現代與當代藝術 Modern and Contemporary Art

SPRING AUCTION 2023 TAIPEI

拍賣目錄每本售價：NT$2,000

This auction catalogue: US$70 per copy

羅芙奧台北 2023 春季拍賣會 現代與當代藝術

RAVENEL SPRING AUCTION 2023 TAIPEI Modern and Contemporary Art

拍賣日期／地點

2023年6月4日（日）下午 2:00

萬豪酒店

台北市中山區樂群二路199號3樓（博覽廳）

預展日期／地點

高雄

2023年5月13日（六）上午11:00至下午6:00

2023年5月14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

2023年5月20日（六）下午1:00至下午6:00

2023年5月21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

2023年6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

Sunday, June 4, 2023, 2:00pm

Marriott Taipei

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

PREVIEWS

Kaohsiung

Saturday, May 13, 2023, 11:00am - 6:00pm

Sunday, May 14, 2023, 11:00am - 6:00pm

J. P. Art Center

8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan

Taichung

Saturday, May 20, 2023, 1:00pm - 6:00pm

Sunday, May 21, 2023, 11:00am - 6:00pm

Fong-Yi Art Gallery

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

Taipei

Thursday, June 1 - Saturday, June 3, 2023, 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

傅斐郡 Flora Fu

藝術部總經理 President, Art Department

林慧菁 Maggie Lin

藝術部資深副總經理

Senior Vice President, Art Department

黃詩涵 Stella Huang

藝術部協理 Senior Manager, Art Department

李維屏 Apolline Li

藝術部專家 Specialist, Art Department

林恒如 Nina Lin

藝術部業務助理 Sales Assistant, Art Department

羅芙奧台北 2023 春季拍賣會服務部門及連絡人

藝術品諮詢專家

藝術部總經理

傅斐郡

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目錄訂閱

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RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS

President, Art Department

Flora Fu

Tel: +886 2 2708 9868 ext. 888

Email: florafu@ravenel.com

Senior Vice President, Art Department

Maggie Lin

Tel: +886 2 2708 9868 ext. 886

Email: maggielin@ravenel.com

Senior Manager, Art Department

Stella Huang

Tel: +886 2 2708 9868 ext. 977

Email: stellahuang@ravenel.com

PHONE BIDS AND WRITTEN BIDS

Taiwan

Maggie Lin

Tel: +886 2 2708 9868 ext. 886

Email: maggielin@ravenel.com

Hong Kong

Kitty Lam

Tel: +852 2889 0859

Email: kittylam@ravenel.com

Shanghai．Beijing

Xiu Lee

Tel: +86 21 6228 2883

Email: xiulee@ravenel.com

International

Stella Huang

Tel: +886 2 2708 9868 ext. 977

Email: stellahuang@ravenel.com

ONLINE BIDS

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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

Apolline Li

Tel: +886 2 2708 9868 ext. 880

Email: apollineli@ravenel.com

Hong Kong

Kitty Lam

Tel: +852 2889 0859

Email: kittylam@ravenel.com

Shanghai．Beijing

Xiu Lee

Tel: +86 21 6228 2883

Email: xiulee@ravenel.com

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

PAYMENT

Caroline Shen

Tel: +886 2 2708 9868 ext. 696

Email: carolineshen@ravenel.com

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

COLLECTION AND SHIPPING

Taiwan．International

Jerry Wu

Tel: +886 2 2708 9868 ext.587

Email: jerrywu@ravenel.com

Hong Kong

Kitty Lam

Tel: +852 2889 0859

Email: kittylam@ravenel.com

China

Xiu Lee

Tel: +86 21 6228 2883

Email: xiulee@ravenel.com

Remarks:

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

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

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

馬莫列霍 251

Eddie Martinez 艾迪．馬丁內斯 253

Tomokazu MATSUYAMA松山智一 216

Kimiyo Mishima 三島喜美代 292

Noritoshi MITSUUCHI 光內亘利 302

Mr. Mr. 330

Tomoko NAGAI 長井朋子 201, 213, 214, 221, 223, 224

Moe NAKAMURA 中村萌 205, 206, 255, 343-345

Yoshitomo NARA 奈良美智 210, 233, 334, 336

Kohei NAWA 名和晃平 237

Otani Workshop 大谷工作室 297

Toru OTSUKI 大槻透 306, 307

PANG Jiun 龎均 270, 276, 278

PANG Hung-Chih 彭弘智 309

REN Zhe 任哲 289

Ayako ROKKAKU 六角彩子 229, 284

Rieko SAKURAI 櫻井禮惠子 310, 311

Matías Sánchez 馬蒂亞斯．桑切斯 299 SANYU 常玉 274

André Saraiva 安德烈 薩萊瓦 246

Chiharu SHIOTA 塩田千春 238

SHIY De-jinn 席德進 261, 262

SU Wong-shen 蘇旺伸 268

Syozo TANIGUCHI 谷口正造 211, 212

Walasse TING 丁雄泉 259, 271

Akiko TOJO 東條明子 285

Felix Treadwell 菲利克斯 崔德威爾 222, 308

Yoshimasa TSUCHIYA 土屋仁応 256, 257

XUE Song 薛松 266, 321

Moisés Yagües 莫伊 247

Mayuka YAMAMOTO 山本麻友香 225, 228, 324-327

YANG Din 楊登雄 322

Tzu-chi YEH 葉子奇 275

Yoon Hyup 尹甲 243

Nikichi Yoshida 吉田昭彥 287

ZAO Wou-ki 趙無極 232

ZENG Fanzhi 曾梵志 234

201

Tomoko NAGAI

(Japanese, b. 1982)

Miss Moss Green

2020

Watercolor, acrylic, pencil, color pencil on paper

Image: 15.2 x 10.1 cm

Frame: 25.4 x 20.5 cm

Signed on the reverse Tomoko NAGAI, titled Miss Moss Green and dated 2020

PROVENANCE

Tomio Koyama Gallery, Tokyo

NT$ 50,000 - 100,000

HK$ 13,000 - 26,000

US$ 1,700 - 3,300

RMB 11,000 - 23,000

長井朋子 綠苔小姐

2020

水彩 壓克力 鉛筆 色鉛筆 紙本

畫面：15.2 x 10.1 cm

框：25.4 x 20.5 cm

簽名畫背：モスグリーンちゃん

Tomoko NAGAI 2020

202

IIDA Kiriko

(Japanese, b. 1970)

Puzzle Sheep

2021

Oil on canvas

27.3 x 22 cm

Signed on the reverse Kiriko IIDA and dated 2021

This lot is to be sold with a certificate of authenticity issued by Gallery IDF

NT$ 50,000 - 80,000

HK$ 13,000 - 21,000

US$ 1,700 - 2,700

RMB 11,000 - 18,000

飯田桐子

謎惑山羊

2021

油彩 畫布 27.3 x 22 cm

簽名畫背：Kiriko IIDA 2021

附Gallery IDF開立之作品保證書

203

Chang

Teng-yuan

(Taiwanese, b. 1983)

Space Parrotman

2021

Acrylic on panel

80 x 52 cm

Signed on both edge Chang Teng Yuan

This lot is to be sold with a certificate of authenticity issued by Datun24 Art Space

NT$ 90,000 - 180,000

HK$ 23,000 - 47,000

US$ 3,000 - 6,000

RMB 20,000 - 41,000

張騰遠 太空鸚鵡人

2021

壓克力 木板

80 x 52 cm

簽名兩側：Chang Teng Yuan

附大屯24開立之作品保證書

204

Yuichi HIRAKO

(Japanese, b. 1982)

Resin 17

2013

Crayon on paper

30 x 21 cm

Signed lower right YH and dated 2013

This lot is to be sold with a certificate of authenticity issued by Yiri Arts

NT$ 100,000 - 200,000

HK$ 26,000 - 52,000

US$ 3,300 - 6,600

RMB 23,000 - 45,000

平子雄一 樹脂 17

2013

蠟筆 紙 30 x 21 cm

簽名右下：YH. 13

附伊日美學生活開立之作品保證書

205

Moe NAKAMURA

(Japanese, b. 1988)

Wish for Something

2018

Color pencil on paper

29.8 x 21 cm

Signed lower right Moe

ILLUSTRATED

Moe Nakamura ”Growth”, Gallery Tsubaki Co., Ltd, Tokyo, 2020, p. 100

NT$ 130,000 - 260,000

HK$ 34,000 - 68,000

US$ 4,300 - 8,600

RMB 30,000 - 59,000

2018

色鉛筆 紙本

29.8 x 21 cm

簽名右下：Moe

圖錄

《中村萌作品集》，椿畫廊，東京， 2020，頁100

中村萌 給我抱抱

206

Moe NAKAMURA

(Japanese, b. 1988)

Wish for Something

2018

Polystone, edition no. 110/120

17(L) x 15(W) x 26(H) cm

Print on the bottom Moe 2018

This lot is to be sold with a certificate of authenticity signed by the artist and accompanied with its original box

NT$ 110,000 - 220,000

HK$ 29,000 - 57,000

US$ 3,600 - 7,300

RMB 25,000 - 50,000

給我抱抱 2018

寶麗石粉樹脂 110/120

17(長) x 15(寬) x 26(高) cm

簽名印刷底部：Moe 2018

附藝術家簽名作品保證卡與作品原產

紙盒包裝

207

KAWS (Brian Donnelly)

(American, b. 1974)

Autograph

2010

Marker pen on paper 28 x 21 cm

Signed on the right KAWS and dated 2010

This lot is to be sold with a certificate of authenticity issued by Art Space Kin Gyo Koo Kan

NT$ 60,000 - 180,000

HK$ 16,000 - 47,000

US$ 2,000 - 6,000

RMB 14,000 - 41,000

KAWS 簽名塗鴉

2010

麥克筆 紙本 28 x 21 cm

簽名右方：KAWS..10

附金魚空間開立之作品保證書

208

Chang Teng-yuan

(Taiwanese, b. 1983)

Caudex Meeting in Doomsday

2021

Acrylic on canvas

80 x 80 cm

Signed on both edge Chang Teng Yuan in English

ILLUSTRATED

Chang Teng Yuan Art Works 2015 - 2021, J.P.Art Center, Kaohsiung, 2022, p. 51

This lot is to be sold with a certificate of authenticity issued by Changos Gallery

NT$ 140,000 - 240,000

HK$ 36,000 - 62,000

US$ 4,600 - 8,000

RMB 32,000 - 55,000

張騰遠

末日塊根會議

2021

壓克力 畫布

80 x 80 cm

簽名兩側：Chang Teng Yuan

圖錄

《張騰遠作品集2015 2021》，琢璞

藝術中心，高雄，2022，頁51

附新苑藝術開立之作品保證書

209

Takeru AMANO

(Japanese, b. 1977)

Venus

2021

Acrylic crayon on paper

75 x 56 cm

Signed lower right Amano and dated 2021

NT$ 100,000 - 200,000

HK$ 26,000 - 52,000

US$ 3,300 - 6,600

RMB 23,000 - 45,000

天野タケル

維納斯

2021

壓克力 蠟筆 紙本

75 x 56 cm

簽名右下：Amano 2021

210

Yoshitomo NARA

(Japanese, b. 1959)

Autograph

1999

Marker pen on paper

21 x 11.3 cm

Signed lower na in Japanese and date 1999

This lot is to be sold with a certificate of authenticity issued by Art Space Kin Gyo Koo Kan

NT$ 200,000 - 300,000

HK$ 52,000 - 78,000

US$ 6,600 - 9,900

RMB 45,000 - 68,000

奈良美智

簽名塗鴉

1999

麥克筆 紙本 21 x 11.3 cm

簽名下方：Na '99

附金魚空間開立之作品保證書

211

Syozo TANIGUCHI

(Japanese, b. 1990)

Go! Go! Lostman

2022

Oil on canvas

45.7 x 60.7 cm

Signed on the reverse Syozo Taniguchi and dated 2022

NT$ 220,000 - 420,000

HK$ 57,000 - 109,000

US$ 7,300 - 13,900

RMB 50,000 - 95,000

2022

油彩 畫布

45.7 x 60.7 cm

簽名畫背：Syozo Taniguchi 2022

212

Syozo TANIGUCHI

(Japanese, b. 1990)

Wake up

2021

Mixed media on canvas

72.5 x 60.5 cm

Signed on the reverse Syozo Taniguchi, titled Wake up and dated 2021

NT$ 260,000 - 480,000

HK$ 68,000 - 125,000

US$ 8,600 - 15,900

RMB 59,000 - 109,000

谷口正造

甦醒 2021

綜合媒材 畫布

72.5 x 60.5 cm

簽名畫背：Syozo Taniguchi Wake up 2021

213

Tomoko NAGAI

(Japanese, b. 1982)

Sometimes I Dream

2012

Watercolor, ink, color pencil, pencil, glitter, collage on paper mounted on panel 84 x 59.5 cm

Signed on the reverse Tomoko Nagai, titled Sometimes I

Dream and dated 2012

This lot is to be sold with a certificate of authenticity issued by Tomio Koyama Gallery

NT$ 260,000 - 460,000

HK$ 68,000 - 119,000

US$ 8,600 - 15,200

RMB 59,000 - 105,000

長井朋子

有時候，我作夢

2012

水彩 色鉛筆 墨水 鉛筆 亮片 拼貼 紙本裱於木板

84 x 59.5 cm

簽名畫背：たまに夢をみている

Tomoko NAGAI 2012

附小山登美夫開立之作品保證書

214

Tomoko NAGAI

(Japanese, b. 1982)

Feel Like I'm Draming

2020

Watercolor, acrylic, pencil, color pencil and ink on panel

50.2 x 65.3 cm

Signed on the reverse Tomoko NAGAI, titled Feel like I'm

Draming and dated 2020

PROVENANCE

Tomio Koyama Gallery, Tokyo

NT$ 320,000 - 480,000

HK$ 83,000 - 125,000

US$ 10,600 - 15,900

RMB 73,000 - 109,000

長井朋子 感覺我正在作夢

2020

水彩 壓克力 鉛筆 色鉛筆 墨水 木板

50.2 x 65.3 cm

簽名畫背：夢をみて い ゐみたい

Tomoko NAGAI 2020

來源

小山登美夫畫廊，東京

215 Etsu EGAMI

(Japanese, b. 1994)

Untitled

2020

Acrylic on canvas

61 x 73 cm

Signed lower left Egami Etsuand dated 2020

PROVENANCE

Whitestone Gallery, Hong Kong

EXHIBITED

Egami Etsu vol.1, Chiba City Museum of Art, Tokyo, November 3 - December 13, 2020

NT$ 320,000 - 550,000

HK$ 83,000 - 143,000

US$ 10,600 - 18,200

RMB 73,000 - 125,000

2020

壓克力 畫布

61 x 73 cm

簽名左下：Egami Etsu 2020

來源 白石畫廊，香港

展覽

「江上越 vol.1」，千葉市美術館， 東京，展期自2020年11月3日至

12月13日

216

Tomokazu MATSUYAMA

(Japanese, b. 1976)

Kirin

2007 - 2008

Acrylic on canvas

61 x 61 cm

Signed on the reverse Tomokazu Matsuyama in Kanji and English

dated 2007 - 2008

PROVENANCE

Joshua Liner Gallery, New York

NT$ 400,000 - 800,000

HK$ 104,000 - 208,000

US$ 13,300 - 26,500

RMB 91,000 - 182,000

松山智一

麒麟

2007 - 2008

壓克力 畫布

61 x 61 cm

簽名畫背：松山智一Matsuyama 07 - 08

來源 約書亞．萊納藝廊，紐約

217

Alex Face

(Thai, b. 1981)

Playground's Border No. 1

2020

Oil, acrylic and spray on linen

60 x 119 cm

Signed lower right Alex Face

PROVENANCE

Vertical Gallery, Chicago

NT$ 600,000 - 950,000

HK$ 156,000 - 247,000

US$ 19,900 - 31,500

RMB 136,000 - 216,000

1

2020

油彩 壓克力 噴漆 亞麻布

60 x 119 cm

簽名右下：Alex Face

亞歷克斯．費斯 遊戲場邊界 No.

218

Alex Face (Thai, b. 1981)

Underneath the Sky of Ceiling No. 2

2021

Oil, acrylic and spray on linen

100 x 100 cm

Signed lower right Alex Face and dated 2021

This lot is to be sold with a certificate of authenticity issued by Lei Xiang Gallery, Taipei

NT$ 650,000 - 850,000

HK$ 169,000 - 221,000

US$ 21,500 - 28,200

RMB 148,000 - 193,000

亞歷克斯．費斯

蒼穹之下 No. 2

2021

油彩

100 x 100 cm

簽名右下：Alex Face 2021

附雷相畫廊開立之作品保證書

219

IIDA Kiriko

(Japanese, b. 1970)

Road (diptych)

2019

Oil on canvas

144 x 59 cm

Signed on the reverse Kiriko IIDA and dated 2019

NT$ 650,000 - 850,000

HK$ 169,000 - 221,000

US$ 21,500 - 28,200

RMB 148,000 - 193,000

飯田桐子

路 ( 雙聯幅 )

2019

油彩 畫布

144 x 59 cm

簽名畫背：Kiriko IIDA 2019

220

Yuya Hashizume

(Japanese, b. 1983)

Eyewater Animal ver. Piglet / Pink

2022

Acrylic on canvas

116.7 x 91 cm

Signed on left edge Yuya. H.

This lot is to be sold with a certificate of authenticity issued by Yuya Hashizume studio

NT$ 700,000 - 800,000

HK$ 182,000 - 208,000

US$ 23,200 - 26,500

RMB 159,000 - 182,000

Eyewater －粉紅小豬

2022

壓克力 畫布

116.7 x 91 cm

簽名左側：Yuya. H.

橋爪悠也

附橋爪悠也工作室開立之作品保證書

221

Tomoko NAGAI

(Japanese, b. 1982)

Waiting for a Long Time

2020

Oil, pencil, glitter on canvas

91.3 x 72.8 cm

Signed on the reverse Tomoko NAGAI, titled Waiting for a Long Time and dated 2020

This lot is to be sold with a certificate of authenticity issued by Hiro Hiro Art Space

NT$ 750,000 - 950,000

HK$ 195,000 - 247,000

US$ 24,900 - 31,500

RMB 170,000 - 216,000

長時間等待

2020

油彩 鉛筆 亮粉 畫布

91.3 x 72.8 cm

簽名畫背：Tomoko NAGAI 長い間まてる

2020

附Hiro Hiro藝術空間開立之原作保證書

長井朋子

222

Felix Treadwell

(British, b. 1992)

Boy in Boots

2020

Acrylic, pencil on canvas

159.5 x 119.5 cm

Signed on the reverse Felix Treadwell and dated 2020

NT$ 750,000 - 1,200,000

HK$ 195,000 - 312,000

US$ 24,900 - 39,800

RMB 170,000 - 273,000

菲利克斯．崔德威爾

2020

壓克力 鉛筆 畫布

159.5 x 119.5 cm

簽名畫背：Felix Treadwell 2020

穿長靴的男孩

223

Tomoko NAGAI

(Japanese, b. 1982)

Mr. Bear 2010

Oil, acrylic, glitter, spray on canvas

227.5 x 182.2 cm

Signed on the reverse Tomoko NAGAI, titled Mr. Bear and dated 2010

This lot is to be sold with a certificate of authenticity issued by Tomio Koyama Gallery

NT$ 1,200,000 - 3,200,000

HK$ 312,000 - 831,000

US$ 39,800 - 106,100

RMB 273,000 - 727,000

長井朋子於 1982 年出生於日本愛知縣，並於 2006 年畢 業於愛知縣立藝術大學油畫系。在長井的作品中，以森 林和家中的房間為背景，戲劇性地描繪了熊、貓、馬等 各種動物，兒童及五顏六色的樹木和蘑菇。

長井朋子的作品有著獨特的空間感，如劇場舞台般的設 計，濃縮了虛構敘事世界的活力，善於畫面氣氛的營造 使她的作品當中蘊含一種獨特的空間感。長井運用一種 類似於創作音樂作品的表達方式之，也嘗試多種繪畫材 料， 色鉛筆、噴漆、原子筆、水彩、壓克力彩，多面 向的重新解構在組合拼貼，色彩繽紛且令人耳目一新， 創造出極具想像的畫面，讓觀者走入長井朋子的奇幻旅 程。

長井朋子 熊先生

2010

油彩 壓克力 亮片 漆 畫布

227.5 x 182.2 cm

簽名畫背框條：Mr. Bear Tomoko

NAGAI 2010

附小山登美夫開立之原作保證書

Tomoko Nagai was born in 1982 in Aichi, Japan, and completed her studies at the Aichi University of the Arts in 2006. Her works are set in a forest or at home, further composed with animals such as bears, cats and horses, children and colourful trees and mushrooms.

Artworks of Tomoko Nagai are composed with typical subjects in multiple settings in a unique space, similar to a theater setting designed for various scenes of a story. The artist specializes in creating a unique atmosphere for her story. With a similar setting as a theatrical musical, she experimented with various media such as crayons, spray paint, pen, aquarelle and acrylic paint. Such a composition initiates multifarious scenes and possibilities throughout the journeys created by the artist.

