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

SPRING AUCTION 2021 TAIPEI

羅芙奧台北 2021 春季拍賣會 薈萃國際：現代與當代藝術

RAVENEL SPRING AUCTION 2021 TAIPEI SELECT: Modern & Contemporary Art 拍賣日期

地點

2021年6月5日（六）下午 3:30 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳） 預展日期

地點

高雄 2021年5月15日（六）上午11:00至下午6:00 2021年5月16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 台中 2021年5月22日（六）下午1:00至下午6:00 2021年5月23日（日）上午11:00至下午6:00 豐藝館 台中市西區五權西路一段110號B1 台北 2021年6月3日（四）~ 5日（六）上午11:00至下午7:00 萬豪酒店｜台北市中山區樂群二路199號3樓（博覽廳）

AUCTION Saturday, June 5, 2021, 3:30pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei PREVIEWS Kaohsiung Saturday, May 15, 2021, 11:00am - 6:00pm Sunday, May 16, 2021, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan Taichung Saturday, May 22, 2021, 1:00pm - 6:00pm Sunday, May 23, 2021, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

拍賣目錄每本售價：NT$2,000 This auction catalogue: US$70 per copy

Taipei Thursday, June 3 - Saturday, June 5, 2021, 10:00am - 7:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

王鎮華 Arthur Wang 董事長 Chairman

郭倩如 Clara Kuo 副董事長 Vice Chairman

陳惠黛 Odile Chen 國際藝術部 總經理 Head of International Art Department

陳昱良 Iris Chen 國際藝術部 專家 Specialist, International Art Department

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羅芙奧台北 2021 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 總經理

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目次 CONTENTS

7

羅芙奧春季拍賣會

Sale Information 10

羅芙奧之服務

Ravenel Services 13

藝術家索引

Index 14

薈萃國際：現代與當代藝術

SELECT: Modern & Contemporary Art 177

給予買家的重要通知

Important Notice to Buyers 179

委託競投表格

Absentee Bid Form 181

業務規則

Transaction Agreement

藝術家索引 INDEX A

B

C

Izumi AKIYAMA

秋山泉

50

Yayoi KUSAMA

草間彌生

Jumaldi ALFI

朱瑪迪．奧菲

74

KWON Ki Soo

權奇秀

55

July ANCEL

居禮．安賽兒

59

LEE Chen-dao

李承道

103

BAE Joon Sung

裴淮晟

89

LEE Ho Ryon

李皓堜

88

Katherine BERNHARDT

凱薩琳．伯恩哈特

76

Roy LICHTENSTEIN

羅伊．李奇登斯坦

82

Mel BOCHNER

梅爾．伯克奈爾

70

LIU Ye

劉野

Hebru BRANTLEY

赫布魯．布蘭特里

80

LO Chan-peng

羅展鵬

André BRASILIER

安德烈．布拉吉利

30, 35

Robert LOTIRON

羅伯特．洛提宏

40

Bernard BUFFET

貝爾納．畢費

Eddie MARTINEZ

艾迪．馬丁內斯

66, 67

Javier CALLEJA

哈維爾．卡勒加

5, 7, 8, 68

I Nyoman MASRIADI

米斯尼亞迪

Bernard CATHELIN

貝爾納．卡多蘭

31, 32, 51

Burton MORRIS

伯頓．莫利斯

46, 47

38

Bernard CHAROY

貝爾納．夏洛瓦

Chuang CHE

莊喆

33

Boris CHEMETOV

波里斯．謝梅多夫

81

Robert COMBAS

羅伯．貢巴斯

36

André COTTAVOZ

安德烈．科達沃茲

39, 49

D

DESIRE OBTAIN CHERISH

強納森．保羅

52, 53

F

Sol FELPETO

索兒．費佩托

91, 92

Arman FERNANDEZ

阿曼．費爾戴儂

44

Sam FRIEDMAN

山姆．傅利曼

79

Thierry FEUZ

西瑞．菲茲

56

Orit FUCHS

奧里特．菲奇

54

H

I J K

Ai HAIBARA

灰原愛

Adam HANDLER

亞當．漢德勒

95, 96, 97

Michel-HENRY

米歇爾－昂利

48

Yuichi HIRAKO

平子雄一

Benrei HUANG

黃本蕊

12

Bryan IDA

布萊恩．伊達

60

Kiriko IIDA

飯田桐子

14

Caro JOST

卡蘿．傑斯特

JUNG Yeo Eun

鄭與恩

18, 19

L

M

N O

P R S

4

T

58 101

Izumi KATO

加藤泉

21, 22

Alex KATZ

亞力士．凱茲

KAWS (Brian Donnelly)

布萊恩．唐納利

6, 29, 64, 65, 77, 78

Pichaya KHUNNAWAT

皮查亞．昆納瓦

75

KOH Sang Woo

高尚佑

90

87

Y

23, 24, 25, 26

27 102

73 84, 85, 86

Yoshitomo NARA

奈良美智

NIKKI

Nikki

11, 28, 62, 63

OB

ob

72 10

93, 94

Taku OBATA

小畑多丘

Adriana OLIVER

阿德里安娜．奧利弗

3

Julian OPIE

朱利安．奧培

9

José PARLA

荷西．帕拉

Edgar PLANS

艾德加．普連斯

1, 2

69

Auguste RODIN

奧古斯特．羅丹

45

Ayako ROKKAKU

六角彩子

61

Ryuzo SATAKE

佐竹龍蔵

15

Rei SATO

佐藤玲

13

Willi SIBER

威利．希伯

57

Josh SPERLING

喬希．斯博林

79

Takumi SUGIYAMA

杉山巧

98

SUNG Nak Hee

成樂喜

20

Claire TABOURET

克萊爾．特伯萊

Miki TAKAGI

高木美希

100

Atsuko TANAKA

田中敦子

34, 37

71

Walasse TING

丁雄泉

Yoshimasa TSUCHIYA

土屋仁応

41, 42, 43 17

Mayuka YAMAMOTO

山本麻友香

16

Ryoichi YAMAZAKI

山崎龍一

99

YANG Mao-lin

楊茂林

83

001

EDGAR PLANS

艾德加．普連斯

(Spanish b. 1977)

威力

Power

2019年 綜合媒材 紙 18 x 18 cm 簽名右下：PLANS

2019 Mixed media on paper 18 x 18 cm Signed lower right PLANS PROVENANCE Ainori-Contemporary Art Gallery, Lisboa This lot is accompanied with a certificate of authenticity issued by Ainori-Contemporary Art Gallery, Lisboa.

NT$ 130,000 - 190,000 HK$ 35,000 - 52,000 US$ 4,600 - 6,700 RMB 30,000 - 44,000

來源 愛乃理畫廊，里斯本 附里斯本愛乃理畫廊開立之作品保證書

002

EDGAR PLANS

艾德加．普連斯

(Spanish b. 1977)

旅行筆記

Le Tour Notes

2019年 綜合媒材 紙 18 x 18 cm 簽名右下：PLANS

2019 Mixed media on paper 18 x 18 cm Signed lower right PLANS PROVENANCE Ainori-Contemporary Art Gallery, Lisboa Tokyo Chuo Auction, Hong Kong, Arts In Life, December 30, 2020, lot 1185 This lot is accompanied with a certificate of authenticity issued by Ainori-Contemporary Art Gallery, Lisboa.

NT$ 130,000 - 190,000 HK$ 35,000 - 52,000 US$ 4,600 - 6,700 RMB 30,000 - 44,000

來源 愛乃理畫廊，里斯本 東京中央拍賣，香港，「當代藝術潮玩」， 2020年12月30日，編號1185 附里斯本愛乃理畫廊開立之作品保證書

003

ADRIANA OLIVER

阿德里安娜．奧利弗

(Spanish, b. 1990)

數星星（黑白）

Counting Star - B&W

2020年 寶麗石粉樹脂 版次17/25 發行單位Misha Made Art Project 15（長）x 9（寬）x 40.5（高）cm

2020 Polystone, ed. 17/25 Produced by Misha Made Art Project 15(L) x 9(W) x 40.5(H) cm This lot is accompanied with a certificate of authenticity signed by the artist and the original product box.

NT$ 170,000 - 260,000 HK$ 46,000 - 71,000 US$ 6,000 - 9,100 RMB 39,000 - 60,000

附藝術家簽名原作保證書及原裝盒

004

YUICHI HIRAKO

平子雄一

(Japanese, b. 1982)

花園回憶－非洲鳳仙花Ⅱ

Memories of My Garden - Impatiens Walleriana II

2011-2014年 壓克力 畫布 53 x 46 cm 簽名題識畫背：YH Memories of My Garden Impatiens Walleriana II 2011

2011-2014 Acrylic on canvas 53 x 46 cm Initialed reverse YH , titled Memories of My Garden Impatiens Walleriana II and dated 2011 This lot is accompanied with a certificate of authenticity issued by Galleri Christoffer Egelund, Copenhagen.

NT$ 170,000 - 260,000 HK$ 46,000 - 71,000 US$ 6,000 - 9,100 RMB 39,000 - 60,000

附克里斯托弗．埃格隆德畫廊開立之作品保證書

005

JAVIER CALLEJA

哈維爾．卡勒加

(Spanish, b. 1971)

請勿觸碰

Do Not Touch

2019年 樹脂 鋼 細繩 壓克力彩 版次219/250 發行單位APPortfolio & NANZUKA Gallery 19（長）x 22（寬）x 36（高）cm 簽名版次親筆保證書：Javier Calleja 219/250

2019 Resin, steel, string and acrylic paint, ed. 219/250 Produced by APPortfolio & NANZUKA Gallery 19(L) x 22(W) x 36(H) cm Signed Javier Calleja and numbered 219/250 on the backside of the canvas This lot is accompanied with a certificate of authenticity and the original product box.

NT$ 180,000 - 260,000 HK$ 49,000 - 71,000 US$ 6,300 - 9,100 RMB 42,000 - 60,000

附原作保證書及原裝盒

006

KAWS (BRIAN DONNELLY)

布萊恩．唐納利

(American, b. 1974)

新聞

The News

2017年 絲網印刷 版次96/100 直徑 61 cm 簽名右下：KAWS.. 17 版次左下：96/100

2017 Silkscreens on paper, ed. 96/100 Diameter 61 cm Signed lower right KAWS.. and dated 17 Numbered lower left 96/100

NT$ 280,000 - 500,000 HK$ 76,000 - 136,000 US$ 9,800 - 17,500 RMB 65,000 - 115,000

007

JAVIER CALLEJA

哈維爾．卡勒加

(Spanish, b. 1971)

小莫瑞吉奧

Little Maurizio

2019年 木 金屬 版次13/75 發行單位GE Artwork Studio & Aishonanzuka 23（長）x 21（寬）x 45（高）cm

2019 Wood, metal, ed. 13/75 Produced by GE Artwork Studio & Aishonanzuka 23(L) x 21(W) x 45(H) cm This lot is accompanied with a certificate of authenticity and the original product box.

NT$ 300,000 - 460,000 HK$ 82,000 - 125,000 US$ 10,500 - 16,100 RMB 69,000 - 106,000

附原作保證書及原裝盒

008

JAVIER CALLEJA

哈維爾．卡勒加

(Spanish, b. 1971)

無聊而美好的一天

Boring Nice Day

2017年 炭筆 壓克力 紙本 15 x 20 cm 簽名畫背：2012 Javier Calleja

2017 Charcoal and acrylic on paper 15 x 20 cm Signed reverse Javier Calleja and dated 2012 EXHIBITED Art on Paper-The Brussels Contemporary Drawing Fair (Javier Calleja individual project) , Galerie Zink, Bozar, Brussels, September 7-10, 2017

NT$ 340,000 - 500,000 HK$ 93,000 - 136,000 US$ 11,900 - 17,500 RMB 79,000 - 115,000

展覽 「紙上藝術－布魯塞爾當代繪畫博覽會」 （哈維爾．卡勒加個人項目），Zink畫廊， 布魯塞爾美術宮，布魯塞爾，2017年9月7日至10日

009

JULIAN OPIE (British, b. 1958)

Running People: Amy 2020 Anodised aluminium figure on Corian base, ed. 3/20 16.9(L) x 9(W) x 57.1(H) cm Signed base Julian Opie PROVENANCE Christea Roberts Gallery, London This lot is accompanied with a certificate of authenticity signed by the artist and the original product box.

NT$ 380,000 - 600,000 HK$ 104,000 - 163,000 US$ 13,300 - 21,000 RMB 88,000 - 139,000

朱利安．奧培 跑步的人：艾米 2020年 陽極氧化鋁版 可麗耐人造石底座 版次3/20 16.9（長）x 9（寬）x 57.1（高）cm 簽名台座底部：Julian Opie 來源 克里斯蒂亞．羅伯茨畫廊，倫敦 附藝術家簽名原作保證書及原裝盒

010

TAKU OBATA (Japanese, b. 1980)

B-Girl Down Jacket Nagame 2016 2019 Painted polystone resin, ed. 42/50 Produced by How2work 24(L) x 17(W) x 71(H) cm Engraved jacket bottom 2016 TAKU OBATA , signed Taku Obata and numbered 42/50 This lot is accompanied with a certificate of authenticity and the original product box.

NT$ 340,000 - 500,000 HK$ 93,000 - 136,000 US$ 11,900 - 17,500 RMB 79,000 - 115,000

小畑多丘 羽絨嘻哈女孩 2016 2019年 寶麗石粉樹脂 版次42/50 發行單位How2work 24（長）x 17（寬）x 71（高）cm 簽名雕刻外套底部：2016 TAKU OBATA 簽名底部：Taku Obata 編號底部：42/50 附原作保證書及原裝盒

011

YOSHITOMO NARA (Japanese, b. 1959)

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

Untitled (Someonelse)

於 1993 年完成其學業。他在德國生活了 12 年，直至 2000 年才回

1990 Acrylic, pen and colored pencil on paper 16 x 14.5 cm Inscribed upper Someonelse

筆下的兒童肖象都擁有特大的頭部比例。這些孩子總是緊繃著臉的，

PROVENANCE Gallery Hakutosha, Nagoya, Japan ILLUSTRATED Yoshitomo Nara: The Complete Works 2 , Chronicle Books LLC, San Francisco, 2011, color illustrated, no.

D-1990-034, p. 46

NT$ 380,000 - 550,000 HK$ 104,000 - 150,000 US$ 13,300 - 19,300 RMB 88,000 - 127,000

到日本，現時他在東京工作。受兒童書籍的插圖風格影響，奈良美智 所表現出來的反叛精神和憤世嫉俗的態度，與奈良美智熱愛的龐克 搖滾音樂文化是一脈相承的。奈良美智的創作跨越不同的媒介，從 明信片、畫布到雕塑作品，鮮明的風格使他獲得一批忠實的追隨者。 Nara was born in Hirosaki, a village located in the northern prefecture of Aomori, Japan. After obtaining a Masters in Fine Arts from Aichi Prefectural University of Fine Arts and Music in Nagoya, Japan in 1987, Nara moved to Germany to study at the Kunstakademie Düsseldorf, from which he graduated in 1993. Until 2000, Nara continued to live and work in Germany before returning to Japan, and is currently based out of Tokyo.

Nara's artwork primarily features depictions of children with oversized heads, in a style directly influenced by children's book illustrations. His children are often sullen and angry, imbued with the angst and rebellion of Nara's Punk rock influence. Nara's work spans a diverse range of media, from postcards to canvas

奈良美智 無題（Someonelse） 1990年 壓克力彩 墨 色鉛筆 紙 16 x 14.5 cm 題識上方：Someonelse 來源 白土舍畫廊，日本名古屋 圖錄 《奈良美智作品全集2》，編年出版社，舊金山， 2011，彩色圖版，編號D-1990-034，頁46

paintings to three-dimensional sculptural works, and has acquired a cult-like following as varied as his methods.

012

BENREI HUANG

黃本蕊

(Taiwanese, b. 1959)

兔兒落誰家？

Where Have All the Bunnies Gone?

2009年 壓克力 畫布 41 x 51 cm 簽名右下：BR 09 簽名題識畫框背板：where have all the bunnies gone? 兔兒落誰家？黃本蕊，09

2009 Acrylic on canvas 41 x 51 cm Initialed lower right BR and dated 09 Signed reverse of the frame Benrei Huang in Chinese, titled where have all the bunnies gone? both in English and Chinese and dated 09

NT$ 240,000 - 360,000 HK$ 65,000 - 98,000 US$ 8,400 - 12,600 RMB 55,000 - 83,000

013

REI SATO

佐藤玲

佐藤玲於 2005 年畢業自御茶水美術專

(Japanese, b. 1984)

是飛起來？還是掉下去 2

門學校。佐藤的才華是在 2002 年首屆

Flying? Falling? 2

2011年 照片輸出 壓克力 畫布 91 x 116.7 x 5 cm 簽名畫背：飛んでいろる? 落ちている? 2 2011 Rei Sato

2011 Photo print and acrylic on canvas 91 x 116.7 x 5 cm Signed reverse Rei Sato in English, titled Flying? Falling? 2 in Japanese and dated 2011 EXHIBITED Rei Sato: Will I Bloom? Will I Transform?

Will I Shine?, Kaikai Kiki Gallery Taipei, August 28-October 2, 2011

NT$ 200,000 - 300,000 HK$ 54,000 - 82,000 US$ 7,000 - 10,500 RMB 46,000 - 69,000

展覽 「會綻放嗎，會蛻變嗎， 會閃耀光芒嗎？佐藤玲」， Kaikai Kiki 畫廊，台北， 2011年8月28日至10月02日

的 GEISAI 上，被村上隆所發掘的，並 於 其 後 加 入 了 村 上 隆 的 Kaikai Kiki 畫 廊。 從 日 常 生 活 當 中 汲 取 靈 感， 運 用 照片與異想天開的卡通人物組合一起， 創作出充滿活力的畫面。 Rei Sato graduated from Ochanomizu College of Fine Arts and Design in 2005. Sato's talent was discovered

by Takashi Murakami in the very first GEISAI event in 2002, and then she joined the atelier of Murakami, Kaikai Kiki. Finding inspiration in everyday o b j e c t s a n d o c c u r re n c e s , S a t o ' s paintings use photographs layered between whimsically drawn figures to create effervescent scenery.

014

KIRIKO IIDA

飯田桐子

(Japanese, b. 1970)

海底之花

Flower in Sea Bottom

2018-2020年 油彩 畫布 45.5 x 53 cm 簽名畫背：Kiriko Iida 2018 2020

2018-2020 Oil on canvas 45.5 x 53 cm Signed reverse Kiriko Iida and dated 2018 2020 PROVENANCE Gallery IDF, Nagoya Soka Art, Taipei EXHIBITED Frozen Soil-IIDA Kiriko Solo Exhibition , Soka Art, Taipei, March 7-April 18, 2020 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 90,000 - 140,000 HK$ 25,000 - 38,000 US$ 3,200 - 4,900 RMB 21,000 - 32,000

來源 IDF畫廊，名古屋 索卡藝術，台北 展覽 「凍土－飯田桐子個展」，索卡藝術，台北， 2020年3月7日至4月18日 附藝術家簽名之原作保證書

015

RYUZO SATAKE

佐竹龍蔵

(Japanese, b. 1987)

某人的孩子

Somebody's Child

2013年 礦物漆 紙板 162.1 x 130.3 cm 簽名題識畫背：だれかのこども 2013 佐竹龍蔵

2013 Mineral paint on paper board 162.1 x 130.3 cm Signed reverse Ryuzo Satake in Kanji, titled Somebody's Child in Japanese and dated 2013 EXHIBITED Someone's Child , YOD Gallery, Osaka, January 19-February 9, 2013 Ryuzo Satake-A Childhood , Jiro Miura Gallery, Tokyo, March 15-April 6, 2014 Rain, Wind, People, Cul-Port, Kochi, Japan, January 6-11, 2015 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 220,000 - 320,000 HK$ 60,000 - 87,000 US$ 7,700 - 11,200 RMB 51,000 - 74,000

展覽 「某人的孩子」 ，YOD畫廊，大阪， 2013年1月19日至2月9日 「佐竹龍蔵展－童年」 ，三浦次郎畫廊，東京， 2014年3月15日至4月6日 「風雨人」，高知市文化廣場，日本高知市， 2015年1月6日至11日 附藝術家簽名之原作保證書

016

MAYUKA YAMAMOTO

1964 年出生於日本岡山縣，1990 年自武藏野美術大學碩士

(Japanese, b. 1964)

畢業後，以日本文化廳藝術家研究員身分赴英國研修至 1999

Sleeping Sheep

場個展（1993-2006）後，也在荷蘭畫布國際藝術畫廊舉辦

年返回日本。其作品自 1993 年起定期於日本椿畫廊舉辦多

2008 Oil on canvas 97 x 130.5 x 2.5 cm Signed reverse stretch Mayuka Yamamoto , titled sleeping sheep and dated 2008

個展「鹿男孩與其他孩童」（2007，阿姆斯特丹）。較近期

NT$ 380,000 - 550,000 HK$ 104,000 - 150,000 US$ 13,300 - 19,300 RMB 88,000 - 127,000

in 1990, and joined the Japanese Government Overseas

山本麻友香 睡著的羊 2008年 油彩 畫布 97 x 130.5 x 2.5 cm 簽名畫背框條：sleeping sheep Mayuka Yamamoto 2008

的聯展則是參加過「韓國國際藝術博覽會」（2004-2007）、 「日本年青畫作」（2007，阿姆斯特丹）。 Born in 1964 in Okayama, Japan, Yamamoto received her master degree at Masashino Art University in Tokyo Study Program for Artists to continue her studies in London until 1999. Her works have been shown in several solo shows held by Gallery Tsubaki, Japan since 1993–2006, and her solo show "Deer Boy and Other infants'' was held by Canvas International Arts gallery in Amsterdam (2007). She also participated in group shows as "Korean International Art Fair'' (2004-2007); "Young Japanese Painting" (2007, Amsterdam).

017

YOSHIMASA TSUCHIYA (Japanese, b. 1977)

Unicorn 2020 Wooden sculpture 25.5(L) x 12(W) x 41(H) cm Signed on the bottom Yoshimasa Tsuchiya in Kanji and dated 2020 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 550,000 - 850,000 HK$ 150,000 - 232,000 US$ 19,300 - 29,800 RMB 127,000 - 196,000

土屋仁応 獨角獸 2020年 木雕 25.5（長）x 12（寬）x 41（高）cm 簽名底部：土屋仁応 2020 附藝術家簽名之原作保證書

土屋仁応，2001 年於東京國立美術大學雕塑系取得學士學 位，2003 年於東京國立美術大學雕塑研究所取得碩士學位。 2010 年他的北海道「日本當代木雕潮流」展，更是吸引了眾 多愛好者前往觀看。2012 年的「與木對話」個展，使用檜木 和樟木創作，主題是現實和神話裡的動物形象。憑藉日本佛 像修復的木刻技藝傳承，打造了一個又一個有靈魂、有溫度 的生物。 Yoshimasa Tsuchiya obtained a BA, Sculpture course, in 2011 from Tokyo National University of Fine Art and Music. In 2003, he obtained MAConservation Course from the same university. His 2010 solo exhibition "Currents in Japanese Contemporary Wood Sculpture" was phenomenal and attracted a substantial number of audiences. In his 2012 solo exhibition Sylvan Whispers, he was created with Japanese cypress and camphorwood, mostly real life animals and mythological creatures. With his expertise and experience in restoration on wooden buddha sculptures, he created vivid and soulful creatures.

018

AI HAIBARA (Japanese, b. 1981)

Twins 2008 Camphor wood, acrylic paint 30.5(L) x 9.5(W) x 40(H) cm Signed base Ai Haibara and dated 2008 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 420,000 - 650,000 HK$ 114,000 - 177,000 US$ 14,700 - 22,800 RMB 97,000 - 150,000

灰原愛 雙胞胎姊妹 2008年 樟木 壓克力彩 30.5（長）x 9.5（寬）x 40（高）cm 簽名台座底部：2008 Ai Haibara 附藝術家簽名之原作保證書

灰原愛畢業於東京藝術大學雕刻系，她 的木雕創作呈現圖畫般的少女雕像，可 愛、抒情，創造「雕刻繪畫化」風格。 而她獨有的少女氣質為當代創作難能可 貴的特徵、有治癒人心的溫潤。近年來 在拍賣市場上屢創佳績，在當代藝術家 中備受矚目。作品充滿童趣詼諧，卻不 流於俗套，以不誇張的造型取勝；純真、 靜謐的氣息讓人彷彿進入藝術家的綺麗 幻想當中。

019

AI HAIBARA (Japanese, b. 1981)

Melody of Rainbow 2014 Camphor wood, acrylic paint 50(L) x 42(W) x 139(H) cm Signed base Ai Haibara and dated 2014 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 550,000 - 900,000 HK$ 150,000 - 245,000 US$ 19,300 - 31,500 RMB 127,000 - 208,000

灰原愛 彩虹之音 2014年 樟木 壓克力彩 50（長）x 42（寬）x 139（高）cm 簽名台座底部：2014 Ai Haibara 附藝術家簽名之原作保證書

Ai Haibara graduated from the Sculpture Department of Tokyo National University of Fine Arts and Music. Her woodcarving creation presents picture-like statue of young girl, which is lovable, sentimental and has spiritual healing power, creating the style of "Painterly Sculpture".

Her distinctive girly temperament is such a rareness and precious characteristic among the contemporary creation, surround with healing warmth. She has repeatedly achieved good results in the auction market in recent years and has attracted much attention among contemporary artists. Her work is full of humour yet with soothing texture, likeable appearance but definitely not fall into conventional pattern, scoring a success with non-exaggerated model, the innocent and tranquil atmosphere brings viewers sort of entering the gorgeous fantasy of the artist.

020

SUNG NAK HEE

成樂喜

(Korean, b. 1971)

轉置系列 3

Transpose 3

2018年 壓克力 畫布 91 x 117 cm 簽名畫背：TRANSPOSE 3 2018 acrylic on canvas 117 x 91 cm NAKHEE SUNG

2018 Acrylic on canvas 91 x 117 cm Signed reverse NAKHEE SUNG , titled TRANSPOSE 3 , inscribed acrylic on canvas, 117 x 91 cm and dated 2018 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 400,000 - 600,000 HK$ 109,000 - 163,000 US$ 14,000 - 21,000 RMB 92,000 - 139,000

附藝術家簽名之原作保證書

021

IZUMI KATO

加藤泉

(Japanese, b. 1969)

無題

Untitled

2013年 油彩 畫布 28 x 22.5 cm 簽名題識畫背：2013 Oil on canvas 28 x 22.5 cm KATO 泉

2013 Oil on canvas 28 x 22.5 cm Signed reverse KATO in English and Izumi in Kanji, inscribed Oil on canvas 28 x 22.5 cm and dated 2013 PROVENANCE Private collection, Taiwan

NT$ 380,000 - 550,000 HK$ 104,000 - 150,000 US$ 13,300 - 19,300 RMB 88,000 - 127,000

來源 私人收藏，台灣

022

IZUMI KATO

加藤泉

(Japanese, b. 1969)

無題

Untitled

2008年 油彩 畫布 53 x 45.5 cm 簽名題識畫背：2008 Oil on canvas 53 x 45.5 cm (10F) KATO 泉

2008 Oil on canvas 53 x 45.5 cm Signed reverse KATO in English and Izumi in Kanji, inscribed Oil on canvas 53 x 45.5 cm (10F) and dated 2008

來源 私人收藏，台灣

PROVENANCE Private collection, Taiwan

NT$ 850,000 - 1,200,000 HK$ 232,000 - 327,000 US$ 29,800 - 42,100 RMB 196,000 - 277,000

加藤泉 1969 年出生於日本島根縣，畢業於武藏野藝術大學造型

where he started gaining attention. Two years later, he was

學科。大學時期沉迷於音樂和演出，畢業後的十年間，也多以

invited to the 52nd Venice Biennale International Exhibition.

音樂為生。2005 年參加由日本協會在美國紐約展出的《小男孩：

When he turned 30, he began painting again after realizing

日本爆發的次文化藝術》後他便開始嶄露頭角；兩年後，受邀

that he still longed for artistic exploration. His style of

參加了威尼斯雙年展。直到三十歲，發現自己對藝術仍然心存

painting also shifted from symbolism to "more humane

探索，於是開始繼續繪畫。其繪畫風格也從象徵性轉變為「更

forms and faces. With "life forms" as the theme, he drew

人性化的形式和面孔」，以「生命體」為主題，從動物、植物、

inspiration from animals, plants, insects and human forms

昆蟲以及人類自身形態中獲取靈感，創作了一系列立體、繪畫

to create a series of three-dimensional paintings. Full of a

作品。他的作品不拘泥於創作媒介，充滿了原始和神秘的力量。

primitive and mysterious power, his works are not limited to

加藤泉在作品《無題（綠）》中筆下的創造物「人形」（にん

a particular medium.

