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2. "Picasso in The Metropolitan Museum of Art," The Metropolitan Museum of Art, New York, USA, 2010
3. "Georges Bloch. Pablo Picasso: Tome I. Catalogue de l'œuvre gravé et lithographié 1904-1967," Galerie Kornfeld, Berne: Kornfeld & Klipstein, Alan Wofsy Fine Arts, San Francisco, USA, 1968, Page 21, No.7
4. "Pablo Picasso - Catalogue Raisonné," Edited by Christian Zervos, Éditions Cahiers d' Art, France, Paris, 1932-1978
EXHIBITION:
"Picasso in The Metropolitan Museum of Art," The Metropolitan Museum of Art, New York, USA, April 27th-August 1st, 2010
With a certificate of authenticity from gallery
1. The theme of the saltimbanque, or itinerant circus performer, dominated Picasso's work from late 1904 to 1906. This drypoint of a young acrobat balancing on a ball while other members of his troupe carry out mundane tasks anticipates two major canvases of 1905, Young Acrobat on a Ball (The Pushin State Museum of Fine Arts, Moscow) and Family of Saltimbanques (National Gallery of Art, Washington, D.C.).
Signed on the reverse: Miwa Komatsu in Kanji and Komiwa in English, dated 2019
NT$ 700,000-900,000
US$ 21,900-28,200
小松美羽
領導者
2019
壓克力 畫布
背面簽名：2019 小松美羽 Komiwa
Miwa Komatsu, born in 1984 in Nagano Prefecture, Japan, grew up surrounded by mountains steeped in ancient mythology. Reflecting on her childhood, Komatsu once shared, "I know it may sound unbelievable to many, but whenever I got lost on my way home, 'Mr. Mountain Dog' would appear to guide me." She had always believed this creature was a Japanese wolf, though her mother reminded her that Japanese wolves were long extinct. Nevertheless, she was certain that this mysterious "Mr. Mountain Dog" was a real presence in her life.
As she grew older, Komatsu began to realize that only she could see Mr. Mountain Dog. Once, she even spotted him at school, but noticed there were no footprints. When she called out, he vanished, leaving her to ponder what she was truly experiencing. With a deep love for nature, she often ventured into forests, sensing a powerful, spiritual force. She came to understand that these guardian creatures were not unique to Japan but existed across cultures—not as gods, but as divine guardians.
"I can’t paint gods, but I can paint guardian beasts, and I can use my art to connect people with their presence," she explained in an interview. Her works are not merely products of imagination but rather visual records of her personal encounters. These guardians, reminiscent of legendary Japanese spirits, are visions she claims to have seen, captured to convey a sense of spiritual connection. From a young girl with a love for drawing to an artist sharing the spirit of Mr. Mountain Dog with the world, Komatsu’s art invites viewers into her unique realm of sensitivity and mysticism.
《塩田千春: 數回憶 Counting Memories》 波蘭Muzeum skie博物館，2019年9月7日至2020年10月4日 “Chiharu Shiota: Counting Memories”installation in Muzeum l skie (Silesian Museum), Katowice, Poland 2019.9.7 – 2020.10.4
《塩田千春: 觸動人心（魂がふるえる)展覽》日本東京六本木森美術館，2019年6月20日至2019年10月27日 “Shiota Chiharu: The Soul Trembles Exhibition”Mori Art Museum, Tokyo, Japan 2019.6.20 – 2019.10.27
CHIHARU SHIOTA
( Japanese, b.1972 )
State of Being (Map)
35.4 x 35 x 71 cm
Metal Frame, White Thread and Map
Signed CS in English
PROVENANCE:
Der Horng Gallery, Tainan
NT$ 2,800,000-3,500,000
US$ 87,700-109,600
塩田千春
存在的狀態 (地圖)
2020
金屬框架 白絲線 地圖
簽名：CS.
來源：
德鴻畫廊，台南
《塩田千春: Where are we going? 》裝置藝術，巴黎左岸Le Bon Marche
“Chiharu Shiota: Where are we going?”installation in Paris Le Bon Marché
Chiharu Shiota is celebrated for her large-scale installations, where she deftly uses threads, fibers, and everyday objects to explore profound themes like human nature, memory, life and death, and identity. Her signature style often involves intricate webs of red, black, or white threads woven into complex, immersive spaces, inviting viewers into an emotional experience.
This work, State of Being (Map), is part of her series Presence of Absence. Through delicate networks of interwoven threads, Shiota creates a unique spatial and emotional landscape, symbolizing how existence is entangled in the constraints of time, space, and memory—each strand bearing traces of the past. By wrapping and suspending objects (in this case, a map) within these threads, she conjures an ethereal, hovering image that emphasizes the hidden fragility and uncertainty of life. The piece evokes a sense of transience, urging viewers to reflect on their own experiences and to ponder the deeper essence of existence.
Robert Combas is a prominent figure in the French art scene of the 1980s and one of the pioneers of the Figuration Libre (Free Figuration) movement, which influenced the art trends of an entire generation. Born in Lyon, France, Combas is a versatile artist—sculptor, poet, and musician—who expresses himself through a bold and direct style. He embraces the philosophy that "painting is rock and roll," bringing a unique artistic vision to life through vibrant colors and free brushstrokes.
Combas's studio is located in Barbès, a multicultural area near the Gare du Nord in Paris, which provides him with a rich source of inspiration. He draws from a wide range of global influences: the vivid attire of African cultures, the style of Japanese manga, Buddhist totems, and Islamic symbols—all reimagined through his creative lens. This work centers on the human figure, using thick black lines and prominent, exaggerated eyes to express his view of the world. The piece is colorful, wild in style, and combines an aesthetic of violence with humor, offering a socially critical message that celebrates diversity and multiculturalism.
Signed Hung Yi in Chinese, dated 2015 and epreuve d' artiste in abbreviation
EXHIBITION:
"The Carnival of the Animal," National Taiwan Craft Research and Development Institute, Taipei Branch, Taipei, Taiwan, November 26th, 2016-March 5th, 2017
With a certificate of authenticity from gallery
This work is the version of artist E.A. (Epreuve d' artiste), and was part of Hung Yi's solo exhibition "The Travels of Animals" held at Taipei Contemporary Arts and Design Branch in 2016.
Hung Yi, born in 1970 in Wuri, Taichung, and a graduate of the Fine Arts program at Mingdao High School, is one of Taiwan’s most celebrated contemporary artists. He was the first Taiwanese artist to exhibit at the San Francisco Civic Center in the U.S. and, in 2020, established the Hung Yi Art Museum in Changhua, Taiwan.
Hung is known for his vibrant use of anthropomorphic forms, fluid lines, and bold colors that bring energy and vitality to his creations. Drawing inspiration from folk traditions and the nuances of daily life, he weaves cultural elements and striking color
contrasts into his works, blending diverse materials and imagery to embody a spirit of cultural diversity and inclusiveness.
In his work Goat, Hung presents a playful, spirited interpretation of the animal, using vivid colors and a whimsical style to convey its liveliness and resilience. The piece’s approachable design and dynamic lines create a powerful visual impact, evoking warmth and joy. Hung hopes to reignite in viewers a sense of wonder for life’s simple pleasures and to share the uplifting energy of art.
