CONNOISSEURSHIP: THE LITERATI SALE
|
2
IMPORTANT NOTICE TO BUYERS
The auction will strictly abide by the Transaction Agreement set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1.
Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a bidding deposit are required.
2.
Bidding deposit in the amount of NT$ 600,000 or US$ 20,000.
3.
The bidding deposit must be transferred to Ravenel's specified Bank account prior to 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.
4.
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).
5.
Telephone/written/internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 30th May 2018.
6.
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.
7.
If the payment of the bidding deposit is made on the day of the auction, the payer may obtain his/her/its paddle number with valid personal identification (i.e. Identification Card, passport, etc.) for purposes of verification.
8.
Return of the Security Deposit: (1) Completed Transaction: (a) For successful bidder with a bidding deposit made through wire transfer, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer. (b) For successful bidders with bidding deposit made by Cash, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund. (c) If the Buyer, without any good cause, fails to pay any and all payment (including but without limitation, hammer price, buyer's Premium, and other expenses) of the Lot to the Company within 7 days after the auction date, the Buyer shall not claim for the return of the bidding deposit. (2) Nil Transaction: If the bidder is not able to purchase any lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. For individuals with a bidding deposit transferred by wire, the bidding deposit will be returned within 14 business days through means of a wire transfer. Cash bidding deposit will be returned to individuals on the same day after the auction.
9.
Successful bidder must settle the payment (hammer price 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.
|
4
給予買家的重要通知
本拍賣會依據「羅芙奧股份有限公司業務規則」舉行，請在參加拍賣會之前仔細閱讀，充分理解以下規則： 1.
有意參與競投的買家需事前辦理登記申請手續：請出示有效證件 ( 如：身份證明、護照…) 並填寫登記文件以及繳納競投保證金。
2.
競投保證金 : 新台幣陸拾萬元或貳萬美金。
3.
競投保證金需於 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。
4.
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。
5.
電話／書面／網路競投 : 競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請手續以及競投保證金之繳納亦需在 2018 年 5 月 30 日以前完成匯款至本公司指定帳號。
6.
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。
7.
拍賣當天已繳納競投保證金之競投者欲領取所登記的牌號時，請出示有效證件 ( 如：身份證明、護照…) 以確認身份。
8.
競投保證金退還方式 : (1) 有成交 : (a) 競投保證金以「匯款」方式完成者，扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額需退還，本公司 將於拍賣日後十四個工作天內以匯款方式退還給買家。 (b) 競投保證金以「現金」方式完成者 , 扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額需退還，本公司 將於拍賣當日以現金退還給買家。 (c) 若買家無正當理由未於成功拍賣日期後七天內支付全部應支付之款項（包含落槌價、服務費及其他費用）予本公司，買家不得請 求返還競投保證金。 (2) 未成交 : 若競投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證金。競投保證金以「匯款」方式完成者 , 本公司將於拍賣日 後十四個工作天內以匯款方式退還給買家。競投保證金以「現金」方式完成者，本公司將於拍賣當日以現金退還給買家。
9.
若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價與佣金 ) 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。
|
6
RAVENEL SPRING AUCTION 2018 Connoisseurship: The Literati Sale
羅芙奧 2018春季拍賣會 清賞—古今人文藝術專場
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
|
8
Manager, Client Development Department
Representative Beijing
業務代表 上海 Business Representative Shanghai
目次 / Contents 2
給予買家的重要通知
IMPORTANT NOTICE TO BUYERS 6
羅芙奧春季拍賣會
SALE INFORMATION 8
羅芙奧之服務
RAVENEL SERVICES 10
清賞—古今人文藝術專場
Connoisseurship: The Literati Sale 139
委託競投表格
ABSENTEE BID FORM 141
業務規則
TRANSACTION AGREEMENT 145
中國歷代年表
CHRONOLOGY
RAVENEL STAFF AND SERVICES FOR THIS SALE
SPECIALISTS
CATALOGUE SUBSCRIPTION
Director, Head of Department Vivi He
Taiwan
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
Hong Kong, International
Eric Siu Tel: +852 2889 0859 Email: ericsiu@ravenel.com
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
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
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
Taiwan Angela Chang Tel: +886 2 2708 9868 ext. 585 Email: angelachang@ravenel.com
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”.
Beijing
Please refer to the Transaction Agreement at the back of
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
|
COLLECTION AND SHIPPING
10
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
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
香港．國際
邵俊豪 電話：+852 2889 0859 電子信箱：ericsiu@ravenel.com
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
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。
|
12
CONNOISSEURSHIP: THE LITERATI SALE
清賞—古今人文藝術專場 Saturday, 2 June 2018 3:30 pm Taipei Marriott Hotel
Lots 629 – 757
629 YUNG CHEEMUN (Simon YUNG, Chinese, b.1968)
Luxuriant Vision 2017 Ink and colour on paper 141 x 35 cm (each) Signed YUNG CHEEMUN in Chinese With four seals of the artist PROVANVENCE: BLINK gallery, Hong Kong
NT$ 300,000 – 500,000 HK$ 81,000 – 135,000 US$ 10,300 – 17,200 RMB 65,000 – 108,000 容子敏 蔚然深秀 2017 設色 紙本 141 x 35 cm (each) 款識：容子敏畫。 鈐印：SY （朱）、容子敏（朱）、SIMON YUNG（朱）、十年樹木（白） 來源： 齊亮畫廊，香港
作品名為《蔚然深秀》，出自歐陽修的《醉翁亭記》， 選採了該詞所描述之環 滁皆山、林壑尤美、望之蔚然等優美字句來創造出山水意象， 並加以重彩潑色 作為畫面焦點重心，提升觀眾望之蔚然的視覺震撼，也表現了流水落下所產生煙 霞霧氣隨意飄散後景象之感觀奇想，而醉翁之意只在乎山水之間也。容子敏專注 水墨藝術創作，其作品訊息是要將社會世俗的煩囂轉移到靜謐的心靈，把無形的 精神境界以筆墨表現在有形的山水之中，追求詩人杜甫的「水流心不競，雲在意 具遲」這樣的人生哲理。山水意境一向是古代文人生命理念的維繫，是人性的寫 照，是心靈寄託的家園。容氏受中國近代水墨大師傅抱石之大筆淋漓所啟發，又 受西方畫家William Turner及Claude Monet之設色構圖影響，畫風糅合了中西技 法，既有豐富鮮明的色彩，又不失傳統水墨之淡然物外的氣魄 。 This painting is an extension of a series named Rocks Emerge when Spring Subsides. The concept of this painting is derived from ancient Chinese literature, The Story of Old Tippler's Pavilion by Ouyang Xiu. The Old Tippler enjoys with delight the view of mountains and streams. Landscape painter Yung Chee-Mun, Simon focuses solely on Chinese ink. The creative concept of landscape painting has always been to hold together the ancient scholars' philosophy about life with a portrayal of the artist's own personality. Through ink, the artist integrates the intangible spiritual realm and the tangible landscape, turning the hustle and bustle of real life into a world of serenity. The artist has pursued the philosophy of leisure and free spirit inspired by Du Fu's poetry. Simon was inspired by Chinese painter Master Fu Baoshi and influenced by Western painters William Turner and Claude Monet. His works combine Eastern and Western art materials and techniques to form a unique style without losing the essence of traditional Chinese ink paintings. Ravenel 14
6 30 A XING WHITE-GLAZED TRIPOD WASHER Tang Dynasty (618-907) H: 9 cm
NT$ 180,000 – 280,000 HK$ 49,000 – 75,000 US$ 6,200 – 9,600 RMB 39,000 – 61,000 唐 邢窯獸面三 足 洗
63 1 A LONGQUAN CELADON-GLAZED TRIPOD CENSER Yuan Dynasty (1279-1368) H: 4.5 cm
NT$ 100,000 – 200,000 HK$ 27,000 – 54,000 US$ 3,400 – 6,900 RMB 22,000 – 43,000 元 龍泉窯鼓釘 爐
Ravenel 16
6 32 A CIZHOU BLACK-GLAZED BOWL Song Dynasty (960-1279) D: 8 cm
NT$ 70,000 – 140,000 HK$ 19,000 – 38,000 US$ 2,400 – 4,800 RMB 15,000 – 30,000 宋 磁州窯茶盞
6 33 A DING WHITE GLAZED WATER POT WITH PROTRUDING ROPE PATTERNS Five Dynasties (907-960) H: 6.5 cm
NT$ 90,000 – 180,000 HK$ 24,000 – 49,000 US$ 3,100 – 6,200 RMB 20,000 – 39,000 五代 定窯繩紋 洗
6 34 POON KWINGWING (Water POON, Chinese, b.1944)
Mountain and White Clouds 2017 Ink and colour on paper 137 x 69 cm Signed WATER POON in Chinese With one seal of the artist PROVANVENCE: BLINK gallery, Hong Kong
NT$ 180,000 – 280,000 HK$ 49,000 – 75,000 US$ 6,200 – 9,600 RMB 39,000 – 61,000 潘炯榮（水禾 田 ） 長高山白雲飛舞在 2017 設色 紙本 137 x 69 cm 款識：長高山白雲飛舞在。丁酉。阿水。 鈐印：禾田（白） 來源： 齊亮畫廊，香港
淡淡墨染出山巒 輕輕的掃出大地 留下空白化為白雲 溫暖的太陽反映在湖泊上 大地是那麼純那麼淨 家就躲在山下 享受活着的人世間 ——水禾田
Ink lightly painted the mountain ranges, And lightly painted the land, Leaving out blank space as wandering clouds. Sunlight reflects on the lake, The land is pure and clean. Under the mountains, there lies our home, Where we live our merry lives. - Water Poon
Ravenel 18
6 35 PENG WEI (Chinese, b.1974) Shoes (A set of 2) Ink and colour on paper, Framed 34 x 34 cm (each) With one seal on each artwork
NT$ 80,000 – 160,000 HK$ 22,000 – 43,000 US$ 2,800 – 5,500 RMB 17,000 – 35,000 彭薇 鞋履 （一對） 設色 紙本 鏡框 34 x 34 cm (each) 鈐印：薇制（朱）
Ravenel 20
63 6 A HUANGHUALI BRUSHPOT Qing Dynasty (1644-1911) H: 16 cm
NT$ 100,000 – 200,000 HK$ 27,000 – 54,000 US$ 3,400 – 6,900 RMB 22,000 – 43,000 清 黃花梨筆筒
6 37 CHEUK KA-WAI
李白說：「夫天地者，萬物之逆旅也；光陰者，百代之過客也。而
(Cherie CHEUK, Hong Kong, b.1989)
浮生若夢，為歡幾何？」藝術家把《文苑圖》中的文人雅士抽離現
The Floating Dreams No.2
場，留下了讀過的書卷與未完成的詩詞。文人的身影姿態轉化成象 徵美好時光的燕子，重現於樹梢枝頭上。以喻李白之說，人，在時
2016 Ink and colour on silk 37 x 64 cm x 2 With two seals of the artist
光中就像過客。人物離開了古畫中的場景，渺然不見。可是故情幽
NT$ 100,000 – 200,000 HK$ 27,000 – 54,000 US$ 3,400 – 6,900 RMB 22,000 – 43,000
Li Bai said,“Heaven and Earth are a guest house of the myriad
思，歷經世代卻又似仍存。浮生，若夢，所思所念轉化回歸，在歷 史與時光中綿綿流轉。
things; time has been a passing traveller of a hundred generations. And floating life is like a dream; how often do we find true happiness?” Excluding the existence of the literati, the artist painted the open scroll and unfinished poem left in an old masterpiece Literary Garden. The swallows, which represent the good old time, sitting on the branch replacing the position of the literati, echoing
卓家慧 浮生若夢之二 2016 設色 絹本 37 x 64 cm x 2 鈐印：卓氏（朱）、浮生若夢（朱）
Ravenel 22
what Li Bai said in the poem. We, humans, are like travelers in the flow of time. Life is like the floating dreams. Our memories, spirits, affection, and other thing that is incorporeal, will keep flowing in the river of time and history.
6 38 A SET OF THREE TIANHUANG SEALS
此組田黃印章三枚一組，各有千秋。一枚印章以隨型石材原始造型 而製，以薄意手法雕刻，十分典雅秀怡。一枚雕刻鰲龍鈕章，呈橘
Republic Period H: 4 cm H: 3 cm H: 3.8 cm
皮黃色，印頂圓雕鰲龍鈕飾，屈體蹲伏昂首前視，呈蓄勢待發狀， 可見圓眼肌骨，精準飽滿，刻琢細膩傳神，拙樸渾穆卻不失精細， 用刀之精準嫻熟令人驚嘆。一枚石章為正方，一神氣活現之靈獸蹲 伏其上。獸側身，頭向歪而面向正前，雙目有神。
Total weight: 35.4g 三方田黃均為上等質地，色澤純正勻淨，質地細密呈半透明狀，側
NT$ 380,000 – 550,000 HK$ 102,000 – 148,000 US$ 13,100 – 18,900 RMB 82,000 – 119,000
光照之，蘿蔔紋細密清晰，質感溫潤細膩，若嬰兒之肌膚，包漿厚 重，皮殼亮麗，石色金黃潤透，溫澤油亮，石筋錯落有致散佈其 間，整體造型古樸生動，令人賞心悅目。
This set of Tianhuang seals consists of three pieces, each with distinctive features. The first one is made of substantial warm
民國 田黃薄意 古 獸 鰲 龍 章 三 方
yellowish-orange stone carved with a columnar square-sectioned body rising to a plain finial following the original shape of the material. The second one is surmounted by a ferocious dragon with bulging eyes and flaring nostrils below two curled horns. The third one is of square section, the warm yellowish-orange tianhuang skillfully carved with a mythical beast resting on its haunches with the head turned towards its left, depicted with a gaping mouth and bulging eyes beneath its horn and bushy eyebrows. These three Tianhuang seals are all of great quality, color pure and even, compact and semi-transparent, with thick and bright patina. The vivid designs also show archaic aesthetics, especially appealing to the eye.
｜台灣重要私人收藏｜
明人張岱曰：「人無癖不可與交，以其無深情也」 The Chinese writer Zhang Dai from Ming dynasty once said that people who have no hobbies are not worthy of building a relationship with, because those kind of people have no passion.
Lot 639－Lot 650為台灣重要私人收藏，多數為藏家在過去的三十年至十多年之 間親自覓得，未曾捨得割愛，其中有來自早年海外拍賣、亦有來自藏家親自搜尋 的，物件無論大小，都是藏家的心頭所愛，承載著藏家和藏品之間的過往，以 及藏家的審美和眼光。其中一些器物，藏家也會在生活中時常把玩與使用。「人 生如寄」，其實並不是我們在收藏古董，而是那些歷經了千百年的古董在收藏我 們。而今，這些古董即將會有新的主人，而和之前藏家的緣分也會得到延續。
L o t 6 3 9 t o L o t 6 5 0 a re f ro m a n i m p o r t a n t Ta i w a n e s e p r i v a t e c o l l e c t i o n , m o s t l y c o l l e c t e d b y t h e c o l l e c t o r t e n t o t h i r t y y e a r s a g o , e i t h e r f ro m overseas auctions or found through his personal sources. Regardless of the size of the objects, each of them is endowed with the collector's passion and love, also the connection and history between him and the object, re p re s e n t i n g t h e c o l l e c t o r ' s a e s t h e t i c s a n d v i s i o n ; s o m e o f t h e m w e re frequently handled and played with in daily life. Actually, it's not us who collect the antiques, but the antiques that choose us. The relation between the artifact and its former owner will continue and extend to the new master.
Ravenel 24
｜台灣重要私人收藏｜
｜台灣重要私人收藏｜
6 39 AN EMBELLISHED ROSEWOOD EIGHT-PANEL FLOOR SCREEN Qing Dynasty (1644-1911) W: 304 cm H : 192 cm
NT$ 300,000 – 500,000 HK$ 81,000 – 135,000 US$ 10,300 – 17,200 RMB 65,000 – 108,000 清 酸枝嵌百寶 博 古 圖 黑 漆 描 金 山 水 八 聯 屏
此屏風以緻密厚實酸枝為地，八扇四對成堂，四邊起框，分別雕琢
This screen is made of compact rosewood with eight panels in four
龍紋等吉祥紋飾，雕工複雜精細，高浮雕的裝飾手法，顯得氣勢恢
pairs, the hinged rectangular panels carved in high relief with a
宏。中間髹黑漆鑲嵌百寶，工藝精緻，用料奢侈，其上博古圖，寶
continuous and lively scene of dragons among auspicious motifs. The
瓶，吉慶擺件，山石擺件，花卉皆用碧玉，白玉，景泰藍等點綴。
center is covered in black lacquer and inlaid with precious stones such
背面則採用黑漆描金的裝飾手法，描繪山水圖，金漆與黑漆地子對
as white jade and spinach-green jade into the patterns of auspicious
比明顯，凸顯華貴之風。因屏風體量大，其上紋飾與真實擺件實物
bottles, ornaments, rocks, and flowering plants. The reverse is
一般大小，刻工精美，透視處理精準，如同將立體三維的擺件鑲嵌
decorated in golden and black lacquer with images of landscapes,
上去一般。鑲嵌之物突起平板之上，將屏風裝飾得富貴雍容，又博
all in polychrome on a dark brown lacquer ground. Due to the large
古紋，乃仿古青銅玉器，紋飾，盡顯儒雅之風，脫俗清新。
size of the screen, all the decorative objects depicted are of life size showing a strong three-dimensional effect, making it a splendid piece of artwork.
Ravenel 26
｜台灣重要私人收藏｜
｜台灣重要私人收藏｜
Ravenel 28
｜台灣重要私人收藏｜
｜台灣重要私人收藏｜
64 0 A HUANGHUALI RECTANGULAR TABLE
17世 紀 黃 花 梨 拱 形 棖 條 桌
17th Century L : 105 cm W: 47 cm H : 81 cm
著錄 : 《聚英雅集 2000》，觀想文物藝術有限公司， 台北，1999 年 《聚英雅集 2006》，聚英雅集， 台北，2006 年，頁 30-31 《首都博物館 - 物得其宜黃花梨文化展專輯》，收藏家， 北京，2011，頁 27 《清翫雅集廿周年慶收藏珍玩展》，清翫雅集， 台北，2012 年，頁 276-277
ILLUSTRATED: Taiwan Antique Dealers' Association 2000, Jeff Hsu's Oriental Art, Taipei, 1999, p. 62. Taiwan Antique Dealers' Association 2006, Taiwan Antique Dealers' Association, Taipei, 2006, pp. 30-31. Capital Museum Huanghuali Culture Exhibition, Collection magazine, Beijing, 2011, p. 27. Ching Wan Society Twentieth Anniversary Exhibition, Ching Wan Society, Taipei, 2012, pp. 276-277.
