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SELECT: MODERN & CONTEMPORARY ART


RAVENEL AUTUMN AUCTION 2016 SELECT: Modern & Contemporary Art

羅芙奧 2016 秋季拍賣會 薈萃:國際現代與當代藝術拍賣

AUCTION

拍賣日期 / 地點

Sunday, 20 November 2016, 2:00 pm Fubon International Conference Center B2, No. 108, Sec. 1, Dunhua South Road, Taipei, Taiwan  

2016年11月20日(日) 下午 2:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2

PREVIEWS

預展日期 / 地點

Taichung

台中 2016年11月12日(六) 下午1:00至下午6:00 2016年11月13日(日) 上午11:00至下午6:00 豐藝館 台中市西區五權西路一段110號

Taipei

台北 2016年11月18日(五) 上午10:00至下午6:30 2016年11月19日(六) 上午10:00至下午6:30 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2

Saturday, 12 November 2016, 1:00 pm - 6:00 pm Sunday, 13 November 2016, 11:00 am - 6:00 pm Fong-Yi Art Gallery (Next to the National Taiwan Museum of Fine Arts) No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Friday, 18 November 2016, 10:00 am - 6:30 pm Saturday, 19 November 2016, 10:00 am - 6:30 pm Fubon International Conference Center B2, No. 108, Sec. 1, Dunhua South Road, Taipei, Taiwan

As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is.” In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This auction catalogue: NT$ 1,800 per copy.


Arthur WANG 王鎮華

Chairman 董事長

Clara KUO 郭倩如

Vice Chairman 副董事長

Wendy LEE 李雅欣

Chief Operation Officer 營運長

陳惠黛 Odile Chen

傅斐郡 Flora Fu

香港藝術部 總經理 Head of Art Department, Hong Kong Chief Specialist

台北藝術部 總經理 President, Art Department, Taipei

何瑩 Vivi He

林慧菁 Maggie Lin

業務發展部 總監 Head of Business Development Department

台北藝術部 副總經理 Vice President, Art Department, Taipei

鄧秀麗 Crystal Tang

黃詩涵 Stella Huang

香港藝術部 專家 Specialist, Art Department, Hong Kong

台北藝術部 經理 Manager, Art Department, Taipei

張鶴軒 Helen Zhang

蔡晉欣 Olivier Tsai

北京業務代表 Sales Representative, Beijing

台北藝術部 副理 Assistant Manager, Art Department, Taipei

游景涵 Carol Yu

江玉涵 Marguerite Chiang

香港藝術部 初級專家 Junior Specialist, Art Department, Hong Kong

台北藝術部 行政主任 Administrative Officer, Art Department, Taipei

李政希 Xiu Lee 上海商務代表 Representative, Shanghai

翁境優 Tiff Wong 香港藝術部 業務助理 Sales Assistant, Art Department, Hong Kong


CONTENTS 5

Sale Information 羅芙奧 2016 秋季拍賣會

8

Ravenel Services 羅芙奧之服務

12

SELECT: Modern & Contemporary Art 薈萃:現代與當代藝術

189

Absentee Bid Form 委託競投表格

191

Transaction Rules For Art 業務規則

195

Index 畫家索引


RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS ART DEPARTMENT, HONG KONG Head of Art Department, Hong Kong Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odilechen@ravenel.com

Specialist Crystal Tang Tel: +852 2889 0859 ext. 784 Email: crystaltang@ravenel.com

Junior Specialist Carol Yu Tel: +886 2 2708 9868 ext. 880 Email: carolyu@ravenel.com

Head of Business Development Dept. Vivi He Tel: +852 2889 0859 ext. 711 Email: vivihe@ravenel.com

Sales Representative Helen Zhang Tel: +86 10 8587 8099 ext. 21 Email: helenzhang@ravenel.com

Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. It is also possible to bid online for selected lots. Please refer to ravenel.com for more information.

Hong Kong Crystal Tang Tel: +852 2889 0859 ext. 784 Email: crystaltang@ravenel.com

Taipei, International

Eric Siu Tel: +852 2889 0859 ext. 781 Email: ericsiu@ravenel.com

Taiwan Tiff Wong Tel: +886 2 2708 9868 ext. 881 Email: tiffwong@ravenel.com

CATALOGUE SUBSCRIPTION

Jason Dong Tel: +86 10 8587 8099 ext. 22 Email: jasondong@ravenel.com

Taiwan Tiff Wong Tel: +886 2 2708 9868 ext. 881 Email: tiffwong@ravenel.com

Hong Kong, International Eric Siu Tel: +852 2889 0859 ext. 781 Email: ericsiu@ravenel.com

Helen Zhang Tel: +86 10 8587 8099 ext. 21 Email: helenzhang@ravenel.com

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

Beijing Helen Zhang Tel: +86 10 8587 8099 ext. 21 Email: helenzhang@ravenel.com

Hong Kong, International

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.

Beijing PHONE BIDS AND WRITTEN BIDS

COLLECTION AND SHIPPING

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

Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odilechen@ravenel.com

ONLINE BIDS Register at LiveAuctioneers www.liveauctioneers.com/sign-up

China

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.”


羅芙奧 2016 秋季拍賣會服務部門及連絡人

藝術品諮詢專家 香港藝術部 香港藝術部總經理 陳惠黛 電話:+886 2 2708 9868 轉 889 電子信箱:odilechen@ravenel.com

專家 鄧秀麗 電話:+852 2889 0859 轉 784 電子信箱:crystaltang@ravenel.com

初級專家 游景涵 電話:+886 2 2708 9868 轉880 電子信箱:carolyu@ravenel.com

業務發展部總監

註一:如您無法親臨拍賣現場,可以電話投 標方式競標;亦可利用附在此目錄後面之委 託競投表格;或可參與網上競投,詳情請洽 羅芙奧官方網頁。 註二:鑑於拍賣現場電話有限,欲以電話投 標方式競標的投標者,請於拍賣前24小時通 知我們為您安排,尤其對需用外國語言服務 之投標者。

目錄訂閱 台灣 翁境優 電話:+886 2 2708 9868 轉881 電子信箱:tiffwong@ravenel.com

香港.國際

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業務代表

北京

張鶴軒 電話:+86 10 8587 8099 轉21 電子信箱:helenzhang@ravenel.com

張鶴軒 電話:+86 10 8587 8099 轉21 電子信箱:helenzhang@ravenel.com

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註一:所有拍品在貨款結清後,即可取貨; 買家請儘早通知安排取貨事宜,以利倉庫存 貨流通和集中安排辦理,本公司接受個人及 公司支票付款,惟需在兌現後始能提貨。恕 不接受旅行支票付款。其他各項貨品可在羅 芙奧辦公室提領,上班時間為週一至週五上 午9:30至下午6:30。 註二:我們的專業行政部門可為您建議或安 排最適當的運輸方式。

上海 電話書面競標聯絡人 香港 鄧秀麗 電話:+852 2889 0859 轉 784 電子信箱:crystaltang@ravenel.com

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本目錄開放各界訂閱,詳細訂閱辦法,請參 照目錄之說明或請洽上述聯絡人。

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網上競投 請前往 LiveAuctioneers 註冊 www.liveauctioneers.com/sign-up

羅芙奧樂意提供您本次拍賣當中任何一項拍 品的狀況報告書,惟準買家需注意拍品均是 以「當時認定」之狀況賣出,相關細項請參 照目錄後之業務規則。請參照買家需注意事 項。


SELECT: MODERN & CONTEMPORARY ART Sunday, 20 November 2016, 2:00 pm Fubon International Conference Center

Lots 001 – 096


SESSION I

LOTS 001 – 051

Ravenel 13


001

KAWS

(Brian DONNELLY, American, b. 1974)

Companion: Passing Through 2013 Painted cast vinyl, edition of 500 17 (L) x 19 (W) x 30 (H) cm Trademark on bottom of foot © KAWS..13 MEDICOM TOY 2013 CHINA EXHIBITED: KAWS∙Ups And Downs , Nerman Museum of Contemporary Art, Kansas, October 25, 2013 – February 16, 2014 (large sculpture) A Shared Space: KAWS , Karl Wirsum, and Tomoo Gokita , Newcomb Art Museum at Tulane University, New Orleans, September 9, 2015 – January 3, 2016 (large sculpture)

NT$ 40,000 - NT$ 60,000 HK$ 10,000 - HK$ 15,000 US$ 1,300 - US$ 1,900

K AWS〈布萊恩.唐納利〉 同伴 2013 彩繪 搪膠 雕塑 限量500件 17(長)x 19(寬)x 30(高)cm 註冊商標足底部:© KAWS..13 MEDICOM TOY 2013 CHINA 展覽: 「KAWS.上上下下」,諾曼當代美術館,堪薩斯,展 期自2013年10月25日至2014年2月16日(大型雕塑) 「共享空間:KAWS、卡爾.威瑟姆、五木田智央」, 杜蘭大學紐科姆美術館,紐奧良,展期自2015年9月9 日至2016年1月3日(大型雕塑)


002

KAWS

(Brian DONNELLY, American, b. 1974)

S t o r m t ro o p e r C o m p a n i o n , D a r t h Va d e r Companion, Boba Fett Companion (a set of 3) 2009 (left); 2007 (middle); 2013 (right) Painted cast vinyl, edition of 500 10.4 (L) x 7.6 (W) x 25.4 (H) cm; 12.7 (L) x 7.6 (W) x 25.4 (H) cm; 12.7 (L) x 8.8 (W) x 26.6 (H) cm Trademark on bottom ©2009 Lucasfilm Ltd & TM. All rights reserved. Designed by KAWS MEDICOM TOY 2009 CHINA (Stormtrooper Companion) Trademark on bottom ©2007 Lucasfilm Ltd & TM. All rights reserved. Designed by KAWS MEDICOM TOY 2007 CHINA (Darth Vader Companion) Trademark on bottom ©2013 Lucasfilm Ltd & TM. All rights reserved. Designed by KAWS MEDICOM TOY 2013 CHINA (Boba Fett Companion)

KAWS 〈 布 萊 恩 . 唐 納 利 〉 帝國風暴兵同伴、黑武士同伴、賞金獵人同伴(三件一組) 2009(左); 2007(中); 2013(右) 彩繪 搪膠 雕塑 限量500件 10.4(長)x 7.6(寬)x 25.4(高)cm; 12.7(長)x 7.6(寬) x 25.4(高)cm; 12.7(長)x 8.8(寬)x 26.6(高)cm 註冊商標足底部: ©2009 Lucasfilm Ltd & TM. All rights reserved. Designed by KAWS MEDICOM TOY 2009 CHINA(帝國風暴兵同伴) ©2007 Lucasfilm Ltd & TM. All rights reserved. Designed by KAWS MEDICOM TOY 2007 CHINA(黑武士同伴) ©2013 Lucasfilm Ltd & TM. All rights reserved. Designed by KAWS MEDICOM TOY 2013 CHINA(賞金獵人同伴)

NT$ 80,000 - NT$ 120,000 HK$ 20,000 - HK$ 30,000 US$ 2,500 - US$ 3,800

Ravenel 15


003

POREN HUANG (Taiwanese, b. 1970)

Generation to Generation

黃柏仁

2005 Bronze, edition no. 16/30 45 (L) x 17 (W) x 30 (H) cm

延續

EXHIBITED: The Dog's Notes – Poren Huang Solo Exhibition , Williamsburg Art & Historical Center, New York, November 7 – December 6, 2015 (another cast) The Dog's Notes – Poren Huang Solo Exhibition , Offline Gallery, New York, December 10, 2015 – January 17, 2016 (another cast) The Dog's Notes – Poren Huang Solo Exhibition , Okker Art Gallery, Amsterdam, May 7 – June 5, 2016 (another cast) ILLUSTRATED: Huang Po-Ren Sculpture , Taichung City Cultural Center, Taichung, 2005, color illustrated, pp. 66-67 The Dog's Notes , Powen Gallery Co., Ltd., Taipei, 2014, color illustrated, p.12 & pp. 20-23 Taiwanese Artist Being Active On The International Stage – Poren Huang and The Dog’s Notes , Art Investment, Taipei, November 2015, issue no.97, color illustrated, p. 234 "Bright Star overseas – Poren Huang" , Art. Investment, Taipei, January 2016, issue no.99, color illustrated, p.131 This sculpture is to be sold with a certificate of authenticity issued by Powen Gallery, Taipei and signed by the artist.

NT$ 140,000 - NT$ 200,000 HK$ 35,000 - HK$ 49,000 US$ 4,500 - US$ 6,400

2005 銅 版次16/30 45(長)x 17(寬)x 30(高)cm 展覽: 「狗札記:黃柏仁雕塑個展」,紐約WAH藝術中心,紐約, 展期自2015年11月7日至12月6日(另一版次) 「2016 狗札記個展」,Offline藝廊,紐約,展期自2015年 12月10日至2016年1月17日(另一版次) 「狗札記:黃柏仁雕塑個展」,Okker藝廊,阿姆斯特丹, 展期自2016年5月7日至6月5日(另一版次) 圖錄: 《黃柏仁雕塑》,台中縣立文化中心,台中,2005,彩色圖 版,頁66-67 《狗札記—黃柏仁》,紅野畫廊,台北,2014,彩色圖版, 頁12與頁20-23 〈台灣藝術家站上國際舞台—黃柏仁「狗札記」〉,《典藏 今藝術》,台北,2015年11月號,第97期,頁234 〈邁向海外的耀眼新星〉,《典藏今藝術》,台北,2016年 1月號,第99期,頁131 附紅野畫廊開立及藝術家親筆簽名之原作保證書


004

TAKERU AMANO (Japanese, b. 1977)

Venus and Fawn 2015 Acrylic on canvas 116 x 80 cm Signed on the reverse Takeru Amano in English, and dated 2015 EXHIBITED: Takeru Amano: Icônes II, Art Statements, Hong Kong, July 21 - September 30, 2016

NT$ 100,000 - NT$ 150,000 HK$ 25,000 - HK$ 37,000 US$ 3,200 - US$ 4,800

天 野健 維納斯與小鹿 2015 壓克力 畫布 116 x 80 cm 簽名畫背:TAKERU AMANO 2015 展覽: 「天野健:經典偶像 II」,藝術宣言畫 廊,香港,展期自2016年7月21日至9 月30日

Takeru Amano was born on May 14th, 1977 in Tokyo. He is the son

天野健1977年5月14日出生於東京,為知名藝術家天野喜孝之子。天

of the famous artist Yoshitaka Amano. In 1997, Takeru left for New

野健是活躍於眾多不同領域的藝術家,在1997年前往紐約的版畫工作

York to study in a lithography studio. Since 2000, when Takeru

室學習,2000年返回東京,除了出色的繪畫及雕刻創作,在設計、藝

returned to Tokyo, he has been active in various artistic fields.

術指導、影像監督方面也完成許多作品。天野健的用色彩鮮明活潑,

In addition to paintings and sculptures, he has completed great

擅於結合各種標誌性元素,創作出俏皮又饒富深意的畫作。2016年在

works as a designer, art director, and film director. Takeru featured

法國及香港的最新個展「經典偶像」中展出藝術家的系列畫作。

vivid colors and iconic elements to create paintings which are simultaneously brisk and profound. In 2016, a collection of the artist's painting was shown in his recent solo exhibition "Icônes" in Paris and Hong Kong.

Ravenel 17


005

HAJIME SORAYAMA (Japanese, b. 1947) + KAWS (Brian DONNELLY, American, b. 1974) No Future Companion (Black Chrome) 2008 Metal (Black Chrome); edition no. 323/500 20 (L) x 20 (W) x 32 (H) cm

Hajime Sorayama was born in Imabari, Ehime prefecture, Japan in 1947. Hajime Sorayama is famous for his meticulous erotic portraits of female figures. He is celebrated not only in fine arts, but also in the field of illustration and industrial design. The original robotic pet AIBO by Sony was designed by the artist.

Stamped on the base OriginalFake© EDITION, KAWS,, Sorayama 323/500, MEDICOM TOY 2008, MADE IN CHINA ; numbered 323/500

In 1965, Sorayama entered Shikoku Gakuin University to study

EXHIBITED: This is Not a Toy , Design Exchange, Toronto, February 7 – May 19, 2014 (another example exhibited)

with erotic figures in his works, presenting a unique enchanting

English literature, afterwards, transferred to Tokyo's Chuo Art School to study fine art. Sorayama combined metallic texture quality which was popular around the world. 空山基1947年出生於日本愛媛縣今治市,以描繪細緻入微的情色女

ILLUSTRATED: This is Not a Toy , Design Exchange, Toronto, 2014, color illustrated, p. 131 (another example) This work is accompanied with its original product box.

性肖像畫最為聞名。他在美術領域以及插畫、工業設計方面皆頗具 知名度,索尼公司所研發的原創電子寵物狗即為空山基的設計。他 在1965年進入日本四國學院大學學習英文文學,其後為了學習美 術,在1967年進入東京中央美術學院學習。藝術家結合金屬質地於 情色的作品,造型質感獨特而嫵媚,在世界各地廣受好評。

NT$ 220,000 - NT$ 340,000 HK$ 54,000 - HK$ 84,000 US$ 7,000 - US$ 10,800

空 山基+KAWS〈布萊恩.唐納利 〉 沒有未來的同伴(黑色) 2008 金屬(黑色);版次 323/500 20(長)x 20(寬)x 32(高)cm 簽名底部:OriginalFake© EDITION, KAWS,, Sorayama, 323/500 MEDICOM TOY 2008 MADE IN CHINA 323/500 展覽: 「這不是一個玩具」,設計交流中心,多倫多,展期自 2014年2月7日至5月19日(另一版次展出) 圖錄: 《這不是一個玩具》,設計交流中心,多倫多,2014,彩 色圖版,頁131(另一版次) 附作品原產紙盒包裝


006

KAWS

(Brian DONNELLY, American, b. 1974)

Companion (Karimoku Version)

KAWS 〈 布 萊 恩 . 唐 納 利 〉

2011 Sculpture, wood, edition no. 75/100 12.4 (L) x 7 (W) x 27 (H) cm

同伴(Karimoku 版本)

Painted signature on the base of right foot KAWS , numbered 75/100 Painted trademark on the base of left foot Karimoku in Japanese, Original Fake in English

2011 木雕 版次75/100 12.4(長)x 7(寬)x 27(高)cm 印刷簽名右腳底:KAWS"75/100 註冊商標左腳底:カリモク Original Fake

NT$ 550,000 - NT$ 850,000 HK$ 136,000 - HK$ 210,000 US$ 17,500 - US$ 27,100 Ravenel 19


KINETIC INSTALLATION YUTAKA MATSUDA

Yutaka Matsuda was born in Osaka, Japan in 1942. In 1966,

this type of works that secured Matsuda’s status in the new

he received a prize for his excellent work in the 10th Shell

trends of the Japanese art scene.

Art Award. In the following year, he became an important member of the Gutai group. Founded in 1954 by Japanese

With a desire to explore new methods and materials, an

artist Jiro Yoshihara in Osaka, Gutai is a post-war art

emphasis on the close relationship between creative media

movement that can be seen as a counteraction in response

and the body, as well as its pursuit of originality, the Gutai

to the over-conservative Japanese art scene at the time. Its

group is considered the most internationally acclaimed

artistic goal of never imitating others quickly attracted many

avant-garde art form in the context of Japanese art. The

artists to participate in the group. As a member of Gutai’s

crux of Gutai artistic experiments, as summarized in the

youngest generation, Matsuda expressed art through a

Gutai art manifesto by Yoshihara, states that “When matter

diversity of forms. Through his drawings and sculptures of

remains intact and exposes its characteristics, it starts

mechanic devices, his kinetic artworks became particularly

telling a story and even cries out. ”

notable among the later Gutai members. 松田豐1942年出生於日本大阪。他在1966年獲得了第十屆

In the sixty-plus years since the appearance of Gutai,

S H E L L美術獎的佳作大獎,並在往後一年成為「具體派」重要

moving paintings had never been seen in Japan before the

的成員。1954年由日本藝術家吉原治良在大阪發起的戰後藝

works of Matsuda. Gutai’s founder Yoshihara once praised

術運動「具體派」(G u t a i),可視為對於當時過度保守的日

Matsuda’s work as an “interesting” and “kinetic form of

本藝術氣氛的反擊;其主張不仿效他人的藝術宗旨迅速地吸引

art.” Matsuda’s works are not limited to two-dimensional

了眾多藝術家加入。作為「具體派」中最年輕一代的成員,松

works; he makes use of pure geometrical shapes and

田豐的作品表現更為多元,機械裝置的繪畫和雕刻,使他的動

recombined them under multiple artistic frameworks,

態藝術於一眾具體派後期成員中尤其顯眼。在「具體派」出現

creating a sense of familiarity and humor in any contexts.

至今的60餘年,松田豐的作品出現之前,在日本從未見過會

Matsuda’s artworks often reflect the playful mood he is

動的畫。「具體派」的創始人吉原治良也曾評價其作品「很有

in; the rhythm of life continues in every moment in the

趣」,被譽為「動態的藝術」。松田豐不僅限於平面創作,而

mechanic parts provided with kinetic energy. The artist’s

是將純粹的幾何學圖形在多重藝術構架下再度組合,不論在哪

kinetic art style is also employed in this particular work.

裡都有散發著親切的幽默感。作品往往跟隨松田豐遊戲般心 情,並被賦予動力的機械部件在每一秒都延續著生命的韻律,

The vivid and intense colors of the palette contribute to

此件作品仍持續藝術家「動態的藝術」這一風格作品。

the unique, new-generation Gutai features of this work. The drawing is presented in simple colors and shapes. Objects

色彩鮮豔而濃烈的調色盤,使得作品獨具新一代「具體派」的

move around in seemingly monotonous and graceful

特質,繪畫配以簡單的顏色和形狀。在此作品裡物件看似以單

ways, and the viewer is subconsciously intrigued by those

一、優雅的方式移動著。觀者不經意地會被那些動作、震動與

motions, vibrations, and colors. On the back of the simple

色彩所吸引著。簡單的繪製背面,是一個精準而忙碌的機械工

drawing is a precise mechanic construction in constant

程,運轉的馬達,複雜的迴路和電線被隱藏其後。作品仍舊繼

operation, behind which a functioning motor is concealed

承了日本傳統元素的黑色羅盤,手工打製的微妙扭曲的邊線

together with complex circuits and wires. The work inherits

零件,配以黑色指針。速度緩和而旋轉,在時間的流轉中,相

the traditional Japanese element of a black compass. The

互依託。同一空間內旋轉的零件,即使動作的時機和動力的時

handmade border parts show subtle distortions and are

機錯開,在同一個無章的畫面中也可和諧地彼此運轉。松田豐

paired with a black pointer. Rotating at moderate speed,

在此時期的作品被稱為「具體派」中的「動態的藝術」,也正

the two elements become mutually dependent amidst

是此類作品的出現確立了松田豐在日本藝術界新潮流的地位。

the flow of time. When in agreement with the rotations

「具體派」對新方法與新媒材的探索欲望並強調創作介質與身

in the space, parts can function in harmony within the

體之間的緊密關係和對原創性的追求,被認定為日本藝術脈絡

same disorderly picture, even if the timing of motions and

中最受國際肯定的前衛藝術。「具體派」藝術實驗的內核,正

propulsions fail to coincide. Matsuda’s works in this period

如吉原治良在《具體派宣言》當中所說:「當物質完好無損,

are referred to as kinetic art of the Gutai group and it is

表露出自身特性時,就開始述說故事,甚至吶喊出聲。」


007

YUTAKA MATSUDA (Japanese, 1942 - 1998)

Untitled

松田豐

1996-1997 Quartz, acrylic on palette (kinetic installation) 25 x 31 cm

無題

Signed lower left Y. Matsuda in English This work is to be sold with a certificate of authenticity issued by Hatonomori Art, Tokyo and signed by the wife of the artist.

1996-1997 石英 壓克力顏料 調色盤(動態裝置) 25 x 31 cm 簽名左下:Y. Matsuda 附鳩ノ森美術開立、藝術家妻子親筆簽名之原作保證書

NT$ 300,000 - NT$ 460,000 HK$ 74,000 - HK$ 114,000 US$ 9,500 - US$ 14,600

Ravenel 21


008

HONG SUNG CHUL

(Korean, b. 1969)

String Hands 0043

洪性哲

2012 Print on elastic strings in a steel frame 52 (L) x 80 (W) x 8 (D) cm

繩與手 0043

Signed on the reverse Hong Sung Chul in Korean and English, dated 2012 This work is to be sold with a certificate of authenticity issued by IHN Gallery, Seoul.

2012 數位輸出 彈性線 鋼框(裝置) 52(長)x 80(寬)x 8(深)cm 簽名後方:2012. Hong. Sung Chul홍성철 附IHN畫廊開立之原作保證書

NT$ 240,000 - NT$ 360,000 HK$ 59,000 - HK$ 89,000 US$ 7,600 - US$ 11,500

Born in 1969 in Seoul, Hong Sungchul completed a Sculpture

respectively. His works are in the collections of numerous

B.F.A at Hongik University in Seoul (1994) before finishing

institutions, including the Seoul Museum of Art, MMCA

another M.F.A in Integrated Media at the California Institute

(National Museum of Modern and Contemporary Art, Korea),

of the Arts (2001). Hong Sungchul fully embraces modern

and the Boghossian Foundation in Brussels.

technology and combines various medias in his works, often emphasizing interaction with his audience. In his

1969年出生於首爾,1994畢業於首爾弘益大學雕刻系,2001在

most famous series, titled “String Mirror,” the artist prints

加州藝術學院取得綜合媒體的藝術創作碩士。洪性哲充分利用各

images of people onto elastic strings to create ghostly three-

種媒體和現代科技,作品強調與觀眾的互動性,他最有名的系列

dimensional sculptures, which communicate a deep desire for

《繩與鏡》將人影像輸出在數百彈性線上,產生幽靈般的3D立體

human contact in society. By developing wide range of works

錯覺,傳遞著與社會溝通與人體接觸的強烈欲望。透過廣泛的各

in various interactive media, Sung Chul aims to generate

種互動媒體作品,洪性哲在越來越虛擬的世界與觀眾產生連結,

relationships and reanimate communication with stunning

以震撼的視覺效顛覆了傳統藝術的形態。洪性哲近年的個展有:

visual effects that overthrow traditional forms of art. In recent

「藝術人像–展覽A」(2015,紐約),「固體/液體 – H A D A」

years, Hong Sung-Chul has held solo exhibitions such as:

(2012,倫敦)「固體/液體 – I H N畫廊」(2011,首爾);

“The Figure in Art – Exhibit A” (2015, New York), “Solid but

「巴塞爾藝術展」(2011,巴塞爾);在倫敦的薩奇畫廊也參加

Fluid - HADA” (2012, London), “Solid but Fluid –Gallery

過兩次群展,分別是「韓國之眼2012」與「眼–區」(2014,倫

IHN” (2011, Seoul); “Korean Collective Basel” (2011, Basel);

敦)。他的創作被許多機構收藏,包括首爾美術館,韓國國立當

and participated in two group exhibitions at the Saatchi

代藝術館與布魯塞爾的博格西昂基金會等。

Gallery in London, “Korean Eye 2012” and “Eyezone 2014,”


Ravenel 23


009

DANIEL LEE

(Chinese, b. 1945)

Judgment Group (a set of 3)

李小鏡

2002 Archival inkjet print, edition no. 1/8 72 x 108 cm; 72 x 200 cm (x2)

大審判系列(三件一組)

Signed lower right Daniel Lee in English and dated '06 Numbered lower left 1/8 (top) Signed lower right Daniel Lee in English and dated '06 Numbered lower left 1/8 (middle) Signed lower right Daniel Lee in English and dated '06 Numbered lower left 1/8 (bottom) EXHIBITED: Origin, O.K. Harris Works of Art , New York, USA, 1999 (another edition no.) Origin and Judgment , Cyber 99, Lisbon, 1999 (another edition no.) Daniel Lee 1993-2007 , National Central University Art Center, Taoyuan, June 3-22, 2008; National Tsing Hua University Art Center, Hsinchu, June 2-26, 2008 (another edition no.) Looking Glass: Daniel Lee Retrospective , Taipei Fine Arts Museum, Taipei, May 21-August 14, 2016 (another edition no.) ILLUSTRATED: Looking Glass: Daniel Lee Retrospective , Taipei Fine Arts Museum, Taipei, color illustrated, p. 132

2002 數位印刷 版次1/8 72 x 108 cm; 72 x 200 cm(x2) 簽名右下:Daniel Lee'06 (上) 編號左下:1/8(上) 簽名右下:Daniel Lee'06 (中) 編號左下:1/8(中) 簽名右下:Daniel Lee'06 (下) 編號左下:1/8(下) 展覽: 「源」,哈里斯畫廊,紐約,1999(另一版數) 「源與審判」,Cyber 99,里斯本CCB文化中心,里斯本, 1999(另一版數) 「李小鏡系列展」,國立中央大學藝文中心,桃園,展期自 2008年6月3日至22日;國立清華大學藝術中心,新竹,展期 自2008年6月2日至26日(另一版數) 「鏡─李小鏡回顧展」,台北市立美術館,台北,展期自 2016年5月21日至8月14日(另一版數) 圖錄: 《鏡─李小鏡回顧展》,台北市立美術館,台北,彩色圖 版,頁132 附藝術家工作室開立之原作保證書,真品登記東之畫廊第 4033號

This work is to be sold with a certificate of authenticity issued by the artist’s studio.

NT$ 240,000 - NT$ 360,000 HK$ 59,000 - HK$ 89,000 US$ 7,600 - US$ 11,500

Born in Chongqing in 1945 and received his arts master degree in Philadelphia College of Art in the America. He is a famous photographer. Lee now lives in New York. His artworks have begun to display in the world since 1970. He receives reviews from all kinds of periodicals and professional art magazines. Recently, his artworks have combined with computer techniques, resulting in a renew concept of archetype and deduction that transform photographic art to other facets of level and space. The artist's developments have been positively received with much media support.“ Looking Glass – Daniel Lee retrospective,” a remarkable exhibition displaying the context of the artist’s multimedia works, was held at Taipei Fine Arts Museum in 2016. 生於重慶,美國費城藝術學院美術碩士,為著名攝影家,現居紐約。作品自1970年代即 在世界各地展出,廣受重視,並有各出版物及專業藝術刊物評介。近年的創作結合電腦技 術,開創一種概念的原型及演譯,使攝影藝術產生另一層的思考空間,而獲致國際間藝術 媒體的廣泛報導。2016年於台北市立美術館展出「鏡─李小鏡回顧展」,以平面創作、數 位立體投影等多媒體作品,呈現其藝術生涯理念及脈絡,精彩且深刻。


Ravenel 25


010

LIU KENG-I

(Taiwanese, b. 1938)

Portrait of the Artist's Wife

劉耿一

1986 Oil on canvas 91 x 65 cm

著紅袍的妻

Signed lower right Keng-I in Chinese and dated 1986 PROVENANCE: Hsiung Shih Gallery, Taipei Acquired from the above by the present owner’s father EXHIBITED: Liu Keng-I , Tamsui Center of Arts & Culture, Taipei, Feburary 29 - March 31, 1996 ILLUSTRATED: Liu Keng-I , Tamsui Center of Arts & Culture, Taipei, 1996, color illustrated, no. 23, p. 58

NT$ 220,000 - NT$ 340,000 HK$ 54,000 - HK$ 84,000 US$ 7,000 - US$ 10,800

Liu Keng-i was born in Tokyo, Japan in 1938. His father is a famous Taiwanese painter - Liu Chi-hsiang. He is an artist with abundant sensibility; he excels in capturing harmony and disaccord between nature and human. His works showed the relationship between human, society and local country life. Liu had won several important Taiwanese domestic art awards, including “Tai-Yang Prize” of Tai-Yang Art Association Yearly Exhibition, and “Chin Chueh Prize” for oil paintings by R.O.C. Painting Society. Liu had his first solo exhibition in 1962 at Gallery of Taiwan Daily News in Kaohsiung. Subsequently, he had exhibited at several renowned galleries in Taiwan. Furthermore, a dual solo exhibitions with his wife, Ya-Yun Tseng was held at Reyburn House Art Gallery in New Zealand in 2002; a retrospective exhibition “Aria of Life: The Art of Liu Keng-I” was held by Taipei Fine Arts Museum in 2011. 生於日本東京,父親為台灣著名前輩畫家劉啟祥。劉耿一是一位極具感性 的藝術家,其作品時常表現出大自然與人類的和諧與矛盾,充分反映鄉 土、社會與人文關懷。曾獲得台陽展之「台陽賞」、「全省美展」優選、 中華民國畫學會油畫類「金爵獎」。首次個展於1962年在高雄台灣新聞報 畫廊展出,其後陸續於台灣雄獅畫廊等知名畫廊展出。2002年,在紐西 蘭雷彭居畫廊,與妻子曾雅雲展出雙個展,2011年在台北市立美術館展出 「劉耿一回顧展─生命感知與詠嘆」。

1986 油彩 畫布 91 x 65 cm 簽名右下:耿一 1986 來源: 雄獅畫廊 現有收藏者的父親購自上述來源 展覽: 「劉耿一的藝術歷程:旅人的風景,怒潮與哀歌」, 淡水藝文中心,台北,展期自1996年2月29日至3月 31日 圖錄: 《劉耿一的藝術歷程:旅人的風景,怒潮與哀歌》, 淡水藝文中心,台北,1996,彩色圖版,編號23, 頁58


Ravenel 27


011

WANG JI QIAN

(Chinese, 1906 - 2002)

Zen Master Huang Po's Classroom Disclosure Poetry c. 1980 Ink on paper 50 x 41 cm ​ igned lower left Ji Qian in Chinese S With two seals of the artist Inscriptions: To completely detach from weary defilement is no ordinary task, grab the rope firmly with all your might; only in the bone-biting chill of winter will you hit upon the delightful fragrance of plum blossoms. Pei-Hsiu, Classroom Disclosure Poetry

王季遷 黃檗禪師「上堂開示頌」 約1980年 水墨 紙本 50 x 41 cm 簽名左下:己千 鈐印:溪岸草堂、己千 釋文:塵勞迥脫事非常 緊把繩頭做一場 不經一番寒澈骨 怎得梅花撲鼻香 裴休 上堂開示頌

PROVENANCE: Collection of Joan Stanley-Baker, Taiwan (acquired directly from the artist) Private collection, Taipei

來源: 徐小虎舊藏(得自藝術家贈與) 私人收藏,台北

EXHIBITED: Without Boundaries – Prof. Joan Stanley-Baker's Collection, Kao Yuan Art Center, Kaohsiung, March 8 – 31, 2005

展覽: 「無界線:徐小虎教授收藏展」,高苑藝文中心, 高雄,展期自2005年3月8日至3月31日

NT$ 200,000 - NT$ 300,000 HK$ 49,000 - HK$ 74,000 US$ 6,400 - US$ 9,500


012

CHEN CHI-KWAN (Taiwanese, 1921 - 2007)

Family

陳其寬

1970 Ink on paper 28 x 33 cm

全家福

Signed lower left work by Chen Chi-Kwan in Chinese With one seal of the artist ILLUSTRATED: Painting and Architecture of Chen Chi-kwan , Taipei Fine Arts Museum, Taipei, 2003, color illustrated, no. 206, p. 223 PROVENANCE: Magnet Art Gallery, Taipei Acquired from the above by the present owner’s father This painting is to be sold with a certificate of authenticity signed by the artist and issued by Magnet Art Gallery, Taipei.

1970 水墨 紙本 28 x 33 cm 簽名左下:陳其寬筆 鈐印左下:陳其寬印 圖錄: 《雲煙過眼:陳其寬的繪畫與建築》,台北市立美 術館,台北,2003,彩色圖版,編號206,頁223 來源: 吸引力畫廊,台北 現有收藏者的父親購自上述來源 附吸引力畫廊開立藝術家親筆簽名保證書

NT$ 200,000 - NT$ 300,000 HK$ 49,000 - HK$ 74,000 US$ 6,400 - US$ 9,500 Ravenel 29


013

CHEN TING-SHIH

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

Day and Night

陳庭詩

1968 Woodblock print, edition no. 5/12 60 x 60 cm

晝與夜

Signed lower right Chen Ting-shih in English, numbered 5/12 and dated 68 With one seal of the artist

NT$ 130,000 - NT$ 190,000 HK$ 32,000 - HK$ 47,000 US$ 4,100 - US$ 6,000

1968 蔗版 版次 5/12 60 x 60 cm 簽名右下:5/12 Chen Ting-shih 68 鈐印右下:陳


014

CHEN TING-SHIH

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

Dreaming in the Glacier #8

陳庭詩

1974 Woodblock print on paper, edition no. 22/30 60 x 60.5 cm

夢在冰河八號

Signed lower right Chen Ting-shih , titled lower left Dreaming in the Glacier #8 in English and dated 1974 Numbered lower center 22/30

1974 木刻版畫 紙本 版次22/30 60 x 60.5 cm 簽名右下:Chen Ting-shih 1974 題識左下:Dreaming in the Glacier #8 編號中下:22/30

NT$ 130,000 - NT$ 190,000 HK$ 32,000 - HK$ 47,000 US$ 4,100 - US$ 6,000 Ravenel 31


015

T'ANG HAYWEN

(TANG Then Phuoc, Chinese-French, 1927 - 1991)

Composition (Diptych)

曾海文

Ink and color on paper 70 x 100 cm

構圖(雙聯幅)

Signed lower right T'ang in English and Haywen in Chinese PROVENANCE: Vente d’atelier T’ang Haywen, Drouot-Richelieu, Paris, 1992 Private collection, Europe Est-Ouest Auction, Hong Kong Acquired from the above by the present owner

NT$ 340,000 - NT$ 500,000 HK$ 84,000 - HK$ 123,000 US$ 10,800 - US$ 15,900

彩墨 紙本 70 x 100 cm 簽名右下:T'ang 海文 來源: 「曾海文工作室遺產拍賣」,德福奧-黎塞留拍賣行, 巴黎,1992年 私人收藏,歐洲 伊斯特拍賣公司,香港 現有藏家購自上述來源


016

T'ANG HAYWEN

(TANG Then Phuoc, Chinese-French, 1927 - 1991)

Composition (Diptych)

曾海文

Ink and color on paper 70 x 100 cm

構圖(雙聯幅)

Signed lower right T'ang in English and Haywen in Chinese PROVENANCE: Vente d’atelier T’ang Haywen, Drouot-Richelieu, Paris, 1992 Private collection, Europe Est-Ouest Auction, Hong Kong Acquired from the above by the present owner

NT$ 420,000 - NT$ 650,000 HK$ 104,000 - HK$ 160,000 US$ 13,400 - US$ 20,700

彩墨 紙本 70 x 100 cm 簽名右下:T'ang 海文 來源: 「曾海文工作室遺產拍賣」,德福奧-黎塞留拍賣行, 巴黎,1992年 私人收藏,歐洲 伊斯特拍賣公司,香港 現有藏家購自上述來源

Ravenel 33


COMPOSITION (DIPTYCH) T'ANG HAYWEN

Born in Xiamen in 1927, T’ang Haywen immigrated to Saigon,

extension of the ideals in Taoist philosophy and Chinese calligraphy.

Vietnam when he was 10 years old. He enrolled in a French school

It is said in the ”Tao Te Ching”: “Dao begets One (nothingness),

and learned ink wash painting and calligraphy from his grandfather.

One begets Two (yin and yang), Two begets Three (Heaven, Earth

In 1948, he arrived in Paris, where he initially followed his father’s

and Man), Three begets all things. All things carry the females and

wish and studied medicine. T’ang then started painting classes, and

embrace the male. And by breathing together, they live in harmony.”

embarked on an artistic expedition in Europe. He visited art galleries

The concept of “Dao” is depicted by the collision of black ink on

and museums, absorbing the essence of Western artworks from the

white paper, creating a space that is real and surreal simultaneously,

past.

making the image full of mystery. All tangible elements are taken from the image; simplistic composition and restrained use of color

In the early 1960s, T’ang Haywen started studying books such as

reflect incorporation of the stylistic approaches of Western abstract

”Tao Te Ching” and ”Manual of the Mustard Seed Garden”. He

art.

was inspired by traditional Chinese culture, art and calligraphy, he subsequently infused ancient Chinese philosophy into his

曾海文於1927年出生廈門,十歲時移民到越南西貢,就讀於法國學校,

creations. He crossed the boundaries of tradition, fully unleashing

並在祖父指導下學習水墨畫和書法。1948年抵達巴黎,起初遵從父親的

the potential of ink wash painting, conveying the diversity and

意願學習醫學。隨後,曾海文開始上繪畫課,並在歐洲進行藝術探索之

complexity of Chinese culture through ink wash paintings, actively

旅,造訪各處畫廊與博物館,發掘昔日西方美術的精髓。

promoting the development of contemporary Chinese ink wash painting in European art. To him, working on ink paintings is a way to

60年代初,曾海文開始研讀《道德經》、《芥子園》等書,在中國傳

express himself freely. The joys and freedom of life, emotions such

統文化、藝術和書法的啟發之下,將中國古代的哲學思想融入創作。他

as kindness, calmness, sadness, and emptiness are all conveyed to

跨越傳統界限,充分發揮水墨畫的潛能,通過水墨畫來重新演繹中國文

the fullest through brush and ink.

化的多樣與複雜。在歐美藝壇積極推動中國現代水墨發展。對他而言, 水墨創作時一種隨心所欲的表達方式,人生的喜樂,自由,性格中的和

In the 1970s, T’ang established his own artistic style, creating

善,靜謐,愁緒,空虛等皆自其筆墨傳達,淋漓盡致。

many calligraphy and ink wash diptych pieces. With grand yet sophisticated artistic quality, he left a unique and everlasting mark

1970年代,他確立了自己的藝術風格,創作大量書法,水墨的雙聯幅作

on the developmental history of contemporary ink wash paintings.

品。以一種澎湃又不乏細膩的藝術質感,在現代水墨畫發展史上留下獨

As a painter in France, T’ang differs from fellow artists in that he

特而雋永的一筆。作為旅法畫家,曾海文有別於同期的、師承林風眠的

studied art on his own, his own style derived from meticulous

朱德群和趙無極,他自習藝術,自成一格,靈感源自他對藝術文化的細

observation and deep reflection of artistic culture; unlike Chu

緻觀察和深刻反思。近年來,他的作品在亞洲及歐美藝壇被受關注,畫

Teh-Chun and Zao Wou-ki, who studied under Lin Fengmian. In

作獲多個國際知名的美術館收藏,當中包括巴黎現代美術館、芝加哥藝

recent years, his artwork has gained significant attention in Asian

術學院及香港M+博物館等。

and European art circles, with paintings in many internationally renowned museum collections, including that of the Musée d'Art

彩墨紙本作品《構圖》,採用他的經典雙聯幅形式。黑墨漸次暈染運筆

Moderne de la Ville de Paris, School of the Art Institute of Chicago,

流暢,氣勢磅礡,彩墨敷色精細,謹慎,大小不一的圓形在畫面中心行

and the M+ Museum in Hong Kong.

程蜿蜒的動勢。正如畫家本人所言的「繪畫就是能量」,曾海文作品的 「能量」還在於其對道家哲學和中國書法的理念延伸。《道德經》云:

”Composition” is presented in his classic diptych style. The black

「道生一,一生二,二生三,三生萬物。萬物負陰而抱陽,沖氣以為

ink gradient seeps in the paper with smooth brushstrokes and great

和。」「道」的概念藉由墨色的碰撞,畫面上下的留白所營造出虛實交

energy. The colored ink is applied delicately, carefully, as circles

替的空間表現於紙上,使得畫面充滿神秘感。具象元素被完全抽離,簡

of various sizes winding in the center of the painting. As the artist

潔的構圖與克制的用色,也反應出西方抽象藝術對他的影響。

himself said, “Painting is energy” - the ‘energy’ in T’ang’s work in an


017

T'ANG HAYWEN

(TANG Then Phuoc, Chinese-French, 1927 - 1991)

Composition (Diptych)

曾海文

Ink and color on paper 70 x 100 cm

構圖(雙聯幅)

Signed lower right T'ang in English and Haywen in Chinese PROVENANCE: Vente d’atelier T’ang Haywen, Drouot-Richelieu, Paris, 1992 Private collection, Europe Est-Ouest Auction, Hong Kong Acquired from the above by the present owner

NT$ 500,000 - NT$ 800,000 HK$ 123,000 - HK$ 198,000 US$ 15,900 - US$ 25,500

彩墨 紙本 70 x 100 cm 簽名右下:T'ang 海文 來源: 「曾海文工作室遺產拍賣」,德福奧-黎塞留拍賣行, 巴黎,1992年 私人收藏,歐洲 伊斯特拍賣公司,香港 現有藏家購自上述來源

Ravenel 35


018

SANYU

(CHANG Yu, Chinese-French 1901 - 1966)

Squatting Beauty

常玉

1920s Ink on paper 41 x 19 cm

屈膝裸女

PROVENANCE: Henri Pierre-Roché, Sanyu's friend & art dealer Hotel Drouot auction house, Paris, 1966 Private collection, France ILLUSTRATED: Rita Wong, SANYU–Index of Drawings (L'inventaire des dessins) , The Li-Ching Cultural and Educational Foundation, Taipei, 2014, no. D-0284, p. 29 (USB flash drive)

1920年代 水墨 紙本 41 x 19 cm 來源: 亨利.皮耶.侯謝 ,常玉之友人、藝術代理人 德福奧拍賣,巴黎,1966 私人收藏,法國 圖錄: 衣淑凡,《常玉素描全集》,財團法人立青文教基金會,台 北,2014年,圖版編號D-0284,頁29(隨身碟)

NT$ 500,000 - NT$ 800,000 HK$ 123,000 - HK$ 198,000 US$ 15,900 - US$ 25,500

Sanyu’s background as a calligrapher was conducive to the

to matters of passion and romance. It should be remembered

smoothness and sleek flow of his lines and contours, and Sanyu

that Sanyu came, after all, from a very conservative society, and

was always able to catch his model’s expression and poise with

likely still felt just a tad uncomfortable in the presence of casually

just a few deceptively simple strokes, a method he took so far that

voluptuous women in the nude. Partly as a result of this, his

many of these works already border on the expressionist mode.

style tended towards the concise, abstract, and distorted, with a

Sanyu was also an expert in employing the “dry brushstrokes” of

soupcon of self-deprecating humor thrown in for good measure. In

traditional Chinese landscape painting to add texture and impact

this combination of diverse elements lies much of his work’s unique

to his human forms, a technique that can frequently be observed

appeal.

in his pencil and charcoal drawings. Antoine Chen notes that the way Sanyu uses gentle strokes and soft hues to faintly indicate the

常玉自幼習字練書法,其書法技藝有助於表現線條勾勒的流暢感,往往

contours and physique of his models closely resembles the Art

簡單幾筆即可掌握住模特兒的神態,觀念上已接近抽象畫的表現形式。

Deco style that was especially popular between 1927 and 1928.

