現代與當代藝術 Modern and Contemporary Art

SPRING AUCTION 2021 TAIPEI

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羅芙奧台北 2021 春季拍賣會 現代與當代藝術

RAVENEL SPRING AUCTION 2021 TAIPEI Modern and Contemporary Art 拍賣日期

地點

2021年6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 2021年5月15日（六）上午11:00至下午6:00 2021年5月16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 2021年5月22日（六）下午1:00至下午6:00 2021年5月23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 2021年6月3日（四）~ 5日（六）上午11:00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, June 6, 2021, 2:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan PREVIEWS Kaohsiung Saturday, May 15, 2021, 11:00am - 6:00pm Sunday, May 16, 2021, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan Taichung Saturday, May 22, 2021, 1:00pm - 6:00pm Sunday, May 23, 2021, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

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

Taipei Thursday, June 3 - Saturday, June 5, 2021, 11:00am - 7:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

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王鎮華 Arthur Wang 董事長 Chairman

傅斐郡 Flora Fu

郭倩如 Clara Kuo 副董事長 Vice Chairman

林慧菁 Maggie Lin

藝術部總經理 President, Art Department

藝術部資深副總經理 Senior Vice President, Art Department

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

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

羅芙奧台北 2021 春季拍賣會服務部門及連絡人 藝術品諮詢專家

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註一：所有拍品在貨款結清後，即可取貨； 買家請儘早通知安排取貨事宜，以利倉庫 存貨流通和集中安排辦理，本公司接受個 人及公司支票付款，惟需在兌現後始能提 貨。恕不接受旅行支票付款。其他各項貨 品可在羅芙奧辦公室提領，上班時間為週 一至週五上午 9:30 至下午 6:30。 註二：我們的專業行政部門可為您建議或 安排最適當的運輸方式。 羅芙奧樂意提供您本次拍賣當中任何一 項拍品的狀況報告書，惟準買家需注意拍 品均是以「當時認定」之狀況賣出，相關 細項請參照目錄後之業務規則。請參照買 家需注意事項。

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

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

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

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

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

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

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China Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management.

We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of traveler's checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday.

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

Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold "as is".

Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the "Transaction Agreement to the Buyers".

目次 CONTENTS

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羅芙奧春季拍賣會

Sale Information 10

羅芙奧之服務

Ravenel Services 13

藝術家索引

Index 14

現代與當代藝術

Modern and Contemporary 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

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藝術家索引 INDEX A

A-Lei Yoshitaka AMANO Daniel ARSHAM

B

Katherine BERNHARDT 凱瑟琳・伯恩哈特 371 MR. BRAINWASH (Thierry Guetta) 洗腦先生（泰瑞・庫塔） 295 Bernard BUFFET 貝爾納・畢費 246, 247

C

Javier Calleja Davud CHAN Chang-Ling CHANG Wan-chuan Yoshio CHANG CHENG Tsai-tung (ZHENG Zaidong) Kila CHEUNG CHIU Ya-tsai CHOI So Young CHU Teh-chun

哈維爾・卡勒加 陳建偉 常陵 張萬傳 張義雄 鄭在東

367, 368 299 253 278 258, 277 274, 275

章柱基 邱亞才 崔素榮 朱德群

CHUANG Che

莊喆

370 262, 266 300 240, 241, 242, 243, 282, 283 261, 267

D*Face David DIAO (DIAO Deqian) Mr Doodle

D*Face 刁德謙

330 269

塗鴉先生

220, 221, 296, 297, 298, 334, 335, 369

D

阿咧 天野喜孝 丹尼爾・阿爾軒

345 210 363, 364, 365

F

Alixe FU 傅慶豊 (FU Qingli, Ching-Fong)

260

H

Ai HAIBARA 灰原愛 Yuichi HIRAKO 平子雄一 Damien HIRST 達明・赫斯特 HONG Ling 洪凌 HSIAO Chin (XIAO Qin) 蕭勤 HSIEH Hsiao-De 謝孝德 HUANG Ming-chang 黃銘昌 Poren Huang 黃柏仁 Patrick HUGHES 帕特里克・休斯 HUNG Jui-lin 洪瑞麟 HUNG Yi 洪易 Michell HWANG 黃銘哲 (HWANG Ming-che)

314, 315, 316 207, 346, 375 290, 291, 292, 293 236, 248 271 286 270 288 222 254, 257, 287 354 264

Yuki INOUE

井上裕起

352

J

James JARVIS JU Ming

詹姆斯・賈維斯 朱銘

349 249, 252, 376, 377, 379, 380

K

Yoshitoshi KANEMAKI 金卷芳俊 KATO Izumi 加藤泉 Miki KATOH 加藤美紀 KAWS (Brian Donnelly) KAWS ( 布萊恩・唐納利 ) KEA (TSAI Mengda) KEA ( 蔡孟達 ) Ayako KITA 北 彩子

I

326, 327 333 332 328, 355 317, 340 344

Satoru KOIZUMI Jeff KOONS Yayoi KUSAMA

小泉悟 傑夫・昆斯 草間彌生

310, 321, 372, 373 311 305, 306, 307, 350, 351

L

LI Chen LI Lei LIEN Chien-hsing Liu Keng-I LIU Kuo-sung Max LIU LY

李真 李磊 連建興 劉耿一 劉國松 劉其偉 LY

250, 251 273 265 285 233, 237 276 289

M

MADSAKI Tomokazu Matsuyama Hayao MIYAZAKI Mr. Takashi MURAKAMI

MADSAKI 松山智一 宮崎駿 Mr. 村上隆

304, 323, 374 322 331 217, 325, 338 304, 324, 361

N

Tomoko NAGAI Ena NAGAO Ikumi NAKADA Moe NAKAMURA Yoshitomo NARA

長井朋子 長尾惠那 中田郁美 中村萌 奈良美智

Kunihiko NOHARA

野原邦彥

201, 202 343 203, 206 309, 356, 357, 358, 359 218, 219, 302, 303, 308, 318, 319, 336, 337, 339, 362 347, 348, 360

Okokume (Laura MAS) 奧高古曼 ( 蘿拉・馬斯 ) Toul OTSUKI 大槻透

366

P

PANG Jiun Pablo PICASSO Edgar PLANS

龎均 巴布羅・畢卡索 艾德加・普連斯

232 341 301

R

RAN In-ting Ayako ROKKAKU

藍蔭鼎 六角彩子

255 212, 215, 216

S

SANYU (CHANG Yu) Chiharu SHIOTA SHIY De-jinn Ryoji SUZUKI

常玉 塩田千春 席德進 鈴木良治

226, 227, 228, 229 223, 224, 225, 294, 329 234 204, 208

T

Walasse TING Akiko TOJO Yoshimasa TSUCHIYA TZENG Yong-Ning

丁雄泉 東條明子 土屋仁応 曾雍甯

230, 235, 239 342 312, 313 256

W

WANG Pan-youn WU Hao

王攀元 吳昊

259, 263 231

Y

Mayuka YAMAMOTO YANG Chihung YANG Mao-lin Tzu-chi YEH Akira YOSHIDA

山本麻友香 楊識宏 楊茂林 葉子奇 吉田朗

209, 211, 213, 214, 320 268, 272 378 238 353

Z

ZAO Wou-ki ZHOU Chunya

趙無極 周春芽

244, 279, 280, 281, 284 245

O

205

201

Tomoko NAGAI (Japanese, b.1982)

Beautiful Dress 2018 Watercolor, color pencil on paper mounted on panel 45.6 x 53 cm Signed on the reverse Tomoko Nagai, titled Beautiful Dress in Japanese and dated 2018

NT$ 80,000 - 160,000 HK$ 22,000 - 44,000 US$ 2,800 - 5,600 RMB 18,000 - 37,000

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長井朋子 漂亮的洋裝 2018 水彩 色鉛筆 紙本裱於木板 45.6 x 53 cm 簽名畫背：ステキワンピース 2018 Tomoko Nagai

202

Tomoko NAGAI (Japanese, b.1982)

Yellow Room 2020 Watercolor, color pencil on paper mounted on panel 53 x 65.3 cm Signed on the reverse Tomoko Nagai in English and dated 2020

NT$ 90,000 - 180,000 HK$ 25,000 - 49,000 US$ 3,200 - 6,300 RMB 21,000 - 42,000

長井朋子 黃色的房間 2020 水彩 色鉛筆 紙本裱於木板 53 x 65.3 cm 簽名畫背： きいろの部屋 2020 Tomoko Nagai

203

Ikumi NAKADA (Japanese, b. 1982)

中田郁美

Prince

王子

2018 Oil, pencil on paper 33 x 45 cm Signed IKUMI NAKADA, titled Prince, inscribed oil on paer and dated 2018.10.18

油彩 鉛筆 紙本

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

NT$ 110,000 - 220,000 HK$ 30,000 - 60,000 US$ 3,900 - 7,700 RMB 25,000 - 51,000 16

2018 33 x 45 cm 簽名畫背： IKUMI NAKADA Prince oil on paper 2018.10.18 附雲清畫廊開立之原作保證書

204

Ryoji SUZUKI (Japanese, b. 1973)

鈴木良治

Tanegashima Space Center

種子島

2009 Oil on canvas 91 x 73 cm Signed on the reverse Ryoji Suzuki, titled Tanegashima Space Center and dated 2009

油彩 畫布

NT$ 110,000 - 220,000 HK$ 30,000 - 60,000 US$ 3,900 - 7,700 RMB 25,000 - 51,000

2009 91 x 73 cm 簽名畫背：種子島 Tanegashima Space Center Ryoji Suzuki 2009

205

Toul OTSUKI (Japanese, b. 1973)

大槻透

Clearance of Sakura

櫻花的間奏

2016 Mixed media on canvas 55.6 x 46.5 cm Signed on the reverse Toul Otsuki in Japanese Kenji, titled Clearance of Sakura and dated 2016

綜合媒材 畫布

NT$ 260,000 - 360,000 HK$ 71,000 - 98,000 US$ 9,100 - 12,600 RMB 60,000 - 83,000 18

2016 55.6 x 46.5 cm 簽名畫背： 「さくらのすきま」 2016 大槻透

206

Ikumi NAKADA (Japanese, b. 1982)

中田郁美

Not Angry

不生氣

2015 Acrylic on canvas 89.5 x 145.5 cm Signed on right edge Signed IKUMI NAKADA, titled Not Angry, inscribed Acrylic on cotton cloth and dated 2015.10.17

壓克力 畫布

PROVENANCE:

Elsa Gallery, Taipei Private collection, Asia

NT$ 300,000 - 400,000 HK$ 82,000 - 109,000 US$ 10,500 - 14,000 RMB 69,000 - 92,000

2015 89.5 x 145.5 cm 簽名右側邊條：IKUMI NAKADA 簽名畫背： IKUMI NAKADA Not Angry Acrylic on cotton cloth 2015.10.17 來源

雲清畫廊，台北 私人收藏，亞洲

207

Yuichi HIRAKO (Japanese, b. 1982)

平子雄一

Untitled

無題

2020 Acrylic on canvas 93 x 75 cm Signed on the reverse and dated 2020

壓克力 畫布

NT$ 280,000 - 380,000 HK$ 76,000 - 104,000 US$ 9,800 - 13,300 RMB 65,000 - 88,000

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2020 93 x 75 cm 簽名畫背：YH 20

208

Ryoji SUZUKI (Japanese, b. 1973)

鈴木良治

Fountain

泉

2007 Oil on canvas 160.5 x 129 cm Signed on the reverse Ryoji Suzuki in Japanese and dated 2007

油彩 畫布

NT$ 420,000 - 550,000 HK$ 114,000 - 150,000 US$ 14,700 - 19,300 RMB 97,000 - 127,000

2007 160.5 x 129 cm 簽名畫背：Ryoji Suzuki 泉 2007

209

Mayuka YAMAMOTO (Japanese, b. 1964)

山本麻友香

Little Blue Bear

藍色小熊

2016 Oil on canvas 65 x 53 cm Signed on reverse Mayuka, titled little blue bear and dated 2016

油彩 畫布

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

by Gallery Woo, Busan

NT$ 460,000 - 550,000 HK$ 125,000 - 150,000 US$ 16,100 - 19,300 RMB 106,000 - 127,000 22

2016 65 x 53 cm 簽名畫背：little blue bear Mayuka 2016 附宇畫廊開立之原作保證書

210

Yoshitaka AMANO (Japanese, b.1952)

Candy Girl S-4 2008 Automotive paint on aluminum panel 50(L) x 50(W) x 10(D) cm Signed on the lower edge Y. Am

NT$ 500,000 - 600,000 HK$ 136,000 - 163,000 US$ 17,500 - 21,000 RMB 115,000 - 139,000

天野喜孝 糖果女孩 S-4 2008年 汽車漆 鋁板 50(長) x 50(寬) x 10(厚) cm 簽名底部：Y. Amano

211

Mayuka YAMAMOTO (Japanese, b. 1964)

山本麻友香

Hiyoko (blue)

小雞男孩（藍）

2009 Oil on canvas 90.9 × 90.9 cm Signed on the reverse Mayuka, titled Hiyoko and dated 2009

油彩 畫布

NT$ 650,000 - 850,000 HK$ 177,000 - 232,000 US$ 22,800 - 29,800 RMB 150,000 - 196,000

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2009 90.9 × 90.9 cm 簽名畫背：Hiyoko Mayuka 2009

212

Ayako ROKKAKU (Japanese, b. 1982)

六角彩子

Untitled

無題

2011 Acrylic on cardboard 109 x 62 cm Signed lower left Rokkaku Ayako in Japanese

壓克力 紙板

PROVENANCE

德萊夫畫廊，阿姆斯特丹

Gallery Delaive, Amsterdam Private collection, Europe

私人收藏，歐洲

NT$ 800,000 - 1,500,000 HK$ 218,000 - 409,000 US$ 28,000 - 52,600 RMB 185,000 - 346,000

2011 109 x 62 cm 簽名左下： ロッカクアヤコ 來源

213

Mayuka YAMAMOTO (Japanese, b. 1964)

山本麻友香

Rhino and Boy

犀牛與男孩

2010 Oil on canvas 97 x 145.5 cm Signed on the reverse Mayuka, titled Rhino and Boy and dated 2010

油彩 畫布

NT$ 1,100,000 - 1,800,000 HK$ 300,000 - 490,000 US$ 38,600 - 63,100 RMB 254,000 - 416,000

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2010 97 x 145.5 cm 簽名畫背：Rhino and Boy Mayuka 2010

214

Mayuka YAMAMOTO (Japanese, b. 1964)

山本麻友香

Rabbit Boy

兔子男孩

2009 Oil on canvas 145 x 112 cm Signed on the reverse Mayuka, titled Rabbit Boy and dated 2009

油彩 畫布

PROVENANCE:

椿畫廊，東京

Gallery Tsubaki, Tokyo Private collection, Asia

私人收藏，亞洲

NT$ 1,300,000 - 2,200,000 HK$ 354,000 - 599,000 US$ 45,600 - 77,100 RMB 300,000 - 508,000

2009 145 x 112 cm 簽名畫背：Rabbit Boy Mayuka 2009 來源

215

Ayako ROKKAKU (Japanese, b. 1982)

Untitled 2008 Acylic on canvas 130.5 x 190 cm Signed lower left Rokkaku Ayako in Japanese and dated 2008 PROVENANCE

Gallery Delaive, Amsterdam Private collection, Asia

NT$ 3,200,000 - 6,000,000 HK$ 872,000 - 1,635,000 US$ 112,200 - 210,300 RMB 739,000 - 1,386,000

六角彩子 無題 2008 壓克力 畫布 130.5 x 190 cm 簽名左下：2008 ロッカクアヤコ 來源

德萊夫畫廊，阿姆斯特丹 私人收藏，亞洲

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照片由德萊夫畫廊提供 Photo courtesy of Gallery Delaive

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

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

AYAKO ROKKAKU: A HANDPAINTED WORLD OF DREAMS “The hand directs where the fingers point. They are more powerful than words.”An artis appeciated

by Takashi Murakami, Ayako Rokkaku was born in

January 24, 1982, in Chiba Prefecture, Japan. Chiba Prefecture, which is close to Tokyo, is the home of the airport of the capital of Japan, Narita International Airport, and the children’s paradise, Disneyland.

Rokkaku’s background is similar to that of the prefecture in that this world seems to have foretold her future of soaring through the skies and traveling among the cities of the world and a dreamland for girls she is an expert at portraying.

UNIQUE PAINTING CHARACTERISTICS AND STYLE The major themes throughout her painting history are girls and children, and she often portrays them in close-ups. The figures in her painting are often unsmiling. Their eyes may be opened wide and their lips pressed together, or they may look angry. She said her figures went from two sets of extremes: “escaping and chasing” or “looking away and staring.” Most of the main figures in her paintings are walking in large strides. Other common elements in her paintings are repetitive random sketches and animals. Having elongated arms or overly large eyes, bright colors or simplified details, they are all influenced by Japanese animation culture. She never received for mal 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.

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Ayako ROKKAKU (Japanese, b. 1982)

Untitled 2011 Acylic on canvas 140 x 100 cm Signed on the reverse Rokkaku Ayako in Japanese and dated 2011 PROVENANCE:

Gallery Delaive, Amsterdam Private collection, Europe ILLUSTRATED

Colours in My Hand-Ayako Rokkaku, Gallery Delaive & Kunsthal Rotterdam, Netherland, 2011, color illustrated, p. 133

NT$ 3,600,000 - 5,000,000 HK$ 981,000 - 1,362,000 US$ 126,200 - 175,300 RMB 831,000 - 1,155,000

六角彩子 無題 2011 壓克力 畫布 140 x 100 cm 簽名畫背：2011 ロッカクアヤコ 來源

德萊夫畫廊，阿姆斯特丹 私人收藏，歐洲 圖錄

《手指上的色彩 - 六角彩子》，德萊夫畫廊 & Kunsthal Rotterdam，荷蘭，2011，彩色圖版，頁133

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217

Mr.

(Japanese, b. 1969)

Mr. 無題 2011

Untitled

綜合媒材 畫布

2011 Mixed media on canvas 145.5 x 112 cm Signed on the reverse Mr. and dated 2011

簽名畫背：Mr. 2011

145.5 x 112 cm

NT$ 5,000,000 - 7,000,000 HK$ 1,362,000 - 1,907,000 US$ 175,300 - 245,400 RMB 1,155,000 - 1,617,000 2011年3月11日，東日本大震災和隨後發生的核事故， 對 藝 術 家 M r. 來 說 都 是 一 種 震 撼 和 靈 感 。 同 年 創 作 的 《Untitled》日文寫道：やりいつ！（何時去做）。 Mr.通過少女「萌」的情感來進行更加豐富和深入的表 達，畫中身著水手服的女孩子，做出元氣滿滿，為生活 打氣的姿勢。可見Mr.是在以藝術創作為一種治療，讓人 們從困境中恢復過來。老式而傳統具有漫畫感的塗鴉方 式，把動漫這大眾藝術形式推上更高層次，作品深具影 響力，吸引到不少追隨者。Mr. 用筆下似帶有動漫風格 的女孩，來迎合更多人的懷舊心態來欣賞其作品。儘管 作品無法簡化為單一情感，但更準確的說，是作品勾起 觀者共同情懷裡的懷舊感覺。正是憑藉著卡通女孩大眼 睛中的彩色世界，Mr.的作品顯得趣味十足，無憂無慮， 絢麗的色彩混合著各種可治癒的元素，在主人公身邊盛 開，宛如年少時期應援團的寄語寫字板給予人溫暖和鼓 勵。 當今被譽為日本禦宅族藝術家的Mr.認為：「暫時放下 現有生活，回歸至小時候覺得自己甚麼都可以做到的感 覺，從而覺得自己擁有了一絲快樂。我認為禦宅族正是 以這個方式生活的人群。」雖然Mr.的藝術一開始常常顯 得很好玩，甚至很歡快，但其明亮的表像表達了更黑暗 的主題，表達了焦慮。在這裡看到的作品提供了他對創 傷的個人和藝術反應，無論是自然災害，戰爭，心理焦 慮，或社會焦慮，並表現出對這種逆境的蔑視。 On March 11, 2011, East Japan Great Earthquake and the nuclear accident came right after were a total shock yet nevertheless an inspiration for Mr. His work “Untitled” created in the same year wrote in Japanese: やりいつ ! (When to do it). Through the young girl’s “Moe” emotion to express further in-depth and more 34

abundantly. The girl wearing sailor suit in the painting makes such a posture that is full of vitality and cheering for life. It can be seen that Mr. is making use of his artistic creation as a kind of treatment to help people recover from hardship. The seemingly old-fashioned and traditional way of graffiti with a sense of comics has promoted the popular art form of animation to a much higher level. His works are deeply influential and attract many followers. His character of young girl with anime style helps to cater the nostalgic mentality of viewers to enjoy his works. Although the work cannot be simplified into a singular emotion, it is more accurate to say that the work evokes the feeling of nostalgia among the common feelings of viewers. Exactly because of the colorful world in the big eyes of these cartoon girls, his works therefore have so much fun and carefree, magnificently brilliant colors mixed with numerous healing elements blooming around the protagonist, just like the kind and sincere messages received from the support group during adolescence, which filled people with so much warmth and encouragement.

Mr., known as the Japanese Otaku artist, believes “Temporarily put aside the current life and return to the feeling that I can do everything, which experienced when one was a child, and thus feeling a sense of happiness. I reckon Otaku are exactly the people who live in this way.” Though his art often appears fun and even cheerful at first, his bright appearance exhibits darker themes and conveys anxiety. This painting presents his personal and artistic response to trauma, regardless natural disasters, wars, psychological anxiety, or social anxiety, and shows his contemptuous for adversity.

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Yoshitomo NARA (Japanese, b. 1959)

奈良美智

Puff Marshie Mini (yellow)

迷你泡芙（黃）

2006 Urethane paint on fiberglass reinforced plastic 155(L) x 155(W) x 72(H) cm

聚氨酯漆 玻璃纖維強化塑膠

PROVENANCE:

小山登美夫畫廊，日本

Tomio Koyama Gallery, Japan Private collection, Asia

私人收藏，亞洲

EXHIBITED:

3L4D - 3rd Life 4th Dimension, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, October 20 - November 8, 2007 ILLUSTRATED:

3L4D - 3rd Life 4th Dimension, Metaphysical Art gallery, Taipei, 2007, color illustrated Yoshitomo Nara: The Complete Works, Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 286

NT$ 6,500,000 - 9,000,000 HK$ 1,771,000 - 2,452,000 US$ 227,800 - 315,500 RMB 1,501,000 - 2,079,000

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2006 155(長) x 155(寬) x72(高) cm 來源：

展覽：

「3L4D動漫美學新世紀」，國父紀念館， 台北，台灣，展期自2007年10月20日至11 月8日 圖錄：

《3L4D動漫美學新世紀》，形而上畫廊， 台北，2007，彩色圖版 《奈良美智作品全集》，紀事報叢書， 舊金山，2011，彩色圖版，頁286

Puff Marshie Mini

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Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

Untitled

無題

2007 Colored pencil on paper 42 x 29.5 cm

彩色鉛筆 紙本

PROVENANCE:

私人收藏，亞洲

Private collection, Asia

圖錄：

ILLUSTRATED:

《奈良美智作品全集第二冊》，編年出版社，

Yoshitomo Nara: The Complete Works Volume2, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. D-2007-016, p. 261

舊金山，2011，彩色圖版，編號 D-2007-016，

2007 42 x 29.5 cm 來源

頁261

NT$ 6,500,000 - 9,000,000 HK$ 1,771,000 - 2,452,000 US$ 227,800 - 315,500 RMB 1,501,000 - 2,079,000

「我的全部作品其實是我內心的自畫像，是和自己的對話。至於說這些圖像的來源，是 在對話的過程中回憶自己的童年時代。」

─ 奈良美智

”All my paintings are portraits of my own inner self, representing a dialogue ─ Yoshitomo Nara with my personality.” 作為當今炙手可熱的國際性日本當代藝術家，奈良美智 的藝術語言所表述的不僅是自身內省後的呢喃絮語，更 多的是代表著他那一代人的時代精神與對過去懷舊事物 的萬般依戀。奈良美智筆下的小孩單純可親，卻流露著 不懷好意的情緒，這是龐克搖滾對他的影響的緣故。 《無題》為奈良美智2007年創作，畫中小女孩睜著大眼 睛，似乎欲言又止，而她眼中顯示的「孤單」，顯示出 藝術家對於往昔孩提時代的懷舊反思。奈良美智畫作中 不可妥協卻又堅強抵禦外在世界的人像神情，正是所有 曾經迷離、孤單的世人身影；藝術家以追求真實內心自 我的繪畫與世界相抗衡的當下也與外在世界溝通，透過 這樣的藝術語言，娓娓道出使他存在的力量，也給予孤 寂人們撫慰傷感的溫暖。 Yoshitomo NARA One of the brightest stars of the international contemporary art scene, Japanese artist Yoshitomo Nara possesses an artistic language that

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conveys not only murmured musings of self-reflection, but also the spirit of his generation and nostalgia for the objects of the past. “Untitled”created in 2007, In the painting, the little girl with big eyes who seems wish to speak out but doesn’t on a second thought.

These wicked-ish looks somehow are actually selfreflections of an uneasy, emotionally turbulent childhood. He depicts these lonely figures as reflection to his inner soliloquy, which just so happen to echo the dilemma of that generation and the confusion of their souls. Like many self-portraits, Nara’s paintings betray an uncompromising spirit and a strong defiance of the outside world. They are pictures of those who have been lost and lonely. While the artist contends with the world by pursuing his true inner self through art, he also communicates with the world, exhibiting the energy of his existence through art, and soothing the wounds of the lonely.

220

Mr Doodle (British, b. 1994)

Sudden Shower Over DoodleWorld 2019 Acylic on canvas 150 x 100 cm Signed on the reverse Mr. DOODLE! and dated 2019

NT$ 3,600,000 - 4,800,000 HK$ 981,000 - 1,308,000 US$ 126,200 - 168,200 RMB 831,000 - 1,109,000

塗鴉先生 DoodleWorld 驟雨 2019 壓克力 畫布 150 x 100 cm 簽名畫背：Mr. DOODLE! 2019

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221

Mr Doodle (British, b. 1994)

PULP Chair 2019 Polypropylene marker 51(L) x 51(W) x 85(H) cm The lot is to be sold with a certificate of authenticity issued by J. P. Art Centre.

