翰墨丹青—中國書畫專場 Refined Brushwork: Fine Chinese Paintings by Ravenel International Art Group

SREFINED P R I N BRUSHWORK: G A U C T I FINE O N CHINESE 2 0 1 8 PAINTINGS TA I P E I

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.

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

The bidding deposit must be transferred to Ravenel's specified Bank account prior to 30th May 2018, 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$）或 001-234830-061（US$） 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.

After the 30th May 2018, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 31st May to 1st Jun 2018). Acceptance will cease on 1st Jun by 6 pm (No other forms of payment will be accepted).

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 30th May 2018.

If the bidding deposit has been transferred prior to 30th May 2018, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her/its paddle number.

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.

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.

Successful bidder must settle the payment (hammer price with buyer's premium) prior to receiving the lot(s) on site. If the price exceeds the amount of the bidding deposit, the successful bidder may settle the outstanding balance through the following means: (1) A cash payment must not exceed NT$ 1,000,000. (2) A credit or China UnionPay payment: The credit payment must not exceed NT$ 1,000,000. The holder of the credit card or China UnionPay must be the successful bidder, credit payments from any title except for the successful bidder will not be permitted nor accepted.

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

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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。

競投保證金 : 新台幣陸拾萬元或貳萬美金。

競投保證金需於 2018 年 5 月 30 日以前完成匯款至本公司指定帳號如下 : 銀行：匯豐（台灣）商業銀行 - 台北分行銀行代碼：0810016 戶名：羅芙奧股份有限公司帳號：001-234830-031（新台幣）或 001-234830-061（美金）地址：台北市基隆路一段 333 號 14 樓匯款時請指示銀行本公司需實收競投保證金全額，銀行手續費請匯款人負擔。

2018 年 5 月 30 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 ( 2018 年 5 月 31 日至 6 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 6 月 1 日下午 6 點截止。

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 2018 年 5 月 30 日以前完成匯款至本公司指定帳號。

如於 2018 年 5 月 30 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我們將與競投者聯繫並與之確認其競標牌號。

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。

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。

若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價與佣金 ) 金額超過競投保證金金額時，買方得以下列方式結清帳款 : (1) 現鈔：上限新台幣壹百萬元。 (2) 信用卡與銀聯卡 : 刷卡上限為新台幣壹百萬元。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。

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RAVENEL SPRING AUCTION 2018 Refined Brushwork: Fine Chinese Paintings

羅芙奧 2018春季拍賣會翰墨丹青—中國書畫專場

AUCTION

拍賣日期 / 地點

Saturday, 2 June 2018, 3:30 pm Taipei Marriott Hotel 3F (Grand Space Hall) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

2018年6月2日（六）下午3:30 台北萬豪酒店三樓（博覽廳）台北市中山區樂群二路199號3樓

PREVIEWS

預展日期 / 地點

Taichung

台中 2018年5月12日（六）下午1:00 至下午6:00 2018年5月13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

Kaohsiung

高雄 2018年5月19日（六）下午11:00 至下午6:00 2018年5月20日（日）下午11:00 至下午6:00 琢璞藝術中心高雄市前金區五福三路63號8樓

Taipei

台北 2018年5月31日（四）上午10:00 至下午6:00 2018年6月1日（五）上午10:00 至下午6:00 2018年6月2日（六）上午10:00 至下午3:30 台北萬豪酒店三樓（博覽廳）台北市中山區樂群二路199號3樓

Saturday, 12 May 2018, 1:00 pm - 6:00 pm Sunday, 13 May 2018, 11:00 am - 6:00 pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung

Saturday, 19 May 2018, 11:00 am - 6:00 pm Sunday, 20 May 2018, 11:00 am - 6:00 pm J.P. Art Center 8F, No.63, Wufu 3rd. Rd., Qianjin Dist., Kaohsiung

Thursday, 31 May 2018, 10:00 am - 6:00 pm Friday, 1 June 2018, 10:00 am - 6:00 pm Saturday, 2 June 2018, 10:00 am - 3:30 pm Taipei Marriott Hotel 3F (Grand Space Hall) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

As requested by the Buyer, we are delighted to offer the condition reports of all the auction items provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This auction catalogue: NT$ 2,000 per copy

Arthur WANG 王鎮華

Chairman 董事長

Clara KUO 郭倩如

Vice Chairman 副董事長

Wendy LEE 李雅欣

Chief Executive Officer 執行長

何瑩 Vivi He

周媛玲 Connie Chau

古文物部總監 Director, Head of Department

執行長特助 Executive Assistant

陳砥翰 Masa Chen

林美夆 Annika Lin

古文物及書畫部經理 Manager, Fine Chinese Works of Art and Paintings Department

客戶發展部經理

謝幸航 Roger Hsieh

朱毅 Walter Zhu

古文物及書畫部經理 Manager, Fine Chinese Works of Art and Paintings Department

業務代表北京

臧育嫻 Angela Chang

李政希 Xiu Lee

業務助理台北 Sales Assistant Taipei

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Manager, Client Development Department

Representative Beijing

業務代表上海 Business Representative Shanghai

目次 / Contents 4

給予買家的重要通知

IMPORTANT NOTICE TO BUYERS 8

羅芙奧秋季拍賣會

SALE INFORMATION 10

羅芙奧之服務

RAVENEL SERVICES 12

翰墨丹青 - 中國書畫 Refined Brushwork: Fine Chinese Paintings

委託競投表格

ABSENTEE BID FORM 73

業務規則

TRANSACTION AGREEMENT 78

畫家索引 INDEX

RAVENEL STAFF AND SERVICES FOR THIS SALE

SPECIALISTS

CATALOGUE SUBSCRIPTION

Director, Head of Department Vivi He

Taiwan

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

Angela Chang

Tommy Wu

Tel: +886 2 2708 9868 ext. 585 Email: angelachang@ravenel.com

Tel: +886 2 2708 9868 ext.885 Email: tommywu@ravenel.com

Hong Kong, International

Eric Siu Tel: +852 2889 0859 Email: ericsiu@ravenel.com

Beijing

China

Annika Lin

Walter Zhu Tel: +86 10 8587 8099 Email: yizhu@ravenel.com

Tel: +886 2 2708 9868 ext. 909 Email: annikalin@ravenel.com

Shanghai

Masa Chen Tel: +886 2 2708 9868 ext. 588 Email: masachen@ravenel.com Roger Hsieh Tel: +886 2 2708 9868 ext. 587 Email: rogerhsieh@ravenel.com

Connie Chau Tel: +886 2 2708 9868 ext. 908 Email: conniechau@ravenel.com

PHONE BIDS AND WRITTEN BIDS Hong Kong, International Vivi He Tel: +852 2889 0859 Email: vivihe@ravenel.com

Taiwan Angela Chang Tel: +886 2 2708 9868 ext. 585 Email: angelachang@ravenel.com

Beijing Walter Zhu Tel: +86 10 8587 8099 Email: yizhu@ravenel.com

Shanghai Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. It is also possible to bid online for selected lots. Please refer to ravenel.com for more information. In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements, including any foreign language assistance for the bidding.

ONLINE BIDS Register at Invaluable www.invaluable.com

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COLLECTION AND SHIPPING

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

Remarks:

The catalogues are available for subscription. For details

circulation and centralize management. We accept person-

of subscription, please refer to the explanations of the cat-

al and corporate checks, however collection may be made

alogue or contact the above persons.

only when such checks are honored. We apologize for no

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

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”.

羅芙奧2018春季拍賣會服務部門及連絡人

諮詢專家

目錄訂閱

取貨及運輸事宜

何瑩電話：+852 2889 0859 電子信箱：vivihe@ravenel.com

台灣

臧育嫻電話：+886 2 2708 9868 轉 585 電子信箱：angelachang@ravenel.com

吳博峯

香港．國際

邵俊豪電話：+852 2889 0859 電子信箱：ericsiu@ravenel.com

北京

中國

朱毅電話：+86 10 8587 8099 電子信箱：yizhu@ravenel.com

陳砥翰電話：+886 2 2708 9868 轉 588 電子信箱：masachen@ravenel.com 謝幸航電話：+886 2 2708 9868 轉 587 電子信箱：rogerhsieh@ravenel.com 林美夆電話：+886 2 2708 9868 轉 909 電子信箱：annikalin@ravenel.com 周媛玲電話：+886 2 2708 9868 轉 908 電子信箱：conniechau@ravenel.com

電話書面競標聯絡人香港．國際何瑩電話：+852 2889 0859 電子信箱：vivihe@ravenel.com

台灣臧育嫻電話：+886 2 2708 9868 轉 585 電子信箱：angelachang@ravenel.com

北京朱毅電話：+86 10 8587 8099 電子信箱：yizhu@ravenel.com

上海李政希電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com 註一：如您無法親臨拍賣現場，可以電話投標方式競標；亦可利用附在此目錄後面之委託競投表格；或可參與網上競投，詳情請洽羅芙奧官方網頁。註二：鑑於拍賣現場電話有限，欲以電話投標方式競標的投標者，請於拍賣前24小時通知我們為您安排，尤其對需用外國語言服務之投標者。

網上競投請前往 Invaluable 註冊 www.invaluable.com

電話：+886 2 2708 9868 轉 885 電子信箱：tommywu@ravenel.com

上海李政希電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com

註一：所有拍品在貨款結清後，即可取貨；買家請儘早通知安排取貨事宜，以利倉庫存貨流通和集中安排辦理，本公司接受個人及公司支票付款，惟需在兌現後始能提貨。恕不接受旅行支票付款。其他各項貨品

本目錄開放各界訂閱，詳細訂閱辦法，請參照目錄之

可在羅芙奧辦公室提領，上班時間為週一至週五上午

說明或請洽上述聯絡人。

9:30至下午6:30。註二：我們的專業行政部門可為您建議或安排最適當的運輸方式。羅芙奧樂意提供您本次拍賣當中任何一項拍品的狀況報告書，惟準買家需注意拍品均是以「當時認定」之狀況賣出，相關細項請參照目錄後之業務規則。請參照買家需注意事項。

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REFINED BRUSHWORK: FINE CHINESE PAINTINGS

翰墨丹青—中國書畫專場 Saturday, 2 June 2018 3:30 pm Taipei Marriott Hotel

Lots 601 – 628

601 LUO FU

(Taiwanese, 1928-2018)

Poem in Running Script Ink on paper, framed 107 x 23 cm (each) Signed LUO FU in Chinese With two seals of the artist

NT$ 40,000 – 80,000 HK$ 11,000 – 22,000 US$ 1,400 – 2,800 RMB 9,000 – 17,000 洛夫行書七言對聯水墨紙本鏡框 107 x 23 cm (each) 款識：雪樓酒釀千年夢，雨閣書翻一夕秋。洛夫書於溫哥華雪樓。鈐印：洛夫（朱）、獨人雪樓（朱）

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602 LUO FU

(Taiwanese, 1928-2018)

Poem in Running Script Ink on paper, scroll 176.5 x 35.5 cm (each) Signed LUO FU in Chinese With three seals of the artist ILLUSTRATED: Works of Luo Fu , Huoke International Art Group, Taipei, 2001

NT$ 60,000 – 120,000 HK$ 16,000 – 32,000 US$ 2,100 – 4,100 RMB 13,000 – 26,000 洛夫行書七言對聯水墨紙本立軸 176.5 x 35.5 cm (each) 款識：臨巖松是餐霞客，倚澗花如照水人。洛夫書於雪樓。鈐印：洛夫（白）、詩魔（朱）、因為風的緣故（朱）著錄：《雪樓書稿——洛夫書藝集》，霍克國際藝術股份有限公司，台北，2001 年出版

603 JI KANG

(Taiwanese, 1911-2007)

Lady Ink and colour on paper, scroll 123 xw 44.5 cm Signed JI KANG in Chinese With two seals of the artist

NT$ 80,000 – 160,000 HK$ 22,000 – 43,000 US$ 2,800 – 5,500 RMB 17,000 – 35,000 季康麻姑獻壽設色紙本立軸 123 x 44.5 cm 款識：麻姑獻壽。慈谿季康寫於福壽康寧之齋。鈐印：季康長壽（朱）、寧復畫記（白）