常玉亦運用傳統中國山水畫的乾筆,來開拓人體畫的表現,增強人體的

“The emblematical comb-like representation of hands and feet is

量感,在他的鉛筆、炭筆素描可以找到這種技法。陳炎鋒認為,常玉素

an expression of the artist’s creativity and originality. ”

描中人體肌理和外側以炭筆簡約暈染, 為1927-1928年間普遍流行的 「裝飾藝術」手法。「手足的五指梳齒狀的符號化,流露畫家自我的獨

In addition, Sanyu’s sketches reveal his understanding of, and

創性。」

willingness to experiment with, foreshortening and perspective. A lover of photography, he boldly depicted his models’ legs and

此外,常玉的素描作品中展現了對透視的概念與實驗。喜愛攝影的常

bottoms in distorted ways, as if seen through an extreme wide-

玉,大膽嘗試攝影機的廣角鏡頭方式,誇大臀部與大腿的比例。作家好

angle lens. One of Sanyu’s literary friends, the renowned Chinese

友徐志摩戲稱常玉的裸女畫有著「宇宙大腿」。儘管常玉個性瀟灑大

poet Xu Zhimo humorously described the legs of his nudes as

器,但情慾隱私卻不喜歡外顯,畢竟來自中國的年輕常玉,直接面對大

“thighs of the universe.” For all his easygoing charm and debonair

剌剌的女體,應該還是有些許的不自在。採用簡約、抽象、變形,甚至

ways, Sanyu was actually an intensely private person when it came

帶點幽默調侃的風格,使其水墨裸女有其獨特魅力。


Ravenel 37


019

YU CHENG-YAO

(Taiwanese, 1898 - 1993)

Landscape 1980s Ink on paper 32 x 69 cm Signed upper center Yu Cheng-yao, titled upper center Landscape in Chinese, inscribed upper right dedicate to Mr. Ching-Jan With one seal of the artist PROVENANCE: Concorde Auction, Taipei, March 26, 1995, lot 103 Acquired from the above by the present owner

余承堯 清音輕轉 1980年代 水墨 紙本 32 x 69 cm 簽名中上:余承堯作 題識中上:清音輕轉 鈐印中上:余承堯印 題識右上:靜然先生正之 來源: 標竿藝術,台北,1995年3月26日,編號103 現有收藏者購自上述來源

NT$ 400,000 - NT$ 600,000 HK$ 99,000 - HK$ 148,000 US$ 12,700 - US$ 19,100

Born in 1898 in Yongchun, Fujian, Yu went to Waseda Univesity in

Because in his early years he had been in the military and traveled

japan to study economics in 1920. The following year, he transferred

extensively, his style of painting was more of a recapitulation from

to the Japanese Army Officers' Academy. In 1923, he returned

memory. He was a successful self-taught painter, calligrapher and

to China to teach at the Whampoa Military Academy. In 1946, he

poet.

retired from military service at the rank of lieutenant-general. In 1949, he came to Taiwan. In 1977, he held his first oversea solo

1898年生於福建永春,1920年赴日早稻田大學攻讀經濟,次年轉入日本

exhibition at the New York Chinese Cultural Center. In 1986, at the

陸軍士官學校。1923年返回任教於黃埔軍校。1946年以中將官階退伍。

advanced age of eighty-eight, he held his first solo exhibition at the

1949年來台。1977年紐約中華文化中心在海外第一次個人畫展。1986

Hsiung-shih Gallery in Taiwan. In 1987, his held a solo exhibition at

年以八十八歲高齡於台北雄獅畫廊舉辦在台灣的首次個展。1987年香港

the Hong Kong City Hall. In 1988, the National Museum of History

大會堂舉辦個人畫展。1988年台北歷史博物館舉辦回顧展,同年台北漢

held a retrospective exhibition of his works; in the same year, Hanart

雅軒舉辦「余承堯近作畫展」。由於早年從軍,走過千山萬水,五十六

Gallery Taipei also held his exhibition “Recent works by Yu Cheng-

歲才開始作畫,他的繪畫風貌即為記憶的再現,一位自修成功的畫家、

yao.” Yu Cheng-yao only started painting at the age of fifty-six.

書法家和詩人。


020

YANG DIN

(Chinese, b. 1958)

Le Voyageur II (The Traveller II)

楊登雄

2009 Acrylic on canvas 120 x 120 cm

遊子 2

Signed lower right Yang Din in English Signed on the reverse Yang Din in English, titled "Sans titre", inscribed 120 x 120 cm, and dated 2009

2009 壓克力 畫布 120 x 120 cm 簽名右下:Yang Din 簽名畫背:Yang Din "Sans titre" 2009 120 x 120 cm

EXHIBITED: Daydream Voyage-A Solo Exhibition by Yang Din , Modern Art Gallery, Taichung, May 23 - June 23, 2009

展覽: 「神遊-楊登雄個展」,現代畫廊,台中,展期自2009年5 月23日至6月23日

ILLUSTRATED: YANG DIN: Daydream Voyage , Modern Art Gallery, Taichung, 2009, color illustrated, pp. 22-23

圖錄: 《楊登雄:神遊》,現代畫廊,台中,彩色圖版,頁22-23 附現代畫廊開立之藝術家親筆簽名原作保證書

This painting is to be sold with a certificate of authenticity signed by the artist, issued by Modern Art Gallery, Taichung.

NT$ 420,000 - NT$ 650,000 HK$ 104,000 - HK$ 160,000 US$ 13,400 - US$ 20,700 Ravenel 39


021

YANG DIN

(Chinese, b. 1958)

Deux Coupes

楊登雄

2007-2008 Acrylic on canvas 150 x 180 cm

對飲

Signed lower right Yang Din in English Signed on the reverse Yang Din in English, titled Deux Coupes in French, inscribed 150 x 180 cm , and dated 2007-08 EXHIBITED: Daydream Voyage-A Solo Exhibition by Yang Din , Modern Art Gallery, Taichung, May 23 – June 23, 2009 ILLUSTRATED: YANG DIN: Daydream Voyage , Modern Art Gallery, Taichung, 2009, color illustrated, pp. 24-25 This painting is to be sold with a certificate of authenticity signed by the artist, issued by Modern Art Gallery, Taichung.

NT$ 750,000 - NT$ 1,100,000 HK$ 185,000 - HK$ 272,000 US$ 23,900 - US$ 35,000

2007-2008 壓克力 畫布 150 x 180 cm 簽名右下:Yang Din 簽名畫背:Yang Din "Deux Coupes" 2007-08 150 x 180 cm 展覽: 「神遊-楊登雄個展」,現代畫廊,台中,展期自 2009年5月23日至6月23日 圖錄: 《楊登雄:神遊》,現代畫廊,台中,彩色圖版, 頁24-25 附現代畫廊開立之藝術家親筆簽名原作保證書


DEUX COUPES YANG DIN

F r a n c e - b a s e d C h i n e s e a r t i s t Ya n g D i n w a s b o r n i n

the mind, and making the painting very poetic. A graceful

Guangdong, China in 1958, and moved to Paris in the

tree branch on the right appears to be straining out of

80s. He graduated from École nationale supérieure des

the painting, stopping right at the edge. The construction

Beaux-Arts, Paris in 1987 with outstanding results and

of the branch makes use of his minimalist technique. The

was awarded First Prize at the Aube Art Fair organized in

red of the background and the light colors of the branch

Troyes, France. Yang Din excels at using panoramic and film

complement each other. The lines are simple, the light and

techniques to paint a boundless world where all are equal.

shadow just right, enhancing the layers and depth of the

He uses lines to depict nature as his heart feels it, without

painting.

being too deliberate. 華裔旅法藝術家楊登雄,1958年出生於中國廣東,1980年代

With construction that is simple yet delicate, exquisite

開始定居巴黎,1987年畢業於法國國家高級美術學院,並以優

and elegant, Yang Din’s work exudes a Zen atmosphere.

異的成績獲得羅瓦省歐伯藝術沙龍首獎。楊登雄擅長以全景環

The soft colors, layered texture of paint, and vast blank

繞方式和電影手法,描繪出一個普世皆然的無垠世界。他的作

space in the painting show the eastern philosophy’s search

品不刻意描摹自然,而是用線條刻畫心之所見之自然。

for emptiness, as well as the focus on individual ideals in western philosophy. “For me, simplicity is important. ”

簡潔不失精巧的構圖,細膩中透著大氣,楊登雄的作品中禪意

Yang once said. The scenery he depicts is free from noise

綿綿。色彩柔和,顏料推疊形成的肌理,與畫面中大面積的留

and vagueness; leaving behind all complications, and left

白,透出的是東方哲學中對空的追尋,同時亦融合了西方哲學

with only the purity and harmony of nature. The trees,

對個人思想的關照。「對我而言,簡單很重要。」楊登雄如是

earth, and sky he draws are all elegant, expressive, and

說。他所描繪的景色,沒有紛擾和含糊;去掉一切繁雜,畫面

simple. In recent years, the structure of his paintings has

留下大然的純淨與和諧。他畫中的樹木,天地,清雅脫俗,抒

become more simplistic, but his use of color richer. The soft

情簡約。近年來,他的作品構圖越趨簡潔,而顏料用彩卻顯濃

structure and strong colors reflect the artist’s worldliness

厚,淡淡的構圖與濃烈的色彩反映出藝術家喜愛寧靜,與世無

and his love for peacefulness.

爭的個性。

Yang uses travel as a way to record his feelings. He says

他用旅行的方式記錄感覺,他說自己的繪畫好像是將抽象的夢

that his paintings are like the realization of abstract dreams.

想實現。筆觸堅實有力,淡淡的光影之中表現如夢似幻的美

The brushstrokes are firm and strong, creating dreamlike

景。雖然題材穩定,卻不顯不因反復而陳舊。他慣用柔和的色

sceneries in pale light. The themes of his paintings are

彩描摹對象,細膩的筆觸和層層堆疊的肌理為畫面增加豐富層

constant, but never gets old. He uses soft colors to depict

次。

people; delicate brushstrokes and layered paint to add depth to the image.

《對飲》是楊登雄美學的呈現,一如其堅持的繪畫語言,不盲 目從眾。熾熱的紅色背景中,畫面左下一張小桌,兩杯紅酒,

“Deux Coupes” is the epitome of Yang’s artistic expression.

靜默無言。頗有「如來清涼月,常遊畢竟空,眾生心水靜,菩

He stands by his artistic language, refusing to blend into

提影現中」的濃濃禪意。舉杯之人不現畫中,左側外光透進

the crowd. In the scorching red background, a small table

來的光,讓人浮想聯翩,使作品充滿了逍遙浪漫的詩意。畫面

lies at the bottom left corner, two silent glasses of wine on

右側婀娜的樹枝,似要奪框而出,又欲言又止。對於樹枝的描

it. The painting is full of the Zen atmosphere. The people

摹,採用他慣用的極簡處理手法。背景的紅色與柔枝的淺淡色

drinking are not in the painting, and on the left there is

彩相映成趣。線條簡練,光影的處理恰到好處,增強了畫面的

a soft glow of light, prompting thoughts to flow through

層次感和縱深。

Ravenel 41


022

HU SHANYU

(Chinese, 1909 - 1993)

Linyin Temple, Hangzhou

胡善餘

1979 Oil on canvas 55 x 45.5 cm

杭州靈隱

Signed lower right Shanyu in Chinese and dated 79 PROVENANCE: Private Collection, Asia ILLUSTRATED: Hu Shan Yu 1909-1993 , Chuan Cheng Art Center, Taipei, 1998, color illustrated, p. 82

1979 油彩 畫布 55 x 45.5 cm 簽名右下:善餘79年 來源: 私人收藏,亞洲 圖錄: 《中國第一代留法藝術家︰胡善餘》,傳承藝術中心, 台北,1998,彩色圖版,頁82

NT$ 800,000 - NT$ 1,200,000 HK$ 198,000 - HK$ 296,000 US$ 25,500 - US$ 38,200

“Linyin Temple, Hangzhou” transpires the tranquility of the temple

1955), the brush techniques of Alfred Sisley, and the use of colors

appearing under the bright blue summer sky into one of HU’s

by Paul Cézanne. After returning to China in 1935, Hu taught at

beautiful landscape paintings, further surrounded by brushes and

the National Chongqing Normal School, the National Academy of

blossoming florets as three figures heads towards the entrance of

Art, and then at the Central Academy of Fine Arts. Starting from

the temple. Hu Shanyu would often made extensive trips to visit

1980, he held solo exhibitions in Hangzhou, Guangzhou, Nanjing,

uncultivated land to render his landscape works during the 60s

and Kunming. His book Hu Shanyu Oil Painting Collection was

and the 70s. Hu never depicted the scenic spots of West Lake

published by the Shanghai People’s Fine Arts Publishing House.

directly because it was impossible to have done so during the

In 1933, the Shanghai Art Museum hosted a special, large-scale

Cultural Revolution. He therefore had to settle for painting at rural

retrospective exhibition for Hu and received wide acclaim. Hu’s

areas where tourists did not visit. “Linyin Temple, Hangzhou” is a

works are widely sought after by large organizations and private

painting of the Hangzhou countryside. Forests of tall, handsome

collectors.

fir trees in Hu’s oil paintings reveal aspirations for an ethnic style. He always stayed true to nature and expressed his own unique

《杭州靈隱》是胡善餘的絕美風景畫傑作,展現明亮的夏日藍天下靜

perceptions of beauty. In his paintings, Hu pursued perfection

謐的靈隱寺。樹木和怒放的花海環繞寺廟四周,三個人走向寺門。在

of structure, form, color, and lines but steadfastly resisted the

1960、1970年代,胡善餘經常走訪遠地偏鄉,創作風景畫。他不是從

temptation to perfect format for the sake of format. This artistic

正面來寫西湖名勝,因為在所謂文化革命期間是不可能的,而只好下

style is perhaps what he dedicated his life to pursuing. “Hu liked

鄉、在遊人不到的地方作畫。《杭州靈隱》畫的是杭州鄉下,筆直挺拔

to use fine linen or cardboards for his paintings. Linen avoids the

的杉樹林襯出油畫民族風格的抱負。他始終忠於自然,表現自己特殊的

necessity of applying thick layers of paint, while cardboard has

美的感受,在畫中如何構圖、造型、色彩線條等方面的著重表現,儘量

the advantage of displaying color contrast by absorbing oil and

使形式更完美,但卻又堅決地區別為形式而形式形的誘惑,這也許就是

reducing shine. With regard to oil color, Hu preferred semi-opaque

他心之所鍾的追求。「他喜歡用細麻布或厚紙板作書。用細麻布就意味

colors; sometimes applying transparent paints as the base coat for

著不必要堆厚畫面,用厚紙板的好處是吸收油,畫面不閃光,色彩對比

an almost watercolor-like effect. He formed his paintings with semi-

的效果較顯著。在用油色方面,一般以半糊狀的色澤為主,有時還用近

opaque colors or powerful lines and used thick colors to accentuate

似水彩的透明色調來鋪墊,用半糊狀的色澤或有力的線條來造型,而用

the effects.” This seems to be the consistent artistic ideal reflected

厚色澤來『拎』、來『醒』,來加強聲調。」這也許就是他六十年的從

by Hu’s sixty-year career that has formulated into his own realistic

藝生涯中所體現的一貫的藝術思想,和形成寫實的個人畫風。

style. 胡善餘1909年出生於中國廣東,1929年進入國立杭州藝專,受過林風

Hu Shanyu was born in Guangdong, China in 1909. He entered the

眠先生的教導。因在學成績表現優越,後來到法國留學,進巴黎國立高

National Hangzhou Academy of Art in 1929 and studied under Mr.

等美術學院學習畫。胡善餘不僅到羅浮宮觀摩印象派大師的作品,他對

Lin Fengmian. Having excelled in his academic performance, Hu

於柯羅和印象派影響的當代名家馬爾蓋和別具風格的抒情風景畫家尤特

was able to pursue studies in France, where he studied painting at

里羅、希斯里的用筆、塞尚的用色都感興趣。1935年返國後,先後於

the École nationale supérieure des beaux-arts de Paris. He studied

國立重慶師範學校,國立藝專及中央美術學校任教。1980年起曾於杭

the works of impressionist masters at the Louvre. Hu was interested

州、廣州、南京、昆明等地舉行個展,並由上海人民美術社出版《胡善

in contemporary virtuoso Albert Marquet (1875-1947), who was

餘油畫選》,於1933年上海美術館特別為其舉行大型回顧展,廣獲好

influenced by Corot and impressionism. He was also fascinated

評。胡氏作品並廣泛為大型機構及私人收藏家珍藏。

by the unique style of landscape painter Maurice Utrillo (1883-


Ravenel 43


023

PANG JIUN

(Taiwanese, b. 1936)

Boats on Li River 2016 Oil on canvas 71.5 x 90 cm Signed lower right Pang Jiun in Chinese and dated 2016 With one seal of the artist This work is to be sold with a certificate of authenticity signed by the artist.

NT$ 1,100,000 - NT$ 1,700,000 HK$ 272,000 - HK$ 420,000 US$ 35,000 - US$ 54,100

龎均 灕江 2016 油彩 畫布 71.5 x 90 cm 簽名右下:龎均 2016 鈐印右下:均 附藝術家親筆簽名原作保證書

“BY CONTRAST, WITH ITS GRAND MOUNTAINS AND DEEP WATERS – MY SKETCHING EXPERIENCE IN HUANG SHAN – CHINA IN GREY IN TONE, WHICH DIFFICULTIES IN PAINTING. THE REASON MY LANDSCAPES WERE POPULAR DURING THE CULTURAL REVOLUTION WAS PRECISELY THAT THEY HAVE A FINE GRASP OF THE GREY TONE, FOR WHICH THE NAME PANG JIUN WAS KNOWN. TO MY OBSERVATION, THE GRAND MOUNTAINS AND DEEP WATERS OF CHINA ARE DEFINITELY TO BE PORTRAYED IN GREY AND THE GREY, CONSONANT WITH THE SENTIMENT AND ETHEREALITY OF CHINESE POETRY AND THE RESERVED AND LOWKEY STYLE OF CHINESE PEOPLE, REVEALS THE SPIRITUALITY OF CHINESE CULTURE.” – PANG JIUN

「大陸是屬於大山大水的情景,有一種灰調子,我在黃山寫生時就體驗到為什麼國畫有皴法的產生,但還 有一個難題,就是在這個灰調子的表現上。我在文革時的風景畫就是因為這個灰色調的表現而被人喜歡。 大家都知道有一個畫灰調子的龎均。那時對於大陸的大山大水的觀察,我就覺得必須是灰調子,因為這也 應驗了在中國詩詞裡的韻味和飄渺,和中國人所隱藏的情感收斂深沉,這都是同一個精神性。 」 – 龎均


Ravenel 45


024

LUI LIU

(Liu Yi, Chinese, b.1957)

Girl with Fish Earrings

劉溢

2001 Oil on panel 60 x 60 cm

雙魚女

Signed lower left LUI LIU in English and dated 2001 This work is to be sold with a certificate of authenticity signed by the artist.

2001 油彩 木板 60 x 60 cm 簽名左下:LUI LIU 2001 附藝術家親筆簽名原作保證書

NT$ 1,500,000 - NT$ 2,200,000 HK$ 370,000 - HK$ 543,000 US$ 47,700 - US$ 70,000

Liu Yi was born in Tianjin in 1957. He studied oil painting at

something greater than her own self. The girl in this painting is

the Central Academy of Fine Arts, graduated in 1982. Liu was

different from his past works. She seems to hold a special place

among the first students to enroll in the school after the Cultural

in the mind of the artist, and is the inspiration for this piece. This

Revolution, along with Chen Danqing, Yang Feiyun, Chao Ge,

is why Liu Yi has been hailed as an “explorer between surrealism

and Xia Xiaowan. Liu Yi is a painter who thrives on storytelling,

and pop art.”

drama, and metaphors. He excels at using realist techniques to create art with a modern touch. Liu Yi is an artist who can display

劉溢1957生於天津,1982年畢業於中央美術學院油畫系,是文革後

his unique creative concepts, reflect international contemporary

第一批考入中央美術學院油畫系的學生,與陳丹青、楊飛雲、朝戈和

themes, and also touch on national spirit.

夏小萬為美院一屆的同窗。劉溢是一位喜以帶故事性、戲劇感及暗喻 的手法進行實驗創作的畫家。又擅於以寫實的刻畫技巧,創作充滿現

Liu Yi has extraordinary control over the characters in his

代氣息的作品。劉溢既能展示他特有的創作理念,又可適時反映國際

paintings. In his surreal paintings, characters maintain a lasting

現代題材,同時也一再關照民族精神內涵。

connection with the environment, and become the only hints to the paintings. There is a unique mystery and theatrical effect

劉溢對他畫面中的人物有著非凡的控制力。在他超現實畫面中,人物

in his portraits. Many women are unidentified, the background,

既不可能完全擺脫與環境的關係,又成為他畫中線索的唯一提示。在

time, and place omitted, as if the artist is deliberately pulling the

劉溢的肖像作品中,有一種特別的神秘感和戲劇效果,畫中女性多身

character from reality, to create a feeling of illusions. This work

份不明,背景、時間及地點都被省略,似乎畫家是刻意將人物抽離現

focuses on a young woman sitting calmly. She gazes forward

實,以營造疑幻疑真的感覺。本作品以一位靜心端坐的年輕女性為主

thoughtfully, avoiding the viewer’s eyes. Her elbows are on the

角。她的眼神,垂目前方另有所思地避開觀者。雙肘立於案桌兩手輕

table, with her hands resting gently by her brow; her still body

按眉梢之處,那靜若的肢體語言與木訥的表情令人費解。畫家以敏銳

language and wooden expression are hard to fathom. The artist

的筆觸捕捉雙魚女沉思的瞬間姿態。在深邃的背景下,畫家利用強烈

uses sharp brushstrokes to capture the moment of the Pisces Girl

的側光,強調女性的輪廓及手臂的光暈明暗,雙魚耳環卻也未施以高

deep in thought. With a deep background, the artist uses strong

光,但卻令主角從背景中凸顯而出,更為畫面增添了神祕色彩及懸疑

light from one side to emphasize the female silhouette and the

氣氛,表現出戲劇性的張力。當觀者欣賞作品時,無一不被她那若有

contrast of light and shadow on her arms. The Pisces earrings

所思的眼神吸引,一個表露出她對自身以外更偉大事情有所嚮往的神

are not brightly lit, but make the character stand out from the

思。此作女主角不同以往作品的形象出現,似乎在畫家的心目中佔有

background, and add a sense of mystery and suspense to the

重要的地位,亦是創作的靈感泉源。所以說劉溢被評為「超現實主義

image, creating dramatic tension. Every viewer is drawn in by

與普普藝術兩極之間的探索者」。

her thoughtful gaze, that expression that conveys her longing for


Ravenel 47


025

YU CHENG-YAO

(Taiwanese, 1898 - 1993)

Mountain Peaks Towering into the Clouds 1987 Ink on paper 120 x 59 cm Signed upper left Yu Cheng-yao in Chinese With one seal of the artist PROVENANCE: Hsiung Shih Gallery, Taipei Acquired from the above by the present owner’s father in October 1986 ILLUSTRATED: The World of Yu Chengyao , Hsiung Shih Books Publishing, Taipei, 1988, color illustrated Yu Chengyao , Hsiung Shih Books Publishing, First version 1998, second version 2000, color illustrated, no. 4-40, p. 123 This painting is to be sold with a photocopy of the certificate of authenticity issued by Hsiung Shih Gallery, Taipei.

NT$ 1,800,000 - NT$ 2,800,000 HK$ 444,000 - HK$ 691,000 US$ 57,300 - US$ 89,100

余 承堯 連峰直聳破雲端 1987 彩墨 紙本 120 x 59 cm 簽名左上:余承堯作 鈐印左上:余承堯印 來源: 雄獅畫廊,台北 現有收藏者的父親於1986年10月購自上述來源 圖錄: 《余承堯的世界》,雄獅美術圖書出版公司,台北,1988, 彩色圖版 林詮居著,《才情•隱士•余承堯》,雄獅美術圖書出版公 司,台北,1998年5月初版,2000年6月再版,彩色圖版, 編號4-40,頁123 附雄獅畫廊開立藝術家簽名保證書影印本


Ravenel 49


MOUNTAIN PEAKS TOWERING INTO THE CLOUDS YU CHENG-YAO

Yu Cheng-yao, named Shun, courtesy name Cheng-yao. Born in

secluded valleys exude an air of serenity; hidden streams and waterfalls

Yongchun County, Fujian Province in 1898 (24th year of the Qing

are dispersed over the space and contrast perfectly with the densely

Dynasty Guangxu reign), Yu learned to make woodenwares and

arranged parts of the painting. Light brush strokes outline the draft

lacquerwares at a woodworking shop in his early years. At age 19, he

before irregular texturing strokes form the rugged contours; the layers

joined the Revolutionary Army and eventually advanced to the rank

accumulate into majestic mountain ranges while also embodying

of lieutenant-general. He retreated to Taiwan with the Nationalist

inspiring thoughts on life. Overall, the painter was able to utilize

government in 1949, but was unable to bring his family over in time,

a variety of ink strokes to depict a rich, well-designed portrait of

and thus lived alone in Taipei ever since. He spent half a lifetime in

magnificent mountains and waters. The robust touches of interesting

combat and traveled extensively with the military to lofty mountains

rock tones leave a particularly strong impression. Yu’s arrangements

and deep forests. He retired as lieutenant-general in his prime years. At

are never deliberate. To him, “spontaneous brush strokes fall into

the age of 56 in 1954, Yu began

place, praising that beyond

working on the first painting

the landscapes and applying

in his life. Yu’s paintings and

depictions to the painting.

calligraphy were one of a kind.

Abstract? Non-symbolic? Spur

He often liked to draft with light

of the moment, the significance

ink, which were left to dry before

they bear, these blend and merge

h e a d d e d l a y e r s o f t e x t u re d

i n t o a n i n f i n i t e i n n e r s t re n g t h

contours and washes, creating a

that rush to the brush, burst from

free and fluid effect in his ink and

the fingers, and the face of the

brush works. He also made use of

painting is entirely transformed.”

minute and concentrated brush

At times, Yu’s works surprise the

strokes to express his unique creative vocabulary as well as the ruggedness and spiritual sense of mountains and waters.

Yu Cheng-yao, Green Mountains , c.1970s, mounted scroll, ink and color on paper, 56 x 117 cm, Ravenel Spring Auction 2014 Taipei, US$160,053 sold 余承堯《青山四面》約1970年代 彩墨 紙本 56 x 117 cm 羅芙奧台北2014年春拍 台幣4,800,000 成交

viewer with traits of “boneless” (mogu) techniques within the general air of landscapes, setting them apart from traditional landscapes by his predecessors.

Yu Cheng-yao’s painting and calligraphy works are legendary. Not only

“Peach Blossom, Fishing Boat” by Qing Dynasty painter Wang Hui

are they a conspicuous pinnacle in the art history of Taiwan, they are a

(1632-1717), currently preserved at the National Palace Museum

giant monument that will stand tall for hundreds of generations in the

Taiwan, is one such example. The painting depicts peach trees lining

entire Chinese ink wash heritage. Yu began his artistic attempts after

the banks of a stream; a dazzling array of petals fall profusely as a

the age of 50; having been able to break from the restraints of tradition,

fishing boat travels down the stream. The mountains form one layer

Yu often produced concise and powerful form and spirit in his early ink

over another, the trees grow verdant; clouds roll in waves, and waters

wash works by utilizing simple ink strokes and unique layouts consisting

show the beauty of space. The entire work is based in shades of green;

of large chunks. His ink wash landscapes were inspired by recollections

the spread of ink and dashes of green create a simple gracefulness and

of the imposing mountains in northwest and southwest China where

exquisiteness. The meticulous brush strokes construct a clever balance

he had traveled. W ith his impressive memory, Yu recreated the

between thickness and sparseness, between motion and stillness. The

astounding and breathtaking magnificence of mountains and waters.

image is one of bright elegance, like a scene out of Tao Qian’s “Peach

The strangeness of his mountains and their meticulously powerful

Blossom Spring”, 'Following a stream and oblivious to the distance he

contours create a visual effect of order amidst disarray. Such features

traveled, he suddenly came upon a grove of blossoming peach trees

are precisely how Yu’s works always display a brimming sense of vigor.

which lined the banks for several hundred paces.' Like Yu’s work, Wang’s painting fully embodies the charms of natural colors and creates an

“Mountain Peaks Towering into the Clouds” features a stretch of

effect of multiple colors. This coloring technique creates less intense

mountains rising in the distance. The peaks stand in close succession

effects than the previously-mentioned skill; instead, it results from

like knives and axes in a tightly-spaced row. In the foreground,

the blending of several layers of transparent colors. The painting is


softened so that the warm and cool colors complement one another

余承堯的書畫是一則傳奇,不僅是台灣美術史上一座拔地而起的高峰,

and become one, and the effects of glamour and harmony mutually

放在整個中國水墨傳承中也是一座足以雄峙百代的巨碑。五十餘歲始開

exist. The hues created in this way are rich and fascinating while

始從事繪畫創作的他,由於能跳脫傳統的羈絆,在其早期水墨作品中,

exuding an air of warmth and joy. Therefore, the peaks strive for

每能以單純的筆墨,充分利用大塊分割的獨特佈局,營造簡潔有力的形

presence as the trees vie for attention and the mountain scene

體氣。他的筆墨山水,源自於記憶裡行踏中國西北、西南的崇山峻嶺而

is one of magnificence. Yu Cheng-yao instilled into paintings the

來,他以驚人的記憶力,再現了山水中令人瞠目結舌的崇高與瑰麗。畫

most primitive, undisguised first impressions of natural sceneries,

作山體怪奇,細部線條精心凝鍊,予人亂中有序的視覺觀感,而這也正

and thus revolutionized the structuring principles laid down by his

是余承堯作品總能滿溢豐沛生命力的原因所在。

predecessors. 本件作品《連峰直聳破雲端》以遠景峰峰相連,山巒橫刀揭斧構圖緊

Taiwanese composer Dr. Liang Ming-yue once said, “layering” is a

湊,密不通風;近景空谷傳幽,暗溪流瀑布局疏朗,寬又可走馬,仄不

charming feature of Yu’s landscape paintings. Dr. Liang attributes

見碧空。淡筆起稿,亂筆皴擦,不僅堆疊出巍峨的山勢,同時也表現出

the origins of this feature to the polyphonic ensemble structure of

震懾人心的生命情思。通體觀之,畫者能以充滿變化的筆墨線條,寫就

nanguan music. Yu’s paintings are in no way careless or chaotic;

層次分明且畫面飽和的大山大水,特別是其強勁有力的石質趣味,尤讓

polyphonic music possesses a unique beauty. Therefore, Liang

人印象深刻。余承堯從未刻意地營造穿插,就他而言「隨筆成章,高吟

maintains that Yu’s landscapes are ever-changing and no two

於景物之外,遣詞於畫圖之中,抽象乎?不象乎?興之所至,意之所

elements are identical. Art

含,混然融化,胸中無窮之氣,奔

historians identify three time

到筆端,奪手而出,圖上面目,煥

periods that Yu’s ink wash works

然一新。」不時,他偶有一種近似

fall into: early, mature, and late

沒骨畫法的山水情懷讓人眼前一

periods. Ni Tsai-chin categorized

亮,較之前人清朝畫家王翬(1632

Yu’s developed style into three

-1717)現藏於台北故宮博物院

types: simple, impressive

《桃花漁艇》的傳統傳統山水畫。

strangeness progressing towards

溪岸岸夾桃,落英繽紛,一漁舟沿

firmness, and profundity while

溪行來,山巒層疊,綠樹蒼翠,白

retur ning towards guileless

雲湧起,水際空靈。全圖以青綠設

s i m p l i c i t y. “ M o u n t a i n P e a k s

色,佈墨施綠,古雅妍麗。用筆精

Towering into the Clouds” is one

工,構景得疏密動靜之妙,畫面明

of Yu’s works belonging to the

淨雅逸,如繪陶潛《桃花源記》中 「緣溪行,忘路之遠近,忽逢桃花

late period. The work exudes an air of comfortable lightness a n d e x t r a o rd i n a r y p re s e n c e . As always, Yu’s combination of

Qing Dynasty, WANG Hui, Peach Blossom, Fishing Boat ; currently at the National Palace Museum Taiwan, ink and color on paper, 28.5 x 43 cm 清 王翬《桃花漁艇》現藏於台灣故宮博物院 設色 紙本 28.5 x 43 cm

林,夾岸數百步」之景。同樣對自 然界色彩之妙,全出於筆下。與余 氏作品的設色都顯現了一種複色的 效果,它不像以上提到的著色法

exquisite and firm long and short brushstrokes creates a richly-textured pattern of rocks and trees;

那麼強烈,而是以多層水色互滲的罩染效果,如出一轍使得畫面趨向柔

within the meticulously-composed structure, the artist deliberately

和,冷暖互補,渾然一氣,既鮮麗又和諧。就此種產生的色效,豐富迷

conveys the simple and honest strength of landscapes.

人,頗有一種溫煦歡愉的氣氛。所以群峰爭峙,萬木攢簇,氣象崢嶸。 余承堯正是將自然景物注入畫箋的最原始、最真實的第一感覺,是對於

Although he has no formal art training and belongs to no particular

前人佈局描繪法則的一大變革。

school of painting, Yu Cheng-yao adopted nature as his teacher; with his minute and concentrated texturing technique, a unique

台灣作曲家梁銘越博士曾經提出,「層次感」是余承堯山水畫中一個非

artistic vocabulary, and extraordinary compositional style, Yu

常迷人的風格特色,而他認為這個層次感係源自南管的「多線性的合

depicted the countless famous mountains and rivers he had come

奏結構」。余承堯的畫不是亂無章法的,層次線性的樂種,有獨特的風

across while traveling across China and Taiwan, creating numerous

韻。所以,他認為其的山水千變萬化,找不出同樣的山水。美術史學者

visually-striking landscape paintings that impress the very hearts

將余承堯的水墨畫分為三個時期:「早期」、「成熟期」及「晚期」;

of viewers. Yu’s art has yet to be fully discovered in terms of its

倪在沁則將他的風格轉進劃分為「素樸」、「雄奇走向堅實」、「沈鬱

academic or market value, and this is an area worth the continued

再回到稚拙」。《連峰直聳破雲端》一作屬於余承堯的「晚期」作品,

efforts of future art critics.

清新舒淡、氣度不凡。一貫細膩而結實的長短筆調,綿密地鋪陳出層次 豐富的山石與青木,並在安排嚴謹的結構形式中,刻意體現重重山水質

余承堯,名舜,字承堯。清光緒二十四年生於福建永春縣,早年曾於木

樸又敦厚的力量。

器行學做木器與漆器。19歲參加革命軍,官至陸軍中將,1949年隨國 民政府遷台,未及將家人接赴台灣,從此獨居台北。戎馬半生,奔波軍

雖然余承堯沒有師承、沒有受過學院派紮實的訓練,但是他以大自然為

旅,萍蹤峻嶺幽林之間,而於壯年急流勇退,解甲自中將軍銜。1954

師,將他一生在大陸、台灣閱歷的無數名山大川,以他細碎密結的皴擦

年時齡56歲,開始嘗試創作生平第一張畫。余氏的書畫創作自成一格,

筆法、獨創的繪畫語言及構圖形式,創作出一幅幅足以撼動觀者心靈的

作畫往往喜以淡墨起草,待墨乾後覆層層皴染,故其筆墨淋漓酣暢,另

峻奇山水畫作。放眼整個華人世界的現代水墨畫家,余承堯無疑仍是一

以細碎密結筆法繪畫,展現獨特創作語言,將山水的峻奇與靈氣表露無

位異數與傳奇。然就其學術或市場的評價,他的藝術還未被全面充分發

遺。

掘,仍有待後代美術評論家繼續努力。 Ravenel 51


026

PANG JIUN

(Taiwanese, b. 1936)

Scholar's Building in Spring 2014 Oil on canvas 130 x 162.5 cm Signed lower right Pang Jiun in Chinese and dated 2014 With one seal of the artist Signed on the reverse Pang Jiun in Chinese and English, titled Scholar's Building in Spring in Chinese, inscribed 130 x 162.5 cm 100F , and dated 2014 This work is to be sold with a certificate of authenticity signed by the artist.

NT$ 3,200,000 - NT$ 4,800,000 HK$ 790,000 - HK$ 1,185,000 US$ 101,800 - US$ 152,800

龎均 春滿狀元樓 2014 油彩 畫布 130 x 162.5 cm 簽名右下:龎均 2014 鈐印右下:均 簽名畫背:龎均 PANG JIUN 130 x 162.5 cm 100F 2014(春滿狀元樓) 附藝術家親筆簽名之原作保證書

龍 頭奪得錦標歸,雅稱 高 樓 大 字 題 。 冠 世文章親帝選,驚人 身 價 與 雲 齊 。 上 光華蓋峰三疊,下瞰 仙 源 水 一 溪 。 此 去蟾宮應不遠,諸公 繼 踵 上 天 梯 。


Ravenel 53


SCHOLAR'S BUILDING IN SPRING PANG JIUN Pang Jiun's unique oil painting style is bright, sharp, and passionate,

steeped in literary atmosphere. This is passed down alongside the

integrating oils with the imagery of Chinese ink wash painting. His

Confucian tradition of "respect shown according to etiquette" and

style combines both Chinese and Western artistic philosophy, and

"showing respect in work and rest." In the century that has passed,

his paintings display the explosive force of Western Impressionism

dynasties have changed, and the ancient town has suffered in war.

and Fauvism, as well as the poetic imagery of Eastern literati

The Scholar's Building remains, bearing the scars of different eras,

paintings, establishing Impressionism within Eastern oil painting.

but fortunately standing to this day. For the "Scholar's Building"

He graduated with honors at the age 18 in 1954, setting the record

collection, Pang Jiun melded his true emotions into the painting

for "youngest college graduate." He was also Xu Beihong's last

process, and captured the elements of the scenery with even more

apprentice. Pang Jiun settled in Taiwan since 1987. For over 20 years

precision. The painting gives off a vintage, solemn, and serious

he taught countless students at the National Taiwan University of

atmosphere that draws the viewer in, and creates a feeling of

Arts.

admiration for the scholars of the past, and a melancholy for a past long gone.

In his long artistic career, Pang Jiun has striven to find the precise

The painting "Scholar's Building in

balance between classic and

Spring" uses the black roof tiles,

moder n, Easter n and Wester n.

whitewashed exteriors, and horse-

He hopes to perfectly combine

head walls of Huizhou architecture

the passion, expression, and

as its background. In the

explosiveness of Wester n art

foreground are blooming peach

with the philosophical imagery of

blossoms that open the curtain to

Eastern art. His use of structure,

spring. An exquisite and intricate

color, and line are practiced and

brick-carving building stands in the

unrestrained. "Scholar's Building

center, with open doors that draw

in Spring" is a masterpiece

the viewer in to view the elegant,

among Pang Jiun's recent work.

simplistic beauty of the old white-

The exquisite and free-spirited image comes to life with practiced

Scholar's Building in Huizhou 徽州狀元樓

walled, black-tiles houses. The artist uses different shades of gray to create the light beige or plaster

brushstrokes, bright colors, and a bold use of black, white, and gray. After creating thousands of

white walls of ancient Chinese architecture. The roof is a deep gray,

sketches, Pang Jiun finally found success in conveying the spirit and

nearly black. The trees under the bright blue sky are all vividly green.

imagery of Chinese ink wash painting with oil paint, using his unique

Uneven oil paint makes the wall look three-dimensional. Purposeful

technique to show the world his beloved Chinese scenery.

blank spaces balance out the painting's color palette. Blue stone windows are dotted across the image like a delicate and concise ink

Pang Jiun's scenery paintings stem from his abundant experience

wash painting, making the image classical and elegant, with endless

in sketching scenery. He takes in the beauty before his eyes, and

charm, fully displaying the austere style of the Huizhou people.

then lets it steep in his emotions. Traveling tirelessly across China's

Peach branches intersect before the courtyard wall, with no other

vast landscape, the blue tiled roofs and white walls of Huizhou

trees to be found. Falling petals swirl to the ground. The Huizhou

style architecture are depicted by the artist with black and white

style of a "home within a peach blossom orchard" is depicted as

lines, simplistic composition, and gentle use of color. This is not

a poetic countryside scene under the masterful hand of Pang Jiun.

only in honor of his ancestors, but also homage to Chinese cultural

Since ancient times, most men from Huizhou have left to trade or

traditions. Ancient Huizhou is a cultural hub where education is well-

enter the exams to gain fame, embarking on journeys far from home

developed. Many rising stars "became officials through talent, and

as young men. The horse-head wall is symbolic of their families'

left their mark through words." As the birthplace of many celebrated

longing. These black and white horse-head walls in picturesque

people, it was a true "home of scholars," producing 2081 Advanced

disarray give the viewer a bright, elegant, and layered experience of

Scholars in the Imperial exams, and 28 Top Scholars. It is said that

rhythmic beauty.

though transportation was inconvenient in the past, and test takers weren't able to get first-hand information after the test results were

Pang Jiun takes inspiration from the traditions of realism and literati

revealed, the results would be displayed at the Scholar's Building,

paintings, and alters them with brilliant usage of color to forge a

and locals who received the good news first would light firecrackers

unique artistic vocabulary. Pang Jiun once said, "My landscapes

in celebration. "Scholar's Building" is classic literati architecture,

are popular because of how I use this gray color palette. Because


this reinforces the rhythmic and elusive nature of Chinese poetry,

禮」、「居處恭,執事敬」之儒家傳統是一脈相承的。百年來,朝代更

and the deeply hidden emotions of the Chinese people, these are

替,古鄉屢遭兵禍,狀元樓卻未被破毀,帶著它不同時代的痕跡,遺存

all in one spirit. " The free, poetic brushstrokes and rhythm result

至今,實為幸事。龎均「狀元樓」之系列使得繪畫過程融匯真情實感,

in strong, intuitive lines and simple, sharp silhouettes, seamlessly

對於景物元素的把握亦更為準確。給人一種古雅、莊重、肅穆之感,身

weaving Western techniques into Eastern themes, realizing the

置其中,使人對人文俊彥的仰慕之情和歷史的滄桑之感油然而生。

artist's Westernized Chinese style. Pang Jiun's unique oil painting style is similar to Qi Baishi's later period. Pang Jiun focuses on

作品《春滿狀元樓》以黛瓦、粉壁、馬頭牆代表的徽派建築為背景,前

depicting the meaning and spirit of the subject, just as Qi Baishi

景盛放的桃花有如帷帳般拉開春的序幕,精美而繁複的磚雕門樓正居其

once said: "Ingenuity lies between similarity and dissimilarity."

中,門戶敞開引人入勝,想一探古老民宅白牆玄瓦的端莊、樸素之美。

And so his paintings combine the classical and modern. Time is

畫家以不同深淺的灰,塗抹出中國古建築牆壁的淺米色,又好像是石膏

constantly changing, but here it turns into calming scenery that is

白,屋頂是靠近黑色的灰。碧空之下樹木也都是鬱鬱的青。不均勻的油

endlessly poetic, containing the poetic spirit of Eastern literati. Pang

彩使墻體看起來那麼的立體。刻意的留白,讓整幅作品色調看起來又是

Jiun's paintings focus on conveying

如此的平衡。青石窗如清秀簡練的水

how he observed the real world,

墨畫點綴其間,愈顯得古樸典雅,韻

displaying his deepest thoughts, his

味無窮,徽州人清淡樸素之風展現無

soul, and his feelings.

遺。牆前落筆處又添雄雞二三,重色 勾勒,背景以青草填實,遂使眼前一

龎均獨創的油畫風格,鮮明、俐落而

亮,體態傳神,童趣又不失風尚。並

熱情,融合油畫和中國水墨的寫意,

與院墻前桃花枝纖細相得益彰,兩並

其風格融匯中西方的藝術哲學,畫作

開來中無雜樹,落英繽紛,徽式「桃

既能表現西方印象派及野獸派的爆發

花園裏人家」的風情被龎均的妙筆繪

力,亦蘊涵東方文人畫的詩情畫意,

出好一處詩意田園。自古以來徽州的

成功建立了東方油畫的表現主義。

男子多外出經商或考取功名,少年便

1954年十八歲的龎均以優異成績畢

背井離鄉踏上征途,馬頭牆是家人們

業,創下「最年輕的大學畢業生」紀

望遠盼歸的物化象徵,看到這種錯落

錄,也是徐悲鴻的末代關門弟子。龎

有致,黑白輝映的馬頭牆,也會使人

均自1987年起便定居台灣,並任教於

得到一種明朗素雅和層次分明的韻律

國立台灣藝術大學逾二十年,桃李滿 門。 在漫長的藝術創作生涯中,龎均也一

美的享受。 PANG Jiun, Scholar's Building in Spring , 2013, oil on canvas, 130.4 x 162.3 cm, Sotheby's Hong Kong, US$174,080 sold 龎均《春風吹滿狀元樓》2013年 油彩 畫布 130.4 x 162.3 cm 香港蘇富比2013年秋拍 港幣1,360,000 成交

直在古典與現代、東方與西方之間尋

龎均採納寫實主義及文人畫的傳統又 加以轉化,藉由對色彩的高妙運用鎔 鑄出一套獨樹一格的藝術語彙。龎

找精確的平衡點。 希望將西方藝術的熱情、表現力與爆發力和東方的

均曾說「我的風景畫就是因為這個灰色調的表現而被人喜歡。因為這也

寫意哲思完美融合在一起。構圖、配色與線條勾勒老辣瀟灑。作品《春

應驗了在中國詩詞裡的韻味和飄渺,和中國人所隱藏的情感收斂深沉,

滿狀元樓》便是這些年,龎均作品中集結之作,畫面盎然新生,筆觸嫺

這都是同一個精神性。」自由寫意的詩意筆觸與韻律感,構成猶勁靈動

熟、色彩鮮明、大膽而巧妙地運用黑白灰,十分華美奔放。創作歷經數

的線條與簡單俐落的輪廓,將顯屬西方的技法天衣無縫地編織進東方題

千次的寫生實踐後,龎均最終成功地將中國的水墨畫中的氣韻和意境用

材,體現了畫家中體西用的藝術美學。龎均以獨創的油畫風格,頗似晚

油畫的方式表達出來,用其獨特的繪畫技藝向世界展示他心中所珍愛的

期的齊白石,說明著龎均著重寫意,表現對象的精神,正是齊白石所謂

中華風景。

的「妙在似與不似之間,不似為欺世,太似為媚俗」。因此,他的畫作 融合古典與現代,時間雖然變幻無常,卻在此處化作詩意無窮的平和景

龎均的風景作品源自其豐富的寫生經歷,並把所見的美吸收,然後讓情

緻, 涵東方文人畫的詩情畫意。龎均的畫作,注重將觀察到的現實世界

感來把它們醞釀。不辭勞苦走遍華夏大地,當徽派建築的青瓦白牆被

表達出來,同時也體現出他內心深層的思想、靈感和感受。

畫家以黑白線條、簡練構圖、溫和用色進行演繹的同時,這不僅是向他 的前人致敬,更是對中國人文傳統的致敬之作。古徽州地區文風昌盛、 教育發達,「以才入仕、以文垂世」者代不乏人,燦若繁星。自古名人 輩出,歷代共有進士共二千零八十一名,其中狀元共二十八名,可謂狀 元之鄉。據說由於古時因交通不便,考生金榜題名後,雖不能及時接到 捷報,金榜則會公告於狀元樓,而當地村民先聞喜訊,燃放爆竹以示 慶賀。「狀元樓」是典型的士大夫建築,文人氣濃郁。這與「恭近於

Ravenel 55


027

CHEN CHENG WEI

(Chinese, b. 1984)

Series on the Republic of China - The Moon among Clouds 2015 Oil on canvas 60 x 50 cm Signed lower right Chen Chengwei in Chinese and English, and dated 2015 EXHIBITED: Beijing- Young Realist Oil Paintings of the Contemporary Chinese , Aimer Museum, Beijing, July 2 - August 2, 2016 Cerulean Initiative, Portraying the World: Oil Paintings of Chen Cheng Wei , Wenzhou Cultural Centre, Zhejiang, September 20 - October 2, 2016 ILLUSTRATED: Chen Chengwei Painting Collection 2005-2016 , China Federation of Literary and Art Circles publishing, Beijing, 2016, color illustrated, p. 64

陳承衛 大民國 – 雲間月 2015 油彩 畫布 60 x 50 cm 簽名右下:陳承衛 Chen Chengwei 2015 展覽: 「北京-中國當代青年寫實油畫名家邀請展」,愛 慕美術館,北京,展期自2016年7月2日至8月2日 「蔚藍初心-描摹世界:陳承衛大型油畫作品 展」,溫州市文化館,浙江,展期自2016年9月 20日至10月2日 圖錄: 《陳承衛油畫作品集2005-2016》,中國文聯出版 社出版,北京,2016,彩色圖版,頁64

NT$ 550,000 - NT$ 850,000 HK$ 136,000 - HK$ 210,000 US$ 17,500 - US$ 27,100

In 2002, Chen Cheng Wei was admitted to China Academy of Art

media, a technique that he cleverly learned from the artistic language

with the highest score of the year, and was granted with the highest

of classical western masterpieces. Painted over many years, the series

award - the Academy Award - by the China Academy of Art for the

of "The Republic of China" is both cultural and historical, while also

best graduation work. After finishing school, he settled in Beijing

exhibiting a sense of modernity. Both the passage of time and the

for his painting career. In 2009, he started working at the Chinese

reality of the moment subtly find their ways in this work. It is also a

Academy of Oil Painting Department, and, influenced by oil painting

mirror for history. The eyes, full of sentiments, touch the viewers' heart

masters such as Feiyun Yang, Chen studied abroad in France, Italy,

and give them an infinite space for imagination.

and the Netherlands. Chen admires western oil painting masters such as Rembrandt. He accentuates his work with a hint of high culture,

2002年,陳承衛以全國專業成績第一考入中國美術學院,並獲得中國美術

the classical, and a careful depiction of lighting, integrating Chinese

學院畢業創作最高獎—學院獎。畢業之後定居北京,從事繪畫創作。2009

elements with modernity flawlessly.

