現代與當代藝術 Modern and Contemporary Art

AUTUMN AUCTION

拍賣目錄每本售價：NT$2,000

This auction catalogue: US$70

拍賣日期／地點

2022年12月4日（日）下午 2:00 萬豪酒店

台北市中山區樂群二路199號3樓（博覽廳）

預展日期／地點

高雄 2022年11月12日（六）上午11:00至下午6:00 2022年11月13日（日）上午11:00至下午6:00 琢璞藝術中心

高雄市前金區五福三路63號8樓

台中 2022年11月19日（六）下午1:00至下午6:00 2022年11月20日（日）上午11:00至下午6:00 豐藝館 台中市西區五權西路一段110號B1

台北

2022年12月1日（四）~ 3日（六）上午11:00至下午7:00 萬豪酒店

台北市中山區樂群二路199號3樓（博覽廳）

AUCTION

Sunday, December 4, 2022, 2:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

PREVIEWS

Kaohsiung

Saturday, November 12, 2022, 11:00am - 6:00pm Sunday, November 13, 2022, 11:00am - 6:00pm J. P. Art Center

8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan

Taichung Saturday, November 19, 2022, 1:00pm - 6:00pm Sunday, November 20, 2022, 11:00am - 6:00pm Fong-Yi Art Gallery

B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Taipei

Thursday, December 1 - Saturday, December 3, 2022, 11:00am - 7:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

王鎮華 Arthur Wang 董事長 Chairman 郭倩如 Clara Kuo 副董事長 Vice Chairman

傅斐郡 Flora Fu 藝術部總經理 President, Art Department

林慧菁 Maggie Lin 藝術部資深副總經理

Senior Vice President, Art Department

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

李維屏 Apolline Li 藝術部專家 Specialist, Art Department

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

楊琴 Echo Yang 深圳業務經理 Shenzhen Business Manager

藝術品諮詢專家

藝術部總經理

傅斐郡

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藝術部資深副總經理

林慧菁

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RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS

President, Art Department Flora Fu

Tel: +886 2 2708 9868 ext. 888 Email: florafu@ravenel.com

Senior Vice President, Art Department

Maggie Lin

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

Senior Manager, Art Department

Stella Huang

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

PHONE BIDS AND WRITTEN BIDS

Taiwan Maggie Lin

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

Hong Kong

Kitty Lam

Tel: +852 2889 0859 Email: kittylam@ravenel.com

Shanghai．Beijing Xiu Lee

Tel: +86 21 6228 2883 Email: xiulee@ravenel.com

Shenzhen Echo Yang

Tel: +86 21 6228 2883 Email: echoyang@ravenel.com

International Stella Huang

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

ONLINE BIDS

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Remarks:

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

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

CATALOGUE SUBSCRIPTION

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

Hong Kong Kitty Lam

Tel: +852 2889 0859 Email: kittylam@ravenel.com

Shanghai．Beijing Xiu Lee

Tel: +86 21 6228 2883 Email: xiulee@ravenel.com

Shenzhen Echo Yang

Tel: +86 21 6228 2883 Email: echoyang@ravenel.com

The catalogues are available for subscription. For details of subscription, please refer to the explanations of the catalogue or contact the above persons.

PAYMENT

Caroline Shen

Tel: +886 2 2708 9868 ext. 696 Email: carolineshen@ravenel.com

Payment details are described at the back of the catalogue. Please contact the above person if you need any further information.

COLLECTION AND SHIPPING

Taiwan．International Jerry Wu

Tel: +886 2 2708 9868 ext.587 Email: jerrywu@ravenel.com

Hong Kong

Kitty Lam

Tel: +852 2889 0859 Email: kittylam@ravenel.com

China Xiu Lee

Tel: +86 21 6228 2883 Email: xiulee@ravenel.com

Remarks:

All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of traveler's checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday.

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

Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold "as is". Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the "Transaction Agreement to the Buyers".

目次

羅芙奧秋季拍賣會

羅芙奧之服務

藝術家索引

現代與當代藝術

給予買家的重要通知

委託競投表格

業務規則

LA

B C

A-Lei 阿咧 310

Takeru AMANO 天野タケル 216, 223, 340

Szabolcs Bozó 薩波爾齊斯 博佐 292

Bernard BUFFET 貝爾納 畢費 242

Jon Burgerman 喬恩．布爾格曼 308, 327

Javier Calleja 哈維爾 卡勒加 303

CHANG Wan-chuan 張萬傳 286

YOSHIO CHANG 張義雄 283, 287

CHANG Teng-yuan 張騰遠 208, 215, 288

CHEN Ting-Shih 陳庭詩 253, 281, 322

CHEN Te-wang 陳德旺 259

CHIU Ya-tsai 邱亞才 265

CHU Teh-chun 朱德群 236, 350, 356, 357

CHUANG Che 莊喆 260

D*Face D*Face 207

DING Yan-yong 丁衍庸 251

DONG Shawhwei 董小蕙 276 Mr Doodle 塗鴉先生 205, 206, 217-220, 228, 229, 353, 379, 380

Roby Dwi ANTONO 羅比 安托諾 364, 366

M N

LI Chen 李真 241, 272

LIN Fengmian 林風眠 270

Rafa MACARRON 拉法・馬卡龍 243

MADSAKI MADSAKI 329, 330 Eddie Martinez 艾迪 馬丁內斯 345

YAMAGUCHI Meguru 山口歷 245 Mr. Mr. 331, 332, 370 Takashi MURAKAMI 村上隆 344

Tomoko NAGAI 長井朋子 201, 214, 227, 293, 294, 295

Moe NAKAMURA 中村萌 248, 307, 371-378 Yoshitomo NARA 奈良美智 238, 239, 297, 301, 302, 304, 348

O P

Adriana Oliver 阿德里安娜 奧利弗 365 Toru OTSUKI 大槻透 202, 213

PANG Jiun 龎均 267, 268

E F

H

Etsu Egami 江上越 221, 222 Iwamura EN 岩村遠 369

Alex Face Alex Face 277, 278, 343

GU Wenming 谷文明 321

Ai HAIBARA 灰原愛 313, 314

Han Choong-Seok 韓忠錫 279 Yuichi Hirako 平子雄一 211, 212, 224, 309, 367

Damien Hirst 達明 赫斯特 289, 290, 291

HSI Shih-pin 席時斌 319

HSIAO Chin 蕭勤 254, 262

HSIEH Hsiao-De 謝孝德 360 Tehching HSIEH 謝德慶 282 Hsu Ming Hsiung 許敏雄 284 HUNG Yi 洪易 318

Invader Invader 244, 339

JAN Chin-shui 詹金水 285

JU Ming 朱銘 271, 368, 381-383

Yoshitoshi Kanemaki 金卷芳俊 296

Izumi Kato 加藤泉 336-338

KAWS (Brian Donnelly) KAWS ( 布萊恩・唐納利 ) 346

IIDA Kiriko 飯田桐子 203, 204

Maiko KOBAYASHI 小林麻衣子 298

Satoru KOIZUMI 小泉悟 341, 361

Miwa KOMATSU 小松美羽 231,333,334

Yayoi KUSAMA 草間彌生 234, 235, 240, 249, 250, 299, 315, 347, 349, 351

R

S

RAN In-ting 藍蔭鼎 255, 256, 257, 258 Ayako ROKKAKU 六角彩子 230, 300, 316

Chiharu SHIOTA 塩田千春 246, 247, 305, 306, 335, 342

Kazuo SHIRAGA 白髮一雄 358 SHIY De-jinn 席德進 252 David Shrigley David Shrigley 352, 363 Akiko SUMIYOSHI 住吉明子 209

Akiko TOJO 東條明子 311, 312 Yoshimasa TSUCHIYA 土屋仁応 273, 274 Léonard Tsuguharu FOUJITA 藤田嗣治 232

U

T Y

Yosuke UENO 上野陽介 210

WANG CHUAN-FENG 王傳峰 269 WANG Pan-youn 王攀元 264 Andy WARHOL 安迪 沃荷 328

XIA Junna 夏俊娜 275 XUE Song 薛松 263

Mayuka YAMAMOTO 山本麻友香 225, 226, 323-326, 362

YANG Mao-lin 楊茂林 317 YANG Chihung 楊識宏 261, 266 Yun GEE 朱沅芷 233 YAMAGUCHI Meguru 山口歷 245

ZAO Wou-ki 趙無極 237, 354, 355, 359 ZHAN Wang 展望 320 ZHANG Huan 張洹 280

Tomoko NAGAI

b. 1982)

Bear; Big Bear (a set of 2)

2018; 2020 Ceramic, fabric, edition no. 26/30

edition of 25

10.5(L) x 11(W) x 21(H) cm 42 x 29.7 cm

Signed in the original box Tomoko NAGAI, numbered 26/30 and dated 2018 (bear)

Signed on the back Tomoko NAGAI 2018 (bear) Signed lower right Tomoko NAGAI and dated 2020 (big bear)

長井朋子

熊；大熊 ( 兩件一組 ) 2018；2020

陶瓷 拼布 26/30

版畫 限量 25

10.5(長) x 11(寬) x 21(高) cm 42 x 29.7 cm

簽名原裝盒：Tomoko NAGAI 26/30

2018 (熊)

簽名後方：Tomoko NAGAI 2018 (熊)

簽名右下：Tomoko NAGAI 2020 (大熊)

OTSUKI (Japanese, b. 1973)

2020

Mixed media, gold leaf on board 41 x 32 cm

Signed lower right Toru.o and dated 2020 Signed on the reverse Toul OTSUKI in Chinese, titled Love and dated 2020

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

NT$ 80,000 - 160,000

HK$ 20,000 - 40,000

US$ 2,500 - 5,100

RMB 18,000 - 36,000

大槻透 愛情的模樣 2020

綜合媒材 金箔 木板 41 x 32 cm

簽名右下：Toru.o 20 簽名畫背：Love 2020 大槻透

附日升月鴻畫廊開立之原作保證書

208

Chang Teng-yuan (Taiwanese, b. 1983)

Parrot Yoga - Bridge; Downward Facing Dog; Plough; Upward Facing Dog (a set of

2021

Acrylic on wood

39(L) x 64(W) x 0.9(D) cm (bridge)

45(L) x 65(W) x 0.9(D) cm (downward facing dog)

36(L) x 60(W) x 0.9(D) cm (plough)

37(L) x 70(W) x 0.9(D) cm (upward facing dog)

Signed on the reserve Chang Teng yuan 2021 (each)

ILLUSTRATED

Chang Teng Yuan Art Works 2005 - 2021, J.P Art Center, 2002, p. 119 & p. 121 & p. 125 & p. 128

張騰遠

鸚鵡瑜珈－橋式；下犬式；犁式； 上犬式 ( 四件一組 )

2021

壓克力 木板 39(長) x 64(寬) x 0.9(厚) cm (橋式) 45(長) x 65(寬) x 0.9(厚) cm (下犬式) 36(長) x 60(寬) x 0.9(厚) cm (犁式) 37(長) x 70(寬) x 0.9(厚) cm (上犬式) 簽名畫背：Chang Teng yuan 2021 (每件) 圖錄 《張騰遠作品集2005 - 2021》，琢璞藝術 中心，2022，頁119與頁121與頁125與頁 128

附琢璞藝術中心開立及藝術家親筆簽名之 原作保證書

This

a

of authenticity issued by J.P Art Center and signed by the artist.

-

13,300 -

-

AMANO

b. 1977)

on canvas

x 63 cm

lower left Amano

550,000 - 650,000 HK$ 136,000 - 161,000 US$ 17,400 - 20,600 RMB 123,000 - 146,000

壓克力 畫布

x 63 cm 簽名左下：Amano

226

Mayuka YAMAMOTO (Japanese, b. 1964)

Sleeping Bear - Morning

2008

Oil on canvas 130.3 x 193.9 cm

Signed on the reverse Mayuka, titled Sleeping BearMorning in English and dated 2008

NT$ 1,600,000 - 2,800,000

HK$ 397,000 - 695,000 US$ 50,600 - 88,600 RMB 359,000 - 628,000

山本麻友香 沉 睡的熊－白天 2008

油彩 畫布 130.3 x 193.9 cm 簽名畫背：Sleeping Bear - Morning；Mayuka 2008

227

Tomoko NAGAI (Japanese, b. 1982)

A Gift from White Horse (diptych)

2008

Oil, acrylic, color spray on canvas 227.5 x 364 cm

Signed on the reverse Tomoko NAGAI in English, titled A Gift from White Horse in Japanese and dated 2008

PROVENANCE

Tomio Koyama Gallery, Tokyo Private collection, Asia

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

NT$ 1,800,000 - 3,800,000 HK$ 447,000 - 943,000 US$ 56,900 - 120,200

RMB 404,000 - 852,000

長井朋子於 1982 年出生於日本愛知縣，並於 2006 年畢 業於愛知縣立藝術大學油畫系。在長井的作品中，以森 林和家中的房間為背景，戲劇性地描繪了熊、貓、馬等 各種動物、兒童及五顏六色的樹木和蘑菇。

此次拍品為難得一見大尺幅雙聯作，《來自白馬的禮 物》充滿長井朋子經典元素多種主題，並擁有獨特的空 間感，如劇場舞台般的設計，濃縮了虛構敘事世界的活 力，善於畫面氣氛的營造使她的作品當中蘊含一種獨 特的空間感。長井運用一種類似於創作音樂作品的表達 方式，也嘗試多種繪畫材料，噴漆、油彩、壓克力彩，

長井朋子 來自白馬的禮物 ( 雙聯幅 )

2008 油彩 壓克力 漆 畫布 227.5 x 364 cm 簽名畫背：Tomoko NAGAI 2008 白い馬から の贈りもの 來源 小山登美夫畫廊，東京 私人收藏，亞洲 附小山登美夫畫廊開立之原作保證書

NAGAI was born in 1982 in Aichi, Japan,

completed her studies at the Aichi University of the Arts in 2006.

sale,

works are set in a forest or at

composed with animals such as bears,

children and colourful trees and

a large scale diptych, A

White Horse. It was composed with typical

in multiple settings in a unique space, similar

a theater setting designed for various scenes of a story. The artist specializes in creating a unique

for her story. With a similar setting as a theatrical musical, she experimented with various

such as crayons, spray paint, pen, aquarelle

acrylic paint. Such a composition initiates

scenes and possibilities throughout the journeys created by the artist.

596,000 - 993,000

-

- 897,000

Mr Doodle

THE DOODLE WAVE

British talented artist Mr Doodle was born in Kent, England in 1994. With a marker pen, he has swept the world with densely laid out yet simple graffiti lines. Mr Doodle's works full of British hippies and humor have also won him numerous fans. In his graffiti world, inspired by contemporary popular elements or daily life experiences, a variety of strange characters, symbols, vivid fantasy and stories present his cosmology, it is also filled with a range of novelty, fun, joy and uniqueness.

The prototype of “The Doodle Wave” is originated from a ukiyo-e masterpiece “The Great Wave of Kanagawa” created by the famous Edo Japanese artist Katsushika Hokusai in the early 19th century.

There are two iconic symbols in the original work, which are the sacred mountain in the hearts of the Japanese, Mount Fuji and the sea that they live on. This masterpiece also inspired many great painters and musicians of Western Impressionism and PostImpressionism, such as Manet, Monet, Van Gogh etc.

The composition of the picture follows the classic layout of the original work: a huge ocean wave is outlined with black lines in the center, surrounded by layers of yellow, green and white lines, which sketch the waves, Mount Fuji, fish, elves under the sea, boats and boatmen struggling with nature.

The whole picture symbolizes the spirit and integrity of the Japanese ethnic, as well as the courageous fight between mankind and mother nature. The essence and ambience of unremitting selfimprovement is displayed through forging ahead bravely while riding against the wind and waves, this vitality is nevertheless more and more apparently valuable under the times of global pandemic.

EXHIBITED

Mr

Sotheby’s, Sotheby’s

Kong, December 6-19,

ILLUSTRATED

Mr

Invades Sotheby’s, Sotheby’s, Hong

2019, no. 32, pp 75 -

NT$ 2,400,000

4,000,000

HK$ 596,000 - 993,000

US$ 75,900 - 126,500

RMB 538,000 - 897,000

Mr Doodle DOODLE KISS

2022 年初上海 K11 開展《戀愛中的塗鴉先生》史無前 例的大規模展出藝術家多件彩色塗鴉作品。完整地把 Mr Doodle從墜入愛河到2021年迎娶Mrs Doodle的過 程與體悟娓娓道來，呈現了從黑白世界到色彩繽紛的 浪漫愛情之旅，這段美好的關係讓 MR Doodle 的黑白 世界變得有了色彩。而這場愛之旅早在 2019 年《 Mr Doodle Invades Sotheby's 逆襲蘇富比》就已初見甜 蜜，展覽中的塗鴉新作以東方名畫為藍本，包括《蒙 娜麗莎》、《吶喊》、《亞維農的 Doodle 少女》、常 玉大作《曲腿裸女》等名作悉數登場。 這幅《吻》也在列其中，原作是由維也納分離派繪畫 大師克里姆特創作於 1907 - 1908 年，也是其巔峰時期 的黃金作品，Mr Doodle延續他異想天開的「義大利麵 式塗鴉」方式重新解構畫面，以名作為原型，整幅畫 面以黃色打底，粗獷的黑色線條勾勒出位於畫中心的 一對戀人和大大的愛心。畫面四周，用銀色線條勾勒 出太陽、星星、愛心、花朵、鑰匙、鉆石、冰淇淋等 等代表愛的圖形和元素，整幅畫面充滿著幸福、甜蜜 和快樂的氛圍。延續了藝術家一貫不變的題材：愛、 幸福和有趣。

In early 2022, Shanghai K11 launched "Doodle in Love", an unprecedented large-scale exhibition of the artist's multi-colored graffiti works. This exhibition completely narrates the process and experience from falling in love to marrying Mrs Doodle in 2021, presenting a journey from black and white to dazzling colors filled with romance and love. This beautiful relationship makes M.Doodle's black and white world changes to a colourful one. This journey of love has been visible for the first time as early as 2019 in "Mr Doodle Invades Sotheby's". The new graffiti works in the exhibition are based on famous paintings from both the East and the West, including "Mona Lisa", "The Scream", "The Doodle Girls of Avignon" and Sanyu's masterpiece "Nude Girl with Crooked Legs".

This work "Doodle Kiss" is also included in the above mentioned exhibition. The original work was created in 1907-1908 by Gustav Klimt, a master of the Vienna Secession, and it was also a piece created in its golden era at his pinnacle. Mr. Doodle continued his whimsical "Graffiti Spaghetti" method to redeconstruct the picture, utilising the masterpiece as the prototype. The background of the painting is in yellow, the rough black lines outline the pair of lovers and the big love situated in the center of the painting. Surrounding the picture, the sun, stars, hearts, flowers, keys, diamonds, ice cream and other graphics and elements representing romantic love are outlined with silver lines. The whole picture is full of happiness, sweetness and joyful atmosphere, in continuation with the artist's consistent theme of love, blessed and fun.