ZHANG JIE
( Chinese, b.1963 )
Echo Valley
130 x 150 cm
Oil on Canvas
Signed Zhang Jie both in Chinese and English, dated 2007.10
Signed on the reverse: Zhang Jie and title in Chinese, inscribed Chongqing Sichuan Fine Arts Institute in Chinese
NT$ 180,000-360,000
US$ 5,600-11,300
張傑
山谷回聲
2007
油彩 畫布
簽名：張杰 Zhang jie 2007.10
背面簽名：《山谷回聲》張杰 重慶 四川美術學院
JUMALDI ALFI
( Indonesian, b.1972 )
Untitled from the Series Night Walker
175 x 145 cm
Acrylic and Marble Powder on Canvas
Signed on the reverse: Alfi, titled and media in English, size 175 x 145 cm, dated 2008
NT$ 350,000-500,000
US$ 11,000-15,700
朱瑪迪奧菲
「夜行者」系列中的無標題
2008
壓克力 大理石粉 畫布
背面簽名：ALFI PAINTING SERIES "NIGHT WALKER"
ACRYLIC, MARBLE POWDER ON CANVAS 175 x 145 CM
2008 ALFI
HIROTO KITAGAWA
( Japanese, b.1967 )
Super Old Man
62 x 25 x 25 cm
Acrylic on Terracotta (unique work)
Signature engraved: Hiroto in English, dated 2000
ILLUSTRATED:
"HIROTO KITAGAWA 1989-2008," Tokyo Gallery + BTAP, Tokyo Japan, 2008, Page 94
Yang San-lang’s art and legacy deeply embody the struggles and accomplishments of Taiwan’s early artists. As a young man, he traveled to study at Kansai Art Academy in Japan, where he was introduced to Western art styles, especially Impressionism, which had a profound and lasting influence on his work. Later, his artistic journey took him to Europe, where he gained recognition in the international art scene by exhibiting at the prestigious Salon d'Automne in France.
Yang’s paintings are distinguished by solid, expressive brushwork and carefully balanced compositions that reflect both precision and harmony. Embracing the philosophy of “learning from nature,” he devoted himself to outdoor painting, a practice he maintained consistently throughout his life. His art conveys a rustic beauty with restrained yet layered colors that blend on the canvas like a symphony, creating a distinct visual rhythm.
In this Snow Scene, Yang captures the subtle allure of the season through a nuanced use of color and composition. His delicate color gradations evoke the transition from late autumn to the stillness of winter. The soft, blurred contours lend a misty, cohesive atmosphere, while the interplay between foreground and background trees, along with the subtle tonal contrasts, creates depth and imbues the scene with a serene vitality.
Yang continues his careful exploration of order, spatial balance, and color relationships in this work. More than just a visual experience, it embodies a sophisticated interplay of light, shade, and color, capturing the fluidity of time and the essence of an evolving natural landscape.
YUYU YANG
( Taiwanese, 1926-1997 )
Evolution
45 x 24 x 82 cm
Bronze, 15/30
Signature engraved: Yuyu Yang and Taipei in Chinese, dated 1972, numbered 15/30
ILLUSTRATED:
Yuyu Yang Corpus, Artist Publishing Co., Taipei, Taiwan, 2005, Page 233
With a certificate of authenticity from Yuyu Yang Art Education Foundation
"Recherche Des Secrets Perdus," Galerie Elegance, Taipei, Taiwan, May, 1995, Page 15
NT$ 230,000-300,000
US$ 7,200-9,400
司徒立
室內 1993
水彩 紙本
簽名：Szeto 1993
來源：
1. 愛力根畫廊，台灣 台北
2. 亞洲私人收藏
圖錄：
《尋找遺失了的事物的秘密》，愛力根畫廊，台灣 台北，1995年5月，第15頁
LIU JIUTONG
( Chinese, b.1977 )
Emerald and Gold Mountains
Overall size: 149 x 299 cm
Oil on Linen (Triptych)
Signed Liu Jiutong and Shanghai in Chinese, dated 2024
Signed on the reverse: Liu Jiutong and Shanghai in Chinese, dated 2024, size 299 x 149 cm, (combination) 149 x 149 cm. one painting. 75 x 149 cm. two paintings.
With a certificate of authenticity signed by the artist
NT$ 1,100,000-1,500,000
US$ 34,500-47,000
劉玖通
碧山金嶺
2024
油彩 亞麻畫布 (三拼組合)
簽名：刘玖通. 上海 2024.
背面簽名：尺寸：299 x 149 cm,(組合) 149 x 149 cm. 1幅. 75 x 149 cm. 2幅. 刘玖通. 上海 2024.
Bernard Buffet, a figure who bridged the worlds of art and fashion, was born in 1928 in Nazi-occupied France. His life was shaped by the bitterness and uncertainty of the post-war era, and his melancholic, proud, and aloof personality permeated his work. The world he painted reflected the existential mood of his time. In the years following World War II, abstract art dominated European culture as artists struggled to break
free from the feeling of helplessness that marked the survival of the war. Yet, their efforts often felt overshadowed by a pervasive sense of disillusionment. It was within this context that Buffet’s art emerged, with its harsh, sharp, and cold lines capturing the existential angst of the era.
In 1948, Buffet founded a French anti-abstract art movement, rejecting the prevailing trends of the time. Ten years later,
(1)藝術家 貝納德．畢費 Artist Bernard Buffet
(2) 藝術家 貝納德．畢費 Artist Bernard Buffet
(3)貝納德．畢費《自畫像》1981年作 油彩 畫布 116x81cm Bernard Buffet, Self Portrait, 1981 Oil on Canvas, 116x81cm
(4)日本畢費美術館
Musee Bernard Buffet, Surugadaira, Japan
in 1958, he held a solo retrospective exhibition that attracted nearly 100,000 visitors—a testament to the early recognition and acclaim his work received. In 1973, he was awarded the prestigious French Legion of Honor, and the following year, he became a member of the French Academy of Fine Arts. His work is part of the collections of major museums worldwide, including the Tate Modern in London, the Museum of Modern Art in New York, the Paris Municipal Museum of Modern Art, and the Bernard Buffet Museum in Japan.
Buffet is often considered a leading figure of post-war "decadent" art, known for his use of sharp, straight lines that evoke a sense of desolation, helplessness, and scars. He expertly employed contrasts between black-and-white and subdued color palettes, often focusing on inanimate
objects. His subjects ranged from still lifes on tables to city streets and riverbank scenes, all presented in stark, muted realism. Though his subjects were simple and unassuming, the cold, restrained atmosphere of his works transformed them into something far more profound. What might appear as straightforward depictions are subtly altered through the viewer’s perception, transcending the artist's original intentions. These pieces do not rely on words or cultural references; they communicate Buffet’s inner thoughts directly, imbuing each work with the essence of his creative vision.
In 1990, Buffet was diagnosed with Parkinson's disease, and its slow progression began to affect his ability to create. Tragically, this illness marked the decline of his vibrant life, and he passed away at the age of 71.
(2)
(3)
(4)
BERNARD BUFFET
( French, 1928-1999 )
Nature Morte au Melon
50 x 65 cm
Oil on Canvas
Signed Bernard Buffet in English and dated 1953
PROVENANCE:
1. Galerie Drouant David's family, Paris, France
2. Private Collection, Asia
1. With a certificate of authenticity from Maurice Garnier gallery, France
2. With a certificate of authenticity from gallery
KAWS於二〇一七年舉辦首場大型個人作品回顧展「KAWS: WHERE THE END STARTS 始於終點」，深度剖析藝術家近二十 年來多元的藝術創作歷程。二〇一八年延續迄今，與策展單 位AllRightsReservered攜手進行《KAWS: HOLIDAY》世界巡 迴展覽，已於韓國首爾、台灣台北、中國香港先行展出戶外 藝術展，受到極大的迴響。大型的「COMPANION」巨型充氣雕 塑，是KAWS至今最大型的藝術雕塑創作，也是其第一個嘗試 展示於水上的藝術項目。
此件《最後的日子》銅雕作品，源起於KAWS 二〇一四年於馬 拉加當代藝術中心(CAC M álaga)展出的「最後的日子」大型 展覽，KAWS選擇其中一件站立張手的「Companion」進行小尺 寸的銅雕翻版創作。《最後的日子》為二〇一八年香港巴塞 爾藝術博覽會限定發售，限量二十五件，每款皆附上專屬獨 立編號及簽名，由於版數稀少，是許多藝術收藏愛好者熱烈 購逐的標的作品。
「KAWS:始於終點」展於 美國 沃斯堡現代美術館 (2016)
World renowned, Brooklyn-based artist KAWS graduated from the School of Visual Arts in New York where he obtained a Bachelor of Fine Arts in illustration in 1996. He began his career as a graffiti artist, and later entered the consumer culture with Pop Art style collaborating with various brands and designers. In the past twenty years, through the modification of commonplace ads and the reinterpretation of commercially popular cartoon characters, KAWS has created his own world forging a complicated path between Pop Art, graffiti and abstraction. His art stands between fine art and global commerce, he moved beyond the sphere of the exclusive art market to occupy a more complex global market. Unlike any artists seen before, KAWS now have the attention of the world.
