現代與當代藝術 Modern and Contemporary Art

SPRING AUCTION 2024 TAIPEI

拍賣目錄每本售價：NT$2,000

This auction catalogue: US$70 per copy

羅芙奧台北 2024 春季拍賣會 現代與當代藝術

RAVENEL SPRING AUCTION 2024 TAIPEI Modern and Contemporary Art

拍賣日期／地點

2024年6月2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

台中

2024年5月18日（六）下午1:00至下午6:00

2024年5月19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

2024年5月31日（五）~ 6月1日（六）上午11:00至下午7:00

萬豪酒店

台北市中山區樂群二路199號3樓（博覽廳）

AUCTION

Sunday, June 2, 2024, 2:00pm

Marriott Taipei

Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

PREVIEWS

Taichung

Saturday, May 18, 2024, 1:00pm - 6:00pm

Sunday, May 19, 2024, 11:00am - 6:00pm

Fong-Yi Art Gallery

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

Taipei

Friday, May 31 - Saturday, June 1, 2024, 11:00am - 7:00pm Marriott Taipei

Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

王鎮華 Arthur Wang

董事長 Chairman

傅斐郡 Flora Fu

藝術部 顧問 Consultant,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 總監 Director, Art Department

林恒如 Nina Lin

藝術部 業務助理

Sales Assistant, Art Department

陳惠黛 Odile Chen

國際藝術部 總經理 Head of International Art Department

陳昱良 Iris Chen

國際藝術部 經理 Manager, International Art Department

陳子萱 Jenny Chen

國際藝術部 業務助理

Sales Assistant, International Art Department

羅芙奧台北 2024 春季拍賣會服務部門及連絡人

藝術品諮詢專家

總經理

陳惠黛

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總監

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資深副總經理

林慧菁

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電話書面競標聯絡人

台灣

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香港

陳昱良

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黃詩涵

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註二：鑑於拍賣現場電話有限，欲以電話 投標方式競標的投標者，請於拍賣前 24 小 時通知我們為您安排，尤其對需用外國語 言服務之投標者。

目錄訂閱

台灣．國際

林恒如

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陳昱良

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本目錄開放各界訂閱，詳細訂閱辦法，請 參照目錄之說明或請洽上述聯絡人。

付款事宜

沈麗娟

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取貨及運輸事宜

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註一：所有拍品在貨款結清後，即可取貨； 買家請儘早通知安排取貨事宜，以利倉庫 存貨流通和集中安排辦理，本公司接受個 人及公司支票付款，惟需在兌現後始能提 貨。恕不接受旅行支票付款。其他各項貨 品可在羅芙奧辦公室提領，上班時間為週 一至週五上午 9:30 至下午 6:30。

註二：我們的專業行政部門可為您建議或 安排最適當的運輸方式。

羅芙奧樂意提供您本次拍賣當中任何一 項拍品的狀況報告書，惟準買家需注意拍 品均是以「當時認定」之狀況賣出，相關 細項請參照目錄後之業務規則。請參照買 家需注意事項。

RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS

President

Odile Chen

Tel: +886 2 2708 9868 ext. 889

Email: odilechen@ravenel.com

Director

Stella Huang

Tel: +886 2 2708 9868 ext. 977

Email: stellahuang@ravenel.com

Senior Vice President

Maggie Lin

Tel: +886 2 2708 9868 ext. 886

Email: maggielin@ravenel.com

PHONE BIDS AND WRITTEN BIDS

Taiwan

Maggie Lin

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Email: maggielin@ravenel.com

Hong Kong

Iris Chen

Tel: +852 2889 0859

Email: irischen@ravenel.com

International

Stella Huang

Tel: +886 2 2708 9868 ext. 977

Email: stellahuang@ravenel.com

ONLINE BIDS

Register at Ravenel https://bid.ravenel.com/

Or register at but through Invaluable, you shall pay a service fee of 3% of the hammer price in addition to the Buyer's Premium https://invaluable.com/login/

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

Nina Lin

Tel: +886 2 2708 9868 ext. 899

Email: ninalin@ravenel.com

Hong Kong

Iris Chen

Tel: +852 2889 0859

Email: irischen@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

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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

Tommy Wu

Tel: +886 2 2708 9868 ext.885

Email: tommywu@ravenel.com

Hong Kong

Iris Chen

Tel: +852 2889 0859

Email: irischen@ravenel.com

Remarks:

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

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

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

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

目次 CONTENTS

5

羅芙奧春季拍賣會

Sale Information

8

羅芙奧之服務

Ravenel Services

11

藝術家索引 Index

12

現代與當代藝術

Modern and Contemporary Art

213 給予買家的重要通知 Important Notice to Buyers

215 委託競投表格

Absentee Bid Form

217 業務規則

Transaction Agreement

A-LEI 阿咧 123

TAKERU AMANO 天野タケル 017

KATHARINA ARNDT 凱薩琳娜 阿恩特 091

GUY BARDONE 居．巴赫東 090

MAX BI 馬克斯 彼 097

SZABOLCS BOZÓ 薩波爾齊斯．博佐 004

ANDRÉ BRASILIER 安德烈 布拉吉利 087, 104

BERNARD BUFFET 貝爾納 畢費 043

BERNARD CATHELIN 貝爾納 卡多蘭 103

MARC CHAGALL 馬克．夏卡爾 025

CHANG TENG-YUAN 張騰遠 008, 074

BERNARD CHAROY 貝爾納 夏洛瓦 077

CHEN WEI-TING 陳威廷 082, 120

KILA CHEUNG 章柱基 126-127

CHIU YA-TSAI 邱亞才 044, 058

CHU TEH-CHUN 朱德群 027

CHUANG CHE 莊喆 045

ROBERT COMBAS 羅伯 貢巴斯 105

JOAN CORNELLÀ 朱安 葛明尼拉 099

DESIRE OBTAIN CHERISH 強納森．保羅 121

DONG SHAWHWEI 董小蕙 064-065

MR DOODLE 塗鴉先生 144

ETSU EGAMI 江上越 049

ALEX FACE 亞歷克斯 費斯 068, 073, 148

SAM FRANCIS 山姆 法蘭西斯 038

ALIXE FU 傅慶豊 083

KATSURA FUNAKOSHI 舟越桂 072

RENÉ GENIS 賀內 吉尼斯 088-089

TOMOO GOKITA 五木田智央 042

GUAN LIANG 關良 024

AI HAIBARA 灰原愛 122

HAN CHOONG-SEOK 韓忠錫 010

YUSUKE HANAI 花井祐介 128

KEI HINOTANI 日乃谷 002

YUICHI HIRAKO 平子雄一 055

DAMIEN HIRST 達明．赫斯特 129

HONG LING 洪凌 033

HSIEH HSIAO-DE 謝孝德 139

HSU TANG-WEI 許唐瑋 079-080

BENREI HUANG 黃本蕊 081

JISBAR 吉斯巴 100

JU MING 朱銘 052-053, 066, 149-151

KAMEKO KAMEO 龜子龜男 ( カメ子カメ男 ) 005

YASUHITO KAWASAKI 川崎泰史 009

KAWS

KAWS 布萊恩 唐納利 108

ANSELM KIEFER 安森．基佛 039

IIDA KIRIKO 飯田桐子 006

MIWA KOMATSU 小松美羽 067, 075, 130-131

TOMOZAWA KOTAO 友澤こたお 071

YAYOI KUSAMA 草間彌生 026, 109-112, 145, 147

LEE KYOUNG-MI 李慶美 007

READ LEE 李德 050

LI CHEN 李真 054

LIU KUO-SUNG 劉國松 028, 034

OSCAR LLORENS 奧斯卡 羅倫斯 096

LO CHAN PENG 羅展鵬 084

KASING LUNG 龍家昇 119

MADSAKI Madsaki 133

TANIA MARMOLEJO 塔妮亞 馬莫列霍 106

EDDIE MARTINEZ 艾迪．馬丁內斯 040, 101-102

GEORGES MATHIEU 喬治 馬修 107

TOMOKAZU MATSUYAMA

松山智一 138

BURTON MORRIS 伯頓 莫利斯 085-086

Mr. Mr. 132, 146

TOMOKO NAGAI 長井朋子 013, 069-070

MOE NAKAMURA 中村萌 011, 117, 140-144

YOSHITOMO NARA 奈良美智 056, 113-114

KOHEI NAWA 名和晃平 115

NIKKI Nikki 092

NKSIN NKSIN 018

DANIELE OLDANI 丹尼爾 歐丹尼 094, 098

OTANI WORKSHOP 大谷工作室 118

PANG JIUN 龎均 062-063

AYAKO ROKKAKU 六角彩子 041, 124

NICOLÁS ROMERO 尼古拉斯 羅梅羅 093

SANYU (CHANG YU) 常玉 019-020

NARITAKA SATOH 佐藤誠高 016, 125

NOBUO SEKINE 關根伸夫 015

CHIHARU SHIOTA 塩田千春 029, 076

SU WONG-SHEN 蘇旺伸 060

SYOZO TANIGUCHI 谷口正造 001, 014

WALASSE TING 丁雄泉 030-032, 059

TONG YANG TZE 董陽孜 021-022

FELIX TREADWELL

菲利克斯．崔德威爾 003

YOSHIMASA TSUCHIYA 土屋仁 116

XU BEIHONG 徐悲鴻 036

MOISÉS YAGÜES 莫伊 亞格斯 95

MEGURU YAMAGUCHI 山口歷 57

MAYUKA YAMAMOTO 山本麻友香 012, 048, 134-139, 145

YANG CHIHUNG 楊識宏 046-047

YAO JUI-CHUNG 姚瑞中 078

YEH SHIH-CHIANG 葉世強 061

TZU-CHI YEH 葉子奇 035

INOUE YUICHI 井上有一 023

ZAO WOU-KI

趙無極 037

ZHOU CHUNYA 周春芽 051

001

SYOZO TANIGUCHI

(Japanese, b. 1990)

The Night When the Moonlight Gently Falls, I'm Only Thinking About You

Acrylic on paper plate

17.5 cm (diameter)

Titled The Night When the Moonlight Gently Falls, I'm Only Thinking About You in Japanese

PROVENANCE

Kichimu Event Space & Cafe, Tokyo

NT$ 40,000 - 80,000

HK$ 10,000 - 20,000

US$ 1,300 - 2,500

RMB 9,000 - 18,000

谷口正造

月色輕輕落下的夜晚，我只想著你 壓克力 紙盤

17.5 cm（直徑） 題識：月 りふんわり落ちてくる夜は∼ あなたのことばっかり 來源 キチム，東京

002

TARTAROS JAPAN (KEI HINOTANI)

(Japanese, b. 1969)

Automatic Wave H60583472B

2019

US $ bill, bank of Japan tickets, gilt silver foil, acrylic on wooden panel; (unique)

60.7 x 91.5 cm

Signed reverse Tartaros Japan, titled Automatic Wave H60583472B and dated 2019 01

PROVENANCE

Ravenel Online Auction, Taipei, March 25, 2020, lot 38

EXHIBITED

World Money Wave 2020, Odakyu, Tokyo, January 29-February 4, 2020

This lot is to be sold with a certificate of authenticity issued by Kinosho Kikaku Co., Ltd, Tokyo.

This lot is to be sold with exhibition postcards signed by the artist.

NT$ 90,000 - 150,000

HK$ 22,000 - 37,000

US$ 2,800 - 4,700

RMB 21,000 - 34,000

日乃谷 啓

自動波 H60583472B

2019

美鈔 日幣 金箔 銀箔 壓克力

木板（單一件）

60.7 x 91.5 cm

簽名題識畫背：Automatic Wave H60583472B 2019 01 Tartaros Japan

來源

羅芙奧線上拍賣，台北，2020年3月

25日，編號38

展覽 「世界金錢波浪2020」，小田急百貨

新宿店，東京，展期2020年1月29日

至2月4日

附東京木之庄企畫開立之原作保證書 附藝術家簽名之展覽名信片

003

FELIX TREADWELL

(British, b. 1992)

Boy and Tree

2019

Acrylic on canvas

35 x 30 cm

PROVENANCE

Union Gallery, London

NT$ 70,000 - 140,000

HK$ 17,000 - 34,000

US$ 2,200 - 4,400

RMB 16,000 - 32,000

菲利克斯．崔德威爾 男孩與樹 2019

壓克力 畫布 35 x 30 cm

來源 聯合畫廊，倫敦

004

SZABOLCS BOZÓ

(Hungarian, b. 1992)

D.M.017

2018

Acrylic on paper 84 x 59.5 cm

PROVENANCE

L21 Gallery, Spain

NT$ 80,000 - 160,000

HK$ 20,000 - 39,000

US$ 2,500 - 5,000

RMB 18,000 - 36,000

薩波爾齊斯．博佐

D.M.017

2018

壓克力 紙本 84 x 59.5 cm

來源 L21畫廊，西班牙

005

KAMEKO KAMEO

(Japanese, b. 1979)

It’s Not Your Business

2022

Acrylic on canvas

61 x 73 cm

Signed reverse Kameko Kameo in Japanese, titled It’s Not Your Business in Japanese and dated 2022. 8

NT$ 70,000 - 100,000

HK$ 17,000 - 25,000

US$ 2,200 - 3,100

RMB 16,000 - 23,000

龜子龜男（カメ子カメ男） 與你無關

2022

壓克力 畫布 61 x 73 cm

簽名題識畫背：あなたには関 係ない お 2022. 8 カメ子カメ男

006

IIDA KIRIKO

(Japanese, b. 1970)

A Girl; Butterfly (a set of 2)

2018

Acrylic on canvas

13.5 x 18 cm (Above)

33 x 33 cm (Under)

A Girl:This lot is to be sold with a certificate of authenticity issued by Gallery IDF, Nagoya.

NT$ 90,000 - 180,000

HK$ 22,000 - 44,000

US$ 2,800 - 5,700

RMB 21,000 - 41,000

飯田桐子

女孩；蝴蝶（兩件一組）

2018

壓克力 畫布

13.5 x 18 cm（上）

33 x 33 cm（下）

A Girl：附Gallery IDF開立之原作保證書

007

LEE KYOUNG-MI

(Korean, b. 1977)

Wallstreet on the Table

2009

Oil on wooden board

60(L) x 59.5(W) x 6(D) cm

Signed right side Lee Kyoung Mi and dated 2009

Signed reverse Lee Kyoung Mi, titled Wallstreet on the table, inscribed Oil on construsted Birchwood 2009.11 CAIS

GALLERY H.K.

NT$ 90,000 - 180,000

HK$ 22,000 - 44,000

US$ 2,800 - 5,700

RMB 21,000 - 41,000

李慶美

桌上的華爾街

2009

油彩 木板

60（長）x 59.5（寬）x 6（厚）cm

簽名右側：Lee Kyoung Mi 2009

簽名畫背：Wallstreet on the table Lee Kyoung Mi 2009 Oil on construsted Birchwood 2009.11 CAIS GALLERY H.K.

008

CHANG TENG-YUAN

(Taiwanese, b.1983)

New Species No.13

2020

Acrylic on wood

60(L) x 80(W) x 1.8(D) cm

Signed upper right Chang Teng Yuan

Signed reverse Chang Teng Yuan and dated 2020

ILLUSTRATED

Chang Teng Yuan Art Works 2015-2021, J.P. Art Center, Kaohsiung, 2022, p. 192

NT$ 90,000 - 180,000

HK$ 22,000 - 44,000

US$ 2,800 - 5,700

RMB 21,000 - 41,000

張騰遠

新物種 13

2020

壓克力 木板

60（長）x 80（寬）x 1.8（厚）cm

簽名右上：Chang Teng Yuan

簽名畫背：Chang Teng Yuan 2020

圖錄

《張騰遠作品集2015-2021》，琢璞

藝術中心，高雄，2022，頁192

009

YASUHITO KAWASAKI

(Japanese, b.1983)

On the Table

2023

Acrylic on canvas 73 x 91 cm

Signed reverse YASUHITO KAWASAKI, titled On the table 2023-02, inscribed acrylic on canvas and dated 2023

PROVENANCE

Maison Ozmen, Paris

Acquired from the above by the present owner

NT$ 90,000 - 140,000

HK$ 22,000 - 34,000

US$ 2,800 - 4,400

RMB 21,000 - 32,000

川崎泰史

在桌上 2023

壓克力 畫布 73 x 91 cm

簽名題識畫背：On the table 2023-02 2023 acrylic on canvas

YASUHITO KAWASAKI

來源

歐茲曼畫廊，巴黎 現有收藏者購自上述來源

010

HAN CHOONG-SEOK

(Korean, b. 1981)

Pink Cat-I'm Strong

2023

Acrylic on canvas

37.9 x 37.9 cm

Signed overlap Choong Seok

Signed reverse Han Choong Seok, inscribed Pink Cat I'm

Strong 37.9 x 37.9 cm, Han Choong Seok in Korean and dated 2023

NT$ 110,000 - 220,000

HK$ 27,000 - 54,000

US$ 3,500 - 6,900

RMB 25,000 - 50,000

韓忠錫

強悍粉色貓 2023

壓克力 畫布

37.9 x 37.9 cm

簽名畫布折入處：Choong Seok

簽名畫背：Pink Cat-I'm Strong

37.9 x 37.9 cm 천에 아크릴 2023

Han Choong Seok

011

MOE NAKAMURA

(Japanese, b. 1988)

Drawing 19-09

2019

Mixed media on paper

29.7 x 21cm

Signed lower right moe

Signed reverse moe in English and dated 2019. 01

PROVENANCE

Gallery Tsubaki, Tokyo

EXHIBITED

Art in Park Hotel, Tokyo, March 8-10, 2019

ILLUSTRATED

Moe Nakamura: Growth, Gallery Tsubaki Co., Ltd, Tokyo, 2020, p. 121

NT$ 130,000 - 260,000

HK$ 32,000 - 64,000

US$ 4,100 - 8,200

RMB 30,000 - 59,000

中村萌

繪畫 19 - 09 2019

綜合媒材 紙本

29.7 x 21cm

簽名右下：moe

簽名年代畫背：moe 2019. 01

來源

椿畫廊，東京

展覽

「公園飯店藝博會」，東京，展期

2019年3月8日至10日

圖錄

《中村萌：成長》，椿畫廊，東京， 2020，頁121

012

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Mountain Goat Boy

2019

Watercolor on paper

22.5 x 17 cm

Signed lower right Mayuka

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

NT$ 160,000 - 260,000

HK$ 39,000 - 64,000

US$ 5,000 - 8,200

RMB 36,000 - 59,000

山本麻友香

山羊男孩

2019

水彩 紙本

22.5 x 17 cm

簽名右下：Mayuka

附椿畫廊開立之原作保證書

013

TOMOKO NAGAI

(Japanese, b. 1982)

House of Bears

2021

Oil and glitter on canvas

44.8 x 61.1 cm

Signed reverse Tomoko Nagai, titled House of Bears in Japanese and dated 2021

PROVENANCE

Tomio Koyama Gallery, Tokyo

NT$ 150,000 - 260,000

HK$ 37,000 - 64,000

US$ 4,700 - 8,200

RMB 34,000 - 59,000

長井朋子

熊的家 2021

油彩 亮片 畫布

44.8 x 61.1 cm

簽名題識畫背：くまたちの家

Tomoko Nagai 2021

來源 小山登美夫畫廊，東京

014

SYOZO TANIGUCHI

(Japanese, b. 1990)

Alaska

2021

Acrylic on board

59.5 x 42 cm

Signed reverse Syozo Taniguchi in English, titled Alaska and dated 2021

PROVENANCE

Kindarando Picture Book Store, Kyoto

EXHIBITED

Come on, Alaska, Kindarando Picture Book Store, Kyoto, October 10-24, 2021

NT$ 180,000 - 260,000

HK$ 44,000 - 64,000

US$ 5,700 - 8,200

RMB 41,000 - 59,000

谷口正造

阿拉斯加

2021

壓克力 木板

59.5 x 42 cm

簽名畫背：ALASKA 2021 Syozo

TANIGUCHI

來源

兒童園地繪本屋，京都

展覽

「來啊，阿拉斯加！」，兒童園地繪

本屋，京都，展期2021年10月10日

至10月24日

015

NOBUO SEKINE

(Japanese, 1942-2019)

G8-76 Open Road

1988

Mixed media and gold leaf on cardboard

45.8 x 38 cm

Signed reverse NoSekine in English, titled G8-76 開く道 in Japanese and dated '88

PROVENANCE

Mainichi Auction, Tokyo, December 5, 2020, lot 629

EXHIBITED

30th Art Taipei, World Trade Center, Taipei, October 20-23, 2023

This lot is accompanied with a certificate of authenticity issued by Japan Art Dealers Association, Japan. Registration No.118.

NT$ 190,000 - 280,000

HK$ 47,000 - 69,000

US$ 6,000 - 8,800

RMB 43,000 - 64,000

關根伸夫

G8 76 開道

1988

綜合媒材 金箔 紙板

45.8 x 38 cm

簽名題識畫背：G8 76 開く道 NoSekine '88

來源

每日拍賣，東京，2020年12月5日， 編號629

展覽

第30屆台北國際藝術博覽會，世貿展覽 館，台北，展期2023年10月20日至23日 附關根伸夫鑑定登錄委員會 日本洋畫商協 同組合開立之原作保證書，登錄編號118

016

NARITAKA SATOH

(Japanese, b. 1980)

Star 17

2021

Pencil, acrylic, paper on panel 53 x 45.5 cm

Signed reverse Naritaka Satoh in English, titlted Star 17 and dated 2021

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

NT$ 220,000 - 420,000

HK$ 54,000 - 103,000

US$ 6,900 - 13,200

RMB 50,000 - 96,000

佐藤誠高

星 17

2021

鉛筆 壓克力 紙 木板 53 x 45.5 cm

簽名題識畫背：Naritaka SATOH Star 17

2021

附Hiro Hiro藝術空間開立之原作保證書

017

TAKERU AMANO

(Japanese, b. 1977)

Venus #23

2021

Acrylic on canvas

72.7 x 60.6 cm

Signed lower right side Takeru Amano and dated 2021

PROVENANCE

Komiyama Tokyo, Tokyo

SBI Art Auction Tokyo, April 15, 2023, lot 401

Acquired from the above by the present owner

This lot is accompanied with a certificate of authenticity issued by Komiyama Tokyo, Tokyo and signed by the artist.

NT$ 200,000 - 300,000

HK$ 49,000 - 74,000

US$ 6,300 - 9,400

RMB 46,000 - 68,000

天野タケル

維納斯 #23

2021

壓克力 畫布

72.7 x 60.6 cm

簽名右下側邊：Takeru Amano 2021

來源

小宮山書店，東京

東京SBI拍賣，2023年4月15日，編號401

現有收藏者購自上述來源

附東京小宮山書店開立與藝術家簽名之原 作保證書

018

NKSIN

(Japanese, b. 1994)

They Are God to Me 2021

Acrylic spray on canvas 117 x 91 cm

Signed reverse NKSIN in English, inscribed No.48 and dated 2021

NT$ 200,000 - 300,000

HK$ 49,000 - 74,000

US$ 6,300 - 9,400

RMB 46,000 - 68,000

NKSIN

我的偶像 2021

壓克力 噴漆 畫布 117 x 91 cm

簽名畫背：No.48 NKSIN 2021

019

SANYU (CHANG YU)

(Chinese-French, 1895-1966)

Stretching Nude

1920s-1930s

Charcoal, ink on paper

46.5 x 27 cm

PROVENANCE

Jia Art Gallery, Taipei Private Collection, Asia

ILLUSTRATED

Antoine Chen (Chen Yen-fon), Overseas Chinese Fine Arts Series: Sanyu, Artist Publishing Co, Taipei, 1995, plate 43, p. 99

Rita Wong, Sanyu: Index of Drawings, The Li-Ching Culture and Education Foundation, Taipei, November 2014, no.D1247, p. 71 (E-catalogue)

NT$ 460,000 - 650,000

HK$ 113,000 - 160,000

US$ 14,500 - 20,500

RMB 105,000 - 148,000

常玉

展肢裸女

1920-1930年代

炭筆 水墨 紙本

46.5 x 27 cm

來源

家畫廊，台北 私人收藏，亞洲

圖錄

陳炎鋒，《華裔美術選集：常玉》，藝術家出版社 台北 ，1995，彩色圖版，第43圖，頁99

衣淑凡，《常玉素描全集》，財團法人立青文教基 金會，台北，2014年11月出版，彩色圖版，編號 D1247，頁71（電子圖錄）

020

SANYU (CHANG YU)

(Chinese-French, 1895-1966)

Standing Nude

1920s-1930s

Ink on paper

30 x 20 cm

PROVENANCE

Hotel Drouot, Paris

Michel Habart Collection, France

ILLUSTRATED

Rita Wong, Sanyu: Index of Drawings, The LiChing Cultural and Educational Foundation, Taipei, 2014, color illustrated, no.D0564, p. 47 (E-Catalogue)

NT$ 650,000 - 900,000

HK$ 160,000 - 221,000

US$ 20,500 - 28,300

RMB 148,000 - 205,000

常玉

抬腿裸女 1920-1930年代

水墨 紙本

30 x 20 cm

來源

圖歐拍賣，巴黎

米謝．阿拔赫家族收藏，法國

圖錄

衣淑凡，《常玉素描全集》，財團法人立青

文教基金會，台北，2014，彩色圖版，編號 D0564，頁47（電子圖錄）

021

TONG YANG TZE

(Taiwanese, b. 1942)

Calligraphy

1982

Ink on paper

45 x 69.5 cm

With two painted seals of the artist

PROVENANCE

Ravenel, Taipei, December 5, 2020, lot 606

ILLUSTRATED

The Works of Tong Yang-Tze, Tong Yang-Tze published, Taipei, 1983, color illustrated, pp. 38-39

NT$ 170,000 - 260,000

HK$ 42,000 - 64,000

US$ 5,400 - 8,200

RMB 39,000 - 59,000

董陽孜

閒有趣 1982

水墨 紙本 45 x 69.5 cm

釋文：閒有趣

鈐印左方：董（白文）、陽孜（朱文）

來源

羅芙奧，台北，2020年12月5日，編號606

圖錄

《董陽孜作品集》，董陽孜出版，台北， 1983，彩色圖版，頁38-39

022

TONG YANG TZE

(Taiwanese, b. 1942)

Calligraphy

Ink on paper

67.5 x 67 cm

With two painted seals of the artist

Signed lower left Tong Yang Tze and titled in Chinese

PROVENANCE

Artemperor Auction, Taipei, July 23, 2017, lot 3277

Acquired from the above by the present owner

NT$ 170,000 - 260,000

HK$ 42,000 - 64,000

US$ 5,400 - 8,200

RMB 39,000 - 59,000

董陽孜

無往不復，天地際也。

水墨 紙本

67.5 x 67 cm

鈐印左下：董（白文）、陽孜（朱文） 款識：無往不復天地際也。董陽孜。

來源

帝圖拍賣，台北，2017年7月23日，

編號3277

現有收藏者購自上述來源

023

INOUE YUICHI

(Japanese, 1916-1985)

Hana-Flower

Ink on paper

90.5 x 106.5 cm

With one seal of the artist

Signed reverse Inoue Yuichi and titled Flower in Kanji, Inscribed by Masaomi Kaikai No.CR 67060a

PROVENANCE

Sotheby's, Hong Kong, October 1st, 2017, lot 614

NT$ 600,000 - 800,000

HK$ 147,000 - 197,000

US$ 18,900 - 25,200

RMB 137,000 - 182,000

井上有一

花

水墨 紙本

90.5 x 106.5 cm

鈐印左下：有

題跋畫背：井上有一 書一字 花 CR 67060a

海上雅臣拜題

來源

蘇富比，香港，2017年10月1日，編號614

024

GUAN LIANG

(Chinese, 1900-1986)

Chinese Opera Figure: Zhang Fei

1973

Ink and color on paper

36.5 x 31.5 cm

Signed lower left Liang, titled Chinese Opera Figure Zhang Fei in Chinese and dated

With one seal of the artist

PROVENANCE

Christie’s, Hong Kong, November, 24, 2013, lot 7044

EXHIBITED

Guan Liang 1900-1986, Lin & Keng Gallery, Taipei, March 16-April 2, 1996

Guan Liang: 100 Year Restrospective, Lin & Keng Gallery, Taipei, April 19May 14, 2000

ILLUSTRATED

Guan Liang 1900-1986, Lin & Keng Gallery, Taipei, 1996, p. 77

Guan Liang: 100 Years Retrospective, Lin & Keng Gallery, Taipei, 2000, p. 86

NT$ 550,000 - 650,000

HK$ 135,000 - 160,000

US$ 17,300 - 20,500

RMB 125,000 - 148,000

關良

張飛夜戰圖

1973

彩墨 紙本

36.5 x 31.5 cm

簽名題識左下：張飛夜戰圖 癸丑 良公 鈐印左下：關良之印

來源

佳士得拍賣，香港，2013年11月24日，

編號7044

展覽 「關良 1900-1986」，大未來畫廊， 台北，展期1996年3月16日至4月2日

「關良：百年紀念展」大未來畫廊， 台北，展期2000年4月19日至5月14日

圖錄 《關良1900-1986》，大未來畫廊，

台北，1996，頁77

《關良：百年紀念展》，大未來畫廊， 台北，2000，頁86

025

MARC CHAGALL

(Russian-French, 1887-1985)

Le peintre ailé au chevalet

1977

Wax crayon ball and point pen on paper

33 x 25.9 cm

Signed lower right Marc Chagall, dated 1977 and inscribed

Paris

Inscribed upper right Pour Robert amicalement

PROVENANCE

Robert Villiers, Paris

Irene Lehr Kunstauktionen, Berlin, October 28, 2006, lot 97

Christie's London, United Kingdom, June 19, 2013, lot 204

Acquired from the above by the present owner

The Comité Marc Chagall has confirmed the authenticity of this work.