NT$ 3,000,000 – 5,000,000 HK$ 809,000 – 1,348,000 US$ 103,300 – 172,200 RMB 651,000 – 1,085,000
Ravenel 30
｜台灣重要私人收藏｜
｜台灣重要私人收藏｜
此件條桌線條流暢，造型簡約，線條流暢典雅，拱形帳上嵌卡子花，為三卷狀花飾，拱形帳由整根黃花梨所製，稀 有少見；全帳與四腿均採瓜形線腳，造型特殊罕見，不僅用料耗材，且線條優美，坐立體圓雕，常見四條足採分線 稜線造型的桌案，都是無束腰造型，本件亦然。卡子花與拱形帳兩者間相互結合，除有畫龍點睛的效果，更有加強 結構的功能，整體比例適宜，堅挺中有優雅之美，是件黃花梨家具中獨一無二的絕品。 中國高腳家具發展從五代開始，經過宋代，遼代，金代，元代，發展到了明代開始形成獨特的風格，因此稱為明式 家具。明式家具代表了中華民族家具文化的風格，在家具系統中享有盛名，更被世人稱為東方藝術的之星。明式家 具的特色為優雅的造型，考究的選材，精細的製作。明式家具的簡練、典雅、純樸、勁挺與雄偉，以及方正造型、 勻稱的比例，被尊稱為「實用的美學理念」。古、雅、精、麗，充分體現了明式家具的藝術風格，包含了精湛技 藝，浸潤了明代文人的審美情趣。案、几、桌，幾樣與文人日日為伴的承具，把器物的功能與審美特點完美結合， 將文人的氣質與明式家具的簡練質樸演繹到了極致。 明代文人熱衷於家具工藝的研究和家具美學的探求。他們玩賞、收藏、著書和參與設計家具之風，蔚然興起於文化 圈內。文人的投入，成熟了明式家具。
The furniture piece features a sleek silhouette and a simple style. Within its elegant and sleek silhouette, a triplecurved flower medallion is placed above each of the arch-shaped horizontal high stretchers. The stretchers are made from whole huanghuali wood, making this piece a rarity among its peers. The piece features a special and rare design comprised of stretchers and legs decorated with gourd-shaped ridges. Aside from requiring more material when manufacturing, the design also offers an elegant silhouette along the round sculptures. Most tables with lined or ridged legs are unwaisted, and this piece is no exception. The combination of the medallion and the arch-shaped high stretchers not only provide a perfect finishing touch to the style, but also reinforces the whole structure. With a befitting overall proportion and a sense of elegance within rigidity, this is a unique masterpiece among huanghuali furnitures. The development of Chinese tall furniture started during the era of the Five Dynasties. After further development in the Song, Liao, Jin and Yuan dynasties, a unique style was born by the Ming dynasty, later known as Ming furniture. Ming furniture is representative of the style behind Chinese furniture culture. Among furniture systems, they are highly renowned, even hailed as the “Star of Eastern art”. Ming furniture emphasizes on elegant styles, handpicked materials and fine manufacturing processes. With a level of simplicity, elegance, and purity, as well as powerful and majestic qualities in their rectangular shapes and befitting proportions, Ming furniture is described as having “aesthetic concepts with practical value”. The artistic style of Ming furniture can be defined by their ancient, elegant, sophisticated, and beautiful qualities. They combine excellent craftsmanship with literati aesthetics during the Ming dynasty. Tables with different heights served as tools on which literati spent most of their daily lives. By combining functionality with aesthetics, they have pushed the simplicity and purity of Ming furniture and the quality of those literati to the limits. The literati of the Ming dynasty were obsessed with the pursuit and development of furniture craftsmanship and aesthetics. Their mindset for using, collecting, writing about and designing furniture created a cultural phenomenon. And, it is these involvements that brought Ming furniture to a mature state.
Ravenel 32
｜台灣重要私人收藏｜
｜台灣重要私人收藏｜
6 41 A JADEITE 'DRAGON' BELT HOOK
清 翡翠「望子成龍」帶鉤
Qing Dynasty (1644-1911) L: 8 cm
著錄 : 《清翫雅集廿周年慶收藏展珍玩》清翫雅集， 台北，2012 年，頁 80-81
ILLUSTRATED: Ching Wan Society Twentieth Anniversary Exhibition, Ching Wan Society, Taipei, 2012, pp. 80-81.
NT$ 650,000 – 950,000 HK$ 175,000 – 256,000 US$ 22,400 – 32,700 RMB 141,000 – 206,000
6 42 A BOXWOOD MOUNTAIN-FORM BRUSH REST Qing Dynasty (1644-1911) L: 27.5 cm PROVENANCE: Nagel Auction, Stuttgart, 21st May 2004, Lot 1051
NT$ 140,000 – 280,000 HK$ 38,000 – 75,000 US$ 4,800 – 9,600 RMB 30,000 – 61,000
Ravenel 34
清 黃楊木樹枝型筆山 來源 : 德國納高，2004 年 5 月 21 日，拍品 1051 號
｜台灣重要私人收藏｜
6 43 A WHITE JADE SNUFF BOTTLE
清 白玉嵌寶嬰戲圖鼻煙壺
Qing Dynasty (1644-1911) H: 7.5 cm
NT$ 100,000 – 200,000 HK$ 27,000 – 54,000 US$ 3,400 – 6,900 RMB 22,000 – 43,000
6 44 A ROBIN'S EGG-GLAZED TRIPOD TABLE
清 爐鈞釉三足几
Qing Dynasty (1644-1911) H: 21 cm
著錄 : 《寒舍秘笈》No.14 ，寒舍出版社， 台北，1988 年
ILLUSTRATED: Precious Treasures of My Humble House , My Humble House, Taipei, 1988
NT$ 140,000 – 280,000 HK$ 38,000 – 75,000 US$ 4,800 – 9,600 RMB 30,000 – 61,000
｜台灣重要私人收藏｜
6 45 A FINELY CARVED ZITAN LOW TABLE Qing Dynasty (1644-1911) L: 40 cm
NT$ 50,000 – 100,000 HK$ 13,000 – 27,000 US$ 1,700 – 3,400 RMB 11,000 – 22,000 清 紫檀雕十八 羅 漢 几
6 46 A HONGMU PANEL Qing Dynasty (1644-1911) H: 75 cm
NT$ 70,000 – 140,000 HK$ 19,000 – 38,000 US$ 2,400 – 4,800 RMB 15,000 – 30,000 清 紅木陰雕群 仙 祝 壽 圖 掛 屏
Ravenel 36
｜台灣重要私人收藏｜
6 47 A CRYSTAL SNUFF BOTTLE Qing Dynasty (1644-1911) H: 7.5 cm
NT$ 30,000 – 60,000 HK$ 8,000 – 16,000 US$ 1,000 – 2,100 RMB 7,000 – 13,000 清 磨棱水晶鼻 煙 壺
6 48 A RED OVERLAY WHITE GLASS SNUFF BOTTLE Qing Dynasty (1644-1911) H: 7.5 cm
NT$ 40,000 – 80,000 HK$ 11,000 – 22,000 US$ 1,400 – 2,800 RMB 9,000 – 17,000 清 白地套料禪 紋 鼻 煙 壺
｜台灣重要私人收藏｜
64 9 AN OPIUM SCALE WITHIN A HUANGHUALI SLIDING BOX Qing Dynasty (1644-1911) L: 43.5 cm
NT$ 20,000 – 50,000 HK$ 5,000 – 13,000 US$ 700 – 1,700 RMB 4,000 – 11,000 清 黃花梨秤盒
6 50 A BURLWOOD WATERPOT Qing Dynasty (1644-1911) H: 7 cm
NT$ 20,000 – 50,000 HK$ 5,000 – 13,000 US$ 700 – 1,700 RMB 4,000 – 11,000 清 癭木水注
Ravenel 38
65 1 A BURLWOOD TREE TRUNK-FORM BRUSHPOT
癭木是樹根部有結瘤或樹幹上有節疤的各種木材的統稱。由於木有 癭結，影響其本來結構，因此造成獨特扭曲紋理，有的如葡萄紋， 有的如山水紋，極具有觀賞價值，如此奇特珍貴，通常也保留其原
Qing Dynasty (1644-1911) H: 18 cm
貌，少有雕刻。也因此成為了文人雅具、傳統家具首選之材料。 A burl is a tree growth in which the grain has grown in a deformed
NT$ 70,000 – 140,000 HK$ 19,000 – 38,000 US$ 2,400 – 4,800 RMB 15,000 – 30,000
manner. It is usually found on the trunk, at the base of the tree, and sometimes underground in the form of a rounded outgrowth. Some have patterns of grapes, some of landscape, all with high aesthetic values. Because of its rarity, burlwood is hardly carved to retain its natural shape, and is deemed as the best material for scholar objects and traditional furniture.
清 癭木隨形筆 筒
6 52 A BURLWOOD TREE TRUNK-FORM BRUSHPOT
隨形筆筒常見為垂直圓柱狀，此件選取癭木原貌自然隨形，柔中帶
Qing Dynasty (1644-1911) H: 22 cm
Tree trunk-form brushpots are commonly of the cylinder shape,
剛，強勁有力旋轉而上，十足表現原木旺盛生命力。
while this burlwood appears to be more natural as it conforms to the original shape of the wood, reflecting the strong and vivid character
NT$ 130,000 – 260,000 HK$ 35,000 – 70,000 US$ 4,500 – 9,000 RMB 28,000 – 56,000 清 癭木隨形筆 筒
Ravenel 40
of the original plant.
6 53 A BAMBOO CARVED SCHOLARS UNDER PINE TREE BRUSHPOT
筆筒以竹莖雕成，成圓筒狀，下承三矮足，外壁以減地陽文
18th Century H: 13 cm
幽，人物佇立於茂密竹林間，古松高崖為伴，聚首亭臺，吟
PROVENANCE: Collection of Ban Xian Ju
同類作品參閱今北京故宮博物院庋藏清《竹雕松蔭雅集圖筆
技法刻劃通景式文人雅集之景，山嶺相間，古樹高聳，穿插 掩映，樹幹蜿轉圓潤，層次錯落有致，亭臺凌駕，景色清 詩賞景，表現高士悠然自然得的生活狀態。
筒》，其技法可以參考及構圖與本件相似。本器結構嚴謹， 布局景物如畫，工藝精湛，形象寫實，講求遠近大小安排，
NT$ 220,000 – 320,000 HK$ 59,000 – 86,000 US$ 7,600 – 11,000 RMB 48,000 – 69,000
建構一幅充滿想像力和豐富內容的空間意象，是件不可多得 之巧妙佳作。
This brushpot is carved on the surface with the image of “Scholars Under Pine Tree,” standing on three short feet. Similar work can be found in the Collections of the Palace
18世紀 竹雕松 樹 蔭 雅 集 圖 筆 筒 來源 : 半閒居舊藏
Museum in Beijing.
6 54 A HUANGHUALI RECTANGULAR BOX
黃花梨箱，形製簡潔，四平式，體長方，周身無飾，此箱通體無雕
17th Century L: 50 cm
用。工藝考究，氣息古樸，銅件均較厚實，增添雄渾之感，乃小型
NT$ 260,000 – 380,000 HK$ 70,000 – 102,000 US$ 9,000 – 13,100 RMB 56,000 – 82,000
飾，扭曲變化的木紋，如山巒，似流水。正面嵌精美做工的面葉， 如意雲紋拍子。兩側有卷勾提環。邊緣四角鑲釘銅飾件，堅固耐 家具中精細之作。
This Huanghuali Box is of rectangular section, the cover and body constructed with straight sides with exposed dovetail joints, the sides completely plain, the cover hinged on the back of the chest, the front with a circular metal plate with lock receptacles and a lobed ruyishaped lift-up hasp, each side with a round handle. This Huanghuali Box is a valuable addition to any collection of small-scaled furniture.
17世紀 黃花梨 長 方 箱
Ravenel 42
6 55 A RARE CARVED CHENXIANGMU BRUSHPOT 17th/ 18th Century H: 10 cm PROVENANCE: Acquired in London in 1983 Christie's New York, 21st March 2013, Lot 1320
NT$ 650,000 – 950,000 HK$ 175,000 – 256,000 US$ 22,400 – 32,700 RMB 141,000 – 206,000 17/18世紀 沉 香 木 菊 石 紋 筆 筒 來源 : 1983 年購於倫敦 紐約佳士得，2013 年 3 月 21 日，拍品 1320 號
6 56 A SILVER TEAPOT WITH IRON HANDLE BY KITAMURA SEIKOU H: 15.5 cm
NT$ 600,000 – 900,000 HK$ 162,000 – 243,000 US$ 20,700 – 31,000 RMB 130,000 – 195,000 北村靜香製銀 壺
6 57 A PAINTED BLACK LACQUER BOX AND COVER Ming Dynasty 1630 L : 47.7 cm W : 31cm H : 19 cm PROVENANCE: Sotheby's New York, 19th March 2007, Lot 419 EXHIBITED: Taiwan Antiques Dealers' Association 2002 Exhibition, Chang Foundation, Taiwan, p.95.
NT$ 1,100,000 – 1,800,000 HK$ 296,000 – 485,000 US$ 37,900 – 62,000 RMB 239,000 – 390,000 明崇禎3年 黑 漆 人 物 蓋 盒 來源 : 紐約蘇富比，2007 年 3 月 19 日，拍品 419 號 展覽 : 《中華文物協會 2002 展覽》，鴻禧美術館， 台北，圖錄 95 頁
Ravenel 44
款 Mark
黑漆上下蓋，上蓋四邊描富貴花開牡丹花草紋，枝葉律動而將花卉纏繞其中，豐富且靈動。蓋面繪高士訪友圖，綠漆繪遠 山綠地，翠石山岳，以藍紅白漆佐以青松蘆葦，紅楓綠樹，並以金漆描邊，可見其工藝繁複。高士騎馬攜童子二人，一著 綠衣捧梅，另一位身挑木盒著紅衣，姿態服飾細節清晰可見，足見工藝之精湛。蓋內通體黑漆，因年代久遠，已出現細碎 之冰裂紋，部分黑漆掉落，以金漆書有「崇禎三年」四字。 下蓋造型優雅複雜，蓋身上寬而下窄，四周彩繪牡丹花草紋，其下束腰開雲型窗，兩側為三彎腿，中有足，窗側及牙版上 以金漆細繪花草紋，工藝細膩而精湛，並將八足相連，更顯沉穩之氣，雖是桌案之物，卻有明式家具之大器風範。蓋內有 六孔，應是置放杯盞之用，蓋內描繪連枝葡萄，華貴中並富含興旺之吉祥寓意。
The box consists of two parts upper and lower. Painted on the surface of the cover with an image of "A Scholar Visiting His Friends," with mountains in the distance in green lacquer, maple leaves and reeds in blue, red and white lacquer, all outlined with golden lacquer, displaying the complexity of the craftsmanship. The scholar riding on a horse is accompanied with two young entourages one in green garments holding plum blossoms while the other in red garments carrying wooden boxes, all depicted in fine details. Inside the cover four characters are inscribed with golden lacquer Chongzhen Sannian. The bottom part of the lid features a complex and elegant design that is wider on top and more narrow below. There are peony flower patterns painted on all sides, beneath which is a belt of cloud-shaped, open frames. On each side are three curved legs with two feet in the centre. Above the frames and the base on the longer sides are flowers painted with gold accents. This exquisite and meticulous craftsmanship presents a sense of calm in connecting the eight feet together. Even as a case, it bears the air of Ming-style large-item furniture. Under the lid, there are six holes cut out to be used as cup holders, and there are painted grape vines which, in their sumptuousness, imbue the work with its auspicious significance.
6 58 A PAINTED BLACK LACQUER RECTANGULAR BOX AND COVER 17th Century L : 53 cm W: 33 cm H : 17.5 cm PROVENANCE: Sotheby's New York, 19th March 2007, Lot 418
NT$ 460,000 – 600,000 HK$ 124,000 – 162,000 US$ 15,800 – 20,700 RMB 100,000 – 130,000 17世紀 黑漆人 物 蓋 盒 展覽 : 紐約蘇富比，2007 年 3 月 19 日，拍品 418 號
Ravenel 46
款 Mark
黑漆長方盒，上蓋四邊開雲窗嵌細銀絲，雲窗邊起細線包窗，精緻秀氣，四邊倭角，圓中帶方，可見巧思，蓋面繪狩獵 圖，以金漆、黃漆、紅漆描繪人物，各人衣著及表情皆有不同，人物生動而線條流暢，鑾轎傘輿各有所司，栩栩如生躍然 於上。 下身與上蓋同樣四邊開雲窗嵌細銀絲，上下呼應，更顯穩重，束腰開窗，下銜三彎腿，流線型牙板，比例勻稱而協調，足 上以紅漆打底金漆描花，更顯細緻華貴，六足相連，氣韻相通，平衡有致。 盒中有一承盤，開十五圓孔，圓旁起線，底髤紅漆，應作為放置杯盞之用，蓋底有「孫蘭昭」款。
The edges of the top of the lid on this rectangular black case feature cloud-shaped inset panels with silver detailing. They are outlined by cloud-shaped frames that give the work its delicacy and refinement. The four corners round out the square shape of the case and reveal the ingenuity of the design. The lid depicts a scene of imperial jiao out hunting, with each umbrellacovered sedan chair surrounded by figures in vivid, fluid lines of gold, yellow, and red colour. The different clothing and expressions of each of the characters adds to the liveliness and realism of the painting. The sides of the lower section and the top of the lid are lined by the same cloud-shaped panels, which are echoed across the upper and lower sides to create a stability in the detailed outlining. Beneath a belt of cut-out frames are three curved legs and a streamlined base that give the case its well-proportioned shape. The feet are painted red with gold accents, bringing out the gorgeous details of the work. The six feet are connected together with a distinct flavour and a delicate balance. The inside of the case is a shelf that has fifteen round holes, made to be used as cup holders. They all painted red and their top edges are outlined. On the bottom of the lid is inscribed 'Sun Lan Zhao'.
6 59 A GRAY SCHIST FIGURE OF BUDDHA Gandhara, 2nd-3rd Century H: 35 cm
NT$ 460,000 – 600,000 HK$ 124,000 – 162,000 US$ 15,800 – 20,700 RMB 100,000 – 130,000 2-3世紀 犍陀 羅 彌 勒 立 身 像 石 雕
佛陀穿通肩式大衣，衣褶深重，跣足站立在方台之上，面 容俊秀、肅穆，波浪狀的頭髮向後梳去，頭頂髮髻高聳， 眉心有凸起的小圓點-白毫，為佛陀的標誌之一，杏仁狀 的眼睛垂視，嘴角緊抿，有圓盤狀無飾頭光。 古代犍陀羅地區是佛教的發源地之一，即今日的巴基斯 坦，犍陀羅造像融合了希臘、羅馬和印度本地的藝術風 格，具有非常重要的歷史、宗教和藝術價值，在過去的 一百年間，被日本和歐美博物館與重要藏家大肆重金收 購，可惜中國的古玩收藏界對此一無所知。犍陀羅造像同 時也是絲綢之路佛教藝術的開端，壯麗輝煌，它啟發與影 響了中國佛教藝術的發展。
The Buddha wears a loose coat covering both shoulders and falling in folds over the body. He stands barefooted on a square plinth, and his facial features are both delicately handsome and solemn. His wavy hair is combed back and gathered into a bun (ushnisha ) on the top of his head. In the middle of his forehead, between the eyebrows, is the baihao (white hair), a little round spot or curl which is a symbol of the Buddha. His almond-shaped eyes are looking downward, and his mouth is firmly closed. Behind and above him is a disc-shaped halo without any decorative patterns. The ancient Gandhara region is one of the cradles of Buddhism, roughly located in the area of modern Pakistan. The statues from this region blend the aesthetic styles of ancient Greece, Rome, and India, and are important historical, religious, and artistic artifacts. These statues are also seminal artifacts in the context of Buddhist art along the Silk Road: with their magnificent beauty and brilliant splendor, they have had a considerable impact on the development of Buddhist art in China.
Ravenel 48
6 60 A COPPER ALLOY FIGURE OF BODHISATTVA 14th Century H: 16 cm
NT$ 240,000 – 480,000 HK$ 65,000 – 129,000 US$ 8,300 – 16,500 RMB 52,000 – 104,000 14世紀 合金銅 蓮 花 手 觀 音
觀音呈立姿，雙眼微閉，眉目和雙唇曲線優美，面容慈祥。髮髻高 聳，額上穿戴三葉寶冠，正面冠業雕刻大鵬金翅鳥，耳飾花璫，頸 佩珠鍊項圈，手臂戴釧，腳戴環鐲，添增華麗璀璨的氣息。上身袒 露，左肩掛禪思帶，束腰跨肩斜束寶帶，腰帶呈錐狀垂於雙腿間， 寶帶垂角與身側。觀音身姿呈S形，于人法喜從容的優閒姿態。右手 下垂，掌心向外，結與願印，左手握連枝，足下單層覆蓮臺，蓮瓣 飽滿，邊緣飾連珠紋。 觀音像精美結構比例精準，優美造型，手腳刻畫細膩，肌肉線條寫 實，飽滿有彈性，完美體現藝術追求人體自然諧和之境界。 Kuan Yin is presented in a standing position, with both eyes slightly closed. Beautiful eyebrows and lips line her benevolent facial expression, and her hair sits tall above her forehead. She wears a three-leafed crown, on the front of which is carved a dapeng bird. There are flower pendants on her ears, a chain of pearls around her neck, bracelets on her arms, and bands around her legs, all adding to the resplendent aura. Her torso is bare, and on her left shoulder hangs a meditation belt which is slung across a cape on her shoulders. A belt is seen tapered between her legs, and a cape hangs down at her sides. An 's'-shaped posture suggests the relaxed and leisurely stance of Kuan Yin. Her right hangs down, with the palm facing outward, bearing a sign of hope, as her left hand holds a lotus flower. Beneath her feet is a platform encircled by lotus plump petals fringed with pearls. This Kuan Yin statue is beautifully crafted and exquisitely structured, with precise proportions and meticulous detail. Such is evident in the carvings of the arms and legs, and the muscles, which are realistically fleshed out and full of elasticity. It perfectly embodies art's pursuit of the natural harmonies of the human body.
