現代與當代藝術 Modern and Contemporary Art

SPRING AUCTION 2025 TAIPEI

拍賣目錄每本售價：NT$2,000

This auction catalogue: US$70 per copy

羅芙奧台北 2025 春季拍賣會 現代與當代藝術

RAVENEL SPRING AUCTION 2025 TAIPEI Modern and Contemporary Art

拍賣日期／地點

2025年6月1日（日）下午 2:00

萬豪酒店

台北市中山區樂群二路199號3樓（博覽廳）

預展日期／地點

台中

2025年5月17日（六）下午1:00至下午6:00

2025年5月18日（日）上午11:00至下午6:00

豐藝館

台中市西區五權西路一段110號B1

台北

2025年5月30日（五）~ 6月1日（日）上午11:00至下午7:00

萬豪酒店

台北市中山區樂群二路199號3樓（博覽廳）

AUCTION

Sunday, June 1, 2025, 2:00pm

Marriott Taipei

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

PREVIEWS

Taichung

Saturday, May 17, 2025, 1:00pm - 6:00pm

Sunday, Mar 18, 2025, 11:00am - 6:00pm

Fong-Yi Art Gallery

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

Taipei

Friday, May 30 - Sunday, June 1, 2025, 11:00am - 7:00pm Marriott Taipei

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

王鎮華 Arthur Wang

董事長 Chairman

傅斐郡 Flora Fu

藝術部 顧問 Consultant, Art Department

林慧菁 Maggie Lin

藝術部 資深副總經理

Senior Vice President, Art Department

林恒如 Nina Lin

藝術部 業務助理

Sales Assistant, Art Department

陳惠黛 Odile Chen

國際藝術部 總經理

Head of International Art Department

陳昱良 Iris Chen

國際藝術部 經理 Manager, International Art Department

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RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS

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PHONE BIDS AND WRITTEN BIDS

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Remarks:

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In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly for those of you who need foreign language assistance of the bidding.

CATALOGUE SUBSCRIPTION

Taiwan

Nina Lin

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

PAYMENT

Caroline Shen

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Payment details are described at the back of the catalogue. Please contact the above person if you need any further information.

COLLECTION AND SHIPPING

Taiwan

Tommy Wu

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Hong Kong．International

Iris Chen

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Email: irischen@ravenel.com

Remarks:

All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of traveler's checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday.

Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you.

Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold "as is". Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the "Transaction Agreement to the Buyers".

目次 CONTENTS

5

羅芙奧春季拍賣會

Sale Information

6 羅芙奧之服務

Ravenel Services

9 藝術家索引 Index

10 現代與當代藝術

Modern and Contemporary Art

153 給予買家的重要通知 Important Notice to Buyers

155 委託競投表格

Absentee Bid Form

157 業務規則

Transaction Agreement

貝爾納．畢費

貝爾納．夏洛瓦

陳威呈

邱亞才

38

TAKESADA MATSUTANI 松谷武判 31

TOMOKO NAGAI 長井朋子 1, 22, 26 MOE NAKAMURA 中村萌 2, 11

YOSHITOMO NARA 奈良美智 102

NKSIN 14

PANG JIUN 龎均 53

EDGAR PLANS 艾德加 普連斯 30

AYAKO ROKKAKU 六角彩子 27, 29, 104 SANYU 常玉 94-95

NARITAKA SATOH 佐藤誠高 20 CHIHARU SHIOTA 塩田千春 32

MENG-HUNG 蘇孟鴻 78

TANIGUCHI 谷口正造 12

WALASSE TING 丁雄泉 49, 56, 65 KEA TSAI 蔡孟達 73 YOSUKE UENO 上野陽介 5 KAORU USUKUBO 薄久保香 10

WANG PAN-YOUN 王攀元

YAGÜES 莫伊 亞格斯 77 MEGURU YAMAGUCHI 山口歷 35

MAYUKA YAMAMOTO 山本麻友香 21, 25, 98-100

YANG CHIHUNG 楊識宏 62, 79

YUYU YANG 楊英風 109

AKIHIKO YOSHIDA 吉田昭彥（仁吉） 106 YUN GEE 朱沅芷 43

ZAO WOU-KI 趙無極 41

001

TOMOKO NAGAI

(Japanese, b. 1982)

Glittering Land 2010

Mixed media on paper

23 x 48.5 cm

Signed reverse Tomoko Nagai, titled Glittering Land in Japanese and dated 2010

NT$ 40,000 - 80,000

HK$ 9,000 - 19,000

US$ 1,200 - 2,400

RMB 9,000 - 18,000

長井朋子

璀璨之地 2010

綜合媒材 紙本 23 x 48.5 cm

簽名畫背：きいめきゆく国 Tomoko Nagai 2010

002

MOE NAKAMURA

(Japanese, b. 1988)

Untitled

Pencil on paper

24 x 17 cm

Signed lower right Moe

PROVENANCE

Ravenel, Taipei, June 05, 2022, lot 203

NT$ 90,000 - 180,000

HK$ 21,000 - 42,000

US$ 2,700 - 5,500

RMB 20,000 - 40,000

中村萌

無題

鉛筆 紙本 24 x 17 cm

簽名右下：Moe

來源

羅芙奧，台北，2022年6月5日，

編號203

003

CHEN WEI-TING

(Taiwanese, b. 1991)

Untitled; The Teatime; Starlight; Traveling (a set of 4)

2016; 2014; 2015; 2014

Acrylic on linen; acrylic on paper mounted onto board;

Acrylic on canvas

27 x 35 cm; 41 x 27 cm; 27 x 19 cm; 27 x 19 cm

Signed backing board of the frame Chen Wei Ting and dated 2017

NT$ 70,000 - 140,000

HK$ 17,000 - 33,000

US$ 2,100 - 4,300

RMB 15,000 - 31,000

陳威廷

無題；下午茶時間；星光；漫遊 (4 件一組 )

2016; 2014; 2015; 2014

壓克力 亞麻布; 壓克力 紙本裱於木板;

壓克力 畫布

27 x 35 cm; 41 x 27 cm; 27 x 19 cm; 27 x 19 cm

簽名畫框背板：陳威廷 2017

004

KIRIKO IIDA

(Japanese, b. 1970)

Mube and Boy

2008

Oil on canvas

45.5 x 53 cm

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

NT$ 90,000 - 140,000

HK$ 21,000 - 33,000

US$ 2,700 - 4,300

RMB 20,000 - 31,000

飯田桐子

無花果與男孩

2008

油彩 畫布

45.5 x 53 cm

附IDF畫廊開立藝術家簽名之

原作保證書

005

YOSUKE UENO

(Japanese, b. 1977)

Cupidi

2022

Acrylic and sand on canvas

73 x 61 cm

Signed lower left YOSUKE UENO

PROVENANCE

Dorothy Circus Gallery, London

NT$ 110,000 - 220,000

HK$ 26,000 - 52,000

US$ 3,300 - 6,700

RMB 24,000 - 48,000

上野陽介

丘比特 2022

壓克力 沙 畫布

73 x 61 cm

簽名左下：YOSUKE UENO

來源

桃樂西馬戲畫廊，倫敦

006

ASA GO (Japanese, b. 1978)

Sowing Seeds

2022

Acrylic on canvas 52 x 45 cm

Signed reverse goasa, titled Sowing Seeds in Japanese and dated 2022

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

NT$ 110,000 - 220,000

HK$ 26,000 - 52,000

US$ 3,300 - 6,700

RMB 24,000 - 48,000

吳亞沙

播種 2022

壓克力 畫布 52 x 45 cm

簽名畫背：種まき 2022 goasa

附東京不忍畫廊開立之原作保證書

007

TAKUMI KAMA

(Japanese, b. 1985)

Red Pandas’s Cabinet

2021

Acrylic on cotton cloth mounted onto panel 116.7 x 91 cm

Signed upper left Takumi Kama in kanji; with a seal of the artist

Signed stretcher bar Takumi Kama, titled Red panda’s cabinet in kanji, dated 2021.2

EXHIBITED

Art Fair Tokyo 2021, Tokyo International Forum, Hall E, Tokyo, March 18 – 21, 2021

NT$ 110,000 - 220,000

HK$ 26,000 - 52,000

US$ 3,300 - 6,700

RMB 24,000 - 48,000

釜匠

小熊貓的櫃子

2021

壓克力漆 棉布 裱於木板 116.7 x 91 cm

簽名左上：釜匠

鈐印左上：匠

簽名題識畫背框條： 「レッサーパンダのキャビネット」

2021.2 釜匠

展覽 「東京藝術博覽會 2021」，東京國際

論壇Hall E，東京，展期2021年3月18

日至3月21日

008

MISAKI KAWAI

(Japanese, b. 1978)

Nature Tales

2022

Acrylic on canvas

120 x 170 cm

Signed reserve Misaki Kawai, titled Nature Tales and dated 2022

EXHIBITED

Hairy Tales: A Solo Exhibition by Misaki Kawai, V1 Gallery, Copenhagen, March 5 - April 6, 2022

NT$ 110,000 - 220,000

HK$ 26,000 - 52,000

US$ 3,300 - 6,700

RMB 24,000 - 48,000

河井美 咲

自然物語 2022

壓克力 畫布

120 x 170 cm

簽名畫背：Misaki Kawai Nature Tales 2022

展覽

「毛毛物語–河井美咲 個展」，V1 畫廊，

哥本哈根，展期2022年3月5日至4月6日

009

IIDA KIRIKO

(Japanese, b. 1970)

Wednesday is Ostrich

2008

Oil on canvas

65 x 65 cm

Signed stretcher bar Kiriko Iida and dated 2008

PROVENANCE

Gallery IDF, Nagoya

NT$ 170,000 - 240,000

HK$ 40,000 - 57,000

US$ 5,200 - 7,300

RMB 37,000 - 53,000

飯田桐子

星期三是鴕鳥

2008

油彩 畫布

65 x 65 cm

簽名題識畫背框條：Kiriko Iida 2008

來源

IDF 畫廊，名古屋

010

KAORU USUKUBO

(Japanese, b. 1981)

Wandering Play

2007

Oil on canvas mounted onto panel

194.5 x 194.5 cm

PROVENANCE

Christie’s Hong Kong, December 1, 2008, lot 1094

Acquired from the above by the present owner

EXHIBITED

Kaoru Usukubo: Wandering Season, Taro Nasu Gallery, Tokyo, November 24 - December 22, 2007

NT$ 190,000 - 280,000

HK$ 45,000 - 66,000

US$ 5,800 - 8,500

RMB 42,000 - 62,000

薄久保香

遊戲

2007

油彩 畫布裱於木板

194.5 x 194.5 cm

來源

佳士得，香港，2008年12月1日，編號1094

現有收藏者購自上述來源

展覽

「薄久保香：流浪季節」，那須太郎畫廊， 東京，展期2007年11月24日至12月22日

011

MOE NAKAMURA

(Japanese, b. 1988)

Drawing-19-14

2019

Mixed media on paper

29.7 x 21 cm

Signed lower right Moe

PROVENANCE

Gallery Tsubaki, Tokyo

EXHIBITED

Moe Nakamura Solo Exhibition: Remember You, Gallery Tsubaki, Tokyo, August 17 - September 7, 2019

ILLUSTRATED

Moe Nakamura: Growth, Gallery Tsubaki Co., Ltd, Tokyo, 2020, color illustrated, p. 122

NT$ 160,000 - 260,000

HK$ 38,000 - 61,000

US$ 4,900 - 7,900

RMB 35,000 - 57,000

中村萌 繪畫 19 14 2019

綜合媒材 紙本

29.7 x 21 cm

簽名右下：Moe

來源

椿畫廊，東京

展覽

「中村萌個展：記得你」，椿畫廊，東京， 展期2019年8月17日至9月7日

圖錄 《中村萌成長》，椿畫廊，東京，2020，

彩色圖版，頁122

012

SYOZO TANIGUCHI (Japanese, b. 1990)

GO!! GO!! LOSTMAN!!

2021

Acrylic, pastel and colored pencil on wood panel

42 x 59.4 cm

Signed reverse SYOZO TANIGUCHI, dated 2021 and titled GO!! GO!! LOSTMAN!!

NT$ 200,000 - 300,000

HK$ 47,000 - 71,000

US$ 6,100 - 9,100

RMB 44,000 - 66,000

谷口正造

衝啊！衝啊！迷失的人！

2021

壓克力 粉彩 色鉛筆 木板 42 x 59.4 cm

簽名題識畫背：Syozo Taniguchi 2021 GO!! GO!! LOSTMAN!!

013

LUKE CHUEH

(Chinese-American, b. 1973)

Face to Face

2022

Acrylic on canvas

91.5 x 61 cm

Signed lower left Luke

EXHIBITED

Luke Chueh: Ciao, Dorothy Circus Gallery, Rome & London, June 24 - July 16, 2022

NT$ 110,000 - 220,000

HK$ 26,000 - 52,000

US$ 3,300 - 6,700

RMB 24,000 - 48,000

闕君樂

面對面

2022

壓克力 畫布

91.5 x 61 cm

簽名左下：LUKE

展覽

「闕君樂：Ciao 個展」，桃樂西馬戲畫廊，

羅馬&倫敦，展期2022年6月24日至7月16日

014

NKSIN

(Japanese-Filipino, b. 1994)

1930

2020

Acrylic on canvas

116.7 x 116.7 cm

Signed reverse NKSIN and dated 2020

PROVENANCE

Katsumi Yamato Gallery, Tokyo

EXHIBITED

Style Wars in Seoul, Gallery Afternoon X , Gallery Katsumi Yamato, Seoul, November 5 - 26, 2022

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

NT$ 280,000 - 380,000

HK$ 66,000 - 90,000

US$ 8,500 - 11,500

RMB 62,000 - 84,000

NKSIN

1930

2020

壓克力 畫布

116.7 x 116.7 cm

簽名畫背：NKSIN 2020

來源

大和克己畫廊，東京

展覽

「造型大戰在首爾」，午後畫廊 X 大和克己畫 廊，首爾，展期2022年11月5日至26日

附東京大和克己畫廊開立之原作保證書

015

KYNE (Japanese, b. 1988)

Untitled 2019

Acrylic on canvas

73 x 73 cm

Signed reverse Kyne and dated 2019

PROVENANCE Gallery Target, Tokyo

NT$ 320,000 - 420,000

HK$ 75,000 - 99,000

US$ 9,700 - 12,800

RMB 70,000 - 92,000

Kyne

無題 2019

壓克力 畫布 73 x 73 cm

簽名畫背：Kyne ‘19

來源

目標畫廊，東京

016

KYNE (Japanese, b. 1988)

Untitled 2019

Acrylic on canvas 73 x 73 cm

Signed reverse Kyne and dated 2019

PROVENANCE Gallery Target, Tokyo

NT$ 320,000 - 420,000

HK$ 75,000 - 99,000

US$ 9,700 - 12,800

RMB 70,000 - 92,000

Kyne

無題 2019

壓克力 畫布 73 x 73 cm

簽名畫背：Kyne ‘19

來源

目標畫廊，東京

017

YAYOI KUSAMA

(Japanese, b. 1929)

Infinity Nets (YBL)

2004

Screenprint, ed. 36/40

43 x 35 cm (image)

55 x 45.5 cm (sheet)

Signed Yayoi Kusama, titled Infinity Nets (YBL), numbered 36/40 and dated 2004

PROVENANCE

Omotesando Hills S and O, Tokyo

ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 186, no. 324 (another number)

NT$ 320,000 - 550,000

HK$ 75,000 - 130,000

US$ 9,700 - 16,700

RMB 70,000 - 121,000

草間彌生

無限之網 (YBL)

2004

絲網版畫 版次 36/40

43 x 35 cm (圖)

55 x 45.5 cm (紙)

簽名下方：Yayoi Kusama Infinity Nets (YBL)

36/40 2004

來源

表參道之丘 S and O，東京

圖錄

《草間彌生全版畫1979-2017》，阿部出版株

式會社，東京，2017，彩色圖版，頁186，

編號324 (不同版次)

018

YAYOI KUSAMA

(Japanese, b. 1929)

Eyes Flying in the Sky

2006

Screenprint, ed. 82/120

76 x 56 cm

Signed lower right Yayoi Kusama, titled Eyes Flying in the Sky in Japanese, dated 2006 and numbered 82/120

PROVENANCE

Omotesando Hills S and O, Tokyo

ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 201, no. 354 (another number)

NT$ 260,000 - 460,000

HK$ 61,000 - 108,000

US$ 7,900 - 14,000

RMB 57,000 - 101,000

草間彌生

天空飛翔的眼睛

2006

絲網版畫 版次 82/120

76 x 56 cm

簽名右下：Yayoi Kusama 2006 空を飛ぶ目 82/120

來源

表參道之丘 S and O,東京

圖錄

《草間彌生全版畫1979-2017》，

阿部出版株式會社，東京，2017，彩色圖版，

頁201，編號354 (不同版次)

019

ETSU EGAMI

(Japanese, b. 1994)

Untitled 2021

Acrylic on canvas 194 x 162 cm

Signed lower left Etsu Egami and dated 2021

PROVENANCE

Ginza Tsutaya Books, Tokyo

EXHIBITED

Star Time-Etsu Egami, Ginza Atrium, Tokyo, July 31 - August 11, 2021

NT$ 360,000 - 460,000

HK$ 85,000 - 108,000

US$ 10,900 - 14,000

RMB 79,000 - 101,000

江上越

無題 2021

壓克力 畫布 194 x 162 cm

簽名左下：Etsu Egami 2021

來源

銀座蔦屋書店， 東京

展覽

「星球時間 – 江上越個展」，銀座蔦屋書店，

東京，展期2021年7月31日至8月11日

NARITAKA SATOH

(Japanese, b. 1980)

Noblewoman

2019

Acrylic, pencil on paper mounted onto panel 140 x 107 cm

Signed reverse Naritaka Satoh, titled Noblewoman and dated 2019

EXHIBITED

Incoherence Between Surface, Truthfulness and Reality, Hiro Hiro ArtSpace, Taipei, October 5 - December 29, 2019

This lot is accompanied by a certificate of authenticity issued by Hiro Hiro Art Space, Taipei.

NT$ 550,000 - 850,000

HK$ 130,000 - 200,000

US$ 16,700 - 25,800

RMB 121,000 - 187,000

佐藤誠高

貴夫人

2019

壓克力 鉛筆 紙裱於木板 140 x 107 cm

簽名題識畫背：Naritaka Satoh Noblewoman

2019

展覽

「佐藤誠高個展—表面、真實之離散」， Hiro Hiro藝術空間，台北，展期2019年10月5

日至12月29日

附Hiro Hiro藝術空間開立之原作保證書

021

MAYUKA YAMAMOTO

(Japanese, 1964)

Little Green Apple White Fox

2022

Oil on canvas

45.7 x 33.3 cm

Signed reverse Mayuka and titled little green apple white fox EXHIBITED

Mayuka Yamamoto Solo Exhibition, Gallery Tsubaki, Tokyo, July 16 - August 6, 2022

ILLUSTRATED

Mayuka Yamamoto Paintings, Gallery Tsubaki, Tokyo,2023, color illustrated, no. 9

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

NT$ 420,000 - 600,000

HK$ 99,000 - 142,000

US$ 12,800 - 18,200

RMB 92,000 - 132,000

山本麻友香

小青蘋果白狐狸 2022

油彩 畫布

45.7 x 33.3 cm

簽名畫背：little green apple white fox Mayuka

展覽

「山本麻友香個展」，椿畫廊，東京，

展期2022年7月16日至8月6日

圖錄

《山本麻友香 繪畫》，椿畫廊，東京，2023，

彩色圖版，編號9

附東京椿畫廊開立之原作保證書

022

TOMOKO NAGAI

(Japanese, b. 1982)

Lost in Thought

2018

Oil and glitter on Canvas

145.6 x 112.5 cm

Signed stretcher bar Tomoko Nagai, titled Lost in Thought in Japanese and dated 2018

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

NT$ 650,000 - 850,000

HK$ 153,000 - 200,000

US$ 19,700 - 25,800

RMB 143,000 - 187,000

長井朋子

沉思

2018

油彩 亮片 畫布

145.6 x 112.5 cm

簽名畫背框條：考え ごとTomoko Nagai 2018 附小山登美夫開立之原作保證書

023

YUICHI HIRAKO

(Japanese, b. 1982)

Cropping 14

2018

Acrylic, paper and collage on canvas

73 x 91 cm

Initialed reverse YH

EXHIBITED

KunstRai 2018, Amsterdam, April 5 - 9, 2018

NT$ 550,000 - 650,000

HK$ 130,000 - 153,000

US$ 16,700 - 19,700

RMB 121,000 - 143,000

平子雄一

剪裁 14

2018

壓克力 紙 拼貼 畫布

73 x 91 cm

簽名畫背：YH

展覽 2018阿姆斯特丹藝術博覽會，阿姆斯特丹，

展期2018年4月5日至9日

024

YUICHI HIRAKO

(Japanese, b. 1982)

Bark

2020

Oil chalk on canvas

89 x 73 cm

Initialed lower right YH and dated 2020

NT$ 750,000 - 1,200,000

HK$ 177,000 - 283,000

US$ 22,800 - 36,400

RMB 165,000 - 264,000

平子雄一

樹皮系列

2020

油粉彩 畫布

89 x 73 cm

簽名右下：YH 2020

025

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Little Bear Boy (Yellow)

2021

Oil on canvas

45.5 x 33.5 cm

Signed overlap Mayuka, titled little bear boy (yallow) and dated 2021

EXHIBITED

Mayuka Yamamoto: Monochrome, Apples and Animals, Corey Helford Gallery, Los Angeles, September 25 - October 30, 2021

NT$ 850,000 - 1,300,000

HK$ 200,000 - 307,000

US$ 25,800 - 39,500

RMB 187,000 - 286,000

山本麻友香

小熊男孩（黃色）

2021

油彩 畫布

45.5 x 33.5 cm

簽名畫布折入處：Mayuka 2021 little bear boy (yellow)

展覽

「山本麻友香：單色、蘋果、動物們」， 科里．赫爾福德畫廊，洛杉磯，展期自2021年9

月25日至10月30日

026

TOMOKO NAGAI

(Japanese, b. 1982)

Botanical Holiday

2021

Oil on canvas

146.2 x 228.2 cm

EXHIBITED

Tomoko Nagai Exhibition - Holiday That is Botanikaru, Nihombashi Mitsukoshi Art Gallery, Tokyo, March 30- April 11, 2022

NT$ 1,100,000 - 2,200,000

HK$ 259,000 - 519,000

US$ 33,400 - 66,800

RMB 242,000 - 484,000

長井朋子

植物假期 2021

油彩 畫布

146.2 x 228.2 cm

展覽 「長井朋子展：作為botanikaru的休息日」，

日本橋三越藝術畫廊，東京，展期2022年3月 30日至4月11日

027

AYAKO ROKKAKU

(Japanese, b. 1982)

Wedding Day

2007

Acrylic on canvas

66.8 x 24.5 cm

Signed reverse Ayako Rokkaku in Japanese and dated 2007

PROVENANCE

Gallery Beniya, Tokyo

Est-Ouest Auctions, Tokyo, July 12, 2008, lot 12

Acquried from the above by the present owner

NT$ 1,500,000 - 2,200,000

HK$ 354,000 - 519,000

US$ 45,600 - 66,800

RMB 330,000 - 484,000

六角彩子

婚禮之日

2007

壓克力 畫布

66.8 x 24.5 cm

簽名畫背：2007 ロッカクアヤコ

來源

紅屋畫廊，東京

伊斯特拍賣，東京，2008年7月12日，編號12

現有收藏者購自上述來源

028

MIWA KOMATSU

(Japanese, b. 1984)

Kirin

2018

Acrylic on canvas

130 x 162 cm

Signed reverse Ko Miwa in English, in kanji and dated 2018

PROVENANCE

Whitestone Gallery, Taipei

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

HK$ 660,000 - 896,000

US$ 85,000 - 115,400

RMB 615,000 - 835,000

小松美羽

麒麟

2018

壓克力 畫布

130 x 162 cm

簽名畫背：KOMIWA 小松美羽 2018

來源

白石畫廊，台北

小松美羽，曾被藝術獎評選「世界藝

術家前 39 名」被稱為「地球籍的藝術 家」、「無國籍創作者」，其作品已 被大英博物館永久珍藏，也是該館所典 藏的在世藝術家作品最年輕的一位。筆 下畫作展現出對萬物真摯的關切與祈 福，讓觀者得以獲得慰藉。作品《麒 麟》以藝術家標誌性神獸形象，傳遞 藝術家提倡的「大和諧」（ The Great Harmonization ）思維，將藝術作為連 接靈性的工具，與常人不可見的神獸相 遇、聯繫，並生動地描繪成具象，以神 祕絢爛的色彩帶來強烈的視覺張力。

Miwa Komatsu, once ranked among the "Top 39 Artists in the World" by an international art award, is often referred to as an "artist of Earth"

and a "borderless creator." Her work has been permanently acquired by the British Museum, making her the youngest living artist to be featured in its collection. Her paintings convey sincere concern and blessings for all living things, offering solace to viewers.