NT$ 1,200,000 - 3,200,000 HK$ 327,000 - 872,000 US$ 42,100 - 112,200 RMB 277,000 - 739,000

塗鴉先生 PULP 單椅 2019 塑料 馬克筆 51(長) x 51寬) x 85(高) cm 附琢璞藝術中心開立之原作保證書

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222

Patrick HUGHES (British, b. 1939)

Precious Palazzi 2020 Collage and oil on board, edition no.3/5 76.5(L) x 170(W) x 26(D) cm Signed on the reverse Patrick Hughes, titled Precious Palazzi 3/5 and dated 2020 This lot is to be sold with a certificate of authenticity signed by the artist .

NT$ 1,400,000 - 2,000,000 HK$ 381,000 - 545,000 US$ 49,100 - 70,100 RMB 323,000 - 462,000

帕特里克 ・休斯 寶貴的宮殿 2020 拼貼 油彩 木板 3/5 76.5(長) x 170(寬) x 26(高) cm 簽名畫背：Precious Palazzi 3/5 Patrick Hughes 2020 附藝術家親筆簽名之作品保證書

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生命，是個費盡心思繞回終點的圓 「我認為時間並不是線性的，而是輪迴的概念。」── 塩田千春 無數的線交織成網，由點至面、從地面蔓延至牆壁。如

千春抱著這個信念用線重現萬物活過的痕跡以及人生無

果草間彌生專注於描繪無限的波點，那麼塩田千春則是

常的課題。紅色的線象徵著血液的顏色交織起人與人之

為生命織起無限延伸的網絡。身為日本當代藝術具有代

間的關係；黑色的線如夜空或宇宙交織成一個無限的

表性的藝術家之一，塩田千春現今活躍於世界的舞台。

空間，白色的紗線代表新生和永恒，體現了多次徘徊

1996年畢業於京都精華大學油畫系，1997年搬到德國

生死間藝術家的生死觀。是次羅芙奧2021春拍敬獻塩

並繼續深造。受教於兩位名藝術家，行動藝術家雷貝

田千春三件不同色系的經典裝置作品《存在的狀態(洋

嘉．霍恩以及有行為藝術之母之稱的瑪莉娜．阿布拉莫

裝)》、《存在的狀態(報紙)》、《存在的狀態(書)》，

維奇，勇於嘗試跨界演出使她的作品迅速受到國際的關

藝術家探索了我們的內在情感與有形物體之間的密切聯

注。2015年代表日本參與威尼斯雙年展、巴黎的路易

繫，呈現「缺席中的存在感」，唯有觸動人心的藝術、

威登基金會以「Le Fil Rouge」（紅線）為題舉辦個展

讓觀者深刻體會塩田對於無常人生的體悟，才是藝術家

外，塩田千春於藝博會受歡迎的程度更是不言喻，這位

所追求的救贖。

學術與市場兼備下藝術家的未來發展更值得藏家關注。

現常居柏林，直至今日塩田千春的國際展覽仍邀約不間

「我總是因為日常生活經驗與過往及未來之間的多

斷，她於2015年代表日本參加威尼斯雙年展，2019年

元牽繫而感到驚奇。如何創造這種無法破解的知覺網

時於東京森美術館的個人展覽，日本參觀人數截至結束

絡及其可塑性，始終是個謎團，如同我們的大腦、宇

時期已有超過六十萬民眾參觀，證明了其作品的影響

宙，以及生命。對於這一切，我從來沒有答案，只能

力。《塩田千春展：撼動的靈魂》是以柏林為據點，

不斷地提出問題，而這些問題便是我創作的基礎。」

更為塩田千春舉辦迄今規模最大的個展。在日本被譽為

── 塩田千春

「2019 年最盛大的藝術展覽」之一，東京森美術館獲 得了空前絕後的佳評如潮以及迎來前所未有的成功，今

線與網，篩落了記憶中的光與影

年5月1日起於台北市立美術館開展便引領各界期盼與關

透過一根根細繩編織出恢宏的景觀，紅線、黑線或白線

屢創佳績，2020年起，塩田千春的作品受歡迎的程度

交纏而成、鋪天蓋地貫串整個空間，千絲萬縷勾勒出的

在拍賣市場中成長，積極上揚的趨勢並一路攀升。面對

詩意氛圍，日常家用物品被懸吊於數千萬根細繩上，和

時代的急速變遷，多元文化的衝擊下，學術與藝術市場

藝術家共感的記憶如潮水流瀉般觸動觀賞者的內心深

兼備下的塩田千春，個人辨別度高，無論海內外藝術舞

處。塩田千春透過作品所描述的，是情感、是生活、更

台都對其投注極大的注意力，都讓人更期待塩田千春未

是與人之間的連結。儘管生命有限，但她深信肉體雖死

來的市場表現。

而靈魂長存。自被診斷出12年前的癌症復發後，塩田

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注。這位不需言語即能觸動人心的藝術家更於去年拍場

Life is a circle that goes all the way back to the end "I think time is not linear, but the concept of reincarnation." ─ Chiharu Shiota

Countless threads are intertwined into a net, from point to surface, from the ground to the wall. Yayoi Kusama focuses on depicting the infinite polka dots, while Chiharu Shiota is weaving an infinitely extending network for life. As one of the representative artists of Japanese contemporary art, Shiota is now active on the world stage.

She graduated from the Oil Painting Department of Kyoto Seika University in 1996, and moved to Germany in 1997 to continue her studies. Taught by two famous artists, body art artist Rebecca Horn and Marina Abramović, known as the pioneer of performance art, Shiota’s courage to try cross-border performances made her work quickly attract international attention. In 2015, she was selected to represent Japan at the 56th Venice Biennale, and held a solo exhibition titled “Le Fil Rouge” (The Red Line) at Fondation Louis Vuitton in Paris. Her popularity at the art fairs is even more self-evident, her future development both in the context of the academic and market is certainly worthwhile for the collectors to pay attention.

“I am always amazed by the multiple connections between daily life experience and the past and the future. How to create this unbreakable network of perceptions and its plasticity is always a mystery, just like our brain, the universe, and life. I never have the answer to all of these, I can only ask questions constantly, and these questions become the foundation of my creations.” ─Chiharu Shiota

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Strings and nets sieve off the light and shadow in memory The magnificent landscape is woven through a string of thin ropes, the red, black or white threads are intertwined and run through the entire space.

The poetic atmosphere is inextricably outlined, everyday household items are suspended by tens of millions of threads, sharing the memory of the artist's sympathetically touches the viewer's heart like a pouring tide with waves. Chiharu Shiota's works describe emotions, life, and even more connections with people. Although life is limited, she is convinced that even though the body is dead, the soul will live forever. After recurrence of the cancer being diagnosed 12 years ago, she holds the belief in recreating the traces and impermanence of life with thread. The red thread symbolizes that the color of blood interweaves the relationship between people, the black thread as if the night sky or the universe, intertwines into an infinite space, and the white yarn represents new life and eternity, reflecting the artist’s viewpoint of life and death, as she often lingers between. This Spring Sale 2021 Ravenel proudly presents three pieces of classic installation art by the artist in different colors, “State of Being (Dress)”, “State of Being (Newspaper)” and “State of Being (Book)”. She explores the close connection between our inner emotions and tangible objects, presents “the sense of being in absence”. Only the art that touches people's hearts and allows viewers to deeply understand her comprehension of the impermanent in life is the ultimate salvation pursued by the artist.

Currently living in Berlin, Chiharu Shiota receives endless invitation to international exhibitions even to this day. She represented Japan at the Venice Biennale in 2015, and her solo exhibition at the Mori Art Museum in Tokyo in 2019, the number of visitors has exceeded six hundred thousand in the end proves the influence of her works. “Chiharu Shiota

Exhibition: The Soul Trembles” based on her life in Berlin, and is her largest solo exhibition to date.

Known as one of the “most grand art exhibitions of 2019” in Japan, Mori Art Museum has received unrepeatable and unique reviews and unprecedented success. When Taipei Fine Arts Museum announced to expect an opening of her exhibition on May 1, which undoubtedly brings expectation and attention from all walks of life. Shiota’s ability to touch people’s heart without words has also made great achievements in auctions last year. Starting from 2020, the popularity of her works has grown in the auction market, and the trend is noticeably actively rising. Faced with the rapid changes of times and the impact of multiculturalism, the artist who has both excelled in the academic and art markets, has a high degree of personal differentiation. Both the domestic and overseas art stages have invested a great deal of attention on her, making people even more looking forward to her performance in the market in future.

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Chiharu SHIOTA (Japanese, b.1972)

State of Being (Children’s Dress) 2020 Metal frame, dress, red thread 45(L) x45(W) x 80(H) cm Signed lower right inner frame on the reverse

NT$ 3,800,000 - 5,000,000 HK$ 1,035,000 - 1,362,000 US$ 133,200 - 175,300 RMB 878,000 1,155,000

塩田千春 存在的狀態(洋裝) 2020 金屬 洋裝 紅線 45(長) x 45(寬) x 80(高) cm 簽名右後：CS

50

224

Chiharu SHIOTA (Japanese, b.1972)

塩田千春

State of Being (Newspaper)

存在的狀態(報紙)

Metal frame, newspaper, white thread 50(L) x 30(W) x 50(H) cm Signed lower right inner frame on the reverse

50(長) x 30(寬) x 50(高) cm

NT$ 1,600,000 - 2,600,000 HK$ 436,000 - 708,000 US$ 56,100 - 91,100 RMB 370,000 - 600,000

52

金屬 報紙 白線 簽名右後 ：CS

225

Chiharu SHIOTA (Japanese, b.1972)

鹽田千春

State of Being (Books)

存在的狀態(書)

2019 Metal frame, books, black thread 20(L) x 20(W) x 20(H) cm

金屬 書 黑線

Signed lower right inner frame on the reverse

NT$ 950,000 - 1,700,000 HK$ 259,000 - 463,000 US$ 33,300 - 59,600 RMB 219,000 - 393,000

2019 20(長) x 20(寬) x 20(高) cm 簽名右後：CS

226

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

Seated Male Nude 1920s - 1930s Charcoal on paper 27 x 21 cm PROVENANCE

Hotel Drouot, Paris Michel Habart Collection, France ILLUSTRATED

Rita Wong, Sanyu Catalogue Raisonné: Drawings and Watercolors, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, no. D1056, p. 90 Rita Wong, Sanyu: Index of Drawings, The LiChing Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D1056, p. 59 (E-Catalogue)

NT$ 400,000 - 500,000 HK$ 109,000 - 136,000 US$ 14,000 - 17,500 RMB 92,000 - 115,000

常玉 坐姿裸男 1920 - 1930年代 炭筆 紙本 27 x 21 cm 來源

圖歐拍賣會，巴黎 米謝•阿拔赫家族收藏，法國 圖錄

衣淑凡，《常玉素描與水彩全集》，財團法人 立青文教基金會，台北，2014年，圖版編號 D1056，頁90 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D1056， 頁59（電子圖錄）

54

227

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

Abstract Nude 1920s - 1930s Ink on paper 45 x 28 cm PROVENANCE

Hotel Drouot, Paris Michel Habart Collection, France ILLUSTRATED

Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D0345, p. 34 (E-Catalogue)

NT$ 440,000 - 550,000 HK$ 120,000 - 150,000 US$ 15,400 - 19,300 RMB 102,000 - 127,000

常玉 抽象裸女 1920 - 1930年代 水墨 紙本 45 x 28 cm 來源

圖歐拍賣會，巴黎 米謝•阿拔赫家族收藏，法國 圖錄

衣淑凡，《常玉素描全集》，財團法人立青文教基金 會，台北，2014，彩色圖版，編號D0345，頁34 （電子圖錄）

228

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

Standing Nude 1920s - 1930s Ink on paper 45 x 28 cm PROVENANCE

Hotel Drouot, Paris Michel Habart Collection, France ILLUSTRATED

Rita Wong, Sanyu: Index of Drawings, The LiChing Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D0524, p. 45 (E-Catalogue)

NT$ 500,000 - 600,000 HK$ 136,000 - 163,000 US$ 17,500 - 21,000 RMB 115,000 - 139,000

常玉 站姿裸女 1920 - 1930年代 水墨 紙本 45 x 28 cm 來源

圖歐拍賣會，巴黎 米謝•阿拔赫家族收藏，法國 圖錄

衣淑凡，《常玉素描全集》，財團法人立青文教基 金會，台北，2014，彩色圖版，編號D0524，頁45 （電子圖錄）

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229

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

Lady in Blouse 1920s - 1930s Ink on paper 45 x 28 cm PROVENANCE

Hotel Drouot, Paris Michel Habart Collection, France ILLUSTRATED

Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, color illustrated, no. D2337, p. 106 (E-Catalogue)

NT$ 650,000 - 750,000 HK$ 177,000 - 204,000 US$ 22,800 - 26,300 RMB 150,000 - 173,000

常玉 穿著襯衫的女士 1920 - 1930年代 水墨 紙本 45 x 28 cm 來源

圖歐拍賣會，巴黎 米謝•阿拔赫家族收藏， 法國 圖錄

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D2337，頁106（電子圖錄）

230

Walasse TING

(Chinese-American, 1929 - 2010)

丁雄泉

Woman with Parrots and Flowers

六美圖

Acrylic on ricepaper 37.5 x 48.5 cm

37.5 x 48.5 cm

With one seal of the artist

來源

PROVENANCE:

Private collection, USA Private collection, Europe

NT$ 220,000 - 320,000 HK$ 60,000 - 87,000 US$ 7,700 - 11,200 RMB 51,000 - 74,000 58

壓克力 紙本 鈐印左上：採花大盜 私人收藏，美國 私人收藏，歐洲

231

WU Hao

(Taiwanese, 1931 - 2019)

吳昊

Maple Leaves are So Red Here

這兒楓葉好紅

1990 Oil on canvas 91.5 x 91.5 cm Signed lower Wu Hao in Chinese and dated 1990

油彩 畫布

This lot is to be sold with a certificate of authenticity issued by Contemporary Art Gallery

NT$ 320,000 - 420,000 HK$ 87,000 - 114,000 US$ 11,200 - 14,700 RMB 74,000 - 97,000

1990 91.5 x 91.5 cm 簽名中下：吳昊 1990 附當代藝術公司開立之原作保證書

232

PANG Jiun

(Taiwanese, b.1936)

Wupeng Boat 2007 Oil on canvas 73 x 60.5 cm Signed lower right Pang Jiun in Chinese and dated 2007 With one painted seal of the artist.

龎均 烏篷船 2007 油彩 畫布 73 x 60.5 cm 簽名右下：龎均 2007 手繪鈐印：均

NT$ 950,000 - 1,800,000 HK$ 259,000 - 490,000 US$ 33,300 - 63,100 RMB 219,000 - 416,000

本拍品乃是藝術家龎均巧妙運用色彩的典範之作，據 他個人表示：「我的風景畫作之所以受到歡迎，是因 為運用了極具質感的灰色色調，根據我的觀察，必 須使用灰色來描繪中國的蓊鬱青山和悠悠綠水，而灰 色也恰好呼應了中國詩學的飄渺之美與情感抒發、中 國人保守低調的性格，更能暢快傳達了中國文化的精 神。」在本拍品當中可以看到龎均運用了多樣層次的 墨灰色澤，並以簡單的筆觸描繪出水上的細微光影， 有如銀鱗般靈活地交織躍動於畫作之上。龎均的油畫 特色在於他如何觀察並呈現主觀世界，就如同莫札特 透過音樂表達自我，龎均透過恣意遊走帆布之間的筆 觸，盡情地表達自身情感與想法。 The present lot is a very fine exemplar of Pang's exquisite utilization of colours as the artist posits "The reason my landscapes were popular was

60

precisely that they have a fine grasp of the grey tone, To my observation, the grand mountains and deep waters of China are definitely to be portrayed in grey, and the grey, consonant with the sentiment and ethereality of Chinese poetry and the reserved and low key style of Chinese people, reveals the spirituality of Chinese Culture. " Pang's grey varies in different perspective as illuminated by the present lot, where the subtle shadow and light on the water is rendered with simple strokes that intersect and flow as a river, from which the life of a painting springs. the most essential characteristic of Pang's ideal oil painting exists in the way he observes and expresses the objective world, as Mozart expresses himself through music, Pang likewise embodies his feelings and thoughts through brushstrokes that linger and whirls across the canvas.

233

LIU Kuo-sung (Taiwanese, b. 1932)

Celestial Landscape 1988 Ink and color on paper 44 x 105 cm Signed right Liu Kuo-sung and dated 1988 in Chinese.

With seals of the artist PROVENANCE

Acquired directly from the artist

NT$ 1,500,000 - 2,600,000 HK$ 409,000 - 708,000 US$ 52,600 - 91,100 RMB 346,000 - 600,000

劉國松 天籟 1988 彩墨 紙本 44 x 105 cm 簽名鈐印右下：劉國松 一九八八 來源

直接得自藝術家本人

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234

SHIY De-jinn

(Taiwanese, 1923 - 1981)

Northern Seafront 1979 Mounted scroll, ink and color on paper 69 x 136.5 cm Signed upper left Shiy De-jinn and dated 1979 in Chinese.

With two seals of the artist

NT$ 1,800,000 - 2,600,000 HK$ 490,000 - 708,000 US$ 63,100 - 91,100 RMB 416,000 - 600,000

席德進 北宜海濱 1979 彩墨 紙本 69 x 136.5 cm 簽名左上：席德進一九七九. 鈐印左上：席德進印 鈐印右上：席氏書畫

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235

Walasse TING

(Chinese-American, 1929 - 2010)

Love Me Love Me 1973 Acylic on paper 69 x 104 cm Signed upper right Ting and dated 1975.

Signed on the reverse Ting , titled Love Me Love Me in English and dated 1975 PROVENANCE:

丁雄泉 愛我愛我 1973 壓克力 紙本 69 x 104 cm 簽名右上：Ting 75. 簽名畫背：Love Me Love Me Ting 75 來源：

佳士得拍賣，阿姆斯特丹， 2013年11月05日，編號179

Christie's, Amsterdam, November 05, 2013, lot 179

NT$ 2,000,000 - 3,000,000 HK$ 545,000 - 817,000 US$ 70,100 - 105,200 RMB 462,000 - 693,000 素有「採花大盜」之稱的丁雄泉，以色彩繽紛的花草與美女 畫作享譽國際。1928年生於中國江蘇無錫，少時曾入上海美 專就讀。18歲移居香港，22歲前往法國巴黎闖蕩，結識眼鏡 蛇畫派藝術家，30歲赴美國紐約發展，受到抽象表現主義影 響，逐漸形成燦爛形色獨特的繪畫藝術。1970年代起，旅居 紐約已十餘年的丁雄泉，繪畫從抽象轉為具象，發展了筆觸 濃烈狂野，用色強烈不拘的技法；這縱然與丁氏天性有關， 而在藝術氛圍大放，自由且充滿未來感的紐約更是引領他日 後風格的確立，並開始大量創作他一生摯愛不倦的題材： 「女人」。這時期的作品清楚地看見了野獸派般的描繪線 條，和早先在歐洲，眼鏡蛇畫派對他的影響。 此幅《愛我愛我》是丁雄泉1973年在完成的作品，70年代 開始的丁氏浪漫鮮豔風格，以女體為創作主題，花草為輔， 既寫花的瑰麗曼妙，亦寫女子的柔媚嬌態，結合鮮艷的用色 和大膽的表現方式，展現繽紛燦爛而充滿魔力的愉悅世界， 歌頌生命的美好與感官的豐美。畫面中，美人斜臥，肌膚雪 白，慵懶倘佯在絢爛的黃綠花草之中，風姿綽約、艷麗華 美。有如凌駕於現實之外，既夢幻、亮麗又甜蜜迷人。筆觸 中可見藝術家流露其內心的狂野熱情和創作能量，以俐落的 線條勾勒人物，背景則使用充滿力道的顏料潑灑、滴流等抽 象表現主義的手法，融合高彩度的色塊塗抹。丁氏繪畫造型 赤裸而真誠、技法熟練而天真，以獨特的藝術語彙，重新詮 釋承襲自堤香、馬奈、莫迪里亞尼、馬諦斯等大師的斜臥裸 女畫作，再創當代經典。 Walasse Ting, also known as “The Flower Thief,” is internationally renowned for paintings of colorful flowers and beautiful women. Born in Wuxi, Jiangsu Province, China in 1928, he studied at the Shanghai Academy of Fine Arts. At the age of 18, he moved to Hong Kong. At the age of 22, he traveled to Paris, France.He held a few exhibitions in Paris and Brussels. At the age of 30, he moved to New York where he was influenced by abstract expressionism and gradually 66

formed a splendid and unique painting style. By the 1970s, Ting, having spent more than ten years in New York, changed his artistic style from abstract to figurative paintings and began to develop a style in which the strokes were strong and wild. The technique employed vibrant colors, an approach reflecting Ting’s character. In terms of the artistic atmosphere, New York city itself, free and innovative, also took part in shaping Ting’s later style. He spent large amounts of time painting”women,” his favorite topic. During this period, the lines in his works demonstrated similar styles from Fauvism.

During his early days in Europe, the CoBrA artists already provided Ting with the inspiration for a similar style.

“Love Me Love Me” is a work by Ting created in 1973. The romantic and bright style of Ting, which began in the 1970s, is based on the theme of the female body and supplemented by flowers and plants. Ting depicts the alluring beauty of flowers and women, captured in abundantly rich and bright images. The painting displays Ting’s highly-refined ability to create an alluring and glamorous world with the use of bright, vivid, and fresh colors while offering a feast for the senses. In the painting, a beautiful white-skinned woman is lazily lying among the yellow-green flowers, looking graceful and gorgeous. The artist reveals his wild passion and creative energy through the brush strokes. The figure is outlined by neat lines, the background is filled with splashing and dripping paint that is full of energy, a technique common to abstract expressionism, and smeared with high-color patches.

Ting’s paintings are naked and sincere, skilled and innocent.

His unique artistic vocabulary creates contemporary classic by reinterpreting nude paintings by such masters as Titian, Manet, Modigliani, and Matisse.

236

HONG Ling (Chinese, b. 1955)

First Snow 1994 Oil on canvas 96.8 x 145 cm Signed lower right Hong Ling in Chinese and dated 1994.2 EXHIBITED:

Symphony of Landscapes: Works by Hong Ling, Schoeni Art Gallery Ltd., Hong Kong, Mar. 1995 ILLUSTRATED:

Symphony of Landscapes: Works by Hong Ling, Schoeni Art Gallery Ltd., Hong Kong, 1995, color illustrated, p. 77.

Conscious Landscapes , AuHui Art Publishing House, AnHui, 2000, color illustrated, p. 27

NT$ 2,200,000 - 3,200,000 HK$ 599,000 - 872,000 US$ 77,100 - 112,200 RMB 508,000 - 739,000

洪凌 新雪 1994 油彩 畫布 96.8 x 145 cm 簽名右下：洪淩 1994.2 展覽：

「山水精神──洪淩畫展」， 少勵畫廊，香港， 展期1995年3月 圖錄：

《山水精神──洪淩畫集》， 少勵畫廊，香港， 1995，彩色圖版，頁77 《意象山水》，安徽美術出版社，安徽，2000， 彩色圖版，頁27

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237

LIU Kuo-sung (Taiwanese, b. 1932)

劉國松

The Notes of Five Flower Lake: Jiuzhaigou Series No.86

五花海的音符：九寨溝系列之八十六

2005 Ink and color on paper 74.3 x 96 cm Signed right Liu Kuo-sung and dated 2005 in Chinese.

With seals of the artist

74.3 x 96 cm

EXHIBITED

《宇宙心印:劉國松回顧展》桃園縣，桃園縣

New Works Exhibition, Hsinchu, Chung Hwa University Arts and Culture Center, 2006 Universe in the Mind: Liu Guosong’s Retrospective Exhibition, Taoyuan County, Taoyuan County Cultural Affairs Bureau, January 11 - February 12, 2007. 21st Century-Liu Guosong’s Universe in the Mind: 60 Years of Painting by Liu Guosong, Forbidden City Publishing House, Beijing, April 26 - May 26, 2007 Beautiful Taiwan-Classic Works Exhibition of Modern and Contemporary Taiwanese Masters (1911-2011), Taiwan Cultural Association Foundation, 2013

文化局，2007年1月11日至2月12日

ILLUSTRATED

文化局，2007年，頁140

21st Century-Liu Guosong’s New Works Exhibition, Hsinchu, Chung Hwa University Arts and Culture Center, 2006, p. 115 Universe in the Mind: Liu Guosong’s Retrospective Exhibition, Taoyuan County, Taoyuan County Cultural Affairs Bureau, 2007, p. 140 Universe in the Mind: 60 Years of Painting by Liu Guosong, Forbidden City Publishing House, Beijing, 2007, p. 51 & p. 125 Beautiful Taiwan-Classic Works Exhibition of Modern and Contemporary Taiwanese Masters (1911-2011), Taiwan Cultural Association Foundation, 2013, p. 61

《宇宙心印．劉國松繪畫一甲子》，北京，

NT$ 2,400,000 - 3,200,000 HK$ 654,000 - 872,000 US$ 84,100 - 112,200 RMB 554,000 - 739,000

70

2005 彩墨 紙本 簽名鈐印右中：劉國松 二〇〇五 展覽

《21世紀•劉國松新作展》新竹，新竹中華 大學藝文中心，2006年

《宇宙心印．劉國松繪畫一甲子》，北京， 故宮博物院武英殿，2007年4月26日至5月26日 《美麗台灣-台灣近現代名家經典作品展 (1911-2011)》北京．中國美術館 上海． 中華藝術宮，2013 圖錄

《21世紀•劉國松新作集》新竹，中華大學藝 文中心，2006年，頁115 《宇宙心印:劉國松回顧展》桃園縣，桃園縣

紫禁城出版社，2007年，頁51及頁125 《美麗台灣-台灣近現代名家經典作品展 (1911-2011)》財團法人台灣文化會館基金會， 2013年，頁61

72

「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。」 — 余光中

His paintings indeed have their own orbits, so full of vitality and endlessly vicious that have taken on their own, circulating life that goes on and on with neither the beginning nor the end, which constantly draws us in.