NT$ 950,000 - 1,200,000

HK$ 233,000 - 295,000

US$ 29,900 - 37,800

RMB 216,000 - 273,000

1977 年法國超現實主義大師－馬克．夏卡爾榮獲法國 政府頒發最高榮譽「大十字勳章獎項」。同年十月巴 黎龐畢度藝術中心為夏卡爾主辦「馬克．夏卡爾 19671977 近作個展」，該展覽則位於羅浮宮西南方的花神 館舉行。《畫架前有翅膀的畫家》即夏卡爾為好友羅伯 特．維里耶於展覽畫冊繪製，象徵兩人間的友好禮物。

畫中描繪一位帶有金色翅膀的畫家，身穿藍上衣，手 持調色盤與畫筆，傾身專注於畫架上的花卉靜物畫。亦 如美國作家亨利．米勒曾形容夏卡爾是「一位長著羽翼 的詩人」，說明了藝術家天馬行空和奇思妙想，及自由 的心靈。藝術家以簡單的線條再略以蠟筆增添色彩，去 勾勒明月與人物腳邊的公雞，整體洋溢著輕鬆溫馨的氛 圍，正符合畫家當下快樂幸福的心境。

In 1977, the French surrealist master Marc Chagall was honored with the highest honor, the Le Grand-Croix de la Legion d'honneur, bestowed by the French

馬克．夏卡爾

畫架前有翅膀的畫家

1977

蠟筆 原子筆 紙本

33 x 25.9 cm

簽名右下：Marc Chagall Paris 1977

題識右上：Pour Robert amicalement

來源

羅伯．維利爾斯收藏，巴黎 艾琳．萊爾藝術拍賣，柏林，2006年10月28日，

編號97

佳士得倫敦，2013年6月19日，編號204

現有收藏者購自上述來源

馬克．夏卡爾委員會已確認此作為藝術家原作

government. In the same year, the centre Pompidou organized an exhibition titled "Marc Chagall: 19671977 Recent Works," which took place at the Pavillon de Flore in the southwest of the Louvre in October. " Le peintre ailé au chevalet," was drawn by Chagall for his friend Robert Villiers on the frontispiece of the exhibition catalogue, symbolizing a friendly gift between the two. The painting depicts a painter with golden wings, wearing a blue shirt, holding a palette and brush, leaning in concentration over a still life of flowers on an easel. American writer Henry Miller once described Chagall as "a poet with wings," illustrating the artist's boundless imagination, free spirit, and creativity. The artist uses simple lines with added color crayon to outline the moon and the rooster at the figure's feet, creating an overall atmosphere of light-hearted warmth that reflects the artist's current state of happiness and contentment.

026

YAYOI KUSAMA

(Japanese, b. 1929)

Sea

1991

Enamel on paperboard

27.5 x 24.3 cm

With one painted seal of the artist

Signed reverse Yayoi Kusama, titled Sea in Kanji and dated 1991

PROVENANCE

MOMA Contemporary Gallery, Fukuoka (KD-9101)

L’Orangerie International Consultant Co. Ltd, Taipei

Acquired from the above by the present owner

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

NT$ 950,000 - 1,500,000

HK$ 233,000 - 369,000

US$ 29,900 - 47,200

RMB 216,000 - 342,000

草間彌生

海

1991

瓷漆 卡紙

27.5 x 24.3 cm

鈴印：彌生

簽名題識畫背：草間彌生 海 1991

來源

MOMA當代藝術畫廊，福岡 （畫廊標籤）（KD-9101）

橘園國際藝術策展股份有限公司，台北

現有收藏者購自上述來源

附草間彌生工作室開立之作品登錄卡

027

CHU TEH-CHUN

(Chinese-French, 1920-2014)

No.114

1962

Oil on paper

38 x 57cm

Signed lower right Chu Teh-Chun in English and Chinese

Signed reserve Chu Teh-Chun in English and Chinese, titled No.114, inscribed (57 × 38) and dated 1962

PROVENANCE

Christie's, Hong Kong, November 26, 2006, lot 337

Acquired from the above by the present owner

NT$ 950,000 - 1,800,000

HK$ 233,000 - 442,000

US$ 29,900 - 56,700

RMB 216,000 - 410,000

朱德群

第 114 號構圖

1962

油彩 紙本

38 x 57cm

簽名右下：朱德群 CHU TEH-CHUN

簽名畫背：CHU TEH-CHUN 朱德群 No.114（57 x 38）1962

來源

佳士得，香港，2006年11月26日，編號337

現有收藏者購自上述來源

028

LIU KUO-SUNG

(Taiwanese, b. 1932)

The Mountains Without Season: Tibet Series No.54

2004

Ink and color on paper 62 x 94.7 cm

Signed upper right Liu Kuo-Sung and dated 2004 in Chinese With one seal of the artist

Titled reverse The Mountains Without Season: Tibet Series No.54 in Chinese, inscribed 62 x 94.7 cm and dated 2004

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

NT$ 1,400,000 - 2,800,000

HK$ 344,000 - 688,000

US$ 44,100 - 88,100

RMB 319,000 - 638,000

劉國松

沒有季節的山－西藏組曲五十四

2004

彩墨 紙本 62 x 94.7 cm

簽名右上：劉國松二〇〇四 鈐印右上：劉國松

題識年代畫背：沒有季節的山 西藏組曲五十四 2004 62 x 94.7 cm

附首都藝術中心開立之原作保證書

CHIHARU SHIOTA

(Japanese, b.1972)

Endless Line

2023

Red thread on canvas

80(L) x 80(W) x 6(D) cm

Initialed reverse C.S. and dated 2023

PROVENANCE

Galerie Templon, Paris

NT$ 1,500,000 - 2,600,000

HK$ 369,000 - 639,000

US$ 47,200 - 81,800

RMB 342,000 - 592,000

「我認為時間並不是線性的，而是輪迴的概念。」

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

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。

塩田千春透過作品所描述的，是與人之間的連結。儘管 生命有限，但她深信肉體雖死而靈魂長存。自被診斷出 12年前的癌症復發後，塩田千春抱著這個信念用線重現 萬物活過的痕跡以及人生無常的課題。紅色的線象徵著 血液的顏色交織起人與人之間的關係。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。

Yayoi Kusama focuses on depicting the infinite polka dots, while Chiharu Shiota is weaving an infinitely extending network for life. As one of the

塩田千春 無盡的線 2023

紅線 畫布

80（長）x 80（寬）x 6（厚）cm

簽名畫背：C.S. 2023

來源 坦普隆畫廊，巴黎

representative artists of Japanese contemporary art, Shiota is now active on the world stage. 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 red thread symbolizes that the color of blood interweaves the relationship between people. 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 by the artist.

030

WALASSE TING

(Chinese-American, 1929-2010)

Do You Want to Eat My Apples?

1977

Acrylic on canvas

76.5 x 92 cm

Signed reverse Ting, titled Do You Want to Eat My Apples in English and dated 1977 Spring EXHIBITED

Galerie Moderne Silkeborg, Silkeborg, 1978

Walasse Ting Solo Exhibition, Galerie Moderne Silkeborg, Denmark

This lot is to be sold with a certificate of authenticity issued by Galerie Birch, Copenhagen.

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

HK$ 393,000 - 688,000

US$ 50,400 - 88,100

RMB 364,000 - 638,000

丁雄泉

想吃我的蘋果嗎 ?

1977

壓克力 畫布

76.5 x 92 cm

簽名題識畫背：Do You Want to Eat My Apples Ting Spring 77

展覽

錫爾克堡當代畫廊，錫爾克堡，1978 「丁雄泉個展」，錫爾克堡當代畫廊，丹麥，1983

附伯希畫廊開立之原作保證書

031

WALASSE TING

(Chinese-American, 1929-2010)

Woman in Pink Dress

1980s

Acrylic on paper

96 x 178.5 cm

With one seal of the artist

PROVENANCE

Private collection, USA

Sotheby's, Hong Kong, April 2, 2012, lot 508

NT$ 1,700,000 - 2,400,000

HK$ 418,000 - 590,000

US$ 53,500 - 75,500

RMB 387,000 - 547,000

丁雄泉

粉衣女子

1980年代

壓克力 紙本

96 x 178.5 cm

鈐印右上：採花大盜

來源

私人收藏，美國

蘇富比，香港，2012年4月2日，編號508

032

WALASSE TING

(Chinese-American, 1929-2010)

I Have Melancholy Love for You

1974

Acrylic on canvas

101 x 127 cm

Signed reverse Ting, titled I have Melancholy love for you and dated 74

PROVENANCE

Christie's, Hong Kong, May 26, 2013, lot 3419

NT$ 3,400,000 - 4,600,000

HK$ 835,000 - 1,130,000

US$ 107,000 - 144,800

RMB 774,000 - 1,048,000

丁雄泉

憂鬱的愛

1974

壓克力 畫布

101 x 127 cm

簽名畫背：I have Melancholy love for you Ting 74

來源

佳士得，香港，2013年5月26日，編號3419

033

HONG LING

(Chinese, b. 1955)

Snow in Vacant Mountains

2006

Oil on canvas

160 x 150 cm

Signed upper left Hong Ling in Chinese and dated 2006

Signed reverse Hong Ling in Chinese, titled Snow in Vacant Mountains in Chinese and dated 2006

NT$ 3,400,000 - 4,600,000

HK$ 835,000 - 1,130,000

US$ 107,000 - 144,800

RMB 774,000 - 1,048,000

洪凌的畫作，是油彩堆疊的風景，是意境悠遠的山水，有 西方抽象表現的精神，亦有東方「外師造化、中得心源」 的內涵。他將中國文人山水帶往一個嶄新豐厚的境界， 亦為油畫這項在西方擁有數百年歷史的藝術形式，開闢 了一方氣韻生動、天人合一的新天地。《雪靜山空》蒼茫 壯闊，是洪淩盛年之作，在潔白空靈同時生氣盎然的雪景 中，蘊涵的是藝術家融貫古今、長年徜徉大山大水的心靈 意象。

出生於北京，家學淵源的洪凌，在 1970 及 80 年代接受了 中國以蘇聯社會寫實主義尊的扎實學院訓練，並任教於中 央美術學院油畫系，備受推崇。然而，潛藏於內心的文人 精神驅使他不斷追尋，童年曾在家族舊藏中初識中國山水 召喚著他，最終，洪凌於1992年離開蓬勃發展的北京，渡 過長江來到黃山腳下，長居於此，在這江南之境讀詩讀畫 讀山水，鎔鑄出當代文人的新精神。他以潚灑不羈的潑彩 與濃淡互見的灰白交織出《雪靜山空》出塵脫俗的雪景， 畫中斑駁的色彩層層堆積、蒼勁的樹幹交錯 嶸，古意悠 遠，深刻寧靜；而淡黃、粉紫與湖綠點綴其間，帶來流轉 於天地萬物之間永不止息的生氣。整幅作品磅礡蒼勁、暢 快淋漓，迴盪出悠遠大器的無盡氣韻。

The works by Hong Ling are significant landscapes built of oil paints that carry both the spirit of western abstract expression and eastern values of “Snow in Vacant Mountains.” He elevates Chinese literati landscapes to another level, making way for a new world where the vitality of nature and man come together in oil

洪凌

雪靜山空 2006

油彩 畫布 160 x 150 cm

簽名左上：洪凌 06

簽名畫背：《雪靜山空》洪凌作于2006年

paintings shaped by centuries of western art history. The hazy yet vast “Snow in Vacant Mountains” is a work from Hong Ling’s prime. Amid the ethereal purity, this snowy landscape still bursts with life, as it shines with undertones of the artist’s years of wandering through the past, the present, nature and his own mind.

Born in Beijing, the highly educated Hong Ling received solid schooling in the Soviet union’s socialist realism in China during the 1970’s and the 80’s, later going on to be given a prestigious teaching position at the oil painting department of China Central Academy Of Fine Arts. However, the scholar stirring within him kept searching his subconscious for his first encounters with the nature in his hometown. Eventually, Hong Ling left the rapidly developing Beijing in 1992, crossing the Yangtze River and settling down at the foot of Huangshan. As he nourished himself with poems, writing, paintings, and scenic views by these downstream waters, he forged the spirit of a contemporary scholar anew. The grays and whites splashing into each other with no inhibitions are woven into the otherworldly snowy lands of “Snow in Vacant Mountains,” its flecks of color and firm branches intersecting to bring out the metaphorical tranquility of the painting. Highlights of light yellow, pastel purple and cyan breath life into the the cycle of life of nature and its inhabitants. The entire image holds a refreshing weight that reverberates with the endless potential that life has to offer.

034

LIU KUO-SUNG

(Taiwanese, b. 1932)

Outer Space Series-Sun Arising from Five Flower Pond

2014

Ink and color on paper

69 x 105.5 cm

Signed lower left Liu Kuo-sung and dated 2014 in Chinese With one seal of the artist

EXHIBITED

Releasing the Future, Asia Art Center, Beijing, June 14-September 14, 2014

ILLUSTRATED

Releasing the Future, Asia Art Center, Beijing, 2015, p. 134

NT$ 3,600,000 - 4,600,000

HK$ 885,000 - 1,130,000

US$ 113,300 - 144,800

RMB 820,000 - 1,048,000

劉國松

太空系列－紅日升自五花海

2014

彩墨 紙本

69 x 105.5 cm

簽名左下：劉國松 二Ｏ一四 鈐印左下：劉國松

展覽

「釋放未來－中國當代水墨邀請展」， 亞洲藝術中心，北京，展期2014年6月14日

至2014年9月14日

圖錄

《釋放未來－中國當代水墨邀請展》， 亞洲藝術中心，北京，2015，頁134

035

TZU-CHI YEH

(Taiwanese, b. 1957)

Looking Up to the Mountain

2017

Oil on canvas

127 x 127 cm

Signed lower right Yeh tzu-chi in Chinese and dated 2017

With one painted seal of the artist

EXHIBITED

24th Art Taipei, InART Space, Taipei ,October 20-23, 2017

ILLUSTRATED

Tzu-chi Yeh Song of Home Coming-Hualien, InART Space, Tainan, 2017, pp. 19-20, and cover

This lot is to be sold with a certificate of authenticity issued by InArt Space, Tainan.

NT$ 4,200,000 - 5,500,000

HK$ 1,032,000 - 1,351,000

US$ 132,200 - 173,100

RMB 957,000 - 1,253,000

對於山的凝視，葉子奇做了非常多的詮釋，如遠景的仰 望；如近觀的雕琢或是迷霧中的一抹青山。他不僅將當代 山水繪畫帶入一個新的視角，也同時開創了屬於他自己最 獨特且隱私的風景美學。在葉子奇的山景繪畫裡不難看出 他對於過往生活中的情感依附，都投射在一片片的山林畫 當中；如故鄉的花蓮、太魯閣；求學時段的陽明山、紗帽 山等等，都蘊藏了他最深切的羈絆與對故土的深情凝望。

葉子奇到底是個浪漫的人，在山林中看見的不僅是當代迷 人風景，更多的是他對故土的殷切關懷；生長於花蓮的 他，心裡念的終究是這片他曾與父母、手足；他年輕時的 愛人；如今的愛妻以及兒女走過的一寸地與見過的一抹山 景。他的過去、現在，皆有這片風景的身影，花蓮的山對 他來說便是一段歷史，他畫了許許多多此處的山水、林木 都是獻給他最親愛的故土─花蓮。

《舉目向山，洛韶》展現了藝術家對花蓮故鄉景致的深刻 感受，結合了東方寫意與西方寫實的風格。通過細膩的色 彩轉換和精緻的筆觸，呈現出豐富的紋理和層次感，讓觀 者仿佛置身於寧靜詩意的山水之中。藝術家精心運用隱喻 與象徵，將自然景觀與內在感受巧妙融合，表達了對故鄉 的深情，並展現了對當代與古典美學的獨特詮釋。

Tzu-chi Yeh has created many renditions of the subject

葉子奇

舉目向山，洛韶 2017

油彩 畫布 127 x 127 cm

簽名右下：葉子奇 2017 手繪鈴印右下：YTC 展覽

「第24屆Art Taipei 台北國際藝術博覽會」， 加力畫廊，台北，展期2017年10月20日

至10月23日

圖錄

《葉子奇返鄉之歌－給花蓮》，加力畫廊，

台南，2017，頁19-20，封面 附加力畫廊開立之原作保證書

of gazing on mountains. There have been reverences from afar, elaborate depictions up close, and captures of shades of green in the misty fog. Not only has he introduced a new perspective to the contemporary art of landscapes, he has also created his own unique and intimate aesthetic of scenery.

Yeh’s mountain paintings clearly reflect an attachment to his earlier days, manifested in the stretches of mountains and forests he paints. He hails from Hualien and Taroko, but spent his schooling years in Yangmingshan and Mt. Shamao. These mountains embody the artist's intimate connection to and affectionate gaze upon his native land.

"Looking Up to the Mountain" represents the artist's profound connection to the scenic beauty of their hometown in Hualien, blending Eastern expressiveness with Western realism. Through meticulous color transitions and delicate brushwork, the painting reveals rich textures and depth, evoking a sense of serenity and poetry. The artist skillfully incorporates metaphors and symbols, seamlessly merging natural landscapes with inner emotions, expressing a deep affection for their homeland. Additionally, the artwork presents a unique interpretation of contemporary and classical aesthetics.

XU BEIHONG

(Chinese, 1895-1953)

Portrait of Mrs Lu Yun Tao (small draft)

1939

Oil on cardboard mounted onto canvas

40 x 28 cm

PROVENANCE

Christie’s, Hong Kong, November 26, 2019, lot 1302

EXHIBITED

Spring Blossom-Xu Beihong in Southeast Asia (1939-1942), Meilun Art Museum, Changsha, April 27, 2019-June 15, 2019

ILLUSTRATED

Spring Blossom-Xu Beihong in Southeast Asia (1939-1942), Hunan Fine Arts Publishing House, Changsha, 2019, p. 188

NT$ 8,000,000 - 10,000,000

HK$ 1,966,000 - 2,457,000

US$ 251,800 - 314,800

RMB 1,822,000 - 2,278,000

1819-1942 年新加坡為英屬期間，作為全球主要的橡膠 出口及加工基地，大量華人移居星洲經商致富。徐悲鴻 與南洋結緣，始於 1925 年旅居巴黎期間，結識福建教 育廳廳長黃孟圭與其胞弟黃曼士（ 1890-1963 ），後者 為東南亞著名華僑，任新加坡南洋兄弟菸草公司總經 理，喜收藏字畫古董，款待文人雅士。 1939-1941 年徐 悲鴻旅居南洋與印度期間，即居於黃氏芽籠35巷江夏堂 家中，辦過六次畫展，現存的徐悲鴻畫作即有大部分來 自此時期，新加坡也是除中國以外，留存最多作品的地 方。黃曼士不僅為徐悲鴻的知音摯友，更為抗戰期間徐 悲鴻辦畫展籌賑報國，引薦各地商會賢達，名流人士。

徐悲鴻旅居南洋年間，富商名流慕名委託其繪製油畫肖 象，包含林謀勝家族、何光耀伉儷、華僑領袖陳嘉庚等 人；其中，新馬電影大亨陸運濤的第一任夫人，出身名 門的新加坡一代美人李惠望（Christina Lee），曾被知 名《時尚》（ Vogue ）雜誌描述為新加坡最美麗的女性 之一，其風姿綽約，才華洋溢，吸引多位藝術大師為其 作畫。今次拍品《陸運濤夫人像（小稿）》，通過留下 的史料與照片，確認繪畫此作的地點為江夏堂百扇齋， 創作年份為1939年。

新加坡《聯合晚報》 1985 年 10 月 6 日（星期日）刊登

徐悲鴻

陸運濤夫人像 ( 小稿 )

1939

油彩 紙板裱於畫布

40 x 28 cm

來源

佳士得，香港，2019年11月26日，

編號1302

展覽

「春風得意－徐悲鴻在南洋1939-1942」

美倫美術館，長沙，展期2019年4月27日

至6月15日

圖錄

《春風得意－徐悲鴻在南洋1939-1942》， 湖南美術出版社，長沙，2019，頁188

「悲鴻在星洲」特輯第十一篇，由藝術家劉抗先生所拍 攝的資料照片中，擔任模特兒即為李惠望本人，與徐悲 鴻當下繪製肖像的情景。該篇報載雖未明確寫下模特兒 姓名，卻附註解釋此人為時任比利時駐新加坡副理事的 女友；而 2019 年由「湖南美術出版社」出版《春風得 意：徐悲鴻在南洋 1939-1942 》，同一組含畫家本人入 鏡之攝影畫面，則明確指出此模特兒為陸運濤夫人。現 今，另一幅尺寸稍大同題材、構圖之姊妹畫作，則現存 於北京徐悲鴻紀念館。當時徐悲鴻正值四十四歲盛年， 創作量之豐沛，存有文獻的油畫作品屈指可數，更加突 顯此作之珍貴稀罕。

《陸運濤夫人像（小稿）》畫面以淺色背景烘托視覺中 心之主角。人物姿態優雅閒適地側坐椅面，向後轉身將 右肘輕放於椅背；其面容迎向光源，視線向左上延伸， 映照出女子眉清目秀，朱脣皓齒之姣好面貌。而一頭齊 肩黑捲髮，映襯花襯衫之五色斑斕，更為畫中注入摩登 洋派的元素。徐悲鴻以悉心飽滿的油畫筆觸，構築光影 明暗對比，靜謐和煦之氛圍，頗為承襲法國古典主義之 風範。同時在西洋肖像畫形態中，他借鑒中國審美講求 的形、意、質、韻等四個面向，表現個人藝術創作「致 廣大．盡精微」的核心思想，更為後世樹立了早期華人 現代畫之典範。

The Singaporean Elegance Xu Beihong

徐悲鴻－畫筆下的獅城一代美人

《陸運濤夫人像（小稿）》

During the British colonial period from 1819 to 1942, Singapore served as a major hub for rubber production and processing, attracting a large number of Chinese immigrants who prospered in business. Xu Beihong's connection with Nanyang (Southeast Asia) began in 1925 during his stay in Paris when he met Huang Menggui, the Director of the Fujian Education Department, and his brother Huang Manshi (1890-1963). Huang Manshi, a prominent overseas Chinese figure in Southeast Asia, served as the General Manager of the Nanyang Brothers Tobacco Company in Singapore. He was fond of collecting antiques and calligraphy, and he entertained literati and scholars. From 1939 to 1941, during Xu Beihong's residence in Nanyang and India, he stayed at the Huang family's residence in Lorong 35, Jiangxia Tang, Geylang, where he held six art exhibitions. Most of Xu Beihong's extant artworks are from this period, making Singapore the place with the largest collection of his works outside of China. Huang Manshi was not only a close friend and confidant of Xu Beihong but also assisted him in organizing art exhibitions to raise funds for the war effort during World War II, and he introduced Xu Beihong to various chambers of commerce and distinguished figures.

During Xu Beihong's residence in Nanyang, wealthy businessmen and prominent figures commissioned him to paint oil portraits, including the Lim Bo Seng family, the couple Ho Kwong Yew, and the overseas Chinese leader Tan Kah Kee. Among them, Christina Lee, the first wife of the prominent film tycoon in Singapore and Malaysia, Lu Yun Tao (Loke Wan Tho), hailed from a prestigious family. She was described as one of the most beautiful women in Singapore by the renowned Vogue magazine. With her grace, elegance, and abundant talent, she attracted several artistic masters to paint her portrait. This particular artwork titled "Portrait of Mrs. Lu Yun Tao (Small draft)", was confirmed through historical documents and photographs to have been painted at the Bai Shan Zhai studio in Jiang-Xiatang in the year 1939.

On October 6, 1985, the Sunday edition of the Singapore Lianhe Wanbao News published the eleventh installment of the "Beihong in Nanyang" series. In the accompanying photographs taken by the artist Mr. Liu Kang, the model posing for Xu Beihong's portrait at that time was none other than Christina Lee herself. Although the article did not explicitly mention the model's name, it noted that she was the girlfriend of the then Deputy Consul of Belgium in Singapore. However, in 2019, the book "Spring Blossom: Xu Beihong in Southeast Asia 1939-1942," published by the "Hunan Fine Arts Publishing House," clearly identified the model in the same series of photographs, which included both the painter himself and the artwork, as Mrs. Lu Yun Tao. Another larger painting with a similar theme and composition is currently housed in the Xu Beihong Memorial Hall in Beijing. At that time, Xu Beihong was at the height of his career at the age of forty-four, producing a prolific amount of work. With only a few documented oil paintings in existence, the rarity of this piece is further highlighted, underscoring its preciousness.

