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

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AUTUMN AUCTION 2022 TAIPEI


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羅芙奧 2022 秋季拍賣會 薈萃國際:現代與當代藝術

RAVENEL AUTUMN AUCTION 2022 SELECT: Modern & Contemporary Art 拍賣日期

地點

2022年12月3日(六)下午 4:00 萬豪酒店 台北市中山區樂群二路199號3樓(博覽廳) 預展日期

地點

高雄 2022年11月12日(六)上午11:00至下午6:00 2022年11月13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 2022年11月19日(六)下午1:00至下午6:00 2022年11月20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 2022年12月1日(四)- 3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, December 3, 2022, 4:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei PREVIEWS Kaohsiung Saturday, November 12, 2022, 11:00am - 6:00pm Sunday, November 13, 2022, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan Taichung Saturday, November 19, 2022, 1:00pm - 6:00pm Sunday, November 20, 2022, 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, December 1 - Saturday, December 3, 2022, 11:00am - 7:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan


王鎮華 Arthur Wang 董事長 Chairman

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 副理 Assistant Manager, International Art Department

謝依廷 Tina Hsieh 國際藝術部 行政助理 Sales Assistant, International Art Department

林琬娸 Kitty Lam 香港業務經理 Hong Kong Business Manager

李政希 Xiu Lee 上海業務經理 Shanghai Business Manager

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羅芙奧 2022 秋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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RAVENEL STAFF AND SERVICES FOR THIS SALE ART CONSULTANTS INTERNATIONAL ART DEPARTMENT Head of International Art Department Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odilechen@ravenel.com

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Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. Its also possible to bid online for selected lots. Please refer to ravenel.com for more information. In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly for those of you who need foreign language assistance of the bidding.

CATALOGUE SUBSCRIPTION Taiwan.International Tina Hsieh Tel: +886 2 2708 9868 ext. 881 Email: tinahsieh@ravenel.com

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PAYMENT Emily Wang Tel: +886 2 2708 9868 ext. 697 Email: emilywang@ravenel.com Payment details are described at the back of the catalogue. Please contact the above person if you need any further information.

Jerry Wu Tel: +886 2 2708 9868 ext. 587 Email: jerrywu@ravenel.com Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventor y circulation and cent ralize management. We accept personal and cor porate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of traveler's checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday. O u r professional ad m i n ist rat ion department may make recommendations of arrangement or the most appropriate transportation for you. Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold "as is". Please refer to the Transaction Agreement at the back of the catalogue. P l e a s e r e f e r t o t h e " Tr a n s a c t i o n Agreement to the Buyers".


藝術家索引 INDEX A

Izumi Akiyama Takeru Amano

Roby Dwi Antono

Ayaïro

B

Guy Bardone Bijijoo (Michael Todd Horne)

Blic (Blic Pinas)

Geoffrey Bouillot Rine Boyer

C

59 61, 62

秋山泉 天野タケル

115

羅比.安托諾

曽根田絢香

81, 82

凌.波兒

甘蔗(里卡多.南尼尼) 貝爾納.夏洛瓦

33, 34, 38

安德烈.科達沃茲

E

Etsu Egami

江上越

5,6

F

Sol Felpeto Alex Face

索兒.費佩托 亞歷克斯.費斯

85 114

G

Yun Gee René Genis

朱沅芷 賀內.吉尼斯

灰原愛 韓忠錫

Jaime Hayon

Yuichi Hirako

Gemma Holzer Hsiao Chin

Benrei Huang Poren Huang

I

32 41 26

25

11, 12

黃本蕊

一井弘和 布萊恩.伊達

J

Jisbar (Jean-Baptiste Launay) Jung Yeo Eun

吉斯巴 鄭與恩

88 112

K

Naoko Kadokura Kaws (Brian Donnelly)

門倉直子 Kaws(布萊恩.唐納利)

106 87

Jordy Kerwick

喬迪.科維克

Satoru Koizumi Satomi Kondo

Yayoi Kusama 14

Kenz

小泉悟 近藤智美 草間彌生

S

65

91, 92

Tomoko Nagai Ikumi Nakada

長井朋子 中田郁美

Kohei Nawa

名和晃平

中村萌

Nikki

Nikki

Kunihiko Nohara

野原邦彥

不二良

78

102 111 1

90 3 4

9, 10 52

72, 73

13, 14 117

Thierry Noir

蒂埃里.諾爾

77

Nathan Paddison Pang Jiun

內森.帕迪森 龎均

86 30

Edgar Plans

艾德加.普連斯

Auguste Rodin Ayako Rokkaku

奧古斯特.羅丹 35 六角彩子 68, 97, 98, 99, 100, 101

Satoshi Saitoh Tomoyoshi Sakamoto

Chiharu Shiota

Kazuo Shiraga

拉薩馬納.利歐 齊藤智史 坂本友由 馬蒂亞斯.桑切斯 嶋本昭三 塩田千春 白髮一雄

SupaKitch

市霸奇奇

Walasse Ting Shinnosuke Tojo

丁雄泉 東城信之介

Pierre-Yves Trémois Yoshimasa Tsuchiya

TYM344

皮耶-伊夫.特墨 土屋仁応 TYM344

70, 116

76

119, 120 108 71 50

7, 8, 53 51 83 31, 47, 48, 49 104 43

55, 56 105

Tzeng Yong-Ning

曾雍甯

60

V

Nick Veasey

尼克.維西

79

W

Claude Weisbuch

克勞德.維士巴修

42

X

Xue Song

薛松

28

Y

Ai Yamaguchi Mayuka Yamamoto

山口藍 山本麻友香

Hee Rin Yang

梁憙潾

Ryoichi Yamazaki

74 2

107

17, 18, 19, 20, 21, 22

莫伊

Shozo Shimamoto

T

松山智一

Moisés Yagües

Matías Sánchez

103 80

飯田桐子

光內亘利

Laksamana Ryo (Ryol)

24

Kiriko Iida

Kenz

R

96

黃柏仁

Hirokazu Ichii Bryan Ida

P

89

蕭勤

Noritoshi Mitsuuchi

No2Good

67

吉瑪.霍爾澤

松浦浩之

Moe Nakamura

23

平子雄一

洪易

N

艾迪.馬丁內斯

Hiroyuki Matsuura

Tomokazu Matsuyama

63, 64 95

亞米.海因

Hung Yi

Eddie Martinez

39 27 46

Ai Haibara Han Choong Seok

69 57

84 36, 37

丁乙 杜溪

H

拉法.馬卡龍 尤爾嘉.馬賀丹

29

邱亞才

關良

Rafa Macarrón Jurga Martin

44, 45

陳昭宏

Guan Liang

M

109, 110

杰弗里.布約

Ding Yi Du Xi

D

58

75

波利克.皮納斯

Cane (Riccardo Nannini) Bernard Charoy

André Cottavoz

林克恭

40 113

居.巴赫東 麥克-陶德.霍恩

安德烈.布拉吉利

Chiu Ya-Tsai

Lim Kac-Keong

93

André Brasilier

Hilo Chen

L

Z

山崎龍一

15, 16 66 118 94

Akihiko Yoshida (Nikichi)

吉田昭彥(仁吉)

54

Zhou Chunya

周春芽

23


目次 CONTENTS

7

羅芙奧秋季拍賣會

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 167

給予買家的重要通知

Important Notice to Buyers 169

委託競投表格

Absentee Bid Form 171

業務規則

Transaction Agreement


001

NORITOSHI MITSUUCHI (Japanese, b. 1978)

Little Knight

2020 Mixed media on canvas 41.4 x 32 cm Signed reverse Noritoshi M This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 30,000 - 60,000 HK$ 7,000 - 15,000 US$ 900 - 1,900 RMB 7,000 - 13,000

光內亘 利

光內亘利在 1978 年出生於日本大阪。畢業於神

小鬥士

戶工科藝術大學,他從 2002 年開始活躍於藝術

2020年 綜合媒材 畫布 41.4 x 32 cm 簽名畫背:Noritoshi M

界。光內是一位擁有超現實風格的畫家,善於 使用童趣的手法與元素創造出他想像中的純真 世界。光內曾經參加過日本及海外等多個展覽 及藝術博覽會,其中包含上野之森美術館的大 賞展及 2019 年福岡亞洲藝術博覽會。

附藝術家簽名原作保證書 Noritoshi Mitsuuchi was bor n in Osaka, Japan, 1978. Graduated from Kobe Design University, he has been active since 2002. He is a cartoonist with a surreal style that incorporates elements of childlike innocence with his imagery of animals and young children. He is famous for integrating childlike bold brush strokes and vibrant colors into his artwork. He has participated in Japan and overseas exhibitions and art fairs, including the Ueno Royal Museum Grand Prize Exhibition and 2019 Art Fair Asia Fukuoka.

16


002

SATORU KOIZUMI (Japanese, b. 1983)

Waterbuck; White Bear (a set of 2) Pencil, watercolor, acrylic on board 27.5 x 20 cm (each) Signed lower right Koizumi (each)

NT$ 130,000 - 200,000 HK$ 32,000 - 50,000 US$ 4,100 - 6,300 RMB 29,000 - 45,000

小泉悟 水羚;白熊(兩件一組) 鉛筆 水彩 壓克力 紙板 27.5 x 20 cm(每件) 簽名右下:Koizumi(每件)


003

TOMOKO NAGAI (Japanese, b. 1982)

Two

長井朋子 倆 2014年

2014 Watercolor, pencil, color pencil, ink and collage on paper 25 x 36 cm Signed reverse Tomoko Nagai , titled Two in Japanese and dated 2014

NT$ 50,000 - 100,000 HK$ 12,000 - 25,000 US$ 1,600 - 3,200 RMB 11,000 - 22,000

18

水彩 鉛筆 色鉛筆 墨 拼貼 紙本 25 x 36 cm 簽名畫背:2人 Tomoko Nagai 2014


004

IKUMI NAKADA (Japanese, b. 1982)

My Cherry!

2018 Oil on paper with hand-made frame 35 x 24 cm Signed reverse Ikumi Nakada , titled in Japanese, inscribed Oil on paper and dated 2018.11.17 Signed backing board Ikumi Nakada and dated 2018.11.17 This lot is accompanied with a certificate of authenticity issued by Elsa Art Gallery, Taipei and signed by the artist.

NT$ 80,000 - 120,000 HK$ 20,000 - 30,000 US$ 2,500 - 3,800 RMB 18,000 - 27,000

中田郁美 櫻桃是我的! 2018年 油彩 紙本 手工框 35 x 24 cm 簽名題識畫背:チェリーとらないで Ikumi Nakada Oil on paper 2018.11.17 簽名背板:Ikumi Nakada 2018.11.17 附雲清藝術中心開立之藝術家簽名原作保證書


005

ETSU EGAMI (Japanese, b. 1994)

Mishearing Game (Acorn Project): Communication and Imagination-26 2020 Acylic on clear box, acorn 6(L) x 9(W) x 9(H) cm Signed lower Egami Etsu and dated 2020.11 EXHIBITED

Entrance Gallery Vol.1 Etsu Egami, Chiba City Museum of Art, Chiba, Japan, November 3 - December 13, 2020

NT$ 50,000 - 80,000 HK$ 12,000 - 20,000 US$ 1,600 - 2,500 RMB 11,000 - 18,000 20

江上越

2020 年日本千葉市美術館重新開幕,江上

誤聽遊戲(橡子項目): 溝通與想像-26

越作為第一回參展藝術家,以互動型創作,

2020年 壓克力 透明盒子 橡果 6(長)x 9(寬)x 9(高)cm 簽名下方:Egami Etsu 2020.11

重新思考人與人之間交流的本質。「誤聽 遊戲」是指雙方憑直覺從語音與想像來判 斷語義,從各種誤會中產生出新的溝通。 參加者在橡子上寫上名字或訊息並放入透 明盒子中,除了儲存當時的記憶外也代表 新的交流開始。

展覽

「第一回入口藝廊-江上越」, 千葉市美術館,千葉,日本, 展期2020年11月3日至12月13日

In 2020, the Chiba City Art Museum in Japan held the re-opening project, E g a m i u s e s i n t e r a c t i v e c re a t i o n s t o contemplate how humans should interact though facing language barriers. "Mishearing game" means that both parties intuitively judge semantics from speech and imagination, and generate new exchanges from various misunderstandings. Participants write their names or messages on the acorns and put them in the acrylic box.


006

ETSU EGAMI (Japanese, b. 1994)

Confusion by Brushing Past -2019-112 2019 Oil on canvas 38.5 × 46 cm Signed upper right Egami Etsu and dated 2019 PROVENANCE

Whitestone Gallery, Hong Kong Acquired from the above by the present owner This lot is accompanied with a certificate of authenticity issued by Whitestone Gallery, Hong Kong.

NT$ 240,000 - 360,000 HK$ 60,000 - 89,000 US$ 7,600 - 11,400 RMB 54,000 - 81,000

江上越 擦肩而過的困惑-2019-112 2019年 油彩 畫布 38.5 x 46 cm 簽名右上:Egami Etsu 2019 來源

白石畫廊,香港 現有收藏者購自上述來源 附香港白石畫廊開立之原作保證書


007

CHIHARU SHIOTA (Japanese, b. 1972)

Navigation Into the Unknown 2020 Lithograph, ed. 27/40 65 x 50 cm Initialed lower right CS . Numbered lower left 27/40

NT$ 50,000 - 80,000 HK$ 12,000 - 20,000 US$ 1,600 - 2,500 RMB 11,000 - 18,000

22

塩田千春 航向未知 2020年 石版畫 版次27/40 65 x 50 cm 簽名右下:CS. 版次左下:27/40


008

CHIHARU SHIOTA (Japanese, b. 1972)

Inner House; Wavy Line (a set of 2)

塩田千春 內在之屋;波浪線(兩件一組) 2019年

2019 Lithograph, ed. 15/40; 19/40 30 × 40 cm (each) Initialed lower right CS . Numbered lower left 15/40; 19/40

石版畫 版次15/40;19/40

PROVENANCE

森美術館藝術商店,東京 私人收藏,亞洲

Mori Art Museum Shop, Tokyo Private collection, Asia

NT$ 70,000 - 140,000 HK$ 17,000 - 35,000 US$ 2,200 - 4,400 RMB 16,000 - 31,000

30 x 40 cm(每件) 簽名右下:CS. 版次左下:15/40;19/40 來源


009

MOE NAKAMURA (Japanese, b. 1988)

Melty Dark

2017 Watercolor, color pencil on paper 29.8 x 21 cm Signed lower right Moe and dated 2017 Signed reverse Moe Nakamura in Japanese and titled Melty Dark PROVENANCE

Tsubaki Gallery, Tokyo

NT$ 130,000 - 200,000 HK$ 32,000 - 50,000 US$ 4,100 - 6,300 RMB 29,000 - 45,000

24

中村萌 融化黑暗 2017年 水彩 色鉛筆 紙本 29.8 x 21 cm 簽名右下:Moe 2017 簽名題識畫背:中村萌 Melty Dark 來源

椿畫廊,東京


010

MOE NAKAMURA (Japanese, b. 1988)

Growth

中村萌 萌芽 2017年

2017 Pastel on paper 25 x17 cm Signed lower right Moe Signed reverse Moe and dated 2017

蠟筆 紙本

PROVENANCE

椿畫廊,東京

Tsubaki Gallery, Tokyo

NT$ 180,000 - 280,000 HK$ 45,000 - 69,000 US$ 5,700 - 8,900 RMB 40,000 - 63,000

25 x 17 cm 簽名右下:Moe 簽名畫背:Moe 2017 來源


011

BENREI HUANG (Taiwanese, b. 1959)

A Long-Stretched Apology

黃本蕊 對∼∼不∼∼起 2016年

2016 Acrylic on canvas 71 x 56 cm Signed lower right Benrei.H and dated 2016

壓克力 畫布

EXHIBITED

「以花之名」, 誠品生活蘇州展演廳,蘇州, 展期2017年6月3日至25日

In the Name of Flower, Eslite Bookstore Suzhou Exhibition Hall, Suzhou, June 3 - 25, 2017 This lot is accompanied with a certificate of authenticity issued by Eslite Gallery, Taipei and signed by the artist.

NT$ 320,000 - 480,000 HK$ 79,000 - 119,000 US$ 10,100 - 15,200 RMB 72,000 - 108,000 26

71 x 56 cm 簽名右下:Benrei.H 2016 展覽

附誠品畫廊開立之藝術家簽名原作保證書


012

BENREI HUANG (Taiwanese, b. 1959)

A Season Too Late - 1

黃本蕊 平行時空裡遇見愛(之一) 2020年

2020 Acrylic on canvas 71 x 56 cm Signed lower right Benrei.H and dated 2020

壓克力 畫布

EXHIBITED

「隨省三姿」,誠品畫廊,台北, 展期2021年7月3日至31日

Shapes of Self - Reflection, Eslite Gallery, Taipei, July 3 - 31, 2021 This lot is accompanied with a certificate of authenticity issued by Eslite Gallery, Taipei and signed by the artist.

NT$ 320,000 - 480,000 HK$ 79,000 - 119,000 US$ 10,100 - 15,200 RMB 72,000 - 108,000

71 x 56 cm 簽名右下:Benrei.H 2020 展覽

附誠品畫廊開立之藝術家簽名原作保證書


013

NO2GOOD

(Taiwanese, b. 1976)

Sponge Mousy 2010-2012 Fiberglass, ed. 2/2 42(L) x 68(W) x 94(H) cm Signed back of right foot No2Good in Chinese and English, dated 2012.8 EXHIBITED

Stay Real Forever, MoCA Shanghai, Shanghai, June 10 - July 12, 2010 Revolution of Evolution, National Taiwan Museum of Fine Arts, Taichung, July 25 - November 12, 2010 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 300,000 - 500,000 HK$ 74,000 - 124,000 US$ 9,500 - 15,800 RMB 67,000 - 112,000 28

不二良 海綿小鼠 2010-2012年 玻璃纖維 版次2/2 42(長)x 68(寬)x 94(高)cm 簽名右腳後方:不2良 No2Good 2012.8 展覽

「純真年代」,上海當代藝術館,上海, 展期2010年6月10日至7月12日 「基因搖滾」,國立台灣美術館,台中, 展期2010年7月25日至9月12日 附藝術家簽名原作保證書


014

NO2GOOD

(Taiwanese, b. 1976)

Pink Mousy

2010-2012 Fiberglass, ed. 2/2 42(L) x 68(W) x 94(H) cm Signed back of right foot No2Good in Chinese and English, dated 2012.8 EXHIBITED

Stay Real Forever, MoCA Shanghai, Shanghai, June 10 - July 12, 2010 Revolution of Evolution, National Taiwan Museum of Fine Arts, Taichung, July 25 - November 12, 2010 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 300,000 - 500,000 HK$ 74,000 - 124,000 US$ 9,500 - 15,800 RMB 67,000 - 112,000

不二良 粉紅小鼠 2010-2012年 玻璃纖維 版次2/2 42(長)x 68(寬)x 94(高)cm 簽名右腳後方:不2良 No2Good 2012.8 展覽

「純真年代」,上海當代藝術館, 上海,展期2010年6月10日至7月12日 「基因搖滾」,國立台灣美術館, 台中,展期2010年7月25日至9月12日 附藝術家簽名原作保證書


015

AI YAMAGUCHI (Japanese, b. 1977)

Botango

山口藍 牡丹盆 2000年

2000 Acrylic on wooden bucket Ø 18.1; H 10 cm Signed bottom Ai and dated 2000

壓克力 木盆

PROVENANCE

Ninyu Works工作室,東京 SBI拍賣,東京,2018年4月20日,編號286 現有收藏者購自上述來源

Ninyu Works, Tokyo SBI Auction, Tokyo, April 20, 2018, lot 286 Acquired from the above by the present owner

NT$ 120,000 - 200,000 HK$ 30,000 - 50,000 US$ 3,800 - 6,300 RMB 27,000 - 45,000

30

Ø 18.1 ;高 10 cm 簽名背面:Ai 2000 來源


016

AI YAMAGUCHI (Japanese, b. 1977)

Wakayama ; Sayounara ; Aoi Kagami ; Inorenai (a set of 4) 2001; 2002 Acrylic, cotton, blanket on panel 23.5 x 17 x 2.5 cm (each) Signed and dated reverse (each) PROVENANCE

(Wakayama; Sayounara; Aoi Kagami) Ninyu Works, Tokyo Sotheby's, Contemporary Art Asia, New York, March 31, 2006, lot 099 Mainichi Auction Inc., December 20, 2013, lot 088 (Inorenai) Ninyu Works, Tokyo SBI Auction, Tokyo, January 27, 2018, lot 035 Acquired from the above by the present owner ILLUSTRATED

Hogarahogara: Ai Yamaguchi, Hatorishoten, Tokyo, 2010, color illustrated, p. 34 (Inorenai)

NT$ 360,000 - 550,000 HK$ 89,000 - 136,000 US$ 11,400 - 17,400 RMB 81,000 - 123,000 山口藍 若山;後會有期; 青色銅鏡;無法祈禱(四件一組) 2001年;2002年 壓克力 棉布 毯子 木板 23.5 x 17 x 2.5 cm(每件) 簽名題識畫背(每件) 來源

(若山;後會有期;青色銅鏡) Ninyu Works工作室,東京 蘇富比,「亞洲當代藝術」, 紐約,2006年3月31日,編號099 每日拍賣,東京,2013年12月20日,編號088 (無法祈禱) Ninyu Works工作室,東京 SBI拍賣,東京,2018年1月27日,編號035 現有收藏者購自上述來源 圖錄

《黎明時分:山口藍》,羽鳥書店, 東京,2010年,彩色圖版,頁34 (無法祈禱)


017

YAYOI KUSAMA (Japanese, b. 1929)

Pistils and Stamens 1994 Silkscreen, ed. 63/75 41.7 x 29.5 cm (image); 63 x 45.5 cm (sheet) Signed lower right Yayoi Kusama Titled lower left Pistils and Stamens in Japanese, numbered 63/75 and dated 1994 PROVENANCE

Galerie Vivant, Tokyo ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, no. 197, p. 120

NT$ 160,000 - 240,000 HK$ 40,000 - 60,000 US$ 5,100 - 7,600 RMB 36,000 - 54,000

32

草間彌生 花芯 1994年 絲網印刷 版次63/75 41.7 x 29.5 cm(圖);63 x 45.5 cm(紙) 簽名右下:Yayoi Kusama 題識年代下方:花芯 1994 版次左下:63/75 來源

Galerie Vivant,東京 圖錄

《草間彌生全版畫1979-2017》,阿部出版株式會社, 東京,2017,彩色圖版,編號197,頁120


018

YAYOI KUSAMA (Japanese, b. 1929)

Morning is Here A; Book to Read at Night B (a set of 2) 2004 Silkscreen, ed. 89/95; 61/95 16 x 23 cm (image); 24 x 31 cm (sheet) (each) Signed lower right Yayoi Kusama (each) Titled lower left Morning is Here A ; Book to Read at Night B in Japanese, numbered 89/95 ; 61/95 and dated 2004 ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, no. 333 & 339, pp. 191 & 193

NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300 RMB 63,000 - 94,000

草間彌生 晨曦將至A;夜的讀本B(兩件一組) 2004年 絲網印刷 版次89/95;61/95 16 x 23 cm(圖);24 x 31 cm(紙)(每件) 簽名右下:Yayoi Kusama(每件) 題識年代下方:朝が来たA 2004;夜に読む本B 2004 版次左下:89/95;61/95 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,編號333 & 339,頁191 & 193


019

YAYOI KUSAMA (Japanese, b. 1929)

Weeds

1992 Etching, ed. 73/150 27.5 x 22 cm (image); 37.5 x 29 cm (sheet) Signed lower right Yayoi Kusama Titled lower left Weeds in Japanese, numbered 73/150 and dated 1992 ILLUSTRATED

Yayoi Kusama: Print Works, Abe Publishing Ltd., Tokyo, 1992, no. 157, p. 121 Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, no. 159, p. 102 This lot is accompanied with a photocopy of the certificate of authenticity issued by Beyond Gallery, Taipei.

NT$ 160,000 - 240,000 HK$ 40,000 - 60,000 US$ 5,100 - 7,600 RMB 36,000 - 54,000

34

草間彌生 雜草 1992年 蝕刻版畫 版次 73/150 27.5 x 22 cm(圖);37.5 x 29 cm(紙) 簽名右下:Yayoi Kusama 題識年代下方:雑草 1992 版次左下:73/150 圖錄

《草間彌生版畫集》,阿部出版株式會社, 東京,1992,編號157,頁121 《草間彌生全版畫1979-2017》,阿部出版株式會社, 東京,2017,彩色圖版,編號159,頁102 附非畫廊開立之保證書影印本


020

YAYOI KUSAMA (Japanese, b. 1929)

Lemon Squash 1992 Lithograph, ed. 73/150 27.5 x 22 cm (image); 37.5 x 29 cm (sheet) Signed lower right Yayoi Kusama Titled lower left Lemon Squash in Japanese, numbered 73/150 and dated 1992 ILLUSTRATED

Yayoi Kusama: Print Works, Abe Publishing Ltd., Tokyo, 1992, no. 156, p. 121 Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, no. 158, p. 102 This lot is accompanied with a photocopy of the certificate of authenticity issued by Beyond Gallery, Taipei.

NT$ 240,000 - 360,000 HK$ 60,000 - 89,000 US$ 7,600 - 11,400 RMB 54,000 - 81,000

草間彌生 檸檬蘇打 1992年 石版畫 版次 73/150 27.5 x 22 cm(圖);37.5 x 29 cm(紙) 簽名右下:Yayoi Kusama 題識年代下方:レモンスカッシュ 1992 版次左下:73/150 圖錄

《草間彌生版畫集》,阿部出版株式會社, 東京,1992,編號156,頁121 《草間彌生全版畫1979-2017》,阿部出版株式會社, 東京,2017,彩色圖版,編號158,頁102 附非畫廊開立之保證書影印本


021

YAYOI KUSAMA (Japanese, b. 1929)

Pumpkin (GSQ) 1998 Silkscreen, ed. 27/120 30 x 30 cm (image); 39.5 x 38 cm (sheet) Signed lower right Yayoi Kusama Titled lower left Pumpkin (GSQ) in Japanese, numbered 27/120 and dated 1998 ILLUSTRATED

Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017, color illustrated, no. 243, p. 144

NT$ 480,000 - 750,000 HK$ 119,000 - 186,000 US$ 15,200 - 23,700 RMB 108,000 - 168,000

36

草間彌生 南瓜GSQ 1998年 絲網印刷 版次27/120 30 x 30 cm(圖);39.5 x 38 cm(紙) 簽名右下:Yayoi Kusama 題識年代下方:かぼちゃ(GSQ)1998 版次左下:27/120 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,編號243,頁144


022

YAYOI KUSAMA (Japanese, b. 1929)

Hat

草間彌生 帽子 原模1988年;翻鑄1994年

Executed in 1988, casted in 1994 Bronze sculpture, ed. 6/30 28(L) x 27(W) x 12.5(H) cm Engraved bottom Yayoi Kusama and dated 1988 , with a stamp of the foundry numbered 6/30 and dated 94

銅雕 版次6/30

PROVENANCE

白石畫廊,香港 私人收藏,亞洲 保利拍賣,香港,2020年7月12日,編號115 現有收藏者購自上述來源

Whitestone Gallery, Hong Kong Private collection, Asia Poly Auction, Hong Kong, July 12, 2020, lot 115 Acquired from the above by the present owner This lot is accompanied with a certificate of authenticity issued by Whitestone Gallery, Hong Kong.