224

Tomoko NAGAI

(Japanese, b. 1982)

Princess 2018

Oil and glitter on canvas

146 x 112.5 cm

Signed on the reverse Tomoko NAGAI, titled Princess in Japanese and dated 2018

This lot is to be sold with a certificate of authenticity issued by Tomio Koyama Gallery

NT$ 1,400,000 - 2,600,000

HK$ 364,000 - 675,000

US$ 46,400 - 86,200

RMB 318,000 - 591,000

長井朋子於 1982 年出生於日本愛知縣，並於 2006 年畢 業於愛知縣立藝術大學油畫系。在長井的作品中，以森 林和家中的房間為背景，戲劇性地描繪了各種動物、兒 童、五顏六色的樹木和蘑菇。長井的每幅畫都充滿了多 種主題，並擁有獨特的空間感，其中濃縮了虛構敘事世 界的活力，與層層圖像錯綜複雜地重疊在一起。當藝術 家運用一種類似於創作音樂作品的表達方式時，色彩繽 紛的材料和筆觸形成了一種夢幻般的節奏。觀者站立在 每幅畫前，都能感知到這首旋律。這喚起了一種置身於 畫中的感覺，因為觀者自己的記憶和經歷─童年的懷舊 感、回憶和夢想─與每幅作品呈現的世界觀連結在一 起。

Tomoko Nagai was born in Aichi Prefecture, Japan in 1982 and graduated from the Department of Oil Painting, Aichi University of the Arts in 2006. In Nagai’s

長井朋子

公主 2018

油彩 亮片 畫布

146 x 112.5 cm

簽名畫背框條：プリンセス Tomoko

NAGAI 2018

附小山登美夫開立之原作保證書

artworks, various animals, children, colorful trees and mushrooms are depicted in a theatrical arrangement against the backdrop of forests and domestic rooms. Loaded with a multitude of motifs, each of Nagai’s paintings embraces a unique sense of spatiality, wherein a dynamism that encapsulates the worlds of fictional narratives intricately overlaps with layers of images. The colorful matière and brushstrokes form a fantastical rhythm as the artist exercises an expression akin to composing a musical piece. The viewer perceives this melody while standing face-toface with each painting. This evokes a sense of being inside the painting, as the viewer’s own memories and experiences - nostalgic sensations, recollections and dreams from childhood - connect with the worldview represented in each artwork.

225

Mayuka YAMAMOTO

(Japanese, b. 1964)

Gorilla Hand

2006

Acrylic on canvas

194 x 130 cm

Signed on the reverse Mayuka, titled Gorilla Hand and dated 2006

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

HK$ 416,000 - 675,000

US$ 53,000 - 86,200

RMB 364,000 - 591,000

山本麻友香

猩猩手

2006

壓克力 畫布

194 x 130 cm

簽名畫背：Gorilla Hand Mayuka 2006

226

Yuichi HIRAKO

(Japanese, b. 1982)

Green Castle

2013

Acrylic on canvas

163 x 133 cm

Signed on the reverse YH and dated 2013

PROVENANCE

Galleri Christoffer Egelund, Copenhagen

NT$ 1,900,000 - 2,800,000

HK$ 494,000 - 727,000

US$ 63,000 - 92,800

RMB 432,000 - 636,000

平子雄一 綠色城堡

2013

壓克力 畫布

163 x 133 cm

簽名畫背：YH 2013

來源

克里斯托弗．埃格隆德畫廊，哥本哈根

227

Yuichi HIRAKO

(Japanese, b. 1982)

Memories of My Garden: Reading 2

2012

Acrylic on canvas

80 x 75 cm

Signed on the reverse YH, titled Memories of My Garden: Reading 2 and dated 2012

PROVENANCE

Blackwood Gallery, Hong Kong

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

HK$ 390,000 - 571,000

US$ 49,700 - 72,900

RMB 341,000 - 500,000

平子雄一

花園的回憶：閱讀 2

2012

壓克力 畫布

80 x 75 cm

簽名畫背：Memories of My Garden: Reading 2 YH 2012

來源

黑木畫廊，香港

Mayuka YAMAMOTO (Japanese, b. 1964)

Polar Bear Boy

2020

Oil on canvas

130.5 x 97 cm

Signed on the reverse Mayuka, titled Polar Bear Boy and dated 2020

This lot is to be sold with a certificate of authenticity issued by Gallery Tsubaki, Tokyo

NT$ 2,400,000 - 3,600,000

HK$ 623,000 - 935,000

US$ 79,500 - 119,300

RMB 545,000 - 818,000

山本麻友香，近幾年成為人氣畫家，尤其色彩轉趨於明 亮之後，加上發行版畫與藝術公仔，成為年輕藏家熱愛 追逐的標的。其最經典的代表性作品便是描繪穿著動物 裝扮、表情平靜無法言語但卻有些稚氣天真的孩童。天 使般的臉孔，無從臆測的深沉情緒，擄獲不少藏家的 心。被公認為日本第二代傑出當代藝術家之一的山本麻 友香，表情平靜卻有些稚氣天真的孩童，山本麻友香的 「動物男孩」純真且神祕，喚醒許多成年人深層的記憶 以及內在的渴望。

Mayuka Yamamoto has grown her popularity as an artist in recent years, especially when the tone of her works has become brighter, along with the

山本麻友香 北極熊男孩

2020

油彩 畫布

130.5 x 97 cm

簽名畫背：Polar bear boy Mayuka 2020

附椿畫廊開立之作品保證書

release of edition prints and figurines, which are highly pursued by young collectors. Her classic and most representative works are depictions of childish and innocent children dressed in animal costumes with calm and speechless expressions. The angelical face yet displaying profound emotions which are hard to conjecture have captured the hearts of many collectors. Mayuka Yamamoto has recognized as one of Japan’s second-generation outstanding contemporary artists, her works depict children with tranquil expression yet somewhat naively childlike.

Mayuka Yamamoto’s “animal boy” is pure and mysterious, awakening the deep memories and inner desires of many adults.

229

Ayako ROKKAKU

(Japanese, b. 1982)

Dream World 2008

Acrylic on canvas

162 x 130.5 cm

Signed on the reverse Ayako Rokkaku in Japanese and dated 2008

PROVENANCE

Gallery Beniya, Tokyo

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

HK$ 1,091,000 - 1,688,000

US$ 139,200 - 215,400

RMB 955,000 - 1,477,000

女孩與兒童是貫穿她創作的主要母題，採取特寫形式的 佈局。畫裡的人物往往不見笑容，或睜大雙眼，扁著 嘴，表現出憤怒的樣貌。她說自己的人物畫有兩個極 端：「逃離與追尋」，「遠目與凝視」。主角多數有行 走的姿態，大步邁開向前。重覆性的隨機塗鴉圖案、動 物，也經常是畫裡的元素。無論是拉長的手臂或是過 大的眼睛，鮮艷的色彩或是簡化的細節，這些皆是日本 卡通文化所帶來的影響。未上過任何藝術學校的六角彩 子，其畫作技巧與本領皆為自學，靠著她與生俱來的靈 敏觀察力及細膩的情感，她的繪畫技巧上已自成一派。

六角彩子以手蘸滿壓克力顏料，觸摸時的溫暖手感及天 馬行空的塗鴉精神價值，她用即興式的塗鴉將色彩與形 式作了有趣的試驗，繪出了她的夢想世界。

The major themes throughout her painting history are girls and children, and she often portrays them in close-ups. The figures in her painting are often

六角彩子 夢世界

2008

壓克力 畫布

162 x 130.5 cm

簽名畫背：2008 ロッカクアヤコ

來源 紅屋畫廊，東京

unsmiling. Their eyes may be opened wide and their lips pressed together, or they may look angry. She said her figures went from two sets of extremes: “escaping and chasing” or “looking away and staring.” Most of the main figures in her paintings are walking in large strides. Other common elements in her paintings are repetitive random sketches and animals. Having elongated arms or overly large eyes, bright colors or simplified details, they are all influenced by Japanese animation culture. She never received formal education of fine art, her painting skill is self-study, and reflected on her inherently sensitive observation and delicate emotions. Her hands dipped in acrylic, with the spirit value of graffiti, Ayako Rokkaku used improvised graffiti to make interesting experiments on colors and forms that created her hand- painted world of dreams.

230 Bernard BUFFET

(French, 1928 - 1999)

La Cafetiere Bleu

1996

Oil on canvas

64 x 91.5 cm

Signed upper right Bernard BUFFET and dated upper left 1996

PROVENANCE

Sotheby’s, Hong Kong, Jan. 20, 2015, lot 50

NT$ 4,500,000 - 5,500,000

HK$ 1,169,000 - 1,429,000

US$ 149,200 - 182,300

RMB 1,023,000 - 1,250,000

貝爾納．畢費 藍色咖啡壺

1996

油彩 畫布

64 x 91.5 cm

簽名上方：1996 Bernard BUFFET

來源

蘇富比拍賣，香港，2015年1月20日，編號50

La Cafetiere Bleu BERNARD BUFFET

貝爾納．畢費 | 藍色咖啡壺

法國戰後具象藝術的代表大師貝爾納．畢費支撐起藝術 史的重要版圖，在亞洲享有極知名高度與全球性的藏家 擴及度，使其公認為殿堂級藝術家。年輕時才華洋溢的 畢費， 1955 年僅 27 歲即被當時法國《藝術鑑賞雜誌》 選為「戰後十大最傑出藝術家」之首， 1974 年，年僅 46歲的畢費，更入選為最年輕的法蘭西學院美術學院院 士，一生創作了超過八千幅的作品，他驚人的創作力留 下了一系列經典之作。

畢費一生致力於繪畫創 作，時間長達 50 餘年， 其中主題以馬戲團小丑、 鬥牛士、肖像、風景、花 卉、靜物為多。從 1940 年代崛起於藝壇之後， 1950 年代，畢費專注繪 畫，畫面多以憂鬱寡歡的 肖像來表達法國人在戰後 的不安心境。到了 1960 年代，畢費筆下的人與物 在尖銳粗曠的線條下更顯 高亢激昂。

作品《藍色咖啡壺》藝術家以粗獷有力的黑色線條勾咖 啡壺與果物。畫面中央嫣紅櫻桃與藍色的咖啡壺映襯得 出色。新穎的構圖與搶眼的配色將觀者的視覺焦點由畫 中央牽引至後方的景緻，畫面的平衡感得到延展，熾熱

的力量彷彿要從重心處擴散至四面八方。而個性十足的 簽名與書寫年代方式，無疑是畢費特有的標籤，不是隱 身於畫面的一隅，而是主體一旁作為畫面平衡構圖的要 角。花，藝術家一生最愛之一，貫穿了各個時期的筆 觸，見證了藝術家從經典手法到另一個對繪畫的新體驗 與感悟。畢費以物喻情的藝術本質更是暗合東方人內斂 含蓄的修身性格，其筆下尖銳簡練的線條和獨特的空間

處理，與日本傳統版畫有著某種異曲同工之妙《藍色咖 啡壺》呈現了藝術家於20世紀的迷人風格，獨樹一幟， 實是一幅精彩之作。

Bernard Buffet (1928-1999), the representing postwar figurative art master in France, who supported the important territory in art history, enjoying a very high reputation in Asia and cherish among global collectors, making him considered as the artist in the Hall of Fame. His talent was demonstrated while he was young, in 1955 when Buffet was only 27 years old, he was already named as the best out of the top ten post war artists by“Connaissance des Arts”. In 1974, when he was only 46 years old, he was selected as a member of the Académie des BeauxArts. He has created more than 8,000 works in his life, his amazing creativity has left a series of classic works.

Buffet devoted his life to painting for more than 50 years, his themes were mostly circus clown, toreador, portrait, landscape, flower and still life. After rising up in the art world in the 1940s, in the 1950s, Buffy focused on painting, mostly using melancholy portraits to express the disturbed state of mind among French people after the war. While in the 1960s, the people and objects in his paintings became more highpitched and indignant through his sharp and rough lines.

In the work “La Cafetiere Bleu”, the artist outlines Cafetiere and fruits with bold and vigorous black lines. Potted flower and Cafetiere are placed on the right and left of the painting respectively, the blushing cherries in the center contrasted sharply with the green pears in the fruit basket. The novel composition draws the visual focus of the viewers from the center of the painting all the way to the back, extending the balance of the painting, the blazing force seems to spread from the center to all directions. The distinctive signature and the way in writing the year painted are undoubtedly Buffet’s unique marks. They are not hidden in the corner of the painting, but in the centre stage as the main part in balancing the composition of the painting. The potted flower is a cyclamen flower, which often appears in the still life works of Buffet. The vivid red flowers and the heart shaped

green leaves though are static in nature, it reveals a sense of restless rhythm. The red cyclamen flower contrasted against the yellow background, both are clearly matched and also contrasted with one another. Flower, being one of the favorites throughout the life of the artist, penetrates his brushstrokes through various periods, witnessing his new experience and comprehension in painting away from his classic technique. The artistic essence of Buffet in employing objects to describe feelings is even more in line with the reserved, subtle and self-cultivated character of the Orient. His acute and concise lines along with the outstanding treatment in spacing have nevertheless exhibited some similarities with traditional Japanese prints. “La Cafetiere Bleu” presents the artist’s charming style in the 1980s, which is so beyond compare, what a wonderful work.

231

CHU Teh-chun

(Chinese - French, 1920 - 2014)

Multitude en Devenir

2004

Oil on canvas

80 x 100 cm

Signed lower right CHU TEH-CHUN in Chinese and French, dated 04’

Signed on the reverse CHU TEH-CHUN in Chinese and English, titled MUTITUDE EN DEVENIR in French, dated 2004

This lot is to be sold with a certificate of authenticity issued by Atelier Chu Teh-chun

NT$ 9,500,000 - 14,000,000

HK$ 2,468,000 - 3,636,000

US$ 314,900 - 464,000

RMB 2,159,000 - 3,182,000

朱德群

變幻 2004

油彩 畫布

80 x 100 cm

簽名右下：朱德群 CHU TEH-CHUN. 04'

簽名畫背：MULTITUDE EN DEVENIR

CHU TEH-CHUN 朱德群 2004

附朱德群工作室開立之原作保證書

充滿動勢的筆觸、繽紛輝映的色彩、華麗流轉的光影，在 藍色與白色為底的畫面上交融迴響出光燦交織的景像，朱 德群 2004 年之作《變幻》以大膽而有力的配色，揮灑出 極富律動感與音樂性的抒情詩篇，行雲流水之間吟詠壯麗 奔騰之氣韻，呈現明快而充滿正面能量的喜悅。

作為二十世紀斐聲國際的華裔藝術家，朱德群以其獨特的 抒情抽象開創繪畫史上璀燦的篇章，青年時期之前，他在 中國奠立了深厚的東方文化素養，求學於杭州藝專的幾 年，因為戰亂不斷遷校，在顛沛學習中亦盡覽中國的大山 大水，隱然埋下了他未來藝術之路裡涵納天地情懷的胸 襟。他在三十歲後居留台灣數年，並於 1955 年遷居法國 巴黎，於此發展其成熟的抒情抽象風格並逐漸於歐洲建立 名聲，乃至獲得亞洲、美洲各界廣大的讚譽與追隨。朱德 群從德．斯塔耶爾（1914-1955）的回顧展發現了抽象語 彙的自由寬廣、從林布蘭特（1602-1669）的鉅作領略光 與影的互襯技法，從塞尚（1839-1906）的作品裡擷取嚴 謹卻有無限動感的構圖精髓。另一方面，即使遠居歐洲， 書法詩詞一直是朱德群不曾中斷的自我修行，而中國水墨 繪畫，特別是唐宋山水，更受到他的長期推崇與研究。藝 術家分別從東西方文化中汲取養分，經年累月鍛造提煉， 鎔鑄成屬於他個人精湛的抽象語彙，終成大家。

集東西之大成並轉化為成熟、獨立而完整的個人藝術系統 並非易事，二十世紀無數來自亞洲的藝術家矢志融匯東 西，成大家者卻寥寥可數，至為難得。朱德群曾自言要到 六十歲之後才能得心應手，真正創作出滿意的作品，這或 許是藝術家的自謙之詞，卻也透露了他數十年在藝術修為 不斷追求精進的內在歷程。朱德群創作《變幻》時已逾 八十高壽，他選擇使用較為乾澀的筆觸，讓色彩在清晰的 交疊中顯現一種明亮、輕盈的朝氣，琤琮有聲。畫面上 方以層次豐富的藍色調渲染，令人聯想起江南山水的濃 厚墨色，既悠遠且深邃，藝術家巧妙融入得自中國山水墨 韻之領悟所顯現的雄渾大器，在中等尺幅的畫面當中，展 現亂石崩雲的磅礡壯闊，而其間藍色與橘黃色系形成強烈 對比，繽紛的色彩共融，彼此間激盪而互相輝映，即便是 再多的色彩，也不顯雜亂，各自圓滿同時隱隱之間相互聯 結，共譜成磅礡樂章，足見藝術家運用色彩的精湛功力。

CHU Teh-chun MULTITUDE EN DEVENIR

朱德群 | 變幻

Dynamic brushstrokes, vivid colors, and gorgeous light and shadows weave a vibrant image upon a blue and white base. Chu Teh-Chun’s 2004 painting “Multitude en Devenir” (Multitude of Changes) is a rhythmic, lyrical symphony of bold and powerful colors. It exudes a lyric poetry full of movement and musicality, singing of a grand energy between the moving clouds and the flowing water. The painting manifests joy that is bright and full of positive energy.

As a renowned Chinese artist of the 20th century, Chu Teh-Chun opened up a vibrant chapter of art history with his unique lyric abstract paintings. In his youth in China, he established a solid background in Eastern culture. The years he spent studying in the Hangzhou School of Art (now the China Academy of Art) were turbulent, with the school moving constantly due to the War. Yet it was through his difficult education that he was able to see China’s magnificent mountains and rivers, cultivating the embrace of nature that would be seen in his future works. He lived in Taiwan for a few years in his late 30s, and then moved to Paris, France in 1955. There, he developed his mature style of lyric abstract art . He steadily found fame in Europe, followed by praise and followers in Asia, the Americas, and the rest of the world. Chu Teh-Chun found the liberating language of abstract art in the retrospective exhibition of Nicholas de Stael (1914-1955); learned the art of complementing light and shadow from the masterpieces of Rembrandt Harmenszoon van Rijn (1602-1669); and captured the essence of structuring paintings with precision and dynamics from the work of Paul Cézanne (1839-1906). On the other hand, though he lived in faraway Europe, Chu Teh-Chun never stopped the self-cultivation of Chinese poetry and calligraphy. He always highly valued and studied Chinese ink wash paintings, especially the landscape paintings of the Tang and Song Dynasties. The artist took nourishment from both Eastern and Western culture. Through years of continual honing, he forged his own superb abstract language, finally emerging as a great artist.

Blending the best of both Eastern and Western culture into a mature, individual artistic system is not an easy task. Countless artists from Asia vowed to integrate Eastern and Western styles in the 20th century, but a mere handful have ever succeeded. Chu Teh-Chun once said that it wasn’t until after he turned 60 that his hands were truly able to express what was in his mind, and craft works that he was truly satisfied with. This is perhaps the artist’s modest selfdeprecation, but it also shows his continuous internal journey toward bettering himself, over the decades of his artistic career. Chu Teh-Chun was already more than 80 when he painted “Multitude en Devenir”. He chose a dryer brush, which gave the overlapping colors a bright, lithe, chiming vitality. Rich layers of blue cover the top of the painting. The deep colors are reminiscent of the rich inks of southern Chinese landscape paintings, both distant and deep. The artist expertly blended the grandeur of Chinese ink wash landscapes into his work, displaying the magnificent grandeur of mountains among clouds within a medium-sized canvas. The blue and orange create sharp contrast; vivid colors converge, clash, and reflect one another, so that no matter how many colors adorn the canvas, the image never muddles. The colors are interconnected, yet each still shines through. Together, they compose a grand symphony that performs the artist’s masterful use of color.

Chu had already passed his 80s when masterfully created this Multitude en Devenir with the experiences in his lifetime. In structure, it appears as if dashed off in a single masterstroke; yet its balance is perfect, and every corner delights. The strong brushstrokes, vivid colors, bright tone, and broad composition exhibits the artist’s wisdom time and time again. The universe he has created is just like the name of the painting, Multitude en Devenir: constantly changing, encapsulating a myriad of scenes within a fleeting moment.