The painting " Portrait of Mrs. Lu Yun Tao (Small draft)" features a light-colored background that highlights the central figure. The subject sits elegantly and comfortably sideways on a chair, with her right elbow lightly resting on the back of the chair, turned slightly towards the rear. Her face is illuminated by the light source, with her gaze extending upwards and to the left, revealing her delicate features and beautiful appearance with clear brows and bright lips. Her shoulder-length black curly hair complements the colorful floral shirt, injecting a touch of modern Western elements into the painting. Xu Beihong meticulously employs rich oil painting brushstrokes to construct contrasts of light and shadow, creating a serene and warm atmosphere, which bears a significant resemblance to the tradition of French

classicism. Simultaneously, within the Western portrait tradition, he incorporates elements from Chinese aesthetics, emphasizing form, meaning, substance, and rhythm, thus embodying the core idea of personal artistic creation, striving for breadth and detail. This has established him as an exemplar of early Chinese modern painting for future generations.

徐悲鴻室於江夏堂畫室情景，藝術家劉抗先生攝影。

The scene of Xu Beihong in the Jiansha Tang atelier. Photography by Mr. Liu Kang, the artist

037

ZAO WOU-KI

(Chinese-French, 1920-2013)

15.7.93

1993

Oil on canvas

65 x 81 cm

Signed lower right Wou-Ki in Chinese and ZAO in French

Signed reverse Zao Wou-Ki in French, titled 15.7.93 and inscribed 65 x 81 cm

This work will be included in the forthcoming Catalogue Raisonné currently being prepared by Françoise Marquet and Yann Hendgen (Information provided by Fondation Zao Wou-Ki).

NT$ 15,000,000 - 20,000,000

HK$ 3,686,000 - 4,914,000

US$ 472,100 - 629,500

RMB 3,417,000 - 4,556,000

趙無極

15.7.93

1993

油彩 畫布

65 x 81 cm

簽名右下：無極 ZAO

簽名畫背：ZAO WOU-KI 15.7.93 65 x 81 cm

此作將收錄於由梵思娃．馬凱及揚．亨德根正籌備編纂 的〈趙無極作品編年集〉（資料提供/趙無極基金會）

ZAO Wou-ki 15.7.93

趙無極 |15.7.93

美國紐約大學美術史講座教授－喬迅（Jonathan

Hay ），為趙無極 2003 年紐約個展目錄寫過一 篇評論文章，提及畫家後期油畫作品的轉變：

「 1979 年前後趙無極完全捨棄早年的方法，全 心投入 1970 年代有些重要作品即已勾勒出的新 風格走向，這樣的轉變延續了十年，達到一種優 雅的狀態：卸下急躁，創造出更強勁『繪畫骨 法』（中國書畫用詞）的筆勢特質，光線從無窮 溫柔底處慢慢湧現擴大，將黑暗圍繞，某種圖誌 形式開啟了寂靜與靜默。」

1959 年之後，趙無極即顯少為自己的畫作命 名，而以作品的完成日期編號或者「無題」作為 作品名稱。這不僅由於語言在視覺面前的蒼白無 力，更在於明確的語言能指往往會令人陷入對 於現實事物的過多聯想。 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。趙無 極 1980 、 1990 年代的繪畫提昇至幽緲的心靈視 界，技法自然爐火純青，早期激昂、澎湃的纖維 性線條不再，轉以沈潛高妙的空間佈局，色彩傾 向於輕盈、華麗、潤澤，整體營造出迷濛的抒情 美感，追尋心靈可遨遊其間的宇宙。偶然也會見 到高色調的色彩，那是畫家對於青春的恆久記 憶。

拍品《 15.7.93 》創作於 1993 年為藝術家珍作， 其色彩清雅娟秀，筆韻瀟灑自如，蘊藏無窮想像 空間。即使年齡近黃昏，趙無極的繪畫卻更顯得 年輕。他始終滿懷創作熱情，曾說繪畫之於自身 是「沒有純粹的終局」，別無他途，唯有不斷地 探索，其精神令人感佩。

Jonathan Hay, Ailsa Mellon Bruce Professor of Fine Arts at New York University, wrote an article for the catalog for an exhibition of works by Zao Wouki that was held in New York in 2003, in which he commented on the change in Zao's oil painting style in his later work: "In the course of 1979 Zao abandoned his older approach altogether and devoted himself entirely to the new stylistic direction that he had traced out for himself in a few key paintings of the 1970s. Out of this shift came a decade of work that attains a state of grace: a quality of gesture that is stripped of all hurriedness and creates a more powerful "bone-structure" (to use a term from Chinese calligraphy and painting), a luminosity extending from infinite softness to enveloping darkness, a topography of form that opens itself to stillness and silence."

(Jonathan Hay, 'Recent Works by Zao Wou-ki', 2003)

Since 1959, therefore, Zao Wouki had rarely named his works, but instead titled them with the date of their completion or just "untitled". For him, this is not only because words appear colorless and powerless for the eyes, but also because explicit verbal signifiers tend to ascribe excessive associations to real objects. Zao's experiment with ink paintings in the 1970s inspired greater richness in his late-

period works. He found in "ink" infinite changes in color as well as immense freedom in space. While others confined themselves to one single tradition, Zao straddled two, placid and poised, liberating his feelings onto the canvas.Zao Wou-ki's paintings from the 1980s and 1990s embody a high degree of spirituality. The technique is effortless and mature. The intense, almost manic lines of some of Zao's earlier work are no longer to be seen; instead, there is spatial arrangement of great depth and meaning, with lighter, brighter and more lustrous color tones. The overall effect is intensely emotive and expressive –an exploration of the soul's wanderings in the cosmos. The stronger color tones that appear here and there in the paintings seem like a memory of the artist's youth.

Fan Kuan Travelers Among Mountains and Streams

The lot "15.7.93" was created in 1993 and is a treasure of the artist, with its elegant and graceful colors, and free-flowing brushwork, containing boundless imaginative space. Even though he was nearing the twilight of his life, Zao Wou-ki's paintings seemed even younger. He always brimmed with creative passion, once saying that painting for him was "without a pure end," with no other way but to continually explore. His spirit is truly admirable.

038

SAM FRANCIS

(American, 1923-1994)

Untitled

1980

Acrylic on canvas

127 x 353 cm

Signed reverse Sam Francis

PROVENANCE

Idemitsu Museum of Arts, Tokyo

EXHIBITED

Sam Francis, Smith Andersen Gallery, Palo Alto, California, May 1-June 13, 1980

L'oeuvre de Sam Francis dans les collections du Musée Idemitsu, Pavillon des Art, Paris, organized with Idemitsu Museum of Arts, September 18-November 16, 1986

L'oeuvre de Sam Francis dans les collections du Musée Idemitsu; Louisiana Museum of Modern Art, Humlebæk, Denmark, November 29, 1986-January 18, 1987

L'oeuvre de Sam Francis dans les collections du Musée Idemitsu, Yayoi Gallery, Ogawa Art Foundation, Tokyo, October 5-December 5, 1987

ILLUSTRATED

L'oeuvre de Sam Francis dans les collections du Musée Idemitsu, Pavillon des Art, Paris, organized with Idemitsu Museum of Arts, 1986, color illustrated, exh. cat., no.40

L'oeuvre de Sam Francis dans les collections du Musée Idemitsu, Yayoi Gallery, Ogawa Art Foundation, Tokyo, 1987, exh. cat., no.5

Sam Francis Catalogue Raisonné of Canvas and Panel Paintings 1946-1994, University of California Press and Sam Francis Foundation, 2011, color illustrated, #SFF765

This painting has been registered with the Sam Francis Foundation in the number of SFP80-31.

NT$ 18,000,000 - 28,000,000

HK$ 4,423,000 - 6,880,000

US$ 566,600 - 881,300

RMB 4,100,000 - 6,378,000

山姆．法蘭西斯

無題

1980

壓克力 畫布

127 x 353 cm

簽名畫背：Sam Francis

來源

出光美術館，東京

展覽

「山姆．法蘭西斯」，史密斯．安德森畫廊，帕

羅奧圖，加州，展期1980年5月1日至6月13日

「出光美術館館藏山姆．法蘭西斯作品」，藝術 館，巴黎，與出光美術館共同策劃，展期1986年 9月18日11月16日

「出光美術館館藏山姆．法蘭西斯作品」，路易 斯安那現代藝術博物館，漢勒貝克，丹麥，展期 1986年11月29日至1987年1月18日 「出光美術館館藏山姆．法蘭西斯作品」，彌生 畫廊，小川藝術基金會，東京，展期1987年10月 5日至12月5日

圖錄

《出光美術館館藏山姆．法蘭西斯作品》，藝術 館，巴黎，與出光美術館共同策劃，1986，展覽 目錄，彩色圖版，圖版40

《出光美術館館藏山姆．法蘭西斯作品》，彌生 畫廊，小川藝術基金會，東京，1987，展覽目

錄，圖版5

《山姆．法蘭西斯作品編年目錄油畫全集19461994》加州大學與山姆．法蘭西斯基金會共同策 劃，2011，彩色圖版，編號SFF765

此作品已於山姆‧法蘭西斯基金會作品登錄， 編號SFP80 - 31

山姆．法蘭西斯是美國非具象繪畫的代表畫家，在行動 繪畫（ Action Painting ）風格創新有所成就。法蘭西斯 擅長對於光和線條的詮釋，他涉獵甚廣，舉凡紐約抽象 表現主義、色域繪畫、東方中國文化和日本藝術、法國 印象派都有研究，還有他自己根源於灣區的背景，也是 一大特色。

2023 年適逢山姆．法蘭西斯百歲誕辰， 4 月在洛杉磯 郡立美術館舉辦了長達三個月的「山姆．法蘭西斯：

空虛四溢」（ Sam Francis and Japan: Emptiness Overflowing ）展覽，展出 60 餘幅作品；緊接著同年 9 月

16日，位於加州史丹佛大學的安德森收藏館（Anderson Collection），也舉辦慶祝「山姆．法蘭西斯百年紀念」

（Sam Francis Centennial）個展以茲慶祝，展期跨越年

度至2024年3月3日。而接續前一年的百歲誕辰，2024年 是藝術家逝世三十週年。回顧這位二十世紀最深刻的抽 象表現主義畫家之一，他也是二次戰後首批獲得國際聲 譽的美國畫家。

儘管與四方藝術家與文學家交往熱切，但法蘭西斯其實 未加入任何藝術團體，只是他的創作風格和「不定形藝 術」（Art Informel）有了一些聯繫。後來到日本訪問， 自此終生愛上日本藝術和文化。 1950-1960 年代期間， 日本恰逢「非定形旋風」（anforumeru senp），主要是 當時與不定形藝術有關的三位藝術家訪問日本所引發的 現象，有巴黎的藝術評論家家米歇爾．塔皮耶（ Michel Tapié）、法國畫家喬治．馬修（Georges Mathieu）和 美國畫家山姆．法蘭西斯。一股對於手勢抽象的熱情席 捲了日本藝術界，與同時期日本具體派團體匯聚風潮， 相互映襯。在法國期間，法蘭西斯和丁雄泉交遊密切， 情誼深厚，藝術上也互有影響。

法蘭西斯的五段婚姻裡，曾迎娶了兩名日藉妻子，不難 想見他對於日本的鍾情；此外，法蘭西斯本身也是榮格 分析法與禪宗精神的探索者。他挖掘心靈與夢想的能 量，也學習日本人將繪畫視為冥想體驗的傳統。日本美 學「間」（ ma ），對留白空間的思考，深刻欣賞寂靜、

虛無與時間停止的概念，一種和諧與平衡的感覺。職業 中期之後，他的作品保留更多留白空間，更有詩意和寧 靜的舖白。他曾經為觀眾解釋過繪畫中的留白：「這些 畫作中間的空間是為你而留的。」

法蘭西斯一生曾受邀繪製許多大型壁畫作品。 1956 年受 委託為瑞士巴塞爾藝術館完成抽象畫聯幅壁畫；1957 赴 日本旅行時，受邀為草月流學校繪製壁畫； 1959 年在紐

約租一間畫室，開始大通銀行壁畫，在歐洲時期也留下 許多不朽的壁畫作品，如布魯塞爾皇家鑄幣局劇院入口 大廳等。山姆．法蘭西斯創作頗豐，參加過 1964 年32 屆 威尼斯雙年展第三屆卡塞爾文件大展，也曾在世界各地 的一流畫廊和博物館中展出。他的藝術成就獲得了廣泛 的認可和讚譽。現在國際重要博物館都有收藏法蘭西斯 的作品，包括阿姆斯特丹市立博物館、巴塞爾貝耶勒基 金會、巴爾的摩美術館、芝加哥藝術學院、科隆路德維 希博物館、達拉斯美術館、漢堡藝術館、休士頓梅尼爾 基金會、倫敦維多利亞與阿爾伯特博物館、洛杉磯縣藝 術博物館、蒙特婁美術館、現代藝術博物館和紐約古根 漢美術館、巴黎龐畢度中心、費城美術館和舊金山美術 館等。

Representing the pinnacle of American abstract painting, Sam Francis made indelible contributions to Action Painting. His mastery lay in interpreting light and lines, underscored by a diverse array of influences ranging from New York Abstract Expressionism to color field painting, Eastern philosophies, and French Impressionism. Rooted in the Bay Area, his eclectic background enriched his artistic oeuvre, defining him as a luminary of his time.

In 2023, marking Sam Francis's centenary, the Sam Francis Foundation collaborated with important galleries to commemorate the occasion through exhibitions, educational activities, special projects, articles, and archival explorations, evoking memories of the vibrant artist's life. In April 2023, the Los Angeles County Museum of Art (LACMA) held a threemonth exhibition titled "Sam Francis and Japan: Emptiness Overflowing," showcasing over 60 works. On September 16 of the same year, the Anderson Collection at Stanford University in California staged a solo exhibition titled "Sam Francis Centennial" to honor the artist's 100th birthday, extending till March 3, 2024. As 2024 marks the thirtieth anniversary of Francis's passing, retrospection on his legacy becomes poignant. Sam Francis remains a beacon among 20thcentury abstract expressionists, heralding a new era of American artistic prominence post-World War II.

Despite Francis's enthusiastic interactions with artists and writers from all over, he never formally joined any artistic groups, though his artistic style did share some connections with Art Informel. His lifelong love for Japanese art and culture began during a visit to Japan.

山姆．法蘭西斯《藍色與黑色的構圖》1955年 油彩 畫布 195.6 x 130.2 cm

紐約佳士得2022秋拍 編號58 成交價 USD 13,557,500

Sam Francis, Composition in Blue and Black, 1955, oil on canvas, 195.6 x 130.2 cm

Christie's, New York Autumn Auction 2022, lot 58, sold for USD 13,557,500

山姆．法蘭西斯《黑》1955年 油彩 畫布 189.2 x 161.2 cm

紐約佳士得2008春拍 編號21 成交價 USD 5,193,000

Sam Francis, Black, 1955, oil on canvas, 189.2 x 161.2 cm

Christie's, New York Spring Auction 2008, lot 21, sold for USD 5,193,000

In the 1950s and 1960s, Japan experienced what was known as the "Art Informel whirlwind," primarily sparked by the visits of three artists associated with Art Informel, including the Parisian art critic Michel Tapié, the French painter Georges Mathieu, and the American painter Sam Francis. A wave of enthusiasm for gestural abstraction swept through the Japanese art scene, juxtaposed with the concurrent movement of the Gutai group, reflecting and influencing each other. During his time in France, Francis had a close friendship with Walasse Ting, which deeply influenced both artists' work.

In Francis’ five marriages, he married two Japanese wives, which indicates his fondness for Japan. Additionally, Francis himself was an explorer of Jungian analysis and Zen spirituality. He tapped into the energy of the mind and dreams, and also learned from the Japanese tradition of viewing painting as a meditative experience. The Japanese aesthetic of "ma," which involves contemplating blank space, deeply appreciates the concepts of silence, emptiness, and the suspension of time, creating a sense of harmony and balance.After the middle of his career, his works retained more blank space, imbued with more blank space, imbued with more poetry and tranquility. He once explained the blank space in his paintings to the audience: "The space at the center of these paintings is reserved for you."

Francis was invited to create many large-scale mural works throughout his life. In 1956, he was commissioned to complete an abstract mural for the Kunsthalle Basel in Switzerland; during his trip to Japan in 1957, he was invited to paint murals for the Sogetsu School; in 1959, he rented a studio in New York and began a mural for Chase Manhattan Bank, leaving behind many immortal mural works in Europe, such as the entrance hall of the Royal Mint Theatre in Brussels. Sam Francis enjoyed a prolific creative career, which included participation in the 32nd Venice Biennale in 1964 and the third Documenta in Kassel, as well as exhibitions in leading galleries and museums worldwide. His artistic achievements have garnered widespread recognition and acclaim. Today, major international museums proudly display Francis's works, including the Amsterdam Municipal Museum, the Beyeler Foundation in Basel, the Baltimore Museum of Art, the Art Institute of Chicago, the Ludwig Museum in Cologne, the Dallas Museum of Art, the Hamburger Kunsthalle, the Menil Foundation in Houston, the Victoria and Albert Museum in London, the Los Angeles County Museum of Art, the Montreal Museum of Fine Arts, the Museum of Modern Art, the Guggenheim Museum in New York, the Pompidou Center in Paris, the Philadelphia Museum of Art, and the San Francisco Museum of Modern Art, among others.

039

ANSELM

KIEFER

(German, b.1945)

Ave Maria, Mater Castissima

2007

Oil, acrylic, shellac, iron, roses, lead, clay and cardboard on plywood, in artist's frame

215 x 141 cm

Titled center Ave Maria, Mater Castissima

PROVENANCE

Ravenel, Hong Kong, November 29, 2015, lot 73

Acquired from the above by the present owner

NT$ 10,000,000 - 18,000,000

HK$ 2,457,000 - 4,423,000

US$ 314,800 - 566,600

RMB 2,278,000 - 4,100,000

安森．基佛，德國新表現主義的代表人物之一，被譽為 「德國精神廢墟上的詩人」。 1945 年出生於前西德的 多瑙艾辛根（ Donaueschingen ），正是史上的「德國 零時」（ German Zero Hour ），這個歷史專有名詞指 的是 1945 年德國戰敗投降後的歲月，過去的一切不復 存在，而未來還等於未知，一切由零開始。二戰之後的 這個民族，在精神上背負著難以想像的不能承受之重， 特別是戰後出生的新一代，他們要應付一些不是由他們 引起，但自己不知道如何放下的事情。基佛正是這樣沉 重地成長於「第三帝國」的廢墟和陰影之下，他的作品 始終懷著感傷，懷著憂鬱晦暗的「德國基調」。

在德國藝術大師約瑟夫．波依斯（Joseph Beuys）的影 響之下，基佛將創作題材聚焦在納粹時期的恐怖和德國 歷史、文化和神話上，勇敢地態度分明地去正視過去。

這與同時期其他藝術家們對二戰極力迴避、忌諱的態度 有著本質的不同。此後，基佛的作品題材漸由著重於德 國素材擴展上升到普遍意義上的命運和文化，作品不僅 有對民族性的象徵和記憶的收集，而且具有象徵主義、 神學和神秘主義的意義。

基佛曾說過一句後來常常被引用的話：「我的傳記就是 德國的傳記」。他的作品充滿了史詩般的文學性，佇立 於他的繪畫之前，會深深地被作品中散發出來的詩意美 感而打動，一種深沉厚重的歷史感進入並震撼著每一個 觀者的心靈。他的作品大量運用油彩、鋼鐵、鉛、灰

安森．基佛 聖母頌．至貞之母

2007

油彩 壓克力 蟲膠 鐵 玫瑰 鉛 陶土 紙板 膠 合板 藝術家原裝框 215 x 141 cm

題識中間：Ave Maria, Mater Castissima

來源

羅芙奧，香港，2015年11月29日，編號73 現有收藏者購自上述來源

燼、感光乳劑、石頭、樹葉、照片、木刻畫、稻草、柏 油等綜合材料。巨幅的畫面和混雜構成的畫面張力十 足，由代表毀滅、淩亂和破碎的隻言片語匯成一幅靜逸 的、散發著詩意的宏偉畫卷。儘管這些作品產生於特殊 的年代和地點，但是同樣引出了許多普遍存在的問題。

它讓我們看到許多存在於人類靈魂深處的黑暗：缺少特 立獨行的人生態度、缺少堅忍不拔的毅力、缺少真誠面 對的勇氣、缺少矢志不渝的愛⋯同時引領著我們去思考 天堂也許是可以給人們以希望，安撫受傷人們的心靈以 及彌補人們內心缺失的。

本次拍品《聖母頌．至貞之母》，為基佛聖母瑪利亞 畫作系列中的一件大型作品，高度延伸超過兩米， 上面裝飾著玫瑰，令人聯想到天主教徒用於敬禮聖母 瑪利亞的「玫瑰經」，而「玫瑰經」來源於拉丁語 「Rosarium」，意為「玫瑰花冠」或「一束玫瑰」，畫 作正中心的金屬圓框，儼如耶穌頭戴的荊棘冠冕。

下方帶刺的玫瑰，與乾涸的顏料塊，呼應聖經《出埃及 記》中「燃燒的荊棘」，講述摩西在曠野時，上帝的使 者用焚而不毀的荊棘向摩西顯現，顯示上帝與之同在， 就像荊棘沒有被火焰燒毀一樣，瑪利亞也在保持童貞的 情況下懷上基督。《聖母頌．至貞之母》亦是基佛對自 己藝術的隱喻，其藝術試圖從原始的元素材料中提取 形而上的奇蹟，譜寫一首充滿創造力和生育力的有力讚 歌。

AVE MARIA, MATER CASTISSIMA

Anselm Kiefer, one of the most prominent German painters of Neo Expressionism, is acclaimed as “The Poet Under the Desolation and Rubble”. Kiefer was born in Donaueschingen in then - West Germany in 1945 - a year otherwise known as “German Zero Hour.” The term refers to the rebirth of Germany after their defeat in the war, when all things of the past no longer existed and the future was yet unknown - when all had to start from zero. After the Second World War, the entire German nation had to shoulder an unbearable burden. The new generation born after 1945, in particular, did not know how to bear responsibility for the remnants of something they did not cause but that they knew would haunt them nonetheless.

Kiefer is a member of this generation. Having grown up in the ruins and shadows of the Third Reich, there is always a touch of sadness to his works, a sense of the somber German tones.

Influenced by the great German art master Joseph Beuys, Kiefer chose to paint about German history, culture and mythologies, and the terror of Nazi Germany. Indeed, he addressed the past with courage and a clear attitude, quite unlike other artists of the same period who avoided painting about the war, treating it as taboo. Later on, expanding beyond the German themes, Kiefer started to paint about fate and culture in general. Not only were his works a collection of nationalist symbols and memories, they also held mysterious meanings from symbolism, theology, and mysticism.

The large scale of the composition and its mix of materials make his paintings visually impressive. Pieces that represent the ruined, the unconfined, and the fragmented organize themselves into a peaceful, poetic, and magnificent scroll. Although Kiefer produced these works in an unusual time and place, they nonetheless point out common problems. For example, they show that most of us lack something deep down in our spirits; perhaps it is a unique attitude for life, persistence and endurance, the courage to face the world wholeheartedly, or everlasting love. And at the same time, they also lead the viewers to think about heaven and how it may give us hope, console our hearts, and fulfill whatever we are lacking.

安森．基佛《聖母頌》2008年

油彩 乳膠漆 壓克力 蟲膠 陶土 玫瑰 拼貼 紙卡和麻布裱於板

藝術家原裝畫框 191.1 x 141 x 8.5cm

佳士得倫敦 2020年 戰後及當代藝術日拍

編號239 約台幣13,825,300成交

Anselm Kiefer, Ave Maria, 2008, Oil, emulsion, acrylic, shellac, clay and rose collage on card and burlap laid on board, in artist's frame, 191.1 x 141 x 8.5cm

Christie's London, 2020 Post-War & Contemporary Art Day Sale, lot 239, US$439,736 sold

Kiefer once made the now frequently quoted statement, "My biography is Germany’s biography." His works are literary, like epic poems. Standing in front of his paintings, one cannot help but to be impressed by the poetry in them - a deep and heavy touch of history penetrates into and resonates in each viewer’s heart. He often applies a wide range of materials, such as oil paint, steel, lead, dusts, photosensitive coatings, stones, leaves, photographs, woodcuts, wheat, and petroleum.

The artwork “Ave Maria, Mater Castissima” by Anselm Kiefer is a large-scale piece within his series of paintings depicting the Maria. It extends to a height of over two meters and is adorned with roses, evoking associations with the Catholic devotion to Maria through the “Rosary,” a set of prayers dedicated to her. The term “Rosary” originates from the Latin word “Rosarium,” meaning “rose wreath” or “a bouquet of roses.” In the center of the artwork, there is a metal circular frame resembling the crown of thorns worn by Jesus.

The thorn-bearing roses and dried blocks of pigment below evoke the burning bush from the biblical book of Exodus, where Moses encounters the presence of God through a bush that burns but is not consumed. This imagery signifies God’s presence alongside Moses in the wilderness. Similarly, just as the thornbearing bush remains unconsumed by the flames, Maria conceives Christ while maintaining her virginity.

“Ave Maria, Mater Castissima” is also a metaphor for Kiefer’s own artistic journey. His art endeavors to extract metaphysical miracles from raw elemental materials, composing a powerful hymn full of creativity and generative power.