6 61 A DEHUA FIGURE OF GUANYIN
觀音低首垂目，面形長圓，飽滿豐潤，神情慈祥，似在俯瞰塵世眾 生。其髮髻高束，正中插如意形頭飾，身披長巾，胸前瓔珞珠佩亦
Qing Dynasty (1644-1911) H: 28 cm
作如意形。雙手隱於衣衫下，一足半露，一足屈掩。其衣紋自然， 透過垂拂流轉的衣褶，隱露出觀音的肢體形態，背部鈐有「博及漁 人」四字款。觀音像是德化白瓷的常見題材之一，是人們賦予想像
NT$ 340,000 – 500,000 HK$ 92,000 – 135,000 US$ 11,700 – 17,200 RMB 74,000 – 108,000
和期待美善與聖潔的化身。 This statue of Kuan Yin features the goddess with a lowered head, an elongated face, a full body, and a benevolent expression as she appears to gaze down at the world. Her hair is tied up and decorated with a headdress. She wears a long scarf, and her chest is adorned
清 德化白瓷觀 音
with a necklace of pearls. Both her arms are covered in clothing, while one leg is exposed and the other concealed. The natural folds in the clothes flow down around Kuan Yin to reveal the posture of her body. On the back of the statue is inscribed Bo Ji Yu Ren (博及漁人). Kuan Yin is one of the common figures depicted in Dehua porcelain work. It is an incarnation of people who envision and long for purity, holiness, beauty, and wellbeing.
博及漁人款 Bo Ji Yuren Mark
Ravenel 50
6 62 A CARVED WOODEN FIGURE OF SHAKYAMUNI BUDDHA
此尊釋迦牟尼佛頭頂螺髮圓密，臉相豐圓，眉平眼細，雙目垂俯，
Qing Dyansty(1644-1911) H: 38 cm
於雙層蓮瓣包圍的蓮台上，整體渾厚圓潤、衣紋流暢自然。
NT$ 120,000 – 260,000 HK$ 32,000 – 70,000 US$ 4,100 – 9,000 RMB 26,000 – 56,000
a double-lotus base, with hands held in dhyanamudra , wearing a
嘴角含笑，神情溫和，其雙耳垂肩，頸部飾三道蠶紋。身穿袈裟， 下襬披覆蓮座上，帛帶於胸前橫繫打結。雙手作禪定印，結跏趺坐
The Buddha is well-carved and depicted seated in shakyamuni on
清 木雕釋迦牟 尼 佛
pleated robe draped over the left shoulder and falling in loose folds over his legs, with the undergarment gathered at the chest, the serene face with downcast eyes and a meditative expression flanked by long pendulous ears, the hair arranged in tight curls covering the ushnisha.
6 63 A GILT-BRONZE FIGURE OF TSONGKHAPA 17th Century H: 14 cm
NT$ 190,000 – 300,000 HK$ 51,000 – 81,000 US$ 6,500 – 10,300 RMB 41,000 – 65,000 17世紀 銅鎏金 宗 喀 巴 坐 像 宗喀巴面相慈祥，頭戴通人冠，身穿喇嘛僧袍，衣履刻 劃簡單明顯，雙手作說法結，持蓮花枝並引伸至身體兩 側，在肩頭分別露出托劍和梵篋，全跏趺坐，下承仰覆 蓮座，通體鎏金，金色厚重，配合造型秀美，簡潔有 力。 Cast seated upright in tsongkhapa on a beaded doublelotus base, his hands held in dharmachakramudra in front of his chest, each gently holding the long stem
663
of a stylised lotus extending upwards and flanking the shoulders, adorned with a peaked hat and dressed in elaborately chased robes.
664 A JADE CARVING OF A DOG Song-Yuan Dynasties (960-1368) L: 8.5 cm
NT$ 180,000 – 280,000 HK$ 49,000 – 75,000 US$ 6,200 – 96,000 RMB 39,000 – 61,000 宋 -元 臥 犬 玉 把 件 此件提油玉器，隨形圓雕。臥犬身體捲曲，身體修長，前肢 交疊而臥，雙目直視，大耳，尾巴翻卷，背部陰刻肋骨，此 器雕工簡練，具時代特色，應為宋元之作。 This Jade is sensitively modelled as a recumbent dog with 664
its head reating on the front leg, and the tail curling against the hind leg. The craftsmanship shows the distinctive style of Song-Yuan dynasties.
Ravenel 52
66 5 A GROUP OF TWO WHITE JADE 'DRAGON' BELT HOOKS 18th/19th Century L: 11.5 cm L: 11 cm PROVENANCE: Bonhams New York, 16th March 2015, Lot 8042.
NT$ 160,000 – 280,000 HK$ 43,000 – 75,000 US$ 5,500 – 9,600 RMB 35,000 – 61,000 18/19世紀 白 玉 「 蒼 龍 教 子 」 帶 鉤 兩 件 一 組 帶 底 座 來源 : 紐約邦瀚斯，2015 年 3 月 16 日，拍品 8042 號
白玉質純白溫潤，雕龍頭帶勾背上小螭龍，稱蒼龍教子，寓意望子 成龍。造型細緻華貴，刀工力道一絲不苟，另一件鈎首為龍頭形精 雕細刻，通體光素無紋，拋光精美。兩件龍鉤各配有一個木座。
Including an S-shaped belt hook with a plain body terminating in a sinuously carved dragon head, together with a belt hook carved and reticulated in high relief with a chilong crawling towards an upturned dragon head terminal; each with a conforming wood stand.
6 66 A WHITE JADE 'DRAGON' BELT HOOK Ming Dynasty (1368-1644) L: 12 cm
NT$ 130,000 – 260,000 HK$ 35,000 – 70,000 US$ 4,500 – 9,000 RMB 28,000 – 56,000 明 白玉望子成 龍 帶 鉤
白玉質，此帶鉤造型尤以龍首蟠螭組合常見，龍首帶鉤具 有雙腳後抿、雙眼突出的特點，螭的頭多呈三角形，額頭 較寬，尾巴分卷，鈕矮而貼體背。
666
This hook is made of white jade, carved with a dragon head terminal facing an undercut chilong and panlong on the arched stem, flat circular buttons on the underside, the stone of an even white color.
667 A WHITE JADE 'BATS AND LINGZHI' BELT HOOK Qing Dynasty (1644-1911) L: 12 cm
NT$ 130,000 – 260,000 HK$ 35,000 – 70,000 US$ 4,500 – 9,000 RMB 28,000 – 56,000 清 白玉福至心靈帶鉤
此帶鉤為白玉質，質潤晶瑩，拋光細膩，浮雕蝙蝠與靈芝， 「福至心靈」之美意，皆為一玉雕成，巧奪天工。
667
Ravenel 54
This belt hook is made of white jade, carved in relief with images of bats and lingzhi, expressing auspicious wishes.
6 68 AN AGATE SNUFF BOTTLE Qing Dynasty (1644-1911) H: 7.5 cm
NT$ 90,000 – 180,000 HK$ 24,000 – 49,000 US$ 3,100 – 6,200 RMB 20,000 – 39,000 清 瑪瑙巧雕「 龍 馬 負 圖 」 鼻 煙 壺
瑪瑙質，色如冰糖，壺程扁圓形，直口，豐肩，扁圓形圈 足。壺體正面為龍馬負圖，後方題詩文，整器形神兼備， 實為優雅之作。 龍馬負圖象徵及天地靈氣於一身，龍馬出現，乃天下大 治，聖人將臨之吉祥先兆。 This snuff bottle is made of agate, color resembling rock sugar,
668
of flattened rounded form, relief-carved incorporating the natural mottled brown skin with images of dragon and horse.
669 AN AMBER SNUFF BOTTLE Qing Dynasty (1644-1911) H: 8 cm
NT$ 70,000 – 140,000 HK$ 19,000 – 38,000 US$ 2,400 – 4,800 RMB 15,000 – 30,000 清 琥珀鼻煙壺
此琥珀質地勻淨，壺呈扁圓形，直口，斜肩下收，扁圓形矮 圈足。一面童子手持蓮花一仕女在旁陪伴，寓意蓮生貴子。 氣質高貴典雅，是件典型清代鼻煙壺佳品。 Of rounded rectangular form, its sloping shoulders flanking a slightly spreading neck, flat lip, delicate oval foot ring, the golden-brown stone with limited inclusions, carved in rounded relief to either side depicting a phoenix standing 669
atop rocks amidst leafy scrolls.
6 70 A WHITE JADE 'THREE RAMS' GROUP Qing Dynasty (1644-1911) L: 5 cm
NT$ 60,000 – 120,000 HK$ 16,000 – 32,000 US$ 2,100 – 4,100 RMB 13,000 – 26,000 清 白玉三陽開 泰 本品以白玉三羊，玉色瑩白，質地溫潤細膩。三羊趴伏於地， 昂首擺尾，神態溫順。羊首相接成環，口吐祥雲，雲中有太極 陰陽圖案。羊為一大兩小，大羊相對而臥，小羊於身側昂首呼 670
應。以三羊為飾，寓意「三陽開泰」。 This lot consists of three white jade rams, the stone of an even white colour, worked in the round as a ram resting upon its tucked-in hindlegs and kneeling forelegs, its head depicted turned up, its beard and tail detailed with fine incisions, bearded jaw issuing streams of swirling clouds supporting a taiji symbol.
671 A WHITE JADE SNUFF BOTTLE Qing Dynasty (1644-1911) H: 6.5 cm
NT$ 60,000 – 120,000 HK$ 16,000 – 32,000 US$ 2,100 – 4,100 RMB 13,000 – 26,000 清 白玉素面鼻煙壺
白玉質，此壺色盈潤潔白，色澤勻淨。通體光素，展現出優 美的線條曲線。整器簡約高雅，令人愛不釋手。 This lot is of flattened spherical form rising from a flat base to 671
Ravenel 56
a cylindrical neck, the stone of an even white tone.
6 72 A WHITE JADE SNUFF BOTTLE Qing Dynasty (1644-1911) H: 8.5 cm
NT$ 110,000 – 220,000 HK$ 30,000 – 59,000 US$ 3,800 – 7,600 RMB 24,000 – 48,000 清 白玉螭龍鼻 煙 壺
白玉質，潔白盈潤。整器體態優雅，掏膛薄而勻稱，打磨精緻細 緻。壺身雕刻精美的螭龍。此鼻煙壺靈巧秀美，質地潔淨，為鼻煙 壺之精品。 關於螭龍有兩種說法：一說中國古代漢族傳說中的龍的來源之一， 也稱蚩尾，是一種海獸，漢武帝時有人進言，說螭龍是水精，可以 672
防火，建議置於房頂上以避火災；二說是龍九子中的二子，古書中 云：「其二曰螭吻，性好望，今屋上獸頭是也。」 This white jade snuff bottle of flattened globular form, carved to both faces in low relief with an archaistic kui dragon.
673 A WHITE JADE CARVING OF A FROG 18th Century L: 7.5 cm
NT$ 200,000 – 380,000 HK$ 54,000 – 102,000 US$ 6,900 – 13,100 RMB 43,000 – 82,000 18世 紀 白 玉 蛙 形 石 榴 紙 鎮
清代白玉石榴開百子紙鎮，白玉質，質地上乘，蟾蜍圓潤，動態生 673
動，石榴飽滿，雕工甚是精細講究，充分展現清中期工藝高超技法。 石榴寓意多子多福的象徵，古人稱石榴「千房同膜，千子如一」。 Worked in the form of a crouching toad with large bulging eyes and dimpled skin, its mouth grasping a leafy branch bearing large pomegranates bursting with seeds, the stone of an even white stone.
67 4 A BAMBOO FIGURE OF BODHIDHARMA
器身為竹根雕，達摩附身席地坐像。達摩雙目直視，嘴角微微下 彎。身披禪衣，衣領開闊，胸前隱現。雙手蓋覆衣袖裡。全跏跌而
17th Century H: 8.5 cm
坐。 此件圓雕一反達摩一葦渡江之常見題材，以一悠然自得，恬靜 安詳之坐態呈現，尤其其面部神情，似有所思，似有所想，但卻又 似全無掛礙，極富禪意。整器雕刻細膩，且在靜態中通過衣服褶皺
NT$ 320,000 – 500,000 HK$ 86,000 – 135,000 US$ 11,000 – 17,200 RMB 69,000 – 108,000 17世紀 竹雕 達 摩 像
Ravenel 58
的處理使全器富有動態之感，實為明朝之圓雕佳器，殊為難得。 Cast with bamboo roots seated in meditation, the hands clasped beneath the voluminous folds of his long layered robes, the face with expression of strong concentration.
6 75 A GILT-BRONZE FIGURE OF MAHAKALA
此尊像為六臂大黑天銅分體鑄造，頭戴五骷髏冠，髮中纏有一蛇， 頸間亦有一蛇纏繞，表示對龍王的降服，鬚眉如火，獠牙露齒，三
18th Century H: 17.5 cm
目圓睜，十分怖畏。上方雙手扯白象皮及人頭手串，表示驅逐無 明，下方右手持手鼓，左手施期克印（或法器遺失），表示勾縛妖 魔。主臂兩手拿嘎巴拉碗和金剛鋮刀，瓔珞於胸前垂落，具有裝飾
NT$ 480,000 – 700,000 HK$ 129,000 – 189,000 US$ 16,500 – 24,100 RMB 104,000 – 152,000 18世紀 銅鎏金 六 臂 大 黑 天 像
性。獸皮做裙，以獸足於腹部下方打結，頸部掛有一串鮮人首幔。 其臂釧、足釧等裝飾皆以小蛇代替，更加彰顯其忿怒威猛。雙腿粗 壯有力，踏於象頭天神之上。單層覆式蓮座，上飾一圈聯珠紋，蓮 瓣圓潤飽滿，此像表情憤怒，造形生動，動態威猛，整體鎏金厚重 保存完好，為18世紀的典型之精品。 This figure of Mahakala depicts the wrathful divinity holding different attributes including the kartrika and kapala in his primary arms, a damaru and a rosary of skulls, with an elephant skin stretched across his back and wearing a necklace of severed heads, snakes and various adornments, the base of the lotus pedestal sealed with a consecration plate engraved with a visvavajra .
｜瑰玉天工｜
瑰 玉 天 工
Ravenel 60
｜瑰玉天工｜
中國宮廷玉器精品 玉器在中國傳統文化中佔有獨特的地位，玉被人賦予了豐富的文化內涵。 中國玉雕藝術的發展到了清代，不論是從玉料的開採還是工藝的雕刻都有了相當的經驗累積，乾隆時期，更因為乾隆皇帝的喜好，將玉器的 工藝發展到達頂峰。此時創作出了許多工藝精美，品質優異的玉雕作品，特別是宮廷陳設用的玉雕擺件，至今仍然無法超越。 玉器擺件對原材料的需求很大，質地要求也高，因此玉料的來源保證了清代玉器的發展。乾隆二十四年以前，西北部是不安定的，因此影響 了當時的玉器原料的通路。乾隆二十四年，清軍鞏固了西北邊疆的統治，設立官府，將新疆地區納入中央政府的管轄。乾隆二十五年，形成 了正式的貢玉制度，每年以春秋兩季進貢玉到朝廷，最盛的時候清廷每年收進三十萬斤的玉料。 清代宮廷製作玉器直接由北京養心殿造辦處和內務府匠作處，南方則以蘇州專諸巷最為出名，揚州玉作以善於雕琢大件玉器聞名。清代玉工 善於借鑑繪畫、雕刻、工藝美術的成就，集陰線、陽線、圓雕、浮雕、鏤雕、俏色等多種傳統工藝及歷代的藝術風格之大成，又吸收了外來 藝術影響並加以改變，創造出了有著明顯時代特色和高價值的玉雕藝術，並將宋元明朝文人典雅的審美觀，轉變為富麗精緻的乾隆朝裝飾風 格。 清代宮廷工藝所製作出來日常生活用品幾乎沒有不用玉器，當時的工匠技巧不僅傳承了歷代玉雕的工藝，並創造出不同風格特色的造型語紋 飾，玉雕工藝達到了全盛時期，使宮廷內府器物充足，遺留至今。
Jade wares occupy a unique position in traditional Chinese culture, endowed with rich cultural connotations. When the development of Chinese jade carving art reached Qing dynasty, the experience of both the exploitation of jade materials and the craftsmanship of carving had accumulated to a considerable extent. During Qianlong Period, it was because of Emperor Qianlong's preference that the development of jade craftsmanship was at its peak. At that time, a number of exquisitely crafted jade wares of excellent quality have been created; especially the carved jade used for court furnishings, which still cannot be surpassed till this day. Jade ornaments have a great demand for raw materials and have high requirements for quality. Therefore, the source of jade guarantees the development of jade wares in Qing dynasty. Twenty-four years before the reign of Emperor Qianlong, the northwest was unstable, which affected the access to the raw materials of jade at that time. In the twenty-fourth year of the reign of Emperor Qianlong, the Qing Army consolidated its ruling over the northwest frontier and set up officials to incorporate Xinjiang into the jurisdiction of the central government. In the twenty-five year of Qianlong, a formal tribute jade system was formed. In Spring and Autumn, jade was brought to the imperial court. At its peak, the Qing court receives 300,000 pounds of jade each year. The Beijing Yangxin Dian production office and the Imperial Household Department were directly responsible for making jade wares for The Qing court, while in the South Suzhou Zhuxiang is the best-known one; Yangzhou Yuzu was famous for carving large jade pieces. In the Qing dynasty, jade craftsmen were adept at drawing and carving on jade, collecting various traditional techniques, also absorbing the influence of foreign art, which has created a jade carving art with obvious characteristics of the times and high artistic value. It had transformed the elegant aesthetics of the literati in the Song, Yuan and Ming dynasties into rich and refined decorative styles of the Qianlong period. Jade was used for almost all the daily objects produced by Qing court. At that time, craftsmen not only inherited the art of ancient jade carvings, but also created different styles of decorative features, so that the jade carving crafts reached its heyday, leaving enough relics to today's world.