年進入中國油畫院,受到楊飛雲等油畫界前輩名師的繪畫美學影響,先後去 法國,義大利,荷蘭等地遊學。陳承衛崇尚林布蘭等西方油畫大師,他的作

Chen Cheng Wei embraces his life. He is optimistic and progressive,

品注重古典韻味,光線和人文氣息,將中國元素與當下觀念巧妙結合。

and yet pushes himself quite rigorously. His friends commented that he is a workaholic, yet he joked that it is only his OCD at work, forcing him

陳承衛熱愛生活,積極樂觀,但喜歡跟自己較勁,周圍的朋友都說他是天道

to paint every day. He once said, "When studying the masterpieces,

酬勤,他卻自嘲有強迫症,一天不畫畫難受。他說:「學習大師就要學大師

you first have to know which elements suit your style, and then find the

的某個契合自己的元素,拿捏住分寸,多了則失去自己,少了而沒有說服

balance between emulating and creating. Otherwise, you'd either be

力」,這一點恰恰體現在他的作品之中。陳承衛的作品,帶著情感並注重細

like a copycat or seem inexperienced." Chen's works reflect this belief.

節,畫的輕鬆且鬆弛有度,他有著遠大理想和實現理想的行動力,正如他所

While they are full of emotions and details, everything feels natural and

說,他還在努力思考還在進步,會有更多的突破。

Chen seems to have painted them with ease. He has grand ideals and readily takes action to fulfill them. Like he said, he is still learning and

如今的「大民國系列」,已經成為他標誌性的符號。這一系列的作品帶著細

discovering his ways - there is bound to be more breakthroughs.

膩的情愫,情緒把握到位,含而不露,隱約可見絲絲情感。繪畫技法屬於半 透明罩然技法,有著西方古典繪畫和名師藝術語言的巧妙傳承。「大民國系

"The Republic of China" series has become the representation of

列」是畫家過去幾年積累的結果,具有文化性與歷史性,又不失當代感。本

Chen. The depiction of sentiments is exquisite - they are felt, yet not

件作品,畫面的歲月感和現實感微妙的並存,同時又是一種歷史的鏡像,畫

shown; so slight, but still perceivable. He utilized glazing on semi-solid

中人含情脈脈的眼神,打動人心,帶給人們無限的遐想空間。


Ravenel 57


028

XUE SONG

(Chinese, b. 1965)

Shan Shui

薛松

1997 Mixed media on canvas 50 x 40 cm

山水

Signed lower right Xue Song in Chinese Signed on the reverse Xue Song in Chinese and English, titled Shan Shui in Chinese, inscribed 40cm x 50cm and dated 1997

NT$ 130,000 - NT$ 190,000 HK$ 32,000 - HK$ 47,000 US$ 4,100 - US$ 6,000

1997 綜合媒材 畫布 50 x 40 cm 簽名右下:薛松 簽名畫背:《山水》40cm x 50cm 薛松 Xue Song 1997


029

QIU ZHIJIE

(Chinese, b. 1969)

Poem by Su Shi

邱志傑

c. 2000-2004 Ink on paper mounted on hanging scroll 66.3 x 66.3 cm (208 x 66 cm)

蘇軾詞

With four seals of the artist

NT$ 160,000 - NT$ 240,000 HK$ 40,000 - HK$ 59,000 US$ 5,100 - US$ 7,600

約2000-2004年 水墨 紙本 立軸 66.3 x 66.3 cm(208 x 66 cm) 鈐印右方:吾喪我,玄黃 鈐印中上:形而上 鈐印左中:邱志傑印 釋文: 臥看落葉橫千丈 起喚清風得半帆 且並水 欹側過 人間何處不巉巖

Ravenel 59


030

TSANG TSOU CHOI

(King of Kowloon, Hong Kong, 1921 - 2007)

Untitled

曾灶財

c. 2002-2003 Marker ink on paper 49.5 x 77.5 cm

墨寶

Signed in the center Tsang Tsou Choi in Chinese PROVENANCE: Acquired by the present owner directly from the artist

NT$ 260,000 - NT$ 400,000 HK$ 64,000 - HK$ 99,000 US$ 8,300 - US$ 12,700

約2002-2003年 墨 紙本 49.5 x 77.5 cm 簽名中央:曾灶財 來源: 現有收藏者直接得自藝術家本人


031

SZETO LAP

(Chinese, b. 1949)

Still Life with Fruits

司徒立

1988 Oil on canvas 50 x 50 cm

果盤靜物

Signed upper left SZETO in English and dated 1988 PROVENANCE: Hsiung Shih Gallery, Taipei Acquired from the above by the present owner

1988 油彩 畫布 50 x 50 cm 簽名左上:Szeto 1988 來源: 雄獅畫廊,台北 現有藏家購自上述來源

NT$ 180,000 - NT$ 280,000 HK$ 44,000 - HK$ 69,000 US$ 5,700 - US$ 8,900 Ravenel 61


032

MAX LIU

(Taiwanese, 1912 - 2002)

Chinese Opera Figure

劉其偉

1974 Mixed media on paper 61 x 45.5 cm

國劇人物

Signed lower left Liu Chi Wei in Chinese phonetic alphabet, inscribed Taipei in English and dated 1974 ILLUSTRATED: Adventure , Wizard, Max Liu, Hsiung-Shin Art Book, Taipei, 2001, color illustrated, p. 54 (with a wrong date 1972)

NT$ 220,000 - NT$ 340,000 HK$ 54,000 - HK$ 84,000 US$ 7,000 - US$ 10,800

1974 綜合媒材 紙本 61 x 45.5 cm 簽名左下: ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩 〧〤 Taipei 圖錄: 《探險.巫師.劉其偉》,雄獅圖書股份有限公司,台北, 2001,彩色圖版,頁54(年代誤植為1972)


033

LEE YIH HONG

(Taiwanese, b. 1941)

The Patterns of Rocks in the Stream

李義弘

2012 Ink on pure mulberry paper 55.5 x 42 cm

溪石紋面

Signed lower left Lee Yih Hong in Chinese, titled The Pattern of Rocks in stream and dated September of 2012 in Chinese With three seals of the artist PROVENANCE: Xi Zhi Tang Gallery, Taipei Acquired from the above by the present owner EXHIBITED: Art Taipei, 2012 ILLUSTRATED: Taiwan Fine Arts Series 32: Lee Yi-Hong , Artist Publishing Co, Taipei, 2016, color illustrated, plate 129, p.185; black and white illustrated, p.241

NT$ 220,000 - NT$ 340,000 HK$ 54,000 - HK$ 84,000 US$ 7,000 - US$ 10,800

2012 彩墨 六尺淨純皮楮皮紙 55.5 x 42 cm 簽名題識左下:紋面石 二O一二年九月 李義弘畫 鈐印右上:水流雲在 鈐印左下:李義弘 在川寫 來源: 羲之堂,台北 現有藏家購自上述來源 展覽: 2012台北國際藝術博覽會 圖錄: 《台灣美術全集第32卷:李義弘》,藝術家出版 社,台北,2016,彩色圖版,圖129,頁185; 黑白圖版,頁241

Ravenel 63


034

SUN WEIMIN

(Chinese, b. 1947)

Three Gorges

孫為民

1976 Oil on canvas 48.5 x 58.5 cm

三峽

Signed lower left Sun Weimin in Chinese and dated 1976 PROVENANCE: San Shi Xuan, Hong Kong

1976 油彩 畫布 48.5 x 58.5 cm 簽名左下:孫為民 1976 來源: 三石軒,香港

NT$ 380,000 - NT$ 550,000 HK$ 94,000 - HK$ 136,000 US$ 12,100 - US$ 17,500

Born in Wuchang city, Heilongjiang Region. Sun is skilled in oil painting. Sun graduated from Central Academy of Fine Arts in 1967, and he had taught there afterwards. In 1987, he graduated from oil painting research center of Central Academy of Fine Arts. His oil painting work "The Last Moon of Lunar Calendar", a comic strip work "Life" won the bronze prize in the sixth nation-wide fine arts exhibition. His works comprise "Midday," "Peasants," "Dim Winter," "Green Shade and Lotus Pond in August" etc. In 1995, oil painting "Countryside in July" and "Lotus Pond in August" had participated Hong Kong Asia international art fair, and was collected by Hong Kong Asia Art Foundation. 生於黑龍江五常人。擅長油畫。1967年畢業於中央美術學院附中,曾留校 任教。1987年畢業於中央美術學院油畫系碩士研究生班。油畫《臘月》、 連環畫《人生》獲第六屆全國美展銅獎。作品有油畫《晌午》、《莊稼 人》、《曖冬》、《綠蔭》組畫、《荷塘八月》等。1995年油畫《鄉間七 月》、《荷塘八月》參加香港亞洲國際藝術博覽會,並為香港亞洲藝術基 金會收藏。


Ravenel 65


035

ALIXE FU

(FU Qingli, Ching-Fong, Chinese-French, b. 1961)

Une baleine dans le ciel

傅慶豊

1997 Oil on canvas 138.5 x 166.5 cm

天上的鯨魚

Signed lower left Alixe Fu and dated 97 Signed on the reverse Alixe FU , titled Une baleine dans le ciel in French and Chinese, inscribed 138.5 x 166.5 cm Oil , and dated 1997 EXHIBITED: Eye-Color, Alixe Fu Solo Exhibition , 1998, Dimensions Art Center, Taipei, May 23 - July 19, 1998 ILLUSTRATED: Eye-color, Alixe Fu Solo Exhibition , Dimensions Art Center, Taipei, 1998, color illustrated, pp. 20-21

1997 油彩 畫布 138.5 x 166.5 cm 簽名左下:Alixe Fu '97 簽名畫背:Alixe Fu 傅慶豊 Une baleine dans le ciel 天上的鯨魚 138.5 x 166.5 cm Oil 1997 傅慶 豊 Fu 展覽: 「眼.色-1998年傅慶豊個展」,帝門藝術中心, 台北,展期自1998年5月23日至7月19日 圖錄: 《眼.色-1998年傅慶豊個展》,帝門藝術中心, 台北,1998,彩色圖版,頁20-21

NT$ 400,000 - NT$ 600,000 HK$ 99,000 - HK$ 148,000 US$ 12,700 - US$ 19,100

Alixe Fu was born in Taiwan in 1961. He graduated from Fine Arts Department of Chinese Culture University in 1985. The artist travelled and lived in France as an artist in 1987, and learned lithograph from his mentor, Abraham Hadad in Ecole Nationale Superieure Des Beaux-arts. Fu’s exhibitions took place in Paris, New York, Beijing, France, Japan, and Taiwan over twenty times including group exhibitions and biennales such as “Salon Young Artists Paintings” at the Grand Palais, “Autumn Salon,” “May Salon,” and the “Salon des indépendants.” His works were collected by public and private museums from France, Japan, China and Taiwan. Fu created public art works for France in 1999 and for Taiwan in 2005 and 2008. Alixe was one of the twenty artists who participated in “Avant-Garde, Installation, Space Exhibition,” a significant art exhibition organized by Taipei Fine Arts Museum in the 1980s. The artist step by step participated in “Contemporary Abstract Painting Exhibition,” “New Painting Exhibition,” “Modern Sculpture Exhibition,” “New Prospect of Modern Paintings,” “Style 22,” and “New Figurative Painting Exhibition” hold by Taipei Fine Arts Museum. Furthermore, the French Ministry of Culture awarded him a studio in Cité Van Gogh, Auvers-sur-Oise in 1991. 出生台灣,1985年畢業於台北的中國文化大學美術學系。1987年傅慶豊以藝術家身份 旅居法國,師從哈達於巴黎美術學院研究石版畫。傅慶豊藝術足跡遍布巴黎、紐約、北 京、法國、日本、台灣等地二十多次個展,其中囊括多次聯展與雙年展,例如巴黎大皇 宮「秋季沙龍」、「五月沙龍」、「青年繪畫沙龍」、以及「獨立沙龍」等等。其作品 榮獲法國、日本、中國、台灣等公私立美術館收藏。傅慶豊分別為法國公共藝術創作 (1999年)以及為台灣公共藝術(2005、2008年)注入新氣象。傅氏為台灣80年代重 要的第一個官辦大型裝置藝術展:台北市立美術館「前衛.裝置.空間」參展的20名藝 術家之一。1984年起傅慶豊陸續參加台北市立美術館領潮的「當代抽象畫展」、「新 繪畫大展」、「現代雕塑特展」、「現代繪畫新展望」、「風格22」、「新具象繪畫 展」。1991年更榮獲法國文化部獎勵,於歐維耳市梵谷國際藝術永久工作室駐村。


Ravenel 67


036

CHIN SUNG

(Chinese-American, 1932 - 2007)

Untitled

秦松

1965 Oil on canvas 130 x 94 cm

無題

Signed upper right Chin Sung in English and dated 65

1965 油彩 畫布 130 x 94 cm 簽名右上:Chin Sung 65

NT$ 400,000 - NT$ 600,000 HK$ 99,000 - HK$ 148,000 US$ 12,700 - US$ 19,100

Born in Anhui, 1932. Chin Sung migrated to Taipei in 1949. He attended Taipei Normal School and graduated from its Department of Fine Arts three years later. In 1957, he founded the Modern Prints Association and became its president, a position he held until 1969. In the late 1950s, Chin was awarded prizes at the International Graphic Art Association in New York and at the 5th International Biennial Art Exhibition in Sao Paolo. Chin has made important contributions to other key artistic groups and events in Taiwan. He joined the Ton Fan (Eastern) Art Association in 1959. After moving to USA in 1969, Chin began to exhibit his works there, primarily in New York. He served as joint chairman of the Artists of Chinese Origin Association in New York from 1980 to 1982. Chin was awarded the National Award of the National History Museum Taipei in 1993 and his works have been collected by the National History Museum Taipei, Taipei Fine Arts Museum, Yale U. Library and Harvard University, among other prominent institutions. 秦松,安徽人,專長版畫。1949年移居台北後即進入台北師範學校,1952 年畢業。1957年創辦現代版畫會並任該會會長直至1969年。1950年代晚 期,作品先後獲獎於紐約國際版畫學會及第五屆巴西聖保羅雙年展等,秦松 對台灣畫壇之發展貢獻良多,除於1959年加入東方畫會創始會員外,並從 1966年至67年出任現代藝術季主席。1969年遷居至美國,並繼續活躍於當 地及台灣畫壇。1980年至82年間,任紐約華裔美術家協會副主席。1993年 獲台北國立歷史博物館頒發國家獎章,作品廣被台北國立歷史博物館、台北 市立美術館、耶魯大學圖書館以及哈佛大學等多所海內外之機構收藏。


Ravenel 69


PAISAJE INTERIOR HSIAO CHIN

Hsiao Chin began to lear n painting in 1951. He was greatly

the European art world. This artistic wave was filled with freedom

influenced by Western modern artistic thought after he traveled

and passion, and was extremely infectious, attracting Hsiao Chin,

t o E u ro p e i n 1 9 5 6 , a n d w a s l a t e r a n i m p o r t a n t p i o n e e r o f

who was striving for innovation. He saw in abstract expressionism

Modernization of Art, the first wave of Taiwanese avant-garde after

an outlet to express his emotions, finding a way to direct his inner

the war. Hsiao went on to found Ton Fan Art Group in Taipei, the

feelings through the construct of abstract painting. This painting has

same period in which he attempted to further explore integrations

a simple structure – with black and red patches of color on the left,

between Chinese calligraphy and European non-figurative art whilst

and three lines breaking up the image, it conveys the homesickness

still grounded in Taoist thinking, an approach he had already began

of a lonesome artist living abroad. He uses ambiguous imagery to

to practice in Europe. By creating connections between the forces

express the elusive, inexpressible emotion of homesickness. The

of the universe and the vigor of life, the artist enables his viewers to

deep history, culture, and artistic traditions of Chinese ethnicity are

experience a strong sense of empathy, just as if they could visually

a part of Hsiao Chin’s artwork. His paintings evoke a strong sense of

observe the macroscopic world and comprehend its profound

oriental spirit, Chinese philosophy, and deep meditation.

meanings. An artist’s creation is veritably the creator of man’s spiritual civilization.

蕭勤在1951年開始習畫,1956年赴歐之後受到西方現代藝術思潮的衝 擊,成為戰後台灣第一波前衛思潮「美術現代化運動」的重要先鋒。之

This work was created while Hsiao was emulating the essences

後在台北創辦「東方畫會」,把在歐洲留學期間,以道家思想為支撐、

and techniques of Western abstract art. In the 1960s, he began

將中國書法與歐洲非具象藝術相結合探索。畫面處理連結宇宙與生命感

to demonstrate an interest in Zen and Taoism and started seeking

同身受其能量所在,如親臨宏觀世界,意味深邃。藝術家的創作是人類

artistic inspiration from Chinese culture, thereby developing a

精神文明的創造者。

creative style that was quite distinct from Western mainstream abstract graphics. His works are the confluence of Wester n

作品正是蕭勤以西方抽象藝術為師期間,在1960年代開始對禪、道、老

aesthetics, Eastern philosophies, and explorations into astrophysical

莊思想產生興趣,尋求中國文化傳統中的養分,開始發展出有別於西方

and cosmic phenomena. With the gradual accumulation of personal

抽象主流圖式的創作風格。作品融會了西方美學、東方哲思以及對天體

experiences and reflections, he began creating a wider variety of

物理和宇宙現象的探索,隨著個人生命歷程的起跌變化及內省歷練,創

artworks in hopes of exploring the profound meanings of man’s

作出面貌豐富多樣的藝術作品,致力發掘人類精神生命的深刻意涵。蕭

spiritual life. Hsiao once said that, Through the philosophies of

勤說:「經由老莊及禪的思維,延展對宇宙與我來自中國這塊土地的眷

Laozi, Zhuangzi and Zen, I endeavor to achieve the infinite extension

戀和熱愛。」評論家認為,是一種潛藏著「在時間上是靜止而無限」的

of my love of an attachment to both the universe and China, my

「蕭勤風格」。蕭勤以西式顏料表現出中國繪畫新的可能及風格,進而

motherland. Critics believe this is exemplary of the Hsiao Chin

引起共鳴。通過繪畫及自我意識的千錘百煉,蕭勤一生不斷追求天人合

style that alludes to a sense of temporal stillness and infinity. Hsiao

一、超越死生局限的廣闊人生境界。

effectuated new possibilities and styles in Chinese painting with his use of Western colors and pigments and instigated a revolution

作品《室內風景》作於1958年。此時蕭勤正在西班牙求學,不僅加入了

that resonated throughout the contemporary art scene. Through

當地的兩大藝術團體,且連續三次受邀參加西班牙國際爵士沙龍展,年

extraordinary persistence and constant self-reflection, Hsiao has

輕的藝術家的才華被廣泛認可。而此時也正是抽象表現主義在歐洲藝術

engaged in a lifelong pursuit of harmony between heaven and earth

界活躍的時期。這種藝術思潮蘊含極大的自由度和豐沛的激情,具有極

as well as the attainment of a boundless realm that transcend the

強的感染力,這追求創新精神的蕭勤來說極具吸引力。他從抽象表現藝

limits of life and death.

術中看到了情感表達的途徑,在抽象繪畫的形式結構中尋找到對應內心 情感的外化方式。這件作品構圖簡練,用色單純。畫面左側黑色與紅色

“Paisaje Interior” was painted in 1958. During that time, Hsiao Chin

的色塊,以及分割畫面的三根線條,是獨自旅居海外的藝術家筆下的鄉

was studying in Spain. Besides joining the two big art organizations

愁、對故園的遐思。他以這樣一種似是而非的圖像,表現思鄉愁緒中那

of Spain, Hsiao was also invited to take part in the international

種若有若無、欲言還休的情懷。本民族深厚的歷史、文化、藝術傳統成

Jazz Salon for three consecutive years, where his talent was widely

為從蕭勤的圖式中,可以強烈地感受到東方情懷和中國哲學的氛圍,還

recognized. At that time, abstract expressionism was at its peak in

有彌漫在畫面中深沉的幽思。


037

HSIAO CHIN

(XIAO Qin, Taiwanese, b. 1935)

Paisaje Interior 1958 Oil on canvas 100 x 54 cm Signed lower left HSIAO in English, Chin in Chinese, numbered VII and dated 1958 Signed on the reverse HSIAO CHIN in English, titled Paisaje Interior in Spanish, inscribed VILLA MADRID, 6 BARCELONA -46- in Spanish

NT$ 750,000 - NT$ 1,100,000 HK$ 185,000 - HK$ 272,000 US$ 23,900 - US$ 35,000

蕭勤 室內風景 1958 油彩 畫布 100 x 54 cm 簽名左下:HSIAO 勤VII 1958 簽名畫背:HSIAO CHIN Pza, VILLA MADRID, 6 BARCELONA "PAISAJE INTERIOR" -46-

Ravenel 71


CHILDHOOD HWANG JYI

Hwang Jyi graduated from National College of Arts (Current National

黃楫1974年畢業於國立藝術專科學院(今國立台灣藝術大學),且獲得當

Taiwan University of Arts) in 1974, and was awarded with the first

屆全國美展油畫首獎。黃楫的作品曾入選於1989年巴黎高等學院美術學院

prize for the national oil painting competition. Hwang Jyi’s artworks

聯展。接獲肯定的黃楫並未因此自滿而停止創作,相反地,黃楫持續投入

were selected to be shown in the 1989 L'Ecole Nationale Supérieures

藝術創作,且持續性有著階段性的突破與成長。在黃楫1989年舉辦的第二

des Beaux-Arts exhibition in Paris. Hwang Jyi didn’t stop creating

次個展中,作品就跳脫以往敘述性的畫面,轉至以非邏輯性且富含隱喻的

because of self-satisfaction; on the contrary, he devoted his time in

表現方式呈現。而1990年初便開始實驗充滿體積感的人物,到了93年卻

challenging himself and grew steadily with new breakthroughs. In his

趨於平面化,黃楫可說是勇於挑戰自我和嘗試新的表現方式。

second solo exhibition in 1989, Hwang Jyi has shifted his works to less rational and metaphorical ways of expressions. From the beginnings

在黃楫多數的作品中,觀者彷彿被捲入了超現實的意境裡,獲邀欣賞了一

of 1990, Hwang began to experience painting human form with

場奇幻的舞台秀,戲劇張力十足。年幼的黃楫常與詩人父親黃傳心四處參

inflated proportions, emphasizing volume and weight of his figures.

加吟詩大會,此成長背景不僅豐富了他的想像力,有了家人的鼓勵也使他

Yet, there was a tendency towards flatten image since 1993, Hwang

能有更廣的視野,自由發揮。如同畫面中的《童年》一般,黃楫似乎回憶

Jyi continued to explore alternative ways of expressing.

起當時無憂無慮快樂的光景。然而,與家人相處的快樂的童年因卻親人離 世、家道中落等原因,迫使黃楫提早面對這殘酷的世界。當然,還有他的

In most of Hwang Jyi’s artworks, viewers are drawn into a Surrealist

畫布和畫筆陪伴著他,渡過日復一日的傷痛,創作成了另一個可以暫緩傷

space in participation of a magical show, due to its theatrical usage

痛的避風港。悲痛的內心與現實世界的衝擊形成對立,此矛盾情緒亦呈現

of colors and composition. Hwang Jyi’s father was a poet who was

在作品當中。

actively in attending poetry contests, and took Hwang Jyi with him, this special childhood experiences has allowed Hwang Jyi to dream

《童年》這幅作品創作的時期正好是黃楫開始追求厚實體積感作為表現方

wildly; Hwang Jyi was backed with encouragement of the family, he

式的系列作品之一。喜好將人物以渾厚圓潤方式呈現的著名藝術家-波特

was exposed to wider scope of perspectives, allowing him the space

羅,在《芭蕾舞者》這幅創作於2001年的作品中,我們見到他描繪的舞

and freedom of expressions. Just as seen in “Childhood,” we could

者正以優雅的姿勢練習舞蹈,絲毫不受限於其壯碩身形,而相較於黃楫的

see a projection of his joyful childhood memories. Unfortunately,

《童年》中,有一位執弓的男孩,其實沒有必要將他的單腳抬得像芭蕾舞

the happy times spent with his family was short-lived after his family

者一樣高,卻因此顯得風趣幽默。這位男孩的身形是由粗壯的圓柱體組

members passed away when Hwang Jyi was young, he was soon

成,旁邊的動物綜合體的前肢亦是以同樣的方式呈現,畫面主體雖然強調

forced to grow into the relentless world of reality. Hwang Jyi was

了體積和存在感,卻不禁令人懷疑是實還是虛有其表?男孩身邊的動物似

left with his paint brush and canvases, in which they became the

乎綜合了羊、馬、虎的特徵,以怪異的眼神望向上方,有錯綜複雜的情緒

temporary haven for him to escape the pain of loss. The harsh impact

交會其中。《童年》應是建立在緬懷美好無邪的過去,同時兼具自省和反

of the world plus the amount of grief have had a strong infuences over

諷的意味。

Hwang Jyi’s works, in addition to the contradictory emotions tearing up the rational and the irrational minds of the two. “Childhood” was one of series created in 1992-1993 when Hwang Hyi was seeking the bulky, inflated forms as a way of portraying things. Fernando Botero is one of the most renown artists known for his plumped, exaggerated human forms, we see a ballerina practicing her moves in the work of “Dancer at the Barre” created by Botero in 2001. The ballerina was able to demonstrate high level of flexibility and confidence, the swollen body did not have any influences over her elegant move of her leg above her shoulder. In comparison, the boy from the work of “Childhood“ raising his leg like that of the ballerina, with an odd facial expressions on his face, seemed bizarre and mischievous at the same time. The limbs are formed in cylindrical shapes in both of the animal and the boy, highlight the volume of both subjects, yet, it also brings our attention to question whether the bulkiness was solid or only on the surface. The animal is composed of mixed features of goat, horse and tiger, not knowing what this is, is perhaps a reflection of the mixed feelings of the artist, as an self reflection and self-mockery.

Fernando BOTERO, Dancer at the Barre , 2001, oil on canvas, 164 x 116 cm 費爾南多.波特羅,《芭蕾舞者》,2001,油彩 畫 布,164 x 116 cm


038

HWANG JYI

(Taiwanese, b. 1953)

Childhood 1992-1993 Oil on canvas 162 x 130 cm Signed lower right Jyi in Chinese and dated 1992-93 ILLUSTRATED: Hwang Jyi , Galerie Elegance, Taipei, color illustrated, 1996, pp. 16, 165, 166 & 202

黃楫 童年 1992-1993 油彩 畫布 162 x 130 cm 簽名右下:楫1992-93 圖錄: 《黃楫畫冊全集》, 愛力根藝術有限公司,台北,1996 , 彩色圖版,頁16、165、166及202

NT$ 850,000 - NT$ 1,300,000 HK$ 210,000 - HK$ 321,000 US$ 27,100 - US$ 41,400 Ravenel 73


NICOTINE AND CALORIES WEI JIA

Wei Jia's artistic language evolved from the agonizingly slow

"Nicotine and Calories" portrays the moment in which a person is

and exacting process of lithography, the medium that he was

about to stuff a hamburger inside the mouth. The face and hands of

professionally trained in, to the relatively "quick" medium of acrylics

the character have been simplified to only the outline; there is no

on canvas. Working on his lithographs as a student, each day in the

way to discern the person's gender or emotion. It is only through

studio saw a rational and calculated approach; completing each

the use of shading that the several blocks forming the picture are

time-consuming phase, he patiently watched his lithographs evolve

able to create an almost sculpture-like solidity. The background and

over weeks. In this way Wei Jia cultivated work habits that would

the character are depicted in flat colors with a powerful sense of

follow him through his career, but each day, as he lugged the heavy

ornamentation, as well as the finesse of lithographs. As critiqued by

plates around campus, he longed for the expressive freedom of

Professor Yi Ying of the China Central Academy of Fine Arts, "Wei

the canvas. Ultimately, lithography's limits compelled him to make

Jia's works require no explanations, but we always try to see past

the transition to the expressive colors and creative freedom that

the images in order to understand his inner world; because his forms

the canvas afforded, the liberation of an entirely different creative

are distinctively real, we can believe that beneath the real exterior,

process. Here, we meet a young boy featured in intimate, symbolic

the spirit is also real. " It is because Wei Jia's works are supported

scenes and rendered in muted colors. The mood on his canvases

by such gentle but determined strength that people find them

seems suspicious, almost an atmosphere of espionage, and each

especially compelling.

canvas seems like a puzzle to unravel, with clues conspicuously placed: a knife, a raised curtain, or shadowy figures. However,

韋嘉畢業於中央美術學院的石版工作室,在包攬了國內外最重要的石版

according to Wei Jia, the boy is not a representation of the artist; his

畫獎項的同時,石版創作的嚴謹和理性也成為韋嘉的縛累,有限的尺

identity is insignificant, perhaps he is symbolic of all people.

幅,複雜的製作流程,使得韋嘉越發嚮往在畫布上任意揮灑的自由與輕 鬆。2004年,韋嘉開始了期待已久的布面丙烯的嘗試,經過幾年的不斷

Although Wei Jia paints with acrylics, he treats them like oils,

調整,他把顏料的潑灑與諳熟的刻畫技巧有效地整合在一起,逐漸形成

layering the colors for a unique effect on canvas. His unique

了今天的作品風格。畫面中經常出現的那個男孩往往處於私密的帶有象

language of acrylics born by combining these layers of paint with

徵性的隱晦場景當中,多義性的作品標題就像是謎語,畫中的樹木、鮮

the shallow, two - dimensional sense of depth he inherited from

花、峭壁、樹叢或是朦朧的人物如同具備生命力的道具,觀眾的心境則

lithography. He experiments with themes and sentiments, such

是解密的線索。

as the sense of security, and says that that he has an insatiable personality, that he could never rest on one topic or theme for

「安全感」始終是貫穿韋嘉繪畫的主線。理性與感性,人生與藝術圍繞

too long. Despite positive public or market's reaction, he would

這條主線交織展開。韋嘉的油畫作品延續了其版畫風格,極有力量。他

never forsake his own creative judgment. Using that infamous

在2000年就開始形成較為獨特的個人風格,人物表現得非常平面,人與

Wei Jia determination, he continues to seek his personal limits for

物也是平行的結構關係;背景與人物也是不同塊面之間的關係。這樣的

satisfaction and joy. Wei Jia’s works in oil have inherited the style of

處理方式源於立體主義的影響,但又非完全的因襲,而是滲入了藝術家

lithography, full of strength and force. In 2000, he began to develop

獨特的氣質。韋嘉並非追求單純的形式,他將描繪物件的形象簡化的同

a more individualistic personal style where the characters appear

時,又賦予其以生命的脈動,畫面因此透著孤獨與寂寞的氣息。75後的

two-dimensional and the relationship between characters and

藝術家,相較於前幾代的藝術家,作品中少了歷史的滄桑和傷痕,取而

objects are in linear structures, while the background and characters

代之的是日常生活中的細微點滴。在韋嘉的繪畫中,總能找到這樣耐人

have a relationship on a different plane. This depiction technique

尋味的小細節,講述著畫家的形式沒有言說的內容。

originates from Cubist influences but not as a pure duplication; immersed within is also the unique style of the artist. Wei Jia does

在作品《尼古丁與卡路里》的畫面中,截取了一個人將漢堡塞入口中的

not seek after pure forms. In his simplified depiction of objects, he

瞬間。人物的臉部和手都被簡化到只剩下輪廓線,性別,情緒不明,唯

also gifts them with the energy of life. The portrayal therefore gives

有陰影的運用使得畫面的幾個塊面具體了雕塑般的結實的形體感。背景

off a sense of solitude and loneliness. For artists born after 1975,

和人物都採用了平塗的色彩,裝飾感極強,也帶著石版畫的細膩氣質。

the vicissitudes and scars of history no longer appear in their works;

正如中央美術學院教授易英先生的評價「韋嘉的畫是不用解釋的,但我

these are instead replaced by the minuscule details of everyday life.

們又總想透過畫面讀出他的那個內心世界,因為他的形式有著個性的真

Such thought-provoking details can always be found in the works

實,我們才相信在這種真實的下面還有心靈的真實。」韋嘉的作品正是

of Wei Jia, depicting the formless content created by the artist that

有著這樣溫柔且堅定的力量,因而格外迷人。

cannot be described by words.


039

WEI JIA

(Chinese, b. 1975)

Nicotine and Calories

韋嘉

2004 Acrylic on canvas 160 x 200 cm

尼古丁與卡路里

Signed lower center Wei Jia in Chinese and dated 04 Signed on the reverse frame Wei Jia , titled Nicotine and Calories in Chinese, inscribed acrylic on canvas 200 x 160 cm and dated 2004 PROVENANCE: Aura Gallery, Shanghai

2004 壓克力 畫布 160 x 200 cm 簽名下方:韋嘉 04' 簽名畫背木框:《尼古丁與卡路里》200 x 160 cm 布面丙烯 韋嘉 2004' 來源: 亦安畫廊,上海

NT$ 750,000 - NT$ 1,100,000 HK$ 185,000 - HK$ 272,000 US$ 23,900 - US$ 35,000 Ravenel 75


040

JI DACHUN

(Chinese, b. 1968)

Orange Clock

季大純

2000 150 x 110 cm Mixed media on canvas

橘色時鐘 2000 綜合媒材 畫布 150 x 110 cm

Signed upper center Dachun in Chinese and dated 2000 PROVENANCE: Sale of Christie's, Hong Kong, May 28, 2006, lot 409

簽名中上:大純二OOO 來源: 香港佳士得2006年春拍,編號409

NT$ 550,000 - NT$ 850,000 HK$ 136,000 - HK$ 210,000 US$ 17,500 - US$ 27,100 Ji Dachun has attracted the public’s attention through his distinctive

in their hands. The actions of the four figures are neatly synchronized,

and vibrant style, and he is one of the most widely recognized artists

but each bears a different facial expression: some are stubborn and

in China. His works cover various styles with an artistic flair that is

determined, some thoughtful, while another is pensive with closed

both shrewd and humorous. Ji often incorporates elements from

eyes. The background is Ji’s customary white canvas. These time-

Surrealism and traditional Chinese painting styles, as a form of cutting

travelling characters and the blank background combine to create

caricature of current affairs in China. Ji is an artist who is unique

a weird sense of visual confusion. In the words of the artist himself:

and individualistic, composed and humorous, as well as highly self-

“Paintings in which every detail is complete, paintings in which there

judgmental. His works resist attempts to be categorized and refuse

is no more room for explanation, make me extremely unsatisfied. The

to be defined with simple brutality. The objective is to instigate

empty areas left bank in the painting provide the viewers with a space

continuous introspection. After he graduated from the China Central

that allows them to use their imagination. ” The works of Ji Dachun are

Academy of Fine Arts in the 90’s, Ji’s works began to appear at various

always able to bring surprises and imagination.

exhibitions. In his earlier works, he often placed historical figures, cartoon characters, children’s toys and everyday objects against

季大純以其鮮明的個人風格而廣受矚目,成為中國最具識別度的畫家之

a bright white background, creating bizarre visual misperceptions

一。他的作品風格多元,畫風機智幽默。他常以超現實主義的風格結合中

through humorous settings and scenes of slightly fantastical reverie.

國繪畫傳統,對當代中國現實進行辛辣諷刺。季大純是一位特立獨行,內

Mysterious, eccentric comic or cartoon characters also take a major

斂且幽默,又帶有極強自我批判精神的藝術家。他的作品抵制明確的符號

role in his creations; their purpose is to transmit an unspoken message

化,意圖引發持續的沉思。1990年代自中央美術學院畢業之後,季大純

of the astute and grotesque. The visual imageries are like replicas of

的作品便開始在各個展覽中露面。早期作品中,他常把歷史人物、卡通動

single cellular units, but imbued with a sense of liveliness and vitality.

物、兒童玩具和日常物品置於鮮明的白色背景當中,從而產生一種奇特的

They appear seemingly familiar but at the same time, distant and

視覺錯亂,場景幽默、又帶有空想的意味:神秘和乖僻的漫畫或卡通形

indifferent.

象,也在作品中佔有很大比重,傳達出犀利和怪誕的言外之意。畫面形式 像單細胞樣本,但活潑生動;似曾相識而又極其疏離,冷淡。

In terms of his techniques, Ji Dachun’s style is not wholly traditional; he uses acrylic on canvas as a replacement for ink on paper. Using the

在繪畫技法方面,季大純的手法並非完全傳統,他用麻布上的壓克力顏料

specific depth, transparency, and coverage of acrylic paints, he has

代替紙上的水墨。透過壓克力顏料的厚度、透明度、覆蓋能力等特點,他

discovered many possibilities through his paintings. Using the white

找到了許多繪畫可能性。通過白色底色的畫中在中心位置所描述的人物或

backgrounds and centrally-placed characters or objects depicted in his

者靜物,他總能表達出不動聲色的幽默感。從形式角度來說,他的作品鮮

works, the artist is always able to convey an impassive wittiness. From

有透視。像中國傳統繪畫那樣給觀眾充分的想像空間。無形、不界定等對

the perspective of form, Ji’s works seldom display any transparency,

他來說並不是形式問題,而是微妙的生活經驗。著名美術評論家栗憲庭曾

such as the space for imagination that traditional Chinese paintings

這樣評價季大純:「大純的畫不是真的像兒童畫那樣的看和表達,只是就

impart to the viewer. Formlessness and lack of definition are not an

它對於宏觀的社會眼光和視覺模式來說,是一種童稚般的幽默感。它擺脫

issue of form to the artist; they are instead subtle life experiences.

了某種社會功利和意識形態虛假主題的束縛,以孩童般的心境看和表現周

Renowned art critic Li Xianting once offered his opinion on Ji Dachun:

圍的世界,我把它看作是一種心境,和這種心境下所產生的一種獨特的視

“Dachun’s paintings do not really appear or portray themselves as

覺模式。」

children’s paintings, but as an overall perception of society and a visual mode, the paintings depict a childlike sense of humor. They

《橘色時鐘》帶有典型的季式幽默。畫面描繪四個身著長袍,高舉手杖的

have broken free of the tethers of certain social utilitarian and falsely

歷史人物。四人動作整齊劃一,但是表情各不相同,或堅韌執著,或若有

ideological themes; instead the world is perceived and depicted

所思,或垂眼沉思。背景是他慣用的空白畫布,穿越時空的人像與毫無提

through a childlike mentality. I see it as a type of mindset, as well as the

示的背景的結合產生了一種奇特的視覺錯亂感。正如藝術家自己所言:

unique visual mode that is created under this mindset.”

「每一個細節都畫完的繪畫、要加以解釋都沒有餘地的繪畫,使我很不滿 意。剛好畫中沒有畫出來什麼的空白面積才給觀者提供一個空間,允許他

“Orange Clock” is imbued with classic Ji-esque humor. The painting depicts four historical figures in long robes, with walking sticks raised

有自己的想像力。」季大純的作品總能帶來驚喜和想像。


Ravenel 77


041

GU WENDA

(Chinese, b. 1955)

Mythos of Lost Dynasties G Series #7

谷文達

1996 Ink on paper, hanging scroll 285.8 x 178.4 cm

遺失的王朝G系列七號 1996 水墨 紙本 立軸 285.8 x 178.4 cm

Signed lower right Wenda , titled Mythos of Lost Dynasties Series G No.7 and dated 1996 in Chinese With one seal of the artist EXHIBITED: Wenda Gu: From Middle Kingdom to Biological Millennium , University of North Texas Art Gallery, Denton, Texas; H&R Block Artspace at the Kansas City Art Institute, Kansas City, Missouri; Institute of Contemporary Art at Maine College of Art, Portland, Maine, 2003-2004

NT$ 1,500,000 - NT$ 2,200,000 HK$ 370,000 - HK$ 543,000 US$ 47,700 - US$ 70,000

簽名右下:遺失的王朝系列G七 一九九六年文 達 鈐印右下:(偽文字) 展覽: 「谷文達:從中原王國到生物千禧年」,北德 州大學藝術畫廊,丹頓,德州;H&R 藝術空 間,堪薩斯城藝術學院,堪薩斯城,密蘇里 州;緬因藝術學院當代藝術研究所,波特蘭, 緬因州2003-2004年

Gu Wenda is one of the most influential Chinese artists today. Like his

meaningless characters question the authority of the traditional

contemporaries, Gu experienced the catastrophic Cultural Revolution,

characters. From a different angle, the Chinese also asked the question

caught up with the Reform and Opening policy and encountered the

about the inheritance of traditional culture in the new art trend. Critic

floods of modernist art and philosophical thoughts. He witnessed and

Huang Zhuan once commented on Gu’s artistic achievements, saying,

experienced the 85 Art Movement, and was regarded as a destructive

"His status in the history of contemporary Chinese art was grounded

artist. Before the critics in China showed their concerns over Chinese

on his two tasks: the comprehensive criticisms and continuous artistic

painting, Gu had already explored the new direction of this century-old

experiments on his native culture and Western culture. The critical

art form. The creation of Mythos of Lost Dynasties series began as early

reconstruction of Chinese native culture was the point of departure and

as the 1980s and portrays the artist's innovative exploration in art. In the

the core content of his tasks. "

early 1980s, the beauty of Chinese characters opened up a new world for Gu. Chinese characters – or to be more precise, Han characters –

谷文達是當下最具影響力的中國藝術家之一。與他同時期的中國藝術家一

have played an important role in Chinese history and culture. In Han

樣,谷文達經歷了文革浩劫,趕上了改革開放,以及潮水般湧入的現代主義

history, controlling the power of writing has always been the proud

藝術和哲學思潮的洗禮。見證並親歷了八五美術新潮,並被評為「極具破壞

prerogative among the literate elites as well as a crucial role for the

力」的藝術家。在中國評論家還沒有表現出對中國畫的擔憂之前,谷文達就

Han to assimilate the minority groups. Han characters have become

已經開始默默探索這一古老藝術樣式的新方向。1980年代早期開始創作的

incomparable writing symbols due to their deconstructive features

「遺失的王朝系列」已足見藝術家的創新與思索。1980年代早期起,中國

and distinctive formation, possessessing both sounds and shapes.

文字的魅力就為谷文達打開了一個新世界。中國文字,更精確地說是漢字,

Over the long history of the development of Han characters, scholars

在中國的歷史文化中一直扮演著舉足輕重的角色。在漢人撰寫的歷史中,掌

have striven to study and research the changes of fonts. As a result,

握文字一直是精英階層引以為傲的特權,對於少數民族的漢化也起著至關重

during the anti-tradition art trend in the mid-1980s, it was expected to

要的作用。漢字本身的解構特點,以及聲形兼備的構造方式,使得它成為了

see works that criticized and even opposed Han characters. Because

一種無法比擬的書寫符號。在漢字發展的漫長歷史中,字體的變化也一直是

of his experiences in writing posters during the Cultural Revolution,

文人學者爭相研究、考據的重要內容。因此在1980年代中期狂熱的反傳統

studying Chinese calligraphy at graduate school and reading Western

的藝術熱潮中,對漢字的反思甚至批判的作品也在意料之中。文革期間參與

philosophies, Gu was able to discover a space outside the existing

寫大字報的經歷,和研究生階段研習書法,以及西方語言哲學的閱讀經歷,

meanings of Chinese characters. Among those discoveries, the

使得谷文達得以發現文字自身意義之外的空間。其中對篆書的再創作貫穿了

recreations of seal script have been the center of his artistic creation

他多年的創作。篆書作為中國古代的一種官方文字,由象形文字發展而來,

over the years. Seal script is an official script from ancient China that

因而保留了很多圖像元素。因其書寫,識別困難,後世逐步被其他書體所取

preserves many pictograms. Because people found it difficult to write

代。對於谷文達來說,篆書難以識別反而釋放了更多想像空間。他將篆書重

and recognize seal script, it was gradually replaced by other writing

新「創造」,使得文字本身的意義被消解,而字形本身蘊含的象形功能又使

styles. To Gu, the inexplicableness of seal script allowed more room

得這些偽文字看起來似曾相識。作品與觀者之間的微妙聯繫由此展開。在

for imagination. He re-created seal script, forcing the meaning of the

《遺失的王朝》持續多年的創作中,谷文達生造的偽篆字始終是畫面的主

characters to be dissolved while the pictographic function of those

體,在虛無的水墨背景中突兀湧出,有極強的視覺衝擊力。重構的無意義的

characters make them look familiar, and there began to form a delicate

文字質疑文字的傳統的權威;另一個角度來說,對於新思潮下,國人如何面

and tricky connection between the works and the viewers. In his works

對本土傳統文化的繼承也提出了同樣的質疑。批評家黃專曾這樣評價谷文達

"Mythos of Lost Dynasties," the pseudo seal script created by Gu was

的藝術成就:「谷文達在中國當代藝術史中的地位是由他的兩項工作成就奠

always the center of his paintings, abruptly protruding from the void

定的:對母語文化和西方文化全方位的批判立場和持續性的藝術實驗,而對

ink wash background with powerful visual impacts. The re-constructed,

中國母語文化的批判性重建是其工作的出發點和核心內容。」


Ravenel 79


042

ZHOU CHUNYA

(Chinese, b. 1955)

Peach Blossoms 2015 Oil on canvas 120 x 150 cm Signed lower right Zhou Chunya in Chinese and English, and dated 2015

NT$ 12,000,000 - NT$ 18,000,000 HK$ 2,963,000 - HK$ 4,444,000 US$ 381,900 - US$ 572,900

周 春芽 桃花林 2015 油彩 畫布 120 x 150 cm 簽名右下:2015 周春芽 Zhou Chunya

"THE PAINTING OF PEACH BLOSSOMS IS NOT ABOUT THE FLOWERS, AND SHOULD DEFINITELY NOT BE CONSIDERED A FLORAL OR LANDSCAPE PAINTING, AS IT WOULD NOT HAVE SIGNIFICANT MEANING. PAINTINGS OF PEACH BLOSSOMS MUST REVEAL THE BEAUTY OF LIFE. " – ZHOU CHUNYA 「最早畫桃花的初衷與心態,是想表達人生很美好的境界,不完全是愛情。畫桃花其實不是在畫桃 花,絕對不是在畫花或是風景,因為這樣就不是有太大的意義,是在傳述一種人生美好的境界。」 – 周春芽


Ravenel 81


PEACH BLOSSOMS ZHOU CHUNYA

Born in 1955, Zhou Chunya now holds the status of a "respected"

or portraying the literati artist’s own character. However, peach

within the Chinese contemporary art scene. His successful fusion

blossom was not part of the subject matter for paintings of this type.

of Western and Chinese styles, combined with his unique mode of

Where peach blossom does appear in traditional Chinese culture is

expression, has made him one of the most influential contemporary

as a symbol or metaphor in love poems. Zhou Chunya is on record as

artists working in China today. Precisely because Zhou's style is so

saying that love had a major impact on the Peach Blossoms series.

distinctive, he was for many years seen as being outside the mainstream

The gorgeous scenes with their red petals are often accompanied by a

of contemporary art, but he has always remained popular with both

red human figure, symbolizing passion. As the art critic Lu Peng put it,

private collectors and art museums, and his work has been a favorite

“The peach blossom represents Zhou Chunya’s feelings; in the world he

topic of discussion for art critics. He ranks the top 5 according to

depicts, where the peach blossom and branches are constantly growing

the most influential Contemporary Art Market index published in

and unfolding, his heart is also opening out. The great artists of the past

Artprice in early 2013. In the early 1980s, when rural realism and

used their paintings to remind later generations of the majesty of the

"scar art" were the dominant styles, Zhou Chunya chose to travel to

natural world, and of the freedom of the spirit that their brushstrokes

Tibet, where he used Impressionist approach to depict the daily lives

embodied. Life today teaches artists the importance of being true

of ordinary people living on the Tibetan Plateau. In these paintings,

to oneself … Zhou’s peach blossom does not belong to the material

Zhou sought to identify the different

world; it reflects the impermanence and

for ms taken by the human spirit. In

flux that characterizes China today. Zhou

the mid-1980s, Zhou left home again

Chunya often starts work on several

to go and study in Ger many, where

canvases all at the same time. There

he studied the techniques and artistic

is no timetable, only a spur to action;

philosophy of modern Western styles

there is no plan, but there are results.

such as impressionism, cubism, and

Everything that is represented in these

neo-expressionism. Zhou's return to

paintings derives from the freedom of

China coincided with the Tiananmen

the artist’s own soul .” Zhou uses his own

demonstrations and the subsequent

unique method to engage in dialog with

massacre; this was a time when many

the painters of the past through the

artists were starting to focus on serious

medium of peach blossom painted in

issues relating to social change and

oils on canvas.

human destiny. Zhou kept apart from this trend, instead dedicating himself to a process of artistic exploration in which he produced a series of portraits and

ZHOU Chunya, Sister Flower , 2010, oil on canvas, Ravenel Spring Auction 2013 Hong Kong, Lot 258 USD1,309,278 sold 周春芽《大喬.小喬》 2010 油彩 畫布 羅芙奧香港2013年春季拍賣會 編號528 港幣10,160,000成交

abstract paintings of human figures that

Lookin g back on t he i ns pi r at i on on this series, it was in the spring in 2005, while on holiday at Longquanshan near Chengdu, Zhou started to notice

were highly experimental in nature. The art market's response to Zhou's

the peach blossoms that covered the hills. He found himself deeply

work from this period was very favorable. Zhou went on to produce a

attracted by the "wild," "gaudy" aspect of the peach blossom, and as

number of masterpieces that successfully fused Chinese and Western

a result was inspired to begin work on the "Peach Blossoms" series. It

aesthetic concepts, including his "Flower," "Stone" and "Red Stone"

just so happened that around this time, Zhou came across a calligraphy

series. The appearance of the "Red Man" series marked a dramatic

scroll attributed to the Late Qing calligrapher Gong Yourong (who

break with Zhou's previous artistic style; the bright red flesh and

had been born in the same region as Zhou). The characters on the

erotic postures of the figures shown in these paintings exude a strong

scroll read: "The lake smiles at the distant mountain scenery, while

feeling of sexual desire. The concept behind the earliest paintings of

the breeze blows up little peach blossoms on the water surface. "

peach blossoms was to express the beauty of life rather than a simple

The romantic style of this couplet reflects the refined taste of the

expression of love.

literati of the past, while at the same time the lines have slightly erotic overtones; the scroll thus seems to echo the theme underpinning

In traditional Chinese literati painting, one of the most frequent themes

Zhou's "Peach Blossoms" series. The works in this series represent

is the “Four Gentlemen,” plum, orchid, bamboo and chrysanthemum.

a continuation of the use of gaudy, tantalizing colors seen in Zhou's

Besides the actual depiction of the flowers and plants themselves,

"Red Man" series; they represent a shift away from Chinese literati

these paintings were also used as a means of symbolically exploring

painting's traditional emphasis on depicting the "Four Gentlemen"


(orchid, bamboo, chrysanthemum and plum blossom), and an injection

遠。花紅葉碧的絢爛風景又常與寓意情慾的紅人結合在一起。亦如評論家呂

of erotic passion into the restraint and elevated sentiments with

澎所說「桃花是周春芽的心境,在不斷展開的桃花和樹枝的世界裡,心境也

which literati painting is associated.In 2005, Zhou embarked on a new

在不斷的展開。古人通過他們的圖像教會了後關於宏觀世界的認識,教會了

process of experimentation, seeking to combine the "Red Man" and

關於筆墨中的自由的心境與趣味,而今天的生活又讓藝術家瞭解到了真實心

"Peach Blossoms" images. Bringing these two series together created

境的重要性。」「周的桃花不屬於物質世界,這註定了中國世界的不確定

a peculiar "chemical reaction." The gorgeous peach blossoms and

性;周春芽在好幾張畫布同時或者先後開始他的塗抹。沒有時間表,但有衝

the human figures engaged in sexual congress beneath them became

動,沒有計劃,但有結果——所有的表現都來自藝術家的自由的心境。」周

"fused"; basic human instinct, both concealed and illuminated by the

春芽以自己的方式對話上古的筆墨情趣,以油彩在畫布上「書寫」桃花。

peach blossom, acquired a sense of dynamic integrity, while the red figures were simplified to become symbols of desire. The rough red

回顧這個系列的創作初衷,2005年春,周春芽在成都龍泉山遊玩時,留意

lines sprawled wantonly across the canvas, filling the work with a feeling

到遍山盛開的桃花,被桃花「野」和「豔」的特色所吸引,於是開始創作

of vitality and energy. In describing this series, Zhou Chunya said that

「桃花風景」系列。而他偶得一幅家鄉晚清先賢龔晴皋的書法對聯,「湖上

"Amidst a swirling mood of color, the paintings give release to fantasy

修眉遠山色,風前薄面小桃花」。文辭風流,流露出古典文人的精緻和幽

that has its source in the sincerity of instinct; within a vast background,

雅,又有懷春的感覺,曖昧而略帶情色意味,恰恰應和了這一系列的主題。

the natural aspect of the human being

桃花系列延續「紅人」著鮮豔撩人的色

is thoroughly liberated and allowed to

彩,撇開了中國文人畫中對於「梅蘭竹

‘explode' – a gentle explosion! "

菊」四君子的獨愛,熱烈的情慾滲入了 中國文人畫的矜持與清高。正如藝術家

From 2007 onwards, this series began to

所言,畫桃花,並非畫花或風景,而是

change. The depiction of the red people

表達一種心境。燦如春桃的也有人生命

became more concrete, and the peach

中最絢爛的年華:短暫,旺盛,新鮮。

blossom became more realistic; there

桃花曖昧的色彩也映襯了人之於愛情和

was also a more complete fusion of the

性愛的欲望,不可避免的欲望。藝術家

human figures into the environment.