劉國松於1956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。 劉國松曾獲得台灣藝文界最高榮譽─國家藝文獎，與中國藝文 界最高榮譽─華人藝文終生成就獎。「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。2001年開始他更 以漬墨技法創造了一系列九寨溝的波光水影表達非常個人之 感。此幅《五花海的音符：九寨溝系列之八十六》創作於2005 年，他以獨特技法留下的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，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, proclaiming 'overturn the centre tip' in modern ink painting theory as its resounding slogan, sparking heated debates regarding the modern ink painting in the art world. He advocated the incorporation of Western concepts in the aesthetics of ink painting as his theoretical foundation, and used abstraction as a means to break away from the previous visual experience. By expressing the beauty of spiritual

— Yu Kwang-chung

freedom, he transcended the nature representations, thereby making it eternal.

Liu Kuo-Sung has won the National Award for Arts, which is the highest honor in the art and literature world in Taiwan, also the Chinese Art and Literature Lifetime Achievement Award, which is the highest honor in China's art and literature fields. “The Consciousness of the East” is embodied in his artistic creations, employing brushes to unleash the realisation in life, using abstraction to break out of the visual experience in the past, detaching from the natural appearance, depicting the free-spirited beauty and making it eternal. His characteristic “paper-texturing” technique transforms the worldly landscape into a part of itself, utilising innovative techniques to enrich the context of the painting.

Since 2001, he applied his unique “ink-splatter” technique to create a series depicting the waves and water shadows in Jiuzhaigou to express a very personal feeling. This painting "The Notes of Five Flower Lake: Jiuzhaigou Series No.86" was made in 2005. He manifested the texture of mountains and rivers with the vein lines created by his peculiar technique. Overviewing this painting, viewers seems to have entered the broad heart of the artist where he is unlimitedly free, and feel the momentum of overlooking everything from the sky and the vastness of the universe, distinctively creating an abstract landscape of “Liu Kuo-Sung style”, and it is also a representative work with great personal style recognition.

238

葉子奇

Tzu-chi YEH

花蓮的野百合

Hualien’s Wild Lily

卵彩 油彩 亞麻布

2016 - 2021 Tempera and oil on linen 71 x 107 cm Signed lower right Tzu-chi Yeh and dated 2016-2021

簽名右下：葉子奇 2016-2021

2016 - 2021

(Taiwanese, b.1957)

71 x 107 cm

NT$ 2,600,000 - 3,000,000 HK$ 708,000 - 817,000 US$ 91,100 - 105,200 RMB 600,000 - 693,000

在西方藝術史中「百合花」一直是神聖、純潔、高雅、 忠貞、信實等意涵的象徵，典藏在義大利烏菲茲(Uffizi) 美術館達文西的名畫「天使報喜」中，天使向瑪麗亞顯 現時，手中拿著的正是「百合花」。同樣的意象也出現 在英國拉斐爾前派的畫家羅賽提的相同主題「天使報 喜」中。每年春天的復活節期，「百合花」更象徵了基 督復活的生命。 中文「百合」取其根球包附抱合而有「百年好合」、 「百事合意」等吉祥之意。 葉子奇的「野百合花」有屬於他自己年少的記憶，五十 多年前的蘇花公路彎曲陡峭的清水斷崖、「金馬號」的 顛簸、難耐暈車的艱苦中，瞥見那開滿山壁的野百合所 帶給他的清爽安慰。離鄉19年後，返回花蓮，再度在 美崙山麓的松園相遇。葉子奇透過他個人化的情感與經 驗，運用古典主義「中心法則」的隨象運轉，使物象和 空間交錯呈現出逼近與疏離，實存而空冷，寧靜而寂 寞，如真似幻的神秘曖昧性，也賦與百合花特有的榮耀 與尊嚴。 — 張金催（紐約大學藝術教育博士） In the history of Western art, “Lily” has always been a symbol of sacredness, purity, elegance, loyalty, and faithfulness. The famous painting “Annunciation”

by Leonardo da Vinci, housed in the Uffizi gallery in Italy, where Archangel Gabriel kneels before the Virgin Mary, proffering a lily. The same imagery also

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appears in the same theme “Ecce Ancilla Domini! (The Annunciation)” by the British Pre-Raphaelite painter Dante Gabriel Rossetti. Every spring during the Easter period, “Lily” symbolizes the resurrected life of Christ.

I​n the Chinese “Lily” because of its root grows in a hugging shape, which subtly brings auspicious meanings such as “Hundred Years of Harmonious Love”. Tzu-chi Yeh’s “Hualien’s W ild Lily” has memories of his own youth, more than fifty years ago, when travelling the Qingshui Cliff in Su-Hua Highway, the bumpy ride on the Golden Horse Bus brought the bouncy motion sickness, he was consoled and refreshed by the full bloom of wild lilies across the mountain. Nineteen years after leaving his hometown, he returned to Hualien and visited the Pine Garden at the foot of Meilun Mountain again.

Through his personal emotions and experience, Tzuchi Yeh employs the classicism “Central Law” to move around with the image, which intertwined the object and space in order to display the closeness and estrangement, the physical existence yet utterly coldness, the sense of tranquility but somehow loneliness, the mystery and ambiguity as if illusion, and finally which also empowers “Lily” with unique glory and dignity.

-Dr. Kin Tsuei Chang (Ph.D. in Art Education, New York University)

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Walasse TING

(Chinese-American, 1929 - 2010)

Floating Love 1973 Acrylic on canvas 180 x 242 cm Signed on the reverse Ting, titled Floating Love in English, inscribed Flower thief in Chinese and dated 1973 PROVENANCE:

Private collection, America

NT$ 3,400,000 - 4,600,000 HK$ 926,000 - 1,253,000 US$ 119,200 - 161,200 RMB 785,000 - 1,062,000

丁雄泉 萬紫千紅 1973 壓克力 畫布 180 x 242 cm 簽名畫背：Floating Love 73 萬紫千紅 採花大盜 筆 來源：

私人收藏，美國

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此件作於1973年的大幅油彩畫《萬紫千紅》在鮮黃色的背景 上，潑彩揮灑的粉紅、青藍、黛綠及橘橙等纓絡垂旒、接踵 而至，宛如置身春曉般，畫面盡是生趣，，豐沛的情感間隱 含東方留白的寫意精神，淡雅的底色如大地般滿滿的春意盎 然。作品盡見丁雄泉火燙炙熱的情緒表現，以及瀟洒放盪的 大幅度暢快筆觸，質感隨興而厚實，不禁令觀者聯想到其眼 鏡蛇畫派。他純熟地運用美國抽象表現主義的潑灑和滴彩的 技法，使絢爛繽紛的顏料鋪溢得虛實有致，洋洋灑灑地佔據 整幅畫面。不難看出其響應附和，並轉化傑克遜・波洛克的 繪法，他當時亦受「普普藝術」平面化地處理大塊空間的影 響。可見他在汲取西方藝術養份的同時，試圖開創建立其獨 特的喧鬧紛雜，卻又洶湧澎湃的藝術語言。 丁雄泉創作此畫的同年曾於美國匹茲堡的卡內基學院藝術博 物館與山姆•弗朗西斯及瓊•米歇爾舉行聯展「新鮮空氣畫 派」，此展更是由他命題。此派以大自然萬物的美為源源不 絕靈感的繆斯，強調創作時的隨性隨機，皆來自藝術家個人 的情緒和心理特徵。欣欣向榮的湖光山色都幻化成顏料，在 原始慾望的驅使鞭策下和盤傾瀉而出，透露二合為一的自然 和色彩渾然天成。絢麗的點彩交匯融合其中，於爛漫的空間 中構建了時間與空間感。極盡燦爛的油彩所延伸出的光感、 形狀、線條和能量，毫無疑問是最能代表丁雄泉的繪畫語 彙。此作表達出對生命中種種的激情狂喜，奼紫嫣紅永遠在 燦爛盛放的狀態。他所帶出一種當刻的視覺體驗，見證其多 個及多角維度。他的一瞬被永恆定格在畫布，提醒著觀者活 在當下、率性面對自我的人生哲學。

傑克遜·波洛克，第5號，1948年，油彩 纖維板，240 x 120cm 私人收藏，紐約 Jackson Pollock, No.5, 1948, oil on fiberboard, 240 x 120 cm private collection, New York

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This large-scale oil painting “Floating Love” was created in 1973, on top of its bright yellow background, there are splashes of colors such as pastel pink, sky blue, green and orange. The picture is composed in the harmonic orchestra of spring season, full of vitality and embracing with the joy of life. The artist’s red hot emotional expressions, as well as the unrestrained and invigorating brushstrokes are clearly visible in this painting. The texture though is casual but rather concrete simultaneously, the viewer cannot help but think of his avant-garde group CoBrA. He skillfully applied the splashing and dripping techniques, which are noticeably seen in American abstract expressionism, the rich and colorful paints then overflow the entire picture and finally masterfully reach the delicate balance to radiantly occupy in the end. It is not difficult to see that his response echoed and transformed Jackson Pollock’s drawing method, he was also influenced by the “Pop Art”, where the composition of the painting is left empty with blank space, just the flat surface backdrop. Understandably while absorbing the nourishment of western art, he is also trying to create and establish his unique yet turbulent artistic language.

In the same year the artist made this painting, he held a joint exhibition with Sam Francis and Joan Mitchell and propositioned as “Fresh Air School” at the Carnegie Museum of Art in Pittsburgh, USA. This school takes the beauty of all things in nature as an endless source of inspiration, and emphasizes the randomness of creation, which all come from the artist’s personal emotional and psychological characteristics. The thriving lakes and mountains are all turned into colors, driven by primitive desires and pouring out, revealing the united nature and paint two become one. Those splendid stipplings merge together to create a sense of time and space, the light perception, shape, line and energy expressed by the extremely immersive oil paint, which undoubtedly are the most representative painting vocabulary of the artist. This painting exhibits the passion and ecstasy in life, with colorful flowers always in full bloom. He brings out a distinctive visual experience of the moment, witnessing his wide range and multi-angle dimensions. His moment is ever immortalized on the canvas, reminding viewers of his philosophy of living in the present and facing oneself with honest and sincere.

詩意的默想，朱德群「超脫之風景畫」 總覽朱德群的藝術創作，好比欣賞一部抒情史詩，其作品畫面的處理常 給人一種精神性的流動，「氣韻生動」為最適合形容其作品之詞。中國 古代美學理論追求的至高境界是：所貴於枯澹者，謂其外枯而中膏，似 澹而實美。這一點，在吳冠中評價朱德群的風格中呼應備至：「中國傳 統中對筆墨運轉及對絹或宣紙質感、肌理的講究創造了東方繪畫宜近看 而耐人尋味的特點。德群在大刀闊斧的油畫揮寫中竭力發展中國筆韻、 墨趣的時代性、世界性。」「朱德群的作品確是遠看西洋畫、近看中國 畫，他的創造性的手法正適合借來作為我的觀點的闡明。德群表現中另 一個突出的特點是透明性，粘糊糊的油彩織成了透明的新裝，那種半透 明效果本是中國宣紙特有的風采，令西方可望不可攀的風采。朱德群的 抽象繪畫不受遠景近景具體物象的約束，他竭力追求深遠的空間感與具 體筆墨的韻律相結合，是縱深感與形象性都得到最充分的發揮。」 朱德群喜愛古典音樂與唐宋文學，平日朗讀詩賦，聽交響樂作畫，他的 繪畫裡經常融入詩詞韻律，最特別的是他不介意為抽象畫題寫畫題，詩 詞一般的文字，本就非常抽象，不會干預藝術的解讀。1956年開始嘗 試抽象畫，先是變形，一些色塊的組合，然後藍灰黑構成的音樂性線條 與節奏，而早期的抽象作品透露著中國筆墨的基因。朱德群在法國成為 巴黎畫派的成員之一，趕上抒情抽象藝術的浪潮，他的繪畫經過1950 年代早期凝彩寶石典雅構成時期；1960年代大幅狂草動勢強烈，寬筆 刷畫的大抽象畫時期；1970年代受林布蘭繪畫啟發的幽微與光源的奧 妙探索，1980年代中期酣暢淋漓的雪景系列，以及後期的波瀾壯闊的 交響詩合奏律動，一生繪畫成就不凡。 本次羅芙奧春拍敬獻一系列朱德群精采之作，朱德群以「雪景系 列」再次達到創作的高峰，他的山水空間彷彿結合了大氣的脈動， 自廣闊的天際與深沉的地底吹拂而來，大氣之韻，渾然天成。此幅 《21.11.1986(雪景)》創作於1986年，展露出白皚清流之美、飄渺雲霧 的千姿百態。「雪景系列」之稀有性更為收藏標的，亦是藝術家創作生 命中的最高傑作。完成於1962年的《第133號構圖》，細細品賞其背景 細微層次強弱變化，此時期專有的飛舞黑線條，與飽含強勁力道的棕、 赭、白色塊錯落，光線似乎從畫面深處漫射、穿透出，略呈三角形的完 美構圖，既是穩定的視覺中心，亦為躍昇之動勢。朱德群深厚的文人學 養使得他的藝術表現更臻豐富精湛。1989年的《光之旋回》，濃郁實 在的大地色澤佈滿畫布領域，其他清淡爽朗的色澤則一絲絲地探出頭， 色調即使沒有明確外形的包裝，朱德群做到讓它們仍有各自的神韻氣 質，顏色本身就是一種暗示，而抽象的構圖是讓觀者自動自發想像的手 段，觀賞朱德群的畫，你總會按捺不住想要天馬行空的慾望，畫家就像 色彩的調酒師，他用他調配出來的組成物，邀請觀者的感官接收，緊接 著是個人內在詩意的泉湧而出。創作於2006年的《漸漸逝去的日子》 具有強烈的顏色對比，構圖一分為二。上半部為淺藍淡綠的背景下，薄 薄畫上幾筆白色，猶如穿透種種青色層閃爍的晨光，迷糊的藍綠色彼此 交織重疊。模糊的背景為空間創造出一種漂浮燥動，彷彿一躍而就的狀 態表達了深遂的遠景，點明了與觀者間的距離。

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Poetic Contemplation Chu Teh-chun’s "Transcending Landscape Painting" The overview of Chu Teh-Chun’s artwork is akin to appreciating a lyrical epic. The methods of textural painting often give the viewers a feeling of spiritual energy. Ancient Chinese aesthetic theory pursues the utmost ambit: The precious of withered is the innermost rich, though withered in appearance, it is beautiful actually. This has been reflected in the appraise by Wu Guanzhong, “In traditional Chinese ink painting, the moving of brush, the characteristic of rice paper and silk, and the texture have been regarded as the intriguing features of oriental painting, which is suitable for close look. Chu Tehchun did his utmost in developing Chinese painting rhyme and fascinating modern painting with bold and resolute strokes in his paintings.” “Chu Tehchun’s works is really like Western painting when viewed from afar, as Chinese painting when stared at nearby. His creative approach is suitable to be used as I stated the view. Chu Teh- chun’s painting has

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

Chu loved classical music and the literature of the Tang and Song Dynasties. He recited poems. He listened to symphonies while he painted. The rhythm of poetry often blended into his paintings. He did not mind titling his abstract paintings. Poetic titles are abstract themselves. They do not interfere with the interpretation of the artwork. In 1956, he started experimenting with abstract paintings. First with deformation, combinations of color blocks, and then

lines of blue, grey and black with musical rhythm. His early abstract works reveal the influence of traditional Chinese art style. His friend Wu Guanzhong said this about Chu’s works:”Look at it from afar, it’s a Western painting. Look at it closely, it’s a Chinese painting.”

“Another distinguishing feature of Tehchun’s works is the translucency he creates with oil paint. It’s a quality that could only be found in Chinese Xuan paper, which could not be achieved by any Western art style.”

In France, Chu became a member of the School of Paris, catching up with the trend of lyrical abstraction.

His painting style went through many different phases.

In the early 1950s, his works were elegantly composed and colorful like gemstones. In the 1960s, they became big, wild, dynamic, and more abstract with the use of broad strokes. In the 1970s, he became inspired by Rembrandt’s works and started to explore the effects of lighting. In the mid-1980s, he created the energetic Snow Scene series. In his last phase, he created magnificent, symphony-like paintings.

In this spring auction 2021, Ravenel presents a series of painngs of Chu. Chu has once again reached a creative peak with his “Snow Scene” series. His landscape space seems to combine the pulsation of the atmosphere.

Ranging from the vast sky to the rooted ground, the rhythm of the atmosphere is one with nature. This painting, Le 21 November 1986(Neige), was created in 1986. It reveals the beauty and various formations of flowing clouds. The rare “Snow Scene”series is of even more collective value. It is also the finest masterpiece created by the artist during his life. Chu once recalled the inspiration of that aura. “Composition no.133” was completed in 1962. Appreciating the delicate changes of the background carefully, one can see the flying black lines and the powerful brown, ocherous, and yellow colored blocks scattered around, which is unique in this period. From the depth of the picture the light seems to emit and penetrate through the surface, constructing a perfect composition with a seemingly triangular shape that forms both a stable visual center and a dynamic rising point. This piece, “Échos lumineux” from 1989 is covered up with earth tones, other bright colors appear like think threads, although there’s not much decorations for the color tones, but Chu given them characteristics, the color itself is a hint, abstract compositions is a measure to let the viewer imagine, When looking into

his paintings, you’ll have different desires for yourself, the painter is like mixer, invites the viewer to receive whatever he deploys, and the rest of the poetries came from the viewers themselves. The profound scholarly accomplishment of Chu enriched his artistic performance. This oil painting “Le Jour S’évanouit” was created in 2006, which has such a strong color contrast and the composition is divided into two. The background of upper half is in light blue and green, a few strokes in white sort of like the morning light radiates through the sky background, where a variety of blue and green layers overlapping each other. The blurry background creates a sense of superficial and restlessness, as if the state of condition expresses the perspective, which is so profound and subtly points out the distance between the viewer.

240

CHU Teh-chun

(Chinese-French, 1920 - 2014)

Le 21 November 1986 (Neige) 1986 Oil on canvas 73 x 61 cm Signed lower right CHU TEH-CHUN in Chinese and in English, dated 1986 Signed on the reverse CHU TEH-CHUN in Chinese and in English, titled le 21 November 1986 PROVENANCE:

Private collection, Asia ILLUSTRATED:

Impressions Classics IX: Chu Teh-chun, Impressions Art Gallery, Taipei, 2005, color illustrated, no. 013, p. 35

NT$ 12,000,000 - 18,000,000 HK$ 3,270,000 - 4,905,000 US$ 420,600 - 630,900 RMB 2,771,000 - 4,157,000

朱德群 21.11.1986 (雪景) 1986 油彩 畫布 73 x 61 cm 簽名右下：朱德群 CHU Teh-chun 86 簽名畫背：Le 21 November 1986 朱德群 CHU Teh-chun 來源：

私人收藏，亞洲 圖錄：

《印象經典IX朱德群》，印象畫廊，台北，2005， 彩色圖版，編號013，頁35

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241

CHU Teh-chun

(Chinese-French, 1920 - 2014

Composition No.133 1962 Oil on canvas 65 x 81 cm Signed lower right CHU TEH-CHUN in Chinese and in English Signed on the reverse CHU TEH-CHUN in Chinese and in English, titled No.133 and dated 1962 ILLUSTRATED:

Solo Exhibition of Chu Teh-Chun, The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, p. 128

NT$ 10,000,000 - 20,000,000 HK$ 2,725,000 - 5,450,000 US$ 350,500 - 701,000 RMB 2,309,000 - 4,619,000

朱德群 第133號構圖 1962 油彩 畫布 65 x 81 cm 簽名右下：朱德群 CHU TEH-CHUN 簽名畫背：CHU Teh-chun 朱德群 1962 No.133 圖錄：

《大象無形—朱德群展》，上野之森美術館，東京； 馨昌股份有限公司，台北，2007，彩色圖版，頁128

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242

CHU Teh-chun

(Chinese-French, 1920 - 2014)

Luminosité Résonante III 1989 Oil on canvas 97x130 cm Signed lower right CHU TEH-CHUN in Chinese and in English, dated 89 Signed on the reverse CHU TEH-CHUN in Chinese and English, titled Luminosité résonante III and dated 1989 ILLUSTRATED

Chu Teh-chun, Editions del’Education du Hebei, Shijiazhuang, 2005, color illustrated, p. 27

NT$ 16,000,000 - 22,000,000 HK$ 4,360,000 - 5,995,000 US$ 560,800 - 771,100 RMB 3,695,000 - 5,081,000

朱德群 光之旋回 1989 油彩 畫布 97x130 cm 簽名右下：朱德群 CHU TEH-CHUN 89 簽名畫背："Luminosité Résonante III" CHU Teh-chun 朱德群 1989 圖錄

《朱德群》，河北教育出版社，石家莊，2005， 彩色圖版，頁27

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243

CHU Teh-chun

(Chinese-French, 1920 - 2014)

Le Jour S’évanouit 2006 Oil on canvas 97 x 130 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 2006.

Signed on the reverse CHU TEH-CHUN in Chinese and English, titled “Le Jour S’évanouit” in French, dated 2006 This lot is to be sold with a certificate of authenticity signed by the artist.

NT$ 13,000,000 - 22,000,000 HK$ 3,542,000 - 5,995,000 US$ 455,700 - 771,100 RMB 3,002,000 - 5,081,000

朱德群 漸漸逝去的日子 2006 油彩 畫布 97 x 130 cm 簽名右下：朱德群CHU TEH-CHUN 06 簽名畫背：Le Jour S'évanouit CHU TEH-CHUN 朱德群 2006 附藝術家親筆簽名之原作保證書

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244

ZAO Wou-ki

(Chinese-French, 1920 - 2013)

Paysage 1952 Oil on canvas 65 x 92 cm Signed lower right Wou-ki in Chinese and ZAO in French PROVENANCE:

Galerie Michel Delorme, Paris Private collection, Asia ILLUSTRATED:

Zao Wou-Ki, Lin & Keng Gallery Inc., Taipei, 2005, color illustrated, pp. 26-27

NT$ 55,000,000 - 70,000,000 HK$ 14,986,000 - 19,074,000 US$ 1,927,800 - 2,453,600 RMB 12,702,000 - 16,166,000

趙無極 風景 1952 油彩 畫布 65 x 92 cm 簽名右下：無極 ZAO 來源：

米歇，德羅姆畫廊，巴黎 私人收藏，亞洲 圖錄：

《趙無極》，大未來畫廊藝術有限公司，台北， 2005，彩色圖版，頁26-27

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趙無極的早期油畫《風景》帶著歐洲特有的黃綠色調，完成於 1950年代初期，屬於「克利時期」風格作品。這段時期的畫面 裡經常出現符號性的線條，顫動而具有愉悅感。以大自然、建 築廣場等空間佈局為多，動物或人物偶而點綴其間，營造出迷 濛的詩意世界。法國詩人、畫家兼藝評家亨利．米修、瑞士雕 塑家傑克梅第皆讚揚這段時期的作品。 亨利．米修認為：趙無極的畫其實不是「風景」，而是「自 然」，早期作品有幽渺曠遠與神祕的感覺，一種中國節慶氣 氛，他的評畫相當契合藝術家的心境。而傑克梅第曾經告訴趙 無極，特別喜歡他「畫中有一種潦草顫動的東西」，對於後來 趙無極轉向抽象還頗有微辭。 1948年趙無極離開中國前往法國學習藝術，浸淫在歐洲濃郁的 文化氛圍中，極短的時間適應了當地的生活，出色的畫藝使得 他很快受到肯定。1951年時他暫緩繪畫創作，開始到歐洲各國 旅行充實自我。就在他前往瑞士參加自己的銅版畫發表時，有

趙無極 無題（黃金城市）1951 油彩 畫布，88.7 x 115.7cm，蘇富比香港，2021春季 拍賣會，編號1033，港幣7,445.3萬成交 Zao Wou-Ki | Untitled (Golden City), 1951, oil on canvas, 88.7 x 115.7cm, Sotheby's Spring Auction 2021 HK, Lot 1033, US$9,602,947 sold

機會在伯恩參觀了保羅．克利的畫展。當他看到小小的畫面營 造出遼闊無比的空間，色彩間交雜著線條符號，牽引出抽象的 詩意與想像，內心受到極大的感動。克利帶有東方精神的高妙 繪畫，提示出一條通往抽象藝術的途徑。這段探索時期對於趙 無極後來成為國際知名抒情抽象畫家，可謂至關重要。 之後趙無極又到義大利、西班牙等地旅行，南歐的城市建築吸 引了他的目光，地中海的明亮色彩與想像力都是創作的源泉。 這些空間佈局被他運用在1950年代初期的作品之中。以此幅 《風景》為例，顫動纖細的線條繞過前景，延伸到兩側，切割 產生空間感。象形文字般的符號線條組構出山村綠樹，呈現自 然質樸的特色，隱約見到人物、動物嬉戲其間，歐洲繪畫專有 的亮黃色調，結合清新的綠色，使整幅繪畫洋溢愉悅感，添入 粉白色暈染則營造出宛如夢境般的氤氳空間。 1950年代早期油畫《風景》仍屬於具象畫，畫中描寫的對象 以簡化符號取代，但觀眾仍可辨識。自然世界裡的幽玄語彙， 讓整幅畫帶有神祕而迷人的氣氛。中國繪畫多點透視空間的傳 統、文人畫意境，巧妙地融合於此。趙無極來自歷史悠久的東 方，接觸了西方，為他的繪畫中帶進西方的光線與色彩，而西 方又導引他重新發現中國，尤其是中國的空間。兩種傳統不相 互約束，反而交互作用成趙無極抒情又遼闊的繪畫世界，走向 抽象藝術的探索。 This early oil painting, "Paysage", from the artist's "Paul Klee Period" was completed in the early 1950s and displays a typically European yellow-brown palette. Zao's work from this period frequently comprises vibrant lines that are both overflowing with joy and loaded with symbolism, and deals mainly with natural subjects, or architectural structures, open spaces and squares. Animals or human figures are occasionally

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interspersed in the composition, helping to create a poetic dreamworld of enchanting vagueness. Both the French poet, painter and critic Henri Michaux and the Swiss sculptor Alberto Gicacometti reserved particular praise for Zao Wou-ki's output from this period.

Henri Michaux, whose critiques of individual works are always very insightful and in tune with the artist's mood, felt that Zao's paintings were not depicting "landscapes" as much as "nature," and that his early work was bathed in the lively atmosphere of Chinese festivals, while at the same time emanating a powerful sense of vastitude and mysticism. Giacometti once told Zao that he was especially fond of the "spontaneous nonchalance rippling in tremors" (il y avait un côté pattes de mouche tremblotantes) through his paintings-a remark already hinting at the artist's gradual switch to out-and-out abstraction, which was to follow later in his career.