ZAO Wou-ki

(Chinese - French, 1920 - 2013)

22.04.1997

1997

Oil on canvas

116 x 89 cm

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

Signed on reverse zao wou ki in French, inscribed 116 x 89 cm and titled 22.04.97

PROVENANCE

Galerie Thessa Herold, Paris

Private collection, Asia

EXHIBITED

Peintures Récentes, Galerie Thessa Herold, Paris, November 19, 1997 - January 17, 1998

ILLUSTRATED

Zao Wou-Ki, La Différence, Paris, 1998, p. 297

NT$ 42,000,000 - 60,000,000

HK$ 10,909,000 - 15,584,000

US$ 1,392,100 - 1,988,700

RMB 9,545,000 - 13,636,000

趙無極

22.04.1997

1997

油彩 畫布

116 x 89 cm

簽名右下：ZAO無極

簽名畫背：Zao Wou-Ki 22.04.97 116 x 89 cm

來源

Thessa Herold 畫廊，巴黎

私人收藏，亞洲

展覽

「趙無極近期作品展」，Thessa Herold 畫廊，巴黎，展期自1997年11月19日至1998年1月17日

圖錄

《趙無極》，La Différence，巴黎，1998，頁297

1990年代對趙無極而言，是一個過盡千帆、攀過千峰， 逐漸朝向悠然自在、坦然遨遊於天地之間的階段。他自

1950年代逐步確立個人的藝術走向，經歷了數個階段的 蛻變，抒情抽象的風格 1960 年代愈臻成熟， 1970 年代 重拾水墨習作而為他的油畫創作注入大量的墨韻新意而

大放光采，及至1981年受邀於巴黎大皇宮舉辦個展，既

是華人第一，亦代表了藝術家備受讚譽的地位。往後， 已屆知天命之年的他腳步未曾停歇，依然致力於自我突 破，而於1989年前後進入又一新的創作階段。此時藝術 家開始採取由外往內包覆，若洞穴般的整體搆圖形式， 與此前山脊式內聚外放，力量聚集於畫面中心的搆圖有 著顯著的差異，延續至1990年代後期。

《 22.04.1997 》即採取此包覆性構圖，如此的構圖因 為缺乏明確的視覺重心，更需要卓越且宛若天成的結構 與色彩掌握能力以凝聚畫面的力量，藝術家以富麗充滿 光采的澄黃與黛綠鋪陳此作，打造了一方既莊嚴崇高且 自在無拘的精神世界。整幅畫作充滿生之律動而不顯凝 滯，玫瑰色調豐富而細緻的層次堆疊成一方深邃、而難 以一眼探盡的天際，每個細節都引人入勝，吸引觀者前 往更深更遠之處探索，而其中蘊含了大自然生生不息的 無盡奧義。這是趙無極為世界呈獻的禮讚，帶領我們看 見流轉於天地之間，不受時間拘束的宇宙之光。

是詩人、文學家，亦是藝評者的伊夫．博納富瓦（ Yves Bonnefoy ， 1923-2016 ）曾在 1997 年，也就是趙無極 創作《 22.04.1997 》的同一年，如此評論：「趙無極

在畫中絲毫不就單純的感覺品質觀察色彩和形狀，而著 意於其協調的能力。他們被使用而非被固定，在畫面上 互相協調著，不斷地移動、交結、展聞，忽隱忽現於可 見的世界⋯⋯使我們在解散的物質邊緣窺見我們平凡生 命所陌生的驚人曙光。」「（伊夫．博納富瓦〈趙無極 的思考〉《趙無極繪畫六十年回顧》，上海三聯書店， 1999 ，頁 27-28 ；原載於 1997 年 11 月至 1998 年 2 月巴黎 Galerie Thessa Herold 「Zao Wou-Ki」展）」在情感與

藝術事業上皆執著且滿懷熱情的趙無極，於時代洪流中 歷經了悲歡離合，在東、西方文化之洋中摸索，獨行於 那未曾有人踏足的開創之路，一路行來，所有的生命跌 宕已然昇華，展現在《 22.04.1997 》一作中，自然而然

地在華麗而神秘的天地裡，散發出莊嚴智慧的光芒。

For Zao Wou-ki, after having lived through the many peaks and valleys of his life to that point, the 1990s was a stage where he could gradually move toward becoming truer to himself and calmly making his way in the world. Since the 1950s, Zao had gradually established his personal artistic style. Having experienced multiple stages of metamorphosis, his style of lyrical abstraction became more mature in the 1960s. In the 1970s, he revisited ink wash, and, in a triumph for his genius, began to use ink generously in his oil paintings. And in 1981, he was invited to hold a solo exhibition at the Galeries Nationales du Grand Palais. Not only was he the first Chinese person to have had this accomplishment, this also showed that the artist had attained a place of honor. Later, at an age where, as Confucius put it, he knew the will of Heaven, Zao never stopped creating and continued to make personal breakthroughs. Around 1989, he entered a new creative stage. During this period, the artist started using a cave-like composition, covering up the center from the outside. There was a significant difference from previous works in which the mountains are clustered in the center and radiate outwards, making the center of the composition the source of power. The new approach continued into the second half of the 1990s. The painting 30.9.97 uses precisely this covered up composition. Due to the lack of a clear visual focus, this sort of composition requires an even more refined and natural ability in structuring and handling colors

to condense the force within the picture. The artist has used rich and bright orange and dark green in this work, creating a spiritual world that is at once solemn and serious, but also free and boundless.

Poet, writer and art critic Yves Bonnefoy (1923-2016) commented in 1997, the year that Zao Wou-ki created 22.04.1997: In his paintings, Zao Wou-ki is not in the slightest just making simple observations of color and form using his feelings. Rather, it is about his ability to coordinate. The shapes and colors are used but not stabilized. They coordinate with each other in the composition, moving continuously, tying together, expressing, and appearing fleetingly in the visible world… Around the edges of dissolving objects, they give us a peek at an amazing dawn unknowable in our usual lives. (Yves Bonnefoy, The Thought of Zao Wou-ki, Zao Wou-ki’s Sixty Years of Painting, Shanghai Joint Publishing, 1999, pp. 27-28. Originally published for the Zao Wou-ki exhibition at the Galerie Thessa Herold, Paris, November 1997 to February 1998.) Zao Wou-ki, who was passionate and persistent in both his internal life and his artistic career, lived through tumultuous times in history. He explored the seas of Eastern and Western culture, and walked a solitary path, one that he blazed for himself. Throughout his journey, he eventually transcended all the ups and downs. Displayed in the work 22.04.197, they naturally give off a solemn and intelligent glow, in a magnificent and mysterious world.

233

Yoshitomo NARA (Japanese, b. 1959)

Miss Forest / Creamy Snow

2016

Urethane on bronze, edition of 3 & 2AP

64(L) x 74.6(W) x 239(H) cm

PROVENANCE

Pace Gallery

Private collection, Asia

EXHIBITED

Miss Forest, Aomori Museum of Art, Aomori, 2016 (different sized version)

En / trance Series: Yoshitomo Nara, Japan Society, New York, 2019 (different sized version)

Yoshitomo Nara, Miss Forest, Los Angeles County Museum of Art, 2020 (different sized version)

NT$ 55,000,000 - 65,000,000

HK$ 14,286,000 - 16,883,000

US$ 1,823,000 - 2,154,500

RMB 12,500,000 - 14,773,000

奈良美智 森林之子 / 奶油般的雪

2016

銅 聚氨酯 限量3 & 2AP

64(長) x 74.6(寬) x 239(高) cm

來源 佩斯畫廊 私人收藏，亞洲

展覽

「森の子」，青森縣立美術館，青森，2016（不同尺寸版本）

「入口系列：奈良美智」，日本協會，紐約，2019（不同尺寸版本）

「森林之子」，洛杉磯郡立美術館，洛杉磯，2020（不同尺寸版本）

頌揚溫暖的平靜與美好 奈良美智的森林之子

奈良美智，無疑是近年藝術市場最炙手可熱的日本藝術 家名字之一，他的作品孤獨卻溫暖、簡單卻觸動人心， 以童趣卻叛逆的形象令人著迷，深受收藏家追捧。自詡 為吟遊詩人，有著搖滾叛逆卻充滿人道的溫暖心懷， 喜歡一邊旅行一邊創作，在回憶童年時代的創作中，描 繪出動人的生命經歷。

「沒有人能真正參透生命的意義，我們要做的只是感 受。」— 奈良美智

2011年3月11日，東日本大地震震擊了日本，也撼動了 全世界。當時的奈良美智對於來自日本地震災區的所產 生虛無感與創傷也如海嘯般來襲，即便親身前往災區賑 災，在那之後半年依舊無法動筆畫畫。他跟隨了攝影大 師荒木經惟摸索攝影，也慢慢從像是有著土地的溫暖般 的泥塑找回創作溫度。有別於 1990 年代所使用玻璃纖 維所製作光滑夢幻的大型雕塑創作， 2011 年開始奈良 美智回歸手感的陶土雕塑，黏土為沒有矯飾的天然材 質，更使得他於泥塑過程找回與自己的對話，泥塑雕 塑啟發了當時奈良美智對於雕塑媒材的無限可能性。奈 良嘗試將畫作中表現的複雜情感、激發更深層的內在世 界，轉移到更具體的媒材，後期的立體雕塑有著他對於 生命深刻的無常體悟。

「森子」是奈良美智為數眾多的雕塑作品之一，其天真 無邪的外表精萃了奈良藝術生涯中最為核心的童年記 憶。奈良美智早期的創作，已經有森子的形象，輕盈外 翹的髮梢，可愛的大眼及猶如樹叢般的造型呈現三角形 的樣貌。奈良企圖以孩童純真的角度，跳脫以往作品中 諷刺的口吻或憤怒，轉而回歸單純、平靜的自然之境。 由於奈良美智幾乎不為筆下任何娃娃命名，更可知森子 在奈良美智心目中的地位何其重要。

此件2016年作品《森林之子/奶油般的雪》239公分的尺 寸有著奶油色的溫暖氛圍，散發著希望。奈良企圖以孩 童純真的角度，跳脫以往作品中詼諧、卻帶點叛逆的口 吻，轉而回歸單純、平靜的自然之境，如冷杉般高聳彷 彿直通天際彷彿要與宇宙溝通般。 2016 年為日本青森 縣立美術館為慶祝開館十週年，特別請奈良美智創作高 約六公尺的全新常設作品 《森林之子》設置於「八角 堂」。《森林之子》更為奈良美智盡顯精髓象徵性版本 的森子雕塑，其創作期間為東日本大震災發生之後，因 此奈良美智在創作之時，投注更深藏的祈禱感情。別於 有著童真的叛逆感的反叛小女孩，森子的溫暖清新更能 撫慰311地震對日本所帶來的低潮，提醒著世人大自然所 饋予人類最珍貴的寶藏，更心存感激地愛護這片土地。

圖片來源: 藝術家Instagram

Photo credit: Artist's Instagram

《Miss Forest / Thinker》2017銅 聚氨酯

139.7(長) x 158.8(寬) x 500.4(高) cm N's Yard現藏

《森林之子 (Japan Society Version) 》

2019 銅 聚氨酯378.5(高) cm

The Warmth of Peacefulness and Positivity

Miss Forest of Yoshitomo Nara

Yoshitomo NARA is one of the most sought-after Japanese artists in the art market in recent years. His works induce a feeling of loneliness with warmth in a simplistic yet intriguing way. The image of rebellious youth fascinates the viewers and entices collectors. Self-described as a poet with a rebellious and humane personality, Nara likes to create art during his travels, to reflect one’s life journey through their reminiscence of childhood.

“No one can fully understand the meaning of life. One can only feel it.” - Yoshitomo

NARA

The earthquake of East Japan shocked the world on 11th March 2011. The feeling of emptiness and sorry from the aftermath of the earthquake shook Nara drastically. While he visited the affected area, he could not draw for half a year from the event. He followed photographer Nobuyoshi Araki with an interest in photography and started his creation through the warmth of earth and clay. Since 2011, Nara has started his creation with clay sculptures. This is a stark contrast with fantasy large glass fiber sculptures from the 1990s. Clay is raw and natural that helped the artist formulate his meditating thoughts and opened a realm of possibilities with the medium for his artistic creation. Through his art, Nara expresses complex emotions deep within his mind into a physical form. Such expressions could be found in Nara’s sculptures in his later career.

“Miss Forest” is a series of sculptural works by Yoshitomo Nara that represents the artist’s profound childhood memories through an innocent appearance. Hints of Miss Forest could be found in Nara’s earlier works, represented with a curly hairdo, big eyes and a triangular shape that resembles a tree. The artist diverted himself from the sarcastic anger, as depicted in earlier works, to an innocent and peaceful natural environment through the perspective of an innocent child. Through the absence of names, one can understand the importance of Miss Forest in the mind of

Yoshitomo NARA.

《森林之子 (LACMA Version) 》2020 銅 聚氨酯 236.2(長) x 221(寬) x 779.8(高) cm 洛杉磯郡藝術博物館；國巨基金會現藏

《森林之子》2016 銅 聚氨酯 227(長) x 227(寬) x 635(高) cm 青森縣立美術館現藏

Miss Forest: Creamy Snow was completed in 2016 with 239 cm in height. There is a creamy cozy warmth of hope dilating from the work. Nara used the perspective of an innocent child to create a fun yet rebellious tone, while returning to the simplistic and peaceful state. It resembles a pine fir soaring beyond the sky and space. In the commemoration of the 10th anniversary of the Aomori Museum of Art in 2016, Nara was invited to create a public art of Miss Forest of 6-feet in height. Miss Forest became a symbol of his creation. As the series was created after the earthquake in East Japan, there is a noticeable message of prayer and emotion in the works of Yoshitomo Nara. Contrary to his rebellious girls, Miss Forest’s warmth enlightens Japan amidst the aftermath of the earthquake, reviewing the precious treasures that Nature has brought to humanity and reminding us to be grateful and proactive towards conservation.

234

ZENG Fanzhi (Chinese, b. 1964)

Untitled (triptych)

2010

Oil on canvas

280 x 540 cm

Signed lower right ZENG Fanzhi in Chinese and English and dated 2010

ILLUSTRATED

ZENG Fanzhi, Artmia Foundation, Benjin, pp. 32-33 & 43

This lot is to be sold with a certificate of authenticity issued by Zeng Fanzhi Studio

NT$ 22,000,000 - 42,000,000

HK$ 5,714,000 - 10,909,000

US$ 729,200 - 1,392,100

RMB 5,000,000 - 9,545,000

曾梵志

無題 ( 三聯屏 ) 2010

油彩 畫布

280 x 540 cm

簽名右下：曾梵志 ZENG Fanzhi 2010

圖錄

《曾梵志》，Artmia 基金會，北京，頁32-33 & 43

附曾梵志工作室開立之作品保證書

ZENG Fanzhi UNTITLED (TRIPTYCH)

曾梵志 | 無題 ( 三聯屏 )

抽象與精神。以暗色調描繪狂放不羈的野草，就像一張 網，或者一種我們在夢魘中糾纏我們的野生植物。陰沉 的山谷更增添一種不安的感覺。雖然我們的情緒與情感 正如這些野草所表現般混亂而恐懼，但這並不是我們需 要抑制或逃避的。當夜幕降臨時，這些草是狂放，活力 而戰慄的，正如人們最深處的情緒與想法一般。

在中國當代藝術領域，從不同角度看曾梵志，都在同行 中脫穎而出，顯示出他在表現手法和技法上罕見的成熟 度。作品主要關注內心世界，反映強烈的心裡不安，及 尋求混亂新世界的意義。與他同時期的藝術家，大多在 表現開放與崛起中的中國大環境下的政治與社會問題， 而曾梵志卻將目光集中在這可怕的新環境中，個體的異 化和冷漠。他的作品不僅主題獨特，對中國偉大的傳統 筆觸和空間使用等技法也有所研究。他永恆的主題—— 異化與冷漠的痛楚，與他嫻熟的畫筆運用，使全世界認 可他是位中國當代最重要的藝術家之一。

此幅《無題（三聯屏）》作品描繪在黑暗陰沉的山谷周 圍，茂密生長的野草，線條錯綜如密度集中的網絡。曾 梵志脫離他早期的表現主義，而更逼近中國傳統藝術的

曾梵志嫻熟的筆觸增強了力量和情感。這是他自由隨性 與潛意識作畫風格的象徵，使他的心情和情緒流淌在畫 布上。藝術家一手抓著兩把筆刷，創造出混亂野性的線 條。正如使用筷子，一把刷子用手指緊緊夾住，而另外 一把刷子則在兩手指間自由移動。第一把刷子構造的第 一根線條，像我們被抑制的意識與思想，第二把刷子構 造的第二根線條就像我們不受控制的情緒。曾梵志創造 出人們內心狀態的抽象風景。這種心理狀態，以黑暗神 秘的山谷與充滿活力的野草，加上平寧靜的天空來詮 釋，平靜與混亂得到了完美的平衡。曾梵志的技法創造 出一種結合邏輯與不理性的新式語言。邏輯的思維與無 意識、直覺及感性相聯繫，正如手中兩支筆刷一樣。畫 作表面勾勒的深線條加強了畫作表面的注意力以及野草 混亂的本性。這像極了中國古代藝術中抽象的書法再現 技術。他的作品表達出生活在孤立混亂的社會中，藝術 家的情感和心理狀態。曾梵志獨特的心聲是一個藝術家 真實的聲音，表現了他內心深處的騷動和情感憂慮。

曾梵志《無題》2010 油彩 畫布 180 x 280 cm，佳士得香港，

2021春季拍賣會，編號64，港幣2065萬成交

Zeng Fanzhi stands out in many ways from his peers in contemporary Chinese art, displaying an uncommon maturity both in terms of expression and technique. Primarily concerned with the inner world, his body of work reflects his deep psychological unease and search for meaning in a bewildering new world. While his contemporaries mostly focused on political and social issues in a newly open and emerging China, Zeng from the beginning of his career focused on the alienation and detachment of the individual in a frightening new environment. Zeng is not just unique in his themes, he has also been an experimental technician in painting methods and particularly in the great Chinese tradition of brush strokes and use of space. Both his universal themes of the pain of alienation and detachment and his masterful use of the paintbrush have brought him worldwide recognition and made him one of the most important of Chinese contemporary artists.

Zeng’s masterful brush strokes add to the heightened sense of power and emotion. They are indicative of his free flowing and subconscious painting style, allowing his moods and emotions to flow onto the canvas. Zeng uses two brushes held in one hand between different fingers to create his chaotic, wild strokes. Just as with a pair of chopsticks, one brush is held firmly with three fingers while the second one moves freely between two fingers. The first one creates deliberate thought out strokes, the second follows, freely creating whatever lines it wants. The first stroke is like our conscious, controlled thoughts, the second stroke like our wild, uncontrolled emotions allowing Zeng to create an abstract landscape of our inner psychological state. This psychological state is further represented by the peaceful and calm sky juxtaposed with the dark, mysterious hill covered in wild vigorous grasses. Calmness and turmoil are wonderfully rendered. Zeng’s brush technique has

This lot “Untitled (triptych)” depicts wild grasses growing luxuriantly around a dark brooding mountain and the lines are intricate like a densely concentrated network. Zeng has moved away from his earlier expressionism and has moved closer to the abstractness and spiritualism of traditional Chinese art. The grasses are strong and chaotic in dark colors, almost net like, or a wild plant in our nightmares entangling and ensnaring us. The dark colors of the brooding mountain add further to a sense of uneasiness. However, the white and reds of the sky bring a sense of peace and calmness. While our emotions and feelings as represented by the grasses are chaotic and frightening, they are not something we need to repress or run away from. As night falls, the grasses are strong, vigorous and vibrant perhaps like our deepest emotions and thoughts.

created a new representational language combining the logical and irrational. The logical mind sits side by side with the unconscious, intuitive and emotional mind, just as the two brushes sit side by side in the hand. The deep linear marks stroked into the surface of the painting draw attention to the surface of the painting and the chaotic nature of the grasses. This is highly reminiscent of the abstract calligraphic representational techniques of ancient Chinese art. His oeuvre charts a major exploration of the emotional and psychological state of the artist in an alienating and chaotic society. Zeng’s unique voice is the true voice of an artist as he expresses his innermost turmoil and deep emotional disturbances.

曾梵志《江山如此多嬌之二》2010 油彩 畫布 250 x 1050 cm，佳士得香港，2021秋季拍賣會，編號15，港幣3985萬成交

235

KAWS (Brian Donnelly)

(American, b. 1974)

Going As Friends

2013

Acrylic on canvas

243.8 cm (diameter)

Signed on the reverse Kaws and dated 2013

PROVENANCE

Mary Boone Gallery, New York

Christie’s, New York, Nov. 16, 2016, lot 420 Private collection, Asia

EXHIBITED

KAWS, Mary Boone Gallery, New York, November 2013 - December, 2013

NT$ 17,000,000 - 24,000,000

HK$ 4,416,000 - 6,234,000

US$ 563,500 - 795,500

RMB 3,864,000 - 5,455,000

KAWS 〈布萊恩．唐納利〉

作為朋友

2013

壓克力 畫布

243.8 cm (直徑)

簽名畫背：Kaws..13

來源

KAWS，Mary Boone藝廊，紐約

佳士得，紐約，2016年1月16日，編號420

私人收藏，亞洲

展覽

「KAWS」，Mary Boone 藝廊，紐約，展期

自2013年11月至2013年12月

跨界有理 KAWS，翻轉藝術新力量

KAWS: Across Boundaries - Flip the new power of art

本名是布萊恩．唐納利的 KAWS 生於美國紐澤西。成長 於澤西市、熱衷滑板時期，經常以創作筆名「 KAWS 」 的緊密文字組合圖像，裝飾於貨運列車和牆壁上，以塗 鴉創作的方式宣示般展現自身才能。KAWS於1992年畢 業於中學後，開始運用看不到筆觸的畫法，以壓克 力顏料添加創作在廣告影像之上，在 創作部分與原廣告無縫銜接的同 時，亦推翻了廣告牌和公共 廣告的原始影像。

1987 年布萊恩對塗 鴉產生興趣，隨 意在筆記本上 塗塗畫畫，因 為就讀天主 教學校，故 意畫一些反 宗教的東 西，或是 看起來酷酷 的怪物。高 中時期，他 更加進階， 改在牆壁塗

鴉，年輕都愛到

處 Tag 標籤自己的 名字。然而塗鴉畢竟 屬於非法的行為，不能 用本名，於是布萊恩設計了

四個字母 KAWS ，從此以 之名闖蕩江湖。

除了商業方面的發展， KAWS 同時在創作巨幅畫作以及 吸塑包裝繪畫之中刻劃著他的熱情。許多人臆測 KAWS 加強對於漫畫和流行文化標誌性人物的運用，是起源他 受雇於迪士尼擔任動畫師期間對於角色文化的關注。

再者，對於極具代表性角色所進行的再製作，已成為 KAWS 作品的中心概念及特色，他利用過的角色包含藍 色小精靈、海綿寶寶、米其林和米老鼠。他獨特的藝 術手法模糊了藝術、設計和商品的界限。 KAWS 曾說

過：「我對抽象總是很感興趣，因為它在基礎層面 與動畫相關。在所畫之物可供辨認之 前，繪畫本身就是一個抽象的 過程。」以“ X X ”形雙眼 KAWS 的印記二度 創作的卡通形象， 主體形象更加強 烈，成為一枚通 關密碼，彰顯 KAWS 跨越國 界族群與世 界溝通的符 碼。

KAWS: Across Boundaries - Flip the new power of art

KAWS’s real name is Brian. Brian Donnely, born in 1974 in New Jersey, USA. In the 1980s, Hollywood movie Star Wars, Transformers popular, TV show Sesame Street, Snoopy, Garfield, Simpsons and other cartoon albums, these virtual characters accompanied by Brian’s childhood, most of the world’s children of the same generation, almost popular in the United States Cultural influence. Bit by bit of the

growing impression, gradually puzzled his fantasy and imaginative fantasy world.