040

EDDIE MARTINEZ

(American, b. 1977)

Untitled (Flower Pot)

2020

Oil, acrylic and spray paint on linen

190.5 x 167.6 cm

Initialed upper left EM and dated 20

PROVENANCE

Perrotin, New York

NT$ 9,500,000 - 14,000,000

HK$ 2,334,000 - 3,440,000

US$ 299,000 - 440,700

RMB 2,164,000 - 3,189,000

艾迪．馬丁內斯

無題 ( 瓶花 )

2020

油彩 壓克力 噴漆 亞麻布

190.5 x 167.6 cm

簽名左上：EM 20

來源

貝浩登畫廊，紐約

Eddie Martinez

UNTITLED (FLOWER POT)

艾迪．馬丁內斯 | 無題 ( 瓶花 )

艾迪．馬丁內斯《無題》2015年 油彩 綜合媒材 畫布 182.8 x 274.3 cm

羅芙奧 2020 秋季拍賣會 編號068 台幣 41,760,000 成交 Eddie Martinez, Untitled, 2015, oil, mixed media on canvas 182.8 x 274.3 cm Ravenel 2020 Autumn auction, lot 068 USD 1,465,263 sold

艾迪．馬丁內斯特立獨行，低調創作，擄獲多位策展 人、經紀人與收藏家的青睞，藝評家常以「盛宴」形容 馬丁內斯筆下豐富的靜物世界。馬丁內斯欽佩畢卡索的 多產，自詡個人風格為「畢卡索式的混亂爆炸」，更不 斷挑戰自我，可以是單一的構圖的反覆研究，卻不會耽 溺於同一風格。萬物皆可入畫，隨性的材質，凡想得 到、想不到的，馬丁內斯都把生活物件拼貼入畫，繪畫 是他的日常，是生命的紀錄，一種當代文化的「混搭」 概念。

其作品受上海余德耀美術館、倫敦薩奇美術館（ The Saatchi Collection ）、拉丁美洲最重要的私人當代藝 術收藏─胡美斯基金會（ La Colección Júmex ）、美 國戴維斯博物館、洛杉磯馬其亞諾藝術基金會（ The Marciano Collection）等機構收藏。曾於台灣、美國、 日本、英國、韓國、中國等地舉辦個展。

艾迪．馬丁內斯自小即對繪畫充滿好奇，浸淫在街頭塗 鴉文化盛行的美國大都會，更是培養了他後來成為藝術 家的養分。這名來自紐約布魯克林的藝術家在青少年時 期沉醉於塗鴉藝術，他在畫布上創造的藝作，保留了街 頭藝術的粗獷不羈、以及極具表現派風格的線條和奔放 色彩。馬丁內斯遊走於表述和抽象風格間，以油彩、瓷 漆和噴漆創作，並經常以隨手拈得的物件入畫。他也是 一名訓練有成的製圖者和畫家，從他的巨幅畫作即可見 一斑：繽紛而充滿直觀的絢彩在畫布上恣然遊走，而藝 術家的筆勢快捷依舊，洋溢著半自動、直覺的創作意 態。

儘管馬丁內斯的風格活力澎湃，野性凌亂，但他的作品 對美感平衡有著與生俱來的理解，他指這種理解「完全 出於本能。我不懂色彩理論，也不在意我是否用對了 色，還是用錯了色。我的創作方式就是隨心而發」。雖 然非學院出身，馬丁內斯的藝術卻有其脈絡，可謂是自 學成才的藝術家。早期作品因流行文化的啟發，傾向於 暴力意象、瘋狂的漫畫風格，畫中反覆出現有閃亮大眼 睛的人物、動物、小丑、骷顱、像粉刷牆壁的即興塗 鴉，城市文化的縮影集成。後來逐漸轉向抽象畫，藝評 家認為，他的藝術屬於街頭藝術，拼貼風格，更應回溯 到 20 世紀的 1950 年代的傳統經典，彷彿普普藝術、行 為藝術、抽象表現主義、眼鏡蛇畫派的大混搭。

「盆花」是馬丁內斯從早期到近期各階段皆喜愛的主 題，從繁至簡，演繹不同年代的生命經驗與成熟狀態。

本次拍品《無題（瓶花）》以大片黑色顏料為背景，活 力沛然的線條、和精妙的顏彩處理，突顯瓶花的繽紛色 彩，與旺盛豐命力，誇大比例的花朵、葉子，活潑帶有 卡通模樣的童趣，具有街頭塗鴉的精神，和感性天真的 浪漫情懷。

A maverick with a quiet and low-key sense of creativity, Eddie Martinez has captured the attention of many curators, agents and collectors. Art critics often describe Martinez's rich still life world as a "feast." If he had to define his style, he would describe it as "Messy explosions of Picassos ". He admires Picasso's high productivity, and courage to experiment with various media challenging the historical paintings. He constantly challenges himself, engaging in repeated studies of single compositions without indulging in the same style. Everything is fair game for his paintings - casual materials, expected and unexpected objects - all pieced together in his artwork. Painting is his daily routine, a record of life, embodying a contemporary cultural concept of "mix and match."

His works are collected by institutions such as the Yuz Museum in Shanghai, the Saatchi Collection in London, the Jumex Foundation in Latin America, the Davis Museum in the United States, and the Marciano Art Foundation in Los Angeles. He has held solo exhibitions in Taiwan, the United States, Japan, the United Kingdom, South Korea, China, and other locations.

vibrant and intuitively colorful strokes roam freely on the canvas, while the artist's swift strokes exude a semi-automatic, intuitive creative attitude.

Despite the vibrant and wild nature of Martinez's style, his artworks possess an inherent understanding of aesthetic balance. He attributes this understanding to instinct, stating, "It’s completely instinctual. I don’t know color theory, and I’m not concerned if I’m doing it right or if I’m doing it wrong. It’s just the way I do it." Despite not having formal training, Martinez's art has its context and can be considered self-taught.

Eddie Martinez, Untitled (White Flower Pot), 2010, Oil, acrylic, spray and silicone on canvas, 152.4 x 121.9 cm Ravenel 2020 Autumn auction, lot 67, US$842,105 sold

Eddie Martinez has been curious about painting since he was young, immersed in the prevalent graffiti culture of the American metropolis. Growing up in Brooklyn, New York, this artist was fascinated by graffiti art during his teenage years. His artwork created on canvas retains the rough and rebellious nature of street art, as well as the expressive style of bold lines and vibrant colors. Martinez navigates between representational and abstract styles, using oil paint, enamel, and spray paint in his creations. He often incorporates found objects into his artwork. He is also a skilled draftsman and painter, as evidenced by his large-scale paintings:

Inspired by popular culture, his early works tended towards violent imagery and a frantic comic book style, featuring characters with shiny large eyes, animals, clowns, skulls, and graffiti-like improvisations reminiscent of whitewashed walls, all encapsulating urban culture. He later transitioned towards abstract painting. Critics believe his art belongs to street art, characterized by a collage style, reminiscent of the traditional classics of the 1950s, such as Pop Art, Performance Art, Abstract Expressionism, and the Cobra Movement, creating a grand mix.

Since the early stage of his career, Eddie Martinez has always loved to paint potted flowers. From complex to simple, Martinez’s paintings walk us through his life experience and state of maturity at different ages. The artwork “Untitled (Flower Pot)”uses a large swath of black paint as the background, with vibrant lines and delicate color handling highlighting the colorful flowers in the vase, portraying their vitality and exuberance. The exaggerated proportions of the flowers and leaves, lively and somewhat cartoonish in appearance, exude a spirit of street graffiti and a romantic sentimentality of sensibility and innocence.

AYAKO ROKKAKU

(Japanese, b. 1982)

Untitled

2008

Oil on canvas

100 x 100 cm

Signed lower right Ayako Rokkaku in Japanese and dated 2008

PROVENANCE Gallery Delaive, Amsterdam

NT$ 6,000,000 - 8,000,000

HK$ 1,474,000 - 1,966,000

US$ 188,900 - 251,800

RMB 1,367,000 - 1,822,000

六角彩子 無題

2008

油彩 畫布

100 x 100 cm

簽名右下：2008 ロッカクアヤコ

來源

德萊夫畫廊，阿姆斯特丹

六角彩子充滿溫度的塗鴉精神和鮮豔的色彩使其繪畫風格自成一派，她的作畫過程有如在大 幅畫布前起舞，直接用雙手及指尖抹出令人眼花繚亂的色彩漩渦，彷彿用力追逐靈感的速度 與激情，被人稱為「日本藝術界下一位奈良美智」。其作品受中國寶龍美術館、韓國世華 美術館、日本金澤 21 世紀美術館和荷蘭 Voorlinden 博物館等機構收藏，曾於法國、荷蘭、丹 麥、德國、比利時、日本等地舉辦個展。

回溯六角彩子藝術家生涯最初的原點，約是在她 20 歲的時候。當時六角彩子於職業學校插畫 系畢業後而未能找到合適的工作，她思索著，人活在世上能做些什麼？內在的創作驅力推動 著六角彩子，尋覓屬於自己的表達方式。她來到街頭或公園，感受陽光與風，在來往的行人 面前，開始用手沾顏料在瓦楞紙等隨手可得的媒材上塗鴉。手撕紙板形成的斷面、直接由指 尖上色的手感，帶給她與自身生命力連結的莫大快樂。

2003年時六角彩子遇到第一位伯樂──村上隆，她參加由村上隆領導的Kaikai Kiki公司所舉辦 的日本東京第四屆「 GEISAI 藝祭」，這是一個專為年輕藝術家而設的比賽，她在廢棄的瓦楞 紙上作畫，以一張張有著大眼大頭的女孩畫像獲得評審的關注，獲得「童子軍評審團獎」。

2006 年她又參加第九屆 GEISAI 藝術節，更細膩富有色感的女孩像，又獲頒極具聲望的「後 藤明男賞」，不久後在第十屆 GEISAI 參展上獲得「智慧賞」，受到國際主流藝廊的關注。她 的繪畫屢獲入選，絕非偶然，嚴格地說，六角彩子並非美術學院出身，但具有塗鴉創意的天 賦，得以在眾多參賽畫家中脫穎而出，她想出可不用繪筆而直接以手作畫的技巧，即興表演 的行為，令人們想起日本具體派前輩們的特色。

Ayako Rokkaku

UNTITLED

六角彩子 | 無題

因為在 GEISAI 藝祭美展上屢次獲獎，同年 2006 年即為 六角彩子贏得瑞士、法國與美國等國際參展機會，以 及荷蘭畫商尼可．德萊夫爭取全球經紀代理權。德萊 夫畫廊，創立於 1970 年代後期。從 1980 年代開始， 該畫廊過去積極推介眼鏡蛇畫派藝術家阿貝爾（ Karel Appel ）和丁雄泉（ Walasse Ting ），以及法國女性藝 術家妮基．德．聖法爾（Niki de Saint Phalle），頗富 口碑。尼可．德萊夫看出芳齡24歲的六角彩子的潛質， 隔年 2007 年開始展出她的作品，合作至今仍然持續之 中。

六角彩子曾分析自己創作的 特色為：「單純的塗鴉」、 「發掘自我的行為」、「小 孩的圖畫」。回歸純粹，連 結生命原動力，讓我們也藉 由她的藝術，重新與心中的 孩子相遇，或許正是六角彩 子如此受到歡迎的原因。

本次拍品《無題》刻畫了六 角標誌性的、眼神明亮而充 滿好奇的年輕女主角形象， 古靈精怪的大眼女孩綁著可 愛的側邊馬尾，身著鮮豔的 小洋裝，光腳走在由繽紛色 彩組成的奇幻世界中，似在 雲朵裡，似在花圃中；女孩捂著嘴巴，大步邁開向前， 毫無畏懼地帶領觀者一同踏上探險之旅。明亮協調的色 彩，紛而不亂的筆觸，還有目光純粹的孩子，讓人想起 最初我們降生在這世界自由探索的樂趣，與那全然投入 的狀態。

the Japanese art scene.” Her works are collected by institutions such as the Powerlong Art Museum in China, Sehwa Museum of Art in Korea, 21st Century Museum of Contemporary Art, Kanazawa in Japan and the Voorlinden Museum in the Netherlands. She has held solo exhibitions in France, the Netherlands, Denmark, Germany, Belgium, Japan, and other countries.

六角彩子《姊妹》2007年 壓克力 畫布 130.5 x 162 cm

羅芙奧台北2020秋季拍賣會 編號218 美金412,632成交

Ayako Rokkaku, The Sisters, 2007, acrylic on canvas 130.5 x 162 cm

Ravenel Autumn Auction 2020 Taipei, lot 218 USD 412,632 sold

Looking back at the origins of Ayako Rokkaku’s artistic career, it was around the time she was 20 years old. At that time, after graduating from vocational school with a major in illustration and struggling to find suitable employment, she pondered, “What can people do in this world?” The inner drive to create propelled Ayako Rokkaku to seek her own means of expression. She went to the streets or parks, feeling the sunlight and wind, and began doodling with paint on readily available materials like corrugated paper in front of passersby. The sensation of tearing paperboard into sections and the tactile feeling of coloring directly with her fingertips brought her immense joy and a strong connection to her own vitality.

The vibrant spirit and vivid colors infused with warmth in Ayako Rokkaku’s sketches give her a unique painting style. Her process resembles dancing before a large canvas, directly smudging out dazzling whirls of color with her hands and fingertips, as if passionately chasing inspiration’s speed and fervor. She’s been dubbed “the next Yoshitomo Nara in

In 2003, Ayako Rokkaku encountered her first patron, Takashi Murakami, when she participated in the fourth edition of “GEISAI “ in Tokyo, Japan, organized by Murakami’s company, Kaikai Kiki. This competition was specifically designed for young artists. Rokkaku painted on discarded corrugated paper, capturing the attention of the judges with her portraits of girls with large eyes and heads. She was awarded the “Scout

Prize.” In 2006, she participated again in the ninth edition of GEISAI, presenting even more delicate and color-rich portraits of girls, earning her the prestigious “Goto Akio Prize.” Shortly after, at the tenth GEISAI exhibition, she won the “Smart Prize,” drawing attention from mainstream international galleries. Her success in painting was not coincidental. Strictly speaking, Rokkaku did not graduate from an art school, but her innate talent for graffiti creativity allowed her to stand out among many competing artists. Her technique of painting directly with her hands, without using brushes, and her spontaneous performance reminded people of the characteristics of the Japanese Gutai movement predecessors.

Due to her repeated awards at the GEISAI Art Festival, in the same year, 2006, Ayako Rokkaku secured international exhibition opportunities in Switzerland, France, and the United States. She also obtained global representation from Dutch art dealer Nico Delaive. The Delaive Gallery was founded in the late 1970s, and from the 1980s onwards, the gallery actively promoted artists from the CoBrA movement such as Karel Appel and Walasse Ting, as well as French female artist Niki de Saint Phalle, gaining considerable renown. Nico Delaive recognized the potential of the 24-year-old Ayako Rokkaku and began exhibiting her work the following year in 2007, a collaboration that continues to this day.

From self-analysis, Rokkaku listed three characteristics of her paintings: “plain scribbling,” “the act of getting out something inside me,” and “kid’s drawing.” By returning to purity and connecting with the primal force of life, she allows us to rediscover the child within ourselves through her art. Perhaps this is why Ayako Rokkaku is so popular.

The artwork “Untitled” portrays the iconic, bright-eyed, and curious young female protagonist of Rokkaku’s works. This mischievous girl with large eyes is tied with a cute side ponytail, dressed in a vibrant little dress, walking barefoot in a fantastical world composed of colorful hues, seemingly amidst clouds or in a flower garden. The girl covers her mouth, taking bold strides forward, fearlessly leading the viewer on an adventurous journey. The bright and harmonious colors, the precise yet lively brushstrokes, and the pure gaze of the child remind us of the joy of freely exploring the world and that state of complete immersion we experienced when we first came into this world.

042

TOMOO GOKITA

(Japanese, b. 1969)

Night and Day

2009

Acrylic on linen

162 x 162 cm

Signed reverse Tomoo Gokita, titled Night and Day and dated '09

PROVENANCE

Mary Boone Gallery, New York Private collection, Asia

NT$ 6,000,000 - 9,000,000

HK$ 1,474,000 - 2,211,000

US$ 188,900 - 283,300

RMB 1,367,000 - 2,050,000

五木田智央

日日夜夜

2009

壓克力 亞麻布

162 x 162 cm

簽名畫背：NIGHT AND DAY Tomoo Gokita '09

來源

瑪麗．布恩畫廊，紐約 私人收藏，亞洲

Tomoo Gokita PRACTICE GROUND FOR VARIETY SHOW

五木田智央 | 日日夜夜

五木田智央《家庭》2015年 壓克力 水彩 畫布 193.8 x 259 cm

富藝斯紐約，2019年 二十世紀現當代夜拍

編號20 美金1,076,000成交

Tomoo Gokita, Be Just Like Family, 2015 Acrylic, gouache on canvas 193.8 x 259 cm

Phillips NewYork, 2019, 20thCentury & Contemporary Art Evening Sales, lot 20 USD 1,076,000 sold

五木田智央是最具國際影響力的日本當代藝術家之一， 以插畫家及平面設計師開始其藝術生涯，尤其擅長炭筆 作圖而名揚國際， 2000 年，他的作品集《內衣摔角》 出版後，他在國內外的知名度不斷擴大。從 2005 年 起，他毅然放棄了在日本音樂界擔任平面設計師之成功 事業，去追求不受約束的繪畫藝術自由。作品曾展於 美國、義大利、英國、日本、韓國、法國等地。曾獲 2001年第80屆「紐約藝術指導協會年度獎」金獎。

自職業生涯開始以來，五木田一直受到美國職業摔角和 墨西哥情色雜誌的舊印刷品和照片的啟發，同時從電影 劇照、色情作品和明信片等獲得創作靈感，近年來則是 以黑白雙主色之鮮明畫風在藝壇響亮名號。五木田吸收 極其廣泛的元素，包括立體主義、超現實主義、象徵主 義、構成主義、抽象表現主義、普普藝術和模擬主義，

以及商業設計、商業攝影、插畫和版面領域的風格，效 果令人著迷。五木田智央把單色的繪圖技巧應用在壓克 力顏料和水彩上，融合古典藝術和大眾文化的特色，巧 妙地利用顏料創造出充滿活力的構圖。他的藝術語彙既 具當代性，同時也帶有深刻懷舊感及歷久彌新的特質。

「我覺得我如今在作品中扭曲人臉，是對自己年少時瘋 狂地仔細描繪人臉的一個反作用。我想我可能對繪畫人 臉已經感到厭倦。而且，我一直也熱愛著墨西哥的蒙面 摔角手和那些非洲的面具。這些面具象徵著一股渴望改 變而想要『隱藏自己的臉並成為另一個角色』的慾望， 而這股慾望為我的畫作帶來了不少影響。我想，我的作 品也蘊含著對於怪物和殘缺的某種病態的好奇心。」

五木田標誌性的灰度構圖通常採用現成圖像的視覺參 照，融入新表現主義的手法和筆觸，並對畫中形象進行 扭曲和注入自己戲謔性的幽默。中心人物的臉被抹除 了，無論是描繪摔角手、新星、舞者還是新婚夫婦，且 籠罩在一種曖昧怪異的氛圍中，觀眾只能在記憶中尋找 文化指標或背景，以完成眼前難以捉摸、往往難以理解 的敘事。

本次拍品《日日夜夜》，展現了藝術家大膽又耐人尋味 的精湛構圖，畫布上絢麗的單色漸層變化營造出一種令 人驚艷、若似發光及絲絨般的質感，又深又濃的黑色、 白色、灰色基調，讓人聯想到早期的黑白電影和懷舊照 片。女子的四肢具有均勻金屬光澤，強勢奔放的肢體動 作與服飾造型，展現西方文化的自由意志，女子的頭部 由大塊超現實的有機體取而代之，頭髮形狀宛若雷雲般 帶著磨砂質感，肖像人物失去語言、情緒，解構破碎的 臉部特徵，與黑白色調交織出一股濃郁的失真感，彌漫 神秘怪異的氛圍，看似簡單的黑白兩色卻流瀉出豐富內 涵。

Tomoo Gokita is one of the most internationally influential contemporary artists in Japan. He began his artistic career as an illustrator and graphic designer, gaining international recognition particularly for his charcoal drawings. In 2000, after the publication of his art book "Lingerie Wrestling," his fame both domestically and internationally continued to grow.

Starting from 2005, he made the bold decision to abandon his successful career as a graphic designer in the Japanese music industry to pursue unrestricted freedom in the art of painting. His works have been exhibited in various countries including the United States, Italy, the United Kingdom, Japan, South Korea, and France. He was awarded the Gold Prize at the 80th New York Art Directors Club Annual Awards in 2001.

Since the beginning of his career, Gokita has drawn inspiration from vintage prints and photographs of American professional wrestling and Mexican erotic magazines. He has also found creative inspiration from movie stills, erotic works, and postcards. In recent years, he has gained prominence in the art world for his distinctive style characterized by bold black and white contrasts. Gokita incorporates a wide range of influences, including Cubism, Surrealism, Symbolism, Constructivism, Abstract Expressionism, Pop Art, and Simulationism, as well as styles from the fields of commercial design, commercial photography, illustration, and layout. The result is captivating.

Gokita applies his monochromatic drawing techniques to acrylic paints and watercolors, blending characteristics of classical art with those of popular culture. He skillfully uses paint to create vibrant compositions. His artistic vocabulary is both contemporary and imbued with a profound sense of nostalgia, with qualities that remain fresh and relevant over time.

" I am presuming that to deform the human face might be a reaction against my practice of depicting them like crazy when I was young. Probably, I have become tired of depicting faces. Also, I have loved

the masked wrestlers of the Mexican Lucha libre and those masks in Africa all this time, and a kind of transformational desire' to hide a face and to become a different character' , which can be symbolized in those masks, may have affected my work. I suppose there exists a certain ghoulish curiosity towards monsters and deformities, too. Regarding the drawings, as I mentioned earlier, they are more like practices and close to being simple reproductions, so drawing human faces as they are gives me a pleasant sensation."

Gokita's iconic grayscale compositions often utilize visual references from existing images, incorporating techniques and brushstrokes of Neo-Expressionism while distorting and injecting his own playful humor into the depicted figures. The faces of central characters are often obliterated, whether depicting wrestlers, celebrities, dancers, or newlyweds, shrouded in an ambiguous and eerie atmosphere. Viewers are left to search their memories for cultural icons or backgrounds to piece together the often elusive and sometimes incomprehensible narratives before them.

The artwork “Night and Day” showcases the artist's bold yet thought-provoking composition. The canvas's brilliant monochromatic gradient creates a stunning, almost luminous and velvety texture. The deep and rich tones of black, white, and gray evoke early black-and-white films and nostalgic photographs. The woman's limbs exhibit a uniform metallic sheen, with powerful and expressive body movements and clothing styles that epitomize the freedom of Western culture.

The woman's head is replaced by a large block of surreal organic matter, with hair shapes resembling textured thunderclouds. The portrait figure lacks language and emotion, with deconstructed and fragmented facial features interwoven with the blackand-white tones to create a rich sense of distortion, permeating a mysterious and eerie atmosphere. While seemingly simple in its black-and-white colors, the artwork exudes profound meaning and complexity.

043

BERNARD BUFFET

(French, 1928-1999)

Tulipes jaunes

1964

Oil on canvas

116 x 73 cm

Signed upper right Bernard Buffet and dated 64

Titled reverse 6P N: 6-Tulipes jaunes

PROVENANCE

E. David et M. Garnier, Paris

Private collection

Private collection (acquired from the above)

This lot is accompanied with a certificate of authenticity issued by Galerie Maurice Garnier Fonds de Dotation Bernard Buffet.

NT$ 4,200,000 - 6,500,000

HK$ 1,032,000 - 1,597,000

US$ 132,200 - 204,600

RMB 957,000 - 1,481,000

貝爾納．畢費

黃色鬱金香

1964

油彩 畫布

116 x 73 cm

簽名年代右上：Bernard Buffet 64

題識畫背：6P N:6-Tulipes jaunes

來源

大衛與賈尼耶畫廊，法國巴黎

私人收藏

私人收藏（購自上述來源）

附賈尼耶畫廊－貝爾納．畢費基金會開立之原作保證書

Bernard Buffet TULIPES JAUNES

貝爾納．畢費 | 黃色鬱金香

貝爾納．畢費，為法國戰後具象藝術的代表大師，在 亞洲享有極知名高度與全球性的藏家擴及度，使其公 認為殿堂級藝術家。年輕時才華洋溢的畢費， 1948 年於巴黎聖博拉西德畫廊獲得「藝評獎」（ Prix de la Critique），1955年僅27歲即被當時法國《藝術鑑賞雜 誌》選為「戰後十大最傑出藝術家」之首； 1958 年舉 辦第一次回顧展時，被媒體譽為「法國寫實主義繪畫 的接班人」； 1971 年，畢費獲授法國騎士榮譽勳章； 1974年更獲選為最年輕的法蘭西學院美術學院院士。

其作品受芝加哥藝術學院、紐約現代藝術博物館、舊金 山美術館、墨爾本維多利亞國家美術館、倫敦泰特美術 館等知名機構收藏，曾於巴黎、比利時、柏林、東京、 日內瓦、紐約、蘇黎世等地舉辦展覽。與維斯康提畫 廊、大衛與賈尼耶畫廊、莫里斯．賈尼耶畫廊等畫商長 達半世紀的合作，是畢費藝術生涯的幾位重要推手。

1973 年，日本大收藏家岡野喜一郎於靜岡縣建立貝爾 納．畢費博物館，帶著希望「文化透過這個人的才華在 這片土地上蓬勃發展」此般願景，展示珍藏逾千件畢費 作品。

畢費一生創作了超過八千幅的作品，他驚人的創作力留 下了一系列經典之作。繪畫主題以馬戲團小丑、鬥牛 士、肖像、風景、花卉、靜物為多，其特點是陰鬱暗澀 的色彩，充滿力量、銳利原始的黑色輪廓，以及棱角分 明、風格別致的頎長圖形，極具辨識性。作品雖是對戰 後空虛和焦慮的描繪，帶著一絲不詳的基調，但它並不 失精緻，更在麻木悲傷中注入的一線曙光。而畢費晚年 不幸患上帕金森症，與病魔長期鬥爭後，於 1999 年 10 月4日自殺身亡，享年71歲。

畢費曾如此形容花卉：「鮮花，在我們情感生活的起承 轉合中無處不在，交織在段段喜怒哀樂的記憶中；它悄 悄萌芽成長，讓我們聞著淡淡清香，送到把我們帶到這 個世界的女士手上。」

本次拍品《黃色鬱金香》以簡練有力的黑色線條，描繪 煥發勃勃生機的堅韌葉片，葉子彷彿要衝破界限的限

制，渾身散發著一股讓人不可小覷的氣燄，映襯出鬱金 香的含苞待放、嬌柔輕盈，暖黃色的花搖曳在綠葉之 中，宛如舞動的裙擺，呵護著那蘊藏在內的柔情。剛 毅線條為畫面添加侵略感，而隨意滴落在瓶花周圍的 顏料，點點滴滴，飽含植物生生不息的生命力。右上角 個性十足的簽名與書寫年代方式，無疑是畢費特有的標 籤，不是隱身於畫面的一隅，而是主體一旁作為畫面平 衡構圖的要角。

The representative master of French post-war figurative art, Bernard Buffet is well renowned in Asia and reaches a global scale of collectors, making him acknowledged as the iconic artist. The young and talented Buffet was awarded the Prix de la Critique at Galerie Saint-Placide in 1948, and named as the best out of the top ten post war artists by “Connaissance des Arts”, in 1955, he was only 27 years old then. In 1958, when he held his first retrospective exhibition, he was praised by the media as the successor of French realism painting. In 1971, Buffet was awarded Chevalier de la Légion d'Honneur. In 1974, he became an member of the Académie des Beaux-Arts.

Buffet’s artworks are collected by renowned institutions such as the Art Institute of Chicago, Museum of Modern Art in New York, San Francisco Art Museum, the National Gallery of Victoria in Melbourne, and the Tate Museum in London. His artworks have been exhibited in Paris, Belgium, Berlin, Tokyo, Geneva, New York, Zurich, and other places. He had a collaboration spanning half a century with galleries such as Gallery Visconti, Galerie David & Garnier, and Galerie Garnier, which were crucial in Bifei's artistic career. The loyal Japanese collector Kiichiro Okano established the world's first Buffet Art Museum in Shizuoka in 1973, with the hope of fostering cultural development through the talent of Buffet, amazingly exhibiting his collection of more than a thousand pieces of Buffet's works.