The artist’s potential and talent made him the trend setter of his generation. His discussion-provoking art takes elements from popular culture, children’s cartoon, and art history. His most iconic character “Companion” can be translated into traditional abstract form. Among the many successful collaborations in various fields, KAWS also had the opportunity to design and produce his own limited edition vinyl toys. The demand for these highly-collectable, pop culture motifs toys have skyrocket and made their way
into the contemporary art market; making art accessible to all and adding a new energy to the art world.
His first large-scale retrospective exhibition “KAWS: WHERE THE END STARTS” took place in 2017 at the YUZ Museum in Shanghai, the solo show examines the artist’s multidisciplinary career over the past twenty years. Followed by “KAWS: HOLIDAY” in 2018 with long time collaborator AllRightsReserved, showing a monumental inflatable Companion as the largest sculptural endeavor by the artist to date and his first artwork to float on water, the world tour started in Seoul, Korea moving on to Taipei, Taiwan and ending in Hong Kong, China.
Final Days is a bronze sculpture inspired by KAWS grand museum exhibition titled “FINAL DAYS” in 2015 at CAC Málaga, the show featured five large sculptures in wood of KAWS most celebrated Companion. However, the artist only chose to re-create in bronze a smaller model of one particular standing and open hand Companion, the work was given the same name as the exhibition. Final Days was exclusively released at Hong Kong Art Basel in 2018, with a very rare limited edition of 25 pieces, each numbered and signed. The rarity in medium and edition easily makes the work a highly sought after collectable.
KAWS "WHERE THE END STARTS" at Modern Art Museum of Fort Worth, United States (2016)
KAWS(BRIAN DONNELLY) ( American, b.1974 )
Final Days
20.5 x 18 x 24.5 cm
Bronze, edition of 25 + 5 A.P.
Signed Kaws in English, dated 2017 and edition number
Leading advocate of the Art Informel movement (the French version of Abstract Expressionism), George Mathieu was born in Boulogne-sur-Mer in 1921, a historic and cultural region of northern France. The cathedrals in Boulognesur-Mer exerted influence down the centuries in matter of faith and politics. As a child, Mathieu grew up surrounded by monuments of the Middle Ages, and experienced the great war filled with glory days of the proud and invasive French Empire. In 1993, he moved to Versailles, the historical scenery of the former Louis dynasty due to his strong affection for the sacred monarchy. Gradually, he cultivated a “transcendent aristocratic character” in art, that was coined to praise him by future art critics. During schooling, he developed a special fondness for literature, law and philosophy, the large amount of learning deepened his thinking and later serve as the foundation of his highly spiritual artistic creation.
Mathieu promoted an art style free from constraints of figurative paintings and conventional aesthetic standards. Like a prophet of Modern Abstraction, Mathieu foresaw a unique way of creating, where he integrated the expressive and improvisation of performing art into painting. Although paintings are restricted by two-dimensional plane, Mathieu conveyed three-dimensional splendor by painting in “action.” It was a real battle between the artist and his canvas, in this “battle” he created dynamic pieces one after another; each with stirred and flipped spirals in intense and contrasting colors. During the same time which Mathieu took the initiative to introduce American Abstract Expressionism into Europe, by bringing Parisian and American artists together. His contribution in the art movements was recognized by many, including worldrenowned American critic Clement Greenberg, who called him “the greatest artist in Europe.”
In the late 1940s, Mathieu befriended Chinese artist San Yu, Zao Wou-Ki and Xie Jinglan. The exchange between them led him closer to oriental calligraphy. In the beginning, he emphasized speed and adventure before gradually inserting delicate emotions and oriental philosophy to develop, “calligraphy and splashes” -a brand new manifestation filled with rich brushstrokes with calligraphy features, resembling personal manuscripts and oriental ink drawings. He was awarded by the first French Minist of Culture, George André Malraux who celebrated his achievement and said, “There is finally a Western calligrapher!” Mathieu’s artworks in the 1970s is the most elegant and magnificent, showing extraordinary timeless temperament. More than an artist, he excels in various fields including design and architecture, he was even invited by the Monnale de Paris to design the national 10 franc, one of the biggest project at the time. The painting Ramira was also the pinnacle of this period, in Spanish Ramira it means “wise” suggesting the artist has reached enlightenment on a spiritual level; and was able to inspire others through his energy within. Moreover, it echoes the creative core of the artist’s self exploration. Against the bright red background, the wild brush strokes are fast but precise, with short line as sharp as a blades. The work unleash continuous conflict between passion and restraint, as if the painter is dancing in a passionate manner but with the most graceful poise.
GEORGES MATHIEU
( French, 1921-2012 )
Ramira
97 x 162 cm
Oil on Canvas
Signed Mathieu in English and dated 1970
Signed on the reverse: titled in English
PROVENANCE:
1. Private Collection, Paris
2. Sotheby's Paris auction on December 4th, 2014, LOT 160
3. Private Collection, Asia
With a certificate of authenticity from gallery
The authenticity of this work is confirmed by the artist's foundation.
Georges Mathieu is considered a pioneer of lyrical abstraction within the Parisian Informalism movement. He tirelessly advocated for a painting approach that is unconstrained and expressive, one that bursts forth from personal experience. Mathieu began painting in 1942 and quickly rejected the standardized abstract art of his time. He firmly believed that abstract creation must break free from the confinement and restrictions of form. His works are filled with intense energy, devoid of specific shapes, replaced instead by symbols that seem to grow and explode across the canvas. Known as the "Western calligrapher," Mathieu employed symbols as a new creative language, aiming to distance his work from mere imagery and establish a distinct, independent artistic consciousness.
"It is the most direct expression of dissatisfaction and desire. Painting is an idea—it is no longer an act. From the canvas being whipped, pushed, scratched, to the splattering of color, the merging, the piercing, the swirling, the rising, the crushing. The ancient Greek ideals of craft, surface treatment, and polishing… all forms that came first will cease to exist. In response, what will emerge are elements of tension, density, the unknown, mystery… deep layers that dominate the formation of art. For the first time in art history, painting becomes a spectacle; we can witness its creation and establishment as we would watch an improvisational performance. Just as it leaves the solitude of my studio, it steps onto the streets, engaging in a direct, spontaneous dialogue with the public. Painting becomes the action itself." — Excerpt from Georges Mathieu's Lettre à la jeunesse (Letter to the Youth), 1964.
The 1970 work La Naissance d'Osiris (The Birth of Osiris) employs a lyrical, evolving creative method that gradually leads to the "essence" of its subject. This subject is Osiris, the ancient Egyptian god of the underworld, a figure Mathieu frequently explored in his artistic career. Osiris is often depicted wearing a crown and sitting on a throne, governing the judgments of the afterlife. According to Egyptian mythology, Osiris would weigh the hearts of the deceased against a feather of Ma’at (truth and justice). Those whose hearts were lighter than the feather would be granted eternal life, while the wicked would be devoured by a
monster with the head of a crocodile and the body of a lion. Osiris is also known as the "God of Rebirth," associated with the cycle of life and death, and revered as the god of agriculture and winemaking, even in his role as the lord of the underworld.
However, transforming such a deeply ingrained myth into a new artistic aesthetic, from a different perspective and visual approach, presents a considerable challenge—especially in terms of "appropriate transformation" and "lexical connection and expansion." Yet, within the history of abstract art, only a pioneer like Georges Mathieu could perfectly control this transformation, creating a piece that transcends its theme and offers viewers an experience beyond its original mythological context.