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604 AU HO-NIEN (Taiwanese, b.1935)

Birds and Wisteria Ink and colour on paper, framed 44.5 x 30 cm Signed HO-NIEN in Chinese With two seals of the artist

NT$ 80,000 – 160,000 HK$ 22,000 – 43,000 US$ 2,800 – 5,500 RMB 17,000 – 35,000 歐豪年紫藤雙雀設色紙本鏡框 44.5 x 30 cm 款識：豪年鈐印：歐豪年（白）、挹翠山堂（朱）

605 LIAO HORNG-SHING (Taiwanese, b.1964)

Lady 1988 Ink and colour on paper, framed 136.5 x 69.5 cm Signed HORNG-SHING in Chinese With one seal of the artist

NT$ 130,000 – 220,000 HK$ 35,000 – 59,000 US$ 4,500 – 7,600 RMB 28,000 – 48,000 廖鴻興仕女圖 1988 設色紙本鏡框 136.5 x 69.5 cm 款識：吟

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戊辰中秋，鴻興寫於豐原。

606 CHEN YUNG-MO (Taiwanese, b.1961)

Heart Sutra ; Guanyin and Child 1990 Ink on paper, scroll 85 x 33 cm Signed CHEN YUNG-MO in Chinese With two seals of the artist PUBLISHED: The Paintings of Chen Yung-Mo , Ching Yun Gallery, Taipei, 1992, Plate 23

NT$ 140,000 – 240,000 HK$ 38,000 – 65,000 US$ 4,800 – 8,300 RMB 30,000 – 52,000 陳永模仿任伯年觀音送子圖 1990 水墨紙本立軸 85 x 33 cm 款識：般若波羅蜜多心經、庚午夏仲，陳永模敬寫。仿任伯年觀音送子圖，陳永模合十。鈐印：陳氏（白）、永模（朱）著錄：《從聲色裡來——陳永模作品集》，清韵藝術中心，台北，1992 年版，版圖 23

607 CHANG YUN-MING (Taiwanese, b.1949)

River from the Sky 1986 Ink and colour on paper, framed 77 x 69.5 cm Signed CHANG YUN-MING in Chinese With two seals of the artist ILLUSTRATED: Reader's Digest , Taipei, April 1988

NT$ 110,000 – 220,000 HK$ 30,000 – 59,000 US$ 3,800 – 7,600 RMB 24,000 – 48,000 張韻明長河天上來 1986 設色紙本鏡框 77 x 69.5 cm 款識：長河天上來，吾會遊金瓜石，回家後做此。一九八六年，張韻明弁記。鈐印：張（白）、韻明（朱）著錄：《讀者文摘》，台北，1988 年 4 月號

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608 CHEN TING-SHIH (Chinese, 1916-2002)

Landscape Ink on paper, framed 57 x 39 cm Signed CHEN TING-SHIH in Chinese With two seals of the artist PROVENANCE: Obtained from the collection of Ms Kuo Liang-hui (Acquired from the artist)

NT$ 110,000 – 220,000 HK$ 30,000 – 59,000 US$ 3,800 – 7,600 RMB 24,000 – 48,000 陳庭詩山居秋暝水墨紙本鏡框 57 x 39 cm 款識：良蕙女士指正，陳庭詩寫贈。鈐印：陳（朱）、耳氏之章（朱）來源：郭良蕙女士舊藏（得自藝術家贈與）

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609 WANG JI-QIAN (Chinese, 1906-2002)

Bamboo and Stone 1986 Ink and colour on paper, framed 48 x 62 cm Signed WANG JI-QIAN in Chinese With one seal of the artist PROVENANCE: Obtained from the collection of Mr William Suen (the elder son of Ms Kuo Liang-hui)

NT$ 170,000 – 280,000 HK$ 46,000 – 75,000 US$ 5,900 – 9,600 RMB 37,000 – 61,000 王季遷竹石圖 1986 設色紙本鏡框 48 x 62 cm 款識：啟元世兄，補壁。丙寅五月，王己千。鈐印：王己千（朱）來源：孫啟元先生舊藏（郭良蕙女士長子）

Ravenel 26

渡台前輩書畫家中，專攻「花鳥」者不在少數，亦皆各有風姿，其中，喻仲林（1925-1985）是極受讚譽的一位。喻仲林出生於山東冠縣，自幼即展藝術天分，9歲時因母親去世，往依舅家，舅父許宗海為知名花鳥畫家，喻仲林得以啟蒙習畫。後因抗戰軍興，學業中斷，於是投筆從戎，1949年5月隨國民政府來台，重拾藝事，到師大藝術系旁聽，獲金勤伯青睞而列入門牆，正式進入中國傳統繪畫的嚴謹鍛鍊，勤奮鑽研，終成名家。喻仲林在其《作畫應該適性》一文中曾言：「…我對花鳥畫確曾下過一番苦功，我的辦法是先行格物，就是對我要畫的素材先加以瞭解，譬如某花有幾瓣？什麼顏色？何時開放？全放怎麼樣？半放又是什麼樣？葉子什麼樣等，均一一描繪下來，久之便能得之於心，也就能應之於手了。再一個辦法，就是多蒐集有關花鳥的材料，如報章雜誌上的照相等等，均可收集，以備不時之需。這些都在構圖上有幫助，但在畫的品格上想力求高雅，那就非多看古畫不可。古人的畫，實在有其令後人難及的神韻，學畫的人，千萬不可忽視這一點。我對宋元的繪畫，便非常崇拜。不管山水、花鳥，均是千古絕唱。但我也不主張死摹古、泥古，我主張受古畫的感染、薰陶，久之便能變化氣質。」從喻仲林的創作思緒中，即可理解其繪畫風格之內涵與特色，可簡約歸納為幾點：一、注重寫生，故而題材鮮活，不論翎毛、花卉、禽畜、昆蟲…皆姿態靈動，造型準確。二、精研宋元，故而器度雍容，小品具有院體折枝形式之清雅，大作則具有全景花鳥格局之豐沛。三、汲古出新，故而精緻典麗，將雙鈎白描、青綠金碧、撞水撞粉…等多元技法融會運用而自出機杼，筆筆皆有古人，筆筆又都見新意。喻氏講究畫面佈局上的平衡，以主題的呈現與顏色的配合為主。喻氏曾說：「顏色統一就是全幅畫一個調子。花的顏色都很鮮明，很多花在一起，顏色的處理很困難。如果專求華麗，就不一定能和諧，這樣，再加上適當的濃淡處理，主題也就自然突出；或者誇張主題，讓主題突出。誇張主題這種說法古人沒有講過，但卻實地在做。比如故宮有一幅馬麟的靜聽松風圖，角上的書童小到不成比例，因為它是不重要的。畫畫誇張主題，是時代的觀念。」喻仲林的作品，或清雅，或古艷，或工緻，或寫意，皆潤澤飽滿，充滿了盎然生機，絕不見枯槁之筆，滯礙之墨，板俗之色。近幾年來，喻仲林的畫作在書畫市場上已成為兩岸三地藏家重視的標的，也就理所當然了。

Lot 612

Ravenel 28

Lot 611

Lot 610

"Flower and Bird" is a prevalent genre among traditional Chinese painters. Each painter has their own characteristics. Among these artists is Yu Chung-lin, a gifted and well-acclaimed gongbi painter among the collectors’ circle. Inspired by his uncle Xu Zhonghai, a famous flower and bird painter, Yu started his practice early on. After the war in 1949, Yu moved to Taiwan and followed Jin Boqin. Since then, he devoted his lifetime in painting and gained his well-deserved fame among the art community. Yu once wrote, "…I put a lot of effort on flower and bird paintings. My strategy is to meticulously observe an object, understand every detail of the subject matter, eg. the number of petals on a certain flower, its colour, its form in full bloom, its form in half bloom, the shape of its leaf, etc. When these figures are sketched in detail, as time goes by, one would know how to draw the figure with ease. Another way is to collect as many references of flower and birds from multifarious ways, such as through magazines. With regard to the elegance of a painting, one has to study traditional paintings. These paintings carries a fascinating aura which cannot be easily imitated and should be studied by learners. I have high respect to Song paintings, regardless of their landscape or their flower and bird paintings. In my opinion, one shouldn’t copy these paintings, but to feel them personally and learn from them, so that one could eventually paint with the aura." There are a few points to note from Yu’s creative methodology: 1, Meticulously painting the details by observation; 2, Painstakingly studying Song paintings; 3, Creatively transforming a painting by blending multitude skills learnt from old masters. Structure of a painting and matching of colours had always been the core elements to YU Chung-lin. The artist once said, "Harmony in colour scheme forms the core of the painting. Colour of flowers has always been the most eye-catching element, and with many flowers cluttering together, the treatment of colours could be a challenge. If the painting needs to be an extravagant one, colour harmony might not be the key. In this case, tonality is needed to highlight the subject matter; or emphasize the subject to make it stand out. This method might not be said previously by old masters, but it is observed to be their usual practice. Ma Lin's painting in the National Palace Museum is an example, with a boy in a very tiny scale at the corner, as he is not important to the painting. This method is a conventional yet modern concept." Yu’s tactful application of skills and his detailed observation lifted his fame as a gongbi painter among art lovers in Taiwan and beyond.

610 YU CHUNG-LIN

(Chinese, 1925-1985)

Chicks and Strawberries 1979 Ink and colour on paper, framed 49 x 32 cm Signed CHUNG-LIN in Chinese With two seals of the artist PROVENANCE: Acquired directly from the artist's daughter ILLUSTRATED: Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin , National Museum of History, Taipei, 2012, pp.112-113

喻仲林草莓雛雞 1979 設色紙本鏡框 49 x 32 cm 款識：己未初夏，仲林畫。鈐印：喻仲林（朱）、香在無尋處（朱）來源：直接得自藝術家女兒著錄：《工緻典麗 : 喻仲林 88 花鳥畫紀念集》，國立歷史博物館，台北，2012 年初版，頁 112-113

NT$ 130,000 – 220,000 HK$ 35,000 – 59,000 US$ 4,500 – 7,600 RMB 28,000 – 48,000

此畫《草莓雛雞》作於1979年的初夏，整體顏色和諧，佈局奇妙，以兩種體積微細的雛雞與草莓花果放在畫作的上方，下方為題識與淡綠彩，突顯雛雞與草莓的同時，佈局不會變得平凡無趣，反而在顏色的調配下，得到視覺的平衡。雛雞互相對看，動態盡顯，彷彿在討論草莓花果。此外，喻氏在花朵的呈現也沒有馬虎，花朵盛開、半開與不同方向，都完美呈現了「知天知地，知時知物」，以微細的觀察，把物件的細節與動態展現出來。

Ravenel 30

Chicks and Strawberries was made in the early summer of 1979, and is a perfect example of careful colour selection and Yu’s typical pictorial structure. By putting two tiny subjects, chicks and strawberries, at the top, the lower part of the painting is lightly coloured in green. This structure forms a balance in visual elements, creating harmony in the whole artwork. The interaction of the chicks is depicted, as if they are discussing the flowers and the fruits. From the different forms of flowers, one can see the artist's immense effort on objects’ depiction, which echoes with his ideology of painting objects through close observation.

