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5
目次 CONTENTS
羅芙奧春季拍賣會
Sale Information
8 羅芙奧之服務 Ravenel Services
11 藝術家索引 Index
12
現代與當代藝術 Modern and Contemporary Art
165 給予買家的重要通知 Important Notice to Buyers
167 委託競投表格 Absentee Bid Form
169 業務規則 Transaction Agreement
藝術家索引 INDEX
A Ai Xuan 艾軒 55
Guy Bardone 居．巴赫東 78
Fernando Botero
費爾南多．波特羅 61
Bernard Buffet 貝爾納．畢費 108
Jon Burgerman 喬恩．布爾格曼 3
Javier Gonzalez Burgos 哈維爾．岡薩雷斯．布爾戈斯124
Byun Sehee 邊世喜 13
Cai Zhisong
蔡志松 82
Chang Chao-Tang 張照堂 88
Chang Chia-Ying 張嘉穎 72
Chang Li-Ren 張立人 81
Sophie Chang 張淑芬 65
Chang Tao-Lin 張道林 70
Bernard Charoy 貝爾納．夏洛瓦 76
Chen Cheng Wei 陳承衛 74
Hilo Chen 陳昭宏 77, 80
Chen Ting-Shih 陳庭詩 52
Chen Wei-Ting 陳威廷 31, 32
Chiu Ya-Tsai 邱亞才 39
Chu Teh-Chun 朱德群 57, 58
Chuang Che 莊喆 23, 48, 70
Dong Shawhwei 董小蕙 42, 50, 51
Mr Doodle 塗鴉先生 4
Etsu Egami 江上越 9
Alex Face 亞歷克斯．費斯 20
Fan Yang Tsung 范揚宗 45
Arman Fernandez 阿曼．費爾戴儂 29
Bernard Gantner 貝爾納．甘德納 16
René Genis 賀內．吉尼斯 84
H.N. Han (Hsiang-Ning Han) 韓湘寧 49
Han Choong-Seok 韓忠錫 2
Camille Hilaire 卡密．伊列魯 87
Yuichi Hirako 平子雄一 95
Damien Hirst 達明．赫斯特 100
Hsia Yan 夏陽 33
Hsieh Hsiao-De 謝孝德 91
Tehching Hsieh 謝德慶 107 (Sam Hsieh)
Benrei Huang 黃本蕊 123
Poren Huang 黃柏仁 122
Dennis Hwang 黃志超 34, 46
Kiriko Iida 飯田桐子 7, 8
Aya Ito 伊藤彩 10
Jan Chin-Shui 詹金水 90
Ju Ming 朱銘 67, 114, 119, 126-128
Kwan-Young Kim 金官泳 15
Miwa Komatsu 小松美羽 101, 102
Yayoi Kusama 草間彌生 28, 109, 111
Lee Bae 李英培 24, 27
Li Chen 李真 68, 69
Liao Chi 廖繼春 56
Lin Bao Ling 林葆靈 90
Lin Wei-Hsiang 林煒翔 75
Adam Lister 亞當．里斯特 17, 18
Liu Kuo-Sung 劉國松 44, 53
Ma Pai-Sui 馬白水 38
Tomokazu Matsuyama 松山智一 105
Sadamasa Motonaga 元永定正 5, 6 Mr Mr 12, 98
Takashi Murakami 村上隆 92-94
Tomoko Nagai 長井朋子 11, 21
Moe Nakamura 中村萌 123
Yoshitomo Nara 奈良美智 106, 118 Nksin Nksin 19
Pang Jiun 龎均 44, 54
Edgar Plans 艾德加．普連斯 26
Ren Zhe 任哲 121
Matías Sánchez 馬蒂亞斯．桑切斯 86 Koso Sato 佐藤公聰 85
Shiy De-Jinn 席德進 35, 36 David Shrigley 大衛．史瑞格里 99 Pierre Soulages 皮耶．蘇拉吉 83
Keiichi Tanaami 田名網敬一 125
Walasse Ting 丁雄泉 25, 37, 47, 62, 65
Pierre-Yves Trémois 皮耶－伊夫．特墨 113
Yoshimasa Tsuchiya 土屋仁応 115, 116, 124
Willy Verginer 威利．維傑納 30
Wang Pan-Youn 王攀元 40, 41
Suling Wang 王淑鈴 73
Mitsuru Watanabe 渡部滿 14
Xu Bing 徐冰 60
Xue Song 薛松 79
Mayuka Yamamoto 山本麻友香 22, 96, 97
Ryoichi Yamazaki 山崎龍一 1
Yang Chihung 楊識宏 63, 80
Akihiko Yoshida 吉田昭彥（仁吉） 117, 118
Zao Wou-Ki 趙無極 59, 103, 104
Zhan Wang 展望 112
RYOICHI YAMAZAKI
(Japanese, b. 1976)
Pension Agency; Fighter; Little My; Got Buzzed ; Deep Blue (A set of 5)
2013, 2018, 2012, 2011, 2024
Pencil, color on paper; oil on board
22 x 12 cm; 25 x 17.2 cm; 19.8 x 22 cm; 13 xw 10 cm; 15 x 10 cm
Signed and dated on the surface (each)
山崎龍一
年金機構；鬥士；小不點；微醺；深藍色 （五件一組）
2013, 2018, 2012, 2011, 2024
鉛筆 色鉛筆 紙本；油彩 木板
22 x 12 cm; 25 x 17.2 cm; 19.8 x 22 cm; 13 x 10 cm; 15 x 10 cm
簽名年代畫面 (每件)
簽名畫背：Ryochi Yamazaki 2024 (深藍色)
Signed reverse Ryochi Yamazaki and dated 2024 (Deep Blue)
This lot is accompanied by a certificate of authenticity issued by Art Gallery Komori, Nagoya.
