現代與當代藝術 Modern and Contemporary Art

AUTUMN 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 秋季拍賣會 現代與當代藝術

RAVENEL AUTUMN AUCTION 2024 TAIPEI Modern and Contemporary Art

拍賣日期／地點

2024年12月1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11月16日（六）下午1:00至下午6:00

2024年11月17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11月29日（五）~ 12月1日（日）上午11:00至下午7:00

萬豪酒店

台北市中山區樂群二路199號3樓（博覽廳）

AUCTION

Sunday, December 1, 2024, 2:00pm

Marriott Taipei

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

PREVIEWS

Taichung

Saturday, November 16, 2024, 1:00pm - 6:00pm

Sunday, November 17, 2024, 11:00am - 6:00pm

Fong-Yi Art Gallery

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

Taipei

Friday, November 29 - Sunday, December 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

羅芙奧台北 2024 秋季拍賣會服務部門及連絡人

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RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS

President

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Director

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PHONE BIDS AND WRITTEN BIDS

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Hong Kong

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Remarks:

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CATALOGUE SUBSCRIPTION

Taiwan．International

Nina Lin

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Hong Kong

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

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COLLECTION AND SHIPPING

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Tommy Wu

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Hong Kong

Iris Chen

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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

羅芙奧秋季拍賣會

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

215

給予買家的重要通知

Important Notice to Buyers

217 委託競投表格

Absentee Bid Form

219 業務規則

Transaction Agreement

A-LEI

阿咧 162-163

YOSHITAKA AMANO 天野喜孝 024-025

GIOELE AMARO 喬萊爾．阿馬羅 098

GUY BARDONE 居．巴赫東 113

SZABOLCS BOZÓ 薩波爾齊斯．博佐 121

ANDRE BRASILIER 安德烈．布拉吉利 097

FANNY BRODAR 芬妮．布魯達 111

BERNARD BUFFET 貝爾納．畢費 054, 057

JON BURGERMAN 喬恩．布爾格曼 120

MICHEL CADORET 米歇．卡多瑞 106

JAVIER CALLEJA 哈維爾．卡勒加 094

CHANG TENG YUAN 張騰遠 006, 096

CHANG WAN-CHUAN 張萬傳 123

BERNARD CHAROY 貝爾納．夏洛瓦 104

CHEN WEI-TING 陳威廷 008, 022

CHEN TING-SHIH 陳庭詩 070

KILA CHEUNG 章柱基 108, 149, 166-167

CHIU YA-TSAI 邱亞才 088

CHU TEH-CHUN 朱德群 134

CHUANG CHE 莊喆 083

ROBERT COMBAS 羅伯．貢巴斯 058, 060

D*FACE D*FACE（迪恩．斯托克頓）110, 119

SALVADOR DALI 薩爾瓦多．達利 158

MR DOODLE 塗鴉先生 146-147, 165

ETSU EGAMI 江上越 032

ALEX FACE 亞歷克斯．費斯 019, 099, 156-157

ALIXE FU 傅慶豊 114

KATSURA FUNAKOSHI 舟越桂 016-017

RENÉ GENIS 賀內．吉尼斯 115-116

ASA GO 吳亞沙 013

PAUL GUIRAMAND 保羅．賈曼 118

AI HAIBARA 灰原愛 155

HAN CHOONG-SEOK 韓忠錫 005, 010

YUICHI HIRAKO 平子雄一 036, 037

DAMIEN HIRST 達明．赫斯特 062, 138-139

HSIAO CHIN 蕭勤 087

HSIEH HSIAO-DE 謝孝德 125

POREN HUANG 黃柏仁 160-161

HUNG TUNG 洪通 048

MICHELL HWANG 黃銘哲 065

JI DACHUN 季大純 075-076

JU MING 朱銘 091-093, 159

YUJI KANAMARU 金丸悠兒 012

KAWS KAWS（布萊恩．唐納利） 153

MOÏSE KISLING 莫依斯．奇斯林 061

MAIKO KOBAYASHI 小林麻衣子 007

MIWA KOMATSU 小松美羽 023

JEFF KOONS 傑夫．昆斯 150, 152

KUO YEN FU 郭彥甫 020

YAYOI KUSAMA 草間彌生 126-130

CRISTINA LAMA 克里斯蒂娜．拉瑪 102

LI CHEN 李真 055-056

LO CHIAO-LING 羅喬綾 009

LUO ZHONGLI 羅中立 049

EDDIE MARTINEZ 艾迪．馬丁內斯 059

GEORGE MORTON-CLARK 喬治．莫頓 – 克拉克 101

SADAMASA MOTONAGA 元永定正 035 MR. MR. 164

YU NAGABA 長場雄 027

TOMOKO NAGAI 長井朋子 002-004, 018, 030-031

MOE NAKAMURA 中村萌 001, 039-040, 168-169

YOSHITOMO NARA 奈良美智 052-053, 131-133, 151 NKSIN NKSIN 033

AY-O 靉嘔 141

ADRIANA OLIVER 阿德里安娜 · 奧利弗 109

PANG JIUN 龎均 082

SEUNGMO PARK 朴勝模 014

PEX PITAKPONG 佩克斯．皮達蓬 107

RAN IN-TING 藍蔭鼎 077-078

AYAKO ROKKAKU 六角彩子 148

MATÍAS SÁNCHEZ 馬蒂亞斯．桑切斯 095 SANYU 常玉 041-046

NOBUO SEKINE 關根伸夫 015, 034

SHEN CHE-TSAI 沈哲哉 124

CHIHARU SHIOTA 塩田千春 064

DAVID SHRIGLEY 大衛 史瑞格里 136-137

AYA TAKANO 高野綾 021

TANG JO-HUNG 黨若洪 105

HOUBEN TCHERKELOV 胡本 切克勒夫 100

WALASSE TING 丁雄泉 047, 073, 086

KEA TSAI KEA TSAI （蔡孟達） 112

TSENG YUHO 曾佑和 067

YOSUKE UENO 上野陽介 011, 029

WANG PAN-YOUN 王攀元 069, 084, 085 ANDY WARHOL 安迪 沃荷 140

CLAUDE WEISBUCH 克勞德．維士巴修 103

WU HAO 吳昊 079

MOISÉS YAGÜES 莫伊．亞格斯 117, 122

MASATO YAMAGUCHI 山口真人 026

MAYUKA YAMAMOTO 山本麻友香 028, 038, 142-145

MEGURU YAMAGUCHI 山口歷 063

YANG DIN 楊登雄 080

YANG CHIHUNG 楊識宏 089-090

TZU-CHI YEH 葉子奇 050, 081

AKIHIKO YOSHIDA 吉田昭彥（仁吉） 154

YU CHENG-YAO 余承堯 068

YU PENG 于彭 071-072

YUAN JAI 袁旃 074

ZAO WOU-KI 趙無極 051, 135

ZHOU CHUNYA 周春芽 066

002

TOMOKO NAGAI

(Japanese, b. 1982)

Fallen Leaf Carpet

2014

Watercolor, pencil, color pencil, ink, glitter and collage on paper mounted on panel 23 x 16 cm

Signed reverse Tomoko Nagai, titled Fallen Leaf Carpet in Japanese and dated 2014

PROVENANCE

Tomio Koyama Gallery, Tokyo

NT$ 30,000 - 60,000

HK$ 7,000 - 15,000

US$ 900 - 1,900

RMB 7,000 - 13,000

001

MOE NAKAMURA

(Japanese, b. 1988)

Untitled

Marker on cardboard

27.3 x 24.3 cm

Signed upper center Moe

NT$ 40,000 - 60,000

HK$ 10,000 - 15,000

US$ 1,300 - 1,900

RMB 9,000 - 13,000

中村萌

無題

麥克筆 紙板

27.3 x 24.3 cm

簽名上方：Moe

長井朋子

落葉地毯 2014

水彩 鉛筆 色鉛筆 墨水 亮粉 拼貼 紙本裱於木板

23 x 16 cm

簽名題識畫背：落ち葉の絨毯 Tomoko Nagai 2014

來源

小山登美夫畫廊，東京

TOMOKO NAGAI

(Japanese, b. 1982)

House of the Little Bear

2010

Watercolor, ink, color pencil, pencil, collage on paper mounted on panel

36.5 x 26 cm

Signed reverse Tomoko Nagai, titled House of the Little Bear in Japanese and dated 2010

PROVENANCE

Tomio Koyama Gallery. Tokyo

NT$ 60,000 - 120,000

HK$ 15,000 - 29,000

US$ 1,900 - 3,800

RMB 13,000 - 26,000

長井朋子

小熊的家 2010

水彩 墨水 色鉛筆 鉛筆 拼貼紙本裱於木板

36.5 x 26 cm

簽名題識畫背：くまのにハウス Tomoko Nagai 2010

來源

小山登美夫畫廊，東京

004

TOMOKO NAGAI

(Japanese, b. 1982)

Indian Summer

2017

Watercolor, pencil, color pencil, ink, glitter, collage on paper mounted on panel

41 x 31.8 cm

Signed reverse Tomoko Nagai, titled Indian Summer in Kanji and dated 2017

PROVENANCE

Tomio Koyama Gallery, Tokyo

NT$ 70,000 - 140,000

HK$ 17,000 - 34,000

US$ 2,200 - 4,400

RMB 15,000 - 31,000

長井朋子

小春日和 2017

水彩 鉛筆 色鉛筆 墨水 亮片 拼貼 紙本裱於木板

41 x 31.8 cm

簽名題識畫背：小春日和 Tomoko Nagai 2017

來源

小山登美夫畫廊，東京

005

HAN CHOONG-SEOK

(Korean,b 1981)

Owl King Healing River

2023

Acrylic on Korean cotton

27.3 x 27.3 cm

Signed overlap Choong Seok

Signed reverse Han Choong Seok, titled Owl King healing river 27.3 x 27.3 cm , Han Choong Seok in Korean and dated 2023.11.19

NT$ 60,000 - 120,000

HK$ 15,000 - 29,000

US$ 1,900 - 3,800

RMB 13,000 - 26,000

韓忠錫

貓頭鷹療癒之河 2023

壓克力 韓國棉布

27.3 x 27.3 cm

簽名畫布折入處：Choong Seok

簽名畫背：Owl King healing river 27.3 x 27.3 cm

천에 아크릴 20231119 Han Choong Seok

006

CHANG TENG YUAN

(Taiwanese, b. 1983)

Unknown Plant 02

2021

Acrylic on wood box (with acrylic frame)

33(L) x 23.2(W) x 8.5(D) cm

Signed on side and bottom Chang Teng Yuan

ILLUSTRATED

Chang Teng Yuan Art Works 2015-2021, J.P.Art Center, Kaohsiung 2022, color illustrated, p. 147

NT$ 60,000 - 120,000

HK$ 15,000 - 29,000

US$ 1,900 - 3,800

RMB 13,000 - 26,000

張騰遠

不知名植物 02

2021

壓克力顏料 木箱 (壓克力外箱)

33(長) x 23.2(寬) x 8.5(厚) cm

簽名側邊及底部：Chang Teng Yuan

圖錄

《張騰遠藝術作品集2015-2021》，琢璞藝術中心，

高雄，2022，彩色圖版，頁147

MAIKO KOBAYASHI

(Japanese, b. 1977)

Still Don’t Know the Answer

2018

Acrylic on canvas

53.3 x 41.3 cm

Signed overlap Maiko.K, titled Still don’t know the answer and dated 2018

PROVENANCE

Shun Art Gallery, Shanghai

NT$ 80,000 - 160,000

HK$ 20,000 - 39,000

US$ 2,500 - 5,100

RMB 18,000 - 35,000

小林麻衣子

仍不知道答案 2018

壓克力 畫布

53.3 x 41.3 cm

簽名畫背折入處：Still don't know the answer

Maiko.K 2018

來源 熏依社画廊，上海

008

CHEN WEI-TING

(Taiwanese, b. 1991)

Run Away 4 : Small Circular

2014

Acrylic on canvas

80 x 60.5 cm

EXHIBITED

Long Dream, Huashan 1914 Creative Park,Taipei, March 14 - 30, 2015

ILLUSTRATED

Wei-Ting Chen: Long Dream, Chen Wei-Ting, Taipei, 2015, color illustrated, pp. 56 - 57

NT$ 60,000 - 120,000

HK$ 15,000 - 29,000

US$ 1,900 - 3,800

RMB 13,000 - 26,000

陳威廷

出走 4 : 小環行

2014

壓克力 畫布

80 x 60.5 cm

展覽

「漫夢」，華山1914文化創意產業園區，台北，

展期2015年3月14日至3月30日

圖錄

《陳威廷 漫夢》，陳威廷，台北，2015，

彩色圖版，頁56 - 57

LO CHIAO-LING

(Taiwanese, b. 1981)

Ideal Type – Comic Girl

2021

Acrylic on linen

77 x 77 cm

Signed reverse Lo Chiao-Ling in Chinese and dated 2021

With one seal of the artist

PROVENANCE

Liang Gallery, Taipei

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

NT$ 80,000 - 120,000

HK$ 20,000 - 29,000

US$ 2,500 - 3,800

RMB 18,000 - 26,000

羅喬綾

理想型—漫畫少女

2021

壓克力 亞麻布 77 x 77 cm

簽名畫背：羅喬綾 2021 鈐印

來源 尊彩藝術中心，台北

附尊彩畫廊開立之藝術家簽名原作保證書

010

HAN CHOONG-SEOK

(Korean, b. 1981)

Pierrot Girl

2023

Acrylic on Korean cotton

37.9 x 37.9 cm

Signed lower right side Choong Seok

Signed reverse Han Choong Seok, titled

PIERROT GIRL, inscribed, 37.9 x 37.9 cm , Han Choong Seok in Korean and dated 2023.11.29

NT$ 90,000 - 180,000

HK$ 22,000 - 44,000

US$ 2,800 - 5,700

RMB 20,000 - 40,000

韓忠錫

皮耶羅女孩 2023

壓克力 韓國棉布

37.9 x 37.9 cm

簽名右側下方：Choong Seok

簽名畫背：PIERROT GIRL 37.9 x 37.9 cm

천에 아크릴 2023.11.29 Han Choong Seok

011

YOSUKE UENO

(Japanese, b. 1977)

Hapico with Ice Liquid

2020

Acrylic on canvas

40.6 × 40 cm

Signed lower left Yosuke Ueno

PROVENANCE

Thinkspace Projects, Los Angeles

NT$ 100,000 - 200,000

HK$ 25,000 - 49,000

US$ 3,200 - 6,300

RMB 22,000 - 44,000

上野陽介

彩虹女孩與冰塊

2020

壓克力 畫布

40.6 x 40 cm

簽名左下：Yosuke Ueno

來源

思維空間項目，洛杉磯

012

YUJI KANAMARU

(Japanese, b. 1978)

House by the Water - Frog ; Shell’s Downtown - Hermit Crab ; Endless Life - Giraffe ; Rabbit ;

金丸悠兒

水邊的家 - 青蛙 / 殼的繁華街 - 寄居蟹

生生不息 - 長頸鹿 / 兔子

安靜的大陸 - 大象 ( 五件一組 )

2014 ; 2017

綜合媒材 木板

Quiet Continent - Elephant (a set of 5)

2014; 2017

Mixed media on board

22.7 x 16 cm (Frog) 33.5 x 24.4 cm (Hermit Crab)

65.3 × 53 cm (Giraffe) 22 × 27.5 cm (Rabbit)

72.5 x 91 cm (Elephant)

Signed KANA (all)

EXHIBITED

Eternal Life-Kanamaru Yuuji Solo Exhibition, Art Space Kin Gyo

Koo Kan, Taipei, December 6-31, 2014

Yuuji Kanemaru Solo Exhibition, Art Space Kin Gyo Koo Kan, Taipei, December 16, 2017-January 14, 2018

NT$ 110,000 - 220,000

HK$ 27,000 - 54,000

US$ 3,500 - 7,000

RMB 24,000 - 49,000

22.7 x 16 cm (青蛙) 33.5 x 24.4cm (寄居蟹)

65.3 x 53 cm (長頸鹿) 22 x 27.5 cm (兔子)

72.5 x 91 cm (大象)

簽名左下：KANA (青蛙) 簽名中上：KANA (寄居蟹)

簽名右下：KANA (長頸鹿) 簽名右下：Yuji K. (兔子)

簽名左中：KANA (大象)

展覽

「金丸悠兒個展」，Art Space 金魚空間，台北，

展期2014年12月6日至12月31日 (青蛙 寄居蟹)

「生生不息 金丸悠兒個展」，Art Space 金魚

空間，台北，展期2017年12月16日至2018年

1月14日 (兔子 大象 長頸鹿)

013 ASA GO (Japanese, b. 1978)

Mr. Weed - Night

2023

Oil on canvas

53 x 45.5 cm

This lot is accompanied by a certificate of authenticity issued by Shinobazu Gallery, Tokyo.

NT$ 130,000 - 240,000

HK$ 32,000 - 59,000

US$ 4,100 - 7,600

RMB 29,000 - 53,000

吳亞沙

雜草先生 - 夜 2023

油彩 畫布

53 x 45.5 cm

附東京不忍畫廊開立之原作保證書

014

SEUNGMO PARK

(Korean, b. 1969)

Maya Monaliza

2012

Wire mesh and LED light box, ed. 2/50 and number 2/50

37(L) x 23(D) x 63(H) cm

Signed base Seungmo Park, dated 2012

PROVENANCE

Art Issue Projects, Taipei Aquired from the above by the present owner

NT$ 100,000 - 150,000

HK$ 25,000 - 37,000

US$ 3,200 - 4,700

RMB 22,000 - 33,000

朴勝模

幻：蒙娜麗莎

2012

鐵絲 LED燈箱 版次 2/50

37(長) x 23(深) x 63(高) cm

簽名底座：2/50 Seungmo Park 2012

來源

藝術計劃，台北

現有收藏者購自上述來源

015

NOBUO SEKINE

(Japanese, 1942-2019)

Study (Nude)

1962

Charcoal on paper

33.5 x 23 cm

Signed lower right N.Sekine

Dated lower left 1962

EXHIBITED

Mono-Ha :The Art of Nothingness, Aki Gallery, Taipei, October 18 – November 17, 2019

This lot is accompanied by a certificate of authenticity issued by Aki Gallery, Taipei.

NT$ 130,000 - 200,000

HK$ 32,000 - 49,000

US$ 4,100 - 6,300

RMB 29,000 - 44,000

關根伸夫

裸女

1962

炭筆 紙本

33.5 x 23 cm

簽名左下：N.Sekine

年代右下：1962

展覽

「無物」，也趣畫廊，台北，展期2019年

10月18日至11月17日

附台北也趣畫廊開立之原作保證書

016 KATSURA FUNAKOSHI

(Japanese, 1951-2024)

DR1912

2019

Ink, oil stick and watercolor on paper 54 x 38.5 cm

Initialed lower right KF and dated 2019

This lot is accompanied by a certificate of authenticity issued by Nishimura Gallery, Tokyo.

NT$ 130,000 - 240,000

HK$ 32,000 - 59,000

US$ 4,100 - 7,600

RMB 29,000 - 53,000

舟越桂

DR1912

2019

墨 油彩棒 水彩 紙本 54 x 38.5 cm

簽名右下：KF 2019

附東京西村畫廊開立之原作保證書

017 KATSURA FUNAKOSHI

(Japanese, 1951-2024)

DR2210

2022

Charcoal and conté crayon on paper

41 x 31.9 cm

Initialed lower left KF in English and dated 2022

PROVENANCE

Nishimura Gallery, Tokyo

Private collection, Japan

NT$ 160,000 - 240,000

HK$ 39,000 - 59,000

US$ 5,100 - 7,600

RMB 35,000 - 53,000

舟越桂

DR2210

2022

炭筆 鉛筆 紙本 41 x 31.9 cm

簽名左下：KF 2022

來源

西村畫廊，東京 私人收藏，日本

018

TOMOKO NAGAI

(Japanese, b. 1982)

The Promenade of Climbing Rose

2011

Acrylic, watercolor, ink, color pencil, pencil, pastel on paper mounted on panel

50 x 72.8 cm

Signed reverse Tomoko Nagai, titled The Promenade of Climbing Rose in Japanese and dated 2011

PROVENANCE

Tomio Koyama Gallery, Tokyo

NT$ 160,000 - 260,000

HK$ 39,000 - 64,000

US$ 5,100 - 8,200

RMB 35,000 - 57,000

長井朋子

藤蔓月季的步道 2011

壓克力 水彩 墨水 色鉛筆 鉛筆 粉彩 紙本裱於木板 50 x 72.8 cm

簽名題識畫背：つるバラの散步道

Tomoko Nagai 2011

來源 小山登美夫畫廊，東京

019

ALEX FACE (Thai, b. 1981)

Face 2 Face

2019

Oil, acrylic, spray on linen

53 x 45 x 5 cm

Signed reverse Alex Face and dated 2019

This lot is accompanied by a certificate of authenticity issued by CityCity Gallery, Bangkok.

NT$ 170,000 - 260,000

HK$ 42,000 - 64,000

US$ 5,400 - 8,200

RMB 38,000 - 57,000

亞歷克斯．費斯

面對面 2019

油彩 壓克力 噴漆 亞麻布 53 x 45 x 5 cm

簽名畫背：Alex Face 2019

附曼谷城市城市畫廊開立之作品保證書

020

KUO YEN FU

(Taiwanese, b. 1979)

Hurdle

2021

Acrylic on canvas

130 x 100 cm

Signed reverse Kuo Yen Fu in Chinese and English and dated 2021

This lot is accompanied by a certificate of authenticity issued by Ye Fine Art and signed by the artist.

NT$ 190,000 - 280,000

HK$ 47,000 - 69,000

US$ 6,000 - 8,800

RMB 42,000 - 62,000

郭彥甫

跨欄 2021

壓克力 畫布 130 x 100 cm

簽名畫背：郭彥甫 KUO YEN FU 2021

附葉美術及藝術家親筆簽名之作品保證書

021

AYA TAKANO

(Japanese, b. 1976)

Round Kick

2006

Acrylic on canvas

80.5 x 60.7 cm

Signed stretcher bar TAKANO AYA and dated 2006

EXHIBITED

Healing: Takashi Murakami, Mr., MADSAKI, TENGAone, Kasing Lung, Aya Takano, Chiho Aoshima, Emi Kuraya, ob, Otani Workshop, Yuji Ueda, Shin Murata, Perrotin, Seoul, July 23 - September 4, 2020

NT$ 1,200,000 - 1,800,000

HK$ 294,000 - 441,000

US$ 37,900 - 56,900

RMB 265,000 - 397,000

高野綾

回旋踢

2006

壓克力 畫布

80.5 x 60.7 cm

簽名畫背框條：2006 TAKANO AYA

展覽

「治癒：村上隆、Mr.、MADSAKI、TENGAone、 龍家昇、高野綾、青島千穗、藏谷惠美、ob、

大谷工作室、上田勇兒、村田森」，貝浩登畫廊， 首爾，展期2020年7月29日至9月4日

022

CHEN WEI-TING

(Taiwanese, b. 1991)

Where Is Home

2020

Acrylic, colored pencil on canvas

138 x 110 cm

Signed reverse Chen Wei-ting in Chinese and English and dated 2020

EXHIBITED

Falling Rain, Jia Art Gallery, Taipei, April 18-May 16, 2021

This lot is accompanied by a certificate of authenticity issued by Naomi Art Studio, Taipei.

NT$ 220,000 - 320,000

HK$ 54,000 - 78,000

US$ 7,000 - 10,100

RMB 49,000 - 71,000

陳威廷

何處是吾家 2020

壓克力 彩色鉛筆 畫布 138 x 110 cm

簽名畫背：陳威廷 2020 CHEN WEI-TING

展覽

「雨下」，家畫廊，台北，展期2021年 4月18日至5月16日

附娜歐蜜藝術工作室開立之原作保證書

023

MIWA KOMATSU

(Japanese, b. 1984)

Satoyama in Early Summer

2021

Acrylic on canvas

46 x 38 cm

Signed reverse Ko Miwa in English Miwa Komatsu in Kanji, and dated 2021

PROVENANCE

Whitestone Gallery, Hong Kong

Private Collection

Private Collection, Europe

Christie’s, Hong Kong 2022

Acquired from the above by the present owner

This lot is accompanied by a certificate of authenticity issued by Whitestone Gallery, Hong Kong.

NT$ 240,000 - 360,000

HK$ 59,000 - 88,000

US$ 7,600 - 11,400

RMB 53,000 - 79,000

小松美羽

里山的初夏 2021

壓克力 畫布 46 x 38 cm

簽名畫背：Ko Miwa 小松美羽 2021

來源

白石畫廊，香港 私人收藏 私人收藏，歐洲 佳士得，香港

現有收藏者購自於上述來源

附白石畫廊開立之原作保證書

024

YOSHITAKA AMANO

(Japanese, b. 1952)

Candy Girl

2010

Automotive paint on aluminum panel

50(L) x 50(W) x 10(D) cm

Signed lower left side Y.Amano

NT$ 260,000 - 400,000

HK$ 64,000 - 98,000

US$ 8,200 - 12,600

RMB 57,000 - 88,000

天野喜孝

糖果女孩 2010

汽車漆 鋁板

50(長) x 50(寬) x 10(厚) cm

簽名左側下方：Y. Amano

025

YOSHITAKA AMANO

(Japanese, b. 1952)

Candy Girl

2010

Automotive paint on aluminum panel

50(L) x 50(W) x 10(D) cm

Signed bottom side Y.Amano

NT$ 260,000 - 400,000

HK$ 64,000 - 98,000

US$ 8,200 - 12,600

RMB 57,000 - 88,000

天野喜孝

糖果女孩 2010

汽車漆 鋁板

50(長) x 50(寬) x 10(厚) cm

簽名底部：Y. Amano

MASATO YAMAGUCHI

(Japanese, b. 1978)

Welcome to the Magic Moment

2021

Acrylic on canvas

80.3 x 80.3 cm

Signed reverse M.Yamaguchi dated ’21

PROVENANCE

SH Gallery, Tokyo

NT$ 320,000 - 420,000

HK$ 78,000 - 103,000

US$ 10,100 - 13,300

RMB 71,000 - 93,000

山口真人

歡迎來到神奇時刻

2021

壓克力 畫布

80.3 x 80.3 cm

簽名畫背：M.Yamaguchi '21

來源 SH 畫廊，東京

027

YU NAGABA

(Japanese, b. 1976)

Fishbowl

2021

Acrylic on canvas

116.7 x 90 cm

Signed lower right Yu, titled Fishbowl and dated 2021

Signed stretcher bar Yu Nagaba and dated 2021

NT$ 360,000 - 460,000

HK$ 88,000 - 113,000

US$ 11,400 - 14,500

RMB 79,000 - 102,000

長場雄

魚缸 2021

壓克力 畫布

116.7 x 90 cm

簽名右下：Yu 2021 Fishbowl

簽名畫背框條：Yu Nagaba 2021

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Little Deer Boy

2020

Oil on canvas

45.5 x 33.5 cm

Signed reverse Mayuka, titled Little Deer Boy and dated 2020

This lot is accompanied by a certificate of authenticity issued by Gallery Tsubaki, Tokyo.