在桃花上找到了人與自然的相通之處。

The mood became gentler and calmer;

描繪的桃花的同時,也寄託著對生活的

the dazzling peach color gradually

美好期待和信心。同年,他也開始了新

faded, the previously naked red people

的嘗試:將「紅人」與「桃花」結合,

became clothed, and new symbolic

二者並置後發生了奇妙的反應,絢爛的

elements – such as skeletons – began

桃花與花之下縱情雲雨的人物完美融合

to be incorporated into the scene. Gentle violence was transformed into reserved and subtle tenderness. “Peach B l o s s o m s ” i s o n e o f Z h o u C h u n y a ’s

ZHOU Chunya, Peach Blossoms Series – Glamorous Lake , 2006, oil on canvas, Ravenel Autumn Auction 2012 Taipei Lot 698 USD 1,073,641 sold 周春芽《桃花風景系列 2006—湖上艷色》 油彩 畫布 2006 羅芙奧台北2012年 秋季拍賣會 編號698 台幣31,200,000成交

在一起,人最原始的本能在桃花的掩映 下變成一種真誠的衝動,紅人被簡化成 生命欲望的象徵,粗紅的線條在畫面上 肆意流淌,作品充滿生機。周形容這一 系列是:「在一種流動的色彩情緒中放

masterpieces in recent year. It depicts beautiful scenery with the branches of peach blossoms trembling in the

縱著真誠而本能的幻想,在一種宏大的場景中將人的自然屬性徹底的釋放、

air. The big flowers take up the main space on the left part of canvas,

引爆——溫和而暴力!」

the branches leaded us deep into the far background, there we can see the peach forest in green and pink. The lines of curving branches make

2007年之後,這一系列也開始有了新的變化,紅人的形象日趨具象,桃花

the scenery full of rhythm and movement. The arrangement on the

也日漸寫實,人物與環境的融合度更高。畫面的意境也變得溫和平靜。撩人

blossoms is also very smart : more in the foreground, less in the middle,

的桃紅色漸漸變淡,赤裸的紅人也穿上了衣服,骷髏等神秘元素也被加入到

all in order, the composition is pretty good.

畫面當中。溫和的暴力轉而成為內斂含蓄的感情。漸漸地作品的意境隨之清 雅寧靜,桃紅色少了,綠色多了,速度感降下來了。桃之夭夭,花朵漸成畫

1955年出生的周春芽已是當代藝術界的前輩,其融匯中西,獨樹一幟的藝

面主角,但不再挑逗,紅人也開始消失,背景也越趨具象,畫風朝單純的風

術表達方式使其成為中國最有影響力的當代藝術家之一。也因其獨特的表達

景回歸。但桃花系列仍舊打破了中國傳統美學描摹桃花時的慣有模式,從色

方式,使其多年遊離於主流之外,但藏家和藝術機構卻從未遺忘他,連藝評

彩到構圖給人鬼魅奔放之感。作品給人無窮的想像和極致的誇張。人的本性

家也為其另闢一席。根據2013年初Artprice所公佈的全球當代藝術家影響力

如桃花,走入桃林便會心花怒放,有直接接近生命本原的感覺,跳動的原始

數據中,他已名列第五位。1980年代初,鄉土寫實和傷痕美術盛行之時,

脈搏觸動著每顆敏感的心。在周春芽的筆下,桃花是鮮活的春天,是無法壓

周選擇了遠赴藏區,用印象派筆法描繪高原藏民的生活,在繪畫中找尋人類

抑的情懷,明豔的桃紅,羞澀的粉紅延伸為睹花之人內心的情感。他的桃花

的精神形態;1980年代中期又辭別家鄉遠赴德國留學,研習印象派,立體

從傳統的審美和符號中來,又不同於傳統的國畫圖式。蔓延在畫面中的桃花

主義,新表現主義等西方現代派技法和藝術精髓。回國後,恰逢天安門事件

肆意放縱,毫不遮掩她們的熱烈和性感,宛若花季的少女嫣然叢中微笑。他

爆發,許多藝術家開始著眼社會的變革和個人命運的深刻命題。周則置身世

在用色方面也是極盡豔麗和衝擊,這些桃花像是色彩的交響,我們目不暇

外,潛心探索,創作一批極富實驗精神的人像和抽象人體作品。這一時期的

接。《桃花林》為近年來周春芽在這個系列作品的延展的佳作。畫面選取一

作品的市場表現非常優秀;之後又嘗試了花卉,山石,紅石等融合中西方美

枝盛放的桃枝掛滿鮮豔的花朵,搖曳多姿的瞬間。大瓣的桃花佔據畫面左上

學思想精髓的佳作;「紅人」的出現顛覆了藝術家過往的風格,鮮紅的肉

的空間,遒勁的枝幹帶著濃密的花朵延伸至畫面右側中景的位置,畫增強畫

體,撩人的雲雨姿態猶如盛放的花朵,映襯撩人的情慾。

面縱深;花枝勁秀芬芳,卓爾不群。遠景處點染的綠色和粉色漸次暗示遠處 成片的桃林。畫面右側樹枝的曲線增強畫面律動,桃花的分佈富有節奏韻

中國古代文人畫中梅蘭竹菊四君子不勝枚舉,除去對植物本身的描繪,畫面

律,前景處密,中景處疏,但密而有序,亂中有法。粉嫩的花朵和幹枝相

所承載的多是中國文人對自我品格的比擬和追求,而這些與桃花無關。風月

映,更顯濃豔襲人。畫面中桃花的色彩更趨清雅,枝幹,桃葉於黃土更使色

豔情的詩文則多以桃花比擬。藝術家也曾坦言,愛情對桃花系列的影響深

彩層次豐富,構圖豐滿悅目。 Ravenel 83


SILVER SNOW HONG LING

The landscape oil paintings of Hong Ling’s are different from those

and gentle nature. To people lived in this realistic world, his works

that are familiar to people and his creative idea, which combined

have showed fresh and natural feelings, washing out people's soul,

western oil painting with Chinese landscape painting, has become

and they contain positive and healthy live attitude. The tranquil and

the turning point in modern landscape history. Since oil painting

peaceful aesthetic character, otherworldly artistic conception that

imported into China, a large number of artists have tried to combine

recovered the simple and returned to the nature, can make us thinking

oil painting with Chinese traditional cultural, and to work out a new

human's position in the nature and the relationship between human

art way with Chinese culture spirit and oil painting essence. And the

and nature when we enjoy the everything on earth. It can also calm

oil painting, a kind of painting derived from overseas, can contain

anxiety and utilitarian thoughts, inspire living courage. Whether from

more Chinese culture aesthetic characteristics. Artist Hong Ling is a

the perspective of sociology or psychology, Hong Ling's works have

model representative who has dedicated himself into the course of

positive significance.

combining Chinese painting with western one, and has made a great success.

洪凌的油畫山水與人們習慣的風景畫樣式有所差距,其融合西方風景畫和 中國山水畫的創造思路,成為現代風景畫史上具有轉折意義的文化現象。

Hong Ling, by his Chinese landscape study and practice in the

油畫自傳入中國以來,有眾多的藝術家都在嘗試將油畫與中國傳統文化進

early years, and his deep research about western oil painting art

行融合,走出一條具有中國文化精神、又不失油畫藝術本質的藝術道路

in the following subsequent period, coupled with his own talent

來,使這個外來畫種具有更多的中國文化的美學特徵。藝術家洪凌就是致

and courage, has opened up a clement foundation and generous

力於融合中西方繪畫語言並取得巨大成功的典型代表。

promising art road. His Chinese ink landscape in the early years had self-experience and selfunderstanding of its language factors.

洪凌,憑藉他早年在中國山水畫方面的學習和實踐,以及隨後成長時期對

After that, he learned oil painting, like others, he can freely use

西方油畫藝術深入的研究,加之他擁有的才華和勇氣,開闢了一條根基寬

both painting languages and gradually infiltrate into his individual

厚、前途遠大的藝術道路。他早期畫中國水墨山水,對其語言因素有過自

exploration which he called Landscape Painting. For Hong Ling,

我的體驗和理解,之後他又深造油畫,像其人一樣他能夠隨意流暢的駕馭

landscape is only a certain creation theme, painting is only a medium,

著這兩種繪畫,並逐漸滲到他稱之為山水油畫的個人探索之中去。對洪凌

he wants to create Chinese Oil Painting, not just show some Oriental

而言,山水僅僅是一種創作的題材,油畫也只是一種媒介,他要創造中國

symbols, not only surface of national customs, not even establish a

的油畫,不只是展現一些東方符號,也不只是表面的民族風情,更不是藉

little bit landscape theme, but find his own language. What Hong

由一點山水題材來結構,而是要找到自己的語言。洪凌創作背後所依託的

Ling's creation relied on is the great Chinese traditional culture,

還是中國深遠的傳統文化,同時也融合了西方油畫的創作方式與技巧。

simultaneously, it has integrated the creative ways and techniques of Western oil painting.

他的油畫藝術創作曾幾經探索變化,甚至涉足於純粹抽象繪畫的藝術道路 之後,才確立了從山水畫中去探尋新的油畫風景畫的道路,逐漸形成了

Just like what Hong Ling said that his painting creation had been

現在這種獨特的藝術面貌。在這方面,他確實做了很多工作,比如,在繪

t h ro u g h ma ny ex p lorati o ns and changes, even i nvolve d pu re

畫裡取消焦點透視,拋棄光影,不局限在時間感裡;放棄風景式的直觀表

abstract, then his way, which explored new oil painting from ink

述,進入一種情境式的主觀營造。這個過程是其一步步摸索而來,雖然艱

landscape had set up. It has gradually developed into this unique

辛但也樂得其所。洪凌用其獨特的表現手法展現了中國南方深邃、清潤的

art feature. For this, Hong has really spent much time working on

山水氤氳,在濕潤的煙雲和朦朧的天光下,蒼翠蓊鬱的岩岫丘壑顯得親切

it, such as abrogating focus perspective, light and shadow, without

而幽遠。從近年來的創作心態看,作品更是流露出「散淡」、「靜謐」的

time limitation. He abandoned visual interpretation of scenery and

特點,傳達著藝術上的方向感。從洪凌作品的精神層面來分析,他的作品

entered into subjective created situation. This process is a length by

體現了對渾厚、平和的大自然的美好追求,對於生活在現實世界的人來

length exploration, difficult but enjoyable. Hong Ling uses his unique

說,他的作品給人以清新自然之感,洗滌著人內心的靈魂,蘊含著積極健

method to show remote and fresh landscape in the south of China.

康的人生態度。那種恬淡平和的美學品格,返樸歸真的超脫意境,能夠使

The green rocks and hill is genial and remote under the humid smoke

我們在品懷萬物的同時,靜思人在自然中的位置、人與自然的關係,平息

and hazy sky. From the creative mind of the artist in recent years, the

躁動焦慮的功利之心,振奮生活的勇氣。無論從社會學還是從心理學角

painting shows the features of "indifferent" and "tranquil," delivering

度,洪凌的作品都有積極的意義。

a sense of art direction. His works express kind pursuit to the massive


043

HONG LING

(Chinese, b. 1955)

Silver Snow

洪凌

2006 Oil on canvas 50 x 60 cm

銀雪

Signed lower right Hong Ling in Chinese and dated 2006 Signed on the reverse Hong Ling in Chinese, titled Silver Snow in Chinese, inscribed 60 x 50 and dated 2006

2006 油彩 畫布 50 x 60 cm 簽名右下:洪凌 06 簽名畫背:<銀雪> 洪淩作 二○○六 60×50

EXHIBITED: Imagery of Mt. Wuyi: the Debut Interactive Creation of Chinese vis-à-vis German Artists on International Tours , Shanghai Art Museum, Shanghai, July 22-30, 2006

展覽: 「意象武夷-中德兩國藝術家首次面對面互 動創作國際巡迴展」,上海美術館,上海, 展期自2006年7月22日至30日

ILLUSTRATED: Imagery of Mt. Wuyi: the Debut Interactive Creation of Chinese vis-à-vis German Artists on International Tours , China Academy of Art Press, 2006, illustrated, p. 401 Xing Ling Shan Shui – Hong Ling You Hua Zuo Pin Ji , Hebei Education Press, Shijiazhuang, 2008, color illustrated, p. 95

圖錄: 《意象武夷-中德兩國藝術家首次面對面互 動創作國際巡迴展》,中國美術學院出版 社,2006,圖版,頁401 《性靈山水—洪凌油畫作品集》,河北教育 出版社,石家莊,2008,彩色圖版,頁95

NT$ 550,000 - NT$ 800,000 HK$ 136,000 - HK$ 198,000 US$ 17,500 - US$ 25,500 Ravenel 85


044

KOZO NISHINO

(Japanese, b. 1951)

Harmony with the Breeze

西野康造

Created in 1997; made in 2016 Stainless steel, iron, paint (kinetic sculpture) (Unique) 81 (H) x 81 (W) x 80 (D) cm

和諧的微風 構思於1997; 鍛造2016 不鏽鋼 鐵 顏料(手工鍛造)(單一件)(動態雕塑) 81(高)x 81(寬)x 80(深)公分

Artcourt Gallery archive number: JAN.2016 T-235 SOLDER KOZO NISHINO EXHIBITED: The 17th Exhibition of Contemporary Japanese Sculpture , Tokiwa Park, Ube City, 1997 (Won Mainchi Newspapers Award) (enlarged installation) Sculpture by the Sea, Aarhus , Denmark, June 5 - 28, 2009 (enlarged installation) Reactivation, 9th Shanghai Biennale , MOCA, Shanghai, October 1, 2012 - March 31, 2013 (enlarged installation) Permanent Collection of Power Station of Art, Shanghai (enlarged installation) Permanent Collection of Kirishima Open-Air Museum, Kagoshima (enlarged installation)

Artcourt畫廊登記編號:JAN.2016 T-235 SOLDER KOZO NISHINO 西野康造 展覽: 「第十七回現代日本雕刻展」,常盤公園,宇部市, 1997,並獲得「每日新聞社賞」(大型雕塑) 「海邊的雕塑」,奧胡斯,丹麥,展期自2009年6月5日至 28日(大型雕塑) 「重新發電─第九屆上海雙年展」,當代藝術博物館,上 海,展期自2012年10月1日至2013年3月31日(大型雕塑) 霧島藝術之森美術館,霧島,館藏常設展(大型雕塑) 上海當代藝術博物館,上海,館藏常設展(大型雕塑) 附Artcourt畫廊開立之原作保證書

This sculpture is to be sold with a certificate of authenticity issued by Artcourt Gallery, Osaka.

NT$ 650,000 - NT$ 950,000 HK$ 160,000 - HK$ 235,000 US$ 20,700 - US$ 30,200 Kozo Nishino is a leading figure in large-scale metal sculpture who

西野康造是大型金屬雕塑創作領域的指標性人物,公開受託創作的藝術品

has been the recipient of international acclaim for his publically

廣獲國際讚譽。他的雕塑作品規模龐大而不失精緻,運用的材料包括鈦金

commissioned pieces. He creates enormous yet delicate sculptures

屬、不鏽鋼及鐵材。西野每項作品的鋼線結構皆是出奇細緻,有如骨架般

using materials including titanium, stainless steel and iron. Each of

挺立,卻又展現出搖曳律動及流暢優雅,彷彿活生生的有機體,在微風中

Nishino’s pieces possesses a surprisingly minute and skeletal steel

自然擺動。

wire structure but moves and sways with rhythm and smooth delicate motions, reacting to natural movements of the breeze in the air as if it

「我希望我的雕塑創作能夠帶起微風,能夠表達人類的生命撫育了這種

were a living organism.

氛圍。與其將自己親眼所見、親身體驗的事物化為符號、存入記憶,我 更喜歡讓這些事物維持原本的樣貌留在我心中,用感官來感知事物。若

“I want to create something that evokes air and wind. I would like

用言語或文字來代替,就會感覺到原始的印象迅速弱化。我也以同樣的

my sculptures to exist as expressions of the lives we humans live

方式來看待自己的創作。所以我在創作之前並不會詳盡規劃,而是透過

cradled this atmosphere. Instead of converting the things I see and

不斷實驗、手作來完成作品,例如將金屬棒彎折成各種形狀,組成一

experience into signs and committing them to memory, I tend to

條條細緻的曲線。我一直在探尋難以掌握的模糊事物,肉眼無法清楚看

let them stay in my mind as the images they are, in other words to

見,卻又真實存在。像是蜘蛛網,在陽光下短暫出現,或因沾附的雨滴

perceive things sensuously. If these things are substituted with words

而顯現,但我們卻無法清晰看見蜘蛛絲本身。除此之外,我也想透過作

or letters, I feel that the original impressions rapidly weaken. I view

品闡述人類的生命,由巨大而無所不在的『物體』包圍著,一點也不冰

my work in much the same way. There is no elaborate planning in

冷,且時時與我們共存。我始終希望能夠將自己的體溫傳達給觀者。」

advance. My way of creating is to persevere with experimentation

– 西野康造

and manual work, for example, by bending metal rods into various shapes to draw delicate curves. I have always explored imprecise things that, while not clearly visible to the eye, without doubt exist. Like a spider’s web, for example, which appears for a moment in the sun’s rays and is revealed in silhouette by raindrops, even though it cannot be seen distinctly by itself. At the same time, I would like my works to also refer to our human lives, which are lapped in a great, universal “something.” Never cold, but always existing with humans. I consistently hope that my own body heat can communicate itself to the viewer. ” - Kozo NISHINO Kozo NISHINO, Harmony with the Breeze , Taitanium Stanless Steel, 600 x 530 cm, collection of Shanghai Power Station of Art 西野康造 《和諧的微風》 鈦 鋼 600 x 530 cm 上海當代藝術博物館館藏


Ravenel 87


045

AYAKO ROKKAKU (Japanese, b. 1982)

Little Girl with a Ponytail 2007 Acrylic on canvas 145 x 75.5 cm Signed lower right Ayako ROKKAKU in Japanese and dated 2007 PROVENANCE: Gallery Delaive, Netherlands Private collection, Europe

NT$ 300,000 - NT$ 460,000 HK$ 74,000 - HK$ 114,000 US$ 9,500 - US$ 14,600

六角彩子 馬尾小女孩 2007 壓克力 畫布 145 x 75.5 cm 簽名右下:2007 來源: 德萊夫畫廊,荷蘭 私人收藏,歐洲

ロックカク アヤコ


046

AYAKO ROKKAKU (Japanese, b. 1982)

Little Girl with Scarf Walking 2007 Acrylic on canvas 145 x 75.5 cm Signed lower right Ayako ROKKAKU in Japanese and dated 2007 PROVENANCE: Gallery Delaive, Netherlands Private collection, Europe ILLUSTRATED: December page, 2010 calendar issued by Yegaram Savings Bank, Korea

NT$ 300,000 - NT$ 460,000 HK$ 74,000 - HK$ 114,000 US$ 9,500 - US$ 14,600

六角彩子 圍巾女孩散步 2007 壓克力 畫布 145 x 75.5 cm 簽名右下:2007

ロックカク アヤコ

來源: 德萊夫畫廊,荷蘭 私人收藏,歐洲 圖錄: 韓國相互貯蓄銀行2010年月曆12月份圖片。

Ravenel 89


047

AYAKO ROKKAKU

(Japanese, b. 1982)

Little Girl in a Flower Garden 六角彩子

2009 Acrylic on canvas 190.5 x 130 cm

大花園裡的女孩

Signed lower right Ayako ROKKAKU in Japanese and dated 2009 PROVENANCE: Gallery Delaive, Netherlands Private collection, Europe

NT$ 480,000 - NT$ 700,000 HK$ 119,000 - HK$ 173,000 US$ 15,300 - US$ 22,300

2009 壓克力 畫布 190.5 x 130 cm 簽名右下:2009

ロックカク アヤコ

來源: 德萊夫畫廊,荷蘭 私人收藏,歐洲

Ayako Rokkaku began her painting career as a self-taught artist in 2002.

This is best manifested in her “performance paintings.” The young girls

In 2006, she received the Scout's Award and emerged as a talented

in her close-ups retain the nature of children, yet paradoxically, always

young artist in the Japanese Geisai art fair. Rokkaku’s painting style is

reveal a melancholy in their eyes; their mouths are closed tightly, their

very unique. Before beginning an artwork, she does not need to make

eyes filled with curiosity as they, in bare feet, extend their long arms to

outlines with a pencil, nor does she construct any layouts in her mind.

explore the world. These characteristics resemble those of Yoshitomo

She does not use a paintbrush, but instead paints on cardboards or

Nara dolls, which feature seemingly innocent children’s faces but with

canvases with her fingers. The majority of Rokkaku’s works feature a

profound and sophisticated eyes. Simplicity is in fact not simple at all.

childlike and colorful graffiti style. While her works exude the unique

“I’ve always liked to make graffiti works as though a child,” Rokkaku

features of native Japanese anime and manga, the artist considers

said, “to keep changing my methods and for everyone to see this

children’s picture books a greater influence to her creative process. The

process. It is a pleasure to share my creative moments with others. ”

seemingly monotonously themed works, however, conceal powerful narrative elements; every girl featured in her works, too, is born from

六角彩子從2002年起正式開啟其繪畫創作之路,其畫作技巧與本領皆為自

unique stories.

學,2006年她榮獲第十屆「藝祭」的「選拔評審獎」,一舉成為日本「藝 祭」藝術市場上才華橫溢的年輕畫家。六角彩子的繪畫風格十分獨特:無需

Rokkaku has always retained a childlike nature and uses her unique

使用鉛筆勾勒出線條,腦海中也沒有進行任何構思或佈局,即興創作。她不

painting techniques to depict a colorful world of innocence. She

使用畫筆,而是用手指沾上顏料在紙板或畫布上作畫。作品大多以可愛和多

creates paintings by manipulating acrylic paint with her bare hands.

彩的塗寫繪畫為風格,表面上給人一種日本獨特而固有的動畫和漫畫氛圍,

She uses the simplest method and most unsophisticated format

而藝術家認為兒童圖畫書對其創作有更大的影響。看似主題單一的作品中,

to construct numerous works of innocent and beautiful sceneries.

卻蘊含有一個強大的敘事元素,作品中的女孩子也正是從一個個故事中走出

Rokkaku’s remarkability lies in her ability to create childlike innocence in

來的。六角彩子一直保有小孩子般的天性,以自己獨特的繪畫技法去描繪一

her works. She uses vivid colors and recurring objects such as flowers,

個單純而繽紛世界。徒手直接進行創作,用最原始的手法、最單純的型式,

animals, boats, and houses to communicate her inner world with the

構出一幅幅單純的美好風景。她的難得在於能畫出小孩子般的純真,以鮮明

public. Her works often feature young, wide-eyed girls with lanky

的色彩將花、動物、船及房屋等反覆出現的事物與公眾分享其內心世界。其

arms, who are usually depicted in close-up. Before we even learn to

作品經常以眼睛大、長胳膊的小女孩為主角,對此她通常採用特寫的手法來

hold a pen, children know to daub and smear with their hands; such

描繪。當我們還不曾會執筆時,就懂得用手去塗塗抹抹,這就是人性共通的

is the instinct of all humans. Bold fluorescent color combinations,

本能。大膽的螢光配色、充實的畫面、煙花般的線條、隨性的塗抹,單純的

rich elements, lines resembling fireworks, spontaneous daubing, and

畫面卻有說不盡的情感,正是藝術家厲害的地方,畫風生動,色彩鮮明,充

infinite sentiments within unsophisticated images are all evidences of

滿天真的童趣、活潑及生命力,令人過目不忘,即便我們未曾瞭解她是誰,

the artist’s remarkable talent. Rokkaku’s works are vivid in style, bright in

但是其風格已經深烙在我們意識裡。

color, and filled with innocent, childlike fun, energy, and vivacity, which make them unforgettable to the viewer. Even before we are acquainted

作品色彩鮮豔而奪目,看起來使人歡樂,但我們常常會因表像而錯過夢幻背

with the artist, Rokkaku’s style leaves an imprint in our consciousness.

後,隱藏著藝術家想要透過畫布傳達出來的豐富情感。乍一看,畫面表現出 簡單的願望,創造的喜悅。透過圖像是憤怒、恐懼、不安和信念。雖然夢幻

Her works, featuring bright and dazzling colors, are a joy to behold, yet

和神話發揮著重要作用,但圖畫依然真實又熟悉。她以最直接的方式賦予畫

the dreamlike appearances often conceal the rich emotions she wishes

布力量,最佳體現在她的「表演畫」,特寫的女孩保有小孩子的天性,但矛

to convey through the canvas. At first glance, Rokkaku’s paintings

盾的是她畫作中的女孩總是憂鬱的眼神、緊閉的嘴巴,大眼睛充滿了好奇的

express simple wishes and the joy of creation, while beneath the

赤腳女孩,長長的手臂伸出探索世界。這跟奈良美智的大頭娃娃有類似的氣

images lie anger, fear, insecurity, and belief. Dreams and mythology

質,看似單純的童顏,卻有的複雜深邃的眼神。簡單其實真的不簡單。「我

serve important purposes, but the pictures remain realistic and familiar.

一直喜歡像個孩子般地塗鴉」六角彩子稱:「畫法不斷變化,每個人都可以

Rokkaku uses the most straightforward of ways to empower the canvas.

看到這個過程。很高興能與其他人分享創作的時刻。」


Ravenel 91


048

YOSHITAKA AMANO (Japanese, b. 1952)

Candy Girl 2010 Automotive paint on aluminum 50 (L) x 50 (W) x 10.5 (H) cm Signed on the bottom edge Y. Amano in English

Yoshitaka Amano was born in Shizuoka, Japan. Joining the early Japanese animation movement in 1967, Amano first came into prominence with his work on the anime adaptation of “Speed Racer.” Amano later worked on character design for a number of Japanese TV programs, including popular series such as “Time Bokan,” “Tekkaman,” “Gatchaman,” and “Honey Bee.” In the 1980s, Amano partnered as a freelance illustrator with numerous authors, working on best-selling novels such as “The Guin Saga” and “Vampire Hunter D,” and was awarded the Bram Stoker Award in 1999 for his collaboration with internationally acclaimed novelist

NT$ 400,000 - NT$ 600,000 HK$ 99,000 - HK$ 148,000 US$ 12,700 - US$ 19,100

Neil Gaiman on “Sandman: The Dream Hunters.” Amano is also well known for his commissioned illustrations for the popular video game franchise “Final Fantasy.” Additionally, Amano has won the Seiun Award five times, along with the Dragon Con Award and the Eisner Award in 2000.

天 野喜孝 糖果女孩

天野喜孝1952年出生於日本靜岡縣。1967年開始從事日本早期的動畫 製作,為日本的電視節目設計角色,包括《救難小英雄》及《宇宙騎

2010 汽車漆 鋁板 50(長) x 50(寬) x 10.5(高) cm

士》、《科學小飛俠》及《小蜜蜂》等。其優異表現也讓他得到許多知

簽名下側:Y. Amano

國奧荷朗美術館、東京上野之森美術館、紐約安琪.奧倫桑基金會、倫

名獎項:2000年的惡龍多媒體大會獎及艾斯納獎,及1983到1986年連 續四屆的星雲賞。1989年起,多次在國際藝術機構舉辦個展,例如:法 敦巴比肯中心等。


049

YOSHITOMO NARA (Japanese, b. 1959)

Sleepless Night Sitting 2007 Fiberglass, edition no. 275/300 15(L) x 15(W) x 28.5(H) cm (sculpture) 36(L) x 26(W) x 24(H) cm (box) EXHIBITED: NARA + GRAF, Centro de Arte Contemporáneo de Málaga , Spain, September 21, 2007 - January 6, 2008 (different edition exhibited) ILLUSTRATED: Yoshitomo Nara + graf, A to Z , FOIL Co.,Ltd., Tokyo, 2006, unpaginated Yoshitomo Nara, The Complete Works 1984 - 2010 , Bijutsu Shuppan Sha, Tokyo, 2011, color illustrated, p. 314 (different edition illustrated) This sculpture is to be sold with a certificate of authenticity and a wooden box.

NT$ 650,000 - NT$ 1,000,000 HK$ 160,000 - HK$ 247,000 US$ 20,700 - US$ 31,800

奈 良美智 失眠夜坐著 2007 玻璃纖維 275/300 15(長)x 15(寬)x 28.5(高)cm (人物) 36(長)x 26(寬)x 24(高)cm (箱子) 展覽: 「奈良 + GRAF」,馬拉加當代藝術中心,西班 牙,展期自2007年9月21日至2008年1月6日 圖錄: 《奈良美智 + graf: A to Z》,Foil 有限會社,東 京,2006,彩色圖版,無頁數 《奈良美智全作品集1984-2010》第一卷,美術出 版社,東京,2011,彩色圖版,頁314(圖片為不 同版次) 附原作保證書及木盒

Ravenel 93


050

KAWS

(Brian DONNELLY, American, b. 1974)

4 FT Companion (Gray) 2007 Painted cast vinyl, edition of 100 37 (L) x 57 (W) x 127 (H) cm Trademark © KAWS,, 07 on the bottom of right foot, MEDICOM TOY 2007 MADE IN CHINA on the bottom of left foot

NT$ 650,000 - NT$ 950,000 HK$ 160,000 - HK$ 235,000 US$ 20,700 - US$ 30,200

KAWS 〈 布 萊 恩 . 唐 納 利〉 4呎同伴(灰色) 2007 彩繪 搪膠 雕塑 限量100件 37(長)x 57(寬)x 127(高)cm 註冊商標 © KAWS,, 07 (右腳底) MEDICOM TOY 2007 MADE IN CHINA(左腳底)


Ravenel 95


051

KAWS

(Brian DONNELLY, American, b. 1974)

4 FT Companion (Black)

KAWS 〈 布 萊 恩 . 唐 納 利 〉 4呎同伴(黑色)

2007 Painted cast vinyl, edition of 100 37 (L) x 57 (W) x 127 (H) cm

2007 彩繪 搪膠 雕塑 限量100件 37(長)x 57(寬)x 127(高)cm

Trademark © KAWS,, 07 on the bottom of right foot, MEDICOM TOY 2007 MADE IN CHINA on the bottom of left foot

註冊商標 © KAWS,, 07(右腳底) MEDICOM TOY 2007 MADE IN CHINA(左腳底)

NT$ 650,000 - NT$ 950,000 HK$ 160,000 - HK$ 235,000 US$ 20,700 - US$ 30,200

KAWS, a Brooklyn-based artist, has created a prolific body of

sector fostered subsequent collaborations with other labels such

influential work under the Pop Art tradition. The artist’s wide-

as A Bathing Ape, Undercover, Medicom, Santastic in the East

ranging practices include graphics, paintings, product design,

and household commercial giants such as Nike, Supreme, Kiehl’s

murals and large-scale sculptures. The artist’s large, bright and

cosmetics, Hennessy and Marc Jacobs from the West.

graphical canvases immaculately rendered in acrylic paint and monumental large-scale fiberglass, bronze, aluminum and wood

K A W S是一位布魯克林藝術家,曾創作許多具影響力的普普風作品,創

sculptures often exhibits many replicating imageries that surpass

作領域廣泛且跨領域,包括圖形設計、繪畫、產品設計、壁畫和大型

the realms and boundaries of linguistics and culture that transpires

雕塑。他善於用壓克力顏料創作出明亮的大型帆布畫像,以及用玻璃

between art and commercial design. In retrospect, Brian Donnelly

纖維、青銅、鋁材、木材等素材雕塑,相同的形象經常在作品中反覆

is a native of New Jersey, commonly known as KAWS, whose

出現,超越語言與文化的範疇與界線,橫跨藝術與商業設計的領域。

talent was manifested in the form of graffiti through his passion for

K AW S本名布萊恩.唐納利,1974年出生於美國紐澤西,以「K AW S」

skateboard growing up in Jersey City, where he would frequently

的名稱廣為人知,而他之所以選擇「K A W S」作為創作時的屬名,是因

adorned freight-trains and walls with the pseudonym KAWS as he

為喜歡這四個字串連在一起的組合。從小熱愛滑板,經常在鐵路運貨車

has a liking for how the formation of these letters worked together

和牆壁上塗鴉,因此啟發了塗鴉的才能。1992年從中學畢業後,他開始

cohesively. Upon his graduation from secondary school in 1992, he

將圖像畫在廣告看板和海報上,以不帶痕跡的筆觸讓壓克力顏料與原本

began to subvert imagery on billboards and public advertisements,

的廣告完美結合。

he would utilized acrylic paint with no visible brushstrokes in attempts to make his additions appears seamlessly as part of the

1999年和日本服飾品牌 Bounty Hunter 聯手推出第一個玩具公仔《同

original advertisement.

伴》。在湯姆•衛塞爾曼與克拉斯•歐登伯格等藝術家的強烈啟發下, 他也開始創作不同的搪膠公仔款式。這些早期的創作嘗試讓他在全球藝

The artist designed his first vinyl toy Companion in 1999 with

術玩具社群大受矚目,而他在商業界引發的流行也開啟了與許多知名品

Japanese apparel Bounty Hunter and began to make editions as

牌合作的機會,包括日本的A Bathing Ape、Undercover、Medicom、

artists such as Tom Wassermann and Claes Oldenburg greatly

Santastic,以及家喻戶曉的西洋商業巨擘 Nike、Supreme、Kiehl's、

inspired him at the time. This initial venture garnered much attention

Hennessy、Marc Jacobs等。

in the global art toy community, his prevalence in the commercial


Ravenel 97


SESSION II

LOTS 052 â&#x20AC;&#x201C; 096

Ravenel 99


052

VAL

(Valérie GOUTARD, French, b. 1967)

Voyage

瓦兒

2011 Bronze, edition no. 2/8 21 (L) x 21 (W) x 34 (H) cm

Signed Val on the base, numbered 2/8 , inscribed AFA and dated 2011 This sculpture is to be sold with a certificate of authenticity signed by the artist, issued by Philippe's Collection, Shanghai & Red Rose White Rose Asian Art, Taipei.

NT$ 220,000 - NT$ 340,000 HK$ 54,000 - HK$ 84,000 US$ 7,000 - US$ 10,800

Val, born Valérie Goutard in France, is known for her bronze sculpture. In 2004, she established her studio in Bangkok, Thailand, where she discovered the traditional process of casting bronze from the local foundry. Val currently works with a team of assistants in her Bangkok studio. Val had exhibited around Asia since the beginning of 2006. At the Shanghai Art Fair 2010, her exhibited work “Urban Life” received great appreciation. In 2015, she won the Trophy of French Expatriates in Art of Living. The artist have elaborated a unique sense of space by utilizing the curve lines in her artwork. The contrast which was created by the lightness of the lines and the weightiness of the bronze have generated a tension within the subtly balanced sculpture. Val’s work have been exhibited in France, Australia, Singapore, Taipei, Hong Kong, Shanghai permanently. 瓦兒,原名瓦萊麗.古塔,出生於法國,以銅雕作品聞名。2004年於 泰國曼谷設立工作室,從泰國當地的鑄造廠研究傳統的鑄銅方式,現 與工作室團隊生活於曼谷工作。2006年起,陸續於亞洲各地展開個 展,2010年,於上海藝術博覽會展出的大型雕塑「都市生活」引起廣 大迴響。2015年,獲法國僑民生活藝術獎。瓦兒的雕塑以曲線呈現出 獨特的空間感,以輕巧的線條對比銅雕的重量,創造出許多極富張力 且平衡精妙之作。當今在曼谷、法國、澳洲、新加坡、台北、香港、 上海等地皆可見瓦兒的常駐展。

2011 銅雕 版次2/8 21(長)x 21(寬) x 34(高)cm 簽名雕刻底座:Val 2/8 AFA 2011 附菲利浦藏品及紅玫瑰白玫瑰畫廊共同開立之藝術 家親筆簽名原作保證書


Ravenel 101


053

MARCOS MARIN

(Brazilian, b. 1967)

Bruce Lee 2013 Acrylic on canvas 100 x 80 cm Signed lower right Marin in English Signed on the reverse Marin , titled Bruce Lee , inscribed Monaco , and dated 2013

NT$ 220,000 - NT$ 340,000 HK$ 54,000 - HK$ 84,000 US$ 7,000 - US$ 10,800

馬 科斯.馬林 李小龍 2013 壓克力 畫布 100 x 80 cm 簽名右下:Marin 簽名畫背:Bruce Lee Marin 2013 Monaco

Marcos Marin has created unique portraits, paintings, and monumental sculptures utilizing optical art techniques. His optical portraits of famous people provides a refreshing visual experiences for its audience. His works had been exhibited in Cannes Airport, Téâtre des Varietés de Monaco, Borgo San Felice in Toscany and Espace Piere Cardin in Paris. Marin currently lives and works in Monaco. 馬科斯.馬林利用歐普藝術技巧,創作了許多獨具特色的肖像、畫作 以及紀念雕塑。他所作的歐普藝術名人肖像即為視錯覺藝術之一,供 予觀賞者一種嶄新的視覺體驗。作品曾於法國坎城機場、摩納哥綜藝 劇院、托斯卡尼博爾戈聖菲麗奇、巴黎皮爾.卡登畫廊等地展出。馬 林目前生活、工作於摩納哥。


Ravenel 103


SANS TITRE KAREL APPEL

Karel Appel was born in 1921 in Amsterdam. He is one

image create a cat-like shape. The structure of the painting

of the founders of the CoBrA, an avant garde art group

is simple with modest colors. It is as lovely as a child’s

founded in November 1948. The group was short-lived

painting, yet it resembles prehistoric symbols. The ease

and disintegrated in November 1951, but it stimulated

with which the broad brushstrokes move, together with the

a refreshing, experimental spirit in the art world at the

interchanging color tones, creates a jubilant, lively scene.

time, liberating contemporary European artistic traditions from over emphasizing form and rationality. Instead, the

卡爾.阿貝爾於1921年生於荷蘭阿姆斯特丹。他是眼鏡蛇畫派

group embraced spontaneous paint, which had an effect

的創建者之一,這個前衛藝術群體成立於1948年11月,雖如

on the rise of individual styles such as abstract and action

曇花一現般於1951年11月結束,但帶給當時的藝術界一股新

painting in the 1950s. From 1940 to 1943, Appel studied

鮮的實驗精神刺激,解放了過分強調形式和理性主義的近代歐

at the Amsterdam State Academy. After World War II,

洲藝術傳統。轉而鼓勵即興創作表現,影響了歐美1950年代抽

he infused children’s drawing styles with his own, and

象表現主義和行動繪畫等強調自發性創作風格的崛起。阿爾貝

held his first solo exhibition at Groningen, Netherlands

1940年至1943年間就讀於阿姆斯特丹的國家藝術學院。二次

in 1946. In 1949, along with his friends Beverloo

大戰後他融合兒童畫的風格創作,並於1946年,在荷蘭的格羅

Corneille and Consant, he held the first major exhibit

林根市舉辦首次個展。1949年和摯友柯奈爾與康斯坦於阿姆斯

of the CoBrA movement at the Amsterdam Museum of

特丹市立美術館聯合舉辦「眼鏡蛇」畫派的首度重要展覽。阿

Art. The inspiration for Appel’s work is diverse, ranging

貝爾的作品取材多樣,例如奇異怪獸,動物和人物,同時實驗

from fantastic monsters, animals, to people. He also

創作有凹凸造型的立體作品。

experimented with textured sculptures. 他於1950年移居巴黎。阿貝爾獲獎無數,他曾於1954年在威

In 1950, he moved to Paris. Appel won numerous awards,

尼斯雙年展中獲頒「聯合國教科文基金會獎」,1959年聖保

including the UNESCO award in the 1954 Venice Biennale,

羅雙年展贏得首獎,1960年又榮獲「古根漢國際獎」等。自

first prize in the 1959 Sao Paulo Art Biennia, and the

1968年起他開始創作一些浮雕式的繪畫,並使用木頭、玻璃

Guggenheim International Award in 1960. Since 1968,

纖維和鋁質材料中創作雕刻。阿貝爾一直忠實於「眼鏡蛇」的

he began creating relief sculpture, and sculptures using

精神,也和其它藝術家合作了不少的作品。阿貝爾的作品始終

wood, glass and aluminum. Appel always stayed true to the

洋溢生命活力。他作畫時並不調色,使用鮮明色彩,稚拙的筆

“CoBrA” spirit and collaborated with different artists on

觸,創作如兒童天真無邪般的作品。1957年的美洲之旅後,

many projects. Appel’s works remain full of lively energy.

阿貝爾受爵士樂啟發,創作了一系列線條流暢,油彩鮮明耀眼

He doesn’t mix colors when painting, using bright colors

的作品。且廣泛的運用多種媒材和手法來表現在他的作品,如

and immature brushstrokes to create works that exude

畫布,紙本,拼貼,雕塑等。他的作品融合了多樣化的文化背

childlike innocence. After his trip to the Americas in 1957,

景,人物形象多以表現主義風格呈現,筆法淋漓酣暢。

Appel was inspired by jazz music, and created a series of bright oil paints with smooth lines. He uses diverse

這件名為《無題》,由色塊和粗獷的線條構成。佔據畫面主體

materials and techniques such as canvas, paper, mosaic

的多彩線條為觀者勾畫出貓咪的形象。構圖簡單,用色單純,

and sculpting in his woks. His work combines diverse

線條稚拙,如兒童畫一般可愛,又神似某些史前藝術的圖騰符

cultural backgrounds, and people in his works are usually

號。而大筆觸的率性律動以及冷色調及暖色調並列的節奏,歡

portrayed with expressionism and masterful brushstrokes.

樂活潑。

“Sans titre” is composed of color patches and rough lines. The many colorful lines on the object that dominates the


054

KAREL APPEL

(Dutch, 1921 - 2006)

Sans titre

卡爾.阿貝爾

Oil on paper, mounted onto canvas 56 x 76 cm

無題

Signed lower right Appel in Dutch PROVENANCE: Pissarro Collection, Nice (acquired directly from the artist) Private Collection, Paris Private Collection, Asia

油彩 紙本裱於畫布 56 x 76 cm 簽名右下:Appel 來源: 畢沙羅家族收藏,尼斯〈直接得自藝術家本人〉 私人收藏,巴黎 私人收藏,亞洲

NT$ 700,000 - NT$ 1,100,000 HK$ 173,000 - HK$ 272,000 US$ 22,300 - US$ 35,000

Ravenel 105


055

VICTOR VASARELY

(Hungarian-French, 1906 – 1997)

Silva 1978 Oil on canvas 103 x 103 cm Signed lower right Vasarely- in French Signed on the reverse VASARELY , titled “SILVA ” in English, numbered 2989 , inscribed 103 x 103 cm , and dated 1978 PROVENANCE: Ader-Picard-Tajan, Paris, June 21, 1990, lot 114 Dimensions Art Center, Taipei Private collection, Asia

NT$ 1,700,000 - NT$ 2,600,000 HK$ 420,000 - HK$ 642,000 US$ 54,100 - US$ 82,700

維 多.瓦薩雷利 太空之旅 1978 油彩 畫布 103 x 103 cm 簽名右下:Vasarely簽名畫背:2989 VASARELY“SILVA”103 x 103 cm 1978 Vasarely來源: 艾德.皮卡.塔尚拍賣,巴黎,1990年6月21日,編號114 帝門藝術中心,台北 私人收藏,亞洲


Ravenel 107


SILVA VICTOR VASARELY

The late Hungarian-French artist Victor Vasarely was a prolific artist

flashes, creating dizzying optical illusions when optic nerves process

in his long life. He is widely accepted as the father of the “op-art”

the image. Op-artists use this to prove that there is no definite

movement. “Op-art” is an art movement that gained popularity in

division between visual art and the science of cognitive psychology;

the 1960s. “Op” is short for “optical“, or optical illusions. Vasarely’s

that through scientific design, artists can activate the optic nerve,

“Zebra” series in the 1930s is thought to be classic pieces of the

create visual images by utilizing and arranging visual effects,

early op-art movement.

to achieve artistic experiences that are just as moving as those inspired by traditional paintings. For this purpose, Op-art did away

In his early years, Vasarely studied medicine, which he gave up

with themes. Precise geometric shapes are used instead, many of

to study painting and modern art at Sandor Bortnyik’s private

which are used by psychologists as testing data for visual cognition

art school, which was widely recognized as Budapest's center of

experiments. The artworks are well received in the exhibition.