NT$ 50,000 - 100,000
HK$ 12,000 - 25,000
US$ 1,600 - 3,100
RMB 11,000 - 22,000
附小森畫廊開立之原作保證書
002
HAN CHOONG-SEOK
(Korean, b. 1981)
Untitled
2022
Color pencil on paper 21 x 29.7 cm
Signed lower right HAN and dated 2022
This lot is accompanied by a certificate of authenticity issued by J.P. Art Center, Kaohsiung.
NT$ 30,000 - 60,000
HK$ 7,000 - 15,000
US$ 900 - 1,900
RMB 6,000 - 13,000
韓忠錫 無題 2022
色鉛筆 紙本 21 x 29.7 cm
簽名右下：2022 HAN
附琢璞藝術中心開立之原作保證書
003
JON BURGERMAN
(American, b. 1979)
Happy Reunion
2021
Aerosol and oil bar on wood panel
45.7(L) x 35.5(W) x 1.9(D) cm
Signed reverse Jon Burgerman and dated 2021
EXHIBITED
Face Time, Dopeness Art Lab, Taipei, December 11, 2021 –January 2, 2022, no. 03.
This lot is accompanied by a certificate of authenticity signed by the artist and issued by Dopeness Art Lab, Taipei.
NT$ 50,000 - 80,000
HK$ 12,000 - 20,000
US$ 1,600 - 2,500
RMB 11,000 - 17,000
喬恩．布爾格曼
嗨皮大團聚
2021
氣溶膠 油畫棒 木板
45.7(長) x 35.5(寬) x 1.9(厚) cm
簽名畫背：Jon Burgerman 2021
展覽
Face Time, Dopeness Art Lab，台北，展期 2021年12月11日至2022年1月2日，編號03
附放肆藝術國際有限公司開立之藝術家簽名 原作保證書
004
MR DOODLE
(British, b. 1994)
Chilling Mouse
2018
Acrylic on canvas 61 x 45 cm
Signed reverse MR DOODLE!, titled CHILLING MOUSE and dated 2018
NT$ 90,000 - 180,000
HK$ 22,000 - 44,000
US$ 2,800 - 5,600
RMB 19,000 - 39,000
塗鴉先生
悠哉的米奇 2018
壓克力 畫布 61 x 45 cm
簽名畫背：CHILLING MOUSE MR DOODLE! 2018
SADAMASA MOTONAGA
(Japanese, 1922-2011)
From the Shape of an Ellipse
1990
Watercolor on paper
24.2 x 27.3 cm
Signed lower center S. Motonaga and dated ‘90
With one seal of the artist
Signed reverse Sadamasa Motonaga in kanji, titled From the Shape of an Ellipse in Japanese and dated 1990
PROVENANCE
Private collection, Asia
China Guardian, Hong Kong, August 8, 2020, lot 39
Acquired from the above by the present owner
This lot is accompanied by a certificate of authenticity issued by the Motonaga Archive Research Institution, Japan, with registration number p(s)22-90.
NT$ 70,000 - 100,000
HK$ 17,000 - 25,000
US$ 2,200 - 3,100
RMB 15,000 - 22,000
元永定正
來自橢圓形 1990
水彩 紙本
24.2 x 27.3 cm
簽名下方：S. Motonaga '90
鈐印右下：元 簽名畫背：だえんのかたちから 一九九O年
元永定正
來源
私人收藏，亞洲 中國嘉德，香港，2020年8月8日，編號39
現有收藏者購自上述來源
附日本元永定正資料研究室開立之作品鑒定 書；登錄番號p(s)22-90
SADAMASA MOTONAGA
(Japanese, 1922-2011)
Three Shapes on the Mesh
1989
Watercolor on paper
24.2 x 27.3 cm
Signed lower right S. Motonaga and dated ‘89
Signed reverse Sadamasa Motonaga in kanji, titled
Three Shapes on the Mesh in Japanese and dated 1989
PROVENANCE
Private collection, Asia
China Guardian, Hong Kong, August 8, 2020, lot 39
Acquired from the above by the present owner
This lot is accompanied by a certificate of authenticity issued by the Motonaga Archive Research Institution, Japan, with registration number p(s)20-89.
