薈萃國際：現代與當代藝術 SELECT: Modern & Contemporary Art

SPRING AUCTION 2022 TAIPEI

羅芙奧 2022 春季拍賣會 薈萃國際：現代與當代藝術

RAVENEL SPRING AUCTION 2022

SELECT: Modern & Contemporary Art 拍賣日期

地點

2022年6月4日（六）下午 4:00 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 2022年5月14日（六）上午11:00至下午6:00 2022年5月15日（日）上午11:00至下午6:00 琢璞藝術中心 高雄市前金區五福三路63號8樓 台中 2022年5月28日（六）下午1:00至下午6:00 2022年5月29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 2022年6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 Saturday, June 4, 2022, 4:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei PREVIEWS Kaohsiung Saturday, May 14, 2022, 11:00am - 6:00pm Sunday, May 15, 2022, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan Taichung Saturday, May 28, 2022, 1:00pm - 6:00pm Sunday, May 29, 2022, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

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

Taipei Thursday, June 2 - Saturday, June 4, 2022, 11:00am - 7:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

王鎮華 Arthur Wang 董事長 Chairman

郭倩如 Clara Kuo 副董事長 Vice Chairman

陳惠黛 Odile Chen 國際藝術部 總經理 Head of International Art Department

陳昱良 Iris Chen 國際藝術部 副理 Assistant Manager, International Art Department

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羅芙奧 2022 春季拍賣會服務部門及連絡人 藝術品諮詢專家 國際藝術部 總經理

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藝術家索引 INDEX A

A-Lei (Yeh Hsin-Hong) Yuka AKASAKA Marion ALEXANDRE Takeru AMANO

B

C D

天野タケル 羅比．安托諾

Gabriel BARREDO Tom BERENZ

蓋伯瑞．博瑞多 湯姆．布倫茲 羅蘭．布洛

Jonni CHEATWOOD Nigel COOKE

喬尼．奇特伍德 尼格爾．庫克

André COTTAVOZ

安德烈．科達沃茲

Salvador DALÍ Stéphane DAUTHUILLE

薩爾瓦多．達利 史帝芬．度多耶

Jim DINE

強納森．保羅 吉姆．戴恩

Pascal DOMBIS

帕斯卡爾．多比斯

Sol FELPETO Arman FERNANDEZ

索兒．費佩托 阿曼．費爾戴儂

Thierry FEUZ

Josias FIGUEIRIDO

西瑞．菲茲 約西亞斯．菲格爾里多

Andi FISCHER

安迪．費雪

G

Christiane GRIMM

克里斯蒂安．格琳

H

Ai HAIBARA Adam HANDLER

灰原愛 亞當．漢德勒

Yuya HASHIZUME

Shigeyoshi HAYASHI Jammie HOLMES

HSIA Yan

HSIAO Chin

橋爪悠也 林 重義 傑米．霍姆斯 夏陽 蕭勤

Poren HUANG

黃柏仁

Kotatsu IWATA Keiji IZUMI

岩田小龍 泉啓司

J

Caro JOST

卡蘿．傑斯特

K

Eddie KANG (Suk Hyun Kang) 姜錫鉉 Izumi KATO 加藤泉

I

KAWS (Brian Donnelly)

KENZ

Jordy KERWICK

喬迪．科維克

Jeff KOONS

傑夫．昆斯

Maiko KOBAYASHI

L

布萊恩．唐納利 Kenz 小林麻衣子

Yayoi KUSAMA

草間彌生

LAI Chiu Chen LEE Lee Nam

賴九岑 李二男

L

78

75, 111 96 82

M

MR DOODLE

N

O

15 71, 72

P

37

奇蒂．納羅德

54

中村萌

86

Nikki

89, 90

Nyochotan

鈕釦丹

103

ob OKOKUME (Laura Mas)

ob 奧高古曼（蘿拉．馬斯）

Jun OSON

Jun Oson

Nathan PADDISON PANG Jiun

內森．帕迪森 龎均

55 12 76

凱爾．奧蘭多

108

77 26, 27

彼得．萊茲伯斯 拉薩馬納．利歐

65 104

S

Rhiannon SALISBURY Matías SÁNCHEZ

麗安儂．索爾茲伯里 馬蒂亞斯．桑切斯

60 62

SHI Jin-Hua

石晉華

Chiharu SHIOTA

塩田千春

Peter STANICK

彼得．史坦尼克

Aya TAKANO Walasse TING

高野綾 丁雄泉

Pierre-Yves TRÉMOIS

皮耶－伊夫．特墨

32

V

Ronald VENTURA Antoniucci VOLTI

羅納德．溫杜拿 安東尼奧奇．沃第

95 33, 34

W

Claude WEISBUCH

克勞德．維士巴修

42

Y

Hee Rin YANG

梁憙潾

Z

ZHANG Hui

張慧

Shozo SHIMAMOTO

David SHROBE

T

13

Louis TOFFOLI

50

100 80

Kitti NAROD

10 8, 9

Peter RIEZEBOS Laksamana RYO (Ryol)

1, 2

19, 20

長井朋子 中田郁美

R

68

16

87

57

51, 52, 109, 110

43, 44 41

105

3, 4, 5, 56

塗鴉先生 葛林娜．蒙羅

艾德加．普連斯

64

7 53

106

Edgar PLANS

14

25

61

63

米洛

Tomoko NAGAI Ikumi NAKADA

Kyle ORLANDO

58

88 59

塔妮亞．馬莫列霍

村上隆

Nikki

81, 91 39

21

99

尤爾嘉．馬賀丹

Takashi MURAKAMI

Moe NAKAMURA

70

74

97

劉時棟

Little MADI (Caroline MADI) 凱洛琳．馬蒂 Iryna MAKSYMOVA 伊琳娜．馬克西莫娃

Galina MUNROE

29

69

28 92

(Francesco Camillo GIORGINO)

35

66

羅展鵬

MILLO

84 93, 94

107

LO Chan Peng

Jurga MARTIN

83

67

李真 亞當．里斯特

Tania MARMOLEJO

38

40 79

LI Chen Adam LISTER

LIU Shih Tung

45, 46, 47, 48, 49

皮耶．彭貢潘

Laurent BOURO

DESIRE OBTAIN CHERISH

F

瑪立詠．亞歷山卓

Roby Dwi ANTONO

Pierre BONCOMPAIN

112 101

阿咧（葉信泓） 赤坂侑花

嶋本昭三 大衛．索貝

路易．托夫利

98

30

17, 18 73

85

11 22, 23, 24 31, 36

6 102

目次 CONTENTS

7

羅芙奧春季拍賣會

Sale Information 10

羅芙奧之服務

Ravenel Services 13

藝術家索引

Index 14

薈萃國際：現代與當代藝術

SELECT: Modern & Contemporary Art 173

給予買家的重要通知

Important Notice to Buyers 175

委託競投表格

Absentee Bid Form 179

業務規則

Transaction Agreement

001

KENZ

Ke n z

(Thai, b. 1995)

小雞向前衝

Time To Go 2021 Acrylic on canvas 75 x 60 cm Signed reverse Kenz , titled Time To Go and dated 2021 PROVENANCE

YOD Editions, Osaka

2021年 壓克力 畫布 75 x 60 cm 簽名題識畫背：Kenz Time To Go 2021 來源

YOD 畫廊，大阪 Kenz 2019 年於墨爾本迪肯大學獲得設計（視 覺傳達）學士學位。他熱衷於描繪兒時生活

NT$ 110,000 - 170,000 HK$ 30,000 - 46,000 US$ 3,800 - 5,900 RMB 24,000 - 38,000

中的個人物件，如橡皮浴鴨和學步車，探索 懷舊和純真童年記憶的概念。作品側重於能 喚起強烈視覺記憶的題材，運用標誌性的活 力鮮亮色調。

002

KENZ

Ke n z

(Thai, b. 1995)

超級溜滑梯

Superslide 2021 Acrylic on canvas 75 x 60 cm Signed reverse Kenz , titled Superslide and dated 2021 PROVENANCE

YOD Editions, Osaka

2021年 壓克力 畫布 75 x 60 cm 簽名題識畫背：Kenz Superslide 2021 來源

YOD 畫廊，大阪 Kenz got his Bachelor's degree in Design (Visual Communication) from the Deakin University, Melbourne in

NT$ 110,000 - 170,000 HK$ 30,000 - 46,000 US$ 3,800 - 5,900 RMB 24,000 - 38,000

2019. Kenz is interested in exploring the concept of nostalgia and innocent childhood memories through the depiction of his own personal objects from early life such as rubber bath ducks and walking push toys. His work focuses on the relationship between humans and objects that have the ability to bring back strong visual memories. This is executed through his signature style of vibrant tones.

003

MR DOODLE

塗鴉先生

(British, b. 1994)

廢料王

Lord of Waste 2018 Acrylic on canvas 30.5 x 30.5 cm Signed reverse on sticker Mr Doodle! dated 2018 and titled Lord of Waste This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 280,000 - 420,000 HK$ 76,000 - 114,000 US$ 9,700 - 14,600 RMB 62,000 - 94,000

2018年 壓克力 畫布 30.5 x 30.5 cm 簽名畫背貼紙：Mr Doodle! 2018 Lord of Waste 附藝術家簽名原作保證書 塗鴉先生（本名山姆．考克斯），於 1994 年出生於英國肯 特郡。九歲開始其藝術生涯，對任何可以拿到的物體都作了 塗鴉，並用塗鴉紙貼滿了他的臥室。他很快地創造了一種全 新的視覺現象：標誌性的「DoodleLand」（塗鴉樂），密 集的字符、物體和圖案不斷地增長和繁殖，展現出了他的宇 宙觀。塗鴉先生的風格經常被形容成「塗鴉義大利麵」，他 的即興創作不僅入侵了畫布，而且還入侵了家具、書、地鐵 站和服飾等，並創造了一個不斷擴展的世界，裡面充滿了各 種新奇好玩的事物。塗鴉先生已在倫敦、首爾、香港和東京 舉辦了數次個展並參加無數個藝術博覽會。

004

MR DOODLE

塗鴉先生

(British, b. 1994)

雲之漫步

Cloudy Walk 2018 Acrylic on canvas 30.5 x 30.5 cm Signed reverse on sticker Mr Doodle! dated 2018 and titled Cloudy Walk This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 280,000 - 420,000 HK$ 76,000 - 114,000 US$ 9,700 - 14,600 RMB 62,000 - 94,000

2018年 壓克力 畫布 30.5 x 30.5 cm 簽名畫背貼紙：Mr Doodle! 2018 Cloudy Walk 附藝術家簽名原作保證書 Mr Doodle, real name, Sam Cox, was born in Kent, England in 1994.

Starting his artistic career at the age of nine, he scribbled over any object he could get his hands on and covered his bedroom with paper doodles.

He soon created a whole new visual phenomenon: his own iconic DoodleLand, manifesting his vision of the world, where dense clusters of characters, objects and patterns grow and multiply relentlessly. Often described as 'Graffiti Spaghetti', Mr Doodle's improvisational creations invade not only canvases but furniture, books, subways, clothing and beyond, building an ever-expanding universe where nothing is taken too seriously. Mr Doodle has held numerous sole exhibitions in London, Seoul, Hong Kong and Tokyo. And has participated countless art fairs.

005

MR DOODLE (British, b. 1994)

1000 Doodlings 2019 Acrylic on canvas 30.5 x 30.5cm Signed reverse Mr Doodle! and dated 2019 PROVENANCE

SBI Auction, Tokyo Acquired from the above by the present owner

NT$ 280,000 - 420,000 HK$ 76,000 - 114,000 US$ 9,700 - 14,600 RMB 62,000 - 94,000

塗鴉先生 1000塗鴉合集 2019年 壓克力 畫布 30.5 x 30.5 cm 簽名題識畫背：Mr Doodle! 2019 來源

SBI拍賣，東京 現有收藏者購自上述來源

006

HEE RIN YANG

梁憙潾

(Korea, b. 1975)

夢想旅行者＃17

Dream Wanderer #17 2021 Acrylic on canvas 65 × 91 cm Initialed lower right HR Initialed reverse H.R , titled Dream Wanderer NO.17 in Korean and dated 2021

NT$ 220,000 - 340,000 HK$ 60,000 - 92,000 US$ 7,700 - 11,800 RMB 49,000 - 76,000

2021年 壓克力 畫布 65 x 91 cm 簽名右下：HR 簽名題識畫背：2021 꿈꾸는 방랑자 NO.17 H.R

007

EDDIE KANG (SUK HYUN KANG) (Korean, b. 1980)

Storyteller

2008 Mixed media on canvas 130 x 97 cm Signed overlap Eddie Kang in Korean and English and dated 2008

NT$ 300,000 - 460,000 HK$ 82,000 - 125,000 US$ 10,400 - 16,000 RMB 67,000 - 102,000

出生於 1980 年，2003 年美國羅德島設計學校藝術系畢業。姜 錫鉉以擬人化的玩偶隱喻人生中無可奈何的被動性，自以為是 主人翁的生活，實際上處處受到包圍、牽連、掣肘，往往是無 法獨立自主的現實人生。 主要個展：2010 年「Eddie Bear® － 姜錫鉉的劇場人生」，形而上畫廊，台北；2009 年「東京映象」， Unseal Contemporary 畫廊，東京；「我在等你」，朴麗淑畫廊， 上海；2008 年「記憶迷航」，Cafe Miel 畫廊，首爾；2007 年「素 描與顏色」，Designer Zoo 畫廊，首爾。 主要聯展：2009 年 「2009 韓國藝術博覽會」，首爾；「2009 香港藝術博覽會」， 香港；「亞洲藝術 2009」，邁阿密；2008 年「2008 上海當代 藝術博覽會」，上海；2007 年「3L4D 動漫美學新世紀」，國 父紀念館，台北；「動漫雙年展」，上海當代藝術館，上海。 Eddie Kang was born in 1980. He graduated from Rhode Island School of Design (BFA in Fine Art: Film/Animation/ Video) in 2003. Eddie metaphors helpless passivity in life

姜錫鉉 說書人 2008年 綜合媒材 畫布 130 x 97 cm 簽名畫布折入處：姜錫鉉 Eddie Kang 2008

with personified dolls who think they are living a masterlike life, but in reality they are besieged, involved and hindered everywhere. It's usually a fact of life that they can't live independently. Selected solo exhibitions: 2010, "Eddie Bear®-Eddie Kang's Life Play", Metaphysical Art Gallery, Taipei; 2009, "Tokyo Reflection", Unseal Contemporary, Tokyo, "I am waiting for you", Park R yu Sook Gallery, Shanghai; 2008, "Lost in the shadow of forgetfulness", Gallery Café Miel, Seoul; 2007, "Drawings & colors", Designer Zoo Gallery, Seoul. Selected group shows: 2009, "KIAF 2009", Seoul, "Hong Kong Art Fair 2009", Hong Kong, "Art Asia 2009", Miami"; 2008, "SH Contemporary 2008", Shanghai; 2007, "3rd Life 4th Dimension", San-Yat Sen Memorial Hall, Taipei; "Animamix Biennial", Museum of Contemporary Art, Shanghai.

008

IKUMI NAKADA

中田郁美

(Japanese, b. 1982)

別生氣

Not Angry

2015 Oil and pencil on paper 24.5 x 41 cm Lower right side with one seal of the artist Signed reverse IKUMI NAKADA , titled Not angry in Japanese and English, inscribed Oil and Pencil on Paper and dated 2015.10.24

2015年 油彩 鉛筆 紙本 24.5 x 41 cm 鈐印右下側邊 簽名題識畫背：2015.10.24 IKUMI NAKADA 怒ってない Not angry Oil and Pencil on Paper 中田郁美，2007 年畢業於東京的凡達設計研究所（Vantan Design Institute）。中田郁美用精美的筆觸描繪兒童，重

NT$ 240,000 - 360,000 HK$ 65,000 - 98,000 US$ 8,300 - 12,500 RMB 53,000 - 80,000

現其童年稚氣且純真的回憶。她對孩子的描繪是根據她觀察 孩子的行為而得出的，在觀察和童年記憶之間建立了聯繫， 並將其引導到使用柔和色彩和紋理創作的作品中。

009

IKUMI NAKADA

中田郁美

(Japanese, b. 1982)

煎餃和醬油魚

Gyoza and Soy Sauce-Fish 2019 Oil on paper with hand-made frame 30 x 30 cm Lower right side with one seal of the artist Signed reverse IKUMI NAKADA , titled Gyoza and Soy Sauce Fish in Japanese and English, inscribed Oil on Paper and dated 2019.10.7

2019年 油彩 紙本 手工框 30 x 30 cm 鈐印右下側邊 簽名題識畫背：IKUMI NAKADA Gyoza and Soy Sauce Fish 餃子と油差しOil on Paper 2019.10.7 來源

LKIF畫廊，首爾

PROVENANCE

LKIF Gallery, Seoul

NT$ 240,000 - 360,000 HK$ 65,000 - 98,000 US$ 8,300 - 12,500 RMB 53,000 - 80,000

Ikumi Nakada graduated from Vantan Design Institute in Tokyo in 2007. Ikumi Nakada portrays children with delicate brushstrokes to recreate memories of childhood and childish innocence. Her depictions of children are based on her observations of children's behavior. Gradually she forms a connection between her observations and her childhood memories, and channels them into her works created using soft colours and textures.

010

TOMOKO NAGAI

長井朋 子

長 井 朋 子 於 1982 年 出 生 於 日 本 愛 知

(Japanese, b. 1982)

綠野仙蹤

縣，並於 2006 年畢業於愛知縣立藝術

Think of That Record Jacket 2020 Watercolor, pencil, color pencil, ink, pastel on paper mounted on panel 50 x 65 cm Signed reverse Tomoko Nagai , titled Think of That Record Jacket in Japanese and dated 2020 PROVENANCE

Tomio Koyama Gallery, Tokyo

2020年 水彩 鉛筆 色鉛筆 墨水 粉彩 紙本裱於木板 50 x 65 cm 簽名題識畫背：Tomoko Nagai 2020 あのレコードのジャケットを思う 來源

小山登美夫畫廊，東京

大學油畫系。在長井的作品中，多以森 林和家中的房間為背景，戲劇性地描繪 了各種動物、兒童、五顏六色的樹木和 蘑菇。長井的每幅畫承載多種主題，並 擁有獨特的空間感。 Tomoko Nagai was bor n in Aichi Prefecture, Japan in 1982 and graduated from the Department of Oil Painting, Aichi University of the Arts in 2006. In Nagai's artworks, various animals, children, colorful

NT$ 190,000 - 280,000 HK$ 52,000 - 76,000 US$ 6,600 - 9,700 RMB 42,000 - 62,000

trees and mushrooms are depicted in a theatrical arrangement against the backdrop of forests and domestic rooms. Loaded with a multitude of motifs, each of Nagai's paintings embraces a unique sense of spatiality.

011

AYA TAKANO

高野綾

(Japanese, b. 1976)

微塵子之帽

Mijinko Hat

1999 Acrylic on canvas 53 x 45 cm Signed reverse Takano Aya and dated 1999 PROVENANCE

Private collection, Europe Mainichi Auction Inc., Tokyo, December 20, 2013, lot 89 Acquired from the above by the present owner

NT$ 550,000 - 850,000 HK$ 149,000 - 231,000 US$ 19,100 - 29,600 RMB 122,000 - 189,000

1999年 壓克力 畫布 53 x 45 cm 簽名畫背：Takano Aya 1999 來源

私人收藏，歐洲 每日拍賣，東京， 2013年12月20日，編號89 現有收藏者購自上述來源

1976 年在埼玉縣出生，屬於日本超扁平運動藝術 家。1997 年 加 入 村 上 隆 公 司 Kaikai Kiki 旗 下 成 為大受歡迎的藝術家。2000 年畢業於多摩美術大 學。高野綾在世界各地的展覽頗豐，如 2009 年 「復興世界」個展於紐約的斯卡斯特畫廊舉行， 2010 年也參加了大阪當代美術館「00 日本繪畫 公園」的聯展。 Aya Takano was born 1976 in Saitama, Japan, as a Japanese pop artist who associated with the Superflat movement. Since 1997 she became an assistant for leading Japanese C o n t e m p o r a r y A r t i s t Ta k a s h i M u r a k a m i .

Aya Takano received a B.A. from Tama Art University in Tokyo, 2000. She has exhibitions all over the world, like 2009 had her solo exhibition "Reintegrating Worlds," in Skarstedt gallery in New York and group exhibition as "Garden of Painting Japanese Art of the 00s" at the National Museum of Art in Osaka 2010.

012

OKOKUME (LAURA MAS) (Spanish, b. 1985)

西 班 牙 藝 術 家 奧 高 古 曼，1985 年 出 生 於 巴 塞 隆 納 省 的 馬 塔 羅 （Mataró），8 歲起開始在家鄉的藝術學校學習。自 2012 年以來，

Dino Star

展覽不斷，現已是香港、東京、台北、洛杉磯、柏林等地畫廊及各大

2017 Acrylic on canvas 92 x 73 cm Signed reverse Okokume and dated 2017

通及亞洲文化元素，藝妓和穿著和服的日本女性作為造型多次出現。

EXHIBITED

青、改裝高速車等街頭文化為主要特色。明亮、花俏、幽默是奧高古

Okokume: Cosmic World , JPS Art Gallery, Hong Kong, July 3 - 28, 2017

NT$ 850,000 - 1,300,000 HK$ 231,000 - 353,000 US$ 29,600 - 45,200 RMB 189,000 - 290,000 奧高古曼 ( 蘿拉．馬斯) 恐龍星星 2017年 壓克力 畫布 92 x 73 cm 簽名題識畫背：Okokume 2017 展覽

「奧高古曼：宇宙世界個展」，JPS畫廊，香港， 展期2017年7月3日至28日

藝術博覽會的參展常客。奧高古曼從小喜愛日本動畫，作品中充滿卡 她嘗試使用各種媒材及創作手法，如油畫、塗鴉、陶瓷、雕塑及限量 公仔。她將自己的藝術歸類為流行超現實主義，即 1970 年代末發源 於美國洛杉磯的低眉藝術（Lowbrow Movement），以地下漫畫、刺 曼慣用的表現手法。在作品中，她創造了許多原創角色，例如：恐龍 （Dino）、宇宙少女（Cosmic Girl）（綠松石色皮膚的精靈）。通 過想像，這些精靈總在周遭，暗中保護人類免於危難。色彩上，高對 比的強烈用色是奧高古曼的標誌之一，其作品中總見少女系粉亮色調 的畫面主角，和背景的暗黑系氛圍呈現鮮明對比。 Spanish artist Okokume was born in Mataró, Barcelona in 1985. At the early age of 8 she started studying art at the art academy in her hometown. Since 2012, she has been exhibiting internationally in galleries in Hong Kong, Tokyo, Taipei, Los Angeles and Berlin, as well as various art fairs. Okokume has developed a great passion for Japanese animation from an early age. Cartoon and Asian culture are important elements in her creation.

Geishas and women in Japanese kimono have been constantly depicted by the artist. Okokume uses different mediums and techniques, spanning from oil painting, graffiti, ceramic, sculpture to limited edition toys. She considers her art as part of the Pop Surrealism, also called the Lowbrow Movement, which was developed at the end of 1970s in Los Angeles, featuring underground comics, tattoo and hot-rod cultures of the street.

B r i g h t , f a n c y, h u m o ro u s a re w o rd s t h a t j o i n t h e s p i r i t o f Okokume's artistic productions. In her works, the artist creates original characters such as Dino (dinosaur) and Cosmic Girl (turquoise-skinned spirit), a turquoise creature/soul that surrounds us and protects Mankind from all the bad things. In terms of color, Okokume develops a personal skill to play with the light and dark contrast by using somber background to highlight the bright pastel hues of the subject.

013

KAWS (BRIAN DONNELLY) (American, b. 1974)

BFF (Plush) (Black) 2019 Polyster, plush, limited-edition outfit designed and made by Dior 47.5(H) cm; 30.1(L) x 24.1(W) x 55.4(H) cm (box) Signed Kaws.. on the bottom of the left foot Numbered 244/500 on the right hand Signed base Dior and Kaws..

Limited Edition: 244/500 and dated January 2019 on the base

NT$ 240,000 - 360,000 HK$ 65,000 - 98,000 US$ 8,300 - 12,500 RMB 53,000 - 80,000 布萊恩．唐納利 BFF (絨毛玩具) (黑) 2019年 綜合媒材（聚酯纖維 毛絨 迪奧限量設計牛仔服） 45.7（高）cm； 30.1（長）x 24.1（寬）x 55.4（高）cm（原裝盒） 簽名左腳底部：Kaws.. 編號右手：244/500 簽名題識台座：Dior and Kaws..

Limited Edition: 244/500, January 2019

014

YUYA HASHIZUME (Japanese, b. 1983)

Eyewater-Bear 2021 Acrylic on canvas 64.5 x 45 cm Signed lower left side Yuya.H.

NT$ 320,000 - 480,000 HK$ 87,000 - 130,000 US$ 11,100 - 16,700 RMB 71,000 - 107,000 橋爪悠也 女孩與泰迪熊 2021年 壓克力 畫布 64.5 x 45 cm 簽名左下側邊：Yuya.H.

灰原愛畢業於東京藝術大學雕塑系，她的木 雕創作呈現圖畫般的少女雕像，可愛、抒情， 創造「雕刻繪畫化」風格。而她獨有的少女 氣質為當代創作難能可貴的特徵、有治癒人 心的溫潤。作品充滿童趣詼諧，卻不流於俗 套，以不誇張的造型取勝；純真、靜謐的氣 息讓人彷彿進入藝術家的綺麗幻想當中。 Ai Haibara graduated from the Sculpture Department of Tokyo National University of Fine Arts and Music. Her woodcarving creation presents picture-like statue of young girl, which is lovable, sentimental and has spiritual healing power, creating the style of "Painterly Sculpture". Her distinctive girly temperament is such a rareness and precious characteristic among the contemporary creation, surround with healing warmth. Her work is full of humour yet with soothing texture, likeable appearance but definitely not fall into conventional pattern, scoring a success with non-exaggerated model, the innocent and tranquil atmosphere brings viewers sort of entering the gorgeous fantasy of the artist.

015

AI HAIBARA (Japanese, b. 1981)

A Girl on the Stand (What You Get By Losing) 2007 Camphor wood, acrylic paint 40(L) x 59(W) x 177(H) cm This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 380,000 - 550,000 HK$ 103,000 - 149,000 US$ 13,200 - 19,100 RMB 85,000 - 122,000 灰原愛 椅凳上的女孩（失去也是得到） 2007年 樟木 壓克力彩 40（長）x 59（寬）x 177（高）cm 附藝術家簽名原作保證書

016

MAIKO KOBAYASHI (Japanese, b. 1977)

小林麻衣子於 1977 年出生於日本橫濱，2008 年於英國諾桑 比亞大學取得碩士學位。她筆下創造的角色有著白皙的膚色

Untitled Phrase #1-20

和幽靈般的表情。使用日常媒材，如報紙、食品袋、記事本，

2020 Acrylic, oil pastel, Japanese paper mounted on panel 60.6 x 50 cm Signed reverse Maiko.K , titled Untitled Phrase #1-20 and dated 2020

世界和無法勇敢表達的聲音，反映出當代社會的現實面。

NT$ 700,000 - 1,100,000 HK$ 190,000 - 299,000 US$ 24,300 - 38,300 RMB 156,000 - 245,000

The impression of fragility is also reinforced by the use of

小林麻衣子 無題片語＃1－20 2020年 壓克力 粉臘筆 和紙裱於木板 60.6 x 50 cm 簽名題識畫背：Maiko.K Untitled Phrase #1-20 2020

也強化了這種脆弱的印象。藝術家透過圖像表達一種不存於

Maiko Kobayashi was born in Kanagawa, Japan. She got the Master's Degree from The Northumbria University, E n g l a n d i n 2 0 0 8 . K o b a y a s h i re p re s e n t s i m a g i n a r y creatures with fair complexions and ghostly expressions. daily objects, like newspaper pages, food bags or notepad sheets. Through the images, she expresses the voice of those who no longer dare to express themselves, nor exist in the world, reflecting the reality of modern society.