NT$ 650,000 - 900,000 HK$ 161,000 - 223,000 US$ 20,600 - 28,500 RMB 146,000 - 202,000

28(長)x 27(寬)x 12.5(高)cm 簽名刻於底部: Yayoi Kusama 1988 6/30 94 鑄造工作室鈐印 來源

附香港白石畫廊開立之原作保證書


023

ZHOU CHUNYA; JAIME HAYON (Chinese, b. 1955; Spanish, b. 1974)

Alive

周春芽 ; 亞米.海因 綠狗 2012年

2012 Epoxy resins, lacquer (sculpture); Lacquered wood (vitrine), ed. 67/88 14(L) x 5(W) x 8(H) cm (each sculpture); 53(L) x 40(W) x 23(H) cm (box); 130(L) x 55(W) x 82(H) cm (vitrine) Signed on the bottom Zhou Chunya in Chinese and numbered 67/88 (each sculpture) Signed bottom Jaime Hayon and numbered 67/88 (vitrine)

環氧樹脂 亮面漆(雕塑);

PROVENANCE

展覽

MOT/ARTS, Taipei EXHIBITED

Alive & Kicking, MOT/ARTS, Taipei, May 4 - June 17, 2012 Art for the Masses, Hua Gallery, London, June7 - July 6, 2012 Art for the Masses, Red Star Gallery, Beijing, July14 - August 5, 2012 Alive & Kicking, Chengdu Contemporary Art Museum, Chengdu, October24 - November 3, 2012 ILLUSTRATED

Alive & Kicking, MOT/ARTS, Taipei, 2012, pp. 18 & 86 This lot is accompanied by a certificate of authenticity issued by JUT Living Development (MOT/ARTS) signed and numbered by both artists.

NT$ 400,000 - 600,000 HK$ 99,000 - 149,000 US$ 12,700 - 19,000 RMB 90,000 - 135,000

38

亮面漆 木(玻璃櫃)版次67/88 14(長)x 5(寬)x 8(高)cm(每件雕塑); 53(長)x 40(寬)x 23(高)cm(外盒); 130(長)x 55(寬)x 82(高)cm(玻璃櫃) 簽名底部:周春芽 67/88(每件雕塑) 簽名底部:Jaime Hayon numbered 67/88(玻璃櫃) 來源

MOT/ARTS 畫廊,台北 「爆發的生命力」,MOT/ARTS,台北, 展期2012年5月4日至6月17日 「大眾藝術」,Hua畫廊,倫敦, 展期2012年6月7日至7月6日 「大眾藝術」,紅星畫廊,北京, 展期2012年7月14日至8月5日 「爆發的生命力」,成都當代美術館,成都, 展期2012年10月24日至11月3日 圖錄

《爆發的生命力》,MOT/ARTS, 台北,2012,頁18 & 86 附忠泰生活開發(MOT / ARTS)開立之藝術家簽名保證書



024

HUNG YI

洪易

Lucky Tiger (Middle)

2010年

福虎(中型)

(Taiwanese, 1970)

2010 Baked enamel on steel plate, ed. EA 150(L) x 102(W) x 125(H) cm Signed back of right foot HUNG Yi in Chinese, numbered EA and dated 2010

鋼板烤漆 版次EA 150(長)x 102(寬)x 125(高)cm 簽名版次右腳後側:HUNG Yi EA 2010

NT$ 1,100,000 - 1,900,000 HK$ 273,000 - 471,000 US$ 34,800 - 60,100 RMB 247,000 - 426,000

在中華文化裡,百獸之長-福虎神獸象徵著權力與威嚴,人們

In Chinese culture, Tigers, crowned as the head of the

對其形象十分崇拜。對於現代人來說,也有生氣勃勃和好運的

beasts, symbolize power and majesty, and people worship

意象。除去虎的威猛形象,藝術家給予其新的圓潤造形增添幽

its image very much. For modern people, the tigers also

默趣味感,並以豐富的傳統元素與鮮豔色彩傳遞正向能量。藝

denote strength, vitality and good fortune. Apart from

術家創作的 12 生肖圖騰造型以虎尤其出色,今年歲值虎年,彰

the mighty image of the tiger, the artist adds a sense of

化縣立美術館、香港 3812 畫廊都以洪易的《福虎》作品喜迎壬

humor to its new rounded and chubby shape, using rich

寅新年。洪易的作品除可見於台灣各地公共藝術裝置,近年來

traditional elements and bright colors to convey positive

也廣受國外展覽邀約,2013 年受邀到日本箱根雕刻之森美術館

energy. Among the 12 zodiac totems created by the artist,

舉辦個展、2014 年分別在香港青衣城、舊金山默塞德湖球場舉

tigers are particularly outstanding. Coincidentally this year

辦個展、2015 年在舊金山市政府廣場大型地景藝術展、2017

is the Year of the Tiger, Changhua County Art Museum

年在美國華盛頓城市中心廣場與馬里蘭州的安瑪莉雕塑公園野

and the 3812 Gallery in Hong Kong welcome the new year

的戶外展出。2020 年,洪易在家鄉彰化設立「洪易美術館」見

with Hung's "Lucky Tiger" . Hung's works can be seen in

證自己 20 年的創作成就,並推廣文化扎根交流。洪易認為:「當

public art installations all over Taiwan, in recent years his

代藝術世界百花齊放,無論創作什麼都要與自己的環境結合,

works have also been widely invited to exhibit abroad: such

創作才有意義和生命力。」在台灣當代藝術的發展上,洪易無

as Hakone Open-Air Museum (Japan, 2013); Hong Kong

疑是一位具有強烈個人風格與結合民間文化色彩意象的原創性

Maritime Square and San Francisco Lake Merced Golf Club

藝術家。

(2014); San Francisco's Civic Center Plaza (2015); Central Square of Washington City and the Ann Marie Sculpture Park in Maryland (2017).In 2020, Hung Yi established the "Hung Yi Art Museum" in his hometown Changhua, Central Taiwan where he witnessed his creative achievements over his 20 years and promoted cultural exchanges. Hung reckons "In

the flourishing contemporary art world, the creation must be combined with one's own surrounding environment in order to make it vital and meaningful. " Hung undoubtedly is an artist with originality and strong personal style, integrated with the color imagery that comes along with folk culture in 另一側 other side

40

the development of Taiwanese Contemporary Art.



025

HSIAO CHIN (Taiwanese, b. 1935)

Untitled

1980 Ink and color on silk 45.5 x 95 cm Signed lower right Hsiao in English, Chin in Chinese and dated 80 With two seals of the artist PROVENANCE

Ravenel Auction, Taipei, December 4, 2005, lot 085 Acquired from the above by the present owner

NT$ 220,000 - 340,000 HK$ 55,000 - 84,000 US$ 7,000 - 10,800 RMB 49,000 - 76,000 42

蕭勤

1961 年蕭勤首次轉向真正具有書法筆觸的畫風,沉潛

無題

累積至 1980 年《無題》不惑之年的蕭勤對於此類畫作

1980年 彩墨 絹布 45.5 x 95 cm 簽名右下:Hsiao 勤 80 鈐印右下:蕭勤畫記 鈐印上方:逍遙王玉璽 來源

羅芙奧拍賣,台北, 2005年12月4日,編號085 現有收藏者購自上述來源

帷幄已得心應手。在大筆墨色帶出的色、線、形中, 輕輕飛白帶皴及盤旋有韻律的線條明顯,少著墨、多留 空,一氣呵成,皈依到欲行則行、欲止則止的道禪之境。 For the first time in 1961, Hsiao turned his artistic attention to the strokes of Chinese calligraphy. Submerging himself in Chinese ink wash for years, he created "Untitled" with masterly skills in 1980 in his forties, the age that Chinese believe to be free from perplexities. Between the colors, the lines, and the shapes introduced by heavy strokes of ink lie pale, wrinkled, and rhythmic lines that seem to gently hover over the canvas. By embracing blank areas through reserved use of the ink, Hsiao coherently completed this work and directed the artistic conception to the state of Daoist Zen that moves and pauses both follow the will.


026

GUAN LIANG (Chinese, 1900-1986)

Under the Old Wall c.1940s Watercolor on paper 29.5 x 33 cm Signed lower right Guan Liang in Chinese and with a seal of the artist PROVENANCE

Acquired directly from the artist in 1986 Sotheby's, Fine Modern Chinese Oil Paintings, Drawings and Watercolors, Taipei, October 17, 1999, lot 117 Acquired from the above by the present owner

NT$ 180,000 - 280,000 HK$ 45,000 - 69,000 US$ 5,700 - 8,900 RMB 40,000 - 63,000

關良

關良是中國第一代油畫家,以具有民族性的改良

古城牆下

油畫,及生動傳神的水墨戲曲人物畫著稱。關良

約1940年代 水彩 紙本 29.5 x 33 cm 簽名鈐印右下:關良

提倡學習傳統的同時,也學習現代,以使自己的 作品能反映當今世界文化所發展的高度,更富於 時代性。《古城橋下》展現藝術家精湛的寫實技 巧,體現了藝術家在西方藝術風格中融入了中國 藝術情思的主張。

來源

1986年直接得自藝術家本人 蘇富比,「現代中國油畫、 素描及水彩」,台北, 1999年10月17日,編號117 現有收藏者購自上述來源

Guan Liang devoted his whole life in art creation after retur ning to China. He was famous for his refor med oil painting with a national tone, and vivid opera figures in Chinese Paintings. Guan Liang not only emphasized the learning of the tradition but also of the moder n. His paintings are the reflection of cultural development in today's world as well as contemporaneity. "Under the

Old wall" displays the artist's skillfully realistic style, reflecting the artist's claim to incorporate sentiment of Chinese arts into western arts.


027

DING YI

(Chinese, b. 1962)

Script No.2

2009 Mixed media on paper 19.5 x 27 cm Signed lower left DIing Yi in Chinese and dated 09

NT$ 130,000 - 190,000 HK$ 32,000 - 47,000 US$ 4,100 - 6,000 RMB 29,000 - 43,000

丁乙

丁乙被認為是中國抽象派畫家的領軍人物。他 1983 年畢業於上

手稿No.2

海工藝美術學校,後從事玩具和玩具包裝的設計工作。由於設

2009年 綜合媒材 紙本 19.5 x 27 cm 簽名左下:丁乙 09

計時「十字」符號是圖稿上用於標示套色過程中的座標,丁乙 由此逐漸在「使繪畫僅僅回到形式的本質」的理想下,形成了 自己最具代表性的創作「十示」系列作品。《手稿 No.2》鮮豔 的色彩如水晶球,又像俯瞰城市夜景,充滿想像與當代概念。 Ding Yi is one of the leading Chinese abstract artists. After graduating from the Shanghai Art & Design Academy in 1983, Ding Yi was involved in designing toys and toy packaging. The "cross" symbol was used extensively on these drawings to denote the need for the application of colors. This experience gave Ding Yi the inspiration for his "Appearance of Crosses"series of paintings, in which he sought to bring painting back to its essential formalist nature. "Script No.2" this abstract drawing is composed with vivid colors, seems like a crystal ball, or overlooking the city landscape at night, full of imaginary and contemporary conception.

44


028

XUE SONG

(Chinese, b. 1965)

Tiger

2008 Mixed media on canvas 120 x 100 cm Signed lower right Xue Song in Chinese Signed reverse Xue Song in English and Chinese, titled Tiger in Chinese, inscribed 120 x 100 cm and dated 2008 PROVENANCE

Zhong Cheng Auction, Taipei, June 10, 2012, lot 093 Private collection, Asia This lot is accompanied by a certificate of authenticity signed by the artists.

NT$ 650,000 - 950,000 HK$ 161,000 - 236,000 US$ 20,600 - 30,000 RMB 146,000 - 213,000

薛松 虎 2008年 綜合媒材 畫布 120 x 100 cm 簽名右下:薛松 簽名題識畫背:薛松 Xue Song 虎 120 x 100 cm 2008 來源

中誠拍賣,台北,2012年6月10日,編號093 私人收藏,亞洲 附藝術家簽名保證書


029

CHIU YA-TSAI

2019 年在邱亞才家鄉的宜蘭美術館為其舉辦「人生浣腸—邱亞

Figure in Red Dress

除了是邱亞才出版的小說題名,更是以藝術家生命的曲折經歷、

Oil on canvas 116 x 100 cm Signed lower center Chiu Ya-tsai in Chinese

此展是邱亞才去世後最大規模的回顧展。策展人陳貺怡在 2021

PROVENANCE

張的表情,畫了許多瘋狂或可笑的人物。」而此回顧展中重要

(Taiwanese, 1949-2013)

才回顧展」,紀念台灣美術史一代傳奇肖像畫家。「人生浣腸」 旺盛的創造力,透過繪畫來訴說那需要被紓解救贖的苦悶人生。 年著書《肖像.人生.邱亞才》提到:「有別於大家對邱亞才 畫中人物總是高雅、內斂和沉靜的看法,他以狂放的筆法與誇

Private Collection, Asia

展品之一《紅衣人物》則為其代表,畫中人物獨特而意有所表

EXHIBITED

的神情,精彩傳達了人類本質的游移和神秘。另外,畫面大面

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

Lifetime Colon-Chiu Ya-tsai Retrospective Exhibition, Yilan Museum of Art, Yilan, 2019, color illustrated, pp. 114-115

積黑色背景,對比出前景紅衣的坐姿人像,不禁令人聯想到繪 畫大師法蘭西斯.培根重新演繹委拉斯蓋茲《教皇諾森十世像》 的《紅衣主教習作》系列作品。而邱亞才的肖像畫無疑與兩位 藝術史上卓越的肖像畫家致意,將人物的內在精神特質昇華於 肖像中。 In 2019, an exhibition "Lifetime Colon - Chiu Ya-tsai

Chen Kuang-Yi, Portrait. Life. Chiu Ya-tsai, Artist Publishing Co., Taipei, 2021, color illustrated, p. 102

Retrospective" was held for Chiu at the Yilan Museum of Art

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

painter in the history of Taiwanese art. "Lifetime Colon" is

in his hometown, to commemorate the legendary portrait not only a title of one of the novels published by Chiu, but

NT$ 900,000 - 1,600,000 HK$ 223,000 - 397,000 US$ 28,500 - 50,600 RMB 202,000 - 359,000

also the tortuous experience of twists and turns in his life,

邱亞才

characters in Qiu's paintings are always elegant, restrained

紅衣人物

and quiet, he did paint many crazy or ridiculous figures

油彩 畫布

with wild brushwork and exaggerated expressions." In the

his vigorous creativity, to narrate the depressing life that needs to be relieved and redeemed through painting. This exhibition is Chiu's largest retrospective since his death. Chen Kuang-Yi, the curator of this retrospective exhibition, mentioned: "Different from everyone's perception that the

116 x 100 cm 簽名中下:邱亞才

book "Portrait.Life.Chiu Ya-tsai" (2021). "Figure in Red

Dress" indeed is a representative work of the artist. The unique and expressive expressions of the character in the

來源

私人收藏,亞洲 展覽

painting brilliantly convey the wandering and mysterious nature of human beings. In addition, the large black background contrasts with the sitting figure in red dress

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

in the foreground, which is reminiscent of Francis Bacon's

"Study of Red Pope" reinterpreting the "Pope Innocent X"

圖錄

series by Diego Velázquez. Chiu no doubt paid tribute to

《人生浣腸—邱亞才回顧展》,宜蘭美術館, 宜蘭,2019,彩色圖版,頁114-115 陳貺怡,《肖像.人生.邱亞才》,藝術家出版社, 台北,2021,彩色圖版,頁102

the two outstanding portrait painters in the history of art,

附藝術家簽名原作保證書

46

sublimating the inner spiritual qualities of the characters in the portraits.



030

PANG JIUN

作品《山影映水田》同樣融匯了中西方的藝術哲思,是一幅飽

The View of Mountain and Farmland

描繪了桂林一帶的魚米水田之景。遠處的山影朦朧如淡墨渲染,

(Taiwanese, b. 1936)

2010 Oil on canvas 72.7 x 91 cm Signed lower right Pang Jiun in Chinese and dated 2010 With one painted seal of the artist PROVENANCE

JSL Auction, Taipei, December 19, 2010, lot 071 Acquired from the above by the present owner This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 1,800,000 - 2,800,000 HK$ 447,000 - 695,000 US$ 56,900 - 88,600 RMB 404,000 - 628,000

涵中國詩詞文化,且有豐富知識學養的難得佳作。全景式構圖, 筆法可見宋代畫家屈鼎《夏山圖》的神色在其中。畫面由遠而 近作平遠之貌,千山一碧,水田蒼茫。再跟隨視線前移山勢漸 陡,彷見林木蔥鬱,雲霞鎖山腰,山形步步移。近山步入眼簾, 山形奇美瑰麗,酷似元人吳鎮《秋江漁隱圖》中山石的韻味— 蒼茫渾厚的山水畫風,恰到好處地表現了古人歌頌山川之氣韻。 筆端豪邁的氣質亦是其師黃賓虹從新安畫派的疏淡清逸,轉開 學習吳鎮的黑密厚重的積墨之風格,對之後龎均在傳統技法上 的影響可見一斑。 The oil painting, "The View of Mountain and Farmland", is a rare work of art blending Western and Chinese artistic philosophies with rich Chinese poetry and culture to embody a wealth of knowledge. The panoramic composition depicts a scene of fish and rice fields in Guilin. The shadows of the mountains in the distance are rendered lightly in ink, and the brushwork reflects the spirit and expression of "Summer Mountains" by the Northern Song Dynasty painter Qu Ding. The scene moves from far to near in a flat and distant manner, with a thousand hills and pale fields of water. As the view moves forward, the mountains

龎均 山影映水田 2010年 油彩 畫布 72.7 x 91 cm 簽名右下:龎均 2010 手繪鈐印右下:均

become increasingly steeper, as if lush forests and clouds locking the mountainsides appear and move the shape of the mountains step by step. Up close, the shape of the mountains is beautiful and magnificent, similar to the rhythm of the mountains and rocks in the painting, " Fisherman

in Reclusion on an Autumn River", by Wu Zhen from the Yuan Dynasty—The pale and muddy style of the landscape

來源

painting is an apt expression of the ancient style of singing

景薰樓拍賣,台北, 2010年12月19日,編號071 現有收藏者得自上述來源

about mountains and rivers. The heroic temperament of the

附藝術家簽名原作保證書

Zhen's dark and thick ink accumulation style, reflecting the

brushwork is also derived from his mentor Huang Binhong's sparse and clean style of the Xin'an School and then Wu influence of the traditional techniques of Pang Jiun.

48



031

WALASSE TING

(Chinese-American, 1929-2010)

Summer Afternoon

1979 Acrylic on canvas 153 x 205 cm Signed reverse Ting , titled Summer Afternoon and dated 79 PROVENANCE

Lens Fine Art, Antwerp, Belgium De Vuyst, Lokeren, Belgium, October 18, 2018, lot 445 Private collection, Europe

NT$ 7,500,000 - 11,000,000 HK$ 1,861,000 - 2,730,000 US$ 237,200 - 347,900 RMB 1,682,000 - 2,466,000 丁雄泉 夏日午後 1979年 壓克力 畫布 153 x 205 cm 簽名畫背: Summer Afternoon Ting 79 來源

Lens Fine Art畫廊,安特衛普,比利時 德維斯特拍賣,洛克倫,比利時, 2018年10月18日,編號445 私人收藏,歐洲

50



WALASSE TING "Summer Afternoon" 丁雄泉《夏日午後》

作品《夏日午後》完成時正值藝術家創作的巔峰期,1970 年代

面頰,濃烈卻雅致的用色更顯畫中女人嫩白透粉的肌膚。佳麗

末期到 1980 年代初期,常見丁雄泉炙熱的情緒表現,以及瀟灑

鮮黃色裙擺映襯出七月流火的盛夏,畫面盡是生趣,豐沛的大

放蕩的大幅暢快筆觸,質感隨興而厚實,不禁令觀者聯領略到

色塊運用,將藝術家對大自然的內心體驗,跡化成一種個性獨

其眼鏡蛇畫派的澎湃。藝術家在作品中用極盡燦爛的油彩能延

具的純粹的實在。淡雅的底色深沉大氣,貫穿在兩位佳麗身後,

伸出光感、形狀、線條和能量,與我們分享他豐沛的情愛,是

給夏日的午後添加了些許清爽,又隱含東方留白的寫意精神。

愛、是情都是丁氏的靈魂;曾有人說過他的作品極具情色意味,

右邊翹腳後傾的佳人湖綠色上衣幾乎與背景融為一體,其猶抱

或許這些「情」是丁氏創作的靈感來源,是他生命的主體,而

琵琶半遮面,僅露出一雙迷濛大眼的嬌羞神態。作品的構圖佈

這些「色」是他畫中華麗繽紛的顏色,是血、是肉,而正是透

陣,無不奇崛突兀,出人意表而又合乎情理,雖極奇特而又意

這些絢爛的色彩使他感覺活著。

蘊生動,達到視圖的對立,和諧中的變化引人入勝。大尺幅女 性主題作品《夏日午後》他獨特的生命感受性及藝術性為觀者

所以用活色生香來詮釋丁雄泉和他筆下的作品再合適不過,藝 術家以大尺幅構建了時間與空間感,探索從未勘探過的圖式視 域。《夏日午後》是一個充滿著「愛欲」的感情世界,其中雙 女主以大 V 字構圖呈現在世人面前,風情萬種又身處畫面兩側。 天藍色幕布前依偎左坐的佳人一身明黃色裙衣光彩耀人,使視 線全部集中在畫面左邊,奪人眼球;中間那流動性高而易揮灑

帶來更多的想像空間,亦與 2015 年羅芙奧春季拍賣會場上的 《世界小姐》異曲同工,同為歌頌女性之美的題材之佳作。丁 雄泉抽象畫作於近年來拍賣會場上表現不凡,並且大幅攀升, 這股漲勢到了 2020 年後更是銳不可擋。丁雄泉的才情與對生活 的熱情詠吟,也淋漓盡致地體現於他的抽象作品中,同時也為 丁雄泉的藝術收藏開啟了新的篇章。

的壓克力顏料與直率勾勒的油蠟筆細線,底色襯著兩位美女的

丁雄泉《世界小姐》1975 壓克力 畫布 222 x 396 cm, 羅芙奧台北2015春拍 台幣 56,320,000 成交 Walasse Ting, Miss World , 1957, Acrylic on canvas, 222 x 396 cm, Ravenel Taipei 2015 Spring Auction, USD 1,825,608 sold

52

藝術家與友人合照 Artist with friends in Spiegelgracht Amsterdam Studio, Courtesy of Gallery Delaive.


「天太熱,買了一塊花布,揩了一身汗,花布上跳出,千千萬萬的蝴蝶,向藍天飛去,也不說一聲再見。」-丁雄泉 "I bought a piece of floral fabric. I dry my sweat with the fabric. And so many butterflies jump out of the cloth. They fly away into the blue sky. The don't even say goodbye." - WALASSE TING

The work "Summer Afternoon" was created in Wallasse

of the two beautiful ladies. The thick yet elegant colors

Ting's prime. Works from the late 1970s to the early 1980s

emphasize the pinkness of their white skin. The bright yellow

often reflect Ting's heated emotional presentations involving

skirt foregrounds the hot July summer with playful imagery.

huge and dashing freestyle strokes, yielding a texture

The use of large color blocks transforms the artist's internal

that is casual and thick and making the viewer feel the

experiences of nature into a unique and pure substance. The

surging emotions of the CoBra. In his works, the artist uses

elegant background color behind the two ladies is profound,

splendidly marvelous oil paints to express a sense of light,

adding a touch of coolness to the summer afternoon while

shapes, lines, and energy. Through his works, he shares with

hinting at the freehand spirit of eastern painting techniques

the viewer his ample sentiments. Both love and affection fill

of utilizing negative space. The lady on the right, legs

Ting's soul. Some people have stated that Ting's works are

crossed and leaned back, is dressed in a turquoise blouse

erotic. Perhaps affection was the inspiration for his creations

that almost merges with the background. Her face is half

and is the subject of his life, whereas eroticism comprises

hidden, and only her large eyes reveal a hint of shyness. The

the splendid colors of his painting, as it is in his flesh and

composition of this work is bizarre, unexpected yet perfectly

blood. It is through these splendid colors that he feels most

reasonable. Although it is extremely unique, it is lively.

alive.

Dynamic opposites are represented in the work and changes

Erotic and sensuous best describes Ting and his works. The artist uses large-scale paintings to construct a sense of space and time and to explore an imagery visual horizon that has never been explored. "Summer Afternoon" is an emotional world filled with eroticism. The dual female lead characters are composed in a V shape before the viewer, presenting a variety of feelings on both sides of the picture. In front of the azure curtain, a lady on the left is in bright yellow, the brilliancy of her dress attracting all attention. In the middle of the painting are smooth brush strokes of acrylic which have an ease to the paint and thin and direct oil crayon lines. The background color underlines the cheeks

in harmony make this painting even more eye-catching. This large-scale work "Summer Afternoon" with women as the theme shows Ting's unique feeling for life and aestheticism, providing the viewer with ample space for imagination. Similar to the piece "Miss World" auctioned in the Ravenel Spring Auction 2015, this is yet another outstanding work praising feminine beauty. Ting's abstract paintings have been well-received in the auction scene in recent years, and prices have been skyrocketing, especially after 2020. Ting's talent and his passion for life are unreservedly represented in his abstract paintings, opening a new chapter for collecting Ting's arts.