In La Naissance d'Osiris, the work predominantly uses black tones, presenting powerful, punctuated brushstrokes that swirl vertically around the axis of the composition. The monochromatic black and white palette tears through the space and light, creating an effect of depth. The work's action painting technique parallels that of Pierre Soulages, maintaining an organized, tensionfilled structure. Much like the Chinese calligraphy tradition of wild cursive, it is expansive yet retains order. By choosing to use black in place of white, and vice versa, Mathieu reverses the traditional "empty space" in Chinese painting to create "emptiness in black"—a boundless horizon that emphasizes the abstract, ambiguous nature of the work. It becomes a form that is neither fully shaped nor fully formless, a visual reduction in some places and an expansion in others, revealing the unique charm of abstract painting.
In this work, the image of Osiris is conceptualized through the viewer’s engagement with the painting, as Mathieu believes that the experience of beauty should allow individuals to develop a unique dialogue with the artwork through the same medium. "When the work leaves the solitude of the studio, when it leaves the artist’s side, it grows freely in the hands of the people." Through this suitable vocabulary connection, Osiris, the symbol of infinite rebirth, gathers and coils in the dark void, only to return after the focused light fades, completing a cyclical return.
GEORGES MATHIEU
( French, 1921-2012 )
La Naissance d'Osiris
97 x 162 cm
Oil on Canvas
Signed Mathieu in English and dated 1970
Signed on the reverse: titled in English
ILLUSTRATED:
1. "Les Maîtres de la peinture moderne: Mathieu," Edité par, Dominique Quignon-Fleuret, Flammarion collection, Paris, France, 1973, Page 76
2. "Mathieu: 50 Ans de Création," Editions Hervas, France, 2003, Page 203
"Before I saw Walasse Ting's paintings of nude women, I thought I couldn’t devote myself to just one person. But when she appeared, I realized I had simply not yet met the right woman. Beneath the vivid, clashing colors, she somehow remains real and serene. The interplay of these bold colors and lines creates a sense of voyeurism, as if glimpsing a nude through branches. Suddenly, all the seemingly restrained women in oil paintings appear to join in a secret celebration of color." --- Tom Wesselmann, American Pop Artist.
Among the internationally acclaimed overseas Chinese artists of the 1960s and 1970s, Paris had Zao Wou-Ki and Chu Teh-Chun, Milan had Hsiao Chin, London had Richard Lin—and New York’s representative was Walasse Ting. Moving to Paris in the 1950s, Ting became an active figure in the European art scene as part of the CoBrA movement. Known for his vivid colors, uninhibited use of paint, and freespirited symbols and figures, Ting brought a rich artistic depth with a profound Eastern spirit that shone through his vibrant style.
In I Love You, created at the peak of Ting’s artistic maturity in the 1980s, lush reds, greens, yellows, and blues seem to sweep across the canvas with effortless energy, layered and vivid yet harmoniously balanced. Amidst the surge of color, an understated allure arises, showcasing Ting’s playful choices in depicting women’s faces, hairstyles, and skin tones. He captures the spirit of spring in full bloom, using fluid and expressive color blocks, candid lines, and scattered drops of color. His subjects—graceful, alluring women—strike coy yet seductive poses, inviting viewers to sense the passion and desire that might have stirred the artist himself as he painted. Through his radiant, alluring florals and the tender elegance of his female subjects, Ting celebrates the beauty of life and sensory delight. In the fleeting, lush colors, he captures a sense of eternal romance and beauty that is always just beyond reach, yet vividly alive in the moment.
WALASSE TING
( Chinese-American, 1929-2010 )
I Love You
97 x 137.5 cm
Acrylic on Paper
Signed on the reverse: Ting and titled in English, dated 1986
Zhong Cheng 2016 Autumn Auction, Lot 201, Walasse Ting, I Have Melacholy Itch in Eyes, 1974, acrylic on canvas, 61x81cm, Sold for US$93,779
In the 1970s, Walasse Ting’s painting style shifted from abstract to figurative. Besides the transformation in his painting style, his state of mind changed along as well. Ting started to paint vastly with the theme of “women,” a theme that he loved the most throughout his life. He used calligraphic brush strokes to draw the contours, then applied Chinese print painting techniques to paint bright, gorgeous, colorful flat coating lines with acrylic paints. One after another, Ting boldly depicted ravishing women, some stunning and graceful, some alluring and wild. His expressions were natural, elegant, and unrestrained. During this time, his works clearly displayed fauvist features. However, they indicated even more clearly how his experience in Europe and CoBrA had affected his painting styles. At this time, the works manifested Ting’s innate intuition of colors, and his romantic nature.
Sunday Morning Breakfast was created in 1986. Ting painted with bold, determined strokes, embellished by the colorful acrylic paints. The intertwining gorgeous colors formed a contrast with the lines. One of the women is holding a tabby cat. Like the woman, the cat also has dreamy eyes; their facial expressions are docile and lovely. One of the women has long voluminous hair, and her hair is decorated with colorful
flowers. Serene and elegant, she makes people want to cherish her. The last woman, with a bouquet in her hands, shows an immense charm. Her glance reveals her allure and loveliness. The colors in the painting are dazzling and captivating, and the strokes are bold and unrestrained. The women, the cat, and the flowers are nestling in the painting, showing a summerlike excitement and vibrancy. Moreover, they embody a pure sensation of pleasure and an absolute enjoyment.
Professor Yaoyi Xi at the Shanghai Institute of Visual Arts commented, “Walasse Ting was a real man of his time. He didn’t care about earthly views, but instead, he freely used his paintings to express his emotions. There are no worldly, sophisticated hypocrisy and pretentiousness in his works. He loved magnanimously.” Ting made all the colors the pillar of his life. Encountering the vanity on earth, Ting put together naturally beautiful women, flowers, birds, and cats. He used his brushes to define his perspective, making him a maverick in the society back then. Meanwhile, it was also a salute that he gave himself, marking his proud, romantic, free spirit celebrity lifestyle. Hence, a prosperous, splendid “Ting’s Garden” became a magical power in contemporary art, making people gasp and linger in admiration.
WALASSE TING
( Chinese-American, 1929-2010 )
Sunday Morning Breakfast
124.5 x 190 cm
Acrylic and Oil Pastel on Canvas
Signed on the reverse: Ting and titled in English, dated 1986, in Amsterdam
Luo Zhong-Li is regarded as a leading figure in the 1980s art movements of "Rural Realism" and "Scar Art," and is widely recognized as one of China’s foremost contemporary artists. He has held significant positions, including Vice President of the China Artists Association, Director of the Chongqing Art Museum, and President of the Sichuan Academy of Fine Arts. His contributions have been crucial in shaping the "Chuanmei phenomenon" in contemporary Chinese art. Luo’s works embody a deep humanitarian spirit and a sense of historical gravitas, informed by a profound reflection on local culture. His art carries not only a strong social responsibility but also a philosophical depth and cultural resonance. The late Jiang Feng, former chief editor of the China Artists Association, even referred to Luo as "China's Millet," drawing a parallel to the French realist painter Jean-François Millet.
Born in 1948 in Chongqing, Luo graduated from the preparatory school of the Sichuan Academy of Fine Arts in 1968. He then chose to live for ten years in the rural Daba Mountains. In 1980, he completed his iconic work Father, a large-scale portrait of an elderly peasant, drawn with extreme realism. The painting depicts a laborer, not a political leader, showing the rough yet wise face of a man holding a water bowl, his weathered features speaking to the hardships of life and history. His gaze, however, conveys not despair, but a quiet wisdom and resilience in the face
of hardship. Father shocked the Chinese art world, earning Luo the prestigious "First Prize" at the 1981 National Youth Art Exhibition. The painting marked the end of an era in which art was subjugated to political agendas, signaling a new freedom for artists to express themselves beyond ideological constraints. Luo thus became a central figure in the Rural Realist movement, cementing his place in the history of Chinese art.
Throughout his career, Luo’s art has focused on the simplicity and beauty of rural life. Known for his rough, unpolished brushstrokes, he captured the everyday struggles and joys of the rural working class. He sought to reveal the essence of beauty in natural, unadorned life, and to honor the purity and goodness of rural existence. As Luo once said, “I need experience to forge my craft, and I’ve always committed myself to depicting the lives of farmers.” His works convey the ordinary yet profound lives of the Daba Mountain peasants, expressing their joys and sorrows with careful attention to detail. He portrayed not only the land itself—fertile and rich—but also the simplicity of the people and their way of life.
