薈萃：國際現代與當代藝術 Select: Modern & Contemporary Art

SELECT: MODERN & CONTEMPORARY ART Ravenel 1

IMPORTANT NOTICE TO BUYERS

The auction will strictly abide by the Transaction Agreement set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1.

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

2.

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

3.

The bidding deposit must be transferred to Ravenel's specified Bank account prior to 30th May 2018, details as follow: Beneficiary's Bank: HSBC BANK (Taiwan) Limited.

SWIFT Code: HSBCTWTP Beneficiary's Name: Ravenel Ltd. Beneficiary's Account No: 001-234830-031 (NT$) or 001-234830-061 (US$) Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of bidding deposit. The payer will be responsible for any associated bank service fees.

4.

After the 30th May 2018, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 31th May to 1st June 2018). Acceptance will cease on 1st June by 6 pm (No other forms of payment will be accepted).

5.

Telephone / written / internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 30th May 2018.

6.

If the bidding deposit has been transferred prior to 30th May 2018, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her/its paddle number.

7.

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

8.

Return of the Security Deposit: (1) Completed Transaction: (a) For successful bidder with a bidding deposit made through wire transfer, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer. (b) For successful bidders with bidding deposit made by Cash, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund. (c) If the Buyer, without any good cause, fails to pay any and all payment (including but without limitation, hammer price, buyer's Premium, and other expenses) of the Lot to the Company within 7 days after the auction date, the Buyer shall not claim for the return of the bidding deposit.

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

9.

Successful bidder must settle the payment (hammer price with buyer's premium) prior to receiving the lot(s) on site. If the price exceeds the amount of the bidding deposit, the successful bidder may settle the outstanding balance through the following means: (1) A cash payment must not exceed NT$ 1,000,000.

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

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

Contact | Interntional Art Department Tiffany Wong

tiffwong@ravenel.com

+886 2 2708 9868 ext. 881

給予買家的重要通知

本拍賣會依據「羅芙奧股份有限公司業務規則」舉行，請在參加拍賣會之前仔細閱讀，充分理解以下規則： 1.

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

2.

競投保證金 : 新台幣陸拾萬元或貳萬美金。

3.

競投保證金需於 2018 年 5 月 30 日以前完成匯款至本公司指定帳號如下 : 銀行： 匯豐（台灣）商業銀行 - 台北分行 銀行代碼：0810016 戶名：羅芙奧股份有限公司 帳號：001-234830-031（新台幣）或 001-234830-061（美金） 地址：台北市基隆路一段 333 號 14 樓 匯款時請指示銀行本公司需實收競投保證金全額，銀行手續費請匯款人負擔。

4.

2018 年 5 月 30 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2018 年 5 月 31 日至 6 月 1 日 ) 以新台幣現鈔支付 ( 恕不接受除 現金之外之其他繳納方式 )，收款將於 6 月 1 日下午 6 點截止。

5.

電話／書面／網路競投 : 競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請手續以及競投保證金之繳納亦需在 2018 年 5 月 30 日以前完成匯款至本公司指定帳號。

6.

如於 2018 年 5 月 30 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我們將與競投者聯 繫並與之確認其競標牌號。

7.

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

8.

競投保證金退還方式 : (1) 有成交 : (a) 競投保證金以「匯款」方式完成者，扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額需退還，本公司 將於拍賣日後十四個工作天內以匯款方式退還給買家。 (b) 競投保證金以「現金」方式完成者 , 扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額需退還，本公司 將於拍賣當日以現金退還給買家。 (c) 若買家無正當理由未於成功拍賣日期後七天內支付全部應支付之款項（包含落槌價、服務費及其他費用）予本公司，買家不得請 求返還競投保證金。 (2) 未成交 : 若競投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證金。競投保證金以「匯款」方式完成者 , 本公司將於拍賣日 後十四個工作天內以匯款方式退還給買家。競投保證金以「現金」方式完成者 , 本公司將於拍賣當日以現金退還給買家。

9.

若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價與佣金 ) 金額超過競投保證金金額時，買方得以下列方式結清帳款 : (1) 現鈔：上限新台幣壹百萬元。 (2) 信用卡與銀聯卡 : 刷卡上限為新台幣壹百萬元。信用卡與銀聯卡持有人必需是買家本人 , 本公司不接受他人之信用卡。

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

諮詢｜國際藝術部

翁境優

tiffwong@ravenel.com

+886 2 2708 9868 ext. 881

RAVENEL SPRING AUCTION 2018 SELECT: Modern & Contemporary Art

羅芙奧 2018 春季拍賣會 薈萃：國際現代與當代藝術

AUCTION

拍賣日期 / 地點

Saturday, June 2, 2018, 2:00 pm Marriott Taipei 3F (Grand Space) No. 199, Lequn 2nd Road, Zhong Shan District, Taipei

2018年6月2日（六） 下午 2:00 萬豪酒店三樓（博覽廳） 台北市中山區樂群二路199號

PREVIEWS

預展日期 / 地點

Taichung

台中 2018年5月12日（六） 下午1:00至下午6:00 2018年5月13日（日） 上午11:00至下午6:00 豐藝館 台中市西區五權西路一段110號B1

Kaohsiung

高雄 2018年5月19日（六）至5月20日（日） 上午11:00至下午6:00 琢璞藝術中心 高雄市前金區五福三路63號8樓

Saturday, May 12, 2018, 1:00 pm - 6:00 pm Sunday, May 13, 2018, 11:00 am - 6:00 pm Fong-Yi Art Gallery (Next to the National Taiwan Museum of Fine Arts) B1, No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Saturday, May 19 - Sunday, May 20, 2018, 11:00 am - 6:00 pm J. P. Art Center 8F, No. 63, Wu Fu 3rd Road, Qianjin District, Kaohsiung, Taiwan

Taipei

Thursday, May 31 - Saturday, June 2, 2018 10:00 am - 6:00 pm Marriott Taipei 3F (Grand Space) No. 199, Lequn 2nd Road, Zhong Shan District, Taipei

台北 2018年5月31日（四）至6月2日（六） 上午10:00至下午6:00 萬豪酒店三樓（博覽廳） 台北市中山區樂群二路199號

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$ 1,200 per copy.

Arthur Wang 王鎮華

Chairman 董事長

Clara Kuo 郭倩如

Vice Chairman 副董事長

Wendy Lee 李雅欣

Chief Executive Officer 執行長

陳惠黛 Odile Chen

傅斐郡 Flora Fu

國際藝術部 總經理 Head of International Art Department Chief Specialist

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

何瑩 Vivi He

林慧菁 Maggie Lin

客戶發展部 總監 Head of Client Development Department

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

游景涵 Carol Yu

黃詩涵 Stella Huang

客戶發展部 經理 Manager, Client Development Department

台北藝術部 協理 Senior Manager, Art Department, Taipei

陳昱良 Iris Chen

蔡晉欣 Olivier Tsai

國際藝術部 初級專家 Junior Specialist, International Art Department

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

翁境優 Tiffany Wong 國際藝術部 業務助理 Sales Assistant, International Art Department

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

CONTENTS 4

IMPORTANT NOTICE TO BUYERS 給予買家的重要通知

7

Sale Information 羅芙奧春季拍賣會

10

Ravenel Services 羅芙奧之服務

13

SELECT : Modern and Contemporary Art 薈萃：國際現代與當代藝術

137

Absentee Bid Form 委託競投表格

139

Transaction Agreement 業務規則

143

Index 藝術家索引

RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS INTERNATIONAL ART DEPARTMENT Head of International Art Department Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odilechen@ravenel.com

Head of Client Development Department Vivi He Tel: +852 2889 0859 Email: vivihe@ravenel.com

Specialist Carol Yu Tel: +852 2889 0859 Email: carolyu@ravenel.com

Junior Specialist Iris Chen Tel: +886 2 2708 9868 ext. 883 Email: irischen@ravenel.com

Sales Assistant Tiffany Wong Tel: +886 2 2708 9868 ext. 881 Email: tiffwong@ravenel.com

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

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

CATALOGUE SUBSCRIPTION

Taipei Tiffany Wong +886 2 2708 9868 ext. 881 Email: tiffwong@ravenel.com

Hong Kong

Hong Kong Carol Yu Tel: +852 2889 0859 Email: carolyu@ravenel.com

Taiwan, International Iris Chen Tel: +886 2 2708 9868 ext. 883 Email: irischen@ravenel.com

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

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

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

Shanghai, Beijing PHONE BIDS AND WRITTEN BIDS

COLLECTION AND SHIPPING

Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com The catalogues are available for subscription.

For details of subscription, please refer to the explanations of the catalogue or contact the above persons.

Carol Yu Tel: +852 2889 0859 Email: carolyu@ravenel.com

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

International Iris Chen Tel: +886 2 2708 9868 ext. 883 Email: irischen@ravenel.com

ONLINE BIDS Register at Invaluable www.invaluable.com/

Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored.

We apologize for no acceptance of traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday.

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

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

羅芙奧2018春季拍賣會服務部門及連絡人

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

客戶發展部總監 何瑩 電話：+852 2889 0859 電子信箱：vivihe@ravenel.com

專家 游景涵 電話：+852 2889 0859 電子信箱：carolyu@ravenel.com

初級專家 陳昱良 電話：+886 2 2708 9868 轉 883 電子信箱：irischen@ravenel.com

業務助理 翁境優 電話：+886 2 2708 9868 轉 881 電子信箱：tiffwong@ravenel.com

電話書面競標聯絡人

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．海外 邵俊豪 電話：+852 2889 0859 電子信箱：ericsiu@ravenel.com

上海．北京 李政希 電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com

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。

台北 翁境優 電話：+886 2 2708 9868 轉 881 電子信箱：tiffwong@ravenel.com

香港 游景涵 電話：+852 2889 0859 電子信箱：carolyu@ravenel.com

上海．北京 李政希 電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com

國際 陳昱良 電話：+886 2 2708 9868 轉 883 電子信箱：irischen@ravenel.com

網上競投 請前往 Invaluable 註冊 www.invaluable.com/

取貨及運輸事宜 香港 游景涵 電話：+852 2889 0859 電子信箱：carolyu@ravenel.com

台灣．國際 陳昱良 電話：+886 2 2708 9868 轉 883 電子信箱：irischen@ravenel.com

中國 董戈 電話：+86 10 8587 8099 電子信箱：jasondong@ravenel.com

註一：所有拍品在貨款結清後，即可取貨； 買家請儘早通知安排取貨事宜，以利倉庫存 貨流通和集中安排辦理，本公司接受個人及 公司支票付款，惟需在兌現後始能提貨。恕 不接受旅行支票付款。其他各項貨品可在羅 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。 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 Saturday, June 2, 2018, 2:00 pm Marriott Taipei (Grand Space)

Lots 001 – 056

001

KAWS (BRIAN DONNELLY) (American, b. 1974)

Dissected Companion: Bearbrick 1000% (Black) 2010 Painted cast vinyl, edition of 500 36(L) x 20(W) x 72(H) cm Trademark KAWS..OriginaFake© on the bottom of right foot ILLUSTRATED:

KAWS , Skira Rizzoli, New York, 2010, black and white illustrated, p. 40 This work is to be sold with its original product box.

NT$ 120,000 - 180,000 HK$ 32,000 - 49,000 US$ 4,100 - 6,200 RMB 26,000 - 39,000

KAWS〈布萊恩．唐納利〉 解剖同伴：積木熊1000%（黑色） 2010 綜合媒材 搪膠 限量500版 36（長）x 20（寬）x 72（高）cm 註冊商標：KAWS..OriginaFake©（右腳底） 圖錄： 《KAWS》，斯基拉．里佐利，紐約，2010，黑白圖 版，頁40 附作品原產紙盒包裝

002

RICHARD PRINCE

理查德．普林斯

普林斯被譽為數十年來最具創新與影響力的美國藝術 家。將通俗文化的提升至藝術層次，以美國五、六零

(American, b. 1949)

娜塔莉．波曼

Natalie Portman Portrait

2000 攝影限量25件 (從A到Y) 29.7 x 21 cm

手法創作，他表示：「重攝所塑造的是似曾相識的感

簽名右下：Prince G 2000 題獻：To Richard Prince.

All the best, Natalie Portman.

5/2/98

的深層意義。」2000年推出《ALL THE BEST》系列，

來源： 伊馮．朗伯畫廊，巴黎 私人收藏，法國

Richard Prince has been widely praised as one of the most innovative and influential American artist over the past few decades. Prince sublimates popular culture onto an artistic level. Inspired by pulp-fiction-cover nurses from the 1950 to 1960 in U.S., he loves to use the technique of rephotography. He even said: “Re-photography creates a sense of déjà-vu. This type of replication is a play on real objects and images. Through ambiguous artistic scenes that offer verisimilitude, re-photography reflects on the deeper meaning of art, people’s livelihoods, society and life.” As a successful collection, “ALL THE BEST” series was presented in 2000 by using the Hollywood start’s signed autograph.

2000 Photograph, limited edition G of 25 copies (from A to Y) 29.7 x 21 cm Signed lower right Prince , numbered G and dated 2000 Inscribed To Richard Prince. All the best, Natalie Portman. 5/2/98 PROVENANCE: Yvon Lambert Gallery, Paris Private collection, France EXHIBITED:

Flash Collection , Frac: île-de-france, November 2016 - June 2017

NT$ 200,000 - 300,000 HK$ 54,000 - 81,000 US$ 6,900 - 10,300 RMB 43,000 - 65,000

展覽： 「瞬息攝影收藏展」，大法蘭西島 省立當代藝術基金會，展期自 2016年11月至2017年6月

年代低俗小說的封面女郎為靈感。偏愛「重攝」的 覺，這種複製品是對真實事物影像的把玩；從似真曖 昧的藝術情景中，進而反思藝術、民生、社會及生活 以好萊塢巨星贈與普林斯的簽名照，再製簽名組合， 大受歡迎。

Ravenel 15

003

BANKSY

(British, b.1975)

Flower Bomber (Original Color) 2016 Polystone, edition 110/118 35.5 (L) x 9 (W) x 39 (H) cm Trademark © MMXV Full Colour Black Ltd. on the bottom of right foot; MEDICOM TOY 2016 CHINA on the bottom of left foot This work is to be sold with its original product box.

NT$ 50,000 - 80,000 HK$ 13,000 - 22,000 US$ 1,700 - 2,800 RMB 11,000 - 17,000

班克斯 擲花者 2016 寶麗石粉樹脂 版次 110/118 35.5（長）x 9（寬）x 39（高）cm 註冊商標：© MMXV Full Colour Black Ltd. （右腳底）；MEDICOM TOY 2016 CHINA （左腳底） 附作品原產紙盒包裝

004

ROY LICHTENSTEIN

李奇登斯坦堪稱美國藝術巨擘，是發起普普藝術運動的重要成員，利用連環漫畫作

(American, 1923 - 1997)

為他的創作表現方式，搶眼且深刻。李奇登斯坦藉由誇張的人物情緒、流行廣告作

Crying Girl (C. II.1)

普普藝術的概念最初是從美國日常受到啟發，面對被大量生產的消費產品，不斷重

1963 Offset lithograph in colors 49.5 x 61.5 cm

為畫作的主題，利用這些大眾的商業產物作為創作藝術品的元素，以此吸引大眾。 複接收到的流行文化，藝術家們模仿此普遍的現象，以反諷過於濫俗的風氣。李奇 登斯坦於1923年出生於紐約市，父親為房產仲介，物質生活不虞匱乏，自幼頻繁 地長時間待在紐約現代美術館、自然歷史博物館，因此養成了對藝術的喜愛，畢業 於俄亥俄州立大學的美術系。他的標誌性作品畫面就是放了數倍大的彩色漫畫，顏

Signed lower right rf Lichtenstein ILLUSTRATED: Corlett Lee Mary, The prints of Roy Lichtenstein a catalogue raisonée 1948-1997, Hudson Hills Press, New York, 1994, color illustrated, no. II. 1

NT$ 70,000 - 110,000 HK$ 19,000 - 30,000 US$ 2,400 - 3,800 RMB 15,000 - 24,000

羅伊．李奇登斯坦 哭泣的女孩(C. II.1) 1963 彩色轉印平版畫 49.5 x 61.5 cm 簽名右下：rf Lichtenstein 圖錄： 瑪莉．李．科爾萊特，《李奇登斯坦版畫編年集 1948-1997》，哈德遜之丘出版社，紐約，1994 年，彩色圖版，編號II.1

色多為紅、黃、藍等，未經混色的「原色」構成，鮮豔的色彩及題材的放大表現方 式，使得其作品辨識度極高。作品中的圓點，是取自印刷報紙漫畫時，色塊部分因 粗糙的印刷品質而呈現網點狀。自80年代起，李奇登斯坦的作品在拍賣市場即備受 矚目，2000年至今，普普藝術品持續成長，舉凡安迪．渥荷、亞力士．凱茲、李奇 登斯坦更是屢居高位。

Roy Lichtenstein was a giant in American art and played an important role in shaping the pop art movement. His use of the comic strip as a creative means of expression was both eye-catching and profound. In Lichtenstein's paintings, characters with exaggerated expressions and mainstream advertisements function as a theme that attracted public attention for its use of popular commercial products as an element in the work. The concept of pop art has its origins in the American experience of everyday life faced with the mass production of consumer goods and popular culture being transmitted ad nauseam. Artists took a satiric approach to imitating the general mood of excess given these phenomena. Lichtenstein was born in New York in 1923.

Having a real estate agent for a father, he lived a life of material comfort. His most well-recognised works are his iconic comic art scenes, with magnified frames that give a fresh perspective on the subjects and the original compositions' unmixed red, yellow, and blue colours. These works harken to newspaper comics in which blocks of colours were printed in grids of dots due to the coarse quality of the print. Since the 1980s, Lichtenstein's works have made for attractive items on the market. Since 2000, Roy Lichtenstein has been a leading name, next to the likes of Alex Katz and Andy Warhol.

Ravenel 17

六角 彩 子

AYAKO ROKK AKU 「 我想盡可能地一直畫下去。」 ''…I WANT TO KEEP DRAWING FOR AS LONG AS POSSIBLE."

一雙水汪汪的大眼睛、時而有著秀麗長髮、時而搭配俏麗造型，造型多變的女孩 們在六角彩子手中一一誕生，每個女孩都好似藝術家六角的豐富面向，有時帶有 活潑個性有時溫柔。本季春拍特此選集共六件六角彩子的畫布和紙板作品，六角 彩子貫徹初衷，使用手指代替畫筆沾染壓克力顏料，創作出令人感到歡欣的畫 面。從背景中繽紛交錯的色彩到一個個女孩們的標緻的臉龐、隨心所欲的塗鴉方 式，彷彿可以見到藝術家源源不絕的靈感，及充滿熱情的創作動力。 藝術家坦言更喜歡透過用手指和身體去作畫，ㄧ來沒有隔絕的距離更能描繪出自 然生動的畫面，對於觀者而言，也能透過畫面最直接的觸感近距離與藝術家進行 對話。或許有人常常將六角彩子的畫風和知名的奈良美智相並論，他們畫中的女 孩都有著無辜眼神、帶有童真的純粹，而奈良美智也在對於近期陶土的創作自述 中提到：「我意識到比起使用鉛筆或是筆刷創作…用雙手直接進行創作是ㄧ個更 原始的天性。」儘管奈良是對於陶土作品進行評論，但不可否認的是兩位日本藝 術家對於創作的手法擁有一致性的看法，也不難感受到六角彩子熱愛創作的心， 告訴人們「我想盡可能地一直畫下去。」 六角彩子曾於訪問中提及：「我覺得繪畫不能只在一個人身上完成，通過作品， 在眾人心中留下可以回味的東西，那才是藝術。」的確，六角彩子之作不僅僅代 表了日本漫畫的精神、也實踐獨特的藝術風格深植人心，儼然已成為日本藝術界 中具有實力和潛力的新生代藝術家。近期六角彩子也將繪畫延伸至多層壓克力 版，並長期於歐洲、美國、日本等地展出，深受各界藏家喜愛，如此令人深感喜 悅的作品不分國界。

奈良美智《小朝聖者（夢遊娃娃）》1999年 玻璃纖維 壓克力顏料 棉布 9/10 43（長）x 45.7（寬）x 71.8（高）cm 羅芙奧台北2015春季拍賣會 編號327 台幣7,680,000成交 Yoshitomo NARA, The Little Pilgrim (Night Walking) , 1999, fiberglass, acrylic, cotton, no. 9/10, 43(L) x 45.7(W) x 71.8(H) cm Ravenel Spring Auction 2015 Taipei lot 327, US$ 248,947 sold

六角彩子作畫現場，照片由德萊夫畫廊提供 Ayako Rokkaku painting in situ, photo courtesy of Gallery Delaive.

A pair of rounded eyes, sometimes portrayed with beautiful long hair, sometimes decorated with stylish clothing, the girls with variety of styles were given to live in the hands of Ayako Rokkaku. Each girl is said to be one of the six angles of the artist herself, as the name of Rokkaku can be translated as the shape of Hexagon, sometimes lively and sometimes gentle. In this coming season of Spring, a special collection of six canvases and cardboard pieces of Rokkaku will be presented. Ayako Rokkaku painted with her bare hands and fingers instead of brushes, to create appealing images. From the colorful interplay of colors in the background to the good-looking faces of the girls, it is joyful to be looking at her ways of incorporating graffiti and inspirations with passions as exhibited in her works.

The artist has claimed that she enjoyed painting with her fingers and body, as there would be no distance between her and the image she’s about to portray. For the audience, it is also possible to grasp a better idea and feel closer to the artist through her expression of colors on her fingertips. Perhaps it is easy to compare her works to that of the renowned artist Yoshitomo Nara, in which both of their works captured the innocent eyes of women, depicted the purity and innocence of them. In addition, Nara has spoked in response to

his recent ceramic works, where he realized that it is “a more primal instinct to create with the hands directly, rather than using a tool like a pencil or a brush.“ Despite Nara was commenting on his works of ceramics, there is no denying that both artists have a consistent view regarding their techniques; for Rokkaku, her passionate play of colors are also evidently displayed in her works, ''…I want to keep drawing for as long as possible. " Rokkaku said in the interview, "I think painting can't be completed with only one person. Through works, there are things that can be recollected in everyone's minds. That is what art is. " Indeed, the work of Rokkaku not only represents Japan’s deeply rooted comical culture. The practice of her unique artistic style are deeply rooted in the minds of many whom have seen her works. She is the new generation of artists who has the strength and potential rising within the Japanese art world. She recently extended her paintings to different medium, on multi-layered acrylic. Rokkaku is also frequently exhibited in Europe, the United States, Japan, and other places for a long time. Her works have been responded with positive feedback and are loved by collectors from all nations, as for such pleasure there would be no boundaries.

Ravenel 19

005

AYAKO ROKKAKU

六角彩子

(Japanese, b. 1982)

小花雨衣

Flower Raincoat

2009 壓克力 畫布 30 x 40 cm

2009 Acrylic on canvas 30 x 40 cm Signed lower right Ayako Rokkaku in Japanese and dated 2009 Inscribed on the reverse ARP 09.025 PROVENANCE: Gallery Delaive, Amsterdam Private collection, Netherlands

NT$ 150,000 - 220,000 HK$ 40,000 - 59,000 US$ 5,200 - 7,600 RMB 33,000 - 48,000

簽名右下：2009 ロッカク アヤコ 題識畫背：ARP 09.025 來源： 德萊夫畫廊，阿姆斯特丹 私人收藏，荷蘭

006

AYAKO ROKKAKU (Japanese, b. 1982)

Braid Girl Wearing Green Dress 2008 Acrylic on cardboard 73 x 37 cm With a seal of the artist Signed on the reverse Ayako Rokkaku in Japanese and dated 2008 PROVENANCE: Gallery Delaive, Amsterdam Private collection, Netherlands

NT$ 100,000 - 150,000 HK$ 27,000 - 40,000 US$ 3,400 - 5,200 RMB 22,000 - 33,000

六角彩子 麻花辮與綠洋裝 2008 壓克力 紙板 73 x 37 cm 鈐印右下： ロッカクアヤコ 簽名畫背：2008 ロッカクアヤコ 來源： 德萊夫畫廊，阿姆斯特丹 私人收藏，荷蘭

Ravenel 21

007

AYAKO ROKKAKU

六角彩子

(Japanese, b. 1982)

白洋裝女孩

Girl Wearing White Dress

2008 壓克力 紙板 39 x 63 cm

2008 Acrylic on cardboard 39 x 63 cm With a seal of the artist Signed on the reverse Ayako Rokkaku in Japanese, inscribed AR08-05 and dated 2008 PROVENANCE: Gallery Delaive, Amsterdam Private collection, Netherlands

NT$ 100,000 - 150,000 HK$ 27,000 - 40,000 US$ 3,400 - 5,200 RMB 22,000 - 33,000

鈐印右下： ロッカクアヤコ 簽名畫背：2008 ロッカクアヤコ AR08-05 來源： 德萊夫畫廊，阿姆斯特丹 私人收藏，荷蘭

008

AYAKO ROKKAKU

六角彩子

(Japanese, b. 1982)

紅洋裝女孩

Girl Wearing Red Dress

2008 壓克力 紙板 73 x 81 cm

2008 Acrylic on cardboard 73 x 81 cm With a seal of the artist Signed on the reverse Ayako Rokkaku in Japanese and dated 2008

鈐印左上： ロッカクアヤコ 簽名畫背：2008 ロッカクアヤコ 來源： 德萊夫畫廊，阿姆斯特丹 私人收藏，荷蘭

PROVENANCE: Gallery Delaive, Amsterdam Private collection, Netherlands

NT$ 190,000 - 280,000 HK$ 51,000 - 75,000 US$ 6,500 - 9,600 RMB 41,000 - 61,000

Ravenel 23

009

AYAKO ROKKAKU

六角彩子

(Japanese, b. 1982)

小紅洋裝

Little Red Dress

2009 壓克力 畫布 100 x 100 cm

2009 Acrylic on canvas 100 x 100 cm Signed lower right Ayako Rokkaku in Japanese and dated 2009 Inscribed on the reverse ARP 09.029 PROVENANCE: Gallery Delaive, Amsterdam Private collection, Netherlands

NT$ 380,000 - 600,000 HK$ 102,000 - 162,000 US$ 13,100 - 20,700 RMB 82,000 - 130,000

簽名右下：2009 ロッカクアヤコ 題識畫背：ARP 09.029 來源： 德萊夫畫廊，阿姆斯特丹 私人收藏，荷蘭

010

AYAKO ROKKAKU

六角彩子

(Japanese, b. 1982)

花園女孩

Little Girl in the Garden

2009 壓克力 畫布 100 x 100 cm

2009 Acrylic on canvas 100 x 100 cm Signed lower right Ayako Rokkaku in Japanese and dated 2009 Inscribed on the reverse ARP 09-003

簽名右下：2009 ロッカクアヤコ 題識畫背：ARP 09-003 來源： 德萊夫畫廊，阿姆斯特丹 私人收藏，荷蘭

PROVENANCE: Gallery Delaive, Amsterdam Private collection, Netherlands

圖錄： 《六角彩子》，德萊夫畫廊，阿姆斯特丹， 2009，彩色圖版，頁38

ILLUSTRATED: Ayako Rokkaku, Gallery Delaive, Amsterdam, 2009, color illustrated, p. 38

NT$ 380,000 - 600,000 HK$ 102,000 - 162,000 US$ 13,100 - 20,700 RMB 82,000 - 130,000 Ravenel 25

奈 良 美 智

LOVE ALWAYS 偏好獨自創作。溫暖、親和、觸動人心，跨界廣受流行時尚、文學與大眾文 化喜愛的日本藝術家奈良美智；「我作品其實是我內心的自畫像，和自己對 話。」這位不願長大的藝術家，在回憶童年時代的創作中，寫下精彩感人的 生命經歷。 奈良美智生於日本青森縣弘前市，1987年畢業於日本愛知縣立藝術大學， 取得碩士學位。隨後他遠赴德國杜塞道夫藝術學院留學，並於1993年完成 其學業。在德國生活十二年間，前期就讀國立杜塞道夫藝術學院（19881994），後期在科隆成立工作室（1994-2000），成為職業畫家。來到德 國之後，因為無法以流暢德語溝通的遺憾，只好用繪畫來表現，就像小時 候，用畫畫來溝通，意識到自我的存在。旅居德國期間，他開始寫日記，不 針對他人，只面對自己的心。德國留學的階段，居住在遙遠僻靜的環境， 孤獨促使他開始和兒時的小美智對話。畫面的空 間彷彿小時候故鄉青森的廣闊大地，畫家能細膩 巧妙掌握人物與空間的對應關係。此時的奈良美 智逐漸確立了日後的創作風格，他簡化繪畫背景 的敘述，將背景塗成平面，僅僅凸顯畫面中小孩 與動物的主題。初期和自己的對話過程，有時孤 單，有時快樂。一開始，想得多是悲哀的與傷感 的記憶，情緒比較激動。主角呈現眼神挑釁、帶 有邪惡冷漠的象徵。 奈良美智的內心願望是，想要一直像個小孩，只 要能一直畫畫就很快樂。小時候母親會給他一 些廣告傳單紙片，紙頭的背面空白處是最好的畫 紙，他能享受著塗鴉的快樂，塗鴉的習慣一直保 留下來。不想長大的畫家，他的畫也是帶有孩子

at the Kunstakademie Düsseldorf, while spending the later six (19942000) setting up a studio and working as a professional artist in Cologne. Since he was unable to communicate fluently in German, he again had to resort to using his art as a medium for conveying his meaning. Just as he did when a little boy, he spoke to people through his paintings, at the same time raising his awareness of his own identity and existence. During those years he also began to write a diary, not as some kind of official record, but entirely for the purpose of a dialogue with his inner self. Living in what for him was a rather remote and secluded environment, his sense of loneliness prompted him to start a fresh examination of his childhood years. The solitude he had felt in the wide lands of his native Aomori metamorphosed into the vast spaces of his compositions, into which his protagonists are placed with a delicate sense for contrast, balance, and proportion. In Germany, Nara began to gradually develop his trademark artistic style, with flat, simplified backgrounds and a firm focus on the children or animals that are the usual subjects of his paintings. The artist seems to have oscillated between feelings of isolation and happiness when reflecting on his life, and his youth in particular. At first, sadness and melancholy appear to have dominated his mood, and the rawness of his emotions is clearly mirrored in the looks of his protagonists, especially the expressions in their eyes, which range from challenging and provocative to apathetic, callous, or downright evil.