032

YUN GEE

(Chinese-American, 1906-1963)

Hundred Bathing Beauties 1929 Oil on canvas 91 x 72 cm Titled and signed upper left in Chinese Signed lower right Yun Gee in Chinese and English, Paris mi de nuit in French and dated 29 PROVENANCE

「余八歲時,即已善飲;常坐於樹下小酌,頭上有喝 水的小鳥與之呼應。但余十五歲離家,離開心中花園,

Private Collection, Asia Christie's, Hong Kong, November 26, 2011, lot 1016 Acquired from the above by the present owner

過去。思尋未來:我們的先人是誰?我們的後代又是

ILLUSTRATED

誰?因此,余寫作之時會感到震顫。」

Gu Yue, World Famous Artists - Yun Gee Chu, Hebei Education Press, Shijiazhuang, 2014, color illustrated, p. 57

金絲雀的窩巢,還有中國的蘋果樹。如今,余常感慨

-朱沅芷 < 花園 > 1936 年 "By the time I was eight, I was already good at

NT$ 7,500,000 - 12,000,000 HK$ 1,861,000 - 2,978,000 US$ 237,200 - 379,500 RMB 1,682,000 - 2,691,000

home, left the garden in my heart, the canary's

朱沅芷

regret the past. Thinking about the future: who

drinking; I would sit and have a drink under the trees, the water drinking birds and their songs overhead. But at the age of fifteen I had left nest, and China's apple trees. Nowadays, I often

百美戲浴圖 1929年 油彩 畫布 91 x 72 cm 簽名題識左上:百美戲浴圖 芷沅 藍五洲 簽名右下:沅芷 Yun Gee Paris mi de nuit 29 來源

私人收藏,亞洲 佳士得,香港,2011年11月26日,編號1016 現有收藏者購自上述來源 圖錄

顧躍,《世界名畫家.朱沅芷》,河北教育出版社, 石家莊,2014,彩色圖版,頁57

54

were our ancestors? Who will our descendents be? Because of this, I shall tremble as I write this." - YUN GEE, "Garden", 1936



YUN GEE "Hundred Bathing Beauties" 朱沅芷《百美戲浴圖》

「朱沅芷」二十世紀永遠的異鄉人,游泊於時代交替的洪流,

學的珍品。此時期的巴黎,百家齊鳴,無論是立體派、野獸派、

盡心竭力實現理想的中國藝術家。朱沅芷本名「朱榮沅」,生

德國表現主義,亦或大行其道的超現實主義,和諸多珍藏歷代

於 1906 年武昌起義尚未成功的晚清時期,家鄉位於廣東開平縣

大師傑作的美術館,對於一個二十三歲心懷抱負的青年畫家而

朱屋村,在家排行第三,上有兩位兄長榮秩、榮章,還有妹妹

言,自然是無比震撼且深刻。

瑞蘭。他父親長年在美經商,於朱沅芷十五歲時,將其帶往美 國發展。朱沅芷私塾時期已展現出過人的藝術天份和早熟思想, 其理想主義,追求完美與自毀傾向的性格,伴隨一生,也預示

《百美戲浴圖》曾著錄於 2014 年河北教育出版社出版的「世界 名畫家 • 朱沅芷」專冊。此圖長寬 91 x 72 公分,直幅畫面左 上落款題名:百美戲浴圖 芷沅 藍五洲;而右下對角則以法文簽

他不凡精彩的人生。

名:沅芷 Yun Gee Paris mi de nuit 29。整體畫面採中式 S 形

綜觀朱沅芷繪畫風格的發展,因其旅居不同城市,受外在環境

構圖法,從左下的粉色菡萏開啟,順著畫中溪流的方向,從前

探索啟發,各種時期有著顯著的風格差異。其作品多為具象畫,

景向中段與後景延伸,構成縱深方向的空間關係,營造生動視

從執著於美國當時盛行的社會寫實風格,後融入歐洲超現實主

覺感。細數畫中人物,整整一百位姿態各異的裸體女像,有的

義特色,經年累月的洗禮,調和色域及筆觸,集大成為晚期個

圍圈舞蹈、潛游水中、吹奏樂器、吟詩划船,或坐或臥四肢伸

人色彩濃厚的表現風格。這位受廣東「嶺南畫派」思潮啟蒙,

展,斜倚在水岸綠坡。宛如裊裊水煙中的仙境,毫無羞赧之色,

積 極 擁 抱 現 代 化 的 晚 清 學 子, 其 多 重 經 歷 可 視 為 大 時 代 的 縮

優閒自在的林中仙子。畫家以柔軟曲線勾勒人物軀體,呼應傳

影。1924 年進入加州美術學院(即現在的舊金山藝術學院),

統中式技巧,而整體偏暗的青綠用色,及群像構圖則可見西洋

受 留 歐 返 美 亦 師 亦 友 的 歐 蒂 斯 • 歐 菲 德(Otis Oldfied) 啟 發,學習立體主義與現代主義畫風,進而發展出「鑽石主義」 (Diamondism)。此時期朱氏筆下畫作,緊貼美國西部拓荒、 鐵路文化、在地人文風景,美學與歷史意義非凡。朱氏 1927 年 首登歐陸,第一次巴黎時期為期三年,藝術家彷彿從美國對華 裔不公的種族偏見中釋放,優游於巴黎藝壇,這處多元種族匯 集,藝術發展歷經東亞文化薰陶之地。他大膽展示中國背景, 希冀得知音共鳴,以傳統文化為主題:《孔子》、《莊周夢蝶》、 《日光浴中的老子》、《貴妃出浴》和今次拍品《百美戲浴圖》 都是此期的代表作品。 悠久的中國人物畫傳統,以描繪宮廷「仕女」場景為題,經過 漫長演變,明清以降各式「百美

媚圖」的敘事傳統蔚然成風,

廣泛流傳於民間。然「人物裸體畫」,對二十世紀初的中國來說, 依然陌生,直至 1914 年劉海粟在上海美專教學首次採用人體寫 生,才開啟中國人對這項西洋藝術傳統的認識。朱沅芷 1929 年 創作的《百美戲浴圖》無疑是時代的先驅,濃縮東西方古典美 56

右圖

藝術家朱沅芷照片 Artist photo Yun Gee

左圖 朱沅芷《馬上舞旋》1939 油彩 畫布 120 x 100 cm,北京嘉德2018秋拍 人民幣 26,680,000 成交 Yun Gee, Knights Combat , 1939, Oil on canvas , 120 x 100 cm , Guardian, Beijing 2018 Autumn Auction, USD 3,851,551 sold


「當我日復一日在羅浮宮暢遊, 陳列在那裡的ㄧ幅幅曠世巨作與我的交流記非用法語也非中文,而是用一種超越了時空限制的語言。 這裡所展現的是具有普世性的東西,不分種族、不分國別。 塞尚和庫爾貝的畫作對我而言,就像我早已熟悉的中國畫軸一樣親切。 而我也意識到,東方和西方並沒有什麼天壤之別,因為在二者最精妙的藝術創作中,有著某種非常相似的東西。」-朱沅芷 "As I roamed freely through the Louvre day after day, piece after piece of tremendous, incomparable art on display didn't use French or Chinese - it used a kind of language that transcended the limits of time and space. The things on display here possessed a universality irrespective of race or nationality. To me, the paintings of Cézanne and Courbet were as near and dear to me as Chinese scroll paintings. I became aware that there was no extraordinary difference between the East and the West, for in the latter's most exquisite works of art there was a certain remarkable similarity." - YUN GEE

古典藝術薰陶後的成果:馬諦斯《舞蹈》、畢卡索《亞維儂姑 娘》、波提且利《優美三美神》。而右側三三兩兩的直木綠葉, 則渾然天成地提高視角,如同漂浮於雲端,俯看這理想國度的 美好景緻。 《百美戲浴圖》為朱氏畫中人數最多、最具中西經典特色匯聚 的人物畫作。這件歸屬於「第一次巴黎時期(1927-1930)」 的作品,標示了年輕藝術家渴求創作之道,勵精圖治的成果。 對比舊金山時期,下筆之前注重理性思考,強調合理性與鮮明 色塊構圖的嚴謹;《百美戲浴圖》的超現實場景,匯聚中西經 典繪畫元素,突破人物畫傳統而自成一格。畫中色彩,相較於 舊金山時期更加柔合、層次豐富且充滿詩意,符合水天相連、 遠山若黛的意境。此作品象徵朱氏在創作的征途中,擴大了 視野及方向,奠定返美後「紐約時期」如《工業之輪在紐約》 極為特殊,充滿動感的表現方式。若說美國形塑朱氏的創作技 巧,那巴黎就是從精神層面,徹底解放他心中感性,作為一位

左圖 朱沅芷《工業之輪在紐約》 1932 油彩 畫布 214 x 122 cm, 香港蘇富比2018秋拍 港幣 105,287,500 成交 Yun Gee, Knights Combat , 1939, Oil on canvas , 214 x 122 cm , Sotheby's, Hong Kong 2017 Autumn Auction, USD 13,478,905 sold

喜愛吹笛、眷養雀鳥,眼中溢滿浪漫風情的現代中國文人。 二十世紀初期留洋海外的華人藝術家非常稀少,像朱沅芷擁有 前衛思想,隻身開拓藝術史,並非以團體行動的更為稀少。大 環境的變遷與戰亂,迫使他在世時總有志不能伸,經歷萬般波 折和委屈。除了全球知名博物館:包括法國龐畢度藝術中心; 紐約惠特尼美術館;華盛頓赫胥宏美術館;洛杉磯郡立美術館; 加州奧克蘭美術館以及台灣的台北市立美術館等機構,與少量 私人藏家有朱沅芷的作品,過去其作品多留在遺孀朱海倫與女 兒朱禮銀之手。經多年家屬、贊助者和藝術專家的努力,回頭 梳理歷史,才使朱氏的藝術免於滄海遺珠之憾。由於存世的畫 作不多,1992 年台北市立美術館回顧展之後,二手市場屆滿 三十周年,目前有紀錄的拍賣交易僅三百多筆,平均一年上拍 十件左右,數量相對地珍稀罕有。而至今藝術家離世一甲子, 拍品《百美戲浴圖》更是猶如歷史的吉光片羽,值得藝術收藏 者珍惜、典藏。

亨利.馬諦斯《舞蹈》1910年 油彩 畫布 261 x 391 cm 俄羅斯聖彼得堡隱士廬博物館收藏 Henri Matisse, Dance, 1910, Oil on canvas, 261 x 391 cm Collection of The Hermitage Museum, St. Petersburg


Yun Gee, eternal stranger of the 20th century moored

the U.S. Studying cubism and modernism, he developed

amid a torrent of changing times, was a Chinese artist who

"Diamondism". During this period, his paintings stuck

labored exhaustively to realize his ideals. Zhu Yun Gee,

close to the aesthetic and historic peculiarities of open

originally Zhu Rongyuan, was born during the Late Qing

landscapes, railroad culture, and human scenery of the

dynasty in 1906, a period when the Wuchang Uprising had

American West. Yun Gee first traveled to continental Europe

not yet been successful. Originally from Zhuwu Village,

in 1927. His first phase in Paris lasting three years, the artist

Kaiping County, Guangdong, he had two older brothers

seemed liberated from America's unjust racial prejudice

Rongzhi and Rongzhang and a younger sister named Ruilan.

toward ethnic Chinese, moving freely through Parisian art

His father did year-round business in the U.S. When Yun Gee

circles in this place of multi-racial convergence, a land where

was 15, his father took him to grow up in America. During

artistic development had been influenced by East Asian

this private school period, Yun Gee was already showing

culture. Boldly revealing his Chinese background, Yun Gee

extraordinary artistic talent, and his precociousness, his

hoped to find resonance through traditional cultural themes:

idealism, his pursuit of perfection and his self-destructive

"Confucius" , "Butterflies: Dreams of Chuang-Tze" , "Laotzu",

tendencies, would accompany him for the rest of his days

"Empress Yan Kwei Fei at the Bath", and "Hundred Bathing

and predicted a life of uncommon brilliance.

Beauties" (this lot) are all works representative of this period.

Speaking broadly on his stylistic development, Yun Gee

The long thematic tradition of Chinese character painting

dwelt abroad in different cities, and in so doing was

depicting scenes of ladies in court has gone through

stimulated by explorations of his external environments,

countless iterations. Since the Ming-Qing era, the narrative

each period revealing their own differences in style. Many of

traditions of all manner of "Hundred Beauties" paintings

his works are representational paintings, from his attachment

have been a common trend that has circulated extensively.

to the social realism prevalent in America blended later with

This being the case, "nude paintings" were still unfamiliar to

characteristics of European surrealism, the baptism over the

20th-century Chinese until 1914, when Liu Haisu introduced

years, blending color gamut and brushwork, culminating in

this feature of the Western artistic tradition to Chinese

the individually dense coloration of a latter-day expressionist

people in his first sketches of the human body at Shanghai

style. Instructed in the zeitgeist of Guangdong's "Lingnan

University Fine Arts College. Yun Gee's 1929 work, "Hundred

School" as a student of the late-Qing who actively embraced

Bathing Beauties" is without doubt a pioneer of the era, a

modernization, Yun Gee's myriad experiences can be seen

valuable work integrating both Eastern and Western classical

as a microcosm of a great era. In 1924 he entered the

aesthetics. During this time period, Paris rang with the tones

California Institute of the Arts (today's San Francisco Art

of a myriad artistic voices, whether cubist, animalist, German

Institute), and was inspired by Otis Oldfield, his mentor and

expressionist, or perhaps the rampantly popular surrealist,

friend, who had studied abroad in Europe and returned to

and many museums with the collections of successive generations of masterpieces; to a 23-year-old man with his heart full of ambition, this was naturally and incomparably shocking and profound.

"Hundred Bathing Beauties" was recorded in "World Famous Artists: YunGee Chu" , released by Hebei Educational Publishing in 2014. The painting is 91cm x 72cm, a vertical painting with an inscription in the front upper left: "Hundred

Bathing Beauties Painting / Yun Gee / Five Blue Continents" ; and a signature in French in the bottom right cor ner opposite: "Yun Gee Paris mi de nuit 29". A Chinese-style 'S'shape compositional style was selected for the entire scene, starting from the pink-white lotus blossom in the bottom left and following the direction of the stream in the middle of the 58


painting, extending from the foreground toward the middle

thought before painting, emphasizing the strictness of

and into the background, comprising the spatial relationship

rationality and distinct color blocking composition. The

of the direction of depth and constructing a vivid visual

surreal setting of "Hundred Bathing Beauties" converges

sensation. Enumerating the people in the picture are one

Chinese and Western classical painting elements, breaking

hundred individual nude female forms, all in different

through figure painting traditions to stand alone. Compared

postures - dancing, swimming, playing wind instruments, or

with the artist's San Francisco period, the painting's

reciting poetry while rowing a boat; others sitting or laying

coloration is softer, richer, and brimming with poetry, an

with their limbs stretched out, reclining on sloping shores.

artistic concept that accords with the connection between

They are neither remarkably dignified nor graceful, but more

the water and the heavens, far-off mountains like the

like unrestrained, unabashed fairies of the forest circling

brows of a beautiful woman. This work symbolizes Yun Gee

round and round amid the smoke and water of a paradise. In

expanding his vision and orientation along the path of his

accordance with traditional Chinese technique, the painter

creative journey, laying the groundwork for his return to

delineates the contours of their bodies with soft and delicate

America. His "New York Period", like "Wheels: Industrial

curves, but the results of Western artistic influence can be

New York" are exceedingly peculiar, its manner of expression

seen in the compositional grouping and overall blue-green

brimming with a sense of movement. If it is said that

hues: Matisse's "Dance" , Picasso's "The Girls of Avignon" ,

America shaped Yun Gee's creative technique, then Paris, on

and Botticelli's "The Three Graces" . By contrast, the straight

a spiritual level, was a complete liberation of the emotions in

wood and green leaves in threes and twos on the right side

his heart, a modern-day Chinese literatus that loves to play

increase the angle of perspective in a manner resembling

the flute and cares for birds, with romance in his eyes.

nature itself, as if hovering in the clouds and looking down upon the beauty and elegance of an idyllic country.

Chinese artists who studied abroad in the early 20th century were rare, like Yun Gee's avant-garde thinking, breaking ground in art history on his own, and group action was even rarer. The changes and the chaos of war in the greater environment always forced Yun Gee to curb his ambitions, causing all manner of twists, turns, and grievances. Except for museums of global renown: including institutions like the Centre George Pompidou, Whitney Museum, New York, Hirshhorn Museum and Sculpture Garden, Washington D.C., The Los Angeles County Museum of Art, Oakland Museum, California, and the Taipei Fine Arts Museum, with small private collectors who had Yun Gee's works, in the past his works were left with his widow Hellen Gee or in the hands of his daughter Li-lan Gee. Following years of hard

山德羅.波提且利《春》1470-1480年 蛋彩 木板 202 x 314 cm 佛羅倫斯烏菲茲美術館收藏 Sandro Botticelli, Primavera, 1470s-1480s, Tempela on panel, 202 x 314 cm, Collection of Uffizi Gallery, Florence

work by Gee's family, supporters, and art experts, sorting our history by and by, until his art was spared the loss of going undiscovered. Since there are few extant paintings, following the 1992 retrospective exhibition at the Taipei Fine Arts Museum, the 30-year anniversary of the second-

"Hundred Bathing Beauties" has the highest number of

hand market, recently recorded auction numbers come in

people as well as the greatest convergence of Chinese and

at only over 300 deals, with ten auctions more or less each

Western characteristics in any of Yun Gee's figure paintings.

year, which are comparatively precious and rare. Up to now

This piece belongs to works during the artist's first time in

the artist has been gone for sixty years, the photograph

Paris (1927-1930), indicating the path of the young artist

"Hundred Bathing Beauties" is more akin to an auspicious

striving to create and the results of his hard work. Compared

piece of history worthy of being treasured and collected.

with his time in San Francisco, when he focused on rational


033

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$ 3,000,000 - 4,600,000 HK$ 744,000 - 1,141,000 US$ 94,900 - 145,500 RMB 673,000 - 1,031,000 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

60



藝術家於工作室創作 Artist creating in studio, Courtesy of Opera Gallery. Photographer: Aurélie Thévenin, 2017.

布拉吉利出生於 1929 年法國昂儒的索米爾鎮,雙親皆為畫家。

繪畫非記錄寫實,而是融合於「內在的寫意」。他仰慕並欣賞

1949 年進入法國國立美術學院,師承莫里斯.布里列松。1952

其他藝術家的創作結晶,多次參觀義大利聖西斯汀禮拜堂,感

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

受米開朗基羅的筆觸,悠遊於美術館,只為豐富自己的藝術視

肯定。1960 年首次於巴黎的維爾畫廊舉行展覽。應不同畫廊及

角,感受人類精神刻畫的遺跡。受法蘭西學院院士華裔法籍漢

博物館邀請,之後連年於世界各地巡迴展覽。1980 年於法國雪

語文學家程抱一的文學作品啟發,更與日本畫家東山魁夷是多

儂梭城堡,舉行第一次個人回顧展,2005 年更於世界四大博物

年好友。

館-聖彼得堡冬宮,為期三個月的盛大回顧展。 「簡化」是他對藝術創作的追尋,不同於極簡,布拉吉利豐富 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,

的學養內在,讓他更像是東方所云:反璞歸真。具象與抽象之間,

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

布拉吉利選擇運用兩者,刻畫生命間的真實,如同盧奧、高更、

生的熱情禮讚。筆下的寬闊海景與森林,變化的色彩,表達時

畢卡索,從物質束縛中釋放。畫家不需追隨潮流,而是審思自

序的轉換,濃、淡交織,傳達不同的畫面情緒。利用「形」的

身的定位和視角,才能在藝術的洪流中堅若磐石。

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

André Brasilier was born in 1929 in Saumur, Anjou, France. Both of his parents were painters. In 1949, he entered

刻印象。恬靜高雅的藝術情懷令觀者沉醉。

the École nationale supérieure des Beaux-Arts in France

畫家自小成長在法國昂儒(Angevin)曼恩與羅亞爾省(Maine-

Florence Blumenthal Prize Award and, in the following

et-Loire)索米爾鎮(Saumur, Touraine)的鄉間城堡,馬兒與

year, the Grand Prix de Rome of painting. In 1960, he held

樹林標註了他的田園童年與大戰時期,成年後,巴黎東北邊盧

his first exhibition in Galerie Weil in Paris. In the following

佩涅(Lupeigne)小鎮的生活帶給他相同感受:大自然的力量

years, he was invited by various galleries and museums to

與平靜。即使現在生活於巴黎楓丹白露,這兩地的美好回憶仍

hold exhibitions around the world. In 1980, he held his first

然帶給他力量,人親土親,心靈的歸依。從巴哈、貝多芬、舒

retrospective at the Château de Chenonceau, France. In

伯特到巴西的維拉羅伯斯,音樂也是布拉吉利生活靈感的泉源。

2005, he held a grand retrospective in one of the four major

62

and studied with Maurice Brianchon. In 1952, he won the


「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. They exhibit a sense of scale in nature and show interesting proportions against the skyline or coastline." - ANDRÉ BRASILIER

museums in the world, the Hermitage Museum in Saint

of Michaelangelo, and has strolled though museums to

Petersburg, Russia, that lasted for three months.

broaden his perspective of art and experience the traces

Brasilier was influenced by ukiyo-e and expressionism. His creative concept focuses on conveying the spiritual perceptions accompanying objects and scenery. Throughout his life, he drew from his passionate worship of the beauty

etched by the human spirit. He is inspired by the literary works of Chinese-born French academician and Académie française Francois Cheng, and was close friends with Higashiyama Kaii for many years.

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

Simplification is what he strives to achieve in his work. Unlike

using variations in color to express the changes of time

minimalists, Brasilier's abundant knowledge makes him more

and seasons. With interwoven heavy and light colors, he

of what is referred to in the east as a "return to innocence."

expresses different emotions in the pictures. He sought

Between the figurative and the abstract, Brasilier chooses

simplicity in form, simplifying detailed constructs and

to use both to depict the realities of life, breaking free from

complexity to a great extent to bring a focus to the

the confines of the material world, just as Rouault, Gauguin,

imaginations of the viewer. What he portrays are often

and Picasso have all accomplished. Painters need not follow

women, musicians, and horses-topics common in art history

the tide. Instead, it is their mission to identify their own

and familiar to the viewer-but because of his unique style,

orientation and perspective in order to become a steady

his paintings create profound impressions that remain

stone in the rapid flow of art.

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. Growing up in the countryside castle of Saumur, Touraine in Angevin and Maine-et-Loire, France, horses and trees marked his countryside childhood and wartime experience; as an adult, life in the small town of Lupeigne northeast of Paris gave him the same sensations: the power and serenity of nature. Though he now lives in Fontainebleau, Paris, fond memories of these two places still give him energy; they are his connection to the earth, sanctuaries of his heart and soul. From Bach, Beethoven, Schubert, to Brazil's Villa-Lobos, music is another of Brasilier's sources of inspiration. Painting is not just recording things with a realistic approach, but incorporating "the imagery within." He looks up to and admires the work of other artists, has visited the Sistine Chapel in Italy numerous times to feel the brushstrokes

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


034

ANDRÉ BRASILIER (French, b. 1929)

Cavalcade au bord du Cher

「榭爾河 The Cher」屬法國中部羅亞爾河支流,這條以法文「富

c.1980 Oil on canvas 80 x 65 cm Signed lower right André Brasilier Titled reverse Cavalcade au bord du Cher

裕 Cher」命名的河流,自中世紀被視為法國文化的搖籃。透過

PROVENANCE

的精神感受。對自然之美的傾慕,藝術家用一生的熱情去禮讚。

文學作品留下歷代王公貴冑的傳奇故事,更添浪漫豐富的色彩。 榭爾河流過享負盛名的「貴婦之堡─雪農梭城堡」,也是畫家 布拉吉利 1980 年首次舉辦個人回顧展的地點。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

Satani Gallery, Tokyo Mallet Auction, Tokyo, June 8, 2012, lot 221

拍品《榭爾河畔輕騎》描繪夏季明媚的河岸風光,畫面中碧藍

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

1981 年由法國新視野出版社發行限量石版畫,足見藝術家對此

NT$ 1,100,000 - 1,600,000 HK$ 273,000 - 397,000 US$ 34,800 - 50,600 RMB 247,000 - 359,000

The Cher is a tributary of the Loire River in central France.

安德烈.布拉吉利

河水川流不息,綠蔭扶疏,陽光灑落在五位騎士身上。此畫作 作的珍重與喜愛。

Named after the French word for abundance, this river has been a cradle of French culture since the Middle Ages as literature romanticized the legendary stories of nobility throughout history. The Cher flows through the famous Château de Chenonceau, where artist Andre Brasilier held his first solo retrospective exhibition in 1980. Influenced by

榭爾河畔輕騎

Ukiyo-e and Expressionism, Brasilier focused his works on

約1980年

conveying the spiritual sensations from every object and

油彩 畫布

landscape, praising and admiring the beauty of nature with a

80 x 65 cm

lifetime of passion and dedication. Featured in this auction,

簽名右下:André Brasilier

Cavalcade au bord du Cher portrays a delightful summer

題識畫背:Cavalcade au bord du Cher

landscape with a flowing blue river and green shades as sunlight shines on five knights. In 1981, Edition Vision

來源

佐谷畫廊,東京 Mallet拍賣,東京,2012年6月8日,編號221 附愛力根畫廊開立之原作保證書

64

Nouvelle even published limited-edition lithography for this painting in recognition of the artist's love for this work.



035

AUGUSTE RODIN (French, 1840-1917)

L'Age d'Airain Conceived in 1876; cast in 1998 Bronze with black patina Editor: Artco France, ed. 10/25 Foundry: Airaindor 25(L) x 16(W) x 64(H) cm Engraved on the base A.Rodin Numbered on the base 10/25 with the foundry mark Cire Airaindor Perdue This lot is accompanied with a certificate of authenticity issued by Artco France.