Bernard Buffet created more than 8,000 works in his life, his amazing creative power has assuredly left a series of classic works. His painting themes predominantly revolve around circus clowns, bullfighters, portraits, landscapes, flowers, and still lifes. Characterized by somber and bitter colors, his works are filled with powerful, sharp, and primitive black contours, as well as distinctive angular shapes that are highly recognizable.

Although his works depict the emptiness and anxiety of the post-war era with an undertone of ambiguity, they are not devoid of refinement. Instead, they inject a glimmer of dawn into numb sadness. Unfortunately, Buffet was diagnosed with Parkinson's disease in his later years. After a prolonged battle with the illness, he tragically committed suicide on October 4, 1999, at the age of 71.

Bernard Buffet once described flowers as follows: “Flowers…are woven into our lives with every twist and turn of emotional events. Scarcely born, before we’re even aware of it, we inhale the subtle scents of bouquets offered to the woman who brought us into the world.”

The artwork “Tulipes jaunes” depicts vibrant and resilient leaves with concise and powerful black lines. The leaves seem to break free from the constraints of boundaries, exuding an undeniable vigor that complements the tulips' budding and delicate nature. The warm yellow flowers sway among the green leaves like dancing skirts, enveloping the tenderness within. The bold lines add an aggressive feel to the composition, while the splashes of paint around the vase drip with the vitality of endless plant life. The distinctive signature and style of dating in the upper right corner are unmistakably Buffet's trademarks, not hidden in a corner of the painting but rather serving as a key element in balancing the composition alongside the main subject.

Bernard Buffet, Bouquet de zinnias, oil on canvas 195.5 x 96.5 cm Sotheby's NewYork, 2014 Impressionist & Modern Art Day Sale lot 225 USD 581,000 sold

044

CHIU YA-TSAI

(Taiwanese, 1949-2013)

Nude

Oil on canvas

145 x 84 cm

Signed lower right Chiu Ya-tsai in Chinese

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

HK$ 491,000 - 737,000

US$ 63,000 - 94,400

RMB 456,000 - 683,000

邱亞材的創作以人物為中心，他的肖像畫有一種中西難 辨的氣質。背景的色彩大膽、強烈，具有野獸派的色彩 概念。用中國傳統的輪廓畫，直白、簡單的線條勾勒出 精緻的五官輪廓，不拘泥於形式和細節，而是將每個人 物的神情描繪得惟妙惟肖。他的創作來自於對人類長期 深入的觀察。

邱亞才在現實的紛亂中追求秩序，這些人物原型意境幽 遠，讓他的肖像畫令人一見難忘。邱亞才揉合了中國肖 像畫傳統和西方繪畫元素，他的畫作和莫迪里亞尼有相 似之處。邱亞才創作的動力來自對於歷史的傳統虔信， 以先賢的智慧為本。邱亞才畫中的人物永遠冷靜自持， 沒有太多動作，精采傳達了人類本質的游移和神秘。 此幅畫作主題為《裸女》，畫中人物，杏眼、柳眉、紅 唇，看似氣定神閒的注視遠方，隱約看出些微的情感表 徵。

The creation of Chiu Ya-tsai is centered on figures, and his portraits have a temperament that is difficult to distinguish between Chinese and Western. The bold, powerful and strong colors employed in the background have the color concept of Fauvism. With the traditional Chinese outline drawing, the straightforward, simple lines sketch the contours of delicate facial features, not rigidly adhere to forms

邱亞才

裸女

油彩 畫布

145 x 84 cm

簽名右下：邱亞才

and details, but vividly depict the look of each character. His creation came from the thorough observation of mankind in a long period of time.

The artist yearned for orders within the composition and out of the chaos and the unreadable emotions of these memorable archetypes results in his unforgettable portraits. Chiu insisted that the spirit of his art is a derivative of the figure paintings dated to the Tang and Sung Dynasties. Similar to the ancient depictions of scholars and officials, the faces and gesture of his subjects are connotative of personality and mindset. In essence, Chiu's synthesizes traditions of Classical Chinese portraiture with Western elements, which results in parallels between his characters and those of Modigliani. It is Chiu Yatsai's old-fashioned faith in history and the wisdom of great men that prompt his paintings. Chiu's figures are truly portraits in that they are always poised and limited in body language, which work magnificently in portraying the precarious nature of man's being with a touch of mystery.This portrait is entitled Nude, The figure shown in this particular painting, with his almond-shaped eyes, arched eyebrows and red lips, appears to be gazing calmly into the distance, it hints at a slight sense of emotional expression.

045

CHUANG CHE

(Taiwanese, b. 1934)

Composition (Diptych)

1988

Oil and acrylic on canvas

98.5 x 255.5 cm

Signed lower left Chuang Che in Chinese and dated

1988

Inscribed reverse 88-58 and 88-58 (diptych)

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

NT$ 1,900,000 - 2,400,000

HK$ 467,000 - 590,000

US$ 59,800 - 75,500

RMB 433,000 - 547,000

莊喆

構圖 ( 雙聯幅 )

1988

油彩 壓克力 畫布

98.5 x 255.5 cm

簽名左下：88 莊喆

題識畫背：88-58 88-58 (diptych)

附藝術家親筆簽名之原作保證書

046

YANG CHIHUNG

(Taiwanese, b. 1947)

Mountain and Cliff

2011

Acrylic on canvas

170 x 220 cm

Signed reverse Chihung Yang in English, titled Mountain And Cliff and dated © 2011

ILLUSTRATED

Yang Chihung 50 Years of Painting, Asia Art Center, Taipei, 2014, color illustrated p. 271

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

NT$ 1,900,000 - 2,800,000

HK$ 467,000 - 688,000

US$ 59,800 - 88,100

RMB 433,000 - 638,000

楊識宏

橫看成嶺側成峰

2011

壓克力 畫布

170 x 220 cm

簽名畫背：Chihung Yang Mountain And Cliff © 2011

圖錄

《楊識宏 1967-2014》，亞洲藝術中心，台北，

2014，彩色圖版，頁271

附亞洲藝術中心開立之原作保證書

047

YANG CHIHUNG

(Taiwanese, b. 1947)

Growth and Decay

1986

Charcoal and acrylic on canvas 153 x 198.5 cm

Signed reverse Chihung Yang, titled Growth and Decay, inscribed Charcoal and acrylic on canvas 60 x 78 inches, and dated 1986

NT$ 1,300,000 - 2,200,000

HK$ 319,000 - 541,000

US$ 40,900 - 69,200

RMB 296,000 - 501,000

楊識宏

成長與腐朽

1986

炭筆 壓克力 畫布 153 x 198.5 cm

簽名題識畫背：Chihung Yang Growth and Decay 1986 Charcoal and acrylic on canvas 60 x 78 inches

048

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Monster Arms

2008

Oil on canvas

227 x 182 cm

Signed overlap Mayuka Yamamoto, titled Monster Arms and dated 2008

NT$ 1,300,000 - 2,200,000

HK$ 319,000 - 541,000

US$ 40,900 - 69,200

RMB 296,000 - 501,000

山本麻友香

怪獸手臂

2008

壓克力 畫布

227 x 182 cm

簽名畫布折入處：Mayuka Yamamoto Monster Arms 2008

049

ETSU EGAMI

(Japanese, b. 1994)

Rainbow W-2022-W-64

2022

Oil on canvas

171.5 x 122 cm

Signed bottom Egami Etsu and dated 2022

PROVENANCE

Whitestone Gallery, Taipei

NT$ 1,100,000 - 2,200,000

HK$ 270,000 - 541,000

US$ 34,600 - 69,200

RMB 251,000 - 501,000

江上越

彩虹 W-2022-W-64

2022

油彩 畫布

171.5 x 122 cm

簽名下方：Egami Etsu 2022

來源

白石畫廊，台北

050

READ LEE

(Taiwanese, 1921-2010)

In a Faraway Place

1983

Oil on canvas

130 x 97 cm

Signed lower left Read

EXHIBITED

The Struggle between Space and Sentiment: Read Lee, Taipei Fine Arts Museum, Taipei, July 09-September 25, 2011

ILLUSTRATED

Read Lee, Eslite Gallery, Taipei, 1994, color illustrated

The Struggle between Space and Sentiment: Read Lee, Taipei Fine Arts Museum, Taipei, 2011, color illustrated, p. 44

NT$ 1,000,000 - 1,500,000

HK$ 246,000 - 369,000

US$ 31,500 - 47,200

RMB 228,000 - 342,000

李德是台灣戰後重要的前輩藝術家。 1921 年出生於江 蘇省一個詩、文、書、畫、古器物與京劇繚繞的書香世 家，孕育其豐沛的中國人文藝術涵養。 1937 年爆發中 日戰爭，李德成為流亡學生到了四川， 1945 年自重慶

大學畢業， 1948 年來到台灣。與同時期推動現代繪畫 運動的「五月畫會」、「東方畫會」不同的是，李德 並非藝術科班出身，但愛好文學與藝術的生命，讓他在 1956 年跟隨前輩畫家陳德旺習畫，長達八年的學習歷 程中，陳德旺開啟李德終其一生對空間的探索。

創作對李德而言，是『人』、『天』（自然）與『歷 史』，一場無止境的對話，從其中展現出淬鍊學術、 提撕生命的過程。在經歷對物象實體的掌握，李德自 1970 年後進入抽象的過程，以奔放的筆觸與厚重的顏 料層層堆疊出豐富的肌理，並喜好以詩句題名。 1983 年以後，李德回歸對「點」的探索，以及中國水墨畫 『皴法』的研究。在 1989 年李德創作晚期《空相》系 列之前，李德以充滿力道的筆觸、點與線，描繪勾勒具 有豐厚層次的心底風光與意象。

The important post-war veteran Taiwanese artist Read Lee was born in 1921 to a scholarly family in Jiangsu Province surrounded by poetry, literature, books, paintings, antiques and Chinese opera. They provided him with nourishment in Chinese culture and

李德

在天之涯

1983

油彩 畫布

130 x 97 cm

簽名左下：Read

展覽

「空間與情意的纏鬥：李德」，臺北 市立美術館，台北，展期2011年07月

09日至09月25日

圖錄

《李德》，誠品畫廊，台北，1994， 彩色圖版

《空間與情意的纏鬥：李德》，臺北 市立美術館，台北，2011，彩色圖 版，頁44

art. When the Sino-Japanese War broke out in 1937, Read Lee went to Sichuan as an exiled student. He graduated from the Chongqing University in 1945 and came to Taiwan in 1948. In contrast to members of modern painting movements such as Fifth Moon Group and Ton Fon Art Group at the time, Read Lee did not receive professional art training. However, with his passion for literature and art, he started studying painting with veteran artist Mr. Chen Te-wang (1910-1984). During his eight years of study (1956-1964), Chen guided Read Lee in his exploration of space, which would last his entire life.

To Read Lee, creation was an endless conversation between man, “heaven” (nature) and “history”, involving a process of the condensation of learning and the sublimation of life. After mastering figuration, Read Lee turned to “abstraction” from 1973, creating layers of rich textures with vigorous brushwork and thick paint, and often using lines of poetry as titles. In 1983, Read Lee returned to the exploration of “dots” and the study of “modeling” in Chinese ink painting. Before starting his late series “Attribute of Emptiness” in 1989, Read Lee depicted his layered inner landscapes and images with powerful brushwork, dots and lines.

051

ZHOU CHUNYA

(Chinese, b. 1955)

Landscape

1983

Oil on canvas mounted onto board

34.5 x 44 cm

Signed lower right Zhou Chunya in Chinese and dated 1983

NT$ 1,000,000 - 2,000,000

HK$ 246,000 - 491,000

US$ 31,500 - 63,000

RMB 228,000 - 456,000

周春芽

風景

1983

油彩 畫布裱於木板

34.5 x 44 cm

簽名右下：周春芽 1983

052

JU MING

(Taiwanese, 1938-2023)

Living World Series

1990

Stainless steel (unique)

60(L) x 80(W) x 110(H) cm

Engraved bottom Ju Ming and dated '90

This lot is to be sold with a certificate of authenticity issued by Juming Culture & Education Foundation.

NT$ 1,900,000 - 2,800,000

HK$ 467,000 - 688,000

US$ 59,800 - 88,100

RMB 433,000 - 638,000

朱銘

人間系列

1990

不鏽鋼（單一件）

60（長）x 80（寬）x 110（高）cm

雕刻簽名底部：朱銘'90

附財團法人朱銘文教基金會－朱銘 美術館開立之作品鑑定報告書

053

JU MING

(Taiwanese, 1938-2023)

Taichi Series 1995

Bronze, ed.19/20

60.7(L) x 27.2(W) x 48.5(H) cm

Engraved backside bottom Ju Ming, numbered 19/20 and dated 1995

This lot is to be sold with a certificate issued by Lee Chi Creativity Co., Ltd. and signed by the artist, Taipei.

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

HK$ 393,000 - 639,000

US$ 50,400 - 81,800

RMB 364,000 - 592,000

「太極拱門」原本是從雙人太極推手演化而來。藝術家 說：「以前的推手，兩個個體間還有間距，而現在，我 讓雙手連接起來，一連接，氣的流動、肌肉的牽動，就 相互貫通、活絡，合為一體，轉化成拱門的造型。」

太極拳法瀟灑飄逸，你來我往之間，雙方拳者象徵著中 國的陰陽兩儀，推手的兩方又構成了太極的本體。朱銘 從練太極拳中獲得自然的啟示， 1970 年代後期開始專 研太極造型，逐漸發表一系列蜚聲國際的太極系列雕 塑，其中「太極拱門」可謂是頗具動感的一種姿態。

Taichi Arch was originally born out of two people engaging in the Taichi exercise called "pushing hands" (Tui-shou). Regarding the piece, the artist remarks, "Before, with 'pushing hands', a distance remained between the two individuals practicing. But

朱銘

太極系列－成功之門 1995

銅雕 版次 19/20

60.7（長）x 27.2（寬）x 48.5（高）cm

簽名雕刻後側下方：朱銘 19/20 '95

附李記創意股份有限公司與藝術家親筆簽名 之作品保證書

now I've connected their hands together - as soon as their hands met, the flow of Chi and the synchronous muscle movement of the two figures formed a mutual and dynamic bond, and combined into a single body that formed the shape of an arch."

Ju Ming's work represents the natural, graceful elegance of Taichi movement -- the space between the two figures and their fists symbolize Yin and Yang for China, with the pushing of hands forming the essence of Taichi. Ju Ming was naturally inspired by his own Taichi practice -- he began a close study of Taichi models after the 1970s, gradually releasing the first sculptures from the Taichi Series for which he gained international acclaim. Taichi Arch is considered to contain one of the more dynamic postures of the series.

054

LI CHEN

(Taiwanese, b. 1963)

Unadulterated

2013

Bronze, ed. 1/8

43(L) x 40(W) x 79(H) cm

Engraved backside Li Chen in Chinese and English, numbered 1/8 and dated 2013

ILLUSTRATED

Through the Ages-Li Chen, Asia Art Center, Beijing, 2019, p. 134

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

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

HK$ 393,000 - 639,000

US$ 50,400 - 81,800

RMB 364,000 - 592,000

李真涉獵佛道學等經典、物 外尋真，在藝術作品的追求 上，是以雕塑來傳達東方 文化的精神與內涵。李真 以「虛空」為其重要的創作 美學概念，「空」與「虛」 是中國文化中佛學及道學的 重要思想，佛學中的「空」並 不是代表沒有，而是代表一個巨 大寂靜的生滅智慧境界，在道家 思想有兩句話：「虛空粉碎，大 地平沉」，就是描述一個破與靜 的極點狀態，在「易」之中求道。

李真的雕塑是在探討虛空的能量， 但他所表現出的雕塑實體，卻是空 於外，道氣入內而充塞，一點 也不空，原因是李真再現能

李真 無垢

2013

銅雕 版次 1/8

43（長）x 40（寬）x 79（高）cm

簽名雕刻背面：李真 Li Chen 1/8 2013

圖錄

《古往今來－李真》，亞洲藝術中心，北京， 2019，頁134

附亞洲藝術中心開立之作品保證書

量是以一種精神的形式，用誇張、通體漆黑的實體來表 現懾人的物質精神，但雕塑所傳達確是甜美、浪漫、喜 悅與滿足的精神概念，正因如此，即便他的部分作品巨 大無比，但卻不顯壓迫笨重，似飄浮於空中，令人有 「既重又輕」的感覺，這正是精神能量與物質能量完美 的結合所致。

Li Chen's sculptures investigate the energy of such emptiness, and his sculptural forms are not empty, but instead are full of a vital energy. He achieves this through an energetic and spiritual style that uses exaggerated shapes and dark black lacquer to create a spiritual matter that people can absorb. But the sculptures also convey emotions that are sweet, romantic, happy and satisfied. For this reason, though some of his works may be massive, they don't appear oppressive and heavy. Instead they seem to be floating in the air, exhibiting an alluring ambiguity between lightness and heaviness.

055

YUICHI HIRAKO

(Japanese, b. 1982)

Wooden Wood 01

2022

Wood, acrylic (unique)

94(L) x 84(W) x 140(H) cm

Initialed right side YH in English and dated 2022

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

NT$ 1,400,000 - 2,400,000

HK$ 344,000 - 590,000

US$ 44,100 - 75,500

RMB 319,000 - 547,000

平子雄一

木之森 01

2022

木 壓克力（單一件）

94（長）x 84（寬）x 140（高）cm

簽名右側：YH 22

附額賀古太郎藝廊開立之原作保證書

平子雄一， 生長於林木繚繞的日本岡山縣。 2006 年畢 業於英國溫布頓藝術學院。以「植物系列」著稱，源於 他在英國留學的時光於倫敦當地風行人造庭園，而深刻 感受到都市人喜愛人造景觀的矛盾感。現工作和居住於 日本東京。平子雄一擅長繪畫與雕塑，其作品向來以探 討人類與自然的共存共生為題材，而每件作品都是藝術 家對於自然的「提問」。《木之森01》頭部換成樹木的 樹人為平子雄一創作中的經典元素，作品色彩鮮豔，刻 劃了豐富的元素與細節，如精緻搭設的舞臺劇場景般。

Yuichi Hirako, born and raised amidst the lush forests of Okayama Prefecture, Japan, graduated from Wimbledon College of Arts in the United Kingdom

in 2006. Renowned for his "Plant Series," inspired by his experience of the popularity of artificial gardens among urban dwellers during his time in London, he now lives and works in Tokyo, Japan. Proficient in both painting and sculpture, Hirako's works often delve into the coexistence and symbiosis between humanity and nature, with each piece serving as the artist's inquiry into nature. "Wooden Wood 01," where the tree man’s head is replaced with a tree, is a classic motif in Hirako's creation and stands as one of his iconic works, characterized by vibrant colors and intricate details reminiscent of elaborately staged theatrical settings.

056

YOSHITOMO NARA

(Japanese, b. 1959)

Hand Searching

2017

Polystone, acrylic, color pencil and mixed media

ed. 144/150

15(L) x 12(W) x 31(H) cm

PROVENANCE

HOW2WORK, Hong Hong

Acquired from the above by the present owner

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

NT$ 1,300,000 - 2,200,000

HK$ 319,000 - 541,000

US$ 40,900 - 69,200

RMB 296,000 - 501,000

奈良美智

我的手呢

2017

寶麗石粉 壓克力 彩色鉛筆 綜合媒材

版次 144/150

15（長）x 12（寬）x 31（高）cm

來源

好意工作，香港 現有收藏者購自上述來源

附藝術家簽名保證卡與原產紙盒包裝

057

MEGURU YAMAGUCHI

(Japanese, b. 1984)

Out of Bounds No.119

2021

Acrylic and UV absorber on plywood 98 (H) x 100.5 (W) x 2.5(D) cm

Signed reserve Meguru Yamaguchi, titled Out of Bounds No.119 and dated 2021

PROVENANCE

Jo Art Studio, Taipei

EXHIBITED

Meguru Yamaguchi, American Express, Taipei, April 19-May 9, 2021

NT$ 1,200,000 - 2,200,000

HK$ 295,000 - 541,000

US$ 37,800 - 69,200

RMB 273,000 - 501,000

山口歷

界外 119 號 2021

壓克力顏料 紫外線吸收劑 膠合板 98（高）x 100.5（寬）x 2.5（厚）cm

簽名題識畫背："Out of Bounds No.119" MEGURU YAMAGUCHI 2021

來源

究藝術，台北

展覽

「山口歷繪畫雕塑特展」，美國運通， 台北，展期2021年4月19日至5月9日

058

CHIU YA-TSAI

(Taiwanese, 1949-2013)

Maiden

Oil on canvas

117 x 91 cm

Signed lower right Ya-tsai in Chinese

ILLUSTRATED

Chiu Ya-tsai, Goethe Art Center, Taichung, 2013, color illustrated, p. 143

NT$ 950,000 - 1,800,000

HK$ 233,000 - 442,000

US$ 29,900 - 56,700

RMB 216,000 - 410,000

邱亞才

少女

油彩 畫布

117 x 91 cm

簽名右下：亞才

圖錄

《邱亞才傳記》，哥德藝術中心，

台中，2013，彩色圖版，頁143

059

WALASSE TING

(Chinese-American, 1929-2010)

Ladies with Flowers and Fans

1985

Acrylic on paper mounted onto canvas

178 x 97 cm

With one seal of the artist

NT$ 950,000 - 1,800,000

HK$ 233,000 - 442,000

US$ 29,900 - 56,700

RMB 216,000 - 410,000

丁雄泉

拿花和扇子的女郎

1985

壓克力 紙本裱於畫布

178 x 97 cm

鈐印右上：採花大盜

060

SU WONG-SHEN

(Taiwanese, b. 1956)

Practice Ground for Variety Show

2005

Oil on canvas

150 x 170 cm

Signed reverse Su Wong shen in Chinese and dated 2005

ILLUSTRATED

Su Wong Shen between the Clouds, Eslite Gallery, Taipei, 2008, pp. 210-211, 239

NT$ 750,000 - 850,000

HK$ 184,000 - 209,000

US$ 23,600 - 26,800

RMB 171,000 - 194,000

蘇旺伸

雜耍練習場 2005

油彩 畫布 150 x 170 cm

簽名畫背：蘇旺伸 2005

圖錄

《蘇旺伸－雲與雲之間》，誠品股份 有限公司，台北，2008，頁210-211, 239

061

YEH SHIH-CHIANG

(Taiwanese, 1926-2012)

Windowsill

2007

Oil on canvas

45 x 53 cm

Signed lower right Shih-Chiang in Chinese

NT$ 600,000 - 750,000

HK$ 147,000 - 184,000

US$ 18,900 - 23,600

RMB 137,000 - 171,000

葉世強

窗臺

2007

油彩 畫布 45 x 53 cm

簽名右下：世強

062

PANG JIUN

(Taiwanese, b. 1936)

Vase with Flowers

2010

Oil on canvas

72 x 60 cm

Signed lower left Pang Jiun and dated 2010

With one painted seal of the artist

NT$ 650,000 - 850,000

HK$ 160,000 - 209,000

US$ 20,500 - 26,800

RMB 148,000 - 194,000

龎均

瓶花

2010

油彩 畫布

72 x 60 cm

簽名左下：龎均 2010

手繪鈐印：均

063 PANG JIUN

(Taiwanese, b. 1936)

Watching a Chess Game

1994

Oil on canvas

51 x 61 cm

Signed lower right Pang Jiun in Chinese, dated 1994

With one painted seal of the artist

Signed reverse PANG JIUN in Chinese and English, titled Watching a Chess Game in Chinese, inscribed 12F and dated 1994

NT$ 550,000 - 650,000

HK$ 135,000 - 160,000

US$ 17,300 - 20,500

RMB 125,000 - 148,000

龎均

觀棋 1994

油彩 畫布 51 x 61 cm

簽名右下：龎均 1994

手繪鈐印：均

簽名畫背：龎均 12F《觀棋》 MONET PANG-JIUN 1994

064

DONG SHAWHWEI

(Taiwanese, b. 1962)

Orchid on the Table

2006

Oil on canvas

80 x 65 cm

Signed and dated lower right S.Hwei 2006

PROVENANCE

JSL Auction, Taipei, June 16, 2019, lot 2147

Dongli Gallery, Taipei

Acquired from the above by the present owner

EXHIBITED

26th Art Taipei, Taipei, October 18-21, 2019

This painting is to be sold with a certificate of authenticity issued by Dongli Gallery, Taipei and signed by the artist.