017

CHIHARU SHIOTA

塩田千春

(Japanese, b. 1972)

沙漏

Hourglass

2020 Lithograph, ed. 29/40 65 × 50 cm Initialed lower right CS. Numbered lower left 29/40

NT$ 190,000 - 280,000 HK$ 52,000 - 76,000 US$ 6,600 - 9,700 RMB 42,000 - 62,000

2020年 石版畫 版次29/40 65 x 50 cm 簽名右下：CS. 版次左下：29/40

018

CHIHARU SHIOTA

塩田千春

(Japanese, b. 1972)

臉

Face

2018 Watercolor, pencil and thread on paper 64.5 x 50 cm Initialed lower right CS. PROVENANCE

Galerie Templon, Paris

NT$ 400,000 - 600,000 HK$ 109,000 - 163,000 US$ 13,900 - 20,900 RMB 89,000 - 134,000

2018年 水彩 鉛筆 線 紙本 64.5 x 50 cm 簽名右下：CS. 來源

坦普隆畫廊，巴黎

019

YAYOI KUSAMA

草間彌生

(Japanese, b. 1929)

波（I）

Waves (I)

1998 Silkscreen, ed. 14/30 59.8 x 47.8 cm (image); 70.8 x 56.5 cm (sheet) Signed lower right Yayoi Kusama Titled lower left Waves (I) in Kanji, numbered 14/30 and dated 1998

1998年 絲網印刷 版次14/30 59.8 x 47.8 cm（圖）；70.8 x 56.5 cm（紙） 簽名右下：Yayoi Kusama 題識版次左下：波（I） 1998 14/30 來源

非畫廊，台北

PROVENANCE

圖錄

ILLUSTRATED

《草間彌生全版畫1979-2017》，阿部出版株式會社， 東京，2017，彩色圖版，編號282，頁167

Beyond Gallery, Taipei

Yayoi Kusama Prints 1979-2017 , Abe Publishing Ltd., Tokyo, 2017, color illustrated, no. 282, p. 167

NT$ 300,000 - 460,000 HK$ 82,000 - 125,000 US$ 10,400 - 16,000 RMB 67,000 - 102,000

020

YAYOI KUSAMA

草間彌生

(Japanese, b. 1929)

南瓜 YB-A

A Pumpkin YB-A 2004 Silkscreen, ed. 17/120 24 x 28.5 cm (image); 33 x 38.5 cm (sheet) Signed lower right Yayoi Kusama Titled lower center A PUMPKIN YB-A and dated 2004 Numbered lower left 17/120 ILLUSTRATED

Yayoi Kusama Prints 1979-2017 , Abe Publishing Ltd., Tokyo, 2017, color illustrated, no. 325, p. 187 This lot is accompanied with certificate of purchase issued by Art Seibidou, Shizuoka.

NT$ 800,000 - 1,200,000 HK$ 217,000 - 326,000 US$ 27,800 - 41,700 RMB 178,000 - 267,000

2004年 絲網印刷 版次17/120 24 x 28.5 cm（圖）；33 x 38.5 cm（紙） 簽名右下：Yayoi Kusama 題識中下：A PUMPKIN YB-A 2004 版次左下：17/120 圖錄

《草間彌生全版畫1979-2017》，阿部出版株式會社， 東京，2017，彩色圖版，編號325，頁187 附靜美洞畫廊開立之購買證明

021

HSIA YAN

夏陽

1951 年隨李仲生教授習畫。1955 年和畫友八人

(Taiwanese, b. 1932)

鎮宅光明

在台北創立東方畫會。1965 年進巴黎高等美術

The Brightness of the Township 1991 Acrylic on paper 65 x 65 cm PROVENANCE

Eslite Gallery, Taipei Christie's, Taipei, April 18, 1999, lot 055 Acquired from the above by the present owner

NT$ 280,000 - 380,000 HK$ 76,000 - 103,000 US$ 9,700 - 13,200 RMB 62,000 - 85,000

1991年 壓克力 紙本 65 x 65 cm 來源

誠品畫廊，台北 佳士得，台北， 1999年4月18日，編號55 現有收藏者購自上述來源

學校進修兩年，1968 年移居美國紐約。1973 年 入紐約 O.K. 哈里斯畫廊成為其專屬畫家。50 年 代就參加了聖保羅雙年展，後來還得了台灣國家 文藝獎，被稱為台灣現代藝術發展先驅。 Hsia Yan started lear ning drawing under Professor Li Chun-Shan from 1951. In 1955, together with his painting friend, in total eight people, he created Eastern Arts Association in Taipei. In 1965, entered Ecole des Beaux-Arts de Paris for two years of further study, before moving to New York, US in 1968. In 1973, he joined O. K. Harris Works of Art and became its exclusive painter. In 1950's, he took part in São Paulo Biennial, and then he got Taiwan National Literary Award, known as a pioneer for development of modern art of Taiwan.

022

WALASSE TING

丁雄泉

(Chinese-American, 1929-2010)

紅粉佳人

Pink Lady

1980s Acrylic on paper mounted onto canvas 67 x 48 cm With one seal of the artist PROVENANCE

Private collection, USA Private collection, Netherlands Ravenel Auction, Hong Kong, May 31, 2015, lot 036 Acquired from the above by the present owner

NT$ 320,000 - 480,000 HK$ 87,000 - 130,000 US$ 11,100 - 16,700 RMB 71,000 - 107,000

1980年代 壓克力 紙本裱於畫布 67 x 48 cm 藝術家鈐印：採花大盜 來源

私人收藏，美國 私人收藏，荷蘭 羅芙奧拍賣，香港，2015年5月31日，編號036 現有收藏者購自上述來源

023

WALASSE TING

丁雄泉

(Chinese-American, 1929-2010)

鸚鵡、花與雙美

Two Women with Parrot and Flowers Acrylic on rice paper 89 x 94 cm With one seal of the artist PROVENANCE

London Art Group, USA Acquired from the above by the present owner in 2006

NT$ 600,000 - 900,000 HK$ 163,000 - 245,000 US$ 20,900 - 31,300 RMB 134,000 - 200,000

壓克力 紙本 89 x 94 cm 藝術家鈐印：採花大盜 來源

倫敦藝術集團，美國 現有收藏者2006年購自上述來源

024

WALASSE TING (Chinese-American, 1929-2010)

I Like the Way They Look 1980 Acrylic on rice paper 180 x 96.5 cm With one seal of the artist PROVENANCE

Kiki Luijpen, Netherlands Kunzt Gallery, Belgium Acquired from the above by the present owner in 2007 This lot is accompanied with a certificate of authenticity issued by Kunzt Gallery, Belgium.

NT$ 900,000 - 1,400,000 HK$ 245,000 - 380,000 US$ 31,300 - 48,700 RMB 200,000 - 312,000 丁雄泉 三美圖 1980年 壓克力 紙本 180 x 96.5 cm 藝術家鈐印：採花大盜 來源

綺綺．路易彭，荷蘭 Kunzt畫廊，比利時 現有收藏者2007年購自上述來源 附比利時Kunzt畫廊開立之原作保證書

025

HSIAO CHIN

蕭勤

(Taiwanese, b. 1932)

永恆的花園－77

Il giardino eterno-77 (The Eternal Garden-77) 1995 Acrylic on canvas 60 x 100 cm Signed reverse and dated in Chinese; signed 'Hsiao' , titled Il giardino eterno -77 and inscribed 60 x 100 cm PROVENANCE

Giò Marconi, Milan Private Collection, Europe Christie's, Hong Kong, May 27, 2018, lot 469 Acquired from the above by the present owner

1995年 壓克力 畫布 60 x 100 cm 簽名畫背：Hsiao勤 九五 Il giardino eterno – 77 60 x 100 cm 來源

喬．馬克尼畫廊，米蘭 私人收藏，歐洲 佳士得，香港，2018年5月27日，編號469 現有收藏者購自上述來源

NT$ 850,000 - 1,300,000 HK$ 231,000 - 353,000 US$ 29,600 - 45,200 RMB 189,000 - 290,000 對生命的體悟、以及心境上的轉變，蕭勤以「宇宙即吾心，吾

into a relaxing form that breathes life. Using delightful

心即宇宙」的態度，創作出如《永恆的花園 -77》純熟、內斂又

contrasting colors and quietly enchanting brushworks,

充盈動能的作品。畫中構圖，熾紅大浪侵襲下方的一抹青窈。

the artist integrates his abundant intellectuality and

從而巨濤的壓迫感，因色系轉換得以舒張緩和，吞吐出一絲生

sensibility, revealing the depth and power conveyed by

息。藝術家以色彩對比的魅力和筆勢氣韻，將個人內心豐沛的

metaphysical art.

知性與感性融合，表現形而上藝術欲傳達之深度和能量。也延 續了 1960 年代以來，蕭勤對老莊思想中動 / 靜、光明 / 黑暗、 強 / 弱的思考。橙紅波環嵌以絲絲留白，如無垠漣漪擴散久而不 衰，無度綿延的線條與錯落色塊，宛如宇宙中兩種動能蓄勢待 發的交匯，周而復始的拉扯與平衡。此作創於 1995 年，同年， 台北市立美術館舉辦「蕭勤的歷程：1953-1994」個人大型展覽，

The work continues contemplations by the artist since the 1960s regarding movement vs. stillness, light vs. dark, and strength vs. weakness that are all part of the Lao Tzu and Zhuangzi school of thought. The periphery of the orange red wave is surrounded by traces of white,

紀念藝術家拼博數十年的藝術成就。

resembling ripples that expand endlessly. The continuous

After achieving certain realizations about life, Hsiao Chin

seem to indicate the intersection of two types of kinetic

experienced a spiritual transformation that inspired him to

powers that are ready to pounce with their iterative

create The Eternal Garden-77 based on an attitude of "the

pushing and pulling to reach an equilibrium. The painting

universe and my heart are one and the same". The result

was completed in 1995, the same year Hsiao's solo

is a work that is sophisticated and restrained, yet dynamic.

exhibition The Artistic Journey of Hsiao Chin: 1954-1994

The composition of the painting features a blazing red wave

was held at Taipei Fine Arts Museum to commemorate

that intrudes upon a touch of quiet and elegant green.

the decades-long achievements of the artist.

This changing color transforms the oppressive giant wave

extension of the lines and placements of the color blocks

026

PANG JIUN

龎均

(Taiwanese, b. 1936)

百合花的浪漫

The Romance of Lily 2010 Oil on canvas 72.5 x 91 cm Signed lower right Pang Jiun in Chinese and dated 2010 With one painted seal of the artist PROVENANCE

Ravenel Auction, Taipei, June 3, 2012, lot 140 Acquired from the above by the present owner

2010年 油彩 畫布 72.5 x 91 cm 簽名右下：龎均 2010 手繪鈐印右下：均 來源

羅芙奧拍賣，台北，2012年6月3日，編號140 現有收藏者購自上述來源

NT$ 1,200,000 - 1,800,000 HK$ 326,000 - 489,000 US$ 41,700 - 62,600 RMB 267,000 - 401,000 學西洋畫者，要自覺地返回中國文化之中，這就要多讀中國古

Western style painters should make a self-conscious return

今之書。現代社會極少人，能像古人隱士一般，一生埋在書房

to Chinese culture by reading more books. Unlike our

之中讀書萬卷。今世「高尚貴人」，幾戶有好書千本？－龎均

ancestors, people in modern society rarely dedicate their

龎均認真鑽研古典與現代藝術，並巧妙地將西方油畫語言融合 東方水墨寫意，形成了獨樹一幟的藝術風格，被評論家稱為「寫

time to reading. How many contemporary elites have more than 1000 books in their household? － Pang Jiun

意性油畫」。在其靜物作品《百合花的浪漫》中，藝術家從「寫

By delving into classic and contemporary art, Pang

意」的理論中施於繪畫實踐：畫中百合花花瓣，色彩出挑且明

ingeniously blended Eastern ink wash and literati paintings

亮，厚塗的油畫材質是通過運筆的速度和擠壓，所產生厚薄起

with the language of Western oil paintings to form a one-of-

伏多變的肌理紋路。實為努力用平面二度空間的方式提升純色

a-kind art style that critics called "freehand oil paintings." In

(Pure Color) 的地位，亦可理解為愈有深度性之作品，就愈接近

the still portrait Romantic Lily, the artist applied "freehand"

「平面」。再以色彩組合架構空間感，不經意地憑感覺簡化造

theories to practice: painting the lily petals in bright colors

形。將藍色佈景下的異域水壺和紫羅蘭的枱布的處理，借用「野

and moving the paintbrush at varying speeds and forces to

獸派」、「印象派」之技巧，自然的流露一點原始的氣息，呈

produce thickly textured layers of oil paints. In fact, the artist

現人性原本的爛漫與天真童趣。

tried to enhance pure colors through a two-dimensional plane. In other words, the "planar" approach added greater depth to the painting, followed by using color combinations to create a sense of spatiality that simplifies the shapes randomly. The exotic water bottle on the blue background and violet tablecloth are painted with Fauvism, Impressionist techniques that naturally display the sense of originality from human innocence and naivety.

027

PANG JIUN

龎均

(Taiwanese, b. 1936)

陽朔桂林

Yangsuo, Guilin 2008 Oil on canvas 72 x 91 cm Signed lower right Pang Jiun in Chinese and dated 2008 With one painted seal of the artist PROVENANCE

Yan Gallery, Hong Kong, 2008 Sotheby's, 20th Century Chinese Art, Hong Kong, October 4, 2010, lot 208 Acquired from the above by the present owner EXHIBITED

2008年 油彩 畫布 72 x 91 cm 簽名右下：龎均 2008 手繪鈐印右下：均 來源

一畫廊，香港，2008 蘇富比，「二十世紀中國藝術」，香港， 2010年10月4日，編號208 現有收藏者購自上述來源 展覽

「龎均個展」，一畫廊，香港，2008年

Pang Jiun , Yan Gallery, Hong Kong, 2008

圖錄

ILLUSTRATED

《龐均油畫藝術》，壹畫出版社、名揚九州藝術中心， 台北，2008年，圖版，頁8-9

The Art of Pang Jun , Yan Publishing House & Ming-yang Art Gallery, Taipei, 2008, illustrated, pp. 8-9

NT$ 1,800,000 - 2,800,000 HK$ 489,000 - 761,000 US$ 62,600 - 97,400 RMB 401,000 - 624,000

Pang Jiun

YANGSUO, GUILIN 陽朔桂林 龎均創作生涯一甲子屆齡八十歲之際，特別策劃了一系列美術

在一靜一動之間，龎均加強了「寫意性」！奠基於描繪自然和

館規格的「八十巡迴創作展」。其亞洲首站將於 6 月 20 日在日

精神層面的中國抒情傳統，既向歷代文人山水畫的藝術美學致

本皇室經營的東京上野之森美術館展出《東方表現》大展，成

敬。沉湎繪畫本身，龎均又酷愛詩詞音樂，對莫扎特的交響曲

為史上第二位在此展出的華人藝術家。隨後即新加坡、上海、

情有獨鍾，使得此幅作品畫面的空間漸次擴散為深具旋律與節

台北等亞洲城市也逐一推出個展。

奏變化的樂曲，能將日常事物以富有感染力的音樂韻律形式表 現出來。其繪畫語言呈獻了這種藝術哲思，並展現出對西方繪

龎均是兩岸三地大陸、香港、台灣少數親炙土地與生活的東方 藝術家，他對於藝術創作追求的「東方文明表現主義」風格，

畫技巧運用自如。在保留油畫語言特性的同時，注入傳統文人 畫的精神，流露出一片「洗盡鉛華、歲月靜好」的詩情畫意。

以東方人文表現主義方法將中國水墨畫與西方油畫的表現元素 完美地結合，將灰色揮灑得天馬行空。無論是桂林灕江中的「青 山簇簇」；或是黃山霧氣的「氤氳升騰」；再或是蘇州周莊雙 橋的「濃烈景緻」；以及靜物花卉的「鮮明活絡」，無不是融 匯了中西方的藝術思維。 在 1970 年代初，直至 1987 年遷居來台灣前夕，龎均曾走訪西 南各地，其中「山水甲天下」的桂林至陽朔一段更是讓龎均流 連忘返的作畫之地，作品《陽朔桂林》橫幅遠景佈局，悠悠的 山巒運用了極具質感的灰色色調，色彩上龎均特別擅長處理灰 色調的細微層次，而背景的迷離銀灰，煙波浩渺的灕江山水披 上了朦朧的詩意。中間一抹蒼青色和悠悠綠色劃分出畫面的層 次感。倒映在水中高聳山巒連成一氣，達到相互呼應的效果， 又以青綠為分界，觀者的視線由恬靜的村舍被吸引至一葉葉用 深灰色勾勒出的烏篷船前。若干靜靜停泊於江面之上的小船， 在泛起漣漪的灕江之上遊蕩起伏。

龎均《輕舟已過萬重山》2017 油彩 畫布 72.5 x 91 cm 羅芙奧2020秋拍 lot 236 成交價台幣4,320,000元 Pang Jiun, Boats Passed Thousands Mounts , 2017, Oil on canvas, 72.5 x 91 cm Ravenel Autumn Auction 2020, US$151,579 sold

When Pang Jiun reached eighty years of age during his

subtle layers of gray tones. With the blurred silver-gray

creative career, he specially curated the museum-specific

background, the vast Lijiang River landscape is encompassed

series "Eighty Traveling Exhibition". Its first stop in Asia will

by hazy poetic significance. A touch of blue-green in the

be on June 20 at the Ueno Royal Museum in Tokyo, which

middle adds to the layering of the canvas. Reflected in the

is run by the Japanese royal family. Subsequently, Pang will

water, the towering mountains are connected together to

also be gradually launching solo exhibitions in Singapore,

achieve the effect of echoing one another. With blue-green

Shanghai, Taipei, and other such Asian cities.

tones as the dividing line, the viewer's eyes are drawn from

Pang is one of Eastern artists who have a close relationship with the three regions of mainland China, Hong Kong, and Taiwan. Pursuing the style of "Eastern Civilization

the quiet cottages to the dark gray outlines of the awning boats. Several small boats are tranquilly moored on the river, leisurely rising and falling in harmony with the tide.

Expressionism" in his art, Pang utilizes Eastern humanistic

Alternating between a static and dynamic equilibrium, Pang

expressionism to perfectly blend the expressionist elements

continuously strengthens his "freehand brushwork"! Based

of Chinese ink painting and Western oil painting, whimsically

on the Chinese lyrical tradition of depicting natural and

transposing the shading gray elements. Whether it is the

spiritual aspects, Pang pays tribute to the artistic aesthetics

"clustering green hills" near the Lijiang River in Guilin, the

of the historical literati landscape paintings. Indulging in

"densely rising" mist of Mount Huangshan, the "intense

the essence of painting, Pang also harbors a love for poetry

scenery" of the Zhouzhuang twin bridges in Suzhou, or the

and music. W ith a penchant for Mozart's symphonies,

"bright and vivid" still life flowers, they all serve as a fusion

music gradually permeates into the space of this work with

of Chinese and Western artistic thinking.

deep melodies and rhythmic changes, thereby expressing

Starting in the early 1970s up until he moved to Taiwan in 1987, Pang visited many places in southwest China. Among them, Pang is fondly nostalgic of the "idyllic landscape" from Guilin to Yangshuo, where Pang frequently painted. The work Yangshuo, Guilin features a horizontal landscape with magnificent mountains that utilize extraordinarily textured gray tones. Pang is particularly proficient at handling the

everyday things in the form of contagious musical rhythm.

His pictorial language presents this artistic philosophy and demonstrates a fluent use of Western painting techniques.

While retaining the literary characteristics of oil painting, the spirit of traditional literati painting is embodied into the artwork, revealing a poetic and pictorial element of "wash away the glitter, and the years will be peaceful".

028

LI CHEN

李真

(Taiwanese, b. 1963)

大士

Avalokitesvara 1999 Bronze ed. 3/8 118(L) x 64(W) x 112(H) cm Engraved on the back Li Chen in English, numbered 3/8 and dated 1999 , with one seal of the artist PROVENANCE

Asia Art Center, Taipei Acquired from the above by the present owner EXHIBITED

China without Borders , Sotheby's, New York, June 20-28, 2001 (different sized version) The Contemporary Singapore Art Fair , Singapore, 2005 (this lot) 52nd International Art Exhibition-La Biennale di Venezia , Venice, June 10-November 21, 2007 (different sized version) In Search of Spiritual Space , National Museum of China, Beijing, 2008 (different sized version) Li Chen: Mind．Body．Spirit , Singapore Art Museum, Singapore, 2009 (different sized version) ILLUSTRATED

Li Chen Sculpture 1992-2002 , Asia Art Center, Taipei, 2004, color illustrated, p. 49 (different sized version) Li Chen in 52nd Venice Biennale - Energy of Emptiness, Venice , Asia Art Center, Taipei, 2007, p. 75 (different sized version) Li Chen: Mind Body Spirit , Singapore Art Museum, Singapore, 2009, illustrated, pp. 80-81 (different sized version) Treasures from Chinese Buddhist Temples -The Flame of Buddhism Burns Stronger than Ever , Ping Art Space, Taipei, 2010, illustrated, p. 190 This lot is accompanied with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 7,000,000 - 9,500,000 HK$ 1,902,000 - 2,582,000 US$ 243,500 - 330,400 RMB 1,559,000 - 2,116,000

1999年 銅雕 版次3/8 118（長）x 64（寬）x 112（高）cm 簽名雕刻背後：Li Chen 3/8 1999 雕刻鈐印：李真 來源

亞洲藝術中心，台北 現有收藏者購自上述來源 展覽

「無疆界的中國：華人當代藝術聯展」，蘇富比，紐約， 展期2001年6月20日至28日 「新加坡藝術博覽會」，新加坡，2005年（此作參展） 「虛空中的能量：第52屆威尼斯雙年展」，威尼斯， 展期2007年7月10日至11月21日 「尋找精神的空間」，中國美術館，北京，2008年 「李真：精神．身體．靈魂」，新加坡美術館， 新加坡，2009年 圖錄

《李真雕塑1992-2002》，亞洲藝術中心，台北，2004， 圖版，頁49 《第52屆威尼斯雙年展－虛空中的能量》，亞洲藝術中心， 台北，2007，圖版，頁75 《李真：精神．身體．靈魂》，新加坡美術館，新加坡， 2009，圖版，頁80-81 《中國佛教寺廟寶藏－普世熾初》，藏新藝術有限公司， 台北，2010，圖版，頁190 附亞洲藝術中心畫廊開立之原作保證書

Li Chen

AVALOKITESVARA 大士

《大士》是李真「虛空中的能量」系列的代表作之一，2001

卻不顯壓迫笨重，似飄浮於空中，令人有「既重又輕」的感覺，

年曾受邀參加美國紐約蘇富比總部「無疆界的中國」大型聯

這正是精神能量與物質能量完美的結合所致。

展，2007 年更於第 52 屆威尼斯雙年展展出。《大士》一作 臉部渾圓敦厚又慈悲的神情，在霧化面相中不失拙趣，是喜樂 也是祥和。

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，並且粹取中國五千年歷史

以單純清淨，卻又充斥著沛然莫之能禦的氣體能量，具形擴

文化的元素，如中國的仙、佛、龍、神話、民間故事等，更進

張，在極限與厚重間有了虛與實的官感，是太虛智慧包容的意

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

涵，簡單又直接傳達姿勢語彙。就雕塑肌理與線條關係，李真

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

表現出高超的融合性，看似簡約，但在光影下確充滿著變化，

的生命。

圓滿造型中依然有其精妙的神韻，彷彿左握淨瓶，右拈指印， 渾圓展臂而立。一種安穩態勢，讓人有平靜安定感。在質感上 用中國墨黑色帶有霧亮處理形成特有效果，使觀者有既重又輕 的感覺，是一件耐人尋味的精品。 人類文明之多元性，在全球化的趨勢中加速交流，但當下強勢 文化的侵略與散佈，造成異文化間的存在與疆界快速的消失。 全球化是共生概念，方便人類生活，但並非等於文化的統一 化，在現代的時空裡，更突顯個別文化的傳統自由精神的重要 與可貴。 雕塑家李真，生於台灣，是一位極具天份的藝術家，至今已於 紐約、芝加哥、邁阿密、休士頓、巴黎、倫敦、日內瓦、威尼 斯、上海、北京、新加坡、台北等多個城市展出，私人及公共 收藏遍布許多國家，更於 2007 年受邀個展於全世界最高地位 的學術展覽：第 52 屆義大利威尼斯雙年展，獲得國際廣大的 迴響及曝光度，為至高的榮譽。 李真涉獵佛道學等經典、物外尋真，在藝術作品的追求上，是 以雕塑來傳達東方文化的精神與內涵。李真以「虛空」為其重 要的創作美學概念，「空」與「虛」是中國文化中佛學及道學 的重要思想，佛學中的「空」並不是代表沒有，而是代表一個 巨大寂靜的生滅智慧境界，在道家思想有兩句話：「虛空粉碎， 大地平沉」，就是描述一個破與靜的極點狀態，在「易」之中 求道。李真的雕塑是在探討虛空的能量，但他所表現出的雕塑 實體，卻是空於外，道氣入內而充塞，一點也不空，原因是李 真再現能量是以一種精神的形式，用誇張、通體漆黑的實體來

李真《大士》1999年 銅雕 207 x 110 x 250 cm，高雄市立美術館典藏

表現懾人的物質精神，但雕塑所傳達確是甜美、浪漫、喜悅與

LI Chen, Avalokitesvara , Bronze, 1999, 207 x 110 x 250 cm, Collection of Kaohsiung Museum of Fines Arts

滿足的精神概念，正因如此，即便他的部分作品巨大無比，但

The Avalokitesvara is one of the representative series of Li

The artist Li Chen was born in central Taiwan, and in his

Chen's artworks named "Energy in Emptiness". In 2001,

expansive studies of Buddhist and Taoist scriptures he seeks

this piece was invited by the Sotheby's Headquarters in

truth beyond the material world. He uses sculpture to convey

New York, U.S.A. to attend a huge exhibition called "China

the spirit and allusions of Eastern culture, taking the idea

without Border." Moreover, it was also displayed in the

of "Emptiness", or "Void", as his central creative aesthetic

52nd Venice Biennial in 2007. The work Avalokitesvara

concept. These are important concepts in Chinese Buddhist

shows a full round face with mercy, humbleness and

and Taoist cultures. But "Emptiness" in Buddhism does

sincerity. It might look clumsy at first yet the misted facial

not mean "Nothing". Instead it connotes a vast and calm

expression conveys joy, peace and harmony.

understanding of one's existence in the world. In the same

Besides offering people an innocent, clear and clean sense, it also has an abundance of energy which has an expansive effect. Between the limit and the heaviness, virtual and real senses are endowed. These are implications of the wisdom

vein, there is a Taoist saying that goes: "When emptiness is broken, the earth loses its balance"; it describes an extreme state of disturbing the balance of things as pursued though the idea of interconnectivity.

of tai xu (it means vision) which applies the language of

Li Chen's sculptures investigate the energy of such emptiness,

various body postures to communicate with the audience in

and his sculptural forms are not empty, but instead are full

a simple and direct manner. In terms of the relation between

of a vital energy. He achieves this through an energetic and

sculptural textures and lines, Li Chen's work demonstrates

spiritual style that uses exaggerated shapes and dark black

his superb skills to combine them. It might look simple, but

lacquer to create a spiritual matter that people can absorb.

in the light and shadow, it is full of changes. Still, there is a

But the sculptures also convey emotions that are sweet,

sense of delicate spirit in the perfect design. With the left

romantic, happy and satisfied. For this reason, though some of

hand holding a clean bottle, the right hand's fingers making

his works may be massive, they don't appear oppressive and

a lotus gesture, the sculpture stands tall with solemnity and

heavy. Instead they seem to be floating in the air, exhibiting

dignity and gives a calm and secure feeling. The use of

an alluring ambiguity between lightness and heaviness.