克林姆

Gustav Klimt, The Kiss, 1907-1908, oil on canvas

943,000

120,200

852,000

231

Miwa KOMATSU

(Japanese, b. 1986)

New York "Feel" and "Think"; Hong Knog "Feel" and "Think" (diptych)

2017 Acrylic, gold leaf, mixed media on canvas 130 x 324 cm Signed on the reserve Miwa KOMATSU in Chinese and dated 2017

PROVENANCE White Stone Gallery, Taipei NT$ 5,500,000 - 8,500,000 HK$ 1,365,000 - 2,109,000 US$ 173,900 - 268,800 RMB 1,233,000 - 1,906,000

小松美羽，曾被藝術獎評選「世界藝術家前 39 名」， 被稱為「地球籍的藝術家」「無國籍創作者」，她的 天地守護獸有田燒作品，已被大英博物館永久珍藏， 也是該館所典藏的在世藝術家作品最年輕的一位。她 不僅風格獨特、備受國際矚目，畫風也是獨樹一幟的 鮮明。

《紐約「感」與「想」；香港「感」與「想」（雙聯 幅）》為市場罕見的雙聯幅作品，金字塔式構圖，以 飽滿的金黃色和墨綠色打底，用墨、壓克力顏料等各 式媒材堆疊，以打圈、並列、粗獷而又充滿張力的線 條和自由奔放的筆觸描繪畫面。畫面中央兩隻神獸， 獨角與雙角。由金、墨切割的畫面有如切割陰與陽的

小松美羽

紐約「感」與「想」；香港「感」與「想」 ( 雙聯幅 )

2017 壓克力 金箔 綜合媒材 畫布 130 x 324 cm 簽名畫背：2017 小松美羽 來源 白石畫廊，台北

boundaries. She is the youngest living artist

work of Guardian lion dog made with Arita porcelain was kept as a permanent collection at the British Museum. Her unique works and style allowed her name to echo throughout the international platform.

New York "Feel" and "Think"; Hong Kong "Feel" and "Think" is a diptych rare to the market. With a pyramid structure, the painting is set on a golden and dark green background. Using media such as ink and acrylic paint, the artist filled the canvas with circles, parallel and rough lines and freehand strokes. Two guardian lion dogs, male and female, are composed at the center of the canvas. A unicorn and a bicorn sit across the gold and black sides of the canvas, surrounded by four white Komainu with a gentle expression. The whole canvas has a balanced structure filled with vivid colours, radiant with life. The guardian animals are depicted with divine power and positive energy symbolized as mythical beings protecting humankind.

Léonard Tsuguharu FOUJITA

1886 -

lower left Tsuguharu in Kanjiand T. Foujita in Engilsh

on the reverse Tsuguharu Foujita in Kanji, T. Foujita

English and inscribed in Paris in Kanji

New York

estate of Cornelia and Michuel Bessie, Connecticut

authenticity

will be included in the artist's

Catalogue

prepared by Sylvie

Leonard - Tsuguharu Foujita IV (No. D18. 172A)

6,500,000 - 8,500,000

1,613,000 - 2,109,000

205,600 - 268,800

1,457,000 - 1,906,000

Orientalism in Paris: The Art of Foujita

身為巴黎畫派的代 表人物之一，藤田 嗣治的成就使他躋 身 20 世紀日本藝術 家翹楚，也是 1920

年代最成功的藝 術家之一。 1913 年藤田嗣治甫達巴 黎，當時的巴黎匯

聚著各地的異國藝

術家，不同的文化 在繁華的巴黎相互 激盪著，藤田為當

時巴黎畫派帶來無 限的東方色彩。但

他在蒙帕納斯的生活十分困苦，直至 1917 年於波西街 的紀庸畫廊舉行首次個展，以和洋式畫風很快的就在 巴黎藝術圈成名。隔年藤田作品全數入選巴黎秋季沙 龍，並和當時的畫家畢卡索、莫迪里亞尼等人齊名。 《雙貓圖》即是在此時完成的作品，也是最早以貓為 主題的金箔畫作。由於第一次世界大戰的關係金箔取 得不易，只有對畫家而言最重要的作品才會用上金 箔。譬如藤田被東京新西洋美術館所收藏的作品《坐 著的女人》及卡涅城堡博物館收藏的《蘇茜‧索利多 爾肖像》也說明這件作品與這兩隻貓對藤田而言意義 重大。

綽約多姿的慵懶之美 擅於描繪謬思女性之美之外，「貓」是藤田喜好的另 一大主題。貓與女人之間有著令他著迷的相似點，藤 田在多年創作生涯中以不同方式畫貓。此幅作品《雙 貓圖》以日本古代常用的金箔作畫，日式山水畫法描 繪背景，中間的兩隻貓以極細的工筆線條描繪貓毛， 活靈活現、躍然紙上，是藤田嗣治認為貓最美的型 態，結合了東方的墨韻與西方的水粉創作特色。左側 的貓名為 Koneko 代表感性，右側為 Kiki 代表慵懶美。 藤田不止一次在日記中寫道他喜歡貓，貓像女人，特

別是像法國女人散發綽約多姿的慵懶自信美。 對西方人而言女性是美的代表，《雙貓圖》完整體現 了女性的慵懶與敏感纖細之美與藤田對於東西方美學 合壁的追求。藤田嗣治初到巴黎時作為東方藝術家於 當時百花齊放的巴黎藝壇中繪畫風格獨樹一幟，這兩 隻貓是他最早養的兩隻貓。也陪伴了藤田度過那段辛 苦日子，1917年展覽成功後，1918年藤田即以金箔創 作了這件作品。也代表 Koneko 與 Kiki 在其心中重要的 地位。藤田還跟白貓Koneko照了許多照片，以及為牠 創作版畫。直至 1929 年兩隻貓相繼離世後，再也沒有 牠們出現在藤田作品當中。

Orientalism in Paris: The Art of Foujita

Acclaimed as one of the representatives of the Ecole de Paris, Léonard Tsuguharu Foujita was regarded as one of the top artists of the 20th century, and the most successful one in 1920. After relocating to Paris in 1913, he was surrounded by artists from all parts of the world, and was living in the melting pot of culture. After the first world war, Foujita introduced the beauty of oriental art to the Ecole de Paris. He led a life of destitute in Montparnasse

Léonard Tsuguharu Foujita, Nu allonge

chat,

du Petit Palais, Geneve

藤田嗣治與Koneko合影 Foujita with Koneko

Tsuguharu

Portrait de Suzy Solidor,

oil gold leaf on

100 x 65 cm, Château-Musée Grimaldi (Cagnes-sur-Mer)

until 1917 when he had his first solo exhibition at the Chéron Gallery with 17 aquarelle paintings. His works captured the eyes of Pablo Picasso. This shows Picasso's signs of appreciation towards the artist. In 1918, he visited Renoir and started incorporating oriental aesthetics into western art. The following year, all of his works were exhibited in the Salon d'Automne alongside, his fame continued to rise since then. Chats, offered in this sale, is a work from the period and is one of the first paintings of cats finished with gold leaf. Gold leaves were scarce after the war and would only be applied to the most important paintings of the artist. A Seated Woman, collection of the National Museum of Western Art, Tokyo, and Portrait de Suzy Solidor highlighted the significance of the two cats towards the artist.

Sensual Beauty of Laziness

Apart from women, cats are a prominent subject matter to Foujita. Cats and women captured the eyes and brush of Foujita throughout his artistic career.

This work, Chats, was set in a background with gold leaf, composed with a Japanese landscape. Two cats were completed by incorporating western techniques to an oriental setting. A fine brush was used to depict the delicate hair of the cats, which was regarded as the finest way of expressing the beauty of the animal. Koneko, the cat on the left, symbolizes sensual beauty; while Kiki on the right represents graceful laziness. Expressed in his journal more than once, Foujita regarded cats with similar qualities as women, especially the confidence and beauty of laziness.

Women as a symbol of beauty is prevalent in the Western ideology. Their beauty is depicted through laziness with sensual delicate figures. Using cats as a representation of women could be deciphered as the expression of sensitivity and laziness in Western art. The landscape setting represents the pursuit of oriental art, thus forming an incorporation of Western and Eastern techniques of art. These two cats were one of Foujita's earliest companions through his destitute life as an artist of the East when he first came to Paris. After his success at the exhibition in 1917, Foujita started using gold leaf, experimented on this work in 1918. The composition of Koneko and Kiki shows their significance to the artist. Several pictures were taken of Koneko, followed by numerous prints of the cat, until 1929 when the cats passed away, they never appeared in Foujita's works ever again.

Tsuguharu Foujita, Nu, 1927, oil on canvas, 63.5 x 93.5 cm, Musée royaux des Beaux-Arts de Belgique, Bruxelles

Yun GEE

(Chinese - American, 1906 - 1963)

A Sailor

1927

Oil, cardboard mounted on panel 48.5 x 38 cm

Signed lower light Yun in Chinese and English, dated 1927

PROVENANCE Sotheby’s, Hong Kong, October, 17, 1999, lot 124 Important private collection, Asia

NT$ 9,500,000 - 18,000,000

HK$ 2,357,000 - 4,467,000

US$ 300,400 - 569,300

RMB 2,130,000 - 4,036,000

朱沅芷 水手肖像

1927

油彩 紙板裱於木板 48.5 x 38 cm

簽名右下：Yun 沅 27來源

蘇富比拍賣，香港，1999年10月17日，編號124 重要私人收藏，亞洲

1920 年代的歐美正經歷「咆哮的 20 年代」：前所未有的現代化 風潮、旺盛的消費欲望與都會生活、反傳統精神的社會、對未 來的樂觀無限巨大，所有人都感到一個全新而截然不同的時代 即將到來。在藝術上，一波波全新的藝術概念橫空出世，藝術 流派各家爭鳴，形成絢爛多彩的年代。 綜觀朱沅芷的藝術歷程，可分為「舊金山共色時期」、「巴黎 抒情時期」與「紐約工業時期」。生於東方，成長於美國，兩 度闖蕩巴黎，朱沅芷以自身深厚東方文化底蘊致力參與當時西 方國際現代藝術運動。他於 1927 年受到法國穆哈特王子與王妃 夫婦的引薦第一次前往巴黎，巴黎豐沛的藝術養分及時代風華 深深吸引著朱沅芷。此時期除了以往歐菲斯主義和共色主義影 響外朱沅芷更受到當時巴黎藝壇的主流影響，有著塞尚般色彩 薄疊鋪陳、回歸心性的內省精神更反映出一種東方詩意情懷。

受到歐洲文化交融影響，朱沅芷試圖藉由西方藝術形式匯通東 方哲思，並於作品中融入更多的東方文化底蘊。

朱沅芷「共色主義」時期的作品，是創作於藝術家在舊金山加 州藝術學院就讀的階段。《水手肖像》正是該時期的作品，作 品有類立體派的分割造型，在色彩的使用上採高彩度的互補或 跳躍性的對比用色，而於人物的描寫時，亦能精準地捕捉被繪 者的感情。朱沅芷以許多躍動的色塊構成、描繪出畫中水手認 真工作的臉龐，傳遞出畫中人物辛勤的氛圍。背景瑰麗的用 色，讓作品充滿溫暖的氣息。 朱沅芷的創作已超越了時代的限制，幾經文化流轉，他將心靈 悸動下的時代歷練把東方與西方獨有的繪畫特質做了巧妙的精 粹。側重個人文化底蘊的展現，對生命價值思考的呈現，體現 了人與物並呼應了東方精神的宇宙觀。朱沅芷以東方哲理之詩 意及富東方情調的藝術語言綻放出跨時代之璀璨風華。

Europe and the United States in the 1920s were

“The

essence

future, everyone can

that a new and completely different era is on its way coming. While in terms of art, a continuous waves of brand new artistic concepts were born, and the contention of various art schools forming a gorgeous and brilliant era.

Overviewing the artistic journey of Yun Gee, it can be categorized into “The Synchromism Period in San Francisco “, “The Lyrical Period in Paris” and “The Industrial Period in New York”. Born in the East, raised in the United States, and traveled to Paris twice, Yun Gee devoted himself to participating in the international modern art movement as seen in the West with his profound oriental cultural heritage. In 1927, he was referred to Paris for the first time by the French Prince and Princess Achille Murat, the abundant artistic nutrients and the splendor epoch in Paris deeply attracted Yun Gee. During this period, in addition to the previous influence of Orphism and Synchromism, the mainstream of the art world in Paris at that time undoubtedly also influenced Yun Gee. The Cézanne-like layers of colors and the introspective spirit of regress and heal nevertheless reflect an oriental poetic feeling. Affected by the mingle among European cultures, Yun Gee tried

to integrate Eastern philosophy through Western art forms, and incorporated more Eastern cultural background into his works.

The works of Yun Gee’s “The Synchromism Period “ were created when the artist wasstudying at the California School of Fine Art in San Francisco. “A Sailor” exactly is the work in this period. This piece has a cubist-like segmentation shape, complementing or contrasting colors are applied. When depicting the characters, their feelings can also accurately be captured. Yun Gee deployed many vibrant color blocks, describing the seriousness hard working attitude of the sailor, conveying his diligent atmosphere in the painting. The magnificent color of the background enables the work full of warm sentiment.

The creation of Yun Gee has transcended the limitations of the times, after several cultural exchanges, he has ingeniously achieved the essence of unique characteristics inboth Eastern and Western paintings in the era experiencing the throbbing of his soul. He focuses on the display of personal cultural heritage and the presentation of thinking about the value of life, which exemplify people and objects and echo the cosmology of the oriental spirit. With the poetic oriental philosophy and the artistic language that is full of oriental sentiment, Yun Gee has bloomed with dazzles across the era.

Yayoi KUSAMA

(Japanese, b. 1929)

Lemon Tea

1982

Acrylic on canvas 22.7 x 15.8 cm Signed on the reverse Yayoi Kusama, titled Lemon tea in Japaness This lot is to be sold with a registration card issued by Yayoi Kusama Studio.

NT$ 11,000,000 - 16,000,000 HK$ 2,730,000 - 3,970,000

US$ 347,900 - 506,000 RMB 2,466,000 - 3,587,000

草間彌生 檸檬茶 1982 壓克力 畫布 22.7 x 15.8 cm

簽名畫背：レモンティyayoi Kusama 1982 附草間彌生工作室開立之原作登錄卡

Yayoi KUSAMA

被譽為是日本現存國寶級藝術家的草間彌生， 1957 年 前往美國紐約，開始從事前衛的藝術創作，曾與西方 當代重要的藝術家，包括克來茵、瓊斯與歐登柏格、 安迪．沃荷一起聯展，活躍於國際藝壇，並一度引領 當時盛行的普普藝術風潮。草間彌生作品多元，類型 包括繪畫、軟雕塑、行為藝術、裝置、影片，涵蓋普 普藝術、女權主義、超現實主義、原生藝術、抽象表 現主義、乍現藝術等派別。 1967 至 1970 年代初，她成 為一位環境雕塑家，結合「乍現」的行為演出，在人 體上塗畫圓點圖案，把內心畏懼的事物，化為重複的 物件，不停地繪畫恐懼的東西，慢慢地將自己包圍， 因此能消融自我，和環境合一，回歸宇宙的自然狀 態。在紐約生活十七年後， 1973 年她返回日本定居。 1975 年開始創作拼貼作品， 1979 年創作版畫，並投入 文學寫作工作， 1983 年小說《克里斯多夫南娼窟》榮 獲第十屆野性時代新人文學獎。

近年美術館回顧展的學術爬梳及國際大型畫廊的藝術 價值推廣，再加上時尚潮流品牌的合作，草間婆婆的 魅力風潮效應持續不減。現在，全世界無論是藝術收 藏家還是一般較沒接觸藝術欣賞的人們都認識了這 位開創風格之先的偉大藝術家。草間彌生市場價格自 2012 年以來一直表現亮麗，但以網路傳媒效應及經濟

描繪恣意綻放的有著夏日清涼感的檸檬茶。此件作品也充分反 映了草間自小面對的視聽幻覺與精神病困擾，佈滿畫面的黃色 線條與黑色底色形成了強烈的對比，令人聯想到草間的「無限 的網」系列。網線猶如裂紋一樣，讓畫面充滿馬賽克的效果， 以平面的方式繪畫簡單的杯子與檸檬圖案，而水果與杯中大小 不一的圓點則為這些圖形增添立體感，亦展現出她強韌而旺盛 的創作力。

Renowned as the national artist in Japan, Yayoi Kusama went to New York, US, in 1957 and produced avant garde art pieces with prominent contemporaries of the century. Her works were exhibited alongside those of Yves Klein, Jasper Johns, Claes Oldenburg and Andy Warhol. As an active member of the art scene, she once led the promotion of pop art. Encouraged by eminent American female artist Georgia O'Keeffe, she moved to United States in 1957, where her creative abilities soon blossomed in a much more open and tolerant environment. She greatly expanded her vision, and her oeuvre soon comprised not just paintings, but also soft sculptures, performance art, installations, and films. Her themes and formats transcend from pop art, feminism and surrealism to Art Brut (outsider art), abstract expressionism, and happenings. Between 1967 and 1970, Kusama produced many environmental installations, something she often combined with public happenings, in which she painted polka dots and similar patterns on human bodies. Her way of dealing with her innermost fears and apprehensions is to repeatedly paint the things she is afraid of, or sublimate them into recurring designs, until, gradually, she is completely surrounded by them, allowing her “self” to disappear in, and merge with, the originally fearsome environment. This kind of “self-dissolution” marks a return to the natural state, which is one of oneness with the universe. Eventually, after 17 years in New York, she returned to live in Japan in 1973. Two years later, in 1975, she continued enthusiastically collages, and

in 1979 expanded her repertoire to include prints. She also started to work as a writer, and her 1983 novel "The Hustler's Grotto of Christopher Street" won the Tenth Literary Award for New Writers from the monthly magazine Yasei Jidai.

In recent years, Yayoi Kusama’s style has remained highly popular as the combined result of retrospective art exhibitions organized by academic institutions, art promotion at large international galleries, and collaboration with fashionable trendy brands. Now, everyone around the globe—whether they are art collectors or people with fewer art appreciation experience— knows Yayoi Kusama as a great artist who innovatively creates new styles. Since 2012, the price of Yayoi Kusama’s work has performed exceptionally well in the art market. With Internet media effects, changes in economic structure, and new generation’s acceptance of limited edition artwork, Yayoi Kusama’s artistic inspiration and market potential continue to be on the rise. This auction will showcase different kinds of Yayoi Kusama’s works, including four pieces of original acrylic paintings, singlepiece original sculptures, precious limited edition prints, and multiples of small crafts. This is an opportunity for collectors to own the artist’s works in different creative media.

Every work produced by Kusama is composed with dots, lines and layers of colours. Through the intertwined network of dots and lines, infinite possibilities were created. She believes the network symbolises the birth of life. This work, Lemon Tea, was completed in 1982 with refined strokes and the classical contrast of yellow and black. The vivid depiction is associated with the visual illusion and psychological impact she faced in her childhood. The contrast of yellow lines over a black background suggests her Infinity net series. The intersecting lines constitute a mosaic pattern that reveals an image of a cup with a slice of lemon. Dots on the fruit and the cup vary in sizes creating visual illusion, hence suggest the unique creativeness of the artist.