By the late 1980s, Luo felt that realism alone could no longer fully satisfy his artistic vision. He began to seek new ways of expression, moving towards a more expressive style. His brushstrokes grew heavier, and his lines bolder.
He introduced more distortion into the depiction of his figures, and the emotional intensity of his earlier works evolved into a warmer, more dynamic style. While his themes remained deeply rooted in rural life, the somber tone of Father gave way to a more vivid, even humorous portrayal of human interaction.
In Winding Mountain Road, we see a significant shift in his use of color. Moving away from his typical blue-gray palette, he embraced brighter yellows and greens. The painting depicts a husband and wife from two different villages, walking together along a treacherous mountain path after a day’s labor. They face the unpredictable weather, climbing steep, slippery slopes while carrying heavy loads—sometimes with children on their backs— and seeking shelter under banana leaves. Although the scene portrays the ordinary lives of rural people, it speaks to the strength and resilience of human life, and offers a quiet reminder of the importance of family bonds and mutual support. The characters' postures and expressions convey a balanced relationship—whether it is the husband supporting his wife, the wife helping her husband, or the child receiving care from both parents. The simplicity and honesty of these interactions resonate deeply, offering an emotional connection to viewers.
Luo’s rough, direct brushwork captures not just the scene but the very essence of life, making it easy for viewers to connect emotionally. The realism of his depiction allows the audience to tap into their own memories and experiences, evoking a strong, personal response. The simple clothing, muscular limbs, and sturdy tools of labor in the painting are all markers of the characters' identity and environment, suggesting they are not city dwellers but farmers, accustomed to hard work and the harsh realities of rural life. These figures become symbols of the enduring strength and resilience of rural China during its time of transformation.
Luo's focus is not on plot, but on the form of his characters and the atmosphere of their environment. This shift has led to the development of distinct artistic symbols, allowing viewers to experience not only the rural landscape but also the spiritual need to reconnect with nature. As one of the leading figures of China’s academic art scene, Luo ZhongLi continues to be a dynamic and innovative artist. Over the years, he has refined his artistic voice, creating a distinctive style that blends the realism of everyday life with the emotional depth of expressionism. His work has become a key example of the unique fusion of these two traditions in contemporary Chinese oil painting, and his art continues to attract wide attention both in China and internationally.
LUO ZHONGLI
( Chinese, b.1948 )
Winding Mountain Road
96 x 129.5 cm
Oil on Canvas
Signed Luo zhongli in English and Luo in Chinese, dated 1988
Zhou Chunya's work inherits the spirit of German NeoExpressionism while retaining the essence of Chinese traditional painting, particularly in his pursuit of nature. His bold departure from conventional Chinese literati painting and the infusion of his own unique style reveal new possibilities within Chinese art. Zhou’s work has opened up new realms in contemporary Chinese painting, marked by strong personal color and artistic freedom.
The inspiration for the Green Dog series comes from Zhou’s German Shepherd, Heigen. In 1997, Zhou first painted Heigen in green, creating the Green Dog. This immediately imbued the series with a clear symbolic significance. Green is not a natural color for a dog, and it is precisely this unnatural color choice that imbues the dog with subjective expression, creating a stronger visual impact.
Zhou Chunya's preference for green elevates the green dog beyond being just an ordinary animal— it becomes a symbol, an emblem. The green dog represents tranquility, romance, and lyricism, like a still calm before an emotional eruption, full of rich, unspoken feelings. Through his repeated depiction of stylized dog figures, Zhou transforms the dog into a symbol, where each dog in the series can be seen as an individual, complete work in itself. The symbol’s significance was particularly evident before the death of Heigen, as it carried a personal emotional weight for the artist.
In 1999, Heigen’s death deeply affected Zhou, leading him to temporarily halt the creation of the Green Dog series. It wasn’t until 2001, when Zhou had begun to recover emotionally, that he returned to painting the green dogs. However, by this point, the green dog had shifted in meaning. It was no longer just a representation of Heigen, but had transformed into a more abstract, spiritual symbol. The dog ceased to be a mere animal figure and became a vessel for Zhou’s emotions, attitudes, and artistic expression.
In Green Heigen No.6, the green dog, positioned in the lower left corner, becomes not only the visual center of the piece but also the emotional core and the expression of the artist’s attitude. The vast, empty white canvas creates a striking contrast with the green dog, and the use of negative space invites the viewer to imagine beyond the figure, shaping the contrast between the figurative and the abstract. The posture of the dog, the composition, and the emotional tone are seamlessly integrated, allowing the dog to transcend its individual form and become a larger symbolic expression. Through this series, Zhou Chunya successfully blends his personal emotional experience, artistic style, and the complexity of his social context, creating powerful and dynamic works of art.
ZHOU CHUNYA
( Chinese, b.1955 )
Green Heigen No.6
150 x 120 cm
Oil on Canvas
Signed Zhou Chunya in Chinese and English, dated 1997
ILLUSTRATED:
1. "The Nature of Portraiture- Zhou Chunya and Mao Yan's Artwork," Central Academy of Fine Arts Gallery, Beijing, China, 1997, Color page
2. "Zhou Chunya New Painting Solo Exhibition," MHH Art & Culture Space, Taipei, Taiwan, 2008, Page 44
EXHIBITION:
1. "The Nature of Portraiture- Zhou Chunya and Mao Yan's Artwork," Central Academy of Fine Arts Gallery, Beijing, China, July 5th-16th, 1997
2. "Zhou Chunya New Painting Solo Exhibition," MHH Art & Culture Space, Taipei, Taiwan, March 22nd-April 13th, 2008
Wang Guang-Yi, born in 1957 in Harbin, Heilongjiang Province, China, is one of the earliest pioneers of Chinese Pop Art. He graduated in 1984 with a degree in oil painting from Zhejiang Academy of Fine Arts and has since become one of the most influential figures in contemporary Chinese art. After completing his studies, Wang returned to Harbin, where he co-founded China’s first art collective, the "Northern Art Group," with like-minded artists. His unique voice also became a defining presence in the "New Wave" (Ba Wu Xin Chao) movement, a pivotal moment in Chinese art history. In the 1990s, Wang expanded his creative practice beyond oil painting to include performance art, installations, and sculptures—works that drew widespread attention and sparked extensive discussion. Along with artists like Zhang Xiaogang, Yue Minjun, and Fang Lijun, Wang was
part of a group often referred to as the "Four Giants" of Chinese avant-garde art.
Wang’s early life was shaped by hardship. Growing up in a time of material poverty and psychological challenges, coupled with the turbulence of the Cultural Revolution, he became determined to pursue art as a way to transform his circumstances. Reflecting on his artistic mission, Wang once said, "In an ideal world, the kind of art humanity needs is one that affirms the vitality of life in the face of life’s inherent fallibility and decline— a sublime, tragic art." His work sought to create a new social reality, using rationalism as a means to address what he saw as the “illness” of human existence— a vision that would lay the groundwork for his Great Criticism series.
In his early work, such as the Frozen Northern Polar and Post-Classical series, Wang explored art as a means of self-reflection, structuring his paintings through rational analysis and a simplified, reorganized visual language. During his Post-Classical period, Wang stated, "The classical spirit is hidden. I want to reveal what has been concealed, but in my own way." This intellectual approach to art, a blend of reason and expression, would later evolve into his Mao Zedong series, one of his most well-known works. The painting Mao Zedong AO even graced the cover of Time magazine, propelling him to international fame. Between 1990 and 2007, Wang critiqued the propaganda posters of the Cultural Revolution as well as the Western cult of personality surrounding brand icons, offering a sharp commentary on the suffocating visual culture of his generation. While his style clearly draws on Western Pop Art— particularly the influence of Andy Warhol—Wang’s work is a pointed critique of both Chinese Communism and the consumerist spirit of China’s rush into capitalism. His art became an intellectual battleground, rich with dialectical thought, making him a key figure in the rise of Chinese political Pop Art.
