藝術家索引 INDEX
A IzumiAkiyama 秋山泉 59
TakeruAmano 天野タケル 61,62
RobyDwiAntono 羅比．安托諾 115
Ayaïro 曽根田絢香 93
B GuyBardone 居．巴赫東 40
Bijijoo(MichaelToddHorne) 麥克 陶德．霍恩 113
Blic(BlicPinas) 波利克．皮納斯 75
GeoffreyBouillot 杰弗里．布約 109,110
RineBoyer 凌．波兒 81,82 AndréBrasilier 安德烈．布拉吉利 33,34,38
C Cane(RiccardoNannini) 甘蔗（里卡多．南尼尼） 84
BernardCharoy 貝爾納．夏洛瓦 36,37
HiloChen 陳昭宏 44,45 ChiuYa-Tsai 邱亞才 29 AndréCottavoz 安德烈．科達沃茲 39
D DingYi 丁乙 27 DuXi 杜溪 46
E EtsuEgami 江上越 5,6
F SolFelpeto 索兒．費佩托 85 AlexFace 亞歷克斯．費斯 114
G YunGee 朱沅芷 32 RenéGenis 賀內．吉尼斯 41 GuanLiang 關良 26
H AiHaibara 灰原愛 63,64 HanChoongSeok 韓忠錫 95 JaimeHayon 亞米．海因 23
YuichiHirako 平子雄一 67 GemmaHolzer 吉瑪．霍爾澤 89
HsiaoChin 蕭勤 25 BenreiHuang 黃本蕊 11,12 PorenHuang 黃柏仁 96 HungYi 洪易 24
I HirokazuIchii 一井弘和 103
BryanIda 布萊恩．伊達 80 KirikoIida 飯田桐子 65
J Jisbar(Jean-BaptisteLaunay) 吉斯巴 88
JungYeoEun 鄭與恩 112
K NaokoKadokura 門倉直子 106 Kaws(BrianDonnelly)Kaws（布萊恩．唐納利） 87
KenzKenz91,92
JordyKerwick 喬迪．科維克 74
SatoruKoizumi 小泉悟 2
SatomiKondo 近藤智美 107
YayoiKusama 草間彌生 17,18,19,20,21,22
L LimKac-Keong 林克恭 58
M RafaMacarrón 拉法．馬卡龍 69 JurgaMartin 尤爾嘉．馬賀丹 57 EddieMartinez 艾迪．馬丁內斯 78
HiroyukiMatsuura 松浦浩之 102 TomokazuMatsuyama 松山智一 111 NoritoshiMitsuuchi 光內亘利 1 MoisésYagües 莫伊 90
N TomokoNagai 長井朋子 3 IkumiNakada 中田郁美 4 MoeNakamura 中村萌 9,10 KoheiNawa 名和晃平 52 NikkiNikki72,73 No2Good 不二良 13,14 KunihikoNohara 野原邦彥 117 ThierryNoir 蒂埃里．諾爾 77
P NathanPaddison 內森．帕迪森 86 PangJiun 龎均 30 EdgarPlans 艾德加．普連斯 70,116
R AugusteRodin 奧古斯特．羅丹 35 AyakoRokkaku 六角彩子 68,97,98,99,100,101 LaksamanaRyo(Ryol) 拉薩馬納．利歐 76
S SatoshiSaitoh 齊藤智史 119,120 TomoyoshiSakamoto 坂本友由 108 MatíasSánchez 馬蒂亞斯．桑切斯 71 ShozoShimamoto 嶋本昭三 50 ChiharuShiota 塩田千春 7,8,53 KazuoShiraga 白髮一雄 51 SupaKitch 市霸奇奇 83
T WalasseTing 丁雄泉 31,47,48,49 ShinnosukeTojo 東城信之介 104 Pierre-YvesTrémois 皮耶 伊夫．特墨 43 YoshimasaTsuchiya 土屋仁応 55,56
TYM344TYM344105
TzengYong-Ning 曾雍甯 60
V NickVeasey 尼克．維西 79
W ClaudeWeisbuch 克勞德．維士巴修 42
X XueSong 薛松 28
Y AiYamaguchi 山口藍 15,16 MayukaYamamoto 山本麻友香 66 RyoichiYamazaki 山崎龍一 118 HeeRinYang 梁憙潾 94 AkihikoYoshida(Nikichi) 吉田昭彥（仁吉） 54
Z ZhouChunya 周春芽 23
14
目次 CONTENTS 7 羅芙奧秋季拍賣會 Sale Information 10 羅芙奧之服務 Ravenel Services 13 藝術家索引 Index 14 薈萃國際：現代與當代藝術 SELECT: Modern & Contemporary Art 167 給予買家的重要通知 Important Notice to Buyers 169 委託競投表格 Absentee Bid Form 171 業務規則 Transaction Agreement
001
NORITOSHI MITSUUCHI
(Japanese, b. 1978) Little Knight 2020 Mixed media on canvas 41.4 x 32 cm Signed reverse Noritoshi M This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 30,000 - 60,000 HK$ 7,000 - 15,000 US$ 900 - 1,900 RMB 7,000 - 13,000
1978 年出生於日本大阪。畢業於神
2002 年開始活躍於藝術
及藝術博覽會，其中包含上野之森美術館的大 賞展及 2019 年福岡亞洲藝術博覽會。 Noritoshi Mitsuuchi was born in Osaka, Japan, 1978. Graduated from Kobe Design University, he has been active since 2002. He is a cartoonist with a surreal style that incorporates elements of childlike innocence with his imagery of animals and young children. He is famous for integrating childlike bold brush strokes and vibrant colors into his artwork. He has participated in Japan and overseas exhibitions and art fairs, including the Ueno Royal Museum Grand Prize Exhibition and 2019 Art Fair Asia Fukuoka.
光內亘利 小鬥士 2020 年 綜合媒材 畫布 41.4 x 32 cm 簽名畫背：
附藝術家簽名原作保證書 16
光內亘利在
戶工科藝術大學，他從
界。光內是一位擁有超現實風格的畫家，善於 使用童趣的手法與元素創造出他想像中的純真 世界。光內曾經參加過日本及海外等多個展覽
Noritoshi M
SATORU KOIZUMI
(Japanese, b. 1983)
Waterbuck; White Bear (a set of 2)
Pencil, watercolor, acrylic on board 27.5 x 20 cm (each) Signed lower right Koizumi (each)
NT$ 130,000 - 200,000 HK$ 32,000 - 50,000 US$ 4,100 - 6,300 RMB 29,000 - 45,000
小泉悟 水羚；白熊（兩件一組） 鉛筆 水彩 壓克力 紙板 27.5 x 20 cm （每件） 簽名右下： Koizumi （每件）
002
TOMOKO NAGAI (Japanese, b. 1982) Two 2014 Watercolor, pencil, color pencil, ink and collage on paper 25 x 36 cm
Signed reverse Tomoko Nagai, titled Two in Japanese and dated 2014
NT$ 50,000 - 100,000 HK$ 12,000 - 25,000 US$ 1,600 - 3,200 RMB 11,000 - 22,000
長井朋子 倆 2014 年 水彩 鉛筆 色鉛筆 墨 拼貼 紙本 25 x 36 cm 簽名畫背： 2 人 Tomoko Nagai 2014
003
18
IKUMI NAKADA (Japanese, b. 1982)
My Cherry!
2018 Oil on paper with hand-made frame 35 x 24 cm
Signed reverse Ikumi Nakada, titled in Japanese, inscribed Oil on paper and dated 2018.11.17 Signed backing board Ikumi Nakada and dated 2018.11.17 This lot is accompanied with a certificate of authenticity issued by Elsa Art Gallery, Taipei and signed by the artist. NT$ 80,000 - 120,000 HK$ 20,000 - 30,000
004
中田郁美 櫻桃是我的！
US$ 2,500 - 3,800 RMB 18,000 - 27,000
2018 年 油彩 紙本 手工框 35 x 24 cm 簽名題識畫背：チェリーとらないで Ikumi Nakada Oil on paper 2018.11.17 簽名背板： Ikumi Nakada 2018.11.17 附雲清藝術中心開立之藝術家簽名原作保證書
005
ETSU EGAMI (Japanese, b. 1994) Mishearing Game (Acorn Project): Communication and Imagination 26
2020 Acrylic on clear box, acorn 6(L) x 9(W) x 9(H) cm
Signed lower Egami Etsu and dated 2020.11
EXHIBITED
Entrance Gallery Vol.1 Etsu Egami, Chiba City Museum of Art, Chiba, Japan, November 3 - December 13, 2020
NT$ 50,000 - 80,000 HK$ 12,000 - 20,000 US$ 1,600 - 2,500
RMB 11,000 - 18,000
重新思考人與人之間交流的本質。「誤聽
斷語義，從各種誤會中產生出新的溝通。 參加者在橡子上寫上名字或訊息並放入透 明盒子中，除了儲存當時的記憶外也代表 新的交流開始。 In 2020, the Chiba City Art Museum in Japan held the re-opening project, Egami uses interactive creations to contemplate how humans should interact though facing language barriers. "Mishearing game" means that both parties intuitively judge semantics from speech and imagination, and generate new exchanges from various misunderstandings. Participants write their names or messages on the acorns and put them in the acrylic box.
江上越 誤聽遊戲（橡子項目）： 溝通與想像－ 26 2020 年 壓克力 透明盒子 橡果 6 （長） x 9 （寬） x 9 （高） cm 簽名下方：
展覽 「第一回入口藝廊－江上越」， 千葉市美術館，千葉，日本， 展期 2020 年 11 月 3 日至 12 月 13 日
20
Egami Etsu 2020.11
2020 年日本千葉市美術館重新開幕，江上 越作為第一回參展藝術家，以互動型創作，
遊戲」是指雙方憑直覺從語音與想像來判
ETSU EGAMI (Japanese, b. 1994) Confusion by Brushing Past 2019-112 2019 Oil on canvas 38.5 × 46 cm
Signed upper right Egami Etsu and dated 2019
PROVENANCE
Whitestone Gallery, Hong Kong Acquired from the above by the present owner This lot is accompanied with a certificate of authenticity issued by Whitestone Gallery, Hong Kong. NT$ 240,000 - 360,000 HK$ 60,000 - 89,000 US$ 7,600 - 11,400 RMB 54,000 - 81,000
2019-112
006
江上越 擦肩而過的困惑－
2019 年 油彩 畫布 38.5
簽名右上：
來源 白石畫廊，香港 現有收藏者購自上述來源 附香港白石畫廊開立之原作保證書
x 46 cm
Egami Etsu 2019
007
CHIHARU SHIOTA (Japanese, b. 1972)
Navigation Into the Unknown
2020 Lithograph, ed. 27/40 65 x 50 cm
Initialed lower right CS
Numbered lower left 27/40
NT$ 50,000 - 80,000
HK$ 12,000 - 20,000
US$ 1,600 - 2,500
RMB 11,000 - 18,000
塩田千春
航向未知 2020 年
石版畫 版次 27/40 65 x 50 cm
簽名右下： CS. 版次左下： 27/40
22
008
CHIHARU SHIOTA
(Japanese, b. 1972)
Inner House; Wavy Line (a set of 2)
2019 Lithograph, ed. 15/40; 19/40 30 × 40 cm (each)
Initialed lower right CS
Numbered lower left 15/40; 19/40
PROVENANCE
Mori Art Museum Shop, Tokyo Private collection, Asia
NT$ 70,000 - 140,000 HK$ 17,000 - 35,000 US$ 2,200 - 4,400 RMB 16,000 - 31,000
塩田千春 內在之屋；波浪線（兩件一組）
石版畫
簽名右下：
來源 森美術館藝術商店，東京 私人收藏，亞洲
2019 年
版次 15/40 ； 19/40 30 x 40 cm （每件）
CS. 版次左下： 15/40 ； 19/40
009
MOE NAKAMURA
(Japanese, b. 1988)
Melty Dark
2017 Watercolor, color pencil on paper 29.8 x 21 cm
Signed lower right Moe and dated 2017 Signed reverse Moe Nakamura in Japanese and titled Melty Dark
PROVENANCE
Tsubaki Gallery, Tokyo
NT$ 130,000 - 200,000 HK$ 32,000 - 50,000 US$ 4,100 - 6,300 RMB 29,000 - 45,000
24
中村萌 融化黑暗 2017 年 水彩 色鉛筆 紙本 29.8 x 21 cm 簽名右下： Moe 2017 簽名題識畫背：中村萌 Melty Dark 來源 椿畫廊，東京
MOE NAKAMURA (Japanese, b. 1988) Growth
2017 Pastel on paper 25 x17 cm
Signed lower right Moe Signed reverse Moe and dated 2017
PROVENANCE Tsubaki Gallery, Tokyo
NT$ 180,000 - 280,000 HK$ 45,000 - 69,000 US$ 5,700 - 8,900 RMB 40,000 - 63,000
010
中村萌 萌芽
蠟筆
簽名右下：
簽名畫背：
來源 椿畫廊，東京
2017 年
紙本 25 x 17 cm
Moe
Moe 2017
BENREI HUANG (Taiwanese, b. 1959)
A Long-Stretched Apology
2016 Acrylic on canvas 71 x 56 cm
Signed lower right Benrei.H and dated 2016
EXHIBITED
In the Name of Flower, Eslite Bookstore Suzhou Exhibition Hall, Suzhou, June 3 - 25, 2017
This lot is accompanied with a certificate of authenticity issued by Eslite Gallery, Taipei and signed by the artist.
NT$ 320,000 - 480,000 HK$ 79,000 - 119,000 US$ 10,100 - 15,200 RMB 72,000 - 108,000
011
黃本蕊 對∼∼不∼∼起 2016 年 壓克力 畫布 71 x 56 cm 簽名右下： Benrei.H 2016 展覽 「以花之名」， 誠品生活蘇州展演廳，蘇州， 展期 2017 年 6 月 3 日至 25 日 附誠品畫廊開立之藝術家簽名原作保證書 26
012
BENREI HUANG (Taiwanese, b. 1959)
A Season Too Late - 1
2020 Acrylic on canvas 71 x 56 cm
Signed lower right Benrei.H and dated 2020
EXHIBITED Shapes of Self - Reflection, Eslite Gallery, Taipei, July 3 - 31, 2021
This lot is accompanied with a certificate of authenticity issued by Eslite Gallery, Taipei and signed by the artist.
NT$ 320,000 - 480,000
HK$ 79,000 - 119,000
US$ 10,100 - 15,200
RMB 72,000 - 108,000
黃本蕊 平行時空裡遇見愛（之一） 2020 年 壓克力 畫布 71 x 56 cm 簽名右下： Benrei.H 2020 展覽 「隨省三姿」，誠品畫廊，台北， 展期 2021 年 7 月 3 日至 31 日 附誠品畫廊開立之藝術家簽名原作保證書
013
NO2GOOD
(Taiwanese, b. 1976) Sponge Mousy 2010-2012 Fiberglass, ed. 2/2 42(L) x 68(W) x 94(H) cm Signed back of right foot No2Good in Chinese and English, dated 2012.8
EXHIBITED Stay Real Forever, MoCA Shanghai, Shanghai, June 10 - July 12, 2010 Revolution of Evolution, National Taiwan Museum of Fine Arts, Taichung, July 25 - November 12, 2010
This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 300,000 - 500,000 HK$ 74,000 - 124,000 US$ 9,500 - 15,800 RMB 67,000 - 112,000
2012.8
「純真年代」，上海當代藝術館，上海， 展期
月
7 月
「基因搖滾」，國立台灣美術館，台中， 展期
月
月
附藝術家簽名原作保證書 28
不二良 海綿小鼠 2010-2012 年 玻璃纖維 版次 2/2 42 （長） x 68 （寬） x 94 （高） cm 簽名右腳後方：不 2 良 No2Good
展覽
2010 年 6
10 日至
12 日
2010 年 7
25 日至 9
12 日
014
NO2GOOD
(Taiwanese, b. 1976) Pink Mousy
2010-2012 Fiberglass, ed. 2/2 42(L) x 68(W) x 94(H) cm Signed back of right foot No2Good in Chinese and English, dated 2012.8
EXHIBITED Stay Real Forever, MoCA Shanghai, Shanghai, June 10 - July 12, 2010 Revolution of Evolution, National Taiwan Museum of Fine Arts, Taichung, July 25 - November 12, 2010
This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 300,000 - 500,000
74,000 - 124,000
9,500 - 15,800
67,000 - 112,000
2012.8
HK$
US$
RMB
不二良 粉紅小鼠 2010-2012 年 玻璃纖維 版次 2/2 42 （長） x 68 （寬） x 94 （高） cm 簽名右腳後方：不 2 良 No2Good
展覽 「純真年代」，上海當代藝術館， 上海，展期 2010 年 6 月 10 日至 7 月 12 日 「基因搖滾」，國立台灣美術館， 台中，展期 2010 年 7 月 25 日至 9 月 12 日 附藝術家簽名原作保證書
AI YAMAGUCHI
(Japanese, b. 1977) Botango 2000 Acrylic on wooden bucket Ø 18.1; H 10 cm Signed bottom Ai and dated 2000
PROVENANCE Ninyu Works, Tokyo SBI Auction, Tokyo, April 20, 2018, lot 286 Acquired from the above by the present owner NT$ 120,000 - 200,000 HK$ 30,000 - 50,000 US$ 3,800 - 6,300 RMB 27,000 - 45,000
015
山口藍 牡丹盆
壓克力
來源
30
2000 年
木盆 Ø 18.1 ；高 10 cm 簽名背面： Ai 2000
Ninyu Works 工作室，東京 SBI 拍賣，東京， 2018 年 4 月 20 日，編號 286 現有收藏者購自上述來源
AI YAMAGUCHI
(Japanese, b. 1977)
Wakayama ; Sayounara ; Aoi Kagami ; Inorenai (a set of 4)
2001; 2002
Acrylic, cotton, blanket on panel 23.5 x 17 x 2.5 cm (each) Signed and dated reverse (each)
PROVENANCE
(Wakayama; Sayounara; Aoi Kagami)
Ninyu Works, Tokyo
Sotheby's, Contemporary Art Asia, New York, March 31, 2006, lot 099
Mainichi Auction Inc., December 20, 2013, lot 088 (Inorenai)
Ninyu Works, Tokyo
SBI Auction, Tokyo, January 27, 2018, lot 035 Acquired from the above by the present owner
ILLUSTRATED
Hogarahogara: Ai Yamaguchi, Hatorishoten, Tokyo, 2010, color illustrated, p. 34 (Inorenai)
NT$ 360,000 - 550,000 HK$ 89,000 - 136,000 US$ 11,400 - 17,400 RMB 81,000 - 123,000
016
山口藍 若山；後會有期； 青色銅鏡；無法祈禱（四件一組） 2001 年； 2002 年 壓克力 棉布 毯子 木板 23.5 x 17 x 2.5 cm （每件） 簽名題識畫背（每件） 來源 （若山；後會有期；青色銅鏡） Ninyu Works 工作室，東京 蘇富比，「亞洲當代藝術」， 紐約， 2006 年 3 月 31 日，編號 099 每日拍賣，東京， 2013 年 12 月 20 日，編號 088 （無法祈禱） Ninyu Works 工作室，東京 SBI 拍賣，東京， 2018 年 1 月 27 日，編號 035 現有收藏者購自上述來源 圖錄 《黎明時分：山口藍》，羽鳥書店， 東京， 2010 年，彩色圖版，頁 34 （無法祈禱）
017
YAYOI KUSAMA
(Japanese, b. 1929)
Pistils and Stamens 1994 Silkscreen, ed. 63/75 41.7 x 29.5 cm (image); 63 x 45.5 cm (sheet)
Signed lower right Yayoi Kusama
Titled lower left Pistils and Stamens in Japanese, numbered 63/75 and dated 1994
PROVENANCE
Galerie Vivant, Tokyo
ILLUSTRATED
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, no. 197, p. 120
NT$ 160,000 - 240,000
HK$ 40,000 - 60,000
US$ 5,100 - 7,600
RMB 36,000 - 54,000
草間彌生 花芯 1994 年 絲網印刷 版次 63/75 41.7 x 29.5 cm （圖）； 63 x 45.5 cm （紙） 簽名右下： Yayoi Kusama 題識年代下方：花芯 1994 版次左下： 63/75 來源 Galerie Vivant ，東京 圖錄 《草間彌生全版畫 1979-2017 》，阿部出版株式會社， 東京， 2017 ，彩色圖版，編號 197 ，頁 120
32
YAYOI KUSAMA
(Japanese, b. 1929) Morning is Here A; Book to Read at Night B (a set of 2)
2004 Silkscreen, ed. 89/95; 61/95 16 x 23 cm (image); 24 x 31 cm (sheet) (each) Signed lower right Yayoi Kusama (each) Titled lower left Morning is Here A; Book to Read at Night B in Japanese, numbered 89/95; 61/95 and dated 2004
ILLUSTRATED
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, no. 333 & 339, pp. 191 & 193
NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300 RMB 63,000 - 94,000
草間彌生 晨曦將至 A ；夜的讀本 B （兩件一組） 2004 年 絲網印刷 版次 89/95 ； 61/95 16 x 23 cm （圖）； 24 x 31 cm （紙）（每件） 簽名右下： Yayoi Kusama （每件） 題識年代下方：朝が 来 た A 2004 ；夜に 読 む本 B 2004 版次左下： 89/95 ； 61/95 圖錄 《草間彌生全版畫 1979-2017 》，阿部出版株式會社， 東京， 2017 ，彩色圖版，編號 333 & 339 ，頁 191 & 193
018
019
YAYOI
KUSAMA (Japanese, b. 1929) Weeds 1992 Etching, ed. 73/150 27.5 x 22 cm (image); 37.5 x 29 cm (sheet)
Signed lower right Yayoi Kusama Titled lower left Weeds in Japanese, numbered 73/150 and dated 1992
ILLUSTRATED
Yayoi Kusama: Print Works, Abe Publishing Ltd., Tokyo, 1992, no. 157, p. 121
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, no. 159, p. 102
This lot is accompanied with a photocopy of the certificate of authenticity issued by Beyond Gallery, Taipei.
草間彌生 雜草 1992 年 蝕刻版畫 版次 73/150 27.5 x 22 cm （圖）； 37.5 x 29 cm （紙） 簽名右下： Yayoi Kusama 題識年代下方： 雑 草 1992 版次左下： 73/150 圖錄 《草間彌生版畫集》，阿部出版株式會社， 東京， 1992 ，編號 157 ，頁 121 《草間彌生全版畫 1979-2017 》，阿部出版株式會社， 東京， 2017 ，彩色圖版，編號 159 ，頁 102 附非畫廊開立之保證書影印本
NT$ 160,000 - 240,000 HK$ 40,000 - 60,000 US$ 5,100 - 7,600 RMB 36,000 - 54,000 34
020
YAYOI KUSAMA
(Japanese, b. 1929) Lemon Squash 1992 Lithograph, ed. 73/150 27.5 x 22 cm (image); 37.5 x 29 cm (sheet) Signed lower right Yayoi Kusama Titled lower left Lemon Squash in Japanese, numbered 73/150 and dated 1992
ILLUSTRATED
Yayoi Kusama: Print Works, Abe Publishing Ltd., Tokyo, 1992, no. 156, p. 121
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, no. 158, p. 102
This lot is accompanied with a photocopy of the certificate of authenticity issued by Beyond Gallery, Taipei.
NT$ 240,000 - 360,000 HK$ 60,000 - 89,000 US$ 7,600 - 11,400 RMB 54,000 - 81,000
草間彌生 檸檬蘇打 1992 年 石版畫 版次 73/150 27.5 x 22 cm （圖）； 37.5 x 29 cm （紙） 簽名右下： Yayoi Kusama 題識年代下方：レモンスカッシュ 1992 版次左下： 73/150 圖錄 《草間彌生版畫集》，阿部出版株式會社， 東京， 1992 ，編號 156 ，頁 121 《草間彌生全版畫 1979-2017 》，阿部出版株式會社， 東京， 2017 ，彩色圖版，編號 158 ，頁 102 附非畫廊開立之保證書影印本
021
YAYOI KUSAMA
(Japanese, b. 1929) Pumpkin (GSQ) 1998 Silkscreen, ed. 27/120 30 x 30 cm (image); 39.5 x 38 cm (sheet)
Signed lower right Yayoi Kusama Titled lower left Pumpkin (GSQ) in Japanese, numbered 27/120 and dated 1998
ILLUSTRATED
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, no. 243, p. 144
NT$ 480,000 - 750,000 HK$ 119,000 - 186,000 US$ 15,200 - 23,700 RMB 108,000 - 168,000
草間彌生 南瓜 GSQ 1998 年 絲網印刷 版次 27/120 30 x 30 cm （圖）； 39.5 x 38 cm （紙） 簽名右下： Yayoi Kusama 題識年代下方：かぼちゃ（ GSQ ） 1998 版次左下： 27/120 圖錄 《草間彌生全版畫 1979-2017 》，阿部出版株式會社， 東京， 2017 ，彩色圖版，編號 243 ，頁 144
36
022
YAYOI KUSAMA
(Japanese, b. 1929) Hat
Executed in 1988, casted in 1994
Bronze sculpture, ed. 6/30 28(L) x 27(W) x 12.5(H) cm
Engraved bottom Yayoi Kusama and dated 1988, with a stamp of the foundry numbered 6/30 and dated 94
PROVENANCE
Whitestone Gallery, Hong Kong
Private collection, Asia
Poly Auction, Hong Kong, July 12, 2020, lot 115
Acquired from the above by the present owner
This lot is accompanied with a certificate of authenticity issued by Whitestone Gallery, Hong Kong.