Chinese ink-black color with bright-misted approach creates an unique quality that makes audience feel the heaviness and lightness at the same time. It is a fine piece of artwork which arouses intense interests.

Li Chen also makes breakthroughs in the already-existing styles of Buddhist sculpture that have existed over thousands of years. He alters the thick and full Tang Dynasty (A.D. 618907) style Buddhist sculptures and the elegantly spiritual

Globalization is accelerating communication and

characteristics of Song Dynasty (A.D. 960-1279) sculpture,

interaction among the multitudes of human cultures and

reaching an extreme simplification in both face and line. He

the boundaries between existing cultures are disappearing

extracts elements of China's five thousand years of history

rapidly. While globalization is a universal concept that

and culture, including Chinese immortals, Buddhas, dragons,

makes life easier for all, it does not unify cultures. In that

fairy tales and folk tales, etc. and takes them a step further,

sense the individualism of unique cultures is more important

creating contemporary artistic work from them. He successfully

and precious now than it has even been before.

combines classical and contemporary perspectives and creates works that are unprecedented and unique forms, endowing new life to Eastern sculpture.

029

JIM DINE (American, b. 1935)

Cadmium Red Medium 2021 Oil on burlap 51 x 40 cm Archives no. Ref#JD-21.09 Signed reverse Jim Dine , titled Cadmium Red Medium and dated 2021 PROVENANCE

Galerie Templon, Paris Acquired from the above by the present owner

NT$ 1,900,000 - 2,800,000 HK$ 516,000 - 761,000 US$ 66,100 - 97,400 RMB 423,000 - 624,000 吉姆．戴恩 鎘紅中調色 2021年 油彩 粗麻布 51 x 40 cm 作品編號：Ref＃JD-21.09 簽名題識畫背：Jim Dine Cadmium Red Medium 2021 來源

坦普隆畫廊，巴黎 現有收藏者得自上述來源

Jim Dine

CADMIUM RED MEDIUM 鎘紅中調色

提及 1950 至 60 年代，美國波普藝術的先鋒與安迪．沃荷（Andy Warhol）、羅伊．李奇登斯坦（Roy Lichtenstein）齊名，被稱為 最有溫度的波普藝術大師：吉姆．戴恩（Jim Dine），以「愛心」 主題畫作、雕塑揚名全球，為藝術家識別度最高，最受歡迎的系列。 1935 年 出 生 於 美 國 俄 亥 俄 州， 先 後 於 辛 辛 那 提 藝 術 學 院、 波 士 頓 美 術 館 附 屬 學 院 學 習 藝 術。1950 年 移 居 紐 約，1959-1960 年 吉 姆． 戴 恩 策 劃 了 即 興 發 揮、 無 秩 序 的 舞 台 表 演「 偶 發 藝 術 」 （Happenings），結合音樂、戲劇、視覺元素，與艾倫．卡普羅 （Allan Kaprow）、克拉斯．歐登伯格（Claes Oldenburg）、和 羅伯特．惠特曼（Robert Whitman）等人共同創作，從此名聲遠播， 開啟超越半世紀的創作之路。1962 年吉姆．戴恩與、安迪．沃荷、 李奇登斯坦、韋恩．第伯（Wayne Thiebaud）等人，於美國諾頓 西門美術館（Norton Simon Museum）共同展出「日常事物的新 繪畫」（New Painting of Common Objects），也為後世藝評家 視為第一屆美國「普普藝術」展覽，也因此吉姆．戴恩經常被歸類 為普普藝術家。 然與其他普普藝術家不同之處在於，吉姆．戴恩更重視於內心層面 的表現，畫中相同的圖像大量重複創作，以強調手繪的方法，用以 豐富斑斕的色彩，和粗曠線條。也因此有學者認為，吉姆．戴恩的 藝術融入相當強烈的「新表現主義」內涵。吉姆．戴恩所選主題物 件，如：愛心代表美好事物與其妻子、浴袍代表藝術家個人、小木 偶皮諾丘則相似於藝術創作點石成金的過程，各自與他的個人生命 經驗有深刻連結，與象徵意義。1966 年吉姆．戴恩在倫敦的展覽 被警方，以公然展示不雅之作名義取締。雖後澄清是其合作畫廊不 符標準，然倫敦封閉的藝術環境，更加激起吉姆．戴恩的鬥志，於 隔年正式搬遷倫敦，挑戰保守的社會觀感。 吉姆．戴恩認為工具與創作過程，如同完成品一樣重要。繪畫、版 畫、攝影、木刻、銅雕等等，創作材質的置換，在藝術家創作的前 半期，扮演關鍵性角色；而近三十年則持續以繪畫定調其藝術表 現。他傑出的版畫創作，也取得各學界的推崇。2015 年藝術家捐 贈 234 幅版畫於大英博物館，2020 年仍於巴黎的畫廊推出新展覽， 展示大型繪畫作品及雕塑，十足旺盛的創作力令人折服。 此次春拍《鎘紅中調色》畫作，最具代表性愛心主題，濃烈精巧， 藝術家以細緻豐厚的顏料肌理堆疊構成造型，棕色調主導畫面，鮮 紅與碧藍撞色，凸顯立體深淺的視覺感，為畫中心型注入生命力。

吉姆．戴恩《雙心6》1999年 銅雕 192.4 x 283.2 x 153.7 cm 富藝斯2022年1月24日紐約 lot 152，成交價美金478,800元 Jim Dine, Twin 6' Heart , 1999, Bronze, 192.4 x 283.2 x 153.7 cm Phillips, New York 2022, US$478,800 sold

藝術家的「愛心」是最受歡迎的題目之一，歷年創作的核心，對造 型提出主張，將普遍認可的「心」，賦予複雜意義的無限可能，亦 是一當代浪漫主義畫家。

1970 年美國惠特尼美術館，1978 年紐約 MoMA 為吉姆．戴

Although a subsequent clarification was made about the

恩舉行大型展覽，吉姆．戴恩至今已經歷過超過 300 場的個人

gallery not meeting required standards, the traditional

展覽。吉姆．戴恩的作品，包含紐約大都會美術館、英國泰德

art environment in London inspired Dine to challenge its

美術館、巴黎龐畢度中心、華盛頓國家美術館、東京都美術館、

conservative social perceptions. This is what led him to

紐約古根漢美術館、波士頓美術館、芝加哥美術館等權威性美

move to London in the following year.

術機構皆永久典藏。

Dine believed that the tools and processes of creation are as

During the 1950s and 1960s, Jim Dine was named the most

equally important as the finished artworks. The replacement

affectionate pop art master alongside American pop art

of creative materials in paintings, prints, photography,

pioneers Andy Warhol and Roy Lichtenstein. In his most

wood engraving, and copper carving played a pivotal role

recognized and collected series "The Hearts," Dine created

in the first half of the artist's creative career. Over the past

heart-themed paintings and sculptures that quickly took the

thirty years, Dine not only continued to express art through

world by storm.

painting, but also created outstanding print collections

Born in the State of Ohio in 1935, Dine studied art at the Art Academy of Cincinnati and School of the Museum of Fine Arts, Boston. After moving to New York in 1950, Jim Dine co-created "Happenings" between 1959 and 1960 with Allan Kaprow, Claes Oldenburg, and Robert Whitman,

that are widely praised by the academic community. The artist donated 234 prints to the British Museum in 2015 and launched a new exhibition in Paris in 2020. In displaying large paintings and sculptures to the public, this exhibition also demonstrated Dine's never ending creativity.

which is a type of improvisational, freestyle performance

In this spring auction, the painting Cadmium Red Medium

art that combines music, drama, and other visual elements.

features Dine's signature hearts theme in a delicate size.

Dine has since risen to prominence as he set off on a

The artist applied compact, rich layers of paint to form

journey of creation lasting over half a century. In 1962,

textures. The image is dominated by brown hues with

Dine collaborated with Andy Warhol, Roy Lichtenstein, and

a contrast between bright red and azure to highlight

Wayne Thiebaud on a joint exhibition titled "New Painting

different visual dimensions and depth, instilling vibrant

of Common Objects" at the Norton Simon Museum. This

energy into the hearts in the painting. As one of the artist's

exhibition was often regarded by modern art critics as the

most popular themes, the "hearts" are the core of all his

first pop art exhibition in the United States, which is why

creations. By giving a unique view to styles and endowing

Dine is often accredited as a pop artist.

ordinary "hearts" with complex and infinite possibilities,

However, distinct from other pop artists, Dine placed a greater emphasis on internal expressions. His paintings

Dine is undoubtedly a Romanticism painter in this contemporary era.

feature recurrent images that are hand-painted with bright

Having launched large-scale exhibitions at the Whitney

colors and bold outlines in an art style some scholars

Museum of American Art in 1970 and New York MoMA

described as an integration of strong Neo-expressionism.

in 1978, Dine has held more than 300 solo exhibitions

Dine often chose themes that are deeply connected to

throughout his career. In the permanent collection of

his personal life experiences with symbolic significance. In

prestigious art organizations all over the world, his artworks

his artwork, hearts represent beautiful things and his wife,

spread across the Metropolitan Museum of Art in New York,

bathrobes imply the artist himself, and Pinocchio serves as

Tate Modern in the UK, Pompidou Center in Paris, National

an analogy of the transformative art creation process that

Gallery of Art in Washington D.C., as well as the Tokyo

turns stone into gold. In 1966, the police seized Dine's

Metropolitan Art Museum, New York Guggenheim, Museum

London exhibition for publicly displaying obscene images.

of Fine Arts Boston, and Art Institute of Chicago.

030

SHOZO SHIMAMOTO (Japanese, 1928-2013)

Proof of Peace AU 33

20 世紀 50 和 60 年代，具體派大師嶋本昭三以往大型畫布上擲 瓶、塗抹厚重的顏料、在布紋紙上打孔等方式探索繪畫的邊界， 到了 70 年代嶋本昭三獲邀為新銳藝術家團體「AU」發聲，作 品《和平的證明 AU 33》正是這一時期的代表作。作品正中的

2008 Acrylic and broken glasses on canvas 101 x 110 cm Signed lower right S.Shimamoto

粘貼一張褐色牛皮紙（Kraftpaper）亦可視為這一合作項目中

PROVENANCE

行動力的繪畫中，被無序解構，玻璃碎屑瓶散落其中。當藍色

Associazione Shozo Shimamoto, Naples, Private collection Sotheby's, London, October 16, 2015, lot 192 SBI Art Auction, Tokyo, April 22, 2017, lot 166 Sotheby's, Hong Kong, April 1st, 2019, lot 540 This lot is accompanied with a certificate of authenticity issued by Associazione Shozo Shimamoto and signed by the artist. (Archive ID 883)

NT$ 900,000 - 1,400,000 HK$ 245,000 - 380,000 US$ 31,300 - 48,700 RMB 200,000 - 312,000

作品的特徵，是創作前有過深思的想法。在原有拋擲顏料瓶的 基礎上加入拼貼，使作品更有視覺上的立體層次感。嶋本經過 一系列的動作之後，顏料瓶隨之打碎在畫布之上，色彩如此有 被明黃所撞擊而產生新出的翠綠色，所有的偶然重新整合，在 無序中構建新的秩序，留白的保留具有東方哲思。在看似隨機 的炮製背後，是將自己對「和平」一詞的理解融入其中。嶋本 昭三的創作通過行動慢慢轉移到二維平面的作品。 In the 1950s and 1960s, the Gutai master Shimamoto explored the boundaries of painting by throwing bottles onto large canvases, applying heavy paint, and punching holes in textured paper. In the 1970s, Shimamoto was invited to speak for the emerging artist group, "AU". Proof of Peace AU 33 is a representative work from this period.

A feature of the works from this collaborative project is a piece of brown kraftpaper pasted in the center of the work, an idea carefully pondered before creation. Building on

嶋本昭三 和平的證明AU 33 2008年 壓克力 玻璃碎片 畫布 101 x 110 cm 簽名右下：S.Shimamoto

the original method of throwing paint bottles, collage is added to make the work more visually three-dimensional.

After a series of movements by Shimamoto, the paint bottle is shattered across the canvas. Through such actions, these dynamic colors in the painting are deconstructed in a disorderly manner, as the glass shards of the bottle are scattered across. When the blue is hit by a bright yellow

來源

to produce a new emerald green, all incidents are re-

嶋本昭三協會，那不勒斯，私人收藏 蘇富比，倫敦，2015年10月16日，編號192 SBI藝術拍賣，東京，2017年4月22日，編號166 蘇富比，香港，2019年4月1日，編號540

integrated, and a new order is constructed from amongst the

附嶋本昭三協會開立與藝術家簽名之原作保證書

of the word, "peace", into it. Shimamoto's creations are

（編號 ID883）

slowly transferred to two-dimensional planes through action.

disorder. The reservation of a blank space embodies Eastern philosophical concepts. Behind the seemingly random concoction, Shimamoto incorporates his own understanding

031

LOUIS TOFFOLI (French, 1907-1999)

Kweilin, passage fantastique 1979 Oil on canvas 130 x 162 cm Signed lower right Toffoli Titled reverse Kweilin paysage fantastique PROVENANCE

Collection of Musée Toffoli, Charenton-le-Pont, France Appay-Debussy, Cannes, France, October 28, 2007, lot 650 Acquired from the above by the present owner EXHIBITED

Hommage à Toffoli , Charenton le Pont, France, 1979 Hommage à Louis Toffoli , Charenton le Pont, France, 1985 Retrospective Louis Toffoli , Musée du Petit Luxembourg, Paris, 1990 Toffoli , Musée des Grands Augustins, Toulouse, 1991 Toffoli , Sandoz Establishments, Rueil Malmaison, 1991 Collection permanent du Musée Toffoli de Charenton , Le Musée Toffoli, Charenton-le-Pont, France (since 1995) ILLUSTRATED

Jeanine Pélissier, Louis Toffoli. Catalogue Raisonné de l'oeuvre peint. Tome II , Association des Amis des Louis Toffoli, 1993, illustrated, no. 2670 Toffoli, Le peintre et son musée , Art Production, France, 2000, illustrated, p. 53 Robert Vrinat, Toffoli , illustrated

NT$ 950,000 - 1,500,000 HK$ 258,000 - 408,000 US$ 33,000 - 52,200 RMB 212,000 - 334,000

Louis Toffoli

KWEILIN, PASSAGE FANTASTIQUE 桂林奇幻風景

路易．托夫利 桂林奇幻風景

路易．托夫利 Louis Toffoli（1907-1999），出生於的里雅 斯特（Trieste）（現為義大利東北部靠近斯洛維尼亞邊境 的一個港口城市），他的父親是義大利人，母親是斯洛維尼

1979年

亞人。托夫利幼年時，統治的里雅斯特的奧匈帝國處於政

油彩 畫布

治動盪的時代。1915 年托夫利的家庭被迫流亡到義大利的

130 x 162 cm

帕多瓦、佛羅倫斯等地定居，也讓托夫利在那裡受到宗教

簽名右下：Toffoli

及世俗藝術的啟發。回到的里雅斯特後他一邊擔任工匠糊

題識畫背：Kweilin paysage fantastique

口一邊在的里雅斯特美術學院就讀，並於 1928 年參加了的

來源

里雅斯特雙年展。當時展出的構成主義風格畫作引起了義

托夫利博物館收藏，沙朗通勒蓬，法國 阿拜伊．德布西拍賣行，坎城，法國， 2007年10月28日，編號605 現有收藏者購自上述來源

大利法西斯政權的關注，由於擔心自身的安全，1930 年托

展覽

1947 年，托夫利取得了法國國籍。爾後他也學習平版印刷

「向托夫利致敬」，沙朗通勒蓬，法國，1979 「向托夫利致敬」，沙朗通勒蓬，法國，1985 「托夫利回顧展」，小盧森堡博物館，巴黎，1990 「托夫利畫展」，奧古斯汀博物館，土魯斯，1991 「托夫利畫展」，山德士機構，呂埃–馬爾邁松，1991 「托夫利博物館永久典藏展」，沙朗通勒蓬 (1995年起)

技術，使他的他的作品影響力更升級。

圖錄

Duchamp）等立體主義藝術家的啟發，在他的繪畫中可以

珍妮．貝利希耶，《路易．托夫利油畫編年目錄卷2》， 路易．托夫利之友協會，1993，圖版，編號2670 《托夫利畫家與其美術館》，藝術生產出版社，巴黎， 2000，圖版，頁53 羅伯．維希納，《托夫利》，圖版

也找到抽象和構成主義的元素。然而，托夫利所呈現的色

夫利以藝術之旅為藉口前往巴黎。到巴黎後托夫利參與國 際繪畫競賽並開始定期在秋季沙龍（Salon d'Automne）、 獨立藝術家協會（Salon des Indépendants）等沙龍展出。

托夫利用鮮豔的色彩描繪了如詩一般的場景，彷彿從畫布 裡散發出一層淡淡地光線。光線穿透人物的身體或風景， 被分解為多個重疊的部分，變得透明而夢幻。托夫利受到 喬治．布拉克（Georges Braque）和馬塞爾．杜尚（Marcel

彩和形式上的溫柔，精湛的畫面結構都使他獨特的創作風 格跳脫出既有的藝術分類。 藝術家從 1956 年開始進行他的創作之旅。西班牙、南斯拉 夫、摩洛哥、墨西哥、巴西、美國、以色列和中國等都是 他曾停留的地方。遠離一般觀光路線，托夫利接近自然並

與當地人接觸，試圖尋找真正的人本精神。例如他在中

Toffoli paints poetic scenes in vivid colors, seemingly invoking

國時所繪製的桂林群山圖像、萬里長城以及各種農村風

a faint layer of light to emanate from the canvas. Light

景，優美的畫面道盡當地的人文風情。此外，托夫利的

penetrates bodies and landscapes, breaking them down

成長背景及工匠經歷也反映在畫作中。勞動階層、市井

into multiple overlapping parts of transparency and fantasy.

百姓甚至是戰亂場景都是他筆下常見的主題。

Inspired by Cubist artists such as Georges Braque and Marcel

托夫利一生致力於創作，他在世界各地舉行展覽。德國、 巴西、西班牙、荷蘭、以色列、義大利、摩洛哥、葡萄牙、 瑞典、美國等各地的博物館都有他的作品。以他為名的 托夫利博物館（Musée Toffoli）於 1995 年在巴黎付近的 沙朗通勒蓬（Charenton-le-Pont）落成，藝術家本人也

Duchamp, elements of abstraction and constructivism can also be found in Toffoli's paintings. In addition, Toffoli's tenderness in color and form, as well as his exquisite canvas structure, all contribute to his unique creative style that breaks through existing artistic classification.

向該市捐贈了百餘件作品。（目前該址為市立藝術與自

T h e a r t i s t s t a r t e d h i s c re a t i v e j o u r n e y i n 1 9 5 6 . S p a i n ,

由空間藝廊 Espace Art et Liberté）他也於 1996 年獲頒

Yugoslavia, Morocco, Mexico, Brazil, the United States, Israel,

義大利共和國騎士勳章，也有為他製作的電影和電視節

and China are all places he has traveled to. Straying from the

目，實為現代法國現實主義代表的藝術家。

usual tourist routes, Toffoli embraced nature and engaged

Louis Toffoli (1907-1999) was born in Trieste (now a port city in northeastern Italy near the Slovenian border) to an Italian father and a Slovenian mother.

When Toffoli was a child, the Austro-Hungarian Empire that ruled Trieste was undergoing political turmoil. In 1915, Toffoli's family was forced into exile.

They went to live in Padua, Florence, and other such places in Italy, where Toffoli became inspired by

with the locals in an attempt to find the true spirit of humanity.

For example, when he was in China, he painted pictures of the mountains of Guilin, the Great Wall, and other various rural landscapes. His paintings gracefully illustrate the local humanities and customs. Furthermore, Toffoli's upbringing and craftsmanship experiences are also reflected in his paintings.

The working class, the common people, and even the scenes of war are common themes in his artwork.

religious and secular art. After returning to Trieste, he

Toffoli devoted his life to creating, holding exhibitions all over

worked as a craftsman while studying at the Trieste

the world. Museums in Germany, Brazil, Spain, the Netherlands,

Academy of Fine Arts, and participated in the Trieste

Israel, Italy, Morocco, Portugal, Sweden, the United States,

Biennale in 1928. His constructivist paintings caught

and other such places feature his works. The Musée Toffoli in

the attention of the Italian fascist regime. Fearing for

his honor was inaugurated in Charenton-le-Pont, a commune

his safety, Toffoli traveled to Paris in 1930 under the

near Paris, in 1995 and the artist himself donated more than

pretext of an artistic trip. After arriving in Paris, Toffoli

100 works to the commune (The current site is at Espace Art et

participated in international painting competitions

Liberté). He was also awarded the Knight of the Order of Merit

and began to exhibit regularly in Salon d'Automne,

of the Italian Republic in 1996, and there were movies and

Salon des Indépendants, and other such salons. In

TV shows produced for him. He is undeniably the artist that

1947, Toffoli acquired French citizenship. Later, he

represents the microcosm of modern French realism.

also learned lithography, which added even more influence to his works.

032

PIERRE-YVES TRÉMOIS

皮耶－伊夫．特墨

(French, 1921-2020)

黃金鰩

La Raie magnétique 1977 Bronze poli, edition E.A. 4/4 67(L) x 16.5(W) x 92.5(H) cm Engraved base Trémois , and numbered E.A. 4/4

1977年 銅雕 版次 E.A. 4/4 67（長）x 16.5（寬）x 92.5（高）cm 簽名雕刻台座：Trémois E.A. 4/4 來源

直接購自藝術家本人

PROVENANCE

圖錄

ILLUSTRATED

《線條之特墨》，米歇．坦克維爾出版社， 巴黎，1982，圖版，頁190-191

Acquired directly from the artist

Trémois d'un trait , Éditions Michèle Trinckvel, Paris, 1982, illustrated, pp. 190-191

NT$ 440,000 - 700,000 HK$ 120,000 - 190,000 US$ 15,300 - 24,300 RMB 98,000 - 156,000 生於法國巴黎。雕塑家和視覺藝術家，創作媒材多樣，包含蝕 刻版畫、雕塑、木炭畫、油畫、陶瓷等等。1938 年，進入法國 藝術學院以及法國畫家費爾南．薩巴泰的工作室學習。1943 年， 即贏得法國的羅馬大獎〈繪畫獎〉。1978 年，獲選為法蘭西藝 術院院士〈版畫組〉。曾於 1993 年參與聯合國教科文組織研討 會《二十一世紀的形式》。2010 年，成立皮耶．伊夫．特墨之 友協會以及特墨基金。 Trémois was born in Paris, France, in 1921. He is a sculptor and a visual artist. His works varies in media. Trémois have created plenty works of etchings, sculptures, charcoal drawings, oil paintings, ceramics, etc. He entered National School of Fine Arts in Paris, France and also the studio of the French painter Fernand Sabatté in 1938. In the year of 1943, Trémois won the Prix de Rome in Painting. In 1978, he was elected into the highest French Art Institute-Académie des Beaux-Arts for etching. In 1993, Trémois participated the UNESCO seminar "The Forms for the 21st century." In 2010, the creation of the Association of Friends of PierreYves Trémois and the Trémois Endowment Fund.

背面 verso

正面 recto

033

ANTONIUCCI VOLTI (French, 1915-1989)

Eva

Bronze, ed. 6/8 10(L) x 7(W) x 28.8(H) cm Engraved base Volti and numbered 6/8 With a stamp of the foundry E.Godard Cire Perdue PROVENANCE

Galerie Elegance, Taipei Acquired from the above by the present owner in 1991 ILLUSTRATED

Promenade à Paris , Galerie Elegance, Taipei, 2011, color illustrated, p. 196 This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 200,000 - 300,000 HK$ 54,000 - 82,000 US$ 7,000 - 10,400 RMB 45,000 - 67,000 安東尼奧奇．沃第 夏娃 銅雕 版次6/8 10（長）x 7（寬）x 28.8（高）cm 簽名雕刻底座側面：Volti 版次底座另一側：6/8 鑄造鈐印：E.Godard Cire Perdue 來源

愛力根畫廊，台北 現有收藏者購自上述來源，1991年 圖錄

《品味巴黎 看懂巴黎的西洋名畫》，愛力根藝術， 台北，2011，彩色圖版，頁196 附愛力根畫廊開立之原作保證書 安東尼奧奇．沃第以雕塑呈現地中海女性豐盈之美。進入 法國高等美術學院，師承布雪（J.Boucher）工作室，1936 年獲得羅馬大獎第二名的榮譽。龐畢度藝術中心和巴黎市 立美術館委託製作《和諧》，現座落在巴黎瑪黑區西奧多． 赫茲爾廣場。1981 年由法國政府為其成立沃第美術館。

034

ANTONIUCCI VOLTI (French, 1915-1989)

Sangeuse

1975 Bronze, ed. 6/8 47.5(L) x 42(W) x 48(H) cm Engraved Volti , ed. 6/8 PROVENANCE

Galerie Elegance, Taipei Acquired from the above by the present owner in 1991 This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 650,000 - 1,100,000 HK$ 177,000 - 299,000 US$ 22,600 - 38,300 RMB 145,000 - 245,000 安東尼奧奇．沃第 沉思 1975年 銅雕 版次6/8 47.5（長）x 42（寬）x 48（高）cm 簽名雕刻：Volti 6/8 來源

愛力根畫廊，台北 現有收藏者購自上述來源，1991年 附愛力根畫廊開立之原作保證書 Antoniucci Volti turned to be an artist acclaiming the body beauty of women in Mediterranean, especially in sculpture. He entered the studio of Jean Boucher at the École Supérieur des BeauxArts in Paris. In 1936, he won the second place of Rome Prize."Harmonie", a work commissioned

by Musée des Beaux-Arts de la Ville de Paris and Centre Pompidou, located in Place TheodorHerzl, near by the Marais district in Paris. In 1981, the Volti Museum was established by the French government in south of France.

035

ANDRÉ COTTAVOZ

安德烈．科達沃茲

(Spanish-French, 1922-2012)

海灘群像

Personnages sur la plage 1958 Oil on canvas mounted onto board 33 x 24 cm Signed lower right Cottavoz Signed reverse Cottavoz, titled Personnages sur la plage and dated 9.58 PROVENANCE

Galerie Dresdnere, Montreal (label on verso) Tajan Auction, Paris, September 11, 2018, lot 56 Private collection, France

NT$ 120,000 - 180,000 HK$ 33,000 - 49,000 US$ 4,200 - 6,300 RMB 27,000 - 40,000

1958年 油彩 畫布裱於纖維板 33 x 24 cm 簽名右下：Cottavoz 簽名題識畫背：Cottavoz Personnages sur la plage 9.58 來源

德勒斯頓畫廊，蒙特婁（畫背有畫廊標籤） 塔桑拍賣，巴黎，2018年9月11日，編號56 私人收藏，法國

036

LOUIS TOFFOLI

路易．托夫利

(French, 1907-1999)

雲霧繚繞

Brume

1979 Oil on canvas 60 x 92 cm Signed lower right Toffoli PROVENANCE

Private collection, France Cannes Encherès SARL, France, April 27, 2014, lot 372 Acquired from the above by the present owner

NT$ 300,000 - 460,000 HK$ 82,000 - 125,000 US$ 10,400 - 16,000 RMB 67,000 - 102,000

1979年 油彩 畫布 60 x 92 cm 簽名右下：Toffoli 來源

私人收藏，法國 坎城競標拍賣行，法國，2014年4月27日，編號372 現有收藏者購自上述來源

037

SHIGEYOSHI HAYASHI

林 重義

1913 年進入京都市市立繪畫專門學校，1916

(Japanese, 1896-1944)

日月潭的月光

年進入關西美術學院進修。1925 年獲第六屆

約1930年代

中央美術展覽之中央藝術獎。1930 年與兒島

油彩 木板

善三郎人等十一人，成立並加入日本獨立美術

45.5 x 61 cm

協會。

簽名右下：Hayashi

S h i g e y o s h i H a y a s h i e n t e re d t h e k y o t o

簽名題識畫背：月光 林重義

Painting School in 1913 and pursued his

Moon Light, Sun Moon Lake c. 1930s Oil on board 45.5 x 61 cm Signed lower right Hayashi Signed reverse Shigeyoshi Hayashi and titled Moon Light in Kanji

NT$ 90,000 - 140,000 HK$ 24,000 - 38,000 US$ 3,100 - 4,900 RMB 20,000 - 31,000

study further at the Kansai Arts College in 1916. In 1925, Hayashi was awarded the Central Art Award from the sixth Central Art Exhibition. In the 17th Nika Association Exhibition, he showed over 20 paintings that were created during his stay in Europe.

