity Nets of Kusama’s early series. Creating a mosaic effect, the two dimensional shapes of each individual fruit take shape in cracked, contrasting simplicity. Complementing the two-dimensional flatness of the nets, Kusama adds dimension and variance by echoing the roundness of some fruits with her iconic polka dots. Fruits take on new dimensions as their orbicular forms are emphasized by the strategically varied dots. The roundness of the fruit bowl is similarly emphasized through a net of polka dots which combine to envelope the scattered fruits, drawing each of the seemingly antithetical compositional elements together in a harmonious confluence of divergent components.

227

LI Chen (Taiwanese, b.1963)

Fire Master 2010 Bronze, edition no. 6/8 54(L) x 41(W) x124(H) cm Engraved on the back Li Chen in English, numbered 6/8 and dated 2010 With one seal of the artist PROVENANCE

Private collection, Asia ILLUSTRATED

The Beacon Series: When Night Light Glimmers, Asia Art Center Co. Ltd., Taipei, Taiwan, 2010, color illustrated, pp. 50-55 Greatness of Spirit – Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center Co. Ltd., Taipei, Taiwan, 2012, color illustrated. p. 200

“The beacon is a ceremony.

Yingze is what gives it life.”

- Li Chent 「天燧是一種儀式，『盈昃』才是它的生命。」

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

NT$ 5,000,000 - 6,000,000 HK$ 1,330,000 - 1,596,000 US$ 171,400 - 205,600 RMB 1,176,000 - 1,412,000

— 李真 【天燧】系列對李真而言，點燈像是一種生活的「養息」，也有進行 某種儀式的樂趣，在人與火的互動中，一種浪漫的情懷將隨著燭火漫 舞，心境也會隨之緩慢，提供人與自身對話的契機。李真透過佛學 之“空”與道家之“氣”，用當代語言融合抽象與具象，塑造溫潤 活潑而不失禪意的雕塑。《天火》，其中人物如高邁亙久的神靈面容

李真

祥和嘴角微揚，身體姿態一派悠然，舒服自在的斜倚著雲朵於山巔之

天火

上。或把玩或提煉著胸前的火焰，如燧人氏降臨般憑空生火，在焰舞

2010

光躍之際，曖曖中充滿生命力，成就了循環不息的呼吸，洋溢著平

銅 6/8

安、智慧與幸福。千年暗，一燈明，光影搖曳的火焰、明暗起伏的雕

54(長) x 41(寬) x124(高) cm

塑與夜光盈昃的映照渲染著悠然靈動的氣韻。

簽名雕刻背後：Li Chen 6/8 2010 雕刻鈐印：李真 來源

私人收藏，亞洲 圖錄

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

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In the “Beacon” series, Li Chen portrays the lighting of a lamp as a kind of rejuvenating repose that contains the subtle joy of a simple ceremony. Between us and the light a sense of romance emerges from the slow dance of the candle’s flame that allows the mind to settle, giving us an opportunity to begin a dialogue within ourselves. Li Chen utilizes the Buddhist concept of emptiness and the Daoist concept of “Qi” in combination with modern language to blend the abstract with the concrete and create a figure that is gentle and lively while preserving its meditative stillness.The piece, “Fire Master” is centered around a timeless spirit whose peaceful and auspicious visage is defined by the upturned corners of its mouth. It’s leisurely posture appears peaceful and comfortable reclined within a cloud perched upon a mountaintop. In front of its chest is a flame that it manipulates as if to refine or in play, reminiscent of the fire brought by Suiren. The warmth within the dance of the flame’s light is filled with life and successfully recalls a never-ending cycle of breath, filled with peace, wisdom and good fortune. Like a light appearing after a thousand years of darkness, the swaying glimmer of the flame casts the figure in both light and shadow in a wise and serene style inspired by yingze and gilded by light.

228

LUO Zhongli (Chinese, b. 1948)

Girl with Blue Turban 1988 Oil on canvas 80 x 63 cm Signed lower center luo zhong li in English, Lou in Chinese PROVENANCE

Acquired directly from the artist by the present owner

NT$ 6,000,000 - 8,000,000 HK$ 1,596,000 - 2,128,000 US$ 205,600 - 274,200 RMB 1,412,000 - 1,882,000

羅中立 藍頭巾的少女 1988 油彩 畫布 80 x 63 cm 簽名中下：luo zhong li 羅 來源

現有收藏者直接得自藝術家

中國當代著名油畫家羅中立，在20世紀80年代以超寫實主義

象、奔放自由的線條和色彩。1980年代以後，其繪畫語言逐漸

作品《父親》已經享譽中國畫壇。羅中立的作品，實際上為我

以寫實轉向變形及誇張，以樸拙粗曠的筆觸描繪農民的生活點

們提供了一個生存的參照，一個恆久的人與人交往的模式。這

滴，試圖以「樸」與「拙」的表現風格，喚醒人們尊重熱愛這

樣，大巴山區的農民生活，就超越了地域性的自然風情，成為

種單純、善良的生命底蘊。

一種現代化進程中對民族精神和價值模式觀念的反思。不只是 鄉土意義上的「農民畫家」，而是使用不同的地域文化資源， 來表現都市知識分子對當代生活的現實態度和價值觀念的當代 藝術家。

在長期的藝術探索過程中，畫家緣自於民間所獲的藝術靈感， 始終將繪畫表現的目光指向農村，與此同時也把自己的藝術情 懷 ，融入了農民般質樸的感情 。羅中立對於他筆下的藝術物 件，沒有粉飾美化的痕跡，也沒有宏大場面的渲染，留下的是

羅中立在重複中尋找驚奇，每一幅農民題材作品都具有動人的

純真本色的形象，以及和帶有濃厚巴蜀風情的生活氣息，敦實

感染力，誇張的肢體、表情，毫無掩飾的呈現農民生活的的拙

質樸的人物形象和大俗大雅的色彩運用，加上獨特的光線處理

樸與純真，這些具有「情節張力」的內容，即是從青年時期的

和細膩生動的筆觸 ，使得內容和形式達到了完美的統一 。作

經驗與本領累積而來。

品《藍頭巾的少女》顯示著畫家創造的藝術形象，不以情節取 勝，而以人物形態的刻劃和環境氣氛的表現見長，由此已經逐

進入了90年代，注重在個人語言、藝術風格的變化和發展，以

漸演化為相關的藝術符號，使觀眾意識到文明發展的時空錯

及在藝術語言的實驗上，探索一種既有當代文化特徵，又能體

位，喚發出回歸自然本色的心靈需要。

現東方審美趣味的藝術風格。其繪畫語言逐漸以寫實轉向變形 和誇張，在他的筆下，出現了一幅幅誇張變形的大巴山農民形

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

—Luo Zhongli 「鄉土題材值得用一生去創作」 — 羅中立 The famous Chinese contemporary oil painter Luo Zhongli became highly acclaimed in the Chinese painting community with his hyper realistic artwork titled Father during the 1980s of the 20th century. In fact, Luo Zhongli’s artworks provide us with a reference of survival and a lasting model of social interaction. In this way, the farmer’s life in Daba Mountains transcends regional landscape and becomes a reflection on ethos and value models during the process of modernization. Instead of only being a “farmer painter,” Luo Zhongli is a contemporary artist who uses different regional cultural resources to express an urban intellectual’s realistic attitudes and value concepts on contemporary living.

Luo Zhongli finds wonders in repetitions. Every piece of artwork on the farmer theme is charmingly appealing. The exaggerated body posture and facial expression undisguisedly demonstrate the simplicity and sincerity of a farmer’s life. The content of these “story-like tension” is built on Luo Zhongli’s experiences and talents since teenage years.

During the 1990s, Luo focused on changing and developing his personal language and artistic style. He also experimented with artistic languages in exploration of an artistic style that contains contemporary cultural features and oriental aesthetics at the same time. His painting style gradually transitioned from realism to

deformation and exaggeration. With his paintbrushes, Luo created many exaggerated, deformed paintings of Daba Mountains farmers by freestyle lines and colors. After the 1980s, Lou’s painting style transformed from being realistic to deformed and exaggerated. He used “simple” and “sincere” styles of expression to call on people to respect and love this simple, warm-hearted life connotation.

Through the long period of artistic exploration, the painter’s inspirations from the general population continue to point his artistic endeavors towards the rural villages. At the same time, his own art is infused with a farmer-like simplicity of emotions. The subjects of Luo Zhongli’s paintings show no traces of having been idealized or glorified. Instead, they retain the purity of their image and the strong sense of everyday Ba-Shu culture. The simple nature of the characters as well as the down-to-earth use of colors, along with the unique treatment of lighting and detailed paintwork have together achieved a perfect union of content and format. “Girl with Blue Turban” shows that the artist’s creative images no longer rely on the context but instead excel in the depiction of characters and the expression of atmosphere. This means it has gradually evolved into related artistic symbols so the audience realizes the inconsistencies in how civilization has developed and responds to the spiritual need to return to one’s roots.

羅中立 《老土牆》1987年 油彩 畫布，110 x 117 cm

羅中立 《稚子》1987年 油彩 畫布，76.7 x 101 cm北京保

北京瀚海2007秋季拍賣會，編號1565，成交價：人民幣470.04萬

利2011秋季拍賣會，編號0892，成交價：人民幣322萬Luo

Luo Zhongli,Old Wall, 1987, oil on canvas, 110 x 117 cm, Hanhai's Autumn

Zhongli,Child, 1987, oil on canvas, 76.7 x 101 cm, Poly's

Auction 2007 Beijing, US$616,327 Sold

Autumn Auction 2011 Beijing, US$497,319 Sold

229

LIU Kuo-sung (Taiwanese, b. 1932)

Langkazi Snow Shoulder 2014 Ink and color on paper 116.6 x 92.6 cm Signed right Liu Kuo-sung and dated 2014 in Chinese With seals of the artist EXHIBITED

Reset Chinese Contemporary Art, Soka Art, Beijing, 2014, April 19 - June 7, 2004 ILLUSTRATED

Reset Chinese Contemporary Art, Soka Art, Beijing, 2014, color illustrated, pp. 74-75

NT$ 4,200,000 - 5,500,000 HK$ 1,117,000 - 1,463,000 US$ 143,900 - 188,500 RMB 988,000 - 1,294,000

劉國松 浪卡子雪肩 2014 彩墨 紙本 116.6 x 92.6 cm 簽名鈐印右中：劉國松 二０一四 展覽：

「梳理 - 重啟中國當代藝術」，索卡當代藝術，北京， 展期自2014年4月19日- 6月7日 圖錄：

《梳理 - 重啟中國當代藝術》，索卡當代藝術，北京， 2014，彩色圖版，頁74-75

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LANGKAZI SNOW SHOULDER LIU Kuo-sung

劉國松於一九五六年創立五月畫會，以現代水墨理論「革中鋒的 命」為其響亮口號，引發藝壇界現代水墨論戰；提倡「以西潤中」的 水墨美學作其創作學理基礎，使用抽象跳脫以往的視覺經驗，超脫 自然表象，以表現心靈自由之美，使之達到永恆。余光中曾論劉國 松：「蟠蜿迴旋在他畫中的，是一股生生不息循環不已虛而不屈動而 愈出的活力，就是那無窮無盡無始無終的生命，恆在吸引我們。」 此件《浪卡子雪肩》為劉國松後期作品，走遍了蒼茫煙水、看盡了 無窮之境，劉國松把大自然純化，簡化了所有外界事物而成幾何圖 形，用獨樹一格的皴法來強化與製造山石的肌理美感。「東方的自 覺」於劉國松的藝術創作中體現，藉畫筆將生命的體悟發揮淋漓盡 致，用抽象跳脫以往的視覺經驗，超脫自然表象，表現心靈自由之 美，使之達到永恆。劉國松的「抽筋剝皮皴」把世間山水轉化為自身 的一部分，使用創新技法豐富畫中語境，表達非常個人之感，成就 「劉國松式」的抽象山水，亦為極具個人風格辨識度的代表作。

Liu Kuo-Sung founded the Fifth Moon Group in 1956, widely publicising a call to 'overturn the centre tip' in modern ink painting theory, which became the focus of a heated debate in the art world. Liu promoted the incorporation of Western concepts as the aesthetic foundations for ink painting, and he used abstraction as a means to escape the visual experiences of the past. He

劉國松

transcended nature's representations by depicting free-spirited beauty, thereby making his subject eternal. Commenting on Liu Kuo-Sung’s work, writer Yu Kwang-chung once wrote, His paintings have their own orbit, so full of vitality to have taken on their own endlessly vicious, unbearable life of a sort that goes on and on with neither beginning nor end, and it constantly draws us in.

The piece “Langkazi Snow Shoulder” is one of Liu Kuo-Sung’s later works, depicting a stroll through vast, smoky waters, gazing at a world without bounds. It exemplifies Liu Kuo-Sung’s purified approach to the natural landscape, each external feature simplified into geometric shapes, and his method of emboldened texturing gives the scene a beautiful, skin-like appearance. An ‘Eastern consciousness’ is embodied in Liu Kuo-Sung’s artwork, and a deep understanding of life is vividly portrayed through his use of the brush. Abstraction is used as a means to escape the visual experiences of the past. And through his depictions of a freespirited beauty, representations of nature are transcended and made eternal. Liu Kuo-Sung’s innovative ‘Ripping the Tendons and Peeling the Skin’ technique enriches the context of the painting and turns the world of landscapes into a part of the self. Exemplary of the artist’s truly unique approach, the technique displayed in this work has also become widely known as the ‘Liu Kuo-Sung Style’ of abstract landscape painting.

劉國松《綿綿無盡峰連白》2013 彩墨 紙本 94.3 x 186 cm，羅芙奧台北2018春季拍賣會，編號216，成交價：台幣10,800,000 LIU Kuo-sung, Mountain Ranges, 2013, Ink and color on paper,94.3 x 186 cm, Ravenel Spring Auction 2018, lot 216, US $ 361,930 sold

230

LIU Kuo-sung

劉國松

(Taiwanese, 1932)

桃花源

Garden of the Peaches of Immortality

1989

1989 Mix media on paper 152 x 83 cm Signed lower right Liu Kuo-sung and dated 1989 in Chinese With seals of the artist

152 x 83 cm

ILLUSTRATED

綜合媒材 紙本 簽名鈐印右下：劉國松 一九八九 圖錄

《劉國松的宇宙》，長流藝聞雜誌社，2004年，彩色圖版，頁89 附長流美術館開立之藝術家親筆簽名之原作保證書

Liu Guosong: a universe of his own, Chan Liu Art Group, 2004, color illustrated, p. 89 This lot is to be sold with a certificate of authenticity signed by the artist issued by Chan Liu Museum

NT$ 4,200,000 - 5,500,000 HK$ 1,117,000 - 1,463,000 US$ 143,900 - 188,500 RMB 988,000 - 1,294,000

劉國松以其創新、叛逆的畫風以及科學家式的實驗精神，成為兩岸 三地藝壇中傳奇性人物。綜觀其藝術歷程，從最早60年代起的拓墨 法、紙筋法，到70年代中期的水拓法，再到從80年代中後期持續至 今的漬墨法，劉氏不斷在繪畫技法和形式上推陳出新。「藝術的本質 是創造，創造的基石在理論，理論的泉源靠思想。」深知這點，劉氏 時時警惕自己勿以抄襲模仿代替創造，他所倡導的現代國畫，是個人 化的藝術語彙和與時俱進的創作風格，在破除傳統的筆墨中，提煉出 適宜當代的中國繪畫。 此幅《桃花源》完成於1989年，兩段式構圖中設色溫潤，下半部弧 內則帶出具傳統書畫筆觸的蒼茫意境，以抽去紙筋後所留下的白色紋 理表現地表的山河肌理。觀看本件作品，觀者彷彿進入畫家自由消遙 的遼闊心界，感受那臨空俯瞰萬物之氣勢和宇宙之浩瀚無垠。劉國松 窮形盡相地描繪各地的山水面貌，於蒼茫雄渾的大地之上，以獨特的 技法表現寫意山水的視覺意象組構，客觀再現已不再是主要的創作思 路，使用抽象的形式遊戲翰墨，托喻寄興地表現心中之情；將自然以 主觀的意識發展，自我抒發，借景抒情並歌誦人生永恆的一面。也間 接顯現出中華文化的道德內涵，對於生命輪迴的感悟亦表現於創作之 中，除精神性質的特色之外，以創新技法再現中國水墨人文情懷的特 殊氛圍表現，使劉國松的藝術作品更透露出一種崇高的自然風景之 美。

With his scientific approach towards experimentation along with his inventive, rebellious spirit, Liu Kuo-sung has become a legendary figure in the artistic circles of the Greater China Region.

