現代與當代藝術 Modern and Contemporary Art

AUTUMN AUCTION 2021 TAIPEI

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羅芙奧台北 2021 秋季拍賣會 現代與當代藝術

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

地點

2021年12月5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11月13日（六）上午11:00至下午6:00 2021年11月14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11月20日（六）下午1:00至下午6:00 2021年11月21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12月2日（四）~ 4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, December 5, 2021, 2:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan PREVIEWS Kaohsiung Saturday, November 13, 2021, 11:00am - 6:00pm Sunday, November 14, 2021, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan Taichung Saturday, November 20, 2021, 1:00pm - 6:00pm Sunday, November 21, 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, December 2 - Saturday, December 4, 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

林恒如 Nina Lin 藝術部業務助理 Sales Assistant, Art Department

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

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

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

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

目次 CONTENTS

9

羅芙奧秋季拍賣會

Sale Information 12

羅芙奧之服務

Ravenel Services 15

藝術家索引

Index 16

現代與當代藝術

Modern and Contemporary Art 226

給予買家的重要通知

Important Notice to Buyers 229

委託競投表格

Absentee Bid Form 231

業務規則

Transaction Agreement

14

藝術家索引 INDEX A

Virgil Abloh 維吉爾・阿伯拉赫

B

BABA Toshiro 馬塲稔郎 295 MR. BRAINWASH (Thierry Guetta) 洗腦先生（泰瑞・庫塔） 276 Hebru Brantley 赫布魯・布蘭特里 307 Bernard BUFFET 貝爾納・畢費 220

C

CAI Guo-Qiang CHANG Teng-yuan CHEN Wei-Ting Kila CHEUNG CHIU Ya-tsai CHOI So Young CHUANG Che CHU Teh-chun COMBAS Robert

蔡國強 張騰遠 陳威廷 章柱基 邱亞才 崔素榮 莊喆 朱德群 羅伯・貢巴斯

286 202-204 205 363 266 251 269 222, 335, 337 247

Mr Doodle

塗鴉先生

Mr Doodle/Dr Scribble

塗鴉先生

238-243, 245, 246, 322, 323, 361 244

Alex Face Shepard Fairey Jason Freeny Futura FU Alixe Akihiro FUJIMOTO

Alex Face 謝帕德・費爾雷 傑森・佛瑞尼 Futura 傅慶豊 藤本明洋

355 340 359 325 271 309

Ai HAIBARA Adam HANDLER Yuichi HIRAKO HSIAO Chin HSIEH Hsiao-De HSU Yu-jen HUANG Alien Poren Huang HUNG Yi

灰原愛 亞當・漢德勒 平子雄一 蕭勤 謝孝德 許雨仁 黃鴻升 黃柏仁 洪易

296, 297 345 209, 212, 357 259 293 292 201 306 304, 305

J

JU Ming

朱銘

265, 301-303, 364-366

K

KAWS (Brian Donnelly) KAWS ( 布萊恩・唐納利 ) Izumi Kato 加藤泉 KEA KEA ( 蔡孟達 ) Ayako KITA 北彩子 Satoru KOIZUMI 小泉悟

D F

H

L

LONG Chin-san Lung Kasing LY

郎靜山 龍家昇 LY

290, 291 311 310

M

MADSAKI Eddie MARTINEZ Tomokazu Matsuyama Daido Moriyama Mr. Takashi MURAKAMI

MADSAKI 艾迪・馬丁內斯 松山智一 森山大道 Mr. 村上隆

314 277 315 329-331 227, 320, 321 326, 328, 333, 341

N

Tomoko NAGAI Moe NAKAMURA Yoshitomo NARA

長井朋子 中村萌 奈良美智

Kohei NAWA Kunihiko NOHARA

名和晃平 野原邦彥

208, 211 347-352 218, 233, 252-255, 273, 346 248 308

O

Taku OBATA Akio OHMORI

小畑多丘 大森曉生

272, 324, 356 300

P

PANG Jiun César Piette

龎均 塞薩・皮耶特

258, 264 358

R

RAN In-ting Ayako ROKKAKU

藍蔭鼎 六角彩子

268 217, 232, 257

S

Rieko SAKURAI Chiharu SHIOTA Kazuo SHIRAGA SHIY De-jinn

櫻井理惠子 塩田千春 白髮一雄 席德進

279 230, 274, 275, 312, 313 334 288

T

Osamu TEZUKA Walasse TING Yoshimasa TSUCHIYA TZENG Yong-Ning

手塚治虫 丁雄泉 土屋仁応 曾雍甯

339 260-262, 278, 289 234, 298, 299 285

V

Ronald Ventura

羅納德・溫圖拉

250

W

Walt Disney Studios 華特迪士尼影業集團

X

XUE Song

薛松

280, 281

Y

Mayuka YAMAMOTO YAMAGUCHI Meguru YANG Mao-lin YANG San-lang YANG Chihung YAO Jui-chung YUAN Jai

山本麻友香 山口歷 楊茂林 楊三郎 楊識宏 姚瑞中 袁旃

214-216, 342-344 210 267 270 283 284 282

Z

ZAO Wou-ki ZHOU Chunya

趙無極 周春芽

223, 224, 332, 336 221, 263

328

Miwa KOMATSU Yayoi KUSAMA

小松美羽 草間彌生

LI Chen LIU Ye

李真 劉野

249, 360 317 206, 207 294 229, 235, 316, 353, 354, 362 213, 318, 319 219, 225, 226, 231, 236, 237, 256, 327 228 287

338

201

Alien HUANG (Taiwanese, 1983 - 2020)

黃鴻升 人類 666

Human 666

綜合媒材 紙本

Mixed media on paper 48 x 43 cm Signed on the frame Alien

簽名畫框：Alien

This lot is to be sold with a certificate of authenticity issued by Anderson Art Auction Co., Ltd.

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000

16

48 x 43 cm 附安德昇藝術拍賣有限公司開立之原作保證書

202

CHANG Teng-Yuan (Taiwanese, b. 1983)

Parrotman - 027 2020 Acrylic on board 40(L) x 13(W) x 3.5(D) cm Signed on the reverse Chang Teng Yuan, titled Parrot Man - 27 and dated 2020 This lot is to be sold with a certificate of authenticity signed by the artist.

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000 張騰遠 鸚鵡人 - 027 2020 壓克力 木板 40(長) x 13(寬) x 3.5(厚) cm 簽名畫背：Chang Teng Yuan 2020 Parrot Man - 27 附藝術家簽名之作品保證書

203

CHANG Teng-Yuan

張騰遠

(Taiwanese, b. 1983)

消失的畫

Disappearing Painting

2020

2020 Plastic, acrylic, wooden box, mining tool set, edition no. 1/20 27(L) x 27(W) x 60.2(H) cm (wooden box) 13(L) x 16(W) x 43.5(H) cm (sculpture) 4.5 x 5.5 cm (disappearing painting) Signed on the reverse Chang Teng-yuan in English

木箱：27(長) x 27(寬) x 60.2(高) cm

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

by Neptune Gallery.

NT$ 150,000 - 240,000 HK$ 42,000 - 67,000 US$ 5,400 - 8,600 RMB 35,000 - 56,000 18

特調塑料 壓克力 木箱 挖掘工具組 1/20 雕塑：13(長) x 16(寬) x 43.5(高) cm 胸口隱藏繪畫：4.5 x 5.5 cm 簽名後背：Chang Teng-yuan 附涅普頓藝術有限公司開立之作品保證書

204

CHANG Teng-Yuan

張騰遠

(Taiwanese, b. 1983)

最後的鸚鵡人晚餐

Last Parrotman's Supper

2021

2021 Acrylic on canvas 120 x 120 cm Signed on the right edge Chang Teng Yuan in English and titled on the left edge #Parrot Man.

120 x 120 cm

NT$ 220,000 - 440,000 HK$ 61,000 - 123,000 US$ 7,900 - 15,800 RMB 51,000 - 103,000

壓克力 畫布 簽名右側：Chang Teng Yuan 題識左側：#Parrot Man

205

CHEN Wei-Ting (Taiwanese, b. 1991)

One Day I Will Gone Like You Sleeping With An Ocean 2019 Acrylic, color pencil on canvas 81 x 68 cm Signed on the reverse Chen Wei Ting in Chinese and dated 2019

NT$ 120,000 - 220,000 HK$ 34,000 - 61,000 US$ 4,300 - 7,900 RMB 28,000 - 51,000 陳威廷 我終將如你一般與海同眠 2019 壓克力 彩色鉛筆 畫布 81 x 68 cm 簽名畫背：陳威廷 2019

當今話題性十足的90後台灣藝術家陳威廷以童趣的繪畫、雕塑、寫詩的方式展現對生活的體會。他由生活當中汲 取創作靈感，創造出極具象徵性的經典角色。蠟燭狗為藝術家於服兵役期間創作給其母親的作品。搖曳的燭火照亮 黑暗外，卻總有一天也會消逝，彷如生命中許多事情於沒有預測的情況下消逝。陳威廷透過精粹生活中的經驗並將 其圖像化，留給觀者體現出記憶中的共感情緒。 Nowadays upcoming and young Taiwanese artist Chen Wei-Ting, who was born in the 90s, is full of topicality. He expresses his experience of life through childlike paintings, sculptures, and poems. His inspiration was drawn from life and created a very symbolic classic character. Candle Dog is made in dedication for his mother during his military service. The flickering candlelight illuminates the darkness, but one day it will also disappear, as if many things in life fade away without a hint. Chen Wei-Ting employs the quintessential life experience and then visualises it, leaving the viewers to incarnate the sympathetic emotion in memory.

Happy Birthday, 2019, polystone, 14 x 15 x 29 cm, Ed. 33

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206

KEA (TSAI Mengda)

KEA (蔡孟達)

(Taiwanese, b. 1980)

傻瓜龐克

Punk Penguin

2010

2010 Bronze, edition no. 2/8 42(L) x 32(W) x 67(H) cm Signed on the tail KEA, numbered 2/8 and dated 2010

42(長) x 32(寬) x 67(高) cm

NT$ 110,000 - 220,000 HK$ 31,000 - 61,000 US$ 3,900 - 7,900 RMB 26,000 - 51,000 22

銅雕 2/8 簽名尾巴：KEA 2010 2/8

207

KEA (TSAI Mengda)

KEA (蔡孟達)

(Taiwanese, b. 1980)

淬鍊的強悍-猛瑪象

Mammoth

2009

2009 Acrylic on canvas 162 x 130 cm

162 x 130 cm

NT$ 220,000 - 320,000 HK$ 61,000 - 89,000 US$ 7,900 - 11,500 RMB 51,000 - 75,000

壓克力 畫布

208

Tomoko NAGAI

長井朋子

(Japanese, b. 1982)

糖粉落下的日子

Power Sugary Day

2015

2015 Watercolor, color pencil, ink, collage and glitter on paper mounted on panel 50.5 x 65.5 cm Signed on the reverse Tomoko Naga, titled Power Sugary Day in Japanese and dated 2015

50.5 x 65.5 cm

PROVENANCE

Tomio Koyama Gallery, Tokyo

NT$ 190,000 - 280,000 HK$ 53,000 - 78,000 US$ 6,800 - 10,100 RMB 44,000 - 65,000 24

水彩 彩色鉛筆 墨水 拼貼 亮片紙本裱於木板 簽名畫背：砂糖粉の降る日 2015 Tomoko Nagai 來源

小山登美夫畫廊，東京

209

Yuichi HIRAKO (Japanese, b. 1982)

平子雄一 Pattern of Grain 15

Pattern of Grain 15

2016

2016 Acrylic on canvas 46 x 38 cm Signed on the reverse

46 x 38 cm

This lot is to be sold with certificate of authenticity issued

by J.P. Art center

NT$ 220,000 - 380,000 HK$ 61,000 - 106,000 US$ 7,900 - 13,600 RMB 51,000 - 89,000

壓克力 畫布 簽名畫背 附琢璞藝術中心開立之原作保證書

210

Meguru YAMAGUCHI (Japanese, b. 1984)

山口歷 RD 25

RD 25

2018

2018 Acrylic, epoxy resin on wood 42(L) x 75.5(W) x 2(D) cm Signed on the reverse MEGURU, titled RD 25 and dated 2018

42(長) x 75.5(寬) x 2(厚) cm

NT$ 400,000 - 600,000 HK$ 112,000 - 168,000 US$ 14,400 - 21,500 RMB 93,000 - 140,000

26

壓克力 樹酯 木板 簽名背面："RD25" MEGURU 2018

211

Tomoko NAGAI

長井朋子

(Japanese, b. 1982)

雪國孩子

The Snow Child-Girl

2011

2011 Oil, glitter on canvas 162 x 131 cm Signed on the reverse Tomoko Naga, titled The Snow Child-Girl in Japanese and dated 2011

162 x 131 cm

PROVENANCE

Tomio Koyama Gallery, Tokyo

NT$ 460,000 - 550,000 HK$ 128,000 - 154,000 US$ 16,500 - 19,700 RMB 107,000 - 128,000

油彩 亮片 畫布 簽名畫背：雪ん子ガ一ル 2011 Tomoko Nagai 來源

小山登美夫畫廊，東京

212

Yuichi HIRAKO (Japanese, b. 1982)

Tree House 7 2013 Acrylic on canvas 80 x 100 cm Signed on the reverse YH, titled Tree House 7 and dated 2013 This lot is to be sold with a certificate of authenticity signed by the artist and issued by Yiri Arts

NT$ 600,000 - 800,000 HK$ 168,000 - 223,000 US$ 21,500 - 28,700 RMB 140,000 - 186,000 平子雄一 樹屋 7 2013 壓克力 畫布 80 x 100 cm 簽名畫背：YH 2013 Tree House 7 附伊日藝術計畫開立及藝術家親筆簽名之原作保證書 畢業於英國溫布頓藝術學院的平子雄一，生長於林木繚繞的日本岡山縣。 以「植物系列」著稱，源於他在英國留學的時光於倫敦當地風行人造庭 園，而深刻感受到都市人喜愛人造景觀的矛盾感。 《樹屋 7》頭部換成樹木的樹人為平子雄一創作中的經典元素，樹屋前的 聖母雕像照應著樹屋上的心型倒影，暗示著婚姻的神聖與純潔。平子雄一 作品中的場景，乍看之下彷彿流連於超現實的夢境之中，其實是藝術家日 常生活所見的延伸，透過故事性的表現手法，將繪畫與現實加以連結，帶 領觀者步入藝術家勾勒的自然世界。 Yuichi Hirako, who graduated from Wimbledon College of Arts in the UK, grew up in Okayama Prefecture, Japan, surrounded with forests. Known as his “Plant Series” which comes from his time when he was studying in the UK, where the man-made gardens were popular in London, and he deeply felt a sense of contradiction among the urbanite with their love for artificial landscapes. In “Tree House 7” where the tree man’s head is replaced with a tree, is a classic motif in Hirako's creation. The statue of the Virgin in front of the tree house responds with its heart-shaped reflection, hinting the sacredness and purity of marriage. The scenery in Hirako's work seems to linger in a surreal dream at first glance, they are actually an extension of what the artist observes in daily life. Through the application of story-like expression techniques, the painting and reality are therefore connected, guiding the viewers to enter the natural world outlined by the artist.

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213

Miwa KOMATSU (Japanese, b. 1986)

Wind of Dragon 2017 Acrylic on canvas 60.5 x 72.5 cm Signed on the reverse Komiwa in English Miwa KOMATSU in Chinese character and dated 2017 This lot is to be sold with a certificate of authenticity issued by Whitestone Gallery, Hong Kong.

NT$ 750,000 - 1,400,000 HK$ 209,000 - 391,000 US$ 26,900 - 50,300 RMB 175,000 - 326,000 小松美羽 龍風 2017 壓克力 畫布 60.5 x 72.5 cm 簽名畫背：Komiwa 小松美羽 2017 附白石畫廊開立之原作保證書

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214

Mayuka YAMAMOTO (Japanese, b. 1964)

Red Lamb 2008 Oil on canvas 162 x 130.5 cm Signed on the reverse Mayuka Yamamoto in English, titled Red Lamb and dated 2008

NT$ 1,300,000 - 2,200,000 HK$ 363,000 - 615,000 US$ 46,700 - 79,000 RMB 303,000 - 513,000 山本麻友香 紅羔羊 2008 油彩 畫布 162 x 130.5 cm 簽名畫背：Red Lamb Mayuka Yamamoto 2008

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215

Mayuka YAMAMOTO (Japanese, b. 1964)

Bear in Forest 2009 Oil on canvas 162 x 130 cm Signed on the reverse Mayuka in English, titled Bear in forest and dated 2009

NT$ 1,600,000 - 2,600,000 HK$ 447,000 - 726,000 US$ 57,500 - 93,400 RMB 373,000 - 606,000 山本麻友香 森林裡的熊 2009 油彩 畫布 162 x 130 cm 簽名畫背：Bear in forest Mayuka 2009

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216

Mayuka YAMAMOTO (Japanese, b. 1964)

And the Boat Ships on 2010 Oil on canvas 145.5 x 227.3 cm Signed on the reverse Mayuka and dated 2010 EXHIBITED

Mayuka Yamamoto, Gallery TSUBAKI, Tokyo, November 6th, 2010 - November 27th 2010.

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

NT$ 1,900,000 - 2,800,000 HK$ 531,000 - 782,000 US$ 68,200 - 100,500 RMB 443,000 - 653,000 山本麻友香 船漂流著 2010 油彩 畫布 145.5 x 227.3 cm 簽名畫背：Mayuka 2010 展覽

「山本麻友香」，椿畫廊，東京， 展期自2010年11月6日至2010年11月27日 附樁畫廊開立之原作保證書

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217

Ayako ROKKAKU (Japanese, b. 1982)

Little Girl and Baby Elephant 2008 Acrylic on canvas 101 x 153 cm Signed lower right Ayako Rokkaku in Japanese and dated 2008 PROVENANCE

Ravenal Auction, Taipei, December 4, 2011, lot 172 Private collection, Asia

NT$ 2,600,000 - 4,800,000 HK$ 726,000 - 1,341,000 US$ 93,400 - 172,400 RMB 606,000 - 1,119,000 六角彩子 女孩與小象 2008 壓克力 畫布 101 x 153 cm 簽名右下：2008 ロッカクアヤコ 來源

羅芙奧拍賣，台北，2011年12月4日，編號172 私人收藏，亞洲

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218

Yoshitomo NARA (Japanese, b. 1959)

Untitled 2008 Mixed media on paper (Envelope) 22.5 x 16 cm ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume1, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. D-2008-157, p. 286

NT$ 6,000,000 - 9,000,000 HK$ 1,676,000 - 2,514,000 US$ 215,400 - 323,200 RMB 1,399,000 - 2,098,000 奈良美智 無題 2008 綜合媒材 紙本 (信封) 22.5 x 16 cm 圖錄

《奈良美智作品全集第二冊》，編年出版社，舊金山，2011， 彩色圖版，編號D-2008-157，頁286

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219

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

真夏的波

The Waves of Midsummer

1988

1988 Acrylic on canvas 45.5 x 38 cm Signed Yayoi Kusama, titled The Wave of Midsummer in Japanese on the reverse and dated 1988

45.5 x 38 cm

壓克力 畫布 簽名畫背：Yayoi Kusama 1988 真夏の波 附草間彌生工作室開立之作品登錄卡

This lot is to be sold with a registration card issued

by Yayoi Kusama Studio.

NT$ 9,000,000 - 15,000,000 HK$ 2,514,000 - 4,190,000 US$ 323,200 - 538,600 RMB 2,098,000 - 3,497,000

無限的網創作的啟發

猶如回到了與藝術家共同身處烈日曝曬的年代—當年那個

原點，除了出自長年

真夏的波。

困擾草間彌生的精神 疾病，更來自於當年 藝術家遠赴紐約時於 飛機航班上所看到的 太平洋，進而將海面 網 絡來回波動、無限 擴張的概念，自腦海 中不斷延伸到畫布之 上。這也是我 們今 天能在她的作品中， 見到大量以日本漢字 十歲的草間彌生 Kusama at the age of ten, 1939 © YAYOI KUSAMA

「波」（即水面）命 名畫作 的由來。 此 件由草間彌生於1988

年所創作的《真夏的波》，以藝術家最為擅長的 色澤之 一－紅黑配色構成作品的全貌，並以此作為對於盛夏海洋 的回憶。 若我們將有如火一般炙熱的顏色比喻為盛夏， 那滿佈畫面的密集粗黑線條 則代表了因潮汐潮起潮落， 不甚平靜的海洋表面。同時，在黑色潮汐的下方，仍覆蓋 上一層由黑色細線構成的「無限的網」，層疊的細膩構圖 不但為畫面帶來多層次的視覺感受，其反覆交疊的波紋更 令人不禁感到目眩。 在這個念頭於大腦中升起的當下，

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The origin of the infinite network of creations stems not only from the mental illness that has plagued Yayoi Kusama for many years, but was also inspired from a concept that the artist saw the Pacific Ocean on the flight when she traveled to New York, and then fluctuated and expanded the sea network. From the mind to the canvas: this is also the reason why we can see a lot of paintings in Japanese kanji “wave” (ie water surface) in her works today. This piece was created by Kusama Yayoi in 1988, “The Wave of Midsummer”, which is comprised entirely of the most popular colors of the artist - red and black, and is used as a memory for the midsummer ocean. If we compare the colors of the hot and the hot to the midsummer, the dense black lines of the full picture represent the surface of the ocean which is turbulent due to the tides. An “unlimited net” composed of black thin lines covers the black tide. The layered fine composition brings not only a multi-level visual experience to the picture, but the overlapping ripples are even more awe-inspiring. The moment this thought rises in the brain, it is like returning to the era when the artist was exposed to the sun – the wave of the midsummer.