Her work kirin features her signature divine beast motif and embodies the philosophy of "The Great Harmonization" that she advocates. Through this piece, art becomes a spiritual bridge, allowing encounters and connections with mythical creatures unseen by ordinary people. Rendered with mystical and brilliant colors, her work delivers a powerful visual impact.

AYAKO ROKKAKU

(Japanese, b. 1982)

Untitled 2008

Oil on canvas

100 x 100 cm

Signed lower right Ayako Rokkaku in Japanese and dated 2008

PROVENANCE

Gallery Delaive, Amsterdam

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

HK$ 943,000 - 1,179,000

US$ 121,500 - 151,800

RMB 879,000 - 1,099,000

六角彩子被人稱為「日本藝術界下一位奈良美智」。其 作品受中國寶龍美術館、韓國世華美術館、日本金澤 21世紀美術館和荷蘭Voorlinden博物館等機構收藏，曾 於法國、荷蘭、丹麥、德國、比利時、日本等地舉辦個 展。六角彩子曾分析自己創作的特色為：「單純的塗 鴉」、「發掘自我的行為」、「小孩的圖畫」。回歸純 粹，連結生命原動力，讓我們也藉由她的藝術，重新與 心中的孩子相遇，或許正是六角彩子如此受到歡迎的原 因。

本次拍品《無題》刻畫了六角標誌性的、眼神明亮而充 滿好奇的年輕女主角形象，古靈精怪的大眼女孩綁著可 愛的側邊馬尾，身著鮮豔的小洋裝，光腳走在由繽紛色 彩組成的奇幻世界中，似在雲朵裡，似在花圃中；女孩 捂著嘴巴，大步邁開向前，毫無畏懼地帶領觀者一同踏 上探險之旅。明亮協調的色彩，紛而不亂的筆觸，還有 目光純粹的孩子，讓人想起最初我們降生在這世界自由 探索的樂趣，與那全然投入的狀態。

Ayako Rokkaku has been dubbed "the next Yoshitomo Nara in the Japanese art scene." Her works are collected by institutions such as the Powerlong Art Museum in China, Sehwa Museum of Art in Korea, 21st Century Museum of Contemporary Art,

六角彩子

無題

2008

油彩 畫布

100 x 100 cm

簽名右下：2008 ロッカクアヤコ

來源

德萊夫畫廊，阿姆斯特丹

Kanazawa in Japan and the Voorlinden Museum in the Netherlands. She has held solo exhibitions in France, the Netherlands, Denmark, Germany, Belgium, Japan, and other countries. From self-analysis, Rokkaku listed three characteristics of her paintings: “plain scribbling,”“the act of getting out something inside me,” and “kid’s drawing.” By returning to purity and connecting with the primal force of life, she allows us to rediscover the child within ourselves through her art. Perhaps this is why Ayako Rokkaku is so popular.

The artwork Untitled portrays the iconic, brighteyed, and curious young female protagonist of Rokkaku's works. This mischievous girl with large eyes is tied with a cute side ponytail, dressed in a vibrant little dress, walking barefoot in a fantastical world composed of colorful hues, seemingly amidst clouds or in a flower garden. The girl covers her mouth, taking bold strides forward, fearlessly leading the viewer on an adventurous journey. The bright and harmonious colors, the precise yet lively brushstrokes, and the pure gaze of the child remind us of the joy of freely exploring the world and that state of complete immersion we experienced when we first came into this world.

EDGAR PLANS

(Spanish, b. 1977)

Am I Batman?

2022

Acrylic on canvas

120 x 100 cm

Signed lower left Plans

Signed reverse Plans, titled My Vampire Portrait and dated 2022

EXHIBITED

I Am A Dreamer: Edgar Plans, Xiao Museum of Contemporary Art, Zizao, Sandong, China, February 25 - May 5, 2023

NT$ 3,200,000 - 4,800,000

HK$ 755,000 - 1,132,000

US$ 97,200 - 145,800

RMB 703,000 - 1,055,000

藝術家艾德加．普連斯生長於南歐，他的繪畫自然帶有 溫暖的色彩，主題上根植於過去的生命經驗，還有他關 心的當代議題。他自認十分欣賞街頭藝術，舉凡塗鴉、 漫畫、插畫、動畫電影，潮流當代性的人物造型，在他 的繪畫裡起了關鍵性的影響。巴斯奇亞、奇斯．哈林、 村上隆等前輩的畫風，也是他師法的對象，再融入自傳 式的語彙。 2009 年前後，他創造出一個穿戴頭盔、身 穿斗篷的「動物英雄」的人物設定，作品《我是蝙蝠俠 嗎？》詼諧引用電影蝙蝠俠英雄主題，除了象徵著力 量，也反覆提點眾人「夢想」的重要性，傳遞正向的思 維。

Artist Edgar Plans, who grew up in Southern Europe, naturally incorporates warm tones into his paintings. His themes are rooted in his past life experiences and contemporary issues he cares deeply about.

艾德加．普連斯

我是蝙蝠俠嗎？ 2022

壓克力 畫布

120 x 100 cm

簽名左下：Plans

簽名畫背：My Vampire Portrait Plans 2022

展覽

「造夢者：埃德加．普蘭斯個展」，

瀟當代美術館，山東日照市，

展期2023年2月25日至5月5日

He openly expresses his admiration for street art, including graffiti, comics, illustrations, and animated films. The trendy, contemporary character designs play a key role in shaping his artistic style. He draws inspiration from the works of predecessors such as Jean-Michel Basquiat, Keith Haring, and Takashi Murakami, blending their influence with autobiographical elements.

Around 2009, he created a character known as the "Animal Hero"—a figure wearing a helmet and a cape. His work Am I Batman? humorously references the superhero theme from the Batman films. Beyond symbolizing strength, it repeatedly emphasizes the importance of "dreams" and conveys a message of positivity.

TAKESADA MATSUTANI

(Japanese, b. 1937)

Untitled 1981

Vinyle adhesive, graphite pencil, paper on canvas

201 x 145 cm

Signed reverse Matsutani in English Takesada Matsutani in kanji, inscribed Paris papier vinyle en relief crayon sur toile and dated 1981

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

HK$ 802,000 - 1,038,000

US$ 103,200 - 133,600

RMB 747,000 - 967,000

松谷武判 1937 年生於日本大阪，是日本戰後當代藝術 的代表人物。 1963 年成為日本戰後前衛藝術─具體派 （ Gutai ）的第二代成員，該團體旨在拋棄傳統畫筆， 使用更新式的材料進行實驗。 1966 年松谷武判前往巴 黎留學後定居，發展出更大膽的創作方式。他的獨門 技法即是以白膠覆蓋畫布，用電風扇吹乾，使其呈現膨 脹或皺褶等奇特紋路，再於白膠上以石墨作畫。松谷武 判的作品突破傳統平面繪畫的侷限，既是繪畫，亦是雕 塑。他的作品收藏於巴黎龐畢度中心、東京國立近代美 術館、倫敦維多利亞與艾伯特博物館，以及維也納阿爾 貝蒂娜博物館。

Takesada Matsutani, born in 1937 in Osaka, Japan, is a prominent figure in postwar contemporary Japanese art. In 1963, he became a second-generation member of the Gutai art group, a postwar avant-garde

松谷武判

無題 1981

膠水 石墨塗料 紙 畫布

201 x 145 cm

簽名畫背：Matsutani 1981 Paris papier vinyle en relief crayon sur toile 松谷武判

movement in Japan that aimed to abandon traditional brushes and experiment with new materials.

In 1966, Matsutani moved to Paris for further study and eventually settled there, developing a bold and more experimental style. His unique technique involves covering the canvas with white glue, drying it with a fan to create bulges or wrinkles, and then drawing on the surface with graphite.

Matsutani’s works transcend the boundaries of traditional two-dimensional painting, existing simultaneously as both painting and sculpture. His artworks are part of the collections of major institutions such as the Centre Pompidou in Paris, the National Museum of Modern Art in Tokyo, the Victoria and Albert Museum in London, and the Albertina Museum in Vienna.

032

CHIHARU SHIOTA

(Japanese, b. 1972)

State of Being (Geometric Black Form)

2014

Metal frame and black thread

115(L) x 85(W) x 123(H) cm

Initialed back C.S.

PROVENANCE

Galerie Templon, Paris

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

HK$ 377,000 - 613,000

US$ 48,600 - 79,000

RMB 352,000 - 571,000

塩田千春

存在狀態（幾何黑色）

2014

金屬框架 黑線

115(長) x 85(寬) x 123(高) cm

簽名後方：C.S.

來源

坦普隆畫廊，巴黎

033

YAYOI KUSAMA

(Japanese, b. 1929)

Pumpkin

1982

Screenprint, ed. 60/70

52.2 x 45.7 cm (image); 64 x 54.5 cm (sheet)

Signed lower right Yayoi Kusama, titled Pumpkin, dated 1982 and numbered 60/70

PROVENANCE

Roppongi Hills A/D Gallery, Tokyo

ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 15, no. 5 (another number)

NT$ 1,300,000 - 2,200,000

HK$ 307,000 - 519,000

US$ 39,500 - 66,800

RMB 286,000 - 484,000

草間彌生

南瓜

1982

版畫 版次 60/70

52.2 x 45.7 cm (圖)

64 x 54.5 cm (紙)

簽名右下：Yayoi Kusama 1982 Pumpkin 60/70

來源

六本木之丘，東京

圖錄

《草間彌生全版畫1979-2017》，

阿部出版株式會社，東京，2017，彩色圖版，

頁15，編號5 (不同版次)

034

YAYOI KUSAMA

(Japanese, b. 1929)

A Pumpkin (RY)

2004

Screenprint, ed. 35/120

27 x 32.5 cm (image); 38 x 45.5 cm (sheet)

Signed lower right Yayoi Kusama

Titled lower center A Pumpkin (RY) and dated 2004

Numbered lower left 35/120

PROVENANCE

Y&C Home Collection, Taipei

Ravenel, Taipei, July 17, 2021, lot 024

Private collection, Taiwan

ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 183, no. 317 (another number)

NT$ 700,000 - 900,000

HK$ 165,000 - 212,000

US$ 21,300 - 27,300

RMB 154,000 - 198,000

草間彌生

南瓜

2004

版畫 版次 35/120

27 x 35 cm (圖)

38 x 45 cm (紙)

簽名右下：Yayoi Kusama

題識中下：A Pumpkin (RY) 2004

版次左下：35/120

來源

易雅居，台北

羅芙奧，台北，2021年7月17日 編號 024

私人收藏，台灣

圖錄 《草間彌生全版畫1979 - 2017》，阿部出版

株式會社，東京，2017，彩色圖版，頁183，

編號317 (不同版次)

035

MEGURU YAMAGUCHI

(Japanese, b. 1984)

Revisualize No. 22

2020

Acrylic, epoxy resin on wood

78(L) x 162.5(W) x 3(D) cm

Signed reserve MEGURU YAMAGUCHI, titled Revisualize No. 22 and dated 2020

PROVENANCE

Asia Art Center, Taipei

NT$ 650,000 - 750,000

HK$ 153,000 - 177,000

US$ 19,700 - 22,800

RMB 143,000 - 165,000

山口歷

重新展現 22 號 2020

壓克力 樹酯 木板

78(長) x 162.5(寬) x 3(厚) cm

簽名題識畫背："Revisualize No. 22" MEGURU YAMAGUCHI 2020

來源 亞洲藝術中心，台北

036

YAYOI KUSAMA

(Japanese, b. 1929) Pumpkins

2002

Porcelain, ed. 61/130

8(L) x 8(W) x 9(H) cm

Signed bottom Yayoi Kusama, dated 2002 and numbered 61/130

Signed inside the box cover Yayoi Kusama and dated 2002

NT$ 260,000 - 460,000

HK$ 61,000 - 108,000

US$ 7,900 - 14,000

RMB 57,000 - 101,000

草間彌生

南瓜 2002

瓷器 版次 61/130

8(長) x 8(寬) x 9 (高) cm

簽名底部：Yayoi Kusama 2002 61/130

簽名盒蓋底：Yayoi Kusama 2002

037

BERNARD BUFFET

(French, 1928-1999)

Nature morte au homard

1979

Oil on canvas

27 x 35 cm

Signed upper left Bernard Buffet and dated ‘79

PROVENANCE

Galerie Maurice Garnier, Paris, Taipei

Galerie Dimensions Art Center, Taipei

Galerie Elegance, Taipei

Private collection, Asia

This lot is accompanied by a confirmation letter from Galerie Maurice Garnier, Paris and a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 950,000 - 1,500,000

HK$ 224,000 - 354,000

US$ 28,800 - 45,600

RMB 209,000 - 330,000

貝爾納．畢費 紅龍蝦

1979

油彩 畫布

27 x 35 cm

簽名左上：Bernard Buffet ‘79

來源 賈尼耶畫廊，巴黎 帝門藝術中心，台北 愛力根畫廊，台北 私人收藏，亞洲

附巴黎賈尼耶畫廊確認信函與台北愛力根畫廊 開立之原作保證書

038

GEORGES MATHIEU

(French, 1921-2012)

Troglodit

1979

Oil on canvas

60 x 73 cm

Signed lower right Mathieu

Signed stretcher bar Mathieu, titled Troglodit and dated 1979

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

NT$ 1,300,000 - 2,200,000

HK$ 307,000 - 519,000

US$ 39,500 - 66,800

RMB 286,000 - 484,000

喬治．馬修

隱士

1979

油彩 畫布

60 x 73 cm

簽名右下：Mathieu

簽名題識畫背框條：Mathieu ‘79 Troglodit

附台北愛力根畫廊開立之原作保證書

MOÏSE KISLING

(Polish-French, 1891-1953)

Jeune fille assise

1949

Oil on canvas

73 x 54 cm

Signed upper right Kisling, inscribed Paris and dated 1949

PROVENANCE

Christie’s, London, February 5, 2002, lot 217

ILLUSTRATED

H. Troyat & J. Kisling, Kisling 1891–1953 Vol. II, Turin, 1982, color illustrated, plate no. 236, p. 160.

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

HK$ 943,000 - 1,415,000

US$ 121,500 - 182,200

RMB 879,000 - 1,319,000

被譽為「蒙帕納斯之王」的莫依斯．奇斯林，以描繪人 物見長，濃烈的東方主義異國風情，在該畫派中獨樹一 格，至今也影響著後世。畫風高貴的氣質，吸引藝文名 流爭相委託繪製肖像。他擅長捕捉女性陰柔幽微的表 情，在濃烈鮮明的色彩裡，總透著神秘氣氛，無聲渲染 細膩的情緒張力。

縱覽奇斯林的編年目錄，數百張人物肖像，他似乎情有 獨鍾斯拉夫民族的「金髮碧眼」外型。奇斯林拍賣紀錄 中最高價畫作，就是金髮碧眼手持鬱金香的女子肖像。

而襯托女子白皙膚色的「紅衣飾」主題，為其代表元 素，象徵藝術家濃烈而內斂的友愛之情，頻頻出現在藝 術家為至親繪製的畫像裡。歐洲美術館典藏的奇斯林作 品，如巴黎龐畢度藝術中心、日內瓦小皇宮都有此共通 點。

莫依斯．奇斯林

少女坐姿

1949

油彩 畫布

73 x 54 cm

簽名右上：Kisling, Paris 1949

來源

佳士得，倫敦，2002年2月5日，編號217

圖錄

亨利‧特羅亞 & 尚‧奇斯林，

《奇斯林 1891–1953 第二卷》，杜林， 1982，彩色圖版，編號236，頁160

而數量珍貴稀少的「庭園／植物布景」是另一項貫穿他 創作生涯的元素。這種非商業委託，奇斯林細筆慢畫的 創作型作品，多以層次多變，筆觸豐滿的綠植背景，突 顯中心人物的獨特身分。這類型作品，早早為眼光精準 的高端藏家收藏，甚少交易於藝術市場。 2019 年東京 都庭園美術館，舉辦「奇斯林－巴黎畫派之夢」藝術家 回顧展，該展覽就是以金髮少女手持百合花束，佇立於 各色植物組成的庭園背景之中，作為宣傳主視覺。

此次拍品《少女坐姿》完成於 1949 年，畫中細節豐 富，明暗節奏渾然天成，實屬藝術風格嫻熟練達，至臻 至美之代表作品。畫中樹景深淺疊翠，挾帶抽象墨色， 紅頭巾溫暖扎實的包覆少女面容，恰如絲絨與金色珍珠 映襯著雙眸透藍的慧黠。畫面中央三分之二處，以一圈 細緻的白蕾絲衣領，映襯頭巾酡紅與衣裙帶棕的酒紅調

Portrait de jeune fille assise

東方主義異國風情

性。荳蔻少女坐姿優雅，沉穩的絨布質地，以暗影交錯 匍匐出柔軟身形。一雙光潔柔韌的手，掌心上下交錯象 徵謙遜與虔誠。表達少女純潔心靈的同時，也為暗色的 畫面注入明亮的平衡。

《少女坐姿》令人聯想奇斯林與其好友莫迪里亞尼，都 相當推崇的文藝復興時期風格。兩人筆下的女子都有著 修長身形，櫻桃小口與杏眼的精緻五官。肖像畫作除了 視覺美感的表現，也蘊含著創作者的豐沛情感與藝術理 想。奇斯林的家鄉，波蘭克拉科夫「恰爾托雷斯基博物 館 (Muzeum Czartoryskich)」收藏著達文西名作《抱銀 貂的女子》。由此線索遙想，或許《少女坐姿》，正恰 如其分詮釋出大時代下，藝術家追憶 似水年華的精采人生，與那真摯感人 對藝術終身的追求。

Moïse Kisling, acclaimed as the “King of Montparnasse,” was renowned for his portraiture and distinctive incorporation of intense Orientalist exoticism, setting him apart within his artistic circle and continuing to influence future generations. His refined and elegant style attracted numerous cultural and artistic elites who eagerly commissioned portraits from him. Kisling excelled at capturing the subtle, delicate expressions of women, imbuing his vibrant and bold color palettes with an air of mystery that silently conveyed a rich, emotional depth.

the subject’s fair complexion, is the “red garment” motif. This theme, symbolic of the artist’s intense yet restrained affection, appears frequently in portraits of those closest to him. Works with these characteristics are notably represented in major European art collections, including the Centre Pompidou in Paris and the Petit Palais in Geneva.

Another rare and precious motif that runs throughout Kisling’s artistic career is the use of garden or botanical backdrops. These works, distinct from commercial commissions, were meticulously rendered with fine brushwork and a contemplative pace. They often feature lush, layered greenery that not only adds depth but also serves to emphasize the unique presence of the central figure. Such pieces, created with greater artistic intention, were quickly acquired by discerning highend collectors and have rarely circulated on the open market.

A review of Kisling’s catalogue raisonné reveals a clear fondness for the Slavic ideal of “blonde hair and blue eyes” in his portraits—an aesthetic he returned to time and again across hundreds of works. The most highly valued painting in his auction record features just such a woman, holding a tulip. One of Kisling’s signature elements, often used to highlight

In 2019, the Tokyo Metropolitan Teien Art Museum held a retrospective exhibition titled “Kisling: The Dream of the School of Paris.” The key visual for the exhibition featured a blonde girl holding a bouquet of lilies, standing serenely against a backdrop of richly varied garden flora—a quintessential example of this rare genre in Kisling’s oeuvre.

The present lot, Jeune fille assise (Seated young Girl), completed in 1949, stands as a consummate example of Kisling’s mature style—rich in detail, with a masterful interplay of light and shadow that flows with natural rhythm and grace. The layered greenery in the

background evokes depth and atmosphere, enhanced by abstract inky tones. A warm, solid red headscarf gently frames the girl’s face, like velvet paired with golden pearls, accentuating the clever sparkle in her blue eyes.

At about two-thirds of the canvas, a delicate white lace collar serves as a tonal bridge between the headscarf’s rosy red and the earthy burgundy of her dress, subtly nuanced with hints of brown. The young girl, in the prime of her youth, sits with quiet elegance. Her form, draped in plush fabric, is softly sculpted by interwoven shadows, creating a tender, almost tactile presence. Her smooth, supple hands are folded with palms facing opposite directions—a gesture symbolizing humility and devotion. While expressing the girl’s inner purity, this luminous detail also brings a gentle, clarifying balance to the overall dark-toned composition.