Beginning with the ink-extension method of the early 1960s and the waterextension method of the mid-1970s to the ink-staining method of the mid-to-late 1980s, Liu continued to innovate on his painting style and technique throughout his artistic career. “The essence of art is creation, and the foundation of creation is theory, which comes from thought”. Keenly aware of this, Liu always 78

reminded himself to create rather than copy or mimic. The modern Chinese painting style he is a proponent of is an individualized and progressive expression of one’s artistic vocabulary. During the process of pioneering new techniques with the ink and brush, ancient Chinese paintings styles suitable for the present are preserved. Through books, exhibitions, lectures and seminars, This piece, titled “Garden of the Peaches of Immortality”, was completed in 1989. As can be seen, structure is employed as part of the two-stage composition. The lower portion of the arc is highlighted by the abiding atmosphere brought forth by the Chinese brush, allowing the lyrical landscape. The white texture reminiscent of the surface of mountains and rivers is created by the paper pulling technique. Viewing this piece of art, viewers gain the privilege of stepping into the boundless mind of the painter, becoming liberated from the material world to feel the power of the heavens and the infinite vastness of the universe.

Liu Kuo-Sung has applied his unique techniques for depicting the visual structures of landscapes to all kinds of vast and striking terrains. Without the goal of objective reproduction factoring into his practice, he finds ways to play with the ink so that the abstract forms subtly express the heartfelt emotion Liu puts into his work.

At the same time, the natural landscape takes on its own subjective conscious — a self-expressive feeling that balances the internal with the external and sings an eternal melody for human life. More indirectly, there is also a certain implication of a Chinese cultural ethics that can be found in Liu’s work — an understanding of the circle of life present in his art practice. Beyond this spiritual nature of the work, there is also a manifest sentiment for the tradition of Chinese ink painting reproduced through Liu Kuo-Sung’s innovative techniques, which so lucidly bring out the majestic beauty of the natural landscape.

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231

Tzu-chi YEH (Taiwanese, b. 1957)

Mountain Ridge of Taroko-Hualien 2014 - 2020 Tempera and oil on linen 86.7 x 127 cm Signed lower right Tzu-chi and dated 2014 - 2020

NT$ 3,600,000 - 4,600,000 HK$ 957,000 - 1,223,000 US$ 123,400 - 157,600 RMB 847,000 - 1,082,000

葉子奇 太魯閣的山稜 - 花蓮 2014 - 2020 卵彩 油彩 亞麻布 86.7 x 127 cm 簽名右下：子奇 2014 - 20

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232

Walasse TING (Chinese-American, 1929 - 2010)

Do You Want to Eat My Apples?

1977 Acrylic on canvas 76 x 92 cm Signed on the reverse Ting, titled Do You Want to Eat My Apples in English and dated 1977 Spring EXHIBITED

Walasse Ting Solo Exhibition, Galerie Moderne, Silkeborg, 1978 This painting is to be sold with a certificate of authenticity issued by Galerie Birch

NT$ 3,400,000 - 5,000,000 HK$ 904,000 - 1,330,000 US$ 116,500 - 171,400 RMB 800,000 - 1,176,000

丁雄泉 想吃我的蘋果嗎?

1977 壓克力 畫布 76 x 92 cm 簽名畫背：Do You Want to Eat My Apples Ting Spring 77 展覽：

丁雄泉個展，當代畫廊，丹麥，1978 附 Galerie Birch 開立之原作保證書

大膽利落的線條勾勒，手法流暢帶點不羈的狂野自信，宛若野獸派的灑脫奔放，而其畫中女人 慵懶不扭捏的枕著背，泰若自如地呈現女性姿態的優美；背景充滿力道的顏料潑灑、滴流等抽 象表現主義的影子融合高彩度的色塊塗抹，則迸發出藝術家旺盛的創作能量以及川流不息的生 命力，更是丁氏最簡潔有力且獨到的藝術語彙，滿溢著美好的氣息。此件作品承襲了古典主義 以來的畫作構圖，從堤香、馬奈、莫迪里亞尼至馬諦斯等等，皆以此類似的造型創作過無數經 典佳作，而丁雄泉將古典畫作姿態轉化成內心最澎拜、最狂熱的熱情，絲毫不減的將內心渴望 赤裸地呈現在世人眼前，也因此成為那個時代的真藝術家。

Outlined with bold, confident brushstrokes, this painting demonstrates the artist’s expert deftness complemented by an unruly sense of assurance—a freedom and spontaneity characteristic of Fauvism artworks. The woman in the painting leaned comfortably on her back, perfectly composed and unabashed as she displays her feminine beauty. In the background, powerful splashes and drippings of hue invoke the influence of abstract expressionism while blending perfectly into the chunks of highly saturated colors. The boundless creative energy and streaming vitality that burst forth is moreover a succinct and powerful statement of Ting’s extraordinary artistic expression, and imbues the artwork with an air of delighted bliss. This portrait of a women references the classicism paintings of Titian, Manet, Modigliani, Matisse, and others who created countless masterpieces in similar composition. In Walasse Ting’s work, a posture of classical painting is translated into one of utmost passion and zeal. It reveals the heart’s unwavering desire to be naked before the world’s eyes, and for this reason elevated Ting as one of true artists in the era’s.

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Walasse TING (Chinese-American, 1929 - 2010)

Sea Splash 1961 Oil on canvas 127 x 152 cm Signed on the reverse Ting, titled Sea Splash and dated 61 PROVENANCE

Kunzt Gallery, Belgium

NT$ 3,200,000 - 4,200,000 HK$ 851,000 - 1,117,000 US$ 109,700 - 143,900 RMB 753,000 - 988,000

丁雄泉 海水濺起浪花 1961 油彩 畫布 127 x 152 cm 簽名畫背：Ting 61 Sea splash 來源

Kunzt畫廊，比利時

《海水濺起浪花》作於1961年，此作品完美呈現了藝術家這一時期的探索 與嘗試，為難得一見丁雄泉抽象時期之畫作。畫面看似任意潑灑，其下筆 如揮刀一般呈現浪花；並帶給觀畫者飛揚、酣暢淋漓的視覺衝擊力，豐沛 的情感隱含東方精神且極富暴發力。畫面中跳躍的紅及覆蓋大面積的明黃 無不透露著藝術家率性灑脫的性格，青翠的綠色在粗礦及細膩間綻放出澎 派的生命張力。也因此時期受到抽象表現主義的影響，使其繪畫表現形式 與手法有顯著的文化衝擊與改變，丁雄泉以其才情使之形成形色獨特、屹 立不搖的藝術風格。

“Sea Splash” was created in 1961. This work is a perfect representation of the artist’s exploration and practice during those years. It serves as one of the rare paintings from Ting’s phase of abstract painting. The image seems as if it was created by arbitrarily splashing paint. The splash rays seem painted onto canvas by waving a knife instead of a brush. The viewer is provided with a flying, carefree and unrestrained visual impact.

A stream of emotions hides an Eastern spirituality and a highly explosive force. The leaping stripes of red cover a large yellow patch, revealing the artist’s personality and whims. Verdant green strokes present the tension of life in full bloom between rough and smooth layers. The influence of abstract expressionism had a significant cultural impact on Walasse Ting, changing his forms of expression and technique. Such talent gives birth to a distinctive and outstanding art style.

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234

George CHANN

陳蔭羆

(Chinese-American, 1913 - 1995)

狂草之歌

Script Style Calligraphy c. 1970s Oil on canvas 125 x 82 cm Signed lower right GEO-CHANN in English PROVENANCE

約 1970年代 油彩 畫布 125 x 82 cm 簽名右下：GEO-CHANN 來源

私人收藏，亞洲

Private collection, Asia

展覽

EXHIBITED

「陳蔭羆個展」，大未來畫廊，台北，展期自2000年2月28日至

George Chann, Lin&Keng Gallery, Taipei, February 26 - March 21

3月21日

ILLUSTRATED

《陳蔭羆》，大未來畫廊，台北，2000，彩色圖版，頁108-109

圖錄

George Chann, Lin&Keng Gallery, Taipei, 2000, color illustrated, pp. 108-109

NT$ 2,400,000 - 3,600,000 HK$ 638,000 - 957,000 US$ 82,200 - 123,400 RMB 565,000 - 847,000

綜觀陳蔭羆的抽象畫發展，依年代分為幾個階段，首先是1950年代 的黑白系列抽象作品，漢文字、碑帖入畫，而後漸融入色彩；1960 年代文字符號仍在，佐以破碎、揉合、拼貼、糊裱等材質變化，表 現肌理厚實，透露出人文湮滅的神祕痕跡；1970年代之後發展出另 一種色彩繽紛、線條奔放如織錦般的抽象圖畫，融入都會景觀的現 代感受，洋溢著古文明與現代的華麗融合，藉由行動繪畫的滴流、 潑灑方式盡情展現。 作品《狂草之歌》屬1970年代作品。一方面具有托比白色書寫的神 祕多義性，內涵本質更貼近東方；而另一方面又帶有帕洛克自由線 條的表現性演出，強化形色變奏後的壯麗效果。《狂草之歌》在材 質上採用油彩緊密厚實、色彩斑斕，交織成一首雄渾的交響樂曲， 讚頌歷史文明的輝煌燦爛。畫家將甲骨、鐘鼎、碑刻、篆銘的各種 漢字書體，變體為具有現代意涵的抽象圖式，尤其畫家在後期作品 融合繽紛的色彩、線條，豐富的肌理、宛如織錦的形式益加自由圓 熟，乃為表現性強的抽象繪畫。

Chann’s abstract art development is divided into several stages.

First is the black-and-white collection during the 1950s in which he employed Chinese characters, marks and inscriptions; colors were not used until later. Up to the 1960s characters and symbols

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remained, adding on material varieties such as shattered, mix-andmatch, cut-and-paste, paper-pasting effects. The expression during this period of time was substantial and sturdy, implying some traces of humanism decline. Later in the 1970s, Chann created colorful tapestry-like paintings that not only embodied modern cityscapes but combined the old civilization and modernism. Using techniques of action painting such as dripping and splashing, he fully illustrated the flamboyant mixture of the old and new.

“Script Style Calligraphy” was created in George Chann’s 1970 period work. “Script Style Calligraphy” has the mystic multivocality of Tobey’s write writing, its essence is closer to eastern culture; it also possesses Pollock’s unrestrained line structures, enhancing magnificence of the whole picture. “Script Style Calligraphy” materially adapted oil paints, and finished with collage. The patterns are close and tight; the colors are variegated, composing an epic symphony to praise glorious history and civilization. The artist transformed the Chinese characters on bones, shells, vessels, bells, stone inscriptions, and Chinese characters into abstract patterns with modern signiicances; Especially paintings from the artist’s late collections, blend lourishing colors and lines, rich in muscle, its woven form having more freedom and maturity; it’s a very expressive abstract painting.

235

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

Blue 1961 Oil on paper 36 x 55 cm Signed lower right CHU TEH-CHUN in Chinese and English This lot is to be sold with a photo signed by the artist

NT$ 1,700,000 - 2,600,000 HK$ 452,000 - 691,000 US$ 58,300 - 89,100 RMB 400,000 - 612,000

朱德群 藍 1961 油彩 紙本 36 x 55 cm 簽名右下：CHU TEH-CHUN 朱德群 附藝術家親筆簽名之原作照片

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236

PANG Jiun (Taiwanese, b. 1936)

Boats Passed Thousands Mount 2017 Oil on canvas 72.5 x 91 cm Signed lower right Pang Jiun in Chinese and dated 2017 With one seal of the artist

NT$ 1,700,000 - 2,400,000 HK$ 452,000 - 638,000 US$ 58,300 - 82,200 RMB 400,000 - 565,000

龎均 輕舟已過萬重山 2017 油彩 畫布 72.5 x 91 cm 簽名右下：龐均 2017 手繪鈐印右下：均

作品《輕舟已過萬重山》完全表現出龐均在描繪山水上的才情。 畫中前景枝枒的小船照應後方飄盪在雲霧間之山巒，層次豐富， 令人徜徉於勝景之中。從此處望去，創造出一片無垠的、深淺灰 色調子的視覺幻象，整體畫面顯得含蓄卻富含詩意，讓觀者浮想 連翩。龐均聰慧地吸取古今中外的繪畫優點，創建其油畫藝術的 特質。

The work”Boats Passed Thousands Mount” is a perfect example of Pang Jiun’s ingenious approach to landscape painting.

Here, hills of branches set in the foreground correspond to the background’s mountains which seem to float in fog and mist of layers so thick the viewer is immersed in the scene. Steeped in deep grey tones, the work presents a sort of visual illusion.

While the image has an overall subtlety, poetically it is rich, which allows the viewer to sink further and further inside. And the artist’s ingenious way of balancing techniques borrowed from different painting traditions, on display here, is what truly sets Pang Jiun’s oil painting apart from the rest.

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237

PANG Jiun (Taiwanese, b. 1936)

Lotus in Midsummer 1987 Oil on canvas 65 x 91 cm Signed lower left Pang Jiun in Chinese.

With one seal of the artist Signed on the reverse PANG JIUN in Chinese and English, titled Lotus in Midsummer and dated 1987

NT$ 1,400,000 - 2,200,000 HK$ 372,000 - 585,000 US$ 48,000 - 75,400 RMB 329,000 - 518,000

龎均 仲夏之荷 1987 油彩 畫布 65 x 91 cm 簽名左下：龐均 丁卯年 手繪鈐印左下：均 簽名畫背：仲夏之荷 1987 龐均 PANG JIUN

龎均將禪家所想表達的「空」，透過借景抒情的方式，將心與自然合一，既能賦 予更敏銳的感受更廣大的想像空間。 作品《仲夏之荷》畫面盎然新生，筆觸嫺熟、色彩樸實，配以淡雅的暖色作為調 和，一派盎然之氣。前景盛放的荷花有如帷帳般拉開夏天之序幕。畫中刻意的留 白，讓整幅作品色調看起來又是如此的平衡。蜻蜓與瓢蟲顯現出龎均的妙筆生 花，好一處詩意風光。荷花與荷葉枝細交錯，橫過畫布，襯著後頭瀟灑恣意的綠 色筆觸，盛放的荷花同時也象徵盛夏降臨。倚著自然主義的春風搖曳，創造出一 片讓觀者浮想連翩，讓人忍不住深思自然之美。 Pang Jiun once said that “Colors are emotions”, there are no certain rules, but one must have a well-rounded considerations of such factors: the subject, environment, and lightings, in addition to emotions, in order for one to see the world with objectivity and subjectivity.

This painting “Lotus in Midsummer” the scene portrays a sense of vitality through mature brush strokes, simple colors. Then paired with gentle and elegant warm palettes to form a harmonious whole to express the energy and vitality of summer. The flowering lotus blossoms in the foreground are like curtains opening on to a scene of midsummer. Dragonflies and ladybugs show Pang Jun’s poetic scenery. It entices one to ponder upon the beauty of mother nature. Pang Jiun imbibes and transforms the realist tradition and a classical heritage of literati painting in deriving an artistic vocabulary that is uniquely his through his magnificent use of the color palette. The potent lines and simple figuration composed of a freehand style of calligraphic strokes and rhythms enhance the composition with the ethereal beauty of Western tradition, while it is further imbue by Pang’s unique ability to capture the essence of his subjects through the employment of a freehand (xieyi) approach reminiscent of the late Qi Baishi.

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238

CHUANG Che (Taiwanese, b.1934)

Music in Valley 3 2005 Oil on canvas 127 x 168 cm Signed lower right Chuang Che in English and dated 2005; Titled Music in Valley 3 on the reverse and dated 2005 This lot is to be sold with a certificate of authenticity issued

by Asia Art Center, Taipei.