220

Bernard BUFFET (French, 1928 - 1999)

Bateaux au Mouillage 1973 Oil on canvas 89.5 x 130.5 cm Signed upper left Bernard Buffet and dated 1973 PROVENANCE

Galerie Sévignés Vichy, France Private collection, Europe Aguttes Auction, France, October 23, 2017, lot 55 Private collection, Asia This lot is recorded in the Maurice Garnier Archives under No. AE.67

貝爾納．畢費 錨泊的船隻 1973 油彩 畫布 89.5 x 130.5 cm 簽名左上：Bernard Buffet 1973 來源

Galerie Sévignés 維希，法國 私人收藏，歐洲 Aguttes拍賣，法國，2017年10月23日，編號55 私人收藏，亞洲 此作品記錄於莫里斯 賈尼耶畫廊檔案中，編號 No. AE.67

NT$ 10,000,000 - 20,000,000 HK$ 2,793,000 - 5,587,000 US$ 359,100 - 718,100 RMB 2,331,000 - 4,662,000

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The Ultimate Style B e r n a r d

極盡的風采

B u f f e t

貝爾納．畢費

1928年生於巴黎，成長於布列塔尼海岸，喜愛生物學，

《錨泊的船隻》屬畢費70年代的經典港口主題，呈現畢費

貝納. 畢費生性細膩敏感，學業上的困難，無法阻擋旁人

對於大自然的熱愛及豁然之心境。

發覺他卓越的藝術天賦。1948年畫作《飲酒的人》展出 於杜胡安．大衛畫廊並後來輾轉為巴黎市立美術館收藏。 同年，藝術家知遇伯樂畫商：大衛與賈尼耶簽下代理合 約，更獲得「藝評獎」從此一炮而紅。1955年僅27歲的 畢費，被當時的《藝術鑑賞雜誌》選為「戰後十大最傑出 藝術家」之首。1958年舉辦第一次回顧展時，更被媒體 譽為「法國寫實主義繪畫的接班人」。一位害羞生澀的青 年，從此蛻變為鎂光燈追捧的天才藝術家。 畢費以黑色線條勾勒的繪畫，具有強烈的個人風格，向來 能撼動人心，不少藝術家包括臺灣的前輩畫家席德進都曾 受到他的影響。日本收藏家更尊他為法國藝術的宗教，為 他建造美術館。他的創作大多屬系列，並多重複主題、角 色、意象與題材。1958年與貝爾傑分手後畢費去南法聖 托佩度假散心，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，他卸下壓力、回歸 自然，潛心創作一系列港口城鎮和船隻主題。本季敬獻之

「他畫了一個個泊滿帆船和輪船的法國港口，畫面非常的 細緻，留下一幅幅精心製作的畫布。在他的城堡裡，有一 個空間廣闊的圖書館，能夠容納象徵大航海時代的巨大遊 艇模型，高聳的桅杆甚至比布菲本人還有高。後來，布菲 也回憶 ：『從來未有過一段比畫《船》系列更高興的時 光。』」── 尼克．福克斯《貝納爾．畢費─超級現代 藝術家的創造》 《錨泊的船隻》為1970年初藝術家對港口城市和船隻景 象描繪的重要系列作品中的一部分。水平如鏡的海面照映 著靜止的船隻。藍綠色海水與船隻倒影交叉的著色手法把 觀者帶入的海灣，船舶似乎在微風下左右輕蕩搖曳， 舷 與水波激起漣漪水花，作者通過巧妙佈局將構圖和重複 出現的海景元素，讓觀者的視角生動活躍。雲層密布的天 空似乎預示著一場即將到來的風雨，帆船微盪於豐盈的海 面，十足顯現年輕畫家心境上的愉悅和澎湃。 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 後又被貶為中產階級對昔日過度商業化的象徵，這些經歷 造就了畢費戲劇性的人生故事。畢費十五歲進入知名的法 蘭西藝術院，求學時代也在畫家納伯恩的工作室見習。畢 費曾經加入反抽象主義團體「見證人」，在抽象主義開 始主導藝術圈時，極力擁護表現藝術。畢費藝術生涯產量 驚人，創作多達8000多件；近年各界再度關注畢費的作 品，此次《錨泊的船隻》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。

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

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Born in Paris in 1928, grew up on the coast of Brittany, Bernard Buffet loves biology. Though he encountered difficulties while pursuing academic, along with his delicacy and sensitivity, cannot stop others from discovering his outstanding artistic talent. The 1948 painting“Le Buveur”was exhibited in Galerie DrouantDavid, and later became the collection of Musée d’Art Moderne de la Ville de Paris. In the same year, the artist met his dealers of a lifetime, David and Maurice Garnier, hence signed the agency contract, even awarded with “Prix de la Critique”, from then on got famous almost overnight. In 1955 while Buffet was only 27 years old, he was named as the best out of the top ten post war artists by“Connaissance des Arts”. When his first retrospective exhibition was held in 1958, he was even highly praised by the media as“the successor of French realism painting.”A shy and jerky young man has since then transformed into a talented artist mostly sought after by the limelight.

Buffet applied black outlines in his paintings, which comes with strong personal style, have always been touching. Many artists, including Taiwan predecessor painter Shiy Dejinn, have been profoundly influenced by him. Japanese collectors even accredited him as the paramount religion of French art and built an art museum for him. Most of his creations are in series, with repeated subjects, characters, imagery and themes. 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 return to the nature, devoting himself to concentrate on creating a series with themes such as ports and ships. This autumn presents“Bateaux au Mouillage”, 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 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 “Bateaux au Mouillage”undoubtedly forms part of an important series of his works depicting port cities and ships in the early 1970s. The surface of sea while as flat as the mirror, reflecting the static boats. The crosscoloring technique applied between the bluish- green sea water and the inverted image of boats, leading the viewers to come into the bay. The boats seem to be swaying from side to side under the breeze, the sides of the boats and the waves stir up splashes and ripples. The artist cleverly manipulated the layout in order to crave out the composition, along with repeated seascape, making the perspective of the viewers both vivid and active.

The cloud-covered sky seems to harbinger an upcoming storm, the sailboats swayed slightly on the sea level, showing the artist’s joy and his surging mood.

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 antiabstract 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“Bateaux au Mouillage”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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ZHOU Chunya (Chinese, b. 1955)

Beauty is Like a Fragrant Flower 2011 Oil on canvas 200 x 280 cm Signed lower right ZHOU Chunya in Chinese and English and dated 2011 PROVENANCE

Tang Contemporary Art, Beijing Private collection, Asia

NT$ 34,000,000 - 46,000,000 HK$ 9,497,000 - 12,849,000 US$ 1,220,800 - 1,651,700 RMB 7,925,000 - 10,723,000 周春芽 玉人似花枝 2011 油彩 畫布 200 x 280 cm 簽名右下：2011 周春芽 Zhou Chunya 來源

唐人藝術中心，北京 私人收藏，亞洲

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周春芽雖然深受董其昌、石濤、八大山人及黃賓虹 等中國傳統文人畫家影響，但他認為文人畫的用色 都過於含蓄內斂，於是便加入西方藝術中大膽艷麗 的色彩，表達內心的激情和對旺盛生命的渴求。周 春芽從德國回來後，創作了一系列以花卉為主題的 作品。 周春芽以表現性的筆觸創作了扣動人心的「桃花」 系列，主題從男女情愛關係展開。《玉人似花枝》 描繪桃花盛開的樣子，爛漫妖嬈的花朵彰顯著青春 活力的色彩，芬芳的氣息彷彿要從畫面裡溢出。畫 面中的桃花艷如紅霞，燦如錦繡，散發著怡人的春 日景色。一朵朵粉紅色的桃花綻放枝頭，為園林添 上一片奼紫嫣紅的色彩。嬌豔的花瓣在微風吹動下 微微顫動，顯得格外迷人。桃花的柔弱和枝葉的壯 實形成了明顯的對比，使花朵顯得更為嬌豔。除了 盛開的花朵，畫面上還有含苞待放的花蕾，它們互 相偎依，顯得生機盎然。除了近處怒放的桃花，遠 處還可見到深紅色的花朵群放爭豔，遠近的對比為 畫面提供了更豐富的景深。對於桃花，周春芽有另 一番見解：「桃花色彩曖昧，外圈是白的，中間是 紅的，在中國傳統文化中，桃花和情感、性愛聯繫 得比較緊密，體現生命。走到桃花林裡，我就會心 花怒放，朝氣蓬勃。因為它的紅色，紅得很舒服。 我還畫了很多熱情的紅人，因為人的性愛，情感和 桃花是一樣的，就是生氣勃勃的。」桃花所蘊含的 情感力量，在《玉人似花枝》中隱晦綻放

周春芽《桃花風景系列-湖上豔色》 2006 油彩 畫布 200 x 250 cm 羅芙奧台北2021春季拍賣會，編號245， 成交價：新台幣 TWD 51,840,000 Zhou Chunya, Peach Blossoms Series – Glamorous Lake, 2006 oil on canvas, 200 x 250 cm Ravenel Spring Auction 2021 Taipei, Lot 245, sold price USD 1,851,429

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While unmistakably influenced by traditional literati painters such as Dong Qichang, Shi Tao, Bada Shanren, and Huang Binhong, Zhou’s exploration of traditional themes sought to expand upon existing conventions by incorporating the brash colors and influences of Western artistic movements.

Zhou admits, “I liked the forms…of the literati, but wasn’t satisfied with that overly moderate, introspective character, so I thought up a bold and risky experiment—to use that elegant form to convey violent, even erotic overtones.” With such an experiment in mind, the Peach Blossom series demonstrates Zhou’s aesthetic exploration, imbuing the grace and fluidity of the literati tradition with the power and passion of modern artistic movements.

Taking a subject already replete with significance from mythology and lore, in his Peach Blossom series Zhou augments the inherent symbolism of the peach blossom in his paintings through his striking utilization of color and effect. Zhou describes these flowers as, “in a fluid emotion and mood of colors, flows indulgence of primitive and sincere imaginations. It is the total release of human nature against a grand scene, an explosion of gentle violence.” A reoccurring motif in Chinese, Japanese, and Korean art, peach

blossoms impart connotations of immortality, femininity, fragility, and sensuality.

Beauty Is Like A Fragrant Flower encapsulates the sensual nature of the blossoms, as the delicate shades of pink form an eruption of soft yet commanding color, nearly tangible in depth and elegance. The gently billowing petals seem to dance effortlessly across the canvas, blown by a temperate breeze.

Displaying their fragility against the stiff rough branches, the soft pillows of the blossoms contrast the solidity of the brilliant green leaves. Darker scarlet hues splash across the background, supplying depth and variance, as each bud seems to burst with passion and the forces of nature. Such an example of the series clearly demonstrates Zhou’s spirit in painting the peach blossoms, as he states “the countless hues of red stir up excitement and soothe the soul at the same time…Covertly or overtly, all my work is about sensuality and love, because like the peach blossom, love and eroticism are reverberating with the primeval force of life.” The myriad hues of enveloping pink and passionate red in Beauty Is Like A Fragrant Flower permeate the canvas, radiating the vivacious erogenous nature of the series.

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

Lumière à L'horizon 1990 Oil on canvas 160 x 130 cm Signed CHU TEH-CHUN in English and Chinese, and dated 1990 PROVENANCE

Moon River Fine Art, Taipei Private collection, Asia

NT$ 32,000,000 - 46,000,000 HK$ 8,939,000 - 12,849,000 US$ 1,149,000 - 1,651,700 RMB 7,459,000 - 10,723,000 朱德群 幻化的地平線 1990 油彩 畫布 160 x 130 cm 簽名右下：朱德群 CHU TEH-CHUN 90 來源

雲河藝術中心 私人收藏，亞洲

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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。」 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。 此幅1990年的《幻化的地平線》，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

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 another prominent feature, which is transparent. The slimy oil paints 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.”

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.”

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。 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

This piece, “Lumière à L’horizon” from 1990 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.

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

30.11.67 1967 Oil on canvas 65 x 100 cm Signed lower right ZAO in French and Wou-ki in Chinese Signed on the reverse ZAO in French and titled 30.11.67 PROVENANCE

Collection of E. Steven and Nancy W. Bauer (acquired directly from the artist) Private collection, Asia Ravenal Auction, Taipei, June 6, 2010, lot 147 Private collection, Asia EXHIBITED

Paintings by Zao Wou-ki, San Francisco Museum of Art, San Francisco, May 8 - June 16, 1968

NT$ 40,000,000 - 60,000,000 HK$ 11,173,000 - 16,760,000 US$ 1,436,300 - 2,154,400 RMB 9,324,000 - 13,986,000 趙無極 30.11.67 1967 油彩 畫布 65 x 100 cm 簽名右下：ZAO無極 簽名畫背：ZAO 30.11.67 來源

史提夫與南西．鮑爾收藏（直接得自藝術家本人） 私人收藏，亞洲 羅芙奧拍賣，台北，2010年6月6日，編號147 私人收藏，亞洲 展覽

「趙無極繪畫展」，舊金山美術館，舊金山， 展期自1968年5月8日至6月16日

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趙無極的本名，「無極」兩字取自道教思想，最早出自於老 子《道德經》中以無極稱道表宇宙萬物之恆。身為最具影響 力的華人藝術家之一，趙無極擅長以西方抽象表現型式體現 東方道家哲學思維。他歷經歷史動盪、文化流動，各個時期 畫作轉折豐富。從最早的具象時期、克利式的圖像引領至東 方本質的抒情抽象，趙無極透過對宇宙萬物、人生經歷等細 微的想像與感受，形成東西方藝術概念詮釋的完美精萃。 1970年趙無極的首部傳記在法國正式出版，這項消息標誌 出畫家的藝術成就已獲得肯定。在此之前，法國電視台剛剛 於1969年製播了趙無極的藝術專輯，受日本國立現代美術 館邀請舉辦展覽，加拿大蒙特婁當代美術館亦剛剛舉辦生平 的第二次回顧展，此間各地的展覽邀約不斷。趙無極認為從 1960到1970年十年間的創作已見到具體的成果。而許多藝 術評論家也對趙無極1960年代的抽象畫給予佳評，他的知 名度達到前所未有的佳境。 趙無極融合了中西藝術精粹，他的藝術無論就東西方藝評 家的觀點，皆能認可他不凡的才情。而一位在國際藝壇 能享盛譽的藝術家，他的成功絕非僥倖，偶然。此幅油畫 《30.11.67》完成於1967年秋冬之交，此時趙無極在巴黎 發展已近20年，個人風格已然成熟確立。該作品雖是抽象 畫，然而就其採用的色彩與構成形制來看，令人聯想起大自 然的景色－江海的聯想。近景刷過深棕色，其中層層疊加不 同的色調：墨綠、深藍、淡紫、粉紅，富有變化感，交錯著 許多纖細的線條，表達著畫家深藏內在的情緒。左方的藍 色，成為整幅畫的視覺焦點，提示出那彷若海洋的象徵，大 面積的粉白色像是捲起的海浪，與深棕色相互輝映，一柔一 剛，陰陽調和。畫家運用熟練的色彩鋪陳，細膩而有節奏性 的組合，使觀者欣賞之餘，彷彿聆聽潮音迴盪，予人開闊悠 遠之感，此畫為趙無極1960年代少有的寧靜之作。 Zao’s name in Chinese, Wou-Ki, comes from the Taoist concept of “endless, infinite” - a concept which first appeared in Lao Tzu’s “Tao Te Ching” to define the permanence of the universe. Being one of the most influential Chinese artists of all times, Zao Wou- Ki skillfully reflected the Eastern philosophy of Taoism through the forms of Western Abstract Expressionism.

Having experienced much historical unrest and cultural mobility, he painted works that represent turning points during these transitional periods. From his earlier phase in figurative art, the Klee-style images suggested a lyrical abstraction that was essentially Eastern. Zao perfectly shaped an interpretation of Eastern and Western Art concepts through subtle imagination and his experiences of life, the universe, and more.

In 1970, Zao Wou-ki’s first autobiography published in France, it indicates that the artist’s accomplishment was generally acknowledged by then. Before that, the French television station had just produced and broadcasted a special series of Zao’s art in 1969. Earlier, He was invited by Japan National Museum of Modern Art for an exhibition, held his second retrospective exhibition in his life in Musée d’Art Contemporain, Montreal, there were as well countless invitations from all over the world. Zao thinks that his paintings created during 1960-1970 have received fruitful results. Many art critics also praised his abstract paintings from that period; he acquired enormous fame that he had never expected during that time.

Zao combined the essences from eastern and western arts, In the eyes of no matter eastern or western critics, his paintings are unique and extraordinary. As a world famed artist, his success is never by chance or accidental.

This oil painting, “30.11.67”, was completed sometime in the late fall or early winter of 1967, at a point in Zao’s career when he had lived in Paris for 20 years and found his mature individual style as a painter. While an abstract work, the color and compositional structure of “30.11.67” immediately put the viewer in mind of a dramatic ocean view. The foreground is kept in dark shades of brown, interspersed with subtly blended hues of jasper, Prussian blue, lilac and pink, all applied in layers of delicate strokes that intermingle to form a shifting kaleidoscope of color – a reflection of the artist’s complex mood and innermost emotions. The blue in the left area dominates the canvas with its purer tones and intimations of turquoise and lapis lazuli, drawing the observer’s eye involuntarily to this visual focal point. This only serves, however, to immerse us in the larger image that is fed by the contrast between the blue, white, and brownish areas, each representing different aspects of the sea: its brilliant colors, its foaming waves, and its unfathomable depth. The overall effect is that of a strangely muted and peaceful amalgam of yin and yang - of harsh force and gentle softness - coming to life through Zao’s masterfully applied brushstrokes and expert use of color. Brimming with the powerful rhythm of Mother Nature, “30.11.67” conjures up the sound of the surf in our ears. Our heart opens up, and we experience a sense of calmness in the face of the ocean’s vastness: a glimpse of eternity. Among Zao’s work from the 1960s, this piece stands out as one of his more tranquil pieces.

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

Couple au Paysage Gris 1951 Oil on canvas 54 x 73 cm Signed lower right Wou-ki in Chinese ZAO in French Signed on the reverse ZAO WOU KI in French PROVENANCE

Collection of John Gunther, America E.V.Thaw & Co. New York Private collection, Asia ILLUSTRATED

Catalogue Raisonné des peintures - ZAO WOU-KI Volume I 1935-1958, Françoise Marquet and Yann Hendgen, ed., Flammarion Publishing, Paris, 2019, color illustrated, no. P-0205, p. 122

NT$ 40,000,000 - 60,000,000 HK$ 11,173,000 - 16,760,000 US$ 1,436,300 - 2,154,400 RMB 9,324,000 - 13,986,000 趙無極 在灰色風景中的戀人 1951 油彩 畫布 54 x 73 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU KI 來源

John Gunther 舊藏，美國 E.V.Thaw & Co.，紐約 私人收藏，亞洲 圖錄

《趙無極作品編年集 - 第一冊〈1935-1958〉》 梵思娃・馬凱及揚・亨德根編，Flammarion，巴黎， 2019，彩色圖版 ，編號P-0205，頁122

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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《在灰色風景中 的戀人》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《在灰色風景中的戀人》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。

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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 "Couple au Paysage Gris", 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

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

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.

"Couple au Paysage Gris" 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 literati-painting 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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Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

無限的網 [ BAJO ]

Infinity - Nets [ BAJO ]

2013 壓克力 畫布

2013 Acrylic on canvas 145.5 x 145.5 cm Singed on the reverse Yayoi Kusama, titled Infinity - Nets [ BAJO ] in English and dated 2013

145.5 x 145.5 cm

PROVENANCE

附草間彌生工作室開立之作品登錄卡

簽名畫背：YAYOI KUSAMA INFINITY NETS [BAJO] 2013 來源

私人收藏，亞洲

Private collection, Asia This lot is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 55,000,000 - 70,000,000 HK$ 15,363,000 - 19,553,000 US$ 1,974,900 - 2,513,500 RMB 12,821,000 - 16,317,000 「畫筆下的網紋超越了畫布本身，一直延伸至

appearance of the spiritual world in the artist

牆壁、天花板，最終覆蓋整個宇宙。」無限的

Yayoi Kusama.