Jeune fille assise evokes the stylistic essence of the Renaissance period—an era deeply admired by Kisling and his close friend Amedeo Modigliani. Both artists often portrayed women with elongated figures, delicate features such as almond-shaped eyes and cherry-like lips, creating a timeless elegance in their work. Beyond visual beauty, their portraits are imbued with profound emotion and a reflection of artistic ideals.

Kisling’s hometown of Kraków, Poland, is home to the Czartoryski Museum (Muzeum Czartoryskich), which houses Leonardo da Vinci’s celebrated masterpiece Lady with an Ermine (Dama con l’Ermellino). This connection offers a poetic lens through which to view Jeune fille assise—a painting that may well encapsulate the artist’s nostalgic longing and the vivid memories of a life shaped by a grand historical era. It stands as a moving tribute to Kisling’s enduring devotion to art, and to the beauty and fragility of youth captured with sincerity and grace.

莫依斯．奇斯林《瑪德蓮．索洛涅畫像》1936 油彩 畫布73 x 54 cm

羅芙奧台北2024秋季拍賣會，編號61，成交金額 NT$ 10,320,000 Moïse Kisling, PortraitdeMadeleineSologne, 1936, oil on canvas 73 x 54 cm

Ravenel Autumn Auction 2024 Taipei, lot 61, US$ 317,832 sold

莫迪里亞尼《圍領巾的珍妮》油彩 畫布 92 x 54 cm

倫敦蘇富比，2016年06月21日，編號12， 成交金額 US$ 56,265,500

Amedeo Modigliani, Jeanne Hébuterne (au foulard) oil on canvas 92 x 54 cm

Sotheby’s London, June 21, 2016, lot 12, US$ 56,265,500 sold

BERNARD BUFFET

(French, 1928-1999)

Rouen. Bateaux de commerce et péniches

1972

Oil on canvas

89 x 130 cm

Signed upper left Bernard Buffet

Dated lower right 1972

Titled Rouen Seine Maritime, Bateaux de commerce et péniches

PROVENANCE

Aguttes Auction, France, June 2, 2015, lot 127

Private collection, Asia

ILLUSTRATED

Bernard Buffet, Galerie Maurice Garnier, Paris, 1973.

Yann Le Pichon, Bernard Buffet, Galerie Maurice Garnier, Paris, 1986, color illustrated, p. 319, no. 742

This lot is recorded in the Galerie Maurice Garnier Archives under No. AD.71.

NT$ 13,000,000 - 22,000,000

HK$ 3,066,000 - 5,189,000

US$ 394,800 - 668,100

RMB 2,857,000 - 4,835,000

貝爾納．畢費

盧昂港埠與駁船

1972

油彩 畫布

89 x 130 cm

簽名左上：Bernard Buffet

年代右下：1972

題識畫背：Rouen Seine Maritime, Bateaux de commerce et péniches

來源

Aguttes拍賣，法國，2015年6月2日，編號127

私人收藏，亞洲

圖錄

《貝爾納‧布菲》，莫里斯‧賈尼耶畫廊，巴黎，1973

揚‧拉畢雄 《貝爾納‧布菲 》莫里斯‧賈尼耶畫廊，巴黎，1986，

彩色圖版，頁319，編號742

此作品記錄於莫里斯‧賈尼耶畫廊檔案中，編號 AD.71

BERNARD BUFFET |

Rouen. Bateaux de commerce et péniches

畢費 | 盧昂商埠與駁船

盧昂，法國諾曼第大區重要大城，為於大巴黎地區西 北方 140 公里處。作為塞納河入英吉利海峽前重要樞 紐，自古就是法國重要的戰略之地。它更以優越的港 口貿易條件，成為商賈貿易繁盛，歷史人文匯聚之 地。1801年由拿破倫下令建造的盧昂美術館，擁有僅 次巴黎的法國第二大印象派畫作館藏。 1892-1894 年 法國印象主義畫家莫內（ Claude Monet ）聞名全球 的畫作《盧昂大教堂》系列就是以城中的「盧昂聖母 大教堂（Cathédrale Notre-Dame de Rouen）」為靈 感來源的作品。

此次拍品畢費《盧昂商埠與駁船》為藝術家 1972 年 「船隻」系列風景畫作。藝術家以橫幅，如雄鷹空中 俯瞰的視角構圖此作。該系列作品數量稀少，集中於 1972-1973 年畫就，描繪 70 年代法國工業發展與海運 貿易的鼎盛景象。構圖嚴謹精緻、薰染上金棕色調的 船隻系列，象徵著畫家進入成熟時期的創作高峰。 《盧昂商埠與駁船》畫面中如同炭精的黑色線條，繁 密且精巧的粗細交錯，構築出建築物與具象風景元 素。一艘艘拖船依序列隊，低鳴著從遠方駛來，牽引 著載滿貨櫃的大型駁船。河岸旁商埠建築比鄰而立， 遠處的大教堂尖塔聳立，在工業化與歷史之間見證著 城市的變遷。空無一人的景象，因密集的筆觸帶出一 種略帶激盪的現代感，也許正是藝術家對於商埠繁華 與歷史流轉的靜默凝視。

1928 年出生在巴黎的畢費，家族源自法國北方。七 歲起他每年都會與家人，前往濱海布列塔尼北角的聖 卡司萊吉爾多（Saint-Cast-le-Guildo）度過暑假。北 方的海岸風景，似乎一直圍繞著畢費的藝術。對海洋 與自然的熱愛，終其一生出現在他筆下的繪畫世界。

觀賞畢費的 1972 年「船隻」系列風景畫作，如同遊 歷法國西部各大港城。小舟輕帆的海村風光，或是大

船入港雄偉壯闊，都叫人心生嚮往去實地一探究竟。

承襲法國巴洛克古典主義大師克勞德．洛翰（Claude Lorrain, 1600-1682 ）筆下「理想的風景」，莫內探 究視覺光影變化的盧昂大教堂系列與烏拉曼克野獸派 的強烈表現力，畢費薈萃歷代大師的藝術思想，融會 個人風格的詮釋，為世人留下彌足珍貴的藝術瑰寶。

Rouen, a major city in the Normandy region of France, is located about 140 kilometers northwest of the Île-de-France area. As a key hub along the Seine River before it flows into the English Channel, it has long held strategic importance in French history. With its excellent port conditions, Rouen became a thriving center of commerce and trade, as well as a melting pot of history and culture. The Musée des Beaux-Arts de Rouen, founded in 1801 by order of Napoleon, houses the second-largest collection of Impressionist paintings in France, second only to Paris. From 1892 to 1894, the renowned French Impressionist painter Claude Monet created his famous “Rouen Cathedral” series, inspired by the city’s own Cathédrale Notre-Dame de Rouen.

The artwork, Rouen. Bateaux de commerce et péniches (Rouen Harbor and Barges), is part of the artist’s 1972 “Boats” series of landscape paintings. The artist composed this work with a horizontal format, adopting the perspective of an eagle soaring in the sky. Works from this series are rare, concentrated in 1972, depicting the peak of France’s industrial development and maritime trade in the 1970s. The composition is meticulously refined, with boats bathed in golden-brown tones, signaling the artist’s creative peak during his mature period.

In Rouen. Bateaux de commerce et péniches , the black lines resemble the precision of charcoal, with intricate interweaving of thick and thin strokes that build the structures and figurative elements of the landscape. Tugboats line up in succession, their low hums signaling their approach as they tow large barges filled with cargo. On the riverbank, commercial buildings stand side by side, with the cathedral’s towering spire rising in the distance, witnessing the city’s transformation between industrialization and history. The empty scene, combined with dense brushstrokes, conveys a sense of modernity tinged with subtle agitation, possibly reflecting the artist’s silent contemplation of the flourishing commerce and the passage of time in history.

Born in Paris in 1928, Buffet hailed from a family originating in northern France. From the age of seven, he would spend every summer with his family in Saint-Cast-le-Guildo, located at the northern tip of Brittany. The coastal landscapes of the North seemed to constantly surround Buffet’s art. His lifelong love for the sea and nature is evident throughout his paintings. Viewing Biffet’s 1972 “Ships” series of landscape paintings is like traveling through the major port cities of western France. The sight of small boats with billowing sails in seaside villages, or the grandeur of large ships entering the harbor, evokes a deep longing to visit these places in person.

Following in the tradition of French Baroque master Claude Lorrain (1600-1682), known for his “idealized landscapes,” and influenced by Monet’s exploration

of visual light and shadow in his Rouen Cathedral series, as well as the powerful expressiveness of the Fauvist Maurice de Vlaminck, Buffet synthesizes the artistic philosophies of past masters. He blends them with his personal style, leaving the world with a priceless artistic legacy.

貝爾納．畢費《聖托佩港口》1993 油彩 畫布 130 x 195 cm

羅芙奧台北2020秋季拍賣會，編號221，成交金額 NT$36,000,000

Bernard Buffet, SaintTropez, 1993, oil on canvas 130 x 195 cm

Ravenel Autumn Auction 2020 Taipei, lot 221, US$1,263,158 sold

貝爾納．畢費與妻子安娜貝爾．畢費於聖托佩住所

Bernard Buffet and his wife Annabel Buffet in their residence in Saint-Tropez

ZAO WOU-KI

(Chinese-French, 1920-2013)

1.6.65

1965

Oil on canvas

73 x 91 cm

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

Signed reverse ZAO in French, titled 1.6.65 and inscribed Pour Paule-Marie et André Chastel. Très amicalement Zao Wou-ki

PROVENANCE

Collection of art historians, Paule-Marie and André Chastel, France

Artcurial Auction, Paris, July 01, 2003, lot 503

Sotheby’s, Hong Kong, October 24, 2005, lot 774

Acquired from the above by the present owner

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

This lot is referenced in the archive of the Fondation Zao Wouki and will be included in the second part of artist’s catalogue raisonné under the number P-0489 prepared by Fondation Zao Wou-ki.

NT$ 55,000,000 - 75,000,000

HK$ 12,972,000 - 17,689,000

US$ 1,670,200 - 2,277,600

RMB 12,088,000 - 16,484,000

趙無極

1.6.65

1965

油彩 畫布

73 x 91 cm

簽名右下：無極 ZAO

簽名畫背：ZAO 1.6.65 Pour Paule-Marie et André Chastel

Très amicalement, 無極 ZAO

來源

藝術史學家寶拉-瑪莉與安德烈 夏斯特舊藏，法國

艾德拍賣，巴黎，2003年7月1日，編號503

蘇富比拍賣，香港，2005年10月24日，編號774

現有收藏者購自上述來源

附藝術家簽名之照片保證書

此作品已由趙無極基金會鑑定，並納入其編纂的藝術家編年圖

錄續集，編號P-0489

ZAO WOU-KI

趙無極

1.6.65

趙無極《29.01.64》油彩 畫布 260 x 200 cm

成交金額 US$ 25,944,956，2017年11月25日，香港佳士得，編號24

Zao Wou-Ki, 29.01.64, oil on canvas 260 x 200 cm

Sold Price US$ 25,944,956, November 25, 2017, Christie's Hong Kong, lot 24

「他的油畫和石版畫十分迷人，使我同時想起克利繪畫 的神祕和倪瓚山水的簡練，我可以毫不誇張地說，趙無 極是當今畫壇最偉大的藝術家之一。」—貝聿銘

1948 年後，趙無極由上海到巴黎開始他旅居法國的藝 術生涯，受到當時西歐主流畫派影響，此時期的趙無 極，正處於自我探索的階段， 1949 至 1950 年間，趙無 極的多幅畫作已受保羅 克利作品影響。藝術家 1960 年 代最典型的海景型橫式構圖，氣勢壯闊而生動，昇華長 年繪畫之反思，再造全新的創作能量。學過六年音樂的

趙無極，對於光源、空間的關切留意，以及音樂的抽象 性特質，亦起了巧妙的鏈結。台灣藝術評論家杜若洲曾 如此讚譽 : 「中國的空間」和「西方的光」是趙無極在 藝術上的可觀成就之一。他不斷融合兩大文化的潛質， 以其現代性的表達語彙，不僅是達到精神上的遨遊，更 是締造了一個全新的視覺世界。

至今仍被藏家們趨之若鶩的趙無極「狂草時期」系列。

從 1960 至 1965 年，分別展覽於於最具影響力和傳奇性 的巴黎法蘭西畫廊（Galerie de France）與紐約庫茲畫 廊（Kootz Gallery）舉辦個展，並受邀於國際美術館參 展等。趙無極曾形容那時候的自己：「我那十年全速前 進，就像駕駛一輛高速飛馳的車。」綜觀「狂草時期」 作品，最大特色為其畫面磅礡氣勢，構圖緊湊而力量賁 張。趙無極巧妙融匯東西藝術色彩和線條之所長，實屬 古往今來世界第一。尤其創作者心中抒情暢意之情懷， 透過筆下妙不可言、千變萬化之運筆手法，疊加成浩然 廣闊、稠迭連綿之深度空間。細觀其線條勾勒如瘦金解 構，充滿力度、挺勁犀利的運筆態勢，時而激昂、時而 如山川相繆，且任由觀者依循神往天地之沛然能量，感 呼於渺滄海之一粟。

拍品《1.6.65》屬趙無極「狂草時期」創作，以中型尺 幅之標誌型橫向結構，淋漓盡致展演藝術家狂草時期之 代表性繪畫特色。背景以淡赭色打底，延續 1964 年開 始的沈穩褐色調，襯以細筆層疊精心佈局之橙、白、 紫、黑、紅用色。相較於早期彩度之對比強烈，畫作 《1.6.65》用色之節約，更著重出藝術家探求筆意與構 圖之巧妙平衡。霞光橫掃畫面上半部，筆勢猶如飛鳶颯 爽展翼，淋漓暢快，探至結構中心筆力緊俏，宛若挾飛 仙以遨遊的節奏緊湊，整體充滿力度與層次起伏。無論 是筆勢或色彩結構，皆為剛柔並濟，舒張有度，發揮出 藝術家最大的創作能量。

依據藝術家親筆題識於《1.6.65》畫背的文字，得悉此

作原為法國藝術史學家安德烈．夏斯特（André, Chastel, 1912-1990）與寶拉- 瑪莉．夏斯特（Paule-Marie Grand Chastel, 1914-2006）夫婦私人收藏。前者以豐富的義大 利文藝復興研究，在 1975 年榮獲法蘭西文學院院士。任 教巴黎索邦大學期間，安德列．夏斯特為培養藝術史學 者與未來的學術人才， 1959 年成立「現代建築史研究中 心」（Centre de recherche sur l’histoire de l’architecture moderne (CRHAM)）衍伸至今已經改組為「安德烈．夏 斯特中心」（Centre André Chastel ）為法國重點研究歐 洲文化遺產和西方藝術史之學術機構。夏斯特經常拜訪同 時代藝術家，如安德烈．馬松（ André Masson ）和趙無 極，彼此建立深厚友誼。

趙無極 1921 年北京出生， 2013 年辭世於瑞士，在其漫長 的 93 歲人生中，有大半在法國度過，他的華裔血源與文 化傳承、法國國籍與藝術養成，與歐美主流畫廊密切合作 超過半世紀，他是融合東西方文化的藝術家代表，在國際 間受歡迎其來有自。家境的富裕與豐沛的人脈，他一生的 藝術生涯算是十分順遂。趙無極大半生在歐洲度過，揚名 海外，具有顯赫的資歷，他的藝術成就可謂華人之光。為 了表彰趙無極在藝術上的成就與貢獻。 2002 年 12 月，他 繼朱德群之後成為第二位當選法蘭西學院藝術終身院士的 華裔畫家。法蘭西學院藝術終身院士，乃是法國政府給予 藝術家最高的榮譽表揚。

"His oil paintings and lithographs are truly captivating, evoking both the mystery of Paul Klee's work and the simplicity of Ni Zan's landscapes. I can say without exaggeration that Zao Wou-Ki is one of the greatest artists in the contemporary art world."

I. M. Pei

After 1948, Zao Wou-Ki moved from Shanghai to Paris, beginning his artistic career in France. Influenced by

元倪瓚 《江亭山色》國立故宮博物院典藏

and

Riverside Pavilion

Mountain Hues by Ni Zan Courtesy of The National Palace Museum, Taipei.

the dominant Western European art movements of the time, Zao entered a period of self-exploration. Between 1949 and 1950, many of his works were already showing the influence of Paul Klee. In the 1960s, the artist developed his signature horizontal seascape compositions, marked by grandeur and vitality. These works reflect a profound synthesis of years of artistic reflection and the emergence of a renewed creative energy. Having studied music for six years, Zao Wou-Ki developed a keen sensitivity to light sources and space, as well as an appreciation for the abstract qualities of music, which he cleverly linked together in his art. Taiwanese art critic Du Ruozhou once praised him, stating: "The 'Chinese space' and the 'Western light' are among Zao Wou-Ki's remarkable achievements in art." He continually merged the potentials of both cultures, using a modern vocabulary of expression that not only allowed for a spiritual journey but also created an entirely new visual world.

"Hurricane period" works is their grandiose momentum, with tightly structured compositions and an overwhelming sense of power. Zao skillfully integrates the strengths of Eastern and Western artistic color and line techniques, truly creating something unparalleled in the history of art. In particular, the artist's heartfelt and lyrical expressions are conveyed through an indescribable and ever-changing brushstroke technique, layering into a vast and profound space that is both broad and continuous. Upon close inspection, the lines are drawn like delicate gold, deconstructed yet full of force, with strong, sharp brushwork that is at times exhilarating and at other times reminiscent of intertwined mountains and rivers. Viewers are invited to follow the boundless energy of the world and feel a sense of awe at the infinitesimal part we play in the grand scheme of nature.

威廉．透納《陰霾與黑夜：洪水滅世之夜》倫敦泰德美術館收藏 Joseph Mallord William Turner, Shade and Darkness - the EveningoftheDeluge, c.1843, oil on canvas 76 × 76 cm, Courtesy of the Tate Gallery, London, United Kingdom

Zao Wou-Ki's "Hurricane period" series remains highly sought after by collectors to this day. From 1960 to 1965, he held solo exhibitions at the influential and legendary Galerie de France in Paris and Kootz Gallery in New York, and was invited to exhibit at international museums. Zao Wou-Ki once described himself during that time: "Those ten years were a time of full-speed progress, like driving a high-speed car."

The most prominent feature of Zao Wou-Ki's

The artwork 1.6.65 belongs to Zao Wou-Ki's "Hurricane period" and features a medium-sized, iconic horizontal composition, fully showcasing the representative characteristics of the artist's work during this period. The background is based on a light ochre tone, continuing the calm brown hues that began in 1964, complemented by fine layers of orange, white, purple, black, and red, meticulously arranged with delicate brushwork. In contrast to the earlier works that featured strong color contrasts, 1.6.65 demonstrates a more restrained use of color, focusing on the artist's exploration of the delicate balance between brushwork and composition.

宋徽宗（趙佶）《欲借風霜二詩帖》國立故宮博物院典藏 TwoPoemsEntitledWishingtoBorrowtheWindandFrost by Emperor Huizong (Zhao Ji) Courtesy of National Palace Museum, Taipei.

The glow of twilight sweeps across the upper part of the canvas, with brushstrokes soaring like an eagle, flying with swift elegance and energy. As the strokes reach the center of the composition, the brushwork tightens, creating a rhythm that feels as if a celestial being is soaring through the air. The entire work is filled with strength and dynamic layers of movement. Whether in the brushwork or the color structure, there is a perfect balance of firmness and softness, expanding with grace and unleashing the artist's fullest creative energy.

According to the artist's own inscription on the reverse of 1.6.65, the work originally belonged to the private collection of the esteemed French art historian André Chastel (1912–1990) and his wife Paule-Marie Grand Chastel (1914–2006). André Chastel, renowned for his extensive research on the Italian Renaissance, was elected to the Académie Française in 1975. While teaching at the Sorbonne in Paris, he was deeply committed to nurturing art historians and future scholars. In 1959, he founded the Centre de recherche sur l’histoire de l'architecture moderne (CRHAM), which has since evolved into the Centre André Chastel today one of France's leading institutions for the study of European cultural heritage and Western art history. Chastel frequently visited contemporary artists and

元倪瓚 《古木虛亭》國立故宮博物院典藏 ARiversidePavilionbytheAncientTrees by Ni Zan Courtesy of The National Palace Museum, Taipei.

developed deep friendship with figures such as André Masson and Za Wou-Ki.

Zao Wou-Ki was born in Beijing in 1921 and passed away in Switzerland in 2013. Throughout his long life of 93 years, he spent the majority of it in France. His Chinese heritage and cultural legacy, combined with his French nationality and artistic training, allowed him to collaborate closely with major Western galleries for over half a century. He became a representative artist of the fusion of Eastern and Western cultures, and his international popularity is well-deserved. With a wealthy family background and extensive connections, his artistic career was relatively smooth. Having spent most of his life in Europe and gained fame abroad, Zao WouKi holds a distinguished position, and his artistic achievements can be considered a shining example for the Chinese community.

In recognition of his artistic achievements and contributions, Zao Wou-Ki was awarded several prestigious. In December 2002, he became the second Chinese painter, after Chu Teh-Chun, to be elected as a lifelong member of the French Academy of Fine Arts. The title of lifelong member of the French Academy of Fine Arts is the highest honor awarded by the French government to artists.

CHU TEH-CHUN

(Chinese-French, 1920-2014)

Vapeurs dissipées

2006

Oil on canvas

130 x 97 cm

Signed lower right CHU TEH-CHUN and dated 06

Signed reverse CHU TEH-CHUN in Chinese and French, dated 2006 and titled Vapeurs dissipées

PROVENANCE

Private collection, Europe

Sotheby’s Hong Kong, 2011, lot 639

Christie’s Hong Kong, 2023, lot 212

EXHIBITED

Chu Teh-chun: Peintures Récentes, Galerie

Patrice Trigano, Paris, Sept. 13 - Oct. 14, 2006

ILLUSTRATED

Chu Teh-chun: Peintures Récentes, Galerie

Patrice Trigano, Paris, 2006, color illustrated.

G. Wu (ed.), Chu Teh-chu, Hebei Educational Publisher, Hebei, 2009 color illustrated, p. 151

This lot is referenced in the archive of the Fondation Chu Teh-chun and will be included in the artist’s catalogue raisonné prepared by Fondation Chu Teh-chun.