NT$ 1,600,000 - 2,400,000 HK$ 426,000 - 638,000 US$ 54,800 - 82,200 RMB 376,000 - 565,000

莊喆 空谷清音三 2005 油彩 畫布 127 x 168 cm 簽名右下：莊喆 05 題識畫背：空谷清音三 2005 附亞洲藝術中心開立之原作保證書

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239

CHENG Tsai-tung (ZHENG Zaidong) (Taiwanese, b. 1953)

Lingering Clouds (a set of 4) 1991 Oil on canvas 97 x 130 cm Signed lower middle Cheng Tsai-tung in Chinese and dated ‘91 EXHIBITED

Cheng Tsai-tung solo exhibition, Lin & Keng Gallery, Taipei, 1998 ILLUSTRATED

Works of Cheng Tsai-tung, Lin & Keng Gallery Ltd, Taipei, November 1998, color illustrated, pp. 20-29 Zheng Zai Dong, published by the artist, 2004, color illustrated, pp. 114-117

NT$ 1,500,000 - 2,400,000 HK$ 399,000 - 638,000 US$ 51,400 - 82,200 RMB 353,000 - 565,000

鄭在東 停雲（四連作） 1991 油彩 畫布 97 x 130 cm 簽名中下：鄭在東'91 展覽

鄭在東作品集「何不秉燭遊」，大未來畫廊，台北，1998 圖錄

《鄭在東作品集─何不秉燭遊》大未來藝術有限公司，1998年11月， 彩色圖版，頁20-29 《鄭在東作品集》，鄭在東自行出版，2004，彩色圖版，頁114-117

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240

CHIU Ya-tsai (Taiwanese, 1949 - 2013)

Man in Green Oil on canvas 116.5 x 91cm Signed lower right CHIU Ya-tsai This lot is to be sold with a certificate of authenticity issued by Ming Art Gallery.

NT$ 1,600,000 - 2,600,000 HK$ 426,000 - 691,000 US$ 54,800 - 89,100 RMB 376,000 - 612,000

邱亞才 綠衣男子 油彩 畫布 116.5 x 91cm 簽名右下：邱亞才 附旻谷開立之原作保證書

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241

CHIU Ya-tsai (Taiwanese, 1949 - 2013)

Calm 1990 Oil on canvas 116.5 x 91cm Signed lower left CHIU Ya-tsai ILLUSTRATED

CHIU Ya-tsai, Ming Art Gallery, Taipei, 2009,color illustrated, p. 113

NT$ 1,300,000 - 2,200,000 HK$ 346,000 - 585,000 US$ 44,600 - 75,400 RMB 306,000 - 518,000

邱亞才 沉穩 1990 油彩 畫布 116.5 x 91cm 簽名左下：邱亞才 圖錄

《邱亞才》，旻谷藝術，台北，2009，彩色圖版，頁113

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242

George CHANN (Chinese-American, 1913 - 1995)

White Calligraphy 1970s Mixed media on canvas 68 x 69 cm PROVENANCE

Private collection, USA Private collection, Asia

NT$ 1,100,000 - 1,800,000 HK$ 293,000 - 479,000 US$ 37,700 - 61,700 RMB 259,000 - 424,000

陳蔭羆 書法 - 白 1970年代 綜合媒材 畫布 68 x 69 cm 來源

私人收藏，美國 私人收藏，亞洲

1950年代的黑白系列抽象作品，漢文字、碑帖入畫，而後漸融 入色彩此幅《書法 - 白》約創作於1970-1980年代，是陳氏充分 吸收中、西藝術精髓，並跨越兩種文化藩籬，尤其是深受美國 抽象表現影響的成熟作品。畫面中解構漢字符號的形式已銷聲 匿跡，銷融的文字符號醞釀成抽象繪畫的佈局，雖未見中國文 化背景明顯流入於畫面其中，多的是陳氏醉心研究抽象藝術的 枝微末節，依稀流露出草書般渾厚卻瀟灑的力道，藉由行動繪 畫，無拘無束地潑灑、滴流顏料，匯成一幀如錦織般富含肌理 的抽象圖畫，在在顯示了此作為陳氏淬鍊自中、西文明而來的 代表佳作。陳蔭羆的藝術語言始終帶有自中國文化的底蘊，憑 藉著這股深層的精神，在汲取西方藝術成就後，豢養出陳氏令 人著迷的抽象表現風格，足以奠定他在華人藝術圈以及世界抽 象繪畫流派裡，不被遺忘的地位。

First is the black-and-white collection during the 1950s in which he employed Chinese characters, marks and inscriptions; colors were not used until later." White Calligraphy" is an abstract painting created sometime between 1970 and 1980, during which time Chann fully absorbed the essence of Chinese art and Western art and even transcended the

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cultural boundaries of these two cultures. Moreover, this is a fully-developed creation of the artist’s maturity under the deep influence of the Abstract Expressionism movement in the United States. While there is no conspicuous trace of de-constructed Chinese characters in this painting, faded symbols of Chinese characters are enigmatically intertwined into the composition. The canvas is brimming with copious fine details derived from Chann’s careful and zealous research of abstract techniques, and while elements of Chinese culture seem absent at first glance as the free-flowing cursive script of Chinese calligraphy. Using techniques of action painting such as free dripping and splashing to achieve highly saturated and audacious hues, Chann created a flamboyant painting reminiscent of an elaborate tapestry. This lot is a fine example of the artist’s ability to transcend the intrinsic notions of what define Chinese culture and Western civilization. Chann’s artistic language has always been rich in his own cultivation of Chinese culture. With this profound cultivation, Chann developed his own captivating abstract expressive art style after learning the tenets of Western art, cementing his distinguished status in the Chinese art circle and in the field of abstract painting worldwide.

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Walasse TING (Chinese-American, 1929 - 2010)

I Angry 1986 Acrylic on canvas 41 x 51 cm Signed on the reverse Ting, titled I Angrys in English and dated 1986 PROVENANCE

Bruun Rasmussen Auction, Copenhagen, December 4, 2012, lot 954

NT$ 1,100,000 - 1,600,000 HK$ 293,000 - 426,000 US$ 37,700 - 54,800 RMB 259,000 - 376,000

丁雄泉 我生氣 1986 壓克力 畫布 41 x 51 cm 簽名畫背：I Angry Ting 86 來源

布魯恩 拉斯穆森拍賣，哥本哈根，2012年12月4日， 編號954

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Patrick HUGHES

帕特里克・休斯

(British, b. 1939)

迷惑

Deceptivenice

2008

2008 Collage and oil on board, edition no. 3/5 69(L) x 176(W) x 20(D) cm Signed on the reverse Patrick Hughes, titled Deceptivenice 3/5 and dated 2018

69(長) x 176(寬) x 20(厚) cm

This lot is to be sold with a certificate of authenticity issued by Bel- Air Fine Art, Paris.

NT$ 1,300,000 - 2,000,000 HK$ 346,000 - 532,000 US$ 44,600 - 68,500 RMB 306,000 - 471,000

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拼貼 油彩 木板 3/5 簽名畫背：Deceptivenice 3/5 Patrick Hughes 2018 附巴黎 Bel- Air Fine Art開立之原作保證書

帕特里克·休斯出生於1939年，是一位著迷於透視畫法的超現實 主義藝術家，其善於利用錯視法繪製「雕刻式」的透視畫。1964 年帕特里克·休斯創作出了第一件「反向視角」作品，源自其童 年時候的記憶。“Reverseness”反向，並不是真實存在的詞， 藝術家也把它解釋成“內外翻轉（inside-out）”這個詞。1941 年德國空襲克魯郡的時，藝術家與母親躲在樓梯下的碗櫃裡，當 他抬頭看時發現它們與平常看到的樣子正好相反。這是藝術家對 “反向”的第一段記憶，自此他深深被此視覺錯像吸引，且對於 對悖論、視覺矛盾修飾法和光學幻象有著畢生的興趣，20世紀80 年代，他回歸到1964年的第一件作品「伸出的房間」概念，並開 始以反向的視角創作大量的繪畫作品，帕特里克·休斯至今仍為這 個世界帶來有趣的透視知覺藝術。

Patrick Hughes was born in 1939, he is a surrealist artist who is fascinated by perspective drawing. He is good at making use of optical illusion to create “sculptural” perspective paintings.

In 1964, he created the first “reverspective” work, derived from his childhood memories. The word “Reverseness” indeed is made up by the artist, and he interprets as the meaning of “inside-out”. When the German air raid on Crewe in 1941, he and his mother hid in a cupboard under the stairs. When he looked up, he found that they were the opposite of what he usually saw. This is his ever first memory of “reverseness”, since then he has been deeply attracted by this visual illusion, and pursued a lifelong interest in paradox, oxymoron and optical illusion. In the 1980s, he regressed to the concept of his first work made in 1964, “Sticking-out Room”, and began to create a large number of paintings from a reverse perspective, undoubtedly he still interests the world with the art of perspective perception.

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Mr Doodle (British, b. 1994)

Hand-painted Nike Soccer Shoes 2016 Football Boot, genio leather (unique) Size: US10.5 Signed on the right foor THE DOODLEMAN! PROVENANCE

Private collection, Asia

NT$ 1,100,000 - 1,800,000 HK$ 293,000 - 479,000 US$ 37,700 - 61,700 RMB 259,000 - 424,000

塗鴉先生 手繪Nike足球鞋 2016 釘鞋 牛皮(單一件) 尺碼：US10.5 簽名右腳：THE DOODLEMAN! 來源

私人收藏，亞洲

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MR DOODLE HAND-PAINTED NIKE SOCCER SHOES

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Daniel Arsham x DIOR

丹尼爾．阿爾軒 x DIOR

(American, b. 1980)

未來遺址－我是裁縫珠寶盒

Future Relic Eroded Book - Je Suis Couturier Jewelry Box

2020

2020 Hydrostone and quartz crystals, edition no. 64/100 15.3(L) x 4(W) x 23(H) cm

附Dior x 丹尼爾．阿爾軒工作室開立之作品保證書

This lot is to be sold with a certificate of authenticity issued by Dior x Daniel Arsham studio and accompanied with its original product box.

NT$ 360,000 - 440,000 HK$ 96,000 - 117,000 US$ 12,300 - 15,100 RMB 85,000 - 104,000 110

石膏 石英晶體 64/100 15.3(長) x 4(寬) x 23(高) cm 附作品原產木箱包裝

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Daniel Arsham x DIOR

丹尼爾．阿爾軒 x DIOR

(American, b. 1980)

未來遺址－侵蝕的籃球

Future Relic - Basketball

2020

2020 Hydrostone and quartz crystals, edition no. 128/250 24.2 cm (D)

24.2 cm (直徑)

This lot is to be sold with a certificate of authenticity issued by Dior x Daniel Arsham studio and accompanied with its original product box.

NT$ 320,000 - 420,000 HK$ 85,000 - 112,000 US$ 11,000 - 14,400 RMB 75,000 - 99,000

石膏 石英晶體 128/250 附Dior x 丹尼爾．阿爾軒工作室開立之作品保證書 附作品原產木箱包裝

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藝術市場中的暖流 — 日本人氣當代雕塑家

日本當代藝術具有原創的豐富內涵，當代藝術家嫻熟地展現日本當代

一件雕塑行情更有想像空間。日本當代藝術無限可能，新崛起的藝

藝術的獨到魅力。而其中日本當代雕塑創作中所呈現出的細膩韻味更

術家所掀起的日本當代藝術旋風堪稱異軍突起。

顯魅力，亦是悠遠文化的體現，美術工藝可為富國的文化意識，而其 中更以繪畫、雕刻為中心。日本文化中有歷史悠久的佛雕傳統，明治 維新時期亦引介西方的雕塑訓練體系，明治維新之後設置「工部美 術學校」延聘義大利籍的勒古薩（Vincenzo Ragusa）擔任雕刻部教 師，東西方的雕塑系統在學院體制內衝撞與交融，逐步開展出屬於日 本文化中特有的風格，即便到了當代的作品也可以看到東西文化交融 的特殊表現，以及雕塑作品的獨特韻味所呈現出的細膩文化。

雕塑行情更帶想像空間 隨著時代的推移，限量雕塑的概念獲得收藏家認可，當代藝術家的雕 塑作品與裝置藝術，已在全球市場形成穩固的收藏族群。近年來由限 量雕塑公仔所刮起的新世代收藏旋風，使得木雕、複合媒材或石膏像 等「單一件」（unique）的獨特性及不可複製性，因稀有性使得單

日本當代雕塑往社會維度與心態深探，本季現代與當代藝術推薦一 系列日本當代雕塑藝術，於不同視角的欣賞中，呈現出各種令人讚 嘆的細膩情感與技法。精選重量級及市場新寵等超人氣9位日本當代 雕塑家加藤泉、三宅一樹、土屋仁応 、灰原愛 、小泉悟、中村萌、 大森曉生，金卷芳俊及山崎龍一，展現超越畫布之外使空間突破二 次元的雕塑作品，細膩地描繪雕刻者的內在靈魂並展現各自的獨特 風格及魅力。

萬物皆有靈，神祇與自然為一，充滿 靈性的木雕藝術 日本木雕藝術呈現出嚴謹卻又不失獨特 內涵的藝術特徵，大部份的木雕創作者 皆保留了雕刻時的刻痕紋路，木頭溫 潤的質感，內斂、沉穩，而木雕之 外的立體雕塑亦傳達了創作者獨特 的內在語境。日本文化中悠遠的佛 像雕刻技法更使得日本當代雕塑呈 現出細膩獨到的韻味。 2005年加藤泉開始探索雕塑的三維 空間，因此他開始了一系列木刻雕塑 的創作，反覆出現的如神靈般的生物形 象賦予了另一種形式的存在。他保留了 木頭原始的質感，粗曠、原始有如充滿生 命力的非洲雕塑，更為原生藝術的一種極致表 現。加藤泉完成於2014的木雕作品《無題》，帶 著風格化的蝙蝠翅膀及昆蟲網狀眼，怪誕且脫俗，亦表 現出他對人類形象高度風格化的處理，使觀者面對藝術家於自 然萬物的獨特詮釋，從平面到立體，加藤泉自由豐富藝術特質創造 出當代雕塑中無限大的可能性。另有傳統佛像雕刻技法塑曲線柔美 動物木雕的土屋仁応，生物的姿態與靈性一直是土屋仁応的創作主 題，清透乳白如神話般充滿靈性的動物雕刻，如藝術家賦予牠們靈 魂與魔法般來去自如。以極簡的方式去呈現生物的姿態與靈性，並 以水晶來製作眼珠，栩栩如生的靈性動物細膩、纖弱但卻透露出一 股神秘感，美得讓人窒息。 而在當代藝術市場掀起一股療癒系旋風的中村萌，其作品以充滿手 感溫度的人物木雕創作為主，大部份的雕塑作品皆保留了雕刻時的

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刻痕紋路，獨具風格。小泉悟於2010年間，發表一系列身穿著動 物裝的孩子木雕作品，在可愛的外表下，小泉悟描繪的是每個人內 心中的孤獨。而其木雕作品尤其為人追捧，為當代市場新寵的小泉 悟其限量公仔熱絡售罄極具話題性帶動單一件木雕行情看俏。灰原 愛創造「雕刻繪畫化」風格。而她獨有的少女氣質為當代創作難能 可貴的特徵、有治癒人心的溫潤近年來在拍賣市場上屢創佳績，在 現當代藝術家中備受矚目。日本新生代藝術家山崎龍一都傳遞對於 「文化依存症候群」的探討，焦慮又不失可愛都在白衣孩童的眼神 中表露無遺。

富投資價值的「限量」雕塑 近年來，年輕一代收藏家帶動的「限量公仔」的 雕塑收藏觀念席捲全球藝術市場。隨著全球 資訊爆炸，造成人們追求更多視覺影像的 刺激，新一代藏家尋找更符合自己時代 背景或文化風格標的使得藝術創作更 多元發展。 三宅一樹2005年開始的「瑜珈」 系列是最能闡述藝術家創作觀的 作品，《瑜珈 — 樹式》中的姿 勢展現內在氣韻循環與宇宙的關 係，隱含了他「藝術即是修行」 的美學觀，如同「連結宇宙與 人」之理。藝術家以內在氣韻循環 與宇宙的關係，將內心的思想與情 感轉化在塊面的刻畫與形塑過程中， 精神在創作時得到療癒，因而成功塑造 一件件承載精神體現的雕塑。 日本新生代 雕塑家大森曉生，結合日本傳統木雕工藝及漆 藝，細膩、完整地呈現了動物的心境。《月夜中的 鹿角兔》為藝術家的複數作品，將雕刻藝術融入日常生活 中為大森曉生的創作理念。他希望能透過作品，對環境議題產生省 思，也希望表達對社會時事的關心，讓藝術更貼近生活。金卷芳俊 則為近年來炙手可熱的雕塑家之一，人類數面向心理狀態的多臉少 女為其經典創作主題帶給觀者和收藏家獨特的視覺感受。 日本雕塑發展歷程悠遠，但面對時代的急速變遷，多元文化的衝擊 下，十足展現其豐富地發展面向。而那些貼近人心及生活的創作有 日本文化的細膩體現，深具收藏價值。時至今日收藏走入生活，當 代雕塑帶給藏家們更豐富多元地收藏面貌。

T H E WA R M C U R R E N T A M I D S T A R T M A R K E T, J A PA N E S E CONTEMPORARY SCULPTOR Japanese contemporary art consists of rich original cultivation,

of Japanese contemporary sculptural art, conveying a variety of

contemporary artists skillfully demonstrate the unique fascination of

delicate emotions and techniques amid from different perspectives.