In 1948, Zao Wou-ki left China for France, where he studied art and immersed himself in the pulsating bohemian and cultural life of the old continent. He was quickly at home in Paris, and his superior painting skills and creative genius soon found wide recognition in art circles. In 1951, Zao temporarily put his painting efforts on a backburner and began to travel through Europe to broaden his horizons and seek new inspirations. Making his way to Switzerland for a presentation of his copperplate etchings, he had the opportunity to visit a Paul Klee exhibition in Bern. Zao was deeply impressed by Klee's ability to evoke immeasurably

vast spaces in even the smallest-sized of paintings, and to delicately blend colors with lines and symbols to conjure up abstract poeticism and playgrounds of imagination.

There is something Oriental about Klee's work, an ingenious mastery that directly communicated itself to Zao, pointing a way toward the art of the abstract. It is no exaggeration to say that those years of freewheeling exploration were crucial for the Chinese artist's development as an internationally renowned master of lyrical-abstractionist painting.

Zao also traveled to other places, such as Italy and Spain, where Southern European architectural styles attracted his interest, and the bright, intense colors and romantic Mediterranean spirit became lasting sources of inspiration for his work. This influence can be strongly felt in the artist's compositions from the early 1950s, including this lot, titled "Paysage" ("Landscape"), in which vacillating fine lines dominate the foreground and expand to both sides of the canvas to create a sense of depth and space. Dark lines reminiscent of Chinese pictographs are assembled into a mountain village and green trees, with human figures and frolicking animals faintly discernible in between. Bright yellow tones in the European tradition are fused with fresh shades of green to generate a joyful atmosphere that is further accentuated by dabs of opaque white. The overall effect is that of a dreamlike world, a delightfully different plane of reality.

"Paysage" has to be counted as a work of representational art: while the depicted subjects have already been "replaced" by symbolic pictograms, they yet remain immediately identifiable by the observer. However, the profound mystique of the natural world, perfectly mirrored in the artist's shorthand imagery, imbues the entire composition with an intriguing mood, both confusing and spellbinding. Moreover, "Paysage" is a deftly crafted amalgam of European palette and the traditional Chinese multi-perspective approach, a clever mixture of literatipainting metaphors and Western techniques. Zao, while rooted in the Oriental tradition, encountered European styles and techniques with an open mind, absorbing new ways of lighting and coloring to come away with a fresh outlook on Chinese visual art, in particular its treatment of space and perspective. Zao has a true talent for combining seemingly incongruent elements and approaches, and allowing them to harmoniously complement each other. In the process, he has created masterpieces both lyrical and majestic, always forging ahead in his search for perfect abstraction.

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ZHOU Chunya (Chinese, b. 1955)

Peach Blossoms Series – Glamorous Lake 2006 Oil on canvas 200 x 250 cm Signed lower right Zhou Chunya in Chinese and English, dated 2006 EXHIBITED:

Solo Exhibition of Zhou Chunya, Shanghai Gallery of Art, Shanghai, April 23–May 14, 2006. 1971–2010 Forty Years Retrostrospective Review of Zhou Chunya, Shanghai Art Museum, Shanghai, June 13–23, 2010 ILLUSTRATED:

Track Art–Vol. Zhou Chunya, Track Art Publishing Center Limited, Hong Kong, 2006, color illusrtrated, pp. 64–65.

Zhou Chunya, Timezone 8, Hong Kong, 2010, color illustrated, pp. 472–473

NT$ 32,000,000 - 42,000,000 HK$ 8,719,000 - 11,444,000 US$ 1,121,600 - 1,472,100 RMB 7,390,000 - 9,700,000

周春芽 桃花風景系列-湖上豔色 2006 油彩 畫布 200 x 250 cm 簽名右下：2006 周春芽 Zhou Chunya 展覽：

「生命、桃花、藝術—周春芽首次國內個展」，滬申畫廊，上海， 2006年4月23日至5月14日 「1971–2010周春芽藝術四十年回顧」，上海美術館，上海， 展期自2010年6月13日至23日 圖錄：

《藝術跟蹤月刊—周春芽卷》，藝術跟蹤出版中心，香港，2006， 彩色圖版，頁64–65 《周春芽》，東方時區，香港，2010，彩色圖版，頁472–473

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的落成，桃花成林的勝景和愛情帶來的喜悅促成了「桃 花」系列。縱觀其創作歷程和作品風格變遷。中國傳統 文化的影響和西方藝術的技法和思想貫穿始終。周春芽 曾在採訪中坦言「畫『花』使我想到傳統」，「我喜歡 生命旺盛的東西。春天在成都附近的桃花山看桃花時， 那漫山遍野的粉紅色，流淌著讓人血脈噴張妖冶，讓我 感覺到原始生命力的律動。」 中國古代文人畫中梅蘭竹菊四君子不勝枚舉，除去對植 物本事的描繪，畫面所承載的多是中國文人對自我品格 的比擬和追求，而這些與桃花無關。風月豔情的詩文則 多以桃花比擬。藝術家也曾坦言，第三任妻子的出現對 桃花系列的影響深遠。花紅葉碧的絢爛風景又常與寓意 情慾的紅人結合在一起。亦如評論家呂澎所說「桃花是 周春芽的心境，在不斷展開的桃花和樹枝的世界裡，心 境也在不斷的展開。古人通過他們的圖像教會了後關於 宏觀世界的認識，教會了關於筆墨中的自由的心境與趣 味，而今天的生活又讓藝術家瞭解到了真實心境的重要 性。」「周的桃花不屬於物質世界，這註定了中國世界 的不確定性；周春芽在好幾張畫布同時或者先後開始他 的塗抹。沒有時間表，但有衝動，沒有計劃，但有結 果——所有的表現都來自藝術家的自由的心境。」周春 芽以自己的方式對話上古的筆墨情趣，以油彩在畫布上 「書寫」桃花。

身為中國當代最成功的藝術家之一，周春芽創作上的每 一次轉變都取得了巨大的成功。 1982年，周春芽的畢業作品《剪羊毛》入選當時中國 美術界最重要的展覽「中國美展」並獲獎。時隔30餘 年，作品重現市場，以三千萬人民幣天價成交。不同於 王廣義、岳敏君等人作品中濃厚的政治波普的符號色 彩，周的視角則集中在人物，動物，植物，由此而生的 「花卉」，「綠狗」，「山石」，「紅人」，「桃花」 系列貫穿其藝術發展歷程。他的藝術也因此更具中國文 人畫的色彩。有人將他的創作總結為：「結合西方的藝 術表現形式和中國的傳統內容，以雕塑的觸感來重構文 人花鳥畫，即借助德國新表現主義的技法，重新詮釋傳 統的中國山石和花卉，頗有中體西用的意味。」反自然 色彩的運用是他作品的典型風格，「綠狗」系列是最好 的佐證，濃豔的中國山石，絢爛如火的桃花，從色彩到 構圖均給人鬼魅奔放之感，他也因此被認為是中國當代 架上繪畫界中對色彩把握最好的畫家之一。 愛情是藝術家亙古不變的靈感源泉。伴隨著周春芽的第 二次婚姻開始的著名的「紅人」系列，寓意情慾和情色 的紅色在畫面上蔓延。隨後的第三次婚姻和上海工作室

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《桃花風景系列2006—湖上豔色》為該系列中的佳 品。水天相接的湖面上一枝盛放的桃花令人賞心悅目， 湖面上倒影與花枝交相輝映。濃鬱的桃粉和湖藍鋪滿畫 布，油彩在畫面流淌的痕跡也與作品構圖自然融合。

One of China’s leading contemporary artists, Zhou Chunya has continued to achieve immense success with every change in his artistic style or subject matter.

His 1982 graduation piece “Sheep Shearing” won a prize at the National Art Exhibition, which at that time was China’s most prestigious annual art exhibition.

Three decades on, “Sheep Shearing” came onto the market once again, and sold for a record price, RMB 30 Million. Different to artists such as Wang Guangyi or Yue Minjun whose works make extensive use of political symbolism and Pop Art methods, Zhou Chunya’s attention is directed towards people, animals and plants, hence the importance of Zhou’s “Flower Vase”, “Green Dog”, “Mountain Stones”, “Red Man” and “Peach Blossom” series in his evolution as an artist. Zhou’s work thus has something of the character

of traditional Chinese literati painting. One commentator described Zhou’s work: “Zhou Chunya has integrated Western forms of artistic expression with the content of traditional Chinese art. He uses the tactile sensibility of sculpture to reconstruct Chinese literati ‘bird and flower’ painting, and borrows techniques from German neo–expressionism to reinterpret traditional Chinese landscape and flower painting; Zhou’s art thus embodies a powerful sense of ‘combining Chinese essence with Western technique’.” The “unnatural” use of color is one of the hallmarks of Zhou’s paintings, and is most readily obvious in the “Green Dog” series. Vividly colored Chinese landscapes, peach blossom so brightly hued they seem almost to be on fire – in every aspect of Zhou’s paintings, from the choice of colors to the composition, there is a sense of wild exhilaration. Among contemporary Chinese painters, Zhou Chunya is widely considered to be one of the most skilled in the use of color.

Love has been a source of inspiration for artists since time immemorial. In the “Red Man” series, which Zhou Chunya painted after getting married for the second time, the canvases are full of red tones that symbolize passion and sexual desire. Following his third marriage and the setting up of a new atelier in Shanghai, the joy of love and the beautiful scenery that surrounded his workshop inspired Zhou to create the “Peach Blossoms” series. Examination of how Zhou’s work has changed over the years shows that the integration of influences from traditional Chinese culture with Western artistic techniques and concepts has remained constant throughout. Zhou once stated in an interview that “Painting flowers makes me think of tradition … I like things that are alive and vigorous. When I used to go to visit the Taohuashan (Peach Blossom hills) near Chengdu in the spring, the expanse of pink blossom spreading all across the hills had an entrancing effect, and gave me a sense of the rhythms of the primal life force.”

In traditional Chinese literati painting, one of the most frequent themes is the "Four Gentlemen" (plum, orchid, bamboo and chrysanthemum). Besides the actual depiction of the flowers and plants themselves, these paintings were also used as a means of symbolically exploring or portraying the literati artist's own character. However, peach blossom was not part of the subject matter for paintings of this type.

Where peach blossom does appear in traditional Chinese

culture is as a symbol or metaphor in love poems. Zhou Chunya is on record as saying that marriage to his third wife had a major impact on the "Peach Blossoms" series. The gorgeous scenes with their red petals are often accompanied by a red human figure, symbolizing passion. As the art critic Lu Peng put it, "The peach blossom represents Zhou Chunya's feelings; in the world he depicts, where the peach blossom and branches are constantly growing and unfolding, his heart is also opening out. The great artists of the past used their paintings to remind later generations of the majesty of the natural world, and of the freedom of the spirit that their brushstrokes embodied. Life today teaches artists the importance of being true to oneself … Zhou's peach blossom does not belong to the material world; it reflects the impermanence and flux that characterizes China today. Zhou Chunya often starts work on several canvases all at the same time. There is no timetable, only a spur to action; there is no plan, but there are results. Everything that is represented in these paintings derives from the freedom of the artist's own soul." Zhou uses his own unique method to engage in dialog with the painters of the past through the medium of peach blossom painted in oils on canvas.

"Peach Blossoms Series 2006 – Glamorous Lake" is one of the finest works in Zhou Chunya's "Peach Blossoms" series.

Above the surface of the lake, which melds into the sky, a branch laden with Peach blossom brings joy to the heart of the viewer, while the reflection of the blossom in the lake adds an extra touch of beauty to the scene. The bright pink of the Peach blossom and the blue of the lake fill the canvas; the marks left by oil paint dripping down the canvas join with the picture itself in a harmonious fusion that seems completely natural.

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Bernard BUFFET (French, 1928 - 1999)

貝爾納．畢費

Doëlan la Plage

杜蘭海邊

1972 Oil on canvas 89.5 x 130.5 cm Signed upper left Bernard Buffet and dated 1972 Titled and inscribed on the reverse Doëlan la plage et le port à marée basse

油彩 畫布

PROVENANCE:

莫里斯．賈尼耶畫廊，巴黎

Galerie Maurice Garnier, Paris Sotheby’s, Paris, June 3, 2015, Lot 62 Private collection, Asia

1972 89.5 x 130.5 cm 簽名左上：Bernard Buffet 1972 簽名畫背：Doëlan la plage et le port à marée basse 來源

蘇富比拍賣，巴黎，2015年6月3日，編號62 私人收藏，亞洲

NT$ 10,000,000 - 20,000,000 HK$ 2,725,000 - 5,450,000 US$ 350,500 - 701,000 RMB 2,309,000 - 4,619,000 畢費童年常於法國西岸的布列塔尼，與母親度過夏日時

而《杜蘭海邊》即是誕生於此時，1973-1975年，畢費泛

光。對於大自然的熱愛，造就他一生描繪法國各地海岸、

著「黃金色彩」的一系列船隻與溫暖風景作品，卓越且絕

港灣的創作不斷。1948年時才華洋溢的畢費邂逅了皮埃

無僅有的光線布局，喚醒觀者對法國阿凡橋派派帶有田園

爾·貝爾傑，貝爾傑幫助畢費於30歲前登上了事業的巔峰，

詩歌，充滿速度感表現性的力道筆觸為表現性線條更為藝

並在這8年的時間裡畫出了他許多著名的代表作。1950年

術家經典風格的表現，縱觀古今，從未有藝術家能以如此

代，畢費是法國最受青睞的年輕藝術家，亦是媒體的寵

堅實的黑線筆觸線條。迷人的鄉村小屋及白色房屋於河岸

兒，過早成名所帶來的不僅僅是金錢和名聲，還有事業的

上層層迭迭與紅、藍相間的船隻照應，亦為藝術家美好意

瓶頸。1958年與貝爾傑分手後畢費去南法聖托佩度假散

境作品的回憶。

心，遇到模特兼作家的安娜貝兒迅即結婚。70年代初畢費 然決定在風急浪高之際，攜同妻子安娜貝爾搬離煩囂，在 這段與世無爭的日子裡，他於能夠卸下壓力，於工作室中 潛心創作。本季敬獻之《杜蘭海邊》屬畢費70年代的經典 港口主題，呈現畢費對於大自然的熱愛及豁然之心境。

在眾人眼中，畢費的一生豐沛精彩，他生在抽象派興起的 年代卻致力於創作具象作品，勢必面對種種阻礙。當時的 藝術界普遍將畢卡索的抽象藝術視為法國藝術的未來，而 畢費的具象藝術則是對過去藝術世界的回顧，畢費以前途 無量的閃亮新星之姿進入藝術界，名噪一時炙手可熱，而

「他畫了一個個泊滿帆船和輪船的法國港口，畫面非常的

後又被貶為中產階級對昔日過度商業化的象徵，這些經歷

細緻，留下一幅幅精心製作的畫布。在他的城堡裡，有一

造就了畢費戲劇性的人生故事。畢費十五歲進入知名的法

個空間廣闊的圖書館，能夠容納象徵大航海時代的巨大遊

蘭西藝術院，求學時代也在畫家納伯恩的工作室見習。畢

艇模型，高聳的桅杆甚至比布菲本人還有高。後來，布菲

費曾經加入反抽象主義團體「見證人」，在抽象主義開始

也回憶說：『從來未有過一段比畫《船》系列更高興的時

主導藝術圈時，極力擁護表現藝術。畢費藝術生涯產量驚

光。』」── 尼克．福克斯《貝納爾．畢費─超級現代藝術

人，創作多達8000多件；近年各界再度關注畢費的作品，

家的創造》

此次《杜蘭海邊》更是難能可貴，論畫風之精與題材之 妙，皆屬藏家不容錯過之選。

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Buffet spent his childhood on the west coast of France, Brittany, the summer time there he spent with his mother. The lifelong love of nature has inspired his continuous creation of depicting coasts and harbours across France. In 1948, the talented Buffet met Pierre Bergé, Bergé helped Buffett to reach the pinnacle of his career before the age of 30, and painted many of his famous masterpieces in their 8 years together. In the 1950s, Buffet was the most popular young artist in France and the darling of the media. His premature fame brought not only money and fame, but also bottleneck in his career. After breaking up with Bergé in 1958, Buffet went to Saint Tropez, South France for a holiday, and met Annabel Schwob, a model and writer and get married soon after. In the early 1970s, Buffet decided to move away from the hustle and bustle with his wife Annabel. During this uncontested period, he was then able to relieve the pressure and devote himself to creating in the studio. This spring presents “Doëlan la Plage”, which is his classic port theme in the 70s, showing his love for nature and an enlightened state of mind.

"He painted French ports full of sailboats and ships, the paintings are very detailed, leaving behind meticulously crafted canvas one after another.

In his castle, there is a spacious library that can accommodate a huge yacht model, which is so symbolic to the great nautical era, the towering mast is even taller than Buffet himself. He himself

貝爾納．畢費《聖托佩港口》1993 油彩 畫布 130 x 195 cm，羅芙奧台北 2020秋季拍賣會，編號 221，成交價：台幣36,000,000 Bernard BUFFET, Saint Tropez, Le Port, 1993, oil on canvas, 130 x 195 cm, Ravenel Autumn Auction 2020 Taipei, lot 221, US $ 1,263,158 sold

later recalled “There has never been a happier time than painting the "Ship" series.” "─ Nick Foulkes on Bernard Buffet: The Invention of the Modern MegaArtist “Doëlan la Plage” was indeed made in this time, from 1973 to 1975, Buffet created a series of works with themes of ships and warm landscape, suffusing with his "golden colors”. The excellent and unique layout of light awakes viewers to the pastoral poetry align with the École de Pont-Aven. The brushstrokes with the sense of full speed, where the expressive lines are overflowing and present the classic style of the artist.

Throughout the past and present, not one single artist has been able to stroke lines with such solid black lines. The charming country cottages and white houses on the riverbank are layered by the alternate red and blue boats. The work itself clearly is the fond memory of the artist's beautiful artistic conception.

In the eyes of everyone, Buffet's life is undoubtedly rich and wonderful. He was born in the era with the rise of abstraction but devoted himself to creating figurative art, he was destined to face various obstacles. At that time, the art world generally regarded Picasso’s abstract art as the future of French art, while Buffet’s figurative art was a retrospect of the past art world. Buffet entered the art world as a bright and promising new star, his fame is fiercely hot for a while, yet later was relegated as symbol of the middle class's excessive commercialization of the past. These experiences have therefore created his dramatic life story. At the age of 15, he entered the renowned National School of the Fine Arts (École Nationale Supérieure des Beaux-Arts) and trained as an intern in the studio of the painter Eugène Narbonne when he was still studying. He once joined the anti-abstract art group L'homme Témoin (the Witness-Man), when abstraction began to dominate the art circle, he strongly supported the art of expressionism. His creation throughout his artistic career is astonishing, with more than 8,000 works. In recent years, his works have again been the centre of attention.

This season “Doëlan la Plage” is even more rare and commendable, considering the essence of his painting style and the ingenuity of the subject matter, this work is definitely the crown jewel that collectors should not miss.

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Bernard BUFFET (French, 1928 - 1999)

Île de Port-Cros 1953 Oil on canvas 60 x 92 cm Signed upper right Bernard Buffet and dated 1953 PROVENANCE

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

NT$ 5,000,000 - 8,000,000 HK$ 1,362,000 - 2,180,000 US$ 175,300 - 280,400 RMB 1,155,000 - 1,848,000

貝爾納．畢費 克羅港島 1953 油彩 畫布 60 x 92 cm 簽名右上：Bernard Buffet 53 來源

莫里斯．賈尼耶畫廊，巴黎 私人收藏，亞洲 附巴黎莫里斯．賈尼耶畫廊開立之原作保證書

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BERNARD BUFFET ÎLE DE PORT-CROS

畢費被譽為「戰後寫實主義的接班人」，是一位被安 迪•沃荷崇拜，連大師畢卡索都曾讚揚與關注的天才藝 術家。他與生俱來的創作天賦，促使這位年輕學生日以 繼夜，在寒冬沒有暖氣的工作室，依靠天窗透下的日 光，全心全意創作。他要自己的作品被世人看見，從 戰火的無情和困頓蛻變出獨一無二的畢費美學。畢費 從1946年第一次參加「三十歲未滿青年沙龍展」以及 1947年的「獨立沙龍展」開始展露頭角。直到1948年 得到大衛畫廊舉辦的「青年畫家獎」與聖•普拉席德畫 廊「藝評獎」從此一炮而紅。畢費的天賦與才能，立即 吸引許多知名收藏家與畫商的注意力，他們紛紛收藏他 的作品，並且邀約展覽合作的機會。其中，畫商莫里 斯•賈尼耶，從一開始的維斯康提畫廊、大衛與賈尼耶 畫廊，到最後的莫里斯•賈尼耶畫廊，長達半個世紀的 合作，更是畢費的藝術生涯重要的推手。1952年起， 每年二月，畫廊都會推出不同主題的畢費新展覽，而參 加展覽開幕式的慣例，當時就成為巴黎藝術圈的年度盛 事。 《克羅港島》一畫帶有藝術家一貫的陰鬱沉重風格並濃 濃東方符號的作品並受浮世繪影響，是畢費在 1950年 代的傑作，畫中憂傷沉重的氛圍展現他一貫的風格，同 時也反映藝術家不斷求新求變的長才。畢費一向以俐落 的線條展現其繪畫技巧，並散發的憂鬱氣息，凸顯出畢 費美學固有的繁複特徵。畢費在1950年代達到空前的 名氣巔峰，成為戰後法國新浪潮的中堅份子，足以帶領 法國重返藝文世界主導地位的青年才子。在畢費的作品 中，即使是最平凡的法國本土場景，都可發現他真實而 獨一無二的視角和世界觀，為平淡無奇的主題注入新生 命，轉化為精湛動人的傑作。 Known as the "successor of post-war realism", Buffet is a genius artist who is admired by Andy Warhol and even praised by the master Picasso. His innate creative talents prompted this young student to work day and night in an unheated studio in the cold winter, relying on the sunlight through the skylight to create wholeheartedly. He wanted his works to be seen by the world, and transformed from the ruthlessness and

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predicament of war into his unique aesthetic. Buffet started to show his prowess when he first participated in the exhibition “Salon des Moins de Trente Ans” in 1946 and the “Salon des Indépendants” in 1947. He received the young painting prize in the competition held by the Galerie Drouant-David and awarded with “Prix de la Critique” from the Galerie Saint-Placid in 1948. Buffet's talent and natural endowments immediately attracted the attention of many wellknown collectors and art dealers, who collected his works one after another, and invited him with opportunities to collaborate in exhibitions. Among them, the dealer Maurice Garnier, from the Galerie Visconti in the very beginning, to the Galerie DavidGarnier and finally the Galerie Maurice Garnier, they collaborated for half a century, and he is so important to get Buffet's artistic career forward. Since 1952, every February, the gallery will launch a new exhibition of Buffet with different themes, and the practice of attending the opening ceremony of the exhibition has become such an annual event of the art world in Paris. “Île de Port-Cros” is a work with the artist's usual gloomy and serious style, with strong oriental symbols clearly is under the influence of Ukiyo-e. Undoubtedly it his masterpiece in the 1950s, the melancholy and depressed atmosphere in the painting express his consistent style. It also reflects the ability of the artist who is constantly seeking innovation and change. Buffet has always demonstrated his painting techniques with clean lines, and the lugubrious scent in his paintings highlights the inherent complex features of his aesthetics. He reached an unprecedented peak of fame in the 1950s and became the backbone of the new wave of postwar France, a young talent so capable of leading France back to dominate the art world. Even in the most ordinary local French scenes in his works can discover his authentic and unrivalled perspective and worldview, injecting new life into the commonplace themes, and transforming them into exquisite and moving masterpieces.

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HONG Ling (Chinese, b.1955)

Autumn Sunshine 2012 - 2013 Oil on canvas 130 x 160 cm Signed center left Hong Ling in Chinese and dated 2013; Titled on the reverse Autumn Sunshine and inscribed Hong Ling created in autumn 2012 This lot is to be sold with a certificate of authenticity issued by Soka Art Center

NT$ 4,600,000 - 5,500,000 HK$ 1,253,000 - 1,499,000 US$ 161,200 - 192,800 RMB 1,062,000 - 1,270,000

洪凌 陽秋 2012 - 2013 油彩 畫布 130 x 160 cm 簽名左中： 洪凌2013 簽名畫背：《陽秋》160 x 130 cm 洪凌作于2012年秋 附索卡當代藝術開立之原作保證書

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249

JU Ming

(Taiwanese, b. 1938)

Taichi Series 1992 Wood (Toona spp. kalantas) 64.4(L) x 24.7(W) x 35.1(H) cm Engraved bottom left Ju Ming in Chinese and dated ‘92 This lot is to be sold with a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation.

NT$ 5,000,000 - 6,000,000 HK$ 1,362,000 - 1,635,000 US$ 175,300 - 210,300 RMB 1,155,000 - 1,386,000

朱銘 太極系列—拱門 1992 木雕（菲律賓香椿） 64.4(長) x 24.7(寬) x 35.1(高) cm 簽名左側下方：'92 朱銘 附財團法人朱銘文教基會金開立之作品鑑定報告書

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250

LI Chen

李真

(Taiwanese, b.1963)

Entering the World

入世

2007 Bronze, edition no. 2/8 35.5(L) x 36(W) x 80.5(H) cm Engraved Li Chen in Chinese and English, numbered 2/8 and dated 2007

銅雕 2/8

2007 35.5(長) x 36(寬) x 80.5(高) cm 簽名雕刻：李真 Li Chen 2/8 2007 圖錄

《虛空中的能量—第52屆威尼斯雙年展》，

ILLUSTRATED

Li Chen in 52nd Venice Biennale - Energy of Emptiness, Venice, Asia Art Center, Taipei, 2007, color illustrated, p. 204. Li Chen: In Search of Spiritual Space, 2008 Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, 2008, color illustrated, p.184 & p.199 This lot is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

亞洲藝術中心，台北，2007，彩色圖版， 頁204 (另一版次) 《李真—尋找精神的空間》，亞洲藝術中心， 台北，2008，彩色圖版，頁184與頁199 (另一版次) 附亞洲藝術中心開立之作品保證書

NT$ 4,400,000 - 5,500,000 HK$ 1,199,000 - 1,499,000 US$ 154,200 - 192,800 RMB 1,016,000 - 1,270,000

《入世》創作於2007年，探討生命來到世界上的意義─ 我們為何而來？又為何離開？李真以佛菩薩暗示輪迴，誠 如宇宙物理的運轉、人生生死的變異，世間一切的現象都 是宿命的安排；對比於神態莊嚴平和的佛菩薩，李真刻意 強調「入世而存在」的重要，生命在宇宙中繼起、入世， 本身即有獨一無二的價值，因此以無邪的嬰兒表示世間人 們追求的最高境界，並用金色凸顯理想狀態的完美。因 此，舞動的淘氣嬰孩在肅靜菩薩懷中，兩者構成「宿命」 與「入世」的對照。

"Entering the World," which was created in 2007, explores the meaning of the coming of life into this world. Why are we here? And why do we leave? Li Chen uses the image of a Buddha or Bodhisattva to

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hint at reincarnation, suggesting that all the changes that happen in the universe, and the process of birth and death in human existence, along with all other phenomena, are determined by fate or karma. However, in contrast to the serene, imposing Buddha figure, Li Chen also, and quite deliberately, emphasizes the importance of entering and existing in this world; as he sees it, the process whereby life continues to exist in this world (and through which we enter the world) is itself of immeasurable value. The innocent baby represents the striving of human beings in this world for the ultimate; the use of gold coloration for the baby points up the perfection of this ideal state. By placing the wriggling, adorable baby in the arms of the quiescent Buddha, a contrast is created between "fate" and "entering the world."

