現代與當代藝術 Modern and Contemporary Art

SPRING AUCTION 2022 TAIPEI

248

2

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羅芙奧台北 2022 春季拍賣會 現代與當代藝術

RAVENEL SPRING AUCTION 2022 TAIPEI Modern and Contemporary Art 拍賣日期

地點

2022年6月5日（日）下午 2:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳） 預展日期

地點

高雄 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 Sunday, June 5, 2022, 2:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan 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 6

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

傅斐郡 Flora Fu

郭倩如 Clara Kuo 副董事長 Vice Chairman

林慧菁 Maggie Lin

藝術部總經理 President, Art Department

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

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

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

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

楊琴 Echo Yang 深圳業務經理 Shenzhen Business Manager

8

羅芙奧台北 2022 春季拍賣會服務部門及連絡人

RAVENEL STAFF AND SERVICES FOR THIS SALE

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

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10

Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggielin@ravenel.com

PHONE BIDS AND WRITTEN BIDS

目錄訂閱 電話書面競標聯絡人

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

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

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

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

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

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

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

目次 CONTENTS 9

羅芙奧秋季拍賣會

Sale Information 10

羅芙奧之服務

Ravenel Services 13

藝術家索引 INDEX A-Lei 阿咧 Takeru AMANO 天野タケル Daniel ARSHAM x Pokémon 丹尼爾 阿爾軒 x 寶可夢

317, 318 211, 221

B

Bernard BUFFET

貝爾納・畢費

228

C

Javier Calleja CHANG Wan-chuan CHANG Teng-yuan Kila CHEUNG CHEN Wei-Ting CHEN Ting-Shih CHIU Ya-tsai CHU Teh-chun CHUANG Che Philip Colbert Cyclops

哈維爾 卡勒加 張萬傳 張騰遠 章柱基 陳威廷 陳庭詩 邱亞才 朱德群 莊喆 菲利普·考爾伯特 Cyclops

345-347 300 206, 262 305 314 275, 276 283, 284 233, 234, 319-321 281, 285, 301, 302 362 273

D

DONG Shawhwei Mr Doodle Roby Dwi ANTONO

董小蕙 塗鴉先生 羅比 • 安托諾

279 244-251, 341, 344 354, 355

E

Etsu Egami COTÉ ESCRIVÁ

江上越 205 COTÉ ESCRIVÁ 267

F

Alex Face Katsura FUNAKOSHI

Alex Face 舟越桂

268, 342 330

G

Yun GEE Matt Gondek

朱沅芷 麥特 剛迪克

232 266

H

Ai HAIBARA Yuichi HIRAKO Damien Hirst HSIAO Chin HSIEH Hsiao-De Poren Huang Michell HWANG Patrick HUGHES HUNG Yi

灰原愛 平子雄一 達明 赫斯特 蕭勤 謝孝德 黃柏仁 黃銘哲 帕特里克·休斯 洪易

311, 312 204, 213, 218, 358 242, 243 288 303 315, 360 296 263 291, 366

A

藝術家索引

Index 14

現代與當代藝術

Modern and Contemporary Art 238

給予買家的重要通知

Important Notice to Buyers 241

委託競投表格

Absentee Bid Form 245

業務規則

Transaction Agreement

12

Jeff KOONS Emi Kuraya Yayoi KUSAMA KWON Kyung Yup

傑夫・昆斯 倉谷惠美 草間彌生 權慶燁

316 210 227, 241, 258, 259 270

L

LI Chen LIU KUO-SUNG LIU Chi-Hsiang LY

李真 劉國松 劉啟祥 LY

236 237 299 329

M

MADSAKI Tomokazu Matsuyama Mr. Takashi MURAKAMI

MADSAKI 松山智一 Mr. 村上隆

336 337 306, 334, 335 230

N

Tomoko NAGAI Ikumi Nakada Moe NAKAMURA Yoshitomo NARA Kohei NAWA Isamu NOGUCHI NOH Jun

長井朋子 中田郁美 中村萌 奈良美智 名和晃平 野口勇 盧濬

201, 202, 219 212, 356 203, 348-352 256, 257, 313, 343 308 353 361

O

Adriana Oliver 阿德里安娜 • 奧利弗 Julian OPIE Toru OTSUKI

朱利安 • 奧培 大槻透

220 307 207, 208

P

PANG Jiun Edgar Plans

龎均 282, 286 艾德加 • 普連斯 240

R

RAN In-ting REN Zhe Ayako ROKKAKU

藍蔭鼎 任哲 六角彩子

277, 278 292 224, 260

S

Chiharu SHIOTA

塩田千春

SHIY De-jinn Stickymonger Super Future Kid

席德進 Stickymonger Super Future Kid

216, 217, 252, 253, 322, 323 235, 274 328 264

T

Walasse TING Yoshimasa TSUCHIYA TZENG Yong-Ning

丁雄泉 土屋仁応 曾雍甯

238 254, 261 298

U

Yosuke UENO

上野洋介

214

X

XUE Song

薛松

293

Y

Mayuka YAMAMOTO

山本麻友香

YANG Chihung YAO Jui-chung Yoshio CHANG

楊識宏 姚瑞中 張義雄

222, 223, 225, 324-327 280, 287 297 295

ZAO Wou-ki ZHAN Wang

趙無極 展望

231 255

365

J

JAN Chin-shui 詹金水 JARO a.k.a Hiroyuki Matsuda JU Ming 朱銘

304 272 289, 290, 294, 367

K

Tetsutaro KAMATANI 鐮谷徹太郎 Yoshitoshi Kanemaki 金卷芳俊 Izumi Kato 加藤泉 KAWS (Brian Donnelly) KAWS ( 布萊恩・唐納利 ) Ayako KITA 北彩子 Hiroshi Kobayashi 小林浩 Maiko KOBAYASHI 小林麻衣子 Satoru KOIZUMI 小泉悟 MATSUMOTO Kojiro 松本弘二郎 Miwa KOMATSU 小松美羽

271 357 229, 331, 338, 339 269, 364 309, 359, 363 265 215 310 209 226, 239, 332, 333

Z

201

Tomoko NAGAI

長井朋子

(Japanese, b. 1982)

貓咪家庭的午後

Afternoon of the Cat Family

2011

2011 Water color, pencil, color pencil, ink, fabric and collage on paper 35.5 x 28 cm Signed on the reverse Tomoko Naga, titled Afternoon of the cat family in Japanese and dated 2011

35.5 x 28 cm

PROVENANCE

Tomio Koyama Gallery, Tokyo

NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 13,000 - 27,000 14

水彩 鉛筆 色鉛筆 墨水 布料 拼貼 紙本 簽名畫背：ネコ家族の昼さがり Tomoko Nagai 2011 來源

小山登美夫畫廊，東京

202

Tomoko NAGAI

長井朋子

(Japanese, b. 1982)

月世界旅行

A Trip to the Moon

2012

2012 Water color, ink, pencil, color pencil, glitter on paper 23.5 x 33.5 cm

23.5 x 33.5 cm

PROVENANCE

Tomio Koyama Gallery, Tokyo

NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 13,000 - 27,000

水彩 墨水 鉛筆 色鉛筆 亮片 紙本

來源

小山登美夫畫廊，東京

203

Moe NAKAMURA

204 中村萌

(Japanese, b. 1988)

無題

Untitled

鉛筆 紙本

Pencil on paper 24 x 17 cm Signed lower right Moe

簽名右下：Moe

NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000

16

24 x 17 cm

Yuichi Hirako (Japanese, b. 1982)

平子雄一 Y 11

Y 11

2013

2013 Watercolor on paper 29 x 20 cm Signed lower right YH. and dated 2013

29 x 20 cm

PROVENANCE

The Drawing Room Contemporary Art, Philippines

NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000

水彩 紙本 簽名右下：YH.13 來源

The Drawing Room Contemporary Art

206

Chang Teng-yuan 205

Etsu Egami

江上越

(Japanese, b. 1994)

無題

Untitled

2018

2018 Oil on canvas 40 x 30 cm Signed lower left Etsu and dated 2018

40 x 30 cm

NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000 18

油彩 畫布 簽名左下：Etsu 2018

張騰遠

(Taiwanese, b. 1983)

主機

Control Console

2020

2020 Acrylic on wood 70(L) x 70(W) x 3.5(D) cm Signed on the reverse Chang Teng Yuan in English and dated 2020

70(長) x 70(寬) x 3.5(厚) cm

This lot is to be sold with a certificate of authenticity issued by J.P Art Center and signed by the artist

NT$ 130,000 - 220,000 HK$ 35,000 - 60,000 US$ 4,500 - 7,700 RMB 29,000 - 49,000

壓克力 木板 簽名畫背：Chang Teng Yuan 2020 附琢璞藝術中心開立及藝術家親筆簽名之 原作保證書

207

Toru OTSUKI (Japanese, b. 1973)

Coquelicot with Cat; Amore (a set of 2) 2019 ; 2020 Mixed media goldleaf on canvas 33.5 x 24.5 cm; 24.5 x 33.5 cm Signed lower left Toru.o and dated 2019 Signed on the reserve Toul OTSUKI in Chinese, titlted Coquelicot and Cat dated Signed lower left Toru.o and dated 2020 Signed on the reserve OTSUKI Toul in Japanese Kanji and dated 2020

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000 20

大槻透 貓與麗春花; Amore (兩件一組) 2019 ; 2020 複合媒材 金箔 畫布 33.5 x 24.5 cm 24.5 x 33.5 cm 簽名右下：Toru.o 19 簽名畫背：Coquelicot and Cat 2019. 大槻透 簽名左下：Toru.o 2020 簽名畫背：Amore 2020 大槻透

208

Toru OTSUKI

大槻透

(Japanese, b. 1973)

玫瑰公主

Rose Princess

2020

2020 Mixed media goldleaf on board 45.5 x 38 cm Signed lower right Toru.o and dated 2020 Signed on the reserve Toul OTSUKI in Chinese, titlted Rose Princess dated 2020

45.5 x 38 cm

NT$ 100,000 - 200,000 HK$ 27,000 - 54,000 US$ 3,500 - 7,000 RMB 22,000 - 45,000

複合媒材 金箔 木板 簽名右下：Toru.o '20 簽名畫背：Rose Princess 2020 大槻透

209

MATSUMOTO Kojiro

松本弘二郎

(Japanese, b. 1976)

無題

Untitled

2020

2020 Pencil, acrylic on canvas 42 x 30 cm Signed on the reverse Kojiro MATSUMOTO and dated 2020.10.8

42 x 30 cm

PROVENANCE

Wrong Gallery, Beijing This lot is to be sold with a certificate of authencity issued by Wrong Gallery

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000 22

鉛筆 壓克力 畫布 簽名畫背：2020.10.8 Kojiro MATSUMOTO 來源

靠邊走藝術空間，北京 附靠邊走藝術空間開立之原作保證書

210

Emi Kuraya

倉谷惠美

(Japanese, b. 1995)

無題

Untitled

2017

2017 Pencil on paper 31.7 x 25.7 cm Signed on the reserve Emi Kuraya and dated 2017

31.7 x 25.7 cm

NT$ 100,000 - 200,000 HK$ 27,000 - 54,000 US$ 3,500 - 7,000 RMB 22,000 - 45,000

鉛筆 紙本 簽名畫背：Emi Kuraya 2017

211

Takeru AMANO (Japanese, b. 1977)

212 天野タケル 維納斯 #37

Venus #37

2021

2021 Spray on paper 76 x 56 cm Signed lower left

76 x 56 cm

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

NT$ 110,000 - 220,000 HK$ 30,000 - 60,000 US$ 3,800 - 7,700 RMB 24,000 - 49,000 24

噴漆 紙本 簽名左下 附小宮山書店開立之作品保證書

Ikumi Nakada

中田郁美

(Japanese, b. 1982)

想要更多

S’more

2020

2020 Oil on paper 33.5 x 45.5 cm Signed on the reverse IKUMI NAKADA, titled S’more, inscribed oil on paer and dated 2020.12.6 Signed on the frame IKUMI NAKADA and dated 2021.1.19

33.5 x 45.5 cm

NT$ 110,000 - 220,000 HK$ 30,000 - 60,000 US$ 3,800 - 7,700 RMB 24,000 - 49,000

油彩 紙本 簽名畫背：IKUMI NAKADA S'more Oil on paper 2020.12.6 簽名畫框：IKUMI NAKADA 2021.1.19

213

Yuichi Hirako (Japanese, b. 1982)

Full Bloom 5; Green Master 37 (a set of 2) 2015 Acrylic on canvas 53 x 45.5 cm (each) Signed on the reverse and dated 2015 This lot is to be sold with a certificate of authenticity issued by YIRI ARTS

NT$ 220,000 - 320,000 HK$ 60,000 - 87,000 US$ 7,700 - 11,100 RMB 49,000 - 71,000 平子雄一 Full Bloom 5; Green Master 37 (兩件一組) 2015 壓克力 畫布 53 x 45.5 cm (每件) 簽名畫背：YH 15 附伊日藝術計劃開立之原作保證書

26

215

214

Yosuke UENO

上野洋介

(Japanese, b. 1977)

尤莉小貓

Uly the Kit

壓克力 畫布

Acrylic on canvas 117 x 91 cm Signed lower right Yosuke UENO

簽名右下：Yosuke UENO

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

NT$ 220,000 - 320,000 HK$ 60,000 - 87,000 US$ 7,700 - 11,100 RMB 49,000 - 71,000

28

117 x 91 cm 附Thinkspace畫廊開立之作品保證書

Maiko KOBAYASHI (Japanese, b. 1977)

小林麻衣子 無題 #14-16

Untitled Painting #14-16

2016-2021

2016-2021 Acrylic, paper on panel 31.8 x 41 cm Signed on the reverse Maiko. K 2016-2021, titled Untitled Painting #14-16 and inscribed Go Future!!

31.8 x 41 cm

This lot is to be sold with a certificate of authenticity signed by the artist, issued by Tagboat INC

NT$ 380,000 - 480,000 HK$ 103,000 - 130,000 US$ 13,200 - 16,700 RMB 85,000 - 107,000

壓克力 紙本 木板 簽名畫背：Maiko. K 2016-2021, Untitled Painting #14-16, Go Future!! 附 Tagboat INC 與藝術家親筆簽名之 原作保證書

216

Chiharu SHIOTA

217 塩田千春

(Japanese, b. 1972)

躺下

Lie Down

2018

2018 Watercolor, oil pastel and thread on paper 36 x 48 cm Signed lower right CS.

36 x 48 cm

This lot is to be sold with a certificate of authenticity issued by Mimmo Scognamiglio s.r.l., Milan

NT$ 240,000 - 340,000 HK$ 65,000 - 92,000 US$ 8,300 - 11,800 RMB 53,000 - 76,000 30

水彩 蠟筆 線 紙本 簽名右下：CS. 附Mimmo Scognamiglio s.r.l. 開立之作品保證書

Chiharu SHIOTA

塩田千春

(Japanese, b. 1972)

書

Book

2014

2014 Watercolour, oil crayon on paper 40 x 30 cm Signed lower right CS. Inscribed on the reverse Book 2014. Jan

40 x 30 cm

This lot is to be sold with a certificate of authenticity issued by NF Galería, Madrid

NT$ 320,000 - 550,000 HK$ 87,000 - 149,000 US$ 11,100 - 19,100 RMB 71,000 - 122,000

水彩 油蠟筆 紙本 簽名右下：CS. 題識畫背：Book 2014. Jan 附NF藝廊開立之原作保證書

218

Yuichi Hirako (Japanese, b. 1982)

Cropping 16 2018 Acrylic, paper and collage on canvas 72.7 x 91 cm Signed on the reverse YH and dated 2018 PROVENANCE

WAITINGROOM, Tokyo

NT$ 550,000 - 750,000 HK$ 149,000 - 204,000 US$ 19,100 - 26,100 RMB 122,000 - 167,000 平子雄一 Cropping 16 2018 壓克力 紙 拼貼 畫布 72.7 x 91 cm 簽名畫背：YH18 來源

WAITINGROOM，東京

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219

Tomoko NAGAI (Japanese, b. 1982)

Snow Princess 2010 Oil, acrylic, spray paint and glitter on canvas 227.5 x 181.8 cm Signed on the reverse Tomoko Nagai, titled snow princess in English and dated 2010 PROVENANCE

Tomio Koyama Gallery, Tokyo

NT$ 850,000 - 1,000,000 HK$ 231,000 - 272,000 US$ 29,600 - 34,800 RMB 189,000 - 223,000 長井朋子 白雪公主 2010 油彩 壓克力 噴漆 閃粉 畫布 227.5 x 181.8 cm 簽名題識畫背：snow princess 2010 Tomoko Nagai 來源

小山登美夫畫廊，東京

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220

Adriana Oliver

阿德里安娜 · 奧利弗

(Spanish, b. 1990)

溫柔時光

A Tender Moment

2021

2021 Acrylic on canvas 120 x 150 cm Signed on the reverse Adriana Oliver, titlted A Tender Moment, inscribed 120 x 150 cm, Acrylic on canvas and dated 2021

120 x 150 cm

NT$ 700,000 - 800,000 HK$ 190,000 - 217,000 US$ 24,300 - 27,800 RMB 156,000 - 178,000

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壓克力 畫布 簽名畫背：Adriana Oliver, A Tender Moment 120 x 150 cm, Acrylic on canvas 2021

221

Takeru AMANO

天野タケル

(Japanese, b. 1977)

維納斯

Venus

2021

2021 Acrylic on canvas 160 x 130 cm Signed lower right Amano and dated 2021

160 x 130 cm

This lot is to be sold with a certificate of authencity issued by Moosey Art

NT$ 850,000 - 950,000 HK$ 231,000 - 258,000 US$ 29,600 - 33,000 RMB 189,000 - 212,000

壓克力 畫布 簽名右下：Amano 2021 附 Moosey 藝術開立之原作保證書

222

Mayuka YAMAMOTO (Japanese, b. 1964)

Pink Lamb 2008 Oil on canvas 228 x 182 cm Signed on the reverse Mayuka Yamamoto, titled Pink Lamb in English and dated 2008

NT$ 850,000 - 1,000,000 HK$ 231,000 - 272,000 US$ 29,600 - 34,800 RMB 189,000 - 223,000 山本麻友香 粉紅羊 2008 油彩 畫布 228 x 182 cm 簽名畫背：Pink Lamb Mayuka Yamamoto 2008

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223

Mayuka YAMAMOTO (Japanese, b. 1964)

Panda 2017 Oil on canvas 130.3 x 97 cm Signed on the reverse Mayuka, titled Panda and dated 2017 This lot is to be sold with a certificate of authenticity issued

by GALLERY WOO

NT$ 950,000 - 1,600,000 HK$ 258,000 - 435,000 US$ 33,000 - 55,700 RMB 212,000 - 356,000 山本麻友香 熊貓 2017 油彩 畫布 130.3 x 97 cm 簽名畫背：Panda Mayuka 2017 附宇畫廊開立之原作保證書

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224

Ayako ROKKAKU (Japanese, .b.1982)

Untitled 2015 Acrylic on cardboard 31 x 53 cm Signed on the reverse Rokkaku Ayako in Japanese PROVENANCE

SBI Auction, Tokyo, October 24, 2015, lot 341

NT$ 1,100,000 - 2,200,000 HK$ 299,000 - 598,000 US$ 38,300 - 76,500 RMB 245,000 - 490,000 六角彩子 無題 2015 壓克力 紙板 31 x 53 cm

簽名畫背：2015 ロッカクアヤコ 來源

SBI 拍賣，東京，2015年10月24日，編號341

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225

Mayuka YAMAMOTO

山本麻友香

(Japanese, b. 1964)

黑花

Black Flower

2009

2009 Oil on canvas 162 x 130 cm Signed on the reverse Mayuka in English, titled Black Flower and dated 2009 EXHIBITED

油彩 畫布 162 x 130 cm 簽名畫背：Black Flower Mayuka 2009 展覽

「空色ノ华 - 山本麻友香个展」，索卡藝術中心， 台北，展期自2009年11月27日至11月29日

Blue Flower- Mayuka Yamamoto Solo Exhibition, Soka Art, Taipei, November 27- 29, 2019

圖錄

ILLUSTRATED

台北，2009，彩色圖版，頁26

Blue Flower- Mayuka Yamamoto Solo Exhibition, Soka Art, Taipei, 2009,color illustrated, p. 26 Cans Asia Art News, No.50, Chinese art creativety.

Taipei, March 2009, cover page

《當代藝術新聞雜誌・50期》，華藝，台北，

This lot is to be sold with a certificate of authenticity issued by Chen Ling Hui Contemporary Space

NT$ 1,100,000 - 2,200,000 HK$ 299,000 - 598,000 US$ 38,300 - 76,500 RMB 245,000 - 490,000

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「空色ノ华 - 山本麻友香个展」，索卡藝術中心，

2009年3月，封面作品 附陳綾蕙當代藝術空間開立之作品保證書

226

Miwa KOMATSU

小松美羽

(Japanese, b. 1986)

守護著你

Protect You

2019

2019 Oil on canvas 162 x 130.5 cm Signed on the reverse Komiwa in English Miwa KOMATSU in Japanese and dated 2019

162 x 130.5 cm

油彩 畫布 簽名畫背：Komiwa 小松美羽 2019 來源

白石畫廊，香港

PROVENANCE

Whitestone Gallery, Hong Kong

NT$ 2,600,000 - 3,600,000 HK$ 707,000 - 978,000 US$ 90,400 - 125,200 RMB 579,000 - 802,000

小松美羽是日本銅版畫家，1984年出生於長野縣， 小時候受到媽媽的支持和藝術熏陶，就讀於女子美術 短期大學時，開始學習銅版畫。藝術家曾被藝術獎評 選「世界藝術家前39名」，還被稱為「地球籍的藝術 家」「無國籍創作者」，以及作品被大英博物館永久 收藏，也成為了該館所典藏的在世藝術家作品最年輕 的一位。 早期作品線條細膩，顏色非黑即白，多以生死為題 材，風格較為陰暗 。2013年開始，小松美羽重新審視 神靈與人之間的關係，由生死轉向祈願，神獸成為她 繪畫的主題。小松美羽畫中的神獸是保護者《守護著 你》如同奈良的鹿、歐洲的獅鷲、印度的娜迦、泰國 的獅子、東方的龍等等。它們象徵神靈，一種守護力 量，是保護人類和平的守護神。藝術家認為：「守護 獸帶有一股溫柔的能量。因為我相信，眼睛是人與動 物、守護獸用來傳達能量的管道。眼睛是人體非常重 要的一部分，人跟人之間可以透過眼神交流」。此幅 作品就是這一時期的精彩佳作。 Miwa Komatsu is a copperplate print artist born in Nagano in 1984. Under the support and encouragement of her mother, she focused on copperplate

46

engraving during her studies at the Joshibi College of Art and Design. She was nominated as one of 39 top world artists and was acclaimed as a global artist. Her artworks were included as a permanent collection at the British Museum, allowing Komatsu to become the youngest artist of the BM collection. Her early works were completed with fine lines in monochrome. Subjects were dark with the theme of life and death. From 2013, Komatsu started to explore the relationship between spirits and human beings, turning the gloomy nature of life and death into positive hope. Mythical creatures have dominated her canvas ever since. The spirited animal in Protect You was depicted as a deer of Nara, a griffin of Europe, a naga of India, a tiger of Thailand and a dragon of the East. They are the spirited animals in different cultures, giving peace and protection to civilisations.

The artist believes that these spirited animals possess a gentle power. She believes eyes are important channels of energy transfer in humans, animals and spirited animals. They are an irreplaceable part of the body as one could communicate through expression of the eyes. Hence this painting became one of the important works of the period.

227

Yayoi KUSAMA (Japanese, b. 1929)

Ashtray 1981 Acrylic on canvas 15.8 x 22.7 cm Signed on the reverse Yayoi Kusama, titled Ashtray in Japanese and dated 1981 This lot is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 5,000,000 - 7,000,000 HK$ 1,359,000 - 1,902,000 US$ 173,900 - 243,500 RMB 1,114,000 - 1,559,000 草間彌生 菸灰缸 1981 壓克力 畫布 15.8 x 22.7 cm 簽名畫背：灰皿1981 Yayoi Kusama 附草間彌生工作室開立之作品登錄卡

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草間彌生把藝術視為對自己精神疾病的表達，在她所有的藝術

The main body of Ashtray is composed in a classical dot

中，波點和無線網是最具有代表性的。《菸灰缸》這張精彩的

pattern in black, with the bottom and edge of the ashtray

作品中以黑、白、灰三色呈現了草間彌生最具標誌性的兩種藝

defined and outlined by the background of geometric

術元素。在1980年代的作品中，草間創作了大量的三色和原

shapes. The granular texture is doubled, and the shapes are

色作品。這一時期畫面的主題本身大多是具體的實物，如南

irregular sizes. The dots are randomly arranged, creating an

瓜、高跟鞋、到蛋糕、洋裝、富士山、菸灰缸等。菸灰缸主體

undulating visual effect that looks like a threedimensional

由黑色經典波點圖案組成，小面積幾何圖形堆疊構成菸灰缸的 底和沿。顆粒感倍出，又大小不一，錯落排列的波點，形成如 同浮雕一樣的高低起伏的視覺動感。這種單調會讓觀眾感到茫 然，進而慢慢被一種暗示與沉靜的氣氛感染，進入「無限」的 暈眩中。背景的網紋與桌面紋路成反色，使作品平面化的表達 中，也能體會出立體的遠近凹凸和觀賞情緒的變化，時而緊 張，時而舒緩。 整張作品畫的風格，大體上有點像是銅版畫上那種纖細又凝練

feeling blank, allowing the atmosphere of suggestion and silence to take effect slowly, gradually drawing the viewer into the ''infinity'' vortex. The net-like texture of the background is inversely colored to the pattern on the surface, allowing the work, within a twodimensional expression, to also express three-dimensionality, with far and near, concave and convex. The work evokes changing moods, sometimes tense, sometimes soothing.

