中誠國際藝術2024年春季拍賣目錄

MODERN AND CONTEMPORARY ART

Breeze Nan Shan Exhibition Center

中誠2024春季拍賣會 現代與當代藝術

拍賣

2024年6月16日(日) 2:30 PM

台北

微風南山 藝文中心

台北市信義區松仁路100號3樓

更多資訊，請聯繫：02 8773 3565

台中預展

台中豐藝館

台中市西區五權西路一段110號B1

5/24 (五) - 5/26 (日) 11:00 - 18:00

台北預展

微風南山 藝文中心

台北市信義區松仁路100號3樓

6/14 (五) - 6/15 (六) 10:00 - 19:00

MODERN & CONTEMPORARY ART

AUCTION

Sunday 16 June 2024 at 2:30 PM

TAIPEI

Breeze Nan Shan Exhibition Center

3F, No.100, Songren Road, Xinyi District, Taipei

Please call + 886 2 8773 3565 for further information

TAICHUNG VIEWING

Fong Yi Exhibition Center

B1, No. 110, Section 1, Wuquan W. Road, West District, Taichung

Friday 24 May - Sunday 26 May 11:00 - 18:00

TAIPEI VIEWING

Breeze Nan Shan Exhibition Center

3F, No.100, Songren Road, Xinyi District, Taipei

Friday 14 June - Saturday 15 June 10:00 - 19:00

投標牌號分級新制度之重要告示 自2020年秋季拍賣會，中誠將實施投標牌號分級制度， 並針對欲競投高預估價拍品之競投者，收取預付保證 金。以下條款為詳細敘述： 預先登記及保證金新制

中誠可要求有意競投在目錄內預估價低標為新台幣30 萬元以上(含)之競投者，在完成預先登記程序時，交 付新台幣30萬元或其他由中誠決定之更大金額的保證 金，以作為參加中誠拍賣的保障。

投標牌號分級說明 預先登記的投標牌，將以預估價低標為基準分為以下兩 種類型：

a. 淺灰色投標牌：準買家欲競投之拍賣品，其預估價低 標為新台幣30萬元以下者。

b. 深灰色投標牌：準買家欲競投之拍賣品，其預估價低 標為新台幣30萬元以上(含)者。

中誠國際藝術拍賣客戶服務及諮詢部門

中誠台北辦公室

電話：02 8773 3565

傳真：02 8773 2615

E-mail: art@art106.com

總經理 蕭華薇

副總經理 蕭偉廷

藝術總監 蕭又華

業務主任 陳羽希

藝術行政 姚景祥

藝術行政 宋采霓

美編設計 吳婕如

藝術行政 張芝榕

藝術行政 陳治瑋

中誠台中辦公室

電話：04 2206 6599

傳真：04 2205 0703

E-mail: art@art106.com

行政助理 黃彥菱

英文服務

藝術總監 蕭又華

電話：02 8773 3565 分機16 Email: virginia@art106.com

書面及電話委託投標 若您無法親臨拍賣現場，可以電話及書面 投標方式競標；鑑於拍賣現場電話有限，

尤其針對需用外國語言服務之投標者，請 於拍賣前24小時通知我們為您安排。您 亦可利用本圖錄後方之書面標單競投。

付款事宜

有關付款詳細事宜，說明於本目錄後面， 如您需要更進一步的諮詢，請洽：

財務部經理 鄒琬婷

電話：04 2206 6599 分機108

傳真：04 2205 0703

E-mail: andrea@art106.com

取貨及運輸

一、所有拍品在貨款結清後，即可出貨； 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。恕不接受信用卡和旅行支票付款。

其他各項貨品可在中誠各辦公室提領， 上班時間為週一至週五上午9:30至下午 6:30。

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，詳情請洽：

台北辦公室

陳羽希

電話：02 8773 3565 分機13

傳真：02 8773 2615

E-mail: yuxi@art106.com

台中辦公室

黃彥菱

電話：04 2206 6599 分機107

傳真：04 2205 0703

E-mail: art@art106.com

官方網站 歡迎參閱中誠拍賣官方網站。 www.art106.com

其他 中誠樂意提供您本次拍賣當中任何一項拍 品的狀況說明書，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以及買家須注意 事項。

ZHONG CHENG TAIPEI OFFICE

TEL: +886 2 8773 3565

FAX: +886 2 8773 2615

E-mail: art@art106.com

Managing Director

Vivian Hsiao

Deputy General Manager

Wayne Hsiao

Creative Director

Virginia Hsiao

Sales Executive

Yu Xi Chen

Art Administrator

Jing Xiang Yao

Art Administrator

Tsai Ni Sung

Graphic Designer

Jieru Wu

Art Administrator

Chih Rong Chang

Art Administrator

Zhi Wei Chen

ZHONG CHENG TAICHUNG OFFICE

TEL: +886 4 2206 6599

FAX: +886 4 2205 0703

E-mail: art@art106.com

Administrator Assistant

Yena Huang

ENGLISH SERVICE

Art Director

Virginia Hsiao

TEL: +886 2 8773 3565 #16

E-mail: virginia@art106.com

PHONE AND WRITTEN BIDS

The clients who are not able to attend the auction are welcome to complete our phone/written absentee bid form attached in the back of this auction catalogue to place their bids. Due to the limited phone line services at the auction, please inform us at least 24 hours prior to the auction for arrangements. Particularly for foreign language assistance.

CLIENT ACCOUNT & PAYMENT

Payment details are described at the back of the catalogue. If you need any futher information, please contact our financial department.

Andrea Tsou

TEL: +886 4 2206 6599 #108

FAX: +886 4 2205 0703

E-mail: andrea@art106.com

STORAGE AND SHIPPING

All the items will be available for collection as soon as the payment is settled. Zhong Cheng can assist buyers to arrange storage and shipping or you are also welcome to use your own carrier. Personal and company checks will be accepted. The items may be picked-up from Zhong Cheng’s Taipei and Taichung Office, we are available from 9:30am-6:30pm, Monday to Friday. Please kindly make an appointment with us ahead of time.

TAIPEI OFFICE

Yu Xi Chen

TEL: +886 2 8773 3565 #13

FAX: +886 2 8773 2615

E-mail: yuxi@art106.com

TAICHUNG OFFICE

Yena Huang

TEL: +886 4 2206 6599 #107

FAX: +886 4 2205 0703

E-mail: art@art106.com

OFFICIAL WEBSITE

Please visit Zhong Cheng’s official website www.art106.com

OTHERS

Zhong Cheng is delighted to provide condition report of any sale items. For more information, please refer to the Transaction Agreement for Buyers in the back on this catalogue.

SPRING AUCTION INFORMATION 中誠 2024 春季拍賣會資訊

SPECIALISTS AND AUCTION ENQUIRIES

客戶諮詢與服務部門

INDEX OF ARTISTS

藝術家索引

MODERN AND CONTEMPORARY ART

現代與當代藝術 (LOT101-LOT289)

CLIENT SERVICES 中誠之服務

CONDITIONS OF BUSINESS

拍賣業務規則

BIDDER REGISTRATION FORM

投標者登記表格

ABSENTEE BID FORM 委託競投表格

MODERN AND CONTEMPORARY ART

現代與當代藝術

INDEX OF ARTISTS

藝術家索引

ADAM HANDLER 亞當．漢德勒

AI HAIBARA 灰原愛

ALEC DEMARCO 亞歷克．迪馬哥

ALEX FACE 亞歷克斯．費斯 107, 108, 276

ANDRÉ BRASILIER 安德烈．布拉吉利 253

ARU MENG 孟耿如

AYA TAKANO 高野綾

BERNARD BUFFET 貝納德．畢費

CAO JINGPING 曹靜萍

CHANG TENGYUAN 張騰遠

CHANG WANCHUAN 張萬傳

CHAO CHUNGHSIANG 趙春翔

CHEN TINGSHIH 陳庭詩 101

CHEUNG YEE 張義 251

CHIHARU SHIOTA 塩田千春 144

CHIU YATSAI 邱亞才 157, 158, 180

CHU TEHCHUN 朱德群 133, 134, 255, 256

D* FACE (DEAN STOCKTON) D* Face ( 迪恩．斯托克頓 ) 121

DAMIEN HIRST 達米恩．赫斯特 277

DAVID SHRIGLEY 大衛．史瑞格里 208, 209

EDDIE KANG 姜錫鉉 228

ETSU EGAMI 江上越 211

EVGEN ČOPI GORIŠEK 葉夫根．喬皮．戈里謝克 238

GALINA MUNROE 葛林娜．蒙羅 218

GERHARD RICHTER 格哈德．里希特 273

GINO HOLLANDER 吉諾．霍蘭德 215

GUY BARDONE 居．巴赫東 219

HERNAN BAS 赫南．巴斯 237

HIKARI SHIMODA 下田光 234

HO KAN 霍剛 168, 169, 170, 171

HONGYI 弘一 150

HSIAO CHIN 蕭勤 151, 152, 153, 154, 167

HSIEH HSIAODE 謝孝德 249, 250

HUNG YI 洪易 192, 193

IRYNA MAKSYMOVA 伊琳娜．馬克西莫娃 217

JAN CHINSHUI 詹金水 190, 191

JIA YOUFU 賈又福 139, 140

JOAN MIRO 胡安．米羅 257

JONATHAN EDELHUBER 喬納森．埃德爾胡貝爾 223

JORDY KERWICK 喬迪．科維克 274

JU MING 朱銘 145, 146, 172, 173, 176, 177, 178, 179

JUNG YEOEUN 鄭與恩 227

KARIN IWABUCHI 岩渕華林 279

KILA CHEUNG 章柱基 165, 236

KINICHIRO ISHIKAWA 石川欽一郎 196

KYNE KYNE 210, 225

LEE SHICHI 李錫奇 175

LI CHEN 李真 135, 136, 137

LI ZHONGSHENG 李仲生 111, 112

LIANG PINGCHENG 梁平正 194, 195

LIAO CHICHUN 廖繼春 138

LILY (YU LI) 栗子 ( 余麗 ) 147

LIU CHIWEI 劉其偉 186, 200, 201

LIU JIUTONG 劉玖通 128, 129

LIU KUOSUNG 劉國松 252

LO CHANPENG 羅展鵬 185

LU FOTING 呂佛庭 184

LU HSIENMING 陸先銘 187, 189

LUO FAHUI 羅發輝 148

MAIKO KOBAYASHI 小林麻衣子 229

MAYUKA YAMAMOTO 山本麻友香 241, 242, 243

MICHAEL KAGAN 麥可．卡根 235

MOE NAKAMURA 中村萌 115, 126, 127, 271, 272

MR. (MASAKATSU IWAMOTO) MR. ( 岩本正勝 ) 106, 239, 240, 267, 269, 270

MR. DOODLE MR. Doodle 278

NA HYOKAB 羅孝甲 224

NATHAN PADDISON 內森．帕迪森 222

NEDIA WERE 尼迪亞．韋爾 216 NYCHOS 尼喬斯 221 NYOCHOTAN 鈕釦丹 230 OG SLICK OG Slick 281 OKUDA YUTA 奧田雄太 212 PANG JIUN 龎均 142, 159, 160 PAUL CHIANG 江賢二 141 PEX Pex 283, 284

PIERRE FERNANDEZ ARMAN 費爾戴儂．阿曼 109, 110 PIERRE-YVES TRÉMOIS 皮耶．伊夫．特墨 206, 207

REN WEIYIN 任微音 202, 203

SALVADOR DALI 薩爾瓦多．達利 220 SAN YU 常玉 102, 122, 123, 124

SATORU KOIZUMI 小泉悟 117, 280

SHEN CHETSAI 沈哲哉 198, 199

SHI JINHUA 石晉華 182

SHIY DEJINN 席德進 131

SYOZO TANIGUCHI 谷口正造 118, 119

SZETO LAP 司徒立 164

TAKASHI MURAKAMI 村上隆 261, 262, 263, 264, 265, 266, 282

TAKERU AMANO 天野健 213

TSONG PU 莊普 204, 205

WALASSE TING 丁雄泉 143, 161, 162, 258, 275

WANG WENPING 王文平 247

WU HAO 吳昊 156

WU JIHCHIN 吳日勤 125

X Y Z

XU BING 徐冰 163

YANG CHIHUNG 楊識宏 113, 114 YANG GUOXIN 楊國辛 183

YAYOI KUSAMA 草間彌生 103, 104

YEH CHUSHENG 葉竹盛 149

YOO CHOONGMOK 俞忠穆 188

YOSHIMASA TSUCHIYA 土屋仁応 244

YOSHITOMO NARA 奈良美智 105, 231, 232, 286, 287, 288, 289

YOSHITOSHI KANEMAKI 金卷芳俊 233, 285

YU KIWANAMI 極並佑 226

YUE MINJUN 岳敏君 260

ZAO WOUKI 趙無極 254

ZHAN YU FAN 詹喻帆 181

ZHOU CHUNYA 周春芽 132, 259

現代與當代藝術

MODERN AND CONTEMPORARY ART

101-289

2024 SPRING AUCTION

6.16. 2024 14:30

CHEN TINGSHIH

( Chinese, 1913-2002 )

Day and Night

60 x 60 cm

Lithograph, 3/12

Signed Chen Tingshih in English, and dated 1968, numbered 3/12

With one seal from the artist

NT$ 160,000-240,000

US$ 5,000-7,500

1968

版畫 3/12

簽名：3/12 ChenTing-shih．68

鈐印：陳 (朱文)

陳庭詩 日與夜

SAN YU

( Chinese, 1901-1966 )

Nude

28 x 22.5 cm

Sketch on Paper

Signed Yu in Chinese and Sanyu in English

Embossed: K in English

NT$ 250,000-400,000

US$ 7,800-12,400

SANYU

YAYOI KUSAMA

( Japanese, b.1929 )

Wind

65.6 x 53.8 cm

Lithograph, edition of 60

Signed Yayoi Kusama in English, titled in Japanese, dated 1999 and edition number

ILLUSTRATED:

"Yayoi Kusama Prints," Abe Publishing Ltd., Tokyo Japan, 2011, Page 149, No.252 (another edition)

NT$ 350,000-500,000

US$ 10,900-15,500

草間彌生

風 1999

版畫 限量60版

簽名：風 1999 Yayoi Kusama 跟版數

圖錄：

《草間彌生全版画1979-2011》，阿部出版株式會社， 日本 東京，2011年，第149頁，編號 252 (另一版數)

YAYOI KUSAMA

( Japanese, b.1929 )

Infinity Nets

32 x 27 cm

Screenprint, 38/50

Signed Yayoi Kusama and titled in English, dated 1963-1982, numbered 38/50

ILLUSTRATED:

"Yayoi Kusama Prints," Abe Publishing Ltd., Tokyo, Japan, 2011, Page 19, No.15 (another edition)

NT$ 220,000-320,000

US$ 6,800-9,900

草間彌生

無限の網

1963-1982

絲網印刷版畫 38/50

簽名：38/50 Infinity Nets 1963 Yayoi Kusama' 82

圖錄：

《草間彌生全版画1979-2011》，阿部出版株式會社， 日本 東京，2011年，第19頁，編號 15 (另一版數)

YOSHITOMO NARA

( Japanese, b.1959 )

Flashlight Girl

48 x 38 cm

Lithograph, A.P. 2/9

Signed Na in Japanese, dated 2002-2004 and numbered A.P. 2/9

Steel seal: KP in English

ILLUSTRATED:

"Yoshitomo Nara: The Complete Works Volume 1," Chronicle Books LLC, San Francisco, 2011, color illustrated, Page 313, no. E-2004-003 (another edition)

NT$ 450,000-650,000

US$ 14,000-20,200

奈良美智

手電筒女孩

2002-2004

版畫 A.P. 2/9

簽名：A.P. 2/9 な 2002-04

鋼印：KP

圖錄：

《奈良美智作品全集第一冊》，編年出版社，舊金山，2011年，

彩色圖版，第313頁，編號 E-2004-003(另一版數)

MR. (MASAKATSU IWAMOTO)

( Japanese, b.1969 )

A Night of the Roppongi Hills People

20.4 x 21 cm

Watercolor on Paper

Signed Mr. in English and dated 2005

PROVENANCE:

Lehmann Maupin Gallery

NT$ 320,000-450,000

US$ 9,900-14,000

MR.(岩本正勝)

六本木夜晚的人們

2005

水彩 紙本

簽名：2005 Mr.

來源：

立木畫廊

ALEX FACE (PATCHARAPOL TANGRUEN)

( Thailand, b.1981 )

The Swimmer

16 x 26 x 25 cm

Painted Bronze, edition of 25

Signature engraved: Alex Face in English and edition number

PROVENANCE: Bangkok City City Gallery, Thailand

With a certificate of authenticity from gallery

The work is accompanied by its original box.

NT$ 300,000-400,000

US$ 9,300-12,400

亞歷克斯．費斯 (帕查拉波爾．唐魯恩)

游泳者

2019

彩繪 銅雕 限量25件

雕刻簽名："Alex FAce" 跟版數

來源：

Bangkok City City 畫廊，泰國

附畫廊開立之原作保證書

附原廠包裝紙盒

ALEX FACE (PATCHARAPOL TANGRUEN)

The Gardener (Purple)

園丁(紫色)　亞歷克斯．費斯 (帕查拉波爾．唐魯恩)

在這個動盪不安的世界裡，總有這麼一群人，渴望透過自身的力量，用不 同的方式，對這個世界造成一點改變，Alex Face(帕查拉波爾‧唐魯恩) 就是其中一位。

隨著街頭塗鴉開始被大眾接受，並逐漸於藝術市場熱化，身為街頭藝術家 的Alex Face，也為人所熟知。他對於社會現象十分關注，利用街頭塗鴉 揭露隱藏在人們視野下的問題，試圖讓大眾了解並正視生活中種種社會問 題以及局勢的變化。

Alex Face 泰文本名 Patcharapol Tangruen (帕查拉波爾‧唐魯恩) 出生於一九八一年，大學進入先皇技術學院學習建築，並獲「美術與應用 藝術」學位。因喜愛嘻哈文化而接觸街頭塗鴉，Alex Face 愛上不斷征服 高牆和環境限制的成就感。開闊藍天下的創作能大量觸及人群，讓他深信 藝術不該只是白色空間的封閉產物。當時二十六歲的Alex Face 初為人 父，家庭內新生命的誕生，刺激他對未來的想像與責任感。當塗鴉能夠在 公共視野下傳達創作者對社會現狀的觀點，設計一個貼近人群的形象去詮 釋，則能夠加深觀者記憶點與共鳴。Alex

Face於二〇〇九年創造出擬人 造型角色 Mardi，它擁有幼體化的柔軟外型與傳統宗教中象徵感知的第三 隻眼，集結藝術家個人的生命經驗與泰國視覺形象，強化了作者敘事的情 感渲染力，並弱化包藏的政治性與批判攻擊，因而深植人心。

ALEX FACE (PATCHARAPOL TANGRUEN)

( Thailand, b.1981 )

The Gardener (Purple)

80 x 80 x 153 cm

Artist Painted Fiberglass Sculpture (unique work)

Signed Alex Face in English and numbered 1/1

PROVENANCE:

Trendy Gallery, Thailand

With a purchased receipt from Trendy Gallery, Thailand

NT$ 900,000-1,200,000

US$ 28,000-37,300

亞歷克斯．費斯 (帕查拉波爾．唐魯恩)

園丁 (紫色)

2021

藝術家手繪玻璃纖維雕塑 (僅此一件)

簽名："Alex FAce" 1/1

來源：

Trendy 畫廊，泰國

附 Trendy 畫廊開立之購買證明

PIERRE FERNANDEZ ARMAN

( French-American, 1928-2005 )

From Night

49 x 33 x 19 cm

Bronze, edition of 8

Signature engraved: Arman and bocquel Fd. in English, edition number

ILLUSTRATED:

"ARMAN - The Exhibition of International Sculpture Masters," Modern Art Space, Taichung, Taiwan, 1996, Page 33 (another edition)

NT$ 360,000-500,000

US$ 11,200-15,500

費爾戴儂．阿曼

來自夜晚

1992

銅雕 限量8件

雕刻簽名：Arman bocquel Fd. 跟版數

圖錄：

《阿曼 - 國際大師雕塑展》，現代藝術空間，台灣 台中，1996年，第33頁(另一版數)

PIERRE FERNANDEZ ARMAN

( French-American, 1928-2005 )

Greetings

10 x 15 x 31 cm

Bronze, edition of 8

Signature engraved: Arman and bocquel Fd. in English, edition number

PROVENANCE: Galleri GKM Siwert Bergström

With a certificate of authenticity from gallery

NT$ 240,000-320,000

US$ 7,500-9,900

費爾戴儂．阿曼

致敬

1986

銅雕 限量8件

雕刻簽名：Arman bocquel Fd.跟版數

來源：

GKM Siwert Bergström 畫廊

附畫廊開立之原作保證書

LI ZHONGSHENG

( Taiwanese, 1912-1984 )

No 150

25 x 34.8 cm

Watercolor on Paper

PROVENANCE:

1.Each Modern, Taipei, Taiwan

2.Private collection, Asia

With a certificate of authenticity from Art Ile

NT$ 400,000-500,000

US$ 12,400-15,500

李仲生 No.150

1964

水彩 紙本

來源：

1.亞紀畫廊，台灣 台北

2.亞洲私人收藏

附苡樂藝術空間開立之原作保證書

LI ZHONGSHENG

( Taiwanese, 1912-1984 )

No. 162

25.9 x 36.3 cm

Watercolor and Ink on Paper

PROVENANCE:

1.Each Modern, Taipei, Taiwan

2.Private collection, Asia

With a certificate of authenticity from Art Ile

NT$ 400,000-500,000

US$ 12,400-15,500

李仲生 No.162

1964

水彩 水墨 紙本

來源：

1.亞紀畫廊，台灣 台北

2.亞洲私人收藏

附苡樂藝術空間開立之原作保證書

YANG CHIHUNG

( Taiwanese, b.1947 )

Vanities

221 x 170 cm

Charcoal and Acrylic on Canvas

Signed on the reverse: Yang Chihung and titled, media in English, 87 x 67 inches, dated 1986

PROVENANCE:

1. Galleri Fabian Carlsson, London

2. John Yau's private collection, New York

ILLUSTRATED:

1. "Chihung Yang," Gallery Fabian Carlsson, London, 1986, Organised by Clive Adams; cover page

2. "The Images of the Mind: Chihung Yang's Painting," National Museum of History, Taipei, Taiwan, September, 2009, Page 139

EXHIBITION:

Gallery Fabian Carlsson, London, England, October 8thNovember 1st, 1986

NT$ 500,000-700,000

US$ 15,500-21,700

楊識宏

浮華

1986

木炭 壓克力 畫布

背面簽名：Chihung yang Vanities' 86 charcoal and acrylic on canvas 87 x 67 inches

來源：

1.法比安．卡爾森畫廊，倫敦

2.約翰．姚 私人收藏，紐約

圖錄：

1.《楊識宏》，法比安．卡爾森畫廊，倫敦，1986年，由克萊夫． 亞當斯 編輯，此作品為封面作品

2.《象由心生—楊識宏作品展》，國立歷史博物館，台灣 台北， 2004年9月，第139頁

展覽：

法比安．卡爾森畫廊，英國 倫敦，1986年10月8日至11月1日

YANG CHIHUNG

《流暢》(Fluent) 是自然的頓悟，也是如楊識宏對其作品命名，告白著他與頓悟完美結合的新生， 渾圓流淌、暢所淋漓，是那一刻獨一無二的勝利。彷彿見到一隻凜然劍意的筆，風掃落葉似的左右 揮揚，疏而不密，可是整幅圖畫天網恢恢，翅翼般線條的包覆進退有度，那些快要衝出框架的尖牙 被繾綣地收了回來，中心有如枝枒叢生之段，也許暗示著空洞，但空洞不令人畏懼，尚可感受到以 其發散的光暈輪廓，氣氛偶有些陰鬱，一旦有這樣的發現，又馬上被奇異的亮色掀過。光與暗之間 的較量是楊識宏畫作的必備元素，他們能夠形成一種舒服的矛盾，這樣的光暗並不歸類為自然，物 質、非物質在畫中有異於現實的一定的密度和重量，他自己訂立光明與黑暗的互動關係。這些筆觸 成為畫布的刺青花紋，在侷限間曲折，又如示意般平坦呈現，他們在具現了的抽象中懸浮，像是看 看著地球之外兩顆星相撞，清清楚楚而竟然不被影響，勾勒的曲線極度明確，黑沉綠默，不過一切 仍似數著節拍，循著顏料痕跡生長，這一剎那既抽象又真實，部分被壓著，部分又活著，此消彼長。

乍看，無以名狀，是不需再加以解釋的直截，深色不失活潑的鬼魂，自知僅是二維平面上的物，所 以能徜徉其中無垠，有光暗、色彩和線條容納所有的空虛。楊識宏嵌入他的自然碎片，把頓與悟一 再地分開、排列、組合，他們活在隔離的虛無中，是自然中的一部分非自然。楊識宏橫跨東西文化， 走過傳統與現代，游歷優雅與粗獷，恣意雄勁與典麗之間，當之無愧是臺灣藝術史上成功融合「心 象思維」與「物象思考」的代表人物。其創作詮釋了各種型態之藝術思維的交融，如畫家反求諸己 之心、眼的「意識流的東方詩學」系列近作，更為楊識宏超過四十年的藝術生涯之大成。

YANG CHIHUNG

( Taiwanese, b.1947 )

Fluent

152 x 203 cm

Oil on Canvas

Signed on the reverse: Yang Chihung and titled in English, © dated 2016

NT$ 2,300,000-3,000,000

US$ 71,500-93,200

楊識宏

流暢

2016

油彩 畫布

背面簽名：Chihung yang Fluent  2016

MOE NAKAMURA

( Japanese, b.1988 )

Grow M

26.5 x 14.5 x 20.5 cm

Polystone, 59/130

With a certificate of authenticity from manufacturer and signed by the artist

The work is accompanied by its original box.

NT$ 70,000-140,000

US$ 2,200-4,300

中村萌

生長 M

2017

寶麗石粉樹脂 59/130 附藝術家親簽之原廠保證卡 附原廠包裝紙盒

AI HAIBARA ( Japanese, b.1981 )

The Most Beautiful Moment

30.5 x 30.5 x 117 cm

Painted Wood Carving (unique work)

Engraved signature on the pedestal: Ai Haibara in English

With a certificate of authenticity from gallery

NT$ 280,000-380,000

US$ 8,700-11,800

灰原愛 花漾

2010

手工彩繪 木雕 (僅此一件)

底座雕刻簽名：Ai Haibara

附畫廊開立之原作保證書

SATORU KOIZUMI

( Japanese, b.1983 )

Empty Bucket

16 x 15 x 30 cm

Red Birch, edition of 100

Signed on the bottom of left foot: Satoru Koizumi in English

Trademark on the bottom of right foot: APPortfolio ® and edition number

With a certificate of authenticity from manufacturer and signed by the artist

The work is accompanied by its original wooden box.

NT$ 90,000-150,000

US$ 2,800-4,700

小泉悟

空桶

2019

紅櫸木 限量100件

左腳底簽名：SATORU KOIZUMI

右腳底註冊商標 APPortfolio Ⓡ 跟版數

附藝術家親簽之原廠保證卡

附原廠包裝木盒

SYOZO TANIGUCHI

( Japanese, b.1990 )

You are the Energy of Youth

19 x 10.5 cm

Acrylic on Mixed Media (with Acrylic Frame)

Signed on the reverse: Syozo Taniguchi in English

EXHIBITION:

"Youth ( 仮 ): Masao Nakahara, Yoshitomo Nara, Yoichi Kamimura, Shozo Taniguchi, Natalie Horberg, Group Exhibition," Yutaka Kikutake Gallery, Tokyo, Japan, April 10th - June 19th, 2021

NT$ 80,000-120,000

US$ 2,500-3,700

谷口正造

你就是青春的能量

2021

壓克力 綜合媒材 鏡框

背面簽名：SYOZO TANIGUCHI

展覽：

「青春(暫定)：中原正夫、奈良美智、上村洋一、谷口正造、娜塔莉． 霍伯格 群展」，Yutaka Kikutake Gallery，日本 東京，2021年4月10 日至6月19日

二〇一四年在展會FOIL AWARD和奈良美智相識，獲得了他的贊許和青睞， 而後於二〇二一年參與奈良美智主辦的「青春(暫定) 群展」。展示了 五位藝術家不願失去的青春、夢想、愛情、對自我的理解，以及未被社會 體系納入的自由想像力所產生的混亂與秩序。每位藝術家展現各自獨特風 格的創造力與想像力，共同構建了一個豐富多彩的藝術空間。

SYOZO TANIGUCHI

( Japanese, b.1990 )

Lonely King

60.5 x 72.5 cm

Acrylic and Colored Pencil on Canvas

Signed on the reverse: Syozo Taniguchi in English and titled in Japanese, dated 2022

NT$ 950,000-1,500,000

US$ 29,500-46,600

谷口正造

孤獨的國王

2022

壓克力 色鉛筆 畫布

背面簽名：2022 ひとりぼっちの王様 SYOZO TANIGUCHI

在谷口正造的作品中總令人感受到某種難以言喻的氛圍，是一種溫柔與憂 愁集結一體的視覺語言。溫柔出自於他繪本般柔和的筆觸，以及作品裡充 滿童真異想的角色，例如身穿休閒服的兔子、貌似有自我意識的汽車、還 有與城市叢林齊高的白馬等等。而有別於這些外表親和的主人翁們，作品 名和畫面中所搭配的文字，以及那既和諧又幽暗的色調，往往賦予整體另 一種獨特的沉寂感。

《孤獨的國王》這幅畫以谷口正造擅長的壓克力媒材，融合色鉛筆線條， 描繪出一隻似乎是在沉思默想的米黃色白馬，他四肢纖瘦、垂著頭、闔著 眼，站在畫面右下方的一塊地上。零散的枯枝顯得土地有些了無生機，而 在後方朦朧的灰色調背景中，隱約顯現以色鉛筆勾勒出的城市輪廓，和顏 料有如霧霾般刷過的畫筆痕跡。即使主角佔據了構圖大半部份，他纖細柔 白的身軀與身後灰霧彌漫的城市對比下，依然顯得單薄且脆弱。他的表情 安寧，脖子、四肢和尾巴多處卻纏繞著繃帶，不經使人疑惑，他的傷痕從 何而來?也許他所在的那塊地曾經綠意盎然，而如今他似乎成了那唯一的 守護者?