In Great Criticism: Kodak, Wang continues to employ the flat, graphic style of Pop Art, using bold, contrasting colors to make a powerful visual statement. The red and yellow hues evoke China’s Communist roots, while the image of the Red Guards—young revolutionaries caught in the fervor of the Cultural Revolution—becomes an ironic commentary. Wang’s painting captures the chaotic energy of the revolution, with the fervent Red Guards shouting slogans across the massive canvas. Yet the irony lies in their blind allegiance: they do not fully understand who or what they are fighting against. Wang blends the madness of the Cultural Revolution with art, using an outdated militant pose to confront the realities of the present. This creates a virtual, almost surreal critique, tearing open the internal contradictions of modernity and forcing viewers to reflect on both history and its continued relevance. After finishing the Great Criticism series, Wang shifted his focus to "Cold War aesthetics," incorporating this theme into both his paintings and installations in recent years. His aim was to create a fresh perspective on the intersection of contemporary society and art, offering a new landscape for artistic expression.
WANG GUANGYI
( Chinese, b.1957 )
Great Criticism: Kodak
120.7 x 150 cm
Oil on Canvas
Signed on the reverse: Wang Guangyi in English and Chinese, dated 2005
PROVENANCE:
Lillian Heidenberg Fine Art, New York, USA
ILLUSTRATED:
"RED HOT: Asian Art Today from the Chaney Family," The Museum of Fine Arts, Houston, USA, 2007, Page 58
EXHIBITION:
"RED HOT: Asian Art Today from the Chaney Family Collection," The Museum of Fine Arts, Houston, USA, July 22nd-October 2nd, 2007
Zhang Xiaogang, born in 1958 in Yunnan, China, is recognized as one of the most prominent figures in contemporary Chinese art. His work spans multiple mediums, including painting, sculpture, and installation art, and is known for its unique perspective and profound cultural exploration. His artistic style is deeply influenced by Chinese history, culture, and social change, reflecting a meditation on the cultural memory of China's modernization and the historical contradictions embedded within it. Zhang Xiaogang explores themes of collective memory, personal identity, and family relationships, intertwining personal life experiences with the historical context in which they unfold.
Through his use of grayscale and black-and-white techniques, he transforms old photographs and historical materials into emotionally charged artworks that provoke deep reflection.
Zhang Xiaogang's most famous series is Bloodline: Big Family, in which he depicts family photographs from the Chinese Cultural Revolution with an almost photorealistic style. The figures in these paintings are often expressionless, their faces blank and pale, with large, vacant eyes that convey a sense of silence and repression, subtly hinting at the alienation experienced by individuals in a collectivist society. He frequently employs soft tones, particularly gray, light green, and brown, creating a nostalgic atmosphere. However, he also incorporates disharmonious elements, such as blocks of color and fine lines, symbolizing the fractures and instability within families and society. Zhang Xiaogang approaches the relationship between the individual and the collective, history and memory, with a calm and detached demeanor, imbuing his figures with the imprints of their era. His
works convey deep thoughts and emotions buried deep within, acting as both a reflection on and a meditation on the past, while also offering a profound observation of contemporary society's psychological state.
The Amnesia and Memory series continues Zhang Xiaogang's exploration of history and personal identity, delving even further into the gradual forgetting of memories and the past in a rapidly changing social environment. This series reflects Zhang's concern with the rapid, massive changes in cultural and social systems, as well as the individual's role and situation in these historical currents. Similar to the Bloodline: Big Family series, the figures in the paintings tend to be abstracted and symbolic, yet the emphasis shifts towards the fragmented nature of memory. The figures and scenes become more hazy and indistinct, conveying a sense of distortion and fragmented clarity, as if representing the loss of focus and the scattering of memories. In contrast, this series is more symbolic and conceptual.
In Amnesia and Memory, the figures are expressionless, staring vacantly to one side. Their profiles and bodies are marked by irregular color blocks and connecting lines that represent memory. The blurred brown-gray tones of the background merge with the figures' checkered shirts, creating a sense of connection and separation simultaneously. Zhang Xiaogang uses intricate, specific symbols to interpret his understanding of past events, infusing the painting with thoughts and memories. Through his artistic language, he conveys symbolic meaning and reflective viewpoints, exploring how people confront the fragmentation of memory, the passage of time, and the changes of eras and history.
ZHANG XIAOGANG
( Chinese, b.1958 )
Amnesia and Memory
54.5 x 39 cm
Oil on Paper
Signed Zhang Xiaogang in Chinese and English, dated 2001
Leigh Wen was born in Yingge, Taipei, and earned her Master’s degree in art in the United States. She established studios in both New York and Taipei, becoming an active figure in the international art scene. Through the process of scraping away paint to create lines, she has developed a unique "linear" vocabulary. Coupled with her precise control over the layering of color gradients and spatial depth, she breaks free from traditional methods of artistic creation, replacing the typical stacking technique with "subtractive art"—using lines as the primary element of her work.
The repetitively woven lines are full of life; they are not merely tools for artistic expression but extensions of her
emotions and thoughts. Through the four elemental forces of earth, air, water, and fire, she draws a dialogue with nature while conveying a deep longing for her homeland.
Her White Amaryllis series uses flowers to represent the vitality of life and the resilience of women. Beneath the overlapping of massive floral shapes and intricate lines, the work creates a striking visual impact. In doing so, it expresses the flow of life and reflects a deep emotional connection to the land.
LEIGH WEN
( Taiwanese, b.1959 )
Peony 8
154 x 170 cm
Oil on Linen
Signed on the reverse: Leigh Wen in English and Chinese, titled in Chinese, media in English, size 154 x 170 cm, dated 2016
NT$ 2,200,000-3,200,000
US$ 68,900-100,300
鄭麗雲
牡丹 8
2016
油彩 蔴布
背面簽名：牡丹 8 154 x 170 cm Oil on Linen Canvas. 2016 Leigh Wen 鄭麗雲
Born in 1959 in Yingge, Taipei, Leigh Wen has spent many years residing in the United States, with her studio located in New York. In 2015, she opened a second studio in Taipei, Taiwan. With nearly forty years of experience as a professional painter, Cheng was named one of Asia's Top Ten Outstanding Young Talents in 1980 in Hong Kong. She moved to the U.S. in 1983 for further studies, and in 1998, she was honored as an Honorary Artist by the State of New York. She has received multiple awards from the Jackson Pollock Foundation in 1999 and 2005 and was invited by then-First Lady Laura Bush to the White House for a state dinner.
Leigh Wen’s oil paintings break from traditional methods of layering, instead utilizing scraping techniques and markmaking to create lines that serve as her artistic signature. With
masterful control of color gradients and spatial depth, her work embodies a distinctive style of "subtractive art."
Her artistic philosophy is deeply inspired by the four essential elements of the universe—earth, air, water, and fire—as understood by Western philosophy. Each line in her work reveals a hidden thread of meaning, leading the viewer to explore her personal interpretations of thought. These lines, almost alive, emerge from nothingness and grow freely across the canvas—sometimes tight and concentrated, other times loose and expansive—imbuing her paintings with both richness and playfulness. Her subjects also reflect the philosophical ideas of Eastern culture, resulting in a uniquely engaging and appealing artistic style.
LEIGH WEN
( Taiwanese, b.1959 )
Olana 3-1
145 x 226.5 cm
Oil on Linen
Signed Leigh Wen in English and dated 2014
Signed on the reverse: Leigh Wen and titled, media in English, size 89" x 57", dated 2014, www.leighwen.com
With a certificate of authenticity signed by the artist
In Leigh Wen’s work, she frequently engages with the four elements—earth, air, water, and fire—drawing on parallels to the Eastern philosophy of the Five Elements, while reinterpreting them through the lens of Western cosmology. Water and fire, in particular, fascinate her as uncontrollable forces. Her paintings become records of opposites, capturing the balance between solid and liquid, light and dark, heat and cold.