611 YU CHUNG-LIN

(Chinese, 1925-1985)

White Lotus 1973 Ink and colour on paper, Framed 47 x 55 cm Signed CHUNG-LIN in Chinese With one seal of the artist PROVENANCE: Acquired directly from the artist's daughter ILLUSTRATED: Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin , National Museum of History, Taipei, 2012, pp.172-173

喻仲林白荷 1973 設色紙本鏡框 47 x 55 cm 款識：癸丑仲夏，仲林寫。鈐印：喻（白）來源：直接得自藝術家女兒著錄：《工緻典麗 : 喻仲林 88 花鳥畫紀念集》，國立歷史博物館，台北，2012 年初版，頁 172-173

NT$ 170,000 – 280,000 HK$ 46,000 – 75,000 US$ 5,900 – 9,600 RMB 37,000 – 61,000

作於仲夏的《白荷》以中間龐大的荷葉，潑墨渲染與周邊顏色的配

Painted in mid-summer, White Lotus featured a huge lotus leaf

搭，呈現出夏天悶熱濕潤的感覺。喻氏利用潔白的荷花，從中間龐

dominating the whole painting. The method of splash ink was

大的荷葉，把視覺拉上畫作的每個角落。畫作上方的荷花，有的盛

applied at the center, with a careful treatment of adjacent objects,

開，有的隨風飄動，有的含苞待放，可以看到喻氏對主題一絲不苟

highlighting the smothering heat of summer. Using the contrast of

的處理，呈現荷花的姿態。

bright white petals against the dominant blue colour of its leaves, the eye is dragged towards the edges, fully utilising the spaces of the paintings. Same as the previous paintings, the flowers were carefully depicted to display their different forms, adding character and vibrancy to the painting.

Ravenel 32

612 YU CHUNG-LIN

喻仲林

(Chinese, 1925-1985)

竹鶴圖

Red-crowned Cranes beside Bamboo Forest 1966 Ink and colour on silk, framed 49 x 74 cm Signed CHUNG-LIN in Chinese With one seal of the artist PROVENANCE: Acquired directly from the artist's daughter ILLUSTRATED: Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, 2012, pp.120-121

1966 設色絹本鏡框 49 x 74 cm 款識：丙午中秋，喻仲林寫。鈐印：仲林（朱）來源：直接得自藝術家女兒著錄：《工緻典麗 : 喻仲林 88 花鳥畫紀念集》，國立歷史博物館，台北，2012 年初版，頁 120-121

NT$ 240,000 – 360,000 HK$ 65,000 – 97,000 US$ 8,300 – 12,400 RMB 52,000 – 78,000

此幅《竹鶴圖》，絹本上的佈局嚴謹，主題為竹鶴，喻仲林善用背

In this painting, the structure of this painting was well-planned,

景陰沉的竹林，襯托潔白雙鶴，其中顏色的配搭正正反映藝術家的

with cranes and bamboo as the main theme. Yu used the contrast

創作理念。喻氏以細緻的工筆刻畫雙鶴的羽毛精緻入微，一隻鳥專

of colours to highlight the white cranes, and the colour structure

注整理羽毛，另外一隻凝視欣賞者，步姿優雅，各有各的神態。背

echoes with the ideology of the artist. The two cranes were painted

後的竹林襯托有序，充滿層次，以斜角視點從鶴帶到竹林，再帶到

meticulously in detail, without neglecting their characters, one

旁邊的古雅山石，從層次與顏色的搭配，特顯喻氏雅緻的畫風，完

tidying its feathers, and the other looking at the audience. The

整呈現畫中的祝賀寓意。

layered structure of bamboos at the background brings the eye from the cranes to the bamboos, finally to the rocks at the bottom. This painstaking treatment of layering and colour harmony highlight the style of Yu's paintings with an auspicious greeting.

Ravenel 34

613 SUN YUNSHENG (Chinese, 1918-2000)

Landscape 1990 Ink and colour on paper, framed 54 x 91 cm Signed SUN YUNSHENG in Chinese With four seals of the artist

NT$ 160,000 – 260,000 HK$ 43,000 – 70,000 US$ 5,500 – 9,000 RMB 35,000 – 56,000

孫雲生潑彩山水 1990 設色紙本鏡框 54 x 91 cm 款識：橫雲競千壑，彩霞舞錦屏。庚午十月，寫似惠鼎先生、之燁夫人儷正。孫雲生家瑞清心堂下。鈐印：大千弟子（朱）、孫家瑞印（白）、雲生長年（朱）、難得半日閒（白）

Ravenel 36

｜大隱於市．陋巷中的將軍：余承堯｜

大隱於市．陋巷中的將軍：余承堯余承堯（1898-1933）1945年隨國民政府遷台。前半生軍旅生涯與商場歷練，直至56歲開始作畫，其以自然為本，雖無師承卻獨樹一幟；1966年參與由洛克斐勒基金會（Rockefeller Foundation）贊助之《中國山水畫新傳統》展覽，於美國巡展兩年，自此余承堯嶄露頭角，台灣藝術史權威蕭瓊瑞教授盛讚其「以一種完全孤絕於傳統繪畫傳統的背景，造就了戰後台灣水墨山水最堅實、強勁的風格」。余承堯寄情書畫之餘，晚年鑽研南管音樂的研究卓越，是中外藝術史上，少數詩書畫樂兼備、具開創性的重要藝術家。余承堯彩墨作品兩件為此專題重點拍品，均為精絕之作，筆墨別於傳統、畫山疊石之類卻有北宋「小青綠」山水的古雅之趣，呈顯其內在的理想精神，隱逸之情顯於圖畫間。

Ravenel 38

ď˝&#x153;A Retired General and Great Hermit Artist: Yu Cheng-Yaoď˝&#x153;

Yu Cheng-yao (1898-1933) began his art practice at the age of 56 and participated in exhibitions in the US for two years. In his retired life, he gained an accomplished fame in music research, thus becoming one of the few literati who excelled in poems, calligraphy, paintings and music. The paintings featured in this Sale are depicted with Yu's typical style and structure. Despite Yu's deviances with traditional painting practices, the mountainous characteristics carry the same idealistic qualities as traditional Chinese paintings.

｜大隱於市．陋巷中的將軍：余承堯｜

614 YU CHENG-YAO (Chinese, 1898-1993)

Poem in Cursive Script 1989 Ink on paper, framed 69.5 x 28.5 cm Signed YU CHENG-YAO in Chinese With one seal of the artist NOTE: The paper of this artwork was given to the artist by Mr Chang Tsong-zung, Johnson PROVENANCE: Han Tang Arts & Culture Center, Taipei Private Collection, Asia

NT$ 90,000 – 180,000 HK$ 24,000 – 49,000 US$ 3,100 – 6,200 RMB 20,000 – 39,000 余承堯草書《登鸛雀樓》詩 1989 水墨紙本立軸 69.5 x 28.5 cm 款識：白日依山盡，黃河入海流。欲窮千里目，更上一層樓。己巳年夏日，王之煥詩。鈐印：余承堯印（白）註：紙張是由漢雅軒張頌仁先生贈送給藝術家，標誌著兩位藝術史重要人物的友情來源：漢唐樂府舊藏，台北私人收藏，亞洲

Ravenel 40

｜A Retired General and Great Hermit Artist: Yu Cheng-Yao｜

615 YU CHENG-YAO

余承堯

(Chinese, 1898-1993)

草書自作詩

Poem in Cursive Script 1990 Ink on paper 44.5 x 142 cm Signed YU CHENG-YAO in Chinese With one seal of the artist

1990 水墨紙本 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。庚午冬日，舊作，余承堯。鈐印：余承堯印（白）

PROVENANCE: Han Tang Arts & Culture Center, Taipei Private Collection, Asia

來源：漢唐樂府舊藏，台北私人收藏，亞洲

NT$ 130,000 – 220,000 HK$ 35,000 – 59,000 US$ 4,500 – 7,600 RMB 28,000 – 48,000

余承堯書法涉獵甚早，留日期間已對書法投入深刻的研究，兩件草

Yu studied calligraphy early on during the Japanese occupation. His

書作品（Lot 614、Lot 615）氣勢撼人，可得知其對懷素狂草書風的

calligraphy paintings (Lot 614, Lot 615) possess great variances in

掌握與理解，在線條與墨韻之間做出濃淡疏密的變化；余氏對金石

brushworks enhancing the vibrancy which echoes with old calligraphy

碑帖理解甚深，通篇看似生拙然句對間字迹厚實，既纖細又隱疏放

masters Huaisu from Tang dynasty. Yu had great interest in stone

線條，在金石意蘊中趣味盎然，古言「字如其人」，從余老的字帖

rubbings, which enhances his expression with lines and space.

中可看出其前半生戎馬生涯，而後隱於商市、性格淡默的君子之境。

｜大隱於市．陋巷中的將軍：余承堯｜

616 YU CHENG-YAO

余承堯

(Chinese, 1898-1993)

山水

Landscape Ink on paper, framed 47 x 60 cm With one seal of the artist PROVENANCE: Han Tang Arts & Culture Center, Taipei Private Collection, Asia

水墨紙本鏡框 47 x 60 cm 鈐印：余承堯印（白）來源：漢唐樂府舊藏，台北私人收藏，亞洲

NT$ 320,000 – 480,000 HK$ 86,000 – 129,000 US$ 11,000 – 16,500 RMB 69,000 – 104,000

此作畫面的空間感豐富靈動，在濃淡墨色之間顯露出重疊與層次，

This work plays with the diversity of space. Using the overlapping

由外向內延伸的透視，反而讓畫中的山水結構寬廣了，余氏將墨

lines and colours to lead the eye from afar, the painting opens up to

點、墨線在虛實之間擺盪，佈局出具有動態感的畫面，行萬里路的

the audience with details of the landscape. The multifarious forms of

生命感躍然於紙上，余氏脫去早期畫中山體的奇矯，讓畫意先行、

ink adds vibrancy to painting, breakthrough from traditional Chinese

在無章法之中開拓了水墨的新境界。

ink paintings.

Ravenel 42

｜A Retired General and Great Hermit Artist: Yu Cheng-Yao｜

｜大隱於市．陋巷中的將軍：余承堯｜

617 YU CHENG-YAO

余承堯

(Chinese, 1898-1993)

山水

Landscape 1970s Ink and colour on paper, framed 68 x 30 cm With one seal of the artist PROVENANCE: Han Tang Arts & Culture Center, Taipei Private Collection, Asia

1970 年代設色紙本鏡框 68 x 30 cm 鈐印：余承堯印（白）來源：漢唐樂府舊藏，台北私人收藏，亞洲

NT$ 340,000 – 550,000 HK$ 92,000 – 148,000 US$ 11,700 – 18,900 RMB 74,000 – 119,000

此作以近景手法處理，畫面中山勢連綿峻奇，圖上青綠、赭紅點綴

Using a close shot of the hilly relief, the drops of red and intersecting

於墨線所勾勒的山石紋理中凹凸有致，綠、棕色塊代表著畫中叢生

lines of this painting add vividness of the layering of mountains,

的林木樹幹，可見余氏對於天地自然的心領神會，以「畫指本心」

reflecting Yu Chung-lin’s deep appreciation towards the Nature.

描繪出心中的真山水，充滿令人讚嘆的生命力與表現力，更令人驚

Enhanced with the concept of collage, Yu tried to enhance the visual

艷在畫面中可窺見立體主義拼貼藝術（collage）的概念，藉由視覺

impact, bringing a new visual experience in ink paintings.

的衝擊帶出水墨的新觀看方式。

Ravenel 44

｜A Retired General and Great Hermit Artist: Yu Cheng-Yao｜

｜大隱於市．陋巷中的將軍：余承堯｜

618 YU CHENG-YAO

余承堯

(Chinese, 1898-1993)

山水

Landscape 1970s Ink and colour on paper, framed 83 x 43.5 cm With one seal of the artist PROVENANCE: Han Tang Arts & Culture Center, Taipei Private Collection, Asia

1970 年代設色紙本鏡框 83 x 43.5 cm 鈐印：余承堯印（白）來源：漢唐樂府舊藏，台北私人收藏，亞洲

NT$ 600,000 – 900,000 HK$ 162,000 – 243,000 US$ 20,700 – 31,000 RMB 130,000 – 195,000

此作為典型的余氏山水精品，全圖以細緻縝密的亂筆勾出交錯起伏

In this painting, the criss-crossing lines accentuate the texture

的山峰，畫面由前景厚實的山岩與後方奇絕的山體取出平衡，思遠

of rocks at the front and lightly depict the forms of the distant

筆精之處在於其青綠設色於圖面中心向下延伸少許，青綠上方做出

mountains. The traversing lines and the use of colour reflect the

如白毫般的芒草蓬飛亂舞於山間春色之中，顯現出余氏一生豁達、

humble character of the artist and a true appreciation of nature,

淡看名利的初心，作畫僅為取樂，知天命近耳順之年，將胸中丘壑

which truly reﬂects the character of a Chinese literati.