Bauhaus studies. This set the foundation of his later artistic style. During his studies, he began to consider the connection between

Op-art is somewhat similar to pop art, which was also popular in the

art and science, and the effect of scientific development on visual

west during the same era. The inspiration for pop art comes from the

art. Regarding the meeting point between art and science, Vasarely

culture of consumerism, popular at that time, turning retail items and

once said that “the two creative expressions of man, art and science,

celebrities into symbols. As an extension to graphic design, Op-art’s

meet again to form an imaginary construct that is in accord with our

unique visual effects are widely used in commercials, media, and

sensibility and contemporary knowledge. “

architecture, becoming popular in the western consumer market.

In 1930, Vasarely left Hungary for Paris, where he did graphic design

“Silva“ can be viewed as the continuation of “Vega” series Vasarely

and creative consulting work. During that time he had little contact

started in the 1960s. In this series, his control of color and form

with fellow artists in Paris, instead focusing on exploring his own

reached new heights. The structure of the piece is based upon the

artistic language. From the 1940s, he began to study the artworks

combination of an oval surface and a gradient of cubes, forming

and theories of Mondrian and Kandinsky, and mused about color

the illusion that the spheres are moving in different directions. The

theory and the developmental history of cognition and illusion,

different sizes, shapes, and positions of the cubes create space and

gradually developing his own view on the subject. He believes that a

movement on the two-dimensional surface. As the basic component

world of internal geometry is hidden below the surface of the natural

of the image, the angles at which the small cubes tilt changes. The

world. Geometry is like the spiritual language of the natural world,

tilt makes it look like the cube is gradually straying from or coming

connecting the internal and external worlds. To him, every basic

closer to the horizontal or vertical axis. Tilting in the depth of the

geometric shape is the basis of color, and every color summarizes

painting is done in two ways, gradually lengthening or shortening

the characteristics of different shapes. And so, he cast aside basic

the distance from the axis. The tilting cubes in this piece belong to

forms of the natural world, instead choosing standard colors

the former. This way, the object placed at an angle displays an inner

directly, building a stunning and mesmerizing space with geometric

strength that either faces towards or away from the front. Unlike a

shapes on a two-dimensional surface. In the following 30 years,

fixed object facing forwards, a tilted object is full of inner strength.

he developed his own unique artistic style of abstract geometry,

Vasarely makes use of this “inner strength” masterfully, not only

experimenting with different materials, but always insisting on

creating a spherical, three-dimensional space on a two-dimensional

minimalist construction and color.

surface, but also giving the sphere a sense of movement. This movement is perfect for representing stars. The movement

Beginning from the 1950s, he tried painting with propylene on glass

displayed by this pieces makes one feel like the color will spill from

boards, stacking them together to form a peculiar moving effect. He

the painting, and flow towards boundless space.

continued perfecting this style of stimulating vision with optics and color changes, which later came to be known as “op-art.”

Victor Vasarely’s work steps away from the personal element in painting, focusing solely on the visual effect of the image. He

In 1965 Vasarely took part in the “The Responsive Eye” exhibition

believes that art is not personal, and is instead a product of society,

held by the New York Museum of Moder n Art. Through this

so it needs to reflect society, which means reflecting the technology

exhibition, his works became world-renowned. Other notable op-art

and knowledge of the time. As a result, he carefully designs his work,

artists such as Bridget Riley participated in this exhibition. Artworks

infusing them with the rationality of science. This kind of artistic

displayed in the exhibition were meticulously designed, with waves

exploration has already been carried out since perspective studies

or geometric shapes positioned to stimulate visual movement and

in the Renaissance period, or even as early as mosaic murals in the


middle Ages, but Victor Vasarely isolated this idea from figurative

《太空之旅》可以視作瓦薩雷利始於1960年代的創作「織女星」

art, displaying it in a purely abstract way, making it more theoretically

(Ve g a)系列的延續。這個系列中,他將自己的對色彩和形式的把控推

significant.

向高峰。作品構圖基於橢球狀曲面和漸變色立方體的結合,產生球體向不 同方向運動的錯覺。藉由這些立方體的大小、形狀和位置的變化,在平面

已故匈牙利裔法國藝術家維多・瓦薩雷利是一位長壽且創作力豐沛的藝術

上尋求一種空間感和動感。作為畫面構成基礎的小立方體的傾斜勢必會產

家,是「歐普藝術」運動之父。「歐普藝術」是 西方二十世紀60年代興

生漸強或漸弱的改變。傾斜的部分,看上去逐漸偏離或接近了水準軸線或

起的一場美術思潮。歐普(Op)即"Optical"的縮寫,意即視覺效應。瓦

垂直軸線的穩定位置。在深度距離上發生的傾斜,是以逐漸脫離或逐漸接

薩雷利作於1930年代的《斑馬》系列作品被認為是歐普藝術早期的經典

近這兩種不同的方式展開的。作品中所用傾斜的立方體,就是在深度距離

之作。

上以逐漸脫離的方式進行展開的,按照這種方式,被傾斜放置的物體,會 顯示出一種內在的張力,其方向是朝向正面,或與正面相違背。一個處於

瓦薩雷利早年學醫,後棄醫從藝在素有布達佩斯「包浩斯」之稱的桑德爾

傾斜方向的物體,與一個平行於正面的靜止的物體不同,它總是充滿著潛

學院學習繪畫和現代藝術,為其來的藝術風格發展奠定基礎。在學習的過

在的力量。瓦薩雷裡巧妙地運用了這種「潛在的力量」,不僅創作了平面

程中,他開始思考藝術與科學的關聯,以及科學發展對視覺藝術的影響。

上的球體,在平面上表現出了立體空間,而且讓這個球體產生了一種流動

他曾這樣闡釋二者之間的關係:人類的兩種創造性思維:藝術和科學之相

感,用這種流動來表現星體是最形象不過的,這幅作品所表現出來的動態

遇,重構了一種想像的結構,使得感性與現代知識有機結合。

甚至讓人覺得色彩會溢出畫面,流向漫無邊際的茫茫太空。

瓦薩雷利於1930年離開匈牙利,前往巴黎,在那裡從事平面設計和創意

維多・瓦薩雷利的作品完全拋開了繪畫中的個性因素,只注意圖形對視覺

顧問的工作。此時他與同在巴黎的其他藝術家結交甚少,專注與自身的繪

的影響。他認為藝術不應該是個人的,而應該是社會的產品,因而必須反

畫語言探索。自1940年代起,他開始研究蒙德里安、康定斯基的作品和

映社會的內容,也就是反映出當時的技術水準與知識水準。因此,他的創

理論,並對色彩理論、知覺和幻覺的發展歷史進行了思考,從而逐步形成

作運用的是精確設計的方法,將科學的理性思維帶入了作品之中,其實這

了自己的看法。他認為在外部自然世界中潛藏著一個內部的幾何世界,它

種探索在文藝復興時期的透視學中就已存在,甚至早在中世紀馬賽克壁畫

就象整個自然界的精神語言,將內與外緊密相連。不僅如此,每一塊基本

中已經運用過了,而維多・瓦薩雷利是把這個主題從具象畫中獨立提出,

的幾何形都是色彩的基礎,而每一種色彩又概括出不同形狀的特徵。因此

以純抽象的方式中展現,更顯其理論價值。

他拋棄了自然界中的基本形態,直截選取標準色彩,並通過幾何形在二維 平面上的延展,建立起眩目而又迷惑知覺的奇妙空間。在此後的近30年 中,他發展出自己獨特的抽象幾何風格的藝術形式,嘗試運用多種材料, 但堅持使用幾種極簡的形式和色彩進行創作。 1950年代起,他嘗試使用壓克力在玻璃板上作畫,再將其重疊放置,從 而產生奇特的運動效果。不斷完善這種利用光學和色彩變化對視覺產生刺 激的繪畫風格,這種風格後被稱為「歐普藝術」。 1965年瓦薩雷利參加在紐約現代藝術美術館舉辦的展覽「易感之眼」, 這次展覽使他的作品蜚聲國際。同時參展的還有其他歐普藝術的知名畫 家,如布里奇特・萊利。展覽上展出大量經過精心設計,按一定規律排列 而成的波紋或幾何形畫面,造成視知覺的運動感和閃爍感,使視神經在與 畫面圖形的接觸中產生眩暈的光效應現象與視幻效果。歐普藝術家以此證 明訴諸視覺的藝術品與探究知覺心理的科學之間並無嚴格的分界,用嚴謹 的科學設計亦可啟動視覺神經,通過視覺作用喚起並組合成視覺形象,達 到與傳統繪畫同樣動人的藝術體驗。出於這一目的,歐普藝術作品摒棄了 主題,代之以精確謹嚴的幾何圖式,其中多件作品被心理學家選作視知覺 實驗的測試資料。展覽觀眾的反饋極佳。 這與同時期風靡歐美的普普藝術有異曲同工之處。普普藝術的靈感源自彼 時流行的消費文化,日常消費品和名流被符號化。而歐普藝術作為平面設 計的延伸,其獨特的光效應,被廣泛應用於廣告,影視,建築領域,從而 風靡歐美消費市場。

Victor VASARELY, Vega-Nor , 1969, acrylic on canvas, 200 x 200 cm 維多・瓦薩雷利 《Vega-Nor》1969 壓克力 畫布

Ravenel 109


056

ALEX KATZ

(American, b. 1927)

Ada with Green

亞力士.凱茲

1969-1978 Oil on canvas 101.6 x 75.6 cm

綠色的伊達

Signed upper right KATZ in English and dated 78 PROVENANCE: Robert Miller Gallery, New York Sotheby’s, New York, May 9, 1990, lot 280 Private collection, Asia EXHIBITED: Alex Katz , Dimensions Art Center, Taichung, June 4-25; Taipei, July 8-23, 1995 ILLUSTRATED: Alex Katz , Dimensions Art Center, Taipei, 1995, color illustrated, pp. 29-30

1969-1978 油彩 畫布 101.6 x 75.6 cm 簽名右上:KATZ 78 來源: 羅伯特•米勒畫廊,紐約 蘇富比拍賣,紐約,1990年5月9日,編號280 私人收藏,亞洲 展覽: 「亞力士.凱茲畫展」,帝門藝術中心,台中,展期自1995 年6月4日至25日;台北,展期自7月8日至23日 圖錄: 《亞力士.凱茲畫展》,帝門藝術中心,台北,1995, 彩色圖版,頁29-30

NT$ 5,000,000 - NT$ 7,500,000 HK$ 1,235,000 - HK$ 1,852,000 US$ 159,100 - US$ 238,700

“THE ‘60S WERE A TURNING POINT IN AMERICAN ART HISTORY, BUT KATZ’S TURN WAS NOT TO POP ART, WHICH WAS A TONGUE-IN-CHEEK FAN LETTER TO CONSPICUOUS CONSUMPTION, NOR TO MINIMALISM, IN WHICH FORMALISM COMMITTED SUICIDE BY BECOMING SIMPLISTIC, NOR CONCEPTUALISM, IN WHICH ART AS A WHOLE COMMITTED SUICIDE BY SOLOMONICALLY DIVIDING ITSELF INTO IDEA AND MATERIAL AND TRIVIALIZING THE LATTER, BUT TO AN ORIGINAL, UNUSUALLY INSIGHTFUL INTEGRATION OF EXPRESSIONISM AND SOCIAL REALISM.” – DONALD KUSPIT 「60年代是美國藝術史上的轉捩點,然而,畫家凱茲的作品,既不像普普藝術作品,言不由衷地迷戀炫富消費;也不 像極簡主義以簡約單調風格自毀形式主義的長城;更不屬於觀念主義,將藝術武斷地一分為二,只剩下創意跟材料, 致使後者無足輕重。凱茲的作品既原創又極度發人深省,並且難能可貴地將表現主義與社會現實主義熔於一爐。」 – 多納.庫斯比


Ravenel 111


Alex Katz’s stylized aesthetic stems partially from his artistic response to Abstract Expressionism of the 1950s as he explored between formalism and representation. Beginning from the 50s, Katz became increasingly interested in portraiture and has completed numerous portraits of his wife, Ada, whom he married in 1958 and had since been the subject on the artist’s canvas for over 250 works throughout his career. The present lot “Ada with Green” exhibits Ada’s profile as she rests her head slightly against the palm of her right hand as she gazes into the  distance. Her hair neatly pull up with strands of pigments that highlights the luminosity of her hair, further extenuating her prominent features and delicate eyelashes below her defined brows. All set against a dramatic lime green backdrop that epitomizes Katz’s monochromatic background, that became a defining characteristic in Katz work, his vibrant figurative paintings are rendered in a distinguished flat style infused with heightened colors and a bold simplicity that many scholars regard as precursors to Pop art. In the early 1960s, Katz was inspired by films, television, and billboard advertising and began painting large-scale paintings, frequently with cropped faces.  Katz paintings of larger scale usually began with a small oil sketch of his subject on a masonite board, he would then proceed to making a smaller detailed drawing in charcoal or pencil. Next, the artist would at times blow up the drawing with a overhead projector to be subsequently transfer to a large canvas through pouncing, a technique of the Renaissance artists that entails pushing powdered pigment through small perforations pricked into the cartoon to recreate the composition on the surface to be painted. Katz would then proceed to paint his enormous canvas for hours each session. The artist also dedicated himself to printmaking and lithography, etching, silkscreen, woodcut, linoleum cut, costume and later fashion designs and freestanding sculptures of cutout figures painted on wood or aluminum. In the late 1980s and 1990s, Katz focused much of his attention on large landscape paintings that he characterizes as “environmental.” The artist’s landscape paintings often feature beautiful scenic views of New York and Maine. Katz deliberately loosened the edges of the forms in his landscape paintings. Katz began painting a series of night pictures in 1986, which contrasts greatly from the sunlit landscapes he had previously painted. Throughout the 1990s and into the 21st century, the artist’s exploration and variations on the theme of light falling through branches is apparent. At the beginning of the new millennium, Katz also explore in the theme of floral in profusion, covering his canvases with blossoms similar to those he had first explored in the late 1960s, when he painted large close-ups of flowers in clusters and in solitude. It is apparent that Katz’s work continues to grow and evolve through out his prolific artistic career. In retrospect, Katz’s family moved to a diverse suburb of Queens in St. Albans at the outset of the Depression in 1928. He enrolled in a prestigious school of art, architecture, and engineering at the The Cooper Union Art School in Manhattan in 1946, where his training was based in Modern art theories and techniques and studied extensively under Morris Kantor. Katz was awarded with a scholarship upon his graduation at the Skowhegan School for Painting and Sculpture in Maine where subsequently received an honorary doctorate in 1984 and has since then continued his relationship as a summer resident of Lincolnville, Maine. Katz’s has been the recipient of numerous accolades throughout his prolific career alongside countless solo and group exhibitions. For instance, In 1996, The Paul J. Schupf Wing for the Works of Alex Katz was opened to showcase an in-depth collection of Katz’s works. It is one of the few wings of a museum devoted solely to the work of a single living artist in the United States. In 2007, he was honoured with a Lifetime Achievement Award from the National Academy Museum, New York.


Katz has completed numerous commissioned works over the

畫布上。這項技法可追溯至文藝復興時期,先在草圖上戳出許多細孔,

years. One of which was completed in 1977, when the artist was

再將粉狀顏料壓入細孔,將草圖轉移至最終的畫布上。最後,凱茲在巨

commissioned to create a work to be produced in billboard format

型帆布前為成品作最後的妝點,每次總要畫上許多個小時。凱茲也嘗試

above Times Square, New York City. The billboard extended 247

各種創作素材,例如版畫、石版畫、蝕刻版畫、絲網版畫、木刻版畫、

feet long along two sides of the RKO General building and wrapped

橡膠版畫、服裝,之後又挑戰時尚設計,以及將剪紙圖樣畫在木板或鋁

in thee tiers above on a 60-foot tower and consisted of a frieze

板上,創作成獨立雕塑。

composed of 23 portrait heads of women. Each portrait measured twenty feet high. In 1980, Katz was commissioned by the US General

自1980年代晚期到1990年代,凱茲的創作重心主要是大幅風景畫,以

Service Administration's Art in Architecture Program to create an

「環境」為主題,尤其是美國紐約州、緬因州的自然美景,畫中景物刻

oil on canvas mural in the new United States Attorney’s Building at

意以柔邊呈現。1986年,凱茲開始創作以夜晚為題材的系列作品,與先

Foley Square, New York City. The mural measures, is 20 feet high

前的白晝景物作品大相徑庭;1990年代到21世紀初,凱茲特別關注從

by 20 feet wide and resides inside the Silvio V. Mollo Building at

林木間灑下的光影及其明暗變化。進入新世紀,他也創作繁花錦簇的主

Cardinal Hayes Place & Park Row. Since 1951, Alex Katz’s works have

題,在畫布上畫滿盛開的花朵,很類似他在1960年代後期的嘗試,當時

been included in more than than 200 solo exhibitions and nearly

他就偏好花朵的大特寫,包括花叢和單獨一朵的特寫。我們可以看到,

500 group exhibitions worldwide. Major

凱茲在豐沛創造的藝術生涯中努力不懈,

exhibitions of Katz's landscape and

持續成長蛻變。

portrait painting in America and Europe followed his 1986 Whitney Museum of

回顧凱茲的生平,在1928年經濟大蕭條爆

American Art retrospective and 1988

發後不久,全家遷至紐約市皇后區近郊,

p r i n t re t ro s p e c t i v e a t t h e B ro o k l y n

文化多元的聖阿爾巴斯。1946年,他進

Museum of Art. Selected solo exhibitions

入紐約曼哈頓的柯柏聯盟學院就讀,這所

include: The High Museum, Atlanta;

頂尖的學院以藝術、建築、工程聞名,凱

Guggenheim, Bilbao (2015–6); Tate St

茲師事著名的俄裔美籍畫家坎特爾,鑽研

Ives; Tur ner Contemporary, Margate

現代藝術理論與技法。畢業時凱茲獲得獎

(both 2012); The National Portrait

學金,進入緬因州的斯考希根繪畫雕塑學

Gallery, London (2010); Irish Museum of

校,1984年獲得名譽博士學位,此後凱茲

Modern Art, Dublin (2007); Albertina,

每年都會回到緬因州的林肯維爾市避暑。

Vienna (2010); Saatchi Gallery, London (1998); P.S.1 / Institute for Contemporary A r t , N e w Yo r k ( 1 9 9 7 - 8 ) ; I n s t i t u t o Valenciano de Arte Moderno, Valencia

Alex KATZ, Nine Women , Alex KATZ for Public Art Fund, September 1977- December 1982, Times Square, New York 亞力士.凱茲,《九個女人》,公共藝術基金,1977年9月–1982 年12月,紐約時代廣場

(1996); Staatliche Kunsthalle, Baden-

在凱茲豐沛創造力的藝術生涯中,他獲獎 無數,也舉辦了無數的個展或團體展,例 如1996年緬因州科爾比學院藝術博物館在 保羅.舒普夫展廳深度展出凱茲的系列作 品。當今全美各地只有少數展廳願意個別

Baden (1995); Brooklyn Musuem (1988). Works by Alex Katz can

展出在世藝術家的作品,保羅.舒普夫展廳是其中之一。2007年凱茲接

be found in over 100 public collections worldwide. Most notably,

受紐約國家學院博物館表揚,獲得終身成就獎。

those in America include: The Art Institute of Chicago; The Brooklyn Museum; Carnegie Museum of Art, Pittsburgh; The Metropolitan

多年來,凱茲接受委託創作的作品不懈,其中一件是1977年為紐約時代

Museum of Art, New York and the Tate Gallery, England. among

廣場創作的大型看板,作品長達75公尺左右,展示在雷電華通用公司大

others.

樓兩側,而在18公尺高的塔樓上又分為三層,總計包含23幅女性臉部肖

亞力士.凱茲筆下風格獨具的美感,一部分源自他對 1950 年代抽象表

推動建築美化,委託凱茲為紐約富利廣場上新建的聯邦檢察署大樓繪製

現派的回應,他致力探索形式主義與具象理論 ,從1950年代開始,他對

一幅油彩帆布壁畫,壁畫寬、高各約6公尺,目前陳列在Cardinal Hayes

於肖像畫越來越熱衷,以妻子伊達為對象完成了多幅的肖像畫。兩人於

P l a c e街的聯邦建築裡。自1951年起,凱茲的作品在世界各地展出,共

1958年結為連理,婚後伊達時常擔任丈夫的模特兒,她的身影已出現在

計個展200多場,團體展將近500場。1986年,凱茲在惠特尼美術館舉

凱茲250多幅作品中。這幅《綠色的伊達》描繪的是伊達的側影,右手

辦回顧展,1988年在布魯克林藝術博物館舉辦版畫回顧展,隨後在全美

托腮,凝望遠處,頭髮整齊向後梳起,凱茲畫出髮絲上的光澤,進一步

及歐洲各地分別舉辦了多場大型展覽。精選的個展包括:美國亞特蘭大

烘托美麗的臉龐和柳眉下細緻的睫毛。整幅畫以明亮的萊姆綠為底色,

市高等藝術博物館、西班牙畢爾包古根漢美術館(2015-6)、英國泰特

以單一色調為背景向來是凱茲作品中的一大特色,他的寫實肖像色調鮮

聖艾夫斯美術館和馬格鎮透納當代美術館(2012)、倫敦國家肖像館

明,以獨樹一格的平面方式呈現,風格大膽簡約,許多學者認為凱茲是

(2010)、都柏林愛爾蘭現代美術館(2007)、維也納阿爾貝蒂娜博物

「普普藝術」的先驅。

館 (2010)、倫敦薩奇美術館(1998)、紐約P.S.1當代藝術中心(1997-

像,組成了帶狀看板,每幅肖像高達6公尺。1980 年,美國聯邦總務署

8)、西班牙華倫西亞當代藝術中心(1996)、德國巴登-巴登國立美術 在 1960 年代初期,凱茲受到影視和廣告看板的啟發,開始創作大型作

館(1995)、紐約布魯克林博物館(1988)。另外,凱茲的作品收藏於

品,裁切的人臉是他最常用的題材。凱茲創作大幅作品時,通常先在纖

全球各地100多處公共機構,其中在美國的重要機構包括:芝加哥藝術

維板上勾勒出小幅的油彩草圖,再用炭筆或鉛筆描繪細節;接著,凱茲

博物館、紐約布魯克林博物館、匹茲堡卡內基美術館、紐約大都會藝術

有時會利用投影機將草圖放大,再採用印花粉轉印法將草圖轉畫到巨型

博物館,在英國則有泰德美術館等。

Ravenel 113


ASCENDANT ARMAN FERNANDEZ

French-American artist Arman was born in Nice, France in 1928,

together. The violins are ‘dissected,’ by Arman, meticulously

and is among the few artistic geniuses recognized by art history in

stacked and welded, like a sequence of cheerful tunes, lively

his lifetime. Arman established his artistic style in his youth, and

and rhythmic. The intangible music is conveyed by the tangible

was immensely popular. In his celebrated artistic career, he won

shapes of the instruments. The movement and speed created by

numerous awards, was knighted in 1991, and received the Legion

the layers of violins is stunning and corresponds with the concept

of Honor in 1993.

of speed celebrated by Dadaists.

Arman had vast learning experiences in his youth, which became

美籍法裔藝術家阿曼,1928年出生於法國尼斯,是少數在世期間即

the solid basis of his unrestrained imagination and boundless

被載入美術史的藝術天才之一。阿曼在青年時代就確立的自己的藝術

creativity in his later artistic career. From a young age, he was

風格且廣受歡迎。在其輝煌的藝術生命中,他獲獎無數。1991獲頒

influenced by his father, an antique dealer, to learn oil painting

騎士勳章,1993年獲得法國國家榮譽勳章。

and photography. After completing his studies in philosophy and mathematics, he continued his education in the École Nationale

阿曼早年的學習經歷頗為豐富,為其日後藝術創作中天馬星空的想像

des Arts Décoratifs in Nice, as well as École du Louvre., where he

和無邊的創作力打下堅實基礎。他自幼受古董商父親的影響,學習油

majored in studied archeology and eastern art.

畫和攝影。在完成哲學和數學的學業之後,繼續在尼斯的法國國立裝 飾藝術學校和盧浮宮學院深造。在盧浮宮學院期間,主要研習考古和

In 1954, inspired by the German Dadaists Kurt Schwitters’s

東方藝術。

exhibition, Arman began developing his own creative language, which involved cutting objects made of the same materials, then

1954年,受德國達達主義藝術家柯特.希維特斯的展覽作品的啟

stacking them in large quantities to create a stunning effect. He

發,阿曼著手發展自己的創作語言,即利用同一材質的相同物件進行

named this technique “cachets.” This series of graphic works

切割,再大量疊加堆積組合來製造一種震懾人心的效果。他將自己的

was unveiled at his third solo exhibition and was well-received.

這種創作手法稱之為「c a c h e t s」。在第三次個展上,這一系列的平

From 1959 to 1962, his creative language became more complex,

面作品首次亮相便取得很好的反響。1959年至1962年間,他將自己

developing into his most famous ideas: “accumulation” and

的創作語言不斷深化,發展出其最著名的兩個觀念「累積」和「垃圾

“poubelle.” (French for ‘trash can’.) During this time, he and

桶」。這一時期,他和另外一些歐洲年輕的藝術家和評論家積極探

several other European young artists and art critics actively

討嘗試觀念藝術。 1962年,他創作出第一件堆疊物件焊接的作品。

attempted conceptual art. In 1962, he created his first welded

1960年代,阿曼開始頻繁造訪紐約,這一時期開始創作大型城市雕

piece. In the 1960s, Arman started visiting New York and created

塑,這些作品延續了他的切割,堆疊的概念,切割的物件從日常用品

large urban sculptures during this time. These pieces continued

的工具,表,鐘,傢俱,汽車部件到藝術史上著名的雕塑形象等,這

his concept of cutting and stacking. Things he cut range from

些都被他運用在作品當中。最為著名的當屬樂器的堆疊系列。

household tools, watches, clocks, furniture, and car parts, to famous sculptures in art history, the most famous of which being

他將生活中為人熟悉的日常用品和消費品切割,拆解,重新組合,以

the stacked musical instruments collection.

重複的方式製造出巨大的體量,賦予原本熟悉的事物新的內涵和力 量。阿曼這種寓理於趣、形質並重的風格成為他獨特的藝術符號,辨

He cuts through familiar household items and consumer goods,

識度極高。在歐美的許多城市的重要廣場上都刻有看到他的作品。

take them apart, and reconfigures them, repeating over and over to create large volumes, giving them new meaning and

《上昇》作於1992年,延續了阿曼始創於1970年代的系列:將鑄銅

strength. Arman’s fun yet meaningful style became his uniquely

材質的小提琴切割堆疊。小提琴被阿曼「解剖」,嚴整地疊放焊接,

unmistakable artistic style. His works can be found in important

猶如一串歡悅的樂符,充滿動感和韻律。抽象的樂感藉由樂器本身形

plazas of many cities across Europe and America.

象地表現出來。小提琴層層疊加所營造的動勢和速度感震懾人心,與 達達主義藝術家所崇尚的速度感不謀而合。

“Ascendant” was created in 1992 - a continuation of the series Arman began in the 1970s: copper violins cut apart and stacked


057

ARMAN FERNANDEZ

(French-American, 1928 - 2005)

Ascendant 1992 Bronze with gold patina, edition no. 6/8 17 (L) x 20 (W) x 63 (H) cm Signed on the base Arman , numbered 6/8, with a foundry mark of bocquel F.d in French EXHIBITED: The Exhibition of International Sculpture Master: Arman, Modern Art Gallery, Taichung, 1996 ILLUSTRATED: The Exhibition of International Sculpture Master: Arman , Modern Art Gallery, Taichung, 1996, color illustrated, p. 17 This sculpture is to be sold with a certificate of authenticity signed by the artist, issued by Modern Art Gallery, Taichung.

NT$ 650,000 - NT$ 950,000 HK$ 160,000 - HK$ 235,000 US$ 20,700 - US$ 30,200

阿 曼.費爾戴儂 上昇 1992 銅雕 金色銅鏽 版次6/8 17(長) x 20(寬)x 63(高)cm 簽名底座:Arman 鑄造廠鈐印底座:bocquel F.d 6/8 展覽: 「國際大師雕塑展:阿曼」,現代畫廊,台中,1996年 圖錄: 《阿曼-國際大師雕塑展》,現代畫廊,台中,1996, 彩色圖版,頁17 附現代藝術空間開立之藝術家親筆簽名原作保證書

Ravenel 115


058

JEAN CARZOU

(Armenian-French, 1907 - 2000)

La Chambre bleue

尚.卡魯茲

1979 Oil on canvas 55 x 65 cm

藍色房間

Signed lower left CARZOU in French and dated 79 Signed on the reverse CARZOU , titled La Chambre bleue in French, and dated 1979

NT$ 700,000 - NT$ 1,000,000 HK$ 173,000 - HK$ 247,000 US$ 22,300 - US$ 31,800

1979 油彩 畫布 55 x 65 cm 簽名左下:CARZOU 79 簽名題識畫背:La Chambre bleue CARZOU 1979


LA CHAMBRE BLEUE JEAN CARZOU

Born Karnik Zouloumian, Armenian-French artist Jean Carzou

the viewer to speculate about his backstory, while the humanoid

created countless masterpieces throughout his long artistic career.

shape walking towards the small door in the center of the image

Other than oil paintings, he also worked in illustration design and

adds a sense of mystery. Years of experience in stage art and design

stage art. He created illustrations for many great 20th century

have seeped into Carzou’s artistic language, so that even his oil

writers, including illustrations for various Hemingway and Albert

paintings have a strong hand-drawn effect. Like the works of the

Camus’s classic novels.

surrealist master Dali, whom Carzou greatly admired, it is hard to find a tangible reflection of the real world in Carzou’s paintings, but

Carzou was born in the city of Aleppo in northern Syria, to an

they are filled with mysterious imagination.

Armenian family. He created the stage name Carzou from the first syllables of his given name and surname. Even though he changed

亞美尼亞裔法國籍藝術家尚・卡魯茲,原名卡尼克・茲魯曼,在其漫長

his name, his heart never strayed from Armenian traditions, nor did

的藝術生涯中創作佳作無數,除油畫之外,他亦從事插畫設計和舞臺美

he forget his people’s struggles. He was educated in Cairo, before

術的工作。他曾為諸多20世紀最偉大的文學家的作品設計插圖,如海明

going to Paris in 1924 to study architecture. After graduating, he

威、卡繆的多部經典小說的插圖皆出自他的手筆。

started work as a theater decorator, but soon dedicated himself to painting. From 1939 onwards, he held over 100 solo exhibitions

卡魯茲出生在敘利亞北部城市阿勒頗的一個亞美尼亞人家庭。他用自己

across Paris, France, and the rest of the world. In 1976, Carzou’s work

的名和姓的第一個音節為自己取了藝名Carzou。雖改了名字,但依舊心

was featured on France’s stamps, the first contemporary artist to

繫亞美尼亞傳統,不忘族人的困苦與掙扎。他早年在開羅學習,1924年

receive such honor. In 1977, he was elected a member of the Institut

赴巴黎學習建築。畢業後從事劇院裝潢工作,但很快便決心投身繪畫事

de France, Académie des beaux-arts.

業。自1939年起,他舉行過100次個展,展覽遍及巴黎,法國國內及海 外。1976年,卡魯茲的作品被用在法國的郵票上,他成為首位獲此殊榮

Early in his career, Carzou attempted geometric abstraction and

的現世藝術家。1977年,他被選為法蘭西藝術學院院士。

surrealism, but soon gave up and developed his own unique artistic language. Inspired by Freud, he used symbolic elements to

卡魯茲早年嘗試幾何抽象、超現實主義風格,但很快就放棄轉而發展自

recreate dreams. He also published satirical political cartoons in the

己獨特的繪畫語言。受佛洛依德的影響,他採用具有象徵意義的元素

newspaper. Since the 1950s, he had achieved success in both stage

再現夢境。同時為了生計,他曾在報紙上發表政治諷刺漫畫。1950年

design and painting. In 1959, Carzou held his first US solo exhibition

代起,他在舞臺美術設計方面的成就斐然,繪畫方面亦獲得巨大肯定。

in New York. In the 1960s, he created print illustrations for the works

1959年,卡魯茲在美國的首次個人展覽在紐約開幕。1960年代,他為眾

of many famous writers. He also completed a number of excellent

多知名作家的作品製作版畫插圖,眾多優秀的水彩,石版畫,銅版畫等

watercolors, lithographs, engravings, and other works during this

紙上作品皆是在這一時期完成。卡魯茲駕馭材料的能力超群,除了油畫

period. Carzou was a master with different mediums. Other than oil

和紙上作品外,他還廣泛涉獵玻璃,陶瓷,蠟筆等媒材。他在80歲高齡

painting and works on paper, he also used materials such as glass,

時,依然創作出驚世傑作《聖女貞德啟示錄》,他以法國著名歷史英雄

terra cotta, and crayons. When he was in his eighties, he created

為切入點,表現戰爭之殘酷。作品現存於法國沃克呂茲的馬諾斯克禮拜

the stunning masterpiece “Apocalypse of Saint Joan,” showing

堂。

the cruelty of war with the story of the famous French heroine. The painting is now kept in the Chapel at Manosque in Vaucluse, France.

《藍色房間》創作於1979年,帶有卡魯茲的典型風格。藍色和深棕色分 割畫面,畫面平添一絲憂鬱的色彩。牆面的規則線條增強了畫面縱深,

“La Chambre bleue” was created in 1979, with Carzou’s classic style.

草稿線一樣的線條又好似舞臺設計圖紙。前景處的人物採用他的典線條

Blue and dark brown cut through the image, creating a melancholy

堆疊手法,人物輪廓由看似雜亂,實則規整的線條層疊構成。黃色和藍

tone. The regular lines on the wall, like lines on graph paper for

色的交替運用顯得格外引人注目。頭部和脖頸處的紅色為人物的故事增

stage design, add depth to the image. The figure in the foreground

添遐想空間。中景處的人形似向牆內的小門走去,更添一抹神秘色彩。

is depicted with Carzou’s classic technique of overlaying lines, so

多年的舞臺美術和設計經驗滲入他的藝術語言,油彩的作品也帶有強烈

that the silhouette appears messy, when it is actually made up of

的手繪效果。如同他所推崇的超現實主義大師達利一樣,卡魯茲的作品

precise layers of lines. The interchanging use of yellow and blue is

很難以具體的現實去對照,卻處處充滿神秘的想像。

especially striking, and the red on the figure’s head and neck lead

Ravenel 117


L'ARRIVÉE JEAN CARZOU

Armenian-French artist Jean Carzou was born in 1907 in Syria.

on the right side bring a sense of realism to the painting, while

He was educated in Egypt, and left for Paris to further his studies

the figures constructed of tangled lines pull the viewer back to

in 1924, where he enrolled at the Montparnasse Art Academy

the world of fantasy. The winding railway leads the viewer’s gaze

after graduating from architecture school. He began taking part

deep into the image, disappearing in the mysterious dusk. In the

in major art exhibitions across Europe in 1930, and decades of

background a few colors converge to form a poetic scene, and add

artistic achievements have secured him a significant role in the

another element of fantasy to the nostalgic image. The ordered

international art world. In 1953, Carzou was invited to do stage

geometric blocks and messy lines create a sharp contrast, and the

design for Le Loup for “Les Ballets” of Roland Petit and for the

lines and colors build a space shrouded in mystery, leaving the

1954 “Giselle” at Opéra National de Paris. His bold execution

viewer with endless space to imagine.

won him accolades from the art world. He also illustrated novels of renowned writer Ernest Hemingway. His work features strict

法籍亞美尼亞裔藝術家尚.卡魯茲,1907年生於敘利亞。少時在埃及

geometric perspective; he excelled at using intersecting lines to

受教育,1924年赴法國巴黎進修,於建築學校畢業後進入孟巴那斯美

create characters and objects in his work, painting an imaginative

術研究所研習繪畫。他從1930年起就參加各種歐洲重要的美術展覽,

scene with impactful lines and bold use of color. It is hard to

後數十年的藝術成就奠定了他在國際畫壇舉足輕重的地位。1953年,

define Carzou’s style, as his work often walks a fine line between

卡魯茲受邀為羅蘭.貝提的芭蕾舞劇《狼》及1955年為巴黎劇院上演

realism and surrealism. For Carzou, his style was a lonely space,

的著名奇幻愛情芭蕾舞劇《吉賽兒》設計舞臺佈景,大膽的實踐為他贏

interchanging between the two worlds he created: tangible

得美術界盛譽。同時他也是著名作家海明威小說的官方插畫師。他的作

reality and intangible imagination. The two worlds intersect and

品中有嚴格的幾何透視,他善用線條關係勾畫人與物,衝擊性的線條和

converge, creating new meaning.

大膽的用色勾畫出天馬行空的情景。卡魯茲的作品很難以流派界定, 時常游走於現實與虛構之邊界之間。對於卡魯茲而言,他的風格是一個

Carzou’s work is in the collections of many renowned museums,

孤獨的空間。他筆下的兩個世界:具象化的現實和虛化的想像,相互疊

such as Musée d'Art Moderne de Paris, Musée des Beaux-Arts de

加,互文互題,從而產生新的意義。

la Ville de Paris, and Bibliothèque nationale de France. Museums in cities such as Moscow and Cairo also feature his paintings. Carzou

卡魯茲的作品被眾多知名美術館收藏,例如巴黎國立近代美術館、巴黎

was also one of 10 members of the Académie des beaux-arts of the

市立美術館、巴黎國立圖書館;莫斯科開羅等地美術館也收藏了他的佳

Institut de France. Carzou passed away in 2000; his membership in

作。他亦是法蘭西藝術院僅有的10位油畫系終身院士之一,在2000年

the Académie was succeeded by abstract artist Zou Wou-ki in 2002.

去世後,2002年,著名抽象藝術大師趙無極接替了他的位置成為終身

Carzou excelled at creating a dialogue between reality and fiction,

院士。卡魯茲善用畫筆現實與虛幻的對話,畫面充盈著想像力的留白。

and his paintings leave ample space for imagination. Through

他以繪畫的方式對建築學、幾何學和人體學的思考和探索。通過描繪自

painting, he explored architecture, geometry, and human anatomy.

然風景和人物畫像,卡魯茲向人們展現著了一個色彩斑斕的世界。在他

By painting scenery and portraits, Carzou manifested a world

精心營造的想像空間裡遍佈神秘的人物,畫面的主角多是是戰士和女

of gorgeous color. Mysterious figures populate his meticulously

子。畫面主題常給人毀滅和荒蕪之感。然而,在細微之處,也總能發現

crafted imaginative space, where the main characters of his

希望之光。《到站》創作於1985年,延續了卡魯茲的典型風格,作品

paintings are often warriors and women. His images often exude

描繪了一個神秘世界的街景,畫面右側的房子帶著些許現實生活的氣

a sense of destruction and emptiness, yet there is always a ray of

息,前景處的由纏繞的線條勾畫的行人又把觀者帶入奇幻的世界。蜿蜒

hope to be found in the details.

的軌道將視線牽引至畫面深處,路在神秘的黃昏裡消失;遠景處幾種色 彩交融,使得畫面充滿詩意,又賦予熟悉的場景一種幻想的成分。嚴整

“L'arrivée” was created in 1985, a continuation of Carzou’s classic

的幾何塊面與草稿線般的線條反差強烈,線條與色彩共築的空間充滿了

style, featuring a street scene in a mysterious world. The houses

神秘色彩,留給觀者無限的想像空間。


059

JEAN CARZOU

(Armenian-French, 1907 - 2000)

L'arrivée

尚.卡魯茲

1985 Oil on canvas 65 x 81 cm

到站

Signed lower right CARZOU in French and dated 85 PROVENANCE: Private collection, Asia

1985 油彩 畫布 65 x 81 cm 簽名右下:CARZOU 85 來源: 私人收藏,亞洲

NT$ 700,000 - NT$ 1,000,000 HK$ 173,000 - HK$ 247,000 US$ 22,300 - US$ 31,800

Ravenel 119


060

FERDINAND PARPAN (French, 1902 - 2004)

Le Fourmilier

費爾迪南.巴潘

1988 Bronze, brown patina, edition no. 2/8 57 (L) x 10 (W) x 23 (H) cm

食蟻獸

Engraved at the back F. PARPAN , initialed FP , and numbered 2/8 With a stamp of foundry Fondeur Deroyaume PROVENANCE: Galerie Makassar, Paris Acquired from the above by the present owner, circa 1995 ILLUSTRATED: Ferdinand Parpan Sculpteur , les Editions de l’Amateur, Paris, 1989, color illustrated, pp. 110-111 (another cast) Jean-Charles Hachet, Ferdinand Parpan , L'intuition des formes, Somogy éditions d'Art, Paris, 2001, illustrated, no. 50-4, p. 105 & p. 123 (another cast) This painting is to be sold with a certificate of authenticity signed by the artist, issued by Makassar-France; and a certificate of authenticity signed by the artist.

NT$ 750,000 - NT$ 1,100,000 HK$ 185,000 - HK$ 272,000 US$ 23,900 - US$ 35,000

1988 銅雕 棕色銅鑄 版次2/8 57(長)x 10(寬)x 23(高)cm 雕刻簽名尾部:F. Parpan FP 2/8 鑄造工作室鈐印: Fondeur Deroyaume 來源: 馬卡薩畫廊,巴黎 現有收藏者約1995年購自上述來源 圖錄: 《雕塑家費爾迪南•巴潘》,愛好者出版社,巴黎, 1989,彩色圖版,頁110-111(另一鑄件) 尚─查爾斯•亞歇,《費爾迪南•巴潘:形式的直 觀》,紹莫吉藝術出版社,巴黎,2001,圖版,頁 50-4與頁105,123(另一鑄件) 附馬卡薩藝廊開立之藝術家親筆簽名原作保證書;藝 術家親筆簽名之原作保證書


LE FOURMILIER FERDINAND PARPAN

Ferdinand Parpan is a sculptor of figures, animals, musicians, and

entire body on the tree. Looking at the present lot, Parpan simply

religious subjects. Parpan is highly praised for his simplification

outline the body of the anteater with crescent shape, emphasizing

forms of sculptures. When Parpan was young, he learned to sculpt

its elongated muzzle against sturdy tail, precisely expressing its

from his father who was a wood carver and an ornamentalist.

biological traits with its purest forms. Parpan deliberately present

Parpan planned to study at the École des Beaux-Arts in Paris,

these animals in their original state, in turn they allowed people

instead he worked as an apprenticeship mastering engraving,

to look at them in broader aspects and learn more about them in

dry-point etching and modelling at the age of 13 due to World

liberated minds.

War I. Parpan became a well-trained profession given the solid years of apprenticeship, his works are now in the collection of

費爾迪南.巴潘是一位享譽國際的雕塑家,主要以雕刻人像、動物、

Musee d'Art Moderne in Paris and Musee de Vaz-Obervaz in

音樂家和宗教題材相關的著名雕刻家,巴潘精簡流暢的雕塑作品受人

Switzerland.

讚賞。巴潘在年幼時便與從事裝飾藝術和木雕家的父親學習雕刻創 作。生於巴黎的巴潘曾計畫就讀巴黎美術學院,但因為世界一次大戰

Inspired by Egyptian art and Moder nist sculptors, such as

的緣故,在13歲那年轉向雕刻大師拜師學藝,並學習成為銅板雕刻和

François Pompon (1855-1933) and Constantin Brancusi (1876-

製模板師傅。多年的基礎訓練造就了後來傑出的巴潘,至今,巴潘的

1957), Parpan began working with new materials, such as

作品廣為多處美術館收藏,如巴黎的現代美術館,及瑞士的瓦茨美術

marble, ivory, agate, in addition to feature simplified forms and

館。

streamlined curves. Post World War I, Parpan undertook several public commissions to replace works that had been destroyed,

因為受到古埃及藝術和現代主義風格的雕刻家弗朗索瓦.彭朋

he became intrigued by the aesthetics of religious art and

(1855-1933)和康斯坦丁.布朗庫西(1876-1957)的影響,巴潘

incorporated certain aspects of this beauty in his own work. By the

開始實驗以新的媒材,如大理石、象牙、瑪瑙等作創作,並且強調流

1950s, Parpan was widely exhibited in Paris salons, such as the

線型的線條及簡化的形體。世界一次大戰過後,巴潘接受了許多公家

Salon des Independants, Salon d’Autome, Salon de L’Art Libre,

機構的委託,負責修復部分戰後重建的工作,並且接觸到宗教藝術,

etc. Parpan soon received universal acclaim over his refinement of

深深受到宗教藝術之美感動的他取其優處並納入自己的作品當中。到

forms. Parpan went on to receive international exposure after his

了1950年間,巴潘廣為人知,且在巴黎各處沙龍舉辦了無數次展覽,

major solo exhibition held at the Grande Galerie in 1950. He was

在獨立藝術家沙龍、秋季沙龍、自由藝術沙龍等都可見到巴潘的作

honoured with the Prix d’Honneur de la Sculpture in 1965, silver

品。巴潘1950年在巴黎的大畫廊展出重要個展後,從此成為了享譽國

medal from the Ville de Paris in 1972, and Grand Prix d’European

際的知名藝術家。1965年獲頒歐洲雕塑榮譽獎,1972年榮獲巴黎雕

de la Sculpture in Rouen in 1991.

塑獎銀獎,以及1991年的魯昂歐洲雕塑獎。

Parpan has a curious mind that enjoyed the company of animals

巴潘的寓所位於巴黎動物園附近,喜歡研究小動物和大自然的他自然

and the wilderness, having lived close to Vincenees Zoo in Paris,

成了文森動物園的常客。本件拍品《食蟻獸》更是他動物作品系列中

it was a place for him to stop by regularly. “Le Fourmilier“ is one

一件及精緻又精簡的代表作。如果這是一幅水墨畫,或許它只需要畫

of his finest representation of animals sculptures to be shown

上幾筆就能成形。但是這件銅雕製的食蟻獸,是經由藝術家仔細觀察

here. If this were an ink art painting, this could’ve been done with

它的生態作息和棲息地後,賦予它生命力及溫度的一件佳作。食蟻獸

a few strokes, for it to be completed in forms. Yet, this particular

的特徵就是它那長長的舌和圓筒狀的口鼻部位,它有著靈敏的嗅覺,

bronze anteater was based on careful observation of its habitat

和長度足夠盤捲在樹枝上的尾巴,因此必須強而有力的支撐著它們的

and ways of living, given it vitality and warm emotions attached

身軀。此件拍品僅用了月彎形簡單帶出了食蟻獸的流線型的身軀,以

to it. The typical characteristics of anteaters are no doubt with its

及對比出它細長挑剔的舌尖與堅強厚實的尾部,精闢的將食蟻獸的生

elongated muzzle and cylindrical snout; it has a highly sensitive

物特徵表露無遺。因為巴潘特意呈現出動物最原始簡潔的形體,反而

sense of smell, with a tail that is long enough to withhold its

使人能夠以更廣、更自由的方式來認識他們。

Ravenel 121


061

FERDINAND PARPAN

(French, 1902 - 2004)

L'accordéonniste

費爾迪南.巴潘

1994 Bronze, brown patina, edition no. 8/8 44 (L) x 7 (W) x 58 (H) cm

手風琴手 1994 銅雕 棕色銅鏽 版次8/8 44(長) x 7(寬)x 58(高)cm

Signed Parpan in French and dated 1994 With a stamp of foundry Fd d'Art BRIERE LONGJUMEAU

簽名雕刻底部:Parpan 1994 鑄造工作室鈐印:Fd d'Art BRIERE LONGJUMEAU

PROVENANCE: Galerie Makassar, Paris Acquired from the above by the present owner, circa 1995 ILLUSTRATED: Ferdinand Parpan Sculpteur, les Editions de l’Amateur, Paris , 1989, color illustrated, cover page & pp.72- 73, p.156 (another cast) Jean-Charles Hachet , Ferdinand Parpan, L'intuition des formes, Somogy éditions d'Art, Paris, 2001, illustrated, p. 236 (another cast) This painting is to be sold with a certificate of authenticity signed by the artist, issued by Makassar-France.