氣的。大眼小孩、垂頭喪氣的白狗等主題，透露

Deep down inside, the artist’s greatest wish is to be as a child forever. As long as he can paint, he can be. When he was young, Nara’s 住著一個敏感孤獨，忍著不哭的孩子。」當我們 mother would often give him promotional Yoshitomo NARA, Patched Head, 2011, acrylic on panel, 看到畫裡主角倔強固執的眼神，不自覺的召喚出 144.4 x 130.1 cm, Ravenel Autumn Auction 2017 lot 343, flyers and handouts. The backs of these, 心裡的孩子氣，感受到其中的情感。 US$ 1,502,998 sold which usually had nothing printed on them, provided the perfect drawing paper for Nara, allowing him to paint Yoshimoto Nara, the Japanese artist who prefers to a solitary affair, or even just doodle away to his heart’s content. To this day, he still have become the household names in areas such as cross-genre fusion, enjoys doodling and scribbling just for fun. It is not surprising, then, pop culture, fashion, literature, and commercial art. “All my paintings that his work radiates a childlike charm, and that the artist often comes are portraits of my own inner self, representing a dialogue with my off as less than a grownup. His children with wide eyes and sad-faced personality. ” There can be no doubt that this artist, unwilling as he is to white doggies betray a deep-seated fragility and vulnerability. In the grow up, continues to live a richer and deeper life than many adults. documentary “Traveling with Yoshitomo Nara” there is a passage where the voiceover says, “Somewhere hidden inside everybody’s Nara was born in Hirosaki, a village located in the northern prefecture heart there is a lonely, sensitive child trying very hard not to cry. ” When of Aomori, Japan. After obtaining a Masters in Fine Arts from Aichi we look into the stubborn and willful eyes of Nara’s protagonists, we Prefectural University of Fine Arts and Music in Nagoya, Japan in 1987, involuntarily recall our own “childishness,” and are able to identify with Nara moved to Germany to study at the Kunstakademie Düsseldorf, the feelings conveyed by the artist’s characters. from which he graduated in 1993. Nara ended up living in Germany for 12 years. For the first six of these, from 1988 to 1994, he studied 著脆弱易感的內在。他的紀錄片《跟著奈良美智 一起去旅行》裡一段旁白說著「因為大家心裡都

奈良美智 《修補頭》 2011年 壓克力 木板 144.4 x 130.1 cm 羅芙奧2017秋季拍賣會 編號343 台幣45,120,000 成交

011

YOSHITOMO NARA

奈良美智

(Japanese, b. 1959)

很深很深的水坑

In the Deepest Puddle

1997 馬克筆 卡片 21 x 14.5 cm

1997 Pen on paper card 21 x 14.5 cm Signed upper center YOSHITOMO NARA , and dated 1997 PROVENANCE: Kadokawa Shoten "Yoshitomo Nara: in the Deepest Puddle" Signing Event, Japan, 1997 Private collection, Japan Private collection, Taiwan

簽名中上：YOSHITOMO NARA 1997 來源： 角川書店「很深很深的水坑」作家簽名會，日本，1997年 私人收藏，日本 私人收藏，台灣

NT$ 320,000 - 480,000 HK$ 86,000 - 129,000 US$ 11,000 - 16,500 RMB 69,000 - 104,000 Ravenel 27

012

IIDA KIRIKO

飯田桐子出生於日本北海道，成長於時常被白雪包圍的家鄉，其繪畫作

(Japanese, b. 1970)

品亦覆蓋著一層靈氣，脫俗而寂靜的美。藝術家的作品多以北海道的冰

The Echo

的溫度來自於藝術家溫柔的筆觸，也透露出了藝術家對於環境的深愛。

2010 Oil on canvas 116.7 x 90.9 cm

天雪地為背景，在表現極為冰冷的空氣時，畫面冷靜但卻不清淒，作品 飯田桐子表示只對描繪人物、動物、以及植物有著極大的興趣，她以細 膩的方式畫出人物吹彈可破的觸感，以繪畫展示了溫柔的生命力。以雪 國景色為由，利用大量的白色，營造出而具包容力空間，並藉此凸顯了 畫面裡其他顏色的深度。

Signed on the reverse frame Kiriko Iida , and dated 2010 EXHIBITED:

Iida Kiriko Solo Exhibition-4 , Gallery IDF, Nagoya, September 4 - 26, 2010 November-Iida Kiriko Solo Exhibition , Soka Art Center, Taipei, November 6 - 28, 2010

飯田桐子現生活、工作於北海道，1991年畢業於北海道造形設計學校 後，除了陸續展出於亞洲各大藝術博覽會，更定期於台灣和日本展出、 多次的跨國個展，以「霜月」為名的個展，開始備受台灣藏家矚目。飯 田桐子曾說過，她的創作是為了繪出故事的一瞬間，表達出在白雪中時 間停止的一剎那。然而，畫作的完成卻十分耗時，她在靈光乍現時，便 立刻提筆作畫，但畫出輪廓後卻擦掉，再次重新勾畫，再擦掉，在一次

ILLUSTRATED:

次重新勾勒的過程中，找尋到了屬於這幅畫作要呈現的氛圍後，才接續

Gallery Monthly, vol. 9 , Japan, 2010, color illustrated ARTcollectors’, vol. 10 , Japan, 2010, color illustrated November-Iida Kiriko , Soka Art Center, Taipei, 2010, color illustrated

繪完作品。這種創作方式是藉由多重步驟的精製，將一個創作理念純

NT$ 240,000 - 360,000 HK$ 65,000 - 97,000 US$ 8,300 - 12,400 RMB 52,000 - 78,000

飯田桐子 共鳴 2010 油彩 畫布 116.7 x 90.9 cm 簽名畫背框：Kiriko Iida 2010 展覽： 「飯田桐子個展－4」，IDF畫廊，名古屋，展期自2010 年9月4日至9月26日 「霜月－飯田桐子個展」，索卡藝術中心，台北，展期 自2010年11月6日至28日 圖錄： 《畫廊月刊》9月號，日本，2010年，彩色圖版 《藝術收藏家雜誌》10月號，日本，2010年，彩色圖版 《霜月－飯田桐子》，索卡藝術中心，台北，2010年， 彩色圖版

化、淨化，最後，呈現出最靜謐畫面。飯田桐子的畫作而寧靜，其些許 神秘的氛圍以及遠離塵囂的美感頗受藏家偏愛。

Born in Hokkaido, Japan, Iida Kiriko grew up in a home frequently surrounded by the white of snow, and it still covers the aura of her works as a layer in their calm and refined beauty. Many of the artist's works depict Hokkaido scenes of snow and ice, ever calm yet not clear when it they show the extreme chill in the air. That is, the works exude a warmth that comes from the artist's brush and reveals her heartfelt affection for the environment. Particularly fond of painting plants, animals, and humans, Iida Kiriko depicts a life of gentleness and does so in such a delicate manner that the figures she depicts seem as if strong wind could collapse them. With a snowy world in the background, her liberal use of white colours creates a space with a certain tolerance, which highlights the depths of the other colours in the frame.

Iida Kiriko graduated from the Hokkaido Zokei Design College in 1991, and she currently lives and works in Hokkaido. Apart from continuing to showcase her work at art fairs around Asia, she has regularly exhibited in Taiwan and Japan. Amongst her numerous transnational solo exhibitions, November is famous for being the first to catch the attention of Taiwanese collectors. The artist herself has said that her practice is an effort to paint a moment in a story, to express the instant when time stops in the snow's midst. Still, completing a painting is a very time-consuming process, which starts when inspiration hits and she starts to draw. After she makes an outline, though, she erases it before redrawing it and erasing it again. Repeatedly examining the work in this way, she finds the proper atmosphere for each scene before going forward with the painting itself. This multi-step process of refinement allows her concepts to be purified pure and crystallised in her practice, so the finished works only present the most tranquil of scenes.

Ravenel 29

013

RIKIZO FUKAO (Japanese, b. 1946)

2006-176-07 2006 Oil on canvas 176 x 88.5 cm Signed lower right RIKIZO Signed on the reverse RIKIZO , inscribed Auvers France and dated 2006 PROVENANCE: Private collection, Asia

深尾力三的大尺幅畫作，只以紅色及黑色進行創作，結合歐洲傳統油畫 以及日本傳統印刷工藝的精神，創作出特殊的質地及紋理。在具有張力 的幾何形構圖中，呈現出富現代感的禪意。作品大器且深刻，因而頗受 歐洲及日本藏家青睞。 深尾力三在1946年出生於日本群馬縣，自東京青山學院大學畢業後，過

NT$ 380,000 - 550,000 HK$ 102,000 - 148,000 US$ 13,100 - 18,900 RMB 82,000 - 119,000

了一段上班族的時期，24歲時開始學畫，於1971年遷居至巴黎。1973年 在瑞士日內瓦擔任工程師，同時作為畫家活躍於歐洲，1976年受法國文 化部頒贈巴黎工作室。在1981年成為全職畫家，持續於巴黎、日本等地 舉辦多次個展，作品現藏於倫敦大英博物館、日內瓦市等地。1993年至 2011年間，則定居於巴黎近郊的瓦茲河畔歐韋，此地亦為文森・梵谷逝

深尾力三

世前居住之地。作品除了曾展在畫廊、美術館展出，在京都的高台寺及 法國布盧瓦城堡的個展，更是氣質非凡，大膽而穩重。

2006-176-07 2006 油彩 畫布 176 x 88.5 cm 簽名右下：RIKIZO 簽名畫背：RIKIZO 2006 Auvers France 來源： 私人收藏，亞洲

Rikizo Fukao use only red and black in his large-scale paintings.

Combining the material of European traditional oil paintings and Japanese traditional printmaking techniques, the artist managed to create a unique sense of texture. The tension of the artwork was created by the large geometric composition, of which a modernized “Zen” spirit were exhibited. The outstanding and profound artworks were especially popular among European and Japanese collectors.

Rikizo Fukao was born in Gunma Prefecture in 1946. He used to work as a salary man for years after he graduated from the Aoyama Gakuin University in Tokyo. Fukao started to paint at the age of 24, he moved to Paris in 1971. He has been active in Europe as an artist while working as a programmer in Geneva, Switzerland. He was awarded with an atelier in Paris by the French Ministry of Culture in 1976. It is not until 1981 that he became a full-time artist, and continue to exhibit in Paris and Japan. His works have been collected by the British Museum in London, the Geneva City and others.

During 1993 to 2011, he used to settle in Auvers sur Oise, the outskirts of Paris, where Vincent van Gogh lived before his death. In addition to exhibitions in galleries and museums, his solo exhibitions at the Kodaiji Temple in Kyoto and the Château de Blois in France are extraordinarily bold and sedate.

Ravenel 31

014

RIKIZO FUKAO (Japanese, b. 1946)

2006-P50-6 2006 Oil on canvas 81 x 116 cm Signed lower right RIKIZO Signed on the reverse RIKIZO , inscribed Auvers sur Oise France and dated 2006 PROVENANCE: Private collection, Asia

NT$ 320,000 - 480,000 HK$ 86,000 - 129,000 US$ 11,000 - 16,500 RMB 69,000 - 104,000

深尾力三 2006-P50-6 2006 油彩 畫布 81 x 116 cm 簽名右下：RIKIZO 簽名畫背：RIKIZO 2006 Auvers sur Oise France 來源： 私人收藏，亞洲

Ravenel 33

015

VICTOR VASARELY

(Hungarian-French, 1906 - 1997)

Körkép 1989 Oil on canvas 58 x 55 cm Signed lower center Vasarely Signed on the reverse Vasarely and titled Körkép , inscribed 3783 58 x 55 , and dated 1989 PROVENANCE: Fuji Television Gallery, Tokyo Galerie Elegance, Taipei Private collection, Asia ILLUSTRATED:

Promenade à Paris , Galerie Elegance, Taipei, 2011, color illustrated, p. 190 This painting is to be sold with a certificate of authenticity issued by Fuji Television Gallery, Tokyo.

NT$ 950,000 - 1,500,000 HK$ 256,000 - 404,000 US$ 32,700 - 51,700 RMB 206,000 - 325,000

維多．瓦薩雷利 跳動的旋律 1989 油彩 畫布 58 x 55 cm 簽名中下：Vasarely 簽名題識畫背：Körkép 3783 58 x 55 1989 Vasarely 來源： 富士電視畫廊，東京 愛力根畫廊，台北 私人收藏，亞洲 圖錄： 《品味巴黎－看懂巴黎的西洋名畫》，愛力根畫廊， 台北，2011，彩色圖版，頁190 附日本富士電視畫廊開立之原作保證書

Ravenel 35

歐普藝術一詞來自1965年紐約現代美術館歷史性的展覽：「易感之眼」，瓦薩雷 利向大眾呈現此一基於科學方法分析色彩並運用數學計算的精準構圖，使作品在 肉眼欣賞下產生錯視與動態的最新藝術型態。即被公認為「歐普藝術之父」。 早於展覽三十年前，瓦薩雷利已開始塑造這個在二十世紀具有超乎想像影響力的 藝術運動。1906年生於匈牙利，1925年入布達佩斯大學醫學系，兩年後決定追隨 藝術天職的召喚，接受學院繪畫訓練。在醫學系期間養成強烈的科學方法論、客 觀性以及對知識的求知若渴。1929年進入有「布達佩斯包浩斯」之稱的慕希利藝 術學院，接觸馬勒維奇與康定斯基的作品及理論。1930年赴巴黎定居。1938年， 32歲的瓦薩雷利以黑白兩色創作的《斑馬》被定位為歐普藝術的第一幅作品；漩 渦狀條紋構成的主題，沒有輪廓線勾勒，並置的對比，表現出簡單的線條便能使 二維空間湧現動感。 建立於科學，傳遞包浩斯精神，為後世推崇為「歐普藝術之父」的維多．瓦薩雷 利，如同畢卡索、莫迪里亞尼等其他大師，來自外國，卻在巴黎樹立自己的藝術 之名。他是繼文藝復興之後，再度探索視覺的極限，引領西方美術跨入新一階 段，科學與藝術連結，前者將透視法引領觀眾視野，進入畫中遠方消逝的點。瓦 薩雷利則是思考讓平面的畫作突出至立體，甚至是動態的視覺效果。同為戰後抽 象藝術，他卻反對不受控制隨機性的創作。堅持尺規與測量計算，一絲不苟的演 算，成功數字化視覺藝術的表現形式。從黑白單色運用，推演至冷暖色差影響的 心理暗示，所謂的「冷抽象」，其實富含人文思維與再現大自然幾何規則的運 用。呼應時代思潮，歐普藝術的應用性，迅速風靡視覺設計的領域，至今隨處可 見其精神延續下的成果。 瓦薩雷利參與逾百件建築與公共藝術的創建。1976年龐畢度總統揭幕位在艾斯克 ‧普羅旺斯的瓦薩雷利基金會，由他親自設計，除了作品的展出，更致力於美學 知識體系的研究。位在故鄉匈牙利佩奇的瓦薩雷利美術館亦於同年開幕，1987年 匈牙利再於布達佩斯成立瓦薩雷利美術館。已成立四十週年，位於法國普羅旺斯 的瓦薩雷利基金會美術館，2013其獨特的建築體為法國政府歸納為歷史建築，經 歷六年的整修，2018年夏天將再度開啟大門。 1989年創作《跳動的旋律》，匈牙利原文題名Körkép帶有圓形全景之意義。視覺 定焦中央的等邊六角形，再複製許多菱形，利用色彩漸層的差異，構成一完整立 方體，而後不斷複製組合成典型的半球體構圖。空間分隔出節奏與秩序，色彩與 幾何圖形在佈局下，視覺的韻律開始跳動組合成交響樂般的畫面。 瓦薩雷利陸續獲頒布魯塞爾藝評大獎、米蘭三年展金獎與古根漢國際藝術獎… 等，而他的國際名聲在1965年紐約現代美術館「易感之眼」展覽後更達到巔峰， 並於 1970 年獲頒法國榮譽騎士勳章，展出不斷，作品收藏於各國重要美術館。 影響二十世紀現代藝術甚深，眼界先於時代之前的歐普藝術之父，於1997年以91 歲高齡逝世於巴黎，留給後世無以計量的美學遺贈。

The term “Op Art” (Optical Art) derives from the exhibition “The Responsive Eye” that was held at the Museum of Modern Art in New York in 1965, which was the first large-scale exhibition to present to the public this new form of art, featuring precise compositions based on the use of scientific methods to analyze color, and on complex numerical calculations; works which, when viewed by the naked eye, often create optical illusions or a sense of movement. Following this exhibition, Victor Vasarely came to be universally acclaimed as the “Father of Op Art.”

歐 普 藝 術 之 父

FATHER OF OP ART Vasarely had in fact begun to create art 30 years before the beginning of this "Op Art" movement, one of the most influential art movements of the 20th century. Born in Hungary in 1906, Victor Vasarely enrolled in the department of medicine at Eötvös Loránd University in Budapest in 1925. Two years later, he decided to heed his calling to make art his career, and began academic art training. Vasarely’s medical training had instilled in him a markedly scientific approach, a commitment to objectivity, and an unslakeable thirst for knowledge. In 1929, Vasarely enrolled in the Mühely, an art school known as “Budapest’s Bauhaus,” where he was exposed to the work and theories of Malevitch and Kandinsky. He moved to Paris in 1930. “Zebra,” a monochrome painting that Vasarely created in 1938 (when he was 32), is generally considered to be the first Op Art work ever produced. The image is created from a pattern of rippling stripes, with no outline. With its perfectly juxtaposed contrast, the painting shows how simple lines can give two-dimensional space a sense of movement and dynamism.

Similar to Picasso, Modigliani, and other masters, he came from a foreign country and established a name for himself as an artist in Paris.

Following the Renaissance, the limits of vision were explored once again, leading Western art into a new phase in which science and art became linked together. The former introduced new perspective methods before the viewer's field of vision, entering the painting at its vanishing point. Vasarely's concept involved how the flat plane of a painting could be protruded into a three-dimensional object and even create dynamic visual effects. At the same time, he opposed the creation of uncontrolled and random work in post-war abstract art. He adhered to the ruler, made measurements, and was never negligent in his calculations, successfully digitising the expressive forms of digital art. Inferring psychological implications from warm and cool tonal differences, his so-called ‘cold abstraction’ was actually filled with humanist thought and applications that reproduced natural geometric principles. In line with the trends of the times, Op Art made a quick sweep through the field of graphic design, and its influence has since continued to spread even further.

There is the repetition of numerous rhombuses and differences in gradients of colour. Out of this is shaped a full cube, which has been continuously copied to form an archetypal hemispheric composition. The separate rhythms and orders in the work are spaced out while the colours and geometric figures are laid out to create a pulsing visual tempo that brings everything together in a symphonic image.

Vasarely has received numerous awards, including the Brussels Art Critics Prize, a Gold Medal at the Milan Triennial, and the Guggenheim Prize. His international reputation reached its apogee following the holding of the “The Responsive Eye” exhibition at the Museum of Modern Art in New York in 1965. In 1970, Vasarely was made a Chevalier of the Légion d’honneur by the French government. Many exhibitions of his work were held, and his pieces were avidly collected by major art museums all over the world.

Having exerted a tremendous influence over the development of modern art in the 20th century, and having always been ahead of his time, the “Father of Op Art” died in Paris in 1997 at the age of 91, leaving behind an immense aesthetic gift for future generations.

Vasarely was involved in the design and construction of more than 100 buildings and public art installations. In 1976, the Foundation Vasarely in Aix-en-Provence was inaugurated by French President George Pompidou. The Foundation buildings were designed by Vasarely himself; besides exhibiting Vasarely’s own works, the Foundation also undertook architectonic research. A Vasarely Museum was also opened in Vasarely’s birthplace of Pécs in Hungary in that same year. A further Vasarely museum opened in Budapest in 1987. The Fondation Vasarely in Aix-en-Provence is a museum that was founded over forty years ago. It is notable for its unique architecture, for which the French Government designated it a historic building in 2013. After six years of renovations, Fondation Vasarely will once again open its doors in the summer of 2018.

The 1989 work "Körkép" was originally titled in Hungarian, meaning panoramic view. Fixed at the centre of focus is an equilateral hexagon.

維多・瓦薩雷利《藍色迴旋曲》1958 - 1988年 油彩 畫布 90 x 62 cm 羅芙奧香港2015秋季拍賣會 編號071 港幣1,110,000成交 Victor VASARELY, Tenger , 1958 - 1988, oil on canvas, 90 x 62 cm Ravenel Autumn Auction 2015 Hong Kong lot 071 US$ 143,226 sold

Ravenel 37

016

SHOZO SHIMAMOTO (Japanese, 1928 - 2013)

Crane Performance Napoli F 2006 Acrylic on canvas 82 x 109 cm Signed lower right S. Shimamoto PROVENANCE: Important private collection, Europe Christie's London, ASOBI: Japanese and Korean Modern & Contemporary Art, 2015, lot 21 Acquired sale by the present owner from the above This painting is to be sold with a certificate of authenticity issued by Shozo Shimamoto Association and signed by the artist, Archive ID 343 and dated 07.11.05.

NT$ 2,400,000 - 3,600,000 HK$ 647,000 - 970,000 US$ 82,700 - 124,000 RMB 521,000 - 781,000

嶋本昭三 起重表現：拿波里F 2006 壓克力 畫布 82 x 109 cm 簽名右下：S. Shimamoto 來源： 重要私人收藏，歐洲 倫敦佳士得拍賣，「乘物游心：日本戰後及當代藝術」， 2015年，編號21 現有藏家購自上述來源 附藝術家協會開立與藝術家簽名之原作保證書，2007年 11月5日，編號343

Ravenel 39

「 具 體 派 」 命 名 者

GUTAI

嶋本昭三以「擲瓶藝術」及「大砲繪畫」揚名於世，「擲瓶藝術」指的 是藝術家把顏料裝入玻璃瓶，將玻璃瓶往畫布投擲，使顏料隨玻璃，在 重力加速度的衝擊下炸裂於畫布，在畫布上留下各種不同顏色的力道痕 跡，以顏料和飛沫呈現精力豐沛的畫面。「大砲繪畫」的方式則是在他 自創的大砲機器放入填裝滿顏料的球，以發射大砲進行創作。嶋本昭三 持續不懈的表現力道於作品，畫面上的衝擊力道，一部分是藝術家自主 的力道，另一部分是外部環境所給予的力道；「擲瓶」方式的外部力量 是重力，「大砲繪畫」是利用機械原理所產生力量。藝術品的創作是由 藝術家所主導，但嶋本昭三加入了「擲瓶」及「大砲」這些無法完全控 制的外部因素，藉由巧思，製造出一些偶然與巧合，使得其抽象創作充 滿生律且獨一。 嶋本昭三出生於大阪，畢業於關西大學文學院，為日本戰後前衛藝術團 體「具體派」的核心創始成員，「具體派」一詞即為嶋本昭三所創，全 名「具體藝術協會」，強調身體與周遭環境的互動，堅決不模仿他人， 且藝術創作必須是原創、前所未見的。透過不同於以往傳統繪畫的創作 行為，「具體派」藝術家各出奇招，捨棄畫筆，並身體力行，以前衛的 行為實踐其創作主張。 嶋本昭三創作過程的可觀性極高，在1993年的第45屆威尼斯雙年展現 場作畫後，獲得了高度評價，活躍於國際藝術圈之餘，更陸續受B B C、 N H K等電視媒體之邀，為專題紀錄影片進行公開創作，數次啟用起重 機，讓自己被吊至數十米高的上空，自高空丟擲顏料瓶，製作出張力十 足、具高度衝擊力量的畫面。《起重表現：拿波里F》亮麗的黃，構出 如花朵般的形色，疏密有致的深色顏料營造出如倫敦小雨景般的愉悅氛 圍，由錯落的深綠平衡了畫面，同時襯托出黃色鮮豔的戲劇效果。 在1940年代，帕洛克以潑灑顏料的作畫方式，潑出了一波抽象表現主義

Shozo Shimamoto had won himself international recognition with his "bottle throwing art" and "cannon painting." "Bottle-throwing art" refers to the artwork of which the artist created by throwing pigment-filled glass bottles to the canvas. When glass bottles were smashed to the surface, the pigment were splashed, leaving traces of power with various colors. With the effect of gravity and acceleration, pictures of strong energy was created by the exploded bottles."Cannon painting" was the method utilizing the mechanical cannon Shimamoto created. Which he used to fire the color balls onto the canvas. Shimamoto had been creating powerful images unremittingly throughout his career. The power of the image was created partly by the strength of the artist’s autonomy, and partly by the strength given by the external condition. The external force of “bottle throwing” is gravity, and “cannon painting” is the mechanical force. The creation of artworks is dominated by artists, but Shimamoto added external factors such as "bottle throwing" and "cannon" which cannot be completely controlled. By ingenious thinking, some accidents and coincidences were created, making the abstract creation full of vitality.

Shimamoto was born in Osaka, he graduated from the Kansai University Faculty of Arts in Osaka. He is a founding member of "Gutai", the Japanese post-war avant-garde art group. The term "Gutai", also known as “Gutai Art Association” in full, was proposed

by Shozo Shimamoto. "Gutai" insists that the creation of art requires interaction of the body and the surrounding environment. And Art must be an original idea which have never been executed before.

Contrary to traditional paintings, "Gutai" artists have each resorted to strange tricks, abandon paintbrushes, and practice their actions to perform their manifesto.

風潮，在當時，他破天荒的將畫布從畫架移至地板，以大幅度的滴灑動 作取代傳統繪畫細緻的描繪，擾動了藝術圈。此抽象畫的創作方式，比 起呈現的圖樣，更重要的是記錄了藝術家行動的軌跡，從顏料灑出到落 下於畫布，留在畫布上的抽象形色，都是帕洛克的肢體動作的延伸，在 平面畫作留下如舞蹈表演般的三度空間意象。二次世界大戰日本戰敗， 日本戰後藝術圈，多反對戰前所流行的幾何式抽象藝術，嶋本昭三更發 行了《具體誌》，發表畫具、畫筆對於藝術的限制，以及關於美的理想 論。近幾年來，藝術界重新肯定了此戰後藝術運動的重要性，在美國西 岸藏家的追捧下，「具體派」已常見於卓越的藝術藏品中。嶋本昭三的 作品藏於倫敦泰特博物館、法國龐畢度中心、義大利國立現代藝術美術 館。在2013年1月25日，因急性心臟衰竭而過世，享年85歲。

Shimamoto's creative process was highly observant. After painting on the scene at the 45th Venice Biennale in 1993, he was highly appraised and active in the international art circle. He was also invited by BBC, NHK and other TV media in succession. In order to create a special documentary film for public creation, several cranes were used, and they were hoisted to a height of several tens of meters. The paint bottles were thrown from high altitudes to create a picture with high tension and strong impact. "Crane Performance Napoli F" shaped like a flower. The dense dark pigments created a pleasant atmosphere like London's light rain. The dark green was balanced and the picture was balanced. At the same time bring out the bright yellow dramatic effect.

1950年創作中的傑克遜．帕洛克 攝影：漢斯．納穆斯

嶋本昭三在拿波里但丁廣場進行公開創作，莫拉基金會，2006年

Jackson Pollock at work in 1950. ©1991 Hans Namuth Estate Courtesy Center for Creative Photography, University of Arizona.

Shozo SHIMAMOTO, performance at Piazza Dante, Fondazione Morra, Napoli, 2006 ©Associazione Shozo Shimamoto

In the 1940s, Pollock spluttered a wave of Abstract Expressionism with splashes of paint. When he moved the canvas from the easel to the floor, and created paintings with drastic actions. The depiction disturbed the art circle. The way of creating this abstract painting is more important than the pattern presented. It records the trajectory of the artist's actions. From the paint spilled onto the canvas, the abstract shapes left on the canvas are all the actions of Paloch's body. Extend and leave a three-dimensional image like a dance performance in a plane painting. After the defeat of World War II in Japan and the post-war art circles of Japan, they opposed the geometric abstract art that prevailed before the war. Shimamoto also issued the "Gutai Journal" and critic on the restrictions of paint brushes, and also his idealism about beauty. In recent years, the art world has reaffirmed the importance of this post-war art movement. Influenced by the sought after of American West Coast collectors, “Gutai” has become a commonplace for outstanding art collections. The works of Shozo Shimamoto were collected by the Tate Museum in London, the Pompidou Center in France, and the National Museum of Modern Art in Italy. Shozo Shimamoto died of acute heart failure on January 25, 2013, at the age of 85.

Ravenel 41

017

TSUYOSHI MAEKAWA (Japanese, b. 1936)

Work 2013 Mixed media on canvas 115 x 90 cm Signed on the reverse Tsuyoshi Maekawa and dated 2013 PROVENANCE: Important private collection, Asia Christie's Hong Kong, Asian 20th Century & Contemporary Art (Evening Sale), May 30, 2015, lot 86 Acquired by the present owner from the above EXHIBITED:

Tsuyoshi Maekawa Solo Exhibition , Whitestone Gallery, Tokyo, July 27 - September 1, 2013

NT$ 3,200,000 - 4,800,000 HK$ 863,000 - 1,294,000 US$ 110,200 - 165,300 RMB 694,000 - 1,041,000

前川強 作品 2013 綜合媒材 畫布 115 x 90 cm 簽名年代畫背：Tsuyoshi Maekawa 2013 來源： 重要私人收藏，亞洲 香港佳士得拍賣，亞洲二十世紀及當代藝術 （夜間拍場），2015年5月30日，編號86 現有藏家購自上述來源 展覽： 「前川強個展」，白石畫廊，東京， 展期自2013年7月27日至9月1日

Ravenel 43

前川強1936年生於日本大阪，幼時因看過米羅、克利作品而意識到對自由與創作的渴 望，立定以「藝術」作為一生志業。隨戰後新時代的來臨，藝術家1959年首次參與第八 屆具體美術展，年年參展，1972年正式成為會員。1962至1972年間，前川強參與具體派 藝術運動，與向井修二、松谷武判齊名，成為該畫派第二代重要代表人物之一，即便協 會解散，他仍然活耀地創作，並擴展至海外，使其藝術成就廣為世人所知。 提及前川，腦海立即浮現「粗麻布」印象，這項他貫徹生涯的運用媒材，已成為其象徵 性的存在。他透過扭轉、切割、撕扯等破壞性手法，在畫布上縫合貼上粗麻布，將之立 體塑形，並施上顏料使整體畫面密合。將二維平面畫布提升至未盡的三維立體世界，當 中予以保留的空間，是創作者強調身為一位畫家的堅持，並且服膺具體畫派創始人吉原 治良訂定的最高原則―「創造前所未有之物」。 「何謂創造？」，藝術家回答：自己終其一生執著於探索媒材的物質性，但並非單純的 呈現其韌性。為了強調作品的張力，透過麻、棉布等織品。他極力創造與表面相對應的 線條密度，經由破壞再創造的過程，轉化物質最原始的狀態，承載藝術家內心的感受。 最後留下的結果，即是他認為藝術自由的所在與原創。 1950年代到1972年，是涵蓋他的探索年代和參與具體派運動的第一階段，早期色調自 然，以織品與顏料間的層疊並置為關注焦點；第二個階段是1970到1980年代，軟薄的棉 布纖維取代堅固的粗麻布料，精密縫紉技巧，衍生出許多幾何形狀的表現形式；最後， 近年來的藝術實踐，則是疏落有致，創作技巧收放自如，常見波紋規律的均衡起伏，仍 出現在作品之中。勻稱線條令人聯想日本傳統畫：「琳派」，那些在暗金色之間如煙， 華麗上升的嫋嫋曲線。 前川的繪畫，線條作為鞏固畫面結構的主要角色。順著麻布的皺褶紋理，時而低伏，時 而探出平面。1960年代初，藝術家曾解釋，日本上野原發現的古老陶器圖騰是靈感的啟 發。宏觀，以俯視的角度觀看作品，仿若翱翔於高空的鷹，山川、田野、高原近乎於真 實的自然。微視，則是手掌指紋，容納於五指山間的地貌。單憑觀者一念收放於天地的 開闊心胸，便能感受其箇中唯妙。 大量的色彩，也是前川表現的重要元素。透過自動性技巧的濺灑、滴流，或手動合乎意 識的塗繪，從大片色塊到細小的彩點各色表現形式皆具。傾注的顏料，使畫布與麻匹間 的縫隙被填滿覆蓋，互相層疊交融，在突起和凹陷處擴散、漫延、浸潤，展現線條和顏 料組合的試驗性，一種透過人類被動性控制，展演的命運性碰撞。 此拍品《作品》2013年完成創作，曾經展覽於東京白石畫廊前川強個展，歷經亞洲重 要私人收藏，十分難得。底色白色帶來清新的視覺感，襯托蜿蜒黑線的源源生命力，搓 擦創作過程的流線足跡。織品皺褶的層次肌理間，紅黃藍綠，錯落彩色寶石般的天然花 紋，瑰麗色彩交互渲染，美不勝收。整體畫面宛若大氣脈動的生生不息，詮釋藝術家成 熟階段的至真至美。

Born in Osaka, Japan in 1936, Tsuyoshi Maekawa decided to dedicate his life to art after viewing the works of Joan Miró and Paul Klee in his youth. This experience instilled in him a deep desire for creativity and freedom. Following the advent of a new post-war era, Maekawa took part in a Gutai group exhibition for the first time in 1959 (The 8th Gutai Art Exhibition). In subsequent years, he exhibited again with the group before he officially became a member in 1972. Having taken part in the art group's second phase of activities from the years of 1962 to 1972, Maekawa became one of the group's major figures along with Takesada Matsutani and

戰後 抽 象・日 本 美 學

POST-WAR ABSTRACTION AESTHETICS OF JAPAN Shuji Mukai. Even after the Gutai group dissolved, he persisted in his practice and expanded it overseas, spreading knowledge of his work around the world.

If one mentions Maekawa, the common thought that comes to mind is, basically, 'burlap'. This medium which for so long marked the artist's practice has today become a symbol for it. Through contortion, cutting, tearing, and destruction, he found a place for burlap on the canvas, all stitched together and shaped sculpturally, with the final touch of colour to bring the whole work tightly together. He elevated the twodimensionality of the canvas to a three-dimensional realm without such limits, in which a space is reserved for the creator's persistent emphasis of oneself as an artist. And it complied with Gutai group founder Jiro Yoshihara's supreme principle: "to create unprecedented things."

For Maekawa, the answer to the question of 'what is creation' involves devoting one's life to the exploration of a medium's material qualities, yet without doing so to simply show one's tenacity. He has used hemp, cotton, and other textiles, to emphasise the tension in his work. He spares no effort to create a concentration of lines that corresponds with the surface layer. And he transforms the original state of the materials through a creative process of destruction and reproduction, in which he bares his heart. The end result, then, is what Maekawa considers to be the grounds and principle of artistic freedom.

Another important element in Maekawa's practice is a great amount of colour. Through consciously painting by hand or letting it splash and trickle with an automatic technique, all bands of colour, from large patches to tiny dots, are seen in his work. Paint is poured between the canvas and the hemp so that it fully covers the gap and they overlap each other, spreading about and seeping into and saturating all the areas that are sunken in or stuck out. It shows the experimental nature of how he combines lines and colours, as a sort of fateful collision that occurs under passive human control.