透過谷口正造低調隱晦的創作方式我們接收著他對自然環境保護的關切訊 號，在看似單純可愛的畫風中發現暗藏的憂傷，但正當我們為《孤獨的國 王》感到於心不忍時，看見他背上的那座皇冠心底似乎又產生了一絲溫暖， 其實每個人都在心中想保護的那塊地上擔任著孤獨的國王，能如此與觀者 產生共感就是谷口正造耐人尋味的創作魅力。

ALEC DEMARCO ( American, b.1989 )

Snakes and Ladders

117 x 165 cm

Acrylic, Ink and Oil on Canvas

Signed A. De Marco in English and dated 2022

Signed on the reverse: A. De Marco in English and dated 2022

NT$ 950,000-1,200,000

US$ 29,500-37,300

亞歷克．迪馬哥

蛇與梯子 2022

壓克力 墨水 油彩 畫布

簽名：A.deMarco 22

背面簽名：A.deMarco 2022

D* FACE (DEAN STOCKTON)

( British, b.1978 )

Better Than Never

100 x 85.3 cm

Acrylic on Canvas

Signed on the reverse: D Face in English and dated 2022

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

US$ 37,300-46,600

D* Face (迪恩．斯托克頓)

總比沒有好

2022

壓克力 畫布

背面簽名：… DFACE … 2022

D* Face是英國街頭藝術家，時常結合插畫、卡通漫畫、海 報文字等元素，以塗鴉、繪畫、版畫等方式創作；青少年時 期受滑板圖像、唱片封面和T-Shirt圖案此類流行元素啟 發，因此街頭與普普藝術風格強烈，特別的是，D* Face的 畫面無論出現殭屍或骷髏卻沒有街頭塗鴉普遍的頹廢陰鬱， 反而時常給人明亮樂觀之感，人物太陽穴長出天使翅膀可謂 他的標誌性圖騰。

D* Face透過流行通俗語彙批判現代人的價值觀，尤其針對 消費主義、物質、名利的過度崇拜，從《總比沒有好》此作 兩人擁吻的畫面搭配作品名稱可見一斑，女性流著眼淚，雙 方狀似殭屍的嘴角透露這一吻人心各異，出於慾望與寂寞， 情感流於一時表面。D* Face希望鼓勵公眾不是只有「看」 (see)，還要「好好地看」(look)，並透過創作通俗易懂地 陳述出來，矛盾感帶來的是一種幽默的警醒。

Better Than Never

SAN YU

( Chinese, 1901-1966 )

Lotus

109.8 x 171 cm

Giclee on Ultra Smooth Fineart Paper, 145/199

With a certificate of authenticity from National Museum of History, In Memory of the Fiftieh Anniversary of San Yu's Passing

The prints are collected from the years 2017 and 2018, sourced from institutions such as the National Museum of History in Taipei, galleries, and corporations. They are produced as global limited editions using museum-grade acid-free art paper and digital micro-spray technology.

NT$ 100,000-200,000

US$ 3,100-6,200

常玉

荷花

2017

數位微噴 無酸藝術紙 145/199

附國立歷史博物館 常玉逝世五十周年紀念保證卡

集結2017年、2018年由典藏常玉畫作的機構：台北國立歷史博物館、 畫廊以及企業界共同發行的全球限量版畫，採用博物館等級無酸藝術 紙，以及數位微噴技術製作。

SAN YU

( Chinese, 1901-1966 )

a. Flower

b. Flowers in Vase

a. 110.7 x 125.1 cm

b. 72.9 x 72.9 cm

a. Giclee on Ultra Smooth Fineart Paper, 145/199

b. Giclee on Canvas, 147/199

a. Steel seal: National Museum of History, and numbered 145/199

b. Steel seal: National Museum of History, and numbered 147/199

With a certificate of authenticity from National Museum of History, In Memory of the Fiftieh Anniversary of San Yu's Passing (2)

The prints are collected from the years 2017 and 2018, sourced from institutions such as the National Museum of History in Taipei, galleries, and corporations. They are produced as global limited editions using museum-grade acid-free art paper and digital micro-spray technology.

NT$ 180,000-400,000

US$ 5,600-12,400

常玉

a.花

b.瓶花

2017

a.數位微噴 無酸藝術紙 145/199

b.數位微噴 油畫布 147/199

a.鋼印：國立歷史博物館 National Museum of History 145/199

b.鋼印：國立歷史博物館 National Museum of History 147/199

附國立歷史博物館 常玉逝世五十周年紀念保證卡 (2)

集結2017年、2018年由典藏常玉畫作的機構：台北國立歷史博物館、 畫廊以及企業界共同發行的全球限量版畫，採用博物館等級無酸藝術紙， 以及數位微噴技術製作。

a. b.

SAN YU

( Chinese, 1901-1966 )

a. Nude

b. Woman in Bath

117.9 x 73.8 cm (2)

a. Giclee on Canvas, 97/199

b. Giclee on Canvas, 141/199

a. Steel seal: National Museum of History, and numbered 97/199

b. Steel seal: National Museum of History, and numbered 141/199

With a certificate of authenticity from National Museum of History, In Memory of the Fiftieh Anniversary of San Yu's Passing (2)

The prints are collected from the years 2017 and 2018, sourced from institutions such as the National Museum of History in Taipei, galleries, and corporations. They are produced as global limited editions using museum-grade acid-free art paper and digital micro-spray technology.

NT$ 180,000-400,000

US$ 5,600-12,400

常玉

a.裸女

b.浴女

2017

a.數位微噴 油畫布 97/199

b.數位微噴 油畫布 141/199

a.鋼印：國立歷史博物館 National Museum of History 97/199

b.鋼印：國立歷史博物館 National Museum of History 141/199

附國立歷史博物館 常玉逝世五十周年紀念保證卡 (2)

集結2017年、2018年由典藏常玉畫作的機構：台北國立歷史博物館、 畫廊以及企業界共同發行的全球限量版畫，採用博物館等級無酸藝 術紙，以及數位微噴技術製作。

a. b.

WU JIHCHIN

( Chinese, b.1971 )

The Blue Sky, White Sun and Wholly Red Earth

60.5 x 75.5 cm

Acrylic on Canvas

With a certificate of authenticity signed by the artist

NT$ 90,000-140,000

US$ 2,800-4,300

吳日勤

青天白日滿地紅 2017

壓克力 畫布

附藝術家親簽之原作保證書

MOE NAKAMURA

( Japanese, b.1988 )

M. Fuji

13 x 12 x 20 cm

Polystone, 33/100

Signed Nakamura in English and numbered 33/100 Trademerk © MOE NAKAMURA 2014 © GALLERY TSUBAKI 2014 © MONSTER TAIPEI 2014 PRODUCED BY HOW2WORK

With a certificate of authenticity from manufacturer and signed by the artist

The work is accompanied by its original box.

NT$ 60,000-120,000

US$ 1,900-3,700

中村萌

富士山 2014

寶麗石粉樹脂 33/100

底部簽名：Nakamura. 33/100

註冊商標 © MOE NAKAMURA 2014©GALLERY TSUBAKI 2014©MONSTER TAIPEI 2014 PRODUCED BY HOW2WORK

附藝術家親簽之原廠保證卡

附原廠包裝紙盒

MOE NAKAMURA

( Japanese, b.1988 )

Wish for Something

17 x 15 x 26 cm

Polystone, 37/120

With a certificate of authenticity from manufacturer and signed by the artist

The work is accompanied by its original box.

NT$ 200,000-300,000

US$ 6,200-9,300

中村萌

給我抱抱

2018

寶麗石粉樹脂 37/120

附藝術家親簽之原廠保證卡

附原廠包裝紙盒

LIU JIUTONG

( Chinese, b.1977 )

Green Mountains and Green Peaks

Overall size: 130 x 278 cm

Oil on Linen (Triptych)

Signed Liu Jiutong and Shanghai in Chinese, dated 2022

Signed on the reverse: Liu Jiutong and Shanghai in Chinese, size, dated 2022 (middle)

With a certificate of authenticity signed by the artist

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

US$ 49,700-87,000

劉玖通

群峰疊翠

2022

油彩 亞麻畫布 (三拼組合)

簽名：刘玖通. 上海 2022. 背面簽名：

尺寸：組画：278 x 130 cm.〈158 x 130 cm. 1个. 60 x 130 cm. 2个.〉 刘玖通. 上海. 2022. (中間)

附藝術家親簽之原作保證書

劉玖通遒勁有力大筆揮下氣勢懾人山山水水，質感於有形之 中，妙趣於靈性之內，其畫象布色，構茲雲嶺，透過西方的 抽象技法，闡釋傳統山水涵養心靈、吐納紓懷之精神，豪灑 縱意蒼勁之筆，敷染山川渾厚草木華滋，開創當代山水嶄新 風貌，提煉超然象外的心中丘壑。

二〇二三年，劉玖通開始嘗試在畫布底材上作出變化，令原 本呈現在畫中的抽象山川再度被截取出新的觀看維度。最具 代表性的是大尺幅三聯拼，映在巨尺幅的畫幅呈氣勢凌人， 帶領觀者進入神思飛揚的雲林森渺之中，更或許能隨現實空 間，靈活三聯畫之間的高低、間距、角度…等呈現。重山環 繞一汪碧綠如鏡，潭映眾山倒影，峰峰相連天際間朝露乍現，

破曉晨霧徘徊崇嶺之美不勝收，始知「雲日相輝映，空水共 澄鮮」景色繾綣、造化如詩，是以水天共色蘊奇於此，全畫 山青水白，霧靄漫漫透著濛濛墨韻氛圍，在踏遍巨川大嶂之 後，藝術家全然達物隨己形，更融景致與心緒塗布成靈動絕 美的華章，運筆顯已臻至化境。

享譽畫界的劉玖通，壯闊磅礡唯美的藝術語彙深受中外好 評，充滿前景的他正受兩岸三地的華人矚目，「大寫意」抽 象美學擷取靈山秀水，創造獨有的詩性藝術表現，其自述道： 「在即興的塗抹之際，似乎是山水之靈牽引著線條，我只感 到與山水交融、合為一體，那是一種極為暢快的幸福感；或 許可以說，我的山水畫都是和山水之靈一同創作而成。」

LIU JIUTONG

( Chinese, b.1977 )

Anhui Rhyme

DiameterØ 98 cm

Oil on Linen

Signed Liu Jiutong and Shanghai in Chinese, dated 2023

Signed on the reverse: Liu Jiutong and Shanghai in Chinese, size, dated 2023

With a certificate of authenticity signed by the artist

NT$ 480,000-680,000

US$ 14,900-21,100

劉玖通

皖韻

2023

油彩 亞麻畫布

簽名：刘玖通. 上海. 2023.

背面簽名：尺寸：直径：98cm. 刘玖通. 上海 2023.

附藝術家親簽之原作保證書

BERNARD

BUFFET

Iris Bleus

貝納德．畢費(Bernard Buffet) 是一位出生於一九二八年的法 國畫家，他的藝術生涯始於法國戰後的時期。年僅十五歲時， 他就進入巴黎國立高等美術學院，開始接受藝術教育，並在 一九四八年左右舉辦了多次個人畫展，逐漸展現出自己堅定而獨 特的藝術風格。

畢費的畫作充滿了對社會現實的寫實描繪，他以細膩敏銳的觀察 力和內在的情感表達，將社會的困境和個人的憂愁深深地編織在 畫布之上。在二戰後，他與許多其他年輕藝術家一樣，深受反戰 情緒的影響，作品中蘊含了無奈與悲愴的情感，這種對戰後社會 現實的反思和憤怒，使他的作品成為了悲愴主義的代表之一。並 且，當時抽象藝術風潮席捲藝術界，而畢費堅持的具象藝術立場 使他成為一個獨特的存在。他的創作風格和對形式的探索在當代 藝術史上留下了深刻的印記，成為具有指標性的代表之一。

畢費的畫作以黑色直線為主，粗糙黑色輪廓的線條像鞭子一樣划 痕和切割在顏料上，無論是人物、風景還是其他題材，都透露著 一種孤寂和絕望的氛圍。他的作品中常常圍繞城市景觀、人物和

Bernard Buffet, born in 1928, was a French painter whose artistic career began in the post-war period in France. At the tender age of fifteen, he entered the National High School of Fine Arts in Paris, initiating his artistic education. By around 1948, he had already held several solo exhibitions, gradually revealing his steadfast and unique artistic style.

Buffet's paintings are imbued with realistic depictions of social reality. With keen observation and inner emotional expression, he deeply weaved societal dilemmas and personal sorrows onto his canvases. Like many other young artists post-World War II, Buffet was deeply influenced by anti-war sentiments, infusing his works with a sense of resignation and melancholy. This reflection on and anger towards post-war societal realities made his works representative of the sorrowful school of art. Moreover, amidst the dominance of abstract art trends, Buffet's insistence on figurative art positioned him as a distinctive figure. His artistic style and exploration of form left a profound mark on contemporary art history, making him one of its iconic representatives.

Buffet's works are predominantly characterized by black lines, rough black contour lines like whips slashing and cutting across the pigment, exuding an atmosphere of loneliness and despair, whether depicting figures, landscapes, or other subjects. His works often revolve around urban landscapes, figures, war scenes, and large-

戰爭場景等題材，以及大型的連作系列，這些作品無一不彰顯著 他對社會現實的敏銳觀察和深刻反思。

儘管畢費的生涯曾一度光彩燦爛，但他始終無法擺脫戰爭的陰影 和對戰後社會的失望。他的畫作通常充滿了對孤獨和絕望的描繪， 展現出一種深刻的悲劇美學。他的靜物畫作《藍色鳶尾花》散發 著濃烈陰鬱的意象。在畢費對色彩和構圖的精湛掌握中，《藍色 鳶尾花》以一種寧靜而深沉的藍色為主調，營造出一種神秘和夢 幻的氛圍。這種藍色的選擇不僅反映了畢費對於色彩情感表達的 理解，更展現了他對自然美的敏感和深刻的感悟。利用幾乎完全 缺乏景深的方式來增加作品中的正面衝擊力，加上飛速的黑色直 線勾勒出冷酷而憂傷，形塑出一股瀰漫於歐洲社會的沉鬱氣氛。

許多西洋畫作中都可以看到鳶尾花的蹤跡，法國人視鳶尾花為國 花，鳶尾花代表著「光明」和「自由」，能顯現出這個法蘭西民 族純潔、尊嚴和光明磊落的特性。畢費筆下的鳶尾花則賦予其更 多的想像，映照出藝術家洗鍊、成熟的心境，表現了對自然美的 敏銳感悟和對生命之美的贊歌。

scale series, all of which manifest his acute observations of societal reality and profound reflections.

Despite Buffet's once-glorious career, he could never shake off the shadows of war and his disappointment with postwar society. His paintings are often filled with depictions of loneliness and despair, showcasing a profound tragic aesthetic. His still life painting Iris Bleus emits intense gloomy imagery. Through Buffet's masterful command of color and composition, Iris Bleus adopts a serene yet profound blue tone, creating a mysterious and dreamy atmosphere. This choice of blue not only reflects Buffet's understanding of color expression but also showcases his sensitivity and profound insight into natural beauty. By utilizing a nearly complete lack of depth to increase the frontal impact of the work, coupled with swiftly drawn black lines outlining a cold and sorrowful scene, a pervasive atmosphere of melancholy permeates European society.

The traces of irises can be found in many Western paintings, with the iris regarded as the national flower of France, symbolizing "light" and "freedom," reflecting the purity, dignity, and integrity of the French nation. Buffet's depiction of irises imbues them with more imagination, reflecting the artist's refined and mature state of mind, expressing a keen appreciation for natural beauty and a paean to the beauty of life.

BERNARD BUFFET

( French, 1928-1999 )

Iris Bleus

35 x 27 cm

Oil on Masonite

Signed Bernard Buffet in English

With a certificate of authenticity from Maurice Garnier gallery, France

NT$ 1,500,000-1,800,000

US$ 50,000-58,000

貝納德．畢費

藍色鳶尾花

1983

油彩 纖維板

簽名：Bernard Buffet

附法國 莫里斯．卡尼爾畫廊開立之原作保證書

SHIY DEJINN

The Golden on the Top of Mount Emei

峨嵋金頂　席德進

峨嵋山作為中國四大名山之一，據來歷推測其「峨嵋天下秀」的 風韻早在春秋戰國時期已聞名於世，而至今形成飽含佛、法、僧、 文人蓬勃底蘊餘千年歷史的峨嵋聖山，千古名山，巍巍一頂， 而自古登山重在頂，無限風光在險峰。「金頂」則是峨眉山的主 峰和頂峰，最廣為趨之一睹的是那裡的四大奇觀，日出、雲海、 佛光、聖燈。在金頂最具代表性的普賢菩薩道場「華藏寺」，當 今也受列為漢族地區全國佛教重點寺院之一。風水上日照秀貌淨 澈、地理上雲霄繚繚、人文中禪儒匯聚，當中引人朝聖的關鍵是 那不可求的佛光奇觀、月隱聖燈傳說，為峨嵋山聚落寺院，特別 是金頂上的華藏寺，添實了仙靈幽沁的聖域質地。

一九六六年，正逢席德進自歐美遊歷返回臺灣，經過西方藝術的 洗禮開始向自身文化傳統探求新的創作養分。在他重新觀察臺灣 風土地貌、古建築、收集民間藝術資料，沈浸在以筆盡收美景的 企盼同時，偶然間問起他創作生涯的知音- 盧精華先生是否見過 峨嵋山又碩亦秀的絕妙，席德進得知盧先生未見過後感到可惜， 而心懷領著知音體會同樣的驚艷，以一位畫家所能表達最精準深 刻的「語言」，將席德進當時所見峨嵋山，對外表上的有機造 形、對空氣流動的揣摩、對空間構圖的重量傳達、當下峨嵋山上 一草一木一節氣乃至於在金頂上尚未修建最樸真的百年寺殿，然 而重要的是如今看來席氏書畫十年如一日無可言盡的席氏深情， 循循憶起絮絮筆墨，搓揉在此《峨嵋金頂》，掌握純粹的感動敘 述，一種永恆穿梭在席德進生涯中極少的大尺幅創作中，流連於 由「他」所勾起後世人的共感中；也給盧精華先生留下更勝親臨 峨嵋山的見證。

席德進曾如此敘述自己的創作歷程：「我以前是在西方繪畫傳統 裡接著走下去，現在我要從中國繪畫傳統裡接著走出來。」

此件《峨嵋金頂》在席德進遊歷返臺時期中也標幟著他未來混合 中西繪畫定位的起手式，見得席德進從書畫紙材慣用的長軸形式 擺脫，改用等邊四方，從視窗體積上直接影響外在空間對畫面的 透視印象，在寬廣的畫面中則沿用傳統書畫對留白的三二分構圖 襯出無際天邊，一求遠望般從眼伸展舒心，一面給拔地而起的峨 嵋山對比空間。用色上的巧思則更近乎摸索西畫統一飽和度，儼 然已有後期水彩山水不仰賴水分的調和製造透視，而是任水分在 物與物之間的結構中自然既具精銳又有棉柔的渾然關係，在統一 飽和度的情況下以色相互補調度觀賞走勢，掌控適宜能如此作品 在下半部以遠山落定天地，向下改皴墨帶左走筆，一路昂揚登金 頂，順暢堅實，是正直青壯席德進氣勢滔滔的蹤跡。走進畫前卻 能真正看見席德進細糯編織，在轉折勾勒細微的虛實，包覆著皴 法交會西方表現主義的肌理，再逐一共構撫上色彩，讓山脈有更 多層次空間，讓「光」流淌在立體感的經營，樹林則此起彼落隨 風搖曳起。

席德進望向峨嵋金頂，以落下穩實點景，猶如即將向盧精華先生 與佇立畫前的觀眾們分享下一個他的美景常談：金頂那裡能見到 得天獨厚的光學景象，峨嵋山還有個佛光傳說…。峨嵋山腰住著 蒲姓老者，他在金頂看見所有人都能看見的五彩光景，但卻只有 他看見光圈內的普賢菩薩，最後他在那裡蓋了「華藏寺」，成為 後世人們慕名朝拜的聖地；畫家席德進在臺灣所陶醉的風景，也 是所有人能見的，也卻只有席德進一人用內在體會後看見那風景 的本質，一心一生執筆綻放，一幅幅畫作成為令後世人們為之觸 動的作品。

SHIY DEJINN

( Taiwanese, 1923-1981 )

The Golden on the Top of Mount Emei

128 x 136 cm

Ink and Color on Paper

Signed Shiy Dejinn, titled and dated in Chinese With two seals of the artist

PROVENANCE: This work belongs to the collection of Shiy De-Jinn Foundation, Founding Director Mr. Lu Ching-Hua

NT$ 2,800,000-3,500,000

US$ 87,000-108,700

席德進

峨嵋金頂

1966

彩墨 紙本

簽名：峨嵋金頂 六十六年 夏 席德進 畫

鈐印：席德進 (朱文)、席氏書畫 (白文)

來源：

席德進基金會創辦董事長 盧精華 收藏

Landscape Series

山石　周春芽

在中國藝術圈開始對政治和現實進行戲劇化和理想化的一九九〇年代，周春芽未跟進此 「政治波普」的潮流，他在一種自由而個人化的創作狀態中展開山石系列的探究。

山石是古代文人墨士的重要題材，山石這個符號是自然的象徵，同時也特別能成為文人 情感的借喻、代表了許多複雜的情懷與傳統。

《山石》以簡鍊端正的形體呈現，主體中具層次的油彩疊積，增加出色調的豐富性與肌 理感，使物象更加飽滿與穩重，但又在筆觸的提、按、頓、挫間充滿動感。周春芽的目 標不是要再現自然，而是欲以此以形寫情、變形取神之中，直接表現人心對於自然最直 接的情感。周春芽革新題材框限於山水圖式的限制，在追求藝術創新上，以新表現主義 的繪畫技巧開創出全新的格局。

ZHOU CHUNYA

( Chinese, b.1955 )

Landscape Series

100 x 80 cm

Oil on Canvas

Signed Zhou Chunya in Chinese and dated 1995

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

US$ 118,000-186,400

周春芽

山石 1995

油彩 畫布

簽名：1995 周春芽

CHU TEHCHUN No. 534

構圖 No. 534　朱德群

「雖然我一度在國外居住，但引領我行為舉止、待人接物的卻是我年輕時所吸收的中國文化精神。」---

朱德群 一九五五年三十四歲的朱德群闊別家鄉、放下業已建立的藝術聲名 來到時代的最前沿巴黎深造。朱德群剛來巴黎之初，正值表現主義 潮流的主導後期，法國的不定形藝術(Art Informel) 和美國抽象表 現主義藝術成為世界性美術潮流。此時抽象繪畫已經歷了四十餘年的 發展，從康丁斯基(Wassily Kandinsky,1866-1944) 的熱抽象到蒙 德里安(Piet Mondrian, 1872-1944) 的冷抽象，再到威廉・ 德庫寧 (Willem de Kooning, 1904-1997) 的折衷抽象、馬列維奇(Kazimir Malevich,1879-1935) 的至上主義，直至彼時發展至頂峰的「抒情」 抽象主義潮流。然而這一切對於當時的朱德群都是陌生的，初來巴黎 的他面對這與中國傳統從文化根本上迥異的藝術氛圍振奮不已，更使 他感受到東西方藝術的巨大差異，經過一番摸索與探尋，朱德群也很 快投入進這片洶湧的浪潮之中。

一九五六年五月，巴黎市立美術館尼古拉・德・斯塔埃爾(Nicolas de Staël,1914-1955) 去世一周年回顧展成為朱德群藝術道路上的重要 轉捩點。斯塔爾敏銳的繪畫感覺、自由宣洩的繪畫態度、帶有透明變 化豐富的畫面以及後期作品天馬行空般的想像令朱德群深深折服，面 對他的作品朱德群對於何為「抽象」之題頓時豁然開悟。朱德群曾言： 「這是他到巴黎後看到的最好的現代畫展，我被深深打動了。」斯塔 爾使朱德群認識到自由態度在繪畫中是何等可貴，但要達到這種「自 由奔放」的狀態又是何等困難，只有自由得恰到好處而又不失內涵， 才能在藝術上抵達所追求的精神境界。雖然朱德群並不曾與斯塔爾結 識，但這一次與其作品的「神會」深深啟發了朱德群，釋放了他心中 積儲已久的能量，更堅定他從具象風格轉向的決心，毅然擺脫物象對 他的束縛，投身抽象藝術的探索之中。

直至一九五九年，朱德群在巴黎的創作生涯逐步穩定，由旅館遷居至 東二十區梅尼孟當街公寓，藝術創作也就此迎來一個新的高峰，其 「構圖系列」即在此時步入成熟。一九七〇年代，藝術家朱德群受到 在荷蘭舉辦的「林布蘭特逝世三百週年紀念大展」的衝擊，其繪畫風 貌開始一變，從原本的寬筆刷畫的大幅狂草畫風，進入受林布蘭特所 啟發的潛光隱耀，在幽微與多層次的陰暗面中探討光源所展現的，具 有高度精神性與充滿詩意的氣質。

林布蘭特是光的大師，其繪畫技巧「明暗對照法(Chiaroscuro)」， 使畫中的光源帶給觀者神秘感、戲劇性、與空間深度，《構圖 No. 534》正是承襲了荷蘭黃金時期的藝術大師林布蘭特的風格特色，巧 妙地使用「光」為充滿抒情詩意的舞台效果所敘事，也正是這種「富 有神聖感的光源」，讓他的作品充滿一種不同於他人的「宇宙」氣息。

前法國文化部部長賈克・朗(Jacques Lang,b.1939)

認為，藝術家朱 德群的作品，傳達出「身為宇宙中唯一主人」的空靈感受。藝術家朱 德群在作畫時，習慣聆聽交響樂，並自然地融會音樂的韻律感與畫面 中，他時常說，在繪畫的過程，其實就是在「聆聽宇宙的天籟」，細 觀其構圖，仿若浩然待出的宇宙，帶給人曠達宏觀的審美感受，筆觸 豪放而概括、形象生動而細膩，具有強烈的藝術感染力，讓人感到精 神狀態的昇華。

藝術家朱德群繪畫面向的「宇宙觀」，已不僅僅是「西方的宇宙」， 更是「東方的宇宙」，「一陰一陽之謂道」，而「道」是世界的本源， 藝術家朱德群所展現的，即是透過藝術的揮灑表現，將內在對於「道」 的禪式冥想以「書寫性繪畫」表現之，富含中西藝術家、中西哲學觀 的意涵層次，讓人感受到莊嚴與氣派。

此作《構圖 No.534》象徵藝術家在異鄉接受中西文化衝撞後最初併 發的靈光，呈現才情正盛時的雄渾激昂以及因思索求變而略帶苦澀的 高度精神性。身在異鄉的朱德群深深體會到蘊含無限抽象性的水墨畫 與抒情抽象之間的「不謀而合」。他嘗試用石濤畫淺灘水草的技法創 作抽象畫，那隨意的黑色線條與乾擦出的灰白效果，呈現出水墨書寫 的趣味。這可說是朱德群在台灣八仙山和鳥來寫生時感悟山川雲嵐的 變幻時所播下的種子，在他的血液裡流淌的中國基因(早年的記憶、 自幼研習書法、唐詩宋詞以及中國山水畫空間的宇宙觀念)時時刺激 著他的靈感，其深厚的中國文化積澱，令他更加自覺地運用西方的眼 睛來表達東方的智慧，終使他的藝術在巴黎無形式主義浪潮中脫穎而 出。在《構圖 No.534》中，我們彷彿感受到朱德群將巴黎冬景和記 憶中臺灣八仙山的山林和鳥來瀑布之美融合共組，在墨黑映襯下，幽 微的暗紅與褐黃在灰褐色和優雅的乳白色間隱現，透過藝術家勁馳跌 宕的筆觸，層疊鋪陳出的冷暖色調在畫面旋轉馳騁，各種形態靈動交 錯，宛如峽谷泉流劃過石壁時水氣的震盪飛旋；也似巴黎冬夜，兩側 森冷的建築相互重疊，透出微黃的光暈，夾帶畫面中央向遠方延伸的 街道，迤邐出一條長長地蕭瑟迷離。

畫面中光線的表達不同於後期作品的大筆暈染，而是以塊狀結構細膩 編排，更著重點線面的交織共組，可見出朱德群對於光線的大篇幅表 現前的研究成果，而其濃重書法筆意所揮灑出的抒情且深邃的意境， 令《構圖 No.534》產生一種虛實交映的神秘感，而這種緊湊的結構 性和深沉神秘的氣息正是朱德群早期藝術的精神所在，在在突出了本 作品珍稀的學術意義。而此幅節奏起伏變化豐富、對比鮮明且編排細 膩的抒情抽象之作，也標誌朱德群在赴法前半時期，深刻體會東西兩 大文化碰撞之後作出的動人交響。

"Although I once lived abroad, it is the spirit of Chinese culture that guides my behavior and interactions, absorbed during my youth." --- Chu Teh-Chun

In 1955, at the age of thirty-four, Chu Teh-Chun left his hometown and set aside the artistic reputation he had already established to further his studies in the forefront of the era, Paris. Chu Teh-Chun arrived in Paris during the later period dominated by the trend of Expressionism, where French Art Informel and American Abstract Expressionism became global art movements. Abstract painting had already undergone more than forty years of development, from the fervent abstraction of Wassily Kandinsky and the cold abstraction of Piet Mondrian to the eclectic abstraction of Willem de Kooning and the Suprematism of Kazimir Malevich, culminating in the peak of "lyrical" abstract expressionism at that time. However, all of this was unfamiliar to Chu Teh-Chun at the time. Facing this artistic atmosphere that was fundamentally different from Chinese tradition, he was greatly excited and felt the immense difference between Eastern and Western art. After some exploration and searching, Chu Teh-Chun quickly immersed himself in this surging tide.

In May 1956, the one-year retrospective exhibition of Nicolas de Staël, who passed away in Paris, became an important turning point in Chu Teh-Chun's artistic journey. Chu TehChun was deeply impressed by Staël's acute sense of painting, his freely expressive attitude towards painting, the rich and transparent changes in his paintings, and the wild imagination in his later works. Facing his works, Chu Teh-Chun suddenly enlightened about what "abstraction" truly meant after coming to Paris. Chu Teh-Chun once said, "This is the best modern art exhibition I have seen since coming to Paris. I was deeply moved." Staël made Chu Teh-Chun realize the value of a free attitude in painting, but achieving this "free and uninhibited" state was extremely difficult. Only when freedom is balanced and does not lose its essence can one reach the spiritual realm

pursued in art. Although Chu Teh-Chun never met Staël, this "spiritual encounter" with his works deeply inspired Chu TehChun, unleashing the energy that had long been accumulated in his heart and strengthening his determination to transition from figurative style to abstraction, decisively breaking free from the constraints of objects and immersing himself in the exploration of abstract art.

Until 1959, Chu Teh-Chun's creative career in Paris gradually stabilized. He moved from a hotel to an apartment on Rue de Meaux in the 20th arrondissement, and his artistic creation entered a new peak, with his Composition Series maturing at this time. In the 1970s, the artist Chu Teh-Chun was impacted by the Rembrandt 300th Anniversary Memorial Exhibition held in the Netherlands, and his painting style began to change. Inspired by Rembrandt, he entered a phase of hidden brilliance, exploring the manifestation of light sources in the subtle and multi-layered darkness, possessing a highly spiritual and poetic temperament.