Japanese contemporary art. In which, the delicate charm presented

A total of 9 popular Japanese contemporary sculptors including

in the creation of contemporary Japanese sculpture is even more

heavyweights and new favorites in the market. Their sculptural

captivating, it is also the embodiment of the culture that exists long

works extend beyond the canvas and break through the two

ago. Art and crafts can be viewed as the cultural consciousness of

dimensions space, delicately depict the inner soul

a rich country, among them painting and sculpture are considered

of the sculptor and display their characteristic

as prominent. After the Restoration, theTechnical Fine Arts School (Kobu Bijutsu Gakko) was established and hired Italian Vincenzo Ragusa as teacher in the sculpture department.

Both the Eastern and Western sculpture system collides and blends within the academic, and gradually developed a peculiar style of Japanese culture. Even

style and charm.

ALL LIVING THINGS ARE DIVINITIES — GOD AND NATURE ARE ONE, FULL OF SPIRITUAL WOOD CARVING ART There is a long history in the tradition of

in contemporary works, one can still

Buddhist sculpture in Japanese culture,

witness the extraordinary performance

during the Meiji Restoration period, Western

by integrating these two cultures, as well

sculpture training system was also introduced.

as the exquisiteness displayed by the

After the Restoration, theTechnical Fine Arts

remarkable charm of sculptural art.

THE MARKET PRICE IN SCULPTURE BRINGS MORE IMAGINATION

School (Kobu Bijutsu Gakko) was established and hired Italian Vincenzo Ragusa as teacher in the sculpture department. Both the Eastern and Western sculpture system collides and blends within the academic, and gradually developed a peculiar

Throughout the passage of time,

style of Japanese culture. Even in contemporary

the concept of limited edition

works, one can still witness the extraordinary

sculpture has been well embraced

performance by integrating these two cultures,

among collectors, the sculptural works and installation art of contemporary artists have already formed a steady and solid collecting group in the global market. In recent years, the limited edition sculpture ďŹ gure causes whirlwinds among the new generation collectors, which has made sculptures with materials such as wood carving, composite media or plaster, such one of the kind "unique" pieces non-reproducible. Due to their rarity and scarcity, the market price for such singular sculpture brings more imaginary space. The possibilities of Japanese contemporary art are infinite and the whirlwind of Japanese contemporary art stirred up by emerging artists can be described as a sudden emergence.

as well as the exquisiteness displayed by the remarkable charm of sculptural art.

In 2005, Kato Izumi began to explore the three-dimension sculptures, hence he commenced a series of woodcarving sculptures. The imagery of deity-like creature repeatedly appears, which gives another form of existence. He retains the rawness texture of wood, rough and primal as if the vibrant African sculptures, which is an ultimate expression of primitive art. In his woodcarving work "Untitled" made in 2014, with stylized bat wings and insect mesh eyes, uncanny yet refined, also exhibiting his highly stylised process in working with human images, this allows viewers to confront with the artist's peculiar interpretation of all

Contemporary Japanese sculpture has been deeply explored

things in nature. His creations resemble both human and goodness

towards the social dimensionality and mentality. This season

forms, simultaneously display two sentiments of benevolent and

Ravenel's Modern and Contemporary Art proudly presents a series

unfamiliar. From flat surface to three-dimensional,Kato Izumi's

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unrestrained and abundant artistic characteristics create infinite

process of creating sculpture is also a kind of cultivation. His spirit

possibilities in contemporary sculpture.Traditional Buddha

is healed during the creation, which in turn leads to successfully

sculptures have gentle curve and dignified form, the artist

creating one after another sculptures that bear his essence. The

Yoshimasa Tsuchiya learned this traditional technique when he

new generation Japanese sculptor Akio Ohmori, combined with

was a student. The posture and spirituality of living creatures have

traditional Japanese woodcarving techniques and lacquer art,

always been the creation theme of Yoshimasa Tsuchiya. The clear

delicately and completely present the mood of animals. "Jackalope

and milky white animal sculptures are full of spirituality, like myths,

in the Moonlight" is one of his plural works, his creative idea

they come and go freely as if the artist entrusts them with soul

integrates sculptural art into daily life. He hopes that through his

and magic.The almost lifelike spiritual animals are exquisite and

works, he can reflect on environmental issues and also can express

delicate, but they reveal a sense of mystery, which is suffocating.

his concern for current social events , in order to make art even

Through his extraordinary sentiments towards the myths in

more closer to life. Yoshitoshi Kanemaki is one of the hottest

Japanese culture, Tsuchiya bestows his sculptures with the agility of

sculptors in recent years. The multi-faced young girl confronts

life, mysterious yet grace.

with the psychological state of human being, his classic creative

In the contemporary art market, Moe Nakamura has set off a healing whirlwind, her works are mainly woodcarving of figures,

theme indeed brings exceptional visual experience to viewers and collectors.

her handcraft is filled with warmth. Most of her sculptures retain

The development of Japanese sculpture has a long history,

the veined pattern, these carved lines show such a distinctive style.

but facing with the rapid changes of time and the impact

Koizumi Satoru published a series of woodcarving works of children

of multiculturalism, it has fully demonstrated its prosperous

wearing animal costumes in 2010, under their lovely appearance,

development orientation. And those creations that are close to

he depicts the solitary in everyone's heart. His woodcarving

people's hearts and lives have exquisitely reflected Japanese

works are especially sought after, being a new favorite in the

culture, which have enormous collection value. Today, while the

contemporary market, the news on his sold out limited edition

practice of collection has become part of our life, contemporary

figurines are such a hot topic, which undoubtedly heat up the

sculptures definitely have brought collectors with a richer and more

market for his singular woodcarvings. Ai Haibara creates the style

diverse collection.

of "Painterly Sculpture", her distinctive girly temperament is such a rareness and precious characteristic among the contemporary creation, surround with healing warmth. She has repeatedly achieved good results in the auction market in recent years and has attracted much attention among modern and contemporary artists.

The new generation Japanese artist Ryoichi Yamazaki conveyed his exploration towards "culture- bound sydrome", both anxious and adorable sentiments were all revealed in the eyes of his whiteclothed children.

"LIMITED EDITION" SCULPTURE WITH INVESTMENT VALUE In recent years, the sculptural collection concept of "limited edition figurines" driven by the young generation collectors has swept the global art market. With the explosion of global information, stimulating people to pursue more visual images, the new generation of collectors seeks more in line with their own era background or cultural style, which makes artistic creation more diverse.

The "Yoga" series, which started in 2005, best explains Ikki Miyake's creation concept.The "Yoga—Tree Pose" shows the relationship between the circulation of inner rhythm and the universe, which implies the artist's aesthetic view of "art indeed is practice". Palms are placed together and both arms are lifted up, the body is only supported with an independent leg. Resembling the principle of "connecting the universe and human being", tranquility and harmonious. While in regards to Ikki Miyake, the

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Yoshimasa TSUCHIYA

土屋仁応

(Japanese, b. 1977)

亥(山豬)

Wild Boar

2018

2018 Woodcarving, crystal, polychrome 19(L) x 7(W) x 12(H) cm Signed on the bottom Yoshimasa Tsuchiya

19(長) x 7(寬) x 12(高) cm

NT$ 300,000 - 500,000 HK$ 80,000 - 133,000 US$ 10,300 - 17,100 RMB 71,000 - 118,000

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樟木 水晶 彩色 簽名底部：土屋仁応

249

Yoshimasa TSUCHIYA (Japanese, b. 1977)

Blue Cat 2015 Woodcarving, crystal, polychrome 25(L) x 13(W) x 22.5(H) cm Signed on the bottom Yoshimasa Tsuchiya

NT$ 500,000 - 800,000 HK$ 133,000 - 213,000 US$ 17,100 - 27,400 RMB 118,000 - 188,000

土屋仁応 青貓 2015 樟木 水晶 彩色 25(長) x 13(寬) x 22.5(高) cm 簽名底部：土屋仁応

120

250

Ai HAIBARA (Japanese, b. 1981)

Awakening 2010 Wood 63(L) x 54(W) x 100(H) cm Signed on the base Ai Haibara in English and dated 2010

NT$ 360,000 - 460,000 HK$ 96,000 - 122,000 US$ 12,300 - 15,800 RMB 85,000 - 108,000

灰原愛 甦醒 2010 木雕 63(長) x 54(寬) x 100(高) cm 簽名底座：Ai Haibara 2010

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251

Ai HAIBARA (Japanese, b. 1981)

Secret Talk 2007 Wood 20(L) x14(W) x 63.5(H) cm 16.5(L) x14.5(W) x 63.5(H) cm Signed left: 2007 Ai H (each)

NT$ 550,000 - 650,000 HK$ 146,000 - 173,000 US$ 18,800 - 22,300 RMB 129,000 - 153,000

灰原愛 悄悄話 2007 木雕 20(長) x14(寬) x 63.5(高) cm 16.5(長) x14.5(寬) x 63.5(高) cm 簽名左側：2007 Ai H (每件)

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252

Satoru KOIZUMI (Japanese, b. 1983)

Arabian Oryx 2018 Woodcarving, polychrome, resin 50(L) x 48(W) x 67(H) cm Signed on the back Koizumi in English This lot is to be sold with a certificate of authenticity issued by Aki Gallery, Taipei

NT$ 700,000 - 900,000 HK$ 186,000 - 239,000 US$ 24,000 - 30,800 RMB 165,000 - 212,000

小泉悟 羚羊 2018 木雕 顏料 樹脂 50(長) x 48(寬) x 67(高) cm 簽名背部：KOIZUMI 附也趣畫廊開立之原作保證書

126

253

Moe NAKAMURA (Japanese, b. 1988)

Night Sheep 2017 Wood, paint 47(L) x 26(W) x 48(H) cm Signed on the bottom of feet Moe, titled Night Sheep and dated 2017 ILLUSTRATED

Moe Nakamurs “Growth”, GALLERY TSUBAKI Co., Ltd, Tokyo, 2020, color illustrated, p. 56 This lot is to be sold with a certificate of authenticity issued by Gallery Tsubaki, Tokyo.

NT$ 950,000 - 1,800,000 HK$ 253,000 - 479,000 US$ 32,600 - 61,700 RMB 224,000 - 424,000

中村萌 數綿羊 2017 木 油彩 47(長) x 26(寬) x 48(高) cm 簽名腳底：Moe 2017 Night Sheep 圖錄

《中村萌Growth》，椿畫廊，東京，2020，彩色圖版，頁56 附東京椿畫廊開立之作品保證書

128

254

KATO Izumi (Japanese, b. 1969)

Untitled 2014 Acrylic on wood 26(L) x 53(W) x 63(H) cm Engraved on the back KATO in English Izumi in Japanese and dated 2014 PROVENANCE

Private collection, Asia

NT$ 2,200,000 - 3,200,000 HK$ 585,000 - 851,000 US$ 75,400 - 109,700 RMB 518,000 - 753,000

加藤泉 無題 2014 壓克力 木雕 26(長) x 53(寬) x 63(高) cm 簽名雕刻背後：2014 KATO 泉 來源

私人收藏，亞洲

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255

Ikki MIYAKE (Japanese, 1973)

YOGA - The Embodiment of Tree 2008 Bronze, edition no. 4 /5 50(L) x 72(W) x 295(H) cm Engraved on lower back Ikki Miyake in English, titled YOGA The Embodiment of Tree in English and Japanese, numbered 3/5, dated 2008 EXHIBITED

Ikki Miyake “PRANA”, Yokoi Fine Art, Tokyo, April 13 – May 1, 2010 ILLUSTRATED

Animism of Wood Sculpture, Ikki Miyake, 2012, p. 37 This lot is to be sold with a certificate of authenticity issued by Imavision Gallery, Taipei

NT$ 2,600,000 - 3,600,000 HK$ 691,000 - 957,000 US$ 89,100 - 123,400 RMB 612,000 - 847,000

三宅ㄧ樹 瑜珈—樹式 2008 銅雕 4/5 50(長) x 72(寬) x 295(高) cm 簽名雕刻：YOGA 樹の植化 The Embodiment of Tree Ikki Miyake 2008 4/5 展覽

「氣」三宅一樹個展，橫井畫廊，東京，展期自2010年 4月13日至5月1日 圖錄

《木雕的靈性》，三宅一樹，2012 ，頁37 附晴山藝術中心開立之作品保證書

132

256

Akio OHMORI (Japanese, b.1971)

Jackalope in Moonlight 2018 Bronze 36/50 17.5(L) x 18.5(W) x 29(H) cm Engraved on the bottom Aki in Japanese and dated 2018 EXHIBITED:

Akio Ohmori Solo Exhibition, Artglorieux Gallery, Tokyo, December 9 - December 25, 2019 ILLUSTRATED:

Akio Ohmori photo book of art works with space – The serendipitous sculpture, The Art Newspaper, Tokyo, 1989, colour illustrated, p. 45 This lot is to be sold with a certificate of authenticity issued by D.B.Factory

NT$ 150,000 - 260,000 HK$ 40,000 - 69,000 US$ 5,100 - 8,900 RMB 35,000 - 61,000

大森曉生 月夜中的鹿角兔 2018 銅雕 36/50 17.5(長) x 18.5(寬) x 29(高) cm 雕刻簽名底部：2018 曉 展覽：

「大森曉森個展」，Artglorieux 畫廊，東京，展期自2019年 12月9日至12月25日 圖錄：

《大森曉森的作品集 - 幸福雕塑》，芸術新聞社，東京，2019， 彩色圖版，頁45 附D.B.Factory開立之作品保證書

134

257

Yoshitoshi KANEMAKI (Japanese, b. 1972)

Caprice Figurative 01 (a set of 2) 2020 Rasin, edition no. 12/120 (blue); 13/120 (red) 17.8(L) x 16.5(W) x 33.7(H) cm (each) This lot is to be sold with a certificate of authenticity card signed by the artist.