In 1930, Hayashi along with 10 other artists, including Zenzaburo Kojima, co-founded the Japanese Independent Art Association.

038

PIERRE BONCOMPAIN

皮耶．彭貢潘

皮耶．彭貢潘於 1959 年在法國國家裝飾

(French, b. 1938)

粉紅房間

藝術學院以首席畢業。其作品風格樸實並

La Chambre Rose Oil on canvas 65 x 50.5 cm Signed lower left Boncompain Titled reverse stretcher bar La Chambre Rose This lot is accompanied with a certificate of authenticity issued by Elegant Art Center, Taipei.

NT$ 140,000 - 220,000 HK$ 38,000 - 60,000 US$ 4,900 - 7,700 RMB 31,000 - 49,000

油彩 畫布 65 x 50.5 cm 簽名左下：Boncompain 題識畫背框條： La Chambre Rose 附雅德畫廊開立之原作保證書

洋 溢 普 羅 旺 斯 風 情， 主 要 描 繪 法 國 南 部 的女性、靜物及風景等生活場景。彭貢潘 2002 年在上海美術館的回顧展。他的作 品為許多重要的機構和私人所收藏。 Pierre Boncompain graduated in 1959 first in his class at the French National Academy of Decorative Arts.

The charm of Provence flows through Boncompain's works. His style is earthy, and mainly depicts Southern France and its environment. His themes are simple: nudes, still-lifes and landscapes.

Boncompain has exhibited in the Shanghai Art Museum in 2002. His artworks are collected in numerous important public and private collections.

039

ARMAN FERNANDEZ (French, 1928-2005)

Victoire de Samothrace 2003 Bronze, ed. 40/100 30(L) x 30(W) x 62(H) cm Engraved on the base Arman , titled bocquel fd and numbered 40/100

NT$ 240,000 - 360,000 HK$ 65,000 - 98,000 US$ 8,300 - 12,500 RMB 53,000 - 80,000

阿曼 ． 費 爾 戴 儂 薩莫色雷斯的勝利女神 2003年 銅雕 版次40/100 30（長）x 30（寬）x 62（高）cm 簽名雕刻底座：Arman bocquel fd 40/100 阿曼深受達達主義及普普藝術主義影響，創立了新現實主義，並成為在 國際上舉足輕重的物體藝術家。他以「堆積」物件著名，曾受法國總統 邀請創作國旗「堆積」作品裝置於皇宮內。阿曼的作品為紐約大都會美 術館、倫敦泰特美術館和巴黎龐畢度藝術中心等世界級美術館收藏。 Arman was strongly influenced by Dadaism and Pop Art, and was a co-founder of Nouveau Réalisme (New Realism). He became a n i m p o r t a n t i n t e r n a t i o n a l a r t i s t a n d w a s re n o w n e d f o r h i s "accumulations" of found objects. Arman was invited by the President of France to create an "accumulation" of national flags to be placed in a palace. Arman's works are in the collections of international museums such as the Metropolitan Museum of Art in New York, the Tate Gallery in London and the Centre Pompidou in Paris.

040

SALVADOR DALÍ (Spanish, 1904-1989)

Le Cabinet Anthropomorphique

薩爾瓦多．達利

Conceived in 1973; cast in 1982 Bronze, ed. 168/330 62(L) x 32.5(W) x 34(H) cm Engraved Dali , numbered 168/330 and stamped With the foundry mark Foneria Mibrosa Barcelona

抽屜人

PROVENANCE

鑄造工作室雕刻背面：Foneria Mibrosa Barcelona

Sotheby's, London, March 23, 2005, lot 326 Acquired from the above by the present owner ILLUSTRATED

Franco Passoni, Reynolds Morse and Albert Field, Dalí , Master Fine Art Gallery, Milan, 1986, illustrated, p. 79 Beniamino Levi, The Dalí Universe , Inter Art Resources, London, 2000, illustrated, pp. 80-81 Robert & Nicolas Descharnes, Dalí. Le dur et le mou, sortilège et magie des formes , Eccart, Paris, 2004, no. 683, illustrated, p. 266 (another cast) Françoise Lechien, Dalí, Dalí! ou l'éclosion apothéosique d'un sculpteur , Edition Delta, Brussels, 2004, larger cast illustrated, p. 70 & p. 99 (larger cast)

NT$ 300,000 - 500,000 HK$ 82,000 - 136,000 US$ 10,400 - 17,400 RMB 67,000 - 111,000

構思1973年；翻鑄1982年 銅雕 版次 168/330 62（長）x 32.5（寬）x 34（高）cm 簽名雕刻側面：Dali 168/330

來源

蘇富比，倫敦，2005年3月23日，編號326 現有收藏者購自上述來源 圖錄

弗蘭科．帕索尼、雷諾斯．摩爾斯與艾爾伯．菲爾德， 《達利》，大師美術畫廊，米蘭，1986，圖版，頁79 貝尼亞彌諾．勒維，《達利宇宙》，中介藝術資源， 倫敦，2000 年，頁80-81 羅伯與尼古拉斯．德謝爾內斯，《達利：形式之硬與軟， 咒語與魔力》，艾卡特，巴黎，2004 ，第683期，頁266 法蘭索瓦絲．萊希安，《達利，達利！或雕塑家的神格羽化》， 德爾塔出版社，布魯塞爾，2004，圖版，頁70與頁99

041

KEIJI IZUMI (Japanese, b. 1973)

Koi Koi

2018 Wood, colored pencil, stainless steel 60 (L) x 60 (W) x 70 (H) cm EXHIBITED

Person-Form, The Art Club, Taipei, January 12-31, 2019 This lot is accompanied with a certificate of authenticity issued by The Art Club, Taipei.

NT$ 200,000 - 300,000 HK$ 54,000 - 82,000 US$ 7,000 - 10,400 RMB 45,000 - 67,000 泉 啓司 再來再來 2018年 銀杏 樟木 橡木 色鉛筆 不鏽鋼 60（長）x 60（寬）x 70（高）cm 展覽

「人。形－泉啓司個展」，The Art Club，台北， 展期2019年1月12日至31日 附The Art Club畫廊開立之原作保證書 泉啓司於 1973 年出生於日本福島，東京造形大學畢業後以東 京為創作據點。他擅長以身邊人物為創作發想，細緻的木雕結 合場景和物件呈現出具有幽默感的人物像。近期展覽包括個展 「人。形－泉啓司個展」（2019，台北）、「毛骨悚然」（2013， 東京），團體展「初春浮躁」（2017，東京）等。作品被日本 大阪國立國際美術館收藏。 Sculptor Keiji Izumi born in Fukushima, Japan in 1973.

He lives and works in Tokyo, Japan. Graduated from Tokyo Zokei University Sculpture Department. Keiji Izumi uses familiar people as motifs, with precise wood carving techniques, he creates humorous human figures intertwined with landscapes and objects. His recent exhibitions include a solo exhibition titled "Person-Form", Taipei (2019), " Hairy to the Bone", Tokyo (2013), a group exhibition "Spring Fever", Tokyo (2017) and more. His work is in the collection of the National Museum of Art, Osaka, Japan.

042

CLAUDE WEISBUCH

克勞德．維士巴修

(French, 1927-2014)

行走的人

Qui marche

1974 Oil on canvas 197 x 167 cm Signed lower right Weisbuch Signed reverse Weisbuch , titled Qui marche and dated 1974 PROVENANCE

Société Thierry de Maigret SARL, Paris, June 25, 2014, lot 67 Acquired from the above by the present owner

NT$ 160,000 - 300,000 HK$ 43,000 - 82,000 US$ 5,600 - 10,400 RMB 36,000 - 67,000

1974年 油彩 畫布 197 x 167 cm 簽名右下：Weisbuch 簽名題識畫背：Weisbuch Qui marche 1974 來源

蒂埃里．德．梅格勒拍賣行，巴黎， 2014年6月25日，編號67 現有收藏者購自上述來源

043

KOTATSU IWATA

岩田小龍

(Japanese, b. 1974)

花開花謝20

Dead Flowers 20 2012 Acrylic on canvas 71.1 x 50.8 cm Signed reverse Kotatsu Iwata , titled Dead Flowers 20 and dated 2012 PROVENANCE

Tezukayama Gallery, Osaka Acquired from the above by the present owner EXHIBITED

What a cool! Kotatsu Iwata , Tezukayama Gallery, Osaka, March 23-April 14, 2012

2012年 壓克力 畫布 71.1 x 50.8 cm 簽名題識畫背：Kotatsu Iwata Dead Flowers 20 2012 來源

手塚山畫廊，大阪 現有收藏者購自上述來源 展覽

「多麼酷！岩田小龍」，手塚山畫廊，大阪， 展期2012年3月23日至4月14日 岩田小龍於 2004 年移居紐約開始藝術創作生涯。岩田的作品中 經常出現日常生活中隨處可見的圖像，也用柔和的色調和質感、

NT$ 90,000 - 140,000 HK$ 24,000 - 38,000 US$ 3,100 - 4,900 RMB 20,000 - 31,000

或著鉛筆畫的筆觸，為作品帶出流行又有些許懷舊情意的氛圍。

17

18

16

19

044

KOTATSU IWATA

岩田小龍

(Japanese, b. 1974)

花開花謝16；17；18；19（四件一組）

Dead Flowers 16; 17; 18; 19 (a set of 4) 2011-2012 Acrylic on canvas 36 x 25.5 cm (each) Signed reverse Kotatsu Iwata , titled Dead Flowers 16; 17; 18; 19 and dated 2011; 2012 PROVENANCE

Tezukayama Gallery, Osaka Acquired from the above by the present owner EXHIBITED

What a cool! Kotatsu Iwata , Tezukayama Gallery, Osaka, March 23-April 14, 2012

NT$ 110,000 - 170,000 HK$ 30,000 - 46,000 US$ 3,800 - 5,900 RMB 24,000 - 38,000

2011-2012年 壓克力 畫布 36 x 25.5 cm（每件） 簽名題識畫背：Kotatsu Iwata Dead Flowers 16; 17; 18; 19 2011; 2012 來源

手塚山畫廊，大阪 現有收藏者購自上述來源 展覽

「多麼酷！岩田小龍」，手塚山畫廊，大阪， 展期2012年3月23日至4月14日 Kotatsu Iwata decided to move to New York in 2004 to begin his art career. Motifs from images that we see in daily life can be found present in Iwata's work, but looking closer they are more than just that and flat colors. Iwata's work is layered with soft pop tones, texture, traces of pencil drawing, and nostalgia.

045

TAKERU AMANO (Japanese, b. 1977)

Venus and Cat 2021 Acrylic, spray paint on paper 76 x 56 cm EXHIBITED

Venus and Cat Takeru Amano Solo Exhibition , APPortfolio, Hong Kong, October 8-10, 2021 This lot is accompanied with a certificate of authenticity issued by APPortfolio, Hong Kong.

NT$ 180,000 - 280,000 HK$ 49,000 - 76,000 US$ 6,300 - 9,700 RMB 40,000 - 62,000

天野タケル 貓咪維納斯 2021年 壓克力 噴漆 紙本 76 x 56 cm 展覽

「貓咪維納斯─天野タケル個展」，APPortfolio， 香港，展期2021年10月8日至10日 附APPortfolio藝廊開立之原作保證書

046

TAKERU AMANO (Japanese, b. 1977)

Venus

2020 Acrylic on linen 116.5 x 73 cm Signed lower right side Takeru Amano and dated 2020 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 550,000 - 850,000 HK$ 149,000 - 231,000 US$ 19,100 - 29,600 RMB 122,000 - 189,000

天野タケル 維納斯 2020年 壓克力 亞麻布 116.5 x 73 cm 簽名右下側邊：Takeru Amano 2020 附藝術家簽名原作保證書

047

TAKERU AMANO

天野タケル

(Japanese, b. 1977)

英雄總是姍姍來遲II

The Hero Always Comes Late II 2012 Acrylic on canvas 91 x 116 cm Signed lower right side Takeru Amano EXHIBITED

Takeru Amano: No One on the Moon , Art Statements, Hong Kong, 2014

NT$ 300,000 - 460,000 HK$ 82,000 - 125,000 US$ 10,400 - 16,000 RMB 67,000 - 102,000

2012年 壓克力 畫布 91 x 116 cm 簽名右下側邊：Takeru Amano 展覽

「天野タケル：無人之月」， Art Statements，香港，2014

048

TAKERU AMANO

天野タケル

(Japanese, b. 1977)

天空是黃色的

The Sky was Yellow 2014 Acrylic on canvas 100 x 100 cm Signed lower right side Takeru Amano EXHIBITED

Takeru Amano: No One on the Moon , Art Statements, Hong Kong, 2014

NT$ 300,000 - 460,000 HK$ 82,000 - 125,000 US$ 10,400 - 16,000 RMB 67,000 - 102,000

2014年 壓克力 畫布 100 x 100 cm 簽名右下側邊：Takeru Amano 展覽

「天野タケル：無人之月」， Art Statements，香港，2014

049

TAKERU AMANO

天野タケル

(Japanese, b. 1977)

狩獵女神阿緹密絲與阿克泰恩

Artemis & Actaeon 2016 Acrylic on linen 163 x 206 cm Signed reverse Takeru Amano and dated 2016 EXHIBITED

Icônes II , Art Statements, Hong Kong, July 21-September 30, 2016 ILLUSTRATED

2016年 壓克力 亞麻布 163 x 206 cm 簽名畫背：Takeru Amano 2016 展覽

「經典偶像Ⅱ」，Art Statements，香港， 展期2016年7月21日至9月30日 圖錄

《經典偶像》，澀谷蔦屋，東京，2020，彩色圖版

Icons , Shibuya Tsutaya, Tokyo, 2020, color illustrated

NT$ 600,000 - 900,000 HK$ 163,000 - 245,000 US$ 20,900 - 31,300 RMB 134,000 - 200,000 天野タケル，1977 年出生於東京，1997-2000 年間曾赴紐約修

imbue them with a more contemporary rhythm. Borrowing

習版畫技術，旅居羅馬、巴黎的豐富經歷，作品饒富歐美古典、

from classic symbols of Greco-Roman mythology, such as

當代藝術、與日本傳統文化根源，互相交揉的獨特風格。天野

Venus and David, Amano uses a contemporary personal style

タケル曾說：「我提取經典藝術的代表人物、聖母瑪利亞，賦

for interpretation to once again take on the challenge of

予他們更現代的頻率。」借用如希臘羅馬神話裡維納斯、大衛

earning the recognition of viewers. Hidden in the "symbolic"

等經典符號，以當代個人風格去詮釋，重新挑戰觀者認同。隱

imagery is an exploration of the gradual "homogenization"

藏在「符號化」的圖像之下，是探討偶像與繆思之間，當代社

of visual aesthetic standards between icons and muses in

會越趨「同質性」的視覺審美。天野タケル融和浮世繪技巧和

contemporary society. Integrating the Ukiyo-e techniques

超扁平風格，畫中大面積平塗，手繪比擬精密印刷的平滑質感。

and a super-flat style, a large part of Amano's paintings are

細邊線與陰影色差，營造三維立體感。圖樣卡通化的人物五官，

painted flat by hand with a silky smooth texture similar to

造型精練簡潔。透過肢體動作布局，與觀者傳達不同的氛圍情

precision printing. A three dimensional effect is then created

緒。以往創作帶有電視卡通，賽璐璐片的手工風格；近期則為

with thin outlines and a chromatic aberration of shadows.

潮流藝術，帶有螢光色系的噴漆線條（Lot 045）。天野的畫風

The facial features of the figures are drawn in the style of

不僅自成一格，且辨識度極高。

cartoons with simple and concise stylized lines. Various

Born in 1977, Tokyo, Takeru Amano studied printmaking techniques in New York from 1997 to 2000. His abundant experience living in Rome and Paris provided inspirations for his unique artistic style, interweaving elements from classical European and American art, contemporary art, and his traditional Japanese cultural roots. Amano once said: "I take the symbolic figures of classical art and Madonna, and

emotions and moods are conveyed to viewers through a second layer of layout and motion of the body and limbs. In the past, Amano's works featured a handmade celluloid style of TV cartoons. His recent works have transformed into an urban art style of fluorescent spray-painted lines (Lot 045).

Amano's painting style is not just unique, but also highly recognizable.

050

JORDY KERWICK (Australian b. 1982)

Serpent Keeper 2021 Oil, acrylic on paper 58 x 41.5 cm Signed lower right Jordy Kerwick and dated 2021

NT$ 320,000 - 480,000 HK$ 87,000 - 130,000 US$ 11,100 - 16,700 RMB 71,000 - 107,000 喬迪．科維克 蛇之守護者 2021年 油彩 壓克力 紙本 58 x 41.5 cm 簽名右下：Jordy Kerwick 2021

喬迪．科維克於 1982 年出生於澳洲，現在定居於法國阿爾比。科維 克是一位自學成才的畫家。他使用油彩、噴漆、拼貼等創作媒材，大 膽的色彩組合和加粗的輪廓線巧妙地取代了畫面中的景深。並且以檯 燈、植物和地毯等常見的日常物品或個性強烈的動物圖案，呈現出具 有家庭溫暖感的現代靜物畫。科維克曾在雪梨、紐約、舊金山、洛杉 磯、倫敦、巴黎、哥本哈根、科隆、漢堡、東京和香港展出，他的作 品也被世界各地的收藏家收藏。 Jordy Kerwick (b. 1982) is a self-taught Australian painter who lives and works in Albi, France. Being influenced by depictions of still life in modern art, he is recreating the familiar feeling of domestic warmth in a contemporary setting. His mixed media approach consists of the heightened use of oil brushstrokes, spray-paint and collage, while including elements of sketching. His pictorial references of common objects, such as lamps, plants and rugs are fused with the intense energy of his patterned animals.

What is intentionally omitted in depth, is cleverly replaced by bold color combinations and thick outlines.Kerwick has exhibited in Sydney, New York, San Francisco, Los Angeles, London, Paris, Copenhagen, Cologne, Hamburg, Tokyo and Hong Kong. His works are also included in collections all around the world.

051

EDGAR PLANS

艾德加．普連斯

(Spanish, b. 1977)

公園

A Park

2006 Oil on canvas 38.5 x 55.5 cm Signed lower right Plans Signed reverse Plans , titled A Park and dated 2006 PROVENANCE

Armaga Galeria de Arte, Spain Acquired from the above by the present owner This lot is accompanied with a certificate of authenticity issued by Armaga Galeria de Arte.

NT$ 550,000 - 850,000 HK$ 149,000 - 231,000 US$ 19,100 - 29,600 RMB 122,000 - 189,000

2006年 油彩 畫布 38.5 x 55.5 cm 簽名右下：Plans 簽名題識畫背：Plans A Park 2006 來源

亞麥加畫廊，西班牙 現有收藏者購自上述來源 附亞麥加畫廊開立之原作保證書

052

EDGAR PLANS (Spanish, b. 1977)

Animal Hero 2019 Oil on canvas 15 x 15 cm; 28.5 x 25.5 cm (with frame) Signed lower left Plans Signed reverse Edgar Plans , inscribed A Sonie y João con cariño and dated 2019

NT$ 800,000 - 1,200,000 HK$ 217,000 - 326,000 US$ 27,800 - 41,700 RMB 178,000 - 267,000 艾德加．普連斯 動物英雄 2019年 油彩 畫布 15 x 15 cm；28.5 x 25.5cm（含框） 簽名左下：Plans 簽名題識畫背：A Sonie y João con cariño Edgar Plans 2019

生長於南歐，他的繪畫自然帶有溫暖的色彩，主題上根植於過 去的生命經驗，還有他關心的當代議題。他自認十分欣賞街頭 藝術，舉凡塗鴉、漫畫、插畫、動畫電影，潮流當代性的人物 造型，在他的繪畫裡起了關鍵性的影響。巴斯奇亞、奇斯 • 哈 林、村上隆等前輩的畫風，也是他師法的對象，再融入自傳式 的語彙。他喜愛用一些白色或有色線條勾勒，城市景觀、鄉野 風景，灰撲撲的背景，形成粉蠟筆般的塗鴉質感。 2009 年前後，他創造出一個穿戴頭盔、身穿斗篷的「動物英雄」 （Animal Hero）的人物設定，長著米老鼠般的耳朵、水汪汪的 大眼，造型上看得出漫畫和電影的元素，這個形象後來幾乎成 為藝術家的標誌代表。透過超級英雄的造型，或化身為飛行員、 獸醫、建築師、足球員、廚師、單車手、畫家等等角色，述說 一篇篇有趣的小故事，藉以針貶政治時事議題傳遞訴求。 Having grown up in Southern Europe, Plans' paintings deliver a natural sense of warmth through themes based on his life experiences and issues he cares about. He has an admiration for street art including graffiti, comics, illustrations, as well as animation movies. His artworks have been critically influenced by the urban contemporary character styles in these works. He also learns by observing the styles of masters like Basquiat, Keith Haring, Takashi Murakami, and mixing in a blend of his own unique characteristics. Plans likes to apply white or colored outlines to urban landscapes and country views on a gray background to form a chalk-like scribbly texture.

Around 2009, Plans created Animal Hero , a character with Mickey Mouse-like ears and big eyes in a helmet and cape.

The stylish elements from comics and movies have made this figure one of the artist's most iconic signatures. By telling interesting little stories as a superhero or in the disguise of a pilot, veterinarian, architect, soccer player, chef, cyclist, or painter, this character makes an appeal about politics and current events.

053

IZUMI KATO

加藤泉

(Japanese, b. 1969)

無題

Untitled

2003 Oil on canvas 53 x 45.5 cm Signed reverse Kato in English and Izumi in Kanji, titled Untitled in kanji, inscribed Oil on canvas 53 x 45.5 cm (F10) and dated 2003 PROVENANCE

United Asian Auctioneers, Hong Kong, May 28, 2011, lot 5 Phillip's, Hong Kong, November 29, 2021, lot 150 Acquired from the above by the present owner EXHIBITED

Zone - Clairvoyants in This Threatening Age , Fuchu Art Museum, Tokyo, November 1 - December 28, 2003 ILLUSTRATED

Paintings and Sculptures: Izumi Kato , Seigensha, 2011, color illustrated, pp. 38-39 Izumi Kato , Galerie Perrotin, Paris, 2020, color illustrated, p. 54

NT$ 1,900,000 - 2,800,000 HK$ 516,000 - 761,000 US$ 66,100 - 97,400 RMB 423,000 - 624,000

2003年 油彩 畫布 53 x 45.5 cm 簽名題識畫背：無題 2003 Oil on canvas 53 x 45.5 cm （F10）Kato泉 來源

亞洲聯合拍賣，香港，2011年5月28日，編號5 富藝斯拍賣，香港，2021年11月29日，編號150 現有收藏者購自上述來源 展覽

「場域－動亂時代的透視者們」，府中市美術館，東京， 展期2003年11月1日至12月28日 圖錄

《加藤泉作品集：繪畫和雕塑》，青幻舍，2011， 彩色圖版，頁38-39 《加藤泉》，貝浩登畫廊，巴黎，2020年， 彩色圖版，頁54

Izumi Kato

UNTITLED 無題

加藤泉2012年香港 K11 Musea 展覽一隅 Izumi Kato 2021 solo exhibition at K11 Sculpture Park, Hong Kong

初見加藤泉的作品，不免會把這些詭譎又異端的形象與非洲部

2003 年加藤泉在東京舉辦了《素描 1996-2003》個展，《無題》

落文化聯繫起來，再發散開來又覺得與古日本的神話中的「鬼

正是這一時期的作品，筆下的「人形」（にんぎょう）這一角色

魅」造型有異曲同工之妙。加藤泉出生的上世紀 70 年代正是日

是獨一無二的創作，但也會令人有一些模糊的聯想。它們有著在

本超能力和超古代文明漫畫的創作高峰期，其家鄉島根縣——

母體腹中胎兒般的姿態，四肢纖細舒展，單調誇張的軀體構造似

正是日本古文化的發源地之一。自幼薰陶在富有濃鬱的神道教

孩童般的屈膝而坐，前傾的身體試圖索取溫暖的擁抱，在幼童和

泛靈多神信仰，視自然界各種動植物為神祇，並保留著充滿原

精靈間取得了一種詭異的和諧。怪異的腦袋，眸色漸淺。顏色自

始力量的傳統祭神儀式之地。加藤泉從故鄉的怪誕文學、神話

臉頰漸變由「紫紺」漸變為「搗」；再從「紺藍」經「藍錆」向

傳說當中吸取能量，繪畫的故事中怪談的氛圍卻與作品不謀而

「納戶」色逐漸淡化。在暗淡的背景下，帶著原始又有些陰翳的

合。似乎有意地在藝術思想上避開了當代社會的「現實麻煩」，

味道。兩腿夾雜的一抹熒光黃是藝術家摒棄了筆法，加藤泉直接

而自己回溯，一直到人類文明的萌芽期，回到遠古先民的岩畫、

用手繪畫，將顏色深深地揉搓至畫布的肌理之中。

回到依賴土地的淳樸信仰。獨立於日系的卡通漫畫脈絡的造型， 內核卻有著東方文明的強力支撐，同時脫離了西方繪畫進化論 的體系，加藤泉的造型能力獨樹一幟。

作品中生而為人原始的強烈存在感，平淡的單色背景醞釀出純粹 的透明與莫名的緊張，深遠的意境有著超越畫面的外延。幾乎每 個遇見它們的觀看者都暗自想到，但卻禁不住靠近一點，再近一

加藤泉作品的用色與線條，聯想到馬蒂斯的繪畫與雕塑，相比

點去觀察它的細節，又覺得它們有些可親可愛。正如藝術家談起

起馬蒂斯奔放活潑的《舞蹈》（The Dance) 與粗獷厚重的《女

自己的靈感來源，「是一個整體，並沒有什麼特殊的點。」畫面

人背部》（Bather），加藤泉更多的是日式美學的克制收斂。

是自由流露的，他的作品一律沒有命名，都是《無題》。

加藤泉喜歡梵谷、杜布菲、培根和伊藤若沖的作品，無獨有偶， 這四位藝術家同樣都是追求心靈與自然、探求從人性至神性的 高手。加藤泉從他們當中吸取能量，並結合自己受日本古文化、 日本動漫的影響，讓繪畫變得更有趣了。2003 年，加藤泉開始 嘗試雕塑，作品保留著清晰的雕刻痕跡，這些都讓加藤泉的作 品更顯原始和自然的氣質。「我覺得雕塑著實為我的繪畫提供 了幫助。它就好像三維的畫畫過程。」他說。

At first glance, the strange, heretical images in Izumi Kato's works may look like figures from African tribal cultures.

However, a closer look reveals some resemblance to the "goblins" in ancient Japanese tales. Kato was born in the 1970s during the peak of superpower and super ancient civilization comics in Japan. His hometown Shimane

Prefecture is also one of the origins of ancient Japanese

changed colors from bluish-purple to indigo, and fading

culture. Kato grew up in an environment with beliefs in

from ultramarine to rusty blue and the lighter "onando," the

animistic polytheistic Shinto, which perceives all animals

characters express an original and dull atmosphere on the

and plants in nature as gods and still preserves traditional

dim background. Instead of using a paintbrush to apply a

powerful worship rituals. Drawing energy from the absurd

shade of fluorescent yellow on their legs, the artist used his

literature and mythical legends of his hometown, Kato

hands to rub the colors into the texture of the canvas.

created paintings with stories matching the atmosphere of these weird tales. He seemed to have consciously avoided the "realistic troubles" of contemporary society and chose to look back at the beginning of human civilization–tracing back to ancient rock paintings and simple land-based beliefs.