網，是藝術家草間彌生，精神世界具體化的一 種樣貌。 「彷彿有種莫名的魔力，纏繞在這永無止盡 的無限的網之上，在令人目不轉睛、不知道 網紋去向的同時，產生了種類似催眠作用的 迷幻效果。」紐約知名藝術品經銷商－碧翠斯 ・佩莉曾在初次看見草間彌生無限的網時， 給予了這樣的盛讚。此件2013年的壓克力彩 《無限的網 [ BAJO ] 》，其雙色調斑點狀網 紋的複製概念，就像是藝術家的代表印記般， 搭配上前衛的藝術表現手法，使草間彌生得以 跨越民族與性別的限制，獨步於當代藝壇之 中。以澄黃構成的畫面，源自於只有藝術家本 身才能察覺到的幻覺，同時進一步地於畫布上 體現了「無限」的視覺效果。「從創作者的觀 點來看，一切都像是賭博，隨著藝術躍向未 知。」就像你找不到何處是此作《無限的網 [ BAJO ] 》的起點般，同樣的你也並不知道， 這幅畫的終點將會是何方。 "The netting under the brush transcends the canvas itself and extends to the wall and ceiling, eventually covering the entire universe." The infinite net is a kind of

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"It seems that there is a kind of inexplicable magic, entangled in this endless network of infinity. The viewer does not know the direction of the net, which produces a psychedelic effect similar to hypnosis." The famous New York art dealer Beatrice Perry gave this kind of praise when he first saw the infinite network of Kusama. "Infinity Nets [ BAJO ]", acrylic on canvas work dated 1998, the concept is that of the reproduction of a two-tone speckled netting, like the artist's representative imprint, paired with avant-garde artistic expression technique, allowing Yayoi Kusama to cross boundaries of nationality and gender. The restrictions are unique among the contemporary art scene. The yellow is derived from an illusion that only the artist herself can perceive, and further reflects the "infinite" visual effect on the canvas. "From the creator's point of view, everything is like gambling, as the art jumps to the unknown." Just as you can't find the starting point of "Infinity - Nets [ BAJO ]", you don't know where the end will be either.

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Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 2010 Urethane paint on fiberglass reinforced plastic 120(L) x 120(W) x 125(H) cm Signed Yayoi Kusama in English and dated 2010 PROVENANCE

Private collection, Asia This lot is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 40,000,000 - 60,000,000 HK$ 11,173,000 - 16,760,000 US$ 1,436,300 - 2,154,400 RMB 9,324,000 - 13,986,000 草間彌生 南瓜 2010 聚氨酯漆 玻璃纖維強化塑膠 120(長) x 120(寬) x 125(高) cm 簽名雕塑：Yayoi Kusama 2010 來源

私人收藏，亞洲 附草間彌生工作室開立之作品登錄卡

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畫布以外，草間彌生還以立體進行創作，把她的南瓜呈現 在感官所能觸及的真實空間，提供多一層次的視覺刺激。 其色彩斑斕的雕塑釋放著強韌的生命力，那沒有全然對稱 的南瓜造型，更能表現出自然的真我；儘管以靜態的形式 出現，但豐盛的生命力並沒有絲毫減退。和現實中葫蘆科 的南瓜品種一樣，草間彌生的《南瓜》雕塑呈扁球狀，褶 曲在表面上形成了高低起伏的接觸面，凹陷處成溝，隆起 處成丘，構成了更豐盈的立體質感。草間彌生以細膩的筆 觸，把密密麻麻的黑點整齊地繪畫在南瓜上，排成列狀的 大小波點形成了細緻的條紋，賦予雕塑極大的感染力，進 一步突顯出南瓜的立體感。 「波點擁有太陽的形狀，是世界和生命力的象徵；它同時 有著月亮的形狀，散發著安寧靜謐的氣息。圓形、柔軟、 色彩斑斕、無知無覺、不可捉摸，波點成了一種運動，是 通往無限的方式。」— 草間彌生 草間彌生的《南瓜》雕塑，捕捉了波爾卡圓點生動而迷離 的本質，她以靈活的結構和佈局，把簡單的南瓜轉化成一 個充滿活力的實體，超越了其性質的界限，此精彩絕倫的 雕塑實為草間彌生最具代表性的立體作品之一。

Leaving the canvas and taking three-dimensional form, Pumpkin brings Yayoi Kusama’s visually stimulating compositions to tangible reality. Carefully sculpted in the asymmetrical imperfection of true life, Pumpkin commands attention and consideration despite its static and deceptively simple nature. Arranged in trooping lines of various size along the swells and valleys of the globular gourd, Kusama’s iconic black dots emphasize the dimensional texture of the sculpture, adding further depth and elevating the form beyond conventional aspect. The spherical nature of the pumpkin’s structure echoes the meticulous stripes of dots, establishing the sculpture as a conceptual emblem of the dot itself.

“A polka dot has the form of the sun,” states Kusama, “which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm.” In Pumpkin, Kusama has captured this sensational essence of the polka dot, reflected in the structure, composition, and pattern of the simple pumpkin, creating a vibrant, living form which exceeds the boundaries of its stationary nature. The current lot stands as a superb and uniquely large example of one of Kusama’s most iconic themes.

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Mr. (Japanese, b. 1969)

A Day When Many Dreams Come True 2016 Mixed media on canvas 280 x 265 cm PROVENANCE

Collection of Djapa, Hong Kong Private collection, Asia EXHIBITED

Sunset in My Heart, Lehmann Maupin, New York, June 23 - August 12, 2016

NT$ 28,000,000 - 40,000,000 HK$ 7,821,000 - 11,173,000 US$ 1,005,400 - 1,436,300 RMB 6,527,000 - 9,324,000 Mr. 夢想成真的一天 2016 綜合媒材 畫布 280 x 265 cm 來源

香港Djapa餐廳舊藏 私人收藏，亞洲 展覽

「我心中的日落」，立木畫廊，紐約，展期自2016年6月23日至8月12日

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The pursuit of the original intention from the innermost being

SHINING HOPE, MR.’S “MOE” ART 追 尋 內 心 的 初 衷 — 閃 耀 希 望 ， M r. 的 「 萌 」 藝 術

如果村上隆是第一個成功把日本次文化帶入當代藝術中的

化中與世無爭的少女樣貌，Mr. 所內藏的本土符號成為獨

藝術家，那身為其首席弟子的 Mr. 更是把「御宅族」文化

樹一幟的標誌性風格。

發揚光大的佼佼者。村上隆提出超扁平美學理論，嘗試挑 戰大眾既有的美學觀點，而Mr. 則把大眾藝術中的動漫形 式推上高峰而大放異彩。Mr. 畢業於東京創形美術學校， 和村上隆合作10來年，已成為Kaikai Kiki中最出名的藝術 家，並在日本、歐洲、美國以及亞洲各地等地舉辦個展，並 成為近年來拍賣市場上討論度極高且獨具風格的藝術家。

從小眾至主流，承載國際化的標誌性風格 ─ 從新普普至超扁平

「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。我認為御宅 族正是以這個方式生活的人群。」─ Mr. Mr. 以誇張式御宅形式成為了拍賣市場焦點，有別於村上 隆多以著名動漫人物「多啦A夢」為創作題材，Mr. 以繽紛 的色彩且充滿正向能量日本卡漫風格的人物造形，將內心 的渴望與幻想具體呈現於創作上。本次秋敬獻 Mr. 大型畫 作《夢想成真的一天》曾展示於香港Djapa餐酒館內，當 時吸引許多藝術迷與收藏家爭相前往朝聖。畫面以金髮頭

在日本，漫畫與動畫等雖被稱做次文化，但實際上卻是壓

髮的女孩為中心，她水汪汪的大眼與粉嫩稚氣的臉龐流露

倒性地含蓋了社會大眾的日常生活，1988至1990年初的

出無比的純真，而周圍圍繞著常見於動漫電玩中的「萌少

日本社會正處於泡沫經濟的狂亂年代中，村上隆、奈良美

女」。Mr. 的創作的核心思想反抗表象和現實，此幅作品

智、矢延憲司等1990年代前後崛起的年輕創作者有對與大

背景元素呈現日本主流次文化的一面及街頭文化，24小時

眾文化直接對應，由海外逆輸入形式在日本受到許多以年

營業及各式招牌標語，採用新普普主義美學風格可見 Mr.

輕人為中心的大眾歡迎。有與大眾文化直接對應，由海外

善於運用對不同題材和圖案。閃著水汪汪大眼的女孩們將

逆輸入形式在日本受到許多以年輕人為中心的大眾歡迎。

「萌」的魅力發揮得更淋漓盡致、青春正盛，同時卻又是

而其中村上隆於1999年提出超扁平美學理論，首次將漫

Mr. 內心中可望而不可即的欲望投射，是一種承載著美好

畫、動畫等文化性力量，成為作為連結美術的重要線路。

理想的想像。Mr. 的作品閃耀著魔法的奇幻時刻，洋溢著

Mr. 的作品充分發揮了日本動漫的精神，特別是其中蘿莉 控和御宅族綺想。常見於動漫電玩中的「萌少女」以標誌 性水汪汪的大眼睛和纖細外貌成為日本次文化中不可捉摸

無邊的熱情與正向能量，充份傳達了青春、可愛又天真無 邪的日式「萌」精神。在充滿殘缺困頓的現實世界，開闢 出一方幻想無邊、充滿活力的夢想世界。

之想像。Mr. 認為純真女孩擁有無比吸引力，而藝術創作 更是一種治療以及對於自身的重新詮釋，讓他從離異的家 庭中恢復過來。他曾經說到：「人們都誤解了我的作品， 以為只是懷舊、可愛，看似日本動漫，但其實我不斷作 畫，是想擺脫那纏繞我靈魂的魔鬼，它隱藏在血管裡，揮 之不去，唯有以繪畫對抗。」自然為御宅族的 Mr. 為了與 世界對話，他加入了西方街頭塗鴉藝術元素，突破過往單 純的少女形象、編織出層次多元且具有強烈敘事性的無邪 樂園，並傳達出一種獨特的視覺語言。在層層疊疊的文化 底蘊中有著強烈敘事性，這完全是出自他條理分明和嚴謹 的態度所精心設計的風格，他自創常見於日本動漫等次文

Lehmann Maupin, New York 紐約立木畫廊

「他的作品包含蘿莉控和御宅族文化的融合，一種無法抗拒的純真世界。」 — 保羅・麥卡錫 ( 美國當代藝術家 ) His work integrates contains between lolicon and otaku culture, an irresistible world of innocence.

— Paul McCarthy (American contemporary artist)

If ever Takashi Murakami is the first artist to successfully bring Japanese subculture into contemporary art, then Mr., as his chief disciple, undoubtedly is the best in carrying forward the "Otaku" culture. Murakami put forward his Superflat aesthetic theory, trying to challenge the existing aesthetic viewpoints of the public, while Mr. pushed the animation in popular art to the pinnacle and radiated. Mr. graduated from the College of Fine Arts in Tokyo and in the ten years collaborated with Murakami, he has then become the most famous artist in Kaikai Kiki. He has held solo exhibitions in Japan, Europe, the United States, and across Asia, as an unique artist, he has been highly discussed in the auction market in recent years.

From niche to mainstream, carrying the iconic style of internationalisation-from Pop Art to Superflat In Japan, although comics and animation are called subcultures, they indeed overwhelmingly engage with the daily life of the general public. From 1988 to the beginning of 1990, Japanese society was in the frantic age of the economic bubble. Young artists who emerged around the 1990s, such as Takashi Murakami, Yoshitomo Nara and Kenji Yanobe etc., directly corresponded with the popular culture, and the form of reverse import from

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overseas was warmly welcomed by many young people in Japan. Among them, Murakami proposed his Superflat aesthetic theory in 1999, for the first time cultural strength, for instance comics and animation, formed an important route in connecting art, since then the otaku culture has even gained worldwide acceptance.

The works of Mr. has given a full play to the spirit of Japanese animation, especially the fancy imagination of lolicon and otaku. The “Moe” young girl often seen in animated video games, her iconic watery eyes and slender appearance has become an elusive imagination in the Japanese subculture. Mr. reckons the innocent girl is extremely attractive, and artistic creation is a kind of therapy and therefore reinterprets oneself, allowing him to recover from a divorced family. He once said, “People have misunderstood my work, thinking that it is just nostalgic, cute and looks like Japanese animation, but in fact, I keep painting in order to get rid of the devil that entangles my soul, they hide in my vein, impossible to escape from, can only confront with paintings. ” Mr., being an otaku, in order to communicate with the world, added the element of western graffiti street art, exceeding the past of just portraying a young girl, but successfully weaving an innocent paradise with multilayers and strongly narrative, and hence conveys a distinctive visual language. The intertwining layers of cultural heritage are so strong in storytelling, they all come from the artist’s well-designed style with a clear

and rigorous attitude. The imagery of an indisputable young girl often seen in anime as Japanese subcultures indeed is the native motif that Mr. built-in and has since then become his iconic style.

“Let go of the current life for the time being, and return to the impression that one can do anything experienced during childhood, so that feeling a sense of happiness. I reckon otaku indeed is this kind of man being living in this way.”-- Mr.

Mr.《無題》 2011 綜合媒材 畫布 145.5 x 112 cm 羅芙奧台北2021春季拍賣會，編號217，成交價：新台幣13,200,000 Mr. , Untitled, 2011, Mixed media on canvas, 145.5 x 112 cm Ravenel Spring Auction 2021 Taipei, Lot 217, sold price USD 471,429

DJAPA 香港，店內一景，林慧菁攝 DJAPA Hong Kong, a view inside the restaurant, photo: Maggie Lin

The images exaggerated with otaku created by Mr. has become the focal point in the auction market, different from Takashi Murakami, who famously employed the anime character “Doraemon” as his creative theme, Mr. applies flourishing colors and creates Japanese animated manga character with style that is full of positive energy, his inner desire and fantasy are therefore vividly expressed on his creation.

This autumn Ravenel proudly presents his large-scale painting "A Day When Many Dreams Come True" was once exhibited in the Djapa restaurant in Hong Kong.

During then, it attracted many art enthusiasts and collectors to visit as pilgrimage. The work is centered on a girl with blonde hair, her big watery eyes and childish face reveal an incomparable innocence, she is also surrounded with other “Moe” young girls commonly seen in animated video games. The core ideology of ​​Mr.'s creation is against representation and reality, the background element of this work presents Japanese mainstream subculture and street culture. Various signboards with slogans as open 24 hours demonstrate the application of the aesthetic style of pop art, evidently displaying his skill when coping with different themes and patterns. The girls with big watery eyes exerted their blooming youth power of “Moe” incisively and vividly, but at the same time is a projection of Mr.’s desire that is totally out of reach, is an imagination that possessed of the ideal of beauty. The work of Mr. shows fantasy moments filling with magic, brimming with boundless enthusiasm and positive energy, fully conveying the youthful, cute and pure of heart Japanese “Moe” spirit. In such an incomplete and troubled real world, opens up a world full of dreams with boundless fantasy and vitality.

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李真涉略佛道學等經典、物外尋真，在藝術作品

LI Chen

的追求上，是以雕塑來傳達東方文化的精神與內

(Taiwanese, b. 1963)

涵。李真以「虛空」為其重要的創作美學概念，

Pure Land

「空」與「虛」是中國文化中佛學及道學的重要

1998

表一個巨大寂靜的生滅智慧境界，在道家思想有

Bronze, edition no. 5/8

兩句話：「虛空粉碎，大地平沉」，就是描述一

130(L) x 41(W) x 75(H) cm

個破與靜的極點狀態，在「易」之中求道。李真

Engraved Li Chen in English and Chinese, numbered 5/8, dated 1998

的雕塑是在探討虛空的能量，但他所表現出的雕

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

塑實體，卻是空於外，道氣入內而充塞，一點也

EXHIBITED

不空，原因是李真再現能量是以一種精神的形

Li Chen in 52nd Venice Biennale – Energy of Emptiness, Telecom Italia Future Centre, Venice, June 10 – November 21, 2007 Li Chen - Mind-Body-Spirit, Singapore Art Museum, Singapore, September 25 December 9, 2009 Greatness of Spirit - Li Chen Premiere Sculpture Exhibition in Taiwan, Chiang KaiShek Memorial Hall / Road of Democracy, Taipei, November 6 - December 4, 2011

式，用誇張、通體漆黑的實體來表現攝人的物質

ILLUSTRATED Li Chen Sculpture 1992-2002, Asia Art Center, Beijing, 2004, color illustrated, pp. 40-42 Li Chen Energy of Emptiness 52nd International Art Exhibition – La Biennale di Venezia, Asia Art Center Co., Ltd., Taipei, 2007, color illustrated, pp. 30–31; black and white illustrated, p. 216 Li Chen: In Search of Spiritual Space, 2008 Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, 2008, color illustrated, p. 194

NT$ 7,000,000 - 9,000,000 HK$ 1,955,000 - 2,514,000 US$ 251,300 - 323,200 RMB 1,632,000 - 2,098,000 李真 無憂國土 1998 銅雕 5/8 130(長) x 41(寬) x 75(高) cm 簽名雕刻：LiChan 5/8 (臀部)，李真 1998 (底座) 展覽

「第52屆威尼斯國際藝術雙年展—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 「李真：精神．身體．靈魂」，新加坡美術館，新加坡，展期自2009年9月25日 至12月9日 「大氣—李真台灣大型雕塑首展」，中正紀念堂─民主大道、兩廳院藝文廣場 (自由廣場)，台北，展期自2011年11月6日至12月4日 圖錄

《1992-2002李真雕塑》，亞洲藝術中心，北京，2004，彩色圖版，頁40-42 《李真—虛空的能量：第52屆威尼斯國際藝術雙年展》，亞洲藝術中心有限公司， 台北，2007，彩色圖版，頁30-31；黑白圖版，頁216 《李真—尋找精神的空間》，亞洲藝術中心，台北，2008，彩色圖版，頁194 附亞洲藝術中心開立之作品保證書 76

思想，佛學中的「空」並不是代表沒有，而是代

精神，但雕塑所傳達確是甜美、浪漫、喜悅與滿 足的精神概念，正因如此，即便他的部分作品巨 大無比，但卻不顯壓迫笨重，似漂浮於空中，令 人有「既重又輕」的感覺，這正是精神能量與物 質能量完美的結合所致。不但如此，李真竟能突 破千年佛教雕塑既有的形式藩籬，轉化唐代佛教 造像的豐厚飽滿，以及宋代俊美秀麗的精神暨形 象特質，將雕塑的開臉與線條減至極簡，並且萃 取中國五千年歷史文化的元素，如中國的仙、 佛、龍、神話、民間故事等，更進一步注入當代 藝術的元素及物件，成功的結合古典與當代，使 其作品呈現一種前所未見的獨特型態及樣貌，賦 予東方雕塑新的生命。 Owing to Li Chen’s rebirth of energy in a spiritual form, the sculpture is highlighted in an exaggerated and lacquered black object to display a sweet, romantic, joyful, and satisfactory spiritual concept. Hence, despite Li’s art is in gigantic form, but never heavy but flowing in the sky to transmit a “heavy and light” feeling, and a perfect fusion of spiritual energy and material energy. Li Chen’s art, determined to break from the traditional thousand-year religious Buddhist formality of its structures, results in transforming Tang Dynasty’s Buddhist round and complete figurative sculpture and the Song Dynasty’s beautiful spirit and unique characteristics into simplistic sculpture’s smiling face and lines.

In addition, Li obtains the cultural elements from the 5000 years of Chinese history, such as spirits, Buddha, dragon, fables, and legends, blending contemporary artistic elements and materials into fusion of tradition and modernity.

Hence, Li’s work displays an unprecedented unique style and panorama to endow the Eastern sculpture with a new life.

229

Satoru KOIZUMI (Japanese, b. 1983)

Animal Human - Giraffe 2014 Wood, pigment, resin, polychrome 33(L) x 33(W) x109.5(H) cm Signed on the back KOIZUMI This work is to be sold with a certificate of authenticity issued by AKI Gallery

NT$ 2,600,000 - 3,600,000 HK$ 726,000 - 1,006,000 US$ 93,400 - 129,300 RMB 606,000 - 839,000 小泉悟 動物人 - 長頸鹿 2014 木雕 顏料 樹脂 33(長) x 33(寬) x 109.5(高) cm 簽名後側：KOIZUMI 附也趣藝廊開立之作品保證書

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Chiharu SHIOTA (Japanese, b.1972)

State of Being (Book) 2017 Metal frame, book, red thread 45(L) x 45(W) x 80.5(H) cm Signed lower right CS inner frame on the reverse PROVENANCE

Private collection, Asia

NT$ 3,200,000 - 4,800,000 HK$ 894,000 - 1,341,000 US$ 114,900 - 172,400 RMB 746,000 - 1,119,000 塩田千春 存在的狀態(書) 2017 金屬 圖籍 紅線 45(長) x 45(寬) x 80.5(高) cm 簽名右後：CS 來源

私人收藏，亞洲

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231

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkins (Yellow, Red, Green) (a set of 3) 1998 Resin, edition no. 11/30 9.5 (L) x 9 (W) x 8.5 (H) cm (each) Signed on the bottom YAYOI KUSAMA in English, numbered 11/30 (each)

NT$ 1,900,000 - 2,600,000 HK$ 531,000 - 726,000 US$ 68,200 - 93,400 RMB 443,000 - 606,000 草間彌生 南瓜 (黃、紅、綠) (一組三件) 1998 樹脂 11/30 9.5(長) x 9(寬) x 8.5(高) cm (每件) 簽名底部：Yayoi Kusama 11/30 (每件)

82

232

Ayako ROKKAKU (Japanese, b. 1982)

Untitled (ARLV18-02) 2018 Acrylic on Louis Vuitton suitcase 81(L) x 52(W) x 18(H) cm Signed on the reverse Rokkaku in Japanese and dated 2018 PROVENANCE

Gallery Delaive, Amsterdam Private collection, Asia This work is to be sold with a certificate of authenticity issued by Gallery Delaive

NT$ 1,600,000 - 2,600,000 HK$ 447,000 - 726,000 US$ 57,500 - 93,400 RMB 373,000 - 606,000 六角彩子 無題 (ARLV18-02) 2018 壓克力 LV行李箱 81(長) x 52(寬) x 18(高) cm 簽名後方：2018 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 附德萊夫畫廊開立之作品保證書

84

233

Yoshitomo NARA (Japanese, b. 1959)

Sleepless Night Sitting 2007 Fiberglass, edition no. 196/300 15(L) x 16(W) x 30(H) cm (sculpture) 36(L) x 26(W) x 24(H) cm (box) EXHIBITED

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

Yoshitomo Nara + graf, A to Z, FOIL Co.,Ltd., Tokyo, Japan, 2006, unpaginated.