Rembrandt was a master of light, and his painting technique of "Chiaroscuro" brought a sense of mystery, drama, and spatial depth to the light sources in the painting. Composition No. 534 inherits the stylistic characteristics of the Dutch Golden Age master Rembrandt, ingeniously using "light" to narrate a stage effect full of lyrical poetry. It is precisely this "sacred light source" that fills his works with a "cosmic" atmosphere different from others.

Former French Minister of Culture Jacques Lang believes that the works of artist Chu Teh-Chun convey a sense of "being the only master in the universe." When painting, Chu TehChun is accustomed to listening to symphonies and naturally incorporates the rhythm of music into his paintings. He often

says that in the process of painting, he is actually "listening to the celestial music of the universe." Observing his compositions, one feels as if gazing at the universe waiting to be unfolded, bringing a broad and macroscopic aesthetic experience. His strokes are bold and concise, the imagery vivid and delicate, exuding a strong artistic appeal, elevating the viewer's spiritual state.

The "cosmic view" depicted by artist Chu Teh-Chun is not only "Western cosmology" but also "Eastern cosmology." "Yin and yang are the Tao," and "Tao" is the origin of the world. What artist Chu Teh-Chun demonstrates through the splendor of art is the expression of internal Zen-like meditation on the "Tao" through "written painting," rich in implications of both Eastern and Western artists and philosophical views. This allows people to feel solemnity and grandeur.

This work, "Composition No. 534," symbolizes the initial inspiration that the artist experienced after encountering the collision of Chinese and Western cultures in a foreign land, presenting the vigorous and passionate creativity of his prime, as well as the slightly bitter high spirituality due to contemplation and change. Deeply experiencing the "coincidence" between the infinite abstraction of ink painting and lyrical abstraction, he attempted to create abstract paintings using the techniques of Shitao's painting of shallow water and grass. The casual black lines and the dry-brushed gray and white effects present the charm of ink writing. This can be said to be the seed planted by Chu Teh-Chun during his sketching of the mountains and clouds of Mount Baxian and the Bird's Paradise waterfall in Taiwan. The deep-rooted Chinese genes flowing in his blood (early memories, studying calligraphy from childhood, Tang and Song poetry, and the cosmic view of Chinese landscape painting) constantly stimulate his

inspiration. His profound Chinese cultural accumulation makes him more consciously use Western eyes to express Eastern wisdom, ultimately allowing his art to stand out in the wave of formlessism in Paris. In Composition No. 534, we seem to feel Chu Teh-Chun's integration of the beauty of the winter scenery of Paris and the mountains and forests of Mount Baxian and the Bird's Paradise waterfall in his memory. Under the black ink, the subtle dark red and brown-yellow emerge between the graybrown and elegant milky-white, through the artist's vigorous and flowing strokes, the layered warm and cold tones swirl and gallop on the canvas, various forms interweave and dance, resembling the fluctuation of water vapor when a canyon stream brushes against the stone wall; it also resembles the winter night in Paris, with the cold buildings on both sides overlapping, emitting a faint yellow halo, with the street extending from the center of the painting to the distance, meandering into a long and desolate mist.

The expression of light in the painting differs from the broad strokes and smudges of later works, instead delicately arranging block-like structures, focusing more on the interweaving of points, lines, and surfaces. It can be seen that Chu Teh-Chun's research on the expression of light before the large-scale painting was fruitful. The lyrical and profound atmosphere depicted by his heavy calligraphic strokes creates a mysterious feeling of interplay between reality and illusion in Composition No. 534, and this compact structure and deep mysterious atmosphere are precisely where the spiritual essence of Chu Teh-Chun's early art lies, highlighting the rare academic significance of this work. This richly varied, sharply contrasting, and finely arranged lyrical abstraction marks Chu Teh-Chun's moving symphony after deeply experiencing the collision.

CHU TEHCHUN

( Chinese-French, 1920-2014 )

No. 534

100 x 73 cm

Oil on Canvas

Signed Chu Tehchun in Chinese and English

Signed on the reverse: Chu Tehchun in English and Chinese, titled No. 534, dated 1974

PROVENANCE:

1. Private collection of Madame Arlette de Crouse, France

2. Private collection, European

EXHIBITION:

"Chu Teh-Chun. Peinture récentes," Galerie Soleil, Paris, France, May 29th - June 29th, 1974

With a certificate of authenticity from Chu Teh-Chun Foundation

This work has been certified by the Chu Teh-Chun Foundation and will be included in the Chu Teh-Chun Foundation's archive.

NT$ 7,000,000-12,000,000

US$ 217,500-372,800

朱德群

構圖 No.534

1974

油彩 畫布

簽名：朱德群 CHU TEH-CHUN

畫背簽名：CHU TEH-CHUN No. 534 朱德群 1974

來源：

1.Arlette de Crouse 夫人私人收藏，法國 2.歐洲私人收藏

展覽：

「朱德群個展」，Galerie Soleil，法國 巴黎，1974年5月29日至6月29日

附朱德群基金會開立之原作保證書

此作品已經 朱德群基金會 認證，作品將會收錄於朱德群基金會之文獻庫。

No. 546

構圖 No. 546　朱德群

一九七〇年，一場在荷蘭阿姆斯特丹舉辦的「林布蘭特逝世三百週年紀念大展」，使朱 德群的繪畫態度迸生丕變，他深刻體認藝術的真諦：「唯有真誠而已」，得以誠創作， 才能感人。從原有的繪畫瓶頸向外突破，而創作動機則更趨於內省性。他曾表示：「林 布蘭特畫中的光使他的畫更顯深刻、雄渾與結實，……我則不同，沒有宗教信仰，我畫 的是我內心的光，也就是我的靈魂之光。至於畫面的運動感，可能來自線條的組合、空 間的結構和色彩的變化所造成的韻律，但我力求運動中不失合諧，粗獷中不失細膩，保 持整體的寧靜感。」汲取十七世紀的繪畫大師林布蘭特在人物表情、姿態中對於光細膩 巧妙的設置，重新體悟「光源」的重要性，似同畫作的靈魂，必須是由內向外的自然釋放， 「感動」才能不因時間的流逝而衰頹，更甚如宇宙星雲的漫遊，那樣地無盡擴張。

此後，朱德群從西方古典油畫中應用的光線出發，融會中國傳統宇宙觀念得兩大基本原 則：「陰與陽」、「明與暗」，揮灑充滿冥想式的色彩，並時常以光亮與黑暗的戲劇性對比、 交融作為主題，並在「光線的交織頓挫」上懷有更深層的思索，演繹出更精緻的繪畫語 彙。同一時期，也開啟了朱德群接連不斷的畫展，法國、盧森堡、義大利、德國等地皆 有其重要的個展與聯展，並為他八〇年代的生涯頂峰蓄積了豐沛的能量。

藝評家水天中曾這樣描述朱氏之作：「熟悉中國藝術的人看朱德群抽象繪畫，既有耳目 一新的興奮，又有似曾相識的感觸。」在他作品裡的抽象構成元素裡色彩炫目的點、塊、 墨跡及其流灑的畫面氛圍，讓觀眾很能自然地聯想起「微茫煙濤」和「飛瀑奇石」，亦 或是古時書畫記載的夜空燈火、鄉村戲臺和民間節慶時的張燈結彩，在每個抽象筆勢縱 橫馳騁的迷濛空間中，獨樹於當時以西方脈絡為中心的藝術發展，找到「東方美學」的 文化認同與立足國際的窗口。

從這樣的結論下更能凸顯出朱德群將根基的「書畫寫意」轉譯在油畫厚實堆砌之中， 這樣關鍵性的本質區別，無論是哈同(Hans Hartung,1904-1989)、巴贊(Jean Rene Bazaine,1904-2001)、蘇拉熱(Pierre Soulages,1919-2022)，還是克萊因(Yves Klein,1928-1962)，誰都不曾像朱德群那樣，使線條、乃至團塊，有如此多變的姿態和 表情，更不曾像朱德群的方式使用手中的畫筆。他們的運筆之間沒有朱德群從中國書畫 中精煉的點、折、撇、捺等用筆觀念，而僅止於純粹的表現動勢。

中國古代畫論以「氣韻生動」為繪畫創作的至高境界，而朱氏作品中的蒼穹幻象便體現 了張慶《圖畫精意識》「凝神注想，流盼運腕，不意如是，而忽然如是。」中「無意而發」

的創造境地，同時證實了唐朝經學家孔穎達所言：「遺忘已象者，乃能制眾物之形象也。」

他擅長運挪天地間浩浩厚澤的用色，解構後超以象外的內涵，將作品生命由外在宇宙的 富麗繁雜去蕪存菁出最大的簡單，再以此傳遞出最深刻的自然心念。「我畫畫的感覺是 壯遊！面對畫布，我的感性會爆滿膨脹。我會用畫筆去闖蕩那未知之地！」朱德群以一 生相許，行走藝術江湖，毋管新舊世紀交遞間的刀光劍影與光怪陸離，仍持著寶劍般的 真誠畫筆創作不輟，舞出混沌恆空中的段段詩意。

以此當我們看向《構圖 No.546》畫面，那虛實相生的畫面，正 是自然光與影的交融，恰恰完美呈現了朱氏拋卻雜念、萬象神遊 的隱逸胸懷，邀觀者共赴此間。在對稱式的宏觀中，朱德群更通 過穿插於線條中斑斕色塊間的色彩對比，達到「靜中有動、動中 有靜」的微觀製衡。作品中，明亮的橘紅大色塊被建構於畫面中 央醒目的位置，引導觀者視線集中於當中高彩明的黃色高源透發 處，而暗赭紅、暗綠色塊分散在畫面四周，紅與綠、明與暗的雙 重對比鋪成下，一種視覺透視的空間感逐然顯現。

而在色彩上，彰顯特定的光照時刻，暗示著太陽運行的起落升 降、時間推移。作品以鮮明的紅彩為基調，右半運用澄黃、橘紅 至紅褐、焦赭的轉折向左半變化，不僅是以色彩的強烈對比形塑 出明暗，更以明度的變化創造出暖色調光線的擴散與前進，闡釋 「光」這一朱德群最為經典的主題，揭示其寓抽象於抒情的成熟 語境。而在看入畫作下方部分，他以黑色的線與面創造出書法與 山水線條的結合。隨著色彩的鋪陳、筆觸橫刷而轉折變化，演繹 物換星移、光陰流逝，光輝籠罩的畫面，引發人們對於大好時光 的領略與感悟。

《構圖 No.546》當屬這一年代時期比較之下，最有情緒的感染 與張力，一面在撲面而來的高漲中陶醉舞動，一面讓我們對於自 身現況有著更為敏感而清晰的時空意識，進而觸發對於周遭時空 的延伸與想象。他筆下刻畫的「抒情抽象」，是一種廣義上的風 景，沒有再現某處具體的景色，而是表現了大自然的生命流動。 在他的作品前，若能被一種浩翰巨集的沉思和冥想所感動，這便 是朱德群的過人之處。他將他所理解的中國文化精神貫穿於個性 化的創作之中，使之演化成一種國際語言發揚之，並同時為東方 繪畫的發展進程開闢了新的篇章。

In 1970, the “Rembrandt 300th Anniversary Memorial Exhibition” in Amsterdam sparked a profound shift in Chu Teh-Chun's artistic approach. It was here that he encountered the true essence of art: "sincerity above all." Recognizing that genuine creativity resonates deeply with viewers, Chu embarked on a transformative journey, breaking free from his previous artistic constraints. He shared, "While Rembrandt's use of light adds depth and solidity to his paintings... I paint from within, capturing the light of my own soul. My motivation stems from an inward exploration."

Drawing inspiration from Rembrandt's masterful manipulation of light in 17th-century portraits, Chu rekindled his appreciation for the pivotal role of light, likening it to the soul of a painting—a natural emanation essential for timeless impact. This revelation led him to infuse his works with introspective depth, exploring the interplay of light and shadow as a narrative theme. His exhibitions across Europe, including France, Luxembourg, Italy, and Germany, propelled him to the zenith of his career in the 1980s, energizing his artistic journey.

Art critic Shui Tianzhong aptly described Chu's abstract compositions as both refreshing and familiar to connoisseurs of Chinese art. Each stroke evoked vivid imagery—perhaps misty waves or ancient village festivities—offering a unique blend of Eastern aesthetics amidst a predominantly Western art scene.

Chu's mastery lay in transcending traditional boundaries, seamlessly blending Western techniques with Eastern sensibilities. Unlike his contemporaries, Chu's brushwork conveyed a depth of expression reminiscent of classical Chinese calligraphy, infusing his compositions with a timeless elegance.

In Chu's world, every painting was a poetic exploration, an invitation to contemplate the eternal dance of light and shadow. "Composition No. 546" epitomized this ethos, drawing viewers into a mesmerizing interplay of colors and forms that transcended the bounds of time and space. It was a testament to Chu's ability to evoke profound emotion and introspection, offering a glimpse into the soul of both artist and viewer.

As we reflect on Chu Teh-Chun's legacy, we are reminded of his singular contribution to the world of art. Through his unwavering dedication and sincere brushwork, he bridged cultural divides, enriching the global artistic landscape with his unique blend of Eastern philosophy and Western technique. Truly, Chu Teh-Chun's paintings are more than mere compositions—they are windows to a world where light and shadow converge, inviting us to explore the boundless realms of imagination and creativity.

CHU TEHCHUN

( Chinese-French, 1920-2014 )

No. 546

65 x 92 cm

Oil on Canvas

Signed Chu Tehchun in Chinese and English

Signed on the reverse: No. 546

With a certificate of authenticity from Chu Teh-Chun Foundation

This work has been certified by the Chu Teh-Chun Foundation and will be included in the Chu Teh-Chun Foundation's archive.

NT$ 17,000,000-25,000,000

US$ 528,100-776,600

朱德群

構圖 No.546

1975

油彩 畫布

簽名：朱德群 CHU TEH-CHUN.

背面簽名：No.546

附朱德群基金會開立之原作保證書

此作品已經 朱德群基金會 認證，作品將會收錄於朱 德群基金會之文獻庫。

LI CHEN

( Taiwanese, b.1963 )

Riding the Wind

39 x 67 x 49 cm

Bronze, 5/8

Signature engraved: Li Chen in English, dated 2007 and numbered 5/8

With one seal of the artist

ILLUSTRATED:

1. "Li Chen in Beijing - In Search of Spiritual Space," Asia Art Center, Taipei, Taiwan, 2008, Page 181

2. "Great of Spirit - Li Chen Premiere Sculpture Exhibition in Taiwan," Asia Art Center, Taipei, Taiwan, 2011, Page 161

NT$ 3,500,000-4,000,000

US$ 108,700-124,300

李真

御風遊

2007

銅雕 5/8

雕刻簽名：2007 Li Chen 5/8

雕刻鈐印：李真

圖錄：

1.《李真：中國美術館個展 - 尋找精神的空間》，亞洲藝術中心， 台灣 台北，2008 年，第181頁

2.《大氣 - 李真台灣大型雕塑首展》，亞洲藝術中心，台灣 台北， 2011 年，第161頁

此作《御風遊》是屬於李真著名的「大氣神遊」系列，以使用銀箔或銀漆 為主要的創作特點。李真深受道家的「氣」與「遊」的概念啟發，而無形 的雲霧為他提供了發想雕塑造型的靈感。將其抽象的概念「氣」賦予了形 象，通過表現出一種靈魂神遊的狀態，暗示了內在精神世界的探索。

藉由使用銀的材質，將其雕塑的沉重感巧妙地轉化為輕盈的雲霧，展現獨 有的「既重又輕」特色。李真透過銀作為媒介，進而創造出虛實對比，遊 走於實質與虛靈之間，他巧妙地運用「空」的概念，將物質世界轉化為背 景，營造出一個超越時空的靜謐境界，讓觀者在其中自由遨遊，體驗無限 的可能性。李真的藝術創作歷程充滿了挑戰和驚喜，每一次的創作都是一 次對於他內心深處的探索，他相信藝術是有一種特殊的力量，能夠開啟和 啟迪人們的心靈和思想。

三生石　李真

「李真的雕塑持衡於有形無形、實質虛靈之間。他通過矛盾的動態，迫使觀 賞者把作品看成是『空／質』等對立兩極的消解，盡顯『無特性』與『無想』

的狀態，也即是以高度具象的手段抒發了脫離『寫照』與『表述』的意旨。」

前新加坡國家美術館館長 郭建超

李真出生於一九六三年，是一位來自雲林的台灣藝術 家，以「圓滿而大氣」的雕塑風格而聞名。早期以傳 統佛教造像為主要工作，期間他透過西方現代雕塑的 訓練，以及熱衷於東方文化美學的探索，並涉略許多 佛學、道家等經典，從而吸收了來自東方傳統、西方 雕塑，以及非洲、大洋洲等多元文化的養分；然而， 李真對於自由創作的精神亦深感著迷，其後融入自我 攝心之情感，同時，結合當代藝術思維，使其雕塑創 作有著獨特且創新的突破。

李真藉由墨色物質之沉重感，呈現獨特的「既重又 輕」，並展現既古典又現代的面貌，使其作品不受單 一傳統而束縛，呈現出一種渾然天成的效果。對李真 來說，藝術不僅僅是創作，更是一種尋找精神慰藉的 過程，透過藝術治癒自己，尋找個人的「精神樂土」， 創造其靈性的空間，以幽默詼諧的方式隱喻世事，希 望觀者能感受到作品所傳達出的想法和意念，與其精 神上產生共鳴。

三生，為佛家所說的三世轉生，即前世、今生、來生。 佛家認為生命是永恆的，所以生命有輪迴、轉世。前 世因、今生果、來生緣，緣起緣滅，因緣聚合。而「三

生石」一詞，源自唐朝袁郊《甘澤謠．卷五．圓觀》 中載︰「三生石上舊精魂，賞月吟風不要論，慚愧情 人遠相訪，此身雖異性長存。」文中講述一僧人三世 轉生會故人的傳說，傳達的是朋友間信守約定的感人 情誼，因此「三生石」也被用來比喻因緣前定。

此作《三生石》中，呈現動感的弧形與流動的線條型 態，使靜態雕塑有如「氣」的微妙變化，產生游移不 定的視覺轉換，有如充斥著飽滿的氣體與能量，既有 收斂的情感特質，又成功製造出懸浮感，顯現出經典 的「既重又輕」獨特風格。此外，兩種色彩產生了不 同的質感與形塑，展現了相對的差異性，卻有著相似 氣質；李真巧妙地利用顏色和形式的對比，在靜與動、 重與輕的對立和平衡中，創造出一種「虛空美學」。

李真以當代藝術創作手法，來重新詮釋《三生石》的 意涵，賦予其古老傳說的定義，並結合東方的氣度和 西方的前衛要素，運用佛學、道家的精神作為靈感， 將傳統美學形象與當代藝術面貌的敬畏莊重與可愛俏 皮元素，完美地融合在一起，既傳承了傳統，又展現 了現代的風采。

LI CHEN

( Taiwanese, b.1963 )

Cause

50 x 69 x 120 cm

Bronze, 1/8

Signature engraved: Li Chen in English, dated 2003 and numbered 1/8

With one seal of the artist

ILLUSTRATED:

1. "Li Chen in Venice 52nd Venice Biennale - Energy of Emptiness," Asia Art Center, Taipei, Taiwan, 2007, Page 148-153

2. "Li Chen in Beijing - In Search of Spiritual Space," Asia Art Center, Taipei, Taiwan, 2008, Page 84-87

EXHIBITION:

"Li Chen - Energy of Emptiness, 52nd Venice Biennale," Italy, Venice, June 8thNovember 21st, 2007

With a certificate of authenticity from gallery

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

US$ 155,300-217,500

李真

三生石

2003

銅雕 1/8

雕刻簽名：Li Chen 1/8 2003

雕刻鈐印：李真

圖錄：

1.《第52屆威尼斯雙年展 - 李真：虛空的能量》，亞洲藝術中心，台灣 台北， 2007年，第148-153頁

2.《李真：中國美術館個展 - 尋找精神的空間》，亞洲藝術中心，台灣 台北， 2008年，第84-87頁

展覽：

「第52屆威尼斯雙年展 - 李真：虛空的能量」，義大利 威尼斯，2007年6月 8日至11月21日

附畫廊開立之原作保證書

LI CHEN

Cloud Glider

乘雲氣　李真

李真引用了莊子《逍遙遊》中的「乘雲氣，御飛龍，而遊乎四 海之外」，是在描述一種優遊自在、徜徉自適的心境，形容神 人透破現實的藩籬而精神上達，超出物質形相的侷限而心靈飛 揚，呈現出一種博大無礙而與物合一的精神境界，即是李真在 精神上所追求的超脫境界。

此作《乘雲氣》中，完美表現了韻氣十足的「大氣神遊」系列 風範，人物神情充滿喜悅，悠然自得的飛翔在雲端，融合道家 的「氣」與能量的哲學內涵，呈現獨特的新東方精神與意境， 完美展現其精髓，散發出濃濃的仙氣氛圍。特意強調了「遊」 的概念，透過空明的景象讓觀者得以沉澱與解脫，在精氣神中 自在遨遊，以最真摯的態度迎接生命的挑戰，能從中感受到生 命的和諧及省思，不失禪意，圓滿而大氣，精簡中有渾然天成 的氣韻之美；同時也暗喻著對於生活及環境的關懷和反思，人 物手持銀色祥雲冉冉升天，象徵著修復被人類破壞的臭氧層的 努力，期望藉著精神上的豐盈，彌補現實世界的不完美。

LI CHEN

( Taiwanese, b.1963 )

Cloud Glider

33 x 39 x 108 cm

Bronze, 7/8

Signature engraved: Li Chen in English, dated 2000 and numbered 7/8

With one seal of the artist

ILLUSTRATED:

1 "Li Chen 1992-2002 Sculpture," Asia Art Center, Taipei, Taiwan, 2004, Page 70-71

2. "Li Chen in Venice 52nd Venice Biennale - Energy of Emptiness," Asia Art Center, Taipei, Taiwan, 2007, Page 88-91

3. " TOP 10 Chinese Contemporary Sculpture Exhibition," Asia Art Center, Taipei, Taiwan, 2007, Page 52

4. "Li Chen in Beijing - In Search of Spiritual Space," Asia Art Center, Taipei, Taiwan, 2008, Page 196

5. "Soul Guardians – In an Age of Disasters and Calamities," Asia Art Center, Beijing, China, 2009, Page 56

6. "Great of Spirit - Li Chen Premiere Sculpture Exhibition in Taiwan," Asia Art Center, Taipei, Taiwan, 2011, Page 146

EXHIBITION:

1 "Li Chen - Energy of Emptiness, 52nd Venice Biennale," Italy, Venice, June 8th-November 21st, 2007

2. "Li Chen: In Search of Spiritual Space," National Museum of China, Beijing, China, April 29th-May 11th, 2008

With a certificate of authenticity from gallery

NT$ 4,000,000-5,000,000

US$ 124,300-155,300

李真 乘雲氣

2000

銅雕 7/8

雕刻簽名：Li Chen 7/8 2000

雕刻鈐印：李真

圖錄：

1. 《1992-2002李真雕塑》，亞洲藝術中心，台灣 台北，2004年， 第70-71頁

2. 《第52屆威尼斯雙年展 - 李真：虛空的能量》，亞洲藝術中心， 台灣 台北，2007年，第88-91頁

3. 《中國當代雕塑十人展》，亞洲藝術中心，台灣 台北，2007年， 第52頁

4. 《李真：中國美術館個展 - 尋找精神的空間》，亞洲藝術中心， 台灣 台北，2008年，第196頁

5. 《神魄：李真雕塑》，亞洲藝術中心，台灣 台北，2009年，第 56頁

6. 《大氣 - 李真台灣大型雕塑首展》，亞洲藝術中心，台灣 台北， 2011年，第146頁

展覽：

1. 「第52屆威尼斯雙年展 - 李真：虛空的能量」，義大利 威尼斯， 2007年6月8日至11月21日

2. 「李真：尋找精神的空間」，中國美術館，中國 北京，2008年4 月29日至5月11日

附畫廊開立之原作保證書

LIAO CHICHUN

Japanese Style Architecture

日式建築　廖繼春

「我利用簡潔強烈的色彩，以對比和強調來賦予更多的色感，同時在線條的構成中注意造形趣味。不是寫某一個 時間內的印象，而是把希望表現的色彩表現出來。」--- 節錄 林惺嶽，《廖繼春畫集》，〈跨越時代鴻溝的彩虹 - 記廖繼春的繪畫生涯〉，國泰美術館，台北，1981年3月出版，第230-231頁

廖繼春生於台灣豐原，藝路崎嶇，充滿波折與豐收。鄉下農家出 身，青年時期偶遇油畫媒材，為他的創作生涯揭開了序幕。終而 毅然前往東京學習西畫後，學成回國後先是成為一位美術教師。

在藝術專院、師範大學等多所學府任教，培育了眾多當今藝術名 人，如：郭東榮、劉國松等，共同為臺灣本土化藝術的發展鞠躬 盡瘁。

日治時期的台灣，受到西方藝術的衝擊，也使得廖繼春的創作風格 變化多端，早年以細緻的筆觸描繪臺灣鄉土情懷，勾勒出濃郁的鄉 土氛圍，充分反映出其時代性與民族性。這些作品屢獲臺灣美術展 覽會和日本帝展的殊榮，成為他穩固的獎項來源。後來，受到日本 地方特色畫風的影響，廖繼春將風土元素和鮮豔顏色融入作品中， 呈現出熟悉的街景和人群，展現出更加生動活潑的一面。

在前往美國參訪各大美術館後，廖繼春的創作風格經歷了轉變， 他將原有的寫實風格與新見聞相互結合，呈現出具象與抽象之間 的特殊風格，遊走於後期印象派及野獸派間；他的作品不斷求新 求變，但同時保留了個人的獨特特色。儘管在藝術道路上遇到種

種阻礙，廖繼春仍然不忘支持年輕學子，在教學上悉心指導，成 為許多人心目中的良師益友。

廖繼春一生致力於藝術，他的無私奉獻為臺灣畫壇留下了深遠的 影響。如今，仍有許多學生延續他的精神，在藝術領域中繼續發 揚光大，為臺灣藝術的發展貢獻力量。

本拍特獻《日式建築》為廖繼春於一九六〇年所繪之重要作品， 作品中廖繼春以細膩的筆觸和豐富的色彩，將日式建築呈現在觀 眾面前。日治時期下的建築與傳統建築不同，帶有著西洋風格樣 貌使其辨識度高，也標誌著時代的革新進步。畫面的構圖使建築 物壯觀而典雅、巍然而立，崛地而起直直聳入雲霄，搭配著前方 道路上熙來攘往的人潮，讓觀眾一窺當時的生活氛圍。

廖繼春不僅捕捉到了建築物的外觀，更能夠表現出建築背後所蘊 含的文化和情感。展現了其對視覺美感的理念、繪畫的精準掌 控，更凝聚了藝術家對家鄉與其文化的深厚情感。

Liao Chi-Chun, a native of Fengyuan, Taiwan, embarked on a tumultuous artistic journey filled with challenges and triumphs. Born into a rural farming family, he stumbled upon the medium of oil painting during his youth, setting the stage for his creative endeavors. Eventually, he made the bold decision to pursue further studies in Western painting in Tokyo, marking a significant turning point in his career. Upon returning to Taiwan, he initially pursued a path as an art educator, leaving an indelible mark on institutions such as the National Taiwan University of Arts and National Taiwan Normal University, where he mentored numerous future luminaries of Taiwanese art, including Guo Dong-Rong and Liu Kuo-Sung, all of whom contributed significantly to the flourishing of indigenous Taiwanese art.

During Taiwan's colonial era under Japanese rule, Liao Chi-Chun's artistic style underwent a kaleidoscopic transformation in response to the influence of Western art. Initially, he delicately captured the rural sentiments of Taiwan with his brush, evoking a profound sense of place and time that authentically reflected the spirit of the era. These early works garnered acclaim at Taiwanese art exhibitions and Japan's prestigious Teiten, cementing his reputation as an artist of considerable merit. Subsequently, influenced by the distinct artistic styles prevalent in Japan, Liao incorporated local elements and vibrant hues into his art, portraying bustling street scenes and lively crowds, thereby revealing a more dynamic and spirited aspect of his artistic repertoire.

Following immersive visits to major art museums in the United States, Liao Chi-Chun's artistic vision underwent a profound metamorphosis. Synthesizing his established realism with newfound insights, he forged a unique fusion of realism and abstraction, straddling the realms of late impressionism and Fauvism. While continuously striving for innovation and evolution in his artistic expression,

he remained steadfast in preserving his personal and distinctive artistic identity. Despite encountering myriad obstacles along his artistic odyssey, Liao remained committed to nurturing the next generation of artistic talents, imparting his wisdom and guidance with unwavering dedication, thus earning the enduring respect and admiration of many.

Dedicating his entire life to the pursuit of art, Liao ChiChun's selfless devotion has left an indelible mark on the landscape of Taiwanese art. Today, his legacy endures through the many students who continue to carry forward his artistic ethos, contributing to the ongoing evolution and enrichment of Taiwanese art.

Presented here is "Japanese Style Architecture," a seminal work by Liao Chi-Chun dating back to 1960. With meticulous brushwork and a vibrant color palette, Liao masterfully captures the essence of Japanese architecture, bringing it to life before the viewer's eyes. Reflecting the architectural trends of Taiwan's colonial era, these structures exhibit a unique blend of Western influences, symbolizing the era's spirit of innovation and progress. The composition of the painting imbues the buildings with a sense of grandeur and elegance, standing tall against the backdrop of a bustling thoroughfare, offering viewers a captivating glimpse into the ambiance of the time.

In addition to capturing the physical attributes of the architecture, Liao Chi-Chun's work delves deeper, conveying the cultural and emotional significance embedded within these structures. His art epitomizes his keen sense of visual aesthetics, precise technical mastery, and profound emotional connection to his homeland and its cultural heritage.