Distinct from Japanese cartoon characters and Western painting systems, Kato is particularly skilled in creating unique characters that are instilled with the characteristics of Eastern civilization.

The use of colors and outlines in Kato's works reminds

The work conveys a strong sense of primitive existence.

The plain monochromatic background reflects a pure transparency and an inexplicable tension, expanding the profound atmosphere beyond the canvas to viewers. No viewer could resist the temptation to observe the painting more closely for details before finding the characters adorable. The artist described his source of inspiration "as a whole with no special ideas." The painting is a free expression that cannot be explained. That is why Kato's works are "Untitled."

viewers of Matisse's paintings and sculptures. In contrast to the bold vividness in Matisse's The Dance and rugged complexity in Bather , Kato demonstrated a greater emphasis on the control and restraint of Japanese aesthetics. Kato admired the works by van Gogh, Dubuffet, Bacon, and Ito Jakuchu, all of whom were masters in exploring humanity and divinity from the perspectives of soul and nature. Kato built on their ideas by combining them with his influences from Japanese ancient culture and comic animation to create even more fascinating paintings. In 2003, Kato started trying sculptures and the clear carving marks on his works display an original and natural temperament. According to Kato, sculpting was like a 3D painting process that helped to perfect his painting skills.

In 2003, Kato launched his solo exhibition Drawings 1996-

2003 in Tokyo. This was exactly when he painted the Untitled series, creating one-of-a-kind "dolls" based on vague associations. Holding a posture of babies inside wombs, these characters feature simple child-like bodies stretching out their slim limbs and sitting with knees bent, leaning forward for a warm hug. Together, the characters' weird-looking heads and light-colored eyes present an odd balance between infants and elves. As their cheeks gradually

加藤泉《無題》 2013 油彩畫布 28x22.5 cm 羅芙奧2021年春拍 成交價台幣1,200,000 Izumi Kato, Untitled , 2013, oil on canvas, 28x22.5 cm Ravenel Spring Auction 2021 US$42,857 sold

054

MOE NAKAMURA (Japanese, b. 1988)

Hopehole #02 2013 Wood, coloring, unique piece 19.5(L) x 19.5(W) x 29.5(H) cm Signed bottom Moe PROVENANCE

Gallery Tsubaki, Tokyo Acquired from the above by the present owner ILLUSTRATED

Moe Nakamura Growth , Gallery Tsubaki Co. Ltd, Tokyo, 2020, color illustrated This lot is accompanied with a certificate of authenticity issued by Gallery Tsubaki, Tokyo.

NT$ 1,200,000 - 2,000,000 HK$ 326,000 - 543,000 US$ 41,700 - 69,600 RMB 267,000 - 445,000 中村萌

中村萌於 2012 年畢業於女子美術大學美術研究所，目前備受矚

希望之洞 ＃02

目的日本當代藝術家。其作品以充滿手感溫度的人物木雕創作

2013年

為主，大部份的雕塑作品皆保留了雕刻時的刻痕紋路，獨具風

木雕上色 單一件

格。藝術家在此作《希望之洞＃ 02》中探討現代社會中自我與

19.5（長）x 19.5（寬）x 29.5（高）cm

他人之間的關係，象徵作者內心的「洞」雖然是寂寞的但透過

簽名底部：Moe

尋找和面對真正的自我還是能看見黑暗中的光芒。

來源

Moe Nakamura, a contemporary Japanese artist recently in

椿畫廊，東京 現有收藏者購自上述來源

the spotlight. Graduated from the Joshibi University of Art and Design,M.A, Department of Painting. Nakamura's art

圖錄

practice focuses on warmly hand-carved figures: sculptural

《中村萌Growth》，椿畫廊，東京，2020，彩色圖版

works marked by the unique way the notches and grains of

附東京椿畫廊開立之原作保證書

the wood are preserved. In this work Hopehope #02 , the artist explores the relationship between self and others in modern society, symbolizing that the "hole" in the author's heart is lonely, but through finding and facing the true self, one can still see a streak of light in the darkness.

055

OB

ob

(Japanese, b. 1992)

手鐲裡的星球

A Planet in the Bracelet 2011 Oil on canvas 184 x 184 cm (diagonal) Signed reverse ob , titled A Planet in the Bracelet in Japanese and dated 2011.9.12 PROVENANCE

KaiKai KiKi Gallery, Taipei Private collection, Taiwan Ravenel Auction, June 1, 2019, Taipei, lot 030 Acquired from the above by the present owner

2011年 油彩 畫布 184 x 184 cm（對角線） 簽名題識畫背：2011.9.12「ブレスレットの中に惑星」ob 來源

KaiKai KiKi 畫廊，台北 私人收藏，台灣 羅芙奧拍賣，台北，2019年6月1日，編號030 現有收藏者購自上述來源

NT$ 2,000,000 - 3,000,000 HK$ 543,000 - 815,000 US$ 69,600 - 104,300 RMB 445,000 - 668,000 ob 於 1992 年出生於京都，京都藝術高等學校畢業。2010 年在

joint exhibition through the social media software "pixiv".

京都舉行首場個展，同年也透過社群軟體「pixiv」邀請其他同

The two exhibitions also attracted the attention of Takashi

年代藝術家參與其自行企畫的「祭典狂歡」（Wassyoi）聯展。

Murakami, the godfather of Japanese contemporary art. The

也因為這兩檔展覽引起日本當代藝術教父村上隆的注意，隔年

following year, she collaborated with Kaikai Kiki Gallery to

隨即在台北、香港、東京三地與村上主持的 Kaikai Kiki 畫廊合

host exhibitions curated by Murakami in Taipei, Hong Kong,

作展出。爾後陸續參與海內外展覽，2013 年與植村秀的合作，

and Tokyo. Since then, she has participated in numerous

還有 2020 年在蜷川實花執導電視劇中大量的作品曝光，都使她

exhibitions both at home and abroad. Her cooperation with

的知名度不斷提升。「ob 是一位逸才」正如同村上隆的讚賞，

Shu Uemura in 2013, and the exposure of a large number

成長在網路世代的 ob 年以她獨特的創作風格在藝術市場中展露

of her works in the TV series directed by Mika Ninagawa in

頭角。

2020 have all served to instigate her continuously gaining

Born in Kyoto in 1992, ob graduated from Kyoto Art Senior High School. In 2010, she held her first solo exhibition in Kyoto. In the same year, she also invited other artists around her age to participate in her self-planned "Wassyoi"

popularity. "ob is a talented person" praised Murakami.

Growing up in the Internet generation, ob utilizes her unique creative style to demonstrate her outstanding abilities in the art scene.

ob

A PLANET IN THE BRACELET 手鐲裡的星球

ob 的代名詞是她作品中明亮大眼的女孩。天真浪漫、彷彿纏 繞著一層乳白色絲綢如夢一般。藝術家曾在訪談中提到「在我 十幾歲的時候，女孩的形象在某種意義上就是一幅自畫像，但 我在近期的作品中所描繪的並不是關於我自己。曾經有看著畫 留下眼淚的人，雖然不知道她哭的原因，但她不安的身影與女 孩的形象重疊。現在，我一邊想著那些人一邊畫女孩。」藝術 家相信，隱藏在青春期不確定性中自我蛻變的能量，能夠讓我 們有勇氣面對他人。藉由女孩，ob 成功地創造出與他者連結 的方式。 如果只取出女孩的形象，可能會直接聯想到日本漫畫或插圖等 次文化，但在聽過 ob 聊到她欣賞的藝術家時，不難從作品中 看出近代西洋繪畫的脈絡，也恰好解釋了她的作品可以打動 人心。「我被馬格利特（René François Ghislain Magritte） 強 大 的 幻 想 場 景 所 吸 引， 我 也 喜 歡 莫 內（Oscar-Claude Monet）。也有一段時間我在探索如何以自己的方式畫克林姆 （Gustav Klimt）和魯東（Odilon Redon）。」ob 在畫中創 造了一個有著夢境般的神秘空間，呼應了超現實主義繪畫；在 細膩的色彩表現中感受到印象派的內斂光芒；又在象徵主義的 領導下引出作品的故事性。 ob 作品的另一個特色在於她創作了一個「中間狀態」。除了 表現在畫面矇矓的色調外，「中間狀態」也可以是指事物之間 抑或是人與人之間。用藝術家欣賞的小說家村上春樹的作品來 解釋的話，雖然有真實的場景，但也會發生不可思議的奇幻事 件。正因為這個「中間狀態」將我們導覽於現實與幻想之間， 更能讓觀者投射自己的生活和思維方式，激盪出新的詮釋。 2021 年創作經歷超過 10 年的 ob 在紐約的首次個展「你的， 我的，故事」（Your, My, Story）中，用自我與他人的內心故 事為主題，積極透過作品與觀者互動。也許是 ob 創造出的「中 間狀態」使得懷抱著不安情緒生活的人能夠投入其中，抑或是 在作品中打破既有概念，切中與外在共存的課題。ob 持續地 用她靜謐沉靜的力量動搖觀者的內心深處。

ob is synonymous with the bright, big-eyed girls in her works.

Innocent and romantic, they seem to be wrapped in a layer of milky-white silk, encompassed in a dreamlike sensation. The artist once said in an interview, "When I was a teenager, the images of the girls were, in a sense, a form of self-portrait. However, my recent works are not about myself. There was once a person who looked at my painting with tears in her eyes. Although I do not know the reason for her crying, her dejected figure overlaps with the image of the girl in the painting. Now, I think of them often when I draw girls." The artist believes that the power of self-transformation hidden in the uncertainty of adolescence can provide us with the courage to face others. Through painting girls, ob successfully creates a way of connecting with others.

If we just take the figures of the girls, we might link them to subcultures such as Japanese manga or illustrations. But when we hear ob talk about the artists she admires, it is not difficult to see the veins of modern Western painting in her works. This just happens to explain how her works can touch people's hearts.

"I am drawn to the powerful fantasy scenes of René François Ghislain Magritte, and I also like Oscar-Claude Monet. There was also a time when I was exploring how to paint Gustav Klimt and Odilon Redon in my own way." ob creates a dreamlike and mysterious space in her painting to echo Surrealism. The introverted brilliance of Impressionism is felt in her delicate color expression, and the stories of her work are drawn out under the leadership of Symbolism.

Another feature of ob's work is her creation of an "intermediate state". I n additi o n to the ha z y to nes o f the c a n v a s , t h e "intermediate state" can also refer to the state between things or people. To explain with the works of the novelist Haruki Murakami, whom the artist admires, although there are real scenes, unbelievable fantasy events also occur. It is precisely because of this "intermediate state" that we are guided between reality and fantasy, allowing viewers to project their own lives and ways of thinking, animating new interpretations.

In 2021, ob, who has had more than 10 years of creative experience, held her first solo exhibition in New York, "Your, My, Story". Using the personal stories of her and others as the theme, ob actively interacted with viewers through her works.

Perhaps it is the "intermediate state" created by ob that enables people living with uneasy emotions to resonate with her works.

Or maybe her artwork breaks existing concepts and advocates the topic of coexistence with the outside world. ob continues to shake and captivate the viewers' hearts with her quiet and serene power.

056

MR DOODLE

塗鴉先生

(British, b. 1994)

亞維農的Doodle少女

The Doodle Girls of Avignon 2019 Acrylic on canvas 150 x 100 cm Signed overlap Mr Doodle! and dated 2019 PROVENANCE

Directly from the artist Sotheby's, Hong Kong EXHIBITED

Mr Doodle Invades Sotheby’s Selling Exhibition , Sotheby’s Hong Kong Gallery, Hong Kong, December 5-19, 2019, no. 31 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 5,500,000 - 8,500,000 HK$ 1,495,000 - 2,310,000 US$ 191,300 - 295,700 RMB 1,225,000 - 1,893,000

Mr Doodle 2019年香港展覽一隅 A view of Mr Doodle's Hong Kong exhibition in 2019

2019年 壓克力 畫布 150 x 100 cm 簽名畫布折入處：Mr Doodle! 2019 來源

藝術家本人 蘇富比，香港 展覽

「Mr Doodle 逆襲蘇富比展售會」，蘇富比藝術空間， 香港，2019年12月5日至19日，編號31 附藝術家簽名原作保證書

Mr Doodle

THE DOODLE GIRLS OF AVIGNON

亞維農的 Doodle 少女 英國鬼才藝術家 Mr Doodle（本名山姆．考克斯）憑藉一隻麥克筆，以密鋪 式的簡單線條塗鴉風靡全球。九歲開始其藝術生涯，有著鮮明的個人風格， Mr Doodle 充滿英式嬉皮及幽默也令他坐擁無數粉絲。若現場觀看藝術家的 即興創作，必定會對他從來流暢地一筆畫而感到驚奇。Mr Doodle 以當代流 行元素或是日常生活經驗為靈感，在他的塗鴉世界中千奇百怪的人物與符號、 個個獨一無二，亦滿足了觀者的異想，為 Mr Doodle 的塗鴉世界中編織出生 動幻想與故事，在想像中感受藝術家所帶來的樂趣。 他形容自己的作品為「強迫性塗鴉」唯一解藥就是盡情創作，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新的視覺現象：標誌性的「Doodle Land」（塗 鴉樂），密集的符號、物體和圖案不斷地增長和繁殖，展現出了他的宇宙觀。 2022 年初上海 K11 開展「戀愛中的塗鴉先生」，史無前例地大規模展出藝 術家多件彩色塗鴉作品。娓娓道來 Mr Doodle 從墜入愛河到 2021 迎娶 Mrs Doodle 的過程與體悟，呈現了從黑白世界到色彩繽紛的浪漫愛情之旅，這段 美好的關係讓 Mr Doodle 的黑白世界增添色彩。而這場愛之旅早在 2019 年 「Mr Doodle 逆襲蘇富比」已初見甜蜜，展覽中的塗鴉新作以東西方名畫為 藍本，包括《蒙娜麗莎》、《吶喊》、《神奈川衝浪裏》、常玉大作《曲腿裸女》 等名作悉數登場。 這幅《亞維農的 Doodle 少女》也在列其中，作品以畢卡索作於 1907 年的名 作《亞維農少女》（Les Demoiselles d'Avignon）為原型，此名作開創了法 國立體主義的新局面，這是一幅與以往的藝術方法徹底決裂的立體主義作品， 標誌著立體主義的誕生。Mr Doodle 延續他異想天開的「義大利麵式塗鴉」 （Graffiti Spaghetti）方式重新解構畫面，保留位於畫中的少女，抹去其他幾 人的痛苦處境，幻化成一貫不變的題材：愛、幸福和趣味。 Mr Doodle 構建了一個嶄新的視覺體系，單色迷宮、卡通象形文字、不斷延 長的曲線和笑臉。使得畫面分解成單純的幾何形體、靈活多變、層次分明，然 後在畫布上重新進行組合，粗曠的線條勾勒出蝴蝶、愛心、笑臉、眼睛無不是 快樂的元素，就像把零碎的磚塊構築成一個建築物一樣。再將各個區域中那些 無限繁衍而密集的卡通人物、物件和圖案譜出他的世界觀。所有的背景和和 人物形象都通過色線完成，色彩運用得誇張而怪誕，對比突出而又有節制，給 人很強的視覺衝擊力。正如原作中畢卡索誇張了塞尚畫中隱含著的多角圓形， Mr Doodle 也以漫畫方式改寫人物及背景鋸齒形線條和銳角平面的構圖，看 似隨意實則嚴謹的構圖。再度打磨流暢的線條、幽默溫暖的圖案以及生活的哲 思在他的作品中合為一體，充滿了和諧共融的韻律。

British talented artist Mr Doodle (His real name Sam Cox)

Cubism. Mr Doodle continues his whimsical Graffiti Spaghetti

wins enormous popularity across the world by creating

method to re-deconstruct the picture by retaining the girl in the

with his marker densely laying out simple graffiti lines.

painting while removing the painful situation of the others and

He started his artistic career at the age of nine and has

turning it into a consistent theme of love, happiness, and fun.

such an extraordinary personal style. His English hippie and humor enabled him to attract countless fans. If one 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.

Mr Doodle constructs a new visual system using monochrome mazes, cartoon pictographs, and elongated curves and smiley faces. The picture is decomposed into simple geometric shapes that are flexible and changeable with distinct layers, and then recombined onto the canvas. The rough lines outline joyful elements, such as butterflies, hearts, smiling faces, and eyes, just like shattered bricks being constructed into a building. The endlessly proliferating and densely packed cartoon characters, objects and patterns in each area compose his world view. All

He described his work as "compulsive graffiti" and the

backgrounds and characters are completed through colored

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

lines. With a prominent and restrained contrast, the colors are

on his love of graffiti as obsessive compulsive disorder,

exaggerated and grotesque, giving off a strong visual impact.

he painted any objects that he could get and filled his

Just as Picasso exaggerated the polygonal circles hidden within

bedroom with graffiti. He quickly created a brand-new

Cézanne's paintings in his original work, Mr Doodle also rewrites

visual phenomenon: the iconic "Doodle Land'', with his

the composition of the characters and backgrounds with zigzag

dense symbols, objects and patterns kept reproducing and

lines and sharp-angled planes in a comic way, appearing as

multiplying, demonstrating his view of the universe.

a casual yet rigorous composition. Re-polished smooth lines,

In early 2022, Shanghai K11 launched Mr Doodle in

Love , an unprecedented large-scale exhibition of the

humorous and warm patterns, and philosophies about life are integrated into his works, filling them with a harmonious rhythm.

a rtist's mu lti-c o l o red gra ff i ti wo rk s . The ex h i b i t i o n comprehensively narrates the journey and realizations of Mr Doodle as he falls in love and then marries Mrs Doodle in 2021, transitioning from a world of black and white to one with dazzling colors filled with romance and love. Indeed, their beautiful relationship transforms Mr Doodle's black and white world to one of color. This journey of love was displayed for the first time at "Mr Doodle Invades Sotheby's" in 2019. The new graffiti works for this exhibition are modeled on famous paintings from both the East and the West, including masterpieces such as, Mona Lisa, The Scream, The Great Wave of Kanagawa,

and Sanyu's Nude Girl with Crooked Legs.

Also listed, Doodle Girl of Avignon is based on Picasso's 1907 masterpiece, Les Demoiselles d'Avignon , which led to the creation of a new perspective of French Cubism.

This is a Cubist work that marks a complete breakaway from previous artistic methods, marking the birth of

畢卡索《亞維農少女》1907 油彩畫布 243.9 x 233.7 cm 紐約現代美術館收藏 Pablo Picasso, Les Demoiselles d'Avignon , 1907, oil on canvas, 243.9 x 233.7 cm, collection of MoMA, New York

057

TAKASHI MURAKAMI (Japanese, b. 1962)

Flower Ball

2015 Acrylic on canvas mounted on board Diameter 100 cm Signed reverse Takashi , dated 2015 and inscribed Staff List PROVENANCE

KaiKai KiKi Co., LTD., Japan KaiKai KiKi New York, LLC Acquired from the above by the present owner

NT$ 9,500,000 - 15,000,000 HK$ 2,582,000 - 4,076,000 US$ 330,400 - 521,700 RMB 2,116,000 - 3,341,000 村上隆 花團 2015年 壓克力 畫布裱於木板 直徑 100 cm 簽名題識畫背：Takashi 2015 Staff List 來源

KaiKai KiKi 股份有限公司，日本 KaiKai KiKi 有限責任公司，紐約 現有收藏者購自上述來源

村上隆2019年香港大館當代美術館「村上隆對戰村上隆」 （照片來自藝術家Instagram）

Murakami v.s. Murakami , solo exhbition at Ta Kwan Contemporary Hong Kong in 2019 (photo: IG@takashipom)

Takashi Murakami 「色彩繽紛，可愛，簡單－這是我的美學。」—村上隆 Colourfulness, Cuteness, Simplicity － that is my aesthetic. － Takashi Murakami

今年已經 60 歲的村上隆，風格依舊怪奇另類，創意與創作兼備。 他跳脫出日本傳統創作模式，作法前衛且企圖心宏大。無論外 界的聲音如何，他總是有無盡動力、好奇，並且願意冒險。這 位備受爭議的藝術大師是如何讓藝術走進大眾視野，讓藝術平 民且日常化？長期以往他的強勢謀略、商業導向，在講求謙遜 內斂的日本畫壇，形象備受爭議。然而在苦蹲深耕、勤跑歐美 二、三十年，懷抱著讓世界看見日本的雄心壯志，以建立「現 代狩野派」為宗旨，又最大程度的發覺了藝術的商業性。 2022 年初，紐約高古軒（Gagosian Gallery）宣佈，村上隆將 在畫廊的麥迪森大道 976 號和 980 號兩個空間內舉辦全新個展 《穿越歷史的箭》（An Arrow through History）。將展出村上 隆先前未曝光過的繪畫與雕塑作品，囊括其標誌性花卉以及以 魚為主題的 Tondo（圓形繪畫），將以中國元朝青花瓷上的魚 作為主要元素。本次展覽是村上隆自 2014 年個展後，再次回歸 高古軒辦展，展覽將於 5 月 11 日開幕。同時村上隆個 NFT 項 目《MURAKAMI.FLOWERS 2022》 正 式 推 出， 此 外 包 括 他 與 RTFKT 合作打造的《CloneX》NF 系列。除了純藝術圈，村上 隆在純商業圈子裏也很活躍，跨界合作不斷。自 2003 年，村上 隆發表了他的「幼稚力」（Kawaii）宣言，充滿童稚感的日本 潮流文化名正言順地進入西方時尚的中心，剛剛結束的日內瓦 「鐘錶與奇跡」高級鐘錶展上，Hublot（宇舶錶）攜手村上隆 再度推出兩款 NFT 數位元作品。

《727》1996 壓克力 畫布 木板 300 x 450 x 7 cm 727 , 1996, Acrylic on mounted on board, 300 x 450 x 7 cm

村上隆對太陽花主題有著無可自拔的迷戀，太陽花的花語：象 徵著沉默的愛，愛慕，忠誠，也代表著樂觀勇敢，和平希望， 欣欣向榮。作品《花團》以明亮色調，將植物、花朵、卡通來 表達村上隆「超扁平」Superflat 這一概念。花團錦簇的太陽花 以球體形態繪製在平面之上，重複性的微笑小花，鑲嵌於一整 片綻放的微笑中，臣服於紅色與粉紅色構成的叢集裏。粉色被 無限調配、複製，構圖上重組的非階序式結構。看似標準化的 笑臉，通過「幼稚」和「可愛」來掩蓋內心，表面上來說這朵

村上隆透過展覽策劃提出「幼稚力」（Kawaii, 2003）以及「小

太陽花看似喜悅的狀態，但是其表達的意思也是在每個人的眼

男孩」（Little Boy, 2005）的概念。村上隆提出：「動漫的審

裏是不一樣的。村上隆曾談論道：「每一朵花似乎都有各自的

美體驗是獨特的，它會打動你未泯的童心，激起你對童年的美

情感與性格…我覺得它們既美麗又使人心神不寧，同時也蘊含

好回憶。」這理論基於 1996 年他參加第二屆昆士蘭亞太三年展

著某種力量；那是我在畫人們臉孔時所察覺到的同一種力量。」

上，用作品《Mr. DOB》，發表了他最著名的「超扁平」宣言。

不同狀態下不同人的表現也是不一樣的，不過村上隆本人並沒

之後的 2001 年他在美國策畫舉辦「超扁平」博物館巡迴聯展，

有直接表達其中的意義，而是給予無限的想像，這也是太陽花

各式媒體大幅的報導，《紐約時報》盛讚村上隆為「新普普」

深受歡迎的緣由所在。

（Neo-Pop）的領導者。「超扁平」的概念可能取代普普藝術， 作為藝術家的標誌性元素，帶有彩虹花瓣、笑容與眼睛的太陽 花圖案時時刻刻象徵著其「超扁平」宣言，歷史最為悠久的露 齒《Mr. DOB》形象亦在漫長職業生涯中日漸成為村上隆真實 的自我畫像，時而笑容邪惡，時而天真爛漫。

花團「お花のボール」為村上隆既融合了東方傳統與西方文明， 高雅藝術与通俗文化之間拿捏的到位，同時作品又具備娛樂性 與觀賞性。作品使用西方藝術中單點透視與兩點透視之目的， 即可達到 3D 的空間感，在看似凸面的球體上以浮世繪手法進行 繪畫：流暢的線條、明快的色彩、平面空間構成等都能在他的

村上隆的作品是一種結合了日本當代流行卡通藝術與傳統日本

作品中找到影子。視野上的無限擴張似乎縈繞著我們的感知閾，

繪畫風格特點的產物。村上隆深入研究日本藝術史，把日本文

二次元向三維轉換，展現出強烈的律動、櫛次鱗比的圖案層次，

化重新包裝、翻譯成世人易懂的藝術，而非刻板印象裡細膩複

以及優雅細緻的美感。「超扁平」技巧中單一色系的平面，啟

雜、艱澀難懂的神秘東方繪畫語言。用動畫和漫畫作為基底，

發了西方現代主義的眾多創新。作品的色彩斑斕，看起來簡單

以扁平面為核心。使得作品既像玩偶，又像模型玩具，融可愛、

幼稚，但背後的精神內容卻是來自佛教禪宗，用或可愛或誇張

性幻想與極端暴力於一體，帶有濃濃的卡通漫畫色彩，實際卻

的形象來表現日本的文化內涵和成人世界的主題。太陽是日本

在影射日本文化內涵。透過文化傳播的力量，展現非常日本的

歷史級的文化象徵，在當代藝術史的語境下，還有向普普藝術

吸睛魅力。

前輩安迪．沃荷（Andy Warhol）致敬的意味。

村上隆2010年凡爾賽宮個展一景 Takashi Murakami Display at Chateau de Versailles in 2010

Although Takashi Murakami is turning 60 this year, he

Arrow through History" in two spaces, No. 976 and No. 980,

has managed to remain unique, eccentric, creative and

on Madison Avenue. The exhibition will include previously

prolific. Having freed himself from traditional Japanese

unseen paintings and sculptures of Murakami, including his

creative modes, he pursues avant-garde approaches

representative Tondo (a circular work of art) featuring flowers

with great ambition. Disregarding social pressures, he is

and fish, with the fish on blue-and-white porcelains from

always energetic, curious, and willing to take risks. How

the Yuan Dynasty of China as the pièce de résistance. This

was this controversial artist able to expose the public

exhibition is the first time Murakami returns to the Gagosian

to his art and engage in people's everyday lives? For a

Gallery since his solo exhibition back in 2014. The exhibition

long time, Murakami has nurtured strong strategies and

will begin on May 11. In the meantime, Murakami's NFT

a commercially-oriented approach. This resulted in him

items "MURAKAMI.FLOWERS 2022" will be officially

becoming a controversial figure in the Japanese art scene

launched. There will also be the "CloneX" NFT series he

which emphasizes humbleness and restraint. However, after

collaborated on with RTFKT. In addition to the art scene,

cultivating his art as well as frequently visiting Europe and

Murakami is also extremely active in the commercial scene.

the United States over a period of 20 to 30 years, Murakami

He often has crossovers between the two scenes. In 2003,

holds a new ambition to elevate Japan's global visibility.

Murakami announced his Kawaii manifesto, and a child-

With the goal of establishing a contemporary Kanō school,

like Japanese cultural trend has thus entered the center

he has discovered the greatest extent of the commercial

of Western fashion. Right after concluding the Watches &

nature of art.

Wonders high-end watch exhibition in Geneva, Murakami

In early 2022, the Gagosian Gallery in New York announced that Murakami would hold a brand-new solo exhibition "An

moved on to cooperate with Hublot and launched two NFT digital meta works.