Yoshitomo Nara, The Complete Works 1984 - 2010, Bijutsu Shuppan Sha, Tokyo, Japan, 2011, color illustrated, p. 314 (another edition illustrated) Yoshitomo Nara: The Complete Works Volume 2, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. E-2007-001, p. 314 This lot is to be sold with a certificate of authenticity and a wooden box.

NT$ 1,300,000 - 2,400,000 HK$ 363,000 - 670,000 US$ 46,700 - 86,200 RMB 303,000 - 559,000 奈良美智 失眠夜坐著 2007 玻璃纖維 196/300 15(長) x 16(寬) x 30(高) cm（人物） 36(長) x 26(寬) x 24(高) cm（箱子） 展覽

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

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

86

234

Yoshimasa TSUCHIYA (Japanese, b. 1977)

Phoenix 2019 Wood, crystal, polychrome 40(L) x 10(W) x35(H) cm Signed on the bottom Yoshimasa Tsuchiya Signed on box phoenix in Chinese dated 2019 and Yoshimasa Tsuchiya with the artist’s seal.

NT$ 950,000 - 1,800,000 HK$ 265,000 - 503,000 US$ 34,100 - 64,600 RMB 221,000 - 420,000 土屋仁応 鳳凰 2019 樟木 水晶 彩色 40(長) x 10(寬) x 35(高) cm 簽名腳底：土屋仁応 簽名木盒：鳳凰 2019 土屋仁応 鈐印木盒 土屋仁応

88

235

Satoru KOIZUMI (Japanese, b. 1983)

White Bear 2018 Wood, pigment, resin 42(L) x 53.5(W) x 61.5(H) cm Signed on the reverse KOIZUMI This lot is to be sold with a certificate of authenticity issued by Aki Gallery

NT$ 750,000 - 1,200,000 HK$ 209,000 - 335,000 US$ 26,900 - 43,100 RMB 175,000 - 280,000 小泉悟 白熊 2018 木雕 顏料 樹脂 42(長) x 53.5(寬) x 61.5(高) cm 簽名雕刻：KOIZUMI 附也趣藝廊開立之作品保證書

236

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

南瓜

Pumpkin

1998

1998 Resin, edition no. 18/30 13.5(L) x 13(W) x 10(H) cm Signed on the bottom Yayoi Kusama, numbered 18/30 and dated 1998

13.5(長) x 13(寬) x 10(高) cm

PROVENANCE

Phillips, Hong Kong, November 26, 2011, lot 81 Private collection, Asia

NT$ 850,000 - 1,600,000 HK$ 237,000 - 447,000 US$ 30,500 - 57,500 RMB 198,000 - 373,000 90

樹脂 18/30 簽名底部：1998 Yayoi Kusama 18/30 來源

富藝斯，香港，2011年11月26日，編號81 私人收藏，亞洲

237

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

南瓜（五件一組）

Pumpkins (a set of 5)

2002

2002 Porcelain, edition no. 13/130 8(L) x 8(W) x 9(H) cm (each) Signed on the bottom Yayoi Kusama in English, dated 2002 and numbered 13/130 (each) Signed inside the box Yayoi Kusama in English and dated 2002 (each)

8 (長) x 8 (寬) x 9 (高) cm (每件)

NT$ 650,000 - 1,300,000 HK$ 182,000 - 363,000 US$ 23,300 - 46,700 RMB 152,000 - 303,000

瓷器 13/130 簽名底部：Yayoi Kusama 2002 13/130（每件） 簽名盒蓋底：Yayoi Kusama 2002（每件）

92

Never set a limit,

MR DOODLE’S DOODLING RHAPSODY 從不設限，Mr Doodle 的塗鴉狂想曲

「我的動機一向是創造一種通用的即興塗鴉語言，吸引來自世界各地的人們， 並與他們接軌」 — Mr Doodle

英 國 鬼 才 藝 術 家 Mr Doodle 憑 藉

塗鴉風格展現了他塗鴉藝術的另一面貌。藉由 Dr Scribble 人格

一 隻 麥 克 筆， 以 密 鋪 式 的 簡 單 線

形象的塑造，有如「壞小孩搗蛋」的行為，也體現他另一自我

條 塗 鴉 風 靡 全 球。 九 歲 開 始 其 藝

的狂想曲。

術 生 涯， 有 著 鮮 明 的 個 人 風 格， Mr Doodle 充 滿 英 式 嬉 皮 及 幽 默

即興塗鴉，再創經典

也令他坐擁無數粉絲。若現場觀看 藝 術 家 的 即 興 創 作， 必 定 會 對 他

Mr Doodle 稱 他 的 風 格 為「 義 大 利 麵 式 塗 鴉 」( Graffiti

從 來 流 暢 地 一 筆 畫 而 感 到 驚 奇。

Spaghetti )，以顛覆傳統塗鴉的構圖，用線條填滿每一吋能創

Mr Doodle 以 當 代 流 行 元 素 或 是

作的空間。他的作品色彩鮮艷、線條簡潔、希望觀眾透過他的

日常生活經驗為靈感，在他的塗鴉

視角，以輕鬆幽默的方式看待藝術家所要傳達的訊息。在他

世 界 中 千 奇 百 怪 的 人 物 與 符 號、

的塗鴉世界中，這些隨筆誕生的角色栩栩如生。他創造了一

個個獨一無二，亦滿足了觀者的異想，為 Mr Doodle 的塗鴉

種全新的視覺現象，即興揮筆充滿標誌性的一筆畫以不斷增

世界中編織出生動幻想與故事，在想像中感受藝術家所帶來

長地密集字符、物體和圖案，展現出了他的宇宙觀。2019 年

的樂趣。

Mr Doodle 更取材一系列改造世界名畫的塗鴉創作，重新演繹

翻攝自藝術家 Instagram

他形容自己的作品為「強迫性塗鴉」唯一解藥就是盡情創作，

那些藝術史中的名家作品。

靠著對塗鴉如同強迫症一般的熱愛，對任何可以拿到的物體都

此 次 拍 品 大 尺 幅 精 彩 塗 鴉 作 品《 火 》 屬 於 Mr Doodle「 宇

做塗鴉，並用塗鴉紙貼滿了他的臥室。他很快地創造了一種全

宙」、「生命」系列。古希臘哲學家亞理斯多德所說構成宇

新的視覺現象：標誌性的「Doodle Land」（塗鴉樂），密集

宙的四種元素：Earth、Water、Air 和 Fire，而生物生命所需

的符號、物體和圖案不斷地增長和繁殖，展現出了他的宇宙觀。

要的四種元素為土壤、水、空氣和陽光。橘色代表《火》，

他的風格經常被形容成是「塗鴉義大利麵」，他的創作不僅入

另有《水》( 藍色 )、《氣》( 紫色 )、《土》( 綠色 )，Mr Doodle

侵了畫布，還入侵了家具、書、地鐵站和服飾等，並創造了一

將四元素形象化，以他獨特的視角詮釋物質世界的重要基本構

個不斷擴展的世界，裡面充滿了各種新奇好玩的事物。2018

成。萬物由火而生，而火永遠處於變化之中。Mr Doodle 匯

年，他在首爾 Ara Art Center 舉辦了「Doodle World」大型個

聚於各種關於火的幽默元素，噴火的恐龍、火山、營火以及火

展，其後並跨界與三星、PUMA、Fendi 等品牌聯名合作，成

花等等，喚醒童年腦海中的幻想朋友，亦可發現他塗鴉中的故

為近年紅遍全球、炙手可熱的新一代藝術家。

事性且傳遞著自身情感和充滿樂趣的世界觀。《睡蓮 Doodles

「創作這一系列作品的過程充滿樂趣，我希望能讓觀眾透過我 的視角，以輕鬆詼諧的方式看待藝術，從中取樂。」 — Mr Doodle

1》為 Mr Doodle 於 2019 年亮相於香港的名畫系列，取材自 印象派中最具代表性的莫內「睡蓮」系列，睡蓮靈感來自莫 內自家花園美景，藝術家透過柔和明亮的色彩，呈現夏季睡蓮 池中生機盎然的風貌。莫內以睡蓮為主題，共繪製 250 幅畫

本季敬獻一系列標誌性的一筆畫作品外，亦有 Mr Doodle 早期

作，是他晚年最具代表性的作品。而睡蓮主題轉化為 Doodle

Dr Scribble 時 期 作 品，Dr Scribble 最 早 出 現 在 2016 年 於 倫

式一筆畫風格，佈滿了各色海中或幻想中的小生物，在一遍

敦舉辦的個展「Attention Seeker」中。更於 2017 在 IG 創建

綠意盎然中點綴幾抹灼灼紅花，如淡綠綴枝卻又妙趣橫生，

了以 Dr Scribble 為名的帳戶，獨立於 Mr Doodle 發表作品為

Mr Doodle 以他獨特且新穎的個人視角重新詮釋了屬於他自己

Mr Doodle 邪惡孿生兄弟，以黑底白線為基，可愛又有些邪惡

的塗鴉藝術。

My motivation has always been to create a universal improvisational graffiti language to attract people from all over the world and hence connect with them.

— Mr Doodle

British talented artist Mr Doodle wins enormous

full of novelty and fun. In 2018, he held a large-scale

popularity across the world by creating with his marker

solo exhibition "Doodle World" at the Ara Art Center

densely laying out simple graffiti lines. He started

in Seoul, and later collaborated with brands such

his artistic career at the age of nine and has such an

as Samsung, PUMA, Fendi etc., he became a new

extraordinary personal style. His English hippie and

generation artist who have gained popularity all over

humor enabled him to attract countless fans. If one

the world and numerous fans in recent years.

ever watches his live improvisation, the viewers must be amazed at his never repeated one-stroke painting.

Mr Doodle is inspired by either contemporary pop elements or daily life experience, in his graffiti world, his weird characters and symbols are distinctively unique and fully satisfy the whimsical viewers, the vivid fantasy weaved in his graffiti brings the joy with imagination.

"The process of creating this series of works is full of fun. I hope that the audience can look at art through my perspective in a relaxed and humorous way, and make fun of it." — Mr Doodle This autumn presents a series of Mr Doodle works.

In addition to a series of iconic one-stroke works, there are also works from the early Mr Doodle period

He described his work as "compulsive graffiti" and

created in the name of Dr Scribble. Dr Scribble first

the only antidote is to create as much as he can,

appeared in the solo exhibition "Attention Seeker"

relying on his love of graffiti as obsessive-compulsive

held in London in 2016. He even created an IG

disorder, he painted any objects that he could get

account under the name of Dr Scribble in 2017 and

and filled his bedroom with graffiti. He quickly created

published works independent from Mr Doodle,

a brand-new visual phenomenon: the iconic "Doodle

positioning as his evil twin brother. Based on the

Land", with his dense symbols, objects and patterns

black background and lines in white, the cute and

keep reproducing and multiplying, demonstrating his

somewhat evil graffiti style shows another facet of

view of the universe. His style is often described as

his graffiti art. Through the shaping of Dr Scribble's

"Graffiti Spaghetti", his creation is not only applied

personality image, sort of like a "naughty kid making

on canvas, but also furniture, books, subway stations

trouble" behavior, which also reflects the rhapsody of

and clothing etc., he created an ever-expanding world

his other self.

翻攝自藝術家 Instagram

94

IMPROMPTU GRAFFITI, RECREATION OF CLASSICS Mr Doodle calls his style "Graffiti Spaghetti" subverting the traditional graffiti composition and filling every inch of creative space with lines. His works have bright colors and simple lines, through his perspective, he hopes that the audience can look upon the message he wants to convey in a relaxed and humorous way. In his graffiti world, his characters are vivid. He created a brand-new visual phenomenon, improvised brushstrokes are so iconic with everincreasing and densely layout of characters, objects and patterns, demonstrating his view of the universe. In 2019, Mr Doodle created a series of graffiti which transformed from the world's famous paintings, reinterpreting the works from those masters in art history.

Another wonderful large-scale work "Fire" forms one of the elements from Mr Doodle's "Universe" series. The ancient Greek philosopher Aristotle once said there are four elements which make up the universe: Earth, Water, Air and Fire, which are indeed the same four elements needed for biological life: Soil, Water, Air and Sunlight. Mr Doodle created a series of works in 2019 exactly based on these four elements, where "Fire" is visualised in orange, "Water" obviously is in blue, “Air" is depicted in purple and finally "Earth" is represented in green. Mr Doodle visualises and reinterprets these four crucial yet basic components of the material composition in the world from his unique perspective. All things are made out of fire, yet which is always in the midst of change.

"Fire" integrates various humorous elements about fire, such as fire-breathing dinosaurs, volcanoes, campfires and sparks etc., awakening the imaginary friends once lively appeared in one’s mind during childhood, and also can discover the storytelling narrative in his graffiti, conveying his own emotions and a funfilled worldview. "Water Lily Doodles 1" forms part of the series of Mr Doodle's famous paintings that first appeared in Hong Kong in 2019. It is based on the most iconic work in Impressionism, the series of "Water Lilies" from Monet. The water lilies are inspired by the beautiful landscape of Monet's own garden, through the application of soft and bright colors, the artist presents the lively and vibrant water lily pond during summer. Under the theme of water lilies, Monet made a total of 250 paintings, which are the most representative works in his later years. The water lily theme is transformed into a Doodle-style one-stroke graffiti painting, the canvas is decorated with small creatures in various colors either under the pond or in pure fantasy, adorned with a few burning red flowers among the greenery landscape. Mr Doodle reinterprets his own graffiti art through his unique and novel personal perspective.

238

239

Mr Doodle

Mr Doodle

(British, b. 1994)

(British, b. 1994)

Untitled -12

Untitled -30

2017 Marker pen on paper 38 x 56 cm

2017 Marker pen on paper 25.5 x 33 cm

EXHIBITED

EXHIBITED

Roy’s People Art Fair, Candid Arts Trust, London, September 14 - 17, 2017

Roy’s People Art Fair, Candid Arts Trust, London, September 14 - 17, 2017

This lot is to be sold with a certificate of authenticity issued by Roy’s people

This lot is to be sold with a certificate of authenticity issued by Roy’s people

NT$ 90,000 - 180,000 HK$ 25,000 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000

塗鴉先生

塗鴉先生

無題 12

無題 30

2017

2017

麥克筆 紙本

麥克筆 紙本

38 x 56 cm

25.5 x 33 cm

展覽

展覽

「Roy's People Art Fair」，Candid Arts Trust，倫敦，

「Roy's People Art Fair」，Candid Arts Trust，倫敦，

展期自2017年9月14日至9月17日

展期自2017年9月14日至9月17日

附Roy's people開立之原作保證書

附Roy's people開立之原作保證書

96

240

Mr Doodle

塗鴉先生

(British, b. 1994)

哭泣的山（一筆畫）

Mountain Cry

2018

2018 Acrylic on canvas 30 x 30 cm Signed on the reverse MOUNTAIN CRY MR DOODLE! 2018

30 x 30 cm

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

NT$ 150,000 - 280,000 HK$ 42,000 - 78,000 US$ 5,400 - 10,100 RMB 35,000 - 65,000

壓克力 畫布 簽名畫背：MOUNTAIN CRY MR DOODLE!2018 附藝術家親筆簽名之原作保證書

241

Mr Doodle

塗鴉先生

(British, b. 1994)

少女豐唇

Lady Lips

2018

2018 Acrylic on canvas 25.5 x 20.5 cm Signed on the reverse Mr Doodle!, titled Lady Lips and dated 2018

25.5 x 20.5 cm

PROVENANCE

Sinit Co, Ltd, Korea

NT$ 190,000 - 280,000 HK$ 53,000 - 78,000 US$ 6,800 - 10,100 RMB 44,000 - 65,000 98

壓克力 畫布 簽名畫背：LADY LIPS MR DOODLE! 2018 來源

SINIT Co, Ltd，韓國

242

Mr Doodle

塗鴉先生

(British, b. 1994)

蝸牛派對

Snail Party

2018

2018 Acrylic on canvas 25.4 x 30.4 cm Signed on the reverse SNAIL PARTY MR DOODLE! dated 2018

25.4 x 30.4 cm

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

NT$ 200,000 - 300,000 HK$ 56,000 - 84,000 US$ 7,200 - 10,800 RMB 47,000 - 70,000

壓克力 畫布 簽名畫背：SNAIL PARTY MR DOODLE! 2018 附藝術家親筆簽名之原作保證書

243

Mr Doodle (British, b. 1994)

The Vets 2018 Acrylic on canvas 50.8 x 20.3 cm Signed in the reverse THE VETS MR DOODLE! 2018 This lot is to be sold with a certificate of authenticity signed by the artist.

NT$ 300,000 - 400,000 HK$ 84,000 - 112,000 US$ 10,800 - 14,400 RMB 70,000 - 93,000 塗鴉先生 獸醫 2018 壓克力 畫布 50.8 x 20.3 cm 簽名畫背：THE VETS MR DOODLE! Dated 2018 附藝術家親筆簽名之原作保證書

100

244

Mr Doodle/Dr Scribble

塗鴉先生

(British, b. 1994)

貪食蛇

Snake

2018

2018 Acrylic on canvas 51 x 51 cm Signed lower right DR SCRIBBLE!

51 x 51 cm

NT$ 420,000 - 550,000 HK$ 117,000 - 154,000 US$ 15,100 - 19,700 RMB 98,000 - 128,000

壓克力 畫布 簽名右下： DR SCRIBBLE!

245

Mr Doodle (British, b. 1994)

Fire 2019 Acrylic on canvas 200 x 200 cm Sign lower right MR DOODLE! PROVENANCE

Anzai Gallery, Tokyo Private collection, Asia EXHIBITED

Art Fair Tokyo, Anzai Gallery, Tokyo, March 7 - 10, 2019

NT$ 5,500,000 - 8,000,000 HK$ 1,536,000 - 2,235,000 US$ 197,500 - 287,300 RMB 1,282,000 - 1,865,000 塗鴉先生 火 2019 壓克力 畫布 200 x 200 cm 簽名右下：MR DOODLE! 來源

Anzai 畫廊，東京 私人收藏，亞洲 展覽

「東京藝術博覽會」，Anzai Gallery，東京，展期自2019年3月7日至3月10日

102

246

Mr Doodle (British, b. 1994)

Water Lily Doodles 1 2019 Acrylic on canvas 100 x 100 cm Sign on the reverse MR DOODLE! and dated 2019 EXHIBITED

Mr Doodle Invades Sotheby’s, Sotheby’s S2 Gallery, Hong Kong, December 6 -19, 2019 ILLUSTRATED

Mr Doodle Invades Sotheby’s, Sotheby’s, Hong Kong, 2019, color illustrated, no.27, pp. 65-66

NT$ 2,400,000 - 3,400,000 HK$ 670,000 - 950,000 US$ 86,200 - 122,100 RMB 559,000 - 793,000 塗鴉先生 睡蓮 Doodles 1 2019 壓克力 畫布 100 x 100 cm 簽名畫背：MR DOODLE! 2019 展覽

「Mr Doodle 逆襲蘇富比」，蘇富比S2藝術空間，香港， 展期自2019年12月6日至12月19日 圖錄

《Mr Doodle 逆襲蘇富比》，蘇富比，2019，彩色圖版， 編號27，頁65-66

104

247

Robert COMBAS

羅伯．貢巴斯

(French, b. 1957)

無題

Untitled

1986

1986 Acrylic on printed fabric collage on canvas 80 x 90 cm Signed lower right Combas and dated 1986

80 x 90 cm

壓克力 印花布拼貼於畫布 簽名右側：Combas 1986

NT$ 1,500,000 - 2,600,000 HK$ 419,000 - 726,000 US$ 53,900 - 93,400 RMB 350,000 - 606,000

羅伯•貢巴斯生於法國里昂，是法國1980年代引領自由具

c'est du rock). It is easy to see that he would excel in them

象派繪畫運動（La Figuration Libre）的藝壇寵兒，他是

as both activities allow him to express his imaginations

位多才多藝的藝術家、雕塑家、詩人、音樂人。那怕是走

wildly and spontaneously. For Combas who just turned

了音的吉他，貢巴斯依然能熱愛音樂的玩得盡興，他也曾

the age of sixty this May, there' re mere traces on the

表示「他的畫就是搖滾樂」。今年五月剛滿花甲之年的貢

appearances, and as seen above, his avant-garde minds

巴斯僅僅是外觀上多了些歲月的痕跡，但他新穎的思維和

with unconventional styling reveals the mischievous and

前衛的裝扮反映出了充滿活力且俏皮的一面。因為善於求

energetic side of him. Combas is continuously evolving

新求變，不斷地進化，因而造就了持續創新且引人注目的

and in search of new inspirations, as a result, his creations

題材。

are rich and innovative.