NT$ 650,000 - 900,000
HK$ 161,000 - 223,000
US$ 20,600 - 28,500
RMB 146,000 - 202,000
Yayoi Kusama 1988 6/30 94
草間彌生 帽子 原模
銅雕
簽名刻於底部：
鑄造工作室鈐印 來源 白石畫廊，香港 私人收藏，亞洲 保利拍賣，香港， 2020 年 7 月 12 日，編號 115 現有收藏者購自上述來源 附香港白石畫廊開立之原作保證書
1988 年；翻鑄 1994 年
版次 6/30 28 （長） x 27 （寬） x 12.5 （高） cm
ZHOU CHUNYA; JAIME HAYON
(Chinese, b. 1955; Spanish, b. 1974)
Alive 2012
Epoxy resins, lacquer (sculpture); Lacquered wood (vitrine), ed. 67/88
14(L) x 5(W) x 8(H) cm (each sculpture); 53(L) x 40(W) x 23(H) cm (box); 130(L) x 55(W) x 82(H) cm (vitrine)
Signed on the bottom Zhou Chunya in Chinese and numbered 67/88 (each sculpture) Signed bottom Jaime Hayon and numbered 67/88 (vitrine)
PROVENANCE MOT/ARTS, Taipei
EXHIBITED
Alive & Kicking, MOT/ARTS, Taipei, May 4 - June 17, 2012
Art for the Masses, Hua Gallery, London, June7 - July 6, 2012
Art for the Masses, Red Star Gallery, Beijing, July14 - August 5, 2012
Alive & Kicking, Chengdu Contemporary Art Museum, Chengdu, October24 - November 3, 2012
ILLUSTRATED
Alive & Kicking, MOT/ARTS, Taipei, 2012, pp. 18 & 86
This lot is accompanied by a certificate of authenticity issued by JUT Living Development (MOT/ARTS) signed and numbered by both artists.
NT$ 400,000 - 600,000
HK$ 99,000 - 149,000
US$ 12,700 - 19,000
RMB 90,000 - 135,000
周春芽 ; 亞米．海因
綠狗 2012 年 環氧樹脂 亮面漆（雕塑）； 亮面漆 木（玻璃櫃）版次 67/88
14 （長） x 5 （寬） x 8 （高） cm （每件雕塑）；
53 （長） x 40 （寬） x 23 （高） cm （外盒）；
130 （長） x 55 （寬） x 82 （高） cm （玻璃櫃）
簽名底部：周春芽 67/88 （每件雕塑） 簽名底部： Jaime Hayon numbered 67/88 （玻璃櫃） 來源
MOT/ARTS 畫廊，台北 展覽 「爆發的生命力」， MOT/ARTS ，台北， 展期 2012 年 5 月 4 日至 6 月 17 日 「大眾藝術」， Hua 畫廊，倫敦， 展期 2012 年 6 月 7 日至 7 月 6 日 「大眾藝術」，紅星畫廊，北京， 展期 2012 年 7 月 14 日至 8 月 5 日 「爆發的生命力」，成都當代美術館，成都， 展期 2012 年 10 月 24 日至 11 月 3 日 圖錄 《爆發的生命力》， MOT/ARTS ， 台北， 2012 ，頁 18 & 86 附忠泰生活開發（ MOT / ARTS ）開立之藝術家簽名保證書
023
38
HUNG YI
(Taiwanese, 1970) Lucky Tiger (Middle) 2010
Baked enamel on steel plate, ed. EA 150(L) x 102(W) x 125(H) cm Signed back of right foot HUNG Yi in Chinese, numbered EA and dated 2010
NT$ 1,100,000 - 1,900,000 HK$ 273,000 - 471,000 US$ 34,800 - 60,100 RMB 247,000 - 426,000 在中華文化裡，百獸之長－福虎神獸象徵著權力與威嚴，人們 對其形象十分崇拜。對於現代人來說，也有生氣勃勃和好運的 意象。除去虎的威猛形象，藝術家給予其新的圓潤造形增添幽 默趣味感，並以豐富的傳統元素與鮮豔色彩傳遞正向能量。藝 術家創作的 12 生肖圖騰造型以虎尤其出色，今年歲值虎年，彰
化縣立美術館、香港 3812 畫廊都以洪易的《福虎》作品喜迎壬 寅新年。洪易的作品除可見於台灣各地公共藝術裝置，近年來
也廣受國外展覽邀約， 2013 年受邀到日本箱根雕刻之森美術館
舉辦個展、 2014 年分別在香港青衣城、舊金山默塞德湖球場舉
辦個展、 2015 年在舊金山市政府廣場大型地景藝術展、 2017 年在美國華盛頓城市中心廣場與馬里蘭州的安瑪莉雕塑公園野
的戶外展出。 2020 年，洪易在家鄉彰化設立「洪易美術館」見 證自己 20 年的創作成就，並推廣文化扎根交流。洪易認為：「當 代藝術世界百花齊放，無論創作什麼都要與自己的環境結合，
洪易
福虎（中型） 2010 年 鋼板烤漆 版次 EA 150 （長） x 102 （寬） x 125 （高） cm 簽名版次右腳後側： HUNG Yi EA 2010
In Chinese culture, Tigers, crowned as the head of the beasts, symbolize power and majesty, and people worship its image very much. For modern people, the tigers also denote strength, vitality and good fortune. Apart from the mighty image of the tiger, the artist adds a sense of humor to its new rounded and chubby shape, using rich traditional elements and bright colors to convey positive energy. Among the 12 zodiac totems created by the artist, tigers are particularly outstanding. Coincidentally this year is the Year of the Tiger, Changhua County Art Museum and the 3812 Gallery in Hong Kong welcome the new year with Hung's "Lucky Tiger". Hung's works can be seen in public art installations all over Taiwan, in recent years his works have also been widely invited to exhibit abroad: such as Hakone Open-Air Museum (Japan, 2013); Hong Kong Maritime Square and San Francisco Lake Merced Golf Club (2014); San Francisco's Civic Center Plaza (2015); Central Square of Washington City and the Ann Marie Sculpture Park in Maryland (2017).In 2020, Hung Yi established the "Hung Yi Art Museum" in his hometown Changhua, Central Taiwan where he witnessed his creative achievements over his 20 years and promoted cultural exchanges. Hung reckons "In the flourishing contemporary art world, the creation must be combined with one's own surrounding environment in order to make it vital and meaningful." Hung undoubtedly is an artist with originality and strong personal style, integrated with the color imagery that comes along with folk culture in the development of Taiwanese Contemporary Art.
024
藝術家。
創作才有意義和生命力。」在台灣當代藝術的發展上，洪易無 疑是一位具有強烈個人風格與結合民間文化色彩意象的原創性
另一側 other side 40
025
HSIAO CHIN (Taiwanese, b. 1935) Untitled 1980 Ink and color on silk 45.5 x 95 cm Signed lower right Hsiao in English, Chin in Chinese and dated 80 With two seals of the artist
PROVENANCE
Ravenel Auction, Taipei, December 4, 2005, lot 085 Acquired from the above by the present owner
NT$ 220,000 - 340,000 HK$ 55,000 - 84,000 US$ 7,000 - 10,800 RMB 49,000 - 76,000
For the first time in 1961, Hsiao turned his artistic attention to the strokes of Chinese calligraphy. Submerging himself in Chinese ink wash for years, he created "Untitled" with masterly skills in 1980 in his forties, the age that Chinese believe to be free from perplexities. Between the colors, the lines, and the shapes introduced by heavy strokes of ink lie pale, wrinkled, and rhythmic lines that seem to gently hover over the canvas. By embracing blank areas through reserved use of the ink, Hsiao coherently completed this work and directed the artistic conception to the state of Daoist Zen that moves and pauses both follow the will.
蕭勤 無題 1980 年 彩墨 絹布 45.5 x 95 cm 簽名右下： Hsiao 勤 80 鈐印右下：蕭勤畫記 鈐印上方：逍遙王玉璽 來源 羅芙奧拍賣，台北， 2005 年 12 月 4 日，編號 085 現有收藏者購自上述來源 1961 年蕭勤首次轉向真正具有書法筆觸的畫風，沉潛 累積至 1980 年《無題》不惑之年的蕭勤對於此類畫作 帷幄已得心應手。在大筆墨色帶出的色、線、形中， 輕輕飛白帶皴及盤旋有韻律的線條明顯，少著墨、多留 空，一氣呵成，皈依到欲行則行、欲止則止的道禪之境。
42
026
GUAN LIANG
(Chinese, 1900-1986)
Under the Old Wall c.1940s
Watercolor on paper 29.5 x 33 cm
Signed lower right
Guan Liang in Chinese and with a seal of the artist
PROVENANCE
Acquired directly from the artist in 1986 Sotheby's, Fine Modern Chinese Oil Paintings, Drawings and Watercolors, Taipei, October 17, 1999, lot 117 Acquired from the above by the present owner
NT$ 180,000 - 280,000 HK$ 45,000 - 69,000
US$ 5,700 - 8,900
RMB 40,000 - 63,000
Liang devoted his whole life in art creation after returning to China. He was famous for his reformed oil painting with a national tone, and vivid opera figures in Chinese Paintings. Guan Liang not only emphasized the learning of the tradition but also of the modern. His paintings are the reflection of cultural development in today's world as well as contemporaneity. "Under the Old wall" displays the artist's skillfully realistic style, reflecting the artist's claim to incorporate sentiment of Chinese arts into western arts.
關良是中國第一代油畫家，以具有民族性的改良 油畫，及生動傳神的水墨戲曲人物畫著稱。關良 提倡學習傳統的同時，也學習現代，以使自己的 作品能反映當今世界文化所發展的高度，更富於 時代性。《古城橋下》展現藝術家精湛的寫實技 巧，體現了藝術家在西方藝術風格中融入了中國 藝術情思的主張。 Guan
關良 古城牆下 約 1940 年代 水彩 紙本 29.5 x 33 cm 簽名鈐印右下：關良 來源 1986 年直接得自藝術家本人 蘇富比，「現代中國油畫、 素描及水彩」，台北， 1999 年 10 月 17 日，編號 117 現有收藏者購自上述來源
027
DING YI (Chinese, b. 1962) Script No.2 2009 Mixed media on paper 19.5 x 27 cm Signed lower left Ding Yi in Chinese and dated 09 NT$ 130,000 - 190,000 HK$ 32,000 - 47,000 US$ 4,100 - 6,000 RMB 29,000 - 43,000
丁乙 手稿 No.2 2009 年 綜合媒材 紙本 19.5 x 27 cm 簽名左下：丁乙 09
丁乙被認為是中國抽象派畫家的領軍人物。他 1983 年畢業於上 海工藝美術學校，後從事玩具和玩具包裝的設計工作。由於設 計時「十字」符號是圖稿上用於標示套色過程中的座標，丁乙 由此逐漸在「使繪畫僅僅回到形式的本質」的理想下，形成了 自己最具代表性的創作「十示」系列作品。《手稿 No.2 》鮮豔 的色彩如水晶球，又像俯瞰城市夜景，充滿想像與當代概念。
Ding Yi is one of the leading Chinese abstract artists. After graduating from the Shanghai Art & Design Academy in 1983, Ding Yi was involved in designing toys and toy packaging. The "cross" symbol was used extensively on these drawings to denote the need for the application of colors. This experience gave Ding Yi the inspiration for his "Appearance of Crosses"series of paintings, in which he sought to bring painting back to its essential formalist nature. "Script No.2" this abstract drawing is composed with vivid colors, seems like a crystal ball, or overlooking the city landscape at night, full of imaginary and contemporary conception. 44
028
XUE SONG
(Chinese, b. 1965)
Tiger
2008 Mixed media on canvas 120 x 100 cm
Signed lower right Xue Song in Chinese
Signed reverse Xue Song in English and Chinese, titled Tiger in Chinese, inscribed 120 x 100 cm and dated 2008
PROVENANCE
Zhong Cheng Auction, Taipei, June 10, 2012, lot 093 Private collection, Asia
This lot is accompanied by a certificate of authenticity signed by the artists.
NT$ 650,000 - 950,000 HK$ 161,000 - 236,000 US$ 20,600 - 30,000
RMB 146,000 - 213,000
薛松 虎 2008 年 綜合媒材 畫布 120
100
簽名右下：薛松 簽名題識畫背：薛松 Xue Song 虎 120
來源 中誠拍賣，台北， 2012 年 6 月 10 日，編號 093 私人收藏，亞洲 附藝術家簽名保證書
x
cm
x 100 cm 2008
CHIU YA-TSAI
(Taiwanese, 1949-2013)
Figure in Red Dress
Oil on canvas
116 x 100 cm
Signed lower center Chiu Ya-tsai in Chinese
PROVENANCE
Private Collection, Asia
EXHIBITED
Lifetime Colon-Chiu Ya-tsai Retrospective Exhibition, Yilan Museum of Art, Yilan, July 13 - November 10, 2019
ILLUSTRATED
Lifetime Colon-Chiu Ya-tsai Retrospective Exhibition, Yilan Museum of Art, Yilan, 2019, color illustrated, pp. 114-115
Chen Kuang-Yi, Portrait Life Chiu Ya-tsai, Artist Publishing Co., Taipei, 2021, color illustrated, p. 102
This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 900,000 - 1,600,000 HK$ 223,000 - 397,000 US$ 28,500 - 50,600
RMB 202,000 - 359,000
2019 年在邱亞才家鄉的宜蘭美術館為其舉辦「人生浣腸—邱亞 才回顧展」，紀念台灣美術史一代傳奇肖像畫家。「人生浣腸」 除了是邱亞才出版的小說題名，更是以藝術家生命的曲折經歷、 旺盛的創造力，透過繪畫來訴說那需要被紓解救贖的苦悶人生。 此展是邱亞才去世後最大規模的回顧展。策展人陳貺怡在 2021 年著書《肖像．人生．邱亞才》提到：「有別於大家對邱亞才 畫中人物總是高雅、內斂和沉靜的看法，他以狂放的筆法與誇 張的表情，畫了許多瘋狂或可笑的人物。」而此回顧展中重要 展品之一《紅衣人物》則為其代表，畫中人物獨特而意有所表 的神情，精彩傳達了人類本質的游移和神秘。另外，畫面大面 積黑色背景，對比出前景紅衣的坐姿人像，不禁令人聯想到繪 畫大師法蘭西斯．培根重新演繹委拉斯蓋茲《教皇諾森十世像》 的《紅衣主教習作》系列作品。而邱亞才的肖像畫無疑與兩位 藝術史上卓越的肖像畫家致意，將人物的內在精神特質昇華於 肖像中。
In 2019, an exhibition "Lifetime Colon - Chiu Ya-tsai Retrospective" was held for Chiu at the Yilan Museum of Art in his hometown, to commemorate the legendary portrait painter in the history of Taiwanese art. "Lifetime Colon" is not only a title of one of the novels published by Chiu, but also the tortuous experience of twists and turns in his life, his vigorous creativity, to narrate the depressing life that needs to be relieved and redeemed through painting. This exhibition is Chiu's largest retrospective since his death. Chen Kuang-Yi, the curator of this retrospective exhibition, mentioned: "Different from everyone's perception that the characters in Qiu's paintings are always elegant, restrained and quiet, he did paint many crazy or ridiculous figures with wild brushwork and exaggerated expressions." In the book "Portrait Life Chiu Ya-tsai" (2021). "Figure in Red Dress" indeed is a representative work of the artist. The unique and expressive expressions of the character in the painting brilliantly convey the wandering and mysterious nature of human beings. In addition, the large black background contrasts with the sitting figure in red dress in the foreground, which is reminiscent of Francis Bacon's "Study of Red Pope" reinterpreting the "Pope Innocent X" series by Diego Velázquez. Chiu no doubt paid tribute to the two outstanding portrait painters in the history of art, sublimating the inner spiritual qualities of the characters in the portraits.
029
邱亞才 紅衣人物 油彩 畫布 116 x 100 cm 簽名中下：邱亞才 來源 私人收藏，亞洲 展覽 「人生浣腸—邱亞才回顧展」，宜蘭美術館， 宜蘭，展期 2019 年 7 月 13 日至 11 月 10 日 圖錄 《人生浣腸—邱亞才回顧展》，宜蘭美術館， 宜蘭， 2019 ，彩色圖版，頁 114-115 陳貺怡，《肖像．人生．邱亞才》，藝術家出版社， 台北， 2021 ，彩色圖版，頁 102 附藝術家簽名原作保證書
46
PANG JIUN
(Taiwanese, b. 1936)
The View of Mountain and Farmland
2010 Oil on canvas 72.7 x 91 cm
Signed lower right Pang Jiun in Chinese and dated 2010 With one painted seal of the artist
PROVENANCE
JSL Auction, Taipei, December 19, 2010, lot 071 Acquired from the above by the present owner
This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 1,800,000 - 2,800,000 HK$ 447,000 - 695,000 US$ 56,900 - 88,600 RMB 404,000 - 628,000
作品《山影映水田》同樣融匯了中西方的藝術哲思，是一幅飽 涵中國詩詞文化，且有豐富知識學養的難得佳作。全景式構圖， 描繪了桂林一帶的魚米水田之景。遠處的山影朦朧如淡墨渲染， 筆法可見宋代畫家屈鼎《夏山圖》的神色在其中。畫面由遠而 近作平遠之貌，千山一碧，水田蒼茫。再跟隨視線前移山勢漸 陡，彷見林木蔥鬱，雲霞鎖山腰，山形步步移。近山步入眼簾， 山形奇美瑰麗，酷似元人吳鎮《秋江漁隱圖》中山石的韻味— 蒼茫渾厚的山水畫風，恰到好處地表現了古人歌頌山川之氣韻。 筆端豪邁的氣質亦是其師黃賓虹從新安畫派的疏淡清逸，轉開 學習吳鎮的黑密厚重的積墨之風格，對之後龎均在傳統技法上 的影響可見一斑。
The oil painting, "The View of Mountain and Farmland", is a rare work of art blending Western and Chinese artistic philosophies with rich Chinese poetry and culture to embody a wealth of knowledge. The panoramic composition depicts a scene of fish and rice fields in Guilin. The shadows of the mountains in the distance are rendered lightly in ink, and the brushwork reflects the spirit and expression of "Summer Mountains" by the Northern Song Dynasty painter Qu Ding. The scene moves from far to near in a flat and distant manner, with a thousand hills and pale fields of water. As the view moves forward, the mountains become increasingly steeper, as if lush forests and clouds locking the mountainsides appear and move the shape of the mountains step by step. Up close, the shape of the mountains is beautiful and magnificent, similar to the rhythm of the mountains and rocks in the painting, " Fisherman in Reclusion on an Autumn River", by Wu Zhen from the Yuan Dynasty The pale and muddy style of the landscape painting is an apt expression of the ancient style of singing about mountains and rivers. The heroic temperament of the brushwork is also derived from his mentor Huang Binhong's sparse and clean style of the Xin'an School and then Wu Zhen's dark and thick ink accumulation style, reflecting the influence of the traditional techniques of Pang Jiun.
030
龎均
來源 景薰樓拍賣，台北， 2010 年 12 月 19 日，編號 071 現有收藏者得自上述來源 附藝術家簽名原作保證書
山影映水田 2010 年 油彩 畫布 72.7 x 91 cm 簽名右下：龎均 2010 手繪鈐印右下：均
48
031
丁雄泉 夏日午後 1979 年 壓克力 畫布 153 x
cm 簽名畫背： Summer Afternoon Ting 79 來源 Lens Fine Art 畫廊，安特衛普，比利時 德維斯特拍賣，洛克倫，比利時， 2018 年 10 月 18 日，編號 445 私人收藏，歐洲 50
WALASSE TING (Chinese-American, 1929-2010) Summer Afternoon 1979 Acrylic on canvas 153 x 205 cm Signed reverse Ting, titled Summer Afternoon and dated 79 PROVENANCE Lens Fine Art, Antwerp, Belgium De Vuyst, Lokeren, Belgium, October 18, 2018, lot 445 Private collection, Europe NT$ 7,500,000 - 11,000,000 HK$ 1,861,000 - 2,730,000 US$ 237,200 - 347,900 RMB 1,682,000 - 2,466,000
205
作品《夏日午後》完成時正值藝術家創作的巔峰期， 1970 年代 末期到 1980 年代初期，常見丁雄泉炙熱的情緒表現，以及瀟灑 放蕩的大幅暢快筆觸，質感隨興而厚實，不禁令觀者聯領略到 其眼鏡蛇畫派的澎湃。藝術家在作品中用極盡燦爛的油彩能延 伸出光感、形狀、線條和能量，與我們分享他豐沛的情愛，是 愛、是情都是丁氏的靈魂；曾有人說過他的作品極具情色意味， 或許這些「情」是丁氏創作的靈感來源，是他生命的主體，而
這些「色」是他畫中華麗繽紛的顏色，是血、是肉，而正是透
這些絢爛的色彩使他感覺活著。
所以用活色生香來詮釋丁雄泉和他筆下的作品再合適不過，藝
術家以大尺幅構建了時間與空間感，探索從未勘探過的圖式視 域。《夏日午後》是一個充滿著「愛欲」的感情世界，其中雙 女主以大 V 字構圖呈現在世人面前，風情萬種又身處畫面兩側。
面頰，濃烈卻雅致的用色更顯畫中女人嫩白透粉的肌膚。佳麗 鮮黃色裙擺映襯出七月流火的盛夏，畫面盡是生趣，豐沛的大 色塊運用，將藝術家對大自然的內心體驗，跡化成一種個性獨 具的純粹的實在。淡雅的底色深沉大氣，貫穿在兩位佳麗身後， 給夏日的午後添加了些許清爽，又隱含東方留白的寫意精神。 右邊翹腳後傾的佳人湖綠色上衣幾乎與背景融為一體，其猶抱 琵琶半遮面，僅露出一雙迷濛大眼的嬌羞神態。作品的構圖佈 陣，無不奇崛突兀，出人意表而又合乎情理，雖極奇特而又意 蘊生動，達到視圖的對立，和諧中的變化引人入勝。大尺幅女 性主題作品《夏日午後》他獨特的生命感受性及藝術性為觀者 帶來更多的想像空間，亦與 2015 年羅芙奧春季拍賣會場上的 《世界小姐》異曲同工，同為歌頌女性之美的題材之佳作。丁 雄泉抽象畫作於近年來拍賣會場上表現不凡，並且大幅攀升， 這股漲勢到了 2020 年後更是銳不可擋。丁雄泉的才情與對生活 的熱情詠吟，也淋漓盡致地體現於他的抽象作品中，同時也為 丁雄泉的藝術收藏開啟了新的篇章。
的壓克力顏料與直率勾勒的油蠟筆細線，底色襯著兩位美女的
天藍色幕布前依偎左坐的佳人一身明黃色裙衣光彩耀人，使視 線全部集中在畫面左邊，奪人眼球；中間那流動性高而易揮灑
丁雄泉《世界小姐》 1975 壓克力 畫布 222 x 396 cm ， 羅芙奧台北 2015 春拍 台幣 56,320,000 成交 Walasse Ting, Miss World, 1957, Acrylic on canvas, 222 x 396 cm, Ravenel Taipei 2015 Spring Auction, USD 1,825,608 sold 藝術家與友人合照 Artist with friends in Spiegelgracht Amsterdam Studio, Courtesy of Gallery Delaive. WALASSE TING "Summer Afternoon" 丁雄泉《夏日午後》 52
"I bought a piece of floral fabric. I dry my sweat with the fabric. And so many butterflies jump out of the cloth. They fly away into the blue sky. The don't even say goodbye." - WALASSE TING
The work "Summer Afternoon" was created in Wallasse Ting's prime. Works from the late 1970s to the early 1980s often reflect Ting's heated emotional presentations involving huge and dashing freestyle strokes, yielding a texture that is casual and thick and making the viewer feel the surging emotions of the CoBra. In his works, the artist uses splendidly marvelous oil paints to express a sense of light, shapes, lines, and energy. Through his works, he shares with the viewer his ample sentiments. Both love and affection fill Ting's soul. Some people have stated that Ting's works are erotic. Perhaps affection was the inspiration for his creations and is the subject of his life, whereas eroticism comprises the splendid colors of his painting, as it is in his flesh and blood. It is through these splendid colors that he feels most alive.
Erotic and sensuous best describes Ting and his works. The artist uses large-scale paintings to construct a sense of space and time and to explore an imagery visual horizon that has never been explored. "Summer Afternoon" is an emotional world filled with eroticism. The dual female lead characters are composed in a V shape before the viewer, presenting a variety of feelings on both sides of the picture. In front of the azure curtain, a lady on the left is in bright yellow, the brilliancy of her dress attracting all attention. In the middle of the painting are smooth brush strokes of acrylic which have an ease to the paint and thin and direct oil crayon lines. The background color underlines the cheeks
of the two beautiful ladies. The thick yet elegant colors emphasize the pinkness of their white skin. The bright yellow skirt foregrounds the hot July summer with playful imagery. The use of large color blocks transforms the artist's internal experiences of nature into a unique and pure substance. The elegant background color behind the two ladies is profound, adding a touch of coolness to the summer afternoon while hinting at the freehand spirit of eastern painting techniques of utilizing negative space. The lady on the right, legs crossed and leaned back, is dressed in a turquoise blouse that almost merges with the background. Her face is half hidden, and only her large eyes reveal a hint of shyness. The composition of this work is bizarre, unexpected yet perfectly reasonable. Although it is extremely unique, it is lively. Dynamic opposites are represented in the work and changes in harmony make this painting even more eye-catching. This large-scale work "Summer Afternoon" with women as the theme shows Ting's unique feeling for life and aestheticism, providing the viewer with ample space for imagination. Similar to the piece "Miss World" auctioned in the Ravenel Spring Auction 2015, this is yet another outstanding work praising feminine beauty. Ting's abstract paintings have been well-received in the auction scene in recent years, and prices have been skyrocketing, especially after 2020. Ting's talent and his passion for life are unreservedly represented in his abstract paintings, opening a new chapter for collecting Ting's arts.
「天太熱，買了一塊花布，揩了一身汗，花布上跳出，千千萬萬的蝴蝶，向藍天飛去，也不說一聲再見。」 丁雄泉
YUN GEE
(Chinese-American, 1906-1963)
Hundred Bathing Beauties
1929
Oil on canvas
91 x 72 cm
Titled and signed upper left in Chinese Signed lower right Yun Gee in Chinese and English, Paris mi de nuit in French and dated 29
PROVENANCE
Private Collection, Asia
Christie's, Hong Kong, November 26, 2011, lot 1016 Acquired from the above by the present owner
ILLUSTRATED
Gu Yue, World Famous Artists - Yun Gee Chu, Hebei Education Press, Shijiazhuang, 2014, color illustrated, p. 57
NT$ 7,500,000 - 12,000,000 HK$ 1,861,000 - 2,978,000 US$ 237,200 - 379,500 RMB 1,682,000 - 2,691,000
「余八歲時，即已善飲；常坐於樹下小酌，頭上有喝 水的小鳥與之呼應。但余十五歲離家，離開心中花園， 金絲雀的窩巢，還有中國的蘋果樹。如今，余常感慨 過去。思尋未來：我們的先人是誰？我們的後代又是 誰？因此，余寫作之時會感到震顫。」 －朱沅芷 < 花園 > 1936 年
"By the time I was eight, I was already good at drinking; I would sit and have a drink under the trees, the water drinking birds and their songs overhead. But at the age of fifteen I had left home, left the garden in my heart, the canary's nest, and China's apple trees. Nowadays, I often regret the past. Thinking about the future: who were our ancestors? Who will our descendents be? Because of this, I shall tremble as I write this."