Yayoi KUSAMA (Japanese, b. 1929)

Infinity - Nets

1996

Acrylic on canvas 41 x 31.8 cm

Signed on the reverse Yayoi Kusama, titled Infinity - Nets in Kanji and English and dated 1996

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

NT$ 9,000,000 - 15,000,000

HK$ 2,233,000 - 3,722,000

US$ 284,600 - 474,400

RMB 2,018,000 - 3,363,000

草間彌生 無限的網 1996 壓克力 畫布 41 x 31.8 cm 簽名畫背：yayoi Kusama 1996 網 INFINITY - NETS 附草間彌生工作室開立之原作登錄卡

Infinity - Nets

在草間彌生發展其「無限的網」系列之際，她漸漸開 始注重線條間的空間，並把這些空間化為圓形，演變 成她舉世聞名的波卡圓點；草間彌生重新審視她早年 的創作系列，在意念及視覺上都更能發揮宇宙無限的 感覺。在這件拍品中，草間把視覺重點放在圓點上， 以往作為主體的網線頓時變成了負空間，她把圍繞著 她的宇宙幻化成環環相連的圓點，正如她所言：「波 點擁有太陽的形狀，是世界和生命力的象徵；它同時 有著月亮的形狀，散發著安寧靜謐的氣息。圓形、柔 軟、色彩斑斕、無知無覺、不可捉摸，波點成了一種 運動，是通往無限的方式。」

《無限的網》為鮮見的藍紫色 圓點亮色系的網紋幾何元素簡 單卻飽含能量，在無限的重複 中，各自代表著藝術家一筆一 畫的堅持。在草間彌生的無限 系列作品中，無窮無盡的複製 性圖樣傳達著神經質似的執念 以及毅力，藝術家以畫筆下不 斷繁衍的圖樣展現跨越所有邊 界的無盡的美。

草間彌生以自我消融為主要概 念，進行著無限延展的創作， 其創作更散佈於世界各地，使 得草間彌生無限的圓點及網紋 在各地蔓延。這些自我消融的 創作源自於草間彌生自幼年時 期即開始的幻覺：正因恐懼在 幻覺裡擴散蔓延的圓點，所以進行著與幻覺同樣無盡 的藝術創作，試圖從中得到解脫。當草間彌生自我消 融的圓點佈滿物件及空間時，物件即消融於空間中， 物件的邊界、空間的邊界、世界的邊界以及圓點的邊

visual focus on the dots, the net line that used to be the main body suddenly turns into a negative space. She turns the universe around her into circles of dots, as she said: “The polka dot has the shape of the sun and is a symbol of the world and vitality. Simultaneously it also bears the shape of the moon, exuding a peaceful and tranquil atmosphere. Circular, soft, colorful, unknowing, elusive, the polka dot becomes a kind of movement, unmistakably is the way to infinity.”

The “Infinity - Nets” is in rare purple and blue. The geometric elements of dots and reticles though are simple yet full of energy. In the infinite repetition, each represents the artist’s persistence in each stroke. In this Infinite series of works from Yayoi Kusama, endless replicating patterns convey an obsession and perseverance which are almost neurotic like, the artist uses patterns that are constantly reproduced under her brushstrokes to display the endless beauty that across all borders.

eventually

dots.

into

early

series, which can indeed better unleash

infinite feeling of the universe both in terms of ideas and visual. In this piece,

emphasis

Yayoi Kusama takes selfdissolving as the main concept, and carries out infinitely extended creations. Her creations are scattered all over the world, contributing Yayoi Kusama’s infinite dots and reticles spread out in everywhere. These self-absorbing creations originate from the hallucinations that Yayoi Kusama started experiencing since childhood, because of the fear in dots that proliferate in the hallucinations, hence she carries out the same endless artistic creations as her hallucinations, in the hope of trying to free herself from. When Yayoi Kusama’s self-dissolving dots fill out the object and space, the object then takes up the space, the boundary of the object, the border of the space, the edge of the world, and the limitation of the dots seem to be no longer definite.

Yayoi

CHU Teh-chun

dated

on the reserve CHU TEH-CHUN in English

Du Fond du Gouffre Espéré in French and dated 1993

TEH-CHUN,

of

18,000,000

Taipei, 1999, p. 191

by

28,000,000

4,467,000 - 6,948,000

569,300 - 885,500

4,036,000 - 6,278,000

Taipei.

總覽朱德群的藝術創作，好比欣賞一部抒情史詩，其作品畫 面的處理常給人一種精神性的流動，「氣韻生動」為最適合 形容其作品之詞。中國古代美學理論追求的至高境界是：所 貴於枯澹者，謂其外枯而中膏，似澹而實美。 「朱德群的繪畫是深淵，是時間的喘息，是動態的詩，其形 式好像來自精神的高度集中，為的是與觀眾的眼光對視。」 法國藝評家皮耶．卡班以精研近現代大師飲譽西方，而朱德 群則是他唯一以專著論述的亞洲代表。當黑夜降臨，白晝的 喧囂慢慢沉澱，萬物沉睡的寧靜裡，生命的律動依然持續， 晝的活力轉化為夜的能量，蓄積、修補、再生，並且隱藏著 只有澄澈靈敏的心靈才能感知。朱德群繪畫中的書法性線條 也逐漸由早期濃墨揮灑般的鏗鏘有力，轉而與整體畫面更為 融合。他的繪畫經過1950年代早期凝彩寶石典雅構成時期； 1960 年代大幅狂草動勢強烈，寬筆刷畫的大抽象畫時期； 1970年代受林布蘭繪畫啟發的幽微與光源的奧妙探索，1980 年代中期酣暢淋漓的雪景系列，以及後期的波瀾壯闊的交響 詩合奏律動，一生繪畫成就不凡。

自 1990 年代以來毒品緝獲率不斷上升，國際間開始重視毒 品問題眾多跨國犯罪中，毒品對各國經濟的嚴重破壞，及毒 品販運問題更受到社會大眾關注。《深淵中的希望》創作於 1993年，朱德群充分運用中國的書法中的氣韻生動，引入水 墨中的渲染、飛白、垂懸等表現性元素。展現出朱德群繪畫 高度的空間凝聚力量，那先於光線所引出的形式、色彩的沉 思默想與宇宙渾然成為一體，畫面上方的光芒如靈魂之光綻 放，給人希望，強烈對比釋放出色彩本身的巨大視覺能量， 讓痛苦的靈魂在漫長摸索之中初見曙光，光源盡處，便是出 路之所在。空間的重力感與輕盈彼此相對，隨著起伏的線條 收縮、擴張，空間在多樣性中舒展，隱隱能聽到當中律動的 呼吸，與蕩漾其間的空谷回音，給人力量與希望。

Overviewing Chu Teh-chun’s artistic creation is like appreciating a lyrical epic. The treatment of the picture in his works often leads people into a spiritual flow, “vivid spirit” is the most appropriate term to describe his works. The highest realm pursued by the ancient Chinese aesthetic theory is that though the form is rather plain and bland, but the connotation is so plump and rich. The beauty although is reflected in such a simple artistic

CHU Teh-chun DU FOND DU GOUFFRE ESPÉRÉ

conception, yet exactly this unsophisticated beauty represents the true meaning of life and the pinnacle of art, rather a kind of spiritual yearning.

“The painting of Chu Teh-chun is an abyss, a gasp for breath of time and a dynamic poem. Its form seems to come from a high concentration of mind, in order to look straight into eye to eye with the audience.”

French art critic Pierre Cabanne is well known in the West for his intensive study of modern masters, and Chu Teh-chun is the only representative from Asia that he dissertates in monographs. When the night falls, the hustle and bustle of the day slowly settles. Where the rhythm of life continues in the tranquility when all things asleep, the vitality of the day is transformed into the energy of the night, which is accumulated, repaired and regenerated, while it is hidden simultaneously that only a clear and sensitive mind can perceive it. The calligraphic lines in Chu Teh-chun’s paintings have gradually changed from the sonorous and powerful swirls of thick ink in the early days to a more integrated with the overall picture. His paintings have evolved through the period of elegant composition as if condensed gemstones in the early 1950s, to the period of large-scale, wild, vigorous and broad-brush abstract paintings in the 1960s, moving to the subtle exploration of subtleties and light sources inspired by Rembrandt’s paintings in the 1970s, proceeding to the dripping snow scene series in the mid-1980s and finally the magnificent symphonic poetry ensemble rhythm in the later period, the artist has conquered extraordinary achievements in painting throughout his life.

Since the 1990s, the drug seizure rate has continued to rise and the international community has begun to pay attention to the drug problem. Among many transnational crimes, drugs have seriously damaged the economies of various countries. Only drug trafficking has indeed caught the eyes of the general public. “Du Fond du Gouffre Espéré” was created in 1993, Chu Teh-chun made such a full application of the vividness in Chinese calligraphy and introduced expressive elements such as rendering, remaining white, and dangling in ink and wash. Assuredly they are the rules of thumb that the artist realised from practising calligraphy over a long course of life. In Chu Teh-chun’s paintings, the contemplation of form and color, which precedes the light, as if integrating with the universe. “Du Fond du Gouffre Espéré” shows a high degree of spatial cohesion. The mysterious brilliance shines so unpredictable. While the radiant light blooms in the above mimics the light of the soul, giving people hope. The strong contrast releases the huge visual energy of the color itself, allowing the suffering soul to experience the first light in dawn along the long exploration. Where the light source pointed at indeed is the way out. The sense of gravity and lightness in the space are opposite to each other. As the undulating lines contract and expand, the space stretches out in diversity, the rhythmic breathing can be faintly heard in between, which echoes rippling among the empty valleys, empowering people strength and hope.

46,000,000

11,414,000

- 2,055,700

- 14,574,000

30-

藝評家喬迅說過，趙無極最喜愛的顏色是「黑色」。 趙無極令人印象深刻的黑色運用，是一幅叫做《向馬 蒂斯致敬》的作品，這幅完成於 1986 年的繪畫，以簡 單的藍、黑、紅、黃的顏色組成水墨一般，其中黑色 是最關鍵的色彩，那是心靈窗扉之外的想像世界，充 滿著神祕與詩意。

趙無極的近期作品，和早期充滿火力的作品有極大的 變化，改以滲透性、輕盈的顏色，創造畫面的迷濛美 感，有時還會採用高色調色彩，洋溢著青春氣息。儘 管強納森．海認為 1990 年代起趙無極刻意避免使用自 己最愛的黑色，但是我們卻發現，在這一蘊藏無限的 顏色在《 15.02.2001 》中又再度出現，自在瀟灑，濃 密深淺的極端之間，畫家找到和諧而寧靜的平衡。這 即是畫家所欲追求的理想創作！

1970 年代轉入水墨畫的嘗試，賦予趙無極晚期作品更 多的豐富性，他從「墨」之中看到無限的色彩變化， 空間的自由寬廣。別人服膺於一個傳統，「服膺於兩 個傳統」的趙無極，在晚期的繪畫表現更加從容、自 在，所欲發抒的情感在畫面中擴張開來。「即使是小 畫，趙無極的水墨畫能召喚宇宙的維度，回到油畫， 彷彿無法阻擋地，畫家運用的尺寸愈來愈大，此乃後 期作品特有的一種啟發。」（參閱程抱一，「在那裡 東方與西方」，「趙無極」，網球場國家畫廊，巴 黎， 2003 ，頁 21 ）因此，在近期趙無極的作品可見較 年輕時期更大的聯作或巨幅作品，色彩的選擇也更青 春舒緩。 在《 15.02.2001 》作品中，趙無極運用黑色的皴法， 表現如廣闊無垠的大地，如豐饒而美好的原野，如幽 靜的夜。而雅緻的鵝黃、淡紫色，充滿神秘、優美的 情調，如冬盡春來的天雲，如輕柔舒緩的微風。喬迅 在趙無極 2003 年紐約的個展目錄中寫道：「相對地， 某些作品是言有盡而意無窮的，色彩展現沈靜的和

諧。 這些作品表面刻意減低塗刷的作工，筆觸尤其 顯得輕巧，在兩個極端之間，是趙無極多樣的風貌， 他試圖在飽和的顏色—硃砂、酸黃中尋找平衡，並以 更沈靜的和諧處理黑／灰／棕／白，圖像隱身於筆觸 間。」（摘譯自喬迅，「趙無極，近來」一文，「趙 無極近作展」目錄，瑪勃洛畫廊，紐約，2003，頁7） 趙無極從早期具象時期的恬靜優雅，發展到中期的激 昂清越、氣勢磅礡，而近期的作品則顯得高妙、舒 緩，遼闊無邊。在色彩上的運用，愈加隨心所欲、細 膩多變，如同進行一場華麗的旅行。他曾說過巴黎讓 他發現了中國，在後期的繪畫裡，對中國的記憶深刻 而沈靜，畫意悠揚而耐人尋味。《 15.02.2001 》顯現 了在千禧年之後畫家的新境界，他不僅是二十世紀的 趙無極，也是新世紀的趙無極，在繪畫之路他持續有 創造力，自在從容令人驚艷。

Art critic Jonathan Hay once remarked that Zao Wou-ki's favourite colour is black. One painting in which his use of this colour is indeed impressive is Hommage ? Henri Matisse, which was finished in 1986. Shades of blue, black, yellow and a little bit of red are applied in a manner strongly reminiscent of Chinese ink-and-wash. Black is clearly the crucial colour that holds together this imaginary panorama of the artist's soul, brimming with a mysterious and poetic quality.

Zao Wou-ki's latest works are decidedly different from his early paintings which were marked by ardent passion. Now the artist takes a more subtle approach, with light yet rich colours that are applied with supple elegance, creating a vague and elusive kind of beauty, or bright, penetrating hues full of the buoyant atmosphere of spring. Although Jonathan Hay has pointed out that beginning in the early 90s, Zao intentionally avoided overuse of his beloved

black colour, we find that in "15.02.2001" with its boundless chromatic potential the colour reappears, having lost nothing of its unrestrained yet elegant force. Between the stark contrasts of dark and bright, dense and light, the painter has managed to find an equilibrium of quiet harmony-a true realisation of his ideals!

In the 1970s, Zao began to experiment with ink-and-wash, which added a lot of variety and depth to the works of his later period. Zao was able to express chromatic variation and uninhibited spatial expansion employing nothing but shades of grey and black. While others were restrained by their strict adherence to only a single tradition, Zao, who was 'at home in two tradition' displayed in his later oeuvre a calm confidence and unbridled creativity that communicates the artist's emotions with a natural ease. 'M ême de petit format, les encres de Chine de Zao Wou-ki évoquent la dimension cosmique. Revenantà l'hule, le peinture use, comme irr?istiblement, des formats de plus en plus grands. C'est la un trait caract?istique de cette derniêre periode.'(cf. François Cheng, Pardelà l'Est et l l'Quest', Zao Wou-ki, Galerie nationale du Jeu de Paume, Paris, 2003, p. 21) Therefore, when compared to the artist's earlier periods, we find a lot more large-scale or triptych paintings, also distinguished by their more brisk and sanguine use of colour, in his recent works.

In "15.02.2001" Zao Wou-ki employs the so-called cunfa (a Chinese painting technique for representing irregular surfaces, most frequently used to show the shades and texture of rocks and mountains in landscape painting by light ink strokes). His use of the method proves to be highly effective in expressing the vast expanses of unlimited visionary vistas, like the touching beauty of a fertile plain, or the tranquility of a silent night. The refined light yellow of a

gosling's feather and a pastel shade of violet embrace the mysterious, sophisticated mood of the painting, redolent of delicate wisps of light clouds announcing the arrival of spring, or the gentle caress of a soft breeze. In the catalogue of Zao's solo exhibition in New York in 2003, Jonathan Hay wrote: 'Contrastingly,several other works favor understatement, with muted harmonies that are sometimes pointed up by a touch of more intense color.... Here the surfaces tend to be less worked and there is a particular lightness of touch. Between these two poles are situated all manner of hybrids in which Zao searches for an equilibrium between a saturated hue-a vermilion, an acid yellow-and more muted harmonies of color built around black/grey/brown/white brush traces that hint at an image.'(cf. Jonathan Hay, 'Zao Wou-ki, Lately' Zao Wou-ki Recent Works, Marlborough Gallery, New York, 2003, p. 7)

Zao Wou-ki has come a long way: from the peaceful, idyllic ambiences of his early concrete paintings, via the fervent, melodious clarity and magnificent momentum of his middle years, he has recently developed a more relaxed and freeflowing style of infinite proportions that amply displays his mature craftsmanship and artistic ingenuity. In his use of colour, the artist has reached a level of mastery that allows effortless and detailed articulation of the most exquisite variations of tone and shade. The observer is taken on a grand journey of sheer and unadulterated colour. Zao once said that he had to come to Paris only to discover China, and in his later works we indeed find traces of the Chinese tradition, tranquil sediments deeply rooted in the artist's subconscious that finally surface in his artistic expression and give his paintings a profundity that lingers in the viewer's mind. "15.02.2001"represents the Zao Wou-ki of the new millennium, an artist who has taken the giant leap from the 20th to the 21st century with unabated creative power, and who continues to impress with his graceful, unforced style.