之氣以獨特的手法創作出氣勢澎湃的山水畫，為真而寫、盡得天然之真髓！結構山水一途，讓余氏走得極有品格，畫中白芒搖曳卻無秋氣之瑟，反而有疏淡的風情逸趣，遠景中的山黛淡然沒於留白的天色之中，余氏將傳統山水揉入歷史人文的深度，將現代文人的美學風格做出完美詮釋。

Ravenel 46

｜A Retired General and Great Hermit Artist: Yu Cheng-Yao｜

619 HUANG CHUN-PI (Chinese, 1898-1991)

Mountain and River at Sunset 1975 Ink and colour on paper, framed 53 x 90.5 cm Signed HUANG CHUN-PI in Chinese With three seals of the artist PROVENANCE: Acquired directly from the artist's family by the present owner ILLUSTRATED: The Paintings of Huang Chun-Pi, National Museum of History, Taipei, 1984, p.65

NT$ 500,000 – 800,000 HK$ 135,000 – 216,000 US$ 17,200 – 27,600 RMB 108,000 – 174,000 黃君璧溪山夕照 1975 設色紙本鏡框 53 x 90.5 cm 款識：霧重煙晞，望不窮馬鞍，山色鬱葱葱，斷崖蒼翠，秋無限多，在丹楓夕照中。乙卯初夏畫於白雲堂，君翁，黃君璧。鈐印：黃君璧（白）、君翁（朱）、白雲堂（白）來源：現藏家得自藝術家家屬著錄：《黃君璧作品選集》，中華民國國立歷史博物館，台北，1984 年初版，頁 65

Ravenel 48

飛瀑有聲躍紙上•渡海白雲一君翁在高手如雲的廿世紀中國書畫藝壇中，能與末代王孫溥心

羅芙奧此前於2017年春拍有《高士觀瀑圖》（羅芙奧台北，

畬、五百年來一大千並譽為「渡海三家」者，自然絕非易

2017年春拍，拍品638號）一作現身，雖未署年款，然從畫

事。更有識者認為，如果當初他未選擇來台，中國山水繪畫

風與詩堂題跋對照，當知應係黃君璧1960年前後所繪，畫中

或會有與今日迥然有別的風貌呈現，在在顯示此人藝事上的

寫三名高士一同在雨後登臨高巖，欣賞幾道淙淙奔泉直似從

舉足輕重，罕有幾人能夠匹敵。他，就是黃君璧。

天而降、一瀉千里的情景。崇山峻嶺由遠至近，設色淡雅而層次分明；復以重墨染寫兩株自山巖橫伸而出之蒼松，形成

黃君璧（1898-1991），原名允瑄，本名韞之，號君璧，後

左前右後之相互呼應，使全件觀來格局開闊、氣韻高古，飛

以號名世，齋館曰白雲堂，廣東南海祿舟人。先人世代經

瀑水聲躍然紙上，實為君翁壯年佳作。此件估價為新台幣160

商，其父閒暇之餘更喜欣賞古玩字畫，他自幼耳濡目染，舞

萬至220萬元，最終以192萬元成交，表現已屬亮麗。

象之年便已矢志繪事，先拜廣東名家李瑤屏（1883-1937）為師。有別於嶺南畫派，李氏在繪事上主張復興中國古代繪

《溪山夕照》（Lot 619）雖作於1975年夏天，但筆下所繪卻

畫精粹，反對吸收外國技法；因此黃君璧在渡台前的卅年間

是一片秋色無限，足顯造化內蘊、信手拈來之自在寫意。畫

所作，明顯以精研古法為標誌，無論山水、人物、花鳥，俱

面中，順著左下的平坡坐落幾幢矮屋與一曲流水而上，只見

見深厚精湛之底蘊。然而，黃君璧深知氣韻之所在始於足

山勢逐漸高聳入天，在雲霧繚繞中益顯其姿態萬千。遠山一

下，故他東登泰山、西窺劍閣，上黃山、過三峽，遊歷各地

道垂瀑與煙雲相接，蒼茫無限之感頓生；而丹楓參差散落在

名山大川。在直接面對造化、鎔鑄自然，復又廣結藝文名

墨染林樹之中，恰與赭紅淡染之夕照山色對映成趣，尤添幾

流、相互學習切磋的情況下，使其藝事大進，早早躋身名家

分幽趣。君翁在此題詩曰：「霧重烟晞望不窮，馬鞍山色鬱

之列。

蔥蔥，斷崖蒼翠秋無限，多在丹楓夕照中。」與畫作彼此烘托，十足相得益彰，也將中國文人臥遊山水以離俗之心境表

抵台後，黃君璧被聘請為師大藝術系教授兼主任凡廿餘年，作育英才無數，對台灣現代藝術發展之影響不可不謂深遠；而足跡所到之處遠至海外，使他終能自傳統脫蛻而出，筆下所現更顯大氣磅薄，一時無二。誠如中國藝術史學者傅申所言：「君翁挾深厚的中西繪畫功底，兼善南北宗畫風，筆法多變，又喜登山尋勝，足跡遍及中外名山勝水；抵台以後，帶領寫生風尚，終於在廿世紀後半的畫壇，發揚了具有本土風格的山水。」

Ravenel 50

露無遺。

In the competitive world of Chinese Paintings, Huang Chun-pi

Created in 1975, this painting Landscape at Sunset (Lot 619) depicts

championed, along with Pu Hsin-yu and Chang Da-Chien, as one of

the richness of the autumn hills at sunset. A sensual pleasure of

the top three Taiwanese painters.

landscape is elevated as the eye moves from the gentle slopes and cottages on the lower left, through to the waterfall on the top right

At his early age, Huang followed a strict apprenticeship with Li

of the painting. As the mist of the waterfall uncovers the distant

Yao-Ping (1883-1937), a famous painter in Guangdong, under

mountains, the red maple trees scattered in the mountains echoing

the Lingnan school of painting. The ideology promoted by Li and

with the diffused glow of the setting sun.

this School is to revive the essence of Chinese classical paintings and to stand firmly against Western practices. Thus, in his early practice before arriving in Taiwan, Huang's paintings were inclined to meticulously follow the Chinese traditional painterly style in his landscape, portrait and flower and bird painting genres. With the increasing number of visits to the majestic mountains and valleys and

As the caption writes, “Heavy mist envelopes the pleasure of nature, As the greenery highlights the soggy hills, Autumn highlighted by the lofty cliffs, As the red maples dance under the gentle beams of the setting sun.”

the encounters with art fellows, Huang began to reﬁne his belief and Echoing with the caption, the painting unveils the blissful enjoyment

skills which made him a well-acclaimed artist.

of a Chinese literati in a scholarly manner. Since his arrival in Taiwan, Huang devoted his career in art education and influenced deeply in the development of Taiwanese modern art. With his numerous travel around the globe, Huang transformed his traditional art skills and focused on depicting the grandiosity of nature. Prof. Fu Shen once praised the artist, “Huang has a rich knowledge of both Chinese and Western art. His art gathers the essence of both Northern and Southern art schools. Under Huang's proficient painterly skills and his strong observation of nature, his landscape paintings created a unique Taiwanese style in art development of the late 20th Century.”

Figure in a Mountainous Landscape by the same artist was sold at Ravenel (Lot 638 in 2017 Spring Sale). The year of the painting was deemed to be 1960, based on the poetry and the style of painting. The painting featured three scholars hiking after the rain and watching the waterfalls from the sky. In terms of structure, layers of mountains lead the eye from afar, and tonality enriches the layering. The whole painting was highlighted by two dark trees on the cliff. This structure opens up to the mountainous view with a traditional style, highlighting the majestic waterfall. This painting is undoubtedly the work of Huang Chun-pi at the peak of his career. This work was eventually sold for TWD1,920,000.

黃君璧《高士觀瀑圖》水墨紙本 82 x 47 cm 羅芙奧台北，2017 年春拍，拍品 638 號成交價：TWD1,920,000 HUANG JUNBI, Figure in a Mountainous Landscape , Ink on paper Ravenel Taipei, Spring Sale 2017, Lot 638 Sold Price: TWD1,920,000

620 RAN IN-TING (Taiwanese, 1903-1979)

Taroko Landscape 1966 Ink and colour on paper, framed 136 x 45 cm Signed RAN IN-TING in Chinese With two seals of the artist

NT$ 600,000 – 900,000 HK$ 162,000 – 243,000 US$ 20,700 – 31,000 RMB 130,000 – 195,000 藍蔭鼎太魯閣峽 1966 設色紙本鏡框 136 x 45 cm 款識：青山不墨千年畫，綠水無絃太古琴。丙午中秋，寫於台灣太魯閣峽。鈐印：蔭鼎（朱）、看山如讀畫（朱）

Ravenel 52

細節圖 Details

Ravenel 54

生於日治時期的台灣羅東，

Born in Luodong, under

藍蔭鼎（1903-1979）深受

the turbulence of Japanese

這兩個地方的藝術文化影

Occupation, Ran In-Ting

響，曾跟隨日本水彩大師石

was heavily influenced by

川欽一郎習畫四年，主要以

b o t h t h e Ta i w a n e s e a n d

台灣山川鄉土為創作題材，

Japanese culture. Ran

並擅長水彩與素描，後來漸

followed the apprenticeship

漸融入中國傳統水墨技法，

o f I s h i k a w a K i n ' i c h i ro , a

形成個人獨特的創作風格。

famous watercolour master, and perfected his skills

藍蔭鼎被喻為「在石川的

i n w a t e rc o l o u r p a i n t i n g s

獨木橋上 —— 成功者的孤

and sketches. With the

影」，在石川欽一的薰陶

predominant subject matter

下，靈活善用水彩的技法，

o f Ta i w a n e s e l a n d s c a p e ,

以筆墨陰陽互濟的暗明表現

Ran later combined the skills

出山水的壯麗險峻。藝術家

of Chinese paintings, thus

更在此畫中上增添故事的敘

created his unique style.

述性，以渺小的人物，為山 With the guidance of

水增添動態，成就鄉土之情的完整。藍蔭鼎常說：「畫要生動，美醜決定在生動。」

Ishikawa, Ran refined his watercolour painting techniques of ink and brushwork to form light and shadow, depicting majestic landscapes.

藍蔭鼎熱愛台灣大自然山水，太魯閣更是台灣人引以為榮的地標。

In this painting, by adding tiny figures, a storyline was formed,

此畫以太魯閣的錐麓古道為主題，以仰角視點遠觀山勢，在登山者

enhancing the pleasure of art appreciation. As Ran always said,

的帶領下，由下而上，視點慢慢移向峽谷的峭壁，最後停留在宏偉

“Paintings need to be vibrant. This determines a painting’s aesthetic

的瀑布。

value.”

藍蔭鼎在人物素描上一絲不苟，強調捕捉人物的動態，以生動的描

Ran loved the countryside of Taiwan. As Taroko is one of the

繪，產生人性的共鳴。此幅畫中，青山碧水與崢嶸險峻的山勢襯托

landmarks in Taiwan, it naturally became the subject of Ran’s

出登山者的渺小。在陡峭山路上，登山者小心翼翼地走過崎嶇不平

painting. Featuring Zhuilu Old Trail, Ran uses an elevation perspective

的山路，一旁的峽谷壯麗的景觀，似乎把登山者的疲憊一沖而散。

to lead the eye from hikers to the soaring cliffs and finally to the

藍蔭鼎描繪的，不僅是峽谷的峭壁斷岩，更是每個登山者對爬山的

majestic waterfall.

熱情和對大自然的嚮往。 Figures’ gestures carefully depicted, as it was deemed as a major 「青山不墨千年畫，綠水無絃太古琴。」此畫的題識歌頌美麗動人

pictorial element to echo with the audience. Tiny hikers were

的大自然，同時比喻爬山隊互相提攜，友誼永固。

portrayed against the lofty landscape in the background. As the hikers take their careful steps of their arduous journey, the scene gradually reveals the grandiose waterfall. Ran not only highlighted the monumental landscape, but also the struggle and fatigue of hikers and, finally, the core fulfillment that lives in every hiker.