NT$ 800,000 - 1,200,000 HK$ 199,000 - 298,000 US$ 25,300 - 38,000 RMB 179,000 - 269,000 奧古斯特.羅丹 青銅時代 1876年構思;1998年翻鑄 銅雕 版次10/25 翻鑄者Artco France 鑄造廠Airaindor 25(長)x 16(寬)x 64(高)cm 簽名雕刻台座:A.Rodin 版次台座後側:Cire Airaindor Perdue 10/25 附Artco France開立之原作保證書

「我試圖通過肌肉的流動性來渲染內心的感受。」 -奧古斯特.羅丹 "I have always tried to render inner feelings through the mobility of muscles." - AUGUSTE RODIN

66


036

BERNARD CHAROY (French, b. 1931)

Chloé

2006 Oil on canvas 33 x 24 cm Signed center right Bernard Charoy Titled reverse Chloé This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 110,000 - 170,000 HK$ 27,000 - 42,000 US$ 3,500 - 5,400 RMB 25,000 - 38,000

貝爾納.夏洛瓦 克羅艾 2006年 油彩 畫布 33 x 24 cm 簽名右中:Bernard Charoy 題識畫背:Chloé 附愛力根畫廊開立之原作保證書


EL EGA N CE A ND EX U B E R AN C E O F F R E N C H ART 優雅豐盈.法蘭西 「精緻藝術 Fine-arts」作為歐洲貴族精神的載體,二十世紀漸

Genis (1922-2004), Guy Bardone (1927-2015), Jean Jansem

由布爾喬亞 Bourgeoisie 菁英階級承接。雖然在二次大戰後被

(1920-2013), and Ber nard Cathelin (1919-2004), all of

抽象藝術重新洗牌,卻仍有一群出生於「戰間期」並且由「法

whom had been taught by Maurice Brianchon. Influenced

國美術學院」培育的藝術家,堅守並昇華了「具象美學傳統」。

by Impressionism and Les Nabis, Brianchon remarkably

這群來自法國美術學院的藝術家如:安德烈 • 布拉吉利(1929 -);保羅 • 賈曼(1926-2007);賀內 • 吉尼斯(1922-2004); 居 • 巴 赫 東(1927-2015); 強. 詹 森(1920-2013); 貝 爾 納 • 卡多蘭(1919-2004)等人,他們都師承莫里斯.布里昂 松(Maurice Brianchon)。後者深受後印象與納比畫派影響, 出色地傳承法國傳統,忠於追求生活和諧,並注重將自我的「情 感記憶」注入畫面之中。如此的創作概念,直接授給了門下學 子,因此這些學院的菁英藝術家早期都擁有極其相似的創作風 格。他們維持傳統的油彩畫布媒材,題材多為風景靜物畫,溫 和、抒情,並且充滿人文逸趣的感性氛圍。相對於當時蔚為風 潮的抽象表現,他們除了實踐理性思考,也維持對傳統尊敬的 態度,在創新激進的改革中取得平衡。 這些藝術家來自法國各地,甚至是成長於海外殖民地,作品中 保有法式優雅的基調,也因不同個性環境,成就不同的畫風。 例如布拉吉利擁有森林裡的莊園馬廄,林間輕騎主題就成為專 屬特色;吉尼斯小時成長於越南,因此對樹林、靜物光影立體 的細膩筆觸,拔尖於其他同窗;巴赫東樂於遊歷四方,常以繪 畫記錄自然風景,其溫暖性格使筆下風景總是透著明亮陽光。 隨著 1960 年代全球戰後經濟和通訊科技崛起,畫廊經營模式更

interpreted French traditions by faithfully pursuing a life balance and incorporating "emotional memories" into his paintings. Having directly passed on this creative philosophy to his students, this school of elite artists are characterized by similar creative styles in the early phases of their careers. By using traditional oil canvas as a medium, the artists mostly painted landscape stills in gentle, lyrical ways full of delightful cultural sentiments. In contrast to the popular abstract expressionism at the time, these artists integrated practical reasoning with traditional values to find a balance in the era of an innovative and far-reaching revolution. These artists not only came from different parts of France, but some even grew up in overseas colonies. Hence the artists' varying personalities and environments led them to portray French elegance in distinctively unique styles. For example, Brasilier often featured light cavalry in his works because he owned forest manors and stables. Having grown up in Vietnam, Genis portrayed light-shadow variations of forests and stills in more three-dimensional, delicate ways. Bardone liked to travel and paint natural landscapes during

加開放與商業化,他們代表著歐洲精緻文化,輸出至經濟快速

his trips, his warm personality instilled a ray of sunshine into

發展的新興社會,於海外市場取得巨大的成功,尤其受到美國

his landscape paintings.

和日本的熱烈歡迎。藝術家廣受邀請到各地展覽,龐大的國際 市場也延伸出,版畫、雕塑、陶瓷等不同媒材的作品。時至今日, 藝術欣賞的價值不斷演變。這些受布爾喬亞文化培育而成的藝 術品,蘊含高雅含蓄的氣質,或許能為強調閃曝、衝擊與大量 複製的當代藝術收藏,提出不同的視野與品味。 Once an embodiment of the aristocratic spirit of Europe, "fine-arts" were gradually taken on by the Bourgeoisie in the twentieth century. Although the art community underwent a reshuffling due to abstract art after World War II, a group of Interwar period-born artists from École des Beaux-Arts persisted in and enhanced "figurative art traditions" by transforming their styles and passing on the legacy of their creative spirit to future generations. This group of artists from École des Beaux-Arts includes: André Brasilier (1929-); Paul Guiramand (1926-2007), René 68

In the 1960s, the rise of post-war economy and communication technologies around the world had led art galleries to operate more openly and commercially. The export of Europe's fine culture to the rapidly developing economy and new society achieved enormous success in overseas markets, especially in the US and Japan. The artists were invited to display their works in the vast international market, expanding art media to prints, sculptures, ceramics, etc. In addition to commercial art galleries, the artists were also welcomed by art museums. As the values of art appreciation continue evolving to this modern day, these bourgeoisie artworks contain elegant, implicit temperaments that may provide different perspectives and stylish for t h e t o d a y ' s p o p - u p , i m p a c t f u l , a n d m a s s - p ro d u c e d contemporary art collections.


037

BERNARD CHAROY (French, b. 1931)

Lady in the Garden

貝爾納.夏洛瓦 夏日庭院 1988年

1988 Oil on canvas 65 x 54 cm Signed lower right Bernard Charoy Signed reverse Bernard Charoy

油彩 畫布

PROVENANCE

愛力根畫廊,台北 私人收藏,台灣 羅芙奧拍賣,台北,2016年11月20日,編號087 現有收藏者購自上述來源

Galerie Elegance, Taipei Private collection, Taiwan Ravenel Auction, Taipei, November 20, 2016, lot 087 Acquired from the above by the present owner

NT$ 380,000 - 550,000 HK$ 94,000 - 136,000 US$ 12,000 - 17,400 RMB 85,000 - 123,000

65 x 54 cm 簽名右下:Bernard Charoy 簽名畫背:Bernard Charoy 來源


另一側 other side

038

ANDRÉ BRASILIER (French, b. 1929)

La Sirène

安德烈.布拉吉利 美人魚 1988年

1988 Ceramics with polychrome decoration, unique piece

彩繪陶瓶上釉 單一件

16.5(L) x 52(W) x 77(H) cm

簽名題識:André Brasilier Vallauris 22 VI 88

Signed André Brasilier and inscribed Vallauris 22 VI 88 PROVENANCE

Galerie Elegance, Taipei Private collection, Taiwan ILLUSTRATED

André Brasilier, Galerie Hopkins-Thomas & Galerie Etienne Sassi, France, 1988, color illustrated, no. 39 Yann le Pichon, André Brasilier: Ses Transfigurations, Lignes. S.A., France, 1989, color illustrated

NT$ 200,000 - 300,000 HK$ 50,000 - 74,000 US$ 6,300 - 9,500 RMB 45,000 - 67,000 70

16.5(長)x 52(寬)x 77(高)cm

來源

愛力根畫廊,台北 私人收藏,台灣 圖錄

《安德烈.布拉吉利》,霍普金斯-托馬斯畫廊 & 艾提安.塞西畫廊,法國,1988,彩色圖版,39號 楊.勒.畢松,《安德烈.布拉吉利:轉變》, 里尼出版社,法國,1989,彩色圖版


039

ANDRÉ COTTAVOZ (Spanish-French, 1922-2012)

Chez Nounou

Oil on canvas 50 x 61 cm Signed lower left Cottavoz Signed reverse Cottavoz , titled Chez Nounou This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300 RMB 63,000 - 94,000

安德烈.科達沃茲 海灘盛宴 油彩 畫布 50 x 61 cm 簽名左下:Cottavoz 簽名題識畫背:Cottavoz Chez Nounou 附愛力根畫廊開立之原作保證書


040

GUY BARDONE (French, 1927-2015)

Chalet Valaisan - Suisse 1994-2000 Oil on canvas 65 x 54.5 cm Signed reverse stretch Bardone , titled Chalet Valaisan - Suisse , dated 94-2000 and inscribed 15F This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 160,000 - 240,000 HK$ 40,000 - 60,000 US$ 5,100 - 7,600 RMB 36,000 - 54,000

72

居.巴赫東 瑞士瓦萊的小木屋 1994-2000年 油彩 畫布 65 x 54.5 cm 簽名題識畫背框條: Bardone Chalet Valaisan-Suisse 94-2000 15F 附愛力根畫廊開立之原作保證書


041

RENÉ GENIS (French, 1922-2004)

Prunes et ombelles au pot blanc

賀內.吉尼斯 李子與白色花瓶上的傘形花 油彩 畫布

Oil on canvas 92 × 60 cm Signed lower left René Genis Titled reverse Prunes et ombelles au pot blanc

92 x 60 cm

PROVENANCE

里貝雷男爵聯合拍賣,巴黎,2018年3月9日,編號258

Baron Ribeyre & Associés, Paris, March 9, 2018, lot 258 This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 360,000 - 550,000 HK$ 89,000 - 136,000 US$ 11,400 - 17,400 RMB 81,000 - 123,000

簽名左下:René Genis 題識畫背框:Prunes et ombelles au pot blanc 來源

附愛力根畫廊開立之原作保證書


042

CLAUDE WEISBUCH (French, 1927-2014)

Horse and Rider

克勞德.維士巴修 駿馬與騎士 油彩 畫布

Oil on canvas 81.5 x 100.5 cm Signed lower left Weisbuch

81.5 x 100.5 cm

PROVENANCE

蘇富比,倫敦,「印象派與現代藝術」, 2005年3月23日,編號306 現有收藏者購自上述來源

Sotheby's, London, Impressionist & Modern Art, March 23, 2005, lot 306 Acquired from the above by the present owner

NT$ 100,000 - 150,000 HK$ 25,000 - 37,000 US$ 3,200 - 4,700 RMB 22,000 - 34,000

74

簽名左下:Weisbuch 來源


043

PIERRE-YVES TRÉMOIS (French, 1921-2020)

Le singe et la jeune fille au miroir 1975 Etching leather nailed on wooden board; unique piece 45.5 x 52.5 cm (image); 63 x 75 cm (leather); 70 x 90 cm (wooden board) Signed lower center Trémois and dated 1975 Dated upper left 18.V.1975 Signed reverse Trémois and dated 30V This lot is accompanied with a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 240,000 - 360,000 HK$ 60,000 - 89,000 US$ 7,600 - 11,400 RMB 54,000 - 81,000

皮耶-伊夫.特墨 鏡中的猴子與少女 1975年 蝕刻銅版畫 羊皮 木板 單一件 45.5 x 52.5 cm(圖);63 x 75 cm(羊皮); 70 x 90 cm(木板) 簽名下方:Trémois 1975 年代左上:18.V.1975 簽名畫背:Trémois 30V 附愛力根畫廊開立之原作保證書


044

HILO CHEN

(Taiwanese, b. 1942)

Cat

陳昭宏 波斯貓 1987年

1987 Gouache on paper 16 x 22 cm Signed lower left Hilo Chen and dated 87

水粉 紙本

PROVENANCE

私人收藏,荷蘭

Private collection, Netherlands Hilo Chen has confirmed the authenticity of this work.

NT$ 70,000 - 100,000 HK$ 17,000 - 25,000 US$ 2,200 - 3,200 RMB 16,000 - 22,000

76

16 x 22 cm 簽明左下:Hilo Chen 87 來源

陳昭宏先生已確認此作品的真實性


045

HILO CHEN

(Taiwanese, b. 1942)

Sun Bathing Lady

陳昭宏 日光浴女子 1986年

1986 Gouache and acrylic on paper 15.5 x 23 cm Signed lower right Hilo Chen and dated 86

水粉 壓克力 紙本

PROVENANCE

私人收藏,荷蘭

Private collection, Netherlands Hilo Chen has confirmed the authenticity of this work.

NT$ 80,000 - 120,000 HK$ 20,000 - 30,000 US$ 2,500 - 3,800 RMB 18,000 - 27,000

15.5 x 23 cm 簽名右下:Hilo Chen 86 來源

陳昭宏先生已確認此作品的真實性


046

DU XI

(Chinese, b. 1980)

Romance of the Three Kingdoms: Fengyi Pavilion 2007 Oil on canvas 51 x 188 cm Signed lower right Du Xi in Chinese and dated 07 EXHIBITED

World Shaking - Du Xi , William Contemporary Art Space, Taipei, April 11 - 30, 2009 ILLUSTRATED

World Shaking - Du Xi, William Contemporary Art Space, Taipei, 2009, color illustrated, pp. 44-45

NT$ 80,000 - 120,000 HK$ 20,000 - 30,000 US$ 2,500 - 3,800 RMB 18,000 - 27,000

78

杜溪 刀馬記-鳳儀亭 2007年 油彩 畫布 51 x 188 cm 簽名右下:杜溪 07 展覽

「翻天覆地-杜溪個展」,威廉當代藝術空間,台北, 展期2009年4月11日至30日 圖錄

《杜溪-翻天覆地》,威廉當代藝術空間,台北,2009, 彩色圖版,頁44-45


047

WALASSE TING

(Chinese-American, 1929-2010)

Two Cats

丁雄泉 雙貓圖 1980年

1980 Acrylic and ink on paper 54 x 76 cm With one seal of the artist

壓克力 彩墨 紙本

PROVENANCE

私人收藏(直接得自藝術家本人) 佳士得,阿姆斯特丹,2011年3月8日,編號182

Private collection (acquired directly from the artist) Christie's, Amsterdam, March 8, 2011, lot 182

NT$ 300,000 - 460,000 HK$ 74,000 - 114,000 US$ 9,500 - 14,500 RMB 67,000 - 103,000

54 x 76 cm 藝術家鈐印:採花大盜 來源


048

WALASSE TING

(Chinese-American, 1929-2010)

After Modiglaini (Reclining Nude) 2000 Acrylic on canvas 85 x 115 cm Signed reverse Repainted by Walasse Ting and Ting , double dated 2000 AD and inscribed Amsterdam PROVENANCE

Collection of the artist's close friend, Netherlands (A gift from the artist)

丁雄泉 臨摹莫迪里亞尼-側臥的裸女 2000年 壓克力 畫布 85 x 115 cm 簽名畫背: Repainted by Walasse Ting 2000 AD Amsterdam Ting 2000 AD 來源

藝術家摯友收藏,荷蘭(得自藝術家贈與) 圖錄

ILLUSTRATED

"Trendies" , an interview with the artist Walasse Ting by Irene van de Laar, Dutch television RTL 5, January 7, 2000 This lot is accompanied with a certificate of authenticity issued by Gallery Delaive, Amsterdam.

NT$ 480,000 - 750,000 HK$ 119,000 - 186,000 US$ 15,200 - 23,700 RMB 108,000 - 168,000 80

《時尚》節目影片,艾琳.梵德拉爾採訪藝術家丁雄泉, 荷蘭電視台RTL 5,2000年1月7日播出 附阿姆斯特丹德萊夫畫廊開立之原作保證書


「沒有女人,就沒有藝術,藝術的情感來自女人的形

"There will not be art without women. Endless

體,源源不斷。」—丁雄泉

artistic sentiments originate from the womanly form." - WALASSE TING

丁雄泉的藝術難以歸類,雖然青年時期曾在上海美專短暫學 習,但他自認為是在社會環境當中自學成長的畫家。離開上

The art of Walasse Ting is challenging to classify. Even

海之後,長年在海外生活,自由不羈的個性,不易見容於東

though he studied briefly at the Shanghai University Fine

方社會民情,巴黎、紐約、阿姆斯特丹有他各個時期的精彩。

Arts College during his youth, he nevertheless viewed

1950 年代,丁雄泉與眼鏡蛇 CoBrA 畫派朋友親近,他們的

himself as a self-taught painter who grew up and learned

共識:對於幾何抽象和社會寫實主義風格興趣缺缺,選擇一

from his social environment. He resided overseas for

種自然的抽象形式,接近原始藝術的熱情。丁雄泉就是對創

many years after leaving Shanghai; his independent and

作本能的熱情、大膽淋漓的用色,來自東方的墨韻,使得他

uninhibited character was rarely found in Asian societies.

的線條充滿魅力,以及表現的力度。

He had some exciting times during his stays in Paris, New

2000 年 初 荷 蘭 電 視 台 RTL 5 的《 時 尚 》(Trendies) 節 目,知名主持人艾琳.梵德拉爾(Irene van de Laar)採訪 藝術家丁雄泉,在位於安地列斯(Antilles)的工作室展開 有趣的對談,展現他的真性情。片中穿過紫紅色的走廊, 鏡頭走進滿滿紫紅色的房間,這是一間專屬於莫迪里亞尼 (Amedeo Modigliani)的房間,牆上錯落有致地掛著五幅 臨摹莫迪里亞尼的經典臥姿裸女圖畫,看得出丁雄泉對大師 的傾慕,右側兩幅即是此次拍賣的畫作。他從亞洲買回不知 名越南畫師的複製畫,從 1997 年開始花費三到四年的時間,

York, and Amsterdam. During the 1950s, Ting became closely acquainted with members of the CoBrA movement. T h e i r s h a re d p h i l o s o p h y : D i s i n t e re s t i n g e o m e t r i c abstraction and social realism, but favored a natural and abstract form to interpret a passion for primitive art. Ting's passion toward his creative instincts and fearless use of colors originated from his subtle knowledge of Eastern culture, expressing allure and strength in his strokes as a result.

慢慢地琢磨、重新繪畫、重新創作,完成後在畫背簽名落款

In the Dutch RTL 5 show "Trendies" at the beginning of

並寫上日期。丁雄泉深受西洋現代藝術的洗禮,高更、馬諦

2000, renowned host Irene van de Laar interviewed Ting in

斯、莫迪里亞尼都是他十分欣賞的大師。採花大盜以描繪女

his studio in Antilles, sparking an interesting conversation

人聞名,也想要擁有一幅莫氏經典裸女畫,因而精心摹畫,

that displayed his true character. The show took the

完成別有風情的莫氏風格裸女畫。丁雄泉已於 2010 年病逝,

audience through a fuchsia corridor into a room bright

稀珍的兩幅畫作為他晚年交往十八年的親密友人收藏至今。

with shades of purple and red. This was a room dedicated to Amedeo Modigliani, with five classic paintings of female nudes after Modigliani interspersed on the wall, evidence of Walasse's admiration for the master painter. There are two paintings on the right from the current auction. He brought back imitation paintings by unknown Vietnamese painters bought in Asia, and from 1997, he spent three to four years gradually contemplating, repainting, and re-creating. Upon completion of the pieces, he signed and dated the back of the painting. Walasse Ting was deeply influenced by Western modern art, and greatly respected masters like Gauguin, Matisse and Modigliani. Nicknamed "Butterfly Gangster", he was renowned for depicting women in his art and wanted to own a classic Modigliani nude painting, so he imitated Modigliani and meticulously painted unique female nudes in his style. Walasse Ting died of an illness in 2010, and the two rare paintings are now in the collection of his close friend who was associated with the artist for eighteen years.

2000年荷蘭電視台RTL 5《時尚》節目採訪片段 Section of artist interview of "Trendies"via RTL5 in 2000 Coutesy of Gallery Delaive, Amsterdam


82


049

WALASSE TING

(Chinese-American, 1929-2010)

After Modigliani (Nu Couché) 1997-2001 Acrylic on canvas 85 x 140 cm Signed reverse Recreation by Walasse Ting , dated 22 March 1997 , Amsterdam Inscribed verso Copy by Vietnamese Artist . Paint again and again at 7 March 2001 AD , Amsterdam. Repainted in 6 August 2000 AD . Repainted in 2 June 2001 AD PROVENANCE

Collection of the artist's close friend, Netherlands (A gift from the artist) ILLUSTRATED

"Trendies" , an interview with the artist Walasse Ting by Irene van de Laar, Dutch television RTL 5, January 7, 2000 This lot is accompanied with a certificate of authenticity issued by Gallery Delaive Amsterdam.

NT$ 650,000 - 950,000 HK$ 161,000 - 236,000 US$ 20,600 - 30,000 RMB 146,000 - 213,000 丁雄泉 臨摹莫迪里亞尼-斜躺的裸女 1997-2001年 壓克力 畫布 85 x 140 cm 簽名題識畫背: Copy by Vietnamese Artist Recreation by Walasse Ting 22 March 1997 Amsterdam Paint again and again at 7 March 2001 AD Amsterdam Repainted again in 6 August 2000 AD Repainted in 2 June 2001 AD 來源

藝術家摯友收藏,荷蘭(得自藝術家贈與) 圖錄

《時尚》節目影片,艾琳.梵德拉爾採訪藝術家丁雄泉,荷蘭電 視台RTL 5,2000年1月7日播出 附阿姆斯特丹德萊夫畫廊開立之原作保證書


050

SHOZO SHIMAMOTO (Japanese, 1928-2013)

Untitled - Venice Biennale (a set of 2)

嶋本昭三 無題-威尼斯雙年展(兩件一組) 1993年

1993 Acrylic on plastic fixed on canvas 15 × 15 cm (each) Signed lower right S.Shimamoto (each)

壓克力 塑膠 畫布

PROVENANCE

Mallet拍賣,東京,2020年9月10日,編號147; 每日拍賣,東京,2020年10月10日,編號655 現有收藏者購自上述來源

Mallet Auction, Tokyo, September 10, 2020, lot 147; Mainichi Auction, Tokyo, October 10, 2020, lot 655 Acquired from the above by the present owner This lot is accompanied with a certificate of authenticity issued by Associazione Shozo Shimamoto and signed by the artist. (Archive ID 1778 & 1782)

NT$ 150,000 - 220,000 HK$ 37,000 - 55,000 US$ 4,700 - 7,000 RMB 34,000 - 49,000 84

15 x 15 cm(每件) 簽名右下:S.Shimamoto(每件) 來源

附嶋本昭三協會開立與藝術家簽名之原作保證書 (編號1778 & 1782)


051

KAZUO SHIRAGA (Japanese, 1924-2008)

Work

白髮一雄 作品 1969年

1969 Ink on Japanese paper 24 x 33 cm Signed lower right Kazuo Shiraga in Japanese

墨 和紙

PROVENANCE

每日拍賣,東京,2022年1月14日,編號426 現有收藏者購自上述來源

Mainichi Auction, Tokyo, January 14, 2022, lot 426 Acquired from the above by the present owner This lot is accompanied with a certificate of authenticity issued by Japan Art Dealer Association.

NT$ 150,000 - 220,000 HK$ 37,000 - 55,000 US$ 4,700 - 7,000 RMB 34,000 - 49,000

24 x 33 cm 簽名右下:白髮一雄 來源

附日本洋畫商協同組合開立鑑定登錄保證書


052

KOHEI NAWA (Japanese, b. 1975)

Untitled

名和晃平 無題 2017年

2017 Acrylic on paper 24.5 x 32 cm

壓克力 紙本

PROVENANCE

SBI拍賣,東京,2018年4月20日,編號274 現有收藏者購自上述來源

SBI Auction, Tokyo, April 20, 2018, lot 274 Acquired from the above by the present owner This lot is accompanied with a certificate of authenticity issued by Nomart, Inc., Osaka and signed by the artist.

NT$ 180,000 - 280,000 HK$ 45,000 - 69,000 US$ 5,700 - 8,900 RMB 40,000 - 63,000

86

24.5 x 32 cm 來源

附Nomart股份有限公司開立之藝術家簽名原作保證書


053

CHIHARU SHIOTA (Japanese, b. 1972)

Body Parts

2019 Watercolor, crayon, thread on paper 40 x 30 cm Initialed lower right CS . EXHIBITED

From the Paper to the Wall, Galerie Templon, Brussels, June 6 - July 26, 2019

NT$ 360,000 - 550,000 HK$ 89,000 - 136,000 US$ 11,400 - 17,400 RMB 81,000 - 123,000 塩田千春 身體部位 2019 水彩 蠟筆 線 紙本 40 x 30 cm 簽名右下:CS . 展覽

「從紙張到牆壁」,坦普隆畫廊, 布魯塞爾,展期2019年6月6日至7月26日


054

AKIHIKO YOSHIDA (NIKICHI) (Japanese, b. 1954)

In the Green Grassland 2021 Wood sculpture 23.5(L) x 20(W) x 9(H) cm Engraved bottom Ni in Japanese and dated 2021 EXHIBITED

Wood sculpture Nikichi, Mitsukoshi Ginza, Tokyo, April 21 - 28, 2021

NT$ 90,000 - 130,000 HK$ 22,000 - 32,000 US$ 2,800 - 4,100 RMB 20,000 - 29,000

88

吉田昭彥( 仁 吉 )

吉田使用北海道的木材創作,他以精細的雕

綠原熊

刻手法使木雕作品呈現如瓷器般空靈輕盈。

2021年 木雕 23.5(長)x 20(寬)x 9(高)cm 簽名刻於底部:仁 2021

通過擬人化,追求在動物身上人類所經歷的 各種情感。仔細觀察其刻畫的動物,可以發 現牠們的眼睛都是閉著的,給人寧靜、虔誠 的安詳感。藝術家還為每件作品創作了一首 優美的詩。

展覽

「木雕 仁吉展」,銀座三越, 東京,展期自2021年4月21日至28

Akihiko Yoshida specifically sources it from trees growing in Hokkaido. It's his deft touch and fine carving that brings out his subjects visually as ethereal and light as porcelain. Through anthropomorphism, it pursues the universality of the emotions experienced by humans in animals. Look carefully at the eyes of the animals. It is closed, giving a sense of serenity, piety and security. He also composes a lovely poem for each work.


055

YOSHIMASA TSUCHIYA (Japanese, b. 1977)

Flower

Wood, pigment 32 (L) × 25 (W) × 73 (H) cm (flower); 35 (L) × 37 (W) × 6.5 (H) cm (base) Signed back of the leaf and pedestal Yoshimasa Tsuchiya in Japanese PROVENANCE

Mallet Auction, Tokyo, December 9, 2021, lot 103 Private collection, Asia Megumi Ogita Gallery has confirmed the authenticity of this work.

NT$ 460,000 - 700,000 HK$ 114,000 - 174,000 US$ 14,500 - 22,100 RMB 103,000 - 157,000 土屋仁 応 花 木雕 顏料 32(長)x 25(寬)x 73(高)cm(花) 35(長)x 37(寬)x 6.5(高)cm(底座) 簽名兩處:土屋仁応 來源

Mallet拍賣,東京,2021年12月9日,編號103 私人收藏,亞洲 Megumi Ogita畫廊已確認此作品的真實性 生物的姿態與靈性始終是土屋的創作軸心,窺探其生活 不難發現除了創作外,最大的興趣即是在自家庭院蒔花 植草。拍品《花》也是藝術家非常少數的花卉雕塑。 The posture and spirituality of creatures have always been the axis of Tsuchiya's creation. It is not difficult to find out that, besides creation, his greatest interest is planting flowers and plants in his own yard. This lot "Flower" are also very few of the artist's flower sculptures.