LIAO CHICHUN

( Taiwanese, 1902-1976 )

Japanese Style Architecture

65 x 79 cm

Oil on Canvas

Signed Chichun Liao in English and dated 1960

ILLUSTRATED:

1. "A Centenary of Art: An Album of Guo Shuangfu’s Collection," National Chung Hsing University Department of History, Taichung, Taiwan, 2016, Page 33

2. "Enlightenment," National Taiwan Normal University Art Museum, Taipei, Taiwan, 2021, Page 38

EXHIBITION:

1. "A Centenary of Art - Collection Exhibition of Paintings by Senior Guo Shuangfu," The Art Center of National Chung Hsing University, Taichung, Taiwan, December 16, 2015 - January 5, 2016

2. "Enlightenment," National Taiwan Normal University Art Museum, Taipei, Taiwan, April 30th - June 12th, 2021

NT$ 5,500,000-8,000,000

US$ 170,900-248,500

廖繼春

日式建築

1960

油彩 畫布

簽名：CHI-CHUN LIAO 1960

圖錄：

1.《百年臻藝: 郭双富典藏作品專輯》，國立中興大學歷史學系，台灣 台中， 2016年，第33頁

2.《啟蒙》，國立臺灣師範大學 臺師大美術館，台灣 台北，2021年，第38頁

展覽：

1.「百年臻藝 - 郭双富前輩畫作珍藏展」，中興大學藝術中心 (圖書館七樓)， 台灣 台中，2015年12月16日至2016年1月5日

2.「啟蒙」，國立臺灣師範大學 臺師大美術館，台灣 台北，2021年4月30日 至6月12日

「賈又福說，他的雲與真實的雲大不相同，是概括加工了的。我們可從他早期畫的雲和近年所畫的雲進行比較， 便可看出加工的程度和技巧的提高。他把雲靈性化了，精神化了，藝術化了。」

一九九〇年《賈又福新作畫集》序言，藝術家/出版。

賈又福是一位中國著名的山水畫家，一九四二年出生於河北省肅 寧縣，於一九六五年畢業於中央美術學院，師從李可染先生。賈 又福投身山水畫創作已有數十年之久，並且深入太行山區進行實 地考察，感悟自然與生命的關係，經過長時間的淬煉，他的藝術 創作逐漸形成了幽邃神秘的山水畫風格，同時也在教學與研究上 建立了一套適應時代發展的山水畫教學體系。

綜觀賈又福的山水創作，大體上約可分為三個階段。第一個階段： 約在七十年代至八十年代初，他初去太行山，被太行的風物、鄉 情所吸引，在藝術表現上追求田園詩的格調；第二階段：自八十 年代初至八十年代中，他多次深入太行，使他逐漸領悟到太行山 和太行人特殊的性格，對人類生存也有了特殊的領悟，在藝術表 現上來看則追求雄渾、陽剛之美；第三階段：自八十年代中至今， 以更宏觀的角度看太行的大氣渾莽，以較高的審美理想，從東方 美學、哲學的層次上去表現普徧性、突破地域性。

賈又福創作時，經常以「雲」作為主體，透過對雲的描繪創造出 多種樣貌的意境。他的雲從技法到形態的描繪都具有開拓性，將 雲的形象靈性化，並結合哲思意念的形式表現，進而呈現出獨特

而具有特殊氣韻的水墨表現手法。他運筆揮灑，將太行山的起伏 山川和雲霧繚繞等各種樣貌，生動且深刻地呈現於畫面之中，富 有節奏感且細膩入微；彷彿能夠感受到其中幽靜的山間氣息，以 及生生不息的大自然之美，同時也能體會到滿滿的熱愛與敬畏之 情，即是賈又福對於自然萬物的情懷與詮釋。

此作《雨後斜陽喜看山 (太行雲起)》中，山峰被團團綿密的雲 霧籠罩，陰雨過後，給人有種若隱若現的神秘幽谷之境。遙望山 景能發現行徑山路的動物群身影，以及山巒的壯麗景色，展現出 生命的動能量，以及大自然的生意盎然。賈又福透過親身體驗的 感受，並完美地展現水墨的特性，將他對於太行山的種種熱情與 深刻理解，在藝術表現上不斷地探索與琢磨，從而創造出令人為 之讚嘆的景象呈現。

"Jia Youfu once remarked that his clouds differ greatly from real ones; they are distilled and refined. By comparing the clouds in his early works with those in recent years, one can discern the increasing degree of refinement and mastery. He has infused clouds with spirituality, vitality, and artistic essence." --- Foreword to Jia Youfu's New Painting Collection (1990), by the Artist/Publisher

Jia Youfu, born in 1942 in Suning County, Hebei Province, is a celebrated Chinese landscape painter. Graduating from the Central Academy of Fine Arts in 1965 under the instructions of Mr. Li Keran, Jia has dedicated decades to the art of landscape painting. Immersing himself in the Taihang Mountains, he has gleaned profound insights into the interconnectedness of nature and life. Over time, his artistic vision has evolved into a style suffused with enigmatic depth, while he has also pioneered a teaching methodology for landscape painting that resonates with contemporary sensibilities.

Jia's oeuvre of landscape paintings can broadly be delineated into three phases. Initially, from the 1970s to the early 1980s, he was entranced by the pastoral allure of the Taihang Mountains, embodying a pursuit of idyllic poetry in his artistic expression. In the subsequent phase, from the early 1980s to the mid-1980s, his profound exploration of the Taihang Mountains and its inhabitants led to an appreciation of their distinctive character, reflected in his art through a quest for majestic and masculine beauty. Finally, from the mid-1980s to the present, he adopted a panoramic viewpoint, capturing the expansiveness and grandeur of the Taihang Mountains while aspiring to a loftier aesthetic ideal transcending geographical confines through Eastern aesthetics and philosophy.

Jia frequently employs clouds as a central motif in his works, crafting diverse moods and atmospheres. His innovative approach imbues clouds with spirituality and philosophical contemplation, resulting in a distinctive and captivating ink painting style. Through bold brushwork, he vividly delineates the undulating terrain and ethereal clouds of the Taihang Mountains, endowing his compositions with rhythm and intricate detail. One can almost palpate the serene mountain ambience and the enduring splendor of nature, as well as perceive his profound affection and reverence for the natural world, in Jia's heartfelt interpretation.

In "Sunset's Glow After the Rain: A Mountain's Joy (Clouds Dance in Taihang)," the peaks are enveloped in swirling clouds, evoking a sense of mystical tranquility after the rainfall. Traces of mountain paths and the resplendent scenery unveil the pulsating vitality of life and the exuberance of nature. Drawing upon personal experiences, Jia adeptly captures the essence of the Taihang Mountains in ink, perpetually exploring and refining his artistic expression to present scenes that inspire wonder and admiration.

JIA YOUFU

( Chinese, b.1942 )

Sunset after Rain, Rejoicing in the Mountain View (Clouds Rising in Taihang)

138 x 67 cm

Ink on Paper, Picture Frame

Signed Youfu in Chinese

With one inscription and one seal of the artist

PROVENANCE:

1. Caves Art Center, Taipei, Taiwan

2. Private collection, Asia

ILLUSTRATED:

"Silent Call --- Chinese paintings by Jia Youfu," National Gallery Singapore, Singapore, 1994

With a certificate of authenticity from gallery

NT$ 4,200,000-5,400,000

US$ 130,500-167,800

賈又福

雨後斜陽喜看山 (太行雲起)

1991

水墨 紙本 鏡框

款識：雨後斜陽喜看山 写我胸中丘壑之 簽名：又福

鈐印：福 (朱文)

來源：

1. 敦煌藝術中心，台灣 台北 2. 亞洲私人收藏

圖錄：

《無聲的呼喚 --- 賈又福的中國畫》，新加坡國家美術館，新加坡，1994年

附畫廊開立之原作保證書

JIA YOUFU

( Chinese, b.1942 )

Golden Plateau, Resembling a Heavenly Scroll

34 x 34.7 cm

Ink on Paper, Picture Frame

Signed Youfu in Chinese

With one inscription and one seal of the artist

PROVENANCE:

1. Caves Art Center, Taipei, Taiwan

2. Private collection, Asia

NT$ 1,300,000-1,800,000

US$ 40,400-55,900

賈又福

高原金霞似天章

水墨 紙本 鏡框

款識：高原金霞似天章 写昔年感懷於鏡真樓上 簽名：又福瓢者

鈐印：福 (朱文)

來源：

1. 敦煌藝術中心，台灣 台北

2. 亞洲私人收藏

PAUL CHIANG

( Taiwanese, b.1942 )

Hundred Year Temple 98 - 10

183 x 152.5 cm

Oil on Canvas

With a certificate of authenticity from gallery

NT$ 5,500,000- 7,000,000

US$ 170,900- 217,500

江賢二

百年廟 98 - 10

1998

油彩 畫布

附畫廊開立之原作保證書

PANG JIUN

( Chinese, b.1936 )

Spring in Jiangnan

60.6 x 145 cm

Oil on Canvas

Signed Pang Jiun in Chinese and dated 2012

With one seal of the artist

EXHIBITION:

"2012 Shanghai Art Fair: The Landscape is Like a Painting, because the Landscape is Not a Painting - 2012 Pang Jiun Oil Paintings Exhibition," Longmen Art Projects, booth E22, Shanghai, China, November 1st - 4th, 2012

With a certificate of authenticity signed by the artist

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

US$ 68,300-99,400

龎均

若到江南趕上春 千萬同春住

2012

油彩 畫布

簽名：龎均 2012

鈐印：均 (朱文)

展覽：

「2012上海藝術博覽會: 江山如畫正是江山不如畫 - 龎均2012油畫展」， 龍門雅集 展位 E22，中國 上海，2012年11月1日至4日

附藝術家親簽之原作保證書

龎均認為要實現中國油畫的創新，就必須強調寫意性，因此，他在油畫創作中 將傳統水墨畫的表現方式與西方油畫技法相結合。不僅滲透著中華文化的意象 情感，也融匯了後印象派與野獸派的風格，將中西文化特點融合在一起；進而 使藝術表現形式有了新的延伸與強化，既繼承了自身中華文化的特質，也結合 了來自西方和亞洲的藝術傳承，形成了獨樹一格的創作風格。

此作《若到江南趕上春 千萬同春住》中，龎均透過淡雅的色彩，以及他擅長 運用的大量灰色調，並融入如同後印象派與野獸派風格般的細緻堆疊筆觸手 法，展現出對於美景的情感表達，以及景色結構的細膩詮釋；畫面呈現優美而 雅致的春色，生機盎然，充滿詩意，瀰漫著一股悠然自得的氛圍，仿佛能感受 到春天的溫暖與城鎮的靜謐，使人心靈感到寧靜與愉悅。

WALASSE TING

( Chinese, 1929-2010 )

Moulin Rouge Girl

75 x 100 cm

Acrylic on Canvas

Signed on the reverse: Ting and titled in English, dated 1986, Amsterdam

PROVENANCE:

Christie's, Hong Kong, December 2, 2021, Lot 329

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

US$ 49,700-68,300

丁雄泉

紅磨坊女子

1986

壓克力 畫布

背面簽名：Moulin Rouge Girl Ting 86 Amsterdam

來源：

佳士得拍賣，香港，2021年12月02，Lot 329

映照在《紅磨坊女子》一作，其中命題「紅磨坊」(Moulin rouge) 一街區， 是位在法國巴黎皮加勒(Pigalle)

紅燈區，可想見圖中一女子斜臥企圖挑 逗的態勢，藝術家大筆畫下，女子臉部所艷抹有別每一夜的浮華，將浸潤 在燈紅酒綠的光輝轉化為忘我愛戀的彩蝶，消退後成一紙上猶存的花卉綻 放。法國最著名而最墮落的觀光區，丁雄泉毫不避諱地用歡愉與興奮的高 漲情感，表現所採集最美奐景緻，回應了此地此情之所以真實存在，百無 聊賴而真誠的直面人們最原始的陶醉。若隱若現的誘惑化作每筆只為表達 的筆觸，在卸下防衛屬性的深夜，畫面中女子順滑肌膚的動態感，配置在 構圖的左側讓觀看作品的視覺傾斜，置身在畫前彷彿欲墜落其中的柔軟與 溫度。

如夢一場的絕美詩作，丁雄泉愛著女人，榮譽著真正生活的耽美，「採花 大盜」在東方人眼中常被視為貶意，但實則在丁雄泉一生藝海沈浮中，那 個不斷豪取人間芳香的大盜，秉持著盜亦有道的態度，既樂觀而坦率，不 失為鼓舞向上的精神所在。以性、愛的主題間接讚揚女性的性慾自主與解 放，甚至視為雙向的珍貴關係，為時期的文化史、藝術史上，濃墨重彩地 記下對性審視的革命性定義。

CHIHARU SHIOTA

State of Being (Crucifix)

存在的狀態 (十字架)　塩田千春

CHIHARU SHIOTA

( Japanese, b.1972 )

State of Being (Crucifix)

35 x 35 x 70.5 cm

Metal Frame, White Thread and Crucifix

Signed CS. in English

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

US$ 93,200-124,300

塩田千春

存在的狀態 (十字架)

2022

金屬框架 白絲線 十字架 簽名：CS.

「編織讓我能夠像繪畫中的線條一樣去探索時間和空間。線逐漸累積構 成一個面；我創造了無限的空間，逐漸延展，好似形成一個宇宙。」

鹽田千春以絲線構成的編織雕塑聞名，在她的藝術作品中絲線的顏色常有特殊的含 意，正紅色表達人與人的連結；夜空、宇宙比較深邃的感覺使用黑線，此作《存在的 狀態 (十字架)》使用可代表純潔的白絲線，將十字架懸於框中，框內細線交錯像托 起十字架，亦如同作者對存在的思量，鹽田千春的生命歷程與創作相連，十字架其信 仰的意涵搭配一方白色空間，好似思索存在狀態時茫然又懇切，經由觀者的感受延伸 到框外，是生命對宇宙的無盡摸索和哉問。

JU MING

( Taiwanese, 1938-2023 )

Taichi Series

72.5 x 48 x 90 cm

Copper, 5/10

Signature engraved: Ju Ming in Chinese, dated 1995 and numbered 5/10

With a certificate of authenticity signed by the artist

NT$ 2,500,000-3,200,000

US$ 77,700-99,400

朱銘

太極系列

1995

銅雕 5/10

雕刻簽名：朱銘 5/10 '95

附藝術家親簽之原作保證書

「當藝術家縱手放意、快速創作的時候，必須專注在千雕萬鑿上，所有的精神都放在瞬間的當下，作品每一秒 的模樣都在改變，我們的心思沒有餘力再三思考，只能靠直覺帶領我們完成作品。」--- 朱銘

朱銘出身於傳統木雕工藝背景，對於素材的特質有著深刻的理 解和極致的掌握度。在他的「太極系列」中，他將傳統的雕塑 工藝昇華至一種新的境界，運用現代藝術的語彙和斧劈技法， 將太極的精神和形式化繁為簡，去蕪存菁地創造出一系列獨具 特色的作品。在創作過程中，朱銘將忘於形而奔於意，隨意雕 琢、大刀闊斧，使得作品充滿了律動感和體量感，同時展現太 極剛柔相濟、動靜合宜的美學。

關於「太極系列」之創作，朱銘曾說：「從最粗淺的層次來說， 太極拳模仿三個大自然的要素，動物、植物，與自然現象。這 些自然要素從未改變，他們存在於單純的自然環境中，不人工、 不虛偽、不造作。不過人卻和自然越來越疏離，甚至可以說是 自然界裡唯一不自然的生物。我們透過太極模仿自然，可以重 新追溯自己的根源，體驗人在大自然中應有的姿態。」朱銘匠 心獨運地將人為的外力雕琢與質料本身獨一無二的美感發揮的 淋漓盡致，在人為及天為之間取得了無懈可擊的藝術實踐。

此件《太極系列》展現了朱銘高度駕馭刀斧的能力。作品重心 置在左側，曲膝站地的左腳鑄造地相對右腿厚重，表現穩如泰 山的下盤，同時以肢體間的相對位置明確地揭示了太極講究在 手、眼、身、法、步間抱元守一，以慢打快，以靜制動，以堅 實而具份量的存在感，表現出力量之間的轉移，如果水一樣的 流動變化。朱銘大刀闊斧地略去對於臉部、身體及衣袖的細節 刻劃，揮劈出清晰、明朗的寫意線條，隱喻了時間流逝的抽象 痕跡，呈現一種象徵性的動態，暗示形體在空間中具體的行進 動作，如其自述：「氣韻生動的作品，每一塊肌理的流動，都 依循著作品內在活力與動感的需要，而呈現出整體造型上最合 理、自然的律動，這就是『以裡達表』傳導出生命力的訊息。」 陰陽平衡、相生相剋的太極概念，在朱銘的鑿刻之間得到完美 體現。

JU MING

( Taiwanese, 1938-2023 )

Taichi Series - Preparation for Underarm Strike

25.1 x 18.7 x 31.3 cm

Copper, A.P. 10/10

Signature engraved: Ju Ming in Chinese, dated 1995, numbered 10/10

With an artwork appraisal report from NPO Juming Culture and Education Foundation

NT$ 900,000-1,500,000

US$ 28,000-46,600

朱銘

太極系列 - 十字手

1995

銅雕 藝術家自留版 10/10

雕刻簽名：朱銘 自10/10' 95

附財團法人朱銘文教基金會之作品鑑定報告書

太極拳的一切手法，皆可由十字手法中變化而出，訣云「十字手法變不盡」看似簡約的 動作，卻是拳法的重要根本，經過多年的習拳，朱銘日益了悟太極的真諦。

太極系列一直是朱銘具有代表性的作品，奠定了朱銘的聲譽與藝術地位，也為傳統雕刻 打開另一扇窗，建立了新局面，此件《太極系列-十字手》為藝術家自留版，銅雕表面 刀斧刻跡立落流暢，切面自然圓滑，以幾何抽象塊狀，形塑雄厚、懾人心魂的人體樣態， 在斧劈、切鋸的刀法下，裸露片狀肌理，達到塊狀與線條層相疊覆，呈現俐落刀法的流 動感。雙手敞開、左膝微曲、右腳微提而備起，向前微傾的姿態，表現出身體的能量與 氣力流動，讓觀者感受到柔和諧調氣韻，衣領間斧鑿深切的粗曠線條則又帶來力量之美， 使作品傳達出陰陽揉合、剛柔併濟的視覺美感。畫家王無邪深有所感：「中國的雕刻對 『體』的處理一向感覺不強。但朱銘在這方面是極特殊的例外，他的明顯的『體』的感覺， 大大超過其他以『線』來處理雕刻的雕刻家們。」

LILY (YU LI)

( Chinese, b.1979 )

The Temperature Difference in Love

140 x 180 cm

Oil on Canvas

Signed Lily in English and dated 2008

Signed on the reverse: Lily and titled in Chinese, Size, dated August, 2008

NT$ 280,000-360,000

US$ 8,700-11,200

栗子(余麗)

在愛之中的溫差

2008

油彩 畫布

簽名：lily 2008.8

背面簽名：名称 : 爱比死更冷1 作者: 栗子 尺寸: 140cm x 180cm 时间 : 2008.8

LUO FAHUI

( Chinese, b.1961 )

Rose

150 x 160 cm

Oil on Canvas

Signed Luo Fahui in English and dated 2008

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

US$ 37,300-62,100

羅發輝

玫瑰

2008

油彩 畫布

簽名：2008 Luo Fahui

在羅發輝一系列以玫瑰為主題的繪畫中，有些亮麗柔和、有些冰 冷深沉、有些棱角分明，有矽膠質感、有軟嫩豐腴，各色玫瑰各 表其趣卻無一不展現噴薄而出的慾望。二〇〇六年羅發輝出版一 本畫傳名為︰《深度欲望的制造者》，觀者可以從《玫瑰》看見 巨大縱情的花朵代言了人的感官。

玫瑰系列風格經歷了從寫實逐漸寫意，此作《玫瑰》介於兩者之 間，色彩明亮、花瓣白而嬌嫩，花蕊殷紅一片暈染而出，沾染了 周遭潔白，筆觸周圍虛幻如有絨毛，增添了玫瑰柔軟可欺的觸感。

無根的花幾乎佔據了眼前整個版面，畫面左下角突兀地佇立山 石、與枯木，山上有屋，身處龐大的感官震撼之下勉強安住，兩 者共存於立體與平面間，而觀者迷失在逼近眼前的慾望及寧靜致 遠間來回品嘗。

YEH CHUSHENG

( Taiwanese, b.1946 )

Flower and Zen (8)

130 x 97 cm

Acrylic and Oil on Canvas

Signed Yeh in Chinese and dated 2008

Signed on the reverse: Yeh Chusheng in English, titled and media in Chinese, size 60F 97 x 130 cm, dated 2008

NT$ 360,000-500,000

US$ 11,200-15,500

葉竹盛

花．禪 (8)

2008

壓克力 油彩 畫布

簽名：葉 2008

背面簽名：YEH CHU-SHENG 2008 花．禪(8) 压克力、

油画 2008 60F 97 x 130 cm

ZHONG

HONGYI

( Chinese, 1880-1942 )

Couplet Calligraphy

135 x 27.5 cm (2)

Ink on Paper, Picture Frame (2)

With two inscriptions and two seals of the artist, dated 1932

PROVENANCE:

1. Awarded by Memorial Society of Master Hong Yi to the current collector's contributing relatives, Taipei, Taiwan

2. Private collection, Asia

EXHIBITION:

"Master Hung Yi: His Works and Relics," Dr. Sun Yat-Sen Memorial Hall (Tswei-heng Gallery), Taipei, Taiwan, August 12th - August 25th, 1995

With a exhibition poster of "Master Hung Yi: His Works and Relics".

NT$ 950,000-1,500,000

US$ 29,500-46,600

弘一

行書七言聯

1932

水墨 紙本 鏡框 (2)

款識：晉譯大方廣佛華嚴經 世間淨眼品偈頌句 壬申五月 假名院沙門遠離集書 鈐印：弘一 (朱文)、南無阿彌陀佛 (朱文肖形印)

來源：

1. 弘一大師紀念學會授予現藏家之貢獻親屬，台灣 台北

2. 亞洲私人收藏

展覽：

「弘一大師遺墨真跡文物展」，國父紀念館 (翠亨藝廊)，台灣 台北，1995年8月12日至8 月25日

1. 釋文：所演妙法無窮盡 唯有諸佛能証知

2. 附「弘一大師遺墨真跡文物展」之展覽海報。

東方冥想式表現主義的奠基者

蕭勤一九三五年出生於上海，一九四九年隨姑父來台， 一九五一年進入台灣省立台北師範學校（今國立台北 教育大學）藝術科系，並隨朱德群學習素描。這個時 期正值台灣社會動盪不安，而這樣的背景無疑深刻地 影響了他的藝術創作，他在一九五二年進入李仲生畫 室學習，蕭勤曾自述此時才認知到，藝術創作絕不是 模仿外在的世界，而是內面的探索，必然關係到自己 的生命與生活。

一九五六年蕭勤在台北與夏陽、吳昊、李元佳、陳道明、 蕭明賢、歐陽文苑、霍剛成立華人第一個抽象繪畫團體 「東方畫會」，開始了中國美術的新篇章。出身之犢的 八人被譽為「八大響馬」，以實驗性的精神衝撞著既有 體制，引領著前衛繪畫的發展。同年七月，因獲得西班 牙政府獎學金，蕭勤隨後前往馬德里進修，但因發現 藝術學院教學過於保守，蕭勤決定不入學，開始自我學 習、積極參與藝術活動，結識西班牙非形象藝術同好， 同時為聯合報撰寫一系列有關西方前衛藝術專欄，為台 灣引進西方藝術新觀念。

受到歐洲藝術思潮的啟發，在一九六〇年代，蕭勤 發起了在義大利米蘭興起的龐圖運動(Movimento Punto)，此藝術運動旨在彰顯抽象藝術中靜觀和內省 思想的重要性。也因此，他結識了許多國際知名的藝 術家，經驗的交流進一步豐富了他的創作。他的藝術 風格豐富多元，跨足抽象表現主義、龐圖主義、極簡 主義等多種流派，在創作中不斷突破與創新。將自身 的視野拓展至更寬廣的領域。他潛心研究西方先鋒藝 術，這段經歷也奠定了後來蕭勤在藝術領域的國際地 位，以中國繪畫中所重視意境的傳統結合西方抽象， 以東方的宇宙觀震撼西方藝壇。

蕭勤單槍匹馬赴歐的第三年即獲曾代理畢加索 (Picasso)、米羅(Miro) 等名家的西班牙加斯巴畫廊 垂青，此後邀約不斷，成為少數二戰後活躍的華人抽象 大師。在過去逾六十年來，其作曾為紐約現代美術館、 大都會博物館、香港藝術館等海內外四十餘所重要機構 收藏。他是華人藝術史上的中流砥柱、不可或缺的藝術 家，正如若藝評家謝佩霓所說：「他在華人藝術世界中， 可謂一個活生生的傳奇」。

蕭勤藝術歷程最為重要的六〇至八〇年代在義大利度 過，在此期間，他於一九六一年發起「國際龐圖(Punto) 藝術運動」，一九七八年發起「國際太陽(Surya)藝術 運動」，奠定他前鋒的堅實地位。這次中誠二〇二四春 季拍賣的三件作品--- 意味龐圖運動發揚前旭的作品 《無題》(拍品編號 153)，再是完成於六〇年代的《舞》

(拍品編號 151)和《太陽系列》(拍品編號 152)即來 自其旅義時期，見證他「太陽系列」及「宇宙風景系列」 重要階段代表性的創作語彙，其後展現橫跨二十年間， 持之以恆地對宇宙能量主題進行的哲學性探索。

「慢慢我找到老莊的思想，這也決定了我之後在歐洲走 的路子，對我有很重要的影響。老莊思想、對整個宇宙 的看法，也是我慢慢發展出來的。」--- 蕭勤

一九九〇年代是蕭勤生命中的一個轉折點。他在這個時 期失去了女兒，這場生命的劇讓他深陷極度的悲傷。然 而，這場痛苦的轉折也帶來了對生命永恆性的頓悟。蕭 勤的畫筆從天文轉向地球，從對宇宙的探索轉為對生命 更深層次意義的追求。《穿越大坎》系列作品，如《薩 曼莎的升天》，充滿對生死的哲學思考和對未知領域的 好奇。

進入新世紀，蕭勤的創作更加內斂而豐富。彷彿是一個 充滿生命能量的夢境，就像一面鏡子照射出蕭勤的內 心，顯示出自身的精神世界。正如藝術家所言，女兒的 逝世並不是結束，而是她走入了無垠的宇宙，並在永久 花園互相與之陪伴。這一時期的蕭勤更強調生命的永恆 性和宇宙的和諧共存。他是深具形而上的實驗性創作， 並保留著具體、實在等西方現代主義精華。《生命之喜 悅 - 15》(拍品編號 154)則是在歷經創作上體悟後， 從永久花園系列中所得到對生命的重新大度。

「作畫對我來說並非『作畫』，而是通過作畫來對我自 己的人生始源的探討，人生經歷的紀錄及感受和人生展 望的發揮。換句話說，我的作品的基礎，與其說是純藝 術的或純繪畫的或唯美的，不如說是更屬於哲學、玄學 及神秘學探討的範疇。」--- 蕭勤

回顧蕭勤的藝術生涯，我們看到的不僅僅是一位畫家的 創作軌跡，更是一場對靈魂深處的不懈追求。他的畫筆 彷彿是一條通向心靈深處的隧道，每一幅作品都是他對 生命、宇宙和精神世界的一場探險。而這樣的探險，正 如他所言，是一場「源源不絕的工作，是永無止境的探 索之旅」。

蕭勤雖已離世，但他的藝術遺產繼續啟發著後來的藝術 家和觀眾。他的作品不僅僅是藝術，更是一種對生命、 愛與宇宙的賦予意義的探索，是台灣現代藝術的一面瑰 麗旗幟。他的畫筆在宇宙的長河中留下永不磨滅的痕 跡，猶如星辰般閃耀在台灣藝術的天空。

HSIAO CHIN

( Taiwanese, 1935-2023 )

The Dance

38 x 46 cm

Ink on Canvas

Signed Hsiao in English, Chin in Chinese, and dated 1962

With a certificate of authenticity from gallery

NT$ 280,000-380,000

US$ 8,700-11,800

蕭勤 舞

1962

水墨 畫布

簽名：Hsiao勤 62

附畫廊開立之原作保證書

HSIAO CHIN

( Taiwanese, 1935-2023 )

Solar

57.5 x 91 cm

Ink and Color on Paper

Signed Hsiao in English and Chin in Chinese, dated 1965

With one seal from the artist

With a certificate of authenticity from gallery

NT$ 300,000-400,000

US$ 9,300-12,400

蕭勤

太陽系列

1965

彩墨 紙本

簽名：Hsiao勤 65. 鈐印：蕭勤 (朱文)

附畫廊開立之原作保證書

HSIAO CHIN

( Taiwanese, 1935-2023 )

Untitled

59.5 x 40 cm

Oil on Canvas

Signed Hsiao in English and Chin in Chinese, dated 1959

ILLUSTRATED:

"Overseas Collection of Hsiao Chin," Dimensions Art Center, Taipei, Taiwan, 2000, Page 19

With a certificate of authenticity from gallery

NT$ 480,000-600,000

US$ 14,900-18,600

蕭勤

無題

1959

油彩 畫布

簽名：Hsiao勤 59. 七.