- YUN GEE, "Garden", 1936
032
朱沅芷 百美戲浴圖 1929
油彩 畫布
cm 簽名題識左上：百美戲浴圖 芷沅 藍五洲 簽名右下：沅芷 Yun Gee Paris mi de nuit 29 來源 私人收藏，亞洲 佳士得，香港， 2011 年 11 月 26 日，編號 1016 現有收藏者購自上述來源 圖錄 顧躍，《世界名畫家．朱沅芷》，河北教育出版社， 石家莊， 2014 ，彩色圖版，頁 57
年
91 x 72
54
「朱沅芷」二十世紀永遠的異鄉人，游泊於時代交替的洪流，
盡心竭力實現理想的中國藝術家。朱沅芷本名「朱榮沅」，生 於 1906 年武昌起義尚未成功的晚清時期，家鄉位於廣東開平縣
朱屋村，在家排行第三，上有兩位兄長榮秩、榮章，還有妹妹 瑞蘭。他父親長年在美經商，於朱沅芷十五歲時，將其帶往美 國發展。朱沅芷私塾時期已展現出過人的藝術天份和早熟思想， 其理想主義，追求完美與自毀傾向的性格，伴隨一生，也預示 他不凡精彩的人生。
綜觀朱沅芷繪畫風格的發展，因其旅居不同城市，受外在環境 探索啟發，各種時期有著顯著的風格差異。其作品多為具象畫， 從執著於美國當時盛行的社會寫實風格，後融入歐洲超現實主 義特色，經年累月的洗禮，調和色域及筆觸，集大成為晚期個 人色彩濃厚的表現風格。這位受廣東「嶺南畫派」思潮啟蒙， 積極擁抱現代化的晚清學子，其多重經歷可視為大時代的縮 影。 1924
學的珍品。此時期的巴黎，百家齊鳴，無論是立體派、野獸派、 德國表現主義，亦或大行其道的超現實主義，和諸多珍藏歷代 大師傑作的美術館，對於一個二十三歲心懷抱負的青年畫家而 言，自然是無比震撼且深刻。
《百美戲浴圖》曾著錄於 2014 年河北教育出版社出版的「世界 名畫家‧朱沅芷」專冊。此圖長寬 91 x 72 公分，直幅畫面左 上落款題名：百美戲浴圖 芷沅 藍五洲；而右下對角則以法文簽 名：沅芷 Yun Gee Paris mi de nuit 29 。整體畫面採中式 S 形 構圖法，從左下的粉色菡萏開啟，順著畫中溪流的方向，從前 景向中段與後景延伸，構成縱深方向的空間關係，營造生動視 覺感。細數畫中人物，整整一百位姿態各異的裸體女像，有的 圍圈舞蹈、潛游水中、吹奏樂器、吟詩划船，或坐或臥四肢伸 展，斜倚在水岸綠坡。宛如裊裊水煙中的仙境，毫無羞赧之色， 優閒自在的林中仙子。畫家以柔軟曲線勾勒人物軀體，呼應傳 統中式技巧，而整體偏暗的青綠用色，及群像構圖則可見西洋
受留歐返美亦師亦友的歐蒂斯‧歐菲德（
Oldfied ）啟 發，學習立體主義與現代主義畫風，進而發展出「鑽石主義」 （ Diamondism ）。此時期朱氏筆下畫作，緊貼美國西部拓荒、 鐵路文化、在地人文風景，美學與歷史意義非凡。朱氏 1927 年 首登歐陸，第一次巴黎時期為期三年，藝術家彷彿從美國對華 裔不公的種族偏見中釋放，優游於巴黎藝壇，這處多元種族匯 集，藝術發展歷經東亞文化薰陶之地。他大膽展示中國背景， 希冀得知音共鳴，以傳統文化為主題：《孔子》、《莊周夢蝶》、 《日光浴中的老子》、《貴妃出浴》和今次拍品《百美戲浴圖》 都是此期的代表作品。 悠久的中國人物畫傳統，以描繪宮廷「仕女」場景為題，經過 漫長演變，明清以降各式「百美／媚圖」的敘事傳統蔚然成風， 廣泛流傳於民間。然「人物裸體畫」，對二十世紀初的中國來說， 依然陌生，直至 1914 年劉海粟在上海美專教學首次採用人體寫 生，才開啟中國人對這項西洋藝術傳統的認識。朱沅芷 1929 年 創作的《百美戲浴圖》無疑是時代的先驅，濃縮東西方古典美
年進入加州美術學院（即現在的舊金山藝術學院），
Otis
YUN GEE "Hundred Bathing Beauties" 朱沅芷《百美戲浴圖》 左圖／朱沅芷《馬上舞旋》 1939 油彩 畫布 120 x 100 cm ，北京嘉德 2018 秋拍 人民幣 26,680,000 成交 Yun Gee, Knights Combat, 1939, Oil on canvas , 120 x 100 cm , Guardian, Beijing 2018 Autumn Auction, USD 3,851,551 sold 右圖／藝術家朱沅芷照片 Artist photo Yun Gee 56
「當我日復一日在羅浮宮暢遊， 陳列在那裡的ㄧ幅幅曠世巨作與我的交流記非用法語也非中文，而是用一種超越了時空限制的語言。
這裡所展現的是具有普世性的東西，不分種族、不分國別。
塞尚和庫爾貝的畫作對我而言，就像我早已熟悉的中國畫軸一樣親切。
而我也意識到，東方和西方並沒有什麼天壤之別，因為在二者最精妙的藝術創作中，有著某種非常相似的東西。」 朱沅芷
"As I roamed freely through the Louvre day after day, piece after piece of tremendous, incomparable art on display didn't use French or Chinese - it used a kind of language that transcended the limits of time and space. The things on display here possessed a universality irrespective of race or nationality.
To me, the paintings of Cézanne and Courbet were as near and dear to me as Chinese scroll paintings. I became aware that there was no extraordinary difference between the East and the West, for in the latter's most exquisite works of art there was a certain remarkable similarity." - YUN GEE
娘》、波提且利《優美三美神》。而右側三三兩兩的直木綠葉， 則渾然天成地提高視角，如同漂浮於雲端，俯看這理想國度的 美好景緻。 《百美戲浴圖》為朱氏畫中人數最多、最具中西經典特色匯聚 的人物畫作。這件歸屬於「第一次巴黎時期（ 1927-1930 ）」
的作品，標示了年輕藝術家渴求創作之道，勵精圖治的成果。 對比舊金山時期，下筆之前注重理性思考，強調合理性與鮮明
色塊構圖的嚴謹；《百美戲浴圖》的超現實場景，匯聚中西經 典繪畫元素，突破人物畫傳統而自成一格。畫中色彩，相較於 舊金山時期更加柔合、層次豐富且充滿詩意，符合水天相連、 遠山若黛的意境。此作品象徵朱氏在創作的征途中，擴大了 視野及方向，奠定返美後「紐約時期」如《工業之輪在紐約》 極為特殊，充滿動感的表現方式。若說美國形塑朱氏的創作技 巧，那巴黎就是從精神層面，徹底解放他心中感性，作為一位 喜愛吹笛、眷養雀鳥，眼中溢滿浪漫風情的現代中國文人。
油彩 畫布 214 x 122 cm
2018 秋拍
105,287,500 成交 Yun Gee, Knights Combat, 1939, Oil on canvas , 214 x 122 cm , Sotheby's, Hong Kong 2017 Autumn Auction, USD 13,478,905 sold
古典藝術薰陶後的成果：馬諦斯《舞蹈》、畢卡索《亞維儂姑
二十世紀初期留洋海外的華人藝術家非常稀少，像朱沅芷擁有 前衛思想，隻身開拓藝術史，並非以團體行動的更為稀少。大 環境的變遷與戰亂，迫使他在世時總有志不能伸，經歷萬般波 折和委屈。除了全球知名博物館：包括法國龐畢度藝術中心； 紐約惠特尼美術館；華盛頓赫胥宏美術館；洛杉磯郡立美術館； 加州奧克蘭美術館以及台灣的台北市立美術館等機構，與少量 私人藏家有朱沅芷的作品，過去其作品多留在遺孀朱海倫與女 兒朱禮銀之手。經多年家屬、贊助者和藝術專家的努力，回頭 梳理歷史，才使朱氏的藝術免於滄海遺珠之憾。由於存世的畫 作不多， 1992 年台北市立美術館回顧展之後，二手市場屆滿 三十周年，目前有紀錄的拍賣交易僅三百多筆，平均一年上拍 十件左右，數量相對地珍稀罕有。而至今藝術家離世一甲子， 拍品《百美戲浴圖》更是猶如歷史的吉光片羽，值得藝術收藏 者珍惜、典藏。 左圖／朱沅芷《工業之輪在紐約》
亨利．馬諦斯《舞蹈》 1910 年 油彩 畫布 261 x 391 cm 俄羅斯聖彼得堡隱士廬博物館收藏 Henri
1932
， 香港蘇富比
港幣
Matisse, Dance, 1910, Oil on canvas, 261 x 391 cm Collection of The Hermitage Museum, St. Petersburg
Yun Gee, eternal stranger of the 20th century moored amid a torrent of changing times, was a Chinese artist who labored exhaustively to realize his ideals. Zhu Yun Gee, originally Zhu Rongyuan, was born during the Late Qing dynasty in 1906, a period when the Wuchang Uprising had not yet been successful. Originally from Zhuwu Village, Kaiping County, Guangdong, he had two older brothers Rongzhi and Rongzhang and a younger sister named Ruilan. His father did year-round business in the U.S. When Yun Gee was 15, his father took him to grow up in America. During this private school period, Yun Gee was already showing extraordinary artistic talent, and his precociousness, his idealism, his pursuit of perfection and his self-destructive tendencies, would accompany him for the rest of his days and predicted a life of uncommon brilliance.
Speaking broadly on his stylistic development, Yun Gee dwelt abroad in different cities, and in so doing was stimulated by explorations of his external environments, each period revealing their own differences in style. Many of his works are representational paintings, from his attachment to the social realism prevalent in America blended later with characteristics of European surrealism, the baptism over the years, blending color gamut and brushwork, culminating in the individually dense coloration of a latter-day expressionist style. Instructed in the zeitgeist of Guangdong's "Lingnan School" as a student of the late-Qing who actively embraced modernization, Yun Gee's myriad experiences can be seen as a microcosm of a great era. In 1924 he entered the California Institute of the Arts (today's San Francisco Art Institute), and was inspired by Otis Oldfield, his mentor and friend, who had studied abroad in Europe and returned to
the U.S. Studying cubism and modernism, he developed "Diamondism". During this period, his paintings stuck close to the aesthetic and historic peculiarities of open landscapes, railroad culture, and human scenery of the American West. Yun Gee first traveled to continental Europe in 1927. His first phase in Paris lasting three years, the artist seemed liberated from America's unjust racial prejudice toward ethnic Chinese, moving freely through Parisian art circles in this place of multi-racial convergence, a land where artistic development had been influenced by East Asian culture. Boldly revealing his Chinese background, Yun Gee hoped to find resonance through traditional cultural themes: "Confucius", "Butterflies: Dreams of Chuang-Tze", "Laotzu", "Empress Yan Kwei Fei at the Bath", and "Hundred Bathing Beauties" (this lot) are all works representative of this period.
The long thematic tradition of Chinese character painting depicting scenes of ladies in court has gone through countless iterations. Since the Ming-Qing era, the narrative traditions of all manner of "Hundred Beauties" paintings have been a common trend that has circulated extensively. This being the case, "nude paintings" were still unfamiliar to 20th-century Chinese until 1914, when Liu Haisu introduced this feature of the Western artistic tradition to Chinese people in his first sketches of the human body at Shanghai University Fine Arts College. Yun Gee's 1929 work, "Hundred Bathing Beauties" is without doubt a pioneer of the era, a valuable work integrating both Eastern and Western classical aesthetics. During this time period, Paris rang with the tones of a myriad artistic voices, whether cubist, animalist, German expressionist, or perhaps the rampantly popular surrealist, and many museums with the collections of successive generations of masterpieces; to a 23-year-old man with his heart full of ambition, this was naturally and incomparably shocking and profound.
"Hundred Bathing Beauties" was recorded in "World Famous Artists: YunGee Chu" , released by Hebei Educational Publishing in 2014. The painting is 91cm x 72cm, a vertical painting with an inscription in the front upper left: "Hundred Bathing Beauties Painting / Yun Gee / Five Blue Continents"; and a signature in French in the bottom right corner opposite: "Yun Gee Paris mi de nuit 29". A Chinese-style 'S'shape compositional style was selected for the entire scene, starting from the pink-white lotus blossom in the bottom left and following the direction of the stream in the middle of the
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painting, extending from the foreground toward the middle and into the background, comprising the spatial relationship of the direction of depth and constructing a vivid visual sensation. Enumerating the people in the picture are one hundred individual nude female forms, all in different postures - dancing, swimming, playing wind instruments, or reciting poetry while rowing a boat; others sitting or laying with their limbs stretched out, reclining on sloping shores. They are neither remarkably dignified nor graceful, but more like unrestrained, unabashed fairies of the forest circling round and round amid the smoke and water of a paradise. In accordance with traditional Chinese technique, the painter delineates the contours of their bodies with soft and delicate curves, but the results of Western artistic influence can be seen in the compositional grouping and overall blue-green hues: Matisse's "Dance", Picasso's "The Girls of Avignon", and Botticelli's "The Three Graces". By contrast, the straight wood and green leaves in threes and twos on the right side increase the angle of perspective in a manner resembling nature itself, as if hovering in the clouds and looking down upon the beauty and elegance of an idyllic country.
thought before painting, emphasizing the strictness of rationality and distinct color blocking composition. The surreal setting of "Hundred Bathing Beauties" converges Chinese and Western classical painting elements, breaking through figure painting traditions to stand alone. Compared with the artist's San Francisco period, the painting's coloration is softer, richer, and brimming with poetry, an artistic concept that accords with the connection between the water and the heavens, far-off mountains like the brows of a beautiful woman. This work symbolizes Yun Gee expanding his vision and orientation along the path of his creative journey, laying the groundwork for his return to America. His "New York Period", like "Wheels: Industrial New York" are exceedingly peculiar, its manner of expression brimming with a sense of movement. If it is said that America shaped Yun Gee's creative technique, then Paris, on a spiritual level, was a complete liberation of the emotions in his heart, a modern-day Chinese literatus that loves to play the flute and cares for birds, with romance in his eyes.
"Hundred Bathing Beauties" has the highest number of people as well as the greatest convergence of Chinese and Western characteristics in any of Yun Gee's figure paintings. This piece belongs to works during the artist's first time in Paris (1927-1930), indicating the path of the young artist striving to create and the results of his hard work. Compared with his time in San Francisco, when he focused on rational
Chinese artists who studied abroad in the early 20th century were rare, like Yun Gee's avant-garde thinking, breaking ground in art history on his own, and group action was even rarer. The changes and the chaos of war in the greater environment always forced Yun Gee to curb his ambitions, causing all manner of twists, turns, and grievances. Except for museums of global renown: including institutions like the Centre George Pompidou, Whitney Museum, New York, Hirshhorn Museum and Sculpture Garden, Washington D.C., The Los Angeles County Museum of Art, Oakland Museum, California, and the Taipei Fine Arts Museum, with small private collectors who had Yun Gee's works, in the past his works were left with his widow Hellen Gee or in the hands of his daughter Li-lan Gee. Following years of hard work by Gee's family, supporters, and art experts, sorting our history by and by, until his art was spared the loss of going undiscovered. Since there are few extant paintings, following the 1992 retrospective exhibition at the Taipei Fine Arts Museum, the 30-year anniversary of the secondhand market, recently recorded auction numbers come in at only over 300 deals, with ten auctions more or less each year, which are comparatively precious and rare. Up to now the artist has been gone for sixty years, the photograph "Hundred Bathing Beauties" is more akin to an auspicious piece of history worthy of being treasured and collected.
山德羅．波提且利《春》 1470-1480 年 蛋彩 木板 202 x 314 cm 佛羅倫斯烏菲茲美術館收藏
1470s-1480s,
202 x 314 cm,
Sandro Botticelli, Primavera,
Tempela on panel,
Collection of Uffizi Gallery, Florence
ANDRÉ BRASILIER
(French, b. 1929)
Chevaux dans la Vallée en automne 2012 Oil on canvas 89 x 117 cm Signed lower right André Brasilier Initialed reverse stretch A.B., titled Chevaux dans la Vallé en automne, dated 2012 and inscribed 50F
PROVENANCE
Masterpiece Auction, Singapore, August 24, 2014, lot 169 Acquired from the above by the present owner NT$ 3,000,000 - 4,600,000 HK$ 744,000 - 1,141,000 US$ 94,900 - 145,500 RMB 673,000 - 1,031,000 安德烈．布拉吉利 秋谷裡的馬群 2012 年 油彩 畫布 89 x 117 cm 簽名右下： André Brasilier 簽名題識畫背框條： Chevaux dans la Vallé en automne A.B. 2012 50F 來源 尚品藝術拍賣，新加坡， 2014 年 8 月 24 日，編號 169 現有收藏者購自上述來源
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布拉吉利出生於 1929 年法國昂儒的索米爾鎮，雙親皆為畫家。 1949 年進入法國國立美術學院，師承莫里斯．布里列松。 1952 年榮獲佛羅倫斯布魯蒙梭大獎，隔年他的繪畫更得到羅馬大獎
肯定。 1960 年首次於巴黎的維爾畫廊舉行展覽。應不同畫廊及 博物館邀請，之後連年於世界各地巡迴展覽。 1980 年於法國雪 儂梭城堡，舉行第一次個人回顧展， 2005 年更於世界四大博物 館－聖彼得堡冬宮，為期三個月的盛大回顧展。 布拉吉利受到浮世繪與表現主義影響，創作理念專注於傳達，
繪畫非記錄寫實，而是融合於「內在的寫意」。他仰慕並欣賞 其他藝術家的創作結晶，多次參觀義大利聖西斯汀禮拜堂，感 受米開朗基羅的筆觸，悠遊於美術館，只為豐富自己的藝術視 角，感受人類精神刻畫的遺跡。受法蘭西學院院士華裔法籍漢 語文學家程抱一的文學作品啟發，更與日本畫家東山魁夷是多 年好友。
「簡化」是他對藝術創作的追尋，不同於極簡，布拉吉利豐富 的學養內在，讓他更像是東方所云：反璞歸真。具象與抽象之間， 布拉吉利選擇運用兩者，刻畫生命間的真實，如同盧奧、高更、
身的定位和視角，才能在藝術的洪流中堅若磐石。 André Brasilier was born in 1929 in Saumur, Anjou, France. Both of his parents were painters. In 1949, he entered the École nationale supérieure des Beaux-Arts in France and studied with Maurice Brianchon. In 1952, he won the Florence Blumenthal Prize Award and, in the following year, the Grand Prix de Rome of painting. In 1960, he held his first exhibition in Galerie Weil in Paris. In the following years, he was invited by various galleries and museums to hold exhibitions around the world. In 1980, he held his first retrospective at the Château de Chenonceau, France. In 2005, he held a grand retrospective in one of the four major
一物一景所伴隨的精神感受。對自然之美的傾慕，藝術家傾一 生的熱情禮讚。筆下的寬闊海景與森林，變化的色彩，表達時 序的轉換，濃、淡交織，傳達不同的畫面情緒。利用「形」的 簡約，大量簡化細微的構築和繁瑣，集中觀者想像力。他描繪 的對象多是女人、音樂家與駿馬，是藝術史脈絡常見且為人熟 悉的題材。由於風格獨特，每每都能讓觀者過目不忘，留下深 刻印象。恬靜高雅的藝術情懷令觀者沉醉。 畫家自小成長在法國昂儒（ Angevin ）曼恩與羅亞爾省（ Maineet-Loire ）索米爾鎮（ Saumur, Touraine ）的鄉間城堡，馬兒與 樹林標註了他的田園童年與大戰時期，成年後，巴黎東北邊盧 佩涅（ Lupeigne ）小鎮的生活帶給他相同感受：大自然的力量 與平靜。即使現在生活於巴黎楓丹白露，這兩地的美好回憶仍 然帶給他力量，人親土親，心靈的歸依。從巴哈、貝多芬、舒 伯特到巴西的維拉羅伯斯，音樂也是布拉吉利生活靈感的泉源。
畢卡索，從物質束縛中釋放。畫家不需追隨潮流，而是審思自
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藝術家於工作室創作 Artist creating in studio, Courtesy of Opera Gallery. Photographer: Aurélie Thévenin, 2017.
- ANDRÉ BRASILIER
museums in the world, the Hermitage Museum in Saint Petersburg, Russia, that lasted for three months.
Brasilier was influenced by ukiyo-e and expressionism. His creative concept focuses on conveying the spiritual perceptions accompanying objects and scenery. Throughout his life, he drew from his passionate worship of the beauty of nature. He has depicted vast ocean scenes and forests, using variations in color to express the changes of time and seasons. With interwoven heavy and light colors, he expresses different emotions in the pictures. He sought simplicity in form, simplifying detailed constructs and complexity to a great extent to bring a focus to the imaginations of the viewer. What he portrays are often women, musicians, and horses-topics common in art history and familiar to the viewer-but because of his unique style, his paintings create profound impressions that remain impressed in the minds of viewers. His romantic style is like the fragrance of flowers blowing into viewers hearts, intoxicating them with his elegant art sentiment.
Growing up in the countryside castle of Saumur, Touraine in Angevin and Maine-et-Loire, France, horses and trees marked his countryside childhood and wartime experience; as an adult, life in the small town of Lupeigne northeast of Paris gave him the same sensations: the power and serenity of nature. Though he now lives in Fontainebleau, Paris, fond memories of these two places still give him energy; they are his connection to the earth, sanctuaries of his heart and soul. From Bach, Beethoven, Schubert, to Brazil's Villa-Lobos, music is another of Brasilier's sources of inspiration.
Painting is not just recording things with a realistic approach, but incorporating "the imagery within." He looks up to and admires the work of other artists, has visited the Sistine Chapel in Italy numerous times to feel the brushstrokes
of Michaelangelo, and has strolled though museums to broaden his perspective of art and experience the traces etched by the human spirit. He is inspired by the literary works of Chinese-born French academician and Académie française Francois Cheng, and was close friends with Higashiyama Kaii for many years.
Simplification is what he strives to achieve in his work. Unlike minimalists, Brasilier's abundant knowledge makes him more of what is referred to in the east as a "return to innocence." Between the figurative and the abstract, Brasilier chooses to use both to depict the realities of life, breaking free from the confines of the material world, just as Rouault, Gauguin, and Picasso have all accomplished. Painters need not follow the tide. Instead, it is their mission to identify their own orientation and perspective in order to become a steady stone in the rapid flow of art.
安德烈．布拉吉利《大卡瑪爾格騎兵隊》 2002 油彩 畫布 191 x 260 cm ， 香港蘇富比
春拍 港幣
成交 André
2021
3,654,000
Brasilier, Grande cavalcade camarguaise, 2002, oil on canvas, 191 x 260 cm, Sotheby's Hong Kong 2021 Spring Auction, HKD 3,654,000 sold
「我非常喜愛這種動物（馬），尤其是牠們與生俱來的美麗及和諧。 牠們在自然中帶來一種規模感，能夠與天際或海岸線，相映成一種有趣的比例。」 布拉吉利
"I like this animal [horses] very much, especially their natural sense of beauty and harmony. They exhibit a sense of scale in nature and show interesting proportions against the skyline or coastline."
ANDRÉ BRASILIER
(French, b. 1929)
Cavalcade au bord du Cher c.1980 Oil on canvas 80 x 65 cm
Signed lower right André Brasilier Titled reverse Cavalcade au bord du Cher
PROVENANCE Satani Gallery, Tokyo Mallet Auction, Tokyo, June 8, 2012, lot 221 This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.
NT$ 1,100,000 - 1,600,000 HK$ 273,000 - 397,000 US$ 34,800 - 50,600 RMB 247,000 - 359,000 安德烈．布拉吉利 榭爾河畔輕騎 約 1980 年 油彩 畫布 80 x 65 cm 簽名右下： André Brasilier 題識畫背： Cavalcade au bord du Cher 來源 佐谷畫廊，東京 Mallet 拍賣，東京， 2012 年 6 月 8 日，編號 221 附愛力根畫廊開立之原作保證書
「榭爾河 The Cher 」屬法國中部羅亞爾河支流，這條以法文「富 裕 Cher 」命名的河流，自中世紀被視為法國文化的搖籃。透過 文學作品留下歷代王公貴冑的傳奇故事，更添浪漫豐富的色彩。 榭爾河流過享負盛名的「貴婦之堡─雪農梭城堡」，也是畫家 布拉吉利 1980 年首次舉辦個人回顧展的地點。布拉吉利受到浮 世繪與表現主義影響，創作理念專注於傳達，一物一景所伴隨 的精神感受。對自然之美的傾慕，藝術家用一生的熱情去禮讚。 拍品《榭爾河畔輕騎》描繪夏季明媚的河岸風光，畫面中碧藍 河水川流不息，綠蔭扶疏，陽光灑落在五位騎士身上。此畫作 1981 年由法國新視野出版社發行限量石版畫，足見藝術家對此 作的珍重與喜愛。
The Cher is a tributary of the Loire River in central France. Named after the French word for abundance, this river has been a cradle of French culture since the Middle Ages as literature romanticized the legendary stories of nobility throughout history. The Cher flows through the famous Château de Chenonceau, where artist Andre Brasilier held his first solo retrospective exhibition in 1980. Influenced by Ukiyo-e and Expressionism, Brasilier focused his works on conveying the spiritual sensations from every object and landscape, praising and admiring the beauty of nature with a lifetime of passion and dedication. Featured in this auction, Cavalcade au bord du Cher portrays a delightful summer landscape with a flowing blue river and green shades as sunlight shines on five knights. In 1981, Edition Vision Nouvelle even published limited-edition lithography for this painting in recognition of the artist's love for this work.