056

YOSHIMASA TSUCHIYA (Japanese, b. 1977)

Cat

2020 Painted camphor wood, borosilicate glass 25(L) x 16(W) x 40(H) cm Signed bottom Yoshimasa Tsuchiya in Japanese Signed and titled wooden box in Japanese with one seal of the artist

NT$ 950,000 - 1,800,000 HK$ 236,000 - 447,000 US$ 30,000 - 56,900 RMB 213,000 - 404,000 土 屋 仁応 貓 2020年 彩繪樟木 玻璃 25(長)x 16(寬)x 40(高)cm 簽名底部:土屋仁応 簽名鈐印題識木盒:貓 2020 土屋仁応

90


土屋仁応運用日本傳統佛像雕刻技法創作出許多鹿、狐、 貓、犬等動物以及麒麟、獨角獸等神話中的幻獸。栩栩如 生的靈性動物細膩、纖弱但卻透露出一股神秘感,因對於 日本文化中神話傳述的特殊情懷,土屋賦予他的雕塑作品 神祕、優雅的生命靈動。日本傳統佛像為求擬真,使用水 晶安裝在佛像眼部內側的「玉眼」技法也被土屋運用在創 作中。近年來土屋與玻璃藝術家田中福男合作,用獨創的 玻璃珠為動物點睛,賦予其生命力。 Ts u c h i y a u t i l i z e d t r a d i t i o n a l B u d d h a s c u l p t u r e techniques to create animals such as deer, fox, cat, dog and mythical beasts. The almost lifelike spiritual animals are exquisite and delicate, but they reveal a sense of mystery. Through his extraordinary sentiments towards the myths in Japanese culture, Tsuchiya bestows his sculptures with the agility of life, mysterious yet graceful. Tsuchiya used the technique of "Glass eye" which uses crystals installed inside the eyes of the Japan Buddha statues. In recent years, Tsuchiya has collaborated with glass artist Fukuo Tanaka to bring life to sculptures with original glass eyes.

另一側 other side


057

JURGA MARTIN (Lietuva-French, b. 1977)

Tame Me

2021 Bronze, ed. 1/8 21.5 (L) x 26 (W) x 30 (H) cm (left); 11.5 (L) x 11 (W) x 19.5 (H) cm (right) Signed reverse Jurga , number 1/8 and dated 2021 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300 RMB 63,000 - 94,000

92

尤爾嘉.馬賀丹 小王子 2021年 青銅 版次1/8 21.5(長)x 26(寬)x 30(高)cm(左); 11.5(長)x 11(寬)x 19.5(高)cm(右) 簽名背面:Jurga 1/8 2021 附藝術家簽名之原作保證書


058

LIM KAC-KEONG

林克恭

林克恭為板橋林本源家族第六代,為 20 世

Alley

小巷風情

紀前葉唯一遠赴英倫及歐陸學習藝術的台灣

油彩 木板

(Taiwanese, 1901-1992)

Oil on wooden board 32 x 40.5 cm Signed lower left K.K. Lim Signed and titled reverse Alley by K.K.Lim PROVENANCE

Pirvate collection, USA Ravenel Auction, Taipei, June 1, 2014, lot 111 Acquired from the above by the present owner

32 x 40.5 cm 簽名左下:K.K. Lim 簽名題識畫背:

本土畫家,也是首位受邀擔任巴西聖保羅雙 年展評審的華人。本作品《小巷風情》構圖 精緻,光影布局和諧,融合溫暖的歷史鄉土 情懷,值得珍藏。

Alley by K.K.Lim

Lim Kac-keong was a descendant of

來源

the Lim Ben Yuan family, which was a

私人收藏,美國 羅芙奧拍賣,台北, 2014年6月1日,編號111 現有收藏者購自上述來源

respected family in Taiwan. He was the only one who studied art in England and Continental Europe before the 20th century and the first Chinese member of the jury committee in the Sao Paulo

NT$ 160,000 - 240,000 HK$ 40,000 - 60,000 US$ 5,100 - 7,600 RMB 36,000 - 54,000

Biennale. The composition of painting

"Alley" is delicately composed with harmonious lights, creating the warm atmosphere in the work. It is a painting full of historic value to collect.


059

IZUMI AKIYAMA (Japanese, b. 1982)

Still Life XXI

2012 Pencil on paper 162 x 162 cm Initialed reverse AI , titled Still Life XXI in Japanese and dated 2012 PROVENANCE

Kobayashi Gallery, Tokyo Gamo Gallery, Seoul Acquired from the above by the present owner EXHIBITED

Izumi Akiyama Solo Exhibition, Kobayashi Gallery, Art Stage Singapore 2014, Singapore, January 16 - 19, 2014

NT$ 160,000 - 300,000 HK$ 40,000 - 74,000 US$ 5,100 - 9,500 RMB 36,000 - 67,000 94

秋山泉 靜物21 2012年 鉛筆 紙本 162 x 162 cm 簽名題識畫背:2012 靜物 XXI AI 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」,小林畫廊,藝術登陸新加坡博覽會, 新加坡,展期2014年1月16日至19日


060

TZENG YONG-NING (Taiwanese, b. 1978)

Original Rhythm 14 2009 Ballpoint pen on paper 106 x 225.5 cm Signed lower right Tzeng Yong Ning and dated 2009 PROVENANCE

Soka Art, Taipei Acquired from the above by the present owner This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 260,000 - 400,000 HK$ 65,000 - 99,000 US$ 8,200 - 12,700 RMB 58,000 - 90,000

曾雍甯

「原生的律動」是藝術家對於自然環境的觀察

原生的律動14

與關懷,轉化為探尋自身內在精神之系列。畫

2009年 原子筆 紙本 106 x 225.5 cm 簽名右下: Tzeng Yong Ning 2009 來源

中的圓型圖案亦有「原形」之意,藉由延展、 重疊與再生表示社會個體之於母體環境是共生 共存、相互滋長。長形大尺幅畫作是數萬隻原 子筆緩緩刻劃中思量出的哲理,亦是曾雍甯一 路走來對生命認知的成長。 The series "Original Rhythm" is based on

索卡藝術中心,台北 現有收藏者購自上述來源

Tzeng Yong-Ning's observation and concern

附藝術家簽名原作保證書

exploring his inner spirit. The circles in the

for nature, which is transfor med into paintings have the meaning of "originality". By extending, overlapping, and reproducing the circles, the artist wants to portray the importance of humans coexisting with n a t u re . T h ro u g h t e n s o f t h o u s a n d s o f ball-point pens, Tzeng was able to paint t h e c i rc l e s o n t h e l a rg e - s c a l e c a n v a s , representing his personal growth.


061

TAKERU AMANO (Japanese, b. 1977)

Venus

Fiberglass, ed. 4/10 Produced by APPortfolio 47(L) x 92(W) x 120(H) cm Engraved base Takeru Amano This lot is accompanied with a certificate of authenticity issued by APPortfolio, Hong Kong and signed by the artist.

NT$ 260,000 - 400,000 HK$ 65,000 - 99,000 US$ 8,200 - 12,700 RMB 58,000 - 90,000 天野タケル 維納斯 玻璃纖維 版次4/10 發行單位APPortfolio 47(長)x 92(寬)x 120(高)cm 簽名雕刻台座:Takeru Amano 附APPortfolio藝廊開立之藝術家簽名原作保證書

96


062

TAKERU AMANO (Japanese, b. 1977)

Venus 1

天野タケル 維納斯1 2021年

2021 Spray on paper 152 x 114 cm Signed lower right Takeru Amano and dated 21

噴漆 紙本

EXHIBITED

「仲夏的維納斯Takeru Amano個展」, 十方藝術空間,台北,展期自2021年8月4日至24日

Venus in Midsummer-Takeru Amano, Galerie OVO, Taipei, Augest 4 - 24, 2021

NT$ 400,000 - 600,000 HK$ 99,000 - 149,000 US$ 12,700 - 19,000 RMB 90,000 - 135,000

152 x 114 cm 簽名右下:Takeru Amano 21 展覽


063

AI HAIBARA

(Japanese, b. 1981)

Angry

2022 Camphor wood, acrylic paint 11.5(L) x 13(W) x 25(H) cm Signed bottom Ai Haibara and dated 2022 Signed and titled wooden box in Japanese with one seal of the artist PROVENANCE

Nihonbashi Takashimaya, Tokyo Acquired from the above by the present owner EXHIBITED

Message to You, Osaka Takashimaya, Osaka, March 23 - April 4, 2022

NT$ 240,000 - 340,000 HK$ 60,000 - 84,000 US$ 7,600 - 10,800 RMB 54,000 - 76,000 灰原愛 生氣氣 2022年 樟木 壓克力彩 11.5(長)x 13(寬)x 25(高)cm 簽名底座:Ai Haibara 2022 簽名鈐印題識木盒: ぷんすかとしょぼん 灰原愛 來源

日本橋高島屋,東京 現有收藏者購自上述來源 展覽

「傳達給你 : 灰原愛展」, 大阪高島屋,大阪, 展期2022年3月23日至4月4日

98


064

AI HAIBARA

(Japanese, b. 1981)

The Important Things Are Invisible 2021 Camphor wood, acrylic paint 13.3(L) x 15.7(W) x 50(H) cm (with base) Signed back of base Ai Haibara and dated 2021 Signed and titled wooden box in Japanese with one seal of the artist PROVENANCE

Shinjuku Takashimaya, Tokyo Acquired from the above by the present owner EXHIBITED

Rising Triangle, Explore Three Sculptors, Shinjuku Takashimaya, Tokyo, October 20 - November 1, 2021

NT$ 260,000 - 400,000 HK$ 65,000 - 99,000 US$ 8,200 - 12,700 RMB 58,000 - 90,000 灰原愛 珍貴之物是眼睛所看不見的 2021年 樟木 壓克力彩 13.3(長)x 15.7(寬)x 50(高)cm(含底座) 簽名台座背面:Ai Haibara 2021 簽名鈐印題識木盒: 大切なものは目に見えない 灰原愛 來源

新宿高島屋,東京 現有收藏者購自上述來源 展覽

「新興三角 : 探索三位雕刻家」,新宿高島屋, 東京,展期2021年10月20日至11月1日


065

KIRIKO IIDA

(Japanese, b. 1970)

Graden Pond - Grow Plants 2019 Oil on canvas 22 x 27.3 cm Signed reverse Kiriko Iida and dated 2019 This lot is accompanied with a certificate of authenticity issued by Gallery IDF, Aichi and signed by the artist.

NT$ 70,000 - 110,000 HK$ 17,000 - 27,000 US$ 2,200 - 3,500 RMB 16,000 - 25,000

100

飯田桐子 水底之庭—生生不息 2019年 油彩 畫布 22 x 27.3 cm 簽名題識畫背:Kiriko Iida 2019 附IDF畫廊開立之藝術家簽名原作保證書


066

MAYUKA YAMAMOTO (Japanese, b. 1964)

Monster Hand 2013 Oil on canvas 80 × 61 cm Signed reverse Mayuka, titled Monster Hand and dated 2013 EXHIBITED

Hide & Seek A Solo Exhibition Mayuka Yamamoto, Art Projects Gallery, Hong Kong, March 10 - April 3, 2016 This lot is accompanied with a certificate of authenticity issued by Gallery Woo, Busan.

NT$ 500,000 - 750,000 HK$ 124,000 - 186,000 US$ 15,800 - 23,700 RMB 112,000 - 168,000

山本麻友香 怪物手 2013年 油彩 畫布 80 x 61 cm 簽名題識畫背:Monster Hand Mayuka 2013 展覽

「捉迷藏—山本麻友香個展」,藝途畫廊, 香港,展期2016年3月10日至4月3日 附釜山Woo畫廊開立原作保證書


067

YUICHI HIRAKO (Japanese, b. 1982)

In Idleness

2012 Acrylic on canvas 135 x 165 cm Initialed reverse YH ., titled In Idleness and dated 2012 EXHIBITED

The Green Pieces, Gallery Momo, Tokyo, September 1 - 29, 2012 This lot is accompanied with a certificate of authenticity issued by Galleri Christoffer Egelund, Copenhagen.

NT$ 2,000,000 - 3,000,000 HK$ 496,000 - 744,000 US$ 63,300 - 94,900 RMB 448,000 - 673,000 平子雄一 閑散 2012年 壓克力 畫布 135 x 165 cm 簽名題識畫背:YH. In Idleness 2012 展覽

「植物的片段」,Momo畫廊,東京, 展期2012年9月1日至29日 附克里斯托弗.埃格隆德畫廊開立原作保證書

藝術家與拍品合影 The artist standing in front of the painting

102



YUICHI HIRAKO 平子雄一

平 子 雄 一(Yuichi Hirako)1982 年 出 生 於 日 本 岡 山 縣。 整 個

法,將麻繩、舊畫布、枯枝直接黏貼組合在繪畫上,並且自製

青春時期恰逢在日本經濟騰飛和隕落的泡沫經濟大時代下,龐

畫框,這些畫框釘痕外露、接楯不精確、長短不一,令觀眾嗅

大的人類集體文明中,弱小個體的無力感早早深植於他的記憶

到粗糙與原始的野味,而這些粗野,在純熟的創作經驗之下,

之中。隨後前往倫敦溫布頓藝術學院(Wimbledon College of

卻能完全服膺於平子雄一。「樹人」它所表達的,實際上是人

Arts)主修繪畫,於 2006 年畢業,現在工作和居住在日本東京。

類與自然和諧相處之下的一種狀態,所以平子雄一總是讓「樹 人」在畫面裏做著日常卻又閑散的事情。這個角色是不可缺少

在日本文化裡森林中的自然法則承載著神聖的意義,並被視為

的,卻又不是唯一。

萬物皆有靈的聖所。幼時平子雄一的家鄉日本岡山縣,正是為 他提供了一個十分天然的成長環境,周邊佈滿的原始山林讓他

如平子雄一所說,「我只希望他成為世界的角色和一部分。經

得以從小與自然進行頻繁親密的互動。而少年直至成年都處於

常有人問我,他是否是我的象徵。當然,這是事實,但他同時

平成時代(1989-2019)的他,身處被稱為「失落的一代人」。

也是認為觀看的人」。或許就像每個身處這個時代的人,既是

當時日本經濟持續低迷,大國地位漸漸不復存在,再加上自然

親歷者,也是旁觀者。認真又嚴肅地描繪著大量變異的植物造

災害和社會惡性事件頻發,整個世代籠罩在一種不安的情緒中。

型,舊文明被流有野性血液的植物生態狠狠推落,人類凝滴智

前往英國求學時,他觀察到生活在城市中的人們,雖然不具有

慧,所生產的器具與用品統統被摔碎,創造物們歷劫回歸于荒

親近自然的優勢,卻仍然習慣於接近自然,尋求放鬆與療癒。

漠山林,被這個植物霸者所主導的新生態包裹,重生出一個新

比較典型的現像是,會特別喜愛城市中的人造園林景觀,也常

的野蠻大千世界。

常會選擇去山裏度過假期。平子雄一以他自己的方式,將那段 時光中感受到的所有未知和焦慮,以一種全新的慰藉感重現在 畫布上。 在平子雄一的作品中,擬人化的植物,或者說有著植物頭部外 表的人類,生活在廣茂深邃的叢林中。然而他又在作品中引入 了室內裝飾、汽車、家居等明顯的人造主題,並且描繪的擬人 角色有著和人類一樣的生活習慣與社交需求,讓觀眾去逆向思 考,人類與植物之間的關係。敘事性的畫面描述了森林和自然 在歷史和宗教方面的象徵與意義的多樣性。 繪畫中人類無論在室內還是室外都經常與植物生活相處在一起, 有著共用生活的空間。作品《閑散》慣以擬人化的植物——「樹 人」默默的出現在畫裏。主角彷彿是北歐神話中有一棵支撐全 世界的白蠟樹,被稱為世界之樹「Yggdrasil」,也有傳聞說這 是聖誕樹的起源。「樹人」以壓克力媒材繪出最為多變的色彩, 不但一筆一畫形塑出閑散的主題。衣著襯衫樣式的「樹人」形 象,則有城市年輕人如藝術家世代的隱喻。 《閑散》中色彩鮮豔、構圖精巧,線條與用色不拘小節,刻劃 了豐富的元素與細節,背景複雜多變,搭設一個只有「樹人」 的精緻舞臺劇場景。如此的創作的平子雄一有時會利用拼貼技

104

平子雄一 (照片來自於藝術家Facebook) Yuichi Hirako (photo:@Yuichi Hirako)


Yuichi Hirako was born in 1982 in Okayama Prefecture,

In his paintings, no matter whether humans are indoors

Japan. In his youth, he experienced both the rise of the

or outdoors, he often portrays humans sharing the same

Japanese economy and the burst of the economic bubble.

living space with plants. The work "In Idleness" features

These experiences, epic cultural events that he shared

an anthropomorphic plant, "Tree Man." The protagonist is

collectively with other people, imprinted into his memory

similar to Yggdrasil, the sacred ash tree in Norse mythology

the feeling of powerlessness a weak individual suffers. Later

that supports the world. Yggdrasil is also rumored to be

on, he majored in painting at the Wimbledon College of Arts

the origin of the Christmas tree. "Tree Man" was painted in

in London. After graduating in 2006, he began working and

acrylic and shows a range of diverse colors, and each brush

living in Tokyo, Japan.

stroke of the painting conveys a sense of relaxation. The

In Japanese culture, there are holy interpretations around the rules of nature, and forests are often seen as holy

"Tree Man" wears a shirt, a metaphor that young city people are like the artist's generation.

places where every living thing possesses a spirit. Hirako's

"In Idleness" consists of bright colors, intricate composition,

hometown, Okayama Prefecture, provided him with a natural

and unconstrained use of lines and colors to present rich

environment for growth. The primitive forests around him

elements and details. The complex and ever-changing

allowed him frequent and intimate interactions with nature.

background composes an exquisite backdrop for the "Tree

He grew up in the Heisei era (1989–2019), and people

Man." In this work, Hirako employs the collage technique,

of his generation were labeled the Lost Generation. At

directly pasting and arranging hemp ropes, old canvas,

that time, the economy of Japan was weak, and Japan

and dead branches onto the canvas. Additionally, he built

gradually lost its status of being a world leader. Together

the frame for this piece. The frame has exposed nail marks,

with frequent natural disasters and harmful social events,

imprecise connections, and sides of different lengths, in

the entire generation was haunted by a sense of unease.

order to convey a sense of roughness and wild primitivity.

Conversely to his life in Japan, when Hirako studied in the

This roughness and wildness, nevertheless, are tamed by

United Kingdom, he observed that people who lived in the

Hirako's mature creation experiences. What the "Tree Man"

city lacked a physical proximity to nature, yet still had the

expresses is a state under which humans and nature interact

habit of seeking out natural environments for relaxation

harmoniously. Thus, Hirako often depicts the "Tree Man"

and healing. A common sight was to see city residents

conducting everyday, leisure activities in his paintings. This

enjoying manmade gardens in the city and often choosing to

role is indispensable but not unique.

spend the holidays in the mountains. Using his own unique methods in order to comfort himself while in London, Hirako transferred the uncertainty and anxiety he felt onto canvas and into his art.

As Hirako stated, "I only want it to become a role in the world, to become part of the world. People often ask me whether he symbolizes me. That is true, of course, but he is also a person watching from the outside." Perhaps just

In Hirako's work, anthropomorphic plants, or plants with

like everyone in this era, we are all people who experience

human heads, live in deep forests. However, his works still

things, and we are all bystanders. Hirako seriously and

portray objects such as interior decorations, automobiles,

solemnly portrays mutated yet recognizable plants. Old

and home furnishings, which are all clearly manmade. Also,

civilizations are pushed aside by the vegetation with

the anthropomorphic characters appear to have the same

wildness in their veins. The apparatus and supplies people

day-to-day living habits and social needs like humans do,

created in their wisdom are all scattered. All the creations

which makes the viewer reflect on the relationship between

experience adventures and return to an empty forest. In

humans and plants. The narrative images also depict the

this new ecology led by this plant ruler, a wild new world is

diverse symbols and meanings of forests and nature in

reborn.

history and religion.


068

AYAKO ROKKAKU

六角彩子以雙手蘸滿顏料直接繪在畫布或紙版上,充滿

Triple Girl

經歷阿姆斯特丹、柏林的創作時期,現於葡萄牙為創作

(Japanese, b. 1982)

Acrylic on cardboard 36 x 20.5 cm; 45.5 x 24 cm; 80 x 25 cm

溫度的塗鴉精神和鮮豔的色彩使其繪畫風格獨樹一格。 據點的六角,曾於荷蘭、斯洛伐克、倫敦等地舉行大規 模個展。六角的作品被中國寶龍美術館、韓國世華美術 館、日本金澤 21 世紀美術館和荷蘭 Voorlinden 博物館 等機構永久收藏。

PROVENANCE

SBI Auction, Tokyo, April 20, 2018, lot 286 Acquired from the above by the present owner

Ayako Rokkaku paints directly on canvas or paper

This work is accompanied with a photo signed by the artist.

spirit and bright colors make her painting style unique.

NT$ 2,200,000 - 3,400,000 HK$ 546,000 - 844,000 US$ 69,600 - 107,500 RMB 493,000 - 762,000 六角彩子 女孩三重奏 壓克力 紙板 36 x 20.5 cm;45.5 x 24 cm; 80 x 25 cm 來源

SBI拍賣,東京, 2021年4月24日,編號163 現有收藏者購自上述來源 附藝術家簽名照片

106

plates with her hands full of paint. The warm graffiti Having experienced the creative period in Amsterdam and Berlin, Rokkaku is now based in Portugal, and has held solo exhibitions in the Netherlands, Slovakia, London and others. Her works are per manently collected by institutions such as the Powerlong M u s e u m , C h i n a ; S e h w a M u s e u m o f A r t , K o re a ; Kanazawa 21st Century Museum of Contemporary Art, Japan and Museum Voorlinden, Netherland.



069

RAFA MACARRÓN (Spanish, b. 1981)

Diferente mundo 2019 Acrylic and mixed media on canvas 183 x 183 cm Initialed lower right RM, titled Diferente mundo and dated 19 EXHIBITED

Art Shenzhen 2019 , Shenzhen Convention and Exhibition Center, Guangdong, September 12 - 15, 2019 West Bund Art & Design Fair 2019, West Bund Art Center, Shanghai, November 7 - 10, 2019

NT$ 3,600,000 - 5,500,000 HK$ 893,000 - 1,365,000 US$ 113,900 - 173,900 RMB 807,000 - 1,233,000

108

拉法.馬卡龍 異世界 2019年 壓克力 綜合媒材 畫布 183 x 183 cm 簽名題識右下:RM 19 Diferente mundo 展覽

「藝術深圳」,深圳會展中心,廣東, 2019年9月12日至15日 「第六屆西岸藝術與設計博覽會」,西岸藝術中心, 上海,2019年11月7日至10日



RAFA MACARRÓN 拉法.馬卡龍

父母手足的建築師職業,潛移默化中他頗為重視畫面結構。用 變形方式進行人物測試,源自於表現主義的,彷彿創建自己的 角色,每個角色都有各自的靈魂。而這種帶有孤獨色彩的人物, 處在角色自我的空間裡,帶有魔幻超現實的味道,正是馬卡龍 式的小宇宙。 在意志力的堅持下,他的繪畫如同書寫著一本自傳,捕捉人間 的種種情境。有些是自身的寫照,童年的回憶,有些則取材生 活周遭來往人物的縮影。他的群像創作,令人聯想起古典大師 波希(Jheronimus Bosch)與布勒哲爾(Pieter Bruegel),宛 如造型奇特、氣勢宏偉場景的當代版本。 筆下的混和型人物,多年來逐漸地塑造了風格。他們不斷地重 生,訴說著新生命的希望。拉長的或過大比例的頭部,細細的 手足四肢,特別是馬卡羅的人物無論性別都塗著鮮豔的蔻丹。 奇特的姿態,讓人著迷。他回憶此靈感是來自五歲時在巴黎蒙 巴納斯區看見的法國女人,強烈的印象一直烙印在腦海之中, 此後他為所有的人物塗上色彩繽紛的指甲油。手部的表現,確 藝術家照片 Artist photo Courtesy of Ting Ting Art Space.

實是馬卡龍的畫面中最突出的元素。他認為人類最多表情的部 位在於眼和手。當他用表現性技法描繪手部時,手就產生無比 的誘惑力。

拉 法. 馬 卡 龍, 本 名 拉 斐 爾. 馬 卡 龍. 賈 奎 蒂(Rafael Macarrón Jaqueti)。1981 年出生於西班牙馬德里。他的血液

以油畫《異世界》為例,運用紙張拼貼、壓克力彩與各種材料

裡藏有幾世代的藝術基因:父母親都是建築師,也是藝術收藏

組合的方形新綠空間。背景色彩層次豐富、薄塗敷彩象徵著大

家,從小培養拉法欣賞美的事物,以批判的眼光面對作品。高

氣的空靈,表層紋理、人物群像形成深邃的奇幻宇宙。其間空

中畢業後,他開始成為一名職業自行車手。後也曾擔任過復健

間的構造、幻覺的實驗,都有藝術家如遊戲一般地淋漓暢快的

師,學習解剖學,人體構造與運動相關的知識,日後在人物表

揮灑。他建構的多重空間裡,有的如虛構的室內,有的如在泳

現產生意想不到的幫助。2006 年,馬卡龍年 25 歲,決定開始

池、沙灘邊,或是某個不知名的高峰、星球之上,雲朵、雨水、

專心走向藝術家之路。

高塔、長梯、飛行器…等等夢幻的元素。人物、動物都有獨特 個性,彼此間的互動、手勢的傳達、突出眼球的四處張望狀似

在一次採訪中被問及繪畫起源,馬卡龍回答道:「我與西班牙 繪畫有非常直接的關係,我簡直是看普拉多美術館的藝術品長 大的,那是世上最好的美術館。我對於身為西班牙繪畫傳統的

迷惘,顯露著溫柔、天真與企求,馬卡龍以個人的經驗,描繪 出流暢、魔幻且有深度的繪畫空間,不是存在主義者的荒蕪、 悲觀,更多反思、自我檢討式當代性的寓言圖畫。

一分子感到非常自豪。哥雅是世界上最好的畫家,他的暗黑繪 畫一直觸動我的心靈,當然還有委拉斯蓋茲的《宮女》,我覺

拉法.馬卡龍曾經於 2010 年獲得西班牙 BMW 寶馬繪畫獎,

得那是最優秀的作品。但這一切都始於畢卡索。我愛上了他在

2021 年在馬拉加當代藝術中心舉辦了他的首次博物館機構的展

巴黎的作品,在他的博物館裡。我四歲時,從那一刻起,我就

覽。作品為多所基金會與美術館收藏。

沒有停止繪畫。」 110


Rafa Macarrón was born with the birth name Rafael Macarrón

with vibrantly colored nail polish. The depiction of hands is

Jaqueti. Born in Madrid in 1981, Macarrón comes from a

undoubtedly the most eye-catching element in Macarrón's

family of many generations of artists. Both of his parents

paintings. The artist believes that humans express emotions

were architects and art collectors who have taught Macarrón

through their eyes and hands. Hence the hands can be

to appreciate art and look at artworks with a critical eye.

expressively drawn to attract viewers' attention.