圖錄：

《蕭勤的海外遺珍》，帝門藝術中心， 台灣 台北，2000年，第19頁

附畫廊開立之原作保證書

HSIAO CHIN

( Taiwanese, 1935-2023 )

Delectation of Life No.15

70 x 100 cm

Acrylic on Canvas

Signed on the reverse: Hsiao in English, Chin and titled, media in Chinese, 70 x 100 cm

With a certificate of authenticity from gallery

NT$ 600,000-700,000

US$ 18,600-21,700

蕭勤

生命之喜悅 - 15

2000

壓克力 畫布

背面簽名：Hsiao勤 "生命之喜悅 - 15" 压克力画 70 x 100 公分

附畫廊開立之原作保證書

CHAO CHUNGHSIANG

( Taiwanese, 1910-1991 )

Spiritual Awakening

60 x 60 cm

Ink and Color on Paper

Signed Chao Chunghsiang in Chinese and dated 1989

PROVENANCE:

1. Original Collection of Mr. Wang Wenjun, Taiwan

2. Private collection, Asia

ILLUSTRATED:

"Chao Chung-Hsiang Posthumous Work Exhibition," National Taiwan Museum of Art, Taichung, Taiwan, 1994, Page 76

EXHIBITION:

"Chao Chung-Hsiang Posthumous Work Exhibition," National Taiwan Museum of Art, Taichung, Taiwan, June 4th - July 24th, 1994

NT$ 300,000-420,000

US$ 9,300-13,000

趙春翔

靈性的覺醒

1989

彩墨 紙本

簽名：趙春翔 1989年

來源：

1. 臺灣王文俊先生舊藏

2. 亞洲重要私人收藏

圖錄：

《趙春翔遺作展》，臺灣省立美術館，台灣 台中，1994年，第76頁

展覽：

「趙春翔遺作展」，臺灣省立美術館，台灣 台中，1994年6月4日至 7月24日

WU HAO

( Taiwanese, 1931-2019 )

Purple Hydrangeas and Fruits

65 x 53 cm

Oil on Canvas

Signed Wu Hao in Chinese and dated 1994

NT$ 350,000-450,000

US$ 10,900-14,000

吳昊

紫色繡球花與水果 1994

油彩 畫布

簽名：吳昊 1994

CHIU YATSAI

( Taiwanese, 1949-2013 )

Wen-Chi

130 x 97 cm

Oil on Canvas

Signed Chiu Ya Tsai in Chinese

ILLUSTRATED:

"The Memory of Wisteria Teahouse - Chiu Ya Tsai," Galerie Elegance, Taipei, Taiwan, 1995, Page 12

NT$ 950,000-1,300,000

US$ 29,500-40,400

邱亞才

文琦

1995

油彩 畫布

簽名：邱亞才

圖錄： 《紫藤記事 邱亞才》，愛力根畫廊，台灣 台北，1995年，第12頁

「我們觀察人事，要透徹的把那鬱暗又複雜的心思表露出來， 向來就是我們寫作的正理。」--- 邱亞才

青年時期接觸了莎士比亞、杜斯妥也夫斯基等大師，使邱亞才從文學中 發現了存在價值，也開啟其對「人」的關注，身兼雙重身分的邱亞才， 既是作家也是畫家，因自身抑鬱疏離的成長經歷，他的創作不少將憂鬱 的氛圍帶入其中，在一筆筆、一幅幅不斷地描寫及描摹中，漸漸地，邱 亞才心中的壓抑吐露成一個個種種身形修長的人物畫像，爾後透過現實 與超現實間理解了人性的層次，形形色色的人們皆進入了畫布中，優雅 的、陰鬱的、樸實的、自信的、落寞的，從表相到內裡透出了藝術家生 命裡的獨白。

邱亞才的繪畫以肖像畫著稱，構圖簡潔質樸，擅長用中國傳統的白描人 物技術，勾勒出人物的性格與氣質，背景大都以色塊處理，同時也揉合 西方當代藝術家的創作手法，野獸派具表現力的色彩以及莫迪里亞尼而 纖弱的人物風格。綜合精粹，此作《文琦》，箇中人物，優雅修長，目 光不與觀者對視，安靜悠然，卻能從中感受到人事的複雜和深沉，好比 反應了邱亞才獨立的人格，具有對事態細膩綿延的感知。

CHIU YATSAI

( Taiwanese, 1949-2013 )

Young Man in Green

72.5 x 60 cm

Oil on Canvas

Signed Yatsai in Chinese

NT$ 300,000-400,000

US$ 9,300-12,400

邱亞才

綠少年

1990

油彩 畫布

簽名：亞才

PANG JIUN

( Chinese, b.1936 )

Spirea

53 x 45.5 cm

Oil on Canvas

Signed Pang Jiun in Chinese and dated 2003

With one seal of the artist

Signed on the reverse: Pang Jiun in Chinese and English, titled and media in Chinese, size 53 x 45.5 cm (10F), dated 2003

NT$ 400,000-600,000

US$ 12,400-18,600

龎均

線菊

2003

油彩 畫布

簽名：龎均 2003

鈐印：均 (朱文)

背面簽名：龐均 PANG JIUN 2003 53 x 45.5 cm (10F) 《線菊》 油畫

160

PANG JIUN

( Chinese, b.1936 )

Tamsui Riverside

60.5 x 50 cm

Oil on Canvas

Signed Pang Jiun in Chinese and dated 2004

With one seal of the artist

Signed on the reverse: Pang in Chinese

ILLUSTRATED:

"Pang Jiun - After 58 Years of Artistic Career," Artist Publishing Co.,Ltd. Taipei, Taiwan, August, 2005, Page 158

With a certificate of authenticity from gallery

NT$ 450,000-600,000

US$ 14,000-18,600

龎均

淡水河邊

2004

油彩 畫布

簽名：龎均 2004

鈐印：均 (朱文)

背面簽名：龎

圖錄：

《龎均 走過58年藝術生涯》，藝術家出版社，台灣 台北，2005年8月， 第158頁

附畫廊開立之原作保證書

WALASSE TING

( Chinese, 1929-2010 )

Woman with Fan

42 x 30 cm

Acrylic and Ink on Paper

With one seal of the artist

NT$ 200,000-350,000

US$ 6,200-10,900

丁雄泉

持扇仕女

壓克力 水墨 紙本

鈐印：採花大盜 (朱文)

WALASSE TING

( Chinese, 1929-2010 )

Woman and Servant

179 x 97 cm

Mixed Media on Rice Paper

With one seal of the artist

With a certificate of authenticity signed and seal by the artist

NT$ 1,800,000-2,500,000

US$ 55,900-77,700

丁雄泉

女人與僕人

綜合媒材 宣紙

鈐印：採花大盜 (朱文)

附藝術家親簽與鈐印之原作保證書

「離開中國已經三十年了。 不時地， 在春天或是下雨天， 總是很容易患 上思鄉病。一點中國音樂、一碗碗餛飩湯、一張宣紙、一瓶墨水、一只筆 刷和一杯茶，我如春風拂過般的開始畫中國女人。」--- 丁雄泉

丁雄泉經歷五〇至七〇年代時期，各種藝術流派如：新具象繪畫、超寫實藝術、普普藝 術、觀念藝術和極限藝術；策展人劉永仁指出，顯見這些藝術流派，給予丁雄泉相當啟 發和刺激，豐富的經歷引發他無限壯志。而丁雄泉卅年好友 - 黎智英如此形容這位摯 友：「我想他對女性有些幻想，是因為女性可以帶給他強大的『衝動』，使得他內在的 部分，原本沒電、沒油的機器，可以重新開動起來。他用女性來創作，把這強烈的衝動 『internalize(內在化)』，變成內心裡衝刺創作的能力。」女人胴體之美、人性之七 情六慾、酸甜苦辣毫不保留轉化為丁雄泉的藝術張力，也使其生命中最美好的時光刻下 最動人之印記。

XU BING

( Chinese, b.1955 )

Pool of Life

50.5 x 68.5 cm

Woodblock Prints, 10/50

Signed Xu Bing in Chinese and English, titled in Chinese, dated 1987, numbered 10/50 With one seal of the artist

NT$ 220,000-380,000 US$ 6,800-11,800

徐冰

生命潭 1987

木刻版畫 10/50

簽名：10/50 生命潭 徐冰 Xu Bing 1987

鈐印：徐冰印 (朱文)

SZETO LAP

( Chinese, b.1949 )

The Red Camellia

100 x 99.5 cm

Oil on Canvas

Signed Szeto Lap in Chinese and English, dated 2007

With one seal of the artist

With a certificate of authenticity from gallery

NT$ 380,000-500,000

US$ 11,800-15,500

司徒立

紅茶花

2007

油彩 畫布

簽名：司徒立 Szeto Lap. 07

鈐印：司徒立 (朱文)

附畫廊開立之原作保證書

KILA CHEUNG

( Hongkong, b.1986 )

Cactus Girl

13 x 13 x 27 cm

Acrylic on Hinoki Wood (unique work)

Signed on the bottom: Kila in English and dated 2019

EXHIBITION:

"Teens in Sunroom Solo Exhibition," The Little Hut, Taipei, Taiwan, August 23rd - September 8th, 2019

NT$ 220,000-450,000

US$ 6,800-14,000

章柱基 仙人掌女孩

2019

手工彩繪 壓克力 檜木 (僅此一件)

底部簽名：Kila 2019

展覽：

「日光室少年 - 木雕、繪畫展」，The Little Hut，台灣 台 北，2019年8月23日至9月8日

CAO JINGPING

( Chinese, b.1972 )

Butterfly

60 x 73 cm

Acrylic on Canvas

Signed Cao Jingping in Chinese and dated 2001

Signed on the reverse: Cao Jingping and titled, media, Sichuan Fine Arts Institute in Chinese, dated 2001

ILLUSTRATED:

"Ya Feng Gallery Decade Collection 1995-2005," Ya Feng Gallery, Chengdu China, 2006, Page 108

EXHIBITION:

"Ya Feng Gallery Decade Collection," Ya Feng Gallery, Chengdu China, January, 2006

NT$ 180,000-280,000

US$ 5,600-8,700

曹靜萍 蝴蝶

2001

壓克力 畫布

簽名：曹靜萍 2001

背面簽名：曹靜萍《蝴蝶》布面丙烯 四川美院 2001

圖錄：

《雅風畫廊十年典藏展1995-2005》，雅風畫廊，中國成都， 2006年，第108頁

展覽：

「雅風畫廊十年典藏」，雅風畫廊，中國成都，2006年1月

HSIAO CHIN

( Taiwanese, 1935-2023 )

L'univers delle Meditazione

140 x 150 cm

Acrylic on Canvas

Signed on the reverse: Hsiao in English, Chin in Chinese, titled in Italian and Chinese, size, dated 2008

EXHIBITION:

"Hsiao Chin and Fadjar Sidik: Parallel Universe," Cans_Space, Taipei, Taiwan, December 1stDecember 14th, 2017

NT$ 1,500,000-2,400,000

US$ 46,600-74,600

蕭勤 靜思宇宙

2008

壓克力 畫布

背面簽名：Hsiao勤 二〇〇八 "L'univers delle Meditazione" 「靜思宇宙」 140 x 150 cm.

展覽：

「蕭勤與法賈希迪『平行的宇宙』」，罐空間，台灣 台北，2017年12月1日至12月14日

「人們須在有限的空間中達到一種無限大的能量和探索，在超越時間的非物質性世界中 去學習、瞭解生命深刻的意涵。」--- 蕭勤

HO KAN

( Taiwanese, b.1932 )

Untitled

70 x 50 cm

Oil on Canvas

Signed on the reverse: Ho Kan in English and Chinese

With a certificate of authenticity from gallery

NT$ 320,000-420,000

US$ 9,900-13,000

霍剛

無題 1982

油彩 畫布

背面簽名：HO-KAN 霍剛

附畫廊開立之原作保證書

HO KAN

( Taiwanese, b.1932 )

Untitled

80 x 100 cm

Oil on Canvas

Signed on the reverse: Ho Kan in English and Chinese

With a certificate of authenticity from gallery

NT$ 600,000-750,000

US$ 18,600-23,300

霍剛

無題

1982

油彩 畫布

背面簽名：HO-KAN 霍剛

附畫廊開立之原作保證書

HO KAN

( Taiwanese, b.1932 )

Untitled

40 x 40 cm

Oil on Canvas

Signed on the reverse: Ho Kan in English and Chinese, dated 2005

EXHIBITION:

"Shape/Color Ho Kan, Hsiao Chin, Han Hsiang Ning, Dennis Hwang," Yi Collecta, Taipei, Taiwan, September 24th - November 6th, 2022

NT$ 180,000-280,000

US$ 5,600-8,700

霍剛

無題

2005

油彩 畫布

背面簽名：HO-KAN 霍剛 2005

展覽：

「形/色 霍剛、蕭勤、韓湘寧、黃志超」，沂藝術，台灣 台北， 2022年9月24日至11月6日

HO KAN

( Taiwanese, b.1932 )

Untitled

40 x 40 cm

Oil on Canvas

Signed on the reverse: Ho Kan in English and Chinese, dated 2005

EXHIBITION:

"Shape/Color Ho Kan, Hsiao Chin, Han Hsiang Ning, Dennis Hwang," Yi Collecta, Taipei, Taiwan, September 24th - November 6th, 2022

NT$ 180,000-280,000

US$ 5,600-8,700

霍剛 無題

2005

油彩 畫布 背面簽名：HO-KAN 霍剛 2005

展覽：

「形/色 霍剛、蕭勤、韓湘寧、黃志超」，沂藝術，台灣 台 北，2022年9月24日至11月6日

JU MING

( Taiwanese, 1938-2023 )

Lao-tzu Riding on The Buffalo

34.8 x 17.8 x 29.3 cm

Copper, 9/10

Signature engraved: Ju Ming in Chinese, dated 1980 and numbered 9/10

With an artwork appraisal report from NPO Juming Culture and Education Foundation

NT$ 450,000-600,000

US$ 14,000-18,600

朱銘 老子騎牛

1980

銅雕 9/10

雕刻簽名：朱銘' 80 9/10

附財團法人朱銘文教基金會之作品鑑定報告書

JU MING

( Taiwanese, 1938-2023 )

Head of Cattle

Artwork: 17.8 x 17 x 16.8 cm

Pedestal: 10.5 x 10.5 x 20.5 cm

Copper, 14/50

Signature engraved: Ju Ming in Chinese and numbered 14/50

With an artwork appraisal report from NPO Juming Culture and Education Foundation

NT$ 200,000-280,000

US$ 6,200-8,700

朱銘

牛頭

1990

銅雕 14/50

雕刻簽名：朱銘 14/50

附財團法人朱銘文教基金會之作品鑑定報告書

CHANG WANCHUAN

( Taiwanese, 1909-2003 )

Crab and Shrimp

31 x 40 cm

Oil on Paper

Signed Chang in English and Wan in Chinese, dated 1997

With a certificate of authenticity from Memorial Hall of Taiwanese Senior Painter Chang Wanchuan

NT$ 70,000-120,000

US$ 2,200-3,700

張萬傳 蟹與蝦 1997

油彩 紙本

簽名：CHANG. 万. 1997.7. 附台灣前輩畫家張萬傳紀念館開立之原作保證書

LEE SHICHI

( Taiwanese, 1938-2019 )

a. Ink Rain 05015

b. Ink Rain 05016

a. 14 x 66.5 cm

b. 17 x 60 cm

Ink on Paper (2)

Signed Shichi in Chinese and dated 1992 (2)

With a certificate of authenticity from gallery (2)

NT$ 140,000-240,000

US$ 4,300-7,500

李錫奇

a.墨雨 05015

b.墨雨 05016

1992

水墨 紙本 (2)

a. 簽名：錫奇' 92

b. 簽名：錫奇 1992

附畫廊開立之原作保證書(2)

JU MING

( Taiwanese, 1938-2023 )

Taichi Series - Strike with Fists

54.5 x 34.2 x 61.8 cm

Copper, 5/10

Signature engraved: Ju Ming in Chinese and numbered 5/10

With an artwork appraisal report from NPO Juming Culture and Education Foundation

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

US$ 46,600-80,800

八〇年代初期，隨著朱銘對太極拳的認識不斷加深，他逐 漸突破招式在形式表現上的侷限，進而開闢出轉體變化的 一瞬間，發展出最初大型太極雕塑的「原形」。分別以作 於一九八四年的《推手》、《轉身蹬腳》、《合太極》、 《踢腿》、《雙峰貫耳》為當時期乃至奠定後來太極系列 的重要作品。除此之外，相較朱銘後來的太極銅雕作品， 這些「原形」作品也當屬收藏家與愛好者們珍罕逸品；由 於本就少量的鑄版與該招式發展，加上其作品對於朱銘太 極系列作品的意義重大，以及在視覺造型上與後來太極系 列相比更有獨樹的特殊性、表現性，令海內外收藏家們鮮 少願意釋出於市場交流。

至此，可回溯到朱銘在七〇年代後期作品比較；當時朱銘 尚參照圖片雕刻出的「功夫」等「有常型」作品後，又再 重新反省所感所觀察的萃取而創作出這批最早的太極系 列，能從這樣兩種的劇變中不難看出藝術家突飛昇華的心 境，乃至於對台灣現代雕塑美學、東方哲思、文化探索… 等要點，相融合的全新發現。

此件朱銘的原形銅雕《太極系列 - 雙峰貫耳》為太極拳 第十四式，由「推手」之姿承先起式，一瞬輾轉將拳眼向 內旋斜下，手肘順勢外翻呈堅實之點，推動內氣將小臂往 內收合，猶如「雙峰」之型、亦如引帶內外「雙風」，氣 而發出，位於對手雙耳處穿透，故名「貫耳」。此招式雙 腿多呈單跨馬步穩如磐石，並以核心將上身脅帶手臂先後 由前往後仰之，用於將雙拳之氣勾回收式；從整體看來「雙 峰貫耳」在太極拳中屬於攻守併進，也是太極拳中肢體協

朱銘

太極系列 - 雙峰貫耳

1984

銅雕 5/10

雕刻簽名：朱銘 5/10

附財團法人朱銘文教基金會之作品鑑定報告書

調要求最高的刁專招式，需要快慢交替，銜接收合運氣， 以達聚能守之、發能攻之。

放在朱銘此時期意呈於形的雕塑中，他忽略細節，得以掌 握全局，任由刀鋒與材質碰撞出承前啓後的火花，精準呈 現「雙峰貫耳」一瞬收發動態。「聚」由下盤大塊面落 刀，而後快刀不問細節瀟灑，毫不掩飾新的雕塑過程所遺 留在作品上的痕跡，因而可見清晰的顆粒，走勢向後上方 呈銳角視覺引導，由此下肢與核心如磐石的量體藉由快慢 刀與「不為而為」的權衡中，分佈出剛柔動靜之基調，運 氣至上肩頸呈後傾，雙臂大氣軒昂地綻開，用準確的角度 勾勒雙臂呈峰，形走至此，隱約上端拳眼即向前方貫進。 細看作品以特殊頓挫手法處理，能使觀眾再從上向下又能 覺察，作品走刀呈平緩收合，已經將收式之態同時展現。

雕塑本質上屬量感的藝術，若削弱量感則可加強輕盈、動 態等特質，朱銘可兼具量感和動態，同時不論在視覺上、 美感上、意象上實現逐步的多重合一結果。

朱銘曾指出，太極雕塑並不一定能直接對應圖解中的太極 招式，他「不隨型走，而隨意走，刻的是太極精神，像不 像沒有關係」。因此，朱銘的「原形」作品，依附於具象 雕塑之中，卻展現了極大的自由；在抽象的結構中，體現 了中國文化千百年來，融入於文人生活之中，對於書法線 條、筆墨等非具象品質，以至山石花窗等抽象美學的欣 賞。在質樸靈動的意象中，透露著朱銘的創作轉折，更加 印證了藝術家步步朝「暢神」所邁進，以期成就雕塑所深 蘊之大美。

JU MING

( Taiwanese, 1938-2023 )

Guan Gong

36 x 36 x 84 cm

Copper, 10/20

Signature engraved: Ju Ming in Chinese, numbered 10/20

With a certificate of authenticity from Kalos Gallery

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

US$ 74,600-93,200

朱銘

關公

1999

銅雕 10/20

雕刻簽名：朱銘 10/20

附真善美畫廊開立之原作保證書

朱銘曾言：「藝術家同樣承受繁雜社會之洗禮，創作自然改變，但語言就不會變。

變不變，順自然，不勉強，不自限。」此與生俱來的樸實風情，運用在耳熟能詳的 經典人物形象上，亦是相得益彰，正如關公即予人們的深刻印象，忠勇肝膽、正氣 凜然，配合朱銘用刀的快捷迅猛、塑形渾厚大氣，明確地道出其傳統價值與普世的 信仰崇拜。

此件關公作品雕其形象寬身威武正氣，負手端立，背挾青龍偃月刀，止戈偃武，面 容肅穆沉靜，眉宇間透露著睿智正氣。右腳前跨半步，鬚髯翩飄，帶出整體身形靜 中含動，躍躍勃發，在粗拙卻流暢的刀法下刻劃衣紋，氣勢渾然天成，恰如初唐四 大家虞世南頌關羽：「利不動，爵不縶，威不屈，害不折，心耿耿，義烈烈，偉丈夫， 真豪傑，綱常備，古今絕」。關公於佛、儒、道三家皆奉為神尊，以正直忠義、義 薄雲天的形象樹立，一身體現中華民族傳統美德，尤其於軍警、法安各界廣為推崇。

關公之於朱銘，可謂整個台灣七〇年代盛行的鄉土美術運動作呼應，以傳統民間傳 奇為主軸的木雕作品，也正是朱銘從學徒到一代大師生涯中最經典的題材。

JU MING

( Taiwanese, 1938-2023 )

Living World Series - Eternity

32.7 x 23.4 x 53 cm

Nickel-copper, 124/200

Signature engraved: Ju Ming in Chinese, inscribed Audi A6 Masterpiece, dated 2007, numbered 124/200

With a certificate of authenticity from Lee Chi Creativity Co.,Ltd.

1. The work is accompanied by its original metal box.

2. The reproduction is based on the "Living World Series" artwork by Ju Ming in 2007 in the ratio of 1:1. Ju Ming specially created the original artwork for the car of Audi A6 2.8 FSI Quattro Masterpiece. The two original artworks are the stainless steel sculptures in 32 x 23.2 x 51.3 cm (L x W x H), collected by the Juming Museum in Taiwan and Audi main manufactory in Germany.

NT$ 400,000-480,000

US$ 12,400-14,900

朱銘

人間系列

- 生生不息

2007

銅鍍鎳 124/200

雕刻簽名：朱銘 2007 AUDI A6 Masterpiece 124/200

附李記創意股份有限公司開立之限量複製品保證書

1. 附原廠包裝金屬盒

2. 本款複製品依朱銘於2007年創作之「人間系列」作品，等比 例複製而成。原作為32 x 23.2 x 51.3 cm (L x W x H)之不 鏽鋼創作，乃朱銘為Audi A6 2.8 FSI Quattro Masterpiece 之車款所特別創作，原作二件，分别為台灣朱銘美術館及德國 Audi總廠所收藏。

JU MING

( Taiwanese, 1938-2023 )

Living World Series - Twelve Girls

67 x 10.5 x 18 cm

Unsaturated Polyester Resin, Calcium Carbonate, Environmentallyfriendly Water Based Mineral Paint, 294/300

Trademark Juming Museum Limited Edition No.294/300

With a certificate of limited reproduction from Ju Ming Museum

1. The work is accompanied by its original box.

2. This reproduction is based on the "Living World Series - Painted Wood" by Mr. Ju Ming in 1996. It is made to a scale of 1 cm to 7.1 cm. The original artwork is a wood sculpture in 479 x 72 x 129 cm (L x W x H), collected by the Juming Museum.

NT$ 100,000-180,000

US$ 3,100-5,600

朱銘

人間系列 - 十二少女

1996

不飽和聚酯樹脂 碳酸鈣 水性環保礦物顏料 294/300

註冊商標 朱銘美術館 JUMING MUSEUM Limited Edition No.294/300

附朱銘美術館限量複製品保證書

1. 附原廠包裝紙盒

2. 本款複製品依據朱銘先生於1996年創作之『人間系列—彩繪木雕』 作品，以1:7.1之比例縮小複製而成。木雕原作為朱銘美術館收藏， 尺寸為479 x 72 x 129公分 (L x W x H)。

CHIU YATSAI

( Taiwanese, 1949-2013 )

Perfection

80 x 65 cm

Oil on Canvas

Signed Chiu Ya Tsai in Chinese

ILLUSTRATED: "Chiu Ya Tsai," Goethe Art Center, Taiwan, Taichung, 2006, Page 161

With a certificate of authenticity from gallery

NT$ 700,000-1,000,000

US$ 21,700-31,100

邱亞才 完美 1991 油彩 畫布 簽名：邱亞才 圖錄： 《邱亞才》，歌德藝術中心，台灣 台中， 2006年，第161頁 附畫廊開立之原作保證書

ZHAN YU FAN

( Taiwanese, b.1983 )

Floating Life

130 x 162 cm

Oil on Canvas

Signed Chan Yu Fan in English and dated 2015

ILLUSTRATED:

"CHAN YU - FAN - FORMATION OF SPACE AND TIME NEW CLASSIC PARALLEL THEATRE," Cloud Gallery, Taipei, Taiwan, June, 2018, Page 113-114

With a certificate of authenticity from gallery

NT$ 250,000-400,000

US$ 7,800-12,400

詹喻帆

浮生

2015

油彩 畫布

簽名：Chan. Yu. Fan 2015.10

圖錄：

《詹喻帆 - 時空造境 新古典平行劇場》，青雲畫廊， 台灣 台北，2018年6月，第113-114頁

附畫廊開立之原作保證書

SHI JINHUA

( Taiwanese, b.1964 )

Pen Walking #169: Snow Peak under Moonlight

Artwork: 74 x 141.5 cm

Document: 40 x 28 cm

Ink, White-coloured Pencil, Charcoal, Pastel on Paper and Document

With a certificate of authenticity from gallery

NT$ 400,000-550,000

US$ 12,400-17,100

石晉華

走筆第一六九號：雪峰映月圖

2019

墨 白色鉛筆 炭精 粉彩 紙本 文件

附畫廊開立之原作保證書

YANG GUOXIN

( Chinese, b.1951 )

Into Procedure Series

70 x 70 cm (2)

Oil on Canvas (2)

Signed Yang Guoxin in English and dated 1993 (2)

ILLUSTRATED:

1. "YANG GUOXIN," Hebei fine arts publishing house, December 2007, Page 58-59

2. "Art Document No.12 1998 - Implied Meaning Oil Painting II," Wu Hab Hubei fine arts publishing house, Page 11

NT$ 250,000-450,000

US$ 7,800-14,000

楊國辛

進入程序

1993

油彩 畫布 (2)

簽名：Yang Guoxin 93 (2)

圖錄：

1.《楊國辛》，河北美術出版社，2007年12月，第58-59頁 2.《美術文獻 總第12輯1998年—象征與寓意油畫專輯2》，武漢湖北 美術出版社，第11頁

LU FOTING

( Taiwanese, 1911-2005 )

Late Spring Record - Ascending

33 x 46 cm

Ink on Paper, Picture Frame

Signed Lu Foting in Chinese

With one inscription and two seals of the artist, dated 1983

PROVENANCE:

This work belongs to the collection of Shiy De-Jinn Foundation, Founding Director Mr. Lu Ching-Hua

NT$ 20,000- 40,000

US$ 600- 1,200

呂佛庭

暮春錄 - 登高

1983

水墨 紙本 鏡框

款識：民國癸亥暮春錄杜甫 登高一首於壺中 精華吾兄正之

簽名：呂佛庭

鈐印：半僧書畫(白文)、淡園小築(朱文)

來源：

席德進基金會創辦董事長 盧精華 收藏

釋文：風急天高猿嘯哀 渚清沙白鳥飛迴 無邊落木蕭蕭下 不盡長江滾滾來 　　　萬里悲秋常作客 百年多病獨登臺 艱難苦恨繁霜霜鬢 潦倒新亭濁酒杯

LO CHANPENG

( Taiwanese, b.1983 )

Berlin Calling 2

81 x 101 cm

Ink on Canvas

With a certificate of authenticity from gallery

NT$ 80,000-140,000

US$ 2,500-4,300

羅展鵬

柏林召喚 2 2011

水墨 畫布

附畫廊開立之原作保證書

LIU CHIWEI

( Taiwanese, 1912-2002 )

Yunnan Pony

38.5 x 48.5 cm

Mixed Media on Paper

With one inscription of the artist

Signed Liu Chiwei in Chinese phonetic alphabet, titled in English, dated 1994-1995

PROVENANCE:

Acquired from the artist himself by the current collector

NT$ 140,000-220,000

US$ 4,300-6,800

劉其偉

雲南小馬 1994-1995

綜合媒材 紙本

款識：Help the pony, save the army, to win the II world war.

簽名：YUNNAN PONY' 95 ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 1994 來源： 現藏家購自於藝術家本人

LU HSIENMING

( Taiwanese, b.1959 )

Smoke

45 x 90 cm

Oil on Canvas

Signed on the reverse: Lu Hsienming and titled in Chinese

With a certificate of authenticity from gallery

NT$ 100,000-200,000

US$ 3,100-6,200

油彩 畫布

背面簽名：「煙」 陸先銘

附畫廊開立之原作保證書

YOO CHOONGMOK

( Korean, b.1977 )

Formation - Superposition 9 - 7

72.7 x 60.6 cm

Glass, Gold Leaf and Acrylic on Canvas

Signed on the side of canvas: Yoo Choongmok in Chinese and dated 2022

With one seal of the artist

Signed on the reverse: Yoo Choongmok in Chinese, titled and media in English, size, dated 2022

NT$ 80,000-100,000

US$ 2,500-3,100

俞忠穆

形成 - 疊加 9 - 7

2022

玻璃 金箔 壓克力 畫布

畫布框側面簽名：2022 俞忠穆

鈐印：忠 (朱文)

背面簽名：Formation - Superposition 9-7 2022 Glass, gold leaf, acrylic on canvas 60.6 x 72.7 cm F20 俞忠穆

LU HSIENMING

( Taiwanese, b.1959 )

Listening

to the Frogs

65 x 91 cm

Oil on Canvas

Signed on the reverse: Lu Hsienming and titled in Chinese, dated 2019

ILLUSTRATED:

"Modernology --- LU Hsienming' s Urban Thinking," Yun Fei-Fan Art Gallery & Chini Gallery, Tainan & Taipei, Taiwan, 2019, Page 48-49

EXHIBITION:

"Modernology --- LU Hsienming' s Urban Thinking," Chini Gallery, Taipei, Taiwan, March 2nd - April 14th, 2019

NT$ 220,000-380,000

US$ 6,800-11,800

陸先銘

蛙鳴

2019

油彩 畫布 背面簽名：陸先銘 2019 "蛙鳴"

圖錄： 《考現學 --- 陸先銘的陸上思考》，耘非凡美 術館 & 采泥藝術，台灣 台南 & 台北，2019年， 第48-49頁

展覽： 「考現學 --- 陸先銘的陸上思考」，采泥藝術， 台灣 台北，2019年3月2日至4月14日

JAN CHINSHUI

( Taiwanese, b.1953 )

Plum Blossoms Welcome the Sun

116.5 x 91 cm

Oil on Canvas

Signed Chinshui in Chinese and dated 2008

Signed on the reverse: Jan Chinshui and titled in Chinese, size, dated 2008

With a certificate of authenticity from gallery

NT$ 120,000-240,000

US$ 3,700-7,500

詹金水

梅開迎曦 2008

油彩 畫布

簽名：金水 2008

背面簽名：50F 梅開迎曦 詹金水 2008年

附畫廊開立之原作保證書

JAN CHINSHUI

( Taiwanese, b.1953 )

A Secret Place in Extreme Winter

116.5 x 91 cm

Oil on Canvas

Signed Chinshui in Chinese and dated 2008

Signed on the reverse: Jan Chinshui and titled in Chinese, size, dated 2008

With a certificate of authenticity from gallery

NT$ 120,000-240,000

US$ 3,700-7,500

詹金水

極冬秘境

2008

油彩 畫布

簽名：金水 2008

背面簽名：50F 極冬秘境 詹金水 2008年

附畫廊開立之原作保證書

HUNG YI

( Taiwanese, b.1970 )

Pandas - Tuan Tuan Yuan Yuan

a. 82 x 52 x 42 cm

b. 81 x 51 x 42 cm

Baked Enamel on Steel Sheet, 2/9 (2)

a. Signed Hung Yi in Chinese and dated 2010

b. Signed Hung Yi in Chinese and dated 2010

ILLUSTRATED:

"Hung Yi," Insian Gallery, Taipei, Taiwan, Page 59

With a certificate of authenticity from gallery

NT$ 700,000-900,000

US$ 21,700-28,000

洪易

團團圓圓

2010

鋼板烤漆 2/9 (2)

a. 簽名：洪易 2010

b. 簽名：洪易 2010

圖錄：

《洪易 Hung Yi》，印象畫廊，台灣 台北，第59頁

附畫廊開立之原作保證書

HUNG YI

( Taiwanese, b.1970 )

Heralding Chicken

73 x 50 x 88 cm

Baked Enamel on Steel Plate, 1/9

Signed Hung Yi in Chinese, dated 2016 and numbered 1/9

EXHIBITION:

"Hung Yi - Happy Animal Party," New Taipei City Plaza, New Taipei City, Taiwan, January 14thFebruary 12th, 2017

With a certificate of authenticity from gallery

Attached is a photo of the then New Taipei City Mayor taking a group photo with artists and their works at a solo exhibition at the New Taipei City Government Citizen Plaza.