NT$ 18,000,000 - 26,000,000

HK$ 4,245,000 - 6,132,000

US$ 546,600 - 789,600

RMB 3,956,000 - 5,714,000

朱德群說：「不論我的創作原動力是因美麗的事物所激 發，還是內心隱藏著以往的記憶及情感所致，這並不重 要；重要的是站在油畫布前，我的感情被點燃起來。」 作為二十世紀蜚聲國際的華裔藝術家，朱德群以其獨特 的抒情抽象開創繪畫史上璀燦的篇章，青年時期之前， 他在中國奠立了深厚的東方文化素養，求學於杭州藝專 的幾年，因為戰亂不斷遷校，在顛沛學習中亦盡覽中國 的大山大水，隱然埋下了他未來藝術之路裡涵納天地情 懷的胸襟。「在抽象畫中，不一定要完全否定物質的自 然形象。」史塔耶爾（Nicolas de Staël, 1914-1955） 的自由精神，使朱德群聯想起崇山峻嶺，霧氣蒸騰的中 國山水。中國老子的「恍兮惚兮，其中有象」就是抽象 畫。中國人的寫意美學、道家哲學，消弭了西方抽象與

朱德群

蒸騰的霧氣

2006

油彩 畫布

130 x 97 cm

簽名右下：CHU TEH-CHUN 朱德群 2006

簽名題識畫背：CHU TEH-CHUN 朱德群 2006 Vapeurs dissipées

來源

私人收藏，歐洲

蘇富比香港，2011年，編號639

佳士得香港，2023年，編號212

展覽

「朱德群近作展」，帕特里斯．特里加諾畫廊，巴黎，

展期自2006年9月13日至10月14日

圖錄

《朱德群》，帕特里斯．特里加諾畫廊，巴黎，2006，

彩色圖版

《世界名畫家全集：朱德群》，河北教育出版社， 石家莊，2009，彩色圖版，頁151

此作品已由日內瓦朱德群基金會鑑定，並將納入其編纂 的藝術家編年圖錄中

具象的對立。朱德群的抽象繪畫，從西方人的畫裡觸 發，源頭卻在中國文化，在「大象無形」與「恍兮惚 兮，其中有象」的理念裡。

朱德群 1955 年遷居法國巴黎，於此發展其成熟的抒情 抽象風格並逐漸於歐洲建立名聲，乃至獲得亞洲、美 洲各界廣大的讚譽與追隨。繪畫風格經過 1950 年代早 期凝彩寶石典雅構成時期； 1960 年代大幅狂草動勢強 烈，寬筆刷畫的大抽象畫時期； 1970 年代受林布蘭繪 畫啟發的幽微與光源的奧妙探索， 1980 年代中期酣暢 淋漓的雪景系列，以及後期的波瀾壯闊的交響詩合奏律 動，一生繪畫成就不凡。朱德群千禧年後的創作，王 哲雄教授如此說明：「如果九○年代的作品是可以用 『釋放能量』來解讀的話， 2000 年代應該是『內化能

量』，⋯⋯等等，線條相對地精簡，非到必要不用， 用則如龍點睛，如虎添翼，如此淬鍊是謂『惜線如 金』；寓『韻律』於蒸騰的神秘『形象』和閃爍躍動 的小色塊；幻化的光源召喚著洛翰（ Claude Lorrain, 1600-1682 ）！？或向泰納（ William Turner, 18851851 ）致敬！？再不然，輕輕地對林布蘭說聲早 安！？」（節錄自2008年王哲雄的〈光源、形象和韻 律─朱德群藝術講座〉一文）

2006 年的作品《蒸騰的霧氣》，展現藝術家晚期 風格的精髓。這一年，他獲時任法國總統席哈克 （ Jacques Chirac ）的欽點，晉升為國家功勳勳章 （ Ordre national du Mérite ）軍官勳位，表彰其 貢獻。同年，亦在盧森堡獲頒歐洲榮譽金質勳章 （Médaille d’Or du Mérite européen）。他的藝術成 就在歐洲獲得殊榮。

在《蒸騰的霧氣》的畫面中，藍、綠、黃、橙紅等色 塊交織流轉，筆觸奔放自由，猶如雲霧在山林間蒸 騰、舞動、消散，構築出如夢似幻的自然幻境。顏料 在畫布間恣意游動，彷彿能量的凝聚與釋放，不僅描 繪了霧的形象，更捕捉了「氣」的律動，呼應中國繪 畫「氣韻生動」的精神，也如交響詩篇。這幅令人神 往的風景畫，貫通了西方藝術的靈感抽象化與中國傳 統風景畫的意念。誠如藝術家親自解說：「中國風景 畫的描繪已不再受限於實景的繪畫；真實與想像之間 的差距才是抽象主義的領域。」朱德群的這幀《蒸騰 的霧氣》以超越風景畫的構圖模式，擴大美學領域的 視野，建構出一個充滿理想主義及富有宏觀的傑作。

"It doesn’t matter whether the driving force behind my creations is inspired by beautiful things or by hidden memories and emotions from within. What matters is that, when I stand in front of the canvas, my emotions are ignited." — Chu Teh-Chun

As one of the most internationally renowned Chinese artists of the 20th century, Chu Teh-Chun opened a brilliant chapter in art history with his unique style of lyrical abstraction. Before his youth, he developed a profound foundation in Eastern cultural traditions. During his years of study at the Hangzhou National College of Art, frequent relocations due to war exposed him to the majestic landscapes of China. These formative experiences quietly planted the seeds of the broad, nature-

embracing spirit that would later become central to his artistic journey.

“In abstract painting, it is not necessary to completely reject the natural forms of the material world.” Nicolas de Staël (1914–1955), with his freespirited approach, reminded Chu Teh-Chun of the towering mountains and misty landscapes of traditional Chinese scenery. The Daoist philosopher Laozi’s words—“Vague and elusive, yet within it there is form”—aptly describe abstraction. The Chinese aesthetics of expressive brushwork and Daoist philosophy dissolve the binary between abstraction and representation often seen in Western art. While Chu Teh-Chun’s abstract paintings may have been sparked by Western influences, their true roots lie in Chinese culture—in the ideas of“formless yet immense” and“vague and elusive, yet within it there is form.”

In 1955, Chu Teh-Chun moved to Paris, France, where he developed his mature style of lyrical abstraction and gradually established a strong reputation throughout Europe. His work eventually garnered widespread acclaim and a devoted following across Asia and the Americas as well. His painting style evolved through distinct periods: the early 1950s featured elegant compositions with jewel-like colors; the 1960s marked a shift to largescale abstract works characterized by dynamic, calligraphic brushstrokes and bold movement; the 1970s saw a contemplative exploration of subtlety and light, inspired by Rembrandt’s paintings; the mid-1980s introduced his expressive and unrestrained snow landscape series; and in his later years, his work reached a majestic crescendo with symphonic compositions rich in rhythm and grandeur. Over the course of his life, Chu Teh-Chun achieved remarkable artistic accomplishments.

Regarding Chu Teh-Chun’s work after the millennium, Professor Wang Che-Hsiung offers the following insight:“If the works of the 1990s can be interpreted as 'releasing energy,' then those of the 2000s should be seen as 'internalizing energy.' … Lines are used with great restraint—only when absolutely necessary—and when they do appear, they are like the finishing touch of a dragon’s eye or

wings added to a tiger. Such refinement exemplifies the idea of 'cherishing lines as if they were gold.' He embeds rhythm within the rising mystique of forms and flickering, lively color patches. The ethereal light seems to summon Claude Lorrain (1600–1682)! Or perhaps pays homage to William Turner (1775–1851)? Or maybe, just gently whisper a good morning to Rembrandt?”(Excerpt from Wang CheHsiung’s 2008 lecture “Light, Image, and Rhythm –On the Art of Chu Teh-Chun”)

Chu Teh-Chun’s 2006 painting Vapeurs dissipées embodies the essence of his late style. That same year marked a significant recognition of his artistic achievements: he was appointed by then French President Jacques Chirac as an Officer of the National Order of Merit (Ordre national du Mérite), honoring his contributions to the arts. In addition, he was awarded the European Gold Medal of Merit (Médaille d’Or du Mérite européen) in Luxembourg, further affirming his international acclaim. His artistic achievements were highly honored in Europe.

In Vapeurs dissipées, blocks of blue, green, yellow, and fiery orange interweave and flow across the canvas. The brushwork is bold and uninhibited, evoking the rising, swirling, and vanishing of mist through mountains and forests—creating a

dreamlike, ethereal natural realm. The paint moves freely across the canvas, as if embodying the gathering and release of energy. The work not only portrays the image of mist, but also captures the rhythm of qi, echoing the Chinese painting principle of qiyun shengdong—the vital, dynamic spirit of life. It unfolds like a symphonic poem in visual form.

In creating this captivating landscape painting, Chu Teh-Chun seamlessly bridges the abstract inspirations of Western art with the conceptual depth of traditional Chinese landscape painting. As the artist himself once explained: “The depiction of landscapes in Chinese painting is no longer confined to the rendering of real scenes; it is in the gap between reality and imagination that abstraction finds its place.”

In Vapeurs dissipées, Chu transcends conventional landscape composition, expanding the boundaries of aesthetic vision. The result is a masterful work infused with idealism and a grand, sweeping perspective—an artistic achievement that redefines the landscape genre through both philosophical depth and visual poetry.

YUN GEE

(Chinese-American, 1906-1963)

The Wine House

c.1927-1930

oil on canvas

61 x 76 cm

Signed lower right Yun Gee

PROVENANCE

Private collection, San Francisco

(acquired from a private estate auction in San Francisco, circa late1970s or early 1980s)

Private collection, Asia

NT$ 3,200,000 - 5,000,000

HK$ 755,000 - 1,179,000

US$ 97,200 - 151,800

RMB 703,000 - 1,099,000

朱沅芷

葡萄酒莊園

約1927-1930年

油彩 畫布

61 x 76 cm

簽名右下：Yun Gee

來源

私人收藏，舊金山 (約於1970年代晚期或1980 年代初期，購自於舊金山的私人遺產拍賣)

私人收藏，亞洲

2022 年美國惠特尼美術館年度大展「在新時代的黎明— 20 世紀早期美國現代主 義」，由資深策展人芭芭拉．哈斯克爾策畫，挑選 1900-1930 年間五十多位具 有開創精神、時代象徵的藝術家作品展覽。其中，唯一的華裔藝術家：朱沅芷 （ 1906-1963 ）其 1926 年油畫作品《街景》，與美國名家喬治亞．歐姬芙、馬 森．哈特利和奧斯卡．布魯納等人作品共同展出。近年屢創新高的拍賣紀錄，更 應證朱沅芷的藝術魅力歷久彌新，跨時代受到的藝術認同。

朱沅芷並非多產藝術家，在他的創作生涯當中，一直有一個十分顯著的習性，他 喜歡重複詮釋同一處的風景，如大眾熟悉的紐約中央公園、紐約百老匯街景、布 魯克林大橋等等。這些藝術家私人生活周遭的城市景觀，見證其多樣的藝術蛻變 與風格。1926年法國貴族慕哈特親王夫婦訪美期間，適逢朱沅芷在舊金山個展， 震驚其才華之餘，遂向他提出前往巴黎發展的建議。1927年朱沅芷初抵巴黎，深 深被該城市包容外來民族的文化多元性所激勵。除了當時盛行的巴黎畫派、超現 實主義；1928年朱沅芷暫別巴黎，前往馬德里進行為期半年的寫生之旅，畫風也 薰染上西班牙古典大師的沉穩色調。

他由早期的明亮冷暖色塊對比、共色主義、立體主義 等等，轉向具有東方韻味的抒情主題，構圖也開始賦 予流暢的線條。一種具有動態感，強調近遠景布局、 畫面深度的構圖，成為朱沅芷風景畫相當重要的特 徵。連貫起 1929 年《巴黎莫伯特廣場》、 1932 年的 《工業之輪在紐約 》和晚期 1952 年《冬日的中央公 園西塔樓》數十年間的創作。朱沅芷的風景畫往往搖 擺於虛幻與現實之間，烏托邦式的理想情境，也保留 大時代際遇時常事與願違，有志難伸的疏離情緒。

此次拍品《葡萄酒莊園》於 1970 年代末、 1980 年代 初為舊金山私人收藏，現有藏家購自舊金山私人收藏 遺產拍賣。對照台北大未來畫廊 1995 年與 1998 年出 版的《朱沅芷展覽圖錄》，兩本畫冊分別收錄藝術家 1930 年代、 1940 年代畫 作《小徑風景》、《坐 在馬上的騎士》（別名 《酒莊》）、《冬季裡的 莊園 》。此三幅作品構 圖與《葡萄酒莊園》如初 一轍，分別描繪該莊園夜 色與冬景的變化。畫中元 素帶有歐洲風情：莊園建 築、騎士、鄉村小動物， 而 S 型構圖更是藝術家常 見的構圖形式。

period between 1900 and 1930. Among them, the only artist of Chinese descent was Yun Gee (1906–1963), whose 1926 oil painting Street Scene was exhibited alongside works by renowned American artists such as Georgia O'Keeffe, Marsden Hartley, and Oscar Bluemner.Yun Gee's continually rising auction records further attest to the enduring allure of his art and the timeless recognition he receives across generations.

Yun Gee was not a prolific artist, but throughout his creative career, he exhibited a distinct tendency: he often revisited and reinterpreted the same landscapes. Iconic cityscapes such as New York’s Central Park, Broadway street scenes, and the Brooklyn Bridge familiar to the public— were recurring subjects in his work. These urban environments, drawn from the artist’s personal surroundings, bear witness to his evolving artistic styles and transformations.

相較於《坐在馬上的騎 士》與《冬季裡的莊園》 兩張大量運用黑色，描繪 天色壟罩烏雲或枯枝爪 牙向天的清冷蕭瑟。《葡萄酒莊園》研判年代較早。 整體色調更為明亮和煦。樹梢上的新綠色襯托出莊園 建築紅磚輕煙的活潑溫暖。由遠而近，蜿蜒的鄉間小 徑，馬上輕騎的前方跑著一隻小獵犬，近景裡兩隻展 翅相鬥的雉雞，呼應著天空寫意的飛鳥群。此作畫面 構圖完整，為上述相同題材作品中尺寸最大的畫作， 用色精巧且動靜相衡。畫面傳遞給觀者美好的心情與 藝術氛圍，或許也正是朱沅芷描繪心中理想，無私分 享給後世的珍貴禮物。

In 2022, the Whitney Museum of American Art in the United States held its annual major exhibition titled At the Dawn of a New Age: Early Twentieth Century American Modernism, curated by senior curator Barbara Haskell. The exhibition featured works by over fifty pioneering and emblematic artists from the

In 1926, during a visit to the United States by Prince and Princess Murat of French nobility, Yun Gee’s solo exhibition in San Francisco captured their attention and admiration. Impressed by his talent, they encouraged him to pursue his artistic career in Paris. Arriving in Paris in 1927, Yun Gee was deeply inspired by the city’s cultural diversity and openness to foreign influences. In addition to being exposed to the prevailing movements such as the School of Paris and Surrealism, he temporarily left Paris in 1928 for a six-month sketching journey in Madrid. During this time, his painting style absorbed the rich, subdued tones reminiscent of Spain’s classical masters.

Yun Gee's artistic style evolved significantly over time. Moving away from his early use of bright, contrasting warm and cool color blocks, as well as influences from Synchromism and Cubism, he gradually embraced more lyrical themes imbued

Yun Gee, c. 1930s, oil on canvas, 41 x 51 cm

Exhibition catalogue, Yun Gee, Lin & Keng Gallery, 1998, p.55

朱沅芷《小徑風景》約1930年代 油彩 纖維板 22 x 28 cm

展覽畫冊《朱沅芷 1906-1963》大未來畫廊，1995年出版，頁72

Yun Gee, Landscape, c. 1930s, oil on board, 22 x 28 cm

Exhibition catalogue, Yun Gee 1906-1968, Lin & Lin Gallery, 1995, p.72

with an Eastern sensibility. His compositions began to incorporate fluid, flowing lines, developing into a dynamic style characterized by a strong sense of foreground-background layering and visual depth— elements that became defining features of his landscape paintings.

This compositional approach can be seen across decades of his work, linking pieces such as Place Maubert, Paris (1929), Wheels: Industrial New York (1932), and his later work West Tower from Central Park in Winter (1952). Yun Gee’s landscapes often oscillate between the realms of fantasy and reality, portraying utopian ideals while also capturing the emotional distance and sense of disillusionment born from historical circumstances and unfulfilled aspirations.

The painting The Wine House was part of a private San Francisco collection from the late 1970s to early 1980s, and was later acquired by the current owner through an estate auction of that same collection. A comparison with the exhibition catalogues published by Lin & Keng Gallery in Taipei in 1995 and 1998 reveals three related works from the 1930s and 1940s by Yun Gee: Landscape, Horse With Rider (also known as The Estate), and Estate in Winter. These pieces share strikingly similar compositions with The Wine House, each depicting the estate under varying conditions of night and winter.

The elements within the painting evoke a distinctly European atmosphere—manor houses, horse-

朱沅芷《坐在馬上的騎士》1940年代 油彩 畫布 50 x 61 cm

展覽畫冊《朱沅芷》大未來畫廊，1998年出版，頁54

Yun Gee, Horse With Rider, 1940s, oil on board, 50 x 61 cm

Exhibition catalogue, Yun Gee, Lin & Lin Gallery, 1998, p.54

mounted riders, and small countryside animals. The S-shaped composition, a hallmark of Yun Gee's artistic style, is prominently featured and further ties these works together visually and thematically.

In contrast to Horse With Rider and Estate in Winter both of which make extensive use of black to depict a sky heavy with storm clouds or barren, claw-like branches reaching toward the heavens in a stark, wintry chill—The Wine House, which indicates that it likely dates from an earlier period. presents a markedly brighter and warmer palette. The fresh green foliage at the tops of the trees highlights the warmth and liveliness of the estate’s red-brick buildings and curling chimney smoke.

A winding country path leads the eye from the distant background toward the foreground, where a small hunting dog runs ahead of a mounted rider. In the near distance, two pheasants engage mid-air in a fluttering skirmish, echoing a flock of birds flying freely across the expressive sky. The composition is complete and harmonious, making this piece the largest among Yun Gee’s works on this subject. The color palette is refined, skillfully balancing movement and stillness.

The painting radiates a sense of joy and artistic serenity, offering viewers a glimpse into a world of beauty and idealism. Perhaps it is this vision—Yun Gee’s quietly cherished utopia—that he so generously and selflessly shared as a precious gift to future generations.

RICHARD LIN (LIN SHOW-YU)

(Taiwanese, 1933-2011)

Painting Relief 13 September 1965

1965

Oil, aluminium and perspex on canvas

127 x 152.5 cm

Signed overlap LIN

Signed stretcher bar LIN, titled 13-SEPTEMBER-1965 and inscribed “50 x 60”

PROVENANCE

Marlborough Gallery, London (verso with the label).

Private collection, Switzerland

By descent to the former owner, also private collection, Switzerland

Private collection, Taiwan

EXHIBITED

Richard Lin, Marlborough Fine Art Gallery, London, March - April 1966

ILLUSTRATED

Richard Lin (exhibition catalogue), Marlborough Fine Art, London, 1966, monochrome illustrated, no. 18, p. 2

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

HK$ 991,000 - 1,533,000

US$ 127,500 - 197,400

RMB 923,000 - 1,429,000

林壽宇

繪畫浮雕 1965 年 9 月 13 日

1965

油彩 鋁條 有機玻璃 畫布

127 x 152.5 cm

簽名畫布折入處：LIN

簽名畫背框條：LIN 13 - SEPTEMBER - 1965 50”x 60”

來源

倫敦馬伯樂畫廊 (背面附有標籤)

私人收藏，瑞士

家族傳承至前任藏家，同為瑞士私人收藏

私人收藏，台灣

展覽

「林壽宇」，馬伯樂畫廊，倫敦，展期1966年3月至4月

圖錄

《林壽宇》(展覽目錄) ，馬伯樂畫廊，

倫敦，1966年，黑白圖版，編號18，頁2

The Noble of Eastern Culture

東方文化的貴族

東方文化的貴族－林壽宇服膺「減之又減，減無可減， 以至於無」的極簡主義核心思想。根源自中國極簡哲學 內涵：「最複雜的，以最簡單的來表現」。林壽宇獨特 又純粹的繪畫風格，在絕對理性的探索中，保留文人思 想的溫度。白色空無，也含攝所有的色相。在戰後抽象 大行其道的年代，無人能出其右，林壽宇縱橫國際畫 壇。

本次拍品《繪畫浮雕 1965 年 9 月 13 日》屬林壽宇 60 年 代最經典的「白色系列」繪畫作品。畫中的金屬鋁條元 素，為藝術家自 1964 年以來作品的極大特色。 1965 年 十月，林壽宇參與美國德科爾多瓦美術館舉辦的「白上 白」聯展，便和盧齊歐．封塔納（ Lucio Fontana ）、 君特．於克（ Gunther Uecker ）、奧托．皮納 （ Otto Piene ）等西方藝術大師同場展出，而該展也是梳理戰 後極簡主義藝術發展的重要展覽之一。

「白色本身即有許多色彩，其濃、淡、輕、重、透明、 半透明⋯⋯使白與白之間構成了許多形狀與形狀，空間 與空間的玄奇奧妙！」林壽宇詮釋白色之奧祕。

林壽宇旅居英國期間，正值二次大戰結束不久，現代主 義風起雲湧，因為學習建築的緣故，林壽宇早期受到兩 位現代主義建築大師的啟發。一位是主張「少即是多」 的路德維希．密斯．凡德羅（ 1886- 1969 ），另一位 是柯比意（ 1887-1965 ）， 拒絕浮誇與繁複裝飾，認 同原始的形體是美的形體，讚美簡約的幾何形體。樸素 簡潔的「白色系列」禪意空間，筆下藝術中蘊藏的東方 思維，令西方藝術界大為折服。連二十世紀大畫家米 羅都要當面讚嘆說「在白色的天地裡，無人能企及林壽 宇。」1963年後他改用Richard Lin的名字，這也是西方 藝術界後來耳熟能詳的名字。 1964 年他成為第一位參 加德國卡塞爾文件大展的台灣畫家。 1966 年成為馬伯 樂．新倫敦畫廊（ Marlborough Contemporary ）的簽 約畫家，林壽宇得以與多位戰後當代藝術大師齊名，作 品為英國泰特美術館、義大利國立現代美術館、美國卡 內基學會美術館等超過三十間國內外美術館收藏，名列 多本藝術名人錄。

林壽宇 1933 年出生於台中霧峰宮保第，宮保第是台灣 自清朝以來最大的官宅，霧峰林家官宦世家，權傾一

時，直至日治時期仍為台灣五大家族之一。 1949 年安 排他隻身前往香港，在拔萃男書院就讀中學。 1952 年 後轉往英國倫敦寄宿名校米爾菲爾德學校。 1954 年進 入倫敦綜合工藝學院（今西敏大學），研讀建築與美 術。初期的創作，仍帶有抽象表現主義的餘韻，以中 國山水的精神，有水墨滴流效果的「流系列」（ 19571959 ）來詮釋。 1960 年代他朝向幾何線條或形狀的 「冷抽象」發展，其「白色系列」將白色的層次精準鋪 陳、氣質凝練。

隨著 1980 年代返國定居時，大大驚豔台灣藝壇，掀起 所謂的「白色震撼」與「低限魅力」的旋風。當時台灣 藝術圈對抽象藝術的認知，多半仍停在如趙無極這類的 色彩堆疊、潑灑等抽象表現主義，幾何式的冷抽象，此 時尚未形成風氣。而林壽宇對低限藝術的追求，把藝術 用純粹性表達至淋漓盡致，大大影響幾位年輕的藝術 家，例如莊普、賴純純、胡坤榮與陳慧嶠，成為他們的 宗師。這些以伊通公園為基地的藝術群，如今都是台灣 藝術界的精英人物。

Richard Lin, the noble figure of Eastern culture, embraced the core principle of minimalism: "Reduce and reduce again, until nothing more can be taken away." This idea stems from the essence of Chinese minimalist philosophy: "The most complex is expressed through the simplest means." Lin’s unique and pure painting style retains the warmth of literati thought within a framework of absolute rationality. In his works, the whiteness of emptiness also encompasses all hues. During an era when post-war abstraction reigned supreme, no one could surpass him—Richard Lin swept across the art world with unmatched force.