Upon high school graduation, he became a professional cyclist. In terms of character expression, Macarrón has greatly benefited from his experience as a physiotherapist and knowledge about anatomy, human physiology and sports. In 2006, the 25-year-old Macarrón decided to become a full-time artist.

Looking at Macarrón's 2019 large oil painting "Diferente

Mundo" as an example, the artist used paper collage, acrylic paint, and other materials to create a square-shaped green space. The richly layered background colors and lightly coated paints symbolized an ethereal atmosphere t h a t c om b i n e d w i t h w e l l - t e x t u re d g ro u p p or t r ai t s t o

In response to an interview question about his art

form a profoundly magical universe. The artist playfully

inspirations, Macarrón answered, "I have had a very direct

experimented with the spatial structure and illusion. Some

relationship with the Spanish painting, I have practically

of the artist's multidimensional spaces resembled fictional

grown up in the Prado Museum, the best art gallery in

rooms, while others look like swimming pools, beaches,

the world. I am very proud to be part of Spanish painting

unknown mountains, and planets with fantastical elements

tradition. Goya's black paintings have always moved me.

such as clouds, rainwater, towers, long stairs, and aircrafts.

Goya is the best painter in the world; and of course Las

The interactions and gestures between unique characters

Meninas by Velázquez, which I consider the best work. But

and animals, and their puzzling eyes expressing tenderness,

it all started with Picasso. I fell in love with his work in Paris,

naivety, and desires are examples of Macarrón's depiction

in his museum. I was four years old and, from that precise

of smooth, magical, yet in-depth paintings from his personal

moment, I haven't stopped drawing. "

experiences. As opposed to the barren pessimism of

His parents and siblings' profession as architects has led him to pay attention to image structure. He tests out characters

existentialism, these thought-provoking and self-reflective contemporary fable paintings are truly precious in our era.

through deformation, creating characters with different souls

Macarrón has won several prizes including the BMW Painting

in an expressionist way. Looking magical and surreal in their

Award in 2010. Macarrón held his first museum exhibition at

own worlds, these lonely characters are exactly what make

the Contemporary Art Center of Malga in March 2021. His

up Macarrón's Universe.

works are collected by several foundations and museums.

Macarrón extracts infor mation from everyday life and puts them into his paintings. Under his willpower, the paintings are a compilation of his autobiography that captures all aspects of life–including self experiences, childhood memories, and daily observations. With unique character styles and an impressive atmosphere, Macarrón's contemporary group portraits are reminiscent of the works by classic art masters Jheronimus Bosch and Pieter Bruegel. The artist created a variety of characters that constantly evolved over the years, finally reaching their unique styles today. Their regeneration demonstrates the hope for new life through elongated or enlarged heads and slim limbs. In particular, Macarrón's characters wear brightly colored nail polish regardless of their genders. The strange postures are truly fascinating. The artist recalls being inspired by a French

拉法 馬卡龍《氟日常(雙聯作)》2019 複合媒材畫布 226.2 x 294 cm, 香港蘇富比 2021秋拍 港幣 4,284,000 成交 Rafa Macarrón, Rutina Fluor (diptych) , 2019, mix media on canvas,

woman he saw in Montparnasse Paris when he was five years

226.2 x 294 cm, Sotheby's Hong Kong 2021 Autumn Auction,

old. The vivid impression has led him to paint all characters

US$ 550,352 sold


070

EDGAR PLANS (Spanish, b. 1977)

Family

2018 Oil on canvas 46 x 55 cm Signed lower right Plans

NT$ 4,000,000 - 6,000,000 HK$ 993,000 - 1,489,000 US$ 126,500 - 189,800 RMB 897,000 - 1,345,000 艾德加.普連斯

「我向來喜歡街頭藝術。潮流藝術。它是一種我認為相當自

家庭

由,像是兒童的創作。而我也希望將它轉譯進自己的繪畫中。」

2018年

-艾德加.普連斯

油彩 畫布

"I've always liked street art. Urban art. It is an art that I

46 x 55 cm 簽名右下:Plans

see very free, just like when children create. And I have wanted to transform it to translate into my paintings." - EDGAR PLANS

艾德加.普連斯《皮特和蒙德里安 III》2020 油彩畫布 55.4 x 46 cm, 香港富藝斯 2022年6月21日 港幣 1,386,000 成交 Edgar Plans, Piet and Mondrian III, 2020, oil on canvas, 55.4 x 46 cm, Phillip's Hong Kong, 21 June 2022, HK$1,386,000 sold

112



EDGAR PLANS 艾德加.普連斯 1977 年出生於西班牙馬德里,艾德加.普連斯蓄著絡腮鬍子,

足球員、廚師、單車手、畫家等等角色,述說一篇篇有趣的小

已經是丈夫、父親,活躍於社群媒體。他的作品頗有童趣,叛

故事,藉以針貶政治時事議題傳遞訴求。

逆的,顫動的線條,有意無意淡淡的幽默令人會心一笑,然細 看微妙的造型與色彩、其中隱然鋪陳的寓意 , 深深打動新世代藏 家的心。過去短短兩三年間,他迅速成為潮流收藏家追逐的明 星標的。翻開普連斯的創作經歷,簡單而不複雜,半是素人半 是學院,按照他的算法,創作歷程應該超過四十年了。跨越國 界的限制,普連斯的作品已有全球多個公共機構收藏。

普連斯喜愛用藝術傳遞正向的思維,除了英雄象徵著力量,他 非常喜愛「夢想」一詞,反覆提點眾人夢想的重要。他說:「努 力才能達到夢想,不要停止夢想,這是生命的本質。」艾德加. 普連斯的藝術,和近期其他的西班牙藝術家:哈維爾.卡勒加 Javier Calleja、拉法.馬卡龍 Rafa Macarrón,近兩年在潮流 藝術收藏圈掀起一股西班牙藝術家旋風,可愛的療癒系風格,

「童年不應該結束,我們要像那些想與眾不同的孩子一樣繼續

擄獲新世代藏家的心,行情節節看漲勢不可擋。藝術市場其實

夢想。」大孩子藝術家艾德加.普連斯 (Edgar Plans) 如是說。

也是個造夢的地方,不要停止夢想,夢想帶我們到遠方。

從他有記憶以來,伸手可及的牆面,就是可以隨意塗鴉的地方, 沒有人會告訴他應該畫甚麼,不要畫甚麼,畫畫是天賦,向來 是自由快樂的事,家人還會給予讚美與支持。小時候,兄弟們 常 跟 在 父 親 身 旁 享 受 天 倫。 他 們 的 父 親 胡 安. 荷 西. 普 連 斯 Juan José Plans (1943-2014),多才多藝,曾任播音員主持人、 記者、導演和科幻小說作家。在低矮的四人案桌上,父親寫字 工作,兄弟分坐兩旁,隨心所欲的塗塗畫畫。打字機噠噠噹的 敲擊聲,總是縈繞在耳際。父親博學多聞的形象,筆下那些幻 想、瘋狂、懸疑、可愛、恐怖等文字想像 , 如魔法般施展力量, 無形中感染了孩子。艾德加 . 普連斯經常在畫裡寫上簡而有力的 文字符號,一方面來自街頭塗鴉文化的啟發,更多是向父親包

Born in Madrid, Spain in 1977, Plans always having a beard, he is now a husband and father who actively participates in social media and art communities. His artworks are often characterized by bold, dynamic outlines that express childlike wonders and subtle humors. A closer look at the fine styles and colors reveals profound implications that are deeply appealing to new-generation collectors. Over the past two to three years, Plans quickly became a key investment target for urban collectors. Half selftaught and half formally-trained, Plans came from a simple,

容孩子的創意夢想致敬。父親巨人般的餘蔭影響,是日後作品 中的情感連結,心中永恆的童年追憶。 生長於南歐,他的繪畫自然帶有溫暖的色彩,主題上根植於過 去的生命經驗,還有他關心的當代議題。他自認十分欣賞街頭 藝術,舉凡塗鴉、漫畫、插畫、動畫電影,潮流當代性的人物 造型,在他的繪畫裡起了關鍵性的影響。巴斯奇亞、奇斯.哈林、 村上隆等前輩的畫風,也是他師法的對象,再融入自傳式的語 彙。他喜愛用一些白色或有色線條勾勒,城市景觀、鄉野風景, 灰撲撲的背景,形成粉蠟筆般的塗鴉質感。2009 年前後,他創 造出一個穿戴頭盔、身穿斗篷的「動物英雄」(Animal Hero) 的人物設定,長著米老鼠般的耳朵、水汪汪的大眼,造型上看 得出漫畫和電影的元素,這個形象後來幾乎成為藝術家的標誌

藝術家照片

代表。透過超級英雄的造型,或化身為飛行員、獸醫、建築師、

Artist photo © Allrights reserved by Edgar Plans/La Nueva España.

114


s t r a i g h t f o r w a rd b a c k g ro u n d i n t h e c re a t i v e i n d u s t r y.

Having grown up in Southern Europe, Plans' paintings

According to his estimation, he has set off on this creative

deliver a natural sense of warmth through themes based

journey for at least forty years.

on his life experiences and issues he cares about. He

Beyond national boundaries, Plans' works have been collected by various public institutions around the world, such as the Havana Museum of Contemporary Art (Museo de Arte Contemporíneo de la Habana, Cuba), the Fine Arts Museum of Asturias (Museo de Bellas Artes de Asturias), Pinacoteca Eduardo Ùrculo Municipal Art Gallery, the General Junta of the Principality of Asturias (Junta General del Principado de Asturias), the Art and Industrial Creation Centre (LABoral Centro de Arte y Creación Industrial), the

has an admiration for street art including graffiti, comics, illustrations, as well as animation movies. His artworks have been critically influenced by the urban contemporary character styles in these works. He also learns by observing the styles of masters like Jean-Michel Basquiat, Keith Haring, Takashi Murakami, and mixing in a blend of his own unique characteristics. Plans like to apply white or colored outlines to urban landscapes and country views on a gray background to form a chalk-like scribbly texture.

La Caixa Foundation of Barcelona (Fundación La Caixa), and

Around 2009, Plans created "Animal Hero", a character with

the Mar?a Cristina Masaveu Peterson Foundation (Fundación

Mickey Mouse-like ears and big eyes in a helmet and cape.

Cristina Peterson) in Madrid.

The stylish elements from comics and movies have made this

As a "big kid" and artist, Edgar Plans believes that "childhood should never end because we should keep pursuing our dreams like a child." (La infancia nunca se debe acabar, siempre temenos que seguir soñando como aquellos niños que quieren ser alguien especial). For as long as Plans

figure one of the artist's most iconic signatures. By telling interesting little stories as a superhero or in the disguise of a pilot, veterinarian, architect, soccer player, chef, cyclist, or painter, this character makes an appeal about politics and current events.

could remember, he had doodled on walls in creative ways

Plans likes to convey positive thinking through art. Other

without anyone telling him what to draw or not. Painting is

than using heroes as a symbol of power, he is also very

a boundless and joyful talent that should be admired and

passionate about "dreams." He repeatedly emphasizes the

supported by the family.

importance of dreams to everyone. Like he said, "Dreams

The Plans brothers grew up around their father Juan José Plans (1943-2014), a very talented man who wore the hats of a broadcasting host, reporter, director, and science fiction writer. Whenever their father worked at a low 4-seater table, the Plans brothers would sit beside him and doodle unrestrainedly as the clickety-clack of the typewriter echoed in the atmosphere. The boys were unconsciously influenced by their knowledgeable father's magical stories of fantasy, wackiness, suspense, delight, and horror. Plans often incorporates simple yet powerful text symbols in his paintings, which are not only inspirations from the street graffiti culture, but also a tribute to his father for supporting his creative dreams. The all-encompassing support from his father was a source of emotional attachment and everlasting childhood memories that Plans went on to express in his works.

can only be achieved through hard work. Never stop dreaming because it is the essence of life."Over the past couple of years, Plans' artworks have swirled through the urban art collectors' community alongside other Spanish artists like Javier Calleja and Rafa Macarrón. The adorable and healing styles are very appealing to new- generation collectors as the bidding prices continue to rise. The art market is a place for dream makers. Never stop dreaming.


071

MATÍAS SÁNCHEZ (German, b. 1972)

Un dia de campo 2016 Oil on canvas 97 x 130 cm Signed lower left with one painted seal of the artist Signed Matías Sánchez , titled Un dia de campo , inscribed 97x130cm Sevilla and dated 2016

馬蒂亞斯.桑切斯 野餐日 2016年 油彩 畫布 97 x 130 cm 手繪鈐印左下:MS 簽名題識畫背:Matías Sánchez Un dia de campo 2016 97x130cm Sevilla

NT$ 900,000 - 1,400,000 HK$ 223,000 - 347,000 US$ 28,500 - 44,300 RMB 202,000 - 314,000 馬蒂亞斯 • 桑切斯為 1972 年出生於德國圖賓

Bor n in 1972 in Tübingen, Ger many, Matías Sánchez is an artist

根(Tübingen)的藝術家,現定居於西班牙塞

currently living in Seville, Spain. As a self-taught artist, he explores the

維亞。作為自學而成的藝術家,他探索不同創作

commonalities associated with different creative fields, such as literature,

領域,如同文學、音樂、與藝術之間相關聯的

music, and art, regarding it as a challenge to his creative process.

共通性,並視為對創作過程的挑戰。桑切斯大

Sánchez has extensively researched the works of art masters, such as

量研究前輩藝術大師,例如柯洛、莫內、畢卡

Corot, Monet, Picasso, Rothko, and de Kooning, to unearth the changes

索、羅斯科、德庫寧等人的作品,從中發掘藝

throughout art history. "They understood how art is a language and used

術歷史的變化。「他們瞭解藝術如同一門語言,

it well," says Matías Sánchez.

並且將它運用自如」– 馬蒂亞斯 • 桑切斯

Sánchez's creative style is dominantly illustrative with strong lines and

桑切斯帶有插畫特色的創作風格,線條筆觸強

strokes. Like woolen balls drawn by crayons, blocks of color build the

烈。像蠟筆塗鴉出來的毛線團,一塊塊色塊搭

stage of the story, waiting for the protagonists to perform. In Sánchez's

建起故事的舞台,等待主角們上場演出。桑切

non-perspective compositions, the layouts of the abstract paintings

斯非透視的構圖,抽象畫的佈局分散觀者單一

distract viewers from a single visual focus, instead focusing on the

視覺焦點,著重於整體氛圍提供的感受。桑切

sentiments provided by the overall ambiance.Every piece of Sánchez's

斯的每件作品,如同他將自己的心境視覺化:

work is like a visualization of his state of mind: wild, detailed, ravishing,

狂野、細緻、華麗、怪誕、幽默。就像寓言故

grotesque, and humorous. Just like a fable, they are filled with fantastical

事的寫真,充滿奇幻古怪的想像。作品之間關

and bizarre imaginations. His works are intricately linked, and the stories

連性極高,畫中故事似乎都發生在郊外的黑森

in his paintings all seem to take place in the outskirts of the Black Forest.

林。老鼠、巫婆、骷顱頭、雪人、小丑等元素,

Figures, such as mice, witches, skulls, snowmen, and clowns, are often

角色通常都帶著誇張詭異的神情,蓄著大鬍或是

depicted with exaggerated and weird expressions, toting big beards or

香腸般的大鼻子。搭配敘事感開放的作品題名,

big sausage-like noses. The titles of his works harbor an open narrative,

刺激著觀者的想像力,進入他創造的奇幻世界。

stimulating the viewers' imagination to enter his created world of fantasy.

116



072

NIKKI

(American, b. 1996)

Memories of 5 Years Old 2021 Mixed media on canvas mounted on board 111 x 111 cm Signed reverse NIKKI This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 600,000 - 900,000 HK$ 149,000 - 223,000 US$ 19,000 - 28,500 RMB 135,000 - 202,000

118

N I KKI 五歲的回憶 2021年 綜合媒材 畫布 裱於木板 111 x 111 cm 簽名題識畫背:NIKKI 附藝術家簽名原作保證書於畫背


073

NIKKI

(American, b. 1996)

Your Eyes Only Starlight Children Red 2022 Mixed media on canvas mounted on board 120 x 120 cm Signed reverse NIKKI This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 750,000 - 1,100,000 HK$ 186,000 - 273,000 US$ 23,700 - 34,800 RMB 168,000 - 247,000

N I KKI 只有你的眼睛閃耀赤子星輝 2022年 綜合媒材 畫布 裱於木板 120 x 120 cm 簽名題識畫背:NIKKI 附藝術家簽名原作保證書於畫背


074

JORDY KERWICK

喬迪.科維克於 1982 年出生於澳洲,現在定居於法國阿爾比。

Monster

最早以簡化物品造型的抽象化構圖,開始他的藝術創作。受到

(Australian, b. 1982)

2018 Mixed media and collage on canvas 75 x 59 cm Signed reverse Jordy and dated 2018

NT$ 800,000 - 1,200,000 HK$ 199,000 - 298,000 US$ 25,300 - 38,000 RMB 179,000 - 269,000

科維克是一位自學成才的畫家。他受到野獸派大師馬蒂斯啟發, 現代藝術靜物畫的影響,科維克在當代的佈局中重新再現熟悉 的家庭溫暖感。他的複合媒材使用由大量油彩、噴漆、拼貼所 組成,同時包含素描元素。日常物件圖像的參考如:檯燈、植 物和地毯與意象強烈的動物圖像融合一起。大膽的色彩組合和 加粗輪廓線,巧妙取代了畫面景深。科維克曾在雪梨、紐約、 舊金山、洛杉磯、倫敦、巴黎、哥本哈根、科隆、漢堡、東京 和香港展出,他的作品也被世界各地的收藏家收藏。 Jordy Kerwick is a self-taught Australian painter who lives and works in Albi, France. He was inspired by the French Fauvist Master Henri Matisse, simplifying the form of the

喬迪.科維克

object to compose the abstract painting in his early creation.

怪獸

Being influenced by depictions of still life in modern art,

2018年

he is recreating the familiar feeling of domestic warmth

綜合媒材 拼貼 畫布

in a contemporary setting. His mixed media approach

75 x 59 cm

consists of the heightened use of oil brushstrokes, spray-

簽名畫背:Jordy 2018

paint and collage, while including elements of sketching. His pictorial references of common objects, such as lamps, plants and rugs are fused with the intense energy of his patterned animals. What is intentionally omitted in depth, is cleverly replaced by bold color combinations and thick outlines. Kerwick has exhibited in Sydney, New York, San Francisco, Los Angeles, London, Paris, Copenhagen, Cologne, Hamburg and Tokyo. His works are also included in collections all around the world.

120



075

BLIC (BLIC PINAS) (Filipino, b. 1985)

Swimming

波利克.皮 納 斯

波 利 克 是 菲 律 賓 街 頭 藝 術 先 鋒 團 體「 菲 律 賓 街

游泳

頭 計 劃 」 的 成 員, 也 是 街 頭 塗 鴉 集 團「CVTY

2021年

2021 Acrylic on canvas 91 x 91 cm Signed lower right BLIC

壓克力 畫布

EXHIBITED

「AHAF 2022 藝術博覽會」, 國泰萬怡酒店,台北, 展期2022年4月30日至5月1日

AHAF TAIPEI 2022, Courtyard by Marriott Taipei Downtown, Taipei, April 30 - May 1, 2022

NT$ 240,000 - 360,000 HK$ 60,000 - 89,000 US$ 7,600 - 11,400 RMB 54,000 - 81,000

122

91 x 91 cm 簽名右下:BLIC

Collective」創始成員。藝術家名字波利克取材於英 文字「public (公眾)」代表藝術家本身也是公眾 的一份子。波利克以創作的作品「人類手部」聞名: 作品雖以日常街景及必需品等為主題,卻利用擬人化 的手取代角色的臉,使作品擁有超現實的意涵。

展覽

BLIC is founding member of CVTY Collective, and member of the pioneering street art collective Pilipinas Street Plan. His name BLIC came from the word "public", which conveys that the artist himself is part of the public. BLIC is known for "Humand hands", personified hands that replace faces of characters; the artworks are mainly related to daily scenes and necessities but demonstrates a deeper surreal meaning.


076

LAKSAMANA RYO (RYOL) (Indonesian, b. 1993)

Flower Shot

拉薩馬納.利歐 手機拍花 2022年

2022 Spray paint on canvas 119.5 x 119.5 cm Signed lower left RYOL and dated 22

噴繪 畫布

EXHIBITED

「AHAF 2022 藝術博覽會」,國泰萬怡酒店, 台北,展期2022年4月30日至5月1日

AHAF TAIPEI 2022, Courtyard by Marriott Taipei Downtown, Taipei, April 30 - May 1, 2022

NT$ 420,000 - 650,000 HK$ 104,000 - 161,000 US$ 13,300 - 20,600 RMB 94,000 - 146,000

119.5 x 119.5 cm 簽名左下:RYOL 22 展覽


077

THIERRY NOIR (French, b. 1958)

Manifest Fast Form Blue Red and White 2016 Acrylic on canvas 40 x 30 cm Signed lower left Noir Signed reverse Thierry Noir , titled Manifest Fast form Blue Red and White and inscribed 15,03,2016 TN-00748

NT$ 160,000 - 260,000 HK$ 40,000 - 65,000 US$ 5,100 - 8,200 RMB 36,000 - 58,000

蒂埃里.諾 爾

1980 年代諾爾在柏林圍牆上繪製了明亮的大型壁畫而聲名大

快閃紅白藍

噪,當時諾爾的藝術作為一種抗議形式有力地推動 1989 年柏

2016年 壓克力 畫布 40 x 30 cm 簽名左下:Noir 簽名題識畫背:Thierry Noir Manifest Fast form Blue Red and White 15,03,2016 TN-00748

林牆的倒塌。諾爾的功績和極具特色的視覺語言不僅可見於藝 術作品,在 1987 年的德國電影《慾望之翼》和 U2 的專輯封 面等流行文化中也能看到其活躍發表。諾爾的作品被國際藏家 收藏,包括柏林的盟軍博物館、華盛頓的新聞博物館、俄亥俄 州代頓的美國空軍國家博物館、洛杉磯的文德博物館等。 Thierry Noir is inter nationally renowned for illegally covering huge spans of the Berlin Wall with bright murals in 1980s as a form of protest through art in order to help bring about the Wall's eventual fall in 1989. Noir's exploits and highly distinctive visual language have become world famous and immortalized in popular culture such as 1987's film "Wings of Desire" and the cover of U2's album. Noir's artworks are part of permanent museum collections, including at the Allied Museum in Berlin, the Newseum in Washington, D.C., the National Museum of the United States Air Force in Dayton, Ohio, the Wende Museum in Los Angeles.

124


078

EDDIE MARTINEZ (American, b. 1977)

Blockhead Lamp 2020 Stained glass, patinated bronze, LED light and mixed media, ed. 97/100 17(L) x 17(W) x 17(H) cm; 28(L) x 28(W) x 26(H) cm (box) Signed bottom Martinez and numbered 097/100 This lot is accompanied with a certificate of authenticity by AllRightsReserved, Hong Kong; with original product box.

NT$ 460,000 - 700,000 HK$ 114,000 - 174,000 US$ 14,500 - 22,100 RMB 103,000 - 157,000

艾迪.馬丁內斯 方塊頭燈 2020年 彩色玻璃 古銅 發光二極體 複合媒材 版次97/100 17(長)x 17(寬)x 17(高)cm; 28(長)x 28(寬)x 26(高)cm(原裝盒) 簽名台座底部:Martinez 097/100 附AllRightsReserved開立之原作保證書及原裝盒


079

NICK VEASEY (British, b. 1962)

Dahlia Pablo B 2014 Chromogenic print, dibonded and mounted to aluminium, ed. 1/20 84 x 84 cm Initialed lower right NV and numbered 1/20 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 130,000 - 200,000 HK$ 32,000 - 50,000 US$ 4,100 - 6,300 RMB 29,000 - 45,000

126

尼克.維西

英國攝影藝術家,利用 X 光影像進行創作,呈現各式

大麗花.巴布羅B

肉眼觀看時不易注意到的藝術內部細節。曾為廣告圈

2014年 C型顯色印刷 裱於鋁塑版 版次1/20 84 x 84 cm 簽名右下:NV 1/20 附藝術家簽名原作保證書

的一員,以商業設計活躍於國際舞台。2009 年起, 從倫敦跨向國際,陸續於歐洲、亞洲及北美洲展出個 展。2017 年,受倫敦的維多利亞和艾伯特博物館之 邀,為巴黎世家 Balenciaga 品牌的經典高級訂製組, 進行了一系列的創作。 Nick Veasey is the British photographer who create art with X-ray images to present details of beauty that aren't easily noticeable. He used to work in the advertising industry as an active figure in the commercial design field internationally. Since 2009, he has exhibited in Europe, Asia and North America. In 2017, the artist was invited by the Victoria and Albert Museum in London, to create a series of work for the Balenciaga's customized high-end fashion classics.


080

BRYAN IDA

(American, b. 1963)

Mid City

2014 Acrylic on panel 91.5 x 91.5 cm Signed reverse Bryan Ida , titled Mid-City , inscribed WLA and dated 2014 EXHIBITED

Bryan Ida Solo Exhibition - Floating California, Bluerider ART, Taipei, June 15 - July 30, 2014 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 220,000 - 340,000 HK$ 55,000 - 84,000 US$ 7,000 - 10,800 RMB 49,000 - 76,000

布萊恩.伊達

布萊恩.伊達曾多次於美國知名博物館及美術

中城

館 舉 辦 展 覽, 包 含 蘭 開 斯 特 藝 術 與 歷 史 博 物

2014年 壓克力 木板 91.5 x 91.5 cm 簽名題識畫背: Bryan Ida Mid-City

館、河濱市美術館、托倫斯藝術博物館、長灘 美術館、洛杉磯當代藝術美術館等。《中城》 以鳥瞰角度將洛杉磯城市變成放射狀同心圓的 景觀,漂浮的色塊增添無重力感,提供另一種 空間觀看的視角。

WLA 2014

Bryan Ida has participated in multiple

展覽

exhibitions in The U.S., including Lancaster

「漂浮加州- 布萊恩.伊達個展」, 藍騎士藝術空間,台北, 展期2014年6月15日 至7月30日

Museum of Art and History, Riverside Art

附藝術家簽名原作保證書

City into a landscape with radial concentric

Museum, Torrance Art Museum, Long Beach Museum of Art, Museum of Contemporary Art LA, etc."Mid City" was painted from a bird's-eye view, transforming Los Angeles circles. The floating color blocks created a sense of weightlessness, providing the audience another perspective to view the space.