621 LIN ZEXU (Chinese, 1785-1850)

Calligraphy in Running Script (A set of four) Ink on paper, scroll 135 x 33 cm Signed SHAOMU, LIN ZEXU and SICUN in Chinese With two seals of the artist and two seals of two collectors

NT$ 1,100,000 – 1,800,000 HK$ 296,000 – 485,000 US$ 37,900 – 62,000 RMB 239,000 – 390,000 林則徐行書錄明人詩四屏水墨紙本立軸 135 x 33 cm 釋文：（一）暮相思征帆日已遠，回波不相待。暝色孤峰來，故鄉何處在。日淡墟里煙，雲盡天邊海。如何暮相思，坐令鬢容改？（二）仲春虎丘孤閣生殘照，平臺下夕陰。疏鐘不知處，人影在花林。古剎雲光杳，空山劍氣深。依依池上月，猶復照登臨。（三）初秋感懷秋風吹海水，夜色一何長！思婦樓頭月，征人馬上霜。亭皋雲稍白，隴阪葉初黃。物候堪消落，應憐杜若芳。（四）秋思涼風起燕趙，萬里浮雲陰。思婦驚秋葉，寒蛩啼暮林。霜催銀箭色，雁度玉關心。蕭瑟江潭客，芙蓉孤渚深。錄自《明詩別裁集卷八》鈐印：林則徐字少穆號竢村（白）、清宮太保之章（朱）、青芝老人鑑賞（朱）、泰和蕭敷政蒲村氏珍藏（朱）

Ravenel 56

林則徐（1785-1850），福建省福清縣（今福州市）人，字元撫，又字少穆、石麟，晚號竢村老人、竢村退叟、七十二峰退叟、瓶泉居士、櫟社散人，為清朝中晚期政治家、思想家、書法家和詩人。歷任湖廣總督、陝甘總督和雲貴總督，因為主張嚴禁鴉片而留名青史。林則徐書法的主要成就是行草，以《集王聖教序》為基礎，遍臨晉唐名跡，功力深厚，秀雅勁健兼具。在《致遠堂書》（即同鄉晚輩郭柏蔭， 1807-1884，字遠堂曾任江蘇巡撫、湖廣總督）中曾言：「筆力尚須求其秀挺，墨氣尚須求其鮮潤，此亦惟於腕下作功夫，無他謬巧也。蓋筆提得起，有操縱向背，有起伏頓挫，則體直而無不挺，神現而無不秀。秀則不滯，挺則不俗，而墨氣之鮮潤即隨之矣。凡一橫一竪，除欹側以取勢外，無不貴乎注筆者，轉處、鉤處亦然，先注後轉，則力足而不剽。」又言：「尊書非不修飾，而筆性近滯。愚意有剛柔相濟之道，取《皇甫碑》、《靈飛經》二種帖，每日早晚更端臨寫，則骨幹風神可以兩得，不至偏於一邊，未得其利先入其弊也。不必寫於別紙，縱極不善書之人，而用心學帖，寫過白摺千本，則未有不改觀者。」林則徐對於書法的鑽研極勤，博採歷代名家眾長，剛柔相濟，今所見林則徐《行書錄明人詩四屏》，即頗合乎時人對其書法「集晉人之精微，具唐人之法度，取《靈飛經》之流麗，得東坡之厚重，法南宮之率真，崇趙董之疏朗」之讚譽。此四屏先後鈐有一方「泰和蕭敷政蒲邨氏珍藏」朱文印及四方「青芝老人鑑賞」朱文印。蕭敷政（1866-1921），字蒲邨，江西泰和人，出身儒商大戶，富甲一方，光緒19年（1893）鄉試舉人，為清末民初著名藏書家，亦富藏名家書畫，堂號為「遐觀樓」（建於光緒28年，1902），藏書逾20萬卷。「青芝老人」，即林森（1868-1943），原名天波，字子超，號長仁，晚號青芝老人，福建閩侯人，為民國初年極具清望的政治家，1931年12月28日當選中華民國國民政府主席。一生鐵古錚錚，清廉自持，晚年寄情花草，收藏書畫古玩，所藏書畫皆鈐有「青芝老人鑑賞」朱文印，現有《青芝老人遺墨》存世。此四屏應是1926年秋天北伐軍羅卓英部隊與盤據江西的軍閥孫傳芳混戰，「遐觀樓」所藏悉數遭劫，並變賣至南昌古籍書店「掃葉山房」之物，後為林森所購藏，此四屏也可謂歷經烽火而倖存的遞嬗有序了。

Ravenel 58

Lin Zexu (1785-1850) was a respected figure in Chinese history. He was a political figure in Mid-/Late-Qing dynasty, an advocate, a calligrapher and a poet. Born in Fujian province, Lin was a viceroy of Huguang, Shangan and Yungui and was renowned for his campaign to suppress opium consumption. As a respected literati, Lin was lauded for his running and cursive script, which took reference from a famous Buddhist scripture by Wang Xizhi. His calligraphy was precise and powerful in the application of brushwork. Guo Boyin once said, “Calligraphy is priced for the concrete brushstroke, the saturation of ink. Such calligraphy heavily demands the technique of the wrists and intense

林則徐 LIN Zexu (1785-1850)

concentration of the calligrapher. Any defect would fail the whole work.” Lin was persistent in his calligraphy practices, taking references from traditional old masters. In this work (Lot 621), each brushstroke was acclaimed to have carried ”the preciseness of Jin masters, the spirit of Tang masters, the generous strokes of Su Dongbo, the bold strokes of Nangong and the candid strokes of Zhaodong”. The four panels has two collectors's seals, namely Xiao Fuzheng and Lin Sen. Xiao Fuzheng (1866-1921) was a wealthy businessman in Late Qing dynasty with a vast collection of Chinese paintings. Lin Sen (1868-1943) was a renowned political figure, elected as the President of the Nationalist Government in 1931. It was known in 1926, the vast collection of Xiao was looted and sold in a bookstore. It was estimated that Lin Sen later acquired the four works and passed on to other collectors.

林森 LIN Sen (1868-1943)

林則徐字少穆號竢村

清宮太保之章

泰和蕭敷政蒲村氏珍藏

青芝老人鑑賞

622 XU BEIHONG

(Chinese, 1895-1953)

Old Man under Cypress Trees 1944 Ink and colour on paper, framed 73.6 x 61 cm Signed BEIHONG in Chinese With one seal of the artist PROVENANCE: Sotheby's Hong Kong, Autumn Sale 1992, Lot 937 Sotheby's Hong Kong, Autumn Sale 1988, Lot 85

NT$ 3,600,000 – 5,000,000 HK$ 970,000 – 1,348,000 US$ 124,000 – 172,200 RMB 781,000 – 1,085,000 徐悲鴻古柏老叟 1944 設色紙本鏡框 73.6 x 61 cm 款識：卅三年歲始。悲鴻。鈐印：徐（朱）來源：蘇富比香港，1992 年秋拍，拍品 937 號蘇富比香港，1988 年秋拍，拍品 85 號

Ravenel 60

畫藝精絕成祭酒‧悲鳴鴻雁終高飛

回顧過去百年中國書畫藝術的發展，徐悲鴻（1895-1953）無疑是最重要的一位藝術家與教育者，其創作題材多元，從歷史典故到人物、花鳥、走獸無所不涉；無論採用油畫、水墨，均見勃勃生氣，並巧妙融合中西繪畫技法而自成一家面貌。在美學思想上的影響極其深刻廣泛，也因此譽為中國現代美術的奠基者。徐悲鴻，原名壽康，江蘇宜興人。父親徐達章為私塾先生，故他自幼便隨其父立下詩文與繪畫基礎。及長，徐悲鴻先留學日本，後赴法國入巴黎國立高等藝術學院（École Nationale Supérieure des Beaux-arts de Paris），親眼見證了世界的藝術中心如何引領世界風潮。1927年返國後，他先後歷任北京大學藝術學院院長、中央大學藝術系教授兼系主任、北平藝術專科學校校長等，帶回西方首重寫生的藝術觀念；針對中國書畫的改革，則提出「古法之佳者守之，垂絕者繼之，不佳者改之，未足者增之，西方繪畫可采入者融之」的主張，更在他的創作中得到了具體的貫徹與實踐。駿馬栩栩•古柏高致之所以強調素描寫生訓練，主要是徐悲鴻認為在加入線條與塊面的構成與光影變化的捕捉後，方能彌補中國繪畫造型薄弱的問題。單以其所為人所稱道的畫馬而論，所累積的速寫草稿不下千幅，故無論或立或馳，其筆下駿馬總是栩栩如生、活靈活現。然而，若就此將其名與畫馬一事劃下等號，以此來品評或論斷徐悲鴻的藝術成就，明顯有所不足。事實上，徐悲鴻最讓人們玩味再三的作品，或正是一如此處所見的《古柏老叟》。該作繪於1944年，畫面中可見久經風霜、高聳連天的兩株古柏樹幹極為粗壯，其上紋路糾結纏繞，枝葉生發茂盛，雙雙展現出頑強的生命力，恰與正中一抹淡染的亙古遠山形成呼應，彷彿一同看盡了人世滄桑。一名滿拾柴薪的白髮老叟於左邊古柏旁稍事歇息，或也有幾分自況意味，尤具點睛之效。全作多以濕墨塗染只在枝幹略加勾勒，以突出古柏之雄奇高致，故水氣氤氳、形色自異。可以說，在講究寫實的精絕畫藝表現下，傳統中國文人所追求的筆墨韻味依舊絲毫不減、極其自然地從此作流瀉而出，深值識者細賞再三。

參閱：徐悲鴻《馬》 1940 水墨設色立軸現藏於台北國立故宮博物院

Ravenel 62

參閱：徐悲鴻《沉吟》 1936 水墨設色錄自於《徐悲鴻繪畫全集 III》，藝術家出版社，台北，2013 年版，頁 214

In the past decade of traditional Chinese art development, Xu Beihong (1895-1953) was undoubtedly one of the most important art educator and artist, who excelled in multiple genres from portraits, flower and bird and animal paintings. The artist carefully combined the skills from Chinese and Western paintings, ink and oil paintings, giving character to his works. In terms of aesthetic values, he was a prominent art advocate who built milestones in Chinese modern art development. Xu Beihong learnt poems and paintings from his father then later pursued his studies in Japan and France at the Ă&#x2030;cole Nationale SupĂŠrieure des Beaux-arts de Paris. Art development was at its peak during this period of his stay. After returning to China in 1927, he took up major roles in art institutions and universities including the Peking University, the National Central University and the Beiping Art School, bringing Western art values to Chinese art teaching. He revolutionized traditional aesthetic values of Chinese paintings, and advocated the belief of incorporating Western values into Chinese art, which could be easily observed in his paintings. Xu believed that way of depiction in traditional Chinese paintings was the weakest element, thus he emphasized the importance of observation and live drawings, to capture light and shadow through lines and colours. Numerous of sketches of his typical horse paintings reflected his persistence in observation and live drawings, allowing his horse paintings to spring to life in their multifarious forms. However, one cannot limit his prodigy to his horse paintings.

Old Man under Cypress Trees was painted in 1944. The old cypress are thick and aged, soaring into the sky. Despite of its age, the trees are green with vivid colours, reflecting its liveliness, as if they have witnessed history. An elderly man is picking woods near the cypress trees. The trees were depicted with thick ink and rough lines, highlighting the loftiness and thick humidity of the forest. Xuâ&#x20AC;&#x2122;s skills reflect a traditional aesthetic values of Chinese traditional paintings and Western art depiction, enriching the value of this work.