The present lot, Painting Relief 13 September 1965, is one of the most iconic works from Richard Lin’s celebrated "White Series" of the 1960s. The aluminum strip elements featured in the painting are a hallmark of Lin's work since 1964. In October 1965, Lin participated in the White on White group exhibition held at the deCordova Sculpture Park and Museum in the United States, exhibiting alongside

renowned Western masters such as Lucio Fontana, Günther Uecker, and Otto Piene. This exhibition stands as a pivotal moment in the exploration and development of post-war minimalist art.

"White itself contains many colors—its intensity, lightness, weight, transparency, and translucency... all create a wondrous interplay of forms and spaces between one shade of white and another!" — Richard Lin, on the profound mystery of white.

During his time living in the UK—just after the end of World War II—Richard Lin was immersed in the rising tide of modernism. With a background in architecture, Lin was deeply inspired in his early years by two great modernist architects: Ludwig Mies van der Rohe (1886–1969), proponent of the “less is more” philosophy, and Le Corbusier (1887–1965), who rejected excessive ornamentation and believed that beauty lay in pure, essential forms and celebrated the simplicity of geometric shapes.

Lin’s "White Series," characterized by its minimalist, Zen-like spatial aesthetics, embodied a profound Eastern philosophy that deeply impressed the Western art world. Even the great 20th-century master Joan Miró once personally praised him, declaring, “In the realm of white, no one can surpass Richard Lin.”

After 1963, he adopted the name Richard Lin—a name that would soon become widely recognized in the Western art scene. In 1964, he became the first Taiwanese artist to participate in the renowned documenta exhibition in Kassel, Germany. By 1966, he signed with Marlborough New London Gallery, placing him among the ranks of major postwar contemporary artists. His works have since been collected by more than thirty museums and institutions worldwide, including the Tate Britain, the Galleria Nazionale d'Arte Moderna in Italy, and the Carnegie Museum of Art in the United States, and he is listed in numerous major art reference books.

Richard Lin was born in 1933 in Wufeng, Taichung, at the Gongbaodi Residence—Taiwan’s largest official mansion since the Qing Dynasty. The Wufeng Lin family was a powerful political and aristocratic clan, ranking among Taiwan’s five great families well into the Japanese colonial era. In 1949, Lin was sent alone to Hong Kong, where he attended Diocesan Boys' School. In 1952, he moved to England to board at the prestigious Millfield School. By 1954, he had enrolled at the Central School of Arts and Crafts in London (now the University of Westminster), where he studied both architecture and fine art.

In his early works, traces of Abstract Expressionism remained, as seen in his Flow Series (1957–1959), which used ink-like dripping techniques to convey the spirit of traditional Chinese landscape painting. During the 1960s, Lin transitioned toward the cooler, more geometric language of cold abstraction. His renowned White Series features refined gradations of white and a distilled, contemplative aesthetic.

When Richard Lin returned to Taiwan in the 1980s to settle, he caused a sensation in the local art scene— sparking what was dubbed the “White Shock” and a wave of “Minimalist Allure.” At the time, Taiwan’s understanding of abstract art was largely rooted in Abstract Expressionism, exemplified by artists like Zao Wou-Ki, with their emphasis on color layering and gestural splashes. Geometric-based cold abstraction had yet to gain mainstream recognition.

Lin’s unwavering pursuit of minimalism brought the purity of art to its fullest expression, profoundly influencing a younger generation of artists— including Tsong Pu, Lai Tsun-Tsun, Hu Kun-Jung, and Chen Hui-Chiao—who came to regard him as a master figure. Many of these artists were part of the creative circle centered around IT Park, which has since become a cradle for some of Taiwan’s most prominent contemporary artists.

045

JU MING

(Taiwanese, 1938-2023)

Taichi Series

1996

Bronze, ed. 6/10

47(L) x 38(W) x 55(H) cm

Engraved lower back Ju Ming in Chinese, numbered 6/10 and dated ‘96

PROVENANCE

Hanart TZ Gallery, Taipei

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

NT$ 1,300,000 - 2,200,000

HK$ 307,000 - 519,000

US$ 39,500 - 66,800

RMB 286,000 - 484,000

朱銘

太極系列

1996

銅雕 版次 6/10

47(長) x 38(寬) x 55(高) cm

簽名雕刻後側底部：朱銘 6/10 ‘96

來源

漢雅軒，台北

附漢雅軒開立之作品保證書

046

JU MING

(Taiwanese, 1938-2023)

Taichi Series

1995

Bronze, ed. AP 10/10

25.1(L) x 18.7(W) x 31.3(H) cm

Engraved lower back Ju Ming in Chinese and numbered AP 10/10 and dated ‘95

This lot is accompanied by a certificate of authenticity issued by the nonprofit organization Juming Culture and Education Foundation.

NT$ 800,000 - 900,000

HK$ 189,000 - 212,000

US$ 24,300 - 27,300

RMB 176,000 - 198,000

朱銘

太極系列 1995

銅雕 版次 自10/10

25.1(長) x 18.7(寬) x 31.3(高) cm

簽名雕刻後方底部：朱銘 自10/10 ‘95

附財團法人朱銘文教基金會開立之 作品鑑定報告書

047

WANG PAN-YOUN

(Taiwanese, 1908-2017)

The Sun and the Thatched Cottage

Watercolor on paper

55.5 x 55 cm

With one seal of the artist

PROVENANCE

Acquired directly from the artist from the previous owner

NT$ 90,000 - 180,000

HK$ 21,000 - 42,000

US$ 2,700 - 5,500

RMB 20,000 - 40,000

王攀元

太陽與茅屋

水彩 紙本

55.5 x 55 cm

鈐印左下：攀元書畫

來源

原藏家直接得自藝術家本人

048

CHEN WEI-CHENG

(Taiwanese, b. 1977)

Still Life

2008

Oil on canvas

117 x 90.5 cm

Signed lower right Wei Chen and dated 2008

NT$ 170,000 - 240,000

HK$ 40,000 - 57,000

US$ 5,200 - 7,300

RMB 37,000 - 53,000

陳威呈 晨淨光身 2008

油彩 畫布

117 x 90.5 cm

簽名右下：Wei Chen"08

049

WALASSE TING

(Chinese-American, 1929-2010)

Lady With a Fan

Acrylic on paper mounted on canvas

46 x 60 cm

With one seal of the artist

PROVENANCE

Acquired directly from the artist

Adams Amsterdam Auctions, Amsterdam, December 12, 2023, lot 278

Private collection, Netherlands

NT$ 180,000 - 280,000

HK$ 42,000 - 66,000

US$ 5,500 - 8,500

RMB 40,000 - 62,000

丁雄泉

持扇女子

壓克力 紙本 裱於畫布

46 x 60 cm

鈐印下方：採花大盜

來源

直接得自藝術家本人

亞當拍賣，阿姆斯特丹，2023年12月12日，

編號278

私人收藏，荷蘭

050

HUANG CHIA-NING

(Taiwanese, b. 1979)

Cauliflower

2007

Oil on canvas

116 x 145 cm

EXHIBITED

Every Frame: Huang Jia-Ning Solo Exhibition, K’s Art, Tainan, May 9 - June 6, 2009; Hong-Gah Museum, Taipei, June 13 - July 19, 2009

Huang Chia-Ning, Something Left or Not, Lin & Lin Gallery, Taipei, August 11 - September 2, 2021

Reality & Essence: The Realistic Painting of Huang Chia-Ning, Kaohsiung Museum of Fine Arts, Kaohsiung, August 17 - October 13, 2019

ILLUSTRATED

Huang Chia-Ning, Lin & Lin Gallery, Taipei, 2020, color illustrated

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

NT$ 240,000 - 360,000

HK$ 57,000 - 85,000

US$ 7,300 - 10,900

RMB 53,000 - 79,000

黃嘉寧 花椰菜

2007

油彩 畫布

116 x 145 cm

展覽

「Every Frame 黃嘉寧個展」，K’s Art當代藝術空 間，台南，展期2009年5月9日至6月6日；鳳甲美術 館，台北，展期2009年6月13日至7月19日 「黃嘉寧：那些 (不) 被留下的」，大未來林舍畫 廊，台北，展期2012年8月11日至9月2日

「如實知見—黃嘉寧的寫實繪畫」，高雄市立美術 館，高雄，展期2019年8月17日至10月13日

圖錄

《黃嘉寧》，大未來林舍畫廊，台北，2020， 彩色圖版

附大未來林舍畫廊開立與藝術家簽名之原作保證書

051

XUE SONG

(Chinese, b. 1965)

Calligraphy Imagery

2006

Mixed media on canvas

110 x 110 cm

Signed lower right Xue Song in Chinese

Signed reverse Xue Song in Chinese and English, titlted Calligraphy

Imagery in Chinese, inscribed 110 x 110 cm and dated 2006

EXHIBITED

Looking Back: Deconstruction Classics Xue Song Art Exhibition, Shanghai Art Museum, Shanghai, 2009

ILLUSTRATED

Looking Back: Deconstruction Classics-Xue Song Portfolio, Shanghai Cultural Association, Shanghai, 2009, color illustrated, pp. 106-107

NT$ 320,000 - 480,000

HK$ 75,000 - 113,000

US$ 9,700 - 14,600

RMB 70,000 - 105,000

薛松

意象書法

2006

綜合媒材 畫布

110 x 110 cm

簽名右下：薛松 簽名畫背：意象書法 110 x 110 cm

薛松 Xue Song 2006

展覽

「回首：解構經典，薛松作品展」， 上海美術館，上海，2009

圖錄 《回首：解構經典‧薛松作品集》， 上海文化協會，上海，2009，彩色圖版， 頁106 - 107

052

HUANG YI-SHENG

(Taiwanese, b. 1981)

Limited Limits

2015

Oil on canvas

115 x 175 cm

Signed lower left Yi Sheng and dated 2015

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

NT$ 420,000 - 550,000

HK$ 99,000 - 130,000

US$ 12,800 - 16,700

RMB 92,000 - 121,000

黃頤勝

限制的限制 2015

油彩 畫布 115 x 175 cm

簽名左下：Yi Sheng 2015

附尊彩畫廊開立與藝術家簽名之原作保證書

053 PANG JIUN

(Taiwanese, b. 1936)

Guilin Landscape

2004

Oil on canvas

53 x 45.5 cm

Signed lower right Pang Jiun in Chinese and dated 2004

Signed reverse Pang Jiun in Chinese and English, inscribed 10F and dated 2004

With one painted seal of the artist

PROVENANCE

Ravenel, Hong Kong, November 29, 2015, lot 009

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

NT$ 360,000 - 460,000

HK$ 85,000 - 108,000

US$ 10,900 - 14,000

RMB 79,000 - 101,000

龎均

甲天下

2004

油彩 畫布

53 x 45.5 cm

簽名右下：龎均 2004

簽名畫背：龎均 Pang Jiun 10F 2004

手繪鈐印右下：均

來源

羅芙奧，香港，2015年11月29日，編號009

附藝術家親筆簽名之原作保證書

054

HONG LING

(Chinese, b. 1955)

Snowscape

2004

Oil on canvas

70 x 70 cm

Signed upper left Hong Ling in Chinese and dated 04

Titled reverse Snowscape, signed Hong Ling in Chinese dated 2004 and inscribed 70 x 70 cm

NT$ 460,000 - 550,000

HK$ 108,000 - 130,000

US$ 14,000 - 16,700

RMB 101,000 - 121,000

洪凌 潤雪 2004

油彩 畫布 70 x 70 cm

簽名左上：洪淩 04

簽名畫背：《潤雪》 洪淩，2004年， 70 x 70 cm

055

JI DACHUN

(Chinese, b. 1968) Beuys

2002

Mixed media on canvas

150 x 110 cm

Signed upper center Dachun in Chinese, dated 2002 and the year of renwu in Chinese

ILLUSTRATED

I’ve Seen It All: Ji Dachun, Aura Gallery, Shanghai, 2002, color illustrated, p. 28

NT$ 420,000 - 550,000

HK$ 99,000 - 130,000

US$ 12,800 - 16,700

RMB 92,000 - 121,000

季大純

波依斯 2002

綜合媒材 畫布

150 x 110 cm

簽名上方：大純 2002 壬午

圖錄 《我全都看見了：季大純》，亦安畫廊， 上海，2002，彩色圖版，頁28

056

WALASSE TING

(Chinese-American, 1929-2010)

Ladies With Parrots and Flowers

Acrylic on paper mounted onto canvas

90 x 97 cm

With one seal of the artist

PROVENANCE

Private collection, Amsterdam

NT$ 500,000 - 700,000

HK$ 118,000 - 165,000

US$ 15,200 - 21,300

RMB 110,000 - 154,000

丁雄泉

雙美、鸚鵡與花

壓克力 紙本 裱於畫布

90 x 97 cm

鈐印上方：採花大盜

來源

私人收藏，阿姆斯特丹

057

CHUANG CHE

(Chinese-American, b. 1934)

Untitled 7

1978

Oil and acrylic on canvas

125 x 125 cm

Signed lower right Chuang Che and dated 1978

This lot is accompanied by a certificate of authenticity issued by David Findlay Jr Gallery, New York.

NT$ 650,000 - 750,000

HK$ 153,000 - 177,000

US$ 19,700 - 22,800

RMB 143,000 - 165,000

莊喆 無題 7 1978

油彩 壓克力 畫布 125 x 125 cm

簽名右下：莊喆 1978

附小大衛芬德利畫廊開立之原作保證書

058

DONG SHAW-HWEI

(Taiwanese, b. 1962)

Wang Wei’s Poetic World · Orchid

2014

Oil on canvas

80 x 65 cm

Signed lower left S.Hwei and dated 2014

NT$ 900,000 - 1,200,000

HK$ 212,000 - 283,000

US$ 27,300 - 36,400

RMB 198,000 - 264,000

董小蕙

王維詩意 – 蘭花

2014

油彩 畫布

80 x 65 cm

簽名左下：S.Hwei 2014

059

CHIU YA-TSAI

(Taiwanese, 1949-2013)

The Painter

1992

Oil on canvas

143.2 x 81 cm

Signed lower right Chiu Ya-tsai in Chinese and dated 92

ILLUSTRATED

Chiu Ya-tsai, Goethe Art Center, Taichung, 2013, color illustrated, p.50.

NT$ 850,000 - 1,300,000

HK$ 200,000 - 307,000

US$ 25,800 - 39,500

RMB 187,000 - 286,000

邱亞才

畫家

1992

油彩畫布

143.2 x 81 cm

簽名右下：邱亞才 92

圖錄 《邱亞才》，哥德藝術中心，台中， 彩色圖版，頁50

060

CHIU YA-TSAI

(Taiwanese, 1949-2013)

Litterateur

1989

Oil on canvas

143 x 83 cm

Signed lower right Chiu Ya-tsai in Chinese EXHIBITED

Lifetime Colon-Chiu Ya-Tsai Retrospective Exhibition, Yilan Museum of Art, Yilan, July 13 – November 10, 2019

ILLUSTRATED

Lifetime Colon-Chiu Ya-Tsai Retrospective Exhibition, Yilan County Cultural Affairs Bureau, Yilan, 2019, color illustrated, pp. 30-31

NT$ 1,100,000 - 2,200,000

HK$ 259,000 - 519,000

US$ 33,400 - 66,800

RMB 242,000 - 484,000

邱亞才

文學家

1989

油彩 畫布

143 x 83 cm

簽名右下：邱亞才

展覽

「人生浣腸–邱亞才回顧展」，宜蘭美術館， 宜蘭，展期2019年7月13日至11月10日

圖錄

《人生浣腸–邱亞才回顧展》，宜蘭縣政府文化 局，宜蘭，2019，彩色圖版，頁30 - 31

061

LIU KUO-SUNG

(Taiwanese, b. 1932)

Moon's Metamorphosis D

1970

Ink and color on paper

66 x 45 cm

Signed lower left Liu Kuo-sung and dated 1970 in Chinese

With one seal of the artist

This lot is accompanied by a certificate of authenticity issued by Modern Art Gallery, Taichung.

NT$ 950,000 - 1,400,000

HK$ 224,000 - 330,000

US$ 28,800 - 42,000

RMB 209,000 - 308,000

劉國松

月之蛻變 D 1970

彩墨 紙本 66 x 45 cm

簽名左下：劉國松 一九七 〇 鈐印左下：劉國松

附台中現代畫廊開立之原作保證書

YANG CHIHUNG

(Taiwanese, b. 1947)

The Journey of Ice Breaking

2013

Acrylic on canvas

129.8 x 162.2 cm

Signed reverse Chihung Yang, titled The Journey of Ice Breaking and dated 2013

EXHIBITED

The Sensibilities of Black and White Yang Chihung’s Recent Works from the Stream of Consciousness Series, Asia Art Center, Beijing, December 16 - March 4, 2018

ILLUSTRATED

Yang Chihung: The Sensibilities of Black and White - the Stream of Consciousness Series, Asia Art Center, Taipei, 2018, color illustrated, pp. 66-67

Hsiao Chong-Ray, My Home, My Art Museum: Biographies of Taiwanese Artists: Years, Heartmarks, Yang Chih-hung, Artist Publishing, Taipei, 2020, color illustrated, p. 151

This lot is accompanied by a certificate of authenticity issued by Asia Art International Group, Taipei

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

HK$ 236,000 - 472,000

US$ 30,400 - 60,700

RMB 220,000 - 440,000

楊識宏

破冰之旅 2013

壓克力 畫布

129.8 x 162.2 cm

簽名畫背：Chihung Yang The Journey of Ice Breaking

展覽

「計白守黑—楊識宏意識流系列近作展」， 亞洲藝術中心，北京，展期2017年12月16日至 2018年3月4日

圖錄 《楊識宏：計白守黑—意識流系列》，亞洲藝 術中心有限公司，台北，2018，彩色圖版，

頁66 - 67

蕭瓊瑞，《家庭美術館—美術家傳記叢書：歲 月．心痕．楊識宏》，藝術家出版社，

台北，2020，彩色圖版，頁151

附亞洲藝術國際集團開立之原作保證書

063

WU TIEN-CHANG

(Taiwanese, b. 1956)

Song of the Indigenous People

1990

Oil on canvas

162 x 130 cm

Signed reverse Wu Tien-chang in Chinese and dated 1990.9.28

This lot is accompained by a certificate of authenticity issued by Modern Art Gallery, Taichung.

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

HK$ 283,000 - 425,000

US$ 36,400 - 54,700

RMB 264,000 - 396,000

吳天章 原住民之歌

1990

油彩 畫布

162 x 130 cm

簽名畫背：吳天章 1990.9.28

附現代畫廊開立之原作保證書

064

HUANG YU XING

(Chinese, b. 1975)

Landscape

2017

Acrylic on canvas

30 x 45 cm

Signed lower right Huang Yuxing and dated 2017

PROVENANCE

Whitestone Gallery, Taipei

NT$ 1,300,000 - 2,200,000

HK$ 307,000 - 519,000

US$ 39,500 - 66,800

RMB 286,000 - 484,000

黃宇興

風景

2017

壓克力 畫布

30 x 45 cm

簽名右下：Huang Yuxing 2017

來源

白石畫廊，台北

065

WALASSE TING

(Chinese-American, 1929-2010)

The Artist’s Garden (polyptych)

Ink and color on paper, mounted onto board

180 x 192 cm

With one seal of the artist

PROVENANCE

Ravenel, Taipei, June 3, 2007, lot 065

NT$ 1,700,000 - 2,600,000

HK$ 401,000 - 613,000

US$ 51,600 - 79,000

RMB 374,000 - 571,000

丁雄泉在巴黎時間，受野獸派馬蒂斯的影響很大，特別 是色彩光鮮亮麗、對比鮮明。丁雄泉喜歡這種鮮明，另 一方面則來自中國民間彩繪的影響，喜歡那種透明而鮮 活的色彩並置，線條也有類似的啟示，著重一筆寫成， 絕不修改的隨意隨興。他畫裡最大的特色即是，色與色 之間對比的呼應極融洽協調，更引人注目的是，色塊與 色塊之間，並沒有既定的輪廓線著色，而有一種滲透混 合的運動姿態。

而《丁氏花園》中，在分割的表面上其實是更獨斷地表 現他最眷戀的事物：女人、水果、鸚鵡以及一切的支撐 力，「色彩」，丁雄泉無所不用其極地用他的生命來邂 逅這一切，他不似其他畫家，去組織事物，而是讓它們 自然地碰撞在一起，用它們的眼光來決定置身的角度， 此外，《丁氏花園》也提供我們重新審視其畫作的機 會。

When staying in Paris, Walasse Ting was attracted and greatly influenced by Henri Matisse’s vivid, bright, and contrasting color usage in Fauvism. On the other hand, he was also inspired by the energetic and flexible color dispositions in Chinese folk drawings, which also made him to draw seamless lines freely without any modification. One of the most remarkable features in his works is that the contrasting color dispositions can actually create harmonious images. Moreover, Walasse Ting does not use any specific

丁雄泉

丁氏花園

彩墨 紙本裱於木板

180 x 192 cm

鈐印右上：採花大盜

來源

color to outline different sections in a painting. Instead, outlines are actually shaped from the slim overlaps of the colors of the connected sections in order to create a united and energetic image as a whole.