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AUGUSTE RODIN
(French, 1840-1917)
L'Age d'Airain
Conceived in 1876; cast in 1998
Bronze with black patina Editor: Artco France, ed. 10/25 Foundry: Airaindor 25(L) x 16(W) x 64(H) cm
Engraved on the base A.Rodin Reproduction 1998 Numbered on the base 10/25 with the foundry mark Cire Airaindor Perdue
This lot is accompanied with a certificate of authenticity issued by Artco France.
NT$ 800,000 - 1,200,000
HK$ 199,000 - 298,000
US$ 25,300 - 38,000
RMB 179,000 - 269,000
奧古斯特．羅丹
青銅時代
1876 年構思； 1998 年翻鑄
銅雕 版次 10/25 翻鑄者 Artco France 鑄造廠 Airaindor 25 （長） x 16 （寬） x 64 （高） cm 簽名雕刻台座： A.Rodin Reproduction 1998 版次台座後側： Cire Airaindor Perdue 10/25
附 Artco France 開立之原作保證書
- AUGUSTE RODIN
035
「我試圖通過肌肉的流動性來渲染內心的感受。」 奧古斯特．羅丹 "I have always tried to render inner feelings through the mobility of muscles."
66
BERNARD CHAROY
(French, b. 1931)
Chloé
2006 Oil on canvas 33 x 24 cm
Signed center right Bernard Charoy
Titled reverse Chloé
This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.
NT$ 110,000 - 170,000 HK$ 27,000 - 42,000 US$ 3,500 - 5,400 RMB 25,000 - 38,000
036
貝爾納．夏洛瓦 克羅艾
簽名右中：
題識畫背：
附愛力根畫廊開立之原作保證書
2006 年 油彩 畫布 33 x 24 cm
Bernard Charoy
Chloé
ELEGANCE AND EXUBERANCE OF FRENCH ART
「精緻藝術 Fine-arts 」作為歐洲貴族精神的載體，二十世紀漸 由布爾喬亞 Bourgeoisie 菁英階級承接。雖然在二次大戰後被 抽象藝術重新洗牌，卻仍有一群出生於「戰間期」並且由「法 國美術學院」培育的藝術家，堅守並昇華了「具象美學傳統」。 這群來自法國美術學院的藝術家如：安德烈‧布拉吉利（ 1929 ）；保羅‧賈曼（ 1926-2007 ）；賀內‧吉尼斯（ 1922-2004 ）； 居‧巴赫東（ 1927-2015 ）；強．詹森（ 1920-2013 ）；貝爾 納‧卡多蘭（ 1919-2004 ）等人，他們都師承莫里斯．布里昂 松（ Maurice Brianchon ）。後者深受後印象與納比畫派影響， 出色地傳承法國傳統，忠於追求生活和諧，並注重將自我的「情
感記憶」注入畫面之中。如此的創作概念，直接 授給 了門下學
子，因此這些學院的菁英藝術家早期都擁有極其相似的創作風
格。他們維持傳統的油彩畫布媒材，題材多為風景靜物畫，溫
和、抒情，並且充滿人文逸趣的感性氛圍。相對於當時蔚為風
潮的抽象表現，他們除了實踐理性思考，也維持對傳統尊敬的 態度，在創新激進的改革中取得平衡。
這些藝術家來自法國各地，甚至是成長於海外殖民地，作品中
保有法式優雅的基調，也因不同個性環境，成就不同的畫風。
例如布拉吉利擁有森林裡的莊園馬廄，林間輕騎主題就成為專 屬特色；吉尼斯小時成長於越南，因此對樹林、靜物光影立體
的細膩筆觸，拔尖於其他同窗；巴赫東樂於遊歷四方，常以繪 畫記錄自然風景，其溫暖性格使筆下風景總是透著明亮陽光。
隨著 1960 年代全球戰後經濟和通訊科技崛起，畫廊經營模式更 加開放與商業化，他們代表著歐洲精緻文化，輸出至經濟快速 發展的新興社會，於海外市場取得巨大的成功，尤其受到美國 和日本的熱烈歡迎。藝術家廣受邀請到各地展覽，龐大的國際 市場也延伸出，版畫、雕塑、陶瓷等不同媒材的作品。時至今日，
Genis (1922-2004), Guy Bardone (1927-2015), Jean Jansem (1920-2013), and Bernard Cathelin (1919-2004), all of whom had been taught by Maurice Brianchon. Influenced by Impressionism and Les Nabis, Brianchon remarkably interpreted French traditions by faithfully pursuing a life balance and incorporating "emotional memories" into his paintings. Having directly passed on this creative philosophy to his students, this school of elite artists are characterized by similar creative styles in the early phases of their careers. By using traditional oil canvas as a medium, the artists mostly painted landscape stills in gentle, lyrical ways full of delightful cultural sentiments. In contrast to the popular abstract expressionism at the time, these artists integrated practical reasoning with traditional values to find a balance in the era of an innovative and far-reaching revolution.
These artists not only came from different parts of France, but some even grew up in overseas colonies. Hence the artists' varying personalities and environments led them to portray French elegance in distinctively unique styles. For example, Brasilier often featured light cavalry in his works because he owned forest manors and stables. Having grown up in Vietnam, Genis portrayed light-shadow variations of forests and stills in more three-dimensional, delicate ways. Bardone liked to travel and paint natural landscapes during his trips, his warm personality instilled a ray of sunshine into his landscape paintings.
Once an embodiment of the aristocratic spirit of Europe, "fine-arts" were gradually taken on by the Bourgeoisie in the twentieth century. Although the art community underwent a reshuffling due to abstract art after World War II, a group of Interwar period-born artists from École des Beaux-Arts persisted in and enhanced "figurative art traditions" by transforming their styles and passing on the legacy of their creative spirit to future generations.
This group of artists from École des Beaux-Arts includes: André Brasilier (1929-); Paul Guiramand (1926-2007), René
In the 1960s, the rise of post-war economy and communication technologies around the world had led art galleries to operate more openly and commercially. The export of Europe's fine culture to the rapidly developing economy and new society achieved enormous success in overseas markets, especially in the US and Japan. The artists were invited to display their works in the vast international market, expanding art media to prints, sculptures, ceramics, etc. In addition to commercial art galleries, the artists were also welcomed by art museums. As the values of art appreciation continue evolving to this modern day, these bourgeoisie artworks contain elegant, implicit temperaments that may provide different perspectives and stylish for the today's pop-up, impactful, and mass-produced contemporary art collections.
複製的當代藝術收藏，提出不同的視野與品味。
藝術欣賞的價值不斷演變。這些受布爾喬亞文化培育而成的藝 術品，蘊含高雅含蓄的氣質，或許能為強調閃曝、衝擊與大量
優雅豐盈．法蘭西 68
BERNARD CHAROY
(French, b. 1931)
Lady in the Garden 1988 Oil on canvas 65 x 54 cm
Signed lower right Bernard Charoy
Signed reverse Bernard Charoy
PROVENANCE
Galerie Elegance, Taipei
Private collection, Taiwan
Ravenel Auction, Taipei, November 20, 2016, lot 087
Acquired from the above by the present owner
NT$ 380,000 - 550,000
HK$ 94,000 - 136,000
US$ 12,000 - 17,400
RMB 85,000 - 123,000
037
貝爾納．夏洛瓦 夏日庭院 1988 年 油彩 畫布 65 x 54 cm 簽名右下： Bernard Charoy 簽名畫背： Bernard Charoy 來源 愛力根畫廊，台北 私人收藏，台灣 羅芙奧拍賣，台北， 2016 年 11 月 20 日，編號 087 現有收藏者購自上述來源
038
ANDRÉ BRASILIER
(French, b. 1929) La Sirène 1988
Ceramics with polychrome decoration, unique piece 16.5(L) x 52(W) x 77(H) cm
Signed André Brasilier and inscribed Vallauris 22 VI 88
PROVENANCE
Galerie Elegance, Taipei Private collection, Taiwan
ILLUSTRATED
André Brasilier, Galerie Hopkins-Thomas & Galerie Etienne Sassi, France, 1988, color illustrated, no. 39 Yann le Pichon, André Brasilier: Ses Transfigurations, Lignes. S.A., France, 1989, color illustrated
NT$ 200,000 - 300,000 HK$ 50,000 - 74,000 US$ 6,300 - 9,500
RMB 45,000 - 67,000
André Brasilier Vallauris 22 VI
安德烈．布拉吉利 美人魚 1988年 彩繪陶瓶上釉 單一件 16.5（長）x 52（寬）x 77（高）cm 簽名題識：
88 來源 愛力根畫廊，台北 私人收藏，台灣 圖錄 《安德烈．布拉吉利》，霍普金斯－托馬斯畫廊 & 艾提安．塞西畫廊，法國， 1988 ，彩色圖版， 39 號 楊．勒．畢松，《安德烈．布拉吉利：轉變》， 里尼出版社，法國， 1989 ，彩色圖版 另一側 other side 70
039 ANDRÉ COTTAVOZ
(Spanish-French, 1922-2012)
Chez Nounou Oil on canvas 50 x 61 cm Signed lower left Cottavoz
Signed reverse Cottavoz, titled Chez Nounou This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei. NT$ 280,000 - 420,000
安德烈．科達沃茲 海灘盛宴 油彩 畫布 50 x
cm 簽名左下： Cottavoz 簽名題識畫背： Cottavoz
附愛力根畫廊開立之原作保證書
HK$ 69,000 - 104,000 US$ 8,900 - 13,300 RMB 63,000 - 94,000
61
Chez Nounou
040
GUY BARDONE (French, 1927-2015)
Chalet Valaisan - Suisse 1994-2000 Oil on canvas 65 x 54.5 cm
Signed reverse stretch Bardone, titled Chalet Valaisan - Suisse, dated 94-2000 and inscribed 15F
This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.
居．巴赫東 瑞士瓦萊的小木屋 1994-2000 年 油彩 畫布 65 x 54.5 cm 簽名題識畫背框條： Bardone Chalet Valaisan-Suisse 94-2000 15F 附愛力根畫廊開立之原作保證書
NT$ 160,000 - 240,000 HK$ 40,000 - 60,000 US$ 5,100 - 7,600 RMB 36,000 - 54,000 72
041
RENÉ GENIS
(French, 1922-2004)
Prunes et ombelles au pot blanc
Oil on canvas 92 × 60 cm
Signed lower left René Genis
Titled reverse Prunes et ombelles au pot blanc
PROVENANCE
Baron Ribeyre & Associés, Paris, March 9, 2018, lot 258
This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.
NT$ 360,000 - 550,000 HK$ 89,000 - 136,000 US$ 11,400 - 17,400
RMB 81,000 - 123,000
Prunes et ombelles au pot blanc
賀內．吉尼斯 李子與白色花瓶上的傘形花 油彩 畫布 92
簽名左下：
題識畫背框：
來源 里貝雷男爵聯合拍賣，巴黎， 2018 年 3 月
日，編號
附愛力根畫廊開立之原作保證書
x 60 cm
René Genis
9
258
CLAUDE WEISBUCH
(French, 1927-2014)
Horse and Rider
Oil on canvas
81.5 x 100.5 cm
Signed lower left Weisbuch
PROVENANCE
Sotheby's, London, Impressionist & Modern Art, March 23, 2005, lot 306
Acquired from the above by the present owner
NT$ 100,000 - 150,000
HK$ 25,000 - 37,000
US$ 3,200 - 4,700
RMB 22,000 - 34,000
Weisbuch
042
克勞德．維士巴修 駿馬與騎士 油彩 畫布 81.5
簽名左下：
來源 蘇富比，倫敦，「印象派與現代藝術」， 2005
月
日，編號 306 現有收藏者購自上述來源 74
x 100.5 cm
年 3
23
043
PIERRE-YVES TRÉMOIS
(French, 1921-2020)
Le singe et la jeune fille au miroir 1975
Etching leather nailed on wooden board; ed. V/V 45.5 x 52.5 cm (image); 63 x 75 cm (leather); 70 x 90 cm (wooden board)
Signed lower center Trémois and dated 1975
Dated upper left 18.V.1975
Signed reverse Trémois and dated 30V
This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.
NT$ 240,000 - 360,000
HK$ 60,000 - 89,000
US$ 7,600 - 11,400
RMB 54,000 - 81,000
皮耶－伊夫．特墨
鏡中的猴子與少女 1975 年
蝕刻銅版畫 羊皮 木板 版次 V/V
45.5 x 52.5 cm （圖）； 63 x 75 cm （羊皮）； 70 x 90 cm （木板）
簽名下方： Trémois 1975
年代左上： 18.V.1975
簽名畫背： Trémois 30V
附愛力根畫廊開立之原作保證書
b.
NT$
HK$
US$
陳昭宏 波斯貓 1987 年 水粉 紙本 16 x 22 cm 簽明左下： Hilo Chen 87 來源 私人收藏，荷蘭 陳昭宏先生已確認此作品的真實性 76
044 HILO CHEN (Taiwanese,
1942) Cat 1987 Gouache on paper 16 x 22 cm Signed lower left Hilo Chen and dated 87 PROVENANCE Private collection, Netherlands Hilo Chen has confirmed the authenticity of this work.
70,000 - 100,000
17,000 - 25,000
2,200 - 3,200 RMB 16,000 - 22,000
HILO CHEN (Taiwanese, b. 1942) Sun Bathing Lady 1986 Gouache and acrylic on paper 15.5 x 23 cm
Signed lower right Hilo Chen and dated 86
PROVENANCE Private collection, Netherlands
Hilo Chen has confirmed the authenticity of this work.
NT$ 80,000 - 120,000 HK$ 20,000 - 30,000 US$ 2,500 - 3,800 RMB 18,000 - 27,000
陳昭宏 日光浴女子 1986 年 水粉 壓克力 紙本 15.5 x 23 cm 簽名右下： Hilo Chen 86 來源 私人收藏，荷蘭 陳昭宏先生已確認此作品的真實性
045
DU XI
(Chinese, b. 1980)
Romance of the Three Kingdoms: Fengyi Pavilion
2007 Oil on canvas 51 x 188 cm
Signed lower right Du Xi in Chinese and dated 07
EXHIBITED
World Shaking - Du Xi, William Contemporary Art Space, Taipei, April 11 - 30, 2009
ILLUSTRATED
World Shaking - Du Xi, William Contemporary Art Space, Taipei, 2009, color illustrated, pp. 44-45
NT$ 80,000 - 120,000
HK$ 20,000 - 30,000
US$ 2,500 - 3,800
RMB 18,000 - 27,000
046
杜溪 刀馬記－鳳儀亭 2007 年 油彩 畫布 51 x 188 cm 簽名右下：杜溪 07 展覽 「翻天覆地－杜溪個展」，威廉當代藝術空間，台北， 展期 2009 年 4 月 11 日至 30 日 圖錄 《杜溪－翻天覆地》，威廉當代藝術空間，台北， 2009 ， 彩色圖版，頁 44-45 78
WALASSE TING
(Chinese-American, 1929-2010)
Two Cats 1980 Acrylic and ink on paper 54 x 76 cm With one seal of the artist
PROVENANCE Private collection (acquired directly from the artist) Christie's, Amsterdam, March 8, 2011, lot 182 NT$ 300,000 - 460,000 HK$ 74,000 - 114,000 US$ 9,500 - 14,500 RMB 67,000 - 103,000
047
丁雄泉 雙貓圖 1980 年 壓克力 彩墨 紙本 54
藝術家鈐印：採花大盜 來源 私人收藏（直接得自藝術家本人） 佳士得，阿姆斯特丹， 2011 年 3 月 8 日，編號 182
x 76 cm
WALASSE TING
(Chinese-American, 1929-2010)
After Modiglaini (Reclining Nude)
2000 Acrylic on canvas 85 x 115 cm
Signed reverse Repainted by Walasse Ting and Ting, double dated 2000 AD and inscribed Amsterdam
PROVENANCE
Collection of the artist's close friend, Netherlands (A gift from the artist)
ILLUSTRATED
"Trendies", an interview with the artist Walasse Ting by Irene van de Laar, Dutch television RTL 5, January 7, 2000
This lot is accompanied with a certificate of authenticity issued by Gallery Delaive, Amsterdam.
NT$ 480,000 - 750,000 HK$ 119,000 - 186,000 US$ 15,200 - 23,700
RMB 108,000 - 168,000
x 115 cm
Repainted by Walasse Ting 2000 AD Amsterdam Ting 2000 AD
048
丁雄泉 臨摹莫迪里亞尼－側臥的裸女 2000
壓克力 畫布
簽名畫背：
年
85
來源 藝術家摯友收藏，荷蘭（得自藝術家贈與） 圖錄 《時尚》節目影片，艾琳．梵德拉爾採訪藝術家丁雄泉， 荷蘭電視台 RTL 5 ， 2000 年 1 月 7 日播出 附阿姆斯特丹德萊夫畫廊開立之原作保證書 80
「沒有女人，就沒有藝術，藝術的情感來自女人的形 體，源源不斷。」—丁雄泉 丁雄泉的藝術難以歸類，雖然青年時期曾在上海美專短暫學 習，但他自認為是在社會環境當中自學成長的畫家。離開上 海之後，長年在海外生活，自由不羈的個性，不易見容於東 方社會民情，巴黎、紐約、阿姆斯特丹有他各個時期的精彩。 1950 年代，丁雄泉與眼鏡蛇 CoBrA 畫派朋友親近，他們的 共識：對於幾何抽象和社會寫實主義風格興趣缺缺，選擇一 種自然的抽象形式，接近原始藝術的熱情。丁雄泉就是對創 作本能的熱情、大膽淋漓的用色，來自東方的墨韻，使得他 的線條充滿魅力，以及表現的力度。
2000 年初荷蘭電視台 RTL 5 的《時尚》（ Trendies ）節 目，知名主持人艾琳．梵德拉爾（ Irene van de Laar ）採訪 藝術家丁雄泉，在位於安地列斯（ Antilles ）的工作室展開 有趣的對談，展現他的真性情。片中穿過紫紅色的走廊， 鏡頭走進滿滿紫紅色的房間，這是一間專屬於莫迪里亞尼 （ Amedeo Modigliani ）的房間，牆上錯落有致地掛著五幅 臨摹莫迪里亞尼的經典臥姿裸女圖畫，看得出丁雄泉對大師 的傾慕，右側兩幅即是此次拍賣的畫作。他從亞洲買回不知 名越南畫師的複製畫，從 1997 年開始花費三到四年的時間，
慢慢地琢磨、重新繪畫、重新創作，完成後在畫背簽名落款 並寫上日期。丁雄泉深受西洋現代藝術的洗禮，高更、馬諦 斯、莫迪里亞尼都是他十分欣賞的大師。採花大盜以描繪女 人聞名，也想要擁有一幅莫氏經典裸女畫，因而精心摹畫， 完成別有風情的莫氏風格裸女畫。丁雄泉已於 2010 年病逝， 稀珍的兩幅畫作為他晚年交往十八年的親密友人收藏至今。
"There will not be art without women. Endless artistic sentiments originate from the womanly form." - WALASSE TING
The art of Walasse Ting is challenging to classify. Even though he studied briefly at the Shanghai University Fine Arts College during his youth, he nevertheless viewed himself as a self-taught painter who grew up and learned from his social environment. He resided overseas for many years after leaving Shanghai; his independent and uninhibited character was rarely found in Asian societies. He had some exciting times during his stays in Paris, New York, and Amsterdam. During the 1950s, Ting became closely acquainted with members of the CoBrA movement. Their shared philosophy: Disinterest in geometric abstraction and social realism, but favored a natural and abstract form to interpret a passion for primitive art. Ting's passion toward his creative instincts and fearless use of colors originated from his subtle knowledge of Eastern culture, expressing allure and strength in his strokes as a result.
In the Dutch RTL 5 show "Trendies" at the beginning of 2000, renowned host Irene van de Laar interviewed Ting in his studio in Antilles, sparking an interesting conversation that displayed his true character. The show took the audience through a fuchsia corridor into a room bright with shades of purple and red. This was a room dedicated to Amedeo Modigliani, with five classic paintings of female nudes after Modigliani interspersed on the wall, evidence of Walasse's admiration for the master painter. There are two paintings on the right from the current auction. He brought back imitation paintings by unknown Vietnamese painters bought in Asia, and from 1997, he spent three to four years gradually contemplating, repainting, and re-creating. Upon completion of the pieces, he signed and dated the back of the painting. Walasse Ting was deeply influenced by Western modern art, and greatly respected masters like Gauguin, Matisse and Modigliani. Nicknamed "Butterfly Gangster", he was renowned for depicting women in his art and wanted to own a classic Modigliani nude painting, so he imitated Modigliani and meticulously painted unique female nudes in his style. Walasse Ting died of an illness in 2010, and the two rare paintings are now in the collection of his close friend who was associated with the artist for eighteen years.
2000 年荷蘭電視台 RTL 5 《時尚》節目採訪片段
Section of artist interview of "Trendies"via RTL5 in
2000
Coutesy of Gallery Delaive, Amsterdam
82
049
WALASSE TING
(Chinese-American, 1929-2010)
After Modigliani (Nu Couché)
1997-2001 Acrylic on canvas 85 x 140 cm Signed reverse Recreation by Walasse Ting, dated 22 March 1997, Amsterdam Inscribed verso Copy by Vietnamese Artist Paint again and again at 7 March 2001 AD, Amsterdam. Repainted in 6 August 2000 AD Repainted in 2 June 2001 AD
PROVENANCE Collection of the artist's close friend, Netherlands (A gift from the artist)
ILLUSTRATED
"Trendies", an interview with the artist Walasse Ting by Irene van de Laar, Dutch television RTL 5, January 7, 2000
This lot is accompanied with a certificate of authenticity issued by Gallery Delaive Amsterdam.
NT$ 650,000 - 950,000 HK$ 161,000 - 236,000 US$ 20,600 - 30,000 RMB 146,000 - 213,000
1997-2001 年
85 x 140 cm
Copy by Vietnamese Artist Recreation by Walasse Ting 22 March 1997 Amsterdam Paint again and again at 7 March 2001 AD Amsterdam Repainted again in 6 August 2000 AD Repainted in 2 June 2001 AD
丁雄泉 臨摹莫迪里亞尼－斜躺的裸女
壓克力 畫布
簽名題識畫背：
來源 藝術家摯友收藏，荷蘭（得自藝術家贈與） 圖錄 《時尚》節目影片，艾琳．梵德拉爾採訪藝術家丁雄泉，荷蘭電 視台 RTL 5 ， 2000 年 1 月 7 日播出 附阿姆斯特丹德萊夫畫廊開立之原作保證書
050
SHOZO
SHIMAMOTO
(Japanese, 1928-2013)
Untitled - Venice Biennale (a set of 2)
1993
Acrylic on plastic fixed on canvas 15 × 15 cm (each) Signed lower right S.Shimamoto (each)
PROVENANCE
Mallet Auction, Tokyo, September 10, 2020, lot 147; Mainichi Auction, Tokyo, October 10, 2020, lot 655 Acquired from the above by the present owner
This lot is accompanied with a certificate of authenticity issued by Associazione Shozo Shimamoto and signed by the artist. (Archive ID 1778 & 1782)
NT$ 150,000 - 220,000 HK$ 37,000 - 55,000
US$ 4,700 - 7,000
RMB 34,000 - 49,000
嶋本昭三 無題－威尼斯雙年展（兩件一組） 1993 年 壓克力 塑膠 畫布 15 x
cm （每件） 簽名右下：
（每件） 來源 Mallet 拍賣，東京， 2020 年 9 月 10 日，編號 147 ； 每日拍賣，東京， 2020 年 10 月 10 日，編號 655 現有收藏者購自上述來源 附嶋本昭三協會開立與藝術家簽名之原作保證書 （編號 1778 & 1782 ） 84
15
S.Shimamoto
KAZUO SHIRAGA
(Japanese, 1924-2008) Work 1969 Ink on Japanese paper 24 x 33 cm
Signed lower right Kazuo Shiraga in Japanese
PROVENANCE
Mainichi Auction, Tokyo, January 14, 2022, lot 426 Acquired from the above by the present owner
This lot is accompanied with a certificate of authenticity issued by Japan Art Dealer Association.