ぎょう）這一角色是獨一無二的，但也會令人有些聯想，比如

The "humanoid" created as a part of Kato's Untitled

睜大眼睛的人物和可以辨認的身體形狀。「人形」出現了植物

(Green) painting is a unique character, but may also become

意味著生命，在幽微處如同胚胎、異類。作品中頭與軀幹不成

associated with other characters with wide-open eyes and

比例的誇張，雙眼分的很開卻炯炯有神，鼻子有陽性的象徵，

recognizable body shapes. The appearance of plants near

頭髮曲卷宛若佛像。全幅的綠色以漸變呈現是：比例感、色調，

a "humanoid" signifies life. Its placement in the shady area

在具象與民間意象之間的複雜結合。看似怪奇，但細品後，卻

makes it seem like an embryo or alien. The composition

頗具可愛與古樸。愈加注視，就愈能體會到某种「神隱」（神

consists of an exaggerated disproportion between the

隱し）而去的經驗，似乎能聽見那靜止沉默中的力量。

head and the torso, piercing eyes that are further apart, a

Born in the Shimane Prefecture, Japan in 1969, Izumi Kato graduated from the Department of Scenography, Display and Fashion Design at the Musashino Art University College of Art and Design. At university, he became obsessed with music and performance, and began focusing mainly on music for ten years after graduation. In 2005, he participated in the exhibition "Little Boy: The Arts of Japan's Exploding Subculture" held at the Japan Society Gallery in New York,

masculine symbol of a nose, and hair curls like a Buddha statue. The whole canvas of green gradation presents a sense of proportion and colorful tones along with a complex combination of concrete and folk imagery. Seemingly strange-looking at first, it is simple and cute after careful inspection. The more attention is paid, the more one can experience a certain hidden mysterious experience, as if the power of a silent stillness can be heard.

023

YAYOI KUSAMA

草間彌生

(Japanese, b. 1929)

果物

Fruits

1997年 石版印刷 版次HC 24 x 33 cm（圖）; 34 x 43.2 cm（紙） 簽名右下：Yayoi Kusama 題識中下：果物 版次左下：H.C.

1997 Lithograph, edition HC 24 x 33 cm (Image); 34 x 43.2 cm (Paper) Signed lower right Yayoi Kusama Titled lower center Fruits in Kanji Numbered lower left H.C. PROVENANCE Y&C Home Collection, Taipei Private collection, Taiwan ILLUSTRATED Yayoi Kusama Prints 1979-2017 , Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 140, no. 234 (another number)

NT$ 480,000 - 700,000 HK$ 131,000 - 191,000 US$ 16,800 - 24,500 RMB 111,000 - 162,000

來源 易雅居，台北 私人收藏，台灣 圖錄 《草間彌生全版畫1979-2017》，阿部出版株式會社， 東京，2017，彩色圖版，頁140，編號234（不同版次）

024

YAYOI KUSAMA

草間彌生

(Japanese, b. 1929)

南瓜

A Pumpkin (RY)

2004年 絲網印刷 版次35/120 27 x 32.5 cm（圖）; 38 x 45.5 cm（紙） 簽名右下：Yayoi Kusama 題識中下：A Pumpkin (RY) 2004 版次左下：35/120

2004 Screenprint, ed. 35/120 27 x 32.5 cm (Image); 38 x 45.5 cm (Paper) Signed lower right Yayoi Kusama Titled lower center A Pumpkin (RY) and dated 2004 Numbered lower left 35/120 PROVENANCE Y&C Home Collection, Taipei Private collection, Taiwan ILLUSTRATED Yayoi Kusama Prints 1979-2017 , Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 183, no. 317 (another number)

NT$ 750,000 - 1,000,000 HK$ 204,000 - 272,000 US$ 26,300 - 35,100 RMB 173,000 - 231,000

來源 易雅居，台北 私人收藏，台灣 圖錄 《草間彌生全版畫1979-2017》，阿部出版株式會社， 東京，2017，彩色圖版，頁183，編號317（不同版次）

025

YAYOI KUSAMA

草間彌生

(Japanese, b. 1929)

蝴蝶

Butterfly

1985年 絲網印刷 版次55/100 45.5 x 53 cm（圖）; 53.2 x 60.8 cm（紙） 簽名右下：Yayoi Kusama 題識中下：BUTTERFLY 1985 版次左下：55/100

1985 Screenprint, ed. 55/100 45.5 x 53 cm (Image); 53.2 x 60.8 cm (Paper) Signed lower right Yayoi Kusama Titled lower center BUTTERFLY and dated 1985 Numbered lower left 55/100 PROVENANCE Y&C Home Collection, Taipei Private collection, Taiwan ILLUSTRATED Yayoi Kusama Prints 1979-2017 , Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 55, no. 82 (another number)

NT$ 480,000 - 700,000 HK$ 131,000 - 191,000 US$ 16,800 - 24,500 RMB 111,000 - 162,000

來源 易雅居，台北 私人收藏，台灣 圖錄 《草間彌生全版畫1979-2017》，阿部出版株式會社， 東京，2017，彩色圖版，頁55，編號82（不同版次）

026

YAYOI KUSAMA

草間彌生

(Japanese, b. 1929)

帽子（I）

Chapeau (I)

2000年 絲網印刷 版次AP 38 x 45.5 cm（圖）; 50 x 65 cm（紙） 簽名右下：Yayoi Kusama 題識中下：Chapeau (Ⅰ) 2000 版次左下：A.P.

2000 Screenprint, edition AP 38 x 45.5 cm (Image); 50 x 65 cm (Paper) Signed lower right Yayoi Kusama Titled lower center Chapeau (I) and dated 2000 Numbered lower left A.P. ILLUSTRATED Yayoi Kusama Prints 1979-2017 , Abe Publishing Ltd., Tokyo, 2017, color illustrated, p. 168, no. 284 (another number)

NT$ 500,000 - 750,000 HK$ 136,000 - 204,000 US$ 17,500 - 26,300 RMB 115,000 - 173,000

圖錄 《草間彌生全版畫1979-2017》，阿部出版株式會社， 東京，2017，彩色圖版，頁168，編號284（不同版次）

027

LIU YE

劉野

(Chinese, b. 1964)

誰害怕L夫人？

Who is Afraid of Madame L?

2010年 絲網版畫 版次30/50 100 x 79.5 cm（圖）；112 x 90.5 cm（紙） 簽名右下：野 2010 題識左下：Madame L 版次中下：30/50

2010 Silkscreen Print, ed. 30/50 100 x 79.5 cm (Image); 112 x 90.5 cm (Paper) Signed lower right Ye in Chinese and dated 2010 Titled lower left Madame L Numbered lower center 30/50

NT$ 420,000 - 650,000 HK$ 114,000 - 177,000 US$ 14,700 - 22,800 RMB 97,000 - 150,000

028

YOSHITOMO NARA

奈良美智

(Japanese, b. 1959)

告訴我為什麼

Tell Me Why

2015年 木刻版畫 版次6/25 41.5 x 29.2 cm 簽名下方：6/25 2015 な

2015 Woodcut print, ed. 6/25 41.5 x 29.2 cm Signed lower edge Na in Japanese, dated 2015 and numbered 6/25 PROVENANCE Akira Ikeda Gallery, Tokyo

NT$ 650,000 - 950,000 HK$ 177,000 - 259,000 US$ 22,800 - 33,300 RMB 150,000 - 219,000

來源 池田畫廊，東京

029

KAWS (BRIAN DONNELLY) X YUE MINJUN; ZHOU TIEHAI; LIU YE; JIN NU; ZHOU CHUNYA (American, b. 1974) x (Chinese, b. 1962); (Chinese, b. 1966); (Chinese, b. 1964); (Chinese, b. 1955); (Chinese, b. 1955)

Art For the Masses - Art Toys (a set of 5) 2008 Botanic fluff; crystal Pitch; ABS plastics; resin; FRP and pottery (from left to right), ed. 94/100 17(L) x 35(W) x 30(H) cm 28(L) x 19(W) x 21(H) cm 19(L) x 14.5(W) x 30(H) cm 10(L) x 12.5(W) x 30(H) cm 14(L) x 15.5(W) x 30(H) cm Signed on the bottom Zhouchunya in Chinese; Jin Nu in Chinese; Zhoutiehai in English; Yueminjun x KAWS in English; Liu Ye in Chinese

PROVENANCE MOT/Arts, Taipei, Taiwan Private Collection, Asia EXHIBITED Art for the Masses , MOT/Arts, Taipei, June 27-July 27, 2008 Art Toy, Art Taipei , August, 2010 Art Toy, Art Taipei , August, 2011 Art for the Masses , Hua Gallery, London, June, 2012 Art for the Masses , Red Star Gallery, Beijing, July, 2012 ILLUSTRATED MOT Style, Vol.1 , JUT Living Development Co., Taipei, 2008 This lot is accompanied with a certificate of authenticity signed by the artists and the original product boxes.

NT$ 650,000 - 950,000 HK$ 177,000 - 259,000 US$ 22,800 - 33,300 RMB 150,000 - 219,000

KAWS（布萊恩．唐納利）x 岳敏君； 周鐵海；劉野；金釹；周春芽 為大眾的藝術－藝術玩具（五件一組） （綠狗、美人魚、摩登駱駝、露齒大笑、美麗卡通） 2008年 植絨；水晶樹脂；塑膠；樹脂；陶瓷（由左至右） 版次94/100 17（長）x 35（寬）x 30（高）cm 28（長）x 19（寬）x 21（高）cm 19（長）x 14.5（寬）x 30（高）cm 10（長）x 12.5（寬）x 30（高）cm 14（長）x 15.5（寬）x 30（高）cm 簽名底部：周春芽；金釹；Zhoutiehai； Yueminjun x KAWS；劉野

來源 MOT/ARTS，台北 私人收藏，亞洲 展覽 「為大眾的藝術」，MOT/Arts，台北， 2008年6月27日至7月27日 「藝術玩具」，台北國際藝術博覽會，台北，2010年8月 「藝術玩具」，台北國際藝術博覽會，台北，2011年8月 「為大眾的藝術」，HUA畫廊，倫敦，2012年6月 「為大眾的藝術」，紅星畫廊，北京，2012年7月 圖錄 《MOT Style》，第1期，忠泰生活開發股份有限公司， 台北，2008 附有藝術家簽名之原作保證書及原裝盒

030

ANDRÉ BRASILIER (French, b. 1929)

Gala de Cheval 1966 Oil on canvas 54 x 65 cm Signed lower right André Brasilier Initialed reverse A.B. , titled Gala de Cheval and dated 1966 PROVENANCE Galerie Bac Saint Germain, Paris Galerie Elegance, Taipei Acquired from the above by the present owner in 2007 This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 950,000 - 1,500,000 HK$ 259,000 - 409,000 US$ 33,300 - 52,600 RMB 219,000 - 346,000

布拉吉利 1929 年出生於法國中部索米爾（Saumur），鄉間大宅與 自然風光，深刻在布拉吉利的記憶與創作意識。進入巴黎國立高等 美術學院，師承畫家莫里斯．布里昂松（Maurice Brianchon）。 1953 年獲頒歷史悠久的羅馬大獎（Prix de Rome），從 1960 年 至今幾乎連年展覽，1974 年他受邀首訪日本展覽，受東方美學之 薰陶，無論構圖、筆觸飽含東方美學哲思。簡約大面積色彩，區隔 平面化構圖。畫家視「駿馬」為自然造物「神性」的象徵；相較於 馬術，他更擅長以畫筆捕捉馬群與騎士英姿。馬群減去龐大量感， 留下神韻的靈巧和敏捷，剪裁寫意風景。 André Brasilier was born in 1929 in the central French town of Saumur. Growing up in a country house surrounded by natural scenery made a profound mark on Brasilier's memory and creative consciousness. He enrolled in the École Nationale Supérieure des Beaux-Arts, where he studied under Maurice Brianchon (La Réalité Poétique). In 1953, he won the storied Prix de Rome. Having exhibited his work nearly every year from 1960 to the present, his fame spread through the Far East. In 1974, he was invited to his first Japanese art exhibition. Seeped in Eastern theory, the art Brasilier saw was full of Eastern aesthetic wisdom expressed through both its composition and brushwork. Brasilier is accustomed to keeping pen and paper at hand for drawing sketch whenever inspiration comes out.

He regards the horse as a symbol of the divinity of natural

安德烈．布拉吉利

creation. Similar to equestrianism, the artist captures, through

馬之嘉年華會

paint, the noble bearings of horses and riders. Adorning a bare

1966年 油彩 畫布 54 x 65 cm 簽名右下：André Brasilier 簽名題識畫背：Gala de Cheval A.B. 1966

landscape, the horses are painted sparsely, emphasizing their

來源 巴克聖日耳曼畫廊，巴黎 愛力根畫廊，台北 現有收藏者2007年購自上述來源 附愛力根畫廊開立之作品保證書

divine dexterity and agility.

031

BERNARD CATHELIN

貝爾納．卡多蘭

(French, 1919-2004)

瓷瓶花束

Roses d'Inde

1981年 油彩 畫布 92 x 60 cm 簽名左下：Cathelin 81 簽名畫背：8128 Roses d'Inde 1981 Cathelin

1981 Oil on canvas 92 x 60 cm Signed lower left Cathelin and dated 81 Signed reverse Cathelin , titled Roses d'Inde in French, inscribed 8128 and dated 1981 EXHIBITED Poem Colors-Bernard Cathelin , Mainichi Newspapers Co., Tokyo, March 3-June 28, 1994 ILLUSTRATED Poem Colors-Bernard Cathelin , Mainichi Newspapers Co., Tokyo, 1994, color illustrated, p. 37 Promenade à Paris , Galerie Elegance, Taipei, 2011, color illustrated, p. 58

展覽 「詩意的色彩－貝爾納．卡多蘭」， 每日新聞社，東京，1994年3月3日至6月28日 圖錄 《詩意的色彩－貝爾納．卡多蘭》， 每日新聞社，東京，1994，彩色圖版，頁37 《品味巴黎 看懂巴黎的西洋名畫》， 愛力根藝術，台北，2011，彩色圖版，頁58

NT$ 1,200,000 - 1,800,000 HK$ 327,000 - 490,000 US$ 42,100 - 63,100 RMB 277,000 - 416,000

貝爾納．卡多蘭 1919 年生於巴黎。1945 進入巴黎高等裝飾藝

Décoratifs, and was at the same time a student in the studio

術學院學習，同時期於法國繪畫大師布里昂松工作室學習，承

of French painting master Maurice Brianchon. Cathelin

襲色彩強烈的野獸派畫風，作品風格鮮明。此幅《瓷瓶花束》

adopted the strong, vivid colors of the Fauvist school and

筆觸大方，運用甜美和諧的暖色調，展現獨特藝術魅力。畫中

employed brilliantly contrasting tones in his own unique

融入溫暖的琥珀色、淺米色、黃色及秋意濃厚的黃綠色，散發

style. "Roses d'Inde" encompasses broad brushstrokes and

無比浪漫懷舊的氣息。

a warm colour palette of sweet melodious harmony and

Bernard Cathelin was born in 1919 in Paris. In 1945, he was enrolled in the École Nationale Supérieure des Arts

artistic charm. It exudes extraordinary romantic nostalgia through the use of a warm palette of amber, beige, yellow and autumn greens.

032

BERNARD CATHELIN

貝爾納．卡多蘭

(French, 1919-2004)

紅桌上的九重葛與秋海棠

Bougainvillea et Begonia à la Table Rouge

1998年 油彩 畫布 150.5 x 150.5 cm 簽名左下：Cathelin 98 題識畫背：Bougainvilliea et Begonia à la table rouge Cathelin 1998

1998 Oil on canvas 150.5 x 150.5 cm Signed lower left Cathelin and dated 98 Signed reverse Cathelin, titled Bougainvilliea et Begonia à la table rouge and dated 1998 PROVENANCE Philharmonic Center for the Arts, Naples Buschlen Mowatt Gallery, Vancouver, 1999 Sotheby's New York, May 30, 2014, lot 154 Acquired from the above by the present owner EXHIBITED Bernard Cathelin: Impressions from Les Rebattières , Philharmonic Center for the Arts, Naples, February 9-April 2, 1999 Bernard Cathelin: Impressions from Les Rebattières , Buschlen Mowatt Gallery, Vancouver, May 13-June 10, 1999 ILLUSTRATED Bernard Cathelin: Impressions from Les Rebattières , Buschlen Mowatt Gallery, Vancouver, 1998, color illustrated Bernard Cathelin: Impressions from Les Rebattières , Philharmonic Center for the Arts, Naples, 1999, color illustrated The authenticity of this work has kindly been confirmed

by Carole Senille-Rapatel.

NT$ 1,400,000 - 2,200,000 HK$ 381,000 - 599,000 US$ 49,100 - 77,100 RMB 323,000 - 508,000

來源 愛樂藝術中心，那不勒斯 普希倫．莫瓦特畫廊，溫哥華，1999 蘇富比拍賣，紐約，2014年5月30日，編號154 現有收藏者購自上述來源 展覽 「貝爾納．卡多蘭：羅巴提耶印象」，愛樂藝術中心， 那不勒斯，1999年2月9日至4月2日 「貝爾納．卡多蘭：羅巴提耶印象」，布希朗．莫華畫廊， 溫哥華，1999年5月13日至6月10日 圖錄 《貝爾納．卡多蘭：羅巴提耶印象》，布希朗．莫華畫廊， 溫哥華，1998，彩色圖版 《貝爾納．卡多蘭：羅巴提耶印象》，愛樂藝術中心， 那不勒斯，1999，彩色圖版 專家Carole Senille-Rapatel 女士確認過此作為真跡無誤

033

CHUANG CHE (Taiwanese, b. 1934)

Untitled A7272 (Diptych) 1988 Acrylic on canvas 132 x 193 cm Signed lower right Chuang Che in Chinese and dated 88 Inscribed reverse 88-59 (diptych) PROVENANCE The Artist's Studio David Findlay JR Gallery, New York Private collection, Asia This lot is accompanied with a certificate of authenticity signed by Janay Wong from David Findlay JR Gallery, New York.

NT$ 1,500,000 - 2,200,000 HK$ 409,000 - 599,000 US$ 52,600 - 77,100 RMB 346,000 - 508,000

莊喆 無題 A7272（雙聯幅） 1988年 壓克力 畫布 132 x 193 cm 簽名右下：莊喆 88 題識畫背：88-59 (diptych) 來源 藝術家工作室 大衛．芬里畫廊，紐約 私人收藏，亞洲 附紐約大衛．芬里畫廊Janay Wong開立之保證書

034

ATSUKO TANAKA

田中敦子

(Japanese, 1932-2005)

作品 99-A

Work 99-A

1999年 合成樹脂琺瑯質塗料 畫布 55.5 x 31 cm 簽名畫背：田中敦子 1999

1999 Synthetic polymer paint on canvas 55.5 x 31 cm Signed reverse Atsuko Tanaka in Kanji and dated 1999 PROVENANCE Est-Ouest Auction, Hong Kong, December 1, 2015 Acquired from the above by the present owner

來源 日本伊斯特拍賣，香港，2015年12月1日 現有收藏者購自上述來源

NT$ 1,800,000 - 2,800,000 HK$ 490,000 - 763,000 US$ 63,100 - 98,100 RMB 416,000 - 647,000

田中敦子自 1953 到 1958 年間，其藝術實踐疾如雷電，圍繞當

States. The work titled 99-A marks a divergence between

時世界藝壇剛剛崛起的極簡主義、改變物質材料地位的觀念主

the original "Gutai'" philosophy and Tanaka's creations later

義，以及跨媒介策略展開，較之後來在歐美興起的藝術運動要

in her career. From there, Tanaka shifted her focus from 3D

早早提前了十年。作品《99-A》是其創作後期階段與「具體派」

installation art to graphic paintings, as different forms of

的原有理念出現分歧的標誌之一，田中敦子進而將創作從立體

polka dots and circles became the primary elements of her

的裝置藝術轉向了平面畫作，各種形態的波點和圓形便成為了

creations.

她最主要的創作元素。

Tanaka likes to encircle and connect the rings in her

田中敦子喜歡在畫中用縷縷的線條將這些圓形圍繞串聯，純色

paintings with threads of lines. The full-colored circles

的圓圈彷彿是在畫框的有限空間中不斷拉扯和彈跳的「生命

look like "units of life" that keep on stretching and

體」，裹挾著混雜的思緒；這些線條既沒有開始，也沒有盡頭。

bouncing within the boundary of a frame, entrapped

以至於視覺語法侵入了日常生活的生動紋理，令人驚奇且直率，

within mixed trains of thought. These lines neither have

使其成為後期繪畫的亮點之作。田中敦子一直把這些不限媒介

a beginning nor an end. In this way, the visual language

的藝術實驗稱為「繪畫」，奠定了其在藝術創作後期進行大量

penetrates the expressive textures of daily life, thereby

抽象潑畫的基礎。作為戰後世界女性藝術群體中的代表人物，

presenting the fascination and openness that brighten up

田中敦子的作品自始至終具備極強的跨媒介藝術精神，其長達

Tanaka's paintings later in her career. Tanaka herself has

數十年的彩色「線與圈」系列是最為著名的抽象裝置作品。

always referred to these transmedia artistic experiments

From 1953 to 1958, the art of Atsuko Tanaka struck the global art scene like lightning with styles spanning minimalism, which had just emerged at the time, to conceptualism, which had changed the role of physical materials, and even extending to transmedia strategies.

Her development was ten years ahead of those of art movements that appeared later in Europe and the United

as "paintings," which laid the foundation for substantial abstract splash paintings in her later stages of artistic creation. As a representative figure in the group of post-war female artists, Atsuko Tanaka's work has always featured a strong transmedia art spirit. In particular, her colorful and decades-old Line and Circles is her most celebrated series of abstract installation art.

035

ANDRÉ BRASILIER (French, b. 1929)

Chevaux dans la Vallée en automne 2012 Oil on canvas 89 x 117 cm Signed lower right André Brasilier Initialed reverse stretch A.B ., titled Chevaux dans la Vallé en automne , dated 2012 and inscribed 50F PROVENANCE Masterpiece Auction, Singapore, August 24, 2014, lot 169 Acquired from the above by the present owner

NT$ 3,600,000 - 5,500,000 HK$ 981,000 - 1,499,000 US$ 126,200 - 192,800 RMB 831,000 - 1,270,000

「我非常喜愛這種動物（馬）， 尤其是牠們與生俱來的美麗及和諧。 牠們在自然中帶來一種規模感，能夠與天際或海岸線， 相映成一種有趣的比例。」－布拉吉利 "I like this animal [horses] very much, especially their natural sense of beauty and harmony.

安德烈．布拉吉利 秋谷裡的馬群 2012年 油彩 畫布 89 x 117 cm 簽名右下：André Brasilier 簽名題識畫背框條：Chevaux dans la Vallé en automne A.B. 2012 50F 來源 尚品藝術拍賣，新加坡，2014年8月24日，編號169 現有收藏者購自上述來源

They exhibit a sense of scale in nature and show

interesting proportions against the skyline or coastline." － ANDRÉ BRASILIER

布拉吉利出生於 1929 年法國昂儒的索米爾鎮，雙親皆為畫家。

his life, he drew from his passionate worship of the beauty

1949 年進入法國國立美術學院，師承莫里斯．布里列松。1952

of nature. He has depicted vast ocean scenes and forests,

年榮獲佛羅倫斯布魯蒙梭大獎，隔年他的繪畫更得到羅馬大獎

using variations in color to express the changes of time

肯定。1960 年首次於巴黎的維爾畫廊舉行展覽。應不同畫廊及

and seasons. With interwoven heavy and light colors, he

博物館邀請，之後連年於世界各地巡迴展覽。1980 年於法國雪

expresses different emotions in the pictures. He sought

儂梭城堡，舉行第一次個人回顧展，2005 年更於世界四大博物

simplicity in form, simplifying detailed constructs and

館－聖彼得堡冬宮，為期三個月的盛大回顧展。

complexity to a great extent to bring a focus to the

布拉吉利受到浮世繪與表現主義影響，創作理念專注於傳達， 一物一景所伴隨的精神感受。對自然之美的傾慕，藝術家傾一 生的熱情禮讚。筆下的寬闊海景與森林，變化的色彩，表達時 序的轉換，濃、淡交織，傳達不同的畫面情緒。利用「形」的 簡約，大量簡化細微的構築和繁瑣，集中觀者想像力。他描繪 的對象多是女人、音樂家與駿馬，是藝術史脈絡常見且為人熟 悉的題材。由於風格獨特，每每都能讓觀者過目不忘，留下深

imaginations of the viewer. What he portrays are often women, musicians, and horses-topics common in art history and familiar to the viewer-but because of his unique style, his paintings create profound impressions that remain impressed in the minds of viewers. His romantic style is like the fragrance of flowers blowing into viewers hearts, intoxicating them with his elegant art sentiment.

刻印象。恬靜高雅的藝術情懷令觀者沉醉。 André Brasilier was born in 1929 in Saumur, Anjou, France.

Both of his parents were painters. In 1949, he entered the École nationale supérieure des Beaux-Arts in France and studied with Maurice Brianchon. In 1952, he won the Florence Blumenthal Prize Award and, in the following year, the Grand Prix de Rome of painting. In 1960, he held his first exhibition in Galerie Weil in Paris. In the following years, he was invited by various galleries and museums to hold exhibitions around the world. In 1980, he held his first retrospective at the Château de Chenonceau, France. In 2005, he held a grand retrospective in one of the four major museums in the world, the Hermitage Museum in Saint Petersburg, Russia, that lasted for three months.

Brasilier was influenced by ukiyo-e and expressionism.

His creative concept focuses on conveying the spiritual perceptions accompanying objects and scenery. Throughout

安德烈．布拉吉利《大卡瑪爾格騎兵隊》2002 油彩 畫布 191 x 260 cm， 香港蘇富比2021春拍 港幣 3,654,000 成交 André Brasilier, Grande cavalcade camarguaise , 2002, oil on canvas, 191 x 260 cm, Sotheby's Hong Kong 2021 Spring Auction, HKD 3,654,000 sold

036

ROBERT COMBAS (French, b. 1957)

Persian Romances 1994 Acrylic on canvas 261 x 208.5 cm Signed center left and lower right Combas Dated reverse stretch 1994 This lot is accompanied with a photograph of the artist.

自由繪畫運動的藝壇寵兒，透過不留白的畫布，將人性、戰爭、信 仰、神話、音樂等跨國界的多元文化表現在繪畫。黑色粗線條繪製 於強烈色彩上，強大的視覺感官，時而怵目驚心，時而幽默風趣； 透過無偏見的方式擁抱多元文化。 羅伯．貢巴斯生於法國里昂，是法國 1980 年代引領自由繪畫運動 的藝壇寵兒，他是位多才多藝的藝術家、雕塑家、詩人、音樂人。

NT$ 4,200,000 - 6,500,000 HK$ 1,144,000 - 1,771,000 US$ 147,200 - 227,800 RMB 970,000 - 1,501,000

哪怕是走了音的吉他，熱愛音樂的貢巴斯依然玩得盡興，他也曾表

羅伯．貢巴斯

The leader of "La Figuration Libre" is known for his spontaneous

波斯傳奇 1994年 壓克力 畫布 261 x 208.5 cm 簽名左中及右下：Combas 年代畫背框條：1994

示「我的畫就是搖滾樂」。已屆花甲之年的貢巴斯僅僅是外觀上多 了些歲月的痕跡，他新穎的思維和前衛的裝扮映出了他充滿活力且 俏皮的一面。因為他善於求新求變，不斷地進化，因而造就了持續 創新且引人注目的題材。

approach to paintings, illustrated humanity, war, religions, mythology, music and other cross boundaries multi-cultures genres through saturated canvases. With the black outline setting against vivid colors, the subject stands out with intense visual impact, sometimes it is a little horrendous, sometimes it is filled with humor; without any bias while embracing multicultures makes up the uniqueness of his works.

附藝術家與作品合影照片 Robert Combas was born in Lyon, France. Combas was the leader of "La Figuration Libre" movement of the 80s in France, and is regarded as one of the most prolific artists of today.

Combas is a multi-talented artist in painting, sculpting, poetry, and music. The amount of energy and passion Combas has for arts is just the same as for guitar, as he once said that "mine painting is rock (Ma peinture c'est du rock)". It is easy to see that he would excel in them as both activities allow him to express his imaginations wildly and spontaneously. For Combas who turned the age of sixty, there're mere traces on the appearances, and his avant-garde minds with unconventional styling reveals the mischievous and energetic side of him. Combas is continuously evolving and in search of new inspirations, as a result, his creations are rich and innovative.

自 1960 年代尚．杜布菲提倡的原生藝術，中間經歷了搖滾樂、

Combas had his first solo exhibition when he was only

塗鴉藝術、言論自由的年代，到了 1980 年代，因應人們嚮往於

23, and held a major retrospective at the age of 27, the

更自由的生活價值和社會現象，自由繪畫藝術就此誕生。貢巴

realization of his style got more sophisticated during 1984-

斯則是透過人為中心，透過黑色粗獷線條和突出的雙眼，繪出

1988, in which the canvases are completely filled with colors

他對世界的見解。因為貢巴斯的工作室位於巴黎北站附近的巴

leaving no space at all. In a way it is saying that each and

貝斯，每天圍繞在多元種族及外來文化的環境中，無論是非洲

every corner of the society needs someone to care for, and

明亮的服飾或是誇張的日本漫畫、佛教圖騰或是回教信仰，全

each and every layer is interrelated. Following the black bold

都轉成他取得靈感養分的根基。其色彩鮮明的作品時而充斥著

contour lines on top of saturated strong colors, his style is

怵目驚心的暴力，時而露出幽默風趣的表象嘲諷著，但它們不

absolutely uninhibited, meanwhile it gives the viewers a very

約而同地透露著如此多元化的社會皆是環環相扣的。

powerful visual sensation. His works was chosen to be shown

貢巴斯年僅 23 歲時即舉辦首次個展，27 歲時舉行大型回顧展， 其獨特的個人風格在 1984-1988 年間趨近成熟，而不留白的畫 布也彷彿說明著社會的每個角落都值得被留心。每一層都環環 相扣。黑色的粗線條繪製於強烈色彩之上、飽和鮮豔的色彩加 上無拘束的藝術風格，為其作品帶來強大的視覺感官。他的作

at the 2018 March exhibition "L'époque, la mode, la morale, la passion - Aspects de l'art d'aujourd'hui 1977-1987" at the Centre Pompidou in Paris. Not long before he met his muse, Geneviève Boteilla the very same year, who continued to be his model and partner.