1980年代，因應人們嚮往於更自由的生活價值和社會現

In the 1980s, as people seek for freedom of expressions

象，自由具象派繪畫藝術就此誕生。貢巴斯則是透過人為 中心，透過黑色粗曠線條和突出的雙眼，繪出他對世界的 見解。因為貢巴斯的工作室位於巴黎北站附近的巴貝斯， 每天圍繞在多元種族及外來文化的環境中，無論是非洲明 亮的服飾或是誇張的日本漫畫、佛教圖騰或是回教信仰， 全都轉成他取得靈感養分的根基。其色彩鮮明的作品時而 充斥著怵目驚心的暴力，時而露出幽默風趣的表象嘲諷著 當今的社會，但是它們不約而同地透露著一個訊息，就是 應該擁抱如此多樣且多元化的社會。

as their core values, the result of this social phenomenon gave birth to the rise of La Figuration Libre. Combas draws inspirations from his surroundings, and often depicts various kinds of people as his centre theme; he uses bold black contour lines and protruding eyes to depict the world he sees. The studio of Combas was situated at Barbés near the Gare du Nord of Paris, an area that is surrounded with multi-cultures and ethnicity groups; whether it be the brightly-coloured African

Robert Combas was born in Lyon, France. Combas was

clothing, exaggerated Japanese comics, or Buddhist

the leader of La Figuration Libre movement of the 80s in

influences and Muslim beliefs, they all turned into the

France, and is regarded as one of the most prolific artists

resourceful inspirations base for Combas. Some of his

of today. Combas is a multi-talented artist in painting,

works are filled with colorful yet violent scenes, sometimes

sculpting, poetry, and music. The amount of energy and

it possesses humorous look as a mockery of the society,

passion Combas has for arts is just the same as for guitar,

whichever it may be, they all send the same message,

as he once said that mine painting is rock (Ma peinture

which is the need to embrace a diverse society we live in.

106

248

Kohei NAWA

名和晃平

(Japanese, b. 1975)

方向 第34號

Direction No.34

2012

2012 Paint on canvas 250 x 200 cm

250 x 200 cm

油漆 畫布

附阿拉里奧藝廊開立之原作保證書

This lot is to be sold with a certificate of authenticity issued by Arario Gallery, Shanghai

NT$ 1,900,000 - 2,800,000 HK$ 531,000 - 782,000 US$ 68,200 - 100,500 RMB 443,000 - 653,000

跨媒介的混種藝術，名和晃平 「創作時，我會用心思考、感受人類與生態系的關係。 人，不能代表整個世界，從事任何活動時，自然應該是 指點迷津的存在。」— 名和晃平 被喻為當代日本最具人氣的藝術家之一的名和晃平其作 品以雕塑為主要創形式，而他最著名的《PixCell》雕塑 系列探討細胞與表層的關係，以現代社會特有的媒材如 玻璃珠、樹脂、熔膠等從事形變等雕塑創作。名和晃平 亦積極從事其他創作形式如影像，更與愛馬仕、Agnès. b等時尚品牌跨界合作。

when engage in any activity, the nature should be the existence which helps to provide the solution."

- Kohei Nawa Known as one of the most popular artists in Japanese contemporary art, Kohei Nawa employs sculpture as the main creative form in his works. His most famous "PixCell" sculpture series explores the relationship between cells and the surface, utilizing media that is so unique in modern society, such as glass beads, resins, melt glues etc., in his creation of deformed sculptures.

Kohei Nawa is also actively engaged in other creative forms such as video, and has also collaborated with fashion brands such as Hermès and Agnès. b.

雕塑創作以外，名和晃平亦積極從事其他創作形式。其 多元創作探索對於虛擬空間和實體空間的感知，他善於 創建複雜而深具活力的結構。「方向」系列為藝術家將 畫布15度旋轉傾斜擺放，15度角為地球自轉角速度，亦 為名和晃平創作之母題。藝術家從旋轉的畫布上方擠出 液態顏料，隨着重力從畫布的頂部邊緣滴落，形成一條 條垂直的線條。創造出名和晃平「方向」獨特的風格。 他這種獨特的創作背景也令其作品橫跨不同媒介，構思 前衛創新且獨樹一幟，並獲得國際上的高度認可。

Cross-media hybrid art, Kohei Nawa "When I create, I will mindfully consider and feel the relationship between mankind and the ecosystem.

Human surely cannot represent the entire world,

108

In addition to sculpture creation, Kohei Nawa is also actively engaged in other creative forms. His diverse creations explore the perception between virtual space and physical site, he is good at creating complex and dynamic structures. In the "Direction" series, the artist rotates the canvas in 15 degree, and this exact degree indeed is the angular velocity of the earth's rotation, which is also the motif of the artist's creation.

The artist squeezed liquid paint from the top of the rotating canvas and dripping from the canvas top edge due to gravity, forming one another vertical lines, creating his unique style of "Direction". His distinctive creative background also enables his works span across different media, conceived avant-garde and innovative, and is highly recognized internationally.

249

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

Untitled 1999 Acrylic on canvas 41 x 41 cm Signed on the reverse KAWS'99

NT$ 1,500,000 - 2,400,000 HK$ 419,000 - 670,000 US$ 53,900 - 86,200 RMB 350,000 - 559,000 KAWS〈布萊恩．唐納利〉 無題 1999 壓克力 畫布 41 x 41 cm 簽名畫背：KAWS"99

110

250

Ronald Ventura

羅納德・溫圖拉

(Filipino, b. 1973)

無題（動物人）

Untitled (Zoomanities)

2015

2015 Oil on canvas 41 x 31 cm Signed lower left Ronald Ventura and dated 2015

41 x 31 cm

NT$ 1,200,000 - 2,200,000 HK$ 335,000 - 615,000 US$ 43,100 - 79,000 RMB 280,000 - 513,000 112

油彩 畫布 簽名左下：Ronald Ventura 2015

251

CHOI So Young

崔素榮

(Korean, b. 1980)

當我更上一層

When I Go Further

2012-2014

2012-2014 Denim on canvas 46.6 x 53 cm Signed on the reverse and dated 2012-2014

46.6 x 53 cm

NT$ 1,200,000 - 2,200,000 HK$ 335,000 - 615,000 US$ 43,100 - 79,000 RMB 280,000 - 513,000

牛仔布 畫布 年代左下：2012-2014 簽名畫背

252

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

走吧

Walk On

2010

2010 Lithograph, edition no. 30/50 42 x 29.5 cm Signed lower right Na in Japanese, numbered lower left 30/50 and dated 2010

42 x 29.5 cm

ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume1, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. E-2010-012, p. 315

NT$ 850,000 - 1,200,000 HK$ 237,000 - 335,000 US$ 30,500 - 43,100 RMB 198,000 - 280,000 114

版畫 30/50 簽名版次下方：な 30/50 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-2010-012， 頁315

253

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

陰天

Haze Day

2002

2002 Print, edition no. 29/35 49 x 38 cm Signed lower right Na in Japanese, dated 2002 and numbered 29/35

49 x 38 cm

ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume1, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. E-2002-004, p. 310 This lot is to be sold with a certificate of authenticity issued by Apex Culture Creative & Art Co., Ltd

NT$ 650,000 - 850,000 HK$ 182,000 - 237,000 US$ 23,300 - 30,500 RMB 152,000 - 198,000

版畫 29/35 簽名版次下方：な 2002 29/35 圖錄

《奈良美智作品全集第一冊》，編年出版社， 舊金山，2011，彩色圖版，編號E-2002-004， 頁310 附中陽文創藝術股份有限公司開立之作品保證書

254

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

向後向前

Backwards Forwards

2012

2012 Woodcut in colours, edition no. 30/50 42 x 29.5 cm Signed lower right Na in Japanese, numbered 30/50 and dated 2012

42 x 29.5 cm

PROVENANCE

Tomio Koyama Gallery, Japan Private collection, Asia

NT$ 1,200,000 - 1,600,000 HK$ 335,000 - 447,000 US$ 43,100 - 57,500 RMB 280,000 - 373,000 116

木刻版畫 30/50 簽名版次下方：な' 2012 30/50 來源

小山登美夫畫廊，日本 私人收藏，亞洲

255

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

糟糕的會議

Bad Meeting

2002-2004

2002-2004 Print, edition no. 13/49 48 x 38 cm Signed lower right Na in Japanese, numbered 13/49 and dated 2002.04

48 x 38 cm

ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume1, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. E-2004-007, p. 313

NT$ 800,000 - 1,600,000 HK$ 223,000 - 447,000 US$ 28,700 - 57,500 RMB 186,000 - 373,000

版畫 13/49 簽名版次下方：な 2002.04 13/49 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-2004-007，頁313

256

Yayoi KUSAMA (Japanese, b. 1929)

Alice’s Adventures in Wonderland Louis Vuitton Deluxe Box Set (a set of 3) 2012 Illustrated book, screen print, and Lambda C-type Print, edition no. 65/111 78 x 55cm (box) 22.5 x 19 cm (book) 36.6 x 29.4 cm (print) 44.1 x 29.4 cm (photo) Signed lower Yayoi Kusama, dated 2012 and numbered 65/111 (print) numbered 65/111 and signed lower Yayoi Kusama (photo) signed on the title page of book Yayoi Kusama (book)

NT$ 400,000 - 800,000 HK$ 112,000 - 223,000 US$ 14,400 - 28,700 RMB 93,000 - 186,000 118

草間彌生 愛麗絲夢遊仙境— 路易威登版畫集（一組三件） 2012 版畫書 65/111 （內含一件版畫，一件照片，一本書） 78 x 55 cm（外盒） 22.5 x 19 cm（書本） 36.6 x 29.4 cm（版畫） 44.1 x 29.4 cm（照片） 簽名下方：Yayoi Kusama 2012、65/111 (版畫) 簽名下方：65/111、Yayoi Kusama (照片) 簽名內頁：Yayoi Kusama (書本)

257

Ayako ROKKAKU

六角彩子

(Japanese, b. 1982)

無題（ARP19-039）

Untitled (ARP19-039)

2019

2019 Acrylic on canvas 60 x 90 cm

60 x 90 cm

PROVENANCE

Gallery Delaive, Amsterdam

NT$ 850,000 - 1,700,000 HK$ 237,000 - 475,000 US$ 30,500 - 61,000 RMB 198,000 - 396,000

壓克力 畫布

來源

德萊夫畫廊，阿姆斯特丹

258

PANG Jiun

龎均

(Taiwanese, b. 1936)

江南古巷

Ancient Alley

2006

2006 Oil on canvas 72 x 60.5 cm Signed lower right Pang Jiun in Chinese and dated 2006.

With one painted seal of the artist

72 x 60.5 cm

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

by GSR Gallery

NT$ 950,000 - 1,200,000 HK$ 265,000 - 335,000 US$ 34,100 - 43,100 RMB 221,000 - 280,000 120

油彩 畫布 簽名右下：龎均 2006 手繪鈐印：均 附由鉅藝術中心開立之原作保證書

259

HSIAO Chin (XIAO Qin)

蕭勤

(Taiwanese, b. 1935)

心中之光

Luce dal Cuore

2006

2006 Acrylic on canvas 110 x 140 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled Luce dal Cuore 110 x 140 cm, acrylic on canvas and dated 2006

110 x 140 cm

NT$ 1,200,000 - 2,200,000 HK$ 335,000 - 615,000 US$ 43,100 - 79,000 RMB 280,000 - 513,000

壓克力 畫布 簽名畫背：Hsiao 勤 2006 心中之光 Luce dal Cuore 110 x 140 cm

260

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

她是塔莉雅，我是戴佛戴爾

She is Dahlia, I am Daffodil

1974

1974 Acrylic on canvas 56 x 76.5 cm Signed on the reverse Ting , titled She is Dahlia, I am Daffodil in English and dated 1974

56 x 76.5 cm

PROVENANCE

Galerie Birch, Copenhagen Private collection, Asia

NT$ 1,300,000 - 2,200,000 HK$ 363,000 - 615,000 US$ 46,700 - 79,000 RMB 303,000 - 513,000 122

壓克力 畫布 簽名畫背：She is Dahlia, I am Daffodil Ting 74 來源

Galerie Birch，哥本哈根 私人收藏，亞洲

261

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

親我，我是白玫瑰

Kiss Me, I am White Rose

1975

1975 Acrylic on canvas 66.5 x 102 cm Signed on the reverse Ting , titled Kiss Me, I am White Rose in English and dated 1975

66.5 x 102 cm

PROVENANCE

Galerie Nord, Randers Private collection, Asia

NT$ 2,200,000 - 3,200,000 HK$ 615,000 - 894,000 US$ 79,000 - 114,900 RMB 513,000 - 746,000

壓克力 畫布 簽名畫背：Kiss Me, I am White Rose Ting 75 來源

Galerie Nord，蘭德 私人收藏，亞洲

262

Walasse TING (Chinese-American, 1929 - 2010)

Love me, Love me not?

1977 Acrylic on canvas 91 x 102 cm Signed on the reverse Ting , titled Love me, Love me not? in English and dated 1977 Spring PROVENANCE

Bruun Rasmussen Auction, Copenhagen Private collection, Asia

NT$ 3,200,000 - 4,200,000 HK$ 894,000 - 1,173,000 US$ 114,900 - 150,800 RMB 746,000 - 979,000 丁雄泉 愛我，還是不愛?

1977 壓克力 畫布 91 x 102 cm 簽名畫背：Love me, Love me not? Spring Ting 77 來源

布魯恩•拉斯穆森拍賣，哥本哈根 私人收藏，亞洲

124

263

ZHOU Chunya

周春芽

(Chinese, b.1955)

黑根

Heigen

1995

1995 Oil on canvas 73 x 61 cm Signed lower right Zhou Chunya in Chinese and dated 1995

73 x 61 cm

EXHIBITED

油彩 畫布 簽名右下：1995 周春芽 展覽

「桃花、山石、綠狗--周春芽精品收藏展」， 寒舍藝術中心，台北，2011

Blooming Flower, Stone, Green Dog: Collection by Zhou Chunya, My Humble House Art Gallery, Taipei, 2011

NT$ 3,200,000 - 4,200,000 HK$ 894,000 - 1,173,000 US$ 114,900 - 150,800 RMB 746,000 - 979,000

1994年朋友送給畫家周春芽一隻叫做「黑根」的德國 牧羊犬，狗與人越熟悉，彼此彷佛都能心領神會，默契 十足。周春芽記憶與黑根相處的點滴︰「牠小時候與我 同睡一床，一起吃飯散步。我畫畫時，它在一旁注視 我。我想，與其畫那些距離遠的東西，還不如畫身邊的 事物。於是，黑根成為我畫中的主角。」黑根很快成為 周春芽的模特兒，是他最鍾愛的繪畫主題之一。 用黑色畫的黑根，更像是書寫畫家的一篇生活日記。黑 根的稟性讓周春芽心情愉悅，幾幅命名為《平頂上玩耍 的黑根》、《跑動的黑根》和《站立的黑根》等畫作， 就表明畫家與愛犬的情感互動。1995年創作的《黑 根》，油畫筆觸如書畫中枯枝山石的皴法，承接了周春 芽1990年代在山石與花卉題材的探索。散開的筆鋒皴 擦、拖曳，交替著順筆、逆鋒、側鋒，使整幅畫面生氣 勃勃，呈現出藝術家心境上的回歸—輕鬆愉快，自然樸 實的心路歷程。 A friend sent Zhou Chunya a German shepherd dog named Heigen as a gift in 1994. The more familiar it became with people, the more understanding it had of people. It seemed that they can understand each other even without saying anything at all. Zhou Chunya recalled some memories of when Heigen and

126

he were together, “When it was a little dog, it slept, walked and had meals together with me. He stayed by my side watching me when I painted. So I would rather paint him that was near me than other things that were far away. So Heigen became the leading actor of my paintings.” And soon Heigen became a model for him and one of his beloved painting subjects.

The black painting of Heigen was more like a diary that showed the artist’s real life. Heigen’s natural disposition made him very happy. Paintings called Heigen Played on the Flat Top, Running Heigen, Standing Heigen and so on showed the emotional connections between the artist and his beloved dog.

Heigen was painted in 1995. The style of painting, which carried on from Zhou Chunya’s exploration of rock and flower subjects in 1990s, was just like the textural stroke of wood and rocks in painting and calligraphy. The scattered strokes are dragging, wrinkling and rubbing, with brush in sequence inverse, and aside, and make the whole painting filled with energy. It shows a return of the artist’s mood an easy and natural journey of the heart filled with pleasure and simplicity.

264

PANG Jiun (Taiwanese, b. 1936)

Plum Blossom 2008 Oil on canvas 91 x 116.5 cm Signed lower right Pang Jiun in Chinese and dated 2008 with one painted seal of the artist ILLUSTRATED

The Art of Pang Jiun, Yan Publishing House & Ming-yang Art Gallery, Hong Kong, 2008, color illustrated, pp. 54-55

NT$ 2,200,000 - 3,200,000 HK$ 615,000 - 894,000 US$ 79,000 - 114,900 RMB 513,000 - 746,000 龎均 春桃 2008 油彩 畫布 91 x 116.5 cm 簽名右下：龐均 2008 手繪鈐印：均 圖錄

《龎均油畫藝術》，壹畫出版社&名揚九洲藝術中心，香港， 2008，彩色圖版，頁54-55

128

265

JU Ming (Taiwanese, b. 1938)

Taichi Series 1993 Wood 44.3(L) x 29.2(W) x 55(H) cm Engraved left side Ju Ming in Chinese and dated '93 This lot is to be sold with a certificate of authenticity issued by Juming Culture & Education Foundation

NT$ 2,200,000 - 3,800,000 HK$ 615,000 - 1,061,000 US$ 79,000 - 136,400 RMB 513,000 - 886,000 朱銘 太極系列 1993 樟木 44.3(長) x 29.2(寬) x 55(高) cm 簽名雕刻左側：朱銘 '93 附財團法人朱銘文教基金會-朱銘美術館開立之作品鑑定報告書

130

266

CHIU Ya-tsai

邱亞才

(Taiwanese, 1949 - 2013)

紳士

Gentleman

油彩 畫布

Oil on canvas 117 x 91 cm Signed lower right CHIU Ya-tsai in Chinese

簽名右下：邱亞才

NT$ 1,100,000 - 2,200,000 HK$ 307,000 - 615,000 US$ 39,500 - 79,000 RMB 256,000 - 513,000 132

117 x 91 cm

267

YANG Mao-lin (Taiwanese, b. 1953)

Lily Memorandum L9305 1993 Oil and acrylic on canvas 194 x 112 cm Inscribed lower center MADE IN TAIWAN in English ILLUSTRATED

Inviting the Immortals - Culture, Intercourse, Tayouan History: Yang Mao-lin, Lin & Keng Gallery, Taipei, 1999, color illustrated, p. 82

NT$ 1,100,000 - 2,200,000 HK$ 307,000 - 615,000 US$ 39,500 - 79,000 RMB 256,000 - 513,000 楊茂林 百合紀事 L9305 1993 油彩 壓克力 畫布 194 x 112 cm 題識下方：MADE IN TAIWAN 圖錄

《請眾仙—文化交配大圓誌：楊茂林》， 大未來畫廊，1999，台北，彩色圖版， 頁82

268

RAN In-ting (Taiwanese, 1903 - 1979)

A View in Front of the Temple 1965 Watercolor on paper 49 x 57 cm Signed lower left In-ting in Chinese, RAN INTING FORMOSA in English and dated 12, 1965 With one seal of the artist.