的雕刻圖案，或者是蓬鬆卻毫無瑕疵的蕾絲。色彩在點與線之

The overall style of the painting is somewhat like the fine,

間以強烈對比的運用手法，正好反映出藝術家的靈活多變本

tight carvings of a copperplate, or a delicate, flawless

質。表現技巧已經超越東方或西方文化性的質疑，它結合了雙

piece of lace. The use of strong color contrast in the

方的特色，是草間自己累積出來的味道。草間在創作初，要在

dots and lines perfectly reflects the artist's pontaneous

畫布上鋪展一個靜態的完整平面，然後在這平面的表層盡可能

nature. The technique of expression has transcended the

增添肌理，用一種微觀的方式一塊一塊組織起來。因為一筆一

cultural challenge of East vs. West; rather, it combines the

筆增添筆觸需要花費很長的時間，不斷反覆的動作，讓乾燥的

characteristics of both sides, and demonstrates the unique

白色顏料出現更多層次。在現實的物質層面上，這樣做可以在

style which Kusama gradually developed by herself. In her

空間中堆疊出一種無限延伸的實體感。

early creations, Kusama sought to first cover the canvas with

正如藝術家所言：「我想要用無窮反覆的韻律和黑白的單一色

surface of the base as possible, arranging micro-patterns

調，呈現一種不同的『光線』，尋找一種新的繪畫表現形式。

together section by section. Because these tiny brushstrokes

這種技巧完全無法用傳統繪畫約定俗成的對比或者是方法論來

are time-consuming and require constant movement, the

解讀。此外，這批作品放棄了固定的焦點和視覺重心，這是我

white paint dries and cracks, creating a more multilayered

的原創。」這些一點一點的色點是聚集的量子，是黑白反相的

appearance. At the physical level, this technique can create

a static and complete base, then add as much texture to the

網眼。我有一個心願，希望自己能夠掌控這些圓點，從自己的

a sense of layers of substance extending into infinity.

位置，度量宇宙的無限。

As the artist puts it, ''I want to use infinite repetition of

Kusama sees art as an expression of her mental illness.

Within her artwork, the most prominent motifs are dots and nets with no lines. Ashtray is a brilliant work in which two of Kusama's most iconic artistic elements are presented in black, white and grey. In the 1980s, Kusama created a large

50

relief sculpture. The monochrome first leaves the viewer

rhythm and black and white monochrome tones to present a different 'lighting' and seek a new form of painting. This technique can't be interpreted in terms of traditional painting conventions, conventional comparisons, or methodology. In addition, this series of works abandons the fixed focal point and visual center of gravity; this is my original creation".

number of tricolor and primary color works. The subjects of

These individual dots of color are an aggregated quantum;

her works during this period were mostly concrete objects,

they are holes inverted in black and white. I have a wish:

including everything from pumpkins and highheeled shoes

I wish that I can master these dots and measure the infinity

to cakes, dresses, Mount Fuji, ashtrays, and so on.

of the universe from where I stand in it.

228

Bernard BUFFET

貝爾納．畢費

(French, 1928 - 1999)

籃中靜物

Nature Morte au Panier

1989

1989 Oil on canvas 100 x 81 cm Signed upper left Bernard Buffet and dated 1989

100 x 81 cm

PROVENANCE

Christie’s, New York, May 15, 2015, lot 1362 Private collection, Asia

油彩 畫布 簽名左上：Bernard Buffet 1989 來源

佳士得拍賣，紐約， 2015年5月15日，編號1362 私人收藏，亞洲

NT$ 6,000,000 - 8,000,000 HK$ 1,630,000 - 2,174,000 US$ 208,700 - 278,300 RMB 1,336,000 - 1,782,000

法國戰後具象藝術的代表大師貝爾納．畢費支撐起藝

面中央嫣紅櫻桃與果籃中翠青梨子映襯得出色。新穎

術史的重要版圖，在亞洲享有極知名高度與全球性的

的構圖將觀者的視覺焦點由畫中央牽引至後方的景

藏家擴及度，使其公認為殿堂級藝術家。年輕時才華

緻，畫面的平衡感得到延展，熾熱的力量彷彿 要從重

洋溢的畢費，1955年僅27歲即被當時法國《藝術鑑賞

心處擴散至四面八方。而個性十足的簽名與書寫年代

雜誌》選為「戰後十大最傑出藝術家」之首，1974年

方式，無疑是畢費特有的標籤，不是隱身於畫面的一

年僅46歲的畢費，更入選為最年輕的法蘭西學院美術

隅，而是主體一旁作為畫面平衡構圖的要角。畫中盆

學院院士，一生創作了超過八千幅的作品，他驚人的

花為仙客來花常出現於畢費靜物作品中，明亮的紅色

創作力留下了一系列經典之作。

花朵和綠葉的心形，題材雖然是靜態的，卻流露著不

畢費一生致力於繪畫創作，時間長達50餘年，其中主 題則以馬戲團小丑、鬥牛士、肖像、風景、花卉、靜 物為多。從1940年代崛起於藝壇之後，1950年代，畢 費專注繪畫，畫面多以憂鬱寡歡的肖像來表達法國人 在戰後的不安心境。到了1960年代，畢費筆下的人與 物在尖銳粗曠的線條下更顯高亢激昂。

安份的律動感，紅色仙客來花背靠在黃色的背境，兩 者搭配鮮明，互相映襯。花，藝術家一生最愛之一， 貫穿了各個時期的筆觸，見證了藝術家從經典手法到 另一個對繪畫的新體驗與感悟。畢費以物喻情的藝術 本質更是暗合東方人內斂含蓄的修身性格，其筆下尖 銳簡練的線條和獨特的空間處理，與日本傳統版畫有 著某種異曲同工之妙《籃中靜物》呈現了藝術家於20

作品《籃中靜物》藝術家以粗獷有力的黑色線條勾勒

世紀80年代的迷人風格，獨樹一幟，實是一幅精彩

藤籃與水果。盆花與藤籃均衡擺放在畫面的左右，畫

之作。

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Bernard BUFFET

NATURE MORTE AU PANIER 貝爾納．畢費 | 籃中靜物

Bernard Buffet (1928-1999), the representing postwar figurative art master in France, who supported the important territory in art history, enjoying a very high reputation in Asia and cherish among global collectors, making him considered as the artist in the Hall of Fame. His talent was demonstrated while he was young, in 1955 when Buffet was only 27 years old, he was already named as the best out of the top ten post war artists by“Connaissance des Arts”. In 1974, when he was only 46 years old, he was selected as a member of the Académie des Beaux-Arts. He has created more than 8,000 works in his life, his amazing creativity has left a series of classic works.

Buffet devoted his life to painting for more than 50 years, his themes were mostly circus clown, toreador , portrait, landscape, flower and still life. After rising up in the art world in the 1940s, in the 1950s, Buffy focused on painting, mostly using melancholy portraits to express the disturbed state of mind among French people after the war. While in the 1960s, the people and objects in his paintings became more highpitched and indignant through his sharp and rough lines.

In the work “Nature Morte au Panier”, the artist outlines rattan basket and fruits with bold and vigorous black lines. Potted flower and rattan basket are placed on the right and left of the painting respectively, the blushing cherries in the center contrasted sharply with

54

the green pears in the fruit basket. The novel composition draws the visual focus of the viewers from the center of the painting all the way to the back, extending the balance of the painting, the blazing force seems to spread from the center to all directions. The distinctive signature and the way in writing the year painted are undoubtedly Buffet’s unique marks. They are not hidden in the corner of the painting, but in the centre stage as the main part in balancing the composition of the painting. The potted flower is a cyclamen flower, which often appears in the still life works of Buffet. The vivid red flowers and the heart shaped green leaves though are static in nature, it reveals a sense of restless rhythm. The red cyclamen flower contrasted against the yellow background, both are clearly matched and also contrasted with one another. Flower, being one of the favorites throughout the life of the artist, penetrates his brushstrokes through various periods, witnessing his new experience and comprehension in painting away from his classic technique. The artistic essence of Buffet in employing objects to describe feelings is even more in line with the reserved, subtle and self-cultivated character of the Orient. His acute and concise lines along with the outstanding treatment in spacing have nevertheless exhibited some similarities with traditional Japanese prints. “Nature Morte au Panier” presents the artist’s charming style in the 1980s, which is so beyond compare, what a wonderful work.

229

Izumi KATO (Japanese, b. 1969)

Untitled 2016 Oil on canvas 194 x 130.3 cm Signed on the reverse KATO in English Izumi in Japanese Kanji, inscribed oil on canvas 194 x 130.3 cm and dated 2016 PROVENANCE

Perrotin Gallery Private collection, Asia

NT$ 10,000,000 - 18,000,000 HK$ 2,717,000 - 4,891,000 US$ 347,800 - 626,100 RMB 2,227,000 - 4,009,000 加藤泉 無題 2016 油彩 畫布 194 x 130.3 cm 簽名畫背：2016 Oil on canvas 194 x 130.3 cm KATO 泉 來源

貝浩登畫廊 私人收藏，亞洲

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The nature and myth of Kato Izumi

“MY LIFE IS A CONSTANT ADVENTURE” 加藤泉的自然與神話「我的人生是不斷的冒險」

1969 年出生於日本島根縣，加藤泉創作上展現對哲學

Painting, Musashino Art University in 1992, he did not

的生死、宇宙、人生觀的體現。加藤泉於 1992 年日本

immediately throw himself into the art world, instead

武藏野美術大學造形部油畫科畢業後無立即投身藝術

he worked in the construction industry for 6 or 7 years

界，反而當上建築工人，這樣的生活持續了 6、7 年後

until he was 30 years old. He then decided to leave

直至而立之年，他毅然決定離開工地，全心全意做創

the construction site and wholeheartedly devoted to

作。他的創作總是取名為無題，不過大部份以人形般的

creation. His creations are always named Untitled, yet

生物為主，作品形象略帶神秘彷若山林中的精靈，有著

most of them are human-like creatures. The imagery

萬物皆神靈的似日本神道教精神。作品有著鮮明原文化

of his works is slightly mysterious, resembling the

形象，如神話傳說般生物充滿生命力，從其創作當中看

spirits resided in mountains and forests, with the

見加藤泉對於古自然的嚮往，也可以窺視藝術家充滿想

spirit of Japanese Shintoism that all living things are

像冒險的探索精神。

divinities. His work contains a distinct original cultural

「繪畫應該像小朋友那樣隨意揮筆」加藤泉曾這樣描 述，他喜歡古物，也喜歡逛博物館，尤其鍾情日本繩文 時代的雕像固使加藤泉的作品特徵鮮明，時而雌雄同 體、四肢纖長且姿態詭譎，彷若植物屬性卻又帶著動 物般豐沛的生命力生長於土地的原始力量。《無題》於 2016 年所創作，描繪一個女性形象的原生生物，圓潤 的身軀及雙眼與日本史前繩文時代在巫祭儀式中代表生 育的「土偶」相似。粗曠、原始有如充滿生命力的原生 藝。怪誕且脫俗，亦表現出他對人類形象高度風格化的 處理，使觀者面對藝術家於自然萬物的獨特詮釋，似人 似神既親切又陌生的創作，嚴肅、靜謐卻充滿旺盛生命 力。 加藤泉畫作引人入勝的地方，在於他洞悉人類潛意識深 處的反應和感受，帶領觀者思索原始生命擁有的能量， 這是無法用言語或合乎邏輯的方式闡明的事。加藤泉在 畫作中以客觀抽離的角度，恰到好處地反映真實世界和 表達主觀感受；這件與眾不同的作品，無疑是當今世界 中一件真實直接、能夠引起共嗚的藝術佳作。 Born in Shimane Prefecture, Japan in 1969, the artwork of Kato Izumi uncovered the life and death in philosophy, the mass universe and the incarnation of life. After graduating from the Department of Oil

58

image, the creatures are full of vitality as though depicted in myths and legends. From his creation, one can see his yearning for ancient nature, and also his imaginative and adventurous exploration spirit.

“Paintings should be like children freely swiping their brushes” Kato Izumi once described. He likes antiquities, also likes to visit museums, especially the statues of the Jomon period in Japan,“Untitled” made in 2016 featuring a female figure creature, which make his works unique, sometimes hermaphrodite, long limbs and creepy posture, feel like the primitive force of plants growing out of the ground but with the vitality of animals.

The appeal of Kato’s paintings lies in his ability to portray the depth of the human unconscious and entice the viewers to contemplate upon the energy that the very primitive life possesses, a realm that cannot be easily explained by words or logic. Through the classical techniques of painting, Kato practices an unrefined yet direct, sharable, real artistic expression in a contemporary world while magnificently balances both aspects of depicting the real world and the subjective expression by employing himself as the medium in an objective and detached manner.

230

Takashi MURAKAMI (Japanese, b. 1962)

Peaked Cap 2002 Fiberglass, steel, expoxy and paint, edition no. 5/5 90(L) x 80(W) x 185(H) cm (with base) PROVENANCE

Private collection, Asia EXHIBITED

Takashi Murakami: Kaikai Kiki, Fondation Cartier pour l'Art Contemporain, Paris & Serpentine Gallery, London, June 2002 January 2003 ILLUSTRATED

Takashi Murakami:The complete BT Archives 1992-2012, Bijutsu Shuppan-sha CO., LTD., Tokyo, 2012, color illustrated, p. 313

NT$ 20,000,000 - 38,000,000 HK$ 5,435,000 - 10,326,000 US$ 695,700 - 1,321,700 RMB 4,454,000 - 8,463,000 村上隆 蛋怪獸 2002 不鏽鋼 玻璃纖維 漆 5/5 90(長) x 80(寬) x 185(高) cm (含底座) 來源

私人收藏，亞洲 展覽

「村上隆: Kaikai Kiki」，卡地亞當代藝術基金會，巴黎 & Serpentine 畫廊，倫敦，展期自2002年6月至2003年1月 圖錄

《村上隆美術手帖全紀事1992-2012》，株式會社美術出版社，東京， 2012，彩色圖版，頁313

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Takashi MURAKAMI

PEAKED CAP 村上隆｜蛋怪獸

「動漫」可不可以稱之為藝術？ 20世紀具影響力的日 本新普普藝術家村上隆，成功揭示日本「御宅族」的 次文化，將御宅族沈迷的卡漫、電玩人物推升至藝術 層次，深入指向日本大眾文化俗不可耐的社會異象。 村上隆自創的「超扁平」藝術風格，結合日本動漫中 所衍生出的元素與圖像，作品題材源於「御宅族」的 生活方式、消費主義和情慾幻想，創造出風靡全球的 美少女、微笑小花、蘑菇頭娃娃等代表人物，用色鮮 豔大膽，造型可愛，充滿「幼稚力」，正切中後現代 通俗文化，絢爛迷離的御宅美學。 《蛋怪獸》結合村上隆最具代表性的兩大元素「蘑 菇」與「眼睛」。七彩的蘑菇形象雖然討人喜愛，卻 是象徵日本二次大戰期間，被美國原子彈轟炸後在天 際產生的蕈狀雲，象徵戰爭、挫敗與死亡；各式各樣 的蘑菇上經常佈滿長睫毛的大眼睛，甚至是由無數隻 眼睛構成，其靈感來自從小崇拜的漫畫大師水木茂先 生，其筆下《鬼太郎》裡的百目妖怪，正是村上隆的 最愛。 Can “anime” become art? The most influential Japanese Neo-Pop artist of the 20th century, Takashi Murakami, has successfully revealed the subculture of Japanese otaku, elevating anime and game characters indulged by the otaku onto an artistic level

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and directly pointing toward the unbearably vulgar social phenomena in Japanese popular culture.

The “superflat” art style created by Murakami combines elements and images derived from Japaneseanime. Themes in his works originate from the lifestyle, commercialism and sexual fantasy of “the otaku,”bringing about many representative figures that have swept the world, such as teenage beauties, smiling flowers, and mushroom dolls. With bright and bold colors as well as adorable styles, his works are filled with a sense of “naivety,” which perfectly matches the gorgeous and enchanting otaku aesthetics in postmodern pop culture. “ P e a k e d C a o ” c o m b i n e s M u r a k a m i ’s t w o representative elements: “mushrooms” and “eyes.”

While images of mushrooms in rainbow colors look appealing, they symbolize the mushroom clouds that indicate war, frustration and death, from when Japan was devastated by the atomic bombs dropped by the U.S. A variety of mushrooms are often covered with long-lashes, big eyes or even countless eyes. Such a style was inspired by the manga artist Murakami has adored since childhood, Shigeru Mizuki. The Eyeball Father in Mizuki’s GeGeGe no Kitarō is Murakami’s favorite cartoon character.

231

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

22. 3. 1979 1979 Oil on canvas 97 x 130 cm Signed lower right Wou-ki in Chinese and ZAO in French Titled on the reverse 22.3.79, signed ZAO Wou-ki in French PROVENANCE

Private collection, Asia ILLUSTRATED

Jean Leymarie, Zao Wou-ki, Editions Cercle d’Art, Paris, 1986, black-and-white illustrated, no. 515, p. 348 Pierre Daix, Zao Wou-ki, l’æuve 1935-1993, Ides et Calendes, Berne, 1994, color illustrated, p. 135

NT$ 70,000,000 - 90,000,000 HK$ 19,022,000 - 24,457,000 US$ 2,434,800 - 3,130,400 RMB 15,590,000 - 20,045,000 趙無極 22. 3. 1979 1979 油彩 畫布 97 x 130 cm 簽名右下：無極 ZAO 簽名畫背：ZAO Wou-ki 22.3.79 來源

私人收藏，亞洲 圖錄

尚．雷馬利，《趙無極》，藝術圈出版社， 巴黎，1986，黑白圖版，編號515，頁348 皮耶．戴，《趙無極：1935-1993作品》， 意得與卡蘭德，伯恩，1994，彩色圖版，頁135

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「我不怕老去，也不怕死亡，只要我還能拿畫筆、塗顏料，我就一無所懼， 我只希望能有足夠的時間完成手上的畫，要比上一幅更大膽、更自由。」 ──趙無極

趙無極生於書香世家，6歲時便開始學習書法，書法為 他造就了與西方畫家不同的基礎，使他的手更靈活， 視點也更開放。在父親和叔父的薰陶與支持下，逐漸 激發起成為畫家的夢想。正是因為趙無極懷著藝術的 夢想，在全家人的送行下，他走向了巴黎。從50年代 開始，趙無極便開始活躍在巴黎畫壇，並在法國畫壇 佔據了一席之地。他所享有的國際藝術界給予的眾多 榮譽和尊敬，也是中國藝術的光榮與驕傲。 他的藝術鋒芒咄咄逼人，這正符合了戰後歐洲畫壇重 新復甦的探險熱潮；他在藝術上充滿了感性，這也正 與法國藝術整體中那種熱烈與典雅的趣味相吻合。法 國人首先在感覺上接受了他的藝術，而整個西方畫壇 則從藝術史的邏輯中承認了他的藝術。他的藝術智慧 充沛深厚，這使他在幾十年裡不斷推進和完善自己的 風格，並且不斷的提升著每個階段的境界。 趙無極在國立杭州藝專學習時，吳大羽和潘天壽任他 的老師，潘天壽經常要他臨摹古畫，他不喜歡，就不 用心畫，想方設法蹺課，甚至有時從教室的窗子跳出 去，氣得老師要開除他，最後還是校長林風眠把他留 了下來。他不願意接受傳統中國畫的觀念，認為中國 繪畫從16世紀起就已經失去了創造力，只會抄襲漢朝 和宋朝創立的偉大傳統，在重複和臨摹間停滯不前。 趙無極的成就受益於林風眠的指教。他從林風眠那裡 學習到的並不是具體的繪畫技巧，而是林風眠敢於創 新、追求藝術自由境界的精神。從他早期的作品便可 以看出，他是一位有著天賦素質的畫家，在作品中無 遮無攔地表現出自己的感覺，不受學院派寫實技巧的 束縛，而且懷著對自由抒發胸臆的夢想。 趙無極在海外面對的是西方抽象繪畫的浪潮，他從表 現性的具象繪畫開始，逐漸發展成符號化的意象繪

66

畫，再進而發展成表現性的抽象繪畫，在畫風確立的 同時，他的藝術境界也越來越大。西方抽象繪畫做的 是畫布上的形式營構，趙無極則從關於自然的憧憬與 感受中提升為抽象語言，這就拉開了與西方抽象繪畫 的距離。他的盛期作品已成為一個完全抽象的形式世 界，但同時又是一個充滿生命律動的自然世界，讓人 產生許多映射了審美聯想般的幻覺，從畫中可以看到 變化的廣袤自然。這是以東方傳統為根基的抽象形態 繪畫，也是中西藝術在精神上的交融。 從1958年的作品《雲》之後，他的作品不再有標題， 而是僅僅在畫布上註明此件作品的創作時間。此時， 創作對趙無極來說，完全是情感的宣洩，他擺脫了一 切法則的束縛，肆意揮灑著他的自由，以各種創新組 合的方式表達出內心的感受。 1950年代後，趙無極的創作歷程先後出現了兩個階 段：第一個階段是60年代和70年代早期，此時期作品 多以黑色和褐色等暗色為基調，強烈的筆觸充滿了力 度，使得畫面極富有運動感；第二個階段是70年代中 期以後，趙無極此時期的油畫技巧日漸成熟，色彩開 始變得豔麗明亮，畫面也更注重於對空間和光線的追 求，蘊含了囊括天地萬物的大自然要素，和之前的作 品相比，更具有風景的意味，氣氛也越來越平靜。 此幅作品《22.3.79》正是趙無極第二個階段完成的作 品。畫面中除了遠近空間的層次感外，還充滿了光線 和相關的色彩。在這幅作品中以鮮亮的黃色為主體， 褐色和黑色參差交錯，充斥著整個畫面，強烈的光線 感散發出金銅般神聖的光芒，賦有質感而細膩的線條 揮灑自如，渾于自然。通過作品《22.3.79》，可以清 楚的看出趙無極在「空間」和「光」的融合運用上的 造詣，而且色彩的運用也呈現出奇麗幻變的景象。

Old age and death can never scare me. As long as I can hold the brush and paint the cloth, nothing will scare me. My only hope is to complete the painting on hand and this painting is braver and more liberal than the last one.

— Zao Wou-ki

Zao Wou-ki was born to a scholarly family and at the early age of 6 he started to learn calligraphy, which greatly widened his vision and granted him a pretty different aesthetic viewpoint different from most painters in the west. With the support and influence of his father and father’s younger brother, a dream to become a painter was gradually bred in the little heart and it was this very artistic dream that sent him away on his travels to Paris seen off by the whole family. Since the 50s, the painting circle in Paris started to see the active figure of Zao Wou-ki and the young artist quickly got a sound footing for himself in the French painting world. The marvelous achievements of Zao Wou-ki have won him numerous honors and respect from the international art circle, which is also the honor and pride of Chinese art.

The works of Zao Wou-ki display a keen flavor of aggressiveness and this very characteristic greeted perfectly well to the renewed tide of adventure in the European painting world in the post-war period; and the compassion rimmed in his art also catered well to the ardent and elegant taste of French art to such an extent that his art was first accepted by the French in feeling and then by the whole western painting community in terms of the logic of art history. The wisdom exhibited in his art is so sound and profound that it has pushed him all the way along in his

68

unremitting efforts for improving and perfecting his unique style in the past decades and promoting continuously the spirit of each time period of his life.