來源: 馬卡薩藝廊,巴黎 現有收藏者約1995年購自上述來源 圖錄: 《雕塑家費爾迪南•巴潘》,愛好者出版社,巴黎,1989, 彩色圖版,封面與頁72-73,頁156(另一鑄件) 尚─查爾斯•亞歇,《費爾迪南•巴潘:形式的直觀》,紹 莫吉藝術出版社,巴黎,2001,圖版,頁236(另一鑄件) 附馬卡薩藝廊開立之藝術家親筆簽名原作保證書

NT$ 800,000 - NT$ 1,200,000 HK$ 198,000 - HK$ 296,000 US$ 25,500 - US$ 38,200

“L'accordéonniste” is a considered as Parpan’s finest representation

streamlined forms, escaping away from traditional styles. Overall,

of work, as a talented sculptor, Parpan familiarized himself with

this particular work of Parpan fully epitomized the fashionable

all kinds of medium and was able to employ the material at

beauty in the era of the Modern Art periods of the 1920-1930s.

ease. As seen in the present work of “L'accordéonniste,” Parpan conducted this sculpture with a simplest lines, outlining the

此件《手風琴手》可說是巴潘的經典代表之作,作為一位傑出的雕塑

contours of this elegant yet dynamic accordionist. Since Parpan

家,技術純熟的巴潘不僅熟知各式各樣的媒材,掌握其特性,並將其發

was a music enthusiast, as recalled, he found himself fascinated

揮的淋漓盡致。《手風琴手》這件作品,巴潘用了最精簡的線條,勾勒

by an exceptional accordionist at a concert hall one night, Parpan

出樂手動人優美的輪廓。因為巴潘熱愛音樂,據說他因為在某個音樂會

then created an entire series of works based on the subjects of

的夜晚,因為聽到了一位手風琴演奏者精湛的演出,深受感動並且創作

instrument performers, such as violinists, trombonists, harpists, and

了一系列以音樂演奏者為題材的作品,其中涵蓋了提琴家、長號手、豎

accordionists. Looking at the present lot, the face of the accordionist

琴手以及啟發此系列作品的手風琴演奏者。在此件作品中,我們可以見

is omitted, left with the instrument and the sounding feet of the

到手風琴演奏家具體的臉已經被省略掉,只剩下一台手風琴以及演奏家

accordionist in situ. It is likely that the as one become too carried

沉穩的雙腳佇立在那,當樂者和諧地隨著琴鍵一收一和的間奏搖擺,一

away with the sound of music, one would sway with the rhythm of

同陶醉在樂章之中,演奏者已經逐漸地與樂器融為一體,演奏者即是樂

the music, gradually, the accordionist became synthesized with the

器、樂器就是演奏者。巴潘驚人的技巧就在於懂得運用如此簡約優美的

instrument as one harmonized unit as represented in this particular

線條,表達出力與美,以及傳神的力量。此件作品也反映出巴潘所受到

sculpture. Parpan was able to demonstrate power and vitality with

1920至1930盛行法國的裝飾藝術風格影響,強調利用豐富的線條與流線

the use of simple outlines. This particular work of Parpan also

形的表現方式組成有別於以往傳統的形式。總體而言,此件作品是代表

reflected the apparent influence of 1920-1930s Art Deco movement,

了1920至30年代時期,與時俱進且富有現代藝術美感的佳作。

in which there is an emphasis on the use of decorative patterns and


Ravenel 123


062

PAUL AIZPIRI

(French, 1919 - 2016)

L’Oiseau et les roses

保羅.艾斯比利

c. 1960 Oil on canvas 59 x 46 cm

小鳥與玫瑰花

Signed lower right AÏZPIRI in French ILLUSTRATED: Promenade à Paris , Galerie Elegance, Taipei, 2011, color illustrated, p. 12

約1960年 油彩 畫布 59 x 46 cm 簽名右下:AÏZPIRI 圖錄: 《品味巴黎—看懂巴黎的西洋名畫》,愛力根藝術,台北, 2011,彩色圖版,頁12

NT$ 900,000 - NT$ 1,400,000 HK$ 222,000 - HK$ 346,000 US$ 28,600 - US$ 44,600

French artist Paul Aïzpiri is known for his use of brilliant, vibrant

The floral centerpiece is made up of rough patches of color both

color. His inherent optimism and acute color sensation have

concrete and vibrant, while the bird is constructed with just a few

empowered him to create countless works of renown over the

strokes of the paintbrush. Its wings are made up of multiple small

course of his long artistic career. Unlike the profound contemplation

strokes of color, like stained glass in a cathedral. The painting uses

and introspection often found in the works of Nordic artists, what

colors that are lively and bold, reflecting the artist’s classic style.

Aïzpiri’s works reveal are his appreciation of and exaltation in

Layers of rough brushstrokes transform into a flower on the canvas.

the beauty of life. The thick color patches in his early works with

With its supple construction, this painting is a strong decorative

unusual shades of grey are symbolic of the thoughts and aesthetic

piece.

reflections on life during the post-war years. Later, Aïzpiri filled his palettes with brighter colors, and he started to paint his favorite

法國藝術家艾斯比利以其明快鮮豔的色彩著稱,與生俱來的樂觀性格與

themes: circus clowns, ladies, flowers, Venus; rose red, brilliant

敏銳的色彩感,在多年的藝術實踐中創作佳作無數。不同與北歐藝術家

yellow, Mediterranean blue… those were the colors of simplified

的深沉與反思,艾斯比利的作品中更多的是對美好生活的體驗和讚美。

silhouettes. Lines dancing around with light and crisp paces - like

早期作品中特殊的灰鬱色調裡厚實的色塊,流露戰後氛圍下對生命與日

sunlight passing through stain glass - fill the canvas and orchestrate

常生活的思索和美感體驗。隨著其漸漸明亮的調色盤,艾斯比利描繪著

a glamorous mosaic-like picture. Like a curious little child, Aïzpiri is

鍾愛的主題:馬戲團小丑、女人、花卉、威尼斯…,玫瑰紅、明黃、地

always attracted by the dreamy world.

中海藍…勾以簡約化的輪廓線條,耀動晶瑩有如穿透彩繪玻璃灑落的陽 光,形成馬賽克般絢麗的畫面;艾斯比利就像一個充滿好奇心的頑童,

His recent works gravitate toward motifs of children, bicycles,

睜大雙眼睛驚奇地欣賞著夢境般的世界。

airplanes, birds, fish and the sun. Manifestly, a new artistic style is coming into being as the artist’s mind flies and frolics gleefully

近來作品的主題較多地傾向於兒童、自行車、飛機、鳥、魚、太陽等

over the skies of Paris, Saint-Tropez and Venice. The world of

等,新的畫風正在形成,它表現為在巴黎、聖特羅佩以及威尼斯的上空

dreams extends into infinity and is saturated with the artist’s playful

自由地輕舞嬉戲;夢的世界向寬廣處延伸,其中充滿了畫家內心的愉悅

imagination. In a world interwoven with the brightness of color, we

想像。在由鮮豔的色彩所交織而成的艾斯比利的世界裡,我們被陽光滿溢

are gently embraced by the warmth of sunshine, surrounded and

的溫暖柔和地包裹其中,真實地感受到畫家對自然和家人的一顆無比熱

permeated by the artist’s great passion for nature and love for his

愛的心。

family. 1940年代艾斯比利就逐漸在法國嶄露頭角,通過國際展覽展會,他的作

In the 1940s, Aïzpiri became a rising star in France. Through

品逐步走向國際市場,他的作品在日本頗受推崇,並在那裡擁有自己的

inter national exhibitions, his work gradually entered the

美術館。

international market. His paintings are widely celebrated in Japan, where he has his own art museum.

艾斯比利受立體派和表現主義的影響很多。在靜物和肖像作品中表現得 尤為明顯。他將立體派的解構手法與熱烈的西班牙色彩結合,創作了一

Aïzpiri is deeply influenced by cubism and expressionism. This

系列色彩絢麗,構圖豐滿的瓶花作品。《小鳥與玫瑰花》是1960年代

is especially evident in his stills and portraits. He combined the

的一件佳作。畫面的主體花朵花枝由粗獷的色塊組成,形體結實,色彩

deconstruction technique of cubism with vivid Spanish colors,

絢爛。小鳥僅用幾筆勾勒,鳥羽用了多種小的色塊填充,宛若天主教堂

creating a series of vibrant and supple floral arrangement paintings.

裡的彩色鑲嵌玻璃。作品用色活潑大膽,有典型的藝術家風格。筆觸粗

“L’Oiseau et les roses” is one of his masterpieces from the 1960s.

獷,肌理堆疊,花朵躍然畫布之上,構圖飽滿,裝飾感極強。


Ravenel 125


TROIS JEUNES FEMMES SOUS L’ARBRE ANDRÉ BRASILIER

André Brasilier graduated from École des Beaux-Arts in Paris,

a clear blue sky, there we saw two women leaning beside the tree

France, he is currently 87 years old but has long expressed a high

trunk, resting in the shade elegantly and gracefully. These women

level of interest in the field of arts, perhaps it could relate to both of

dressed in beige dresses setting against cerulean sea, making the

his parents being painters. The impeccable skill of Brasilier was built

entire painting harmonious and beautiful. The canvas is saturated

up largely due to over sixty years of practice-make-perfect process.

with paints, yet, the fine touches of brush work fulfilled the purpose

Brasilier was awarded with the first prize of the Prix de Rome in 1953,

of balancing the texture, making the painting rich and subtle

a government grant given to young artists in France to study in

simultaneously. The painting of “3 Jeunes femmes sous l’arbre” is

Rome, at the age of twenty-three. Brasilier stayed at the Villa Medici

composed with serenity and peacefulness, it makes people want to

in Rome for three years. Brasilier is continuously celebrated by the

be right where the painting is, resting by the tree for a while.

international art circles over his skills, he is among one of the most celebrated artists in Europe.

安德烈.布拉吉利畢業於法國巴黎國立高等美術學院,目前已高齡87歲 的他自小就表現出對藝術的熱愛,或許一部分是源自於他雙親都是畫家

In 1988, Brasilier held a retrospective exhibition at Musée Picasso

的緣故,但他純熟的技巧卻是來自於自行累積了長達60幾年的繪畫底

Château Grimaldi in France, followed by a major retrospective

子,並且早在年僅23歲時就榮獲羅馬大獎首獎(1953年)的殊榮,此大

exhibition being held at the State Her mitage Museum in St.

獎是由法國政府頒發給年輕藝術家到羅馬學習的獎學金,而布拉吉利則

Petersburg, Russia and later at Museum Haus Ludwig at Saarlois,

是到了梅迪奇家族在羅馬的家族莊園,進行為期三年的藝術創作。日後

Germany in 2005. The show exhibited the work of Brasilier from

也持續地受到國際藝壇界的肯定。布拉吉利可說是當今歐洲最重要的畫

1950 till 2004, that’s over half a century’s work and time devoted

家之一。

in art. The diversified creation of works presented on the show included book illustrations, stage design and decorations,

1988年布拉吉利曾於法國的昂蒂布畢卡索美術館展出回顧展,並在2005

tapestries, ceramics besides paintings. Brasilier is also one of

年於俄羅斯聖彼得堡冬季博物館舉辦大型回顧展、以及位於德國薩爾

the greatest ceramic artists of the time; his ceramic works were

魯斯的路德維格美術館,此展覽展出了布拉吉利跨半個世紀(1950-

displayed in an exhibition of the Ceramic Museum of Mattlach in

2004)的精彩之作,除了繪畫之外,布拉吉利的創作還包含了書籍插

Germany alongside Picasso, Braque, Chagall and Miro. (You may

畫、舞台設計和裝飾、掛毯、瓷器等。他的瓷器作品也是精美之作,曾

refer to Lot 082 for the work of his ceramic work.)

經和畢卡索、布拉克、米羅、夏卡爾等人一同在德國的梅特拉赫陶瓷博 物館展出。可參閱LOT 082。

Brasilier is fond of painting fine-looking herd of horses, beautiful scenery and figurative paintings, as Brasilier once claimed “One can

布拉吉利最擅長和喜愛畫的主題不外乎有俊美的馬群、優美的自然風光

measure the importance of a painter by his or her ability to portray

和人物,布拉吉利曾表示:「人像畫是能夠判別一位畫家重要性的一項

the human form. ” For Brasilier, the result of the expression of pinkish

指標」,對布拉吉利而言,這些粉色天空、如夢似幻的藍,都是源自於

skies, dream-like color of blue, are due to his passion towards life

他對於生命的熱愛,布拉吉利將感動他的大自然之美記錄下來,但是重

in general. Brasilier draws his inspirations from things he sees as

現在畫布上的並非實景,而是那份激動的感受,大自然的美感動了布拉

interesting, then transcribe his impressions on canvases, this way

吉利,而布拉吉利將那份感受間接的傳遞給更多的人。和諧、構圖、比

more people would feel the innermost of Brasilier’s emotions when

例還有對於情感的表達,都是布拉吉利所追求的關鍵要素。

they see the work. Harmony, proportions, composition, expressions of emotions, these are the key elements to be found in the works of

本次所呈獻的拍品《樹下乘涼的三美女》即是將此要素綜合於一身的佳

Brasilier.

作,在布拉吉利的作品當中,藍色相當常見,多為冷色系的藍,卻在 這幅作品裡讓人感到格外的溫暖,雖是晴空萬里卻能在樹蔭下有一方小

In the present work of “Trois Jeunes femmes sous l’arbre,” an

天地。其中兩位女子輕輕依偎在樹幹下休憩,姿態優雅且氣質出眾,女

excellent work which embodied the combination of the above

子衣著米白色長裙與後方的蔚藍海水相呼應,畫面呈現和諧且美好。布

key elements. The use of blue commonly appeared in the work

拉吉利將顏料填滿了整張畫布,但那細膩的筆觸使其畫面豐富飽滿卻不

of Brasilier, blue being a color that is considered as a cool toned,

厚重,實在是一幅能夠令人放鬆且紓壓的作品,不禁讓人也想置身於其

somehow expressed a feeling of warmth in the painting. Beneath

景,在樹下乘涼一會兒。


063

ANDRÉ BRASILIER

(French, b. 1929)

Trois Jeunes femmes sous l’arbre

安德烈.布拉吉利

c. 1960 Oil on canvas 50 x 65 cm

樹下乘涼的三美女

Signed lower left André Brasilier in French Titled on the reverse 3 Jeunes femmes sous l'arbre in French

約1960年 油彩 畫布 50 x 65 cm 簽名左下:André Brasilier 題識畫背:3 Jeunes femmes sous l'arbre

NT$ 1,000,000 - NT$ 1,500,000 HK$ 247,000 - HK$ 370,000 US$ 31,800 - US$ 47,700

Ravenel 127


064

BERNARD CATHELIN (French, 1919 - 2004)

Roses d’Inde 1981 Oil on canvas 92 x 60 cm Signed lower left Cathelin in French and dated 81 Signed on the reverse Cathelin , titled Roses d’Inde in French, inscribed 8128 , and dated 1981 EXHIBITED: Poem Colors – Bernard Cathelin , Mainichi Newspapers Co., Tokyo, March 3 – June 28, 1994 ILLUSTRATED: Poem Colors – Bernard Cathelin , Mainichi Newspapers Co., Tokyo, 1994, color illustrated, p. 37 Promenade à Paris , Galerie Elegance, Taipei, 2011, color illustrated, p. 58

NT$ 1,700,000 - NT$ 2,600,000 HK$ 420,000 - HK$ 642,000 US$ 54,100 - US$ 82,700

貝 爾納.卡多蘭 萬壽菊 1981 油彩 畫布 92 x 60 cm 簽名左下:Cathelin 81 簽名畫背:8128 "Roses d'Inde" 1981 Cathelin 展覽: 「詩意的色彩-貝爾納.卡多蘭」,每日新聞社,東 京,展期自1994年3月3日至6月28日 圖錄: 《詩意的色彩-貝爾納.卡多蘭》,每日新聞社,東 京,1994,彩色圖版,頁37 《品味巴黎 看懂巴黎的西洋名畫》,愛力根藝術,台 北,2011,彩色圖版,頁58


Ravenel 129


ROSES D’INDE BERNARD CATHELIN

“Roses d’Inde” encompasses broad brushstrokes and a war m colour palette of sweet melodious har mony and artistic charm. It exudes extraordinary romantic nostalgia through the use of a warm palette of amber, beige, yellow and autumn greens, all set against a whitish beige backdrop that delicately compliments the form of the three foliated blossom with soften edges in the backdrop elongating the composition and  the naturalistic form of further delicate florets and leafy sprigs of the bouquet resting elegantly on its vase in the foreground, the sinuous lines defining the shape of the bulbous vase raising to a waisted mid-section from the foot, below the naturalistic arrangement of the bouquet. The present lot features a notable elegant temperament beautifully imbued with the poetic sentiments of Cathelin’s love for beautiful scenery of nature. The artist pays tribute to this wonderful world through his use of colors and means of a semi-figurative form to extenuation the naturalistic beauty of his subject matter, his palettes are extremely rich and often exhibit colors and quantities from the countries he had visited in the past, including Drôme, Mexico, India and Japan. Cathelin’s works are akin to a beautiful Japanese Haiku poem of great poetic sentiments. In retrospect, Bernard Cathelin was born in Paris in 1919. The artist studied at the Ecole Nationale Supérieure des Arts Décoratifs de Paris and further explored on the techniques of painting under the guidance of M. Brianchon.  Bernard Cathelin's painterly approach adopted and inherited the spirit of the French Les Nabis, a group of Post-Impressionist avant-garde artists who set the pace for fine arts during the 1890s in France. Throughout his life, he has maintained a deep-rooted love for his country and especially for Drôme, the homeland of his mother. The artist studied among artists such as Maurice Brianchon and Henri Matisse. His magnificent painting rendered primarily using brushes and palette knives with oil on canvas filled with rich colours and textures to honour his poetic subjects as he travelled extensively around the world in search of inspirations for his artistic productions.


Cathelin has exhibited in the Salon d'Automne, Salon des Tuileries, Salon de la Jeune Peinture among other established galleries globally including the United Kingdom, United States, Switzerland, Canada, Japan and Shanghai. In particular, the Musée de Valence dedicated a retrospective of the artists’ works in 1997. In 2000, the Shanghai Art Museum in China organized a retrospective exhibition presenting 40 years of Bernard Cathelin’s works in celebration of his contributions. Cathelin has received many awards through out the years as an affirmation to his artistic talents. In 1997, the Musée de Valence dedicated a retrospective of the artist’s work. The Shanghai Art Museum in China had organized a retrospective exhibition presenting 40 years of Bernard Cathelin's works in 2000. 此幅《萬壽菊》筆觸大方,運用甜美和諧的暖色調,展現獨特藝術 魅力。畫中融入溫暖的琥珀色、淺米色、黃色及秋意濃厚的黃綠 色,散發無比浪漫懷舊的氣息。米白色背景,與後方三朵柔邊勾勒 的花朵相映襯,使構圖向外延伸。前景則精細描繪花瓶上優雅的花 朵枝葉,以曲線勾勒出渾圓的花瓶,由瓶腳內縮至中段,乘載著自 然插放的花束。這件作品優雅氛圍滿溢,濃濃的詩意展現出藝術家 對自然美景的喜愛。卡多蘭透過鮮活的用色、半寫實的手法,凸顯 題材的自然之美。他的作品色彩豐富,經常擷取過去走訪各國的景 致,融入地方色彩和質地,其足跡遍佈法國德隆省、墨西哥、印 度、日本。卡多蘭的作品就像一首首饒富詩意的俳句。 卡多蘭1919年生於巴黎,畢業於巴黎國立高等裝飾藝術學院,並 追隨布里昂松繼續鑽研繪畫技巧。他的繪畫手法承襲法國納比派精 神,這是一個後印象主義的前衛藝術家團隊,活躍於1890年代。 卡多蘭對祖國根深蒂固的熱愛終生不移,對母親的故鄉德隆更是鍾 愛有加。卡多蘭曾拜師布里昂松、馬諦斯等藝術家門下,作品主要 使用畫筆及畫刀以油彩在畫布上作畫,色彩及質感運用靈活豐富; 他行遍世界各地找尋藝術創作靈感,以畫筆呈現最具詩意的題材。 卡多蘭的作品曾於巴黎秋季沙龍、杜樂麗沙龍、青年畫家沙龍,以 及英國、美國、瑞士、加拿大、日本、中國上海等地國際知名畫廊 展出。其中法國瓦朗斯博物館於1997年為他舉辦回顧展,上海美術 館也在 2000年舉辦卡多蘭回顧展,涵蓋他四十年來的創作。多年 來,卡多蘭獲頒無數獎項,其藝術才華備受肯定。

Bernard CATHELIN, Roses d'Inde des Rebattières , 1972, oil on canvas, 162 x 130 cm Ravenel Spring Auction 2016 Hong Kong, US$108,108 sold 貝爾納.卡多蘭《萬壽菊》1972年 油彩 畫布 162 x 130 cm 羅芙奧香港2016春拍 港幣840,000 成交

Ravenel 131


065

BERNARD BUFFET

(French, 1928 - 1999)

Rue et Église

貝爾納.畢費

1983 Oil on canvas 97 x 130 cm

教堂街景

Signed upper center Bernard Buffet in French and dated on the upper left 1983 This painting is sold with a certificate of authenticity issued by Galerie Maurice Garnier, Paris

NT$ 3,400,000 - NT$ 5,000,000 HK$ 840,000 - HK$ 1,235,000 US$ 108,200 - US$ 159,100

1983 油彩 畫布 97 x 130 cm 簽名中上:Bernard Buffet 標示年代左上:1983 附莫里斯.賈尼耶畫廊開立之原作保證書


"BUFFET WAS AN ECSTATIC PROPONENT OF THE LINE. IN HIS LINES, THE CALLIGRAPHIC ORIENTALISM OF FRENCH MODERNISM IS COMBINED WITH THE HIERATIC EXPRESSIONISM OF A ROUAULT OR MANESSIER AND THE ‘LIGNE CLAIRE’ OF CONTEMPORARY PRINTED ILLUSTRATIONS." – ALEXANDER ROOB 「畢費是線條的狂熱愛好者。在他筆下的線條中,法國現代主義中的東方書法元素、盧奧和馬內西耶受到埃 及聖書文字影響的表現主義,以及當代印刷插畫中的白描線條,全部融為一體。」 – 亞歷山大· 魯博

“Rue et Église” depicts a quiet street view that narrows down

modern perspective on this genius artist, who held so fast to

to further houses in between a church rising to a typical

figurative painting, as a talent who should not lost in time.

conical top on the left and various red and yellow structural

Abstract art may have led the art world for decades in the 20th

buildings with paneled windows. Once again, the crispness

century, but new figurative artists like Buffet also represent

of Buffet’s lines display magnificent technical skill that brings

post-war contemporary art, and deserve their place in history.

forth a sense of melancholy underling the inherent complexity

It remains for others to return them to their fair evaluation.

of Buffet’s aesthetic. “Rue et Église” remains especially melancholically, punctuated with poignant colors that remains

《教堂街景》描繪一處寧靜的景致,街道延伸至遠方屋舍,左側

true to Buffet’s signature style. Buffet had been highly prolific

是一幢典型尖頂教堂,另一側有綴著窗板的紅色和黃色房屋。畢

in his oeuvre with an estimate of over a million canvases and

費再次以俐落的線條展現高超的繪畫技巧,畫中散發的憂鬱氣

an unknown number of drawings and engravings. There were

息,凸顯出畢費美學固有的繁複特徵,《教堂街景》顯得特別陰

no preparatory sketches for his works, he would complete

鬱,沉重哀傷的色彩,是畢費一貫的風格。畢費藝術生涯相當多

them with unearthly precision and worked directly onto the

產,總創作估計達上萬幅油畫,還有不計其數的繪畫及版畫作

canvas, all characterized by the same confident, infallible lines.

品。畢費作畫時不打草稿,直接以超凡精準的筆觸揮灑於畫布,

Furthermore, recent world record for one of Buffet’s paintings

這個特點充分展現在自信十足、無懈可擊的線條上。此外,近期

at auction have lead many to embrace Bernard Buffet as one

畢費的一幅畫作在拍賣會刷新世界記錄,更使眾人將畢費奉為當

of the most interesting and controversial artists of his time.

代最饒富趣味又爭議十足的藝術家。

I n 1 9 7 3 , B u ff e t w a s a w a rd e d t h e L é g i o n d ' H o n n e u r i n

1973年,畢費獲頒法國的榮譽勳位勳章的殊榮,表彰其特殊貢

recognition of his outstanding contributions. At 46 years old

獻。1974年46歲的畢費,入選為最年輕的法蘭西學院美術學院院

in 1974, he became the youngest Membre de l'Académie

士,這項榮譽為終生所有,院士過世後才由學術界賢達推薦另一

des Beaux-Arts. This is a lifelong honor; only when a member

位在世藝術家,此頭銜無疑為法國政府賦予藝術家的最高榮譽的

passes away can another living artist be elected. It is without

肯定。華裔藝術家朱德群和趙無極,都分別在1997和2002年獲得

doubt the highest recognition the French government can

同樣的殊榮,一位是77歲取得,另一位則已是81歲高齡。巴黎市

offer to artists. Chinese artists Chu Teh-Chun and Zao Wou-ki

立現代美術館從分別在2012年和2016年舉辦了畢費的個展,特別

both received the same honor in 1997 and 2002 respectively,

是2016年的回顧展,伴隨著蒙馬特美術館的另一個畢費個展,以

one at the age of 77, and the other at 81. The Musée d'Art

及國際拍賣公司近來締造的新高行情,讓世人以新的時代觀點,

moderne de la Ville held exhibitions of Buffet’s work in 2012

持平看待這位堅持具像繪畫的天才藝術家,才華不應被埋沒。抽

and 2016. The 2016 retrospective exhibition was closely

象藝術故然曾經在二十世紀引領風騷數十年,新具象畫家代表畢

followed by another exhibition at Musée de Montmartre

費也代表著戰後當代藝術的風貌,應有其歷史地位與貢獻,有待

et Jardins Renoir. Along with the new record prices in

後人給予比較公允的評價。

international auction houses, the world has gained a new,

Ravenel 133


066

MAURICE DE VLAMINCK (French, 1876 - 1958)

Vase de fleurs 1909 Oil on canvas 65 x 81 cm Signed lower left Vlaminck in French PROVENANCE: Galerie Taménaga, Tokyo Dimensions Art Center, Taipei Private collection, Asia ILLUSTRATED: Vlaminck , Dimensions Art Center, Taipei, 1992, color illustrated, cover & pp. 41-42

NT$ 5,000,000 - NT$ 7,500,000 HK$ 1,235,000 - HK$ 1,852,000 US$ 159,100 - US$ 238,700

莫 里斯.德.烏拉曼克 白瓷瓶花束 1909 油彩 畫布 65 x 81 cm 簽名左下:Vlaminck 來源: 為永畫廊,東京 帝門藝術中心,台北 私人收藏,亞洲 圖錄: 《自畫像性的繪畫:論烏拉曼克的藝術》,帝門藝術中心, 台北,1992,彩色圖版,封面與頁41-42


Ravenel 135


VASE DE FLEURS MAURICE DE VLAMINCK

The exquisite "Vase de fleurs" is a derivative from the fascinating

significant phrase of transition in Vlaminck’s artistic development.

interlude in the history of modern art from Vlaminck's intensely

This prolific phrase subsequently extended to a fruitful personal

concentrated observation of a still life depiction of a floral arrange

exhibition of larger scale in 1909, the same year that this exquisite

displayed on a white porcelain vessel. The composition is rich

painting was completed. In Vlaminck’s latter artistic endeavors, the

in elements depicting various florets rendered in red, yellow,

artist demonstrated difficulty in accepting Cubism’s rise during the

blur, orange and white that dominate the foreground, amidst the

war in Paris when artistic modernism was undergoing a delicate

luscious leafy sprigs in above the white porcelain vase. The profuse

transition from Fauvism to Cubism in France. In essence, Vlaminck

application of pigment and the sequence of dabs and short streaks

sought to progress beyond a style much like Henri Matisse and

of the florets further define the highlights and dimensionality on

André Derain, all whilst retaining his idiosyncratic and instinctive

the floral arrangement, creating an effect of great optical richness.

manner of the application of paint. In retrospect, Vlaminck had

The compositional elements is further extenuated against a sombre

depicted various still-life in different stages during his various artistic

backdrop enhanced with bold strokes and areas of contrasting

phrases, which reflects the artist’s consistent endeavor in this genre

greenish yellow that grounds the wooden panel on which the

and associated subject matter. It is apparent that Vlaminck had

porcelain vessel set. This mastery in projecting the stark contrast

consistently explored the realms of still-life, whereby many of these

between light and dark in dabs and streaks of colours and the

works are manifestations of his reality or inner emotions in responses

circular curvature of the wooden panel are connotative of space and

to his artistic indulgence during the various phrases of his artistic

brings forth the essential compositional elements in this exquisite

development at a particular point in time.

painting. In this regard, the art historian and critic Jean Selz had once remarked upon the way in which Vlaminck’s “striking contrasts

Nonetheless, "Vase de fleurs" is truly an exceptional work that

of light and shade and introduction of more sombre tones all

represents a significant period of Vlaminck’s artistic endeavor, which

contribute to the harmony of Vlaminck's canvas. ”

parallels with his later works that predicates upon the utilization of a darker more sombre palette imbued with heavy strokes of

The present lot represents a masterful consolidation of form that

contrasting whitish pigments, as epitomized by the present lot.

is both enticing and anchoring. It differs and contrasts with the

Furthermore, it testifies to a distinguished maturity and mastery

artist’s Fauves canvases inspired largely by works of Van Gogh

in techniques derived from a dedicated lifetime of constant

whom the artist remained a key proponent of up until the 1908,

experimentations with different genres of artistic influences that

after which his palette become more monochromatic largely due

ultimately lead to the fruition of a stylistic approach that remained

to the influence and response to the works of Cézanne that he

very dear to the artist’s heart. "Vase de fleurs" is truly a remarkable

had observed at an exhibition, an encounter that constituted a

work, beautifully imbued with Vlaminck’s strident individual


characteristics derived from a vibrant life of experiences from

誠然,《白瓷瓶花束》是難得的佳作,代表了烏拉曼克藝術生涯的一段

being a Violinist, an athlete, a writer, and a truly revolutionary and

重要時期,與後期以幽暗色調為基礎、大量運用對比白色調和沉重筆觸

exceptional artist of the early 20th century.

的作品相呼應。此外,這件作品也展現烏拉曼克純熟精練的繪畫技巧, 經過多方嘗試各種體裁和藝術風格的磨練期之後,最終發展出獨特的個

這幅精緻的《白瓷瓶花束》是現代藝術史上一段精彩的篇章,烏拉曼克

人風格。《白瓷瓶花束》堪稱一大傑作,完美展現烏拉曼克強烈的個人

以白瓷瓶中的花束為題材,觀察入微,構圖元素豐富,前景主要是紅、

特色,淬煉自豐富的人生經驗,他既是小提琴家、運動員、作家,更是

黃、藍、橙、白等各色花朵,映襯著生機盎然的枝葉,以及下方的白色

顛覆二十世紀初期藝壇的卓越藝術家。

瓷瓶。烏拉曼克以鮮活大膽的用色、點壓和短筆觸描繪的花朵,凸顯出 花束及空間感,創造出豐富的視覺效果。進一步烘托花、葉的是深色的 背景,大膽的筆觸加上對比的黃綠色弧線,勾勒出放置瓷瓶的木板。烏 拉曼克巧妙運用點壓和線條,呈現強烈的明暗對比,木板的弧度增強了 空間感,也襯托出這幅精緻作品的構圖主題。關於這一點,藝術史學家 兼藝評家瓊賽爾茲曾經如此讚揚烏拉曼克:「強烈的明暗對比,巧妙運 用幽暗色調,營造了烏拉曼克作品中的和諧氛圍。」 這件作品是一幅構圖形式完整的傑作,既引人入勝又平衡莊重,與他受 到梵谷啟發而創作的野獸派作品已有區別。直至 1908 年以前,烏拉曼 克一直醉心於梵谷的畫風,但後來在一場展覽中邂逅了塞尚的作品,風 格開始大變,用色轉趨單一,這是烏拉曼克極為重要的藝術發展轉折。 這一段密集創作的時期,成果豐碩,最終在 1909 年舉辦了一場較大規 模的個展,此幅精美的作品就是當年所完成。烏拉曼克後期的藝術創 作,展現出對戰爭期間巴黎新興立體派的抗拒之情,當時法國藝壇的現 代主義經歷了微妙的轉型,野獸派逐漸轉向立體派。基本上,烏拉曼克 希望突破與馬諦斯、德安相似的風格,同時維持他個人獨樹一格的直覺 式繪畫手法。回顧烏拉曼克的創作生涯,每個發展階段他都創作了眾多 的靜物作品,他對靜物畫和相關題材的偏好,始終如一;顯而易見,他 對靜物題材的執著,堅持不懈的探索,都是現實景物或內在情感的體 現,反映出他在每個發展階段的藝術執著。

Maurice de VLAMINCK, Nature morte aux fruits et à la baguette de pain , c. 1950, oil on canvas, 50 x 65 cm Ravenel Spring Auction 2015 Hong Kong, US$108,387 sold 莫里斯.德.烏拉曼克《有長棍麵包和水果的靜物》約1950年 油彩 畫布 50 x 65 cm 羅芙奧香港2015春拍 港幣840,000 成交

Ravenel 137


067

BERNARD BUFFET

(French, 1928 - 1999)

Maison au bord du canal 1952 Oil on canvas 81 x 100 cm Signed lower right Bernard BUFFET in French and dated 52 With a seal of the collector and expert Maurice Garnier on the reverse PROVENANCE: Galerie Maurice Garnier, Paris Private collection, Asia This painting is sold with a certificate of authenticity issued by Galerie Maurice Garnier, Paris

NT$ 6,000,000 - NT$ 8,000,000 HK$ 1,481,000 - HK$ 1,975,000 US$ 191,000 - US$ 254,600

貝 爾納.畢費 運河邊的房屋 1952 油彩 畫布 81 x 100 cm 簽名右下:Bernard Buffet 52 畫背收藏鈐印:收藏家與鑑定專家莫里斯.賈尼耶 來源: 莫里斯.賈尼耶畫廊,巴黎 私人收藏,亞洲 附莫里斯.賈尼耶畫廊開立之原作保證書

“PAINTING: ONE DOESN’T TALK ABOUT IT, ONE DOESN’T ANALYZE IT, ONE FEELS IT.” – BERNARD BUFFET 「繪畫,我們不談它,我們不分析它,我們感覺它。」 – 貝爾納.畢費


Ravenel 139


MAISON AU BORD DU CANAL BERNARD BUFFET

Bernard Buffet is perhaps one of the most controversial

most commonplace of French scenery, one will find a highly

French Expressionist painters of the twentieth century; his

authentic and unique personalized approach to seeing and

figurative paintings are enticing in composition. His oeuvre

experiencing the world. In this regards, Buffet has proven

includes still life, figures, animals and leisurely scenes with

time and again, his ability to reinvent banal themes and

references made to concepts of art history, sexuality, popular

transpires them into emotional and gripping masterpieces.

culture, religion and politics. The prolific artist had explored with

Buffet had what many would

lithography, engraving, sculpture,

regard as an interesting life

designed stage sets for the Paris

trajectory, a dedicated painter

Opera’s ballet and worked on

of figures in a world had faced

numerous book illustrations such

with incubus obstacles during

as the Jean Cocteau’s La Voix

the rise of abstraction. A world

Humaine. “Maison au bord du

when the norm was to perceive

c a n a l ” e p i t o m i z e s t h e a r t i s t ’s

P i c a s s o ’s a b s t r a c t i o n a s t h e

distinctively stark, somber graphic

future of art in France, where

style of heighten optical illusion,

B u ff e t ' s f a c i l e f i g u r a t i o n w a s

depicting several isolated and

seen as a throwback to an art

structurally simplistic windowless

world. In essence, Buffet entered

houses amidst elongated slender

the artistic scene as an aspiring

trees, its reflection quietly

shining star that later became

appearing on the motionless

a social phenomenon and

canal set alongside the houses

subsequently diminished to a

h o r i z o n t a l l y. T h e c r i s p n e s s o f

Bernard Buffet at work in his studio, Paris in 1958

symbol of bourgeois ignorance

B u f f e t ’s l i n e s a l w a y s d i s p l a y

畢費在畫室作畫,1958年攝於巴黎

of over-commercialization in the

technical skill that brings forth

past that embellishes Buffet’s

a sense of melancholy that

unique cinematic life story. In retrospect, Buffet studied at

underlies the inherent complexity of Buffet’s aesthetic.

the prestigious Académie des Beaux Arts at age fifteen and

“Maison au bord du canal” is another remarkable work from

worked in the studio of painter Eugène Narbonne while

the fifties that remains especially melancholically poignant

he was a student. He exhibited his first self-portrait at the

and true to Buffet’s signature style, all the while portrayed

“Salon des Moins de Trente Ans“ of Galerie Beaux-Arts in

the artist’s ability to reinvent himself time and again through

1946 and gained recognition in the post-war Paris art scene

his work. The fifties saw Buffet reached vertiginous heights

as the co-winner of the Prix de la Critique in 1948, just a

of fame, as he became part of the nouvelle vague of post-

couple of weeks prior to his twentieth birthday. The artist’s

war France, essentially deemed as youthful talent that

first solo exhibition followed the following year in December

contribute to the promise of renewed French dominance in

at the Art Impressions bookstore in Paris subsequently.

the artistic and cultural world. In Buffet’s works, even in the

Since 1949, Buffet had held annual exhibitions, which were


subsequently organized around a central theme. In the

畢卡索的抽象藝術視為法國藝術的未來,而畢費的具象藝術則是

1950s, Buffet settled with his lover Pierre Bergé in Provence,

對過去藝術世界的回顧,畢費以前途無量的閃亮新星之姿進入藝

the impresario who would later leave Buffet in 1958. By

術界,名噪一時炙手可熱,而後又被貶為中產階級對昔日過度商

then Bernard Buffet had a castle in the South of France, an

業化的象徵,這些經歷造就了畢費戲劇性的人生故事。畢費十五

island and a Rolls Royce. He also had a major retrospective

歲進入知名的法蘭西藝術院,求學時代也在畫家納伯恩的工作室

at the Galerie Charpentier, a distinguished honor for a

見習。1946年他的第一幅自畫像在美術畫廊的30歲未滿的畫家

young painter. Buffet was to become a member of the anti-

沙龍展出,贏得戰後巴黎藝術圈的肯定,1948年在20歲生日之

abstraction group L'homme Témoin, a group of proponents

前兩週獲頒藝評獎殊榮。隔年12月畢費在巴黎藝術印象書店舉辦

for representational art at a time when abstraction began to

首次個展,自1949年起,畢費每年固定舉辦一場以特定核心主題

gain predominance. Buffet had an extremely prolific career

策劃的畫展。1950年代畢費與情人貝爾傑定居於普羅旺斯,身兼

and has painted over 8,000 works, it is apparent that recent

經紀人的貝爾傑後於1958年離開畢費,那時他在南法已擁有一座

widespread resurgence of interest in the artist’s work has

城堡、一座島和一輛勞斯萊斯。畢費也曾於夏邦提耶畫廊舉辦一

led to new heights and world record for one of his paintings

場盛大的回顧展,在當時對於一位年輕畫家實為難得的榮耀。畢

at auction of Bernard Buffet, one of the most controversial

費曾經加入反抽象主義團體「見證人」,在抽象主義開始主導藝

artists of his time.

術圈時,極力擁護表現藝術。畢費藝術生涯產量驚人,創作多達 8000多件;近年各界再度關注畢費的作品,這位備受爭議的藝術

畢費堪稱二十世紀最具爭議的法國表現主義畫家之一,他的具象

家,有一幅畫作更在拍賣會中創下新的世界紀錄。

繪畫構圖迷人,作品涵蓋靜物、人物、動物、閒暇景致,也常常 涉及藝術史、性別、流行文化、宗教、政治等概念。身為產量豐 富的藝術家,畢費涉獵的藝術形式包括平板印刷、版畫、雕塑, 更曾為巴黎歌劇院的芭蕾演出設計舞台布景,並為考克多的《人 聲》等書畫插圖。《運河邊的房屋》一畫帶有藝術家一貫的陰鬱 沉重風格,呈現拉長的視覺幻像,幾幢結構極簡、沒有窗戶的 房舍,座落在細高的樹木之間,房屋的倒影安靜浮現在靜止的運 河水面。畢費一向以俐落的線條展現其繪畫技巧,畫中散發的憂 鬱氣息,凸顯出畢費美學固有的繁複特徵。《運河邊的房屋》是 畢費在 1950年代的傑作,畫中憂傷沉重的氛圍展現他一貫的風 格,同時也反映藝術家不斷求新求變的長才。畢費在1950年代 達到空前的名氣巔峰,成為戰後法國新浪潮的中堅份子,足以帶 領法國重返藝文世界主導地位的青年才子。在畢費的作品中,即 使是最平凡的法國本土場景,都可發現他真實而獨一無二的視角 和世界觀,為平淡無奇的主題注入新生命,轉化為精湛動人的傑 作。 在眾人眼中,畢費的一生豐沛精彩,他生在抽象派興起的年代卻 致力於創作具象作品,勢必面對種種阻礙。當時的藝術界普遍將

Bernard BUFFET, Le revolver , 1949, oil on canvas, 46 x 65 cm Ravenel Spring Auction 2013 Hong Kong, US$77,320 sold 貝爾納.畢費《左輪手槍》1949年 油彩 畫布 46 x 65 cm 羅芙奧香港2013春拍 港幣600,000 成交

Ravenel 141


068

ANISH KAPOOR

(Indian-British, b. 1954)

Sky Mirror, Wine 2008 Stainless steel and paint Diameter: 140 cm

NT$ 30,000,000 - NT$ 40,000,000 HK$ 7,407,000 - HK$ 9,877,000 US$ 954,800 - US$ 1,273,100

安 尼詩.卡普爾 天空之鏡—酒紅 2008 不鏽鋼 漆 直徑:140 cm


Ravenel 143


THE MONUMENTAL SCULPTURAL ART OF KAPOOR

Anish Kapoor is one of the most influential sculptors

enticing the viewer to the boundless realms of his

of his generation who has worked in London since the

own imagination. Since 1995, Kapoor has worked

1970s and changed the perception of contemporary

with the highly reflective surface of polished stainless

sculptural art through his mind-bending sculptures.

steels. The concave or convex mirrored surface of

He maneuvers between vastly different scales and

the elliptical stainless steel bend the reflected spaces

across various series of public sculptures that are both

and its surrounding architecture. It addresses notions

adventurous in form and in engineering. The resulting

of interiority and exteriority and the psychological

visual and psychological experiences draw its viewers

states that accompany the movement of bodies in

into the artist's poetic sculptural language. “Sky

space due to their relative proximity to the work.

Mirror, Wine” offers a dazzling experience of light

Kapoor installed Sky Mirror at Rockefeller Center, 35-

and architecture, presenting its viewers with a vivid

foot in diameter and weighed 23 tons. This three-

inversion of the reflective image from the mirror’s

story stainless steel sculpture reflected the New York

wine color concave surface. Anish Kapoor’s geometric

skyline and in the words of Kapoor, it brings "the sky

or biomorphic sculptures of the 1980s were often

down to the ground."

monochromatic and brightly coloured, composed of simple materials such as limestone and other

Kapoor studied at Hornsey College of Art and

naturalistic materials in curved form. In the late 1980s

subsequently completed postgraduate studies at the

and 1990s, Kapoor was particularly acclaimed for his

Chelsea School of Art in London. He represented

explorations on matter and non-matter, specifically

Great Britain at the XLIV Venice Biennale in 1990

evoking the void in both his ambitious installations

where he was awarded with the Premio Duemila

and freestanding sculptural works.

and was awarded with the prestigious Turner Prize in 1991. In 2002, the artist received the Unilever

K a po o r has wo rked wi th a pl ethora of me diu m

Commission for the Turbine Hall at Tate Modern and

including works composed of stretched or deflated

most recently received an honorary doctorate from

PVC skins, pigmented stone with carved recesses for

the University of Oxford in 2014. Anish Kapoor has

instance. Many of his sculptures seem to disappear

had exhibitions in leading museums and galleries

into the ground or distort the space around them as

worldwide. He has recently exhibited in the Jewish

it eventually recedes into the distance. In essence, his

Museum and the Tolerance Center, Moscow (2015);

sculptures ventured into ambitious manipulations of

The Chateau de Versailles, Versailles (2015); The

form and space, where the protrusions and voids all

Sakip Sabanci Museum, Turkey (2013); The Leeum,

summon up feelings of the metaphysical opposites of

Samsung Museum of Art, Seoul (2012); Grand Palais,

presence and absence, concealment and revelation,

France (2011) among other venues.


卡普爾是當代影響力最鉅的雕塑家之一,1970年代起

卡普爾畢業於英國弘賽藝術學院,之後就讀倫敦切爾西

活躍於倫敦,透過他驚豔出色的雕塑作品,改變了世人

藝術學院研究所;他曾代表英國參加1990年第44屆威尼

對當代雕塑藝術的概念。他擅長駕馭各種規模的創作,

斯雙年展,獲得P re m i o D u e m i l a獎項,1991年贏得極

作品涵蓋眾多的公共雕塑系列,在形式和工程上都走在

負盛名的透納獎殊榮。2002年,卡普爾接受聯合利華委

時代前端,他的作品帶來獨特的視覺及心理體驗,引領

託,為倫敦泰德現代美術館渦輪廳創作,2014年獲頒牛

觀賞者進入藝術家饒富詩意的雕塑語境。《天空之鏡–

津大學榮譽博士。卡普爾曾於全球各大美術館及藝廊舉

酒紅》營造出炫目的光影和建築體驗,透過酒紅色圓弧

辦展覽,近期他的作品曾展出於莫斯科猶太博物館及寬

鏡面,將生動錯置的反射畫面呈現在觀眾眼前。卡普爾

容中心(2015)、巴黎凡爾賽宮(2015)、土耳其哲薩

於1980年代創作的幾何或生物型態雕塑,多選用鮮艷

基普薩博物館(2013)、首爾三星美術館(2012)、巴

單色,以萊姆石等簡單素材搭配彎曲的自然素材。到了

黎大皇宮(2011)等重要展覽場館。

1980年代後期、1990年代,他對物質及非物質的探索名 噪一時,尤其是關於虛空,常用在他的大型裝置和獨立 式雕塑作品。 卡普爾曾大量嘗試各種創作媒介,包括延展或洩氣的 PVC塑膠布、刻有凹槽的彩色石頭等。他的許多雕塑作品 給人逐漸消逝在遠方之感,彷彿逐漸隱沒於地面或扭曲 四周的空間,這些作品大膽把玩形式與空間,作品的凸 出部分和虛空,創造出存在與缺席、掩蓋與顯現等形而 上的對立,引領觀眾進入卡普爾無邊無際的想像國度。 1995年起,卡普爾開始運用磨光不鏽鋼的高反射面,橢 圓不鏽鋼凹凸圓弧鏡面扭曲了反射空間及周遭的建築, 這樣的創作手法展現出內部與外部概念,以及隨著身體 在空間移動、改變與作品的相對位置而起伏的心理狀 態。卡普爾在紐約洛克斐勒中心創作了直徑35呎、重達 23公噸的《天空之鏡》,這座三層樓高的不鏽鋼雕塑裝 置藝術,反射出紐約的天際線,用卡普爾的話說,「將

Anish KAPOOR, Sky Mirror, Red , 2007, stainless steel and lacquer, 274 x 290 x 146 cm, Installation view at Kensington Gardens, London 安尼詩・卡普爾 《天空之鏡—紅》2007 不銹鋼 漆 274 x 290 x 146 cm 倫敦肯辛頓花園裝置一景

天空帶到了地面」。

“I THINK I AM A PAINTER WHO IS A SCULPTOR… FOR ME THE TWO THINGS HAVE SOMEHOW COME TOGETHER, SO THAT I AM MAKING PHYSICAL THINGS THAT ARE ALL ABOUT SOMEWHERE ELSE, ABOUT ILLUSORY SPACE.” – ANISH KAPOOR 「我自認是一個身兼雕塑家身份的畫家……對我來說這兩件事是相輔相成的,所以我創作的實 體作品都是關於某個地方或幻想空間。」 – 安尼詩 ・ 卡普爾

Ravenel 145


069

ANDRÉ MASSON

(French, 1896 - 1987)

Minotaur II Conceived 1944; casted circa 1986 Bronze, brown patina, edition no. 4/8 28 (L) x 20 (W) x 21.5 (H) cm Engraved on the right shoulder AM , numbered 4/8 With a stamp of the foundry F. BRUSTOLIN VERONA ILLUSTRATED: André Masson: General Catalogue of the Sculptures , Marisa Del Re Gallery / Ⅱ Quadrante Edizioni, Turin, 1988, color illustrated, p. 117, no. 21 (another cast illustrated p. 87) This work is recorded in the archives of the Comité André Masson.