In 1987, Brian became interested in graffiti, arbitrarily painting on his notebook, because he was studying Catholic school, deliberately painting some antireligious things, or looking like a cool monster. In high school, he was more advanced and changed to wall graffiti. Young people loved the Tag label’s own name. However, graffiti is an illegal act after all, and cannot use the real name. So Brian designed the four-letter KAWS, and since then it has been in the name of KAWS.

Alongside the more commercial sector, KAWS portrayed his passion for painting on large canvases and paintings inserted into plastic blister packages. Many speculated that this interest originates from the time when the artists was employed at Disney as an animator, a period which intensified his appropriation of iconic characters from comic books and popular culture. These sentiments are manifested in some of KAWS’s early series executed in the 2000, entitled

“The Kimpsons”, where the artist subverted the predominant American cartoon, The Simpsons into his own artistic productions. KAWS reasons that “I found it weird how infused a cartoon could become in people’s lives; the impact it could have, compared to regular politics.” Moreover, a reworked of other iconic characters that became the central characters in KAWS’ paintings include the Smurfs, Sponge Bob Square Pants, the Michelin Man and Mickey Mouse. KAWS’ unique artistic approach deliberately blurs the boundaries between art, design and product. KAWS once said: “I am always interested in abstraction because it is related to animation at the basic level. Before the painting is identifiable, painting itself is an abstract process.” The cartoon image created by the “X” shape is KAWS’s imprint, and the main image is more intense. It becomes a password, and it also emphasise the way that KAWS communicates with the world across boundaries.

Izumi KATO

(Japanese, b. 1969)

Untitled

2006

Acrylic on wood

32(L) x 20.5(W) x 76.4(H) cm

Engraved on the back KATO in English, Izumi in Japanese and dated 2006

PROVENANCE

SCAI The Bathhouse, Tokyo

Sotheby’s, Hong Kong, October 7, 2012, lot 835

EXHIBITED

Just Love Me, Royal / T, Culver City, USA, 2008

I Can’t Feel My Face, Royal / T, Culver City, USA, 2009

NT$ 4,600,000 - 6,000,000

HK$ 1,195,000 - 1,558,000

US$ 152,500 - 198,900

RMB 1,045,000 - 1,364,000

加藤泉的木雕創作上展現對哲學的生死、宇宙、人生觀 的體現。他的創作總是取名為無題，不過大部分以人形 般的生物為主，作品形象略帶神秘彷若山林中的精靈， 有著萬物皆神靈的似日本神道教精神。作品有著鮮明原 文化形象，如神話傳說般生物充滿生命力，從其創作當 中看見加藤泉對於古自然的嚮往，也可以窺視藝術家充 滿想像冒險的探索精神。

2005 年，加藤泉開始探索雕塑的三維空間，因此他開 始了一系列木刻雕塑的創作，反覆出現的如神靈般的生 物形象賦予了另一種形式的存在。他保留了木頭原始的 質感，粗曠、原始有如充滿生命力的非洲雕塑，更為原 生藝術的一種極致表現。加藤泉完成於 2007 的木雕作 品《無題》，帶著風格化的三頭生物，怪誕且脫俗，亦 表現出他對人類形象高度風格化的處理，使觀者面對藝 術家於自然萬物的獨特詮釋，似人似神既親切又陌生的 創作，嚴肅、靜謐卻充滿旺盛生命力，從平面到立體， 從繪畫到雕塑，加藤泉自由豐富藝術特質創造出當代雕 塑中無限大的可能性。

He then decided to leave the construction site and wholeheartedly devoted to creation. His creations are always named Untitled, yet most of them are human-like creatures. The imagery of his works is slightly mysterious, resembling the spirits resided in

加藤泉 無題

2006

壓克力 木雕

32(長) x 20.5(寬) x 76.4(高) cm

簽名雕刻背面：2006 KATO 泉

來源

澡堂畫廊，東京

蘇富比，香港，2012年10月7日，編號835

展覽

「就請愛我」，Royal / T，卡爾弗城，

柯佛市，美國，2008

「我無法感受我的臉」，Royal / T，

柯佛市，美國，2009

mountains and forests, with the spirit of Japanese Shintoism that all living things are divinities. His work contains a distinct original cultural image, the creatures are full of vitality as though depicted in myths and legends. From his creation, one can see his yearning for ancient nature, and also his imaginative and adventurous exploration spirit.

In 2005, he began to explore the three-dimension sculptures, hence he commenced a series of woodcarving sculptures. The imagery of deity-like creature repeatedly appears, which gives another form of existence. He retains the rawness texture of wood, rough and primal as if the vibrant African sculptures, which is an ultimate expression of primitive art. His woodcarving work “Untitled” made in 2007, with stylized three heads, uncanny yet refined, also exhibiting his highly stylised process in working with human images, this allows viewers to confront with the artist’s peculiar interpretation of all things in nature. His creations resemble both human and goodness forms, simultaneously display two sentiments of benevolent and unfamiliar. They are solemn, still but full of vigorous vitality. From flat surface to threedimensional, from painting to sculpture, Kato Izumi’s unrestrained and abundant artistic characteristics create infinite possibilities in contemporary sculpture.

237

Kohei NAWA (Japanese, 1975)

Pixcell - Angel #2

2021

Mixed media

27.5(L) x 24(W) x 24(H) cm

PROVENANCE

The Pace Gallery, London

NT$ 3,200,000 - 4,600,000

HK$ 831,000 - 1,195,000

US$ 106,100 - 152,500

RMB 727,000 - 1,045,000

被喻為當代日本最具人氣的藝術家之一的名和晃平其作 品以雕塑為主要創形式，而他最著名的「PixCell」雕塑 系列探討細胞與表層的關係，以現代社會特有的媒材如 玻璃珠、樹脂、熔膠等從事形變等雕塑創作。名和晃平 亦積極從事其他創作形式如影像，更與愛馬仕、Agnès. b 等時尚品牌跨界合作。

「 PixCell 」這個自創的詞由英語 Pixel （像數）和 Cell （細胞）組成。 Pixel 是建構數位影像的點，而 Cell 則是 組成所有生物的基本元素。名和晃平透過透明球體把不 同的實物，包括動物標本、日常用品、樂器等原本由不 同物料組成的東西，全部統一為相同的基本元素。球體 構成「PixCell」雕塑的「細胞」，就像虛擬世界中所有 圖像都由像數組成一樣，名和晃平巧妙地把電腦虛擬使 之具體化。

名和晃平不但深入研究了日本文化中民俗和宗教的 特性。在倫敦，他學習和鑽研了中世紀宗教藝術。

《 Pixcell －天使 2 號》從聖鹿到天使，名和晃平體現了 雕塑詩性的維度，他藉由「 PixCell 」思考人的存在意 義，或生命的意義。名和晃平的「PixCell」系列重組成 了虛擬具象化，探討形式與內容、內部與外部及視覺與 觸覺的二元關係，兩者合一造就極具代表性的21世紀當 代藝術傑作。

Known as one of the most popular artists in Japanese contemporary art, Kohei Nawa employs sculpture as the main creative form in his works. His most famous “PixCell” sculpture series explores the relationship between cells and the surface, utilizing media that is so unique in modern society, such as glass beads,

名和晃平

Pixcell －天使 2 號

2021

複合媒材

27.5(長) x 24(寬) x 24(高) cm

來源

佩斯畫廊，倫敦

resins, melt glues etc., in his creation of deformed sculptures. Kohei Nawa is also actively engaged in other creative forms such as video, and has also collaborated with fashion brands such as Hermès and Agnès. b.

The self-created word “PixCell” is composed of Pixel and Cell. Pixel is the dots constructing digital images, while Cell is the basic element of all living creatures. Through transparent spheres, Kohei Nawa unifies different objects, which are constituted of different materials, such as animal specimens, daily necessities and musical instruments, into the same basic elements. The spheres constitute as the “cell” of the “PixCell” sculpture, just like all images in the virtual world are made up from pixels, Kohei Nawa cleverly enables the virtualized computer to become concrete.

Kohei Nawa not only conducted in-depth study into the characteristics of folklore and religion in Japanese culture. While in London, he also studied and delved into medieval religious art. In the “Pixcell - Angel No. 2” from the holy deer to the angel, Kohei Nawa displays the poetic dimension of sculpture. Through “PixCell” he ponders on the meaning of human existence, or the significance of life. Kohei Nawa’s “PixCell” series reorganize the virtual into realistic, exploring the binary relationship between form and content, interior and exterior, finally vision and touch. The combination of the two creates the most representative masterpiece of contemporary art in the 21st century.

238

Chiharu SHIOTA

(Japanese, b. 1972)

State of Being (Photographs)

2018

Metal frame, red thread, photograph

30(L) x 30(W) x 60(H) cm

Signed inner frame CS

This lot is to be sold with a certificate of authenticity issued by Mimmo Scognmiglio, Milano

NT$ 2,400,000 - 3,800,000

HK$ 623,000 - 987,000

US$ 79,500 - 126,000

RMB 545,000 - 864,000

塩田千春 存在的狀態

2018

( 相片 )

金屬框 紅線 相片 30(長) x 30(寬) x 60(高) cm

簽名右後：CS

附Mimmo Scognmiglio畫廊開立之作品保證書

無數的線交織成網，由點至面、從地面蔓延至牆壁。如 果草間彌生專注於描繪無限的波點，那麼塩田千春則是 為生命織起無限延伸的網絡。身為日本當代藝術具有代 表性的藝術家之一，塩田千春現今活躍於世界的舞台。 塩田千春透過作品所描述的，是與人之間的連結。儘管 生命有限，但她深信肉體雖死而靈魂長存。自被診斷出 12 年前的癌症復發後，塩田千春抱著這個信念用線重 現萬物活過的痕跡以及人生無常的課題。紅色的線象徵 著血液的顏色交織起人與人之間的關係。《存在的形狀 ( 相片 ) 》、藝術家探索了我們的內在情感與有形物體之 間的密切聯繫，呈現「缺席中的存在感」，唯有觸動人 心的藝術、讓觀者深刻體會塩田對於無常人生的體悟， 才是藝術家所追求的救贖。

Yayoi Kusama focuses on depicting the infinite polka dots, while Chiharu Shiota is weaving an infinitely extending network for life. As one of the representative artists of Japanese contemporary art, Shiota is now active on the world stage. Chiharu Shiota's works describe emotions, life, and even more connections with people. Although life is limited, she is convinced that even though the body is dead, the soul will live forever. After recurrence of the cancer being diagnosed 12 years ago, she holds the belief in recreating the traces and impermanence of life with thread. The red thread symbolizes that the color of blood interweaves the relationship between people. “State of Being (Photographs)”she explores the close connection between our inner emotions and tangible objects, presents “the sense of being in absence”. Only the art that touches people's hearts and allows viewers to deeply understand her comprehension of the impermanent in life is the ultimate salvation pursued by the artist.

239 KAWS (Brian

(American, b. 1974)

Donnelly)

Four Foot Dissected Companion (Black)

2009

Fiber reinforced plastics, edition of 100

54(L) x 31(W) x 128(H) cm

Copyright © KAWS.. 09 on the bottom of the left foot, and trademark MEDICOM TOY 2009 MADE IN CHINA on the bottom of the right foot

With a security laser tag

This lot is to be sold with its original product box

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

HK$ 338,000 - 571,000

US$ 43,100 - 72,900

RMB 295,000 - 500,000

KAWS 〈布萊恩．唐納利〉

4 呎同伴解剖 ( 黑色 )

2009

纖維增強塑料 限量100件

54(長)x 31(寬) x 128(高) cm

版權左腳：© KAWS.. 09

註冊商標右腳：MEDICOM TOY 2009 MADE IN CHINA

防偽雷射標籤

附原產紙盒包裝

240

Damien Hirst

(British, b. 1965)

Spin Painting - Asterisk

2009

Acrylic, metallic paint on paper

53 x 52 cm

Painted signature Damien Hirst, stamped with the artist’s copyright and marked with the studio's blind stamp on the reverse

PROVENANCE

Pinchuk Art Centre, Kiev

Acquired from the above by the present owner

NT$ 80,000 - 160,000

HK$ 21,000 - 42,000

US$ 2,700 - 5,300

RMB 18,000 - 36,000

達明．赫斯特 星號旋轉畫

2009

壓克力 金屬塗料 紙本

53 x 52 cm

印刷簽名畫背：Damien Hirst © Damien Hirst 藝術家工作室壓印

來源

賓須克藝術中心，基輔

現藏者購自上述來源

241

Damien Hirst

(British, b. 1965)

Spin Painting - Star

2009

Acrylic, metallic paint on paper

52 x 52 cm

Hand signed on the reverse Damien Hirst

Painted signature Damien Hirst, stamped with the artist’s copyright and marked with the studio's blind stamp on the reverse

PROVENANCE

Pinchuk Art Centre, Kiev

Acquired from the above by the present owner

NT$ 120,000 - 260,000

HK$ 31,000 - 68,000

US$ 4,000 - 8,600

RMB 27,000 - 59,000

達明．赫斯特 星星旋轉畫

2009

壓克力 金屬塗料 紙本

52 x 52 cm

親簽畫背：Damien Hirst

印刷簽名畫背：Damien Hirst © Damien Hirst

藝術家工作室壓印

來源

賓須克藝術中心，基輔

現藏者購自上述來源

242

Damien Hirst

(British, b. 1965)

Spin Painting - Circle

2009

Acrylic, metallic paint on paper

52 cm (diameter)

Hand signed on the reverse Damien Hirst

Painted signature Damien Hirst, stamped with the artist’s copyright and marked with the studio's blind stamp on the reverse

PROVENANCE

Pinchuk Art Centre, Kiev

Acquired from the above by the present owner

NT$ 120,000 - 260,000

HK$ 31,000 - 68,000

US$ 4,000 - 8,600

RMB 27,000 - 59,000

達明．赫斯特 圓形旋轉畫

2009

壓克力 金屬塗料 紙本

52 cm (直徑)

親簽畫背：Damien Hirst

印刷簽名畫背：Damien Hirst © Damien Hirst

藝術家工作室壓印

來源

賓須克藝術中心，基輔

現藏者購自上述來源

243

Yoon Hyup

(Korean, b. 1970)

London City Code

2020

Acrylic on canvas

46 x 61 cm

Signed lower right Yoon Hyup

Signed on the reverse Yoon Hyup, titled London City Code

and dated 2020

PROVENANCE

Stolenspace Gallery, London

NT$ 150,000 - 280,000

HK$ 39,000 - 73,000

US$ 5,000 - 9,300

RMB 34,000 - 64,000

2020

壓克力 畫布

46 x 61 cm

簽名右下：Yoon Hyup

簽名畫背：London City Code 2020

Yoon Hyup

伊浹 倫敦城市碼

244

D*Face

(British, b. 1978)

Goodbye Kitty - Peach

2013

Acrylic, spray on canvas

60 x 50 cm

Signed on the reverse D*Face and dated 2013

This lot is to be sold with a certificate of authenticity issued by 3 Punts Gallery

NT$ 200,000 - 360,000

HK$ 52,000 - 94,000

US$ 6,600 - 11,900

RMB 45,000 - 82,000

D*Face

Goodbye Kitty - Peach

2013

壓克力 噴漆 畫布

60 x 50 cm

簽名畫背：D*Face 2013

附3 Punts Gallery開立之作品保證書

245

Jordy Kerwick (Australian, b. 1982)

Faux Rug Still Life

2021

Oil pastel, pencil on paper

41 × 29 cm

Signed lower right Jordy and dated 2021

NT$ 190,000 - 280,000

HK$ 49,000 - 73,000

US$ 6,300 - 9,300

RMB 43,000 - 64,000

喬迪．科維克

皮草靜物 2021

油粉彩 鉛筆 紙本

41 x 29 cm

簽名右下：Jordy 2021

246

André Saraiva

(Swedish - French, b. 1971)

Paris Berlin Mars

2006

Acrylic, spray on canvas

60(L) x 60(W) x 8(D) cm

Signed on the reverse André Saraiva, inscribed Paris Berlin

Mars Pink and dated 2006

PROVENANCE

Curio Ltd., Tokyo

NT$ 200,000 - 360,000

HK$ 52,000 - 94,000

US$ 6,600 - 11,900

RMB 45,000 - 82,000

安德烈．薩萊瓦

巴黎柏林火星

2006

壓克力 噴漆 畫布

60(長) x 60(寬) x 8(厚) cm

簽名畫背：André Saraiva Paris Berlin

Mars 2006 Pink

來源

Curio Ltd.，東京

247

Moisés Yagües

(Spanish, b. 1972)

Inhabited Heart 2019

Acrylic on board

119 x 119 cm

Signed lower Yagües, titled corazon-habitado in Spanish and dated 2019

NT$ 360,000 - 460,000

HK$ 94,000 - 119,000

US$ 11,900 - 15,200

RMB 82,000 - 105,000

莫伊

居住的心 2019

壓克力 木板 119 x 119 cm

簽名下方：Yagües 2019 corazonhabitado in Spanish

248

Damien Hirst (British, b. 1965)

Spin Painting - Butterfly

2009

Acrylic, metallic paint on paper

52 x 68 cm

Hand signed on the left Damien Hirst

Painted signature Damien Hirst, stamped with the artist’s copyright and marked with the studio's blind stamp on the reverse

NT$ 300,000 - 750,000

HK$ 78,000 - 195,000

US$ 9,900 - 24,900

RMB 68,000 - 170,000

達明．赫斯特

蝴蝶旋轉畫

2009

壓克力 金屬塗料 紙本 52 x 68 cm

親簽左方：Damien Hirstt

印刷簽名畫背：Damien Hirst © Damien Hirst藝術家工作室壓印

249

Mr Doodle

(British, b. 1994)

Busy Business

2019

Acrylic on canvas

70.5 x 100.5 cm

Signed on the reverse MR DOODLE! and dated 2019

NT$ 650,000 - 950,000

HK$ 169,000 - 247,000

US$ 21,500 - 31,500

RMB 148,000 - 216,000

塗鴉先生 業務繁忙

2019

壓克力 畫布

70.5 x 100.5 cm

簽名畫背：MR DOODLE! 2019

250 Szabolcs Bozó

(Hungarian, b. 1992)

Untitled

2020

Acrylic, oil pastel on canvas

160 x 130 cm

Signed on the reverse Bozó London and dated 2020

EXHIBITED

Home Again, L21 Gallery, Mallora, Dec. 20, 2020Feb. 5, 2021

NT$ 950,000 - 2,000,000

HK$ 247,000 - 519,000

US$ 31,500 - 66,300

RMB 216,000 - 455,000

薩波爾齊斯．博佐

無題

2020

壓克力 油粉彩 畫布

160 x 130 cm

簽名畫背：Bozó 2020 London

展覽

「又到家了」，L21畫廊，馬略

卡島，展期自2020年12月12日至

2021年2月5日

251

Tania MARMOLEJO

(Dominican, b. 1975)

A Surprise Nostalgia

2021

Oil on canvas

124 x 134 cm

Signed lower right Tania MARMOLEJO

Signed on the reverse Tania MARMOLEJO and dated 2021

PROVENANCE

Chic Evolution in Art, Florida

NT$ 1,600,000 - 2,400,000

HK$ 416,000 - 623,000

US$ 53,000 - 79,500

RMB 364,000 - 545,000

塔妮亞．馬莫列霍

意外的鄉愁

2021

油彩 畫布

124 x 134 cm

簽名右下：Tania MARMOLEJO

簽名畫背：Tania MARMOLEJO 2021

來源

藝術進化，佛羅里達

252

Mr Doodle

(British, b. 1994)

The Doodle Guitarist

2019

Acrylic on canvas

70 x 50 cm

Signed on the reverse MR DOODLE! and dated 2019

EXHIBITED

Mr Doodle Invades Sotheby’s, Sotheby’s S2 Gallery, Hong Kong, December 6 - 19, 2019

ILLUSTRATED

Mr Doodle Invades Sotheby’s, Sotheby’s, Hong Kong, 2019, no.29, pp. 69-70

NT$ 2,400,000 - 3,800,000

HK$ 623,000 - 987,000

US$ 79,500 - 126,000

RMB 545,000 - 864,000

塗鴉先生

Doodle 吉他手

2019

壓克力 畫布

70 x 50 cm

簽名畫背：MR DOODLE! 2019

展覽

「Mr Doodle 逆襲蘇富比」，蘇富比S2藝

術空間，香港，展期自2019年12月6日至

12月19日

圖錄

《Mr Doodle 逆襲蘇富比》，蘇富比，

2019，編號29，頁69-70

Mr Doodle 《 Doodle 吉他手》取材自傳奇藝術大師巴 勃羅．畢卡索，《老吉他手》是畢卡索「藍色時期」經 典畫作之一，以單色陰鬱的藍色為主，有時並取用陰沉 的題材，像是妓女、乞丐、酒鬼等。畫中人物骨瘦如 柴，盤腿而坐並癱倒在棕色吉他上，顯得筋疲力盡，藝 術家主要探索貧困和苦難，並將自己局限於憂鬱之中。 芝加哥藝術學院於1926年購入此幅畫後，也成為第一個 將畢加索永久陳列的美國博物館。而 Mr Doodle 以名作 為原型，整幅畫面以藍色打底，看似苦難中卻又妙趣橫 生， Mr Doodle 以他獨特且新穎的個人視角重新詮釋了 屬於他自己的塗鴉藝術。

Mr Doodle “Doodle Guitarist” is drawn from the legendary art master Pablo Picasso “The Old Guitarist”, which is one of his classic paintings from the “Blue Period”, mainly monochrome in gloomy blue hue, sometimes with somber themes, such as prostitutes, beggars and drunkards, etc. The character in the painting is dreadfully skin, who sits cross-legged and looks paralyzed on a brown guitar, appears to be so exhausted, the artist primarily explores poverty and misery, and confines himself to a sense of melancholy. Since the School of the Art Institute of Chicago acquired this painting in 1926, it also became the first American museum to permanently exhibit works from Picasso. Mr Doodle is taken from this painting as the prototype, the whole picture applies bluish tone as background, which seems to be suffering yet full of wit simultaneously. Mr Doodle reinterprets his own graffiti art with his distinct and new personal perspective.