Via his exhibition, Murakami proposed the concepts of

of Superflat. The clustered sunflowers are painted on

Kawaii (Kawaii , 2003) and Little Boy (Little Boy , 2005).

the surface of spheres, a two-dimensional space. The

He proposed that: "The aesthetic experience of anime is

repetitive smiling flowers embed the whole piece with

unique. It will touch your inner child's heart, inspiring in you

blooming smiles, surrendering to the clusters of red and

the wonderful memories of your childhood." This theory is

pink. Pink is used repetitively, repeated over and over,

based on his most famous "Superflat" manifesto he released

to give the composition of the painting a nonsequential

using his work "Mr. DOB" in the second Queensland Asia

pattern. The seemingly standard smiley faces use a kawaii

Pacific Triennial in 1996. Later, in 2001, he curated and held

child-like expression to hide their true feelings. On the

the Superflat tour joint exhibition in several museums, which

surface, these sunflowers seem happy. However, the

were substantially reported by the media. The New York

meaning they convey differs in the eye of the beholders.

Times praised him as a leader of the Neo-Pop art movement.

Murakami once commented, "Each flower seems to have

The basic concept of Superflat may be derived from pop art.

its individual emotions and personalities… I think they are

The artist's signature element, a smiling sunflower with eyes

both beautiful and disturbing. They also contain a certain

surrounded by rainbow petals, best represents the Superflat

power, the same power I feel when portraying human

manifesto. After his long professional career, Murakami's

faces." People's performance under different states

sharp-toothed Mr. DOB image, sometimes shown with an

varies. However, Murakami doesn't present this hidden

evil-looking grin and other times appearing to be quite

meaning directly, instead he provides his viewers with

naive, has become Murakami's self-portrait.

an opportunity for infinite imagination. That is why his

Murakami's works are products that integrate Japanese

sunflowers are so widely popular.

contemporary pop manga art and traditional Japanese

In "Ohana no Bōru" (Flower Ball) Murakami integrates

painting styles. Murakami delves into Japan art history,

Eastern tradition and Western culture, balancing high

repackaging Japanese culture and translating it into a kind

art and pop culture, and the result is both entertaining

of art that the general public can understand, rather than the

and aesthetically pleasing. The work employs the one-

stereotypically intricate, complex, and mysterious Eastern-

point perspective as well as the two-point perspective

style painting language that is difficult to understand. Based

in Western arts to achieve a three-dimensional sense of

on anime and manga styles, his works are essentially flat.

space. On an apparently bulging sphere, he paints using

His pieces are both like dolls and model toys, integrating

the Ukiyo-e technique: traces of smooth lines, bright color,

cuteness, sexual fantasy, and extreme violence. Although

and two-dimensional space can be identified in his work.

there is a strong anime and manga influence, the pieces

The visually infinite expansion haunts our perception.

actually reflect the intricacies of Japanese culture. Through

The transition from 2D to 3D exhibits a strong rhythm,

the power of cultural dissemination, he demonstrates

dense and tidy layers of pattern, as well as elegant and

Japan's ability to capture the public's attention.

intricate aestheticism. In the Superflat technique, on a

Sunflowers hold a special power over Murakami; he is helplessly infatuated with them. According to Murakami, the language of the sunflower is silent love, admiration, loyalty, as well as optimism and bravery, peace, and hope. His work "Ohana no Bōru" (Flower Ball) uses a bright colorful tone, plants, flowers, and manga to showcase his concept

monochromatic plane, he can inspire various innovations in Western modernism. His colorful works may seem simple and childish, but the spirit and content behind them are derived from Zen Buddhism. He uses kawaii or exaggerated images to represent Japanese culture and topics of the adult world. The sun is historically the symbol of Japan. In the context of contemporary art history, it also pays homage to Andy Warhol, a legend in pop art.

058

ANDI FISCHER

安迪．費雪

(German, b. 1987)

烏鴉與水果

Rabe Fruchti 2019 Oil stick on canvas 180 × 130 cm Signed overlap Fischer , titled Rabe Fruchti and dated 2019 PROVENANCE

Avlskarl Gallery, Copenhagen Sho+1 Gallery, Tokyo

2019年 油畫棒 畫布 180 x 130 cm 簽名題識畫布折入處：Fischer Rabe Fruchti 2019 來源

Avlskarl 畫廊，哥本哈根 Sho+1 畫廊，東京

NT$ 1,400,000 - 2,200,000 HK$ 380,000 - 598,000 US$ 48,700 - 76,500 RMB 312,000 - 490,000 安迪．費雪於 1987 年生於德國，現居住與創作於柏林。費雪以

2018 with the prestigious TOY Berlin Masters Award. In

看似兒童塗鴉的風格聞名，在他充滿童趣的筆觸中經常引用包

approaching this pure form of illustration from his distinct

括阿爾布雷希特．杜勒（Albrecht Dürer）和彼得．保羅．魯本

perspective, Fischer tests the boundaries of our expectations

斯（Peter Paul Rubens）等古典繪畫大師的作品。費雪從他獨

of art. He is most frequently exhibited in Germany, Austria

特的角度接近這種純粹的繪畫形式，挑戰新的藝術概念。從柏

and Denmark.

林藝術大學畢業後，費雪於 2018 年獲得了享有盛譽的 TOY 柏 林大師獎的認可。他也經常於德國，奧地利和丹麥等地展出。

Fischer's recent works extend his abstract landscape series,

近期延伸的抽象風景系列，顫抖的線條相互穿梭，填滿白色平面

the white plane, and the proper perspectives of objects

空間，遠景、近物的協調感在腦中自動成形。無法一眼看透的

distant and near seem to form automatically in the mind.

景緻，新的玩味驅動觀者好奇心。除了平面畫作，喜愛手工的

The new playfulness of the landscape that is impossible

費雪，近期也使用上色積木，拼製出半立體的裝置作品。質樸

to decipher at a glance drives the curiosity of viewers. In

的手作感，十足「費雪」，也讓人聯想 8 位元電玩的馬賽克效果，

addition to 2D paintings, Fischer also enjoys handicraft,

在狹小的盒子中，創造大大的想像力。2018 年至今穩定的私人

and recently began using color blocks to create semi-

收藏成長，包括澳洲阿爾斯特收藏（Arndt Collection）、比利

three-dimensional installation works. The simplicity of his

時收藏家喬瑞斯．比納爾（Joris Beernaert）和活絡於德國、

handiworks are uniquely "Fischer", and remind people

瑞士、奧地利、丹麥的畫廊展覽皆成為費雪魅力的最佳佐證。

of the mosaic effect of 8-bit video games, generating

Andi Fischer was born 1987 in Germany. He lives and works in Berlin. He is known for childlike pictures of people and animals that frequently reference the art of iconic paintings, including works by Old Masters such as Albrecht Dürer and Peter Paul Rubens. After graduating from the Universität der Künste in Berlin, Fischer received early recognition in

with trembling and interweaving lines that fill the space of

a great power of imagination in a tiny box. The steady growth of private collectors since 2018 including the Arndt Collection of Australia and Joris Beernaert of Belgian, and his flourishing gallery exhibitions in Germany, Switzerland, Austria, and Denmark are proof of the enchanting power of Fischer's art.

059

IRYNA MAKSYMOVA

伊琳娜．馬 克 西 莫 娃

伊琳娜．馬克西莫娃現於烏克蘭利沃夫居住和創作。

(Ukrainian, b. 1991)

蘋果

伊琳娜的創作色彩鮮豔，帶著異國情調的場景中描

Apple

2021 Acrylic on canvas 141x 122 cm Signed lower left I.Maksymova Signed reverse Iryna Maksymova , titled Apple , inscribed 122 x 141 cm canvas and acrylic and dated 2021

NT$ 220,000 - 340,000 HK$ 60,000 - 92,000 US$ 7,700 - 11,800 RMB 49,000 - 76,000

2021年 壓克力 畫布 141 x 122 cm 簽名左下：I.Maksymova 簽名題識畫背：Iryna

繪著帶有魔力般地生物。其面部特徵扭曲看似苦惱 或痛苦為質疑人類對動物的支配關係。她把情感經 歷和影響生活的事情表達於畫布上。在 2021 年中， 伊琳娜在基輔、柏林和洛杉磯等城市展出，她的作 品也被美國、歐洲和澳洲等地的藏家所收藏。

Maksymova Apple 122 x141cm

Iryna Maksymova lives and works in Lviv, Ukraine.

canvas and acrylic 2021

Iryna combines colorful domestic settings with exotic, often magic-tinged creatures, whose facial features contort in displays of distress or agony, encouraging the viewer to question humans' feelings of supremacy over animals. Her figurative expression on canvas comes from her emotional experiences and the t opics which affect her life. In 2021 alone, Iryna has participated in solo and group exhibitions in Kyiv, Berlin, and Los Angeles. Her work is held in private collections across the US, Europe, and Australia.

060

RHIANNON SALISBURY

麗安儂 ． 索 爾 茲 伯 里

麗安儂．索爾茲伯里於 2016 年於英國切爾西藝

(British, b. 1984)

小白花

術學院獲得藝術碩士學位。她多從時尚雜誌中的

Edelweiss

2021 Acrylic on canvas 120 x 80 cm Signed reverse RS Rhiannon Salisbury and dated 2021

NT$ 220,000 - 340,000 HK$ 60,000 - 92,000 US$ 7,700 - 11,800 RMB 49,000 - 76,000

2021年 壓克力 畫布 120 x 80 cm 簽名題識畫背： RS Rhiannon Salisbury 2021

精品廣告中取材，她解構了女性的概念，並批判 了強化外在標準的結構。作品皆以她著名的流體 畫研究製作，賦予作品發自內心一種既美麗又怪 誕的質感。 Rhiannon R. Salisbury got her MA Fine Art from Chelsea College of Art in 2016. Salisbury works from images of luxury brand advertising campaigns found in fashion and lifestyle magazines. Her works deconstruct notions of the feminine, as well as critique the structures that reinforce paradigms of representation.

The works have all been created with her signature approach of pouring and painting, giving the works a textured and visceral feel that is both beautiful and grotesque.

061

TANIA MARMOLEJO

塔妮亞．馬莫列霍

(Dominican, b. 1975)

午前邂逅

Mid-Morning Encounters 2021 Oil on canvas Diameter 131 cm Signed lower right Tania Marmolejo

NT$ 750,000 - 1,200,000 HK$ 204,000 - 326,000 US$ 26,100 - 41,700 RMB 167,000 - 267,000

2021年 油彩 畫布 直徑131 cm 簽名右下：Tania Marmolejo 塔妮亞．馬莫列霍的藝術創作始於時尚與生活風格雜誌的插畫 作家。2005 年起她參展無數，並致力於發展藝術事業。她的作 品曾展出於諸多展覽如：邁阿密環境藝博會、紐約平塔藝博會。 Tania Marmolejo begins her artistic career as an illustrator for the fashion and lifestyle magazine. In 2005 she participates in several group exhibitions, focuses entirely on the development of her artistic career along with the design. Her work has been exhibited in numerous national and international exhibitions such as Context Art Miami, and Pinta New York.

062

MATÍAS SÁNCHEZ

馬蒂亞斯．桑切斯

(German, b. 1972)

登山者

Montañeros

2016 Oil on canvas 73 x 92 cm With one painted seal of the artist Signed reverse Matías Sánchez, Sevilla , titled Montañeros and dated 2016

2016年 油彩 畫布 73 x 92 cm 手繪鈐印左下：MS 簽名題識畫背：Matías Sánchez Sevilla 2016 Montañeros 馬蒂亞斯．桑切斯為 1972 年出生於德國安達盧西亞的藝術家， 現定居於西班牙塞維亞。馬蒂亞斯．桑切斯作品的特色是厚塗

NT$ 600,000 - 900,000 HK$ 163,000 - 245,000 US$ 20,900 - 31,300 RMB 134,000 - 200,000

油畫中怪誕誇張的人物，咧嘴的神情看似詭異但又有些古靈精 怪的喜感，每一幅作品都刻畫了藝術家腦海中異想天開的世界。 Matías Sánchez is a Andalusian-born artist born 1972.

Lives and works in Seville, Spain. Matías Sánchez's heavily textured canvas features a grotesquely caricatured grinning figure, bizarre yet whimsically delightful.

063

JURGA MARTIN (Lietuva-French, b. 1977)

Poem of the Wind 2021 Bronze, ed. 6/8 26(L) x 19(W) x 30(H) cm Engraved lower back Jurga , dated 2021 and numbered 6/8

NT$ 260,000 - 380,000 HK$ 71,000 - 103,000 US$ 9,000 - 13,200 RMB 58,000 - 85,000 尤爾嘉．馬賀丹 風中詩 2021年 銅雕 版次6/8 26（長）x 19（寬）x 30（高）cm 簽名雕刻背面下方：Jurga 2021 6/8 1977 年生於立陶宛藝文世家，畢業於法國魯昂美術學院。 文學素養與跨國境的生活經驗，培植出尤爾嘉鮮明的創作 風格。以雕塑聞名的尤爾嘉．馬賀丹，認為手作捏製陶土 的過程，能最為直覺地融合創作情感。精準捕捉細微生動 的臉部表情，與人物充滿生命力的肢體動作。作品詩意的 氛圍真摯動人，深受私人藏家喜愛。 Born to a family of artists in Lithuania in 1977, Jurga Martin graduated from Rouen Art School in France.

Her background in literature along with experiences living around the world shaped her high-contrast style. Martin became renowned for her sculpture.

In particular, she considers the hands-on process of shaping clay the most intuitive way to gather creative sentiments. Her focus is set on precisely capturing lively facial expressions and recreating each character's dynamic and lively movements. The true, touching and poetic atmosphere of her works garnered her wide appreciation from private collectors.

064

POREN HUANG (Taiwanese, b. 1970)

The Cowman

2007 Bronze and gold foil, ed. 8/12 28(L) x 35(W) x 64(H) cm Initialed base PR , dated 2007 and numbered 12-8 PROVENANCE

Powen Gallery, Taipei Acquired from the above by the present owner ILLUSTRATED

The Dog's Notes , Powen Gallery Co., Ltd., Taipei, 2014, color illustrated

NT$ 420,000 - 650,000 HK$ 114,000 - 177,000 US$ 14,600 - 22,600 RMB 94,000 - 145,000 黃柏仁 牧場的主人 2007年 銅雕 金箔 版次8/12 28（長）x 35（寬）x 64（高）cm 簽名底座：2007 PR 12-8 來源

紅野畫廊，台北 現有收藏者購自上述來源 圖錄

《狗札記－黃柏仁》，紅野畫廊有限公司， 台北，2014，彩色圖版

065

PETER RIEZEBOS (Netherlands, b. 1980)

Untitled-Galaxy Spaceship 2017 Acrylic, oil and spray paint on linen 100 x 100 cm Initialed lower left R and dated 17 ILLUSTRATED

Plus Ultra, Peter Riezebos, Harderwijk, 2020, color illustrated This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 600,000 - 900,000 HK$ 163,000 - 245,000 US$ 20,900 - 31,300 RMB 134,000 - 200,000

彼得．萊茲伯斯 無題－銀河飛船 2017年 壓克力 油彩 噴漆 亞麻布 100 x 100 cm 簽名左下：R 17 圖錄

《超越極致》，彼得．萊茲伯斯，哈爾德韋克， 2020，彩色圖版 附藝術家簽名原作保證書

066

THIERRY FEUZ (Swiss, b. 1968)

Psychotropical Purple Anima 2021 Lacquer, acrylic on canvas 130 x 160 cm Signed reverse Thierry Feuz , titled Psychotropical Purple Anima and dated 2021 Signed overlap Th. Feuz and dated 2021 EXHIBITED

Neo Baroque-Thierry Feuz , Bluerider ART, Taipei, June 1-August 21, 2021

NT$ 650,000 - 950,000 HK$ 177,000 - 258,000 US$ 22,600 - 33,000 RMB 145,000 - 212,000

西瑞．菲茲 紫色阿尼瑪 2021年 漆 壓克力 畫布 130 x 160 cm 簽名題識畫背：Thierry Feuz 2021 Psychotropical Purple Anima 簽名畫布折入處：Th. Feuz 2021 展覽

「血液裡的浪漫－西瑞．菲茲個展」，藍騎士敦仁館，台北， 展期2021年6月1日至8月21日 西瑞．菲茲的作品，混合了多種繪畫基因，包括西班牙巴洛克時期細膩 的靜物畫、波洛克的滴流畫、胡安．米羅的超現實主義、賽．湯伯利的 古典神話。他將具體之物放入虛實之間，創造出一種無法被定義的繪畫。 Some clues to Feuz's creative elements can be seen in the delicate still life paintings of Spain's Baroque period, the drip paintings of Jackson Pollock, the surrealism of Joan Miró, and Cy Twombly's classical mythology. Feuz places concrete objects between the real and the imagined and creates a kind of painting that defies definition.

067

DESIRE OBTAIN CHERISH (D.O.C) (American, b. 1975)

Grape Meltdown - Midsize 2013 UV cast resin, ed. 2/25 38 (L) x 38 (W) x 76 (H) cm Signed on the bottom Desire Obtain Cherish , dated 2013 and numbered 2/25 With a security laser tag This lot is accompanied with a certificate of authenticity signed by the artist and the original product box.

NT$ 280,000 - 420,000 HK$ 76,000 - 114,000 US$ 9,700 - 14,600 RMB 62,000 - 94,000 強納森．保羅 棒棒糖系列－葡萄紫 2013年 樹脂膠 版次2/25 38（長）x 38（寬）x 76（高）cm 簽名底部：Desire Obtain Cherish 2013 2/25 防偽雷射標籤 附藝術家簽名原作保證書及原裝盒

068

CARO JOST (German, b. 1965)

Invoice Painting G.U. 18. Dezember 1996 2017 Epoxy resin, acrylic, digital silkscreen on shaped canvas 84 (L) x 61 (W) x 17 (H) cm Signed reverse Caro Jost, München , titled Invoice Painting G.U.18. Dezember 1996 and dated 2017 EXHIBITED

Algorithm and Appropriation - Pascal Dombis, Caro Jost Duo Show , Bluerider ART, Taipei, February 15 - April 2, 2020

NT$ 320,000 - 480,000 HK$ 87,000 - 130,000 US$ 11,100 - 16,700 RMB 71,000 - 107,000 卡蘿．傑斯特為德國的抽象表現主義藝術家，畢 業於慕尼黑大學法律學院，及慕尼黑藝術學院。 其著名的「街道拓印」和「收據繪畫」系列，以 自康丁斯基，至傑克森．波洛克、巴尼特．紐曼， 幾代抽象表現主義藝術家的遺跡為素材，並以自 己的語彙來表達她對前輩藝術家的敬意。 Caro Jost is a German Abstract Expressionism artist. She graduated from Literature and Law, Ludwig-Maximilians University, Munich and Academy of Fine Arts, Munich. Her famous series "Streetprints" and "Invoice Paintings" are tracing a few generations of Abstract Expressionism artists, from Kandinsky to Jackson Pollack, Bar nett Newman. Using their relics as materials to create, and using her own language to express her respect for previous artists.

卡蘿．傑斯特 收據繪畫 G.U. 1996年12月18日 2017年 環氧樹脂 壓克力 數位絲網印刷 成形畫布 84（長）x 61（寬）x 17（高）cm 簽名題識畫背：Invoice Painting G.U.18. Dezember 1996 München 2017 Caro Jost 展覽

「演算&挪用－帕斯卡爾．多比斯，卡蘿．傑斯特雙人 展」，藍騎士藝術空間，台北， 展期2020年2月15日至4月2日

069

CHRISTIANE GRIMM (German, b. 1957)

Transformation zu Blau II 2021 Mixed media and acrylic glass 80 (L) x 80 (W) x 10 (H) cm Signed reverse C.Gri , titled Transformation zu Blau II and dated 2021 PROVENANCE

Heitsch Gallery, Munich

NT$ 380,000 - 550,000 HK$ 103,000 - 149,000 US$ 13,200 - 19,100 RMB 85,000 - 122,000

克里 斯 蒂 安 ． 格 琳 向藍色的轉變II 2021年 綜合媒材 壓克力玻璃 80（長）x 80（寬）x 10（高）cm 簽名畫背：C.Gri Transformation zu Blau II 2021 來源

海茨畫廊，慕尼黑

070

PASCAL DOMBIS (French, b. 1965)

Spam Scape (B7) 2020 Cut lenticular print on aluminum composite 89 x 119 cm Signed reverse Dombis , titled Spam Scape (B7) , Inscribed unique and dated 2020 With a number PD20L16 EXHIBITED

DÉJÀ VU : Pascal Dombis , Bluerider ART, Taipei, November 20, 2021 - January 29, 2022

NT$ 380,000 - 550,000 HK$ 103,000 - 149,000 US$ 13,200 - 19,100 RMB 85,000 - 122,000

帕斯卡爾．多比斯

帕斯卡爾．多比斯於美國波士頓塔夫

垃圾郵件景觀 B7

茨大學修習電腦藝術，現居住創作於

2020年 切割 光柵輸出 塑鋁復合板 單一件

法國巴黎。多比斯是一位研究語言、 演算法、控制權等領域的視覺藝術家。

89 x 119 cm

Pascal Dombis focus on art which

簽名畫背：Dombis 2020

led him to Tufts University where

Spam Scape (B7) unique

he completed a series of computer

編號畫背：PD20L16

art classes in 1987. Dombis uses

展覽

「似曾相識：帕斯卡爾．多比斯 個展」，藍騎士敦仁館，台北， 展期2021年11月20日至 2022年1月29日

computers and algorithms to produce excessive repetition of simple processes, and explores such fields as language, noise, control, and irrationality.

071

ADAM HANDLER

亞當．漢德勒

(American, b. 1986)

伯大尼海灘的幽浮綁架

Ghost Abduction at Bethany Beach 2021 Oil stick and acrylic on canvas 76.2 x 60.9 cm Signed reverse Adam Handler , titled Ghost Abduction at Bethany Beach and dated 2021

NT$ 280,000 - 420,000 HK$ 76,000 - 114,000 US$ 9,700 - 14,600 RMB 62,000 - 94,000

2021年 油畫棒 壓克力 畫布 76.2 x 60.9 cm 簽名題識畫背：Adam Handler Ghost Abduction at Bethany Beach 2021 亞當．漢德勒於 1986 年出生於紐約皇后區，並於長島長大。成 長過程中待在祖父母所經營的畫框工廠的經歷，養成了對藝術 的熱情，使他不可避免地選擇了藝術家的道路。漢德勒曾在義 大利學習「裸體素描」，並就讀於紐約州立大學的帕切斯學院， 並和豪爾赫．尼維斯學習工藝設計，亦和黛博拉．梅莎－佩利 學習彩色攝影。漢德勒的作品已在紐約、康涅狄格州的格林威 治、加拿大和德克薩斯州等地展出。

072

ADAM HANDLER

亞當．漢德勒

(American, b. 1986)

想念你女孩！在青澀的日子裡

Miss You Girl on Mossy Green Day 2021 Oil stick and acrylic on canvas 126.5 x 96.5 cm Signed reverse Adam Handler , titled Miss You Girl on Mossy Green Day and dated 2021

NT$ 480,000 - 750,000 HK$ 130,000 - 204,000 US$ 16,700 - 26,100 RMB 107,000 - 167,000

2021年 油畫棒 壓克力 畫布 126.5 x 96.5 cm 簽名題識畫背：Adam Handler Miss You Girl on Mossy Green Day 2021 Adam Handler was born in Queens NY and grew up on Long Island. As a young child and adolescent, he spent countless hours at his grandparents' framing factory in New York City. There, his passion for the arts grew and it became inevitable that he would choose an artistic path. Handler studied Life Drawing in Italy and received a Purchase College. He has also studied craft design with Jorge Nieves and color photography with Deborah Mesa-Pelley. Handler's work has been exhibited in New York, Greenwich CT, Canada, and Texas.

073

DAVID SHROBE (American, b. 1974)

My Corner

2020 Oil on paper and canvas, acrylic on flocking, linen, suede and leather mounted on wood panel and set in found wood frame 160 x 96.5 x 5.1 cm Signed reverse David Shrobe and dated 2020 PROVENANCE

大衛．索貝於 1974 年生於紐約。他擁有亨特學院的藝術學 士與碩士學位。目前定居在紐約的大衛．索貝主要以多層次 的肖像組合為創作題材，他的創作媒材大多來自他生活周遭 的材料，他拆卸家具並將它們重新組合拼湊成繪畫的底版。 透過這種特別的手法，他為作品灌進了歷史和記憶的身分， 同時挑戰了古典肖像畫的傳統概念。大衛．索貝的作品被紐 約布魯克林博物館、紐約哈林區工作室博物館等永久收藏。 David Shrobe (b. 1974, New York, NY) lives and works in New York. He holds an MFA and a BFA in Painting from Hunter College. New York based David Shrobe creates

John Wolf Gallery, LA

multi-layered portraits and assemblage paintings made

This lot is accompanied with a certificate of authenticity issued by John Wolf Gallery, LA.

in part from everyday materials that he finds in multiple

NT$ 650,000 - 1,000,000 HK$ 177,000 - 272,000 US$ 22,600 - 34,800 RMB 145,000 - 223,000

geographies, and especially from around his familial home. He disassembles furniture, separating wood from fabric and recombines them as supports for collage, painting, and drawing. Traversing different approaches his work brings notions of identity, history, and memory into question, while challenging conventions of classical portraiture. Shrobe's work is held in the Permanent

大衛．索貝 我的角落 2020年 油彩 紙本 畫布 壓克力植絨 亞麻布 麂皮 皮革 裱於木板 裝置於現成木框 160 x 96.5 x 5.1 cm（含框） 簽名題識畫背：David Shrobe 2020 來源

強．沃夫畫廊，洛杉磯 附強．沃夫畫廊開立之原作保證書

Collections of The Brooklyn Museum, Brooklyn, NY; The Studio Museum in Harlem, New York, NY among others.

074

JAMMIE HOLMES

傑米．霍姆斯

(American, b. 1984)

童兵系列－五分錢

Child Soldier Series - 5 Cents a Day 2019 Acrylic, oil pastel on canvas 121.5 x 60.5 cm Initialed reverse JH , titled 5 ¢ a Day and dated 2019

2019年 壓克力 粉蠟筆 畫布 121.5 x 60.5 cm 簽名題識畫背：JH 5¢a Day 2019

NT$ 1,900,000 - 2,800,000 HK$ 516,000 - 761,000 US$ 66,100 - 97,400 RMB 423,000 - 624,000 傑米．霍姆斯出生於美國路易斯安那州的提柏道克斯，是一個

by the social and economic consequences of America's dark

自學成才的藝術家，他的作品描述美國南部地區黑人家庭的生

past, where reminders of slavery exist alongside labor union

活故事。藉由具象的繪畫，霍姆斯表現日常的悲喜掙扎。他生

conflicts that have fluctuated in intensity since the Thibodaux

長的地方距密西西比河二十分鐘路程，仍圍繞在過去黑歷史的

Massacre of 1887. His work is a counterpoint to the romantic

社會和經濟現實，自 1887 年「提柏道克斯大屠殺」（Thibodaux

mythology of Louisiana as a hub of charming hospitality, an

Massacre）以來，奴役的記憶，工會衝突持續不斷。霍姆斯的

idea that has been perpetuated in order to hide the deep

作品既表現了路易斯安那州熱情包容的浪漫神話，同時有意隱

scars of poverty and racism that have structured life in the

藏延續幾世紀以來貧窮和種族主義的傷痕。儘管環境如此，霍

state for centuries. Despite the circumstances of its setting,

姆斯的作品仍以捕捉家庭、儀式和傳統的節慶時刻為特色。

Holmes' work is characterized by the moments he captures

在整個美國，青年的流失往往是槍枝暴力的結果，源自於長期

where family, ritual and tradition are celebrated.

以 來 社 會 和 種 族 的 不 平 等， 貧 窮 社 區 的 有 色 人 種 被 迫 為 了 生

Across America, loss of the young in particular is too often

存 而 戰 鬥。 傑 米． 霍 姆 斯 知 名 的 公 共 項 目「 他 們 要 殺 了 我 」

the result of gun violence that stems from deep and long

（They're Going to Kill Me）行為藝術，即是為了回應喬治．

standing social and racial inequity, where people of color in

弗洛伊德被謀殺的新聞事件。本件讓人聯想起霍姆斯早期的創

poor communities are forced to struggle to survive. Jamie

作，探討在魯莽環境中長大的孩子，類比於獅子山共和國的窮

Holmes initiated the "They Are Killing Me" public project

困兒童兵。畫中男孩模糊而不具體的外表，則代表了這是所有

in response to the news that George Floyd was murdered.