During his attendance of Hangzhou National College of Art, Zao Wou-ki studied under the two prestigious masters in China, Wu Dayu and Pan Tianshou. The latter often got Zhao to copy many ancient works, which was much hated and very often the student attempted to skip classes by any means and sometimes he even desperately jumped out classroom window. His misbehavior of him enraged the teacher so much that he threatened to expel him from school. Luckily Lin Fengmian, the headmaster at the time, managed to retain him at last. Zao Wou-ki, thinking little of the conventional concept of Chinese painting, thought Chinese paintings had already lost its creativity as early as the 16th century and, instead of progressing and improving itself, what it could do was merely copying from the materpieces of the Han and Song dynasties. The achievements of Zao Wou-ki actually are contributed to by the guidance and instruction of Lin Fengmian from whom he learned not concrete painting skills but the spirit of innovation and pursuance of art freedom. In fact he was a gifted painter, as his earlier works betray and in his artistic work he expressed his deep and innermost feelings in such a frank and free way that it broke

through the conventional constraints of all those socalled realistic painting skills of academic schools. His work successfully bared the free and honest spirit of his heart.

Since the 1950s, the work of Zao Wou-ki carries distinctive characteristics at two different time periods : the first period is in early 60s and 70s when most of his work was tuned in dark colors like black and brown and the whole picture displayed a strong sense of movement with every sketch rimmed with power and vitality; the second period is after the middle 70s when the oil painting skills of the painter were getting increasingly mature and at this time the color, instead of the dark tone in the previous period, got lighter and brighter and the whole depiction focused more on space and light. The work during this period, compared to his previous one, contains more natural elements and exhibits a richer flavor of natural sights, lending the whole painting a tranquil and peaceful atmosphere.

I n t h e w e s t w h e re a b s t r a c t p a i n t i n g w a s t h e mainstream, the works of Zao Wou-ki also developed from expressionist concrete painting gradually to symbolized image painting and then to expressionist abstract painting. With the establishment of his unique painting style, his artistic realm was also expanding larger and wider. If what the western abstract painting does is the construction of the form on cloth, Zao Wou-ki is getting his feelings and expectations from Mother Nature and building them into a kind of abstract language, which created a gap from his The piece “22.3.79” western counterparts. is very representative The work in his peak of Zao Wou-ki in his period presents both second period of a completely abstract creation. What meets form world and a our eyes is far more natural world pulsed than the sense of with the melodies of gradation of near and 趙無極《4.4. 85》，羅芙奧2007春季拍賣會，068編號 ，1億1820萬台幣成交 life. It is a world to far space. The picture ZAO Wou-ki, 4.4. 85, 1985, oil on canvas, 97 x 195cm Ravenel Spring Auction 2007, lot 068, US$ 3,579,107 sold bring you fantasies of is also a world of lights aesthetic imagination and colors where the where boundless nature is unfolding the picture of its bright yellow is the major tone with brown and black ever changing images. It is a kind of abstract painting sinking into the skin of the picture and the strong light deeply rooted in the oriental tradition and is meanwhile shining the holy brilliance through lines of fine texture. the harmonious spiritual combination of oriental and The painting “22.3.79” is a best suggestion and occidental art. expression that Zhao is an expert in blending “space” and “light” and is a master to integrate different colors After his work “Clouds” in 1985, none of Zhao’s works into a perfect whole. are given the names or titles. Every work simply carries the time of its creation for, to the creator, sketching In past decades, Zao Wou-ki has never stopped the and depicting becomes completely the expression of brush in his hand. He said: “Old age and death can his inner feelings and in his works he, like a loosened never scare me. As long as I can hold the brush and horse, bravely breaks the rein of rules and conventions paint the cloth, nothing will scare me. My only hope is and runs at the boundless grassland of art in his own to complete the painting on hand and this painting is creative and unique way. braver and more liberal than the last one.”

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Yun GEE (Chinese-American, 1906-1963)

Central Park (New York) c. 1940 Oil on canvas 63.5 x 80 cm Signed lower right Yun Gee in English PROVENANCE

Private collection, Asia EXHIBITED

Yun Gee, Lin & Keng Gallery, Taipei, November 14 – December 1, 1998 ILLUSTRATED

Yun Gee, Lin & Keng Gallery Inc., Taipei, 1998, color illustrated, p. 41

NT$ 11,000,000 - 18,000,000 HK$ 2,989,000 - 4,891,000 US$ 382,600 - 626,100 RMB 2,450,000 - 4,009,000 朱沅芷 紐約中央公園 約1940 油彩 畫布 63.5 x 80 cm 簽名右下：Yun Gee 來源

私人收藏，亞洲 展覽

「朱沅芷」，大未來畫廊，台北， 展期自1998年11月14日至12月1日 圖錄

《朱沅芷》，大未來藝術有限公司， 台北，1998，彩色圖版，頁41

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Yun GEE

opportunities beckoned, first the Great Depression

CENTRAL PARK (NEW YORK) 朱沅芷 | 紐約中央公園 朱沅芷是早期海外華人藝術家的先驅之一，其藝術具有

樂、色彩、繪畫和戶外活動是那麼熱愛。」（摘自台北

創造力、想像力及豐富色感，亦擅長音樂與詩詞，與另

市立美術館《朱沅芷作品展》目錄）顯示中央公園應是

一旅法畫家常玉齊名。1921年15歲時赴美國依親，父

畫家偏愛的主題之一。

親是舊金山的華工。20世紀初期美國歧視華人的觀念 仍重，在排華法案之下發展受限。不過，朱沅芷仍舊進

此幅《紐約中央公園》畫中的樹葉茂密，綠意盎然，筆

入正規的學院體制，學習西洋美術的專業。後來轉往風

觸顯得輕快顫動，有流動感，他的紐約時期作品色彩較

氣先進的巴黎，親身參與現代美術運動，曾與莫迪里亞

為深鬱，偏愛墨綠色調，傾向於表現主義的風格。後

尼、德安等巴黎畫派知名畫家的作品並列展出，參選重

景可見城市建築高聳矗立，與前景的三棵樹木連成一

要沙龍展與畫廊發表，獲得收藏家青睞，本可有更多發

氣；嬉戲的人們，飛翔的鳥兒，皆展現藝術家的童心與

展機會。無奈1930年代因美國經濟大蕭條、歐洲戰爭

嚮往，但濃重的用色，仍舊透出憂鬱失志的感嘆。面臨

爆發之故，朱沅芷先後被迫避走紐約、巴黎，企求延續

社會、文化與經濟的多重壓力，朱沅芷的繪畫之路走得

已萌芽的藝術事業。

孤獨，促使他人格上的疏離感。朱沅芷的風景畫呈現出 純熟的技藝與心緒轉折，悲劇性格為他的繪畫增添神秘

1930年代初期，朱沅芷的作品曾發表於紐約布魯克林

感，後期的作品數量因健康因素銳減，57歲時在因病

美術館、現代美術館）。後來，多所國家博物館包括法

抑鬱而終長眠紐約，但是留下的藝術作品已為他在現代

國龐畢度中心在內收藏有他的作品，這些成就對於任何

藝術史上留有一席之地。

時代的畫家無疑都是卓越的成就。然而，他的藝術一直 到20世紀後期才傳回東方。1992年台北市立美術館舉

With works of great vitality, imagination and richness

辦「朱沅芷作品展」，才首度大規模地將他的藝術介紹

of color, Yun Gee was a forerunner of early Overseas

到華人世界，獨特而鮮明的風格受到矚目，但畫家早已

Chinese artists, and also a gifted musician and

離世近三十年了。

poet, whose renown equaled that of Sanyu, another

此幅《紐約中央公園》雖然並無標示年代，推測約為 1940年左右的創作。當時畫家正值三十多歲壯年期， 甫自巴黎返回紐約，有半年時間住在曼哈頓區東67 街，近麥迪遜大道交口的一間高級公寓。兩個街廓外即 是中央公園，他經常到中央公園散步，1940年代也繪 了幾幅寫生圖畫，此幅《紐約中央公園》可能即是完成 於此一時期。畫面中央為知名的「天鵝湖」，畫家也曾 以相同視角畫過另一幅蕭瑟的藍色冬景。

Overseas Chinese painter based in France. In 1921, the 15-year-old Yun Gee went to the United States to be with his father, a laborer in San Francisco. At that time in the U.S., there was wide-spread discrimination against Chinese, and Yun Gee's path in life was rather restricted under the influence of the Chinese Exclusion Act. Nevertheless, he was able to enter a formal institution to receive training in Western art.

Soon, he would travel to Paris to immerse himself

朱禮銀的〈歸鄉〉一文有一段對父親的回憶：「有時

in the more progressive atmosphere and become

候，我們會暫別畫架而到紐約市區逛街。他帶我到動物

involved in the modern art movements. He exhibited

園，植物園和我們最喜愛的中央公園去。在30和40年

alongside Modigliani, Derain and other famous

代，他曾畫了公園裡的風景，每當我們一起在那裡時，

artists of the École de Paris, was selected to show

他會租一艘划船並帶我到湖中遊玩。每憶起那段和父親

his paintings in the major Salons and galleries, and

共處的特殊時光，總讓我久久不能釋懷，他對語言、音

caught the attention of collectors. Just when real

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and then World War 2 forced him to flee New York and Paris respectively, in attempts to continue his budding career.

following memory of her father, which indicates that Central Park was one of the artist's favorite subjects: "Sometimes we would leave our easels behind and go on outings around New York City. He took me to the Zoo, the Botanical Gardens, and our favorite, Central Park. He painted many scenes of the park in the 1930s and 40s, but when we were there together he would rent a rowboat and take me out on the lake.

I cherish the memories of those special times in which my father shared with me his love of language, music, color, painting and the out-of-doors."

(Extracted from The A r t o f Yu n G e e , exhibition catalog, Ta i p e i F i n e A r t s Museum).

In the early 1930s, Yun Gee's works were exhibited at the Brooklyn Museum and the Museum of Modern Art (MoMA) in New York, and later acquired by many other museums in different countries, such as the Pompidou Centre in France. These feats should have propelled any artist of any era to exceptional fame, but it was not until the end of the 20th century that Yun Gee was noticed in the East. "The Art of Here, the trees Yu n G e e , " h e l d are leafy and at the Taipei Fine luxuriant, and an Arts Museum in overall fluidity is 1992, was the first achieved from light, comprehensive trembling brush showcase of the strokes. Yun Gee's artist in the Chinese N e w Yo r k w o r k s world. While Yun a re m a r k e d b y a Gee's distinctively preference for dark, idiosyncratic style gloomy colors, was immediately 朱沅芷《紐約中央公園天鵝湖》 especially shades 約1940-1950 油彩 畫布 72.5 x 91 cm admired, the Yun GEE, Swan Lake in Central Park, New York of deep green, recognition came c. 1940-1950, oil on canvas, 72.5 x 91 cm and a leaning somewhat too late towards Expressionism.

The city's high-rises looming for the artist, as he had passed away almost thirty years in the background form a connection with the three ago. trees in the foreground; the human figures playing and the birds in flight reveal the artist's childlike spirit The undated "Central Park (New York)" was probably and longing, but the dense, heavy colors still hint at completed around 1940, when the artist was in his his melancholic discontent. Faced with social, cultural thirties at the height of creativity. Having recently and economic pressures, Yun Gee's artistic journey returned to New York from Paris, he lived for six months was a lonely struggle, and he felt highly alienated. In at an upscale apartment on East 67th Street near his landscapes, the variances of mood and ideas are Madison Avenue, two blocks from Central Park, where portrayed with mature artistry, and their tragic nature he took frequent walks. There are several sketches of instills in them a sense of mystery. In later years, his the park from the 1940s by Yun Gee, hence the dating output decreased radically due to poor health and he of this painting. The body of water in the center is passed away from illness in New York at the age of 57, the famous Pond, which was portrayed by the artist in largely unfulfilled. Yet, it could be said that the works another painting, a blue-colored bleak winter scene. he leaves behind are already sufficient to ensure him a In her essay, 'A Journey Home', Li-lan revealed the significant place in the history of modern art.

233

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

Méditation Concentrée 1990 Oil on canvas 100 x 81 cm Signed lower right CHU TEH-CHUN in English and Chinese, and dated 1990 Signed on the reverse CHU TEH-CHUN in English and Chinese, titled Méditation Concentrée and dated 1990 PROVENANCE

Private collection, Asia This lot is to be sold with a certificate of authenticity issued by Chu Teh-chun Foundation

NT$ 12,000,000 - 20,000,000 HK$ 3,261,000 - 5,435,000 US$ 417,400 - 695,700 RMB 2,673,000 - 4,454,000 朱德群 冥想 1990 油彩 畫布 100 x 81 cm 簽名右下：朱德群 CHU TEH-CHUN 90 簽名畫背：Méditation Concentrée 朱德群 CHU TEH-CHUN 90 來源

私人收藏，亞洲 附朱德群基金會開立之原作保證書

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總覽朱德群的藝術創作，好比欣賞一部抒情史詩，其作品畫面 的處理常給人一種精神性的流動，「氣韻生動」為最適合形容 其作品之詞。中國古代美學理論追求的至高境界是：所貴於枯 澹者，謂其外枯而中膏，似澹而實美。這一點，在吳冠中評價 朱德群的風格中呼應備至：「中國傳統中對筆墨運轉及對絹或 宣紙質感、肌理的講究創造了東方繪畫宜近看而耐人尋味的特 點。德群在大刀闊斧的油畫揮寫中竭力發展中國筆韻、墨趣的 時代性、世界性。」「朱德群的作品確是遠看西洋畫、近看中 國畫，他的創造性的手法正適合借來作為我的觀點的闡明。德 群表現中另一個突出的特點是透明性，粘糊糊的油彩織成了透 明的新裝，那種半透明效果本是中國宣紙特有的風采，令西方 可望不可攀的風采。朱德群的抽象繪畫不受遠景近景具體物象 的約束，他竭力追求深遠的空間感與具體筆墨的韻律相結合， 是縱深感與形象性都得到最充分的發揮。」 1956年開始嘗試抽象畫，先是變形，一些色塊的組合，然後 藍、灰、黑構成的音樂性線條與節奏，而早期的抽象作品透露 著中國筆墨的基因。朱德群在法國成為巴黎畫派的成員之一， 趕上抒情抽象藝術的浪潮，他的繪畫經過1950年代早期凝彩 寶石典雅構成時期；1960年代大幅狂草動勢強烈，寬筆刷畫 的大抽象畫時期；1970年代受林布蘭繪畫啟發的幽微與光源 的奧妙探索，1980年代中期酣暢淋漓的雪景系列，以及後期 的波瀾壯闊的交響詩合奏律動，一生繪畫成就不凡。朱德群以 深厚文化的底蘊，結合西方傳統繪畫與抽象藝術表現，融入中 國書畫技藝與觀念，終創造出卓爾不群的獨特藝術語境。 此幅1990年的《冥想》，濃郁實在的大地色澤佈滿畫布領 域，其他清淡爽朗的色澤則一絲絲地探出頭，色調即使沒有明 確外形的包裝，朱德群做到讓它們仍有各自的神韻氣質，顏色 本身就是一種暗示。而畫面中央的明亮色塊有如早期「寶石時 期」閃耀一般的瑰麗畫面，及意境深遠。色塊和筆觸的堆疊向 上方層層推進，婉延攀升，構織出一個光影幻化的意境，充滿 了空靈、冥想的幽靜氛圍。渲淡氤蘊間微光折射，渾然天成的 澄澈詩意，瑰麗色彩與線條如交響樂章般彈奏，蓄著炙熱宏大 的力量。帶給觀者藝術家內在詩意的泉湧。 Overviewing Chu Teh-chun’s artistic creation is like appreciating a lyrical epic, how he handles the composition in his works often gives viewers a sense of spiritual flow, and “vivid spirit” is nevertheless the most suitable vocabulary to describe his works. The highest realm pursued by ancient Chinese aesthetic theories is that the beauty reflected in the extremely candid and fundamental artistic conception, and yet exactly this simple and plain beauty is regarded as the true meaning of life and the pinnacle of art. This point is echoed in Wu Guanzhong’s viewpoint in Chu Teh-chun’s style: “With regard to Chinese tradition, the attention to

76

the movement between brush and ink, and also the texture of silk or paper have created the distinctive characteristic of oriental painting that should be viewed up close and personal and found intriguing. Teh-chun’s oil painting strokes strive to develop the rhythm of Chinese brushwork, along with the contemporary and universality of ink.” Chu Teh-chun’s detached scenery is indeed the “naturalness of all mind” that he has taken care of with his feelings and thoughts.

In 1956, he began to experiment with abstract painting.

First, it was deformation, the combination of some color blocks, and then the musical lines and rhythms composed of blue, grey and black. The early abstract works revealed the genes of Chinese brushwork and ink painting. Chu Teh-chun became a member of the Beaux-Arts in France, catching up with the wave of lyrical abstract art. His paintings went through the period of elegant composition as if condensed colored gemstones in the early 1950s. While in the 1960s is the period of large-scale and wild-brushed abstract paintings with broad brush strokes. In the 1970s, inspired by Rembrandt’s paintings, he explored the mysterious subtleties and light sources. The hearty snow scene series in the mid1980s and the magnificent symphonic ensemble rhythm in the later period, he achieved extraordinarily in painting throughout his life. With his profound cultural heritage, Chu Teh-chun combines traditional Western painting and abstract artistic expression, and integrates Chinese painting and calligraphy skills and concepts, and finally creates a unique and remarkable artistic context.

In this work “Méditation Concentrée” in 1990, the rich and solid earthy colors are all over the canvas, yet other light and refreshing colors are slightly visible. Even the tones are not presented with a clear shape, Chu Teh-chun has still managed to make each of them exhibited their own charm of temperament, the color itself is indeed a hint. The bright color block in the center of the painting is as magnificent as his early 1950s period with dashing composition as if exuberating gemstones, which has created a far-reaching mood. Each layer of color blocks and brushstrokes stacked one on another, creating an artistic conception of light and shadow, which climbs gently and upwards, cultivating an ethereal, meditative and quiet atmosphere. The shimmer refracts in the rendering light, which is naturally clear and poetic, overwhelming colors and lines orchestrated like a symphony, along with fiery and great power. This undoubtedly brings viewers to experience the inner poetic sense of the artist.

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

Vision de Nuit 1991 Oil on canvas 81 x 65 cm Signed lower right CHU Teh-chun in Chinese and English and dated 1991 Signed on the reverse CHU TEH-CHUN in Chinese and English, titlted Vision de Nuit and dated 1991 PROVENANCE

Private collection, Asia ILLUSTRATED

Overseas Chinese Fine Arts Series II Chu Teh-Chun, Taipei, 1990, color illustrated, p. 220

NT$ 7,500,000 - 9,000,000 HK$ 2,038,000 - 2,446,000 US$ 260,900 - 313,000 RMB 1,670,000 - 2,004,000 朱德群 夜 1991 油彩 畫布 81 x 65 cm 簽名右下：朱德群 CHU TEH-CHUN 91 簽名畫背：Vision de Nuit 朱德群 CHU TEH-CHUN 91 來源

私人收藏，亞洲 圖錄

《華裔美術選集(Ⅱ)：朱德群》，藝術家雜誌社， 台北，1999，彩色圖版，頁220

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「藍色調是大自然中最有氣魄的色調。但是這種大氣魄的藍， 卻有著詩意的含蓄，有著博大的親和性。」──朱德群 The blue shade is the most vibrant colour in Nature.

This vibrant blue has poetic restraint and is exceptionally agreeable.

— Chu Teh-chun

充盈的宇宙博大，無窮無盡的色階，雲霧千姿萬態之

the landscape was transformed into an individual

美於畫中形成了靈性空間。朱德群的「山水」來自其

interpretation on the canvas of Chu Teh-chun.

記憶中的風景，在朱德群的繪畫裡，他將所見風景都

Aesthetic elements of the East and West were

做了重新詮釋，心靈悸動下的現實景色以東方與西方

infused under a surge of the mind into an abstract

獨有的繪畫特質做了巧妙的精萃，用一種抽象的自然

and naturalistic form of art, resulting in the purest

主義方式讓這些獨特的文化泉源相互交融、去蕪存

representation of life.

菁，重新體現生命之美。 Such vigorous spirit is enhanced through the 那股透過光線放射出來蓬勃生命魅力裡喚起對唐代詩

infiltration of light, which echoes with a poem by Tu

人司空圖《二十四詩品》中「超以象外，得其環中」

Sikong from the Tang dynasty. The poem relates to

超脫於物象之表現，原形容詩文意境雄渾、超脫之美

the attainment of spirituality into the celestial state,

也比喻置身度外，套用在朱德群的繪畫藝術上，亦是

which is perfectly reflected in Chu's paintings.

極為適當貼切。 當黑夜降臨，白晝的喧囂慢慢沉澱，萬物沉睡的寧靜 裡，生命的律動依然持續，晝的活力轉化為夜的能 量，蓄積、修補、再生，並且隱藏著只有澄澈靈敏的 心靈才能感知。朱德群繪畫中的書法性線條也逐漸由 早期濃墨揮就般的鏗鏘有力，轉而與整體畫面更為融 合，《夜》一作中，朱德群充分運用中國的書法中的 氣韻生動，引入水墨中的渲染、飛白、垂懸等表現性 元素，藝術家長期寫書法悟得的筆墨心法，在畫布上 帶出明快的速度感，使得畫中光采愈趨純淨，氣質更 顯軒昂。筆勢的俯仰、頓挫與縱橫處處精湛，酣輰淋 漓，豐富而優雅。畫面中如寶石般閃耀的光點展現 天地間生命力量的循環起伏，既神秘亦令人期待。 《夜》展現了一種極為內斂的生命節奏，光流轉於有 著絲絨般質地的暗影之上，互相激盪的氣旋之間隱含 了生命振動。在朱德群90年代許多色彩斑爛的作品 中，顯的特別雅致而獨特，有如一曲夜之奏鳴曲，傳 達了藝術家那可貴的明澄心靈。

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As the night descends, as the hussels of the day slow down, the world reposes in serenity. The ambience of the day transforms into the form of revival, restoration and rebirth, undergoing the purest form of the mind in the nighttime. By this time, the art of Chu Tehchun had already transformed from saturated ink and expressionistic strokes of calligraphy into a perfectly integrated form of visual representation.

Painted in 1991, Vision de Nuit demonstrates the grandiosity of Chinese calligraphy through varied gradations of ink, frills and vertical strokes. Following a prolonged period of calligraphy practices, swift application of brush on the canvas brings out the immaculate radiance of the work. It shines like a gem to rejuvenate the world in an intriguing manner. This work creates a tempo of such rejuvenation, as light swirls gently through the dark abyss following the rhythm of life itself. With such vivid representation,

In this vast universe with endless choices of colour,

this work becomes a night prelude depicting the

the multifarious forms of clouds and mists recreate

purest spirit of the artist. Hence, this work is regarded

a pictorial scene surmounting into the metaphysical

as a unique and elegant piece by Chu Teh-chun in

realm. Having been reconstructed from memory,

the 1990s.

235

SHIY De-jinn (Taiwanese, 1923 - 1981)

Lady with Gloves 1962 Oil on canvas 100 x 72.5 cm Signed center left SHIY De Jinn in Chinese and dated 1962 PROVENANCE

Longmen Pottery, Taipei Private collection, Taiwan ILLUSTRATED

Crown 249: Volume 42 No. 3, Crown Magazine, Taipei, November 1974, cover page

NT$ 4,000,000 - 6,000,000 HK$ 1,087,000 - 1,630,000 US$ 139,100 - 208,700 RMB 891,000 - 1,336,000 席德進 戴手套女仕像 1962 油彩 畫布 100 x 72.5 cm 簽名左中：席德進 1962 來源

龍門陶藝公司，台北 私人收藏，台灣 圖錄

《皇冠雜誌編號249：第四十二卷第三期》， 皇冠雜誌社，台北，1974年11月，封面作品

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「畫寫實的對我是一種享受，畫抽象的對我是一種發洩。」──席德進 Realistic depiction is enjoyable; while painting abstract is thrilling. —SHIY De-jinn

「生如夏花之絢爛，死若秋葉之靜美。」天生浪漫的藝術家席

成衣業盛行女性服飾擺脫「簡樸、實用」，重視西方

德進一生熱愛生命，所有生命的豐盈、美好，皆已在他畫中。

流行的追求盛行款式：如無袖洋裝、旗袍剪短。從模 特兒的髮型、服裝及配件，呈現當時流行的時代形

1955年，席德進成為職業畫家，以畫維生，在那個年代此舉

象。模特兒的背景單純明亮，帶有朦朧的抽象感；對

實屬不易，無怪乎藝評家蕭瓊瑞曾說「席德進是台灣第一位

比人物的清晰邊緣線的硬邊藝術，可想見畫家嘗試於

職業畫家」。為人畫像之餘，而有時他也主動幫朋友畫像，

抽象與具象間找到平衡的新格局。對於席德進來說，

1960-1970年代藝文界的朋友，包括詩人周夢蝶、作家曹又

肖像畫不只是一張照片的效用與價值，加上了畫家的

方、華嚴、明星唐寶雲，畫家李德、吳昊都曾是他的模特兒，

主觀意識，刻劃出人物內在的精神與性格，才是藝術

此幅《戴手套女仕像》的畫像即是在這段期間所作。1950年

家所追求的永恆藝術。

代開始以杭州藝專為主的來台畫家開始投入陶瓷設計及生產的 行列，席德進也曾至「中國陶器公司」、「中華藝術陶瓷廠」 以及「龍門陶藝公司」畫陶。當時席德進的作品很受歡迎，每 個月收入甚比當時總統的薪資來高。席德進時常舉辦個展或聯 展，《戴手套女仕像》背後亦貼有龍門陶藝公司標籤，當時台

席德進 SHIY De-jinn

灣剛接受西方潮流的洗禮，席式嘗試多變的新畫風為國內藝壇

Shiy De-jinn was an artist for his living in 1955, an era when this career was a struggle for most. Art critic Hsiao Qiong-rui described Shiy as the most successful in Taiwan. Shiy produced portraits for clients and proactively painted for his friends, including prominent figures in the art world of the 60s and 70s. These figures include poet Chou Mengtie, author Cao You-fang, Hua Yan, Tang Bao-yun, artist Lee Te, Wu Hao. This work, Lady with Gloves, is one of the portraits completed in the period.