巴勃羅．畢卡索《老吉他手》1903 - 1904 油彩 木板，現藏於芝加哥藝術學院

Eddie Martinez

(American, b. 1977)

Untitled

2015

Oil, enamel, acrylic, sprayprint on linen

101.5 x 76.6 cm

Signed on the reverse Martinez, titled Untitled, inscribe Oil, Enamel, Acrylic, Sprayprint on Linen and dated 2015

PROVENANCE

Mitchell-lunes & Nash Gallery, New York

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

HK$ 779,000 - 1,039,000

US$ 99,400 - 132,600

RMB 682,000 - 909,000

紐約藝術家艾迪．馬丁內斯作品多由對比強烈的色塊、 天馬行空的線條和隨性的材料運用，可見作品已代替他 表達了對生活的種種感受。早期創作傾向具象，獨特的 圖像語言來闡述生活創作，後來則轉以更抽象的方式來 表達情感。受到抽象表現主義和正統藝術史的影響，以 及街頭藝術就地取材等創作渲染。他的作品將繪畫和素 描、抽象和具象融合展現豐沛的生命力與創造力，樹立 了獨特的藝術風格。

馬丁內斯的創作本質根源於素描 drawing 的發揮與變 奏，每天隨身攜帶麥克筆和 Moleskine 筆記本，靈感一 來隨時可畫。作家海明威、畫家梵谷和畢卡索也愛用經 典的 Moleskine 筆記本，用以捕捉靈感的片刻。對多

數藝術家而言，紙本繪描常常是一種練習，是作品的前 奏。然而對馬丁內斯而言，繪描是他的習慣，創作的主 軸。繪描不在工作室內進行，而是在家裡畫，在旅行途 中畫，像是記事與日誌的工具。然後他把在外隨手素描 本上的圖，張貼在工作室牆上，小畫轉譯成大畫，或有 時直截移植黏貼在畫布上，使得大畫具有素描的精神內 涵與感覺。單純作畫的想法，自動性的素描，他的作品 裡沒有強烈的社會或政治批判意識。

New York artist Eddie Martinez uses bright colours, innovative lines and ad hoc media in his art. His works show his ideals of life with earlier works showing a more realistic approach with subjects of

艾迪．馬丁內斯 無題

2015

油彩 壓克力 漆 畫布

101.5 x 76.6 cm

簽名畫背：Martinez 2015 Untitled Oil, Enamel, Acrylic, Sprayprint on Linen

representation; while his later works turn abstraction into an expression of emotions. Under the influences of abstraction, traditional art history and pop art, his works merges techniques of paintings, sketches, abstraction and realism to create a unique representation of art.

The essence of Martinez’s creativity is rooted in the play and variation of free-hand drawing. He carries markers and a Moleskine sketchbook so he can record his inspirations whenever they appear. The classic style of Moleskine notebooks is also the favorite of writer Hemingway, as well as painters Van Gogh and Picasso, who use it to capture momentary imaginations. For most artists, drawing on paper is a type of exercise that often becomes a prelude to a work of art. For Martinez, however, sketching is his habit and the main focus of his creativity. He draws not only inside his studio, but also at home and while he travels, where drawing becomes a tool to take notes and write journals. Afterwards, he would takes his sketchbook drawings and put them up on the walls of his studio, transforming a little drawing into a large painting or even pasting directly onto the canvas to imbue the spiritual content and feeling of the sketch onto the larger canvas. The pure thought of painting and instinctive sketching leave his work free of strong social or political criticism.

254

Rafa MACARRÓN

(Spanish, b. 1981)

Océano

2018

Mixed media on canvas

182 x 182 cm

Signed lower right RM and dated 2018

This lot is to be sold with a certificate of authenticity issued by Fun Year National Art Co., Ltd.

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

HK$ 831,000 - 1,247,000

US$ 106,100 - 159,100

RMB 727,000 - 1,091,000

拉法．馬卡龍

海洋 2018

綜合媒材 畫布

182 x 182 cm

簽名右下：RM 18

附凡亞國際藝術開立之原作保證書

藝術家筆下的混和型人物，多年來逐漸地塑造了風格。作品《海洋》以藍色底色為主，整幅作品 色彩迷人、構圖和諧。藝術家大膽地將筆下人物變形，一個個看似誇張怪異卻有趣的人類和海底 生物，扭曲變形的臉，球根狀的眼睛，細長的四肢，卻像卡通人一樣，長著一雙數不清手指的大 手。藝術家用天馬行空的想像力，創造了一個天真又夢幻的宇宙，也將日常生活的瞬間變得夢 幻、清新、又充滿奇趣。“我是個樂觀主義者，希望用作品告訴每個人，平凡瞬間裡，也有值得 珍惜的快樂”

The artist used paper collage, acrylic paint, and other materials to create a square-shaped blue space.”Océano” was created in 2018, the entire work has charming colours and harmonious composition. The rich and vibrant bright yellow covers the whole picture. The artist boldly deforms the characters under his brushes, both mankind and animals look exaggerated and weird yet interesting, distorted faces, bulbous eyes, slender limbs, but like cartoon people, with a pair of big hands with countless fingers. The unrestrained imagination of the artist creates a naive and dreamy universe, which turns the moments of everyday life into fantasy, refreshing and full of wonder. “I am an optimist, I hope to use my works to tell everyone that in any ordinary moments, there are also joys that are worth cherishing.”

255

Moe NAKAMURA

(Japanese, b. 1988)

Home (a set of 2)

2010

Insulation, cement, linen, oil paint, veneer

51(L) x 31(W) x 92(H) cm (each)

This lot is to be sold with a certificate of authenticity issued by Gallery Tsubaki, Tokyo

NT$ 1,300,000 - 2,400,000

HK$ 338,000 - 623,000

US$ 43,100 - 79,500

RMB 295,000 - 545,000

中村萌

家 ( 兩件一組 )

2010

水泥 麻布 油彩 薄木片

51(長) x 31(寬) x 92(高) cm (每件)

附椿畫廊開立之作品保證書

256

Yoshimasa TSUCHIYA (Japanese, b. 1977)

Deer 2020

Wood, crystal, polychrome

37(L) x 18(W) x 38(H) cm

Signed on the bottom Yoshimasa Tsuchiya in Kanji and dated 2020

PROVENANCE

Megumi Ogita Gallery, Tokyo

NT$ 850,000 - 1,200,000

HK$ 221,000 - 312,000

2020 樟木 水晶 彩色

37(長) x 18(寬) x 38(高) cm

2020

Megumi Ogita藝廊，東京

257

Yoshimasa TSUCHIYA

(Japanese, b. 1977)

Fox 2021

Wood, crystal, polychrome

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

Signed on the bottom Yoshimasa Tsuchiya in Kanji and dated 2021

PROVENANCE

Megumi Ogita Gallery, Tokyo

NT$ 700,000 - 1,000,000

HK$ 182,000 - 260,000

US$ 23,200 - 33,100

RMB 159,000 - 227,000

狐狸 2021

樟木 水晶 彩色

60(長) x 20(寬) x 25(高) cm

簽名底部：土屋仁 2021

來源

Megumi Ogita藝廊，東京

258

Jeff KOONS (American, b. 1955)

Balloon Dog (Blue)

2021

Glazed Porcelain, edition no. 712/799

48(L) x 16(W) x 40(H) cm

Stamped on the bottom Jeff KOONS 712/799 and dated 2021

NT$ 550,000 - 800,000

HK$ 143,000 - 208,000

US$ 18,200 - 26,500

RMB 125,000 - 182,000

被稱為「俗艷藝術」的王子，一舉一動總是觸動藝術圈的 神經，昆斯的藝術被視為對二十世紀的80年代頹廢和資本 主義文化的諷刺。然而，昆斯本人卻提出了一種不那麼憤 世嫉俗的觀點，他將他與年幼兒子的關係、超越性以及對 美的永恆共鳴，作為他創作藝術的靈感泉源。

傑夫．昆斯的「慶典」系列，傳遞樂觀積極的正面能 量，其可愛圓潤的造型及鮮豔 飽和的色彩，其細緻光亮且誘 人的鏡面反射處理，反映人影 讓觀者與藝術品結合，在欣賞 的同時觸發不同觀感，看著象 徵快樂的氣球，重新用樂觀的 角度，發現內心不同的世界。

氣球狗之美學具有極強的當代 性，具有現代雕塑之線條美 感，僅保留必要之形體，其鏡 面反射的表面，更有極簡主義 藝術裝置之互動性。傑夫昆斯 自述：「慶典系列中的氣球狗，並無任何隱藏的意涵， 就只是純粹的幸福與快樂，就像是生日派對中，小丑會 為你折的氣球狗一樣。同時，他也像是特洛伊木馬，這 件作品自有其內在的生命。」

Known as the The King of Kitsch, Koons & #39; art has always touched the nerve of the art world, and Koons' art is seen as a satire of the decadent and capitalist culture of the 1980s. Koons himself, however,

傑夫．昆斯 氣球狗

2021

( 藍 )

精瓷 712/799

48(長) x 16(寬) x 40(高) cm

印刷簽名：Jeff KOONS 712/799 '21

offers a less cynical view, citing his relationship with his young son, transcendence, and eternal resonance with beauty as sources of inspiration for his art.

Jeff Koons' "Celebration" series conveys optimistic and positive energy. Its cute and round shapes and bright and saturated colors, and its delicate, bright and attractive mirror reflection reflects the silhouette of the viewer and the artwork. The viewer could appreciate the work while triggering different perceptions, looking at the balloon that symbolizes happiness, and rediscovering a different inner world from an optimistic perspective.

The aesthetics of Balloon Dog is extremely contemporary, with the line beauty of modern sculpture, only the necessary shapes are retained, and its mirror-reflected surface is even more interactive like a minimalist art installation. Jeff Koons said: & quot; The balloon dog in the celebration series has no hidden meaning, it is just pure happiness and joy, just like the balloon dog that the clown will fold for you at a birthday party. At the same time, it’s also a Trojan horse, the work has an interior life.

Portrait - 01 Ballon Dog (Blue) ©Jeff Koons - Photo Keith Major

(Chinese - American, 1929 - 2010)

Cat

1979

Ink and color on paper

47 x 60 cm

With seals of artist

PROVENANCE

Purchased directly from the artist

NT$ 260,000 - 360,000

HK$ 68,000 - 94,000

US$ 8,600 - 11,900

RMB 59,000 - 82,000

x 60

259 Walasse TING

260

CHEN Ting-Shih

(Taiwanese,1916 - 2002 )

Pond

1975

Ink and color on paper

71 x 71 cm

Signed Ting-Shi and dated 1975 summer in Chinese

With one seal of the artist

NT$ 190,000 - 240,000

HK$ 49,000 - 62,000

US$ 6,300 - 8,000

RMB 43,000 - 55,000

陳庭詩

池塘

1975

彩墨 紙本

71 x 71 cm

款識：臺南安平魚塘所見殊可入畫也

乙卯初夏庭詩

鈐印左上：陳 (朱文)

261

SHIY De-jinn

(Taiwanese, 1923 - 1981)

Full River Red

Ink on paper

135 x 68.5 cm

Signed lower left Shiy De-jinn

With seal of the artist

NT$ 240,000 - 360,000

HK$ 62,000 - 94,000

US$ 8,000 - 11,900

RMB 55,000 - 82,000

席德進 滿江紅．敲碎離愁

水墨 紙本

135 x 68.5 cm 簽名鈐印左下：席德進

262

SHIY De-jinn (Taiwanese, 1923 - 1981)

Landscape

1970

Watercolor on paper

38.3 x 56 cm

Signed lower left Shiy De-jinn and dated 1970

NT$ 320,000 - 420,000

HK$ 83,000 - 109,000

US$ 10,600 - 13,900

RMB 73,000 - 95,000

x 56 cm

263 CHUANG Che

(Taiwanese, b. 1934)

The Rocks and Mist

Mixed media on canvas

120 x 90 cm

Signed lower right Chuang Che in Chinese

Signed on the reverse Chuang Che and titled The Rocks

And Mist in English

NT$ 650,000 - 800,000

HK$ 169,000 - 208,000

US$ 21,500 - 26,500

RMB 148,000 - 182,000

120 x 90 cm

簽名右下：莊喆

簽名畫背：The Rocks And Mist

Chuang Che

莊喆 煙雲山石 綜合媒材 畫布

264

LEE Jung-woong

(Korean, b. 1963)

Brush 1

2007

Oil on Korean paper

142 x 202 cm

Signed lower right LEE Jung-woong in Korean

EXHIBITED

Is it Paper, Metaphysical Art Gallery, June 21, 2014 - July 30, 2014

This lot is to be sold with a certificate of authenticity issued by Lee Hwaik Gallery

NT$ 650,000 - 800,000

HK$ 169,000 - 208,000

US$ 21,500 - 26,500

RMB 148,000 - 182,000

李錠雄

毛筆 1 2007

油彩 韓國紙

142 x 202 cm

簽名右下浮雕：

展覽

「非常紙」，形而上畫廊，台北，

展期自2014年6月21日至7月30日

附Lee Hwaik畫廊開立之作品保證書

265

CHIU Ya-tsai

(Taiwanese, 1949 - 2013)

Peace

1993

Oil on canvas

80 x 65 cm

Signed lower right Chiu Ya-tsai in Chinese

ILLUSTRATED

CHIU Ya-tsai, Ming Art Gallery, Taipei, 2009, p. 154

This lot is to be sold with a certificate of authenticity issued by Ming Art Gallery

NT$ 650,000 - 850,000

HK$ 169,000 - 221,000

US$ 21,500 - 28,200

RMB 148,000 - 193,000

邱亞才

嫻靜

1993

油彩 畫布

80 x 65 cm

簽名右下：邱亞才

圖錄

《邱亞才》，旻谷藝術，台北，

2009，頁154

附旻谷藝術開立之原作保證書

XUE Song

(Chinese, b. 1965)

Mothering

2006

Mixed media on canvas 120 x 100 cm

Signed lower right XUE Song and titled lower right Mothering

Signed on the reverse XUE Song, titled Mothering and inscribed 100 x 120 cm

NT$ 700,000 - 800,000

HK$ 182,000 - 208,000

US$ 23,200 - 26,500

RMB 159,000 - 182,000

120 x 100 cm

267

Chang Chia-ying

(Taiwanese, b. 1982)

Twins Secret Experiment

2016

Acrylic on canvas

130 x 194 cm

Signed lower right Chia ying and dated 2016

NT$ 500,000 - 600,000

HK$ 130,000 - 156,000

US$ 16,600 - 19,900

RMB 114,000 - 136,000

張嘉穎 雙胞胎的秘密實驗

2016

壓克力 畫布

130 x 194 cm

簽名右下側：Chia ying 2016

268

SU Wong-shen

(Taiwanese, b. 1956)

Weekly Events

2004 - 2007

Mixed media on canvas

100 x 150 cm

Signed lower left SU Wong-shen in Chinese

Signed on the reverse SU Wong-shen in Chinese, titled Weekly Events and dated 2004 - 2007 noted

EXHIBITED

Truly Hero, Metaphysical Art Gallery, March 29, 2008 - April 22, 2008

ILLUSTRATED

Truly Hero, Taipei, 2008, p. 13

NT$ 950,000 - 1,800,000

HK$ 247,000 - 468,000

US$ 31,500 - 59,700

RMB 216,000 - 409,000

蘇旺伸

一周大事

2004 - 2007

綜合媒材 畫布

100 x 150 cm 簽名左下：蘇旺伸

2004 - 2007 雜記

展覽

「英雄本色」，形而上畫廊，台北，

展期自2008年3月29日至4月22日

圖錄

《英雄本色》，台北，2008，頁13

269

DONG Shawhwei

(Taiwanese, b. 1962)

Shady Begonia

2012

Oil on canvas

80 x 100 cm

Signed lower left S. Hwei and dated 2012

This lot is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei

NT$ 750,000 - 950,000

HK$ 195,000 - 247,000

US$ 24,900 - 31,500

RMB 170,000 - 216,000

董小蕙 濃蔭海棠

2012

油彩 畫布

80 x 100 cm

簽名左下：S. Hwei 2012 附亞洲藝術中心開立之作品保證書

270 PANG Jiun (Taiwanese, b. 1936) Landscape of Lijian River

1991

Oil on canvas

53.5 x 132.5 cm

Signed lower right Pang Jiun in Chinese and dated 1991

With one painted seal of the artist

This lot is to be sold with a certificate of authenticity issued by Sun Art Center

NT$ 950,000 - 1,500,000

HK$ 247,000 - 390,000

US$ 31,500 - 49,700

RMB 216,000 - 341,000

龎均

灕江煙雨

1991

油彩 畫布

53.5 x 132.5 cm

簽名右下：龎均 1991

手繪鈐印：均

附三愛創意藝術中心開立之作品保證書

271

Walasse TING

(Chinese - American, 1929 - 2010)

Kiss me, Kiss me

1974

Acrylic crayon on cardboard

77 x 102 cm

Signed on the reverse Ting, titled Kiss me, Kiss me, inscribed 77 x 102 cm and dated 1974

ILLUSTRATED

TING, Galerie Adrien Maeght, Paris, 1974

NT$ 950,000 - 2,000,000

HK$ 247,000 - 519,000

US$ 31,500 - 66,300

RMB 216,000 - 455,000

丁雄泉 親我親我

1974

壓克力 蠟筆 紙板

77 x 102 cm

簽名畫背：Kiss me, Kiss me Ting 74

77 x 102 cm

圖錄

《丁雄泉》，瑪格畫廊，巴黎，1974

272

CHIU Ya-tsai (Taiwanese, 1949 - 2013)

Relaxation

1990

Oil on canvas

130 x 97 cm

Signed lower left Chiu Ya-tsai in Chinese

ILLUSTRATED

CHIU Ya-tsai, Ming Art Gallery, Taipei, 2009, p. 106

NT$ 1,400,000 - 2,600,000

HK$ 364,000 - 675,000

US$ 46,400 - 86,200

RMB 318,000 - 591,000

邱亞才

恬適

1990

油彩 畫布

130 x 97 cm

簽名左下：邱亞才

圖錄

《邱亞才》，旻谷藝術，台北，2009，頁106

Michell HWANG (HWANG Ming-che) (Taiwanese,

b. 1948)

Chasing Flowers

2009 - 2012

Oil on canvas

182 x 152 cm

Signed on the reverse HWANG Ming-che, titled Chasing Flowers, inscribed Oil painting 182 x 152 in Chinese and dated 2009 - 2012

EXHIBITED

Truly Hero, Metaphysical Art Gallery, March 29, 2008 - April 22, 2008

This lot is to be sold with a certificate of authenticity issued by Metaphysical Art Gallery

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

HK$ 286,000 - 571,000

US$ 36,500 - 72,900

RMB 250,000 - 500,000

黃銘哲

2009 - 2012

油彩 畫布

182 x 152 cm

簽名畫背：黃銘哲 油畫 2009 - 2012 戀花 182 x 152

展覽

「英雄本色」，形而上畫廊，台北，展期自

SANYU (CHANG Yu)

(Chinese - French, 1895 - 1966)

Writing Lady

c. 1920 - 1930

Watercolor on paper

41 x 27 cm

Signed lower rignt Yu in Chinese and SANYU in French ILLUSTRATED

Rita Wong, Catalogue Raisonne Drawings And Watercolors, The Li-Ching Cultural and Educational Foundation, Taipei, 2014, p. 218, included in the CD, no. W111

NT$ 2,200,000 - 3,800,000

HK$ 571,000 - 987,000

US$ 72,900 - 126,000

RMB 500,000 - 864,000

常玉於 1921 年踏上巴黎，當時海明威筆下一席流動的 盛宴，巴黎的繁華吸引了常玉，他在那裡充分浸淫於最 新的藝術思潮。身為巴黎畫派的一份子，常玉並沒有 進入正規傳統的美術學院，反而遵循了大茅屋學院的 奔放自由、隨興之至。與當時的同輩林風眠、徐悲鴻 相比，常玉並沒有遠大的情懷，反而展現騷人墨客的淡 泊瀟灑、忠於藝術之志，在當時可說是最融入巴黎波西 米亞生活方式的中國畫家。隨心所致，隨興所畫；大茅 屋學院提供的裸體姿態練習，在中國是無法看到的，常 玉除了以鉛筆速寫加上用以炭筆增加體積感以外，亦使 用毛筆勾畫充滿書法氣韻的線條，其後便成為其作品的 旨趣。他的畫，經得起時間的淬煉；他的畫，真情、動 人、充滿意境，如同他的個性一樣敏感、任性、淡泊名 利。畫中《坐姿寫作女士》那如行雲流水般的書法性線 條，未曾矯揉、未經修飾，自然而然地融合了東西文 化，率性地體現了常玉的藝術本質。

"The steps we take are too slow to keep up with the times. Our bodies are too fragile. Our lives are too short. And time is like a giant wave that washes the dirt away, layer by layer, to finally reveal the shining layer hidden underneath." - Sanyu

It was in 1921 that Sanyu first set foot in Paris, during a time when Hemingway’s mighty pen had just began to shake the world, producing a several decade long banquet of lean yet compelling literary works. Sanyu was drawn by the prosperity of Paris, and

常玉

坐姿寫作女士

約1920 - 1930

水彩 紙本

41 x 27 cm

簽名右下：玉 SANYU

圖錄

衣淑凡，《常玉素描與水彩全集》，財

團法人立青文教基金會，台北，2014，

頁218，收錄光碟，圖版編號W111

fully immersed himself into each of the latest artistic trends of the time. As a part of the School of Paris, Sanyu did not enroll in any of the more traditional and esteemed schools of art, but instead preferred the freedom and exuberance of the Académie de la Grande Chaumière.. In comparison to his peers such as Xu Beihong and Lin Fengmian, Sanyu did not have any grand aspirations. Instead, displayed a perplexing interest for little more than his art, and can be said to be the Chinese painter who most took to the leisurely Bohemian lifestyle of Parisians, uninhibited and painting as he pleased. The practice revolving around nude portraying at the Académie de la Grande Chaumière. were forbidden back home in China. In addition to the use of pencil in his sketches, he also used charcoal to create a greater sense of volume in his drawings. He also used Chinese ink and brushes for a large number of his nude drawings. The fluidity and varying innuendos of the calligraphic strokes made using Chinese ink and brushes became a signature of his nude drawings.His drawings are able to withstand the rigors of time; his drawings are true, moving and full of artistic conception, and are just as sensitive, stubborn, and indifferent to fame and fortune as the artist. The writing lady in the drawing, the cloud-like and flowing lines created using calligraphy techniques are pristine and unaltered, creating a natural blend between Western and Eastern cultures, demonstrating the essence of Sanyu's art.