NT$ 150,000 - 220,000
HK$ 37,000 - 55,000
US$ 4,700 - 7,000
RMB 34,000 - 49,000
051
白髮一雄 作品 1969 年 墨 和紙 24
簽名右下：白髮一雄 來源 每日拍賣，東京， 2022 年 1 月 14 日，編號 426 現有收藏者購自上述來源 附日本洋畫商協同組合開立鑑定登錄保證書
x 33 cm
052
KOHEI NAWA (Japanese, b. 1975) Untitled 2017 Acrylic on paper 24.5 x 32 cm
PROVENANCE
SBI Auction, Tokyo, April 20, 2018, lot 274 Acquired from the above by the present owner
This lot is accompanied with a certificate of authenticity issued by Nomart, Inc., Osaka and signed by the artist. NT$ 180,000 - 280,000 HK$ 45,000 - 69,000 US$ 5,700 - 8,900 RMB 40,000 - 63,000
名和晃平 無題 2017 年 壓克力 紙本 24.5
來源 SBI 拍賣，東京， 2018 年 4 月 20 日，編號 274 現有收藏者購自上述來源 附 Nomart 股份有限公司開立之藝術家簽名原作保證書 86
x 32 cm
CHIHARU SHIOTA
(Japanese, b. 1972)
Body Parts 2019 Watercolor, crayon, thread on paper 40 x 30 cm Initialed lower right CS EXHIBITED From the Paper to the Wall, Galerie Templon, Brussels, June 6 - July 26, 2019 NT$ 360,000 - 550,000 HK$ 89,000 - 136,000 US$ 11,400 - 17,400 RMB 81,000 - 123,000
053
塩田千春 身體部位
水彩 蠟筆 線 紙本
簽名右下：
展覽 「從紙張到牆壁」，坦普隆畫廊， 布魯塞爾，展期 2019 年 6 月 6 日至 7 月 26 日
2019
40 x 30 cm
CS
054
AKIHIKO YOSHIDA (NIKICHI)
(Japanese, b. 1954) In the Green Grassland 2021 Wood sculpture 23.5(L) x 20(W) x 9(H) cm Engraved bottom Ni in Japanese and dated 2021
EXHIBITED Wood sculpture Nikichi, Mitsukoshi Ginza, Tokyo, April 21 - 28, 2021
NT$ 90,000 - 130,000 HK$ 22,000 - 32,000 US$ 2,800 - 4,100 RMB 20,000 - 29,000
吉田昭彥（仁吉） 綠原熊 2021 年 木雕 23.5 （長） x 20 （寬） x 9 （高） cm 簽名刻於底部：仁 2021 展覽 「木雕 仁吉展」，銀座三越， 東京，展期自 2021 年 4 月 21 日至 28
吉田使用北海道的木材創作，他以精細的雕 刻手法使木雕作品呈現如瓷器般空靈輕盈。 通過擬人化，追求在動物身上人類所經歷的 各種情感。仔細觀察其刻畫的動物，可以發 現牠們的眼睛都是閉著的，給人寧靜、虔誠 的安詳感。藝術家還為每件作品創作了一首 優美的詩。
Akihiko Yoshida specifically sources it from trees growing in Hokkaido. It's his deft touch and fine carving that brings out his subjects visually as ethereal and light as porcelain. Through anthropomorphism, it pursues the universality of the emotions experienced by humans in animals. Look carefully at the eyes of the animals. It is closed, giving a sense of serenity, piety and security. He also composes a lovely poem for each work.
88
YOSHIMASA TSUCHIYA
(Japanese, b. 1977) Flower
Wood, pigment
32 (L) × 25 (W) × 73 (H) cm (flower); 35 (L) × 37 (W) × 6.5 (H) cm (base) Signed back of the leaf and pedestal Yoshimasa Tsuchiya in Japanese
PROVENANCE
Mallet Auction, Tokyo, December 9, 2021, lot 103 Private collection, Asia
Megumi Ogita Gallery has confirmed the authenticity of this work
NT$ 460,000 - 700,000 HK$ 114,000 - 174,000 US$ 14,500 - 22,100 RMB 103,000 - 157,000
055
土屋仁 応 花 木雕 顏料
（長） x
（寬） x
（高） cm （花）
応 來源 Mallet 拍賣，東京， 2021 年 12 月 9 日，編號 103 私人收藏，亞洲 Megumi Ogita 畫廊已確認此作品的真實性 生物的姿態與靈性始終是土屋的創作軸心，窺探其生活 不難發現除了創作外，最大的興趣即是在自家庭院蒔花 植草。拍品《花》也是藝術家非常少數的花卉雕塑。 The posture and spirituality of creatures have
creation.
that,
planting flowers
32
25
73
35 （長） x 37 （寬） x 6.5 （高） cm （底座） 簽名兩處：土屋仁
always been the axis of Tsuchiya's
It is not difficult to find out
besides creation, his greatest interest is
and plants in his own yard. This lot "Flower" are also very few of the artist's flower sculptures.
056
YOSHIMASA TSUCHIYA (Japanese, b. 1977) Cat 2020 Painted camphor wood, borosilicate glass 25(L) x 16(W) x 40(H) cm Signed bottom Yoshimasa Tsuchiya in Japanese Signed and titled wooden box in Japanese with one seal of the artist NT$ 950,000 - 1,800,000 HK$ 236,000 - 447,000 US$ 30,000 - 56,900 RMB 213,000 - 404,000
応 貓
玻璃
（長）
簽名底部：土屋仁
90
土屋仁
2020 年 彩繪樟木
25
x 16 （寬） x 40 （高） cm
応 簽名鈐印題識木盒：貓 2020 土屋仁 応
土屋仁 応 運用日本傳統佛像雕刻技法創作出許多鹿、狐、 貓、犬等動物以及麒麟、獨角獸等神話中的幻獸。栩栩如 生的靈性動物細膩、纖弱但卻透露出一股神秘感，因對於 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。日本傳統佛像為求擬真，使用水 晶安裝在佛像眼部內側的「玉眼」技法也被土屋運用在創 作中。近年來土屋與玻璃藝術家田中福男合作，用獨創的 玻璃珠為動物點睛，賦予其生命力。
Tsuchiya utilized traditional Buddha sculpture techniques to create animals such as deer, fox, cat, dog and mythical beasts. The almost lifelike spiritual animals are exquisite and delicate, but they reveal a sense of mystery. Through his extraordinary sentiments towards the myths in Japanese culture, Tsuchiya bestows his sculptures with the agility of life, mysterious yet graceful. Tsuchiya used the technique of "Glass eye" which uses crystals installed inside the eyes of the Japan Buddha statues. In recent years, Tsuchiya has collaborated with glass artist Fukuo Tanaka to bring life to sculptures with original glass eyes.
另一側 other side
057
JURGA MARTIN (Lietuva-French, b. 1977) Tame Me 2021 Bronze, ed. 1/8 21.5 (L) x 26 (W) x 30 (H) cm (left); 11.5 (L) x 11 (W) x 19.5 (H) cm (right) Signed reverse Jurga, number 1/8 and dated 2021
This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300 RMB 63,000 - 94,000
尤爾嘉．馬賀丹 小王子 2021 年 青銅 版次 1/8 21.5 （長） x 26 （寬） x 30 （高） cm （左）； 11.5 （長） x 11 （寬） x 19.5 （高） cm （右） 簽名背面： Jurga 1/8 2021 附藝術家簽名之原作保證書
92
058
LIM KAC-KEONG
(Taiwanese, 1901-1992)
Alley Oil on wooden board 32 x 40.5 cm
Signed lower left K.K. Lim
Signed and titled reverse Alley by K.K.Lim
PROVENANCE
Pirvate collection, USA Ravenel Auction, Taipei, June 1, 2014, lot 111
Acquired from the above by the present owner
NT$ 160,000 - 240,000 HK$ 40,000 - 60,000 US$ 5,100 - 7,600 RMB 36,000 - 54,000
Kac-keong was a descendant of the Lim Ben Yuan family, which was a respected family in Taiwan. He was the only one who studied art in England and Continental Europe before the 20th century and the first Chinese member of the jury committee in the Sao Paulo Biennale. The composition of painting "Alley" is delicately composed with harmonious lights, creating the warm atmosphere in the work. It is a painting full of historic value to collect.
林克恭 小巷風情 油彩 木板 32 x 40.5 cm 簽名左下： K.K. Lim 簽名題識畫背： Alley
來源 私人收藏，美國 羅芙奧拍賣，台北， 2014 年 6 月 1 日，編號 111 現有收藏者購自上述來源 林克恭為板橋林本源家族第六代，為 20 世 紀前葉唯一遠赴英倫及歐陸學習藝術的台灣 本土畫家，也是首位受邀擔任巴西聖保羅雙 年展評審的華人。本作品《小巷風情》構圖 精緻，光影布局和諧，融合溫暖的歷史鄉土 情懷，值得珍藏。 Lim
by K.K.Lim
IZUMI AKIYAMA
(Japanese, b. 1982) Still Life XXI
2012 Pencil on paper 162 x 162 cm
Initialed reverse AI, titled Still Life XXI in Japanese and dated 2012
PROVENANCE
Kobayashi Gallery, Tokyo
Gamo Gallery, Seoul
Acquired from the above by the present owner
EXHIBITED
Izumi Akiyama Solo Exhibition, Kobayashi Gallery, Art Stage Singapore 2014, Singapore, January 16 - 19, 2014
NT$ 160,000 - 300,000
HK$ 40,000 - 74,000
US$ 5,100 - 9,500
RMB 36,000 - 67,000
059
秋山泉 靜物 21 2012 年 鉛筆 紙本 162 x
cm 簽名題識畫背： 2012 靜物 XXI AI 來源 小林畫廊，東京 蒲生畫廊，首爾 現有收藏者購自上述來源 展覽 「秋山泉個展」，小林畫廊，藝術登陸新加坡博覽會， 新加坡，展期 2014 年 1 月 16 日至 19 日 94
162
060
TZENG YONG-NING
(Taiwanese, b. 1978) Original Rhythm 14 2009
Ballpoint pen on paper 106 x 225.5 cm Signed lower right Tzeng Yong Ning and dated 2009
PROVENANCE
Soka Art, Taipei Acquired from the above by the present owner This lot is accompanied with a certificate of authenticity signed by the artist. NT$ 260,000 - 400,000 HK$ 65,000 - 99,000 US$ 8,200 - 12,700 RMB 58,000 - 90,000
The series "Original Rhythm" is based on Tzeng Yong-Ning's observation and concern for nature, which is transformed into exploring his inner spirit. The circles in the paintings have the meaning of "originality". By extending, overlapping, and reproducing the circles, the artist wants to portray the importance of humans coexisting with nature. Through tens of thousands of ball-point pens, Tzeng was able to paint the circles on the large-scale canvas, representing his personal growth.
曾雍甯 原生的律動 14
簽名右下：
來源 索卡藝術中心，台北 現有收藏者購自上述來源 附藝術家簽名原作保證書 「原生的律動」是藝術家對於自然環境的觀察 與關懷，轉化為探尋自身內在精神之系列。畫 中的圓型圖案亦有「原形」之意，藉由延展、 重疊與再生表示社會個體之於母體環境是共生 共存、相互滋長。長形大尺幅畫作是數萬隻原 子筆緩緩刻劃中思量出的哲理，亦是曾雍甯一 路走來對生命認知的成長。
2009 年 原子筆 紙本 106 x 225.5 cm
Tzeng Yong Ning 2009
061
TAKERU AMANO (Japanese, b. 1977) Venus
Fiberglass, ed. 4/10 Produced by APPortfolio 47(L) x 92(W) x 120(H) cm Engraved base Takeru Amano
This lot is accompanied with a certificate of authenticity issued by APPortfolio, Hong Kong and signed by the artist.
NT$ 260,000 - 400,000 HK$ 65,000 - 99,000 US$ 8,200 - 12,700 RMB 58,000 - 90,000
天野タケル 維納斯 玻璃纖維 版次 4/10 發行單位 APPortfolio 47 （長） x 92 （寬） x 120 （高） cm 簽名雕刻台座： Takeru Amano 附 APPortfolio 藝廊開立之藝術家簽名原作保證書
96
TAKERU AMANO (Japanese, b. 1977)
Venus 1 2021 Spray on paper 152 x 114 cm Signed lower right Takeru Amano and dated 21
EXHIBITED Venus in Midsummer-Takeru Amano, Galerie OVO, Taipei, Augest 4 - 24, 2021
NT$ 400,000 - 600,000 HK$ 99,000 - 149,000 US$ 12,700 - 19,000 RMB 90,000 - 135,000
062
展覽 「仲夏的維納斯
十方藝術空間，台北，展期自
月
日至
天野タケル 維納斯 1 2021 年 噴漆 紙本 152 x 114 cm 簽名右下： Takeru Amano 21
Takeru Amano 個展」，
2021 年 8
4
24 日
063
AI HAIBARA
(Japanese, b. 1981) Angry 2022
Camphor wood, acrylic paint 11.5(L) x 13(W) x 25(H) cm Signed bottom Ai Haibara and dated 2022 Signed and titled wooden box in Japanese with one seal of the artist
PROVENANCE
Nihonbashi Takashimaya, Tokyo Acquired from the above by the present owner
EXHIBITED Message to You, Osaka Takashimaya, Osaka, March 23 - April 4, 2022
NT$
HK$
灰原愛 生氣氣 2022 年 樟木 壓克力彩 11.5 （長） x 13 （寬） x 25 （高） cm 簽名底座： Ai Haibara 2022 簽名鈐印題識木盒： ぷんすかとしょぼん 灰原愛 來源 日本橋高島屋，東京 現有收藏者購自上述來源 展覽 「傳達給你 ： 灰原愛展」， 大阪高島屋，大阪， 展期 2022 年 3 月 23 日至 4 月 4 日 98
240,000 - 340,000
60,000 - 84,000 US$ 7,600 - 10,800 RMB 54,000 - 76,000
AI HAIBARA
(Japanese, b. 1981)
The Important Things Are Invisible
2021
Camphor wood, acrylic paint 13.3(L) x 15.7(W) x 50(H) cm (with base) Signed back of base Ai Haibara and dated 2021 Signed and titled wooden box in Japanese with one seal of the artist
PROVENANCE
Shinjuku Takashimaya, Tokyo Acquired from the above by the present owner
EXHIBITED
Rising Triangle, Explore Three Sculptors, Shinjuku Takashimaya, Tokyo, October 20 - November 1, 2021
064
NT$
灰原愛 珍貴之物是眼睛所看不見的 2021 年 樟木 壓克力彩 13.3 （長） x 15.7 （寬） x 50 （高） cm （含底座） 簽名台座背面： Ai Haibara 2021 簽名鈐印題識木盒： 大切なものは目に見えない 灰原愛 來源 新宿高島屋，東京 現有收藏者購自上述來源 展覽 「新興三角 ： 探索三位雕刻家」，新宿高島屋， 東京，展期 2021 年 10 月 20 日至 11 月 1 日
260,000 - 400,000 HK$ 65,000 - 99,000 US$ 8,200 - 12,700 RMB 58,000 - 90,000
IIDA
b.
飯田桐子 水底之庭—生生不息 2019 年 油彩 畫布 22
簽名題識畫背：
附 IDF 畫廊開立之藝術家簽名原作保證書 100
065 KIRIKO
(Japanese,
1970) Garden Pond - Grow Plants 2019 Oil on canvas 22 x 27.3 cm Signed reverse Kiriko Iida and dated 2019 This lot is accompanied with a certificate of authenticity issued by Gallery IDF, Aichi and signed by the artist. NT$ 70,000 - 110,000 HK$ 17,000 - 27,000 US$ 2,200 - 3,500 RMB 16,000 - 25,000
x 27.3 cm
Kiriko Iida 2019
066
MAYUKA YAMAMOTO (Japanese, b. 1964)
Monster Hand 2013 Oil on canvas 80 × 61 cm
Signed reverse Mayuka, titled Monster Hand and dated 2013
EXHIBITED Hide & Seek A Solo Exhibition Mayuka Yamamoto, Art Projects Gallery, Hong Kong, March 10 - April 3, 2016
This lot is accompanied with a certificate of authenticity issued by Gallery Woo, Busan.
NT$ 500,000 - 750,000 HK$ 124,000 - 186,000 US$ 15,800 - 23,700 RMB 112,000 - 168,000
山本麻友香 怪物手 2013 年 油彩 畫布 80
簽名題識畫背： Monster
展覽 「捉迷藏—山本麻友香個展」，藝途畫廊， 香港，展期 2016 年 3 月 10 日至 4 月 3 日 附釜山 Woo 畫廊開立原作保證書
x 61 cm
Hand Mayuka 2013
HIRAKO
067
平子雄一 閑散 2012 年 壓克力 畫布 135 x 165 cm 簽名題識畫背： YH. In Idleness 2012 展覽 「植物的片段」， Momo 畫廊，東京， 展期 2012 年 9 月 1 日至 29 日 附克里斯托弗．埃格隆德畫廊開立原作保證書 藝術家與拍品合影 The artist standing in front of the painting 102
YUICHI
(Japanese, b. 1982) In Idleness 2012 Acrylic on canvas 135 x 165 cm Initialed reverse YH., titled In Idleness and dated 2012 EXHIBITED The Green Pieces, Gallery Momo, Tokyo, September 1 - 29, 2012 This lot is accompanied with a certificate of authenticity issued by Galleri Christoffer Egelund, Copenhagen. NT$ 2,000,000 - 3,000,000 HK$ 496,000 - 744,000 US$ 63,300 - 94,900 RMB 448,000 - 673,000
平子雄一（ Yuichi Hirako ） 1982 年出生於日本岡山縣。整個 青春時期恰逢在日本經濟騰飛和隕落的泡沫經濟大時代下，龐 大的人類集體文明中，弱小個體的無力感早早深植於他的記憶 之中。隨後前往倫敦溫布頓藝術學院（ Wimbledon College of Arts ）主修繪畫，於 2006 年畢業，現在工作和居住在日本東京。 在日本文化裡森林中的自然法則承載著神聖的意義，並被視為 萬物皆有靈的聖所。幼時平子雄一的家鄉日本岡山縣，正是為 他提供了一個十分天然的成長環境，周邊佈滿的原始山林讓他 得以從小與自然進行頻繁親密的互動。而少年直至成年都處於 平成時代（ 1989-2019 ）的他，身處被稱為「失落的一代人」。 當時日本經濟持續低迷，大國地位漸漸不復存在，再加上自然 災害和社會惡性事件頻發，整個世代籠罩在一種不安的情緒中。 前往英國求學時，他觀察到生活在城市中的人們，雖然不具有 親近自然的優勢，卻仍然習慣於接近自然，尋求放鬆與療癒。 比較典型的現像是，會特別喜愛城市中的人造園林景觀，也常 常會選擇去山裏度過假期。平子雄一以他自己的方式，將那段 時光中感受到的所有未知和焦慮，以一種全新的慰藉感重現在 畫布上。 在平子雄一的作品中，擬人化的植物，或者說有著植物頭部外 表的人類，生活在廣茂深邃的叢林中。然而他又在作品中引入 了室內裝飾、汽車、家居等明顯的人造主題，並且描繪的擬人 角色有著和人類一樣的生活習慣與社交需求，讓觀眾去逆向思 考，人類與植物之間的關係。敘事性的畫面描述了森林和自然 在歷史和宗教方面的象徵與意義的多樣性。 繪畫中人類無論在室內還是室外都經常與植物生活相處在一起， 有著共用生活的空間。作品《閑散》慣以擬人化的植物——「樹 人」默默的出現在畫裏。主角彷彿是北歐神話中有一棵支撐全 世界的白蠟樹，被稱為世界之樹「 Yggdrasil 」，也有傳聞說這 是聖誕樹的起源。「樹人」以壓克力媒材繪出最為多變的色彩， 不但一筆一畫形塑出閑散的主題。衣著襯衫樣式的「樹人」形 象，則有城市年輕人如藝術家世代的隱喻。 《閑散》中色彩鮮豔、構圖精巧，線條與用色不拘小節，刻劃 了豐富的元素與細節，背景複雜多變，搭設一個只有「樹人」 的精緻舞臺劇場景。如此的創作的平子雄一有時會利用拼貼技 YUICHI HIRAKO 平子雄一 法，將麻繩、舊畫布、枯枝直接黏貼組合在繪畫上，並且自製 畫框，這些畫框釘痕外露、接楯不精確、長短不一，令觀眾嗅 到粗糙與原始的野味，而這些粗野，在純熟的創作經驗之下， 卻能完全服膺於平子雄一。「樹人」它所表達的，實際上是人 類與自然和諧相處之下的一種狀態，所以平子雄一總是讓「樹 人」在畫面裏做著日常卻又閑散的事情。這個角色是不可缺少 的，卻又不是唯一。 如平子雄一所說，「我只希望他成為世界的角色和一部分。經 常有人問我，他是否是我的象徵。當然，這是事實，但他同時 也是認為觀看的人」。或許就像每個身處這個時代的人，既是 親歷者，也是旁觀者。認真又嚴肅地描繪著大量變異的植物造 型，舊文明被流有野性血液的植物生態狠狠推落，人類凝滴智 慧，所生產的器具與用品統統被摔碎，創造物們歷劫回歸于荒 漠山林，被這個植物霸者所主導的新生態包裹，重生出一個新 的野蠻大千世界。 平子雄一 （照片來自於藝術家 Facebook ） Yuichi Hirako (photo:@Yuichi Hirako) 104
Yuichi Hirako was born in 1982 in Okayama Prefecture, Japan. In his youth, he experienced both the rise of the Japanese economy and the burst of the economic bubble. These experiences, epic cultural events that he shared collectively with other people, imprinted into his memory the feeling of powerlessness a weak individual suffers. Later on, he majored in painting at the Wimbledon College of Arts in London. After graduating in 2006, he began working and living in Tokyo, Japan.
In Japanese culture, there are holy interpretations around the rules of nature, and forests are often seen as holy places where every living thing possesses a spirit. Hirako's hometown, Okayama Prefecture, provided him with a natural environment for growth. The primitive forests around him allowed him frequent and intimate interactions with nature. He grew up in the Heisei era (1989–2019), and people of his generation were labeled the Lost Generation. At that time, the economy of Japan was weak, and Japan gradually lost its status of being a world leader. Together with frequent natural disasters and harmful social events, the entire generation was haunted by a sense of unease. Conversely to his life in Japan, when Hirako studied in the United Kingdom, he observed that people who lived in the city lacked a physical proximity to nature, yet still had the habit of seeking out natural environments for relaxation and healing. A common sight was to see city residents enjoying manmade gardens in the city and often choosing to spend the holidays in the mountains. Using his own unique methods in order to comfort himself while in London, Hirako transferred the uncertainty and anxiety he felt onto canvas and into his art.
In Hirako's work, anthropomorphic plants, or plants with human heads, live in deep forests. However, his works still portray objects such as interior decorations, automobiles, and home furnishings, which are all clearly manmade. Also, the anthropomorphic characters appear to have the same day-to-day living habits and social needs like humans do, which makes the viewer reflect on the relationship between humans and plants. The narrative images also depict the diverse symbols and meanings of forests and nature in history and religion.
In his paintings, no matter whether humans are indoors or outdoors, he often portrays humans sharing the same living space with plants. The work "In Idleness" features an anthropomorphic plant, "Tree Man." The protagonist is similar to Yggdrasil, the sacred ash tree in Norse mythology that supports the world. Yggdrasil is also rumored to be the origin of the Christmas tree. "Tree Man" was painted in acrylic and shows a range of diverse colors, and each brush stroke of the painting conveys a sense of relaxation. The "Tree Man" wears a shirt, a metaphor that young city people are like the artist's generation.
"In Idleness" consists of bright colors, intricate composition, and unconstrained use of lines and colors to present rich elements and details. The complex and ever-changing background composes an exquisite backdrop for the "Tree Man." In this work, Hirako employs the collage technique, directly pasting and arranging hemp ropes, old canvas, and dead branches onto the canvas. Additionally, he built the frame for this piece. The frame has exposed nail marks, imprecise connections, and sides of different lengths, in order to convey a sense of roughness and wild primitivity. This roughness and wildness, nevertheless, are tamed by Hirako's mature creation experiences. What the "Tree Man" expresses is a state under which humans and nature interact harmoniously. Thus, Hirako often depicts the "Tree Man" conducting everyday, leisure activities in his paintings. This role is indispensable but not unique.
As Hirako stated, "I only want it to become a role in the world, to become part of the world. People often ask me whether he symbolizes me. That is true, of course, but he is also a person watching from the outside." Perhaps just like everyone in this era, we are all people who experience things, and we are all bystanders. Hirako seriously and solemnly portrays mutated yet recognizable plants. Old civilizations are pushed aside by the vegetation with wildness in their veins. The apparatus and supplies people created in their wisdom are all scattered. All the creations experience adventures and return to an empty forest. In this new ecology led by this plant ruler, a wild new world is reborn.
AYAKO ROKKAKU
(Japanese, b. 1982) Triple Girl
Acrylic on cardboard
36 x 20.5 cm; 45.5 x 24 cm; 80 x 25 cm
PROVENANCE
SBI Auction, Tokyo, April 20, 2018, lot 286 Acquired from the above by the present owner This work is accompanied with a photo signed by the artist. NT$ 2,200,000 - 3,400,000 HK$ 546,000 - 844,000 US$ 69,600 - 107,500 RMB 493,000 - 762,000
Ayako Rokkaku paints directly on canvas or paper plates with her hands full of paint. The warm graffiti spirit and bright colors make her painting style unique. Having experienced the creative period in Amsterdam and Berlin, Rokkaku is now based in Portugal, and has held solo exhibitions in the Netherlands, Slovakia, London and others. Her works are permanently collected by institutions such as the Powerlong Museum,China; Sehwa Museum of Art, Korea; Kanazawa 21st Century Museum of Contemporary Art, Japan and Museum Voorlinden, Netherland.