品被巴黎龐畢度中心選入展出於 2018 年三月份的「時代、潮流、

The main reason to the growing popularity of Combas' works

精神、愛好－今藝術觀點 1977-1987」展覽中，不久後，也遇

is because he's able to speak the language of the world,

見了他的繆思－吉娜維芙．波特伊亞，至今仍是他的最佳模特

across boundaries through his works. Combas composes

兒和伴侶。

his work by integrating humanity, historical war, religions,

貢巴斯的作品之所以能迅速的在藝壇界發光，正是因為他透過 作品述說著跨國界的語言，將多元文化、人性、戰爭、信仰、 神話、音樂流派等編織出愛恨交融且無拘束的繪畫藝術。貢巴 斯的作品珍藏於巴黎龐畢度中心、巴黎卡地亞藝術基金會、荷 蘭阿姆斯特丹市立美術館及台南永都藝術館等。

mythology and music spontaneously and simultaneously, and finally forming the love-hate relationship of art. Major museums such as the Centre Pompidou in Paris, Cartier Foundation in Paris, Stedelijk Museum Amsterdam and Yung Tu Museum of Art in Tainan all have works of Combas in their collection.

Ever since the term of "Art Brut'' was invented by Jean Dubuffet in the 1960s, to the birth of "La Figuration Libre" of the 1980s, we have been through the rise of rock-androll, graffiti, freedom of speech, as people seek for freedom of expressions as their core values. The result of this social phenomenon gave birth to the rise of "La Figuration Libre''.

Combas draws inspiration from his surroundings, and often depicts various kinds of people as his centre theme; he uses bold black contour lines and protruding eyes to depict the world he sees. The studio of Combas was situated at Barbés near the Gare du Nord of Paris, an area that is surrounded with multi-cultures and ethnicity groups; whether it be the brightly-colou red African clothing, 1 exaggerated Japanese comics, or Buddhist influences and Muslim beliefs, they all turned into the resourceful inspirations base for Combas.

Some of his works are filled with colorful yet violent scenes, sometimes it possesses a humorous look as a mockery of the society, whichever it may be, they all send the same message, which is how diverse each and every one of us is.

羅伯．貢巴斯《太陽王》1987 壓克力 印花布 218 x 134 cm， 羅芙奧2017春拍 台幣 6,480,000 成交 Robert Combas, Le Roi Soleil , 1987, Acrylic on printed fabric, 218 x 134 cm, Ravenel 2017 Spring Auction, USD 215,282 sold

037

ATSUKO TANAKA (Japanese, 1932-2005)

1991-91f 1991 Vinyl paint on canvas, mounted onto plywood Diameter 90 cm Signed reverse Atsuko Tanaka , titled ‘91f and inscribed Ø 90 cm PROVENANCE Galleria Col, Osaka Acquired from the above by the present owner

NT$ 9,500,000 - 14,000,000 HK$ 2,589,000 - 3,815,000 US$ 333,000 - 490,700 RMB 2,194,000 - 3,233,000

田中敦子展演作品《電器服》 Atsuko Tanaka dispalys the work Electric Dress , 1956 © Akira Kanayama Atsuko Tanaka Association

田中敦子 1991-91f 1991年 合成樹脂漆 畫布裱於木板 直徑 90 cm 簽名畫背：'91f Ø 90 cm Atsuko Tanaka 來源 瑠古畫廊，大阪 現有收藏者購自上述來源

田中敦子作品《電器服》 Atsuko Tanaka's Electric Dress , 1956 © Akira Kanayama Atsuko Tanaka Association

另類波點女王．圓圈圈的能量－田中敦子 THE REMARKABLE QUEEN OF POLKA DOTS．THE POWER OF CIRCLES － ATSUKO TANAKA

田中敦子是日本戰後「具體派」代表性的前衛藝術家。1932 年

二屆具體派展覽，藝術家身著由超過二百顆燈泡、電燈管串聯

出生於日本大阪，年少時期經歷日本軍國主義。二次大戰的由

起的《電氣服》（Electric Dress, 1956）作品展示在世人面前，

盛轉衰，美軍佔領期間，受惠於韓戰軍需的經濟刺激。當 1956

該作品從物質跨越到意象，充滿不安與突破危險，從而確立田

年通天閣再度樹立天際線，田中敦子的前衛藝術亦如大阪城市，

中敦子當代藝術成就的里程碑。

從焦土中重生，開出五彩霓虹的燈火，照亮阪神港區夜空。 「作品完成的時候，我對線路的銜接其實沒有把握。但是必須 戰後日本以文化交流修復國際關係，間接催化國內新型態藝術

有人穿上它，我將自己覆蓋上塑料再穿上電氣裙。當神戶先生

活動的興起。1954 年創辦人吉原治良，號召有志青年們加入

說：要打開開關囉？我一瞬間想著：這就是死囚刑前的感受？」

「具體美術家協會」的行列，並以「絕不仿效他人」精神口號，

為了創作前所未有的藝術，田中敦子以身體實踐之，可見其義

成功將日本當代藝術，推向國際舞台的中心。吉原超越民族主

無反顧。

義的前瞻思維，成功打破文化藩籬，集合起田中敦子、白髮一 雄、嶋本昭三等藝術家，吸引了西方藝壇的目光。1957 年石橋 美術館與讀賣新聞社共同舉辦「世界當代藝術展」展覽，促成 了法國不定形藝術（Art Informal）– 米歇爾．塔皮耶（Michel Tapié）、 福 泰 爾（Jean Fautrier） 及 喬 治． 馬 修（Georges Mathieu）等藝術家造訪日本。隔年，塔皮耶再次造訪日本邀請 具體派藝術家與非定型藝術家交流，共同展出「新的繪畫世界 展 - 非定型主義與具體」，促而將「具體」概念傳入當時的歐洲。

2019 年台北市立美術館舉行「她的抽象」展覽，田中敦子作為 日本戰後，前衛藝術的靈魂人物，其美術地位與草間彌生並駕 齊驅。田中敦子參與具體派的活動直至 1965 年，脫離群體的 活動，並不影響她貫徹自己的藝術理念。1968 年行為藝術《沙 上圓圈》（Round on Sand）田中敦子在海潮與沙地之間，以 身體為中心手持樹枝，不斷畫出綿延的圓形幾何圖樣，她物理 性地將身體「投入」在創作過程，隨時間單向流逝，逐一感受 四周環境的細微變化，似乎人體行動是唯一串起無機介質的導

「創作中最有趣的事，是當馬達轉動著發光裝置，那些我層層

體。2007 年第五屆 Documenta 12 卡塞爾文件大展、2011 年

擺設的燈泡，四射著人工無法複製的異樣美感。」

紐約現代美術館 MoMA 大量展出的田中敦子作品，她的藝術重 新回到世人眼前，宣示其獨特且無與倫比的代表性。2012 年東

不同於當年的藝術家草間彌生、小野洋子，田中敦子並未飛往 美國追求更開放的社會風氣，向外尋求自由的生活型態或是成 名機會。相反地，她留守於日本參與具體派，與眾藝術先鋒有 志一同開創新格局，並堅持自己獨特的藝術表現，她思考藝術 在 戰 後 的 新 興 社 會， 得 以 何 種 形 式 連 接 起 個 體 與 外 部 世 界。 1953 年至 1958 年間，田中敦子的創作同時間橫跨行為藝術、

京當代美術館舉行：田中敦子個展「連接的藝術」（The Art of Connecting），是該同名畫展巡迴於英國 IKON Gallery、西班 牙 EACC 藝術中心之後，最為盛大的回顧展覽。匯集 100 多件 包含素描、雕塑、服飾、技術、拼貼等等，不同材質的創作品。 誠如田中敦子自認，創作超越既定印象與材質的限制，擴及時 間、空間、聲音，各式的創作皆可看待是「繪畫」的表現形式。

極簡主義、觀念藝術等等，如此蓬勃先進的創作展演，超前當 年歐美藝術圈近乎十年的發展。重疊 1950 年代運用新媒材，帶

「醫學與科學飛速發展，人們甚至討論要如何飛到火星，而我

有實驗與展演性質的作品，約莫 1956 年開始其平面作品中，出

祇想創造與時俱進的藝術。」田中敦子如是說。

現了霓虹燈 / 圓點、電路圖為靈感的抽象圖像，也是在同一年第

Atsuko Tanaka was an avant-garde artist representative of

the outside world in the new post-war society. Between 1953

Japan's post-war "Gutai group." Born in Osaka, Japan in

and 1958, Atsuko Tanaka created works that simultaneously

1932, Tanaka experienced Japanese militarism during her

spanned across performance art, minimalism, conceptualism,

adolescent years. Following Japan's decline after World War

and more. The level of development in such a vigorous

II, during the US Army occupation, the Japanese society

and advanced creative performance was nearly a decade

benefited from the economic stimulus sparked by the

ahead of European and US art circles at that time. On top

military industry of the Korean War. In 1956 when Tsutenkaku

of using new media to create experimental, performative

was rebuilt and once again stood on the skyline, in much

works in the 1950s, Atsuko Tanaka's graphic works began

the same way as Osaka City, Tanaka's avant-garde art was

to feature abstract images inspired by neon lights, polka

reborn from a scorched earth, sparking glamorous fireworks

dots, and circuit diagrams in 1956. At the second Gutai Art

on Hanshin Harbor's night sky.

After the war, Japan repaired its international relations through cultural exchange, which indirectly catalyzed the rise of new artistic activities in the country. In 1954, Gutai founder Jiro Yoshihara called for aspiring young people to join the Gutai Art Association. With the motto of

Exhibition in the same year, the artist debuted Electric Dress (1956) to the world by wearing a dress made of more than two hundreds of light bulbs and light tubes. As a crossover between materialism and imagery, the daring and wild breakthrough in this work marked the milestone of Atsuko Tanaka's achievement in contemporary art history.

"never imitate others," Gutai successfully drove Japanese

"When it was finished, I was uncomfortable about the

contemporary art to the center of the international stage.

electrical connections. Since somebody had to wear it,

Yoshihara's forward-looking ideas transcended beyond

I covered myself with vinyl and put the electric dress

nationalism while successfully tearing down cultural barriers.

on. The moment Mr. Sannomiya said, "I am turning the

By bringing together artists, such as Atsuko Tanaka, Kazuo

electricity on," I had the fleeting thought: Is this how a

Shiraga, and Shozo Shimamoto, Gutai attracted the attention

death-row inmate would feel?" For the purpose of creating

of the western art world. In 1957, the Bridgestone Museum

unprecedented art, Atsuko Tanaka fit her body into the dress

of Art and Yomiuri Shimbun jointly held the Contemporary

without any hesitation.

World Art Exhibition, attracting French Art Informel artists, including Michel Tapié, Jean Fautrier, and Georges Mathieu, to visit Japan. In the following year, Tapie visited Japan again to invite Gutai artists to exchange ideas with Art Informal artists. Through the joint organization of the "International Art of a New Era: Informel and Gutai," the "Gutai" concept was introduced to Europe at the time.

T h e Ta i p e i F i n e A r t s M u s e u m h e l d t h e " H e r s t o r y o f Abstraction in East Asia" exhibition in 2019. As the soul of Japan's post-war avant-garde art, Tanaka had a neck-andneck art achievement as Yayoi Kusama. Tanaka participated in the Gutai group's activities until 1965. Breaking away from group activities did not influence her implementation of her art philosophy. For the 1968 performance art Round on

Unlike other artists of her time, such as Yayoi Kusama and

Sand , Tanaka drew continuous circles and geometric patterns

Yoko Ono, Tanaka did not fly to the United States to pursue

on tidal sand by a tree branch with her body as the center.

a more open social atmosphere, and have a bold lifestyle

She physically "devoted" her body to the creative process in

or a chance to be famous. In contrast, she stayed in Japan

perception of individual, subtle changes in the surrounding

and joined the Gutai group to create new innovations

environment as time elapsed unidirectionally, as if human

with various art pioneers who shared the same ambitions.

body movement was the only conductor that connected

She persisted in her unique artistic expressions, and

inorganic media. The 2007 Kassel Documenta 12 and 2011

contemplated what form of art could connect individuals to

MoMA exhibition in New York featured many of Atsuko

Tanaka's works and brought her art back to the general audience, demonstrating her unique and unparalleled representation.

In 2012, the Museum of Contemporary Art Tokyo held Atsuko Tanaka's solo exhibition: The Art of Connecting . It was the most significant retrospective exhibition since the exhibition by the same name toured to the IKON Gallery in the UK and EACC Art Center in Spain. The exhibition featured a collection of over 100 pieces of works including sketches, sculptures, clothes, techniques, and collages made by different materials. As Atsuko Tanaka admitted, creation can transcend the limits of given impressions and materials, extending to time, space, and sound. All kinds of creations can be perceived as an expression of "painting."

"There's been so much progress in medicine and science, with people even talking about flying to Mars, and I just want to create art that can coexist with these times." Atsuko Tanaka expressed.

田中敦子《作品》1963 合成聚合物 畫布 145.5 x 113 cm， 香港蘇富比 2017 港幣 12,700,000 成交 Atsuko Tanaka, Work , 1963, synthetic polymer on canvas, 145.5 x 113 cm, Sotheby's Hong Kong 2017, HKD 12,700,000 sold

038

BERNARD BUFFET (French, 1928-1999)

Clown aux tasses à café 1996 Oil on canvas 104 x 73.3 cm Signed upper right Bernard Buffet and dated upper left 1996 PROVENANCE Galerie Garnier, Paris Galerie Christian Dazy and Lorella Santiago, Dijon Private collection, France Christie's, Shanghai Private collection, Asia

二十世紀新具象畫派大師：貝爾納．畢費（1928-1999），被

NT$ 17,000,000 - 26,000,000 HK$ 4,632,000 - 7,084,000 US$ 595,900 - 911,300 RMB 3,926,000 - 6,005,000

一生創作超過八千幅作品，近年市場關注度回溫，國際拍場屢

評論家和媒體譽為「寫實主義接班人」、「法國藝術的教皇」、 「戰後十大最傑出藝術家」等頭銜，他是連大師畢卡索、安迪． 沃荷都曾讚揚的天才型藝術家。高識別度風格，電影巨星般的 曝光率和軼事，使他名聲遍及全球，收藏家版圖擴及全世界。 創紀錄，排行前二十名的成績有半數，是其標誌性題材「小丑」 （Clown）締造的佳績。 The 20th century the Neo Expressionist Master, Bernard Buffet (1928-1999), was praised by critics and the media as

貝爾納．畢費 小丑與咖啡杯 1996年 油彩 畫布 104 x 73.3 cm 簽名上方：1996 Bernard Buffet 來源 莫里斯．賈尼耶畫廊，巴黎 洛雷拉．聖地亞哥畫廊，第戎 私人收藏，法國 佳士得，上海 私人收藏，亞洲

"The Successor of Realism", "The Pope of Art in France", and one of "The Post-war Top Ten Most Outstanding Artists." Even masters, such as Picasso and Andy Warhol, praised Buffet as an artistic genius.

Buffet became a globally well-known artist due to his highly distinguishable style, movie star-like international exposure and anecdotal tales. Attracting collectors from across the globe, he was highly prolific, creating more than 8,000 works in his lifetime. In recent years, his works have regained attention in the art market, repeatedly setting new records at international auctions. Roughly half of his top 20 auction sales have been his iconic "clown" paintings.

存在主義者的自畫像－貝爾納．畢費的小丑 BERNARD BUFFET'S CLOWN, AN EXISTENTIALIST'S SELF-PORTRAIT 畢費 1928 年生於巴黎，成長於布列塔尼海岸，喜愛生物與大自

Picasso）。然很少人能像畢費，如此深刻地表達悲喜之間，真

然，性格細膩而敏感。學業遇到的困難，難掩他卓越的藝術天賦。

實人性更多是蒼白而茫然的空洞情緒。「小丑頭像」毋寧是藝術

1948 年畫作《飲酒的人》展出於杜胡安．大衛畫廊（Drouant-

家表達自我內在的鏡像，它超越外在輪廓，將人性彰顯到極大

David Gallery），輾轉為巴黎市立美術館收藏。同年，藝術家

化，穿透表層扮相去直擊觀者。小丑從未如此赤裸與真摯，他的

知 遇 伯 樂 畫 商： 大 衛 與 賈 尼 耶（Galerie David-Garnier）， 簽

眼神烙印在每一位觀者心底，也自此成 畢費藝術的代名詞。

下代理合約，更獲得「藝評獎」從此一炮而紅。害羞生澀的創作 青年，從此蛻變為鎂光燈追捧的天才藝術家。畢費早期筆下的人 物，總是蒼白瘦弱且眼神空洞，如一具抽離靈魂的軀殼，流露作 者對戰爭與人性的失望傷感，畫風充滿著情感張力和渲染力。

1956 到 1992 年 間 相 隔 近 四 十 年， 畢 費 並 未 推 出 以 馬 戲 團 或 是小丑為系列的專題展覽，但這不意味他停止小丑主題或是刻 意封筆。相反地，由此脈絡延伸，像是打開新視野，人物題材 越來越多元化，甚至發展到畫家個人的家庭生活，亦如聖女貞

法國總統席哈克曾道：「畢費具體呈現了法國戰後的苦難，全心

德（Jeanne d'Arc）、 鬥 牛 士（La Corrida）、 未 著 衣 的 女 人

全意地表達虛弱、痛苦與貧窮的情況。」然而隨著戰後經濟復甦，

（Femmes Déshabillé）、 女 瘋 子（Les Folles）、 安 娜 貝 爾

報章媒體的包裝追捧，畢費作為法國具象繪畫的代表人物，他連

（Annabel Buffet）、達妮耶與維吉妮（Danièle et Virginie）

年發表新題材與展覽，得到巨大的成功和市場肯定，脫離清貧生

等系列。其中 1960 年代末期改頭換面的「高禮帽紅髮小丑」和

活，也愈加大膽嘗試不同題材。不善言辭的畢費，對於人事物的

1970 年代的「女瘋子」系列，像是 1956 年「馬戲團」系列與

感受，時常是藉由繪畫抒發。他畫下空盪的工作室、好友畫廊店

1992 年發表「小丑與音樂家」系列之間的連結。人物們抽離早

面、與愛人牽手散步的樹林，以畫筆書寫日記，表達歡喜、悲傷、

期了無生趣的愁苦樣貌，此時多了生動的眉毛、紅髮、長睫毛，

憂鬱、溫馨諸多複雜情緒。

裝束色彩也愈加活潑生動。「女瘋子」系列中長達三米，甚至是 六米長的巨型畫幅，群像構圖相當壯觀，卓越超群的繁複技巧，

巴黎高等美院的學生時期，畢費流連於羅浮宮，熟稔歷史大師

畢費再次證明自己無與倫比的實力。

名作。他也如歷代傑出藝術家，發展個人風格同時，仍不忘重 塑前人佳作，致敬其欽慕之意。2016 年巴黎市立美術館舉辦畢

1971 年法國政府頒發畢費法國榮譽軍團騎士勳章，1974 年他正

費回顧展，展出創作《向庫爾貝致敬 – 午睡》、《向林布蘭致

式入選世襲制的法蘭西學院院士，作為法國藝術家至高無上榮譽

敬 – 尼古拉斯．杜爾博士的解剖學課》、《向蘇丁致敬 – 解剖牛

和殿堂級歷史大師的官方認可。1990 年代晚期紅髮小丑的眼神

隻》，即能看出這位年輕藝術家不凡天份、野心與爐火純青的繪

從銳利自信，漸漸多了一分柔和與俏皮，原本木然的神情也開始

畫技巧，這彷彿是畢費站上世界舞台的序幕。1955 年，舉凡其

露出笑容。戰後法國與日本藝術圈交流甚密，畢費充滿衝擊力的

他 大 師 級 藝 術 家： 羅 特 列 克（Henri de Toulouse-Lautrec）、

畫風，自然而然襲捲東洋國境。其中，靜岡縣銀行家岡野喜一郎，

竇 加（Edgar Degas）、 盧 奧（Georges Rouault）、 秀 拉

收藏近上千件畢費作品，也為其蓋了個人美術館。1987 年愛知

（Georges-Pierre Seurat）， 都 曾 創 作 過「 馬 戲 團 」（Le

縣美術館舉行的畢費展覽，宣傳海報選擇小丑畫作來廣宣示眾。

Cirque）系列，畢費也迎向這項挑戰，並在隔年於年度個人展覽

更別提以小丑為題材得石版畫，張張都是秒售一畫難求。

中發表。這是他筆下「白帽小丑」正式登場，如雷的掌聲響起， 畢費再度獲得空前的成功。

1992 年「 小 丑 與 音 樂 家 」 系 列， 如 期 開 展 於 馬 提 尼 翁 大

名聲水漲船高，美國與歐洲各國展覽邀約紛至。此時期粉墨登場

Garnier）。闊別數十年再度展演的小丑系列，畫中紅髮丑角們

的小丑，藝術家為突顯中央位置的人物，仍保留大面積灰色漸層

兩兩成對，衣著鮮豔浮誇，更加粉白的臉色，漆上紅通的鼻子酒

的簡約背景。誇張華麗的服飾，對比著人物厭世憂鬱的神情。

窩和高聳眉型。舞台式佈局的構圖，他們手持風琴、低音號樂

戲劇張力集中在小丑臉部，緊蹙雙眉和八字狀下撇的法令紋與嘴

器或彈著鋼琴，相視微笑的演奏默契，觀眾好似參與了演出的歡

角。小丑起源十七世紀義大利喜劇的角色，原有勸世伸張不公

愉，卻渾然不覺自身僅能作為旁觀者默默注視一切。揣摩藝術家

的智慧本質，歷史上更不乏名家創作小丑題材，如華鐸（Jean-

的心境，或許能解讀為步入晚年之後，人生高潮迭起宛如一場表

Antoine Watteau）、 塞 尚（Paul Cézanne）、 畢 卡 索（Pablo

演，曲終人散豁達的心境，外界褒貶已無需太在意。1996 年高

道（Avenue Matignon） 的 賈 尼 耶 畫 廊（Galerie Maurice

雄市立美術館舉辦「畢費回顧展」，邀請藝術家與夫人親自來台

For mer French President Chirac once said: "Buffet

參展，一時間造成轟動，足見畢費魅力於亞洲收藏圈的深遠擴及

concretely illustrated the suffering of post-war France.

度，更是藝術家在世時為數不多，與華人藝術圈的珍貴交集。

He wholeheartedly expressed the situation of weakness,

此次春拍「薈萃國際專場」呈獻，同年度創作《小丑與咖啡杯》 頭 像 畫 作， 鮮 綠 背 景 對 色 小 丑 的 橘 紅 頭

suffering, and poverty." As the economy recovered after the war, however, with packaging and praises from the p r i n t m e d i a , B u ff e t b e c a m e t h e

髮，鮮明黃色蝴蝶領結。他的藍色雙眼向

re p re s e n t a t i v e o f E x p re s s i o n i s m

上看，頭頂三組咖啡杯。單邊嘴角上翹微

in France. He also achieved great

笑，彷彿得意於成功的演出，表情十分可

success in the art market with new

愛。掩藏逗趣活潑畫風的背後，很難想像

artistic themes and exhibitions for

此時的畢費深受帕金森氏症所苦，使他改

consecutive years, enabling him to

變筆鋒，刻意用畫刀滑刮顏料營造深淺肌

leave poverty behind and bravely

理，平衡黑邊線輪廓，反而增強了此作的

experiment with various subjects.

力度，呼應主題的效果，與藝術家面對生

Buffet was not a conversationalist,

命困境，仍不放棄藝術，堅持到底的動人

and often communicated his

精神。

feelings about people and matters via paintings. He painted an empty

B o r n i n 1 9 2 8 i n P a r i s , B u ff e t g re w

studio, his good friend's gallery

up in the coastal region of Brittany,

storefront, and the forests where

France. With a sensitive and delicate

he went with lovers for strolls hand-

personality, he was always most at

in-hand. He wrote his diary with his

ease in nature surrounded by living

paint brush, expressing a multitude

creatures. His difficulties in school could

of complex emotions such as joy,

not obscure his natural artistic talent.

His 1948 painting Le Buveur, originally exhibited at the Drouant-David Gallery, has since become part of the collection at the City of Paris Museum of Modern Art.

sorrow, depression, and warmth. 貝爾納•畢費《鬥牛士》1966 油彩 畫布 65 x 46 cm， 羅芙奧2018春拍 台幣 9,000,000 成交 Bernard Buffet, La Corrida - Tête de Toréro , 1966, oil on canvas, 65 x 46cm, Ravenel 2018 Spring Auction, USD 301,609 sold

In the same year, Galerie David-Garnier recognized his talents and signed on to be his agent. Buffet also won the Prix de la Critique which propelled him into the limelight.

The originally shy and awkward young man was then instantly transformed into an artistic prodigy chased by the spotlight.

The characters in Buffet's early paintings were often thin and pale with blank-staring eyes, just like a shell of a soulless body. Such imagery revealed the painter's disappointment and sorrow about war and human nature, establishing his artistic style as emotional and poignant.

When he was a student at the École Nationale Supérieure des BeauxArts in Paris, Buffet frequented the Louvre to study the art masterpieces.

While developing his own individual style, he also followed the footsteps of art masters in the past, and paid tribute to his predecessors by recreating their masterpieces. During the 2016 Buffet Retrospective Exhibition organized by the Musée d'Art Moderne de la Ville de Paris, which showcased his works such as Tribute to Courbet – The Nap, Tribute to Rembrandt – The Anatomy Lesson of Dr. Nicolaes Tulp, and Tribute to Soutine – Carcass of Beef, it was possible to see the unusual talent, ambition and the refined painting skills of this young artist. It was basically the opening act of Buffet flourishing on the world stage.

In 1995, all other artistic masters, including Henri de

The clown figure originated from the Italian comedy in the

Toulouse-Lautrec, Edgar Degas, Georges Rouault, and

17th century, initially with the intention to express innate

Georges-Pierre Seurat, created a Le Cirque series. Buffet

wisdom in support of justice. Many famous artists in history

did not shy away from the challenge and presented his own

have made attempts at the clown subjects, including Jean-

Le Cirque series in his solo exhibition the following year. In

Antoine Watteau, Paul Cézanne, and Pablo Picasso.

addition, Buffet again achieved unprecedented success after the official debut of his Clown blanc au chapeau series won thunderous applause.

However, very few artists have succeeded in creating profound expressions of joy and sorrow as Buffet. The true human nature is more often a blank state or emptied

As his fame grew, invitations flew in for exhibitions in the U.S.

emotions. The "head of a clown" was perhaps a mirror

and Europe. The clown paintings created during this period

image of the artist's inner self that transcended its contours

still retained a large gray area of gradation as the simple

and outlines, maximizing humanity by going beyond the

background, which highlighted the figure in the center. The

surface appearance and exposing all directly to the viewers.

exaggerated magnificent costume served to offset the weary

The clown has never been so naked and sincere. Etched

and depressive facial expressions. The dramatic tension was

in the heart of each viewer is the expression of the clown's

centered around the face of the clown, with knitted brows,

eyes, which has become synonymous with Buffet's art.

downward laugh lines as well as the corners of the mouth.

For nearly 40 years between 1956 to 1992, Buffet did not showcase his Le Cirque or clown series paintings in a thematic exhibition, but he never stopped playing with clown figures or painting altogether. Conversely, he expanded this context as if opening a new horizon. As his character paintings became more diverse, the artist began to include his personal family life in his works, such as his series on Jeanne d'Arc, La Corrida, Femmes Déshabillé, Les

Folles, Annabel, and Danièle et Virginie.

In particular, the completely changed the Clown with Tophat paintings the late 1960's and Les Folles series in the 1970's seemed to serve as the bridge connecting the 1956 Le

Cirque series and the 1992 Les Clowns Musiciens series.

During this time, the figures abandoned their miserable and bored appearance of the early period, and added dramatic eyebrows, red hair, long eyelashes, as well as playful 貝爾納•畢費《薩克斯風小丑音樂家》1991 油彩 畫布 225.4 x 270 cm 倫敦佳士得2016 美金 1,501,848 成交 Bernard Buffet, Les clowns musiciens , le saxophoniste, 1991, oil on canvas, 225.4 x 270 cm, Christie's London 2016, USD 1,501,848 sold

and colorful outfits. In the Les Folles series, Buffet again provided proof of his unparalleled skills with spectacular group portraits and outstanding complex techniques in his

large paintings of three meters long or giant paintings up to

Contemplating the artist's emotional state, we may visualize

six meters long.

the event as the artist in his old age after his life reaches

In 1971, Buffet was appointed the Chevalier de la Légion d'Honneur by the French government. In 1974, he was formally elected as a member of the Académie des BeauxArts, painting section. Both served as the official recognition of Buffet as a supreme French artist and a grand master of art. In the late 1990's, the confident and piercing eyes of the original red-hair clown softened, adding a touch of playfulness and kindness. The original wooden facial expression also began to smile. After the war, the French art community enjoyed a close connection with the Japanese art community. Thus, Buffet's forceful painting style naturally swept Japan.

A m o n g t h e m , K i i c h i ro O k a n o , a b a n k e r i n S h i z u o k a Prefecture, collected more than one thousand paintings by Bernard Buffet, and built a museum dedicated to his art.

Also, the 1987 Buffet Exhibition held at the art museum in Aichi Prefecture chose a clown painting as the image on the publicity poster. Not to mention the lithographs that used clowns as the subject, which are hard to come by as they would sell out in an instant.