黃公望《富春山居圖》

Huang Gongwang, The Dwelling in Fuchun Mountain

Yoshitomo NARA (Japanese, b. 1959)

Cup Kids (unique)

1995

Acrylic, lacquer and cotton on FRP 95(L) x 95(W) x 110(H)cm

PROVENANCE

Blum & Poe, Los Angeles Private collection, Asia

EXHIBITED

Cup Kids, Museum of Contemporary Art, Nagoya, 1995

Cup Kids, Hakutosha Gallery, Nagoya, 1996

Yoshitomo Nara, Blum & Poe Gallery, Los Angeles, MayJune, 1997

Yoshitomo Nara, Institute of Visual Arts, Milwaukee, September - November, 1998

Lullaby Supermarket, Santa Monica Museum of Art, Los Angeles, March - May, 2000

Public Offerings, Museum of Contemporary Art, Los Angeles, April - July 2001

ILLUSTRATED

Nara Yoshitomo: I Don't Mind, If You Forget Me, Yokohama Museum of Art (and travelling), Japan, 2001, p. 39, p. 132 Yoshitomo Nara, Lullaby Supermarket, Manfred Rothenberger, Munich, 2002, p. 12, pp. 136 - 137 & p. 197 The Little Star Dweller, Locuspublishing, Taipei, 2004, p. 143 Yoshitomo Nara: The Complete Works 1, Chronicle Books LLC, San Francisco, 2011, no. S-1995-005, p. 259

Yoshitomo Nara: A Bit Like You and Me…, Foil Publishing Co., Ltd, Tokyo, 2012, p. 55

奈良美智

咖啡杯孩子們 ( 單一件 )

1995 壓克力 漆 玻璃纖維 95(長) x 95(寬) x 110(高)cm

來源 Blum & Poe，洛杉磯 私人收藏，亞洲 展覽

「咖啡杯孩子們」，名古屋市美術館，名古屋，1995年 「咖啡杯孩子們」，Hakutosha 畫廊，名古屋，1996年 「奈良美智」，Blum & Poe，洛杉磯，

展期自1997年5月至6月 「奈良美智」，密爾瓦基藝術設計學院，密爾瓦基， 展期自1998年9月至11月 「催眠超市」，聖莫尼卡美術館，洛杉磯， 展期自2000年3月至5月 「大眾供給」，洛杉磯當代藝術美術館，洛杉磯， 展期自2001年4月至7月 圖錄

《奈良美智：我不介意，如果你忘記我》， 奈良美智美術館，日本，2001，頁39與頁132 《奈良美智：催眠超市》，Manfred Rothenberger， 慕尼黑，2002，頁12，頁136 - 137與頁197 《小星星通信》， 大塊文化出版股份有限公司， 台北，2004，頁143 《奈良美智作品全集第一冊》，編年出版社， 舊金山，2011 ，編號S-1995-005，頁259

《奈良美智：有點像你，有點像我》，Foil出版社， 東京，2012，頁55

奈良美智，無疑是近年藝術市場最炙手可熱的日本藝 術家名字之一，他的作品孤獨卻溫暖、簡單卻觸動人 心，以童趣卻叛逆的形象令人著迷，深受收藏家追 捧。自詡為吟遊詩人，有著搖滾叛逆卻充滿人道的溫 暖心懷，喜歡一邊旅行一邊創作，在回憶童年時代的 創作中，描繪出動人的生命經歷。 偏好獨自創作，跨界廣受流行時尚、文學與大眾文化 喜愛的奈良美智。對於他而言藝術啟蒙於音樂，但旅 行可說是告別一段生命里程的重要儀式；旅行也讓奈 良美智找到和世界溝通的途徑，驅動他去探索人生的 未知。遊走於學院知性研究與旅行的感性啟發，求學 期間，兩度到歐洲旅行。而第二次的旅行參觀完 1987 年卡塞爾文件大展之後，心中有了決定，結束七年名 古屋的學習，隔年前往德國留學。

在異鄉期間也經常一個人面對創作時的孤立狀態，此 件標誌性大型創作《咖啡杯孩子們》創作於 1995 年， 不僅是一件盡顯精髓的代表性作品，更創作於奈良美 智生涯中極為重要的象徵性年份，也是藝術家的創作 突破的轉捩點。這年春天他將自己的作品從德國帶回 東京著名的澡堂畫廊舉辦第一次個展「很深很深的水 坑」同時他首次展覽發表第一件大型小狗雕塑，成功 獲得迴響。隨後逐漸創作更多以玻璃纖維為媒材，將 畫裡的小孩與動物轉換成雕塑作品；同年海外亦並首 次由 Blum & Poe 畫廊在美國加州舉行個展，種種變化 與契機將他推向國際舞台。

《咖啡杯孩子們》為七件一組作品中的其中一件，有 著大耳朵的孩童單獨置身於咖啡杯中，無論他們正閉 著或瞪著眼，展現了奈良美智對潛意識超現實深度的 研究，藝術家真實面對自身的情感，如夢遊般拒絕與 外界交往的表現。讓觀者於夢與醒之間感到孤獨與寧 靜，彷彿被安排進入奈良美智夢中的場景，歡樂卻靜 止畫面中讓人沉澱心靈。奈良美智的娃娃們一向反映 出藝術家心境與生命歷程，雙眼緊閉，沉吟忖度，帶 給觀者極大的想像空間。 2000 年規劃聖塔莫尼卡美術 館展覽時，也以「咖啡杯孩子們」為主題來創作，足 見此立體作品在藝術家創作生涯深具象徵意義。

「Lullaby Supermarket 」聖塔莫尼卡美術館，2000 Installation view at"Lullaby Supermarket", Santa Monica Museum of Art, 2000

Yoshitomo Nara is considered as one of the most sought-after artists of the contemporary art market. His works bring about the feeling of loneliness and warmth in their simplistic compositions. The juxtaposition of child-like form and rebelliousness is intriguing in his works. With a poetic, rebellious and gentle personality, Nara loves creating his artwork whilst traveling when his memories of childhood were vivid, thereby incorporating his experience in his works.

As a lone artist, Yoshitomo Nara is well-acclaimed among the fashion, literary and pop culture scenes. He believes art is inspired by music while traveling constitutes a means to an end in a stage of life. Travel is a bridge of communication between the artist and the world. It leads him to explore unknowns in life. After two travels in Europe, the second time being a visit to documenta 8 in Kassel in 1987, Nara was faced with the empirical theories at school and the romantic discoveries in travels. Since then, he was determined to end his seven years of education in Nagoya and opted for German education.

Loneliness is prevalent among travelers away from home. This large-scale representative work, Cup Kids, was completed in 1995, a significant year of Nara’s career. That year was the turning point of his artistic career as his works were brought from Germany to SCAI The Bathhouse Gallery in Tokyo for his first solo exhibition “In the Deepest Puddle”. It was also the time when his first gigantic dog sculpture received positive feedback from the art scene. Since then, similar subjects of glass fiber were made and subjects on canvas were transformed into sculptures. In that same year, solo exhibitions at Blum & Poe Gallery in California, USA were held, bringing Nara closer to the international art platform.

Cup Kids is one of the seven components of the work. Children with big years were composed in a big coffee cup. Some with eyes closed and some opened. This shows the artist’s awareness of subconsciousness which is the way the artist used in his journey of self-exploration. To a certain extent, this is equivalent to sleepwalk, as one shut itself from temptations. As the viewer experiences the solitude and tranquilness brought by the message of sleep and being awake, one travels into the dream of Nara, from a clamorous stage into a world of meditation. Children of Nara are reflections of the artist’s emotional state and life experiences. They open the door towards self-meditation in tranquility. In 2000, Cup Kids was once considered as an exhibition highlight in an exhibition held at the Santa Monica Museum of Art. This highlights the significance of the work to the artist.

Yoshitomo NARA Cup Kids

All of my works are reflections of myself.They are conversations with myself.

— Yoshitomo Nara

239 Yoshitomo NARA (Japanese, b. 1959)

Tell Me Why (A to Z)

2006

Marker pen, oil, wallpaper on door 174.5(L) x 60.5(W) x 4.7(D) cm Signed lower Na and dated 22. NOV, 2006

NT$ 9,500,000 - 18,000,000

HK$ 2,357,000 - 4,467,000

US$ 300,400 - 569,300

RMB 2,130,000 - 4,036,000

奈良美智

告訴我為什麼 (A to Z)

2006

奇異筆 油彩 壁紙 門片

174.5(長) x 60.5(寬) x 4.7(厚) cm 簽名下方：Na 2006. 22. NOV.

孤獨，是奈良美智作品裡的人物的共同點，成長於寒 冷的青森縣弘前市，如他所言「我非常的孤單，周遭 只有蘋果樹⋯，我能說話的對象只有大自然，所以我 會對樹、對狗、對豬⋯，所以我對大自然有種特殊的 情感，幾年之後，我發現這其實不是件壞事。」旅居 德國期間前後長達了 12 年，離鄉背井的奈良美智與故 鄉間的距離有著好幾萬公里之遙，在語言全然不通的 情況下，猶如一場長年自我放逐的創作之旅。奈良曾 說過「杜塞爾多夫的冷與暗很像在青森縣成長的那段 時光，與日本疏離，這讓我想起我是誰，也幫助我重 新發現自己。」

「現在的畫不只單方面投射出情感，也希望看的人能 夠感受到」 奈良美智

2006 年以故鄉青森縣弘前市的老舊紅磚倉庫作為發表 的舞台，將奈良美智從過去 90 年代曾經在各國展示會

上登場的作品一併納入，將工作室帶到展場，從創作 走到生活，總數 44 間的小屋結集出獨特的街道聚落， 募集了超過一萬三千名義工與創作團隊graf所合作完成 的展覽會「A to Z」，製作規模與人數前所未聞之多， 連藝術家都直言此生應該是只此展覽一次。《告訴我 為什麼 (A to Z)》即興塗鴉於居酒屋的廁所門上，正值

活。也因為「 A to Z 」開啟了與大眾的連結，他的創 作有著矛盾的混合體，擁有反叛性格的天真外表小女 孩，不可妥協卻又堅強抵禦外在世界，這種童真的叛 逆感成型於這個時期，鑄就了後來大家所熟知的奈良 特質。

“My current works serve not only a tool of expression, but a bridge of emotion associated to the viewers”, Yoshitomo Nara

Loneliness is the crux of figures featured in Nara’s works. Having grown up in the cold Hirosaki, Aomori, Nara once said, “I was very lonely with only apple trees around me… Nature is my own companion, so I will spend time with trees, dogs, pigs… Hence, I have developed a special bond with Nature. A few years later, I realized that this is not a bad thing after all”. With 12 years in Germany away from home, Nara experienced years of self-exile under a language barrier. He would compare the cold and dark Dusseldorf with Aomori. He claims that the years away from Japan encouraged his journey to selfexploration and rediscovery.

In an exhibition named “A to Z” at a former warehouse in Aomori in 2006, Nara chose works from the 1990s that are previously exhibited on international platforms, direct from studio to the exhibition ground of 44 buildings. A total of 13,000 volunteers and the graf team were involved in putting up this exhibition. Such grand production scale was phenomenal as it was considered as a once in a lifetime experience by the artist. Tell Me Why (A to Z) was a spontaneous graffiti at the door of a washroom in a local bar. It was created in 2006, the occasion where Nara revisited his childhood town. As “A to Z” reconnects with the public, the juxtaposition of childlike and rebellious girl associates with a fight against negativity of the world, hence this constitutes to the form of art in his later stage of the career.

View of "Nara's drawing Love NYC! 2002" is seen on the front door

Yoshitomo NARA TELL ME WHY

Yayoi KUSAMA (Japanese, b. 1929)

Love - Forever 2005

Mixed media, edition no. 1/15 (hand painted; unique) 44(H) x 38(diameter) cm

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

NT$ 9,000,000 - 16,000,000

HK$ 2,233,000 - 3,970,000

US$ 284,600 - 506,000

RMB 2,018,000 - 3,587,000

當各界開始嘗試各種可能性的探索，希冀藉由凌駕於 造型藝術之上的創作思維，使人文空間出現更多意想 不到的別緻與玩味。「型變」形成一股風潮，穿梭於 藝術與造型之間成為最有魅力的當代雕塑工藝。她 以大量的圓點包覆各種物體的表面，牆壁、地板、畫 布、物品、人體、甚至自己。藉由重複性的線條將圓 點無限的蔓延，混淆了真實空間的存在，使得觀賞者 不自覺的陷入眩暈狀態，不知身處真實或虛幻。此件 作品《永恆的愛》有著草間彌生經典意象，經典圓 點。密實彩亮的單色重複線點圖案佈滿整個作品，這 種無盡的重複製造了某種暈眩、催眠感。這樣鮮明的 色彩超越了我們的視覺經驗，彷彿在整個宇宙中蔓延 開來，她的幻覺和實體經驗以及環境、物體之間產生

草間彌生 永恆的愛 2005

複合媒材 1/15 (手繪單一件) 44(高) x 38(直徑) cm

附草間彌生工作室開立之原作登錄卡

begin attempting

is possible and

explore

realm

all

arts to make room for new creative and playful potential in arts and cultural spaces.

became a sensation as it bounced between art and design and took form as the most alluring of contemporary plastic arts: a multitude of dots that cover the surfaces of all kinds of things, from walls and floors, to canvases, objects, and bodies, even the artist herself. Repeated lines of dots extend into infinity, creating confusion about what a space actually is, and leading the viewer to unconsciously fall into a dizzied state, unsure of how to distinguish the reality from the illusion. This work, “LoveForever”, contains Yayoi Kusama’s classic imagery and dots. A densely coloured, monochromatic polka dot pattern fills the work and is repeated to the point of producing a certain dizzy, hypnotic feeling. Its vivid colour goes beyond our visual experience and seems to spread through the cosmos. As her hallucinations are combined with real experiences, environments, and material things, her ego enters an infinite plane, forming a world that floats totally on its own. It is a perfect presentation of what makes the work of Yayoi Kusama truly original, and the everproliferating, deforming dots can be thanked for having spurred a breakthrough in the plastic arts and making this work an undeniable ‘Yayoi Kusama’.

LI Chen (Taiwanese, 1963)

Snow Wonderland

2007

Bronze, edition no. 3/8

71(L) x 77(W) x 129(H) cm

Signed Li Chen in English, dated 2007 and numbered 3/8

With one seal of the artist

EXHIBITED

Li Chen: Mind Body Spirit, Singapore Art Museum, Singapore, 24 Sep - 9 Dec 2009 (different cast)

李真 雪峰仙蹤

2007

銅雕 3/8

71(長) x 77(寬) x 129(高) cm 簽名：Li Chen 3/8 2007 鈐印：李真 展覽 「李真：精神、身體、靈魂」，新加坡美術 館，新加坡，展期自2009年9月24日至12月9日 (不同尺寸、版數)

The 68th Cannes Film Festival, Hotel Majestic Barriere, Cannes, 13-24 May 2015 (different cast)

ILLUSTRATED

Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, p. 199 (potter’s clay version)

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

NT$ 7,000,000 - 9,000,000

HK$ 1,737,000 - 2,233,000

US$ 221,400 - 284,600

RMB 1,570,000 - 2,018,000

第68屆坎城影展，戛納大華酒店，坎城，展期 自2015年5月13至24日(不同尺寸、版數) 圖錄 《李真：中國美術館個展—尋找精神的空 間》，亞洲藝術中心，台北，2008，頁199 (土胚版本) 附亞洲藝術中心開立之作品保證書 完成於 2007 年的《雪峰仙蹤》便為李真「大氣神遊」 系列中，以仙者形象融合精神暢想的代表作。此件 《雪峰仙蹤》萃取東方道家意境，描摹一位手持拂 塵、雲遊雪境的仙者，其若超脫塵世。其中人物如高 邁亙久的神靈面容祥和嘴角微揚，身體姿態一派悠然

in 2007, Snow Wonderland forms part

Genuine State series by Li Chen, where the

a spiritual state through the depiction

a hermit. This work explores the realm of oriental

a hermit exploring the spiritual

a horsetail whisk. The figure stands on

foot on top of a snowy mountain with a serene

subtle smile on his face. The

of the figure suggests an optimum

state in its unique aesthetic depiction.

liberates the mind of viewers in their search for a

state.

Bernard BUFFET

(French, b. 1928 - 1999)

Nature morte aux Anémones

1979

Oil on canvas 73 x 90 cm

Signed upper center Bernard BUFFET

PROVENANCE Galerie Rienzo, New York Important private collection, America

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

NT$ 3,800,000 - 6,000,000

HK$ 943,000 - 1,489,000

US$ 120,200 - 189,800

RMB 852,000 - 1,345,000

秋牡丹原為日本早年從中國引進的花卉，之後日本大 量栽培，於 1844 年秋牡丹從日本引進至歐洲時，則 以日本秋牡丹得名。喜愛以日本題材作畫的印象派畫 家也經常將日本秋牡丹繪至於靜物內。畢費以西方的 油畫媒材描繪來自日本的秋牡丹，代表對於日本文化 的喜愛。作品《靜物與秋牡丹》藝術家以粗獷有力的 黑色線條勾勒靜物，不只有理性描述更有氣氛和情緒 的營造。將觀者的視覺焦點集中於畫面中央對杯上， 題材雖然是靜態的，卻流露著不安份的律動感，紅色 秋牡丹與前方黃色糖罐，兩者搭配鮮明，互相映襯。 花，藝術家一生最愛之一，貫穿了各個時期的筆觸， 見證了藝術家從經典手法到另一個對繪畫的新體驗與 感悟。畢費以物喻情的藝術本質更是暗合東方人內斂 含蓄的修身性格，其筆下尖銳簡練的線條和獨特的空

貝爾納．畢費 靜物與秋牡丹

1979

油彩 畫布 73 x 90 cm 簽名中上：Bernard BUFFET 來源 Rienzo藝廊，紐約 重要私人收藏，美國 附莫里斯．賈尼耶畫廊開立之原作保證書

often included the anemone in their still life paintings. Using the Western medium of oil colour to depict the Japanese Fall Peony, representing his love for Japanese culture. In the work "Nature morte aux Anémone", the artist outlines the still life with rough and powerful black lines, which not only describes rationally, but also contributes to create atmosphere and emotion. The viewer's visual focus is concentrated on the two cups depicted in the center of the picture, though the subject matter is static, it reveals a sense of restless rhythm. The red peony and the yellow sugar container in front are clearly matched and contrasted brightly with each other. Flowers, one of the artist's favorites in his life, runs through the brushstrokes of various periods, witnessing the artist's new experience and perception of painting from classic techniques to another. The artistic essence of Buffet's use of objects to metaphor feelings is even more in line with the reserved and subtle self-cultivation character of the oriental people. The sharp and concise lines and unique space treatment in his brushwork undoubtedly share some similarities with traditional Japanese prints. "Nature morte aux Anémone" presents the artist’s uniquely charming style in the 1980s, definitely is a remarkable work.

Rafa MACARRON (Spanish, b.1981)

Pets 2018

Mixed media on canvas 183 x 226 cm

Signed lower right RM and dated 2018

This lot is to be sold with a certificate of authenticity issued by Fun Year National Art Co., Ltd.

NT$ 3,200,000 - 5,000,000

HK$ 794,000 - 1,241,000

US$ 101,200 - 158,100

RMB 717,000 - 1,121,000

拉法 · 馬卡龍是西班牙馬德里藝術家，生於 1981 年。馬

卡龍從小就沉浸在藝術氛圍中。他的父母是建築師， 也是藝術收藏家。他從 4歲就開始學習繪畫，整天拿著 畫筆，課本上也畫滿了他童年的想像。他曾拜訪西班 牙藝術家胡安 巴喬拉（Juan Barjola）等知名藝術家的 工作室。巴喬拉非常認可馬卡龍的繪畫天賦，鼓勵他 不斷創作。正因如此，馬卡龍從未接受過系統的藝術 訓練。他把藝術當作愛好，成為了一名自行車運動員 和理療師，這兩份職業也為他日後的創作起了重要作 用。

《寵物》創作於 2018 年，整幅作品色彩迷人、構圖和 諧，飽滿又充滿活力的明黃色舖滿了整個畫面。藝術 家大膽地將筆下人物變形，一個個看似誇張怪異卻有 趣的人類和寵物（動物），扭曲變形的臉，球根狀的 眼睛，細長的四肢，卻像卡通人一樣，長著一雙數不 清手指的大手。藝術家用天馬行空的想像力，創造了 一個天真又夢幻的宇宙，也將日常生活的瞬間變得夢

拉法‧馬卡龍

寵物 2018 綜合媒材 畫布 183 x 226 cm 簽名右下：RM 18

附凡亞國際藝術開立之作品保證書

樂”。

Macarron is an artist from Madrid, Spain, born in 1981. Macarron has been immersed in the artistic atmosphere since childhood, his parents are architects and also art collectors. He has been

to paint since he was 4 years old, holding paint brushes all day long, his textbooks are painted full with his childhood imagination. He has visited the studios of well-known artists such as Spanish artist Juan Barjola. Barjola recognized Macarron's talent for painting and encouraged him to create continuously. Therefore Macarron has never had systematic artistic training. He treated art as a hobby and became a cyclist and a physiotherapist, these two occupations have played an important role in his future creations.