251

LI Chen

(Taiwanese, b. 1963)

李真

Clear Soul

無心海

2002 Bronze, edition no. 2/8 75(L) x 36(W) x 54(H) cm Engraved Li Chen in Chinese and English, numbered 2/8 and dated 2002

銅雕 2/8

EXHIBITED

The Contemporary Road of Media and Tradition: Top10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, April 7 - May 6, 2007. Li Chen Solo Exhibition - In Search of Spiritual Space / Energy of Emptiness, The Venice Biennale: the 52nd International Art Exhibition, Telecom Italia Future Centre, Venice, June 10 - November 21, 2007 (large version)

2002 75(長) x 36(寬) x 54(高) cm 簽名：李真 Li Chen 2/8 2002 展覽

「中國當代雕塑十人展」，亞洲藝術中心，北 京，展期自2007年4月7日至5月6日. 「第52屆 威尼斯雙年展—尋找精神的空間．虛空中的能 量：李真雕塑展」，未來展望美術館，威尼斯， 展期自2007年6月10日至11月21日（較大版本） 圖錄

《李真雕塑1992-2002》，亞洲藝術中心， 台北，2004，彩色圖版，頁88-89（較小版本）

ILLUSTRATED

《中國當代雕塑十人展》，亞洲藝術中心，

Li Chen Sculpture 1992-2002, Asia Art Center Co. Ltd., Taipei, 2004, color illustrated, pp. 88-89 (small version).

Top 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center Co. Ltd., Beijing, 2007, color illustrated, p. 50.

Li Chen in Venice-Energy of Emptiness, Asia Art Center Co. Ltd., Taipei, 2007, color illustrated, pp.140-141; black-andwhite illustrated, p. 219.

Li Chen in Beijing - In Search of Spiritual Space, Asia Art Cente Co. Ltd., Taipei, 2008, color illustrated, pp. 64-71; black-andwhite illustrated, p. 197

北京，2007，彩色圖版，頁50

NT$ 2,400,000 - 3,800,000 HK$ 654,000 - 1,035,000 US$ 84,100 - 133,200 RMB 554,000 - 878,000

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《李真第52屆威尼斯雙年展—虛空中的能量》， 亞洲藝術中心，台北，2007年，彩色圖版， 頁140-141；黑白圖版，頁21 《李真：中國美術館個展—尋找精神的空間》， 亞洲藝術中心，台北，2008，彩色圖版， 頁64-71；黑白圖版，頁197

252

JU Ming

(Taiwanese, b. 1938)

Taichi Series 1995 Bronze, edition no. AP 6/8 46(L) x 52(W) x 88(H) cm Engraved Ju Ming in Chinese, numbered AP 6/8, dated ‘95 This lot is to be sold with a certificute of authenticity issued by Kalos Gallery, Taipei.

NT$ 3,200,000 - 4,200,000 HK$ 872,000 - 1,144,000 US$ 112,200 - 147,200 RMB 739,000 - 970,000

朱銘 太極系列 1995 銅雕 自 6/8 46(長) x 52(寬) x 88(高) cm 簽名雕刻背後：朱銘 自 '95 6/8 附真善美畫廊開立之作品保證書

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253

Chang-Ling

(Taiwanese, b. 1975)

Pork Belly Series–Waterside – Night Mountain Residence 2016 Oil on canvas 117 x 91 cm Singed on the reverse Chang-Ling in Chinese, titled Pork Belly Series–Waterside – Night Mountain Residence and dated 2016

常陵 五花肉系列 – 肉山水 – 夜山居 2016 油彩 畫布 117 x 91 cm 畫背簽名：五花肉系列 – 肉山水 – 夜山居 常陵 2016

NT$ 260,000 - 320,000 HK$ 71,000 - 87,000 US$ 9,100 - 11,200 RMB 60,000 - 74,000

1996年到法國留學，常陵養成對政治、經濟、文化等 社會現象的高度興趣，2005年回到台灣後，著眼探討 東方當代文化的主體性及話語權，藝術家以自身的基本 構成，透視這塊記憶中屬於母土的獨特創作風格，將創 作回歸到以「肉身」為起點。 常陵2016年創作的「夜山居」，一反過往「五花肉」 中常見的鮮紅色與暗黑色調，以藍、白、黑三色描繪夜 深至靜使雪海流香撲鼻而來，並有高靈空妙的意境，令 觀者感受到靈魂清澈的洗禮。其畫面上白色調變化無窮 無盡，盡刻出千百分之一的細膩幽微處，白雪皚皚覆蓋 的高峰大地，挺拔的山巒跌宕，充分表現出畫家所欲表 達的優雅與寒凝之美。 In 1996, he went to France to study, and Chang Ling developed a high interest in politics, economy, culture and other social phenomena. After returning to Taiwan in 2005, the artist focused on the subjectivity and discourse power of contemporary Eastern culture.

The artist used his own basic structure to see through the unique creative style of this memory that belongs to his motherland, and returned his creation to the “physical body” as the starting point.

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After 2010, Chang Ling used the new title of “Illusional Society” to sneak into the “Flesh city”, as if the civilized life and social observation under microscope observation, based on the unique style of “Just Spirit”, bold use of color and free and liberate brushwork, composing the “Illusional Society” series.

Chang Ling’s “Night Mountain Residence” was created in 2016. Instead of the bright red color and dark black tones that were commonly used in “Pork Belly Series” in the past, the three colors of blue, white and black depict the tranquility of night and the scent of snow. There is a higher spiritual artistic conception, which makes the viewer feel the baptism of the clear soul. The white tones of the paintings are endlessly varied, and the delicate and subtle parts of one thousand percent are carved out. The snowcovered peaks and the ups and downs of the upright mountains fully express the elegance and cold beauty that the painter wants to express.

254

HUNG Jui-lin

(Taiwanese, 1912 - 1996)

Life in Lanyu 1972, watercolor on paper, 34 x 50 cm With one seal of the artist and dated 1972 on lower right ILLUSTRATED

Lionart Magazine, Lionart Magazine, Taipei, 1997, color illustrated, p. 26 Miners Sun Hsu Yen-ju, Lionart Magazine, Taipei, 1998, color illustrated, p. 117

NT$ 110,000 - 180,000 HK$ 30,000 - 49,000 US$ 3,900 - 6,300 RMB 25,000 - 42,000

洪瑞麟 蘭嶼的生活 1972 水彩 紙本 34 x 50 cm 鈐印右下：洪 1972

255

RAN In-ting

(Taiwanese, 1903 - 1979)

Under the Sheds Ink on paper, 18 x 24 cm Signed lower right In-ting and titled Under the Sheds in Chinese This lot is to be sold with a certificate of authenticity issued by East Gallery, Taipei

NT$ 160,000 - 260,000 HK$ 44,000 - 71,000 US$ 5,600 - 9,100 RMB 37,000 - 60,000

藍蔭鼎 瓜棚清風 水墨 紙本 18 x 24 cm 簽名右下：瓜棚清風 蔭鼎 附東之畫廊開立之原作保證書

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圖錄

《雄獅美術》，雄獅美術，台北，1997，彩色圖版，頁26 《礦工，太陽．洪瑞麟》，雄獅美術，台北，1998，彩色 圖版，頁117

256

TZENG Yong-Ning (Taiwanese, b.1978)

Bloom 33 2014 Ballpoint pen on paper 107 x 75 cm Signed lower right TZENG and dated 2014

NT$ 140,000 - 240,000 HK$ 38,000 - 65,000 US$ 4,900 - 8,400 RMB 32,000 - 55,000

曾雍甯 綻放33 2014 原子筆 紙本 107 x 75 cm 簽名右下：TZENG 2014

257

HUNG Jui-lin

(Taiwanese, 1912 - 1996)

Lily 1973, oil on canvas, 33.5 x 24.5 cm With one seal of artist and dated 1973 This lot is to be sold with an artist photo

NT$ 150,000 - 260,000 HK$ 41,000 - 71,000 US$ 5,300 - 9,100 RMB 35,000 - 60,000

洪瑞麟 百合花 1973 油彩 畫布 33.5 x 24.5 cm 鈐印右下 1973 附藝術家與作品合影照片

258

Yoshio CHANG (Taiwanese, 1914 - 2016)

Still Life 1979, oil on canvas, 33 x 45.5 cm Signed lower right CHANG.Y. and dated 79 ILLUSTRATED

Chang Yi-Hsiung, Goethe Art Center, Taipei, 2011, color illustrated, p. 138

NT$ 220,000 - 320,000 HK$ 60,000 - 87,000 US$ 7,700 - 11,200 RMB 51,000 - 74,000

張義雄 靜物 1979 油彩 畫布 33 x 45.5 cm 簽名右下：CHANG.Y. 79 圖錄

《世紀傳奇－張義雄》，哥德藝術中心，台北， 2011，彩色圖版，頁138 122

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WANG Pan-youn (Taiwanese, 1912-2017)

王攀元

Figure

人體

1980 Watercolor on paper 54.3 x 55.7 cm Signed lower right p.y. in English, signed on the reverse Wang Pan-youn in Chinese and titled Figure.

With one seal of the artist

水彩 紙本

ILLUSTRATED

彩色圖版，頁45

Wang Pan-youn’s Exhibition, Taiwan Museum of Art, 1992, Taichung, color illustrated, p. 45

NT$ 550,000 - 650,000 HK$ 150,000 - 177,000 US$ 19,300 - 22,800 RMB 127,000 - 150,000

1980 54.3 x 55.7 cm 簽名鈐印右下：p.y. 簽名畫背：王攀元 人體 圖錄

《王攀元畫展》，台灣省立美術館，台中，

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Alixe FU & École Française du XIXe Siècle (FU Qingli, Ching-Fong) (Chinese-French, b. 1961)

Girl of Seine River 2013 Oil on canvas 65 x 54 cm Signed lower right Alixe Fu, École Française XIXè and dated 2013 ILLUSTRATED

Sign Me/Portraits Métissé,2015, color illustrated, p.p. 264-265 Alixe Fu's Anti-Retro Art,2020, color illustrated, p.p.10-11

NT$ 650,000 - 850,000 HK$ 177,000 - 232,000 US$ 22,800 - 29,800 RMB 150,000 - 196,000

the consciousness and subconsciousness and evoke communication among the souls in two different worlds.

They are mutually echoing, depending and conflicting with one another.

Through the transition from classic realism to postexpressionism, these paintings create now a form of gaze between souls. They revealed the “loneliness” and “inexplicability” of the anonymous authors, showing & changing their differences in identities, blurring genders and conflicting ideologies. The conflicts, anxieties and hopes within cultures are conveyed via the repair, deconstruction and reconstruction of historical images. It reflects a sort of “abruptness” in the floating life between the East & the West. An ambiguous mood results from the transcultural life and responds to the main theme of the “Anti-Retro Art” exhibition, it created situational contrasts. The non-standardized and subversive portraits express a “metaphorical image of modernity”. 旅法藝術家傅慶豊，在其法國文化部梵谷村國家畫室工作 中，「反復古」ㄧ系列重要又獨特的集成，作為他33年來

傅慶豊＆19世紀法國繪畫 塞納河女孩 2013 油彩 畫布 65 x 54 cm 簽名右下：Alixe Fu 2013 École Française XIXè 圖錄

《臉譜/Sign Me》，2015，彩色圖版，頁264-265 《傅慶豊 反復古藝術》2020，彩色圖版，頁10-11

研究東西方繪畫質感與油畫修復的首度專題展出。他在拍 賣場搶救下來彷彿自己走過久遠年代的記憶，一兩百多年 破舊不堪的古典繪畫，經過仔細漫長的修復及清理污垢後 重新裱貼在新畫布上再創作，十年來完成18幅古畫新作， 紀念我們這ㄧ刻歷史時空中的「擱淺」、「暫停」，顛覆 古早消費性的美感，因為美被魔鬼統治了。錯置的時間， 重疊的空間，喚醒潛意識與表層意識的對話，喚起兩個不 同世界的靈魂交談；互相呼應依賴也互相衝突攪和。 從經典寫實風格過渡到當下後表現主義，修復過程中舊世 紀無名作者畫作的「落寞」和「莫名」的情懷與時間烙

Alixe Fu’slatest creations. All pieces were born in his studio sponsored by the French Ministryof Culture near Paris, in Anvers-sur-Oise, where Van Gogh enjoyed spending time.

The exhibition gathers important works the artist has been curating and studying for the past 33 years for his project on Eastern & Western oil paintings and texture restoration. Alixe rescued these original works from the XVIIIe & XIXe century from auction houses the same way he would have strolled along memories from these ancient times. The dilapidated paintings were carefully cleaned, restored and reframed on new canvases to be then recreated with a modern twist.

It took the artist ten years to finalize 18 paintings for this collection, each of them commemorating the “stranded” & “paused” conditions of our current time & space and disrupting the ancient notion of consumable beauty, because today beauty is now ruled by the devil. Misplaced time & overlapping space both awaken dialogues between 124

痕，一一在靈魂的對視中；交換身份、認同差異、模糊性 別、意識對立！在圖像歷史的解構、重組、修補當中，體 現自我的文化衝突、焦慮與希望。回應自己東西漂流中的 「突兀感」，跨文化生活的心境，創造「情境反差」的反 復古主題，反制式反傳統(肖像)，表現「隱喻的現代性面 貌」。

傅慶豊&19世紀法國畫家 J. Gemgembre 《紅絲帶姑娘》1846 ~ 2020 油彩 畫布116 x 81.5 cm Alixe Fu & J. Gemgembre, Red Ribbon Girl, 1846 ~ 2020, oil on canvas, 116 x 81.5 cm

261

CHUANG Che (Taiwanese, b.1934)

Variation of Landscape 03 2001 Oil on canvas 203 x 126 cm Signed lower right CHUANG Che and dated 2001 This lot is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 550,000 - 1,100,000 HK$ 150,000 - 300,000 US$ 19,300 - 38,600 RMB 127,000 - 254,000

莊喆 雪舟破墨山水變奏 03 2001 油彩 畫布 203 x 126 cm 簽名右下：莊喆 01 附亞洲藝術中心開立之原作保證書

126

262

CHIU Ya-tsai

(Taiwanese, 1949 - 2013)

Sunflorwer 1996 Oil on canvas 130 x 97 cm Signed lower right Ya-tsai in Chinese ILLUSTRATED

Chiu Ya-Tsai, Ming Art Gallery, Taichung, 2009, color illustrated, p. 159

NT$ 950,000 - 1,800,000 HK$ 259,000 - 490,000 US$ 33,300 - 63,100 RMB 219,000 - 416,000

邱亞才 太陽花 1996 油彩 畫布 130 x 97 cm 簽名右下：亞才 圖錄

《邱亞才》，旻谷藝術，台中， 2009，彩色圖版，頁159

263

WANG Pan-youn (Taiwanese, 1912-2017)

王攀元

Sihang Warehouse

四行倉庫

1973 Oil on canvas 60.5 x 72 cm Singned lower left Wang py in English.

油彩 畫布

ILLUSTRATED

Painting by Wang Pan Youn, The Eslite Corporation,Tapei, 1991, color illustrated, p. 177

NT$ 1,300,000 - 2,200,000 HK$ 354,000 - 599,000 US$ 45,600 - 77,100 RMB 300,000 - 508,000 128

1973 60.5 x 72 cm 簽名左下：Wang py 圖錄：

《王攀元畫集》， 誠品股份有限公 司，台北，1991，彩色圖版，頁177

264

Michell HWANG

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

黃銘哲

King’s Castle

國王的城堡

1991 Oil on canvas 182 x 182 cm Signed lower right Che in Chinese and dated 1991 Titled on the reverse King’s Castle in Chinese and dated 1991

油彩 畫布

NT$ 1,300,000 - 2,200,000 HK$ 354,000 - 599,000 US$ 45,600 - 77,100 RMB 300,000 - 508,000

1991 182 x 182 cm 簽名右下：哲1991 簽名畫背：國王的城堡 1991

265

LIEN Chien-hsing (Taiwanese, b. 1962)

Wilderness Picnic 2004 Oil on canvas 97 x 194.5 cm Signed lower right LIEN Chien-hsing in Chinese and dated 2004.

Signed on the reverse LIEN Chien-hsing in Chinese, titled Wilderness Picnic and dated 2004, inscribed 120M

NT$ 1,300,000 - 2,200,000 HK$ 354,000 - 599,000 US$ 45,600 - 77,100 RMB 300,000 - 508,000

連建興 荒野的野餐 2004 油彩 畫布 97 x 194.5 cm 簽名右下：連建興 2004. 簽名畫背：120 M 2004 連建興 荒野的野餐 (原)

130

266

CHIU Ya-tsai

(Taiwanese, 1949 - 2013)

Meditation Oil on canvas 130 x 97 cm Signed lower right Chiu Ya-tsai ILLUSTRATED

Chiu Ya-Tsai, Goethe Art Center, Taichung, 2013, color illustrated, p. 94

NT$ 1,500,000 - 2,600,000 HK$ 409,000 - 708,000 US$ 52,600 - 91,100 RMB 346,000 - 600,000

邱亞才 沉思 油彩 畫布 130 x 97 cm 簽名右下：邱亞才 圖錄：

《邱亞才》，哥德藝術中心，台中，2013，彩色圖版，頁94

132

267

CHUANG Che (Taiwanese, b.1934)

Untitled 1 1974 Oil and acrylic on canvas 127 x 167 cm Signed lower right Chung Che in Chinese and dated 1974 ILLUSTRATED

CHUANG CHE, Retrospective Exhibition, Taipei Fine Arts Museum,Taipei, 2015, color illustrated, p. 260 This lot is to be sold with a certificate of authenticity issued

by David Findlay JR Gallery, New York

NT$ 1,600,000 - 2,400,000 HK$ 436,000 - 654,000 US$ 56,100 - 84,100 RMB 370,000 - 554,000

莊喆 無題 1 1974 油彩 壓克力 畫布 127 x 167 cm 簽名右下：莊喆 74 圖錄

《莊喆回顧展：鴻濛與酣暢》，臺北市立美術館，台北， 2015，彩色圖版，頁260 附 David Findlay JR Gallery 開立之原作保證書

134

268

YANG Chihung (Taiwanese, b. 1947)

Crucifixion 1987-1988 Oil on canvas 249 x 198 cm Signed on the reverse Chihung Yang, titled Crucifixion and dated 1987-88

NT$ 1,500,000 - 2,600,000 HK$ 409,000 - 708,000 US$ 52,600 - 91,100 RMB 346,000 - 600,000

楊識宏 磔刑圖 1987-1988 油彩 畫布 249 x 198 cm 簽名畫背：Chihung Yang Crucifixion 1987-88

136

269

David DIAO (DIAO Deqian) (Chinese-American, b. 1943)

刁德謙

Formal Painting

形式主義繪畫

1990 Acrylic & vinyl on canvas 198 x 198 cm Signed on the reverse David Diao, titled Formal Painting, inscribed 78’’x 78’’ Acrylic & vinyl on canvas and dated 1990

壓克力 畫布

NT$ 1,400,000 - 2,400,000 HK$ 381,000 - 654,000 US$ 49,100 - 84,100 RMB 323,000 - 554,000 138

1990 198 x 198 cm 簽名畫背：David Diao 1990 Formal Painting 78''x 78'' Acrylic & vinyl on canvas

270

HUANG Ming-chang (Taiwanese, b. 1952)

黃銘昌

Golden Fields with Sunset No. 3

晚霞黃昏水稻田之三

1991-1992 Oil on canvas 80 x 116 cm Signed lower left Huang Ming-chang in Chinese, Huang m. c. in English and dated 1991-1992 Signed on the reverse Huang Ming-chang in Chinese, Huang m. c. in English, titled Golden Fields with Sunset No. 3 and dated 1991-92

油彩 畫布

NT$ 1,100,000 - 2,200,000 HK$ 300,000 - 599,000 US$ 38,600 - 77,100 RMB 254,000 - 508,000

1991-1992 80 x 116 cm 簽名左下：黃銘昌 '91-92 Huang m. c. 簽名畫背：黃銘昌 'Huang m. c. 晚霞黃昏水稻田之三 1991-92

271

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

Energy Source – 1 2012 Acylic on canvas 200 x 200 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled Energy Source – 1 200 x 200 cm, acrylic on canvas and dated 2012 This lot is to be sold with a certificate of authenticity signed by the artist.

NT$ 1,100,000 - 2,200,000 HK$ 300,000 - 599,000 US$ 38,600 - 77,100 RMB 254,000 - 508,000

蕭勤 能量源 – 1 2012 壓克力 畫布 200 x 200 cm 簽名畫背：Hsiao 勤 2012 能量源-1 200 x 200 公分 附藝術家親筆簽名之原作保證書

140

272

YANG Chihung (Taiwanese, b. 1947)

楊識宏

Blue Undercurrent

藍色底流

2002 Oil on canvas 162 x 112 cm Signed on the reverse Chihung Yang in English, titled Blue Undercurrent and dated 2002

油彩 畫布

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

NT$ 550,000 - 950,000 HK$ 150,000 - 259,000 US$ 19,300 - 33,300 RMB 127,000 - 219,000 142

2002 162 x 112 cm 簽名畫背： Chihung Yang Blue Undercurrent © 2002 附亞洲藝術中心開立之原作保證書

273

LI Lei

(Chinese, b. 1965)

李磊

Tipsy Lake under Spring Rain

醉湖之三分春雨七分閒情

2006 Mixed media on canvas 180 x 150 cm Signed upper right Li lei in English Signed on the reverse Tipsy Lake Under Spring Rain in Chinese, Li Lei painted in the studio on Jin Yu Road in spring, 2006. Published: 2006, World of Fine Arts-Album of Li Lei, Fong San

綜合媒材 畫布

ILLUSTRATED

World of Fine Arts - Album of Li Lei, Fong San, 2006.

Art in Shanghai, Shanghai Pictorial, Shanghai, 2006, color illustrated, p. 23

NT$ 500,000 - 600,000 HK$ 136,000 - 163,000 US$ 17,500 - 21,000 RMB 115,000 - 139,000

2006 180 x 150 cm 簽名右上：Li Lei. 簽名畫背：醉湖之三分春雨七分閒情 李磊 2006年春畫於金雨路畫室 出版：2006年《美術天地──李磊特集》封三 圖錄

《美術天地──李磊特集》，封三，2006 《上海美術》，上海畫報出版社，上海， 2006，彩色圖版，頁23

274

CHENG Tsai-tung

(ZHENG Zaidong) (Taiwanese, b. 1953)

Write About Xie Xuanzi’s Deceased 2004 Oil on canvas 161 x 130 cm Signed lower left Chenz Tsai- tung in Chinese and dated 2004

NT$ 300,000 - 400,000 HK$ 82,000 - 109,000 US$ 10,500 - 14,000 RMB 69,000 - 92,000 144

鄭在東 寫謝宣城懷故人 2004 油彩 畫布 161 x 130 cm 簽名左下：鄭在東2004

275

CHENG Tsai-tung

(ZHENG Zaidong) (Taiwanese, b. 1953)

Landscape Oil on canvas 130.5 x 93 cm

NT$ 190,000 - 280,000 HK$ 52,000 - 76,000 US$ 6,700 - 9,800 RMB 44,000 - 65,000

鄭在東 風景 油彩 畫布 130.5 x 93 cm

276

Max LIU

(Taiwanese, 1912 - 2002)

劉其偉

Untitled

無題

1986 Mixed media on canvas mounted on paper 41 x 29.5 cm Signed lower right Max and dated 19/8/’86

綜合媒材 畫布裱於紙本

NT$ 110,000 - 220,000 HK$ 30,000 - 60,000 US$ 3,900 - 7,700 RMB 25,000 - 51,000 146

1986 41 x 29.5 cm 簽名右下：Max 19/8/'86

277

Yoshio CHANG (Taiwanese, 1914 - 2016)

Lakeside Woods; Street Scene (a set of 2) 1981; 1990 Oil on canvas 13.5 x 17.5 cm 14.5 x 18.5 cm Signed lower right CHANG.Y. in English and dated ‘81 Signed lower right CHANG.Y. in English and dated ‘90 These paintings are to be sold with certificates of authenticity issued

by Impressions Art Gallery, Taipei.