In 1992, the Les Clowns Musiciens series was launched as scheduled at the Galerie Maurice Garnier on Avenue Matignon. Exhibited again after decades, the clown series showed paintings of paired red-haired clowns wearing bright and exaggerated garments, with even whiter faces painted with red noses, dimples and very high eyebrows. The composition was structured like a stage layout. The figures looked into each other's eyes with a smile, and played in concert the piano, or the organ or bass instrument in their hands. The viewers seem to be able to participate in the joy of the performance without realizing it, though they can only observe it all as a bystander.

climax, before becoming open and carefree at the end of a vibrant performance. The criticism or praises of the outside world no longer mattered. In 1996, the Kaohsiung Museum of Fine Arts held a Buffet Retrospective Exhibition, which caused quite a sensation as the artist and his wife came to Taiwan to participate in the event. It was further evidence that Buffet's char m reached far and wide among the collectors in Asia. It was also one of few rare and precious opportunities for exchange between the artist and the art community of the Chinese-speaking world.

For this spring auction, SELECT section will present the portrait of Clown aux tasses à café , featuring a bright green background in contrast with the orange-red hair of the clown and bright yellow bow tie. Both of his blue eyes are looking upward while balancing three sets of coffee cups on his head. One corner of his mouth curves upward in a smile with a cute expression, as if he is pleased with his successful performance. It's difficult to imagine that hiding behind the lively and humorous painting style was Buffet's suffering from Parkinson's disease at the time. He had to change his brushstrokes by the deliberate use of a paint knife, scraping off paint to create textures of shallowness and depth. The textures balance the black outlines but actually serve to strengthen the power of the painting while enhancing the theme. That is, faced with difficulties in life, the artist never gave up on his artistic endeavors, and movingly persisted until the very end.

039

ANDRÉ COTTAVOZ

安德烈．科達沃茲

(Spanish-French, 1922-2012)

盛開的繁華

Le Grand Bouquet

約2010年 油彩 畫布 81 x 100 cm 簽名右下：COTTAVOZ 簽名畫背：LE GRAND BOUQUET COTTAVOZ

c. 2010 Oil on canvas 81 x 100 cm Signed lower right COTTAVOZ Signed COTTAVOZ and titled LE GRAND BOUQUET This lot is accompanied with a certificate of authenticity signed by Florent Cottavoz, the artist's son.

NT$ 320,000 - 480,000 HK$ 87,000 - 131,000 US$ 11,200 - 16,800 RMB 74,000 - 111,000

附藝術家之子弗洛朗．科達沃茲開立之原作保證書

040

ROBERT LOTIRON

羅伯特．洛提宏

(French, 1886-1966)

網球派對

La Partie de Tennis

油彩 畫布 80 x 100 cm 簽名右下：R. Lotiron

Oil on canvas 80 x 100 cm Signed lower right R. Lotiron PROVENANCE Sotheby's New York, Impressionist and Modern Art, October 9, 1996, lot 104 Acquired from the above by the present owner

NT$ 600,000 - 900,000 HK$ 163,000 - 245,000 US$ 21,000 - 31,500 RMB 139,000 - 208,000

來源 紐約蘇富比，「印象派與現代藝術拍賣」， 1996年10月9日，編號104 現有收藏者購自上述來源

041

WALASSE TING

丁雄泉

(Chinese-American, 1929-2010)

摩登裸女

Nude with Flowers

2001年 壓克力 水墨 紙本 61 x 60 cm 鈐印中上：採花大盜

2001 Acrylic and ink on paper 61 x 60 cm With one seal of the artist PROVENANCE London Arts Group, USA Acquired from the above by the present owner.

來源 倫敦藝術集團，美國 現有收藏者購自上述來源

NT$ 220,000 - 340,000 HK$ 60,000 - 93,000 US$ 7,700 - 11,900 RMB 51,000 - 79,000

愛畫女人出名的丁雄泉，筆名「採花大盜」，也是個性十足的

artists. He then moved to New York, where he developed

藝術家。出生於江蘇無錫，成長於上海，童年時期開始在街頭

styles in America's pop art and abstract expressionism. Before

作畫，雖然曾短暫入上海美術專科學校學習，但他一直認為是

heading to Paris, Walasse Ting had completed a body of life

自學的素人畫家。1952 年 23 歲時移居巴黎，結交許多眼鏡蛇

drawings in ink, which he treasured enough to bring with him

畫派 CoBrA 的藝術家，而後移居紐約，發展出美國普普藝術與

to Paris by sea.

抽象表現主義的風格。當年前往巴黎前，丁雄泉曾完成一批素 描水墨，視為珍寶，飄洋過海地攜至巴黎，但後來視野大開後， 自覺不夠成熟，於是毀去此批作品，決定重新開始。大開大闔

However, after expanding his horizons, he realized that he still had much to learn, so he threw away these works and decided

的個性，也預視了未來發展得以大器淋漓。

to begin anew. His audacious personality paved the way for

丁雄泉個性浪漫，喜愛寫詩，在他多本出版品中，常見他手寫

at heart who loved writing poems.Many of the works in his

的中英詩文，筆跡瀟灑有個性 1950 年代他的作品多探索情慾、

publications were hand-written poems in both Chinese and

女體的題材，展現熾熱的生命力。到了美國之後，開始以新媒

English, his individualistic print of the 1950's exploring lust and

材進行創作，例如油彩、壓克力顏料、粉彩，以及最得心應手

the female body in an expression of his burning vitality. After

的水墨。丁雄泉的早期作品多為是帶有東方精神的黑白抽象表

arriving in America, he began working with new media such as

his daring future developments. Walasse Ting was a romantic

現風格，筆觸如書法般的遒勁雄渾。1960 年代才轉向螢光、普

oils, acrylics, and pastels, alongside the inks he was so familiar

普色彩，主題也偏向具象，然而他的滴流、潑灑仍看得出東方

with. Walasse Ting's earlier works were mostly blackand-

水墨的趣味。初期的壓克力彩等作品多繪於畫布上，1980 年代

white abstract expressionism works of eastern influences, his

之後則以宣紙為主要素材，水墨線條勾勒，色彩摩登豔麗依舊，

brushwork utilizing the expressiveness of calligraphy. It was

巧妙地融繪東西方繪畫的表現特色。

in the 1960's that he began to gravitate towards neon and

Famous for his love for drawing women, Walasse Ting, also known as "The Flower Thief, is also an artist with quite a personality. Born in Wuxi, Jiangsu and raised in Shanghai, he began drawing on the streets in his childhood. Though he briefly attended Shanghai Special Fine Arts School, he had always considered himself a self-taught artist. Moving to Paris 1952 at the age of 23, he befriended several CoBrA

pop colors, his subjects becoming more figurative while still retaining the amusing qualities of eastern ink paintings in every flick of his brush. His early acrylics were mostly painted on canvas. From the 1980's onward, his main choice of medium was ricepaper, his inked lines and colorful modern colors remaining very much the same while cleverly blending in methods of expression from both the east and the west.

042

WALASSE TING

丁雄泉

(Chinese-American, 1929-2010)

美人圖

Beauty

1993年 壓克力 紙 22 x 29 cm 鈐印右下：採花大盜 簽名題識畫框背面：Pour Mousieur RONA Love Ting 26.6-1993

1993 Acrylic on paper 22 x 29 cm With one seal of the artist Signed reverse of the frame Love Ting , inscribed Pour Mousieur RONA and dated 26.6-1993 PROVENANCE Sotheby's, Hong Kong, Boundless: Contemporary Art, January 20, 2015, lot 92 Acquired from the above by the present owner

NT$ 120,000 - 180,000 HK$ 33,000 - 49,000 US$ 4,200 - 6,300 RMB 28,000 - 42,000

來源 香港蘇富比，「無界：當代藝術」， 2015年1月20日，編號92 現有收藏者購自上述來源

043

WALASSE TING

丁雄泉

(Chinese-American, 1929-2010)

美人羞花

Lady with Red Hair

壓克力 紙本 45.5 x 61.5 cm 鈐印左上：採花大盜

Acrylic on paper 45.5 x 61.5 cm With one seal of the artist PROVENANCE London Arts Group, USA Acquired from the above by the present owner

NT$ 220,000 - 340,000 HK$ 60,000 - 93,000 US$ 7,700 - 11,900 RMB 51,000 - 79,000

來源 倫敦藝術集團，美國 現有收藏者購自上述來源

044

ARMAN FERNANDEZ

阿曼．費爾戴儂

(American-French, 1928-2005)

捷豹

Panthère

1990年 銅雕 版次39/99 49（長）x 9（寬）x 24（高）cm 簽名雕刻右腳：Arman 編號左腳：39/99

1990 Bronze, ed. 39/99 49(L) x 9(W) x 24(H) cm Engraved on the right foot Arman Numbered on the left foot 39/99 This lot is accompanied with a certificate issued

by K.K. Wave Art, New Taipei.

NT$ 220,000 - 340,000 HK$ 60,000 - 93,000 US$ 7,700 - 11,900 RMB 51,000 - 79,000

附彩石藝術開立之作品保證書

045

AUGUSTE RODIN (French, 1840-1917)

Torso of Adèle Conceived in 1882; cast in 1998 Bronze with black patina; ed. 12/25 Foundry: Airaindor 45(L) x 21(W) x 13(H) cm Engraved base A. Rodin and dated 1998 reproduction Numbered base 12/25 with the foundry mark Cire Airaindor Perdue EXHIBITED Rodin in Taichung , Modern Art Gallery, Taichung, Taiwan, September 22-December 22, 2007 (another cast) ILLUSTRATED Serge Gérard, Rodin-Man of Bronze , Cheminements, Paris, 2004, p. 44, 48 (another cast) Li-jen Shih, Rodin in Taichung , Modern Art Gallery, Taichung, Taiwan, 2007, color illustrated, p. 110-111 (another cast) This lot is accompanied with a certificate issued

by Galerie Elegance, Taipei.

NT$ 480,000 - 700,000 HK$ 131,000 - 191,000 US$ 16,800 - 24,500 RMB 111,000 - 162,000

奧古斯特．羅丹 阿黛兒 1882年構思，1998年翻鑄 銅雕 版次12/25 鑄造廠 Airaindor 45（長）x 21（寬）x 13（高）cm 簽名雕刻下方：A. Rodin 1998 reproduction 編號雕刻下方：12/25 Cire Airaindor Perdue 展覽 「羅丹雕塑展－地獄門 VS. 愛」，現代畫廊，台中， 台灣，2007年9月22日至12月22日 圖錄 舍吉．傑哈，《羅丹 銅雕家》，雪米雷蒙出版社，巴黎， 2004，頁44、48（不同版次） 施力仁，《羅丹雕塑展 地獄門 VS. 愛》，現代畫廊， 台中，台灣，2007，彩色圖版，頁110-111（不同版次） 附愛力根畫廊開立之作品保證書

046

BERNARD CHAROY

貝爾納．夏洛瓦

(French, b. 1931)

克萊兒

Claire

2005年 油彩 畫布 46 x 38 cm 簽名左中：Bernard Charoy 題識畫背：CLAIRE

2005 Oil on canvas 46 x 38 cm Signed center left Bernard Charoy Titled reverse CLAIRE This lot is accompanied with a certificate of authenticity issued by the artist.

NT$ 240,000 - 360,000 HK$ 65,000 - 98,000 US$ 8,400 - 12,600 RMB 55,000 - 83,000

附藝術家簽名之原作保證書

047

BERNARD CHAROY

貝爾納．夏洛瓦

(French, b. 1931)

美樂蒂

Mélodie

1988年 油彩 畫布 64.5 x 54 cm 簽名右下：Bernard Charoy 簽名題識畫背：Mélodie Bernard Charoy 1988

1988 Oil on canvas 64 .5 x 54 cm Signed Bernard Charoy Signed reverse Bernard Charoy , titled Mélodie and dated 1988 This lot is accompanied with a certificate of authenticity issued by the artist.

NT$ 240,000 - 360,000 HK$ 65,000 - 98,000 US$ 8,400 - 12,600 RMB 55,000 - 83,000

附藝術家簽名之原作保證書

048

MICHEL–HENRY

米歇爾－昂利

(French, 1928-2016)

威尼斯盛開玫瑰

Roses épanouies à Venise

約1991年 油彩 畫布 81 x 65 cm 簽名左下：Michel-Henry 題識畫背框條：Roses épanouies à Venise

c. 1991 Oil on canvas 81 x 65 cm Signed lower left Michel-Henry Titled reverse stretch Roses épanouies à Venise PROVENANCE Dimensions Art Center, Taipei Acquired from the above by the present owner

NT$ 160,000 - 240,000 HK$ 44,000 - 65,000 US$ 5,600 - 8,400 RMB 37,000 - 55,000

來源 帝門藝術中心，台北 現有收藏者購自上述來源

049

ANDRÉ COTTAVOZ

安德烈．科達沃茲

(Spanish-French, 1922-2012)

蒙馬特聖心堂

Montmartre, Le Sacré-Coeur

油彩 畫布 81.5 x 60.5 cm 簽名右下：COTTAVOZ 題識畫背框條：Montmartre, Le Sacré-Coeur

Oil on canvas 81.5 x 60.5 cm Signed lower right COTTAVOZ Titled reverse stretch Montmartre, Le Sacré-Coeur PROVENANCE Galerie Taménaga, Paris Dimensions Art Center, Taipei Acquired from the above by the present owner

NT$ 280,000 - 420,000 HK$ 76,000 - 114,000 US$ 9,800 - 14,700 RMB 65,000 - 97,000

來源 為永畫廊，巴黎 帝門藝術中心，台北 現有收藏者購自上述來源

050

IZUMI AKIYAMA

秋山泉

(Japanese, b. 1982)

靜物 21

Still Life XXI

2012年 鉛筆 紙本 162.1 x 162.1 x 10 cm 簽名題識畫背：2012 靜物 XXI Ai

2012 Pencil on paper 162.1 x 162.1 x 10 cm Initialed reverse Ai , titled Still Life XXI in Kanji and dated 2012 PROVENANCE Kobayashi Gallery, Tokyo Gamo Gallery, Seoul Acquired from the above by the present owner EXHIBITED Izumi Akiyama Solo Exhibition , Art Stage Singapore, January 16-19, 2014

NT$ 300,000 - 480,000 HK$ 82,000 - 131,000 US$ 10,500 - 16,800 RMB 69,000 - 111,000

來源 小林畫廊，東京 蒲生畫廊，首爾 現有收藏者購自上述來源 展覽 「秋山泉個展」，藝術登陸新加坡博覽會， 新加坡，2014年1月16日至19日

051

BERNARD CATHELIN

貝爾納．卡多蘭

(French, 1919-2004)

溫布利亞油菜花田

Champ de Colza en Ombrie

1990年 油彩 紙本裱於木板 60 x 92 cm 簽名左下：Cathelin 90

1990 Oil on paper, mounted onto panel 60 x 92 cm Signed lower left Cathelin and dated 90 PROVENANCE Artcurial, Paris, December 9, 2008, lot 110 Acquired from the above by the present owner

NT$ 440,000 - 700,000 HK$ 120,000 - 191,000 US$ 15,400 - 24,500 RMB 102,000 - 162,000

來源 艾德拍賣會，巴黎，2008年12月9日，編號110 現有收藏者購自上述來源

052

DESIRE OBTAIN CHERISH (D.O.C) (American, b. 1975)

Grape Meltdown - Midsize 2013 UV cast resin, ed. 2/25 38 (L) x 38 (W) x 76 (H) cm Signed on the bottom Desire Obtain Cherish , dated 2013 and numbered 2/25 With a security laser tag This lot is accompanied with a certificate of authenticity signed by the artist and the original product box.

NT$ 360,000 - 550,000 HK$ 98,000 - 150,000 US$ 12,600 - 19,300 RMB 83,000 - 127,000

強納森．保羅 棒棒糖系列－葡萄紫 2013年 樹脂膠 版次2/25 38（長）x 38（寬）x 76（高）cm 簽名底部：Desire Obtain Cherish 2013 2/25 防偽雷射標籤 附藝術家簽名之原作保證書及原裝盒

053

DESIRE OBTAIN CHERISH (D.O.C)

強納森．保羅

(American, b. 1975)

瑪麗蓮夢露

Marilyn Killed Norma

2014年 4200顆膠囊 有機玻璃 版次3/3 66 x 76 x 8 cm 藝術家印記：DESIRE OBTAIN CHERISH DOC 2014 簽名題識畫背：DESIRE OBTAIN CHERISH 2014 3/3

2014 4200 individually wrapped pills encased in plexiglass, ed. 3/3 66 x 76 x 8 cm Artist mark lower center DESIRE OBTAIN CHERISH DOC 2014 Signed reverse DESIRE OBTAIN CHERISH , dated 2014 and numbered 3/3 With a security laser tag EXHIBITED Desire Obtain Cherish-We Are Known By The Company We Keep, UNIX Gallery , New York, March 3-May 6, 2014 (another edition number) This lot is accompanied with a certificate of authenticity signed by the artist and the original product box.

NT$ 360,000 - 550,000 HK$ 98,000 - 150,000 US$ 12,600 - 19,300 RMB 83,000 - 127,000

展覽 「強納森．保羅（D.O.C）－物以類聚」，UNIX藝廊， 紐約，2014年3月3日至5月6日（另一版次） 附藝術家簽名之原作保證書及原裝盒

054

ORIT FUCHS

奧里特．菲奇

(Israeli, b. 1970)

鮮豔系列 5

Vivid 5

2018年 壓克力 畫布 90 x 90 cm 簽名題識畫背：ORIT FUCHS MAR 2018 DON'T WASTE YOUR ONE BEAUTIFUL LIFE

2018 Acrylic on canvas 90 x 90 cm Signed reverse ORIT FUCHS , inscribedd DON'T WASTE YOUR ONE BEAUTIFUL LIFE and dated MAR 2018 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 300,000 - 500,000 HK$ 82,000 - 136,000 US$ 10,500 - 17,500 RMB 69,000 - 115,000

附藝術家簽名之原作保證書 奧里特．菲奇現居於以色列特拉維夫。多年於以色列頂尖設計公 司，任職藝術總監的經驗，催生奧里特．菲奇對於流行文化、時 尚美學與女性造型的直覺判斷。她創作的中心主題，圍繞在都會 女性的各種樣貌，畫面充滿飽和的色彩與豐富情感。 Orit Fuchs now lives and works in Tel Aviv. As having worked many years as an art director for advertising agencies, Fuchs has very sharp intuition on pop culture, fashion, and images of urban females. The theme in her creation is always surrounding the various forms of women. Her style is always full of vivid colors and expressions of emotional states.

055

KWON KI SOO

權奇秀

(Korean, b.1972)

綠色的森林

Green Forest

2009年 壓克力 畫布 130 x 162 x 4.5 cm 簽名畫背：권기수 權奇秀 Kwon Ki Soo 2009

2009 Acrylic on canvas 130 x 162 x 4.5 cm Signed reverse Kwon Ki-Soo in Korean, Kanji, English and dated 2009 PROVENANCE Private collection, Korea Zhong Cheng Auctions, Taipei, June 12, 2016, lot 223 Private collection, Taiwan

NT$ 550,000 - 850,000 HK$ 150,000 - 232,000 US$ 19,300 - 29,800 RMB 127,000 - 196,000

來源 私人收藏，韓國 中誠拍賣，台北，2016年6月12日，編號223 私人收藏，台灣 權奇秀出生、工作於首爾，為人所知的主要作品是他創造的「當咕 尼」（Dongguri）角色，經常出現在其作品中。具備擬人化的外型， 「當咕尼」作為一個符號，具標誌性和象徵意義：一個崇尚符號， 簡約和機械化的現代進程產物。 Born and based in Seoul, Kwon Kisoo works is primarily known for his creation of Dongguri, a character that frequently appears in his work. Although human shaped, Dongurri is an Icon formed by certain marks and symbols; a by-product of modernisation in which everything is symbolised, simplified, and mechanical.

056

THIERRY FEUZ (Swiss, b. 1968)

Raingarden Pollen 2020 Lacquer and oil on canvas 129.5 x 159.5 x 5 cm Signed reverse and stretch Thierry Feuz (Th. Feuz) , titled Raingarden Pollen and dated 2020 EXHIBITED Switch On , Bluerider ART, Taipei, December 24, 2020-February 10, 2021

NT$ 650,000 - 1,000,000 HK$ 177,000 - 272,000 US$ 22,800 - 35,100 RMB 150,000 - 231,000

西瑞．菲茲 1968 年出生於瑞士，日內瓦藝術與設計大學碩士畢， 目前在日內瓦居住、創作。作品獲瑞士歷史與藝術博物館、新 加坡藝術基金會、美國薩克斯第五大道精品百貨公司，以及瑞 士銀行等機構收藏。西瑞．菲茲的作品，混合了多種繪畫基因， 包括西班牙巴洛克時期細膩的靜物畫、波洛克的滴流畫、胡安． 米羅的超現實主義、賽．湯伯利的古典神話。他將具體之物放 入虛實之間，創造出一種無法被定義的繪畫。一切就像是存在 16 世紀荷蘭藝術家波希（Bosch）作品《人間樂園》的紀元前， 繽紛色彩的小宇宙。一步步走入這樣的迷人風景，蘊藏了關於 每個人生夢幻變形的時刻。 Thierry Feuz was born in 1968 in Switzerland. He graduated with a Master's degree from the Haute Ecole d'Art et de Design in Geneva, and currently lives and works in Geneva.

Art, science and philosophy meet in his art world. His works have been included in institutional collections of the Musée d'Art et d'Histoire, Neuchâtel, Switzerland, the Singapore Art Foundation, America's Saks Fifth Avenue Enterprise, and the United Bank of Switzerland (UBS). Some clues to

西瑞．菲茲

Feuz's creative elements can be seen in the delicate still

雨花園花粉

life paintings of Spain's Baroque period, the drip paintings

2020年 漆 油彩 畫布 129.5 x 159.5 x 5 cm 簽名題識畫背：Thierry Feuz Raingarden Pollen 2020 簽名題識畫背框條：Raingarden Pollen Th. Feuz 2020 展覽 「點亮你的感知」，藍騎士藝術空間，台北， 2020年12月24日至2021年2月10日

of Jackson Pollock, the surrealism of Joan Miró, and Cy Twombly's classical mythology. Feuz places concrete objects between the real and the imagined and creates a kind of painting that defies definition. Everything is as in the primordial state of The Garden of Earthly Delights by the 16th century Dutch artist Hieronymus Bosch, a microcosmic universe of riotous colors. Walking step by step into this seductive landscape contains moments within it about the magical transformation of each life.

057

WILLI SIBER

威利．希伯

威利．希伯，1976 年於德國斯圖

(Germany, b. 1949)

掛牆物件

加特國家美術學院取得雕塑碩士學

Wood Wall Object

2017-2019年 木 鉻漆 尺寸可變 簽名背面：Siber 2017/2019（每件）

2017-2019 Wood, chrome enamel Dimension variable Signed reverse Siber 2017/2019 (each) EXHIBITED Switch On , Bluerider ART, Taipei, December 24, 2020-February 10, 2021

NT$ 460,000 - 700,000 HK$ 125,000 - 191,000 US$ 16,100 - 24,500 RMB 106,000 - 162,000

展覽 「點亮你的感知」，藍騎士藝術空間， 台北，2020年12月24日至2021年2月10日

位。威利．希伯擅長以木質材料、 鋼與環氧樹脂創作，配以富有光澤 感漆料、樹酯的彩色變化，探索材 質的可塑性，突破因物質固化的視 覺印象。 Willi Siber obtained his master's d e g re e i n s c u l p t u re a t S t a t e Academy of Fine Arts in Stuttgart. Talented in the use of wooden materials, steel and epoxy, he explores the plasticity of these materials with his colorful resins and lustrous paint, seeking to break through visual i m p re s s i o n s a n d s t e re o t y p e s formed due to material aspects.

058

CARO JOST

卡蘿．傑斯特

(Germany, b. 1965)

素描系列（康丁斯基七件作）G.M. 1911年3月5日

SKETCH (7 WORKS OF KANDINSKY) G.M. March 15. 1911

2019年 壓克力 數位絲網印刷 成形畫布 107 x 85 x 12 cm 簽名題識畫背：SKETCH (7 WORKS OF KANDINSKY) G.M. March 15. 1911 107 x 85 x12 cm With Wrapped Gabriele Münter Foundation, Munich Caro Jost München 2019

2019 Acrylic, digital silkscreen on shaped canvas 107 x 85 x 12 cm Signed reverse Caro Jost München , titled SKETCH (7 WORKS OF KANDINSKY) G.M. March 15. 1911, inscribed 107 x 85 x12 cm With Wrapped Gabriele Münter Foundation , Munich and dated 2019 EXHIBITED Algorithm and Appropriation- Pascal Dombis, Caro Jost Duo show , Bluerider ART, Taipei, February 15-April 2, 2020

NT$ 550,000 - 850,000 HK$ 150,000 - 232,000 US$ 19,300 - 29,800 RMB 127,000 - 196,000

展覽 「演算&挪用－帕斯卡爾．多比斯、卡蘿．傑斯特雙人展」， 藍騎士藝術空間，台北，2020年2月15日至4月2日

059

JULY ANCEL

居禮．安賽兒

(French, b. 1984)

大山考艾 V

Khao Yai V

2018年 油彩 酪蛋白顏料 畫布 228 x 169 cm

2018 Oil and caséine pigment on canvas 228 x 169 cm

NT$ 400,000 - 600,000 HK$ 109,000 - 163,000 US$ 14,000 - 21,000 RMB 92,000 - 139,000

生於 1984 年法國尼斯，2010 年畢業於巴黎高等藝術學院。隔 年得獎學金遊學西班牙馬德里，同年獲頒安東尼馬稜獎學金， 同一期間創作思維深受古典大師哥雅的啟發。2012 年於巴黎第 一視覺畫廊舉辦首次個人展覽，2013 年獲得中國杭州藝術 8 創 作首獎。居禮．安賽兒倍受矚目的獨特才華，獲得諸多國際藝 術贊助的機會，曾常駐於包含泰國、中國、墨西哥等地。對世 界各地民俗文化的研究，乃至人類精神性欲望的表現，融入她 色彩層次豐富的作品之中。 Born in Nice, France in 1984 and graduated from l'Ecole nationale supérieure des Beaux-arts de Paris in 2010. In 2011, she was granted a scholarship to have a one-month trip to Madrid, which turned out to be a good opportunity for her to be inspired by Goya's works. In the same year, July won the painting prize of Antoine Marin. In 2012, her first solo exhibition was held at Premier Regard Gallery in Paris.

Her outstanding talent grabs the attention from collectors, and gets sponsored to accomplish art residence projects in different countries like Thailand, China, Mexico. She well integrates the study of folk cultures and even the expression of human spiritual desires into her richly colored painting.

藝術家照片 Artist photo

布萊恩．伊達（美國，生於 1963 年）現居住及創作於美國洛杉

曾於美國著名抽象畫家山姆．法蘭西斯（Sam Francis，1923-

磯，以壓克力結合環氧樹脂（Epoxy）與聚酯纖維（Polyester）

1994）工作室學習數年的伊達，在承襲法蘭西斯奔放洋溢色彩

的 堆 疊 層 次 進 行 創 作， 由 多 樣 的 視 角、 色 彩 與 城 市 和 自 然 進

的同時，也融合自身來自音樂性的感知，發展出獨樹一幟的表

行 對 話。 曾 多 次 於 美 國 知 名 博 物 館 及 美 術 館 舉 辦 展 覽， 包 含

現形式。純熟的技術使伊達在繪畫上擁有另類的層次鋪述，透

蘭 開 斯 特 藝 術 與 歷 史 博 物 館（Lancaster Museum of Art and

過六至七層的繪畫與環氧樹脂堆疊，讓二維的平面漸漸築起三

History）、 河 濱 市 美 術 館（Riverside Art Museum）、 托 倫

維的視界，弭平空間界線。近期更開始運用聚酯纖維作為創作

斯藝術博物館（Torrance Art Museum）、長灘美術館（Long

素材，因其輕透的特性，交疊兩百層的繪畫與聚酯纖維材料使

Beach Museum of Art）、 洛 杉 磯 當 代 藝 術 美 術 館（Museum

畫面內容與細節處理愈趨豐富。對伊達而言，記憶是情感化後

of Contemporary Art, Los Angeles）等。

的經驗。

060

BRYAN IDA (American, b. 1963)

Waterfront 2019 Acrylic on panel 99 x 180.5 x 4.7 cm Signed reverse Bryan Ida , titled WATERFRONT , inscribed WLA and dated 2019

NT$ 550,000 - 850,000 HK$ 150,000 - 232,000 US$ 19,300 - 29,800 RMB 127,000 - 196,000

布萊恩．伊達 濱水之地 2019年 壓克力 木板 99 x 180.5 x 4.7 cm 簽名題識畫背：Bryan Ida WATERFRONT WLA 2019

Bryan Ida was born in 1963, now works and lives in Los

Sam Francis in his studio for many years. Inheriting Francis's

Angeles. He uses acrylic, epoxy, and polyester to create

bold and unstrained colour palette, combined his musical

multiple layers of artwork, forms conversation between

experience, Ida has developed a unique expression in his art.

diverse angles, colours, urban scenes, and nature. Ida has

His skillful techniques laid a solid foundation of his statement.

participated in multiple exhibitions in The U.S., including

By layering six or seven coats of epoxy, his artworks possess a

Lancaster Museum of Art and History, Riverside Art Museum,

three-dimensional nature, pushing the boundary of ‘graphic'.

Torrance Art Museum, Long Beach Museum of Art, Museum

He recently also started using polyester in his creation, took

of Contemporary Art LA, etc.

advantage of the light nature of the medium, he is able

Bryan Ida has studied and practiced with renowned artist

to layer more than 200 coats and present a more detailed delicacy. For Ida, memory is an emotionalized experience.