NT$ 750,000-900,000

US$ 23,300-28,000

洪易

報喜雞

2016

鋼板烤漆 1/9

簽名：洪易 1/9 2016

展覽：

「洪易 - 快樂動物派對」，新北市政府市民廣場，台灣 新北市，2017年1月14日至2月12日 附畫廊開立之原作保證書

附時任新北市長與藝術家、作品於新北市政府市民廣場個展之合影照。

LIANG PINGCHENG

( Taiwanese, b.1958 )

Mask No.1 (Xiao Li): 1/8

30 x 40 x 88 cm

Stainless steel and Bronze

Signature engraved on the bottom: Liang Pingcheng in Chinese, dated 2013 and numbered 1/8

With a certificate of authenticity from gallery

NT$ 280,000-360,000

US$ 8,700-11,200

梁平正

面具 1 (小莉)：1/8

2013-2014

不鏽鋼 銅雕

底部雕刻簽名：梁平正 2013 1/8

附畫廊開立之原作保證書

LIANG PINGCHENG

( Taiwanese, b.1958 )

2010 - 2 Golden Mask - Eagle beak

47 x 105 x 196 cm

Camphora Officinarum

Signature engraved: Liang Pingcheng in Chinese, dated 2010

With a certificate of authenticity from gallery

NT$ 400,000-500,000

US$ 12,400-15,500

梁平正

2010 - 2 黃金面具 - 鷹嘴

2010

江西樟木

雕刻簽名：梁平正 2010-3

附畫廊開立之原作保證書

KINICHIRO ISHIKAWA

( Japanese, 1871-1945 )

Taedong River

32 x 47 cm

Watercolor on Paper

Signed Kin and titled in Chinese With one seal of the artist

ILLUSTRATED:

"A Centenary of Art: An Album of Guo Shuangfu’s Collection," National Chung Hsing University Department of History, Taichung, Taiwan, 2016, Page 12

EXHIBITION:

"A Centenary of Art - Collection Exhibition of Paintings by Senior Guo Shuangfu," The Art Center of National Chung Hsing University, Taichung, Taiwan, December 16, 2015 - January 5, 2016

NT$ 140,000-180,000

US$ 4,300-5,600

石川欽一郎

大同江

水彩 紙本

簽名：大同江 欽

鈐印：欽 (朱文)

圖錄：

《百年臻藝: 郭双富典藏作品專輯》，國立中興

大學歷史學系，台灣 台中，2016年，第12頁

展覽：

「百年臻藝 - 郭双富前輩畫作珍藏展」，中興大 學藝術中心 (圖書館七樓), 台灣 台中, 2015 年12月16日至2016年1月5日

CHEN CHENGPO

( Taiwanese, 1895-1947 )

Nude

35.6 x 27.8 cm

Watercolor on Paper

With one seal of the artist

PROVENANCE: Collection of Shen Chetsai family

NT$ 340,000-400,000

US$ 10,600-12,400

SHEN CHETSAI

( Taiwanese, 1926-2017 )

Nude

45.4 x 30.3 cm

Pastel on Paper

Signed Chetsai in Chinese

PROVENANCE:

Collection of Shen Chetsai family

NT$ 120,000-200,000

US$ 3,700-6,200

SHEN CHETSAI

( Taiwanese, 1926-2017 )

40 x 49.5 cm Oil on Canvas

Signed Chetsai in Chinese and dated 1989

PROVENANCE:

Collection of Shen Chetsai family

NT$ 400,000-600,000

US$ 12,400-18,600

Newport

LIU CHIWEI

( Taiwanese, 1912-2002 )

Maternal Love

34 x 48 cm

Watercolor on Paper

Signed Liu Chiwei in Chinese phonetic alphabet, dated 1987

NT$ 150,000-200,000

US$ 4,700-6,200 劉其偉

母愛 1987

LIU CHIWEI

( Taiwanese, 1912-2002 )

Paiwan Tribe's Totem

38 x 51 cm

Mixed Media, Cotton on Cardboard

Signed Liu Chiwei in Chinese phonetic alphabet, dated 1980 in Suzhou Code

With a certificate of authenticity from gallery

NT$ 100,000-200,000

US$ 3,100-6,200

劉其偉

排灣族的圖騰

1980

綜合媒材 棉布裱於紙板

簽名：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ〡〩〨〇 附畫廊開立之原作保證書

REN WEIYIN

( Chinese, 1918-1994 )

Beside the Bridge

60 x 60 cm

Oil on Canvas

Signed Ren Weiyin in Chinese and dated 1994

Signed on the reverse: Ren Weiyin and titled in Chinese, size, dated 1994

With a certificate of authenticity from gallery

NT$ 200,000-300,000

US$ 6,200-9,300

任微音

小橋邊 1994

油彩 畫布

簽名：任微音 九四年

背面簽名：9413 60 x 60 小橋边 任微音

附畫廊開立之原作保證書

REN WEIYIN

( Chinese, 1918-1994 )

Dong-An Park

67 x 52 cm

Oil on Canvas

Signed Ren Weiyin in Chinese and dated 1989

Signed on the reverse: Ren Weiyin and titled in Chinese, dated 1989

With a certificate of authenticity from gallery

NT$ 200,000-300,000

US$ 6,200-9,300

任微音

東安公園

1989

油彩 畫布

TSONG PU ( Taiwanese, b.1947 )

41.5 x 53 cm Oil on Canvas

NT$ 200,000-280,000 US$ 6,200-8,700

TSONG PU

( Taiwanese, b.1947 )

L and l

41.5 x 53 cm Oil on Canvas

NT$ 200,000-280,000 US$ 6,200-8,700

PIERRE-YVES TRÉMOIS

( French, 1921-2020 )

Le Cynocéphale

54 x 38 x 13 cm

Polished Bronze, 7/8

Signature engraved: Susse Fonderie Paris and Tremois in French, numbered 7/8

ILLUSTRATED: "TRÉMOIS," Imprimerie Moderne du Lion, Paris, 1982, Page 187

With a certificate of authenticity from gallery

NT$ 550,000-800,000

US$ 17,100-24,900

皮耶．伊夫．特墨

犬頭龍

1976-1977

拋光銅雕 7/8

雕刻簽名：Susse Fonderie Paris Tré mois 7/8

圖錄：

《TRÉMOIS》，現代獅子印刷廠，巴黎，1982年， 第187頁

附畫廊開立之原作保證書

PIERRE-YVES TRÉMOIS

( French, 1921-2020 )

Le Turbot Genése

76 x 60 x 6 cm

Polished Bronze, 4/8

Signature engraved: Nous sommes tous fondus ensemble .C.D. and Tremois in French, numbered 4/8

ILLUSTRATED: "TRÉMOIS," Imprimerie Moderne du Lion, Paris, 1982, Page 192-193

With a certificate of authenticity from gallery

NT$ 650,000-850,000

US$ 20,200-26,400

皮耶．伊夫．特墨

大菱鮃創世紀

1976-1977

拋光銅雕 4/8

雕刻簽名：NOUS SOMMES TOUS FONDUS ENSEMBLE .C.D. - Tré mois - 4/8

圖錄：

《TRÉMOIS》，現代獅子印刷廠，巴黎，1982年，第192-193頁

附畫廊開立之原作保證書

( British, b.1968 )

Untitled (I hate human beings)

75 x 56 cm

Screenprint, edition of 125

Signed on the reverse: DS in English, dated 2022 and edition number

NT$ 100,000-150,000

US$ 3,100-4,700

大衛．史瑞格里

無題(我討厭人類)

2022

絲網印刷版畫 限量125版

背面簽名：DS 2022 跟版數

DAVID SHRIGLEY

( British, b.1968 )

Untitled (The Penguins need Us)

29.5 x 21 cm

Ink and Marker on Paper

Signed on the reverse: DS in English and dated 2021

NT$ 140,000-200,000

US$ 4,300-6,200

大衛．史瑞格里

無題 (企鵝們需要我們)

2021

墨水 麥克筆 紙本

背面簽名：DS 2021

DAVID SHRIGLEY

KYNE Untitled 無題 KYNE

「我一向都畫女性肖像，甚至在學校時也是。這確實是藝術中常見的主題。但是在塗鴉界，更為常見的則是陽剛 和情色的主題。在這個充滿是這些的世界裡，我覺得呈現目光酷酷的女性是一種不一樣的、嶄新的實踐。」

KYNE作品中的女子肖像，通常沒有明顯的表情，偶爾幫她換上 俐落的短髮與飾品，又或戴上全罩式耳機，精準地描繪出少女眼 神中的冷感與銳度，通過大塊大塊色彩填充的背景來反襯人物， 他曾說：「像開心呀，難過呀，我不想讓她表現出感情。」這些 圖像傳遞出機械複製產物所具有的漠然，與現代社會的疏離與 厭世，似是身處現代化都會快速節奏中，隱去臉部神情以面對各 式各樣的變化。這種以冷酷無情緒的表情描繪女性的風格是在 二〇一〇年左右確立的，這些女性模特的形象在不同觀者的心

中折射出不同心境，時而清純柔弱，時而又流露出不羈，有時候 也像一幀電影鏡頭，表現人物在夜晚的街道、吹著夏夜晚風的海 邊，或是電車進站的入口旁，流露著神秘幽微的魅力，不僅吸引 了日本的關注，也吸引海外的關注。在這些漫畫風格的畫作中， 觀者們卻能接收到無比真實的人類情感，這些畫作對女性賦權和 不同時代通過圖像進行身分構建等當今時代所關注的問題提供了 新的思索。

KYNE

KYNE ( Japanese, b.1988 )

Untitled

116.7 x 91 cm

Acrylic on Canvas

Signed on the reverse: Kyne and dated 2018

PROVENANCE:

Gallery Target, Tokyo, Japan

With a certificate of authenticity from gallery

NT$ 3,500,000-5,000,000

US$ 108,700-155,300

KYNE

無題

2018

壓克力 畫布

背面簽名：Kyne, 18

來源：

Gallery Target，日本 東京

附畫廊開立之原作保證書

ETSU EGAMI

( Japanese, b.1994 )

Rainbow-2022-W-57

197.5 x 144 cm

Oil on Canvas

Signed Egami Etsu in English and dated 2022

PROVENANCE:

Whitestone Gallery, Hong Kong

With a certificate of authenticity from gallery

NT$ 1,500,000-2,000,000 US$ 46,600-62,100

江上越

彩虹-2022-W-57

2022

油彩 畫布

簽名：Egami Etsu 2022

來源：

白石畫廊，香港

附畫廊開立之原作保證書

「就像彩虹是一條條平行線，界限分明，但組合到一起又很美麗閃亮，這與我追求的交流的象 徵和本質有一種很強烈的共鳴。」 江上越

您看見畫中的臉孔了嗎?江上越一九九四年出生於日 本，成長過程隨父母遊歷世界，曾旅居歐美後落腳北 京，期間她見過無數面孔，與形形色色的人們談話交 流、擦肩而過，置身於多種語言及文化中發現，差異 恰恰是相互理解的基石，倚賴這些差異產生的灰色地 帶，卻又在其間掙扎。江上越不僅觀察到人際關係的 間隙，更敏銳地捕捉到交際「暗礁」。

《彩虹 - 2022 - W - 57》以明亮清透的顏色用粗筆 一道道刷上畫布，乍看之下以為是抽象繪畫，退遠一 看陌生又熟悉的人臉浮現，正如人際互動嘗試著拿捏 最適距離，在進退有度當中辨認、解析情緒與表情， 哪裡是眼睛?是否吐著舌頭?若人際是座橋梁，就像 彩虹一般美好得令人不禁百般捉摸。

OKUDA YUTA

( Japanese, b.1987 )

Abstract Single Flower (Turquoise Blue x Yellow)

53 x 45.5 cm

Pinment Ink and Acrylic on Canvas

Signed on the reverse: Yuta Okuda in English and dated 2021

PROVENANCE: Tomohiko Yoshino Gallery, Tokyo, Japan

With a certificate of authenticity from gallery

NT$ 150,000-220,000

US$ 4,700-6,800

奧田雄太

抽象的一枝花 (翠藍 x 黃色)

2021

彩墨 壓克力 畫布

背面簽名：Yuta Okuda. 2021.

來源：

吉野智彦畫廊，日本 東京

附畫廊開立之原作保證書

TAKERU AMANO

( Japanese, b.1977 )

Venus

DiameterØ 29.5 cm

Acrylic on Canvas

Signed on the reverse: Amano in English and dated 2016

With a certificate of authenticity signed by the artist

NT$ 200,000-260,000

US$ 6,200-8,100

天野健

維納斯

2016

壓克力 畫布

背面簽名：Amano 2016

附藝術家親簽之原作保證書

ADAM HANDLER

( American, b.1986 )

Sweet Cloud Ghost

30.6 x 22.8 cm

Oil Stick and Acrylic on Canvas

Signed on the reverse: Adam Handler and titled in English, dated 2021

PROVENANCE:

1. Madelyn Jordon Fine Art, Scarsdale, USA

2. Phillips Auction, July 6th - 13th, 2022, LOT 7

3. Private collection, Asia

NT$ 100,000-200,000

US$ 3,100-6,200

亞當．漢德勒

甜心雲小鬼

2021

壓克力 油畫棒 畫布

背面簽名："Sweet Cloud Ghost" Adam Handler 2021 2021 Adam Handler

來源：

1. Madelyn Jordon Fine Art，美國 斯卡斯代爾

2. 富藝斯 2022年7月6至13日拍賣，編號 7

3. 亞洲私人收藏

GINO HOLLANDER

( American, 1924-2015 )

Meditation

101 x 61 cm

Oil on Canvas

Signed Hollander in English, dated 3.1.79

With a certificate of authenticity from gallery

NT$ 280,000-360,000

US$ 8,700-11,200

吉諾．霍蘭德

靜思女子

1979

油彩 畫布

簽名：Hollander 3.1.79

附畫廊開立之原作保證書

NEDIA WERE

( Kenyan, b.1989 )

Untitled XI

139.7 x 170.2 cm

Acrylic on Canvas

Signed Nediawere in English and dated 2022

ILLUSTRATED:

"Nedia Were - Fragments of Perceptions," Mitochondria Gallery, Houston, USA, 2022

EXHIBITION:

"Nedia Were - Fragments of Perceptions," Mitochondria Gallery, Houston, USA, May 6th - June 3rd, 2022

With a certificate of authenticity signed by the artist

NT$ 500,000-600,000

US$ 15,500-18,600

尼迪亞．韋爾

無題 XI

2022

壓克力 畫布

簽名：Nediawere... 22

圖錄：

《尼迪亞．韋爾 - 感知片段》，Mitochondria Gallery， 美國 休士頓，2022年

展覽：

《尼迪亞．韋爾 - 感知片段》，Mitochondria Gallery， 美國 休士頓，2022年5月6日至6月3日

附藝術家親簽之原作保證書

IRYNA MAKSYMOVA

( Ukrainian, b.1991 )

My Love

126 x 102 cm

Acrylic on Canvas

NT$ 200,000-400,000

US$ 6,200-12,400

GALINA MUNROE

( British-French, b.1993 )

Rose Hips

160 x 140 cm

Enamel, Collage and Oil on Canvas

Signed on the reverse: Galina Munroe and titled in English, dated 2022

PROVENANCE: Purchased directly from the artist by the current collector

NT$ 200,000-300,000

US$ 6,200-9,300

葛林娜．蒙羅 玫瑰果

2022

琺瑯 拼貼 油彩 畫布

背面簽名：Rose hips Galina Munroe 2022

來源： 現藏家購於藝術家本人

GUY BARDONE

( French, 1927-2015 )

Dusk in the Valley

50 x 38 cm

Watercolor on Paper

Signed Bardone in English

With a certificate of authenticity from gallery

NT$ 90,000-150,000

US$ 2,800-4,700

居．巴赫東

河谷的黃昏

1989

水彩 紙本

簽名：Bardone.

附畫廊開立之原作保證書

五十年代中期，巴赫東曾在巴黎的大型展覽會上展出三十三幅專屬畫作，這是他職業畫家生涯的開始。做為 一個資深的全球旅行者，風景畫與靜物的組合，藉由水彩與光刻逐漸進入他的藝術，繪畫在他的靜物裡呈現 某種詩意。1953年入選重要的巴黎時尚博物館「名人和當代繪畫」群展，1954年參加夏邦傑畫廊的巴黎學 派展覽，作品也定期在法國等國家展出。

《河谷的黃昏》以躍動的冷暗色塊象徵了高山雲嶺的寒冬冷意，凸顯雪色明亮清徹。善用色料，並以細筆疊 合雪峰之輪廓，以粗筆渲染光線漸層之動勢，山中樹林裡交錯承載白雪奏鳴的纖細音調枝椏，遂使畫面氣韻 流動於川穀之中，彼此渲染，無疑把觀者帶入一個銀鋪玉砌充滿清新浪漫的世外桃源，並將雪景凍結為畫布 上的永生。

SALVADOR DALI

( Spanish, 1904-1989 )

Femme en Flammes

37.5 x 24 x 84 cm

Bronze, edition of 350

Engraved on the base: Dali

Casting mark: CERA PERSA PERSEO SA MENDRISIO, and the foundry stamp © CAMBLEST 1981, and edition number

ILLUSTRATED:

"The Exhibition of International Sculpture Masters," Modern Art Space, Taichung, Taiwan, 1995, Page 18-19

NT$ 600,000-800,000

US$ 18,600-24,900

薩爾瓦多．達利

火焰女子

1981

銅雕 限量350件

台座雕刻簽名：Dali

鑄印標記：「CERA PERSA PERSEO SA MENDRISIO」、「© Camblest 1981」 跟版數

圖錄：

《國際大師雕塑展》，現代藝術空間，台灣 台中，1995年， 第18-19頁

NYCHOS

( Austrian, b.1982 )

Translucent Pikachu

153 x 113 cm

Acrylic on Archival Paper

Signed Nychos in English and dated 2023

NT$ 380,000-500,000

US$ 11,800-15,500

尼喬斯

半透明的皮卡丘 2023

壓克力 紙本

簽名："NycHoS" 2023

NATHAN PADDISON

( Australian, b.1983 )

REED Burr Berry X Pad is N XXII

180 x 152 cm

Charcoal, Acrylic and Oil Stick on Canvas

Signed Paddison in English

Signed on the reverse: Nathan Paddison and titled in English

NT$ 300,000-500,000

US$ 9,300-15,500

內森．帕迪森

REED Burr Berry X Pad is N XXII

2022

炭筆 壓克力 油畫棒 畫布

簽名：PADDISON

背面簽名："REED Burr Berry X Pad is N" XXII - Nathan Paddison.

JONATHAN EDELHUBER

( American, b.1984 )

Untitled

81.3 x 71 cm

Spray Paint and Acrylic on Canvas

Signed on the reverse: Jonathan Edelhuber and JE in English, dated 2022

NT$ 180,000-250,000

US$ 5,600-7,800

喬納森．埃德爾胡貝爾

無題

2022

噴漆 壓克力 畫布

背面簽名：Jonathan Edelhuber 2022 JE 22

( Korean, b.1962 )

Blue Face

100 x 130 cm

Oil on Canvas

Signed on the reverse: Na Hyokab in Chinese

NT$ 180,000-280,000

US$ 5,600-8,700

NA HYOKAB

KYNE

( Japanese, b.1988 )

Untitled

48 x 60 cm

Screenprint, edition of 100

Signed Kyne in English, dated 2020, and edition number

PROVENANCE:

Gallery Target, Tokyo, Japan

NT$ 240,000-360,000

US$ 7,500-11,200

KYNE

無題

2020

絲網印刷版畫 限量100版

簽名：Kyne, 20 跟版數

來源：

Gallery Target，日本 東京

YU KIWANAMI

( Japanese, b.1985 )

Honey (M - Green)

116.7 x 80.3 cm

Acrylic on Canvas

Signed on the reverse: YK and titled in English, dated 2021

EXHIBITION:

"2021 Art Taipei - International Contemporary Art Fair," Elsa Gallery, booth G02, Taipei, Taiwan, October 22nd25th, 2021

極並佑

親愛的 (M - 綠色)

2021

壓克力 畫布

背面簽名：YK "Honey" 2021

展覽：

「2021 ART TAIPEI 台北國際藝術博覽會」，雲清藝術 展位 G02，台灣 台北，2021年10月22日至25日

NT$ 160,000-200,000

US$ 5,000-6,200

JUNG YEOEUN

( Korean, b.1992 )

Rapunzel - 8

80 x 80 cm

Acrylic and Paper on Wood Panel

Signed on the reverse: J. Yeoeun and titled in English, Acrylic, paper on wood panel, size and dated 2023

NT$ 150,000-300,000

US$ 4,700-9,300

鄭與恩

長髮公主 - 8 2023

壓克力 紙本裱貼於木板

背面簽名：J Yeoeun. Rapunzel-8 Acrylic, paper on wood panel 80 x 80 cm 2023.

EDDIE KANG

( Korean, b.1980 )

Stand Still in the Middle of Tension

38 x 38 cm

Swarovski Crystal, Ink, Acrylic and Oil on Canvas

Signed on the reverse: Kang Suk Hyun in Chinese and dated 2010

PROVENANCE:

Phillips Auction, April 20th - 27th, 2022, LOT 21

EXHIBITION: "Montage!," Metaphysical Art Gallery, Taipei, Taiwan, September 20th - October 31st, 2014

NT$ 200,000-300,000 US$ 6,200-9,300

姜錫鉉

急進中的休止

2010

施華洛世奇水晶 水墨 壓克力 油彩 畫布

背面簽名：姜錫鉉 2010

來源：

富藝斯 2022年4月20至27日拍賣，編號 21

展覽： 「萌太奇」，形而上畫廊，台灣 台北，2014年9月20日 至10月31日

MAIKO KOBAYASHI

( Japanese, b.1977 )

Moving Colours

60 x 60.2 cm

Coloured Pencils and Oil Pastels, Screenprint, edition of 50

Signed MK in English, dated 2023 and edition number

With a certificate of authenticity from manufacturer and signed by the artist

NT$ 50,000-80,000

US$ 1,600-2,500

小林麻衣子

移動的色彩 2023

彩色鉛筆 油畫棒 絲網印刷版畫 限量50版

簽名：MK' 23 跟版數

附藝術家親簽之原廠保證卡

NYOCHOTAN

( Indonesian, b.1995 )

Himouto! Remon-chan

70 x 99 cm

Acrylic on Canvas

Signed Nyochotan in English and Graffiti, dated 2019

PROVENANCE:

Purchased directly from the artist by the current collector

NT$ 100,000-120,000

US$ 3,100-3,700

鈕釦丹

我家有個魚乾妹

2019

壓克力 畫布

簽名：NYOCHOTAN NYO CHO TAN 2019

現藏家購於藝術家本人

( Japanese, b.1959 )

Doggy Radio

Doggy Radio: 45 x 40 x 30 cm Fiberglass, edition of 3000

The work is accompanied by it's original box.

NT$ 80,000-160,000

US$ 2,500-5,000

奈良美智

小狗音響 2011

玻璃纖維 限量3000件

附作品原廠紙盒包裝

《Projet：Doggy Radio》可做收音機 或擴大器使用，採用雙重數位訊號處理 器(Dual DSPs)，搭配Yamaha Lab獨 家專利揚聲技術，材質選料各式纖維及 羊毛等物質組合而成精密震膜，確保聲 音品質，降低失真率。透過輕撫小狗下 巴即可調整音量大小，而經由觸轉小狗 鼻頭則可調整收音機頻道，項圈上按鈕 能調整音源輸出(FM/Radio Wireless/ USB IN/AUX IN)，亦搭載無線傳輸音樂 (Bluetooth)功能，造型可愛時尚，操作 簡單，使用便捷。

YOSHITOMO NARA

( Japanese, b.1959 )

Cosmic Girl: Eyes Open/Eyes Closed

68 x 48 cm (2)

Lithograph, edition of 500

Trademark ©Yoshitomo Nara. Courtesy Stephen Friedman Gallery, London. BALTIC Centre for Contemporary Art 14th June - 26th October (2)

PROVENANCE:

1. Baltic Centre for Contemporary Art, Gateshead, U.K.

2. Private collection, Asia

ILLUSTRATED:

"Yoshitomo Nara: Complete Works Volume 1 - Paintings, Sculptures, Prints, Photography," Bijutsu Shuppan - SHA CO., LTD. Tokyo, Japan, 2011, Page 309

This work is a limited edition of 500 posters created by Yoshitomo Nara at the Baltic Centre for Contemporary Art solo exhibition in London, UK in 2008.

NT$ 280,000-400,000

US$ 8,700-12,400

奈良美智

宇宙女孩：睜眼 / 閉眼

2008

石版畫 限量500版

註冊商標 ©Yoshitomo Nara. Courtesy Stephen Friedman Gallery, London. BALTIC Centre for Contemporary Art 14th June - 26th October (2)

來源：

1. Baltic 當代藝術中心，英國 蓋茲黑德

2. 亞洲私人收藏

圖錄： 《奈良美智：作品全集 1 卷－繪畫・雕塑・版畫・攝影作品》， 株式會社美術出版，日本 東京，2011年，第309頁 此作品為奈良美智2008年在英國倫敦Baltic 當代藝術中 心個展所創作的500張限量海報。

YOSHITOSHI KANEMAKI

( Japanese, b.1972 )

Caprice Figurative 01

17.8 x 16.5 x 33.7 cm (2)

Resin, edition of 120 (a set of two)

With a certificate of authenticity signed by the artist (2)

The work is accompanied by its original box (2).

NT$ 100,000-180,000

US$ 3,100-5,600

金卷芳俊

人物隨想 01

2020

樹脂 限量120組 (兩件一組)

附藝術家親簽之原作保證卡 (2)

附原廠包裝紙盒 (2)

HIKARI SHIMODA

( Japanese, b.1984 )

Mikki by Hikari Shimoda

39 x 34 x 73 cm

Mixed Media and Resin, 114/150

Trademark Hikari Shimoda © 2020 Hikari Shimoda APPortfolio ® © ARTOX GROUP LTD. (left foot) Disney © Disney (right foot)

With a certificate of authenticity

The work is accompanied by its original wooden box.

NT$ 150,000-300,000

US$ 4,700-9,300

下田光

下田光的米奇

2021

綜合媒材 樹脂 114/150

註冊商標 Hikari Shimoda © 2020 Hikari Shimoda APPortfolio Ⓡ © ARTOX GROUP LTD. (左腳底) Disney © Disney (右腳底)

附原廠保證卡

附原廠包裝木盒

MICHAEL KAGAN

( American, b.1980 )

A7L Helmet (Navy)

26 x 27.5 x 26.7 cm

Bronze, 23/25

Signed on the bottom: Michael Kagan in English and numbered 23/25

With a certificate of authenticity

The work is accompanied by its original wooden box.

NT$ 350,000-420,000

US$ 10,900-13,000

麥可．卡根

A7L 頭盔 (海軍藍)

2022

銅雕 23/25

底部簽名：Michael Kagan 23/25

附原廠保證卡

附原廠包裝木盒

KILA CHEUNG

( Hongkong, b.1986 )

Hope (Snowstorm)

18 x 18 x 28 cm

Acrylic on Camphor Wood (unique work)

Signed on the bottom: Kila in English and dated 2019

EXHIBITION:

"Teens in Sunroom Solo Exhibition," The Little Hut, Taipei, Taiwan, August 23rd - September 8th, 2019

NT$ 180,000-360,000

US$ 5,600-11,200

章柱基

希望之子 (雪風暴)

2019

手工彩繪 壓克力 樟木 (僅此一件)

底部簽名：Kila 2019

展覽：

「日光室少年 - 木雕、繪畫展」，The Little Hut，台灣 台北，2019年8月23日至9月8日

HERNAN BAS

( American, b.1978 )

The Gourd Nest Hanger

59.5 x 92.3 cm

Lithograph, 18/60

Signed HB in English and numbered 18/60

NT$ 150,000-200,000

US$ 4,700-6,200

18/60

HB

EVGEN ČOPI GORIŠEK

( German, b.1994 )

Starlight Caroline

11.6 x 18.9 x 30 cm

Bronze, 12/23

Signed on the bottom: Evgen in English and numbered 12/23

The work is accompanied by its original wooden box.

NT$ 250,000-320,000

US$ 7,800-9,900

葉夫根．喬皮．戈里謝克

星光卡洛琳

2022

銅雕 12/23

底部簽名：EVGEN 12/23

附原廠包裝木盒

MR. (MASAKATSU IWAMOTO)

( Japanese, b.1969 )

Kowloon in Hong Kong - Walking

57.7 x 46.4 cm

Screenprint, 31/100

Signed Mr. in English, dated 2020 and numbered 31/100

NT$ 80,000-160,000

US$ 2,500-5,000

MR. (岩本正勝)

香港九龍的步行街

2020

絲網印刷版畫 31/100

簽名：Mr. 2020 31/100

MR. (MASAKATSU IWAMOTO)

( Japanese, b.1969 )

The Seasons After Ramune-colored Heat has Passed 58 x 43 cm

Screenprint, 45/100

Signed Mr. in English, dated 2020 numbered 45/100

NT$ 80,000-160,000

US$ 2,500-5,000

MR. (岩本正勝)

彈珠汽水色的炎熱過後的季節 2020

絲網印刷版畫 45/100

簽名：Mr. 2020 45/100

( Japanese, b.1964 )

Apple

61 x 45.5 cm

Screenprint, 12/75

Signed Mayuka and titled in English, numbered 12/75

With a certificate of authenticity from gallery

NT$ 80,000-120,000

US$ 2,500-3,700

山本麻友香 蘋果

2021

絲網印刷版畫 12/75

簽名：12/75 apple Mayuka

附畫廊開立之原作保證書

MAYUKA YAMAMOTO

MAYUKA YAMAMOTO

( Japanese, b.1964 )

Red Bear Boy

66 x 46 cm

Screenprint, 46/75

Signed Mayuka and titled in English, numbered 46/75

With a certificate of authenticity from gallery

NT$ 80,000-120,000

US$ 2,500-3,700

山本麻友香

紅熊男孩 2021

絲網印刷版畫 46/75

簽名：46/75 red bear boy Mayuka

附畫廊開立之原作保證書

( Japanese, b.1964 )

Pink Monster

12.5 x 16 x 29 cm

Polystone, edition of 120

Signed Mayuka in English

Trademark ©MAYUKA YAMAMOTO 2021 ©GALLERY TSUBAKI 2021

With a certificate of authenticity signed by the artist

The work is accompanied by its original box.