NT$ 110,000 - 180,000 HK$ 30,000 - 49,000 US$ 3,900 - 6,300 RMB 25,000 - 42,000

張義雄 林間湖畔；街景（兩件一組） 1981; 1990 油彩 畫布 13.5 x 17.5 cm 14.5 x 18.5 cm 簽名右下：'81. CHANG.Y. 簽名右下：CHANG.Y. '90 附印象藝術中心開立之原作保證書

278

CHANG Wan-chuan (Taiwanese, 1909 - 2003)

張萬傳

Pomfret

鯧魚

1970 Oil on cardbard 26 x 39 cm Signed upper right CHANG in English, Wan in Chinese

油彩 紙板

ILLUSTRATED

《哥德傳世經典－張萬傳》，哥德藝術中心，

Chang Wan-chuan, Goethe Art Center, Taichung, 2003, color illustrated, p. 125

台北，2003，彩色圖版，頁125

NT$ 100,000 - 200,000 HK$ 27,000 - 54,000 US$ 3,500 - 7,000 RMB 23,000 - 46,000

148

1970 26 x 39 cm 簽名右上：CHANG 万 圖錄

279

ZAO Wou-ki

(Chinese-French, 1920 - 2013)

趙無極

Empreintes (a set of 6)

足跡(六件一組)

2003 Screenprints, edition no. 10/55 41 x 38.5 cm Signed lower right Wou-ki in Chinese and ZAO in French and dated 2003; numbered lower left 10/55

絲網版畫 10/55

NT$ 110,000 - 220,000 HK$ 30,000 - 60,000 US$ 3,900 - 7,700 RMB 25,000 - 51,000

2003 41 x 38.5 cm 簽名右下：無極 ZAO 2003. 版次左下：10/55

280

ZAO Wou-ki

(Chinese-French, 1920 - 2013)

趙無極

The Duck Pond

池塘裡的鴨群

1951 Etching, edition no. 20/50 24.6 x 31.7 cm Signed lower right Wou-ki in Chinese and ZAO in French; numbered lower left 20/50

蝕刻版畫 20/50

ILLUSTRATED

Zao Wou-Ki The Graphic Work: A Catalogue Raisonné 1937-1995, Edition Heeds & Moestrup, 1995, Copenhagen, no. 62, p. 47

NT$ 130,000 - 220,000 HK$ 35,000 - 60,000 US$ 4,600 - 7,700 RMB 30,000 - 51,000 150

1951 24.6 x 31.7 cm 簽名右下：無極 ZAO 版次左下：20/50 圖錄

喬詹．阿格魯普，《趙無極版畫集19371995》，黑德與莫斯特魯普出版社，哥本哈 根，1995，彩色圖版，編號62，頁47

281

ZAO Wou-ki

(Chinese-French, 1920 - 2013)

趙無極

The Stairs

樓梯

1951 Etching, edition no. 12/50 31.7 x 24.6 cm Signed lower right Wou-ki in Chinese and ZAO in French; numbered lower left 12/50

蝕刻版畫 12/50

ILLUSTRATED

Zao Wou-Ki The Graphic Work: A Catalogue Raisonné 1937-1995, Edition Heeds & Moestrup, 1995, Copenhagen, no. 66 p. 50

NT$ 130,000 - 220,000 HK$ 35,000 - 60,000 US$ 4,600 - 7,700 RMB 30,000 - 51,000

1951 31.7 x 24.6 cm 簽名右下：無極 ZAO 版次左下：12/50 圖錄

喬詹．阿格魯普，《趙無極版畫集19371995》，黑德與莫斯特魯普出版社，哥本哈根， 1995，彩色圖版，編號66，頁50

282

CHU Teh-chun

(Chinese-French, 1920 - 2014

Untitled Lithograph, edition no. E.A., 73 x 105 cm Signed lower right CHU TEH-CHUN in Chinese and English, numbered lower left E.A.

NT$ 90,000 - 180,000 HK$ 25,000 - 49,000 US$ 3,200 - 6,300 RMB 21,000 - 42,000

朱德群 無題 石版畫 E.A. 73 x 105 cm 簽名右下：朱德群 CHU TEH -CHUN 版次左下：E.A.

283

CHU Teh-chun

(Chinese-French, 1920 - 2014

Untitled Lithograph, edition no.29/80, 75 x 53.5 cm Signed lower right CHU TEH-CHUN in Chinese and English, numbered lower left 29/80

NT$ 90,000 - 180,000 HK$ 25,000 - 49,000 US$ 3,200 - 6,300 RMB 21,000 - 42,000

朱德群 無題 石版畫 29/80 75 x 53.5 cm 簽名右下：朱德群 CHU TEH -CHUN 版次左下：29/80

152

284

ZAO Wou-ki

(Chinese-French, 1920 - 2013)

趙無極

Untitled

無題

1989 Etching, edition no. 36/99, 41 x 63 cm Signed lower right Wou-ki in Chinese and ZAO in French and dated 89; numbered lower left 36/99

蝕刻版畫 36/99

ILLUSTRATED

Zao Wou-Ki The Graphic Work: A Catalogue Raisonné 1937-1995, Edition Heeds & Moestrup, 1995, Copenhagen, no. 342, p. 191

NT$ 80,000 - 160,000 HK$ 22,000 - 44,000 US$ 2,800 - 5,600 RMB 18,000 - 37,000

1989 41 x 63 cm 簽名右下：無極 ZAO 89 版次左下：36/99 圖錄

喬詹．阿格魯普，《趙無極版畫集19371995》，黑德與莫斯特魯普出版社，哥本哈 根，1995，彩色圖版，編號342，頁191

285

Liu Keng-I

(Taiwanese, b. 1938)

Bridge of Yaco Seashore 1998, Pastel on paper, 55.5 x 74.5 cm Signed lower left Keng-I in Chinese and dated 1998.6

NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 14,000 - 28,000

劉耿一 啞口海墘的橋 1998 粉彩 紙本 55.5 x 74.5 cm 簽名左下：耿一 1998. 6

286

HSIEH Hsiao-De (Taiwanese, b.1940)

Landscape 2015, Watercolor on paper, 79 x 110 cm Signed lower left Hsieh Hsiao-De in Chinese and dated 2015

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

謝孝德 風景 2015 水彩 紙本 79 x 110 cm 簽名左下： 謝孝德 2015

154

287

HUNG Jui-lin

(Taiwanese, 1912 - 1996)

洪瑞麟

Miners in the Pit

礦工坑內

1955 Ink on paper 27 x 35 cm With one seal of the artist and dated 1955

水墨 紙本

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

NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,800 - 3,500 RMB 12,000 - 23,000

1955 27 x 35 cm 鈐印右上：洪 1955 附印象畫廊開立之原作保證書

288

Poren Huang (Taiwanese, b. 1970)

黃柏仁

The Dog’s Notes - Home

狗札記系列─回家

2005 Bronze, edition no. 7/30 15 (L) × 40 (W) × 22 (H) cm Engraved on the back of the leg PR , numbered 30-7 and initialed. PR on the base

銅 7/30

EXHIBITED

The Artistic Conversation of “Love Dogs, Adore Dogs” , Powen.

Gallery, Taipei, May 15 - June 12, 2014 (different edition). The Dog’s Note - Huang Po-Ren Solo Exhibition , Williamsburg Art. & Historical Center, New York, November 7 - December 6, 2015. (different edition) ILLUSTRATED

Huang Po-Ren Sculpture , Taichung City Cultural Center, Taichung, 2005, color illustrated, p. 52 (study version).

The Dog’s Notes: Poren Huang , Powen Gallery, Taipei, 2014, color. illustrated, pp. 12, 32, 35 (different edition)

NT$ 90,000 - 180,000 HK$ 25,000 - 49,000 US$ 3,200 - 6,300 RMB 21,000 - 42,000 156

2005 15(長)x 40(寬)x 22(高)cm 簽名底部：30–7. PR 簽名雕刻後側：PR 展覽

「愛狗敬狗的藝術對話 – 狗札記．黃柏仁個 展」，紅野畫廊，台北，展期自2014年5月15至 6月12日（不同版次）. 「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 （不同版次） 圖錄

《黃柏仁雕塑》，台中縣立文化中心，台中， 2005，彩色圖版，頁52（習作） 《狗札記/黃柏仁》，紅野畫廊，台北，2014， 彩色圖版，頁12、32、35（不同版次）

289

LY

(Japanese)

LY

Into the Woods

黑森林 2019

2019 Oil on canvas 27.5 x 27.5 cm Signed lower right LY. Signed on the reverse LY and dated 2019

油彩 畫布

PROVENANCE:

Acquired directly from the artist by the present owner

NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,500 - 4,900 RMB 16,000 - 32,000

27.5 x 27.5 cm 簽名右下：LY. 簽名畫背：LY 2019 來源：

現藏者購自藝術家本人

DAMIEN HIRST 達明．赫斯特在1965年出生於英國布里斯托，1986年考入倫 敦大學金匠學院修讀藝術學士學位。隨即立即嶄露頭角，他於 1988年在倫敦構思並策劃了「凍結」（Freeze），這是他在 倫敦的一個未使用的倉庫中舉辦展覽，聯合展出他與其他同學 的作品。自那場舉足輕重的展覽以來，赫斯特已成為這一代最 有影響力的藝術家之一。 此作品應藝術家於 2009 年 4 月 25 至 26 日在基輔賓須克藝術中 心舉辦之「Requiem」展覽而作。「Requiem」包含赫斯特在 1990年至2008年之間創作的許多重要作品，並代表了藝術家 最標誌性的陳述和主題。

Damien Hirst was born in Bristol, England in 1965, and was admitted to the Goldsmiths College, University of London in 1986 to study Bachelor of Fine Art degree. Soon after becoming the upcoming emerging artist, he conceived and organised the exhibition “Freeze” in 1988, which took place in a disused London Port Authority administrative block in London’s Docklands. It was a joint exhibition with his classmates, ever since this pivotal exhibition, Hirst has then become one of the most influential artists of his generation.

This work is created with the artist's “Requiem” exhibition held at the Victor Pinchuk Art Center in Kiev from 25-26th April, 2009. This exhibition displayed many of his important works created in between 1990 and 2008, and represented the artist's most iconic statement and theme.

158

290

Damien Hirst (British, b. 1965)

Spin Painting-Circle 2009 Acrylic & metallic paint on paper 52 cm (diameter) Hand signed on the reverse Damien Hirst Painted signature Damien Hirst, stamped with the artist’s copyright and marked with the studio’s blind stamp on the reverse

達明．赫斯特 圓形旋轉畫 2009 壓克力 金屬塗料 紙本 52 cm (直徑) 親簽畫背：Damien Hirst 印刷簽名畫背：Damien Hirst © Damien Hirst 藝術家工作室壓印 來源

PROVENANCE:

賓須克藝術中心，基輔

Pinchuk Art Centre, Kiev Acquired from the above by the present owner

現藏者購自上述來源

NT$ 110,000 - 220,000 HK$ 30,000 - 60,000 US$ 3,900 - 7,700 RMB 25,000 - 51,000

291

Damien Hirst (British, b. 1965)

達明．赫斯特

Spin Painting-Butterfly

蝴蝶旋轉畫

2009 Acrylic & metallic paint on paper 52 x 69 cm Painted signature Damien Hirst, stamped with the artist’s copyright and marked with the studio’s blind stamp on the reverse

壓克力 金屬塗料 紙本

PROVENANCE

Pinchuk Art Centre, Kiev Acquired from the above by the present owner

NT$ 100,000 - 200,000 HK$ 27,000 - 54,000 US$ 3,500 - 7,000 RMB 23,000 - 46,000 160

2009 52 x 69 cm 印刷簽名畫背：Damien Hirst © Damien Hirst 藝術家工作室壓印 來源

賓須克藝術中心，基輔 現藏者購自上述來源

292

Damien Hirst (British, b. 1965)

達明．赫斯特

Spin Painting-Heart

愛心旋轉畫

2009 Acrylic & metallic paint on paper 52 x 52 cm Painted signature Damien Hirst, stamped with the artist’s copyright and marked with the studio’s blind stamp on the reverse

壓克力 金屬塗料 紙本

PROVENANCE

Pinchuk Art Centre, Kiev Acquired from the above by the present owner

NT$ 80,000 - 160,000 HK$ 22,000 - 44,000 US$ 2,800 - 5,600 RMB 18,000 - 37,000

2009 52 x 52 cm 印刷簽名畫背：Damien Hirst © Damien Hirst 藝術家工作室壓印 來源

賓須克藝術中心，基輔 現藏者購自上述來源

293

Damien HIRST (British, b. 1965)

Butterfly Rainbow ; Butterfly Heart (a set of 2) 2020 Laminated Giclée print on aluminium composite panel, edition no. 624/4150 ; 1181/3510 24.1 x 50 cm; 35 x 36.4 cm Painted signature on the reverse Damien Hirst.

NT$ 80,000 - 140,000 HK$ 22,000 - 38,000 US$ 2,800 - 4,900 RMB 18,000 - 32,000 162

達明．赫斯特 蝴蝶彩虹 ; 蝴蝶愛心(兩件一組) 2020 數位版畫 鋁板 624/4150 ; 1181/3510 24.1 x 50 cm; 35 x 36.4 cm 印刷簽名畫背：Damien Hirst

294

Chiharu SHIOTA (Japanese, b.1972)

塩田千春

Red Dress

紅洋裝

2016 Oil pastek and thread on paper 42 x 56 cm Signed lower right CS.

油畫棒 線 紙本

PROVENANCE:

Blain Southern 藝廊，倫敦

Blain Southern Gallery, London

NT$ 260,000 - 360,000 HK$ 71,000 - 98,000 US$ 9,100 - 12,600 RMB 60,000 - 83,000

2016 42 x 56 cm 簽名右下：CS. 來源：

295

MR. BRAINWASH

(Thierry Guetta) (French, b.1966)

洗腦先生（泰瑞．庫塔）

Balloon Girl

氣球女孩

2017 Mixed Media on paper 57 x 57 cm Signed on the reverse Mr. Brainwash, titled Balloon Girl and dated 2017

綜合媒材 紙本

This lot is to be sold with a certificate of authenticity signed by the artist and issued by Denis Bloch Fine Art.

NT$ 280,000 - 360,000 HK$ 76,000 - 98,000 US$ 9,800 - 12,600 RMB 65,000 - 83,000

164

2017 57 x 57 cm 簽名畫背：Mr. Brainwash Balloon Girl 2017 附藝術家簽名及丹尼斯·布洛赫藝廊開立之原作 保證書

296

Mr Doodle (British, b. 1994)

Untiled

塗鴉先生

Marker on paper 52 x 38 cm Signed lower right Mr Doodle!

麥克筆 紙本

PROVENANCE:

來源：

Private collection, Asia

私人收藏，亞洲

NT$ 90,000 - 180,000 HK$ 25,000 - 49,000 US$ 3,200 - 6,300 RMB 21,000 - 42,000

無題 52 x 38 cm 簽名右下：Mr Doodle!

297

Mr Doodle (British, b. 1994)

塗鴉先生

Chunky Chips

馬鈴薯條

2018 Acrylic on canvas 30 x 30.5 cm Signed lower right MR DOODLE!

壓克力 畫布

PROVENANCE:

現藏者購自藝術家本人

Acquired directly from the artist by the present owner

NT$ 320,000 - 480,000 HK$ 87,000 - 131,000 US$ 11,200 - 16,800 RMB 74,000 - 111,000 166

2018 30.5 x 30 cm 簽名右下：MR DOODLE! 來源：

298

Mr Doodle (British, b. 1994)

Hearts Purple #3

塗鴉先生 紫色的心 #3 2019

2019 Acylic on canvas 50.5 x 50.5 cm Signed on the reverse MR DOODLE! and dated 2019

壓克力 畫布

PROVENANCE:

Anzai Art Office, Inc, 東京

Anzai Art Office, Inc, Tokyo

NT$ 460,000 - 650,000 HK$ 125,000 - 177,000 US$ 16,100 - 22,800 RMB 106,000 - 150,000

50.5 x 50.5 cm 簽名畫背：MR DOODLE! 2019 來源：

299

David CHAN (Singapore, b. 1979)

陳建偉

Genesis: Are You Game for Competition

你是被用來競爭的遊戲嗎？

2005 Oil on canvas 140 x 200 cm Signed on the reverse David Chan, titled Are you game for Competition, inscribed 140 x 200 cm Oil on canvas in English

140 x 200 cm

2005 油彩 畫布 簽名畫背：David Chan Are you game for Competition 140 x 200 cm Oil on canvas

NT$ 550,000 - 650,000 HK$ 150,000 - 177,000 US$ 19,300 - 22,800 RMB 127,000 - 150,000

新加坡知名藝術家陳建偉作品在明亮單色背景基礎下，以

In this painting there are hunting dogs, greyhounds

寫實逼真的動物形象描繪，結合人類行為，體現全球生物

and bloodhounds on the right hand side, while African

面對當今生態與社會變遷後所衍生的種種議題。

cheetahs with clown hats on the opposite left hand

這幅畫裡有獵犬、灰獵犬、尋血獵犬（右方）帶有小丑帽 子的非洲獵豹（左方），這是描述獵犬與獵豹以及狩獵文 化之間的關係，因 文化背景的關係，西方人和歐洲人對 這這樣的主題有著更緊密的認同感與共鳴。也藉由這樣的 主題延伸出人際、社會、工作等議題的關係表現。 像大多數品種一樣，狩獵犬是被專門培育的，以滿足某些 特定的需要和需求。狩獵犬們在畫面中被選擇視為某一種 象徵性，代表的是難以獲得的寵物或為狩獵的標的物。在 以前歐洲貴族和一些皇族們養育這些獵犬是為了遊戲，而 獵豹嘴上咬的歐洲野雞就是這些獵犬被訓練，成為在競賽 中捕獲的不可或缺的獵物之一。 因此，這幅畫希望能啟發您思考您自身位於社會中的角 色，主雇之間的關係，掌握發球權，以及對事物的靈敏和 掠奪，在工作上的效率和競爭，在未來執行和掌握自己的 生活。 The works of the well-known Singaporean artist David Chan are based on a bright monochrome background, depicting realistic and lifelike animal images, combined with human behavior, and embodying various issues derived from living creatures currently facing ecological and social changes globally.

168

side, which describe the relationship between hunting dogs and cheetahs among the hunting culture. Due to the cultural background, both Westerners and Europeans have a closer sense of identity and therefore resonate with such themes. Through such themes, the interrelationship between issues as personal, social and work also extends.

Like most breeds, hunting dogs are especially bred to meet specific needs and demands. The hunting dogs are chosen as a certain kind of symbolism in this painting, representing pets that are difficult to possess or being the target of hunting. In the past, European nobles and royal families raised hunting dogs for games, and the European pheasant biting in the cheetah’s mouth depicted in the painting, was indeed one of the indispensable prey caught in the competition that the hunting dogs were trained for.

Hence, this painting hopes to inspire the viewers to think about their own roles in the society, the relationship between employer and employee, who can master the serve, also the sensitivity and looting of things, the efficiency and competition at work, and finally the execution and mastermind one’s own life in the future.

300

CHOI So Young (Korean, b. 1980)

崔素榮

Soho Street, Hong Kong

香港蘇豪街

2013 Denim on canvas 45.5 x 53 cm With one seal of artist and dated 2013 Signed, titled, inscribed 45.5 x 53 cm

牛仔布 畫布

NT$ 800,000 - 900,000 HK$ 218,000 - 245,000 US$ 28,000 - 31,500 RMB 185,000 - 208,000

170

2013 45.5 x 53 cm 鈐印年代右下：2013 簽名畫背

301

Edgar PLANS (Spanish, 1977)

艾德加．普連斯

Be Careful Can Fall You an Artist!

小心藝術家從天而降！

2018 Acrylic on canvas 55 x 46 cm Signed lower center PLANS

壓克力 畫布

PROVENANCE

愛乃理畫廊，里斯本

Ainori Contemporary Art Gallery, Lisbon

NT$ 900,000 - 1,500,000 HK$ 245,000 - 409,000 US$ 31,500 - 52,600 RMB 208,000 - 346,000

2018 55 x 46 cm 簽名中下：PLANS 來源

302

Yoshitomo NARA (Japanese, b. 1959)

奈良美智

Summer Painting

夏日繪畫

1997 Colored pencil on paper 29.7 x 21 cm

彩色鉛筆 紙本

ILLUSTRATED

《奈良美智作品全集第二冊》，編年出版社，

Yoshitomo Nara: The Complete Works Volume2, Chronicle Books LLC, San Francisco, 2011,color illustrated, no. D-1997-069, p. 107

舊金山，2011，彩色圖版，編號 D-1997-

NT$ 850,000 - 1,400,000 HK$ 232,000 - 381,000 US$ 29,800 - 49,100 RMB 196,000 - 323,000 172

1997 29.7 x 21 cm 圖錄

069，頁107

303

Yoshitomo NARA (Japanese, b. 1959)

奈良美智

Don’t Wanna Cry

不想哭

2010 Japanese woodcut, edition no. 46/50 42 x 29.5 cm Signed lower right Na in Japanese, numbered lower left 46/50 and dated 2010

木刻版畫 46/50

ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume1, Chronicle Books LLC, San Francisco, 2011,color illustrated, no. E-2010-003, p. 315

NT$ 850,000 - 1,000,000 HK$ 232,000 - 272,000 US$ 29,800 - 35,100 RMB 196,000 - 231,000

2010 42 x 29.5 cm 簽名右下：な. 版次左下：46/50 2010 圖錄

《奈良美智作品全集第一冊》，編年出版 社，舊金山，2011，彩色圖版，編號 E-2010003，頁315

304

Takashi MURAKAMI & MADSAKI

村上隆 & MADSAKI

ComplexCon Flower (white, red, black) (a set of 9)

2017

(Japanese, b. 1962)

2017 Screenprint, edition no. 57/100 47 x 38 cm (each) Signed lower right M, dated 2017 and numbered, 57/100 (each)

NT$ 460,000 - 650,000 HK$ 125,000 - 177,000 US$ 16,100 - 22,800 RMB 106,000 - 150,000 174

花 ComplexCon (白、紅、黑) (九件一組) 絲網版畫 57/100 47 x 38 cm (每件) 簽名右下： M 2017 57/100 (每件)

305

Yayoi KUSAMA (Japanese, b. 1929)

Thinking Pumpkin 1993 Screenprint, edition no. 105/120 75.8 x 62.3 cm Signed lower right Yayoi Kusama in English, titled Thinking Pumpkin in Japanese, numbered lower left 105/120 and dated 1993

草間彌生 思考的南瓜 1993 版畫 105/120 75.8 x 62.3 cm 簽名下方：Yayoi Kusama 考えるかぼ ちゃ 1993 105/120 圖錄

ILLUSTRATED

《草間彌生全版畫1979-2017》，

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017, color illustrated, p. 113, no. 182

阿部出版株式會社，東京，2017，

The authenticity of this lot is confirmed by Yayoi Kusama Inc.

草間彌生工作室已確認本件拍品無誤

NT$ 1,100,000 - 2,000,000 HK$ 300,000 - 545,000 US$ 38,600 - 70,100 RMB 254,000 - 462,000

彩色圖版，頁113，編號182

306

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin MT 1999 Screenprint, edition of 110 P.P. 59 x 50 cm Signed lower right Yayoi Kusama, titled Pumpkin MT in Japanese, numbered lower left P.P. and dated 1999

草間彌生 南瓜 MT 1999 版畫 限量110 P.P. 59 x 50 cm 簽名下方：Yayoi Kusama かぼちゃ MT 1999 P.P. 圖錄：

ILLUSTRATED:

《草間彌生全版畫1979-2017》，阿部出

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017, color illustrated, p. 153, no. 257

版株式會社，東京，2017，彩色圖版，

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

附朝代畫廊開立之原作保證書

Dynasty Art Gallery, Taipei

NT$ 1,100,000 - 2,000,000 HK$ 300,000 - 545,000 US$ 38,600 - 70,100 RMB 254,000 - 462,000 176

頁153，編號257

307

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin (white T) 1992 Screenprint, edition no. 89/120 83.5 x 70.5 cm Signed lower right Yayoi Kusama, titled Pumpkin (white T) in Japanese, numbered lower left 89/120 and dated 1992

草間彌生 南瓜 (白 T) 1992 版畫 89/120 83.5 x 70.5 cm 簽名下方：Yayoi Kusama かぼちゃ(白)

PROVECE:

1992 89/120

DerHorng Art Gallery, Tainan

來源：

ILLUSTRATED:

德鴻畫廊，台南

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017, color illustrated, p. 98, no. 149

圖錄：

NT$ 1,100,000 - 2,000,000 HK$ 300,000 - 545,000 US$ 38,600 - 70,100 RMB 254,000 - 462,000

《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98， 編號149

308

Yoshitomo NARA (Japanese, b. 1959)

Dream Time; Just a Little Bit; Fight (a set of 3) 2013; 2015 Japanese woodcut, edition no. 25/25 41.9 x 29.2 cm; 41.9 x 29.8 cm; 41.9 x 29.2 cm Signed lower Na in Japanese, dated 2015 and number 25/25 (Dream Time; Fight) Signed upper Na in Japanese and number 25/25 (Just a Little Bit; Fight) PROVENANCE:

BLUM & POE, Los Angeles Acquired directly from the above

NT$ 3,000,000 - 4,000,000 HK$ 817,000 - 1,090,000 US$ 105,200 - 140,200 RMB 693,000 - 924,000

奈良美智 夢想時間；只是一點點；搏鬥（三件一組） 2013; 2015 木刻版畫 25/25 41.9 x 29.8 cm; 41.9 x 29.2 cm; 41.9 x 29.2 cm 簽名下 ：25/25 2015 な（夢想時間 & 搏鬥） 簽名上 ：25/25 な（只是一點點） 來源

BLUM & POE，洛杉磯 現有收藏者購自上述來源

178

309

Moe NAKAMURA (Japanese, b. 1988)

Goat Ghoast 2017 Wood, oil paint 21.5(L) x 21.5(W) x 69(H) cm Signed on the bottom Moe and dated 2017 ILLUSTRATED

Moe Nakamura “Growth”, GALLERY TSUBAKI Co., Ltd, Tokyo, 2020, color illustrated, p. 27 This lot is to be sold with a certificate of authenticity issued

by Gallery TSUBAKI, Tokyo

NT$ 3,800,000 - 5,000,000 HK$ 1,035,000 - 1,362,000 US$ 133,200 - 175,300 RMB 878,000 - 1,155,000

中村萌 羊鬼鬼 2017 木雕 油彩 21.5(長) x 21.5(寬) x 69(高) cm 簽名底部：Moe 2017 圖錄

《中村萌－生長》，椿畫廊，東京，2020，彩色圖版，頁27 附樁畫廊開立之原作保證書

180

310

Satoru KOIZUMI (Japanese, b. 1983)

Animal Human - Arabian Oryx 2015 Wood, resin, pigment 23(L) x 26(W) x 102.5(H) cm Signed on the base KOIZUMI This lot is to be sold with a certificate of authenticity re-issued by Aki Gallery, Tapai

NT$ 2,600,000 - 3,600,000 HK$ 708,000 - 981,000 US$ 91,100 - 126,200 RMB 600,000 - 831,000

小泉悟 動物人 - 羚羊 2015 樟木 樹脂 顏料 23(長) x 26(寬) x 102.5(高) cm 簽名底座：KOIZUMI 附也趣藝廊開立之作品保證書（補發）

182

311

Jeff KOONS

傑夫．昆斯

(American, b. 1955)

Diamond (Red)

鑽石(紅)

2020 Porcelain, edition no. 315/599 31.8(L) x 39.3(W) x 32(H) cm Stamped on the bottom JEFF KOONS, numbered 315/599 and dated 2020

精瓷 315/599

2020 31.8(長) x 39.3(寬) x 32(高) cm 印刷簽名：JEFF KOONS 315/599 '20 附法國柏圖瓷器開立之作品保證書

This lot is to be sold with a certificate of authenticity issued by Bernardaud Group, France.