ILLUSTRATED

Ran In-ting, Chronicle Books LLC, Artistpublishing, 2011, color illustrated

NT$ 850,000 - 1,600,000 HK$ 237,000 - 447,000 US$ 30,500 - 57,500 RMB 198,000 - 373,000 藍蔭鼎 廟前一景 1965 水彩 紙本 49 x 57 cm 簽名左下：蔭鼎 RAN INTING FORMOSA 12, 1965. 鈐印左下：鼎 圖錄

《鄉情．美學．藍蔭鼎》，藝術家出版社，台北，2011，彩色圖版

134

269

CHUANG Che (Taiwanese, b. 1934)

莊喆 作品 84 - 84

Work 84 - 84

1984

1984 Acrylic on canvas 142 x 107.5 cm Signed lower left Chung Che in Chinese Inscribed on the reverse 8484

142 x 107.5 cm

NT$ 700,000 - 1,600,000 HK$ 196,000 - 447,000 US$ 25,100 - 57,500 RMB 163,000 - 373,000 136

壓克力 畫布 簽名左下：莊喆 題識畫背：8484

270

YANG San-lang

楊三郎

(Taiwanese, 1907 - 1995)

海景

Sea Scenery

油彩 畫布

Oil on canvas 50 x 61 cm Signed lower left S.Yang

簽名左下：S.Yang

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

by Fine Art Center

NT$ 500,000 - 1,000,000 HK$ 140,000 - 279,000 US$ 18,000 - 35,900 RMB 117,000 - 233,000

50 x 61 cm 附梵藝術中心開立之原作保證書

271

Alixe FU & École Française du XIXè Siècle

傅慶豊 & 19世紀法國繪畫

(FU Qingli, Ching-Fong) (Chinese-French, b. 1961)

法國賢明王亨利四世畫像

The Portrait of Henry IV (Roi de France)

2012

2012 Oil on canvas 61 x 50 cm Signed lower left Portrait d’Henri IV École Française du XVIIIè Alixe Fu 2012

61 x 50 cm

EXHIBITED

Alixe FU/Sign Me Portraits Métissé, Galerie Marie Vitoux, Paris, June 18 - July 15, 2015 ILLUSTRATED

ART UP LIFE, China, 2014, color illustrated, cover, p.3, p.19 Alixe FU/Sign Me Portraits Métissé, Galerie Marie Vitoux, Paris, color illustrated, pp. 252-253 Alixe Fu’s Anti-Retro Art, Amanda Wei Gallery, 2020, color illustrated, pp. 40-41

油彩 畫布 簽名左下：Portrait d'Henri IV École Française du XVIIIè Alixe Fu 2012 展覽

「臉譜/Sign Me Portraits Métissé」，維都畫廊， 巴黎，展期自2015年6月18日至7月15日 圖錄

《海天盛宴 "獨藝無二" 尊貴生活方式藝術》， 中國，2014，彩色圖版，頁3，19，封面 《傅慶豊 臉譜 / Sign Me Portraits Métissé》， 維都畫廊，巴黎，2015，彩色圖版，頁252-253 《傅慶豊反復古藝術》，魏畫廊，2020， 彩色圖版，頁40-41

NT$ 500,000 - 700,000 HK$ 140,000 - 196,000 US$ 18,000 - 25,100 RMB 117,000 - 163,000 “反復古藝術”系列是傅慶豊在其巴黎梵村的國家畫室中一系列重要又獨特的集 成，作為他33年來研究東西方繪畫質感與油畫修復再創作的專題展出。他在拍賣 會場搶救下來的破舊古典油畫，彷彿自己走過久遠年代的記憶，幾百年破舊不堪 的古典繪畫，經過仔細漫長的清理及修復後重新裱貼在新畫布上再創造。 十年來總共完成“反復古”系列18幅古畫新作，紀念我們這一刻歷史時空中的 「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，喚醒潛意識與表意識的對話；互相依賴呼應也互相拉鋸攪和， 喚起兩個不同世界的靈魂在對談。 The "Anti-Retro Art" series indeed is an important and unique ensemble of Alixe Fu, where he created in his studio located in the French Ministry of Culture, the National Studio of Van Gogh Village in Paris. It served as a special exhibition of his re-creation between his 33 years of research on Eastern and Western painting texture and oil painting restoration. He rescued the wornout classical oil paintings from the auction as if he himself had gone through these ancient memories. The dilapidated classical paintings created more than hundreds of years ago were re-created after careful and lengthy cleaning, restoration and re-mounted on a new canvas.

In the past ten years, Alixe Fu created a total of 18 new works in the "AntiRetro Art" series, commemorating the "stranded" and "pause" conditions in this historical time and space, subverting the beauty of ancient consumerism as beauty has been ruled by demons. The misplaced time and overlapping space awaken dialogues between subconscious and superficial consciousness. They are mutual interdependence in the form of echoing and conflicting with each other, evoking the conversation between the souls from two different worlds.

138

傅慶豊個展於巴黎，維都畫廊，2015年 Alixe FU/Sign Me Portraits Métissé, Galerie Marie Vitoux, Paris, June 18 - July 15, 2015

作品“造訪十字架”(圖右) 搭配一組 12 臉譜桌形成“12 門徒”的裝置藝術，以別樣的方式展示「反復古藝術」，與功 能性傢具的裝置結合，體現藝術回歸生活的理想。 The work "Visiting the Cross" (pictured right) is matched with a set of 12 "A Table Of Hybrid Portraits" to form a "Twelve Apostles" installation art, where "Anti-Retro Art" is exhibited in such a mind-blowing and different way, combining the installation of functional furniture, embody the concept of art with life

272

Taku OBATA

小畑多丘

(Japanese, b. 1980)

無題

Untitled

2020

2020 Mixed Media on paper 56 x 77 cm Signed lower right Taku Obata in English, dated 2020 and numbered lower left 1/1

56 x 77 cm

NT$ 170,000 - 280,000 HK$ 47,000 - 78,000 US$ 6,100 - 10,100 RMB 40,000 - 65,000

140

綜合媒材 紙本 簽名右下：Taku Obata 2020 版次左下：1/1

273

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

無題

Untitled

1997

1997 Marker pen on paper 17.5 x 12.5 cm Signed lower Na in Japanese, and dated 97

17.5 x 12.5 cm

PROVENANCE

Acquired directly form Whitestone Gallery, Taipei

NT$ 260,000 - 380,000 HK$ 73,000 - 106,000 US$ 9,300 - 13,600 RMB 61,000 - 89,000

馬克筆 紙本 簽名下方：な' 97 來源

現有藏家購自於白石畫廊

274

Chiharu SHIOTA

塩田千春

(Japanese, b. 1972)

拍照

Photography

2014

2014 Oil pastek on paper 51 x 38 cm Signed lower left CS.

51 x 38 cm

PROVENANCE

Acquired directly form the artist This work is to be sold with a certificate of authenticity signed by the artist and issued by HdM GALLERY

NT$ 240,000 - 340,000 HK$ 67,000 - 95,000 US$ 8,600 - 12,200 RMB 56,000 - 79,000 142

油畫棒 紙本 簽名左下：CS. 來源

直接得自藝術家本人 附HdM GALLERY開立與藝術家簽名之作品保證書

275

Chiharu SHIOTA

塩田千春

(Japanese, b. 1972)

紅繩

Red String

2014

2014 Oil pastek and thread on paper 40 x 30 cm Signed lower left CS.

40 x 30 cm

PROVENANCE

Acquired directly form the artist This work is to be sold with a certificate of authenticity signed by the artist and issued by HdM GALLERY

NT$ 240,000 - 340,000 HK$ 67,000 - 95,000 US$ 8,600 - 12,200 RMB 56,000 - 79,000

油畫棒 線 紙本 簽名左下：CS. 來源

直接得自藝術家本人 附HdM GALLERY開立與藝術家簽名之作品保證書

276

MR. BRAINWASH (Thierry Guetta)

洗腦先生（泰瑞．庫塔）

(French, b. 1966)

噴漆之愛

Spray Love

2019

2019 Mixed Media on paper 57 x 76 cm Signed lower left Mr. Brainwash

57 x 76 cm

NT$ 280,000 - 360,000 HK$ 78,000 - 101,000 US$ 10,100 - 12,900 RMB 65,000 - 84,000

144

綜合媒材 紙本 簽名左下：Mr. Brainwash

277

Eddie MARTINEZ

艾迪．馬丁內斯

(American, b. 1977)

無題

Untitled

2015

2015 Ink and color pencil on paper 22.9 x 30.5 cm Signed on the reverse MARTINEZ in English, inscribed ink, color pencil and dated 2015

22.9 x 30.5 cm

NT$ 320,000 - 420,000 HK$ 89,000 - 117,000 US$ 11,500 - 15,100 RMB 75,000 - 98,000

墨水 彩色鉛筆 紙本 簽名畫背：MARTINEZ: 2015 ink, color pencil

278

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

藍色女士，紫色女士

Blue lady, Purple lady

1990年代

1990s Acrylic on paper 48 x 60 cm With one seal of the artist

48 x 60 cm

PROVENANCE

Catto Gallery, London This painting is to be sold with a certificate of authenticity issued by Walasse Ting Archive

NT$ 420,000 - 550,000 HK$ 117,000 - 154,000 US$ 15,100 - 19,700 RMB 98,000 - 128,000 146

壓克力 紙本 鈐印左上：採花大盜 來源

卡托畫廊，倫敦 附丁雄泉基金會開立之原作保證書

279

Rieko SAKURAI

櫻井理惠子

(Japanese, 1977 - 2015)

女孩與金魚

Grave of the Goldfish

2009

2009 Oil on canvas 180 x 180 cm

180 x 180 cm

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

by Unseal Contemporary, Tokyo.

NT$ 460,000 - 550,000 HK$ 128,000 - 154,000 US$ 16,500 - 19,700 RMB 107,000 - 128,000

油彩 畫布 附Unseal Contemporary開立之原作保證書

280

XUE Song

薛松

(Chinese, b. 1965)

白馬

The White Horse

2005

2005 Mixed media on canvas 150 x 150 cm Signed lower right Xue Song in Chinese Signed on the reverse Xue Song in Chinese and English, titled White Horse in Chinese, inscribed 150 x 150 cm and dated 2005

150 x 150 cm

NT$ 500,000 - 600,000 HK$ 140,000 - 168,000 US$ 18,000 - 21,500 RMB 117,000 - 140,000 148

綜合媒材 畫布 簽名右下：薛松 簽名畫背：《白馬》150 x 150 cm 薛松 Xue Song 2005

281

XUE Song

薛松

(Chinese, b. 1965)

山水人家

Landscape

2010

2010 Mixed media on canvas 100 x 80 cm Signed lower right Xue Song in Chinese Sign on the reverse landscape in Chinese 100 cm x 80 cm XUE SONG in Chinese and English dated 2010

100 x 80 cm

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

by Leisure Art Center and signed by the artist

NT$ 550,000 - 750,000 HK$ 154,000 - 209,000 US$ 19,700 - 26,900 RMB 128,000 - 175,000

綜合媒材 畫布 簽名右下：薛松 簽名畫背：《山水人家》100 cm x 80 cm 薛松 Xue Song 2010 附悠閒藝術中心開立與藝術家親筆簽名之原作保證書

282

YUAN Jai (Chinese, b. 1941)

Static Bird 2002 Ink and color on silk 66 x 38 cm Signedlower left Yuan Jai in Chinese with the artist's seal EXHIBITED

Yuan Jai’s Solo Exhibition, Eslite Gallery, Taipei, 2005 ILLUSTRATED

Yuan Jai, Eslite Gallery, 2005, Taipei, color illustrated Yuan Jai, My Humble House Art Gallery, Taipei, 2011, color illustrated, pp. 164-165

NT$ 320,000 - 420,000 HK$ 89,000 - 117,000 US$ 11,500 - 15,100 RMB 75,000 - 98,000 袁旃 靜鳥 2002 彩墨 絹本 66 x 38 cm 簽名鈐印左下：壬午年 袁旃 展覽

「袁旃個展」，誠品畫廊，台北，2005 圖錄

《袁旃》，誠品畫廊，台北，2005， 彩色圖版 《袁旃》，寒舍空間，台北，2011， 彩色圖版，頁164-165

150

283

YANG Chihung

楊識宏

(Taiwanese, b. 1947)

自然的循環

Circulation of Nature

1994

1994 Oil on canvas 72.5 x 91 cm Signed on the reverse ChiHung Yang in English, titled Circulation of Nature and dated 1994

72.5 x 91 cm

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

by Impressions Art Gallery

NT$ 260,000 - 360,000 HK$ 73,000 - 101,000 US$ 9,300 - 12,900 RMB 61,000 - 84,000

油彩 畫布 簽名畫背：ChiHung Yang Circulation of Nature 1994 附印象畫廊開立之原作保證書

284

YAO Jui-chung

姚瑞中

(Taiwanese, b. 1969)

恨纏綿 — 蘆洲伴讀圖

Romance: Study Art Together

2009

2009 Ink and color, gold leaf on paper 100 x 70 cm

100 x 70 cm

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

NT$ 220,000 - 320,000 HK$ 61,000 - 89,000 US$ 7,900 - 11,500 RMB 51,000 - 75,000 152

手工 紙本 設色 金箔

附非常廟藝文空間開立之原作保證書

285

TZENG Yong-Ning

曾雍甯

(Taiwanese, b. 1978)

無題

Untitled

原子筆 壓克力 紙本

Ballpoint pen, acrylic on paper 129 x 89 cm

NT$ 220,000 - 320,000 HK$ 61,000 - 89,000 US$ 7,900 - 11,500 RMB 51,000 - 75,000

129 x 89 cm

286

CAI Guo-Qiang (Chinese, b. 1957)

Project for Extraterrestrials No. 8 Reviving the Ancient Signal Towers (9) 1990 Gunpowder and ink on paper 51 x 67 cm Signed upper left CAI GUO QIANG (9) in English, titled PROJECT FOR EXTRATERRESTRIALS NO:8 in English Reviving the Ancient Signal Towers in Chinese.

NT$ 220,000 - 320,000 HK$ 61,000 - 89,000 US$ 7,900 - 11,500 RMB 51,000 - 75,000

154

蔡國強 為外星人作的計畫第八號： 再燃烽火台之九 1990 火藥爆破 水墨 紙本 51 x 67 cm 簽名右上：PROJECT FOR EXTRETERRESTRIALS NO: 8— 再燃烽火台 1990 CAI GUO QIANG (9)

287

LIU Ye

劉野

(Chinese, b. 1964)

莫札特

Mozart

2009

2009 Silkscreen print, edition no. 75/99 52 x 38 cm Signed lower right Ye in Chinese, titled lower center Mozart, numbered lower left 75/99 and dated 2009

52 x 38 cm

EXHIBITED

Chinese Contemporary Edition, My Humble House Art Gallery, Taipei, Feb. 3-29, 2012

NT$ 110,000 - 220,000 HK$ 31,000 - 61,000 US$ 3,900 - 7,900 RMB 26,000 - 51,000

版畫 75/99 簽名右下：野 2009 題識下方：Mozart 版次左下：75/99 展覽

「名家版畫展」，寒舍藝術中心，台北， 展期自2012年2月3日至 2012年2月29日

288

SHIY De-jinn

席德進

(Taiwanese, 1923 - 1981)

風景

Landscape

1970

1970 Watercolor on paper 30 x 40 cm Signed lower right Shiy De-jinn in Chinese and dated 1970

30 x 40 cm

PROVENANCE

Collection of professor Wang, National Taiwan University. (acquired directly from the artist)

NT$ 160,000 - 260,000 HK$ 45,000 - 73,000 US$ 5,700 - 9,300 RMB 37,000 - 61,000 156

水彩 紙本 簽名右下：席德進 1970 來源

國立藝專王企縈副教授收藏 (直接得自藝術家本人)

289

Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

裸女（二件一組）

Nude (a set of 2)

壓克力 紙本

Acrylic on paper 17.5 x 23.5 cm; 15.6 x 23 cm With one seal of the artist on the upper right; with one seal of the artist on the lower left

鈐印右上：採花大盜；鈐印左下：採花大盜

NT$ 110,000 - 220,000 HK$ 31,000 - 61,000 US$ 3,900 - 7,900 RMB 26,000 - 51,000

17.5 x 23.5 cm; 15.6 x 23 cm

290

LONG Chin-san

郎靜山

(Taiwanese, 1892 - 1995)

曉汲清江

Landscape

1934

1934 Ink and color on paper 46 x 37 cm With one seal of the artist

46 x 37 cm

NT$ 120,000 - 180,000 HK$ 34,000 - 50,000 US$ 4,300 - 6,500 RMB 28,000 - 42,000 158

水墨 設色 紙本 鈐印左上

291

LONG Chin-san

郎靜山

(Taiwanese, 1892 - 1995)

松鶴萬年心

Landscape

水墨 設色 紙本

Ink and color on paper 49 x 37 cm Signed upper left titled With one seal of the artist

落款左上：松鶴萬年心靜山集錦

NT$ 90,000 - 180,000 HK$ 25,000 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000

49 x 37 cm 鈐印左上：郎靜山

292

HSU Yu-jen (Taiwanese, b.1951)

Wild Flower Bud 2007 Ink on paper 232.5 x 52 cm Signed and titled on the lower

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 許雨仁 狂花野芽 2007 水墨 紙本 232.5 x 52 cm 簽名題識下方

160

293

HSIEH Hsiao-De

謝孝德

(Taiwanese, b. 1940)

風景

Landscape

2011

2011 Watercolor on paper 79 x 110.5 cm Signed lower left Hsieh Hsiao De in Chinese and dated 2011

79 x 110.5 cm

NT$ 30,000 - 60,000 HK$ 8,000 - 17,000 US$ 1,100 - 2,200 RMB 7,000 - 14,000

水彩 紙本 簽名左下：謝孝德 2011

294

Ayako KITA

北彩子

(Japanese, b. 1981)

蕾絲

Lace

2021

2021 Cypress, acrylic 20(L) x 16 (W) x 35.5 (H) cm Engraves on the bottom KITA AYAKO

20(長) x 16 (寬) x 35.5 (高) cm

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

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 162

檜木 壓克力 簽名雕刻底部：KITA AYAKO 附文京藝術開立之作品保證書

295

BABA Toshiro

馬塲稔郎

(Japanese, b. 1980)

狐假虎威

Fox and Tiger

2010

2010 Wood, lacquer, gold leaf 23.7(L) x 6(W) x 10(H) cm With one painted seal of the artist

23.7(長) x 6(寬) x 10(高) cm

PROVENANCE

Itsuki Art Gallery, Tokyo ILLUSTRATED

Window of Fine Arts November, Tomosha, Japan, 2011, color illustrated, cover

NT$ 90,000 - 180,000 HK$ 25,000 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000

木雕 漆 金箔 簽名手繪鈐印虎皮內部 來源

Itsuki 藝廊，東京 圖錄

《美術之窗 11月號》， 生活の友社，日本， 2011，彩色圖版，封面

296

Ai HAIBARA

灰原愛

(Japanese, b. 1981)

願望和禱告

A Wish and Pray

2011

2011 Wood, acrylic 33(L) x 22(W) x 31(H) cm Singned on the bottom Ai Haibara in English and dated 2011

33(長) x 22(寬) x 31(高) cm

This lot is to be sold with a certificate of authenticity issued by Unseal Contemporary.

NT$ 190,000 - 280,000 HK$ 53,000 - 78,000 US$ 6,800 - 10,100 RMB 44,000 - 65,000 164

木雕 壓克力 簽名底部：Ai Haibara 2011 附Unseal Contemporary開立之原作保證書

297

Ai HAIBARA (Japanese, b. 1981)

Shadow is Falling into Shadows 2013 Camphor, acrylic color, resin fiber, crystal, thread 68(L) x 80(W) x 120(H) cm Singned on the back Ai Haibara in English and dated 2013 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$ 340,000 - 460,000 HK$ 95,000 - 128,000 US$ 12,200 - 16,500 RMB 79,000 - 107,000 灰原愛 掉入陰影的陰影 2013 樟木 壓克力 毛線 樹酯纖維 水晶 繩 68(長) x 80(寬) x 120(高) cm 簽名後方：Ai Haibara 2013 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

298

Yoshimasa TSUCHIYA (Japanese, b. 1977)

土屋仁応 亥(山豬) II

Wild Boar II

2018

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

19(長) x 7(寬) x 12(高) cm

NT$ 360,000 - 500,000 HK$ 101,000 - 140,000 US$ 12,900 - 18,000 RMB 84,000 - 117,000

166

樟木 水晶 彩色 簽名底部：土屋仁応

299

Yoshimasa TSUCHIYA

土屋仁応

(Japanese, b. 1977)

狗

Dog

木 水晶 漆

Wood, crystal, polychrome 15.5(L) x 21(W) x 28(H) cm Signed on the bottom Yoshimasa Tsuchiya

簽名底部：土屋仁応

NT$ 400,000 - 600,000 HK$ 112,000 - 168,000 US$ 14,400 - 21,500 RMB 93,000 - 140,000

15.5(長) x 21(寬) x 28(高) cm

300

Akio OHMORI

大森曉生

(Japanese, b. 1971)

大角羊

Bighorn Sheep

2007

2007 Wood 42(L) x 36(W) x 52(H) cm Sign on the reverse and dated 2007

42(長) x 36(寬) x 52(高) cm

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

by D.B.Factory.