In “The Artist's Garden”, each separate part is the powerful expression of Ting’s fascination: woman, fruit, parrot, and the support of everything – color. These are the elements Ting has spent his whole life on. Unlike other artists who try to purposely organize objects in their paintings, Ting chooses to let all the elements naturally meet each other and let them define and locate themselves. In addition, “The Artist's Garden” also provides us with an opportunity to re-appreciate his other works.

羅芙奧，台北，2007年6月3日，編號065 藝術家與本拍品合影照片

The artist standing in front of this painting.

066

ALEX FACE (Thai, b. 1981)

Gardener (in Army Green)

2020

Hand-painted by the artist, FRP, ed. 1/1 Unique piece

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

Signed back of right foot Alex Face and numbered 1/1

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

NT$ 850,000 - 950,000

HK$ 200,000 - 224,000

US$ 25,800 - 28,800

RMB 187,000 - 209,000

亞歷克斯．費斯 園丁（軍綠色）

2020

藝術家親筆彩繪

強化玻璃纖維 版次1/1 單一件

153(長) x 80(寬) x 80(高) cm

簽名右足後側：Alex Face 1/1

附藝術家簽名之作品保證書

067

ALEX FACE (Thai, b. 1981)

Hands No.1; Hands No.2 (a set of 2)

2021

Acrylic on canvas

84 x 57.5 cm (each)

Signed lower right Alex Face (each)

NT$ 650,000 - 750,000

HK$ 153,000 - 177,000

US$ 19,700 - 22,800

RMB 143,000 - 165,000

亞歷克斯．費斯

招財貓 No.1 ；招財貓 No.2 ( 二件一組 )

2021

壓克力 畫布

84 x 57.5 cm (每件)

簽名右下：Alex Face (每件)

068

ROBY DWI ANTONO

(Indonesian, b. 1990)

Rumi

2021

Charcoal and spray on raw canvas

90.5 x 70.5 cm

Signed reverse Roby and dated 2021

NT$ 500,000 - 750,000

HK$ 118,000 - 177,000

US$ 15,200 - 22,800

RMB 110,000 - 165,000

羅比．安托諾

如米 2021

木炭 噴漆 未經處理畫布

90.5 x 70.5 cm

簽名書背：Roby 2021

069

FAN YANG-TSUNG

(Taiwanese, b. 1982)

Swimming Pool Series-Breathing

2015

Acrylic on canvas

120 x 100 cm

Signed reverse Fan Yang-Tsung in Chinese and English and dated Spring 2015

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

NT$ 420,000 - 550,000

HK$ 99,000 - 130,000

US$ 12,800 - 16,700

RMB 92,000 - 121,000

范揚宗

游泳池系列—呼吸 2015

壓克力 畫布

120 x 100 cm

簽名畫背：范揚宗 Fan Yang-Tsung 2015 春 附台北也趣畫廊開立之原作保證書

070

RENÉ GENIS

(French, 1922-2004)

Provence aux coquelicots

Oil on canvas

100 x 81 cm

Signed lower right René Genis

Signed reverse René Genis

Signed reverse on stretcher bar René Genis and titled Provence aux coquelicots

PROVENANCE

Van Ham Kunstauktionen, Cologne, June 1, 2011, lot 761

NT$ 360,000 - 550,000

HK$ 85,000 - 130,000

US$ 10,900 - 16,700

RMB 79,000 - 121,000

賀內．吉尼斯

開著麗春花的普羅旺斯

油彩 畫布

100 x 81 cm

簽名右下：René Genis

簽名畫背：René Genis

簽名畫背框條：René Genis, Provence aux coquelicots

來源

范．哈姆藝術拍賣，科隆，2011年6月1日，

編號 761

071

BERNARD CHAROY

(French, 1932-2024)

Elisabeth

2015

Oil on canvas

46 x 38 cm

Signed lower right Bernard Charoy

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

NT$ 240,000 - 360,000

HK$ 57,000 - 85,000

US$ 7,300 - 10,900

RMB 53,000 - 79,000

貝爾納．夏洛瓦

伊莉莎白

2015

油彩 畫布

46 x 38 cm

簽名右下：Bernard Charoy

附藝術家簽名相片

072

LO CHAN PENG

(Taiwanese, b. 1983)

The Migraine

2012

Oil on canvas

145 x 145 cm

Signed reverse Lo Chan Peng in Chinese and dated 2012

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

NT$ 420,000 - 550,000

HK$ 99,000 - 130,000

US$ 12,800 - 16,700

RMB 92,000 - 121,000

羅展鵬 偏頭痛 2012

油彩 畫布 145 x 145 cm

簽名畫背：羅展鵬 2012

附台北也趣畫廊開立之原作保證書

073

KEA TSAI (TSAI MENGDA) (Taiwanese, b. 1986)

Tyrannosaurus Rex - Adidas

2010

Acrylic on canvas

130 x 162 cm

NT$ 220,000 - 320,000

HK$ 52,000 - 75,000

US$ 6,700 - 9,700

RMB 48,000 - 70,000

KEA TSAI ( 蔡孟達 )

暴龍

2010

壓克力 畫布

130 x 162 cm

CHANG TENG YUAN

(Taiwanese, b. 1983)

Parrotman Theatre - Cinderella

2020

Acrylic on canvas

130 x 162 cm

Signed reverse Chang Teng Yuan and dated 2020

EXHIBITED

Teng-Yuan Chang: INDEX, Neptune Gallery, Taipei, December 12, 2020 - January 24, 2021

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

NT$ 320,000 - 420,000

HK$ 75,000 - 99,000

US$ 9,700 - 12,800

RMB 70,000 - 92,000

張騰遠

鸚鵡劇場—仙杜瑞拉

2020

壓克力 畫布

130 x 162 cm

簽名畫背：Chang Teng Yuan 2020

展覽

「《INDEX》張騰遠個展」，涅普頓畫廊， 台北，展期2020年12月12日至2021年1月24日

附涅普頓藝術開立之作品保證書

075

CHANG TENG YUAN

(Taiwanese, b. 1983)

Last Parrotman’s Supper

2021

Acrylic on canvas

120 x 120 cm

Signed right side Chang Teng Yuan and titled left side # Parrot Man

PROVENANCE

Ravenel, Taipei, December 5, 2021, lot 204

Acquired from the above by the present owner

NT$ 240,000 - 360,000

HK$ 57,000 - 85,000

US$ 7,300 - 10,900

RMB 53,000 - 79,000

張騰遠

最後的鸚鵡人晚餐

2021

壓克力 畫布

120 x 120 cm

簽名右側：Chang Teng Yuan

題識左側：# Parrot Man

來源

羅芙奧拍賣，台北，2021年12月5日，編號 204

現有收藏者購自上述來源

076

MITSURU WATANABE

(Japanese, b. 1953)

Yukiko

1992

Oil on canvas

45.5 x 38 cm

Initaled lower right MW and dated 1992

Signed backboard Mitsuru Watanabe, dated 1992 and titled Yukiko in kanji

PROVENANCE

New Art Est-Ouest Auctions, Tokyo , July 12, 2008, lot 64 Bis Acquried from the above by the present owner

NT$ 160,000 - 180,000

HK$ 38,000 - 42,000

US$ 4,900 - 5,500

RMB 35,000 - 40,000

渡部滿

由希子

1992

油彩 畫布

45.5 x 38 cm

簽名右下：1992 MW

簽名畫背背板：由希子 一九九二 渡部滿

來源

伊斯特拍賣，東京，2008年7月12日，編號64 Bis

現有收藏者購自上述來源

077 MOISES YAGÜES

(Spanish, b. 1972)

Vidas Cruzadas (Short Cuts)

2019

Mixed media on board 130 x 100 cm

Signed lower right Yagües and dated 2019

Titled lower center VIDAS CRUZADAS

Signed reverse MOISÉS YAGÜES, titled VIDAS CRUZADAS (SHORT CUTS) and dated 2019

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

NT$ 240,000 - 360,000

HK$ 57,000 - 85,000

US$ 7,300 - 10,900

RMB 53,000 - 79,000

莫伊‧亞格斯

交錯的人生 2019

綜合媒材 木板 130 x 100 cm

簽名右下：Yagües 2019

題識下方：VIDAS CRUZADAS

簽名畫背："VIDAS CRUZADAS (SHORT CUTS)" MOISÉS YAGÜES 2019

附丁丁藝術空間開立之原作保證書

078

SU MENG-HUNG

(Taiwanese, b. 1976)

Kai Dao Tu Mi Series (Silver)

2007

Acrylic on canvas

180 x 120 cm

Signed reverse Sam Su in Chinese and English and dated 2007

NT$ 190,000 - 280,000

HK$ 45,000 - 66,000

US$ 5,800 - 8,500

RMB 42,000 - 62,000

蘇孟鴻

荼蘼開到（銀色）

2007

壓克力 畫布

180 x 120 cm

簽名畫背：蘇孟鴻 Sam Su 2007

079 YANG CHIHUNG

(Taiwanese, b. 1947)

Meeting the Remarkable Man

1986

Mixed media on paper

126.5 x 96.7 cm

SSigned lower right C.Yang and dated 86

Signed reverse Chihung Yang, inscribed mixed media on paper, 50 x 38 inches, dated 86 and titled Meeting the Remarkable Man

NT$ 240,000 - 340,000

HK$ 57,000 - 80,000

US$ 7,300 - 10,300

RMB 53,000 - 75,000

楊識宏

與非凡者的相遇

1986

綜合媒材 紙本

126.5 x 96.7 cm

簽名右下：C.Yang ‘86

簽名畫背：Chihung Yang Meeting the Remarkable man, ‘86 mixed media on paper 50 x 38 inches

HSU YU-JEN

(Taiwanese, b.1951)

Something About Culture

c. 1998

Oil on canvas mounted onto wooden board

133.5 x 54 cm

Signed lower center Hsu Yu-jen in Chinese, initialed HYJ, titled Something About Culture in Chinese, inscribed Memory of Juda‘s Iron Frame in Chinese

NT$ 140,000 - 240,000

HK$ 33,000 - 57,000

US$ 4,300 - 7,300

RMB 31,000 - 53,000

許雨仁

有感於文化

約1998年

油彩 畫布 裱於木板

133.5 x 54 cm

簽名下方：有感於文化 許雨仁 HYJ 猶太的鐵框

的記憶

081

HSU YU-JEN

(Taiwanese, b. 1951)

Waiting for Free Love

1998

Oil on canvas mounted onto wooden board

133.5 x 51.5 cm

Signed lower center Hsu Yu-jen in Chinese, initialed HYJ, titled Waiting for Free Love in Chinese, dated 1998, inscribed A Man with Green Imprint in Chinese, LA

NT$ 140,000 - 240,000

HK$ 33,000 - 57,000

US$ 4,300 - 7,300

RMB 31,000 - 53,000

許雨仁

等待流水情愛自由

1998

油彩 畫布 裱於木板 133.5 x 51.5 cm

簽名中下：被綠色烙印的男人

許雨仁 HYJ 1998 LA 等待流水情愛自由

082

CHEN LAI-HSING

(Taiwanese, b. 1949)

520 Peasant Movement

1991

Oil on canvas

130 x 162 cm

Signed lower right Chen Lai-hsing in Chinese and dated 1991

EXHIBITED

Chen Lai-hsing, LIPEN Art Galerie, Taipei, October 28 - November 22, 2008

NT$ 130,000 - 220,000

HK$ 31,000 - 52,000

US$ 3,900 - 6,700

RMB 29,000 - 48,000

陳來興

520 農民運動

1991

油彩 畫布

130 x 162 cm

簽名右下：陳來興 1991

展覽

「當代台灣精神

陳來興個展」，麗品藝術，

台北，展期2008年10月28日至11月22日

083

TONY WONG

(Chinese-American, 1948-2012)

Reindeer’s Dream 1998

Oil on canvas

125 x 99 cm

Signed reverse Tony Wong, titled Reindeer’s Dream, inscribed Oil on canvas 49” x 39” and dated 1998

EXHIBITED

Tony Wong, Lin & Keng Gallery, Taipei, September 12 - 29, 1998

ILLUSTRATED

Tony Wong, Lin & Keng Gallery, Taipei, 1998, color illustrated

NT$ 240,000 - 360,000

HK$ 57,000 - 85,000

US$ 7,300 - 10,900

RMB 53,000 - 79,000

黃榮禧 南柯一夢 1998

油彩 畫布 125 x 99 cm

簽名畫背：Reindeer’s Dream Oil on canvas 49” x 39” Tony Wong 98

展覽

「黃榮禧個展」，大未來畫廊，台北， 展期1998年9月12日至29日

圖錄

《黃榮禧作品集》，大未來藝術有限公司， 台北，1998，彩色圖版

084

LOUISE BOURGEOIS

(French-American, 1911-2010)

Embracing the Tree

2000

Drypoint on Japan paper, ed. 18/25

27 x 25 cm (image); 49.5 x 45.5 cm (sheet)

Signed lower right Louise Bourgeois, dated 2000 and numbered lower left 18/25

PROVENANCE

Sotheby’s, London, September 17, 2020, lot 453

Acquired from the above by the present owner

NT$ 110,000 - 220,000

HK$ 26,000 - 52,000

US$ 3,300 - 6,700

RMB 24,000 - 48,000

路易絲 · 布爾喬亞

擁抱樹

2000

乾刻版畫 日本紙 版次 18/25

30 x 25 cm (圖)

49.5 x 45.5 cm (紙)

簽名右下：Louise Bourgeois 2000

編號左下：18/25

來源

蘇富比拍賣，倫敦，2020年9月17日，編號453

現有收藏者購自上述來源

085

TAEKO MAEZAWA

(Japanese, b. 1977)

Chiuche and Cow

2008

Acrylic, pastel, pencil, ink on panel

80.3 x 100 cm

Signed reverse Taeko Maezawa, titled Chiuche and Cow in Japanese and dated 2008

PROVENANCE

New Art Est-Ouest Auctions, Hong Kong, November 25, 2008, lot 20

Acquried from the above by the present owner

NT$ 90,000 - 150,000

HK$ 21,000 - 35,000

US$ 2,700 - 4,600

RMB 20,000 - 33,000

前澤妙子

蝴蝶與牛 2008

壓克力 粉彩 鉛筆 墨 木板

80.3 x 100 cm

簽名畫背：チウチェと牛 Taeko Maezawa 2008

來源

伊斯特拍賣，香港，2008年11月25日，拍品編號20

現有收藏者購自上述來源

KAORI WATANABE

(Japanese, b. 1962)

The Uncertain Ones in the Bathroom

2007

Oil on linen panel

85 x 90 cm

Signed reverse Kaori Watanabe and dated 2007

PROVENANCE

Galerie Chêne Tokyo, Tokyo

Christie’s, Hong Kong, May 25, 2008, lot 702

Acquried from the above by the present owner

NT$ 160,000 - 240,000

HK$ 38,000 - 57,000

US$ 4,900 - 7,300

RMB 35,000 - 53,000

渡邊香織（渡邊かおり） 浴室裡的另一個人

2007

油彩 亞麻布板 85 x 90 cm

簽名畫背：Kaori Watanabe 2007

來源 東京橡樹畫廊，東京

佳士得香港，2008年5月25日，編號702

現有收藏者購自上述來源

087

KAORI WATANABE

(Japanese, b. 1962)

Motives in a Carpeted Room

2008

Oil on cotton panel

120 x 70 cm

Signed reverse Kaori Watanabe and dated 2008

PROVENANCE

Galerie Chêne Tokyo, Tokyo

Chritistie’s, Hong Kong, May 25, 2008, lot 701

Acquried from the above by the present owner

NT$ 160,000 - 240,000

HK$ 38,000 - 57,000

US$ 4,900 - 7,300

RMB 35,000 - 53,000

渡邊香織（渡邊かおり） 在地毯房間裡的意圖

2008

油彩 棉板 120 x 70 cm

簽名畫背：Kaori Watanabe 2008

來源 東京橡樹畫廊，東京

佳士得香港，2008年5月25日，編號701

現有收藏者購自上述來源

088

TOKUHIRO KAWAI

(Japanese, b. 1971)

Galileo Satellites

2005

Oil and tempera on board

65.2 x 53 cm

Signed lower right T.Kawai

NT$ 120,000 - 180,000

HK$ 28,000 - 42,000

US$ 3,600 - 5,500

RMB 26,000 - 40,000

川井德寬

伽利略衛星 2005

油彩 蛋彩 木板

65.2 x 53 cm

簽名右下：T.Kawai

TOKUHIRO KAWAI

(Japanese, b. 1971)

Small Black Hole

2004

Oil and tempera on board

53 x 45 cm

Signed lower left T.Kawai

NT$ 80,000 - 120,000

HK$ 19,000 - 28,000

US$ 2,400 - 3,600

RMB 18,000 - 26,000

川井德寬

小黑洞 2004

油彩 蛋彩 木板 53 x 45 cm

簽名左下：T.Kawai

090 GETFREAKY (Taiwanese) Uncensored 2020

Acrylic and mixed media on canvas 147 x 108 cm

This lot is accompanied by a certificate of authenticity issued by MS Art, Taichung, and signed by the artist.

NT$ 90,000 - 140,000

HK$ 21,000 - 33,000

US$ 2,700 - 4,300

RMB 20,000 - 31,000

GetFreaky

未經審查 2020

壓克力 混合媒材 畫布 147 x 108 cm

附美伸學開立與藝術家親簽之原作保證書

091

KWANG HYUN KIM

(Korean, b. 1982)

Taste of Your Tongue I

2023

Acrylic on canvas

91 x 73 cm

Signed reverse Kwang Hyun Kim, dated 2023, and titled Taste of Your Tongue (I)

PROVENANCE

ThinkSpace Projects, Los Angeles

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

NT$ 90,000 - 180,000

HK$ 21,000 - 42,000

US$ 2,700 - 5,500

RMB 20,000 - 40,000

金光賢

你的舌尖之味 1 2023

壓克力 畫布

91 x 73 cm

簽名畫背：Taste of your Tongue (I) 2023

Kwang Hyun Kim

來源

思維空間項目，洛杉磯

附思想空間開立之藝術家簽名原作保證書

092

LOES VAN DELFT

(Dutch, b. 1991)

Bipolaire

2017

Mixed media on Flemish linen

100(L) x 100(W) x 4(D) cm

Signed reverse Loes Van Delft, titled Bipolaire and dated 2017

EXHIBITED

Art Revolution Taipei 2017, Taipei World Trade Center Exhibition, Taipei, April 14 - 17, 2017

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

NT$ 60,000 - 150,000

HK$ 14,000 - 35,000

US$ 1,800 - 4,600

RMB 13,000 - 33,000

蘿絲‧范‧黛芙特

雙重性格 2017

綜合媒材 亞麻布

100(長) x 100(寬) x 4(厚) cm

簽名畫背：Loes Van Delft 2017 Bipolaire

展覽 「2017年台北新藝術博覽會」，台北世貿中心， 台北，展期2017年4月14日至17日

附藝術家簽名之原作保證書

093

KWANG HYUN KIM

(Korean, b. 1982) Focuses

2022

Acrylic on canvas 73 x 61 cm

Signed reverse Kwang Hyun Kim, titled Focuses and dated 2022

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

NT$ 60,000 - 120,000

HK$ 14,000 - 28,000

US$ 1,800 - 3,600

RMB 13,000 - 26,000

金光賢

焦點

2022

壓克力 畫布 73 x 61 cm

簽名畫背：Focuses Kwang Hyun Kim 2022

附東京哈囉畫廊開立之原作保證書

094

SANYU

(Chinese-French, 1895-1966)

Beijing Circus

Printed in 2017

Giclée print on canvas, ed. 167/199

73.8 x 117.9 cm

With an authorization certificate from the Natioual Museum of History, Taipei.

NT$ 80,000 - 160,000

HK$ 19,000 - 38,000

US$ 2,400 - 4,900

RMB 18,000 - 35,000

常玉

北京馬戲

2017年發行

數位微噴畫布 版次 167/199

73.8 x 117.9 cm

附國立歷史博物館授權證書

095 SANYU

(Chinese-French, 1895-1966) Nude

Printed in 2017

Giclée print on canvas, ed. 147/199

117.9 x 73.8 cm

With an authorization certificate from the Natioual Museum of History, Taipei.