"Pet" was created in 2018, the entire work has charming colours and harmonious composition. The rich and vibrant bright yellow covers the whole picture. The artist boldly deforms the characters under his brushes, both mankind and pet (animals) look exaggerated and weird yet interesting, distorted faces, bulbous eyes, slender limbs, but like cartoon people, with a pair of big hands with countless fingers. The unrestrained imagination of the artist creates a naive and dreamy universe, which turns the moments of everyday life into fantasy, refreshing and full of wonder. "I am an optimist, I hope to use my works to tell everyone that in any ordinary moments, there are also joys that are worth cherishing."

lot

York, June 27 - July 25,

794,000

-

717,000 - 942,000

Space Invader 或稱 Invader ，以瓷磚馬賽克見稱的 Invader 不只活耀於街頭，同時亦創作了一系列的工 作室作品「 Rubikcubism 」。藝術家於 2005 年發明了 Rubikcubism這個詞，利用風行於70年代的懷舊遊戲魔 術方塊作畫，藝術家往往會費煞思量地把魔術方塊調校 至適合的顏色位置，以拼湊出心目中的圖像，然後再以 膠水把魔方固定於背板之上，從而建構畫作。最終的完 成品如馬賽克像素般，觀者可以在瞇著眼或遠觀的情況 下，才能看到主題圖像。

《魔方主義 夢幻三男孩》為「Rubikcubism」系列的作 品之一，當中，藝術家重新創作出一系列搖滾巨星的 傳奇專輯封面，包括地下絲絨、大衛‧鮑威、怪人合 唱團。「Three Imaginary Boys」為80年代英國新浪潮 搖滾超人氣樂團怪人合唱團的首張專輯。樂團成員在 1970 年代末期開始推出他們的音樂作品。他們早期的 單曲被認為是在英國以後龐克和新浪潮運動掀起龐克搖 滾革命的一部分。怪人合唱團在專輯中帶著初生之犢的 衝勁與活力，與當時的英國流行樂風格相逆，但日後成 為樂團深受歡迎的哥德式電子搖滾風格的雛形之作。

Invader著迷於7、80年代的流行文化，而這幅作品就表 現出 1980 年代娛樂界的不同美學範疇音樂、遊戲及藝 術的結合；於現今仍前衛、復古，深具吸引力。

Space Invader or Invader, known for its mosaic tiles, Invader not only stays active on the streets, but also creates a series of studio works "Rubikcubism". The artist coined the term Rubikcubism in 2005, using

the nostalgic game magic cubes which was popular in the 1970s to create. The artist often painstakingly tuning the magic cubes to suitable color positions in order to piecing together the image in his mind, then gluing the cubes to the backboard to construct the piece. The final work is like a mosaic of pixels, the viewer can only see the subject image when squinting or looking from a distance.

Rubik Three Imaginary Boys is part of the "Rubikcubism" series, in which the artist recreates a series of legendary album covers from rock stars, including The Velvet Underground, David Bowie, and The Cure. "Three Imaginary Boys" is the debut album of the 1980s British new wave super rock band The Cure, the members began to release their songs in the late 1970s. Their early singles are considered to be part of the punk rock revolution that followed the punk and new wave movements in the UK. The Cure carried such an aggressive momentum and vigorous vitality as a newborn calf so fearless in their album, quite the opposite with the British pop genre at that time, but would later become the prototype of the band's popular gothic electronic rock style. Invader is fascinated by the pop culture in the 1970s and 1980s, and this work definitely displays the integration of music, games and art in different aesthetic categories of the entertainment industry in the 1980s. It is nevertheless still avant-garde, retro and appealing today.

YAMAGUCHI Meguru

(Japanese, b. 1984)

Out of Bounds No. 120

2021

Acrylic, epoxy resin on wood 76(L) x 138(W) x 3(D) cm

Signed on the reserve MEGURU, titled Out of Bounds No. 120 and dated 2018

This lot is to be sold with a certificate of authenticity issued by Datun24 Art Space

NT$ 3,000,000 - 4,000,000

HK$ 744,000 - 993,000

US$ 94,900 - 126,500

RMB 673,000 - 897,000

山口歷，早期作品靈感主要來自社交媒體圖像，因而又 被稱作「數位印象派」；而布魯克林的潮流文化、多元 的塗鴉文化都是啟發藝術家創作的靈感來源，同時日本 傳統美學（如浮世繪、庭園藝術、書道文化等）也給藝 術家帶來深遠的影響。山口歷曾擔任過松山智一的助 手，也迸發了他日後藝術創作的靈感，使用二維的色彩 和繪畫材料轉化成三維雕塑的形態。 他專注於追求筆觸所能表達的無限可能性，堅持「超越 定型、規矩、邊界、界限，以及畫作範圍」，致力跳出 常規，打破繪畫基本元素的現有框架和固有的規則，他 不再使用畫布作畫，創作出獨一無二的技法，打造富有 動感、韻律感，彷若雕塑般的三維作品，而他最為人熟 知的「界外」“Out of Bounds“系列就是最佳例子。 《界外 120號》的作品中，我們似乎看到，藝術家的畫 筆下，創造的激情超越了畫布框架，無拘無束揮灑的筆 觸躍出介面，如蛟龍般舞動、無拘無束揮灑，紅、白、 黑、藍等繽紛的顏料飛濺，手感和律動的自由感，以及

山口歷

界外 120 號

2021 壓克力 樹酯 木板 76(長) x 138(寬) x 3(厚) cm 簽名畫背："OUT OF BOUNDS No. 120" MEGURU 2018

附大屯24開立之原作保證書

inspiration of Yamaguchi Meguru’s early

digital images in social media.

were classified under digital impressionism. Other sources of inspiration include

culture in Brooklyn, multifarious forms of

and traditonal Japanese art, including ukioy-e, Japanese landscape art and calligraphy.

served Tomokazu Matsuyama as his assistant,

was inspired by his art by turning colour and media into 3-dimensional sculpture.

explores the infinite possibilities of strokes by breaking away from restrictions of forms, rules, conventions and the sheer form of the canvas. His art extends beyond the canvas and becomes unique and vibrant works in the form of sculpture. His Out of Bounds series is a well-known example of his works. In Out of Bounds No. 120 , a dynamic surge of emotion is demonstrated through the liberated strokes of the artist, as they meander like a dancing dragon in a joyful gig under splashes of red, white and blue. The free flow of strokes and the rhythmic movement of the artist is a theatrical performance on its own, similar to that of Kazuo Shiraga of Gutai as he danced throughout the creation of his works.

246

Chiharu SHIOTA (Japanese, b.1972)

State of Being (Keys)

Metal frame, keys, black thread 97(L) x 119(W) x 29(H) cm Signed on the metal frame

PROVENANCE Galerie Templom, Paris Sotheby's Auction, Paris, December 5, 2019, lot 103

NT$ 2,600,000 - 4,000,000 HK$ 645,000 - 993,000 US$ 82,200 - 126,500 RMB 583,000 - 897,000

塩田千春 存在的狀態 ( 鑰匙 )

金屬框 鑰匙 黑線 97(長) x 119(寬) x 29(高) cm 簽名金屬框：CS 來源

Templom 畫廊，巴黎 蘇富比拍賣，巴黎，2019年12月5日，編號103

247

Chiharu SHIOTA (Japanese, b. 1972)

State of Being (Doll House)

2021

Doll house; black thread 81.5(L) x 40(W) x 35(H) cm

Signed on right edge CS and dated 2021

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

NT$ 2,600,000 - 3,600,000

HK$ 645,000 - 893,000

US$ 82,200 - 113,900

RMB 583,000 - 807,000

「我認為時間並不是線性的，而是輪迴的概念。」 塩田千春

無數的線交織成網，由點至面、從地面蔓延至牆壁。如 果草間彌生專注於描繪無限的波點，那麼塩田千春則是 為生命織起無限延伸的網絡。身為日本當代藝術具有代 表性的藝術家之一，塩田千春現今活躍於世界的舞台。 1996 年畢業於京都精華大學油畫系， 1997 年搬到德國 並繼續深造。受教於兩位名藝術家，行動藝術家雷貝 嘉．霍恩以及有行為藝術之母之稱的瑪莉娜．阿布拉莫 維奇，勇於嘗試跨界演出使她的作品迅速受到國際的關 注。 2015 年代表日本參與威尼斯雙年展、巴黎的路易 威登基金會以「Le Fil Rouge」（紅線）為題舉辦個展 外，塩田千春於藝博會受歡迎的程度更是不言喻，這位 學術與市場兼備下藝術家的未來發展更值得藏家關注。 線與網，篩落了記憶中的光與影 透過一根根細繩編織出恢宏的景觀，紅線、黑線或白線 交纏而成、鋪天蓋地貫串整個空間，千絲萬縷勾勒出的 詩意氛圍，日常家用物品被懸吊於數千萬根細繩上，和

塩田千春 存在的狀態 ( 模型屋 )

2021

模型屋 黑線 81.5(長) x 40(寬) x 35(高) cm 簽名右側：CS 2021

附Templon畫廊開立之原作保證書

處。黑色的線如夜空或宇宙交織成一個無限的空間，體 現了多次徘徊生死間藝術家的生死觀。塩田千春經典裝 置作品《存在的形狀 ( 模型屋 ) 》，藝術家探索了我們的 內在情感與有形物體之間的密切聯繫，呈現「缺席中的 存在感」，唯有觸動人心的藝術、讓觀者深刻體會塩田 對於無常人生的體悟，才是藝術家所追求的救贖。現常 居柏林，直至今日塩田千春的國際展覽仍邀約不間斷， 她於 2015 年代表日本參加威尼斯雙年展， 2019 年時於 東京森美術館的個人展覽，日本參觀人數截至結束時期 已有超過六十萬民眾參觀證明了其作品的影響力。《塩 田千春展：撼動的靈魂》是以柏林為據點，更為塩田千 春舉辦迄今規模最大的個展。在日本被譽為「 2019 年 最盛大的藝術展覽」之一，東京森美術館獲得了空前絕 後的成功，2021年5月起於台北市立美術館的展更引領 各界關注且佳評如潮。這位不需言語即能觸動人心的藝 術家更於去年拍場屢創佳績， 2020 年起，塩田千春的 作品受歡迎的程度在拍賣市場中成長，積極上揚的趨勢 並一路攀升。面對時代的急速變遷，多元文化的衝擊 下，學術與藝術市場兼備下的塩田千春，個人辨別度 高，無論海內外藝術舞台都對其投注極大的注意力，都 讓人更期待塩田千春未來的市場表現。

Countless threads are intertwined into a net, from point to surface, from the ground to the wall. Yayoi Kusama focuses on depicting the infinite polka dots, while Chiharu Shiota is weaving an infinitely extending network for life. As one of the representative artists of Japanese contemporary art, Shiota is now active on the world stage. She graduated from the Oil Painting Department of Kyoto Seika University in 1996, and moved to Germany in 1997 to continue her studies. Taught by two famous artists, body art artist Rebecca Horn and Marina Abramović, known as the pioneer of performance art, Shiota’s courage to try crossborder performances made her work quickly attract international attention. In 2015, she was selected to represent Japan at the 56th Venice Biennale, and held a solo exhibition titled “Le Fil Rouge” (The Red Line) at Fondation Louis Vuitton in Paris. Her popularity at the art fairs is even more self-evident, her future development both in the context of the academic and market is certainly worthwhile for the collectors to pay attention.

Strings and nets sieve off the light and shadow in memory

The magnificent landscape is woven through a string of thin ropes, the red, black or white threads are intertwined and run through the entire space. The poetic atmosphere is inextricably outlined, everyday household items are suspended by tens of millions of threads, sharing the memory of the artist's sympathetically touches the viewer's heart like a pouring tide with waves. Chiharu Shiota's works describe emotions, life, and even more connections with people. Although life is limited, she is convinced that even though the body is dead, the soul will live forever. After recurrence of the cancer being diagnosed 12 years ago, she holds the belief in recreating the traces and impermanence of life with thread. The black thread as if the night sky or the universe, intertwines into an infinite space, reflecting the artist’s viewpoint of life and death, as she often lingers between. This Autumn Sale 2022 Ravenel proudly presents two pieces of classic installation art by the artist “State of Being (Doll House)”and “State of Being (Keys)”. She explores the close connection between our inner emotions and tangible objects, presents “the sense of being in absence”. Only the art that touches people's hearts and allows viewers to deeply understand her comprehension of the impermanent in life is the ultimate salvation pursued

"I think time is not linear, but the concept of reincarnation." Chiharu Shiota

Life is a circle that goes all the way back to the end

by the artist. Currently living in Berlin, Chiharu Shiota receives endless invitation to international exhibitions even to this day. She represented Japan at the Venice Biennale in 2015, and her solo exhibition at the Mori Art Museum in Tokyo in 2019, the number of visitors has exceeded six hundred thousand in the end proves the influence of her works. “Chiharu Shiota Exhibition: The Soul Trembles” based on her life in Berlin, and is her largest solo exhibition to date. Known as one of the “most grand art exhibitions of 2019” in Japan, Mori Art Museum has received unrepeatable and unique reviews. The exhibition of Taipei Fine Arts Museum on May 2021, which undoubtedly brought unprecedented success and attention from all walks of life. Shiota’s ability to touch people’s heart without words has also made great achievements in auctions last year. Starting from 2020, the popularity of her works has grown in the auction market, and the trend is noticeably actively rising. Faced with the rapid changes of times and the impact of multiculturalism, the artist who has both excelled in the academic and art markets, has a high degree of personal differentiation. Both the domestic and overseas art stages have invested a great deal of attention on her, making people even more looking forward to her performance in the market in future.

Wood

NAKAMURA

in Heart

50(W)

cm

Nakamura Growth, Gallery Tsubaki Co. Ltd, Tokyo, 2020, p. 40

1,900,000 - 2,800,000

471,000 - 695,000

60,100 - 88,600

426,000 - 628,000

木雕

KUSAMA

草間彌生

銅雕

CHEN Ting-Shih

(Taiwanese, 1916 - 2002 ) Day and Night #4

1971

Woodblock print, edition no. A/P 180 x 29.5 cm

Signed lower right CHEN Ting-Shih 1971, titled lower left Day & Night and numbered #4 A/P

ILLUSTRATED

Retrospective Exhibition of CHEN Ting-Shih's Eighty Years, Taipei Fine Arts Museum, Taipei, 1993, p. 66 CHEN Ting-Shih (1915 - 2000), Taipei Fine Arts Museum, Taipei, 2002, p. 123

NT$ 160,000 - 260,000 HK$ 40,000 - 65,000 US$ 5,100 - 8,200 RMB 36,000 - 58,000

陳庭詩 晝與夜 #4

1971 版畫 AP 180 x 29.5 cm

CHEN Ting-Shih 1971 題識左下：Day & Night #4 A/P

1993，頁66

2002，頁123

RAN In-ting

1903 -

Courtyard;

1950s

x 30 cm (each)

Signed lower left In Ting in Chinese RAN IN-TING

in English

seal of artist.

lower right In Ting in Chinese RAN IN-TING FORMOSA in English

one seal of artist.

PROVENANCE

藍蔭鼎

廟埕；故鄉 ( 兩件一組 )

1950年代 水墨 紙本 20 x 30 cm (每件) 簽名左下：蔭鼎 RAN IN-TING FORMOSA 鈐印左下：鼎 簽名右下：蔭鼎 RAN IN-TING FORMOSA 鈐印右下：鼎 來源 私人收藏，亞洲

藍蔭鼎

喜事；浣衣 ( 兩件一組 )

年代 水墨 紙本

x 30 cm (每件) 簽名右下：蔭鼎 RAN IN-TING FORMOSA (每件) 鈐印右下：鼎 (每件) 來源 私人收藏，亞洲

RAN In-ting (Taiwanese, 1903 - 1979)

River Fishing

1967 Watercolor on paper 35.1 x 53.4 cm Signed lower right In Ting in Chinese RAN IN-TING FORMOSA in English and dated 1967 With one seal of artist.

PROVENANCE

Private collection, Asia

NT$ 750,000 - 1,600,000 HK$ 186,000 - 397,000 US$ 23,700 - 50,600 RMB 168,000 - 359,000 藍蔭鼎 溪邊垂釣

1967 水彩 紙本 35.1 x 53.4 cm 簽名右下：蔭鼎 RAN IN-TING FORMOSA 1967 TAIWAN 鈐印右下：鼎 來源 私人收藏，亞洲

YANG Chihung

160.5

the

collection,

1,100,000 - 2,200,000

273,000 - 546,000

34,800 - 69,600

247,000 - 493,000

titled like sea and

160.5 cm

like sea

PANG Jiun (Taiwanese, b. 1936)

Layer Upon Layer, Towards the Mountains

2020 Oil on canvas 73 x 91cm

Signed lower right Pang Jiun in Chinese and dated 2020 With one painted seal of the artist

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

NT$ 1,500,000 - 2,600,000 HK$ 372,000 - 645,000

US$ 47,400 - 82,200 RMB 336,000 - 583,000

層層疊疊上遠山 2020 油彩 畫布 73 x 91cm

簽名右下：龎均 2020 手繪鈐印：均 附日升月鴻畫廊開立之原作保證書

PANG Jiun

b. 1936) When Autumn Arrives

2020 Oil on canvas 97 x 130 cm

Signed lower right Pang Jiun in Chinese and dated 2020 With one seal of artist

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

NT$ 2,600,000 - 3,600,000 HK$ 645,000 - 893,000 US$ 82,200 - 113,900

RMB 583,000 - 807,000 龎均

春江千帆過

2020 油彩 畫布 97 x 130 cm 簽名右下：龎均 2020 手繪鈐印：均

附藝術家親筆簽名之原作保證書

WANG CHUAN-FENG (Chinese, b. 1957)

Fishes 2007 Color ink on paper 258 x 81cm With the seal of the artist

NT$ 2,200,000 - 3,200,000

HK$ 546,000 - 794,000

US$ 69,600 - 101,200

RMB 493,000 - 717,000

1967 年出生在山東， 1987 年入中國美術學院國畫系 花鳥專業學習。 1992 年赴日繼續深造，同年舉辦第一 場畫展。 2002 年與鄧林女士聯合出版郵票「源遠流 長」； 2004 年於東京國立博物館舉辦畫展（這也是東 京國立博物館開館 130 年來第一位在世藝術家舉辦的 藝術展覽）； 2007 年出版畫冊《魚》； 2008 年其作 品《魚水情 · 春夏秋冬》與平山郁夫的畫作《絲綢之路 系列》同時入選中日和平友好條約締結 30 周年紀念郵 票。2015年出版作品集《余香 插花藝術》；2019年與 日本著名建築設計師隈研吾、台灣家具設計師陳仁毅、 日本著名攝影藝術家筱山紀信，聯合出版作品集「和而 不同」。 王傳峰用中國畫的筆墨融合日本畫的技法，確立了自己

王傳峰

魚 2007 彩墨 紙本 258 x 81cm 鈐印右下：王傳峰印

Chinese Painting at the China

of Fine Art in 1988. The same year he held

first solo exhibition at the Shandong College of Art,

star ted his Art life in Japan from 1992. He migrated to Japan in 1992. After that he has held several exhibitions in China, Japan and Germany. He is now a professor at the Chinese and Japan Culture Institute in the China Academy of Art.

in Japan for more than 3 0 years, and he focused on paintings. Moreover, Wang’s arts pushedthe communication between Japan and China, different art activities occurred. In 2008, his artwork

chosen to be the commemorative stamp of the 30th anni versary of Treaty of Peace and Friendship

Japan and China. In 2011, he was named as “Envoy of friendship between Japan and China” by China Government. His art works contain the elements of the result of Japan China interflow, based on the Chinese p ainting; he also used the Japanese painting skills. One of his popular work “TWO FISHES”, which is in this Sale, is Wang’s favorite features that he loves to paint. This painting catches peoples’ eyes.