NT$ 380,000 - 480,000

HK$ 93,000 - 118,000

US$ 12,000 - 15,200

RMB 84,000 - 106,000

山本麻友香

小鹿男孩

2020

油彩 畫布

45.5 x 33.5 cm

簽名畫背：Little Deer Boy Mayuka 2020

附東京椿畫廊開立之原作保證書

029

YOSUKE UENO

(Japanese, b. 1977)

Lazy Cats

2023

Acrylic on canvas

91 x 117 cm

Signed lower right Yosuke Ueno and dated 2023

PROVENANCE

Thinkspace Projects, Los Angeles

EXHIBITED

Yosuke Ueno: Beautiful Noise, Thinkspace Projects, Los Angeles, September 2-23, 2023

This lot is accompanied by a certificate of authenticity issued by Thinkspace Projects, Los Angeles.

NT$ 600,000 - 900,000

HK$ 147,000 - 221,000

US$ 19,000 - 28,400

RMB 132,000 - 199,000

上野陽介

小懶貓 2023

壓克力 畫布

91 x 117 cm

簽名右下：Yosuke Ueno 2023

來源

思維空間項目，洛杉磯

展覽

「上野陽介：美麗的噪音」，思維空間項目， 洛杉磯，展期2023年9月2日至23日

附思維空間項目開立之原作保證書

TOMOKO NAGAI

(Japanese, b. 1982)

Weeping Plum

2020

Oil and pencil on canvas

97 x 130.5 cm

Signed stretcher bar Tomoko Nagai and titled

Weeping Plum in Japanese and dated 2020

PROVENANCE

Tomio Koyama Gallery, Tokyo.

NT$ 650,000 - 850,000

HK$ 159,000 - 208,000

US$ 20,500 - 26,900

RMB 143,000 - 188,000

長井朋子

枝垂梅

2020

油彩 鉛筆 畫布

97 x 130.5 cm

簽名畫背框條：しだれ梅 2020 Tomoko Nagai

來源

小山登美夫畫廊，東京

TOMOKO NAGAI

(Japanese, b. 1982)

Rest of the Dream

2022

Oil on canvas

130 x 162 cm

NT$ 950,000 - 1,800,000

HK$ 233,000 - 441,000

US$ 30,000 - 56,900

RMB 210,000 - 397,000

長井朋子

夢的餘韻

2022

油彩 畫布

130 x 162 cm

032

ETSU EGAMI

(Japanese, b. 1994)

Rainbow-2020-113

2020

Oil on canvas

168 x 240 cm

Signed lower left Etsu Egami and dated 2020

This lot is accompained by a certificate of authenticity issued by Whitestone Gallery, Hong Kong.

NT$ 260,000 - 360,000

HK$ 64,000 - 88,000

US$ 8,200 - 11,400

RMB 57,000 - 79,000

江上越

彩虹 -2020-113

2020

油彩 畫布

168 x 240 cm

簽名左下：Etsu Egami 2020

附香港白石畫廊開立之原作保證書

033

NKSIN

(Japanese-Filipino, b. 1994)

Revival II

2022

Acrylic on canvas

162 x 194 cm

Signed reverse NKSIN and dated 2022

This lot is accompanied by a certificate of authenticity issued by Maison Ozmen Gallery, Paris.

NT$ 650,000 - 750,000

HK$ 159,000 - 184,000

US$ 20,500 - 23,700

RMB 143,000 - 166,000

NKSIN

重生 II

2022

壓克力 畫布

162 x 194 cm

簽名畫背：NKSIN 2022

附奧茲門之家畫廊開立之原作保證書

034

NOBUO SEKINE

(Japanese, 1942-2019)

Phase Conception No. G15-78 Some

Symbols

1988

Mixed media and gold leaf on paper

53 x 65.5 cm

Signed reverse N Sekine, titled G15-78 Some Symobols in Japanese and dated ‘88

PROVENANCE

SBI Art Auction, Tokyo, July 3, 2021, lot 162

Private collection, Japan

ILLUSTRATED

Sekine Nobuo, Phase Conception II, Environment Art Studio Inc., Tokyo, 1989, no. 261

This lot is accompanied with a certificate of authenticity issued by Japan Art Dealers Association, Japan.

Registration no. 32

NT$ 240,000 - 360,000

HK$ 59,000 - 88,000

US$ 7,600 - 11,400

RMB 53,000 - 79,000

關根伸夫

相位繪畫 G15-78 那些記號

1988

綜合媒材 金箔 紙板

53 x 65.5 cm

簽名畫背：G15 78 あの記號 N Sekine'88

來源

SBI 藝術拍賣，東京，2021年7月3日，編號162

私人收藏，日本

圖錄

《關根伸夫：位相繪畫II》，環境藝術工作室， 東京，1989年，第261號

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32

035

SADAMASA MOTONAGA

(Japanese, 1922-2011)

Red Point is Eleven

1985

Acrylic on canvas

38 x 45 cm

Signed lower left S.Motonaga and dated ‘85

PROVENANCE

Private collection, Japan

This lot is accompanied by a certificate of authenticity issued by Motonaga Archive Research Institution, Hyogo, Japan. Registration no: #F(304)-85

NT$ 480,000 - 700,000

HK$ 118,000 - 172,000

US$ 15,200 - 22,100

RMB 106,000 - 155,000

元永定正 紅點是十一

1985

壓克力 畫布

38 x 45 cm

簽名左下：S.Motonaga ‘85

來源 私人收藏，日本

附元永文獻研究室開立之原作保證書， 登錄編號#F(304)-85

YUICHI HIRAKO

(Japanese, b. 1982)

My Ficus Microcarpa

2013

Acrylic on canvas

162 x 130 cm

Intitled reverse YH, titled My Ficus Microcarpa and dated 2013

This lot is accompanied by a certificate of authenticity issued by Yiri Arts Gallery, Taipei.

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

HK$ 319,000 - 490,000

US$ 41,100 - 63,200

RMB 287,000 - 442,000

平子雄一承認筆下「樹人」是他自我的投射。評論家 則認為，藝術家似乎引用日本神道教的「木靈」（こ だま， Kodoma ）傳說，該形象源自「萬物有靈論」傳 統，在日本文學、動漫和其他的藝術形式經常可見。中

華或北歐文化傳承至今日，民間習俗也都保留對老樹、 山神、自然多懷敬畏之心。文化共識的連接，促成收收 藏家不分國界，都能在平子雄一的作品中找到共鳴。

正榕，同稱榕樹，廣生於福建、台灣及馬來西亞等地， 具頑強的生命力，其幼苗紮根建築夾縫之間，是東南亞 都市的日常風景。今次拍品《我的榕樹》畫中主角如同 神祇手持權杖，頭戴插滿各色羽毛，彩帶和樹葉的大頭 冠。榕樹交錯的根莖佔據大量畫面，營造出深度的視覺 空間。由藝術家點明主題，象徵自然的生命力量如湧泉 源源不絕且無所不在。無論人類如何侵略破壞，自然仍 會生生不息。

平子雄一作品曾獲荷蘭的利瑟美術館與阿克蘇諾貝爾藝 術基金會、瑞士的讓．皮戈齊收藏館；日本的第一生命 保險公司；中國的龍美術館、寶龍美術館、天目里美術 館與現代傳播；韓國 U.PINE MED 與可隆文化 Space K 等機構收藏，奠定國際級名氣及市場熱度。

Yuichi Hirako admits that the "tree man" in his works are a projection of himself. Critics suggest that the artist seems to reference the Japanese Shinto myth of "Kodama" ( こだま ), spirits that inhabit trees. This imagery stems from the tradition of animism, which is often seen in Japanese literature, anime, and other froms of art. In both Chinese and Nordic cultures, traditions have preversed a deep reverence

平子雄一

我的榕樹 2013

壓克力 畫布 162 x 130 cm

簽名畫背：YH My Ficus Microcarpa 13

附伊日美學生活開立之原作保證書

for ancient trees, mountain gods, and nature, which continue in modern folk customs. This shared cultural consciousness allows collectors from all over the world to find resonance in Yuichi Hirako's works, transcending national boundaries.

The banyan tree, also known as Ficus Microcarpa, is widely found in regions such as Fujian, Taiwan, and Malaysia. Renowned for its resilience, its seedlings take root in the crevices of buildings, making it a common sight in Southeast Asian urban landscapes. In the artwork "My Ficus Microcarpa," the main figure resembles a deity, holding a staff and wearing a large headdress adorned with colorful feathers, ribbons, and leaves. The intertwined roots of the banyan tree occupy a significant portion of the canvas, creating a sense of deep visual space. The artist emphasizes the theme that the life force of nature flows endlessly and is omnipresent, like a spring. Regardless of how much humanity invades or destroys, nature will continue to thrive and endure.

Yuichi Hirako's works have been collected by institutions, including the Lisser Art Museum and the AkzoNobel Art Foundation in the Netherlands, the Jean Pigozzi Collection in Switzerland, the Dai-ichi Life Insurance Company in Japan, and the Long Museum, Baolong Museum, By Art Matters Museum, and Modern Media Group in China. Additionally, his art is held by U.PINE MED and Space K in South Korea. These collections affirm his international reputation and market demand.

YUICHI HIRAKO

(Japanese, b. 1982)

Leftover 3

2018

Acrylic on canvas

162 x 130 cm

Intitled reverse YH and dated 2018

PROVENANCE

Tokyo Opera City Art Gallery, Tokyo

EXHIBITED

Project N71: Yuichi Hirako, Tokyo Opera City Art Gallery, Tokyo, April 14 - June 24, 2018

NT$ 1,400,000 - 2,200,000

HK$ 343,000 - 539,000

US$ 44,200 - 69,500

RMB 309,000 - 486,000

《剩餘 3 》來自藝術家 2018 年，東京第一生命畫廊個 人展覽「剩餘」同一系列，該系列另一雙聯幅作品目 前為藝術家拍賣生平次高紀錄。畫家以黑白單色畫面 描繪宴席場景，豐盛物件擺滿巨大桌面，然而賓客寥 寥無幾，烘托出對比衝突的氣氛。此作透露給觀眾， 藝術家曾接受西洋古典文化薰陶的背景，也表彰他以 自我當代語彙與歷史連結，創造新的故事。作為日本 當代藝術一位耀眼的新星，平子雄一廣受各界邀請合 作。 2023 年香港中環 Hermès 旗艦店的聖誕節點燈， 建築物外觀金色繽紛的森林意象，就是與藝術家的聯 名設計，今年，平子雄一於岡山縣奈義町現代美術館 （ Nagi Moca ）展出一檔名為「理想風景」（ Ideal Landscape）的個人展覽，也是他揚名於海外後，返回 故鄉舉辦的重要個展。

" Leftover 3 " comes from the artist ' s 2018 solo exhibition titled " Leftover " at the Tokyo Dai-ichi Life Gallery. Another diptych from the same series currently holds the artist ' s second-highest auction

平子雄一

剩餘 3

2018

壓克力 畫布

162 x 130 cm

簽名畫背：YH 18

來源

東京歌劇城美術館，東京

展覽

「Project N71：平子雄一」，東京歌劇城美術館，

東京，展期2018年4月14日至6月24日

record. The artist depicts a banquet scene using a black-and-white monochromatic palette, with abundant items spread across a vast table. However, the few guests present create a stark contrast, enhancing the atmosphere of conflict. This work reveals to the audience the artist ' s background, influenced by Western classical culture, while also showcasing his ability to connect contemporary vocabulary with history to create new narratives.

As a shining new star in contemporary Japanese art, Yuichi Hirako has received numerous invitations for collaborations. The golden, vibrant forest imagery adorning the façade of the Hermès flagship store in Central Hong Kong for the 2023 Christmas lighting is a result of his collaborative design. This year, he also held an important solo exhibition titled "Ideal Landscape" at the Nagi Moca in Nagi Town, Okayama Prefecture, marking a significant return to his hometown after gaining recognition abroad.

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Mountain Goat Boy

2020

Acrylic on canvas

120 x 94 cm

Signed reverse Mayuka, titled Mountain Goat Boy and dated 2020

EXHIBITED

Fantastical Beasts Group Show, Corey Helford Gallery, Los Angeles, April 18-May 23, 2020

NT$ 1,900,000 - 2,600,000

HK$ 466,000 - 637,000

US$ 60,000 - 82,100

RMB 419,000 - 574,000

「我從小就想要遠離焦慮，讓善良包圍，所以我畫了穿 著動物的孩子，並與他們融為一體。」 山本麻友香。

日本當代藝術最有人氣的女性藝術家之一：山本麻友香 1964 年出生，同為嬰兒潮末段班的日本人，成長於戰 後日本經濟高速起飛的世代，與前輩奈良美智同樣曾學 習於武藏野美術大學。 1998 至 1999 年間她參加日本文 化廳海外藝術家交換計畫，在英國研習沉浸在西方的當 代藝術養分。她欣賞南非女性藝術家馬琳．杜馬斯， 與英國行動雕塑雙人組合—吉爾伯特與喬治並深受其 影響。 2001 年山本麻友香成為母親，筆下開始形塑出 「動物男孩」系列，在動物頭套服裝下那些面容憂鬱、 曖昧模糊的男孩，像夢幻般的記憶存在，是藝術家心理 狀態的投射。對比早期作品獨有的疏離冷漠，近年藝術 家筆下的時光彷彿倒流，孩童逐漸幼化的形象。人物在 畫面中佔據更大比例，輪廓也更加清晰的面對觀眾。本 次拍品《山羊男孩》以深邃幽藍的背景，突顯主角淡淡 粉色的山羊男孩。男孩沉默不語，但是眼神溫柔澄澈， 堅定地看向遠方，心中懷抱著希望與愛。

"Since childhood, I have wanted to distance myself from anxiety and be surrounded by kindness, so I painted children dressed as animals and became one with them."– Mayuka Yamamoto

One of the most popular female contemporary artists in Japan, Mayuka Yamamoto, born in 1964, belongs

山本麻友香

山羊男孩 2020

壓克力 畫布 120 x 94 cm

簽名畫背：Mayuka 2020 Mountain Goat Boy

展覽

「奇幻獸聯展」，科里．赫爾福德畫廊，洛 杉磯，展期2020年4月18日至5月23日

to the later Baby Boomer generation in Japan. She grew up during Japan's post-war economic boom and, like her predecessor Yoshitomo Nara, studied at Musashino Art University. Between 1998 and 1999, she participated in the Japan Cultural Agency's overseas artist exchange program, where she studied in the UK, immersing herself in the nutrients of Western contemporary art. She admires South African female artist Marlene Dumas and is deeply influenced by the British perfromance art duo Gilbert & George. In 2001, Mayuka Yamamoto became a mother, and her work began to shape the "Animal Boy" series. The boys, with their melancholy and ambiguous faces beneath animal headgear, exist like dreamy memories, serving as projections of the artist's psychological state. In contrast to the unique detachment and coldness of her early works, in recent years, the artist's depictions seem to reverse time, with the images of children gradually becoming more youthful. The figures occupy a larger portion of the canvas, and their outlines are clearer, facing the audience more directly. The artwork "Mountain Goat Boy" features a deep blue background that highlights the pale pink figure of the goat boy. The boy is silent, but his gaze is gentle and clear as he steadfastly looks into the distance, holding hope and love in his heart.

039 MOE NAKAMURA

(Japanese, b. 1988)

Inside Me

2021

Oil and wood, unique piece

163 x 50 cm

Signed reverse Moe and dated 2021

PROVENANCE

Galllery Tsubaki, Tokyo

EXHIBITED

Moe Nakamura Solo Exhibition: Inside Us, Gallery Tsubaki, Tokyo, September 3-25, 2021, no.T-16

Art Monster, Huashan 1914 Creative Park Building, Taipei, November 19 - 23, 2021

ILLUSTRATED

Art Monster invitation flyer, Gallery Tsubaki, Tokyo, 2021, color illustrated

NT$ 1,600,000 - 2,400,000

HK$ 392,000 - 588,000

US$ 50,600 - 75,800

RMB 353,000 - 530,000

中村萌的創作核心，有意識，以材質、色調呈現撫慰人 心的溫柔質感，也營造怪異又可愛的矛盾感，增強了詮 釋作品的深度。其原創性與深刻思維，使得作品引人入 勝，在當代藝壇中脫穎而出。

《內在的我》是藝術家直接繪製於木板，兼具平面與立 體思考的作品。中村萌坦言自己常以草圖構思靈感，再 轉為三維雕塑，因此展覽中常見畫作與雕塑擁有相通的 題材與角色。

近年她以更加開放的觀點，思考簡化造型順應材料的天 然條件，應能更貼近創作的本意。此作中構圖上人物的 身體側面，順勢木材外框曲線。它將眼神投向遠方，心 臟與思維順著髮流連結一起，彷彿在提醒觀者，誠實省 思現狀，才能洞察自我內在的本意。

The artist consciously presents a soothing texture through materials and tones, creating a peculiar yet cute sense of contradiction that enhances the depth of interpretation. Her originality and profound thinking make her works captivating, allowing them to stand

中村萌

內在的我

2021

油彩 楠木 單一件

163 x 50 cm

簽名畫背：Moe 2021

來源

椿畫廊，東京

展覽

「中村萌：內在的我們」，椿畫廊，東京，

展期2021年9月3日至25日，編號T -16 「曼斯特國際藝術展」，華山1914文創產 業園區，台北，展期2021年11月19日至23日

圖錄

《曼斯特國際藝術展》邀請手冊，椿畫廊， 東京，2021，彩色圖版

out in the contemporary art scene.

"Inside Me" is directly painted by the artist on wood panels, showcasing a work that combines both flat and three-dimensional thinking. Moe Nakamura admits that she often develops her inspirations through sketches, which then transfrom into threedimensional sculptures. As a result, her exhibitions frequently feature paintings and sculptures that share common themes and characters. In recent years, she has adopted a more open perspective, considering the simplification of froms to align with the natural properties of the materials, which should bring her closer to the original intent of her creations. In this work, the composition features the figure' s body in profile, following the curves of the wooden panel. It casts its gaze into the distance, with the heart and thoughts connected through the flow of hair, as if reminding the viewer that only through honest reflection on the present can one gain insight into the true intent of their inner self.

040

MOE NAKAMURA

(Japanese, b. 1988)

Sleeping Mountain

2021

Wood, painted with oil, unique piece

55(L) x 48(W) x 52(H) cm

Signed bottom Moe, titled Sleeping Mountain and dated 2021

PROVENANCE

Galllery Tsubaki, Tokyo

EXHIBITED

Art Monster, Huashan 1914 Creative Park Building, Taipei, November 19 - 23, 2021

ILLUSTRATED

Moe Nakamura – Before the Dawn, Bijutsu Shuppan-Sha, Tokyo, 2023, color illustrated, no. 66, pp. 92-93

NT$ 1,600,000 - 2,400,000

HK$ 392,000 - 588,000

US$ 50,600 - 75,800

RMB 353,000 - 530,000

「將內心的感受轉移至作品，化成一個生生不息的生 命體。」 中村萌。

中村萌善於捕捉自我瞬息變化的心境，具象化情緒的投 射。作品氛圍有時正向愉快，有時陰鬱。各式各樣小怪 獸的面容都有孩子的樣貌，藝術家解釋嬰孩時代，是人 類擁有兩種反差狀態最明顯的時期。內心情緒起伏，如 同善惡，不會保持恆定。隨著視角改變，觀者解讀作品 （事件）也會得到不同的答案。

拍品《沉睡的山》為中村萌 2021 年創作木雕。藝術家 隨時間推進，人生歷程愈加豐富，從初期超現實小怪 獸、精靈造型，近期作品更貼近自然元素，氣質柔和。

此作題名與造型契合，漸層渲染的綠藍色彩，意象光線 與雲層在山體間遞嬗，孩童純真安詳的睡臉，平和了整 體氛圍，緩緩撫慰觀者的心靈。

"Transfer the feelings within the work, transfroming it into a living entity that thrives endlessly. " – Moe Nakamura

Moe Nakamura excels at capturing the transient changes of her inner state, materializing the projection

中村萌

沉睡的山

2021

木雕 油彩上色 單一件

55(長) x 48(寬) x 52(高) cm

簽名內部下方：Moe 2021 SleepingMountain

來源

椿畫廊，東京

展覽

「曼斯特國際藝術展」，華山1914文創產業 園區，台北，2021年11月19日至23日

圖錄 《中村萌：黎明之前》，美術出版社，東京， 2023，彩色圖版，編號66，頁92 - 93

of her emotions. The atmosphere of her works is sometimes positive and joyful, and other times dark and gloomy. The various little monsters all have the appearance of children. The artist explains that infancy is the period when humans exhibit the most pronounced contrasts in their states. The fluctuations of inner emotions, much like good and evil, do not remain constant. As perspectives change, viewers will interpret the work (or event) and arrive at different answers.

The piece ' Sleeping Mountain ' is a wood carving created by Moe Nakamura in 2021. As time progresses and her life experiences deepen, the artist has shifted from her early surreal little monsters and fairy-like froms to more recent works that draw closer to natural elements, exhibiting a softer temperament. The title of this work aligns with its from; the gradient of green and blue hues evokes the image of a mountain shifting between light and clouds. The serene sleeping face of a child brings a sense of peace to the overall atmosphere, gently soothing the viewer's soul.

SANYU’S CLASSIC NUDE

From the Antoine Chen Collection

經典裸女再現

歷史長河漫漫，藝術家的生涯稍縱即逝，仰賴機運與 史料補缺拾遺，諸多傑作才能免於散佚，徒留遺珠之 憾。台灣旅法藝術學者陳炎鋒之於常玉的藝術，應當 就是那慧眼識英的有緣知音人。羅芙奧 2024 秋拍，呈 獻六幅陳炎鋒早年從法國帶回台灣，現有收藏者直接 購於陳炎鋒家屬之常玉珍貴畫作。五件裸女速寫，及 一風華女子的水彩作品，六件作品經衣淑凡女士確認 皆為常玉真跡無誤，已悉數將收錄於常玉水彩素描全 集。

自幼習得傳統書法訓練，常玉對於筆觸與運筆的節奏 熟稔且富有變化。抵達巴黎後，他進入大茅屋學院， 開始畫裸體素描，持續十年精進西畫表現的技法。熟 悉的筆墨工具，流暢優美的曲線，勾勒出人體線條的 律動。中國畫裡化繁為簡的「寫意」概念，也正巧呼 應當時西方世界現代主義的浪潮。同時， 1920 年代巴 黎「超現實主義」的興起，攝影技術提供視覺更豐富 的變形效果，常玉筆下從詩人徐志摩形容的「宇宙大 腿」到各種變化多端的裸女姿態，不難感受到常玉積 極擁抱新思潮，開創個人風格的廣闊心胸

拍品 041 《斜躺裸女》，對照完成於 1929 年，常玉早 期油畫之一「粉紅裸女 I 」，可清楚看出藝術家由素描 演變至油畫的創作軌跡。陳炎鋒編著《巴黎的一曲相 思》曾就此作品寫道 : 「或許早在三十年代的常玉就有 把人體當作山脈來處理的衝動和需要。」 1984 年巴黎 東方畫廊「常玉素描與水彩展覽」，以《斜躺裸女》 為邀請函封面作品，此作品首現拍場，無疑是恆久經 典、夢幻逸品；拍品045《梳齒狀的手系列之一》為常 玉富特色之「自動性技法」梳齒狀手指習作。

常玉紙上素描裸女或人物往往即興又快速，靈感來時 信手拈來，墨色線條一氣呵成畫就。在中西合併的過 程中，藝術家為了找尋自我的風格，多方以素描練 習，常見類似構圖的作品，但每一幅皆是獨立存在， 各具特色。也由於常玉一生創作多不為牟利或討好而 作，許多素描上未必會有簽名，尤其是極簡化再極簡 化的水墨裸女。極簡美學或許在二十世紀初期顯得過 於前衛，常玉繪畫之美能突破時空的限制，即使今日 看來依然十足摩登。若非無比的才賦，能將「簡單」

詮釋得既有氣勢又顯優雅。常玉一方面以水墨概括西 方現代美術造形，另一方面也以油彩鋪陳心中的水墨 境界。無論布面油畫或是紙上作品，常玉都充滿自 信、 完美地詮釋無邊的自由及其個性魅力。

In the vast expanse of history, an artist's career is fleeting. It relies on chance and historical records to fill in the gaps, allowing many masterpieces to escape obscurity and sparing us the regret of lost treasures. Taiwanese scholar Chen Yen-fon a.k.a Antoine

常玉《粉紅裸女 I》國巨基金會收藏

Sanyu, Nude, 1929, oil on canvas, 45 x 81 cm, Yageo Foundation collection

Chen, an art expert based in France, stands out as a discerning connoisseur and a kindred spirit to Sanyu's art. The 2024 Autumn Auction by Ravenel features the "Antoine Chen's Sanyu Collection" section in Modern and Contemporary Art, showcasing six precious ink drawings and watercolor by Sanyu that Antoine Chen brought back to Taiwan in early years. These works have now been directly acquired from Antoine Chen's family by the current collector. The lot 041 "Reclining Nude" is the featured artwork on the cover of the 1984 invitation for the "Sanyu: Drawing and Watercolor in Paris" at the Oriental Gallery in Paris. The Lot 045 "Study of Hands" is included in the biography "Overseas Chinese Fine Arts Series: Sanyu", published by the Artist's Press in 1995.

Antoine Chen was born in 1949 in Taichung, Taiwan. He is the son of Mr. Chen Geng-bin, the founder of Hsing Tai Color Printing Company and the first

Taiwanese photographer during the Japanese colonial period. Comparing the lives of Antoine Chen and Sanyu, the two were born half a century apart and did not know each other. However, they both hailed from affluent merchant families, were naturally gifted, and shared a deep love for art. They both went to Paris in succession to further their studies in art, contributing to the momentum of cultural exchange between Eastern and Western art. In 1966, Sanyu passed away in Paris due to an accident. His posthumous works were auctioned at the Drouot, with some acquired by French collector Michel Habart (1911-1987). That same year, Antoine Chen was studying drawing and modern painting theory with Li Zhong-sheng, nurturing his vision of studying abroad in France. This also created the opportunity for his later friendship with Michel Habart, ultimately bringing Sanyu back into the Chinese art world.

Although Sanyu never visited Taiwan, his art took root here. By a stroke of fate, forty-two of his oil paintings are preversed at the National Museum of History in Taiwan. In 1978, the National Museum of History held the first retrospective exhibition of the artist. It is the art institution with the largest and most complete collection of Sanyu's late-period works in the world. However, it was Antoine Chen's tireless research and decades of efforts to introduce Sanyu to the art market that truly opened the door to the public's recognition of the artist.