NT$ 420,000 - 650,000 HK$ 117,000 - 182,000 US$ 15,100 - 23,300 RMB 98,000 - 152,000 168

木雕 簽名背面 2007 附D.B.Factory開立之作品保證書

301

JU Ming (Taiwanese, b. 1938)

Living World Series 2005 Wood 12(L) x 10.2(W) x 32.5(H) cm Signed on the bottom JU Ming in Chinese and dated 2005.

NT$ 550,000 - 750,000 HK$ 154,000 - 209,000 US$ 19,700 - 26,900 RMB 128,000 - 175,000 朱銘 人間系列 2005 木雕 12(長) x 10.2(寬) x 32.5(高) cm 簽名雕刻底部：朱銘 2005 附李記創意股份有限公司與藝術家親筆簽名 之原作保證書

302

JU Ming (Taiwanese, b. 1938)

Living World Series 2004 Wood 11.2(L) x 11(W) x 30.7(H) cm Signed on the bottom JU Ming in Chinese and dated 2004

NT$ 550,000 - 750,000 HK$ 154,000 - 209,000 US$ 19,700 - 26,900 RMB 128,000 - 175,000 朱銘 人間系列 2004 木雕 11.2(長) x 11(寬) x 30.7(高) cm 簽名雕刻底部：朱銘 2004 附李記創意股份有限公司與藝術家親筆簽名之原作保證書

170

303

JU Ming

朱銘

(Taiwanese, b. 1938)

人間系列

Living World Series

2009

2009 Stone 26(L) x 33(W) x 28.9(H) cm Engraved on the right side Ju Ming and dated 2009

26(長) x 33(寬) x 28.9(高) cm

NT$ 850,000 - 950,000 HK$ 237,000 - 265,000 US$ 30,500 - 34,100 RMB 198,000 - 221,000

石雕 雕刻簽名右側：朱銘 2009 附真善美畫廊開立之作品保證書

304

HUNG Yi

洪易

(Taiwanese, b. 1970)

小招財貓

Lucky Cat

2011

2011 Baked enamel on steel plate, edition no. 4/9 78(L) x 30(W) x 70(H) cm Signed right hind foot Hung Yi in Chinese, dated 2011 and numbered 4/9

78(長) x 30(寬) x 70(高) cm

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

by Impressions Art Gallery Taipei.

NT$ 550,000 - 750,000 HK$ 154,000 - 209,000 US$ 19,700 - 26,900 RMB 128,000 - 175,000 172

鋼板烤漆 4/9 簽名右後足：洪易 2011 4/9 附印象畫廊開立之作品保證書

305

HUNG Yi

洪易

(Taiwanese, b. 1970)

奔跑兔子

Running Rabbit

2013

2013 Baked enamel on steel plate, edition no. 7/9 68.5(L) x 43(W) x 61(H) cm Singned on the right back Hung Yi in Chinese, dated 2013 and numbered 7/9

68.5(長) x 43(寬) x 61(高) cm

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

NT$ 360,000 - 550,000 HK$ 101,000 - 154,000 US$ 12,900 - 19,700 RMB 84,000 - 128,000

鋼板烤漆 7/9 簽名右後方：洪易 2013 7/9 附印象畫廊開立之作品保證書

306

Poren HUANG

黃柏仁

(Taiwanese, b. 1970)

世界那麼大

Friends

2008

2008 Bronze, baking paint, edition no. 12/30 31(L) x 22(W) x 36(H) cm Engraved on the back PR in English, numbered 12/30 and dated 2008

31(長) x 22(寬) x 36(高) cm

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

by Fish Art Center.

NT$ 300,000 - 480,000 HK$ 84,000 - 134,000 US$ 10,800 - 17,200 RMB 70,000 - 112,000

174

銅雕 烤漆 12/30 簽名雕刻後方：2008 30-12 PR; PR 附秋刀魚藝術中心開立之作品保證書

307

Hebru Brantley (America, b.1991)

赫布魯．布蘭特里 Ultra Lumen OG 燈

Ultra Lumen OG Lamp

2020

2020 Resin, LED light, edition no. 6/100 43(L) x 27.5(W) x 36.5(H) cm

43(長) x 27.5(寬) x 36.5(高) cm

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

NT$ 260,000 - 360,000 HK$ 73,000 - 101,000 US$ 9,300 - 12,900 RMB 61,000 - 84,000

樹脂 LED 燈 6/100 附藝術家簽名之作品保證書及原裝盒

308

Kunihiko NOHARA (Japanese, b. 1982)

Nomi Ho! 2006 Wood, acrylic 38.5(L) x 30(W) x 70.5(H) cm EXHIBITED

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

Have A Good Time !, Gallery UG, Tokyo, 2017, color illustrated, p. 129 This lot is to be sold with a certificate of authenticity issued by Gallery UG, Tokyo.

NT$ 200,000 - 350,000 HK$ 56,000 - 98,000 US$ 7,200 - 12,600 RMB 47,000 - 82,000 野原邦彥 Nomi Ho! 2006 楠木 壓克力 38.5(長) x 30(寬) x 70.5(高) cm 展覽

「Have A Good Time !」，上野之森美術館， 東京，展期自2017年12月24日至2018年1月2日 圖錄

《Have A Good Time !》，Gallery UG，東京， 2017，彩色圖版，頁129 附 Gallery UG 開立之作品保證書與藝術家簽名卡

176

309

Akihiro FUJIMOTO (Japanese, b. 1973)

Shiba Inu 2018 Wood, lacquer, polychrome 20(L) x 15(W) x 51(H) cm Signed on the bottom A Fujimoto

NT$ 100,000 - 190,000 HK$ 28,000 - 53,000 US$ 3,600 - 6,800 RMB 23,000 - 44,000 藤本明洋 柴犬 2018 木雕 漆 彩色 20(長) x 15(寬) x 51(高) cm 簽名底部：A Fujimoto

310

LY

LY

(Japanese)

在去某個地方的路上

On the Way to Somewhere

2020

2020 Print, limited edition of 25 29.5 x 42 cm Signed lower right LY

29.5 x 42 cm

PROVENANCE

Art Can Save Us Gallery, Japan

NT$ 50,000 - 100,000 HK$ 14,000 - 28,000 US$ 1,800 - 3,600 RMB 12,000 - 23,000 178

版畫 限量25件 簽名右下：LY 來源

Art Can Save Us 事務局，東京

311

Kasing Lung (Hong Kong)

龍家昇 拉布布 & Zimomo

Labubu & Zimomo

2021

2021 Print, edition no. 24/50 72 x 52 cm Signed lower left KASING, dated 2021and lower right numbered 24/50

72 x 52 cm

NT$ 50,000 - 100,000 HK$ 14,000 - 28,000 US$ 1,800 - 3,600 RMB 12,000 - 23,000

版畫 24/50 簽名左下：KASING 2021 版次右下：24/50

312

Chiharu SHIOTA

塩田千春

(Japanese, b.1972)

關係；在天空中航行

Relation; Sailing in the Sky

2020

2020 Lithograph, edition no. 72/80; no. 29/50 65 x 50 cm; 79.2 x 59.6 cm Signed lower CS. and numbered 72/80; 29/50

65 x 50 cm; 79.2 x 59.6 cm

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000

180

版畫 72/80; 29/50 簽名版次下方：72/80 CS.; 29/50 CS.

313

Chiharu SHIOTA

塩田千春

(Japanese, b.1972)

與宇宙對話；細胞

Conversation with the Universe; Cell

2019

2019 Lithograph, edtition no. 38/40 (each) 34 x 44.5 cm ; 36 x 45.5 cm

34 x 44.5 cm ; 36 x 45.5 cm

Signed lower right CS and numbered 38/40 (each)

NT$ 60,000 - 80,000 HK$ 17,000 - 22,000 US$ 2,200 - 2,900 RMB 14,000 - 19,000

版畫 38/40（每件） 簽名版次下方：CS 38/40 （每件）

314

MADSAKI (Japanese, b. 1974)

Madsaki

蒙娜麗莎 3P

Mona Lisa 3P

2019

2019 Print, edition no. 296/300 80 x 54.5 cm Signed lower right Madsaki, numbered 296/300 and dated 2019

80 x 54.5 cm

NT$ 70,000 - 120,000 HK$ 20,000 - 34,000 US$ 2,500 - 4,300 RMB 16,000 - 28,000 182

版畫 296/300 簽名右下：Madsaki 2019 296/300

315

Tomokazu Matsuyama (Japanese, b.1976)

20 Dollar Cold Cold Heart 2021 Screenprint, edition no. 90/125 89.5 x 58 cm (image) 100 x 68.5 cm (frame) Signed lower right and numbered 90/125 This lot is to be sold with a certificate of authenticity issued by Avant Arte.

NT$ 110,000 - 220,000 HK$ 31,000 - 61,000 US$ 3,900 - 7,900 RMB 26,000 - 51,000

松山智一 20 Dollar Cold Cold Heart 2021 版畫 90/125 89.5 x 58 cm (畫面) 100 x 68.5 cm (含框) 簽名版次右下：90/125 附Avant Arte與藝術家簽名開立之作品保證書

316

Satoru KOIZUMI (Japanese, b. 1983)

小泉悟 工作室 2021

Studio 2021

2021

2021 Lithograph, edition no. 14/50 101 x 75 cm Singed lower SATORU KOIZUMI, numbered 14/50 and dated 2021

101 x 75 cm

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

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 184

版畫 14/50 簽名下方：SATORU KOIZUMI 14/50 2021 附Avant Arte開立之作品保證書

317

Izumi Kato

加藤泉

(Japanese, b. 1969)

無題

Untitled

2017

2017 Woodcut print, edition no. 28/36 58.6 x 48 cm Signed lower right Kato, numbered lower left 28/36 and dated 2017

58.6 x 48 cm

NT$ 110,000 - 220,000 HK$ 31,000 - 61,000 US$ 3,900 - 7,900 RMB 26,000 - 51,000

木刻版畫 28/36 簽名右下： Kato 2017 版次左下：28/36

318

Miwa KOMATSU

小松美羽

(Japanese, b. 1986)

干支神獸 猴年

Zodiac Divine Spirit: Year of Monkey

2018

2018 Screenprint, edition no. 50/50 53 x 53 cm Signed lower right Komiwa in English and numbered lower left 50/50

53 x 53 cm

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

by Whitestone Gallery, Hong Kong.

NT$ 90,000 - 180,000 HK$ 25,000 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000 186

版畫 50/50 簽名右下：Komiwa 版次左下：50/50 附白石畫廊開立之作品保證書

319

Miwa KOMATSU

小松美羽

(Japanese, b. 1986)

干支神獸 貓

Divine Beasts of Zodiac Cat

2018

2018 Screenprint, edition no. 38/50 53 x 53 cm Signed lower right Komiwa in English and numbered lower left 38/50

53 x 53 cm

This lot is to be sold with a certificate of authenticity issued by Whitestone Gallery, Hong Kong

NT$ 120,000 - 220,000 HK$ 34,000 - 61,000 US$ 4,300 - 7,900 RMB 28,000 - 51,000

版畫 38/50 簽名右下：Komiwa 版次左下：38/50 附白石畫廊開立之作品保證書

320

Mr.

Mr.

(Japanese, b. 1969)

高中故事

High School Story: Yeah! Yeah!

2020

2020 Silkscreen, edition no. 7/100 70 x 60.5 cm Signed lower right Mr., numbered 7/100 and dated 2020

70 x 60.5 cm

NT$ 80,000 - 120,000 HK$ 22,000 - 34,000 US$ 2,900 - 4,300 RMB 19,000 - 28,000 188

版畫 7/100 簽名版次右下：Mr. 2020 7/100

321

Mr.

Mr.

(Japanese, b. 1969)

城市女孩新生活

A City Girl's New Life

2020

2020 Silkscreen, edition no. 20/100 70 x 55.5 cm Signed lower right Mr., numbered 20/100 and dated 2020

70 x 55.5 cm

NT$ 80,000 - 120,000 HK$ 22,000 - 34,000 US$ 2,900 - 4,300 RMB 19,000 - 28,000

版畫 20/100 簽名版次右下：Mr. 2020 20/100

322

Mr Doodle

塗鴉先生

(British, b. 1994)

外星城鎮

Alien Town

2020

2020 Silkscreen print, edition no. 260/300 50 x 70 cm Signed lower right MR DOODLE! , dated 2020 and numbered 260/300

50 x 70 cm

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

NT$ 90,000 - 180,000 HK$ 25,000 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000

190

版畫 260/300 簽名右下：MR DOODLE! 2020 260/300 附藝術家簽名之作品保證書

323

Mr Doodle (British, b. 1994)

Yellow Flower; Blue Robot; Orange Fish; Pink Bird (a set of 4) 2019 Screenprint, edition no. 51/100; no. 47/100; no. 35/100; no. 27/100 35 x 35 cm (each) Signed lower right MR DOODLE! , dated 2019 and numbered 51/100 (Yellow Flower); 47/100 (Blue Robot); 35/100 (Orange Fish); 27/100 (Pink Bird)

NT$ 220,000 - 320,000 HK$ 61,000 - 89,000 US$ 7,900 - 11,500 RMB 51,000 - 75,000

塗鴉先生 黃色太陽花; 藍色機器人; 橘色魚; 粉紅鳥 (四件一組) 2019 版畫 51/100；47/100；35/100；27/100 35 x 35 cm (每件) 簽名及版次右下：MR DOODLE! 2019 51/100 (黃色太陽花); 簽名及版次右下：MR DOODLE! 2019 47/100 (藍色機器人); 簽名及版次右下：MR DOODLE! 2019 35/100 (橘色魚); 簽名及版次右下：MR DOODLE! 2019 27/100 (粉紅鳥)

324

Taku OBATA (Japanese, b. 1980)

B-boy and B-girl; B-Girl Jersey 2016 Lithograph, edition no. 9/12; 6/12 43 x 31 cm; 33 x 48 cm Signed on lower right Taku Obata, numbered 9/12; 6/12 and dated 2016 (each) PROVENANCE

KIDO Press, Inc, Tokyo

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000 小畑多丘 B-boy and B-girl; B-Girl Jersey 2016 版畫 9/12; 6/12 43 x 31 cm; 33 x 48 cm 簽名右下：2016 Taku Obata 版次左下：9/12；6/12 來源

KIDO Press Inc，東京

192

325

Futura (American, b. 1955)

Crowd Control 2016 Screenprint, edition no. 1/1 91 x 60.5 cm Signed lower right Futura and numbered lower left 1/1

NT$ 110,000 - 220,000 HK$ 31,000 - 61,000 US$ 3,900 - 7,900 RMB 26,000 - 51,000 Futura 維持人群秩序 2016 版畫 1/1 91 x 60.5 cm 簽名右下：Futura 版次左下：1/1

326

Takashi MURAKAMI

村上隆

(Japanese, b. 1962)

張開雙手

Open Your Hands Wide

2010

2010 Lithograph, edition no. 259/300 76.5 x 91.5 cm Signed lower right and numbered 259/300

76.5 x 91.5 cm

NT$ 110,000 - 220,000 HK$ 31,000 - 61,000 US$ 3,900 - 7,900 RMB 26,000 - 51,000

194

版畫 259/300 簽名版次右下 259/300

327

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

女人

Women

2006

2006 Screenprint, edition no. 31/120 82 x 62 cm Signed lower Yayoi Kusama, titled Women, numbered 31/120 and dated 2006

82 x 62 cm

ILLUSTRATED

All Prints by Kusama Yayoi, Abe Publishing Ltd., Tokyo, 2006, color illustrated, p. 201

NT$ 130,000 - 240,000 HK$ 36,000 - 67,000 US$ 4,700 - 8,600 RMB 30,000 - 56,000

版畫 31/120 簽名左下：Yayoi Kusama 2006 31/120 Women 圖錄

《草間彌生全版畫》，阿部出版，東京，2006， 彩色圖版，頁201

328

Takashi Murakami x Virgil Abloh (Japanese, b. 1962) (American, b. 1980)

Memento Mori: Off-White, Fluorescent, Black (a set of 3) 2018 Screenprint, edition no 47/100 47 x 37 cm (each) Signed lower right and numbered 47/100 and dated 2018

NT$ 190,000 - 280,000 HK$ 53,000 - 78,000 US$ 6,800 - 10,100 RMB 44,000 - 65,000

196

村上隆 x 維吉爾．阿伯拉赫 勿忘你終要逝去: 米白、熒光、黑色 （三件一組） 2018 版畫 47/100 47 x 37 cm (每件) 簽名版次右下 47/100 2018

329

Daido Moriyama

森山大道

(Japanese, b. 1938)

紀錄第18號（台北101）

Record No.18 (Taipei 101)

2012

2012 Screenprint on canvas, edition no. 1/3 70.2 x 53 cm Signed on the reverse Moriyama Daido in Japanese kanji numbered 1/3 and dated 2012

70.2 x 53 cm

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

by Daido Moriyama Photo Foundation

NT$ 180,000 - 260,000 HK$ 50,000 - 73,000 US$ 6,500 - 9,300 RMB 42,000 - 61,000

絲網印刷 畫布 1/3 簽名畫背：1/3 森山大道 Daido 2012 附森山大道基金會開立之作品保證書

330

Daido Moriyama

森山大道

(Japanese, b. 1938)

流浪狗，三澤

Stray Dog, Misawa

2012

2012 Screenprint on canvas, edition no. 2/5 53 x 68 cm Signed on the reverse Moriyama Daido in Japanese kanji numbered 2/5 and dated 2012

53 x 68 cm

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

by Sakurado Fine Arts

NT$ 180,000 - 260,000 HK$ 50,000 - 73,000 US$ 6,500 - 9,300 RMB 42,000 - 61,000 198

絲網印刷 畫布 2/5 簽名畫背：森山大道 Daido 2/5 2012 附Sakurado Fine Arts開立之作品保證書

331

Daido Moriyama

森山大道

(Japanese, b. 1938)

下高井戶的緊身衣

Tights in Shimotakaido

2013

2013 Screenprint on canvas, edition no. 3/5 90.8 x 70 cm Signed on the reverse Moriyama Daido in Japanese kanji numbered 3/5 and dated 2013

90.8 x 70 cm

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

by Daido Moriyama Photo Foundation

NT$ 200,000 - 360,000 HK$ 56,000 - 101,000 US$ 7,200 - 12,900 RMB 47,000 - 84,000

絲網印刷 畫布 3/5 簽名畫背：3/5森山大道 Daido 2012 附森山大道基金會開立之作品保證書

332

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

La Tentation de L'occident (a set of 11) 1962 Lithograph, edition no. 107/125 38.5 x 28.5 cm (each) Signed lower right ZAO in French, Wou-ki in Chinese ILLUSTRATED

Zao Wou-Ki The Graphic Work: A Catalogue Raisonné 1937-1995, Edition Heeds & Moestrup,1995,Copenhagen, no.137-146, pp. 85-87

NT$ 340,000 - 460,000 HK$ 95,000 - 128,000 US$ 12,200 - 16,500 RMB 79,000 - 107,000 趙無極 西方的誘惑 (11件一組) 1962 版畫 107/125 38.5 x 28.5 cm（每件） 簽名右下：ZAO 無極（上排左一） 圖錄

喬詹．阿格魯普，《趙無極版畫集1937-1995》，黑德與莫斯特魯普出版社， 哥本哈根，1994，彩色圖版，編號137-146，頁85-87

200

333

Takashi MURAKAMI

村上隆

(Japanese, b. 1962)

貓熊和貓熊寶寶

Panda Cubs Pandas

2019

2019 Lithograph, edition no. 119/300; no. 120/300, no. 121/300 50 x 50 cm (each) Signed lower right and numbered 119/300, 120/300, 121/300

50 x 50 cm (每件)

NT$ 220,000 - 320,000 HK$ 61,000 - 89,000 US$ 7,900 - 11,500 RMB 51,000 - 75,000

202

版畫 119/300; 120/300; 121/300 簽名版次右下 119/300, 120/300, 121/300

334

Kazuo SHIRAGA (Japanese, 1924 - 2008)

白髮一雄 繁&駿 (兩件一組)

Han&Shun (a set of 2)

1990

1990 Screenprint AP, limited edition of 60 65 x 85 cm; 85 x 65 cm Signed lower right Kazuo SHIRAGA in Chinese. and numbered A.P (each)

65 x 85 cm; 85 x 65 cm

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

NT$ 110,000 - 220,000 HK$ 31,000 - 61,000 US$ 3,900 - 7,900 RMB 26,000 - 51,000

版畫 AP 限量60 簽名下方：A.P 繁&駿 白髮一雄 (每件) 附也趣藝廊開立之作品保證書

335

CHU Teh-chun

朱德群

(Chinese-French, 1920 - 2014)

無題

Untitled

石版畫 E.A 限量150

Lithograph, edition no. E.A, limited edition of 150 77.5 x 118 cm Signed lower right CHU TEH-CHUN in Chinese and English, numbered lower left E.A

簽名右下：朱德群 CHU TEH -CHUN

NT$ 90,000 - 180,000 HK$ 25,000 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000

204

77.5 x 118 cm 版次左下：E.A

336

ZAO Wou-ki

趙無極

(Chinese-French, 1920 - 2013)