NT$ 180,000 - 280,000 HK$ 48,000 - 74,000 US$ 6,200 - 9,600 RMB 42,000 - 66,000

金卷芳俊 人物隨想 01（兩件一組） 2020 樹脂 12/120(藍)；13/120(紅) 17.8(長) x 16.5(寬) x 33.7(高) cm (每件) 附藝術家親筆簽名作品保證卡

136

258

Ryoichi YAMAZAKI (Japanese, b. 1969)

I haven’t Eaten Anything Yet 2010 Painted Plaster, glass, ceramic, wood 22(L) x 20(W) x 30(H) cm 19(L) x 19(W) x 33(H) cm (chair) Signed on the bottom Ryoichi Yamazaki and dated 2010 This lot is to be sold with a certificate of authenticity issued by Sakoda Art Gallery

NT$ 220,000 - 320,000 HK$ 59,000 - 85,000 US$ 7,500 - 11,000 RMB 52,000 - 75,000

山崎龍一 我什麼都還沒吃 2010 石膏上色 玻璃 瓷器 木頭 22(長) x 20(寬) x 30(高) cm 19(長) x 19(寬) x 33(高) cm (椅子) 簽名底部：Ryoichi Yamazaki 2010 附Sakoda藝廊開立之作品保證書

138

259

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

Figure 1920s-1930s Ink on paper 44 x 27 cm ILLUSTRATED

Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D2356, p. 107 (E-Catalogue)

NT$ 850,000 - 1,000,000 HK$ 226,000 - 266,000 US$ 29,100 - 34,300 RMB 200,000 - 235,000

常玉 人物 1920 - 1930年代 水墨 紙本 44 x 27 cm 圖錄

衣淑凡，《常玉素描全集》，財團法人立青文教基金會，台北， 2014，彩色圖版，編號D2356，頁 107（電子圖錄）

140

260

CHIU Ya-tsai

邱亞才

(Taiwanese, 1949 - 2013)

美男子

A Fine Young Man

1996

1996 Oil on canvas 91 x 72.5 cm Signed lower left CHIU Ya-tsai

91 x 72.5 cm

NT$ 750,000 - 850,000 HK$ 199,000 - 226,000 US$ 25,700 - 29,100 RMB 176,000 - 200,000

142

油彩 畫布 簽名左下：邱亞才

261

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

蝶戀花

Flowers with Butterflies

壓克力 紙本裱於畫布

Acrylic on paper, mounted on canvas 87 x 88 cm

鈐印右中：採花大盜

With one seal of the artist PROVENANCE

Private collection, Asia

NT$ 750,000 - 850,000 HK$ 199,000 - 226,000 US$ 25,700 - 29,100 RMB 176,000 - 200,000

87 x 88 cm 來源

私人收藏，亞洲

262

PANG Jiun

龎均

(Taiwanese, b. 1936)

御花園之冬

Winter of Imperial Garden

1987

1987 Oil on canvas 65 x 54 cm Signed lower right Pang Jiun in Chinese and dated 1987.

With one seal of the artist Signed on the reverse PING JIUN in Chinese and English, titled Winter of Imperial Garden

65 x 54 cm

NT$ 460,000 - 550,000 HK$ 122,000 - 146,000 US$ 15,800 - 18,800 RMB 108,000 - 129,000

144

油彩 畫布 簽名右下：龐均 丁卯 手繪鈐印右下：均 簽名畫背：御花園之冬 龐均 PING JIUN

263

YANG Din (Chinese, b. 1958)

Thé au Sahara 2007 Acrylic on canvas 180 x 150 cm Signed lower right Yang Din; Signed on the reverse Yang Din, titled Thé au Sahara, inscribed 180 x 150 cm and dated 2007 This lot is to be sold with a certificate of authenticity Modern Art Gallery

NT$ 460,000 - 550,000 HK$ 122,000 - 146,000 US$ 15,800 - 18,800 RMB 108,000 - 129,000

楊登雄 撒哈拉的茶點 I 2007 壓克力 畫布 180 x 150 cm 簽名右下：Yang Din 簽名畫背：Yang Din 附現代畫廊開立之原作保證書

264

XUE Song

薛松

(Chinese, b. 1965)

麻將

Mah-Jong

2007

2007 Mixed Media on canvas 150 x 120 cm Signed on the reverse Xue Song in Chinese and English, titled Mah-Jong in Chinese, inscribed 150 x 120 cm and dated 2007

150 x 120 cm

NT$ 600,000 - 700,000 HK$ 160,000 - 186,000 US$ 20,600 - 24,000 RMB 141,000 - 165,000

146

綜合媒材 畫布 簽名畫背：《麻將》150 x 120 cm 薛松 Xue Song 2007

265

XUE Song

薛松

(Chinese, b. 1965)

抽象書法

Abstract Calligraphy (a set of 4)

2006

2006 Mixed Media on canvas 60 x 60 cm (x4) Signed lower right Xue Song in Chinese Signed on the reverse Xue Song in Chinese and English, titled Abstract Calligraphy in Chinese, inscribed 60 x 60 cm and dated 2006

60 x 60 cm (x4)

NT$ 400,000 - 500,000 HK$ 106,000 - 133,000 US$ 13,700 - 17,100 RMB 94,000 - 118,000

綜合媒材 畫布 簽名右下：薛松 簽名畫背：《抽象書法》60 x 60 cm 薛松 Xue Song 2006

266

NA Wei

那危

(Chinese, b. 1982)

單手予圖

Hand Landscape

2013

2013 Mix media on canvas 117 x 91 cm Signed lower right Na Wei in Chinese and English dated 2013

117 x 91 cm

NT$ 420,000 - 550,000 HK$ 112,000 - 146,000 US$ 14,400 - 18,800 RMB 99,000 - 129,000

148

綜合媒材 畫布 簽名右下：那危 Na Wei 2013

267

XUE Song

薛松

(Chinese, .b. 1965)

可口可樂

Coca Cola

2006

2006 Mixed media on canvas, collage 80 x 60 cm Signed lower right Xue Song in Chinese Titled on the reverse Coca Cola in Chinese, size 80 cm x 60 cm, signed Xue Song in Chinese and English, dated 2006

80 x 60 cm

NT$ 220,000 - 320,000 HK$ 59,000 - 85,000 US$ 7,500 - 11,000 RMB 52,000 - 75,000

綜合媒材 畫布 拼貼 簽名右下：薛松 簽名畫背：《可口可樂》 80 cm x 60 cm 薛松 Xue Song 2006

268

PANG Jiun

龎均

(Taiwanese, b. 1936)

花之寓意

Flower and Fruit

1993

1993 Oil on canvas 45.5 x 53 cm Signed lower left Pang Jiun in Chinese and dated 1993 With one seal of the artist Signed on the reverse PANG JIUN in Chinese and English, titled Flower and Fruit, inscribed 10F and dated 1993

45.5 x 53 cm

NT$ 300,000 - 400,000 HK$ 80,000 - 106,000 US$ 10,300 - 13,700 RMB 71,000 - 94,000 150

油彩 畫布 簽名左下：龐均 1993 手繪鈐印左下：均 簽名畫背：花之寓意 龐均 MONET PANG JIUN 10F 1993

269

CHENG Tsai-tung (ZHENG Zaidong)

鄭在東

(Taiwanese, b. 1953)

荷塘月色

Moonlight in the Lily Pond

2006

2006 Oil on canvas 79.5 x 239 cm Signed lower right Cheng Tsai-tung in Chinese and dated 06

79.5 x 239 cm

NT$ 400,000 - 500,000 HK$ 106,000 - 133,000 US$ 13,700 - 17,100 RMB 94,000 - 118,000

油彩 畫布 簽名右下：鄭在東 06

270

SHIY De-jinn

席德進

(Taiwanese, 1923 - 1981)

南澳風景

Landscape of Nanao

1973

1973 Watercolor on paper 51 x 68 cm Signed lower left Shiy De-jinn in Chinese and dated 1973

51 x 68 cm

NT$ 460,000 - 550,000 HK$ 122,000 - 146,000 US$ 15,800 - 18,800 RMB 108,000 - 129,000

152

水彩 紙本 簽名左下: 席德進 1973

271

WANG Pan-youn

王攀元

(Taiwanese, 1912-2017)

奔

Rush

水彩 紙本

Watercolor on paper 54 x 39 cm Signed lower right P.Y

簽名右下：P.Y

NT$ 420,000 - 550,000 HK$ 112,000 - 146,000 US$ 14,400 - 18,800 RMB 99,000 - 129,000

54 x 39 cm

272

SZETO Keung

司徒強

(Chinese, 1948 - 2011)

黑

Black

1995

1995 Mixed media, linen 64 x 93 cm Stamped lower right Szeto and dated 1995

64 x 93 cm

NT$ 460,000 - 550,000 HK$ 122,000 - 146,000 US$ 15,800 - 18,800 RMB 108,000 - 129,000

154

綜合媒材 亞麻布 蓋印右下：Szeto 1995

273

LIU Kuo-sung (Taiwanese, b. 1932)

Mellow 1988 Ink and color on paper 50 x 28.5 cm Signed upper left Liu Kuo-sung in Chinese and with seals of the artist PROVENANCE

Private collection, Europe ILLUSTRATED

Lo Shan Tang: Contemporary Chinese Paintings II: An Exploration, Lo Shan Tang, Hong Kong / London, 1989, colour illustrated, pp. 92-93

NT$ 300,000 - 400,000 HK$ 80,000 - 106,000 US$ 10,300 - 13,700 RMB 71,000 - 94,000

劉國松 醇美之景 1988 彩墨 紙本 50 x 28.5 cm 簽名鈐印左上：劉國松 來源

私人收藏，歐洲 展覽

《樂山堂中國當代繪畫三》，樂山堂， 香港/倫敦，1989年，彩色圖版，頁92-93

274

LI Yuan-chia

李元佳

(British-Chinese, 1929 - 1994)

無題

Untitled

1962

1962 Ink and oil on paper 19.9 x 67.2 cm Signed lower right Li in English, Yuan-chia in Chinese

19.9 x 67.2 cm

This lot is to be sold with a certificate of authenticity issued by Richard Saltoun Gallery.

NT$ 320,000 - 420,000 HK$ 85,000 - 112,000 US$ 11,000 - 14,400 RMB 75,000 - 99,000

156

彩墨 油彩 紙本 簽名右下：Li元佳 附 Richard Saltoun Gallery開立之作品保證書

275

LI Yuan-chia

李元佳

(British-Chinese, 1929 - 1994)

無題

Untitled

1958

1958 Ink and watercolor on paper 36.8 x 78 cm Signed upper left Yuan-chia in Chineses and y.c.LEE in English

36.8 x 78 cm

This lot is to be sold with a certificate of authenticity issued by Richard Saltoun Gallery.

NT$ 260,000 - 360,000 HK$ 69,000 - 96,000 US$ 8,900 - 12,300 RMB 61,000 - 85,000

水墨 水彩 紙本 簽名左上：元佳 y.c.LEE 附 Richard Saltoun Gallery開立之原作保證書

276

Michell HWANG (HWANG Ming-che) (Taiwanese, b. 1948)

Dog Who Wants to Fly 2005 Coating on steel, edition no. 3/9 39(L) x 33(W) x 108(H) cm Signed on the base Che in Chinese, numbered 9-3 and dated 2005 This lot is to be sold with a certificate of authenticity issued by Impressions Gallery.

NT$ 550,000 - 650,000 HK$ 146,000 - 173,000 US$ 18,800 - 22,300 RMB 129,000 - 153,000

黃銘哲 想飛的土狗 2005 不銹鋼烤漆 3/9 39(長) x 33(寬) x 108(高) cm 簽名檯座：哲 2005 9-3 附印象畫廊開立之原作保證書

158

277

Poren Huang (Taiwanese, b. 1970)

21st Century 2008 Bronze, baking paint, edition no. 7/10 40(L) x 42(W) x 69(H) cm Engraved on the back PR in English and dated 2008, numbered 10-7 EXHIBITED

Huang Po-ren, Art Taipei, Taipei, 2008 (another cast) Huang Po-ren, Shanghai Art Fair, Shanghai, 2008 (another cast) Huang Po-ren, Ming Art Gallery, Beijing, 2008 (another cast) The artistic conversation of “Love dogs, adore dogs”, Powen Gallery, Taipei, May 15 - June 12, 2015 (another cast) The Dog’s Note – HUANG Po-Ren solo exhibition, Powen Gallery, Taipei, September 16 – October 5, 2014 (another cast) The Dog’s Note – HUANG Po-Ren solo exhibition, Williamsburg Art & Historical Center, New York, November 7 - December 6, 2015 (another cast) ILLUSTRATED

The Dog’s Notes, Powen Gallery Co., Ltd., Taipei, 2014, color illustrated, p. 14 & pp. 106-109 This lot is to be sold with a certificate of authenticity issued by Powen Gallery, Taipei.

NT$ 480,000 - 700,000 HK$ 128,000 - 186,000 US$ 16,400 - 24,000 RMB 113,000 - 165,000

黃柏仁 21世紀 2008 銅 烤漆 7/10 40(長) x 42(寬) x 69(高) cm 簽名雕刻：2008. PR 10-7 展覽

「黃柏仁個展」，台北國際藝術博覽會，台北，2008 （另一版次） 「黃柏仁個展」，上海國際藝術博覽會，上海，2008 「黃柏仁個展」，旻谷畫廊，北京，2008（另一版次） 「愛狗，敬狗的對話藝術」—狗札記 黃柏仁個展，紅野畫 廊，台北，展期自2014年5月15日至6月12日（另一版次） 「狗札記」黃柏仁雕塑展，紅野畫廊，台北，展期自2014 年9月16日至10月5日（另一版次） 「狗札記」黃柏仁雕塑個展，紐約WAH藝術中心，紐約， 展期自2015年11月7日至12月6日（另一版次） 圖錄

《狗札記—黃柏仁》，紅野畫廊有限公司，台北，2014， 彩色圖版，頁14與頁106-109（另一版次） 附紅野畫廊開立之原作保證書

278

Poren Huang

黃柏仁

(Taiwanese, b. 1970)

延續

Generation to Generation 2005 Bronze, edition no. 16/30 45(L) x 17(W) x 30(H) cm Engraved on the right foot R and numbered on the rtiht foot bottom 30-16 R EXHIBITED

2005 銅 版次16/30 45(長) x 17(寬) x 30(高) cm 簽名雕刻：R 簽名雕刻，腳底：30-16 R 展覽

The Dog’s Notes – Poren Huang Solo Exhibition, Williamsburg Art & Historical Center, New York, November 7 – December 6, 2015 (another cast) The Dog’s Notes – Poren Huang Solo Exhibition, Offline Gallery, New York, December 10, 2015 – January 17, 2016 (another cast) The Dog’s Notes – Poren Huang Solo Exhibition, Okker Art Gallery, Amsterdam, May 7 – June 5, 2016 (another cast)

「狗札記：黃柏仁雕塑個展」，紐約WAH藝術中

ILLUSTRATED

特丹，展期自2016年5月7日至6月5日（另一版次）

Huang Po-Ren Sculpture, Taichung City Cultural Center, Taichung, 2005, color illustrated, pp. 66-67 The Dog’s Notes, Powen Gallery Co., Ltd., Taipei, 2014, color illustrated, p. 12 & pp. 20-23 Taiwanese Artist Being Active On The International Stage – Poren Huang and The Dog’s Notes, Art Investment, Taipei, November 2015, issue no.97, color illustrated, p. 234 Bright Star overseas – Poren Huang, Art. Investment, Taipei, January 2016, issue no.99, color illustrated, p. 131 This lot is to be sold with a certificate of authenticity issued by Powen Gallery, Taipei.