081

RINE BOYER (American, b. 1982)

Teaching

凌.波兒

芝加哥藝術家凌.波兒以簡約的輪廓線勾勒人

循循善誘

物形貌,並運用重複的圖案來敘述畫中人物的

2016年

個性。藝術家將日常生活中的人物與文化、個 人特色和群體動態聯繫起來,成為她獨特而顯

2016 Acrylic on canvas 76 x 59.5 cm

壓克力 畫布

EXHIBITED

「之間-凌.波兒個展」, 藍騎士藝術空間,台北, 展期2017年3月14日至5月6日

Chicago artist Rine Boyer was bor n in

附藝術家簽名原作保證書

College, Rine Boyer moved to Chicago,

Between: Rine Boyer, Bluerider ART, Taipei, March 14 - May 6, 2017 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 120,000 - 180,000 HK$ 30,000 - 45,000 US$ 3,800 - 5,700 RMB 27,000 - 40,000

76 x 59.5 cm

著的藝術風格。藝術家的作品曾在羅克福德美 術館獲得榮譽獎。

展覽

1982 and grew up in Buffalo, New York. After receiving her B.A. degree from Reed where she was represented by Elephant Room Gallery and had a studio at the Zhou B Art Center. She links the daily figures to the underlying themes of culture, personal traits, and group dynamics, which has become her unique and notable style of art. Rine's work received an honorable m e n t i o n a t t h e R o c k f o rd M i d w e s t e r n juried exhibition held at the Rockford Art

128

Museum.


082

RINE BOYER (American, b. 1982)

Ryan & Lewis

凌.波兒

《循循善誘》系列作以「之間」為題,藝術家

萊恩與路易斯

首度將主題聚焦於「關係」的探索,透過家人、

2014年

情人與寵物和主人之間的溫馨互動描繪出情感 的牽絆。《萊恩與路易斯》作品中,波兒承繼

2014 Acrylic on canvas 91 x 122 cm Signed lower center Rine

壓克力 畫布

EXHIBITED

「那個年代-凌.波兒個展」, 藍騎士藝術空間,台北, 展期2015年3月10日至4月11日

on the topic "Between", which is her first

附藝術家簽名原作保證書

In the series of "Ryan & Lewis" , the artist

Reclaimed, Bluerider ART, Taipei, March 10 - April 11, 2015 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 260,000 - 400,000 HK$ 65,000 - 99,000 US$ 8,200 - 12,700 RMB 58,000 - 90,000

91 x 122 cm 簽名中下:Rine

一貫的知性情懷,描繪正要去參加藝文活動的 人物或者藝文場域中的社交場景,特別強調文 藝界青年們對於復古物件的懷舊情感。

展覽

The series of "Teaching" is created based time focusing on the idea of relationships. persists in her hipster spirit, depicting people's behavior in cultural activities and emphasizing the nostalgia for vintage objects.


083

SUPAKITCH (French, b. 1978)

The Crescent Sky 2015 Acrylic on canvas 116 x 90 cm Signed lower right SupaKitch and dated 2015

NT$ 500,000 - 750,000 HK$ 124,000 - 186,000 US$ 15,800 - 23,700 RMB 112,000 - 168,000

市霸奇奇 新月星空 2015年 壓克力 畫布 116 x 90 cm 簽名右下: SupaKitch 2015

法 國 當 代 藝 術 家 SupaKitch, 以 法 文 Super( 超 級 ) & 德 文 Kitsch(艷俗)二字結合自創藝名。SupaKitch 的創作語彙,顛 覆傳統塗鴉的印象。從噴漆隨性到花體字型流暢,他交錯運用不 同媒材,精湛風格從眾脫穎而出,關注從街頭延伸到主流美術界, 深受私人藏家的喜愛。隨次文化意識普及,2009 年他開始接觸 「刺青」文化,這項早期被視為反社會主流,歷史淵遠的技藝。 French contemporary artist SupaKitch made up his own artist's pseudonym by combining two words,the word for super in French (Super) and the word for gaudy in German (Kitsch).SupaKitch's creative language subverts the impression of traditional street graffiti. He uses spray paint and copperplate writing skill juxtaposing different material on the canvas.His exceptional style stands out and draws attention of audience from street art to the mainstream fine art,becoming one of the icon choices by private collectors. As subculture awareness became wide-spread,in 2009 he began approaching the tattoo culture,an artistry with a long history which was considered anti-mainstream in the early years.

130


084

CANE (RICCARDO NANNINI)

甘蔗( 里 卡 多 . 南 尼 尼 )

甘蔗的作品描繪了五彩繽紛的風景,各

生日派對

種象徵物件佈滿畫面。美夢與夢饜在藝

(Italian, b. 1980)

2022年

A Birthday Party 2022 Acrylic on canvas 114 x 195 cm Signed reverse Cane , titled A Birthday Party, inscribed Barcelona and dated 2022

NT$ 480,000 - 700,000 HK$ 119,000 - 174,000 US$ 15,200 - 22,100 RMB 108,000 - 157,000

壓克力 畫布 114 x 195 cm 簽名題識畫背:Cane A Birthday Party Barcelona 2022

術家的幽默感下凝聚在一起,每個場景 都講述了一則故事,乍看荒誕卻寓意深 遠,但其主題和提問卻吸引了觀者的注 意力。藝術家曾於義大利、法國、德國、 奧地利、美國、韓國和台灣展出。 Cane's works depict colorful landscapes, where symboles of all sorts proliferate. Dreams and nightmares cohabit, united by the artist humor whose drawings are imbibed Each scene tells a story, which can seem derisory at first sight, but whose subjects and problematics have attracted the attention. Cane has exhibited in Italy, France, Germany, Austria, the United States, Korea and Taiwan.


085

SOL FELPETO (Venezuelan, b. 1990)

Teenage Mutant Ninja Cats 2021 Acrylic on canvas 97 x 97 cm Signed lower right Sol Felpeto and dated '21 Signed reverse, inscribed Madrid and dated '21

NT$ 240,000 - 360,000 HK$ 60,000 - 89,000 US$ 7,600 - 11,400 RMB 54,000 - 81,000

索兒 . 費 佩 托

索兒.費佩托的創作旨在將藝術轉譯為動

貓咪忍者龜

人的事物,將已知事物與新事物之間建立

2021年 壓克力 畫布 97 x 97 cm 簽名右下:Sol Felpeto '21 簽名題識畫背:Madrid '21

聯繫以創造情感。過程涉及對參考文獻的 深入研究,與個人經驗的交流。以動物作 為主要角色重塑歷史,為觀眾帶來驚喜, 尋求互動和提高意識。 Sol Felpeto seeks to translate art into something immediately catchy, making a connection between known a n d n e w t o c re a t e e m o t i o n s . H e r creative process parts on a deep study of references in order to overlap her personal universe so that she can rewrite history with animals as main characters, surprising audiences and looking for interaction and raising awareness.

132


086

NATHAN PADDISON (Australian, b. 1983)

Eye Did Ant Eve Anne No Eve Spar Cool 2022 Oil stick, acrylic, spray paint, charcoal on canvas 123 x 112 cm Signed lower right Paddison Signed reverse Nathan Paddison , titled Eye Did Ant Eve Spar Cool and dated XXII This lot is accompanied with a certificate of authenticity.

NT$ 260,000 - 400,000 HK$ 65,000 - 99,000 US$ 8,200 - 12,700 RMB 58,000 - 90,000

內森. 帕 迪 森

內森.帕迪森是天賦自學的藝術家。作品

眼兒酷酷閃亮亮

使 用 多 重 媒 材, 如 壓 克 力、 炭 筆、麥克

2022年 油畫棒 壓克力 噴漆 炭筆 畫布 123 x 112 cm 簽名右下:Paddison 簽名題識畫背:

筆、墨水、粉彩和拼貼。他的藝術同時是 原始且感官的。部分作品則具有諷刺意 味,並且傳達了強烈的社會、政治信息。 其他系列則反映其童年回憶,並展示出 有趣嬉鬧和樂觀的感受。

Eye Did Ant Eve Anne

Nathan Paddison is a self-taught

No Spar Cool XXII Nathan

artist. His works in a variety of media,

Paddison

including acrylics, charcoal, marker, ink,

附原作保證書

pastel and collage. Nathan's art can be raw and confront your senses. Some of Nathan's work is ironic and delivers strong social and political messages. O t h e r w o r k s re f l e c t o n c h i l d h o o d me mo ri es a n d co nv ey a pa la table sense of playfulness and optimism.


087

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

Stay Steady

KAWS ( 布 萊 恩 . 唐 納 利 ) 保持穩定 2015年

2015 Silkscreen, ed. AP16/50 74 x 85 cm Signed lower right KAWS and dated 15 Numbered lower left AP 16/50

絲網印刷 版次AP16/50

PROVENANCE

卡麥克爾畫廊,紐約 現有收藏者購自上述來源

Carmichael Gallery LLC, New York Acquired from the above by the present owner

NT$ 380,000 - 550,000 HK$ 94,000 - 136,000 US$ 12,000 - 17,400 RMB 85,000 - 123,000

134

74 x 85 cm 簽名右下:KAWS 15 版次左下:AP 16/50 來源


088

JISBAR (JEAN-BAPTISTE LAUNAY)

吉斯巴

吉斯巴以街頭藝術風格重新詮釋古典藝術

湯姆與傑利、藍色蒙娜

傑作如蒙娜麗莎、安迪.沃荷而聞名於世。

(French, b. 1989)

2022年

Tom & Jerry Blue Mona 2022 Mixed media on canvas 146 x 114 cm Signed reverse Jisbar , titled Tom & Jerry Blue Mona, inscribed 1871881 and dated 2022 EXHIBITED

GQ Style Fest, Nangang International Exhibition Center, Taipei, August 13, 2022

NT$ 380,000 - 600,000 HK$ 94,000 - 149,000 US$ 12,000 - 19,000 RMB 85,000 - 135,000

綜合媒材 畫布 146 x 114 cm 簽名題識畫背: Jisbar Tom & Jerry Blue Mona 1871881 2022 展覽

「GQ潮流文化祭」, 南港展覽館,台北, 展期2022年8月13日

他 與 BMW、Armani 與 LG 等 品 牌 合 作, 為品牌形象注入了令人興奮的新元素。吉 斯巴的作品在許多國際畫廊展出,如舊金 山、黃金海岸、台北、威尼斯、巴黎和倫敦。 Jisbar is famous worldwide for being the first ever artist to reinterpret classical art masterpiece figures such as Mona Lisa or Warhol with his personal style of pop and street art. This striking blend of influences shaped a clear and unique identity that inspires a lot of artists and brands such as BMW, Armani, LG across the world today. Jisbar's work is shown in many galleries all over the world such as San Francisco, Gold Coast, Taipei, Venice, Paris and London.


089

GEMMA HOLZER (American, b. 1996)

Goodbye

吉瑪.霍爾澤

霍爾澤的作品圍繞著一個胎兒型角色「粉紅

再見

男孩」展開,目的是將觀眾帶入一個虛構的

2021年

2021 Acrylic, oil on canvas 140 x 105 cm Signed reverse Gemma Holzer, titled Goodbye and dated 2021

壓克力 油彩 畫布

EXHIBITED

「台南藝術博覽會2022」, 晶英酒店,台南, 展期至2022年3月11日至13日 「新竹藝術博覽會2022」, 國賓大飯店,新竹, 展期至2022年6月11日至12日

Art Tainan 2022, Silks Place, Tainan, March 11 - 13, 2022 Art Hsinchu 2022, Ambassador, Hsinchu, June 11 - 12, 2022

NT$ 260,000 - 380,000 HK$ 65,000 - 94,000 US$ 8,200 - 12,000 RMB 58,000 - 85,000 136

140 x 105 cm 簽名題識畫背: Gemma Holzer Goodbye 2021 展覽

世界以逃避面對現實。 迄今為止,她的作品 已在世界各地的群展和個展中展出,包含紐 約、洛杉磯、舊金山、荷蘭,台灣等地。 Holzer's work revolves around a fetuslike character named "PinkBoy". The paintings are an escape from existence; the intention being to take the viewer into a make-believe virtual world. Holzer's work has been shown all over the world in both group and solo exhibitions, reaching cities including New York, Los Angeles, San Francisco, Netherlands and Taiwan.


090

MOISÉS YAGÜES (Spanish, b. 1972)

You Returned to Flower 2021 Acrylic embroidery on canvas 116 x 89 cm Signed lower right Yagües and dated 2021 Titled lower left Y Volviste A Florecer Signed reverse Moisés Yagües and dated 2021 EXHIBITED

ART SOLO 2022, EXPO Dome, Taipei, April 15 - 17, 2022

NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300 RMB 63,000 - 94,000

莫伊

莫伊的作品曾在美國、中國、德國、斯洛

你回到了花叢中

維尼亞、西班牙等國際重要畫廊和美術館

2021年

展出,並獲得多個獎項。莫伊喜歡在作品

壓克力 刺繡 畫布

中講述他想像中的小故事,經常以圓頭人

116 x 89 cm

物為題材。他的作品為觀眾打開了新的幽

簽名右下:Yagües 2021 題識左下:Y Volviste A Florecer 簽名題識畫背:Moisés Yagües 2021

默世界,充滿了幻想和色彩。 Moisés Yagües has exhibited his work in numerous key galleries and museums

展覽

a ro u n d t h e w o r l d l i k e t h e U n i t e d

「ART SOLO 2022」, 花博爭艷館,台北, 展期至2022年4月15日至17日

S t a t e s , C h i n a , G e r m a n y, S l o v e n i a , Spain. He also has received several awards. Moisés Yagües tries to express his imaginary world, he often repeats the shape of the head. The works have many meanings and it is the spectator who contributes a different look that enriches or impoverishes the meaning with his valuation.


091

KENZ

(Thai, b. 1995)

Sunshine

Ke n z 日光幸福 2021年

2021 Acrylic on canvas 75 x 60 cm Signed reverse Kenz , inscribed Speak Soon and dated 2021

壓克力 畫布

PROVENANCE

YOD Editions,大阪

YOD Editions, Osaka EXHIBITED

Super Still Life , YOD Editions, Osaka, November 29 - December 17, 2021 This lot is accompanied with a certificate of authenticity issued by YOD Editions, Osaka.

NT$ 110,000 - 170,000 HK$ 27,000 - 42,000 US$ 3,500 - 5,400 RMB 25,000 - 38,000 138

75 x 60 cm 簽名題識畫背:Kenz Speak Soon 2021 來源

展覽

「超靜物」,YOD Editions,大阪, 展期2021年11月29日至12月17日 附YOD Editions開立之原作保證書


092

KENZ

(Thai, b. 1995)

Speak Soon

Ke n z 下次再聊 2021年

2021 Acrylic on canvas 75 x 60 cm Signed reverse Kenz , titled Speak Soon and dated 2021

壓克力 畫布

PROVENANCE

YOD Editions,大阪

YOD Editions, Osaka EXHIBITED

Super Still Life , YOD Editions, Osaka, November 29 - December 17, 2021 This lot is accompanied with a certificate of authenticity issued by YOD Editions, Osaka.

NT$ 110,000 - 170,000 HK$ 27,000 - 42,000 US$ 3,500 - 5,400 RMB 25,000 - 38,000

75 x 60 cm 簽名題識畫背:Kenz Speak Soon 2021 來源

展覽

「超靜物」,YOD Editions,大阪, 展期2021年11月29日至12月17日 附YOD Editions開立之原作保證書


093

AYAÏRO

曽根田絢香

Shadow Tag

2021年

(Japanese, b. 1991)

踩影遊戲

2021 Acrylic on canvas 116 x 80 cm Signed reverse Ayaïro , titled Shadow Tag and dated 2021

壓克力 畫布

EXHIBITED

「來自天堂的禮物」, 瓦盧索畫廊,倫敦, 展期2022年2月14日至3月7日

Gifts From Heaven, The Waluso Gallery, London, February 14 - March 7, 2022

NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300 RMB 63,000 - 94,000

140

116 x 80 cm 簽名題識畫背:

Ayaïro 聚焦於昭和時期的景色,將復古 情懷融入現代生活中,呈現出懷舊且純 真的畫面。藝術家曾在 2020 年榮獲日本 《插畫》雜誌年度賞優秀獎。藝術家也 從 2019 開始至台北、首爾、釜山、神戶 等地參加藝術博覽會。

Ayaïro Shadow Tag 2021

Ayaïro hopes to focus on the Showa

展覽

period's scenery, merging nostalgia and modernity to portray good old pure images. Ayaïro won the Award of Excellence in 2020 from the Japanese magazine Illustration's Choice of the Year Award. She has also participated in several art fairs in Taipei, Seoul, Busan, and Kobe since 2019.


094

HEE RIN YANG (Korean, b. 1975)

Dream Wanderer Where Is My Home No.6 2022 Acrylic on canvas 116.8 x 91 cm Signed lower right Hee Rin and dated 2022 EXHIBITED

Dream Wanderer - Where is My Home, Alloro Gallery, Seoul, June 24 - July 3, 2022 This lot is accompanied with a certificate of authenticity signed by the artist.

梁憙潾

藝術家透過豐富的色彩與訊息,以討喜

夢想旅行者- 何處是我家No.6

的人物造形容納於作品中,鼓勵在生活

2022年 壓克力 畫布 116.8 x 91 cm

中迷失方向仍然努力追求夢想、全力尋 找成功道路的「夢想旅行者」。藝術家 曾經至韓國、法國、香港、台灣等地參 與群展。

簽名右下:Hee Rin 2022

H e e R i n Ya n g p a i n t s p l e a s i n g

展覽

characters with abounding colors

「夢想旅行者-何處是我家」, Alloro畫廊,首爾, 展期2022年6月24日至7月3日

and messages. She continuously

附藝術家簽名原作保證書

after their dreams in her artworks.

employs the idea that people are sometimes lost in life but still chasing Therefore, this makes people into wanderers. She hosted another

NT$ 340,000 - 500,000 HK$ 84,000 - 124,000 US$ 10,800 - 15,800 RMB 76,000 - 112,000

exhibition at Alloro Gallery, Seoul. She has participated in several group exhibitions in Korea, France, Hong Kong, and Taiwan.


095

HAN CHOONG SEOK (Korean, b. 1981)

The King Dog 2020 Acrylic on korean cotton 53 x 45.5 cm Signed lower right side choong seok Signed reverse han choong seok , titled The King Dog , inscribed 53 x 45.5 cm Acrylic on korean cotton in korean and dated 2020 EXHIBITED

Between Coldness and Passion - Solo exhibition of Han Choong seok, J.P. Art Center, Kaohsiung, January 22 - February 26, 2021

NT$ 100,000 - 160,000 HK$ 25,000 - 40,000 US$ 3,200 - 5,100 RMB 22,000 - 36,000 142

韓忠錫

韓忠錫的作品畫在韓國棉布

國王狗

上,一種薄且沒有塗層的韓國

2020年 壓克力 韓國棉布 53 x 45.5 cm 簽名右下側邊:choong seok 簽名題識畫背:

棉料,讓顏色更容易滲透。他 擅長繪畫各種動物及人物角 色,並且從「關係」這個詞語 中獲取靈感,呈現出角色間不 可言喻的距離。

han choong seok The King Dog 53 x 45.5 cm 광목천에 아크릴

Han Choong-Seok works on

채색 2020

uncoated Korean cotton

展覽

「在冷靜與激情之間 -韓忠錫個展」, 琢璞藝術中心,高雄, 展期2021年1月22日至2月26日

Gwangmokcheon, a thin, cloth that allows the colors to permeate. Famous for various animals and characters' paintings, his works originate from the word relationship, which shows unspoken distances between the objects concerned.


096

POREN HUANG (Taiwanese, b. 1970)

The Dog's Notes - Home 2005 Bronze, ed. 29/30 15 (L) × 40 (W) × 22 (H) cm Engraved on the back of the leg PR Numbered paw 30-29 and initialed PR EXHIBITED

The Artistic Conversation of "Love Dogs, Adore Dogs" , Powen Gallery, Taipei, May 15 - June 12, 2014 (different edition) The Dog's Note - Huang Po-Ren Solo Exhibition, Williamsburg Art & Historical Center, New York, November 7 - December 6, 2015 (different edition) ILLUSTRATED

Huang Po-Ren Sculpture, Taichung City Cultural Center, Taichung, 2005, color illustrated, p. 52 (study version) The Dog's Notes: Poren Huang , Powen Gallery, Taipei, 2014, color illustrated, pp. 12, 32, 35 (different edition)

NT$ 150,000 - 240,000 HK$ 37,000 - 60,000 US$ 4,700 - 7,600 RMB 34,000 - 54,000

黃柏仁 狗札記系列-回家 2005年 銅 版次29/30 15(長)x 40(寬)x 22(高)cm 簽名雕刻後側:PR 簽名足部:30-29. PR 展覽

「愛狗敬狗的藝術對話-狗札記.黃柏仁個展」,紅野畫 廊,台北,展期2014年5月15至6月12日(不同版次) 「狗札記-黃柏仁雕塑個展」,紐約WAH藝術中心, 紐約,展期2015年11月7日至12月6日(不同版次) 圖錄

《黃柏仁雕塑》,台中縣立文化中心, 台中,2005,彩色圖版,頁52(習作) 《狗札記/黃柏仁》,紅野畫廊,台北,2014, 彩色圖版,頁12、32、35(不同版次)


097

AYAKO ROKKAKU (Japanese, b. 1982)

Untitled

2009 Digital print, ed. 10/30 50.3 x 49.7 cm Signed lower right Ayako Rokkaku in Japanese Numbered lower left 10/30 PROVENANCE

Gallery Delaive, Amsterdam SBI Auction, Tokyo, July 3, 2021, lot 146 Acquired from the above by the present owner

NT$ 160,000 - 240,000 HK$ 40,000 - 60,000 US$ 5,100 - 7,600 RMB 36,000 - 54,000

144

六角彩子 無題 2009年 數位微噴版畫 版次10/30 50.3 x 49.7 cm 鈐印右下:

ロッカクアヤコ

版次左下:10/30 來源

德萊夫畫廊,阿姆斯特丹 SBI拍賣,東京,2021年7月3日,編號146 現有收藏者購自上述來源


098

AYAKO ROKKAKU (Japanese, b. 1982)

Untitled

2012 Lithograph in color, ed. 74/75 58.2 x 78 cm Signed lower right Ayako Rokkaku in Japanese and dated 2012 Numbered lower left 74/75

NT$ 240,000 - 360,000 HK$ 60,000 - 89,000 US$ 7,600 - 11,400 RMB 54,000 - 81,000

六角彩子 無題 2012年 彩色石版畫 版次74/75 58.2 x 78 cm 鈐印右下:

ロッカクアヤコ 2012

版次左下:74/75


99

AYAKO ROKKAKU (Japanese, b. 1982)

Untitled

2021 Silkscreen in 67 colors printed on Corona Magnani paper, ed. 161/200 73 x 103 cm Signed lower right Ayako Rokkaku in Japanese and dated 2021 Numbered lower left 161/200 PROVENANCE

Gallery Delaive, Amsterdam Acquired from the above by the present owner

NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300 RMB 63,000 - 94,000 146

六角彩子 無題 2021年 67色絲網印刷 版次161/200 73 x 103 cm 鈐印右下:

ロッカクアヤコ 2021

版次左下:161/200 來源

德萊夫畫廊,阿姆斯特丹 現有收藏者購自上述來源


100

AYAKO ROKKAKU (Japanese, b. 1982)

Untitled

2021 Silkscreen in 93 colors printed on Corona Magnani paper, ed. 196/200 73 x 103 cm Signed lower right Ayako Rokkaku in Japanese and dated 2021 Numbered lower left 196/200 PROVENANCE

Gallery Delaive, Amsterdam Acquired from the above by the present owner

NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300 RMB 63,000 - 94,000

六角彩子 無題 2021年 93色絲網印刷 版次196/200 73 x 103 cm 鈐印右下:

ロッカクアヤコ 2021

版次左下:196/200 來源

德萊夫畫廊,阿姆斯特丹 現有收藏者購自上述來源


101

AYAKO ROKKAKU (Japanese, b. 1982)

Untitled

2021 Silkscreen in 78 colors printed on natural cardboard shaped and mounted on corrugate cardboard, ed. 37/200 66 x 89.5 cm Signed lower right Ayako Rokkaku in Japanese and dated 2021 Numbered lower left 37/200 PROVENANCE

Gallery Delaive, Amsterdam Acquired from the above by the present owner

NT$ 280,000 - 420,000 HK$ 69,000 - 104,000 US$ 8,900 - 13,300 RMB 63,000 - 94,000 148

六角彩子 無題 2021年 78色絲網印刷 天然紙板 裁切裱於瓦楞紙板 版次37/200 66 x 89.5 cm 鈐印右下:

ロッカクアヤコ 2021

版次左下:37/200 來源

德萊夫畫廊,阿姆斯特丹 現有收藏者購自上述來源


102

HIROYUKI MATSUURA (Japanese, b. 1964)

Ducky Brigade; Blue Bear (a set of 2) 2019 Watercolor, pencil on paper 29.7 x 21 cm (each) Signed lower left Hiroyuki Matsuura (each) This lot is accompanied with a certificate of authenticity issued by Tokyo Gallery +BTAP, Tokyo.

NT$ 180,000 - 280,000 HK$ 45,000 - 69,000 US$ 5,700 - 8,900 RMB 40,000 - 63,000

松浦浩之 鴨子軍團;藍色小熊(兩件一組) 2019年 水彩 鉛筆 紙本 29.7 x 21 cm(每件) 簽名左下:Hiroyuki Matsuura (每件) 附東京畫廊+BTAP開立之原作保證書


103

HIROKAZU ICHII (Japanese, b. 1980)

Figure of Floating Angle of the Five Ringed Tower 2020 Japanese cypress, natural mineral pigment, ink, gold leaf, gold paint 20 (L) x 14.5 (W) x 43.5 (H) cm Signed on back panel Hirokazu Ichii and titled Figure of Floating Angle of the FiveRinged Tower in Japanese EXHIBITED

Japanese Calligraphy Exhibition - Calligraphy and Art, Nara Prefecture Cultaral Hall, Nara, February 17 - 21, 2021 This lot is accompanied with a certificate of authenticity issued by Neptune Gallery, Taipei.

NT$ 120,000 - 180,000 HK$ 30,000 - 45,000 US$ 3,800 - 5,700 RMB 27,000 - 40,000 一井弘和 五輪塔天使浮遊像 2020年 日本檜木 礦物顏料 墨 金箔 金漆 20(長)x 14.5(寬)x 43.5(高)cm

Hirokazu Ichii received his B.F.A. and M.F.A.