NT$ 550,000 - NT$ 850,000 HK$ 136,000 - HK$ 210,000 US$ 17,500 - US$ 27,100

安 德烈.馬松 牛頭II 構思於1944年,鑄造於1986年 銅雕 棕色銅鏽 版次4/8 28(長)x 20(寬)x 21.5(高)cm 雕刻簽名右臂:AM 4/8 鑄造廠鈐印:F. BRUSTOLIN VERONA 圖錄: 《安德烈.馬松—雕塑作品目錄》,瑪麗莎.德.瑞畫廊/昆德藍特Ⅱ出 版社,杜林,1988,彩色圖版,頁117,編號21(另一版次印於頁87) 此件銅雕資料已登錄於安德烈.馬松基金會


Ravenel 147


070

RICHARD TEXIER

(French, b. 1955)

La Trajectoire du Poisson

理查.泰西爾

1996 Bronze and wood, unique, 1/1 33.5 (L) x 10.5 (W) x 40.5 (H) cm

魚的痕跡

Signed on the base R. Texier in French, titled la trajectoire du poisson in French, and dated 1996 PROVENANCE: Private collection, Asia

NT$ 550,000 - NT$ 850,000 HK$ 136,000 - HK$ 210,000 US$ 17,500 - US$ 27,100

1996 銅 木;單一件 33.5(長)x 10.5(寬)x 40.5(高)cm 簽名底部:R. TEXIER La trajectoire du poisson 1996 來源: 私人收藏,亞洲


LA TRAJECTOIRE DU POISSON RICHARD TEXIER

"RICHARD TEXIER, LE PEINTRE QUI FAIT VOLER LES POISONS." – ZAO WOU-KI 「理查•泰西爾是一位能使魚飛在空中的畫家。」– 趙無極

Richard Texier is an internationally acclaimed Surrealist artist in

as drift wood, rusty iron, compass for navigation, etc, then utilize

the contemporary art scene. Since 1995, he developed a good

them in creating something more meaningful. In a recent interview,

relationship with the Chinese born French abstract artist, Zao Wou-

Texier mentioned: “To be an artist, is to invent a magic thought

ki, whom have encouraged Texier to explore a new horizon in China.

process whose goal is to express a singular vision of the world.”

However, when Texier decided to leave for Shanghai in 2004, Zao

Indeed, Texier was able to create a new agenda with communicate

has passed away in the April of that same year. Even so, he marked

the reflection of the artist’s emotions and feelings to a greater

the words of Zao Wou-ki, and continued to glorify the essential

population.

oriental elements through his approaches. Texier is a painter, a sculptor, and a Ph.D. with double-major degrees in architecture and

理查•泰西爾是目前當代藝術最傑出的超現實主義藝術家之一,1995年

plastic arts. Texier’s works are widely exhibited at Centre Pompidou,

與華裔法籍抽象藝術家趙無極先生熟識後成了忘年之交。趙無極鼓勵他

National Museum of Luxembourg, National Museum of Taiwan, and

到中國發展,然而一直到2004年泰西爾才決定到上海發展,趙無極在

many more, with his most recognized works made in bronzes.

同年的四月份離世,儘管如此,他將趙無極的話銘記在心,持續將東方 的元素以他的方式發揚光大。泰西爾是畫家、也是雕塑家,更是ㄧ位擁

Texier is also fascinated with the mysterious, the magnificence of

有建築學和造型藝術雙學位的博士。享譽國際的泰西爾在法國龐畢度中

the cosmos, astronomy, which are also present in his works. Upon

心、盧森堡國家美術館、國立台灣美術館等地皆辦過他的展覽,而他最

Texier’s arrival in China, new inspiration was added to his work,

廣為人知的創作媒材則是以青銅器著稱。

such as the Han dynasty bronze works, with the mixture of mythical beasts and tomb guardians, a hybridization of the Surrealist of the

由於泰西爾對於天文學及外太空有著無限的好奇,他的作品中也經常反

West coincided with the mysterious side of the East, Texier was able

映出對宇宙奧妙探索的影子。泰西爾到了中國後,他的作品開始出現混

to create hybridized works in harmony and appreciated by all. As

搭風格,可能是受到了漢代青銅器的啟發,他結合了神話動物和神獸造

such, his first solo exhibition was held in Shanghai Museum of Fine

型的護神像,加上原本就屬超現實風格的他,中西混搭的創作並不突兀

Arts in 2005 on the topic of East/West. Texier’s works are also in the

反而獲得讚賞。2005年在上海美術館便以西/東為主體替他舉辦個展。他

collection of Museum of President Jacques Chirac in Sarran, House

的作品更被法國賈克席哈克總統博物館、俄羅斯現代藝術博物館等重要

of Culture Moscow and other important public collection.

機構收藏。

Zao Wou-ki once describe Texier’s fish as having the ability to fly

趙無極曾形容泰西爾的魚會唱歌、會飛翔。畢竟,生於法國西部的尼歐

and sing, after all, Texier grew up by the Atlantic ocean, born in the

爾,泰西爾從小與大西洋朝夕相處,對於泰西爾來說,海洋的價值在於

western part of France called Niort. For Texier, the value of ocean

它的海平線,孕育了無限的可能及浩瀚的想像力。泰西爾的家人有些是

lies within its horizon, for it bearing the boundless possibilities and

水手,因此湛藍的天際線和大海也成了他常見的創作題材之一。泰西爾

unlimited source of imaginations. Texier comes from a family of

曾在岸邊蓋了一間小屋,稱作浮屋,他將一根根骨瘦如柴的木柱子交錯

sailors; his works are imbued with blue sky and ocean. He once built

而成,準備打樁子,最後成了一間經得起風吹雨打的牢固小屋,足以抵

a small cabin house refered to les pontons by the riverside, he peg

擋海水的腐蝕。有趣的是,在《魚的痕跡》作品中,彷彿可以見到泰西

down the wooden stake one by one, trying to build a house that can

爾當時在建造他的小屋的心情一樣,將釘子和木樁穩固的建在海上,隨

withstand the strong wind and rain. Interestingly, the “La Trajectoire

著外界時而天晴、時而雲霧變化的天,藉由廣闊的天探索這個變化無窮

du Poisson” is executed in the way as if Texier was building his les

的世界,同時思考著未來創作的藍圖。

pontons, cautiously with delicacy over staking the bronze on top of the wood. One cannot help to imagine how Texier was drifting away

這不僅是一件富有詩意情懷的作品,亦是豐富的表現了泰西爾成長背景

with the blue print of his creations when staying inside this cabin, as

及自由揮灑的個性,至今仍活耀於當代藝術領域的泰西爾,從小就懂得

inspired by the changes in the sky.

利用珍惜身邊的事物並且將隨手可得的媒材,如漂流木、生鏽的鐵塊、 航海用的指南針等等加以利用,創作出更多元、引人省思的作品。大海

“La Trajectoire du Poisson” is truly an exception work filled with

蘊育了他的創造力,而泰西爾在近期的訪問中表示,「作為一位藝術家

poetic sense, meanwhile representing Texier’s background in

就應該要有自創且不可思議的思考過程,其目地在於用獨特的視角表達

growing up characterized by his freedom of expressions. Texier is

對於世界的看法」。的確,泰西爾利用藝術做為一個與大眾溝通的新方

still prominent in the contemporary art world, but as a youngstee,

式,表達了藝術家所有的想法、感受等,與世界對話。

he learned to appreciate accessible materials around him, such Ravenel 149


TERRASSE À SORENTE JEAN FUSARO

Born in Marseille, France in 1925, Jean Fusaro studied in the

mountains occupy the space on the upper left, echoing the

École nationale supérieure des Beaux-Arts de Lyon (National

bright color in the foreground. Such an arrangement adds

School of Fine Arts in Lyon). His exceptional gift in painting

unexpected verve to the whole picture. To pursue a bright and

naturally sent him on the road toward becoming an artist, and

brisk effect in coloration, Fusaro abandons rigid lines to outline

he won various awards, including the Biennale de Menton

the contours. Instead, he adopts careful and fragmented

(Menton Biennale), Prix Fénéon (Feneon Prize) and the Prix de

strokes to delineate the rolling waves. The ships on the ocean

la Jeune Peinture (Young Painters’ Prize). He has been invited to

and the buildings on the other shore are all simplified and

the exhibitions in Paris, Tokyo, New York and various cities since

deformed, giving the image a strongly planar decorative

1950. Fusaro, in his early years, was regarded as an important

aesthetic. Fusaro has played a brilliant concert of colors with his

member of the “Lyon School,” along with A. Cottavoz and J.

brush.

Truphemus. Later, Fusaro and Cottavoz became representative painters of the Parisian Neo-Figurative School. They were

讓.費沙羅1925年出生於法國馬賽,曾就讀里昂高等美術學院。

influenced by Post-Impressionism and the expression of light

與生俱來的天賦使他自然走上藝術家之路,並獲得多項大獎肯定,

in the works of P. Bonnard, a representative artist of Les Nabis.

如:蒙頓雙年展大獎、費內翁大獎及青年畫家大獎。1950年後,

Fusaro, even more than the others, creates directly with white

受邀參加巴黎、東京、紐約等世界各地的展覽。早期與柯達沃茲

to represent the rhythm between light and shadow.

(A. Cottavoz)及杜菲穆斯(J. Truphemus)三人齊為「里昂畫 派」的重要成員,隨後費沙羅與柯達沃茲也成為「巴黎新具象畫

Fusaro is skilled at capturing transient harmony in nature.

派」的代表人物。他們受後印象派和納比派代表藝術家波納爾(P.

Colors, composed by the artist, become the musical notes that

Bonnard)對光學在畫面上的表現的影響,尤其費沙羅,更是利用

form a harmonious quartet with the land, the sun, the air and

白色直接創作,呈現出光影律動之美。

the water. Marvelous landscapes, such as the harbor-side of Marseille, the Venice Canals, the streets of Nice, the Place de

費沙羅擅長捕捉那稍縱即逝的和諧,色彩在他的筆下宛若音符,在

la République in Lyon and the rural beauty of Provence, are

他的指揮下,色彩與光影把大地,陽光,空氣和水轉化為和諧的四

his endless inspiration. Those beautiful views sway along with

重奏。優美的自然風光是他不間斷的靈感源泉:馬賽港邊,威尼斯

his colors, while figures walk alone between those intuitive

運河,尼斯大街 ,里昂廣場及普羅旺斯的小鎮風光等都隨著色彩

lines. The romantic Mediterranean ambience manifests on the

而顫動;人物在隨筆的線條間獨行。地中海的浪漫風情在他的精心

canvas through his careful and exquisite depiction. Employing

描繪之下躍然畫布。用色鮮豔明亮,看似隨意實則精細的筆觸傳達

vivid and bright colors, his strokes appear careless but in fact

藝術家細膩敏感的內心世界。在風格方面,他較多地繼承了法國那

are delicate and refined, reflecting his sensitive and tender

比派的簡化和變形的裝飾風格,強調詩意的現實。他的作品廣受歡

inner world. Fusaro inherits the simplified and deformed

迎,法國巴黎市立美術館,日本山形美術館,日本名古屋美術館及

decorative style of the French avant-garde Les Nabis school,

各地私人藏家皆有收藏。

which stressed the expression of poetic reality in painting. Fusaro’s works are well-acclaimed, collected in the City of Paris

《蘇蘭多露台》描繪了某個海港碼頭寧靜的一瞬。藝術家選取的是

Museum of Fine Arts, the Yamagata Museum, the Nagoya City

俯視角處理畫面:碼頭上的人倚著欄杆遙望海港;湛藍的海面與天

Art Museum, and by various private collectors.

相接,海面上船隻來往,遠景處的樓閣和連綿的山巒占據畫面左上 的空間,與前景處明亮的色彩相呼應,給畫面憑添活潑的氣息。費

“Terrasse à Sorente” depicts a quiet moment at a pier. The

沙羅為追求明快的色彩效果,放棄僵硬的線條輪廓,他用細碎謹慎

artist chooses a downward-looking angle to arrange this

的筆觸描繪出海浪翻滾的效果。海面的行船,隔岸的樓臺皆被簡

painting: People at the pier overlook the harbor against the

化,變形,使得畫面帶有極強的平面裝飾美感。費沙羅用畫筆奏響

railing; the blue sea joins with the sky, while ships shuttle back

一曲美妙的色彩交響。

and forth. The buildings in the distance and the continuous


071

JEAN FUSARO

(French, b. 1925)

Terrasse à Sorente

讓.費沙羅

1990 Oil on canvas 100 x 100 cm

蘇蘭多露台

Signed lower right Fusaro Signed on the reverse Fusaro , titled Terrasse à Sorente in French and dated 1990

1990 油彩 畫布 100 x 100 cm 簽名右下:Fusaro 簽名畫背:Terrasse à Sorente Fusaro 1990

PROVENANCE: Gallery Taménaga, Paris Private collection, Asia

來源: 為永畫廊,巴黎 私人收藏,亞洲

This painting is to be sold with a certificate of authenticity signed by the artist.

附藝術家親筆簽名之原作保證書

NT$ 550,000 - NT$ 850,000 HK$ 136,000 - HK$ 210,000 US$ 17,500 - US$ 27,100 Ravenel 151


VASE DE FLEURS ET COUPE DE FRUITS CHARLES DUFRESNE

Charles Dufresne was a French painter, sculptor and designer of the

查爾斯.杜弗萊乃19世紀出生的法國畫家,雕刻家,設計師。出身漁民家

19th century. Born in a fishing family, he left school early and became

庭,早年因家貧,棄學做雕刻工學徒。後進入綜合藝術學院學習,師從雕刻

an apprentice in sculpture due to poverty. He then entered an academy

師學習藝術獎牌製作。後因興趣使然, 投身繪畫,自學成才,早期主要創

of arts to learn the production of art medals from master sculptors. Out

作多以咖啡廳音樂會和馬戲團為主題。1910年他獲北非獎,借此機會赴北

of interest, he plunged into the art of painting and learned the skills by

非法國殖民地阿爾及利亞兩年。旅居海外的生活以及北非當地獨特的文化,

himself. Most of his early works center on café music performances and

為杜弗萊開啟了另一扇藝術之窗。他醉心於異域風情和抒情詩般的美好,

circuses. Awarded the Prix de l'Afrique du Nord (North Africa Award)

1911年起他開始創作油畫。這一時期的油彩作品明顯受到立體派藝術的影

in 1910, he grasped this opportunity and moved to Algeria, a colony

響。而在用色和主題方面,受到法國19世紀著名浪漫主義藝術大師德拉克

of France, living there for two years. The experience of living overseas

洛瓦的影響頗深。德拉克洛瓦亦是在1832年的非洲之旅之後開始自己的繪

and the unique culture of North Africa opened another window in

畫上的大轉變,創作了大量異國風情的作品。德拉克洛瓦在色彩上有意識地

art for Dufresne. Infatuated with the exotic and lyrical landscape, he

應用補色對比,恢復了18世紀輝煌色彩的筆致;這樣的風格也在杜弗萊的

began creating oil paintings in 1911. His oils of this time were obviously

作品中有所體現。北非旅行之後,杜弗萊有意識地利用繽紛的色彩,強烈的

influenced by the style of Cubism. The renowned 19th-century

明暗對比,加強作品的表現裡,使得構圖和色彩實現和諧統一。同時他也創

Romantic artist Eugène Delacroix, however, also had great impact

作了大批優秀的非洲風情的佳作,他常用強烈的色彩,以暗淡的棕色和赭石

on Dufresne’s use of color and choice of themes. Delacroix had also

以及簡化的形體來構建畫面。人物畫,尤其靜物畫中結實的形體感和概括的

made a huge breakthrough in painting after his visit to Africa in 1832,

形象也明顯帶有塞尚的影響。正是憑藉這樣的勤奮和用心,杜弗萊廣采各家

creating a great number of exotic paintings. He consciously employed

之長,融合發展出自己多元且獨特的風格,在法國近代藝術史上留下自己的

contrasting colors and regained the majestic strokes popular in the

印記。英國泰德美術館收藏了他創作於1919年的作品《被獅子攻擊的阿爾

18th century. Such a style is also evident in the works by Dufresne.

及利亞騎兵》。

After his time in North Africa, Dufresne intentionally used colorful and contrasting tones to strengthen the expression of his works, reaching a

靜物作為繪畫主題,經久不衰,其魅力在於,它所涉及的物件可以任由藝術

kind of harmony and unity between the composition and the color. At

家發揮,刻畫。這幅《瓶花與果藍》靜物畫如杜弗萊的許多相同題材作品一

the same time, he also created a large number of fine pieces involving

樣,採用明豔的色彩,強烈的冷暖色調對比。藝術家仔細安排了靜物的位

the landscape in North Africa. He often chose strong colors, such as

置,前景的暖色的水果和冷色調,角度略傾斜的果盤在視覺上產生了活潑之

dark brown and ocher, and simplified forms to construct his paintings.

感。中景的花瓶的冷色與瓶中的葉子色彩自然過渡,起到平衡畫面的作用。

Cezanne’s influence is evident in his figure paintings, and especially in

為保持單個物體的特徵,他用細碎整齊的筆觸來調整背景的色彩,花瓶和水

the solid shapes and generalized images of his still lifes. It was because

果的形體被簡化,變形,從而在物體之間建立緊湊的空間關係。這種精心設

of such diligence and hard work that Dufresne was able to use the

計,又看似的偶然秩序,使人想到塞尚作品中厚重的形體感。

strengths of various art masters and develop his own diverse but unique style, leaving his own footprint in the history of French modern art. His 1919 work “Spahi Attacked by a Lion” is in the collection of the Tate Museum. Still life is an everlasting theme in painting because artists can freely express their skills in the depiction of those objects. As with many of the still life paintings by Dufresne, the artist also employs vivid coloration and makes use of the strong contrast between cool and warm colors in “Vase de fleurs et coupe de fruits.” The artist has carefully arranged the position of the still life, forming a slight imbalance between the fruits in warm colors in the foreground and the slightly tilted basket in cool colors. In the middle ground, however, the cool tone of the vase and the colors of the leaves step up to balance the whole painting. To maintain the characteristics of each object, the artist has adjusted the color of the background with fine but orderly strokes. The shapes of the vase and the fruits are simplified and deformed, which builds a close spatial relation between the objects. Such careful design, which resembles accidental disorder, reminds one of the heavy forms in the works of Cézanne.

Charles DUFRESNE, Spahi Attacked by a Lion , 1919, watercolour and gouache on paper, 40.6 x 51.5 cm, collection of Tate Museum, London 查爾斯.杜弗萊《被獅子攻擊的阿爾及利亞騎兵》1919 水彩 水粉 紙本 40.6 x 51.5 cm 倫敦泰德美術館館藏


072

CHARLES DUFRESNE

(Charles Georges DUFRESNE, French, 1876 - 1938)

Vase de fleurs et coupe de fruits

查爾斯.杜弗萊

Oil on canvas 92 x 73 cm

瓶花與果藍

Signed lower right Dufrense in French PROVENANCE: Dimensions Art Center, Taipei Private collection, Asia This painting is sold with a certificate of authenticity issued by Robert Martin (a member of syndicat français des experts professionnels en oeuvres d'art).

油彩 畫布 92 x 73 cm 簽名右下:Dufrense 來源: 帝門藝術中心,台北 私人收藏,亞洲 附羅伯特.馬丁開立之原作保證書(法國藝術 品鑑定專家機構成員)

NT$ 500,000 - NT$ 750,000 HK$ 123,000 - HK$ 185,000 US$ 15,900 - US$ 23,900 Ravenel 153


SOLOBREÑA, ESPAGNE YVES BRAYER

“Solobreña, Espagne” testifies to Brayer’s love for Southern

Charpentier, faubourg Saint-Honoré in Paris, the reception was

Spain as it depicts the daily lives of the local as they went on

positively received for the young 27-year-old painter. In 1940

with their daily chores. An adult tending to her child, a woman

Brayer settled in Cordes sur Ciel in the department of Tarn. When

beautifully dressed in a pink dress walking amidst men leading

he returned to Paris in 1942, Jacques Rouché appointed Brayer

their domesticated animals with cargos as a man walks out

costume-and-set designer for a ballet at the Opera de Paris. It is

from his dwelling, all set against a complex structures beneath

at this very same place where a museum dedicated to his work

the mountainous mountain tops. In retrospect, Spain, Italy,

would be opened, in 1960.

Provence and Camargue remained Brayer preferred location for his landscape painting. The composition is beautifully adorned

布瑞爾的《西班牙風景》描繪西班牙南方居民的日常生活,充分展現

with various variations of blue to rendered the sky and the

出畫家對家鄉的情感。畫中有一位母親照料著孩子,一位穿著粉紅色

pebbled ground. The memorizing Spanish orangey red roofs

洋裝的女子,前後各有男子騎著驢趕著馬,還有一名男子剛走出家

tops juxtapose against the bright yellow door and window frames

門,在兩排建築盡頭是綿延的群山。西班牙、義大利、普羅旺斯、卡

and the walls. The greenery the mountains balances and create

馬爾格,都是布瑞爾最喜愛的風景畫取景地點。此幅作品以深淺多變

harmony. It contrasts with Brayer’s Italian period, which he would

的藍色,展現天空及鵝卵石地磚,加上典型的西班牙橙紅屋頂、鮮明

frequently utilize palette of terra cotta reds and ochers and

的黃色門窗點綴於白牆。翠綠的植披與山嵐,細緻平衡,使畫面完美

diversifies his palettes with further shades of greens, pale yellow

和諧。這件作品與布瑞爾義大利時期的風格形成對比,當時他常用的

and several different tonal variations of shades of blue.

是瓦紅色及褐色系,綴以綠色、淺黃及不同色調的藍色,以增加色彩 變化。

In retrospect, Yves Brayer bough up in Bourges, the artist set out for the academies in Ecole des Beaux-Arts upon his arrival

布瑞爾生長於法國布爾日鎮,1924年赴巴黎法國美術學院就讀,深受

in Paris in 1924 and was encouraged by masters such as Jean-

路易・弗朗等大師鼓舞。布瑞爾求學時期即備受矚目,作品曾展出於

Louis Forain. The artist’s acclaim began early on when his works

秋季沙龍及獨立沙龍。1927年他獲得獎學金赴西班牙進修,西班牙從

were displayed at the "Salon d'Automne" and the "Salon des

此在他心中佔有一席之地,而在馬德里市普拉多美術館觀摩的經驗,

Indépendant" while he was still a student. Yves Brayer was

更深深影響了他日後的藝術發展。1934年,布瑞爾集結其作品,展出

awarded a scholarship and headed for Spain in 1927, this place

於巴黎夏邦提耶畫廊,贏得各界好評,當時他年僅27歲。1940年,

remains integral as his experience at the Prado museum would

布瑞爾移居於法國南部塔恩省的謝河畔科爾德村,1942年重返巴黎,

subsequently have a great impact on his artistic developments.

受魯謝指派擔任巴黎歌劇院芭蕾服裝布景設計師。1960年謝河畔科爾

In 1934, he assembles his work for an exhibition at the Galerie

德村為布瑞爾成立美術館,專門展示其作品。


073

YVES BRAYER

(French, 1907 - 1990)

Solobreña, Espagne 1962 Oil on canvas 97 x 130 cm Signed lower right YVES BRAYER , titled SOLOBREÑA, and dated 1962 Titled on the reverse SOLOBREÑA ESPAGNE and dated 1962 ILLUSTRATED: Jean-Robert Delahaut, Yves Brayer , Editions Terre d’Europe, Brussels, 1988, color illustrated

伊夫.布瑞爾 西班牙風景 1962 油彩 畫布 97 x 130 cm 簽名右下:YVES BRAYER SOLOBREÑA 1962 題識畫背:SOLOBREÑA 1962 ESPAGNE 圖錄: 尚侯貝.德拉歐,《伊夫•布瑞爾》,歐洲大地出版社, 布魯塞爾,1988,彩色圖版 附藝術家親筆簽名之原作保證書

This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 750,000 - NT$ 1,100,000 HK$ 185,000 - HK$ 272,000 US$ 23,900 - US$ 35,000 Ravenel 155


074

CONSTANTIN TERECHKOVITCH (Russian, 1902 - 1978)

Femme nue dans le jardin

康斯坦丁.德勒柯維奇

Oil on canvas 61 x 50 cm

花園裡的裸女

Signed lower left C. Terechkovitch in Russian

油彩 畫布 61 x 50 cm 簽名左下:C. Terechkovitch

NT$ 850,000 - NT$ 1,300,000 HK$ 210,000 - HK$ 321,000 US$ 27,100 - US$ 41,400

Terechkovitch was born in the suburbs of Moscow, Russia before

adorned above her hair; the necklace in tangerine worn by the lady

moving to Moscow with his family at the age of five. He was awarded

reflects her rosy skin tone. Noticing the brightly colored birds and

with French citizenship in 1942 having fought for the French Army.

flowers painted on both sides of the background, the painting is not

Terechkovitch was brought up in the artistic and culture-surrounded

only elegant but also filled with liveliness. One can detect elements

environments, and was exposed to Impressionist paintings at an

of Impressionist knowledge applied in Terechkovitch’s paintings, in

early age. Terechkovitch was determined to become a painter as his

which there is an emphasis on the capture of lights and shadows,

childhood aspiration. At the age of 15, Terechkovitch was admitted

while trying to transpire the beautiful moment onto his canvas.

to the Academy of Fine Arts in Moscow, but only stayed for three months before the three-year long Russian Civil War broke out by

德勒柯維奇生於莫斯科郊區,五歲時便和家人移居至莫斯科。1939年所

the end of 1917, Terechkovitch joined the Red Army and took on

居法國,替法國出征,在1942年受國家頒發法國國籍。德勒柯維奇自幼

the adventurous peregrination from Siberia, Turkey, the Caucasus

成長於富有豐厚藝術文化的家庭,成長過程中常有機會能欣賞到印象派

then finally to Marseille and Paris in 1920. By this time, Terechkovitch

畫家的作品,因而立志長大後要成為傑出的畫家。德勒柯維奇十五歲時

could finally resume his study in which he enrolled at the Académie

進入莫斯科藝術學院就讀,然而,僅僅入學了三個月後便中斷學業,因

de la Grande-Chaumière in Paris to further his studies in painting, it

1917年底爆發了長達三年的俄羅斯內戰,德勒柯維奇加入了紅衛兵,並

is during this time, he became friends with Moïse Kisling and Pierre

開啟了他長途行軍的旅程,沿途經過西伯利亞、土耳其、高加索地區,

Bonnard, a Post-Impressionist painter, in which Terechkovitch was

最終在1920年到了馬賽和巴黎。此時的德勒柯維奇終於能夠繼續他的

influenced by his artistic expressions.

學程,進入位於巴黎的大茅屋藝術學院習畫,也是在此時期,他和莫依 斯.奇斯林及後印象派大師皮耶.波納爾成了好朋友,其繪畫風格也受

Terechkovitch had his debut show of paintings exhibited at the Salon

到波納爾的影響。

d’Automne in 1925; in the following year, his works were exhibited together with Poetic Realists artists including Raymond Legueult,

德勒柯維奇首次將其畫作展於1925年的秋季沙龍,隔年,他的作品和詩

Roland Oudot at the Galerie Charles-Auguste Girard in Paris. In

意現實主義畫家雷蒙.勒格和羅蘭.奧杜等人一起在巴黎的查爾斯.奧

1948, Terechkovitch became one of the members of the Poetic

古斯特畫廊展出。而德勒柯維奇在1948年左右成為了詩意現實主義派的

Realists group. In the 1930s, Terechkovitch designed costumes for

一員。1930年代期間,德勒柯維奇替蒙地卡羅的俄羅斯芭蕾舞團設計團

the Russian Ballet of Monte Carlo, and married his wife Yvette in the

服,1933年便結識了他的妻子,伊薇特。爾後,伊薇特便成了他畫布上

year of 1933. Yvette soon became his main subject of painting, and

最常出現的主題人物,接著是他的兩位千金,法蘭絲和奈特莉。德勒柯

later his two daughters, France and Nathalie. Terechkovitch favored

維奇喜好繪畫風景、靜物和人物畫,其中烏拉曼克、馬諦斯、布拉克、

landscape, still life and figurative paintings, of the many renowned

杜菲等人都曾成為他的畫布上的嘉賓。

artists included Vlaminck, Matisse, Braque, Dufy have been his guests of portraits.

《花園裡的裸女》以畫家妻子為模特兒,在這幅畫作中,整體畫面雖然 以大面積的灰藍色調佈景,卻與前景和背景鮮豔的顏色形成鮮明的對

The present work “Femme nue dans le jardin” is a portrait of the

比,好似有一道鎂光燈映在女子的臉龐。德勒柯維奇將畫面中的裸女以

artist's wife, with most of the background covered with bluish-

紅色線條勾勒出其優美的輪廓與身形,彷彿有一條紅色的絲綢綴飾在她

grey colors, setting against the splendid colors scattered in the

的秀髮上方、橘紅色的項圈更能襯托出她紅潤柔嫩的膚色,背景左右兩

foreground, as if there is a bean of spotlight projected on the

側繪有色彩鮮明的花和鳥,一切是如此的優雅、亦富有生命力。在德勒

appearance of the madam. Terechkovitch depicts the contours of

柯維奇的畫作中可以看見後印象畫派的技法,例如著重在光影的捕捉與

the lady with red brushstrokes, with the kind of red with silky texture

呈現,把握瞬間流逝的美好景色。


Ravenel 157


075

THÉO TOBIASSE

(Israeli-French, 1927 - 2012)

Le festin de la Madone

提歐.托比亞斯

Oil on canvas, collage 81 x 100 cm

聖母瑪麗亞的慶宴

Signed lower right Tobiasse in French Titled upper right Le festin de la Madone in French PROVENANCE: Galerie Kahnweiler, Paris Dimensions Art Center, Taipei Private collection, Asia ILLUSTRATED: Tobiasse: Voyage vers I'amour et la liberté , Dimension Art Center, Taipei, 1991, color illustrated, p. 13

油彩 畫布 拼貼 81 x 100 cm 簽名右下:Tobiasse 題識右上:Le festin de la Madone 來源: 康懷勒畫廊,巴黎 帝門藝術中心,台北 私人收藏,亞洲 圖錄: 《托比亞斯:航向愛及自由的旅程》,帝門 藝術中心,台北,1991,彩色圖版,頁13

NT$ 460,000 - NT$ 700,000 HK$ 114,000 - HK$ 173,000 US$ 14,600 - US$ 22,300

Théo Tobiasse was born in Israel in 1927. He moved to Paris in 1931 with his Lithuanian parents. From 1942 to 1944, during which Paris was occupied by the Nazi, Tobiasse and his family was forced to hide in an apartment for 2 years. Tobiasse had worked as a graphic designer for advertising for 15 years. In 1961, he won the Grand Prize of Young Mediterranean painting and had decided to fully devote into art. In 1982, he was awarded the Medal of the City of Paris and the Honorary Citizen of the city of the New Orleans. The decoration art "La vie est une fête” which he created for Chapelle Saint-Sauveur in Le Cannet is now a well-known local attraction. His artwork had been collected by Saint-Paul-de-Vence in France, the Esplanade Sephardic Synagogue in Strasbourg, Musée d’art moderne et art contemporain in Nice, and Simon Wiesenthal Center in Los Angeles. Théo Tobiasse died in 2012 in the South of France, Cagnes-surMer, aged 85. 提歐.托比亞斯於1927年出生於以色列,雙親為立陶宛人。在1931年,和家人一同搬遷至 法國巴黎居住。1942至1944年正值納粹占領巴黎時期,托比亞斯和家人在兩年間被迫藏 身於公寓中。在解放巴黎後,托比亞斯成為廣告的圖像設計師,工作時間達十五年。1961 年,他贏得了地中海青年油畫大獎,並決定全心投入藝術創作。於1982年,獲頒巴黎城市 勳章以及美國紐奧良榮譽市民。托比亞斯為勒卡內救世主教堂所作的裝飾藝術《生命即盛 宴》已成為當地景點。他的作品典藏於法國聖保羅德芳斯、史特拉斯堡塞法迪猶太會堂,尼 斯現代與當代藝術博物館以及洛杉磯賽門威森塔爾中心。提歐.托比亞斯在2012年逝世於 法國南方的濱海卡涅,享年85歲。


Ravenel 159


076

CONSTANTIN TERECHKOVITCH (Russian, 1902 - 1978)

Portrait de Mademoiselle Terechkovitch

康斯坦丁.德勒柯維奇

1950 Gouache on paper and mounted on canvas 65 x 50 cm

德勒柯維奇小姐的肖像

Signed lower right C. Terechkovitch in Russian and dated 50

1950 水粉彩 紙本裱於畫布 65 x 50 cm 簽名右下:C. Terechkovitch 50

NT$ 340,000 - NT$ 550,000 HK$ 84,000 - HK$ 136,000 US$ 10,800 - US$ 17,500


077

THÉO TOBIASSE

(Israeli-French, 1927 - 2012)

Les Chanteurs des rues 1974 Oil and texture paper collage on canvas 65 x 54 cm Signed lower right Théo Tobiasse , titled lower left les chanteurs des rues in French PROVENANCE: Christie’s New York, November 5, 1991, lot 121 Private collection, Asia

提歐.托比亞斯 街頭藝人 1974 油彩 拼貼 畫布 65 x 54 cm 簽名右下:Théo Tobiasse 題識左下:les chanteurs des rues 來源: 佳士得拍賣,紐約,1991年11月5日,編號121 私人收藏,亞洲

NT$ 320,000 - NT$ 480,000 HK$ 79,000 - HK$ 119,000 US$ 10,200 - US$ 15,300 Ravenel 161


078

JACQUES BOUYSSOU (French, 1926 - 1997)

Paris Le Canal Saint Martin

傑克.波依素

c. 1980 Oil on canvas 73 x 91.5 cm

巴黎聖瑪丹運河

Signed lower left Jacques Bouyssou in French Titled on the reverse PARIS LE CANAL ST MARTIN in French EXHIBITED: Jacques Bouyssou Solo Exhibition , Dimensions Art Center, Taipei, November 11-30, 1989 ILLUSTRATED: Jacques Bouyssou Exhibition Catalogue , Dimensions Art Center, Taipei, 1989, color illustrated, pp. 68-69

約1980年 油彩 畫布 73 x 91.5 cm 簽名左下:Jacques Bouyssou 題識畫背:PARIS LE CANAL ST MARTIN 展覽: 「法國和諧大師波依素個展」,帝門藝術中心,台北, 展期自1989年11月11日至30日 圖錄: 《傑克.波依素畫輯》,帝門藝術中心,台北,1989, 彩色圖版,頁68-69

NT$ 220,000 - NT$ 340,000 HK$ 54,000 - HK$ 84,000 US$ 7,000 - US$ 10,800

Jacques Bouyssou was born in Honfleur commune, France. He was acquainted with painting masters such us Othon Friesz, Raoul Dufy, Moïse Kisling, and Fernand Léger at his early age. Bouyssou had studied architecture at the Beaux Arts de Troyes. He started to paint at the time when he began to study in Othon Friez’s studio at Academie de la Grand Chaumière in Paris. Bouyssou won the first prize of the Lower Normandy Salon in 1955, the first prize of Deauville in 1965, and the Medal of the City of Paris in 1978. In 1987, Bouyssou was appointed the official painter by the French Navy. His works are widely loved around the world. Bouyssou’s exhibitions had been held not only in European cities, but also in the United States, Brazil, Venezuela, Taiwan, and Japan. 波依素出生於法國北部翁弗勒區域。擅於以乾淨明亮的顏色,描繪水邊景色、 街景的光線與氛圍。波依素自小及熟識奧東.弗里耶茨、莫依斯.奇斯林、費 爾南.勒澤、胡奧.杜菲等繪畫大師。曾在特魯瓦藝術學院學習建築,而日後 至巴黎大茅屋藝術學院、奧東.弗里耶茨工作室時,才開始學習繪畫。1955年 獲下諾曼第沙龍首獎,1965年獲多維爾首獎,1978年獲頒巴黎市勳章,1987 年受法國海軍指名成為官方畫家。其作品廣受喜愛,於歐洲各地以及美國、巴 西、委內瑞拉、台灣、日本等地皆曾展出。


Ravenel 163


079

JEAN JANSEM

(Armenian-French, 1920 - 2013)

La Laveuse Oil on canvas 46 x 61 cm Signed upper left Jansem in French PROVENANCE: Private collection, Asia

NT$ 240,000 - NT$ 360,000 HK$ 59,000 - HK$ 89,000 US$ 7,600 - US$ 11,500

強 .詹森 洗衣婦 油彩 畫布 46 x 61 cm 簽名左上:Jansem 來源: 私人收藏,亞洲

Jean Jansem was an Ar menian-French painter. He was bor n in Bursa, Turkey in 1920. Jansem and his family fled to Greece and then to Paris in his early childhood. In Paris, he attended the Ecole des Arts Decoratifs to study painting. There are two Jansem Museums in Japan, which are located separately in Azumino Nagano and Tokyo, built to celebrate the artist’s contribution. Jansem had been awarded the Knight of the Order of Arts and Letters in 1997, and the Knight of the Legion of Honor in 2003 in France. In 2010, he was awarded the Medal of Honor by the President of the Republic of Armenia. Jean Jansem died in Paris, France on August 27, 2013, aged 93. Jansem’s works have been collected by Museum of Modern Art in Paris, Ennery Museum in Paris, Museum of Fontainebleau; Azumino Jansem Museum in Nagano, Jansem Museum in Tokyo; Moscow Pushkin Museum; and also National Gallery of Armenia in Yerevan. Galerie Matignon in Paris had exhibited “Jansem – 75 years of painting. Retrospective paintings, drawings, sculptures” and “Hommage to Jansem” respectively in 2014 and 2013 to commemorate the artist. 強.詹森是亞美尼亞裔的法國畫家,於1920年出生於土耳其布爾薩。詹森幼年時期 與家族逃離至希臘,之後則定居巴黎,於巴黎高等裝飾藝術學院學習繪畫。日本的 兩間詹森美術館分別設立於長野縣安曇野及東京都,以紀念藝術家的貢獻。詹森在 1997年,獲頒法國藝術與文學騎士勳章,2003年,獲頒榮譽軍團騎士勳章;2010 年,獲亞美尼亞總統頒發榮譽勳章。詹森於2013年8月27日於巴黎逝世,享年93 歲。詹森的作品典藏於巴黎現代藝術博物館、巴黎丹納瑞博物館、楓丹白露宮,長 野安曇野及東京詹森美術館,莫斯科普希金博物館,以及葉里溫的亞美尼亞國家美 術館。馬蒂尼翁畫廊於2014年及2013年,分別展出「繪畫75年-詹森回顧展」及 「向詹森致敬特展」。


Ravenel 165


080

BERNARD GANTNER

(French, b. 1928)

Paysage sous la neige 1969 Oil on canvas 89 x 116 cm Signed lower right GANTNER in French ILLUSTRATED: Promenade à Paris , Galerie Elegance, Taipei, 2011, color illustrated, p. 109

NT$ 260,000 - NT$ 400,000 HK$ 64,000 - HK$ 99,000 US$ 8,300 - US$ 12,700

貝 爾納.甘德納 日出雪景 1969 油彩 畫布 89 x 116 cm 簽名右下:Gantner 圖錄: 《品味巴黎—看懂巴黎的西洋名畫》,愛力根藝術,台北, 2011,彩色圖版,頁109

Bernard Gantner was born in Belfort in eastern France. After his studies in Belfort, Gantner left for Paris in 1945 to study in the School of Fine Arts, during which he had absorbed greatly from great museums in Paris and the city culture. Gantner's was noticed by the renowned art critic Roger Marx in the late 50s. In 1952, Gantner’s work was exhibited in Galerie Saint Placide. He won the Prix de la Critique in 1961. Began in 1970, Gantner's Retrospecticve Exhibition had been held in the Musée des Unterlinden in Colmar, France, the Musée de Sochaux and Musée de Vesoul. In 1993, Le Museé Gantner was founded in Lachapelle-sous-Chaux, the area next to Belfort. Other than Le Musée Gantner, Gantner’s work was collected by Victoria & Albert Musuem, Musée de Strasbourg, Musée des Beaux-Arts de la Ville de Paris and Tokyo Central Art Museum. 出生於法國東部的貝樂福城。在貝樂福城學習後,於1945年前往巴黎,進入美術學 院學習,飽覽巴黎眾美術館及城市藝術文化。50年代後期,其作品即受到著名藝評家 侯傑.馬克思的注意。1952年,作品於巴黎聖普萊希德畫廊的展出,1961年,獲藝 評家獎,1970年起陸續於法國科瑪安特林登美術館、索修美術館、沃蘇勒美術館展 開回顧展。1993年甘爾納同名美術館於家鄉貝樂福城旁的拉沙佩爾蘇紹成立。除了 其同名美術館,作品另典藏於倫敦維多利亞與艾伯特博物館、史特拉斯堡美術館、巴 黎市立美術館、東京中央美術館等。


Ravenel 167


081

PATRICK CORDEAU

(French, b. 1950)

Untitled 1995 Mixed media on canvas 40 x 40 cm Signed lower left Cordeau , initialed P. and dated 1995

NT$ 60,000 - NT$ 100,000 HK$ 15,000 - HK$ 25,000 US$ 1,900 - US$ 3,200

Patrick Cordeau currently lives and works in Issy-les-Moulineaux, France. Cordeau created the intriguing artworks which were initiated from the concept of fence, on wood or canvas with various mixed materials. Cordeau accomplished the exterior decoration for the Musuem of Issy-les-Moulineaux in 1983, as well as a fence work for Vanves salon in 1999. The artist have been creating the scenography for ONYX, the contemporary dance company since 1990. Cordeau had participated in the film “L'homme aux semelles de vent”, which was produced to pay homage to the renown French poet Arthur Rimbaud, in 1991. Cordeau have been exhibited regularly in Issy-les-Moulineaux, Montpellier, Céret, Paris, and Taipei since 1976. 派翠克.果陀目前工作、生活於法國伊西萊穆利諾。藝術家利用多樣複

派 翠克.果陀

合媒材,創作於畫布或木板之上,以「圍籬」為作品理念之濫觴,完成

無題

輕快、饒富趣味的作品。1983年為伊西萊穆利諾的美術館創作戶外裝飾

1995 綜合媒材 畫布 40 x 40 cm

舞團ON Y X舞台設計師。1991年參與向法國著名詩人阿蒂爾.蘭波致敬

簽名左下:Cordeau P. 1995

藝術,於1999年為凡維斯沙龍製作圍籬作品。自1990年起,擔任現代 的電影製作及展覽《風一樣的男子》。自1976年起,於法國伊西萊穆利 諾、蒙貝利耶、塞雷、巴黎及台北等地展開多次個展。


082

ANDRÉ BRASILIER (French, b. 1929)

Voiture à Cheval Ceramic, edition no. 7/15 31 (L) x 12 (W) x 36 (H) cm Engraved on the base André Brasilier in French and inscribed SASSI – MILICIVALLAURIS /EMPREINTE ORIGINALE A. BRASILIER Numbered 7/15

NT$ 80,000 - NT$ 120,000 HK$ 20,000 - HK$ 30,000 US$ 2,500 - US$ 3,800

André Brasilier was born into a highly artistic family in Saumur, in Anjou (Maineet-Loire), France. Throughout his career of over half a century, he strove to establish a distinctive personal style through explorations and experiments in abstract painting and expressionism. Horses, nature, music and women are all subjects he often portrayed. Musical rhythms, movements, chapters and chords have all exerted profound influences on his artistic creation. In 1949, Brasilier entered the École nationale supérieure des Beaux-Arts in Paris. He won the Florence Blumenthal Price in 1952, and the Prix de Rome of painting in 1953. The following year, Brasilier moved to Villa Médicis to study in the French Academy in Rome. In 1960, he won the Villeneuve-sur-Lot Award. In 1988, he received the Médaille de Vermeil distinction granted by the Ville de Paris. Brasilier’s artworks have been widely exhibited around the world since 1959. Brasilier is a gifted artist in many aspects. In addition to easel painting, in 1985 he illustrated stage settings for two plays and designed the performers’ costumes; later on, in 1987, he undertook the creation of mosaic murals. 安德烈.布拉吉利1929年出生於法國昂儒(曼恩與羅亞爾省)索米爾鎮的藝術世 家。在超過半個世紀的藝術生涯中,他致力於抽象繪畫,表現主義以及個人風格的探

安 德烈.布拉吉利

索實踐。馬、自然、音樂和女人都是他經常描繪的題材,作品中展示的節奏感、樂

綠色兩輪馬車

章及和絃對他影響深遠。1949年,進入法國國立美術學院學習。1952年,獲得佛羅

陶瓷 版次 7/15 31(長)x 12(寬)x 36(高)cm 鈐印底部:André Brasilier 陶瓷工作室鈐印:SASSI – MILICIVALLAURIS /EMPREINTE ORIGINALE A. BRASILIER 編號7/15

倫斯-布魯門塔爾獎。1953年,獲得法國國家藝術獎學金繪畫部羅馬大獎,隔年即 以該獎學金前往梅迪奇別墅,留學於羅馬法國學院。1960年,獲洛特河畔新城獎。 1988年,獲巴黎城市頒發紅勳章。布拉吉利是多才多藝的藝術家,除了繪畫外,曾 在1985年為兩部戲劇繪製舞臺背景並設計演員服裝;更於1987年創作鑲嵌壁畫。

Ravenel 169


083

ALEX BERDAL

(French, b. 1945)

Coupe de fruits Bronze with blue and gold patina, edition no. E.A. 23 (L) x 20 (W) x 27 (H) cm Engraved on the bottom BERDAL in French With a seal of the Fonderies de la Plaine Numbered E.A.

NT$ 80,000 - NT$ 120,000 HK$ 20,000 - HK$ 30,000 US$ 2,500 - US$ 3,800

Alex Berdal was born on June 9, 1945, at Perpignan, France. He is one of the members of the Autumn Salon and the Salon des Artistes Français. Berdal is an award-winning painter and sculptor who used to study in the National School of Fine Arts in Paris. The many prizes he won includes the Prix de Rome in 1968, the International Grand Prize from Prince Rainier III of Monaco in 1969, the Gold Medal of the Salon des Artistes Français in 1978, the Taylor Prize of the Autumn Salon in 1979. Berdal had been exhibited in French Senate Orangerie in 1974, as well as in the United Kingdom, Germany, Switzerland, the Netherlands, Russia, and Japan. His art had been included in the collection of Tehran Museum of Modern Art in Iran, Paris City Museum, and Palace of Fontainebleau. 貝達爾,1945年6月9日出生於法國佩皮尼昂市,為秋季沙龍、法國藝術家沙 龍的成員。曾就讀巴黎高等藝術學院,是獲獎無數的畫家、雕塑家。獲獎含 1968年羅馬大獎、1969年摩納哥蘭尼埃三世親王國際大獎、1978年法國藝

亞 歷斯.貝達爾

術家沙龍金獎、1979年秋季沙龍泰勒獎。曾於1974年在法國上議院美術廳展

靜物與水果

出,在法國、英國、德國、瑞士、荷蘭、俄羅斯、日本等各國皆有展出。作品 典藏於伊朗德黑蘭當代藝術博物館、巴黎市美術館、楓丹白露宮等。

銅 藍 金銅綠;藝術家試版 23(長)x 20(寬)x 27(高)cm 雕刻底部:BERDAL 鑄造工作室鈐印:Fonderies de la Plaine 編號EA


084

MICHEL HENRY

(French, b. 1928)

Still Life by Harbour Oil on canvas 46 x 54.5 cm Signed lower left Michel Henry in French PROVENANCE: Dimensions Art Center, Taipei Private collection, Asia

Michel Henry was born in Langres, France in 1928. He was known for his paintings of flower still life, landscapes and marines. He graduated from the Ecole Nationale Supérieure des Beaux Arts of Paris in 1951. Michel Henry had won the first prize of the Maison Descartes in Amsterdam in 1956 and the Casa Velázquez prize in 1957. As an artist with well international reputation, Henry was awarded Chevalier de l’Ordre National de la Légion d’Honneur in 1981 for his great contribution in cultural exchange. Additionally, Michel Henry have won several awards including Chevalier du Mérite Agricole in 1984 and Médaille de Vermeil of Paris in 1986. His artwork was included in the collection of French Government,

NT$ 100,000 - NT$ 150,000 HK$ 25,000 - HK$ 37,000 US$ 3,200 - US$ 4,800

the City of Paris, and the Museum of Alencon. 米歇爾.昂利於1928年出生於法國朗格勒,以風景、海洋及花卉靜物 畫聞名。1951年畢業於巴黎的國立美術學院,1956年獲阿姆斯特丹笛 卡兒之家首獎,1957年獲委拉斯蓋茲大獎。昂利作為名聲享譽國際的畫

米 歇爾.昂利

家,在全球文化交流方面有顯著貢獻,因而在1981年獲頒法國榮譽軍團 騎士勳章。1984年獲頒法國農業騎士勳章,1986年獲頒巴黎市勳章,

窗邊岸景

1986年獲頒法國藝術家沙龍金章。作品典藏於法國政府、巴黎市以及法

油彩 畫布 46 x 54.5 cm

國阿朗松美術館等。

簽名左下:Michel Henry 來源: 帝門藝術中心,台北 私人收藏,亞洲

Ravenel 171


085

GUY BARDONE

(French, b. 1927)

L’Escalier rose 1990 Oil on canvas 43.5 x 36 cm Signed lower right Bardone in French

Guy Bardone was born in Saint Claude, in eastern France. He is one of the important members of the French New Figurative Art. He studied under the master Maurice Bianchon, Jules Cavailles and François Desnoyer in the Ecole National Supérieure des Arts Décoratifs in Paris, where he befriended René Genis. In 1953, Bardone was invited to participate in a group exhibitions at the Musée Galliera in Paris titled “Celebrities and Revelations of Contemporary Painting.” In 1954, he was exhibited in the Ecole de Paris Exhibition in Galerie Charpentier. Some of the awards he had won includes the prize of Félix Fénéon in 1952 and the

NT$ 120,000 - NT$ 180,000 HK$ 30,000 - HK$ 44,000 US$ 3,800 - US$ 5,700

prize of the Greenshields Foundation in 1957. Bardone’s works are in the Collection of the National Museum of Modern Art in Paris, The National Library of France, Centre Georges Pompidou, Neuchâtel Art Museum in Switzerland, Yamagata Museum of Art in Japan and Chimei Museum in Tainan, Taiwan.