NT$ 280,000 - 420,000 HK$ 74,000 - 112,000 US$ 9,600 - 14,400 RMB 66,000 - 99,000 160

心，紐約，展期自2015年11月7日至12月6日（另一 版次） 「2016 狗札記個展」，Offline藝廊，紐約，展期自 2015年12月10日至2016年1月17日（另一版次） 「狗札記：黃柏仁雕塑個展」，Okker藝廊，阿姆斯 圖錄

《黃柏仁雕塑》，台中縣立文化中心，台中， 2005，彩色圖版，頁66-67 《狗札記—黃柏仁》，紅野畫廊，台北，2014， 彩色圖版， 頁12與頁20-23 〈台灣藝術家站上國際舞台—黃柏仁「狗札 記」〉，《典藏今藝術》，台北，2015年11月號， 第97期，頁234 〈邁向海外的耀眼新星〉，《典藏今藝術》， 台北，2016年 1月號，第99期，頁131 附紅野畫廊開立之原作保證書

279

Alixe FU (FU Qingli, Ching-Fong)

傅慶豊

(Chinese-French, 1961)

婚姻 Ⅱ

Marriage II

1997

1997 Huile sur bronze (unique) 37(W) x 17(L) x 67(H) cm Signed Alixe Fu in English and dated ‘97

37(長) x 17(寬) x 67(高) cm

EXHIBITED

Eye-Color, Alixe Fu Solo Exhibition 1998, Dimensions Art Center, Taipei, May 23 - July 19, 1998 ILLUSTRATED

Alixe Fu - Eye. Color, Dimensions Art Center, Taipei, 1998, color illustrated, p. 42 Dessins de la fin de siècle. 1980-1998 Alixe Fu, Foundation Art Lin Yunu, Taipei, 1998, color illustrated, p. 307

NT$ 260,000 - 360,000 HK$ 69,000 - 96,000 US$ 8,900 - 12,300 RMB 61,000 - 85,000

銅彩繪（單一件） 簽名：Alixe Fu '97 展覽

「眼 色─1998年傅慶豊個展」，帝門藝術中心， 台北，展期自1998年5月23日至7月19日 圖錄

《傅慶豊—「眼 色」》，帝門藝術中心，台北， 1998，彩色圖版，頁42 《世紀末素描 1980-1998傅慶豊》，林玉女藝術 基金會，台北，1998，彩色圖版，頁307

280

WANG Pan-youn

王攀元

(Taiwanese, 1912-2017)

無題

Untitled

水彩 紙本

Watercolor on paper 54 x 39 cm Signed lower right P.Y

簽名右下：P.Y

PROVENANCE

Acquired directly from artist’s family

NT$ 340,000 - 460,000 HK$ 90,000 - 122,000 US$ 11,700 - 15,800 RMB 80,000 - 108,000

162

54 x 39 cm 來源

購自藝術家家屬

281

WANG Pan-youn

王攀元

(Taiwanese, 1912-2017)

春且住

Nostalgia of Spring

約1970

c. 1970 Watercolor on paper 35 x 29.5 cm With one seal of artist on the lower right

35 x 29.5 cm

This painting is to be sold with a photograph

NT$ 220,000 - 320,000 HK$ 59,000 - 85,000 US$ 7,500 - 11,000 RMB 52,000 - 75,000

水彩 紙本 鈐印右下：王攀元 附藝術家與作品合影照片

282

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

美人

Beauty

壓克力 紙本裱於畫布

Acrylic on paper, mounted onto canvas 64.5 x 80 cm With one seal of the artist

鈐印左上：採花大盜

PROVENANCE

Gallery Delaive, Amsterdam Private collection, Asia

NT$ 320,000 - 400,000 HK$ 85,000 - 106,000 US$ 11,000 - 13,700 RMB 75,000 - 94,000

164

64.5 x 80 cm 來源

德萊夫畫廊，阿姆斯特丹 私人收藏，亞洲

283

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

女人與花

Lady with Flowers

水墨 紙本

Ink on paper 35.5 x 48 cm With one seal of the artist

鈐印右下：採花大盜

PROVENANCE

Catto Gallery, London This lot is to be sold with a certificate of authenticity issued by Walasse Ting Estate Archive, New York

NT$ 240,000 - 320,000 HK$ 64,000 - 85,000 US$ 8,200 - 11,000 RMB 56,000 - 75,000

35.5 x 48 cm 來源

Catto畫廊，倫敦 附紐約丁雄泉遺作與文獻管理會開立之作品證書

284

HUNG Jui-lin

洪瑞麟

(Taiwanese, 1912 - 1996)

坑內支柱

Support in Mine

1970

1970 Oil on canvas 60 x 50 cm Signed lower left Jui Lin Hung in English and dated 1970 With one seal of artist

60 x 50 cm

ILLUSTRATED

Impressions Collection II - Humanist and Artist J. L. Hung, Impressions Art Gallery, Taipei, 1992, color illustrated, p. 96 50th Anniversary-Founding Senior Painter, Goethe Art Center, Taipei, 2003, pp. 48-49

NT$ 460,000 - 550,000 HK$ 122,000 - 146,000 US$ 15,800 - 18,800 RMB 108,000 - 129,000 166

油彩 畫布 簽名左下：1970. Jui Lin Hung 繪鈐印：洪 圖錄

《印象經典II 人道主義畫家─洪瑞麟》，印象畫廊， 台北，1992，彩色圖版，頁96 《紀元50年－創始前輩畫家》，哥德藝術中心， 台北，2003，頁48-49

285

CHANG Wan-chuan

張萬傳

(Taiwanese, 1909 - 2003)

起雞有魚

Chicken and Fish

約1985 - 1995

c. 1985 - 1995 Oil on canvas 73 x 60.5 cm Signed lower left CHANG in English, Wan in Chinese Signed on the reverse CHANG in English, Wan in Chinese and datedd 1995

73 x 60.5 cm

ILLUSTRATED

Chang Wan-chuan, Goethe Art Center, Taichung, 2003, color illustrated, p. 138

NT$ 320,000 - 420,000 HK$ 85,000 - 112,000 US$ 11,000 - 14,400 RMB 75,000 - 99,000

油彩 畫布 簽名左下：CHANG 萬 簽名畫背：CHANG 萬 1995 圖錄

《歌德傳世經典 張萬傳》，歌德藝術中心，台中， 2003，彩色圖版，頁138

286

HUANG Chih-yang (Taiwanese, b. 1965)

Lover 1999 Ink on silk paper 243 x 122 cm Signed lower center Dominigue + Vincent in English and Chih-yang in Chinese, dated Taipei 99 With one seal of the artist

NT$ 320,000 - 420,000 HK$ 85,000 - 112,000 US$ 11,000 - 14,400 RMB 75,000 - 99,000

黃致陽 戀人 1999 彩墨 絹 木板 243 x 122 cm 簽名中下：Dominigue + Vincent 致陽 Taipei 99 鈐印中下：黃志陽 Huang Chih-yang 戀人絮語 Lover's Library

168

287

Yoshio CHANG

張義雄

(Taiwanese, 1914 - 2016)

管弦樂團

Orchestra

1992

1992 Oil on canvas 33.3 x 45.5 cm Signed lower left Chang Y and dated 92

33.3 x 45.5 cm

NT$ 220,000 - 320,000 HK$ 59,000 - 85,000 US$ 7,500 - 11,000 RMB 52,000 - 75,000

油彩 畫布 簽名左下：Chang. Y. 92

288

SHIY De-jinn (Taiwanese, 1923 - 1981)

Climbing the Youzhou Building Ink on paper 127.5 x 67.5 cm Signed lower left Shiy De-jinn in Chinese with seals of artist.

NT$ 300,000 - 400,000 HK$ 80,000 - 106,000 US$ 10,300 - 13,700 RMB 71,000 - 94,000

席德進 登幽州臺歌 水墨 紙本 127.5 x 67.5 cm 簽名鈐印左下：席德進

170

289

SHIY De-jinn

席德進

(Taiwanese, 1923 - 1981)

風景

Landscape

1972

1972 Watercolor on paper 38 x 56.5 cm Singned left Shiy De-Jin in Chinese and dated 1972

38 x 56.5 cm

NT$ 220,000 - 320,000 HK$ 59,000 - 85,000 US$ 7,500 - 11,000 RMB 52,000 - 75,000

水彩 紙本 簽名左中：席德進 1972

290

Gao Xing-jian

高行健

(Chinese-French, 1940)

雪天

Snow Day

2013

2013 Ink on canvas 70 x 72.5 cm Signed lower left Gao Xinjiang in English and dated 2013

70 x 72.5 cm

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

NT$ 260,000 - 360,000 HK$ 69,000 - 96,000 US$ 8,900 - 12,300 RMB 61,000 - 85,000

172

水墨 畫布 簽名左下：Gao Xinjiang 2013 附亞洲藝術中心開立之原作保證書

291

Gao Xing-jian

高行健

(Chinese-French, 1940)

悟

Enlightenment

2000

2000 Ink on paper 66 x 59 cm Signed lower left Gao Xingjian in English and dated 2000

66 x 59 cm

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

NT$ 260,000 - 360,000 HK$ 69,000 - 96,000 US$ 8,900 - 12,300 RMB 61,000 - 85,000

水墨 紙本 簽名左下：Gao Xinjiang 2000 附亞洲藝術中心開立之原作保證書

292

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

魚戲荷塘

Fish Swimming in Lotus Ponds

1980年代

1980s Acrylic on paper 49 x 37 cm With one seal of the artist

49 x 37 cm

PROVENANCE

Private collection, Europe

NT$ 190,000 - 280,000 HK$ 51,000 - 74,000 US$ 6,500 - 9,600 RMB 45,000 - 66,000 174

壓克力 紙本 鈐印左下：採花大盜 來源

私人收藏，歐洲

293

CHEN Wei-Cheng

陳威呈

(Taiwanese, 1977)

晨淨光身

Still Life

2008

2008 Oil on canvas 117 x 90.5 cm Signed lower right Wei Chen and dated 2008

117 x 90.5 cm

NT$ 160,000 - 260,000 HK$ 43,000 - 69,000 US$ 5,500 - 8,900 RMB 38,000 - 61,000

油彩 畫布 簽名右下：Wei Chen "08

294

CHEN Shuzhong

陳樹中

(Chinese, b.1960)

野草灘的冬陽

Winter Sunshine on Weed

1998 - 2002

1998 - 2002 Oil on canvas 81 x 100 cm Signed lower left CSZ Shuzhong in Chinese and dated 1998.

Signed on the reverse Chen Shuzhong, titled Winter Shunshine on Weed, dated 1998-2002 and inscribed oil on canvas 81 x 100cm

NT$ 550,000 - 650,000 HK$ 146,000 - 173,000 US$ 18,800 - 22,300 RMB 129,000 - 153,000

176

油彩 畫布 81 x 100 cm 簽名左下：CSZ 樹中 1998 簽名畫背：《野草灘的冬陽》 布面油彩 81 x 100 cm 陳樹中 〈四川美院油畫系〉 1998年作 2002年完成

295

LEE Liang

李梁

(Chinese, b. 1985)

靜

Silence

2020

2020 Oil on canvas 130 x 97 cm Signed lower right Lian in Chinese, titled Silence and dated 2020 Signed on the reverse Lee Liang in Chinese, titled Silence inscribe 130 x 97 cm and dated 2020

130 x 97 cm

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

NT$ 190,000 - 280,000 HK$ 51,000 - 74,000 US$ 6,500 - 9,600 RMB 45,000 - 66,000

油彩 畫布 簽名右下：靜 梁 2020. 簽名畫背：《靜》布 油畫 130 x 97 cm 李梁 2020年 附藝術家與作品合影照片

296

CHEN Lai-Hsing

陳來興

(Taiwanese, b.1949)

父女情

Father and Daughter

1989

1989 Oil on canvas 130 x 97 cm Signed center right Chen Lai-Hsing in Chinese and dated 1989

130 x 97 cm

NT$ 160,000 - 220,000 HK$ 43,000 - 59,000 US$ 5,500 - 7,500 RMB 38,000 - 52,000

178

油彩 畫布 簽名右方：陳來興 1989

297

Alixe FU (FU Qingli, Ching-Fong)

傅慶豊

(Chinese-French, 1961)

樹的影子

Ombre d’Arbre (Shadow of Tree)

1992

1992 Oil on canvas 73 x 60 cm Signed lower right Alixe Fu in English and dated 92

73 x 60 cm

EXHIBITED

Alixe Fu, Galerie Pierre-Marie Vitroux, Paris, 1993 ILLUSTRATED

Alixe Fu, Glerie Pierre Marie Vitoux, Paris, 1993, color illustrated, p. 12 This lot is to be sold with a certificate of authenticity issued by Ever Harvet Art Gallery

NT$ 110,000 - 220,000 HK$ 29,000 - 59,000 US$ 3,800 - 7,500 RMB 26,000 - 52,000

油彩 畫布 簽名右下： Alixe Fu 92 展覽

「傅慶豊」，皮耶．瑪莉．維圖畫廊，巴黎，1993 圖錄

《傅慶豊》，皮耶．瑪莉．維圖畫廊，巴黎，1993， 彩色圖版，頁12 附日升月鴻開立之原作保證書

298

CHANG Wan-chuan

張萬傳

(Taiwanese, 1909 - 2003)

水果

Fruits

1990

1990 Oil on canvas 24 x 33 cm Signed lower right CHANG in English, Wan in Chinese; Signed on the reverse CHANG in English, Wan in Chinese, titled Fruits and dated 1990

24 x 33 cm

This lot is to be sold with a certificate of authenticity issued by Han Hsiang Art Center, Taipei

NT$ 90,000 - 160,000 HK$ 24,000 - 43,000 US$ 3,100 - 5,500 RMB 21,000 - 38,000 180

油彩 畫布 簽名右下：CHANG 万 簽名畫背：CHANG 万 水果 1990 附漢相藝術中心開立之原作保證書

299

George CHANN

陳蔭羆

(Chinese-American, 1913 - 1995)

戴綠領帶的小男孩

Boy with Green Tie

油彩 畫布

Oil on canvas 50.8 x 40.64 cm Signed lower left GEO-CHANN in English

50.8 x 40.64 cm

PROVENANCE

Clars Auction Gallery，美國

Clars Auction Gallery, USA Private collection, Asia

私人收藏，亞洲

NT$ 90,000 - 180,000 HK$ 24,000 - 48,000 US$ 3,100 - 6,200 RMB 21,000 - 42,000

簽名左下：GEO-CHANN 來源

300

Futura x HUMAN MADE

Futura x HUMAN MADE

(American, b. 1955)

北極熊

Polar Bear

2019

2019 Marker pen on cardboard 80 x 80 cm Signed Futura

80 x 80 cm

NT$ 180,000 - 260,000 HK$ 48,000 - 69,000 US$ 6,200 - 8,900 RMB 42,000 - 61,000

182

油性筆 紙板 簽名：Futura

301

CHU Teh-chun

朱德群

(Chinese-French, 1920 - 2014)

瞻仰

Abstract Halidome

2003

2003 Lithography, edition no. 147/150 72 x 96 cm Signed lower right CHU TEH-CHEN in Chinese and in English, numbered lower left 147/150

72 x 96 cm

NT$ 110,000 - 220,000 HK$ 29,000 - 59,000 US$ 3,800 - 7,500 RMB 26,000 - 52,000

石版畫 147/150 簽名右下：朱德群 CHU TEH-CHUN 版次左下：147/150

302

CHU Teh-chun

朱德群

(Chinese-French, 1920 - 2014)

無題

Untitled

石版畫 42/90

Lithography, edition no. 42/90 67 x 50.5 cm Signed lower right CHU TEH-CHEN in Chinese and in English, numbered lower left 42/90

簽名右下：朱德群 CHU TEH-CHUN

NT$ 70,000 - 140,000 HK$ 19,000 - 37,000 US$ 2,400 - 4,800 RMB 16,000 - 33,000

184

67 x 50.5 cm 版次左下：42/90

303

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

2000C 2000 Lithography, edition no. 14/150 60 x 80 cm Signed lower right CHU TEH-CHEN in Chinese and in English, numbered lower left 14/150 ILLUSTRATED

CHU TEH-CHUN The Graphic Work 2000-2002 Hoke Art, Taipei, 2008, color illustrated, p. 28 (another cast) CHU TEH-CHUN The Graphic Work of Lithograph 2000-2008, Mingshan Art collection Co., Ltd, Taipei, 2015, color illustrated, p. 28 (another cast)

NT$ 70,000 - 140,000 HK$ 19,000 - 37,000 US$ 2,400 - 4,800 RMB 16,000 - 33,000

朱德群 2000C 2000 石版畫 14/150 60 x 80 cm 簽名右下：朱德群 CHU TEH-CHUN 版次左下：14/150 圖錄

《朱德群 石版畫2000-2002》，霍克國際藝術股份 有限公司，台北，2008，彩色圖版，頁28 (另一版次) 《朱德群院士 原創石版畫紀念輯》，名山藝術股份 有限公司，2015，台北，彩色圖版，頁28 (另一版次)

304

Mr Doodle

塗鴉先生

(British, b. 1994)

黃色太陽花; 藍色機器人; 橘色魚; 粉紅鳥(四件一組)

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

2019

2019 Screenprint, edition no. 32/100; 10/100; 60/100; 51/100 35 x 35 cm (each) Signed lower right MR. DOODLE! , dated 2019 and numbered 32/100; 10/100; 60/100; 51/100 (each)

簽名及版次右下：

NT$ 220,000 - 320,000 HK$ 59,000 - 85,000 US$ 7,500 - 11,000 RMB 52,000 - 75,000

186

絲網版畫 32/100; 10/100; 60/100; 51/100 35 x 35 cm (每件) Mr. DOODLE! 2019 32/100 (黃色太陽花) Mr. DOODLE! 2019 10/100 (藍色機器人) Mr. DOODLE! 2019 60/100 (橘色魚) Mr. DOODLE! 2019 51/100 (粉紅鳥)

305

Mr Doodle x Fendi

塗鴉先生 x Fendi

(British, b. 1994)

七夕情人節絲巾

Scarf for Chinese Valentines

2020

2020 Polyester 90 x 90 cm

90 x 90 cm

NT$ 110,000 - 190,000 HK$ 29,000 - 51,000 US$ 3,800 - 6,500 RMB 26,000 - 45,000

聚酯纖維

306

Andy WARHOL

安迪．沃荷

(American, 1928 - 1987)

米奇

Mickey Mouse

印刷品

Print 17.5 x 17.5 cm Signed left edge Andy Warhol in English

簽名左中：Andy Warhol

NT$ 90,000 - 180,000 HK$ 24,000 - 48,000 US$ 3,100 - 6,200 RMB 21,000 - 42,000

188

17.5 x 17.5 cm

307

Andy WARHOL

安迪．沃荷

(American, 1928 - 1987)

披頭四

The Beatles

1980

1980 Print 31 x 92 cm Signed lower right and center left Andy Warhol in English

31 x 92 cm

NT$ 130,000 - 220,000 HK$ 35,000 - 59,000 US$ 4,500 - 7,500 RMB 31,000 - 52,000

印刷品 簽名右下及左中：Andy Warhol

308

Takashi MURAKAMI (Japanese, b. 1962)

We Are The Square Jacular Clan (Rainbow) (a set of 10) 2018 Offset lithograph, edition of 300.