無題

Untitled

1974

1974 Etching, edition no. HC/J, limited edition of 100 56.2 x 76.4 cm Signed lower right Wou-ki in Chinese and ZAO in French and dated 1974; numbered lower left HC/J

56.2 x 76.4 cm

ILLUSTRATED

Zao Wou-Ki The Graphic Work: A Catalogue Raisonné 1937-1995, Edition Heeds & Moestrup,1995,Copenhagen, no. 248, p.141

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000

蝕刻版畫 HC/J 限量100 簽名右下：無極 ZAO 74 版次左下：HC/J 圖錄

喬詹．阿格魯普，《趙無極版畫集1937-1995》， 黑德與莫斯特魯普出版社，哥本哈根，1994，彩 色圖版，編號 248，頁141

337

CHU Teh-chun

朱德群

(Chinese-French, 1920 - 2014)

無題

Untitled

石版畫 25/60

Lithograph, edition no. 25/60 66 x 50.5 cm Signed lower right CHU TEH-CHUN in Chinese and English, numbered lower left 25/60

簽名右下：朱德群 CHU TEH -CHUN

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000

206

66 x 50.5 cm 版次左下：25/60

338

Walt Disney Studios Mickey Mouse

Hand - painted on celluloid 31.5 x 43 cm 32 x 43.5 cm This lot is to be sold with certificate of authenticity issued

by Fine Arts & Crafts co., Ltd, Tokyo

NT$ 90,000 - 180,000 HK$ 25,000 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000

華特迪士尼影業集團 米老鼠 手繪賽璐璐片 31.5 x 43 cm 32 x 43.5 cm 附東京株式會社ファインアーツ &クラフッ開立之保證書

339

Osamu TEZUKA

手塚治虫

(Japanese, 1928 - 1989)

迎向未來(宇宙)

Towards the Future (Universe)

2018

2018 Inkjet print on canvas no. 67/200 28.8 x 35 cm Signed lower right Osamu TEZUKA in English and numbered lower left 67/200

28.8 x 35 cm

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

by Art Space, Tokyo

NT$ 90,000 - 180,000 HK$ 25,000 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000 208

數位噴繪畫布 67/200 簽名右下：Osamu TEZUKA 版次左下：67/200 附東京Art Space開立之作品保證書

340

Shepard Fairey

謝帕德．費爾雷

(American, b. 1970)

名人堂肖像

Hall of Fame Portrait

2009

2009 Screenprint, edition no. 43/123 91.4 x 66 cm Signed lower right Shepard Fairey and numbered 43/123

91.4 x 66 cm

This lot is to be sold with a certificated of authenticity issued

by Upper Deck

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

版畫 43/123 簽名版次下方：Shepard Fairey 43/123 附Upper Deck開立之作品保證書

341

Takashi MURAKAMI

村上隆

(Japanese, 1962)

水母

Jellyfish

2003

2003 Lithograph, edition no. 66/300 69.5 x 69.5 cm Signed lower right and numbered 66/300

69.5 x 69.5 cm

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,900 RMB 9,000 - 19,000 210

版畫 66/300 簽名版次右下 66/300

342

Mayuka YAMAMOTO

山本麻友香

(Japanese, b. 1964)

小白熊男孩

Little White Bear Boy

2021

2021 Lithograph, edition no. 48/75 56 x 43.5 cm Signed lower little white bear boy Mayuka and numbered 48/75

56 x 43.5 cm

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,900 RMB 9,000 - 19,000

版畫 48/75 簽名版次下方：48/75 little white bear boy Mayuka

343

Mayuka YAMAMOTO

山本麻友香

(Japanese, b. 1964)

白色貓頭鷹男孩

White Owl Boy

2019

2019 Lithograph, edition no. 46/50 40 x 29.5 cm Signed lower Mayuka White Owl Boy and numbered 46/50

40 x 29.5 cm

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

by Gallery Tsubaki, Tokyo

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,900 RMB 9,000 - 19,000

212

版畫 46/50 簽名版次下方：Mayuka White Owl Boy 46/50 附椿畫廊開立之作品保證書

344

Mayuka YAMAMOTO

山本麻友香

(Japanese, b. 1964)

企鵝男孩

Penguin Boy

2019

2019 Lithograph, edition no. 8/50 40 x 25 cm Signed lower right Mayuka Penguin Boy and numbered 8/50

40 x 25 cm

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

by Gallery Tsubaki, Tokyo

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,900 RMB 9,000 - 19,000

版畫 8/50 簽名版次下方：Mayuka Penguin Boy 8/50 附椿畫廊開立之作品保證書

345

Adam HANDLER

亞當．漢德勒

(American, b. 1986)

憤怒的嘉年華女孩鬱金香

Angry Carnival Girl Tulip

2014-2019

2014-2019 Oil stick on paper 72 x 54 cm Signed on the reverse Adam Handler, titled Angry Carnival Girl Tulip and dated 2014-2019

72 x 54 cm

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,900 RMB 9,000 - 19,000 214

油畫棒 紙本 簽名畫背：Adam Handler 2014-2019 Angry Carnival Girl Tulip

346

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

真實

Real One

2020

2020 Offset lithographic, edition of 1000 63 x 73 cm

63 x 73 cm

NT$ 30,000 - 60,000 HK$ 8,000 - 17,000 US$ 1,100 - 2,200 RMB 7,000 - 14,000

海報 限量1000件

347

Moe NAKAMURA (Japanese, b. 1988)

I'm Nobody 2020 Polystone, edition no. 139/180 15(L) x 13(W) x 32(H) cm Signed on the bottom Moe This lot is to be sold with a certificate of authenticity signed by the artist and accompained with their original product box

NT$ 90,000 - 180,000 HK$ 25,000 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000 中村萌 我什麼都不是 2020 寶麗石粉樹脂 139/180 15(長) x 13(寬) x 32(高) cm 簽名印刷底部：Moe 附藝術家親筆簽名保證卡與作品原產紙盒包裝

348

Moe NAKAMURA (Japanese, b. 1988)

Alone in the Dark 2020 Polystone, edition no. 60/200 14.5(L) x 14(W) x 28(H) cm Signed on the bottom Moe This lot is to be sold with a certificate of authenticity signed by the artist and accompained with its original product box

NT$ 90,000 - 180,000 HK$ 25,000 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000 中村萌 獨自在黑暗中 2020 寶麗石粉樹脂 60/200 14.5(長) x 14(寬) x 28(高) cm 簽名印刷底部：Moe 附藝術家親筆簽名保證卡與作品原產紙盒包裝

216

349

Moe NAKAMURA (Japanese, b. 1988)

Grow M 2017 Polystone, edition no. 35/130 26.5(L) x 14.5(W) x 20.5(H) cm Print on the bottom Moe 2017 This lot is to be sold with a certificate of authenticity signed by the artist and accompained with their original product box

NT$ 90,000 - 180,000 HK$ 25,000 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000 中村萌 生長M 2017 寶麗石粉樹脂 35/130

350

Moe NAKAMURA (Japanese, b. 1988)

Bambooshika 2018 Polystone, edition no. 72/160 15.5(L) x 16(W) x 21(H) cm; 11(L) x 10.2(W) x 15.5(H) cm Print on the bottom Moe This lot is to be sold with a certificate of authenticity signed by the artist and accompained with their original product box

NT$ 90,000 - 180,000 HK$ 25,000 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000 中村萌 母子筍 2018 寶麗石粉樹脂 72/160 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 附藝術家親筆簽名保證卡與作品原產紙盒包裝

26.5(長) x 14.5(寬) x 20.5(高) cm 簽名印刷底部：Moe 2017 附藝術家親筆簽名保證卡與作品原產紙盒包裝

351

352

Moe NAKAMURA

Moe NAKAMURA

(Japanese, b. 1988)

(Japanese, b. 1988)

Mount Fuji

Wish for Something

2014 Polystone, edition no. 63/100 13(L) x 12(W) x 20(H) cm Print on the bottom moe 2014

2018 Polystone, edition no. 111/120 17(L) x 15(W) x 26(H) cm Print on the bottom moe 2020

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

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

NT$ 90,000 - 160,000 HK$ 25,000 - 45,000 US$ 3,200 - 5,700 RMB 21,000 - 37,000

NT$ 100,000 - 200,000 HK$ 28,000 - 56,000 US$ 3,600 - 7,200 RMB 23,000 - 47,000

中村萌

中村萌

富士山

給我抱抱

2014

2018

寶麗石粉樹脂 63/100

寶麗石粉樹脂 111/120

13(長) x 12(寬) x 20(高) cm

17(長) x 15(寬) x 26(高) cm

簽名印刷底部：Moe 2014

簽名印刷底部：Moe 2020

附藝術家親筆簽名作品保證卡與作品原產紙盒包裝

附藝術家親筆簽名作品保證卡與作品原產紙盒包裝

218

353

354

Satoru KOIZUMI

Satoru KOIZUMI

(Japanese, b. 1983)

(Japanese, b. 1983)

"With" Wood Mickey Sculpture

Without Bucket

2020 Wood, edition no. 70/88 25(L) x 19.5(W) x 21(H) cm Painted signature Satoru Koizumi ©Disney

2020 Red birch, edition no. 13/100 16.5(L) x 20(W) x 30(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 its original product box

This lot to be sold with a certificate of authenticity signed by the artist and accompained with it's original product box

NT$ 130,000 - 220,000 HK$ 36,000 - 61,000 US$ 4,700 - 7,900 RMB 30,000 - 51,000

NT$ 140,000 - 240,000 HK$ 39,000 - 67,000 US$ 5,000 - 8,600 RMB 33,000 - 56,000

小泉悟

小泉悟

與米奇在一起

沒有桶子

2020

2020

木雕 70/88

紅櫸木 13/100

25(長) x 19.5(寬) x 21(高) cm

16.5(長) x 20(寬) x 30(高) cm

簽名印刷腳底：Satoru Koizumi ©Disney

簽名印刷腳底：Satoru Koizumi

附藝術家親筆簽名保證卡與作品原產紙盒包裝

附藝術家親筆簽名保證卡與作品原產紙盒包裝

355

Alex Face (Thai, b. 1981)

Monument of Hope 2020 Wood, edition no. 16/25 15(L) x 21.5(W) x 52(H) cm Engrave on the base Alex Face and numbered 16/25 This lot is to be sold with a certificate of authenticity issued by CityCity Gallery, Bangkok

NT$ 140,000 - 260,000 HK$ 39,000 - 73,000 US$ 5,000 - 9,300 RMB 33,000 - 61,000 Alex Face 希望之碑 2020 木雕 16/25 15(長) x 21.5(寬) x 52(高) cm 簽名雕刻：Alex Face 16/25 附CityCity Gallery開立之作品保證書

356

Taku OBATA (Japanese, b. 1980)

B-Boy Jiki 2019 Porcelaine, edition no. 22/30 27.5(L) x 17(W) x 18.5(H) cm Engraved Taku Obata in English, numbered 22/30 and dated 2019 This lot is to be sold with a certificate of authenticity and accompanied with its original product box

NT$ 150,000 - 240,000 HK$ 42,000 - 67,000 US$ 5,400 - 8,600 RMB 35,000 - 56,000 小畑多丘 B-Boy Jiki 2019 利摩日瓷器 22/30 27.5(長) x 17(寬) x 18.5(高) cm 簽名雕刻：Taku Obata 22/30 2019 附作品保證書與作品原產盒包裝 220

357

Yuichi Hirako (Japanese, b. 1982)

Leaf Bug (a set of 3) 2020 Ceramic, edition no. 33/88; no. 46/88; no. 57/88 17.5(L) x 12.5(W) x 34.5(H) cm Signed underside Yuichi Hirako in English and numbered 33/88; 46/88; 57/88 This lot is to be sold with a certificate of authenticity and accompained with it’s original product box

NT$ 130,000 - 230,000 HK$ 36,000 - 64,000 US$ 4,700 - 8,300 RMB 30,000 - 54,000 平子雄一 358

César Piette (French, b. 1982)

The Modernist; The Modern Puppy; The Modern Lady 2020 Polystone; Walnut and Beech, edition no. 21/200; no. 58/300; no. 58/300 14(L) x 13.5(W) x 31(H) cm 18.5(L) x 19(W) x 20(H) cm 10(L) x 7(W) x 35(H) cm This lot is to be sold with a certificate of authenticity and accompained with it’s origianl product box

NT$ 110,000 - 220,000 HK$ 31,000 - 61,000 US$ 3,900 - 7,900 RMB 26,000 - 51,000 塞薩·皮耶特 現代主義者；現代小狗；現代女士 2020 寶麗石粉樹脂，21/200; 58/300; 58/300 14(長) x 13.5(寬) x 31(高) cm 18.5(長) x 19(寬) x 20(高) cm 10(長) x 7(寬) x 35(高) cm 附保證書及原裝盒

樹人 (三件一組) 2020 陶瓷 33/88; 46/88; 57/88 17.5(長) x 12.5(寬) x 34.5(高) cm（每件） 簽名版次底部：Yuichi Hirako 33/88; 46/88; 57/88 附作品保證卡與原裝盒

359

Jason Freeny (American, b. 1970)

XXRAY Elmo (Snow Edition) 2019 Vinyl no. 75/100 86(L) x 38(W) x 120(H) cm Print on the bottom XXRAY This lot is to be sold with a certificate of authenticity and accompanied with its original product box

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 傑森 佛瑞尼 XXRAY 芝麻街（雪白版） 2019 搪膠 75/100 86(長) x 38(寬) x 120(高) cm 簽名印刷底部：XXRAY 附作品保證書與作品原產盒包裝

360

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

HOLIDAY UK - Containers (a set of 2) 2021 Ceramics, edition of 1000 19(L) x 13(W) x 42(H) cm (each) Print on the bottom KAWS.. (each) This lot is to be sold with its original product box

NT$ 50,000 - 100,000 HK$ 14,000 - 28,000 US$ 1,800 - 3,600 RMB 12,000 - 23,000 KAWS〈布萊恩．唐納利〉

HOLIDAY UK - Containers（兩件一組） 2021 瓷 限量1000 19(長) x 13(寬) x 42(高) cm（每件） 簽名印刷底部：KAWS..（每件） 附原產紙盒包裝 222

361

Mr Doodle (British, b. 1994)

The Doodler 2019 Resin, edition no. 75/250 17(L) x 17(W) x 34(H) cm Signed MR DOODLE! and dated 2019 This lot is to be sold with a certificate of authenticity signed by the artist and accompanied with its original product box

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 塗鴉先生 塗鴉先生 2019 樹酯 75/250 17(長) x 17(寬) x 34(高) cm 簽名腳底：MR DOODLE!；2019 附藝術家親筆簽名保證卡與作品原產紙盒包裝

362

Satoru KOIZUMI (Japanese, b. 1983)

Without Bucket 2020 Resin, edition no. 23/230, 16.5(L) x 20(W) x 30(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 its original product box

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,900 RMB 9,000 - 19,000 小泉悟 沒有桶子 2020 樹脂 23/230 16.5(長) x 20(寬) x 30(高) cm 簽名印刷腳底：Satoru Koizumi 附藝術家親筆簽名保證卡與作品原產紙盒包裝

363

Kila Cheung (Hong Kong, b. 1986)

Big Bang 2020 Mixed media, edition no. 43/80 11(L) x 10(W) x 25(H) cm Signed on the bottom Kila and dated 2020 This lot is to be sold with its original product box

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000 章柱基 家的大爆炸 2020 綜合媒材 43/80 11(長) x 10(寬) x 25(高) cm 簽名底部：Kila 2020 附作品原產盒包裝

364

JU Ming (Taiwanese, b. 1938)

Living World Series - Lining Up 2002 Pewter 72(L) x 18.5(W) x 19.4(H) cm This lot is to be sold with a certificate of limited reproduction issued by Ju Ming Museum, Taipei

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000 朱銘 人間系列 ─ 排隊 2002 鉛錫合金 72(長) x 18.5(寬) x 19.4(高) cm 附朱銘美術館限量複製品證明書 224

365

JU Ming (Taiwanese, b. 1938)

Side Kick Unsaturated polyester resin, calcium carbonate, oil color paste, edition no. 148/300 24(L) x 20(W) x 25(H) cm Numbered on the bottom 148/300 This lot is to be sold with a certificate of limited reproduction issued by Ju Ming Museum, Taipei

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000 朱銘 側踢 不飽和聚酯樹脂 碳酸鈣 油性色母 148/300 24(長) x 20(寬) x 25(高) cm 版次底部：148/300

366

JU Ming (Taiwanese, b. 1938)

Taichi Series – Single Whip 2015 Unsaturated polyester resin, calcium carbonate, oil color paste, edition no. 129/300 28.5(L) x 14.4(W) x 18.2(H) cm Numbered on the bottom 129/300 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 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000 朱銘 太極系列 ─ 單鞭下勢 2015 不飽和聚酯樹脂 碳酸鈣 油性色母 129/300 28.5(長) x 14.4(寬) x 18.2(高) cm 版次底部：129/300 附朱銘美術館限量複製品證明書

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.

3.

競投保證金 : 新台幣陸拾萬元或貳萬美金。 競投保證金需於 2021 年 12 月 1 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 12 月 1 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 12 月 2 日至 12 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 12 月 5 日中午 12 點截止。

5.

電話

書面

網路競投：競投者如不能出席拍賣會，可透過電話

書面

網路方式進行競投。登記申請手續以及競投保證金

之繳納亦需在 2021 年 12 月 1 日以前完成匯款至本公司指定帳號。 6.

如於 2021 年 12 月 1 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。 226

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 1st December 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 1st December 2021, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 2nd December to 5th December 2021). Acceptance will cease on 5th December 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 1st December 2021.

6.

If the bidding deposit has been transferred prior to 1st December 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.

228

委託競投表格 委託競投表格須於拍賣24小時前送抵藝術部。競投表格可傳真至:

拍 賣 名 稱：羅芙奧台北 2021 秋季拍賣會 現代與當代藝術

藝術部 電話：+886-2-2708 9868 ｜傳真：+886-2-2701 3306

拍 賣 編 號：TA2104

投標者資料 客戶編號

拍 賣 日 期：2021 年 12 月 5 日 ( 星期日 ) 下午 2:00

姓名

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

護照號碼/身份證字號/統一編號 電話號碼（住宅）

（手機）

拍賣期間之聯絡電話 (僅限電話競投) 電郵

傳真號碼

地址 拍賣品編號

名

稱

競投價 (新台幣) / (服務費不計在內)

※投標規則： 1. 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 2. 本人知悉書面及電話競標乃羅芙奧為基於投標者之便利而提供代為投標之服務而不成立任何委託投標之契約，羅芙奧不因執行投標而負任何 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。 3. 本人同意如投標成功，本人應付之購買價款為最後落槌價加上服務費，服務費依業務規則第二條第4項之規定計算。(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。) 4. 本競投，本人同意並遵守本目錄所載所有業務規則。(包含但不限於羅芙奧不負瑕疵擔保責任及保證責任等規定) 5. 如投標者未曾於羅芙奧競投拍賣品，請附上投標者資料之副本及銀行證明資料。 6. 本人同意買家須知、投標者登記表格、委任競投表格及業務規則等附屬文件均視為本契約之一部分。 7. 羅芙奧基於上述原因而需蒐集、處理或非營利目的之利用投標者個人資料， 該資料將在前開蒐集目的之存續期間及依法令規定要求之期間內被處理或利用。

簽署 ：

日期：

羅芙奧在取得投標者之個人 / 公司資料及簽名後方才接受競標 簽名即代表確認以上登記 / 競投，詳閱並同意接受羅芙奧載於圖錄及網站內之業務規則

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

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

Bidder's Details Customer Number

Name

Passport number/ID number/Unified Business number Tel (Home)

Auction Date Sale No. Location Address

AUTUMN AUCTION 2021 TAIPEI Modern & Contemporary Art Sunday, December 5, 2021, 2:00pm TA2104 Marriott Taipei 3F (Grand Space) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

(Mobile)

Tel (For Phone Bid) Email

Fax

Address Auction Lot Number

Title

Bid Price (NT$) (Not including Buyer's premium)

※Bidding rules： 1. It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder.

2. I understand and agree that Ravenel provides such bid services for the convenience of customers and no contract or agreement shall be constituted. 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.

3. I understand and agree that if my bid is successful, I shall pay the final hammer price together with the buyer's premium. 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%.)

4. The bid shall be subject to the Transaction Agreement prescribed in the catalogue.(including but not limited to Ravenel's non-defect warranty and non-guaranteed liability).

5. If the bidder has not bid for the auction item at Ravenel, please attach a copy of the bidder's information. (Individual: ID card or passport with photo issued by the government) 6. I agree that the Notice To Bidders, Bidder Registration, Absentee Bid Form and Transaction Agreement and other attached documents are regarded as part of this agreement.

7. Ravenel will collect, process and use the personal data provided by the client for auction-related matters and other non-profit purposes.

Signature：

Date：

We accepts the bid only after obtaining the personal/company information and signature to execute this bid.

By signing this form, you confirm your registration/bid(s) as above and you agree that you have read and understood our Transaction Agreement as stated in our catalogues and on our website.

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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： 232

(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

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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

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