NT$ 650,000 - 950,000 HK$ 177,000 - 259,000 US$ 22,800 - 33,300 RMB 150,000 - 219,000 「紅鑽石」來自於1994年傑夫昆斯經典知名的「慶典」 系列，包含標誌性的氣球狗，氣球動物與懸吊的心等， 皆創下震驚世界的當代藝術拍賣價格。「垂懸的心」與 「鑽石」(1995-2006)，於紐約夜拍雙雙創下紀錄，拍出 2356萬美元與1180萬美元；1986年創作「平庸」系列 中於1986年所創作的不鏽鋼雕塑「兔子」，以9110萬 美金再次創下在世藝術家最高價並維持至今。 昆斯知名的鏡面反射處理，從1970年代後期的充氣系列 的現成物鏡子開始，常見於其全系列創作中，也出現於 紅鑽石的五十二道精緻的切割面上，通過高反射性且細 膩光亮的表面處理，不僅與周圍環境互動，而且觀看者 能在各種獨特的環境中，不斷變化和發展，反映人影讓 觀者與藝術作品結合，在欣賞的同時觸發不同觀感，看 著象徵幸福的紅鑽石，重新用美好的視角，挖掘內心不 同的世界。

照片版權 © Jeff Koons © Jeff Koons, Photo Courtesy the artist

184

"Red Diamond" comes from the famous "Celebration" series by Jeff Koons in 1994, which also includes the iconic Balloon Dog, Balloon Animals and Hanging Heart, all of which set a world-shocking auction price for contemporary art. "Hanging Heart" and "Diamond" (1995-2006), reached the selling record of US$23.56 million and US$11.8 million respectively in New York’s evening sales. The stainless steel sculpture "Rabbit" created in 1986, belongs to the "Banality" series, set the highest price for the living artist at US$91.1 million and has remained till now.

The well-known mirror reflection treatment of Koons began with the inflatable series of ready-made mirrors in the late 1970s, it is often seen in his series of creations. It also appears on the fifty-two delicate cut surfaces and facets of the "Red Diamond", which is highly reflective and the exquisite and bright surface treatment not only interacts with the surrounding environment, but also allows the viewers to constantly evolve and develop in a variety of unique environments. It reflects the viewer's shadow, which allows oneself to integrate with the art piece, triggering different perceptions while appreciating.

When admiring at the "Red Diamond", which symbolizes well being and happiness, relishing again with the beautiful perspective to explore different worlds in their own mind.

312

Yoshimasa TSUCHIYA (Japanese, b. 1977)

土屋仁応

Rabbit

兔

2016 Wood, glass, polychrome 22(L) x 10(W) x 21H) cm Signed on the bottom Yoshimasa Tsuchiya in Japanese Kenji

樟木 玻璃 彩色

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

NT$ 500,000 - 700,000 HK$ 136,000 - 191,000 US$ 17,500 - 24,500 RMB 115,000 - 162,000

186

2016 22(長) x 10(寬) x 21(高) cm 簽名底部：土屋仁応 附也趣藝廊開立之原作保證書

313

Yoshimasa TSUCHIYA (Japanese, b. 1977)

土屋仁応

Future Man

未來人

2009 Wood, crystal, polychrome 7.5(L) x 5(W) x 28.5(H) cm Signed on the botttom Yoshimasa TSUCHIYA in Japanese Kenji

樟木 水晶 彩色

NT$ 190,000 - 280,000 HK$ 52,000 - 76,000 US$ 6,700 - 9,800 RMB 44,000 - 65,000

2009 7.5(長) x 5(寬) x 28.5(高) cm 簽名底部：土屋仁応

314

Ai HAIBARA (Japanese, b. 1981)

The Distance Between You and Me 2011 Wood, acrylic (Dog ) 24(L) x 38(W) x 64(H) cm; (Boy ) 28(L) x 23(W) x 85(H) cm Singned on the bottom Ai Haibara in English and dated 2011 EXHIBITED

The 4th Okayama Prefectural Mr. I Development of Rising Artists Award Exhibition, Okayama Art Museum, November 8– December 14, 2014 ILLUSTRATED

The 4th Okayama Prefectural Mr. I Development of Rising Artists Award Exhibition, Okayama Art Museum, Japan, 2014 colore illustrated

NT$ 380,000 - 460,000 HK$ 104,000 - 125,000 US$ 13,300 - 16,100 RMB 88,000 - 106,000

灰原愛 你和我的距離 2011 樟木 壓克力 (犬) 24(長) x 38(寬) x 64(高) cm; (少年) 28(長) x 23(寬) x 85(高) cm 簽名底部：2011 Ai Haibara 展覽：

「第四回I氏賞受賞作家展」，岡山縣立美術館， 日本，展期自2014年11月18日-12月14日 圖錄：

《第四回I氏賞受賞作家展》，岡山縣立美術館， 日本，2014，彩色圖版

188

315

Ai HAIBARA (Japanese, b. 1981)

Once Dreamed, Will Dream in the Future 2009 Wood, acrylic 36(L) x 30(W) x 142(H) cm Singned on the chair Ai Haibara in English and dated 2009

NT$ 260,000 - 360,000 HK$ 71,000 - 98,000 US$ 9,100 - 12,600 RMB 60,000 - 83,000

灰原愛 曾經夢過，將來便成為夢想 2009 木雕 壓克力 36(長) x 30(寬) x 142(高) cm 簽名椅背： Ai Haibara 2009

316

Ai HAIBARA (Japanese, b. 1981)

Little Red Riding Hood 2019 Wood, acrylic 28(L) x17.5(W) x 17(H) cm Signed on the bottom Ai Haibara in English and dated 2019 This lot is accompanied with woodenbox signed by artist.

NT$ 240,000 - 340,000 HK$ 65,000 - 93,000 US$ 8,400 - 11,900 RMB 55,000 - 79,000

灰原愛 小紅帽 2019 木雕 壓克力 28(長) x 17.5(寬) x 17(高) cm 簽名底部：2019 Ai Haibara 附藝術家題字原裝木盒

190

317

KEA (TSAI Mengda)

KEA (蔡孟達)

Urban Hunting - Lots-O’-Huggin’ Bear; Patrick Star; SpongeBob; Rex (a set of 4)

街頭狩獵系列 ─ 熊抱哥; 派大星; 海綿寶寶; 抱抱龍 (四件一組)

(Taiwanese, b. 1980)

2011;2012;2012;2014 Hi-cast and walnut wood 6/15 22 x 27 cm (each) Signed on the reverse KXX, numbered 6/15 and dated 2011; 2012; 2012; 2014

NT$ 220,000 - 320,000 HK$ 60,000 - 87,000 US$ 7,700 - 11,200 RMB 51,000 - 74,000

2011;2012;2012;2014 樹脂 胡桃木 6/15 22 x 27 cm (每件) 簽名背面： KXX 6/15 2011 KXX 6/15 2012 KXX 6/15 2012 KXX 6/15 2014

318

Yoshitomo NARA (Japanese, b. 1959)

奈良美智

Real One

真實

2020 Offset lithographic, edition of 1000 63 x 73 cm

海報 限量1000件

PROVENANCE:

達拉斯當代藝術博物館，德州

Dallas Contemporary by, Texas

NT$ 20,000 - 60,000 HK$ 5,000 - 16,000 US$ 700 - 2,100 RMB 5,000 - 14,000

192

2020 63 x 73 cm 來源：

319

Yoshitomo NARA (Japanese, b. 1959)

奈良美智

Fuckin’ Politics

去你的政治

2003 Offset lithographic, edition of 1000 53 x 70 cm

海報 限量1000件

PROVENANCE:

YOD Gallery, 大阪

YOD Gallery, Osaka

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

2003 53 x 70 cm 來源：

320

Mayuka YAMAMOTO (Japanese, b. 1964)

山本麻友香

Fennec Fox Boy

狐狸男孩

2019 Lithograph, edition no. 47/50 51 x 41 cm Signed lower right Mayuka Fennec Fox Boy. Numbered lower left 47/50

版畫 47/50

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,800 RMB 9,000 - 18,000 194

2019 51 x 41 cm 簽名右下：Mayuka Fennec Fox Boy 版次左下： 47/50

321

Satoru KOIZUMI (Japanese, b. 1983)

小泉悟

Waterbuck

水羚

2017 Watercolor on cardboard 27 x 19.5 cm Signed lower right KOIZUMI in English Signed on the reverse Koizumi, titled Waterbuck and dated 2017

水彩 紙板

NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,800 - 3,500 RMB 12,000 - 23,000

2017 27 x 19.5 cm 簽名右下：KOIZUMI 簽名畫背：Waterbuck/Alex/2017/ Koizumi

322

Tomokazu Matsuyama (Japanese, b.1976)

松山智一

The Couch Unsent Piano

沙發上未彈奏的鋼琴

2020 Screenprint, edition no.17/100 89.5 x 57.6 cm Signed lower right and numbered 17/100

版畫 17/100

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

NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,500 - 4,900 RMB 16,000 - 32,000 196

2020 89.5 x 57.6 cm 簽名版次右下 附藝術家親簽與Avant Arte開立之作品保證書

323

MADSAKI

(Japanese, b. 1974)

MADSAKI

Three Flags 3P, Two Flags 2P and White Flag 2P ; T-shirt (a set of 4)

三面國旗；兩面國旗；白色國旗 ； T-shirt (四件一組) 2018

2018 Offset lithograph edition no. 36/300; 142/300; 204/300 46 x 68.2 cm (Three Flags 3P) 68.3 x 50 cm (Two Flags 2P) 50 x 77 cm (White Flag 2P); 87 x 75 cm(t-shirt) Signed lower right Madsaki, dated 2018 and numbered 36/300 (Three Flags 3P) Signed lower right Madsaki, dated 2018 and numbered142/300 (Two Flags 2P) Signed lower right Madsaki, dated 2018 and numbered 204/300 (White Flag 2P) Signed on T-shirt Madsaki and dated 2018

版畫 36/300; 142/300; 204/300

NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,500 - 4,900 RMB 16,000 - 32,000

46 x 68.2 cm (三面國旗) 68.3 x 50 cm (兩面國旗) 50 x 77 cm (白色國旗); 87 x 75 cm(t-shirt) 簽名右下：Madsaki 2018 36/300（三面國 旗） 簽名右下：Madsaki 2018 142/300（兩面國旗） 簽名右下：Madsaki 2018 204/300（白色國旗） 簽名T-shirt：Madsaki 18

324

Takashi MURAKAMI

村上隆

(Japanese, b. 1962)

無限

Infinity 2020 Archival pigment print, edition no. 73/100 70 x 57 cm Signed lower right M, numbered 73/100 and dated 2020

NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,500 - 4,900 RMB 16,000 - 32,000 198

2020 版畫 73/100 70 x 57 cm 簽名右下：M 2020 73/100

325

Mr.

(Japanese, b. 1969)

Mr.

See You at School

學校見 2020

2020 Silkscreen, edition no. 30/100 70 x 70 cm Signed on lower right Mr., numbered 30/100 and dated 2020

版畫 30/100

NT$ 80,000 - 120,000 HK$ 22,000 - 33,000 US$ 2,800 - 4,200 RMB 18,000 - 28,000

70 x 70 cm 簽名右下：Mr. 2020 30/100

326

Yoshitoshi KANEMAKI (Japanese, b. 1972)

Caprice Figurative (a set of 2) 2019 Print on lenticular lens, edition no. 41/110 (red) ; 62/110(blue) 43.2 x 32 cm (each) This lot is to be sold with a certificate of authenticity signed by the artist

NT$ 90,000 - 160,000 HK$ 25,000 - 44,000 US$ 3,200 - 5,600 RMB 21,000 - 37,000

200

金卷芳俊 人物隨想 (兩件一組) 2019 印刷於鏡面 41/110; 62/110(藍) 43.2 x 32 cm (每件) 附藝術家親筆簽名保證書

327

Yoshitoshi KANEMAKI (Japanese, b. 1972)

Caprice Figurative 03 (a set of 2) 2020 Print on lenticular lens, edition no. 76/110 (red); 74/110 (blue) 43.2 x 32 cm (each) This lot is to be sold with a certificate of authenticity signed by the artist

NT$ 80,000 - 120,000 HK$ 22,000 - 33,000 US$ 2,800 - 4,200 RMB 18,000 - 28,000

金卷芳俊 人物隨想03 (兩件一組) 2020 印刷於鏡面 76/110 (紅); 74/110 (藍) 43.2 x 32 cm (每件) 附藝術家親筆簽名保證書

328

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

KAWS 〈布萊恩．唐納利〉

Cashmere Blanket (red)

毛毯（紅） 2019

2019 100% Cashemere, edition of 85 130 x 180 cm

喀什米爾羊絨 限量85

NT$ 80,000 - 160,000 HK$ 22,000 - 44,000 US$ 2,800 - 5,600 RMB 18,000 - 37,000

202

130 x 180 cm

329

Chiharu SHIOTA (Japanese, b.1972)

塩田千春

Follow the Line; Relationality; Relation; Connection to the Universe (a set of 4)

跟隨著線；關係；關係；與宇宙的連接 (四件一組)

2017; 2018 ; 2020 Lithograph, A.P 3/5; 40/50; 19/40; 18/40 80.5 x 60 cm; 76 x 51.5 cm ; 65 x 50 cm; 65 x 50 cm Signed lower and numbered CS. 2017; A.P 3/5; CS. 40/50; CS. 19/40; CS. 18/40;

版畫 A.P 3/5; 40/50; 19/40; 18/40

NT$ 90,000 - 180,000 HK$ 25,000 - 49,000 US$ 3,200 - 6,300 RMB 21,000 - 42,000

2017; 2018 ; 2020 80.5 x 60 cm; 76 x 51.5 cm; 65 x 50 cm ; 65 x 50 cm 簽名版次：CS. 2017; A.P 3/5; CS. 40/50; CS. 19/40; CS. 18/40;

330

D*Face

(British, b. 1978)

D*Face

Vintage 70’s Romance Novels (a set of 2)

2017

2017 Enamel and pigment on book 17 x 11 cm (each) Signed lower D*Face and dated 2017(each)

NT$ 100,000 - 160,000 HK$ 27,000 - 44,000 US$ 3,500 - 5,600 RMB 23,000 - 37,000

204

70年代復古小說(兩件一組) 搪瓷 顏料 書本 17 x 11 cm (每件) 簽名下方：D*Face 2017 (每件)

331

Hayao MIYAZAKI (Japanese, b. 1941)

Kiki’s Delivery Service; Fly in Night (a set of 2) 1995 Hand painted cel; cel art print, edition no. 169 (Kiki’s Delivery Service) Hand painted cel; cel art print XIV 10/20 (Fly in Night) 21 x 38 cm; 20 x 36.5 cm This lot is to be sold with a certificate of authenticity issued by Studio Ghibli

NT$ 120,000 - 180,000 HK$ 33,000 - 49,000 US$ 4,200 - 6,300 RMB 28,000 - 42,000

宮崎駿 魔女宅急便 ;夜間飛行 (兩件一組) 1995 手繪賽璐璐; 賽璐璐片印刷 限量169 (魔女宅急便) 手繪賽璐璐; 賽璐璐片印刷 XIV 10/20 (夜間飛行 ) 21 x 38 cm; 20 x 36.5 cm 附吉卜力工作室美術館開立之認定書

332

Miki KATOH

(Japanese, .b. 1973)

加藤美紀

Dragon Tiger (a set of 2)

龍虎圖(兩件一組)

2018 Gouache on paper and mounted on panel 72.8 x 60.7 (each) Signed lower Miki KATOH (each) Signed on the reverse Miki KATOH, titled Dragon Tiger and dated 2018.

水粉 紙本裱於木板

NT$ 130,000 - 240,000 HK$ 35,000 - 65,000 US$ 4,600 - 8,400 RMB 30,000 - 55,000 206

2018 72.8 x 60.7 (每件) 簽名下方：2018 Miki KATOH（每件） 簽名畫背： 龍虎圖・虎 二O一八年 加藤美紀 龍虎圖・龍 二O一八年 加藤美紀

333

Izumi Kato

(Japanese, b. 1969)

Untitled 2 (a set of 2) 2020 Woodcut print 37/120 34.6 x 25.8 cm Signed lower right Kato, numbered 37/120 and dated 2020

NT$ 140,000 - 220,000 HK$ 38,000 - 60,000 US$ 4,900 - 7,700 RMB 32,000 - 51,000

加藤泉 無題 2 (兩件一組) 2020 木刻版畫 37/120（每件） 34.6 x 25.8 cm 簽名右下： 2020 Kato 版次左下：37/120

334

Mr Doodle (British, b. 1994)

塗鴉先生

Alien Town

外星城鎮

2020 Print, edition no. 233/300 50 x 70 cm Signed lower right MR DOODLE! , dated 2020 and numbered 233/300

版畫 233/300

This lot is accompanied by a certificate of authencity signed by the artist.

NT$ 110,000 - 220,000 HK$ 30,000 - 60,000 US$ 3,900 - 7,700 RMB 25,000 - 51,000 208

2020 50 x 70 cm 簽名右下： MR DOODLE! 2020 233/300 附藝術家簽名之作品保證書

335

Mr Doodle (British, b. 1994)

塗鴉先生

Heart Land

充滿愛心的土地

2020 Screenprint, edition no.180/300 48 x 90 cm Signed lower right MR DOODLE! , dated 2020 and numbered 180/300

版畫 180/300

NT$ 170,000 - 220,000 HK$ 46,000 - 60,000 US$ 6,000 - 7,700 RMB 39,000 - 51,000

2020 40 x 90 cm 簽名右下： MR DOODLE! 2020 180/300

336

Yoshitomo NARA (Japanese, b. 1959)

奈良美智

Cosmic Girl Eyes (Close /Open)

宇宙女孩：睜眼閉眼（兩件一組）

2008 Print, limited edition of 500 68 x 48 cm (each)

海報 限量500件

NT$ 160,000 - 240,000 HK$ 44,000 - 65,000 US$ 5,600 - 8,400 RMB 37,000 - 55,000

210

2008 68 x 48 cm (每件)

337

Yoshitomo NARA (Japanese, b. 1959)

奈良美智

YOSHITOMO NARA +graf: A - Z Project Exhibition Invitation Card

奈良美智+GRAF:A-Z計畫 展覽邀請

2008 Print 21 x 15 cm

21 x 15 cm

PROVENANCE

私人收藏，亞洲

Private collection, Netherlands.

Private collection, Asia

展覽：

EXHIBITED

藝術中心，蓋茲黑德，展期自2008年6月14日

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

至10月26日

NT$ 200,000 - 300,000 HK$ 54,000 - 82,000 US$ 7,000 - 10,500 RMB 46,000 - 69,000

2008 印刷 木板 收藏：

私人收藏，荷蘭

「奈良美智＋graf:A-Z計劃」，波羅的海當代

338

Mr.

(Japanese, b. 1969)

Mr.

Coming Home from Prep School

從預備學校回來 2007

2007 Colored pencil, watercolor on paper 27.9 x 22.9 cm Signed lower rignt Mr. and dated 2007

彩色鉛筆 水彩 紙本

NT$ 220,000 - 320,000 HK$ 60,000 - 87,000 US$ 7,700 - 11,200 RMB 51,000 - 74,000 212

27.9 x 22.9 cm 簽名右下： Mr. 2007

339

Yoshitomo NARA (Japanese, b. 1959)

WOW Project Beach Towel 2010 Beach towel, edition of 1000 153 x 177 cm Printed signature NA on the label in Japanese

NT$ 260,000 - 380,000 HK$ 71,000 - 104,000 US$ 9,100 - 13,300 RMB 60,000 - 88,000

奈良美智 WOW 計畫沙灘巾 2010 沙灘巾 限量1000件 153 x 177 cm 印刷簽名於標籤：な

340

KEA (TSAI Mengda) (Taiwanese, b. 1980)

KEA (蔡孟達)

Toughness - Irish Elk

淬鍊的強悍 ─ 巨角鹿 2010

2010 Acrylic on canvas 161.5 x 130 cm

壓克力 畫布

NT$ 320,000 - 420,000 HK$ 87,000 - 114,000 US$ 11,200 - 14,700 RMB 74,000 - 97,000

214

161.5 x 130 cm

341

Pablo PICASSO (Spanish, 1881 - 1973)

巴布羅．畢卡索

Figure Noire

黑色人物

1948 Lithograph

版畫

64.3 x 49.5 cm Signed lower right Picasso

簽名右下：Picasso

NT$ 550,000 - 650,000 HK$ 150,000 - 177,000 US$ 19,300 - 22,800 RMB 127,000 - 150,000

1948 64.3 x 49.5 cm

342

Akiko TOJO (Japanese, b.1984)

Five Senses - Speak 2018, Wood, pigment 16(L) x 12(W) x 20(H) cm Engraved bottom Akiko Tojo This lot is to be sold with a certificate of authenticity issued by Fuma Contemporary, Tokyo.

NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,800 - 3,500 RMB 12,000 - 23,000

東條明子 五感－話 2018 檜木 16(長) x 12(寬) x 20(高) cm 簽名雕刻底座：Akiko Tojo 附Fuma Contemporary 開立之原作保證書

343

Ena NAGAO (Japanese, .b. 1982)

Please Keep Hold Your Hand 2018 Wood, 13(L) x 13(W) x 31(H) cm Signed on the botttom ENA NAGAO and dated 2018 This lot is to be sold with a certificate of authenticity signed by the artist .

NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 14,000 - 28,000

長尾惠那 不能放手 2018 樟木 13(長) x 13(寬) x 31(高) cm 簽名底部：ENA NAGAO 2018 附藝術家親筆簽名之原作保證書 216

344

Ayako KITA

(Japanese, b. 1981)

Something to Hide 2018 Wood, acrylic 11(L) x 17(W) x 29(H) cm Engraved bottom KITA AYAKO This lot is to be sold with a certificate of authenticity issued by Fuma Contemporary, Tokyo.

NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 14,000 - 28,000

北 彩子 藏 2018 檜木 顏料 11(長) x 17(寬) x 29(高) cm 簽名底座：KITA AYAKO 附Fuma Contemporary 開立之原作保證書

345

A-Lei

(Taiwanese, b. 1976~)

Little Owlboy 2016 Pottery 17.5(L) x 16.5(W) x 23.5(H) cm Signed on th bottom Lei and dated 2016 PROVENANCE:

Acquired directly from the artist by the present owner

NT$ 70,000 - 150,000 HK$ 19,000 - 41,000 US$ 2,500 - 5,300 RMB 16,000 - 35,000

阿咧 小貓頭鷹男孩 2016 陶土 17.5(長) x 16.5(寬) x 23.5(高) cm 簽名底部：2016 Lei 來源：

現藏者購自藝術家本人

346

Yuichi Hirako (Japanese, b. 1982)

Boy 92

平子雄一 Boy 92 2016

2016 Mixed media 17(L) x 19(W) x 24(H) cm Signed on the bottom and dated 2016

綜合媒材

This lot is to be sold with a certificate of authenticity signed by the artist and issued by Art Front Gallery, Tokyo

開立之原作保證書

NT$ 90,000 - 160,000 HK$ 25,000 - 44,000 US$ 3,200 - 5,600 RMB 21,000 - 37,000 218

17(長) x 19(寬) x 24(高)cm 簽名底部： 2016 附藝術家親筆簽名及Art Front Gallery

347

Kunihiko NOHARA (Japanese, b. 1982)

野原邦彥

Oaisis

綠洲

2010 Wood 33 (L) x 33 (W) x 39 (H) cm

木雕

This lot is accompanied a card signed by artist

NT$ 130,000 - 220,000 HK$ 35,000 - 60,000 US$ 4,600 - 7,700 RMB 30,000 - 51,000

2010 33(長)x 33(寬)x 39(高)cm 附藝術家簽名雕刻卡

348

Kunihiko NOHARA (Japanese, b. 1982)

野原邦彥

Vacances

度假中

2009 Wood, acrylic 23.3(L) x 29.3(W) x 15.3(H) cm

櫸木 壓克力

EXHIBITED

「Have A Good Time !」，上野之森美術館，

Have A Good Time !, The Ueno Royal Museum, Tokyo, December 24, 2017 - January 2, 2018

東京，展期自2017年12月24日至2018年1月2日

ILLUSTRATED

《Have A Good Time !》，Gallery UG，

Have A Good Time !, Gallery UG, Tokyo, 2017 , color illustrated This lot is to be sold with a certificate of authenticity signed by the artist and issued by Gallery UG, Tokyo

NT$ 150,000 - 260,000 HK$ 41,000 - 71,000 US$ 5,300 - 9,100 RMB 35,000 - 60,000 220

2009 23.3(長) x 29.3(寬) x 15.3(高)cm 展覽

圖錄

東京，2017，彩色圖版 附 Gallery UG 開立之作品保證書與藝術家 簽名卡

349

James Jarvis (British, b. 1970)

詹姆斯•賈維斯

Slide

滑動

2020 Bronze alloy, crystal glass, edition no. 60/100 29.5(L) x 24.5(W) x 37(H) cm Signed on the base JAMES JARVIS

銅合金 水晶玻璃 60/100

2020 29.5(長) x 24.5(寬) x 37(高) cm 簽名底座： JAMES JARVIS 附ZHEN開立之作品保證書與原裝箱

This lot is to be sold with a certificate of authenticity issued by ZHEN and accompanied with it’s original product box.