623 LI CHI-MAO

李奇茂

(Taiwanese, b.1925)

百鹿圖

A Painting of Hundred Deers Ink and colour on paper 70 x 400 cm Signed LI CHI-MAO in Chinese With two seals of the artist PROVENANCE: Acquired directly from the artist by the present owner

NT$ 380,000 – 550,000 HK$ 102,000 – 148,000 US$ 13,100 – 18,900 RMB 82,000 – 119,000

Ravenel 64

設色紙本 70 x 400 cm 款識：台北居士，李奇茂。鈐印：李奇茂（朱）、采風堂（朱）來源：藏家直接得自藝術家

細節圖 Details

624 CHAO SHAO-AN (Chinese, 1905-1998)

Flower and Bird Ink and colour on paper, framed 80 x 32.5 cm Signed SHAO-AN in Chinese With two seals of the artist

NT$ 360,000 – 550,000 HK$ 97,000 – 148,000 US$ 12,400 – 18,900 RMB 78,000 – 119,000 趙少昂花鳥圖設色紙本鏡框 80 x 32.5 cm 款識：化松先生方家教正，辛未冬初，少昂。鈐印：少昂畫記 ( 白 )、家住松柏沙園坊 ( 朱 )

Ravenel 66

625 WU HSUEH-JANG (WU Xue-rang, Taiwanese, 1923-2013)

Origin 1984 Ink and colour on paper, framed 135 x 34 cm Signed TUI-BO in Chinese With one seal of the artist ILLUSTRATED: A Memorial Exhibition of Wu Xue-Rang Paintings and Calligraphy , National Museum of History, Taipei, 2015, p.107 Linearity.symbols.eastern Geometry: Wu Hsueh-Jang art exhibition, National Taiwan Museum of Fine Arts, Taichung, 2017, p.126 EXHIBITED: A Memorial Exhibition of Wu Xue-rang Paintings and Calligraphy, National Museum of History, Taipei, Taiwan, May 8-June 14, 2015 Linearity.symbols.eastern geometry: Wu Hsueh-Jang art exhibition, National Taiwan Museum of Fine Arts, Taichung, Taiwan, February 18-May 7, 2017

NT$ 320,000 – 480,000 HK$ 86,000 – 129,000 US$ 11,000 – 16,500 RMB 69,000 – 104,000 吳學讓源 1984 設色紙本鏡框 135 x 34 cm 款識：源，一九八四年，退伯。鈐印：吳（朱）著錄：《真水無香─吳學讓書畫紀念展》，國立歷史博物館，台北，2015，彩色圖版，頁 107 《線性 • 符號 • 東方幾何—吳學讓藝術特展》，國立台灣美術館，台中，2017，彩色圖版，頁 126 展覽：「真水無香─吳學讓書畫紀念展」，國立歷史博物館，台北，展期 2015 年 5 月 8 日至 6 月 14 日「線性 • 符號 • 東方幾何—吳學讓藝術特展」，國立台灣美術館，台中，展期 2017 年 2 月 18 日至 5 月 7 日

626 ZHANG GUANGBIN (Taiwanese, 1915-2016)

Autumn Landscape 1993 Ink and colour on paper, scroll 232 x 53 cm Signed ZHANG GUANGBIN in Chinese With three seals of the artist

NT$ 320,000 – 480,000 HK$ 86,000 – 129,000 US$ 11,000 – 16,500 RMB 69,000 – 104,000

張光賓漫山紅樹夢登臨 1993 設色紙本立軸 232 x 53 cm 款識：漫山紅樹夢登臨。民國第二癸酉秋月，於麗山康憶家山秋景，信筆塗抹，聊寄思鄉情懷。張光賓並記。鈐印：張（朱）、光賓（白）、隨心所欲（朱）

細節圖 Details

Ravenel 68

627 TAI JINGNONG

(Taiwanese, 1902-1990);

CHANG GU-NIEN (Taiwanese, 1905-1987)

Poem and Narcissus by the Rock 1959 Ink on paper, framed 21 x 32 cm; 69 x 31 cm Signed CHANG GU-NIEN in Chinese With four seals of the artists

NT$ 70,000 – 140,000 HK$ 19,000 – 38,000 US$ 2,400 – 4,800 RMB 15,000 – 30,000 臺靜農; 張榖年倚石水仙圖 1959 水墨紙本鏡框 21 x 32 cm; 69 x 31 cm 款識：玉面嬋娟小，檀心馥郁多。盈盈仙骨在，端欲去凌波。白陽山人詩。己亥三月，張穀年。鈐印：張穀年印（白）、四香庵（朱）、歇腳盦（白）、靜農（朱）

Ravenel 70

628 JU MING (Taiwanese, b.1938)

朱銘

Rooster

公雞

1986 Ink and colour on paper, framed 34 x 44 cm Signed JU MING in Chinese With one seal of the artist

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

1986 設色紙本鏡框 34 x 44 cm 款識：朱銘 86 鈐印：朱銘（白）

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RAVENEL SPRING AUCTION 2018 Refined Brushwork: Fine Chinese Paintings Saturday, June 2, 2018, 3:30 pm TC1801 Taipei Marriott Hotel Grand Space, 3rd Floor, No. 199, Lequn 2nd Rd., Zhongshan Dist., Taipei

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業務規則下述規則，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 Invaluable 進行網上競投若準買家未能出席拍賣會，或可透過Invaluable網上競投服務於網上競投屬意拍品，而承擔買家獨立責任。此項服務乃免費及保密。有關透過 Invaluable 網上競投服務登記，進行網上競投之詳情，請參閱本公司網頁 ravenel.com。使用Invaluable網上競投服務之準買家須接受透過Invaluable網上競投服務進行即時網上競投之附加條款（可參閱網站），以及適用於該拍賣之業務規則所規範，本公司得隨時修改該業務規則。 i. 匯率轉換顯示板拍賣會中，本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參考，不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外匯，其準確程度均可能會出現非本公司所能控制之誤差。買家因依賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之任何損失，本公司概不負責。

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 Bids via Invaluable If the bidder cannot attend the auction, it may be possible to bid online via Invaluable for preferred Lots to bear individual buyer's responsibilities. This service is free and confidential. For information about registering to bid via Invaluable, please refer to Ravenel.com. The Bidders using the Invaluable online bidding service are subject to the additional terms and conditions for online bidding via Invaluable, which can be viewed at Ravenel.com and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating in auctions. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board.

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 fine 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 security 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 sellerâ&#x20AC;&#x2122;s Transaction Agreement. http://ravenel.com http://ravenelart.com.cn

ARTIST INDEX

Lot 604

Lot 627

Lot 607

AU Ho-nien (Taiwanese, 1935)

CHANG Gu-Nien (Taiwanese, 1905 - 1987)

CHANG Yun-Ming (Taiwanese, 1949)

Born in Guangdong province, AU Ho-nien took apprenticeship with ink master Chao Shaoan, and his works have strong influence from the Lingnan School of Art. He promotes creativity from the basis of traditional Chinese paintings. Thus, his works obtained the essence of traditional Chinese painting with a hint of style from Japanese art. Au's works have been welcomed within and beyond Taiwan, and have participated in various cities around the world. Au also devotes his life in art education and is currently a professor in the Chinese Culture University in Taiwan.

Born in Jiangsu, CHANG Gu Nien was an apprentice of Feng Chaoran and Wang Tongyu in Paintings and Poems. Chang excelled in landscape paintings and calligraphy. He practiced calligraphy by copying old masters from Ming and Qing dynasty. His skills were praised widely early at the age of 16. Chang has rich contribution in the art field. He taught in universities and established the Seven Friends' Art Group with his fellow artists.

Born in Taiwan, CHANG Yun-ming has graduated from the National Taiwan University of Arts and earned a Master degree at the Lindenwood U n i v e r s i t y i n t h e U S . C h a n g ’s w o r k s re f l e c t flashbacks of his daily life and his inner feelings, expressed through lines and depiction in both Chinese and Western techniques. His unique creative style allowed his works to be included in permanent collection of national institutions, such as the National Taiwan

歐豪年（台灣，1935）

張榖年（台灣，1905 - 1987）

張韻明 ( 台灣，1949）

生於廣東省茂名縣，師承趙少昂，其畫作呈現濃厚

生於江蘇武進，張榖年隨馮超然習畫與王同愈習詩

張韻明生於台灣。畢業於台灣藝術大學，並於2000

的嶺南派畫風，並堅持嶺南派的信念，強調從傳統

文，擅長畫山水與書法，早年臨摹清代四王和明代

年美國密蘇里達州Lindenwood取得碩士學位。張氏

創新。其畫作不僅得到明顯的中國繪畫精髓，更加

沈、文、唐、仇，十六歲的畫作已經廣受推崇。張

把他的生活中的所見所聞與內在精神表現於他的作

入日本繪畫的技法，令畫作主題更生動精巧。歐氏

氏在藝術領域貢獻甚廣，曾任教於政戰學校美術系

品裡，以紋理和線條之間的互相應用，融合中西藝

的畫作在台灣與國際市場備受推崇，並曾參與歐

和文化大學研究所，並跟幾個藝術家共組「七友畫

術特徵，令作品富獨特的個人風格，因此廣受國家

美、東南亞與亞洲各地展覽。歐氏在藝術的傳承也

會」。

級美術館的收藏，包括台灣國立美術館。他的作品

貢獻不少，任教於中國文化大學，並曾推廣不少有

也多次海外展覽，包括巴黎、巴塞隆納、莫斯科、

潛力的藝術家。

新加坡、吉隆坡等。他的創作成就備受學術界的肯定，並於1995年榮獲台灣藝術大學傑出校友。

藝術家簡歷

Lot 624

Lot 608

Lot 619

CHAO Shao-An (Chinese, 1905 - 1998)

CHEN Ting-shih/CHEN Ting-shi (Taiwanese, 1916 - 2002)

HUANG Chun-Pi/Junbi (Taiwanese, 1898 - 1991)

Born in Fujian, China. Chen lost his hearing at an early age but possessed sharp his artistic abilities. On the contrary, he managed to focus on his art and has come to be known, fittingly, as a "complete artist". Chen left for Taiwan in 1948 and has participated in various artistic circles such as Fifth Moon, the Modern Graphic Art Association and the Modern Eyes Group. He often exhibited as part of the Salon de Mai, on top of regular solo shows. Chen's lithographs, iron sculptures, calligraphy and acrylic paintings are influenced by the Chinese literati's school of thought and have left a lasting impression on 20th-century Chinese modern art. His works found in major museums such as the Rockefeller Foundation, the Cincinnati Museum, and the National Taiwan Museum of Fine Arts.

Born in Guangdong, HUANG Chun-Pi was a reputable painter named “the Three Overseas Master Painters” along with CHANG Da-chien and PU Hsin-yu. Devoted to painting at a very young age, Huang learnt painting from ancient relics. He believed that Chinese paintings should follow the traditional way and rejected Lingnan art style, thus dedicated most of his times to studying old masterpieces. At the age of 26, Huang held his first solo exhibition. At the age of 40, he devoted his lifetime as an artist, a professor, a scholar and an art collector.