NT$ 550,000 - 800,000

HK$ 135,000 - 197,000

US$ 17,300 - 25,200

RMB 125,000 - 182,000

董小蕙

桌上蘭花 2006

油彩 畫布

80 x 65 cm

簽名右下：S. Hwei 2006

來源

景薰樓，台北，2019年6月16日，

編號2147

東籬畫廊，台北

現有收藏者購自上述來源

展覽

「第26屆台北國際藝術博覽會」，

台北，展期2019年10月18日至

10月21日

附東籬畫廊開立與藝術家簽名之

原作保證書

065

DONG SHAWHWEI

(Taiwanese, b. 1962)

Summer Harvest-Lemon

2012

Acrylic on canvas

60.5 x 72.5 cm

Signed lower right S.Hwei and dated 2012

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

NT$ 420,000 - 600,000

HK$ 103,000 - 147,000

US$ 13,200 - 18,900

RMB 96,000 - 137,000

董小蕙

夏日採收－檸檬

2012

壓克力 畫布

60.5 x 72.5 cm

簽名右下：S.Hwei 2012

附國泰世華藝術中心開立與藝術家 簽名之原作保證書

066

JU MING

(Taiwanese, 1938-2023)

Living World Series

2006

Acrylic, Wood

20.2(L) x 19.6(W) x 40.5(H) cm

Engraved top Ju Ming and dated 2006

PROVENANCE

Kalos Gallery, Taipei

EXHIBITED

Living World Series: Monk, Kalos Gallery, Taipei, May 19-Jane 2, 2007

ILLUSTRATED

Living World Series: Monk, Kalos Gallery, Taipei, 2007, pp. 24-25

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

NT$ 650,000 - 850,000

HK$ 160,000 - 209,000

US$ 20,500 - 26,800

RMB 148,000 - 194,000

朱銘

人間系列

2006

壓克力 木雕

20.2（長）x 19.6（寬）x 40.5（高）cm

簽名雕刻頂部：朱銘 2006

來源

真善美畫廊，台北

展覽

「人間系列－僧」，真善美畫廊，台北，展期2007年5月19日至6月2日

圖錄

《人間系列－僧》，真善美藝術畫廊，台北，2007，頁24-25

附真善美畫廊開立與藝術家簽名之原作保證書

067

MIWA KOMATSU

(Japanese, b. 1984)

Ward Off Evil Dog 4

2017-2018

Mixed media on canvas

102.8 x 102.8 cm

Signed reverse Ko Miwa in English, Miwa Komatsu in Kanji, titled Ward Off Evil Dog 4 in Kanji and in Japanese

EXHIBITED

Miwa Komatsu Solo exhibition, Mitsukoshi Department Store, Tokyo, December 5-16, 2018

NT$ 850,000 - 1,300,000

HK$ 209,000 - 319,000

US$ 26,800 - 40,900

RMB 194,000 - 296,000

小松美羽

拒魔犬 エリア 4

2017-2018

綜合媒材 畫布

102.8 x 102.8 cm

簽名題識畫背：拒魔犬 エリア4

Ko Miwa 小松美羽

展覽

「小松美羽展」，日本橋三越本店，

東京，展期2018年12月5日至16日

068

ALEX FACE

(Thai, b. 1981)

The Flowery Flow No.2

2020

Oil, acrylic, spray on linen

150 x 150 cm

Signed lower right Alex Face

NT$ 850,000 - 950,000

HK$ 209,000 - 233,000

US$ 26,800 - 29,900

RMB 194,000 - 216,000

亞歷克斯．費斯

河岸花語 No.2

2020

油彩 壓克力 噴漆 亞麻布

150 x 150 cm

簽名右下：Alex Face

069

TOMOKO NAGAI

(Japanese, b. 1982)

Story of Twins

2017

Oil on canvas

112 x 162 cm

Signed reverse Tomoko Nagai, titled Story of Twins in Japanese and dated 2017

ILLUSTRATED

Thousands of Finches, Tomoko Nagai, Japan, 2007, p. 57

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

NT$ 850,000 - 1,000,000

HK$ 209,000 - 246,000

US$ 26,800 - 31,500

RMB 194,000 - 228,000

長井朋子

雙胞胎的故事

2017

油彩 畫布

112 x 162 cm

簽名畫背：双子の物語 2017 Tomoko Nagai

圖錄

《數千隻雀，長井朋子》，長井朋子，日本，2017，頁57

附小山登美夫開立之原作保證書

070

TOMOKO NAGAI

(Japanese, b. 1982)

The Parade Bear (diptych)

2013

Oil, glitter on canvas

80.5 x 160.5 cm

Signed reverse Tomoko Nagai, titled The Parade Bear in Japanese and dated 2013

PROVENANCE

Tomio Koyama Gallery, Tokyo

NT$ 650,000 - 800,000

HK$ 160,000 - 197,000

US$ 20,500 - 25,200

RMB 148,000 - 182,000

長井朋子

遊行熊（雙聯幅）

2013

油彩 亮粉 畫布

80.5 x 160.5 cm

簽名畫背：パレードくまTomoko Nagai 2013

來源

小山登美夫畫廊，東京

071

TOMOZAWA KOTAO

(French, b. 1999)

Slime XCIV

2021

Oil on canvas

116.7 x 90.9 cm

Signed reverse Kotao and dated 2021.8

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

NT$ 460,000 - 550,000

HK$ 113,000 - 135,000

US$ 14,500 - 17,300

RMB 105,000 - 125,000

友澤こたお

史萊姆 XCIV

2021

油彩 畫布

116.7 x 90.9 cm

簽名畫背：Kotao 2021.8

附秋華洞藝廊開立之原作保證書

072

KATSURA FUNAKOSHI

(Japanese, 1951-2024)

DR1917 (Drawing for The Book of Azure)

2019

Oil stick and oil pastel on paper

77 x 54.5 cm

Initialed lower right KF and dated 2019

PROVENANCE

Nishimura Gallery, Tokyo

NT$ 480,000 - 750,000

HK$ 118,000 - 184,000

US$ 15,100 - 23,600

RMB 109,000 - 171,000

舟越桂

DR1917 （為天青之書而作的圖畫） 2019

油畫棒 油性粉彩 紙本

77 x 54.5 cm

簽名右下：KF 2019

來源

西村畫廊，東京

073

ALEX FACE

(Thai, b. 1981)

Playground’s Border No.3

2020

Oil, acrylic, spray on linen

100 x 100 cm

Signed lower right Alex Face

NT$ 420,000 - 650,000

HK$ 103,000 - 160,000

US$ 13,200 - 20,500

RMB 96,000 - 148,000

亞歷克斯．費斯

遊樂場邊界 No.3

2020

油彩 壓克力 噴漆 亞麻布

100 x 100 cm

簽名右下：Alex Face

074

CHANG TENG-YUAN

(Taiwanese, b. 1983)

Earth New Species-001

2020

Acrylic on canvas

145.5 x 116 cm

Signed lower right Chang Teng Yuan

ILLUSTRATED

Chang Teng Yuan Art Works 2015-2021, J.P. Art Center, Kaohsiung, 2022, color illustrated, p. 185

NT$ 400,000 - 500,000

HK$ 98,000 - 123,000

US$ 12,600 - 15,700

RMB 91,000 - 114,000

張騰遠

末日地球新物種－ 001

2020

壓克力彩 畫布

145.5 x 116 cm

簽名右下：Chang Teng Yuan

圖錄

《張騰遠作品集 2015-2021》，

琢璞藝術中心，高雄，2022，彩色圖版，

頁185

075

MIWA KOMATSU

(Japanese, b. 1984)

The Leader

2019

Acrylic on canvas

46(L)x 53(W) x 6.5(D) cm

Signed reverse Komiwa in English, Miwa Komatsu in Kanji and dated 2019

PROVENANCE

Daimaru Kyoto, Japan

Acquired from the above by the present owner

NT$ 300,000 - 440,000

HK$ 74,000 - 108,000

US$ 9,400 - 13,800

RMB 68,000 - 100,000

小松美羽

領導者 2019

壓克力 畫布 46（長）x 53（寬）x 6.5（厚）cm

簽名畫背：2019 小松美羽 Komiwa

來源

京都大丸百貨，日本 現有收藏者購自上述來源

076

CHIHARU SHIOTA

(Japanese, b. 1972)

Sailing in the Universe

2020

Watercolor, oil crayon, thread on paper

25.5 x 20 cm

Initialed lower right C.S.

This lot is to be sold with a certificate of authenticity issued by Gallery König, Berlin.

NT$ 260,000 - 360,000

HK$ 64,000 - 88,000

US$ 8,200 - 11,300

RMB 59,000 - 82,000

塩田千春

遨遊宇宙

2020

水彩 油蠟筆 黑線 紅線 紙本

25.5 x 20 cm

簽名右下：C.S.

附國王畫廊開立之原作保證書

077

BERNARD CHAROY

(French, 1931-2024)

Pont de Paris

2006

Oil on canvas

65 x 54 cm

Signed lower left Bernard Charoy

Titled reverse Pont de Paris

PROVENANCE

Galerie Elegance, Taipei

Private collection, Taiwan

This painting is to be sold with a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 340,000 - 500,000

HK$ 84,000 - 123,000

US$ 10,700 - 15,700

RMB 77,000 - 114,000

貝爾納．夏洛瓦

塞納河畔

2006

油彩 畫布

65 x 54 cm

簽名左下：Bernard Charoy

題識畫背：Pont de Paris

來源

愛力根畫廊，台北

私人收藏，台灣

附愛力根畫廊開立之原作保證書

078

YAO JUI-CHUNG

(Taiwanese, b. 1969)

Brain Landscape II: Autumnal Equinox

2015

Golden brain model, gold slime, red acrylic, and golden artist pen on Indian handmade paper

133 x 93 cm

With one seal of the artist

PROVENANCE

Tina Keng Gallery, Taipei

This lot is accompanied with a certificate of authenticity issued by Tina Keng Gallery, Taipei and signed by the artist.

NT$ 200,000 - 300,000

HK$ 49,000 - 74,000

US$ 6,300 - 9,400

RMB 46,000 - 68,000

姚瑞中

腦山水 II －秋分圖 ( 臨馬軾「春

塢村居圖」 )

2015

金箔模型腦 金泥 紅色壓克力顏料

金色水性藝術筆 印度手工紙

133 x 93 cm

鋼印左下：YAO

來源

耿畫廊，台北

附耿畫廊開立與藝術家簽名之原作

保證書

079

HSU TANG-WEI

(Taiwanese, b. 1980)

Quasar Series

2006

Acrylic on canvas

55 x 140 cm

Signed reverse Hsu Tang-Wei in Chinese, TANG-WEI in English and dated 2006

EXHIBITED

Dredging Up the Drift, IT Park Gallery, Taipei, December 23, 2006-January 20, 2007

NT$ 160,000 - 240,000

HK$ 39,000 - 59,000

US$ 5,000 - 7,600

RMB 36,000 - 55,000

許唐瑋

類星體 2006

壓克力 畫布 55 x 140 cm

簽名畫背：許唐瑋 TANG-WEI 2006

展覽

「返式歷程」，伊通公園藝術空間， 台北，展期2006年12月23日至2007

年1月20日

080

HSU TANG-WEI

(Taiwanese, b. 1980)

Quasar Series

2006

Acrylic on canvas

116.5 x 90.5 cm

Signed right side TANG-WEI in Chinese and English

NT$ 160,000 - 240,000

HK$ 39,000 - 59,000

US$ 5,000 - 7,600

RMB 36,000 - 55,000

許唐瑋

類星體系列

2006

壓克力 畫布

116.5 x 90.5 cm

簽名右側：唐瑋 TANG-WEI

081

BENREI HUANG

(Taiwanese, b. 1959)

Running Late for a Date in the Moon

2011

Acrylic on canvas 61 x 51cm

Signed lower right Benrei in English and dated 2011

EXHIBITED

I Know My Taichi, Eslite Gallery, Taipei, May 12-Jun 3, 2012

This lot is accompanied with certificates of authenticity issued by Eslite Gallery, Taipei.

NT$ 170,000 - 260,000

HK$ 42,000 - 64,000

US$ 5,400 - 8,200

RMB 39,000 - 59,000

黃本蕊

趕去赴月娘的約 2011

壓克力 畫布 61 x 51cm

簽名年代右下：Benrei 2011

展覽

「太極四式」，誠品畫廊，台北，

展期2012年5月12日至6月3日

附誠品畫廊開立之原作保證書

082

CHEN WEI-TING

(Taiwanese, b. 1991)

Dog with the Bird

2020

Acrylic, color pencil on canvas

81 x 70 cm

Signed reverse Chen Wei Ting in Chinese and dated 2020

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

NT$ 130,000 - 220,000

HK$ 32,000 - 54,000

US$ 4,100 - 6,900

RMB 30,000 - 50,000

陳威廷

狗和鳥 2020

壓克力 色鉛筆 畫布

81 x 70 cm

簽名年代畫背：陳威廷 2020

附舊香居藝廊開立之原作保證書

083

ALIXE FU

(Chinese-French, b. 1961)

The Plant

1992

Oil on canvas

100 x 73 cm

Signed lower left Alixe Fu in English and dated 1992

Signed reserve Alixe Fu in Chinese and English, titled The Plant in Chinese, inscribed 100 x 73 cm and dated 1992

PROVENANCE

East Gallery, Taipei

This lot is accompanied with a certificate of authenticity issued by East Gallery, Taipei and signed by the artist.

NT$ 140,000 - 220,000

HK$ 34,000 - 54,000

US$ 4,400 - 6,900

RMB 32,000 - 50,000

傅慶豊

盆景

1992

油彩 畫布 100 x 73 cm

簽名年代左下：Alixe Fu 92

簽名題識畫背：100 x 73 cm 傅慶豊 1992 Alixe Fu 畫題：盆景

來源 東之畫廊，台北

附東之畫廊開立與藝術家簽名之 原作保證書

084

LO CHAN PENG

(Taiwanese, b. 1983)

Journal of Strawberry Generation 5

2007

Oil on canvas

72.5 x 91 cm

Signed right edge Lo Chan Peng in Chinese and dated 2007

Titled reverse Journal of Strawberry Generation 5 in Chinese, inscribed 91 x 72.5 cm and dated 2007

EXHIBITED

Assumed Taiwanese, Aki Gallery, Taipei, September 8-30, 2007

NT$ 120,000 - 200,000

HK$ 29,000 - 49,000

US$ 3,800 - 6,300

RMB 27,000 - 46,000

羅展鵬

草莓族青春日誌 5 號

2007

油彩 畫布

72.5 x 91 cm

簽名右側：羅展鵬2007

題識畫背：草莓族青春日誌5

91 x 72.5 cm 2007

展覽 「自以為是台灣人」，也趣藝廊，

台北，展期2007年9月8日至30日

085

BURTON MORRIS

(American, b. 1964)

Little Blue Box

2008

Acrylic on canvas

76.2 x 76.2cm

Initialed lower right BCM

This lot is accompanied with a certificate of authenticity issued by Burton Morris Studios.

NT$ 100,000 - 150,000

HK$ 25,000 - 37,000

US$ 3,100 - 4,700

RMB 23,000 - 34,000

伯頓．莫利斯

藍色禮盒

2008

壓克力 畫布

76.2 x 76.2cm

簽名右下：BCM

附藝術家工作室開立之原作保證書

086

BURTON MORRIS

(American, b. 1964)

Chanel N° 5

2008

Acrylic on canvas

76.2 x 76.2cm

Initialed lower right BCM

This lot is accompanied with a certificate of authenticity issued by Burton Morris Studios.

NT$ 100,000 - 150,000

HK$ 25,000 - 37,000

US$ 3,100 - 4,700

RMB 23,000 - 34,000

伯頓．莫利斯

香奈兒 N ° 5

2008

壓克力 畫布

76.2 x 76.2cm

簽名右下：BCM

附藝術家工作室開立之原作保證書

087

ANDRÉ BRASILIER

(French, b. 1929)

La messagère blonde

1987

Porcelain plate ed. 6/30

50(L) x 44(W) x 3.5(D) cm

ILLUSTRATED

André Brasilier, Atelier Sassi-Milici, Vallauris, France 1987, color illustrated

NT$ 110,000 - 220,000

HK$ 27,000 - 54,000

US$ 3,500 - 6,900

RMB 25,000 - 50,000

安德烈．布拉吉利

金髮信使

1987

手繪瓷盤 版次6/30

50（長）x 44（寬）x 3.5（厚）cm

圖錄

《安德烈．布拉吉利》，撒希－米 利奇畫廊，瓦洛里，法國，1987，

彩色圖版

088 RENÉ GENIS

(French, 1922-2004)

En rose et noir

2003

Oil on canvas

47 x 27 cm

Signed lower left René Genis

Signed reverse René Genis, titled En rose et noir

Signed stretcher bar R.Genis

PROVENANCE

Baron Ribeyre & Associés, Paris, March 9, 2018, lot 272

NT$ 130,000 - 240,000

HK$ 32,000 - 59,000

US$ 4,100 - 7,600

RMB 30,000 - 55,000

賀內．吉尼斯

粉紅色和黑色

2003

油彩 畫布

46 x 27 cm

簽名左下：René Genis

簽名題識畫背：En rose et noir

René Genis

簽名畫背框條：R.Genis.

來源

Baron Ribeyre拍賣，巴黎，2018年

3月9日，編號272

089

RENÉ GENIS

(French, 1922-2004)

Cyclamens et coquillage

2003

Oil on canvas

46.5 x 38.5 cm

Signed lower left René Genis

Signed stretcher bar René, titled Cyclamens et coquillage and inscribed 8F succession René and dated 2003

PROVENANCE

Baron Ribeyre & Associés, Paris, March 9, 2018, lot 247

NT$ 170,000 - 260,000

HK$ 42,000 - 64,000

US$ 5,400 - 8,200

RMB 39,000 - 59,000

賀內．吉尼斯

仙客來和貝殼

2003

油彩 畫布

46.5 x 38.5 cm

簽名左下：René Genis

簽名題識畫背框條：Cyclamens et coquillage 8F 2003 succession

René

來源

Baron Ribeyre拍賣，巴黎，2018年 3月9日，編號247

090

GUY BARDONE

(French, 1927-2015)

Premières neiges dans le Jura

Oil on canvas

61 x 46 cm

Signed lower right BARDONE

PROVENANCE

Baron Ribeyre & Associés, Paris, March 9, 2018, lot 102

NT$ 190,000 - 280,000

HK$ 47,000 - 69,000

US$ 6,000 - 8,800

RMB 43,000 - 64,000

居．巴赫東

侏羅省的第一場雪

油彩 畫布

61 x 46 cm

簽名右下：BARDONE

來源

Baron Ribeyre拍賣，巴黎，2018年

3月9日，編號102

091 KATHARINA ARNDT

(German, b. 1981)

Angry Kitty #7; Angry Kitty #9 (a set of 2)

2023

Acrylic on canvas

50 x 40 cm (each)

Signed reverse Katharina Arndt, titled Angry Kitty #7 and dated 2023

Signed reverse Katharina Arndt, titled Angry Kitty #9 and dated 2023

EXHIBITED

Katharina Arndt POP-UP Exhibition, Ting Ting Art Space, Taipei, June 24-July 23, 2023

NT$ 190,000 - 280,000

HK$ 47,000 - 69,000

US$ 6,000 - 8,800

RMB 43,000 - 64,000

凱薩琳娜．阿恩特

生氣的小貓 #7 ；生氣的小貓 #9 ( 兩件一組 ) 2023

壓克力 畫布 50 x 40 cm（每件）

簽名題識畫背：Angry Kitty #7 2023

Katharina Arndt

簽名題識畫背：Angry Kitty #9 2023

Katharina Arndt

展覽

「凱薩琳娜快閃展」，丁丁藝術空 間，台北，展期2023年6月24日至 2023年7月23日

092

NIKKI (American, b. 1996)

Yellow Bear Girl

Acrylic on canvas

100 x 100 cm

Signed reverse Nikki

NT$ 200,000 - 300,000

HK$ 49,000 - 74,000

US$ 6,300 - 9,400

RMB 46,000 - 68,000

Nikki

黃色小熊女孩

壓克力 畫布

100 x 100 cm

簽名畫背：Nikki

093

NICOLÁS ROMERO

(Argentinian, b. 1985)

Vanity 2022

Oil and acrylic on linen

95 x 100 cm

Signed reverse Romero and dated 2022

EXHIBITED

Nicolás Romero Solo Exhibition, Ting Ting Art Space, Taipei, August 26-September 29, 2023

Art Tainan, Silks Place, Tainan, March 15-17, 2024

NT$ 220,000 - 340,000

HK$ 54,000 - 84,000

US$ 6,900 - 10,700

RMB 50,000 - 77,000

尼古拉斯．羅梅羅

虛榮 2022

油彩 壓克力 亞麻布

95 x 100 cm

簽名畫背：Romero 2022

展覽

「尼古拉斯．羅梅羅個展」，丁丁

藝術空間，台北，展期2023年8月

26日至9月29日

「台南藝術博覽會」，晶英酒店，

台南，展期2024年3月15日至17日

DANIELE OLDANI

(Italian, b. 1979)

I Am the Future

2022

Acrylic and oil pastel on canvas 120 x 100 cm

Signed lower left OLDANI

Titled upper right I AM THE FUTURE

Signed reverse Daniele Oldani, inscribed NO FUTURE and dated 2022

NT$ 260,000 - 380,000

HK$ 64,000 - 93,000

US$ 8,200 - 12,000

RMB 59,000 - 87,000

丹尼爾．歐丹尼

我就是未來 2022

壓克力 油畫棒 畫布 120 x 100 cm

簽名左下：OLDANI

題識右上：I AM THE FUTURE

簽名畫背：Daniele Oldani NO FUTURE 2022

095 MOISÉS YAGÜES

(Spanish, b. 1972)

I Like You Dream for Me; Dreaming of You (a set of 2)

2020

Mixed media on panel 80 x 80 cm (each)

Signed lower right Yagües and dated 2020

Signed reverse Yagües and Moisés Yagües, titled I Like

You Dream For Me in Spanish and dated 2020

Signed lower right Yagües and dated 2020

Signed reverse Yagües and Moisés Yagües, titled Dreaming of You in Spanish and in English and dated 2020

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

NT$ 240,000 - 340,000

HK$ 59,000 - 84,000

US$ 7,600 - 10,700

RMB 55,000 - 77,000

莫伊．亞格斯

我希望你夢見我；夢見你 （兩件一組）

2020

綜合媒材 木板 80 x 80 cm（每件）

簽名右下：Yagües 2020

簽名畫背："QUIERO QUE

SUEÑES CONMIGO" Yagües 2020

Moisés Yagües

簽名右下：Yagües 2020

簽名畫背："TE SIGO SOÑANDO"

MOISES YAGUES Yagües 2020 (Dreaming of You)

附丁丁藝術空間開立之原作保證書

096

OSCAR LLORENS

(Spanish, b. 1975)

Pablo and Me

Mixed media on paper mounted on wood

70 x 100 cm

Signed lower right Oscar Llorens

PROVENANCE

Acquired directly from the artist by the present owner

NT$ 240,000 - 340,000

HK$ 59,000 - 84,000

US$ 7,600 - 10,700

RMB 55,000 - 77,000

奧斯卡．羅倫斯

巴布羅與我

綜合媒材 紙本裱於木板

70 x 100 cm

簽名右下：Oscar Llorens

來源

現有收藏家購自藝術家本人

097

MAX BI

(Italian, b. 1973)

Polpo

2022

Mixed media on canvas

60 x 80 cm

Signed upper left Max

NT$ 110,000 - 170,000

HK$ 27,000 - 42,000

US$ 3,500 - 5,400

RMB 25,000 - 39,000

馬克斯．彼

章魚

2022

綜合媒材 畫布

60 x 80 cm

簽名左上：MAX

DANIELE OLDANI

(Italian, b. 1979)

Just a Sport

2022

Acrylic and oil pastels on canvas

150 x 100 cm

Signed lower right OLDANI

Signed reverse Daniele Oldani, titled JUST A SPORT and dated 2022

NT$ 320,000 - 480,000

HK$ 79,000 - 118,000

US$ 10,100 - 15,100

RMB 73,000 - 109,000

丹尼爾．歐丹尼 只是個運動罷了 2022

壓克力 油畫棒 畫布

150 x 100 cm

簽名右下：OLDANI

簽名題識畫背：Daniele Oldani

JUST A SPORT 2022

99

JOAN CORNELLÀ

(Spanish, b. 1981)

Untitled

Oil on canvas

60.2 x 60 cm

Signed lower right side Cornellà

PROVENANCE

Acquired directly from the artist by the present ower

NT$ 320,000 - 420,000

HK$ 79,000 - 103,000

US$ 10,100 - 13,200

RMB 73,000 - 96,000

朱安．葛明尼拉

無題

油彩 畫布

60.2 x 60 cm

簽名右下側：Cornellà

來源

現藏者購自藝術家本人

100

JISBAR

(French, b. 1989)

Robot Mona

2022

Mixed media on canvas

146 x 114 cm

Signed reverse Jisbar ©, titled Robot Mona and dated 2022

NT$ 650,000 - 950,000

HK$ 160,000 - 233,000

US$ 20,500 - 29,900

RMB 148,000 - 216,000

吉斯巴

機器蒙娜 2022

綜合媒材 畫布 146 x 114 cm

簽名題識畫背：Robot Mona 2022

Jisbar ©

101

EDDIE MARTINEZ

(American, b. 1977)

Untitled

2014

Acrylic paint, marker pen, pastel and enamel on paper

24.8 x 30.5 cm

PROVENANCE

Timothy Taylor Gallery, New York

NT$ 320,000 - 500,000

HK$ 79,000 - 123,000

US$ 10,100 - 15,700

RMB 73,000 - 114,000

艾迪．馬丁內斯 無題

2014

壓克力彩 麥克筆 粉彩 瓷釉 紙本

24.8 x 30.5 cm

來源 蒂莫西．泰勒畫廊，紐約

102

EDDIE MARTINEZ

(American, b. 1977)

Blockheads for Detroit

2019

Oil, spray paint, ink, marker and crayon on paper; unique piece

76 x 51 cm

Initialed lower right EM. 15/20 and dated 2019

Titled lower center Blockheads for Detroit

PROVENANCE

Museum of Contemporary Art Detroit, Detroit

EXHIBITED

Eddie Martinez: Fast Eddie, Museum of Contemporary Art Detroit, Detroit, May 10-August 18, 2019

NT$ 850,000 - 1,300,000

HK$ 209,000 - 319,000

US$ 26,800 - 40,900

RMB 194,000 - 296,000

艾迪．馬丁內斯 底特律的傻瓜

2019

油彩 噴漆 墨 簽字筆 蠟筆 紙本 （單一件）

76 x 51 cm

簽名右下：EM.15/20 2019

題識中下：Blockheads for Detroit

來源 底特律當代藝術博物館，底特律

展覽 「艾迪．馬丁內斯：快速艾迪」，底特律 當代藝術博物館，底特律，展期2019年

5月10日至8月18日

103 BERNARD CATHELIN

(French, 1919-2004)

Nature morte aux cyclamens rouges

1986

Oil on canvas

97 x 130 cm

Signed lower left Cathelin and dated 86

PROVENANCE

Galerie Art France, Paris

Marc Arthur Kohn, Paris, October 11, 2000, lot 48

Acquired from the above by the present owner

EXHIBITED

Cathelin, Galerie Art France, Paris, October 20-November 21, 1987

ILLUSTRATED

Cathelin, Galerie Art France, Paris, 1987, color illustrated

NT$ 850,000 - 1,300,000

HK$ 209,000 - 319,000

US$ 26,800 - 40,900

RMB 194,000 - 296,000

貝爾納．卡多蘭

紅色仙客來靜物

1986

油彩 畫布

97 x 130 cm

簽名左下：Cathelin 86

來源

法國藝術畫廊，巴黎 馬克亞瑟．孔恩拍賣公司，巴黎，

2000年10月11日，編號48

現有收藏者購自上述來源

展覽

「卡多蘭」個展，法國藝術畫廊，

巴黎，展期1987年10月20日至 11月21日

圖錄

《卡多蘭》展覽目錄，法國藝術畫廊， 巴黎，1987，彩色圖版

104 ANDRÉ BRASILIER

(French, b. 1929)

Le Retour des cavaliers

1998

Oil on canvas

81 x 100 cm

Signed lower right André Brasilier

Initialed reverse A.B., titled Le retour des cavaliers and dated 1998

PROVENANCE

Previous owner acquired directly from the artist

Private collection, France

ILLUSTRATED

Xavier de Coulanges, André Brasilier: Catalogue Raisonné, 1982-2002 (v. I), Acatos Publishing, Lausanne, 2004, color illustrated, p. 289

NT$ 1,300,000 - 2,200,000

HK$ 319,000 - 541,000

US$ 40,900 - 69,200

RMB 296,000 - 501,000

安德烈．布拉吉利

彩霞騎士

1998

油彩 畫布 81 x 100 cm

簽名右下：André Brasilier 簽名題識畫背：Le retour des cavaliers A. B. 1998

來源

原買家購自藝術家本人 私人收藏，法國

圖錄

沙維亞．德．古朗士，《安德烈． 布拉吉利作品目錄，1982-2002年， 第一冊》，阿卡托斯出版，洛桑， 2004，彩色圖版，頁289

105 ROBERT COMBAS

(French, b. 1957)

Untitled

1987

Acrylic and fabric collage on canvas

96 x 87 cm

Signed lower left Combas and dated 87

PROVENANCE

Sonia Zannettacci, Geneva

Yvon Lambert, Paris Gallery Moos, Toronto

Private Collection, Switzerland

Sotheby’s, Paris, June 7, 2017, lot 239

Acquired from the above by the present owner

NT$ 1,400,000 - 2,000,000

HK$ 344,000 - 491,000

US$ 44,100 - 63,000

RMB 319,000 - 456,000

羅伯．貢巴斯

無題

1987

壓克力 拼布 拼貼 畫布

96 x 87 cm

簽名左下：Combas 87

來源

索妮亞．贊尼塔西，日內瓦 伊馮．朗伯，巴黎 穆斯畫廊，多倫多 私人收藏，瑞士

蘇富比拍賣，巴黎，2017年6月7日，編號239

現有收藏者購自上述來源

貢巴斯為法國「自由具象」團體的主要創始人，好友 迪羅沙兄弟（ Di Rosa ）等為共同成員，崛起於 1980 年 代。「自由具象」藝術家們顛覆了「極簡主義」、「觀 念主義」等代表的高尚品味，以扭曲粗獷的筆觸、漫 畫嘲諷式前衛風格，寫下當代美術史的重要史篇。對照 1970 年代末至 1980 年代同一世代，瘋狂頹廢與酒神享 樂的懷舊時空背景下，大西洋兩岸藝術家們對傳統、歷 史、自由、性別等議題有更深切的探索，各國興起以 「新」為名的具象畫派的誕生。

在美國有擷取歷史的「新意象畫」或「壞畫」的藝術 家群：例如巴斯奇亞、凱斯．哈林的街頭地鐵塗鴉 藝術；英國的「新繪畫」由克里斯多夫．勒．布倫 （Christopher Le Brun）領銜；德國的「新表現主義」 或「新野獸派」，以巴塞利茲（ Georg Baselitz ）、 基弗（ Anselm Kiefer ）、印門 朵夫（ Jörg Immendorff ）、 潘可（ A.R.Penck ）為代表藝 術家；義大利的「超前衛」 （ Transavangurdia ），所謂 三 C 藝術家，齊亞（ Sandro Chia ）、克雷蒙第（ Francesco Clemente ）、古基（ Enzo Cucchi ）等人出色拔粹。這類延 續「達達主義」精神，被評論家 們泛稱為所謂的「壞畫」品味， 或者統整以德國「新表現主義」 泛稱，進而擴展歸類為「前衛藝 術」，其影響力一直延續至 21 世 紀的此時此刻。

而以貢巴斯為首的法國的「自 由具象」或稱「新自由具象」 （Nouvelle Figuration Libre ）， 在這波前衛潮流裡熠熠發光。貢 巴斯與夥伴們的繪畫裡，不見強 烈的政治傾向，純然盡情自由的 繪畫。他們鍾情於搖滾與龐克音樂，舉凡歷史英雄人 物、非洲原生藝術，華麗阿拉伯式普普藝術、暴力情色 題材等始終感到興味盎然。如同畢卡索在1960年代也曾 回歸古典藝術，貢巴斯等輩以再現經典懷舊、敘事性的 繪畫革新展現自我。

rough brushworks as well as avant-garde satirical cartoons. Compared to those of the same generation from the late 1970s to the 1980s who indulged in crazy decadence and Bacchus pleasure, the artists on both sides of the Atlantic began in-depth explorations of tradition, history, freedom and gender issues, giving birth to the Figuration Libre and other emerging styles beginning with the name "New" in various countries.