061

AYAKO ROKKAKU

六角彩子

(Japanese, b. 1982)

飛向夢想的天空

Untitled (ARP13-011)

2013年 壓克力 畫布 105.5 x 153.5 x 4.5 cm 簽名右下：2013 ッカクアヤコ 題識畫背框條：ARP13-011

2013 Acrylic on canvas 105.5 x 153.5 x 4.5 cm Signed lower right Ayako Rokkaku in Japanese and dated 2013 Titled reverse stretch ARP13-011 PROVENANCE Gallery Delaive, Amsterdam Private collection, Asia

來源 德萊夫畫廊，荷蘭 私人收藏，亞洲

NT$ 1,800,000 - 2,800,000 HK$ 490,000 - 763,000 US$ 63,100 - 98,100 RMB 416,000 - 647,000

六角彩子 1982 年生於日本千葉縣，未受過學院式的藝術訓練。

Around 2001, she would frequently appear in parks in Tokyo

徒手將壓克力彩顏料直接塗繪到畫布或紙板上，以「手指畫」發

by herself, where she would dip her fingers in and smear

展出特有的繪畫語言。六角彩子在開始作畫前不會有任何草稿或

paint onto corrugated cardboards, or simply sit on a bench

預設；憑感覺作畫，直到創作出一幅飽滿而獨特的作品。2001

for a whole day. In 2006, the Japanese art community began

年前後，她常會孤身一人出現在東京某個公園裡，單純用手指蘸

to take notice of her works, which were then exhibited in

取顏料往瓦楞紙板上塗抹，或在長椅上一坐就是一整天。2006

the Geisai organized by Takashi Murakami. The event further

年開始受到日本藝壇關注，之後在村上隆主辦的 Geisai 中展出

propelled her into the spotlight.

作品，六角彩子才漸漸在人群裏嶄露頭角。

Rokkaku creates art as if weaving the fabric of dreams, using

作品亦如六角彩子自己編織的夢境，彩色堆砌風景，小花、動物

colors to materialize landscapes, small flowers, animals and

和飛艇浮遊其中。似乎畫布上的一切都可以在這個美好的世界裏

flying ships hovering within. Seemingly, everything on the

肆意打滾。顏料與圖形被打破傳統的組合方式，潛意識和情感的

canvas may be able to move to and fro freely in this world

恣意放縱。也許是一種更為直接的「意識超度」，意識遊離在手

of wonder. The colorants and graphic shapes are combined

指與大腦之間，將藝術家剝離於傳統繪畫體系之外，遨遊於彷彿

in a non-traditional manner, where the subconscious and

夢境的世界之中並將它們「降臨」在畫面上，這也是六角彩子在

emotions roam with reckless abandon. Perhaps it is a type

繪畫中表達個性的一種方式。近年來六角彩子試驗了各種新的作

of more direct "releasing of the consciousness", where the

畫方法和材料。羊毛和紙板裝置，多層雕塑和手繪復古式路易威

consciousness drifts between her fingers and the brain,

登手提箱，展現豐富的語彙。

separating the artist from the traditional system of painting,

Born in Chiba Prefecture, Japan, Ayako Rokkaku never received any formal training from an academy of art. Using her bare hands, she applies acrylic paint directly onto the canvas or paper, developing her unique and independent painting language via "finger painting". Before the work commences, she lets go of any preconceptions. Without preparing any drafts, she proceeds on her feelings alone until a work of abundance and uniqueness has been created.

while wandering in the dream-like world and having them "land" on the surface of the canvas. This is one of the methods that Rokkaku expresses her personality in paintings.

In recent years, Rokkaku has experimented with various new painting materials and methods to demonstrate her rich artistic vocabulary, including the use of wool, cardboard installations, multi-layered sculptures and hand-painted vintage Louis Vuitton suitcases.

062

YOSHITOMO NARA

奈良美智

(Japanese, b. 1959)

你要隱藏你的愛

You've Got to Hide Your Love Away

2011-2012年 石墨 紙本 51 x 36 cm 題識左方：悲しみをぶっとばせ

2011-2012 Graphite on paper 51 x 36 cm Inscribed left You've Got to Hide Your Love Away in Japanese PROVENANCE Pace Gallery, New York Private Collection, Asia EXHIBITED Yoshitomo Nara: A Bit Like You and Me…, Yokohama Museum of Art, Yokohama, Japan, July 14-September 23, 2012; Aomori Museum of Art, Aomori, Japan, October 6, 2012-January 14, 2013; Contemporary Art Museum Kumamoto, Kumamoto, Japan, January 26-April 14, 2013

來源 佩斯畫廊，紐約 私人收藏，亞洲 展覽 「奈良美智：有點像你，有點像我」，橫濱美術館，橫濱， 日本，2012年7月14日至9月23日；青森縣立美術館， 青森，日本，2012年10月6日至2013年1月14日； 熊本市現代美術館，熊本，日本，2013年1月26日至4月14日 圖錄 《奈良美智：有點像你，有點像我》，Foil出版社， 東京，2012，頁98

ILLUSTRATED Yoshitomo Nara: A Bit Like You and Me… , Foil Publishing Co., Ltd, Tokyo, 2012, p.98

NT$ 1,900,000 - 2,800,000 HK$ 518,000 - 763,000 US$ 66,600 - 98,100 RMB 439,000 - 647,000

奈良美智此作的日文題目「悲しみはぶっとばせ」，翻譯自英

Yoshitomo Nara's Japanese title is translated from "You've Got

文歌曲 "You've Got to Hide Your Love Away"（你要隱藏你的

to Hide You Love Away", a song by the English rock band the

愛），此乃英倫搖滾樂團披頭四 1965 年發行於《Help!》專輯

Beatles, released on the album "Help!" in 1965. The artist, This

的歌曲名稱。此拍品為奈良美智代表作之一，曾獲挑選為參展

lot was selected in the artist's touring exhibition "A Bit Like

作品，2012-2013 年間巡迴於橫濱美術館、青森縣立美術館、

You and Me..." shown respectively at Yokohama Art Museum,

熊本市現代美術館的「有點像你，有點像我」個展之中。無論

Aomori Museum of Art, Contemporary Art Museum Kumamoto,

其展覽標題，抑或作品題目，在在顯示藝術家深為披頭四音樂

between 2012 and 2013. Whether the title of the exhibition, or

的薰陶影響。

the title of the work, obviously the artist was deeply inspired and influenced by The Beatles' rock music.

溫柔的搖滾客！奈良美智 A TRAVELING ROCKER, YOSHITOMO NARA 奈良美智是日本青森弘前市人，1959 年 12 月 5 日出生。青

進入我的耳朵，然後直接從我的手中傳出。」他會一邊聽音樂，一

森是知名盛產蘋果與櫻花的的故鄉，有迷人遼闊的自然風光，

邊創作。有他的不少作品或展覽名稱，都是來自西洋歌曲名稱或歌

冬天時蕭瑟寂靜。奈良美智如今不知不覺也進入耳順之年，

詞。至今在他的工作室裡，繼續累積著更多的搖滾、藍調、靈魂和

依舊一身 T 恤或者帽 T 與牛仔褲等率性裝扮，然已滿頭白髮

龐克的專輯唱片。可以說他也成為西方當代音樂演進的歷史見證

蒼蒼。進入中年之後，風格上有些轉變，尤其是畫中的人物

人。 諸 如，1960-1970 年 代 的 Bob Dylan、The Beatles；1980 年

眼神少了純然的憤怒叛逆，多了複雜的情感，寧靜且安祥，

代的 David Bowie、Iggy Pop，龐克的 The Clash、Sex Pistoles、

意味著心境的轉變。 天生有畫畫的天賦，小時候曾被家鄉的美術系學生稱讚會畫 畫，小學老師也誇獎他畫得很像大人，但沒有激發他學美術

Ramones， 到 雷 鬼 Bob Marley、 電 子 音 樂 Kraftwerk、 搖 滾 的 Nirvana； 到 了 1990 年 代 的 英 國 搖 滾 Blur、Radiohead， 與 The Beastie Boys 的嘻哈音樂等等，都曾陪伴他不同的歲月，一起成長。

的心，直到高三準備升學之際，才萌生報考藝術大學的念頭， 於是前往東京就讀補習班。後來先進入武藏野美術學校，熱 衷於龐克音樂、流連於演唱會和唱片行，對生硬的學院理論 不感興趣，休學一年後瀟灑地跑到印度、巴基斯坦與歐洲流 浪。回來後，重新考入愛知縣立藝術大學，完成研究所學業。 擔任過美術教師後，轉赴國立杜塞道夫藝術學院就讀，在柏 林成立工作室，名氣漸開，赴美國 UCLA 擔任客座教授等， 旅居海外 12 年回國。期間決定一生以藝術家為志業。 他忠於自己的選擇，沒有太多的猶豫。作家吉本芭娜娜曾說： 「儘管在這個年頭要始終保持真實和誠懇是相當困難的事情， 但奈良是真誠的，對此我深信不疑。」她形容奈良的畫作「因 沉痛與孤獨而異常冰冷的世界，但內心絕不是惡的。而我寧 可在這樣的世界中長居。」 學生時期的叛逆和不服從學院權威的念頭，成長的記憶和旅 行的所見所聞，不斷地縈繞在心靈深處。他的藝術啟蒙來自 於熱愛的音樂唱片封面設計。夾雜著文字與圖樣的設計形式， 在他早期的圖畫裡可見其深刻影響。2020 年洛杉磯郡立美術 館的奈良美智回顧展策展人吉竹美香（Mika Yoshitake）， 點出藝術家長期所熱愛的「音樂」，以此貫穿整場展覽的主

洛杉磯展出奈良美智收藏的唱片封面（翻攝LACMA展覽文宣） Album Covers displayed at Yoshitomo Nara's Exhibition in LACMA (Adapted by LACMA Campaign)

軸。她說，「自奈良美智九歲時聽到民謠以來，各式唱片專

Yoshitomo Nara was born in Hirosaki City of Aomori Prefecture

輯的封面成為他接觸、吸收藝術的途逕之一」。

in Japan on December 5, 1959. Known for its apples and

該展覽第一間展廳展示了超過 300 張奈良從少年時期開始蒐 集的專輯封套，壯觀的音樂牆，震撼力十足。這些音樂主要 集中在 1960 年代末到 1970 年代中期。九歲後透過收音機聽 到美軍電台 Far East Network 的節目，發現了西方民搖和搖 滾。兒時孤獨一人在家，聆聽電台音樂的同時，默默開啟了 他的無限想像力。

cherry blossoms, Aomori has boundless and alluring natural scenery, though it can be desolate and quiet in the winter time.

Currently, Nara is in his 60's and his hair has turned salt-andpepper, he still dresses in simple T-shirts or hooded sweatshirts with jeans. His painting style also seemed to change as he aged. It is most apparent in the eyes of the characters, where the looks of rebellion and anger have been replaced by more

No Music, No Life! 沒有音樂，沒有生命。確實，音樂一直

complex emotions, tranquility, and peacefulness that likely

與 奈 良 同 在。 奈 良 美 智 表 示，「 在 畫 畫 的 時 候， 音 樂 就 會

match the transformation of his mindset.

Nara has a natural talent in painting. When he was young,

of albums became one of the means by which he came into

an art student from his hometown once praised him as being

contact with and became engrossed in art."

good at painting. His elementary school teacher also said that he painted like an adult. However, he only decided to study art during his last year in high school while preparing college entrance exams, and attended tutoring school in Tokyo as a result. Nara ended up attending Musashino Art University, but he was never interested in dry academic theories. Instead, he followed his passion in punk music, and spent time in concerts and record stores.

After a one-year absence from school, he became a wanderer in India, Pakistan and Europe. Upon his return to Japan, he was admitted to the Aichi Prefectural University of Fine Arts and Music, where he finished his graduate studies. After serving as an art teacher, he went to Germany to study at the Arts Academy of the city of Düsseldorf, and set up his studio in Berlin. His growing fame led him to UCLA in the U.S. to serve as a visiting professor and more. He returned to Japan after 12 years of living abroad, and his experience during this period prompted him to pursue a career as an artist for life.

The first room of the exhibition displayed more than 300 album covers that Nara has collected since his youth, resulting in a spectacular wall of music. Most of the albums were produced in the late 1960's to the mid 1970's. When he was nine years old, he listened to radio programs on the US military Far East Network radio station, and discovered western folk music as well as rock and roll. Being all by himself at home when he was a child, his boundless imagination was initiated while listening to radio music. No Music, No Life!

Indeed, music has always accompanied Nara in life. Yoshitomo Nara stated that: "Whenever I am painting, music enters my ears and directly pours out from my hands." He would listen to music while he worked, and many of his artworks or exhibition titles came from western music song titles or lyrics. Even now, his studio continues to accumulate more rock, blues, soul and punk albums. He can even serve as a historical witness of the evolution of contemporary western music. Different types of music have accompanied Nara through different ages of

Loyal to his own decision, he never wavered much. Writer

growth, including: From 1960-1970's, Bob Dylan, The Beatles;

Banana Yoshimoto once said: "In this day and age, it is

in the 1980's, David Bowie, Iggy Pop, punk rock bands such

difficult to stay true and sincere. But Nara is sincere, of this I

as the Clash, Sex Pistoles, and Ramones, reggae musician Bob

have no doubt." She described Nara's paintings depict "an

Marley, Kraftwerk's electronic music, and Nirvana's rock music;

unusually cold world due to loneliness and a deep sense of

in the 1990's, British rock band Blur and Radiohead, and hip

pain, but never with malice at heart. And I would rather live in

hop music from the Beastie Boys.

such a world."

Yoshitomo Nara has provided the world with comprehensive

NO MUSIC, NO LIFE! Yoshitomo Nara's rebellious thoughts

artistic presentations by devoting himself to creative works,

against the academic authorities during his college years, his

whether it was oil paintings, works on paper, painting on

memory of childhood experience, and what he heard and saw

billboards, ceramics, sculptures, installations, photography

during his journeys abroad often lingered in the depth of his

or prints. His solid creative context is displayed today in the

heart. His artistic inspiration came first from the cover design

museums, or art galleries or auctions in the forms of artworks

of his beloved music records. The design format of text and

we are able to see. Publishing Yoshitomo Nara: The Complete

images was a prominent influence in his early drawings.

Works when he was just 52 years old, Nara's diligence and his

In 2020, the curator of LACMA's Yoshitomo Nara retrospective exhibition, Mika Yoshitake, pointed out the artist's longtime passion in music, which became the theme that ran through the entire exhibition. She said "Ever since Yoshitomo Nara heard folk songs at the age of nine, the covers of all types

bountiful creativity moved Takashi Murakami greatly. His art has been collected by major museums including the Museum of Modern Art in New York, LACMA in Los Angeles, and numerous museums in Japan.

063

YOSHITOMO NARA (Japanese, b. 1959)

Untitled (LA 106.7 92.3 NYC) 2005 Colored pencil on paper (envelope) 39 x 24 cm PROVENANCE Galerie Meyer Kainer, Vienna Acquired from the above by the present owner ILLUSTRATED Yoshitomo Nara: The Complete Works 2 , Chronicle Books LLC, San Francisco, 2011, color illustrated, no. D-2005-016, p. 229

NT$ 6,000,000 - 9,000,000 HK$ 1,635,000 - 2,452,000 US$ 210,300 - 315,500 RMB 1,386,000 - 2,079,000

奈良美智 無題（LA 106.7 92.3 NYC） 2005年 色鉛筆 紙本（信封） 39 x 24 cm 來源 邁亞．坎奈畫廊，維也納 現有收藏者購自上述來源 圖錄 《奈良美智作品全集2》，編年出版社，舊金山， 2011，彩色圖版，編號D-2005-016，頁229

奈良美智的《無題 LA 106.7 92.3 NYC》，一幅隨興地繪於大信封 的精彩創作，踩在雲朵上，愉悅彈奏著吉他的人物畫像，音符圍繞 在其左右，日文字どこにいても（無論你在哪裡之意）。雲朵裡閃 著星光的字母與數字，為美國西岸與東岸的音樂電台頻道：俗稱 K Rock 的 KROQ-FM 頻道，以及曾為搖滾音樂電台的 92.3 頻道，彰 顯藝術家的搖滾樂熱情。奈良美智的吉他系列作品，為市場上稀有 且最受歡迎的主題之一。 Yoshitomo Nara's Untitled (LA 106.7 92.3 NYC) , a wonderful creation drawing on a large envelope. The figure steps on the clouds and delightfully plays a guitar with notes around. The Japanese characters どこにいても around him means 'Wherever you are'. In the cloud, star-studded letters and numbers both are music radio channels on the West bank and east coast of the United States: KROQ-FM, commonly known as K Rock, and Channel 92.3, once a rock and roll radio station, highlighting the artist's passion for rock music. Nara's Guitar series is one of the rarest and most popular themes on the market.

064

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

Four Foot Dissected Companion (Brown) 2009 Fiber reinforced plastics, limited edition of 100 33(L) x 58(W) x 127(H) cm Trademark © KAWS,, 09 on left foot, MEDICOM TOY 2009 MADE IN CHINA on right foot With a security laser tag PROVENANCE Zhong Cheng Auction, Taipei, June 10, 2018, lot 208 Acquired from the above by the present owner This lot is accompanied with the original product box.

NT$ 1,700,000 - 2,600,000 HK$ 463,000 - 708,000 US$ 59,600 - 91,100 RMB 393,000 - 600,000

布萊恩．唐納利 4呎同伴解剖（棕色） 2009年 纖維增強塑料 限量100件 33（長）x 58（寬）x 127（高）cm 註冊商標左腳：© KAWS.. 09 註冊商標右腳：MEDICOM TOY 2009 MADE IN CHINA 防偽雷射標籤 來源 中誠拍賣，台北，2018年6月10日，編號208 現有收藏者購自上述來源 附原裝盒

065

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

Untitled (Diptych) 2013 Acrylic on canvas 89 x 58.5 x 4 cm (each) Signed reverse Kaws.. and dated 13 of each canvas PROVENANCE Galerie Perrotin, New York Christie's, Post-War and Contemporary Art, New York, May 12, 2015, lot 258 Acquired from the above by the owner

NT$ 6,000,000 - 9,000,000 HK$ 1,635,000 - 2,452,000 US$ 210,300 - 315,500 RMB 1,386,000 - 2,079,000

布萊恩．唐納利 無題（雙聯幅）

KAWS 的本名是布萊恩．唐納利（Brian Donnely），1974 年出生於 美國紐澤西州的大男孩。布萊恩從小喜愛滑板運動，後來從澤西市搬 遷到紐約，藉由玩滑板，深度認識了曼哈頓，視野隨之不同。每個周 末都去參加賽道滑板，布魯克林銀行的周邊最適合溜滑板，而附近正 是紐約街頭塗鴉勝地，那些鮮豔圖案、酷炫的滑板圖案設計，以及張 力十足的噴漆塗鴉，一一成為他在美術上的啟蒙。他最欣賞滑板設計 師吉姆．菲利浦斯 Jim Phillips，1980 年代的知名作品《吶喊之手》 （Screaming Hand）的經典圖案，默默地影響了布萊恩後來發展出 的《死亡之手》（Hands of Death）作品。 KAWS's real name is Brian Donnelly. He was born in 1974 in New Jersey, USA. Brian loved skateboarding from a young age, when Brian later moved from Jersey City to New York, he got

2013年 壓克力 畫布 89 x 58.5 x 4 cm（每幅） 簽名畫背：Kaws.. 13

to broaden his horizons and gain a deeper understanding of

來源 貝浩登畫廊，紐約 佳士得，「戰後及當代藝術」，紐約， 2015年5月12日，編號258 收藏者得自上述來源

street graffiti. The bright patterns, cool skateboard designs, and

Manhattan through skateboarding. Brian would go to the skate park every weekend. The areas surrounding Brooklyn Bank are great for skateboarding and nearby is a hotspot for New York the bold spray paint graffiti all became his inspiration for art. He greatly admired the skateboard designer Jim Phillips. The classic pattern of the 1980 renowned work, Screaming Hand, quietly influenced Brian's later work, Hands of Death.

1987 年布萊恩對塗鴉產生興趣，隨意在筆記本上塗塗畫畫，因 為就讀天主教學校，故意畫一些反宗教的東西，或是看起來酷 酷的怪物。高中時期，他更加進階，改在牆壁塗鴉，年輕都愛 到處 Tag 標籤自己的名字。然而塗鴉畢竟屬於非法的行為，不 能用本名，於是布萊恩設計了四個字母 KAWS，從此以 KAWS 之名闖蕩江湖。 其最早的街頭創作，多為牆壁、廣告看板和貨櫃車側面等大型版 面，如 1996 年作於萬寶路（Marlboro）廣告看板上的塗鴉，其 上已可見 KAWS 標誌性的交叉骷髏頭和 XX 眼。他設計出一個 插有兩根交錯骨頭的骷顱頭、雙眼打叉、身體彎曲如蛇的圖案， 取名為 Bendy（彎彎，精蟲）。這個精蟲形象後來亂入街頭廣告， 打開 KAWS 的知名度。 1996 年 KAWS 向藝術家朋友 Barry McGee 學會開鎖技術，接 下來幾年間多次把街上的廣告從玻璃櫃內取出，回工作室加工塗 畫之後再擺回去，海報中出現了 Bendy 的圖案或局部骷顱頭面 具。骷顱頭或精蟲的生死形象在全世界的解讀一致，別無懸念， 藝術家覺得特別有意思。他將動畫創作剩餘的賽璐珞膠顏料 cel animation paint 運用於街頭海報的塗鴉，營造出類似塑膠感的 效果。無縫似的加筆加料，隨著模特兒的姿態纏繞，產生出乎 意料的趣味感。1990 年代，他刻意挑選當年堪稱前衛性感，甚 至帶有挑釁意味的廣告攝影，如 Guess、Calvin Klein 等品牌。 後來 1993 年進入紐約曼哈頓的視覺藝術學院（School of Visual Art），知名塗鴉藝術家凱斯．哈林 Keith Haring 也是校友，當 然他也是 KAWS 景仰的傳奇人物。KAWS 畢業後，曾在迪士尼 動畫工作室 Jumbo Pictures 工作了三 年，其繪製動畫電視連續 劇 的 經 驗， 為 日 後 創 作 Kimpson、Skurfs、 KAWSBOB、BFF （Best Friends Forever）等卡通形象提供了靈感。 1997 年 KAWS 受來自大學同學的邀請，第一次到日本旅行。 透過滑板高手友人 YOPPI 江川芳文（Yoshifumi Egawa，主持 潮牌 realmad HECTIC）的引薦，結識了幾位潮流圈名人設計 師如長尾智明 NIGO（猿人 A Bathing Ape/ BAPE）、高橋盾 Jun Takahashi（UNDERCOVER）、 岩 永 光 Hikaru Iwanaga （ 賞 金 獵 人 Bounty Hunter）、 瀧 澤 伸 介 Takizawa Shinsuke （NEIGHBORHOOD） 等 等。 在 這 趟 亞 東 的 旅 程 中，HECTIC 服飾向 KAWS 委託訂製玩具設計，交由 Bounty Hunter 製造共 同合作，於是 KAWS 的第一件立體作品─玩具版本 Companion （同伴）問世。Companion 是 KAWS 最早創作的玩具形象，有 著可識別的交叉骷髏頭和 XX 眼，並穿戴手套、短 褲和鞋子。

2006 年 KAWS 和日本玩具商 Medicom Toy 在東京南青山區開了一

In 1987, Brian became interested in graffiti, so he

間叫做 OriginalFake 的實體商店，建立了潮流事業的里程碑，依據

began to sketch casually in his notebooks. Because

他的藝術風格規劃設計，所有販售的商品都是 KAWS 藝術概念的延

Brian attended a Catholic school, he would deliberately

伸。KAWS 將自身定位於一位藝術家、設計師以及生產者（artist,

draw something anti-religious, or perhaps a rad-looking

designer & producer）。他也和其他藝術家聯名設計不同版本的

monster. In high school, he upped his game and started

Companion，如空山 基、 設 計 師 BAPE、 家 具 公 司 Karimoku、 玩

wall graffiti. Young people like to label their names

具公司 Medicom Toy 合作，甚至有如醫學模型的半解剖版本，因

within their works. However, since graffiti is illegal, they

製 作 工 續 較 複 雜， 半 剖 版 本 的 Companion 玩 具 價 格 較 高。 值 得

can't use their real names. So Brian designed the four-

玩味的，KAWS 一系列的玩具名稱多半有朋友或陪伴的涵義：如

letter KAWS, which he has been using ever since.

Companion ⁄ 同伴（1999）、Chum ⁄ 密友（2002）、Accomplice ⁄ 共犯兔（2002）、The Twins ⁄ 雙胞胎（2006）、BFF ⁄ 最好的朋 友（2016）、Together ⁄ 一起擁抱（2017）。

His earliest street art was mostly created across large surfaces, such as walls, billboards, and the sides of cargo trucks. KAWS made his iconic skull and bones

如同過去對廣告所作的干預一樣，KAWS 也挪用《辛普森家庭》

and XX marks starting with the graffiti on the Marlboro

（The Simpsons）、《 藍 色 小 精 靈 》（The Smurfs）、《 海 綿 寶

advertising billboard in 1996. KAWS designed a skull

寶》（SpongeBob SquarePants）等經典卡通形象。2000 年左右，

with two crossed bones, a pair of XX eyes, and a

KAWS 開始將這些卡通形象繪製於畫布上，這一批壓克力畫作也成

curved body like a snake, named Bendy (bend, sperm).

為 了目前拍賣市場上最炙手可熱的作品之一。2010 年至 2014 年期

This sperm-like image later made its way into street

間，KAWS 開始嘗試一系列抽象畫作，這些作品多半作於多畫板和

advertising, setting up the popularity of KAWS.

圓形畫布上，有著焦慮和扭曲的卡通角色臉部特徵，和可識別的 XX 眼，並對圖像作抽象和碎片化的處理，如同迷彩圖案一般。 2008 年起與法國知名畫商艾曼紐．貝浩登（Emmanuel Perrotin） 正式合作。1968 年出生的貝浩登，二十多歲時即成立自己的畫廊， 多年來與知名藝術家合作，有村上隆、莫瑞吉奧．卡特蘭（Maurizio Cattelan）、KAWS、JR、還有新秀阿爾軒（Daniel Arsham）等。 貝浩登畫廊除了巴黎總部，香港、上海、東京、首爾都設有據點， 雙方合作的 11 年間完成九檔出色的展覽，吸引大量觀展人潮。 從 2018 年在紐約斯卡斯特德畫廊（Skarstedt Gallery）舉辦 KAWS 個 展「 失 去 」（Gone） 後，2019 年 KAWS 正 式 與 貝 浩 登 畫 廊 分 手， 改 與 皮 爾． 斯 卡 斯 特 德（Per Skarstedt） 合 作。 斯 卡 斯 特 德 畫廊代理有巴塞利茲（George Baselitz）、喬治．康多（George Condo）、理查．普林斯（Richard Prince）等多位重量級當代藝 術家。財力與影響力當然更勝貝浩登。 KAWS 的 公 共 收 藏 包 括 聖 地 牙 哥 當 代 藝 術 博 物 館（Museum of Contemporary Art, San Diego）、 布 魯 克 林 博 物 館（Brooklyn Museum）、沃斯堡現代藝術博物館（Modern Art Museum of Fort Worth）和底特律康博軟體總部大樓（One Campus Martius）。

In 1993, he started studying at the School of Visual Art in Manhattan. The renowned graffiti artist Keith Haring is also an alumnus, and was also someone who KAWS looks up to.

KAWS worked at the Disney animation studio Jumbo Pictures for three years after graduation. His experience making drawings for animated TV series provided inspirations for his well-liked cartoon characters in the future, including the Kimpson, Skurfs, KAWSBOB, and BFF（Best Friends Forever).

In 1997, KAWS was invited by his college classmate to travel to Japan for the first time. Through the referral of Yoshifumi "YOPPI" Egawa (the founder of streetwear brand realmad HECTIC), KAWS got to meet several fashion circles celebrity designers such as "NIGO" Tomoaki Nagao (A Bathing Ape / BAPE), Jun Takahashi (UNDERCOVER), Hikaru Iwanaga (Bounty Hunter), and Takizawa Shinsuke (NEIGHBORHOOD).

In this trip to the East, HECTIC apparel commissioned KAWS to produce custom toy designs in collaboration with Bounty Hunter. This led to the release of KAWS's first threedimensional work-the toy figurine version of Companion. 中正紀念堂《KAWS：HOLIDAY》2019 《KAWS: HOLIDAY》at Chiang Kai-she Memorial Hall 2019

Companion was the earliest toy figure created by KAWS, with his highly recognizable skull and bones, and XX marks as eyes. The figures are also known for wearing gloves,

In 1996, KAWS learned locksmith skills from his artist friend

shorts and shoes.

Barry McGee. In the next few years, he would often take

In 2006, KAWS and Japanese toy dealer Medicom Toy

street advertisements out of their glass cabinets, and then go

opened a physical store called OriginalFake in the Minami-

back to the studio to add graffiti before putting them back.

Aoyama district of Tokyo, setting a milestone in the trend

The posters would have Bendy images or partially dirty skull

industry. According to his artistic style, planning, and

masks. The life and death images of the skull and sperm are

design, all goods sold are an extension of the KAWS art

consistent throughout the world, so there is no confusion.

concept. KAWS positions himself as an artist, designer,

The artist finds this to be particularly compelling. He applied

and producer. He also co-designed different versions of

the remaining cel animation paint of his animation work to

Companion with other artists, such as Hajime Sorayama,

the graffiti of street posters to create a plastic-like effect.

designer BAPE, fur niture company Karimoku, and toy

The seamless addition of the brush and paint entwine with

company Medicom Toy. He even made a semi- anatomical

the model's posture to produce an unexpected sense of fun.

version, much like a medical model. The semi-anatomical

In the 1990s, he deliberately chose advertising photography

version of the Companion toy is more expensive due to the

that was avant-garde or even provocative, such as Guess,

complexity of the production process. It's worth pondering

Calvin Klein and other brands.

how KAWS's series of toy names embody the meaning

of friends or companions, e,g., Companion (1999), Chum (2002), Accomplice (2002), The Twins (2006), BFF (2016) and Together (2017).