068
來源 SBI 拍賣，東京， 2021 年 4 月 24 日，編號 163 現有收藏者購自上述來源 附藝術家簽名照片 六角彩子以雙手蘸滿顏料直接繪在畫布或紙版上，充滿 溫度的塗鴉精神和鮮豔的色彩使其繪畫風格獨樹一格。 經歷阿姆斯特丹、柏林的創作時期，現於葡萄牙為創作
六角彩子 女孩三重奏 壓克力 紙板 36 x 20.5 cm ； 45.5 x 24 cm ； 80 x 25 cm
據點的六角，曾於荷蘭、斯洛伐克、倫敦等地舉行大規 模個展。六角的作品被中國寶龍美術館、韓國世華美術 館、日本金澤 21 世紀美術館和荷蘭 Voorlinden 博物館 等機構永久收藏。
106
RAFA MACARRÓN
(Spanish, b. 1981)
Diferente mundo 2019
Acrylic and mixed media on canvas 183 x 183 cm
Initialed lower right RM, titled Diferente mundo and dated 19
EXHIBITED Art Shenzhen 2019, Shenzhen Convention and Exhibition Center, Guangdong, September 12 - 15, 2019 West Bund Art & Design Fair 2019, West Bund Art Center, Shanghai, November 7 - 10, 2019
NT$ 3,600,000 - 5,500,000 HK$ 893,000 - 1,365,000 US$ 113,900 - 173,900 RMB 807,000 - 1,233,000
拉法．馬卡龍
異世界 2019 年 壓克力 綜合媒材 畫布 183 x 183 cm 簽名題識右下： RM 19 Diferente mundo 展覽 「藝術深圳」，深圳會展中心，廣東， 2019 年 9 月 12 日至 15 日 「第六屆西岸藝術與設計博覽會」，西岸藝術中心， 上海， 2019 年 11 月 7 日至 10 日
069
108
藝術家照片
父母手足的建築師職業，潛移默化中他頗為重視畫面結構。用 變形方式進行人物測試，源自於表現主義的，彷彿創建自己的 角色，每個角色都有各自的靈魂。而這種帶有孤獨色彩的人物， 處在角色自我的空間裡，帶有魔幻超現實的味道，正是馬卡龍 式的小宇宙。
在意志力的堅持下，他的繪畫如同書寫著一本自傳，捕捉人間 的種種情境。有些是自身的寫照，童年的回憶，有些則取材生 活周遭來往人物的縮影。他的群像創作，令人聯想起古典大師 波希（ Jheronimus Bosch ）與布勒哲爾（ Pieter Bruegel ），宛 如造型奇特、氣勢宏偉場景的當代版本。
筆下的混和型人物，多年來逐漸地塑造了風格。他們不斷地重 生，訴說著新生命的希望。拉長的或過大比例的頭部，細細的 手足四肢，特別是馬卡羅的人物無論性別都塗著鮮豔的蔻丹。 奇特的姿態，讓人著迷。他回憶此靈感是來自五歲時在巴黎蒙 巴納斯區看見的法國女人，強烈的印象一直烙印在腦海之中， 此後他為所有的人物塗上色彩繽紛的指甲油。手部的表現，確 實是馬卡龍的畫面中最突出的元素。他認為人類最多表情的部 位在於眼和手。當他用表現性技法描繪手部時，手就產生無比 的誘惑力。 以油畫《異世界》為例，運用紙張拼貼、壓克力彩與各種材料 組合的方形新綠空間。背景色彩層次豐富、薄塗敷彩象徵著大 氣的空靈，表層紋理、人物群像形成深邃的奇幻宇宙。其間空 間的構造、幻覺的實驗，都有藝術家如遊戲一般地淋漓暢快的 揮灑。他建構的多重空間裡，有的如虛構的室內，有的如在泳 池、沙灘邊，或是某個不知名的高峰、星球之上，雲朵、雨水、 高塔、長梯、飛行器⋯等等夢幻的元素。人物、動物都有獨特 個性，彼此間的互動、手勢的傳達、突出眼球的四處張望狀似 迷惘，顯露著溫柔、天真與企求，馬卡龍以個人的經驗，描繪 出流暢、魔幻且有深度的繪畫空間，不是存在主義者的荒蕪、 悲觀，更多反思、自我檢討式當代性的寓言圖畫。 拉法．馬卡龍曾經於 2010 年獲得西班牙 BMW 寶馬繪畫獎， 2021 年在馬拉加當代藝術中心舉辦了他的首次博物館機構的展 覽。作品為多所基金會與美術館收藏。
RAFA MACARRÓN 拉法．馬卡龍 拉法．馬卡龍，本名拉斐爾．馬卡龍．賈奎蒂（ Rafael Macarrón Jaqueti ）。 1981 年出生於西班牙馬德里。他的血液 裡藏有幾世代的藝術基因：父母親都是建築師，也是藝術收藏 家，從小培養拉法欣賞美的事物，以批判的眼光面對作品。高 中畢業後，他開始成為一名職業自行車手。後也曾擔任過復健 師，學習解剖學，人體構造與運動相關的知識，日後在人物表 現產生意想不到的幫助。 2006 年，馬卡龍年 25 歲，決定開始 專心走向藝術家之路。 在一次採訪中被問及繪畫起源，馬卡龍回答道：「我與西班牙 繪畫有非常直接的關係，我簡直是看普拉多美術館的藝術品長 大的，那是世上最好的美術館。我對於身為西班牙繪畫傳統的 一分子感到非常自豪。哥雅是世界上最好的畫家，他的暗黑繪 畫一直觸動我的心靈，當然還有委拉斯蓋茲的《宮女》，我覺 得那是最優秀的作品。但這一切都始於畢卡索。我愛上了他在 巴黎的作品，在他的博物館裡。我四歲時，從那一刻起，我就 沒有停止繪畫。」
110
Artist photo Courtesy of Ting Ting Art Space.
Rafa Macarrón was born with the birth name Rafael Macarrón Jaqueti. Born in Madrid in 1981, Macarrón comes from a family of many generations of artists. Both of his parents were architects and art collectors who have taught Macarrón to appreciate art and look at artworks with a critical eye. Upon high school graduation, he became a professional cyclist. In terms of character expression, Macarrón has greatly benefited from his experience as a physiotherapist and knowledge about anatomy, human physiology and sports. In 2006, the 25-year-old Macarrón decided to become a full-time artist.
In response to an interview question about his art inspirations, Macarrón answered, "I have had a very direct relationship with the Spanish painting, I have practically grown up in the Prado Museum, the best art gallery in the world. I am very proud to be part of Spanish painting tradition. Goya's black paintings have always moved me. Goya is the best painter in the world; and of course Las Meninas by Velázquez, which I consider the best work. But it all started with Picasso. I fell in love with his work in Paris, in his museum. I was four years old and, from that precise moment, I haven't stopped drawing."
His parents and siblings' profession as architects has led him to pay attention to image structure. He tests out characters through deformation, creating characters with different souls in an expressionist way. Looking magical and surreal in their own worlds, these lonely characters are exactly what make up Macarrón's Universe.
Macarrón extracts information from everyday life and puts them into his paintings. Under his willpower, the paintings are a compilation of his autobiography that captures all aspects of life–including self experiences, childhood memories, and daily observations. With unique character styles and an impressive atmosphere, Macarrón's contemporary group portraits are reminiscent of the works by classic art masters Jheronimus Bosch and Pieter Bruegel.
The artist created a variety of characters that constantly evolved over the years, finally reaching their unique styles today. Their regeneration demonstrates the hope for new life through elongated or enlarged heads and slim limbs. In particular, Macarrón's characters wear brightly colored nail polish regardless of their genders. The strange postures are truly fascinating. The artist recalls being inspired by a French woman he saw in Montparnasse Paris when he was five years old. The vivid impression has led him to paint all characters
with vibrantly colored nail polish. The depiction of hands is undoubtedly the most eye-catching element in Macarrón's paintings. The artist believes that humans express emotions through their eyes and hands. Hence the hands can be expressively drawn to attract viewers' attention.
Looking at Macarrón's 2019 large oil painting "Diferente Mundo" as an example, the artist used paper collage, acrylic paint, and other materials to create a square-shaped green space. The richly layered background colors and lightly coated paints symbolized an ethereal atmosphere that combined with well-textured group portraits to form a profoundly magical universe. The artist playfully experimented with the spatial structure and illusion. Some of the artist's multidimensional spaces resembled fictional rooms, while others look like swimming pools, beaches, unknown mountains, and planets with fantastical elements such as clouds, rainwater, towers, long stairs, and aircrafts. The interactions and gestures between unique characters and animals, and their puzzling eyes expressing tenderness, naivety, and desires are examples of Macarrón's depiction of smooth, magical, yet in-depth paintings from his personal experiences. As opposed to the barren pessimism of existentialism, these thought-provoking and self-reflective contemporary fable paintings are truly precious in our era.
Macarrón has won several prizes including the BMW Painting Award in 2010. Macarrón held his first museum exhibition at the Contemporary Art Center of Malga in March 2021. His works are collected by several foundations and museums.
Macarrón, Rutina Fluor (diptych), 2019, mix media on canvas, 226.2 x 294 cm, Sotheby's Hong Kong 2021 Autumn Auction, US$ 550,352 sold
拉法 馬卡龍《氟日常（雙聯作）》 2019 複合媒材畫布 226.2
cm ， 香港蘇富比 2021 秋拍 港幣
成交
x 294
4,284,000
Rafa
070
EDGAR PLANS (Spanish, b. 1977)
Family 2018 Oil on canvas 46 x 55 cm
Signed lower right Plans
NT$ 3,000,000 - 5,000,000 HK$ 744,000 - 1,241,000 US$ 94,900 - 158,100 RMB 673,000 - 1,121,000 艾德加．普連斯 家庭 2018 年 油彩 畫布 46 x 55 cm 簽名右下： Plans
「我向來喜歡街頭藝術。潮流藝術。它是一種我認為相當自 由，像是兒童的創作。而我也希望將它轉譯進自己的繪畫中。」 艾德加．普連斯 "I've always liked street art. Urban art. It is an art that I see very free, just like when children create. And I have wanted to transform it to translate into my paintings."
- EDGAR PLANS
Edgar Plans, Piet and
2020, oil on canvas, 55.4 x 46 cm, Phillip's Hong Kong, 21 June 2022, HK$1,386,000 sold
艾德加．普連斯《皮特和蒙德里安 III 》 2020 油彩畫布 55.4
cm ，
2022 年 6 月 21 日 港幣
成交
x 46
香港富藝斯
1,386,000
Mondrian III,
112
已經是丈夫、父親，活躍於社群媒體。他的作品頗有童趣，叛 逆的，顫動的線條，有意無意淡淡的幽默令人會心一笑，然細 看微妙的造型與色彩、其中隱然鋪陳的寓意 , 深深打動新世代藏 家的心。過去短短兩三年間，他迅速成為潮流收藏家追逐的明 星標的。翻開普連斯的創作經歷，簡單而不複雜，半是素人半 是學院，按照他的算法，創作歷程應該超過四十年了。跨越國 界的限制，普連斯的作品已有全球多個公共機構收藏。
「童年不應該結束，我們要像那些想與眾不同的孩子一樣繼續
夢想。」大孩子藝術家艾德加．普連斯 (Edgar Plans) 如是說。 從他有記憶以來，伸手可及的牆面，就是可以隨意塗鴉的地方，
沒有人會告訴他應該畫甚麼，不要畫甚麼，畫畫是天賦，向來 是自由快樂的事，家人還會給予讚美與支持。小時候，兄弟們
常跟在父親身旁享受天倫。他們的父親胡安．荷西．普連斯
Juan José Plans (1943-2014) ，多才多藝，曾任播音員主持人、
記者、導演和科幻小說作家。在低矮的四人案桌上，父親寫字 工作，兄弟分坐兩旁，隨心所欲的塗塗畫畫。打字機噠噠噹的 敲擊聲，總是縈繞在耳際。父親博學多聞的形象，筆下那些幻 想、瘋狂、懸疑、可愛、恐怖等文字想像 , 如魔法般施展力量，
無形中感染了孩子。艾德加 普連斯經常在畫裡寫上簡而有力的 文字符號，一方面來自街頭塗鴉文化的啟發，更多是向父親包 容孩子的創意夢想致敬。父親巨人般的餘蔭影響，是日後作品 中的情感連結，心中永恆的童年追憶。 生長於南歐，他的繪畫自然帶有溫暖的色彩，主題上根植於過 去的生命經驗，還有他關心的當代議題。他自認十分欣賞街頭
足球員、廚師、單車手、畫家等等角色，述說一篇篇有趣的小 故事，藉以針貶政治時事議題傳遞訴求。
普連斯喜愛用藝術傳遞正向的思維，除了英雄象徵著力量，他 非常喜愛「夢想」一詞，反覆提點眾人夢想的重要。他說：「努 力才能達到夢想，不要停止夢想，這是生命的本質。」艾德加． 普連斯的藝術，和近期其他的西班牙藝術家：哈維爾．卡勒加 Javier Calleja 、拉法．馬卡龍 Rafa Macarrón ，近兩年在潮流 藝術收藏圈掀起一股西班牙藝術家旋風，可愛的療癒系風格， 擄獲新世代藏家的心，行情節節看漲勢不可擋。藝術市場其實 也是個造夢的地方，不要停止夢想，夢想帶我們到遠方。
Born in Madrid, Spain in 1977, Plans always having a beard, he is now a husband and father who actively participates in social media and art communities. His artworks are often characterized by bold, dynamic outlines that express childlike wonders and subtle humors. A closer look at the fine styles and colors reveals profound implications that are deeply appealing to new-generation collectors. Over the past two to three years, Plans quickly became a key investment target for urban collectors. Half selftaught and half formally-trained, Plans came from a simple,
1977 年出生於西班牙馬德里，艾德加．普連斯蓄著絡腮鬍子，
藝術，舉凡塗鴉、漫畫、插畫、動畫電影，潮流當代性的人物 造型，在他的繪畫裡起了關鍵性的影響。巴斯奇亞、奇斯．哈林、 村上隆等前輩的畫風，也是他師法的對象，再融入自傳式的語 彙。他喜愛用一些白色或有色線條勾勒，城市景觀、鄉野風景， 灰撲撲的背景，形成粉蠟筆般的塗鴉質感。 2009 年前後，他創 造出一個穿戴頭盔、身穿斗篷的「動物英雄」（ Animal Hero ） 的人物設定，長著米老鼠般的耳朵、水汪汪的大眼，造型上看 得出漫畫和電影的元素，這個形象後來幾乎成為藝術家的標誌 代表。透過超級英雄的造型，或化身為飛行員、獸醫、建築師、 EDGAR PLANS 艾德加．普連斯 藝術家照片 Artist photo © Allrights reserved by
España. 114
Edgar Plans/La Nueva
straightforward background in the creative industry. According to his estimation, he has set off on this creative journey for at least forty years.
Beyond national boundaries, Plans' works have been collected by various public institutions around the world, such as the Havana Museum of Contemporary Art (Museo de Arte Contemporíneo de la Habana, Cuba), the Fine Arts Museum of Asturias (Museo de Bellas Artes de Asturias), Pinacoteca Eduardo Ùrculo Municipal Art Gallery, the General Junta of the Principality of Asturias (Junta General del Principado de Asturias), the Art and Industrial Creation Centre (LABoral Centro de Arte y Creación Industrial), the La Caixa Foundation of Barcelona (Fundación La Caixa), and the Mar?a Cristina Masaveu Peterson Foundation (Fundación Cristina Peterson) in Madrid.
As a "big kid" and artist, Edgar Plans believes that "childhood should never end because we should keep pursuing our dreams like a child." (La infancia nunca se debe acabar, siempre temenos que seguir soñando como aquellos niños que quieren ser alguien especial). For as long as Plans could remember, he had doodled on walls in creative ways without anyone telling him what to draw or not. Painting is a boundless and joyful talent that should be admired and supported by the family.
The Plans brothers grew up around their father Juan José Plans (1943-2014), a very talented man who wore the hats of a broadcasting host, reporter, director, and science fiction writer. Whenever their father worked at a low 4-seater table, the Plans brothers would sit beside him and doodle unrestrainedly as the clickety-clack of the typewriter echoed in the atmosphere. The boys were unconsciously influenced by their knowledgeable father's magical stories of fantasy, wackiness, suspense, delight, and horror. Plans often incorporates simple yet powerful text symbols in his paintings, which are not only inspirations from the street graffiti culture, but also a tribute to his father for supporting his creative dreams. The all-encompassing support from his father was a source of emotional attachment and everlasting childhood memories that Plans went on to express in his works.
Having grown up in Southern Europe, Plans' paintings deliver a natural sense of warmth through themes based on his life experiences and issues he cares about. He has an admiration for street art including graffiti, comics, illustrations, as well as animation movies. His artworks have been critically influenced by the urban contemporary character styles in these works. He also learns by observing the styles of masters like Jean-Michel Basquiat, Keith Haring, Takashi Murakami, and mixing in a blend of his own unique characteristics. Plans like to apply white or colored outlines to urban landscapes and country views on a gray background to form a chalk-like scribbly texture.
Around 2009, Plans created "Animal Hero", a character with Mickey Mouse-like ears and big eyes in a helmet and cape. The stylish elements from comics and movies have made this figure one of the artist's most iconic signatures. By telling interesting little stories as a superhero or in the disguise of a pilot, veterinarian, architect, soccer player, chef, cyclist, or painter, this character makes an appeal about politics and current events.
Plans likes to convey positive thinking through art. Other than using heroes as a symbol of power, he is also very passionate about "dreams." He repeatedly emphasizes the importance of dreams to everyone. Like he said, "Dreams can only be achieved through hard work. Never stop dreaming because it is the essence of life."Over the past couple of years, Plans' artworks have swirled through the urban art collectors' community alongside other Spanish artists like Javier Calleja and Rafa Macarrón. The adorable and healing styles are very appealing to new- generation collectors as the bidding prices continue to rise. The art market is a place for dream makers. Never stop dreaming.
071
MATÍAS SÁNCHEZ
(German, b. 1972)
Un dia de campo
2016 Oil on canvas 97 x 130 cm
Signed lower left with one painted seal of the artist Signed Matías Sánchez, titled Un dia de campo, inscribed 97x130cm Sevilla and dated 2016
NT$ 900,000 - 1,400,000 HK$ 223,000 - 347,000 US$ 28,500 - 44,300 RMB 202,000 - 314,000
馬蒂亞斯‧桑切斯為 1972 年出生於德國圖賓
根（ Tübingen ）的藝術家，現定居於西班牙塞
維亞。作為自學而成的藝術家，他探索不同創作 領域，如同文學、音樂、與藝術之間相關聯的 共通性，並視為對創作過程的挑戰。桑切斯大 量研究前輩藝術大師，例如柯洛、莫內、畢卡 索、羅斯科、德庫寧等人的作品，從中發掘藝 術歷史的變化。「他們瞭解藝術如同一門語言， 並且將它運用自如」 馬蒂亞斯‧桑切斯 桑切斯帶有插畫特色的創作風格，線條筆觸強 烈。像蠟筆塗鴉出來的毛線團，一塊塊色塊搭 建起故事的舞台，等待主角們上場演出。桑切 斯非透視的構圖，抽象畫的佈局分散觀者單一 視覺焦點，著重於整體氛圍提供的感受。桑切 斯的每件作品，如同他將自己的心境視覺化： 狂野、細緻、華麗、怪誕、幽默。就像寓言故 事的寫真，充滿奇幻古怪的想像。作品之間關
馬蒂亞斯．桑切斯 野餐日 2016 年 油彩 畫布 97 x 130 cm 手繪鈐印左下： MS 簽名題識畫背： Matías Sánchez Un dia de campo 2016 97x130cm Sevilla
Born in 1972 in Tübingen, Germany, Matías Sánchez is an artist currently living in Seville, Spain. As a self-taught artist, he explores the commonalities associated with different creative fields, such as literature, music, and art, regarding it as a challenge to his creative process. Sánchez has extensively researched the works of art masters, such as Corot, Monet, Picasso, Rothko, and de Kooning, to unearth the changes throughout art history. "They understood how art is a language and used it well," says Matías Sánchez.
Sánchez's creative style is dominantly illustrative with strong lines and strokes. Like woolen balls drawn by crayons, blocks of color build the stage of the story, waiting for the protagonists to perform. In Sánchez's non-perspective compositions, the layouts of the abstract paintings distract viewers from a single visual focus, instead focusing on the sentiments provided by the overall ambiance.Every piece of Sánchez's work is like a visualization of his state of mind: wild, detailed, ravishing, grotesque, and humorous. Just like a fable, they are filled with fantastical and bizarre imaginations. His works are intricately linked, and the stories in his paintings all seem to take place in the outskirts of the Black Forest. Figures, such as mice, witches, skulls, snowmen, and clowns, are often depicted with exaggerated and weird expressions, toting big beards or big sausage-like noses. The titles of his works harbor an open narrative, stimulating the viewers' imagination to enter his created world of fantasy.
連性極高，畫中故事似乎都發生在郊外的黑森 林。老鼠、巫婆、骷顱頭、雪人、小丑等元素， 角色通常都帶著誇張詭異的神情，蓄著大鬍或是 香腸般的大鼻子。搭配敘事感開放的作品題名， 刺激著觀者的想像力，進入他創造的奇幻世界。
116
072
NIKKI (American, b. 1996) Memories of 5 Years Old 2021 Mixed media on canvas mounted on board 111 x 111 cm
Signed reverse NIKKI This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 600,000 - 900,000 HK$ 149,000 - 223,000
US$ 19,000 - 28,500 RMB 135,000 - 202,000
NIKKI 五歲的回憶 2021 年 綜合媒材 畫布 裱於木板 111 x 111 cm 簽名題識畫背： NIKKI 附藝術家簽名原作保證書於畫背
118
073 NIKKI
Your Eyes Only Starlight Children Red 2022 Mixed media on canvas mounted on board 120 x 120 cm Signed reverse NIKKI This lot is accompanied with a certificate of authenticity signed by the artist. NT$
- 1,100,000 HK$
- 273,000 US$
34,800 RMB
- 247,000
只有你的眼睛閃耀赤子星輝 2022 年 綜合媒材 畫布 裱於木板 120 x
cm 簽名題識畫背： NIKKI 附藝術家簽名原作保證書於畫背
(American, b. 1996)
750,000
186,000
23,700 -
168,000
NIKKI
120
JORDY KERWICK
(Australian, b. 1982) Monster
2018
Mixed media and collage on canvas 75 x 59 cm
Signed reverse Jordy and dated 2018
NT$ 800,000 - 1,200,000 HK$ 199,000 - 298,000 US$ 25,300 - 38,000 RMB 179,000 - 269,000
喬迪．科維克
怪獸 2018 年 綜合媒材 拼貼 畫布 75 x 59 cm 簽名畫背： Jordy 2018
喬迪．科維克於 1982 年出生於澳洲，現在定居於法國阿爾比。 科維克是一位自學成才的畫家。他受到野獸派大師馬蒂斯啟發， 最早以簡化物品造型的抽象化構圖，開始他的藝術創作。受到 現代藝術靜物畫的影響，科維克在當代的佈局中重新再現熟悉 的家庭溫暖感。他的複合媒材使用由大量油彩、噴漆、拼貼所 組成，同時包含素描元素。日常物件圖像的參考如：檯燈、植 物和地毯與意象強烈的動物圖像融合一起。大膽的色彩組合和 加粗輪廓線，巧妙取代了畫面景深。科維克曾在雪梨、紐約、 舊金山、洛杉磯、倫敦、巴黎、哥本哈根、科隆、漢堡、東京 和香港展出，他的作品也被世界各地的收藏家收藏。
Jordy Kerwick is a self-taught Australian painter who lives and works in Albi, France. He was inspired by the French Fauvist Master Henri Matisse, simplifying the form of the object to compose the abstract painting in his early creation. Being influenced by depictions of still life in modern art, he is recreating the familiar feeling of domestic warmth in a contemporary setting. His mixed media approach consists of the heightened use of oil brushstrokes, spraypaint and collage, while including elements of sketching. His pictorial references of common objects, such as lamps, plants and rugs are fused with the intense energy of his patterned animals. What is intentionally omitted in depth, is cleverly replaced by bold color combinations and thick outlines. Kerwick has exhibited in Sydney, New York, San Francisco, Los Angeles, London, Paris, Copenhagen, Cologne, Hamburg and Tokyo. His works are also included in collections all around the world.
074
120
075
BLIC (BLIC PINAS) (Filipino, b. 1985) Swimming 2021 Acrylic on canvas 91 x 91 cm Signed lower right BLIC
EXHIBITED AHAF TAIPEI 2022, Courtyard by Marriott Taipei Downtown, Taipei, April 30 - May 1, 2022 NT$ 240,000 - 360,000 HK$ 60,000 - 89,000 US$ 7,600 - 11,400 RMB 54,000 - 81,000
is founding member of CVTY Collective, and member of the pioneering street art collective Pilipinas Street Plan. His name BLIC came from the word "public", which conveys that the artist himself is part of the public. BLIC is known for "Humand hands", personified hands that replace faces of characters; the artworks are mainly related to daily scenes and necessities but demonstrates a deeper surreal meaning.
波利克是菲律賓街頭藝術先鋒團體「菲律賓街 頭計劃」的成員，也是街頭塗鴉集團「 CVTY Collective 」創始成員。藝術家名字波利克取材於英 文字「 public （公眾）」代表藝術家本身也是公眾 的一份子。波利克以創作的作品「人類手部」聞名： 作品雖以日常街景及必需品等為主題，卻利用擬人化
BLIC
波利克．皮納斯 游泳 2021 年 壓克力 畫布 91 x 91 cm 簽名右下： BLIC 展覽 「 AHAF 2022 藝術博覽會」， 國泰萬怡酒店，台北， 展期 2022 年 4 月 30 日至 5 月 1 日 122
的手取代角色的臉，使作品擁有超現實的意涵。
LAKSAMANA RYO (RYOL)
(Indonesian, b. 1993)
Flower Shot 2022 Spray paint on canvas 119.5 x 119.5 cm Signed lower left RYOL and dated 22
EXHIBITED
AHAF TAIPEI 2022, Courtyard by Marriott Taipei Downtown, Taipei, April 30 - May 1, 2022 NT$ 420,000 - 650,000 HK$ 104,000 - 161,000 US$ 13,300 - 20,600 RMB 94,000 - 146,000
076
拉薩馬納．利歐 手機拍花 2022 年 噴繪 畫布 119.5
cm 簽名左下：
22 展覽 「 AHAF 2022 藝術博覽會」，國泰萬怡酒店， 台北，展期 2022 年 4 月 30 日至 5 月 1 日
x 119.5
RYOL
077
THIERRY NOIR
(French, b. 1958)
Manifest Fast Form
Blue Red and White 2016 Acrylic on canvas 71 x 50.5 cm Signed lower left Noir Signed reverse Thierry Noir, titled Manifest Fast form Blue Red and White and inscribed 15,03,2016 TN-00748 NT$ 160,000 - 260,000 HK$ 40,000 - 65,000 US$ 5,100 - 8,200 RMB 36,000 - 58,000
Thierry Noir is internationally renowned for illegally covering huge spans of the Berlin Wall with bright murals in 1980s as a form of protest through art in order to help bring about the Wall's eventual fall in 1989. Noir's exploits and highly distinctive visual language have become world famous and immortalized in popular culture such as 1987's film "Wings of Desire" and the cover of U2's album. Noir's artworks are part of permanent museum collections, including at the Allied Museum in Berlin, the Newseum in Washington, D.C., the National Museum of the United States Air Force in Dayton, Ohio, the Wende Museum in Los Angeles.