47 x 47 cm (each) Signed lower right M, numbered 101/300; 83/300; 82/300; 83/300; 105/300; 105/300; 73/300; 76/300; 85/300; 107/300

NT$ 220,000 - 320,000 HK$ 59,000 - 85,000 US$ 7,500 - 11,000 RMB 52,000 - 75,000

190

村上隆 我們滑稽一族 (十件一組) 2018 版畫 限量300 47 x 47 cm (每件) 簽名右下： M 101/300; M 83/300; M 82/300; M 83/300; M 105/300; M 105/300; M 73/300; M 76/300; M 85/300; M 107/300

309

MADSAKI x Takashi MURAKAMI (Japanese, 1974) (Japanese, 1962)

ComplexCon Flower (a set of 3) 2017 Screenprint, edition no. A 6/100, B 6/100, C 6/100 46.8 x 38 cm (each) Signed lower right Takashi, dated 2017 and numbered, 6/100 (each)

NT$ 160,000 - 260,000 HK$ 43,000 - 69,000 US$ 5,500 - 8,900 RMB 38,000 - 61,000

MADSAKI x 村上隆

花 ComplexCon (3件一組) 2017 絲網版畫 6/100 46.8 x 38 cm (每件) 簽名版次右下： Takashi 2017 6/100 (每件)

310

Takashi MURAKAMI

村上隆

(Japanese, b. 1962)

佳子和來自66星球的生物；66星球

YOSHIKO and the Creatures from Planet 66; Planet 66

2003; 2007

2003; 2007 Print, 64/300; 68/300 57.5 x 100 cm; 76 x 90 cm Signed lower right, numbered 64/300; 68/300

簽名右下：M 64/300; 68/300

NT$ 110,000 - 200,000 HK$ 29,000 - 53,000 US$ 3,800 - 6,900 RMB 26,000 - 47,000

192

版畫 64/300; 68/300 57.5 x 100 cm; 76 x 90 cm

311

Takashi MURAKAMI x Fujiko F. Fujio

村上隆 x 藤子．F．不二雄

(Japanese, b. 1962)

如果我們能做這樣的事不是很好

Wouldn’t It Be Nice If We Could Do Such a Thing

2019

2019 Screenprint, edition no. 246/300 46 x 94 cm Signed lower left Fujiko. F. Fujio and signed lower right M, dated 2019 and numbered 246/300

簽名左下：藤子．F．不二雄;

NT$ 100,000 - 180,000 HK$ 27,000 - 48,000 US$ 3,400 - 6,200 RMB 24,000 - 42,000

絲網版畫 246/300 46 x 94 cm 簽名右下：M 2019 246/300

312

Mr. Masakatsu Iwamoto

Mr. 岩本正勝

(Japanese, b. 1969)

城市女孩新生活；我心屬於那天

A City Girl's New life; Where My Heart Belogned That Day

2020

2020 Silkscreen, edition no. 85/100; 36/100 70 x 55.5 cm; 70 x 61.5 cm Signed lower right Mr., numbered 85/100; 36/100 and dated 2020

簽名右下：Mr, 2020 (每件)

NT$ 70,000 - 150,000 HK$ 19,000 - 40,000 US$ 2,400 - 5,100 RMB 16,000 - 35,000

194

版畫 85/100; 36/100 70 x 55.5 cm; 70 x 61.5 cm 版次右下：85/100; 36/100

313

Tomokazu Matsuyama

松山智一

(Japanese, b. 1976)

厭倦陽光

Jaded Sunshine

2019

2019 Screenprint, edition of 61/75 73 cm (diameter) Signed and numbered 61/75 lower edge

73 cm (直徑)

This lot is to be sold with a certificate of authenticity issued by Avant Arte.

NT$ 60,000 - 120,000 HK$ 16,000 - 32,000 US$ 2,100 - 4,100 RMB 14,000 - 28,000

版畫 61/75 簽名版次下方：61/75 Matsuyama 附Avant Arte開立之作品保證書

314

MADSAKI

MADSAKI

(Japanese, b. 1974)

勞力士- 百事可樂兩地時間

Rolex - Pepsi GMT Master

2020

2020 Silkscreen, edition no. 44/100 50 x 50 cm Signed lower right Madsaki, dated 2020 and numbered 44/100

50 x 50 cm

NT$ 80,000 - 160,000 HK$ 21,000 - 43,000 US$ 2,700 - 5,500 RMB 19,000 - 38,000

196

絲網版畫 44/100 簽名版次右下：Madsaki 2020 44/100

315

MADSAKI

MADSAKI

(Japanese, b. 1974)

勞力士- 彩虹迪通拿

Rolex - Rainbow Daytona

2020

2020 Silkscreen, edition no. 54/100 50 x 50 cm Signed lower right Madsaki, dated 2020 and numbered 54/100

50 x 50 cm

NT$ 80,000 - 160,000 HK$ 21,000 - 43,000 US$ 2,700 - 5,500 RMB 19,000 - 38,000

絲網版畫 54/100 簽名版次右下：Madsaki 2020 54/100

316

MADSAKI

MADSAKI

(Japanese, b. 1974)

勞力士-保羅紐曼迪通拿

Rolex - Paul Newman Daytona

2020

2020 Silkscreen, edition no. 49/100 50 x 50 cm Signed lower right Madsaki, dated 2020 and numbered 49/100

50 x 50 cm

NT$ 80,000 - 160,000 HK$ 21,000 - 43,000 US$ 2,700 - 5,500 RMB 19,000 - 38,000

198

絲網版畫 49/100 簽名右下：Madsaki 2020 49/100

317

Adriana Oliver

阿德里安娜 · 奧利弗

(Spanish, b. 1990)

第一件肖像

First Portrait

2019

2019 Resin, edition no. 53/60 22(L) x 8(W) x 26(H) cm

22(長) x 8(寬) x 26(高) cm

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

NT$ 40,000 - 80,000 HK$ 11,000 - 21,000 US$ 1,400 - 2,700 RMB 9,000 - 19,000

樹酯 53/60 附藝術家親筆簽名之作品保証卡 附作品原產紙盒包裝

318

Jason Freeny x Mighty Jaxx (American, b. 1970)

XXRAY Elmo (Snow Edition) 2019 Vinyl, edition no. 89/100 86(L) x 38(W) x 120(H) cm Trademark on the bottom TM/©Sesame Workshop; CHEN HUANG & CO. This work is to be sold with a certificate of authenticity signed by the artist.

This work is accompanied with its original box.

NT$ 80,000 - 160,000 HK$ 21,000 - 43,000 US$ 2,700 - 5,500 RMB 19,000 - 38,000

傑森・佛瑞尼 x Mighty Jaxx XXRAY芝麻街（雪白版） 2019 搪膠 89/100 86(長) x 38(寬) x 120(高) cm 註冊商標腳底：TM/©Sesame Workshop ; 陳黃妙 附藝術家親筆簽名之作品保證卡與原產紙盒包裝

200

319

Tracey EMIN (British, b. 1963)

My Favorite Little Bird; Deck Chair (a set of 2) 2010; 2008 Photography, edition of 500; fabric with wood support, edition of 250 70 x 50 cm; 112 x 44 cm Signed lower right Tracey Emin X; Trademark lower right My Favourite Little Bird, 2010, Installation © The Artist Print signature Tracey Emin and dated 08

NT$ 80,000 - 160,000 HK$ 21,000 - 43,000 US$ 2,700 - 5,500 RMB 19,000 - 38,000

翠西．艾敏 我最喜歡的鳥；躺椅 (兩件一組) 2010; 2008 攝影 限量500件；織品 木椅架 限量250 70 x 50 cm; 112 x 44 cm 簽名右下：Tracey Emin X 印刷簽名中下：Tracey Emin and dated 08

320

Hajime SORAYAMA x KAWS (Brian Donnelly) (Japanese, 1947) (American, 1974)

No Future Companion (Black Chrome) 2008 Metal (Black Chrome), edition no. 117/500 19.5(L) x 19.5(W) x 32(H) cm Stamped on the base OriginalFake© EDITION, KAWS, Sorayama, MEDICOM TOY 2008, MADE IN CHINA; numbered 117/500 This lot is accompanied with its original product box.

NT$ 260,000 - 360,000 HK$ 69,000 - 96,000 US$ 8,900 - 12,300 RMB 61,000 - 85,000

空山基 x KAWS〈布萊恩．唐納利〉 沒有未來的同伴 (黑色) 2008 金屬 (黑色) 117/500 19.5(長) x 19.5(寬) x 32(高) cm 簽名底部：OriginalFake© EDITION, KAWS, Sorayama, MEDICOM TOY 2008 MADE IN CHINA 117/500 附作品原產紙盒包裝

202

321

Hajime SORAYAMA x KAWS (Brian Donnelly) (Japanese, 1947) (American, 1974)

No Future Companion (Silver Chrome) 2008 Metal (Silver Chrome), edition no. 110/500 19.5(L) x 19.5(W) x 32(H) cm Stamped on the base OriginalFake© EDITION, KAWS,, Sorayama, MEDICOM TOY 2008, MADE IN CHINA; numbered 110/500 This lot is accompanied with its original product box.

NT$ 260,000 - 360,000 HK$ 69,000 - 96,000 US$ 8,900 - 12,300 RMB 61,000 - 85,000

空山基 x KAWS〈布萊恩．唐納利〉 沒有未來的同伴 (銀鉻) 2008 金屬 (銀鉻) 110/500 19.5(長) x 19.5(寬) x 32(高) cm 簽名底部：OriginalFake© EDITION, KAWS, Sorayama, MEDICOM TOY 2008 MADE IN CHINA 110/500 附作品原產紙盒包裝

322

Daniel Arsham x Disney

丹尼爾．阿爾軒 x 迪士尼

(American, b. 1980)

米奇玩偶；空洞米奇；(三件一組)

Mickey Mouse; Hollow Mickey (a set of 3)

2019; 2020

2019; 2020 Plush, edition of 3000; plush, edition of 77/500; resin, edition no. 250/500 64(L) x 51(W) x 113(H) cm 25(L) x 19(W) x 47(H) cm 33(L) x 30(W) x 32(H) cm

樹脂 250/500

This lot is accompanied with their original boxes.

NT$ 160,000 - 260,000 HK$ 43,000 - 69,000 US$ 5,500 - 8,900 RMB 38,000 - 61,000 204

布玩偶 限量3000 布玩偶 77/500 64(長) x 51(寬) x 113(高) cm 33(長) x 30(寬) x 32(高) cm 25(長) x 19(寬) x 47(高) cm 附作品原產紙盒包裝

323

Satoru KOIZUMI (Japanese, b. 1983)

Empty Bucket 2019 Red Birch, edition no. 10/100 16(L) x 16(W) x 30(H)cm Engraved SATORU KOIZUMI on the bottom of left foot and numbered 10/100 on the bottom of right foot. Trademark APPortfolio Ⓡ This lot is to be sold with a certificate of authenticity signed by the artist.

NT$ 180,000 - 260,000 HK$ 48,000 - 69,000 US$ 6,200 - 8,900 RMB 42,000 - 61,000

小泉悟 空桶 2019 紅櫸木 10/100 16(長) x 16(寬) x 30(高)cm 簽名版次與商標雕刻：SATORU KOIZUMI (左腳底); APPortfolio 10/100 (右腳底) 附藝術家親筆簽名作品保證卡

324

Takashi MURAKAMI (Japanese, b. 1962)

Mr. DOBtopus (a set of 2) Vinyl, plastic edition of 800; edition of 400 30(L) x 20.5(W) x 25(H) cm 34(L) x 26.5(W) x 26.6(H) cm This lot is accompanied with their original product boxes.

NT$ 170,000 - 240,000 HK$ 45,000 - 64,000 US$ 5,800 - 8,200 RMB 40,000 - 56,000

206

村上隆 DOB章魚君（兩件一組） 彩繪 搪膠 限量800件 限量400件 30(長) x 20.5(寬) x 25(高) cm 34(長) x 26.5(寬) x 26.6(高) cm 附作品原產紙盒包裝

325

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

Dissected Companion: Bearbrick 1000% (Black) 2010 Painted cast vinyl, edition of 500 36(L) x 24(W) x 72(H) cm Trademark KAWS.. OriginalFake This lot is accompanied with original product box.

NT$ 110,000 - 180,000 HK$ 29,000 - 48,000 US$ 3,800 - 6,200 RMB 26,000 - 42,000

KAWS〈布萊恩．唐納利〉 解剖同伴：積木熊 1000% (黑) 2010 彩繪 搪膠 限量500件 36(長) x 24(寬) x 72(高) cm 註冊商標：KAWS.. OriginalFake 附作品原產紙盒包裝

326

Moe NAKAMURA (Japanese, b. 1988)

Wish for Something 2018 Polystone, edition no. 115/120 17(L) x 15(W) x 26(H) cm This lot is to be sold with a certificate of authenticity signed by the artist.

This lot is accompanied with its original box.

NT$ 110,000 - 200,000 HK$ 29,000 - 53,000 US$ 3,800 - 6,900 RMB 26,000 - 47,000

中村萌 給我抱抱 2018 寶麗石粉樹脂 115/120 17(長) x 15(寬) x 26(高) cm 展覽

附藝術家親筆簽名作品保證卡 附作品原產紙盒包裝

208

327

Moe NAKAMURA

中村萌

(Japanese, b. 1988)

母子筍

Bambooshika

2018

2018 Polystone, edition no. 49/160 15.5(L) x 16(W) x 21(D) cm 11(L) x 10.2(W) x 15.5(D) cm Print on the bottom Moe

15.5(長) x 16(寬) x 21(高) cm

This lot is to be sold with a certificate of authenticity signed by the artist and accompained with their original product box.

NT$ 90,000 - 160,000 HK$ 24,000 - 43,000 US$ 3,100 - 5,500 RMB 21,000 - 38,000

寶麗石粉樹脂 49/160 11(長) x 10.2(寬) x 15.5(高) cm 簽名印刷底部：Moe 附藝術家親筆簽名保證卡與作品原產紙盒包裝

328

Javier Calleja (Spanish, b.1971)

Missing The Blue Sky 2018 Mixed media, fiberglass, metal; edition 134/200 16(L) x 16(W) x 32.5(H) cm Trademark By jAViER CALLEjA on the bottom of right foot; APPORTFOLIO on the bottom of left foot This lot is sold with hand numbered Wooden board and accompanied with its original product box.

NT$ 70,000 - 140,000 HK$ 19,000 - 37,000 US$ 2,400 - 4,800 RMB 16,000 - 33,000

哈維爾．卡勒加 想念藍天 2018 綜合媒材 玻璃纖維 金屬 134/200 16(長) x 16(寬) x 32.5(高) cm 註冊商標：By jAViER CALLEjA (左腳底) APPORTFOLIO (右腳底) 附藝術家親筆簽名之作品保證卡 附作品原產紙盒包裝

210

329

HUANG Benrui (Taiwanese, b.1959)

Nini 2014 Flocked fiberglass, edition no. 39/100 35(L) x 28(W) x65.5(H) cm Engraved on the bottom Huang Benrui, numbered 39/100 and dated 2014 This lot is to be sold with a certificate of authenticity signed by artist and issued by Eslite Gallery.