In 1982, Antoine Chen organized the "Sanyu: Drawings and Watercolors from the Sanyu Era" exhibition at Printmaker Gallery in Taipei and published Sanyu's biography "Sanyu: Une Chanson

Nostalgique." In 1988, he assisted the Taipei Fine Arts Museum in holding the special exhibition "China à Paris"; in 1995, he co-organized the National Museum of History's "Sanyu Retrospective Exhibition" and compiled the catalog "Overseas Chinese Fine Arts Series: Sanyu," pioneering the study of Sanyu in the Chinese world.

"Every line in the full-body depiction of the nude speaks, shouting the anguish of sexuality. ...Look at his structure! His lines! ...Simplicity within complexity, and complexity within simplicity!" - Friend of Sanyu, Sinmay Zau (Poet of The Crescent Moon Society, 1906-1968)

Having studied traditional calligraphy from a young age, Sanyu was highly skilled in brushstrokes and had a deep sense of rhythm and variation in his technique. After arriving in Paris, he enrolled at the Académie de la Grande Chaumière, where he began drawing nude sketches and spent the next ten years honing his Western painting techniques. Using his familiar ink and brush tools, he captured the rhythm of the human from with flowing and graceful lines. The concept of "freehand" in Chinese painting, which simplifies the complex, resonated with the wave of modernism in the Western world at that time. At the same time, the rise of "Surrealism" in Paris during the 1920s, along with advancements in photography, provided richer visual distortions. From the "thighs of the universe" described by poet Xu Zhi-mo to the various ever-changing poses of nudes, Sanyu's work reveals his enthusiastic embrace of new ideas and his open-mindedness in creating a personal style.

Invitation to the exhibition of Sanyu's drawings and watercolors in Paris, May

041

SANYU

(Chinese-French, 1895-1966)

Study of Hands

c.1927

Ink on paper

32.6 x 25.2 cm

PROVENANCE

Former collection of Antoine Chen

Acquired directly from Antoine Chen’s family

ILLUSTRATED

Antoine Chen (Chen Yen-fon), Overseas Chinese Fine Arts

Series-Sanyu, Artist Publishing co., Taipei, 1995, black white illustrsted, P. 45

The authenticity of this work is confirmed by Mrs. Rita Wong, and will be included in the artist Catalogue Raisonné (No. D2494)

NT$ 420,000 - 600,000

HK$ 103,000 - 147,000

US$ 13,300 - 19,000

RMB 93,000 - 132,000

常玉

梳齒狀的手系列之一

約1927

水墨 紙本

32.6 x 25.2 cm

來源 陳炎鋒舊藏 現有收藏者直接購自陳炎鋒家屬

圖錄

陳炎鋒，《華裔美術選集Ⅰ：常玉》，藝術家出 版社，台北，1995，黑白圖版，頁45

此作將收錄於常玉目錄全集 (作品編號D2494)

042

SANYU

(Chinese-French, 1895-1966)

Side-lying Nude

1920s-1930s

Ink on paper

45.5 x 28.5 cm

PROVENANCE

Former collection of Antoine Chen

Acquired directly from Antoine Chen’s family

ILLUSTRATED

Antoine Chen, SANYU, Une Chanson Nostalgique, Yin-Shua Publicatin, 1982 black white illistruated, p. 87

Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Education Foundation, Taipei, 2014, color illustrated, no D0112, P. 16 (E-Catalogue)

NT$ 900,000 - 1,200,000

HK$ 221,000 - 294,000

US$ 28,400 - 37,900

RMB 199,000 - 265,000

常玉

側倚裸女

1920-1930年代

水墨 紙本

45.5 x 28.5 cm

圖錄

陳炎鋒，《巴黎的一曲鄉思》，印刷出版社， 1982，黑白圖版，頁87

衣淑凡，《常玉水彩與素描全集》，財團法

人立 青文教基金會，台北，2014，彩色圖版，

編號D0112，頁16 (電子圖錄)

來源

陳炎鋒舊藏

現有收藏者直接購自陳炎鋒家屬

043 SANYU

(Chinese-French, 1895-1966)

Standing Nude

1920s-1930s

Ink on paper

56.5 x 27.5 cm

PROVENANCE

Former collection of Antoine Chen

Acquired directly from Antoine Chen’s family

The authenticity of this work is confirmed by Mrs. Rita Wong, and will be included in the artist Catalogue Raisonné (No. D0702)

NT$ 900,000 - 1,200,000

HK$ 221,000 - 294,000

US$ 28,400 - 37,900

RMB 199,000 - 265,000

常玉

站立裸女

1920 - 1930年代

水墨 紙本

56.5 x 27.5 cm

來源

陳炎鋒舊藏

現有收藏者直接購自陳炎鋒家屬

此作將收錄於常玉目錄全集 (作品編號D0702)

044

SANYU (Chinese, 1895-1966)

Joyful Nude

1920s-1930s

Ink on paper

45.5 x 28.5 cm

PROVENANCE

Former collection of Antoine Chen Acquired directly from Antoine Chen’s family

The authenticity of this work is confirmed by Mrs. Rita Wong, and will be included in the artist Catalogue Raisonné (No. D0703)

NT$ 900,000 - 1,200,000

HK$ 221,000 - 294,000

US$ 28,400 - 37,900

RMB 199,000 - 265,000

常玉

喜悅的裸女 1920-1930年代

水墨 紙本

45.5 x 28.5 cm

來源

陳炎鋒舊藏

現有收藏者直接購自陳炎鋒家屬

此作將收錄於常玉目錄全集 (作品編號D0703)

045

SANYU

(Chinese-French, 1895-1966)

Reclining Nude

1920s-1930s

Ink on paper

28.2 x 45.4 cm

PROVENANCE

Former collection of Antoine Chen Acquired directly from Antoine Chen’s family

EXHIBITED

SANYU Drawings and watercolor in Paris, Oriental Gallery, Paris, May 3-9, 1984

ILLUSTRATED

Antoine Chen, SAN YU, Une Chanson Nostalgique, Yin-Shan Publicatin, 1982, black white illistruated, p. 91 Invitation, Sanyu Drawing and Watercolor Exhibition in Paris, May 1984

The Li Qing Cultural and Educational Foundation, Taipei, 2014, color illustrated, p. 10

Rita Wong, Sanyu: Index of Drawings, The Li-Ching Cultural and Education Foundation, Taipei, 2014, color illustrated, p.10 and no D0639, p. 52 (E-Catalogue)

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

HK$ 343,000 - 466,000

US$ 44,200 - 60,000

RMB 309,000 - 419,000

常玉

斜躺裸女 1920-1930年代

水墨 紙本

28.2 x 45.4 cm

來源 陳炎鋒舊藏

現有收藏者直接購自陳炎鋒家屬 展覽

「巴黎常玉素描與水彩展」，東方畫廊，巴黎， 展期自1984年5月3日至9日

圖錄

陳炎鋒，《巴黎的一曲鄉思》，印刷出版社， 1982，黑白圖版，頁91 1984年5月巴黎常玉素描與水彩展邀請函

衣淑凡，《常玉水彩與素描全集》，財團法人立 青文教基金會，台北，2014，彩色圖版，頁10 衣淑凡，《常玉水彩與素描全集》，財團法人立 青文教基金會，台北，2014，彩色圖版，頁10 及編號D0639，頁52 (電子圖錄)

046

SANYU

(Chinese-French, 1895-1966)

Elegant Lady

1920s-1930s

Ink and watercolor on paper

45.5 x 28.5 cm

PROVENANCE

Former collection of Antoine Chen

Acquired directly from Antoine Chen’s family

The authenticity of this work is confirmed by Mrs. Rita Wong, and will be included in the artist Catalogue Raisonné (No. W227)

NT$ 3,200,000 - 4,600,000

HK$ 784,000 - 1,127,000

US$ 101,100 - 145,300

RMB 706,000 - 1,015,000

常玉

端莊仕女

1920-1930年代

水墨 水彩 紙本

45.5 x 28.5 cm

來源

陳炎鋒舊藏

現有收藏者直接購自陳炎鋒家屬

此作將收錄於常玉目錄全集 (作品編號W227)

047

WALASSE TING

(Chinese-American, 1929-2010)

Kiss Me, I am White Rose

1975

Acrylic on canvas

66.5 x 102 cm

Signed reverse Ting, titled

Kiss Me, I am White Rose and dated 1975

PROVENANCE

Galerie Nord, Randers Private Collection, Asia

NT$ 1,400,000 - 2,600,000

HK$ 343,000 - 637,000

US$ 44,200 - 82,100

RMB 309,000 - 574,000

丁雄泉

親我，我是白玫瑰

1975

壓克力 畫布

66.5 x 102 cm

簽名畫背：Kiss Me, I am White Rose Ting 75

來源

北方畫廊，蘭德斯

私人收藏，亞洲

048

HUNG TUNG

(Taiwanese, 1920-1987)

Guanyin & Matsu

c.1970-1980

Oil, watercolor, ink on stencil

110 x 80 cm

Graphic signed lower left Hung Tung

PROVENANCE

Sotheby’s, Taipei, October 19, 1997, lot 131

NT$ 3,400,000 - 4,200,000

HK$ 833,000 - 1,029,000

US$ 107,400 - 132,700

RMB 751,000 - 927,000

《觀音與媽祖》曾創洪通 1997 年以來拍賣最高紀錄，

也是紅蠟春聯紙媒材系列，尺幅最大件的作品。此作 主題貼近民心，搭配明媚喜慶的朱紅底色，感染觀者 對廟埕香火鼎盛的歡快記憶。在台灣民俗中，象徵母 親的觀音與媽祖，都是護佑孩童、保護眾蒼生的重要 神祇。主題人物花紋細膩，色彩豐富，令人聯想傳統 百衲被，親職對孩子們綿連不絕的疼愛。更體現藝術 家專於創作，祝福下一代，純真善良的本質。洪通作 品曾獲瑞士洛桑原生藝術收藏館、台北市立美術館、 台南美術館等重要機構典藏。 2020 年底台南市立美術 館舉辦「再現傳奇 洪通百歲紀念展」，具有承先啟 後的跨世代意義，更重新喚醒大眾對這位藝術家的熟 悉記憶。

"Guanyin and Matzu" set a record for the highest auction price for Hung Tung since 1997 and is the largest piece in his red wax paper series. This piece features a theme close to the people's hearts, with a bright, festive red background that evokes joyful memories of the bustling temple atmosphere. In Taiwanese folklore, Guanyin and Mazu symbolize motherhood and are important deities who protect children and safeguard all beings. The main figures are intricately patterned and richly colored, reminiscent of traditional patchwork quilts, symbolizing the continuous love and care parents have for their children. This also reflects

洪通

觀音與媽祖

約1970-1980

油彩 水彩 墨 蠟紙 110 x 80 cm

簽名左下：洪通

來源

蘇富比拍賣，台北，1997年10月19日，編號131

the artist's dedication to creating works that bless the next generation and embody the essence of innocence and kindness. Hung Tung's works have been collected by important institutions, including the Collection of Art Brut in Lausanne, Switzerland, the Taipei Fine Arts Museum, and the Tainan Art Museum. At the end of 2020, the Tainan Museum of Fine Arts held the exhibition "Re-presentation of a Legend: Centennial Celebration of Hung Tung." This event held cross-generational significance, rekindling the public's familiar memories of the artist.

畢卡索 Pablo Picasso 《Seated Woman》1938

LUO ZHONGLI

(Chinese, b. 1948)

Back to Hometown

1983

Oil on canvas

93 x 67 cm

Titled reverse Back to Hometown and dated 1983

PROVENANCE

Private Collection, Taiwan

EXHIBITED

Luo Zhongli -The Chinese Soul of Dabashan, Royal Art and History Museum, Brussels, September 9 – October 8, 1995

ILLUSTRATED

Luo Zhongli, Mountain Art Cultural and Educational Foundation, Royal Art and History Museum, Kaohsiung, Brussels, 1996, color illustrated, p. 117

Luo Zhongli Hometown Series, Sichuan Fine Arts Publishing House, Chengdu, 2006, color illustrated, pp. 130 - 131

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

HK$ 1,471,000 - 1,961,000

US$ 189,600 - 252,800

RMB 1,325,000 - 1,766,000

羅中立被譽為「二十世紀中國畫壇旗幟」，他於 1998 至 2015 年執掌四川美院打響其盛名，在中國近現代藝 術發展中，扮演了推動時代巨輪的角色。他成長於社會 現實主義的背景，對藝術報以始終不渝的熱情，在早期 開掘自我風格的同時，開啟對人性的深層關注，謳歌土 地與勞動者。

《回鄉》全景以暗綠色調直式構圖佈局，畫家筆法細密 緊緻，留有蘇俄社會現實主義繪畫風範。視覺焦點聚於 中心人物，描繪外地遊子返鄉，攜家帶眷步入鄉村田埂 之情景。人物身著厚實衣物，背負著行李包袱，聯想畫 中時序應為冬日年節休耕期間。當天色未明，霧氣攏罩 於田間，行走在狹窄田埂的年輕家庭。由左而右：村 犬、父親與揹著襁褓嬰孩的母親，兩人側身背對觀者， 自然延伸觀眾視線，向遠方瞧見齊同出家門迎接回鄉遊 子的親朋好友。

Luo Zhongli is celebrated as a leading figure in the 20th-century Chinese art scene. From 1998 to 2015, he served as the president of Sichuan Fine Arts Institute, significantly enhancing the school ' s reputation. He played a pivotal role in the evolution of modern and contemporary art in China, driving it forward with his vision. Growing up in a context of

羅中立 回鄉

1983

油彩 畫布 93 x 67 cm 題識畫背：回鄉1983

來源 私人收藏，台灣 展覽 「羅中立—大巴山的中國魂」，皇家藝術 與歷史博物館，布魯塞爾，展期1995年 9月9日至10月8日 圖錄 《羅中立》，山藝術文教基金會，皇家藝 術與歷史博物館，高雄，布魯塞爾，1996， 彩色圖版，頁117 《羅中立．故鄉組曲》，四川美術出版社， 成都，2006，彩色圖版，頁130 -131

social realism, Luo has consistently maintained an unwavering passion for art. In his early years, while developing his unique style, he also began to explore deep concerns about humanity, celebrating the land and the laborers.

"Back to Hometown" features a panoramic vertical composition in dark green tones, with the artist employing meticulous and tight brushwork reminiscent of Soviet social realism. The visual focus is on the central figure, depicting a man returning hometown, accompanied by family as they step into the rural paths of their village. The figure is dressed in thick clothing and carries a burden of luggage, suggesting that the scene takes place during the winter holiday season, a time of fallow fields. In the early dawn, with mist enveloping the fields, a young family walks along the narrow paths of the countryside. From left to right: a village dog, the father, and the mother carrying a swaddled infant. The couple is turned sideways, their backs to the viewer, naturally extending the audience' s gaze toward the distance, where friends and family are seen coming out of their homes to welcome the returning child.

050

TZU-CHI YEH

(Taiwanese, b. 1957)

The Memories of Trees

2010

Oil on canvas

213.4 x 137.2 cm

Signed lower right Yeh tzu-chi in Chinese and dated 2010

EXHIBITED

Tzu-chi Yeh Solo Exhibition-Monologue Dialogue works 1980-2013, Eslite Gallery, Taipei, May 11–June 30, 2013

Earth Pulsing: Nurturing Life Exhibition, Asia University Museum of Modern Art, Taichung, July 30 - November 20, 2022

ILLUSTRATED

Tzu-chi Yeh The Memories of Trees, Inart Space, Taipei, 2011, color illustrated, pp. 26-27

Landscape, Ministry of Culture Taipei Cultural Center in New York, Taipei, 2012, color illustrated, pp. 44-45

Tzu-chi Yeh, Eslite Gallery, Taipei, 2013, color illustrated, pp. 43-45

NT$ 9,500,000 - 15,000,000

HK$ 2,328,000 - 3,676,000

US$ 300,200 - 473,900

RMB 2,097,000 - 3,311,000

《樹的追想 台南》高達兩米，寬一米三的直幅畫作， 全景以細緻刻畫的寫實畫風，描繪成功大學「國泰大 榕」雄姿。大榕樹矗立畫面中央，樹葉濃密飽滿，葉冠 層層疊疊佔據三分之二畫面。頂層映有淺淺青綠的白雲 藍天，底層是榕樹氣鬚，與盤根錯節的根莖深深扎入土 壤。淋漓盡致地展演，畫家正值壯年，意志力和不斷超 越自我的企圖心，令人欽佩。畫作題名呼應知名台語歌 謠《安平追想曲》，該曲目風靡全台之時，約莫同於藝 術家與父親相伴旅行於台南的年份。人與樹和諧相處的 城市印象，藝術家幾經轉折的人生場景，浪漫與思念， 都繪入了南台古都蓊蓊鬱鬱的深情之中。

"The Memories of Trees" is a vertical painting measuring two meters high and 1.3 meters wide. It captures the majestic presence of the "Cathay Banyan" at National Cheng Kung University in a panoramic view with finely detailed realist style. The banyan tree stands prominently in the center of the

葉子奇

樹的追想－台南

2010

油彩 畫布

213.4 x 137.2 cm

簽名右下：葉子奇 2010

展覽

「葉子奇個展 對話．獨白」，誠品畫廊， 台北，展期2013年5月11日至6月30日

「地球．脈動中」生態與藝術特展，亞洲 大學現代美術館，台中，展期2022年7月30日

至2022年11月20日

圖錄

《葉子奇 台南追想曲》，加力畫廊，台南， 2011，彩色圖版，頁26-27 《景》，文化部．紐約台北文化中心，台北， 2012，彩色圖版，頁44-45

《葉子奇》，誠品畫廊，台北，2013， 彩色圖版，頁43-45

painting, its dense and lush leaves froming a canopy that occupies two-thirds of the composition. The upper layer reflects a light bluish-green sky with wispy clouds, while the lower layer features the banyan tree's aerial roots, intricately intertwined and deeply anchored in the soil. The painting vividly showcases the artist's prowess during his prime, embodying a remarkable willpower and an unwavering ambition to continually surpass himself, which is truly admirable. The title of the painting echoes the famous Taiwanese folk song "Anping Memories," which gained popularity throughout Taiwan around the same time the artist traveled to Tainan with his father. The harmonious coexistence of people and trees froms the impression of the city, encapsulating the pivotal moments in the artist's life. Romance and nostalgia are drawn into the deep affection for the lush and vibrant ancient capital of Southern Taiwan.

ZAO WOU-KI

(Chinese-French, 1920-2013)

18.10.68

1968

Oil on canvas

46 x 50 cm

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

Signed reverse Zao Wou-Ki in French, titled 18.10.68 and inscribed 46 x 50 cm

PROVENANCE

Christie’s, Paris

Private collection, France

This lot is accompanied by a certificate of authenticity signed by Fondation Zao Wou-ki.

NT$ 19,000,000 - 28,000,000

HK$ 4,657,000 - 6,863,000

US$ 600,300 - 884,700

RMB 4,194,000 - 6,181,000

趙無極

18.10.68

1968

油彩 畫布

46 x 50 cm

簽名右下：無極 ZAO

簽名畫背：ZAO WOU-KI 46 x 50 cm 18.10.68

來源

佳士得，巴黎

私人收藏，法國

附趙無極基金會開立之原作保證書

Wou-ki 18.10.68

1957與1958年趙無極與好友蘇拉吉(Pierre Soulages)賢 伉儷赴美旅行，接受紐約當代藝壇的熱情交流，並且與 敲響時代大鐘，將戰後抽象表現藝術一舉推向歷史之 巔，鼎鼎大名的紐約庫茲畫廊簽下合作，定期在美國舉 行畫展。趙無極的藝術挾帶強大豐沛的能量，從 1959 至1972年進入人稱「狂草時期」的巔峰階段。

趙無極的「狂草時期」猶如開天闢地，象徵於革新和傳 承間闊斧前行，一幅幅波瀾壯闊的傑作起於藝術家義無 反顧終生探索繪畫的再造。早年藝術家刻意迴避，以免 自己因技藝精湛，落為匠氣的深厚書法技巧，在此時已 經化繁為簡，於表象中割捨傳統元素的窠臼，精煉出宏 觀於天地，萬物合一的內在自然。創作者的狂喜、憤 怒、平靜、無為之情，經由抽象空間與色彩交織，毫不 隱諱的表達出來。畫中撼動人 心的非凡氣勢，來自創作者自 幼耕耘，熟捻的西畫技巧和悠 遠的東方文化底蘊，兩者迂迴 纏綿，終得開花結果。

「畫室是隱蔽的盒子狀，這是 我的意思，光線只從北邊來， 有點灰，永遠穩定，使我能掌 握每個色彩的密度，不致讓日 光扭曲了色彩的細緻變化。」 《趙無極自畫像》第七章節 今次拍品《 18.10.68 》完成於 1968 年。此作宛如太極圖象構 圖，舉重若輕，虛實相生。墨 色線條鐵畫銀鉤，曲折於前景 帶起律動 ; 背景遠眺則如雪山白雲浮隴於山道，黃石嶔 崎磊落吹以冰藍皴擦筆觸絲絲入扣。趙無極長期接觸西 方傳承的美學思惟，他巧妙的把西方特有的光線感，融 入創作之中。畫中表現出的莊嚴光輝耀性，及其奇幻神 祕的華麗色彩空間。畫家以瞻精獨到的筆觸，轉譯生命 之氣、風、動力、形體的展開與融合。力量與平衡，虛 實間瞬息萬化，從感覺出發的繪畫，進入空間的對話。

1968 年時趙無極早已經揚名異域多年，卻苦於 1949 年 後中國的重大歷史轉折，一直無法順利回鄉探視父母。 另一方面正值壯年的畫家，情海中深情也失意，美麗妻 子美琴飽受疾病所折磨，他將其擔憂鬱悶化為力量，以 創作抒發，任思緒馳騁於筆鋒的競逐。光陰飛逝，留下 情意綿長與意志昂揚，一幅幅扣人心弦之作。

趙無極《22.7.64》1964 油彩 畫布 161.5 x 199.5 cm

佳士得香港 2018 秋拍 港幣 1億1,597.5萬元成交

Zao Wou-Ki, 22.7.64, 1964, oil on canvas, 161.5 x 199.5 cm Christie's, 2018, HK, US$14,811,283

趙無極的法文自傳裡，第一句話就是提到他的父親： 「我的父親逝世於 1968 年，正值文化大革命。」

In 1957 and 1958, Zao Wou-Ki and his close friends, Pierre Soulages and his wife, traveled to the United States. They were warmly welcomed by New York's vibrant contemporary art scene, engaging with the avant-garde movement that was reshaping art history. It was during this time that Zao was signed by the prestigious Kootz Gallery, the key role in the postwar rise of Abstract Expressionism, which held regular exhibitions of his work in the U.S. Zao Wou-Ki's art radiated tremendous energy, and from 1959 to 1972, he entered the peak of his career, a period often referred to as his 'Hurricane' periode.

The 'Hurricane' period was like the dawn of a new era, symbolizing Zao Wou-Ki's bold journey between innovation and tradition. His numerous, grand masterpieces emerged from his unwavering lifelong commitment to reimagining the art of painting.

In his early years, the artist intentionally avoided relying on his profound calligraphic skills to prevent his work from becoming overly crafted. By this time, he had simplified his approach, shedding traditional elements in favor of a more essential from that refined the interconnectedness of all things within the cosmos. In his early years, the artist intentionally avoided relying on his profound calligraphic skills to prevent his work from becoming overly crafted. By this time, he had simplified his approach, shedding traditional elements in favor of a more essential from 趙無極 |18.10.68

that refined the interconnectedness of all things within the cosmos. The creator's ecstasy, anger, tranquility, and sense of non-action are openly expressed through the intertwining of abstract space and color. The extraordinary momentum that resonates in the paintings stems from the creator's early dedication to mastering Western painting techniques and the profound influence of Eastern cultural heritage. These two elements intertwine and ultimately blossom into remarkable outcomes.

"My studio is a concealed box, as I intended it to be. The light comes only from the north, somewhat gray and always stable, allowing me to grasp the density of every color without the distortion of sunlight interfering with the subtle variations." Excerpt from Zao Wou-Ki's Autoportrait Chapter 7

"My studio is a concealed box, as I intended it to be. The light comes only from the north, somewhat gray and always stable, allowing me to grasp the density of every color without the distortion of sunlight interfering with the subtle variations."- Zao Wou Ki

The artwork "18.10.68," completed in 1968, This work resembles the composition of a Tai Chi diagram, effortlessly balancing heaviness and lightness while embodying the interplay of emptiness and fullness. The bold, defined black ink lines twist and turn in the foreground, creating a sense of movement. In the background, a distant view evokes snow-capped mountains with white clouds floating along the ridges. Layers of yellow paint, rugged and steep, suggest the essence of nature, enhanced by icy blue brushstrokes that intricately interweave.

Zao Wou-Ki's long-term engagement with Western aesthetic thought allowed him to skillfully incorporate the unique sense of light characteristic of the West into his creations. The painting showcases a solemn radiance and a fantastical, mysterious play of vibrant colors in its spatial composition.The artist employs a unique and insightful brushwork to translate the vitality of life, the essence of wind, movement, and the unfolding and integration of from. Power and balance transfrom instantaneously between emptiness and fullness, as the painting, rooted in sensation, engages in a dialogue with space.

In Zao Wou-Ki's French autobiography, the first sentence mentions his father: "My father passed away

in 1968, during the Cultural Revolution." By 1968, Zao Wou-Ki had already gained fame abroad for many years, yet he struggled to return home to visit his parents due to the significant historical changes in China after 1949. On the other hand, the artist, in the prime of his life, experienced both deep emotions and disappointments, as his beautiful wife, Michèle, suffered from illness. He transfromed his worries and melancholy into inner strength, expressing himself through creation, allowing his thoughts to race along the competitive strokes of his brush. As time flies by, it leaves behind enduring emotions and a spirited resolve, resulting in a series of captivating masterpieces.