趙少昂 ( 中國，1905-1998）

陳庭詩（台灣，1916 - 2002）

黃君璧（台灣，1898 - 1991）

生於廣東番禺，本名垣，字叔儀，師承嶺南派高奇

1916年生於福建，1948年來台。年幼失聰，不但

原名允瑄，晚號君翁，廣東南海縣人，當代國畫大

峰，推動嶺南畫派革新中國畫的主張，融匯古今，

未減少他對藝術之靈敏度，反而使其更專注於藝術

師。與張大千、溥心畬以「渡海三家」齊名。自幼

吸取日本畫與西洋畫的精髓。趙氏擅長畫山水、花

創作，為多才多藝的創作者。三十餘歲活躍於多個

受家庭熏陶喜愛書畫，年輕時大量臨摹古人遺跡。

鳥、人物、游魚、走獸，除了描繪物件的神態，更

美術團體，諸如五月畫會、現代版畫會及現代眼畫

其畫風兼取南北二宗，尤喜石溪等「四僧」。早年

強調書法用筆上的表現。趙氏的畫作廣受推崇，展

會等。陳庭詩曾多次參與歐美亞等地海外聯展，並

廣東畫壇「二高一陳」創立新的繪畫技法曾轟動一

出地方遍布世界各地，為把中國畫推廣到西方。趙

定期參與五月畫會展覽以及多項個人展覽。作品

時，但身處嶺南的黃君璧不為所動，堅持傳統，堅

氏更致力與中國畫的教育與宣傳，曾任教於廣州大

《蟄》曾獲1970年之韓國國際版畫雙年展「東亞

持尚古摹古。君璧先生26歲即舉辦個人畫展，40歲

學美術科，後在香港設立嶺南藝苑。

日報大獎」。陳庭詩的版畫，鐵雕，書法及壓克力

被聘為全國美展審查委員，50歲移居台灣。在台期

畫皆具備中國文人思想，為台灣現代藝術的發展具

間，除筆耕不輟外，長期擔任台灣師範大學藝術系

有相當的影響力。陳庭詩之版畫作品廣受海內外美

主任、教授，其白雲堂門下弟子遍及海內外，桃李

術館及私人團體所購藏，包括洛克菲勒基金會、辛

滿天下，同時長期擔任宋美齡的國畫老師。黃君璧

辛那提美術館、國立台灣美術館等，以及私人機構

先生一生是集美術家、教育家、鑒定家、收藏家之

如香港大通銀行、台北花旗銀行和IBM電腦公司等

大成者。

Born in Guangdong Panyu, CHAO Shao-an was a famous artist who followed the apprenticeship with Gao Qifeng, the primary advocator of Lingnan School of Art. Chao promoted the belief of the School and incorporated the essence of Japanese and Western paintings into traditional Chinese paintings. Chao was a gifted artist who excelled in all categories including landscape, flower and bird, portrait, fish and animal. Chao emphasized the use of brushwork instead of a depiction of objects. As an art educator, he devoted his lifetime in art education and established an institute for the Lingnan School of Art.

等。

ARTIST INDEX

Lot 603

Lot 628

Lot 623

JI Kang (Taiwanese, 1911 - 2007)

JU Ming (Taiwanese, 1938)

LI Qimao (Chinese, 1925)

Born in Shanghai, JI Kang was raised in a literati family and moved to Taiwan in 1947. Since an early age, Ji learnt from ancient paintings and excelled in three dominant genres: lady, horse and flower and bird. Artist comrades in Shanghai included PU Hsin-yu, CHANG Da-chien, LANG Jingshan. After his arrival in Taiwan, he took dominant roles in art education, such as Professor of Art at the Chinese Culture University, Committee members in the Department of Education of Art etc. His works were kept as permanent collection of major museums including the National Palace Museum in Taiwan.

J u M i n g w a s b o r n i n M i a o l i , Ta i w a n . H e developed his unique artistic style through various apprenticeships with mentors including master sculptor Yuyu Yang (1926-1997), who advised Ju to take up Taichi. Studying this martial art subsequently inspired Ju’s distinctive Taichi series. Ju’s other sculptural series include the ‘Nativist’ and ‘Living World’ series. Following his 1976 exhibition at the Natural Museum of History in Taipei, Ju received a number of accolades including one of ten prestigious Outstanding Young Persons from Taiwan awards and an Arts Award from the Chinese Cultural and Arts Association. The Juming Museum, where much of his work is housed, was established in Chin-shan, Taipei County in 1999, under Ju’s direction. He continues to work in Taiwan and became the second Taiwanese artist to receive the Fukuoka Art and Culture Award in 2007.

Born in Anhui Province, LI Qimao practised calligraphy with his father and followed mentor LU Huashi in genres including flower and bird, landscape and animals, portraits and Buddhist paintings. Li was active in revolutionary paintings for his political party. Li devote his lifetime in art creating and education, focusing on Eastern and Western techniques, to promote Taiwan ink development in a new level.

季康（台灣，1911 - 2007）

朱銘（台灣，1938）

李奇茂（台灣，1925）

季康，字寧复，別署福壽康寧之齊，浙江慈溪人。

朱銘出生於台灣苗栗。1953-1957年從李金川學習

生於安徽省李家莊，隨父學習書法，並師從陸化

季氏生於此書香門第之家，原居上海，後遷台北。

木刻，1968-1976年拜師楊英風（1926-1997）學習

石，學習花鳥、山水、動物、人物和佛的繪畫。

從小臨摹畫譜，精善工筆仕女、鞍馬與花鳥，被後

現代雕塑，以純樸的天性、卓越的才華，將過去賴

1949年隨國民黨來台，曾攻讀藝術，並在早年為政

世稱為「季康三絕」。在上海時，與溥儒、張大

以維生的木雕工藝，逐次提升為富有生命意味的藝

黨創作具戰鬥文藝特色的作品。來台後，主要以台

千、郎靜山等畫家是好友；來台後曾任台灣文化學

術創作。其作品廣泛而深切地感動了國人，已漸受

灣民間生活為主題，創作台灣新水墨畫。李氏一生

院﹙今文化大學前身﹚美術系教授、受聘為教育部

西方社會矚目。曾獲選十大傑出青年，獲頒國家文

貢獻於藝術創作與教育，積極探討東方與西方的繪

美育委員、中國畫學會理事長及台北市寧波同鄉會

藝獎章。著名的作品有「鄉土」系列、「太極」雕

畫原理，推動台灣水墨發展。

美術委員會主任等。平生繪畫作品多次出現在拍賣

刻、「人間」雕刻等。1997年12月在他巴黎梵登廣

場，並被各大博物館收藏，包括台北故宮博物院。

場盛大展出其著名的太極系列，1999年台北金山成立了朱銘美術館，收藏他大量作品。朱銘現時持續於台灣工作，並在2007年成為第二個榮獲福岡亞洲文華的台灣藝術家。

藝術家簡歷

Lot 605

Lot 621

Lot 601 Lot 602

LIAO Horng-Shing (Taiwanese, 1964)

LIN Zexu (Chinese, 1785 - 1850)

LUO Fu (Taiwanese, 1928 - 2018)

Born in Shengane, Taichung. At an early age he was influenced by his literati grandfather LU Chung-tu and cultivated a liking for literature and art. When he was a student in Chinese Culture University, he was taught by various famous artists including AU Ho-nien, CHIANG Chao-shen, WU Hsueh-jang and WONG Lui-sang and therefore had a firm groundwork experience while being able to capture the modern atmosphere. In addition to color mixtures, he sometimes used contrasting colors or primary colors. He used to won the AU Ho-nien special prize and the first prize of the Chinese Culture University art exhibition, Hwuagang Art Exhibition, Artistic Creation Award of the Department of Education, Asia Art Exhibition in Japan, Olympics Memorial Art exhibition and so on. He has already held nine personal art exhibitions after graduating from graduate school. Meanwhile he also had personal art collection published.

LIN Zexu was a respected figure in Chinese history. He was a political figure in Mid-/Late-Qing dynasty, an advocate, a calligrapher and a poet. Born in Fujian province, Lin was a viceroy of Huguang, Shangan and Yungui and was renowned for his campaign to suppress opium consumption.

Born in Hunan province, LUO fu was a well respected Chinese poet. Throughout his lifetime, Luo was devoted to foreign language studies and translation. He also actively took up important roles in teaching foreign language in various institutions including Soochow University in Taiwan and Beijing Normal Universities. His poems received high recognition and he was ranked first among Taiwan's Top 10 poets in 2001, and earned a Lifelong Honorary Recognition medal from the Chinese Writer's & Artist's Association.

廖鴻興（台灣，1964）

林則徐（中國，1785 - 1850）

洛夫（台灣，1928 - 2018）

台中縣神岡鄉人，童年時受其外祖父盧春土之文人

福建省福清縣（今福州市）人，字元撫，又字少

生於湖南省衡陽，原名莫運端，後改莫洛夫，筆名

風範影響，喜好詩文書畫，文化大學美術系就讀

穆、石麟，晚號竢村老人、竢村退叟、七十二峰退

洛夫、野叟，是一位廣受敬重的臺灣現代詩詩人。

時，受教於歐豪年、江兆申、吳學讓、黃磊生等名

叟、瓶泉居士、櫟社散人，為清朝中晚期政治家、

洛夫修讀外文系，終身致力於研究文字翻譯，曾任

師。廖鴻興的傳統功力深厚，又能捕捉現代感，用

思想家、書法家和詩人。歷任湖廣總督、陝甘總督

東吳大學的教授，於北京師範大學、中國華僑大

色重視「感動」，除調和色外也偶用原色或對比

和雲貴總督，因為主張嚴禁鴉片而留名青史。

學、廣西民族大學、山西中北大學等擔任大學客座

色，他認為繪畫是一個再現的精神空間。曾獲文化

教授。他的詩詞獲獎無數，2001年被評選為台灣當

大學系歐豪年特別獎、系展第一名、華岡美展第一

代十大詩人之一，名列首位，更在2003年獲中國文

名、教育部文藝創作獎國畫第一名、日本亞細亞美

藝協會贈終生榮譽成就獎章，成就得到華人社會的

展大會賞、奧運紀念美展特別賞等多項獎項，碩士

認同與肯定。

班畢業後即舉辦個展計九次，亦出版個人作品集。

ARTIST INDEX

Lot 620

Lot 613

Lot 627

RAN In-ting (Taiwanese, 1903 - 1979)

SUN Yunsheng (Chinese, 1918 - 2000)

TAI Jing-nong (Taiwanese, 1902 - 1990)

Born in Yilan, Taiwan. Ran studied watercolor painting from his mentor, Ishikawa Kinichiro. Then he went to Japan and had been invited to many exhibitions in Tokyo and Taiwan. In 1929, he was named honorary member of the British Royal Watercolor Association and was invited as a guest lecturer in Europe, North America and Asia. He then became the editor of Taiwan Pictorial Magazine and Good Harvest Magazine. Ran was selected as one of the top ten watercolor artist in the world by the critics in 1971. He served as president of China Television System in 1973 and passed away in 1979. Ran specialized in portraying the local people's life and combining the technique of Chinese Calligraphy and watercolor together to achieve his unique expression of pictorial space.

Born in Hebei Ninghe, Sun Yunsheng was regarded as the most distinguished apprentice of CHANG Da-chien. Since 1936, he followed Chang and had the most comprehensive training in terms of landscape, characters, flowers and birds paintings. Since the age of 9, Sun practiced art with his uncle, learning ancient calligraphy of WANG Xizhi, OUYANG Xiu, SU Shi, etc., later became apprentice of WANG Xuetao, QIN Zhonglin and WU Peiheng.

Born in Anhui Province, TAI Jing-nong devoted his lifetime in writings and calligraphy. Tai received recognition from great literati Lu Xun and devoted his life in research and education in this area. He was praised by Chang Da-chien as the only person who could bring justice to Ni Yuanlu's calligraphy in Running Script calligraphy, and received high recognition in terms of achievement in literature and calligraphy.

藍蔭鼎（台灣，1903 - 1979）

孫雲生（中國，1918 - 2000）

臺靜農（台灣，1902 - 1990）

生於宜蘭，跟隨石川欽一郎習畫，並前往日本進修

河北寧河人，又名家瑞。自1936年拜張大千之大風

生於安徽霍邱縣，本姓澹臺，字伯簡，原名傳嚴，

水彩畫，作品多次入選日本帝展及台展。1929年

堂門下，長期伴隨張大千，終生不離，張大千視孫

後改名靜農。長年致力於寫作與書法，筆名青曲、

獲選為英國皇家水彩協會會員。經常應歐、美、亞

雲生為衣缽傳人。孫雲生的作品工整秀雅，山水、

聞超、孔嘉、釋耒等。臺氏終身貢獻給國文的教育

等國之邀請舉行畫展及講學，作品廣為國內外機構

人物、花鳥、蟲草，均無所不擅。家學淵源，九歲

與創作，年輕時受魯迅賞識，後投身於書畫研究與

所收藏。台灣光復後，創辦並擔任《台灣畫報》與

從叔父啟蒙習畫，修臨王羲之，歐陽修，蘇軾，歐

創作，其中來台後的行書師法明倪元璐，被張大千

《豐年月刊》社長。1971年榮獲歐、美國藝術評論

陽詢等名家書法，並從其母習誦近體詩。後師從王

推舉為「三百年來寫倪字的第一人」，成為著名的

徵選為世界十大水彩畫家之一。1973年出任華視董

雪濤、秦仲文及胡佩衡等人，著手勾勒古人名跡，

書法大家。

事長，於1979年逝世。藍氏一生創作不輟，水彩畫

並遍臨宋、元、明、清各大家。

多以台灣風俗民情為題材，畫風將水墨技法與西洋水彩畫融為一體，成就非凡，1991年台北故宮博物院舉辦其紀念展，1998歷史博物館也再次舉辦藍氏回顧展，並出版其繪畫世界之經典。

藝術家簡歷

Lot 606

Lot 609

Lot 625

CHEN Yung-Mo (Taiwanese, 1961)

WANG Ji-Qian/C. C. WANG (Chinese, 1906 - 2002)

WU Hsueh-Jang/Xue-rang (Taiwanese, 1923 - 2013)

Born in Taiwan and graduated from the Chinese Cultural University in Taiwan, CHEN Yung-Mo is a talented artist, well-trained in different areas of arts. Chen had training under Ren Bonian and Chen Hongshou in Gongbi and Wu Ping for calligraphy and Li You for writing poems. His literati upbringing enriched his artistic creation, allowing his work to be appreciated by collectors from around the world, including Taipei, Hong Kong and Singapore. Chen devote his life in art education and is currently a professor at the Tunghai University in Taiwan.