｜瑰玉天工｜
Ravenel 62
｜瑰玉天工｜
6 76 A WHITE JADE FIGURE OF BUDDHA
此尊佛像為阿彌陀佛，白玉質，包漿厚重。阿彌陀佛面相清秀端 正，神態慈祥柔和，頭頂螺髮圓密，雙耳垂肩，眉眼細長高鼻薄
18th Century H: 19.5 cm
唇，展現出至善合一的佛性，身著袈裟坦露胸膛，胸襟束帶繫結，
PROVENANCE: Sotheby's New York, 24th September 2004, Lot 51
全跏跌端坐，右手施無畏印具體手勢為右手上舉至胸前，掌心向
工藝精美。流露高貴玉典雅之氣。
外，五指自然伸展，施無畏印的作用就是除了外部的干擾，更加嚴 峻的挑戰實際上來自人的內心，因此，佛陀還通過他的智慧為信眾
NT$ 1,600,000 – 2,400,000 HK$ 431,000 – 647,000 US$ 55,100 – 82,700 RMB 347,000 – 521,000
消除內心的恐懼，引領他們走上正道。神情寂靜端莊，威嚴中蘊含 慈善，本件造型簡潔挺拔線條流暢，動感與張力。此尊佛像形造型 端莊嚴整及體碩大甚為難得，為玉器造像中之精作。 阿彌陀佛，另名無量壽佛。在大乘佛教信仰中，他是西方極樂世界 的教主。阿彌陀佛與東方妙喜國土的阿閦佛有同等地位，密宗以其 為五方佛之一，為蓮花部主，主妙觀察智。在唐朝，善導大師楷定
18世紀 白玉阿 彌 陀 佛
淨土宗之念佛法門，阿彌陀佛成為漢傳佛教中的信仰主流之一。在
來源 : 紐約蘇富比，2004 年 9 月 24 日，拍品 51 號
藏傳佛教中，阿彌陀佛其實也有無量光佛與無量壽佛兩種不同譯 法，與漢傳佛教相同，只是漢傳佛教多意譯作無量壽佛，藏傳佛教 多意譯作無量光佛。
The very even white stone with a few minor blushes to the rear, carved as Buddha seated with hands in abhaya and varada mudra emerging from robes draped around the shoulders and leaving the chest bare, with the soles of the feet exposed in dhyanasana , the face with benevolent meditative expression flanked by large earlobes and framed by the hair indicated by rows studs around a plain domed usinsha.
｜瑰玉天工｜
整料白玉雕成，玉質甚佳，器腹處有一道裂痕。器形端 正，長方口，弧頸，頸部兩側設有象形環，腹呈長方 筒狀，上寬下窄，下承高圈足，圈足外撇。此器保留原 蓋，器蓋如倒鐘，蓋面中央承一蓋鈕，鈕如倒梯形，呈 三階梯狀。頸部及器腹四面皆有紋飾，器頸處呈六角菱 形開光中雕飾有鳳鳥紋，器腹正面為挺拔的松樹及蜿蜒 的柏樹，松葉滿布畫面的上方，同時在樹根旁長有靈 芝，松樹、柏樹及靈芝，松柏長青、延年益壽等吉祥寓 意不言可喻。 於清乾隆25年(1760) 征服回部，和闐玉產地新疆同時 也納入清廷版圖，大量上等的和闐白玉源源不絕地送入 宮廷，至此之後，清宮內府在此時便製作出眾多玉器佳 品，留存至今。
This white jade vase is made of a complete boulder of high quality white jade, of flattened form, the baluster body rising from a stepped foot, the waisted neck surmounted by a lipped rim and flanked by a pair of mythical beast-mask handles each suspending a loose ring, finely carved in low relief to each side with imags of pine trees and cypresses, all between bands of phoenixes and lingzhi above the round foot and below the rim, the domed cover similarly decorated and surmounted by a plain finial, the softly polished stone of an even color with some icy-white inclusions.
Ravenel 64
｜瑰玉天工｜
6 77 AN ELABORATELY CARVED WHITE JADE VASE AND COVER 17th/18th Century H: 24 cm PROVENANCE: Sotheby's New York, 28th/29th September 1989, Lot 449
NT$ 2,400,000 – 3,800,000 HK$ 647,000 – 1,024,000 US$ 82,700 – 130,900 RMB 521,000 – 824,000 17/18世紀 白 玉 松 柏 圖 紋 蓋 瓶 來源 : 紐約蘇富比，1989 年 9 月 28/29 日，拍品 449 號
｜瑰玉天工｜
整料白玉雕成，即為山水景緻與吉祥象徵的合體。此 件作品玉質白潤，少見雜質。紋飾可分為兩面，山子 主體雕刻呈岩盤、山洞，岩壁上攀附著屹立不搖的松 枝，山洞內雕刻有一頭大象，大象帶象牙，回首望 著身後。在大象身後，一位牧象人拄著木棍，立於一 小台階上。雕工精細，連大象皮膚皺紋皆清楚表現。 山子的另一面則是山林裡的一小景，台階從下而上， 山徑穿梭在松樹岩壁間，一位老者兀自立於台階的一 側，貌似眺望遠方。 乾隆中期之後，因為玉材來源無虞，進而製作為數不 少的山子，大者可達數公尺，小者則數公分。山子做 為裝飾陳設品，其上雕刻的圖案多見有歷史故事、山 水景緻及吉祥象徵。
This white jade grotto group is made of a complete boulder of white jade, carved in the form of a richly caparisoned image of landscape and an elephant in it. The elephant is standing within the cave with pine tree branches climbing on it, looking back towards the elephant herder holding a wooden stick. The carving is so detailed that even the wrinkles on the skin of the elephant can be seen clearly. On the other side of the group an image of the forest is depicted, with an old man standing alone on one side of the stairs, looking into the far distance. During Qianlong period, because of the rich resources of jade, jade groups like this one were made in great quantity, big ones to the size of several meters, smalls ones several centimeters, usually used as decorations.
Ravenel 66
｜瑰玉天工｜
67 8 A CARVED WHITE JADE GROTTO GROUP 17th Century H: 17 cm PROVENANCE: Sotheby's New York, 11th/12th April 1990, Lot 242
NT$ 2,400,000 – 3,800,000 HK$ 647,000 – 1,024,000 US$ 82,700 – 130,900 RMB 521,000 – 824,000 17 世紀 白玉 太 平 有 象 山 子 來源 : 紐約蘇富比，1990 年 4 月 11/12 日，拍品 242 號
｜瑰玉天工｜
67 9 A RARE IMPERIAL INSCRIBED ARCHAISTIC RUSSET JADE RHYTON
此玉觥為整塊玉料雕就，隨形呈不規則型，觥外壁頸部淺浮雕一周 回紋，將頸部與腹部分隔開，內以變體夔龍紋為裝飾帶。器身腹部 主體浮雕雲龍，龍口朝上，龍目炯然，龍爪淩厲，鬚髮橫飛，龍頸 較短，雕三層鱗片，其上陰刻網格紋，龍角彎曲，延至器底，設計
Qing Dynasty, Qianlong Period (1736-1795) H: 22.5 cm PROVENANCE: Commandant Paul-Louis Weiller (1893-1993), and thence by descent to the present owner. Christie's Hong Kong, 30 November 2011, Lot 2963
Estimate upon Request 估價待詢
巧妙。神龍周身雲氣繚繞，似幻似真，輔以變體龍紋，古樸神秘， 氣象萬千。整器以商周青銅器為藍本，紋飾圖案無不深具上古青銅 紋飾之氣韻，且仿商周青銅著名之三層花裝飾技法，以淺刻線條於 地紋及紋飾之上的刻繪卷雲紋，完美地於玉器之上再現了上古銅器 繁複華美、嚴謹端肅的藝術風格，古拙敦穆，美輪美奐。商周青銅 之莊嚴神秘與盛世玉器之葆光內蘊淋漓盡致地融合於此觥一器之 上，盡展乾隆朝摹古創新之卓越成就。 此件作品即為乾隆朝玉器製作的翹楚之作，治藝精美絕倫，製作技 法精湛，綜合運用浮雕、淺浮雕、雙勾刻繪等多種技法，佈局有 致，結構考究，層次分明。刻繪手法嫺熟自如，紋飾線條流暢自 然，圖案靈動，立體感強，極富裝飾效果，彰顯了製玉匠人卓越
清乾隆 和闐玉 龍 尾 觥 《 乾 隆 乙 己 御 題 》（ 1785年 ） 款 來源 : 法國將領保羅路易．韋耶舊藏 香港佳士得，2011 年 11 月 30 日，拍品 2963 號
Ravenel 68
脫俗、深功博古的超凡功力。選材精良，採整塊和闐玉，玉色濃烈 並帶有大幅鐵銹紅花紋，玉質細膩，包漿瑩潤，良材美質，佳器天 成，加以精妙雕工，乾隆一朝玉器之雍容華美，盡顯於此。
｜瑰玉天工｜
This lot is carved into the archaistic form of a Gong from Shang-Zhou
口沿內壁刻楷書乾隆御製詩：「龍尾觥自三代有，稱之曰漢傳人
dynasties, worked in the form of a flattened tapering vessel with a
口。開闢來即有和闐，較之炎漢誠更久。和闐雖無觥之名，玉自遙
softly undulating rim, one side decorated with a chilong clambering
年土氣受。留其土華鑿為觥，何異商尊及周卣。五升七升奚必拘，
vertically to the top with one paw resting on the rim and the mouth
刻木詎如刻瓊玖。俗工時樣不可窮，入目翻憐為玉咎。欲引之古
opening up, both rounded edges decorated in low relief with stylised
返厥初，居然考工製精琇。宋綠
lingzhi and shaped scrolls, all against a textured ground of 'comma-
斯穆然既憮然，器易反古世能否。乾隆乙己（1785年）御題」，
swirls', the stone of a uniform white colour. The vessel perfectly
尾落「比德」、「朗潤」二款。刻製工整，字體秀雅，排布有矩。
reincarnates the aesthetics of Shang-Zhou bronze wares onto the
該御題詩名為《詠和闐玉龍尾觥》，收錄於《清高宗御制詩五集·
material of jade with the distinctive grand and splendid style. The
卷十九》。觥是明清仿古玉的一個重要器形，清代仿古玉器造型豐
inscription on this vessel includes a poem and six characters Qianlong
富，雕工、紋飾複雜。可見乾隆帝本人尚雅習古，對其推崇至深。
yiji yuti , which can be translated as 'inscribed by His majesty Qianlong in the yiji year' (corresponding to 1785). The poetic inscription praises this rhyton made of Hetian jade.
白乃雲仍，赤刀大訓堪朋友。對
6 80 A PAIR OF TIANHUANG SEALS
印為對章，裁切規整，田黃色澤金黃純正，均勻通透，雕獸鈕，神 氣活現的靈獸臥伏其上。體態健碩飽滿，肢爪圓健，孔武有力，體
Republic Period H: 4.8 cm Weight：53.2g
NT$ 1,800,000 – 2,600,000 HK$ 485,000 – 701,000 US$ 62,000 – 89,600 RMB 390,000 – 564,000
態威嚴，充滿力量的肌肉結構清晰。田黃石是壽山石中的珍品，為 治印之佳材，自清以來極負盛名。相傳乾隆皇帝曾以田黃石祭天， 並冠予帝帽，故田黃歷來有「石中之王」的尊號。具備細、潔、 潤、膩、溫，凝印石之六德。民間相傳，田黃乃女禍補天時遺留之 寶石，又傳為鳳凰之卵所變，可驅災避邪，益壽延年等。該組印章 石質縝密，紋理細膩，石色潤透，溫澤油亮，整體造型古樸生動。 包漿渾厚流麗，氣脈高古，把玩於手，自能得其樂。
The set of seals is of square section, the warm yellowish-orange soapstone skillfully carved with a mythical beast resting on its
民國 田黃瑞獸 鈕 對 章
haunches on the top of each seal. This set of charming seals is notable for the fine level of detail captured in the small mythical beasts. The vigour of the creature is evident in the muscular body and notched spine together with the animated face which scowls in ferocity. Tianhuang is a dense variety of nacrite which is traded in China as a gemstone and is used for carvings. The material consists mainly of nacrite, but may also contain minor illite or dickite in varying proportions. The most valuable variety consists of golden yellow nacrite with a coating of colourless, transparent to semi-transparent dickite. This material is only known from the Banlian gravel beds near Shoushan, Fuzhou Prefecture, Fujian Province. The Chinese consider Tianhuang stone as a variety of Shoushan stone although true Shoushan stone mainly consists of pyrophyllite.
Ravenel 70
6 81 MEDIHA TING (Taiwanese, b.1975) Golden Beam Ink and colour on paper, Framed 70 x 140 cm
每一個宗教都希望帶給我們光明，那究竟這些「光」是怎樣的呢？這問題也 啟發了定如凈創作《睿光系列》，她嘗試不以感情去推動，而刻意地讓自己 的潛意識去推動，去思考、發揮及捕捉「光」的意義和表達方式，希望呈現 出各種宗教上和靈性上的光芒。這系列的畫，藝術家用了「意象」畫的畫 法。這「意象」畫和傳統中國畫裡的「意象」意思有點不同：就是結合了潛 意識、意識、意境、抽象和具象的畫法。 系列的作品從遠處看，會看見第
NT$ 220,000 – 360,000 HK$ 59,000 – 97,000 US$ 7,600 – 12,400 RMB 48,000 – 78,000
一層的顏色和抽象形態；可是靠近一點，就可以看到背後不同層次的細節， 例如當中其實有以中國水墨來畫出的香港天際線、景觀及社會活動。如果 有自然光線射在畫上，部份的顏色層次會反射不同顏色的光；如貝殼裡七 彩的光與顏色。 另外一個層面，這系列作品配以一些佛教經文——《金剛 經》，當中說的是怎樣看「空性」， 希望能借助經文的力量，給人安靜、 除去負面的情緒，嘗試捕捉「光」正面的意境。 作品呈現出一種愛與和諧 的感覺，以對抗社會上的紛爭與相異——這大概是我們在這時代、這城市中
定如凈
最需要的，同時作者也盼望這系列的作品也可以啟發觀者尋找、珍惜和擁抱
一束金光
你身邊的每一道光。
設色 紙本 鏡框 70 x 140 cm
Mediha Ting's latest series, titled Ray of Light , employs her signature techniques of layering and juxtaposition of the abstract and the figurative on the same paper. From afar, one can view the first layer on the paper: color stains in abstract gestures. On a closer look, there are detailed intricacies on subsequent layers. Common across the series is the focus on what Ting describes as“spiritual light”– the provision of light and love to be shared by all religions. This reflects Ting's Muslim background combined with her Catholic education and keen interest in Buddhism. Also shared amongst the works are the figures of maps from the site of the Umbrella Movement, allowing the viewers to interpret Ting's local heritage. Flowers and nature, particularly orchids, inspire the more demure colour scheme of this series, and provide a balance to the hectic city atmosphere that is also reflected on the work. This series, is a glorious reflection of Ting's varied background and her diverse and mixed philosophy.
6 82 A DEHUA LIBATION CUP
此杯雕成花朵和荷葉狀，以其枝梗苞葉做把或座，有的用廣角製成
17th Century D: 10 cm
有隻小螃蟹，釉面光潤明亮，胎體潔白細膩。杯口橢圓，呈花瓣
長過尺餘的枝梗，中心穿孔後將其變曲至杯口，以供吸酒用。杯內 形，敞口，斜曲腹，整體造型呈犀角杯式。通體施白釉，內外滿 釉。又另呈一番瓷韻美感，與德化製瓷工匠的獨具匠心。
NT$ 60,000 – 120,000 HK$ 16,000 – 32,000 US$ 2,100 – 4,100 RMB 13,000 – 26,000
德化白瓷為純白釉，強光照射下，胎釉中隱現粉紅或奶白色，因此 德化白瓷又有「象牙白」之稱。法國人稱為Blanc de Chine，意為 「中國白」。
The cup is molded to resemble the tapering form of a rhinoceros horn
17世紀 德化仿 犀 角 杯
libation cup, covered overall with white glaze, carved into the shape of lotus blossom and leaves. Inside the cup a small crab is carved as a decoration. The glaze is bright and smooth, of an even white colour . Dehua white wares are all covered in pure white glaze; under intense light, one can detect a hint of pink or off-white colour within the glaze. French people calls that "Blanc de Chine".
Ravenel 72
6 83 A GROUP OF DEHUA CUPS
整體造型呈犀角杯式，杯內壁光潔無紋飾，外壁是祥瑞的動植物紋 於杯壁兩側，一面是「風雲際會」一面是「鶴鹿同春」。
17th Century H: 8 cm
明代釉色多是白中泛淡肉色或奶黃色，清初多為白中泛青。究其 由，明代德化白瓷的燒造偏重氧化氣氛，故瓷色白中泛黃；清代燒 造時偏重還原氣氛，故瓷色多白中泛青；同時清代的製瓷質量逐漸
NT$ 60,000 – 120,000 HK$ 16,000 – 32,000 US$ 2,100 – 4,100 RMB 13,000 – 26,000
下降，胎體較明代厚重，缺少溫潤的感覺。
Each molded to resemble the tapering form of a rhinoceros horn libation cup, the interior smooth and clean, with images of pines, crane, deer on one side and two confronting dragons among clouds on the other side.
17世紀 德化白釉「風 雲 際 會 」 「 鶴 鹿 同 春 」 杯 兩 件
The glaze of Ming wares is mostly pale flesh tone or milk yellow within the white color, while Qing wares are more celadon. The reason is that in the Ming dynasty, the deoxidized white porcelain was fired with a heavy emphasis on the oxidizing atmosphere, so the porcelain color was whitened yellow; in the Qing dynasty, the reducing atmosphere was emphasized during firing, so the porcelain color was more white and blue. The quality of the porcelain in the Qing dynasty gradually declined, as the carcass was thicker than Ming wares and lacked a moist feeling.
6 84 A XING WHITE-GLAZED TEA BOWL
白瓷茶碗。圈足矮寬，足緣以斜刀切整，足心略低陷，呈玉璧底 式。碗壁淺，並從圈足處微弧延伸至卷唇的口緣。此碗內外以白中
Tang Dynasty (618-907) D: 15 cm
閃青的釉料包覆並佈滿細微的土質沁色，直至碗底圈足處。足部無
NT$ 110,000 – 220,000 HK$ 30,000 – 59,000 US$ 3,800 – 7,600 RMB 24,000 – 48,000
同類作品參閱：載於《定州花瓷-院藏定窯系白瓷特展》，臺北故宮
釉處露出著白而細膩的胎質。
博物院，台北，2014年，頁34， 圖版 I-15；另參考載於《中國古代 窯址標本-河北》，故宮出版社，北京，2013年，頁 207。
Sturdily potted, raised on a short foot to a lipped rim, covered overall with a blue-tinged glaze which is very rare to see among the
唐 邢窯茶盞
commonly seen pure-white-glazed Xing wares. Compare a closely related Song dynasty bowl illustrated in Specimens of Ancient Kilns
- Hebei in Collections of the Palace Museum , The Palace Museum, Beijing, p. 207, and Decorated Porcelains of Dingzhou-White Ding Wares from the Collection of the National Palace Museum , National Palace Museum, Taipei, 2014, p. 34, plate I-15
Bottom 底足
Ravenel 74
68 5 A CARVED BAMBOO DEER-FORM CUP
竹雕臥鹿銜靈芝杯，外部以竹雕成臥鹿型態，口含靈芝，內部挖 空可做為酒器用。酒具中以竹為器者多用於明清時期。明清時期
Qing Dynasty (1644-1911) H: 6 cm
NT$ 120,000 – 240,000 HK$ 32,000 – 65,000 US$ 4,100 – 8,300 RMB 26,000 – 52,000 清 竹雕臥鹿銜 靈 芝 杯
盛產竹子的江南地區出現了一批竹藝高手並形成不同的藝術流派 和風格，此時的竹藝製品形制豐富。竹刻藝術達到高峰。
Naturalistically carved to the exterior as a recumbent deer grasping a lingzhi fungus spray in its jaws, the interior deeply hollowed.
6 86 A BAMBOO BRUSHPOT
筆筒呈筒式。外壁刻高士坐于庭苑松蔭下，足顯文人隱士生活情 趣。陰刻技法琢制人物表情、山石、枝葉末節等細微處，以呈現立
Qing Dynasty (1644-1911) H: 15 cm
體感，層次豐富。
NT$ 160,000 – 280,000 HK$ 43,000 – 75,000 US$ 5,500 – 9,600 RMB 35,000 – 61,000
The surface of this sylinder-shaped brush pot is carved with the image
清 竹雕松下高 士 圖 筆 筒
Ravenel 76
of "Scholar Under the Pine Tree". The craftsmanship displays a strong sense of three-dimension with abundant delicate details.