南宋

蘇拉吉 Pierre Soulages

052

YOSHITOMO NARA

(Japanese, b. 1959)

Untitled

1987

Acrylic, colored pencil, and pencil on canvas

130.3 × 130.3 cm

Signed resverse Yoshitomo Nara

PROVENANCE

Tokyo Humanité Gallery, Nagoya

ILLUSTRATED

Yoshitomo Nara: The Complete Works volume I, Chronicle Books LLC, San Francisco, 2011, colo illustrated, no. P-1987-001, p. 55

NT$ 28,000,000 - 46,000,000

HK$ 6,863,000 - 11,275,000

US$ 884,700 - 1,453,400

RMB 6,181,000 - 10,155,000

奈良美智

無題

1987

壓克力 色鉛筆 鉛筆 畫布

簽名書背：Yoshitomo Nara

130.3 × 130.3 cm

來源

東京人文主義畫廊，名古屋

圖錄

《奈良美智全作品全集第一冊》，編年出版社，舊金山， 2011，彩色圖版，編號P-1987-001，頁55

Yoshitomo Nara

UNTITLED

奈良美智 | 無題

《無題》完成於 1987 年，該年度藝術家完成在日本的 學業，畢業於愛知縣立藝術音樂大學（Aichi Prefectural University of Arts and Music）碩士學程，並且前往歐 洲旅遊，隔年，奈良美智負笈德國，進入學風自由、 培育眾多當代藝術大師的殿堂：杜塞道夫藝術學院 （Kunstakademie Düsseldorf）。

「藝術應該被感受，而不是在學術、邏輯上強求理 解」 約瑟夫．博伊斯

回望奈良美智 1980 年代作品，那些被觀者熟悉，藝術 家型塑畫作表面獨有質感、多層次色彩堆疊、細緻的筆 觸、重複特定物件、題材的表達手法，這些特色在此 時都已經具備。不難察覺，海外豐富的歷史文化，對 這位年輕的日本藝術家是何等衝擊與寶貴。他分別於 1980 、 1983 、 1987 年旅行於歐洲，醉心義大利文藝復 興與基督教藝術的美學，也直覺地轉譯在他這個階段的 創作。墜落、十字架、天使、聖人光環與房屋等象徵性 元素，強烈的敘事基調，引導觀者揣摩藝術家思索的故 事，也理解奈良美智如何融匯亞洲藝術家的特色，內化 西方古典藝術的養分。

《無題》揭示奈良美智蓬勃年輕的心境，他期待擁抱更 寬廣自由的創作環境，更鼓舞著觀者拋開過去，迎接嶄 新的未來。 1988 至 1995 年，奈良美智旅居德國期間， 在日本舉行的個展是與名古屋和東京兩地的人文畫廊合 作。《無題》也同樣來源於這間畫廊，並收錄於藝術家 畫冊《奈良美智藝術全集 I》編號 P-1987-001。此作是 於 1987 年以油彩、色鉛筆、鉛筆與畫布等媒材完成的 一米三正方外型畫作。全景上下採淺藍天空與綠地，分 成畫面兩大背景區塊。畫面左角貼以大量德文語言練習 的筆記紙本，形成秩序由上而下的階梯式分佈。非傳統 媒材的使用，間接呼應藝術家認為藝術與生活並無區別 的觀點。而外語書寫的文字，也可直觀視為抽象的線條 表現。

佔據右側畫面的主角少年，頭上紮滿繃帶，指尖冒著 煙，跨出黑色圓圈，拋開有著相同面孔的頭顱。且人 物身穿日式制服「詰襟」（ Gakuran ），是奈良美智

1986-1987 年探索風格期間，與日本戰鬥機同樣指涉為 「過往」的符號。少年側身帶有「白色羽翼」象徵對 「自由與新希望」的期許；而「紅色火焰」在此畫中出 現三次：黑色的房屋、中央的營火，與人物頭頂的房 屋，則有浴火重生的正向含意。

"Untitled" was completed in 1987, the same year the artist finished his studies in Japan, graduating from the master's program at Aichi Prefectural University of Arts and Music before traveling to Europe, the following year, Nara moved to Germany to attend the Kunstakademie Düsseldorf, a prestigious institution known for its liberal academic environment and for nurturing numerous contemporary art masters.

" Art is not there simply to be understood. ⋯ It is more the sense of an indication or suggestion. " –Joseph Beuys

Looking back at Yoshitomo Nara ' s works from the 1980s, the qualities that viewers are familiar with his unique textural surfaces, layered color palettes, meticulous brushwork, and the repeated expression of specific objects and themes were already evident during this time. It is not hard to see how the rich historical and cultural resources from abroad were a profound and valuable influence on this young Japanese artist. He traveled to Europe in 1980, 1983, and 1987, becoming enamored with the aesthetics of the Italian Renaissance and Christian art, which intuitively influenced his work during this period. Symbolic elements such as falling, crosses, angels, halos of saints, and houses create a strong narrative tone that guides viewers to ponder the stories the artist reflects upon. It also helps them understand how Yoshitomo Nara integrates the characteristics of Asian artists while internalizing the influences of Western classical art.

"Untitled" reveals Yoshitomo Nara's vibrant youthful spirit, reflecting his desire to embrace a broader and

freer creative environment. It inspires viewers to let go of the past and welcome a fresh future. From 1988 to 1995, during his time in Germany, Nara held solo exhibitions in Japan in collaboration with Galerie Humanité in Nagoya and Tokyo. "Untitled" also originated from this gallery and is included in the artist's catalog, "Yoshitomo Nara: The Complete Works I," under the number P-1987-001.

Completed in 1987, this piece is a square painting measuring 1.3 meters, created using oil paint, colored pencils, graphite, and canvas. The panoramic scene features a light blue sky and dark green land, divided into two large background sections. In the left corner, a substantial amount of notebook paper with German language practice notes is affixed, creating an orderly, step-like distribution from top to bottom.

The use of non-traditional materials indirectly echoes Nara ' s belief that there is no distinction between art and life, while the foreign language writing can be intuitively viewed as an expression of abstract lines. Occupying the right side of the painting is the central figure: a young boy with his head wrapped in bandages, smoke curling from his fingertips. He steps out of a black circle, discarding a severed head that bears the same face.

Dressed in a Japanese unifrom known as "Gakuran," the figure symbolizes the " past, " much like the reference to Japanese fighter planes during Nara ' s exploration of style between 1986 and 1987. The boy's side profile features "white wings," representing hopes for "freedom and new beginnings." The "red flames " appear three times in the painting: in the black house, the central campfire, and the house above the figure ' s head, all conveying a positive message of rebirth through fire.

奈良美智《無題》1987 壓克力 色鉛筆 鉛筆 畫布 130.3 × 130.3 cm

YOSHITOMO NARA, Untitled, 1987 Acrylic, colored pencil, and pencil on canvas 130.3 × 130.3 cm

奈良美智《旋轉木馬》1987 壓克力 畫布 130.3 x 130.3 cm

YOSHITOMO NARA, Merry Go Round, 1987, Acrylic on canvas 130.3 x 130.3 cm

YOSHITOMO NARA

(Japanese, b. 1959)

At Christmas No Real Christmas Tree

1991

Acrylic color pencil on paper

64.7 x 50 cm

Signed lower right Yoshitomo Nara, inscribed upper left an Weinachten and inscribed lower left Keine von den tannenbäume and dated 1991

PROVENANCE

Bonhams, London, December 1-8, 2022, lot 11

ILLUSTRATED

This work is registered in the Yoshitomo Nara online catalogue raisonné. no.YNF7194.

NT$ 3,200,000 - 4,200,000

HK$ 784,000 - 1,029,000

US$ 101,100 - 132,700

RMB 706,000 - 927,000

「來到生活充滿了不安的異國，很明顯讓我的畫起了變 化。在日本，我也畫『小孩』、『動物』等主題 但

來到德國之後，我已經不再管『是誰被觀看一事』，我 無法再畫對自己不重要的東西，也就是說，畫裡的背景 全被我塗為平面，只有『小孩』或『動物』被凸顯出 來。」 奈良美智

1988 年奈良美智入學德國杜塞道夫藝術學院，師承彭 克(A.R. PENCK)，1991年他以油畫作品《執刀的女孩》 視為確定自身風格的重要轉捩點。此時的奈良美智開始 轉變早期多層堆疊層次的畫作背景，改以更為輕簡的方 式突顯畫面中心，圖像式人物的主視覺性。本拍品《在 聖誕沒有真的聖誕樹》同樣創作於 1991 年，可視為藝 術家改寫自我風格後的第一批創作。藝術家淡化早年冷 暖對比色調的手法，整張畫面的構圖得以更加平衡與柔 和。畫面中藝術家親筆寫下的德文註記，詮釋了天使為 幼苗澆水的形象，富有詩意的超現實情境。

"Coming to a foreign country where life is filled with unease has clearly influenced a change in my paintings. In Japan, I used to paint subjects like 'children' and 'animals'... but after arriving in Germany, I no longer care about 'who is being watched.' I can no longer paint things that don't matter to

奈良美智

在聖誕沒有真的聖誕樹

1991

壓克力 彩色鉛筆 紙本 64.7 x 50 cm

簽名右下：Yoshitomo Nara'91 題識左上：an Weinachten

題識左下：Keine von den tannenbäume

來源

邦翰斯，倫敦，2022年12月3日，編號11

圖錄

此作已收錄於奈良美智線上作品全集 編號YNF7194

me. In other words, I flattened the background in my paintings, highlighting only the 'children' or 'animals.'" – Yoshitomo Nara

In 1988, Yoshitomo Nara enrolled in the Kunstakademie Düsseldorf in Germany, studying under A.R. Penck. In 1991, he considered his oil painting "The Girl with the Knife in Her Hand" as a crucial turning point in establishing his own style. At this time, Yoshitomo Nara began to shift away from the earlier multi-layered backgrounds in his paintings, opting for a simpler approach to emphasize the central focus of the image, highlighting the primary visual impact of his iconic figures. The artwork "No Real Christmas Tree on Christmas" was also created in 1991 and can be regarded as one of the first works produced after the artist redefined his own style. The artist toned down the use of contrasting warm and cool colors from his earlier works, allowing the composition of the entire painting to become more balanced and gentle. The handwritten German inscription by the artist within the painting interprets the image of an angel watering a sapling, creating a poetic and surreal atmosphere.

054

BERNARD BUFFET

(French, 1928-1999)

Cyclamens Ⅰ

1990

Oil on canvas

92.5 x 65.5 cm

Signed lower right Bernard Buffet

Dated lower right 1990

NT$ 3,800,000 - 4,800,000

HK$ 931,000 - 1,176,000

US$ 120,100 - 151,700

RMB 839,000 - 1,060,000

貝爾納．畢費

兔子花 I

1990

油彩 畫布

92.5 x 65.5 cm

簽名右下：Bernard Buffet

年代左下：1990

法國戰後具象藝術大師：貝爾納．畢費（ Bernard Buffet ）西洋藝術史的代表性人物，在亞洲享有極高知 名度與全球性藏家擴及度，被公認為殿堂級藝術家。才 華洋溢的畢費，就讀巴黎國立高等美術學院時即受矚 目， 1955 年僅 27 歲被當時法國《藝術鑑賞雜誌》選為 「戰後十大最傑出藝術家」之首，年僅46歲更獲選為最 年輕的「法蘭西學院美術學院院士」，進入法國藝術史 至高無上的殊榮。畢費終生創作超過八千幅作品，驚人 的才華留予後世大量經典之作。戰後全球藝壇力圖革新 藝術表現手法之時，畢費始終專注於繪畫創作，時間長 達50餘年。廣受各界收藏家喜愛的主題，則多為馬戲團 小丑、鬥牛士、肖像、風景、花卉、靜物為主。在藝術 家觸及全球的拍賣市場中，佔比八成以上都是繪畫作品 的交易。

Bernard Buffet, the master of post-war figurative art in France, is a prominent figure in Western art history. He enjoys remarkable recognition and visibility in

Asia, with a global collector base, and is celebrated as a hall-of-fame artist. The exceptionally talented Buffet garnered attention while studying at the École Nationale Supérieure des Beaux-Arts in Paris. At just 27 years old in 1955, he was named the top artist in the "Top Ten Outstanding Artists of the Post-War Era" by Connaissance des Arts, and at 46, he was honored as the youngest member of the Académie des BeauxArts, attaining the highest distinction in French art history. Throughout his lifetime, Buffet produced over 8,000 works, leaving behind an impressive legacy of classic pieces for future generations. While the global art scene sought to innovate artistic expression in the post-war era, Buffet remained dedicated to painting for more than 50 years. His widely cherished works often explore themes such as circus clowns, bullfighters, portraits, landscapes, flowers, and still lifes. In the global auction market, over 80% of transactions involving his art consist of paintings.

Bernard Buffet | Cyclamens Ⅰ 貝爾納．畢費

《兔子花 I 》創作於 1990 年，正值藝術家購置巴黎蒙馬

特區新宅不久，並由知名藝評家亞歷克斯．阿韋拉（Alin

Alexis Avila ）為其出版個人傳記《貝爾納．畢費》之 時。可從藝術家在此畫中的表現手法，窺見他揮別早年 憂鬱暗澀的基調，以帶有跳躍和鮮明色彩的筆法，推 斷其愉悅平順之心境。耳順之年的畢費創作力相當旺 盛，於同一年推出兩檔個人展覽。主題分別為《布列塔 尼》與《海底兩萬里》。前者為法國西部海域，是藝術 家童年與母親共渡夏日，擁有獨特回憶的主題，而後者 則是以法國科幻小說之父儒勒．凡爾納（ Jules Gabriel Verne ）著作為靈感，呈現書中描述的奇幻歷程。畢費的 心境似乎回歸孩童時期的無憂無慮，隨興而致，熟臻的 繪畫功力，信手捻來就能完成激勵人心的佳作。

《兔子花 I 》藝術家以粗獷有力的 黑色線條勾勒盆花主體輪廓，簡 約素色的背景更映襯畫作主視覺之 明確。畫面主視覺盆栽佔據過半的 構圖，花朵蓬勃的生命力由中央擴 張至畫面四角。藝術家巧妙運用 桌面，放大個性化簽名於右側， 縮小左邊年代的面積，得以平衡 畫面的穩定感。兔子花又名仙客 來，經常出現於畢費花卉靜物畫 作。明亮的紅色花朵和綠葉的心 形，色彩對比，流露著鮮活的律 動感。花卉主題，作為畢費最愛 的主題之一，貫穿了各個時期的 風格。此作《兔子花 I 》更是見證 藝術家一生，從憂鬱青年至成熟 期，翻新的創作體驗與感悟。率性 自若的風格，令人陶醉。

launching two solo exhibitions in the same year. The themes of these exhibitions were "Bretagne" and "Vingt mille lieues sous les mers". The Former, Brittany, draws on the artist's unique childhood memories of spending summer days with his mother in the western waters of France. Also, the latter, inspired by the works of Jules Verne, the father of French science fiction, presents the fantastical journeys described in his writings. Buffet' s state of mind seems to return to the carefree spirit of childhood, allowing him to create spontaneously. His mastery of painting enables him to effortlessly produce inspiring works of art.

In the artwork " Cyclamens I, " the artist outlines the shape of the vase with bold, vigorous black lines, while the minimalist monochromatic background accentuates the clarity of the composition's main visual elements. The central visual of the potted plant occupies more than half of the composition, with the vibrant life of the flowers radiating from the center to the corners of the artwork. The artist skillfully utilizes the tabletop, enlarging his personalized signature on the right while minimizing the area for the date on the left, creating a balanced sense of stability in the painting.

" Cyclamens I " , created in 1990, coincided with the artist ' s purchase of a new home in the Montmartre district of Paris and the publication of his personal biography Bernard Buffet by renowned art critic Alin Alexis Avila. Through the techniques employed in this painting, one can see how the artist has moved away from his earlier, more melancholic and somber tones, opting instead for a lively and vibrant color palette that suggests a state of joy and tranquility. In his sixties, Buffet demonstrated remarkable creative energy,

Cyclamens I, also known as Xin-Kèlái (meaning Fairy-welcome Flower) in Chinese, frequently appear in Buffet ' s still-life floral paintings. The bright red flowers and heart-shaped green leaves create a striking color contrast, exuding a lively sense of movement. As one of Buffet's favorite themes, floral subjects run throughout his various stylistic periods. This painting, "Cyclamens I", stands as a testament to the artist's journey from a melancholic youth to a mature phase, reflecting his renewed creative experiences and insights. The effortlessly confident style is truly captivating.

LI CHEN

(Taiwanese, b. 1963)

Dragon–Riding

Bodhisattva ; Wisdom

Bodhisattva & Fulfillment Bodhisattva (a set of 3)

2001

Bronze, ed. EA1/4

51(L) x 63(W) x 74(H) cm ; 25(L) x 36(W) x 43.5(H) cm

29(L) x 41(W) x 34(H) cm

Engraved on the back Li Chen in Chinese and English, numbered EA1/4 and dated 2001 (each)

ILLUSTRATED

Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, pp. 80-83

Li Chen in 52nd Venice Biennale - Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, pp. 110-115,118129; black-and-white illustrated, pp. 218-219 (similar version)

Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, color illustrated, pp. 40-49, 50-57 ; black-and-white illustrated, pp. 196-197 (similar version)

Li Chen: Mind, Body, Spirit, Singapore Art Museum, Singapore, 2010, color illustrated, pp. 94-103 ; black-andwhite illustrated, p. 183 (larger version)

Great of Spirit – Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center, Taipei, 2011, color illustrated, p. 59 & pp. 78-79 (larger version)

This lot is accompanied with a certificate of authenticity issued by artist’s studio.

NT$ 5,000,000 - 7,000,000

HK$ 1,225,000 - 1,716,000

US$ 158,000 - 221,200

RMB 1,104,000 - 1,545,000

李真的雕塑藝術，主要採用中國特殊墨黑色的生漆手 法、銨金、銨銀等技巧，賦予雕塑內斂沉穩，溫潤細膩 的表面質感。遠眺如磐石渾厚，近觀則如瓷器細緻。

《大士騎龍》、《文殊》、《普賢》同樣來自藝術家 2001-2003 年「大氣神遊」系列。該系列可謂李真不惑 之年，創作能量豐盈，參得佛教精神，了臻於悟的圓滿 成果。李真的藝術內蘊東方禪學，形塑於西洋美術的極 簡風格；通過禪宗思想和當代藝術結合，推得亞洲當代 雕塑的再進化。

Li Chen's sculpture art primarily employs techniques such as Chinese special ink-black lacquer, goldgilt, and silver-gilt, endowing the sculptures with a restrained and stable quality, as well as a warm and

李真

大士騎龍；文殊菩薩；普賢菩薩 ( 三件一組 )

2001

銅雕 版次 EA1/4

51(長) x 63(寬) x 74(高) cm

25(長) x 36(寬) x 43.5(高) cm

29(長) x 41(寬) x 34(高) cm

簽名雕刻背面：李真 2001 Li Chen EA1/4 (每件)

圖錄

《李真雕塑1992-2002》，亞洲藝術中心，

台北，2004，彩色圖版，頁80-83

《李真第52展威尼斯雙年展─虛空中的能量》， 亞洲藝術中心，台北，2007，彩色圖版，

頁110-115, 118-129；黑白圖版，頁218-219

(另一尺寸版本)

《李真中國美術館個展─尋找精神的空間》， 亞洲藝術中心，台北，2008，彩色圖版，頁40-49, 50-57；黑白圖版，頁196-197(另一尺寸版本

《李真：精神、身體、靈魂》，新加坡美術館， 新加坡，2010，彩色圖版，頁94-103；黑白圖 版，頁183 (較大版本)

《大氣—李真台灣大型雕塑首展》，亞洲藝術 中心，台北，2011，彩色圖版，頁59與頁78-79 (較大版本)

附藝術家工作室開立與藝術家簽名之作品保證書

delicate surface texture. From a distance, it appears as solid and robust as a rock, while up close, it is as delicate as porcelain. This time, 'Dragon–Riding Bodhisattva,' 'Wisdom Bodhisattva & Fulfillment Bodhisattva' all come from the artist's 'The Greatness of Spirit' series created between 2001 and 2003. This series can be considered as Li Chen at the age of 40's, characterized by abundant creative energy. It embodies the spirit of Buddhism and represents the attainment of a profound realization. Li Chen's art embodies Eastern Zen philosophy, shaped by the minimalist style of Western art. Through the integration of Zen thought and contemporary art, it promotes the re-evolution of Asian contemporary sculpture.

LI CHEN

(Taiwanese, b. 1963)

Nothing in the Heart

2005

Bronze, ed 3/8

48(L) x 38(W) x 51(H) cm

Engraved reverse Li Chen in Chinese and English, numbered 3/8 and dated 2005

PROVENANCE

Ode To Art Gallery, Singapore

Bonhams, Honf Kong, November 26, 2018, lot 33

ILLUSTRATED

Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, p. 93

Li Chen in 52nd Venice Biennale - Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, pp. 168-169; black-and-white illustrated, p. 220 (similar version)

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

HK$ 490,000 - 735,000

US$ 63,200 - 94,800

RMB 442,000 - 662,000

《影沈寒水》展現的清淨之心，源於生命中的深刻體 驗。李真遊歷台灣中部的橫貫公路，途經天祥與太魯 閣，浸泡在山中的野溪冰水與溫泉中。此地地勢險峻， 兩側山壁如同相擁，形成幽深的峽谷，仰望可見高山巍 峨直插雲霄，俯視則見暗湧波光閃爍。當霧氣繚繞時， 峽谷宛如無底深海，喚起內心深處的寧靜。作品中的人 物在太魯閣的雲霧中恍如置身夢境，四肢浸於水中，仿 佛與自然融為一體。藝術家以雕塑技巧巧妙呈現水的冰 冷質感、沈睡的靜謐，與波光的流動感。通過固態與液 態的交織表現，藝術家成功捕捉了現實與幻境之間的美 妙平衡。

Nothing in the Heart reveals a pure heart inspired by profound life experiences. Li Chen traveled along the Central Cross-Island Highway in central Taiwan, passing through Tienhsiang and Taroko, and immersed himself in the icy waters and hot springs of the mountains. The terrain here is steep, with cliffs on both sides froming a deep gorge; looking up, one sees majestic peaks soaring into the clouds, while

李真

影沈寒水

2005

銅雕 版次 3/8

48(長) x 38(寬) x 51(高) cm

簽名雕刻背面：李真 Li Chen 3/8 2005

來源

Ode To Art 畫廊，新加坡

邦瀚斯拍賣，香港，2018年11月26日 編號 33

圖錄 《李真雕塑 1992-2022 》，亞洲藝術 中心，台北，2007，彩色圖版，頁93 《李真第52展威尼斯雙年展 空虛 中的能量》，亞洲藝術中心，台北， 2007，彩色圖版，頁168-169 黑白圖版，頁220 (不同版本)

looking down reveals shimmering undercurrents. When mist envelops the area, the gorge resembles an unfathomable abyss, evoking a deep sense of tranquility within. The figure in the artwork seems to exist in a dreamlike state amidst the clouds and mist of Taroko, with limbs submerged in water, as if merging with nature. The artist skillfully employs sculptural techniques to convey the cold texture of the water, the serenity of sleep, and the dynamic flow of light. Through the interplay of solid and liquid, the artist successfully captures the exquisite balance between reality and illusion to exist in a dreamlike state amidst the clouds and mist of Taroko, with limbs submerged in water, as if merging with nature. The artist skillfully employs sculptural techniques to convey the cold texture of the water, the serenity of sleep, and the dynamic flow of light. Through the interplay of solid and liquid, the artist successfully captures the exquisite balance between reality and illusion. between reality and illusion.

057

BERNARD BUFFET

(French, 1928-1999)

Ombelles dans un vase

1961

Oil on canvas

65 x 50.5 cm

Signed lower right Bernard Buffet and dated 1961

This lot is accompanied by two certificates of authenticity issued by Galerie Garnier, Paris and by Galerie Elegance, Taipei.

NT$ 1,400,000 - 2,200,000

HK$ 343,000 - 539,000

US$ 44,200 - 69,500

RMB 309,000 - 486,000

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，交織在每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，再送到把我 們帶到這個世界的女士手上。」

在早期靜物作品《雨傘花靜物》裡，呈現畢費鮮明卻 略顯憂鬱的風格，反映了戰後的存在主義情緒。花朵 造型和花瓶的筆觸俐落且精確，深色的輪廓線，呈現 出堅毅的、近乎樸素的外觀。黃色的顏色柔和，懷抱 希望之意，然細細品味仍有一種超然和疏離的感覺。

他的作品與傳統的花卉畫的柔美不同，畢費的表現方 式更加樸實和簡約，注重形式和結構，而不是鬱鬱蔥 蔥、充滿旺盛的姿態，傘狀的花朵和三角形花瓶，形 成鮮明對比，營造出戲劇性的效果。畢費的創作呼應 了表現主義的時代氛圍，強調原始情感，刻意避免過 於理想化，他的花卉直挺挺的孤傲神態，絕美芬芳彷 彿在時間中凍結。

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

貝爾納．畢費

雨傘花靜物 1961

油彩 畫布 65 x 50.5 cm

簽名右下：Bernard Buffet 61

附巴黎賈尼耶畫廊與台北愛力根畫廊 開立之原作保證書

subtle scents of bouquets offered to the woman who brought us into the world."

In this still-life painting "Ombelles dans un vase", Buffet presents a distinct yet somewhat melancholic style, reflecting the existential mood of the post-war era. The shapes of the flowers and the brushstrokes of the vase are sharp and precise, with dark outline lines that create a resolute and almost austere appearance. The yellow hues are soft, symbolizing hope, yet upon closer inspection, there is still a sense of detachment and aloofness. Unlike the delicate beauty of traditional floral paintings, Buffet's approach is more straightforward and minimalist, focusing on from and structure rather than lushness and exuberance. The umbrella-shaped flowers and triangular vase create a striking contrast, resulting in a dramatic effect. Buffet's creations resonate with the expressive atmosphere of the era, emphasizing raw emotion while deliberately avoiding excessive idealization. His flowers, standing tall with an aloof demeanor, appear to be frozen in time, exuding a breathtaking fragrance.

058

ROBERT COMBAS

(French, b. 1957)

Untitled

1983

Acrylic on canvas

135 x 116.5 cm

Signed lower right Combas and dated 1983

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

HK$ 368,000 - 637,000

US$ 47,400 - 82,100

RMB 331,000 - 574,000

1983 年四月，美國超級畫商李歐 · 卡斯特里（ Léo Castelli ），為二十六歲的貢巴斯舉行首場紐約個人展 覽。初出茅廬的貢巴斯，成功吸引國際畫壇的注意力。 當時全球化概念生成，藝術思潮風起雲湧，美國有「新 意象畫」、「壞畫」；英國「新繪畫」；德國「新表現 主義」或「新野獸派」；義大利「超前衛」。而法國前 輩藝術家本．沃捷（ Benjamin Vautier ， 1935-2024 ， 簡稱Ben Vautier）正名以貢巴斯為首一派的法國年輕藝 術家「自由具象」或稱「新自由具象」，也在這波前衛 潮流裡熠熠發光。

戰後藝術積極尋求突破的時代浪潮下，貢巴斯汲取了塗 鴉、漫畫、電視劇、搖滾音樂和龐克文化的養分，樹立 起個人獨特的魅力。貢巴斯的藝術飽含反文化挑釁、自 由形象、原生藝術，與些許瘋狂的特質。主題常見法國 特色，多方包容多元文化、種族與歷史事件。貢巴斯通 過多樣化的藝術媒介進行個人表達，促進了超越國界的 豐富交流。本次拍品《無題》象徵藝術家早期的蓬勃創 作力。他以正方黑線勾勒四邊，手舞足蹈的主角佔據大 量畫面，聯想 1980 年代最時髦的拍立得相片。以畫作 紀錄生活，畫家幽默風趣的性格表露無遺。

In April 1983, American art dealer Léo Castelli held the first solo exhibition in New York for 26-year-old French artist Robert Combas. As an emerging artist, Combas quickly attracted the attention of the international art scene. At that time, the concept of globalization was taking shape, and artistic movements were flourishing.