This lot, "Work", was completed in 2013 and exhibited in Tsuyoshi Maekawa's solo exhibition at the Whitestone Gallery in Tokyo. It is a very rare work that has been in a private collection in Asia. The white base gives the viewer a fresh sense of perception, complemented by the liveliness of the snaking black lines, erasing the traces of this work's creation process. Between the creased layers of fabric are the reds, yellows, blues, greens of a multi-coloured, gem-like, and naturally irregular pattern from an inspired interplay that is beautiful beyond compare. The overall picture resembles the proliferating life of an atmospheric pulse — a truly magnificent example of the artist's work at its most mature.

The period between the 1950s and 1972 served as Maekawa's age of exploration, during which he took part in the Gutai art movement.

In the early days of this first phase, his tones were natural, mainly focusing on the juxtaposition between the textiles and colours. His second phase, from the 1970s to 1980s, saw his solid burlap materials replaced by soft and thin cotton fibres. There was a greater precision in his sewing techniques, and this extended to a greater range of geometric shapes in his work. Finally, there are the recent years during which his artistic output has been sparse and his practice flows more comfortably. The commonly seen ripple patterns with their harmonious undulations still appear in his works. The use of symmetrical lines recalls to mind the traditional Japanese paintings of the Rinpa artists — those gorgeously ascending lines like smoke curling between dark gold tones.

In Maekawa's work, lines play a major role in consolidating the compositional structure. Following the hessian texture of the burlap, sometimes they lie low, and sometimes they lie flat out. In the early 1960s, the artist explained how he was inspired by the ancient pottery totem discovered in Uenohara, Japan. If looking at the work as if it were the ground seen from the perspective of a soaring eagle, there are mountains and rivers, fields, and plateaus that come close to what would be in nature. On the other hand, if read up close like the lines on the palm of a hand, it could be likened to a topography between five pointed mountains. A single viewer can only count on the openness of one's mind, if the fine details of the world are to be perceived.

前川強 《兩處交匯》1962 油彩 麻布 畫布 162 x 130 cm 倫敦泰特現代美術館藏 Tsuyoshi MAEKAWA, Two Junctions , 1962, oil and burlap on canvas, 162 x 130 cm, collection of Tate Modern © Tsuyoshi Maekawa

Ravenel 45

018

YASUO SUMI

鷲見康夫

(Japanese, b. 1925)

友和友

Friend and Friend

1990年代 壓克力 噴漆 畫布 162 x 130 cm

1990s Acrylic, lacquer spray on canvas 162 x 130 cm Signed lower left Y. Sumi in Japanese and Kanji Signed on the reverse Y. Sumi and titled Friend and Friend in Japanese PROVENANCE: Acquired directly from the artist Private collection, Asia Christie's Hong Kong, Asian 20th Century & Contemporary Art (Evening Sale), November 28, 2015, lot 42 Acquired directly by the present owner from the above

簽名左下：鷲見 Y. Sumi 簽名題識畫背：Y. Sumi, 友と友 來源： 直接購自藝術家 重要私人收藏，亞洲 香港佳士得拍賣，亞洲二十世紀及當代藝術（夜間拍場）， 2015年11月28日，編號42 現有藏家購自上述來源 展覽： 「鷲見康夫」，白石畫廊，東京，展期自2013年11月1日至30日 「鷲見康夫－名‧形動精神」，輕井澤新美術館，長野， 展期自2014年10月1日至12月25日

EXHIBITED:

Yasuo Sumi , White Stone Gallery, Tokyo, November 1 - 30, 2013 Yasuo Sumi - Devil May Care Spirit , Karuizawa New Art Museum, Nagano, October 1 December 25, 2014 ILLUSTRATED:

Gutai: Still Alive - vol. 1 , Karuizawa New Art Museum, Whitestone Art Foundation, Japan, 2015, color illustrated, p. 36 This painting is to be sold with a certificate of authenticity issued by Yasuo Sumi Archive.

NT$ 4,200,000 - 6,000,000 HK$ 1,132,000 - 1,617,000 US$ 144,700 - 206,700 RMB 911,000 - 1,302,000

圖錄： 《具體人：還活著I》，輕井澤現代美術館，白石藝術基金會， 日本，2015，彩色圖錄，頁36 附藝術家協會開立之原作保證書

Ravenel 47

震顫的靈光 、 迷 人 的 混 亂 － 鷲 見 康 夫

THE ENCHANTING CHAOS AND VIBRANT INSPIRATION OF YASUO SUMI 鷲見康夫，1925年生於日本大阪。他從關西大學與立命館大學經濟學

油畫作品《友和友》為鷲見康夫一幅大氣淋漓的創作。不見任何畫筆

院畢業後投入教職，擔任數學老師，但也熱愛創作，感性狂野的繪畫

的筆觸，而是運用不同工具與其身體同步創作。他以沾滿白色油彩的

風格，與其數理分析的學術背景形成有趣的對應。

日式算盤，在預先塗有紅色的畫布上滾動旋轉，形成流暢的白色珠鍊 印痕，再以白、藍、黃或棕色等顏色噴灑覆蓋其上，然後穿上沾染著

1954年，鷲見康夫的一件作品在嶋本昭三大力推薦下，入選了兵庫縣

顏料的木屐踩踏出特殊的圖樣，甚至拿著更多的工具，在畫布上揮灑

的第七屆蘆屋藝術展。並在此次展覽中認識了擔任評審的吉原治良。

出交響般的色彩樂章。畫中呈現創作者的豁達、無畏的精神，靈魂純

鷲見康夫以油彩潑灑創作，不羈的熱誠觸動兩位畫家友好。1955年，

粹而投入。他拋開嚴肅和理性，釋放內在的無意識，激發出油彩的各

他受邀加入「具體美術協會」，全程參與具體派團體的歷屆群展，達

種可能性。如此自由的精神，接近中國古代書法裡的狂草，以及西方

21次之多。

自動性繪畫的表現方式，表現藝術家的真我與自由。

「具體」（g u t a i） 一詞原出自嶋本昭三，而受吉原治良的選用，其

鷲見康夫的藝術生涯超過半世紀之久，作品廣於世界各地展出，包括

意義代表著與抽象的對立。嶋本昭三認為：顏料本身有其質感與物料

1993年第45屆義大利威尼斯雙年展「東方之路」 聯展；1999年法國

性，應該將之釋放出來。他表示：「唯有不用畫筆，才能將顏料解放

巴黎國立網球場現代美術館：2010年瑞士盧加諾州立美術館：2013

出來。」繪畫的創作應包含「具」（技巧）和「體」（身體）兩個元

美國紐約紐約古根漢美術館；2015年日本伊丹市立美術館的「迷人的

素的組成。因此，具體派畫家們的共識，即是揚棄傳統的創作媒材，

混亂：1950年代鷲見康夫」回顧展等。而日本國立國際美術館、兵庫

各自選擇自我的表現方式，有時會以肉身進行藝術的創作，接近行為

縣立近代美術館、宮城縣美術館、蘆屋市立美術館、美國達拉斯的拉

藝術的概念，展現前衛的精神。

喬夫斯基美術館等，皆永久典藏畫作。

不同於嶋本昭三選擇將玻璃瓶灌滿顏料然後將其擲向畫布，同事好友

Yasuo Sumi was born in Osaka, Japan in 1925. He entered into the teaching profession after having graduated from Kansai University and the Graduate School of Economics at Ritsumeikan University. While he taught math, he still loved to create, painting in a wild, emotional style that made for an interesting counterpart to his academic background in mathematical analysis.

鷲見康夫獨創震動的概念，輔以算盤、梳子、紙傘、木屐和馬達等日 常用具，形塑出精確的螺旋、平行線條，與帶有律動感的重複性筆 觸、肌理，畫面繁複、近乎抽象，組成瑰麗神奇的特殊形式。鷲見康 夫的繪畫，充分展現具體派的原創精神與強大魅力。 日本藝評家加藤義夫曾說：「鷲見康夫的表現能力和力道中所展現的 靈光乍現是一般人身上所見不到的。藝術家運用『具體派』的方法， 將靈光化為藝術！」 鷲見康夫的藝術創作畢生奉行三個重要的信念：「豁出去」 （desperation）、「屏除一絲不苟」（absence of seriousness）、 「奔放不羈」（irresponsibility）。他以獨特的人生哲學，和具體派 其他成員互相輝映。其充滿魄力、自由無拘的創作理念，引以為豪的 繪畫技法，原來是來自於靈光乍現，一場意外的美麗邂逅。有一天， 他打翻了一瓶墨水，墨水流過一疊紙的粗糙表面，他拿出一旁的「算 盤」，偶然間發現了「算盤」所描畫出的軌跡之美。

In 1954, one of Yasuo Sumi's works was nominated by Shozo Shimamoto and then selected for the 7th Ashiya City Exhibition in Hyogo Prefecture. It was there that he met Jiro Yoshihara, who sat on the exhibition's jury. The two got along well, and they connected connecting over the uninhibited zeal Yasuo Sumi put into his practice of splattering oil paints. In 1955, he was invited to join the Gutai Art Association, and he was a consistent contributor throughout, exhibiting in as many as 21 Gutai group showcases.

The word 'gutai' was originally proposed by Shozo Shimamoto, and it was Jiro Yoshihara who decided on it as the name of the group, since its meaning represented a counterpoint to abstraction.

A practice in painting was the combination of two elements: one technical (as 'gu'), and the other corporal (as 'tai'). For Shozo Shimamoto, the textural and material properties contained within paint were to be released. As he put it, 'Only without a paintbrush, is it possible for the paint to be liberated.' In this way, Guitai artists shared a common understanding, which was namely to make choices about their own creative practices as individuals while jettisoning the forms and mediums of the art of the past. At times, when their bodies were implicated in their work, Gutai artists could seem to be of the same conceptual ilk as performance artists, as they, too, demonstrated the spirit of the avant-garde.

Taking a different approach than Shozo Shimamoto, who filled glass bottles with paint and threw them at the canvas, Yasuo Sumi followed his own conceptual frequencies. Incorporating everyday objects, including soroban (Japanese abacuses), combs, wagasa (oil-paper umbrellas), geta (wooden clogs), and motors into his practice, he could make shapes with precise spirals and parallel lines, and bring a rhythmic repetition to his work. His paintings, then, were marked by complex images that shared a likeness to abstractions, with unique forms that contained a certain elegance and magic. They works are representative of the originality and power in the spirit and charisma that came out of Gutai.

In the words of Japanese art critic Yoshio Katoh, "There is an inspired light in Yasuo Sumi's expressive range and intensity that is not found in the average person, and he turns it into art with his application of Gutai methods. " O v e r t h e c o u r s e o f h i s l i f e , Ya s u o S u m i h o n e d i n o n t h re e important convictions in his art practice: yakekuso (literally 'despair', suggesting spiritual freedom), fumajime (literally 'frivolity', suggesting rejection of tradition), and charanporan ('irresponsibility', suggesting a return to real human nature). This unique life philosophy of his contributed to the light he cast and

reflected on other Gutai artists. His creative concepts brimmed with boldness and freedom, and his unrestrained approach to painting drew on those flashes of inspiration and chance encounters with beauty. It was just another day when he knocked over a jar of sumi ink, spilling it on top of a pile of papers, but then he grabbed a soroban and discovered how it could be used to a beautiful effect in painting.

Yasuo Sumi's oil painting "Friend and Friend" is a work soaking, dripping in atmosphere. There are no visible strokes from a brush since the work was made using a combination of different tools. On a canvas pre-painted red, the artist rolled around a soroban that had been dipped in white paint, forming a flowing chain of white beads. On top of this, he sprayed a veil of white, blue, yellow, brown, and other colours. Then he put on a pair of geta, which had been daubed in paint, and created another pattern by stepping on the canvas. As if it were a symphony, he proceeded to pick up even more tools and unleash further movements of colour. The work is illustrative of the open-minded, undaunted spirit, and pure nature that Yasuo Sumi put into his work. Setting aside severity and rationality, he let is inner unconscious loose to rouse the potential of oil paint. His free spirit was akin to the wild grass of ancient Chinese calligraphy. And through Western automatic painting techniques, he let his true self be freely expressed in his practice.

With an art career that spanned over half a century, Yasuo Sumi's works have been exhibited all over the world, including in the "Passage to the East" group show at the 45th Venice Biennale in Italy (1993), at Galerie Nationale du Jeu de Paume in Paris, France (1999), at the Museo Cantonale d'Arte in Lugano, Switzerland (2010), at the Guggenheim Museum in New York, USA (2013), and the "Enchanting Mess: Yasuo Sumi in the 1950s retrospective" at the Itami City Museum of Art in Japan (2015). His works are also held in a number of permanent collections, including those of the Rachofsky House in Dallas (USA), the Ashiya City Museum of Art and History, the Miyagi Museum of Art, the Hyogo Prefectural Museum of Art, and the National Museum of Art (Japan).

Ravenel 49

019

ARMAN FERNANDEZ

阿曼．費爾戴儂

(American-French, 1928 - 2005)

傷口

Wounded

1981 銅 版次2/8 20（長）x 60（寬）x 128（高）cm

1981 Bronze, edition 2/8 20(L) x 62(W) x 121(H) cm Engraved on the base arman , inscribed fondeur bocquel and numbered 2/8 EXHIBITED:

Arman , Galerie Pascal Retelet, Charleroi, Belgium, June 5 - September 6, 1993 (another edition exhibited) Taiwan's Treasures: Western Art from Private Collections , Taipei Fine Arts Museum, Taipei, October 6 - December 2, 2001 ILLUSTRATED:

Arman , Graphing Grafossart, Galerie Pascal Retelet, Charleroi, 1993, color illustrated Taiwan's Treasures: Western Art from Private Collections , Taipei Fine Arts Museum, Taipei, 2001, color illustrated, pp. 154-155, no. 49 This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 2,400,000 - 3,600,000 HK$ 647,000 - 970,000 US$ 82,700 - 124,000 RMB 521,000 - 781,000

簽名雕刻底座：arman fondeur bocquel 2/8 展覽： 「阿曼」，巴斯卡．何特萊畫廊，比利時沙勒羅瓦，展期自 1993年6月5日至9月6日 (另一版次) 「台灣珍藏－二十世紀西洋名作選」，台北市立美術館， 台北，展期自2001年10月6日至12月2日 圖錄： 《阿曼》，葛萊佛沙出版社，巴斯卡．何特萊畫廊， 比利時沙勒羅瓦，1993年 《台灣珍藏－二十世紀西洋名作選》，台北市立美術館， 台北，2001，彩色圖版，頁154-155，編號49 附藝術家親筆簽名之原作保證書

Ravenel 51

新 現 實 主 義

NOUVEAU REALISME 藝術家阿曼．費爾戴儂最關心的是「物件」和「數量」。因此，不難

阿曼的作品中可以常見物件被切割、拆除、分離後再重組的面貌。如同破

理解，為什麼在他許多藝術作品中組合兩者後，常常能創造令人敬畏

鏡重圓的《傷口》，是否還是能向之前一樣，彈出美好和絃？從阿曼的作

的感受。阿曼最為人知的是他的堆積作品，對於曾經被使用過的物品

品中，將作品分離後再重組的過程中，我們或許能以抽離情感的方式來看

或是現有物品的迷戀，很可能是受到他成長背景的影響，因為他父親

待同一件事。對阿曼而言，他認為作品本身不應該只侷限在凸顯藝術家的

擁有一間家具和古董店。除了非洲藝術之外，阿曼還發展了他對收集

技巧，或是創意，而應該探討更深層的意義。就如同阿曼的「垃圾」堆疊

古董和其他裝飾物品的興趣。在談到「現成物」藝術時，ㄧ定不會忘

系列，特別強調了後工業時期人們生活中所出現了大量的資源浪費，引人

卻杜尚1917年的《噴泉》作品。在當時挑戰了人們對於藝術和工藝的

憂心。

既有想法。當這些大量生產的實用物品被呈列為藝術品，替20世紀現 代藝術立下一個重要的里程碑，也替1960年代生起的概念藝術鋪陳了

阿曼1966年時創作第一件將油彩顏料管放置於壓克力盒中的作品，並獲得 馬爾佐度獎，台北市立美術館也藏

未來之路。

有一件使用油彩毛刷沾有紅色顏料 1957年時，阿曼的作品與其他50

後塗滿畫布後平置於畫布上的作

位藝術家一同參展，其中卡．阿貝

品，名為《單彩紅色》。阿曼曾於

爾、維多．瓦薩雷利之作也將出現

1968年參加威尼斯雙年展以及卡

於本次春季拍賣會，參展的其他藝

塞爾文獻展。阿曼的作品除了藏於

術家亦有及盧西奧．封塔納、漢

美術館之外，在許多公共場所和廣

斯．哈同、巴布羅．畢卡索、薩爾

場也能見到阿曼的大型作品，如巴

瓦多．達利等人，皆在巴黎的伊麗

黎的聖拉薩車站有ㄧ件以多件時鐘

斯．克蕾爾畫廊展出。1959年，

組成的高塔《所有時間》、位於南

阿曼的堆積系列作品首次在米蘭的

法安提布的畢卡索美術館中庭也有

阿波利奈爾畫廊和巴黎的聖日耳曼

ㄧ件以切割後的吉他、銅組成的

畫廊展出。更令人感到眼睛為之一

《給我的小美人》。阿曼為藝術界

亮的是1960年，阿曼在伊麗斯‧

所帶來的衝擊和影響力遍及各地，

克蕾爾畫廊舉行的展覽「填滿」，

1981年受邀替法國總統府大廳製

實際上是將整個空間堆滿廢棄物， 與兩年前克萊因曾展於此地的概念 性展覽「空」，形成強烈對比。其 藝術的重要性是透過作品本身激起

阿曼．費爾戴儂《單彩紅色》1987 媒材技術 壓克力顏料、毛刷 199 x 305 cm 台北市立 美術館館藏 作品攝於台北市立美術館 Aman FERNANDEZ, Camaieu , 1987, acrylic and brushes on canvas, 199 x 305 cm Photo takan at the Taipei Museum of Fine Arts, collection of the museum

作《向共和國致敬》、1991年法 國總統於愛麗斯宮頒發騎士勳章給 阿曼、1993年獲頒法國國家榮譽 勳章。

人們自我意識的覺醒、開始思考自 身與抽象空間的關係，也略帶禪意。此展覽使用了沙丁魚罐頭製成邀 請函，與整體展覽的概念性相符。 1960年10月，阿曼與多位藝術家如伊夫．克萊因，妮基．德．聖法 爾和克里斯多等人組成了「新現實主義」，宣言主旨為尋找「對真實 事物重新感知和認識的新方式」。因此，阿曼作有一系列的堆積作品 都是根據此一聲明。正如其1982年之作《永久停車》中，將60輛車堆 疊與混凝土組成高達18米高，永久佇立於法國蒙塞爾城堡內。除了堆 疊可以使人們重新審視，分離亦是如此。對阿曼而言，1000件完整的 物品的等同於1000件破碎的物品，在本質上無任何差異，而喜歡利用 樂器作為創作主體的阿曼，特別對提琴情有獨鍾，提琴是好的表演道 具，因為一把提琴有許多可以挖掘的面向。

For Aman Fernandez, he was concerned with two things, objects and quantity. It is therefore not difficult to understand why many of his art works are the combinations of two and whenever they do they created the magnitude of awe. Arman is known for the accumulation of objects, the fascination with found or used objects was probably under the influence of his upbringing as his father owned a furniture and antique shop. Arman developed his interests in collecting antiques and other decorative objects, besides African art. When speaking of readymades, there’s no going without mentioning the work of “Fountain” by Duchamp in 1917. It was a pivotal moment when the concept of a work of art and craftsmanship was challenged. As these mass-produced, utilitarian objects were presented as artworks, they have paved the way for conceptual art emerged in the late 1960s.

In 1957, Arman’s work was organized to be shown at a group show together with 50 other artists, whose artworks are also included in this coming Spring auction, including Karel Appel, Vasarely, and others such as Lucio Fontana, Hans Hartung, Pablo Picasso, Salvatore Dali were also displayed at the Galerie Iris Clert in Paris. In 1959, the first accumulation of his works were shown at Galerie Apollinarie in Milan and Gerleris Saint Germain in Paris that year. What was more striking was that in 1960, Arman filled up an entire gallery space of Iris Clert with garbage, calling it ”Le Plein” (meaning “Full Up”) as his response to Yve Klein’s conceptual exhibition of “Le Vide” (“the void”) that took place three years ago. The importance of their actions encouraged the viewers to engage with the space itself, feel the conceptual space and raise a self-awareness, it also indicated zen philosophy. The exhibition invitation was made of sardine cans, aligned with the concept of the display and play of space.

Museum of Fine Arts in Taipei also has a collection by Arman, titled “Camaieu”. The work was executed with multiple paint brushes covered with red paint and layed on top of a canvas. Arman participated in the Venice Biennale in 1968 and the Documenta in Kassel. Besides museum collections, Arman’s large-scaled works can also be found in major public plazas. For example, the clock tower of “L'heure pour tous” is situated at Saint Lazare Station in Paris.

Another work “A ma jolie” is made of dissected guitars and copper, it can be found at the Picasso Museum in Antibes. The impact that Arman has brought to the art world is spread across countries. In 1981, he was commissioned by the ministry of France to create “A la Republique”, to be presented in the presidential palace hall. The work was done as a tribute to the French Revolution, consistied 200 flags made of white marble with gilt bronze pole. In 1991, Arman was knighted by the French president, and received the National Medal of Honor in 1993.

In October 1960, Arman formed “Nouveau Realisme” (New Realism) with members included Yves Klein, Niki de Saint Phalle, and Christo, the manifesto was to search for “new ways of perceiving the real.”

As such, a series of Arman’s Accumulations series were made in accordance to this declaration. As seen in his 1982 site specific work “Long Term Parking,” where 60 cars are encased in concrete stands to 18 meters high situated at Château de Montcel, France. For Arman, a thousand copies of the same object or a thousand pieces of the same object are essentially the same in intrinsic values. Arman typically favors the use of musical instruments as his primary material, he claims that violins are great performance props for artists as they have multiple facets to be explored.

Besides stacking up things would alter the views of people, so would separating them by cutting, removing and reconstructing after deconstructing. Such as a piece of a broken mirror, can a “Wounded” violin still play the same melody as a complete violin would? Through the process of separation, we are directed to look at things in a more detached, and objective way. For Arman, the importance of painting or sculpture should no longer be a platform to stress the excellence of craftsmanship or skills of an artist, instead, they should point out the genuine problems of post-industrialization, such as resulting the waste of resources due to mass-production as seen in Arman’s Garbage assemblage series works of art.

In 1966, Arman created the first piece of work with tube of oil paints, and placed in an acrylic box, was awarded with Prix Mazzoto. The

阿曼．費爾戴儂 《給我的小美人》 吉他 銅 150（長）x 140（寬）x 225（高）cm 畢卡索美術館，昂蒂布，法國 Arman FERNANDEZ, À Ma Jolie , guitars, welded bronze, 150(L) x 140(W) x 225(H) cm Musée Picasso, Antibes, France Photo Courtesy: Fondation A.R.M.A.N. ©Arman / ADAGP, Paris

Ravenel 53

020

GEORGES MATHIEU (French, 1921 - 2012)

Traité du Duc de Bourgogne et de la Duchesse de Luxembourg 1958 Oil on canvas 162.5 x 97.5 cm Signed lower left Mathieu and dated -58 PROVENANCE: Carlo Van Den Bosch, Anvers Private collection, Belgium Sotheby’s Paris, Contemporary Art, 2015, lot 110 Acquired by the present owner from the above EXHIBITED:

Georges Mathieu , Palais des Beaux-Arts, Bruxelles, 1963

NT$ 4,200,000 - 6,500,000 HK$ 1,132,000 - 1,752,000 US$ 144,700 - 223,900 RMB 911,000 - 1,410,000

喬治．馬修 婚約－勃艮第公爵與盧森堡女公爵 1958 油彩 畫布 162.5 x 97.5 cm 簽名左下：Mathieu -58 來源： 卡洛．凡登．柏絲，安特衛普 私人收藏，比利時 巴黎蘇富比，當代藝術拍賣，2015年，編號110 現有收藏者購自上述來源 展覽： 「喬治．馬修」，美術皇宮，布魯塞爾，1963年

喬治‧馬修於奧地利劇場創作現場 相片攝於1959年1月1日 Georges Mathieu painting during one of his performances at Theater am Fleischmarkt, Austria Photo taken on 1st January, 1959 Photo Courtesy: ©Imagno / Getty Images

Ravenel 55

西 方 的 書 法 家

CALLIGRAPHER OF THE WEST 身為巴黎當代藝術的重要推手和重要機構，巴黎龐畢度藝術中心的創始人 喬治‧龐畢度與喬治‧馬修關係甚好，龐畢度任職法國總統期間〈19621968〉馬修幾乎被視為法國官方代表的藝術家。2017年法國為慶祝巴 黎龐畢度藝術中心自1977年創建四十周年，與40個景區合作展出藝術作 品，而其中香波爾城堡更是展出達80多件藏品，來自龐畢度中心以及私 人藏家的珍稀之作。展覽主題包含了現代大師、抽象、新寫實、動態藝 術以及具像藝術。其中一件喬治‧馬修繪於1973年寬1.3米的大尺幅作品 《微型巨人》，即是借展自龐畢度中心展於現場。《微型巨人》作品命名 及創作靈感很可能是源自於法國文學家、啟蒙者伏爾泰的寓言小說。飽讀 詩書的馬修經常鑽研文學、歷史、法律及哲學方面的書籍，也是啟發日後 馬修創作的主要靈感來源。 如《婚約―勃艮第公爵與盧森堡女公爵》看似抽象的作品，卻賦予明確的 題目，替過往的歷史事件添上幾筆回應。生於1433年的末任勃艮第公爵 勇士查理（在位期間1467-1477），是勃艮第公爵菲利浦三世的第三個兒 子。勇士查理在位期間努力擴張領土，並企圖使勃艮第成為完成獨立的政 治實體。為鞏固英國與勃艮第雙方權益，1467年英王愛德華四世同意的 妹妹約克公爵夫人瑪格麗特與查理結婚，直到1468年六月的婚禮期間， 勢力強大的路易十一感受到威脅，並盡其所能阻止此政治聯姻。 儘管此聯姻在當時被視為是成功的政治手段，瑪格麗特也被視為是歐洲史 上最具權力的女公爵，仍無法阻擋虎視眈眈的法國國王路易十一，積極展 開攻擊勃艮第領地的行動，並逐一瓦解勃艮第公國的勢力。1473至1475 年間，路易十一與勃艮第公國取得了短暫的停火協議。協易到期時英王愛 德華四世原本打算進攻法國，卻被路易十一的長年和平協議吸引及金錢收 買，並收回對查理的軍事協助，導致查理軍隊節節戰敗。不放棄ㄧ絲能奪 回領地的機會，查理最後一戰整軍出發，1477年戰敗於瑞士軍隊病死於 戰場。 自1957年至1958年間，馬修共繪製約三至四幅與勃艮第公爵相關的題 材，可能是為了1957年布魯塞爾「西方公爵們的史詩」的畫展所繪。擁 有英國文學學位及英國文獻學的馬修，對於英法之情能有深切體會，也擅 於取材自著名戰役、典故，來表達對歷史偉人致敬和愛國情懷。《婚約―

As a substantial foundation and a significant institution of contemporary art in Paris, George Pompidou, the founder of the Pompidou Center in Paris, had a close relationship with Georges Mathieu. During Pompidou’s presidency in France (1962-1968), Mathieu was considered as the official representative of culture for France. In 2017, France was celebrating the establishment of Centre Pompidou for its 40th anniversiry since 1977, 40 sites were chosen in the collaboration of this celebration. Among those, domaine national de Chambord has selected more than 80 artworks to be shown from the collection of Pompidou Center and private loans.

The sections included five sections: Modern masters; Abstractions; New Realism; Kinetic art, Figurations. One of those exceptional works was “Micromégas” painted in 1973 by Georges Mathieu, on loan from the Pompidou Center at 1.3 meters width. The work titled “Micromégas” was probably inspired by French Enlightenment writer, philosopher Voltaire’s science fiction. Georges Mathieu was an avid reader, with intense study of literature, history, law, and philosophy, which would later become the solid foundation for his inspirations as seen in his works.

In the work of “Traité, du Duc de Bourgogne et de la Duchesse de Luxembourg” which is seemingly abstract in compositions, it is entitled with an apparent title. Georges Mathieu added his personal impression to the historical event that took place in the past.

According to traces of history, the last Duke of Burgundy was Charles the Bold (Charles le Téméraire), who was born in 1433, he reigned from 1467 to 1477. During his sovereignty, Charles the Bold was ambitious in the expansion of his territories, and attempted to keep the sovereignty of Burgundy as an independent political entity, and freed from French control. In 1467, in order to obtain greater mutual political power between Burgundy and England, Charles the Bold married Marguerite of York, the sister of King Edward IV of England.

Until the actual wedding took place in June of 1468, Louis XI, king of France of France did everything in his power to interfere with this political alliance of marriage.

勃艮第公爵與盧森堡女公爵》一作曾於1963年展於比利時的布魯塞爾美 術皇宮。身為法國40年代晚期「抒情抽象」的代表，歐洲以「斑點派」 稱之。馬修透過流暢且快速的筆觸，以及顏色強烈對比的衝擊來述說他理 解的歷史畫面。以此作為例，馬修僅使用了兩種色彩，黑與白來表現象徵 白紙黑字的「婚約」，畫面以以直立式的黑色打底，在以帶有爆發性的白 色佔據右下角，彷彿歷史走過的痕跡。馬修相信唯有透過快速的筆觸、不 打草稿、不具有具像形體和集中精神的創作，才能稱之為「抒情抽象」藝 術。藝術家曾表示：「一件藝術品是世界的一小部份，也是ㄧ個世界。藝 術創作就等同是向上天報復。因藝術家創造了另一個世界」。 享壽91歲的馬修，舉辦超過200場展覽，其作品也藏於世界各大美術館， 光是美國就有22家美術館有馬修的藏品，法國則有35間公共及私人機 構，其它包含以色列特拉維夫藝術博物館、日本東京現代美術館、蘇黎世 美術館、芬蘭迪德里克森藝術博物館 、加拿大國立美術館等。

喬治‧馬修《亨利四世：大主教安諾二世的劫持》1958 油畫 畫布 200 x 400 cm 巴黎蘇富比2008春拍 編號17 歐元1,152,250 成交 Georges MATHIEU, L'abduction d'Henri IV par l'archeveque Anno de Cologne , 1958, oil on canvas, 200 x 400 cm, Sotheby's Paris 2008 Spring Auction, lot 17, EUR 1,152,250 sold

The marriage of Margaret and Charles was seen as the most brilliant marriage of the century, Margaret was also considered as the most powerful Duchess of Europe during that time. Despite that, Louis XI, king of France was already glowering at them, and sought to accelerate his actions to sabotage the power of Duke of Burgundy.

Between 1473 and 1475, there was a short period of truce between Louis XI and the Duke of Burgundy. When the truce agreement terminated, king of England, Edward IV was planning an invasion of France. However, King Louis XI offered Edward a huge sum of cash, a yearly annuity for a long truce in return for his withdrawn support for Charles. As a result, Charles was defeated by the King of France, Louis XI and his allies. Charles never gave up on any opportunity to regain his territory, In the last battle he prepared for a siege, yet was again defeated by the Swiss troops and died in 1477.

Between 1957 to 1958, Georges Mathieu had painted three to four paintings in the realm of Duke of Burgundy and Duchess of Luxembourg. They were probably painted for the 1957 exhibition of “Cycle des Grands Ducs d'Occident” held at Galerie Helios Art in Brussels. For someone like Mathieu who has a post-graduate diploma in English philology and English literature, and he would have a much deeper and insightful understanding of the history between England and France. He is known to name his works in accordance to a specific subject matter, often derived from famous battles, classical histories, as a form of paying tribute to the heroes of the past, and declared his patriotism. In this particular work “Traité, du Duc de Bourgogne et de la Duchesse de Luxembourg” was exhibited at the Palais des Beaux-Arts in Brussels in 1963. As an advocate of “Abstract Lyrique” which formed in the late 40s in France, it is the equivalent of “Tachiste” in the European region.

Through unleashing rapid storkes and spontaneous brushworks, Mathieu expressed the historic events with striking contradicting colors. In this case, the use of only black and white could be an indication of the marriage contract, and how explosive white marks signifies the traces of history left behind on the black vertical ground. Mathieu believed that the following criteria must be met to be considered as “Abstract Lyrique” works. They’re speed of execution; no pre=meditated movements; no pre-existing forms; and concentration. The artist once said that “A work of art is a fragment of the world which is a world itself. Making art is a revenge on God. The artist creates another world.”