NT$ 70,000-140,000

US$ 2,200-4,300

山本麻友香

粉紅怪獸 2021

寶麗石粉樹脂 限量120件

簽名：Mayuka

註冊商標 © MAYUKA YAMAMOTO 2021 © GALLERY TSUBAKI 2021

附藝術家親簽之原作保證卡 附原廠包裝紙盒

YOSHIMASA

TSUCHIYA

( Japanese, b.1977 )

Chimera

40 x 20 x 30 cm

Resin, edition of 188

Trademark YOSHIMASA TSUCHIYA MEGUMI OGITA GALLERY

APPortfolio ® and edition number

With a certificate of authenticity signed by the artist

The work is accompanied by its original wooden box.

NT$ 40,000-80,000

US$ 1,200-2,500

土屋仁応

奇美拉

2022

樹脂 限量188件

註冊商標 YOSHIMASA TSUCHIYA MEGUMI OGITA GALLERY APPortfolio Ⓡ 跟版數

附藝術家親簽之原作保證卡

附原廠包裝木盒

CHANG TENGYUAN

( Taiwanese, b.1983 )

Parrot Man - Tomato Man

6.8 x 19 x 28 cm

Acrylic on Wood Box (with Acrylic Frame)

Signed on the bottom: Chang Teng Yuan in English

With a certificate of authenticity from gallery

With a wooden display stand signed by the artist

NT$ 50,000-80,000

US$ 1,600-2,500

張騰遠

鸚鵡人 - 番茄人

2021

壓克力 木盒立體畫作 鏡框

底部簽名：Chang Teng Yuan

附畫廊開立之原作保證書

附藝術家親簽之展示木支架

ARU MENG

( Taiwanese, b.1991 )

The Reverse

72.5 x 60.5 cm

Acrylic on Canvas

Signed Aru Meng in English and dated 2020

With a certificate of authenticity signed by the artist

NT$ 30,000-80,000

US$ 900-2,500

孟耿如

逆向工程 2020

壓克力 畫布 簽名：ARU MENG 2020 附藝術家親簽之原作保證書

WANG WENPING

( Taiwanese, b.1960 )

Bondages

45 x 38 cm

Oil on Canvas

Signed Wang in Chinese and dated 1981

ILLUSTRATED:

"WANG WENPING 1978-83," 1983, Page 51

EXHIBITION:

"WANG WENPING SOLO EXHIBITION,"

Taipei Fine Art Museum, 1995

NT$ 100,000-200,000

US$ 3,100-6,200

王文平

綑綁

1981

油彩 畫布

簽名：1981 王

圖錄：

《王文平1978-83》，1983年，第51頁

展覽：

「王文平個展」，台北市立美術館，1995年

CHEN SHUJIAO

( Taiwanese, b.1951 )

Guanyin in White

65.5 x 50 cm

Gouache on Paper

Signed Shu Jiao, draws respectfully in Chinese With one seal from the artist

NT$ 120,000-150,000

US$ 3,700-4,700

陳淑嬌 白衣觀音 1997

膠彩 紙本

簽名：淑嬌敬繪 鈐印：陳 (朱文)

HSIEH HSIAODE

( Taiwanese, b.1940 )

Landscape

77 x 109 cm

Watercolor on Paper

Signed Hsieh Hsiaode in Chinese and dated 2011

NT$ 30,000-80,000

US$ 900-2,500

HSIEH HSIAODE

( Taiwanese, b.1940 )

The Church in Danshui

77 x 109 cm

Watercolor on Paper

Signed Hsieh Hsiaode in Chinese and dated 2011

NT$ 30,000-80,000

US$ 900-2,500

CHEUNG YEE

( Chinese, 1936-2019 )

58 x 42 cm

Cast Paper, 16/50

Signed Cheung Yee in English, titled in English and Chinese, dated 1979, numbered 16/50

NT$ 80,000-100,000

US$ 2,500-3,100

張義 四朱 1979

鑄紙版畫 16/50

簽名：16/50 Scarlet Four 四朱 CHEUNG YEE' 79

Scarlet Four

LIU KUOSUNG

( Taiwanese, b.1932 )

Four Season Porcelain Plates

Diameter Ø 23 cm (4)

Ink and Color on Porcelain Plates (4)

Print signed: Liu Kuosung in Chinese, dated 1999 (Spring version)

With two seals from the artist (Print on each artwork)

With a certificate of authenticity sealed by the artist

NT$ 90,000-150,000

US$ 2,800-4,700

劉國松

四季系列瓷盤 - 春芽、夏林、秋陽、冬雪

1999

彩墨 瓷盤 (4)

印刷簽名：劉國松 一九九九 (春芽)

印刷鈐印：劉 (朱文)、國松 (白文) (4)

附藝術家鈐印之原作保證卡

ANDRÉ BRASILIER

( French, b.1929 )

La Course des Chevaux

48.5 x 54 cm

Enamel Plate, 29/100

Signature engraved: Sassi Milici Vallauris and Empreinte originale A. Brasilier, Andre Brasilier in French

Signed Exemplaire Editeur in French

NT$ 60,000-120,000

US$ 1,900-3,700

安德烈．布拉吉利

賽馬

1988

琺瑯瓷盤 29/100

雕刻簽名：SASSI - MILICI ．VALLAURIS． EMPREINTE

ORIGINALE A. BRASILIER Andre Brasilier

簽名：EXEMPLAiRE EDitEur

ZAO WOUKI

( Chinese-French, 1921-2013 )

Montagnes et Soleil

30 x 45 cm

Lithograph, A.P. edition of 33

Signed Wou Ki in Chinese and Zao in English

PROVENANCE:

1. China Guardian Hong Kong Auctions, 30th March, Lot 794

2. Private collection, Asia

ILLUSTRATED:

1. "Nesto Jacometti, Catalogue raisonné de l'uvre gravée et lithographiée de Zao Wou-Ki 1949-1954," Edition Gutekunst & Klipstein, Berne, Switzerland, 1955, page 43, No. 51

2. "Zao Wou-Ki: Les estampes 1937-1974," Arts et Metiers Graphiques, Paris, France, page 39, No. 61

3. "Zao Wou-Ki: Les estampes 1937-1995,"Edition Heede & Moestrup，Copenhagen Denmark，1994，page 45, No. 59

EXHIBITION:

"The Prints of Zao Wou-Ki," Cincinnati Art Museum, Cincinnati, November 22nd, 1954 - January 4th, 1955 (another edition)

NT$ 280,000-400,000

US$ 8,700-12,400

趙無極

群山與太陽

1951

石版畫 A.P.版 限量33件

簽名：無極 ZAO

來源：

1. 香港嘉德，2019年3月30日，拍品編號794

2. 亞洲私人收藏

圖錄：

1.《趙無極蝕刻與石版畫全集1949-1954》，Nesto Jacometti 編 Gutekunst & Klipstein出版，瑞士伯恩，第43頁，圖51

2.《趙無極版畫集》，Arts et Metiers Graphiques，法國巴黎， 第39頁，圖61

3.《趙無極版畫集1937-1995》，Edition Heede & Moestrup， 哥本哈根丹麥，1994年，第45頁，圖59

展覽：

「趙無極的版畫」，辛辛那提藝術博物館，辛辛那提，1954年 11月22日至1955年1月4日 (另一版次)

CHU TEHCHUN

( Chinese-French, 1920-2014 )

Early in the Summer

65 x 88 cm

Lithograph, 75/150

Signed Chu Tehchun in Chinese and English, numbered 75/150

ILLUSTRATED:

"Chu Tehchun - The Graphic Work 20002008," Hoke Original Print, Taipei, Taiwan, September, 2008, Page 34

NT$ 70,000-120,000

US$ 2,200-3,700

朱德群

初夏

2005

石版畫 75/150

簽名：75/150 朱德群 CHU TEH-CHUN

圖錄：

《朱德群 石版畫 2000-2008》，霍克國際藝術，

台灣 台北，2008年9月，第34頁

CHU TEHCHUN

( Chinese-French, 1920-2014 )

2000D

80 x 60 cm

Lithograph, 98/150

Signed Chu Tehchun in Chinese and English, numbered 98/150

ILLUSTRATED:

"Chu Tehchun - The Graphic Work 20002008," Hoke Original Print, Taipei, Taiwan, September, 2008, Page 15

NT$ 80,000-130,000

US$ 2,500-4,000

朱德群

2000D

2000

石版畫 98/150

簽名：98/150 朱德群 CHU TEH-CHUN

圖錄：

《朱德群 石版畫 2000-2008》，霍克國際藝術，

台灣 台北，2008年9月，第15頁

JOAN MIRO

( Spanish, 1893-1983 )

La Luge des Amants

63 x 90 cm

Lithograph, 81/100

Signed Miro in Spanish, numbered 81/100

With a certificate of authenticity from gallery

NT$ 100,000-200,000

US$ 3,100-6,200

胡安．米羅

情人的雪橇

1981

石版畫 81/100

簽名：81/100 Miró

附畫廊開立之原作保證書

WALASSE TING

( Chinese, 1929-2010 )

a. Yellow Socks

b. Girl With a Green Cat

c. Flower of Peace

d. Girls and Flower Fan

a. 72 x 101 cm

b. 72 x 101 cm

c. 72 x 101 cm

d. 54 x 73 cm

a. Lithograph, 6/200

b. Lithograph, A.P

c. Lithograph, 23/200

d. Lithograph, 158/200

a. Signed Ting in English, dated 1985 and numbered 6/200

b. Signed Ting in English, dated 1987 and Artist Proof

c. Signed Ting in English, dated 1988 and numbered 23/200

d. Signed Ting in English and numbered 158/200

With a certificate of authenticity from gallery

NT$ 120,000-200,000

US$ 3,700-6,200

丁雄泉

a.黃襪

b.女郎與綠色的貓

c.和平之花

d.女郎與花扇

a. 1985

b. 1987

c. 1988

d. 1981

a. 石版畫 6/200

b. 石版畫 A.P

c. 石版畫 23/200

d. 石版畫 158/200

a. 6/200 Ting 85

b. Artist Proof Ting 87

c. 23/200 Ting 88

d. 158/200 Ting

附畫廊開立之原作保證書

a.

c.

b.

d.

ZHOU CHUNYA

( Chinese, b.1955 )

Spring is Coming

48 x 65.5 cm

Lithograph, edition of 100

Signed Zhou Chunya in Chinese, dated 2010 and edition number

NT$ 120,000-240,000

US$ 3,700-7,500

YUE MINJUN

( Chinese, b.1962 )

Hands Up, Don't Move

75.5 x 88.5 cm

Lithograph, 6/15

Signed Yue Minjun in Chinese, dated 2007 and numbered 6/15

NT$ 100,000-160,000

US$ 3,100-5,000

岳敏君

舉起手，不許動

2007

石版畫 6/15

簽名：6/15 岳敏君 2007

( Japanese, b.1962 )

Snow, Moon, and Flower: Snowman with Kaikai and Kiki

47.5 x 47.5 cm

Screenprint, 42/100

Signed Takashi in English, dated 2022 and numbered 42/100

NT$ 80,000-120,000

US$ 2,500-3,700

村上隆

雪人 花 雪人與 Kaikai Kiki

2022

膠印版畫 42/100

簽名：TAKASHI 2022 42/100

TAKASHI MURAKAMI

( Japanese, b.1962 )

Me and Mr. DOB

68 x 68 cm

Lithograph, 38/300

Signed M in English and numbered 38/300

NT$ 90,000-120,000

US$ 2,800-3,700

膠印版畫 38/300

簽名：M 38/300

TAKASHI MURAKAMI

村上隆

TAKASHI MURAKAMI

( Japanese, b.1962 )

Mr. Dobtopus A&B

a. 29 x 33 x 26 cm

b. 20 x 32 x 24 cm

a. PVC, limited edition of 400

b. PVC, limited edition of 800

The work is accompanied by its original box (2).

NT$ 70,000-140,000 US$ 2,200-4,300

村上隆

Mr. Dobtopus A與B

2017-2018

a. PVC 限量400件

b. PVC 限量800件

附原廠包裝紙盒 (2)

a. b.

( Japanese, b.1962 )

Red Dragon Jet Black

53.8 x 48.6 cm

Screenprint, 80/100

Signed Takashi in English, dated 2021 and numbered 80/100

NT$ 80,000-120,000

US$ 2,500-3,700

村上隆

紅龍漆黑 2021

絲網印刷版畫 80/100

簽名：TAKASHI 2021 80/100

TAKASHI MURAKAMI

( Japanese, b.1962 )

Skulls & Flowers Red

69 x 53 cm

Offset Lithograph, 190/300

Signed M in English and numbered 190/300

NT$ 50,000-100,000

US$ 1,600-3,100 村上隆

頭骨與花紅 2013

膠印版畫 190/300

簽名：M 190/300

TAKASHI MURAKAMI

( Japanese, b.1962 )

Signal

68.9 x 53 cm

Offset Lithograph, 144/300

Signed M in English and numbered 144/300

NT$ 50,000-100,000

US$ 1,600-3,100 村上隆

訊號 2016

膠印版畫 144/300

簽名：M 144/300

TAKASHI MURAKAMI

MR. (MASAKATSU IWAMOTO)

( Japanese, b.1969 )

Gravity Adjuster

60 x 50.2 cm

Offset Lithograph, edition of 300

Signed Mr. in English, dated 2021, and edition number

NT$ 20,000-40,000

US$ 600-1,200

MR. (岩本正勝)

重力調節器 2021

膠印版畫 限量300版

簽名：Mr. 2021 跟版數

AYA TAKANO

( Japanese, b.1976 )

a. Doki Doki Donpen

b. Let's Go, to the Battle

c. Future Daily Morning Routine

a. 37.6 x 48 cm

b. 44 x 37.7 cm

c. 31.2 x 22.5 cm

Screenprint, edition of 50 (3)

a. Signed Aya in English, dated 2020, and edition number

b. Signed Aya in English, dated 2020, and edition number

c. Signed Aya in English, dated 2020, and edition number

NT$ 30,000-50,000

US$ 900-1,600

高野綾

a. Doki Doki Donpen

b.出發吧，去戰鬥

c.未來的早晨日常

2020

絲網印刷版畫 限量50版 (3)

a. 簽名：AYA 2020 跟版數

b. 簽名：AYA 2020 跟版數

c. 簽名：AYA 2020 跟版數

MR. (MASAKATSU IWAMOTO)

( Japanese, b.1969 )

a. The Boy Who Came to Ikebukuro

b. I am Just Waiting on a Friend c. Orange Wind

a. 59.7 x 60.3 cm

b. 70 x 51.2 cm

c. 70 x 56 cm

Offset Lithograph, edition of 300 (3)

a. Signed Mr. in English, dated 2008, and edition number

b. Signed Mr. in English, dated 2020, and edition number

c. Signed Mr. in English, dated 2020, and edition number

NT$ 30,000-40,000

US$ 900-1,200

MR. (岩本正勝)

a.來到池袋的少年

b.我只是在等一個朋友

c.橘風

a. 2008

b. 2020

c. 2020

膠印版畫 限量300版 (3)

a. 簽名：Mr. 08 跟版數

b. 簽名：Mr. 2020 跟版數

c. 簽名：Mr. 2020 跟版數

MR. (MASAKATSU IWAMOTO)

( Japanese, b.1969 )

a. It’s Still a Young Team

b. Starting Over

c. Making Things Right

a. 50 x 100 cm

b. 50 x 100 cm

c. 59.5 x 90 cm

Offset Lithograph, edition of 300 (3)

a. Signed Mr. in English, dated 2008, and edition number

b. Signed Mr. in English, dated 2008, and edition number

c. Signed Mr. in English, dated 2007, and edition number

NT$ 30,000-40,000

US$ 900-1,200

MR. (岩本正勝)

a.這仍然是一支年輕的團隊

b.從頭開始

c.把事情做好

a. 2008

b. 2008

c. 2007

膠印版畫 限量300版 (3)

a. 簽名：Mr. 08 跟版數

b. 簽名：Mr. 08 跟版數

c. 簽名：Mr. 07 跟版數

a.

MOE NAKAMURA

( Japanese, b.1988 )

Bambooshika

15.5 x 16 x 21 cm; 11 x 10.2 x 15.5 cm

Polystone, 46/160

Signed Moe in English and numbered 46/160

Trademerk © MOE NAKAMURA 2018 © GALLERY TSUBAKI 2018 © MONSTER TAIPEI 2018 PRODUCED BY HOW2WORK

With a certificate of authenticity from manufacturer and signed by the artist

The work is accompanied by its original box.

NT$ 50,000-100,000

US$ 1,600-3,100

中村萌

母子筍

2018

寶麗石粉樹脂 46/160

底部簽名：Moe 46/160

註冊商標 © MOE NAKAMURA 2018 © GALLERY TSUBAKI 2018 © MONSTER TAIPEI 2018 PRODUCED BY HOW2WORK

附藝術家親簽之原廠保證卡 附原廠包裝紙盒

MOE NAKAMURA

( Japanese, b.1988 )

Loop Loop

14 x 11 x 20 cm

Polystone, 94/130

Signed Moe in English and numbered 94/130

Trademerk © MOE NAKAMURA 2015 © GALLERY TSUBAKI 2015 © MONSTER TAIPEI 2015 PRODUCED BY HOW2WORK

With a certificate of authenticity from manufacturer and signed by the artist

The work is accompanied by its original box.

NT$ 60,000-130,000

US$ 1,900-4,000

中村萌 圈圈

2015

寶麗石粉樹脂 94/130

底部簽名：Moe 94/130

註冊商標 © MOE NAKAMURA 2015 © GALLERY TSUBAKI 2015 © MONSTER TAIPEI 2015 PRODUCED BY HOW2WORK

附藝術家親簽之原廠保證卡

附原廠包裝紙盒

GERHARD RICHTER

( German, b.1932 )

Victoria I

60 x 40 cm

Offset Lithographs in Colours, on Smooth Wove Paper, edition of 500

Signed Richter and titled in English, dated 2003

With a certificate of authenticity from Costa Kunstverlag Gmbh, Germany

Published in 2003 by Düsseldorf Achenbach Art Edition for Düsseldorf Victoria Insurance Company in collaboration with Gerhard Richter. The original work was selected from Richter's large-scale representative works collected by the Victoria Insurance Company headquarters. It was adapted and produced by the artist and named "Victoria".

NT$ 90,000-140,000

US$ 2,800-4,300

格哈德．里希特

維多利亞 I 2003

膠印版畫 限量500版

簽名：VICTORIA I Richter 2003

附德國Costa Kunstverlag Gmbh 開立之原作保證書

由杜塞道夫 Achenbach Art Edition 為杜塞道夫維多利亞保 險公司與格哈德．里希特合作，於2003年出版。該原作品選 自維多利亞保險公司總部所收藏之里希特大型代表作品，由 藝術家加以改編製作，並取名為「Victoria」。

JORDY KERWICK

( Australian, b.1982 )

Black of the Sun (Avant)

70 x 55.8 cm

Screenprint, 13/95

Signed Jordy in English, dated 2020 and numbered 13/95

NT$ 60,000-70,000

US$ 1,900-2,200

喬迪．科維克

太陽之黑 (先鋒)

2020

絲網印刷版畫 13/95

簽名：13/95 Jordy 2020

WALASSE TING

( Chinese, 1929-2010 )

a. Girls and Flower Fan

b. Woman and Cat

c. Pink Fleck Sofa

d. Geishas with Red Horse

a. 53 x 72 cm

b. 55 x 75 cm

c. 46 x 65 cm

d. 52 x 65 cm

a. Lithograph, edition of 200

b. Lithograph, edition of 150

c. Lithograph, edition of 250

d. Lithograph, edition of 200

a. Signed Ting in English and edition number

b. Signed Ting in English, dated 1985, and edition number

c. Signed Ting in English and edition number

d. Singed Ting in English and edition number

NT$ 80,000-120,000

US$ 2,500-3,700

丁雄泉

a. 女郎與花扇

b. 女郎與貓

c. 斑點沙發

d. 女郎與紅馬

a. 1981

b. 1985

c. 1987

d. 1981

a. 石版畫 限量200版

b. 石版畫 限量150版

c. 石版畫 限量250版

d. 石版畫 限量200版

a. 簽名：Ting 跟版數

b. 簽名：Ting 85 跟版數

c. 簽名：Ting 跟版數

d. 簽名：Ting 跟版數

a.

c. b. d.

ALEX FACE (PATCHARAPOL TANGRUEN)

( Thailand, b.1981 )

a. Playground's Border No.1

b. Playground's Border No.2

40 x 80 cm (2)

Screenprint, edition of 50 (2)

a. Signed Alex Face in English and edition number

b. Signed Alex Face in English and edition number

NT$ 60,000-140,000

US$ 1,900-4,300

亞歷克斯．費斯 (帕查拉波爾．唐魯恩)

a. 遊戲場邊界 No.1

b. 遊戲場邊界 No.2

2020

絲網印刷版畫 限量50版 (2)

a. 簽名：Alex Face 跟版數

b. 簽名：Alex Face 跟版數

b.

DAMIEN HIRST

( British, b.1965 )

a. Beautiful, Amore, Gasp, Eyes Going into Top of Head and Fluttering Painting

b. I Am become Death, Shatterer Of Worlds

DiameterØ 26.7 cm (2)

Fine Bone China (limited release)

a. Trademark Beautiful, Amore, Gasp, Eyes Going into Top of Head and Fluttering Painting, 1997. © Damien Hirst and Science Ltd

b. Trademark I Am become Death, Shatterer Of Worlds, 2006. © Damien Hirst and Science Ltd

NT$ 80,000-100,000

US$ 2,500-3,100

達米恩．赫斯特

a.美麗、愛戀、喘息、目光直視頭頂、旋轉畫 b.我成為死亡，世界的粉碎者

a. 1997

b. 2006

限量骨瓷盤 (2)

a. 註冊商標 Beautiful, Amore, Gasp, Eyes Going into Top of Head and Fluttering Painting, 1997. © Damien Hirst and Science Ltd

b. 註冊商標 I Am become Death, Shatterer Of Worlds, 2006. © Damien Hirst and Science Ltd

MR. DOODLE

( British, b.1994 )

Heartland

44.8 x 86.8 cm

Screenprint, 174/300

Signed Mr Doodle! in English, dated 2020 and numbered 174/300

NT$ 100,000-180,000

US$ 3,100-5,600

Mr.Doodle

2020

絲網印刷版畫 174/300

簽名：MR DOODLE! 2020 174/300

KARIN IWABUCHI

( Japanese, b.1985 )

a. Thinking

b. Grow

a. 40 x 29 cm

b. 39.2 x 27.3 cm

a. Sketch and Ink, Screenprint on Paper

b. Sketch and Ink on Paper

a. Signed Karin Iwabuchi in English and dated 2021

b. Signed Karin in English and dated 2022

PROVENANCE:

Gallery Tsubaki, Tokyo, Japan

With a certificate of authenticity from gallery (2)

NT$ 90,000-150,000

US$ 2,800-4,700

岩渕華林

a.思考

b.生長

a. 2021

b. 2022

a. 和紙 墨 鉛筆 絲網印刷版畫

b. 鉛筆 墨 和紙

a. 簽名：Karin Iwabuchi 2021

b. 簽名：Karin 2022.

來源：

Gallery Tsubaki 日本 東京

附畫廊開立之原作保證書(2)

a. b.

SATORU KOIZUMI

( Japanese, b.1983 )

Empty Bucket

16 x 15 x 30 cm

Polystone, edition of 230

Signed on the bottom of left foot: Satoru Koizumi in English Trademark on the bottom of right foot: APPortfolio Ⓡ and edition number

With a certificate of authenticity from manufacturer and signed by the artist

The work is accompanied by its original box.

NT$ 40,000-80,000

US$ 1,200-2,500

小泉悟

空桶

2019

樹脂 限量230件

左腳底簽名：SATORU KOIZUMI

右腳底註冊商標 APPortfolio Ⓡ 跟版數

附藝術家親簽之原廠保證卡

附原廠包裝紙盒

OG SLICK

( American, b.1967 )

Graff Head No.2

66.8 x 92 cm

Hand Embellishmed Silk, Screen Srint on Archival Paper, 3/25

Signed OG Slick in English, dated 2022 and numbered 3/25

NT$ 60,000-120,000

US$ 1,900-3,700

OG Slick

塗頭 No.2

2022

噴繪塗鴉 布紋紙 絲網印刷 3/25

簽名：OG Slick 2022 03/25

( Japanese, b.1962 )

Red Demon and Blue Demon with 48 Arhats

71 x 118 cm

Offset Lithograph, 216/300

Signed M in English and numbered 216/300

NT$ 20,000-30,000

US$ 600-900

村上隆

赤鬼、青鬼與48羅漢

2013

膠印版畫 216/300

簽名：M 216/300

TAKASHI MURAKAMI

PEX (PITAKPONG JAMESRIPONG)

( Thailand, b.1971)

The Puppet (White)

23 x 21 x 30 cm

Bronze 27/30

Signature engraved: Pex in English, dated 2022 and numbered 27/30

With a certificate of authenticity signed by the artist

The work is accompanied by its original wooden box.

NT$ 100,000-200,000

US$ 3,100-6,200

Pex (皮達蓬．詹姆士里蓬)

木偶 (白)

2022

銅雕 27/30

雕刻簽名：Pex 2022 ED 27/30

附藝術家親簽之原作保證卡 附原廠包裝木盒

PEX (PITAKPONG JAMESRIPONG)

( Thailand, b.1971)

The Puppet (Brown)

26 x 19.5 x 30 cm

Bronze 27/60

Signature engraved: Pex in English, dated 2022 and numbered 27/60

With a certificate of authenticity signed by the artist

The work is accompanied by its original wooden box.

NT$ 50,000-100,000

US$ 1,600-3,100

Pex (皮達蓬．詹姆士里蓬)

木偶 (棕)

2022

銅雕 27/60

雕刻簽名：Pex 2022 ED 27/60

附藝術家親簽之原作保證卡 附原廠包裝木盒

YOSHITOSHI KANEMAKI

( Japanese, b.1972 )

Caprice Papyrus 03 (Edition Print)

43.2 x 32 cm (2)

Print on Lenticular Lens, edition of 110 (a set of two)

Print signed: Yoshitoshi Kanemaki in English (2)

With a certificate of authenticity from gallery (2)

NT$ 20,000-30,000

US$ 600-900

金卷芳俊

隨想草圖 03 (限量版畫)

2020

光柵印刷版畫 限量110版 (兩件一組)

印刷簽名：Yoshitoshi Kanemaki (2)

附畫廊開立之原作保證卡 (2)

b.

YOSHITOMO NARA

( Japanese, b.1959 )

a. Love from the Sea

b. Girl in the Moon

DiameterØ 26.7 cm (2)

Fine Bone China, edition of 250

Print signed: Na in Japanese (2)

a. Trademark YOSHITOMO NARA LOVE FROM THE SEA, 2020 © YOSHITOMO NARA

b. Trademark YOSHITOMO NARA GIRL IN THE MOON, 2019 © YOSHITOMO NARA

ABOUT THE ARTIST PLATE PROJECT:

Launched by the Coalition for the Homeless in 2020 at the peak of the pandemic, the Artist Plate Project has todate partnered with more than 98 world-renowned artists who have created limited-edition dinner plates produced by Prospect and available via Artware Editions. The funds raised by the sale of plates will provide food, crisis services, housing, and other critical aid to thousands of people experiencing homelessness and housing instability. The purchase of just one plate can feed more than 100 homeless and hungry individuals.

NT$ 20,000-40,000

US$ 600-1,200

奈良美智

a.來自大海的愛 b.月亮裡的女孩

a. 2021

b. 2022

骨瓷盤 限量250件 (2) 印刷簽名：な (2)

a. 註冊商標 YOSHITOMO NARA LOVE FROM THE SEA, 2020 © YOSHITOMO NARA b. 註冊商標 YOSHITOMO NARA GIRL IN THE MOON, 2019 © YOSHITOMO NARA

藝術家餐盤計劃簡介：

由無家者聯盟（Coalition for the Homeless）於2020年疫情高峰時期 發起，藝術家餐盤計劃迄今已與98位世界知名藝術家合作，他們創作了由 Prospect生產並通過Artware Editions提供的限量版晚餐盤。銷售餐盤所 籌集的資金將用於提供食物、危機服務、住房和其他重要援助，以幫助數千 名無家可歸和住房不穩定的人。只需購買一個餐盤就可以餵飽100多名無家 可歸和饑餓的人。

a.

YOSHITOMO NARA

( Japanese, b.1959 )

Real One

38.1 x 43.1 cm

Offset lithograph (limited release)

Trademark Dallas Contemporary © Yoshitomo Nara

NT$ 30,000-60,000

US$ 900-1,900

2021

海報 (Open edition 限量發行)

註冊商標 Dallas Contemporary © Yoshitomo Nara

YOSHITOMO NARA

( Japanese, b.1959 )

Banging the Drum

68.5 x 43.1 cm

Offset lithograph (limited release)

Trademark Dallas Contemporary © Yoshitomo Nara

NT$ 30,000-60,000

US$ 900-1,900

2020

海報 (Open edition 限量發行)

註冊商標 Dallas Contemporary © Yoshitomo Nara

YOSHITOMO NARA

( Japanese, b.1959 )

Marching on a Butterbur Leaf

60.9 x 45.7 cm

Offset lithograph (limited release)

Trademark Dallas Contemporary © Yoshitomo Nara

NT$ 30,000-60,000

US$ 900-1,900

2020

海報 (Open edition 限量發行)

註冊商標 Dallas Contemporary © Yoshitomo Nara

投標牌號分級新制度之重要告示

自2020年秋季拍賣會，中誠將實施投標牌號分級制度，並針對欲競投高預估價拍品之競投者，收取預 付保證金。以下條款為詳細敘述：

預先登記及保證金新制

中誠可要求有意競投在目錄內預估價低標為新台幣30萬元以上(含)之競投者，在完成預先登記程序 時，交付新台幣30萬元或其他由中誠決定之更大金額的保證金，以作為參加中誠拍賣的保障。

投標牌號分級說明

預先登記的投標牌，將以預估價低標為基準分為以下兩種類型：

a. 淺灰色投標牌：準買家欲競投之拍賣品，其預估價低標為新台幣30萬元以下者。

b. 深灰色投標牌：準買家欲競投之拍賣品，其預估價低標為新台幣30萬元以上(含)者。

客戶服務‧Zhong Cheng Services

客戶服務

本公司除在拍賣前提供物件評估服務外，我們亦提供下 列服務項目：

藝術品委託競投

我們可為您提供於世界各地舉行之拍賣會進行藝術品 競投，並提供出售拍賣品的專業建議。

藝術品仲介

我們提供專業的藝術品仲介、藝術諮詢與投資建議。

藝術品鑑價

我們提供鑑價服務，作為保險、稅務、產權規劃、慈

善捐獻與抵押借貸參考。

稅務諮詢 我們可為您提供有關處理藝術品與其他收藏品稅務相

關資訊與建議。

藝術品質借貸

我們可協助為您的收藏品進行鑑價，並將其作為擔保

進行借貸。

藝術拍賣市場資訊 我們提供最新藝術拍賣市場資訊。

買家應繳之營業稅

依據中華民國法律規定，凡進口藝術品由買方在台取貨者， 買方需繳交「落槌價」百分之五的(加值)營業稅。此等進口 藝術品(目錄內有＊符號之編號者)，若係於中華民國境外交

付買方，買方無須支付營業稅。 買方若欲於中華民國境 外取貨，應於拍賣日後兩個工作天內以書面通知本公司。

Customer Services

We offer professional service for art appraisal before auctions. Our other services include:

Bidding Service

We could assist you to bid on the auctions worldwide and make suggestion for the sales of your collections.