羅伯．貢巴斯 無題

1983

壓克力 畫布 135 x 116.5 cm

簽名右下：Combas 83

In the United States, there were "New Image Painting" and "Bad Painting"; in the United Kingdom, "New Painting"; in Germany, "Neo-Expressionism" and "Les Nouveaux Fauves" (New Fauvism); and in Italy, "Transavanguardia." French artist Ben Vautier (1935–2024) named the group of young French artists led by Combas as "Libre Figuration" or "Nouvelle Figuration Libre," which also shone brightly amid this wave of avant-garde movements.

In the post-war era, a time when the art world was actively seeking breakthroughs, Robert Combas drew inspiration from graffiti, comics, television shows, rock music, and punk culture, establishing a unique art style. His work is rich in countercultural provocation, free-from imagery, and elements of primitive art, embodying a sense of madness. The themes of his paintings often reflect distinctly French characteristics, embracing multicultural influences, ethnicities, and historical events. Combas's personal expression through diverse art media fosters vibrant exchanges that transcend national borders.

The artwork Untitled symbolizes the artist's dynamic creative energy during his early career. He outlines the four sides with bold black lines, and the dancing protagonist dominates the canvas, evoking the trendy Polaroid photos of the 1980s. Through his paintings, Combas captures everyday life, revealing his humorous and witty personality.

EDDIE MARTINEZ

(American, b. 1977)

Purple Mush Room

2021

Oil paint and acrylic paint on canvas in artist’s frame

78.7 x 104.1 cm

Initialed upper right EM and dated 21

PROVENANCE

Perrotin Gallery

NT$ 2,400,000 - 3,200,000

HK$ 588,000 - 784,000

US$ 75,800 - 101,100

RMB 530,000 - 706,000

艾迪．馬丁內斯

紫色蘑菇

2021

油彩 壓克力 畫布 藝術家自製畫框

78.7 x 104.1 cm

簽名右上：EM. 21

來源

貝浩登畫廊

ROBERT COMBAS

(French, b. 1957)

Le Général Alphonse de la Mécano Napoléonien

2008

Acrylic on canvas

202 x 133 cm

Signed lower right Combas and dated 2008

This lot is accompanied by a certificate of authenticity issued by Galerie Elegance, Taipei.

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

HK$ 1,029,000 - 1,593,000

US$ 132,700 - 205,400

RMB 927,000 - 1,435,000

貢巴斯以人為中心的藝術思想，詮釋了 1980 年代人 們嚮往更自由的生活價值和社會觀念。其個人風格在 1984-1988 年間確立，年僅 23 歲時舉辦首次個展， 27 歲時舉行大型回顧展。由美國超級畫廊主李歐．卡斯 特里（ Leo Castelli ）， 1982 年開始合作的伊馮．蘭伯 特（ Yvon Lambert ）；以及 1997 年合作至今的勞倫． 斯特羅克（ Laurent Strouk ），還有比利時知名畫商居 伊．皮耶特（Guy Pieters）等人推薦。他漫畫嘲諷式前 衛畫風，畫面由粗獷線條與飽和色彩構成，毫無留白的 塗鴉，如連環畫層層相扣，處處值得玩味。主題橫跨情 色、黑暗，甚至是戰爭場面，視覺感官狂燎急馳，感性 凌駕理性。正如貢巴斯自承「我不愛法國香頌，聽的是 英國或美國的搖滾或龐克音樂。」

今次拍品《穿紅色馬靴的阿爾方斯將軍》由貢巴斯創 作於 2008 年。當年藝術家與倫敦歌劇院畫廊（ Opera Gallery, London ）合作展出「震撼」（ Blow your mind ）個人展覽。貢巴斯以多幅拿破崙時期軍裝人物 演奏樂器為主題，驚豔各座。靈感取自歷史，畫風成熟 流暢。整體色調鮮明，背景華麗，如描述將軍凱旋奏 樂，氣勢高昂，充滿朝氣與榮光。

Combas' human-centered artistic philosophy captured the 1980s' desire for more liberated life values and social ideals. His unique style was fromed between 1984 and 1988. At just 23 years old, Combas held his first solo exhibition, and by the age of 27, he had a major retrospective. Combas was endorsed by

羅伯．貢巴斯

穿紅色馬靴的阿爾方斯將軍

2008

壓克力 畫布

202 x 133 cm

簽名右下：Combas 2008

附台北愛力根畫廊開立之原作保證書

prominent figures in the art world, including American super gallerist Leo Castelli, Yvon Lambert, with whom he began collaborating in 1982, Laurent Strouk, who has worked with him since 1997, and renowned Belgian art dealer Guy Pieters. His satirical avantgarde style features bold lines and saturated colors, with graffiti that fills every space, resembling a serial comic that invites playful exploration. The themes span erotica, darkness, and even scenes of war, with a visual intensity that races forward, where emotion overrides reason. As Combas himself admits, "I don't love French chanson; I listen to British or American rock or punk music."

The artwork "Le Général Alphonse de la Mécano Napoléonien" was created by Combas in 2008. That year, the artist collaborated with the Opera Gallery in London for his solo exhibition titled "Blow Your Mind." Combas showcased several pieces featuring figures in Napoleonic military unifroms playing musical instruments, captivating audiences everywhere. Drawing inspiration from history, his style is mature and fluid. The overall color palette is vibrant, with a lavish background that evokes the scene of a triumphant general perfroming music, radiating energy and glory.

MOÏSE KISLING

(Polish-French, 1891-1953)

Portrait de Madeleine Sologne

1936

Oil on canvas

73 x 54 cm

Signed lower left Kisling, inscribed Paris and dated 1936

PROVENANCE

Marcel Bleustein, Paris, c.1948

Drouot, Paris, November 18, 1989, lot 95

Private Collection

EXHIBITED : Kisling 100th Anniversary Exhibition, Galerie Daniel Malingue, Paris, April 18-July 12, 1991

Mitsukoshi Museum of Art, Tokyo, November 19-December 29, 1991

Mitsukoshi Matsuyama, Matsuyama, January 14-19, 1992

Municipal Museum of Fine Arts, Kawaguchiko, January 29-February 23, 1992

Mitsukoshi Osaka, Osaka, February 26-March 9, 1992

Mitsukoshi Hiroshima, Hiroshima, March 17-22, 1992

Mitsukoshi Takamatsu, Takamatsu, March 24-29, 1992

Kisling 100th Anniversary Exhibition in Japan, Departmental Museum of Fine Arts, Fukuoka, April 10-May 10, 1992

Montparnasse, Atelier of the World. Artists from Elsewhere, Tribute to Kisling 1891-1953, Forum of the Arts, Palais de la Bourse, Marseille, June 1992-January 1993

Art Gallery of the General Council of Bouches-du-Rhône, Aix-en-Provence, April 6 - June 25, 2000

ILLUSTRATED : Georges Charensol, Moïse Kisling, Éditions de Clermont, Paris, 1948, p. 73

Florent Fels, L'Art vivant de 1900 à nos jours, Editeur Pierre Cailler, Genève, 1956, p. 114

Jean Kisling, Kisling (préface de Henri Troyat) tome II, Paris, 1982, p. 141, no. 158

Kisling 100th Anniversary, Galerie Daniel Malingue, Paris, 1991, exh. cat., color illustrated, no. 40

Kisling 100th Anniversary in Japan, Departmental Museum of Fine-Arts, Fukuoka, 1992, exh. cat., color illustrated, no. 47

Montparnasse, Atelier of the World. Artists from Elsewhere, Tribute to Kisling 1891-1953, Forum des Arts, Palais de la Bourse, Marseille, 1993, exh. cat., color illustrated, no. 111

Jean Moulin dit Romanin: artiste, résistant, marchand de tableaux, Art Gallery of the General Council of Bouches-du-Rhône, Aix-enProvence, 2000, exh. cat., color illustrated, p. 74

NT$ 4,000,000 - 6,000,000

HK$ 980,000 - 1,471,000

US$ 126,400 - 189,600

RMB 883,000 - 1,325,000

莫依斯．奇斯林

瑪德蓮‧索洛涅畫像

1936

油彩 畫布

73 x 54 cm

簽名左下：Kisling Paris 1936

來源 | 瑪賽．布勒斯坦，巴黎，約1948

德魯奧拍賣，巴黎，1989年11月18日，編號95

私人收藏

展覽

「奇斯林：百歲週年紀念展」，丹尼爾．馬凌畫廊，

巴黎，展期1991年4月18日至7月12日

三越美術館，東京，展期1991年11月19日至12月29日

松山三越，松山，展期1992年1月14日至19日

河口湖市立美術館，河口湖，展期1992年1月29日至2月23日

大阪三越，大阪，展期1992年2月26日至3月9日

廣島三越，廣島，展期1992年3月17日至22日

高松三越，高松，展期1992年3月24日至29日

福岡省立美術館，福岡，展期1992年4月10日至5月10日

「奇斯林：百歲週年紀念展」，福岡省立美術館，福岡， 展期1991年4月10日至5月10日

「蒙帕納斯：世界的畫室，外地來的藝術家：向奇斯林致敬 1891-1953」，藝術展廳，證券交易中心，馬賽，展期1992年 6月至1993年1月

隆河口省立理事會藝術中心，艾克斯．普羅旺斯地區， 展期2000年4月6日至6月25日 圖錄

喬治．夏隆索，《莫伊斯．奇斯林》，德克雷鵬出版社，巴 黎，1948，頁73

佛朗．菲爾，《二十世紀至今的藝術》，皮耶．凱業出版社， 巴黎，1956，頁114

尚．奇斯林，《奇斯林（前言：亨利．特洛耶）》第二冊， 巴黎，1982，頁141，編號158

《奇斯林：百歲週年紀念展》展覽目錄，丹尼爾．馬凌畫廊， 巴黎，1991，彩色圖版，編號40

《奇斯林：百歲週年紀念展（日本）》展覽目錄，福岡省立美 術館，福岡，1992，彩色圖版，編號47

《蒙帕納斯 世界的畫室，外地來的藝術家：向奇斯林致敬 1891-1953》展覽目錄，藝術展廳，證券交易中心，馬賽， 1993，編號111

《尚．慕朗（羅馬人）：藝術家、反叛者、畫商》展覽目錄， 隆河口省立理事會藝術中心，艾克斯．普羅旺斯，2000，

彩色圖版，頁74

MOÏSE KISLING

「巴黎畫派」藝術家：莫依斯．奇斯林（Moise Kisling, 1891-1953 ）被藝術記者和史學家，封為「蒙巴納斯 之王」。奇斯林出身於奧匈帝國時代的波蘭，年少時 曾就讀於克拉科夫的美術學院（School of Fine Arts in Kraków ）。他為人熱情大方，身邊總是圍繞著藝文好 友：莫迪里亞尼、畢卡索等人。奇斯林帶有神秘氛圍的 東方主義風格，感官鮮明、用色華美，是咆哮的二十年 代，巴黎藝壇中地位舉足輕重的藝術家。

奇斯林的初期作品受後印象（ Post-Impressionism ）與 立體主義（ Cubism ）影響，帶有幾何化物件與分割式 構圖的特徵。後來他改以義大利文藝復興和巴洛克等古 典藝術中找尋靈感，培養自己獨有的寫實風格，以花 卉、人物肖像作品，最為藝術藏家趨之若鶩。 1915 年 第一次世界大戰期間，奇斯林為法國參戰，因功授予他 公民身份；第二次世界大戰爆發，他則因猶太裔身分擔 心受納粹迫害，被迫移民至美國。

今次拍品《瑪德蓮．索洛涅畫像》為法國知名女演員瑪 德蓮．索洛涅（ Madeleine Sologne, 1912-1995 ）芳 齡二十四歲時，擔任奇斯林模特兒時期畫就。構圖以中 心人物為主，筆觸優雅細緻，靜謐中暗藏騷動線條的植 物背景，襯托出女主角高貴不凡的氣質。猶如十七世紀 荷蘭畫風格，靜態人物身穿白色華麗蕾絲，對比黑色天 鵝絨衣料。畫家悉心構成五官輪廓的明暗對比，還原女 主角栩栩如生的樣貌，她以專注且傳神的眼神與觀者對 望。左下方刻意放大、修長的手部線條，巧妙平衡了畫 面構圖。多數學者認為奇斯林的純熟畫風，同時間汲取 了古典技法與新潮流思維，以極度個人化的表現為現代 藝術史上留下精彩的篇章。

Moïse Kisling (1891-1953), an artist of the "School of Paris," was celebrated by art journalists and historians as the "King of Montparnasse." Born in Poland during the Austro-Hungarian Empire, Kisling studied at the School of Fine Arts in Kraków in his youth. Known for his warm and generous personality, he was often surrounded by artistic friends such as Modigliani

and Picasso. His work, characterized by a mysterious Orientalist style, vivid sensations, and rich colors, made him a prominent figure in the Paris art scene during the Roaring Twenties.

Kisling's early works were influenced by PostImpressionism and Cubism, featuring geometric froms and segmented compositions. Later, he drew inspiration from classical art, such as the Italian Renaissance and Baroque, and developed his own distinctive realist style. His floral paintings and portraits became highly sought after by art collectors. In 1915, during World War I, Kisling fought for France and was granted French citizenship for his service. However, with the outbreak of World War II, fearing persecution due to his Jewish heritage, he was forced to emigrate to the United States.

The artwork "Portrait de Madeleine Sologne" depicts the renowned French actress Madeleine Sologne (1912-1995) at the age of twenty-four during her time as a model for Kisling. The composition centers on the figure, showcasing elegant and delicate brushwork. The tranquil yet subtly dynamic background of plants enhances the subject's noble and extraordinary demeanor. In the style of 17th-century Dutch painting, the static figure is adorned in luxurious white lace that beautifully contrasts with the black velvet fabric. The artist skillfully constructs the contrasts of light and shadow in the facial features, rendering the subject's appearance lifelike. She gazes intently and expressively at the viewer. The deliberately elongated and enlarged lines of the hand in the lower left corner cleverly balance the composition. Most scholars believe that Kisling's mastery of painting draws simultaneously from classical techniques and contemporary ideas, leaving a remarkable chapter in the history of modern art through his highly personalized expression.

062

DAMIEN HIRST

(British, b. 1965)

Lovely and Kind

2001

Househlod gloss on canvas with butterflies

108.2 x 130.3 cm

Signed reverse Damien Hirst, titled Lovely and Kind and dated 2001

NT$ 12,000,000 - 22,000,000

HK$ 2,941,000 - 5,392,000

US$ 379,100 - 695,100

RMB 2,649,000 - 4,857,000

達明．赫斯特

可愛與體貼

2001

光澤塗料 蝴蝶 畫布

108.2 x 130.3 cm

簽名題識畫背：Damien Hirst Lovely and kind

2001

DAMIEN HIRST

Lovely and Kind

達明．赫斯特

達明．赫斯特在 1965 年出生於英國布里斯托， 1986 年 考入倫敦大學金匠學院修讀藝術學士學位，並於 1989 年畢業。赫斯特在就讀金匠學院時便漸露頭角，當時他 構思並策劃了一個名為「凍結」的展覽，與其他同學聯 合展出。自此成為英國青年藝術家運動（ YBA ）的主要 成員，影響了 1990 年代英國當代藝術的發展，於 1995 年榮獲英國特納獎殊榮。

1991年赫斯特的首場個人展覽「愛的合離（In and Out of Love ）」在倫敦伍德斯托克街畫廊（ Woodstock Street Gallery）的兩層空間中展出，其中就包含一個充 滿蝴蝶羽化成蛹的房間和名為《蝴蝶畫作與煙灰缸》的 裝置作品。睽違三十年， 2021 年耶魯大學英國藝術中 心，再度小規模重現了當時的展覽情境。「蝴蝶」作為 主題元素幾乎貫穿了赫斯特的創作歷程，同樣以蝴蝶為 主要媒材，赫斯特高達五公尺的 作品《永恆》於 2007 年創下藝 術家平面作品的最高拍賣紀錄。

探討了赫斯特作品的核心主題： 愛與死亡、美、慾望，痛苦對比 永恆；象徵與現實，以及人類在 生活與藝術交替的邊界。

希臘文的賽姬（ Psyche ）具有 「靈魂」和「蝴蝶」兩種意義， 它象徵人類的靈魂；而蝴蝶本身 則有「蛻變」和「新生」的雙重 特性，在藝術上象徵著愛情。想 要成為一隻美麗的蝴蝶，必須經 過蛹的蛻變，死亡才是重生的開始。

| 可愛與體貼

of the Young British Artists (YBA) movement, which significantly influenced the development of contemporary British art in the 1990s. In 1995, Hirst was awarded the prestigious Turner Prize.

In 1991, Damien Hirst's first solo exhibition, In and Out of Love, was showcased across two floors of the Woodstock Street Gallery in London. The exhibition featured a room filled with chrysalises from which butterflies emerged, along with an installation titled Butterfly Paintings and Ashtrays . Thirty years later, in 2021, the Yale Center for British Art recreated a smaller-scale version of the original exhibition setting. The theme of "butterflies" has been a constant throughout Hirst's artistic career. Utilizing butterflies as his primary medium, Hirst's five-meter-tall piece Eternity set a record in 2007 for the highest auction price of the artist's twodimensional works. His art delves into core themes such as love and death, beauty and desire, the contrast between pain and eternity, symbolism and reality, and the intersection of life and art.

藝術家赫斯特以蝴蝶的象徵意義，隱喻生命及愛情的短 暫無常。一旦被愛神的箭射中，掉入甜美的油彩陷阱 中，即甘願成為俘虜，成就藝術的雋永。在英文意義 中，Lovely是可愛的，多用來形容女性，而Kind是體貼 的，形容男性，赫斯特在此又再度玩弄文字遊戲，頗富 機鋒。

Damien Hirst was born in Bristol, UK, in 1965. In 1986, he enrolled at Goldsmiths, University of London, to pursue a Bachelor of Arts in Fine Art and graduated in 1989. During his time at Goldsmiths, Hirst began to gain prominence, conceiving and organizing an exhibition called "Freeze," which he co-exhibited with fellow students. He then became a key member

In Greek, "Psyche" carries both meanings of "soul” and "butterfly" It symbolizes Man's spirit; on the other hand, the term "butterfly ” itself carries the double significance of "transfromation" and "new life" symbolizing love in terms of art. To become a beautiful butterfly, one must undergo a process of transfromation and only death leads to the beginning of new life.

The artist, Hirst, used the symbolic meaning of butterflies as a metaphor for the transience and impermanence of life and love. Once shot by Cupid's arrows, they fall into the sweet traps of paint, which is tantamount to being willing captives for the attainment of a lasting and meaningful art. In English, the word "Lovely" means cute and is mostly used in describing women. "Kind" though normally means merciful and is mostly used to describe men. Hirst is once again seen here to be playing a game of words that is filled with incisive wit.

MEGURU YAMAGUCHI

(Japanese, b. 1984)

Mobius No.12

2021

Acrylic and UV absorber on plywood

162 x 284 cm

Signed reverse MEGURU YAMAGUCHI, titled Out of Mobius No. 12 and dated 2021

EXHIBITED

Meguru Yamaguchi, American Express & Jo Art Studio, Taipei, April 19-May 9, 2021

NT$ 2,400,000 - 4,600,000

HK$ 588,000 - 1,127,000

US$ 75,800 - 145,300

RMB 530,000 - 1,015,000

山口歷的雕塑繪畫，標誌性飛濺動態緊扣日本書道之 美，與潮流藝術的新穎魄力。創作者風格兼容旅美多 年，吸取地方街頭文化與當代繪畫之研究。拍品《莫 比烏斯 No.12 》首度於藝術家 2021 年台灣個展中展 出，氣勢恢弘線條流暢。完整呈現藝術家內化不同文 化載體，開創屬於自身的獨特表現。在技法、形式、 風格、觀念追求「創造前所未有的事物 ! 」，承接其設 計師雙親的影響，也呼應日本藝術團體「具體派」摒 棄常規之創作精神。藝術家應用新穎媒材環氧樹脂形 塑立體視覺，鮮豔色彩交織於抽象線條的矯捷動勢， 擺脫純平面畫作的局限。作品無拘無束彷彿富有生 命，隨光影在空間中展演舞動，每每在觀者親臨展覽 的驚嘆中，留下深刻印象。山口歷體現新一代藝術家 成長於全球化社會的優勢，創作語彙吸引跨界合作， 各大國際品牌，如：三宅一生、 Nike 、優衣庫爭相聯 名合作，而 2024 年巴黎奧運日本桌球男子代表團隊服 更是由山口歷所設計，藝術家的地位可見一斑。

Meguru Yamaguchi's sculptural paintings are characterized by dynamic splashes that capture the beauty of Japanese calligraphy, blended with the energy of contemporary street art. His style reflects his many years sojourn in the United States, where he absorbed local street culture and studied modern painting techniques. The artwork "Mobius No.12" was first exhibited during the artist's 2021 solo exhibition in Taiwan. It features grand, flowing lines

山口歷

莫比烏斯 No.12

2021

壓克力 膠合板 162 x 284 cm

簽名題識畫背："Mobius No. 12" MEGURU

YAMAGUCHI 2021

展覽

「山口歷繪畫雕塑特展」，美國運通；究藝術，

台北，展期2021年4月19日至5月9日

that fully embody the artist's internalization of various cultural elements, creating a unique and personal from of expression. In terms of technique, from, style, and concept, Yamaguchi strives to "create something that has never existed before!" Influenced by his designer parents, his work also resonates with the avant-garde spirit of Japan's Gutai art group, which rejected conventional methods of creation. The artist applies the innovative medium of epoxy resin to shape three-dimensional visual effects, where vibrant colors intertwine with the swift, dynamic movement of abstract lines. This approach breaks free from the limitations of traditional flat painting. The artwork feels unrestrained, as if imbued with life, dancing and perfroming in space as light and shadow play across it. It consistently leaves a lasting impression on viewers, evoking awe when experienced in person. Meguru Yamaguchi embodies the advantages of a new generation of artists growing up in a globalized society. His creative language attracts crossdisciplinary collaborations, with major international brands like Issey Miyake, Nike, and Uniqlo eagerly partnering with him. Notably, he designed the unifroms for the Japanese men's table tennis team at the 2024 Paris Olympics, further cementing his prominent status in the art world.

064

CHIHARU SHIOTA

(Japanese, b. 1972)

State of Being (Doll House)

2021

Doll house, red thread

90(L) x 28(W) x 42.2(H) cm

Initialed right side CS and dated 2021

PROVENANCE

Kenji Taki Gallery,Tokyo

EXHIBITED

Solo Exhibition by Chiharu Shiota, Kenji Taki Gallery, Shinjuku, November 25, 2021-January 22, 2022.

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

HK$ 539,000 - 784,000

US$ 69,500 - 101,100

RMB 486,000 - 706,000

塩田千春

存在的狀態 ( 娃娃屋 )

2021

模型屋 紅線

90(長) x 28(寬) x 42.2(高) cm

簽名右側：CS 2021

來源

賢二瀧畫廊，東京

展覽

「塩田千春個展」，賢二瀧畫廊，新宿，展期

2021年11月25日至2022年1月22日

065

MICHELL HWANG

(HWANG MING-CHE) (Taiwaness, b. 1948)

White

2006

Coating on steel, ed. 2/2

190(L) x 62(W) x 10(D) cm

Signed reverse Che in Chinese, dated 2006 and numbered 2/2

NT$ 550,000 - 750,000

HK$ 135,000 - 184,000

US$ 17,400 - 23,700

RMB 121,000 - 166,000

黃銘哲

2006

不鏽鋼塗裝 版次 2/2

190(長) x 62(寬) x 10(厚) cm

簽名背面：哲 2006 2/2

066

ZHOU CHUNYA

(Chinese, b. 1955)

Brotherhood

2006

Bronze, ed. 7/8

28(L) x 15(W) x 18(H) cm

Engraved on the base Z.C.Y in English, numbered 7/8 and dated 2006.3

ILLUSTRATED

Blooming Stories, Sichuan Fine Art Publishing Co., Chengdu, 2007, color illustrated, p. 124

NT$ 300,000 - 400,000

HK$ 74,000 - 98,000

US$ 9,500 - 12,600

RMB 66,000 - 88,000

周春芽

桃園結義 2006

銅雕 版次 7/8

28(長) x 15(寬) x 18(高) cm

簽名雕刻底座：2006.3. Z.C.Y 7/8

圖錄

《花間記》，四川美術出版社，成都， 2007，彩色圖版，頁124

067

TSENG YUHO

(Chinese-American, 1925-2017)

Infinity in the Palm of a Hand - A

1990

Acrylic, ink and aluminum foil on paper mounted on panel

30 x 38 cm

Signed lower right Ho in Chinese

With one seal of the artist

EXHIBITED

Dsui Paintings by Tseng Yuho, A Retrospective Exhibition, Shanghai Museum of Modern Art, Shanghai, April 20 - 30, 1992

National Art Museum of China, Beijing, May 5 - 9, 1992

Taipei Fine Arts Museum, Taipei, , August 30 - September 27, 1992

Hong Kong Arts Centre, Hong Kong, October 11 - 20, 1992

National Museum of Singapore, Singapore, March 3 - 15, 1993

ILLUSTRATED

Dsui Hua-Tseng Yuho, Hanart T Z Gallery, Hong Kong, 1992, color illustrated, no. 22, p. 64

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

NT$ 70,000 - 140,000

HK$ 17,000 - 34,000

US$ 2,200 - 4,400

RMB 15,000 - 31,000

曾佑和

掌中千秋 - A 1990

壓克力 水墨 鋁箔 紙本 裱於木板

30 x 38 cm

簽名右下：和

鈐印右下：曾佑和印

展覽

「掇畫：曾佑和回顧展」，上海美術館， 上海，展期1992年4月20日至30日 中國美術館，北京，展期1992年 5月5日至9日

台北市立美術館，台北，展期1992年 8月30日至9月27日

香港藝術中心，香港，展期1992年 10月11日至20日

新加坡國家博物館，新加坡，展期 1993年3月3日至15日

圖錄 《掇畫：曾佑和》，漢雅軒，香港，1992，

彩色圖版，編號22，頁64

附漢雅軒開立及藝術家親筆簽名之原作保證書

068

YU CHENG-YAO

(Taiwanese, 1898-1993)

Poem in Cursive Script

1990

Ink on paper, framed

44.5 x 142 cm

Signed Yu Cheng-yao in Chinese With one seal of the artist

PROVENANCE

Han Tang Arts & Culture Center, Taipei

Private collection, Asia

NT$ 100,000 - 200,000

HK$ 25,000 - 49,000

US$ 3,200 - 6,300

RMB 22,000 - 44,000

余承堯

草書自作詩 1990

水墨 紙本 鏡框

44.5 x 142 cm

釋文：朝來霧散遠雲輕，一水南流萬里行 此去波濤千百變，好看海月更圓明 款識：庚午冬日舊作，余承堯

鈐印：余承堯印

來源

漢唐樂府舊藏，台北 私人收藏，亞洲

069

WANG PAN-YOUN

(Taiwanese, 1908-2017)

The Loner

1980

Watercolor on paper mounted onto board

25.5 x 24 cm

Signed lower right Wang P.Y. With one seal of the artist

PROVENANCE

Hongwen Tang Gallery, Yilan Private collection, Taiwan

This lot is acompained by a acertificat of authenticity signed by the artist and a photo of the artist with the artwork.