Heavily influenced by minimalism, Leigh Wen moves away from traditional oil painting techniques that
rely on layering. Instead, she reinvents Chinese ink imagery, incorporating the concepts of negative space and atmosphere into her work. She starts with broad applications of dark tones, layering them with increasingly vibrant colors. Using the tip of her brush, she scrapes away at the paint, allowing fluid, rhythmic lines to emerge, creating a sense of movement across the canvas. This method not only adds depth and texture but also highlights the rich, tactile quality of the oil paint, infusing the work with both energy and resonance.
Leigh Wen understands that the true essence of art lies in chaos, yet this chaos is a vibrant force—wild and fierce. Through her mastery of art, she effortlessly grounds herself within this tumultuous energy. Her process involves priming the canvas, layering it with dark pigments, and then scraping them away. The most striking feature of her work is the endless network of scraped lines—each one unique, despite the repetitive action. This large-scale scraping is like an eruption of life energy, bursting forth from within, capturing the artist's inner restlessness and its deep, purposeful significance.
The artist herself reflects: "In my palette, colors are not chosen merely for surface reasons, but because they fulfill an emotional and spiritual need within the art. I have completed a series of large-scale paintings inspired by Western cosmology’s four elements, each of which incorporates wave-like patterns. The series comes together as a rich, expansive whole, an exploration of the infinite universe."
"My paintings speak of both personal and cultural history. Growing up on the island of Taiwan, I have always felt a profound, intimate connection with the primal forces of water and nature." Having lived abroad for many years, she moves between two
homes, in the United States and Taiwan, separated by vast oceans. In works that center on water, her art is infused with a longing for distant shores.
Her four-panel work Ocean, in its immense scale, captures the essence of nature’s hues and imagery. Intricate, delicate lines interlace and overlap across the canvas, brimming with vitality and energy, creating a whole that explores the vastness of the universe. Through Leigh Wen’s brushstrokes, one can catch glimpses of her life’s journey, guiding the viewer to connect with her subtle emotions. Clouds drift across the sky, becoming finer and finer, like strands of hair floating in water. The intricate, layered lines of the ocean, with their rhythmic rise and fall, link the sea to the heart. Soft, abundant feelings flow gently towards the horizon, while the warm sun begins to break through the soft clouds. These images are symbolic of Leigh Wen’s deep yearning for her homeland. She begins with a broad base of dark tones, layering brighter colors, then uses her brush to scrape away the surface, letting the lines move naturally and authentically. The alternating dense and free-flowing lines perfectly capture the depth of the ocean and the swell of the waves, with each intricately woven line telling a story of her reverence for nature.
LEIGH
WEN
( Taiwanese, b.1959 )
Ocean
Single piece: 152.5 x 183 cm (4)
Overall size: 152.5 x 732 cm
Oil on Canvas (a set of four)
Signed on the reverse: Leigh Wen in English and dated 1995 (4)
"I am often awed by the Creator's power, and deeply influenced by the Eastern philosophy of reverence for heaven and love for the earth. When I face nature, I feel the smallness of humankind and learn the importance of selflessness, tolerance, and giving." --- Leigh Wen
SEOCK YOUNGHO
( Korean, 1965 )
Conversation 245014
116.8 x 91 cm
Soil, Korean Paper and Acrylic on Canvas
Signed on the reverse: Seock Youngho in English and Kanji, ho.s and titled, Korea in English, dated 2024
With a certificate of authenticity
NT$ 300,000-450,000
US$ 10,000-15,000
昔永浩
對話 245014
2024
土壤 韓紙 壓克力 畫布
簽名：ho.s
背面簽名："Conversation 245014" -2024- Seock. young ho ho.s 昔永浩 -Korea-
附原作保證書
PARK SEOBO
( Korean, 1931 )
Ecriture No.150915
50 x 77.8cm
Special Digital Print, 15/30
Signed S.B. Park and titled in English, dated 2019, numbered 15/30
Embossed: SEOBO ART FOUNDATION 서보미
술문화재단
With a certificate of authenticity from gallery
NT$ 300,000-600,000
US$ 10,000-20,000
朴栖甫
描法 No.150915
2019
特殊數位印刷 15/30
簽名：15/30 ECRITURE No.150915 S.B. Park' 19
鋼印：SEOBO ART FOUNDATION 서보미술문화재단
WU ASUN
( Taiwanese, b.1942 )
The King and Queen in Sahara Desert
72.5 x 91 cm
Oil on Canvas
Signed A-SUN in English and dated 1989
ILLUSTRATED:
"Wu XuanSan(A-Sun) Sahara Desert Series," Council for Cultural Affairs, Taichung, Taiwan, October, 1992, Picture 35
EXHIBITION:
"Wu XuanSan(A-Sun) Sahara Desert Series," Council for Cultural Affairs, Taichung, Taiwan, October 24th-November 8th, 1992
Signed on the reverse: A- Sun in English and titled in Chinese, size 6F, dated 1983
NT$ 60,000-100,000
US$ 1,900-3,100
吳炫三
媽媽與小孩
1983
油彩 畫布
簽名：83. A-SUN
背面簽名：題目：媽媽与小孩 尺寸：6F A-SUN 83.
CHEN TOMMY
( Taiwanese, 1931-2017 )
2032015
77 x 100 cm
Acrylic on Canvas
Signed Chen Tommy in Chinese and dated 20.3.2015
EXHIBITION:
"22nd Art Taipei: Tommy Chen - Rising from the East, Diver of Abstract Art," Eslite Gallery in TWTC Exhibition Hall 1 booth D03, Taipei, Taiwan, October 30th-November 2nd, 2015
With a certificate of authenticity from gallery
NT$ 700,000-1,500,000
US$ 21,900-47,000
陳道明
2032015
2015
壓克力 畫布
簽名：陈道明 20.3.2015.
展覽：
「第22屆台北藝博會：陳道明 - 日出東方，
抽象繪畫的潛航者」，誠品畫廊 世貿一館
展位 D03，台灣 台北，2015年10月30日
至11月2日
附畫廊開立之原作保證書
HSU WENJUNG
( Taiwanese, b.1964 )
a. Autumn
b. Forest Hut
a. 106 x 46 cm
b. 60 x 72 cm
Oil on Canvas (2)
a. Signed Wenjung in Chinese and dated 1992.12
b. Signed Wenjung in Chinese and dated 1992
Signed on the reverse: Hsu Wenjung in Chinese
NT$ 60,000-120,000
US$ 1,900-3,800
許文融
a. 秋紅
b. 林間小屋
1992
油彩 畫布 (2)
a. 簽名：文融 92.12
b. 簽名：文融 92
背面簽名：許文融
a. b.
LEE LIANG
( Chinese, b.1985 )
Plum
120 x 100 cm
Oil on Canvas
Signed Lee Liang and titled in Chinese, dated 2016.9
Signed on the reverse: Lee Liang and titled, media in Chinese, size 120 x 100 cm, dated 2016.9
NT$ 80,000-160,000 US$ 2,500-5,000
李梁
紅梅 2016
油彩 畫布
簽名：紅梅 李梁 2016.9
背面簽名：《紅梅》布面油画. 李梁 120 x 100 cm. 2016.9
Red
LAI YUCHENG
( Taiwanese, b.1981 )
a. The Illusional Generation No.31
b. The Illusional Generation No.34
c. The Illusional Generation No.37
d. The Illusional Generation No.16
50 x 50 cm (3)
d. 60 x 60 cm
Oil on Canvas (4)
Signed Lai in English and Yucheng in Chinese, dated 2008 (4)
With a certificate of authenticity from gallery (4)
NT$ 40,000-100,000
US$ 1,300-3,100
賴昱成
a. 靡幻世代 No.31 馬與真相
b. 靡幻世代 No.34 銀河間
c. 靡幻世代 No.37 綿羊的夢
d. 靡幻世代 No.16 新視訊
2008
油彩 畫布 (4)
簽名：Lai 昱成 2008 (4)
附畫廊開立之原作保證書 (4)
a. c. b. d.