275

Tzu-chi YEH

(Taiwanese, b. 1957)

Valentine's Day 2020 Umaq

2020 - 2023

Tempera on linen

76.2 x 50.8 cm

Signed lower right Tzu-chi and dated 2020. 23

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

HK$ 390,000 - 519,000

US$ 49,700 - 66,300

RMB 341,000 - 455,000

葉子奇

2020 情人節．烏瑪克

2020 - 2023

卵彩 亞麻布

76.2 x 50.8 cm

簽名右下：子奇 2020. 23

276 PANG Jiun

(Taiwanese, b. 1936)

Mountain Huangshan

2000

Oil on canvas

116.7 x 96.4 cm

Signed lower right Pang Jiun in Chinese and dated 2000 With one painted seal of the artist

NT$ 1,600,000 - 2,400,000

HK$ 416,000 - 623,000

US$ 53,000 - 79,500

RMB 364,000 - 545,000

龎均 黃山 2000

油彩 畫布

116.7 x 96.4 cm

簽名右下：龎均 2000 手繪鈐印：均

277 HONG Ling

(Chinese, b. 1955)

The Beginning of Spring

2006

Oil on canvas

170 x 188 cm

Signed lower left Hong Ling and dated 2006

Signed on the reverse Hong Ling, titled The Beginning of Spring and dated 2006

NT$ 5,000,000 - 6,000,000

HK$ 1,299,000 - 1,558,000

US$ 165,700 - 198,900

RMB 1,136,000 - 1,364,000

洪凌 蒙春

2006 油彩 畫布

170 x 188 cm

簽名左下：洪凌 2006 簽名畫背：《蒙春》洪凌06年作

278 PANG Jiun (Taiwanese, b. 1936)

Orchid 2003

Oil on canvas

84 x 144 cm

Signed lower right Pang Jiun in Chinese and dated 2003

With one painted seal of the artist

NT$ 1,900,000 - 2,800,000

HK$ 494,000 - 727,000

US$ 63,000 - 92,800

RMB 432,000 - 636,000

蘭花靜物

2003

油彩 畫布

84 x 144 cm

簽名右下：龎均 2003 手繪鈐印：均

279 JU Ming

(Taiwanese, 1938 - 2023)

Living World Series

1991

Stainless steel

62(L) x 73.7(W) x 110.3(H) cm

Signed on the back JU Ming and dated 1991

This lot is to be sold with a certificate of authenticity issued by Juming Culture & Education Foundation

NT$ 2,600,000 - 3,800,000

HK$ 675,000 - 987,000

US$ 86,200 - 126,000

RMB 591,000 - 864,000

朱銘 人間系列

1991

不鏽鋼

62(長) x 73.7(寬) x 110.3(高) cm

簽名背後：朱銘 '91

附財團法人朱銘文教基金會－朱銘美術館開立之作品鑑定報告書

280

LI Chen

(Taiwanese, b. 1963)

Avalokitesvara

1998

Bronze, edition no. 3/8

80(L) x 56(W) x 86(H) cm

Engraved on reverse Li Chen in Chinese and English, numbered 3/8 and dated 1998

ILLUSTRATED

Li Chen Sculpture, Asia Art Center, Taipei, 2004, p. 37

Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, p. 194

This lot is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei

NT$ 2,200,000 - 4,600,000

HK$ 571,000 - 1,195,000

US$ 72,900 - 152,500

RMB 500,000 - 1,045,000

李真淬鍊了繁複精細的木雕工法，以簡代繁，將渾圓的 造型線條提升至心靈層面的精神依託，積累了多年的禪 思冥想刻畫出屬於當前時代精神的暖心創作，不僅昇華 了藝術創作的美學概念，更將美學延伸至人性純真的善 美圓融。李真善以當代的造型藝術，兼容自身修性養身 飽讀經書後的質樸哲思內化再造，帶領東方雕塑的生命 走向一股嶄新的樣貌與神態；《南海》一作便以中華思 想千年來對於「善」的最高想像為中心，南海為佛教聖 地，將無形的內涵作以具體的雕塑呈現；藝術家賦予作 品本身的厚重質感傳達了虛谷智慧的無量無限；低頭開 懷的外型意味著謙虛謙卑、廣納百善；面目慈祥閉眼， 開臂而立給與作品本身安穩沉著的氣韻質地，同時帶給 觀者精妙的想像空間，更讓其創作在當代的時空中突顯 幾乎被淹沒的中華文化中內斂含蓄的處事哲學。

Li Chen practices a complex and elaborate wood carving method that simplifies complexities, and elevates the lines of the rounded form to a spiritual level of support. Having meditated for many years on how to portray warm-hearted works that belong to a modern spirit, Li Chen has not only sublimated aesthetic concepts of artistic creation, but also

李真

南海

1998

銅雕 3/8

80(長) x 56(寬) x 86(高) cm

簽名雕刻背面：

李真 Li Chen 3/8 1998

圖錄

《李真雕塑1992 - 2002》，亞洲藝術

中心，台北，2004，頁37

《李真：中國美術館個展－尋找精神

的空間》，亞洲藝術中心，台北，

2008，頁194

附亞洲藝術中心開立之作品保證書

extends aesthetics to a pure and perfect harmony with humanity. Li Chen generously uses modern plastic arts, while incorporating a internalization and reshaping of a rustic philosophy achieved after a period of self-cultivation of reading sutra. Leading the direction of Eastern sculpture, he brings a new appearance and expression to the field. At its core, this work, Avalokitesvara, sets the highest imaginations in Chinese thought over a thousand years regarding “goodness”, while presenting intangible connotations as figurative sculptures. The artist imbues a thick and heavy texture to the work to convey the boundless wisdom of Xu Gu. The appearance of a bowing head and open arms signifies modesty, humility, tolerance, and an embodiment of goodness. A good natured expression, closed eyes, and open arms provides the work with a calm and stable texture and rhyme. At the same time, it draws viewers into a space for exquisite imaginations. Furthermore, this also enables his creations to highlight the introspective and restrained philosophies of Chinese culture that have been nearly submerged in the contemporary time and space.

281

Alixe FU (FU Qingli, Ching-Fong)

(Chinese - French, b. 1961)

Mrs Odéon

2013 / 19s

Oil on canvas

73 x 60 cm

Signed lower left Alixe FU École Française XlXè and dated 2013

Signed on the reverse Alixe Fu, titled Madome Odéon, inscribed oil on canvas, École Français XlXè - 2013 + Alixe Fu and dated 2013

EXHIBITED

Alixe FU / Sign Me Portraits Métissé, Galerie Marie Vitoux, Paris, June 18 - July 15, 2015

ILLUSTRATED

Alixe FU / Sign Me Portraits Métissé, Galerie Marie Vitoux, Paris, pp. 266-267

Alixe Fu’s Anti-Retro Art, Amanda Wei Gallery, 2020, pp.12-13

This lot is to be sold with a certificate of authenticity issued by Lyna Art Co., Ltd

NT$ 650,000 - 900,000

HK$ 169,000 - 234,000

US$ 21,500 - 29,800

RMB 148,000 - 205,000

旅法藝術家傅慶豊 Alixe Fu ，在其法國文化部梵谷村國 家畫室工作中，「反復古」ㄧ系列重要又獨特的集成， 作為他33年來研究東西方繪畫質感與油畫修復的首度專 題展出。他在拍賣場搶救下來彷彿自己走過久遠年代的 記憶，一兩百多年破舊不堪的古典繪畫，經過仔細漫長 的修復及清理污垢後重新裱貼在新畫布上再創作，十年 來完成 18 幅古畫新作，紀念我們這ㄧ刻歷史時空中的 「擱淺」、「暫停」，顛覆古早消費性的美感，因為美 被魔鬼統治了。錯置的時間，重疊的空間，喚醒潛意識 與表層意識的對話，喚起兩個不同世界的靈魂交談；互 相呼應依賴也互相衝突攪和。

We are presenting, within the Anti-Retro Art exhibition at Art Taipei, Alixe Fu’s latest creations. All pieces were born in his studio sponsored by the French Ministry of Culture near Paris, in Anvers-surOise, where Van Gogh enjoyed spending time. The exhibition gathers important works the artist has

傅慶豊 &19 世紀法國繪畫

劇場夫人

2013 / 19世紀

油彩 畫布

73 x 60 cm

簽名左下：Alixe FU 2013 École Français

XlXè

簽名畫背：Fu 2013 Alixe FU傅慶豊

Madome Odéon劇場夫人 Huile sur toile 布

面油畫 École Français XlXè - 2013 十九世紀

畫家 + Alixe FU

展覽

「傅慶豊個展」，維都畫廊，巴黎，展期自

2015年6月18日至7月15日

圖錄

《傅慶豊 臉譜 / Sign Me Portraits

Métissé》，維都畫廊，巴黎，2015，

頁266-267

《傅慶豊反復古藝術》，魏畫廊，2020，

頁12-13

附Lyna Art Co., Ltd開立之作品保證書

been curating and studying for the past 33 years for his project on Eastern & Western oil paintings and texture restoration. Alixe rescued these original works from the XVIIIe & XIXe century from auction houses the same way he would have strolled along memories from these ancient times. The dilapidated paintings were carefully cleaned, restored and reframed on new canvases to be then recreated with a modern twist. It took the artist ten years to finalize 18 paintings for this collection, each of them commemorating the “stranded” & “paused” conditions of our current time & space and disrupting the ancient notion of consumable beauty, because today beauty is now ruled by the devil. Misplaced time & overlapping space both awaken dialogues between the consciousness and subconsciousness and evoke communication among the souls in two different worlds. They are mutually echoing, depending and conflicting with one another.

Alixe FU (FU Qingli, Ching-Fong)

(Chinese - French, b. 1961)

A Bunch of Flowers

2013 / 19s

Oil on canvas

70 x 55 cm

Signed lower right Alixe FU École Française XlXè and dated 2013

Signed on the reverse Alixe Fu & Artist inconnu (École Française

XlXè siècle) titled un banquet de Fleur inscribed XlXè siècle - 2012

EXHIBITED

Alixe FU / Sign Me Portraits Métissé, Galerie Marie Vitoux, Paris, June 18 - July 15, 2015

ILLUSTRATED

ART UP LIFE, China, 2014, p.18

Alixe FU / Sign Me Portraits Métissé, Galerie Marie Vitoux, Paris, color illustrated, pp. 262-263

Alixe Fu’s Anti-Retro Art, Amanda Wei Gallery, 2020, color illustrated, pp. 14-15

This lot is to be sold with a certificate of authenticity issued by Lyna Art Co., Ltd

NT$ 600,000 - 800,000

HK$ 156,000 - 208,000

US$ 19,900 - 26,500

RMB 136,000 - 182,000

從經典寫實風格過渡到當下後表現主義，修復過程中舊世 紀無名作者畫作的「落寞」和「莫名」的情懷與時間烙 痕，一一在靈魂的對視中；交換身份、認同差異、模糊性 別、意識對立！

在圖像歷史的解構、重組、修補當中，體現自我的文化衝

突、焦慮與希望。回應自己東西漂流中的「突兀感」，跨 文化生活的心境，創造「情境反差」的反復古主題，反制 式反傳統（肖像），表現「隱喻的現代性面貌」。

Through the transition from classic realism to postexpressionism, these paintings create now a form of gaze between souls. They revealed the “loneliness” and “inexplicability” of the anonymous authors, showing & changing their differences in identities, blurring genders and conflicting ideologies.

The conflicts, anxieties and hopes within cultures are conveyed via the repair, deconstruction and reconstruction of historical images. It reflects a sort of

傅慶豊 &19 世紀法國繪畫

持花女子

2013 / 19世紀

油彩 畫布

70 x 55 cm

簽名右下：Alixe FU 2013 École Française

XlXè

簽名畫背：Alixe Fu + 作者不祥inconnu (École Française XlXè siècle) un banquet de Fleur 持花的女子 A bunch of flowers XlXè

me siècle - 2012 Alixe Fu

展覽

「傅慶豊個展」，維都畫廊，巴黎，

展期自2015年6月18日至7月15日

圖錄

《海天盛宴 "獨藝無二"尊貴生活方式藝術》，

中國，2014，頁18

《傅慶豊 臉譜 / Sign Me Portraits

Métissé》，維都畫廊，巴黎，2015，

頁262-263

《傅慶豊反復古藝術》，魏畫廊，2020，

頁14-15

附Lyna Art Co., Ltd開立之作品保證書

“abruptness” in the floating life between the East & the West. An ambiguous mood results from the transcultural life and responds to the main theme of the “Anti-Retro Art” exhibition, it created situational contrasts. The non-standardized and subversive portraits express a “metaphorical image of modernity”.

傅慶豊個展於巴黎，維都畫廊，2015年

283

YiHwan-Kwon

(Korean, b. 1974)

Teacher

2012

Mixed media, edition no. 1/5

Figure: 14(L) x 11(W) x 131(H) cm

Blackboard: 72(L) x 77(W) x 3(D) cm

Signed on the reverse Yi Hwan-Kwon in English and in Korean, numbered 1/5

EXHIBITED

Korean Contemporary Art Dialogue, Metaphysical Art Gallery, November 17, 2012December 30, 2012

This lot is to be sold with a certificate of authenticity issued by Kyung Lee Gallery

NT$ 700,000 - 900,000

HK$ 182,000 - 234,000

US$ 23,200 - 29,800

RMB 159,000 - 205,000

李桓權

教師

2012

綜合媒材 1/5

教師：14(長) x 11(寬) x 131(高) cm

黑板：72(長) x 77(寬) x 3(厚) cm

簽名畫背: Yi Hwan-Kwon 1/5

展覽

「韓國當代藝術對話」，形而上畫廊，台北，

展期自2012年11月17日至12月30日

附Kyung Lee畫廊開立之作品保證書

284

Ayako ROKKAKU

(Japanese, b. 1982)

Untitled

2021

Ceramic, edition no. 57/200

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

This lot is to be sold with a certificate of authenticity and accompanied with original box

NT$ 320,000 - 500,000

HK$ 83,000 - 130,000

US$ 10,600 - 16,600

RMB 73,000 - 114,000

六角彩子

無題

2021

陶瓷 57/200

39(長) x 13.8(寬) x 28.7(高) cm

附藝術家簽名作品保證卡與作品原產

紙箱包裝

285

Akiko TOJO

(Japanese, b. 1984)

Whisper

2020 Wood

24(L) x 40(W) x 87(H) cm

Engraved on reverse Akiko TOJO

This lot is to be sold with a certificate of authenticity issued by Neptune Gallery

NT$ 460,000 - 550,000

HK$ 119,000 - 143,000

US$ 15,200 - 18,200

RMB 105,000 - 125,000

東條明子

悄悄話

2020

樟木

24(長) x 40(寬) x 87(高) cm

簽名雕刻背後：Akiko TOJO

附涅普頓藝術開立之作品保證書

Ai HAIBARA

(Japanese, b. 1981)

Hug me! Your Back is Full of Opportunities

2020

Wood, acrylic, brass wire

18.5(L) x 18(W) x 40.5(H) cm

Signed on the bottom Ai HAIBARA and dated 2020

This lot is to be sold with a certificate of authenticity issued by Neptune Gallery

NT$ 260,000 - 360,000

HK$ 68,000 - 94,000

US$ 8,600 - 11,900

RMB 59,000 - 82,000

灰原愛 抱我！你的背後充滿了機會

2020

木雕 壓克力 銅線

18.5(長) x 18(寬) x 40.5(高) cm

簽名底部：Ai HAIBARA 2020 附涅普頓藝術開立之作品保證書

287

Akihiko

Yoshida (Nikichi) (Japanese, b. 1954)

Wish for Spring

2022

Wood

15(L) x 15(W) x 47.5(H) cm

Signed on the bottom Nikichi and dated 2022

NT$ 260,000 - 360,000

HK$ 68,000 - 94,000

US$ 8,600 - 11,900

RMB 59,000 - 82,000

吉田昭彥 ( 仁吉 ) 春天的願望

2022

木雕

15(長) x 15(寬) x 47.5(高) cm 簽名底部：仁吉作2022

288

Ai HAIBARA

(Japanese, b. 1981)

Revelation

2016

Wood

42(L) x 45(W) x 38(H) cm

Signed on the back Ai Haibara and dated 2016

This lot is to be sold with a certificate of authenticity issued by Neptune Gallery

NT$ 220,000 - 320,000

HK$ 57,000 - 83,000

US$ 7,300 - 10,600

RMB 50,000 - 73,000

灰原愛

天啟

2016

木雕

42(長) x 45(寬) x 38(高) cm

簽名背後：2016 Ai Haibara

附涅普頓藝術開立之作品保證書

289 REN Zhe

(Chinese, 1983)

Ready for Action

2007

Bronze, edition no. AP1

60(L) x 50(W) x 70(H) cm

Signed on the back 1/AP REN in Chinese and English

This lot is to be sold with a certificate of authenticity issued by PING art space

NT$ 320,000 - 420,000

HK$ 83,000 - 109,000

US$ 10,600 - 13,900

RMB 73,000 - 95,000

任哲 劍拔弩張

2007

銅 AP1

60(長) x 50(寬) x 70(高) cm

簽名背部：1/AP 任 RENZHE

附平藝術空間開立之作品保證書

290

HSI Shih-pin

(Taiwanese, b. 1977 )

Surfing Tiger - Golden Ligntning

2020

Stainless steel, edition no. 11/12

57(L) x 19(W) x 43(H) cm

Signed on the bottom HSI Shih-pin in Chinese and numbered 11/12

This lot is to be sold with a certificate of authenticity issued by Soka Art Canter, Taipei

NT$ 220,000 - 320,000

HK$ 57,000 - 83,000

US$ 7,300 - 10,600

RMB 50,000 - 73,000

席時斌 老虎－衝浪．金色閃電

2020

不鏽鋼 鈦金鍍膜 壓克力 11/12

57(長) x 19(寬) x 43(高) cm

簽名底座：席時斌 11/12

附索卡當代藝術開立之作品保證書

291 A-Lei

(Taiwanese,

Sharkspeare

2019 Pottery

16(L) x 19(W) x 42(H) cm

Signed on the bottom Lei

EXHIBITED

Universe Sanyu " A-Lei Solo Exhibition, Yesart Gallery, Taipei, December 7, 2019 - January 12, 2020

This lot is to be sold with a certificate of authenticity issued by Yesart Gallery, Taipei

NT$ 130,000 - 240,000

HK$ 34,000 - 62,000

US$ 4,300 - 8,000

RMB 30,000 - 55,000

2019

陶土 釉

16(長) x 19(寬) x 42(高) cm

簽名底座底部：Lei

展覽

「宇宙常遇－阿咧個展」，意識畫 廊，台北，展期自2019年12月7日至

2020年1月12日 附意識畫廊開立之作品保證書

b. 1976)

292

Kimiyo Mishima

(Japanese, b. 1932)

Newspaper No. 13

2021

Ceramic

13(L) x 12.5(W) x 9(H) cm

Signed on the bottom Kimiyo Mishima

This lot is to be sold with a certificate of authenticity signed by the artist

NT$ 110,000 - 220,000

HK$ 29,000 - 57,000

US$ 3,600 - 7,300

RMB 25,000 - 50,000

三島喜美代

報紙 No. 13

2021

陶瓷

13(長) x 12.5(寬) x 9(高) cm

簽名底部：Kimiyo Mishima

附藝術家簽名之作品保證書

293 JU Ming

(Taiwanese, 1938 - 2023)