270

LIN Fengmian (Chinese, 1900 - 1991)

Lotus

c. 1977 - 1979

Ink and color on paper 33 x 33 cm

Signed lower right Lin Fengmian in Chinese With one seal of the artist

PROVENANCE

Private collection (acquired directly from the artist by Shiy De-jinnas requested by present owner in 1979)

Ravenel Shiy De-jinn Special Auction, June 2, 2013, lot 646

NT$ 3,400,000 - 4,600,000 HK$ 844,000 - 1,141,000

US$ 107,500 - 145,500

RMB 762,000 - 1,031,000

林風眠是中國二十世紀美術史上地位崇高的人物，一生 致力研究繪畫創作，兼容中西藝術精髓，在美術教育亦 功績卓著，其時任杭州藝專 ( 今中國美術學院 ) 校長時， 不懈引進西方藝術技法與理論，為中國現代美術的引路 者與先驅，其弟子包含了趙無極、朱德群、席德進等。 此件作品《蓮花圖》則呈現了林風眠創作國畫山水之 後，以光和色彩並重的畫風，其西畫修養與透視法、光 影明暗對比的呈現，將畫面中的空間感作最大的發揮， 即使滿塘盛開的荷花錯落於前後、遠近，都帶有繁中有 序不至凌亂的視覺效果，在簡單的構圖中，盛開的荷花 以寧靜之姿躍為主角；水與岸的平直，及荷花花瓣重複 的造型，都是出自巧妙安排，這些元素在畫面上形成了

林風眠 蓮花圖

約1977 - 1979 彩墨 紙本 33 x 33 cm 簽名右下：林風眠 鈐印右下：林 來源 原藏家委請席德進代購自林風眠本人，1979年 羅芙奧2013年春季拍賣會席德進藝術專拍

or Western art. He also reached outstanding achievements in art education. As the president of the National Hangzhou School of Art (present day ‘China Academy of Art’), he tirelessly introduced techniques

theories of Western art, becoming a key guide and pioneer of Chinese modern art. Amongst his followers were Zao Wou-Ki, Chu Teh-Chun, and Shiy De-Jinn.

work, “Lotus” shows how, after traditional Chinese landscape paintings, Lin Fengmian’s practice placed equal emphasis on both the light and colour of his scenes. It presents a refinement of a perspective drawn from Western painting, in which contrast between light and shadow creates the clearest impressions of space within the frame. Even if the lotuses in full bloom are scattered all over, they all conform to a certain order within their complex arrangement that makes them appear not as a mess, but as a simple composition in which the blooming lotuses assume a serene yet poised-to-leap subject position.

JU Ming

(Taiwanese, b. 1938) Taichi

1991 Wood 38(L) x 16(W) x 42(H) cm Engraved JU Ming and dated 1991

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

NT$ 1,900,000 - 2,800,000 HK$ 471,000 - 695,000 US$ 60,100 - 88,600 RMB 426,000 - 628,000

朱銘 太極 1991 木雕 38(長) x 16(寬) x 42(高) cm 簽名雕刻：朱銘 91 附真善美畫廊開立及藝術家簽名之原作保證書

LI Chen (Taiwanese, 1963)

Clear Soul 2002

Bronze, edition no. 7/8

75(L) x 36(W) x 54(H) cm

Engraved Li Chen in Chinese and English, numbered 7/8 and dated 2002

PROVENANCE

Christie’s, Hong Kong, November, 27, 2011, lot 1437

Private collection, Asia

EXHIBITED

The Contemporary Road of Media and Tradition: Top10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, April 7 - May 6, 2007

Li Chen Solo Exhibition - In Search of Spiritual Space / Energy of Emptiness, The Venice Biennale: the 52nd International Art Exhibition, Telecom Italia Future Centre, Venice, June 10 - November 21, 2007 (large version)

ILLUSTRATED

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

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

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

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

李真 無心海 2002

銅雕 7/8 75(長) x 36(寬) x 54(高) cm 簽名：李真 Li Chen 7/8 2002 來源 佳士得拍賣，香港，2011年11月27日， 編號1437 私人收藏，亞洲 展覽 「中國當代雕塑十人展」，亞洲藝術中心， 北京，展期自2007年4月7日至5月6日 「第52屆威尼斯雙年展—尋找精神的空間．虛空 中的能量：李真雕塑展」，未來展望美術館，威 尼斯，展期自2007年6月10日至11月21日(較大 版本) 圖錄 《李真雕塑1992-2002》，亞洲藝術中心， 台北，2004，頁88-89(較小版本) 《中國當代雕塑十人展》，亞洲藝術中心， 北京，2007，頁50 《李真第52屆威尼斯雙年展—虛空中的能量》， 亞洲藝術中心，台北，2007年， 140-141，頁219 《李真：中國美術館個展—尋找精神的空間》， 亞洲藝術中心，台北，2008，頁64-71，頁197

Yoshimasa TSUCHIYA (Japanese, b. 1977)

Deer

Wood, crystal, polychrome 24(L) x 12(W) x 42.5(H) cm Signed on the bottom Yoshimasa Tsuchiya in Kanji

This lot is to be sold with a certificate of authenticity issued by Datun24 Art Space

NT$ 800,000 - 1,600,000

HK$ 199,000 - 397,000

US$ 25,300 - 50,600

RMB 179,000 - 359,000

土屋仁 応 鹿 樟木 水晶 彩色 24(長) x 12(寬) x 42.5(高) cm 簽名底部：土屋仁応

附大屯24開立之原作保證書

279 Han Choong-Seok

x 145.5 cm 簽名右側：

seok 簽名畫背：

x 145.5 cm Han Choong-Seok

282

Tehching HSIEH (Sam HSIEH) (Taiwanese, b. 1950)

One Year Performance (1978 - 1979)

1980; 1993; 2000

Cage Piece created in 1980; print in 1993; DVD published in 2000; Print edition no. 123/365; statement and poster; DVD

127 x 97 cm (print)

27.5 x 21.5 cm (statement) 44.5 x 28.5 cm (poster)

Signed lower right Sam Hsieh, Tehching in English and dated 1993 (print)

Numbered lower left 123/365 (print)

EXHIBITED

Performance 1: Tehching Hsieh, Museum of Modern Art, New York, January 21 - May 18, 2009

ILLUSTRATED

Adrian Heathfield & Tehching Hsieh, Out of Now: The Lifeworks of Tehching Hsieh, Live Art Development Agency, London; MIT Press, Cambridge, USA, 2009

Adrian Heatherfield & Tehching Hsieh, Out of Now: The Lifeworks of Tehching Hsieh, Taipei Fine Arts Museum; Art & Collection Group, Taipei, 2011, pp. 72 - 74 & p. 87

NT$

HK$

US$

RMB

謝德慶

一年行為表演 (1978 - 1979) 1980；1993；2000 籠子創作於1980；版畫製作於1993；DVD發行於2000； 版畫 123/365 聲明 海報；DVD 127 x 97 cm (版畫) 27.5 x 21.5 cm (聲明) 44.5 x 28.5 cm (海報) 簽名右下：Sam Hsieh 1980 Tehching 1993 (版畫) 版次左下：123/365(版畫) 展覽 「行為藝術之一：謝德慶」，紐約現代美術館，紐約， 展期自2009年1月21日至5月18日 圖錄

285

JAN Chin-shui

b. 1953)

Cold Snow

1998 - 2001

Mixed media on canvas

x 116.5 cm

Signed lower left Chin-shui in Chinese and dated 2001

Signed on the reserve JAN Chin-shui in Chinese, titled Cold Snow, dated 1998 - 2001 and inscribed 50F

-

-

詹金水 寒雪

1998 - 2001

綜合媒材 畫布 91 x 116.5 cm

簽名左下：金水 2001

簽名畫背：50F 詹金水 1998 - 2001年 寒雪

隨著時代的演變，紙張在藝術應用表現上變得更多樣 化。對於東方藝術家而言，紙張更是重要的創作媒 材，造紙術的西進，不只東方文化運用紙材進行創作 ( 書法、水墨、膠彩 ) ，西方藝術家也能藉由紙材的質地 與變化創作出屬於當代藝術文化的一環。 紙本創作行情更帶想像空間 近期許多當代藝術家沸沸揚揚地在藝術市場展開，成交 價格屢創新高，然而因藏家收藏取向長期以來較不重視 素描或水彩作品，使得紙本作品的價格偏低。相較於在 拍賣市場的行情已位於高峰的油彩畫布等作品，不論 是東方或西方已成熟的藝術家，紙本作品對於新世代 藏家而言也是較容易入手的品項，素描、水彩等創作 雅俗共賞也望在市場激起漣漪。羅芙奧 2022 年秋季拍 賣會，現代與當代藝術羅搜一系列東、西方當代藝術 家紙上作品，哈維爾．卡勒加、達明．赫斯特、薩波 爾齊斯．博佐、喬恩．布爾格曼至東方藝術家草間彌 生、奈良美智、塩田千春、六角彩子、長井朋子、中 村萌、小林麻衣子、金卷芳俊，東方和西方的藝術家 在多元媒材的取材運用下，從各項媒材中找尋藝術作 品呈現，更能從最唾手可即的媒材「紙」中找尋到方

默，讓他的作品成功走進不同地區。 東方藝術家首推日本藝術巨擘草間彌生善於運用各種媒 材與藝術手法表現創作《高跟鞋》為藝術家早期 1979 年所做，畫面中的圓點隱約重申了藝術家本人揮之不去 的幻覺，柔美的情節構圖帶出潛意識中的不安定成份。 奈良美智《距離戰爭 2000 光年》試圖喚起在全球政治 下，人們直面「反戰」的責任； 2011 年開始奈良美智 回歸手感的陶土雕塑，《雕塑習作》為 2012 年「有點 像你，有點像我」展出 13 件一組素描作品中的一件， 有些繪於泥塑完成前，有些繪於泥塑製作完成之後， 紀錄了當時奈良美智對於雕塑媒材的無限可能性。塩 田千春身為日本當代藝術具有代表性的藝術家之一， 現今仍活躍於世界的舞台。《連結》為塩田千春目前 拍場上最大尺幅紙上作品，更為著名版畫《連結》的 原型，塩田千春的創作主題通常與回憶、懷念、夢境 有所關連，透過作品帶領著大眾一探自己的內心世 界，觸動觀賞者的內心深處。

近年市場屢創佳績的藝術家六角彩子，靠著她與生俱 來的靈敏觀察力及細膩的情感於繪畫技巧上自成一 派，廢紙箱更為六角彩子的經典創作素材《生氣氣》 有著貫穿她創作主題的女孩搭配即興式的塗鴉將色彩

THE POWER OF WORKS ON PAPER

ART ON PAPER AS A MEDIUM OF CREATIVITY

As time advances, media on paper change in multifarious kinds. To an artist of the East, paper is still regarded as an important media of application. Ink, calligraphy and glue-pigments on paper are used by Eastern artists, while those of the West would use paper in various creative ways.

Art on Paper as a Medium of Creativity

The art market matures as contemporary artists rise to fame with robust prices. However, due to the lack of attention towards works on paper, their prices are relatively low. Regardless of the subject and origin, art on canvas fetched extraordinary prices in auctions. With a relatively attractive price, works on paper are collectibles of the new generations. Life drawings and aquarelle paintings slowly rise to attention in the art market. In Autumn 2022, Ravenel curates a section of works on paper by artists from the East and the West, from Javier Calleja, Damien Hirst, Szabolcs Bozó, Jon Burgerman, Yayoi Kusama, Nara Yoshitomo, Chiharu Shiota, Ayako Rokkaku, Tomoko Nagai, Moe Nakamura, Maiko Kobayashi, Yoshitoshi Kanemaki. These artists from the East and the West manifest their ideas in a multifarious medium, but they all originate from works on paper. Paper is a medium where they consolidate thoughts and experiment new ideas.

As a sought-after Western artist, Javier Calleja's work, See You, completed in 2018 appears as a simplistic work. However, subtle changes to the daily objects and matter allow his artwork to become a work of fun and humour. Damien Hirst's Spin Painting- Butterfly is a signed work from his exhibition Requiem held at the Pinchuk Art Centre on 25-26th April 2009. Rising artist Szabolcs Bozó incorporated into his untitled work cartoon ideas derived from Hungarian animations, local folklore and mythical subjects. Jon Burgerman, British artist, uses bold colours, child-like features and British humour in his work, Big Kid Now,

making his work unique in the market.

In the Eastern section, Yayoi Kusama's High Heel was completed in her early career in 1979, featuring the circle dots, a visual illusion of the artist, balancing a scene of harmony and unrest. 2000 Light Years from the War by Yoshitomo Nara delivers the message of anti-war under the global political stage. Another work by Nara, Sketches for the Sculpture is a work of 13 sketches, from exhibition "A bit like you and me..." in 2012 documenting the artist's thoughts before and after making the sculpture. As one of the most important contemporary Japanese artists, Chiharu Shiota is active in the international platform. Connection is the largest work on paper by the artist and is associated with the prototype of the print, Connection. Her works represent her memories, longings and dreams, leading viewers deep into the heart of the artist. In recent years, Ayako Rokkaku's works achieved astounding prices. With her sensitive observation and delicate emotions expressed in her works, cardboard papers from cartons become a classical media of her work, Angry, expressing the theme of girls through the colourful graffiti works. Tomoko Nagai's works feature animals, such as bears, cats and horses, children, colourful trees and mushrooms in the setting of forest and her room. Maiko Kobayashi depicts mythical characters against white skin and faces of spirits, representing a unique force of threat. Paper has been used to highlight fragility in life. Yoshitoshi Kanemaki's works on wood carries the softness of tone and character of Japanese animations, carved with outstanding craftsmanship. Such a combination gives an eerie and realistic depiction of life. Despite the usual works on wood, Moe Nakamura inspires viewers with vividness and child-like comfort through her works on paper. The cuteness overrides kitsch trends to become an important work of creation of the artist.

Tomoko

Kanemaki

金卷芳俊

( 兩件一組

鉛筆 紙

x 32 cm

x 32 cm

Yoshitoshi Kanemaki

簽名右下：Yoshitoshi Kanemaki

Kanemaki

Yoshitoshi Kanemaki

301

Yoshitomo NARA

b. 1959)

Kuro

and collage

x 41.7

on the bottom Yoshitomo Nara in English, titled for Kuro in Japanese, and dated 1992

Nara: The Complete Works

2, Chronicle Books LLC, San Francisco, 2011, no. D-1992-003, p. 60

1,800,000 - 2,600,000

447,000 - 645,000

56,900 - 82,200

404,000 - 583,000

PROVENANCE

NARA

Asia

EXHIBITED

Nara: A Bit Like You and Me…, Yokohama Museum of Art, Yokohama, July 14 - September 23, 2012

Nara, Pace Gallery, New York, 10 May - 29 June 2013

ILLUSTRATED

in Bijutsu Techo, Big Art Co. Ltd., Taipei, 2012, p. 20

Nara” Special

2,000,000

496,000 - 744,000

63,300 - 94,900

448,000 - 673,000

Calleja

media on

100

lower center Javier Calleja

lot is to be sold with a certificate

by Nanzuka Gallery, Tokyo

NNT$ 2,200,000 - 3,200,000 HK$ 546,000 - 794,000

69,600 - 101,200

493,000 - 717,000

authenticity

Years

Michael Zink,

The

LLC, San Francisco,

no. D-2002-057,

NARA, Phaidon Press Ltd., London, 2020,

- 807,000

311 Akiko TOJO (Japanese, b. 1984)

My Choice

2019 Wood 16(L) x 16(W) x 40(H) cm Signed on the bottom Akiko Tojo

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

NT$ 160,000 - 260,000

HK$ 40,000 - 65,000

US$ 5,100 - 8,200

RMB 36,000 - 58,000

東條明子 我的選擇 2019 木雕 16(長) x 16(寬) x 40(高) cm 簽名底部：Akiko Tojo 附涅普頓藝術開立與藝術家簽名之作品保證書

東條明子

長) x 55(

cm

)

Akiko

Akiko

180(

(紙本

Ai HAIBARA

(Japanese, b. 1981)

Emissary from the Moon (a set of 2)

2021 Wood, acrylic; pencil, acrylic on paper

18(L) x 18(W) x 38(H) cm

38.8 x 30.3 cm

Signed on the base Ai Haibara and dated 2021 (wood) Signed lower right Ai Haibara (paper)

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

NT$ 260,000 - 360,000

HK$ 65,000 - 89,000

US$ 8,200 - 11,400

RMB 58,000 - 81,000

灰原愛 來自月球的使者 ( 兩件一組 )

2021

木雕 壓克力；鉛筆 壓克力 紙本 18(長) x 18(寬) x 38(高) cm 38.8 x 30.3 cm

簽名底座：2021 Ai Haibara (木雕) 簽名右下：Ai Haibara (紙本)

附涅普頓藝術有限公司開立與藝術家簽名 之作品保證書

Ai HAIBARA

(Japanese, b. 1981)

Catch a Shooting Star (a set of 2)

2020

Wood, acrylic; pencil, acrylic on paper

18(L) x 10(W) x 33(H) cm

28.8 x 23.8 cm

Signed on the back Ai Haibara and dated 2020 (wood) Signed lower right Ai Haibara (paper)

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

NT$ 280,000 - 380,000

HK$ 69,000 - 94,000

US$ 8,900 - 12,000

RMB 63,000 - 85,000

灰原愛 抓住流星 ( 兩件一組 )

2020

木雕 壓克力；鉛筆 壓克力 紙本 18(長) x 10(寬) x 33(高) cm 28.8 x 23.8 cm

簽名背後：2022 Ai Haibara (木雕) 簽名右下：Ai Haibara (紙本)

附涅普頓藝術有限公司開立與藝術家簽名 之作品保證書

Yayoi KUSAMA

b. 1929)

High Heels (Gold)

2013

Porcelain, edition of 30, HC 1/5 22(L) x 8(W) x 20(H) cm (right) 22(L) x 8(W) x 16.5(H) cm (left)

Signed on the bottom Yayoi Kusama, dated 2013 and numbered HC 1/5 R (right)

Signed on the bottom Yayoi Kusama, dated 2013 and numbered HC 1/5 R (left)

This lot is to be sold with a certificate of authenticity issued by FMR Ltd., Japan.