貢巴斯《狂歡遊行》1986年 壓克力 畫布

227.5 x 180.5 cm 艾德巴黎 2019 美金353,446 成交 Robert Combas, A pet hit parade!, 1986, acrylic on canvas

In the U.S., there was a group of artists who captured history with New Image Painting or Bad Painting, such as the street or metro graffiti of Jean-Michel Basquiat or Keith Haring. In England, there was a New Painting style led by Christopher Le Brun. In Germany, there was the Neo-Expressionism style or the Les Nouveaux Fauves represented by Georg Baselitz, Anselm Kiefer, Jörg Immendorff, and A. R. Penck. For the Italian Transavangurdia style, outstanding representative artists include the socalled three C artists, Sandro Chia, Francesco Clemente, and Enzo Cucchi. As a continuation of Dadaism, these new styles were generally referred to by critics as the "bad paintings", or collectively known as the German name "Neo-expressionism". The style expanded to become part of the classification of the "avant-garde art", which has continued its influence to the current moment in the 21st century.

227.5 x 180.5 cm Artcurial Paris, 2019 lot 298 USD 353,446 sold

Combas is the main founder of the French Figuration Libre movement that flourished in the 1980's. His good friend Di Rosa was also a member. Figuration Libre artists subverted the noble status of Minimalism and Conceptualism, and created an important chapter in the history of contemporary art with twisted and

Headed by Combas, the French Figuration Libre or Nouvelle Figuration Libre stood out in this avantgarde trend. In the paintings by Combas and his fellow artists, strong political tendency was absent as they favored pure and free-style paintings. They also loved rock and punk music, and had a strong interest in historical heroic figures, native African art, magnificent Arabic pop art, and themes with violence and eroticism. Just as Picasso also returned to classical art in the 1960s, Combas and friends also presented themselves with reproductions of classical nostalgic and narrative innovation in painting.

106

TANIA MARMOLEJO

(Dominican, b. 1975)

Secrets in the Rainforest 2022

Acrylic on canvas

170 x 147.5 cm

Signed reverse Tania Marmolejo, titled Secrets in the Rainforest and dated 2022

EXHIBITED

Tania Marmolejo: The Dream and the Voyage, CICA Vancouver, Canada, September1-October 1, 2022

NT$ 1,600,000 - 2,200,000

HK$ 393,000 - 541,000

US$ 50,400 - 69,200

RMB 364,000 - 501,000

塔妮亞．馬莫列霍 雨林中的秘密 2022

壓克力 畫布 170 x 147.5 cm

簽名畫背：Secrets In The Rainforest Tania Marmolejo 2022

展覽

「塔妮亞．馬莫列霍：夢想與航程」，溫哥華 國際當代藝術中心，加拿大，展期2022年 9月1日至10月1日

塔妮亞．馬莫列霍的藝術創作始於時尚與生活風格雜誌 的插畫作家。出生於多米尼加，目前定居美國紐約， 2005 年，她開始致力於藝術生涯，她的作品陸續在紐 約、華盛頓、邁阿密等城市展出。總是有著令人過目難 忘的深邃眼眸與動人神情女子為其標誌性風格。她的作 品受到文藝復興和巴洛克時期繪畫藝術，以及德國抽象 和具象表現主義的影響，塔妮亞的創作不斷探索性別和 身份的問題，女性的表情與身體語言成為觀畫者與藝術 家間的交流載體。

Tania Marmolejo is an artist with a background in fashion and lifestyle magazine illustration. Born in Dominica, currently based in New York, she started her artistic career in 2005. Her works feature women with captivating eyes, under a strong influence of Renaissance and Baroque paintings, German abstraction and realistic expressionism. Tania's works explore issues of sexuality and identity and use the feminine expression and body language as a medium of expression.

107

GEORGES MATHIEU

(French, 1921-2012)

Éleusia

Oil on canvas

73 x 92 cm

Signed lower right Mathieu

Titled stretcher bar ÉLEUSIA

ILLUSTRATED

Hommage à Mathieu, Galerie Élégance, Taipei, 2006, color illustrated, p. 65

This lot is accompanied by a certificate of authenticity issued by Galerie Élégance, Taipei, and a certificate signed by the artist.

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

HK$ 491,000 - 737,000

US$ 63,000 - 94,400

RMB 456,000 - 683,000

喬治．馬修

希臘之城

油彩 畫布

73 x 92 cm

簽名右下：Mathieu

題識畫背框條：ÉLEUSIA

圖錄

《向馬修大師致敬》，愛力根畫廊，台北，2006，

彩色圖版，頁65

附愛力根畫廊開立之原作保證書與藝術家簽名保證書

Georges Mathieu ÉLEUSIA

喬治．馬修 | 希臘之城

戰後抽象的浪潮中，「抒情抽象之父」－喬治．馬修， 無疑是領先群英高掛天際的啟明之星。他運用更直觀、 原始的方式宣揚抒情抽象理論，倡言抽象藝術從幾何概 念解放，以全新的型式表現，展露帶有東方書法語言， 抽象符號與圖像化的演變。早在 2019 年羅芙奧季刊第 27 期「藝術與投資」專欄：快意譜寫華麗史詩 抒情抽 象之父喬治．馬修，一文就直指馬修作為法國當代藝術 巨擘，相較於同時期朱德群、趙無極、哈同、蘇拉吉， 其重要歷史地位與市場價值背離，可預期的成長空間吸 引全球市場關注。

馬修曾經被法國文化部長馬樂侯讚譽為「終於有了西方 的書法家！」已故的國立西洋美術館館長富永惣一盛讚 他是「自畢卡索以來最偉大的法國畫家」。美國評論家 克萊門．特格林伯格當年看過紐約庫茲畫廊的畫展後， 也稱呼馬修是「歐洲最偉大的畫家」。黑、白、紅的單 色背景是馬修早期常見用色，多採單色背景，簡單的符 號自由律動。後來的作品則趨向鮮艷多變化，尤其是 1970 年代後的風格顯得瑰麗優雅，而其獨有的高貴依 舊氣勢不凡。 1970 年代馬修非常專注於畫面動勢與平 衡，畫面中心有色塊的組合。

本次拍品《希臘之城》為一幅充滿凝聚力和能量的迷人 作品，彰示了馬修的藝術語彙，筆勢奔放自由，中央符 號性的抽象結構，像宇宙留下的神祕訊號，線條由內而 外幅射狀四射。畫面啞黑的底色，與濃重層疊的赭紅色 彩，兩者呈現強烈對比，抒發馬修的熱情與力量，有著 無與倫比的深度，讓藝術家腦海的強烈意識，瞬間傾注 在畫布象徵的虛擬空間，饒富激情與音樂性，觀者會不 自覺隨畫面，試圖模擬藝術家的筆觸路徑。

喬治．馬修《聖女貞德解放奧爾良》1982年 油彩 畫布 50 x 129.5 cm 蘇富比香港，2020，現代藝術夜拍 編號1011 約美金 534,420成交

Georges Mathieu, La libération d'Orléans par Jeanne d'Arc, 1982, oil on canvas 50 x 129.5 cm Sotheby's Hong Kong, 2020, Modern Art Evening Sales, lot 1011 USD 534,420 sold

In the wave of post-war abstraction, the "father of lyrical abstraction" Georges Mathieu undoubtedly stood as the most inspirational and talented pioneer. He expressed the theory of lyrical abstraction by using a more intuitive, primitive method to advocate the liberation of abstract art from geometric concepts while presenting it in a whole new style. In addition to demonstrating the evolution of abstract symbols and graphics in the language of eastern calligraphy. In 2019, the article, "Composing Grand Epics with Rapid - Georges Mathieu, The Father of Lyrical Abstraction", in the Art and Investment column of Ravenel Quarterly No. 27 pointed to George Mathieu's role as a master of French contemporary art. Compared to artists from his time, such as Chu Teh-Chun, Zao Wou-Ki, Hans Hartung, and Pierre Soulages, however, Mathieu's key role in history was not directly reflected in the market value of his works. Hence, the predicted growth of his work has attracted global market attention.

Mathieu was also praised by André Malraux, France's culture minister, who said, ''finally, there is a Western calligrapher!'' Soichi Tominaga (1902-1980) the late director of Japan’s National Museum of Western Art also praised Mathieu as ''the greatest French painter since Picasso''. American critic Clement Greenberg, after seeing the Kootz Gallery in New York, also called

Mathieu ''the most important European painter.” Black, white, or red monochromatic backgrounds were commonly utilized by Georges Mathieu in his early days. The vibrant monochromic backgrounds revealed the simple symbolic rhythm of liberty. Mathieu’s later works tended to be brighter and more varied. His style after the 1970s was especially imposing with an extraordinary flair. In the 1907s, Mathieu focused heavily on the dynamical balance on canvas, materializing combinations of color blocks in the center of canvases.

The artwork "Éleusia" is a captivating piece brimming with cohesion and energy, showcasing Mathieu's artistic vocabulary. The brushstrokes are bold and free, with a central symbolically abstract structure resembling mysterious signals left by the cosmos, radiating outward in a burst of lines. The muted black background of the painting contrasts sharply with the densely layered colors, expressing Mathieu's passion and strength with unparalleled depth. The intense consciousness of the artist instantly pours into the virtual space symbolized by the canvas, filled with passion and musicality. Viewers may unconsciously follow the path of the artist's brushstrokes, attempting to mimic the artist's creative process as they engage with the artwork.

108

KAWS (BRIAN DONNELLY)

(American, b. 1974)

Companion (Brown)

2007

Mixed media plastic, limited edition of 100

37(L) x 57(W) x 127(H) cm

Trademark©KAWS, 07 and Medicom Toy 2007

PROVENANCE

Ravenel, Taipei, December 4, 2016, lot 215

Acquired from the above by the present owner

NT$ 1,500,000 - 2,200,000

HK$ 369,000 - 541,000

US$ 47,200 - 69,200

RMB 342,000 - 501,000

KAWS （布萊恩．唐納利）

同伴（棕色）

2007

綜合媒材 搪膠 限量100版

37（長）x 57（寬）x 127（高）cm

註冊商標：© KAWS.. 07 Medicom Toy 2007

來源

羅芙奧拍賣，台北，2016年12月4日，編號215

現有收藏者購自上述來源

109

YAYOI KUSAMA

(Japanese, b. 1929)

Dawn

1989

Screenprint, ed. 27/100

52.8 x 45.4 cm (image)

61 x 53.5 cm (sheet)

Signed lower right Yayoi Kusama

Numbered lower left 27/100

Titled lower center Dawn in Kanji and dated 1989

PROVENANCE

Ota FineArts, Tokyo

GALLERY at lammfromm, Tokyo

ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, no.120, p. 78

NT$ 480,000 - 700,000

HK$ 118,000 - 172,000

US$ 15,100 - 22,000

RMB 109,000 - 159,000

草間彌生

曉

1989

絲網版畫 版次 27/100

52.8 x 45.4 cm（圖）

61 x 53.5 cm（紙）

簽名右下：Yayoi Kusama

版次左下：27/100

題識下方：曉 1989

來源

大田畫廊，東京 Lammfromm，東京

圖錄

《草間彌生全版畫1979-2017》，

阿部出版株式會社，東京，2017，

編號120，頁78

110

YAYOI KUSAMA

(Japanese, b. 1929)

Depth of the Sea

1989

Silkscreen, ed. 84/100

45.5 x 53 cm (image)

49 x 55 cm (sheet)

Signed lower right Yayoi Kusama

Numbered lower left 84/100

Titled lower center Depth of the Sea in Kanji and dated 1989

PROVENANCE

Christie’s, Hong Kong, May 29, 2016, lot 258

ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, no.135, p. 89

NT$ 480,000 - 700,000

HK$ 118,000 - 172,000

US$ 15,100 - 22,000

RMB 109,000 - 159,000

草間彌生

深海

1989

絲網版畫 版次 84/100

45.5 x 53 cm（圖）

49 x 55 cm（紙）

簽名右下：Yayoi Kusama

版次左下：84/100

題識下方：深海 1989

來源

佳士得，香港，2016年5月29日，

編號258

圖錄

《草間彌生全版畫1979-2017》，

阿部出版株式會社，東京，2017，

編號135，頁89

111

YAYOI KUSAMA

(Japanese, b. 1929)

Goldfish Bowl

1984

Silkscreen, ed. 29/100

45.5 x 53 cm (image)

49 x 55 cm (sheet)

Signed lower right Yayoi Kusama

Numbered lower left 29/100

Titled lower center Goldfish Bowl in Kanji and dated 1984

PROVENANCE

Christie’s, Hong Kong, May 29, 2016, lot 258

ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, no.31, p. 29

NT$ 480,000 - 700,000

HK$ 118,000 - 172,000

US$ 15,100 - 22,000

RMB 109,000 - 159,000

草間彌生

金魚

1984

絲網版畫 版次29/100

45.5 x 53 cm（圖）

49 x 55 cm（紙）

簽名右下：Yayoi Kusama

版次左下：29/100

題識下方：金魚 1984

來源

佳士得，香港，2016年5月29日，

編號258

圖錄

《草間彌生全版畫1979-2017》，

阿部出版株式會社，東京，2017，

編號31，頁29

112

YAYOI KUSAMA

(Japanese, b. 1929)

Shellfish

1989

Silkscreen, ed. 57/100

45.5 x 53 cm (image)

49 x 55 cm (sheet)

Signed lower right Yayoi Kusama

Numbered lower left 57/100

Titled lower center Shellfish in Kanji and dated 1989

PROVENANCE

Christie’s, Hong Kong, May 29, 2016, lot 258

ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, no.124, p. 82

NT$ 480,000 - 700,000

HK$ 118,000 - 172,000

US$ 15,100 - 22,000

RMB 109,000 - 159,000

草間彌生

貝

1989

絲網版畫 版次57/100

45.5 x 53 cm（圖）

49 x 55 cm（紙）

簽名右下：Yayoi Kusama

版次左下：57/100

題識下方：貝 1989

來源 佳士得，香港，2016年5月29日，

編號258

圖錄 《草間彌生全版畫1979-2017》， 阿部出版株式會社，東京，2017，

編號124，頁82

113

YOSHITOMO NARA

(Japanese, b. 1959)

Broken Treasures

2012

Woodcut, ed. 35/50

42 x 30 cm

Signed lower right Na in Japanese

Dated lower center 2012

Numbered lower left 35/50

PROVENANCE

Omotesando Hills S and O, Tokyo

NT$ 700,000 - 950,000

HK$ 172,000 - 233,000

US$ 22,000 - 29,900

RMB 159,000 - 216,000

奈良美智

破碎的寶物 2012

木刻版畫 版次35/50 42 x 30 cm

簽名右下：な

年代下方：2012

版次左下：35/50

來源

表參道之丘S and O，東京

YOSHITOMO NARA

(Japanese, b. 1959)

Backwards Forwards

2012

Woodcut, ed. 39/50

42 x 29.5 cm

Signed lower right Na in Japanese

Dated lower center 2012

Numbered lower left 39/50

PROVENANCE

Omotesando Hills S and O, Tokyo

NT$ 700,000 - 950,000

HK$ 172,000 - 233,000

US$ 22,000 - 29,900

RMB 159,000 - 216,000

奈良美智

向後向前 2012

木刻版畫 版次 39/50 42 x 29.5 cm

簽名右下：な

年代下方：2012

版次左下：39/50

來源

表參道之丘S and O，東京

KOHEI NAWA

(Japanese, b. 1975)

Particle White Deer (MB)

2020

Mixed media, ed. 16/80

75(L) x 75(W) x 68(H) cm

Signed base bottom Kohei Nawa, titled Particle-White Deer (MB), numbered 16/80 and dated 2020

NT$ 900,000 - 1,600,000

HK$ 221,000 - 393,000

US$ 28,300 - 50,400

RMB 205,000 - 364,000

名和晃平

微粒－白鹿（ MB ）

2020

綜合媒材 版次 16/80

75（長）x 75（寬）x 68（高）cm

簽名底板：Kohei Nawa ParticleWhite Deer (MB) Edition 16/80

2020

YOSHIMASA TSUCHIYA

(Japanese, b. 1977)

Anelope

2023

Wood, crystal, polychrome

42(L) x 15(W) x 54(H) cm

Signed bottom Yoshimasa Tsuchiya in Kanji and dated 2023

PROVENANCE

Jaski Gallery, Amsterdam

NT$ 850,000 - 1,200,000

HK$ 209,000 - 295,000

US$ 26,800 - 37,800

RMB 194,000 - 273,000

土屋仁 応

羚羊 2023

樟木 水晶 彩色

42（長）x 15（寬）x 54（高）cm

簽名底部：土屋仁 2023

來源

Jaski畫廊，阿姆斯特丹

117

MOE NAKAMURA

(Japanese, b. 1988)

Stairs to Hole

2013

Clay, oil color (unique)

27.5(L) x 27(W) x 36(H) cm

Signed bottom Moe and titled Stairs to Hole in English

PROVENANCE

Ravenel Auction, December 1, 2019, lot 220

Art Emperor Auction, December 27, 2020, lot 2044

NT$ 900,000 - 1,400,000

HK$ 221,000 - 344,000

US$ 28,300 - 44,100

RMB 205,000 - 319,000

中村萌

天梯

2013

石塑黏土 油彩（單一件）

27.5（長）x 27（寬）x 36（高）cm

簽名題識底部：Moe Stairs to Hole

來源

羅芙奧拍賣，台北，2019年12月1日，

編號220

帝圖拍賣，台北，2020年12月27日，

編號2044

OTANI WORKSHOP

(Japanese, b. 1980)

Beard

2018

Ceramic, glass

47(L) x 43(W) x 82.5(H) cm

Signed bottom Otani Workshop in Kanji and dated 2018

NT$ 550,000 - 750,000

HK$ 135,000 - 184,000

US$ 17,300 - 23,600

RMB 125,000 - 171,000

大谷工作室

鬍鬚 2018

陶瓷 玻璃

47（長）x 43（寬）x 82.5（高）cm

簽名底部：大谷工作室 2018

119

KASING LUNG

(Hong Kong, b. 1972)

Labubu

2018

Resin, ed. 3/5

67(L) x 55(W) x 150(H) cm

PROVENANCE

HOW2WORK, Hong Hong

Acquired from the above by the present owner

EXHIBITED

Kasing's The Monster Store, Invincible, Taipei, August 31-September 23, 2018

This lot is to be sold with a certificate card.

NT$ 400,000 - 600,000

HK$ 98,000 - 147,000

US$ 12,600 - 18,900

RMB 91,000 - 137,000

龍家昇

Labubu

2018

樹脂 版次 3/5

67（長）x 55（寬）x 150（高）cm

來源

好意工作，香港

現有收藏者購自上述來源

展覽

「家昇的怪獸店」，Invincible，台北，

展期2018年8月31日至9月23日

附藝術家保證卡

CHEN WEI-TING

(Taiwanese, b. 1991)

Happy Birthday

2020

Acrylic, colored pencil on FRP ed. 3/6

56.5(L) x 85.5 (W) x 155 (H) cm

This lot is to be sold with a certificate of authenticity issued by Naomi Art Studio.

NT$ 360,000 - 460,000

HK$ 88,000 - 113,000

US$ 11,300 - 14,500

RMB 82,000 - 105,000

陳威廷

生日快樂

2020

玻璃纖維 壓克力 色鉛筆 版次 3/6

56.5（長）x 85.5（寬）x 155（高）cm

附娜歐蜜工作室開立之原作保證書

121

DESIRE OBTAIN CHERISH (D.O.C)

(American, b. 1975)

Lemon Mid Size Meltdown

2017

UV cast resin, ed. 18/25

38(L) x 38(W) x 76(H) cm

Signed bottom Desire Obtain Cherish, and numbered 18/25

With a security laser tag

EXHIBITED

Desire Obtain Cherish: #YourKiddingRight, Bluerider ART Gallery, Taipei, May 23-July 1, 2017

ILLUSTRATED

Desire Obtain Cherish, Bluerider ART Gallery, Taipei, 2017, color illustrated, p. 7

NT$ 420,000 - 620,000

HK$ 103,000 - 152,000

US$ 13,200 - 19,500

RMB 96,000 - 141,000

強納森．保羅

棒棒糖系列－檸檬黃

2017

樹脂膠 版次18/25

38（長）x 38（寬） x 76（高） cm

簽名底部：Desire Obtain Cherish 18/25 防偽雷射標籤

展覽

「D.O.C. 藝術壞痞子」，藍騎士藝術空 間，台北，展期2017年5月23日至7月1日

圖錄

《D.O.C. 藝術壞痞子》，藍騎士藝術 空間，台北，2017，彩色圖版，頁7

AI HAIBARA

(Japanese, b. 1981)

Flag Signaling HELLO H, E & L (a set of 3)

2022

Acrylic, wood

24(L) x 15(W) x 31(H) cm (Orange)

20(L) x 15(W) x 37.5(H) cm (Yellow)

23.6(L) x 15(W) x 38(H) cm (Blue)

Signed base bottom Ai Haibara and dated 2022 (each)

NT$ 360,000 - 550,000

HK$ 88,000 - 135,000

US$ 11,300 - 17,300

RMB 82,000 - 125,000

灰原愛

旗語 HELLO H 、 E 、 L （三件一組）

2022

壓克力 木雕

24（長）x 15（寬）x 31（高）cm（橘）

20（長）x 15（寬）x 37.5（高）cm（黃）

23.6（長) x 15（寬）x 38（高）cm（藍）

簽名台座底部：2022 Ai Haibara（每件）

123

A-LEI

(Taiwanese, b. 1976)

Tough and Tender

2019

Pottery, glaze (unique)

16(L) x 10(W) x 10(H) cm (Tough)

20(L) x 19(W) x 37(H) cm (Tender)

34(L) x 20(W) x 8(H) cm (Base)

Signed bottom Lei

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

NT$ 220,000 - 320,000

HK$ 54,000 - 79,000

US$ 6,900 - 10,100

RMB 50,000 - 73,000

阿咧

鐵漢柔情

2019

陶土 釉（單一件）

16（長）x 10（寬）x 10（高）cm（鐵漢）

20（長）x 19（寬）x 37（高）cm（柔情）

34（長）x 20（寬）x 8（高）cm（檯座）

簽名底部：Lei

附意識畫廊開立之原作保證書

124

AYAKO ROKKAKU

(Japanese, b. 1982)

Untitled

2021

Ceramic, ed. 44/200

39(L) x 13.8(W) x 28.7(H) cm

Inscribed with the artist’s signature in Japanese and numbered 44/200

Printed with publisher’s name Gallery Delaive Editions on the underside

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

NT$ 160,000 - 300,000

HK$ 39,000 - 74,000

US$ 5,000 - 9,400

RMB 36,000 - 68,000

六角彩子

無題

2021

陶瓷 版次 44/200

39（長）x 13.8（寬）x 28.7（高）cm

款識底部：ロッカクアヤコ GALLERY

DELAIVE EDITIONS 44 / 200

附藝術家簽名作品保證卡與原產紙箱包裝

125

NARITAKA SATOH

(Japanese, b. 1980)

BLK Pooh

2019

Bronze (unique)

11(L) x 8(W) x 16(H) cm

Signed wooden box Naritaka Satoh

This lot is to be sold with a certificate of authenticity issued by Hiro Hiro Art Space and signed by the artist.