The long-lived artist Georges Mathieu passed away in age of 91, he held over 200 exhibitions and have had his works in major museums around the world. There are over 22 museums in the United States, and over 35 public and private institutions possessed collection of Mathieu. Others included the Tel Aviv Museum of Art, Israel; The National Museum of Modern Art, Tokyo; Kunsthaus Zürich; Didrichsen Art Museum, Finland; National Gallery of Canada, etc.

021

TONY CRAGG

東尼．克雷格

(British, b. 1949)

麥可馬克

McCormack

2007 銅 工業特殊烤漆 75（長）x 117（寬）x 130（高）cm

2007 Bronze, industrial lacquer 75(L) x 117(W) x 130(H) cm EXHIBITED:

Tony Cragg , Marian Goodman Gallery, New York, May 3 June 9, 2007 Tony Cragg in 4D , CA’PESARO - International Gallery of Modern Art, Venice, Feburary 5 - May 28, 2011 Tony Cragg: Sculptures and Drawings , Scottish National Gallery of Modern Art, Edinburgh, July 30 - November 6, 2011 Tony Cragg: Sculptures and Drawings , Art Museum of CAFA, Beijing, March 2 - April 15, 2012 Tony Cragg: Sculptures and Drawings , National Taiwan Museum of Fine Arts, Taichung, January 12 - March 24, 2013 Tony Cragg , Benaki Museum, Athens, September 8 November 8, 2015 Tony Cragg / Wim Delvoye , Art Taipei 2015 - Nou Gallery, Taipei, October 30 - November 2, 2015 Tony Cragg: Primary Colors , Dutko Gallery & Holtermann Fine Art, London, March 1 - April 13, 2017 ILLUSTRATED: Jed Morse, Tony Cragg: Seeing Things Exhibition Catalogue , Nasher Sculpture Center, U.S.A., 2011, color illustrated, no. 44 Tony Cragg: Sculptures and Drawings , National Taiwan Museum of Fine Arts, Taichung, 2013, color illustrated, cover page Tony Cragg / Wim Delvoye , Nou Gallery, Taipei, 2015, color illustrated This sculpture is to be sold with a certificate of authenticity issued by Leisure Art Center, Taipei.

NT$ 11,000,000 - 17,000,000 HK$ 2,965,000 - 4,582,000 US$ 378,900 - 585,600 RMB 2,386,000 - 3,688,000

展覽： 「東尼．克雷格」，瑪莉安•古德曼畫廊，紐約，展期自2007年 5月3日至6月9日 「東尼．克雷格－四度空間」，佩薩羅宮，威尼斯，展期自2011 年2月5日至5月28日 「東尼．克雷格：雕塑與繪畫」，國立蘇格蘭現代美術館，愛丁 堡，展期自2011年7月30日至11月6日 「東尼．克雷格：雕塑與繪畫」，中央美術學院美術館，北京， 展期自2012年3月2日至2012年4月15日 「東尼．克雷格：雕塑與繪畫展」，國立台灣美術館，台中，展 期自2013年1月12日至3月24日 「東尼·克雷格」，貝納基博物館，雅典，展期自2015年9月8日 至11月8日 「東尼．克雷格 / 威姆．德爾瓦」，2015台北國際藝術博覽會－ 新畫廊，台北，展期自2015年10月30日至11月2日 「東尼．克雷格－三原色」，杜寇畫廊 & 霍爾特曼藝術，倫敦， 展期自2017年3月1日至4月13日 圖錄： 傑德．墨爾斯，《東尼．克雷格－視件》，納雪雕塑中心，美 國，2011，彩色圖版，編號44 《東尼．克雷格：雕塑與繪畫展》，國立台灣美術館，台中， 2013，彩色圖版，封面 《東尼．克雷格 / 威姆．德爾瓦》，新畫廊，台北，2015，彩色 圖版 附悠閒藝術中心開立之原作保證書

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備受國際重要機構和藏家肯定的重量級英國雕塑家東尼．克雷格1949年生

見的卻是大自然塑形的力量、經過上萬年地層壓力和礦物層層堆疊出的

於利物浦，1977年移居德國。分別於1982和1987年參加享譽國際的德國卡

肌理，所造就的一件產物，其表面之下才是他有意探索的雕塑層面。

塞爾文獻展，之後於1988年榮獲英國倫敦泰特美術館所頒發的泰納獎，同

「雕塑是十分不同凡響的東西，與它的實用價值無關，它們並不應該被

年代表英國參加第43屆威尼斯雙年展。2011年於巴黎羅浮宮舉辦個展，被

坐著......它拓展了我們的想像力，媒材本身就是語彙，它即是語言的根

喻為是繼現代雕塑大師亨利‧摩爾後的接班人。克雷格就學於英國皇家藝

基。」自然界中所見到的那些壯麗鐘乳石，不也是歷經些百年才生長一

術學院時，早已開始探討材質所賦予物質本身與自然界的關係，觀察它們

公分、千萬年才形成的奇景嗎？同樣的，如果能再多花一點時間觀察克

如何激盪起人們新的意識和關聯性。透過時代的變遷和日新月異的技術，

雷格的作品，你會發現即使是人造的物件，作品卻有如有機體一般，時

克雷格取得更多媒材進行實驗性的創作機會。自1970年至今，每相隔五年

時刻刻與自然相呼應，雖是靜止卻同時保有流動性，隨著光影改變而延

都能見到克雷格作品有階段性的突破與成長，從最早使用現有物件的組合

續生命的週期，由其可見於戶外大型不鏽鋼之作，映出周邊景色。

到1990年代慢慢變形，透過物品彼此的聯結、並置、堆疊、扭轉所形成的 種種不規則形體、克雷格創造出挑戰空間思維的可能性。

如今，在世界各地的美術館皆可見到克雷格標誌性的作品，除了英國的 泰德美術館的三個分館皆有館藏之外，其作品也藏於芝加哥當代藝術博

享譽國際的雕塑大師也曾於2013年於台灣國立美術館展出為期三個月的個

物館、日本金澤21世紀美術館、挪威奧斯陸國立美術博物館以及埃克貝

展，也曾於2015年展於雅典的貝納基博物館，其中本次拍品《麥可馬克》

格帕雕塑公園、蘇菲雅王后國家藝術中心博物館、加拿大國家美術館、

也都曾於上述兩個展覽中展出。此作品在克雷格的作品中，不難察覺其雕

韓國大邱美術館等。克雷格的作品也在世界各地廣泛展出，他的作品正

塑作品多帶有機械器材的形體、且在不規則的多方角度中亦能看見人臉，

在伊朗克爾曼當代美術館展至2018年7月。其他重要個展包括俄羅聖彼

若有似無的細節就藏在作品當中，好似孩童望向天際中的白雲，尋找可辨

得堡艾米塔吉博物館（2016）、希臘雅典貝納基博物館（2015）、阿

識的圖樣那般興奮，作品中的蛛絲馬跡也透露出克雷格過往的經歷，例如

塞拜疆巴庫的蓋達爾阿利耶夫中心（2014），中國北京中央美術學院

早期1970年代的作品就曾使用許多拾得的塑膠製品創作，排列出繽紛的人

博物館（2012年）。

像，建立自己的藝術語彙，同時，不免引人省思看似歡樂的圖像對於環境 帶來何種衝擊。藝術家曾自述：「在60、70年代末，我根本對於雕塑藝術 沒有興趣，並不想要雕刻、或是複製，讓我真正感興趣的是我可以如何運 用這些材料，這些材料如何影響我，對我而言這才是雕塑的核心。」 在工業化大量製造的時代，克雷格試圖摸索利用各種物質，來實驗不同的 可能性，也許是因克雷格曾於橡膠研究協會擔任過研究中心助理，也曾短 暫於沖壓鑄造廠打工，造就了他的實驗精神，取材靈感也常見工業用的工 具融入其中。而這些看似抽象、不規則的立體雕塑，部份都是經過電腦運 算才能達到如此精準的呈現，儘管克雷格有多位助手在工作室協助作品的 完成，但藝術家還是堅持手作且有始有終的逐一完成成品。《麥可馬克》 此作品也是藝術家向團隊中的其中ㄧ位重要技術人員麥可致意之作，麥克 在藝術家身邊已工作超過二十餘年，也因為有了麥克的技術，幫助藝術家 突破技術上的困難，才能造就許多作品的誕生。儘管有了科技和電腦製圖 等協助，藝術家依舊堅持手繪構圖、手工製作銅雕中的原有的鑄造模型。 對於藝術家而言，人們時常著重在表象或是傾向理解具有功能性的物品， 好比一張大理石的桌子在大多數人眼中僅僅是一張「桌子」，但克雷格看

東尼．克雷格 《多方觀點》2013年 銅雕 165（長）x 186（寬）x 700（高）, 200（長）x 250（寬）x 690（高）, 230（長）x 270（寬）x 695（高）cm 作品攝於約克郡雕塑公園 Tony CRAGG, Points of View , 2013, bronze, 165(L) x 186(W) x 700(H), 200(L) x 250(W) x690(H), 230(L) x 270(W) x 695(H) cm Courtesy of Yorkshire Sculpture Park, photographer: ©Michael Richter

雕塑是十分不同凡響的東西，與它的實用價值無 關，它們並不應該被坐著......它拓展了我們的想 像力，媒材本身就是語彙，它即是語言的根基。 －東尼．克雷格

“SCULPTURES ARE SOMETHING VERY EXCEPTIONAL, IT’S NOT PRACTICAL, THEY ARE NOT MEANT TO BE SAT ON …

IT EXPANDS OUR IMAGINATION, MATERIAL IS WHAT GIVES US LANGUAGE, IT IS THE FOUNDATION OF LANGUAGE.” －TONY CRAGG

Ravenel 61

The critically acclaimed British sculptor Tony Cragg was born in Liverpool in 1949, and has moved to Ger many in 1977, where he currently lives and works. Cragg has participated the influential exhibition of Documenta in Kassel Germany in 1982 and 1987, and was later awarded with the Turner Prize by Tate in 1988. In that same year, Cragg represented Britain to attend the 43rd Venice Biennale. Seen as the successor of the modern sculptor Henry Moore, Cragg went on to hold a solo exhibition at the Louvre in 2011. Ever since Cragg began studying at the Royal College of Art, he has been exploring the possibilities of material and the connection between the intrinsic qualities of different materials. How materials trigger further insights and perceptions, these are the questions that Cragg has been trying to explore. Given the advancement of technology and change of times, new techniques have aided Cragg new aspects and skills in experimenting new creations with diverse range of medium. Since 1970, we have been able to witness progressive breakthroughs and continuous growth in Cragg’s works in almost every five years. From his early days of assembling whatever he had at hand, to the ‘90s when he slowly began to extend and contort his materials. Cragg continued to challenge the possibilities of space using concepts of interconnectivity, juxtaposition, stacking and twisting to arrange his objects into all sorts of irregular shapes.

The internationally prominent sculptor was once exhibited at the National Taiwan Museum of Fine Arts back in 2013 for the length of three months. The particular work of “McCormack” was also featured in the solo exhibition. In Cragg's works, it is not difficult to spot forms and structures in relations to mechanical components; one can also detect the silhouettes of human facial features from various irregular angles.

Searching for such subtle details hidden in his works offers viewers a sense of the delight and excitement, as to those moments when children feel thrilled when they spotted recognizable shapes from the clouds in the sky. Cragg’s past experiences are also directly or indirectly exhibited in his works. For example, in his earlier works in the 1970s, he assembled many discarded plastic products he had collected, and turned them into colorful shapes of human figurations, Cragg established a unique artistic vocabulary of his own. The work made from plastics also invites the question about the environmental impact people have brought about to the society. The artist once said that: “In the late 60s and 70s, I wasn’t really interested in sculpting something, copying something, I was interested in what I could do with material, and how material affected me, and I think that is really what sculpture is.”

In an era of mass production, Cragg sought to explore the possibilities of materials and experiment with various materials.

It is possible that the past experience of working part-time as a research a s s i s t a n t a t a r u b b e r re s e a rc h c e n t e r, a s w e l l a s a t t h e m o l d casting factory gave birth to his experimental spirit, and prompted him to frequently draw inspiration from industrial mechanical tools.

Some of these seemingly abstract a n d i r re g u l a r s c u l p t u re s w e re i n p a r t conceived through computer calculations, in order achieve such precision in their presentation.

Although Cragg has the help of several assistants to work on his sculptures, the artist still insists on seeing through his creations from start to finish; from making the sketches to casting

original mold by hand.“McCormack” is dedicated to one of his important technical assistants, Mike McCormack, who has worked alongside the artist for well over twenty years. Without the technical support of Mike, they may not be able to overcome the technical difficulties in finalizing the final work.

The way artist sees it, people tend to focus on the superficial layer or only have better sense of understanding objects with functional value.

For example, a marble table would just be a “table” to most, whereas Cragg sees it as an appreciation of the force of nature. As the texture of marble itself was the cause of tens of thousands of years of heat and pressure. It is what lies beneath the surface that he finds worth exploring in his sculptures. “Sculptures are something very exceptional, it’s not practical, they are not meant to be sat on … it expands our imagination, material is what gives us language, it is the foundation of language” says Cragg. Indeed, aren’t those magnificent formations of stalactites we encountered in the nature exceptional, as it takes up to a hundred years to grow just one centimeter high? Likewise, if one is able to spend some extra time in the observation of Cragg’s works, one may realize that even though many of them are man-made objects, they respond to nature all the time like organisms. Although they may appear static, they retain a sense of dynamic as they alter with the shifting of time and continuous cycle of life. It is especially seen on Cragg’s large scale mirror finished outdoor stainless steel sculptures, as they are reflective of the sights surrounding them.

Today, Cragg’s works are to be seen in major museums worldwide, b e s i d e s t h e t h re e b r a n c h e s o f Ta t e M u s e m , Ta t e B r i t a i n a n d Tate Modern, his works are also in the collection of Museum of Contemporary Art, Chicago; 21st century museum kanazawa in Japan; Ekebergparken and Museet for samtidskunst - Nasjonalmuseet in Oslo, Norway; Museo Nacional Centro de Arte, Reina Sofia, Madrid, Spain; National Gallery of Canada; Daegu Art Museum, Korea etc.

Cragg’s works is also widely exhibited around the world, his works are currently exhibited at the Sanati Contemporary Arts Museum, Kerman in Iran until July 2018, Other major solo shows have include the State Hermitage Museum, St Petersburg, Russia (2016), Benaki Museum, Athens, Greece (2015), Heydar Aliyev Centre, Baku, Azerbaijan (2014), CAFA Museum in Beijing, China (2012).

東尼．克雷格 《火山口》2008年 銅雕 372（長）x 342（寬）x 480（高）cm. 作品攝於：約克郡雕塑公園 Tony CRAGG, Caldera , 2008, bronze, 372(L) x 342(W) x 480(H) cm Courtesy the Yorkshire Sculpture Park, photographer: ©Michael Richter

Ravenel 63

022

KAREL APPEL

(Dutch, 1921 - 2006)

Untitled c. 1960 Oil on canvas 92 x 62 cm Signed lower left Appel

NT$ 3,000,000 - 4,600,000 HK$ 809,000 - 1,240,000 US$ 103,300 - 158,500 RMB 651,000 - 998,000

卡．阿貝爾 無題 約1960年 油彩 畫布 92 x 62 cm 簽名左下：Appel

卡‧阿貝爾 《悲劇嘉年華》1954年 油彩 畫布 210 x 116 cm 卡‧阿貝爾基金會提供 Karel Appel, Carnaval Tragique , 1954, oil on canvas 210 x 116 cm Courtesy © Karel Appel Foundation, c/o Pictoright Amsterdam 2017

Ravenel 65

生於荷蘭的卡‧阿貝爾無疑是勇於挑戰現有制度的藝術家，在創作時的阿貝爾 神情猶如一場行為藝術，以戲劇性的方式揮灑色彩。透過強烈的表現形式散發 著自然和流暢的律動。阿貝爾於1948年與來自哥本哈根、布魯塞爾、阿姆斯 特丹的立實驗性團體，藝術家包含阿斯葛‧瓊、柯奈爾、康斯登等人創立實驗 性團體，並稱之為「眼鏡蛇」。他們的前衛思想和去除常規式的繪畫方式，為 戰後時期的藝術界注入新鮮實驗精神。阿貝爾1950年時移居巴黎，曾獲獎無 數，1954年威尼斯雙年展中獲頒「聯合國教科文基金會獎」，1959年聖保羅 雙年展贏得首獎，1960年又榮獲「古根漢國際獎」。 卡‧阿貝爾以「畫畫就是摧毀過往事物」的前衛思想，打破傳統、鼓勵創新。 阿貝爾以兒童繪畫的稚拙風格，創作天馬行空的多元題材，洋溢生命活力，為 戰後藝術圈萌生嶄新活力氣象。儘管此團體僅成立了短短三年間，其影響力被 認為是二十世紀歐洲極重要的藝術運動。1995年阿姆斯特丹成立了眼鏡蛇畫 會現代美術館，為紀錄藝術運動保留歷史足跡。 戰後時期阿貝爾仍就讀於美術學院，當時荷蘭仍被德軍所佔領，日子艱辛的阿 貝爾常常以畫作或是歌唱換取一頓溫飽。面對生活中的不順遂提升了阿貝爾更 深切的體會，也更能理解為何阿貝爾希望能跳脫原有框架，創造另外的藝術價 值。阿貝爾在學習過程中十分欣賞藝術家梵谷、亨利‧馬蒂斯、尚‧杜布菲等 人之作，但是並無盲從的模仿特定的藝術家，而是解放自己既有的想法，打破 原有傳統的學術訓練。身為此前衛藝術畫派的創建者，阿貝爾曾於《眼鏡蛇》 1949年一月的期刊宣稱：「畫畫就是摧毀過往的事物」。摧毀過往的系統、 觀念以及既定的方式並非件容易事，然而，具有野心的阿貝爾的確為當時的藝 術界注入新鮮的實驗精神，鼓勵創新。 二次大戰後阿貝爾學習以兒童繪畫的風格創作，透過天馬行空的繪畫方式，不 刻意規劃線條走向、畫面構圖及色彩運用。阿貝爾從未停止尋找能夠「解放」 意識的創作方式，他曾嘗試在漆黑的空間中作畫，也曾用非慣用手的左手進行 創作。阿貝爾的取材靈感多樣，可能是來自民謠神話的奇珍異獸，或是街頭的 塗鴉藝術，甚至是患有精神疾病患的創作，種種的方式都是阿貝爾透過揚棄繪 畫表現的既定方式，追求藝術原有的直覺性創作。 1946年，阿貝爾首次於荷蘭的格羅林根市舉辦個展。三年後，「眼鏡蛇」團 體首次重要展覽於阿姆斯特丹市立美術館展出。自1968年起，他開始創作一 些浮雕式的立體作品，並使用木頭、玻璃纖維和鋁質材料中創作雕刻。阿貝爾 的作品始終洋溢生命活力。他作畫時多以鮮明色彩及稚拙的筆觸創作，製作出 天真童趣之作。自1957年的美洲之旅後，受爵士樂啟發，創作了一系列線條 流暢，油彩鮮明耀眼的作品。其作品融合了多樣化媒材和手法，呈現直覺性的 表現及淋漓酣暢的筆法。 此件《無題》的作品，可以感受到阿貝爾擁抱抽象和提倡自由性的表現方式， 畫變中厚實的油彩和筆觸結合了動感，表現速度。在整體看似抽象的畫面中， 可以察覺到畫布下方有人臉的形象。在畫面的左下方，可以看見一個男子的側 臉，其特徵與非洲面具有所相似，而畫面右下方有另一名男子以白色線條描繪 輪廓。畫面整體佈滿了能量的色彩，而阿貝爾充分體現了在創作中的動力。阿 貝爾的作品藏於世界各地公共與私人機構，如丹麥的路易斯安那現代藝術博物 館、巴黎龐畢度中心、紐約古根漢美術館、荷蘭海牙美術館、大阪國立國際美 術館等。

眼 鏡 蛇 畫 派

COBRA Karel Appel was born in Amsterdam, he was without the doubt an active artist who challenged the status-quo. Seeing Appel paint is as if seeing an act of a performance art; colors were splashed across the canvas and painted with dramatic gestures. The intensity of colors is expressed with rhythm and spontaneity. In 1948, an experimental art group was formed called “CoBrA”. The group is joined with artists from Copenhagen, Brussels and Amsterdam, the name was coined with the initials of the members’ home cities, hence the name of CoBrA. The members included Asger Jorn, Corneille, Constant and more. The avant-garde group broke away from the traditional ways of painting, injected a refreshed, experimented spirit to the postwar society. In 1950, Appel moved to Paris and was awarded with numerous awards, including the UNESCO award in the 1954 Venice Biennale, first prize in the 1959 Sao Paulo Art Biennale, and the Guggenheim International Award in 1960.

“To paint is to destroy what precede it” said Karel Appel. To destroy the former systematization and bring about avant-garde creations.

Releasing boundaries and limitations, Appel’s brightly colored works have in a way relieved post-war desperations and given hope for many that have suffered from it. Despite the establishment of this experimental group only lasted for three years, its significance was viewed as a pivotal movement of the 20th century in Europe. The Cobra Museum of Modern Art in Amsterdam was founded in 1995, solidifying its historical traces in the art history.

During the German occupied period when Appel was still enrolled at the Ecole des Beaux-Arts in Amsterdam, life was difficult. In order to make a living, Appel was able to exchange his talents in singing and paintings for food. The hardship of life Appel encountered is counterbalanced with his sense of humor, and elevated humanistic sentiment, it is therefore easily to understand why Appel seeks to went beyond the past, the original routines, and creating greater intrinsic values attached to his art. Appel was attracted to expressive works and admired artists like Van Gogh, Henri Matisse, Jean Dubuffet and so on, however, his style did not follow certain artists, instead, he was inspired to experiment on new media and expressions, liberating rigid academic trainings and minds. Being one of the leading members of CoBrA, Appel declared in the January issue of CoBrA 1949: “To paint is to destroy what precede it.” To destroy the former systematization and bring about avant-garde creations with such ambitious mind-setting is not an easy task, but Appel has successfully stimulated an excited for the ground injection of refreshed experimental art to the contemporary world.

After World War II, Appel learned from children’s painting in the way that children paint without thinking about outlines, compositions and colors. Appel has never stopped “liberating” his minds when he creates, he had painted in a pitch-black environment, paint with his left hand since he is a right hand user, etc. The inspiration for Appel’s work is diverse, ranging from mystical beasts, animals from folklores, to street graffiti and patients with mental illness. These creations made without prior perceptions allowed for greater spontaneity and diversity.

In 1946, Appel held a first solo exhibition at Groningen, Netherlands.

Three years later, the first exhibition of the group CoBrA was held at the Amsterdam Museum of Art. Since 1968, he began creating relief sculpture, and sculptures using wood, glass and aluminum. Appel’s work continued to remain lively; he does not pre-mix colors, and often used bright colors. His use of brushstrokes created works with childlike innocence. After his trip to the America in 1957, Appel was inspired by jazz music, and created a series of brightly colored oil paints with smooth flowing lines. His works are mixed with diverse materials and techniques; the spontaneous flow of minds is executed with masterful brushstrokes. Despite the shortlived experimental group ended in three years in November 1951, it has relieved postwar desperations and given hope for many that have suffered from it.

Looking at the work of “untitled”, it is noticed that Appel embraced abstractions and encourage spontaneity, his speedy executions are met with dynamic expressions coined with thick impasto brushstrokes. Among the abstract imagery it is possible to detect the presence of figures, on of lower parts of the canvas. On the lower left, a distinct profile of a man’s face is featured, calling out a resemblance of African masks. On the lower right, another man is contoured with white lines and depicted with a protruding eye. The energetic flow of the colors is scattered with intuition, where Appel’s physical manor of work is fully expressed within this work. Appel’s works are collected worldwide in public and private collection, such as Louisiana Museum in Denmark, Musée National d’Art Moderne, Centre Georges Pompidou in Paris, Guggenheim Museum in New York, Gemeentemuseum Den Haag in Amsterdam, The National Museum of Art in Osaka

卡‧阿貝爾 《樹木系列第六號》1979 油彩 畫布 卡‧阿貝爾基金會提供 Karel APPEL, Tree Series No.6 , 1979, oil on canvas © Karel Appel Foundation, c/o Pictoright Amsterdam 2017

Ravenel 67

023

BERNARD BUFFET (French, 1928-1999)

La Route de Saint-Firmin et la mare, Hiver 1976 Oil on canvas 89 x 130 cm Signed upper left Bernard Buffet and dated upper right 1976 Titled on the reverse Environs de St. Firmin (Nord), La Route de St Firmin de la mare, Hiver PROVENANCE: Galerie Maurice Garnier, Paris Private collection, Asia This painting is to be sold with a certificate of authenticity issued by Galerie Maurice Garnier, Paris.

NT$ 5,500,000 - 8,000,000 HK$ 1,482,000 - 2,156,000 US$ 189,500 - 275,600 RMB 1,193,000 - 1,735,000

貝爾納．畢費 冬季．聖費爾曼街道與水塘 1976 油彩 畫布 89 x 130 cm 簽名上方：Bernard Buffet 1976 題識畫背：Environs de St. Firmin (Nord), La Route de St Firmin de la mare, Hiver 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

貝爾納．畢費《運河邊的房屋》1952年 油彩 畫布 81 x 100 cm 羅芙奧2016秋季拍賣會 編號067 台幣6,600,000成交 Bernard BUFFET, Maison au bord du canal , 1952, oil on canvas, 81 x 100 cm Ravenel Autumn Auction 2016, lot 067 US$ 206,314 sold

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畢 費 的 「 雪 景 」 系 列

SNOW LANDSCAPE

貝爾納．畢費年青時才華盡顯，1950年代已聲名遠播。他那漫長的創作 生涯，留下了一系列經典之作。有說他曾被美國普普藝術大師安迪．沃 荷尊稱為「最後的名畫家」1928年在出生，1947年在巴黎舉辦了首次 個展，此後陸續在世界各地舉辦展覽。1948年畢費於巴黎聖博拉西德畫 廊獲得「藝評獎」。1955年他被法國《藝術鑑賞雜誌》選為「戰後十大 最傑出藝術家」之首。1958年他舉辦第一次回顧展時，被媒體譽為「法 國寫實主義繪畫的接班人」。 抽象藝術大行其道的年代，畢費堅持自己的具象風格，甚至加入反抽象 主義團體「見證人」表明決心。作為當時最受關注的具象藝術代表人 物，外界對他的表態抨擊聲浪不斷，1970年代開始，畢費減少出現媒體 前的公開活動。創作也延續1960年代末期開始的風景系列，更加專注詮 釋自己筆下所見的地理風貌。 1973年十一月，收藏有畢費一千多幅畢費作品的日本銀行家：岡野喜一 郎，位於日本靜岡縣成立畢費美術館，由畢費夫人安娜貝爾出席開館剪 綵。1974年二月，巴黎的莫里斯‧賈尼耶畫廊舉辦一年一度名為「風 景」的個人展覽，溫柔祥和的畫面風格甚為當時的藝評家所驚艷。三月 十三日，年僅四十六歲的畢費獲選為法國法蘭西美術學院院士的殊榮， 授予勳章及禮劍，正式經由法國官方認定其不可抹滅的藝術成就與歷史 重要性。 1973-1975年，畢費泛著「黃金色彩」的一系列船隻與溫暖風景作品， 喚醒觀者對法國巴比松畫派和前印象派帶有田園詩歌，美好意境作品的 回憶。畫面寫實且似曾相識，鄉村常見的小橋流水、輕歌磨坊；有時卻 又帶有巴黎蒙馬特藝術家：烏拉曼克、尤特里羅（Maurice Utrillo）充 滿速度感表現性的力道筆觸。1976年由畢費發表了「雪景」系列正式發 表於世人眼前。知名的法國費加洛日報的評論也在二月七日為此刊登讚 賞其不同於之前的創作，水平構圖的畫面帶來安靜平和的感受。縱觀古 今，從未有藝術家能以如此堅實的黑線筆觸線條，卓越且絕無僅有的光 線布局，表達出杳無人煙清冷蕭瑟的冬日風景。 1976年創作《冬季．聖費爾曼街道與水塘》，完成於畢費鄰近凡爾賽郊 區位於維利爾斯‧馬哈小鎮中的工作室，畫家藉由夜晚的燈光遺世獨立 完成作品。畫中視覺由左下角順著路向中心延伸，天光試圖穿透隆冬的 雲層壟罩，帶來了亮光卻沒有溫度。枯枝爪牙向天，黑沃土壤也因寒冷 而毫無生機。水塘結冰，亮晃晃像面鏡子反射天上的光，唯有低矮房舍 前的黃沙庭院為帶來一絲暖意。正值盛年，藝術家卻避世創作，描繪孤 寂的畫面，透過筆下力道，釋放熾熱的情感。

Bernard Buffet showed talent in his youth and was widely known by the 1950s. After his long art career, today there remains a succession of classic works. It is said that Andy Warhol had called him the 'last famous painter'. Born in 1928, his first solo exhibition was held in Paris in 1947, and he continued to exhibit his work around the world. In 1948, Buffet was awarded the 'Prix de la Critique' at the Galerie Saint-Placide. In 1955, he was ranked at the top of Connaissance des Arts magazine's list of the ten best postwar artists. And when he held his first retrospective in 1958, he was heralded by the media as the successor to the artists of the French Realist movement.

At a time when abstract art was at the fore, Buffet was a visible proponent of figurative art. He even joined the anti-abstract art group L'homme Témoin ('man as witness'). Having become the face of figurative art, he attracted a lot of attention and an incessant barrage of criticism. So from the 1970s on, he tended to avoid making public actions that might put him in the media. And starting in the late 1960s, a new landscape series shifted his practice more towards interpretations of the geographic formations flowing forth from his brush.

In November 1973, over a thousand pieces of Buffet's work were collected by Japanese banker Kiichiro Okano, who then built a personal museum for them in Shizuoka, Japan. Only his wife Annabel attending the ribbon-cutting ceremony. In February 1974, an annual solo exhibition with the name Paysages was held at the Galerie Maurice Garnier, displaying a gentle and serene style of paintings that were remarkable for their time. On March 13th, when Buffet was only 46 years old, he was elected to the Académie des Beaux-Arts in Paris. Apart from being awarded medals and swords, he was formally recognised in France for his extraordinary achievement and historical significance as an artist.

From 1973 to 1975, Buffet's series of ships and warm landscapes painted in golden colours brought back memories for viewers of the beautifully conceived works and pastoral poems of the Barbizon school and pre-Impressionist art in France. The scenes are realistically composed and reminiscent of something seen before.

It might have be the oft seen countryside bridges, fabrics being woven in a quiet song. Sometimes even Montmartre artists, such as

貝爾納．畢費《海邊》1960 油彩 畫布 195 x 202.5 cm 畢 費基金會收藏 Bernard BUFFET, La Mer , 1960, oil on canvas, 195 x 202.5 cm, collection of Bernard Buffet Foundation © Iris CHEN, 2016

貝爾納．畢費《聖馬克路教堂》1976 油彩 畫布 89 x 130 cm 私人收藏 Bernard BUFFET, Pontoise, léglise Saint-Maclou , 1976, oil on canvas, 89 x 130 cm, private collection © Iris CHEN, 2016

Maurice de Vlamnick and Mauric Ultrillo, would come to Paris, with their brushstrokes smoothly flowing and full of power. 1976 saw the world debut of the Paysages de Neige series. The well-known French daily Le Figaro published a story about this new work on February 7th, praising the different approach and the feeling of calm and peace afforded by the horizontal compositions. From the time of the Ancients until his day, no artist had ever demonstrated brushwork so adept with solid black lines and which could so exceptionally find expression for the inhospitably cold and bleak landscapes of winter.

The 1976 work "La Route de Saint-Firmin et la mare, Hiver" was completed in the small town of Villiers-leMahieu on the outskirts of Versailles, where the painter worked by the dark of night alone in his studio. The painting guides the viewer's sight from the bottom left corner toward the centre of a road. Sunlight brings brightness but no warmth as it pierces through the wintery banks of clouds. Beneath are bare branches pointing to the sky and dark earth replete of life thanks to the cold. A frozen pond shines like a mirror that reflects the sky while the only thing that brings any warmth is the yellow sand in the yard in front of a small house. In his prime, Buffet shunned the world and painted scenes devoid of human subjects, only releasing the powerful flames of his practice in his brushstrokes.