NT$ 180,000 - 280,000

HK$ 44,000 - 69,000

US$ 5,700 - 8,800

RMB 40,000 - 62,000

王攀元

孤獨者

1980

水彩 紙本裱於木板 25.5 x 24 cm

簽名右下：WANG P.Y.

鈐印右下：王攀元印

來源

宏文堂藝廊，宜蘭 私人收藏，台灣

附藝術家簽名原作保證書及藝術家與 作品合影照片

070

CHEN TING-SHIH

(Taiwanese, 1916-2002 )

Day & Night # 89

1985

Woodblock print, ed. 25/60 92 x 92 cm

Signed lower Chen Ting Shih in English, titled Day & Night # 89, numbered 25/60 and dated 1985

PROVENANCE

Zhongcheng Auction, Taipei, December 13, 2009, lot 7

NT$ 240,000 - 340,000

HK$ 59,000 - 83,000

US$ 7,600 - 10,700

RMB 53,000 - 75,000

陳庭詩

晝與夜 #89

1985

版畫 版次 25/60 92 x 92 cm

簽名下方：Day and Night #89 25/60

Chen Ting-Shih 1985

來源

中誠拍賣，台北，2009年12月13日，編號7

071

YU PENG

(Taiwanese, 1955-2014)

Correspondence

2010

Oil on canvas

162 x 130 cm

Signed lower right Yu Peng

PROVENANCE

Acquired directly from the artist

EXHIBITED

Yu Peng Solo Exhibition: Loyalist, Migrant, Hermit, Eslite Book Store, Taipei, September 29 - October 10, 2011

ILLUSTRATED

Yu Peng: Loyalist, Migrant, Hermit, Genting Hong Kong, Hong Kong, 2011, pp. 58, 60 - 61

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

NT$ 260,000 - 380,000

HK$ 64,000 - 93,000

US$ 8,200 - 12,000

RMB 57,000 - 84,000

于彭

相應

2010

油彩 畫布

162 x 130 cm

簽名右下：于彭

來源

直接得自藝術家本人

展覽

「于彭個展：遺民、移民、逸民」，誠品書店， 台北，展期2011年9月29日至10月10日

圖錄

《于彭：遺民、移民、逸民》，雲頂香港出版， 香港，2011，頁58，60 - 61

附藝術家親筆簽名之原作保證書

072

YU PENG

(Taiwanese, 1955-2014)

A Pair of Fresh Worlds

2010

Oil on canvas

162 x 130 cm

Signed lower right Yu Peng

PROVENANCE

Acquired directly from the artist

EXHIBITED

Yu Peng Solo Exhibition: Loyalist, Migrant, Hermit, Eslite Book Store, Taipei, September 29 - October 10, 2011

ILLUSTRATED

Yu Peng: Loyalist, Migrant, Hermit, Genting Hong Kong, Hong Kong, 2011, pp. 23, 71

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

NT$ 260,000 - 380,000

HK$ 64,000 - 93,000

US$ 8,200 - 12,000

RMB 57,000 - 84,000

于彭

兩個清涼世界

2010

油彩 畫布

162 x 130 cm

簽名右下：于彭

來源

直接得自藝術家本人

展覽

「于彭個展：遺民、移民、逸民」，誠品書店，

台北，展期2011年9月29日至10月10日

圖錄

《于彭：遺民、移民、逸民》，雲頂香港出版，

香港，2011，頁23，71

附藝術家親筆簽名之原作保證書

073

WALASSE TING

(Chinese-American, 1929-2010)

Portrait of a Lady

Ink and color on paper

60×50 cm

With two seals of the artist

PROVENANCE

Acquired directly from the artist

Purchased from the above by the present owner

NT$ 260,000 - 360,000

HK$ 64,000 - 88,000

US$ 8,200 - 11,400

RMB 57,000 - 79,000

丁雄泉

仕女肖像

彩墨 紙本

60 x 50 cm

鈐印左下：採花大盜

鈐印右下：採花大盜

來源

直接得自藝術家本人

現有藏家購自上述來源

074

YUAN JAI

(Taiwanese, b. 1941)

Static Bird

2002

Ink and color on silk

66 x 38 cm

Signed lower left Yuan Jai in Chinese and dated the year of Renwu in Chinese With one seal of tle artist

EXHIBITED

Yuan Jai’s Solo Exhibition, Eslite Gallery, 2005, Taipei

ILLUSTRATED

Yuan Jai, Eslite Gallery, 2005, Taipei, color illustrated

Yuan Jai, My Humble House Art Gallery, Taipei, 2011, color illustrated, pp. 164-165

NT$ 320,000 - 420,000

HK$ 78,000 - 103,000

US$ 10,100 - 13,300

RMB 71,000 - 93,000

袁旃

靜鳥

2002

彩墨 絹本

66 x 38 cm

簽名鈐印左下：壬午年 袁旃

展覽

「袁旃 個展」，誠品畫廊，台北，2005

圖錄

《袁旃》，誠品畫廊，台北，2005，彩色圖版

《袁旃》，寒舍空間，台北，2011，彩色圖版， 頁164 - 165

075

JI DACHUN

(Chinese, b. 1968)

Self Portrait

2001

Mixed media on canvas 110 x 110 cm

Signed upper center Dachun in Chinese, and dated the year of Xinsi in Chinese

PROVENANCE

Former collection of JI DACHUN

NT$ 320,000 - 420,000

HK$ 78,000 - 103,000

US$ 10,100 - 13,300

RMB 71,000 - 93,000

季大純

自畫人像

2001

綜合媒材 畫布 110 x 110 cm

簽名中上：大純 辛已

來源

現有藏家購得藝術家本人

076

JI DACHUN

(Chinese, b. 1968)

Portrait of Lady 2001

Mixed media on canvas

110 x 110 cm

Signed upper center Dachun

PROVENANCE

Former collection of JI DACHUN

NT$ 320,000 - 420,000

HK$ 78,000 - 103,000

US$ 10,100 - 13,300

RMB 71,000 - 93,000

季大純

夫人畫像 2001

綜合媒材 畫布 110 x 110 cm

簽名中上：大純

來源

現有藏家購得藝術家本人

077

RAN IN-TING

(Taiwanese, 1903-1979)

Duck Farmer ; Bamboo Raft Bridge (a set of 2)

Ink on paper

15.5 x 31 cm ; 15.5 x 31.3 cm

Signed lower right In-Ting in Chinese and English, RAN-INTING and inscribed FORMOSA With one seal of artist.

EXHIBITED

Taiwan’s Riches - Appreciation of Ran In-Ting’s Works, Ding Lu Culture and Arts Foundation, Taipei, August 3 - 16, 2024

NT$ 380,000 - 480,000

HK$ 93,000 - 118,000

US$ 12,000 - 15,200

RMB 84,000 - 106,000

藍蔭鼎

鴨農 ; 竹篙橋 ( 兩件一組 )

水墨 紙本

15.5 x 31 cm ; 15.5 x 31.3 cm

簽名左下：蔭鼎 RAN IN TING FROMOSA

鈐印左下：鼎

簽名右下：蔭鼎 RAN IN TING FROMOSA

鈐印右下：鼎

展覽

「台灣豐采 藍蔭鼎作品欣賞」，鼎廬文化藝術基 金會，台北，展期2024年8月3日至16日

078

RAN IN-TING

(Taiwanese, 1903-1979)

Small Town ; Duck Herding (a set of 2)

Ink on paper

28 X 20 cm ; 28 X 20 cm

Signed lower right In Ting in Chinese and English, RAN IN-TING and inscribed FORMOSA With one seal of artist.

EXHIBITED

Taiwan’s Riches - Appreciation of Ran In-Ting’s Works, Ding

Lu Culture and Arts Foundation, Taipei, August 3 - 16, 2024

NT$ 380,000 - 480,000

HK$ 93,000 - 118,000

US$ 12,000 - 15,200

RMB 84,000 - 106,000

藍蔭鼎

小城 ; 驅鴨 ( 兩件一組 )

水墨 紙本

28 X 20 cm ; 28 X 20 cm

簽名右下：蔭鼎 RAN IN TING FROMOSA

鈐印右下：鼎

展覽

「台灣豐采 藍蔭鼎作品欣賞」，鼎廬文化藝術

基金會，台北，展期2024年8月3日至16日

WU HAO

(Taiwanese, 1931-2019)

Musicians

1988

Oil on canvas

107 x 107 cm

Signed middle right Wu Hao in Chinese and dated 1988

EXHIBITED

Wu Hao - Works in 40 Years, Taipei Fine Arts Museum, Taipei, December 10, 1994 –January 22, 1995

Wu Hao’s Painting History Exhibition, National Taiwan Museum of Fine Arts, Taichung, June 7– August 3, 1997

ILLUSTRATED

Wu Hao, Taipei Fine Arts Museum, Taipei, 1994, color illustrated, pp. 98 - 99

This lot is accompanied by a certificated of authenticity issued by Lung Men Art Gallery, Taipei.

NT$ 400,000 - 500,000

HK$ 98,000 - 123,000

US$ 12,600 - 15,800

RMB 88,000 - 110,000

吳昊作為東方畫會「八大響馬」之一，其作品橫貫台 灣美術發展 1950 年代末期「現代繪畫運動」與 1970 年 代「鄉土運動」兩個時期。吳昊展演時代轉換，革新 與傳統如何與時俱進，藝術家關懷鄉土、體察生活的 獨特經歷。

有別於學院出生的創作者，吳昊不受流派與固守的觀 念限制。雖然不歸類為素人藝術家，然而他取自生活 感觸，將所見所感以純真自然的態度表達出來，仍具 備相同氣質。吳昊作品以童玩、戲曲、喜慶節日、傳 統農村為主，將思念故鄉之情寄託於創作，也象徵台 灣歷經珍貴的大時代縮影。此次拍品《奏樂人》主題 饒富意象的民俗樂隊喜慶場景，藝術家以方形構圖， 平面化人物角輪廓和空間深度。畫家反覆使用 : 朱紅、 寶藍、明黃、翠綠和藤紫等色彩與不斷重複的線條形 象，豐富起畫面中的視覺秩序感，更滿載年節熱鬧歡 騰的氣氛。

As one of the "The Eight Bandits" of Ton Fan Group, Wu Hao ' s works span two significant periods in Taiwanese art development: the "Modern Painting Movement " of the late 1950s and the " Local Movement " of the 1970s. Wu Hao demonstrates the transition of eras, illustrating how innovation and tradition can evolve with the times, reflecting the

吳昊 奏樂人

1988

油彩 畫布

107 x 107 cm

簽名右方：吳昊 1988

展覽

「吳昊四十年創作展」，台北市立美術館， 台北，展期1994年12月10日至1995年1月22日 「吳昊的繪畫歷程展」，國立台灣美術館，

台中，展期1997年6月7日至8月3日

圖錄

《吳昊》，台北市立美術館，台北，1994，

彩色圖版，頁98 - 99

附龍門畫廊開立之原作保證書

artist's unique experiences of caring for the land and understanding life.

Unlike creators who come from an academic background, Wu Hao is not constrained by established schools or rigid concepts. Although he is not classified as an outsider artist, he draws inspiration from his life experiences and expresses his observations and feelings with a pure and natural attitude, embodying a similar spirit. Wu Hao's works primarily focus on childhood games, traditional opera, festive celebrations, and rural life, channeling his nostalgia for his hometown into his creations. They also symbolize a precious microcosm of Taiwan's historical journey through significant eras. The artwork, "Musicians," depicts a festive scene of a folk band rich in imagery.

The artist employs a square composition, flattening the contours of the figures and the spatial depth. The painter repeatedly utilizes vibrant colors such as vermilion, royal blue, bright yellow, emerald green, and violet, along with continuously repeated line patterns, enriching the sense of visual order in the painting and capturing the lively atmosphere of the festive season.

080

YANG DIN

(Chinese, b. 1958)

Quatre Saison II

2004

Mixed media on canvas 97 x 130 cm

Signed lower right Yang Din

Signed reverse Yang Din, titled Quatre Saison II, inscribed 97 x 130 cm and dated 2004

NT$ 400,000 - 500,000

HK$ 98,000 - 123,000

US$ 12,600 - 15,800

RMB 88,000 - 110,000

楊登雄

四季 II

2004

綜合媒材 畫布 97 x 130 cm

簽名右下：Yang Din

簽名題識畫背：Yang Din Quatre Saison II 2004 97 x 130 cm

081

TZU-CHI YEH

(Taiwanese, b. 1957)

Jasmine

2009 - 2012

Tempera and oil on linen

51 x 51 cm

Signed lower right Tzu Chi and dated 2009-2012

NT$ 650,000 - 1,300,000

HK$ 159,000 - 319,000

US$ 20,500 - 41,100

RMB 143,000 - 287,000

葉子奇

茉莉花

2009 - 2012

卵彩 油彩 亞麻布

51 x 51 cm

簽名右下：子奇 2009-2012

082

PANG JIUN

(Taiwanese, b. 1936)

Vase with Flowers and Fruit

2000

Oil on canvas

65 x 53 cm

Signed lower left Pang Jiun in Chinese and dated December 6, 2000

With one painted seal of the artist

PROVENANCE

Acquired directly from the artist

NT$ 480,000 - 700,000

HK$ 118,000 - 172,000

US$ 15,200 - 22,100

RMB 106,000 - 155,000

龎均

瓶花與水果 2000

油彩畫布

65 x 53 cm

簽名左下：龎均 2000年12月6日

手繪鈐印：均

來源 直接得自藝術家本人

083

CHUANG CHE

(Chinese-American, b. 1934)

Landscape

1975

Oil on canvas

117 x 101.5 cm

Signed lower center Chuang Che in Chinese and dated 1975

NT$ 500,000 - 850,000

HK$ 123,000 - 208,000

US$ 15,800 - 26,900

RMB 110,000 - 188,000

莊喆

風景 1975

油彩畫布 117 x 101.5 cm

簽名中下：1975 莊喆

WANG PAN-YOUN

(Taiwanese, 1908-2017)

The Bird and the Sun

1985

Oil on canvas

45.5 x 38 cm

Signed lower left Wang P.Y.

PROVENANCE

Metaphysical Art Gallery, Taipei

Acquired from the above by the present owner

This lot is accompanied with a certificate of authenticity issued by Metaphysical Art Gallery, Taipei and a photo of the artist with the art work.

NT$ 550,000 - 850,000

HK$ 135,000 - 208,000

US$ 17,400 - 26,900

RMB 121,000 - 188,000

王攀元

太陽與鳥

1985

油彩 畫布

45.5 x 38 cm

簽名左下：WANG P.Y.

來源 形而上畫廊，台北 現有收藏者購自上述來源 附形而上畫廊開立之原作保證書及 藝術家與作品合影照片

085

WANG PAN-YOUN

(Taiwanese, 1908-2017)

The Canoe

1979

Oil on canvas

53 x 65 cm

Signed lower right Wang P.Y.

PROVENANCE

Metaphysical Art Gallery, Taipei

Acquired from the above by the present owner

NT$ 900,000 - 1,400,000

HK$ 221,000 - 343,000

US$ 28,400 - 44,200

RMB 199,000 - 309,000

王攀元

獨木舟

1979

油彩 畫布

53 x 65 cm

簽名右下：WANG P.Y.

來源 形而上畫廊，台北 現有收藏者購自上述來源

086

WALASSE TING

(Chinese-American, 1929-2010)

Three Beauties

98 x 188 cm

Acrylic on paper

With one seal of the artist

PROVENANCE

Lung Men Art Gallery, Taipei

NT$ 950,000 - 1,800,000

HK$ 233,000 - 441,000

US$ 30,000 - 56,900

RMB 210,000 - 397,000

丁雄泉

三美圖

壓克力 紙本

98 x 188 cm

鈐印左上：採花大盜

來源

龍門畫廊，台北

087

HSIAO CHIN

(Taiwanese, 1935-2023)

L’Evoluzione cosmica (Cosmic Evolution) 5

2001

Acrylic on canvas

200 x 200 cm

Signed reverse Hsiao in English, Chin in Chinese, titled L’evoluzione cosmica - 5 in Italian, inscribed Acrilico, 200 x 200 cm in Italian and dated 2001 in Chinese

EXHIBITED

Hsiao Chin 1954-2004, A Journey Back to the Source, Guangdong Museum of Art, Guangzhou, August 26 - September 11, 2005

ILLUSTRATED

Hsiao Chin 1954-2004, A Journey Back to the Source, Guangdong Museum of Art, Guangzhou, 2005, color illustrated, front cover

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

HK$ 270,000 - 490,000

US$ 34,800 - 63,200

RMB 243,000 - 442,000

蕭勤

宇宙之進化 5

2001

壓克力 畫布

200 x 200 cm

簽名畫背：Hsiao 勤 零一 Acrilico 200 x 200 cm

L'evoluzione ; evoluzione cosmica - 5

展覽

「歸源之旅—蕭勤1954-2004年歷程展」， 廣東美術館，廣州，展期2005年8月26日

至9月11日

圖錄

《歸源之旅—蕭勤1954-2004》，廣東美術館，

廣州，2005，彩色圖版，封面

CHIU YA-TSAI

(Taiwanese, 1949-2013)

Man in a Coat

Oil on canvas

131 x 81 cm

Signed lower center Ya-tsai in Chinese ILLUSTRATED

Chiu Ya-tsai, Goethe Art Center, Taichung, 2013, color illustrated, p. 64

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

HK$ 294,000 - 539,000

US$ 37,900 - 69,500

RMB 265,000 - 486,000

邱亞才

穿大衣的男子

油彩 畫布

131 x 81 cm

簽名中下：亞才

圖錄

《邱亞才傳記》，哥德藝術中心，台中， 2013， 彩色圖版，頁64

089

YANG CHIHUNG

(Taiwanese, b. 1947)

Climate

2004

Acrylic on canvas

170 x 218 cm

PROVENANCE

Ravenel Auction, Taipei, June 3, 2012, lot 126

Acquired from the above by the present owner

EXHIBITED

The Images of the Mind: Chilung Yang’s Painting, National Museum of History, Taipei, September 23 - October 24, 2004

ILLUSTRATED

Inner Vision Human Condition - Chihung Yang Solo Exhibition, National Art Museun of China, Beijing, Asian Art Center, Beijing, 2007, color illustrated, pp. 72 - 73

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

HK$ 392,000 - 637,000

US$ 50,600 - 82,100

RMB 353,000 - 574,000

楊識宏

氣象

2004

壓克力 畫布

170 x 218 cm

來源

羅芙奧拍賣，台北，2012年6月3日，編號126

現有收藏者購自上述來源

展覽

「象由心生—楊識宏作品展」，國立歷史博物館， 台北，展期2004年9月23日至10月24日

圖錄

《心象情境：2007楊識宏北京中國美術個展》，

亞洲藝術中心，北京，2007，彩色圖版，頁72-73

090

YANG CHIHUNG

(Taiwanese, b. 1947)

I Made My Mind

2007

Acrylic on canvas

171 x 221 cm

Signed reverse Chihung Yang, titled I Made My Mind and dated 2007

PROVENANCE

Private Collection, Asia

Bonhams, Hong Kong, November 25, 2019, lot 045

Acquired from the above by the present owner

NT$ 1,600,000 - 2,400,000

HK$ 392,000 - 588,000

US$ 50,600 - 75,800

RMB 353,000 - 530,000

楊識宏

胸有成竹 2007

壓克力 畫布 171 x 221 cm

簽名畫背：Chihung Yang I Made My Mind 2007

來源

私人收藏，亞洲

邦瀚斯拍賣，香港，2019年11月25日，編號045

現有收藏者購自上述來源

091

JU MING

(Taiwanese, 1938-2023)

Taichi Series - Underarm Strike

1981

Wooden sculpture

16(L) x 35(W) x 39.5(H) cm

Engraved Ju Ming in Chinese and dated ‘81

This lot is accompanied by a certificate of authenticity issued by Kalos Gallery, Taipei.

NT$ 2,200,000 - 3,600,000

HK$ 539,000 - 882,000

US$ 69,500 - 113,700

RMB 486,000 - 795,000

朱銘

太極系列－十字手

1981

木雕

16(長) x 35(寬) x 39.5(高) cm

簽名雕刻：朱銘'81

附真善美畫廊所開立之原作保證書

092

JU MING

(Taiwanese, 1938-2023)

Living World Series 2002

Painted wooden sculpture

30(L) x 21.5(W) x 51(H) cm

Engraved Ju Ming in Chinese and dated 2002

PROVENANCE

Jun Youn Sculpture Gallery, Taipei

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

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

HK$ 245,000 - 368,000

US$ 31,600 - 47,400

RMB 221,000 - 331,000

朱銘

人間系列 2002

彩繪木雕

30(長) x 21.5(寬) x 51(高) cm

簽名雕刻：朱銘2002

來源

雋永雕塑畫廊，台北

附雋永藝術中心開立與藝術家簽名之原作保證書

093

JU MING

(Taiwanese, 1938-2023)

Living World Series (a set of 2)

2005

Painted wooden sculpture

11.8(L) x 11(W) x 33.5(H) cm ; 9.2(L) x 14.5(W) x 30.3(H) cm

Engraved on bottom Ju Ming and dated 2005 (each)

This lot is accompanied by a certificate issued by Lee Chi Creativity Co., Ltd, Taipei and signed by the artist.

NT$ 750,000 - 1,400,000

HK$ 184,000 - 343,000

US$ 23,700 - 44,200

RMB 166,000 - 309,000

朱銘

人間系列 ( 兩件一組 )

2005

彩繪木雕

11.8(長) x 11(寬) x 33.5(高) cm

9.2(長) x 14.5(寬) x 30.3(高) cm

簽名雕刻底部：朱銘 2005 (每件)

附李記創意股份有限公司與藝術家簽名之

作品保證書

094

JAVIER CALLEJA

(Spanish , b. 1971)

Little Maurizio

2019

哈維爾．卡勒加

小莫瑞吉奧 2019

木 金屬 版次 63/75

發行單位 GE Artwork Studio & Aishonanzuka

Wood, metal, ed. 63/75

Produced by GE artwork studio & Aishonanzuka

23(L) x 21(W) x 45(H) cm

This lot is accompanied by a certificate signed by the artist.

NT$ 420,000 - 550,000

HK$ 103,000 - 135,000

US$ 13,300 - 17,400

RMB 93,000 - 121,000

23(長) x 21(寬) x 45(高) cm

附藝術家親筆簽名之作品保證卡

095 MATÍAS SÁNCHEZ

(German, b. 1972)

Campo (Painter, Rat, and Skull. Long Stay in the Countryside)

2023

Oil on canvas

200 x 200 cm

Initialed lower left MS

NT$ 950,000 - 1,500,000

HK$ 233,000 - 368,000

US$ 30,000 - 47,400

RMB 210,000 - 331,000

馬蒂亞斯．桑切斯

長駐鄉間的畫家 2023

油彩 畫布

200 x 200 cm

簽名左下：MS

096

CHANG TENG-YUAN

(Taiwanese, b. 1983)

The End of Deep Sleep Mode (four-panel polyptych)

2020

Acrylic on canvas

116.5 x 364 cm

Signed reverse Chang Teng Yuan and dated 2020 (each)

EXHIBITED

Subzoology: 2020 Taiwan Biennial, National Museum of Taiwan Art, Taichung, October 17, 2020-February 28, 2021

ILLUSTRATED

Chang Teng Yuan Art Works 2015-2021, J.P.Art Center, Kaohsiung 2022, color illustrated, pp. 206-207

NT$ 600,000 - 900,000

HK$ 147,000 - 221,000

US$ 19,000 - 28,400

RMB 132,000 - 199,000

張騰遠

沉睡結束 ( 四聯幅 )

2020

壓克力 畫布

116.5 x 364 cm

簽名畫背：Chang Teng Yuan 2020 (每件)

展覽

「禽獸不如—2020台灣美術雙年展」，台灣國立

美術館，台中，展期2020年10月17日至2021年

2月28日

圖錄

《張騰遠藝術作品集2015-2021》，琢璞藝術中心， 高雄，2022，彩色圖版，頁206-207

097 ANDRE BRASILIER

(French, b. 1929)

Trois Jeunes femmes sous l’arbre

1960

Oil on canvas

50 x 65 cm

Signed lower left André Brasilier

Inscribed reverse 3 Jeunes femmes sous l’arbre

This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 600,000 - 1,200,000

HK$ 147,000 - 294,000

US$ 19,000 - 37,900

RMB 132,000 - 265,000

安德烈．布拉吉利

樹下乘涼三美人

1960

油彩 畫布

50 x 65 cm

簽名左下：André Brasilier

題識畫背：3 Jeunes femmes sous l'arbre

附台北愛力根畫廊開立之原作保證書

098

GIOELE AMARO

(Italian, b. 1986)

Selfie in Paris 2021

Ink and varnish on canvas

130 x 97 cm

Signed reverse Gioele amaro and dated 2021

NT$ 500,000 - 750,000

HK$ 123,000 - 184,000

US$ 15,800 - 23,700

RMB 110,000 - 166,000

喬萊爾．阿馬羅 在巴黎自拍 2021

墨 光油 畫布 130 x 97 cm

簽名畫背：Gioele amaro 2021

099

ALEX FACE

(Thai, b. 1981)

L.O.U.N.G.E

2022

Acrylic on canvas

75.5 x 150.5 cm

Signed lower right Alex Face and dated 2022

NT$ 550,000 - 750,000

HK$ 135,000 - 184,000

US$ 17,400 - 23,700

RMB 121,000 - 166,000

亞歷克斯．費斯 懶洋洋地躺著

2022

壓克力 畫布

75.5 x 150.5 cm

簽名右下：Alex Face 2022

100

HOUBEN TCHERKELOV

(Bulgarian, b. 1970)

One Dollar Statue of Liberty

2020

Mixed media on canvas 123 x 105 cm

Signed reverse Houben R.T., titled 1 Dollar NY Statue of liberty and dated 2019-2020

This lot is accompanied by a certificate of authenticity issued by InSian Gallery, Taipei

NT$ 440,000 - 500,000

HK$ 108,000 - 123,000

US$ 13,900 - 15,800

RMB 97,000 - 110,000

胡本．切克勒夫，創作靈感源自世界各國貨幣背後的 故事。以獨特的前衛風格，將貨幣圖像元素轉化為藝 術符號，運用金箔層疊的技法，巧妙地捕捉和重新定 義鈔票中的圖像，創造出光澤反射的表面，與真實鈔 票如出一轍。常與安迪．沃荷相提並論，並與 20 世紀 的普普藝術運動息息相關，深入探討全球歷史與經濟 的變遷，透過重構和再造的概念，賦予作品全新的質 感與視覺效果，並以鮮明的藝術語彙表達其對現代社 會的洞見，在國際藝術界嶄露頭角。

此次拍品《自由女神像 ： 一美元》，便來自極具知名 的自由女神與一美元紙幣，自由女神象徵著美國的自 由、民主及建國精神，並透過畫中閃耀的各國貨幣符 號，暗示著全球財富的流動與轉換。

切克．勒夫作為紐約當代藝術界的重要代表，其作品 廣受國際美術機構青睞與收藏。 2011 年代表保加利 亞，參加第 54 屆威尼斯雙年展，為他奠定國際聲譽； 2018 年在保加利亞國家藝廊舉辦個展，再次展現他在 國際舞台上的強大藝術影響力。

Houben Tcherkelov draws inspiration from the stories behind the currencies of various nations. With his unique avant-garde style, he transfroms the visual elements of currency into artistic symbols. Using a layered gold leaf technique, he skillfully captures and redefines the imagery found on banknotes,

胡本．切克勒夫

自由女神像：一美元

2020

綜合媒材 畫布 123 x 105 cm

簽名畫背：Houben R.T. 2019-2020 1 Dollar NY Statue of LIBERTY

附印象畫廊開立之原作保證書

creating reflective surfaces that closely resemble real currency. Often compared to Andy Warhol and closely associated with the Pop Art movement of the 20th century, Tcherkelov explores global shifts in history and economics.Through the concepts of reconstruction and re-creation, he imbues his works with new textures and visual effects, using distinctive artistic language to express his insights into modern society. His work has garnered international attention in the art world.