帶來新生氣。他以不同觀點出發的抽象藝術，同時更受到貝爾 納．畢費的啟發，簡潔俐落的線條成為席德進作品獨特的標誌 且深具知名度。 人物畫的表現一直是席德進的專長，早年以為名人肖像聞名。 當然，他的自畫像亦成為華人藝術的經典。席德進在〈肖像 畫〉一文指出肖像畫的內涵：「一張照片，只能顯示人的片面 的一瞬間外表現象而已！一張畫像，因為是透過了藝術家的主 觀意識，由兩隻眼睛的視點，加上長時間的觀察與領悟，所呈 現在畫上的人像，自然是複雜得多，包涵得廣的。好的肖像畫 家能透徹你的心靈，抓住你的性格，表現你的習性，畫你隱藏 著的不曾自覺的神情。一個有經驗的肖像畫家，像一位看相 專家，或算命者，他會用彩筆，道出你在人生中的經歷與遭 遇。」他最知名肖像代表作的《紅衣少年》是1962年所畫， 席德進一系列肖像畫為台灣風起雲湧的時代留下珍貴的紀錄。 六、七零年代的台灣資訊不似現今通達，物資艱澀的經濟處 境，席德進用的確都是國外高級顏料，台北買不到還得託人帶 回來，幾十年來畫像色彩如新即此，處理畫像確實悉心以赴。 《戴手套女仕像》為1962年所創作，描繪一位面容姣好、 身著華服、儀態端莊的名媛。六、七零年代的台灣經濟起飛，

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"Life as vibrant summer blossoms and death as undisturbed autumn leaves." As a nostalgic artist, Shiy De-jinn painted the bountiful and prolific side of life in his paintings.

《皇冠雜誌編號249：第四十二卷第三期》， Crown 249: Volume 42 No. 3, Crown Magazine

The 1950s was the period when artists from Hangzhou School of Art dedicated their life to pottery design and production after their relocation to Taiwan. Shiy was among these artists and produced sketches for these pottery factories.

His works were so popular that his monthly salary exceeded that of the president at the time. He often participated in solo and joint exhibitions during this period. A label of Longmen Pottery company at the back of this work marked such a background. In the era with intense exposure of Western culture, Shiy experimented with new styles that enlivened the local

artist circle. His unique approach in abstract art and his reference from Bernard Buffet enabled Shiy in his unique depiction of fine details with stark bold lines.

This makes him a unique artist of the times.

Portraiture has always been Shiy's specialty as he was known by this genre in his early days. His self-portraits mark the history of Chinese art. As he wrote about portraitures, "A photograph shows the form of a man in the split second. A portrait shows a person through an artist's eyes and subjective perspective under a long period of observation. Such representation is complex and complete. A successful portrait captures the personality and habits of a person. An experienced artist, similar to a fortune teller, would use his brush to tell the story of your life." Shiy's most famous work was Boy in Red, completed in 1962.

Such portraits took the Taiwanese art scene by storm and become a precious memory of the time.

Despite the limited availability of resources in the 60s and 70s, Shiy used the highest quality imported paints ordered from friends abroad. These paints gleam in decades on canvas, showing his dedication in art. This work was completed in 1962 depicting a composed lady in a gown. Similar sleeveless gowns and tailored Qipao gained popularity following the bloom of the clothes manufacturing industry in the 60s and the 70s. The hairdo, clothes and accessories reflect the image of a fashionable icon of the times.

The simplistic abstract background enhances the bold linear representation of the model, forming a perfect balance between realistic and abstract composition. To Shiy, portraits are not equivalents of the photos, but an evolution with the subjective perspective of the artist and a representation of the person's character. This forms a timeless artwork pursued by the artist.

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LI Chen (Taiwanese, b. 1963)

Soothing Breezes Floating Clouds 2005 Bronze, edition no. 4/8 43(L) x 36(W) x 80(H) cm Engraved Li Chen in Chinese and English, numbered 4/8 and dated 2005 EXHIBITED

Li Chen - In Search of Spiritual Space, National Museum of China, Beijing, 2008 ILLUSTRATED

Li Chen in 52nd Venice Biennale - Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, cover & pp. 173-177 (different sized version illustrated) Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, black-and-white illustrated, pp. 116-123 & p. 172 & p. 175 (different sized version illustrated) This lot is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 3,800,000 - 4,800,000 HK$ 1,033,000 - 1,304,000 US$ 132,200 - 167,000 RMB 846,000 - 1,069,000 李真 清風雲露 2005 銅雕 4/8 43(長) x 36(寬) x 80(高) cm 簽名雕刻：李真 Li Chen 4/8 2005 展覽

「李真—尋找精神的空間」，中國美術館，北京，2008 圖錄

《第52屆威尼斯雙年展－虛空中的能量》，亞洲藝術中心， 台北，2007，彩色圖版，封面及頁173-177 《尋找精神的空間－李真中國美術館個展》，亞洲藝術中心， 台北，2008，彩色圖版，頁116-123，頁172及頁175 附亞洲藝術中心開立之作品保證書

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237

LIU KUO-SUNG

劉國松

(Taiwanese, b. 1932)

地球何許之九

Which is Earth No. 9

1969

1969 Color on paper 122 x 77.5 cm Signed lower right Liu Kuo-sung and dated 1969 in Chinese With one seal of the artist Signed on the reverse Liu Kuo-Sung, titled Which is Earth No. 9, 122 x 77.5 cm and dated 1969

122 x 77.5 cm

彩墨 紙本 簽名右下：劉國松 一九六九 鈐印右下：劉國松 簽名畫框背板：劉國松作 地球何許之九 1969 122 x 77.5 cm 附現代藝術空間開立之原作保證書

This lot is to be sold with a certificate of authencity issued by Modern Art Gallery

NT$ 2,800,000 - 3,800,000 HK$ 761,000 - 1,033,000 US$ 97,400 - 132,200 RMB 624,000 - 846,000 劉國松1960年代末、1970年代初所創作的一系列太空

Red and blue circles of different sizes can be seen

畫，可謂東方美術史上一個全新而獨樹一幟的造型。

on the green background, creating a vivid image

1968年底，美國太空船登陸月球，拍下地球和月球弧

of contrasts with a hint of contemporary style.

形表面的照片，人類因此得以看見自月球上遙望的地

On the other hand, the lower portion of the arc is

球之真實樣貌。對於劉國松而言，這些新奇的畫面帶

highlighted by the abiding atmosphere brought forth

給他極大的創作靈感，因此，自1969至1973年四年

by the Chinese brush, allowing the lyrical landscape

間，他創作了四、五百幅以太空為主題的畫作。此幅

of the wild grass foliage to stand out from the

《地球何許之九》完成於1969年，採ㄧ弧多圓之架

yellow background at the bottom. The white texture

構，兩段式構圖中，上半部為拼貼而成的理性幾何色

reminiscent of the surface of mountains and rivers is

塊組合，設色鮮明對比生動，極具現代設計造型感。

created by the paper pulling technique. Viewing this

下半部弧內則帶出具傳統書畫筆觸的蒼茫意，以抽去

piece of art, viewers gain the privilege of stepping

紙筋後所留下的白色紋理表現地表的山河肌理。觀看

into the boundless mind of the painter, becoming

本件作品，觀者彷彿進入畫家自由消遙的遼闊心界，

liberated from the material world to feel the power of

感受那臨空俯瞰萬物之氣勢和宇宙之浩瀚無垠。劉國

the heavens and the infinite vastness of the universe.

松以一種超越中西藩籬的藝術語彙來描繪大自然的氣

Although he borrows new techniques from Western

勢與張力，傳達中國傳統畫家對日月山川之情懷。

art, Liu Kuo-sung’s paintings are still fundamentally

This piece, titled "The Composition of Distances No. 19", was completed in 1971. As can be seen, the multi-circle arc structure is employed as part of the two-stage composition. The upper portion is a collage of tangible geometric color shapes.

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based on a traditional Chinese spirit. His depiction of the vigor and tension of nature utilizes an artistic vocabulary that transcends any notions of Chinese or Western, while conveying ancient Chinese artists’ perceptions of the sun, moon, mountains and rivers.

238

Walasse TING (Chinese-American, 1929 - 2010)

Sea Splash 1961 Oil on canvas 127 x 152 cm Signed on the reverse Ting titlted sea splash and dated 1961 This lot is to be sold with a certificate of authencity issued by Kunzt Gallery, Belgium

NT$ 2,200,000 - 3,200,000 HK$ 598,000 - 870,000 US$ 76,500 - 111,300 RMB 490,000 - 713,000 丁雄泉 海水濺起浪花 1961 油彩 畫布 127 x 152 cm 簽名畫背：Ting 61 Sea splash 附Kunzt畫廊開立之原作保證書

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239

Miwa KOMATSU

小松美羽

(Japanese, b. 1986)

守護孩子

Paternal Protection

2017

2017 Acrylic, paper mounted on the board 145.5 x 112.1 cm Signed lower left Komiwa Signed on the reverse Komiwa in English Miwa KOMATSU in Japanese and dated 2017

145.5 x 112.1 cm

ILLUSTRATED

Miwa Komatsu: Yamato Power, To The World, Kyuryudo, Tokyoi, 2018, color illustrated, p.102

壓克力 紙本錶於木板 簽名左下：Komiwa 簽名畫背：2017 Komiwa 小松美羽 圖錄

《小松美羽的大和力量走向世界》， 求龍堂，東京，2018，彩色圖版，頁102 附白石畫廊開立之原作保證書

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

NT$ 1,100,000 - 2,200,000 HK$ 299,000 - 598,000 US$ 38,300 - 76,500 RMB 245,000 - 490,000

小松美羽幼年在大自然和野生動物相處的經驗，讓她與 天地萬物有著自然而然的連結和感應。《守護孩子》以 壓克力顏料等各式媒材堆疊，以打圈、並列、粗獷的彩 色線條和自由奔放的筆觸，與黑、黃、藍、綠、紫等絢 麗大膽的色彩相結合，描繪了長著一對犄角的守護獸盤 旋在畫面中央，身上布滿了鱗片和祥雲，還有一對大大 又溫柔的眼睛。在它的爪子底下，緊緊握著一個象徵著 孩子的神獸，企圖去抓住另一個漂浮在空中的孩子，整 幅畫面飽滿又豐富，栩栩如生而又充滿靈性。對神獸存 著感激之心，而她認為把它們繪畫出來讓人認識是答謝 的方式之一。因此，神獸便成為了其畫作的主要題材。 Miwa Komatsu spent her early childhood with wild animals in the suburbs. Thus her connection with nature

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is exceptionally strong. Paternal Protection was completed with layers of acrylic paint, rendered in circles with rough coloured lines and carefree brushstrokes. It is composed in multifarious bold colour combinations.

The work depicts a horned spirited beast at the center of the canvas. Its scaled body of colourful clouds gleam with its wide gentle eyes. Its claws clasp with strength, ready to capture children who might have drifted away. The whole canvas is full-framed in vivid colours carrying an auspicious message. Having a grateful heart towards these spirited animals, the artist puts them on canvas as an appreciation towards their kindness. This makes spirited animals one of her dominant subject matters.

240

Edgar Plans (Spanish, b. 1977)

Tribute to Graffiti Artists at Eighties 2019 Mixed media on canvas 100 x 100 cm Signed upper right PLANS Signed on the reverse Artist PLANS 2019 PROVENANCE

Galeria Casa Cuadrada, Zurich

NT$ 1,100,000 - 2,200,000 HK$ 299,000 - 598,000 US$ 38,300 - 76,500 RMB 245,000 - 490,000 艾德加．普連斯 向八零年代的塗鴉藝術家致敬 2019 綜合媒材 畫布 100 x 100 cm 簽名右上：PLANS 簽名畫背：Artist PLANS 2019 來源

Casa Cuadrada畫廊，蘇黎世

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「畫布在藝術家眼中永遠不會是空白， 這是他的思想的鏡子。」──艾德加．普連斯 The canvas is never blank in the eyes of the artist, it is the mirror of his thoughts. — Edgar Plans

艾德加．普連斯於1977年出生於西班牙馬德里，他 從小受父親鼓勵創作，童年的普連斯就將街道、人行 道當成是他的畫布，開始他的塗鴉藝術生涯。他從小 就受到塗鴉、街頭藝術、漫畫、插畫、動畫的影響及 啟發，其作品充滿童趣，想象力和活力。創作多帶有 孩子氣，以身著超級英雄的幼童為主角，與其父Juan José Plans是西班牙著名科幻作家息息相關。 其中最有名的「動物英雄」（Animals Heroes）系列 作品，更是贏得全世界粉絲的喜愛。這個系列作品的 小英雄們，長著一對鼠耳朵、圓圓可愛的大眼睛，充 滿童趣，純真可愛，不再背負拯救世界的責任，而是 伴隨孩子的世界和想象力，有大大的宇宙，滿滿的夢 想，也反映了普連斯熱愛自由，永不言棄、隨時準備 開

嶄新冒險旅程的騎士精神。

《向八零年代的塗鴉藝術家致敬》創作於2019 年，在他的作品中可以見到用壓克力顏料像牆一般 砌起。畫面左下方小英雄們分別代表了基斯·哈林 (Keith Haring)，尚米榭•巴斯奇亞（Jean-Michel Basquiat），Al Diaz，Lee Quinones圍坐在一起，周 圍是各種可愛的塗鴉元素、巴斯奇亞標誌性的王冠圖 案，以及四位藝術家的名字。畫面中央散落著顏料和 畫筆，一條活潑可愛的小狗嬉戲。畫面上方，呈現八 零年代藝術家們的經典元素，凱斯·哈林著名的畫作符 號「發光的嬰兒」，尚米榭•巴斯奇亞和阿爾·迪亞 茲（Al Diaz）合作的標誌「SAMO」，並有「Street art」 ，地鐵藝術「Subway」等符號。畫面左上方， 有一盆盛開的鮮花，同樣是圓圓可愛的大眼睛，也象 徵著，向這四位八零年代塗鴉藝術頂尖藝術家致敬。 Edgar Plans was born in Madrid, Spain in 1977. He was encouraged to create by his father when he was a child, back then the streets and sidewalks are indeed his canvas and began his career in graffiti art.

Ever since he has been influenced and inspired by

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graffiti, street art, comics, illustration and animation, his works are childlike, full of imagination and vitality.

His creation is mostly childish, with young children dressed as superheroes as the protagonists, clearly is closely related to his father, Juan José Plans, being the famous sci-fi writer in Spain.

Among them, the best known “Animals Heroes” series has won the love of fans all over the world.

The little heroes in this series of works have a pair of mouse ears, with big and round lovely eyes. They are playful, filled with innocence and cuteness. They no longer bear the responsibility of saving the world, but accompany the world and imagination of children.

The universe, which is full of dreams, also reflects Plans’s spirit in freedom-loving, never giving up and the chivalry in always ready to embark on a new adventure.

“Tribute to Graffiti Artists at Eighties” was created in 2019. It is visible that Plans applied acrylic pigments as if building up like a wall. The little heroes at the bottom left of the painting represent Keith Haring, Jean-Michel Basquiat, Al Diaz and Lee Quinones.

They sit along together and surrounded with all kinds of cute graffiti elements, Basquiat’s iconic crown motif, and the names of these four artists. Pigments and brushes are scattered in the center of the painting, and a lively and vivacious puppy is playing. On the top of the painting, there are classic elements of these 1980s’ artists, such as the well known iconography of Keith Haring “Radiant Baby”, the symbol “SAMO” collaborated between Jean-Michel Basquiat and Al Diaz, also notations as “Street art” and “Subway” in subway art. On the top left of the painting, there is a pot of blooming flowers, also with big and round lovely eyes, symbolising the homage to these four top graffiti artists in the 1980s.

241

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

蝶

Butterfly

1979

1979 Watercolor on paper 27 x 24 cm Signed upper left Yayoi Kusama and dated 1979 With one seal of artist.

Signed on the reverse Yayoi KUSAMA, titlted Butterfly in Japanese Kanji and dated 1979

27 x 24 cm

水彩 紙本 簽名左上：Yayoi Kusama 1979 鈐印左上：彌生 簽名畫背：蝶 1979 Yayoi Kusama 附草間彌生工作室開立之作品登錄卡

This lot is to be sold with a registration card issued by Yayoi Kusama Studio

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

草間彌生用繪畫、雕塑、行動藝術等手法，帶有超現實 般心理性的考究，表達她腦海中的宇宙，高彩度對比的 用色，令人回到「迷幻年代」，在視覺藝術、音樂、時 尚留下的印記，她的藝術精彩的緣因之一，亦在於她本 人即是一種「偶像」，不遮掩地表露靈魂。作品《蝴 蝶》正充分反映了草間自小面對的視聽幻覺與精神病 困擾。蝴蝶身上的紅色圓點與深沉的底色形成了強烈的 對比，令人聯想到草間的「無限的點」系列。隱約重申 了藝術家本人揮之不去的幻覺，柔美的情節構圖帶出潛 意識中的不安定成份，讓畫面充滿馬賽克的效果。《蝴 蝶》雖然有解構重組的感覺，但色彩的起伏又使畫面和 諧悅目，顯現藝術家透過藝術創作自我療癒的過程。 In the forms of paintings, sculptures and action art, Kusama peers into surreal “psychology” and expresses the universe of her mind. Her highly contrastive

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color schemes returns traces of visual art, music and fashion during the psychedelic period. Her significance is perhaps attributable to her “icon” status, and her explicit yet soulful manifestation. Plagued from a young age by visual and aural hallucinations, Kusama faces her mental illness candidly in “Butterfly.”

The flamboyant, playful colors of the piece juxtapose sharply with the geometric restructured feeling which recall the Infinity Nets of Kusama’s early series as well as creating a mosaic effect. “Butterfly” provides the viewer with a glimpse into the fractured yet ultimately connected visualizations of Yayoi Kusama as the artist reconciles her mental obstacles through her creation of art. “Artists,” states Yayoi Kusama, “do not usually express their own psychological complexes directly.

But I use my complexes and fears as subjects.

242

Damien Hirst

243 達明．赫斯特

(British, b. 1965)

旋轉畫

Spin Painting- Circle

2009

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

52 cm (直徑)

PROVENANCE

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

NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,400 - 4,900 RMB 16,000 - 31,000 100

壓克力 金屬塗料 紙本 印刷簽名畫背：Damien Hirst © Damien Hirst 藝術家工作室壓印 來源

賓虛克藝術中心，基輔 現藏者購自上述來源

Damien Hirst

達明．赫斯特

(British, b. 1965)

星星旋轉畫

Spin Painting- Star

2009

2009 Acrylic & metallic paint on paper 52 x 54.5 cm Painted signature Damien Hirst, stamped with the artist’s copyright and marked with the studio's blind stamp on the reverse

52 x 54.5 cm

PROVENANCE

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

NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,400 - 4,900 RMB 16,000 - 31,000

壓克力 金屬塗料 紙本 印刷簽名畫背：Damien Hirst © Damien Hirst 藝術家工作室壓印 來源

賓虛克藝術中心，基輔 現藏者購自上述來源

即興塗鴉，再創經典 IMPROMPTU GRAFFITI, RECREATION OF CLASSICS

Mr Doodle 稱 他 的 風 格 為「 義 大 利 麵 式 塗 鴉 」( Graffiti Spaghetti )，以顛覆傳統塗鴉的構圖，用線條填滿每一吋能 創作的空間。在他的塗鴉世界中，這些隨筆誕生的角色栩栩 如生。他創造了一種全新的視覺現象，即興揮筆充滿標誌性 的一筆畫以不斷增長地密集字符、物體和圖案，展現出了 他 的宇宙觀。2019 年 Mr Doodle 更取材一系列改造世界名畫 的塗鴉創作，重新演繹那些藝術史中的名家作品。本季羅芙 奧敬獻一系列 Mr Doodle 作品，羅搜一系列標誌性的一筆畫 作品外亦有兩件大尺幅名畫系列作品《Doodle 在埃斯塔克》 以及《Doodle 小島的星期日下午》。 《Doodle 在埃斯塔克》埃斯塔克為許多畫家筆下的法國如畫 小鎮。保羅・塞尚、喬治・布拉克皆為他著迷。對於在此找 到出路的藝術家們，這座漁村是避世之土，也是懷舊之鄉。 喬治·布拉克更把充滿燦爛陽光的小鎮發揚光大，他早期參與 了野獸派，後來與畢卡索在 20 世紀初所創立的立體主義運 動，深深影響了後來美術史的發展，「立體主義」一名也由 其作品而來。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，經典名畫在 Mr Doodle 的塗 鴉世界中重新編織出生動幻想與故事，使觀者在想像中感受 藝術家所帶來的樂趣。 《Doodle 小島的星期日下午》，取材自法國點描派的代表 畫家喬治・秀拉《大傑特島的星期日下午》可說是廣為人知 的名家作品。秀拉是點描派的代表畫家以及新印象派的重要 人物。人們於陽光下的河濱樹林間休憩、散步，垂釣及河面 上的帆船史的畫面寧靜而和諧。畫面右方的撐傘戴帽女士為 畫面中經典的視覺，呈現週日午後盎然的風貌且妙趣橫生， Mr Doodle 以他獨特且新穎的個人視角重新詮釋了屬於他自 己的塗鴉藝術。

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Mr Doodle calls his style "Graffiti Spaghetti" subverting the traditional graffiti composition and filling every inch of creative space with lines. In his graffiti world, his characters are vivid.

He created a brand new visual phenomenon, improvised brushstrokes are so iconic with ever-increasing and densely layout of characters, objects and patterns, demonstrating his view of the universe. In 2019, Mr Doodle created a series of graffiti which transformed from the world’s famous paintings, reinterpreting the works from those masters in art history. This season, Ravenel proudly presents a series of works from Mr Doodle, including iconic one-stroke paintings, and also two large-scale paintings, “Doodle at L’Estaque” and “A Sunday Afternoon on the Island of La Doodle”.

L’Estaque is such a picturesque town in France depicted by many painters, artists as Paul Cezanne and Georges Braque were all fascinated by this place. For artists who find their way out in here, this fishing village not only is a place of escape, but also nostalgia. Georges Braque even further carried forward this full of bright sunshine town. He participated in the Fauvism in the early days, and later founded the Cubism movement with Picasso in the early 20th century, which deeply influenced the later development of art history, indeed

the name “Cubism” also c am e f ro m h i s w o r k s .

Mr D o o d l e i s i n s p i re d 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 as demonstrated in the series of Classics Recreation enables the viewers to experience the fun and joy brought by the artist in their imagination."A Sunday Afternoon on the Island of La Doodle", based on the French master of Pointillism, Georges Seurat's wellknown masterpiece "A Sunday on La Grande Jatte". Seurat best represented Pointillism and served as an important figure in Neo-Impressionism. The imagery of people resting and walking along the riverside with trees under the shining sun, fishing and also sailing, the atmosphere is so peaceful and harmonious. The lady wearing a hat and holding an umbrella on the right side of the painting is a classic visual phenomenon, exhibiting a Sunday afternoon full of style and fun. Mr Doodle reinterprets into his own graffiti art with his unique and novel personal perspective.

244

Mr Doodle

245 塗鴉先生

(British, b. 1994)

下雨天

Rainy Day

2018

2018 Acrylic on canvas 25.4 x 20.32 cm Signed on the reverse MR DOODLE!, titlted RAINY DAY and dated 2018 This lot is to be sold with a certificate of authenticity card signed by the artist.