NT$ 90,000 - 180,000

HK$ 22,000 - 44,000

US$ 2,800 - 5,700

RMB 21,000 - 41,000

佐藤誠高

BLK 維尼熊

2019

銅雕（單一件）

11（長）x 8（寬）x 16（高）cm

簽名於原裝木盒：Naritaka Satoh

附Hiro Hiro藝術空間與藝術家簽名開立

之原作保證書

126

KILA CHEUNG

(Hong Kong, b. 1986)

Home No.1

2017

Acrylic on wood

9(L) x 9(W) x 20(H) cm (Home)

15.5(L) x 19.5(W) x 24(H) cm (Cabinet)

Signed bottom Kila and dated 2017

PROVENANCE

Sotheby’s, Hong Kong, June 9, 2020, lot 4

EXHIBITED

On This Special Day, THZ Gallery, Taipei , NovemberDecember, 2017

ILLUSTRATED

Kila Cheung Rambler, How2work limited, Hong Kong, 2023, pp. 32-33, pp. 48-49

NT$ 40,000 - 120,000

HK$ 10,000 - 29,000

US$ 1,300 - 3,800

RMB 9,000 - 27,000

章柱基

家 No.1

2017

壓克力 檜木

9（長）x 9（寬）x 20（高）cm（木雕）

15.5（長）x 19.5（寬）x 24（高）cm（木櫃） 簽名底部：Kila 2017

來源 蘇富比，香港，2020年6月9日，編號4

展覽

「在這特別的日子」，陶華灼藝廊－美術小 館，台北，展期2017年11月至12月

圖錄

《章柱基 漫步者》，好意工作有限公司， 香港，2023，頁32-33, 48-49

127

KILA CHEUNG

(Hong Kong, b. 1986)

Cactus Hug

2019

Acrylic on wood

16.5(L) x 8(W) x 19.5(H) cm

Signed bottom Kila and dated 2019

ILLUSTRATED

Kila Cheung Rambler, How2work limited, Hong Kong, 2023, p. 40

This lot is to be sold with a certificate of authenticity issued by HOW2WORK and signed by the artist.

NT$ 70,000 - 140,000

HK$ 17,000 - 34,000

US$ 2,200 - 4,400

RMB 16,000 - 32,000

章柱基 仙人掌擁抱 2019

壓克力 檜木

16.5（長）x 8（寬）x 19.5（高）cm

簽名底部：Kila 2019

圖錄

《章柱基 漫步者》，好意工作有限公 司，香港，2023，頁40

附好意工作開立及藝術家簽名之原作 保證書

YUSUKE HANAI

(Japanese, b. 1978)

Untitled 1

2021

Woodcut; ed. 61/80

55(L) x 64(W) x 8(D) cm

Signed lower right Hanai and numbered 61/80

Supervisor: Gallery Target, Tokyo & The Adachi Foundation

Printed by The Adachi Institute of Woodcut Prints, Tokyo

NT$ 320,000 - 460,000

HK$ 79,000 - 113,000

US$ 10,100 - 14,500

RMB 73,000 - 105,000

花井祐介

無題 1

2021

木刻版畫 版次 61/80

55（長）x 64（寬）x 8（厚）cm

簽名版次右下：61/80 Hanai

監修：東京Gallery Target；

東京目白的Adachi版畫研究所

DAMIEN HIRST

(British, b. 1965)

Spin Painting-Circle

2009

Acrylic, metallic paint on paper

52 cm (diameter)

Painted signature reverse Damien Hirst, stamped with the artist’s copyright and marked with the studio’s blind stamp

NT$ 60,000 - 120,000

HK$ 15,000 - 29,000

US$ 1,900 - 3,800

RMB 14,000 - 27,000

達明．赫斯特

圓形旋轉畫

2009

壓克力 金屬塗料 紙本

52 cm（直徑）

印刷簽名畫背：Damien Hirst © Damien Hirst

藝術家工作室壓印

130

MIWA KOMATSU

(Japanese, b. 1984)

Un-Towards the Earth

2019

Screenprint, ed. 55/100

41 x 41 cm (image)

50 x 49 cm (sheet)

Signed lower right Ko Miwa in English

Numbered lower left 55/100

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

NT$ 80,000 - 160,000

HK$ 20,000 - 39,000

US$ 2,500 - 5,000

RMB 18,000 - 36,000

小松美羽

吽－朝大地 2019

版畫 55/100

41 x 41 cm（圖）

50 x 49 cm

（紙）

簽名右下：Ko Miwa

版次左下：55/100

附白石畫廊開立之作品保證書

131

MIWA KOMATSU

(Japanese, b. 1984)

Ah-Towards the Sky

2019

Screenprint, ed. 55/100

41 x 41 cm (image)

50 x 49 cm (sheet)

Signed lower right Ko Miwa in English

Numbered lower left 55/100

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

NT$ 80,000 - 160,000

HK$ 20,000 - 39,000

US$ 2,500 - 5,000

RMB 18,000 - 36,000

小松美羽

阿－朝天 2019

版畫 55/100

41 x 41 cm（圖）

50 x 49 cm（紙）

簽名右下：Ko Miwa

版次左下：55/100

附白石畫廊開立之作品保證書

132

MR.

(Japanese, b. 1969)

Corn Dogs Are Best When Hot; In the Late Afternoon at the Convenience Store With Big Sister

2021

Offset print, ed. 106/300; 118/300

45 x 60 cm; 60 cm (diameter)

Signed lower right Mr., numbered 106/300; 118/300 and dated 2021

NT$ 90,000 - 180,000

HK$ 22,000 - 44,000

US$ 2,800 - 5,700

RMB 21,000 - 41,000

Mr.

熱騰騰的熱狗很好吃； 與姐姐在便利商店的午後

2021

版畫 版次 106/300；118/300

45 x 60 cm；直徑：60 cm

簽名右下：Mr. 2021 106/300； 118/300

133

MADSAKI

(Japanese, b. 1974)

Enter the Dragon II

2020

Screenprint, ed. 228/300

70 x 70 cm

Signed lower right MADSAKI, numbered 228/300 and dated 2020

NT$ 50,000 - 100,000

HK$ 12,000 - 25,000

US$ 1,600 - 3,100

RMB 11,000 - 23,000

Madsaki

李小龍

2020

版畫 版次 228/300

70 x 70 cm

簽名右下: MADSAKI 2020 228/300

134

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Blue Monster

2021

Lithograph, ed. 21/80

70 x 52 cm

Signed bottom Mayuka, numbered 21/80 and titled blue monster

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

NT$ 60,000 - 120,000

HK$ 15,000 - 29,000

US$ 1,900 - 3,800

RMB 14,000 - 27,000

山本麻友香

藍怪獸

2021

版畫 版次 21/80

70 x 52 cm

簽名下方：21/80 blue monster Mayuka

附椿畫廊開立之作品保證書

135

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Pink Monster

2021

Lithograph, ed. 20/80

70 x 52 cm

Signed bottom Mayuka, numbered 20/80 and titled pink monster

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

NT$ 60,000 - 120,000

HK$ 15,000 - 29,000

US$ 1,900 - 3,800

RMB 14,000 - 27,000

山本麻友香

粉怪獸

2021

版畫 版次 20/80

70 x 52 cm

簽名下方：20/80 pink monster Mayuka

附椿畫廊開立之作品保證書

136

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Sitting Bear

2022

Lithograph, ed. 10/75

61 x 44 cm

Signed bottom Mayuka, titled Sitting bear and numbered 10/75

PROVENANCE

GR Gallery, New York

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

坐著的小熊 2022

版畫 版次 10/75

61 x 44 cm

簽名版次下方：10/75 Sitting Bear Mayuka

來源

GR 畫廊，紐約

137

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Mountain Goat Boy

2023

Print, ed. 25/75

56 x 42 cm (image)

66 x 52 cm (sheet)

Signed lower right Mayuka, titled Mountain Goat

Boy and numbered 25/75

PROVENANCE

Corey Helford Gallery, Los Angeles

NT$ 70,000 - 140,000

HK$ 17,000 - 34,000

US$ 2,200 - 4,400

RMB 16,000 - 32,000

山本麻友香

山羊男孩 2023

版畫 版次 25/75

56 x 42 cm（圖）

66 x 52 cm（紙）

簽名版次下方：25/75 Mountain Goat Boy Mayuka

來源

Corey Helford 畫廊，洛杉磯

138

TOMOKAZU MATSUYAMA

(Japanese, b. 1976)

Falling Passage

Print, ed. 242/250

42.5 x 29.1 cm (image)

45 x 32 cm (sheet)

Numbered lower right 242/250

Signed reverse Tomokazu Matsuyama in English and inscribed HELIOTROPE FOUNDATION

NT$ 20,000 - 80,000

HK$ 5,000 - 20,000

US$ 600 - 2,500

RMB 5,000 - 18,000

松山智一

墜入通道

版畫 版次 242/250

42.5 x 29.1 cm（圖）

45 x 32 cm（紙）

版次右下：242/250

簽名畫背：Tomokazu Matsuyama HELIOTROPE FOUNDATION

139

HSIEH HSIAO-DE

(Taiwanese, b. 1940)

Landscape

2011

Watercolor on paper

79 x 110 cm

Signed lower left 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 - 14,000

謝孝德

風景

2011

水彩 紙本

79 x 110 cm

簽名左下：2011 謝孝德

140

MOE NAKAMURA

(Japanese, b. 1988)

Grow Horns

2020

Polystone, ed. 35/200

24(L) x 24(W) x 7.5(D) cm

Printed signature backside Moe

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

NT$ 30,000 - 60,000

HK$ 7,000 - 15,000

US$ 900 - 1,900

RMB 7,000 - 14,000

中村萌

鹿角

2020

寶麗石粉樹脂 版次 35/200

24（長）x 24（寬）x 7.5（厚）cm

印刷簽名背面：Moe

附藝術家簽名保證卡與原產紙盒包裝

141

MOE NAKAMURA

(Japanese, b. 1988) On the Way Home

2020

Wood ed. 91/250

6(L) x 5.5(W) x 10.5(H) cm (Sculpture)

11.7(L) x 9.5(W) x 18(H) cm (House)

Printed signature bottom Moe

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

NT$ 30,000 - 60,000

HK$ 7,000 - 15,000

US$ 900 - 1,900

RMB 7,000 - 14,000

中村萌

回家路上

2020

楓木 版次 91/250

6（長）x 5.5（寬）x 10.5（高）cm（本體）

11.7（長）x 9.5（寬）x 18（高）cm（木屋）

印刷簽名底部：Moe

附藝術家簽名保證卡與原產紙盒包裝

142

MOE NAKAMURA

(Japanese, b. 1988)

Loop Loop

2015

Polystone, ed. 92/130

14(L) x 11(W) x 20(H) cm

Signed bottom Moe and dated 2016.10.7

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

NT$ 50,000 - 100,000

HK$ 12,000 - 25,000

US$ 1,600 - 3,100

RMB 11,000 - 23,000

中村萌

圈圈

2015

寶麗石粉樹脂 版次 92/130

14（長）x 11（寬）x 20（高）cm

簽名底部：Moe 2016.10.7

附藝術家簽名保證卡與原產紙盒包裝

143

MR DOODLE

(British, b. 1994) The Doodler 2

2022

Resin, ed. 73/500

18(L) x 15.5(W) x 36.5(H) cm

Signed bottom MR DOODLE!, numbered 73/500 and dated 2022

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

NT$ 60,000 - 120,000

HK$ 15,000 - 29,000

US$ 1,900 - 3,800

RMB 14,000 - 27,000

塗鴉先生

塗鴉先生 2

2022

樹酯 版次 73/500

18（長）x 15.5（寬）x 36.5（高）cm

簽名腳底：MR DOODLE! 2022 73/500

附藝術家簽名作品保證卡與作品原產紙盒包裝

144

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Pink Monster

2021

Polystone, ed. 65/120

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

Printed signature bottom Mayuka

Printed with publisher's name bottom © MAYUKA

YAMAMOTO 2021 © GALLERY TSUBAKI 2021

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

NT$ 70,000 - 140,000

HK$ 17,000 - 34,000

US$ 2,200 - 4,400

RMB 16,000 - 32,000

山本麻友香

粉怪獸 2021

寶麗石粉樹脂 版次 65/120

18（長）x 14（寬）x 31（高）cm

印刷簽名及商標底部：Mayuka ©MAYUKA YAMAMOTO 2021 ©GALLERY TSUBAKI 2021

附藝術家簽名保證卡與原產紙盒包裝

145

YAYOI KUSAMA

(Japanese, b. 1929) Dots Obsession

2011

Mixed media, mirror ed. 116/300

33(L) x 25.2(W) x 4(D) cm

Signed reverse Y.Kusama, titled DOTS OBSESSION, numbered 116/300 and dated 2011

PROVENANCE

Omotesando Hills S and O, Tokyo

NT$ 80,000 - 160,000

HK$ 20,000 - 39,000

US$ 2,500 - 5,000

RMB 18,000 - 36,000

草間彌生

迷戀圓點

2011

綜合媒材 鏡子 版次 116/300

33（長）x 25.2（寬）x 4（厚）cm

簽名題識背後：DOTS OBSESSION 2011

Y.Kusama 116/300

來源

表參道之丘S and O，東京

146

MR.

(Japanese, b. 1969)

Marina; Tropical Juice

2021; 2022

Resin, edition of 70; edition of 100 9(L) x 9(W) x 28(H) cm (each)

Signed bottom Mr. (each)

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

NT$ 90,000 - 180,000

HK$ 22,000 - 44,000

US$ 2,800 - 5,700

RMB 21,000 - 41,000

Mr.

瑪琳娜；熱帶果汁

2021；2022

樹脂；限量 70 限量 100

9

（長）x 9（寬）x 28（高）cm （每件）

簽名腳底：Mr.（每件）

附藝術家簽名之作品保證卡

147

YAYOI KUSAMA

(Japanese, b. 1929)

Red Flower; Yellow Flower; Flower (a set of 3)

2002

Porcelain plate ed. 271/300; 220/300; 238/300

23(L) x 23(W) x 2(D) cm (each)

Printed signature lower center YAYOI KUSAMA and dated 2002

Printed title reverse RED FLOWERS; YELLOW FLOWERS; FLOWERS, number 271/300; 220/300; 238/300 publisher's name MATSUMOTO CITY MUSEUM OF ART EDITION © YAYOI KUSAMA and date 2002

NT$ 120,000 - 220,000

HK$ 29,000 - 54,000

US$ 3,800 - 6,900

RMB 27,000 - 50,000

草間彌生

紅花；黃花；花（三件一組）

2002

瓷盤 版次 271/300； 220/300；238/300

23（長）x 23（寬）x 2（厚）cm（每件）

印刷簽名年代上方：YAYOI KUSAMA 2002

題識版次盤底：RED FLOWERS；YELLOW FLOWERS； FLOWERS 2002 MATSUMOTO CITY MUSEUM OF ART EDITION 271/300；220/300；238/300 © YAYOI KUSAMA

148

ALEX FACE

(Thai, b. 1981)

Untitled

2012

Fiberglass, ed. 78/90

17(L) x 13.4(W) x 30(H) cm

Engraved left side Alex Face and dated 2012

Signed bottom Alex Face and numbered 78/90

NT$ 90,000 - 180,000

HK$ 22,000 - 44,000

US$ 2,800 - 5,700

RMB 21,000 - 41,000

亞歷克斯．費斯

無題

2012

玻璃纖維 版次 78/90

17（長）x 13.4（寬）x 30（高）cm

簽名雕刻右側：Alex Face 2012

簽名底部：Alex Face 78/90

149 JU MING

(Taiwanese, 1938-2023)

Living World Series-Lining Up

2002

Pewter, multiple

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 - 29,000

US$ 1,900 - 3,800

RMB 14,000 - 27,000

朱銘

人間系列－排隊

2002

鉛錫合金 複製品

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

150 JU MING

(Taiwanese, 1938-2023)

Taichi Series-Single Whip

Unsaturated polyester resin, calcium carbonate, oil color paste, ed. 079/300

28.5(L) x 14.4(W) x 18.2(H) cm

Printed with publisher’s name JUMING

MUSEUM on the bottom

Numbered bottom 079/300

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 - 44,000

US$ 2,800 - 5,700

RMB 21,000 - 41,000

朱銘

太極系列－單鞭下勢

不飽和聚酯樹脂 碳酸鈣 油性色母

版次 079/300

28.5（長）x 14.4（寬）x 18.2（高）cm

版次底部：朱銘美術館 079/300

附朱銘美術館限量複製品證明書

151

JU MING

(Taiwanese, 1938-2023)

Taichi Series

Unsaturated polyester resin, calcium carbonate, ed. 43/300

20(L) x 22.4(W) x 20.8(H) cm (L)

17.6(L) x 15.2(W) x 20.8(H) cm (R)

Numbered on the bottom 43/300

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

NT$ 160,000 - 260,000

HK$ 39,000 - 64,000

US$ 5,000 - 8,200

RMB 36,000 - 59,000

朱銘

太極系列

不飽和聚酯樹脂 碳酸鈣 版次 43/300

20（長）x 22.4（寬）x 20.8（高）cm（左）

17.6（長）x 15.2（寬）x 20.8（高）cm（右）

版次底部：43/300

附朱銘美術館限量複製品保證書

給予買家的重要通知

本拍賣會依據「羅芙奧股份有限公司業務規則」舉行，請在參加拍賣會之前仔細閱讀，充分理解以下規則：

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

2. 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 2024 年 5 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. 2024 年 5 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 (2024 年 5 月 31 日至 6 月 2 日 ) 以新台幣現鈔支付 ( 恕不接受除現金之外之其他繳納方式 )，收款將於 6 月 2 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 2024 年 5 月 30 日以前完成匯款至本公司指定帳號。

6. 如於 2024 年 5 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 ) 後，若有餘額 需退還，本公司將於拍賣當日以現金退還給買家。

(c) 若買家無正當理由未於成功拍賣日期後七天內支付全部應支付之款項（包含落槌價、服務費及其他費用）予本公司， 買家不得請求返還競投保證金。

(2) 未成交：若競投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證金。競投保證金以「匯款」方式完成者， 本公司將於拍賣日後十四個工作天內以匯款方式退還給買家。競投保證金以「現金」方式完成者，本公司將於拍賣 當日以現金退還給買家。

9. 若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價、服務費及其他費用 ) 金額超過競投保證金金額時，買方得以下列方 式結清帳款： (1) 現鈔：上限新台幣伍拾萬元。 (2) 信用卡與銀聯卡：刷卡上限為新台幣壹佰萬元。信用卡與銀聯卡持有人必需是買家本人，本公司不接受他人之信用卡。

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

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 May 2024, 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 May 2024, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 31 May to 2th June 2024). Acceptance will cease on 2th June by 12pm (No other forms of payment will be accepted).

5. Telephone / written / internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 30 May 2024

6. If the bidding deposit has been transferred prior to 30 May 2024, 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$ 500,000.

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

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

委託競投表格

委託競投表格須於拍賣24小時前送抵藝術部。競投表格可傳真至: 藝術部 電話：+886-2-2708 9868 ｜傳真：+886-2-2701 3306

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

拍賣品編號 名 稱

拍 賣 名 稱：羅芙奧台北 2024 春季拍賣會 現代與當代藝術

拍 賣 編 號：TA2401

拍 賣 日 期：2024 年 6 月 2 日 ( 星期日 ) 下午 2:00

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

競投價 (新台幣) / (服務費不計在內)

※投標規則：

1. 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。

2. 本人知悉書面及電話競標乃羅芙奧為基於投標者之便利而提供代為投標之服務而不成立任何委託投標之契約，羅芙奧不因執行投標而負任何 責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，以最先收到者優先辦理。

3. 本人同意如投標成功，本人應付之購買價款為最後落槌價加上服務費，服務費依業務規則第二條第4 項之規定計算。(4a.買家支付每件拍品之 服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下者含參仟貳佰萬元以20％計算；（2） 落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳佰萬元之部份以12％計算。)

4. 本競投，本人同意並遵守本目錄所載所有業務規則。(包含但不限於羅芙奧不負瑕疵擔保責任及保證責任等規定)

5. 如投標者未曾於羅芙奧競投拍賣品，請附上投標者資料之副本及銀行證明資料。

6. 本人同意買家須知、投標者登記表格、委任競投表格及業務規則等附屬文件均視為本契約之一部分。

7. 羅芙奧基於上述原因而需蒐集、處理或非營利目的之利用投標者個人資料， 該資料將在前開蒐集目的之存續期間及依法令規定要求之期間內被處理或利用。

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

地址 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

Address

Auction SPRING AUCTION 2024 TAIPEI

Modern & Contemporary Art

Date Sunday, June 2, 2024, 2:00pm

Sale No. TA2401

Location Marriott Taipei 3F (Grand Space)

Address No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

Bid Price (NT$)

(Not including Buyer's premium)

※Bidding rules：

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

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

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

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

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

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

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

Signature： Date：

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

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

Ravenel Ltd.

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

下述規則，為羅芙奧股份有限公司 ( 下稱「本公司」 ) 與賣家訂立合約，亦 作為賣家之代理人與買家訂立合約之條款。準買家、買家及賣家務須細讀 各項規則並完全同意遵守本業務規則。準買家、買家請特別留意第二條第5 項，其對本公司之法律責任作了限定。

一、本業務規則所用詞彙之定義 在下列規定中，某些常用詞彙需加以解釋。此等詞彙定義如下：

1. 「買家」：指本公司所接受之出價最高之自然人或法人。

2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。

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

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

5. 「落槌價」：指本公司就某一拍賣品而接受之最高出價之價款。

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

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

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

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

10. 「賣家服務費」：指賣家應支付本公司之費用。

二、買家

1. 本公司作為賣家代理人

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

2. 拍賣前

a. 鑑定物品

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

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

c. 符號表示 以下為本目錄所載符號之說明 ｏ保證項目

拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次 或一連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由 本公司與第三方共同提供。保證可為由第三方提供之不可撤銷競投之 形式做出。若保證拍賣品成功售出，提供或參與提供保證之第三方可 能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或 參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家 服務費。

d. 目錄說明

本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、 日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計 售價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳 述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引而已，不應 作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。

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

許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有 些說明或鑑定意見書會提述拍賣品之損壞及／或修整資料。此等資 料僅作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺 陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。

e. 買家之責任

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

3. 拍賣時

a. 估價

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

b. 拒絕入場

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

c. 競投之前作出登記

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

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

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

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

e. 競投者為買家

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

f. 委託競投

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

g. 電話競投

如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競 投者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無 法參加電話競投，本公司對賣家或任何準買家均不負任何責任。

h. 透過網路進行競投

若準買家未能出席拍賣會，可透過 Invaluable 或本公司官網「即時競 標」（網址：https://bid.ravenel.com/）競投屬意拍賣品，而承擔買家 獨立責任。進行網上競投之詳情，請參閱本公司網頁 Ravenel.com， 惟準買家及買家透過 Invaluable 網上競投之方式成功拍得屬意拍賣 品，除須支付依本業務規則二、買家、4(a)規定所計算之服務費外， 並應另行支付落槌價 3% 之服務費，且應同意本公司得隨時修改該業 務規則。

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

j. 錄映影像

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

k. 拍賣官之決定權

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

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

4. 成功拍賣後

a. 買家支付每件拍賣品之服務費費率 (1) 買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台 幣參仟貳佰萬元以下者含參仟貳佰萬元以落槌價之20％計算。

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

b. 稅項

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

c. 付款

成功拍賣後，買家須向本公司提供其 真實 姓名及永久地址。如經本 公司要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳 號。買家應於拍賣日期後七天內悉數支付應支付予本公司之款項 （包含落槌價、服務費或運費等相關費用）。即使買家希望將拍賣 品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。

買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有 權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之 款項為新台幣以外之貨幣，須依拍賣日現場公佈之匯率（台灣銀 行），並以本公司就此兌換率而發出之憑證為準。

d. 領取已購拍賣品

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

e. 介紹裝運及運輸公司

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

f. 不付款或未有領取已購拍賣品之補救辦法 如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下 述一項或多項權利或補救辦法： (1) 在成功拍賣日後起算超過七天仍未付款，則按不超過台灣銀行基 本放款利率加收10%之年利率收取整筆欠款之利息。此外本公司 可同時按日收取依成交價（含落槌價、服務費） 1 ％計算之 懲罰 性 違約金。本公司亦得自行選擇將買家未付之款項，用以抵銷 本公司或其他關係企業在任何其他交易中欠下買家之款項，買 家絕無異議。

(2) 對任何屬於買家所有而因任何目的(包含但不限於其他交易)而由 本公司管有之 已購 拍賣品行使留置權，並在給予買家有關其未 付之欠繳之十四天通知後，安排將該物品出售並將收益用以清 償該未付之欠款。

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

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

(a) 代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉 數賠償為基準之法律程序訴訟費。

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

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

g. 未有領取已購拍賣品

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

h. 出口許可證

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

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

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

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

6. 膺品/贓物之退款

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

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

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

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

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

(3) 送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品 乃膺品或贓物(本公司保有最終及不可異議之決定權)，買家並可 將拍賣品之完整所有權及相關權利轉讓予本公司，而與任何第 三人之索償無涉。在任何情況下，本公司均毋須向買家支付多 於買家就有關拍賣品而支付之款項，而買家亦不能索取利息。

本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本 發票之買家所有 (該買家名稱被記載於發票上 )，該名買家並須自拍賣後 一直保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何 第三人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺品 或贓物，不論該程序在拍賣當日是否已使用或已在使用，如本公司驗證 拍賣品是否屬於贗品或贓物結果與買家出示證據相衝突者，應以本公司 驗證結果為準。

賣方業務規則請參閱羅芙奧網站 http://ravenel.com http://ravenelart.com.cn

TRANSACTION AGREEMENT

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

ARTICLE 1.DEFINITION

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

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

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

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

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

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

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

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

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

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

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

ARTICLE 2.THE BUYER

1. The Company as the Agent of the Seller

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

2. Prior to the Auction

a. Authentication

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

b. Important Notice

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

c. Symbol Key

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

○ Guaranteed Property

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

d. Catalogue Explanations

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

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

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

e. Responsibility of the Buyer

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

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 discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction.

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

d. The Bidding Deposit

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

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

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

e. The Bidder is the Buyer

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

f. Commission Bids

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

g. Bid by Phone

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

h. Online

Bidding

If the Prospective Buyer cannot attend the auction, it may be possible to bid online via Invaluable or our company's official website, "BID NOW" (https://bid.ravenel.com/), for their preferred Lots bearing individual buyer's responsibilities. For information about registering for online bidding, please refer to Ravenel.com., When successfully winning an item through online bidding via Invaluable, the Prospective Buyer and the Buyer shall pay a service fee of 3% of the hammer price in addition to the Buyer's Premium calculated according to Article 2, Section 4a. The Prospective Buyer and the Buyer agree that this Agreement can be viewed at the website and be revised by the Company from time to time.

i.

Exchange Rate Conversion Board

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

j. Recorded Images

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

k. Determining Power of the Auctioneer

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

l. Successful Bids

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

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 (inclusive), the Buyer's Premium should be calculated at 20% of the hammer price.

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

b. Taxes

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

c. Payment

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

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

d. Collection of the Lot Sold

Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier).

e. Referral of Packaging or Transportation Companies

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

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

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

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

(2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose including but without limitations other transactions. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his/hers/its non-payment. The proceeds shall make up for the payment due.

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

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

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

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

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

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

g. No Collection of the Lot Sold

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

h. Export Permit

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

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

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

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 statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Seller, the Company, the employees or the agents of the Company make no guarantee impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein.

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 illegality by the professional appraisal party agreed and recognized by the Company in writing. However, if:

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

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

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

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

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

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

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