This piece, One Dollar Statue of Liberty , features the iconic Statue of Liberty and the one-dollar bill. The Statue of Liberty symbolizes American freedom, democracy, and the founding spirit of the nation. Through the shimmering currency symbols in the painting, Tcherkelov hints at the flow and transfromation of global wealth.

As a prominent figure in New York's contemporary art scene, Tcherkelov's works are widely collected by international art institutions. In 2011, he represented Bulgaria at the 54th Venice Biennale, solidifying his international reputation. In 2018, he held a solo exhibition at the National Gallery in Bulgaria, once again demonstrating his strong influence on the international art stage.

101

GEORGE MORTON-CLARK

(British, b. 1982)

Ruprik

2019

Acrylic, oil, charcoal, spray paint, mixed media, dye on 15 ounce natural duck cotton canvas 85 x 90 cm

Signed reverse George Morton-Clark, titled RUPRIK and dated 2019

PROVENANCE

Gin Huang Gallery, Taipei

Acquired from the above by the present owner

This lot is accompanied by a certificate of authenticity issued by Gin Huang Gallery, Taipei.

NT$ 320,000 - 480,000

HK$ 78,000 - 118,000

US$ 10,100 - 15,200

RMB 71,000 - 106,000

喬治．莫頓－克拉克

魯普里克

2019

壓克力 油彩 炭筆 噴漆 混合媒材 染料 15 盎司天然鴨棉畫布 85 x 90 cm

簽名畫背：RUPRIK 2019 George Morton-clark

來源

田奈藝術，台北

現有收藏者購自上述來源

附田奈畫廊開立之原作保證書

102

CRISTINA LAMA

(Spanish, b. 1977)

Luna de miel (Honeymoon)

2023

Oil on canvas

200 x 200 cm

Initialed lower right CLR

Signed reverse CRISTINA LAMA RUIZ, inscribed SEVILLA, dated 2023 and tited LUNA DE MIEL

NT$ 400,000 - 600,000

HK$ 98,000 - 147,000

US$ 12,600 - 19,000

RMB 88,000 - 132,000

克里斯蒂娜．拉瑪

蜜月 2023

油彩 畫布

200 x 200 cm

簽名右下：CLR

簽名畫背：CRISTINA LAMA RUIZ SEVILLA

2023 "LUNA DE MIEL"

103

CLAUDE WEISBUCH

(French, 1927-2014)

Qui marche

1974

Oil on canvas

197 x 167 cm

Signed lower right Weisbuch

Signed reverse Weisbuch, titled Qui marche and dated 1974

PROVENANCE

Société Thierry de Maigret SARL, Paris, 2014, lot 67

Ravenel, Taipei, June 4, 2022, lot 042

Acquired from the above by the present owner

NT$ 280,000 - 320,000

HK$ 69,000 - 78,000

US$ 8,800 - 10,100

RMB 62,000 - 71,000

克勞德．維士巴修

行走的人

1974

油彩 畫布

197 x 167 cm

簽名右下：Weisbuch

簽名題識畫背：Weisbuch Qui marche 1974

來源

蒂埃里．德．梅格勒拍賣行，巴黎，2014日，

編號67

羅芙奧，台北，2022年6月4日，編號042

現有收藏者購自上述來源

104

BERNARD CHAROY

(French, 1931-2024)

Annabelle aux Lys

2011

Acrylic on canvas

61 x 50 cm

Signed lower left Bernard Charoy

This lot is accompanied a picture signed by the artist and a certificate of authenticity issued by Galeire Gelegance, Taipei.

NT$ 280,000 - 380,000

HK$ 69,000 - 93,000

US$ 8,800 - 12,000

RMB 62,000 - 84,000

貝爾納．夏洛瓦

手持百合花的安娜貝爾 2011

壓克力 畫布

61 x 50 cm

簽名左下：Bernard Charoy

附藝術家簽名相片與愛力根畫廊開立之 原作保證書

105

TANG JO-HUNG

(Taiwanese, b. 1975)

Sleeper in the Dream I

2007

Oil on masonite

120 x 120 cm

PROVENANCE

Tosee Art, Taipei

Acquired from the above by the present owner

NT$ 280,000 - 420,000

HK$ 69,000 - 103,000

US$ 8,800 - 13,300

RMB 62,000 - 93,000

黨若洪

沈睡之一

2007

油彩 纖維板 120 x 120 cm

來源

土思藝術，台北

現有收藏者購自上述來源

106

MICHEL CADORET

(French, 1912-1985)

Composition

c.1950s

Oil on canvas

46 x 61.5 cm

Signed lower right Cadoret

PROVENANCE

Galerie Chalette, New York, 1957

Private collection, Asia

Ravenel, Taipei, June 1, 2019, lot 066

Acquired from the above by the present owner

NT$ 120,000 - 180,000

HK$ 29,000 - 44,000

US$ 3,800 - 5,700

RMB 26,000 - 40,000

米歇．卡多瑞

抽象結構

約1950年代

油彩 畫布

46 x 61.5 cm

簽名右下：Cadoret

來源

夏雷特畫廊，紐約，1957年

私人收藏，亞洲

羅芙奧，台北，2019年6月1日，編號066

現有收藏者購自上述來源

107

PEX PITAKPONG

(Pex Pitakpong Jamesripong) (Thai, b. 1971)

Untitled

2022

Acrylic on canvas

150 x 150 cm

Signed right side Pex and dated 2022

NT$ 300,000 - 460,000

HK$ 74,000 - 113,000

US$ 9,500 - 14,500

RMB 66,000 - 102,000

佩克斯．皮達蓬

無題 2022

壓克力 畫布

150 x 150 cm

簽名右側：Pex 2022

108

KILA CHEUNG

(Hong Kong, b 1986)

Drive Myself Home

2022

Acrylic, pastel on canvas

77 x 108 cm

Signed reverse Kila and dated 2022

PROVENANCE

Ojiri Gallery, London

Priviate Collection, Asia

NT$ 280,000 - 420,000

HK$ 69,000 - 103,000

US$ 8,800 - 13,300

RMB 62,000 - 93,000

章柱基

自己開車回家 2022

壓克力 粉彩 畫布 77 x 108 cm

簽名畫背：Kila 2022

來源

歐基里畫廊，倫敦 私人收藏，亞洲

109

ADRIANA OLIVER

(Spanish, b. 1990)

In the Rain

2018

Acrylic on linen

150 x 150 cm

Signed reverse Adriana Oliver, titled In The Rain, and inscribed 150 x 150 cm Acrylic on linen and dated 2018

NT$ 240,000 - 360,000

HK$ 59,000 - 88,000

US$ 7,600 - 11,400

RMB 53,000 - 79,000

阿德里安娜 · 奧利弗

在雨中

2018

壓克力 亞麻布

150 x 150 cm

簽名畫背：Adriana Oliver In The Rain

150 x 150 cm Acrylic on linen 2018

110

D*FACE

(Dean Stockton) (English, b. 1978)

Wall Hugger I (Pink)

2017

Hand painted and screen printed on 410gsm paper, edition HPM 3/3 (unique variant)

152.5 × 117 cm

Signed lower right D*FACE

Inscriber lower left THIS IS NUMBER 3 of 3

PROVENANCE

StolenSpace Gallery, London

Acquired from the above by the present owner

This lot is accompanied by a certificate of authenticity and purchase, signed by Mollie Beese, gallery manager of StolenSpace Gallery, London.

NT$ 200,000 - 240,000

HK$ 49,000 - 59,000

US$ 6,300 - 7,600

RMB 44,000 - 53,000

D*Face ( 迪恩‧斯托克頓 )

壁花 1 ( 粉色 )

2017

手繪 絲網印刷於410平方米克紙上 HPM3/3 (變體單一件原作)

152.5 x 117 cm

簽名右下：D*FACE

題識左下：THIS IS NUMBER 3 of 3

來源 StolenSpace畫廊，倫敦

現有收藏者購自上述來源

附倫敦StolenSpace畫廊經理莫莉‧比斯思簽名的 原作保證暨購買證明信函

111

FANNY BRODAR

(Norwegian, b. 1971)

Muppet Abduction

2021

Acrylic on canvas 122 x 122 cm

Signed lower middle Fanny Brodar

Signed reverse Fanny Nicole Brodar, titled Muppet Abduction and dated 2021

NT$ 190,000 - 280,000

HK$ 47,000 - 69,000

US$ 6,000 - 8,800

RMB 42,000 - 62,000

芬妮．布魯達

趣味大集合 2021

壓克力 畫布 122 x 122 cm

簽名中下：Fanny Brodar

簽名題識畫背：Muppet Abduction by Fanny Nicole Brodar 2021

112

KEA TSAI (TSAI MENGDA)

(Taiwanese, b. 1986)

Wrestling with Fashion Causes

Shocking Collapse

2015

Propylene panel, compound medium, Italy antique frame

72.2(L) x 87.4(W) x 5.6(D) cm (with frame)

NT$ 160,000 - 240,000

HK$ 39,000 - 59,000

US$ 5,100 - 7,600

RMB 35,000 - 53,000

KEA TSAI ( 蔡孟達 )

在與時尚的頡頑角力中震盪崩壞 2015

壓克力 木板 複合媒材 義大利古董框

72.2(長) x 87.4(寬) x 5.6(厚) cm (含框)

113

GUY BARDONE

(French, 1927-2015)

Montagnes aux arbres gris - Queyraz

c.1990

Oil on canvas

65 x 54.5 cm

Signed lower right Bardone

Signed stretcher bar Bardone, titled Montagnes aux abres gris - Queyraz,and inscribed 15F

This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 170,000 - 260,000

HK$ 42,000 - 64,000

US$ 5,400 - 8,200

RMB 38,000 - 57,000

居．巴赫東

凱拉山谷的銀灰色森林

約1990

油彩 畫布

65 x 54.5 cm

簽名右下：Bardone

簽名題識畫背板條：Montagnes aux arbres gris - Queyraz, Bardone 15F

附台北愛力根畫廊開立之原作保證書

ALIXE FU

(Chinese-French, b. 1961)

Homme et femme nus

1990

Oil on canvas

100 x 80 cm

Signed lower left Alixe Fu and dated 90

PROVENANCE

Ravenel, Taipei, December 6, 2009, lot 13

Acquired from the above by the present owner

NT$ 160,000 - 240,000

HK$ 39,000 - 59,000

US$ 5,100 - 7,600

RMB 35,000 - 53,000

傅慶豊

裸男裸女

1990

油彩 畫布

100 x 80 cm

簽名左下：Alixe Fu 90

來源

羅芙奧，台北，2009年12月6日，編號13

現有收藏者購自上述來源

115

RENÉ GENIS

(French, 1922-2004)

Poulains dans la neige

Oil on canvas

60 x 60 cm

Signed lower right René Genis

Signed stetcher bar René Genis and titled ”Poulains dans la neige” (Font - Romeu Pyrénées)

NT$ 150,000 - 220,000

HK$ 37,000 - 54,000

US$ 4,700 - 7,000

RMB 33,000 - 49,000

賀內．吉尼斯

雪景中的小馬群

油彩 畫布

60 x 60 cm

簽名右下：René Genis

簽名畫背框條：René Genis "Poulains dans la neige" (Font - Romeu Pyrénées)

116

RENE GENIS

(French, 1922-2004)

Nature morte aux citrons verts

Oil on canvas

41 x 33 cm

Signed lower left René Genis

Signed reverse René Genis, titled Nature morte aux citrons verts and inscribed 6F

This lot is accompanied by a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 130,000 - 220,000

HK$ 32,000 - 54,000

US$ 4,100 - 7,000

RMB 29,000 - 49,000

賀內．吉尼斯

有綠色檸檬的靜物

油彩 畫布

41 x 33 cm

簽名左下：René Genis

簽名題識畫背：6F René Genis, Nature morte aux citrons verts

附台北愛力根畫廊開立之原作保證書

117

MOISÉS YAGÜES

(Spanish, b. 1972)

Ceci n’est pas Magritte

2022

Acrylic on canvas 116 x 89 cm

Signed lower right Yagües and dated 2022

Titled lower left CECI N’EST PAS MAGRITTE

Signed reverse Moisés Yagües, titled CECI N’EST PAS MAGRITTE in French and dated 2022

This lot is accompanied by a certificate of authenticity issued by Marita Segovia Gallery, Madrid.

NT$ 130,000 - 220,000

HK$ 32,000 - 54,000

US$ 4,100 - 7,000

RMB 29,000 - 49,000

莫伊．亞格斯

這不是馬格利特 2022

壓克力 畫布 116 x 89 cm

簽名右下：Yagües 2022

題識左下：CECI N'EST PAS MAGRITTE

簽名畫背："CECI N'EST PAS MAGRITTE" Moisés Yagües 2022

附馬德里瑪麗塔．塞哥維亞畫廊開立之原作保證書

118

PAUL GUIRAMAND

(French, 1926-2007)

Adam et Eva

1990s

Oil on canvas

38 x 45.5 cm

Signed lower left Guiramand

PROVENANCE

Dimensions Art Center, Taipei

Private collection, Asia

Ravenel, Taipei, June 1, 2019, lot 084

Acquired from the above by the present owner

NT$ 80,000 - 120,000

HK$ 20,000 - 29,000

US$ 2,500 - 3,800

RMB 18,000 - 26,000

保羅．賈曼

亞當與夏娃 1990年代

油彩 畫布

38 x 45.5 cm

簽名左下：Guiramand

來源

帝門藝術中心，台北

私人收藏，亞洲

羅芙奧，台北，2019年6月1日，編號084

現有收藏者購自上述來源

119

D*FACE

(Dean Stockton, English, b. 1978)

Circulus Study No. 13

2019

Paint marker and acrylic spray paint on archival Somerset

cotton paper, beveled edge

36.7 x 34 cm

Signed lower left D*Face dated lower right 2019

NT$ 70,000 - 100,000

HK$ 17,000 - 25,000

US$ 2,200 - 3,200

RMB 15,000 - 22,000

D*Face ( 迪恩‧斯托克頓 )

圓圈系列研究第 13 號 2019

油漆筆 壓克力 噴漆 索馬賽特紙本 斜切邊

36.7 x 34 cm

簽名左下：D*Face

年代右下：2019

120

JON BURGERMAN

(British, b. 1979)

Sea Tears

2021

Spray paint on photogloss paper

48.3 × 33 cm

PROVENANCE

Dopeness Art Lab, Taipei

Acquired from the above by the present owner

This lot is accompanied with a certificate of authenticity signed by the artist and issued by Dopeness Art Lab, Taipei.

NT$ 60,000 - 90,000

HK$ 15,000 - 22,000

US$ 1,900 - 2,800

RMB 13,000 - 20,000

喬恩．布爾格曼 海的眼淚

2021

噴漆 高光相紙

48.3 x 33 cm

來源

Dopeness Art Lab，台北

現有收藏者購自上述來源

附放肆藝術國際有限公司開立之藝術家 簽名原作保證書

121

SZABOLCS BOZÓ

(Hungarian, b. 1992)

Untitled

2018

Acrylic, pastel, oil bar on paper

41.2 x 34 cm

Signed overlap Bozo and dated 2018

NT$ 50,000 - 100,000

HK$ 12,000 - 25,000

US$ 1,600 - 3,200

RMB 11,000 - 22,000

薩波爾齊斯．博佐

無題

2018

壓克力 蠟筆 紙本

41.2 x 34 cm

簽名畫布摺入處：Bozo 2018

122

MOISÉS YAGÜES

(Spanish, b. 1972)

To Be or Not to Be

2021

Acrylic on board

41 x 20 cm

Signed lower right Yagües and dated 2021

This lot is accompanied by a certificate of autheniticity issued by Ting Ting Art Space, Taipei.

NT$ 40,000 - 80,000

HK$ 10,000 - 20,000

US$ 1,300 - 2,500

RMB 9,000 - 18,000

莫伊．亞格斯

生存或毀滅 2021

壓克力 木板

41 x 20 cm

簽名右下：Yagües 2021

附丁丁藝術開立之原作保證書

123

CHANG WAN-CHUAN

(Taiwanese, 1909-2003)

Yellow Croaker

1968

Oil on cardboard

26 x 36 cm

Signed lower left CHANG and Wan in simplified Chinese ILLUSTRATED

The Art of Chang Wan Chuan, Insian Gallery, Taipei, 1994, color illustrated, p. 50

This lot is accompanied by a certificate of authenticity issued by Insian Gallery, Taipei.

NT$ 90,000 - 140,000

HK$ 22,000 - 34,000

US$ 2,800 - 4,400

RMB 20,000 - 31,000

張萬傳

黃魚

1968

油彩 紙板 26 x 36 cm

簽名左下：CHANG.万

圖錄

《張萬傳的繪畫世界》，印象畫廊，台北， 1994，彩色圖版，頁 50

附印象畫廊開立之原作保證書

124

SHEN CHE-TSAI

(Taiwanese, 1926-2017)

Parliament Hill of Canada

1993

Oil on canvas

24 x 33 cm

Signed lower right Che-tsai in Chinese and dated 1993

Titled reverse Parliament Hill of Canada in Chinese

NT$ 50,000 - 100,000

HK$ 12,000 - 25,000

US$ 1,600 - 3,200

RMB 11,000 - 22,000

沈哲哉

加拿大國會議事堂

1993

油彩 畫布

24 x 33 cm

簽名右下：1993 哲哉

畫背：加拿大國會議事堂

125

HSIEH HSIAO-DE

(Taiwanese, b. 1940)

Landscape

2011

Watercolor on paper

78.5 x 110 cm

Signed lower right Hsieh Hsiao-De in Chinese and dated 2011

NT$ 30,000 - 60,000

HK$ 7,000 - 15,000

US$ 900 - 1,900

RMB 7,000 - 13,000

謝孝德

風景

2011

水彩 紙本

78.5 x 110 cm

簽名右下：2011 謝孝德

126

YAYOI KUSAMA

(Japanese, b. 1929)

Women

2006

Screenprint, ed. 6/120

76 x 56 cm

Signed lower left Yayoi Kusama, titled Women, numbered 6/120 and dated 2006

PROVENANCE

Omotesando Hills S and O, Tokyo

ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, no. 353, p. 201

NT$ 260,000 - 460,000

HK$ 64,000 - 113,000

US$ 8,200 - 14,500

RMB 57,000 - 102,000

草間彌生 女人

2006

絲網版畫 版次 6/120

76 x 56 cm

簽名左下：Yayoi Kusama 2006 6/120 Women

來源

表參道之丘 S and O，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353，頁201

127

YAYOI KUSAMA

(Japanese, b. 1929)

Alice’s Adventures in WonderlandLouis Vuitton Deluxe Box Set (a set of 3)

2012

Illustrated book, screen print, and Lambda C-type print, ed. 21/111

78 x 55cm (box)

22.5 x 19 cm (book)

36.6 x 29.4 cm (print)

44.1 x 29.4 cm (photo)

Signed lower Yayoi Kusama, dated 2012 and numbered 21/111 (print) , numbered 21/111 and signed lower

Yayoi Kusama (photo)

Signed on the title page of book Yayoi Kusama (book)

NT$ 320,000 - 460,000

HK$ 78,000 - 113,000

US$ 10,100 - 14,500

RMB 71,000 - 102,000

草間彌生

愛麗絲夢遊仙境—路易威登版畫集 ( 一組三件 )

2012

版畫書 版次 21/111 (內含一件版畫，一件照片，一本書)

78 x 55 cm (外盒)

22.5 x 19 cm (書本)

36.6 x 29.4 cm (版畫)

44.1 x 29.4 cm (照片)

簽名下方：Yayoi Kusama 2012、21/111 (版畫)

簽名下方：21/111、Yayoi Kusama (照片)

簽名內頁：Yayoi Kusama (書本)

128

YAYOI KUSAMA

(Japanese, b. 1929)

Flowers PX

1993

Screenprint, ed. 53/90

72.7 x 60.6 cm (image)

84 x 71 cm (sheet)

Signed lower right Yayoi Kusama, numbered lower left 53/90

Titled lower center Flower PX in Kanji and dated 1993

PROVENANCE

Poly Auction Hong Kong & Macau Joint Auctions, December 8, 2020, lot 2057

ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, no. 179, p. 111

NT$ 650,000 - 950,000

HK$ 159,000 - 233,000

US$ 20,500 - 30,000

RMB 143,000 - 210,000

草間彌生 花 PX

1993

絲網版畫 53/90

72.7 x 60.6 cm (圖)

84 x 71 cm (紙)

簽名右下：Yayoi Kusama

版次左下：53/90

題識下方：花 1993

來源

保利香港及澳門聯合拍賣會，2020年12月8日，

編號2057

圖錄

《草間彌生全版畫1979-2017》，阿部出版

株式會社，東京，2017，編號179，頁111

129

YAYOI KUSAMA

(Japanese, b. 1929)

Butterfly

1985

Silkscreen, ed. 84/100

45.5 x 53 cm (image)

53 x 60.8 cm (sheet)

Signed lower Yayoi Kusama, titled Butterfly, dated 1985 and numbered 84/100

PROVENANCE

Art U Gallery, Osaka

ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, no. 81, p. 55

NT$ 600,000 - 1,200,000

HK$ 147,000 - 294,000

US$ 19,000 - 37,900

RMB 132,000 - 265,000

草間彌生

蝶

1985

絲網版畫 版次 84/100

45.5 x 53 cm (圖)

53 x 60.8 cm (紙)

簽名下方：84/100 Butterfly 1985 Yayoi Kusama

來源

Art u 畫廊，大阪

圖錄

《草間彌生全版畫1979-2017》，阿部出版

株式會社，東京，2017，編號81，頁55

130

YAYOI KUSAMA

(Japanese, b. 1929)

Corn

1980

Marker and gouache on cardboard

24.2 x 27.3 cm

Signed lower right Yayoi Kusama and dated 1980

With one seal of the artist

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

NT$ 850,000 - 1,500,000

HK$ 208,000 - 368,000

US$ 26,900 - 47,400

RMB 188,000 - 331,000

草間彌生 玉米 1980

麥克筆 膠彩 紙板

24.2 x 27.3 cm

簽名右下：Yayoi Kusama 1980

鈐印右下：彌生

附草間彌生工作室開立之作品登錄卡

YOSHITOMO NARA

(Japanese, b. 1959)

Damn It All

2012

Woodcut , ed. 30/50

42 x 29.5 cm

Signed lower right Na in Japanese

Dated lower center 2012

PROVENACE

Omotesando Hills S And O, Tokyo

ILLUSTRATED

Online catalogue of Yashitomo Nara: The Complete Works, no. YNF5765, studio no. E-2012-005

NT$ 700,000 - 1,000,000

HK$ 172,000 - 245,000

US$ 22,100 - 31,600

RMB 155,000 - 221,000

奈良美智

可惡

2012

木刻版畫 版次 30/50

42 x 29.5 cm

簽名右下：な

年代下方：2012

來源

表參道之丘 S and O，東京

圖錄

此作已收錄於奈良美智線上作品全集，編號 YNF5765，工作室編號E-2012-005

132

YOSHITOMO NARA

(Japanese, b. 1959)

No Fun! (In the Floating World)

1999

Reworked woodcut and color xerox on paper, edition A.P. 5

41.5 x 29.5 cm

Signed lower center Na in Japanese and dated 99

Numbered lower left A.P.5

PROVENANCE

Catch Art Gallery, Taipei

Acquired from the above by the present owner

ILLUSTRATED

Yoshitomo Nara: The Complete Works - Paintings, Sculptures, Editions, Photographs, Chronicle Books, LLC.San Francisco, 2011, color illustrated P. 309

NT$ 190,000 - 280,000

HK$ 47,000 - 69,000

US$ 6,000 - 8,800

RMB 42,000 - 62,000

奈良美智 漂浮的世界—無趣 1999

木刻版畫 彩印紙本 A.P. 5

41.5 x 29.5 cm

簽名中下：な 99 版次左下：A.P. 5

來源

看見藝術，台北 現有收藏者購自上述來源

圖錄

《奈良美智作品全集第一冊》，編年出版社， 舊金山，2011，彩色圖版，頁309

YOSHITOMO NARA

(Japanese, b. 1959)

Peace Flag

2001

Silkscreen print on cotton, metal fittings ; ed. 81/100 101 x 153 cm

Signed reverse Na in Japanese, dated 2001 and stamp - numbered 81/100

ILLUSTRATED

Yoshitomo Nara: The Complete Works: Paintings, Sculptures, Editions, Photographs, Vol.I, Chronicle Books LLC, San Francisco, 2011, color illustrated, no. E-2001-002, p. 310