As in the past when he borrowed from commercials, KAWS has also borrowed from the imagery of his cartoon classics, such as the Simpsons, Smurfs, and SpongeBob SquarePants.

Around the year 2000, KAWS began to paint these cartoon images on canvas, and these acrylic paintings have become some of the most sought-after works on the auction market.

Between 2010 and 2014, KAWS began to experiment with a series of abstract paintings. Most of these works were made on multi-panel and tondo (circular) canvases, with anxious and distorted cartoon character facial features, and recognizable XX eyes. It is abstracted and fragmented, just like a camouflage pattern.

KAWS began his official partnership with prominent French art dealer Emmanuel Perrotin in 2008. Born in 1968, Perrotin started his art gallery in his early twenties. Over the years, he partnered with several renowned artists, including Takashi Murakami, Maurizio Cattelan, KAWS, JR and rising star Daniel Arsham. Other than the headquarter gallery located in Paris, Perrotin Gallery also has locations in Hong Kong, Shanghai, Tokyo and Seoul. Within the eleven years of KAWS and Perrotin partnership, they accomplished nine outstanding exhibitions which attracted a tremendous amount of visitors.

After holding the solo exhibition, Gone, at Skarstedt Gallery in New York in 2018, KAWS officially discontinued relations with Galerie Perrotin in 2019 to begin collaborating with Per Skarstedt. Skarstedt Gallery represented a number of heavyweight contemporary artists, such as George Baselitz, George Condo and Richard Prince. It was obvious that the financial strength and influence of Skarstedt Gallery were superior to that of Galerie Perrotin.

Public collectors of the art of KAWS include Museum of Contemporary Art, San Diego, Brooklyn Museum, Modern Art Museum of Fort Worth and One Campus Martius.

066

EDDIE MARTINEZ

艾迪．馬丁內斯

(American, b. 1977)

紐約電力

New York Electric

2010年 油彩 壓克力 噴漆 畫布 121.9 x 152.4 cm 簽名題識左下：MARTINEZ NEW YORK ELECTRIC 簽名題識畫背：E.MARTINEZ NEW YORK ELECTRIC Oil, Acrylic, Spraypaint 2010

2010 Oil, acrylic and spray paint on canvas 121.9 x 152.4 cm Signed lower left MARTINEZ and titled NEW YORK ELECTRIC Signed reverse E.MARTINEZ , titled NEW YORK ELECTRIC, inscribed Oil, Acrylic, Spraypaint and dated 2010 PROVENANCE ZieherSmith Gallery, New York EXHIBITED Hong Kong International Art Fair , Hong Kong Convention Center, Hong Kong, May 26-29, 2011 Eddie Martinez, New York Electric , Patricia Low Contemporary, Geneva, Switzerland, September 16-November 11, 2011 ILLUSTRATED Hong Kong International Art Fair 2011 Catalogue, Hong Kong Convention Center, Hong Kong, 2011, color illustrated, p. 169

NT$ 7,000,000 - 10,000,000 HK$ 1,907,000 - 2,725,000 US$ 245,400 - 350,500 RMB 1,617,000 - 2,309,000

來源 ZieherSmith畫廊，紐約 展覽 「香港國際藝術展」，香港會議展覽中心， 香港，2011年5月26至29日 「艾迪．馬丁內斯：紐約電力」， Patricia Low Contemporary 畫廊， 日內瓦，瑞士，2011年9月16日至11月11日 圖錄 《香港國際藝術展》目錄，香港會議展覽中心，香港， 2011，彩色圖版，頁169

馬丁內斯 1977 年出生於美國康乃狄克州，現居紐約布魯克林。

攤開玩具箱，展示著心愛的收藏品。蠟筆塗鴉般的粗線條，繪

拉丁語根源的姓氏，透露家族來自南美的文化背景。 早期具象

製著玩具、撲克牌、錄音帶、螺絲五金等物件。物件半具象的

風格，時常可見畫中人物、貓咪、貓頭鷹，瞪大黑白分明的眼睛，

外觀，足見此時藝術家過渡到純抽象風格的過程。畫中另一引

頗有自我形象投射之意。於此同時，馬丁內斯似乎對紙上媒材，

人 入 勝 之 處， 粗 黑 線 條 勾 勒 如 石 膏 白 底 的 兩 個 呆 瓜 大 眼 頭 像

有獨特偏愛。他時常將筆下的肖像或靜物題材，融合素描式技

「Blockhead」。依據藝術家創作的脈絡判斷，此符碼從 2005

巧，大量黑色背景，撞色鮮豔紅色波點、棋盤格子等物件，造

年開始不斷出現，或許能看作藝術家自我形象的表徵。2020 年

型十分可愛。自承其創作精神與內涵，接近於荷蘭 CoBrA 眼鏡

與 AllRightsReserved（ARR） 合 作 推 出 限 量 版「Blockhead

蛇畫派，該團體反學院派風格，創作展現的速度感、放棄控制

Lamp」彩繪玻璃的立體雕塑，即是此主題的延續。

與自動性，還有類似兒童的大型塗鴉。《紐約時報》曾以「眼 鏡蛇畫家風格復興」（reviving styles of the Cobra painters）

《紐約電力》畫作 2011 年五月曾展覽於香港國際藝術博覽會

來形容馬丁內斯的創作。

（Art HK 11），和九月至十一月瑞士日內瓦派翠西亞．羅當代

馬丁內斯自詡身為創作者，不應該過度引導觀者去解讀作品，

馬丁內斯個人展覽之中。此展覽以花卉靜物題材，和半身肖像

也因此在其創作裡沒有強烈的社會或政治批判意識。他不喜歡

系列為主。量感扎實的油彩色料，層層以粗曠筆觸，疊加於蓬

別人將自己的藝術類比於德．庫寧（Willem de Kooning）、古

鬆畫布，兩相襯托之間張力十足。由媒材的選擇，觀者得以窺

斯頓（Philip Guston）或是巴斯奇亞（Jean-Michel Basquiat）

見，創作者認同歷史脈絡，並延續經典傳統的思維。然表現手

的啟發。如果非得要定義他的風格，毋寧說是一種「畢卡索式

法和形式，則完全以個人化即興式語彙完成。馬丁內斯曾兩度

的混亂爆炸」！他欽佩畢卡索的多產，敢於使用各種媒材，勇

進入藝術學院，卻無法適應那樣環境帶來的限制。近乎自學摸

於嘗試並挑戰繪畫歷史。2010 年開始擺脫具象，2012 年則全

索的創作方式，也成就他自由且獨樹一格的藝術表現。

畫廊（Patricia Low Contemporary）舉辦的同名「紐約電力」

心開始投入抽象畫，2013 年是關鍵的時期，馬丁內斯嘗試了雕 塑作品，把他創作中對線條、構圖與色彩探索後的感想立體呈 現。他將日常生活的物件的組合，鑄造成銅件，再施以色彩顏 料賦予新生命。在拼組與構成的過程中，進行物質文化的探索。 2015 開始使用絲網印刷（silkscreen），得以將繪畫素描轉譯 放 大， 產 生 豐 富 的 意 象。2016 年「 情 書 系 列 」（Love Letter Series），像是放大版的筆記本，圖文交錯，有一種親密的情感。 藝 評 家 常 以「 盛 宴 」（The Feast）， 形 容 馬 丁 內 斯 筆 下 豐 富 的 靜 物 世 界， 如 現 代 版 義 大 利 大 師 卡 拉 瓦 喬（Michelangelo Merisi da Caravaggio），他的靜物繪畫帶給觀者豐盈富足的 視 覺 饗 宴。 馬 丁 內 斯 也 擅 長 三 維 空 間 平 面 化， 使 用 居 高 俯 視 構圖，將物件比例隨心所欲的縮放。2010 年創作之《紐約電 力》鮮明寶藍色背景，襯托擺滿物件的桌面（畫面），如孩童

Born in 1977 in Connecticut, U.S.A, Martinez currently resides in Brooklyn, New York. His Latin surname reveals the roots of his South American cultural background. In his earlier figurative style, the people, cats or owls in the paintings often featured big black and white eyes, which may be a projection of his own self-image.

At the same time, Martinez seemed to show a preference for paper media, often integrating sketching techniques into the portrait or still life that he was working on. The large back background created a cute style by showing off objects, such as bright red polka dots or a checkerboard pattern. Martinez stated that his creative spirit and context was influenced by the Dutch CoBrA School. Artists of the school were known for their anti-academy style, sense of speed in art creation, abandonment of control, and automaticity, as well as a large graffiti style similar to children's drawings. The New York Times once described the works of Martinez as "reviving styles of the Cobra painters".

Martinez claimed that as a creator, one should not provide too many instructions to influence how the viewers would

© AllRightsReserved, 2020 「Blockhead Lamp」限量彩繪玻璃雕塑

interpret artworks. Therefore, his works do not convey a

strong sense of social or political criticism. He also disliked

symbol may be seen as a representation of the artist's self-

comparison of his artworks to those by Willem de Kooning

image as it has appeared repetitively since 2005. In 2020,

or Philip Guston, or attributing Jean-Michel Basquiat as his

Martinez collaborated with AllRightsReserved (ARR) to

inspiration. If it's necessary to define his style, he would

launch a limited edition of Blockhead Lamp. The lamp was a

rather be called "Messy explosions of Picassos"! He admired

three-dimensional sculpture of stained glass, which was an

Picasso's high productivity and courage to try out various

extension of this theme.

media, daring to experiment and challenge the history of painting.

The painting New York Electric had been displayed in May of 2011 at the Hong Kong International Art Fair 2011 (Art

In 2010, he began to move away from Expressionism,

HK 11), as well as the New York Electric Martinez Solo

devoting himself entirely to abstract painting starting in

Exhibition held by the Patricia Low Contemporary in Geneva,

2012. The following year, 2013, was a critical period in

Switzerland from September to November of the same year.

his career, when Martinez experimented with sculptures,

The focus of the exhibition was floral still life and a series of

presenting his exploration of lines, compositions and colors

bust portraits.

in a three-dimensional format. He combined ordinary daily objects into bronze casts, before granting them new life by applying colorants. In the process of composition and assemblage, he would conduct an exploration of material culture. In 2015, he began to use silkscreen to reinterpret and enlarge paintings and sketches to create rich images.

His 2016 Love Letter Series appeared as a magnified version of a notebook, offering an intimate feeling with text and image juxtaposition.

The dense oil colorants and layers of unrefined brushstrokes added coatings to the fluffy canvas, generating full tension between the two materials. The selection of the media allowed the viewers to observe how the artist identified with the historical context and continued the classic traditional t h i n k i n g . H o w e v e r, t h e p re s e n t a t i o n t e c h n i q u e a n d format were completed in the vocabulary of personalized improvisation. Martinez twice enrolled in art academies, but rejected the constraints of that environment. His self-

"The Feast" has been used frequently by critics to describe

learning and exploratory creative method enabled him to

the bountiful still life depicted by Martinez. Just like a

achieve his unique artistic performance in a care-free style.

modern version of Italian master Michelangelo Merisi da Caravaggio, his still life paintings brought about a rich and abundant visual feast to the viewers. Martinez also excelled at flattening a three-dimensional space, using a bird's eye view for composition to scale down objects as he wished.

His 2010 painting New York Electric used a sapphire blue background to highlight the table top full of objects, just as a child spreading out his toy box to show off his toy collection.

The crayon-like thick graffiti outlines delineated toys, playing cards, audio tapes, screws and other objects. The semiconcrete object appearance served as a transition period before the artist's pure abstraction style took hold. Another captivating detail of the painting was the two big-eyed idiot "blockheads" with dark black outlines on a white plaster background. Judging by the artist's creative context, this

艾迪．馬丁內斯《無題》2015 綜合媒材 畫布 182.8 x 274.3 cm， 羅芙奧2020秋拍 台幣 41,760,000 成交 Eddie Martinez, Untitled , 2015, mixed media on canvas, 182.8 x 274.3 cm, Ravenel 2020 Autumn Auction, USD 1,465,263 sold

067

EDDIE MARTINEZ

艾迪．馬丁內斯

(American, b. 1977)

遙不可及的植物

Out of Reach Plant 2007 Oil and spray paint on canvas 152.4 x 121.9 cm Signed lower right EDDIE MARTINEZ and dated 07 Signed reverse EDDIE MARTINEZ , titled OUT OF REACH PLANT and dated 2007

2007年 油彩 噴漆 畫布 152.4 x 121.9 cm 簽名右下：EDDIE MARTINEZ 07 簽名題識畫背：EDDIE MARTINEZ "OUT OF REACH PLANT" 2007

PROVENANCE Blum & Poe, Los Angeles Christie's New York EXHIBITED So Wrong, I'm Right , Blum & Poe, Los Angeles, June 30-August 25, 2007

NT$ 7,000,000 - 10,000,000 HK$ 1,907,000 - 2,725,000 US$ 245,400 - 350,500 RMB 1,617,000 - 2,309,000

來源 Blum & Poe畫廊，洛杉磯 佳士得拍賣，紐約 展覽 「如此的錯誤，我是對的」，Blum & Poe畫廊， 洛杉磯，2007年6月30日至8月25日

2020 年 1 月台北當代 Taipei Dangdai 藝術博覽會舉辦第 二屆活動，未演先轟動，吸引更多家世界級畫廊參與。具 有法國背景的貝浩登畫廊（Perrotin）在其展位發表了馬 丁內斯「花予台灣」（Flowers for Taiwan）系列新作， 色彩斑斕塗鴉、個性化線條筆觸的單一經典主題「靜物 畫」，VIP 首日預覽會全數作品火速售罄，成為當天會場 上最受關注的個展之一。國際大明星周杰倫與娛樂圈友人 也特來朝聖，他是馬丁內斯的收藏家兼好友，據媒體推斷 當天也將展品納入收藏。 馬丁內斯的成名不是偶然，他特立獨行、沉默寡言，低調 創作，擄獲多位策展人、經紀人與收藏家的青睞。目前在 紐約、倫敦各自有代理畫廊：米歇爾─英尼斯與納許畫廊 （Mitchell Innes & Nash Gallery）、提姆斯．泰勒畫廊 （Timothy Taylor Gallery）。而亞洲地區的推廣，多靠紮 根甚深的貝浩登畫廊展覽合作。三年間，不同的藝術機構 包括畫廊、藝術博覽會、拍賣會等，已在東京、香港、首 爾、上海、台北分別為藝術家成功舉辦個展，人氣指數高。 過去三年間，馬丁內斯也受機構中心的重視，推出有五個 博物館大型個展：從 2017 年麻州的戴維斯博物館（Davis Museum） 的「 螞 蟻 野 餐 」（Ants at a Picknic） 個展、 紐 約 素 描 中 心（The Drawing Center） 的「 工 作 室 牆 」 （Studio Wall）紙上作品展；2018 年在紐約布朗克斯博 物 館（Bronx Museum）「 覆 蓋 以 白 」（White Outs） 雕塑和繪畫近作展；還有 2019 年底特律當代藝術博物館 （Museum of Contemporary Art Detroit）「快速艾迪新 繪畫」（Fast Eddie: New Paintings），以及和上海余德 耀美術館（YuzMuseum）「遊宴」（Open Feast）個展。 其中，余德耀美術館展出一件 65 英呎（1981 公分）史詩 級巨作，融匯了藝術家的心血結晶，充滿速度感與趣味。 每一檔展覽都是天份與活力的展現，十年磨一劍，才華橫 溢的藝術創作，令人目不轉睛。

Among the world-class galleries that participated in the

in Shanghai. Specifically, an epic masterpiece 19.81 meters

second annual Taipei Dangdai Art Fair in January 2020,

long was showcased at the Yuz Museum, which incorporated

the French-based Perrotin showcased Martinez's Flowers

the heart and soul of Martinez filled with a thrilling sense

for Taiwan series with one classic topic - still life paintings

of speed and humor. Overall, each exhibition served as

delivered in the format of colorful graffiti with characteristic

a display of talent and energy, demonstrating Martinez's

brush strokes. During the VIP-preview and vernissage on the

mature and captivating artistic styles which he has sharpened

first day, all paintings by Martinez sold out swiftly, becoming

via more than a decade of creative practice.

some of the most noted works at the fair. Several figures in the entertainment community were also present during the VIP-preview event, including international star Jay Chou, who happens to be a friend of Martinez and a collector of his work.

Jay also added works by Martinez to his collection that day according the Press.

Martinez did not become famous by accident. A maverick with a quiet and low-key sense of creativity, he has captured the attention of many curators, agents and collectors. Currently, the Mitchell Innes & Nash Gallery in New York and the Timothy Taylor Gallery in London both serve as his agents, while Perrotin, which has a worldwide network, helps with promotions with a focus in Asia. For the past three years, Martinez's popularity has led to successful solo exhibitions at various venues, including galleries, art exhibitions, and auctions in Tokyo, Hong Kong, Seoul, Shanghai and Taipei.

Prized by art institutions in the past three years, Martinez has launched large-scale solo exhibitions at five museums including: Ants at a Picknic at Davis Museum in Massachusetts, Studio Wall at the Drawing Center in New York in 2017, White Outs featuring recent works of sculptures and paintings at Bronx Museum in New York in 2018, and, for 2019, Fast Eddie: New Paintings at the Museum of Contemporary Art Detroit, and the Open Feast solo exhibition at Yuz Museum

艾迪．馬丁內斯《無題（盆花）》2010 綜合媒材 畫布 152.4 x 121.9 cm，羅芙奧2020秋拍 台幣 24,000,000 成交 Eddie Martinez, Untitled (White Flower Pot) , 2010, mixed media on canvas, 152.4 x 121.9 cm, Ravenel 2020 Autumn Auction, USD 842,105 sold

068

JAVIER CALLEJA

哈維爾．卡勒加

(Spanish, b. 1971)

有一點瘋狂

A Little Crazy

2018年 壓克力 畫布 195 x 162 cm 題識畫背：A Little Crazy

2018 Acrylic on canvas 195 x 162 cm Titled reverse A Little Crazy PROVENANCE Nanzuka Contemporary Art Gallery, Tokyo EXHIBITED Art Basel Hong Kong , March, 2018

NT$ 16,000,000 - 24,000,000 HK$ 4,360,000 - 6,540,000 US$ 560,800 - 841,200 RMB 3,695,000 - 5,543,000

翻攝自藝術家Instagram

來源 Nanzuka當代藝術畫廊，東京 展覽 香港巴塞爾藝術博覽會，2018年3月

哈維爾．卡勒加（Javier Calleja），以結合圖像、文字的自畫像「大眼 仔男孩」風格，吸引全球藏家目光的西班牙當代藝術家。2003 年在西班 牙舉行首次個展，之後陸續展覽於世界各地如巴黎、德國瓦爾德基興、 漢堡及紐約。2017 年第一次於亞洲舉辦個人展覽，可愛風格席捲藝壇， 2019 年起拍賣紀錄不斷飆高。紐約、日本、歐洲個展不斷，聯手潮流圈 推出限量公仔，清新幽默的風格，串聯不同世代藏家的共鳴。 哈維爾 1971 年出生，與大師畢卡索一樣，家鄉是西班牙南部馬拉加市 （Malaga），濱臨地中海太陽海岸的溫暖城市。2000 年自格拉那達大 學美術系畢業，開始藝術生涯。探尋他的創作脈絡，約 2013 年前後， 哈維爾多用日常物件，如：火柴棒、迴紋針和彩色鉛筆，施以錯置的視 角，在牆角和手指上，變化出富有趣味的「超迷你」寫真場景。而帶有 次文化特色，使用英文單詞、短句，下標作品主題的手法也已經出現。 2018 年畫廊中展示的立體作品，手法則相反地以「巨大化」鉛筆塗鴉、 筆記本、貓咪、拖鞋，膨脹化超現實的玩味景象。早期，他用發芽馬鈴薯、 灰色月球、彩色魔術方塊、雲朵，置換人物的頭部，拉近（擬）人與物 （化）之間的差異。一雙大的眼睛，搭配親切且不失尷尬的呆萌表情， 也延續到後來的大眼仔男孩系列。 哈 維 爾 喜 愛 閱 讀 諾 貝 爾 文 學 獎 得 主、 法 國 劇 作 家 － 薩 繆 爾． 貝 克 特 （Samuel Beckett） 的 作 品， 從 中 尋 找 靈 感 構 築 畫 面， 甚 至 是 標 註 藝術家照片 Artist photo Credit: APPortfolio

在作品上的短句。哈維爾曾在訪談中表述，欣賞亞力士．凱茲（Alex Katz）、 菲 利 普． 古 斯 頓（Philip Guston）、 賀 內． 馬 格 利 特（René Magritte）、 奈 良 美 智（Yoshitomo Nara） 等 藝 術 家， 簡 約 且 富 含 深 意的藝術表現。2019 年為致敬意大利觀念藝術家─莫瑞吉奧．卡特蘭 （Maurizio Cattelan），認同其幽默與諷刺並存的理念，哈維爾加入自 己的理解後，再創作出雕塑作品《小莫瑞吉奧》（Little Maurizio）。當 外界說在哈維爾的世界，看見奈良美智的影子，他則表示 KAWS 的友人、 街頭藝術大師─貝瑞．麥吉（Barry McGee）也深深影響了他。雖然哈 維爾本人更喜歡在寬廣安靜的工作室，而非人群熙壤的街頭創作，但是 他非常欣賞貝瑞．麥吉對於「頭像」的詮釋，也因此這個符碼運用在自 己的創作中。 哈維爾筆下的大眼仔男孩們，都可以看成是他自身的反射。以最簡潔的 視覺語言：一雙眼睛、一件標語 T-shirt 敘述故事，讓畫面自然與觀者 產生對話，貫徹他希望用藝術傳遞重要道理的精神。水汪汪的大眼睛， 澄澈透明。如同孩子停止哭泣，代表他們克服當下的困境，繼續向前邁 進，砥礪自己成為內在堅強的英雄。畫中寫下：「不要哭泣」（Don't cry）、「 永 遠 不 遲 」（never too late）、「 此 時 此 刻 」（here and now）標語的同時，亦留下大面積的留白，讓觀眾保有想像的空間，用

哈維爾．卡勒加《再等一下》壓克力 畫布 120 x 116 cm， 香港佳士得2021，港幣 8,890,000 成交 Javier Calleja, Waiting for a While , Acrylic on canvas, 130 x 116 cm, Christie's Hong Kong 2021, HKD 8,890,000 sold

自己的視角闡述畫中故事。哈維爾不斷在新展覽中推陳出新，一方面是 不斷超越自我，另一面是他認為觀者的感受，與藝術的呈現應該相輔相 成。若是沒有了觀眾，孤芳自賞的藝術，也失去「溝通」的本意。

薈萃國際專場推薦《有一點瘋狂》創作於 2018 年，此作曾經於香港

Calleja loves reading the works of Nobel Prize winner

Art Basel 藝術博覽會展出。畫中主角藍衣小男孩，一臉稚氣的粉嫩

and playwright Samuel Beckett to seek inspiration or

雙頰，呆愣放空的神情，圓亮金黃的眼睛，像極剔透的彈珠。哭紅的

even short sentences to construct images. As Calleja

小鼻子，露出兩顆大門牙咧嘴而笑。同年的 3 月 19 日哈維爾曾在自

once expressed in an interview, he particularly admires

己的 Instagram 帳號分享這件作品，剛剛完成於工作室的場景，並標

artists, such as Alex Katz, Philip Guston, René Magritte,

註：「星期一心情…「有一點瘋狂」…即將展於香港巴塞爾藝博…」

and Yoshitomo Nara, for their simple yet profound

（原文：Monday mood...A Little crazy. Coming soon on @artbasel

artistic expressions. Dedicated to Italian conceptual

Hong Kong...）如此令觀眾會心一笑的幽默，不僅生動有趣，更巧妙

artist Maurizio Cattelan and his humorous, satirical

應證他心中的藝術，毋須艱澀論述的背書，也可以自然融入日常情景

philosophy, Calleja re-created the sculpture Little

並深植人心。

Maurizio in 2019 by adding his own interpretation. In

Javier Calleja is a Spanish contemporary artist who attracted the attention of collectors worldwide with his signature "wideeyed boy" self-portraits, which combine text and images.

Following the debut of Calleja's first solo exhibition in Spain in 2003, he then brought it to other places in the world, such as Paris, Waldkirchen, Hamburg, and New York. In 2007, he held his first solo exhibition in Asia, where his adorable style swept across the art world. He then began consistently setting new

response to comments about seeing Yoshitomo Nara's influence in his works, Calleja said he has also been deeply influenced by his friend KAWS and street artist Barry McGee. Despite his own preference to work in a spacious, quiet studio instead of on crowded streets, Calleja very much admires Barry McGee's interpretation of character portraits. That is why he also applied this symbol to his creation.

auction records starting from 2019. While Calleja's solo exhibition continuously toured throughout New York, Japan, and Europe, he also collaborated with trendy communities in launching limited edition figures. His fresh and humorous style resonates with collectors across different generations.

Born in 1971, Calleja came from Malaga-the same hometown as Pablo Picasso-a warm city in southern Spain near the Mediterranean Costa del Sol. Calleja began his art career after graduating from Universidad de Granada's Faculty of Fine Arts in 2000. Tracing the path of his creation, he often used daily utensils, such as matchsticks, paper clips, and colored pencils, around 2013 to create whimsical "miniature" scenes on wall corners and fingertips from a displaced viewpoint. In a subcultural way, Calleja has also demonstrated the approach of applying English words and short phrases to highlight the themes of his works. On the contrary, the 3D works on gallery display in 2018 adopted the approach of expanding and enlarging pencil sketches, notebooks, cats, and slippers into surreal, playful sights. In the early phases, Calleja used a germinated potato, gray moon, Rubik's cube, and cloud to replace the character's head, thereby bridging the gap between personification and objectification. The combination of big eyes and friendly, dorky facial expressions was also passed on to the subsequent wide-eyed boys series.

哈維爾．卡勒加《綠日紅字》壓克力 畫布 162 x 120 cm， 羅芙奧2020秋拍 台幣 18,600,000 成交 Javier Calleja, Green Day with Red Words , Acrylic on canvas, 162 x 120 cm, Ravenel 2020 Autumn Auction, USD 652,632 sold

The wide-eyed boys in Calleja's works can be considered a

SELECT session recommends A Little Crazy by Calleja, a

reflection of himself. By telling stories in the simplest visual

piece of work created in 2018, which was displayed at Art

language consisting of a pair of eyes and a slogan t-shirt,

Basel, Hong Kong. The boy in the painting wears a blue

the image naturally sparks a dialogue with the audience and

t-shirt, with naive soft cheeks and blank facial expressions.

fulfills Calleja's hope to convey important messages through

His round and golden eyes look like crystal clear marbles.

art. The big innocent eyes are clear and pure, as if the

Despite having a red nose from crying, the boy smiles with

child stops crying and continues forward after overcoming

exposed front teeth. Calleja shared this piece of work on

current difficulties and encouraging themselves to gain an

Instagram on March 19 of the same year by posting a photo

inner resilience. The paintings not only feature slogans like

of its completion in the studio with the following caption,

"Don't cry," "never too late," or "here and now," but they

"Monday mood...A Little crazy. Coming soon on @artbasel

also leave blank spaces for viewers to imagine and interpret

Hong Kong..." Such humor brings a knowing smile to

the painting's stories from their own perspectives. In this

viewers' faces. In addition to being vividly interesting, it also

way, Calleja continues to innovate in his exhibitions. On one

cleverly illustrates Calleja's belief that art can naturally blend

hand, he consistently challenges himself, while, on the other

into daily life and become deeply rooted in people's hearts

hand, he believes that the experiences of viewers should

without abstruse endorsement.

complement the artistic expression. In the absence of an audience, self-admired art would lose its original intention of "communication."

Lot 005

Lot 007

Lot 068

069

JOSÉ PARLA

荷西．帕拉於 1973 年出生於邁阿密，為古巴裔美國人，先後

(American, b. 1973)

畢 業 於 邁 阿 密 達 德 學 院（Miami Dade College, Florida）、

East New York

Georgia），和邁阿密的新世界藝術學院（New World School

2011 Acrylic, plaster, gesso, ink, enamel and collage on canvas 61 x 91.5 cm Signed reverse José Parlá , titled East New York and dated 2011 PROVENANCE Chiswick Auctions , Urban Art, London December 06, 2018, lot 669 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 1,600,000 - 2,800,000 HK$ 436,000 - 763,000 US$ 56,100 - 98,100 RMB 370,000 - 647,000

薩 凡 納 藝 術 設 計 學 院（Savannah College of Art & Design, of the Arts, Miami）。荷西 帕拉以書法和斑斕的色彩而聞名， 擅用抽象的語彙，來表達其對歷史、人類和語言的豐富性的覺 察，如其和法國藝術家 JR（Jean René）共同合作的項目《城 市 的 皺 紋： 古 巴 哈 瓦 那 》（Wrinkles of the City - Havana, Cuba）（2012 年），和其為知名機構所繪製的大型壁畫：布魯 克林巴萊克中心的《布魯克林日記》（Diary of Brooklyn）（2012 年）、北卡羅萊納州立大學亨特圖書館的《語言的本質》（Nature of Language）（2013 年）、紐約世界貿易中心一號大樓的《共 識 》（ONE: Union of the Sense）（2014 年 ）、 德 州 大 學 奧 斯汀分校的《美國友誼》（Amistad América）（2018 年）等。 José Parlá was born in Miami in 1973. He is a CubanAmerican. He graduated from Miami Dade College, Florida, Savannah College of Art & Design, Georgia, and New World School of the Arts, Miami, Miami. José Parlá is famous for his calligraphy and bright colours, and he uses a distinctive abstract way to express his awareness of history and the richness of mankind and language. For example, the

荷西．帕拉

project "Wrinkles of the City - Havana, Cuba" (2012) that he

東紐約

collaborated with a French artist JR (Jean René); and large-

2011年 壓克力 石膏 打底劑 墨 琺琅彩 拼貼 畫布 61 x 91.5 cm 簽名題識畫背：East New York José Parlá 2011 來源 齊仕閣拍賣行，「城市藝術」，倫敦， 2018年12月6日，編號669 附藝術家簽名之原作保證書

scale mural at well-known institutions: "Diary of Brooklyn" (2012) of Barclays Center, Brooklyn, New York, "Nature of Language" (2013) of Hunt Library by SNØHETTA, North Carolina State University, "ONE: Union of the Sense" of ONE World Trade Center, New York (2014), "Amistad América" (2018) of Landmarks, University of Texas at Austin, etc.