6 87 AN INLAID HARDWOOD TABLE SCREEN
插屏邊框硬木製。屏心黑漆地，以白玉、琺瑯、紅木等百寶嵌飾以 屏正面；另一面則以描金所飾「花中之王」牡丹與蝴蝶，有富貴福 疊的寓意。
Qing Dynasty (1644-1911) H: 55.5 cm
在眾多文房雅玩當中，插屏屬於案上用具中尺寸最大的其中一類， 與此拍品同類大小的插屏，則多用於書桌或案頭陳設，既有實用功
NT$ 190,000 – 340,000 HK$ 51,000 – 92,000 US$ 6,500 – 11,700 RMB 41,000 – 74,000
能，亦具觀賞性。
Framed by hardwood, this upright rectangular panel is inlaid with Baibao on the front side, which is high-end decorative craft with wood and lacquerware embedded by jade, enamel and hardwood. The back painted with lively peony and butterflies by gold wires is to
清 硬木嵌百寶 桌 屏
imply wealth and luxury, and twofold auspicious fortune respectively.
68 8 A BOXWOOD BRUSHPOT
依循原木自然的狀態雕刻，模仿樹木曲折的紋路以及凸起的結瘤， 光滑面呈金黃焦糖色澤，隨著歲月累積顏色更為深沉。
Qing Dynasty (1644-1911) H: 14 cm Naturalistically carved from a single piece of boxwood, the vessel
NT$ 260,000 – 460,000 HK$ 70,000 – 124,000 US$ 9,000 – 15,800 RMB 56,000 – 100,000 清 黃楊木筆筒
Ravenel 78
emulating the gnarled twists, the wood with a smooth. Each simulating a tree stump, featuring naturalistically carved knots, raised nodes and pierced holes, the larger of a creamy caramel tone with age patination.
68 9 A BAMBOO 'ODE TO THE RED CLIFF' BRUSHPOT
採用浮雕以及透雕工藝，以不同層次竹雕刻畫赤壁夜遊故事，舟上 圍坐著蘇東坡等人昂首觀景、細品茶香，船尾有家僕煮茗，一旁有 艄公搖槳。人物嘴角上揚，神情輕鬆自在。人物神態逼真，獨具匠心。
17th Century H: 15 cm Elegantly carved with the celebrated scholar-official Su Shi (1037-
NT$ 700,000 – 1,000,000 HK$ 189,000 – 270,000 US$ 24,100 – 34,400 RMB 152,000 – 217,000 17世紀 竹雕 赤 壁 夜 遊 筆 筒
1101) making an excursion to the Red Cliff, the carver of this piece has skilfully achieved a sense of naturalism through the depiction of the gently flowing water and the facial features of Su and his friends who are shown gazing at the landscape.
6 90 A MOTHER-OF-PEARL INLAID LACQUER BOX Ming Dynasty (1368-1644) D: 14 cm
NT$ 360,000 – 550,000 HK$ 97,000 – 148,000 US$ 12,400 – 18,900 RMB 78,000 – 119,000 明 人物螺鈿蓋 盒
69 1 A BLACK-LACQUERED RADEN BOX
盒髹黑漆，蓋內與底內各鑲嵌花果紋，工藝精美。圈足。漆盒精緻 小巧，圓形，上下蓋盒作子母口，通體黑漆，漆色蘊藏寶光，亮
Qing Dynasty (1644-1911) D: 11 cm ILLUSTRATED AND EXHIBITED: Mother of Pearl Inlay in Chinese Lacquer Art, Tokyo National Museum, 1981, no.103
澤溫潤。螺鈿薄如紙，裁切精細，器皿邊沿各飾幾何花紋一周，蓋 面中間，螺鈿裁出各式形狀，拼貼出騎馬人物，以山石樹木為背景 陪襯，尤為精彩。五色閃爍凸顯精美，漆器傳世稀少，保存更是不 易，流傳至今實為難得。 The box is covered in black lacquer, standing on a round foot, of a delicate size and a rounded form, the top inlaid in a paper-thin layer
NT$ 600,000 – 900,000 HK$ 162,000 – 243,000 US$ 20,700 – 31,000 RMB 130,000 – 195,000 清 騎馬人物螺 鈿 蓋 盒 展覽及著錄： 《中國的螺鈿》，東京國立博物館，昭和 56 年 (1981 年 )， 編號 103
Ravenel 80
of mother-of-pearl, azurite, malachite, soapstone, stained bone, cinnabar lacquer, jet, coconut-shell, glass, silver and bronze with a figure riding a horse a landscape set with rockwork and trees. Such an exquisitely crafted, well-reserved lacquered work is rare to see nowadays.
6 92 A CHENXIANGMU LOTUS LEAF SHAPE WASHER Qing Dynasty (1644-1911) L: 9 cm
NT$ 260,000 – 480,000 HK$ 70,000 – 129,000 US$ 9,000 – 16,500 RMB 56,000 – 104,000 清 沉香荷葉形 水 洗 全器刻劃荷塘之景栩栩如生，荷葉形翻捲自如，葉脈 692
清晰。以荷葉為主體，枝葉蜿蜒，花葉在前後輝映著 整個主體，雕成荷花形水洗，使其饒富雅趣。做為文 房中貯水的水呈，展現文人雅士情態。 This washer is carved in the form of a furled lotus leaf, borne on a curled stalk issuing lotus flowers, the rim with lotus leaves on each side.
693 A CHENXIANGMU BODHISATTVA OF THE HIMALAYAS Qing Dynasty (1644-1911) H: 11 cm
NT$ 320,000 – 550,000 HK$ 86,000 – 148,000 US$ 11,000 – 18,900 RMB 69,000 – 119,000 清 沉香雪山大士
此尊雪山大士相貌奇古，肉髻微聳，螺髮中嵌髻珠， 雙眉彎曲，唇上及口角之外美髭蟠結成捲，含蓄自 然。大士呈右舒坐，聳肩屈肘，雙手扶右膝，支撐下 顎，以表現其深山獨處，思維坐禪情景，刻工精細。 The emaciated figure is cast with his head bent forward and one leg raised to support his boney arms. His hair, moustache and beard are styled in tight curls and he bears a contemplative expression on his face. He wears a loose dhoti , tied to his waist with a tasselled rope.
693
6 94 A CARVED CINNABAR LACQUER BRUSH AND COVER Ming Dynasty (1368-1644) L: 25 cm
通體髹朱漆，頂部雕盛開的菊花一朵，筆帽及筆身遍布葵花，朱漆 色澤肥厚鮮麗，刀法精細嫻熟，極富立體感，可見明代雕漆在發展 的基礎上，得到了輝煌的成就。 The slender and cylindrical form was covered in red lacquer, well-carved with a full-bodied flora patterns and a blossoming
NT$ 150,000 – 280,000 HK$ 40,000 – 75,000 US$ 5,200 – 9,600 RMB 33,000 – 61,000 明 剔紅雕漆花 卉 紋 筆
Ravenel 82
chrysanthemum on the top of its cover. The lot vividly shows the sophisticated lacquer carving techniques from Ming dynasty.
6 95 A 'LINGBI' BRUSH REST
此石為天然的靈壁石所製成，硯山高絕，兀立崢嶸，石勢縱恣；器 表嶙峋，滿布皴褶、紋路與凹坑；又有險峻幽壑、貫通透洞穿鑿於
Qing Dynasty (1644-1911) H: 11.5 cm
NT$ 80,000 – 160,000 HK$ 22,000 – 43,000 US$ 2,800 – 5,500 RMB 17,000 – 35,000
其中，藝匠技藝精湛，於方寸之間收攝大化山水，意境優美，巧奪 天工。配有底座，為文房陳列觀賞精品。
This lot is of vertical orientation, the dark gray resonant stone covered with various crevices, ridges, jagged protrusions, numerous grooves and troughs terminating in round perforations, the surface of the dark rock smooth with a wrinkled texture raised on a fitted wood base. Through the limited scale of this lot, one can sense the spirit of grand landscapes, which makes it a great addition to any collection
清 靈壁石筆山
of scholars' objects.
｜閑居無事可評論，一柱清香自得聞。｜
Ravenel 84
｜ 閑居無事可評論，一柱清香自得聞。｜
閑居無事可評論， 一柱清香自得聞。 睡起有茶飢有飯， 行看流水坐看雲。 元 了庵禪師
香是雅事，和琴棋書畫詩酒茶自是配 合得絲絲入扣，成就傳統文化中一片 動人風景。隨時流轉，相關的精緻工 藝如几榻，箸瓶，銅爐，香盒等應運 而生，在靈光紛呈的器物發展長河中 熠熠生輝。 人類用香的歷史淵源流長，無論東西 方皆視香為珍寶，其中作為代表之一 的沉香，屬於瑞香科沉香屬的喬木， 因感染或外傷，啟動植物本身自癒能 力，分泌油脂抵抗外在侵擾並進行修 復，歷經千百年的等待與因緣方可得 成，故古有﹁一兩沉香一兩金﹂之 說。時至今日，沉香日趨珍罕難得， ﹁大地瑰寶﹂之稱確實當之無愧。
｜閑居無事可評論，一柱清香自得聞。｜
69 6 A WHITE JADE INK REST
白玉質，白玉墨床專門用來承擱墨錠的小案架。深受文人墨客的青 睞。造型簡單，床面為弦紋，亦可當筆架之用，是清中期最實用之
18th Century L: 8 cm
文玩樣式。
NT$ 130,000 – 260,000 HK$ 35,000 – 70,000 US$ 4,500 – 9,000 RMB 28,000 – 56,000
The rectangular ink rest is with scrolling ends and keyfret along the
18世紀 白玉墨 床
Ravenel 86
upper edges, design simple and elegant, appearing to be the most practical kind of literati articles during mid Qing dynasty.
｜ 閑居無事可評論，一柱清香自得聞。｜
69 7 A CARVED CINNABAR LACQUER RECTANGULAR TRAY Ming Dynasty (1368-1644) L: 38 cm
NT$ 360,000 – 550,000 HK$ 97,000 – 148,000 US$ 12,400 – 18,900 RMB 78,000 – 119,000 Details 細節
明 剔紅花鳥紋 盤 此盤造型古樸典雅，牆內外雕纏枝牡丹。盤中葵花開窗中雕 牡丹花鳥，從內而外，纏枝牡丹錯落布局於其中，交錯呼 應，髹黃綠紅漆於其上，利用雕漆厚薄呈現綠葉枝幹，髹漆 厚重，雕工精細圓熟，枝葉花瓣翻捲自然，色彩變化多元， 層層疊疊，巧妙變幻，巧奪天工。盤面帶蛇腹裂紋，可推斷 其年代悠久，然全品狀態保存良好，實屬難得。
This lot is of shallow circular form supported on a short footring, elegantly carved through a layer of deep cinnabarred lacquer to reveal the olive-green beneath, the interior depicting two long-tailed birds soaring and plunging amidst full peony blooms, the birds with outstretched wings gently incised with delicate lines to depict their feathery bodies and heads surmounted by long crests.
｜閑居無事可評論，一柱清香自得聞。｜
69 8 A CARVED CINNABAR LACQUER BOX AND COVER Ming Dynasty (1368-1644) D: 8 cm
NT$ 360,000 – 550,000 HK$ 97,000 – 148,000 US$ 12,400 – 18,900 RMB 78,000 – 119,000
此盒為香盒，子母口，上蓋雕高士攜琴訪友圖，以菊花紋為天，卍 字紋為地，上雕山嵐老松，怪石芭蕉，遠山近樹，層次分明，人物 表情細膩，衣著線條流暢，堆漆厚實而漆色潤澤光亮，工藝高超且 技藝精良。
This lot consists of two parts upper and lower, covered overall with carved red lacquer, with the interior in black lacquer. The box is of the provenance of private Japanese collection, with its original container. Carved on the top is an image of a gentleman carrying a plucked instrument visiting his friends with the 卍 patterns as the
明 剔紅攜琴訪 友 圖 香 盒
background; mountains, rocks, musaceae and trees are also depicted in clear layers.
Ravenel 88
｜ 閑居無事可評論，一柱清香自得聞。｜
6 99 A CINNABAR LACQUER QUATREFOIL TRAY 17th Century L: 23 cm
NT$ 550,000 – 800,000 HK$ 148,000 – 216,000 US$ 18,900 – 27,600 RMB 119,000 – 174,000 17世紀 剔紅雕 花 卉 四 方 倭 角 盤
Details 細節
通體雕紅漆，四邊倭角，牆上雕連續回文，內外皆然。底下有黑漆 雲足，端正典雅。盤中開窗剔紅雕菊花於其上，骨幹蒼勁有力，花 瓣曲折蜿蜒，姿態維妙維肖，將君子之風躍然於上，髹漆厚實且圓 潤，時代風格明顯，並細雕花瓣紋為底，兩者相互呼應，線條精煉 卻完整，實乃不可錯過的佳作。
This lot is covered overall with carved red lacquer, of square section with canted corners, the shallow rounded sides supported on a curved foot of corresponding shape, lacquered in black; the interior centered with a similarly lobed cartouche enclosing lush leafy chrysanthemums vividly depicted, representing the traditional spirit of a gentleman. The lacquer is thick and full, incarnating the style of that period.
｜閑居無事可評論，一柱清香自得聞。｜
70 0 A 'MYTHICAL BEASTS' DRAGON-HANDLED CENSER
爐做簋式，敞口，束頸，鼓腹，圈足。通體鎏金，惟
Ming Dynasty (1368-1644) D: 12 cm
底，飛龍紋、瑞獸紋。下打圈底，花卉紋。使此器於
部分鎏金已剝落。腹壁兩側安獸首垂璫為耳。爐身分 為三部份。上打圈底，鳳紋、如意紋。中水波紋為 淳樸厚重之中流露出威嚴之器，頗具宮廷趣味。器底 銘「雲間胡文明製」款，更添雅趣。古人讀書必焚
NT$ 260,000 – 460,000 HK$ 70,000 – 124,000 US$ 9,000 – 15,800 RMB 56,000 – 100,000
香，一則免除異味，使讀書者心中愉快，再則刺激精
明 局部鎏金銅 瑞 獸 紋 簋 式 爐
Of archaistic gui form, the compressed globular body
神。故古人云「紅祐添香業讀書」之佳句。 胡文明乃明代鑄銅名匠，江蘇松江府人，明晚期著名 工藝家，以製作銅鎏金文房用器見長。所鑄銅爐精美 華麗，為時人所重，故傳世珍品之珍貴。
supported on a flared circular foot rim, set with two loop handles issuing from mythical beasts' masks, the sides chased in relief with a band of phoenix and ruyi at the top and a central band of flying dragons on the background of water pattern, below a band of stylized floras, the base with an incised Hu Wenming mark within a rectangular gilt panel.
Bottom 底圖
Ravenel 90
｜ 閑居無事可評論，一柱清香自得聞。｜
7 01 A GOLD AND SILVER-INLAID BRONZE CENSER
銅錯金銀三足鼎，平口小唇，平肩，鼓腹，朝冠耳。
18th Century H: 15 cm
常用款。
整體滿布崁銀絲、貼金饕餮紋，富麗堂皇，是乾隆全 盛期最喜用，而玉堂石叟款也是18世紀石叟銅製品的
Of ding-form, the deep bowl with an everted rim and PROVENANCE: Collection of John Pullon Acquired from Spink & Son Ltd., London Christie's London, 26th March 2003, Lot 485 Acquired from KNAPTON RASTI
upright handles, all supported on three slender cylindrical legs, elaborate taotie masks enveloping the body between elongated keyfret above and stylized cicadas on the legs below, all inlaid with gold wire, the base centered with a four-character Yutang Shi Sou mark.
NT$ 460,000 – 700,000 HK$ 124,000 – 189,000 US$ 15,800 – 24,100 RMB 100,000 – 152,000 18世紀 金銀錯 饕 餮 紋 三 足 銅 鼎 來源 : John Pullon 舊藏 購自倫敦古董商 Spink & Son Ltd. 倫敦佳士得，2003 年 3 月 26 日，拍品 48 號 購自 KNAPTON RASTI
Bottom 底圖
｜閑居無事可評論，一柱清香自得聞。｜
7 02 A BRONZE CENSER WITH STAND
精銅鑄成，皮色金黃。通體圓口平唇，溜肩垂腹，肩線高度比大於 鼓腹，肩壁兩側貼狻尼首為耳，腹下內斂，下承廣圈足，底部署方
17th Century D: 12 cm
框橫書 「大明宣德年製」三行六字楷書陽文款。
NT$ 260,000 – 460,000 HK$ 70,000 – 124,000 US$ 9,000 – 15,800 RMB 56,000 – 100,000
Finely cast by refined copper with a golden tinge, with a compressed
17世紀 銅狻猊 耳 香 爐
Bottom 底圖
Ravenel 92
globular body rising to a flared rim from a short foot, flanked by two lionhead handles, the base with an inscription cut in relief reading Daming
Xuande Nianzhi (Made in the Years of Xuande of Ming Dynasty).
｜ 閑居無事可評論，一柱清香自得聞。｜
7 03 A BRONZE 'LION-MASK' CENSER 17th Century D: 14 cm PROVENANCE: Sotheby's New York, 15th September 2015, Lot 246
NT$ 300,000 – 460,000 HK$ 81,000 – 124,000 US$ 10,300 – 15,800 RMB 65,000 – 100,000 17世紀 銅獅耳 香 爐 來源： 紐約蘇富比，2015 年 9 月 15 日，拍品 246 號
Bottom 底圖
｜閑居無事可評論，一柱清香自得聞。｜
70 4 AN AGARWOOD SCULPTURE
「千年沉香，萬年紅土」，說明了富森紅土的稀少珍貴，並是除了奇 楠外價值最高的沉。富森產地最為上好，僅次於奇楠，並有「香中之
Weight: 73.9 g
王」的稱號名副。因埋藏土中百年，木質纖維部分自然腐爛，僅存富 含油脂，以甜涼著稱的紅土，常在各種頂級線香中作調味用。
NT$ 650,000 – 900,000 HK$ 175,000 – 243,000 US$ 22,400 – 31,000 RMB 141,000 – 195,000
富森所產沉香的品質在與各區域產沉香相比，無疑是具有絕對優勢 和最高品位的，香氣優雅、溫厚甘甜，並具有非凡的豐富性，氣息 通透輕揚。
Agarwood is formed in the heartwood of aquilaria trees when
富森沉水紅土 沉 香
they become infected with a type of mould. Prior to infection, the heartwood is odourless, relatively light and pale coloured; however, as the infection progresses, the tree produces a dark aromatic resin, called aloes or agar, in response to the attack, which results in a very dense, dark, resin embedded heartwood. On this lot, lines of oud oil can be seen, releasing strong fragrance. Fusen agarwood is undoubtedly of the best quality among agarwood from all districts with its deep sweet fragrance.
Ravenel 94
｜ 閑居無事可評論，一柱清香自得聞。｜
70 5 AN AGARWOOD SCULPTURE
熟結為沉香木結香後死亡，樹根或樹幹倒下埋入土中數百年後，木 質部分被土壤微生物分解、風化、自然腐朽，留下以油脂成分為主
Weight: 130 g
的凝聚物，本件綠棋從表面就可看到聚脂成膏的油脂線，香味濃 郁，不需經過煎香即散發清涼奇楠香氣，餘韻猶存。
NT$ 3,000,000 – 5,000,000 HK$ 809,000 – 1,348,000 US$ 103,300 – 172,200 RMB 651,000 – 1,085,000
熟結綠奇楠的外表有風化層，木色透著青綠，大小適中、有型有肉。 上爐煎香，初香沁涼入腦，清透明亮，穿透力佳。本香轉花果香帶 蜂蜜的甜味。末香轉化乳香杏仁味。高溫涼氣甘醇韻厚。整體香氣 清香涼甜層次綿密豐富，氣韻生動，品評後即感身心凝聚安住，五 感清明心安身安，實屬綠奇楠之上品。
奇楠沉香 Shujie is formed in the heartwood of aquilaria trees several centuries after they die when they become infected with a type of mould. Prior to infection, the heartwoo is odourless, relatively light and pale coloured; however, as the infection progresses, the tree produces a dark aromatic resin, called aloes or agar, in response to the attack, which results in a very dense, dark, resin embedded heartwood. On this lot, lines of oud oil can be seen, releasing strong fragrance.