NT$ 190,000 - 280,000

HK$ 47,000 - 69,000

US$ 6,000 - 8,800

RMB 42,000 - 62,000

奈良美智

和平旗

2001

絲網版畫 棉布 金屬配件 版次 81/100

101 x 153 cm

簽名畫背：な2001 81/100

圖錄

《奈良美智作品全集第一冊》，編年出版社， 舊金山，2011，彩色圖版，編號E-2001-002，

頁310

134

CHU TEH-CHUN

(Chinese-French, 1920-2014)

Encre Orageuse (a set of 9)

2008

Lithographs, ed. 41/99

41 x 30.5 cm; 41 x 30 cm; 41 x 29 cm; 41 x 29.5 cm; 40 x 60 cm; 40.5 ; 29cm; 44.8 x 69.9 cm; 45 x 35 cm; 45 x 34.8 cm

Signed lower right CHU THE-CHUN in French and Chinese; with the artist’s seal, and numbered 41/99 on all six of the lithographs; stamped upper right and lower left with artist’s seal on each calligraphy

NT$ 260,000 - 360,000

HK$ 64,000 - 88,000

US$ 8,200 - 11,400

RMB 57,000 - 79,000

朱德群

墨之風暴 ( 九件一組 )

2008

石版畫 版次 41/99

41 x 30.5 cm ; 41 x 30 cm ; 41 x 29 cm ; 41 x 29.5 cm ; 40 x 60 cm ; 40.5 ; 29 cm ;

44.8 x 69.9 cm ; 45 x 35 cm ; 45 x 34.8 cm

簽名右下：朱德群 CHU TEH-CHUN

版次左下：41/99

鈐印右下：朱德群

ZAO WOU-KI

(Chinese-French, 1920-2013)

20.05.88

2006

Lithograph, ed. 13/90

57.5 x 47 cm (image)

75.5 x 56.5 cm (sheet)

Signed lower right Wou-ki in Chinese and Zao in French

Numbered lower left 13/90

NT$ 120,000 - 180,000

HK$ 29,000 - 44,000

US$ 3,800 - 5,700

RMB 26,000 - 40,000

趙無極

20.05.88

2006

石版畫 版次 13/90

57.5 x 47 cm (圖)

75.5 x 56.5 cm (紙)

簽名右下：無極 Zao

版次左下：13/90

DAVID SHRIGLEY

(British, b. 1968)

Tiger Shit

2021

Screenprint, ed. 47/125

75 × 55.5 cm

Intitled reverse DS, numbered 47/125 and dated 2021

NT$ 80,000 - 130,000

HK$ 20,000 - 32,000

US$ 2,500 - 4,100

RMB 18,000 - 29,000

大衛．史瑞格里

老虎屎 2021

版畫 版次 47/125

75 x 55.5 cm

簽名畫背：47/125 DS 2021

137

DAVID SHRIGLEY

(British, b. 1968)

I Hate Human Beings

2022

Screenprint, ed. 36/125

75.5 x 55 cm

Initialed reverse DS, numbered 36/125 and dated 2022

PROVENANCE 10680, Taipei

NT$ 80,000 - 130,000

HK$ 20,000 - 32,000

US$ 2,500 - 4,100

RMB 18,000 - 29,000

大衛．史瑞格里

我恨人類 2022

版畫 版次 36/125

75.5 x 55 cm

簽名畫背：36/125 DS 2022

來源 10680，台北

138

DAMIEN HIRST

(British, b. 1965)

Spin Painting - Butterfly

2009

Acrylic, metallic paint on paper

68 x 52 cm

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

NT$ 60,000 - 120,000

HK$ 15,000 - 29,000

US$ 1,900 - 3,800

RMB 13,000 - 26,000

達明．赫斯特

蝴蝶旋轉畫 2009

壓克力 金屬塗料 紙本

68 x 52 cm

印刷簽名畫背：Damien Hirst © Damien Hirst

藝術家工作室壓印

139

DAMIEN HIRST

(British, b. 1965)

Spin Painting - Star

2009

Acrylic, metallic paint on paper 52 x 54.5 cm

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

NT$ 60,000 - 120,000

HK$ 15,000 - 29,000

US$ 1,900 - 3,800

RMB 13,000 - 26,000

達明．赫斯特

星星旋轉畫 2009

壓克力 金屬塗料 紙本 52 x 54.5 cm

印刷簽名畫背：Damien Hirst © Damien Hirst

藝術家工作室壓印

140 ANDY WARHOL

(American, 1928-1987)

The Beatles

1980

Offset in colors

31 x 92 cm

Printed signature lower right and center left Andy Warhol

PROVENANCE

Ravenel, Taipei, December 6, 2020, lot 307

NT$ 140,000 - 220,000

HK$ 34,000 - 54,000

US$ 4,400 - 7,000

RMB 31,000 - 49,000

安迪．沃荷

披頭四 1980

平版印刷

31 x 92 cm

印刷簽名右下及左中：Andy Warhol

來源

羅芙奧拍賣，台北，2020年12月6日，編號307

AY-O

(Japanese, b. 1931)

Philosopher

1986

Screenprint, ed. 116/200

56 x 39 cm

Signed lower right ay-o and dated 1986

Numbered lower left 116/200

ILLUSTRATED

Rainbow, Rainbow Ay-O’s Rainbow Prints Cataloque Raisonne 1982-2000, Abe Photo Printing Co., Ltd., Tokyo, 2000, color illustrated, p. 26

NT$ 30,000 - 60,000

HK$ 7,000 - 15,000

US$ 900 - 1,900

RMB 7,000 - 13,000

靉嘔

哲學者

1986

版畫 版次 116/200

56 x 39 cm

簽名右下：ay-o'86

版次左下：116/200

圖錄

《虹．虹 靉嘔版畫全作品集 1982-2000》，

阿部寫真印刷株式會社，東京，2000，

彩色圖版，頁26

142

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Red Bear Boy

2021

Screenprint, ed. 33/75

61 x 41 cm (image) 66 x 46 cm (sheet)

Signed lower Mayuka, titled Red Bear and numbered 33/75

This lot is accompanied by a certificate of authenticity issued by Corey Helford Gallery, Los Angeles, and signed by the artist.

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

紅熊男孩

2021

版畫 版次 33/75

61 x 41 cm (圖) 66 x 46 cm (紙)

簽名版次下方：33/75 Red Bear Boy Mayuka

附科里．赫爾福德畫廊開立與藝術家簽名之作品保證書

143

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Mountain Goat Boy

2023

Screenprint, ed. 24/75

56 x 42 cm (image) 66 x 52 cm (sheet)

Signed lower right Mayuka, titled Mountain Goat Boy and numbered 24/75

NT$ 40,000 - 80,000

HK$ 10,000 - 20,000

US$ 1,300 - 2,500

RMB 9,000 - 18,000

山本麻友香

山羊男孩

版畫 版次 24/75

56 x 42 cm (圖) 66 x 52 cm (紙)

簽名版次下方：24/75 Mountain goat

boy Mayuka

144

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Apple

2021

Screenprint, ed. 21/75

56 x 41 cm (image) 61 x 46 cm (sheet)

Signed lower Mayuka, titled Apple and numbered 21/75

This lot is accompanied by a certificate of authenticity issued by Corey Helford Gallery, Los Angeles, and signed by the artist.

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

蘋果

2021

版畫 版次 21/75

56 x 41 cm (圖) 61 x 46 cm (紙)

簽名版次下方：21/75 Apple Mayuka

附科里．赫爾福德畫廊開立與藝術家簽名之作品保證書

145 MAYUKA YAMAMOTO

(Japanese, b. 1964)

Sitting Bear

2022

Screenprint, ed. 66/75

61 x 44 cm (image) 70 x 55 cm (sheet)

Signed bottom Mayuka, titled Sitting bear and numbered 66/75

NT$ 40,000 - 80,000

HK$ 10,000 - 20,000

US$ 1,300 - 2,500

RMB 9,000 - 18,000

山本麻友香

坐著的小熊 2022

版畫 版次 66/75

61 x 44 cm (圖) 70 x 55 cm (紙)

簽名版次下方：66/75 Sitting bear Mayuka

146

MR DOODLE

(British, b. 1994)

Doodle Party ; Yellow Flower (a set of 2)

2018 ; 2019

Screenprint, ed. 32/150 ; 37/100

37 x 54 cm ; 35 x 35 cm

Signed lower right MR. DOODLE! 32/150

Signed lower right MR. DOODLE! 2019 37/100

NT$ 50,000 - 100,000

HK$ 12,000 - 25,000

US$ 1,600 - 3,200

RMB 11,000 - 22,000

塗鴉先生

塗鴉派對 ; 黃花 ( 兩件一組 )

2018 ; 2019

版畫 版次 32/150 ; 37/100

37 x 54 cm ; 35 x 35 cm

簽名右下：MR. DOODLE! 32/150

簽名右下：MR. DOODLE! 2019 37/100

147

MR DOODLE

(British, b. 1994)

Brighton Doodles! Finders Keepers

Marker pen on glass

16.5 x 21.5 cm (small frame)

50 x 50 cm (frame)

Painted signature MR.DOODLE!

PROVENANCE

Bonhams online, London, December 1-8, 2022, lot 37

NT$ 30,000 - 60,000

HK$ 7,000 - 15,000

US$ 900 - 1,900

RMB 7,000 - 13,000

塗鴉先生

布萊頓塗鴉！先到先得

麥克筆 玻璃

16.5 x 21.5 cm (小框)

50 x 50 cm (框)

印刷簽名：MR DOODLE!

來源

邦翰斯線上拍賣，倫敦，2022年12

編號1437

148

AYAKO ROKKAKU

(Japanese, b. 1982)

Untitled

2021

Ceramic, ed. 57/200

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

Inscribed with the artist’s signature in Japanese and numbered 57/200

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

This lot is accompanied by a certificate of authenticity and accompanied with original box.

NT$ 160,000 - 300,000

HK$ 39,000 - 74,000

US$ 5,100 - 9,500

RMB 35,000 - 66,000

六角彩子

無題

2021

陶瓷 版次 57/200

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 57/200

附藝術家簽名作品保證卡與原產紙箱包裝

149

KILA CHEUNG

(Hong Kong, b. 1986)

A Kind Person (Siu Ming)

2014

Fiber glass, unique piece

80(L) x 80(W) x 102(H) cm

Signed backside of the swim ring Kila Cheung and dated 2014

PROVENANCE

Wrong Gallery, Taipei

EXHIBITED

Pucky x Kenny x Kila - Ice Cream, Paradise Toy Land, Taipei, July12 - 20, 2014

NT$ 280,000 - 420,000

HK$ 69,000 - 103,000

US$ 8,800 - 13,300

RMB 62,000 - 93,000

章柱基

善良人 ( 小明 )

2014

玻璃纖維 單一件

80(長) x 80(寬) x 102(高) cm

簽名後側游泳圈上：Kila Cheung 2014

來源

靠邊走藝術空間，台北

展覽

「Pucky x Kenny x Kila - Ice Cream 三色雪糕

三人聯展」，Paradise Toy Land，台北，

展期2014年7月12日至20日

150 JEFF KOONS

(American, b. 1955)

Diamond (Red)

2020

French Limoges porcelain with chromatic coating, ed. 223/599

31.8(L) x 39.3(W) x 32(H) cm

Signed bottom JEFF KOONS, titled DIAMOND (RED), numbered 223/599 and dated 2020

With a stamp of Bernardaud, Limoges, France

This lot is accompanied with a certificate of authenticity and the original product box designed by Jeff Koons.

NT$ 240,000 - 460,000

HK$ 59,000 - 113,000

US$ 7,600 - 14,500

RMB 53,000 - 102,000

傑夫．昆斯

鑽石 ( 紅 )

2020

法國利摩日瓷器彩繪塗層 版次 223/599

31.8(長) x 39.3(寬) x 32(高)cm

簽名題識底部：JEFF KOONS DIAMOND (RED) 223/599 20

鈐印底部：Bernardaud, Limoges, France

附作品保證書與藝術家設計原裝盒

YOSHITOMO NARA

(Japanese, b. 1959)

Doggy Radio x RIMOWA

2011

Doggy Radio: fiberglass, ed. 076/200

Suitcase: aluminium, ed. 076/200

43(L) x 22.5(W) x 29.5(H) cm (Doggy Radio);

53.5(L) x 27.5(W) x 42.5(H) cm (Suitcase)

Signed lower right Na in Japanese and dated 2011

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

NT$ 300,000 - 460,000

HK$ 74,000 - 113,000

US$ 9,500 - 14,500

RMB 66,000 - 102,000

奈良美智

小狗收音機 x RIMOWA 旅行箱 2011

小狗收音機：玻璃纖維 版次 076/200

旅行箱：鋁合金 版次 076/200

43(長) x 22.5(寬) x 29.5(高) cm (小狗收音機)

53.5(長) x 27.5(寬) x 42.5(高) cm (旅行箱)

簽名右下：な 2011

附藝術家親簽保證卡

152

JEFF KOONS

(American, b. 1955)

Balloon Dog (Blue)

2021

Glazed Porcelain, ed. 256/799

48(L) x 16(W) x 40(H) cm

Stamped bottom Jeff KOONS, numbered 256/799 and dated 2021

NT$ 600,000 - 800,000

HK$ 147,000 - 196,000

US$ 19,000 - 25,300

RMB 132,000 - 177,000

傑夫．昆斯

氣球狗 ( 藍 )

2021

精瓷 版次 256/799

48 (長) x 16 (寬) x 40 (高) cm

印刷簽名：Jeff KOONS 256/799‘ 21

153

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

Bronze Figures (A set of 12)

2022

Bronze, wooden boxes, ed. 117/250

4 x 15 x 14 cm (largest figure)

13.5 x 22 x 19.5 cm (largest box)

Signed bottom kaws, dated 22 and numbered 117/250

NT$ 950,000 - 1,600,000

HK$ 233,000 - 392,000

US$ 30,000 - 50,600

RMB 210,000 - 353,000

KAWS ( 布萊恩．唐納利 )

銅雕人物 (12 件一組 )

2022

銅雕 原裝木盒 版次 117/250

4 x 15 x 14 cm (最大人物)

13.5 x 22 x 19.5 cm (最大盒子)

簽名底部：kaws..22 117/250

AKIHIKO YOSHIDA (NIKICHI)

(Japanese, b. 1954)

A Red Flower of Love

2021

Wood

16.5(L) x 13(W) x 27(H) cm

Engraved bottom Niki in Kanji and dated 2021

NT$ 220,000 - 320,000

HK$ 54,000 - 78,000

US$ 7,000 - 10,100

RMB 49,000 - 71,000

仁吉 )

紅色真愛之花

寬) x 27(高) cm

簽名雕刻底部：仁 2021

155

AI HAIBARA

(Japanese, b. 1981)

Rabbit Girl

2023

Wood

11.6(L) x 11.8(W) x 27(H) cm

Signed bottom Ai Haibara and dated 2023

NT$ 160,000 - 240,000

HK$ 39,000 - 59,000

US$ 5,100 - 7,600

RMB 35,000 - 53,000

灰原愛

兔子賞月 2023

木雕

11.6(長) x 11.8(寬) x 27(高) cm

簽名底部：2023 Ai Haibara

156

ALEX FACE (Thai, b. 1981)

Sneak Up No.1

2021

Acrylic on skate deck (unique piece)

24 x 83 cm

Signed backside Alex Face and dated 2021

NT$ 180,000 - 260,000

HK$ 44,000 - 64,000

US$ 5,700 - 8,200

RMB 40,000 - 57,000

亞歷克斯．費斯

偷偷摸摸 No.1 2021

壓克力 滑板 (單一件) 24 x 83 cm

簽名背面：Alex Face 2021

157

ALEX FACE

(Thai, b. 1981)

Pepper (Black) (White)

2021

Resin, ed. 40/100 (black) ; 38/100 (white)

13(L) x 18.5(W) x 24(H) cm (each)

Signed bottom Alex Face and dated 40/100 (each)

This lot is accompanied with a certificate of authenticity issued by CityCity Gallery, Bangkok.

NT$ 150,000 - 240,000

HK$ 37,000 - 59,000

US$ 4,700 - 7,600

RMB 33,000 - 53,000

亞歷克斯．費斯

胡椒 ( 黑 ) ( 白 )

2021

樹酯 版次 40/100 (黑) ; 38/100 (白)

13(長) x 18.5(寬) x 24(高) cm (每件)

簽名底部：Alex Face 40/100

附曼谷城市城市畫廊開立之作品保證書

158

SALVADOR DALI

(Spanish, 1904-1989)

Le Cabinet Anthropomorphique

Conceived in 1973; cast in 1982

Bronze, ed. 168/330

62(L) x 32.5(W) x 34(H) cm

Engraved Dali, numbered 168/330 and stamped With the foundry mark Foneria Mibrosa Barcelona

PROVENANCE

Sotheby’s, London, March 23, 2005, lot 326

Acquired from the above by the present owner

ILLUSTRATED

F. Passoni, R. Morse and A. Field, Dalí, Master Fine Art Gallery, Milan, 1986, illustrated, p. 79

Beniamino Levi, The Dalí Universe, Inter Art Resources, London, 2000, illustrated, pp. 80 - 81

Robert & Nicolas Descharnes, Dalí. Le dur et le mou, sortilège et magie des fromes, Eccart, Paris, 2004, no. 683, illustrated, p. 266 (another cast)

F. Lechien, Dalí, Dalí! ou l’éclosion apothéosique d’un sculpteur, Edition Delta, Brussels, 2004, larger cast illustrated, pp. 70 & 99 (larger cast)

NT$ 320,000 - 500,000

HK$ 78,000 - 123,000

US$ 10,100 - 15,800

RMB 71,000 - 110,000

薩爾瓦多．達利 抽屜人

構思1973年；翻鑄1982年

銅雕 版次 168/330

62(長) x 32.5(寬) x 34(高) cm

簽名雕刻：Dali 168/330

鑄造工作室鈐印：Foneria Mibrosa Barcelona

來源

蘇富比，倫敦，2005年3月23日，編號326

現有收藏者購自上述來源

圖錄

弗蘭科‧帕索尼、雷諾斯‧摩爾斯與艾爾伯‧菲爾德， 《達利》，大師美術畫廊，米蘭，1986，圖版，頁79

貝尼亞彌諾．勒維，《達利宇宙》，中介藝術資源， 倫敦，2000 年，頁80 - 81

羅伯與尼古拉斯．德謝爾內斯，《達利：形式之硬與軟， 咒語與魔力》，艾卡特，巴黎，2004 ，第683期，頁266

法蘭索瓦絲．萊希安，《達利，達利！或雕塑家的神格羽 化》，德爾塔出版社，布魯塞爾，2004，圖版，頁70與頁99

159

JU MING

(Taiwanese, 1938-2023)

Taichi Series - Underarm Strike ; Taichi Series (a set of 2)

Unsaturated polyester resin, calcium carbonate, oil color paste, ed 220/300 (each)

25(L) x 12.2(W) x 24.5(H) cm ; 25.3(L) x 16(W) x 26(H) cm

This lot is accompanied by a certificate of limited reproduction issued by Ju Ming Museum, Taipei

NT$ 120,000 - 220,000

HK$ 29,000 - 54,000

US$ 3,800 - 7,000

RMB 26,000 - 49,000

朱銘

太極系列 十字手 ; 太極系列 ( 兩件一組 )

不飽和聚酯樹脂 碳酸鈣 油性色母

版次 220/300 (每件)

25(長) x 12.2(寬) x 24.5(高) cm

25.3(長) x 16(寬) x 26(高) cm

附朱銘美術館限量複製品證明書

160

POREN HUANG

(Taiwanese, b. 1970)

I’m Not Happy Now!

2005

Bronze, ed. 18/30

48(L) x 20(W) x 32(H) cm

Engraved left leg PR

Engraved on the bottom PR, dated 2005 and numbered 30 - 18

This lot is accompanied by a certificate of authenticity issued by Fish Art Center, Taipei and signed by the artist.

NT$ 190,000 - 280,000

HK$ 47,000 - 69,000

US$ 6,000 - 8,800

RMB 42,000 - 62,000

黃柏仁 不爽

2005

銅 版次 18/30

48(長) x 20(寬) x 32(高) cm

雕刻簽名左腿：PR

雕刻簽名底部：2005. 30 - 18 PR

附秋刀魚藝術中心開立與藝術家簽名之作品作保證書

161

POREN HUANG

(Taiwanese, b. 1970)

Absorbing It All

2005

Bronze, ed. 30/30

27(L) x 11(W) x 15(H) cm

Engraved on the right rear side PR

Engraved on the bottom of right front foot PR and numbered 30 - 30

This lot is accompanied by a certificate of authenticity issued by Powen Gallery and signed by the artist.

NT$ 100,000 - 200,000

HK$ 25,000 - 49,000

US$ 3,200 - 6,300

RMB 22,000 - 44,000

黃柏仁 吸收

2005

銅雕 版次 30/30

27(長) x 11(寬) x 15(高) cm

雕刻簽名右後方：PR

雕刻簽名右前腳底部：30 - 30 PR

附紅野畫廊及藝術家親筆簽名之作品保證書

162

A-LEI

(Taiwanese, b. 1976)

Take a Walk Together

2021

Pottery, glaze

11(L) x 11(W) x 18(H) cm

Signed bottom Lei and date 2021

This lot is accompanied by a certificate of authenticity issued by Gallery Tsubaki, Tokyo.

NT$ 80,000 - 160,000

HK$ 20,000 - 39,000

US$ 2,500 - 5,100

RMB 18,000 - 35,000

阿咧

一起去散步

2021

陶土 釉

11(長) x 11(寬) x 18(高) cm

簽名底部：Lei 2021

附椿畫廊開立之原作保證書

163

A-LEI

(Taiwanese, b. 1976)

UCCU (You See See You)

2020

Pottery, unique piece

11(L) x 12(W) x 24(H) cm

4.5(L) x 4.5(W) x 4(H) cm

2.5(L) x 2.5(W) x 2(H) cm

Engraved bottom Lei (two small statues)

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

NT$ 70,000 - 140,000

HK$ 17,000 - 34,000

US$ 2,200 - 4,400

RMB 15,000 - 31,000

阿咧

UCCU ( 你看看你 )

2020

陶土 釉

11(長) x 12(寬) x 24(高) cm

4.5(長) x 4.5(寬) x 4(高) cm

2.5(長) x 2.5(寬) x 2(高) cm

簽名底部：Lei (兩個小雕像)

附台北意識畫廊開立之藝術家簽名原作保證書

164

MR.

(Japanese, b. 1969)

Marina ; Thursday

2021 ; 2022

Resin, edition of 200 & edition of 100

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

8.5(L) x 8.5(w) x 29(H) cm (Thursday)

Signed bottom Mr. (Marina)

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

NT$ 80,000 - 160,000

HK$ 20,000 - 39,000

US$ 2,500 - 5,100

RMB 18,000 - 35,000

MR.

瑪琳娜；星期四

2021；2022

樹脂；限量 100件；限量200件 (星期四)

10(長) x 9(寬) x 27.5(高) cm (瑪琳娜)

8.5(長) x 8.5(寬) x 29(高) cm (星期四)

簽名腳底：Mr. (瑪琳娜)

附藝術家親筆簽名之作品保證卡 (瑪琳娜)

165

MR DOODLE

(British, b. 1994)

The Doodler 2 2022

Resin, ed. 79/500

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

Signed bottom MR DOODLE!, numbered 79/500 and dated 2022

This lot is accompanied by 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$ 13,000 - 26,000

塗鴉先生

塗鴉先生 2 2022

樹酯 版次 79/500

18(長) x 15.5(寬) x 36.5(高) cm

簽名腳底：MR DOODLE! 2022 79/500

附藝術家簽名作品保證卡與作品原產紙盒包裝

166

KILA CHEUNG

(Hong Kong, b. 1986)

The Journey Home No.5

2021

Acrylic, wood, ed. 038/100

10.5(L) x 10.5(W) x 35.1(H) cm

Signed bottom Kila and dated 2021

NT$ 40,000 - 80,000

HK$ 10,000 - 20,000

US$ 1,300 - 2,500

RMB 9,000 - 18,000

章柱基

家 No.5

2021

壓克力 檜木 版次 038/100

10.5(長) x 10.5(寬) x 35.1(高) cm

簽名底部：Kila 2021

167

KILA CHEUNG

(Hong Kong, b. 1986)

Big Bang (Home No.6)

2021

Acrylic, wood, ed. 68/80

10.5(L) x 10.5(W) x 25.3(H) cm

Signed bottom Kila and dated 2021

NT$ 40,000 - 80,000

HK$ 10,000 - 20,000

US$ 1,300 - 2,500

RMB 9,000 - 18,000

章柱基

家的大爆炸 2021

壓克力 檜木 版次 68/80

10.5(長) x 10.5(寬) x 25.3(高) cm

簽名底部：Kila 2021

168 MOE NAKAMURA

(Japanese, b. 1988)

Alone in the Dark

2020

Polystone, ed. 102/200

14.5(L) x 14(W) x 28(H) cm

Printed signature bottom Moe

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

NT$ 60,000 - 120,000

HK$ 15,000 - 29,000

US$ 1,900 - 3,800

RMB 13,000 - 26,000

中村萌

獨自在黑暗中

2020

寶麗石粉樹脂 102/200

14.5(長) x 14(寬) x 28(高) cm

簽名印刷底部：Moe

附藝術家簽名保證卡與作品原產紙盒包裝

169 MOE NAKAMURA

(Japanese, b. 1988)

On the Way Home

2020

Polystone, ed. 98/250

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

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

Printed signature bottom Moe

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

NT$ 30,000 - 60,000

HK$ 7,000 - 15,000

US$ 900 - 1,900

RMB 7,000 - 13,000

中村萌

回家路上

2020

楓木 版次 98/250

本體：6(長) x 5.5(寬) x 10.5(高) cm

木屋：11.7(長) x 9.5(寬) x 18(高) cm

印刷簽名底部：Moe

附藝術家簽名保證卡與原產紙盒包裝

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 11 月 28 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 11 月 28 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 11 月 29 日至 12 月 1 日 ) 以新台幣現鈔支付 ( 恕不接受除現金之外之其他繳納方式 )，收款將於 12 月 1 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 11 月 28 日以前完成匯款至本公司指定帳號。

6. 如於 2024 年 11 月 28 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 28 November 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 28 November 2024, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 29 December to 1th December 2024). Acceptance will cease on 1th December by 12pm (No other forms of payment will be accepted).

5. Telephone / written / internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 1th December 2024.

6. If the bidding deposit has been transferred prior to 28 November 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 秋季拍賣會 現代與當代藝術

拍 賣 編 號：TA2402

拍 賣 日 期：2024 年 12 月 1 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 Lot Number

Title

Auction AUTUMN AUCTION 2024 TAIPEI Modern & Contemporary Art

Date Sunday, December 1, 2024, 2:00pm

Sale No. TA2402

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