簽名背板背面:五輪塔天使浮遊像 Hirokazu Ichii

in sculpture at the Tokyo University of Fine Arts. He won the Salon de Printemps Prize in

展覽

「日本書法展-書法與藝術」, 奈良縣文化會館,奈良,展期2021年2月17日至21日 附Gallery UG開立之原作保證書

2004 and Taiwan International Wood Sculpture Competition in 2013, and his artwork was later collected by Sanyi Wood Sculpture Museum in Taiwan. The artwork"Figure of Floating Angel

of the Five Ringed Tower" skillfully combined 一 井 弘 和 於 東 京 藝 術 大 學 取 得 雕 塑 學 士 和 碩 士 學 位。 他 曾 在

the eastern and western religious beliefs. Ichii

2004 年獲得「春季沙龍」獎,2013 年獲得台灣國際木雕競賽

not only utilizes Japanese traditional Buddhist

冠軍,作品目前收藏於三義木雕博物館。本作《五輪塔天使浮

carving techniques and materials in his artworks,

遊》像巧妙地結合中西方經典藝術。一井不僅將日本傳統雕刻

but also integrates spiritual symbols into modern

技巧與材料運用於作品,更透過自古以來的精神象徵融入於現

figures to create new harmony and renascence

代化人像中,創造出新的和諧與重生。

of traditional culture.

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104

SHINNOSUKE TOJO (Japanese, b. 1978)

Taranbobo

東城信之 介 多蘭波波 2020年

2020 Acrylic, pigment on aluminium 98 x 104.5 cm Initialed reverse TJ , titled taranbobo and dated 2020

壓克力 顏料 鋁

EXHIBITED

「肉醬派的皮膚裡」, FARO神樂坂畫廊,東京, 展期2020年10月17日 至11月14日

Inside of Meat Pie's Skin, FARO Kagurazaka, Tokyo, Octormer 17 - November 14, 2020

NT$ 280,000 - 400,000 HK$ 69,000 - 99,000 US$ 8,900 - 12,700 RMB 63,000 - 90,000

98 x 104.5 cm 簽名題識畫背: TJ taranbobo 2020 展覽

東城信之介於 2004 年東京造型大學取得美術學 士學位。他曾獲獎無數,如 2018 年 SICF、2019 年 VOCA 首獎殊榮。其作品也受邀展覽於包含小 海町高原美術館、上野之森美術館和廣州 53 美 術館。東城信之介在金屬板上用刻痕製作三維繪 畫,將所見之具有聯結想像的圖像或心靈風景, 帶入現實生活中。 In 2004, Tojo received B.F.A from Tokyo Zokei University. Tojo has won several art prizes in Japan such as Grand-Prix of VOCA Art Award ( 2 0 1 9 ) a n d S p i r a l I n d e p e n d e n t C re a t o r s Festival (2018). His works have been exhibited at Koumimachi Kogen Museum of Art, Ueno Royal Museum and 53 Museum, Guangzhou. Tojo makes three-dimensional paintings with scratches on a thin metal plate to bring back images or landscapes of mind to real life which he saw with synesthetic sense to real life.


105

TYM344

(Japanese, b. 1986)

Mirrored (Ai)

2022 Acrylic on canvas 90 x 90 cm Signed reverse TYM344 , titled Mirrored (Ai) and dated 2022

NT$ 140,000 - 220,000 HK$ 35,000 - 55,000 US$ 4,400 - 7,000 RMB 31,000 - 49,000

TYM 3 4 4 鏡像(Ai) 2022年 壓克力 畫布 90 x 90 cm 簽名畫背: TYM344 Mirrored (Ai) 2022

TYM344 畢 業 於 早 稻 田 大 學 綜 合 人 文 學 科, 專 修 美 術 史 學。 TYM344 引用美術史上的作品或廣為人知的看板廣告等既有圖 像,將其轉化成黑白繪畫。藝術家認為「繪畫就是創造一個確 定的形象」,旨於將所有不會動的物體創作成「非.動化的二 值化繪畫」。主要的個展經歷有:2020 年「我知道我比較愛你」 (空白畫廊,東京);2021 年「餘暇」(Medel Gallery Shu, 東京);2022 年「在那裡」(Oil by 美術手帖畫廊,東京)等。 TYM344 earned his B.F.A. from Waseda University School of Humanities, majoring in art history. The artist often uses important artworks throughout history or well-known advertising pictures and transforms them into black and white paintings. TYM344 believes that "to paint is to create a determined image," and he aims to make all unmovable objects into binarized, non-animated paintings. The main exhibition experiences include "Eye Know Eye Love You Better" at The blank Gallery, Tokyo in 2020, "Leisure" and "Where It's At", in 2021 and 2022 at Medel Gallery Shu, Tokyo and Oil by Bijutsutecho Gallery, Tokyo.

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106

NAOKO KADOKURA

門倉直子

門倉直子認為創作首重捕捉悲傷情緒的當下。這些畫像常是

親愛的女孩Ⅱ

擁有年輕面孔的女孩且已經告別了友情或愛情,她們的表情

(Japanese, b. 1977)

2008年

Dear Girl II

2008 Oil, charcoal on canvas 162 x 130 cm Signed reverse Naoko Kadokura , titled Dear Girl II and dated 2008 PROVENANCE

Kingsley's Art Auction, Taipei, June 8, 2013, lot 113 Acquired from the above by the present owner

NT$ 220,000 - 340,000 HK$ 55,000 - 84,000 US$ 7,000 - 10,800 RMB 49,000 - 76,000

油彩 炭筆 畫布 162 x 130 cm 簽名畫背:Dear Girl II

飄忽不定,但卻也凝聚了瘋狂、叛逆、幽默。藝術家欲表達 現代女性除追求外表外,也同時渴望探索心靈之美。自 1999 第一場個展開始,每年主要持續於東京 ART ★ AIGA 和椿畫 廊發表作品,在 2000 年和 2003 年獲得柏市美術展大賞。

2008 Naoko Kadokura

Naoko Kadokura believes that the most important thing

來源

when creating artworks is to capture the saddest moment.

金仕發拍賣,台北, 2013年6月8日,編號113 現有收藏者購自上述來源

The portraits she painted are often young girls who left their friends or boyfriends, their expressions are uncertain, but also combine all kinds of craziness, rebellion, and humor. The artist tries to demonstrate that young girls now not only care about their outer beauty but also hopes to discover their inner beauty. Starting from her first solo exhibition in 1999, the artist continues to display her new artworks mainly in Tokyo ART ★ AIGA and Gallery Tsubaki. Kadokura won the grand prize in the Kashiwa City Art Fair in 2001 and 2003.


107

SATOMI KONDO (Japanese, b. 1985)

I Am Sorry My Stylish Situation (a set of 2) 2013 Oil, acrylic on panel 29.7 x 21 cm (each) Signed reverse Ko.Satomi and dated 2013 (each) PROVENANCE

Art Lab Tokyo, Tokyo

NT$ 60,000 - 90,000 HK$ 15,000 - 22,000 US$ 1,900 - 2,800 RMB 13,000 - 20,000

近藤智美

近藤智美於 1985 年生於日本廣島縣,18 歲起到東京生活,

不好意思!我的時髦狀態 (兩件一組)

經歷了 109 辣妹時期並見證了這個日本獨有次文化的興亡。

2013年 油彩 壓克力 木板 29.7 x 21 cm(每件) 簽名畫背:

之後,憑著繪畫天分展開創作生涯。近藤以自己身為女性曲折 迂迴的生活經歷為基礎,不斷地推出夾雜哲學視角的諷刺作 品。2011 年起在 東京 「 東京藝術實驗室 」及其他畫廊持續 發表個展,並被選為「VOCA2012」(上野之森美術館,東 京)、2013 年「Love: 藝術與愛展」(森美術館,東京)。

Ko.Satomi 2013(每件)

Satomi Kondo was born in Hiroshima, Japan in 1985.

來源

She moved to Tokyo when she was 18 years old and

東京藝術實驗室,東京

experienced the rise and fall of the Japanese subculture "Manba Gal". Later, she discovered her talent in painting and started her art career. From her rough life experience, as a female person, she constantly produced satirical artworks mixed with philosophical ideas. Starting from 2011, Kondo continued hosting her solo exhibitions at Art Lab Tokyo and other galleries. The artist also participated in "VOCA2012" (The Ueno Royal Museum, Tokyo), 2013 "Love Exhibition" (Mori Art Museum, Tokyo).

154


108

TOMOYOSHI SAKAMOTO (Japanese, b. 1985)

The Confession - Breathe Out

坂本 友 由

坂 本 友 由 2008 年 自 東 京 藝 術 大 學 設 計 系 畢

吸氣吐氣(告白)

業。坂本屬於御宅族藝術之後的新一代表現形

2011年

2011 Acrylic on canvas 80.3 x 100 cm Signed reverse Tomoyoshi Sakamoto and titled in Japanese and dated 2011

壓克力 畫布

EXHIBITED

「花見展2」, 東京藝術實驗室,東京, 展期2012年4月3日至8日 「坂本友由個展-春之青」, 東京藝術實驗室,東京, 展期2012年4月9日至21日

Cherry Blossom Viewing Exhibition 2, Art Lab Tokyo, Tokyo, April 3 - 8, 2012 Tomoyoshi Sakamoto Solo Exhibition - Biue Spring, Art Lab Tokyo, Tokyo, April 9 - 21, 2012

NT$ 180,000 - 280,000 HK$ 45,000 - 69,000 US$ 5,700 - 8,900 RMB 40,000 - 63,000

80.3 x 100 cm 簽名畫背:

式作家。作品中描繪的不僅僅是可愛的少女, 也以詩意解釋生動的人物表情並帶入對於日 本次文化的諷刺。除了豐富的個展與藝術博覽 會展經驗外,其作品為高崎市立美術館收藏。

坂本友由 2011 濃く吐く

Tomoyoshi Sakamoto was born in Tochigi,

展覽

Japan in 1985, and she graduated from Tokyo University of the Arts Department of Design in 2008. She belongs to the new generation of expressionism artists after "OTAKU Art". The artist not only depicts cute girls but also demonstrates vivid expressions of characters and includes Japanese subculture sarcastically. Other than her rich experience in hosting solo exhibitions and joining art fairs, Sakamoto's artwork was also collected by Takasaki Art Museum, Gunma.


109

GEOFFREY BOUILLOT (French, b. 1990)

Geoffrey Nara 2021 Acrylic on canvas 73 x 60 cm Signed lower right side Bouillot Signed reverse Geoffrey Bouillot , titled Geoffrey Nara , inscribed Tokyo and dated 2021 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 100,000 - 150,000 HK$ 25,000 - 37,000 US$ 3,200 - 4,700 RMB 22,000 - 34,000

156

杰弗里 . 布 約

法國出生的藝術家杰弗里.布約目前定居於日

失眠夜坐著

本。他的作品儼然受到兩國文化的影響,並探

2021年 壓克力 畫布 73 x 60 cm 簽名右下側邊:Bouillot 簽名題識畫背: Geoffrey Bouillot Geoffrey Nara Tokyo 2021 附藝術家簽名原作保證書

討了普普藝術、立體主義和未來主義的獨特動 態。布約以黑白為基調的灰階影像作畫手法、 組合立體主義和時尚精簡主義的作品為其特 徵。畫作中的靜物和肖像充滿了與煉金術相關 符號以及受到古代文明啟發的圖案。布約曾在 日本東京舉辦過多次個展及聯展。


110

GEOFFREY BOUILLOT (French, b. 1990)

Go Tigers!

2021 Acrylic on canvas 73 x 60 cm Signed lower left side Bouillot PROVENANCE

YOD Editions, Osaka EXHIBITED

Titan of Steel, YOD Editions, Osaka, October 30 - November 19, 2021 This lot is accompanied with a certificate of authenticity signed by the artist.

NT$ 110,000 - 170,000 HK$ 27,000 - 42,000 US$ 3,500 - 5,400 RMB 25,000 - 38,000

杰弗 里 . 布 約

French born artist, Geoffrey Bouillot,

老虎隊 Go!

currently lives and works in Japan. His

2021年 壓克力 畫布 73 x 60 cm 簽名左下側邊:Bouillot 來源

YOD畫廊,大阪

work is evidently infor med by these two cultures, and examines a unique dynamic of pop art, cubism, and Italian futurism. Bouillot's distinctive still-lifes and portraits are imbued with symbols related to alchemy as well as patterns that are inspired by ancient civilizations.

展覽

It has been said of his work, "Composed

「巨鐵」,YOD畫廊,大阪, 展期2021年10月30日 至11月19日

of metallic-like stacking cylindrical and

附藝術家簽名原作保證書

speaking to a collision of culture – from

spherical forms, each character morphs nostalgic cartoons into unfamiliar forms, the ancient to the deep future. "Bouillot h a s e x h i b i t e d a c r o s s To k y o J a p a n i n c l u d i n g n u m e ro u s s o l o a n d g ro u p exhibitions.


111

TOMOKAZU MATSUYAMA (Japanese, b. 1976)

The Couch Unsent Piano

松山智一 沙發上未彈奏的鋼琴 2020年

2020 Silkscreen, ed. 22/100 89 x 58 cm Signed lower right Matsuyama and numbered 22/100

絲網印刷 版次22/100

PROVENANCE

Avant Arte,阿姆斯特丹

Avant Arte, Amsterdam This lot is accompanied with a certificate of authenticity issued by Avant Arte, Amsterdam and signed by the artist.

NT$ 80,000 - 120,000 HK$ 20,000 - 30,000 US$ 2,500 - 3,800 RMB 18,000 - 27,000

158

89 x 58 cm 簽名版次右下:Matsuyama 22/100 來源

附Avant Arte開立之藝術家簽名原作保證書


112

JUNG YEO EUN (Korean, b. 1992)

Petal-5

2022 Acrylic on canvas 91 x 91 cm Signed reverse Jyeoeun , titled Petal-5 , inscribed Acrylic on canvas 91 x 91 cm and dated 2022 EXHIBITED

Kiaf+ , Seoul, September 1 - 5, 2022

NT$ 200,000 - 300,000 HK$ 50,000 - 74,000 US$ 6,300 - 9,500 RMB 45,000 - 67,000

鄭與恩 魔法少女-5 2022年 壓克力 畫布 91 x 91 cm 簽名題識畫背: Jyeoeun Petal-5 Acrylic on canvas 91 x 91 cm 2022 展覽

Kiaf+博覽會,首爾,展期2022年9月1日至5日


113

BIJIJOO (MICHAEL TODD HORNE)

麥克-陶德. 霍 恩

Bijijoo (暱稱 B)於 1975 年出生於美國亞特蘭大。從小

等公車

就熱衷於繪畫,也有從事寫作、音樂和錄像等經驗。除此

(American, b. 1975)

油彩 壓克力 粉彩 畫布

Waitin for the Bus 2021 Oil, acrylic, pastel on canvas 104 x 103 cm Signed lower right Bijijoo Signed reverse Bijijoo , titled Waitin for the bus and dated 13 August 2021

NT$ 130,000 - 190,000 HK$ 32,000 - 47,000 US$ 4,100 - 6,000 RMB 29,000 - 43,000

2021年 104 x 103 cm 簽名右下:Bijijoo 簽名題識畫背: Bijijoo Waitin for the bus 13 August 2021

之外,藝術家也熱愛研究數學、物理、電腦科學和化學, 並於 2008 年取得波特蘭州立大學生物物理學博士學位, 目前在耐克(Nike)從事數位設計與創新介面和知識產 權的工作。藝術家時常受到女兒的想像力及對怪獸熱愛的 啟發,同時結合自身的學術背景,創作出怪獸卡通及誇張 生活的題材。 Bijoo was born in 1975 Atlanta, USA. He was interested in painting since childhood, and he also enjoyed writing, music producing, and filming. In addition, the artist also spent time in researching math, physics, computer science, and chemistry, later receiving a Ph.D. in biophysics at Portland State University. He is currently working on digital design, intellectual property, and innovative interfaces at Nike. The artist was often inspired by his daughter's imagination and her love of monsters, so, combining with his academic research, his paintings are mostly

160

about monstrous cartoons and exaggerations of life.


114

ALEX FACE (Thai, b. 1981)

Fortune Cat No.2

亞歷克斯.費斯 招財貓2號 2019年

2019 Spray, oil on linen 65 x 65 cm Signed lower right Alex Face and dated 19

噴漆 油彩 亞麻布

EXHIBITED

「神話生物」,Vertical 畫廊, 芝加哥,展期2019年8月10日至31日

Mythical Creatures, Vertical Gallery, Chicago, August 10 - 31, 2019

NT$ 220,000 - 340,000 HK$ 55,000 - 84,000 US$ 7,000 - 10,800 RMB 49,000 - 76,000

65 x 65 cm 簽名右下:Alex Face 19 展覽


115

ROBY DWI ANTONO (Indonesian, b. 1990)

Luh & Ruh

2020 Poly-Resin, ed. 64/150 Produced by VINS 22(L) x 22(W) x 29(H) cm (sculpture); 24(L) x 32(W) x 38(H) cm (box) (each) This lot is accompanied with a certificate of authenticity issued by VINS, Taipei and signed by the artist.

NT$ 80,000 - 140,000 HK$ 20,000 - 35,000 US$ 2,500 - 4,400 RMB 18,000 - 31,000

162

羅比.安托諾 眼淚與靈魂 2020年 複合樹脂 版次64/150 發行單位VINS 22(長)x 22(寬)x 29(高)cm(雕塑); 24(長)x 32(寬)x 38(高)cm(原裝盒)(每件) 附VINS開立之藝術家簽名原作保證書


116

EDGAR PLANS (Spanish, b. 1977)

The Reading Hero (a set of 5)

艾德加.普連斯 閱讀小英雄(五件一組) 2021年

2021 100% Alloy in full painted color, ed. 106/250 10 (L) x 15 (W) x 28 (H) cm (each)

100% 全彩繪合金 版次106/250

EXHIBITED

「艾德加.普連斯-字有引力:看得見的夢境」, K11購物藝術中心,廣州, 展期2021年12月17日至2022年3月14日

Edgar Plans - The Power of Letters, K11 Art Mall, Guangzhou, China, December 17, 2021 - March 14, 2022 This lot is accompanied with a certificate of authenticity and a NFC manual.

NT$ 220,000 - 320,000 HK$ 55,000 - 79,000 US$ 7,000 - 10,100 RMB 49,000 - 72,000

10(長)x 15(寬)x 28(高)cm(每件) 展覽

附原作保證書及NFC說明書


117

KUNIHIKO NOHARA (Japanese, b. 1982)

Cappuccino B 2019 FRP, ed. 1/18 33(L) x 22.5(W) x 41(H) cm Signed bottom and numbered 1/18 This lot is accompanied by a certificate of authenticity issued by the Gallery UG, Tokyo.

NT$ 120,000 - 180,000 HK$ 30,000 - 45,000 US$ 3,800 - 5,700 RMB 27,000 - 40,000 野原邦彥 卡布奇諾B 2019年 玻璃纖維 版次1/18 33(長)x 22.5(寬)x 41(高)cm 簽名底部:1/18 附Gallery UG開立之原作作品保證書

164


118

RYOICHI YAMAZAKI (Japanese, b. 1976)

I'm Not Lonely 2021 FRP, hair, wood board, rope, ed. 4/4 30 (L) × 30 (W) × 40 (H) cm (sculpture); 29 (L) × 13.5 (W) × 3.5 (H) cm (swing board); 800 cm (rope) Signed bottom and sol Ryoichi Yamazaki , dated 2021 and inscribed 5kg This lot is accompanied with a certificate of authenticity issued by Art Gallery Komori, Nagoya.

NT$ 280,000 - 340,000 HK$ 69,000 - 84,000 US$ 8,900 - 10,800 RMB 63,000 - 76,000 山崎龍一 我才不寂寞呢 2021年 纖維強化塑膠 毛髮 木板 棉繩 版次4/4 30(長)x 30(寬)x 40(高)cm(雕塑); 29(長)x 13.5(寬)x 3.5(高)cm(鞦韆木版); 800 cm(棉繩) 簽名底部足底:Ryoichi Yamazaki 2021 5kg 附小森畫廊開立之原作保證書


119

SATOSHI SAITOH (Japanese, b. 1982)

Reside in the Idol 2019 Painted camphor wood, ash, glue 20(L) x 20(W) x 45(H) cm Signed backside This lot is accompanied with a certificate of authenticity issued by s+arts, Tokyo and signed by the artist.

NT$ 100,000 - 150,000 HK$ 25,000 - 37,000 US$ 3,200 - 4,700 RMB 22,000 - 34,000 齊藤智史 寄宿於偶像 2019年 彩繪樟木 灰 膠 20(長)x 20(寬)x 45(高)cm 簽名背面 附s+arts畫廊開立藝術家簽名原作保證書

166


120

SATOSHI SAITOH (Japanese, b. 1982)

Seed Idol

2019 Painted camphor wood, ash, glue 24(L) x 20(W) x 14(H) cm This lot is accompanied with a certificate of authenticity issued by s+arts, Tokyo and signed by the artist.

NT$ 30,000 - 60,000 HK$ 7,000 - 15,000 US$ 900 - 1,900 RMB 7,000 - 13,000 齊藤智史 種子小精靈 2019年 彩繪樟木 灰 膠 24(長)x 20(寬)x 14(高)cm 附s+arts畫廊開立藝術家簽名原作保證書

齊藤智史在 1982 年出生於日本長野縣,畢業於東京造形大學雕

Satoshi Saitoh was born in 1982 in Nagano, Japan and

塑系。齊藤的雕塑創作以樟木作為主體並施以日本畫用的灰和

graduated from the Department of Sculpture at Tokyo Zokei

顏料。出生於園藝家庭的齊藤成長環境總是圍繞着樹木,對於

University. Saitoh's sculptures use camphor wood as the

齋藤來說,木雕是表達一個場景的不可或缺的方式,他將周圍

main body and apply the ash and pigments that are used

的各種元素像是地域文化、生物的活動、社會、情感、思想等

in Japanese painting. Born in a gardening family, Saitoh's

緊密交織在一起。齊藤的作品中既有安穩沉靜的偶像,也有抽

growing environment always revolves around trees. To

象的立體作品。透過這些作品,藝術家表達出人類記憶的曖昧

Saitoh, woodcarving is an indispensable way to express a

和懷舊情懷。

scene. He connects various elements around him, such as regional culture, biological activities, emotions, society, and thoughts. Saitoh's works include both peaceful dolls and abstract works. Through his works, he expresses the ambiguous and nostalgic feelings of human memory.


168


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.

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3.

競投保證金需於 2022 年 11 月 30 日以前完成匯款至本公司指定帳號如下 : 銀行:匯豐(台灣)商業銀行 - 台北分行 銀行代碼:0810016 戶名:羅芙奧股份有限公司 帳號:001-234830-031(新台幣)或 001-234830-061(美金) 地址:台北市基隆路一段 333 號 14 樓 匯款時請指示銀行本公司需實收競投保證金全額,銀行手續費請匯款人負擔。

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5.

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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 2022 年 12 月 3 日以前完成匯款至本公司指定帳號。 6.

如於 2022 年 11 月 30 日以前完成競投保證金匯款,請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後,我 們將與競投者聯繫並與之確認其競標牌號。

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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 30 November 2022, 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 30 November 2022, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 1st December to 3rd December 2022). Acceptance will cease on 3rd December 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 30 November 2022.

6.

If the bidding deposit has been transferred prior to 30 November 2022, 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.

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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. 170


委託競投表格 委託競投表格須於拍賣24小時前送抵國際藝術部。競投表格可回傳至:

拍 賣 名 稱:羅芙奧台北 2022 秋季拍賣會 薈萃國際:現代與當代藝術

國際藝術部 電話:+886-2-2708 9868 分機 883|傳真:+886-2-2701 3306

拍 賣 編 號:TA2203

投標者資料 客戶編號

拍 賣 日 期:2022 年 12 月 3 日 ( 星期六 ) 下午 4:00

姓名

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

護照號碼/身份證字號/統一編號 電話號碼(住宅)

(手機)

拍賣期間之聯絡電話 (僅限電話競投) 電郵

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※投標規則: 1. 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 2. 本人知悉書面及電話競標乃羅芙奧為基於投標者之便利而提供代為投標之服務而不成立任何委託投標之契約,羅芙奧不因執行投標而負任何 責任。倘羅芙奧就同一項拍賣品收到相同競價之委託,以最先收到者優先辦理。 3. 本人同意如投標成功,本人應付之購買價款為最後落槌價加上服務費,服務費依業務規則第二條第4項之規定計算。(4a.買家支付每件拍品之 服務費率:(1)買家除支付落槌價外,另須支付服務費予本公司,落槌價於新台幣參仟貳佰萬元以下者含參仟貳佰萬元以20%計算;(2) 落槌價於新台幣參仟貳佰萬元以上者分為二級,其中新台幣參仟貳佰萬元以20%計算,超過新台幣參仟貳佰萬元之部份以12%計算。) 4. 本競投,本人同意並遵守本目錄所載所有業務規則。(包含但不限於羅芙奧不負瑕疵擔保責任及保證責任等規定) 5. 如投標者未曾於羅芙奧競投拍賣品,請附上投標者資料之副本及銀行證明資料。 6. 本人同意買家須知、投標者登記表格、委任競投表格及業務規則等附屬文件均視為本契約之一部分。 7. 羅芙奧基於上述原因而需蒐集、處理或非營利目的之利用投標者個人資料, 該資料將在前開蒐集目的之存續期間及依法令規定要求之期間內被處理或利用。

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ABSENTEE BID FORM The absentee bid forms must be delivered to the International Art Department at least 24 hours before the auction begins. The bid forms may be faxed to: International Art Department Tel: +886 2 2708 9868 ext. 883|Fax: +886 2 2701 3306

Bidder's Details Customer Number

Name

Passport number/ID number/Unified Business number Tel (Home)

Auction Date Sale No. Location Address

AUTUMN AUCTION 2022 TAIPEI SELECT: Modern & Contemporary Art Saturday, December 3, 2022, 4:00 pm TA2203 Marriott Taipei 3F (Grand Space) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

(Mobile)

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Fax

Address Auction Lot Number

Title

Bid Price (NT$) (Not including Buyer's premium)

※Bidding rules: 1. It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder. 2. I understand and agree that Ravenel provides such bid services for the convenience of customers and no contract or agreement shall be constituted. Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received. 3. I understand and agree that if my bid is successful, I shall pay the final hammer price together with the buyer's premium. For detail please refer to Article 2,section 4 of the Transaction Agreement to the buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the buyer's premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the buyer's premium should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.) 4. The bid shall be subject to the Transaction Agreement prescribed in the catalogue.(including but not limited to Ravenel's non-defect warranty and non-guaranteed liability). 5. If the bidder has not bid for the auction item at Ravenel, please attach a copy of the bidder's information. (Individual: ID card or passport with photo issued by the government) 6. I agree that the Notice To Bidders, Bidder Registration, Absentee Bid Form and Transaction Agreement and other attached documents are regarded as part of this agreement. 7. Ravenel will collect, process and use the personal data provided by the client for auction-related matters and other non-profit purposes.

Signature:

Date:

We accepts the bid only after obtaining the personal/company information and signature to execute this bid. By signing this form, you confirm your registration/bid(s) as above and you agree that you have read and understood our Transaction Agreement as stated in our catalogues and on our website. 172

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: 174

(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