NT$ 80,000 - 160,000

HK$ 19,000 - 38,000

US$ 2,400 - 4,900

RMB 18,000 - 35,000

常玉

裸女

2017年發行 數位微噴畫布 版次 147/199

117.9 x 73.8 cm

附國立歷史博物館授權證書

096

HSU YU-JEN

(Taiwanese, b. 1951)

Standing Stones

2006

Ink on paper

177 x 91 cm

Signed bottom Hsu Yu-jen in Chinese, initialed H.Y.J., dated 2006 and titled

PROVENANCE

Acquired directly from the artist by the present owner

NT$ 70,000 - 140,000

HK$ 17,000 - 33,000

US$ 2,100 - 4,300

RMB 15,000 - 31,000

許雨仁

立立石石

2006

墨 紙

177 x 91 cm

簽名題識下方：

立立石石 許雨仁 H.Y.J. 2006 (1)

找不到景景色色 色色景景

來源

現有收藏者直接得自藝術家本人

097

HSU YU-JEN

(Taiwanese, b. 1951)

The Only Green on the Orange

2007

Ink and color on paper

177 x 91 cm

Signed bottom Hsu Yu-jen in Chinese, initialed H.Y.J., dated 2007 and titled PROVENANCE

Acquired directly from the artist by the present owner

NT$ 70,000 - 140,000

HK$ 17,000 - 33,000

US$ 2,100 - 4,300

RMB 15,000 - 31,000

許雨仁

橘子的唯一綠意

2007

彩墨 紙本 177 x 91 cm

簽名題識下方：

買回來的橘子上有一片綠葉是我唯一看到綠意

許雨仁 H.Y.J. 2007 (9)

吃剩下的皮還保留綠葉是我的唯一綠意享受

來源

現有收藏者直接得自藝術家本人

098

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Little White Bear Boy

2021

Lithograph, ed. 66/75

45.5 x 33 cm (image)

56 x 43.5 cm (sheet)

Signed Mayuka, titled little white bear boy and numbered 66/75

NT$ 40,000 - 80,000

HK$ 9,000 - 19,000

US$ 1,200 - 2,400

RMB 9,000 - 18,000

山本麻友香

小白熊男孩 2021

版畫 版次 66/75

45.5 x 33 cm (圖)

56 x 43.5 cm (紙)

簽名版次下方：66/75 little white bear boy Mayuka

099 MAYUKA YAMAMOTO

(Japanese, b. 1964)

White Owl Boy 2019

Lithograph, ed. 42/ 50

40 x 29.5 cm (image)

51 x 41 cm (sheet)

Signed Mayuka, titled white owl boy and numbered 42/50

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

NT$ 40,000 - 80,000

HK$ 9,000 - 19,000

US$ 1,200 - 2,400

RMB 9,000 - 18,000

山本麻友香

白色貓頭鷹男孩 2019

版畫 版次 42/50

40 x 29.5 cm (圖)

51 x 41 cm (紙)

簽名版次下方：42/50 white owl boy Mayuka

附東京椿畫廊開立之作品作保證書

100

MAYUKA YAMAMOTO

(Japanese, b. 1964)

Red Bear Boy

2021

Lithograph, ed. 12/75

61 x 40.5 cm (image)

66 x 46 cm (sheet)

Signed Mayuka, titled red bear boy and numbered 12/75

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

NT$ 40,000 - 80,000

HK$ 9,000 - 19,000

US$ 1,200 - 2,400

RMB 9,000 - 18,000

山本麻友香

紅熊男孩

2021

版畫 版次 12/75

61 x 40.5 cm (圖)

66 x 46 cm (紙)

簽名版次：12/75 red bear boy Mayuka

附科里‧赫爾福德畫廊開立與藝術家簽名之作品保證書

101

HSIEH HSIAO-DE

(Taiwanese, b. 1940)

Estuary of the Tamsui River

2011

Watercolor on paper

79 x 110 cm

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

NT$ 30,000 - 60,000

HK$ 7,000 - 14,000

US$ 900 - 1,800

RMB 7,000 - 13,000

謝孝德

淡水出海口

2011

水彩 紙本

79 x 110 cm

簽名右下：2011 謝孝德

YOSHITOMO NARA

(Japanese, b. 1959)

Doggy Radio x RIMOWA

2011

Doggy Radio: fiberglass, ed. 103/200

Suitcase: aluminium, ed. 103/200

43(L) x 22.5(W) x 29.5(H) cm (doggy radio);

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

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

NT$ 260,000 - 360,000

HK$ 61,000 - 85,000

US$ 7,900 - 10,900

RMB 57,000 - 79,000

奈良美智

小狗收音機 x RIMOWA 旅行箱

2011

小狗收音機：玻璃纖維 版次103/200

旅行箱：鋁合金 版次 103/200

43(長) x 22.5(寬) x 29.5(高) cm (小狗收音機)；

53.5(長) x 27.5(寬) x 42.5(高) cm (旅行箱)

附藝術家親簽保證卡

AYAKO ROKKAKU

(Japanese, b. 1982)

Untitled 2021

Ceramic, ed. 52/200

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

Inscribed with the artist’s signature in Japanese and numbered 52/200

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

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

NT$ 160,000 - 300,000

HK$ 38,000 - 71,000

US$ 4,900 - 9,100

RMB 35,000 - 66,000

六角彩子

無題

2021

陶瓷 版次 52/200

39(長) x 13.8(寬) x 28.7(高) cm

款識底部：ロッカクアヤコ GALLERY DELAIVE EDITIONS 52/200

附藝術家簽名作品保證卡與原產紙箱包裝

HSI SHIH-PIN

(Taiwanese, b. 1977)

Horse of Multiple Appearances

2021

Stainless steel, carbon, sculpture, ed. 7/12

45(L) x 13(W) x 30(H) cm (horse)

58.2(L) x 24(W) x 63.5(H) cm (including the base)

Engraved top of the base Shih Pin Hsi, dated 2021 and numbered 7/12

PROVENANCE

Soka Art Center, Taipei

Private collection, Asia

EXHIBITED

Our Home - Artists Group Exhibition, Soka Art, Taipei, January 9 - February 20, 2021

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

NT$ 220,000 - 340,000

HK$ 52,000 - 80,000

US$ 6,700 - 10,300

RMB 48,000 - 75,000

席時斌

非相之馬 2021

不鏽鋼 碳鋼 版次 7/12

45(長) x 13(寬) x 30(高) cm (馬)

58.2(長) x 24.5(寬) x 63.5(高) cm (含底座)

簽名雕刻底座頂部：

Shih Pin Hsi 7/12 2021

來源

索卡藝術，台北

私人收藏，亞洲

展覽

「溫叨—藝術家聯展」，索卡藝術中心，台北 展期2021年1月9日至2月20日（不同版次）

附索卡當代藝術有限公司開立與藝術家簽名之 作品保證書

105

POREN HUANG

(Taiwanese, b. 1970)

Awoooooo!

2019

Stainless steel, ed. PR 9/12

46(L) x 25(W) x 67(H) cm

Engraved back of the right leg PR

Engraved back of the right leg bottom PR, dated 2019 and numbered 12-9

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

NT$ 190,000 - 280,000

HK$ 45,000 - 66,000

US$ 5,800 - 8,500

RMB 42,000 - 62,000

黃柏仁

Awoooooo!

2019

不鏽鋼 版次 9/12

46(長) x 25(寬) x 67(高) cm

雕刻簽名右後腿：PR

雕刻簽名右後底部：2019 PR 12 - 9

附紅野畫廊及藝術家親筆簽名之作品保證書

AKIHIKO YOSHIDA (NIKICHI)

(Japanese, b. 1954)

Scent of Love - Polar Bear

2023

Wood

16(L) x 17(W) x 28(H) cm

Engraved bottom Niki in kanji

NT$ 240,000 - 340,000

HK$ 57,000 - 80,000

US$ 7,300 - 10,300

RMB 53,000 - 75,000

吉田昭彥（仁吉）

愛的香氣—北極熊 2023

木雕

16(長) x 17(寬) x 28(高) cm

簽名雕刻底部：仁

MAKOTO NISHI

(Japanese, b. 1955) Routine

2021

Mixed media, wood

16.5(L) x 26(W) x 16(H) cm

Signed bottom Makoto Nishi

Signed base Makoto Nishi

NT$ 150,000 - 240,000

HK$ 35,000 - 57,000

US$ 4,600 - 7,300

RMB 33,000 - 53,000

西誠人

貓的日常 2021

綜合媒材 木雕

16.5(長) x 26(寬) x 16(高) cm

簽名腳底：Makoto Nishi

簽名雕刻底座：Makoto Nishi

108

HSU YUNGHSU

(Taiwanese, b. 1955)

2020 - 7

2020

Porcelain, unique

29(L) x 31(W) x 52.5(H) cm

PROVENANCE

Lotus Art Gallery, Kaohsiung

Acquired from the above by the present owner

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

NT$ 180,000 - 280,000

HK$ 42,000 - 66,000

US$ 5,500 - 8,500

RMB 40,000 - 62,000

徐永旭

2020 7

2020

瓷土 單一件

29(長) x 31(寬) x 52.5(高) cm

來源

荷軒新藝空間，高雄 現有收藏者購自上述來源

附藝術家簽名原作保證書

YUYU YANG (YANG YING-FENG)

(Taiwanese, 1926-1997)

Dragon’s Song in the Cosmic Void

1991

Stainless steel, ed. 12/20

57(L) x 26(W) x 57(H) cm

Engraved on the base Yuyu YANG in Chinese and English, numbered 12/20

EXHIBITED

Yuyu Yang Exhibition, Johnson & Johnson Sculpture Grounds, N.Y. USA., May 20 - September 30, 1995 (another cast)

Yuyu Yang, Chelsea Harbour, London, 1996 (another cast)

ILLUSTRATED

Yuyu Yang's Lifescape Sculpture, Yuyu Yang Lifescape Sculpture Museum, Taipei, 1995, color illustrated

Landscape Architecture - Free - Yuyu Yang, Hsiung Shih Books Pte. Ltd., Taipei, 2004, color illustrated, p. 16

This lot is accompanied by a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 110,000 - 220,000

HK$ 26,000 - 52,000

US$ 3,300 - 6,700

RMB 24,000 - 48,000

楊英風 龍嘯太虛

1991

不鏽鋼 版次 12/20

57(長) x 26(寬) x 57(高) cm

雕刻台座：呦呦楊英風 Yuyu YANG Yang 12/20

展覽

「雕塑大地」春夏季「楊英風大雕塑個展」， 紐澤西州，展期1995年5月20日至9月30日

「楊英風個展」，倫敦切爾西港，倫敦，1996 (另一尺寸版次)

圖錄 《呦呦楊英風–豐實的’95》，楊英風美術館，

台北，1995，彩色圖版

《景觀·自在·楊英風》，雄獅圖書股份有限公 司，台北，2004，彩色圖版，頁16 附財團法人楊英風藝術教育基金會呦呦藝術事 業有限公司開立之作品保證書

ALEX FACE

(Thai, b. 1981)

The Swimmer

2019

Painted bronze, ed. 15/25

26(L) x 16.5(W) x 25(H) cm

Engraved rear left side Alex Face and numbered 15/25

NT$ 160,000 - 260,000

HK$ 38,000 - 61,000

US$ 4,900 - 7,900

RMB 35,000 - 57,000

亞歷克斯．費斯

游泳者

2019

銅雕 版次 15/25

26(長) x 16.5(寬) x 25(高) cm

簽名雕刻左後側：Alex Face 15/25

ALEX FACE

(Thai, b. 1981)

Monument of Hope

2020

Wood, ed.15/25

15(L) x 21.5(W) x 52(H) cm

Engrave base Alex Face and numbered 15/25

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

NT$ 140,000 - 240,000

HK$ 33,000 - 57,000

US$ 4,300 - 7,300

RMB 31,000 - 53,000

亞歷克斯．費斯 希望之碑

2020

木雕 版次 15/25

15(長) x 21.5(寬) x 52(高) cm

簽名雕刻：Alex Face 15/25

附曼谷城市城市畫廊開立之作品保證書

112

ALEX FACE (Thai, b. 1981)

Floating Memory

2018

Bronze, ed. 3/25

21.2(L) x 30(W) x 23(H) cm

Engraved bottom ALEX FACE and numbered 3/25 (boat)

Engraved bottom ALEX FACE (paddle)

PROVENANCE

CityCity Gallery, Bangkok

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

NT$ 110,000 - 220,000

HK$ 26,000 - 52,000

US$ 3,300 - 6,700

RMB 24,000 - 48,000

亞歷克斯．費斯

回憶浮流 2018

銅雕 版次 3/25

21.2(長) x 30(寬) x 23(高) cm

簽名雕刻底部：ALEX FACE 3/25 (船)

簽名雕刻：ALEX FACE (槳)

來源

城市城市畫廊，曼谷

附曼谷城市城市畫廊開立之作品保證書

113

YUSUKE HANAI

(Japanese, b. 1978)

We Will Fly Again ; Down But Not Out

2021

Mixed media, ed. 102/150 ; ed. 240/250

16.4(L) x 20(W) x 28(H) cm;13(L) x 18.5(W) x 29(H)cm

Signature printed on the bottom Yusuke Hanai and numbered 102/150, 240/250

This lot is accompanied by a NFC manual and accompanied with its original box.

NT$ 90,000 - 180,000

HK$ 21,000 - 42,000

US$ 2,700 - 5,500

RMB 20,000 - 40,000

花井祐介

再次高飛；倒地再起

2021

綜合媒材 版次 102/150 ; 240/250

16.4(長) x 20(寬) x 28(高) cm; 13(長) x 18.5(寬) x 29(高) cm

簽名印刷底部：Yusuke Hanai 102/150, 240/250

附NFC保證卡與作品原產紙盒包裝

114

POREN HUANG

(Taiwanese, b. 1970)

Hello 2014

Bronze, ed 12/30

21(L) x 12(W) x 26(H) cm

Engraved right leg PR

Engraved bottom PR, dated 2014 and numbered 30 - 12

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

NT$ 100,000 - 200,000

HK$ 24,000 - 47,000

US$ 3,000 - 6,100

RMB 22,000 - 44,000

黃柏仁 你好

2014

銅雕 版次 12/30

21(長) x 12(寬) x 26(高) cm

雕刻簽名右腿：PR

雕刻簽名底部：2014. 30 - 12 PR

附紅野畫廊及藝術家親筆簽名之作品保證書

115

A-LEI

(Taiwanese, b. 1976)

Black Coffee

2019

Pottery, glaze

17(H) x 18(W) x 23(H) cm

Signed bottom Lei and date 2019

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

NT$ 70,000 - 140,000

HK$ 17,000 - 33,000

US$ 2,100 - 4,300

RMB 15,000 - 31,000

阿咧

黑面咖啡 2019

陶土 釉

17(長) x 18(寬) x 23(高) cm

簽名底部：Lei 2019

附台北意識畫廊開立與藝術家簽名之

原作保證書

116 A-LEI

(Taiwanese, b. 1976)

Silent Whale

2016

Pottery, glaze

13.5(L) x 18(W) x 24(H) cm

NT$ 70,000 - 140,000

HK$ 17,000 - 33,000

US$ 2,100 - 4,300

RMB 15,000 - 31,000

阿咧

沉默是鯨 2016

陶土 釉

13.5(長) x 18(寬) x 24(高) cm

117

JAVIER CALLEJA

(Spanish, b. 1971)

Missing the Blue Sky

2018

Mixed media, fiberglass, metal; ed. 86/ 200

16(L) x 16(W) x 32.5(H) cm

Trademark By jAViER CALLEjA on the bottom of right foot; APPORTFOLIO on the bottom of left foot

This lot is accompanied by a certificate of authenticity and it’s original product box.

NT$ 70,000 - 140,000

HK$ 17,000 - 33,000

US$ 2,100 - 4,300

RMB 15,000 - 31,000

哈維爾．卡勒加

想念藍天

2018

綜合媒材 玻璃纖維 金屬 版次 86/200

16(長) x 16(寬) x 32.5(高) cm

註冊商標：By jAViER CALLEjA (左腳底)

APPORTFOLIO (右腳底)

附藝術家簽名之作品保證卡及作品原產紙盒包裝

118

MR DOODLE

(British, b. 1994)

The Doodler 2 2022

Resin, ed. 87/500

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

Signed bottom MR DOODLE!, numbered 87/500 and dated 2022

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

NT$ 60,000 - 120,000

HK$ 14,000 - 28,000

US$ 1,800 - 3,600

RMB 13,000 - 26,000

塗鴉先生 塗鴉先生 2 2022

樹酯 版次 87/500

18(長) x 15.5(寬) x 36.5(高) cm

簽名腳底：MR DOODLE! 2022 87/500

附藝術家簽名作品保證卡與作品原產紙盒包裝

119

JU MING

(Taiwanese, 1938-2023)

Living World Series - Lining Up

2002

Pewter, multiple reproductien

72(L) x 18.5(W) x 19.4(H) cm

This lot is accompanied by a certificate of limited reproduction issued by Juming Museum, New Taipei.

NT$ 60,000 - 120,000

HK$ 14,000 - 28,000

US$ 1,800 - 3,600

RMB 13,000 - 26,000

朱銘

人間系列 排隊

2002

鉛錫合金 複製品

72(長) x 18.5(寬) x 19.4(高) cm

附朱銘美術館限量複製品證明書

120 JU MING

(Taiwanese, 1938-2023)

Side Kick

Unsaturated polyester resin, calcium carbonate, oil color paste, ed. 154/300

24(L) x 20(W) x 25(H) cm

Numbered on the bottom 154/300

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

NT$ 60,000 - 120,000

HK$ 14,000 - 28,000

US$ 1,800 - 3,600

RMB 13,000 - 26,000

朱銘 側踢

不飽和聚酯樹脂 碳酸鈣 油性色母 版次 154/300

24(長) x 20(寬) x 25(高) cm

版次底部：154/300

附朱銘美術館限量複製品證明書

121

JU MING

(Taiwanese, 1938-2023)

Taichi Series

Unsaturated polyester resin, calcium carbonate, oil color paste, ed. 72/300

25.3(L) x 16 (W) x 26(H) cm

Numbered on the bottom 72/300

This lot is accompanied by a certificate of limited reproduction issued by Juming Museum, New Taipei.

NT$ 90,000 - 180,000

HK$ 21,000 - 42,000

US$ 2,700 - 5,500

RMB 20,000 - 40,000

朱銘

太極系列

不飽和聚酯樹脂 碳酸鈣 油性色母 版次 72/300

25.3(長) x 16(寬) x 26(高) cm

版次底部：72/300

附朱銘美術館限量複製品證明書

122

JU MING

(Taiwanese, 1938-2023)

Taichi Series - Single Whip

Unsaturated polyester resin, calcium carbonate, oil color paste, ed. 281/300

28.5(L) x 14.4(W) x 18.2(H) cm

Printed with publisher’s name Juming Museum on the bottom Numbered bottom 281/300

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

NT$ 90,000 - 180,000

HK$ 21,000 - 42,000

US$ 2,700 - 5,500

RMB 20,000 - 40,000

朱銘

太極系列—單鞭下勢 不飽和聚酯樹脂 碳酸鈣 油性色母 版次 281/300

28.5(長) x 14.4(寬) x 18.2(高) cm

版次底部：朱銘美術館 281/300

附朱銘美術館限量複製品證明書

給予買家的重要通知

本拍賣會依據「羅芙奧股份有限公司業務規則」舉行，請在參加拍賣會之前仔細閱讀，充分理解以下規則：

1. 有意參與競投的買家需事前辦理登記申請手續：請出示有效證件 ( 如：身份證明、護照⋯) 並填寫登記文件以及繳納競投保證金。

2. 競投保證金 : 新台幣陸拾萬元或貳萬美金。

3. 競投保證金需於 2025 年 5 月 29 日以前完成匯款至本公司指定帳號如下 : 銀行：匯豐（台灣）商業銀行 - 台北分行

銀行代碼：0810016

戶名：羅芙奧股份有限公司

帳號：001-234830-031（新台幣）或 001-234830-061（美金）

地址：台北市基隆路一段 333 號 14 樓

匯款時請指示銀行本公司需實收競投保證金全額，銀行手續費請匯款人負擔。

4. 2025 年 5 月 29 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2025 年 5 月 30 日至 6 月 1 日 ) 以新台幣現鈔支付 ( 恕不接受除現金之外之其他繳納方式 )，收款將於 6 月 1 日中午 12 點截止。

5. 電話／書面／網路競投：競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請手續以及競投保證金 之繳納亦需在 2025 年 5 月 29 日以前完成匯款至本公司指定帳號。

6. 如於 2025 年 5 月 29 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我們將 與競投者聯繫並與之確認其競標牌號。

7. 拍賣當天已繳納競投保證金之競投者欲領取所登記的牌號時，請出示有效證件 ( 如：身份證明、護照⋯) 以確認身份。

8. 競投保證金退還方式： (1) 有成交：

(a) 競投保證金以「匯款」方式完成者，扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額 需退還，本公司將於拍賣日後十四個工作天內以匯款方式退還給買家。

(b) 競投保證金以「現金」方式完成者，扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額 需退還，本公司將於拍賣當日以現金退還給買家。

(c) 若買家無正當理由未於成功拍賣日期後七天內支付全部應支付之款項（包含落槌價、服務費及其他費用）予本公司， 買家不得請求返還競投保證金。

(2) 未成交：若競投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證金。競投保證金以「匯款」方式完成者， 本公司將於拍賣日後十四個工作天內以匯款方式退還給買家。競投保證金以「現金」方式完成者，本公司將於拍賣 當日以現金退還給買家。

9. 若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價、服務費及其他費用 ) 金額超過競投保證金金額時，買方得以下列方式 結清帳款： (1) 現鈔：上限新台幣伍拾萬元。

(2) 信用卡與銀聯卡：刷卡上限為新台幣壹佰萬元。信用卡與銀聯卡持有人必需是買家本人，本公司不接受他人之信用卡。

10. 羅芙奧股份有限公司有權在發生任何不可預見的糾紛或矛盾的狀況之下，對於接受或拒絕付款（包含競投保證金）保留全部的 決定權。

IMPORTANT NOTICE TO BUYERS

The auction will strictly abide by the Transaction Agreement set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations:

1. Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a bidding deposit are required.

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

3. The bidding deposit must be transferred to Ravenel's specified Bank account prior to 29 May 2025, details as follow:

Beneficiary's Bank: HSBC BANK (Taiwan) Limited.

SWIFT Code: HSBCTWTP

Beneficiary's Name: Ravenel Ltd.

Beneficiary's Account No: 001-234830-031 (NT$) or 001-234830-061 (US$)

Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of bidding deposit. The payer will be responsible for any associated bank service fees.

4. After the 29 May 2025, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 30 May to 1st June 2025). Acceptance will cease on 1st June by 12pm (No other forms of payment will be accepted).

5. Telephone / written / internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 29 May 2025

6. If the bidding deposit has been transferred prior to 29 May 2025, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her/its paddle number.

7. If the payment of the bidding deposit is made on the day of the auction, the payer may obtain his/her/its paddle number with valid personal identification (i.e. Identification Card, passport, etc.) for purposes of verification.

8. Return of the Security Deposit:

(1) Completed Transaction:

(a) For successful bidder with a bidding deposit made through wire transfer, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer.

(b) For successful bidders with bidding deposit made by Cash, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund.

(c) If the Buyer, without any good cause, fails to pay any and all payment (including but without limitation, hammer price, buyer's premium, and other expenses) of the Lot to the Company within 7 days after the auction date, the Buyer shall not claim for the return of the bidding deposit.

(2) Nil Transaction: If the bidder is not able to purchase any lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. For individuals with a bidding deposit transferred by wire, the bidding deposit will be returned within 14 business days through means of a wire transfer. Cash bidding deposit will be returned to individuals on the same day after the auction.

9. Successful bidder must settle the payment (hammer price, buyer's premium, and other expenses) prior to receiving the lot(s) on site. If the price exceeds the amount of the bidding deposit, the successful bidder may settle the outstanding balance through the following means:

(1) A cash payment must not exceed NT$ 500,000.

(2) A credit or China UnionPay payment: The credit payment must not exceed NT$ 1,000,000. The holder of the credit card or China UnionPay must be the successful bidder, credit payments from any title except for the successful bidder will not be permitted nor accepted.