NT$ 90,000 - 180,000 HK$ 24,000 - 48,000 US$ 3,100 - 6,200 RMB 21,000 - 42,000

黃本蕊 尼尼 2014 玻璃纖維 植絨 39/100 35(長) x 28(寬) x 65.5(高) cm 簽名雕刻底部：黃本蕊 2014 39/100 附誠品畫廊開立之藝術家簽名之原作保證書

330

Daniel Arsham x Pokémon

丹尼爾．阿爾軒 x Pokémon

(American, b. 1980)

被侵蝕的皮卡丘（藍）

Eroded Pikachu (Blue)

2020

2020 Resin, aluminium oxide, edition no. 309/500 21.5(L) x 16(W) x 33(H) cm

21.5(長) x 16(寬) x 33(高) cm

This lot is accompanied with its original box.

NT$ 90,000 - 120,000 HK$ 24,000 - 32,000 US$ 3,100 - 4,100 RMB 21,000 - 28,000

212

樹脂 氧化鋁 309/500 附作品原產紙盒包裝

331

Daniel Arsham x Pokémon

丹尼爾．阿爾軒 x Pokémon

(American, b. 1980)

被侵蝕的皮卡丘（白）

Eroded Pikachu (White)

2020

2020 Resin, aluminium oxide sculpture, edition no. 474/500 21.5(L) x 16(W) x 33(H) cm

21.5(長) x 16(寬) x 33(高) cm

This lot is accompanied with its original product box.

NT$ 90,000 - 120,000 HK$ 24,000 - 32,000 US$ 3,100 - 4,100 RMB 21,000 - 28,000

樹脂 氧化鋁 474/500 附作品原產紙盒包裝

332

Mr Doodle (British, b. 1994)

The Doodler 2019 Resin, edition no. 216/250 17(L) x 17(W) x 34(H) cm Signed Mr. DOODLE! and dated 2019 This lot is to be sold with a certificate of authenticity signed by the artist.

This lot is accompanied with its original product box.

NT$ 70,000 - 140,000 HK$ 19,000 - 37,000 US$ 2,400 - 4,800 RMB 16,000 - 33,000

塗鴉先生 塗鴉先生 2019 樹脂 216/250 17(長) x 17(寬) x 34(高) cm 簽名腳底：Mr. DOODLE!；2019 附藝術家親筆簽名之作品保證卡 附作品原產紙盒包裝

214

333

NOBUYOSHI Araki (Japanese, 1940)

DELON Kun(a set of 2) 2019 Ceramic, edition no. 61/70; 122/230 27(L) x 13(W) x 25(H) cm This lot is to be sold with a certificate of authenticity signed by the artist

NT$ 130,000 - 220,000 HK$ 35,000 - 59,000 US$ 4,500 - 7,500 RMB 31,000 - 52,000

荒木經惟 DELON君(兩件一組) 2019 陶瓷 61/70; 122/230 27(長) x 13(寬) x 25(高) cm 附藝術家親筆簽名保證卡

334

Takashi MURAKAMI (Japanese, b. 1962)

村上隆 DOB君 (兩件一組)

Mr. DOB (a set of 2)

2016

2016 Vinyl, Plastic Golden limited edition: 250 Red limited edition: 750 28(L) x 19(W) x 24(H) cm (each)

28(長) x 19(寬) x 24(高) cm (每件)

Trademark © TM / KK COMPLEXCON BAIY SWITCH These works are accompanied with their original product boxes.

These lot is accompanied with their original product boxes.

NT$ 100,000 - 180,000 HK$ 27,000 - 48,000 US$ 3,400 - 6,200 RMB 24,000 - 42,000

216

彩繪 搪膠 金黃 限量250件 紅藍 限量750件 註冊商標：© TM / KK COMPLEXCON BAIY SWITCH 附作品原產紙盒包裝

335

Takashi MURAKAMI (Japanese, b. 1962)

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

NT$ 60,000 - 100,000 HK$ 16,000 - 27,000 US$ 2,100 - 3,400 RMB 14,000 - 24,000

村上隆 DOB君 2016 彩繪 搪膠 限量750件 28(長) x 19(寬) x 24(高) cm 註冊商標：© TM / KK COMPLEXCON BAIY SWITCH 附作品原產紙盒包裝

336

HUNG Yi

洪易

(Taiwanese, b. 1970)

磨菇!啊喔嘻

Mushrooms!

2005

2005 FRP, baked enamel (unique) 32(L) x 32(W) x 47(H) cm Signed on the bottom Hung Yi in Chinese and dated 20051025

32(長) x 32(寬) x 47(高) cm

This lot is to be sold with a certificate of authenticity issued by Fubonart

NT$ 180,000 - 320,000 HK$ 48,000 - 85,000 US$ 6,200 - 11,000 RMB 42,000 - 75,000

218

玻璃纖維 烤漆彩繪（單一件） 簽名底部：洪易 20051025 附財團法人富邦藝術基金會之作品保證書

337

Madoka TAKAGI (Japanese, b. 1983)

DECO 2015 Clay and acrylic color 8(L) x 11(W) x 30(H) cm Signed on the bottom Madoka, titled DECO and dated 2015 This lot is be sold with a certificate of authenticity issued by Gallery Tsubaki.

NT$ 90,000 - 180,000 HK$ 24,000 - 48,000 US$ 3,100 - 6,200 RMB 21,000 - 42,000

高木まどか 德柯 2015 黏土 壓克力顏料 8(長) x 11(寬) x 30(高) cm 簽名底部：DECO 2015 Madoka 附樁畫廊開立之原作保證書

338

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

Tweety (Black) 2010 Painted cast vinyl, edition of 500 11(L) x 17(W) x 23(H) cm Trademark: TM & © Water Bros. Entertainment Inc. (s10) KAWS; MEDICOM TOY 2010 CHINA This lot is accompanied with its original product box.

NT$ 40,000 - 80,000 HK$ 11,000 - 21,000 US$ 1,400 - 2,700 RMB 9,000 - 19,000

220

KAWS〈布萊恩．唐納利〉 崔蒂 (黑) 2010 彩繪 搪膠 限量500件 11(長) x17(寬) x 23(高) cm 註冊商標：TM & © Water Bros. Entertainment Inc. (s10) KAWS; MEDICOM TOY 2010 CHINA 附作品原產紙盒包裝

339

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

Tweety (Yellow) 2010 Painted cast vinyl, edition of 500 11(L) x 17(W) x 23(H) cm Trademark: TM & © Wamer Bros. Entertainment Inc. (S10) KAWS MEDICOM TOY 2010 CHINA This lot is accompanied with its original product box.

NT$ 40,000 - 80,000 HK$ 11,000 - 21,000 US$ 1,400 - 2,700 RMB 9,000 - 19,000

KAWS〈布萊恩．唐納利〉 崔蒂 (黃) 2010 彩繪 搪膠 限量500件 11(長) x 17(寬) x 23(高) cm 註冊商標：TM & © Water Bros. Entertainment Inc. (s10) KAWS (左腳底) MEDICOM TOY 2010 CHINA (右腳底) 附作品原產紙盒包裝

340

KAWS (Brian Donnelly)

KAWS〈布萊恩．唐納利〉

(American, b. 1974)

同伴解剖（休息處）(棕色)

Dissected Companion: Resting Place (Brown)

2012

2012 Painted cast vinyl, edition of 500 21(L) x 30(W) x 23(H) cm Trademark: © KAWS..12 MEDICOM TOY 2012 CHINA

註冊商標：© KAWS..12 MEDICOM TOY 2012 CHINA

This lot is accompanied with its original product box.

NT$ 40,000 - 80,000 HK$ 11,000 - 21,000 US$ 1,400 - 2,700 RMB 9,000 - 19,000

222

彩繪 搪膠 限量500件 21(長) x 30(寬) x 23(高) cm 附作品原產紙盒包裝

341

JU Ming (Taiwanese, b. 1938)

Taichi Series Unsaturated polyester resin, calcium carbonate, oil color paste, edition no. 123/300 25.3(L) x 16(W) x 26(H) cm Numbered on the bottom 123/300 This lot is to be sold with a certificate of limited reproduction issued by Ju Ming Museum Taipei

NT$ 90,000 - 160,000 HK$ 24,000 - 43,000 US$ 3,100 - 5,500 RMB 21,000 - 38,000

朱銘 太極系列 不飽和聚酯樹脂 碳酸鈣 油性色母 123/300 25.3(長) x 16(寬) x 26(高) cm 版次底部：123/300 附朱銘美術館限量複製品證明書

342

LIANG Yi-Feng

梁奕焚

(Taiwanese, b. 1937)

花

Flower

1993

1993 Oil on canvas 65 x 53 cm Signed lower right Liang Yi-Feng in Chinese and Liang in English

65 x 53 cm

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 14,000

224

油彩 畫布 簽名右下：Liang 梁奕焚

給予買家的重要通知

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

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

2.

競投保證金 : 新台幣陸拾萬元或貳萬美金。

3.

競投保證金需於 2020 年 12 月 2 日以前完成匯款至本公司指定帳號如下 : 銀行： 匯豐（台灣）商業銀行 - 台北分行 銀行代碼：0810016 戶名：羅芙奧股份有限公司 帳號：001-234830-031（新台幣）或 001-234830-061（美金） 地址：台北市基隆路一段 333 號 14 樓 匯款時請指示銀行本公司需實收競投保證金全額，銀行手續費請匯款人負擔。 2020 年 12 月 2 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2020 年 12 月 3 日至 12 月 5 日 ) 以新台幣現鈔支付 ( 恕不接受除

4.

現金之外之其他繳納方式 )，收款將於 12 月 5 日中午 12 點截止。 5.

電話／書面／網路競投 : 競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請手續以及競投保證金之繳納亦需在 2020 年 12 月 2 日以前完成匯款至本公司指定帳號。

6.

如於 12 月 2 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我們將與競投者聯繫並與之 確認其競標牌號。

7.

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

8.

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

9.

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

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

諮詢

台北 黃詩涵

stellahuang@ravenel.com

+886 2 2708 9868 ext. 977

IMPORTANT NOTICE TO BUYERS

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

2.

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

3. The bidding deposit must be transferred to Ravenel's specified Bank account prior to 2nd December 2020, details as follow: Beneficiary's Bank: HSBC BANK (Taiwan) Limited.

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

4. After the 2nd December 2020, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 3rd December to 5th December 2020). Acceptance will cease on 5th December by 12 pm (No other forms of payment will be accepted).

5.

Telephone/written/ internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 2nd December 2020.

6. If the bidding deposit has been transferred prior to 2nd December 2020, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her/its paddle number.

7.

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

8. Return of the Security Deposit:

(1) Completed Transaction: (a) For successful bidder with a bidding deposit made through wire transfer, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer.

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

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

9.

Successful bidder must settle the payment (hammer price with buyer's premium and other expenses) prior to receiving the lot(s) on site. If the price exceeds the amount of the bidding deposit, the successful bidder may settle the outstanding balance through the following means: (1) A cash payment must not exceed NT$ 1,000,000.

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

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

Contact Person TAIPEI Stella Huang

stellahuang@ravenel.com

+886 2 2708 9868 ext. 977

委託競投表格 委託競投表格須於拍賣24小時前送抵藝術部。競投表格可傳真至：

拍 賣 名 稱：羅芙奧台北2020秋季拍賣會

藝術部

現代與當代藝術

電話：+886-2-2708 9868

拍 賣 編 號：TA2004

傳真：+886-2-2701 3306

台北拍賣日期：

投標者資料

台北萬豪酒店

客戶編號 （如有）

台北市中山區樂群二路199號3樓 （博覽廳）

2020年12月6日（星期日）下午2:00

姓名 身份證字號 地址 郵碼 電話 （住宅） （辦公室） 傳真

電郵

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

請用正楷填寫清楚 拍賣品編號 （按數字順序）

名

稱

競投價（新台幣） （服務費不計在內）

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

銀行證明 銀行名稱 銀行地址 銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話

羅芙奧股份有限公司 台北市106敦化南路二段76號18樓 18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com ravenelart.com.cn

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

Auction

Sale Number Date

RAVENEL AUTUMN AUCTION 2020 TAIPEI Modern and Contemporary Art TA2004 Sunday, December 6, 2020, 2:00pm

Location

Marriott Taipei

Address

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

ZhongShan Dist., Taipei, Taiwan

ID number Address Post code Tel: (Daytime) (Evening) Fax

Email

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

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

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

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

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

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

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Title

Bid price (NT$) (excluding service fee)

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

Bank Reference Approval Name of the bank Address of the bank

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

Ravenel Ltd. 18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 ravenel.com ravenelart.com.cn

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

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

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

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

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

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Transaction Agreement The following provisions are entered into by and between Ravenel Ltd., as the auctioneer, (hereinafter referred to as the “Company”),and the Seller (hereinafter referred to as the “Seller”). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the “Buyer”).

The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Prospective Buyer, the Buyer should pay special attention to Article 2, Section 5 which provides limitations as to the legal responsibilities of the Company.

ARTICLE 1.DEFINITION Some of the phrases commonly seen herein are defined as follows: 1. “The Buyer” shall mean highest bidder accepted by the Company.

2. “The Prospective Buyer” shall mean any potential bidder willing to attend the auction sale hosted by the Company.

3. “The Seller” shall mean the Seller who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company.

4. “The Lot” shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue.

5. “Hammer price” shall mean the highest bid with respect to one particular Lot accepted by the auctioning party.

6. The “ Buyer’s Premium” shall mean the fee based on a certain percentage of the Hammer price paid to the Company by the Buyer; the percentage shall be as prescribed in Article 2, Section 4a.

7. “The Reserve Price” shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price.

8. “Counterfeit” shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints).

9. “Insured amount” shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company).

10. The “Seller Service Fee” shall mean the fee is paid to the Company by the Seller.

ARTICLE 2.THE BUYER 1. The Company as the Agent of the Seller The Company, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer.

2. Prior to the Auction a. Authentication We strongly recommend that the Prospective Buyers conduct their own authentication for the items they are interested in bidding prior to the auction. The Company provides no guarantee to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot and related certificates. b. Important Notice Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The description of the auction items also do not imply and guarantee that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally. We strongly recommend the Prospective Buyers shall personally view the items for which they plan to bid before the auction. Any description in the catalogue or any statement provided by the Company is purely the Company’s subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in “as is” condition. The Company does not provide any representation or guarantee as to the condition of any of the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ○ Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions.

This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer’s Premium. d. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lot and certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions

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3.

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.

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

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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.

Following the Auction a. The Buyer’s Premium of Each Lot (1) The Buyer should pay the hammer price and, in addition, the Buyer’s Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the Buyer’s Premium should be calculated at 20% of the hammer price.

(2) For hammer price higher than NT$ 32,000,000, total amount of the Buyer’s Premium should be that the first NT$ 32,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12% of the hammer price. b. Taxes All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his/her/its true name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon the company request. All payments due (including the hammer price, the Buyer’s Premium and any freights or other expenses) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit.

If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the exchange rate of the payments to the Company should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period.

The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Referral of Packaging or Transportation Companies The shipping department of the Company may introduce the forwarder, assist in the arrangement of delivery, or purchase particular insurance upon the Buyer’s request. The Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. Costs and expenses for shipping and insurance shall be paid in advance. f. Remedies for Non-Payment or Non-Collection of Items Sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and Buyer’s Premium) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company’s sole decision.

(2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose including but without limitations other transactions.

The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his/hers/its non-payment. The proceeds shall make up for the payment due.

(3) If the Buyer owes the Company several payments as a result of different transactions, the payments will set-off any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments.

(4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him/her/it. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned: (a) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any

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

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

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

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

6. Return of Payments for Counterfeits or stolen goods The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit or stolen goods, or involved in obvious illegality by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields. b. Or the method used to prove that the Lot is a counterfeit or stolen goods is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances.

In addition, the Buyer’s payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he/she considers the relevant auction item a counterfeit or stolen goods.

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

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

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

We thank you for your interest in the forthcoming sale. We remind you that all property is sold “as is “, any reference to condition and images in the catalogue will not amount to a full description of condition. It must not be treated as a statement of fact and should be viewed personally by you or by your professional adviser before the sale to assess its condition.

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

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