070

MEL BOCHNER

梅爾．伯克奈爾

(American, b. 1940)

惡棍

Scoundrel

2012年 珐瑯彩 紙 76.3 x 56.9 cm 題識畫背：SCOUNDREL 2012

2012 Enamel paint on paper 76.3 x 56.9 cm Titled SCOUNDREL and dated 2012 on the reverse of the backboard PROVENANCE Acquired directly from the artist Phillips, London EXHIBITED Mel Bochner-'Working Drawings and Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art', 1966 and Recent Works , Karsten Schubert, London, October 4-November 2, 2012

來源 直接購自藝術家本人 富藝斯，倫敦 展覽 「梅爾．伯克奈爾－素描和其他非必要視為藝術的紙上可見 物：1966年和新作」，卡斯滕．舒伯特畫廊，倫敦，2012 年10月4日至11月2日

NT$ 900,000 - 1,400,000 HK$ 245,000 - 381,000 US$ 31,500 - 49,100 RMB 208,000 - 323,000

梅爾．伯克奈爾是觀念藝術的先驅之一，他開發了許多觀念和

moved to New York. While in New York, he was given the

裝置藝術的技巧，這些技巧也為年輕藝術家所用。1964 年，藝

opportunity to teach art history at the School of Visual Arts.

術家搬遷到紐約，期間，他有機會在視覺藝術學院（School of

It was at this school that Bochner had his first exhibition; the

Visual Arts）教授藝術史。於此伯克奈爾舉辦了他的首次個展。

1966 show "Working Drawings And Other Visible Things

在 1966 年「素描和其他非必要視為藝術的紙上可見物」展覽中，

On Paper Not Necessarily Meant To Be Viewed As Art"

展出了他和友人們的素描影印本，得到好評，它被視為觀念藝

consisted of photocopies of working drawings from his

術的典型例子，且為紐約 MoMA 典藏。

friends placed into four black binders on four pedestals. The

Mel Bochner (American, b.1940) is one of the pioneers of Conceptual Art. He has helped to develop many of the techniques used by the Conceptual and Installation artists who followed him into the art world.In 1964, the artist

show was well received, and was seen as a defining example of the Conceptual Art movement, where the concept of the presentation is the most important aspect of the artwork.

The 1966 art piece was collected by MoMA, New York.

071

CLAIRE TABOURET

萊爾．特伯萊 1981 年出生，2006 年畢業於法國國立高等美院。

(French, b. 1981)

創作靈感來自於有感時間的流逝，與人際關係的脆弱性。特伯

The Wanderer (Red)

萊的畫作聚焦於童年，個體獨立或是參與團體所留下的謎團。

2017 Ink on paper 50.8 x 38.1 cm PROVENANCE Night Gallery, Los Angeles This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 750,000 - 1,100,000 HK$ 204,000 - 300,000 US$ 26,300 - 38,600 RMB 173,000 - 254,000

擅長表現人像畫作，以作品連結觀者個人的經驗，與浪漫畫派 的宏偉畫作。近期於法國南部完成的壁畫，是藝術家在其畫作 中表現永恆，有時則恰似狂歡節的世界觀範例。其作品為加州 洛杉磯郡立美術館、邁阿密佩雷斯美術館、加拿大蒙特婁美術 館、巴黎皮諾私人美術館，或上海余德耀美術館等機構收藏。 Claire Tabouret studied at the L'École des Beaux-Arts, Paris. Tabouret was motivated by a sensitivity to the passing of time and the vulnerability of human relationships. Her painting practice takes a closer look at childhood enigmas, the individual isolated or within a group. Tabouret is good at composing group portraits, which connects to the audience's personal experiences, and recalls the magnificent paintings created by romantic artists. The recent mural realized at Fabrègues Castle in the south of France, is an example of

克萊爾．特伯萊 流浪者（紅） 2017年 墨紙 50.8 x 38.1 cm 來源 夜間畫廊，洛杉磯 附藝術家簽名之原作保證書

the timeless and sometimes carnivalesque universe that the artist creates in her paintings. Her works are collected by the Los Angeles County Museum of Art, Miami Perez Art Museum, Musée des Beaux Arts de Montréal, Pinault Collection and other institutes like Yuz Museum in Shanghai.

072

OB

ob

(Japanese, b. 1992)

第三個我

The Third Me

2012年 油彩 畫布 130.5 x 130.5 x 2.7 cm 簽名畫背：2012.8.16 ob

2012 Oil on canvas 130.5 x 130.5 x 2.7 cm Signed reverse ob and dated 2012.8.16 PROVENANCE Kaikai Kiki Gallery, Taipei Acquired from the above by the present owner EXHIBITED Art Taipei art fair , November 9-12, 2012

來源 Kaikai Kiki Gallery, 台北 現有收藏者購自上述來源 展覽 「台北國際藝術博覽會」，2012年11月9日至12日

NT$ 750,000 - 1,100,000 HK$ 204,000 - 300,000 US$ 26,300 - 38,600 RMB 173,000 - 254,000

ob 出生於 1992 年的日本京都，作品所營造的世界，反映出同

High School at 18 years old, ob held her first solo exhibition

世代青年的感性情懷。2010 年她自京都藝術高等學校畢業，年

held in Kyoto. In the following year, she had three solo

僅 18 歲，在京都舉行出道首次個展。2011 年舉辦三檔個展，

exhibitions, organized by Takashi Murakami's Kaikai Kiki

由村上隆主持的 Kaikai Kiki 畫廊推薦，並在香港藝術博覽會的

Gallery, and then her works displaying in Art Basel Hong

個展獲得高度評價。藝術家表示創作時腦海中所浮現的場景，

Kong received great comments from the collectors. During

不是在森林的深處，就在堆滿喜愛物品的家。無論何處，創作

the creation, ob felt the sceneries emerging in mind, are

都可以安撫心情，讓她感到歸屬感。

always happening in the deep of the forest or at her home

ob was born in 1992, Kyoto, in the art world that she created, reflects the sensibility of young people in her generation. In 2010, when graduated from Kyoto Art Senior

that contains objects she likes. The artist said that no matter where she is, through the process of creating, she feels the belongingness.

073

I NYOMAN MASRIADI

米斯尼亞迪

(Indonesian, b. 1973)

立體風格人物

Untitled

1997年 油彩 畫布 139 x 129.5 cm 簽名右下：MASRIADI

1997 Oil on canvas 139 x 129.5 cm Signed lower right MASRIADI PROVENANCE Gajah Gallery, Singapore Private collection, Asia ILLUSTRATED Nyoman Masriadi: Reconfiguring the Body , Gajah Gallery, Singapore, 2010, color illustrated, p. 205

來源 加查畫廊，新加坡 私人收藏，亞洲 圖錄 《米斯尼亞迪：重構形體》， 加查畫廊，新加坡， 2010，彩色圖版，頁205

NT$ 1,400,000 - 2,200,000 HK$ 381,000 - 599,000 US$ 49,100 - 77,100 RMB 323,000 - 508,000

米斯尼亞迪於 1973 年出生於印尼峇里島的吉安雅。他就讀爪哇

without graduating. He later joined Sanggar Dewata studio

日惹市的印尼藝術大學，未完成學業即離開學校；而後加入峇里

in Bali. In 1997, he was awarded the prize for Best Painting

島的桑格．迪瓦它工作室。作為印尼當代藝術代表性人物，其藝

at Dies Natalis ISI Yogyakarta. Being the representative artist

術表現根植於經典傳統。1997 年創作《立體風格人物》，可見

of Indonesian contemporary art, Masriadi's art was rooted

西方立體派概念與印尼傳統文化，對藝術家早期風格之影響。

in classical fine-arts. Created in 1997, the Untitled painting,

Nyoman Masriadi was born in Gianyar, Bali, in 1973. He studied at the Indonesian Art Institute Yogyakarta but left

showing the conception of Western Cubism and Indonesian traditional culture influence on the artist's early style.

074

JUMALDI ALFI

朱瑪迪．奧菲

(Indonesian, b. 1972)

紀念 092307（色彩指南繪畫系列）

Memoration 092307 (Colour Guide Serie)

2007年 壓克力 畫布 195 x 145 x 5 cm 簽名題識畫背：ALFI COLOUR GUIDE SERIE MEMORATION 092307 ACRYLIC ON CANVAS 195 x 145 CM 2007

2007 Acrylic on canvas 195 x 145 x 5 cm Signed reverse ALFI , titled COLOUR GUIDE SERIE MEMORATION 092307 , inscribed ACRYLIC ON CANVAS 195 x 145 CM and dated 2007 PROVENANCE Micahel Ku Gllaery, Taipei Acquired from the above by the present owner EXHIBITED Putu Sutawijaya, Rudi Mantofani, and Alfi Jumaldi-Nostalgia Indonesia Contemporary Art Exhibition , Michael Ku Gallery, Taipei, October 18-November 30, 2008 ILLUSTRATED Putu Sutawijaya, Rudi Mantofani, and Alfi Jumaldi-Nostalgia Indonesia Contemporary Art Exhibition , Michael Ku Gallery, Taipei, 2008, color illustrated

來源 谷公館，台北 現有收藏家得自上述來源 展覽 「生命裡的鄉愁－印尼當代藝術展」，谷公館，台北， 2008年10月18日至11月30日 圖錄 《生命裡的鄉愁－印尼當代藝術展》， 谷公館當代藝術有限公司，台北，2008，彩色圖版

NT$ 600,000 - 900,000 HK$ 163,000 - 245,000 US$ 21,000 - 31,500 RMB 139,000 - 208,000

1972 年出生於印尼西蘇門答臘。奧菲畢業於日惹的印尼藝術學

has consistently been exploring new possibilities in painting

院。奧菲持續不斷探索傳統東南亞繪畫新的可能性。獲獎紀錄

traditional Southeast Asian art. He gained great reputation

包括：1999 年獲選印尼藝術學院最佳繪畫獎與入圍第五屆印尼

with rewarded prizes including: The Best Painting Awards,

藝術獎；2003 年再度入圍第十屆印尼藝術獎。曾參與 2005 年

Indonesian Institute of Art (ISI), Yogyakarata, Indonesia,

「美與恐怖」，Loft 畫廊，巴黎；2008 年「宣言」，印尼國家

Finalist of the 5th Indonesian Art Awards in 1999 and

美術館，印尼；「團結：的藝術回報率」，紐約等聯展。個展紀錄：

Finalist of the 10th Indonesian Art Awards. Selected group

2008 年「色彩指南繪畫系列」，納迪畫廊，印尼；2010 年「生

exhibitions: 2005 "Beauty & Terror'', Paris; 2006; 2008

活 / 藝術 101」，新加坡；2011 年「夜泳者」，梅蒂斯畫廊，

"Manifesto", The National Gallery of Indonesia, Indonesia;

阿姆斯特丹。

"Unity: The return of Art", Wendt Gallery, New York. Solo

Bor n in 1972 in Lintau, West Sumatra, Indonesia. Alfi graduated from Indonesian Institute of Arts, Yogyakarta. Alfi

Exhibitions: 2008 "Color guide Series", Indonesia; 2010 "Life/Art # 101: Never Ending Lesson", Singapore; 2011 "Nightswimmer", Metis Gallery, Amsterdam.

075

PICHAYA KHUNNAWAT

皮查亞．昆納瓦

皮查亞．昆納瓦，2007 年畢業於泰國藝術

(Thai, b. 1980)

超級巨星

大學的繪畫、雕塑與平面藝術學院，取得

Superstar

2007年 壓克力 筆 紙箱 紙 74 x 69 cm

2007 Acrylic and pen on carton box and paper 74 x 69 cm EXHIBITED Raw/Rare , 100 Tonson Gallery, Bangkok, March 8-April 15, 2007 ILLUSTRATED Raw/Rare , 100 Tonson Gallery, Bangkok, 2007, color illustrated

NT$ 100,000 - 150,000 HK$ 27,000 - 41,000 US$ 3,500 - 5,300 RMB 23,000 - 35,000

展覽 「生的 / 稀有的」，100湯森畫廊， 曼谷，2007年3月8日至4月15日 圖錄 《生的 / 稀有的》，100湯森畫廊， 曼谷，2007年，彩色圖版

視覺藝術碩士學位。2009 年，100 湯森畫 廊成為第一間獲邀參加瑞士巴塞爾藝術展 的泰國畫廊時，皮查亞．昆納瓦即為參展 的藝術家之一。其創作手法，涵蓋具象與 抽象，多表達其對泰國社會問題的關懷。 Pichaya Khunnawat got in 2007 a Master of Fine Arts (Visual Arts) from The Painting Department, Faculty of Painting Sculpture and Graphic Arts, Silpakorn University, Bangkok. In 2009, when 100 Tonson Gallery became the first Thai gallery to participate in Art Basel in Switzerland, Pichaya Khunnawat was one of the participating artists. He conveyed in both representational and abstract approaches, challenged critical thinking about the society.

076

KATHERINE BERNHARDT

凱薩琳．伯恩哈特

凱 薩 琳． 伯 恩 哈 特 於 2000 年 於 紐 約

(American, b. 1975)

最近怎麼樣？（迪士尼系列）

視 覺 藝 術 學 院 取 得 美 術 碩 士 學 位。 使

What's Up (Disney Collection)

2020年 乾筆手繪 銅雕 版次62/80 發行單位 APPortfolio 25（長）x 20（寬）x 40（高）cm 簽名右腳底部：Katherine Bernhardt 題識左腳底部：Disney 附防偽雷射標籤

2020 Hand dry brush Painting, bronze, ed. 62/80 Produced by APPortfolio 25(L) x 20(W) x 40(H) cm Signed Katherine Bernhardt on the bottom of the right foot Inscribed Disney on the bottom of the left foot With two security laser tags This lot is accompanied with a certificate of authenticity and the original product box.

NT$ 260,000 - 400,000 HK$ 71,000 - 109,000 US$ 9,100 - 14,000 RMB 60,000 - 92,000

附原作保證書及原裝盒

用 稀 釋 的 壓 克 力 顏 料， 和 噴 漆 滴 落 的 痕 跡， 使 得 伯 恩 哈 特 的 作 品 帶 有 手 勢 （Gestural）繪畫的特色。其作品像彩 繪壁紙一樣吸睛，富有韻律感的圖案， 取材自摩洛哥地毯和非洲紡織品的「圖 騰」繪畫。 K a t h e r i n e B e r n h a rd t re c e i v e d a Master of Fine Arts degree from the School of Visual Arts, New York in 2000. Bernhardt's materials include thinned, fluid pools of acrylic and assured, drippy marks of spray paint, connecting the works to Gestural style. Her work attracts the eye like painted wallpaper, with rhythmic patterns that mimic those found in Moroccan rugs and African textiles.

These works are often referred to as "pattern" paintings.

077

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

BFF (Black) 2019 Plastic polyester, ed. 31/500 45.7(H) cm (sculpture); 30.1(L) x 24.1(W) x 55.4(H) cm (box) Signed KAWS.. on the bottom of the left foot Numbered 31/500 on the right hand Signed base DIOR AND KAWS..

LIMITED EDITION: 31/500 and dated January 2019 on the base This lot is accompanied with a certificate of authenticity and the original product box.

NT$ 240,000 - 360,000 HK$ 65,000 - 98,000 US$ 8,400 - 12,600 RMB 55,000 - 83,000

布萊恩．唐納利 BFF（黑） 2019年 綜合媒材 聚酯纖維 毛絨 迪奧限量設計牛仔服及西裝 版次31/500 45.7（高）cm（雕塑）； 30.1（長）x 24.1（寬）x 55.4（高）cm（原裝盒） 簽名左腳底部：KAWS.. 編號右手：31/500 簽名題識台座：DIOR AND KAWS.. LIMITED EDITION: 31/500, JANUARY 2019 附原作保證書及原裝盒

078

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

BFF (Pink) 2019 Plastic polyester, ed. 138/500 45.7(H) cm (sculpture); 30.1(L) x 24.1(W) x 55.4(H) cm (box) Signed KAWS.. on the bottom of the left foot Numbered 138/500 on the right hand Signed base DIOR AND KAWS..

LIMITED EDITION: 138/500 and dated January 2019 on the base This lot is accompanied with a certificate of authenticity and the original product box.

NT$ 240,000 - 360,000 HK$ 65,000 - 98,000 US$ 8,400 - 12,600 RMB 55,000 - 83,000

布萊恩．唐納利 BFF（粉紅） 2019年 綜合媒材 聚酯纖維 毛絨 迪奧限量設計牛仔服及西裝 版次138/500 45.7（高）cm（雕塑）； 30.1（長）x 24.1（寬）x 55.4（高）cm（原裝盒） 簽名左腳底部：KAWS.. 編號右手：138/500 簽名題識台座：DIOR AND KAWS.. LIMITED EDITION: 138/500, JANUARY 2019 附原作保證書及原裝盒

079

JOSH SPERLING X SAM FRIEDMAN

喬希．斯博林 X 山姆．傅利曼

(American, b.1984)

J&S #1 第27/32部

J&S #1 Part 27/32

2018年 壓克力 畫布 15.5 x 84.5 cm 簽名題識畫背：Sam Friedman PART 27/32 2018 Sperling

2018 Acrylic on canvas 15.5 x 84.5 cm Signed reverse Sperling, Sam Friedman , inscribed PART 27/32 and dated 2018

NT$ 360,000 - 480,000 HK$ 98,000 - 131,000 US$ 12,600 - 16,800 RMB 83,000 - 111,000

喬希．斯博林創作從二十世紀 60、70 年代的極簡 主義繪畫語言中汲取養分，主要圍繞造型畫布的研 究。在立體感的塑造過程中，模糊了繪畫與雕塑、 圖像與物體之間的界限，又形成了一種 3D 抽象繪 畫的效果。2018 年巴黎貝浩登畫廊個展之後，相繼 在首爾、東京、紐約、上海等地舉辦個展。 Josh Sperling draws on the language of minimalist painting from the 1960s and 1970s, primarily working with shaped canvases. In their three-dimensionality, his works blur the lines between painting and sculpture, image and object. After the solo exhibition in 2018 in Paris, he held his two solo exhibitions in Perrotin Seoul and Tokyo in 2019. In 2020, he held a solo exhibition in New York and at Perrotin Shanghai in the end of 2020.

080

HEBRU BRANTLEY (American, b. 1981)

3 The Hard Way 2020 Bronze sculpture with specialist satin paint finish, ed. 17/50 Produced by Avant Arte 12(L)x 13(W) x 36(H) cm Numbered on the bottom 17/50 This lot is accompanied with a certificate of authenticity signed by the artist and the original product box.

NT$ 420,000 - 600,000 HK$ 114,000 - 163,000 US$ 14,700 - 21,000 RMB 97,000 - 139,000

赫布魯．布蘭特里 三硬漢 2020年 銅雕 緞面漆 版次17/50 發行單位Avant Arte 12（長）x 13（寬）x 36（高）cm 編號底部：17/50 附藝術家簽名之原作保證書及原裝盒

赫布魯．布蘭特里在克拉克．亞特蘭大大學（Clark Atlanta University） 取得電影學士，熟悉設計和媒體插畫。1990 年代開始從事街頭塗鴉，其 複合媒材繪畫和雕塑富含街頭活力美學，展現當代都市文化。獨創敘事 手法及潮流藝術符號，顛覆傳統「英雄」的概念。靈感來自凱斯．哈林、 非裔美國人歷史、嘻哈文化、動漫，亦受 1960、70 年代芝加哥南區的「不 良相關藝術家公社」黑人美學影響。 Hebru Brantley earned a B.A. in Film from Clark Atlanta University, and has a background in Design and Media Illustration. He began tagging graffiti on the street in the 1990s. His mixed-media paintings and sculpture reflect the street's energy and aesthetic, embodying contemporary urban culture. Using a distinct narrative and pop-art icons, Brantley's work challenges the traditional view of the hero, drawing inspiration from Keith Haring, African American History, HipHop, anime and manga. The artist is also influenced by the 1960s-70s COBRA (The Commune of Bad Relevant Artists) in the South Side of Chicago, seeking to explore what was the "Black aesthetic" creed.

081

BORIS CHEMETOV

波里斯．謝梅多夫

俄羅斯藝術家波里斯．謝梅多夫 1908 年出生於莫

(Russian, 1908-1982)

作用 VIII

斯科，1933 年前往巴黎深造，並在蒙巴納斯藝術圈

Funktion VIII

油彩 畫布 38 x 46 cm 簽名右下：Chemetov 題識畫背：FUNKTION VIII 192

Oil on canvas 38 x 46 cm Signed lower right Chemetov Titled reverse FUNKTION VIII and inscribed 192 PROVENANCE Christie's Amsterdam, Netherlands March 6, 2007, lot 232 Private collection, Netherlands Private collection, Asia

NT$ 120,000 - 180,000 HK$ 33,000 - 49,000 US$ 4,200 - 6,300 RMB 28,000 - 42,000

來源 佳士得阿姆斯特丹，荷蘭， 2007年3月6日，編號232 私人收藏，荷蘭 私人收藏，亞洲

認識了巴黎畫派的畫家。其後，他亦至法國立體派 畫家安德烈．洛特的工作室學習。謝梅多夫致力於 將藝術融入生活，人和城市是他繪畫的兩大重要主 題。他的作品深受立體主義、構成主義和俄羅斯芭 蕾影響，運用豐沛的色彩和幾何抽象表現手法。 Russian artist Boris Chemetov was born in 1908 in Moscow. In 1933 he settled in Paris.

He integrated into the Montparnasse artists' circle and met painters of the Ecole de Paris. He continued his studies at French Cubist André Lhote's studio. The artist devoted to introducing art to life. People and city are two major themes of his painting. Cubism, Constructivism and the Russian Ballet had a great influence on Cemetov's creation, which features an abundance of color and abstract geometric expression. Chemetov's work achieves flatness and non-perspective composition constructed by interlocking jigsaw arrangement of color that reveals the poetry and music of contemporary painting.

082

ROY LICHTENSTEIN

羅伊．李奇登斯坦

(American, 1923-1997)

麥草堆 #2

Haystack #2 from Haystack Series

1969年 石版畫 彩色絲網印刷 法國芙麗版畫紙 發行與印刷 Gemini G.E.L. 洛杉磯 版次99/100 34 x 59.7 cm（圖） 51.8 x 74.8 cm（紙） 簽名右下：R. Lichtenstein '69 版次左下：99/100 鈐印右下：Gemini G.E.L. Los Angeles, CALIF

1969 Lithograph, screenprint in colors on Rives BFK paper Publisher/printer Gemini G.E.L., Los Angeles; ed. 99/100 34 x 59.7 cm (Image) 51.8 x 74.8 cm (Paper) Signed lower right R. Lichtenstein and dated ‘69 Numbered lower left 99/100 With a stamp of Gemini G.E.L. Los Angeles, CALIF ILLUSTRATED M. Corlett, The Prints of Roy Lichtenstein, A Catalogue Raisonné, 1948-1997, Hudson Hills Press, New York, 2002, illustrated, no. 66, p. 97 Gemini G.E.L., Online Catalogue Raisonné , no. 31.10

NT$ 190,000 - 280,000 HK$ 52,000 - 76,000 US$ 6,700 - 9,800 RMB 44,000 - 65,000

圖錄 科爾萊特，《羅伊．李奇登斯坦版畫編年目錄1948-1997》， 哈德遜山丘出版，紐約，2002，圖版，編號66，頁97 Gemini G.E.L. 線上目錄，編號31.10

083

YANG MAO-LIN

楊茂林

(Taiwanese, b. 1953)

宇宙大同

Age of Aquarius

1999年 油彩 電腦輸出 畫布 162 x 130 cm 簽名畫背：楊茂林 TAIWAN R.O.C.

1999 Oil and computer graphic on canvas 162 x 130 cm Signed reverse Yang Mao-lin in Chinese and TAIWAN R.O.C. PROVENANCE Lin & Keng Gallery, Taipei Acquired from the above by the present ower EXHIBITED Inviting the Immortals: Culture, Intercourse, Tayouan History, Lin & Keng Gallery, Taipei, 1999 Ceremonies before Rewarding-Inviting the Immortals III, Yang Mao-lin , Lin & Keng Gallery, Taipei, November 8-30, 2003 ILLUSTRATED Inviting the Immortals: Culture, Intercourse, Tayouan History, Lin & Keng Gallery, Taipei, 1999, color illustrated Ceremonies before Rewarding-Inviting the Immortals III, Yang Mao-lin , Lin & Keng Gallery, Taipei, 2003, color illustrated

來源 大未來畫廊，台北 現有收藏者購自上述來源 展覽 「文化交配大圓誌－請眾仙」，大未來畫廊，台北，1999 「封神之前戲－請眾仙III．楊茂林」，大未來畫廊， 台北，2003年11月8日至30日 圖錄 《文化交配大圓誌－請眾仙》，大未來畫廊， 台北，1999，彩色圖版 《封神之前戲－請眾仙III．楊茂林》，大未來畫廊， 台北，2003，彩色圖版

NT$ 440,000 - 650,000 HK$ 120,000 - 177,000 US$ 15,400 - 22,800 RMB 102,000 - 150,000 1953 年 生 於 台 灣 彰 化。1979 畢 業 於 台 北 文 化 大 學 美 術 系，

numerous exhibitions, including his first solo exhibition at

1985 年為台北畫派創始成員並推選為第一任會長。1991 年榮

the Taipei Fine Arts Museum; in 1990 he participated in

獲第一屆雄獅美術創作新人獎。展覽紀錄豐富，如：1987 年第

the Taiwan Art Museum Exhibition "300 years of Taiwan

一次個展於台北市立美術館，1990 參加台灣省立美術館舉辦的

Art"; in 1995 his works were included in the "Exhibition of

「台灣三百年作品展」，1995 年於義大利羅馬舉行的「台灣當

Taiwanese Art" in Rome. Yang Mao-lin's works represent

代藝術展」等。於楊茂林的作品中，我們可以看到對台灣歷史

a segment of Taiwanese history and build up time/space

的片斷及多元時空的交錯，其作品以批判，顛覆的手法對台灣

juxtapositions; they take a critical and even subversive view

歷史事件作一另類省思。1990 年代之後，從美國、日本文化影

of Taiwanese historical events. Since the 1990s, he has

響，創作「文化篇」系列作品，嘗試多媒體與裝置創作，掌握

criticized Taiwanese social phenomena under the long-term

時代脈動，呈現今日社會文化面向。1990 年代獲國際邀展不斷，

influence of American culture and Japanese culture. Then he

1999 年以《熱蘭遮紀事》等早期作品參加第四十八屆威尼斯國

added multiple-media in his installation work to respond to

際藝術雙年展，受到國際藝評家與收藏家的注意。

current Taiwan society. Yang has been frequently invited to

Yang was the first director and a founding member of the Taipei School, in 1991 he won the first Art Creation Award of Hsiung Shih Fine Arts; his works have been shown in

participate in international art exhibitions. In 1999, his early series of Zeelandia Memorandum was shown at the 48th Venice Biennale and was well received by international art critics and collectors.