024

BERNARD BUFFET (French, 1928 - 1999)

La Corrida - Tête de Toréro 1966 Oil on canvas 65 x 46 cm Signed upper center Bernard Buffet and dated 66 Inscribed on the reverse 18U TS EXHIBITED:

La Corrida , Galerie David et Garnier, Paris, 1967 ILLUSTRATED: Yann le Pichon, Bernard Buffet , Galerie Maurice Garnier, Paris, 1966, color illustrated, p. 137, no. 600 This painting is to be sold with a certificate of authenticity issued by Galerie Maurice Garnier, Paris.

NT$ 7,000,000 - 10,000,000 HK$ 1,887,000 - 2,695,000 US$ 241,100 - 344,500 RMB 1,518,000 - 2,169,000

貝爾納．畢費 鬥牛士 1966 油彩 畫布 65 x 46 cm 簽名上方：Bernard Buffet 66 題識畫背：18U TS 展覽： 「鬥牛」，大衛與賈尼耶畫廊，巴黎，1967 圖錄： 揚．拉畢雄，《貝爾納．畢費》，莫里斯．賈尼耶畫 廊，巴黎，1966，彩色圖版，頁137，編號600 附莫里斯．賈尼耶畫廊開立之原作保證書

Ravenel 73

我看待鬥牛士如同貴族，拚搏的囚獸－ 野 獸 的 主 宰 。 － 畢 費 “I VIEW TORERO AS A NOBLE, HARD-FIGHTING ANIMAL - THE KING OF BEASTS.” －BERNARD BUFFET

戰後具像表現大師：貝爾納‧畢費，在戰火中孕育藝術，當全世界為 他的憂鬱狂熱傾倒，日本人稱之為「法國藝術的教宗」，法國藝術圈 卻因為政治因素，對他批評聲浪不斷，除了藏家捐贈，官方卻僅曾購 藏他一幅作品。創作得到的財富與內心平靜伴隨一生，當晚年因病無 法執筆，也斷了藝術家生存的意念。1999年十月，他頭套上一個印有 自己名字的塑膠袋，留給世人悲劇性的句點與無限遺憾。 1928年生於巴黎，成長於布列塔尼海岸，喜愛生物學，生性細膩敏 感，學業上的困難，無法阻擋旁人發覺他卓越的藝術天賦。1948年畫 作《飲酒的人》展出於杜胡安．大衛畫廊並後來輾轉為巴黎市立美術 館收藏。同年，藝術家知遇伯樂畫商：大衛與賈尼耶簽下代理合約， 更獲得「藝評獎」從此一炮而紅。1955年僅27歲的畢費，被當時的 《藝術鑑賞雜誌》選為「戰後十大最傑出藝術家」之首。1958年舉辦 第一次回顧展時，更被媒體譽為「法國寫實主義繪畫的接班人」。一 位害羞生澀的青年，從此蛻變為鎂光燈追捧的天才藝術家。 早期，年輕藝術家的畫中內容物一向簡單，多以日常靜物、自畫像、 家鄉人物和工作室為主題。筆下人物的大眼，枯槁四肢，呼應人民因 戰爭留下的內心傷痛，也得以讓不同世代的觀者，感受大時代環境的 蕭條貧脊。法國總統席哈克亦道：「畢費具體地呈現了法國戰後的苦 難，全心全意地表達虛弱、痛苦與貧窮的情況。」藝術家提去單一視 覺焦點的景深，直接利用形體的大小、擺放位置，來創造空間感。物 質條件的缺乏，鉛筆痕跡的細線與清淡的灰白中性色調，畫面顏料輕 薄的如同創作者消瘦的身軀。強烈的個人風格，猶如一劑強心針，喚 醒戰後歐洲藝術，等待重生的困頓。 1950年代中期，畢費因為現實生活物質條件的轉好，主題也轉為更加 大尺幅的創作。推敲其完美構圖與創作主題：鬥牛士、馬戲團、充滿 張力的戲劇性題材，是一脈相承早年在高等美術學院的扎根訓練。他 也將羅浮宮欣賞的前輩大師：庫爾貝、林布蘭特其名畫重新詮釋來向 大師致敬，更表露自己青出於藍且更勝於藍，承接並且超越藝術史的 企圖心。 1958年是藝術家人生與創作的重大轉捩點。一月中於夏邦提耶畫廊舉 行第一次的個人回顧展，僅是開幕晚會就有八千名予會者，而售票參 觀則達到十萬參觀人次。與他相處八年的親密好友皮耶爾．貝爾傑琵 琶別抱時裝設計師：伊夫．聖羅蘭。藝術家合力與《日安，憂鬱》女 作家：莎岡芭蕾舞台劇撰寫劇本與舞台服裝設計，同年夏天認識了前 1966年安娜貝爾著鬥牛士服坐姿攝於藝術家工作室

者的模特兒好友：安娜貝爾，並於同年12月12日結婚，開始長達40年

Annabelle posing in artist's studio with matador suit © Luc Fournol

的結縭。

1967年大衛－賈尼耶畫廊舉辦「鬥牛」個展，一系列展示安娜貝爾 身著鬥牛士裝束的油畫作品。2016年十月至2017年三月法國巴黎 市立美術館，第一次由官方美術館舉辦的「畢費回顧展」，更是用 1966年創作，長達五百五十公分的巨型畫作《鬥牛―單膝下跪》當 作入展的迎賓作品。畫中金黃堅實的線條沒有留下空間，鮮血直流 的野獸，鮮紅斗篷的鬥士，人物表情漠然，站立不動。更甚是右側 背對觀者的綠衣鬥士，半身的背影構圖拉近觀者的臨場感仿若佇立 於現場，凝聚在巨大畫布下構成的時空，瀰漫一股肅穆的氣氛。 作為「鬥牛」的愛好者，畢費對這項源於西班牙的傳統文化活動有 著無比的激情。藝術家曾說：「我看待鬥牛士如同貴族，拚搏的囚 獸–野獸的主宰」。他欣賞鬥牛與鬥士間的致命吸引，一項兩者間注 定以「悲劇」結尾的命運。困獸輪番受到挑撥與攻擊，卻無法逃脫 「死亡」。鬥士一身華麗裝束，在陽光下璀璨發亮，卻毫無抵擋野 獸尖角穿刺的保護功能。而長劍看似雪亮鋒利，面對龐然巨物的威 脅，也只能作用在關鍵性的生死時刻。充滿暴力的慾望之舞，透過 儀式化得表演程序，為這野蠻活動增添了戲劇性表演成分，沖淡減 緩觀眾對死亡的恐懼。 這些激情澎湃引起畢費共鳴的情緒，成為一切創作的動力。在三十 歲生日購買下的「弓之城堡」，他擁有一個大型工作室，雜亂且充 滿顏料、廢棄畫布，僅有安娜貝爾可以進出。而事實上，擁有高挑 身材的安娜貝爾，時常作為畢費創作的靈感來源。1958年開始的鬥 牛士系列，即是由她身著鬥牛士的衣著作為模特兒所完成。她接受 訪問時說道，是畢費介紹她認識鬥牛的藝術：「貝爾納帶領我進入 鬥牛的世界。第一次進場邊觀賞時，我幾乎是立即就為它驚人的藝 術性著迷。···也記得當模特兒擺姿態的時候，現在想起來也像昨天 才發生。」 此拍品1966年完成的《鬥牛士》特別以單一頭像呈現鬥士臉部的堅 毅神情，相較於大型作品的劇場感，更能聚焦藝術家表現的人物精 神性。揮別早期鉛筆線淡灰色系，小丑系列的憂鬱哀傷。如術士場 上面對巨獸的專注神情，簡潔有力的線條刻畫，人物頭戴黑帽，髮 辮向後一翹帶出空間深度。粗眉橫眼，法令紋肌肉繃緊，拉長鼻樑 和人中連成的一線，薄唇緊閉，下巴有稜有角，五官構成一完美的 Ｔ字型。取代現實中，天藍裝束上的金線，創作者以捲曲黑線勾勒 細節，粗細交錯，毋需陰影就能製造出立體感。形式如中世紀貴族 人頭像，卻取代主角人物名稱，強而有力的藝術家簽名，高掛於圖 像之上，讓觀者甚有錯覺，這是藝術家自己裝束起鬥士服裝的自畫 像，更呼應此時期，畢費已在畫壇已建立起名聲，完整構築自己繪 畫脈絡的自信心態。

1967年藝術家畢費於「鬥牛」個展佈展現場與拍品 局部合影（左下角） Buffet standing in the exhibition "La Corrida" with part of Tête de Toréro on the lower left, 1967 © Luc Fournol, France

The post-war expressionist master Bernard Buffet cultivated art from war, and led the entire world to become infatuated by his sense of melancholy. Japanese people called him “the Pope of French art.” However, for political reasons, the French art community was source of unceasing criticism. With the exception of works donated by collectors, officials had only purchased one work by him for a collection. The wealth Buffet gained from his works and a sense of internal serenity accompanied him throughout his life. In his later years, illness prevented him from holding a brush and ended his will to live. In October 1999, he covered his head with a plastic bag which was printed his name on, and left this world through a tragic ending filled with endless regrets.

Born in Paris in 1928, Buffet grew up on the coast of Brittany. With a passion for biology, he had a delicate and sensitive disposition.

Difficulties in schoolwork did not dim his extraordinary talent in art. In 1948, his painting, The Drinker (Le Buveur), was exhibited in the Galerie Drouant-David and later collected by the City of Paris Museum of Fine Arts. In the same year, the artist met art dealers Emmanuel David and Maurice Garnier, who appreciated his talent and signed a contract to represent him. Buffet later went on to receive the “Prix de la Critique” award and achieved fame. In 1955, at just the age of 27, Buffet was elected by the magazine Connaissance des Arts as the “one of the ten most outstanding painters of the post world war era.” In 1958, when he held his first retrospective exhibition, he was praised by the media as the successor of French realism painting.

After that, this shy youth slipped into his role as an artistic genius to remain always in the spotlight.

In the early period to Buffet’s career, the content of the young artist’s paintings was generally simple. The themes of the paintings were typically comprised of everyday still-life objects, self-portraits,

people in his hometown, and his studio. In these early works, the figures tended to display large eyes and thin limbs, echoing the pain left by the war. They also reflect to viewers of different generations the depression and poverty of the environment of that era. French president Jacques René Chirac once stated, “Buffet concretely illustrated the suffering of post-war France. He wholeheartedly expressed the situation of weakness, suffering, and poverty. ” The artist eschewed the depth of a field with a single visual focal point.

Rather, he utilized the sizes and positions of objects to create a sense of space. The lack of material resources is reflected in the thin pencil lines and the neutral tones of gray and white. The lightness and thinness of the paints in the picture are like the creator’s thin body. Buffet’s strong personal style was like a shot of epinephrine that revived the arts in post-war Europe, which had been in turmoil, awaiting rebirth.

In mid-1950s, the material conditions of Buffet’s life improved, and his creative theme expanded to larger scales. The perfect composition and the creative themes—matadors, circuses, and dramatic topics full of tension—resulted from the solid training he had received at the Ecole Nationale Supérieure des Beaux-Arts in his early years.

He also paid homage to early masters such as Gustave Courbet and Rembrandt Har menszoon van Rijn by reinterpreting their masterpieces. This act also revealed his ambition to exceed the masters, to inherit and surpass their position in art history.

The year 1958 was a major watershed for the artist in his personal life and in his creative work. In mid-January of that year, he held his first retrospective exhibition at Galerie Charpentier. The exhibition attracted 8,000 people to the opening banquet, and over 100,000 people purchased tickets to visit the exhibition. Also in that year, his lover of 8 years, Pierre Bergé, left him for fashion designer Yves

Saint Laurent. Buffet cooperated with François Sagan, the author of Bonjour Tristesse, on composing the screenplay for a ballet and on the stage costume design. In the summer of the same year, he met Sagan’s good friend, model Annabel Schwob de Lure. Buffet married de Lure on December 12, 1958, and thus began their 40year marriage.

In 1967, David et Garnier Galerie held a solo-exhibition, "La Corrida", exhibiting a series of oil paintings of de Lure wearing Matador costumes. From October 2016 to March 2017, the City of Paris Museum of Fine Arts held the Buffet Retrospective Exhibition, the first to be held by official French museums. The exhibition featured a gigantic painting, La Corrida Desplante de Rodillas (1966), which was 5.5 meters long, as the piece that greeted visitors at the exhibition entrance. In the painting, the golden, solid lines leave no space. The blood of the beast is pouring out. The matador, in a bright red cloak, stands still, his face indifferent. On the right, a matador in green stands with his back to the viewer. The structure of the picture, with this matador showing only his upper body, creates a sense of presence for the viewer, as if they were there. The time and space are consolidated in the gigantic canvas, creating a solemn atmosphere.

the spirituality of the character. The artist parted with his earlier grey tone and pencil lines, the melancholy and moroseness of the Clown series. The painting highlights the focused expression of the matador, as if he is facing an enormous monster. The matador is portrayed with simple and powerful lines. He wears a black hat.

The braid toward the back brings out the depth of the space. The brows are thick, and the eyes are tough. The muscles at the laugh lines are tight, and the line between the nose and lips is elongated.

The thin lips are pressed tight. The chin is angular. The five features of the face form a perfect T. Replacing the gold lines in the skyblue suit, the creator uses curling black lines to depict the details.

By intersecting thick and thin lines, Buffet creates a sense of three dimensions without using shading. Although it is in the form of a bust, like those of medieval aristocrats, the place that should hold the name of the figure has instead the artist’s signature, strong and powerful, hanging high above the painting, giving the viewer the illusion that this is a self-portrait of the artist in matador clothing.

This painting echoes this period, during which Buffet established fame in the painting scene, having completely constructed the confident mentality of his own painting context.

As a bullfighting enthusiast, Buffet had incomparable passion for this traditional cultural activity from Spain. He once commented, “I view torero as a noble, hard-fighting animal - the king of beasts.” He appreciated the fatal attraction between the bull and the matadors, a fate between the two that is destined to end in tragedy. The trapped beasts are provoked and attacked in turn, but they cannot escape death. The fighter is in a brilliant outfit that shines under the sun, but it provides no protection from the beast’s piercing horns.

His long sword seems shiny and sharp, but facing the threat of an enormous beast, it can only function at critical moments of life and death. A dance full of violence and desire, through ritualization, becomes a process of a performance, adding an element of drama to this brutal activity and diluting the audience’s fear for death.

This stimulation resonated with Buffet’s feelings and became his motivation for creation. On his 30th birthday, he purchased the Château de l’Arc, where he installed a large studio, messy and filled with paint and abandoned canvases, that only his wife, Annabelle de Lure was allowed to enter without permission. In fact, tall and slender, Annabelle was often Buffet’s creative inspiration. The Matador series, begun in 1958, was completed with her modeling in matador costumes. At an interview, she stated that it was Buffet who introduced her to the art of bullfighting: “Buffet led me to the world of bullfighting. The first time I entered the arena to watch the performance, I was almost immediately fascinated by its amazing sense of aestheticism…I still remember when I posed as a model.

Looking back, it is as if happened only yesterday. ” The auction piece "La Corrida-Tête de Toréro", completed in 1966, specifically uses a portrait to emphasize the perseverance of the matador’s facial expression. Compared to the theatrical sense in large-scale works, this piece can more effectively focus on

貝爾納．畢費《飲酒的人》1948 油彩 畫布 100 x 65 cm 巴黎市立美術館收藏 Bernard BUFFET, Le Buveur , 1948, oil on canvas, 100 x 65 cm, collection of Modern Art Museum of Paris © 2016 Iris CHEN, Taipei

Ravenel 77

025

BERNARD BUFFET (French, 1928 - 1999)

Vase de Fleurs 1958 Oil on canvas 65 x 46 cm Signed lower right Bernard Buffet and dated 58 PROVENANCE: Galerie David et Garnier, Paris Christie’s New York, Impressionist and Modern Paintings, 1993, lot 318 Private collection, Australia

NT$ 2,600,000 - 4,000,000 HK$ 701,000 - 1,078,000 US$ 89,600 - 137,800 RMB 564,000 - 868,000

貝爾納．畢費 瓶花 1958 油彩 畫布 65 x 46 cm 簽名右下：Bernard Buffet 58 來源： 大衛與賈尼耶畫廊，巴黎 紐約佳士得，「印象派與現代繪畫」，1993年，編號318 私人收藏，澳洲

Ravenel 79

貝 爾 納 ． 畢 費

VASE DE FLEURS 戰後的歐洲，藉由挖掘青年才俊，吹起復甦的風潮，要掃除戰爭帶來的憂 鬱和傷痛，帶領法蘭西步入新時代的啟程。年輕羞澀又極富天份的畢費， 也就搭乘上時代的潮流，在媒體推波助燃宣傳下，成為人們口中前途可限 量的天才藝術家。1948-1958年，十年的光景，畢費已經發表過許多重要 的題材，包括：基督受難、馬戲團、巴黎風景、紐約、戰爭之慄等系列。 在第二十八屆威尼斯雙年展，藝術界年代最悠久且具代表性的盛會，年僅 二十八歲的畢費，即擁有一間個人完整的展覽空間同時展出其二十四件油 畫作品。同年，二月四日，第356期的法國八卦雜誌《巴黎競賽》，卻也 以嘲諷的口吻形容年僅二十八歲的畢費，是「戰後最昂貴的藝術家」，刊 登十頁篇幅藝術家與美麗別墅和豪華勞斯萊斯跑車的合影，引發強烈的社 會批判。 然而畢費如日中天的聲勢，並未阻擋各方才子想與他跨界合作，共同創 作。法國浪潮風起雲湧的年代，導演埃提安．貝里耶以畢卡索的紀錄片為 藍本，邀請畢費至其工作室一個禮拜，完整紀錄畫家繪製《犢之頭》的過

After World War II, Europe started a trend of utilizing young talents to sweep away the melancholy and pain from the war and to lead France into a new era. Young, shy, and extremely talented, Bernard Buffet was part of this trend. Promoted by the media, he became what people called a genius artist with unlimited potential. In the decade from 1948 to 1958, Buffet published several series of paintings on critical topics, including La Passion du Christ, Circus, Paris Views, New York, and Horreur de la Guerre.

In the 28th Venice Biennale, a representative exhibition with the longest history in the art scene, Buffet, though only 28 years old, was given an exhibition space to himself for his 24 oil paintings. However, on February 4 of the same year, the 356th issue of Paris Match, a French tabloid, mocked the 28-year-old Buffet as the most expensive post-war artist. The tabloid published ten pages of pictures of the artist with beautiful mansions and luxurious Rolls-Royce sports cars, triggering strong social criticism.

程。為知名詩人尚．考克多繪製肖像後，1957年兩人再度合作。畫家為 詩人的劇作：《人聲》繪製插圖和書寫文字，他以鋒利的筆觸於銅版上一 筆一畫完成，2016年底巴黎市立美術館舉行的畢費回顧展，更將此作重 新完整的展示於世人眼前。對於畢費的創作才華，考克多甚至發表言論， 刊登於報紙公開資持：「我的詩作和文章將會搭配上畢費的素描。我想這 本書若是出現在畢卡索的家，想必會引起他另一番怒氣吧。因為人們都說 畢費是他的接班人，現在畢費的光彩也是他唯一會忌憚的。」 而立之年的畢費，迎來人生波折與驚喜的過程。與法國文壇新星：莎岡合 作芭蕾舞台劇。二月初，他與皮耶爾．貝爾傑出席聖羅蘭的迪奧發表活 動。週刊雜誌《快報》二月六日的封面即是以畢費繪製的模特兒身著迪奧 洋裝素描，以「憂鬱的孩子」標題詮釋這兩位經歷法國動盪時期的世代； 而《藝術》新聞雜誌，也在封面刊登畢費為聖羅蘭描繪的頭像和撰文專欄 於首頁。 此時社會氣氛的轉換，漸入佳境的藝術家創作也躍昇另一層次，晦澀的灰 白色調與鉛筆細線不再，取而代之是充滿力量的黑色筆觸。大量使用油畫 顏料，透過堆積、勾勒、拉提、刮擦，乾燥後的油畫顏料，在平面上構築 如淺浮雕的肌理，光影照射下顯現自然陰影。曾被評為「沒有影子」的畢 費，再一次用自己力量，證明天賦帶來的成功，並非出自於偶然。 畢費買下「弓之城堡」宅邸，占地廣闊四周為樹林與花園所包圍的環境， 與夫人安娜貝爾共築愛巢。對應上喜愛花草樹木和研究生物科學，瓶花靜 物為題材的畫作，成為這段期間他所專注的主題。常見是一方桌面，搭配 日常所用之物，四季變化的花朵，在藝術家帶有具像和表現手法傳達植物 生生不息的生命力。拍品《瓶花》創作於1958年，屬於早期精彩力作。 張揚的紫色花束，承裝於透明的玻璃瓶內，瓶花豎立於明黃色桌面、與顫 動色彩的背景，畫家在其間展現無比自信的剛毅線條。而個性十足的簽名 與書寫年代方式，無疑是畢費特有的標籤，不是隱身於畫面的一隅，而是 主體一旁作為畫面平衡構圖的要角。

貝爾納．畢費《椅上的鮮花》1947 油彩 畫布 103.8 x 64 cm 私人收藏 Bernard BUFFET, Fleurs sur une chaise , 1947, oil on canvas, 103.8 x 64 cm, private collection © 2016 Iris CHEN, Taipei

展於蒙馬特美術館的畢費調色盤

劇本《人聲》畢費手稿展出於巴黎市立美術館

Buffet's Palette exhibited in the Museum Montmartre © 2016 Iris CHEN, Taipei

Sketch of "La voix huimaine" by Buffet exhibited in Modern Art Museum of Paris © 2016 Iris CHEN, Taipei

Even so, Buffet’s creative ability was at its prime, and the scandal did not prevent talents from other fields from reaching out to him for cooperation and co-creation. In that turbulent era, director Etienne Périer, using Pablo Picasso’s documentary as a blueprint, invited Buffet to his studio for a week and comprehensively recorded the painter’s process in creating Bernard Buffet. After Buffet painted a portrait for the famous poet Jean Cocteau, they cooperated again in 1957. The painter composed illustrations and calligraphy for the poet’s drama La Voix Huimaine and engraved it with sharp touches on a copper plate. The Buffet retrospective exhibition in Paris in late 2016 presented this work to the audience in its entirety. Cocteau often commented on Buffet’s talent, and he openly praised him in the newspaper. He stated, “My poems and textes will appear with Buffet’s sketchs. I think if that book appeared in Picasso’s home, he would be furious. After all, people say Buffet is his successor, and now, Buffet’s talent is the only thing he is afraid of.”

As the social atmosphere changed, the artist’s creativity was elevated to another level. The obscure gray and white tones and the thin pencil lines were replaced by powerful black brush strokes. He excessively employed oil paints; through stacking, outlining, lifting, scraping, and drying, the paints created a texture like bas-relief on architecture, with light causing natural shadows. Previously criticized for lacking shadows, Buffet once again used his ability to prove that his success from his talent was not accidental.

When Buffet turned thirty, he faced a series of setbacks and pleasant surprises. He cooperated with François Sagan, the rising star in the French literary scene, on a ballet. In early February, he and Pierre Bergé attended a Christian Dior show with Yves Saint Laurent. The cover of the February 6th issue of the magazine L’Express was a Buffet sketch of a model in a Dior dress. The caption “depressed child” illustrates this era of two men who had experienced France’s turbulent era. Arts even published the portrait Buffet composed for Saint Laurent on its cover page and composed an essay for it.

Buffet purchased the Château de l’Arc, which occupied a wide piece of land surrounded by trees and gardens, and he lived there with his wife Annabel Schwob de Lure. For Buffet, who loved flowers and trees and studied biology, flowers in vases and still lifes became his painting topics and what he focused on in this period. Paintings of this period often portray everyday objects on a square table. Under the artist’s concrete expression techniques, flowers from the four seasons demonstrate the endless life force. The auction piece "Vase de Fleurs", created in 1958, is one of Buffet’s early masterpieces. It features blooming purple flowers in a transparent vase. The vase stands on a bright yellow table against a background of flickering colors, in which the painter exhibits confident strong lines. The signature and the manner in which the date are drawn are undoubtedly Buffet’s style. Not hidden in the corner of the picture, they are essential components next to the main body and balance the structure of the painting.

Ravenel 81

026

MOÏSE KISLING

(Polish-French, 1891 - 1953)

Les trois pavots 1952 Oil on canvas 41 x 33 cm Signed lower left Kisling and dated lower right 1952 PROVENANCE: Collection of Hiroko Saeki, Inc., New York Private collection, Paris Private collection, Asia ILLUSTRATED:

Kisling 1891-1953 Tome III , Edition Jean Kisling, text by Jean Dutourd, 1995, black and white illustrated, p. 281, no. 252

NT$ 2,400,000 - 3,600,000 HK$ 647,000 - 970,000 US$ 82,700 - 124,000 RMB 521,000 - 781,000

莫依斯．奇斯林 三朵罌粟花 1952 油彩 畫布 41 x 33 cm 簽名左下：Kisling 年代右下：1952 來源： 佐伯廣子株式會社收藏，紐約 私人收藏，巴黎 私人收藏，亞洲 圖錄： 《奇斯林1981-1953》第三卷，尚．奇斯林出版，尚． 居杜爾德撰文 ，1995，黑白圖版，頁281，編號252

莫依斯．奇斯林《瓊珊》1952 油彩 畫布 84 x 65 cm 私人收藏 Moïse KISLING, Josane , 1952, oil on canvas, 84 x 65 cm, private collection

Ravenel 83

巴 黎 畫 派

ÉCOLE DE PARIS 早期旅法華裔藝術家常玉，在巴黎的蒙巴納斯區生活四十餘年，他在繪畫主題上的 裸女、人物、花卉、靜物等選擇，都和巴黎畫派有密切的淵源，尤其是常玉晚年一 批現由台灣的國立歷史博物館收藏的盆花系列，各式各樣花卉爭奇鬥艷，相當程度 就是受到奇斯林的啟發。出生波蘭的奇斯林十九歲時隻身前往巴黎，爾後遷移到蒙 巴納斯區，並在此生活了二十七年之久，1917年時美術記者和史學家給奇斯林取 「蒙巴納斯之王」的稱號。他的藝術帶有東方神秘氣氛，色彩華麗，個性鮮明，是 「巴黎畫派」中舉足輕重的藝術家。 1910至1930年代，巴黎正值「美好年代」，注重休閒、講究感官享受的年代，奇斯 林的靜物繪畫呼應了當時的藝術風潮，迎合了追求美食、時尚、藝術收藏的群體， 布爾喬亞式的品味，也將巴黎畫派帶至發光發熱的階段。奇斯林的作品帶有東歐斯 拉夫式的異國情調，他筆下的人物、花卉、靜物或風景，在濃烈鮮明的色彩裡， 總是透著淡淡的神秘與憂鬱氣氛，獨具個人魅力，受到廣大歡迎。1943年奇斯林 在紐約成立畫室，由於歐洲正值是二次大戰期間，他留在美國發展數年，一直到戰 爭結束後，1946年他才回到巴黎。戰後奇斯林依舊活躍，曾在巴黎的傑內哥畫廊 （1945）；馬賽的如梵畫廊（1943）、普傑畫廊（1950）舉行過個人畫展；坎城城 堡美術館（1953）則是為奇斯林辦了生前最後一次個展。 奇斯林一生中繪製了多幅各式各樣的花卉靜物，而其中有紀錄的金黃色的含羞草就 多達近20幅，而罌粟花的題材僅有近少數存世，而本次春拍呈獻的《三朵罌粟花》 是繪於1952年，是奇斯林逝世前年的遺存傑作。畫面中依舊保有艷麗綻放的紅花， 陪襯上具有光澤感的綠葉，即使後期之作已經不像早期使用的立體畫派之畫風，但 在構圖和配色上的結構依舊十分立體，花朵挺拔的姿態充滿活力。1952年奇斯林也 畫了一幅女子肖像畫《瓊珊》，畫面中所採用的色調與此《三朵罌粟花》有幾分相 似，女子略帶憂愁的眼神望向下方，頭往一邊略傾的姿態，與花卉靜物似乎有所呼 應，女子神情有如孤芳自賞一般，自然不矯作。到底是繪畫花還是女人呢? 至今，全世界最大的奇斯林作品都藏於位於日內瓦的小皇宮美術館，而其他美術館 如龐畢度藝術中心、美國大都會博物館和布魯克林美術館皆有收藏這位「蒙巴納斯 之王」的作品。

Sanyu, an artist from early China who had lived in France, had stayed in Montparnasse of Paris for over forty years. His choice of themes such as female nudes, flowers and plants, figures and still lifes, were all closely associated with L'Ecole de Paris. This was especially apparent in Sanyu's potted flower series, a collection of later works currently kept in the National Museum of History in Taipei. To a large extent, Sanyu was inspired by Kisling in his depiction of different assortments of flowers and plants that appear to be vying for attention.

In 1910, at the tender age of 19 Kisling set foot in Paris, the capital of art, imbued with lofty ideals. After some time, Kisling returned to Montparnasse and settled there for the next 27 years. During that period. In 1917, Kisling was given the title "King of the Montparnos" by historians and correspondents of fine arts, for the reason that Kisling's art is enshrouded in an aura of oriental mysticism due to its resplendent colors and distinctively characteristics. Moise Kisling is a truly pivotal artist of L'Ecole de Paris.

The 1910s to 1930s saw Paris undergoing a period known as La Belle Epoque, a time that stressed upon leisurely endeavors and sensory pleasures. Fine dining, fashion and fine arts collecting became flourishing aspects of this culture. The tastes and preferences of the Bourgeois very much favored L'Ecole de Paris. Beneath the rich and bright colors in Kisling's figure paintings, flower and plants, still lifes and landscapes, there was always a faint, lingering mystique and melancholy. A sense of the exotic, evoked by his adoption of the Slavic style from Eastern Europe, made Kisling's paintings exceptionally enchanting and thus wellreceived by the masses. After setting up an art studio in1943, the passionate Kisling re-created the bustling art scene of Montparnasse in New York. Due to the outbreak of World War II in Europe, Kisling continued to stay and develop his art in America until the war ended. He did not return to Paris until 1946. After the war, Kisling held his personal exhibitions at the Galerie Genegaud (1945) of Paris, Galerie Jouvene (1943) and Galerie Puget (1950) of Marseille.

Chateau Musee, Cagnes sur Mer (1953) was the last to hold a personal exhibition for Kisling before he passed away.

Over the course of his life, Kisling has executed many still life paintings on floral paintings, all kinds of flowers have been captured in his brushes. As of the record, there are nearly 20 golden mimosa flower paintings, but there were only few painted in the theme of poppy flowers. The “Les trois pavots” presented in this spring sale was painted in 1952, the last of few remained outstanding paintings executed in the year prior to the death of the artist. The flower is still blooming in red, setting against the vivid green leaves. Despite the later period of his works were not executed in Cubist styles such as his earlier works, the structure and the composition of colors are still presented in three-dimensions, with flowers growing with vitality.

In the same year of 1952, Kisling also painted a portrait of a woman, “Josane ” In that painting, the use of color tone is somewhat a resemblance of " Les trois pavots.” The woman’s hair has dark yet shimmering blue, portrayed with melancholy eyes and looked downward; her head tilted slightly to a side. The resemblance of the portrait and the still life seemed to echo with one another. Both are painted with dense emotions and filled with dignity and pride in oneself.

Was he really painting a flower or a portrait of a woman?

Up until now, the majority of the works of Moïse Kisling are in the collection of the Musée du Petit Palais in Geneva, other works are to be found in numerous museums including the Centre Pompidou, Paris, the Metropolitan Museum of Art and the Brooklyn Museum in New York.

常玉《菊》1957 油彩 纖維板 151 x 77.5 cm 國立歷史博物館收藏 Sanyu, Chrysanthemums , 1957, oil on masonite, 151 x 77.5 cm © National Museum of History, Taipei

Ravenel 85

027

PIERRE-AUGUST RENOIR

印象派大師雷諾瓦，以和諧幸福的人物描寫盛名。整個歐洲十九世紀

(French, 1841 - 1919)

中末期，布爾喬亞的和諧幸福，都在他筆下化為永恆。人物豐腴，臉

Torse de Vénus

澀幽暗的陰鬱冬天。晚年藝術家深受風濕疾病所苦，彎曲變形的手指

Conceived in 1915; cast in 1972 Bronze, brown patina, H.C. 33(L) x 53(W) x 57.5(H) cm

龐明亮，眼神閃耀柔和的個性。只有春光明媚的無限延伸，看不見晦 在濕冷的巴黎無法作畫。但是為藝術而生的他，留下經典名言「痛苦 會過去，美會留下來。」堅持用布將畫筆纏繞在手上要創作。 遠離北方的寒冷，1880年代起，雷諾瓦一家就常在夫人亞琳的娘家埃

Engraved on the back of right arm Renoir and dated 1915 Engraved foundry stamp on the reverse C. Valsuani Cire Perdue R/G H.C.