Wa n g J i q i a n w a s b o r n i n S u z h o u , C h i n a . A renowned art collector in New York, Wang was esteemed worldwide as an expert connoisseur and scholar of Chinese paintings and calligraphy art. Records of his interviews were translated into Chinese and published under the title, C.C Wang Reflects on Paintings. The National Palace Museum Taipei published the dialogues in a series of 16 articles in the National Palace Museum Journal from 1984 to 1985, which received tremendous feedbacks. Wang came from a family of artists and scholars and grew up with an extensive collection of arts. Beyond his family influence, Wang studied painting with renowned painters, GU Linshi, at an earlier age, and WU Hufan during his years as a law student at Soochow University, Shanghai. Wang devoted over 75 years of his life to studies and collection of Chinese paintings and calligraphy works and several decades ago he conferred part of his collection to the Metropolitan Museum of Art, New York.

As known as Tui-Bo, Wu Xue-rang graduated from National Academy of Art (now known as China Academy of Art), was a school fellow of SHIY De-jinn, and a student of LIN Fengmian, PAN Tiansou, and LI Keran who were the masters of Modern Chinese paintings. Wu was master at the traditional Chinese ink painting, however he began his own unique modern ink and water painting path under the influence of modern art stream from the Western during the 1960s, in which we see the artist acquired the lines from the Chinese calligraphy and developed his peculiar style. He tried to explore the relationship between the society, families, and the contemporaries through his works which somehow reveal a sense of naivety and romantic. After the 1990s, he dismissed Chinese bronze inscriptions into his paintings and created an atmosphere of contemporary art language. He taught in many universities such ad Chinese Culture University, Tunghai University and National Taipei University of Education (now known as University of Taipei), and held a numerous exhibitions both in Taiwan and the overseas, and he was also a jury to many art competitions.for publishing by the Zhonghua Book Company.

陳永模（台灣，1961）

王季遷（中國，1906 - 2002）

吳學讓（台灣，1923 - 2013）

生於台灣彰化縣，畢業於中國文化大學，曾隨多位

王季遷，蘇州人，別署己千。王氏為旅居紐約的

別號退伯，畢業於國立杭州藝專，為席德進同學。

大師習畫、學詩與書法。工筆方面師從任伯年、陳

知名收藏家，鑒賞家及學者于一身，在中國書畫

師承林風眠、潘天壽、黃賓虹以及李可染等前輩大

洪綬，篆刻師從吳平，又跟隨李猷作詩，以文人的

的研究、鑒賞及收藏上，備受海內外書畫界肯定

師，水墨功力扎實；1967年後受現代藝術潮流衝

身份創作藝術，以多種範疇另作品更加豐富。他的

與推崇。其訪談記錄後來由他人翻譯成中文《畫語

擊和中國書畫運動影響遂開始了現代水墨創作，汲

畫作曾於多處展出，包括台北、香港、新加坡、日

錄》，於1984年至1985年分16篇連載於臺北故宮博

取書法線條元素發展出富涵童趣以及天真浪漫的水

本、中國、馬來西亞。陳氏任教於東海大學，致力

物院《故宮文物月刊》，頗受好評。

墨風格，其作品探討當代人與社會、家庭的各種人

貢獻於藝術教育。

王季遷家族中亦常有能書擅畫的雅士，往來的也都

際關係。1990年代後則以鐘鼎紋飾、銘文融入畫

是書香門第，其家族收藏十分可觀。除了家族中的

作，作品愈趨當代氛圍。曾任文化大學、東海大學

耳濡目染，王季遷早期曾隨名畫家顧麟士習畫，赴

美術系、北市立師範學院，並設「吳學讓教授獎學

上海就讀東吳大學法律系時又拜名家吳湖帆為師。

金」；曾任美術獎項評審，於海內外舉辦過多場展

王季遷投注書畫的研究與收藏已逾七十五年，並於

覽。

數十年前出讓一批藏品予紐約大都會博物館。個人著作有《王己千書畫》、《王己千山水畫冊》及《胸中丘壑》，而合編則有《明清畫家印鑑》。

ARTIST INDEX

Lot 622

Lot 614/Lot 615/Lot 616/Lot 617/Lot 618

Lot 610/Lot 611/Lot 612

XU Beihong (Chinese, 1895 - 1953)

YU Cheng-yao (Taiwanese, 1898 - 1993)

YU Chung-lin/Zhonglin (Chinese, 1925 - 1985)

Born in Jiangsu, XU Beihong was a respected modern Chinese painter and a prominent art educator in China. Xu was trained by his father in poems, calligraphy and paintings, and studied overseas in Japan and France. Xu excelled in Western oil paintings, Chinese ink paintings and live drawings. Xu promoted a combination of both Western and Chinese techniques in art, with dominant genres including horse, flower and bird, landscape and animals, focusing on capturing their vibrant moves. Xu took up major roles in art education and had important contributions to art development.

Born in 1898 in Yongchun, Fujian, Yu went to Waseda University in japan to study economics in 1920. The following year, he transferred to the Japanese Army Officers' Academy. In 1923, he returned to China to teach at the Whampoa Military Academy. In 1946, he retired from military service at the rank of lieutenant-general. In 1949, he came to Taiwan. In 1977, he held his first overseas solo exhibition at New York Chinese Cultural Center. In 1986, at the advanced age of eighty-eight, he held his first solo exhibition at the Hsiung-shih Gallery in Taiwan. In 1987, his held a solo exhibition at Hong Kong City Hall. In 1988, the National Museum of History held a retrospective exhibition of his works; in the same year, Hanart Gallery Taipei also held his exhibition “Recent works by YU Chengyao”. YU Cheng-yao only started painting at the age of fifty-six. Because in his early years he had been in the military and traveled extensively, his style of painting was more of a recapitulation from memory. He was a successful self-taught painter, calligrapher and poet.

Born in Shandong, Yu Chung-Lin was a reputable Master of Flowers and Birds. The admiration for paintings was influenced by his family. As an apprentice of JIN Qinbo, Yu learnt Song’s Gongbi Style and continued refining his skills by studying Japanese Flowers and Birds paintings. Yu yearned for perfection and studied every object in every detail, so that objects can be painted in minutest detail and with extraordinary care. His persistent in this refinement made his works one of the best paintings in Gongbi style.

徐悲鴻（中國，1895 - 1953）

余承堯（台灣，1898 - 1993）

喻仲林（台灣，1925 - 1985）

原名徐壽康，江蘇宜興屺亭鎮人，為中國現代畫

1898年生於福建永春，1920年赴日早稻田大學攻讀

本名性根，原籍山東，是近代知名的花鳥大師。家族

家、美術教育家，為中國現代藝術立下重要的奠

經濟，次年轉入日本陸軍士官學校。1923年返回任

嗜書畫，自幼深受藝術薰陶，勤學書畫，師承金勤

基。徐氏隨父習詩書畫，曾留學日本、法國。徐氏

教於黃埔軍校。1946年以中將官階退伍。1949年

伯，學得傳統工筆的技巧。喻氏習畫期間，積極吸收

曾習油畫、國畫，更精於素描，曾遊歷西歐研究西

來台。1977年紐約中華文化中心在海外第一次個人

日本花鳥畫的優點，並常提倡「知天知地，知時知

方美術，畫作融合中西技法。主要創作題材為馬、

畫展。1986年以八十八歲高齡於台北雄獅畫廊舉辦

物」，透過仔細觀察，把花葉鳥禽上的每一個細節了

花鳥、風景、走獸，均注重動物的神髓與動態。徐

在台灣的首次個展。1987年香港大會堂舉辦個人畫

解清楚才能畫出精髓。1949年渡海來台，並於1956年

氏在藝術教育上貢獻甚深，曾任北京大學藝術學院

展。1988年台北歷史博物館舉辦回顧展，同年台北

與孫家勤、胡念祖組成「麗水精舍」。喻氏的作品廣

院長、國立中央大學教授、國立北平藝術專科學校

漢雅軒舉辦「余承堯近作畫展」。由於早年從軍，

受國內外的歡迎，在台灣、美國和韓國辦過展覽，以

校長與中央美術學院院長。

走過千山萬水，五十六歲才開始作畫，他的繪畫風

精緻的工筆畫和墨彩，表現其獨特的風格。

貌即為記憶的再現，一位自修成功的畫家、書法家和詩人。

藝術家簡歷

Lot 626

ZHANG Guangbin (Taiwanese, 1915 - 2016) ZHANG Guangbin was born in 1915 in Sichuan. He spent his childhood emerged in the beautiful landscape of Sichuan and the impressive experience became the fountain of his creativity in art. Zhang learnt from masters such as FU Baoshi, LI Keran, HUANG Chun-Pi, PAN Tianshou, FENG Zikai and KAO Hungchin. Zhang’s research covers clerical script and tablet inscriptions of the Northern Wei Dynasty. Furthermore, his cursive script captures the spirit of Bada Shanren. After coming to Taiwan at the age of 53 years old, Zhang worked in Department of Painting and Calligraphy at the National Palace Museum and was responsible for the discipline of calligraphy education. The artist issued dozens of vital essays related to Chinese art history during that time. Moreover, Zhang got The 29th National Culture Award of R.O.C. (Taiwan) in 2010 which testifies to his important role as a contemporary painting and calligraphy artist. Zhang held exhibitions in Taipei Fine Art Museum, National Taiwan Museum, and National Museum of History. His paintings were also collected by many magnificent art institutions such as National Museum of History, China Academy of Art and Kaohsiung Museum of Fine Arts.

張光賓 ( 台灣，1915 - 2016）張光賓，1915年生於四川，幼年成長於巴山蜀水之間，山居歲月的深刻印象成為張光賓日後山水創作裡的重要沃土。張氏早期從傅抱石、李可染、黃君璧、潘天壽、豐子愷、高鴻縉等諸名家學習。張光賓並涉獵隸書、魏碑研究；才華洋溢不僅於此，更在草書創作上，又兼囊八大山人神韻。張氏53歲來到台灣之後，進入「故宮博物院書畫處」任職，並兼任書法教學，期間發表過數十篇有關中國藝術史重要論文。2010年獲第29屆行政院文化獎殊榮，為台灣當代重要書畫家。展覽遍及臺北市立美術館、省立博物館 (今國立台灣博物館)、國立歷史博物館等。作品蒙多家重要美術機構館藏，例如國立歷史博物館、中國美術學院、高雄市立美術館。精選展覽：1990年「臺灣美術三百年作品展」，臺灣省立美術館，台中，台灣；2004年「筆花墨雨 ─ 張光賓教授九十回顧展」，國立歷史博物館，台北，台灣；2010年「向晚逸興書畫情 ─ 張光賓教授九十歲後書畫展」，國父紀念館，台北，台灣。

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