NT$ 130,000 - 220,000 HK$ 35,000 - 60,000 US$ 4,500 - 7,700 RMB 29,000 - 49,000 104

壓克力 畫布 25.4 x 20.32 cm 簽名畫背：RAINY DAY MR DOODLE! 2018 附藝術家親筆簽名原作保證書

Mr Doodle

塗鴉先生

(British, b. 1994)

火車站

Railway Station

2017

2017 Marker on canvas 30 x 30 cm Signed lower right MR DOODLE !

30 x 30 cm

PROVENANCE

Acquired directly from the artist in 2018 by present owner

NT$ 150,000 - 240,000 HK$ 41,000 - 65,000 US$ 5,200 - 8,300 RMB 33,000 - 53,000

馬克筆 畫布 簽名右下：MR DOODLE! 來源

現藏者於2018年購自藝術家本人

247

246 塗鴉先生

Mr Doodle

(British, b. 1994)

循環霸凌

(British, b. 1994)

傷心角落

Bully Circle

2018

Sad Corner

2018

2018 Acrylic on Canvas 30.48 x 30.48 cm Signed on the reverse MR DOODLE ! titlted BULLY CIRCLE and dated 2018

30.48 x 30.48 cm

2018 Acrylic on Canvas 30.48 x 30.48 cm Signed on the reverse MR DOODLE ! titlted SAD CORNER and dated 2018

30.48 x 30.48 cm

Mr Doodle

壓克力 畫布 簽名畫背：BULLY CIRCLE MR DOODLE! 2018 附藝術家親筆簽名原作保證書

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

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

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

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

106

塗鴉先生

壓克力 畫布 簽名畫背：SAD CORNER MR DOODLE! 2018 附藝術家親筆簽名原作保證書

249

Mr Doodle

248

Mr Doodle

塗鴉先生

(British, b. 1994)

跳舞循環

Dance Circle

2018

2018 Acrylic on Canvas 30.5 x 30.5cm Signed on the reverse MR DOODLE ! titlted DANCE CIRCLE and dated 2018

30.5 x 30.5cm

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

NT$ 160,000 - 240,000 HK$ 43,000 - 65,000 US$ 5,600 - 8,300 RMB 36,000 - 53,000 108

壓克力 畫布 簽名畫背：DANCE CIRCLE MR DOODLE! 2018 附藝術家親筆簽名原作保證書

(British, b. 1994)

Pop Heart; Bird Joy, Bug Embrace, Flower Warmth, Holding Hands, Jellyfish Passion, Lovers Cuddle, Puppy Love, Robot Kiss, Unlock Heart (a set of 9) 2021 Screenprint, edition no. 80/300 (each) 60 x 60 cm (each) Signed lower right MR DOODLE! and dated 2021 80/300 This lot is to be sold with a certificate of authenticity and accompained with its product box

NT$ 460,000 - 550,000 HK$ 125,000 - 149,000 US$ 16,000 - 19,100 RMB 102,000 - 122,000

塗鴉先生 心型系列: 歡樂鳥，昆蟲懷抱，熱情的花， 牽手，熱情水母，愛人抱抱，初戀，機器 人啾咪，解鎖心 (九件一組) 2021 絲網印刷 80/300 (每件) 60 x 60 cm (每件) 簽名右下：MR DOODLE! 2021 80/300 附藝術家簽名保證卡與作品原產紙盒包裝

250

Mr Doodle (British, b. 1994)

Doodle at L’Estaque 2019 Acrylic on canvas 80 x 130 cm Signed on the reverse MR DOODLE! 2019 EXHIBITED

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

Mr Doodle Invades Sotheby’s, Sotheby’s, Hong Kong, 2019, color illustrated, no. 20, pp. 51-52

NT$ 2,400,000 - 4,000,000 HK$ 652,000 - 1,087,000 US$ 83,500 - 139,100 RMB 535,000 - 891,000 塗鴉先生 Doodle 在埃斯塔克 2019 壓克力 畫布 80 x 130 cm 簽名畫背：MR DOODLE! 2019 展覽

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

《Mr Doodle 逆襲蘇富比》，蘇富比，2019， 彩色圖版， 編號20，頁51-52

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251

Mr Doodle (British, b. 1994)

A Sunday Afternoon on the Island of La Doodle 2019 Acrylic on canvas 80 x 130 cm Signed on the reverse MR DOODLE! 2019 EXHIBITED

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

Mr Doodle Invades Sotheby’s, Sotheby’s, Hong Kong, 2019, color illustrated, no. 21, pp. 53-54

NT$ 2,400,000 - 4,000,000 HK$ 652,000 - 1,087,000 US$ 83,500 - 139,100 RMB 535,000 - 891,000 塗鴉先生 Doodle 小島的星期日下午 2019 壓克力 畫布 80 x 130 cm 簽名畫背：MR DOODLE! 2019 展覽

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

《Mr Doodle 逆襲蘇富比》，蘇富比，2019， 彩色圖版，編號21，頁53-54

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252

Chiharu SHIOTA

塩田千春

(Japanese, b. 1972)

存在的狀態 (樂器)

State of Being (Musical Instrument)

壓克力盒 樂器 黑線 50(長) x 30(寬) x 50(高) cm 簽名底部：C.S.

Acrylic box, instrument, black thread 50(L) x 30(W) x 50(H) cm Signed lower right C.S.

NT$ 2,600,000 - 4,000,000 HK$ 707,000 - 1,087,000 US$ 90,400 - 139,100 RMB 579,000 - 891,000 如果草間彌生專注於描繪無限的波點，那麼塩田千春則是

life to infinity. As an artist defining the contemporary

為生命織起無限延伸的網絡。身為日本當代藝術具有代表

Japanese art scene, Shiota is actively known in the

性的藝術家之一，塩田千春現今活躍於世界的舞台。1996

international art world. Graduated from the Oil Painting

年畢業於京都精華大學油畫系，1997年搬到德國並繼續深

Faculty of the Kyoto Seika University in 1996, Shiota

造。受教於兩位名藝術家，行動藝術家雷貝嘉．霍恩以及

moved to Germany in 1997 to further her studies. She

有行為藝術之母之稱的瑪莉娜．阿布拉莫維奇，勇於嘗試

followed performance artists Rebecca Horn and Marina

跨界演出使她的作品迅速受到國際的關注。2015年代表日

Abramović and their lead to break through from current

本參與威尼斯雙年展、巴黎的路易威登基金會以「Le Fil

media, hence she received international attention. In

Rouge」（紅線）為題舉辦個展外，塩田千春於藝博會受

2015, Shiota represented Japan at the Venice Biennale,

歡迎的程度更是不言喻，這位學術與市場兼備下藝術家的

exhibited in Le Fil Rouge (The Red Line) at the Fondation

未來發展更值得藏家關注。

Louis Vuitton in Paris. Under such extensive exposure,

《存在的形狀(樂器)》透過一根根細繩編織，表達一種情 感、一種思念與關懷。黑色的線如夜空或宇宙交織成一個

this artist set her foot in both academic and market circles as one of the most promising artists.

無限的空間。小時候鄰居家遭受祝融，焦黑的鋼琴影像對

State of Being (Musical Instrument) is a intertwined braid

藝術家來說非常有震撼力。千絲萬縷勾勒出的詩意氛圍，

of fine strings to express intense nostalgic emotions and

古琴被懸吊於數千萬根細繩上，和藝術家共感的記憶如潮 水流瀉般觸動觀賞者的內心深處。雖樂器無法再發出聲 音，但藝術家用這些線代表聲音，好像它可以再演奏一 樣。塩田千春透過作品所描述的，是情感、是生活、更是 與人之間的連結。 儘管生命有限，但她深信肉體雖死而靈魂長存。自被診斷 出12年前的癌症復發後，塩田千春抱著這個信念用線重現 萬物活過的痕跡以及人生無常的課題。

care. Black strings intertwined within an infinite space, representing a night sky and a universe. This work echoes with the artist's memory of greeting her neighbours and the black piano which were impactful to the artist. A poetic scene was created through the suspension of the grand piano by thousands of strings, as this touches the memories of both the artist and the audience. Despite the stillness of the piano, its surrounding lines were used to present the transmission of sounds. Recollections of

If one summaries Yayoi Kusama's works with infinite

various encounters of individuals were aroused through

dots, Chiharu Shiota's works would be interlacing

such visual representation.

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253

Chiharu SHIOTA (Japanese, b. 1972)

State of Being (Compass) 2019 Metal frame, compass, red thread 20(L) x 20(W) x 20(H) cm Signed lower inner frame C.S.

NT$ 1,500,000 - 4,000,000 HK$ 408,000 - 1,087,000 US$ 52,200 - 139,100 RMB 334,000 - 891,000 塩田千春 存在的狀態 (羅盤) 2019 金屬 紅線 羅盤 20(長) x 20(寬) x 20(高) cm 簽名底部：C.S.

116

254

Yoshimasa TSUCHIYA

土屋仁応

(Japanese, b. 1977)

豹

Leopard

2012

2012 Wood, crystal 82(L) x 38(W) x 83(H) cm Signed on the bottoom Yoshimasa Tsuchiya in Japanese Kanji

木雕 水晶 82(長) x 38(寬) x 83(高) cm 簽名底部：土屋仁応 附白石畫廊開立之作品保證書

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

NT$ 1,600,000 - 2,600,000 HK$ 435,000 - 707,000 US$ 55,700 - 90,400 RMB 356,000 - 579,000 日本當代藝術具有原創的豐富內涵，當代藝術家嫻熟 地展現日本當代藝術的獨到魅力。而其中日本當代雕 塑創作中所呈現出的細膩韻味更顯魅力，亦是悠遠文 化的體現，美術工藝可為富國的文化意識，而其中更 以繪畫、雕刻為中心。 生物的姿態與靈性一直是土屋仁応的創作主題，清透 乳白如神話般充滿靈性的動物雕刻，如藝術家賦予牠 們靈魂與魔法般來去自如。傳統佛像雕的塑曲線柔 美、形態大方，土屋仁応在學生時代習得這種傳統佛 像的雕刻技法，日本佛像大部份是木製且眼睛的部分 採用水晶，他亦借用此種技法創作出新的事物。在其 師深井隆的指導下，領略到高山寺「神鹿」像的風采 後，便開始了動物木雕的創作。他運用傳統佛像雕刻 技法創作的鹿、狐、貓、犬等動物以及神獸們，並以 水晶來製作眼珠，以極簡的方式去呈現作品形體，色 彩皆趨近於無的狀態是如此柔和、靜謐而又充滿了靈 性。 栩栩如生的靈性動物細膩、纖弱但卻透露出一 股神秘感，美得讓人窒息，通過藝術家的對於日本文 化中神話傳述的特殊情懷，土屋賦予他的雕塑作品神 祕、優雅的生命靈動。 Japanese contemporary art consists of rich original cultivation, contemporary artists skillfully demonstrate the unique fascination of Japanese contemporary art.

In which, the delicate charm presented in the creation of contemporary Japanese sculpture is even more captivating, it is also the embodiment of the culture

118

that exists long ago. Art and crafts can be viewed as the cultural consciousness of a rich country, among them painting and sculpture are considered as prominent.

The posture and spirituality of living creatures have always been the creation theme of Yoshimasa Tsuchiya. The clear and milky white animal sculptures are full of spirituality, like myths, they come and go freely as if the artist entrusts them with soul and magic.

Traditional Buddha sculptures have gentle curve and dignified form, the artist learned this traditional technique when he was a student. Most Japanese Buddha statues are made of wood and the eyes are made of crystal, he also borrowed this technique to create new things. Under the guidance of his teacher Takashi Fukai, he began to create animal wood carvings after experiencing the charm of the “sacred deer” statue in Kozan-ji Temple. He utilised traditional Buddha sculpture techniques to create animals such as deer, fox, cat, dog and beasts, crystals are used to make their eyeballs, displaying the form of his works in a minimalist way. They almost have no colour at all, yet the state is so tender, poise and full of spirituality. The almost lifelike spiritual animals are exquisite and delicate, but they reveal a sense of mystery, which is suffocating. Through his extraordinary sentiments towards the myths in Japanese culture, Tsuchiya bestows his sculptures with the agility of life, mysterious yet grace.

255

ZHAN Wang (Chinese, b. 1962)

Artificial Rock No. 62 2006 Stainless steel and wood, edition no.1/4 30(L) x 24(W) x 74(H) cm (with wood base) Signed on the reverse Zhan Wang in Chinese, dated 2006 This lot is to be sold with a certificate of authenticity issued by Fine Art Center, Tainan.

NT$ 1,900,000 - 3,000,000 HK$ 516,000 - 815,000 US$ 66,100 - 104,300 RMB 423,000 - 668,000 展望 假山石 #62 2006 不鏽鋼 木 1/4 30(長) x 24(寬) x 74(高) cm (含底座) 簽名後背：展望 2006 附梵藝術中心開立之作品保證書

120

256

Yoshitomo NARA (Japanese, b. 1959)

257 奈良美智 森子 & 小森子 (兩件一組)

Mori Girl & Little Mori Girl (a set of 2)

2012

2012 Mixed media, edition of 200 A/P 000 (Mori Girl) edition of 1000 (Little Mori Girl) 18(L) x 14.5(W) x 30(H) cm (Mori Girl) 9(L) x 9(W) x 14(H) cm (Little Mori Girl)

限量1000 (小森子)

This sculpture (large) is to be sold with a certificate of authenticity signed by the artist.

NT$ 950,000 - 1,600,000 HK$ 258,000 - 435,000 US$ 33,000 - 55,700 RMB 212,000 - 356,000 122

綜合媒材 限量200 A/P 000 (森子) 18(長) x 14.5(寬) x 30(高) cm (森子) 9(長) x 9(寬) x 14(高) cm (小森子) 附藝術家親筆簽名保證卡 (森子)

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

箱子中的女孩

Girl in a Box

2001

2001 Screenprint, edition no. 33/100 30.5 x 30.5 cm Signed lower right Na in Japanese, numbered 33/100 and dated 2001

30.5 x 30.5 cm

ILLUSTRATED

Yoshitomo Nara: The Complete Works Volume 1, Chronicle Books LLC, SanFrancisco, 2011, color illustrated, no. E-2001-001, p. 310

NT$ 950,000 - 1,600,000 HK$ 258,000 - 435,000 US$ 33,000 - 55,700 RMB 212,000 - 356,000

版畫 33/100 簽名版次右下：Na 01 33/100 圖錄

《奈良美智作品全集第一冊》，編年出版社，舊金山， 2011，彩色圖版，編號 E-2001-001，頁310

258

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

戀人絮語

Talks about Love

2011

2011 Screenprint, edition no. 3/30 46 x 56 cm Signed lower right Yayoi KUSAMA, titlted talks about love in Japanese, numbered ed. 3/30 and dated 2011

46 x 56 cm

PROVENANCE

OTA Fine Arts, Tokyo ILLUSTRATED

All Prints by Kusama Yayoi, Abe Publishing Ltd, Tokyo, 2017, color illustrated, p. 210

NT$ 650,000 - 1,200,000 HK$ 177,000 - 326,000 US$ 22,600 - 41,700 RMB 145,000 - 267,000 124

版畫 3/30 簽名右下：Yayoi KUSAMA 簽名左下：戀の会話 2011 版次左下：ed. 3/30 來源

大田秀則畫廊，東京 圖錄

《草間彌生全版畫》阿部出版，東京， 2017，彩色圖版，編號367，頁210

259

Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

南瓜（五件一組）

Pumpkins (a set of 5)

2002

2002 Porcelain, edition no. 96/130 8(L) x 8(W) x 9(H) cm (each) Signed on the bottom Yayoi Kusama in English, dated 2002 and numbered 96/130 (each) Signed inside the box cover Yayoi Kusama in English and dated 2002 (each)

8(長) x 8(寬) x 9(高) cm (每件)

NT$ 650,000 - 1,200,000 HK$ 177,000 - 326,000 US$ 22,600 - 41,700 RMB 145,000 - 267,000

瓷器 96/130 簽名底部：Yayoi Kusama 2002 96/130 (每件) 簽名盒蓋底：Yayoi Kusama 2002 (每件)

261

Yoshimasa TSUCHIYA

梟

Owl

2019

2019 Wood, crystal 29.5(L) x 13.7(W) x 28.5(H) cm Signed on the bottom Yoshimasa TSUCHIYA Signed on box Owl in Chinese dated 2019 and Yoshimasa TSUCHIYA With the artist's seal

29.5(長) x 13.7(寬) x 28.5(高) cm

NT$ 650,000 - 850,000 HK$ 177,000 - 231,000 US$ 22,600 - 29,600 RMB 145,000 - 189,000

260

Ayako ROKKAKU

六角彩子

(Japanese, b.1982)

無題

Untitled

2021

2021 Ceramic, edition no. 82/200 39(L) x 13.8(W) x 28.7(H) cm Signed on the bottom ROKKAKU Ayako, numbered 82/200

39(長) x 13.8(寬) x 28.7(高) cm

This lot is to be sold with a certificate of authenticity card and accompanied with its original wooden box

NT$ 500,000 - 700,000 HK$ 136,000 - 190,000 US$ 17,400 - 24,300 RMB 111,000 - 156,000

126

陶瓷 82/200 簽名底部：ロッカクアヤコ 82/200 附藝術家簽名作品保證卡及原產木箱包裝

土屋仁応

(Japanese, b. 1977)

樟木 水晶 簽名腳底：土屋仁応 簽名原裝木盒：梟2019 土屋仁応 鈐印木盒土屋仁応

262

Chang Teng-yuan

張騰遠

(Taiwanese, b. 1983)

鸚鵡人聖物祭壇畫

Parrotman Relic Altarpice (Human/Portinari)

2021

2021 Acrylic on canvas 130 x 162 cm Signed on the reverse Chang Teng Yuan

簽名畫背：Chang Teng Yuan

壓克力 畫布 130 x 162 cm 附琢璞藝術中心開立及藝術家 親筆簽名之原作保證書

This lot is to be sold with a certificate of authenticity issued by J.P Art Center and signed by the artist

NT$ 400,000 - 550,000 HK$ 109,000 - 149,000 US$ 13,900 - 19,100 RMB 89,000 - 122,000 「鸚鵡人」成為作品中重要角色，在藝術家想像中的末日世界裡，研究及模 仿人類的行為，並以現實世界的議題-聖物祭壇畫，將故事以富有個人特色 主義的表現手法，巧用山水畫的移動透視法，對比的用色和平塗法，表現鸚 鵡人毫無情緒感的個性，創造出藝術家個人風格的獨特性、標誌性，作品也 表現出傳統文人畫及當代藝術的融合。 張騰遠在這兩年當中，毫不受疫情的壓抑和影響，相反，他的創作一直在不 斷的綿延和擴展，這位來自台灣的80後亞洲藝術家，以他藝術的獨特語言， 具有極大的跨眾性辨識度，一股自己全然掌控的昂揚生命力，並努力抓住與 把握每個機會，以越來越成熟的創作不負初心，相信在這國際的藝術殿堂 中，也將會備受到矚目，未來性相當可期。 Parrotman becomes an important character of the work. As the artist recreates his apocalyptic world, he reexamines human behaviour. By imitating altarpiece paintings of the real world, the artist relates a story in an individualistic approach using multiple perspectives in a landscape painting.

Using contrasting colours and flat painting, parrotman was depicted with a flat character. Yet, his existence highlights the dynamic personality of the artist. It is an oeuvre that blends classical literary paintings with contemporary art.

Despite the tension under the global pandemic, Chang Teng-yuan’s artistic creations blossomed. As an Asian artist born after the 1980s, his unique artistic language is well-received with great echo by the contemporary scene. Using his power over the panels, his artworks are able to capture the eyes of the public with the growing maturity over artistic representations towards the global art scene with a promising development.

128

263

Patrick HUGHES (British, b. 1939)

Banksee 2019 Hand painted multiple with Archival Inkjet, edition no. AP 3/10 44(L) x 102(W) x 17(H) cm Signed lower right Patrick Hughes, AP 3/10 This lot is to be sold with a certificate of authenticity signed by the artist.

NT$ 340,000 - 420,000 HK$ 92,000 - 114,000 US$ 11,800 - 14,600 RMB 76,000 - 94,000 帕特里克・休斯 Banksee 2019 綜合媒材 AP 3/10 44(長) x 102(寬) x 17(高) cm 簽名右下：Patrick Hughes 版次左下：AP 3/10 附藝術家親筆簽名原作保證書

130

264

Super Future Kid

Super Future Kid

(German, b. 1981)

除草人

Lawn Mower

2020

2020 Acrylic on canvas 140 x 130 cm Signed on the reverse Super Future kid, titled Lawn Mower London and dated 2020

140 x 130 cm

壓克力 畫布 簽名畫背：Lawn Mower Super Future kid London 2020 附 Over The Influence 開立之原作保證書

265

Hiroshi Kobayashi (Japanese, b. 1967)

沐

Bathing

2008

2008 Acrylic on canvas 130.5 x 194 cm Signed on the reserve Kobayashi, titlted Bathing and dated 2008

130.5 x 194 cm

This lot is to be sold with a certificate of authenticity issued by Over The Influence

This lot is to be sold with a certificate of authenticity issued by ARTSIDE GALLERY, Seoul

NT$ 420,000 - 550,000 HK$ 114,000 - 149,000 US$ 14,600 - 19,100 RMB 94,000 - 122,000

NT$ 140,000 - 240,000 HK$ 38,000 - 65,000 US$ 4,900 - 8,300 RMB 31,000 - 53,000

132

小林浩

壓克力 畫布 簽名畫背：Kobayashi Bathing 2008 附 ARTSIDE畫廊開立之作品保證書

266

Matt Gondek

267 麥特．剛迪克

(American, b. 1982)

凱文與霍布斯

Kelvin and Hobbes

壓克力 畫布

Acrylic on Canvas 91 x 61 cm Signed lower left Matt Gondek

簽名左下：Matt Gondek

NT$ 220,000 - 320,000 HK$ 60,000 - 87,000 US$ 7,700 - 11,100 RMB 49,000 - 71,000

134

91 x 61 cm

COTÉ ESCRIVÁ

COTÉ ESCRIVÁ

(Spanish, b. 1982)

融化的朋友

Melted Friends

2019

2019 Acrylic on Canvas 135 x 170 cm Signed on the reverse lower right cote

135 x 170 cm

EXHIBITED

SCOPE Miami Beach 2019, Artconvex, Miami, December 3 - December 8, 2019

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

壓克力 畫布 簽名畫背右下：Cote 展覽

「SCOPE Miami Beach 2019」，Artconvex， 邁阿密，展期自2019年12月3日至12月8日

268

Alex Face (Thai, b. 1981)

Alex Face

Faithful Creature No. 2

Faithful Creature No. 2

2019

2019 Spray, oil on canvas 46 cm (diameter)

46 cm (直徑)

Signed on the reverse Alex FACE 2019 This lot is to be sold with a certificate of authenticity issued by Vertical Gallery

NT$ 160,000 - 260,000 HK$ 43,000 - 71,000 US$ 5,600 - 9,000 RMB 36,000 - 58,000

136

噴漆 油彩 畫布 簽名畫背：Alex FACE 2019 附Vertical畫廊開立之原作保證書

269

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

KAWS〈布萊恩．唐納利〉 塗鴉簽名 (兩件一組)

Autograph (a set of 2)

2011; 2016

2011; 2016 Marker pen on paper 29.2 x 21.3 cm 28 x 21 cm Signed lower KAWS..11 Signed lower KAWS..16

29.2 x 21.3 cm

This lot is to be sold with a certificate of authenticity issued by NUKAGA GALLERY (left)

NT$ 110,000 - 220,000 HK$ 30,000 - 60,000 US$ 3,800 - 7,700 RMB 24,000 - 49,000

油性筆 紙本 28 x 21 cm 簽名下方：KAWS..11 簽名下方：KAWS..16 附NUKAGA畫廊開立之原作保證書 (左)

270

KWON Kyung Yup

271 權慶燁

(Korean, b. 1975)

最後一刻

Last Moments

2009

2009 Oil on canvas 130 x 162.2 cm Signed on the reserve KWON Kyung Yup in Korean and English, titlted Last Moments 130 x 162.2 cm oil on canvas and dated 2009

130 x 162.2 cm

NT$ 170,000 - 240,000 HK$ 46,000 - 65,000 US$ 5,900 - 8,300 RMB 38,000 - 53,000

138

油彩 畫布 簽名畫背：KWON Kyung Yup Last Moments 130 x 162.2 cm, oil on canvas 2009

Tetsutaro KAMATANI

鐮谷徹太郎

(Japanese, b. 1979)

人間天堂

Human Paradise 0-6

2008

2008 Mixed media, oil on canvas 130 x 194 cm Signed on the reserve Kamatani Tetsutaro, titlted Human Paradise 0-6 and dated 2008

130 x 194 cm

NT$ 130,000 - 220,000 HK$ 35,000 - 60,000 US$ 4,500 - 7,700 RMB 29,000 - 49,000

綜合媒材 油彩 畫布 簽名畫背：Kamatani Tetsutaro Human Paradise 0-6 2008

272

JARO a.k.a Hiroyuki Matsuda

273

New Sale-chan and Sale Product-chan

Cyclops

New Sale-chan and Sale Product-chan

2008

(British, b. 1975)