｜閑居無事可評論，一柱清香自得聞。｜
70 6 A BRONZE TRIPOD CENSER
爐形制標準，為標準器（乾隆賞古圖）之上，亦有此款銅爐，爐耳渾 圓，翹起如拱，平口略收，頸短腹肥，對稱穩重，三足肥潤，收放得
17th Century D: 7.3 cm
NT$ 160,000 – 300,000 HK$ 43,000 – 81,000 US$ 5,500 – 10,300 RMB 35,000 – 65,000 17世紀 銅橋 耳 三 足 爐
Bottom 底圖
Ravenel 96
體，對稱均勻，和諧完美，實為宣爐之精品。款為三行六字「大明宣 德年製」楷書款。字口清晰，字形工整，為典型17世紀款式。 The body of compressed spherical form raised on three short feet, rising to a short waisted neck and flat rim with two upright loop handles, the base with an inscription cut in relief reading Daming Xuande Nianzhi (Made in the Years of Xuande of Ming Dynasty).
｜ 閑居無事可評論，一柱清香自得聞。｜
7 07 A PARCEL-GILT BRONZE PART INCENSE GARNITURE Qing Dynasty, Qianlong Period (1736-1795) H: 13.5 cm H: 6 cm
精銅所製，局部鎏金。一組二件，由瓶、盒組成。銅瓶 略扁，呈橢圓形，細頸，小口，瓶身鑄浮雕與鳳凰和及 蝙蝠等圖案。銅盒為圓角長方形，盒身浮雕變形的夔龍 。兩件底部均有「大清乾隆年製」六字鑄款。 爐、瓶、盒三式興於清代，不同材質，紋飾亦有不同， 一般為室內成組用具。爐以燃香，盒儲香料，瓶內可插
PROVENANCE: Property from the Sui Yuan Zhai Collection Christie's South Kensington, 14th July 2006, Lot 46 Christie's South Kensington, 12th May 2015, Lot 264
鏟香灰所用的鏟、箸，也可以把這三件擺放在几案上作 為陳設品。
This lot is made of fine bronze partially gilt, consisting of
NT$ 420,000 – 600,000 HK$ 113,000 – 162,000 US$ 14,500 – 20,700 RMB 91,000 – 130,000
two pieces with a bottle and a box. The bronze bottle is of slightly flat oval shape with a narrow neck, surface carved with images of phoenixes and bats. The box is of rectangular form, surface carved in relief with stylized chilong. Both of the pieces are inscribed on the bottom with the six-character mark Daqing Qianlong Nianzhi.
清乾隆 銅鎏金 鳳 紋 小 瓶 及 銅 鎏 金 香 盒 一 組 兩 件 來源 : Sui Yuan Zhai 舊藏 倫敦佳士得 , 2006 年 6 月 14 日 , 拍品 46 號 倫敦佳士得 2015 年 5 月 12 日 , 拍品 264 號
Bottom 底圖
｜閑居無事可評論，一柱清香自得聞。｜
7 08 A BRONZE HAND WARMER Qing Dynasty (1644-1911) L: 10 cm
NT$ 80,000 – 160,000 HK$ 22,000 – 43,000 US$ 2,800 – 5,500 RMB 17,000 – 35,000 清 銅提樑暖手 爐
小巧玲瓏，盒蓋幾何線條鏤空。暖手爐是宮廷乃至民間普遍使用的 掌中取暖工具，裡面放火炭或尚有餘熱的灶灰。 With the compressed body surmounted by a short neck, the slightly domed cover intricately pierced with a diaper ground of crosses. Hand warmers were common a heating tool in the court and among the folks, with coal or warming ash in it while being used.
7 09 A BRONZE TRIPOD CENSER 17th Century D: 9.5 cm
NT$ 160,000 – 300,000 HK$ 43,000 – 81,000 US$ 5,500 – 10,300 RMB 35,000 – 65,000 17世紀 三足銅 爐 撇口，頸以下漸斂，溜肩圓腹，腹下漸收，下承三乳足。 器身描繪雙龍戲珠圖，二龍長牙舞爪於祥雲間爭奪一珠，雙 目圓瞪，明珠火焰圍繞，繪工生動有神，底部為「大明宣德 年製」款。 This lot is cast with a round body narrowing down to three small feet, painted on the sides with images of two dragons playing with an orb surrounded by vivid flames,the base with an inscription cut in relief reading Daming Xuande Nianzhi (Made in the Years of Xuande of Ming Dynasty).
Ravenel 98
Bottom 底圖
｜ 閑居無事可評論，一柱清香自得聞。｜
7 10 A BRONZE TRIPOD CENSER Qing Dynasty (1644-1911) D: 8 cm
NT$ 60,000 – 120,000 HK$ 16,000 – 32,000 US$ 2,100 – 4,100 RMB 13,000 – 26,000
Bottom 底圖
清 銅雙魚耳爐
雙魚耳爐，撇口，收頸，斜肩，鼓腹，自然撇足。兩側雙魚為耳。 爐通體栗色，底鑄「大明宣德年製」六字款。 The everted flat mouth rim surmounting the bulging convex sides supporting opposing handles unusually rendered as curving vertical lines of cylindrical section, the foot rim encircling a concave underside bearing a six-character Xuande mark cast in standard script within a rectangular cartouche.
7 11 A GOLD-INLAID BRONZE VASE Qing Dynasty (1644-1911) H: 14 cm
NT$ 70,000 – 140,000 HK$ 19,000 – 38,000 US$ 2,400 – 4,800 RMB 15,000 – 30,000 清 萬字紋描金 花 卉 貫 耳 瓶
此貫耳瓶小口直頸，鼓腹圈足，頸部一對貫耳。耳部及與其相連的 頸部以鏨刻銀絲工藝作錦地紋，器身鑲嵌花卉紋，大朵牡丹花卉紋 分佈器身，枝葉招展，底部採用嵌銀落款石叟二字。尤其通體包漿 靚麗，古意盎然。 This lot stands on a round foot rising to a straight neck, flanked by a pair of tubular handles, the neck encircled by a wide band of motifs with inlaid silver, body covered by images of peonies along with stems and leaves. Shi Sou mark in the bottom of the vase. The whole vase is covered in a fine layer of patina.
Bottom 底圖
｜閑居無事可評論，一柱清香自得聞。｜
7 12 A GROUP OF TWO BRONZE TRIPOD CENSERS
銅沖耳爐唇口為外撇，束頸，鼓腹，下承三足，兩側飾對稱沖
Qing Dynasty (1644-1911) D: 8.5 cm D: 6.5 cm
雅，下承三足，形體莊重敦實，圓渾秀美，其通體飾以弦紋。兩
NT$ 40,000 – 80,000 HK$ 11,000 – 22,000 US$ 1,400 – 2,800 RMB 9,000 – 17,000 清 銅沖耳三足 爐 一 組 兩 件
Bottom 底圖
Ravenel 100
耳，爐身的口唇，雙耳平滑玉潤，三足圓潤短小，素面無紋，皮 殼潤紅，蒼古精煉。另一件為銅沖耳弦紋三足爐，造型古樸典 件底部都鑄減地陽文「大明宣德年製」款六字三行楷書款。
One lot displays the compressed body supported on three bulging feet, with an everted rim flanked by a pair of curved handles, the other lot also standing on three bulging feet with the body covered overall with bow string patterns. The bases of both lots are cast with an apocryphal six-character Xuande mark.
｜ 閑居無事可評論，一柱清香自得聞。｜
7 13 A BRONZE 'LION-MASK' CENSER
此爐唇口微翻，收頸，兩獸形耳，鼓腹，圈足。底部為「大明宣德 五年監督工部官臣吳邦佐造」款。
17th Century D: 13.5 cm
吳邦佐，是宣德鑄爐時的工部吏臣，也是爐式、款式、色種的設計 者。吳邦佐曾為宮廷宗廟、社堂，鑄造了大批銅器，但同時亦「私
NT$ 140,000 – 280,000 HK$ 38,000 – 75,000 US$ 4,800 – 9,600 RMB 30,000 – 61,000 17世紀 銅獅首 耳 爐
鑄」了銅爐出售，所造銅爐精妙絕倫，為世人所珍。
The bronze censer with mythical beast handles and a round body standing on a round foot, Inscribed on the bottom sixteen characters Daming Xuande Wunian Jiandu Gongbu Guanchen Wu Bangzuo Zao Wu Bangzuo is a highly celebrated imperial brass craftsman during Xuande period.
Bottom 底圖
｜閑居無事可評論，一柱清香自得聞。｜
7 14 A BRONZE 'MYTHICAL BEAST' INCENSE BURNER Ming Dynasty (1368-1644) H: 8 cm
NT$ 100,000 – 220,000 HK$ 27,000 – 59,000 US$ 3,400 – 7,600 RMB 22,000 – 48,000 明 銅鎏金瑞獸 香 燻
此銅鎏金甪端香爐四腳站立，兩側旋渦形如意雲紋，獸首為 蓋，獸身為爐，兩者合一成香薰。與多數甪端昂首張口形象 不同，此式面目祥和、帶有福瑞之氣。 Boldly cast as an incense burner in the form of a luduan depicted with the hollow body cast with flaming flanks, the 714
back flames terminating in stylised ruyi heads, around an elaborate tail with skilfully delineated tufts of hair. Luduan 's head serves as the cover while its body is the main vessel.
715 A GROUP OF TWO QINGBAI COSMETIC BOXES AND COVERS Song Dynasty (960-1279) D: 6 cm D: 4.5 cm
NT$ 110,000 – 220,000 HK$ 30,000 – 59,000 US$ 3,800 – 7,600 RMB 24,000 – 48,000 宋 影青印花香盒兩件一組 蓋盒為花瓣形，頗為雅緻，子母口，蓋可扣置於上，平底、蓋 面刻花卉為紋飾，古樸大方。釉色為影青，介於青白之間。 715
This lot consists of two lobed cosmetic boxes elegantly moulded on the cover with floral patterns, resting on a flat base. The color of the glaze rests between celadon and white.
Ravenel 102
｜ 閑居無事可評論，一柱清香自得聞。｜
7 16 A DEHUA RIBBED TRIPOD CENSER 17th Century D: 13.5 cm
NT$ 160,000 – 280,000 HK$ 43,000 – 75,000 US$ 5,500 – 9,600 RMB 35,000 – 61,000 17世紀 德化白 瓷 筒 式 弦 紋 爐 此弦紋三足爐，直口筒腹，下承三足如意紋，造型古樸典雅，形體 莊重敦實，圓渾秀美。其通體飾以弦紋三道，清代德化窯燒製白 瓷，釉色不似明代的白中微微閃紅，而是白中透青。器形端莊，釉 面渾厚滋潤，釉色均勻，為清代德化白瓷佳作。 716
This lot is of cylindrical form supported on carved ruyi -form feet and rising to a lipped rim, finely incised around the center of the body with a leiwen ground between two raised fillets, a third fillet encircling the base.
717 A DEHUA GUI-FORM CENSER 17th Century D: 11 cm
NT$ 160,000 – 280,000 HK$ 43,000 – 75,000 US$ 5,500 – 9,600 RMB 35,000 – 61,000 17世 紀 德 化 白 瓷 簋 式 爐 此為白瓷簋式爐，壁薄質堅，細潤沉靜。圓口，束頸溜肩，圓 鼓腹，腹下漸收，下承圈足。頸肩兩側出一對鳳式戟耳線條屈 曲流轉，簡潔有力。全器古樸自然，具素雅的韻致。 Based on the archaic bronze gui censer with a deep U-shaped body rising to a waisted neck and extending to a slightly swelling belly, carved on the exterior and supported on a round foot, the 717
sides flanked by a pair of C-shaped handles issuing from the mouth a mythical beast, the white body covered with an ivorytinged clear glaze.
7 18 A BRONZE TRIPOD CENSER Qing Dynasty (1644-1911) D: 8.7 cm
NT$ 160,000 – 260,000 HK$ 43,000 – 70,000 US$ 5,500 – 9,000 RMB 35,000 – 56,000 清 紫銅香爐
71 9 A CLOISONNE ENAMEL ARCHAISTIC CENSER AND COVER Qing Dynasty (1644-1911) H: 14 cm
NT$ 500,000 – 750,000 HK$ 135,000 – 202,000 US$ 17,200 – 25,800 RMB 108,000 – 163,000 清 掐絲琺瑯獸 面 紋 鼎 式 蓋 爐
長方形鼎爐，為九鼎之一式，雙直板耳。八面出戟，四面饕餮。蓋 鏤纏枝通氣，上立花卉為鈕。立筒式四足，通身金燦，工藝精細， 器型方整，穩若泰山。實與夏商周三代紋飾細部存在諸多不同，更 多透出清代乾隆後的華麗吉慶之氣象。 The rectangular section body raised on four high straight legs with two straight ears. brightly enamelled to each face with a large taotie mask reserved on a turquoise ground and divided at the centre and corners by gilt notched flanges, the broad everted gilt rim set with a pair of loop handles decorated with ruyi scrolls on a turquoise ground. This lot has abundant exquisite details that difference its design from the one of Xia, Shang and Zhou dynasties, making it with a unique style of the Qianlong period.
|
104
7 20 TADAO ANDO (Japanese, b.1941) Architectural Manuscripts of Naoshima Museum (A set of 4 ) 2004 Oil chalks and encreon paper 1. 18 x 15 cm 2. 18 x 24 cm 3. 24 x 17 cm 4. 17 x 12 cm
NT$ 80,000 – 160,000 HK$ 22,000 – 43,000 US$ 2,800 – 5,500 RMB 17,000 – 35,000 安藤忠雄 直島地中博物館建築手稿（四件一組） 蠟筆 油彩 紙本
2
4
1
3
7 21 A JADE 'POMEGRANATE' PENDANT PLAQUE
白玉玉質溫潤，色澤光雅。長方厚實。兩側皆開光減地。額首靈 芝紋飾，中央雕刻葡萄，另一面中央開光陽刻百子二字。百子寓
18th Century L: 6 cm
意百子千孫。 Carved in low relief on top of the white jade plaque with a lotus
NT$ 380,000 – 600,000 HK$ 102,000 – 162,000 US$ 13,100 – 20,700 RMB 82,000 – 130,000 18世紀 白玉「 榴 開 百 子 」 牌
Ravenel 106
base in the shape of a butterfly, along with a pattern of Lingzhi and grapes in the center. On the other side, the center is carved in relief with an inscription reading Baizi meaning abundant offspring.
72 2 A WHITE JADE PENDANT
此件白玉牌，色澤潤白、玉質綿密。浮雕蘇武，手持漢節，神情堅 毅。身旁兩隻山羊乖巧順從，蘇武牧羊愛國形象生動，象徵不辱使
18th Century L: 5.5 cm
命的高貴氣節。
PROVENANCE: Acquired from Linda Wheatley Antiques in 2010
The white jade pebble intricately carved in relief, vividly, with the image of Su Wu holding the Han scepter with a strong face and two sheep next to him.
NT$ 380,000 – 600,000 HK$ 102,000 – 162,000 US$ 13,100 – 20,700 RMB 82,000 – 130,000 18世紀 白玉蘇 武 牧 羊 詩 文 牌 來源 : 2010 年購於英國 Linda Wheatley Antiques 詩文 : 書言武在某澤 於是單于遣還 李陵置酒與武談
7 23 A WHITE JADE 'CHI DRAGON' CUP
白玉雙耳圓杯，圈足。兩旁各鏤空雕梅花螭龍紋，螭龍攀於杯口， 梅花盤繞螭龍，口啣杯沿，尾部附於杯腹底邊，肩背高聳，形體誇
Ming Dynasty (1368-1644) H: 6 cm
張，雙邊對映，是明朝特有的雕法。
PROVENANCE: Acquired from Roger Keverne in 2006
Carved with a pair of openwork handles in the form of a chilong clambering on the rim, each detailed with an undulating bifurcated tail extending across the vessel. This is a typical design from Ming
NT$ 420,000 – 600,000 HK$ 113,000 – 162,000 US$ 14,500 – 20,700 RMB 91,000 – 130,000 明 白玉梅花螭 龍 雙 耳 杯 來源 : 2006 年購於倫敦 Roger Keverne
Ravenel 108
dynasty.
72 4 A SPINACH-GREEN JADE VASE
A fine piece of spinach-jade with black dots in its texture is the typical feature of Chinese jade pieces. The piece has a unique style and a
18th Century H: 17.5 cm ILLUSTRATED: The Display and Connoisseurship of Qing Dynasty , C.H. WANG& CO. Chinese Art, Taipei, 2005, p. 43
NT$ 1,200,000 – 1,800,000 HK$ 323,000 – 485,000 US$ 41,300 – 62,000 RMB 260,000 – 390,000
sophisticated layout, supported by solid cutting and fine abrading. The body takes the shape of a gu (ancient Chinese alcohol vessel), with a phoenix sculpture standing on the rock on the right, giving a majestic impression. On the left side there is a qilin looking back while breathing a piece of auspicious cloud to support a treasure pot. The piece describes a scene similar to what was written in Spring and Autumn of Wu and Yue: “Yu the Great gave rise to the people, while the phenix stood on the tree and the qilin spreaded around the garden.” Qilins are peaceful animals. They do not hurt living creatures and can step on grass without disturbing it. Phoenixes are auspicious birds. When they fly in pairs, it is a sign that wise men shall gather. The
18世紀 碧玉鳳 凰 瑞 獸 觚 式 花 插 著錄 : 《玉律清賞 - 清代陳設與雅玩玉雕》， 漱玉樓，台北，2005 年，頁 43
碧玉，質地潤澤中帶有黑色星點，為中國碧玉的標 準特徵。造型獨特，布局精巧，刀工篤實，打磨細 緻；器身以觚型為主體，右側雕一鳳凰棲立岩石 上，形象端麗。左側雕一回首麒麟，氣吐祥雲烘托 寶瓶。氣象萬千；古書”吳越春秋”所云:禹養萬 民，鳳凰棲于樹，麒麟布于庭。 麒麟為仁獸，不踏生靈，不損草木，鳳為祥禽，鳳 凰雙飛，賢士齊集，故麒麟鳳凰二者的組合，使為 天下太平，致福祥瑞的吉祥表徵，寓意麟鳳呈祥。
piece combines the qilin with the phoenix, symbolizing a peaceful world, happiness and auspiciousness in its picture. These animals present the auspice of a bright future.