NT$

HK$

US$

RMB

-

-

草間彌生 高跟鞋 ( 金 )

2013 瓷器 限量30 HC 1/5 22(長) x 8(寬) x 20(高) cm (右) 22(長) x 8(寬) x 16.5(高) cm (左)

簽名底部：HC 1/5 R Yayoi Kusama 2013 (右) 簽名底部：HC 1/5 L Yayoi Kusama 2013 (左)

附FMR Ltd.開立之作品保證書

ROKKAKU

六角彩子

317

YANG Mao-lin (Taiwanese, 1953)

Fan Deva Rides on Black Bear

2005

Bronze, gold foil, edition no. 4/6 25(L) x 32(W) x 107(H) cm Engraved on the back YANG Mao-lin in Chinese, numbered 4/6 and dated 2005

This lot is to be sold with a certificate of authenticity signed by the artist and issued by Lin & Keng Gallery

NT$ 650,000 - 1,200,000

HK$ 161,000 - 298,000

US$ 20,600 - 38,000 RMB 146,000 - 269,000

楊茂林

騎黑羆的悟飯小天王 2005

銅雕 金箔 4/6 25(長) x 32(寬) x 107(高) cm 簽名雕刻背部：4/6 2005 楊茂林 附大未來畫廊開立及藝術家親筆簽名之作品保證書

HSI Shih-pin

- The Fawn

plywood, edition no. 2/5

x 15(W)

72(H)

lower HSI Shih-pin in Chinese, titled Louis-The Fawn Swing, numbered 2/5 and dated

Hsi Shih-Pin

Soka

Taipei,

Taipei,

核桃木

ZHAN

GU Wenming

(Chinese, b. 1964)

Voice; Galaxy I (a set of 2)

2006; 2005

Forge bronze 1/8; casting bronze 8/8 28(L) x 22.5(W) x 86(H) cm

42.5(L) x 18(W) x 60(H) cm

Signed on the bottom WMG, numbered 1/8 and dated 2006

Signed one left back WMG, numbered 8/8 and dated 2005

NT$ 200,000 - 300,000

HK$ 50,000 - 74,000

US$ 6,300 - 9,500

RMB 45,000 - 67,000

谷文明

聲；銀河 I ( 兩件一組 )

2006；2005

鍛銅 1/8；鑄銅 8/8

28(長) x 22.5(寬) x 86(高) cm

42.5(長) x 18(寬) x 60(高) cm

簽名底部：WMG 2006 1/8

簽名左後：WMG 2005 8/8

CHEN Ting-Shih

26.5(W)

69(H) cm

Ting-Shih

1998

Ting-Shih Sculptures, Capital Art Center, Taichung, 1999

130,000 - 220,000

32,000 - 55,000

4,100 - 7,000

29,000 - 49,000

26.5(

69(

Ting-Shih

Mayuka YAMAMOTO (Japanese, b. 1964)

Litte White Bear Boy

2021

Lithograph, edition no. 59/75 56 x 43.5 cm

Singed lower Mayuka, titled little white bear boy and numbered 59/75

NT$ 40,000 - 80,000

HK$ 10,000 - 20,000

US$ 1,300 - 2,500

RMB 9,000 - 18,000

山本麻友香 小白熊男孩

2021

版畫 59/75 56 x 43.5 cm 簽名版次下方：59/75 little white bear boy

Mayuka

Mayuka YAMAMOTO

edition no.

43.1cm

lower Mayuka, titled little Sheep

NT$ 40,000 - 80,000

10,000 - 20,000

1,300 - 2,500

9,000 - 18,000

山本麻友香

x 43.1cm

little Sheep boy Mayuka

335 Chiharu SHIOTA (Japanese, b. 1972) Relationality

2018

Lithograph, edition no. AP 1/2 75.5 x 51 cm

Signed lower right CS and numbered lower left AP 1/2

NT$ 80,000 - 160,000 HK$ 20,000 - 40,000 US$ 2,500 - 5,100 RMB 18,000 - 36,000

塩田千春 關係

2018 版畫 AP 1/2 75.5 x 51 cm 簽名右下：CS. 版次左下：AP 1/2

Chiharu SHIOTA (Japanese, b.1972)

In Both Hands; Encounter; Cell

2019

Lithograph, edition no. 20/40; 5/40; 6/40 30 x 40cm (each)

Signed lower right CS. Numbered lower left 20/40; 5/40; 6/40

NT$ 120,000 - 320,000

HK$ 30,000 - 79,000

US$ 3,800 - 10,100

RMB 27,000 - 72,000

塩田千春

在兩手中；遭遇；細胞 ( 三件一組 )

2019 版畫 20/40；5/40；6/40 30 x 40cm (每件)

簽名右下：CS 版次左下：20/40；5/40；6/40

Yayoi KUSAMA

1929)

TWOTEOL

Silkscreen, edition of 30 PP 4/5

x 66.8 cm

lower right Yayoi Kusama

lower left Pumpkin in Kanji and TWOTEOL in English and dated 2012

Numbered lower left PP 4/5

Yayoi Kusama Prints 1979 - 2017, Abe Publishing Ltd., Tokyo, 2017, no. 383, p. 220

is accompanied with a

issued by FMR Ltd., Japan.

NT$ 850,000 - 1,400,000

HK$ 211,000 - 347,000

US$ 26,900 - 44,300

191,000 - 314,000

草間彌生

限量30

66.8

of

351

Yayoi KUSAMA (Japanese, b. 1929) Infinity Nets

1953 - 1984

Etching, edition no. 28/30 45.5 x 63 cm

Signed lower right Yayoi Kusama, titled Infinity Nets and numbered 28/30 and dated 1953 - 1984

ILLUSTRATED

Yayoi Kusama Prints 1979 - 2017, Abe Publishing Ltd., Tokyo, 2017, no. 51, p. 39

NT$ 220,000 - 320,000

55,000 - 79,000

7,000 - 10,100

49,000 - 72,000

草間彌生 無限的網

1953 - 1984 蝕刻版畫 28/30 45.5 x 63 cm

簽名右下：Yayoi Kusama 題識中下：Infinity Nets 版次左下：28/30 1953 - 1984 圖錄 《草間彌生全版畫1979 - 2017》，阿部出版株 式會社，東京，2017，編號51，頁39

359

ZAO Wou-ki

1920 - 2013) Untitled

Lithograph, edition no. 14/99

x 66 cm

Signed lower right ZAO in French, Wou-ki in Chinese and dated 1978

ILLUSTRATED

Wou-Ki The Graphic Work: A Catalogue Raisonné 1937 - 1995, Edition Heede & Moestrup, 1995, Copenhagen, no. 302B, p. 168

80,000 -

-

-

-

14/99

x 66 cm

ZAO

360

HSIEH Hsiao-De (Taiwanese, b. 1940) Guanyin Mountain 2011 Watercolor on paper 79 x 110 cm Signed lower right HSIEH Hsiao-De in Chinese and dated 2011

NT$ 30,000 - 60,000 HK$ 7,000 - 15,000 US$ 900 - 1,900 RMB 7,000 - 13,000

謝孝德 觀音山 2011 水彩 紙本 79 x 110 cm 簽名右下：2011 謝孝德

Satoru KOIZUMI

(Japanese, b. 1983)

Empty Bucket

2019

Resin, edition no. 133/230 16(L) x 14(W) x 30(H) cm

Painted signature Satoru Koizumi on left feet

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

NT$ 60,000 - 100,000

HK$ 15,000 - 25,000

US$ 1,900 - 3,200

RMB 13,000 - 22,000

小泉悟 空桶 2019 樹脂 133 /230 16(長) x 14(寬) x 30(高) cm 印刷簽名腳底：Satoru Koizumi

附藝術家簽名保證卡與作品原產紙盒包裝

362 Mayuka YAMAMOTO

(Japanese, b. 1964)

Pink Monster 2021

Polystone, edition no. 54/120

18(L) x 14(W) x 31(H) cm

Signed on the bottom Mayuka

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

NT$ 90,000 - 180,000

HK$ 22,000 - 45,000

US$ 2,800 - 5,700

RMB 20,000 - 40,000

山本麻友香

粉怪獸 2021 寶麗石粉樹脂 54/120 18(長) x 14(寬) x 31(高)cm

簽名底部：Mayuka

附藝術家簽名作品保證卡與作品原產紙盒包裝

David Shrigley

( British, b. 1968)

Rest My Rampage

Change

To Change

2021

Ceramic, edition no. 19/75 (each) 20.2(L) x 16.6(W) x 21.5(H) cm 12(L) x 11(W) x 19(H) cm Inscribed on the tail I Cannot Change My Spots But I Have No Desire To Change My Spots (leopard) Numbered on bottom 19/75 (each)

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

NT$ 100,000 - 200,000

HK$ 25,000 - 50,000

US$ 3,200 - 6,300

RMB 22,000 - 45,000

David Shrigley

豹；大象 ( 兩件一組

2021 陶瓷 19/75 (每件) 20.2(長) x 16.6(寬) x 21.5(高) cm (大象) 12(長) x 11(寬) x 19(高) cm (豹) 題識尾巴：I Cannot Change My Spots But I Have No Desire To Change My Spots (豹) 版次底部：19/75 (每件)

附藝術家簽名之作品保證卡及作品原產紙盒包裝

364 Roby Dwi ANTONO

(Indonesian, 1990)

Mystique Moonlight Lamp 2022

Mixed media, edition no. 65/250 26(L) x 20(W) x 30(H) cm Print on the bottom Roby 65/250

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

NT$ 110,000 - 220,000

HK$ 27,000 - 55,000

US$ 3,500 - 7,000 RMB 25,000 - 49,000

羅比‧安托諾 神秘月光 2022

綜合媒材 65/250 26(長) x 20(寬) x 30(高) cm 簽名印刷底部：Roby 65/250

附藝術家簽名作品保證卡與作品原產紙盒包裝

365

Adriana Oliver (Spanish, b. 1990)

First Portrait

2020

Bronze, edition no. 2/5 22(L) x 10(W) x 25(H) cm Engraved on the reserve Adriana Oliver and numbered 2/5

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

NT$ 90,000 - 180,000

HK$ 22,000 - 45,000

US$ 2,800 - 5,700

RMB 20,000 - 40,000

阿德里安娜 · 奧利弗 第一件肖像

2020 銅雕 2/5 22(長) x 10(寬) x 25(高) cm 簽名雕刻後背：2/5 Adriana Oliver

附藝術家簽名之作品保證卡及作品原產紙盒包裝

366 Roby Dwi ANTONO

(Indonesian, 1990)

Kira (Black)

2021

Bronze, edition no. 39/75 26(L) x 23(W) x 31(H) cm Signed on the bottom Roby and numbered 39/75 ED

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

NT$ 220,000 - 320,000

HK$ 55,000 - 79,000

US$ 7,000 - 10,100

RMB 49,000 - 72,000

羅比‧安托諾 Kira ( 黑 )

2021 銅雕 39/75 26(長) x 23(寬) x 31(高) cm 簽名底部：Roby 39/75 ED 附Avant Arte開立之作品保證書

367 Yuichi Hirako (Japanese, b. 1982)

Leaf Bug (a set of 3)

2020

Ceramic, edition no. 34/88; no. 44/88; no. 36/88

17.5(L) x 12.5(W) x 34.5(H) cm (each)

Signed on the bottom Yuichi Hirako in English and numbered 34/88; 44/88; 36/88

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

NT$ 130,000 - 220,000

HK$ 32,000 - 55,000

US$ 4,100 - 7,000

RMB 29,000 - 49,000

平子雄一 樹人 ( 三件一組 )

2020

陶瓷 34/88；44/88；36/88

17.5(長) x 12.5(寬) x 34.5(高) cm (每件) 簽名版次底部：Yuichi Hirako 34/88；44/88； 36/88

附藝術家保證卡與作品原產紙盒包裝

368 JU Ming

(Taiwanese, b. 1938)

Living World Series

1986

Woodcarving

6(L) x 4.3(W) x 22(H) cm (yellow) 5(L) x 4(W) x 24(H) cm (orange) Signed on the reserve JU Ming in Chinese dated 1986.9.11

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

NT$ 160,000 - 260,000

HK$ 40,000 - 65,000

US$ 5,100 - 8,200

RMB 36,000 - 58,000

朱銘

人間系列

1986 木雕

6(長) x 4.3(寬) x 22(高) cm (黃)

5(長) x 4(寬) x 24(高) cm (橘) 簽名後背：朱銘 86.9.11

附安德昇藝術文化開立與藝術家簽名之作品保證書

b.

2022; 2022; 2021;

edition

Morning,

100 (Marina;

10(L) x 9(W) x 27.5(H) cm (Marina)

10(L) x 9(W) x 27.5(H) cm (Tropical Juice)

10(L) x 9(W) x 27.5(H) cm (A

8.5(L) x 8.5(W)

Morning)

Mr. 熱帶果汁；瑪琳娜；瑪琳娜紫色的早晨； 星期四 ( 四件一組 )

2022

2021

2021 樹脂；限量100 (瑪琳娜；熱帶果汁；紫色的早 晨；瑪琳娜)；限量200 (星期四)

長) x 9(寬) x 27.5(高) cm (瑪琳娜) 10(長) x 9(寬) x 27.5(高) cm (熱帶果汁) 10(長) x 9(寬) x 27.5(高) cm (紫色的早晨) 8.5(長) x 8.5(寬) x 29(高) cm (星期四) 簽名腳底：Mr. (星期四除外)

附藝術家簽名保證卡與作品原產紙盒包裝

Moe NAKAMURA

(Japanese, b. 1988)

Bud of Hope

2021

Polystone, edition no. 82/160

21(L) x 17(W) x 20(H) cm

Printed sign on the bottom Moe

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

NT$ 90,000 - 180,000

HK$ 22,000 - 45,000

US$ 2,800 - 5,700

RMB 20,000 - 40,000

中村萌

希望之芽

2021 寶麗石粉樹脂 82/160

21(長) x 17(寬) x 20(高) cm

簽名印刷底部：Moe

附藝術家簽名作品保證卡與作品原產紙盒包裝

372

Moe NAKAMURA

(Japanese, b. 1988)

Into a Dream

2021

Polystone, edition no. 62/160

21(L) x 18(W) x 23(H) cm

Printed sign on the bottom Moe

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

NT$ 90,000 - 180,000

HK$ 22,000 - 45,000

US$ 2,800 - 5,700

RMB 20,000 - 40,000

中村萌

進入夢中

2021 寶麗石粉樹脂 62/160

21(長) x 18(寬) x 23(高) cm

簽名印刷底部：Moe

附藝術家簽名作品保證卡與作品原產紙盒包裝

373

Moe NAKAMURA

(Japanese, b. 1988)

Three Faces (a set of 2)

2017

Marker on paper; polystone, edition no. 19/100

20 x 29 cm (paper)

13(L) x 23(W) x 3.5(H) cm (sculpture)

Signed lower right Moe (paper) Numbered on reverse 19/100 (sculpture)

Signed lower right Moe

NT$ 90,000 - 180,000

HK$ 22,000 - 45,000

US$ 2,800 - 5,700

RMB 20,000 - 40,000

中村萌

三張臉手稿；三張臉 ( 兩件一組 )

2017 馬克筆 紙；寶麗石粉 樹脂 19/100

20 x 29 cm (手稿)

13(長) x 23(寬) x 3.5(高) cm (雕塑) 簽名右下：Moe (手稿) 簽名右下：Moe (雕塑) 版次背後：19/100

374

Moe NAKAMURA

(Japanese, b. 1988)

Mount Fuji

2017

Polystone, edition no. 104/130 26.5(L) x 14.5(W) x 20.5(H) cm Print on the bottom Moe 2017

This

中村萌

生長 M 2017 寶麗石粉樹脂 104/130 26.5(長) x 14.5(寬) x 20.5(高) cm 簽名印刷底部：Moe 2017 附藝術家簽名保證卡與作品原產紙盒包裝

Moe NAKAMURA

(Japanese, b. 1988)

Mt. Fuji

2014

Polystone, edition no. 56/100

13(L) x 12(W) x 20(H) cm

Print on the bottom Moe 2014

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

NT$ 90,000 - 180,000

HK$ 22,000 - 45,000

US$ 2,800 - 5,700

RMB 20,000 - 40,000

中村萌

富士山

2014 寶麗石粉樹脂 56/100

13(長) x 12(寬) x 20(高) cm 簽名印刷底部：Moe 2014 紙盒上藝術家親筆簽名 附藝術家簽名作品保證卡與作品原產紙盒包裝

376

Moe NAKAMURA

(Japanese, b. 1988)

Bambooshika

2018

Polystone, edition no. 52/160

15.5(L) x 16(W) x 21(H) cm

11(L) x 10.2(W) x 15.5(H) cm

Print on the bottom Moe

This lot is to

by the

accompanied with it's

box.

中村萌

2018 寶麗石粉樹脂 52/160 15.5(長) x 16(寬) x 21(高) cm 11(長) x 10.2(寬) x 15.5(高) cm 簽名印刷底部：Moe

附藝術家簽名保證卡與作品原產紙盒包裝

Moe NAKAMURA

(Japanese, b. 1988) Clouds

2019

Polystone, edition no. 95/160

17(L) x 14(W) x 29.5(H) cm

Print on the bottom Moe 2019

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

NT$ 100,000 - 200,000

HK$ 25,000 - 50,000

US$ 3,200 - 6,300

RMB 22,000 - 45,000

中村萌

雲朵 2019 寶麗石粉樹脂 95/160

17(長) x 14(寬) x 29.5(高) cm 簽名印刷底部：Moe 2019

附藝術家簽名作品保證卡與作品原產紙盒包裝

378

Moe NAKAMURA

(Japanese, b. 1988)

Wish for Something

2018

Polystone, edition no. 81/120

17(L) x 15(W) x 26(H) cm

Print on the bottom Moe 2020

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

NT$ 110,000 - 220,000

HK$ 27,000 - 55,000

US$ 3,500 - 7,000

RMB 25,000 - 49,000

中村萌

給我抱抱

2018

寶麗石粉樹脂 81/120

17(長) x 15(寬) x 26(高) cm 簽名印刷底部：Moe 2018

附藝術家簽名作品保證卡與作品原產紙盒包裝

JU Ming

Living World Series - Painted Wood

58/300

20(L) x 18(W) x 16(H) cm

on the bottom 58/300

朱銘 人間系列－彩繪木雕 不飽和聚酯樹脂 碳酸鈣 水性環保礦物顏料 58/300 20(長) x 18(寬) x 16(高) cm 版次底部：58/300

附朱銘美術館限量複製品保證書

382

JU Ming

(Taiwanese, b. 1938)

Living World Series - Painted Wood

1996

Unsaturated polyester resin, calcium carbonate, environmentally - friendly water based mineral paint, edition no. 216/300

67(L) x 10.5(W) x 18(H) cm

Numbered on the bottom 216/300

This lot is to be sold with a certificate of limited reproduction issued by Ju Ming Museum, Taipei

NT$ 90,000 - 180,000

HK$ 22,000 - 45,000

US$ 2,800 - 5,700

RMB 20,000 - 40,000

朱銘

人間系列－彩繪木雕

1996

不飽和聚酯樹脂 碳酸鈣 水性環保礦物顏料 216/300

67(長) x 10.5(寬) x 18(高) cm 版次底部：216/300

附朱銘美術館限量複製品保證書

383 JU Ming

(Taiwanese, b. 1938)

Living World Series - Lining Up

2002 Pewter

72(L) x 18.5(W) x 19.4(H) cm

This lot is to be sold with a certificate of limited reproduction issued by Ju Ming Museum, Taipei

NT$ 60,000 - 120,000

HK$ 15,000 - 30,000

US$ 1,900 - 3,800

RMB 13,000 - 27,000

朱銘

人間系列－排隊

2002

鉛錫合金

72(長) x 18.5(寬) x 19.4(高) cm

附朱銘美術館限量複製品證明書

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

2. 競投保證金 : 新台幣陸拾萬元或貳萬美金。

3. 競投保證金需於 2022 年 11 月 30 日以前完成匯款至本公司指定帳號如下 : 銀行：匯豐（台灣）商業銀行 台北分行 銀行代碼：0810016 戶名：羅芙奧股份有限公司 帳號：001-234830-031（新台幣）或 001-234830-061（美金） 地址：台北市基隆路一段 333 號 14 樓 匯款時請指示銀行本公司需實收競投保證金全額，銀行手續費請匯款人負擔。

4. 2022 年 11 月 30 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2022 年 12 月 1 日至 12 月 4 日 ) 以新台幣現鈔支付 ( 恕不接受除現金之外之其他繳納方式 )，收款將於 12 月 4 日中午 12 點截止。

5. 電話／書面／網路競投：競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請手續以及競投保證金 之繳納亦需在 2022 年 11 月 30 日以前完成匯款至本公司指定帳號。

6. 如於 2022 年 11 月 30 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我們 將與競投者聯繫並與之確認其競標牌號。

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

8. 競投保證金退還方式：

(1) 有成交：

(a) 競投保證金以「匯款」方式完成者，扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額 需退還，本公司將於拍賣日後十四個工作天內以匯款方式退還給買家。

(b) 競投保證金以「現金」方式完成者，扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用

IMPORTANT NOTICE TO BUYERS

The auction will strictly abide by the Transaction Agreement set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations:

1. Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a bidding deposit are required.