綜合媒材 畫布 162 x 130.5 cm

Ugod

2008

2008 Mixed media on canvas 162 x 130.5 cm Signed on the reserve Hiroyuki Matsuda and titlted New sale-chan and Sale product-chan in Japanese and dated 2008

2008 Mixed media on canvas 90 x 60 cm Signed on the reverse CYCLOPS ONE, titled UGOD and dated 2008 BC MIXEDMEDIA

90 x 60 cm

JARO a.k.a Hiroyuki Matsuda (Japanese, b. 1980)

NT$ 110,000 - 220,000 HK$ 30,000 - 60,000 US$ 3,800 - 7,700 RMB 24,000 - 49,000 140

簽名畫背：新発売ちゃんとセール品ちゃ Hiroyuki Matsuda 2008

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000

Cyclops Ugod

綜合媒材 畫布 簽名畫背：Cyclops ONE "Ugod" 2008 BC MIXEDMEDIA

274

SHIY De-jinn (Taiwanese, 1923 - 1981)

Narcissus Ink and color on paper 82 x 26 cm Signed lower left Shiy De-jinn in Chinese With one seal of the artist

NT$ 130,000 - 240,000 HK$ 35,000 - 65,000 US$ 4,500 - 8,300 RMB 29,000 - 53,000 席德進

275

水仙

CHEN Ting-Shih

彩墨 紙本 82 x 26 cm 簽名左下：席德進 鈐印左下：席德進印

(Taiwanese, 1916 - 2002)

春醒 #2

Awakening of Spring #2

1974

1974 Woodblock print, edition no. 12/30 90 x 90 cm Signed lower right CHEN Ting-Shih, titlted Awakening of Spring #2 and numbered 12/30

90 x 90 cm

ILLUSTRATED

CHEN Ting-Shih (1915-2000), Taipei Fine Arts Museum, Taipei, 2002, color illustrated, p. 152 CHEN Ting-Shih, Lion Art, Taipei, 2004, color illustrated, p. 71

NT$ 240,000 - 340,000 HK$ 65,000 - 92,000 US$ 8,300 - 11,800 RMB 53,000 - 76,000 142

陳庭詩

版畫 12/30 簽名右下：CHEN Ting-Shih 版次中下：12/30 題識左下：Awakening of Spring #2 圖錄

《大律希音；陳庭詩紀念展 》，台北市立美術館， 台北，2002，彩色圖版，頁152 《神遊 物外 陳庭詩 》，雄獅圖書股份有限公司， 台北，2004，彩色圖版，頁71

276

CHEN Ting-Shih (Taiwanese, 1916 - 2002)

Day & night #19 1972 Woodblock print, edition no. 10/20 61 x 122 cm Signed lower right Chen Ting Shih in English, dated 1972 Sept, titled lower left Day and Night #19, numbered lower center 10/20 PROVENANCE

陳庭詩 日與夜 #19 1972 版畫 10/20 61 x 122 cm 簽名右下：CHEN Ting-Shih 1972 題識左下：Day & night # 版次中下：10/20 來源

林懷民先生舊藏

Former collection of Mr Lin Hwai-min

圖錄

ILLUSTRATED

《大律希音；陳庭詩紀念展》，台北市立美術館，

CHEN Ting-Shih (1915-2000), Taipei Fine Arts Museum, Taipei, 2002, color illustrated, no.132, p. 228

台北，2002，彩色圖版，編號132，頁228

NT$ 320,000 - 420,000 HK$ 87,000 - 114,000 US$ 11,100 - 14,600 RMB 71,000 - 94,000

楚戈曾評「把東方精神融入現代形式之中，在國內現 代版畫家中，陳庭詩算是第一人」他憑藉著深厚的國 學基礎，將中國人對宇宙大地的陰陽互動與自然運行， 以簡鍊的造型及象徵符號展現於創作之中。 在文化傳承的過程中，隨著時空的改變與西方文化融 入創新。《日與夜 #19》創作於 1972，林懷民先生於 70 年代初期所購藏。雲門舞集由林懷民先生於 1973 年創辦，為台灣第一個現代舞蹈表演團，肩負台灣文 化的傳承與創新。林懷民對於陳庭詩的喜愛，即便於 舞團創辦初期艱困，仍分期付款悉心收藏。陳庭詩曾 言「藝術是沒有終極的，所有創作都是過程中的選 擇。」在二十世紀的現代美術長河中，陳庭詩像是一 股清流，生活上的艱困彷彿未曾影響他對藝術的堅持， 而發展出獨特的表現語彙。 Chu Ke once referred to Chen Ting-shih as the first modern print artist to incorporate the Eastern techniques into modern art. With his in-depth knowledge in Chinese literature, Chen produced art

144

that translates Yin-Yang and their relations under the context of Chinese culture through representation of geometry and symbols.

T h ro u g h t h e c h a n g e s o f t i m e a n d w i t h t h e emergency of Western culture, a culture adapts and transforms. Day and Night #19 was completed in 1972 and was kept into the collection of Lin Hwaimin from the 1970s. In 1973 Cloud Gate Dance Theater was established by Lin Hwai-min as the first contemporary Taiwanese dance group, with the aim to innovate and pass on the culture of Taiwan through generations. Lin was so fond of Chen Tingshih that he was willing to pay by installments, despite his tight financial status at the early stages of establishment of the dance theater. This echoes with the belief of Chen that art has no boundaries and its pursuit goes through numerous judgements. In the 20th Century art scene, Chen Ting-shih appeared as a gentle brook who was firm with his own choices with his unique language of representation.

277

RAN In-ting (Taiwanese, 1903 - 1979)

藍蔭鼎 驅鴨歸欄; 江邊飼鴨 (兩件一組)

Drive Duck, Back to the Fence; Feeding Ducks by the River (a set of 2)

1950年代

1950s Ink on paper 13.5 x 35.2 cm 20 x 27 cm Signed lower left In Ting in Chinese RAN INTING FORMOSA in English; Signed lower left In Ting in Chinese With one seal of artist.

簽名左下：蔭鼎 RAN INTING FORMOSA；

水墨 紙本 13.5 x 35.2 cm 20 x 27 cm 蔭鼎 RAN INTING 鈐印左下：鼎 來源

私人收藏，亞洲

PROVENANCE

Private collection, Asia

NT$ 320,000 - 420,000 HK$ 87,000 - 114,000 US$ 11,100 - 14,600 RMB 71,000 - 94,000

藍蔭鼎作為華人西畫的第一代畫家，跟隨石川欽一郎

He was nominated as one of the ten prominent

習畫，並前往日本進修水彩畫，作品多次入選日本帝

watercolour artists by the European and American art

展及台展。1971 年被歐洲與美國藝術評論學會，聯合

critic circles in 1971. Despite his fame, he modestly

選為第一屆世界十大水彩畫家，他的一生創作不輟，

devoted himself to artistic creation and painted the

畫作常描繪台灣田園之美的風俗民情。1991 年台北故

local Taiwanese landscapes and cultures. Memorial

宮博物院舉辦其紀念展，1998 年歷史博物館也再次舉

exhibitions were held after his death in the National

辦藍氏回顧展，並出版其繪畫世界之經典。藍蔭鼎的

Palace Museum in 1991 and in 1998 at the National

畫風樸實溫暖，藝術家將台灣人民特有的生活方式深 刻地記錄在水彩畫作中，不僅是鄉土性內容的探討， 亦是與這塊生於斯長於斯的土地相應和。畫風將水墨 技法與西洋水彩畫融為一體，藉樸實無華的日常生活 表達了豐沛的人文情感，成就非凡。

History Museum, which published catalogues of his works. His works carry a modest and warm character as the artist depicted the unique Taiwanese lifestyle with paint and brush. These works are genuine records of the culture and representations of the

Ran In-ting was widely regarded as one of the first

artist's attachment to the land. By incorporating

generation Chinese artists producing Western art,

brushstrokes of Chinese art into Western watercolour

as he followed Kinichiro Ishikawa in his art practice,

paintings, Ran depicted the warmth of the culture

studied watercolour painting in Japan and entered

in an austere lifestyle, making him a great artist in

national competitions in both Japan and Taiwan.

history.

146

278

RAN In-ting (Taiwanese, 1903 - 1979)

Carring Friunt to the Market; Shadow of Ancient Temple (a set of 2) 1950s Ink on paper 19.5 x 27.2 cm 19.5 x 27 cm Signed lower right In Ting in Chinese RAN INTING Signed lower left In Ting in Chinese FORMOSA in English With one seal of artist.

PROVENANCE

Private collection, Asia

NT$ 320,000 - 420,000 HK$ 87,000 - 114,000 US$ 11,100 - 14,600 RMB 71,000 - 94,000 藍蔭鼎 挑菓上市; 古寺塔影 (兩件一組) 1950年代 水墨 紙本 19.5 x 27.2 cm 19.5 x 27 cm 簽名右下：蔭鼎 RAN INTING FORMOSA 簽名左下：蔭鼎 RAN INTING 鈐印右下：鼎 來源

私人收藏，亞洲

148

279

DONG Shawhwei (Taiwanese, b. 1962)

280 董小蕙 春讚 - 海棠

Spring Blossom - Begonia

2014

2014 Oil on canvas 91 x 72.5 cm Signed lower right S.Hwei and dated 2014

91 x 72.5 cm

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

NT$ 550,000 - 650,000 HK$ 149,000 - 177,000 US$ 19,100 - 22,600 RMB 122,000 - 145,000 150

油彩 畫布 簽名右下：S.Hwei 2014 附國泰世華藝術中心開立與藝術家親筆簽名 原作保證書

YANG Chihung

楊識宏

(Taiwanese, b. 1947)

生命的代價

The Wages of Life

1984

1984 Mixed media on paper 96.5 x 127 cm Signed lower left C. Yang in English and dated 84.

96.5 x 127 cm

NT$ 600,000 - 700,000 HK$ 163,000 - 190,000 US$ 20,900 - 24,300 RMB 134,000 - 156,000

綜合媒材 紙本 簽名左下：C. Yang 84.

282

PANG Jiun (Taiwanese, b. 1936)

281

CHUANG Che

莊喆

(Taiwanese, b. 1934)

風景

Landscape

1976

1976 Acrylic on canvas 120.5 x 84 cm Signed lower left CHUANG Che in Chinese and dated 1976

120.5 x 84 cm

NT$ 800,000 - 900,000 HK$ 217,000 - 245,000 US$ 27,800 - 31,300 RMB 178,000 - 200,000

壓克力 畫布 簽名左下：1976 莊喆

500年石板街

500 Years Old Street

2007

2007 Oil on canvas 60.6 x 72.7 cm Signed lower right Pang Jiun in Chinese and dated 2007 With one seal of artist

60.6 x 72.7 cm

ILLUSTRATED

Inheritance and Refinement of Art, Culture and Art Publishing House, Beijing, 2011,color illustrated, p.187 PANG JIUN Landscape Art Solo Exhibition, Red Gold Fine Art, Taipei, 2012, color illustrated, p.12 This lot is to be sold with a certificate of authenticity issued by Red Gold Gallery

NT$ 850,000 - 950,000 HK$ 231,000 - 258,000 US$ 29,600 - 33,000 RMB 189,000 - 212,000 152

龎均

油彩 畫布 簽名右下：龎均 2007 手繪鈐印：均 圖錄

《藝術的傳承與昇華》，文化藝術出版社， 北京，2011，彩色圖版，頁187 《龎均風景藝術專展》，赤粒藝術，台北， 2012，彩色圖版，頁12 附赤粒藝術開立之原作保證書

283

CHIU Ya-tsai

284 邱亞才

(Taiwanese, 1949 - 2013)

美男子

A Fine Young Man

油彩 畫布

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

簽名右下：邱亞才

ILLUSTRATED

Chiu Ya-tsai, Goethe Art Center, Taichung, 2012, color illustrated, p. 76

NT$ 1,000,000 - 1,600,000 HK$ 272,000 - 435,000 US$ 34,800 - 55,700 RMB 223,000 - 356,000 154

117 x 91 cm 圖錄

《邱亞才傳記》，哥德藝術中心， 台中，2012，彩色圖版，頁76

CHIU Ya-tsai

邱亞才

(Taiwanese, 1949 - 2013)

猶豫

Hesitate

油彩 畫布

Oil on canvas 130.5 x 97 cm Signed lower left Chiu Ya-tsai in Chinese

簽名左下：邱亞才

ILLUSTRATED

Chiu Ya-tsai, Goethe Art Center, Taichung, 2012, color illustrated, p. 73

NT$ 1,200,000 - 1,800,000 HK$ 326,000 - 489,000 US$ 41,700 - 62,600 RMB 267,000 - 401,000

130.5 x 97 cm 圖錄

《邱亞才傳記》，哥德藝術中心， 台中，2012，彩色圖版，頁73

285

CHUANG Che

莊喆

(Taiwanese, b. 1934)

雪舟破墨山水變奏06

Variation on Shesshu's Broken Ink Landscape No.06

2002

2002 Acrylic, oil on canvas 173 x 101 cm Signed lower right CHUANG Che in Chinese and dated 2002

簽名右下：02 莊喆

ILLUSTRATED

Theme: Primal from-An Exhibition Of Chuang Che's Painting, National Museum of History, color illustrated, Taipei, 2005, p. 45 CHUANG Che, Asia Art Center, Taipei, 2005, color illustrated, p. 106 CHUANG Che Deep Ridge·Remote Way, Asia Art Center, Taipei, 2005, p. 132

壓克力 油彩 畫布 173 x 101 cm 圖錄

《主題·原象-莊喆》，國立歷史博物館， 台北，2005，彩色圖版，頁45 《莊喆》，亞洲藝術中心，台北，2005， 彩色圖版，頁106 《莊喆-嶺深道遠》，亞洲藝術中心，台北， 2005，彩色圖版，頁132

NT$ 1,500,000 - 2,600,000 HK$ 408,000 - 707,000 US$ 52,200 - 90,400 RMB 334,000 - 579,000

莊喆，1934年生於北京，並於1973年赴美發展。自幼 觀看父親書法揮毫及北京故宮珍藏畫作，耳濡目染之 下，將中國繪畫的「筆法」神髓於無形中滲入了西方的 油畫創作，於是中西融合、自創一格。在其抽象表現的 創作之中，隨處可見中國書法行草的筆勢，在其剛柔、 疏密、濃淡、枯潤等筆法的交相運用之下，將書法的原 始性再召回，重顯山川萬物於畫筆之下。

paintings in The Palace Museum in Beijing, and he gradually combined traditional Chinese paintings' "painting style" and western paintings, and formed his individual style. The brush stroke from Chinese Calligraphy can be easily discovered in his abstractive paintings, it can be solid or soft, thin or thick, dense or light, dry or wet, he brought back the primitives of calligraphy, and uses it to paint the world.

在多重色彩的交替鋪陳之下，猶如兩股潮流匯聚於中 央，往上方合而為一，似飛瀑般欲破畫而出；在其沉穩 而洗鍊的用色中，莊喆如中國書法狂草般奔放的筆觸隱 然可辨，大開大闔、氣象萬千，觀之令人有暢汗淋漓的 喜悅；隱含中國虛、實、陰、陽的概念於其中，寫意、 率真、樸拙、富有東方雅致情懷，正是莊喆的重要特 色。 Chuang Che was born in 1934 in Beijing, and started his career in America in 1973. He loved and influenced by his father's calligraphies and the

156

The brush strokes that went from sides to the middle, with multiple color arrangements, like tides gather in the middle, and become one on the top, like a waterfall that goes out of the picture; Chuang Che's calligraphy brush strokes are wild and can be easily distinguished through his using of colors, it's imposing and volatile, gives viewers a splendid joy; it's a hint of Chinese's hollowness and reality, Ying and Yang concepts, and this poetic, sincere, plain and eastern features are Chuang Che's major styles.

286

PANG Jiun (Taiwanese, b. 1936)

Galaxy in the World 2017 Oil on canvas 72.5 x 91cm Signed lower right Pang Jiun in Chinese dated 2017 and with one painted seal of the artist.

Signed on the reverse PANG JIUN in Chinese and English, titled Galaxy in the world in Chinese.

EXHIBITED

Art AMOY Fair, Xiamen, May 19 -21, 2017 ILLUSTRATED

Art AMOY Fair, Asia Art Center, Xiamen, 2017, color illustrated, p. 8 This lot is to be sold with a certificate of authenticity signed by the artist, issued by Ever Harvest Art Gallery

NT$ 1,400,000 - 2,400,000 HK$ 380,000 - 652,000 US$ 48,700 - 83,500 RMB 312,000 - 535,000 龎均 銀河在人間 2017 油彩 畫布 72.5 x 91cm 簽名右下：龎均 2017 手繪鈐印：均 簽名畫背：銀河在人間 龎均 Pang Jiun 展覽

「藝術廈門博覽會」，日升月鴻畫廊，廈門， 展期自2017年5月19日至5月21日 圖錄

「藝術廈門博覽會」，日升月鴻畫廊，台北，2017， 彩色圖版，頁8 附日升月鴻畫廊與藝術家親筆簽名之原作保證書

158

287

YANG Chihung (Taiwanese, b. 1947)

Another Kind of Halo 1993 Oil on canvas 198 x 152.5 cm Signed on the reserve YANG Chihung, titlted Another Kind of Halo and dated 1993 ILLUSTRATED

YANG Chihung 1967-2014, Asia Art Center, Taipei, 2014, color illustrated, p. 192

NT$ 2,000,000 - 3,000,000 HK$ 543,000 - 815,000 US$ 69,600 - 104,300 RMB 445,000 - 668,000 楊識宏 另一種光環 1993 油彩 畫布 198 x 152.5 cm 簽名畫背：YANG Chihung, Another Kind of Halo 1993 圖錄

「楊識宏 1967-2014 」，亞洲藝術中心，台北，2014， 彩色圖版，頁192

160

288

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

Il giardino eterno – 59 1990 Acrylic on canvas 100 x 130 cm Signed on the reverse HSIAO in English, Chin in Chinese, titled Il giardino eterno – 59 100 x 130 cm and dated 1990.

NT$ 1,100,000 - 2,200,000 HK$ 299,000 - 598,000 US$ 38,300 - 76,500 RMB 245,000 - 490,000 蕭勤 永久的花園－59 1990 壓克力 畫布 100 x 130 cm 簽名畫背：HSIAO 勤 90 永久的花園－59 Il giardino eterno – 59 100 x 130 cm

162

289

JU Ming (Taiwanese, b. 1938)

Taichi Series – Taichi Arch 2000 Bronze, edition no. 4/8 97.5(L) x 30(W) x 54.3(H) cm Engraved on the rear left bottom Ju Ming in Chinese, numbered 4/8 and dated 2000 ILLUSTRATED

Ju Ming, Jean-Luc Chalumeau, Editions Cercle d’Art, Paris, 2002, color illustrated, pp. 48-49 (another cast) Ju Ming, Singapore Art Museum, Singapore, 2004, color illustrated, pp. 76-77 (another cast) Ju Ming Taichi Sculpture, Guangxi Fine Arts Publishing House, Nanning, 2006, color illustrated, pp. 124-125 (another cast) This lot is to be sold with a certificate of authenticitysigned by the artist, issued by Jun Youn Sculpture Gallery, Taipei.

NT$ 2,800,000 - 3,800,000 HK$ 761,000 - 1,033,000 US$ 97,400 - 132,200 RMB 624,000 - 846,000 朱銘 太極系列-太極拱門 2000 銅雕 4/8 97.5(長) x 30(寬) x 54.3(高) cm 簽名雕刻左後底部：朱銘 4/8 2000 圖錄

《朱銘》，尚律克．夏綠莫，藝術圈出版社，巴黎，2002，彩色圖版，頁48-49 (另一版本) 《朱銘》，新加坡美術館，新加坡，2004，彩色圖版，頁76-77 (另一版本) 《朱銘：太極雕塑》，廣西美術出版社，南寧，2006，彩色圖版，頁124-125 (另一版本) 附雋永藝術開立之藝術家親簽作品保證書

164

290

JU Ming (Taiwanese, b. 1938)

Taichi Series 1991 Bronze, edition no. 10/20 37(L)x 40.9(W) x 60.4(H) cm Engraved on the back Ju Ming in Chinese, numbered 10/20 and dated ‘91 This work is to be sold with a certificate of authenticity issued by the nonprofit organization Juming Culture and Education Foundation.

NT$ 1,700,000 - 2,200,000 HK$ 462,000 - 598,000 US$ 59,100 - 76,500 RMB 379,000 - 490,000 朱銘 太極系列 1991 銅雕 10/20 37(長) x 40.9(寬) x 60.4(高) cm 簽名雕刻底部：朱銘 '91 10/20 附財團法人朱銘文教基金會開立之作品鑑定報告書

166

292

REN Zhe (Chinese, b. 1983)

Skybreaker 2015 Stainless Steel, edition no. 6/9 72(L) x 38(W) x 82(H) cm Signed on the bottom REN Zhe in English, dated 2015 and numbered 6/9 ILLUSTRATED

REN Zhe, Ren Zhe Sculpture Studio, Hong Kong, 2015, color illustrated, p. 28 GANG The Awakened Warrior, Ren Zhe Sculpture Studio, Hong Kong, 2015, color illustrated, p. 36 This lot is to be sold with a certificate of authenticity issued by PING Art Space

291

HUNG Yi

洪易

(Taiwanese, b. 1970)

梅花鹿

Formosa Sika Deer

2019

2019 Baked enamel on granite plate 76(L) x 58(W) x 153(H) cm Signed on the left Hung Yi in Chinese dated 2019 and inscribe S

76(長) x 58(寬) x 153(高) cm

NT$ 1,100,000 - 2,200,000 HK$ 299,000 - 598,000 US$ 38,300 - 76,500 RMB 245,000 - 490,000

鋼板烤漆 花崗岩 簽名左側：洪易 s 2019

NT$ 950,000 - 1,600,000 HK$ 258,000 - 435,000 US$ 33,000 - 55,700 RMB 212,000 - 356,000 任哲 破天驕 2015 不鏽鋼 6/9 72(長) x 38(寬) x 82(高) cm 簽名底座上方：REN Zhe 2015 6/9 圖錄

《任哲》，任哲雕塑工作室，香港， 2015，彩色圖版，頁28 《罡 GANG The Awakened Warrior》， 任哲雕塑工作室，香港，2015，彩色圖 版，頁36 附平藝術空間開立之作品保證書

168

293

XUE Song

294 薛松

(Chinese, b. 1965)

游春人在畫中行－豐子愷詩意

Chinese Literature - Ramblings in Spring

2006

2006 Mixed media on canvas 120 x 100 cm Signed lower right: XUE Song in Chinese, and titlted upper right Chinese literature - Ramblings in spring Signed on the reserve XUE Song in Chinese and English, titlted Chinese literature - Ramblings in spring, 120 x 100 cm and dated 2006

120 x 100 cm

NT$ 800,000 - 900,000 HK$ 217,000 - 245,000 US$ 27,800 - 31,300 RMB 178,000 - 200,000 170

綜合媒材 畫布 簽名右下：薛松 題識右上：游春人在畫中行 簽名畫背：游春人在畫中行-豐子愷詩意 120 x 100 cm 薛松 XUE Song 2006

JU Ming (Taiwanese, b. 1938)

朱銘 人間系列 (兩件一組)

Living World Series (a set of 2)

2004

2004 Wood 14.5(L) x 11.5(W)x 30.5(H) cm (Left) 14(L) x 10.5(W)x 31(H) cm (Right) Signed on the bottom JU Ming in Chinese dated 2004

14.5(長) x 11.5(寬) x 30.5(高) cm (左)

These sculptures are to be sold with a certificate of authenticity issued by Lee Chi Creativity Co., Ltd. and signed by the artist, Taipei.