黑人的共同經歷。

This artwork is reminiscent of earlier works by Holmes that

Jammie Holmes is a self-taught painter from Thibodaux, Louisiana, whose work tells the story of contemporary life for many black families in the Deep South. Through figurative works and tableaux, Holmes depicts stories of the celebrations and struggles of everyday life. Growing up 20 minutes from the Mississippi River, Holmes was surrounded

paralleled kids growing up in rough neighborhoods to child soldiers in Sierra Leone. The vague and unrealistic appearance represents that this is the common experience of all blacks.

075

ROBY DWI ANTONO

羅比．安托諾

(Indonesian, b. 1990)

特亞

Theia

2020 Spray paint on galvanized plate 70 x 70 cm Signed reverse Antono and dated 2020

2020年 噴漆 鍍鋅鋼板 70 x 70 cm 簽名題識畫背：Antono 2020

NT$ 2,200,000 - 3,600,000 HK$ 598,000 - 978,000 US$ 76,500 - 125,200 RMB 490,000 - 802,000 羅比 • 安托諾 Roby Dwi Antono 1990 年出生於印尼爪哇，現

exhibitions around the world in Los Angeles, New York,

居於具有悠久歷史且文化底蘊深厚的日惹。安托諾光是在 2021

Tokyo, Hong Kong, Australia, Paris, and Dubai. At the

年就受邀在洛杉磯、紐約、東京、香港、澳洲、巴黎、杜拜等

beginning of 2022, he launched a new solo exhibition titled

世界各地舉行個展與聯展。2022 年年初已在東京三處藝廊同時

"Rumpus" at three different galleries in Tokyo. This rising

舉行最新個展「大騷動」（Rumpus）。這位新生代的東南亞藝

artist from Southeast Asia has swept through the global art

術家儼然已在國際藝術市場中掀起一股不小的旋風。

market like a whirlwind.

在人物描繪上有不少人會把他跟奈良美智（Yoshimoto Nara）

Many people have compared Dwi Antono's character

和張曉剛等大師相提並論，他也從不諱言談論他喜愛的藝術家

portrayal to masters like Yoshimoto Nara and Zhang

和動漫流行文化對他的影響。「我的作品就像一面鏡子，是我

Xiaogang. Dwi Antono has openly discussed the influences

試圖修復過去、給予未來希望等自我省思的地方。我總有一種

from his favorite artists and popular culture of animation

衝動，想把我所有零散的記憶全部刮進一幅畫裡。」安托諾的

and comics. "My work is a mirror through which I make self-

成功不僅是在各個藝術大師的痕跡中磨練出屬於自己的創作風

reflections, trying to restore the past and bring hope to

格，他藉由不斷在作品中探討記憶與自我反思，並且在作品中

the future. I always feel an impulse to put all the fragments

留下給觀者的視覺線索。當每個觀者都有自己的解釋時，他的

of my memory into a painting. " Dwi Antono did not only

創作就成為獨一無二的。

successfully develop a unique creative style in the legacy

Born in Java, Indonesia in 1990, Roby Dwi Antono currently resides in the historic and culturally rich city of Yogyakarta.

In 2021, Dwi Antono was invited to hold solo and joint

of other art masters. Through continuous memory retrieval and self-reflection, he leaves visual clues for viewers in his works. As every viewer interprets the clues from a personal perspective, his creation becomes the only one of its kind.

076

KYLE ORLANDO

凱爾．奧蘭多

(American, b. 1989)

如果這能讓他們賺錢

If It Makes Them Money/ Row Boat Baby 2021 Acrylic, oil pencil, spray paint on unprimed canvas 90.5 x 91.5 cm Signed reverse Kyle Orlando

NT$ 200,000 - 300,000 HK$ 54,000 - 82,000 US$ 7,000 - 10,400 RMB 45,000 - 67,000

划船寶貝

2021年 壓克力 油性鉛筆 噴漆 無底漆畫布 90.5 x 91.5 cm 簽名題識畫背：Kyle Orlando 凱爾．奧蘭多目前創作並生活於美國紐澤西，自學藝術家， 主要以油畫和素描創作。最新作品結合現成物畫布、木棧板。 以往，奧蘭多的視覺語言在不同的圖像之間擺盪，如：狂躁 的豹子、事故車輛、牛仔等。 Kyle Orlando lives and works in Jersey City, New Jersey.

He is a self-taught artist who works primarily in painting and drawing. His most recent works are combines of found objects, canvas, and discarded wooden pallets. In the past, Orlando's visual language has fluctuated between images of screaming cheetahs; car wrecks; and cowboys.

077

NATHAN PADDISON

內森．帕迪森

(Australian, b. 1983)

老虎不是粉紅色的

Thai Gores are knot Pink 2021 Acrylic, oil stick, charcoal, pencil and spray paint on canvas 146 x 179 cm Signed lower left Paddison Signed reverse Nathan Paddison and titled Thai Gores Arghh knot Pink/Bart my friend till mere and dated XXI

2021年 壓克力 油畫棒 炭筆 鉛筆 噴漆 畫布 146 x 179 cm 簽名左下：Paddison 簽名題識畫背：Thai Gores Arghh knot Pink/Bart my friend till mere XXI Nathan Paddison 內森．帕迪森是天賦自學的藝術家。作品使用多重媒材，如壓克力、 炭筆、麥克筆、墨水、粉彩和拼貼。他的藝術同時是原始且感官的。

NT$ 420,000 - 650,000 HK$ 114,000 - 177,000 US$ 14,600 - 22,600 RMB 94,000 - 145,000

部分作品則具有諷刺意味，並且傳達了強烈的社會、政治信息。其 他系列則反映其童年回憶，並展示出有趣嬉鬧和樂觀的感受。 Nathan Paddison is a self-taught artist. His works in a variety of media, including acrylics, charcoal, marker, ink, pastel and collage. Nathan's art can be raw and confront your senses.

Some of Nathan's work is ironic and delivers strong social and political messages. Other works reflect on childhood memories and convey a palatable sense of playfulness and optimism.

078

MARION ALEXANDRE

瑪立詠． 亞 歷 山 卓

瑪立詠．亞歷山卓於 1982 年出生於法國瓦西

(French, b. 1982)

童話樹

（Vassy）。作為一位素人藝術家，她從自然

Story Tale, Story Tree

2017年

2017 Mixed media on canvas 120 x 80 x 4 cm

120 x 80 x 4 cm

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

NT$ 160,000 - 240,000 HK$ 43,000 - 65,000 US$ 5,600 - 8,300 RMB 36,000 - 53,000

綜合媒材 畫布

附藝術家簽名原作保證書

和文學中汲取靈感。作品中充滿馬戲團、歐洲 寓言故事和東亞文化元素的超現實主義場景， 以詩意的幻想、戲劇性，及有趣的主題為特 色。其具像型繪畫風格抽去透視感，大小不等 的人物和物體比例，並施以阿拉伯風格色調。 Bor n in Vassy, France in 1982, Marion Alexandre creates as an autodidact ar t ist who takes inspiration from nature and literature. With surreal scenes mixing the circus, European fable, East-Asian cultural elements, Marion's work is marked by a sense of poetic fantasy and a dramatic, playful theme. A figurative pictorial style with absence of perspective, disproportion in size of the characters and objects and use of colors Arabian.

079

STÉPHANE DAUTHUILLE

史帝芬．度多耶

1965 年生於法國布列塔尼，畢業於雷恩歐洲藝

(French, b. 1965)

藍色圓舞曲

術學院。1990 年代以紙上的單色抽象創作為

Jeune Femme, Robe Bleu et Or 2011 Mixed media on paper mounted on canvas 114 x 81 cm Initialed lower right SD and dated 011 Signed reverse S.Dauthuille , titled Robe bleu et or and dated 011

2011年 綜合媒材 紙本裱於畫布 114 x 81 cm

主，後期越趨於具象表現，由室內景物進階至 想像的人物描寫。超現實情景，交揉藝術家旅 行經驗與東方文化元素，更添神祕與想像空間。

簽名右下：SD 011

Born in Brittany, France in 1965, Stéphane

簽名題識畫背：

Dauthuille graduated from European

S.Dauthuille

Academy of Art in Brittany at Rennes.

011 Robe bleu et or

His works from the 1990s are mostly monochromatic, abstract graphic works, while his later works gradually shifted to

NT$ 220,000 - 340,000 HK$ 60,000 - 92,000 US$ 7,700 - 11,800 RMB 49,000 - 76,000

figurative expressions with the subject advancing from indoor inanimate objects to fictional characters. With surreal scenes mixing the travel experiences of the artist and East-Asian cultural elements, his works are filled with mystery, leaving the viewer with endless imagination.

080

LEE LEE NAM

李二男

(Korean, b. 1969)

雪溪漁父－喜悅

Seulgae Uboo - Happiness 2010 Video installation (monitor, mixed media) Video length: 5'55", ed. 3/6 77(L) x 10(W) x 129(H) cm PROVENANCE

Kwai Fung Hin Art Gallery, Hong Kong Acquired from the above by the present owner ILLUSTRATED

Dillusion, Lee Lee Nam , Kwai Fung Art Publishing House, Hong Kong, 2012, color illustrated, pp. 48-57

NT$ 550,000 - 750,000 HK$ 149,000 - 204,000 US$ 19,100 - 26,100 RMB 122,000 - 167,000

2010年 錄影裝置（綜合媒材 螢幕） 影片長度 5分55秒 版次 3/6 77（長）x 10（寬）x 129（高）cm 來源

季豐軒畫廊，香港 現有收藏者購自上述來源 圖錄

《數影碼像－李二男》，季豐美術出版社，香港，2012， 彩色圖版，頁48-57

1969 年生於韓國潭陽。1995 年畢業於韓國朝鮮大學美術學院

Born in 1969 in Damyang, Korea, Lee Lee Nam graduated

雕塑藝術系，2005 年取得韓國延世大學視覺傳達研究所碩士學

from Chosun University in 1995, majoring in sculpture

位。他曾獲得 1997 年韓國藝術大展特別獎、2005 年第八屆光

and afterwards completed his master's studies in Yonsei

州新世界藝術大賽首獎及 2005 年青年藝術家特別獎。2017 年

University in 2005. He was awarded Special Award of the

獲朝鮮大學博士學位。其作品曾於多次聯展展出，包括「首爾

Grand Art Exhibition in 1997; Grand Prize for 8th Gwangju

國際媒體藝術雙年展」（2006，首爾）、「北京國際藝術博覽會」

Shinsegae Art Competition in 2005; Special Award, Artist

（2007，北京）、「紐約國際藝術博覽會」（2007，紐約）、

of the Year/ 2005 Award, Youth Artist of the Year. Got

以及於形而上畫廊舉辦個展「李二男．影像神話」（2008，台

Ph.D in graduated Fine Arts, Chosun University in 2017.

北）、季豐軒舉辦「數影碼像個展」（2012，香港）和「系統

He has shown his works in many exhibitions including

整合 ISE」個展（2019，阿姆斯特丹）等。

"Seoul International Media Art Biennale" (2006, Seoul); "Beijing International Art Fair" (2007, Beijing); "New York International Art Fair" (2007, New York). He also held a solo exhibition "Myth Inside Monitor - Lee Lee Nam" at Metaphysical Art Gallery (2008, Taipei), "Dillusion" at Kwai Fung Hin Art Gallery (2012, Hong Kong) and "Integrated Systems Events" (2019, Amsterdam) etc..

081

SOL FELPETO (Venezuelan, b. 1990)

Chat Assise dans un Fauteuil (Dora Caat) 2019 Acrylic on canvas 130 x 97 cm Signed lower right Sol Felpeto '19 Signed reverse, titled Chat assise dans un fauteuil (Dora Caat) , inscribed Madrid and dated ‘19

NT$ 220,000 - 340,000 HK$ 60,000 - 92,000 US$ 7,700 - 11,800 RMB 49,000 - 76,000

索兒．費佩托 扶手椅上的貓（朵拉貓） 2019年 壓克力 畫布 130 x 97 cm 簽名右下：Sol Felpeto '19 簽名題識畫背：Chat assise dans un fauteuil (Dora Caat) Madrid '19 索兒．費佩托的創作旨在將藝術轉譯為動人的事物，將已知事物與新 事物之間建立聯繫以創造情感。過程涉及對參考文獻的深入研究，與 個人經驗的交流。以動物作為主要角色重塑歷史，為觀眾帶來驚喜， 尋求互動和提高意識。 Sol Felpeto seeks to translate art into something immediately catchy, making a connection between known and new to create emotions. Her creative process parts on a deep study of references in order to overlap her personal universe so that she can rewrite history with animals as main characters, surprising audiences and looking for interaction and raising awareness.

082

TOM BERENZ (American, b. 1981)

Picasso and Santa 2016 Acrylic, oil on canvas 137.5 x 152 cm Signed reverse Tom Berenz , titled Picasso and Santa and dated 2016 PROVENANCE

19 Karen Contemporary Art Space, Gold Coast

湯姆．布倫茲 畢卡索與聖誕老公公 2016年 壓克力 油彩 畫布 137.5 x 152 cm 簽名題識畫背：Picasso and Santa 2016 Tom Berenz 來源

19 凱倫當代藝術中心，黃金海岸 湯姆．布倫茲是美國威斯康辛大學成就卓著的年輕畫家和教授。 他的作品擺盪於抽象與寫實主義之間的界限，並結合個人經歷與

NT$ 300,000 - 460,000 HK$ 82,000 - 125,000 US$ 10,400 - 16,000 RMB 67,000 - 102,000

社會、政治、環境和意識形態問題。 Tom Berenz is an accomplished young painter and professor at the University of Wisconsin. His work "blurs the line between abstraction and realism" and fuses personal experiences with sociopolitical, environmental and ideological issues.

083

LAURENT BOURO

羅蘭．布洛

布洛定期在法國的畫廊和沙龍展出，現在在世界

(French, b. 1967)

樹1.2

各地都有收藏家。他用壓克力和油彩結合拼貼等

Les arbres 1.2 2020 Oil on wood 100 x 100 cm Signed lower left side L. BOURO

2020年 油彩 木板 100 x 100 cm 簽名左下側邊：L. BOURO

複合媒材進行「城市面具」的肖像系列曾是他最 喜歡的創作主題。爾後布洛因他在世界各地旅行 的啟發，作風轉化為內在的想像風景。 Laurent Bouro regularly exhibits in galleries and salons in France. It now has collectors all over the world. Faces are his favorite subjects. He

NT$ 220,000 - 340,000 HK$ 60,000 - 92,000 US$ 7,700 - 11,800 RMB 49,000 - 76,000

paints in acrylic and oil, creates with collage, recovery and diverted materials. Inspired by his many travels around the world, Bouro worked for several years on portraits entitled "Masks Urbains" before turning recently to landscapes straight out of his imagination.

084

JONNI CHEATWOOD

喬尼 ． 奇 特 伍 德

喬尼．奇特伍德於 2011 年畢業於亞利桑

(American, b. 1986)

剪紙瑞可

那州立大學，獲得中等教育和電影與媒

Papercut Rico 2021 Oil, acrylic, alkyd and cotton sewn onto canvas 100 x 90 cm Signed reverse Jonni Cheatwood , titled Papercut Rico, Los Angeles and dated 2021.

EXHIBITED

It's Not Just a Portrait , Badr El Jundi Gallery, Malaga, November 3-December 23, 2021

NT$ 280,000 - 480,000 HK$ 76,000 - 130,000 US$ 9,700 - 16,700 RMB 62,000 - 107,000

2021年 油彩 壓克力 醇酸樹脂 棉縫於畫布 100 x 90 cm 簽名題識畫背：Papercut Rico

體製作學士學位。奇特伍德的作品涉及 許多不同領域，包括繪畫、攝影、平面 設計和紡織藝術。他的作品嘗試各種視 覺概念，如靜物、抽象和極簡主義。

2021 Los Angeles

Jonni Cheatwood graduated from

Jonni Cheatwood

Arizona State University in 2011 with a

展覽

「不只是肖像畫」， Badr El Jundi畫廊，馬拉加， 展期2021年11月3日至12月23日

Bachelor's in Secondary Education and Film & Media Production. He currently lives and works in Los Angeles.

Cheatwood's work describes the broad visual ideas stemming from still life, abstraction and minimalism. His works are across many different disciplines i n c l u d i n g p a i n t i n g , p h o t o g r a p h y, graphic design and textile art.

085

PETER STANICK

彼得．史坦尼克

(American, b. 1953)

兜風

Convertible

2016 Ink, resin varnish on aluminum 101.6 x 152.4 cm Signed reverse Peter Stanick and dated March 2016 EXHIBITED

Peter Stanick Solo Exhibition , Galleria Grafica Tokio, Tokyo, May 9-21, 2016 Art Taipei, October 20-23, 2017 This lot is accompanied with a certificate of authenticity issued by Galleria Grafica Tokio.

2016年 墨水 樹脂凡尼斯 鋁板 101.6 x 152.4 cm 簽名題識畫背：Peter Stanick March 2016 展覽

「彼得．史坦尼克個展」，格瑞菲卡畫廊，東京， 展期2016年5月9日至21日 台北藝術博覽會，展期2017年10月20日至23日 附格瑞菲卡畫廊開立之原作保證書 史坦尼克利用網路圖像及數位編輯創造了新的視覺語言。史坦尼克的作 品為紐約大都會美術館，匹茲堡卡內基美術館等著名機構收藏。

NT$ 160,000 - 240,000 HK$ 43,000 - 65,000 US$ 5,600 - 8,300 RMB 36,000 - 53,000

Stanick looked for the possibility to not only digitally edit or enhance existing images in color or form, but to create a visual language that was digital from the outset. Stanick's works have joined the collections of such prestigious museums as the Metropolitan Museum of Art in New York, Carnegie Museum of Art in Pittsburgh.

086

KITTI NAROD

奇蒂．納羅德

(Thai, b. 1976)

市場之旅

A Trip to the Market 2018 Acrylic on canvas 114.5 x 84.5 cm Signed lower right KITTI

NT$ 360,000 - 550,000 HK$ 98,000 - 149,000 US$ 12,500 - 19,100 RMB 80,000 - 122,000

2018年 壓克力 畫布 114.5 x 84.5 cm 簽名右下：KITTI 奇蒂．納羅德於 1976 年出生於泰國，畢業於泰國皇家理工大學博昌工 藝美術學院。納羅德的作品透過描繪日常生活中恬靜而溫暖的氛圍，傳 達歡樂的氣息，在他作品裡的人事物都生活在烏托邦裡。納羅德曾先後 在曼谷、倫敦、蒙特利爾、新加坡、墨爾本、都柏林和深圳展出。 Kitti Narod was born in Thailand in 1976, and graduated from PohChang Academy of Arts, Rajamangala University of Technology Rattanakosin. Narod creates paintings that convey a sense of joy and optimism through the gentle and warm portrayal of daily life and human connectedness. In his paintings, everyone and everything exists together in a utopia. He has exhibited extensively in Bangkok, London, Montreal, Singapore, Melbourne, Dublin and Shenzhen.

087

GALINA MUNROE

葛林娜．蒙羅

(British-French, b. 1993)

黛絲姑娘

Tess of the d'Ubervilles 2021 Oil on canvas 100 x 80 cm Signed reverse Galina Munroe , titled Tess of the d'Ubervilles and dated 2021 PROVENANCE

2021年 油彩 畫布 100 x 80 cm 簽名題識畫背：Galina Munroe Tess of the d'Ubervilles 2021 來源

聯合畫廊，倫敦

Union Gallery, London 葛林娜．蒙羅 2016 年畢業於倫敦中央聖馬丁學院。她的實踐延

NT$ 200,000 - 300,000 HK$ 54,000 - 82,000 US$ 7,000 - 10,400 RMB 45,000 - 67,000

伸到超現實和抽象世界的範圍，其中不斷變化的造型和形式展示 於她畫布之上。作品展覽於雪梨、米蘭、倫敦等城市。 Galina Munroe graduated with a MFA from the Central Saint Martins in London in 2016. Her practice extends within the parameters of a surreal and abstract world in which shifting shapes and forms illustrate the surface of her canvases. Her works have been exhibited in Sydney, Milan, London.

088

LITTLE MADI (CAROLINE MADI)

凱洛琳．馬蒂

(French, b. 1987)

2019年

Fragrance

2019 Acrylic on canvas 130 × 92 cm Signed reverse Madi , titled Fragrance and dated 2019 PROVENANCE

芬芳 壓克力 畫布 130 x 92 cm 簽名題識畫背：Madi Fragrance 2019 來源

科爾畫廊，巴黎

Cohle Gallery, Paris

凱洛琳．馬蒂出生於法國，比利時國立高等藝術學院學士。目前以

NT$ 300,000 - 460,000 HK$ 82,000 - 125,000 US$ 10,400 - 16,000 RMB 67,000 - 102,000

合作也讓她在藝術市場中嶄露頭角。馬蒂的作品充滿了想像中的人

葡萄牙里斯本為創作據點。除了繪畫作品外，大型壁畫與各種商業 物、肌理、知覺與幻想，就像在她的腦海中旅行一樣。 Little Madi Born in Antibes, 1987. Currently based in Lisbon.

She holds an Bachelor's degree ENSAV, Brussels, Belgium.

Madi developed her own style through graphic research while multiplying collaborations, paintings & murals. Her production of drawings is obsessive as she travels inside her head, showing imaginary characters, textures, sensations, dreams & fantasies.

089

NIKKI

N i kki

(American, b. 1996)

星夜－那又怎樣

Starry Night "So what" 2021 Mixed media on canvas 100 x 100 cm Signed reverse NIKKI This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 440,000 - 700,000 HK$ 120,000 - 190,000 US$ 15,300 - 24,300 RMB 98,000 - 156,000

2021年 綜合媒材 畫布 100 x 100 cm 簽名題識畫背：NIKKI 附藝術家簽名原作保證書於畫背 1996 年出生於美國，現居於紐約創作，以插畫、兒童繪本創作 為主。畫面用色繽紛，活潑可愛的女孩圖樣，融合諸多日本與 美國當代藝術家標誌性創作元素，賦予新意。

090

NIKKI

N i kki

(American, b. 1996)

變身

Transform

2021 Mixed media on canvas 111 x 111 cm Signed reverse NIKKI This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 500,000 - 800,000 HK$ 136,000 - 217,000 US$ 17,400 - 27,800 RMB 111,000 - 178,000

2021年 綜合媒材 畫布 111 x 111 cm 簽名題識畫背：NIKKI 附藝術家簽名原作保證書於畫背 Born in the United States in 1996, Nikki now lives and works in New York, mainly creating illustrations and children's picture books . The screen uses colorful, lively and cute girl patterns, and integrates multiple Japanese and American contemporary artists, with iconic creative elements.

091

SOL FELPETO

索兒．費佩托

(Venezuelan, b. 1990)

我是太空貓

I'm Félicette

2021 Acrylic and spray paint on canvas 99 x 99 cm Signed lower right Sol Felpeto and dated '21 Signed reverse, inscribed Madrid and dated '21

NT$ 200,000 - 300,000 HK$ 54,000 - 82,000 US$ 7,000 - 10,400 RMB 45,000 - 67,000

2021年 壓克力 噴漆 畫布 99 x 99 cm 簽名右下：Sol Felpeto '21 簽名題識畫背：Madrid '21

092

ADAM LISTER

亞當 ． 里 斯 特

(American, b. 1978)

名畫系列－巴斯奇亞

Homage to Basquiat

2020年

2020 Acrylic on canvas 136 x 136 cm

136 x 136 cm

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

NT$ 300,000 - 460,000 HK$ 82,000 - 125,000 US$ 10,400 - 16,000 RMB 67,000 - 102,000

壓克力 畫布

附藝術家簽名原作保證書 亞當．里斯特 2003 年畢業於紐約視覺藝術學院繪畫學士學位。受美國雅達 利和日本任天堂遊戲機啟發，他運用 8 位元方形幾何，型塑獨特「低畫素」 風格，呼應了立體派的幾何結構，並刻意避開使用對角線和曲線。里斯特 擷取經典藝術名作、大眾流行文化名人，並以自身的手法解構其視覺形象。 Adam Lister received his B.F.A. in painting from The School of Visual Arts in New York in 2003. Inspired by the 8-bit graphics of Atari and Nintendo game consoles, Lister's unique style deliberately avoids all use of diagonal and curved lines and echoes the geometric structure of Cubism. Lister selects the recognizable artworks or popular cultures icons to deconstruct their images by his methods.

093

NIGEL COOKE

尼格爾．庫克

(British, b. 1973)

閱讀者

Reader

2007 Watercolor on paper 75.6 x 57.2 cm Signed reverse N. Cooke , Nigel Cooke, titled Reader, inscribed Watercolour on Paper and dated 2007 PROVENANCE

Phillips, New York, September 10, 2020, lot 54 Acquired from the above by the present owner

2007年 水彩 紙本 75.6 x 57.2 cm 簽名題識畫背：Nigel Cooke Reader 2007 Watercolour on Paper N.Cooke 來源

富藝斯拍賣，紐約 現有收藏者得自上述來源 尼格爾．庫克目前是英國皇家藝術學院的客座講師。庫克

NT$ 140,000 - 220,000 HK$ 38,000 - 60,000 US$ 4,900 - 7,700 RMB 31,000 - 49,000

的畫作中經常描繪在衰敗城市中的人物，透過頭骨或廢棄 建築的隱喻以及類似膽汁的綠色來營造出一種強烈的不 安之預感。庫克的作品曾在國際展出，為倫敦泰特美術 館、紐約現代美術館和古根漢美術館等收藏。

094

NIGEL COOKE

尼格爾．庫克

(British, b. 1973)

飲酒人

Drinker

2007 Watercolor, conté on paper 75.6 x 57.2 cm Signed reverse N. Cooke, Nigel Cooke, titled Drinker, inscribed Watercolour and conté on Paper and dated 2007 PROVENANCE

Phillips, New York, September 10, 2020, lot 53 Acquired from the above by the present owner

NT$ 140,000 - 220,000 HK$ 38,000 - 60,000 US$ 4,900 - 7,700 RMB 31,000 - 49,000

2007年 水彩 蠟筆 紙本 75.6 x 57.2 cm 簽名題識畫背：N.Cooke Nigel Cooke Drinker 2007 Watercolour on Paper 來源

富藝斯拍賣，紐約 現有收藏者得自上述來源 As a visiting lecturer at the Royal College of Art, London. Nigel Cooke's paintings depict carnivalesque figures set within harsh landscapes that are littered with urban decay. The paintings imply a strong sense of foreboding both through the depicted forms such as skulls and derelict buildings and also through his use of color which often features bilious toxic greens. Cooke's works have been in major museum collections including The Tate in London, The MOMA in New York and The Solomon R. Guggenheim museum in New York.

095

RONALD VENTURA

羅納德．溫杜 拿

溫杜拿的「動物人系列」以人體為創作主題，從中寄

(Philipion, b. 1973)

無題

托與人體關聯的各種意念。藝術家受十七世紀初蝕刻

Untitled

2013 Oil on canvas 41 x 31 cm Signed lower right Ventura and dated 13 PROVENANCE

2013年 油彩 畫布 41 x 31 cm 簽名右下：Ventura 13 來源

貝浩登畫廊，香港

版畫上人性化動物造型的啟發，其作品中的動物配以 人體結構呈現，而人物則加入了動物的特徵展示。近 年來，溫杜拿屢獲殊榮，包括 2003 年「菲律賓文化 中心十三大傑出藝術家獎」及 2008 年日本「第 9 屆 大分亞洲雕塑藝術展公開賽優秀獎」。 Ve n t u r ' s o e u v re h a s b e e n a c o n s c i o u s preoccupation in treating the human body as a

Perrotin Gallery, Hong Kong

radical terrain from which a multitude of meanings

NT$ 500,000 - 800,000 HK$ 136,000 - 217,000 US$ 17,400 - 27,800 RMB 111,000 - 178,000

series. Finding inspirations in the early 17th

may be derived, as epitomizes by his Zoomanities century etchings of humanized animals he once saw, Ventura frequently gives his animal subjects human anatomies and vice versa. Over the years, his awards include, 2003 "Thirteen Artist Award, Cultural Center of the Philippines", Philippines; 2008 "Award of Excellence by the 9th OITA Asian Sculpture Exhibition Open Competition", Japan.