蒂埃里．諾爾 快閃紅白藍 2016 年 壓克力 畫布 71 x 50.5 cm 簽名左下： Noir 簽名題識畫背：
1980 年代諾爾在柏林圍牆上繪製了明亮的大型壁畫而聲名大 噪，當時諾爾的藝術作為一種抗議形式有力地推動 1989 年柏 林牆的倒塌。諾爾的功績和極具特色的視覺語言不僅可見於藝 術作品，在 1987 年的德國電影《慾望之翼》和 U2 的專輯封 面等流行文化中也能看到其活躍發表。諾爾的作品被國際藏家
Thierry Noir Manifest Fast form Blue Red and White 15,03,2016 TN-00748
收藏，包括柏林的盟軍博物館、華盛頓的新聞博物館、俄亥俄 州代頓的美國空軍國家博物館、洛杉磯的文德博物館等。
124
078
EDDIE MARTINEZ (American, b. 1977) Blockhead Lamp
2020
Stained glass, patinated bronze, LED light and mixed media, ed. 97/100 17(L) x 17(W) x 17(H) cm; 28(L) x 28(W) x 26(H) cm (box)
Signed bottom Martinez and numbered 097/100
This lot is accompanied with a certificate of authenticity by AllRightsReserved, Hong Kong; with original product box. NT$ 460,000 - 700,000 HK$ 114,000 - 174,000 US$ 14,500 - 22,100 RMB 103,000 - 157,000
艾迪．馬丁內斯 方塊頭燈 2020 年 彩色玻璃 古銅 發光二極體 複合媒材 版次
17 （長） x 17 （寬） x 17 （高） cm ； 28 （長） x 28 （寬） x 26 （高） cm （原裝盒） 簽名台座底部：
附 AllRightsReserved 開立之原作保證書及原裝盒
97/100
Martinez 097/100
079
NICK VEASEY
(British, b. 1962) Dahlia Pablo B 2014 Chromogenic print, dibonded and mounted to aluminium, ed. 1/20 84 x 84 cm
Initialed lower right NV and numbered 1/20 This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 130,000 - 200,000 HK$ 32,000 - 50,000 US$ 4,100 - 6,300 RMB 29,000 - 45,000
的一員，以商業設計活躍於國際舞台。 2009 年起， 從倫敦跨向國際，陸續於歐洲、亞洲及北美洲展出個 展。 2017 年，受倫敦的維多利亞和艾伯特博物館之 邀，為巴黎世家 Balenciaga 品牌的經典高級訂製組， 進行了一系列的創作。 Nick Veasey is the British photographer who create art with X-ray images to present details of beauty that aren't easily noticeable. He used to work in the advertising industry as an active figure in the commercial design field internationally. Since 2009, he has exhibited in Europe, Asia and North America. In 2017, the artist was invited by the Victoria and Albert Museum in London, to create a series of work for the Balenciaga's customized high-end fashion classics.
尼克．維西 大麗花．巴布羅 B 2014 年 C
版次
簽名右下：
附藝術家簽名原作保證書 126
英國攝影藝術家，利用 X 光影像進行創作，呈現各式 肉眼觀看時不易注意到的藝術內部細節。曾為廣告圈
型顯色印刷 裱於鋁塑版
1/20 84 x 84 cm
NV 1/20
080
BRYAN IDA (American, b. 1963)
Mid City 2014 Acrylic on panel 91.5 x 91.5 cm
Signed reverse Bryan Ida, titled Mid-City, inscribed WLA and dated 2014
EXHIBITED
Bryan Ida Solo Exhibition - Floating California, Bluerider ART, Taipei, June 15 - July 30, 2014
This lot is accompanied with a certificate of authenticity signed by the artist. NT$ 220,000 - 340,000 HK$ 55,000 - 84,000 US$ 7,000 - 10,800 RMB 49,000 - 76,000
空間觀看的視角。
Ida has participated in multiple exhibitions in The U.S., including Lancaster Museum of Art and History, Riverside Art Museum, Torrance Art Museum, Long Beach Museum of Art, Museum of Contemporary Art LA, etc."Mid City" was painted from a bird's-eye view, transforming Los Angeles City into a landscape with radial concentric circles. The floating color blocks created a sense of weightlessness, providing the audience another perspective to view the space.
布萊恩．伊達曾多次於美國知名博物館及美術 館舉辦展覽，包含蘭開斯特藝術與歷史博物 館、河濱市美術館、托倫斯藝術博物館、長灘 美術館、洛杉磯當代藝術美術館等。《中城》 以鳥瞰角度將洛杉磯城市變成放射狀同心圓的
布萊恩．伊達 中城 2014 年 壓克力 木板 91.5 x 91.5 cm 簽名題識畫背： Bryan Ida Mid-City WLA 2014 展覽 「漂浮加州－ 布萊恩．伊達個展」， 藍騎士藝術空間，台北， 展期 2014 年 6 月 15 日 至 7 月 30 日 附藝術家簽名原作保證書
景觀，漂浮的色塊增添無重力感，提供另一種
Bryan
081
RINE BOYER
(American, b. 1982)
Teaching 2016 Acrylic on canvas 76 x 59.5 cm
EXHIBITED Between: Rine Boyer, Bluerider ART, Taipei, March 14 - May 6, 2017 This lot is accompanied with a certificate of authenticity signed by the artist. NT$ 120,000 - 180,000 HK$ 30,000 - 45,000 US$ 3,800 - 5,700 RMB 27,000 - 40,000
術館獲得榮譽獎。
Chicago artist Rine Boyer was born in 1982 and grew up in Buffalo, New York. After receiving her B.A. degree from Reed College, Rine Boyer moved to Chicago, where she was represented by Elephant Room Gallery and had a studio at the Zhou B Art Center. She links the daily figures to the underlying themes of culture, personal traits, and group dynamics, which has become her unique and notable style of art. Rine's work received an honorable mention at the Rockford Midwestern juried exhibition held at the Rockford Art Museum.
芝加哥藝術家凌．波兒以簡約的輪廓線勾勒人
物形貌，並運用重複的圖案來敘述畫中人物的 個性。藝術家將日常生活中的人物與文化、個 人特色和群體動態聯繫起來，成為她獨特而顯 著的藝術風格。藝術家的作品曾在羅克福德美
凌．波兒 循循善誘 2016 年 壓克力 畫布 76 x 59.5 cm 展覽 「之間－凌．波兒個展」， 藍騎士藝術空間，台北， 展期 2017 年 3 月 14 日至 5 月 6 日 附藝術家簽名原作保證書 128
b.
French contemporary artist SupaKitch made up his own artist's pseudonym by combining two words,the word for super in French (Super) and the word for gaudy in German (Kitsch).SupaKitch's creative language subverts the impression of traditional street graffiti. He uses spray paint and copperplate writing skill juxtaposing different material on the canvas.His exceptional style stands out and draws attention of audience from street art to the mainstream fine art,becoming one of the icon choices by private collectors. As subculture awareness became wide-spread,in 2009 he began approaching the tattoo culture,an artistry with a long history which was considered anti-mainstream in the early years.
083
市霸奇奇 新月星空 2015
壓克力
法國當代藝術家 SupaKitch ，以法文 Super （超級）＆ 德文 Kitsch （艷俗）二字結合自創藝名。 SupaKitch 的創作語彙，顛 覆傳統塗鴉的印象。從噴漆隨性到花體字型流暢，他交錯運用不 同媒材，精湛風格從眾脫穎而出，關注從街頭延伸到主流美術界， 深受私人藏家的喜愛。隨次文化意識普及， 2009 年他開始接觸 「刺青」文化，這項早期被視為反社會主流，歷史淵遠的技藝。
SUPAKITCH (French,
1978) The Crescent Sky 2015 Acrylic on canvas 116 x 90 cm Signed lower right SupaKitch and dated 2015 NT$ 500,000 - 750,000 HK$ 124,000 - 186,000 US$ 15,800 - 23,700 RMB 112,000 - 168,000
年
畫布 116 x 90 cm 簽名右下： SupaKitch 2015
130
works depict colorful landscapes, where symboles of all sorts proliferate. Dreams and nightmares cohabit, united by the artist humor whose drawings are imbibed Each scene tells a story, which can seem derisory at first sight, but whose subjects and problematics have attracted the attention. Cane has exhibited in Italy, France, Germany, Austria, the United States, Korea and Taiwan.
084 CANE
NT$
HK$
US$
RMB
甘蔗（里卡多．南尼尼） 生日派對 2022 年 壓克力 畫布 114
簽名題識畫背： Cane
Party
甘蔗的作品描繪了五彩繽紛的風景，各 種象徵物件佈滿畫面。美夢與夢饜在藝 術家的幽默感下凝聚在一起，每個場景 都講述了一則故事，乍看荒誕卻寓意深 遠，但其主題和提問卻吸引了觀者的注 意力。藝術家曾於義大利、法國、德國、 奧地利、美國、韓國和台灣展出。
(RICCARDO NANNINI) (Italian, b. 1980) A Birthday Party 2022 Acrylic on canvas 114 x 195 cm Signed reverse Cane, titled A Birthday Party, inscribed Barcelona and dated 2022
480,000 - 700,000
119,000 - 174,000
15,200 - 22,100
108,000 - 157,000
x 195 cm
A Birthday
Barcelona 2022
Cane's
b.
Sol Felpeto seeks to translate art into something immediately catchy, making a connection between known and new to create emotions. Her creative process parts on a deep study of references in order to overlap her personal universe so that she can rewrite history with animals as main characters, surprising audiences and looking for interaction and raising awareness.
索兒．費佩托 貓咪忍者龜 2021
壓克力 畫布 97
簽名右下：
簽名題識畫背：
索兒．費佩托的創作旨在將藝術轉譯為動 人的事物，將已知事物與新事物之間建立 聯繫以創造情感。過程涉及對參考文獻的 深入研究，與個人經驗的交流。以動物作 為主要角色重塑歷史，為觀眾帶來驚喜， 尋求互動和提高意識。
132
085 SOL FELPETO (Venezuelan,
1990) Teenage Mutant Ninja Cats 2021 Acrylic on canvas 97 x 97 cm Signed lower right Sol Felpeto and dated '21 Signed reverse, inscribed Madrid and dated '21 NT$ 240,000 - 360,000 HK$ 60,000 - 89,000 US$ 7,600 - 11,400 RMB 54,000 - 81,000
年
x 97 cm
Sol Felpeto '21
Madrid '21
086
NATHAN PADDISON (Australian, b. 1983) Eye Did Ant Eve Anne No Eve Spar Cool 2022 Oil stick, acrylic, spray paint, charcoal on canvas 123 x 112 cm
Signed lower right Paddison Signed reverse Nathan Paddison, titled Eye Did Ant Eve Spar Cool and dated XXII This lot is accompanied with a certificate of authenticity. NT$ 260,000 - 400,000 HK$ 65,000 - 99,000 US$ 8,200 - 12,700 RMB 58,000 - 90,000
Nathan Paddison is a self-taught artist. His works in a variety of media, including acrylics, charcoal, marker, ink, pastel and collage. Nathan's art can be raw and confront your senses. Some of Nathan's work is ironic and delivers strong social and political messages. Other works reflect on childhood memories and convey a palatable sense of playfulness and optimism.
內森．帕迪森 眼兒酷酷閃亮亮 2022
油畫棒 壓克力 噴漆 炭筆 畫布
簽名右下：
簽名題識畫背：
附原作保證書
筆、墨水、粉彩和拼貼。他的藝術同時是 原始且感官的。部分作品則具有諷刺意
年
123 x 112 cm
Paddison
Eye Did Ant Eve Anne No Spar Cool XXII Nathan Paddison
內森．帕迪森是天賦自學的藝術家。作品 使用多重媒材，如壓克力、炭筆、麥克
味，並且傳達了強烈的社會、政治信息。 其他系列則反映其童年回憶，並展示出 有趣嬉鬧和樂觀的感受。
KAWS (BRIAN DONNELLY) (American, b. 1974) Stay Steady 2015 Silkscreen, ed. AP16/50 74 x 85 cm Signed lower right KAWS and dated 15 Numbered lower left AP 16/50 PROVENANCE Carmichael Gallery LLC, New York Acquired from the above by the present owner
087
KAWS （布萊恩．唐納利） 保持穩定 2015 年 絲網印刷 版次
74
簽名右下：
15 版次左下：
來源 卡麥克爾畫廊，紐約 現有收藏者購自上述來源 134
NT$ 380,000 - 550,000 HK$ 94,000 - 136,000 US$ 12,000 - 17,400 RMB 85,000 - 123,000
AP16/50
x 85 cm
KAWS
AP 16/50
088
JISBAR (JEAN-BAPTISTE LAUNAY)
(French, b. 1989)
Tom & Jerry Blue Mona
2022 Mixed media on canvas 146 x 114 cm
Signed reverse Jisbar, titled Tom & Jerry Blue Mona, inscribed 1871881 and dated 2022
EXHIBITED GQ Style Fest, Nangang International Exhibition Center, Taipei, August 13, 2022 NT$ 380,000 - 600,000 HK$ 94,000 - 149,000 US$ 12,000 - 19,000 RMB 85,000 - 135,000
Jisbar is famous worldwide for being the first ever artist to reinterpret classical art masterpiece figures such as Mona Lisa or Warhol with his personal style of pop and street art. This striking blend of influences shaped a clear and unique identity that inspires a lot of artists and brands such as BMW, Armani, LG across the world today. Jisbar's work is shown in many galleries all over the world such as San Francisco, Gold Coast, Taipei, Venice, Paris and London.
吉斯巴以街頭藝術風格重新詮釋古典藝術 傑作如蒙娜麗莎、安迪．沃荷而聞名於世。 他與 BMW 、 Armani 與 LG 等品牌合作， 為品牌形象注入了令人興奮的新元素。吉 斯巴的作品在許多國際畫廊展出，如舊金
吉斯巴 湯姆與傑利、藍色蒙娜 2022 年 綜合媒材 畫布 146 x 114 cm 簽名題識畫背： Jisbar Tom & Jerry Blue Mona 1871881 2022 展覽 「 GQ 潮流文化祭」， 南港展覽館，台北， 展期 2022 年 8 月 13 日
山、黃金海岸、台北、威尼斯、巴黎和倫敦。
089
GEMMA
HOLZER
(American, b. 1996)
Goodbye 2021 Acrylic, oil on canvas 140 x 105 cm
Signed reverse Gemma Holzer, titled Goodbye and dated 2021
EXHIBITED
Art Tainan 2022, Silks Place, Tainan, March 11 - 13, 2022
Art Hsinchu 2022, Ambassador, Hsinchu, June 11 - 12, 2022
NT$ 260,000 - 380,000 HK$ 65,000 - 94,000 US$ 8,200 - 12,000 RMB 58,000 - 85,000
Holzer's work revolves around a fetuslike character named "PinkBoy". The paintings are an escape from existence; the intention being to take the viewer into a make-believe virtual world. Holzer's work has been shown all over the world in both group and solo exhibitions, reaching cities including New York, Los Angeles, San Francisco, Netherlands and Taiwan.
霍爾澤的作品圍繞著一個胎兒型角色「粉紅 男孩」展開，目的是將觀眾帶入一個虛構的 世界以逃避面對現實。 迄今為止，她的作品 已在世界各地的群展和個展中展出，包含紐 約、洛杉磯、舊金山、荷蘭，台灣等地。
吉瑪．霍爾澤 再見 2021 年 壓克力 油彩 畫布 140 x 105 cm 簽名題識畫背： Gemma Holzer Goodbye 2021 展覽 「台南藝術博覽會 2022 」， 晶英酒店，台南， 展期至 2022 年 3 月 11 日至 13 日 「新竹藝術博覽會 2022 」， 國賓大飯店，新竹， 展期至 2022 年 6 月 11 日至 12 日 136
090
MOISÉS YAGÜES
(Spanish, b. 1972)
You Returned to Flower
2021
Acrylic embroidery on canvas 116 x 89 cm
Signed lower right Yagües and dated 2021
Titled lower left Y Volviste A Florecer
Signed reverse Moisés Yagües and dated 2021
EXHIBITED ART SOLO 2022, EXPO Dome, Taipei, April 15 - 17, 2022
NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300
RMB 63,000 - 94,000
莫伊的作品曾在美國、中國、德國、斯洛 維尼亞、西班牙等國際重要畫廊和美術館 展出，並獲得多個獎項。莫伊喜歡在作品 中講述他想像中的小故事，經常以圓頭人 物為題材。他的作品為觀眾打開了新的幽 默世界，充滿了幻想和色彩。
Moisés Yagües has exhibited his work in numerous key galleries and museums around the world like the United States, China, Germany, Slovenia, Spain. He also has received several awards. Moisés Yagües tries to express his imaginary world, he often repeats the shape of the head. The works have many meanings and it is the spectator who contributes a different look that enriches or impoverishes the meaning with his valuation.
展覽 「
花博爭艷館，台北， 展期至
莫伊 你回到了花叢中 2021 年 壓克力 刺繡 畫布 116 x 89 cm 簽名右下： Yagües 2021 題識左下： Y Volviste A Florecer 簽名題識畫背： Moisés Yagües 2021
ART SOLO 2022 」，
2022 年 4 月 15 日至 17 日
091
KENZ (Thai, b. 1995) Sunshine 2021 Acrylic on canvas 75 x 60 cm Signed reverse Kenz, inscribed Speak Soon and dated 2021
PROVENANCE YOD Editions, Osaka
EXHIBITED
Super Still Life, YOD Editions, Osaka, November 29 - December 17, 2021
This lot is accompanied with a certificate of authenticity issued by YOD Editions, Osaka.
NT$ 110,000 - 170,000 HK$ 27,000 - 42,000 US$ 3,500 - 5,400
RMB 25,000 - 38,000
Kenz 日光幸福 2021 年 壓克力 畫布 75
60 cm 簽名題識畫背： Kenz Speak Soon 2021 來源 YOD Editions ，大阪 展覽 「超靜物」， YOD Editions ，大阪， 展期 2021 年 11 月 29 日至 12 月 17 日 附 YOD Editions 開立之原作保證書 138
x
092
KENZ (Thai, b. 1995) Speak Soon 2021 Acrylic on canvas 75 x 60 cm
Signed reverse Kenz, titled Speak Soon and dated 2021
PROVENANCE YOD Editions, Osaka
EXHIBITED Super Still Life, YOD Editions, Osaka, November 29 - December 17, 2021
This lot is accompanied with a certificate of authenticity issued by YOD Editions, Osaka.
NT$ 110,000 - 170,000 HK$ 27,000 - 42,000 US$ 3,500 - 5,400 RMB 25,000 - 38,000
Kenz 下次再聊 2021 年 壓克力 畫布 75
60 cm 簽名題識畫背： Kenz Speak Soon 2021 來源 YOD Editions ，大阪 展覽 「超靜物」， YOD Editions ，大阪， 展期 2021 年 11 月 29 日至 12 月 17 日 附 YOD Editions 開立之原作保證書
x
093
AYAÏRO
(Japanese, b. 1991)
Shadow Tag 2021 Acrylic on canvas 116 x 80 cm Signed reverse Ayaïro, titled Shadow Tag and dated 2021
EXHIBITED Gifts From Heaven, The Waluso Gallery, London, February 14 - March 7, 2022
NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300 RMB 63,000 - 94,000
Ayaïro 聚焦於昭和時期的景色，將復古 情懷融入現代生活中，呈現出懷舊且純 真的畫面。藝術家曾在 2020 年榮獲日本 《插畫》雜誌年度賞優秀獎。藝術家也 從 2019 開始至台北、首爾、釜山、神戶 等地參加藝術博覽會。
Ayaïro hopes to focus on the Showa period's scenery, merging nostalgia and modernity to portray good old pure images. Ayaïro won the Award of Excellence in 2020 from the Japanese magazine Illustration's Choice of the Year Award. She has also participated in several art fairs in Taipei, Seoul, Busan, and Kobe since 2019.
曽 根田絢香 踩影遊戲 2021 年 壓克力 畫布 116 x 80 cm 簽名題識畫背： Ayaïro Shadow Tag 2021 展覽 「來自天堂的禮物」， 瓦盧索畫廊，倫敦， 展期 2022 年 2 月 14 日至 3 月 7 日 140
094
HEE RIN YANG
(Korean, b. 1975)
Dream WandererWhere Is My Home No.6 2022 Acrylic on canvas 116.8 x 91 cm Signed lower right Hee Rin and dated 2022
EXHIBITED
Dream Wanderer - Where is My Home, Alloro Gallery, Seoul, June 24 - July 3, 2022
This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 340,000 - 500,000 HK$ 84,000 - 124,000 US$ 10,800 - 15,800 RMB 76,000 - 112,000
Hee Rin Yang paints pleasing characters with abounding colors and messages. She continuously employs the idea that people are sometimes lost in life but still chasing after their dreams in her artworks. Therefore, this makes people into wanderers. She hosted another exhibition at Alloro Gallery, Seoul. She has participated in several group exhibitions in Korea, France, Hong Kong, and Taiwan.
藝術家透過豐富的色彩與訊息，以討喜 的人物造形容納於作品中，鼓勵在生活 中迷失方向仍然努力追求夢想、全力尋 找成功道路的「夢想旅行者」。藝術家 曾經至韓國、法國、香港、台灣等地參
與群展。
梁憙潾 夢想旅行者－ 何處是我家 No.6 2022 年 壓克力 畫布 116.8 x 91 cm 簽名右下： Hee Rin 2022 展覽 「夢想旅行者－何處是我家」， Alloro 畫廊，首爾， 展期 2022 年 6 月 24 日至 7 月 3 日 附藝術家簽名原作保證書
095
HAN CHOONG SEOK
(Korean, b. 1981)
The King Dog
2020 Acrylic on korean cotton 53 x 45.5 cm
Signed lower right side choong seok
Signed reverse han choong seok, titled The King Dog, inscribed 53 x 45.5 cm Acrylic on korean cotton in korean and dated 2020
EXHIBITED
Between Coldness and Passion - Solo exhibition of Han Choong seok, J.P. Art Center, Kaohsiung, January 22 - February 26, 2021
NT$ 100,000 - 160,000
HK$ 25,000 - 40,000
US$ 3,200 - 5,100
RMB 22,000 - 36,000
韓忠錫 國王狗 2020 年 壓克力 韓國棉布 53 x 45.5 cm 簽名右下側邊： choong seok 簽名題識畫背： han choong seok The King Dog 53 x 45.5 cm 광목천에 아크릴 채색 2020 展覽 「在冷靜與激情之間 －韓忠錫個展」， 琢璞藝術中心，高雄， 展期 2021 年 1 月 22 日至 2 月 26 日
韓忠錫的作品畫在韓國棉布 上，一種薄且沒有塗層的韓國 棉料，讓顏色更容易滲透。他 擅長繪畫各種動物及人物角 色，並且從「關係」這個詞語 中獲取靈感，呈現出角色間不 可言喻的距離。
Han Choong-Seok works on Gwangmokcheon, a thin, uncoated Korean cotton cloth that allows the colors to permeate. Famous for various animals and characters' paintings, his works originate from the word relationship, which shows unspoken distances between the objects concerned.
142
POREN HUANG
(Taiwanese, b. 1970)
The Dog's Notes - Home
2005
Bronze, ed. 29/30
15 (L) × 40 (W) × 22 (H) cm
Engraved on the back of the leg PR Numbered paw 30-29 and initialed PR
EXHIBITED
The Artistic Conversation of "Love Dogs, Adore Dogs" , Powen Gallery, Taipei, May 15 - June 12, 2014 (different edition)
The Dog's Note - Huang Po-Ren Solo Exhibition, Williamsburg Art & Historical Center, New York, November 7 - December 6, 2015 (different edition)
ILLUSTRATED
Huang Po-Ren Sculpture, Taichung City Cultural Center, Taichung, 2005, color illustrated, p. 52 (study version)
The Dog's Notes: Poren Huang, Powen Gallery, Taipei, 2014, color illustrated, pp. 12, 32, 35 (different edition)
NT$ 150,000 - 240,000 HK$ 37,000 - 60,000 US$ 4,700 - 7,600 RMB 34,000 - 54,000
黃柏仁
狗札記系列－回家
2005 年 銅 版次 29/30 15 （長） x 40 （寬） x 22 （高） cm 簽名雕刻後側： PR 簽名足部： 30-29. PR 展覽 「愛狗敬狗的藝術對話－狗札記．黃柏仁個展」，紅野畫 廊，台北，展期 2014 年 5 月 15 至 6 月 12 日（不同版次） 「狗札記－黃柏仁雕塑個展」，紐約 WAH 藝術中心， 紐約，展期 2015 年 11 月 7 日至 12 月 6 日（不同版次） 圖錄 《黃柏仁雕塑》，台中縣立文化中心， 台中， 2005 ，彩色圖版，頁 52 （習作） 《狗札記 / 黃柏仁》，紅野畫廊，台北， 2014 ， 彩色圖版，頁 12 、 32 、 35 （不同版次）
096
097
AYAKO ROKKAKU (Japanese, b. 1982)
Untitled
2009 Digital print, ed. 10/30 50.3 x 49.7 cm
Signed lower right Ayako Rokkaku in Japanese
Numbered lower left 10/30
PROVENANCE
Gallery Delaive, Amsterdam
SBI Auction, Tokyo, July 3, 2021, lot 146
Acquired from the above by the present owner
NT$ 160,000 - 240,000 HK$ 40,000 - 60,000 US$ 5,100 - 7,600 RMB 36,000 - 54,000
六角彩子 無題
數位微噴版畫 版次
鈐印右下： ロッカクアヤコ 版次左下：
來源 德萊夫畫廊，阿姆斯特丹 SBI 拍賣，東京， 2021 年 7 月 3 日，編號 146 現有收藏者購自上述來源 144
2009 年
10/30 50.3 x 49.7 cm
10/30
098
AYAKO ROKKAKU (Japanese, b. 1982) Untitled 2012 Lithograph in color, ed. 74/75 58.2 x 78 cm
Signed lower right Ayako Rokkaku in Japanese and dated 2012 Numbered lower left 74/75
NT$ 240,000 - 360,000 HK$ 60,000 - 89,000 US$ 7,600 - 11,400 RMB 54,000 - 81,000
六角彩子 無題 2012 年 彩色石版畫 版次 74/75 58.2 x 78 cm 鈐印右下： ロッカクアヤコ 2012 版次左下： 74/75
099
AYAKO ROKKAKU
(Japanese, b. 1982) Untitled 2021 Silkscreen in 67 colors printed on Corona Magnani paper, ed. 161/200 73 x 103 cm
Signed lower right Ayako Rokkaku in Japanese and dated 2021 Numbered lower left 161/200
PROVENANCE
Gallery Delaive, Amsterdam Acquired from the above by the present owner
NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300 RMB 63,000 - 94,000
六角彩子 無題 2021 年 67 色絲網印刷 版次
73
鈐印右下： ロッカクアヤコ 2021 版次左下： 161/200 來源 德萊夫畫廊，阿姆斯特丹 現有收藏者購自上述來源 146
161/200
x 103 cm
100
AYAKO ROKKAKU
(Japanese, b. 1982)
Untitled 2021 Silkscreen in 93 colors printed on Corona Magnani paper, ed. 196/200 73 x 103 cm
Signed lower right Ayako Rokkaku in Japanese and dated 2021 Numbered lower left 196/200
PROVENANCE
Gallery Delaive, Amsterdam Acquired from the above by the present owner NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300 RMB 63,000 - 94,000
六角彩子 無題 2021 年 93 色絲網印刷 版次
73
鈐印右下： ロッカクアヤコ 2021 版次左下： 196/200 來源 德萊夫畫廊，阿姆斯特丹 現有收藏者購自上述來源
196/200
x 103 cm
AYAKO ROKKAKU
(Japanese, b. 1982)
Untitled 2021 Silkscreen in 78 colors printed on natural cardboard shaped and mounted on corrugate cardboard, ed. 37/200 66 x 89.5 cm
Signed lower right Ayako Rokkaku in Japanese and dated 2021 Numbered lower left 37/200
PROVENANCE
Gallery Delaive, Amsterdam Acquired from the above by the present owner
NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300
RMB 63,000 - 94,000
101
六角彩子 無題 2021 年 78 色絲網印刷 天然紙板 裁切裱於瓦楞紙板 版次
66
鈐印右下： ロッカクアヤコ
版次左下： 37/200 來源 德萊夫畫廊，阿姆斯特丹 現有收藏者購自上述來源 148
37/200
x 89.5 cm
2021
HIROYUKI
MATSUURA
(Japanese, b. 1964) Ducky Brigade; Blue Bear (a set of 2) 2019 Watercolor, pencil on paper 29.7 x 21 cm (each) Signed lower left Hiroyuki Matsuura (each) This lot is accompanied with a certificate of authenticity issued by Tokyo Gallery +BTAP, Tokyo. NT$ 180,000 - 280,000 HK$ 45,000 - 69,000 US$ 5,700 - 8,900 RMB 40,000 - 63,000
102
松浦浩之 鴨子軍團；藍色小熊（兩件一組） 2019 年 水彩 鉛筆 紙本 29.7 x 21 cm （每件） 簽名左下： Hiroyuki Matsuura （每件） 附東京畫廊 +BTAP 開立之原作保證書
HIROKAZU ICHII
(Japanese, b. 1980)
Figure of Floating Angle of the Five Ringed Tower
2020 Japanese cypress, natural mineral pigment, ink, gold leaf, gold paint
20 (L) x 14.5 (W) x 43.5 (H) cm
Signed on back panel Hirokazu Ichii and titled Figure of Floating Angle of the FiveRinged Tower in Japanese
EXHIBITED
Japanese Calligraphy Exhibition - Calligraphy and Art, Nara Prefecture Cultaral Hall, Nara, February 17 - 21, 2021
This lot is accompanied with a certificate of authenticity issued by Neptune Gallery, Taipei.