蘇瓦埃鎮度過夏天，靠近河邊的房屋，常有洗滌衣物或是戲水的女性

EXHIBITED:

術家次子，法國自然主義電影的知名導演：尚‧雷諾瓦回憶，那是一

出現，也約莫是1885年畫家開始出現裸女的畫作題材。1903年底更往 南遷，舉家定居鄰近南法尼斯的卡涅直至藝術家1919年逝世。根據藝

Exposition Centaine de l'Impressionisme , Bristol Hotel, Paris, 1974

段金色的童年，祥和且無憂無慮，充滿女人的房子，身邊圍繞的都是

ILLUSTRATED:

表的生命禮讚致敬。

Gilles Néret, Renoir: Painter of Happiness , Taschen GmbH, Cologne, 2002, color illustrated, p. 422 This sculpture is to be sold with a certificate of authenticity

by Richard Guino’s son Michel Guino.

NT$ 4,000,000 - 6,000,000 HK$ 1,078,000 - 1,617,000 US$ 137,800 - 206,700 RMB 868,000 - 1,302,000

皮耶－奧古斯特．雷諾瓦 維納斯胸像 構思於1915；翻鑄於1972 銅雕 H.C. 33（長）x 53（寬）x 57.5（高）cm 簽名雕刻右臂後方：Renoir 1915 鑄造師標識後背：C. Valsuani Cire Perdue R/G H.C. 展覽： 「印象派百年紀念展」，布里斯多飯店，巴黎，1974 圖錄： 吉爾．那海，《雷諾瓦：幸福的畫家》，塔森圖書， 科隆，2002，彩色圖版，頁422 附理查．吉諾法定繼承人米歇爾．吉諾開立之作品保證書

至愛與關懷。地中海溫暖的陽光與海風，吹進雷諾瓦的心，影響他重 返古希臘神話和古典主義的理想之美。用創作的餘生，再次向女性代

A leader amongst Impressionist painters, Renoir was renowned for his portrayal of happy, harmonious scenes. And, under his brush, all the delights of the European bourgeoisie during the mid-tolate 19th century were made eternal. He captured their plump figures, glowing faces, sparkling eyes, and gentle characters.

There is only the boundless brilliance of spring, and the dark and dim of winter's gloom is not to be seen. In the artist's later years, he suffered from severe rheumatism. His fingers were bent, and it was impossible for him to paint in the cold of Paris. But he lived for art, so he bound the brush to his hand with a cloth wrap, persisting in his work, and leaving us with a famous saying, ‘La douleur passe, la beauté reste.’

From the 1880s on, the Renoir family often summered at a home that was far removed from the cold. The house of Aline Charigot's niece, Essoyes, sat on the riverside, where women would often wash clothes or play in the water. It was in the middle of the same decade that nude woman started appearing as a subject in paintings. At the end of 1903, the family settled in Cagnes-surMer, near Nice in the South of France, where Renoir remained until his death. According to the artist's second son, renowned director of French naturalist film Jean Renoir, his childhood there was a golden time. It was a peaceful, carefree place lined with women's houses and surrounded by love and affection. The warmth of the Mediterranean sun and sea breeze had found its way into Renoir's heart, and he was inspired to look back on Ancient Greek mythology and classical notions of beauty. With the time that remained for his art, he paid tribute once again to the vitality that woman represents.

Ravenel 87

對於女性理想之美的無盡追求，在藝術家1909年至1919年一系列以 維納斯或浴女為名的作品中探出端倪。妻子、情人、保姆、女傭和模 特兒，這些圍繞在藝術家身邊的女性，皆是扮演其照護關愛或是愛情 慾望的角色，也成為他筆下樂園中的生動人物。褪去早期筆下的華美 衣飾，和人群社交生活的描繪。僅能依靠柺杖和輪椅活動的藝術家， 返璞歸真自我內心對理想世界的純粹追尋。烏托邦式樂園生活，畫家 靠他的畫筆紀錄下來。從前可以清楚辨識畫中人物是以何人作為模特 兒，晚期畫作中的田園風景，磨坊輕歌，更多為同一形象的歡樂裸女 所代替。她們擁有相同明亮白皙的肌膚，精緻的身形，在河邊嬉戲， 如同描繪神話中的寧芙仙子。雷諾瓦的藝術成為經典，是因為他如同 其它先輩：安格爾、魯本斯、堤香， 重新為「維納斯」神人同形的美 達到自己的不朽詮釋。 疾病疼痛的雙手，無法雕塑，大師卻仍渴望她的維納斯可以活出畫 布。他說：「在這片陽光下，真想看見披上橄欖銀葉樹影，大理石和 青銅塑成的維納斯。」1913年透過畫商安布魯瓦茲‧沃拉爾的介紹， 來自西班牙加泰隆尼亞地區的理查．吉諾是雷諾瓦好友雕塑家：馬約 的得意門生，他完美純熟的技巧，為完成大師夢想帶來了可能性。如 同遲來五十年的相知，老畫家與年輕雕塑家有著不言而喻的默契，透 過簡單素描，拐杖輕敲或是輕輕點頭，就能傳達畫家自己的指引。雷 諾瓦甚至形容兩人的契合，就像他的拐杖前端有一雙靈巧的手。直至 1919年雷諾瓦逝世，三十七件的大小雕塑原型，都在雷諾瓦的精神和 吉諾的雙手下共同創作完成。1973年法國法院正式判決吉諾為雷諾瓦 雕塑的共同創作人，授予其後裔雕塑遺產交易按比利分配的利潤，並 有權利為石膏原模，限量翻製吉諾版本的作品，刻上R/G代表兩位藝 術家的鑄印，如此兩大家族共同獲益的結果在藝術圈一時傳為佳話。 《維納斯胸像》於1915年創作，是藝術家唯一完整的維納斯胸像作 品，其一大理石版本典藏於南法卡涅的雷諾瓦美術館，銅製版本分 為全球藏家爭相收藏。此次拍品1974年由藝術家理查．吉諾之子： 米歇爾．吉諾委託法勒蘇雅尼鑄造廠為印象派百年紀念展特別製作。 而後，直接經由米歇爾．吉諾開立保證書，轉由亞洲藏家購得，歷經 三十年私人珍藏，狀態完美，首度現身拍賣市場。雕塑刻畫五官精緻 栩栩如生，豐潤臉龐，眼底帶著溫柔。彷彿呵氣就會活過來。她低頭 的頸部線條圓潤，胸型小巧富滿生命力，不經令人聯想另一幅世界名 畫《嘉布耶樂．艾斯特與姐妹》。雷諾瓦夫人亞琳的表妹：嘉布耶 樂．赫娜被視為這件胸像的原型人物。後者二八年華來到畫家的家， 成為不可或缺的親密成員。她是雷諾瓦晚年最喜愛的模特兒，如創作 者渴望留住永恆青春的心理投射。

In a series of works named after Venus or bathing women and span from 1909 to 1919, Renoir reveals bits and pieces from his unwavering pursuit of the idyllic feminine beauty. Among the women who surrounded the artist were wife, lovers, nannies, maids, and models, all performing the roles of either caretaker or

皮耶－奧古斯特 ‧ 雷諾瓦 《長髮浴女》約1895 - 1896年 油彩 畫布 82 x 65 cm 巴黎橘園美術館收藏 Pierre-August RENOIR, Baigneuse aux cheveux longs , c. 1895-1896, oil on canvas, 82 x 65 cm, collection of Museum l'Orangerie ©2017 Odile CHEN, Taipei

lover, or a live figure in the artist's paintings of paradise. He shed the ostentatious fashions and the scenes from people's social lives that he had depicted in his earlier work. Forced to rely on crutches and a wheelchair to get around, the artist returned to a more heartfelt and pure pursuit of an idyllic world. A record of such a utopia can be found in his paintings. While before it had been possible to pick out who had modelled for Renoir's works, it was not so in later paintings. In those rural scenes, which seem to sing the melodies of mills, there is only the happy nude to be found. Each has similarly bright, fair skin, an endowed figure, and can be seen playing on the riverside as if Nymph from mythology. Renoir's artworks became the classics that they are today for the same reason that the works of his predecessors did. Just like Ingres, Rubens, and Titian, Renoir was able to re-envision and immortalise his own interpretation of the anthropomorphic beauty of Venus.

Even when the rheumatism took over his hands so that he could not sculpt, Renoir still craved for his Venus to break away from the Canvas.

He said, “Under this sunlight, I truly want to see Venus cast in marble and bronze beneath the shadow of a silver-leaved olive tree.” In 1913, art dealer Ambroise Vollard introduced him to a man from Catalonia, Spain named Richard Guino, who was the proud apprentice of Renoir's sculptor friend Aristide Maillol. And thanks to Guino's great talent and skill, there was hope of fulfilling Renoir's dream. It was as if their meeting had come fifty years late, the old artist and young sculptor shared such a tacit understanding with each other. Through a simple sketch, a light tapping of his cane, or a gentle nod, Renoir could easily communicate his intentions for the work, even without words. Renoir described this by saying that it was as if at the handle of his cane were a pair of magic hands. Before Renoir passed away in 1919, the two had made models for 37 sculptural works, all completed with Guino's hands and Renoir's mind. In 1973, the French court formally recognised

Guino as a co-author of the Renoi sculptural work, granting his descendants a proportion of the profits from the sculpture's inheritance as well as rights to the plaster moulds. A limited edition of Guino's version of the work was also engraved R/G to show the casts were a work the both artists. This result, which was to the common benefit of both families, became a story in art circles for a time.

"Torse de Venus" is a 1915 sculptural work and the only bust of Venus that the artist completed. A large marble version is found in the Renoir Art Museum in the South of France, and the bronze edition has been fought over by collectors around the world.

This lot was presented by Richard Guino's son, Michel Gunio, who commissioned the Valsuani Foundry to produce this special edition on the centennial commemoration of the first Impressionist exhibition. It was then authenticated directly by Michel Guino and purchased by Asian collectors. After thirty years of being held in private collections, and still in perfect condition, this is the first time it is appearing on the auction market. This sculpture portrays Venus with an exquisitely detailed, realistic face, with healthy features and gentle eyes. It appears as if it could take a breathe and come to life. Her neck is slender and chest compact, brimming with vitality, although not in a way that would be associated with the famous painting, "Gabriele d'Estrées et une soeur". Madame Renoir's cousin, Gabrielle Renard, who spent 28 years in the artist's home and became a close, indispensable member of the family, is thought to be the model for the prototype of the bust. In Renoir's latter years, she was his favourite model, perhaps projecting his longing for eternal juvenescence.

佚名《嘉布耶樂．艾斯特與姐妹》約1594-1595年 油彩 橡木板 96 x 125 cm 羅浮宮收藏 Anonyme, Gabrielle d'Estrées et une de ses sœurs , c. 1594-1595, oil on board, 96 x 125 cm, collection of Louvre Museum © RMN-Grand Palais (Musée du Louvre) René-Gabriel Ojéda Dist. Seven Apex Co., Ltd.

Ravenel 89

028

AMEDEO MODIGLIANI

阿美迪奧．莫迪里亞尼

(Italian, 1884 - 1920)

女人畫像－芮妮

Portrait d’une Dame (Renée)

1916-1917 水粉 綜合媒材 綠色繪紙板 51 x 30 cm

1916-1917 Gouache, mixed media on the green drawing cardboard 51 x 30 cm Signed lower right Modigliani PROVENANCE: Acquired directly from the artist Madame L. Charpentier, Paris, 1919-1937 Madame Ribas, Barcelona Emilio Ribas, 1937-app. 1966 Welters van Hattum, Dutch collection, Vice Consul of the Netherlands from app.1968 Private collection, Europe (from the late 1970s till now)

簽名右下：Modigliani 來源： 直接得自藝術家 夏邦提耶夫人1919-1937年收藏，巴黎 愛彌力歐．列巴斯、列巴斯夫人1937-1966年左右收藏，巴塞隆納 維爾特斯．梵．哈杜1968年收藏，荷蘭（時任荷蘭副領事） 私人收藏，歐洲（1970年代晚期至今） 展覽： 「荷蘭收藏之阿美迪奧．莫迪里亞尼作品」，烏特勒支中央博物 館，荷蘭，展期自1968年3月15日至5月5日

EXHIBITED:

Works by Amedeo Modigliani in Dutch Possession , Centraal Museum Utrecht, Netherlands, March 15-May 5, 1968

圖錄： 《荷蘭收藏之阿美迪奧．莫迪里亞尼作品》，烏特勒支中央博物 館，荷蘭，1968，編號3，頁14-15 《維爾特斯．梵．哈杜收藏》，荷蘭，編號3

ILLUSTRATED:

Works by Amedeo Modigliani in Dutch Possession , Centraal Museum Utrecht, Netherlands, 1968, no.3, pp.14-15 Collection Welters van Hattum , Netherlands, no. 3 This work is to be sold with a certificate of Jean Cocteau signed in 1961 and as well as a certificate of authenticity signed by Arthur S. Pfannstiel, the expert for Modigliani’s art in 1966.

NT$ 18,000,000 - 24,000,000 HK$ 4,852,000 - 6,469,000 US$ 620,000 - 826,700 RMB 3,905,000 - 5,206,000

附藝術家好友尚•考克多寫給列巴斯夫人的簽名照片保證書（1961年） 附莫迪里亞尼專家亞瑟．普法斯迪爾開立之原作保證書（1966年）

Ravenel 91

當我認出妳的靈魂時，就會畫出妳的眼睛。－莫迪里亞尼 WHEN I KNOW YOUR SOUL, I WILL PAINT YOUR EYES. －AMEDEO MODIGLIANI

藝術家莫迪里亞尼 約攝於1910年。 Amedeo MODIGLIANI, c.1910.

阿美迪奧．莫迪里亞尼1884年7月12日生於義大利的利佛諾。20世紀初的蒙 巴納斯區逐漸湧入一波藝術家，形成一個以「蜂巢」，圓頂、穹頂以及丁香 園等咖啡屋工作室所形成的藝術新聚落，1909年後莫迪里亞尼也遷移到此 處，在此他結識了包括畢卡索、布朗庫西、蘇汀、奇斯林、藤田嗣治等巴黎 畫派藝術家。 1917年春天，翩翩美男藝術家「蒙巴那斯王子」：莫迪里亞尼剛與繆斯女 神珍妮相識。夏日，他的畫家摯友「蒙巴那斯之王」：奇斯林就在八月十二 日，迎娶了他的皇后：芮妮．奇斯林。從咖啡店、娼館到藝術家工作室，全 蒙巴那斯區的文藝人士和好友都為這對新人慶賀三日。 奇斯林的新娘出自騎兵世家，1916年就讀於朗松藝術學院，加入在當時生活 風格十分前衛的「巴黎畫派」大家庭。在藝術氛圍沸騰的蒙帕那斯，年輕自 由的心如魚得水，作為全巴黎頭幾位穿上男性休閒褲，將一頭金髮削短的女 性。她自然不造作的個性，和招牌爽朗笑容，贏得了好人緣。她不僅實際參 與自由的生活，更用攝影鏡頭紀錄下「黃金年代」當時的樣貌。個性與丈夫 同樣好客的，熱愛交友與美食，塑造一股以兩人家庭為中心的社交圈，因此 芮妮最討厭的就是提早離席的客人與派對尾聲。 奇斯林曾說：「真奇怪！我馬上就喜歡上她的短髮、大鼻子跟尖下巴。她的 臉稱不上美麗，但透露一種聰明慧黠的氣質。」1916-1928年間，奇斯林更 為她擁有一雙杏眼的面容繪製一系列肖像。而與奇斯林交情甚篤，甚至一起 共用畫室、模特兒的莫迪里亞尼，也約在1917年期間，為芮妮繪製過三幅速 寫與兩幅油畫。其中一幅油畫作品名為《芮妮》，現正收藏於巴西聖保羅美 術館，深紅底色為背景襯托金髮藍眼的人物，修長頸部，厚唇、鼻梁直挺且 雙頰白裡透紅，鎖骨間的金十字項鍊，點綴其中心視覺。

此次拍品莫迪里亞尼的《女人肖像》（芮妮）與上述收藏於巴西美術館的藝術家 油畫風格即為相似。經專家亞瑟．方斯提耶先生鑑定為1916年末至1917年初期 間藝術家以水粉顏料畫在素描硬紙板上的創作。右側藝術家簽名的下方，甚至可 以看見標註：「芮妮」的字跡。1961年法國詩人：尚．考克多也為其開立作品 保證書，說明曾在奇斯林的工作室中見過構圖類似此拍品的莫迪里亞尼油畫。主 角人物的面容占據整個畫面，捲曲線條的短髮，搭配雙眼神柔和，甚至看得到長 長睫毛和閃爍眼光的構圖。畫中人物「凝視」觀者的靈魂，也見證前衛的巴黎與 義大利古典傳統在莫迪里亞尼身上激盪的火花。 作品來自重要西班牙列巴斯家族的收藏，其家族成員列巴斯．維拉太太與莫迪里 亞尼在大茅屋路八號的公寓鄰居夏邦提耶女士為朋友。夏邦提耶女士是藝術家在 世時，經常拜訪他並給予經濟支援的友人。夏邦提耶女士的財產，其中有一批是 得自藝術家本人的作品。1968年為荷蘭副領事：華爾特斯．梵．哈杜先生買下 這批收藏，成為當時莫迪里亞尼在歐洲最大的收藏家之一。其後，更是展覽於荷 蘭烏特列支中央美術館，在當時蔚為轟動。 莫迪里亞尼的創作題材，不論雕塑或繪畫，幾乎都以人物為主，存世的作品中只 有四幅風景畫。其餘的是他生活所見的人物畫，有職業模特兒，朋友、戀人珍妮 的肖像或裸體。在造型風格上他混合了西方傳統及多種文化，尤其是義大利古典 傳統的仰慕之情。他的靈感來源也有塞尚、前拉斐爾畫派、文藝復興時期繪畫、 立體派繪畫、非洲雕刻、柬埔寨浮雕以及日本版畫。他將雕塑的研究轉移到繪畫 上，避開肌肉的描寫，尋找一種簡化的、表現內在形象的特質。無論男男女女， 莫迪里亞尼所描繪的對象，都透露出一種女性的纖細特質。人物的視線幾乎沒有 焦點，眼神茫然空洞，彷彿對外在世界視而不見。而莫迪里亞尼對於中國早期留 法藝術家更是有深厚的影響，常玉、潘玉良、林風眠的人體畫，顯著地受到他的 啟發。今日的不少當代藝術家肖像畫裡，仍然看出莫迪里亞尼的影響。

阿美迪奧．莫迪里亞尼《芮妮》1916 油彩 畫布 61 x 38 cm 巴西聖保羅美術館收藏 Amedeo MODIGLIANI, Renée , 1916, oil on canvas, 61 x 38 cm, © Museu de Arte de Sao Paulo, San Paolo

Ravenel 93

The twentieth century, a group of artists gradually settled in the Montparnasse region, forming a new artistic settlement based on café studios such as "The Bee Hive" (La Ruche), "The Rotunda" (La Rotonde), "The Dome" Le Dôme), and "The Circle of Lilacs" (La Closerie des Lilas).

After 1909, Modigliani moved there and got to meet many artists from the Paris School (École de Paris), including Picasso, Brâncuşi, Soutine, Kisling, Léonard Tsugouharu Foujita.

The spring in 1917, the handsome artist Amedeo Modigliani, the Prince of Montparnasse, met his Muse, Jeanne Hébuterne. That summer, his dear painter friend, the King of Montparnasse, Moïse Kisling, married his Queen, Renée Kisling. From brothels and cafés to artists’ studios, the whole of Montparnasse held a three-day celebration for the newlyweds.

莫依斯．奇斯林《塔斯醫生的小孩，路意與柔卡》1930 油彩 畫布 100 x 73 cm 羅芙奧2015春拍 編號073 台幣6,720,000 成交 Moïse KISLING, Zouka et Louis Tas , 1930, oil on canvas, 100 x 73 cm, Ravenel 2015 Spring Auction, lot 073, US$ 216,774 sold

The bride was from a cavalry family. In 1916, she studied at the Académie Ranson and joined the circle of the avant-garde Ecole de Paris. Young and free, Renée in the Montparnasse, stewing in an atmosphere of art, was like a fish in water. She was among the first women in Paris to wear men’s casual pants, and she wore her blond hair short. Her unpretentious personality and her signature broad smile made her popular. Participating in an unrestrained life, she also used a camera to record the features of the Golden Age. She and her husband were both great hosts. Loving friends and good food, they constructed a social life centered on their family, and what Renée hated most were guests who left early and the end of a party.

Kisling once commented, “It is peculiar. I immediately fell for her short hair, large nose, and pointed chin. Her face was not exactly beautiful, but it revealed a smart and sensitive disposition.” Between 1916 and 1928, Kisling painted a series of portraits of his wife with almond eyes. Around 1917, Modigliani, who was so close to Kisling that they shared a studio and their models, painted three sketches and two oil paintings of Renée. One of the oil paintings, titled “Renée”, is now in the collection of the São Paulo Museum of Art in Brazil. The crimson background brings out the figure with blond hair and blue eyes. The figure has a long neck, thick lips, and a straight nose. Red highlights her white cheeks. Her necklace, with a golden cross at the collarbones, is the visual center.

The auction piece is "Portrait d’une Dame (Renée)". This work exhibits a style similar to that of the oil painting in the museum collection in Brazil. Art expert Arthur S. Pfannstiel has certified that this piece was created by Modigliani between late 1916 and early 1917, with gouache on hard paper sketching board. Below the artist’s signature on the right is the note “Renée”. A friend of the two artists, French poet Jean Cocteau, also signed a certificate in 1961 to guarantee that he had seen the painting composed like this piece in Kisling’s studio. The face of the central figure occupies the whole picture. She has curly short hair and gentle eyes, and the composition of the long lashes and shiny eyes is very clear. The figure in the picture gazes at the viewer’s soul, and she has witnessed the sparks of the avant-garde Paris and the Italian classical tradition inspired in Modigliani.

This artwork is from the collection of the Spanish Ribas-Vila family, their family member Mme Vve. Ribas-Vila was friends with Modigliani's neighbor Mlle. Charpentier, when they lived at no. 8 rue de la Grande-Chaumière. Mlle. Charpentier was a friend of the artist, she had often visited him and provided financial assistance when he was alive. In the property of Mlle. Charpentier, there was a set of artworks given to her by the artist himself. In 1968, Vice Consul of the Netherlands Welters Van Hattum, bought this set of artworks and became a collector with one of the biggest collection of Modigliani works in Europe at the time. Later, the collection was exhibited at the Centraal Museum in Utrecht, Netherlands and it had caused quite a stir at the time.

《荷蘭收藏之阿美迪奧 莫迪里亞尼作品》，烏特勒支中央博物館，1968年，畫冊封面與封底 Catalogue of Werken van Modigliani in Nederlands Bezit , Centraal Museum, Utrecht, 1968

The topics of Modigliani's creations were almost always females, were sculpted or painted. There are only four existing landscape paintings. All the rest are portraits of people he saw in his life, including models, friends, and his lover Jeanne, both clothed and Nity. As for his style, he mixed the Western tradition with multiple cultures, especially his love for the traditional classical Italian style.

His inspiration also came from Cézanne, the Pre-Raphaelites, Renaissance paintings, Cubist paintings, African sculpture, Cambodian reliefs, and Japanese prints. He transferred his study of sculpture to paintings, surgical the depiction of muscles and instead searching for a simplified style that expressed the internal forms. All of the subjects of Modigliani's work - whether men or women - display a certain sensitive femininity. The figures' lines of the sight of the lack of focus, showing confusion and apathy in the eyes, as if not seeing the external world. Modigliani had a deep influence on the early Chinese artists who studied in France. Sanyu, Pan Yuliang, and Lin Fengmiang's paintings of human figures were conducted inspired by Modigliani. Modigliani's influence can still observed in portraits by many contemporary artists today.

「荷蘭收藏之阿美迪奧・莫迪里亞尼作品」，烏特勒支中央博物館，1968年展覽場景 Exhibition views of "Werken van Modigliani in Nederlands Bezit" , Centraal Museum, Utrecht, March 15-May 5, 1968 © Centraal Museum, Utrecht

Ravenel 95

029

BERNARD CHAROY

貝爾納．夏洛瓦

(French, b. 1931)

露與蘿拉

Lou et Lola

2014 油彩 畫布 65 x 54 cm

2014 Oil on canvas 65 x 54 cm Signed lower right Bernard Charoy

簽名右下：Bernard Charoy 來源： 私人收藏，亞洲

PROVENANCE: Private collection, Asia This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 400,000 - 600,000 HK$ 108,000 - 162,000 US$ 13,800 - 20,700 RMB 87,000 - 130,000

附藝術家親筆簽名之照片保證書

030

BERNARD CHAROY

貝爾納．夏洛瓦

(French, b. 1931)

夏洛特之夢

Les Rêves de Charlotte

2009 油彩 畫布 60 x 73 cm

2009 Oil on canvas 60 x 73 cm Signed lower right Bernard Charoy Inscribed on the reverse 20F and titled "Les Rêves de Charlotte" PROVENANCE:

簽名右下：Bernard Charoy 題識畫背：20F "Les Rêves de Charlotte" 來源： 私人收藏，亞洲 附藝術家親筆簽名之照片保證書

Private collection, Asia This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 400,000 - 600,000 HK$ 108,000 - 162,000 US$ 13,800 - 20,700 RMB 87,000 - 130,000 Ravenel 97

031

ANDRÉ COTTAVOZ

(Spanish-French, 1922 - 2012)

Les Bouquet de Roses c. 2002 Oil on canvas 33 x 41 cm Signed lower right COTTAVOZ Signed on the reverse COTTAVOZ and titled LES BOUQUET DE ROSES

安德烈•科達沃茲於1939年進入里昂美術學院，並於1945年起受 邀於各地展覽其繪畫作品。1950年代起，柯達沃茲與費沙羅、夏 瀚、杜菲慕斯，並稱之為里昂新具象畫派。受那比畫派波納爾的影 響，科達沃茲相當注重光影的變化，他使用厚重的鮮豔顏料在畫面 上製造出自然的陰影效果。科達沃茲於1953年獲得費內翁藝術大 獎，之後更得到國家繪畫大獎及蒙頓雙年展獎的肯定。其作品更為

NT$ 400,000 - 600,000 HK$ 108,000 - 162,000 US$ 13,800 - 20,700 RMB 87,000 - 130,000

安德烈．科達沃茲 白瓶玫瑰花束 約2002年 油彩 畫布 33 x 41 cm 簽名右下：COTTAVOZ 簽名畫背：COTTAVOZ LES BOUQUET DE ROSES

國際美術館收藏，包括法國龐畢度藝術中心、巴黎市立現代美術 館、日本山形美術館、日本新大谷美術館及台南永都美術館。

André Cottavoz entered into Lyon Fine Arts school in 1939 and his work has been wildly established since 1945. With J. Fusaro, P. Philibert-Charrin, J. Truphémus, they have been called called New Figuration of School of Lyon or Sanzisme since 1950 years.

Influenced by Pierre Bonnard, Cottavoz is devoted to the light, he uses thick pigment with pastel tint to create the natural shadow on the painting. Cottavoz obtained the prize Fénéon in 1953 and he has been also by by Prix national de Peinture and Biennale de Menton. Cottavoz's work is now collected in Center Pompidou, Musée d'art moderne de la Ville de Paris, Yamagata Museum of Art, the New Otani Museum and Yung-Tu Museum of Art in Tainan, Taiwan.

Ravenel 99

032

RENÉ GENIS

賀內．吉尼斯

(French, 1922 - 2004)

薔薇花瓣

Trois Petales

油彩 畫布 80 x 80 cm

Oil on canvas 80 x 80 cm Signed lower right René Genis Signed on the reverse frame René Genis and titled Trois Petales

簽名右下：René Genis 簽名畫背框："Trois Petales" René Genis 來源： 藝術法國畫廊，巴黎 私人收藏，台灣

PROVENANCE: Art France, Paris Private collection, Taiwan

吉尼斯1922年出生於越南，1931年回到家族的故鄉法國波爾 多。吉尼斯以其高雅的靜物畫為人所知。此外，無論是東方異

NT$ 240,000 - 360,000 HK$ 65,000 - 97,000 US$ 8,300 - 12,400 RMB 52,000 - 78,000

國風情，或是法式的田園風景，在吉尼斯的筆下，都充滿詩意 典雅的安寧氣氛。吉尼斯與巴赫東、布拉吉利、卡多蘭、賈曼 皆是巴黎新具象畫派的重要成員。其作品珍藏於巴黎市立現代 美術館、巴黎國立圖書館、里昂美術館、日本山形美術館等。

033

RENÉ GENIS

賀內．吉尼斯

(French, 1922 - 2004)

瓶花靜物

Feuillages d'ellebores

油彩 畫布 81 x 65 cm

Oil on canvas 81 x 65 cm Signed lower right René Genis Signed on the reverse frame René Genis and titled Feuillages d'ellebores

簽名右下：René Genis 簽名畫背框："Feuillages d'ellebores"René Genis 來源： 藝術法國畫廊，巴黎 私人收藏，台灣

PROVENANCE: Art France, Paris Private collection, Taiwan

NT$ 200,000 - 300,000 HK$ 54,000 - 81,000 US$ 6,900 - 10,300 RMB 43,000 - 65,000

Born in 1922, Vietnam. Genis went back with family to hometown Bordeaux in 1931. Genis is famous with his elegant still-life painting. Besides, no matter the theme is oriental scenery or french countryside, he always keeps a very poetry serenely ambience. With other artists like Guy Bardone, André Brasilier, Bernard Cathelin, and Paul Guiramand, Genis is also one of the important members of the Parisian Neo-Figurative School. His works were collected by Musée d'art moderne de la ville de Paris, National Library of Paris, Fine Arts Museum of Lyon, Yamagata Museum of Art etc.

Ravenel 101

034

ANDRÉ DERAIN

安德烈．德朗

(French, 1880 - 1954)

跪姿裸女

Nu accroupi

紅炭筆 紙 26.5 x 34.5 cm

Red chalk on paper 26.5 x 34.5 cm With one seal of artist’s studio

藝術家工作室鈐印左下 來源： 私人收藏，日本

PROVENANCE: Private collection, Japan

附專家米歇爾．凱勒曼開立之作品保證書

This work is to be sold with a certificate issued by the expert Michel Kellermann.

法國著名藝術家、畫家、雕塑家，以鮮豔得不自然的顏料，與馬蒂斯一同開啟「野獸 派」。他們在1905年的夏天，於法國小鎮科利烏爾作畫，描繪當地明朗的風景，「野獸 派」之名，便是取其狂野而不受控的亮麗色彩。德朗曾與烏拉曼克共用畫室，在鄰近區

NT$ 90,000 - 140,000 HK$ 24,000 - 38,000 US$ 3,100 - 4,800 RMB 20,000 - 30,000

域以寫生繪畫開創新氣象，1906年後則參與了「立體派」的創作脈絡，以新的形式表現 意蘊。於1928年榮獲卡內基獎。

André Derain was the prestigious French artist, painters and sculptors who started Fauvism together with Henri Matisse and Maurice de Vlaminck. With unnaturally bright colors, they portrayed the local scenery of Collioure, the Mediterranean French, in the summer of 1905. The name “Fauvism,” meaning wild beast in French, was to refer the uncontrollable colors in their paintings. Derain used to share studio with Vlaminck, they created the new atmosphere with their paintings from the nature of the neighborhood. After 1906, he began to work with Cubism to express the with the new forms. He was awarded the Carnegie Prize in 1928.

035

BERNARD BUFFET

貝爾納．畢費

(French, 1928 - 1999)

蝙蝠

La chauve souris

炭筆 描圖紙 紙 27 x 16.5 cm

Charcoal on tracing paper and paper 27 x 16.5 cm Signed lower right Bernard Buffet

簽名右下：Bernard Buffet 來源： 私人收藏，日本

PROVENANCE: Private collection, Japan

NT$ 120,000 - 180,000 HK$ 32,000 - 49,000 US$ 4,100 - 6,200 RMB 26,000 - 39,000

Ravenel 103

036

MICHEL HENRY

米歇爾．昂利

(French, 1928 - 2016)

水晶瓶花束

Bouquet in Crystal Vase

油彩 畫布 91.5 x 71.5 cm

Oil on canvas 91.5 x 71.5 cm Signed lower right Michel Henry PROVENANCE: Dimensions Art Center, Taipei Private collection, Taiwan

NT$ 220,000 - 320,000 HK$ 59,000 - 86,000 US$ 7,600 - 11,000 RMB 48,000 - 69,000

簽名右下：Michel Henry 來源： 帝門藝術中心，台北 私人收藏，台灣

037

BERNARD CHAROY

貝爾納．夏洛瓦

(French, b. 1931)

果樹園的女孩

Le Verger

約1990年代初期 油彩 畫布 64 x 53 cm

c. early 1990s Oil on canvas 64 x 53 cm Signed upper right Bernard Charoy Signed on the reverse Bernard Charoy, titled "Le Verger" and inscribed 15F

簽名右上：Bernard Charoy 簽名畫背："Le Verger" 15F Bernard Charoy 來源： 私人收藏，美國（1998年購藏至今）

PROVENANCE: Private collection, USA (acquired since 1998)

NT$ 300,000 - 440,000 HK$ 81,000 - 119,000 US$ 10,300 - 15,200 RMB 65,000 - 95,000

Ravenel 105

038

BERNARD CHAROY

貝爾納．夏洛瓦

(French, b. 1931)

卡門

Carmen

2012 油彩 畫布 65 x 54 cm

2012 Oil on canvas 65 x 54 cm Signed lower right Bernard Charoy

簽名右下：Bernard Charoy 來源： 私人收藏，亞洲

PROVENANCE: Private collection, Asia This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 340,000 - 500,000 HK$ 92,000 - 135,000 US$ 11,700 - 17,200 RMB 74,000 - 108,000

夏洛瓦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。

Bernard 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 M o n t m a r t re S t u d i o , w h e re h e s t u d i e d p a i n t i n g a n d 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.