居 .巴赫東 粉紅色的階梯

出生於法國東部的聖克勞德,是法國新具象畫派的關鍵成員之一。就讀於巴 黎國立高等裝飾藝術學校時,向莫里斯.布立風頌、朱爾斯.卡瓦耶、弗朗

1990 油彩 畫布 43.5 x 36 cm

索瓦.德努瓦耶等大師學習,期間結識了畫家好友賀內.吉尼斯。1953年,

簽名右下:Bardone

展開大型回顧展。1952年獲法國學院藝術評論獎,1957年獲格林希爾茨基金

受邀參與巴黎加列拉宮時尚博物館的重要聯展「當代繪畫的名人與啟示」, 1954年,首次參與夏邦提耶畫廊的「巴黎畫派」展覽。1986年,在雪儂梭堡 獎。作品典藏於巴黎市現代美術館、法國國立圖書館、龐畢度藝術中心、瑞士 納沙泰爾美術館、日本山形美術館以及台灣台南奇美博物館等。


086

GUY BARDONE

(French, b. 1927)

L'Iot Découvert Arcachon 1990 Oil on canvas 73 x 50 cm Signed lower center Bardone in French Signed on the reverse of wooden frame Bardone in French, titled L'ILOT DÉCOUVERTE ARCACHON in French, inscribed 20 No

居.巴赫東 阿卡松的平坦小島 1990 油彩 畫布 73 x 50 cm 簽名中下:Bardone 簽名畫背畫框:20 No Bardone L'ILOT DÉCOUVERT ARCACHON-

NT$ 120,000 - NT$ 180,000 HK$ 30,000 - HK$ 44,000 US$ 3,800 - US$ 5,700 Ravenel 173


087

BERNARD CHAROY

(French, b. 1931)

Lady in the Garden

貝爾納.夏洛瓦

1988 Oil on canvas 65 x 54 cm

夏日庭院

Signed lower right Bernard Charoy in French Signed on the reverse Bernard Charoy in French PROVENANCE: Galerie Elegance, Taipei Acquired from the above by the present owner's father This work is to be sold with a certificate of authenticity signed by the artist.

1988 油彩 畫布 65 x 54 cm 簽名右下:Bernard Charoy 簽名畫背:Bernard Charoy 來源: 愛力根畫廊,台北 現有收藏者的父親購自上述來源 附藝術家簽名照片保證書

NT$ 180,000 - NT$ 280,000 HK$ 44,000 - HK$ 69,000 US$ 5,700 - US$ 8,900

Bernard Charoy was born on May 26th, 1931 in Nant le Grand, Lorraine region, East of France. Charoy is famous for his portraits of women. The delicate enchanting sentiment features in his poetic landscape works as well. Charoy began to work at the Montmartre Studio, where he studied painting and lithography from the local artists, painters and designers, in 1955. In the 1960s, Charoy had accepted consignments from news and magazine agencies to create attractive artwork especially for the press media. Since 1970s, Charoy’s work have been exhibited around the world, including the United States, Germany, Japan, Taiwan, Singapore, France and Belgium. 貝爾納.夏洛瓦1931年5月26日出生於法國東部洛林省的大南。以柔和的女性 肖像畫最為人所知,風景作品細膩而頗富詩意情調。夏洛瓦於1955年,開始在 巴黎蒙馬特工作室與當地藝術家一同工作,並向藝術家、畫家、設計師學習繪 畫及版畫。1960年代起,接受新聞及雜誌社委託,特別為媒體完成許多旖旎之 作。其油畫作品則更加柔美浪漫、風光明媚,廣受青睞。自1970年代起至今, 夏洛瓦受邀於各地展出,其足跡遍佈全球:紐約藝術展、德國科隆、日本東 京、台灣台北、新加坡、法國坎城、比利時安特衛普等地。


Ravenel 175


088

CAMILLE HILAIRE

(French, 1916-2004)

L'étang de Diane

卡密.伊列魯

1990 Oil on canvas 80 x 80 cm

狄安娜池塘(科西嘉島)

Signed lower right Hilaire in French Signed on the reverse Hilaire and titled L'étang de Diane in French With a gallery stamp of Lucien Lefebvre–Foinet, Paris on the reverse, TOILES & COULEURS / [EXTRA FINES] / LUCIEN LEFEBVRE-FOINET / PARIS / 19, RUE VAVIN & 2, RUE BREA PROVENANCE: Lucien Lefebvre–Foinet Gallery, Paris Private collection, Asia

NT$ 260,000 - NT$ 400,000 HK$ 64,000 - HK$ 99,000 US$ 8,300 - US$ 12,700

Camille Hilaire was born in Metz, France. He was inspired by Albrecht Dürer in the early years. Hilaire entered the École des Beaux-Arts in Paris in 1942. His work was heavily influenced by his instructor, the Cubist painter André Lhote. Hilaire’s work features fine flexibility, which was quite different from the earlier Cubist style. He had won the Prix de Venise in 1948, and the Prix de la Casa de Velázquez in 1950. Hilaire’s work had been collected by Museum of Modern Art in Paris, Museum of Strasbourg, Museum of Metz, Museum of Nancy, Museum of Dunkirk. 卡密.伊列魯1916年出生於法國梅茲。早年受阿爾布雷希特.杜勒 的作品啟發;於1942年進入巴黎法國美術學院後,在立體主義畫家 安德烈.洛特的指導下,創作以立體畫風為主,但不同於立體派早 期的僵硬,伊列魯的作品有著精巧奧妙的特質。1948年,獲威尼斯 獎;1950年,獲委拉斯蓋茲獎。1947年至1968年間,先後於法國 美術學院的南錫即巴黎分校任教。作品典藏於巴黎現代美術館、史 特拉斯堡美術館、梅茲美術館、南錫美術館、敦科爾克美術館。

1990 油彩 畫布 80 x 80 cm 簽名右下:Hilaire 題識畫背:"L'étang de Diane" Hilaire 鈐印畫背:TOILES & COULEURS / [EXTRA FINES] / LUCIEN LEFEBVRE-FOINET / PARIS / 19, RUE VAVIN & 2, RUE BREA 來源: 呂西安.雷費布爾—富瓦內畫廊,巴黎 私人收藏,亞洲


Ravenel 177


089

EMILIO TADINI

(Italian, 1927 - 2002)

Oltremare

埃米利奧.塔迪尼

c. 1992-1993 Acrylic on canvas 92 x 73 cm

海外之藍

Signed on the reverse Tadini and titled Oltremare both in Italian

約1992-1993年 壓克力 畫布 92 x 73 cm 簽名畫背:Tadini Oltremare

NT$ 220,000 - NT$ 340,000 HK$ 54,000 - HK$ 84,000 US$ 7,000 - US$ 10,800

Emilio Tadini was born in Milan, Italy. He was a painter, sculptor, writer and poet. Tadini was an accomplished artist in visual art and literary art. He once described himself as “a writer who paint, a painter who write’’ to Umberto Eco, the Italian novelist. Tadini’s published works include the novel “L'armi, l'amore,” “Eccetera,” and the poetry “L'insieme delle cose.” His paintings have garnered much attention since 1965, when he participated a group exhibition at Studio Marconi with Mario Schifano, Valerio Adami, and Lucio Del Pezzo. Tadini had exhibited at the Venice Biennale in 1978 and 1982, as well as several solo exhibitions in Italy and Germany in the late 1980s. Tadini was the President of Milan Brera Academy from 1997 to 2000. In 2001, a major retrospective exhibition of Tadini was held in Royal Palace of Milan. Tadini passed away in Milan on September 25, 2002, at the age of 75. 塔迪尼出生於義大利米蘭,是畫家、雕塑家、作家及詩人。塔迪尼在文學、 藝術領域等多方面皆有成就,他曾告訴作家安伯托.艾可,自己是「一名會 畫的作家,一名會寫的畫家」。曾出版小說《武器,愛情》、《等等》,詩 集《事物的集合》。1965年,塔迪尼與馬里奧.斯基法諾、與瓦勒瑞歐. 亞達米、盧西奧.德.佩佐等大師一同於馬可尼工作室展出,藝術作品備受 矚目。在1978年及1982年參與威尼斯雙年展。80年代中期,於義大利、德 國等地多次展開個展。1997至2000年間擔任義大利布雷拉美術學院院長。 2001年,於米蘭王宮展開回顧展,於2002年9月25日逝世米蘭,享年75歲。


Ravenel 179


090

GEORGES BRAQUE

(French, 1882 - 1963)

Circée 1962 18K gold brooch with ruby, edition no. 6/8 5.5 x 5.2 cm Signed on the reverse 6/8 Bijioux De G Braque EXHIBITED: Musum of Fine Arts, Nimes, 1970 Ludwig Museum, Koblenz, 2003 Fondazione Luciaza Matabn, Milan, 2005 ILLUSTRATED: Bijoux Sculptures - L’art vous va si bien , Gillimard, Milan, 2008, color illustrated, p. 41 Armand Israël , Georges Braque: Sculptures , Editions des Catalogues Raisonnés, Paris, 2008, color illustrated, p. 38 Promenade à Paris , Galerie Elegance, Taipei, 2011, color illustrated, p. 35 This piece is to be sold with a certificate of authenticity issued by Arman Israël.

NT$ 440,000 - NT$ 650,000 HK$ 109,000 - HK$ 160,000 US$ 14,000 - US$ 20,700

喬 治.布拉克 女魔法師希赫瑟 1962 18K黃金 紅寶石 胸針 版次6/8 5.5 x 5.2 cm 簽名背面:6/8 Bijioux De G Braque 展覽: 尼姆美術館,尼姆,1970 路德維希博物館,科布倫茲,2003 露西亞娜基金會,米蘭,2005 圖錄: 《珠寶雕塑:藝術於你如此美好》,Gillmard,米蘭,2008,彩色圖版,頁41 《喬治.布拉克-雕塑作品》,編年目錄出版社,巴黎,2008,彩色圖版,頁38 《品味巴黎-看懂巴黎的西洋名畫》,愛力根藝術,台北,2011,彩色圖版,頁35 此件作品附亞曼.以色列開立之原作保證書


Georges Braque’s early creation was originally inspired by Henri

challenging himself. “Circée” can be said to be the essence of

Matisse, the Fauvist artist with the emphasis on bold usage of

Braque’s lifetime creation, for its geometric shape, abstract in

colors and vivid colors. Braque exhibited his Fauvist paintings

elements, in addition to the layers of texture and the use of ruby

at the Salon des Independants with Henri Matisse in 1906. The

mounted on top of the eye. The face is projected in profile as if it

following year, when Braque visited Pablo Picasso’s studio and saw

is suggesting we are only seeing a small part of this great artist’s

the avant garde painting technique implemented on the painting

creativity.

of “Les Demoiselles d'Avignon." Braque was fascinated by it. Soon afterwards, Braque and Picasso forged an intimate friendship, then

喬治.布拉克早期的創作原受到野獸畫派成員之一的馬諦斯畫風影響,

discuss with each other over the works of the counterparts. They

特別強調用色大膽,及色彩鮮豔,1906年還與馬諦斯一同參加了獨立藝

work in collaboration and formed the revolutionary art movement of

術家沙龍的展出,但就在隔年,布拉克見到畢卡索《亞維農的少女》的

Cubism.

作品後,就深深被這種嶄新的幾何式平面繪畫手法給吸引著,日後跟隨 畢卡索一同促使了立體化派的誕生。他們成了莫逆之交,並且互相研究

Both the grandfather and the father of Braque worked as a house

對方的作品,激盪出更多經典的立體派作品。

painter and decorator for contractors, Braque was trained to become a house painter. He continued to explore innovative

布拉克的祖父和父親是房屋粉刷油漆的承包商,年幼的布拉克經常用油

techniques such as mixing the use of dust, sands then pasted on

漆模仿大理石或木材花紋繪成美麗的壁板裝飾,1910-1912年當油漆學

paper, in which he called papier colles. From 1961-1963, Braque

徒時學到的裝飾臨摹技巧,應在模仿印刷文字,呈現出機械式的美感。

worked with jeweler Heger de Loewenfeld in which he was in

後來布拉克發明的「黏貼法」,便是將許多綜合媒材如鐵屑、砂子等媒

charge of jewelry and Loewenfeld would turn them into beautiful

材拼貼於畫布上,表現出新的立體質感。而在1961-1963年,布拉克和

jewelry. The jewelry included a series of design such as a series of

珠寶工藝師羅文費爾德合作,將他的繪圖交由費爾德智成珍貴的珠寶飾

bird design, and “Circée.” “Circée” accounted for one of the finest

品,此系列也包括了《鳥》和此件《女魔法師希赫瑟》等。《女魔法師

jewelry collection created by Braque, with a total of 113 jewelry

希赫瑟》不但是布拉克精彩的晚年之作,這些珠寶飾品更在羅浮宮展出

made in collaboration between Braque and Loewenfeld, they were

並獲得廣大民眾的讚譽。布拉克一生都在尋求突破和新的表現方式,不

exhibited in the Louvre, and received compliments. Braque has

停地挑戰自我,此件珠寶即是一件總和了立體化派基本的幾何、不規則

been revolutionary his entire life looking for ways to breakthrough

元素,以及鑲嵌在眼睛上的紅寶增添了多層次的質感,維妙維肖的側臉

the current artistic expressions, as he continued to do so, he was

彷彿代表著他精采人生的一小部分,期待著更多元思考的空間。

Ravenel 181


DALI FLEUR (DALI FLOWER) SALVADOR DALI

The master of Surrealism, Salvador Dali is one of the three of the

and "Dali Fume." In the present lot, the base of "Dali Fleur" is

great masters of Spanish art in the twentieth century. Dali with his

made with crystal as the flower pot, with the golden stem growing

exceptional creativity and imaginations, his works are often amazing

form the base to the top into a blossoming golden flower. It is a

and surprising. Dali is incredibly skilled in multitude of disciplines,

glowing splendid flower with a representation of prosperity and

including being a sculptor, painter, photographer, film maker and

enchantment, it is definitely a fine piece of work to be included in

jeweler. Salvador’s most famous works are undoubtedly including

the collection.

the twisted/melting clocks, fantasized dreamlike settings, and lobster telephone, so bizarre yet, these creations inspired feelings of

超現實大師薩爾瓦多.達利、畢卡索與米羅為西班牙二十世紀後的三大

awe for viewers, as Dali has contributed new ways of looking at art.

巨匠,有著過人的想像及創造力,達利的作品常常讓人有著出乎意料的 驚喜。達利的藝術創作涵括了雕塑、繪畫、攝影、電影動畫、珠寶設計

Dali was interested in Sigmun Freud’s writing on psychology,

等,可說是跨領域的藝術鬼才。大眾最熟知達利的作品不外乎是那融化

especially regarding Freud’s theory on subconscious minds, where

扭曲的時鐘、夢境般的幻景和龍蝦電話等,如此荒謬怪異,卻不得不讓

subconscious is the part of the psyche that thinks and feels without

人驚嘆他無限的想像力,達利提供了我們一個可以全新看待藝術品的方

the person being aware of those thoughts and feelings. There might

式和視野!

be occurrences of broken memories, or irrational scenes, such as that appeared in dreams, although one may not be aware of these

達利運用了佛洛依德所研究的心理學及精神分析來表達他的作品,佛洛

dreams, the brain is actively working. Being a Surrealist, Dali is

依德所提出的潛意識更受達利所愛,潛意識是指人們在沒有察覺到的情

actively seeking ways to excel his rational minds, therefore, Dali

況下所產生的情感與想法,如同夢境一樣,人的潛意識裡經常出現許多

developed a “paranoiac critical method,” in which he self-induced

破碎的記憶和不合常理的景象,雖然沒有意識到自己有這些想法,實際

hallucinations and train his brain to link ideas irrationally. As a result,

上大腦不停的在運作中。身為超現實主義的達利,他總是不停的想超越

Dali could access to greater possibilities and was amazed to see the

理性的自己,因此他研發了「偏執狂批判法」,也就是將自己保持在半

results upon his creations.

夢半醒時,誘發自己的靈感和創造力,引導出潛意識裡所看到的景象, 將其轉化成作品。

In order to decode Dali’s works, one must know the hidden message associated with these symbols, for example, drawers symbolize the

在達利的作品裡面他常常運用了一些符號都有他們代表的寓意,例如抽

memory and the unconscious, Dali called them “Drawers of ideas”;

屜則是代表人潛意識裡的想法和記憶,達利稱它為「點子抽屜」,蝴蝶

butterflies represent transmutation and freedom, as irrelevant as

象徵著蛻變和自由,這些看似無關的圖像被放在同一個畫面的時候,就

these symbols might see, they complete the work of Dali as that of

好似達利設計的拼圖密碼,需要一一解密後更能增添趣味。本次拍品亦

a puzzle to be solved piece by piece. Similarly, from the making of

是如此,從鑄造達利國的金幣開始,到上面虛構的國王和王后圖像,接

Dali’s gold coins, to the made-up king and queen and the exquisite

著衍生出十二件以金幣製作的作品,都是獨一無二且充滿巧思的作品。

craftsmanship of the casting, one cannot help but wonder about its

這些黃金金幣一共限量發行了300枚,且每一枚金幣都刻有獨立的限量

legitimacy. The coins are casted under strict limitation of 300, with

編號。達利鑄造的黃金金幣共有4種不同大小和幣值,分別為五毛、一

each coin engraved with unique number on one side. There are

元、兩元、五元,而金幣上一面刻有達利與他著名的兩撇尖翹鬍子和他

total of four dimensions and currencies, which are 5 cents, 1 dollar,

的繆思女神卡拉,他的妻子,另一面則刻畫著一顆蛋,象徵著未知的未

2 dollars, and 5 dollars, with one side of the coin engraved with

來和生命力。

signature upwards mustache of Dali, and his muse, wife Gala. An egg engraved on the opposite side, indicating uncertainty of the

這次非常難得能夠在本專場一次呈獻12件黃金金幣系列作品當中的2

future and fertility.

件,分別為《達利之花》以及《達利黃金菸斗》。本件拍品《達利之 花》的底座是以水晶製成花盆,此金色脈絡一路從花盆中生長盛開出一

It is extremely rare to be able to present two of Dali’s works out

朵黃金之花,這朵花從中吸收養分後向四周綻放,是ㄧ朵帶有神奇力量

of the 12 from Dali’s gold coins series, which are “Dali Fleur”

且象徵富裕的花,值得一藏。


091

SALVADOR DALI (Spanish, 1904 - 1989)

Dali Fleur (Dali Flower) 1967 22K gold coin, 18K gold and crystal, edition no. 7/300 H: 18.6 cm ILLUSTRATED: Dali D’or de Salvador Dali , Senans Ag, Bern, 1985, color illustrated, pp. 36-37 Salvador Dali , Michele Broutta, Paris, 1985, color illustrated, plate no. 253 This work is to be sold with the certificate of authenticity signed by the artist.

NT$ 700,000 - NT$ 1,000,000 HK$ 173,000 - HK$ 247,000 US$ 22,300 - US$ 31,800

薩 爾瓦多.達利 達利之花 1967 黃金寶飾(金幣22K金、其他18K金、水晶) 版次7/300 高:18.6 cm 圖錄: 《薩爾瓦多.達利-達利黃金》,斯南Ag,伯恩, 1985,彩色圖版,頁36-37 《薩爾瓦多.達利》,米雪兒.布羅塔,巴黎, 1985,彩色圖版,圖板編號253 附藝術家親筆簽名之原作保證書

Ravenel 183


092

SALVADOR DALI

(Spanish, 1904 - 1989)

Porte Cigarette (Cigarette Holder) 1967 Gold (22K Gold coin, 18K gold and ivory), edition no. 21/300 L: 12 cm ILLUSTRATED: Dali D’or de Salvador Dali , Senans Ag, Bern, 1985, color illustrated, pp. 24-25 Salvador Dali , Michele Broutta, Paris, 1985, color illustrated, plate no. 248

NT$ 380,000 - NT$ 550,000 HK$ 94,000 - HK$ 136,000 US$ 12,100 - US$ 17,500

薩 爾瓦多.達利 達利黃金菸斗 1967 黃金寶飾(金幣22K金、其他18K金、象牙)版次21/300 長:12 cm 圖錄: 《薩爾瓦多.達利-達利黃金》,斯南Ag,伯恩,1985,彩色圖版,頁24-25 《薩爾瓦多.達利》,米雪兒.布羅塔,巴黎,1985,彩色圖版,圖版編號248


093

ARMAN FERNANDEZ

(French-American, 1928 - 2005)

Résurrection 18K Gold brooch, edition no. 5/8 6.2 × 5.3 cm Incised on the reverse Arman , edition no. 5/8

Arman was the son of an amateur painter, Antoine Fernandez, whom was an extremely vital person in the upbringing of Arman. Fernandez is a lover of light music who has conveyed this love to Arman, and given him a boundless space for his innovative minds, and inspired his passion in music. Arman entrepreneurial spirit is evidently shown when he was merely ten, in which he tried to sell his mass-produced landscape paintings of Nice to passers-by. Arman’s father was the victim of the 1929 financial crisis of Wall Street, which bought an end to the family fortune and they had to live with

NT$ 260,000 - NT$ 400,000 HK$ 64,000 - HK$ 99,000 US$ 8,300 - US$ 12,700

limited financial resources. Luckily, Arman need not be homeless given his commercial constructed minds. In 1954, Arman married Elaine Radigue to be his wife, Elaine was a musician and composer. Together, they had three children and Arman raised their children in the most creative ways as possible. Such as making his children

阿 曼.費爾戴儂 重生

to work as a salesman in his father’s shop, or to learn to harpoon fishing, all of which are distinct of the Arman’s family.

18K金 胸針 版次5/8 6.2 x 5.3 cm

Arman befriended with Yves Klein when he attended the École

陰刻簽名背面:Arman 5/8

founders of Nouveau Realism (New Realism). New Realist proclaims

Nationale des Arts Décoratifs in Nice, they were the primary that “New Realism ought provide new ways of perceiving the real.” As abstract as it may sound, they are apparent in the works of Arman, whereby he would often separate an item, and then regroup them back again. It is in this process of separation, we are told to look at things in an emotionally detached ways, and therefore we could be more objective in looking at the real. As such, if we were to look at “Résurrection,” it is simply a stacked pile of violins; yet, it provoked a possibility to hear the music as they interact with each other. 阿曼身為業餘畫家的兒子,他的父親擔任了極重要的角色,他給予阿曼 無限想像和創作的空間以及啟發他對音樂上的喜好。具有創造力且創業 家精神的阿曼,在年僅十歲時將他大量繪製的尼斯風景畫,在熱鬧的大 街上兜售給經過的路人。因為他的父親飽1929年金融海嘯風暴所苦,家 道中落,生活起居都必須拮据開銷。因為有著聰明的生意頭腦,日後還 不至於留宿街頭。1954年,阿曼娶了一艾利安•拉德谷,一位音樂家、 作曲家,他和阿曼共度了十幾年的婚姻生活,共同養育三個孩子,除了 成長於藝術薰陶的家庭之外,阿曼鼓勵他的孩子去享受生活,像是在阿 曼父親的店裡讓孩子體驗商人,或是使用魚叉釣魚等等,都有別於一般 家庭的教育方式。 在就讀尼斯的國立藝裝飾藝術學院時,與克萊茵熟識成為摯友,並成為 推動「新寫實主義」的兩位重要人物。認為新寫實主義應該要強調「對 真實事物重新感覺和認識的方法」。聽起來有些抽象,但是不難看出從 阿曼的作品中,常常將作品分離後再重組,其實在這分離的過程裡已經 像是告訴我們應該以新的、抽離情感的方式來看待一件事。《重生》這 件作品亦是如此,重複出現的提琴層層堆疊,好似錯綜複雜的樂章,重 新激起內心對於音樂的感受。

Ravenel 185


094

ARMAN FERNANDEZ

(French-American, 1928 - 2005)

Vénus au violon 1997 18K Gold brooch, edition no. 2/8 6.2 × 2.4 cm Incised on the bottom Arman , numbered 2/8

NT$ 260,000 - NT$ 400,000 HK$ 64,000 - HK$ 99,000 US$ 8,300 - US$ 12,700

阿曼.費爾戴儂 維納斯與提琴 1997 18K黃金胸針 版次2/8 6.2 x 2.4 cm 雕刻簽名底部:Arman 2/8

As some of the non-utilized objects being assembled together, and

in order to view this multidimensional view of Venus and violin, or

were given a new meaning of life, these objects have been reborn.

simply to view things in multiple sides. This is what Arman would

Arman is interested in music, philosophy, Judo, and Chess, for

want us to note and to see.

Arman, the importance of painting or sculpture should no longer be a platform to stress the excellence of craftsmanship or skills

阿曼將一些本來可能已經無用的物件層層堆疊後,它們被賦予了新生命

of an artist, instead, they should point out the genuine problems

和重新存在的意義。可說是詩書琴畫樣樣精通的阿曼,年幼時期就精通

of post-industrialization, such as resulting the waste of resources

西洋棋,並且練習柔道,動靜皆宜的他在尚未進入藝術學院以前,竟是

due to mass-production as seen in Arman’s Garbage assemblage

取得了哲學和數學系雙主修的學位。對阿曼而言,他認為作品本身不應

series works of art. At the time, Arman didn’t have the money

該只侷限在凸顯藝術家的技巧,或是創意,而應該利用這些作品來探討

to buy the things he wanted, so he would go to trash dumps in

更深層的意義。就如同阿曼的「垃圾」堆疊系列,這些特別強調了後工

his neighborhood, charitable organizations to collect things to

業時期人們生活中所出現了大量的資源浪費,引人憂心。阿曼曾經因為

accumulate. As such, these recollection of abandoned goods are

沒有足夠的錢去購買自己想要的東西,使他到處去收集社區的垃圾桶,

presented to the public in ways that would challenge the eyes of the

或是慈善機構尋找那些被人丟棄、不要的物件,將它們收集起來,重新

public, which then triggered greater response.

賦予新生命,以新的方式呈現挑戰大眾的視覺體驗,因而觸及更多人。

“Vénus au violin” is the one of the finest exemplar of Arman’s

《維納斯與提琴》是大眾對於阿曼認知的最佳體現,她不僅有阿曼標誌

notable works, not only does it have the dissembled violins,

性的「分解的小提琴」,還與孕育了美的維納斯女神一起組成一件作

coincided with the Venus, a symbol of admiration. What will be

品。阿曼喜歡利用提琴作為他嘗試創作的主題,而經過切割的提琴是否

the conversation of the two? Arman enjoyed using violins as his

還保有它原來流線型的美,以及動聽繚繞的絃聲已經不是阿曼所想表達

materials in creations, whether or not this dissected violin can still

的。相反地,這件作品告訴我們應該重組我們的思維,以新的視野來欣

project the beautiful sound or not, this is no longer the discourse of

賞這件看似維納斯卻見提琴的風貌,這種多層次且多元的觀點才是阿曼

this work. On the contrary, it is telling us to reform our conscious,

所想表達的。


095

ARMAN FERNANDEZ

(French-American, 1928 - 2005)

Fluctuat nec Mergitur 18K Gold, pendant, edition no. 6/8 6 × 4.5 cm Incised on the reverse Arman , edition no. 6/8

NT$ 240,000 - NT$ 360,000 HK$ 59,000 - HK$ 89,000 US$ 7,600 - US$ 11,500

阿曼.費爾戴儂 乘風破浪 18K金 墜子 版次6/8 6 x 4.5 cm 陰刻簽名背面:Arman 6/8

Arman was born in Nice in France, where he attended the École

is small in size, its detailing in craftsmanship is evident in the use of

Nationale des Arts Décoratifs in Nice in 1947. He then transferred

contours of the violin as the expression of sea waves. Additionally,

to École du Louvre for archaeology and Oriental Arts. Originally,

the base of a violin ought to sustain the weight of itself, yet, when

Arman was born as Armand Pierre Fernandez, with a “d” at the end,

placed upside down, the base of violin now becomes light as a flag,

however, the exhibition team at Galerie Iris Clert accidently omitted

sailing against the wind.

the “d” from his name at his solo exhibition in 1958, the name of Arman was kept in use ever since then. Arman is widely known for

阿曼生於法國尼斯,1947年就讀於尼斯國立裝飾藝術學院,之後轉到羅

his “Assemblage” art, where he assembled a group of objects and

浮宮附屬的藝術學院就讀考古學及東方藝術。阿曼的本名應該叫做阿曼

turning them into a work of art. The magnitude of his work has

德,只因在1958年巴黎的畫廊展出時,展覽單位漏印了他名字最後一

brought a greater impact that the mistaken being made in his name

個字母D,因而將錯就錯,延用了阿曼作為他的名字。阿曼知名的「集

was quickly overlooked and the name of Arman spread widely.

積」藝術,將物品堆積在一起的創作,所帶來的影響力勝於他名字上的 小錯誤,阿曼透過獨特風格及創作手法,反而使他聲名大噪。

In the uprising New Realism movement of the 1960, members of New Realist group advocated a return to “reality,” and they believed

自1960年「新寫實運動」興起的過程中,成員們相信透過挪用現實生活

by taking parts from the living world, then incorporate these into

中的一部份融入作品當中,將能呈現出更「真實」的世界,也還給事物

the work is the way to represent New Realism. As a result, there

的本身的真實性。身為新寫實主藝創辦人之一的阿曼更是將此精神發揮

was an extensive use of collage and assemblage as their artistic

的淋漓盡致。對阿曼而言,1000件的同一件作品等同於1000件破碎的同

expressions, notably Arman. For Arman, a thousand copies of the

件作品,它們本質上是沒有差異的,而對於喜歡利用樂器作為創作主體

same object or a thousand pieces of the same object are essentially

的阿曼,特別對於提琴情有獨鍾,因為對於藝術家而言,它是ㄧ個很好

the same in intrinsic values. Arman typically favors the use of musical

的表演道具,因為它允許了更多可能被呈現的方式。

instruments as his primary material, he claims that violins are great performance props for artists as they have multiple facets to be

《乘風破浪》此件18K金製的金飾看似一艘乘風破浪的向遠方航行的小

explored.

船,仔細觀賞後發現,這竟是一艘經由分割後的提琴再次重組而成的 船,非常別緻。誰能像阿曼一樣將提琴等樂器拆解後再重組出如此多樣

“Fluctuat nec Mergitur” is a pendant made of 18K gold, with a shape

化的創作?這件飾品體積雖小,但是做工細膩,且特別利用了提琴邊的

of a boat sailing away in the sea. If examined closely, it is actually a

輪廓來體現海浪波濤洶湧的景象,而提琴的底部原為提琴身,本應有厚

violin being dissected and then reassembled as a boat with delicate

實且穩重之作用,反過來之後竟成了輕飄飄的風帆,隨風而起逐浪遠

formations. Who else could think of as many diversified creations as

颺。

Arman could with a dissected violin? This delicate piece of pendant Ravenel 187


096

NIKI DE SAINT PHALLE (French, 1930 - 2002)

Serpentine Bangle 1980s Metal gilt enameled bangle, edition of 250 8 x 7.2 cm

Niki de Saint Phalle was one of the most popular French female artists in the twentieth century. Her creativity is spread across medium, including painting, sculptures, architecture, design, drama and many other disciplines. In 1965, Niki de Saint Phalle was inspired by a female friend of hers, she began to use voluptuous women as the archetype to create a series of work called “Nana,” and the series not only represent the reaction faced by the women in the 1960s towards gender inequalities, but encourage women of the era to pursue freedom. Her

NT$ 80,000 - NT$ 120,000 HK$ 20,000 - HK$ 30,000 US$ 2,500 - US$ 3,800

works have been collected by Metropolitan Museum of Art, New York; Tate Gallery, London; Louisiana Museum of Modern Art, Denmark, etc. 妮基.德.聖法爾是二十世紀最受歡迎的法國女性藝術家之一,她的創作 跨越了各領域,涵蓋了繪畫、雕塑、建築、設計與戲劇等藝術範疇。1965

妮 基.德.聖法爾 蛇形手鐲 1980年代 銅鍍金 琺瑯 手環 限量250件 8 x 7.2 cm

年,妮基.德.聖法爾受到友人的啟發,以身型豐滿的女性為原型,創作 了一系列名為「娜娜」的作品,既是鼓勵女性勇於追求也反映出60年代女 性對於不平等的意識形態做出回應。作品典藏於紐約大都會美術館、倫敦 泰德美術館與丹麥路易斯安那現代美術館等。


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客戶編號 (如有) 姓名 身份證字號 地址 郵碼 電話 (住宅)    (辦公室) 傳真

電郵

簽名 (注意:本公司在取得閣下之簽名後方才接受競標;閣下所填報之姓名 及地址資料,將會被列印在發票上,隨後將不能更改) 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白,羅芙奧為方便顧客而提供代為投標的服務,羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託, 以最先收到者優先辦理。 本人知悉如投標成功,本人應付之購買價款為最後之落槌價加上服務費,(連同該最後落槌價及服務費之營業稅)服務費依最後落槌價乘以服 務費率得之。詳見業務原則規定第4條a,c,d之規定。(4a.買家支付每件拍品之服務費率:(1)買家除支付落槌價外,另須支付服務費予本公 司,落槌價於新台幣參仟貳佰萬元以下者含參仟貳佰萬元以20%計算;(2)落槌價於新台幣參仟貳佰萬元以上者分為二級,其中新台幣參仟貳 佰萬元以20%計算,超過新台幣參仟貳佰萬元之部份以12%計算。) 本競投,本人同意並遵守本目錄所載所有業務規則(特別是有限保證、不負其他瑕疵擔保等規定)。

請用正楷填寫清楚 拍賣品編號 (按數字順序)

競投價(新台幣) (服務費不計在內)

為確保所有投標均得以接受及拍賣品之送交不延誤,有意買家應向羅芙奧提供往來銀行或其他適當之參考資料,並予以授權羅芙奧得向銀行查 證。該等資料應及時提供,以便在拍賣前著手處理。

銀行證明 銀行名稱 銀行地址 銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話

羅芙奧股份有限公司 台北市106敦化南路二段76號15樓之2 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com ravenelart.com.cn


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

Auction

RAVENEL AUTUMN AUCTION 2016

Select: Modern & Contemporary Art

Date

Sunday, 20 November 2016, 2:00 pm

Sale No. Location

TA1602

Address

B2, No. 108, Sec. 1, Dunhua South Road, Taipei, Taiwan

Fubon International Conference Center

Name ID number Address Post code Tel: (Daytime)

(Evening)

Fax

Email

Signature (Notice: We must have your signature to execute this bid. Billing name and address should agree with your state or local sales tax exemption certificate. Invoice cannot be changed after they have be printed.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder.

I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received.

I understand that if my bid is successful, I shall pay the final hammer price together with the service fee and any applicable sales tax. The service fee shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Articles 4a, c and d 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 service fee to the Company. For hammer price below NT$ 32,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.)

The bid shall be subject to the Transaction Agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warranties that may be provided for certain items.

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Title

Bid price (NT$) (excluding service fee)

Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.

Bank Reference Approval Name of the bank Address of the bank

Name of the account Account number Contact of the bank Tel. No.

Ravenel Ltd. 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 ravenel.com ravenelart.com.cn


業務規則

下述規則,為羅芙奧股份有限公司(下稱「本公司」)作為拍賣公司與賣家 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」:指本拍賣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」:指本拍賣公司就某一拍賣品而接受之最高出價之價款。 6. 「買家佣金」:指買家按落槌價之某一百分比而支付之費用;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)。 二、買家 1. 本公司作為代理人 作為拍賣人,本公司以作為賣方代理人之身分行事。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拍賣證明文件之真偽,均不對買家作任 何保證。 b. 拍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 佣金。 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。

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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 有關物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. 買方應繳之營業稅 依據中華民國法律規定,凡進口藝術品由買方在台取貨者,買方需繳 交「落槌價」百分之五的(加值)營業稅。此等進口藝術品(目錄內 有*符號之編號者),若係於中華民國境外交付買方,並由本公司處 理相關之運貨事宜,則買方無須支付營業稅。買方若欲於中華民國境 外取貨,應於拍賣日後兩個工作天內以書面通知本公司。 b. 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,買方如須以新台幣之外其他貨幣繳付,請買方核 實繳付拍賣日當日之匯率,折合所繳付之等值貨幣計算。 c. 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。 d. 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。 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 LiveAuctioneers 進行網上競投 若準買家未能出席拍賣會,或可透過 LiveAuctioneers 網上競投服務於 網上競投指定拍品,而承擔買方獨立責任。此項服務乃免費及保密。 有關透過 LiveAuctioneers 網上競投服務登記,進行網上競投之詳情, 請參閱本公司網頁 ravenel.com。使用 LiveAuctioneers 網上競投服務 之準買家須接受透過 LiveAuctioneers 網上競投服務進行即時網上競投 之附加條款(可參閱羅芙奧 ravenel.com),以及適用於該拍賣之業務 規則所規範,本公司得隨時修改該業務規則。 i. 匯率轉換顯示板 拍賣會中,本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參 考,不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外匯, 其準確程度均可能會出現非本公司所能控制之誤差。買家因依賴匯率 轉換顯示板(而非因以新台幣競投)所導致而蒙受之任何損失,本公 司概不負責。 j. 錄映影像 在有些拍賣中會有影像投射,但其操作或會出現錯誤。不論影像是否 與成功拍賣之拍賣品相配合,或是翻版影像之質素,本公司對買家均 不負任何責任。


k. 拍賣官之決定權 拍賣官具有絕對決定權,有權拒絕任何競投、以其決定之方式推動出 價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併,以及 如遇有誤差或爭議,將拍賣品重新拍賣。 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 與買家之成功拍賣合約之訂立。 4. 拍賣後 a. 買家支付每件拍賣品之佣金費率 1. 買家除支付落槌價外,另須支付佣金予本公司,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,採分為二階段計費,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 再以12%,加總計算佣金金額。 b. 稅項 買家應付予本公司之所有款項均不包括任何貨物或服務稅或其他增值 稅(不論由台灣政府或別處所徵收)。如有任何此等稅項適用,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姓名及永久地址。如遇要求,買 方亦須提供付款銀行之詳情,包含但不限於付款帳號。買方應於拍賣 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、佣金, 以及任何適用之增值稅)。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,本公司將向買家收取所引致之任何外匯費用。 這包括銀行收費與兌換貨幣之規費及匯差。以新台幣以外之貨幣付款 予本公司之匯率, 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。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),拍賣品之風險全由買家承擔。 e. 包裝及搬運 本公司謹請買家注意,成功拍賣日後起算七天期滿後或自領取時起, 拍賣品之風險全由買家承擔,但不得損及本公司之權益。 f. 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 先繳付運送費用。 g.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 本利率加10%之年利率收取整筆欠款之利息。此外本公司可同時 按日收取依賣價(含佣金)1%計算之違約金。本公司亦得自行選 擇將買家未付之款項,用以抵銷本公司或其他附屬公司在任何其 他交易中欠下買家之款項,買方絕無異議。 (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 本公司管有之物品行使留置權,並在給予買家有關其未付之欠繳 之14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。 在將來的任何拍賣中,拒絕買家作出或由他人代其作出之競投, 或在接受其任何競投之前先收取買家一筆保證金。如買家未有在 三十五天內付款,本公司除上述者外,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之訴訟費。

(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 售予買家之拍賣品之交易。 (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。 h. 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。而買方在付清所 引起之貯存、搬運、保險及任何其他費用,連同欠本公司之所有其他 款項後,方可領取已購拍賣項目。 i. 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之事實,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,本公司有權向其收回與此項 申請有關之付出款項及零碎開支連同任何有關之增值稅。 如買家不管需要有出口許可證之事實而作出付款,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,任何拍賣品之任何毛病或缺陷,均不負有任何責任。買家、 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 如經本公司拍賣之拍賣品,經本公司書面認可之專業鑑定機構出具鑑定 報告證實為膺品或贓物,則交易將取消,已付之款項於交付賣方前將退 還予買家。但如: 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,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 關拍賣品乃膺品之詳細理由及證據;且 (2) 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;及 (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,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

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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 Buyer should pay special attention to Article 1, 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 auction item accepted by the auctioning party. 6. "The Buyer’s Premium paid by the Buyer" shall mean the fee based on a certain percentage of the Hammer price paid 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). ARTICLE 2.THE BUYER 1. The Company as the Agent The Company, as the auctioning party, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made 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. We provide no guarantees to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot’s certificates (with the exception of the guarantee with regard to counterfeits as defined in Article 1 of the Transaction Agreement). 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 Company does not that it is unable to guarantee that the Lots on auction are in good working condition and the descriptions in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend the Prospective Buyers to personally view the items for which they plan to bid before the auction itself. If a prospective buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item's special characteristics and current condition. However, the Company is not a professional restorer of Lots; therefore, any description in the catalogue or any statement provided by the Company is purely the Company's subjective opinion and not a statement of 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.

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d. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots and 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 auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her own judgment or estimation independently regarding the Lots. 3. In the Auction a. Sales Tax Payable by the Buyer The Buyer shall pay (value added) sales tax in the amount of 5% of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not required to pay sales tax if such imported works of art (with * marks by the number in the catalogue) are delivered to the Buyer outside the R.O.C. and are handled by The Company for the relevant shipments. The Buyer shall notify The Company in writing within two business days following the auction day if he desires to collect the items auctioned outside the R.O.C. b. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate of the payment day. c. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of 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. d. 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 be requested to conduct credit checks against Buyers. e. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. 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 forms attached to the explanations of the catalogue; provided, however, bid commission instructions are 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 can participate in the auction by phone if The Prospective Buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. h. Online Bids via LiveAuctioneers If the bidder cannot attend the auction, it may be possible to bid online via LiveAuctioneers for selected Lots to bear individual buyers’ responsibilities. This service is free and confidential. For information about registering to bid via LiveAuctioneers, please refer to the Company.com. Bidders using the LiveAuctioneers service are subject to the additional terms and conditions for online bidding via LiveAuctioneers, which can be viewed at the Company.com and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating at some auctions. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable and for the reference only. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board.


j. 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 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 Buyer shall pay attention for any announcement as its own responsibility. 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. The Buyer shall be responsible to the Seller for performing the obligations and responsibility of a Buyer. 4. Following the Auction a. The Buyer’s Premium of Each Lot Payable by the Buyer 1. The Buyer should pay the hammer price and, in addition, the The Buyer’s Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the 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 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%. 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 name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon request. All payments due (including the hammer price, the Buyer’s Premium and any applicable taxes) 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 Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange The Buyer’s Premiums. The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate 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. Packaging and Transportation The Buyer is requested to note that he should bear all the risks upon expiration of the said 7 days period or from collection of such items (which is the earlier), without prejudice to the Company’s right. f. Referral of Packaging or Transportation Companies The shipping department of the Company may act as the agent of the Buyer to arrange for delivery. Although we can refer freight forwarders upon special request, the Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. g. 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. Beides, we have the right of charging also 1% selling price (including of hammer price and the commission) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company’s sole decision. (2)To exercise lien of any items owned by the Buyer and held by the Company for any purpose including but without limitations other transactions. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his non-payment. The proceeds shall make up for the payment due. (3)If the Buyer owes the Company several payments as a result of different transactions, the payments will set off any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments. (4)Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him. 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. h. 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, 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. i. 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 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 Buyer, 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 The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields; or b. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of 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 considers the relevant auction item a counterfeit. 2. The Buyer must return the Lot to the Company within the following 14 days following the said notice 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(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 based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. If the result of appraising and verifying whether the Lot is a counterfeit by the Company conflicts with the evidence provided by the Buyer, the Company’s said result shall prevail over the evidence provided by the Buyer.

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

194


INDEX

A

L

PAUL AÏZPIRI

保羅.艾斯比利

062

DANIEL LEE

李小鏡

009

TAKERU AMANO

天野健

004

LEE YIH HONG

李義弘

033

YOSHITAKA AMANO

天野喜孝

048

LIU KENG-I

劉耿一

010

KAREL APPEL

卡爾.阿貝爾

054

LUI LIU

劉溢

024

MAX LIU

劉其偉

032

B GUY BARDONE

居.巴赫東

ALEX BERDAL

亞歷斯.貝達爾

083

傑克.波依素

MARCOS MARIN

馬科斯.馬林

053

JACQUES BOUYSSOU

078

安德烈.馬松

069

GEORGES BRAQUE

喬治.布拉克

ANDRÉ MASSON

090

松田豐

007

ANDRÉ BRASILIER

安德烈.布拉吉利

YUTAKA MATSUDA

YVES BRAYER

伊夫.布瑞爾

073

BERNARD BUFFET

貝爾納.畢費

065, 067

YOSHITOMO NARA

奈良美智

049

KOZO NISHINO

西野康造

044

085, 086

063, 082

C

M

N

P

BERNARD CATHELIN

貝爾納.卡多蘭

JEAN CARZOU

尚.卡魯茲

BERNARD CHAROY

貝爾納.夏洛瓦

087

CHEN CHENGWEI

陳承衛

027

CHEN CHI-KWAN

陳其寬

012

CHEN TING-SHIH

陳庭詩

013, 014

CHIN SUNG

秦松

036

AYAKO ROKKAKU

PATRICK CORDEAU

派翠克.果陀

081

S

064 058, 059

PANG JIUN

龎均

023, 026

FERDINAND PARPAN

費爾迪南.巴潘

060, 061

Q QIU ZHIJIE

邱志傑

029

R 六角彩子

045, 046, 047

D

NIKI DE SAINT PHALLE

妮基.德.聖法爾

096

SALVADOR DALI

薩爾瓦多.達利

091, 092

SAN YU

常玉

018

CHARLES DUFRESNE

查爾斯.杜弗萊

072

SUN WEIMIN

孫為民

034

SZETO LAP

司徒立

031

F ARMAN FERNANDEZ

阿曼.費爾戴儂

ALIXE FU

傅慶豊

JEAN FUSARO

讓.費沙羅

057, 093, 094, 095

T

035

EMILIO TADINI

埃米利奧.塔迪尼

071

T'ANG HAYWEN

曾海文

RICHARD TEXIER

理查.泰西爾

G

CONSTANTIN TERECHKOVITCH

BERNARD GANTNER

貝爾納.甘德納

080

GU WENDA

谷文達

041

MICHEL HENRY

米歇爾.昂利

084

CAMILLE HILAIRE

卡密.伊列魯

088

POREN HUANG

黃柏仁

003

HONG LING

洪凌

043

HONG SUNG CHUL

洪性哲

008

W

HSIAO CHIN

蕭勤

037

HU SHANYU

胡善餘

022

HWANG JYI

黃楫

038

X

H

康斯坦丁.德勒柯維奇

070 074, 076

THÉO TOBIASSE

提歐.托比亞斯

TSANG TSOU CHOI

曾灶財

030

VAL

瓦兒

052

VICTOR VASARELY

維多.瓦薩雷利

055

MAURICE DE VLAMINCK

莫里斯.德.烏拉克曼

066

WANG JI QIAN

王季遷

011

WEI JIA

韋嘉

039

薛松

028

075, 077

V

XUE SONG

J

089 015, 016, 017

JI DACHUN

季大純

040

强.詹森

Y

JEAN JANSEM

079

YANG DIN

楊登雄

020, 021

YU CHENG-YAO

余承堯

019, 025

周春芽

042

K ALEX KATZ

亞力士.凱茲

056

安尼詩.卡普爾

Z

ANISH KAPOOR

068

ZHOU CHUNYA

KAWS (BRIAN DONNELLY)

布萊恩.唐納利

001, 002, 005, 006 050, 051

195


196


薈萃:國際現代與當代藝術拍賣 Select: Modern & Contemporary Art  

羅芙奧2016秋季拍賣會 Ravenel Autumn Auction 2016

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