NT$ 650,000 - 750,000 HK$ 177,000 - 204,000 US$ 22,600 - 26,100 RMB 145,000 - 167,000

木雕 14(長) x 10.5(寬) x 31(高) cm (右) 簽名雕刻底部：朱銘 2004 附李記創意股份有限公司與藝術家親筆簽名 之原作保證書

295 張義雄

296

(Taiwanese, 1914 - 2016)

靜物

Still Life

1989

Michell HWANG (HWANG Ming-che)

1989 Oil on canvas 73 x 91 cm Signed on the upper right Chang. y and dated 1989

73 x 91 cm

Yoshio CHANG

ILLUSTRATED

CHANG YI HSIUNG, Goethe Art Center, Taichung, 2011, color illustrated, p. 152

NT$ 650,000 - 750,000 HK$ 177,000 - 204,000 US$ 22,600 - 26,100 RMB 145,000 - 167,000 172

油彩 畫布 簽名右上：Chang.y. '89' 圖錄

「張義雄」，哥德藝術中心，台中，2011， 彩色圖版，頁152

(Taiwaness, b. 1948)

Gorgeous Shadow (a set of 2) Coating Steel, edition of 7 116(L) x 20(W) x 56(H) cm (each) (with wood base)

NT$ 600,000 - 800,000 HK$ 163,000 - 217,000 US$ 20,900 - 27,800 RMB 134,000 - 178,000

黃銘哲 豔影系列 (兩件一組) 不鏽鋼金屬 限量7 116(長) x 20(寬) x 56(高) cm (每件) (含底座)

297

YAO Jui-chung (Taiwanese, b. 1969)

Autumn Hot Spring 2014 Ink, paper, and gold foil 192 x 55 cm One seal of the artist This lot is to be sold with a certificate of authenticity issued by VT Art salon

NT$ 320,000 - 420,000 HK$ 87,000 - 114,000 US$ 11,100 - 14,600 RMB 71,000 - 94,000 姚瑞中 秋意濃 臨 唐寅「山水軸」 2014 墨 紙本 金箔 192 x 55 cm 簽名左下鈐印 附非常廟藝文空間開立之原作保證書

174

298

TZENG Yong-Ning

曾雍甯

(Taiwanese, b. 1978)

無題

Untitled

綜合媒材 紙本

Mixed media on paper 58 x 77 cm

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000

58 x 77 cm

300

CHANG Wan-chuan

299

LIU Chi-Hsiang

劉啟祥

(Taiwanese, 1910 - 1998)

玫瑰花瓶

Rose vase

1989

1989 Oil on canvas 53 x 45.5 cm Signed lower right C.Liou. -89.

53 x 45.5 cm

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

NT$ 300,000 - 400,000 HK$ 82,000 - 109,000 US$ 10,400 - 13,900 RMB 67,000 - 89,000 176

油彩 畫布 簽名右下：C.Liou. -89. 附印象畫廊開立之原作保證書

張萬傳

(Taiwanese, 1909 - 2003)

年年有餘

Surplus Year after Year

1990

1990 Oil on canvas 38 x 45.5 cm Signed on the left CHANG in English and Wan in Chinese Signed on reverse 1990 CHANG Wan-chuan in Chinese, CHANG in English and Wan in Chinese

38 x 45.5 cm

ILLUSTRATED

CHANG WAN CHUAN, Goethe Art Center, Taichung, 2003, color illustrated, p. 143

NT$ 150,000 - 240,000 HK$ 41,000 - 65,000 US$ 5,200 - 8,300 RMB 33,000 - 53,000

油彩 畫布 簽名左下：CHANG .万 簽名畫背：張萬傳 CHANG .万.1990 圖錄

「張萬傳」，哥德藝術中心，台中， 2003，彩色圖版，頁143

301

CHUANG Che

莊喆

(Taiwanese, b. 1934)

自畫像

302

Self-portrait

約1990-1996

CHUANG Che

c. 1990-1996 Mixed media on canvas,collage 61 x 50.5 cm Signed lower right CHUANG Che in Chinese

61 x 50.5 cm

EXHIBITED

Without Boundary – Prof. Joan Stanley-Baker’s Collection, Tainan National University of Arts, Oct. 30 – Nov. 22, 2005 Without Boundary – Prof. Joan Stanley-Baker’s Collection, Kao Yuan Art Center, Kaohsiung, Mar. 8 – 31, 2006

NT$ 320,000 - 420,000 HK$ 87,000 - 114,000 US$ 11,100 - 14,600 RMB 71,000 - 94,000 178

綜合媒材 拼貼 畫布 簽名右下：莊喆 展覽

「無界線–徐小虎教授收藏展」，國立台南藝術大學， 台南，展期2005年10月22日至11月30日 「無界線–徐小虎教授收藏展」，高苑藝文中心， 高雄，展期2006年3月8日至3月31日

莊喆

(Taiwanese, b. 1934)

無題

Untitled

1985

1985 Acrylic on canvas 61 x 49 cm Signed lower left Chuang Che in Chinese and dated 1985

61 x 49 cm

NT$ 240,000 - 340,000 HK$ 65,000 - 92,000 US$ 8,300 - 11,800 RMB 53,000 - 76,000

壓克力 畫布 簽名左下：莊喆 85

303

HSIEH Hsiao-De

304 謝孝德

(Taiwanese, b. 1940)

風景

Landscape

2015

2015 Watercolor on paper 78.5 x 110.5 cm Signed lower right Hsieh Hsiao-De in Chinese and dated 2015

78.5 x 110.5 cm

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000

180

水彩 紙本 簽名右下：2015 謝孝德

JAN Chin-shui

詹金水

(Taiwanese, b. 1953 )

豐收

Great Harvest

2005

2005 Mixed media on canvas 80 x 130 cm Signed lower left Chin-Shui in Chinese and dated 2005 Signed on the reverse Chan Chin Shui in Chinese, titled Great Harvest in Chinese, dated 2005 and inscribed 60M

80 x 130 cm

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

綜合媒材 畫布 簽名左下：金水 2005 簽名畫背：詹金水 2005 60M 豐收

305

Kila Cheung (Hong Kong, b. 1986)

Faith (unique) 2019 Acrylic, wood 15(L) x 15(W) x 33(H) cm Signed on the bottom Kila and dated 2019 This lot is to be sold with a certificate of authenticity signed by the artist and accompanied with its original box.

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000 章柱基 信念守護者（單一件） 2019 壓克力 檜木 15(長) x 15(寬) x 33(高) cm 簽名底部：Kila 2019 附藝術家親筆簽名作品保證卡與作品原產紙盒包裝

182

306

Mr. (Japanese, b. 1969)

Mr.

瑪琳娜; 星期四 (兩件一組)

Marina ; Thursday (a set of 2)

2021

2021 Resin, limited edition of 200 (Thursday) 10(L) x 9(W) x 27.5(H) cm (Marina) 8.5(L) x 8.5(W) x 29(H) cm (Thursday) Signed on the bottom Mr. (Marina)

10(長) x 9(寬) x 27.5(高) cm (瑪琳娜)

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

NT$ 150,000 - 260,000 HK$ 41,000 - 71,000 US$ 5,200 - 9,000 RMB 33,000 - 58,000

樹脂 限量 200 (星期四) 8.5(長) x 8.5(寬) x 29(高) cm (星期四) 簽名腳底：Mr. (瑪琳娜) 附藝術家親筆簽名之作品保證卡 (瑪琳娜)

307

308

Julian OPIE

Kohei NAWA

(British, b. 1958)

(Japanese, b. 1975)

Running People: Clive

Velvet - Trans - T.O.P (NB)

2020 Aluminium, corian base, edition no. 16/20 16.8(L) x 9(W) x 58.9(H) cm Signed on the bottom Julian Opie

2020 Mixed media, edition no. AP 3/4 5.6(L) x 10.7(W) x 20.5(H) cm Signed on the bottom Kohei Nawa Numbered on the bottom Kohei Nawa Velvet - Trans - T.O.P (NB) AP 3/4

PROVENANCE

Christea Roberts Gallery, London This lot is accompanied with it’s original box

NT$ 150,000 - 240,000 HK$ 41,000 - 65,000 US$ 5,200 - 8,300 RMB 33,000 - 53,000 朱利安•奧培 跑步的人：克里夫 2020 氧化鋁版 人造石底座 16/20 16.8(長) x 9(寬) x 58.9(高) cm 簽名台座底部：Julian Opie 來源

克里斯蒂亞•羅伯茨畫廊，倫敦 附作品原產盒包裝

184

This work is to be sold with the original box and a catalogue.

NT$ 160,000 - 220,000 HK$ 43,000 - 60,000 US$ 5,600 - 7,700 RMB 36,000 - 49,000 名和晃平 Velvet - Trans - T.O.P (藍色) 2020 綜合煤材 AP 3/4 5.6(長)x 10.7(寬) x 20.5(高) cm 簽名底座底部：Kohei Nawa 版次底座底部：Kohei Nawa Velvet - Trans T.O.P (NB) AP 3/4 附作品原產紙盒包裝與畫冊

309

310

Ayako KITA

Satoru KOIZUMI

(Japanese, b. 1981)

(Japanese, b. 1983)

Secret

Giant Panda

2019 Acrylic, wood 21(L) x 16(W) x 53(H) cm Engraved on the back KITA AYAKO Signed on the base KITA AYAKO 2019

2017 Woodcarving, polychrome, resin 16(L) x 14.5(W) x 27.5(H) cm Signed on the reverse KOIZUMI

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

NT$ 260,000 - 320,000 HK$ 71,000 - 87,000 US$ 9,000 - 11,100 RMB 58,000 - 71,000

北彩子 秘密 2019 壓克力 檜木 21(長) x 16(寬) x 53(高) cm 簽名雕刻背後：KITA AYAKO 簽名底座底部：KITA AYAKO 2019

186

小泉悟 大貓熊 2017 木雕 顏料 樹脂 16(長) x 14.5(寬) x 27.5(高) cm 簽名背面：KOIZUMI

312

Ai HAIBARA (Japanese, b. 1981)

The Most Beautiful Moment 311

Ai HAIBARA

灰原愛

(Japanese, b. 1981)

在我開始行走之前

In the Front of it That I Begin to Walk

2011

2011 Acrylic on Wood 62.5(L) x 38(W) x 50(H) cm Signed on the bottom Ai Haibara 2011

62.5(長) x 38(寬) x50(高) cm

PROVENANCE

Butchart Internationl Contemporary Art Space, Taipei

NT$ 220,000 - 320,000 HK$ 60,000 - 87,000 US$ 7,700 - 11,100 RMB 49,000 - 71,000

188

木雕 壓克力 簽名底部：Ai Haibara 2011 來源

布查國際當代藝術空間，台北

2010 Acrylic on Wood 30.5(L) x 30.5(W) x 117(H) cm Engraved on the bottom Ai HAIBARA

NT$ 340,000 - 460,000 HK$ 92,000 - 125,000 US$ 11,800 - 16,000 RMB 76,000 - 102,000 灰原愛 花漾 2010 木雕 壓克力 30.5(長) x 30.5(寬) x 117(高) cm 簽名雕刻底座：Ai HAIBARA

313

Yoshitomo NARA (Japanese, b. 1959)

奈良美智 小狗收音機 x RIMOWA旅行箱

Doggy Radio x RIMOWA

2011

2011 Fiberglass, edition no. 183/200 (radio); aluminium (suitcase), edition no. 183/200 43(L) x 22.5(W) x 29.5(H) cm (radio); 53.5(L) x 27.5(W) x 42.5(H) cm (suitcase) Signed lower right Na in Japanese and dated 2011

43(長) x 22.5(寬) x 29.5(高) cm (收音機)

玻璃纖維；鋁合金手提箱 183/200

314

CHEN Wei-Ting (Taiwanese, b. 1991)

陳威廷 我們的童年; 生日快樂 (兩件一組)

Our Childhood; Happy Birthday (a set of 2)

2015; 2019 玻璃纖維 壓克力 3/33

signed by the artist

2015; 2019 FRP, acrylics, colored pencil 24/82 FRP, acrylics 3/33 16(L) x 13(W) x 30.6(H) cm 12(L) x 13(W) x 29(H) cm Signed on the bottom Chen Wei Ting in Chinese and dated 2015 Signed on the bottom Chen Wei Ting 3/33

NT$ 260,000 - 360,000 HK$ 71,000 - 98,000 US$ 9,000 - 12,500 RMB 58,000 - 80,000

NT$ 110,000 - 220,000 HK$ 30,000 - 60,000 US$ 3,800 - 7,700 RMB 24,000 - 49,000

This lot is to be sold with a certificate of authenticity

190

53.5(長) x 27.5(寬) x 42.5(高) cm (旅行箱) 簽名右下：な 2011 附藝術家親簽保證卡 (限量旅行箱組合保證書簽名:な)

玻璃纖維 壓克力 彩色筆 24/82 16(長) x 13(寬) x 30.6(高) cm 12(長) x 13(寬) x 29(高) cm 簽名底部：陳威廷 2015 簽名底部：陳威廷 3/33

315

Poren HUANG

316 黃柏仁

(Taiwanese, b. 1970)

哇靠

What the Heck !

2010

2010 Stainless, edition no. PR 8/12 28(L) x 28(W) x 31(H) cm Engraved on the bottom PR in English and dated 2010, numbered 12-8

28(長) x 28(寬) x 31(高) cm

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

NT$ 160,000 - 260,000 HK$ 43,000 - 71,000 US$ 5,600 - 9,000 RMB 36,000 - 58,000

192

不鏽鋼 PR 8/12 簽名雕刻底座：2010.12-8 RP 附秋刀魚藝術中心開立之作品保證書

Jeff KOONS

傑夫．昆斯

(American, b. 1955)

氣球狗（黃）

Balloon Dog (Yellow)

2015

2015 Glazed porcelain, edition no. 0906/2300 26.7(L) x 12.8(D) x 26.7(W) cm Stamped Jeff Koons on the reverse

26.7(長) x 12.8(深) x 26.7(寬) cm

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

by Bernardaud Group, France

NT$ 110,000 - 220,000 HK$ 30,000 - 60,000 US$ 3,800 - 7,700 RMB 24,000 - 49,000

釉瓷 0906/2300 印刷簽名：JEFF KOONS 附Bernardaud Group開立之作品保證書

317

318

A-Lei

A-Lei

(Taiwanese, b. 1976)

(Taiwanese, b. 1976)

Chimney Elf

Toilet - Joy

2018 Clay, pottery 13(L)x 9(W) x 27(H) cm Signed on th bottom Lei

2018 Oven baked clay 15(L) x 20(W) x 20(H) cm 10(L) x 9(W) x 11(H) cm Engraved on the bottom Lei and dated 2018

This lot is to be sold with a certificate of authenticity signed by the artist, issued by Yesart Gallery, Taipei.

NT$ 160,000 - 260,000 HK$ 43,000 - 71,000 US$ 5,600 - 9,000 RMB 36,000 - 58,000 阿咧 煙囪小精靈 2018 陶土 釉

EXHIBITED

Unidentified Mysterious Animal: A sculpture exhibition by A-Lei, Yesart Gallery, Taipei, May 19 - June 20, 2018 This lot is to be sold with a certificate of authenticity signed by the artist, issued by Yesart Gallery, Taipei.

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000

13(長) x 9(寬) x 27(高) cm

阿咧

簽名底部：Lei

喜氣船 黑多多

附意識畫廊開立之藝術家親簽作品保證書

2018 陶土 釉 15(長) x 20(寬) x 20(高) cm (喜氣船) 10(長) x 9(寬) x 11(高) cm (黑多多) 簽名雕刻底部：Lei 2018 展覽

「ＵＭＡ未確認生命體」，意識畫廊， 台北，展期自2018年5月19日至6月20日 附意識畫廊開立之藝術家親簽作品保證書

194

319

CHU Teh-chun

320 朱德群

(Chinese-French, 1920 - 2014)

無題

Untitled

2005

2005 Lithograph, E.A 73 x 105 cm Signed lower right CHU TEH-CHUN in Chinese and English, numbered lower left E.A

73 x 105 cm

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000

196

石版畫 E.A 簽名右下：朱德群 CHU TEH -CHUN 版次左下：E.A

CHU Teh-chun

朱德群

(Chinese-French, 1920 - 2014)

巴塞隆納奧運版畫

Olympic Centennial

1992

1992 Lithograph, edition no. 88/250 62.8 x 90 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 1992 and numbered lower left 88/250 With a seal of seal of Olympic Games

62.8 x 90 cm

ILLUSTRATED

Overseas Chinese Fina Arts Series (II) Chu Teh-Chun, Taipei, 1999, black-and-white Illustration, p. 295

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000

石版畫 88/250 簽名右下：朱德群 CHU TEH-CHUN 92 具奧運鋼印 版次左下：88/250 圖錄

《華裔美術選集(II) ; 朱德群》藝術家雜誌社， 台北，1999，黑白圖版，頁295

321

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

Blue Season (a set of 7) 2006 Lithograph, edition no. 82/99 41 x 32 cm; 44.5 x 34.5 cm; 41.2 x 30.2 cm; 45 x 69 cm Signed lower right CHU TEH-CHUN in Chinese and French, numbered lower left 82/99

NT$ 260,000 - 360,000 HK$ 71,000 - 98,000 US$ 9,000 - 12,500 RMB 58,000 - 80,000 朱德群 藍季 (七件一組) 2006 石版畫 82/99 41 x 32 cm; 44.5 x 34.5 cm; 41.2 x 30.2 cm; 45 x 69 cm 簽名右下：朱德群 CHU TEH-CHUN 版次左下：82//99

198

322

Chiharu SHIOTA (Japanese, b. 1972)

323 塩田千春 無題3 ; 在一起 (兩件一組)

No Title 3 ; Being Together (a set of 2)

2020

2020 Lithograph, edtition no. 29/50; 23/40 69 x 50 cm 59.4 × 79.5 cm Signed lower right CS. and numbered lower left 29/50; 23/40

59.4 x 79.5 cm

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000

200

版畫 29/50 ; 23/40 69 x 50 cm 簽名右下：CS. 版次左下：29/50 ; 23/40

Chiharu SHIOTA

塩田千春

(Japanese, b. 1972)

航向未知

Navigation Into the Unknow

2020

2020 Lithograph, edtition no. 7/40 65 x 50 cm Signed lower right CS. and numbered 7/40

65 x 50 cm

PROVENANCE

Galerie Templon, Paris

NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000

石版畫 7/40 簽名右下：CS. 版次左下：7/40 來源

Templon畫廊，巴黎

324

Mayuka YAMAMOTO (Japanese, b. 1964)

山本麻友香 狐狸男孩; 山羊男孩 (兩件一組)

Fennec Fox Boy ; Mountain Goat Boy (a set of 2)

2019

2019 Screenprint, edition no. 19/50 40 x 33 cm (Fox) ; 40 x 30 cm (Goat) Signed lower right Mayuka, titled Fennec Fox Boy and numbered 19/50 Signed lower right Mayuka, titled little Mountain goat boy and numbered 19/50

40 x 30 cm (山羊)

Mayuka YAMAMOTO

簽名版次下方：19/50 Fennec Fox Boy Mayuka

(Japanese, b. 1964)

小王子

簽名版次下方：19/50 Mountain goat boy Mayuka

Little Prince boy

2021

2021 Screenprint, edition no. 11/50 56 x 41 cm

56 x 41 cm

版畫 19/50 40 x 33 cm (狐狸)

附椿畫廊開立之作品保證書

325

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

This lot is to be sold with a certificate of authenticity issued by Corey Helford Gallery, CA

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

NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000

202

山本麻友香

版畫 11/50 附COREY HELFORD藝廊開立之作品保證書

326

Mayuka YAMAMOTO

327 山本麻友香

(Japanese, b. 1964)

蘋果

Apple

2021

2021 Screenprint, edition no. 59/75 61 x 46 cm Signed lower Mayuka Apple and numbered 59/75

61 x 46 cm

版畫 59/75 簽名版次下方：Mayuka Apple 59/75 附COREY HELFORD藝廊開立之作品保證書

Mayuka YAMAMOTO (Japanese, b. 1964)

紅熊

Red bear

2021

2021 Screenprint, edition no. 53/75 66 x 46 cm Signed lower Mayuka Apple and numbered 53/75

66 x 46 cm

This lot is to be sold with a certificate of authenticity issued by Corey Helford Gallery, CA

This lot is to be sold with a certificate of authenticity issued by Corey Helford Gallery, CA

NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000

NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000

204

山本麻友香

版畫 53/75 簽名版次下方：Mayuka Apple 53/75 附COREY HELFORD藝廊開立之作品保證書

328

Stickymonger (Korean)

Stickymonger

Obsession, No joke

Obsession, No joke

2020

2020 Print, edition no. 35/75 75 x 61 cm Signed lower left Stickymonger

75 x 61 cm

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

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,800 RMB 9,000 - 18,000 206

版畫 35/75 簽名左下：Stickymonger 附Avant Arte開立之作品保證書

329

LY

LY

(Japanese)

困惑的愛

Confused Luv

2018

2018 Print, edition no. 30/100 42 x 29.7 cm Signed lower right LY and numbered 30/100

42 x 29.7 cm

NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000

版畫 30/100 簽名版次右下：LY 30/100

330

Katsura FUNAKOSHI (Japanese, b. 1951)

To Reach the Sea 2017 Lithograph, edition no. 5/25 30 x 24 cm Signed lower edge Katsura Funakoshi, numbered 5/25 and dated 2017 PROVENANCE

Gallery Woo, Busan

NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000 208

舟越桂 為了傳遞到大海 2017 石版畫 5/25 30 x 24 cm 簽名下方：Katsura Funakoshi'17 5/25 來源

宇畫廊，釜山

331

Izumi Kato

加藤泉

(Japanese, b. 1969)

滾動的雪球般

Like a Rolling Snowball

2019

2019 Lithograph, edition no. 279/300 45.5 x 35.3 cm Signed lower KATO, dated 2019 and numbered 279/300

45.5 x 35.3 cm

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000

石版畫 279/300 簽名下方：KATO 2019 版次左下：279/300

332

Miwa KOMATSU

333 小松美羽

(Japanese, b. 1986)

干支神獸 鼠年

Zodiac Divine Spirit: Year of Mouse

2018

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

53 x 53 cm

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

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000 210

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

Miwa KOMATSU

小松美羽

(Japanese, b. 1986)

干支神獸 豬年

Zodiac Divine Spirit: Year of Boar

2018

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

53 x 53 cm

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

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000

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

334

Mr.

Mr.

(Japanese, b. 1969)

我們的

Ours

2020

2020 Silkscreen, edition no. 30/100 70 x 60.5 cm Signed lower right Mr., numbered 30/100 and dated 2020

NT$ 90,000 - 130,000 HK$ 24,000 - 35,000 US$ 3,100 - 4,500 RMB 20,000 - 29,000

212

版畫 30/100 70 x 60.5 cm 簽名版次右下：Mr. 2020 30/100

335

Mr.

Mr.

(Japanese, b. 1969)

生意氣

Sassy

2020

2020 Silkscreen, edition no. 17/100 70 x 60.5 cm Signed lower right Mr., numbered 17/100 and dated 2020

70 x 60.5 cm

NT$ 90,000 - 130,000 HK$ 24,000 - 35,000 US$ 3,100 - 4,500 RMB 20,000 - 29,000

版畫 17/100 簽名版次右下：Mr. 2020 17/100

336

MADSAKI

Madsaki

(Japanese, b. 1974)

畢卡索

Picasso

2020

2020 Screenprint, edition no. 138/300 82.5 x 61.5 cm Signed lower right Madsaki, numbered 138/300 and dated 2020.

NT$ 80,000 - 120,000 HK$ 22,000 - 33,000 US$ 2,800 - 4,200 RMB 18,000 - 27,000

214

版畫 138/300 82.5 x 61.5 cm 簽名右下：Madsaki 2020 138/300

337

Tomokazu Matsuyama (Japanese, b. 1976)

松山智一 Broken Train Pick Me

Broken Train Pick Me

2021

2021 Screenprint, edition no. 21/100 80 x 48 cm Signed lower left and numbered 21/100

80 x 48 cm

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

NT$ 110,000 - 220,000 HK$ 30,000 - 60,000 US$ 3,800 - 7,700 RMB 24,000 - 49,000

版畫 21/100 簽名版次左下： 21/100 附藝術家親筆簽名之作品保證書

338

Izumi Kato (Japanese, b. 1969)

Untitled 30 2019 Lithograph, edition no. 32/36 75.5 x 54.5 cm Signed lower right Kato in English dated 2019 and numbered lower left 32/36

NT$ 150,000 - 240,000 HK$ 41,000 - 65,000 US$ 5,200 - 8,300 RMB 33,000 - 53,000 216

339 加藤泉 無題 30 2019 版畫 32/36 75.5 x 54.5 cm 簽名右下：Kato 2019 版次左下：32/36

Izumi Kato (Japanese, b. 1969)

加藤泉 無題 23

Untitled 23

2018

2018 Lithograph, embroidery, edition no. 30/36 92 x 50 cm Signed lower right Kato in English dated 2018 and numbered lower left 30/36

92 x 50 cm

NT$ 150,000 - 240,000 HK$ 41,000 - 65,000 US$ 5,200 - 8,300 RMB 33,000 - 53,000

版畫 線 30/36 簽名右下：Kato 2018 版次左下：30/36

340

Andy WARHOL (American, 1928 - 1987)

Marilyn Monroe (a set of 10) Print 91.3 x 91.3 cm (each)

NT$ 130,000 - 220,000 HK$ 35,000 - 60,000 US$ 4,500 - 7,700 RMB 29,000 - 49,000 安迪．沃荷 瑪麗蓮．夢露 (十件一組) 印刷品 91.3 x 91.3 cm (每件)

218

341

Mr Doodle

塗鴉先生

(British, b. 1994)

外星城鎮

Alien Town

2020

2020 Silk screen print, edition no. 107/300 50 x 70 cm Signed lower right MR DOODLE! , dated 2020 and numbered 107/300

50 x 70 cm

This lot is to be sold with a certificate of authencity

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000

版畫 107/300 簽名右下：MR DOODLE! 2020 107/300 附藝術家簽名之作品保證書

342

Alex Face (Thai, b. 1981)

Destiny Rider No. 1; Destiny Rider No. 2; Duck Out No.1; Duck Out No.2 (a set of 4) 2019 Print, no. 6/75; 29/75 47 x 59 cm (x2); 49 x 41.5 cm (x2) Signed lower right Alex Face and numbered lower left 6/75; 29/75

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000 220

Alex Face

Destiny Rider No. 1; Destiny Rider No. 2; Duck Out No.1; Duck Out No.2 (四件一組) 2019 版畫 6/75; 29/75 47 x 59 cm (x2); 49 x 41.5 cm (x2) 簽名右下：Alex Face 版次左下：6/75; 29/75 簽名右下：Alex Face

343

Yoshitomo NARA

奈良美智

(Japanese, b. 1959)

真實

Real One

2020

2020 Offset lithographic poster print, edition of 1000 63 x 73 cm

63 x 73 cm

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000

海報 限量1000

344

346

Mr Doodle

Javier Calleja

(British, b. 1994)

(Spanish, b. 1971)

The Doodler

Heads; No Art Here (a set of 2)

2019 Resin, edition no.137/250 17(L) x 17(W) x 34(H) cm Signed MR DOODLE! and dated 2019

2020 PVC, Glass, edition of 1000 left: 12.6(L) x 13.9(W) x 30(H) cm right: 27(L) x 14.9(W) x 30(H) cm

This lot is to be sold with a certificate of authenticity and accompained with its original product box

This lot is accompanied with NFC manual.

NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000

NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000

哈維爾．卡勒加 頭 ; 這裡沒有藝術 (兩件一組)

塗鴉先生 塗鴉先生

2020

2019 樹酯 137/250 17(長) x 17(寬) x 34(高) cm

345

Javier Calleja

簽名腳底：MR DOODLE! 2019 附藝術家簽名保證卡與作品原產紙盒包裝

(Spanish, b. 1971)

Missing the Blue Sky 2018 Mixed media, fiberglass, metal; edition no. 49/200 16(L) x 16(W) x 32.5(H) cm Trademark By jAViER CALLEjA on the bottom of right foot; APPORTFOLIO on the bottom of left foot This lot is sold with a certificate of authenticity and accompanied with it’s original product box.

NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,400 - 4,900 RMB 16,000 - 31,000

塑膠 玻璃 限量1000

347

Javier Calleja (Spanish, b. 1971)

Pot Pop Top: Planter & Vase (pink eyes) (a set of 2) 2021 Ceramic, crystal, edition of 100 left: 21(L) x 18(W) x 24(H) cm right: 21(L) x 18(W) x 17(H) cm Signed on the bottom Javier Calleja and dated 2021 (each) This lot is accompanied with it’s original box

NT$ 70,000 - 140,000 HK$ 19,000 - 38,000 US$ 2,400 - 4,900 RMB 16,000 - 31,000 哈維爾．卡勒加

哈維爾．卡勒加

Pot-Pop-Top 花盆 (粉色) (兩件一組)

想念藍天

2021

2018

陶瓷 限量100

綜合媒材 玻璃纖維 金屬 49/200

左：21(長) x 18(寬) x 24(高) cm

16(長) x 16(寬) x 32.5(高) cm

右：21(長) x 18(寬) x 17(高) cm

註冊商標：By jAViER CALLEjA (左腳底) APPORTFOLIO (右腳底)

簽名底部：Javier Calleja 2021 (每件)

附藝術家簽名之作品保證卡及作品原產紙盒包裝

附作品原產盒包裝

222

左：12.6(長) x 13.9(寬) x 30(高) cm 右：27(長) x 14.9(寬) x 30(高) cm 附NFC保證卡

348

350

Moe NAKAMURA

Moe NAKAMURA

(Japanese, b. 1988)

(Japanese, b. 1988)

Clouds

Loop Loop

2019 Polystone, edition no. 27/160 17(L) x 14(W) x 29.5(H) cm Signed on the bottom Moe 2019

2015 Polystone, edition no. 93/130 14(L) x 11(W) x 20(H) cm Signed on the bottom Moe

This lot is to be sold with a certificate of authenticity and accompanied with its original box.

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

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000

NT$ 90,000 - 160,000 HK$ 24,000 - 43,000 US$ 3,100 - 5,600 RMB 20,000 - 36,000

中村萌

中村萌

雲朵

圈圈

2019

2015

寶麗石粉樹脂 27/160

寶麗石粉樹脂 93/130

17(長) x 14(寬) x 29.5(高) cm

14(長) x 11(寬) x 20(高) cm

簽名印刷底部：Moe 2019 附藝術家簽名作品保證卡與作品原產紙盒包裝

簽名印刷底部：Moe

351

Moe NAKAMURA (Japanese, b. 1988)

349

Moe NAKAMURA (Japanese, b. 1988)

Grow Horns 2020 Polystone, edition no. 48/200 24(L) x 7.5(W) x 24(H) cm This lot is to be sold with a certificate of authenticity signed by the artist and accompained with its original product box.

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000 中村萌

On The Way Home 2020 Wood, edition no. 209/250 Sculpture:6(L) x 5.5(W) x 10.5(H) cm House:11.7(L) x 9.5(W) x 18(H) cm Signed on the bottom Moe This lot is to be sold with a certificate of authenticity and accompained with its original product box.

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000 中村萌 回家路上

鹿角

2020

2020

楓木 209/250

寶麗石粉樹脂 48/200

本體：6(長) x 5.5(寬) x 10.5(高) cm

24(長) x 7.5(寬) x 24(高) cm

木屋：11.7(長) x 9.5(寬) x 18(高) cm

附藝術家簽名作品保證卡與作品原產紙盒包裝

簽名印刷底部：Moe 附藝術家簽名保證卡與作品原產紙盒包裝

224

附藝術家簽名作品保證卡與作品原產紙盒包裝

354

Roby Dwi ANTONO (Indonesian, b. 1990)

Intimacy 2019 polystone, edition no. 30/100 9.5(L) x 18.5(W) x 31(H)cm This lot is to be sold with a certificate of authenticity and wooden box.

353

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

Isamu NOGUCHI (Japanese-American, 1904 - 1988)

Measured Time (Clock and Kitchen Timer) 1932 Bakelite, metal, enameled metal, printed paper 13.3(L) x 8.9(W) x 15.6(H) cm Titled Hawkeye Measured Time With one metal manufacturer's label on the reverse STEVENSON MFG. CO.

羅比•安托諾 親密 2019 寶麗石粉樹脂 30/100

PROVENANCE

352

Moe NAKAMURA (Japanese, b. 1988)

Waiting for You 2016 Polystone, edition no. 48/130 15(L) x 15(W) x 20(H) cm Signed on the bottom Moe This lot is to be sold with a certificate of authenticity and accompained with their original product box.

NT$ 90,000 - 160,000 HK$ 24,000 - 43,000 US$ 3,100 - 5,600 RMB 20,000 - 36,000 中村萌 等待 2016 寶麗石粉樹脂 48/130 15(長) x 15(寬) x 20(高) cm 簽名印刷底部：Moe 附藝術家簽名作品保證卡與作品原產紙盒包裝

226

9.5(長) x 18.5(寬) x 31(高) cm

Produced by Stevenson Manufacturing Company, Indiana, America, 1932

355

EXHIBITED

Roby Dwi ANTONO

Isamu Noguchi, Patent Holder: Designing the World of Tomorrow, The Noguchi Museum, New York, June 4, 2014–January 4, 2015 Isamu Noguchi, Patent Holder: Designing the World of Tomorrow, Dr. M.T. Geoffrey Yeh Art Gallery at St. John’s University in Queens, New York, January 15, 2015–March 19, 2015

NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 13,000 - 27,000 野口勇 時間測量 (時鐘與廚房定時器) 1932 電木 金屬 搪瓷金屬 印刷紙

(Indonesian, b. 1990)

Ruh & Luh 2020 Poly-Resin, edition no. 35/150 22(L) x 22(W) x 29(H) cm (Ruh) 25.5(L) x 23(W) x 29(H) cm (Luh) Signed on the bottom Roby This lot is to be sold with a certificate of authenticity and a woodenbox.

NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 13,000 - 27,000

13.3(長) x 8.9(寬) x 15.6(高) cm 題識印刷：Hawkeye Measured Time

羅比•安托諾

商標背後：STEVENSON MFG. CO.

眼淚與靈魂

來源

2020

史蒂文森製造公司製造，印第安那州，美國，1932

複合樹脂 35/150

展覽

22(長) x 22(寬) x 29(高) cm (Ruh)

野口勇，《專利持有人：設計明日世界》，

25.5(長) x 23(寬) x 29(高) cm (Luh)

野口勇博物館，紐約，展期自2014年6月4日至 2015年1月4日

簽名底部：Roby

野口勇，《專利持有人：設計明日世界》，Dr. M.T. Geoffrey Yeh

附作品保證書及木盒

藝廊， 聖約翰大學，紐約，展期自 2015年1月15日至3月19日

附藝術家簽名保證卡及木盒

356

Ikumi Nakada (Japanese, b. 1982)

357 中田郁美 MIMI & BOKU (兩件一組)

MIMI & BOKU (a set of 2)

2016

2016 Polystone, hand-painted, edition no. 23/25 left: 11.5(L) x 8(W) x 32.5(H) cm right: 14(L) x 9.3(W) x 31(H) cm

左：11.5(長) x 8(寬) x 32.5(高) cm

This lot is to be sold with a certificate of authenticity and accompained with their original product box

NT$ 160,000 - 220,000 HK$ 43,000 - 60,000 US$ 5,600 - 7,700 RMB 36,000 - 49,000

228

寶麗石粉樹脂 手工塗漆 23/25 右：14(長) x 9.3(寬) x 31(高) cm 附藝術家親筆簽名作品保證卡與 作品原產紙盒包裝

Yoshitoshi Kanemaki (Japanese, b. 1972)

金卷芳俊 人物隨想 01 (兩件一組)

Caprice Figurative 01 (a set of 2)

2020

2020 Rasin, edition no. 119/120 17.8(L) x 16.5(W) x 33.7(H) cm (each)

17.8(長) x 16.5(寬) x 33.7(高) cm (每件)

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

NT$ 170,000 - 240,000 HK$ 46,000 - 65,000 US$ 5,900 - 8,300 RMB 38,000 - 53,000

樹脂 119/120 附藝術家簽名作品保證卡

358

Yuichi Hirako (Japanese, b. 1982)

359 平子雄一 樹人 (三件一組)

Leaf Bug (a set of 3)

2020

2020 Ceramic, edition no. 32/88; no. 42/88; no. 37/88 17.5L) x 12.5(W) x 34.5(H) cm (each) Signed on the bottom Yuichi Hirako in English and numbered 32/88; 42/88; 37/88

17.5(長) x 12.5(寬) x 34.5(高) cm (每件)

This lot is to be sold with a certificate of authenticity and accompained with it’s original product box.

NT$ 130,000 - 220,000 HK$ 35,000 - 60,000 US$ 4,500 - 7,700 RMB 29,000 - 49,000

230

陶瓷 32/88; 42/88; 37/88 簽名版次底部：Yuichi Hirako 32/88; 42/88; 37/88 附作品保證卡與原裝盒

Ayako KITA (Japanese, b. 1981)

北彩子 另一個自我 (四件一組)

Alter Ego (a set of 4)

樹酯 3/30(藍); 2/30(白); 1/30(紫); 3/30 (紅)

Resin, edition no. 3/30 (Blue); 2/30(White); 1/30(Purple); 3/30 (Red) 15(L) x 22.5(W) x 30(H) cm (With base) (each) Print on the bottom Ayako KITA

簽名印刷底部：Ayako KITA

This lot is to be sold with a certificate of authenticity and accompained with their original product box

NT$ 100,000 - 200,000 HK$ 27,000 - 54,000 US$ 3,500 - 7,000 RMB 22,000 - 45,000

15(長) x 22.5(寬) x 30(高) cm (含底座) (每件) 附藝術家簽名保證卡與作品原產紙盒包裝

360

Poren HUANG

361 黃柏仁

(Taiwanese, b. 1970)

吸收

Absorbing It All

2005

2005 Bronze, edition no. 17/30 27(L) x 11(W) x 15(H) cm Engraved on the right rear side PR Engraved on the bottom of right front foot PR and numbered 30-17

27(長) x 11(寬) x 15(高) cm

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

by Powen Gallery and signed by the artist.

NT$ 100,000 - 200,000 HK$ 27,000 - 54,000 US$ 3,500 - 7,000 RMB 22,000 - 45,000

232

銅雕 17/30 雕刻簽名右後方：PR 雕刻簽名右前腳底部：30-17 PR 附紅野畫廊及藝術家親筆簽名之作品保證書

NOH Jun

盧濬

(Korean, b. 1969)

粉紅熊貓; 做夢熊貓

Pink Pandana, With You, I can Always Move Forward Without Fear ; Dreaming Pandana

2021

2021 Matte baking paint, Plastic no. 3/58 (Pink); 11/88 (Black) left: 18(L) x 18(W) x 26.5(H) cm right: 16(L) x 22(W) x 17(H) cm Signed on the bottom Nohjun in English, numbered 3/58 and dated 2021 Signed on the bottom Nohjun in English, numbered 11/88 and dated 2020

右：16(長) x 22(寬) x 17(高) cm

NT$ 80,000 - 160,000 HK$ 22,000 - 43,000 US$ 2,800 - 5,600 RMB 18,000 - 36,000

霧面烤漆 特製塑料 3/58 (粉); 11/88 (黑) 左：18(長) x 18(寬) x 26.5(高) cm 簽名底部：2021 Nohjun 3/58 簽名底部：2020 Nohjun 11/88

362

Philip Colbert

363 菲利普・考爾伯特

(British, b. 1979)

白日夢者

Day Dreamer

2020

2020 Resin, edition no.6/300 32(L) x 27(W) x 30(H) cm Engraved on the bottom Colbert

32(長) x 27(寬) x 30(高) cm

This lot is sold with a certificate of authenticity and accompanied with it’s original product box.

NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 13,000 - 27,000

234

Ayako KITA

北彩子

(Japanese, b. 1981)

另一個自我

Alter Ego

樹酯 木 31/50 簽名印刷底部：Ayako KITA

雷雕底部：Colbert

Resin, wood, edition no. 31/50 15(L) x 22.5(W) x 30(H) (With base)

附藝術家簽名之作品保證卡及作品原產紙盒包裝

Print on the bottom Ayako KITA

樹脂 6 /300

This lot is to be sold with a certificate of authenticity and accompained with their original product box

NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000

15(長) x 22.5(寬) x 30(高) cm (含底座) 附藝術家簽名保證卡與作品原產紙盒包裝

364

366

KAWS (Brian Donnelly)

HUNG Yi

(American, b. 1974)

(Taiwanese, b. 1970)

HOLIDAY UK - Containers (a set of 2)

Fortune Dragon (Set of 2)

2021 Ceramics, edition of 1000 19(L) x 13(W) x 42(H) cm (each) Print on the bottom KAWS..(each)

2017 Porcelain, edition no. 486/999; 557/999 37.5(L) x 16.5(W) x 19.5(H) cm (Each) Stamped on the bottom Hung Yi in Chinese, numbered 486/999; 557/999 and dated 2017

This lot is to be sold with its original product box

This work is to be sold with an instruction

NT$ 50,000 - 100,000 HK$ 14,000 - 27,000 US$ 1,700 - 3,500 RMB 11,000 - 22,000

manual and a certificate of authenticity issued

by Mr. Hung Yi Art Studio

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 13,000

KAWS〈布萊恩．唐納利〉

HOLIDAY UK - Containers (兩件一組) 2021 瓷 限量1000

洪易

19(長) x 13(寬) x 42(高) cm (每件)

福龍 (兩件一組)

簽名印刷底部：KAWS..(每件)

2017

附原產紙盒包裝

367

JU Ming (Taiwanese, b. 1938)

365

Daniel ARSHAM x Pokémon (American, b. 1980)

Eroded Pikachu (Blue) 2020 Resin, aluminium oxide, edition no. 326/500 22(L) x 15.5(W) x 35.5(H) cm This lot is accompanied with its original product box.

NT$ 60,000 - 120,000 HK$ 16,000 - 33,000 US$ 2,100 - 4,200 RMB 13,000 - 27,000 丹尼爾．阿爾軒 x 寶可夢

Taichi Series – Single Whip 2015 Unsaturated polyester resin, calcium carbonate, oil color paste, edition no. 184/300 28.5(L) x 14.4(W) x 18.2(H) cm Numbered on the bottom 184/300 This lot is to be sold with a certificate of limited reproduction issued by Ju Ming Museum Taipei

NT$ 90,000 - 180,000 HK$ 24,000 - 49,000 US$ 3,100 - 6,300 RMB 20,000 - 40,000 朱銘 太極系列 - 單鞭下勢

被侵蝕的皮卡丘（藍）

2015

2020

不飽和聚酯樹脂 碳酸鈣 油性色母 184/300

樹脂 氧化鋁 326/500

28.5(長) x 14.4(寬) x 18.2(高) cm

22(長) x 15.5(寬) x 35.5(高) cm

版次底部：184/300

附作品原產盒包裝

附朱銘美術館限量複製品證明書

236

瓷器 486/999 ; 557/999 37.5(長) x 16.5(寬) x 19.5(高) cm (每件) 印刷簽名底部：洪易 2017 486/999 ; 557/999 附洪易藝術工作室開立之保證書及說明卡

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

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

2.

3.

競投保證金 : 新台幣陸拾萬元或貳萬美金。 競投保證金需於 2022 年 6 月 1 日以前完成匯款至本公司指定帳號如下 : 銀行：匯豐（台灣）商業銀行 - 台北分行 銀行代碼：0810016 戶名：羅芙奧股份有限公司 帳號：001-234830-031（新台幣）或 001-234830-061（美金） 地址：台北市基隆路一段 333 號 14 樓 匯款時請指示銀行本公司需實收競投保證金全額，銀行手續費請匯款人負擔。

4.

2022 年 6 月 1 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2022 年 6 月 2 日至 6 月 5 日 ) 以新台幣現鈔支付 ( 恕不接受除現金之外之其他繳納方式 )，收款將於 6 月 5 日中午 12 點截止。

5.

電話

書面

網路競投：競投者如不能出席拍賣會，可透過電話

書面

網路方式進行競投。登記申請手續以及競投保證金

之繳納亦需在 2022 年 6 月 1 日以前完成匯款至本公司指定帳號。 6.

如於 2022 年 6 月 1 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我們將 與競投者聯繫並與之確認其競標牌號。

7.

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

8.

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

9.

若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價、服務費及其他費用 ) 金額超過競投保證金金額時，買方得以下列方 式結清帳款： (1) 現鈔：上限新台幣壹佰萬元。 (2) 信用卡與銀聯卡：刷卡上限為新台幣壹佰萬元。信用卡與銀聯卡持有人必需是買家本人，本公司不接受他人之信用卡。

10. 羅芙奧股份有限公司有權在發生任何不可預見的糾紛或矛盾的狀況之下，對於接受或拒絕付款（包含競投保證金）保留全部 的決定權。 238

IMPORTANT NOTICE TO BUYERS

委託競投表格

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:

委託競投表格須於拍賣24小時前送抵藝術部。競投表格可傳真至:

1.

Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.).

The completion of a registration form and the payment of a bidding deposit are required.

2.

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

3.

The bidding deposit must be transferred to Ravenel's specified Bank account prior to 1st June 2022, details as follow: Beneficiary's Bank: HSBC BANK (Taiwan) Limited.

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

4.

After the 1st June 2022, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 2nd June to 5th June 2022). Acceptance will cease on 5th June by 12pm (No other forms of payment will be accepted).

5.

Telephone / written / internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 1st June 2022.

6.

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

現代與當代藝術

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

拍 賣 編 號：TA2202

投標者資料 客戶編號

拍 賣 日 期：2022 年 6 月 5 日 ( 星期日 ) 下午 2:00

姓名

拍 賣 地 點：台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路 199 號

護照號碼/身份證字號/統一編號 電話號碼（住宅）

（手機）

拍賣期間之聯絡電話 (僅限電話競投) 電郵

傳真號碼

地址 拍賣品編號

名

稱

競投價 (新台幣) / (服務費不計在內)

※投標規則： 1. 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 2. 本人知悉書面及電話競標乃羅芙奧為基於投標者之便利而提供代為投標之服務而不成立任何委託投標之契約，羅芙奧不因執行投標而負任何 責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，以最先收到者優先辦理。 3. 本人同意如投標成功，本人應付之購買價款為最後落槌價加上服務費，服務費依業務規則第二條第4項之規定計算。(4a.買家支付每件拍品之 服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下者含參仟貳佰萬元以20％計算；（2） 落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳佰萬元之部份以12％計算。) 4. 本競投，本人同意並遵守本目錄所載所有業務規則。(包含但不限於羅芙奧不負瑕疵擔保責任及保證責任等規定) 5. 如投標者未曾於羅芙奧競投拍賣品，請附上投標者資料之副本及銀行證明資料。 6. 本人同意買家須知、投標者登記表格、委任競投表格及業務規則等附屬文件均視為本契約之一部分。 7. 羅芙奧基於上述原因而需蒐集、處理或非營利目的之利用投標者個人資料， 該資料將在前開蒐集目的之存續期間及依法令規定要求之期間內被處理或利用。

簽署 ：

日期：

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

240

拍 賣 名 稱：羅芙奧台北 2022 春季拍賣會

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

ABSENTEE BID FORM

業務規則

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

Bidder's Details Customer Number

Name

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

Auction Date Sale No. Location Address

SPRING AUCTION 2022 TAIPEI Modern & Contemporary Art Sunday, June 5, 2022, 2:00pm TA2202 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)

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

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

2. I understand and agree that Ravenel provides such bid services for the convenience of customers and no contract or agreement shall be constituted. Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received.

3. I understand and agree that if my bid is successful, I shall pay the final hammer price together with the buyer's premium. For detail please refer to Article 2,section 4 of the Transaction Agreement to the buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the buyer's premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the buyer's premium should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.)

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

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

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

Signature：

Date：

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

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

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

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。

TRANSACTION AGREEMENT 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： 244

(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

The following provisions are entered into by and between Ravenel Ltd., as the auctioneer, (hereinafter referred to as the “Company”),and the Seller (hereinafter referred to as the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Prospective Buyer, the Buyer should pay special attention to Article 2, Section 5 which provides limitations as to the legal responsibilities of the Company.

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

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

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

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

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

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

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

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

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

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

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

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

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

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graphs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes.

Many Lots fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her/its own judgment or estimation independently regarding the Lots.ing his/her own judgment or estimation independently regarding the Lots.

In the Auction a. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay

by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate announced by the Company on the day of auction. b. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. c. Registration Prior to the Bidding Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may request to conduct credit checks against Buyers. d. The Bidding Deposit The bidder shall pay the bidding deposit before receiving the bidding number. The Company will announce the amount of the bidding deposit before the auction day.

(1) If the bidder fails to pay the bidding deposit in advance, the Company has the right to refuse the bid. If the bidder is not able to purchase any Lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder.

(2) If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs ) of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). If the Buyer ,without any good cause, fails to pay any and all payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs) of the Lot to the Company within 7 days after the auction date ,the Buyer shall not claim for the return of the bidding deposit. e. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission Bids The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the provided forms attached to the explanations of the catalogue; however, bid commission instructions must be delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions.

The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. g. Bid by Phone The Company will make proper effort to contact the bidder so he/she can participate in the auction by phone if the Prospective Buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. h. Online Bids via Invaluable If the bidder cannot attend the auction, it may be possible to bid online via Invaluable for preferred Lots to bear individual buyer's responsibilities. This service is free and confidential. For information about registering to bid via Invaluable, please refer to Ravenel.com. The Bidders using the Invaluable online bidding service are subject to the additional terms and conditions for online bidding via Invaluable, which can be viewed at Ravenel.com and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating in auctions.

Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board.

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j. Recorded Images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. k. Determining Power of the Auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his/her discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the commencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction. l. Successful Bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement on Hammer Price.

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

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

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

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

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

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

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

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

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

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

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

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

Return of Payments for Counterfeits or stolen goods The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit or stolen goods, or involved in obvious illegality by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields. b. Or the method used to prove that the Lot is a counterfeit or stolen goods is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he/she considers the relevant auction item a counterfeit or stolen goods.

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

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

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

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