Private Sales & Auction Information

We conduct private art sales and provide investment advice. In addition, we also provide the latest information of global art market.

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We provide appraisals to suit a variety of needs, including insurance, taxation, estate planning, charitable contribution and collateral loan purposes.

Tax Consultation

We may provide tax consultation on your collections.

Loan Service

We may assist you to capitalize on your collection with an art loan by using your fine ad decorative art or other valuable as collateral. We may issue funds with the ownership and a valuation by our recognition.

Sales Tax Payable by the Buyer

The Buyer shall pay for (value added) sales tax in the amount of 5 % of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the law of the ROC. The Buyer is not required to pay for sales tax if such imported works of art ( with* marks by the number in the catalogue) are delivered to the buyer outside the R.O.C. and are handled by Zhong Cheng in writing within two working days following the auction day if he desires to collect the items auctioned outside the R.O.C.

落槌價 ) 之 6% 作為財產交易所得併入年所得中申報綜合 所得稅。

d. 委託者如為不符合上述之外籍人士，本公司將依法代 扣落槌價或委託底價 ( 如委託底價高於落槌價 ) 之 3% 。 作為拍出後之所得稅，由本公司代為申報並繳交稅捐單 位。如稅捐單位調整稅率，本公司得根據新訂稅率計算 稅款並代扣及申報。

2.電氣及機械部件 拍賣品如含有任何電氣或機械部件，賣家須負責確保此 等部件處於安全操作狀況。賣家須全部償還本公司一切 因賣家違反上述保證及擔保而引起之損害、索價、費用 或開支。

另有特殊附加條件對此等項目適用，有關條件可向本公 司索取。

Ⅲ. 本規定所用詞彙之意義 在下列規定中，某些常用詞彙需加以解釋。此等詞彙如 下：

1.「買家」：指本拍賣公司所接受之出價最高者。

2. 「落槌價」：指本拍賣公司就一拍賣品而接受之最高 出價之價款。

3. 「買家支付之服務費」：指買家按落槌價之某一百分 比而支付之費用。

4.「底價」：指本公司與賣家協定之最低價格。

5. 「膺品」：指拍賣品構成模仿，模仿之原構想及其整 體執行均具有欺詐意圖，就拍賣品作者、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。

Ⅳ. 買家與賣家均適用之條件

1.智慧財產權

與拍賣品有關之一切影像、圖示與書面材料之相關智慧 財產權 ( 包括但不限於著作權、專利等 ) ，於任何時候均 屬於本公司之財產及所有。未得本公司事先書面同意， 賣家、買家或任何人均不得使用。

2.通知

a. 根據本交易條款發出之通知，均須以書面發出。如採 用郵遞發出，則在付郵後第二個工作天，即視為收件人 已合法收受；如收件人在海外，則為付郵寄出後第五個 工作天，視為收件人已合法收受。

b. 本公司根據本業務規則、委託授權書或買家所提供之 聯絡資料對賣家或買家發出之通知，凡已依據委託授權 書後附或買家所提供資料上所載的地址、電子郵件地址 或傳真號碼統稱「聯絡方式」)以書面發出該通知者，均 視為該通知已有效發出。若賣家或買家之聯絡方式有變 更時，應立即以書面通知本公司。

3.可分割性

a. 如本業務規則有任何部份遭任何法院認定為無效、不 合法或不可強制執行，則該部分可不予理會，而本業務 規則之其他條款仍繼續有效及可強制執行。

b. 本業務規則第二條買家條款項下之各條款，專屬適用 本公司與買家間法律關係，賣家不得主張適用。本業務 規則第三條賣家條款項下之各條款，專屬適用於本公司 與賣家間法律關係，買家不得主張適用。

4. 本業務規則同時存在中文及英文版本，如二版本內容 有所歧異，應以中文版條文為準。

5. 本業務規則得隨時由本公司修改，買方及賣方均同意 遵守修改後之業務規則。

6.法律及管轄權 本交易條款依據中華民國法律規限，本交易條款之解釋 與效力均適用台灣法律。為本公司之利益而言，賣家與 買家須服從台灣法院之排他性管轄權。

The following provisions are entered into by and between Zhong Cheng Auctions (hereinafter referred to collectively as “the Company”), as the auctioneer, and the Seller (hereinafter the “Seller”). The Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the “Buyer”). Both the Buyer and the Seller shall review and accept all provisions hereunder.

I.The Buyer

■ Agent

The Company, as the auctioning party, 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 and between the Seller, through the agency of the Company, and the Buyer.

■ Before 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. we provide no guarantees to the buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot’s certificates.

B. Important Notice

The descriptions of auction items will mention obvious defects of the items as much as possible; however, they do not necessarily include all flaws, defects, or incomplete aspects. The Company does not guarantee that the Lots on auction are in good working condition and the description in the catalogue must not be construed as implying such. The description of the auction items also do not imply 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, or that there will be any free repair or replacement of parts. We strongly recommend the Prospective Buyers to personally view the items for which they plan to bid before the auction itself. If a Prospective Buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item’s special characteristics and current condition. However, the Company is not a professional restorer of the Lots; therefore, any description in the catalogue or any statement provided by the Company is purely the Company’s subjective opinion and not a statement of face, not for representations or warranties.

C. Symbol Key

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

ｏGuaranteed 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 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 Lots and conditional reports or certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lot 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 auction items 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 him/herself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her own judgments or estimation independently regarding the Lot.

■ At the auction

A. Sales Tax Payable by the Buyer

The Buyer shall pay (value added) sales tax in the amount of 5% of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not required to pay sales tax if such imported works of art (with * marks by the number in the catalogue) are delivered to the Buyer outside the R.O.C. and are handled by The Company for the relevant shipments. The Buyer shall notify The Company in writing within two business days following the auction day if he desires to collect the items auctioned outside the R.O.C.

B. 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 of the payment day.

C. Refusal of Admission

The auction is held at the premises of the Company or any location where the Company has control of 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.

D. Registration Before Bidding

A Prospective buyer 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 be requested to conduct credit checks against buyers.

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. Absentee Bids

The Company will make reasonable effort to bid for the prospective buyers who instruct us to bid on their behalf by using the form attached the catalogue. Written bids form should be delivered to the Company prior to the auction. If we receive written bids on a particular lot for identical amounts, and the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors and omissions in connection with it. The prospective Buyer should attend the auction in person if they wish to ensure a successful bid.

G. Telephone Bids

The Company will make reasonable efforts to contact the bidder so he/she may participate in the auction by phone if the prospective buyer should request such arrangements 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. Currency Conversion Board

The currency converter board will be utilized at the auction. The currency conversion board is not absolutely reliable and it is for reference only. The auction will be conducted in New Taiwanese dollars. Errors may occur in the operation of the currency converter board and we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom.

I. Video or Digital Images

There will be an exchange rate conversion board operating at some 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. Auctioneer’s Discretion

The auctioneer reserves the absolute right to reject any bid, push for bids at his own 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.

K. Successful Bids and Risk Transfer

Under the discretion of the auctioneer, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer means the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot but not its title (including frames or glass where relevant) passed to the buyer at the expiration of seven working days from the date of the sale or on collection by the buyer if earlier.

■ After the auction

A. Buyer’s Premium

The Buyer shall pay the hammer price plus the buyer’s premium to the Company and any applicable taxes. For hammer price below NT$20,000,000 (included), the buyer’s premium shall be calculated at 20% of the hammer price. For hammer price higher than NT$20,000,000, the first NT$20,000,000 should be calculated at 20%, and the rest of amount shall be 12%.

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 R.O.C. government or elsewhere). The Buyer shall be responsible for paying any applicable taxes as required by the law.

C. Payment

(1) The Buyer should provide his 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 request. All payments due (including the hammer price, buyer’s premium and any applicable taxes) shall be paid within 7 days after the auction. 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 is made other than NT dollars, the buyer shall pay the related expense incurred, including bank charges and foreign exchange service fees.

(2) 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 Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange The Buyer’s Premiums. The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate by the Company on the auction date and should be based on the certificates issued to such exchange rate.

(3) It is Zhong Cheng’s policy to request any new clients or purchasers preferring to make a cash payment to provide proof of identity (by providing some form of government issued identification containing a photograph, such as a passport, identity card or driver’s license) and confirmation of permanent address. Thank you for your cooperation.

(4) Cheques and drafts should be made payable to Zhong Cheng’s. Although personal and company cheques drawn in NT dollars on Taiwan Cooperative Bank is accepted, you are advised that property will not be released until such cheques have cleared unless you have a pre-arranged Cheque Acceptance Facility. Forms to facilitate this are available from the Finance Department in Zhong Cheng. Bank transfers should be made to:

TAIWAN COOPERATIVE BANK. FU HSIN BRANCH

Swift No. : TACBTWTP091

Beneficiary name: ZHONG CHENG AUCTIONS CO., LTD.

Beneficiary account number (13 digits): 0914 665 003801

* Please include your name and invoice number with your instructions to your bank.

D. Storage

Storage and handling charge may apply.

E. Collection, Packing and Shipping

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 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). The Company will provide shipping company upon the buyer’s request and do not accept any liability if any damage occurred by the shipping company.

F. Remedies for Non-Payment or Non-Collection of Purchases

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:

(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. Beides, we have the right of charging also 1% selling price (including of harmmer price and the commission) multiplied by the numbered 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) The Company reserves the right to refuse the Buyer to make on behalf of others, bids in any future auctions and/or to require a deposit from the Buyer before accepting any future bids made by the Buyer. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise the following rights in addition to the aforementioned:

(3) To take legal action to the Buyer on behalf of the Seller to claim the entire payment due and the legal fees resulting from such legal action based on a total claim.

(4) To 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.

(5) To arrange a public or private re-sale of the Lot. If the reselling price is lower than the payment, the differences and other expenses incurred shall be responsible by the Buyer.

G. No Collection of the Purchases

The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days of the item, regardless payment is made or not. Such storage cost will be borne by the Buyer.

H. Export Permit

Unless otherwise agreed by the Company in written, the process of applying the export permit does not affect the Buyer’s responsibility to make the payments within 7 days. If the Buyer requests the Company to apply the export permit on his or her behalf, the Company is entitled to charge the related expenses.

■ The legal responsibility of the Company

The Company is responsible for returning payment to the Buyer pursuant to Article 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 Buyer, the Company the employees or the agents of the Company make no guarantee with respect to any auction items. Any warrantee of any kind shall not be included herein.

■ Return of payments for forgery

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 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; or

B. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of a catalogue or a procedure unreasonably expansive 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. The Buyer must return the Lot to the Company within 14 days following the said notice and the condition of the item must be the same as on the auction day and without damage.

(2) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit (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 and 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 can not claim interests.

The interests of the warrantee cannot be assigned and belong solely to the Buyer who received 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 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 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.

II. The Seller ■ Zhong Cheng as the agent

The Company acts as the agent of the Seller at a public auction. The Closing Agreement of the Lots is the agreement by and between the Buyer and the Seller.

■ Expenses

The Seller shall bear costs relating to the following:

a. Packing if the Lot and shipping to the Company for the action

b. Any applicable shipping insurance

c. The packaging and shipping if the item is delivered back to the Seller.

d. Insured under the Company art relic insurance policy (explained in detail later) indicate cohere (we point below)

e. Any applicable custom duties

f. Catalogue illustrations

g. Any repairs made to the Lot as per prior agreement with the Seller

h. Framing and mounting

i.Authentication made by independent professionals which the Company believes to be necessary in preparing the catalogue explanations.

j. Any independent professional opinions which the Company deems proper.

k. Collect 50% of the insured amount as part of the general expenses of the Company in the event the Lot is not successfully auctioned

l. The storage of the Lot after the auction (if applicable)

m. The administration cost of the Company reaches 10% of all the expenses incurred as a result of client services provided.

n. Any marketing and promotional expenses

■ Insurance coverage to be arranged by the Company

a. Unless otherwise agreed by the Company, the Lot will be automatically insured under the Company art relic policy in the amount as deemed appropriate by the Company undertakes to be successfully during the auction.

b. The Company will collect 1% of the hammer price from the seller or 1% of the reserve price if the Lot is not successfully auctioned. If the shipping is arranged by the Company, an additional amount will be collected by the Company from the Seller as the shipping insurance. Such amount varies depending on the individual condition of each auction item. The Company will refer a freight forwarder any legal responsible for any legal responsibilities incurred therefrom.

c. The Lot will remain insured up to 7 days after the sale. If the Lot has not been sold, it will be at the Seller’s risk upon the expiry of 7 days.

d. We are unable to accept responsibility for damage caused by woodworm or changes in atmospheric conditions or weather.

4. No Insurance Purchased by the Seller and Risk Transfer If the Seller instructs the Company specifically that it is unnecessary to purchase insurance for the Lot, the risks shall be borne entirely by the Seller until the Buyer makes all the payments and the Lot is delivered to the Buyer. The Seller must indemnify the Company, the employees and agents of the Company and the Buyer (if applicable) any claims in connection with the auction against the Company, the employees and agents of the Company and the Buyer, regardless of the cause of such claim without any conditions.

■ Commitments made by the Seller with respect to the Lot

a. The Seller is the only owner of the Lot and has the unlimited right to assign his ownership to the Buyer which should not concern any third party right or claim (including copyright claims).

b. The Seller complies with all the laws in connection with the import and export of auction items and any other laws and has notified the Company in writing any failure to comply with such rules in the past.

c. The Seller has notified the Company in writing of any major modifications in the Lot to the best of his knowledge and any concern the third party has raised with respect to the ownership of the Lot and the condition. In the event of any inaccuracy of the above mentioned, the Seller must guarantee, if requested, to identify fully the Company and/or the Buyer all the claims, costs and expenses arising herefrom, whether caused by the Lot or the auction proceeds.

d. In the event of any inaccuracy of the above a, b and c now or in the future, the Seller must guarantee, if requested, to identify fully the Company and/or the Buyer all the claims, legal fees, attorney fees or other costs and expenses arising here from, whether caused by the Lot or the auction proceeds.

■ Auction arrangements

a. The Company has absolute discretion over the

description of the auction in the catalogue, display layouts, estimate price, authentication opinions, location and method of the auction, who will be allowed to bid and the acceptance of the bid price, whether to seek professional opinion and whether to combine or separate the Lots. The Company reserves the right to withdraw the lot without obtaining the consent of the Seller.

b. If the Company or the Seller withdraws the Lot, the Company may charge 40% of the Reserve set by the Seller.

■ Auction rules

a. The Company will auction the item according to the Reserve Price. The Reserve may not be higher than the minimum of the estimates set in the catalogue. The Company is entitled to auction the item at a price lower than the Reserve, If the lot is sold according to the above principle, the Company is responsible to pay the Seller the difference between the closing price and the Reserve.

b. The seller may not increase the price with his own or other third parties’ names, nor participate in the bidding of his/her auction item(s) with his own or other third parties’ name, however the Company is authorized to bid on behalf of the Seller at the price not higher than the Reserve Price.

■ After the auction

a. Settlement

After the payment is made by the Buyer, unless the Company receives a notice claiming such auction item is a forgery (as defined in the Agreement), the Company will pay the Seller within 60 days following the successful auction day an amount equal to the closing price taking away all the expenses payable by the Seller. If the Buyer delays the payment, the Company will pay the Seller within 7 days following the payment by the Buyer. The Company pays the Seller before the Buyer makes the payment, the Company acquires the full ownership of the item for any reason. However, if the Company is forced to reclaim the Lot from the Buyer because such item is a counterfeit, the Seller must return the auction proceeds to the Company.

Unless otherwise instructed by the Seller in writing, the Company will make its payment in NT dollars. If the Seller requests to pay in currencies other than NT dollars, the Company will collect from the Seller any foreign exchange expenses arising there from.

b. Non-Payment by the Buyer

If the Buyer fails to make all the payments due within 35 days following the auction day, the Company is entitled to negotiate special terms in connection with the payments, storage, and insurance on behalf of the Seller and act deemed necessary by the Company to collect payments payable for making remittance to the Seller nor for bringing any legal actions on behalf of the Seller. The Company will discuss with the Seller to adopt appropriate actions to claim auction payments from the Buyer.

c. Counterfeits

If the Buyer convinces or make the Company doubt that the Lot is a counterfeit (as defined in Article 1 of the Transaction Agreement) or stolen good or involved in any illegality within ten (10) days after the auction date, the Company may decide upon its sole discretion as follows:

(1) If the Buyer does not pay the payable payment in full yet, the Company has the rights to withdraw the transaction;

(2) If the Buyer has paid the payable payment in full, the Company may return the hammer price (The Company may deduct the reasonable expenses and fees incurred) received from the Buyer and the Lot will be returned to the Seller or forwarded to the Police for handling. The Seller shall not object to the Company’s decision and handling in accordance with this Lot and make any claim or allegation;

(3) The Company will notify the Seller of such matter and the Seller shall return to the Company without objection the entire payment received within three days of such notification, and shall pay the Company fees and expanses, and any and all losses, damages or related expanses and fees. Any items belonging to the Seller under control of the Company will be kept as security of the payments to be returned. In case that the Seller’s failure of payment and compensation obligations, the Seller shall pay the interest for delay of the entire payment by the best saving rate of the Bank of Taiwan plus ten percent (10%) per annum. In addition, the Company may collect one percent (1%) of the total amount of the hammer price plus the Buyer’s Premium paid by the Buyer as the compensation for breach of contract. The Company may decide to offset the Seller’s payment payable to the Company from the Company’s or other subsidiaries payment due to the Seller in other transactions. d. Unsuccessfully Auctioned Items

Terms and Conditions of Business

Any item is not auctioned successfully, not included in the auction or withdrawn from the auction for any reason must be collected by the Seller within 35 days upon notification by the Company to the Seller. The storage fee of NT$1,000 per day will be charged on each item not collected after such 35 day period together with an additional charge for purchasing insurance coverage. The Company may dispose the Lot, if such item is not collected within 60 days following the auction date or the notice date (whichever is the earlier). Such disposal includes removing the item to a third party warehouse with the associated expenses borne by the Seller and to auction such items under terms deemed appropriate by the Company (including the terms of estimates and the Reserve). The Company will pay the Seller the related expense after payments owed are offset.

The Company is authorized to act as the sole agent of the Seller within 30 days following the auction for any auction item with-drawn from the auction or not sold. The Company may auction in private the item based on the net amount the Seller may receive (the amount after deducting all the expenses payable by the Seller) or sell such item in private at a lower price agreed upon by the Company and the Seller. Under such circumstances, the Seller’s responsibilities and liabilities to the Company are the same as during an auction.

■ Photographs and display

The Company owns the copyright in all images, illustration and written material produced by or for the Company’s relating to a lot including the contents of this catalogue, is and shall remain at all times the property of the Company and shall it be used by the Buyer, nor by anyone else, without the Company’s prior consent. The company is entitled to use such images in any manner it deems appropriate, and the Seller can not object.

■ Other Matters

a. Taxes

(1) The Seller shall provide passport, ID, company registration document or other necessary document or invoices to the Company for tax filing according to the tax laws of the Republic of China (Taiwan) or requirements of competent revenue agency.

(2) If the Seller is a Taiwanese company (or other types of legal entity except for individual), the Seller shall issues an invoice amounting the hammer price or the Reserve Price (if the Reserve Price is higher than hammer price) with the 5% VAT included in such amount.

(3) If the Seller is an individual who has domicile in Taiwan and resides in Taiwan, or who has no domicile in Taiwan but resides in Taiwan for a period of more than 183 days during a taxable year, and the Seller can provide sufficient and appropriate evidence for such standing to the Company, the Seller shall include the income derive from the transaction in the annual consolidated income tax report. The income amount will be the actual profit if the Seller can provide evidence of the sell prices as well as the original cost for obtaining such item(s). Where no sufficient evident of actual profit could be provided, the Seller shall include in the income tax report an income of 15% of the hammer price or the Reserve Price (if the Reserve Price is higher than hammer price) as the income derived from such property transaction.

(4) Where the Seller is not Taiwan resident as described above, Seller agrees that the Company deducts 3% from the hammer price or the Reserve Price (if the Reserve Price is higher than hammer price) as income tax to the competent revenue agency according to the tax laws of the Republic of China (Taiwan). The amount to be deducted and filled with competent revenue agency by the Company shall be subject to change once the applicable tax rate is adjusted.

b. Electrical and Mechanical Parts

The Seller must be responsible for maintaining the safe operating condition of the electrical and mechanical parts of the Lots. The Seller must compensate the Company all damages, the claims, costs and expenses arising out of any violation of the said guarantee and warranty by the Seller. There are other special additional conditions apply to this provision. The relevant conditions are available at the Company.

III.Terms of definition

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

1. “Buyer” means the highest bidder accepted by the auctioning party.

2. “Hammer price” means the highest bid with respect to one particular auction item accepted by the auctioning party.

3. “Buyer’s Premium” means the fee based on a certain percentage of the Hammer price paid by the Buyer; the percentage shall be as prescribed in this Agreement.

4. “The Reserve” means the lowest price agreed by the Company and Seller.

5. “Forgery” means 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 for less than the value it should have according to the description in the catalogue, Therefore, no auction item will become a forgery as a result of any damage and/or any repairing in any manner (including repaints).

IV.Terms applicable to both the Buyer and the Seller

1. Intellectual Property Rights

Intellectual property rights, photographs (including but without limitations, the copyright or patent) of all the images, photographs and written material in connection with the Lot shall maintain and belong to the Company at any time. The Buyer, Seller or any person may not use such items without obtaining prior written consent from the Company.

2. Notices

a. All the notices distributed according to the Agreement herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by mail. If the recipient is abroad, the notice shall be deemed served on the fifth working day following delivery by mail.

b. Any written consultations, inquiries, and notification (hereinafter “communication”) made by Zhong Cheng Auction to the Mandator concerning matters as outlined in the Agreement will be deemed sufficient if the communication is made in writing and sent to that other party in accordance with that other party’s address, e-mail address or fax number as listed in this Agreemenet (the “contact information”). The Mandator shall notify Zhong Cheng in writing where there is a change in the contact information.

3. Severability a. If any part of the Transaction Agreement is deemed invalid, illegal or unenforceable by any court, such part can be ignored and the rest of the Transaction Agreement continues to be valid and enforceable to the maximum extent permitted by the law.

b. The condition of the Buyer under Article 2 exclusively apply to the relationship between the Company and the Buyer, which the Seller shall not apply. And the conditions of the Seller under Article 3 exclusively apply to the relationship between the Company and the Seller, which the Buyer shall not apply.

4. This Agreement is entered in to the parties in English and Chinese, If there is any conflict with two versions, the Chinese version shall prevail.

5. This agreement may be revised or modified by the Company from time to time, and the Prospective Buyer, the Buyer and the Seller agree to obey the revision or modification.

6. Jurisdiction

The Transaction Agreement are governed under the R.O.C. law and the interpretation and effect of the Rules shall be subject to the laws of Republic of China. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of Taiwan Taipei District Court as the first instance for the interests of the Company.

中誠國際 藝 術

領取拍賣投標牌登記 表 格

中誠 2024 春季拍賣 會

現代與當代藝 術

拍賣日期與時間 : 2024 年6月 16 日 14 : 3 0

拍 賣 地點 : 微風南山 藝文中 心

台北市信義區松仁路 100 號 3 樓

如閣下計畫出席這次拍賣並投標拍 賣 品，請填妥以下表格，以便辦理投 標 牌登記作業 。

中誠國際藝術股份有限公司 台北市大安區仁愛路四段3 3 號10F-2 電話： + 886-2-8773-3565 傳真： + 886-2-8773-2615

重要事項 ：

(1) 買家與賣家之合約於拍賣官擊槌 時 正式成立,而閣下作為買家必須於拍 賣 會結束後以新台幣支付拍賣品之買 入 價及任何買家之費用 。

(2) 應中誠業務規則，本公司有權向 支 付現金的買家或新客戶索取有效身 份 證明文件、通訊地址證明及現金來 源 證明 。 新客戶須向中誠提供政府發 出 附有閣下照片之證明文件、住址及 銀 行證明，並授權中誠得向銀行查證 。

(3 ) 本人同意接受並遵守本圖錄內列 明 之給所有業務規則 ( 特別是有限保證 不負其他瑕疵擔保等規定 ) ，本次拍 賣 會上 的 一切交易 均 受 以 上條款所 約 束 。

若競 投 成功，本 人 同 意 支付已刊 載 之 落 槌價與服務費。

拍賣官可代表賣家為任何拍賣品叫第一口價以開始競投。拍賣官更可代表賣家 以 接連投標或競投之方式就拍賣品作出競投直至達到底價 。

中誠不會接納逾一萬美元（或相等貨幣）之現金款項。應中誠業務規則，本公 司 有權向支付現金的買家或新顧客索取有效身分證明文件、通訊地址證明及現金 來 源證明 。

基於管理、經營業務、市場推廣以及中誠提供之服務或按法律規定之用途，中 誠 可能向客戶要求提供其個人資料或向第三方索取有關資料，如信貸資料等。中 誠 在未獲得客戶明確同意前將不會將該等個人資料作其他用途。為履行客戶所要 求 之服務，中誠有可能向第三方，如船務公司披露資料。根據中誠政策，將要求 該 第三方尊重客戶之隱私，將客戶的資料保密。本人於此拍賣投標牌登記表格簽 署 ，即同意有關披露 。 本人同意中誠使用本人資料及根據給委託競投者指引與給買 家 業務規則內而取得之其他資料。

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 。 (買家除支付落槌價外，另須支付服務費與本 公 司，落槌價 於 新 台 幣2000萬 元 ( 含 ) 以 下 者 ， 服 務 費 率 以 20% 計 算 ； 超 過 新 台 幣 2000萬 元 的部 分， 服務 費率 以12%計算 ) 。 本人 同意 接受 並遵 守本 目錄所 載 所 有 業務規則 。

Zhong Cheng Spring Auction 16 June 2024 at 14:30 Modern and Contemporary Art

中誠 2024 春季拍賣 會

現代與當代藝 術

拍賣日期與時間 : 2024 年6月 16 日 14 : 30

拍 賣 地點 :

微風南山 藝文中 心

台北市信義區松仁路 100 號 3 樓

重要事項 ：

(1)應中誠業務規則，本公司有權向支付現金 的 買家或新客戶索取有效身份證明文件、通訊 地 址證明及現金來源證明 。 新客戶須向中誠提 供 政府發出附有閣下照片之證明文件、住址及 銀 行證明，並授權中誠得向銀行查證 。

(2)本人亦明白中誠為方便顧客而提供代為投 標 的服務，中誠不因怠於投標而負任何責任。 倘 中誠就同一項拍賣品收到相同競價之委託， 以 最先收到者優先辦理 。

(3)本人知悉如投標成功，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 。 (買家除支付落槌價 外 ，另須支付服務費與本公司，落槌價於新台 幣 2000萬元(含)以下者，服務費率以20 % 計算 ； 超過新台幣 2000 萬元的部分，服務費率以 12 % 計算) 。

本人明白所有電話競投會被錄音。 委託競投表

委託競投表格須於拍賣會開始前24小時傳真至 ：

中誠國際藝術股份有限公司

台北市大安區仁愛路四段3 3 號 1 0F- 2 電話：(0 2 ) 8773-35 6 5 傳真：(02) 8 7 7 3-261 5 Email ： a r t @a r t106 .c o m

本公司將以電話方式進行確認，若未收到確實回覆，敬請主動來電查詢確認

本人同意接受並遵守本圖錄內列明之給所有業務規則(特別是有限保證、不負其 他 瑕疵擔保等規定 ) ，本次拍賣會上的一切交易均受以上條款所約束。若競投成功， 本 人同意支付已刊載之落槌價與服務費。

本人同意中誠使用本人資料及根據給委託競投者指引與給買家業務規則內而取得之 其他資料。

WRITTEN AND TELEPHONE

BID FORM

Zhong Cheng Spring Auction

16 June 2024 at 14:30

Modern and Contemporary Art

IMPORTANT

(1) The sale will be conducted in accordance with Zhong Cheng’s Condition of Business and bidding and buying at the Sale will be regulated by these Conditions. Zhong Cheng has the right to request buyers in providing government issued photographic proof of ID, together with proof of address and bank reference. New clients must provide all the following documents. Failure to provide this may result in your bids not being processed.

(2) I understands, Zhong Cheng auction provides the bidding service for the convenience of their customers. Zhong Chen Auction shall not be held liable for any failure to execute a bid. If Zhong Cheng Auction receives more than one bid at the same price with regard to a particular auction item, priority will be given to the bidder whose bid was received first.

(3) I understands if the bid I placed was successful, I shall pay for the final hammer price, the service fee and any applicable sale tax. (The service fee of each lot payable by the buyer: The buyer shall pay the hammer price and, in addition, the service fee to Zhong Cheng Auction. If the final hammer price is below NT$ 20,000,000, the service fee shall be caculated at 20% of the hammer price. For final hammer price above the sum of NT$ 20,000,000, the service fee shall be caculated at 12% of the hammer price).

The absentee bid form must be received by Zhong Cheng Auction 24 hours prior to the sale. The signed and dated form can be mailed, emailed or faxed to:

ZHONG CHENG AUCTION CO., LTD

10F-2, No. 33, Sec. 4, Ren’ai Rd., Da-an District., Taipei, Taiwan Tel：+886-2-8773-3565 Fax：+886-2-8773-2615 Email：art@art106.com

We con rm all bids by phone. If you do not received our con rmation, please do not hesitate to contact us.

By signing this form, I agree to be bound by Zhong Cheng’s Terms and Conditions of Business published in this catalogue, and all the terms and conditions of the auction applies. (Especially the limited guarantee and exclusive warrantees that may be provided for certain items) If any bids are successful, I agree to pay the published Buyer’s Premium on top of the final hammer price.

I consent to the use of this information and any other information obtained by Zhong Cheng in accordance with the Guide for Absentee Bidders and Conditions of Business. If you would like further information on Zhong Cheng policies on personal data, or to make corrections to your information, please contact us at +886-2 8773-3565.

I am aware that all telephone bid lines may be recorded.

Bids □ Absentee Bids