附藝術家親筆簽名之照片保證書

Ravenel 107

039

NG LUNG WAI

伍龍威

(Hong Kong, b. 1971)

約翰．藍儂

John Lennon

2014 香港通用郵票 畫框 144 x 118 cm

2014 Hong Kong generic stamps on frame 144 x 118 cm

簽名背板：Ng Lung Wai 2014

Signed on the reverse of the frame Ng Lung Wai and dated 2014

NT$ 280,000 - 420,000 HK$ 75,000 - 113,000 US$ 9,600 - 14,500 RMB 61,000 - 91,000 香港中文大學建築碩士畢業，曾與香港藝術館、香港文化博物 館、香港海防博物館展、香港規劃及基建展覽館等機構合作，以 創作完成各式的藝術專案計畫。伍龍威以伊莉莎白女王二世、毛 澤東、約翰．藍儂等聞名全球的傳奇名人作為主角，利用非傳統 的創作媒材，像是烙畫、郵票、象棋、西洋棋、水墨瓶……等收 集而來的物件，在精心的安排下組成大尺幅的人物肖像。以這種 「情景點畫法」的藝術，反映同世代香港居民所陷入的文化認同 迷惘。 所謂「點畫法」源自於19世紀末期的新印象派藝術家ー喬治． 修拉，以筆尖沾取顏料，用點的方式點滿畫布。傳統畫作講究 的精通描繪技巧，能描繪出人物風景栩栩如生且讓人瞧不出筆觸 痕跡才稱得上名家，然而，印象派以明顯的筆觸表達出光影變化 的明媚，迷人的風光備受世人喜愛，也因此改變了人們對於畫作 「不可留下筆觸」的執著。新印象派延續其「筆觸」的概念，但 改以機械式的「點」來作畫。「情景點畫法」則是再進一步的新 概念，每一個「點」都是由具有象徵意義的物件所構成。伍龍威 所用的西洋棋和象棋、水墨瓶和油畫筆尖，是以此表示香港的社 會環境中，中西兩不同文化的融合及衝突，以及其看似一體、實 為分化且矛盾的社會認同感。 近期獲獎包括2009年的仁川國際「綠色生活」設計大賽優異 獎，義大利Alessi協辦的國際餐具設計大賽入圍獎，2010年首爾 設計奧林匹克設計大賽入圍獎，及2013年香港科技園舉辦「給 香港一份GIFT」建築設計概念賽優異獎等。

作品局部 work in detail

Ng Lung Wai, graduated from The Chinese University of Hong Kong with a master degree in architecture, has completed several art projects cooperating with museums and institutions including Hong Kong Museum of Art, Hong Kong Heritage Museum, Hong Kong Museum of Coastal Defense, and Hong Kong Planning and Infrastructure Exhibition Gallery. Ng Lung Wai created images of Elizabeth the II, Mao Zedong, John Lennon and many other legendary figures with unconventional materials, including pyrography, stamps, Chinese ink bottles, Chinese chess, Western chess …… and more.

Whereas “Pointillism” can refer to large-scale portraiture marked by the meticulousness of its composition, today a sort of “contextual pointillism” can be seen in the current inner-generational confusion over cultural identity that prevails amongst Hong Kongers.

The concept of pointillism originally relates to late-19th-century Neoimpressionist Georges Seurat, an artist who filled canvases with dots, daubing just the brush tip in the paint. Traditionally, painting was a pursuit of technical proficiency. Becoming famous was a matter of who could paint lifelike portraits in which the brushstrokes were imperceptible to the viewer. This changed, however, when the Impressionists used clear brushstrokes as a means to express radiant variations in light and shadow. Such scenes became a favorite of people around the world and ultimately changed people's persistence o n “ i n v i s i b l e b r u s h w o r k . ” N e o - i m p re s s i o n i s t s e x t e n d e d t h i s "brushwork" concept but shifted it to a mechanical one with paintings made up of points. Contextual pointillism, then, is a conceptual progression in which all the points are composed of symbolically significant things. Using both Western and Chinese chess, bottles of sumi ink, and the tips of paint brushes, Ng Lung Wai explores the conflicts and compromises between of Chinese and Western cultures, and how they seem to integrate with each other along the contradictory dividing lines of social identity.

Ng Lung Wai has received awards like Incheon “Green Life” in South Korea, Italy Alessi “Aperitivo" in 2009. Seoul Design Olympic in 2010, and Hong Kong Technology “Park Gift” architectural design in 2013.

Ravenel 109

040

HYUNG KOO KANG (Korean, b. 1954)

Monroe 2013 Oil and scratch on aluminum 244 x 120 cm Signed lower left Hyung Koo Kang in Korean and inscribed 11.09 EXHIBITED:

Hyung Koo Kang - Engrave , Arario Gallery, Seoul, November 8 - December 20, 2013

NT$ 3,200,000 - 4,800,000 HK$ 863,000 - 1,294,000 US$ 110,200 - 165,300 RMB 694,000 - 1,041,000

姜亨九 夢露 2013 油彩 鋁板 填色刮畫 244 x 120 cm 簽名左下： 강형구 11.09 展覽： 「刻印—姜亨九個展」，阿拉里奧畫廊，首爾， 展期自2013年11月8日至12月20日

姜亨九《鄧小平》1999年 油彩 畫布 259 x 194 cm 羅芙奧香港2015春季拍賣會 編號068 港幣600,000成交 Hyung Koo KANG, Deng , 1999, oil on canvas, 259 x 194 cm Ravenel Spring Auction 2015 Hong Kong lot 068 US$ 77,419 sold

Ravenel 111

夢 露 傳 奇

MARYLIN MONROE 自1989年開始，姜亨九投入了大篇幅作品的創作，主角包括各界名人和臉部特徵饒富趣味的人物。他應用的工具包括了噴槍、鑽子、橡皮 擦、棉花棒、砂紙和牙籤，希望藉著各種工具的多樣特性，描繪出另類的真實。姜亨九的肖像畫是其主觀美學的樸實展現，源自他和肖像畫 主角的心理連結，試圖藉著畫作再次賦予主角生命。姜亨九的作品超脫了超寫實主義的範疇，人物臉部的柔和輪廓、畫作的單色調，賦予作 品滿溢的神秘氣息，像磁鐵一樣吸引觀賞者的目光。 當被問及為什麼姜亨九經常選擇專注於描繪肖像畫時，他的回應是：「人類的臉承載著人類的歷史，因為他們牽連著人類的歷史和情感。」 姜亨九許多大尺幅的肖像畫是受到美國攝影師、寫實畫家查克·克洛斯的影響。藝術家選擇創造巨幅作品的的人物肖像同時也表現了其壯觀的 感受，另外，他刻意在一些人像畫中增添“老化過程＂。姜亨九描繪了藝術家對於「假設畫中的他/她人還在世，他們看起來會是怎麼樣？」 的想像。 瑪麗蓮夢露是最知名的標誌性人物之一，儘管她在1962年逝世，但直到今天人們依舊記得她最完美的形象，50年代最性感的女人。而她的風 華韻存和亮麗外型激發了許多創作靈感。從當代藝術家安迪‧沃荷到維克‧ 穆尼斯，他們都延續了她永恆不老的形象。1967年，是夢露逝世後第五年， 同年沃荷成立了自己的印刷出版公司，而瑪麗蓮夢露就是他選擇做為製作一 系列版畫的首張圖像。 假如瑪麗蓮夢露可以活超越當年的自己，她完美的圖像會如何變化？韓國藝 術家姜亨九將他想像中的“衰老過程＂添加到他超現實的人物肖像中。對於 姜亨九而言，將80歲的夢露繪畫成型似乎比繪畫她「現有」的形像更加迷 人，因為它激起了人們的想像空間。更多的是，他對此張《瑪麗蓮夢露》選 擇使用油彩畫於鋁質板的方式，當描繪到頭髮的細節時通過在鋁板上刻劃， 栩栩如真。通過使用這種技術和媒材，當觀者從一邊走向另一邊時，更可以 強調她那雙閃爍動人的雙眼。也因為是運用另一種新的媒材表現，作品已經 從原有的攝影作品跳脫到另一層次。更重要的是，夢露的雙手上有著令人感 興趣的老化細紋。當遠遠望去時，人們或許並沒有意識到此微妙之處，只是 感受到了其宏偉的感覺。 如同姜亨九所說：「人物臉部特徵的放大，顯現了一般尺寸作品無法傳達的 隱藏情緒，觀賞者凝視著如此不凡的人物臉部肖像，激盪出內心的萬般情感 與共鳴。」人物的眼睛是表現內心及靈魂的重要關鍵，姜亨九正是藉此喚起 觀賞者對於畫作的情緒反應，超越了單純的寫實和模仿，為肖像畫的人物注 入新的意義和生命。

斯華・約翰遜《永遠的瑪麗蓮》（夢露）2011 不鏽鋼 鋁 8米高 作品攝於芝加哥，美國 Seward JOHNSON, Forever Marilyn (Monroe) , 2011, stainless steel and aluminium, 8 meters (H) Photo taken in Chicago, U.S.A Photo courtesy: © Efrain Padro / Alamy Stock Photo

Hyung Koo Kang has been creating large-scale paintings since 1989, his subjects range from recognizable icons to personnels that exhibit interesting facial features. By employing a unique arsenal of tools that includes an airbrush, drill, erasers, cotton swabs, sandpaper and toothpicks, he has created works that aspire an alternative reality based on potential and possibilities. In essence, Kang's portraitures are a primitive portrayal of his subjective aesthetics driven by his psychological connections with his subjects that he endeavors to bring to life. Moving beyond Hyperrealism, the delicate soft contours on the face and the monotone palette creates a mysterious and appealing magnetism.

左：維克穆尼斯《紅色瑪麗蓮夢露》2001 顯色印刷 正片 藝術家自製框 版次 3/3 102 x 88 cm 羅芙奧2017秋季拍賣會 編號 131 台幣3,120,000成交 Left: Vik MUNIZ, Marilyn de Sangue (Bloody Marilyn) , 2001, chromogenic print on Ilfochrome in artist's frame, edition no. 3/3, 102 x 88 cm Ravenel Autumn Auction 2017 lot 131, US$ 103,931 sold 右：洪性哲《瑪麗蓮夢露》2011 彈性繩 印刷 鋼鐵框架 100（長）x 100（寬）x 14（厚）cm 羅芙奧台北2016秋季拍賣會 編號219 台幣720,000成交 Right: HONG Sung-Chul, Marylin Monroe , 2011, print on elastic strings, steel frame, 100(L) x 100(W) x 14(D) cm Ravenel Autumn Auction 2016 Taipei, lot 219, US$ 22,563 sold

When asked about why Hyung Koo Kang often chooses to focus to paint portraitures, his response to that was: “Human faces bear the history of mankind as they implicate human history and emotions.” Many of Kang’s enlarged portraits are under the influence of Chuck Close, an American photo realistic painter and photographer. Kang choses large-scale portraits of people in order to create the monumentality for viewers, additionally, he has deliberately added the “ageing process” to some of his subject. The imagination of “What if someone is still alive, how would they have looked like” are depicted in Kang’s fictional version.

Marilyn Monroe was one of the most recognized iconic figures, even though Monroe passed away in 1962, her picture-perfect image of being the sexiest woman of the 50s remained until today. People remember her at her best time, the image of Monroe have inspired many creations.

From contemporary artist like Andy Warhol to Vik Muniz, they have created everlasting images of her. In 1967, five years after Monroe’s death, Warhol established his print-publishing business, Marilyn Monroe was the first image he has chosen be publish a series of screenprints.

What will happen to an everlasting imagery of Monroe if she were to live beyond her age? The Korean artist Hyung Koo Kang seeks to add his imagined “ageing process” to his hyper-realistic portraits of people. For Kang, to paint Monroe at her eighties would seem to be much more fascinating than painting the “present” image of her, as it triggers people to wonder. Even more, his approach to this particular work of “Marylin Monroe” is oil paint on aluminum, and the detailed depiction of her hair is executed via scratching on the aluminum board. Through the use of this technique and material, more emphasis is placed on the dazzling eyes of hers when the viewer goes from one side to another.

When the material of aluminum is employed, it provoked another aspect to the work from its original references to the photograph. What’s more is intriguing ageing details on the face of Monroe and her hands. When looked afar, one may not realize the subtlety of this, but only to feel the sense of grandness.

As Kang posits, "By magnifying the facial features the portrait reveals traces of hidden emotion that might not be otherwise seen on a normal scale. Nonetheless, the viewer is presented with an extraordinary view of the human face that strives to instill greater empathy. " In this regard, one's eyes is a key to the core expressionism in extracting their spiritual existence and introverted soul. It is through such attributes that Kang induces an evocations of emotional responses and ventures beyond the realm of pure representation towards exquisite implications that instills his subjects with an aura that exceeds mere representation or imitation.

Ravenel 113

041

NICK VAESEY (British, b. 1962)

X-ray of a Pair of Gloves, Made between 1603 - 1625, Collection of Victoria & Albert Museum 2017 C-type print with diasec framed, edition 1/9 84.1 x 118.9 cm Initialed lower right NV and numbered 1/9 EXHIBITED:

Nick Veasey: Hidden Vision , Bluerider ART Gallery, Taipei, November 18 - December 30, 2017

NT$ 320,000 - 480,000 HK$ 86,000 - 129,000 US$ 11,000 - 16,500 RMB 69,000 - 104,000

尼克．維西 維多利亞和艾伯特博物館珍藏1603-1625年製手套

英國攝影藝術家，利用X光影像進行創作，呈現各式肉眼觀看時不易注 意到的藝術內在細節。曾作為廣告圈內的一員，以商業設計活躍於國際 舞台。2009年起，從倫敦開始跨向國際，陸續於歐洲、亞洲及北美洲展

2017 數位輸出 水晶裝裱 版次1/9 84.1 x 118.9 cm

出個展。2017年，受倫敦的維多利亞和艾伯特博物館之邀，為巴黎世家

簽名右下：NV 1/9

內部結構的精美。不單只是呈現表面，藝術家對於物品內在的好奇心，

展覽： 「尼克．維西－隱形視界」，藍騎士藝術空間， 台北，展期自2017年11月18日至12月30日

Balenciaga品牌的經典高級訂製組，進行了一系列的創作。相較於傳統 繪畫，通常以描繪來闡釋外在造型的美好，尼克．維西著重於秀出物品 促使他運用X光影像，呈現了物件架構及內層組織的奧妙。在不解構分 析組成元素的狀況下，尼克．維西運用科學方式，以透視取代拆解，結 合設計美學達成他的藝術理念。

Nick Veasey is the British photographer who create art with X-ray images to present details of beauty that aren’t easily noticeable.

He used to work in the advertising industry as an active figure in the commercial design field internationally. Since 2009, he has exhibited in Europe, Asia and North America. In 2017, the artist was invited by the Victoria and Albert Museum in London, to create a series of work for the Balenciaga’s customized high-end fashion classics. Comparing with paintings that showcase the beauty of forms, Nick Veasey focused on the fineness of internal structures.

The artist's curiosity prompted him to use X-ray images to present the aesthetic quality of inner organization. Instead of dismantling the object into individual elements, Nick Veasey use technology method to achieve his pursue.

Ravenel 115

042

DESIRE OBTAIN CHERISH

(D.O.C) (Jonathan Paul) (American, b. 1975)

Lemon Mid Size Meltdown 2017 UV cast resin, edition 18/25 28(L) x 28(W) x 66.1(H) cm Signed on the bottom Desire Obtain Cherish , and numbered 18/25 With a security laser tag EXHIBITED:

Desire Obtain Cherish: #YourKiddingRight , Bluerider ART Gallery, Taipei, May 23 - July 1, 2017

NT$ 400,000 - 600,000 HK$ 108,000 - 162,000 US$ 13,800 - 20,700 RMB 87,000 - 130,000

強納森．保羅，畢業於紐約帕森設計學院，創作結合街頭藝術、普普 藝術、概念藝術及挪用藝術，呈現手法橫跨多樣媒材與型態。2000年 起，以街頭塗鴉在藝術圈迅速竄紅，並於美國各大藝術博覽會嶄露頭

強 納森．保羅 棒棒糖系列－檸檬黃

角，2015年受邀在威尼斯雙年展期間，於百夫長皇宮酒店展出，2016 年受紐約第五大道精品百貨薩克斯邀請，結合時尚展出其經典系列棒棒 糖裝置作品。帶著一絲黑色幽默，試圖透過作品討論現代社會中關於

2017 樹脂膠 版次18/25 28（長）x 28（寬）x 66.1（高）cm

性、性別、藥物、金錢、名氣以及社群網路等敏感議題，挑戰觀者的價

簽名底部：Desire Obtain Cherish 18/25 防偽雷射標籤

（Obtain）及珍惜（Cherish）。」

展覽： 「D.O.C. 藝術壞痞子」，藍騎士藝術空間， 台北，展期自2017年5月23日至7月1日

值觀。「藝術壞痞子」D.O.C.在作品上顯露對世俗文化的批判，透過 化名揭明現代社會對於慾望三階段的無限循環「渴望（D e s i re）、獲取

Jonathan Paul graduated from Parsons School of Design in New York, he integrates the concepts of pop-art, street art and conceptual art and implemented appropriation technique to reach beyond limitations of medium. In 2000, he became an instant hit with his focused in street art, and was widely seen in major art fairs across America. In 2015, D.O.C.’s works were shown at the Centurion Palace during the Venice Biennale. Afterwards, he was invited by Saks Fifth Avenue in New York to exhibit his mostknown series: "Meltdown" in shapes of lollipops. With a sense of dark humor, the artist tries to discuss controversial issues like sex, medicine abuse, money and popularity to irony and to overturn audience’s value. The artist uses his works to critic the common culture, and also his anonym to reveal an endless circle of needs, in particular: "Desire, Obtain and Cherish" in our modern society.

Ravenel 117

043

CHINTAN UPADHYAY (Indian, b. 1972)

Flirting with Reality 2008 Painted fiberglass, wood board, unique 58(L) x 60(W) x 102(H) cm PROVENANCE: Private collection, France Ravenel Autumn Auction 2009 Taipei, lot 226 Acquired from the above by the present owner

NT$ 700,000 - 1,000,000 HK$ 189,000 - 270,000 US$ 24,100 - 34,400 RMB 152,000 - 217,000

清滕．屋帕玳伊 現實的挑逗 2008 玻璃纖維著色 木板 單一件 58（長）x 60（寬）x 102（高）cm 來源： 私人收藏，法國 羅芙奧台北2009秋季拍賣會，編號226 現有收藏者購自上述來源

清 滕 ． 屋 帕 玳 伊

FLIRTING WITH REALITY 清滕·屋帕玳伊出生於1972年，其藝術作品，深受印度鄉村傳統藝術及電 腦生成技術的影響，表達了生長於傳統社會但卻處在全球化過程中的藝術 家所面臨及思考的社會及文化問題。屋帕玳伊最初的夢想是成為一名科學 家，但最終選擇成為了藝術家，因為對他來說，藝術可以探索現代生活的 核心問題：身份的缺失、民族文化與外來文化的雜交融合、基因工程、消 費主義與商業化等等。 「設計師嬰兒」是屋帕玳伊的第一個關鍵形象作品，塑造出一位理想化的 小男嬰；屋帕玳伊探索認同議題以及在越來越同質化的社會所出現的疏離 感。屋帕玳伊出生於印度鄉村，然後在科技發達的現代社會中成長。他的 作品反映了生活在充滿困惑及混亂的社會中所面臨與經歷的衝突分歧。在 「設計師嬰兒」這幅作品中，屋帕玳伊刻畫了一群科技生成的嬰兒，他們 的皮膚為傳統的印度縮微技術及圖像所覆蓋，對傳統藝術以及每個嬰兒的 複製形式的原始性及身份提出質疑。在現代社會中已經難以找尋到真實或 核心的身份，因為我們已經在日益發達的商業化和商品化發展中變得疏離 與陌生。 屋帕玳伊經常提出的一個主要問題是對於「複製」的憂慮：不僅僅是基因 工程技術本身，更重要的是我們每個人都在全球化發展中失卻了個性，成 為彼此的附製品，當我們屈從於商業化和同質化的聖壇時，不知不覺中我 們失去了自己的文化傳統。《現實的挑逗》體現了屋帕玳伊的所有焦慮。 嬰兒臉上變形的表情告訴觀眾現實難以接受。眼睛上方象徵魔鬼尖角的掛 衣鉤，強化了略帶邪惡情，暗示著嬰兒面對現實所受到的震撼和恐慌。與 其目睹事物的真實狀態，不如垂掛大衣遮住雙眼。 嬰兒試圖以一種更加愉快的狀態自我複製，使整幅作品顯得詭異驚恐。在 變形的複製中，嬰兒有了兩個多餘的頭和不對稱的四肢，而身體則覆蓋

to be a scientist, Upadhyay instead chose to be an artist because he felt that art would allow him to examine key issues of modern life, loss of identity, cultural hybridization, genetic engineering, consumerism and commercialization.

He began his art with a key image the "Designer Baby", an idealized male baby which allowed him explore issues of identity and alienation in an increasingly homogenized world. Born in rural India, but raised in a modern technologically advanced society, Upadhyay's works reflect the dichotomy he experiences in living in an apparently confusing and mixed up world. His technologically created babies have their skin covered in traditional Indian miniature techniques and iconography, questioning the originality and identity not just of the traditional art but the cloned form of each baby. In the modern world a true or essential identity is impossible to find, as we are increasingly alienated by commoditization and commercialization, and we become detached, alienated and isolated.

One of the key concerns that Upadhyay comments on is cloning.

Not just genetic engineering but also the fact that we are all becoming clones as a result of globalization, which is forcing us to lose our cultural traditions and identity as we bow before the altar of commercialization and thus homogenization. "Flirting with Reality" embodies all of Upadhyay's concerns as the contorted expression on the baby's face tells us that reality is too difficult to accept or deal with. The slightly demonic expression, enhanced by the coat hooks, which resemble devil's horns, on the eyes, tells us that the baby is shocked and horrified when it tries to face reality. It's far better to hang coats over our perception than to see the true state of things.

在印度傳統縮微的狩獵場景中：攜帶著槍支劍戟的捕獵者們顯得龐大而邪 惡，他們悄悄地接近並狩獵野豬和群鴨。這幅作品暗示我們在日益功利和 失去個性的世界中業已淪為獵物，我們將經歷一切扭曲與變形以重新製造 或複製自我，而無法看清這個殘酷及充滿狡詐的現實世界，在這樣的現實 中，我們的個性或自我毫無價值。我們將在現實的幻滅中試圖展現一張假 裝快樂的臉龐，卻不能正面現實生活中真實的疏離與淡漠。

Chintan Upadhaya, born in 1972, creates artistic works that are influenced by the traditional art of rural India, the production techniques of computers, and imbued with the social and cultural questions and concerns of the artist growing up in a traditional society but very much part of a globalized world. Originally wanting

The figure appears both haunted and hunted as it tries to clone itself in a more happy state. In a contorted cloning effort it produces two more heads and misaligned limbs as it tries to find a happy clone. The body is covered in hunting scenes from the Indian miniature tradition.

The hunters with guns and spears are large and sinister, as they stalk their prey both boar and ducks. This work suggests that we too are prey for an increasingly utilitarian and depersonalized world and that we will go through any contortions to reinvent or clone ourselves rather than see reality for what it is a cruel and manipulative world that places no value on our individuality or self-identity. We will in self-delusion try to present a happy face rather than confront the true alienation of modern life.

Ravenel 119

044

SUPAKITCH

(French, b. 1977)

Tutti Frutti Flavor, Suck Me 2007 Acrylic on canvas 160 x 110 cm Signed lower center SUPAKitch PROVENANCE: Private collection, Asia EXHIBITED:

SupaKitch: I was born to be different , Galerie Elegance, Taipei, December 11- 25, 2010

市霸奇奇來自法國巴黎，用日本漫畫與嘻哈音樂茁壯了童年。12歲開 始用塗鴉留下自己在都市叢林的足跡，糖果色調、花式字體與精緻構圖 是他十足法式情調的經典風格。2007年搬到街頭大本營的紐約布魯克 林，美國獨有的街頭氣息，騷動藝術家不安於室的創作靈魂。熱愛各式 音樂的他，同年創作的《水果冰棒，舔我》，是向美國搖滾名人暱稱：

ILLUSTRATED:

小理察的創作歌手致敬，同名歌曲選入美國國家錄音檔案，被評為「獨

SupaKitch: I was born to be different. , Galerie Elegance, Taipei, 2010, color illustrated, p. 29

特的發聲和無法抗拒的節拍宣告了一個音樂新時代」。彷彿跨越時代， 對於美果社會支持藝術家自由奔放的創作精神，發出共鳴，熱情不羈的 輕快節奏，藝術家用畫筆化為色彩斑斕的畫作，浣熊造型的超級動物

NT$ 600,000 - 900,000 HK$ 162,000 - 243,000 US$ 20,700 - 31,000 RMB 130,000 - 195,000

市霸奇奇 水果冰棒，舔我 2007 壓克力 畫布 160 x 110 cm 簽名中下：SUPAKitch 來源： 私人收藏，亞洲 展覽： 「市霸奇奇：天生不同」，愛力根畫廊，台北， 展期自2010年12月11日至25日 圖錄： 《市霸奇奇：天生不同》，愛力根畫廊，台北， 2010，彩色圖版，頁29

SupAnimal披上彩羽，戴上海盜眼罩，酷炫又可愛，為觀者在水泥叢林 裡庸碌的心靈，留下一絲天真與安慰。

Although originally from Paris, France, SupaKitch grew up reading Japanese manga and listening to hip-hop music. At the age of 12, he began to use graffiti as a way to leave his mark on the urban jungle. His classic, French-toned style is comprised of sheer candy colours, fancy scripts, and exquisite compositions. In 2007, he moved his base to Brooklyn, New York, and the unique flavour of the American streets caused a commotion in the restless-unless-outside creative soul of the artist. With a love for all genres of music, his work, Tutti Frutti-Suck me was created in the same year as tribute to the music of the American rockstar known as Little Richard (Richard Wayne Penniman), whose song "Tutti Frutti" was added to the U.S. National Recording Registry. It was praised for having an "unique vocalizing over the irresistible beat that announced a new era in music". It seems that across generations there has been support for the creative freedom of artists in the United States, and that has resonated at a high-frequency of enthusiasm on a societal level.

SupaKitch uses his brush to paint colourful pictures, such as this SupAnimal in the shape of a raccoon with wings on its shoulders and a pirate's patch over its eye. Both cool and cute, it leaves the viewer, who could be feeling rundown in the concrete jungle, with a sense of innocence and comfort.

045

NOLWENN SAMSON (French, b. 1979)

Don’t Let Little Things Break Your Heart 2015 Acrylic on canvas 100 x 100 cm Signed center right Nolwenn Samson and dated 2015 xxx

NT$ 340,000 - 500,000 HK$ 92,000 - 135,000 US$ 11,700 - 17,200 RMB 74,000 - 108,000

娜溫．參森 別為小事傷心 2015 壓克力 畫布 100 x 100 cm 簽名中右：Nolwenn Samson 2015 xxx

娜溫．參森，1979年生於法國，自幼耳濡目染充滿舞蹈與攝影藝術的成長環境。 以自學開起藝術創作的旅程，也曾短暫進修於馬賽藝術學校，增進其人物描寫與 構圖技巧。創作多以壓克力顏料、黑墨、樹脂與麥克筆繪於畫布為主。其作品色 彩明亮、幽默，受電影導演：北野武、昆汀．塔倫提諾影響，擅長將日常場景搭 配天真的口號敘述，喚醒觀眾放鬆心情去面對困境。常用大膽鮮豔的背景底色， 搭配誇張的黑衣人物表情與動作，另人聯想美國巴斯奇亞、凱斯．哈林、甚至是 法國的羅伯．貢巴斯在自由造形藝術與街頭藝術之間的變化。藝術家曾說：「時 間使我自由，也發掘了更多的技巧。」

Nolwenn Samson was born in 1979, France, growing up in a family fulling with the dance and photography art. As a totally self-taught artist, Samson had a brief passage through Marseille Art School where she improved her sense of portrait graphics and illustration. Most of her works are presented by acrylic paint, china ink and Marker pen on canvas. These colorful paintings always combine a sense of foolish humor. Influenced by the cinema director as Tarantino and Kitano, Samson is also good at using quotidian scenes with naive slogan description to remind the audience facing the difficulty optimistically. She takes the bright color fond to display figures’ facial expression and their poses, easily remind us the connection with Basquiat, Keith Haring, or even Robert Combas in France who form their style between Liber figuration and Urban street art. Samson said: “I take the time to liber myself, for inventing more technique than before.”

Ravenel 123

046

CHEE KIANG TAN (Singaporean, b. 1955)

Paysage 2000 Oil on canvas 92 x 73 cm Signed lower left C.K Signed on the reverse Tan Chee Kiang in English, dated 2000 PROVENANCE: Private collection, Asia

NT$ 200,000 - 300,000 HK$ 54,000 - 81,000 US$ 6,900 - 10,300 RMB 43,000 - 65,000

陳志堅 風景 2000 油彩 畫布 92 x 73 cm 簽名左下：C.K 簽名畫背：Tan Chee Kiang 2000 來源： 私人收藏，亞洲

陳志堅出生於新加坡，在1977年畢業於新加坡南洋美專西洋畫系，1981年進入巴黎國立高等美術學院，並陸續在各地展出畫作，開啟了旅 居法國的藝術生涯。陳志堅的作品描繪了窗外的自然光景，在繪畫窗戶的同時，也畫出了工作室與戶外風景的分界線、心理層面之於社會環 境的孤立感，更呼應了藝術史角度的觀點：「畫作是藝術家所創作的一扇窗」。陳志堅所畫的窗格規則且理性，建構了整幅畫特殊的空間概 念，透過局部的藍天、綠地、大樹，能窺視到藝術家的心境。從縫隙灑進的光線是畫作的亮點，與色塊相輔成為層次豐富的佳作。

Chee Kiang Tan was born in Singapore. He graduated from Nanyang Academy of Fine Arts in 1977. Tan entered École nationale supérieure des Beaux-Arts in 1981 and started his artistic career in France with the several exhibitions following his study. The artist portrayed the scenic nature beyond his studio windows regularly. While depicting the window scenes, Tan shows the boundary which had separated his studio and the outdoor simultaneously. Corresponding to the concept from an art historic viewpoint that every painting is a window created by its artist, the boundary of which also presents his social isolation. Tan painted the regulated window frames that constructed the exceptional sense of space rationally. By observing the fragmented scene of blue sky and green space, the viewer will be able to peer into the mental state of the artist. Focal points were emphasized by the lights that shines in through the gaps. Collocated with multiple layered color fields, fine pieces of works was then created by the artist.

047

CHEE KIANG TAN

陳志堅

(Singaporean, b. 1955)

結構

Composition

2005 油彩 畫布 65 x 100 cm

2005 Oil on canvas 65 x 100 cm Signed lower right C.K Signed on the reverse TAN Chee Kiang in Chinese and English, dated 2005

簽名右下：C.K 簽名畫背：陳志堅 2005 TAN Chee Kiang 來源： 私人收藏，亞洲

PROVENANCE: Private collection, Asia

NT$ 220,000 - 340,000 HK$ 59,000 - 92,000 US$ 7,600 - 11,700 RMB 48,000 - 74,000

Ravenel 125

048

PETER MAX

(American, b. 1937)

Land of the Free, Home of the Brave II 2005 Mixed media, acrylic, color lithography on paper (an unique variation) 60 x 45 cm Signed lower left Max This work is to be sold with a certificate of authenticity issued by Park West Gallery.