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

3. The bidding deposit must be transferred to Ravenel's specified Bank account prior to 30 November 2022, details as follow: Beneficiary's Bank: HSBC BANK (Taiwan) Limited.

SWIFT Code: HSBCTWTP

Beneficiary's Name: Ravenel Ltd. Beneficiary's Account No: 001-234830-031 (NT$) or 001-234830-061 (US$)

Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of bidding deposit. The payer will be responsible for any associated bank service fees.

4. After the 30 November 2022, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 1st December to 4th December 2022). Acceptance will cease on 4th December by 12pm (No other forms of payment will be accepted).

5. Telephone / written / internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 30 November 2022.

6. If the bidding deposit has been transferred prior to 30 November 2022, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her/its paddle number.

7. If the payment of the bidding deposit is made on the day of the auction, the payer may obtain his/her/its paddle number with valid personal identification (i.e. Identification Card, passport, etc.) for purposes of verification.

8. Return of the Security Deposit:

(1) Completed Transaction:

(a) For successful bidder with a bidding deposit made through wire transfer, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer.

(b) For successful bidders with bidding deposit made by Cash, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund.

(c) If the Buyer, without any good cause, fails to pay any and all payment (including but without limitation, hammer price, buyer's premium, and other expenses) of the Lot to the Company within 7 days after the auction date, the Buyer shall not claim for the return of the bidding deposit.

(2) Nil Transaction: If the bidder is not able to purchase any lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. For individuals with a bidding deposit transferred by wire, the bidding deposit will be returned within 14 business days through means of a wire transfer. Cash bidding deposit will be returned to individuals on the same day after the auction.

9. Successful bidder must settle the payment (hammer price, buyer's premium, and other expenses) prior to receiving the lot(s) on site.

If the price exceeds the amount of the bidding deposit, the successful bidder may settle the outstanding balance through the following means:

(1) A cash payment must not exceed NT$ 1,000,000.

(2) A credit or China UnionPay payment: The credit payment must not exceed NT$ 1,000,000. The holder of the credit card or China UnionPay must be the successful bidder, credit payments from any title except for the successful bidder will not be permitted nor accepted.

10. Ravenel Ltd. retains full discretion to accept or decline a payment in the event of any unforeseen disputes or discrepancies.

委託競投表格須於拍賣24小時前送抵藝術部。競投表格可傳真至: 藝術部 電話：+886-2-2708 9868

投標者資料

客戶編號 姓名 護照號碼/身份證字號/統一編號

電話號碼（住宅） （手機） 拍賣期間之聯絡電話 (僅限電話競投)

電郵 傳真號碼 地址

賣 名 稱：羅芙奧台北 2022 秋季拍賣會 現代與當代藝術

賣 編 號：TA2204

賣 日 期：2022 年 12 月 4 日 ( 星期日 ) 下午 2:00

賣 地 點：台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路 199 號

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

ABSENTEE BID FORM

The absentee bid forms must be delivered to the Art Department at least 24 hours before the auction begins. The bid forms may be faxed to: Art Department

Tel: +886 2 2708 9868 ｜Fax: +886 2 2701 3306

Bidder's Details

Customer Number Name

Passport number/ID number/Unified Business number

Tel (Home) (Mobile)

Tel (For Phone Bid)

Email Fax

Auction Lot Number

Auction AUTUMN AUCTION 2022 TAIPEI Modern & Contemporary Art

Date Sunday, December 4, 2022, 2:00pm Sale No. TA2204

Location Marriott Taipei 3F (Grand Space) Address No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

Bid Price (NT$)

including Buyer's premium)

Bidding rules

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

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

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

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

5. If the bidder has not bid for the auction item at Ravenel, please attach a copy of the bidder's information. (Individual: ID card or passport with photo issued by the government)

6. I agree that the Notice To Bidders, Bidder Registration, Absentee Bid Form and Transaction Agreement and other attached documents are regarded as part of this agreement.

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

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

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

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

下述規則，為羅芙奧股份有限公司 ( 下稱「本公司」 ) 與賣家訂立合約，亦

作為賣家之代理人與買家訂立合約之條款。準買家、買家及賣家務須細讀 各項規則並完全同意遵守本業務規則。準買家、買家請特別留意第二條第5 項，其對本公司之法律責任作了限定。

一、本業務規則所用詞彙之定義

在下列規定中，某些常用詞彙需加以解釋。此等詞彙定義如下：

1. 「買家」：指本公司所接受之出價最高之自然人或法人。

2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。

3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣 之自然人或法人。

4. 「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以 任何編號描述之一項或多項物品。

5. 「落槌價」：指本公司就某一拍賣品而接受之最高出價之價款。

6. 「買家服務費」：指買家按落槌價之某一百分比而支付本公司之費用； 收費率如第二條第4a項所列。

7. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之 價格售出。

8. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺 詐意圖，以就拍賣品之作者、來歷、年代、時期、文化或來源進行欺 騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品 在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義， 任何拍賣品均不會因為有任何損壞及／或任何形式之修整（包括重新上 漆）而成為膺品。

9. 「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險 之價值（不論保險是否由本公司安排購買）。

10. 「賣家服務費」：指賣家應支付本公司之費用。

二、買家

1. 本公司作為賣家代理人 本公司作為賣家代理人之身分行事。除另行協定外，在本公司之拍賣中 成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。

2. 拍賣前

a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之 物品。本公司就任何拍賣品及相關證明文件之真偽，均不對買家作任 何保證。

b. 拍賣品狀況之重要注意事項

請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述， 皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。對任何 拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍 賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或 損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議， 準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢 閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述 或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知 悉並瞭解所有拍賣品均以「現狀」售出，本公司對於任何拍出之拍賣

拍賣價格之估計，不應依據為拍賣品會成功拍賣之價格或拍賣品作其 他用途之價值陳述。

些說明或鑑定意見書會提述拍賣品之損壞及／或修整資料。此等資 料僅作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺 陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。

e. 買家之責任 有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任自行查 明並瞭解，並就拍賣品為自己獨立之判斷及評估，並確使自己感到 滿意。

3. 拍賣時

a. 估價 目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍 賣會須以新台幣結算，買家如須以新台幣之外其他貨幣繳付， 須 依 拍賣日現場公佈之匯率，折合所繳付之等值貨幣計算。

b. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地 進行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣 場地或參與拍賣。

c. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身 分證明。準買家應注意，本公司通常會要求對買家作出信用核查。

d. 競投保證金 競投者，應在領取競投號牌前繳納競投保證金，競投保證金的金額 由本公司在拍賣日前公佈。

(1) 若競投者未支付競投保證金，本公司有權不接受其競投。若競 投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證 金。

(2) 若競投者成為買家，則本公司有權將此保證金自動轉化為已成 交拍賣品購買款項之一部（包含落槌價、服務費或運費等相關 費用），若尚有餘款須退回給買家；若買家無正當理由未於 成功拍賣日期後七天內支付全部應支付之成交拍賣品購買款項 （包含落槌價、服務費或運費等相關費用）予本公司，買家不 得請求返還競投保證金。

e. 競投者為買家 競投者將被視為買家而須承擔個人法律責任，除非登記時已經與本 公司書面協定，競投者僅為第三人之代理人，且該第三人復為本公 司所接受者。

f. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公 司將盡適當努力代其競投，但代為競投指示須於拍賣前送抵本公 司。如本公司就某一拍賣品而收到多個委託競投之相等競投價，而 在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣品會歸其 委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承 諾所限，而拍賣進行之情況可能使本公司無法代為競投。由於此項 承擔乃本公司為準買家按所述條款提供之免費服務，如未能按委託

改該業務規則。

匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參 考，不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外 匯，其準確程度均可能會出現非本公司所能控制之誤差。買家因依 賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之任何損 失，本公司概不負責。

j. 錄映影像

在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是 否與成功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買 家均不負任何責任。

k. 拍賣官之決定權

拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動 出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併， 以及如遇有誤差或爭議，將拍賣品重新拍賣。拍賣官會於拍賣開始 前或於相關拍賣品競標前對注意事項作出通告，準買家須負責自行 注意所有於拍賣會場發表之通告。建議使用即時網上競投服務參與 競投的準買家，於拍賣開始前登入，以確保準買家得知拍賣開始前 所作出之通告。

l. 成功競投在拍賣官之決定權下，下槌即顯示對最高競投價之接受， 亦即為賣家與買家合意依落槌價拍定拍賣品，視為成功拍賣合約之 訂立。

4. 成功拍賣後

a. 買家支付每件拍賣品之服務費費率

(1) 買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台 幣參仟貳佰萬元以下者含參仟貳佰萬元以落槌價之20％計算。

(2) 落槌價於新台幣參仟貳佰萬元以上者，採分為二階段計費，其中 新台幣參仟貳佰萬元以 落槌價之 20 ％計算，超過新台幣參仟貳 佰萬元之部份再以落槌價之12％，加總計算服務費金額。

b. 稅項 買家應付予本公司之款項，如須另行支付貨物、服務稅或其他稅則 時（不論由台灣政府或別處所徵收）。買家須負責按有關法律所規 定之稅率及時間，自行繳付稅款。

c. 付款 成功拍賣後，買家須向本公司提供其 真實 姓名及永久地址。如經本 公司要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳 號。買家應於拍賣日期後七天內悉數支付應支付予本公司之款項 （包含落槌價、服務費或運費等相關費用）。即使買家希望將拍賣 品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有 權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之 款項為新台幣以外之貨幣，須依拍賣日現場公佈之匯率（台灣銀 行），並以本公司就此兌換率而發出之憑證為準。

d. 領取已購拍賣品

除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣 之拍賣項目，直至欠本公司之款項已悉數支付為止。 已購 拍賣品在 暫時保留期間，由成功拍賣日後起算七天將受保於本公司之保險， 如屆時拍賣品已被領取，則受保至領取時為止。七天期滿後或自領 取時起（以較早者為準），已購拍賣品之風險全由買家承擔。

e. 介紹裝運及運輸公司

本公司之貨運部門在買家要求下，可為買家介紹運輸公司、安排付 運及購買特定保險，但本公司在此方面不負任何法律責任。買家必 須預先繳付運輸費用。

不付款或未有領取已購拍賣品之補救辦法

拍賣品行使留置權，並在給予買家有關其未

償該未付之欠款。

(3) 如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項 用以清償 已購 拍賣品就任何特定交易而欠下之任何款項，而不 論買家是否指示用以清償該筆款項。

(4) 在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆 競投 保證金。如買家 未有在三十五天內付款，本公司除上述辦法外，另有權為下述 一項或多項權利或補救辦法：

(a) 代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉

(b) 取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售 予買家之拍賣品交易。

(c) 安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連 同因買家未有付款而引致之任何費用一併向買家索償。

g. 未有領取已購拍賣品

如已購得之拍賣品未有在成功拍賣日後起算七天內領取，則不論是 否已付款，本公司將安排貯存事宜，費用由買家承擔。而買家在付 清所引起之貯存、搬運、 運輸、 保險及任何其他費用，連同欠本公 司之所有其他款項後，方可領取已購拍賣品項目。

h. 出口許可證

除本公司另有書面同意外，買家希望申請出口許可證，並不影響買 家在成功拍賣日後起算七天內付款之責任，亦不影響本公司對延遲 付款收取利息之權利。

如買家要求本公司代為申請出口許可證，本公司有權向其收取與此 項申請有關之款項及零碎開支連同任何有關之稅則。

如買家不需要出口許可證而作出付款，本公司並無責任退還買家因 此而引致之任何利息或其他開支。

5. 本公司之法律責任 本公司僅在第二條第 6 項所列之情況下，得退還款項予買家。除此之 外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之 作者、來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說 明之誤差，任何拍賣品之任何瑕疵或缺陷，均不負有任何責任。賣家、 本公司、本公司之僱員或代理人，不論是明示或暗示均無就任何拍賣品 作出任何保證。任何種類之任何擔保，均不包含在本條之內。

6. 膺品/贓物之退款 本公司之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實 為膺品、贓物或涉及不法情事者，則交易將取消，已付之款項於交付賣 家前將退還予買家。但如：

a. 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納 之意見，或清楚表明有牴觸當時學者或專家普遍接納之意見。

b. 或證明拍賣品為膺品或贓物之方法，只是一種在目錄出版前仍未普遍 獲接納使用之科學程序，或是一種在拍賣日仍屬昂貴得不合理或並 不實際或很可能會對拍賣品造成損壞之程序，則本公司無論如何並 無責任退還任何款項。此外，買家只在滿足下述條件下方可獲得退 款：

(1) 買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有 關拍賣品乃膺品或贓物之詳細理由及證據。

(2) 且買家需於書面通知後十四天內將拍賣品送還本公司，而其狀況 應維持與拍賣當日相同，不得有任何損壞。

(3) 送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品 乃膺品或贓物(本公司保有最終及不可異議之決定權)，買家並可 將拍賣品之完整所有權及相關權利轉讓予本公司，而與任何第 三人之索償無涉。在任何情況下，本公司均毋須向買家支付多 於買家就有關拍賣品而支付之款項，而買家亦不能索取利息。 本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本 發票之買家所有 (該買家名稱被記載於發票上 )，該名買家並須自拍賣後 一直保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何 第三人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺品

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

ARTICLE 1.DEFINITION

Some of the phrases commonly seen herein are defined as follows:

1. "The Buyer" shall mean highest bidder accepted by the Company.

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

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

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

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

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

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

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

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

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

ARTICLE 2.THE BUYER

1. The Company as the Agent of the Seller

The Company, shall act as the agent of the Seller. Except otherwise pro vided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agen cy of the Company, and the Buyer.

2. Prior to the Auction

a. Authentication

We strongly recommend that the Prospective Buyers conduct their own authentication for the items they are interested in bidding prior to the auction. The Company provides no guarantee to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot and related certificates.

b. Important Notice

Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The description of the auction items also do not imply and guarantee that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally. We strongly recommend the Prospective Buyers shall personally view the items for which they plan to bid before the auction. Any description in the catalogue or any statement provided by the Company is purely the Company's subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in "as is" condition. The Company does not provide any representation or guarantee as to the condition of any of the items.

c. Symbol Key

The following key explains the symbol you may see inside this cata logue.

○ Guaranteed Property

The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer's Premium.

d. Catalogue Explanations

Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lot and certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or writ ten statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photo

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

Many Lots fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair back ground of the Lots. Such information is meant for reference only. Miss ing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect.

e. Responsibility of the Buyer

The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her/its own judgment or estimation inde pendently regarding the Lots.ing his/her own judgment or estimation independently regarding the Lots.

3. In the Auction

a. Estimates

The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate announced by the Company on the day of auction.

b. Refusal of Admission

The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full dis cretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction.

c. Registration Prior to the Bidding

Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may request to conduct credit checks against Buyers.

d. The Bidding Deposit

The bidder shall pay the bidding deposit before receiving the bidding number. The Company will announce the amount of the bidding deposit before the auction day.

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

(2) If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment (including but without limitation, Ham mer price, Buyer's Premium, Costs and expenses for shipping and related costs ) of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). If the Buyer ,without any good cause, fails to pay any and all payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs) of the Lot to the Company within 7 days after the auction date ,the Buyer shall not claim for the return of the bid ding deposit.

e. The Bidder is the Buyer

Unless a written agreement has been made upon registration that the bid der will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities.

f. Commission Bids

The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the provided forms attached to the explanations of the catalogue; however, bid commission instructions must be delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as com missioned. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid.

g. Bid by Phone

The Company will make proper effort to contact the bidder so he/she can participate in the auction by phone if the Prospective Buyer make arrangements with the Company prior to the auction. However, the Com pany will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances.

h. Online Bids via Invaluable

If the bidder cannot attend the auction, it may be possible to bid online via Invaluable for preferred Lots to bear individual buyer's responsibili ties. This service is free and confidential. For information about register ing to bid via Invaluable, please refer to Ravenel.com. The Bidders using the Invaluable online bidding service are subject to the additional terms and conditions for online bidding via Invaluable, which can be viewed at Ravenel.com and be revised by the Company from time to time.

i. Exchange Rate Conversion Board

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

j. Recorded Images

There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned.

k. Determining Power of the Auctioneer

The auctioneer has the absolute power to reject any bid, push for bids at his/her discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the com mencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction.

l. Successful Bids

Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement on Hammer Price.

4. Following the Auction

a. The Buyer's Premium of Each Lot

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

(2) For hammer price higher than NT$ 32,000,000, total amount of the Buy er's Premium should be that the first NT$ 32,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12% of the hammer price.

b. Taxes

All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law.

c. Payment

The Buyer should provide his/her/its true name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon the company request. All payments due (including the hammer price, the Buyer's Premium and any freights or other expenses) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit.

If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has deliv ered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the exchange rate of the payments to the Company should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate.

d. Collection of the Lot Sold

Unless otherwise agreed by the Company, the Company will hold tem porarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period.

The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier).

e. Referral of Packaging or Transportation Companies

The shipping department of the Company may introduce the forwarder, assist in the arrangement of delivery, or purchase particular insurance upon the Buyer's request. The Company will not be held liable for any le gal responsibilities in this regard. And the Buyer shall prepay the freight charges. Costs and expenses for shipping and insurance shall be paid in advance.

f. Remedies for Non-Payment or Non-Collection of Items Sold

The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date:

(1) An interest at the annual rate of no higher than 10% plus the base inter est rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and Buyer's Premium) multiplied by the number of delayed days as puntive damage for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company's sole decision.

(2) To exercise lien of any items owned by the Buyer and held by the Com pany for any purpose including but without limitations other transactions. The Company may arrange to sell such items after serving a 14-day no tice to the Buyer about his/hers/its non-payment. The proceeds shall make up for the payment due.

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

(4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a bidding deposit from the Buyer before accepting any future bids from him/her/it. If the Buyer fails to make pay ment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned:

(a) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim.

(b) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions.

(c) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any

cost incurred as a result of the non-payment by the Buyer.

g. No Collection of the Lot Sold

The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, handling, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid in full can the sold Lot be collected.

h. Export Permit

Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buy er's responsibility to make the payments in 7 days following the auction date; nor does it affect the Company's right to impose interest on delayed payments.

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

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

5. The Legal Responsibility of the Company

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

6. Return of Payments for Counterfeits or stolen goods

The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit or stolen goods, or involved in obvious il legality by the professional appraisal party agreed and recognized by the Company in writing. However, if:

a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields.

b. Or the method used to prove that the Lot is a counterfeit or stolen goods is a scientific procedure not generally accepted for use before the pub lication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circum stances. In addition, the Buyer's payment can only be refunded when the following terms are met:

(1) The Buyer must notify the Company in writing within 10 days following the auction day that he/she considers the relevant auction item a counter feit or stolen goods.

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

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

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

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