Taichi Series - Single Whip

Unsaturated polyester resin, calcium carbonate, edition no. 277/300

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

Numbered on the bottom 277/300

This lot is to be sold with a certificate of limited reproduction issued by Ju Ming Museum, Taipei

NT$ 90,000 - 180,000

HK$ 23,000 - 47,000

US$ 3,000 - 6,000

RMB 20,000 - 41,000

朱銘 太極系列－單鞭下勢

不飽和聚酯樹脂 碳酸鈣 277/300

28.5(長) x 14.4(寬) x 18.2(高) cm

版次底部：277/300

附朱銘美術館限量複製品保證書

294

Poren Huang

(Taiwanese, 1970)

Relax

2020

Bronze, edition no. 12/30

23(L) x 19(W) x 19(H) cm

Engraved on bottom 2020.30 - 12 PR

Right foot: PR

This lot is to be sold with a certificate of authenticity issued by Powen Gallery

NT$ 60,000 - 150,000

HK$ 16,000 - 39,000

US$ 2,000 - 5,000

RMB 14,000 - 34,000

黃柏仁

放鬆 2020

銅 12/30

23(長) x 19(寬) x 19(高) cm

簽名雕刻台座：2020.30 - 12 PR

右腳後方：PR

附紅野畫廊開立之作品保證書

295

HSIEH Hsiao-De

(Taiwanese, b. 1940)

Landscape

2011

Watercolor on paper

78.5 x 110.5 cm

Signed lower left HSIEH Hsiao De in Chinese and dated 2011

NT$ 30,000 - 60,000

HK$ 8,000 - 16,000

US$ 1,000 - 2,000

RMB 7,000 - 14,000

2011

78.5 x 110.5 cm

簽名左下：謝孝德 2011

謝孝德 風景

水彩 紙本

296

CHEN Wei-Ting

(Taiwanese, b. 1991)

Bear (a set of 2)

Pencil on paper; acrylic on canvas

21 x 14.5 cm; 45 x 38 cm

NT$ 50,000 - 120,000

HK$ 13,000 - 31,000

US$ 1,700 - 4,000

RMB 11,000 - 27,000

297

Otani Workshop

Tea Cup (Bear)

2014

Ceramic

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

This lot is to be sold with a certificate of authenticity issued by Perrotin Gallery

NT$ 50,000 - 80,000

HK$ 13,000 - 21,000

US$ 1,700 - 2,700

RMB 11,000 - 18,000

茶杯 ( 熊 )

2014

陶瓷

8(長) x 8(寬) x 8(高) cm

附貝浩登畫廊開立之作品

保證書

大谷工作室

陳威廷 熊 ( 兩件一組 ) 鉛筆 紙本；壓克力 畫布 21 x 14.5 cm；45 x 38 cm

298

Maiko KOBAYASHI

(Japanese, b. 1977)

A Black Dress

2019

Oil on canvas

27 x 22 cm

Signed on the reverse Maiko K, titled A Black Dress and dated 2019

NT$ 60,000 - 150,000

HK$ 16,000 - 39,000

US$ 2,000 - 5,000

RMB 14,000 - 34,000

小林麻衣子

黑色洋裝

2019

油彩 畫布

27 x 22 cm

簽名畫背：Maiko K A Black Dress 2019

299 Matías Sánchez (Germany, b. 1972)

Buho 2016

Oil on canvas

27 x 35 cm

Signed lower left MS. Signed on the reverse Matías Sánchez, titled Buho, inscribed Sevilla, 27 x 35 cm and dated 2016

This lot is to be sold with a certificate of authenticity issued by VETA Galeria, Madrid

NT$ 60,000 - 150,000

HK$ 16,000 - 39,000

US$ 2,000 - 5,000

RMB 14,000 - 34,000

馬蒂亞斯．桑切斯

貓頭鷹 2016

油彩 畫布

27 x 35 cm

簽名左下：MS.

簽名畫背：Matías Sánchez Sevilla 2016

Buho 27 x 35 cm

附VETA 畫廊開立之作品保證書

300 Jon Burgerman ( British, b. 1979)

Mumble Dog

2021

Spray paint on paper

76 x 57 cm

Signed lower right Jon Burgerman

This lot is to be sold with a certificate of authenticity signed by the artist

NT$ 70,000 - 160,000

HK$ 18,000 - 42,000

US$ 2,300 - 5,300

RMB 16,000 - 36,000

喬恩．布爾格曼

咕噥狗

2021

噴漆 紙本

76 x 57 cm

簽名右下：Jon Burgerman

附藝術家簽名之原作保證書

Mr Doodle

(British, b. 1994)

Untitled

2017

Marker on paper

23.2 x 45.7 cm

This lot is to be sold with a certificate of authenticity issued by Roy’s people

NT$ 70,000 - 140,000

HK$ 18,000 - 36,000

US$ 2,300 - 4,600

RMB 16,000 - 32,000

2017

麥克筆 紙本 23.2 x 45.7 cm

301

塗鴉先生 無題

附Roy's people開立之原作保證書

302

Noritoshi MITSUUCHI

(Japanese, b. 1978)

Untitled 2018

Oil on canvas

53 x 45.5 cm

Signed on the reverse Noritoshi M and dated 2018

This lot is to be sold with a certificate of authenticity issued by Kinoshokikaku Contemporary Art, Tokyo

NT$ 90,000 - 180,000

HK$ 23,000 - 47,000

US$ 3,000 - 6,000

RMB 20,000 - 41,000

2018

油彩 畫布

53 x 45.5 cm

簽名畫背：NORitoshi M 2018

附木之庄企畫開立之作品保證書

光內亘利 無題

303

XX Li (Chinese, b. 1974)

There are No Rules to Life

2022

Acrylic on canvas

60 x 80 cm

Signed on the reverse XX Li in Chinese and English, titled

There Are No Rules to Life and dated 2022

EXHIBITED

XX Li Solo Exhibition, Soka Art, Tainan, December 10, 2022January 19, 2023

NT$ 70,000 - 180,000

HK$ 18,000 - 47,000

US$ 2,300 - 6,000

RMB 16,000 - 41,000

李西西

沒有規則就是最好的規則

2022

壓克力 畫布

60 x 80 cm

簽名畫背：There Are No Rules to Life

李西西 XX Li 2022

展覽 「遊戲人間－李西西個展」，索卡藝術，

台南，展期自2022年12月10日至2023年

1月19日

304

Asa Go

(Japanese, b. 1978)

Real feeling; Hole; Whirl (a set of 3)

2021

Oil on canvas

23 x 16 cm (each)

Signed on the reverse goasa Real feeling, titled Real feeling; Hole; Whirl in Chinese and dated 2021 (each)

This lot is to be sold with a certificate of authenticity issued by Shinobazu Gallery, Tokyo

NT$ 80,000 - 160,000

HK$ 21,000 - 42,000

US$ 2,700 - 5,300

RMB 18,000 - 36,000

吳亞沙

穴；本心；渦 ( 三件一組 )

2021

油彩 畫布

23 x 16 cm (每件)

簽名畫背：2021 goasa (每件)

附不忍畫廊開立之作品保證書

305

Takahiro Hirabayashi

(Japanese, b. 1984)

Phantom Pain #48

2017

Mixed media

61 x 46 cm

NT$ 60,000 - 180,000

HK$ 16,000 - 47,000

US$ 2,000 - 6,000

RMB 14,000 - 41,000

2017

複合媒材

61 x 46 cm

#48

平林貴宏 幻影的痛苦

306

Toru OTSUKI (Japanese, b. 1973)

Cat in the Window

2022

Mixed media, gold leaf on board

53 x 46 cm

Signed lower left Toru.o and dated 2022

This lot is to be sold with a certificate of authenticity issued by Ever Harvet Art Gallery

NT$ 110,000 - 220,000

HK$ 29,000 - 57,000

US$ 3,600 - 7,300

RMB 25,000 - 50,000

2022

綜合媒材 金箔 木板 53 x 46 cm

簽名左下：Toru.o '22

附日升月鴻畫廊開立之原作保證書

大槻透 窗際的貓

307

Toru OTSUKI

(Japanese, b. 1973)

Siren 2022

Mixed media, gold leaf on board

53 x 46 cm

Signed lower left Toru.o and dated 2022

Signed on the reverse Toul OTSUKI in Chinese, titled Siren and dated 2022

This lot is to be sold with a certificate of authenticity issued by Ever Harvet Art Gallery

NT$ 110,000 - 220,000

HK$ 29,000 - 57,000

US$ 3,600 - 7,300

RMB 25,000 - 50,000

大槻透

賽蓮 2022

綜合媒材 金箔 木板 53 x 46 cm

簽名右下：Toru.o '22

簽名畫背：Siren 2022 大槻透

附日升月鴻畫廊開立之原作保證書

308

Felix Treadwell

(British, b. 1992)

Untitled 2018

Oil on canvas 78 x 60.5 cm

Signed on the reverse Felix Treadwell and dated 2018

PROVENANCE

Union Gallery, London

NT$ 100,000 - 180,000

HK$ 26,000 - 47,000

US$ 3,300 - 6,000

RMB 23,000 - 41,000

菲利克斯．崔德威爾

無題 2018

油彩 畫布 78 x 60.5 cm

簽名畫背：Felix Treadwell 2018

309

PANG Hung-Chih

(Taiwanese, b. 1969)

Dome 2016

Acrylic on canvas

70 x 70 cm

Signed lower right PANG Hung Chih and dated 2016

PROVENANCE

Art Issue Projects, Taipei

NT$ 120,000 - 220,000

HK$ 31,000 - 57,000

US$ 4,000 - 7,300

RMB 27,000 - 50,000

x

310

Rieko SAKURAI

(Japanese, 1977 - 2015)

Cosmic Girl I

2007

Oil on canvas

136 x 110 cm

Signed on the reverse Rieko SAKURAI in English,titlted Cosmic Girl I and dated 2007

EXHIBITED

3L4D - A New Century of Anime Aesthetics, Sun YatSen Memorial Hall Zhongshan Gallery, October 20, 2007November 08, 2007

ILLUSTRATED

3L4D - A New Century of Anime Aesthetics Taipei, 2007, p. 59

NT$ 220,000 - 420,000

HK$ 57,000 - 109,000

US$ 7,300 - 13,900

RMB 50,000 - 95,000

櫻井禮惠子

宇宙女孩 I

2007

油彩 畫布

136 x 110 cm

簽名畫背：Cosmic Girl I 2007 Rieko

SAKURAI

展覽 「3L4D－動漫美學新世紀」，國父紀 念館中山畫廊，台北，展期自2007年

10月20日至11月08日

圖錄

《3L4D－動漫美學新世紀》，台北，

2007，頁59

311

Rieko SAKURAI

(Japanese, 1977 - 2015)

Cosmic Girl II

2007

Acrylic on canvas

136 x 110 cm

Signed on the reverse Rieko SAKURAI in English,titlted Cosmic Girl II and dated 2007

EXHIBITED

3L4D - A New Century of Anime Aesthetics, Sun Yat-Sen Memorial Hall Zhongshan Gallery, October 20, 2007November 08, 2007

ILLUSTRATED

3L4D - A New Century of Anime Aesthetics Taipei, 2007, p. 58

NT$ 220,000 - 420,000

HK$ 57,000 - 109,000

US$ 7,300 - 13,900

RMB 50,000 - 95,000

櫻井禮惠子

宇宙女孩 II

2007

油彩 畫布

136 x 110 cm

簽名畫背：Cosmic Girl II 2007 Rieko

SAKURAI

展覽 「3L4D－動漫美學新世紀」，國父紀

念館中山畫廊，台北，展期自2007年

10月20日至11月08日

圖錄

《3L4D－動漫美學新世紀》，台北，

2007，頁58

312

Eddie Kang (Korean, b. 1980)

Tension Ⅲ

2010

Acrylic, ink, handmade doll on canvas

130 x 97 cm

Signed on the reverse Eddie Kang in Korean and English and dated 2010

EXHIBITED

Eddie Kang 's Theater Life, Metaphysical Art Gallery, March 20, 2010 - April 18, 2010

ILLUSTRATED

Eddie Kang's Theater Life, Taipei, 2010, p. 13

This lot is to be sold with a certificate of authenticity signed by the artist

NT$ 260,000 - 380,000

HK$ 68,000 - 99,000

US$ 8,600 - 12,600

RMB 59,000 - 86,000

姜錫鉉

張力 Ⅲ 2010

壓克力 墨水筆 手工娃娃 畫布

130 x 97 cm

簽名畫背：姜錫鉉 Eddie Kang 2010

展覽

「姜錫鉉的劇場人生」，形而上畫

廊，台北，展期自2010年3月20日至

2010年4月18日

圖錄

《姜錫鉉的劇場人生》，台北，

2010，頁13

附藝術家簽名之作品保證書

313

Benrei HUANG

(Taiwanese, b. 1959)

Mood of the Day

2016

Acrylic on canvas

71 x 56 cm

Signed lower right Benrei.H and dated 2016

NT$ 320,000 - 420,000

HK$ 83,000 - 109,000

US$ 10,600 - 13,900

RMB 73,000 - 95,000

2016

壓克力 畫布

71 x 56 cm

簽名右下：Benrei.H 2016

黃本蕊 身體裡的房客

314

Etsu

(Japanese, b. 1994)

Rainbow - 2020 - 015

2020

Oil on canvas

45.5 x 53 cm

Signed lower right Egami Etsu and dated 2020

This lot is to be sold with a certificate of authenticity issued by Whitestone Gallery, Hong Kong

NT$ 200,000 - 300,000

HK$ 52,000 - 78,000

US$ 6,600 - 9,900

RMB 45,000 - 68,000

彩虹－ 2020 015

2020

油彩 畫布

45.5 x 53 cm

簽名右下：Egami Etsu 2020

附白石畫廊開立之作品保證書

EGAMI

江上越

315

Matt GONDEK

(American, b.1982)

Deconstructed Dragon Ball

2018

Acrylic on canvas

61 x 91.5 cm

Signed on the reverse Matt GONDEK and dated 2018

EXHIBITED ALL THE RAGE, Oriental Mandarin Hotel, Taipei, December

15, 2018 - February 18, 2019

NT$ 360,000 - 650,000

HK$ 94,000 - 169,000

US$ 11,900 - 21,500

RMB 82,000 - 148,000

麥特．剛迪克

解構七龍珠

2018

壓克力 畫布

61 x 91.5 cm

簽名畫背：Matt GONDEK 2018

展覽

「ALL THE RAGE 台北國際潮流藝術

展」，東方文華酒店，台北，展期自

2018年12月15日至2019年2月18日

316

Yoshitaka Amano

(Japanese, b. 1952)

Gatchaman

Automotive paint on aluminum panel

50(L) x 50(W) x 10(D) cm

Signed lower edge Y. Amano

NT$ 420,000 - 600,000

HK$ 109,000 - 156,000

US$ 13,900 - 19,900

RMB 95,000 - 136,000

50(長) x 50(寬) x 10(厚) cm

Y. Amano

汽車漆 鋁板

簽名底部：

317

Yoshitaka AMANO

(Japanese, b. 1952)

Candy Girls S - 9

2008

Automotive paint on aluminum panel

50(L) x 50(W) x 10(D) cm

Signed on the right edge Y. Amano

NT$ 420,000 - 600,000

HK$ 109,000 - 156,000

US$ 13,900 - 19,900

RMB 95,000 - 136,000

糖果女孩 S 9

2008

汽車漆 鋁板

50(長) x 50(寬) x 10(厚) cm

簽名右側：Y. Amano

天野喜孝

318

Paul Gauguin

(French, 1848 - 1903)

Portrait de Jeune Fille

c. 1875

Charcoal on paper

22 x 20 cm

Signed lower right Paul Gauguin

PROVENANCE

Herman Gotthardt, Limhamn, Sweden, 1925

Carl Georg Gotthardt, Copenhagen, by whom acquired from the above, by 1935 until 1940

Karen Fermann, Virum, Denmark, by inheritance from the above Sotheby’s, London, 23 March 1983, lot 118

EXHIBITED

Paul Gauguin, Retrospektiv Udstilling i Anledning af Hundredaaret for hans Fødsel, Copenhagen, NY Carlsberg

Glyptotek , May - June 1948

ILLUSTRATED

H. Rostrup, ‘Éventails et pastels de Gauguin’, in Gazette des Beaux - Arts, 1960, p. 158

This lot will be included in the artist's forcecoming Digital Catalogue Raisoné prepared by Wildenstein Plattner Institute, Inc

NT$ 500,000 - 600,000

HK$ 130,000 - 156,000

US$ 16,600 - 19,900

RMB 114,000 - 136,000

保羅．高更 少女肖像

約1875

炭筆 紙本 22 x 20 cm

簽名右下：Paul Gauguin

來源

Herman Gotthardt，瑞典利姆港，1925

Carl Georg Gotthardt，哥本哈根，1935 - 1940

於上述來源

Karen Fermann，Virum，丹麥，繼承自上述

倫敦蘇富比，1983年3月23日，編號118

展覽 「保羅，高更百年誕辰回顧展」，新嘉土伯美術館， 哥本哈根，1948 年 5 月至 6 月

圖錄

H. Rostrup，'Éventails et pastels de Gauguin'，

載於 Gazette des Beaux - Arts，1960，p. 158

此作將收錄於WPI Inc 即將出版之《保羅．高更數位

編年目錄》

319

JAN Chin-shui

(Taiwanese, b. 1953)

Harmony of Nature

2004

Mixed media on canvas

130 x 162 cm

Signed lower left Chin-shui in Chinese and dated 2004

Signed on the reverse JAN Chin-shui in Chinese, titled Harmony of Nature, inscribed 100F and dated 2004

NT$ 420,000 - 550,000

HK$ 109,000 - 143,000

US$ 13,900 - 18,200

RMB 95,000 - 125,000

320

CHEN

(Taiwanese, b. 1931)

Wonderland on Earth

1994

Oil on canvas

73 x 61 cm

Signed lower left YIN in Chinese Chen in English and dated 1994

Signed on reverse wonderland on Earth Huangshan Mountain

NT$ 220,000 - 320,000

HK$ 57,000 - 83,000

US$ 7,300 - 10,600

RMB 50,000 - 73,000

1994

73 x 61 cm

YINHUI

陳銀輝

人間仙境

油彩 畫布

簽名左下：銀 CHEN '94

簽名書背：人間仙境 (黃山)

321 XUE Song

(Chinese, b. 1965)

The Beauty

2006

Mixed media on canvas

60 x 50 cm

Signed lower right XUE Song in Chinese

Signed on the reverse XUE Song, titled The Beauty, inscribed 60 cm x 50 cm and dated 2006

PROVENANCE

Northern Banker Art & Culture Corporation, Taipei

NT$ 140,000 - 240,000

HK$ 36,000 - 62,000

US$ 4,600 - 8,000

RMB 32,000 - 55,000

薛松

綜合媒材 畫布 60 x 50 cm

簽名右下：薛松

簽名畫背：《美人圖》60 cm x 50 cm

薛松 Xue Song 2006 來源

322 YANG Din

(Chinese, b. 1958)

Paysage 1994

Oil on canvas 60 x 60 cm

Signed lower right YANG Din in Chinese and English, titled Paysage in French, inscribed 60 x 60 cm and dated 1994

NT$ 60,000 - 120,000

HK$ 16,000 - 31,000

US$ 2,000 - 4,000

RMB 14,000 - 27,000

楊登雄

風景 1994

油彩 畫布 60 x 60 cm

簽名右下：YANG Din

簽名畫背：楊登雄 YANG Din

Paysage 60 x 60 cm 1994

323

CHEN Ching-jung

(Taiwanese, b. 1934)

India Vase of Flowers

1984

Oil on canvas

45.5 x 38.5 cm

Signed lower right Ching-jung in Chinese and dated 1984

NT$ 90,000 - 180,000

HK$ 23,000 - 47,000

US$ 3,000 - 6,000

RMB 20,000 - 41,000

陳景容 有印度花瓶的花

1984

油彩 畫布

45.5 x 38.5 cm

簽名右下：景容 '84

324 Mayuka YAMAMOTO

(Japanese, b. 1964)

Red Bear

2021

Screenprint, edition no. 60/75

66 x 46 cm

Signed lower Mayuka, titled Apple and numbered 60/75

NT$ 40,000 - 80,000

HK$ 10,000 - 21,000

US$ 1,300 - 2,700

RMB 9,000 - 18,000

山本麻友香

紅熊

2021

版畫 60/75

66 x 46 cm

簽名版次下方：Mayuka Apple 60/75

325 Mayuka YAMAMOTO

(Japanese, b. 1964)

Sitting Bear

Lithograph, edition no. 38/75

60 x 44 cm

Singed lower Mayuka, titled sitting Bear and numbered 38/75

NT$ 40,000 - 80,000

HK$ 10,000 - 21,000

US$ 1,300 - 2,700

RMB 9,000 - 18,000

山本麻友香

坐著的小熊

版畫 38/75

60 x 44 cm

簽名版次下方：38/75 sitting Bear Mayuka

326

Mayuka YAMAMOTO

(Japanese, b. 1964)

Mountain

2019

Goat Boy

Screenprint, edition no. 30/50

40 x 30 cm

Signed lower right Mayuka, titled little mountain goat boy and umbered 30/50

This lot is to be sold with a certificate of authenticity issued by Gallery Tsubaki, Tokyo

NT$ 40,000 - 80,000

HK$ 10,000 - 21,000

US$ 1,300 - 2,700

RMB 9,000 - 18,000

山本麻友香

山羊男孩

2019

版畫 30/50

40 x 30 cm

簽名版次下方：30/50 mountain goat boy Mayuka 附椿畫廊開立之作品保證書

327

Mayuka YAMAMOTO

(Japanese, b. 1964)