NT$ 260,000 - 400,000 HK$ 70,000 - 108,000 US$ 9,000 - 13,800 RMB 56,000 - 87,000

彼得．馬克思 自由之國，勇者之家 II 2005 綜合媒材 壓克力 版畫 紙本 (單一版本) 60 x 45 cm 簽名左下：Max 附柏文畫廊開立之作品保證書

彼得．馬克思的藝術天份是受到母親的啟發，他的母親 是一位時裝設計師，鼓舞著馬克思對於創作的動力。她 開啟馬克思多種創作媒材的可塑性，鼓勵自由想像的空 間。多年來，馬克思繼續探索新媒材的可能性，並不斷 演變他的藝術風格。馬克思隨家人從上海到以色列，從 巴黎搬到布魯克林，最終他的家人決定於1953年定居美 國。對馬克思來說，紐約已成為他第二個也是最珍藏的 家，因此，在2001年九一一恐怖襲擊事件後，馬克思決 定透過貢獻自己的藝術才能創作，希望籌集資金來支持 受害家庭。為此，馬克思製作了六張紀念美國精神的圖 像。《自由之國，勇者之家 II》即是其中一件九一一系列 作品之一。自由女神像被鮮花所包圍，那些鮮花代表對 失去摯愛親人的愛，儘管悲慟，立足於畫面中間的精神 人物是不能忘卻的美國核心價值與精神。

Much of Peter Max’s artistic talent was enlightened by his mother, who was a fashion designer and an inspiring character for Max. She exposed Max with variety of medium to create, encouraged free flow of imagination. Throughout the years, Max continued to explore the possibilities of new medium, and has continued to evolve his artistic style. Max has travelled extensively from Shanghai to Israel, from Paris to Brooklyn, in 1953, his family decided to settle in the United States at the end. To Max, New York has become his second and most-treasured home, as such, in the tragic event of 911 in 2001, Max decided to contribute his talent in art in the hope of raising money in support of the victims. Max has created six images commemorating the spirit of America. This particular piece of “Land of the Free, Home of the Brave II” was from one of the 911 series. The flowers surrounded by the Statue of Liberty stand for those who have lost their loved ones, yet, one must not forget the true value and spirit of the United States embodied by the iconic figure situated in the middle.

049

CLAUDE WEISBUCH (French, 1927 - 2014)

Violoniste 1991 Oil on canvas 55 x 46 cm Signed lower right Weisbuch PROVENANCE: Galerie Elegance, Taipei Private collection, Asia This painting is to be sold with a certificate of authenticity issued by Galerie Elegance and signed by the artist.

NT$ 200,000 - 300,000 HK$ 54,000 - 81,000 US$ 6,900 - 10,300 RMB 43,000 - 65,000

克勞德．維士巴修 小提琴手 1991 油彩 畫布 55 x 46 cm

維士巴修畢業於法國南錫國立美術學校，精通於繪畫、雕刻和版畫。而其

簽名右下：Weisbuch

最為眾人熟知的作品則是畫面中流暢動感的音樂家、馬匹以及人物。維士

來源： 愛力根畫廊，台北 私人收藏，亞洲

巴修擅長的速寫式的繪畫，以流暢的線條表達出動態的臨場感受。以獨特 的筆法來表現肢體的律動，表現動感，彷彿是重複曝光因而捕捉到多重影 格的動態，衍生出一種獨特韻味，是當代法國代表性畫家之一，其作品更 是受到全球重要機構和美術館收藏，包括紐約現代美術館、巴黎龐畢度中

附愛力根畫廊開立之藝術家親簽原作保證書

心及比利時皇家學院美術館等。

Claude Weisbuch was a pupil at L'École des Beaux-Arts in Nancy, France. He was an avid painter, engraver and an exceptional lithographer. The artist was known for his characteristic works of musicians, horses and characters, where he captured the dynamics of the characters with literary expressions. He was able to deliver the tensions and live actions with fluid strokes. The dynamic parts resemble repeated exposures of a camera; through this, the artist captures movement giving his work a unique touch. Weisbuch had been recognized as an significant French contemporary artist, his works were collected by major institutions and museums, including New York Modern Museum of Art, Centre Pompidou in Paris, and the Academie Royale in Belgium.

Ravenel 127

050

FRÉDÉRIC MENGUY

曼谷依出生於巴黎，為法國秋季沙龍、國民美術協會成員之一。曼谷

(French, 1927 - 2007)

依繽紛的作品以溫馨愉快為題，多描繪家中靜物與子女或馬戲團活潑

Presence

明快的風格在國際建立了識別度。身處戰後社會，曼谷依的作品一度

1971 Oil on canvas 73 x 92.5 cm

生動的場景，藝術家以鮮明亮麗的顏色為整幅畫作的焦點，並以喜悅 充滿濃厚的悲觀主義，如同貝爾納．畢費、安德烈．米諾......等等的 同時期藝術家，皆有一段受戰爭影響的黑暗畫風。 曼谷依畢業於法國薩塞爾斯學院、古桑維勒商學院，在年輕時即展現

Signed lower left MENGUY Signed on the reverse MENGUY , inscribed N. 9. 12.

Titled on the strecher Presence

了對繪畫及創作的熱情，先後擔任保險公司職員、股票經紀人近十年

PROVENANCE:

於繪畫創作。

De Baecque & Associés, Entire Content of the apartment of Boulevard des Belges, Lyon, 2013, lot 246 Private collection, Asia

NT$ 460,000 - 700,000 HK$ 124,000 - 189,000 US$ 15,800 - 24,100 RMB 100,000 - 152,000

菲德利克．曼谷依 儷影 1971 油彩 畫布 73 x 92.5 cm 簽名左下：MENGUY 簽名畫背：N. 9. 12. MENGUY 題識畫背框條：Presence 來源： 私人收藏，亞洲 德．貝格拍賣，里昂布羅美居大道公寓藏品專拍， 2013年，編號246

間，同時在蒙帕納斯的夜間班習畫，於1951年進入法國繪畫師範學 院，學成後任教於法國繪畫師範學院，直至1956年方離開教職，專注

Frédéric Menguy was born in Paris. He was one of the members of Salon d'Automne and Association Nationale des Arts France.

Menguy's artwork features joyance and harmonious scenes mostly. The artist had established an international recognition with dazzling colors which brightens up the painting. He painted several scenes of circus and also the interior of his house, presented pictures of peace to the viewer. Menguy’s artwork was once under the influence of post-war society, during which pessimism was dominant in his paintings. Just like Bernard Buffet, André Minaux and other artists of the post-war era, Menguy also had a dark period in terms of artistic style.

Menguy graduated from the college of Sarcelles, and the commercial college of Goussainville successively. He established his passion in painting while young. During the 10 years of which he worked as a employee in an insurance company and then a stockbroker, he studied in the evening classes of boulevard du Montparnasse simultaneously. He entered the entered the Normal School of Drawing Education in 1951, then obtained a teaching position after his study. It was in 1956 that he finally dedicated himself entirely in painting.

Ravenel 129

051

CLAUDE WEISBUCH

克勞德．維士巴修

(French, 1927 - 2014)

馬戲團

Cirque

1990 油彩 畫布 41 x 33 cm

1990 Oil on canvas 41 x 33 cm Signed lower right Weisbuch Signed on the reverse Weisbuch and titled Cirque

簽名右下：Weisbuch 題識畫背：Cirque Weisbuch

PROVENANCE:

來源： 愛力根畫廊，台北 私人收藏，亞洲

Galerie Elegance, Taipei Private collection, Asia

附愛力根畫廊開立之藝術家親簽原作保證書

This painting is to be sold with a certificate of authenticity issued by the Galerie Elegance and signed by the artist.

NT$ 120,000 - 180,000 HK$ 32,000 - 49,000 US$ 4,100 - 6,200 RMB 26,000 - 39,000

052

MICHEL DE GALLARD

米歇爾．德．葛拉德

(French, 1921 - 2007)

秋天的風景

Paysage d’autome

油彩 畫布 81 x 100.5 cm

Oil on canvas 81 x 100.5 cm Signed lower left M. DE GALLARD PROVENANCE:

簽名左下：M. DE GALLARD 來源： 統領畫廊，巴黎 私人收藏，台灣

Galerie de la Présence, Paris Private collection, Taiwan

NT$ 180,000 - 280,000 HK$ 49,000 - 75,000 US$ 6,200 - 9,600 RMB 39,000 - 61,000

Ravenel 131

053

ALBERT ZAVARO

阿爾伯特．扎瓦羅

(Turkish-French, b. 1925)

沙發上的夢幻

Nude on the Sofa

油彩 畫布 49 x 60 cm

Oil on canvas 49 x 60 cm

簽名右下：Zavaro

PROVENANCE:

來源： 帝門藝術中心，台北 私人收藏，台灣

Dimensions Art Center, Taipei Private collection, Taiwan

扎瓦羅為法國新巴黎畫派的藝術家，1925年生於土耳其伊斯坦堡，

Signed lower right Zavaro

1926年父親過世後，舉家搬至法國定居。1945年起，就讀於巴黎國立

NT$ 70,000 - 110,000 HK$ 19,000 - 30,000 US$ 2,400 - 3,800 RMB 15,000 - 24,000

高等美術學院，於1947年進入莫里斯．布里昂松工作室。在1970至 1980年間，任教於巴黎國立高等美術學院，派翠克．庫利思、尼古拉 斯．柏林、蓋博．布雷茲納等人皆曾受扎瓦羅指導。藝術家的兒子帕斯 卡．扎瓦羅，為一名作曲家，現今活躍於音樂界。 在蒙帕納斯的工作室時，扎瓦羅認為在50到60年代間，選擇以抽象藝 術進行創作的眾多藝術家，作品重複性高且缺乏深度，多流於裝飾性圖 騰，缺乏40年代的抽象藝術所具有的影響力。扎瓦羅選擇以人物、動物 馬匹、戶外景色為題進行創作，在1952年獲得委拉斯蓋茲大獎，1956 年獲阿姆斯特丹笛卡爾首獎。

054

ALBERT ZAVARO

阿爾伯特．扎瓦羅

(Turkish-French, b. 1925)

裸女

Nude

油彩 畫布 49 x 61 cm

Oil on canvas 49 x 61 cm Signed lower left Zavaro PROVENANCE: Dimensions Art Center, Taipei Private collection, Taiwan

NT$ 70,000 - 110,000 HK$ 19,000 - 30,000 US$ 2,400 - 3,800 RMB 15,000 - 24,000

簽名左下：Zavaro 來源： 帝門藝術中心，台北 私人收藏，台灣 Albert Zavaro, the New École de Paris artist, was born in Istanbul in 1925. After the death of his father in 1926, his family moved to settle in France. Zavaro began his study in the Ecole des Beaux-Arts in Paris since 1945. In 1947, he entered the worshop of Maurice Brianchon.

Zavaro used to taught in the Ecole des Beaux-Arts from 1970 to 1980, during which Nicolas Blin, Patrick Crulis, Gabor Breznay were instructed

by Zavaro. The artist’s son Pascal Zavaro is a composer currently active in the music industry.

When Zavaro worked in his Montparnasse studio, he found that works of the abstract artists during the 1950s to 60s were often too similar due to its decorative quality, lacking the supremacy that abstract work used to possess in the 1940s. Zavaro chose to work with figures, horses, animals, and natural sceneries. He was awarded the Casa de Velásquez prize in 1952, and Prix de la Maison Descartes in Amsterdam in 1953.

Ravenel 133

055

PETER MAX

(American, b. 1937)

Cherry 2014 Serigraph on wove paper HC 40/50 30.5 x 36 cm Signed lower right Max , numbered HC 40/50 With an embossed seal of the artist This work is to be sold with a certificate of authenticity issued by Park West Gallery.

NT$ 60,000 - 90,000 HK$ 16,000 - 24,000 US$ 2,100 - 3,100 RMB 13,000 - 20,000

彼得．馬克思 櫻花盛開 2014 絲網印刷 紙本 HC 40/50 30.5 x 36 cm 簽名右下：Max 鈐印左下：Peter Max 2014 © 附柏文畫廊開立之作品保證書

出生德國的當代藝術家彼得・馬克思，以標誌性大膽而鮮明的色彩聞 名。他豐富運用色彩的手法延伸至天際。2000年，美國大陸航空公司曾 委託馬克思替波音777噴氣式客機的外觀進行彩繪。馬克思的作品也代 表了多樣性的美國流行文化。自由女神像體現了自由和自主的重要性， 她經常被描繪在馬克思的作品中，其意象已與藝術家有著密不可分的關 聯，正如同馬克思與美國的關係一樣。馬克思於2006年被任命為美國奧 運代表團的官方藝術家，分別於1997年和2017年替美國網球公開賽繪 製海報、美國世界盃、紐約馬拉松隊和5屆超級盃的官方代表藝術家。 此外，他的作品在美國大使館及總統圖書館皆有展出。

The contemporary German-borned artist Peter Max is known for his signature use of bold and vibrant neon colors. A full spectrum of color are featured in his works, his approach to art was extended to fill the color of sky. In 2000, Max was commissioned by the Continental Airlines to illustrate the exterior of a Boeing 777 jet.

Max’s works represented the diversity of American pop cultures.

The Statue of Liberty embodied the importance of freedom and liberty, and this iconography is often portrayed in Max’s works and is strongly associated with the artist, just as Max is an iconic figure for the United States. Max was appointed to be the official artist for several important events: he was the official artist for U.S. Olympic team in 2006. Max created the official poster for the U.S. Tennis Open in 1997 and 2017. He was also the official artist for World Cup USA, The NYC Marathon and five Super Bowls. Additionally, his works are on display in U.S. embassies as well as Presidential libraries.

056

ROMERO BRITTO

羅密歐．布里托

(Brazilian, b. 1963)

我愛這片土地

I Love this Land

2014 三維微噴 版次41/750 45.5 x 53 cm

2014 Three-dimensional serigraphy construction in color with cut-outs in serigraphy, edition 41/750 45.5 x 53 cm Signed lower left R. Britto , numbered lower right 41/750 With a seal of the artist

簽名左下：R. Britto 版次右下：41/750 鈐印左下：ROMERO BRITTO 附柏文畫廊開立之作品保證書

This work is to be sold with a certificate of authenticity issued by Park West Gallery.

NT$ 70,000 - 110,000 HK$ 19,000 - 30,000 US$ 2,400 - 3,800 RMB 15,000 - 24,000

Ravenel 135

委託競投表格 委託競投表格須於拍賣24小時前送抵國際藝術部。競投表格可傳真至： 國際藝術部 電話：+886-2-2708 9868 傳真：+886-2-2701 3306 投標者資料

拍 賣 名 稱：羅芙奧 2018 春季拍賣會 薈萃：國際現代與當代藝術 拍 賣 編 號：TA1801 拍 賣 日 期：2018 年 6 月 2 日（星期六） 下午 2:00 拍 賣 地 點：萬豪酒店三樓（博覽廳） 台北市中山區樂群二路 199 號

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

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Ravenel 137

ABSENTEE BID FORM The absentee bid forms must be delivered to the International Art Department at least 24 hours before the auction begins. The bid forms may be faxed to: International Art Department Tel: +886 2 2708 9868 Fax: +886 2 2701 3306

Auction

Date Sale No. Location Address

RAVENEL SPRING AUCTION 2018 SELECT: Modern & Contemporary Art Saturday, 2 June 2018, 2:00 pm TA1801 Marriott Taipei 3F (Grand Space) No. 199, Lequn 2nd Road, Zhong Shan District, Taipei

Bidder’s Details Name ID number Address Post code Tel: (Daytime)

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業務規則 下述規則，為羅芙奧股份有限公司(下稱「本公司」)與賣家訂立合約，亦 作為賣家之代理人與買家訂立合約之條款。準買家、買家及賣家務須細讀 各項規則並完全同意遵守本業務規則。準買家、買家請特別留意第二條第5 項，其對本公司之法律責任作了限定。 一、本業務規則所用詞彙之定義 在下列規定中，某些常用詞彙需加以解釋。此等詞彙定義如下： 1. 「買家」：指本公司所接受之出價最高之自然人或法人。 2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。 3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣 之自然人或法人。 4. 「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以 任何編號描述之一項或多項物品。 5. 「落槌價」：指本公司就某一拍賣品而接受之最高出價之價款。 6. 「買家服務費」：指買家按落槌價之某一百分比而支付本公司之費用； 收費率如第二條第4a項所列。 7. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之 價格售出。 8. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺 詐意圖，以就拍賣品之作者、來歷、年代、時期、文化或來源進行欺 騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品 在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義， 任何拍賣品均不會因為有任何損壞及／或任何形式之修整（包括重新上 漆）而成為膺品。 9. 「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險 之價值（不論保險是否由本公司安排購買）。 10. 「賣家服務費」：指賣家應支付本公司之費用。 二、買家 1. 本公司作為賣家代理人 本公司作為賣家代理人之身分行事。除另行協定外，在本公司之拍賣中 成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。 2. 拍賣前 a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之 物品。本公司就任何拍賣品及相關證明文件之真偽，均不對買家作任 何保證。 b. 拍賣品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述， 皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。對任何 拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍 賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或 損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議， 準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢 閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述 或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知 悉並瞭解所有拍賣品均以「現狀」售出，本公司對於任何拍出之拍賣 品狀態不作任何承諾或保證。 c. 符號表示 以下為本目錄所載符號之說明 ｏ保證項目 拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次 或一連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由 本公司與第三方共同提供。保證可為由第三方提供之不可撤銷競投之 形式做出。若保證拍賣品成功售出，提供或參與提供保證之第三方可 能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或 參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家 服務費。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、 日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計售 價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳 述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引而已，不應 作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。

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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 有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任自行查 明並瞭解，並就拍賣品為自己獨立之判斷及評估，並確使自己感到 滿意。 3. 拍賣時 a. 估價 目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍 賣會須以新台幣結算，買家如須以新台幣之外其他貨幣繳付，須依 拍賣日現場公佈之匯率，折合所繳付之等值貨幣計算。 b. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地 進行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣 場地或參與拍賣。 c. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身 分證明。準買家應注意，本公司通常會要求對買家作出信用核查。 d. 競投保證金 競投者，應在領取競投號牌前繳納競投保證金，競投保證金的金額 由本公司在拍賣日前公佈。 (1) 若競投者未支付競投保證金，本公司有權不接受其競投。若競 投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證 金。 (2) 若競投者成為買家，則本公司有權將此保證金自動轉化為已成 交拍賣品購買款項之一部（包含落槌價、服務費或運費等相關 費用），若尚有餘款須退回給買家；若買家無正當理由未於成 功拍賣日期後七天內支付全部應支付之成交拍賣品購買款項 （包含落槌價、服務費或運費等相關費用）予本公司，買家不 得請求返還競投保證金。 e. 競投者為買家 競投者將被視為買家而須承擔個人法律責任，除非登記時已經與本 公司書面協定，競投者僅為第三人之代理人，且該第三人復為本公 司所接受者。 f. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公 司將盡適當努力代其競投，但代為競投指示須於拍賣前送抵本公 司。如本公司就某一拍賣品而收到多個委託競投之相等競投價，而 在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣品會歸其 委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承 諾所限，而拍賣進行之情況可能使本公司無法代為競投。由於此項 承擔乃本公司為準買家按所述條款提供之免費服務，如未能按委託 作出競投，本公司將不負任何法律責任。準買家如希望確保競投成 功，應親自出席競投。 g. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競 投者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無 法參加電話競投，本公司對賣家或任何準買家均不負任何責任。 h. 透過 Invaluable 進行網上競投 若準買家未能出席拍賣會，或可透過Invaluable網上競投服務於網上 競投屬意拍品，而承擔買家獨立責任。此項服務乃免費及保密。有 關透過 Invaluable 網上競投服務登記，進行網上競投之詳情，請參閱 本公司網頁 ravenel.com。使用Invaluable網上競投服務之準買家須接 受透過Invaluable網上競投服務進行即時網上競投之附加條款（可參 閱網站），以及適用於該拍賣之業務規則所規範，本公司得隨時修 改該業務規則。 i. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板。匯率轉換顯示板僅供參 考，不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外 匯，其準確程度均可能會出現非本公司所能控制之誤差。買家因依 賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之任何損 失，本公司概不負責。

j. 錄映影像 在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是 否與成功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買 家均不負任何責任。 k. 拍賣官之決定權 拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動 出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併， 以及如遇有誤差或爭議，將拍賣品重新拍賣。拍賣官會於拍賣開始 前或於相關拍賣品競標前對注意事項作出通告，準買家須負責自行 注意所有於拍賣會場發表之通告。建議使用即時網上競投服務參與 競投的準買家，於拍賣開始前登入，以確保準買家得知拍賣開始前 所作出之通告。 l. 成功競投在拍賣官之決定權下，下槌即顯示對最高競投價之接受， 亦即為賣家與買家合意依落槌價拍定拍賣品，視為成功拍賣合約之 訂立。 4. 成功拍賣後 a. 買家支付每件拍賣品之服務費費率 (1) 買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台 幣參仟貳佰萬元以下者含參仟貳佰萬元以落槌價之20％計算。 (2) 落槌價於新台幣參仟貳佰萬元以上者，採分為二階段計費，其中 新台幣參仟貳佰萬元以落槌價之20％計算，超過新台幣參仟貳 佰萬元之部份再以落槌價之12％，加總計算服務費金額。 b. 稅項 買家應付予本公司之款項，如須另行支付貨物、服務稅或其他稅則 時（不論由台灣政府或別處所徵收）。買家須負責按有關法律所規 定之稅率及時間，自行繳付稅款。 c. 付款 成功拍賣後，買家須向本公司提供其真實姓名及永久地址。如經本 公司要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳 號。買家應於拍賣日期後七天內悉數支付應支付予本公司之款項 （包含落槌價、服務費或運費等相關費用）。即使買家希望將拍賣 品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有 權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之 款項為新台幣以外之貨幣，須依拍賣日現場公佈之匯率（台灣銀 行），並以本公司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣 之拍賣項目，直至欠本公司之款項已悉數支付為止。已購拍賣品在 暫時保留期間，由成功拍賣日後起算七天將受保於本公司之保險， 如屆時拍賣品已被領取，則受保至領取時為止。七天期滿後或自領 取時起（以較早者為準），已購拍賣品之風險全由買家承擔。 e. 介紹裝運及運輸公司 本公司之貨運部門在買家要求下，可為買家介紹運輸公司、安排付 運及購買特定保險，但本公司在此方面不負任何法律責任。買家必 須預先繳付運輸費用。 f. 不付款或未有領取已購拍賣品之補救辦法 如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下 述一項或多項權利或補救辦法： (1) 在成功拍賣日後起算超過七天仍未付款，則按不超過台灣銀行基 本放款利率加收10%之年利率收取整筆欠款之利息。此外本公司 可同時按日收取依成交價（含落槌價、服務費）1％計算之違約 金。本公司亦得自行選擇將買家未付之款項，用以抵銷本公司 或其他關係企業在任何其他交易中欠下買家之款項，買家絕無 異議。 (2) 對任何屬於買家所有而因任何目的(包含但不限於其他交易)而由 本公司管有之已購拍賣品行使留置權，並在給予買家有關其未 付之欠繳之十四天通知後，安排將該物品出售並將收益用以清 償該未付之欠款。 (3) 如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項 用以清償已購拍賣品就任何特定交易而欠下之任何款項，而不 論買家是否指示用以清償該筆款項。 (4) 在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆保證金。如買家未有 在三十五天內付款，本公司除上述辦法外，另有權為下述一項 或多項權利或補救辦法：

(a) 代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉 數賠償為基準之法律程序訴訟費。 (b) 取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售 予買家之拍賣品交易。 (c) 安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連 同因買家未有付款而引致之任何費用一併向買家索償。 g. 未有領取已購拍賣品 如已購得之拍賣品未有在成功拍賣日後起算七天內領取，則不論是 否已付款，本公司將安排貯存事宜，費用由買家承擔。而買家在付 清所引起之貯存、搬運、運輸、保險及任何其他費用，連同欠本公 司之所有其他款項後，方可領取已購拍賣品項目。 h. 出口許可證 除本公司另有書面同意外，買家希望申請出口許可證，並不影響買 家在成功拍賣日後起算七天內付款之責任，亦不影響本公司對延遲 付款收取利息之權利。 如買家要求本公司代為申請出口許可證，本公司有權向其收取與此 項申請有關之款項及零碎開支連同任何有關之稅則。 如買家不需要出口許可證而作出付款，本公司並無責任退還買家因 此而引致之任何利息或其他開支。 5. 本公司之法律責任 本公司僅在第二條第6項所列之情況下，得退還款項予買家。除此之 外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之 作者、來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說 明之誤差，任何拍賣品之任何瑕疵或缺陷，均不負有任何責任。賣家、 本公司、本公司之僱員或代理人，不論是明示或暗示均無就任何拍賣品 作出任何保證。任何種類之任何擔保，均不包含在本條之內。 6. 膺品/贓物之退款 本公司之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實 為膺品、贓物或涉及不法情事者，則交易將取消，已付之款項於交付賣 家前將退還予買家。但如： a. 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納 之意見，或清楚表明有牴觸當時學者或專家普遍接納之意見。 b. 或證明拍賣品為膺品或贓物之方法，只是一種在目錄出版前仍未普遍 獲接納使用之科學程序，或是一種在拍賣日仍屬昂貴得不合理或並 不實際或很可能會對拍賣品造成損壞之程序，則本公司無論如何並 無責任退還任何款項。此外，買家只在滿足下述條件下方可獲得退 款： (1) 買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有 關拍賣品乃膺品或贓物之詳細理由及證據。 (2) 且買家需於書面通知後十四天內將拍賣品送還本公司，而其狀況 應維持與拍賣當日相同，不得有任何損壞。 (3) 送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品 乃膺品或贓物(本公司保有最終及不可異議之決定權)，買家並可 將拍賣品之完整所有權及相關權利轉讓予本公司，而與任何第 三人之索償無涉。在任何情況下，本公司均毋須向買家支付多 於買家就有關拍賣品而支付之款項，而買家亦不能索取利息。 本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本 發票之買家所有(該買家名稱被記載於發票上)，該名買家並須自拍賣後 一直保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何 第三人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺品 或贓物，不論該程序在拍賣當日是否已使用或已在使用，如本公司驗證 拍賣品是否屬於贗品或贓物結果與買家出示證據相衝突者，應以本公司 驗證結果為準。

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

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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 Prospective Buyer, the Buyer should pay special attention to Article 2, Section 5 which provides limitations as to the legal responsibilities of the Company.

ARTICLE 1.DEFINITION Some of the phrases commonly seen herein are defined as follows: 1. "The Buyer" shall mean highest bidder accepted by the Company.

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

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

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

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

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

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

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

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

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

ARTICLE 2.THE BUYER 1. The Company as the Agent of the Seller The Company, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer.

2. Prior to the Auction a. Authentication We strongly recommend that the Prospective Buyers conduct their own authentication for the items they are interested in bidding prior to the auction. The Company provides no guarantee to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot and related certificates. b. Important Notice Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The description of the auction items also do not imply and guarantee that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally. We strongly recommend the Prospective Buyers shall personally view the items for which they plan to bid before the auction. Any description in the catalogue or any statement provided by the Company is purely the Company's subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in "as is" condition. The Company does not provide any representation or guarantee as to the condition of any of the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ○ Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions.

This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer's Premium. d. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lot and certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions

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and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes.

Many Lots fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions and making his/her/its own judgment or estimation independently regarding the Lots.ing his/her own judgment or estimation independently regarding the Lots.

3. In the Auction a. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay

by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate announced by the Company on the day of auction. b. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. c. Registration Prior to the Bidding Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may request to conduct credit checks against Buyers. d. The Bidding Deposit The bidder shall pay the bidding deposit before receiving the bidding number. The Company will announce the amount of the bidding deposit before the auction day.

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

(2) If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs ) of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). If the Buyer ,without any good cause, fails to pay any and all payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs) of the Lot to the Company within 7 days after the auction date ,the Buyer shall not claim for the return of the bidding deposit. e. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission Bids The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the provided forms attached to the explanations of the catalogue; however, bid commission instructions must be delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions.

The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. g. Bid by Phone The Company will make proper effort to contact the bidder so he/she can participate in the auction by phone if the Prospective Buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. h. Online Bids via Invaluable If the bidder cannot attend the auction, it may be possible to bid online via Invaluable for preferred Lots to bear individual buyer's responsibilities. This service is free and confidential. For information about registering to bid via Invaluable, please refer to Ravenel.com. The Bidders using the Invaluable online bidding service are subject to the additional terms and conditions for online bidding via Invaluable, which can be viewed at Ravenel.com and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating in auctions.

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

j. Recorded Images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. k. Determining Power of the Auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his/her discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the commencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction. l. Successful Bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement on Hammer Price.

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

(2) For hammer price higher than NT$ 32,000,000, total amount of the Buyer's Premium should be that the first NT$ 32,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12% of the hammer price. b. Taxes All the payments payable by the Buyer to the Company do not include any commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his/her/its true name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon the company request. All payments due (including the hammer price, the Buyer's Premium and any freights or other expenses) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit.

If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to the Company are made in any currency other than NT dollars, the exchange rate of the payments to the Company should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period.

The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Referral of Packaging or Transportation Companies The shipping department of the Company may introduce the forwarder, assist in the arrangement of delivery, or purchase particular insurance upon the Buyer's request. The Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. Costs and expenses for shipping and insurance shall be paid in advance. f. Remedies for Non-Payment or Non-Collection of Items Sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and Buyer's Premium) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer may offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company's sole decision.

(2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose including but without limitations other transactions.

The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his/hers/its non-payment. The proceeds shall make up for the payment due.

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

(4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him/her/it. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned: (a) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer.

g. No Collection of the Lot Sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days following the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, handling, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid in full can the sold Lot be collected. h. Export Permit Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days following the auction date; nor does it affect the Company's right to impose interest on delayed payments.

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

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

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

6. Return of Payments for Counterfeits or stolen goods The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit or stolen goods, or involved in obvious illegality by the professional appraisal party agreed and recognized by the Company in writing. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields. b. Or the method used to prove that the Lot is a counterfeit or stolen goods is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he/she considers the relevant auction item a counterfeit or stolen goods.

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

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

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

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

142

INDEX A KAREL APPEL

P 卡．阿貝爾

22

RICHARD PRINCE

B

理查德．普林斯

2

R

BANKSY

班克斯

3

PIERRE-AUGUST RENOIR

皮耶－奧古斯特．雷諾瓦 27

ROMERO BRITTO

羅密歐．布里托

56

AYAKO ROKKAKU

六角彩子

BERNARD BUFFET

貝爾納．畢費

23, 24, 25, 35

5, 6, 7, 8, 9, 10

NOLWENN SAMSON

娜溫．參森

45

SHOZO SHIMAMOTO

嶋本昭三

16

YASUO SUMI

鷲見康夫

18

SUPAKITCH

市霸奇奇

44

陳志堅

46, 47

清滕．屋帕玳伊

43

S

C BERNARD CHAROY

貝爾納．夏洛瓦

29, 30, 37, 38

ANDRÉ COTTAVOZ

安德烈．科達沃茲

31

TONY CRAGG

東尼．克雷格

21

D ANDRÉ DERAIN DESIRE OBTAIN CHERISH (D.O.C.) (JONATHAN PAUL)

安德烈．德朗

T

34

CHEE KIANG TAN 強納森．保羅

42

U

F

CHINTAN UPADHYAY

ARMAN FERNANDEZ

阿曼．費爾戴儂

19

V

RIKIZO FUKAO

深尾力三

13, 14

VICTOR VASARELY

維多．瓦薩雷利

15

NICK VAESEY

尼克．維西

41

克勞德．維士巴修

49, 51

阿爾伯特．扎瓦羅

53, 54

G MICHEL DE GALLARD

米歇爾．德．葛拉德

52

W

RENÉ GENIS

賀內．吉尼斯

32, 33

CLAUDE WEISBUCH

H MICHEL HENRY

Z 米歇爾．昂利

36

HYUNG KOO KANG

姜亨九

40

KAWS (BRIAN DONNELLY)

布萊恩．唐納利

1

IIDA KIRIKO

飯田桐子

12

MOÏSE KISLING

莫依斯．奇斯林

26

羅伊．李奇登斯坦

4

TSUYOSHI MAEKAWA

前川強

17

PETER MAX

彼得．馬克思

48, 55

GEORGES MATHIEU

喬治．馬修

20

FRÉDÉRIC MENGUY

菲德利克．曼谷依

50

AMEDEO MODIGLIANI

阿美迪奧．莫迪里亞尼

28

YOSHITOMO NARA

奈良美智

11

NG LUNG WAI

伍龍威

39

ALBERT ZAVARO

K

L ROY LICHTENSTEIN

M

N

143