NT$ 240,000 - 340,000 HK$ 65,000 - 93,000 US$ 8,400 - 11,900 RMB 55,000 - 79,000

350

Yayoi KUSAMA (Japanese, b. 1929)

One of Endless Narcissus 2001 Stainless steel 16.1 cm (diameter) Signed on the surface Yayoi Kusama in English and dated 2001 PROVENANCE:

Omer Tiroche Gallery, London

NT$ 120,000 - 180,000 HK$ 33,000 - 49,000 US$ 4,200 - 6,300 RMB 28,000 - 42,000

草間彌生 自戀庭園之其一 2001 不銹鋼 16.1 cm (直徑) 簽名球面：Yayoi Kusama 2001 來源：

Omer Tiroche 藝廊，倫敦

351

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 2002, Ceramic, edition no. 31/130 10.5(L) x 10(W) x 7(H) cm Signed on the bottom Yayoi Kusama, mumbered 31/130 and dated 2002

NT$ 200,000 - 300,000 HK$ 54,000 - 82,000 US$ 7,000 - 10,500 RMB 46,000 - 69,000

草間彌生 南瓜 2002 陶瓷 31/130 10.5(長) x 10(寬) x 7(高) cm 簽名底部：Yayoi Kusama 2002 31/130 222

352

Yuki INOUE

(Japanese, b. 1972)

Salamander-Killer Machine 2018 FRP 14(L) x 15(W) x 22(H) cm Signed in the box Yuki in Japanese, titled Salamander [KILLER MACHINE] and dated 2018

NT$ 220,000 - 320,000 HK$ 60,000 - 87,000 US$ 7,700 - 11,200 RMB 51,000 - 74,000

井上裕起 沙羅曼達系列 ─ 殺人機器 2018 玻璃纖維 14(長) x 15(寬) x 22(高) cm 簽名盒內：Salamander [KILLER MACHINE] 裕起 2018

353

Akira YOSHIDA (Japanese, b. 1976)

Lucky Dog 2012 Urethane paint FRP (Unique) 56(L) x 117(w) x122(H) cm Signed on the left foot Akira Yoshida This lot is to be sold with a certificate of authenticity issued by Yukari Art, Tokyo.

NT$ 320,000 - 420,000 HK$ 87,000 - 114,000 US$ 11,200 - 14,700 RMB 74,000 - 97,000

吉田朗 福犬 2012 玻璃纖維 聚氨酯塗料 (單一件) 56(長) x 117(寬) x122(高) cm 簽名左後腳：吉田朗 附 Yukari Art 畫廊開立之原作保證書

354

HUNG Yi

(Taiwanese, b. 1970)

Ox Chair 2014 Baked enamel on steel plate, edition no. 3/9 81(L) x 74(W) x 82(H) cm Signed on the front Hung Yi in Chinese, numbered 3/9 and dated 2014 This lot is to be sold with a certificate of authenticity issued by Impressions Art Gallery Taipei.

NT$ 460,000 - 550,000 HK$ 125,000 - 150,000 US$ 16,100 - 19,300 RMB 106,000 - 127,000

洪易 牛轉乾坤椅 2014 鋼板烤漆 3/9 81(長) x 74(寬) x 82(高) cm 簽名正面：洪易 3/9 2014 附印象畫廊開立之作品保證書

355

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

Astro Boy (Grey, Red) (a set of 2) 2012 Painted cast vinyl, edition of 500 16.5(L) x 12(W) x 37(H) cm (each) These works are accompanied with their original product boxes.

NT$ 280,000 - 400,000 HK$ 76,000 - 109,000 US$ 9,800 - 14,000 RMB 65,000 - 92,000

KAWS 〈布萊恩．唐納利〉 原子小金剛 (灰、紅) (兩件一組) 2012 綜合媒材 搪膠 限量500件 16.5(長) x 12(寬) x 37(高) cm (每件) 附作品原產紙盒包裝 224

356

Moe NAKAMURA (Japanese, b. 1988)

中村萌

Like A Ghost

鬼鬼

2019 Polystone, edition no. 52/150 23.5(L) x 13(W) x 26(H)cm Signed on bottom Moe Trademark© Moe Nakamura 2019 © GALLERY TSUBAKI 2019 © MONSTER TAIPEI 2019 Produced by how2work

寶麗石粉 52/150

This lot is to be sold with a certificate of authenticity signed by the artist and accompanied with it’s original product box.

NT$ 130,000 - 280,000 HK$ 35,000 - 76,000 US$ 4,600 - 9,800 RMB 30,000 -65,000

2019 23.5(長) x 13(寬) x 26(高)cm 簽名腳底：Moe 註冊商標：© Moe Nakamura 2019 © GALLERY TSUBAKI 2019 © MONSTER TAIPEI 2019 Produced by how2work 附藝術家親筆簽名保證卡與作品原產紙盒包裝

357

Moe NAKAMURA (Japanese, b. 1988)

中村萌

Loop Loop

圈圈

2015 Polystone, edition no. 115/130 14(L) x 11(W) x 20(H) cm Signed on the bottom of right foot Moe in English Trademark © Moe Nakamura 2015 © GALLERY TSUBAKI 2015 © MONSTER TAIPEI 2015 PRODUCED BY HOW2WORK Signed on the product box Moe and dated 2015. 10. 8

寶麗石粉樹脂 115/130

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

NT$ 90,000 - 180,000 HK$ 25,000 - 49,000 US$ 3,200 - 6,300 RMB 21,000 - 42,000 226

2015 14(長) x 11(寬) x 20(高) cm 簽名右腳底：Moe 註冊商標：© Moe Nakamura 2015 © GALLERY TSUBAKI 2015 © MONSTER TAIPEI 2015 PRODUCED BY HOW2WORK 簽名包裝盒上：Moe 2015. 10. 8 附藝術家親筆簽名作品保證卡與作品原產紙盒 包裝

358

Moe NAKAMURA (Japanese, b. 1988)

中村萌

Bambooshika

母子筍

2018 Polystone, edition no. 86/160 15.5(L) x 16(W) x 21(D) cm; 11(L) x 10.2(W) x 15.5(D) cm Print on the bottom Moe in English Trademark ©Moe NAKAMURA 2018 © GALLERY TSUBAKI 2018 © MONSTER TAIPEI 2018 PRODUCED BY HOW2WOR

寶麗石粉樹脂 86/160

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

BY HOW2WOR

NT$ 90,000 - 180,000 HK$ 25,000 - 49,000 US$ 3,200 - 6,300 RMB 21,000 - 42,000

2018 15.5(長) x 16(寬) x 21(高) cm; 11(長) x 10.2(寬) x 15.5(高) cm 簽名印刷底部：Moe; 註冊商標：© Moe NAKAMURA 2018 © GALLERY TSUBAKI; 2018 © MONSTER TAIPEI 2018 PRODUCED 附藝術家親筆簽名保證卡與作品原產紙盒包裝

359

Moe NAKAMURA (Japanese, b. 1988)

中村萌

Alone in the Dark

獨自在黑暗中

2020 Polystone, edition no. 56/200 14.5(L) x 14(W) x 28(H)cm Signed on the bottom Moe Trademark © Moe Nakamura 2020 © GALLERY TSUBAKI 2020 © MONSTER TAIPEI 2020 PRODUCED BY HOW2WORK

寶麗石粉樹脂 56/200

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

NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,500 - 4,900 RMB 16,000 - 32,000 228

2020 14.5(長) x 14(寬) x 28(高)cm 簽名底部：Moe 註冊商標：© Moe Nakamura 2020 © GALLERY TSUBAKI 2020 © MONSTER TAIPEI 2020 PRODUCED BY HOW2WORK 附藝術家親筆簽名作品保證卡與原產紙盒包裝

360

Kunihiko NOHARA (Japanese, b. 1982)

Cappuccino B 2019 FRP 3/18 33(L) x 22.5(W) x 41(H)cm Signed on the bottom and numbered 3/18 This lot is to be sold with a certificate of authencity issued by the Gallery UG.

NT$ 110,000 - 190,000 HK$ 30,000 - 52,000 US$ 3,900 - 6,700 RMB 25,000 - 44,000

野原邦彥 卡布奇諾 B 2019 玻璃纖維 3/18 33(長) x 22.5(寬) x 41(高)cm 簽名底部：3/18 附 Gallery UG開立之作品保證書

361

Takashi MURAKAMI (Japanese, b. 1962)

Melting DOB 2021 Painted cast vinyl 235/300 28(L) x 16(W) x 22(H) cm Trademark© TM/KK MADE IN JAPAN This lot is accompanied by a certificate issued by Kaikai kiki co., Ltd and with original product box.

NT$ 100,000 - 200,000 HK$ 27,000 - 54,000 US$ 3,500 - 7,000 RMB 23,000 - 46,000

村上隆 融化的DOB 2021 彩繪 搪膠 235/300 28(長) x 16(寬) x 22(高) cm 註冊商標：© TM/KK MADE IN JAPAN 附Kaikai kiki開立之作品證明書與作品原產紙盒包裝 230

362

Yoshitomo NARA (Japanese, b. 1959)

奈良美智

Doggy Radio

小狗收音機

2011 Fiberglass, edition no. 0336/3000 43(L) x 22.5(W) x 29.5(H) cm

玻璃纖維 0336/3000

This lot is accompanied with it’s original product box.

NT$ 90,000 - 150,000 HK$ 25,000 - 41,000 US$ 3,200 - 5,300 RMB 21,000 - 35,000

2011 43(長) x 22.5(寬) x 29.5(高) cm 附作品原產紙盒包裝

363

Daniel Arsham x Pokémon (American, b. 1980)

Eroded Pikachu 2020 Resin and aluminium oxide, edition no.406/500 22(L) x 15.5(W) x 35.5(H) cm This lot is accompanied with its original product box.

NT$ 90,000 - 120,000 HK$ 25,000 - 33,000 US$ 3,200 - 4,200 RMB 21,000 - 28,000

丹尼爾．阿爾軒 x 寶可夢（白） 被侵蝕的皮卡丘 2020 樹脂 氧化鋁 406/500 22(長) x 15.5(寬) x 35.5(高) cm 附作品原產盒包裝

364

Daniel Arsham (American, b. 1980)

Eroded 911 Turbo (grey) 2020 Resin and aluminium oxide, edition of 500 31(L) x 13.6(W) x 9.1(H) cm This lot is accompanied with its original product box.

NT$ 90,000 - 130,000 HK$ 25,000 - 35,000 US$ 3,200 - 4,600 RMB 21,000 - 30,000

丹尼爾．阿爾軒 被侵蝕的保時捷911 Turbo (灰) 2020 樹脂 氧化鋁 限量500 31(長) x 13.6(寬) x 9.1(高) cm 附作品原產盒包裝

232

365

Daniel Arsham (American, b. 1980)

丹尼爾．阿爾軒

Eroded Attaché

出土自未來的行李箱

2019 Cast multiple, aluminium, edition no. 149/500 29.5(L) x 8.6(W) x 22.2(H) cm (Scuplture) 46(L) x 17(W) x 41(H) cm ( Briefcase)

石膏 碎玻璃 鋁 149/500

This lot is accompanied with Owner’s Manual and 5-year Rimowa Gurantee Certificate.

NT$ 90,000 - 130,000 HK$ 25,000 - 35,000 US$ 3,200 - 4,600 RMB 21,000 - 30,000

2019 29.5(長) x 8.6(寬) x 22.2(高) cm (雕塑) 46(長) x 17(寬) x 41(高) cm (行李箱) 附用戶手冊和5年Rimowa保證書

366

Okokume (Laura MAS) (Spanish, b. 1985)

Bringing Hope Cosmic girl 2019, 16(L) x 17(W) x 29.5(H) cm Ploystone, edition no. 12/100 This lot is to be sold with a certificate of authenticity signed by the artist and accompained with their original product box.

NT$ 80,000 - 160,000 HK$ 22,000 - 44,000 US$ 2,800 - 5,600 RMB 18,000 - 37,000

奧高古曼 (蘿拉•馬斯) 帶來希望的宇宙女孩 2019 寶麗石粉樹脂 12/100 16(長) x 17(寬) x 29.5(高) cm 附藝術家親筆簽名保證卡與作品原產紙盒包裝

367

Javier Calleja (Spanish, b.1971)

Pot-Pop-Top Planter (a set of 2) 2020 Ceramic, edition of 500 left: 21.5(L) x 18.5(W) x 23.5(H) cm right: 23(L) x 20(W) x 17(H) cm This lot is accompanied with it’s original box.

NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,500 - 4,900 RMB 16,000 - 32,000

哈維爾．卡勒加 Pot-Pop-Top 花盆 (兩件一組) 2020 陶瓷 限量500件 左：21.5(長) x 18.5(寬) x 23.5(高) cm 右：23(長) x 20(寬) x 17(高) cm 簽名底部：Javier Calleja 2020 (每件) 附作品原產盒包裝 234

368

Javier Calleja (Spanish, b.1971)

Missing The Blue Sky 2018 Mixed media, fiberglass, metal; edition no. 40/ 200 16(L) x 16(W) x 32.5(H) cm This lot is sold with a certificate of authenticity signed by the artist and accompanied with it’s original product box.

NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,500 - 4,900 RMB 16,000 - 32,000

哈維爾．卡勒加 想念藍天 2018 綜合媒材 玻璃纖維 金屬 40/200 16(長) x 16(寬) x 32.5(高) cm 附藝術家親筆簽名之作品保證卡與作品原產紙盒包裝

369

Mr Doodle (British, b. 1994)

The Doodler 2019, Resin, edition 126/250 17(L) x 17(W) x 34(H) cm Signed Mr. DOODLE! and dated 2019 This work is accompanied with its original product box.

NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,500 - 4,900 RMB 16,000 - 32,000

塗鴉先生 塗鴉先生 2019 樹脂 126/250 17(長) x 17(寬) x 34(高) cm 簽名腳底：Mr. DOODLE!；2019 附作品原產紙盒包裝

370

Kila CHEUNG (Chinese, b. 1986)

Taste of Home 2019, Polystone, edition no.44/50 10.5(L) x 11(W) x 30(H)cm Signed on the bottom Kila and dated 2019 This lot is accompanied by a certificate of authencity signed by the artist.

NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 14,000 - 28,000

章柱基 家的味道 2019 寶麗石粉 44/50 10.5(長) x 11(寬) x 30(高)cm 簽名底部：Kila 2019 附藝術家簽名之作品保證書

371

Katherine BERNHARDT (America, b. 1975)

What’s Up 2020, Resin edition no. 142/200, 19 (L) x 16 (W) x 30 (H)cm Painted signature Katherine Bernhardt on left feet This lot is to be sold with a certificate of authenticity signed by the artist and accompanied with it’s original product box.

NT$ 50,000 - 90,000 HK$ 14,000 - 25,000 US$ 1,800 - 3,200 RMB 12,000 - 21,000

凱瑟琳．伯恩哈特 怎麼樣啊？（迪士尼系列） 2020 樹脂 142/200 19 (長) x16 (寬) x 30 (高)cm 附藝術家親筆簽名保證卡與作品原產紙盒包裝 236

372

Satoru KOIZUMI (Japanese, b. 1983)

“With” Mickey 2020, Resin 95/300, 15.5(L) x 11.5(W) x 30.5(H) cm Painted signature Satoru Koizumi on left feet This lot is to be sold with a certificate of authenticity signed by the artist and accompaigned with it’s original product box.

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,800 RMB 9,000 - 18,000

小泉悟 與米奇在一起 2020 樹脂 95/300 15.5(長) x 11.5(寬) x 30.5(高) cm 印刷簽名腳底：Satoru Koizumi 附藝術家親筆簽名保證卡與作品原產紙盒包裝

373

Satoru KOIZUMI (Japanese, b. 1983)

Without Bucket 2020, Resin, edition no. 191/230, 16.5(L) x 20(W) x 30(H) cm Painted signature Satoru Koizumi on left feet Painted trademark © Apportfolio This lot is to be sold with a certificate of authenticity signed by the artist and accompanied with it’s original product box.

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,800 RMB 9,000 - 18,000

小泉悟 沒有桶子 2020 樹脂 191/230 16.5(長) x 20(寬) x 30(高) cm 印刷簽名腳底：Satoru Koizumi 附藝術家親筆簽名保證卡與作品原產紙盒包裝

374

MADSAKI

(Japanese, b. 1974)

Brillo Box II-P ; Del Monte Peach Halves Box II; Heinz Tomato Ketchup Box II-P; Campbell’s Tomato Juice Box II-P; Brillo Box (3 cents off)II-P(inspired by Andy Warhol)(a set of 5) 2019 Print on cardboard, edition no. 105/500; 053/500; 058/500; 056/500; 074/500 44 x 43 x 36 cm; 24 x 38 x 31 cm; 21.5 x 40 x 27 cm; 26 x 48.8 x 25 cm; 33.5 x 40.7 x 29.5 cm Signed underside MADSAKI and dated 2019 (each)

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,800 RMB 9,000 - 18,000

MADSAKI

布里洛肥皂盒II-P; Del Monte 盒（水蜜桃）II-P; 亨氏蕃 茄醬盒II-P ; 金寶湯蕃茄汁II-P; 布里洛肥皂盒（減3美分） II-P（靈感自安迪·沃荷）（五件一組） 2019 印刷於卡紙 105/500; 053/500; 058/500; 056/500; 074/500 44 x 43 x 36 cm; 24 x 38 x 31 cm; 21.5 x 40 x 27 cm; 26 x 48.8 x 25 cm; 33.5 x 40.7 x 29.5 cm 簽名底部：MADSAKI 2019 (每件)

238

375

Yuichi HIRAKO (Japanese, b. 1982)

Leaf Bug 03 2020 Ceramic, edition no. 65/88 17.5(L) x 12.5(W) x 34.5(H) cm Signed underside Yuichi Hirako in English and numbered 65/88 This lot is to be sold with a certificate of authenticity and accompained with it’s original product box.

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,800 RMB 9,000 - 18,000

平子雄一 樹人03 2020 陶瓷 65/88 17.5(長) x 12.5(寬) x 34.5(高) cm 簽名底部：Yuichi Hirako 65/88 附作品保證卡與原裝盒

376

JU Ming

(Taiwanese, b. 1938)

Living World Series Unsaturated polyester resin, calcium carbonate, edition no. 167/300 9.8(L) x 6.6(W) x 40(H) cm Numbered on the bottom 167/300 This lot is to be sold with a certificate of reproduction issued by Ju Ming Museum Taipei

NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,800 - 3,500 RMB 12,000 - 23,000

朱銘 人間系列 ─ 彩繪木雕 不飽和聚酯樹脂 水性環保礦物顏料 167/300 9.8(長) x 6.6(寬) x 40(高) cm 版次底部：167/300 附朱銘美術館限量複製品證明書

377

JU Ming

(Taiwanese, b. 1938)

Living World Series - Lining Up Pewter 72(L) x 18.5(W) x 19.4(H) cm This lot is to be sold with a certificate of reproduction issued by Ju Ming Museum Taipei

NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,500 - 4,900 RMB 16,000 - 32,000

朱銘 人間系列 ─ 排隊 鉛錫合金 72(長) x 18.5(寬) x 19.4(高) cm 附朱銘美術館複製品證明書 240

378

YANG Mao-lin (Taiwanese, b. 1953)

Jack’s Warhorse 2014, Bronze 5/18, 26(L) x 15(W) x 30(H)cm Signed on the bottom Yang Mao-lin and nunbered 5/18

NT$ 60,000 - 100,000 HK$ 16,000 - 27,000 US$ 2,100 - 3,500 RMB 14,000 - 23,000

楊茂林 傑克的戰馬 2014 銅雕 5/18 26(長) x 15(寬) x 30(高)cm 簽名底部:楊茂林 5/18

379

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Underarm Strike 2018 Unsaturated polyester resin, calcium carbonate, oil color paste, edition no.214/300 25(L) x 12.2(W) x 24(H) cm Numbered on the bottom 214/300 This lot is to be sold with a certificate of limited reproduction issued by Ju Ming Museum Taipei

NT$ 90,000 - 180,000 HK$ 25,000 - 49,000 US$ 3,200 - 6,300 RMB 21,000 - 42,000

朱銘 太極系列─十字手 2018 不飽和聚酯樹脂 碳酸鈣 油性色母 214/300 25(長) x 12.2(寬) x 24.5(高) cm 版次底部： 214/300 附朱銘美術館限量複製品證明書

380

JU Ming

朱銘

Taichi Series – Single Whip

2015

(Taiwanese, b. 1938)

2015 Unsaturated polyester resin, calcium carbonate, oil color paste, edition no. 223/300 28.5(L) x 14.4(W) x 18.2(H) cm Numbered on the bottom 223/300 This lot is to be sold with a certificate of limited reproduction issued by Ju Ming Museum Taipei

NT$ 90,000 - 180,000 HK$ 25,000 - 49,000 US$ 3,200 - 6,300 RMB 21,000 - 42,000 242

太極系列 - 單鞭下勢 不飽和聚酯樹脂 碳酸鈣 油性色母 223/300 28.5(長) x 14.4(寬) x 18.2(高) cm 版次底部：223/300 附朱銘美術館限量複製品證明書

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

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

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 2021 年 6 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。

4.

2021 年 6 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 (2021 年 6 月 3 日至 6 月 5 日 ) 以新台幣現鈔支付 ( 恕不接受除現金之外之其他繳納方式 )，收款將於 6 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 2021 年 6 月 2 日以前完成匯款至本公司指定帳號。 6.

如於 2021 年 6 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：上限新台幣壹佰萬元。 (2) 信用卡與銀聯卡：刷卡上限為新台幣壹佰萬元。信用卡與銀聯卡持有人必需是買家本人，本公司不接受他人之信用卡。

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

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 June 2021, details as follow: Beneficiary's Bank: HSBC BANK (Taiwan) Limited.

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

4.

After the 2nd June 2021, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 3rd June to 5th June 2021). Acceptance will cease on 5th June by 12pm (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 June 2021.

6.

If the bidding deposit has been transferred prior to 2nd June 2021, 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, 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.

244

委託競投表格 拍 賣 名 稱：羅芙奧台北 2021 春季拍賣會

委託競投表格須於拍賣24小時前送抵藝術部。競投表格可回傳至： 藝術部

現代與當代藝術

電話：+886-2-2708 9868

拍 賣 編 號：TA2102

傳真：+886-2-2701 3306

拍 賣 日 期：2021 年 6 月 6 日 ( 星期日 ) 下午 2:00

投標者資料

拍 賣 地 點：台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路 199 號

客戶編號 （如有） 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 106485 台北市敦化南路二段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 Auction

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

Date Sale No. Location Address

Bidder's Details Name

RAVENEL SPRING AUCTION 2021 TAIPEI Modern & Contemporary Art Sunday, June 6, 2021, 2:00pm TA2102 Marriott Taipei 3F (Grand Space) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

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 bankw Address of the bank

Name of the account Account number Contact of the bank 246

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。

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

j. 錄映影像 在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是 否與成功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買 家均不負任何責任。 k. 拍賣官之決定權 拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動 出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併， 以及如遇有誤差或爭議，將拍賣品重新拍賣。拍賣官會於拍賣開始 前或於相關拍賣品競標前對注意事項作出通告，準買家須負責自行 注意所有於拍賣會場發表之通告。建議使用即時網上競投服務參與 競投的準買家，於拍賣開始前登入，以確保準買家得知拍賣開始前 所作出之通告。 l. 成功競投在拍賣官之決定權下，下槌即顯示對最高競投價之接受， 亦即為賣家與買家合意依落槌價拍定拍賣品，視為成功拍賣合約之 訂立。 4. 成功拍賣後 a. 買家支付每件拍賣品之服務費費率 (1) 買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台 幣參仟貳佰萬元以下者含參仟貳佰萬元以落槌價之20％計算。 (2) 落槌價於新台幣參仟貳佰萬元以上者，採分為二階段計費，其中 新台幣參仟貳佰萬元以落槌價之20％計算，超過新台幣參仟貳 佰萬元之部份再以落槌價之12％，加總計算服務費金額。 b. 稅項 買家應付予本公司之款項，如須另行支付貨物、服務稅或其他稅則 時（不論由台灣政府或別處所徵收）。買家須負責按有關法律所規 定之稅率及時間，自行繳付稅款。 c. 付款 成功拍賣後，買家須向本公司提供其真實姓名及永久地址。如經本 公司要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳 號。買家應於拍賣日期後七天內悉數支付應支付予本公司之款項 （包含落槌價、服務費或運費等相關費用）。即使買家希望將拍賣 品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有 權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之 款項為新台幣以外之貨幣，須依拍賣日現場公佈之匯率（台灣銀 行），並以本公司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣 之拍賣項目，直至欠本公司之款項已悉數支付為止。已購拍賣品在 暫時保留期間，由成功拍賣日後起算七天將受保於本公司之保險， 如屆時拍賣品已被領取，則受保至領取時為止。七天期滿後或自領 取時起（以較早者為準），已購拍賣品之風險全由買家承擔。 e. 介紹裝運及運輸公司 本公司之貨運部門在買家要求下，可為買家介紹運輸公司、安排付 運及購買特定保險，但本公司在此方面不負任何法律責任。買家必 須預先繳付運輸費用。 f. 不付款或未有領取已購拍賣品之補救辦法 如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下 述一項或多項權利或補救辦法： (1) 在成功拍賣日後起算超過七天仍未付款，則按不超過台灣銀行基 本放款利率加收10%之年利率收取整筆欠款之利息。此外本公司 可同時按日收取依成交價（含落槌價、服務費）1％計算之懲罰 性違約金。本公司亦得自行選擇將買家未付之款項，用以抵銷 本公司或其他關係企業在任何其他交易中欠下買家之款項，買 家絕無異議。 (2) 對任何屬於買家所有而因任何目的(包含但不限於其他交易)而由 本公司管有之已購拍賣品行使留置權，並在給予買家有關其未 付之欠繳之十四天通知後，安排將該物品出售並將收益用以清 償該未付之欠款。 (3) 如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項 用以清償已購拍賣品就任何特定交易而欠下之任何款項，而不 論買家是否指示用以清償該筆款項。 (4) 在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆競投保證金。如買家 未有在三十五天內付款，本公司除上述辦法外，另有權為下述 一項或多項權利或補救辦法： 248

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

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

TRANSACTION AGREEMENT The following provisions are entered into by and between Ravenel Ltd., as the auctioneer, (hereinafter referred to as the “Company”),and the Seller (hereinafter referred to as the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Prospective Buyer, the Buyer should pay special attention to Article 2, Section 5 which provides limitations as to the legal responsibilities of the Company.

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

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

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

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

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

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

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

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

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

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

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

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

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

3.

graphs 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 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.

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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 puntive damage for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company's sole decision.

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

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

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

(4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a bidding deposit from the Buyer before accepting any future bids from him/her/it. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned: (a) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any 250

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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.

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.

Return of Payments for Counterfeits or stolen goods The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit or stolen goods, or involved in obvious illegality by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields. b. Or the method used to prove that the Lot is a counterfeit or stolen goods is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he/she considers the relevant auction item a counterfeit or stolen goods.

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

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

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

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