7 25 A PAIR OF WHITE AND SPINACH-GREEN JADE PARFUMIERS Qing Dynasty (1644-1911) H: 20.5 cm PROVENANCE: Acquired from Sydney L. Moss Ltd., London 28th July 1967 Christie's London, 14th May 2013, Lot 15
NT$ 1,500,000 – 2,200,000 HK$ 404,000 – 593,000 US$ 51,700 – 75,800 RMB 325,000 – 477,000 清 白玉鏤空雕 山 水 人 物 圖 香 筒 來源 : 1976 年 7 月 28 日購於倫敦 Sydney L. Moss Ltd 倫敦佳士得，2013 年 5 月 14 日，拍品 15 號
Ravenel 110
白玉質，溫潤細膩，圓通形身，香筒由整塊玉材料雕琢而成。器身 外壁以透雕、浮雕以及圓雕技法雕山水人物，山崖峭峻，重巒疊 嶂，蒼松翠柏，亭台軒宇，古樹蒼天，老者信步山水之間，一幅仙 界景象。香筒配碧玉底與蓋，底蓋均刻迴紋一周。 香筒即為香薰，亦作香籠，是即實用而又具有觀賞性的文房用品。 此器雕工精細，層次突出，碧玉圓蓋與器身子母口相接，而工匠在 打磨時故意將口沿打磨成不規則圓形，只要輕輕扭動，就可防止蓋 從器身脫落，此為清代玉雕香筒一大特點，而碧玉底與器身所作螺 栓及螺母設計在同類器物中則極為罕見。清宮廷中亦見類似器物， 參閱北京故宮博物院藏一對玉鏤雕山水人物香筒，見楊伯達主編， 《中國玉器全集》，河北美術出版社，1991年，頁556，圖版84； 另見三藩市亞洲藝術博物館藏一對19世紀青白玉透雕香筒，其蓋 與底部採用碧玉的設計與本香筒類似，Knight, Li & Bartholomew， 《Chinese Jades: Ming Dynasty to Early Twentieth Century From the Asian Art Museum of San Francisco》，三藩市，2007年，頁307， 圖版353。
The cylindrical body finely worked in reticulation with a continuous landscape scene featuring three sages strolling amongst pavilion, pine trees and rockwork, one of the old man adorned in long flowing robes holding a peach, the other depicted carrying a basket of wild herbs, one hand holding a walking stick and the other a stem of lingzhi, the third with a peach in his right hand and a long leafy stem issuing a finger citron, all framed within thick circular ends with pierced shou characters encircled by two bats in flight amidst clouds and bordered by keyfret scrolls, the stone of pale green with russet tones, the ends of dark green hue. Jade parfumiers creates in the Qianlong era are preserved in a number of museum and private collections, but it is rare to find a white jade parfumier with the covers worked from spinach jade. For similar examples of jade parfumiers preserved in the Palace Museum, Beijing, see a pair of reticulated jade parfumiers, decorated with an intricate landscape in openwork with overlapping layers of rocks, illustrated in Yang Boda, Collections of Chinese Jade , Hebei, 1991, p.556, pl.84. See also an example illustrated by Knight, Li and Bartholomew, Chinese Jades: Ming Dynasty to Early Twentieth Century From the Asian Art Museum of San Francisco , San Francisco, 2007, p.307, pl.353.
72 6 A WHITE JADE LOUHAN MOUNTAIN
白玉質。正面減地雕刻坐姿羅漢，羅漢衣著寬大袈裟，跣足坐於山石之上， 手持經卷，面露笑容。其前有焚香頌經，其後為雕鑿山巒，層層疊加而上，
Qing Dynasty (1644-1911) H: 12 cm
以立體之態，表現深遠意境。 玉石背面雕刻層山小景，前景處為栩栩如生的羅漢，以浮雕手法雕刻，古樹蒼
NT$ 1,500,000 – 2,200,000 HK$ 404,000 – 593,000 US$ 51,700 – 75,800 RMB 325,000 – 477,000
勁挺拔，枝葉繁茂，參天如雲之氣勢，中景以深刀剔刻表現群山綿延，開闊平 遠；遠景則不甚雕琢，借於玉石平滑與褐色微瑕，宛如雲霞點綴的蒼茫天際。 背面雕刻放眼而望，猶若水墨山景，充滿畫意。與端坐羅漢形成呼應。 整件雕刻隨形就勢，正面的深挖圓雕與背面的浮雕淺刻形成藝術對比，而幽 深如雲的高山又烘托出邏漢所處世外的靜謐與高古，景物塑造、人物寫照與 意境烘托渾然一體，巧工奇思，韻味悠然。
清 白玉羅漢山 子 玉山子帶底座，與山子風格一致，氣韻共通。白玉溫潤清瑩，琢磨精細，用 於文房陳設，更添幾分雅趣與禪意。
The jade mountain carved on the front side with the Luohan holding a scroll of script seated in lotus pose on a rock, a small incense burner emitting wafts of smoke with him deep in reading the script. On the other side scenery of mountains is carved on the caramel-brown of the jade as a background, appearing as if it's an ink landscape. The design conforms to the shape and the color of the jade, displaying a great artistic value.
Ravenel 112
7 27 A JADEITE 'MAGPIE ON PLUM TREE' VASE AND COVER
翠質青綠。光澤清潤柔和。整體造型端正，自然簡練，雍容大氣，
Qing Dynasty (1644-1911) H: 18.5 cm
中。此瓶帶底座，雕刻山石竹草，與翠瓶風格一致，氣韻共通。
詮釋翠玉典雅之態。枝葉部分使用鏤空雕與高浮雕呈現多層次立體 感。瓶身部分則以一對喜鵲登梅樹相互對唱，在萌芽和梅花盛開之
梅花枝頭站立兩隻喜鵲，古人認為鵲能報喜，故稱為喜鵲。兩隻喜鵲及 PROVENANCE: Acquired from Butterfields San Francisco in the 60's
雙喜之意。梅與眉同音，故喜鵲登在梅花枝頭，寓意「喜上眉梢」。
NT$ 800,000 – 1,200,000 HK$ 216,000 – 323,000 US$ 27,600 – 41,300 RMB 174,000 – 260,000
Carved as a flattened baluster vase raised on a rocky base from which
清 翡翠「喜上 眉 梢 」 蓋 瓶 來源 : 60 年代購於舊金山 Butterfields
grows a prunus tree carved in high relief and openwork on one side. Two Oriental magpie-robins facing each other on a flowering plum blossoming tree, one perched on a higher branch looking down towards its companion on a lower branch, amidst budding and plum blossoming flowers. With original wood stand.
7 28 A FINE CLOISONNÉ ENAMEL INCENSE BURNER AND COVER
琺瑯彩釉鮮明艷麗，整體金碧輝煌，體現了盛清時期掐絲琺瑯工藝
Qing Dynasty (1644-1911) H: 38.5 cm
意，寓意吉慶。
達到高峰。本器以象首為足，故以「太平有象」之名，寓意天下太 平、五谷豐登。器身飾連綿不斷纏枝蓮紋，具有「生生不息」之
這類大型敦厚的蓋爐常為宮廷陳設品，可為實用之器，通常放置於
NT$ 900,000 – 1,300,000 HK$ 243,000 – 350,000 US$ 31,000 – 44,800 RMB 195,000 – 282,000
殿堂內兩側堂陛之下，用以焚香和美化大堂。
Cast with a deep basin rising to the body of a shape of a ding, finely enamelled with floral sections, all supported on three gilt cabriole legs in the form of elephant heads wishing for all the peace and richness in the world.
清 掐絲琺瑯太 平 有 象 三 足 爐
This kind of large-scale incense burners often is for court display, usually located on two sides of the court room, used for decorating and incensing the hall.
Ravenel 114
7 29 A CLOISONNÉ ENAMEL JARDINIÈRE
本器整體收腰成一個長方倒梯形，端正別致。底部四小足挺立，器 身四周的掐絲琺瑯飾以卷草紋及花卉，花枝舒展，構圖繁密。是清
Qing Dynasty (1644-1911) H: 14 cm PROVENANCE: Christie's Hong Kong, 30th October 2001, Lot 685
代瓷器多見的紋飾題材。中央開光部分為鎏金銅雕飾，以成雙的鯰 魚與蝙蝠遨遊於捲雲紋和折枝花紋飾之間，寓意福壽雙全。
This lot is of tapered rectangular section, the exterior painted with paired fish and bats in blossoms and branches in brightly colored
NT$ 420,000 – 600,000 HK$ 113,000 – 162,000 US$ 14,500 – 20,700 RMB 91,000 – 130,000 清 銅鎏金掐絲 琺 瑯 花 盆 來源 : 香港佳士得，2001 年 10 月 30 日，拍品 685 號
Ravenel 116
enamels as of the commonly seen design among Qing wares, raised on four small feet.
7 30 A CLOISONNÉ ENAMEL 'BAJIXIANG' JARDINIÈRE
呈八角形，折沿口，斜收腹，平底。器身掐絲琺瑯飾水浪紋及八吉
Qing Dynasty, Qianlong Period (1736-1795) H: 16 cm
八吉祥紋，為藏傳佛教象徵吉祥的八件寶物。乾隆年間，滿人掌握
祥紋。
了對西藏和蒙古的統治權，乾隆帝推崇藏傳佛教，也在宮中進行佛 教禮儀，利用佛教來鞏固自己的統治。因此八吉祥紋自十八世紀便
PROVENANCE: Christie's New York, 22nd March 1999, Lot 64
常用於器物題材裝飾，象徵皇權至高無上。
NT$ 800,000 – 1,200,000 HK$ 216,000 – 323,000 US$ 27,600 – 41,300 RMB 174,000 – 260,000
This lot is of a octagonal form, the rounded sides rising sharply to a flared rim, painted on the exterior with cloisonné enamel the bajixiang tied with curling ribbons amidst scrolling clouds and plump peaches, the rim with a border of stylised cloud swirls, all supported on three lemon-yellow cloud-shaped feet Tibetan Buddhists make use of a particular set of eight auspicious
清乾隆 掐絲琺 瑯 八 吉 祥 花 盆
symbols, bajixiang (ashtamangala), in household and public art. Some
來源 : 紐約佳士得，1999 年 3 月 22 日，拍品 64 號
do these attributes, these energetic signatures, point to qualities of
common interpretations are given along with each symbol. Not only enlightened mindstream, but they are the investiture that ornaments these enlightened "qualities".
7 31 LI JING (Chinese, b.1972) Wind in Pines Among a Myriad of Valleys
李淨
2015 91.4 x 179.5 cm Signed LIJING in Chinese With three seals of the artist
半壑松風
NT$ 380,000 – 550,000 HK$ 102,000 – 148,000 US$ 13,100 – 18,900 RMB 82,000 – 119,000
Ravenel 118
2015 91.4 x 179.5 cm 款識：半壑松風，一灘流水。白雲度嶺而不散，山勢接天而未止。 別有日月，問是何世。倘欲置身其中，可以逍遙自樂。仿彼巢由， 庶幾周生，無北山之嘲矣。錄南田畫跋句。乙未秋，李淨。 鈐印：李（朱）、淨（白）、心孤欲禪（朱）
7 32 A DEHUA CENSER Qing Dynasty (1644-1911) D: 25 cm
NT$ 70,000 – 140,000 HK$ 19,000 – 38,000 US$ 2,400 – 4,800 RMB 15,000 – 30,000 清 德化白瓷獸 耳 香 爐
73 3 TAI XIANGZHOU (Chinese, b.1968) Taihu Stone 2013 160.3 x 58.2 cm Signed XIANGZHOU in Chinese With one seal of the artist
NT$ 750,000 – 900,000 HK$ 202,000 – 243,000 US$ 25,800 – 31,000 RMB 163,000 – 195,000 泰祥洲 太湖石 2013 160.3 x 58.2 cm 款識：癸已，祥洲製。 鈐印：祥州（朱）
Ravenel 120
73 4 A GE TRIPOD CENSER
直口，弧腹，鬲足。口沿兩側置耳，形制傳承明代宣德爐的造型， 釉色瑩潤如玉，密布灰黑色細小紋片，開片自然，錯落有致，頗有
Qing Dynasty or Before Qing (-1911) H: 9 cm PROVENANCE: Sen Shu Tey, Tokyo
宋代哥窯的氣息，造型古樸典雅，展現出清朝仿古極盛的風氣，不 失為一件仿宋代哥釉的成功之作。
Cast in a style inherited from Ming dynasty Xuande period, with rounded sides raising to a straight neck standing on three feet,
NT$ 700,000 – 1,000,000 HK$ 189,000 – 270,000 US$ 24,100 – 34,400 RMB 152,000 – 217,000 清或更早 哥釉 雙 耳 爐 來源 : 千秋庭，日本
covered overall in an opaque glaze of soft jade-like tone suffused with a matrix of greyish-black crackle. This lot displays a successful imitation of the Ge wares from Song dynasty.
73 5 A WHITE CLAY WILD GOOSE POT Qing Dynasty (1644-1911) H: 8 cm
NT$ 60,000 – 120,000 HK$ 16,000 – 32,000 US$ 2,100 – 4,100 RMB 13,000 – 26,000 清 白泥蘆雁圖 詩 文 壺 此壺白泥質地，繪「葦間月下的鴻雁」，一支蘆花，用筆蓬鬆，輕 盈隨風；所畫鴻雁，一筆而成，由濃而淡；羽翮柔軟潤澤，無不情 趣橫溢。年代久遠，有使用痕跡，但器物保存完成，可見為主人飲 茶經常使用的心愛器物。 This pot is made of white clay, painted on the sides with images of
735
reeds and a wild goose, along with poem texts. The wild goose is painted with one brushstroke, colour hue from thick to light, full of artistic enjoyment. Traces of usage can be seen on the pot but the piece is still well-reserved, from which one can detect the owner's love towards this object.
736 A INSCRIBED TEA STOVE LIU-PEI MARK Qing Dynasty (1644-1911) H: 18.2 cm
NT$ 150,000 – 300,000 HK$ 40,000 – 81,000 US$ 5,200 – 10,300 RMB 33,000 – 65,000 清 留佩款白泥涼爐 邵景南（1796－1874），號留佩主人。清道光年間製陶名藝人，清 末宜興上袁村「邵家壺」傳人，善仿明代名壺，傳器底有「姑蘇留 佩」款水平壺，所製壺器均由邵二泉銘刻，工於制壺，製作精細， 品類較多，壺底常用「邵景南制」線框陽文楷書印，口內常用「景 南」堅定橢圓楷書章。 Shao Jingnan (1796-1874), also named as Liupei Zhuren, a celebrated ceramic maker during Qing Daoguang period, especially professional in imitating famous pots from Ming dynasty. His creation includes 736
various types, displaying unparalleled skills, often inscribing Shao Jingnan Zhi on the bottom of his tea pots, with the seal Jingnan on the inside.
Ravenel 122
73 7 A GROTESQUE WOOD LOW TABLE Qing Dynasty (1644-1911) H: 16 cm
NT$ 70,000 – 120,000 HK$ 19,000 – 32,000 US$ 2,400 – 4,100 RMB 15,000 – 26,000 清 靈椿黑漆奇 木 香 几 737
738 A CARVED BAMBOO WALKING STICK Qing Dynasty (1644-1911) L: 88 cm
NT$ 10,000 – 30,000 HK$ 3,000 – 8,000 US$ 300 – 1,000 RMB 2,000 – 7,000 清 刻柳蔭仕女竹杖 竹杖以細密緊緻的竹製成，包漿溫潤有光澤，一仗刻一身著和服的 女子，面目刻畫精細傳神，衣著用簡單的刀法刻出和服的紋飾。其 他地子採用網格狀紋飾填充。經過多年的使用和把玩，使得在握把 處色澤紅潤，尤為可人。 The bamboo stick is made of fine, compact bamboo, moist and shiny. The woman dressed in a kimono is engraved on the surface of the stick, portrayed with great details. Her garment is depicted with simple but vivid lines, filled with grid-like patterns. After many years of using and playing with, the color of the grip is ruddy, which is particularly pleasing to the eye. It can be seen that the craftsman can use the knife as a pen and one can easily feel the exquisite craftsmanship of the old master. 738
73 9
740
A DRAGON JUNIPER WALKING STICK
A SILVER-MOUNTED WALKING STICK
Qing Dynasty (1644-1911) L: 91.5 cm
Qing Dynasty (1644-1911) L: 90 cm
NT$ 30,000 – 60,000 HK$ 8,000 – 16,000 US$ 1,000 – 2,100 RMB 7,000 – 13,000
NT$ 30,000 – 60,000 HK$ 8,000 – 16,000 US$ 1,000 – 2,100 RMB 7,000 – 13,000
清「步步」龍 柏 木 手 杖
清 嵌銀木杖
天然籠柏木隨形手杖，木質堅硬，其上癭結舒朗有致，經多年摩
在中國有一種獨特的杖文化。尤其是中國禪宗通過拄杖表達的那些
挲，包漿潤澤無匹，色澤深沉可人。杖頂端刻有「步步」二字，杖
禪心、禪機，更是具有獨特的文化意義。此手杖天然隨形而製，色
首呈龍頭狀，龍嘴，龍眼，龍角皆映入眼簾。龍首一側的根木肌理
呈橘紅，杖首嵌銀質裝飾，上刻安藤款識。已傳世近百年，通體巧
橫生，上刻藤蔓植物從杖頭向下蔓延，枝葉刻畫清晰，邊刻有片岡
妙的利用奇木根材天然的形態、結疤、根瘤，唯美古拙。其主乾紋
二字，或為片岡家族製作而成，刀法精湛。
理流暢自然，加之此器形制拙樸，長短適中，透露出清雅之意，整 體手杖包漿均潤，皮殼亮澤，銘文隨性雋秀。
Ravenel 124
7 41 A CHINESE TEA SET
此對茶箱器型方正古樸，渾樸精巧，箱身刻繪山石擺件，茶具等清 玩器物，篆刻有吞山人刀四字款識，紋飾雕刻頗具寫實的韻味，箱
Qing Dynasty (1644-1911)
內配有青花茶盞五件，描繪高士人物畫面。茶托五件與茶盞配套。 茶罐一個，為錫質地。紫砂茶壺，壺承，竹質茶則各一。刻工利落
NT$ 180,000 – 320,000 HK$ 49,000 – 86,000 US$ 6,200 – 11,000 RMB 39,000 – 69,000
灑脫，自然不羈，配以精美紅木收藏箱，可見此器當時必是主人心 愛之物。
This box is of rectangular form, vividly carved to the exterior in relief with rock mountains, tea sets and other cultural articles, inscribed four characters Tunshan Rendao. Inside the box there are five pieces
清 刻博古圖紅 木 茶 箱 及 茶 具 組 一 套
of blue-and-white porcelain tea bowls on which figures of scholars are depicted. Five saucers are matched with the tea bowls, along side with a tea can made of tin, a purple-sand teapot, a pot saucer and a bamboo teaspoon.
74 2 HE BAILI (Chinese, b.1945)
何百里
Peonies
牡丹
2017 Ink and colour on paper 34.3 x 48 cm Signed BAILI in Chinese With two seals of the artist
NT$ 220,000 – 360,000 HK$ 59,000 – 97,000 US$ 7,600 – 12,400 RMB 48,000 – 78,000
Ravenel 126
2017 設色 紙本 34.3 x 48 cm 款識：百里 鈐印：百里畫印（朱）、自在軒（白）、順德何氏（朱）
74 3 A TEADUST-GLAZED PILLOW Tang Dynasty (618-907) H: 8 cm
NT$ 750,000 – 900,000 HK$ 202,000 – 243,000 US$ 25,800 – 31,000 RMB 163,000 – 195,000 唐 茶葉末釉樹 葉 紋 脈 枕
7 44 A SANCAI-GLAZED DISH Liao Dynasty (907-1125) L: 34 cm PROVENANCE: Collection of KUO Liang-hui
NT$ 170,000 – 340,000 HK$ 46,000 – 92,000 US$ 5,900 – 11,700 RMB 37,000 – 74,000 遼 三彩盤 來源 : 郭良蕙女士舊藏
7 45 A YELLOW-GLAZED MARBLED POTTERY TRIPOD DISH
盤呈折沿，斜腹，平底，下承三足，造型古樸舒展。盤身以絞胎工 藝製成別具特色的工藝效果，通身施黃釉，堅密溫潤。絞胎是唐代 新創的一種製瓷工藝。每件絞胎陶瓷均含不同的紋理特色，其紋理
Tang Dynasty (618-907) D: 8.5 cm
結構只有相似，但件件絕不相同，其獨特的紋理結構和色彩變化在 陶瓷的歷史長流中獨樹一幟，成為古瓷中的佼佼者，堪稱隋唐時期 製瓷精品。
NT$ 260,000 – 400,000 HK$ 70,000 – 108,000 US$ 9,000 – 13,800 RMB 56,000 – 87,000
This dish stands on three feet rising to sloping sides and a slightly folded rim, design archaistic. The body shows the new technique invented during Tang dynasty through the overall application of a yellow-straw glaze over the black clay which is a special effect resulting from the technique. This lot stands out as a fine representative of Sui-Tang ceramic wares.