096

GABRIEL BARREDO (Philipino, 1957-2020)

Tree of Life - Life 2007 Aluminum, stainless steel, resin, iron, unique 90(L) x 90(W) x 225(H) cm PROVENANCE

Soka Art, Taipei Acquired from the above by the present owner ILLUSTRATED

Southeast Asian Contemporary Art , Soka Art, Taipei, 2007, color illustrated, pp. 88-89

NT$ 400,000 - 600,000 HK$ 109,000 - 163,000 US$ 13,900 - 20,900 RMB 89,000 - 134,000 蓋伯瑞．博瑞多 生命之樹－生命 2007年 鋁 不鏽鋼 樹脂 鐵 單一件 90（長）x 90（寬）x 225（高）cm 來源

索卡藝術中心，台北 現有收藏者購自上述來源 圖錄

《索卡新觀點—東南亞當代藝術展》，索卡藝術中心， 台北，2007，彩色圖版，頁88-89

097

LIU SHIH TUNG (Taiwanese, b. 1970)

Vases and Birds 2009 Mixed media on canvas 130 x 194 cm Signed reverse Liu Shih Tung in Chinese and dated 2009 Signed overlap Liu Shih Tung in Chinese and dated 2009 PROVENANCE

Lin & Lin Gallery, Taipei Acquired from the above by the present owner EXHIBITED

Behind the Visible: Liu Shih Tung & Lai Chiu Chen , Lin & Lin Gallery, Taipei, January 30-March 7, 2010 ILLUSTRATED

Behind the Visible: Liu Shih Tung , Lin & Lin Gallery, Taipei, 2010, color illustrated, pp. 5-6 This lot is accompanied with a certificate of authenticity issued by Lin & Lin Gallery, Taipei.

NT$ 380,000 - 550,000 HK$ 103,000 - 149,000 US$ 13,200 - 19,100 RMB 85,000 - 122,000 劉時棟 花瓶與鳥 2009年 複合媒材 畫布 130 x 194 cm 簽名畫背：劉時棟 2009 簽名畫布折入處：劉時棟 2009 來源

大未來林舍畫廊，台北 現有收藏者購自上述來源 展覽

「在可見之後－劉時棟、賴九岑聯展」，大未來林舍畫 廊，台北，展期2010年1月30日至3月7日 圖錄

《在可見之後－劉時棟》，大未來林舍畫廊，台北， 2010，彩色圖版，頁5-6 附大未來林舍畫廊開立之原作保證書

098

SHI JIN-HUA (Taiwanese, b. 1964)

Pan Walking #74 2009 Pencil, paper, glass tube and document 130.2 x 189.5 cm

NT$ 500,000 - 800,000 HK$ 136,000 - 217,000 US$ 17,400 - 27,800 RMB 111,000 - 178,000 石晉華 走筆＃74 2009年 鉛筆、紙；玻璃瓶、文件 130.2 x 189.5 cm

石晉華，台灣少數觀念行為藝術創作者之一，1964 年出生於

S h i J i n - H u a w a s b o r n i n P e n g h u , Ta i w a n i n 1 9 6 4 ,

台灣澎湖，現生活工作於高雄。由於患有幼年型糖尿病之故，

He currently lives and works in Kaohsiung, Taiwan.

從 17 歲開始日復一日監測、紀錄身體狀態、注射胰島素，這

He is known predominantly for conceptual arts and

些經驗迫使藝術家時時面對生存的嚴苛情境，他對待身體猶

performance.As an early diagnosed diabetic at age of 17,

如一個他者與工具，透過藝術實踐映照出非凡的精神體積。

Shi started regular injection as part of his life; therefore,

石晉華在台灣觀念行為藝術領域中，具有歷史性的角色，曾

he's inspired to make arts of this measurement process

經多次受邀於台北與亞洲雙年展中展出，作品典藏於澳洲白

in life, which comes from his inevitable routine of insulin

兔美術館、國立台灣美術館、台北市立美術館、高雄市立美

injection since adolescence. Shi is the recipient of many

術館、台灣藝術銀行及富達國際。2017 年於高雄市立美術館

important awards in his career and He's works appear

舉辦大型個展「線－石晉華當代宗教藝術展」。

in many solo and group exhibitions. Shi's works are in permanent collections of museums and private collections including White Rabbit Gallery (Australia), National Taiwan Museum of Fine Arts and Taipei Fine Arts Museum (Taiwan).

099

LO CHAN PENG (Taiwanese, b. 1983)

Journal of Strawberry Generation 21 2009 Oil on canvas 91 x 116.5 cm Signed on stretcher bar Lo Chan Peng , titled Journal of Strawberry Generation 21 in Chinese, inscribed 50F, 116.5 x 91 cm and dated 2009 PROVENANCE

Ravenel Auction, Taipei, June 1, 2014, lot 102 Acquired from the above by the present owner EXHIBITED

Strawberry Generation Studio - Lo Chan Peng , Aki Gallery, Taipei, June 1-21, 2009 ILLUSTRATED

Chan Peng Lo, Journal of Strawberry Generation , Aki Gallery, Taipei, 2009, color illustrated, pp. 70-71 This lot is accompanied with a certificate of authenticity signed by the artist.

羅展鵬 草莓族青春日誌 21 2009年 油彩 畫布 91 x 116.5 cm 簽名畫背框條：50F 草莓族青春日誌 21 116.5 x 91 cm 羅展鵬 2009 來源

羅芙奧拍賣，台北，2014年6月1日，編號102 現有收藏者購自上述來源 展覽

「草莓族工作室入侵」，也趣藝廊，台北， 展期自2009年6月1日至21日 圖錄

《羅展鵬－草莓族青春日誌》，也趣藝廊，台北，2009， 彩色圖版 ，頁70-71 附藝術家簽名原作保證書

NT$ 320,000 - 480,000 HK$ 87,000 - 130,000 US$ 11,100 - 16,700 RMB 71,000 - 107,000 1983 年出生於嘉義，羅展鵬畢業於國立台灣師大美研所西畫創

and in Berlin, Germany in 2011. He was granted Kaohsiung

作 組。2013 年 駐 村 美 國 洛 杉 磯 ESMoA 當 代 美 術 館、2011 年

Awards in 2008 and The Chi-Mei Art Cultivation Awards in

駐村德國柏林、曾獲 2008 年高雄美術獎、2008 年國立美術館

2007. Solo exhibitions: 2013 "The Edge of Darkness", Aki

青年藝術典藏計畫、2007 年奇美人材培訓計畫獎。個展經歷：

Gallery, Taipei; ART HK 2010; 2009 "Strawberry Generation

2013 年「黑的邊緣」，也趣藝廊，台北；2010 年「香港國際

Studio", Aki Gallery, Taipei. Selected group exhibitions:

藝 術博覽會個展」， 香 港；2009 年「 草 莓 族 工 作 室 入 侵 」，

2013 "Experience03: Truth", ESMoA, Los Angeles; 2012

也 趣 藝 廊， 台 北。 重 要 聯 展：2013 年 ESMoA(El Segundo

"Mancy's Art Night", Tokyo, Galleryseoul 12, Seoul, "Asian

Museum of Arts)，洛杉磯，2012 年 Mancy's Art Night，東京、

Realism", Yoshiaki Inoue Gallery, Osaka, Japan, Tokyo Art

Galleryseoul 12 首爾頂級藝術博覽會，首爾、亞洲具象 – 四國

Fair 2012; Art Taipei 2012; 2011 "Flourishing and Flowing-A

聯展，大阪、東京藝術博覽會，東京、台北國際藝術博覽會，

Contemporary Art Exhibition across the Strait", National

台北，2011 年「複感．動觀 － 2011 海峽兩岸當代藝術展」，

Taiwan Museum of Fine Arts, Taiwan; 2010 "Yes Taiwan:

國立台灣美術館，台灣；2010 年「台灣報到：台灣雙年展」，

2010 Taiwan Biennial", National Taiwan Museum of Fine

國立台灣美術館，台灣；2010 年「汽球人間」，下秋葉原畫廊，

Arts, Taiwan; 2010 "A Balloon Man Group Show", Lower

東京；2010 年「後青春」，國立台灣美術館，台中，關渡美術館，

Akihahara Gallery, Tokyo, Japan; 2010 "Post-Adolescence",

台北；2009 年「似曾相似的小宇宙」，波昂，德國；2005 年「全

National Taiwan Museum of Fine Arts, Taichung and Kuandu

國美展巡迴展」。

Museum of Fine Arts, Taipei; 2009 "Small World", E105

Born in Jia Yi, Lo Chan Peng received master degree with National Taiwan Normal University, Department of Fine Arts.

He was a resident artist in ESMoA, Los Angeles, USA in 2013,

Gallery, Bonn, Germany; 2005 "National Art Exhibition of the Republic of China Traveling Exhibition", Taichung, Taipei, Kaohsiung.

100

LAI CHIU CHEN (Taiwanese, b. 1970)

Soldier in Night Vision Goggles 2009 Acrylic on canvas 180 x 140 cm Signed reverse Lai Chiu Chen , titled Soldier in Night Vision Goggles in Chinese and dated 2009 Signed overlap Lai Chiu Chen in Chinese and dated 2009 PROVENANCE

Lin & Lin Gallery, Taipei Acquired from the above by the present owner EXHIBITED

Behind the Visible: Liu Shih Tung & Lai Chiu Chen , Lin & Lin Gallery, Taipei, January 30-March 7, 2010 ILLUSTRATED

Behind the Visible: Lai Chiu Chen , Lin & Lin Gallery, Taipei, 2010, color illustrated, p. 6

賴九岑 飛行夜視兵 2009年 壓克力 畫布 180 x 140 cm 簽名畫背：飛行夜視兵 賴九岑 2009 簽名畫布折入處：賴九岑 2009 來源

大未來林舍畫廊，台北 現有收藏者購自上述來源 展覽

「在可見之後－劉時棟、賴九岑聯展」， 大未來林舍畫廊，台北，展期2010年1月30日至3月7日 圖錄

《在可見之後－賴九岑》，大未來林舍畫廊，台北， 2010，彩色圖版，頁6 附大未來林舍畫廊開立之原作保證書

This lot is accompanied with a certificate of authenticity issued by Lin & Lin Gallery, Taipei.

NT$ 380,000 - 550,000 HK$ 103,000 - 149,000 US$ 13,200 - 19,100 RMB 85,000 - 122,000 賴九岑 1970 年出生於台灣。2002 年獲得國立台北藝術大學藝

appearance, its essence sits on the everlasting themes of

術創作碩士學位。賴九岑的作品中帶有流行文化的氣味，但是

painting: simulation and reproduction. Lai's approach to

在動畫與漫畫的表象之下，其本質是恆久的繪畫主題 : 模擬與再

art turns his work, in a sense, into a kind of sampling or

現。以其創作脈絡來看，賴九岑的作品是對生活的取樣或標本

specimen of life. As a result of his highly 'controlled' working

式擷取。除去了細瑣的構圖、空間佈局與繪畫筆觸之後，更能

system which prunes trivial composition, perspective and

讓觀者專注於畫面上層層疊疊的色彩和輪廓所構成的圖像本身。

brush marks, the image itself, as well as layers and layers

持續參與展出外，作品被收藏於上海龍美術館，台北市立美術

of color upon it and the painterly touch that hides under

館，國立台灣美術館等機構。

the evenly applied surfaces and in the painted frames, are

Lai Chiu-Chen was born in 1970 in Taiwan, and currently works and lives in Taiwan. He received his MFA in Taipei National University of Arts in 2002. Lai's work carries a sense of pop culture, but amidst the animation and comic

genuinely revealed to us. Lai's work has been collected by major museums including Long Museum, Shanghai; Taipei Fine Arts Museum, Taipei; and National Taiwan Museum of Fine Arts, Taichung, Taiwan, among others.

101

YUKA AKASAKA

赤坂侑花

(Japanese, b. 1994)

三人

3 Persons

2021 Acrylic, crayon on panel 150 x 120 cm Signed reverse Akasaka Yuka in English and Kanji, titled 3 Persons in Kanji and dated 2021 EXHIBITED

2021年 壓克力 蠟筆 木板 150 x 120 cm 簽名題識畫背：3人 2021 Akasaka Yuka 赤坂侑花 展覽

「家」，Kunst Arzt畫廊，京都， 展期2021年2月23日至28日

Home , Kunst Arzt, Kyoto, February 23-28, 2021 赤坂侑花將愉快的童年時光及當時感受到的單純世界帶入繪畫或雕塑

NT$ 200,000 - 300,000 HK$ 54,000 - 82,000 US$ 7,000 - 10,400 RMB 45,000 - 67,000

作品中，呈現出一種具有溫暖正能量的世外桃源。赤坂近年在京都 Kunst Arzt 畫廊持續發表自己的個展，如「家」(2021)、「傍晚的城 鎮」（2022）等。 Akasaka Yuka expresses a fun world she felt in her childhood with her paintings or sculptures, presenting a kind of paradise with warm and positive energy. She has exhibited in Kunst Arzt, Kyoto: "Home"(2021)、"Early afternoon town" (2022) among others.

102

ZHANG HUI

張慧

(Chinese, b. 1969)

北京娃娃 29

Beijing Baby 29 2006 Oil on canvas 170 x 150 cm Signed lower right ZHH and dated 2006 Signed reverse Zhang Hui in Chinese and English, titled Beijing Baby 29 in Chinese and dated 2006 PROVENANCE

Ravenel Auction, Taipei, December 2, 2007, lot 149 Acquired from the above by the present owner

2006年 油彩 畫布 170 x 150 cm 簽名右下：ZHH 2006 簽名畫背：北京娃娃 29 張慧 ZHH 2006 來源

羅芙奧拍賣，台北，2007年12月2日，編號149 現有收藏者購自上述來源 畢業自四川美術學院，現居住於北京。張慧畫筆下的女子彰顯社會文 化背景轉變對其造成的衝擊或感染力，特別是九十年代中國的後意識型 態，而其特徵加大了自我表達及解放身體的自由度。

NT$ 300,000 - 460,000 HK$ 82,000 - 125,000 US$ 10,400 - 16,000 RMB 67,000 - 102,000

Graduated from Sichuan Fine Arts Institute, Zhang now lives in Beijing. In her paintings, the audience can see the impact of social and cultural changes on female subjects. In particular, the postideology in China of the 90's is characterized by the freedom for self-expression and body-liberation.

103

NYOCHOTAN (Indonesian, b. 1995)

鈕釦丹 1995 年生於印尼，現以印尼日惹為創作據點。鈕釦丹的作品 有強烈平面二次元的視覺感受，並在傳統日本漫畫造形基礎之上加入

Himouto! Remon-chan

印尼文化的再創造。女性形象不僅是作為情感或日常的延伸，也是其

2019 Acrylic on canvas 70 x 99 cm Signed lower right Nyochotan and dated 2019

視覺經驗。2020 年受邀參與北京 42 Art Space 的開幕展「42 IS」，

創作中不可或缺的元素。他提供了次文化的審美情趣，並審視觀者的 與其他活躍於國際的年輕潮流藝術家共同展出。 Nyochotan born in Indonesia in 1995, Based in Yogyakarta, Indonesia. Nyochotan's works have a strong visual feeling of

NT$ 120,000 - 180,000 HK$ 33,000 - 49,000 US$ 4,200 - 6,300 RMB 27,000 - 40,000 鈕釦丹 我家有個魚乾妹 2019年 壓克力 畫布 70 x 99 cm 簽名右下：Nyochotan 2019

flat two dimensions, and on top of the traditional Japanese anime modeling, the artist has recreated based on Indonesian culture. The image of the woman in Nyochotan's paintings is not merely an extension of emotion or everyday life, but simply as an expression of artistic objects, which provides a subcultural aesthetic taste and examines it in one's own personal experience.

Nyochotan has participated in 42 art space's inaugural exhibition, titled " 42 IS" (Beijing, 2020), The group exhibition with other young artists active in the world.

104

LAKSAMANA RYO (RYOL) (Indonesian, b. 1993)

拉薩馬納．利歐畢業於著名的印尼藝術學院日惹分校。學生 時期即開始職業藝術家生涯。利歐筆下的畫作乍看之下可愛

Technique Exploration in Gengar Figure

且奇異夢幻，但他也藉由通俗的動漫角色挑戰傳統父權社會，

2021 Acrylic on linen 98.5 x 78.5 cm Signed lower right Ryol and dated 21

性等作出反抗與批判。利歐在個展「重構英雄」（洛杉磯，

對現代社會中輕易對他人產生判斷行為以及性別角色的流動 2021）中，可以看到他重新詮釋如寶可夢等喜歡的流行文化 角色。 Laksamana Ryo graduated from the prestigious Institut

NT$ 280,000 - 420,000 HK$ 76,000 - 114,000 US$ 9,700 - 14,600 RMB 62,000 - 94,000 拉薩馬納．利歐 寶可夢耿鬼技能開發

Seni Indonesia in Yogyakarta. His career began much earlier while he was still a student. At a glance, Ryo's paintings are charmingly whimsical; pop surrealist artworks skillfully done in an illustrative style reminiscent of the world of anime. Among them, critiques of traditional patriarchal society, social behavior that is quick to judge others, as well as the fluidity of modern day gender and gender roles, to name a few. Ryo's solo exhibition "Reimagined

2021年

Heroes." (Los Angeles, 2021). reinterpreting some of his

壓克力 亞麻布

favorite pop culture icons. From Pokémon, Ryo takes on

98.5 x 78.5 cm

each and gives them a remix through his creative lens.

簽名右下：RYOL 21

105

JEFF KOONS

傑夫． 昆 斯

(American, b. 1955)

花朵塗鴉

Flower Drawing 2012 Marker pen on tote Bag 48 x 44 cm (bag); 82 x82 cm (with frame) Initialed bottom JC and dated 10/26/12 PROVENANCE

Da Tun 24 Art Gallery, Taipei

NT$ 70,000 - 110,000 HK$ 19,000 - 30,000 US$ 2,400 - 3,800 RMB 16,000 - 24,000

2021年 麥克筆 提袋 48 x 44 cm（袋子）； 82 x 82 cm（框） 簽名下方：JC 10/26/12 來源

大屯24藝術，台北

1955 年出生於美國賓夕法尼亞州，先後從芝加哥藝 術學院和馬里蘭藝術學院畢業。1980 年代起昆斯大 膽前衛的作品吸引了世界的目光，極具爭議性的他不 僅從事多元化的藝術創作，舉凡影像、雕塑、裝置等 等。取材現成品，或是俗艷的大眾文化圖像加以精緻 再造成為自己的作品。 Bor n in 1955 Pennsylvania, USA, Jeff Koons graduated from School of the Art Institute of Chicago, and later from Maryland Institute College of Art. In the 1980s, Koons's works often brought him a lot of debate but also brought him the attentions around the world. Being a controversial artist, Koons engages a verity of creation forms, such as Films, videos, sculptures, and installation arts. His works are often sourced by "Ready-madeObjects", or vulgar images from the public culture and thus this has made him even more contentious, but also delivered him a significant fame.

106

MILLO (FRANCESCO CAMILLO GIORGINO) (Italian, b. 1979)

Mr. Sandman 2021 Acrylic on canvas 119.5 x 149.5 cm Signed reverse Millo and dated 2021

NT$ 400,000 - 600,000 HK$ 109,000 - 163,000 US$ 13,900 - 20,900 RMB 89,000 - 134,000

米洛

米洛以大型黑白壁畫聞名，其作品以孩童般的人物

造夢先生

形象、簡約的單色線條，結合少量色彩及建築元素

2021年 壓克力 畫布 119.5 x 149.5 cm 簽名畫背：Millo 2021

為特徵。米洛結合對繪畫的熱情與自身建築師的背 景，2014 年通過 B.Art 競賽獲得於義大利杜林市創 作十三面新壁畫的殊榮。 Millo (Francesco Camillo Giorgino) is known for his predominantly black and white large-scale murals. His artworks are characterized by childlike figures, simple monochromatic lines combined with a dash of color, and elements of architecture.

Millo combined his passion for painting with his background as an architect, in 2014, he won the B. Art competition which allowed him to create 13 new murals in Turin, Italy.

107

JOSIAS FIGUEIRIDO

約西亞斯． 菲 格 爾 里 多

約西亞斯．菲格爾里多 2017 年獲得費城

(Spanish)

夢境

賓夕法尼亞美術學院藝術碩士學位之前，

Dreams 2021 Acrylic on canvas 51 x 76 cm Signed reverse Josias and dated 2021 EXHIBITED

Borderwalls IV, The Border Project Space, New York, December 17, 2021-January 8, 2022

NT$ 120,000 - 180,000 HK$ 33,000 - 49,000 US$ 4,200 - 6,300 RMB 27,000 - 40,000

2021年 壓克力 畫布 51 x 76 cm 簽名畫背：Josias 2021 展覽

「邊界之牆IV」，邊界計劃空間，紐約， 展期2021年12月17日至2022年1月8日

他曾在倫敦皇家繪畫學院和倫敦城市大 學就讀。菲格爾里多的作品主要有繪畫和 版畫創作，他用作品來表達一段虛構的敘 事，將困難的哲學、社會學思考轉化為個 人主觀的圖像，也彷彿他自己的傳記。 Josias Figueirido received his MFA from the Pennsylvania Academy of the Fine Arts in Philadelphia (2017), he studied at the Royal Drawing School (2010) and at London Metropolitan University (2008), both in London. Figueirido's working primarily in painting, drawing, and printmaking, Figueirido's biographical and fictional narratives channel social and philosophical dilemmas into highly personal images.

108

JUN OSON

Jun Os on

Jun Oson 於 2005 年開始了插畫師的生涯。無框架

(Japanese, b. 1979)

看之三

的創作風格基於從小受漫畫和動畫影響，並融合西

See 3

2021 Acrylic on canvas 80 x 80 cm Signed reverse Jun Oson Signed reverse on IC Tag Jun Oson

NT$ 220,000 - 340,000 HK$ 60,000 - 92,000 US$ 7,700 - 11,800 RMB 49,000 - 76,000

2021年 壓克力 畫布 80 x 80 cm 簽名畫背：Jun Oson 簽名畫背防偽IC卡：Jun Oson

洋藝術家如詹姆斯．賈維斯和 KAWS 的元素，創造 出獨特的作風。除了各種膚色的人物外他的作品中 也經常出現外星人和機器人等。「多樣性」是他創 作時一直很注重的概念，也是他價值觀的基礎。 Jun Oson started his illustrator career in 2005.

His artworks have a stateless style based on the influence of manga and animations that he has been unconsciously influenced since childhood, with elements from Western artists such as James Jarvis and KAWS. It may be similar to the way the Japanese, who maintained a unique culture, are being influenced by the West to create a more special culture. In addition to people with various skin colors, monsters and robots appear in his works. "Diversity" is something he has always had since he started his career and is fundamental to his values.

109

EDGAR PLANS (Spanish, b. 1977)

The Reading Hero (a set of 5) 2021 100% Alloy in full painted color, Edition of 250 10 (L) x 15 (W) x 28 (H) cm (each)

艾德加．普連斯 閱讀小英雄（五件一組） 2021年 100%全彩繪合金 限量250件 10（長）x 15（寬）x 28（高）cm（每件） 展覽

EXHIBITED

「艾德加．普連斯－字有引力：看得見的夢境」， K11購物藝術中心，廣州，展期2021年12月17日 至2022年3月14日

This lot is accompanied with a certificate of authenticity and a NFC manual.

附原作保證書及NFC說明書

Edgar Plans-The Power of Letters , K11 Art Mall, Guangzhou, China, December 17, 2021-March 14, 2022

NT$ 220,000 - 320,000 HK$ 60,000 - 87,000 US$ 7,700 - 11,100 RMB 49,000 - 71,000

Rojo

Rosa

Olivia

Naranja

Morado

110

EDGAR PLANS (Spanish, b. 1977)

The Power of the Letters (a set of 5) 2021 Alloy, crystal, ed. 130/250(Rojo); 82/250(Rosa); 99/250(Olivia); 95/250(Naranja); 213/250(Morado).

Produced by Misha Made Art Project 16(H) cm (each) EXHIBITED

Edgar Plans, The Power of the Letters Art Pop Up , K11 Musea, Hong Kong, May 14-June 14, 2021 This lot is accompanied with a certificate of authenticity and a NFC manual.

NT$ 220,000 - 320,000 HK$ 60,000 - 87,000 US$ 7,700 - 11,100 RMB 49,000 - 71,000

艾德加．普連斯 文字的力量（五件一組） 2021年 合金 水晶 版次130/250（Rojo）；82/250（Rosa）； 99/250（Olivia）；95/250（Naranja）；213/250 （Morado）發行單位Misha Made Art Project 16（高）cm（每件） 展覽

「艾德加．普連斯：文字的力量藝術快閃」， K11博物館，香港，展期2021年5月14日至6月14日 附原作保證書及NFC說明書

111

ROBY DWI ANTONO (Indonesian, b. 1990)

KIRA

2021 Radiant White Somerset paper sealed with matte varnish and long-glow phosphorescent, ed. 21/50 Produced by Avant Arte 60 x 50 cm Signed lower right Roby and dated 2021 Numbered lower left 21/50 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000

羅比．安托諾 琪拉 2021年 消光凡尼斯 長磷光顏料 索馬賽特版畫紙 版次21/50 發行單位Avant Arte 60 x 50 cm 簽名右下：Roby 2021 編號左下：21/50 附藝術家簽名原作保證書

112

A-LEI (YEH HSIN HONG)

阿咧（葉信泓）

(Taiwanese, b. 1976)

2018年

Good Things Happen 2018 Pottery, unique 39(L) x 18(W) x 32(H) cm Engraved bottom LEI EXHIBITED

A-Lei Solo Exhibition, Yingge Ceramic Museum, New Taipei City, 2018-2019 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 110,000 - 170,000 HK$ 30,000 - 46,000 US$ 3,800 - 5,900 RMB 24,000 - 38,000

好事花生 陶土 釉 單一件 39（長）x 18（寬）x 32（高）cm 簽名雕刻底部：LEI 展覽

「陸上行舟阿咧創作展」，鶯歌陶瓷博物館，新北， 2018年-2019年 附藝術家簽名原作保證書

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4.

2022 年 6 月 2 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間（2022 年 6 月 3 日至 6 月 4 日）以新台幣現鈔支付 （恕不接受除現金之外之其他繳納方式），收款將於 6 月 4 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 2022 年 6 月 2 日以前完成匯款至本公司指定帳號。 6.

如於 2022 年 6 月 2 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我們 將與競投者聯繫並與之確認其競標牌號。

7.

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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。

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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.

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

4.

After the 2nd June 2022, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 3rd June to 4th June 2022). Acceptance will cease on 4th June by 12pm (No other forms of payment will be accepted).

5.

Telephone / written / internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 2nd June 2022.

6.

If the bidding deposit has been transferred prior to 2nd June 2022, 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.

委託競投表格 委託競投表格須於拍賣24小時前送抵國際藝術部。競投表格可回傳至:

拍 賣 名 稱：羅芙奧台北 2022 春季拍賣會 薈萃國際：現代與當代藝術

國際藝術部 電話：+886-2-2708 9868 分機 883｜傳真：+886-2-2701 3306

拍 賣 編 號：TA2201

投標者資料 客戶編號

拍 賣 日 期：2022 年 6 月 4 日 ( 星期六 ) 下午 4:00

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

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

ABSENTEE BID FORM The absentee bid forms must be delivered to the International Art Department at least 24 hours before the auction begins. The bid forms may be faxed to: International Art Department Tel: +886 2 2708 9868 ext. 883｜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

SPRING AUCTION 2022 TAIPEI SELECT: Modern & Contemporary Art Saturday, June 4, 2021, 4:00 pm TA2201 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.

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：

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3.

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