HSIAO CHIN
( Taiwanese, 1935-2023 )
Unity
55 x 46.5 cm
Ink on Canvas
Signed Hsiao in English and Chin in Chinese, dated 1962
ILLUSTRATED:
"HSIAO CHIN," Dimensions Art Center, Taipei, Taiwan, 1998, Page 38
With a certificate of authenticity from gallery
NT$ 280,000-380,000
US$ 8,800-11,900
蕭勤 單一
1962
水墨 畫布
簽名：Hsiao勤 62
圖錄：
《HSIAO CHIN》，帝門藝術中心，台灣 台北，1998年，第38頁 附畫廊開立之原作保證書
HSIAO CHIN
( Taiwanese, 1935-2023 )
Pu - 9
70 x 60.5 cm
Oil on Canvas
Signed Hsiao in English and Chin in Chinese, dated 1961
With one seal of the artist
Signed on the reverse: Hsiao Chin in English and Chinese, titled in Chinese, dated 1961
NT$ 400,000-600,000
US$ 12,500-18,800
蕭勤
Pu - 9
1961
油彩 畫布
簽名：Hsiao勤 一.廿六. 1961.
鈐印：蕭(朱文)
背面簽名：HSIAO-CHIN Pu-9 蕭勤 1961
HSIAO CHIN
( Taiwanese, 1935-2023 )
Changes in the Sky
94 x 48 cm
Acrylic on Paper
Signed Hsiao in English and Chin in Chinese, dated 1988
ILLUSTRATED:
"Dharma Drum Mountain: Create a pure land on earth, 1998 Contemporary Art and Jewelry Charity Fair," Dharma Drum Mountain Humanities and Social Improvement Foundation, Taipei, Taiwan, 1998, LOT 094
Plexiglass Box, Gold Leaves, Raw Blue and Pink Pigments, edition of 440
The deluxe edition of the Catalogue Raisonné des Éditions et Sculptures de Yves Klein by Jean-Paul Ledeur numbered XXXVIII / LV and the slipcase from Éditions Guy Pieters containing reproductions.
Giclee on Canvas, edition of 199 Steel seal: National Museum of History, and edition number
With a certificate of authenticity from National Museum of History, In Memory of the Fiftieth 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 edit.
NT$ 70,000-140,000
US$ 2,200-4,400
常玉
斑馬
2017
數位微噴 油畫布 限量199版 鋼印：國立歷史博物館 National Museum of History 跟版數 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-French, 1895-1966 )
A Potted Plant
140.4 x 70.2 cm
Giclee on Ultra Smooth Fineart Paper, edition of 199
Steel seal: National Museum of History, and edition number
With a certificate of authenticity from National Museum of History, In Memory of the Fiftieth 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 edit.
Giclee on Ultra Smooth Fineart Paper, edition of 199
Steel seal: National Museum of History, and edition number
With a certificate of authenticity from National Museum of History, In Memory of the Fiftieth 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 edit.
NT$ 80,000-160,000
US$ 2,500-5,000
2017
數位微噴 無酸藝術紙 限量199版
鋼印：國立歷史博物館 National Museum of History 跟版數 附國立歷史博物館 常玉逝世五十周年紀念保證卡
Giclee on Ultra Smooth Fineart Paper, edition of 199
With a certificate of authenticity from National Museum of History, In Memory of the Fiftieth 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 edit.
a. Signed Ting in English, dated 2000, and edition number
b. Signed Ting in English, dated 1987, and edition number
NT$ 60,000-120,000 US$ 1,900-3,800
丁雄泉
a. 鸚鵡時鐘 b. 裸女
a. 2000
b. 1987
a. 版畫裱於金屬時鐘 限量30件
b. 石版畫 限量70版
a. 簽名：Ting 2000 跟版數
b. 簽名：Ting 87 跟版數
a. b.
ZHOU CHUNYA
( Chinese, b.1955 )
a. Red Person (I am Your Person)
b. Lily in Vase
a. 65 x 54 cm
b. 65.5 x 53 cm
Lithograph, edition of 99 (2)
Signed Zhou Chunya in Chinese, and edition number (2)
NT$ 100,000-200,000
US$ 3,100-6,300
周春芽
a. 紅人 (我是你的人)
b. 百合瓶花
石版畫 限量99版 (2)
簽名：周春芽 跟版數 (2) a. b.
DAMIEN HIRST
( British, b.1965 )
H9-3
Mercy, the Virtues Series
120 x 96 cm
Laminated Giclée Print on Aluminium Composite Panel, 595/817
Signed on the reverse label: Damien Hirst in English
1. The work is accompanied by its original box.
2. Published in London by HENI Editions, the "Virtues" group consists of eight prints covering "Justice, Courage, Compassion, Courtesy, Honesty, Honour, Loyalty and Restraint"; each edition depicts the Japanese cherry blossoms, and the work is also inspired by the Japanese Inspired by writer and politician Inazura Nitobe, he explains the traditions and morals of the samurai in Bushido: The Soul of Japan. Each edition is signed and uniquely numbered by the artist.
Signed Chu Tehchun in Chinese and English, dated 1992, with the Olympic steel seal and edition number
ILLUSTRATED:
"Overseas Chinese Fina Arts Series (II): Chu Teh-Chun,Taipei," Artist-Magazine, Taipei, Taiwan, 1999, Page 295
In 1992 Barcelona Olympics, to celebrate the centenary of the Olympic Games, 50 contemporary artists were selected from five continents around the world, each of them produced one print for the occasi.
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.
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$ 50,000-100,000
US$ 1,600-3,100
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
CHANG WANCHUAN
( Taiwanese, 1909-2003 )
Japanese Landscape
(Yamagata Ken, Tōhoku Region, Honshū)
18.5 x 26 cm
Watercolor on Paper
Signed Chang in English and Wan in Chinese
With a certificate of authenticity from the relatives of Chang Wan-Chuan
NT$ 120,000-200,000
US$ 3,800-6,300
張萬傳
日本風景 (本州東北山形縣)
1980
水彩 紙本
簽名：CHANG. 万.
附張萬傳親屬開立之原作保證書
CHANG WANCHUAN
( Taiwanese, 1909-2003 )
Three Fish
26.5 x 38.5 cm
Watercolor on Paper
Signed Chang in English and Wan in Chinese
PROVENANCE:
Caves Art Center, Taipei, Taiwan
NT$ 60,000-80,000
US$ 1,900-2,500
水彩 紙本
-万-
KINICHIRO ISHIKAWA
( Japanese, 1871-1945 )
Dakeng Mountain
21.5 x 33 cm
Watercolor on Paper
Signed Kinichiro in Chinese With one seal of the artist
NT$ 70,000-170,000
US$ 2,200-5,300
KINICHIRO ISHIKAWA
( Japanese, 1871-1945 )
Wulong Mountain
27 x 24 cm
Watercolor on Paper
Signed Kin Ishikawa in English
Signed on the reverse: Kinichiro Ishikawa and titled in Chinese
With two seals of the artist
NT$ 70,000-150,000
US$ 2,200-4,700
石川欽一郎
五龍山遠望
水彩 紙本
簽名：ISHIKAWA. KIN
鈐印：欽 (朱文)
背面簽名：五龍山遠望 石川欽一郎
背面鈐印：欽 (朱文)
CHEN YANGCHUN
( Taiwanese, 1946-2023 )
a. Suzhou Scenery
b. Tainan Confucius Temple
a. 37 x 56 cm
b. 29 x 77 cm
Watercolor on Paper (2)
a. Signed Yangchun in Chinese and English, Chen in English, dated 1992 in Chinese
b. Signed Yangchun in Chinese and English, Chen in English, dated 1991 in Chinese With one seal of the artist(2)
ILLUSTRATED:
"Dharma Drum Mountain: Create a pure land on earth, 1998 Contemporary Art and Jewelry Charity Fair," Dharma Drum Mountain Humanities and Social Improvement Foundation, Taipei, Taiwan, 1998, LOT 016(a)、LOT 015(b)
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.
Appraisal Service
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.
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.
(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:
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.
This form is refer to □ Telephone Bids □ Absentee Bids