唐 絞胎三足盤
Ravenel 128
74 6 A JIZHOU TEA BOWL
碗敞口，弧腹壁，淺圈足。器內外壁以黑釉為底，交織黃釉花紋，
Song Dynasty (960-1279) D: 10.8 cm
器所特有，其花釉富有變化，色調協調滋潤，地方特色濃郁。
有如鷓鴣羽毛之斑紋，故稱「鷓鴣斑」。此類裝飾風格是吉州窯瓷
This lot has a deep rounded sides rising to a slightly everted rim,
NT$ 100,000 – 200,000 HK$ 27,000 – 54,000 US$ 3,400 – 6,900 RMB 22,000 – 43,000
covered overall in a dark brownish-black glaze and splashed with caramel-beige tones simulating tortoiseshell, the glaze stopping neatly above the short foot. Due to the resemblance between the patterned glaze and the feathers of Chinese francolins, this kind of glaze, distinctive of Jizhou wares, is also called “Chinese Francolin Spot.”
宋 吉州窯鷓鴣 斑 茶 盞
7 47 A DING CARVED 'LOTUS' DISH
此盤較薄胎，平底，淺腹，腹中微折，敞口。通體滿施白釉，白釉 呈現象牙黃色澤，盤底滿釉。盤心刻劃一蓮花，搖曳生姿；花紋瀟
Song Dynasty (960-1279) D: 9.6 cm
灑豪放，刀工屢利。此盤滿釉潔淨，為匣缽覆燒而成。此盤精工細
NT$ 280,000 – 400,000 HK$ 75,000 – 108,000 US$ 9,600 – 13,800 RMB 61,000 – 87,000
This lot is with shallow rounded sides rising from a short tapering
宋 定窯刻花盤
刻，展現出定窯白瓷婉約自如的藝術氣質。
foot to a flared rim, freely carved to the interior with a leafy lotus scroll within an incised medallion, covered overall in an ivory-white glaze pooling in tear-drops to the exterior.
7 48 A JIZHOU RESIST-DECORATED PAPER-CUT TEA BOWL
碗侈口，斜鼓腹，矮圈足。外施醬黑油，點灑黃褐釉，旋坯痕跡明
Song Dynasty (960-1279) D: 11 cm
兩支，竹葉三片，鴛鴦一對。剪紙線條流暢細膩，構圖清新雅麗，
PROVENANCE: Kaikodo, New York
This lot is with deep rounded sides supported on a low foot, the
NT$ 280,000 – 400,000 HK$ 75,000 – 108,000 US$ 9,600 – 13,800 RMB 61,000 – 87,000 宋 吉州窯剪紙 貼 花 茶 盞 來源： 懷古堂，紐約
Ravenel 130
顯，釉薄處略顯醬黃色弦紋。其斑點黃釉，潑灑自如，不著匠氣。 內壁施黃褐釉，在釉汁將凝時貼上剪紙，入窯煆燒之後，得見桃花 實為剪紙貼花盞上乘之作。
interior decorated in paper-cut resist with a pair of mandarin ducks, two plum blossom and three bamboo leaves, all against a ground dappled in dark caramel-brown, the exterior covered in a rich brown glaze with irregular splashes of the yellow colour.
74 9 A BRONZE FIGURE OF VAIROCANA WITH SILVER AND COPPER INLAY
臉型方正、面容清秀端莊，頭髮及手腳刻畫寫實細膩。身上纓絡鑲
14-15th Century H: 15 cm
手握住左食指方式結印，於西藏佛造像中十分罕見，飄帶從頸後繞
嵌寶石且規整細緻，有別於其他連珠紋做法而以鎖鍊方式呈現，環 環相扣更富真實立體感，雙手結法印有別於一般的大日如來，以右 手肘迎風飄揚栩栩如生，蓮花瓣對稱且肥大舒張，雙腿裙擺輕薄 流。
NT$ 550,000 – 800,000 HK$ 148,000 – 216,000 US$ 18,900 – 27,600 RMB 119,000 – 174,000
This lot depicts the deity seated in vajraparyankasana on a double lotus throne with raised pearl motif, wearing elaborate jewelry inlaid with semi-precious stones including the five-pointed crown, high jatamukata adorned with a finial, rectangular urna and serene expression, with both hands in vitarka mudra , surrounded by two
14-15世紀 西 藏 嵌 銀 嵌 紅 銅 大 日 如 來 坐 像
lotus flowers .
7 50 A TIBETAN GILT-BRONZE FIGURE OF AMITAYUS
此尊無量壽佛著菩薩裝，戴菩薩寶嚴，分別為寶冠、耳 璫、項鍊、瓔珞、臂釧、手鐲等。周身飾品多處鑲嵌綠
15th Century H: 22 cm
松石，蓮座為橢圓形，蓮瓣飽滿挺拔，瓣尖飾卷雲紋上 翹。上緣飾有細密聯珠紋。高束髮髻，餘髮披肩。寬肩 細腰，身姿端正挺拔，帔帛繞過手臂於身後飄揚。下身
NT$ 1,000,000 – 1,800,000 HK$ 270,000 – 485,000 US$ 34,400 – 62,000 RMB 217,000 – 390,000
的長裙光素無衣褶，僅以連珠紋表現衣邊。無量壽佛金
15世紀 西藏銅 鎏 金 無 量 壽 佛
This lot is cast seated in vajraparyankasana with the
剛跏趺坐姿，雙手於腹前作禪定印托甘露壽瓶。下承仰 覆蓮台，蓮瓣對稱舒展，上下沿飾連珠紋，原封底鎏 金。整尊造像比例刻畫準確，通體鎏金，工藝精湛，為 典型的十五世紀西藏地區造像作品。
hands held in dhyana mudra and in place to support a vessel containing the elixir of longevity, the face with serene expression framed by a foliate five-point tiara, a billowing sash encircling the shoulders and arms, adorned with elaborate beaded jewellery including large scrolling pendant earrings, dressed in a dhoti with finely chased borders, raised on a double-lotus base, sealed and with a chased double-vajra. This lot is a great addition to any collection of 15th century Tibetan religious art.
Ravenel 132
7 51 A GILT-BRONZE STANDING FIGURE OF VAJRAPANI
此尊金剛手護法為典型的西藏風格造像。全身鎏金銅
Ming Dynasty (1368-1644) H: 30 cm
托碗置於胸前；臉盆方圓寬大，四肢粗壯，杏仁眼圓
像，雙腳呈弓子字步站立，左手高舉持金剛鉞刀，右手 睜，皺鼻憤怒，咧嘴露牙，額頭寬而低，中間有一目， 威嚴兇猛；頭帶寶冠，紅色怒髮上沖，凸顯忿怒像，耳
NT$ 1,800,000 – 2,800,000 HK$ 485,000 – 755,000 US$ 62,000 – 96,500 RMB 390,000 – 607,000
掛大鐺垂於肩膀；上半身袒露，下身著短裙；周身披瓔 珞，項鍊、手鐲、臂釧、足釧，瓔珞鑲嵌各色寶石，寶 石尚存，將佛像原來風貌一一展現出，極為難得。銅像 四臂粗壯，細節精緻細膩，具有極佳的藝術效果。
Cast standing warrior-like on a double lotus base,
明 銅鎏金金剛 手 立 像
portrayed in alidhasana, clutching a vajra in the raised right hand, left hand in vitarkamudra, a tiger skin wrapped round the waist, adorned with inlaid jewelry, scarves and a garland of severed heads, the ferocious face with bared fangs, three bulging eyes, and flaming brows surmounted by a tiara, the flaming hair pigmented red incorporating a vajra.
7 52 HE JINAN (Chinese, b.1974)
何紀嵐
HKID - Pottinger Street
香港格式-石板街
2017 Ink on paper 60 x 60 cm Signed LAN in Chinese With two seals of the artist
NT$ 120,000 – 220,000 HK$ 32,000 – 59,000 US$ 4,100 – 7,600 RMB 26,000 – 48,000
Ravenel 134
2017 水墨 紙本 60 x 60 cm 款識：嵐 鈐印：紀嵐（白）、思無為軒（朱）
7 53 A SET OF 'EIGHT SCHOLARS TO YINGZHOU' INK STICKS
此墨為「十八學士登瀛洲」題材，寓意極佳。歷經百年，完好如
L : 20 cm W: 10 cm H : 3 cm
飾，背面陰刻並填金對應銘文、鈐印。
初，為傳世套墨中的難得精品。套墨分兩盒裝，每盒九錠，共計 十八錠，品相完好。四方墨錠，形式一致，每錠墨正面人物故事紋
唐太宗李世民在長安城設文學館，王府屬杜如晦、記室房玄齡、虞 世南、文學褚亮、姚思廉、主簿李玄道、參軍蔡允恭、薛元敬、顏
NT$ 160,000 – 260,000 HK$ 43,000 – 70,000 US$ 5,500 – 9,000 RMB 35,000 – 56,000 瀛洲圖仿古藏 煙 十 八 學 士 套 墨
相時、咨議典簽蘇勖、天策府從事中郎于志寧、軍咨祭酒蘇世長、 記室薛收、倉曹李守素、國子助教陸德明、孔穎達、信都蓋文達、 宋州總管府戶曹許敬宗共十八人常討論政事、典籍，當時稱之為 「十八學士」。當時被唐太宗選入文學館者被稱為「登瀛洲」，後 人有所謂「十八學士登瀛洲」。
This set of ink sticks is decorated with the story “Eight Scholars to Yingzhou,” expressing rich connotations, preserved in great condition even after hundreds of years. The set consists of two boxes, each including nine sticks, altogether eighteen sticks. The ink sticks are of consistent rectangular forms; on the frontal sides carved with images of the figures while on the back sides scripts are carved.
7 54 A LARGE WUCAI DRAGON AND PHOENIX DISH
龍鳳紋是明、清瓷器常用的裝飾題材之一。由龍鳳組成的 畫面，稱為「龍鳳呈祥」，屬於內府專用經典的吉祥紋
Qing Dynasty, Kangxi Period (1662-1722) D: 25 cm
飾。常見御瓷之中多裝飾一對或二對龍鳳紋，但本品則品 格非凡，一器之上裝飾六對龍鳳紋，有清一代唯見康熙一 朝出現，後世清宮御瓷再沒見同類燒造。其盤底雙圈書
NT$ 1,000,000 – 1,800,000 HK$ 270,000 – 485,000 US$ 34,400 – 62,000 RMB 217,000 – 390,000
「大清康熙年製」六字兩行楷書款，本品造型端莊周正， 胎骨精細，釉汁瑩白似玉，整器以五彩繪龍鳳穿花紋飾， 盤心雙圈內飾追龍趕鳳，龍鳳各二，四首相對，中間以牡 丹花卉間隔開來；內壁亦繪有雙龍雙鳳；盤外壁與內壁構 圖相似，繪雙龍雙鳳。加之所繪龍鳳寓意吉祥，構圖疏密 得當，係康熙五彩官窯典型器。
清康熙 五彩龍 鳳 紋 大 盤
The shallow rounded sides rising from a low, tapered foot to an everted rim, vividly decorated in the wucai palette, the interior with pairs of ascending five-clawed dragons pursuing a 'flaming pearl', confronting descending phoenixes flying toward a foliate peony, within line borders repeated at the rim, further encircled around the cavetto by a continuous scroll of large blossoms in alternating green, iron-red and yellow enamels, the exterior similarly decorated with dragons and phoenix; all together six pairs of dragons and phoenixes are painted on this dish, which can only be seen on wares from Kangxi period. The underside is inscribed with a six-character reign mark in underglaze blue Daqing Kangxi Nianzhi.
Bottom 底圖
Ravenel 136
75 5 A PAIR OF GOLD DRAGON-SHAPED EARRINGS Ming Dynasty (1368-1644) D: 3 cm
NT$ 150,000 – 300,000 HK$ 40,000 – 81,000 US$ 5,200 – 10,300 RMB 33,000 – 65,000 明 龍型耳環
7 56 A WHITE JADE MOUNTAIN
山子以整塊玉雕製成，一面兩高士正沿山路騎鞍而上，周圍古樹參 天山巒疊嶂，遠處山頂有一幽亭應是主人公趕赴之地；背面刻畫險
H: 23 cm
峰峻山之中兩位高士一坐一站正觀瀑論道；整件作品用料碩大，雕 刻生動，品味高雅，更為難得之處在一面山坡之上陰刻有乾隆御題
NT$ 1,900,000 – 2,800,000 HK$ 512,000 – 755,000 US$ 65,400 – 96,500 RMB 412,000 – 607,000
詩，此詩被記錄在乾隆御題詩文集中，結合料工題材和銘文等信息 綜合判斷此山子是一件極為難得的文房擺件。
The boulder is made of a whole piece of jade, carved to the front face with two figures riding horses along a rocky path towards a pavilion high up a mountain towards a pavilion surrounded by thick
白玉高士圖山 子
high trees, the reverse similarly carved with two scholars sitting and standing next to a water-fall deep in conversation. The stone of pale celadon tone is large in scale and shows delicate design.
Ravenel 138
7 57 A JADEITE CAP TUBE Qing Dynasty (1644-1911) L: 7.7cm
NT$ 420,000 – 600,000 HK$ 113,000 – 162,000 US$ 14,500 – 20,700 RMB 91,000 – 130,000 清 翡翠翎管
Ravenel 140
委託競投表格 委託競投表格須於拍賣24小時前送抵羅芙奧。競投表格可傳真至： 台北 香港
電話：+886-2-2708 9868 電話：+852-2889 0859
傳真：+886-2-2708 8955
傳真：+852-2889 0850
投標者資料
拍 賣 名 稱：羅芙奧 2018 春季拍賣會 清賞—古今人文藝術專場 拍 賣 編 號：TC1802 拍 賣 日 期：2018 年 6 月 2 日（星期六） 下午 3:30 萬豪酒店 台北市中山區樂群二路 199 號 3 樓 博覽廳
客戶編號 （如有） 姓名 身份證字號 地址 郵碼 電話 （住宅） （辦公室） 傳真
電郵
簽名 （注意：本公司在取得閣下之簽名後方才接受競標；閣下所填報之姓名 及地址資料，將會被列印在發票上，隨後將不能更改） 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託， 以最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，服務費依最後落槌價乘以服務費率得之。詳見業務原則規定第二條第 四項之規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下 者含參仟貳佰萬元以20％計算；（2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳 佰萬元之部份以12％計算。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。
請用正楷填寫清楚 拍賣品編號 （按數字順序）
名
稱
競投價（新台幣） （服務費不計在內）
為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。
銀行證明 銀行名稱 銀行地址 銀行帳戶名稱
羅芙奧股份有限公司 台北市106敦化南路二段76號15樓之2 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com ravenelart.com.cn
銀行帳號 銀行聯絡者 銀行電話
141
ABSENTEE BID FORM The absentee bid forms must be delivered to Ravenel at least 24 hours before the auction begins. The bid forms may be faxed to: Taipei
Auction Date Sale No. Location Address
Tel: +886-2-2708 9868 Fax: +886-2-2708 8955
Hong Kong Tel: +852-2889 0859
Fax: +852-2889 0850
Bidder's Details
RAVENEL SPRING AUCTION 2018 Connoisseurship: The Literati Sale Saturday, June 2, 2018, 3:30 pm TC1802 Taipei Marriott Hotel Grand Space, 3rd Floor, No. 199, Lequn 2nd Rd., Zhongshan Dist., Taipei
Name ID number Address Post code Tel: (Daytime)
(Evening)
Fax
Signature (Notice: We must have your signature to execute this bid. Billing name and address should agree with your state or local sales tax exemption certificate. Invoice cannot be changed after they have be printed.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder.
I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received.
I understand that if my bid is successful, I shall pay the final hammer price together with the buyer's premium and any applicable sales tax. The buyer's premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Article 2, Section 4 of the Transaction Agree-
ment to the Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, buyer's premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), buyer's premium should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.)
The bid shall be subjected to the Transaction Agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warranties that may be provided for certain items.
PLEASE PRINT LEGIBLY Auction item number (in numerical order)
Bid price (NT$) (excluding Buyer's Premium)
Title
Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.
Bank Reference Approval Name of the bank Address of the bank
Name of the account
Ravenel Ltd. 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 ravenel.com ravenelart.com.cn
Account number Contact of the bank Tel. No.
142
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。
143
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
144
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
145
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 seller’s Transaction Agreement. http://ravenel.com http://ravenelart.com.cn
146
CHRONOLOGY 中國歷代年表
新石器時代 商 周 秦 漢 三國 晉 南北朝 隋 唐 五代 遼 宋 北宋 南宋 西夏 金 元 明 洪武 建文 永樂 洪熙 宣德 正統 景泰 天順 成化 弘治 正德 嘉靖 隆慶 萬曆 泰昌 天啟 崇禎 清 順治 康熙 雍正 乾隆 嘉慶 道光 咸豐 同治 光緒 宣統
10th - early 1st millennium BC NEOLITHIC 16th Century - C. 1050 BC SHANG DYNASTY C. 1050 - 221 BC ZHOU DYNASTY 221 - 206 BC QIN DYNASTY 206 BC - AD 220 HAN DYNASTY AD 220 - 265 THREE KINGDOMS AD 265 - 420 JIN DYNASTY AD 420 - 589 SOUTHERN AND NORTHERN DYNAST1ES AD 581 - 618 SUI DYNASTY AD 618 - 907 TANG DYNASTY AD 907 - 960 FIVE DYNASTIES AD 907 - 1125 LI AO DYNASTY AD 960 - 1279 SONG DYNASTY AD 960 - 1127 Northern Song AD 1127 - 1279 Southern Song AD 1038 - 1227 XIXIA DYNASTY AD 1115 - 1234 JIN DYNASTY AD 1279 - 1368 YUAN DYNASTY AD 1368 - 1644 MING DYNASTY AD 1368 - 1398 Hongwu AD 1399 - 1402 Jianwen AD 1403 - 1424 Yongle AD 1425 Hongxi AD 1426 - 1435 Xuande AD 1436 - 1449 Zhengtong AD 1450 - 1456 Jingtai AD 1457 - 1464 Tianshun AD 1465 - 1487 Chenghua AD 1488 - 1505 Hongzhi AD 1506 - 1521 Zhengde AD 1522 - 1566 Jiajing AD 1567 - 1572 Longqing AD 1573 - 1619 Wanli AD 1620 Taichang AD 1621 - 1627 Tianqi AD 1628 - 1644 Chongzhen AD 1644 - 1911 QING DYNASTY AD 1644 - 1661 Shunzhi AD 1662 - 1722 Kangxi AD 1723 - 1735 Yongzheng AD 1736 - 1795 Qianlong AD 1796 - 1820 Jiaqing AD 1821 - 1850 Daoguang AD 1851 - 1861 Xianfeng AD 1862 - 1874 Tongzhi AD 1875 - 1908 Guangxu AD 1909 - 1911 Xuan tong
147
羅芙奧 2018春季拍賣會 翰墨丹青—中國書畫專場 拍賣
6 月 2 日 下午 3：30 | 台北萬豪酒店 三樓（博覽廳）
預展
台中 | 5月12 - 13日 | 台中豐藝館 高雄 | 5月19 - 20日 | 高雄琢璞藝術中心 台北 | 5月31日 - 6月2日 | 台北萬豪酒店 三樓（博覽廳）
諮詢
+886 2 2708 9868 | info@ravenel.co
徐悲鴻《古柏老叟》 1944 設色 紙本 鏡框 73.6 x 61 cm
Ravenel 148
TIMELESS HANDBAGS AND LUXURY COLLECTIBLES PRIVATE SALE 手袋及精品鑑賞會 Thursday, May 31 - Sunday, June 3, 2018 2018年5月31日（四）- 6月3日（日）
諮詢 Enquiry | 林美夆 Annika Lin
羅芙奧台北 2018 春季藏酒拍賣會 尊釀雲集 | Finest and Rarest Wines
Ravenel Spring Auction 2018 Taipei
拍賣 Auction 2 0 1 8 年 6 月 1 日 ( 五 ) 11:00 Friday, June 1st, 2018, 11:00 萬豪酒店 Taipei Marriott Hotel 台北市中山區樂群二路199號3樓 博覽廳 Grand Space 3F., No. 199 Lequn 2nd Road, Taipei 諮詢 Enquire ravenel.com | wine@ravenel.com
酒後不開車 安全有保障
酒後不開車 安全有保障
Ravenel 154