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

委託競投表格

委託競投表格須於拍賣24小時前送抵藝術部。競投表格可傳真至: 藝術部 電話：+886-2-2708 9868 ｜傳真：+886-2-2701 3306

投標者資料

客戶編號 姓名

護照號碼/身份證字號/統一編號

電話號碼（住宅） （手機）

拍賣期間之聯絡電話 (僅限電話競投)

電郵 傳真號碼

拍賣品編號 名 稱

拍 賣 名 稱：羅芙奧台北 2025 春季拍賣會 現代與當代藝術

拍 賣 編 號：TA2501

拍 賣 日 期：2025 年 6 月 1 日 ( 星期日 ) 下午 2:00

拍 賣 地 點：台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路 199 號

競投價 (新台幣) / (服務費不計在內)

※投標規則：

1. 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。

2. 本人知悉書面及電話競標乃羅芙奧為基於投標者之便利而提供代為投標之服務而不成立任何委託投標之契約，羅芙奧不因執行投標而負任何 責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，以最先收到者優先辦理。

3. 本人同意如投標成功，本人應付之購買價款為最後落槌價加上服務費，服務費依業務規則第二條第4 項之規定計算。(4a.買家支付每件拍品之 服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下者含參仟貳佰萬元以20％計算；（2） 落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳佰萬元之部份以12％計算。)

4. 本競投，本人同意並遵守本目錄所載所有業務規則。(包含但不限於羅芙奧不負瑕疵擔保責任及保證責任等規定)

5. 如投標者未曾於羅芙奧競投拍賣品，請附上投標者資料之副本及銀行證明資料。

6. 本人同意買家須知、投標者登記表格、委任競投表格及業務規則等附屬文件均視為本契約之一部分。

7. 羅芙奧基於上述原因而需蒐集、處理或非營利目的之利用投標者個人資料， 該資料將在前開蒐集目的之存續期間及依法令規定要求之期間內被處理或利用。

羅芙奧在取得投標者之個人 / 公司資料及簽名後方才接受競標 簽名即代表確認以上登記 / 競投，詳閱並同意接受羅芙奧載於圖錄及網站內之業務規則 簽署 ： 日期：

地址 Ravenel Ltd. 18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan Tel: +886 2 2708 9868 | Fax: +886-2-2701 3306 ravenel.com | ravenelart.com.cn

ABSENTEE BID FORM

The absentee bid forms must be delivered to the Art Department at least 24 hours before the auction begins. The bid forms may be faxed to: Art Department

Tel: +886 2 2708 9868 ｜Fax: +886 2 2701 3306

Bidder's Details

Customer Number Name

Passport number/ID number/Unified Business number

Tel (Home) (Mobile)

Tel (For Phone Bid)

Email Fax

Address

Auction Lot Number Title

Auction SPRING AUCTION 2025 TAIPEI

Modern & Contemporary Art

Date Sunday, June 1, 2025, 2:00pm

Sale No. TA2501

Location Marriott Taipei 3F (Grand Space)

Address No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

Bid Price (NT$)

(Not including Buyer's premium)

※Bidding rules：

1. It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder

2. I understand and agree that Ravenel provides such bid services for the convenience of customers and no contract or agreement shall be constituted. Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received.

3. I understand and agree that if my bid is successful, I shall pay the final hammer price together with the buyer's premium. For detail please refer to Article 2,section 4 of the Transaction Agreement to the buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the buyer's premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the buyer's premium should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.)

4. The bid shall be subject to the Transaction Agreement prescribed in the catalogue.(including but not limited to Ravenel's non-defect warranty and non-guaranteed liability).

5. If the bidder has not bid for the auction item at Ravenel, please attach a copy of the bidder's information. (Individual: ID card or passport with photo issued by the government)

6. I agree that the Notice To Bidders, Bidder Registration, Absentee Bid Form and Transaction Agreement and other attached documents are regarded as part of this agreement.

7. Ravenel will collect, process and use the personal data provided by the client for auction-related matters and other non-profit purposes.

Signature： Date：

We accepts the bid only after obtaining the personal/company information and signature to execute this bid.

By signing this form, you confirm your registration/bid(s) as above and you agree that you have read and understood our Transaction Agreement as stated in our catalogues and on our website.

Ravenel Ltd.

18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan Tel: +886 2 2708 9868 | Fax: +886-2-2701 3306 ravenel.com | ravenelart.com.cn

下述規則，為羅芙奧股份有限公司 ( 下稱「本公司」 ) 與賣家訂立合約，亦 作為賣家之代理人與買家訂立合約之條款。準買家、買家及賣家務須細讀 各項規則並完全同意遵守本業務規則。準買家、買家請特別留意第二條第5 項，其對本公司之法律責任作了限定。

一、本業務規則所用詞彙之定義 在下列規定中，某些常用詞彙需加以解釋。此等詞彙定義如下：

1. 「買家」：指本公司所接受之出價最高之自然人或法人。

2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。

3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣 之自然人或法人。

4. 「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以 任何編號描述之一項或多項物品。

5. 「落槌價」：指本公司就某一拍賣品而接受之最高出價之價款。

6. 「買家服務費」：指買家按落槌價之某一百分比而支付本公司之費用； 收費率如第二條第4a項所列。

7. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之 價格售出。

8. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺 詐意圖，以就拍賣品之作者、來歷、年代、時期、文化或來源進行欺 騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品 在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義， 任何拍賣品均不會因為有任何損壞及／或任何形式之修整（包括重新上 漆）而成為膺品。

9. 「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險 之價值（不論保險是否由本公司安排購買）。

10. 「賣家服務費」：指賣家應支付本公司之費用。

二、買家

1. 本公司作為賣家代理人

本公司作為賣家代理人之身分行事。除另行協定外，在本公司之拍賣中 成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。

2. 拍賣前

a. 鑑定物品

本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之 物品。本公司就任何拍賣品及相關證明文件之真偽，均不對買家作任 何保證。

b. 拍賣品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述， 皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。對任何 拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍 賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或 損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議， 準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢 閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述 或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知 悉並瞭解所有拍賣品均以「現狀」售出，本公司對於任何拍出之拍賣 品狀態不作任何承諾或保證。

c. 符號表示 以下為本目錄所載符號之說明 ｏ保證項目

拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次 或一連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由 本公司與第三方共同提供。保證可為由第三方提供之不可撤銷競投之 形式做出。若保證拍賣品成功售出，提供或參與提供保證之第三方可 能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或 參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家 服務費。

d. 目錄說明

本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、 日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計 售價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳 述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引而已，不應 作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。

拍賣價格之估計，不應依據為拍賣品會成功拍賣之價格或拍賣品作其 他用途之價值陳述。

許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有 些說明或鑑定意見書會提述拍賣品之損壞及／或修整資料。此等資 料僅作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺 陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。

e. 買家之責任 有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任自行查 明並瞭解，並就拍賣品為自己獨立之判斷及評估，並確使自己感到 滿意。

3. 拍賣時

a. 估價

目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍 賣會須以新台幣結算，買家如須以新台幣之外其他貨幣繳付，須依 拍賣日現場公佈之匯率，折合所繳付之等值貨幣計算。

b. 拒絕入場

拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地 進行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣 場地或參與拍賣。

c. 競投之前作出登記

每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身 分證明。準買家應注意，本公司通常會要求對買家作出信用核查。

d. 競投保證金 競投者，應在領取競投號牌前繳納競投保證金，競投保證金的金額 由本公司在拍賣日前公佈。

(1) 若競投者未支付競投保證金，本公司有權不接受其競投。若競 投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證 金。

(2) 若競投者成為買家，則本公司有權將此保證金自動轉化為已成 交拍賣品購買款項之一部（包含落槌價、服務費或運費等相關 費用），若尚有餘款須退回給買家；若買家無正當理由未於 成功拍賣日期後七天內支付全部應支付之成交拍賣品購買款項 （包含落槌價、服務費或運費等相關費用）予本公司，買家不 得請求返還競投保證金。

e. 競投者為買家

競投者將被視為買家而須承擔個人法律責任，除非登記時已經與本 公司書面協定，競投者僅為第三人之代理人，且該第三人復為本公 司所接受者。

f. 委託競投

如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公 司將盡適當努力代其競投，但代為競投指示須於拍賣前送抵本公 司。如本公司就某一拍賣品而收到多個委託競投之相等競投價，而 在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣品會歸其 委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承 諾所限，而拍賣進行之情況可能使本公司無法代為競投。由於此項 承擔乃本公司為準買家按所述條款提供之免費服務，如未能按委託 作出競投，本公司將不負任何法律責任。準買家如希望確保競投成 功，應親自出席競投。

g. 電話競投

如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競 投者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無 法參加電話競投，本公司對賣家或任何準買家均不負任何責任。

h. 透過網路進行競投

若準買家未能出席拍賣會，可透過 Invaluable 或本公司官網「即時競 標」（網址：https://bid.ravenel.com/）競投屬意拍賣品，而承擔買家 獨立責任。進行網上競投之詳情，請參閱本公司網頁 Ravenel.com， 惟準買家及買家透過 Invaluable 網上競投之方式成功拍得屬意拍賣 品，除須支付依本業務規則二、買家、4(a)規定所計算之服務費外， 並應另行支付落槌價 3% 之服務費，且應同意本公司得隨時修改該業 務規則。

i. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參 考，不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外 匯，其準確程度均可能會出現非本公司所能控制之誤差。買家因依 賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之任何損 失，本公司概不負責。

j. 錄映影像

在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是 否與成功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買 家均不負任何責任。

k. 拍賣官之決定權

拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動 出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併， 以及如遇有誤差或爭議，將拍賣品重新拍賣。拍賣官會於拍賣開始 前或於相關拍賣品競標前對注意事項作出通告，準買家須負責自行 注意所有於拍賣會場發表之通告。建議使用即時網上競投服務參與 競投的準買家，於拍賣開始前登入，以確保準買家得知拍賣開始前 所作出之通告。

l. 成功競投在拍賣官之決定權下，下槌即顯示對最高競投價之接受， 亦即為賣家與買家合意依落槌價拍定拍賣品，視為成功拍賣合約之 訂立。

4. 成功拍賣後

a. 買家支付每件拍賣品之服務費費率 (1) 買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台 幣參仟貳佰萬元以下者含參仟貳佰萬元以落槌價之20％計算。

(2) 落槌價於新台幣參仟貳佰萬元以上者，採分為二階段計費，其中 新台幣參仟貳佰萬元以落槌價之 20 ％計算，超過新台幣參仟貳 佰萬元之部份再以落槌價之12％，加總計算服務費金額。

b. 稅項

買家應付予本公司之款項，如須另行支付貨物、服務稅或其他稅則 時（不論由台灣政府或別處所徵收）。買家須負責按有關法律所規 定之稅率及時間，自行繳付稅款。

c. 付款

成功拍賣後，買家須向本公司提供其真實姓名及永久地址。如經本 公司要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳 號。買家應於拍賣日期後七天內悉數支付應支付予本公司之款項 （包含落槌價、服務費或運費等相關費用）。即使買家希望將拍賣 品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。

買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有 權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之 款項為新台幣以外之貨幣，須依拍賣日現場公佈之匯率（台灣銀 行），並以本公司就此兌換率而發出之憑證為準。

d. 領取已購拍賣品

除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣 之拍賣項目，直至欠本公司之款項已悉數支付為止。已購拍賣品在 暫時保留期間，由成功拍賣日後起算七天將受保於本公司之保險， 如屆時拍賣品已被領取，則受保至領取時為止。七天期滿後或自領 取時起（以較早者為準），已購拍賣品之風險全由買家承擔。

e. 介紹裝運及運輸公司

本公司之貨運部門在買家要求下，可為買家介紹運輸公司、安排付 運及購買特定保險，但本公司在此方面不負任何法律責任。買家必 須預先繳付運輸費用。

f. 不付款或未有領取已購拍賣品之補救辦法 如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下 述一項或多項權利或補救辦法： (1) 在成功拍賣日後起算超過七天仍未付款，則按不超過台灣銀行基 本放款利率加收10%之年利率收取整筆欠款之利息。此外本公司 可同時按日收取依成交價（含落槌價、服務費） 1 ％計算之懲罰 性違約金。本公司亦得自行選擇將買家未付之款項，用以抵銷 本公司或其他關係企業在任何其他交易中欠下買家之款項，買 家絕無異議。

(2) 對任何屬於買家所有而因任何目的(包含但不限於其他交易)而由 本公司管有之已購拍賣品行使留置權，並在給予買家有關其未 付之欠繳之十四天通知後，安排將該物品出售並將收益用以清 償該未付之欠款。

(3) 如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項 用以清償已購拍賣品就任何特定交易而欠下之任何款項，而不 論買家是否指示用以清償該筆款項。

(4) 在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆競投保證金。如買家 未有在三十五天內付款，本公司除上述辦法外，另有權為下述 一項或多項權利或補救辦法：

(a) 代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉 數賠償為基準之法律程序訴訟費。

(b) 取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售 予買家之拍賣品交易。

(c) 安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連 同因買家未有付款而引致之任何費用一併向買家索償。

g. 未有領取已購拍賣品

如已購得之拍賣品未有在成功拍賣日後起算七天內領取，則不論是 否已付款，本公司將安排貯存事宜，費用由買家承擔。而買家在付 清所引起之貯存、搬運、運輸、保險及任何其他費用，連同欠本公 司之所有其他款項後，方可領取已購拍賣品項目。

h. 出口許可證

除本公司另有書面同意外，買家希望申請出口許可證，並不影響買 家在成功拍賣日後起算七天內付款之責任，亦不影響本公司對延遲 付款收取利息之權利。

如買家要求本公司代為申請出口許可證，本公司有權向其收取與此 項申請有關之款項及零碎開支連同任何有關之稅則。

如買家不需要出口許可證而作出付款，本公司並無責任退還買家因 此而引致之任何利息或其他開支。

5. 本公司之法律責任 本公司僅在第二條第 6 項所列之情況下，得退還款項予買家。除此之 外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之 作者、來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說 明之誤差，任何拍賣品之任何瑕疵或缺陷，均不負有任何責任。賣家、 本公司、本公司之僱員或代理人，不論是明示或暗示均無就任何拍賣品 作出任何保證。任何種類之任何擔保，均不包含在本條之內。

6. 膺品/贓物之退款

本公司之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實 為膺品、贓物或涉及不法情事者，則交易將取消，已付之款項於交付賣 家前將退還予買家。但如：

a. 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納 之意見，或清楚表明有牴觸當時學者或專家普遍接納之意見。

b. 或證明拍賣品為膺品或贓物之方法，只是一種在目錄出版前仍未普遍 獲接納使用之科學程序，或是一種在拍賣日仍屬昂貴得不合理或並 不實際或很可能會對拍賣品造成損壞之程序，則本公司無論如何並 無責任退還任何款項。此外，買家只在滿足下述條件下方可獲得退 款：

(1) 買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有 關拍賣品乃膺品或贓物之詳細理由及證據。

(2) 且買家需於書面通知後十四天內將拍賣品送還本公司，而其狀況 應維持與拍賣當日相同，不得有任何損壞。

(3) 送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品 乃膺品或贓物(本公司保有最終及不可異議之決定權)，買家並可 將拍賣品之完整所有權及相關權利轉讓予本公司，而與任何第 三人之索償無涉。在任何情況下，本公司均毋須向買家支付多 於買家就有關拍賣品而支付之款項，而買家亦不能索取利息。

本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本 發票之買家所有 (該買家名稱被記載於發票上 )，該名買家並須自拍賣後 一直保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何 第三人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺品 或贓物，不論該程序在拍賣當日是否已使用或已在使用，如本公司驗證 拍賣品是否屬於贗品或贓物結果與買家出示證據相衝突者，應以本公司 驗證結果為準。

賣方業務規則請參閱羅芙奧網站 http://ravenel.com http://ravenelart.com.cn

TRANSACTION AGREEMENT

The following provisions are entered into by and between Ravenel Ltd., as the auctioneer, (hereinafter referred to as the “Company”),and the Seller (hereinafter referred to as the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Prospective Buyer, the Buyer should pay special attention to Article 2, Section 5 which provides limitations as to the legal responsibilities of the Company.

ARTICLE 1.DEFINITION

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

1. "The Buyer" shall mean highest bidder accepted by the Company.

2. "The Prospective Buyer" shall mean any potential bidder willing to attend the auction sale hosted by the Company.

3. "The Seller" shall mean the Seller who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company.

4. "The Lot" shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue.

5. "Hammer price" shall mean the highest bid with respect to one particular Lot accepted by the auctioning party.

6. The " Buyer's Premium" shall mean the fee based on a certain percentage of the Hammer price paid to the Company by the Buyer; the percentage shall be as prescribed in Article 2, Section 4a.

7. "The Reserve Price" shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price.

8. "Counterfeit" shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints).

9. "Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company).

10. The "Seller Service Fee” shall mean the fee is paid to the Company by the Seller.

ARTICLE 2.THE BUYER

1. The Company as the Agent of the Seller

The Company, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer.

2. Prior to the Auction

a. Authentication

We strongly recommend that the Prospective Buyers conduct their own authentication for the items they are interested in bidding prior to the auction. The Company provides no guarantee to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot and related certificates.

b. Important Notice

Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The description of the auction items also do not imply and guarantee that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally. We strongly recommend the Prospective Buyers shall personally view the items for which they plan to bid before the auction. Any description in the catalogue or any statement provided by the Company is purely the Company's subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in "as is" condition. The Company does not provide any representation or guarantee as to the condition of any of the items.

c. Symbol Key

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

○ Guaranteed Property

The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer's Premium.

d. Catalogue Explanations

Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lot and certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not

be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes.

Many Lots fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect.

e. Responsibility of the Buyer

The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her/its own judgment or estimation independently regarding the Lots.ing his/her own judgment or estimation independently regarding the Lots.

3. In the Auction

a. Estimates

The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate announced by the Company on the day of auction.

b. Refusal of Admission

The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction.

c. Registration Prior to the Bidding Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may request to conduct credit checks against Buyers.

d. The Bidding Deposit

The bidder shall pay the bidding deposit before receiving the bidding number. The Company will announce the amount of the bidding deposit before the auction day.

(1) If the bidder fails to pay the bidding deposit in advance, the Company has the right to refuse the bid. If the bidder is not able to purchase any Lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder.

(2) If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs ) of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). If the Buyer ,without any good cause, fails to pay any and all payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs) of the Lot to the Company within 7 days after the auction date ,the Buyer shall not claim for the return of the bidding deposit.

e. The Bidder is the Buyer

Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities.

f. Commission Bids

The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the provided forms attached to the explanations of the catalogue; however, bid commission instructions must be delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid.

g. Bid by Phone

The Company will make proper effort to contact the bidder so he/she can participate in the auction by phone if the Prospective Buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances.

h.

Online Bidding

If the Prospective Buyer cannot attend the auction, it may be possible to bid online via Invaluable or our company's official website, "BID NOW" (https://bid.ravenel.com/), for their preferred Lots bearing individual buyer's responsibilities. For information about registering for online bidding, please refer to Ravenel.com., When successfully winning an item through online bidding via Invaluable, the Prospective Buyer and the Buyer shall pay a service fee of 3% of the hammer price in addition to the Buyer's Premium calculated according to Article 2, Section 4a. The Prospective Buyer and the Buyer agree that this Agreement can be viewed at the website and be revised by the Company from time to time.

i.

Exchange Rate Conversion Board

There will be an exchange rate conversion board operating in auctions. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board.

j. Recorded Images

There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned.

k. Determining Power of the Auctioneer

The auctioneer has the absolute power to reject any bid, push for bids at his/her discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the commencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction.

l. Successful Bids

Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement on Hammer Price.

4. Following the Auction

a. The Buyer's Premium of Each Lot

(1) The Buyer should pay the hammer price and, in addition, the Buyer's Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the Buyer's Premium should be calculated at 20% of the hammer price.

(2) For hammer price higher than NT$ 32,000,000, total amount of the Buyer's Premium should be that the first NT$ 32,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12% of the hammer price.

b. Taxes

All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law.

c. Payment

The Buyer should provide his/her/its true name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon the company request. All payments due (including the hammer price, the Buyer's Premium and any freights or other expenses) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit.

If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the exchange rate of the payments to the Company should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate.

d. Collection of the Lot Sold

Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier).

e. Referral of Packaging or Transportation Companies

The shipping department of the Company may introduce the forwarder, assist in the arrangement of delivery, or purchase particular insurance upon the Buyer's request. The Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. Costs and expenses for shipping and insurance shall be paid in advance.

f. Remedies for Non-Payment or Non-Collection of Items Sold

The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date:

(1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and Buyer's Premium) multiplied by the number of delayed days as puntive damage for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company's sole decision.

(2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose including but without limitations other transactions. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his/hers/its non-payment. The proceeds shall make up for the payment due.

(3) If the Buyer owes the Company several payments as a result of different transactions, the payments will set-off any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments.

(4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a bidding deposit from the Buyer before accepting any future bids from him/her/it. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned:

(a) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim.

(b) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions.

(c) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any

cost incurred as a result of the non-payment by the Buyer.

g. No Collection of the Lot Sold

The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, handling, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid in full can the sold Lot be collected.

h. Export Permit

Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days following the auction date; nor does it affect the Company's right to impose interest on delayed payments.

If the Buyer requests that the Company applies for the export permit on his/hers/its behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes.

If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom.

5. The Legal Responsibility of the Company

The Company is responsible for returning payment to the Buyer pursuant to Article 2, Section 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Seller, the Company, the employees or the agents of the Company make no guarantee impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein.

6. Return of Payments for Counterfeits or stolen goods

The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit or stolen goods, or involved in obvious illegality by the professional appraisal party agreed and recognized by the Company in writing. However, if:

a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields.

b. Or the method used to prove that the Lot is a counterfeit or stolen goods is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met:

(1) The Buyer must notify the Company in writing within 10 days following the auction day that he/she considers the relevant auction item a counterfeit or stolen goods.

(2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day without any damage.

(3) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit or stolen goods (The Company has the final and sole discretion and decision and such decision shall not be objected in this regard). The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim. Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer cannot claim interests.

The interests of the warranty cannot be assigned and belong solely to the Buyer who receives the original invoice on which such Buyer's name is recorded from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit or stolen goods based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. If the result of appraising and verifying whether the Lot is a counterfeit or stolen goods by the Company conflicts with the evidence provided by the Buyer, the Company's said result shall prevail over the evidence provided by the Buyer.

Please refer to our website for seller's Transaction Agreement. http://ravenel.com http://ravenelart.com.cn