084

BURTON MORRIS

伯頓．莫利斯

美國普普藝術家伯頓．莫利斯，1964

(American, b. 1964)

可口可樂

年生於賓州匹茲堡。1986 年取得卡內

Coca Cola 2006 Acrylic on canvas 122 x 91 x 3.5 cm Initialed lower left BCM Initialed reverse BCM and titled Coca-Cola EXHIBITED American Pop Festival , Art Statements, Festival Walk Kowloon Tong, Hong Kong, June 28-July 15, 2007

NT$ 200,000 - 300,000 HK$ 54,000 - 82,000 US$ 7,000 - 10,500 RMB 46,000 - 69,000

2006年 壓克力 畫布 122 x 91 x 3.5 cm 簽名左下：BCM 簽名題識畫背：Coca-Cola BCM 展覽 「美國普普藝術節」， Art Statements， 九龍塘又一城，香港， 2007年6月28日至7月15日

基美隆大學美術學士。畢業後擔任廣 告美術指導。莫利斯關注日常生活流 行文化，其作品大膽、用色鮮明，以 粗黑線條勾勒現當代潮流圖像。具廣 告業背景的他，1990 年開始將流行圖 案融入大尺幅油畫創作，打破高雅與 低俗藝術的界限。莫利斯的作品收藏 於巴拉克．歐巴馬總統中心、奧爾布 萊 特 - 諾 克 斯 美 術 館、 吉 米． 卡 特 中 心、愛麗舍攝影博物館、聯合國、國 際奧林匹克博物館、可口可樂世界博 物館、約翰．海因茨歷史博物館以及 美國影藝學院。

085

BURTON MORRIS (American, b. 1964)

Popcorn 2006 Acrylic on canvas 121 x 91 x 3.5 cm Initialed lower left BCM Initialed reverse BCM and inscribed POP! EXHIBITED American Pop Festival , Art Statements, Festival Walk Kowloon Tong, Hong Kong, June 28-July 15, 2007

NT$ 200,000 - 300,000 HK$ 54,000 - 82,000 US$ 7,000 - 10,500 RMB 46,000 - 69,000

伯頓．莫利斯

American Pop Artist Burton Morris was born in

爆米花

1964 in Pittsburgh, Pennsylvania. After earning

2006年 壓克力 畫布 121 x 91 x 3.5 cm 簽名左下：BCM 簽名題識畫背：POP! BCM 展覽 「美國普普藝術節」， Art Statements， 九龍塘又一城，香港， 2007年6月28日至7月15日

a bachelor degree in Fine Arts from Carnegie Mellon University in 1986, he started a career as an art director in advertising. Morris is best known for his bold, graphic pop art depictions of various modern icons. His subject matter includes everyday objects that portray today's popular culture. His artwork is characterized by radiant black outlines and vivid colors. In 1990, Morris began making his small post-pop icons into large-scale paintings, using his background in advertising to blur the lines between high and low art. Morris' artwork is included in the collections of The Barack Obama Presidential Center, The Albright-Knox Museum, The Jimmy Carter Center, The Elysee Museum, The United Nations, The International Olympic Museum, The World of Coca Cola Museum, The Senator John Heinz History Museum, and The Academy of Motion Picture Arts & Sciences.

086

BURTON MORRIS

伯頓．莫利斯

(American, b. 1965)

烤吐司機

"Pop Tart" Pop!

2006年 壓克力 畫布 金屬片 122 x 91 x 3.5 cm 簽名左下：BCM 簽名題識畫背："POP TART" POP! BCM

2006 Acrylic on canvas, metal flakes 122 x 91 x 3.5 cm Initialed lower right BCM Initialed reverse BCM and titled "POP TART" POP! EXHIBITED American Pop Festival , Art Statements, Festival Walk Kowloon Tong, Hong Kong, June 28-July 15, 2007

NT$ 200,000 - 300,000 HK$ 54,000 - 82,000 US$ 7,000 - 10,500 RMB 46,000 - 69,000

展覽 「美國普普藝術節」，Art Statements， 九龍塘又一城，香港，2007年6月28日至7月15日

087

ALEX KATZ (American, b. 1927)

Dancer 2 2020 Aluminium, ed. 14/60 Produced by Lococo Fine Art Publisher 53(L) x 8(W) x 74(H) cm Engraved base Alex Katz Numbered base 2020 ALEX KATZ 14/60 LOCOCO FINE ART PUBLISHER

NT$ 700,000 - 1,000,000 HK$ 191,000 - 272,000 US$ 24,500 - 35,100 RMB 162,000 - 231,000

亞力士．凱茲 舞者 2 2020年 鋁 版次14/60 發行單位Lococo Fine Art Publisher 53（長）x 8（寬）x 74（高）cm 簽名雕刻台座：Alex Katz 編號台座底部：2020 ALEX KATZ 14/60 LOCOCO FINE ART PUBLISHER

088

LEE HO RYON

李皓堜

(Korean, b. 1978)

重疊影像 080801

Overlapping Image 080801

2008年 油彩 畫布 116.8 x 91 cm 簽名題識畫背：이호련 Lee, Ho-Ryon OVERLAPPING IMAGE 080801 116.8 x 91.0 cm oil on canvas 2008

2008 Oil on canvas 116.8 x 91 cm Signed reverse Lee, Ho-Ryon both in Korean and English, titled OVERLAPPING IMAGE 080801 , dated 2008 and inscribed 116.8 x 91.0 cm oil on canvas

NT$ 260,000 - 380,000 HK$ 71,000 - 104,000 US$ 9,100 - 13,300 RMB 60,000 - 88,000

089

BAE JOON SUNG (Korean, b. 1967)

The Costume of Painter - Good to See U 2021 Lenticular photograph, ed. 8/10 106.5 x 80 cm Signed reverse Bae Joonsung , numbered 5/8 and dated 2021

NT$ 320,000 - 480,000 HK$ 87,000 - 131,000 US$ 11,200 - 16,800 RMB 74,000 - 111,000

裴淮晟 畫家的服裝－相見歡 2016年 立體光柵 版次 8/10 106.5 x 80 cm 簽名題識畫背：Bae Joonsung 5/8 2021

裴准晟，1967 年生於韓國光州。1990 年畢業於首爾大學美術學 院油畫系。1996 年在首爾錦湖藝術博物館首次舉辦個展。2000 年畢業於首爾大學美術學院油畫研究所，同年獲得韓國文化旅遊 學院青年藝術家獎。其創作形式多元，繪畫、攝影、拼貼等多重 手法，作品多以歷史人物或場景為原型，再次探討歐洲著名繪畫 與亞洲女性身體的重組效應。自 2000 年起開始活躍於國際藝術 圈，其作品曾在莫斯科、紐約、倫敦、北京等機構展出。 Bae Joon Sung was born in 1967 in Gwangju, South Korea.

He graduated from College of Fine Arts, Seoul National University in 1990. In 1996, his first solo exhibition was held in Kumho Museum of Art, Seoul. In 2000, he obtained M.F.A. from Graduate School of Seoul National University, Seoul.

In the same year, he won the Young artist Prix, Ministry of Culture and Tourism, Korea. He deploys multiple mediums in his art practice, including painting, photography, and collage.

Often based on historical figures or scenarios, he rethinks the re-arrangement effect of European classical masterpieces and the Asian female physicality. Since 2000, he has become globally active, hosted multiple exhibitions in art museums and institutes in Moscow, New York, London, Beijing, etc.

090

KOH SANG WOO

高尚佑於 1978 年出生於韓國首爾，1994 年移居美國。用負片的風格表

(Korean, b. 1978)

現主題，使畫面呈現豐富的藍色調風格。他將攝影、表演藝術和繪畫融

Black Pearls II

於一體。他的作品是與其攝影的對象進行交流的結果，用花和蝴蝶裝飾，

2020 Epson HDR Inkjet Print, ed. 5/8 150 x 150 cm Initialed reverse KSW , titled BLACK PEARLS II , inscribed 150 x 150 cm, 5/8 FIVE OF EIGHT and dated 2020

線，強化作品的情感。高尚佑透過反面看世界，反思我們看待別人和了

EXHIBITED Evolution , Gallery NoW, Seoul, October 7-November 4, 2020 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 480,000 - 700,000 HK$ 131,000 - 191,000 US$ 16,800 - 24,500 RMB 111,000 - 162,000

並用畫筆彩繪，藉此彰顯對象純粹的本質。透過改變曝光時的顏色和光 解自己的方式。 高尚佑於 2001 年畢業於芝加哥藝術學院，雙主修攝影和表演藝術。透過 兩種媒介，可進一步了解靜止與行動之間的關係。他認為攝影無法表達 完整的情緒，只有結合表演，才能將正確的訊息傳遞給觀者。高尚佑的 作品在世界各地被廣泛地展出，並於 2013 年被列為百位韓國最重要的藝 術家之一。他參與過的藝術博覽會，包括 : 軍械庫藝術展、軍械庫攝影藝 術展、香港巴塞爾藝術展、邁阿密藝術博覽會；作品並為 Zaha 當代藝術 中心，和薩維納當代藝術博物館等機構所收藏。 Koh Sang Woo was born in Seoul, Korea in 1978, and moved to the United States in 1994. Recognizable by the blue tone photograph that captures his subject using negative film, Koh Sang Woo is a visual artist who consolidates photography, performance, and painting. His work is a result of dialogue with the model. The Decoration of their bodies and hear with flowers and butterflies and painting them with brush strokes is a part of performance and

高尚佑

preparation for photographing. His subjects are completely revealed,

黑珍珠 II

represented in their essential purity. Change of the color and the light

2020年 愛普生HDR噴墨相紙 版次5/8 150 x 150 cm 簽名題識畫背：KSW BLACK PEARLS II 2020 150 x 150 cm 5/8 FIVE OF EIGHT

gives us the opportunity to see the world in reverse, to reconsider

展覽 「演化」，NoW畫廊，首爾，2020年10月7日 至11月4日

in exposure gives them intense visual and emotional charge. Woo the way in which we look at others and understand ourselves.

Koh Sang Woo graduated from School of Art Institute of Chicago in 2001, he double-majored in Photography and Performance Art. Working in both mediums at the same time allowed him to explore the relation between captured moment and movement. He thinks that photography is lacking emotion and that its combination with performance is the only way that right message gets to the audience.

附藝術家簽名之原作保證書

Koh Sang Woo has exhibited widely worldwide and was listed in 2013 as one the 100 most important Korean contemporary artists.

He has participated in various international fairs such as Armory Show, Armory Photography, Art Basel HongKong and Art Miami and works are held in various international collections including National Museum of Contemporary Art and Savina Museum in Korea.

091

SOL FELPETO

索兒．費佩托

(Venezuelan, b. 1990)

彈鋼琴的鞋帽貓與休息的克勞斯

Cat with Shoe Hat Playing Piano and Resting Klaus

2021年 壓克力 畫布 130 x 130 cm 簽名左下：SOL FELPETO '21 藝術家簽名題識畫背

2021 Acrylic on canvas 130 x 130 cm Signed lower left SOL FELPETO and dated ‘21 Signed reverse, inscribed Madrid and dated '21

附藝術家簽名之原作保證書 索兒．費佩托其童年與青少年時期，經常居住於不同國度，

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

並往返於阿根廷與西班牙。2016 年開始專職於藝術創作。她

NT$ 260,000 - 400,000 HK$ 71,000 - 109,000 US$ 9,100 - 14,000 RMB 60,000 - 92,000

物與新事物之間建立聯繫以創造情感。過程涉及對參考文獻

的創作旨在將藝術轉化為立即醒目的事物，目標是將已知事 的深入研究，與個人經驗的交互參考。以動物作為主要角色 重塑歷史，為觀眾帶來驚喜，尋求互動和提高知名度。

092

SOL FELPETO

索兒．費佩托

(Venezuelan, b. 1990)

七龍珠毛團

Dragon Hairball Z

2021年 壓克力 棉質畫布 150 x 150 cm 簽名左下：SOL FELPETO '21 藝術家簽名題識畫背

2021 Acrylic on cotton canvas 150 x 150 cm Signed lower left SOL FELPETO and dated ‘21 Signed reverse, inscribed Madrid and dated ‘21 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 340,000 - 500,000 HK$ 93,000 - 136,000 US$ 11,900 - 17,500 RMB 79,000 - 115,000

附藝術家簽名之原作保證書 Sol Felpeto spent her childhood and adolescence between Buenos Aires-Madrid and sporadically living in other countries with her family.

She started her art career in 2016. She seeks to translate art into something immediately catchy, making a connection between known and new to create emotions. Her creative process parts on a deep study of references in order to overlap her personal universe that she can rewrite history with animals as main characters, surprising audiences and looking for interaction and raising awareness.

093

NIKKI

Nikki

(American, b. 1996)

右眼

Right Eyes

2021年 綜合媒材 畫布 120 x 120 cm 簽名畫背：NIKKI

2021 Mixed media on canvas 120 x 120 cm Signed reverse NIKKI

附藝術家簽名之原作保證書

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

1996 年出生於美國，現居於紐約創作，以插畫、兒童

NT$ 240,000 - 360,000 HK$ 65,000 - 98,000 US$ 8,400 - 12,600 RMB 55,000 - 83,000

融合諸多日本與美國當代藝術家標誌性創作元素，賦

繪本創作為主。畫面用色繽紛，活潑可愛的女孩圖樣， 予新意。

094

NIKKI

Nikki

(American, b. 1996)

閉眼

Closed Eyes

2021年 綜合媒材 畫布 120 x 120 cm 簽名畫背：NIKKI

2021 Mixed media on canvas 120 x 120 cm Signed reverse NIKKI

附藝術家簽名之原作保證書

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

Born in the United States in 1996, Nikki now

NT$ 240,000 - 360,000 HK$ 65,000 - 98,000 US$ 8,400 - 12,600 RMB 55,000 - 83,000

illustrations and children's picture books. The

lives and works in New York, mainly creating screen uses colorful, lively and cute girl patterns, and integrates multiple Japanese and American contemporary artists, with iconic creative elements.

095

ADAM HANDLER

亞當．漢德勒

(American, b. 1986)

女孩；塞勒姆蝙蝠（兩件一組）

Kangaroo Girl; Salem Bat (a set of 2)

2019年 油畫棒 紙本 60 x 46 cm; 46 x 61 cm 簽名題識畫背：Adam Handler Kangaroo Girl 2019 簽名題識畫背：Adam Handler Salem Bat 2019

2019 Oil stick on paper 60 x 46 cm; 46 x 61 cm Signed reverse Adam Handler , titled Kangaroo Girl and dated 2019 Signed reverse Adam Handler , titled Salem Bat and dated 2019 PROVENANCE Moosey Art Gallery, Norwich, UK This lot is accompanied with a certificate of authenticity signed by Frazer Bailey.

NT$ 50,000 - 80,000 HK$ 14,000 - 22,000 US$ 1,800 - 2,800 RMB 12,000 - 18,000

來源 Moosey Art畫廊，諾里奇，英國 附Frazer Bailey簽名之原作保證書

096

ADAM HANDLER

亞當．漢德勒

(American, b. 1986)

東京女孩與天使精靈夥伴

Tokyo Girl with Angel Ghost Buddy

2020年 油畫棒 壓克力 畫布 114 x 145 cm 簽名題識畫背：Adam Handler 2020 Tokyo Girl with Angel Ghost Buddy

2020 Oil stick and acrylic on canvas 114 x 145 cm Signed reverse Adam Handler , titled Tokyo Girl with Angel Ghost Buddy and dated 2020 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 280,000 - 420,000 HK$ 76,000 - 114,000 US$ 9,800 - 14,700 RMB 65,000 - 97,000

附藝術家簽名之原作保證書

097

ADAM HANDLER (American, b. 1986)

Eden 2016-2017 Oil stick and acrylic on canvas 137 x 193 cm Signed reverse Adam Handler , titled Eden and dated 2016-201 7 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 380,000 - 550,000 HK$ 104,000 - 150,000 US$ 13,300 - 19,300 RMB 88,000 - 127,000

亞當．漢德勒 伊甸園 2016-2017年 油畫棒 壓克力 畫布 137 x 193 cm 簽名題識畫背：Adam Handler 2016-2017 Eden 附藝術家簽名之原作保證書

亞當．漢德勒於 1986 年出生於紐約皇后區，並在長島長大。成 長過程中待在祖父母經營的畫框工廠經歷，養成了他對藝術的 熱情，選擇了藝術家的道路。漢德勒曾在義大利學習「裸體素 描」，並就讀於紐約州立大學的帕切斯學院，並和豪爾赫．尼維 斯（Jorge Nieves）學習工藝設計，亦和黛博拉．梅 莎－佩利 （Deborah Mesa-Pelley）學習彩色攝影。漢德勒的作品已在紐 約、康涅狄格州的格林威治、加拿大和德克薩斯州等地展出。 Adam Handler was born in Queens NY and grew up on Long Island. As a young child and adolescent, he spent countless hours at his grandparents framing factory in New York City.

There, his passion for the arts grew and it became inevitable that he would choose an artistic path. Handler studied Life Drawing in Italy and received a Purchase College. He has also studied craft design with Jorge Nieves and color photography with Deborah Mesa-Pelley. Handler's work has been exhibited in New York, Greenwich CT, Canada, and Texas.

098

TAKUMI SUGIYAMA

杉山巧

杉山巧於 2005 年入選玄光社第 141 屆

(Japanese, b. 1983)

蝴蝶

「The Choice」 獎， 並 於 2016 年 在 第

Butterfly

2019年 壓克力 畫布 72.7 x 60.6 cm 簽名畫背框條：butterfly. 2019.

TAKUMI SUGIYAMA

2019 Acrylic on canvas 72.7 x 60.6 cm Signed reverse stretch TAKUMI SUGIYAMA , titled butterfly and dated 2019 EXHIBITED Sundust , Uresica, Tokyo, July 11-22, 2019 Takumi Sugiyama, Listen to the Universe , Uspace Gallery, Taipei, January 9-23, 2021

NT$ 80,000 - 120,000 HK$ 22,000 - 33,000 US$ 2,800 - 4,200 RMB 18,000 - 28,000

展覽 「日塵」，Uresica，東京， 2019年7月11日至22日 「世界在鳴響：杉山巧」， Uspace Gallery，台北， 2021年1月9日至23日

26 回 HB File Competition 中獲得「鈴 木成一獎」。他以為《蜜蜂與遠雷》一 書繪製封面插畫而聞名，此書為日本作 家恩田陸於 2016 年第 156 屆直木獎的 得獎作品。其作品大多描繪自然中的風 景與動物，色彩柔和又豐富。 Ta k u m i S u g i y a m a h a s r e c e i v e d the 141st Genkosha "The Choice" nomination in 2005, and "The Seiichi Suzuki Award" in the Vol.26 HB File Competition in 2016. He is well known for his painting created for the cover of the book "Listen to the Universe," the award-winning book of the 156th Naoki Prize written by Riku Onda in 2016. Most of his works depict landscapes and animals in nature, with soft and rich colors.

099

RYOICHI YAMAZAKI

山崎龍一

(Japanese, b. 1976)

那個…那個…嗯…

Well…You Know…Let Me See...

2011年 彩繪石膏 玻璃 樹脂 單一件 20（長）x 30（寬）x 40（高）cm 簽名底部：Ryoichi Yamazaki

2011 Painted plaster and hard plaster, glass, resin; unique piece 20(L) x 30(W) x 40(H) cm Signed bottom Ryoichi Yamazaki This lot is accompanied with a certificate of authenticity issued by Art Gallery Komori, Nagoya, Japan.

NT$ 220,000 - 340,000 HK$ 60,000 - 93,000 US$ 7,700 - 11,900 RMB 51,000 - 79,000

1976 年出生於東京淺草，2002 年畢業於東京造形大學 美術系主修雕刻。擅常以憂鬱無辜的小孩子形象融入日 常情景，探討當代社會人們恐懼社交的矛盾的心態。主 要個展：「我在這」（2014 年，東京）、「從我到你」 （2012 年，兵庫）、「小聲音」（2012 年，東京）、「那 是你的想像」（2011 年，六甲山）、「你還記得我嗎－ 文化依存症 V」（2010 年，東京）等。 Ryoichi Yamazaki was born in Asakusa, Tokyo in 1976.

He got a Bachelor of Fine Arts by major in Sculpture from Tokyo Zokei University of Art and Design in 2002. He is good at integrating daily situations with the figure of melancholic and innocent children, and discussing the contradictory mentality of people in contemporary society that fears socializing. Selected solo exhibition: "I'm here" (Tokyo, 2014), "From Me to You" (Hyogo, 2012), "little voice" (Tokyo, 2012), "It's your imagination" (Hyogo, 2011), "Do You Remember Me? Culture-bound syndrome V" (Tokyo, 2010).

附日本小森畫廊開立之作品保證書

100

MIKI TAKAGI

高木美希

高木美希 1998 年畢業於武藏野美術大學，現

(Japanese, b, 1974)

我在這裡

為日本國畫會會員之一。其曾參與多次藝博

I'm Here

2008年 壓克力 畫布 53 x 46 cm 簽名左下：Miki 簽名題識畫背：2008.1「I'm Here」 高木美希

2008 Acrylic on canvas 53 x 46 cm Signed lower left Miki Signed reverse Miki Takagi in Kanji, titled I'm Here and dated 2008.1 PROVENANCE Sihodo Gallery, Tokyo EXHIBITED Cute and the Power-Miki Takagi , Uspace Gallery, Taipei, November 13-28, 2020

NT$ 80,000 - 120,000 HK$ 22,000 - 33,000 US$ 2,800 - 4,200 RMB 18,000 - 28,000

來源 彩鳳堂畫廊，東京 展覽 「可愛力量大：高木美希個展」， Uspace Gallery，台北， 2020年11月13日至28日

會、第 92 屆「國展」（2018），並曾於台灣 舉辦個展（2020）。高木美希的作品充滿了 可愛感，受到村上隆、「奇想的系譜」的畫 家和「琳派」風格的影響，她的作品也以鮮 豔的色彩、大膽而有張力的構圖和富於裝飾 性細節，而受到人們的喜愛。 Miki Takagi graduated from Musashino Art University in 1998. Miki Takagi is a member of Kokugakai currently. She has participated in numerous art fairs, Kokuten, and held a solo exhibition in Taiwan in 2020. The works of Maki Takagi are full of cuteness.

S h e i s u n d e r t h e i n f l u e n c e of Ta kash i Murakami, the other artists of "Lineage of Eccentrics" and "Rinpa". Therefore, her works tend to have vivid colours, bold and impactful composition, and rich decorative details, and were beloved by people.

101

JUNG YEO EUN

鄭與恩

Jung Yeo Eun graduated from

(Korean, b. 1992)

魔法公主：五個小女孩

The Department of Painting,

Minky Momo: Five Little Girls

2021年 綜合媒材 紙板 112 x 145.5 cm 簽名題識畫背：J yeoeun Minky Momo, Five Little Girls 112 x 145.5 cm 2021

2021 Mixed media on corrugated cardboard 112 x 145.5 cm Signed reverse J yeoeun , titled Minky Momo, Five Little Girls , inscribed 112 x 145.5 cm and dated 2021 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 280,000 - 420,000 HK$ 76,000 - 114,000 US$ 9,800 - 14,700 RMB 65,000 - 97,000

附藝術家簽名之原作保證書 鄭與恩，於 2020 年畢業於世宗大學藝術與 體育學院美術系，主修韓國畫。有著可愛的 外表，但又同時擁有能拯救世界強大力量的 卡通人物「魔法公主」Minky Momo，強烈 地吸引著她，成為其作品中常見的主題。鄭 與恩已在首爾的 Gallery SARA（2020 年）、 Maru Art Center（2020 年）和 ART SPACE I：SAEK（2020 年）等地舉辦個展。

College of Arts and Physical Education, Sejong University in 2020, and majored in Korean painting. Heroes in cartoons with cute faces, simultaneously with tremendous power that can save the world, are strongly attracting her, owing to the fact that it has become a common theme in her works. Jung Yeo Eun held solo exhibitions at Gallery SARA (2020), Maru Art Center (2020) and ART SPACE I: SAEK (2020) in Seoul.

102

LO CHAN-PENG

羅展鵬

(Taiwanese, b. 1983)

暗湧

Undercurrent

2013年 墨 壓克力 畫布 91 x 80 cm 簽名右下：2013 Lo

2013 Ink, acrylic on canvas 91 x 80 cm Signed lower right Lo and dated 2013 EXHIBITED The Spiritual Portrait , Aki Gallery, Taipei, June 8-29, 2014

NT$ 100,000 - 150,000 HK$ 27,000 - 41,000 US$ 3,500 - 5,300 RMB 23,000 - 35,000

展覽 「人間草紙－靈魂的墨漬」，也趣藝廊， 台北，2014年6月8日至29日

103

LEE CHEN-DAO

李承道

(Taiwanese, b. 1982)

妖精打架 Ⅳ

Cat Fight IV

2013年 油彩 金箔 畫布 仿古雕花框 62.5 x 93 cm 鈐印畫背：道 2013

2013 Oil and foil on canvas, classical frame 62.5 x 93 cm With one seal of the artist ILLUSTRATED Adam Tyrsett Kuo, A modern story teller with an old soul , The China Post, September 16, 2013, p. 16 Con un pie en occidente , Joia Magazine, 36, Santiago, Chile, 2014, color illustrated, pp. 66-77

NT$ 150,000 - 240,000 HK$ 41,000 - 65,000 US$ 5,300 - 8,400 RMB 35,000 - 55,000

圖錄 亞當．泰瑟特．郭，〈一位具有老靈魂的現代說書人〉， 《英文中國郵報》，2013年9月16日，頁16 〈走入西方〉，《Joia雜誌》，第36期， 聖地牙哥，智利，2014，彩色圖版，頁66-77

Lot 037

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 2021 年 6 月 2 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.

2021 年 6 月 2 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2021 年 6 月 3 日至 6 月 5 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 5 日中午 12 點截止。

5.

電話

書面

網路競投：競投者如不能出席拍賣會，可透過電話

書面

網路方式進行競投。登記申請手續以及競投保證

金之繳納亦需在 2021 年 6 月 2 日以前完成匯款至本公司指定帳號。 6.

如於 2021 年 6 月 2 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我們 將與競投者聯繫並與之確認其競標牌號。

7.

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

8.

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

9.

若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價、服務費及其他費用 ) 金額超過競投保證金金額時，買方得以下列方 式結清帳款： (1) 現鈔：上限新台幣壹佰萬元。 (2) 信用卡與銀聯卡：刷卡上限為新台幣壹佰萬元。信用卡與銀聯卡持有人必需是買家本人，本公司不接受他人之信用卡。

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

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

Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.).

The completion of a registration form and the payment of a bidding deposit are required.

2.

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

3.

The bidding deposit must be transferred to Ravenel's specified Bank account prior to 2nd June 2021, 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 2nd June 2021, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 3rd June to 5th June 2021). Acceptance will cease on 5th June by 12pm (No other forms of payment will be accepted).

5.

Telephone / written / internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 2nd June 2021.

6.

If the bidding deposit has been transferred prior to 2nd June 2021, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her/its paddle number.

7.

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

8.

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

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

9.

Successful bidder must settle the payment (hammer price, buyer's premium, and other expenses) prior to receiving the lot(s) on site.

If the price exceeds the amount of the bidding deposit, the successful bidder may settle the outstanding balance through the following means: (1) A cash payment must not exceed NT$ 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.

委託競投表格 拍 賣 名 稱：羅芙奧 2021 春季拍賣會

委託競投表格須於拍賣24小時前送抵國際藝術部。競投表格可回傳至： 國際藝術部

薈萃國際：現代與當代藝術

電話：+886-2-2708 9868 分機 883

拍 賣 編 號：TA2101

傳真：+886-2-2701 3306

拍 賣 日 期：2021 年 6 月 5 日（星期六）下午 3:30

投標者資料

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

客戶編號（如有） 姓名 身份證字號 地址 郵碼 電話（住宅） （辦公室） 傳真

電郵

簽名 （注意：本公司在取得閣下之簽名後方才接受競標；閣下所填報之姓名及 地址資料，將會被列印在發票上，隨後將不能更改） 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，以最先收到者 優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，服務費依最後落槌價乘以服務費率得之。詳見業務規則第二條第4項之規定。 （4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下者含參仟貳佰萬元以20％計 算；（2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳佰萬元之部份以12％計算。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。

請用正楷填寫清楚 拍賣品編號（按數字順序）

名

稱

競投價（新台幣）（服務費不計在內）

為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。 銀行證明 銀行名稱 銀行地址 銀行帳戶名稱 銀行帳號 銀行聯絡者

銀行電話

羅芙奧股份有限公司 106485 台北市敦化南路二段76號18樓 18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan Tel : +886 2 2708 9868 | Fax : +886 2 2701 3306 ravenel.com | ravenelart.com.cn

ABSENTEE BID FORM Auction

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 ext. 883 Fax: +886 2 2701 3306

Date Sale No. Location Address

Bidder's Details

RAVENEL SPRING AUCTION 2021 SELECT: Modern & Contemporary Art Saturday, June 5, 2021, 3:30 pm TA2101 Marriott Taipei 3F (Grand Space) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

Name ID number Address Post code Tel: (Daytime) (Evening) Fax

Email

Signature (Notice: We must have your signature to execute this bid. Billing name and address should agree with your state or local sales tax exemption certificate.

Invoice cannot be changed after they have be printed.)

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

I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received.

I understand that if my bid is successful, I shall pay the final hammer price together with the buyer's premium. The buyer's premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Article 2, section 4 of the Transaction Agreement to the Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the buyer's premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the buyer's premium should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.)

The bid shall be subject to the Transaction Agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warranties that may be provided for certain items.

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Title

Bid price (NT$) (excluding service fee)

Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.

Bank Reference Approval Name of the bankw Address of the bank

Name of the account Account number Contact of the bank

Tel. No.

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

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。

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％計算之懲罰 性違約金。本公司亦得自行選擇將買家未付之款項，用以抵銷 本公司或其他關係企業在任何其他交易中欠下買家之款項，買 家絕無異議。 (2) 對任何屬於買家所有而因任何目的(包含但不限於其他交易)而由 本公司管有之已購拍賣品行使留置權，並在給予買家有關其未 付之欠繳之十四天通知後，安排將該物品出售並將收益用以清 償該未付之欠款。 (3) 如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項 用以清償已購拍賣品就任何特定交易而欠下之任何款項，而不 論買家是否指示用以清償該筆款項。 (4) 在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆競投保證金。如買家 未有在三十五天內付款，本公司除上述辦法外，另有權為下述 一項或多項權利或補救辦法：

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

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

TRANSACTION AGREEMENT The following provisions are entered into by and between Ravenel Ltd., as the auctioneer, (hereinafter referred to as the "Company"),and the Seller (hereinafter referred to as the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer").

The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Prospective Buyer, the Buyer should pay special attention to Article 2, Section 5 which provides limitations as to the legal responsibilities of the Company.

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

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

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

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

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

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

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

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

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

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

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

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

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

3.

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.

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.

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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.

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

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

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

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

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

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

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

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

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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.

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.

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