White Bear Boy

2021

Lithograph, edition no. 64/75

45.5 x 33 cm

Singed lower Mayuka, titled White bear boy and numbered 64/75

NT$ 50,000 - 100,000

HK$ 13,000 - 26,000

US$ 1,700 - 3,300

RMB 11,000 - 23,000

山本麻友香

小白熊男孩

2021

版畫 64/75

45.5 x 33 cm

簽名版次下方：64/75 White bear boy Mayuka

328

Roby Dwi ANTONO

(Indonesian, b. 1990)

The Inception of Life

2020

Lithograph, edition no. 22/40

52 x 38 cm

Singed lower Roby in English and numbered 22/40

This lot is to be sold with a certificate of authenticity issued by Galerie Stephanie

NT$ 30,000 - 80,000

HK$ 8,000 - 21,000

US$ 1,000 - 2,700

RMB 7,000 - 18,000

羅比．安托諾 生命的起源

2020

版畫 22/40

52 x 38 cm

簽名版次下方：Roby 22/40

附史黛芬妮藝廊開立之作品保證書

329

MADSAKI

(Japanese, b. 1974)

Kung Fu Hustle II

2020

Screenprint, edition no. 96/300

53.5 x 75 cm

Signed lower right Mad, dated 2020 and numbered 96/300

NT$ 50,000 - 100,000

HK$ 13,000 - 26,000

US$ 1,700 - 3,300

RMB 11,000 - 23,000

Madsaki

功夫 II

2020

版畫 96/300

53.5 x 75 cm

簽名右下：Mad 20 96/300

330

Mr. (Japanese, b. 1969)

See You at School

2020

Offset print, edition no. 57/100

70 x 70 cm

Signed lower right Mr., numbered 57/100 and dated 2020

NT$ 70,000 - 140,000

HK$ 18,000 - 36,000

US$ 2,300 - 4,600

RMB 16,000 - 32,000

Mr. 學校見 2020

版畫 57/100

70 x 70 cm

簽名右下：Mr. 2020 57/100

331 Alex Face

(Thai, b. 1981)

Destiny Rider No. 1;

Destiny Rider No. 2 (a set of 2)

2019

Print, edition no. 12/75

47 x 59 cm (each)

Signed lower right Alex Face and numbered lower left 12/75 (each)

NT$ 70,000 - 140,000

HK$ 18,000 - 36,000

US$ 2,300 - 4,600

RMB 16,000 - 32,000

亞歷克斯．費斯

命運騎士 No. 1 ；命運騎士 No. 2 ( 兩件一組 )

2019

版畫 12/75

47 x 59 cm (每件)

簽名右下：Alex Face (每件)

版次左下：12/75 (每件)

332

Miwa

KOMATSU

(Japanese, b. 1986)

Zodiac Divine: Spirit Year of Rabbit

Screenprint, edition no. 15/50

53 x 53 cm

Signed lower right Komiwa and numbered lower left 15/50

ROVENANCE

Whitestone Gallery, Tokyo

NT$ 90,000 - 180,000

HK$ 23,000 - 47,000

US$ 3,000 - 6,000

RMB 20,000 - 41,000

小松美羽

版畫 15/50

53 x 53 cm

簽名右下：Komiwa

版次左下：15/50

來源

白石畫廊，東京

333

Miwa

KOMATSU

(Japanese, b. 1986)

Standing in Front of the Tower

2018

Screenprint, edition no. 41/50

45.5 x 38 cm

Signed lower right Komiwa and numbered lower left 41/50

ROVENANCE

Whitestone Gallery, Taipei

NT$ 90,000 - 180,000

HK$ 23,000 - 47,000

US$ 3,000 - 6,000

RMB 20,000 - 41,000

2018

版畫 41/50

45.5 x 38 cm

簽名右下：Komiwa

版次左下：41/50

來源

白石畫廊，台北

小松美羽 站在塔前

334

Yoshitomo NARA

(Japanese, b. 1959)

Cosmic Girl Eyes (Close / Open) (a set of 2)

2008

Print, limited edition of 500 68 x 48 cm (each)

NT$ 110,000 - 220,000

HK$ 29,000 - 57,000

US$ 3,600 - 7,300

RMB 25,000 - 50,000

奈良美智

宇宙女孩：睜眼閉眼 ( 兩件一組 )

2008

海報 限量500件

68 x 48 cm (每件)

335

Izumi KATO

(Japanese, 1969)

Untitled 30 2019

Lithograph, edition no. 36/36

76 x 54.5 cm

Signed lower right Kato in English dated 2019 and numbered lower left 36/36

NT$ 110,000 - 220,000

HK$ 29,000 - 57,000

US$ 3,600 - 7,300

RMB 25,000 - 50,000

加藤泉

無題 30

2019

版畫 36/36

76 x 54.5 cm

簽名右下：Kato 2019

版次左下：36/36

336

Yoshitomo NARA

(Japanese, b. 1959)

WOW Project: Beach Towel

2010

Beach towel, edition of 1000

153 x 177 cm

Printed signature NA on the label in Japanese

NT$ 240,000 - 360,000

HK$ 62,000 - 94,000

US$ 8,000 - 11,900

RMB 55,000 - 82,000

奈良美智

WOW 計畫沙灘巾

2010

沙灘巾 限量1000件

153 x 177 cm

印刷簽名於標籤：な

337 CHU Teh-chun

(Chinese - French, 1920 - 2014)

Welcome Spring 2001

Lithograph, edition no. 71/150

82 x 63 cm

Signed lower right CHU Teh-chun in English, numbered 71/150

This lot is to be sold with a certificate of authenticity issued by Mingshan Art

NT$ 80,000 - 160,000

HK$ 21,000 - 42,000

US$ 2,700 - 5,300

RMB 18,000 - 36,000

迎春 2001

版畫 71/150

82 x 63 cm

簽名右下：CHU Teh-chun 71/150

附名山藝術開立之作品保證書

朱德群

338

CHU Teh-chun

(Chinese - French, 1920 - 2014)

Autumn Lithograph, edition no. 120/180

65 x 99 cm

Signed lower right CHU Teh-chun in Chinses and English, numbered 120/180

This lot is to be sold with a certificate of authenticity issued by Capital Art Corporation

NT$ 90,000 - 180,000

HK$ 23,000 - 47,000

US$ 3,000 - 6,000

RMB 20,000 - 41,000

石版畫 120/180

65 x 99 cm

簽名右下：朱德群 CHU Teh-chun

120/180

朱德群 秋

附首都藝術開立之作品保證書

339

Derrick Adams

(American, b. 1970)

Good Luck Charm

2021

Mixed media, edition no. 42/60

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

Signed on the right side Derrick Adams

Numbered on the bottom 42/60

NT$ 30,000 - 100,000

HK$ 8,000 - 26,000

US$ 1,000 - 3,300

RMB 7,000 - 23,000

德里克．亞當斯

幸運符

2021

綜合媒材 42/60

28(長) x 16(寬) x 16(高) cm

簽名側邊：Derrick Adams

版次底部：42/60

340 Javier Calleja

(Spanish, b. 1971)

Heads 2; Hooks Heads 1 (a set of 2)

2022

PVC, glass; PVC, glass, aluminum

11.6(L) x 12(W) x 30(H) cm

H: 6.4 ; 7.2 ; 9 ; 7.6 ; 6.4 cm

NT$ 40,000 - 80,000

HK$ 10,000 - 21,000

US$ 1,300 - 2,700

RMB 9,000 - 18,000

哈維爾．卡勒加

頭 2 ；頭掛鉤 1 ( 兩件一組 )

2022

塑膠 玻璃；塑膠 玻璃 鋁合金

11.6(長) x 12(寬) x 30(高) cm

高：6.4；7.2；9；7.6；6.4 cm

341

KAWS (Brian Donnelly)

(American, b. 1974)

Dissorted Companion (Brown Grey and Black) (a set of 3)

2010

Painted cast vinyl, edition of 1000

13(L) x 6.2(W) x 17.5(H) cm (Brown)

13(L) x 6(W) x 21.5(H) cm (Grey)

13.5(L) x 8.2(W) x 18.5(H) cm (Black)

Trademark KAWS / LAZZARINI 2010 on the bottom of right foot; MEDICOM TOY CHINA on the bottom of left foot

This lot is to be sold with its original product box

NT$ 40,000 - 100,000

HK$ 10,000 - 26,000

US$ 1,300 - 3,300

RMB 9,000 - 23,000

KAWS 〈布萊恩．唐納利〉

扭曲變形 ( 棕、灰、黑 ) ( 三件一組 )

2010

彩繪 搪膠 限量 1000件

13(長) x 6.2(寬) x 17.5(高) cm (棕)

10(長) x 6(寬) x 21.2(高) cm (灰)

13.5(長) x 8.2(寬) x 18.5(高) cm (黑)

註冊商標：KAWS / ROBERT LAZZARINI 2010 (右腳底)

MEDICOM TOY CHINA (左腳底)

附原產紙盒包裝

342

KAWS (Brian Donnelly)

(American, b. 1974)

HOLIDAY UK - Containers

Ceramics, edition of 1000

19(L) x 13(W) x 42(H) cm (each)

Print on the bottom KAWS.. (each)

This lot is to be sold with its original product box

NT$ 50,000 - 100,000

HK$ 13,000 - 26,000

US$ 1,700 - 3,300

RMB 11,000 - 23,000

KAWS 〈布萊恩．唐納利〉

HOLIDAY UK - Containers

瓷 限量1000

19(長) x 13(寬) x 42(高) cm (每件)

簽名印刷底部：KAWS.. (每件)

附原產紙盒包裝

343

Moe NAKAMURA

(Japanese, b. 1988)

Three Faces

2017

Polystone, edition no. 99/100

13(L) x 27(W) x 3.5(D) cm

Signed lower right Moe

Numbered on reverse 99/100

NT$ 70,000 - 140,000

HK$ 18,000 - 36,000

US$ 2,300 - 4,600

RMB 16,000 - 32,000

中村萌

三張臉

2017

寶麗石粉 樹脂 99/100

13(長) x 27(寬) x 3.5(厚) cm

簽名右下：Moe

版次背後：99/100

344

Moe NAKAMURA

(Japanese, b. 1988)

Loop Loop

2015

Polystone, edition no. 17/130

14(L) x 11(W) x 20(H) cm

Print on the bottom Moe

This lot is to be sold with a certificate of authenticity signed by the artist and accompanied with their original product box

NT$ 70,000 - 140,000

HK$ 18,000 - 36,000

US$ 2,300 - 4,600

RMB 16,000 - 32,000

中村萌

圈圈

2015

寶麗石粉樹脂 17/130

14(長) x 11(寬) x 20(高) cm

簽名印刷底部：Moe

附藝術家簽名保證卡與作品原產紙盒包裝

345

Moe NAKAMURA (Japanese, b. 1988)

Bambooshika

2018

Polystone, edition no. 16/160

15.5(L) x 16(W) x 21(H) cm

11(L) x 10.2(W) x 15.5(H) cm

Print on the bottom Moe

This lot is to be sold with a certificate of authenticity signed by the artist and accompanied with their original product box

NT$ 90,000 - 180,000

HK$ 23,000 - 47,000

US$ 3,000 - 6,000

RMB 20,000 - 41,000

中村萌 母子筍

2018

寶麗石粉樹脂 16/160

15.5(長) x 16(寬) x 21(高) cm

11(長) x 10.2(寬) x 15.5(高) cm

簽名印刷底部：Moe

附藝術家簽名保證卡與作品原產紙盒包裝

346 Mr Doodle (British, b. 1994)

The Doodler

2019

Resin, edition no. 109/250

17(L) x 17(W) x 34(H) cm

Signed MR DOODLE! and dated 2019

This lot is to be sold with a certificate of authenticity and accompanied with it’s original product box

NT$ 70,000 - 140,000

HK$ 18,000 - 36,000

US$ 2,300 - 4,600

RMB 16,000 - 32,000

塗鴉先生 塗鴉先生

2019

樹酯 109/250

17(長) x 17(寬) x 34(高) cm

簽名腳底：MR DOODLE! 2019

附藝術家簽名保證卡與作品原產紙盒包裝

347

Yuya Hashizume

(Japanese, b. 1983)

Eye water

2021

Polystone, edition no. 87/90

13.5(L) x 11.9(W) x 25(H) cm

Signed on the reverse Yuya.H. 87/90

This lot is to be sold with a certificate of authenticity issued by Art Space Kin Gyo Koo Kan

NT$ 100,000 - 180,000

HK$ 26,000 - 47,000

US$ 3,300 - 6,000

RMB 23,000 - 41,000

橋爪悠也 淚水

2021

寶麗石粉樹脂 87/90

13.5(長) x 11.9(寬) x 25(高) cm

簽名背面：Yuya.H. 87/90

附金魚空間開立之作品保證書

348

Takeru AMANO

(Japanese, b. 1977)

Venus

2021

Resin, edition no. 17/38

55(L) x 30(W) x 70(H) cm

Engraved on bottom Takeru AMANO

NT$ 110,000 - 220,000

HK$ 29,000 - 57,000

US$ 3,600 - 7,300

RMB 25,000 - 50,000

天野タケル

維納斯

2021

樹脂 17/38

55(長) x 30(寬) x 70(高) cm

簽名雕刻台座：Takeru AMANO

349

JU Ming

(Taiwanese, 1938 - 2023)

Taichi Series

Unsaturated polyester resin, calcium carbonate, edition no. 43/300

L: 20(L) x 22.4(W) x 20.8(H) cm

R: 17.6(L) x 15.2(W) x 20.8(H) cm

Numbered on the bottom 43/300

This lot is to be sold with a certificate of limited reproduction issued by Ju Ming Museum, Taipei

NT$ 160,000 - 260,000

HK$ 42,000 - 68,000

US$ 5,300 - 8,600

RMB 36,000 - 59,000

朱銘

太極系列

不飽和聚酯樹脂 碳酸鈣 43/300

左：20(長) x 22.4(寬) x 20.8(高) cm

右：17.6(長) x 15.2(寬) x 20.8(高) cm

版次底部：43/300

附朱銘美術館限量複製品保證書

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

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

2. 競投保證金 : 新台幣陸拾萬元或貳萬美金。

3. 競投保證金需於 2023 年 5 月 31 日以前完成匯款至本公司指定帳號如下 : 銀行：匯豐（台灣）商業銀行 - 台北分行

銀行代碼：0810016

戶名：羅芙奧股份有限公司

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

地址：台北市基隆路一段 333 號 14 樓

匯款時請指示銀行本公司需實收競投保證金全額，銀行手續費請匯款人負擔。

4. 2023 年 5 月 31 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2023 年 6 月 1 日至 6 月 4 日 ) 以新台幣現鈔支付 ( 恕不接受除現金之外之其他繳納方式 )，收款將於 6 月 4 日中午 12 點截止。

5. 電話／書面／網路競投：競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請手續以及競投保證金 之繳納亦需在 2023 年 5 月 31 日以前完成匯款至本公司指定帳號。

6. 如於 2023 年 5 月 31 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我們 將與競投者聯繫並與之確認其競標牌號。

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

8. 競投保證金退還方式：

(1) 有成交：

(a) 競投保證金以「匯款」方式完成者，扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額

需退還，本公司將於拍賣日後十四個工作天內以匯款方式退還給買家。

(b) 競投保證金以「現金」方式完成者，扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 後，若有餘額

需退還，本公司將於拍賣當日以現金退還給買家。

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

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

9. 若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價、服務費及其他費用 ) 金額超過競投保證金金額時，買方得以下列方 式結清帳款：

(1) 現鈔：上限新台幣壹佰萬元。

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

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

給予買家的重要通知

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 31 May 2023, 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 31 May 2023, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 1st June to 4th June 2023). Acceptance will cease on 4th June by 12pm (No other forms of payment will be accepted).

5. Telephone / written / internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the bidding deposit transferred to Ravenel's specified Bank account before the 31 May 2023

6. If the bidding deposit has been transferred prior to 31 May 2023, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her/its paddle number.

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

8. Return of the Security Deposit:

(1) Completed Transaction:

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

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

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

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

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

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

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

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

委託競投表格

委託競投表格須於拍賣24小時前送抵藝術部。競投表格可傳真至:

藝術部 電話：+886-2-2708 9868 ｜傳真：+886-2-2701 3306

投標者資料

客戶編號 姓名

護照號碼/身份證字號/統一編號

電話號碼（住宅） （手機）

拍賣期間之聯絡電話 (僅限電話競投)

電郵 傳真號碼

地址

拍 賣 名 稱：羅芙奧台北 2023 春季拍賣會 現代與當代藝術

拍 賣 編 號：TA2302

拍 賣 日 期：2023 年 6 月 4 日 ( 星期日 ) 下午 2:00 拍 賣 地 點：台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路 199 號

拍賣品編號 名 稱 競投價 (新台幣) / (服務費不計在內)

※投標規則：

1. 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。

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

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

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

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

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

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

簽署 ： 日期：

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

Ravenel Ltd.

18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan

Tel: +886 2 2708 9868 | Fax: +886-2-2701 3306 ravenel.com | ravenelart.com.cn

ABSENTEE BID FORM

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

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

Bidder's Details

Auction SPRING AUCTION 2023 TAIPEI

Modern & Contemporary Art

Date Sunday, June 4, 2023, 2:00pm

Sale No. TA2302

Location Marriott Taipei 3F (Grand Space)

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

Tel (For Phone Bid)

Email Fax Address

※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.

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.

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。

1. 本公司作為賣家代理人

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

2. 拍賣前

a. 鑑定物品

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

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

c. 符號表示

以下為本目錄所載符號之說明

ｏ保證項目

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

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

拍賣價格之估計，不應依據為拍賣品會成功拍賣之價格或拍賣品作其 他用途之價值陳述。 許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有 些說明或鑑定意見書會提述拍賣品之損壞及／或修整資料。此等資 料僅作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺 陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。

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

3. 拍賣時

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

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

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

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

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

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

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

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

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

h. 透過 Invaluable 進行網上競投

若準買家未能出席拍賣會，或可透過Invaluable網上競投服務於網上 競投 屬意 拍品，而承擔買家獨立責任。此項服務乃免費及保密。有 關透過 Invaluable 網上競投服務登記，進行網上競投之詳情，請參閱 本公司網頁 ravenel.com。使用Invaluable網上競投服務之準買家須接

受透過Invaluable網上競投服務進行即時網上競投之附加條款（可參 閱 網站 ），以及適用於該拍賣之業務規則所規範，本公司得隨時修 改該業務規則。

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

j. 錄映影像

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

k. 拍賣官之決定權

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

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

4. 成功拍賣後

a. 買家支付每件拍賣品之服務費費率

(1) 買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台 幣參仟貳佰萬元以下者含參仟貳佰萬元以落槌價之20％計算。

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

b. 稅項

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

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

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

d. 領取已購拍賣品

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

e. 介紹裝運及運輸公司

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

f. 不付款或未有領取已購拍賣品之補救辦法

如買家並未在成功拍賣日後起算七天內付款，本公司即有權行使下 述一項或多項權利或補救辦法：

(1) 在成功拍賣日後起算超過七天仍未付款，則按不超過台灣銀行基 本放款利率加收10%之年利率收取整筆欠款之利息。此外本公司 可同時按日收取依成交價（含落槌價、服務費） 1 ％計算之 懲罰 性 違約金。本公司亦得自行選擇將買家未付之款項，用以抵銷 本公司或其他關係企業在任何其他交易中欠下買家之款項，買 家絕無異議。

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

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

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

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

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

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

g. 未有領取已購拍賣品

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

h. 出口許可證

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

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

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

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

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

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

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

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

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

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

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

賣方業務規則請參閱羅芙奧網站

http://ravenel.com

http://ravenelart.com.cn

TRANSACTION AGREEMENT

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

ARTICLE 1.DEFINITION

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

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

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

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

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

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

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

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

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

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

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

ARTICLE 2.THE BUYER

1. The Company as the Agent of the Seller

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

2. Prior to the Auction

a. Authentication

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

b. Important Notice

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

c. Symbol Key

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

○ Guaranteed Property

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

d. Catalogue Explanations

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

graphs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many Lots fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect.

e. Responsibility of the Buyer

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

3. In the Auction

a. Estimates

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

b. Refusal of Admission

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

c. Registration Prior to the Bidding

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

d. The Bidding Deposit

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

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

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

e. The Bidder is the Buyer

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

f. Commission Bids

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

g. Bid by Phone

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

h. Online Bids via Invaluable

If the bidder cannot attend the auction, it may be possible to bid online via Invaluable for preferred Lots to bear individual buyer's responsibilities. This service is free and confidential. For information about registering to bid via Invaluable, please refer to Ravenel.com. The Bidders using the Invaluable online bidding service are subject to the additional terms and conditions for online bidding via Invaluable, which can be viewed at Ravenel.com and be revised by the Company from time to time.

i. Exchange Rate Conversion Board

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

j. Recorded Images

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

k. Determining Power of the Auctioneer

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

l. Successful Bids

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

4. Following the Auction

a. The Buyer's Premium of Each Lot

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

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

b. Taxes

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

c. Payment

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

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

d. Collection of the Lot Sold

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

e. Referral of Packaging or Transportation Companies

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

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

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

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

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

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

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

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

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

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

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

g. No Collection of the Lot Sold

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

h. Export Permit

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

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

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

5. The Legal Responsibility of the Company

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

6. Return of Payments for Counterfeits or stolen goods

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

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

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

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

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

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

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

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