NT$ 120,000 - 180,000 HK$ 30,000 - 45,000 US$ 3,800 - 5,700 RMB 27,000 - 40,000
Hirokazu Ichii received his B.F.A. and M.F.A. in sculpture at the Tokyo University of Fine Arts. He won the Salon de Printemps Prize in 2004 and Taiwan International Wood Sculpture Competition in 2013, and his artwork was later collected by Sanyi Wood Sculpture Museum in Taiwan. The artwork"Figure of Floating Angel of the Five Ringed Tower" skillfully combined the eastern and western religious beliefs. Ichii not only utilizes Japanese traditional Buddhist carving techniques and materials in his artworks, but also integrates spiritual symbols into modern figures to create new harmony and renascence of traditional culture.
103
一井弘和 五輪塔天使浮遊像 2020 年 日本檜木 礦物顏料 墨 金箔 金漆 20 （長） x 14.5 （寬） x 43.5 （高） cm 簽名背板背面：五輪塔天使浮遊像 Hirokazu Ichii 展覽 「日本書法展－書法與藝術」， 奈良縣文化會館，奈良，展期 2021 年 2 月 17 日至 21 日 附 Gallery UG 開立之原作保證書 一井弘和於東京藝術大學取得雕塑學士和碩士學位。他曾在 2004 年獲得「春季沙龍」獎， 2013 年獲得台灣國際木雕競賽 冠軍，作品目前收藏於三義木雕博物館。本作《五輪塔天使浮 遊》像巧妙地結合中西方經典藝術。一井不僅將日本傳統雕刻 技巧與材料運用於作品，更透過自古以來的精神象徵融入於現 代化人像中，創造出新的和諧與重生。
150
104
SHINNOSUKE
TOJO
(Japanese, b. 1978) Taranbobo 2020 Acrylic, pigment on aluminium 98 x 104.5 cm Initialed reverse TJ, titled taranbobo and dated 2020
EXHIBITED Inside of Meat Pie's Skin, FARO Kagurazaka, Tokyo, Octormer 17 - November 14, 2020 NT$ 280,000 - 400,000 HK$ 69,000 - 99,000 US$ 8,900 - 12,700 RMB 63,000 - 90,000
東城信之介於 2004 年東京造型大學取得美術學 士學位。他曾獲獎無數，如 2018 年 SICF 、 2019 年 VOCA 首獎殊榮。其作品也受邀展覽於包含小 海町高原美術館、上野之森美術館和廣州 53 美 術館。東城信之介在金屬板上用刻痕製作三維繪 畫，將所見之具有聯結想像的圖像或心靈風景， 帶入現實生活中。
In 2004, Tojo received B.F.A from Tokyo Zokei University. Tojo has won several art prizes in Japan such as Grand-Prix of VOCA Art Award (2019) and Spiral Independent Creators Festival (2018). His works have been exhibited at Koumimachi Kogen Museum of Art, Ueno Royal Museum and 53 Museum, Guangzhou. Tojo makes three-dimensional paintings with scratches on a thin metal plate to bring back images or landscapes of mind to real life which he saw with synesthetic sense to real life.
東城信之介 多蘭波波 2020 年 壓克力 顏料 鋁 98 x
簽名題識畫背： TJ taranbobo 2020 展覽 「肉醬派的皮膚裡」， FARO 神樂坂畫廊，東京， 展期 2020 年 10 月 17 日 至 11 月 14 日
104.5 cm
TYM344 畢業於早稻田大學綜合人文學科，專修美術史學。 TYM344 引用美術史上的作品或廣為人知的看板廣告等既有圖 像，將其轉化成黑白繪畫。藝術家認為「繪畫就是創造一個確 定的形象」，旨於將所有不會動的物體創作成「非．動化的二 值化繪畫」。主要的個展經歷有：2020 年「我知道我比較愛你」 （空白畫廊，東京）； 2021 年「餘暇」（ Medel Gallery Shu ， 東京）；2022 年「在那裡」（ Oil by 美術手帖畫廊，東京）等。 TYM344 earned his B.F.A. from Waseda University School of Humanities, majoring in art history. The artist often uses important artworks throughout history or well-known advertising pictures and transforms them into black and white paintings. TYM344 believes that "to paint is to create a determined image," and he aims to make all unmovable objects into binarized, non-animated paintings. The main exhibition experiences include "Eye Know Eye Love You Better" at The blank Gallery, Tokyo in 2020, "Leisure" and "Where It's At", in 2021 and 2022 at Medel Gallery Shu, Tokyo and Oil by Bijutsutecho Gallery, Tokyo.
105 TYM344 (Japanese, b. 1986) Mirrored (Ai) 2022 Acrylic on canvas 90 x 90 cm Signed reverse TYM344, titled Mirrored (Ai) and dated 2022 NT$ 140,000 - 220,000 HK$ 35,000 - 55,000 US$ 4,400 - 7,000 RMB 31,000 - 49,000 TYM344 鏡像（ Ai ） 2022 年 壓克力 畫布 90 x 90 cm 簽名畫背： TYM344 Mirrored (Ai) 2022 152
106
NAOKO
KADOKURA
(Japanese, b. 1977)
Dear Girl II 2008 Oil, charcoal on canvas 162 x 130 cm
Signed reverse Naoko Kadokura, titled Dear Girl II and dated 2008
PROVENANCE
Kingsley's Art Auction, Taipei, June 8, 2013, lot 113 Acquired from the above by the present owner
NT$ 220,000 - 340,000 HK$ 55,000 - 84,000 US$ 7,000 - 10,800 RMB 49,000 - 76,000
Kadokura believes that the most important thing when creating artworks is to capture the saddest moment. The portraits she painted are often young girls who left their friends or boyfriends, their expressions are uncertain, but also combine all kinds of craziness, rebellion, and humor. The artist tries to demonstrate that young girls now not only care about their outer beauty but also hopes to discover their inner beauty. Starting from her first solo exhibition in 1999, the artist continues to display her new artworks mainly in Tokyo ART ★ AIGA and Gallery Tsubaki. Kadokura won the grand prize in the Kashiwa City Art Fair in 2001 and 2003.
門倉直子認為創作首重捕捉悲傷情緒的當下。這些畫像常是 擁有年輕面孔的女孩且已經告別了友情或愛情，她們的表情 飄忽不定，但卻也凝聚了瘋狂、叛逆、幽默。藝術家欲表達 現代女性除追求外表外，也同時渴望探索心靈之美。自 1999 第一場個展開始，每年主要持續於東京 ART ★ AIGA 和椿畫 廊發表作品，在 2000 年和
年獲得柏市美術展大賞。
門倉直子 親愛的女孩Ⅱ 2008 年 油彩 炭筆 畫布 162 x 130 cm 簽名畫背： Dear Girl II 2008 Naoko Kadokura 來源 金仕發拍賣，台北， 2013 年 6 月 8 日，編號 113 現有收藏者購自上述來源
2003
Naoko
KONDO
b. 1985)
Kondo was born in Hiroshima, Japan in 1985. She moved to Tokyo when she was 18 years old and experienced the rise and fall of the Japanese subculture "Manba Gal". Later, she discovered her talent in painting and started her art career. From her rough life experience, as a female person, she constantly produced satirical artworks mixed with philosophical ideas. Starting from 2011, Kondo continued hosting her solo exhibitions at Art Lab Tokyo and other galleries. The artist also participated in "VOCA2012" (The Ueno Royal Museum, Tokyo), 2013 "Love Exhibition" (Mori Art Museum, Tokyo).
NT$
HK$
近藤智美於 1985 年生於日本廣島縣， 18 歲起到東京生活， 經歷了 109 辣妹時期並見證了這個日本獨有次文化的興亡。 之後，憑著繪畫天分展開創作生涯。近藤以自己身為女性曲折 迂迴的生活經歷為基礎，不斷地推出夾雜哲學視角的諷刺作 品。 2011 年起在 東京 「 東京藝術實驗室 」及其他畫廊持續 發表個展，並被選為「 VOCA2012 」（上野之森美術館，東 京）、 2013 年「 Love: 藝術與愛展」（森美術館，東京）。 Satomi
近藤智美 不好意思！我的時髦狀態 （兩件一組） 2013 年 油彩 壓克力 木板 29.7 x 21 cm （每件） 簽名畫背： Ko.Satomi 2013 （每件） 來源 東京藝術實驗室，東京 154
107 SATOMI
(Japanese,
I Am Sorry My Stylish Situation (a set of 2) 2013 Oil, acrylic on panel 29.7 x 21 cm (each) Signed reverse Ko.Satomi and dated 2013 (each) PROVENANCE Art Lab Tokyo, Tokyo
60,000 - 90,000
15,000 - 22,000 US$ 1,900 - 2,800 RMB 13,000 - 20,000
108
TOMOYOSHI SAKAMOTO (Japanese, b. 1985)
The Confession - Breathe Out
2011 Acrylic on canvas 80.3 x 100 cm
Signed reverse Tomoyoshi Sakamoto and titled in Japanese and dated 2011
EXHIBITED
Cherry Blossom Viewing Exhibition 2, Art Lab Tokyo, Tokyo, April 3 - 8, 2012
Tomoyoshi Sakamoto Solo Exhibition - Biue Spring, Art Lab Tokyo, Tokyo, April 9 - 21, 2012
NT$ 180,000 - 280,000 HK$ 45,000 - 69,000 US$ 5,700 - 8,900 RMB 40,000 - 63,000
會展經驗外，其作品為高崎市立美術館收藏。 Tomoyoshi Sakamoto was born in Tochigi, Japan in 1985, and she graduated from Tokyo University of the Arts Department of Design in 2008. She belongs to the new generation of expressionism artists after "OTAKU Art". The artist not only depicts cute girls but also demonstrates vivid expressions of characters and includes Japanese subculture sarcastically. Other than her rich experience in hosting solo exhibitions and joining art fairs, Sakamoto's artwork was also collected by Takasaki Art Museum, Gunma.
坂本友由 2008 年自東京藝術大學設計系畢 業。坂本屬於御宅族藝術之後的新一代表現形 式作家。作品中描繪的不僅僅是可愛的少女， 也以詩意解釋生動的人物表情並帶入對於日 本次文化的諷刺。除了豐富的個展與藝術博覽
坂本友由 吸氣吐氣（告白） 2011 年 壓克力 畫布 80.3 x 100 cm 簽名畫背： 坂本友由 2011 濃く吐く 展覽 「花見展 2 」， 東京藝術實驗室，東京， 展期 2012 年 4 月 3 日至 8 日 「坂本友由個展－春之青」， 東京藝術實驗室，東京， 展期 2012 年 4 月 9 日至 21 日
GEOFFREY BOUILLOT
(French, b. 1990) Geoffrey Nara 2021 Acrylic on canvas 73 x 60 cm Signed lower right side Bouillot Signed reverse Geoffrey Bouillot, titled Geoffrey Nara, inscribed Tokyo and dated 2021 This lot is accompanied with a certificate of authenticity signed by the artist. NT$ 100,000 - 150,000 HK$ 25,000 - 37,000 US$ 3,200 - 4,700 RMB 22,000 - 34,000
109
杰弗里．布約 失眠夜坐著 2021
壓克力 畫布
簽名右下側邊：
簽名題識畫背： Geoffrey
附藝術家簽名原作保證書 法國出生的藝術家杰弗里．布約目前定居於日 本。他的作品儼然受到兩國文化的影響，並探 討了普普藝術、立體主義和未來主義的獨特動 態。布約以黑白為基調的灰階影像作畫手法、 組合立體主義和時尚精簡主義的作品為其特 徵。畫作中的靜物和肖像充滿了與煉金術相關 符號以及受到古代文明啟發的圖案。布約曾在 日本東京舉辦過多次個展及聯展。 156
年
73 x 60 cm
Bouillot
Bouillot Geoffrey Nara Tokyo 2021
GEOFFREY BOUILLOT
(French, b. 1990)
Go Tigers!
2021 Acrylic on canvas 73 x 60 cm Signed lower left side Bouillot
PROVENANCE
YOD Editions, Osaka
EXHIBITED
Titan of Steel, YOD Editions, Osaka, October 30 - November 19, 2021
This lot is accompanied with a certificate of authenticity signed by the artist.
NT$ 110,000 - 170,000 HK$ 27,000 - 42,000 US$ 3,500 - 5,400 RMB 25,000 - 38,000
French born artist, Geoffrey Bouillot, currently lives and works in Japan. His work is evidently informed by these two cultures, and examines a unique dynamic of pop art, cubism, and Italian futurism. Bouillot's distinctive still-lifes and portraits are imbued with symbols related to alchemy as well as patterns that are inspired by ancient civilizations. It has been said of his work, "Composed of metallic-like stacking cylindrical and spherical forms, each character morphs nostalgic cartoons into unfamiliar forms, speaking to a collision of culture – from the ancient to the deep future. "Bouillot has exhibited across Tokyo Japan including numerous solo and group exhibitions.
110
杰弗里．布約 老虎隊 Go ！ 2021 年 壓克力 畫布 73 x 60 cm 簽名左下側邊： Bouillot 來源 YOD 畫廊，大阪 展覽 「巨鐵」， YOD 畫廊，大阪， 展期 2021 年 10 月 30 日 至 11 月 19 日 附藝術家簽名原作保證書
TOMOKAZU MATSUYAMA (Japanese, b. 1976)
The Couch Unsent Piano
2020 Silkscreen, ed. 22/100 89 x 58 cm
Signed lower right Matsuyama and numbered 22/100
PROVENANCE
Avant Arte, Amsterdam
This lot is accompanied with a certificate of authenticity issued by Avant Arte, Amsterdam and signed by the artist.
NT$ 80,000 - 120,000 HK$ 20,000 - 30,000 US$ 2,500 - 3,800 RMB 18,000 - 27,000
111
松山智一 沙發上未彈奏的鋼琴 2020
絲網印刷 版次
簽名版次右下：
來源 Avant Arte ，阿姆斯特丹 附 Avant Arte 開立之藝術家簽名原作保證書 158
年
22/100 89 x 58 cm
Matsuyama 22/100
JUNG YEO EUN (Korean, b. 1992)
Petal-5 2022 Acrylic on canvas 91 x 91 cm Signed reverse Jyeoeun, titled Petal-5, inscribed Acrylic on canvas 91 x 91 cm and dated 2022
EXHIBITED Kiaf+ , Seoul, September 1 - 5, 2022 NT$ 200,000 - 300,000 HK$ 50,000 - 74,000 US$ 6,300 - 9,500 RMB 45,000 - 67,000
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鄭與恩 魔法少女－
展覽
5 2022 年 壓克力 畫布 91 x 91 cm 簽名題識畫背： Jyeoeun Petal-5 Acrylic on canvas 91 x 91 cm 2022
Kiaf+ 博覽會，首爾，展期 2022 年 9 月 1 日至 5 日
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BIJIJOO (MICHAEL TODD HORNE)
(American, b. 1975)
Waitin for the Bus 2021 Oil, acrylic, pastel on canvas 104 x 103 cm Signed lower right Bijijoo Signed reverse Bijijoo, titled Waitin for the bus and dated 13 August 2021 NT$ 130,000 - 190,000 HK$ 32,000 - 47,000 US$ 4,100 - 6,000 RMB 29,000 - 43,000
was born in 1975 Atlanta, USA. He was interested in painting since childhood, and he also enjoyed writing, music producing, and filming. In addition, the artist also spent time in researching math, physics, computer science, and chemistry, later receiving a Ph.D. in biophysics at Portland State University. He is currently working on digital design, intellectual property, and innovative interfaces at Nike. The artist was often inspired by his daughter's imagination and her love of monsters, so, combining with his academic research, his paintings are mostly about monstrous cartoons and exaggerations of life.
Bijijoo （暱稱 B ）於 1975 年出生於美國亞特蘭大。從小 就熱衷於繪畫，也有從事寫作、音樂和錄像等經驗。除此 之外，藝術家也熱愛研究數學、物理、電腦科學和化學， 並於 2008 年取得波特蘭州立大學生物物理學博士學位， 目前在耐克（ Nike ）從事數位設計與創新介面和知識產 權的工作。藝術家時常受到女兒的想像力及對怪獸熱愛的 啟發，同時結合自身的學術背景，創作出怪獸卡通及誇張 生活的題材。 Bijoo
麥克－陶德．霍恩 等公車 2021 年 油彩 壓克力 粉彩 畫布 104 x 103 cm 簽名右下： Bijijoo 簽名題識畫背： Bijijoo Waitin for the bus 13 August 2021 160
114
ALEX FACE
(Thai, b. 1981)
Fortune Cat No.2 2019 Spray, oil on linen 65 x 65 cm Signed lower right Alex Face and dated 19 EXHIBITED Mythical Creatures, Vertical Gallery, Chicago, August 10 - 31, 2019
亞歷克斯．費斯 招財貓 2 號 2019 年 噴漆 油彩 亞麻布 65 x 65 cm 簽名右下： Alex
19 展覽 「神話生物」， Vertical 畫廊， 芝加哥，展期 2019 年 8 月 10 日至 31 日
NT$ 220,000 - 340,000 HK$ 55,000 - 84,000 US$ 7,000 - 10,800 RMB 49,000 - 76,000
Face
ROBY DWI ANTONO
(Indonesian, b. 1990)
Luh & Ruh
2020
Poly-Resin, ed. 64/150 Produced by VINS
22(L) x 22(W) x 29(H) cm (sculpture); 24(L) x 32(W) x 38(H) cm (box) (each)
This lot is accompanied with a certificate of authenticity issued by VINS, Taipei and signed by the artist.
NT$ 80,000 - 140,000
HK$ 20,000 - 35,000
US$ 2,500 - 4,400
RMB 18,000 - 31,000
115
羅比．安托諾 眼淚與靈魂 2020 年 複合樹脂 版次 64/150 發行單位 VINS 22 （長） x 22 （寬） x 29 （高） cm （雕塑）； 24 （長） x 32 （寬） x 38 （高） cm （原裝盒）（每件） 附 VINS 開立之藝術家簽名原作保證書 162
EDGAR PLANS
(Spanish, b. 1977)
The Reading Hero (a set of 5)
2021
100% Alloy in full painted color, ed. 106/250 10 (L) x 15 (W) x 28 (H) cm (each)
EXHIBITED
Edgar Plans - The Power of Letters, K11 Art Mall, Guangzhou, China, December 17, 2021 - March 14, 2022
This lot is accompanied with a certificate of authenticity and a NFC manual.
NT$ 220,000 - 320,000
HK$ 55,000 - 79,000
US$ 7,000 - 10,100
RMB 49,000 - 72,000
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艾德加．普連斯 閱讀小英雄（五件一組） 2021 年 100% 全彩繪合金 版次 106/250 10 （長） x 15 （寬） x 28 （高） cm （每件） 展覽 「艾德加．普連斯－字有引力：看得見的夢境」， K11 購物藝術中心，廣州， 展期 2021 年 12 月 17 日至 2022 年 3 月 14 日 附原作保證書及 NFC 說明書
KUNIHIKO NOHARA
(Japanese, b. 1982)
Cappuccino B
2019
FRP, ed. 1/18
33(L) x 22.5(W) x 41(H) cm
Signed bottom and numbered 1/18
This lot is accompanied by a certificate of authenticity issued by the Gallery UG, Tokyo.
NT$ 120,000 - 180,000
HK$ 30,000 - 45,000
US$ 3,800 - 5,700
RMB 27,000 - 40,000
野原邦彥
卡布奇諾 B
2019 年
玻璃纖維 版次 1/18
33 （長） x 22.5 （寬） x 41 （高） cm
簽名底部： 1/18
附 Gallery UG 開立之原作作品保證書
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164
RYOICHI YAMAZAKI
(Japanese, b. 1976) I'm
2021
Not Lonely
FRP, hair, wood board, rope, ed. 4/4 30 (L) × 30 (W) × 40 (H) cm (sculpture); 29 (L) × 13.5 (W) × 3.5 (H) cm (swing board); 800 cm (rope) Signed bottom and sol Ryoichi Yamazaki, dated 2021 and inscribed 5kg
This lot is accompanied with a certificate of authenticity issued by Art Gallery Komori, Nagoya.
NT$ 280,000 - 340,000 HK$ 69,000 - 84,000 US$ 8,900 - 10,800 RMB 63,000 - 76,000 山崎龍一 我才不寂寞呢 2021 年 纖維強化塑膠 毛髮 木板 棉繩 版次 4/4 30 （長） x 30 （寬） x 40 （高） cm （雕塑）； 29 （長） x 13.5 （寬） x 3.5 （高） cm （鞦韆木版）； 800 cm （棉繩） 簽名底部足底： Ryoichi Yamazaki 2021 5kg 附小森畫廊開立之原作保證書
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SATOSHI SAITOH (Japanese, b. 1982) Reside in the Idol 2019
Painted camphor wood, ash, glue 20(L) x 20(W) x 45(H) cm Signed backside This lot is accompanied with a certificate of authenticity issued by s+arts, Tokyo and signed by the artist.
NT$ 100,000 - 150,000 HK$ 25,000 - 37,000 US$ 3,200 - 4,700 RMB 22,000 - 34,000 齊藤智史 寄宿於偶像 2019 年 彩繪樟木 灰 膠 20 （長） x 20 （寬） x 45 （高） cm 簽名背面
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166
附 s+arts 畫廊開立藝術家簽名原作保證書
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SATOSHI SAITOH (Japanese, b. 1982) Seed Idol 2019 Painted camphor wood, ash, glue 24(L) x 20(W) x 14(H) cm This lot is accompanied with a certificate of authenticity issued by s+arts, Tokyo and signed by the artist. NT$ 30,000 - 60,000 HK$ 7,000 - 15,000 US$ 900 - 1,900 RMB 7,000 - 13,000 齊藤智史 種子小精靈 2019 年 彩繪樟木 灰 膠 24 （長） x 20 （寬） x 14 （高） cm
Satoshi Saitoh was born in 1982 in Nagano, Japan and graduated from the Department of Sculpture at Tokyo Zokei University. Saitoh's sculptures use camphor wood as the main body and apply the ash and pigments that are used in Japanese painting. Born in a gardening family, Saitoh's growing environment always revolves around trees. To Saitoh, woodcarving is an indispensable way to express a scene. He connects various elements around him, such as regional culture, biological activities, emotions, society, and thoughts. Saitoh's works include both peaceful dolls and abstract works. Through his works, he expresses the ambiguous and nostalgic feelings of human memory.
附 s+arts 畫廊開立藝術家簽名原作保證書 齊藤智史在 1982 年出生於日本長野縣，畢業於東京造形大學雕 塑系。齊藤的雕塑創作以樟木作為主體並施以日本畫用的灰和 顏料。出生於園藝家庭的齊藤成長環境總是圍繞着樹木，對於 齋藤來說，木雕是表達一個場景的不可或缺的方式，他將周圍 的各種元素像是地域文化、生物的活動、社會、情感、思想等 緊密交織在一起。齊藤的作品中既有安穩沉靜的偶像，也有抽 象的立體作品。透過這些作品，藝術家表達出人類記憶的曖昧 和懷舊情懷。
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