NT$ 70,000 - 100,000
HK$ 17,000 - 25,000
US$ 2,200 - 3,100
RMB 15,000 - 22,000
元永定正
網上的三個形狀
1989
水彩 紙本
24.2 x 27.3 cm
簽名右下：S Motonaga '89
簽名畫背：だえんのかたちから 一九八九年
元永定正
來源
私人收藏，亞洲
中國嘉德，香港，2020年8月8日，編號39
現有收藏者購自上述來源
附日本元永定正資料研究室開立之作品鑑定書； 登錄番號p(s)20-89
007
KIRIKO IIDA
(Japanese, b. 1970)
Prayer Child 2
2019
Oil on canvas
22.7 x 15.8 cm
This lot is accompanied by a certificate of authenticity issued by Gallery IDF, Nagoya and signed by the artist.
NT$ 70,000 - 110,000
HK$ 17,000 - 27,000
US$ 2,200 - 3,500
RMB 15,000 - 24,000
飯田桐子
祈禱之子 2 2019
油彩 畫布
22.7 x 15.8 cm
附IDF畫廊開立與藝術家簽名之原作保證書
008
KIRIKO IIDA
(Japanese, b. 1970)
Prayer Child 1
2019
Oil on canvas
33.3 x 24.2 cm
Signed reverse Kiriko Iida and dated 2019
This lot is accompanied by a certificate of authenticity issued by Gallery IDF, Nagoya and signed by the artist.
NT$ 70,000 - 140,000
HK$ 17,000 - 34,000
US$ 2,200 - 4,400
RMB 15,000 - 30,000
飯田桐子
祈禱之子 1
2019
油彩 畫布
33.3 x 24.2 cm
簽名畫背：Kiriko Iida 2019
附IDF
畫廊開立與藝術家簽名之原作保證書
009
ETSU EGAMI
(Japanese, b. 1994)
Artist - Z
2020
Acrylic on canvas
91 x 72.5 cm
Signed lower edge Egami Etsu and dated 2020
NT$ 90,000 - 180,000
HK$ 22,000 - 44,000
US$ 2,800 - 5,600
RMB 19,000 - 39,000
江上越
藝術家－ Z
2020
壓克力 畫布
91 x 72.5 cm
簽名下方：Egami Etsu 2020
010
AYA ITO
(Japanese, b. 1987)
City Saviour on Fire
2020
Oil on canvas
73 x 103.5 cm
This lot is accompanied by a certificate of authenticity issued by Yiri Art, Taipei.
NT$ 100,000 - 160,000
HK$ 25,000 - 39,000
US$ 3,100 - 5,000
RMB 22,000 - 35,000
伊藤彩
烈焰中的城市守護者
2020
油彩 畫布 73 x 103.5 cm
附伊日藝術開立之原作保證書
(Japanese, b. 1982)
Little Ichimon-chan
2020
Oil on canvas
45 x 50 cm
Signed reverse Tomoko Nagai, dated 2020 and titled Little Ichimon-chan in Japanese
NT$ 110,000 - 220,000
HK$ 27,000 - 54,000
US$ 3,500 - 6,900
RMB 24,000 - 48,000
長井朋子
小一文醬 2020
油彩 畫布
45 x 50 cm
簽名畫背：小さいいちもんちやん 2020 Tomoko Nagai
TOMOKO NAGAI
012
MR
(Japanese, b. 1969)
Wild Ostrich
2012
Watercolor, pen and pencil on paper
14.8 x 21 cm
Signed lower right Mr. and dated 2012
Dated upper right 2012
PROVENANCE
Perrotin, Hong Kong
EXHIBITED
Mr. Solo Exhibition, Perrotin Hong Kong, September 14 –
October 20, 2018
NT$ 120,000 - 190,000
HK$ 29,000 - 47,000
US$ 3,800 - 6,000
RMB 26,000 - 41,000
MR
野鴕鳥 2012
水彩 鋼筆 鉛筆 紙本
14.8 x 21 cm
簽名右下：2012 Mr. 年代左上：2012
來源
貝浩登，香港
展覽
「MR個展」，貝浩登畫廊，香港，展期2018年 9月14日至10月20日
013
BYUN SEHEE
(Korean, b. 1990)
Beloved My World #6
2021
Acrylic on canvas
112.1 x 112.1 cm
Signed upper center Byun Sehee in Korean and titled
Beloved My World #6 in Korean
Signed, titled and dated reverse
This lot is accompanied by a certificate of authenticity issued by Richart Gallery, Taichung.
NT$ 160,000 - 240,000
HK$ 39,000 - 59,000
US$ 5,000 - 7,500
RMB 35,000 - 52,000
邊世喜
我深愛的世界 #6
2021
壓克力 畫布
112.1 x 112.1 cm
簽名上方：사랑하는 나의세계 #6
簽名題識畫背
附台中大雋藝術開立之原作保證書
014
MITSURU WATANABE
(Japanese, b. 1953)
Yukiko with Camellia
2001
Oil, gold leaf and tempera on canvas, mounted on board
Diameter 33.5 cm
With one painted seal of the artist
Signed reverse Mitsuru Watanabe, titled Yukiko with Camellia in kanji and dated 01.4.25
PROVENANCE
Zhong Cheng Auction, Taipei, June 10, 2018, lot 213
Acquired from the above by the present owner
This lot is accompanied by a certificate of authenticity issued by Galerie Elegance, Taipei.
NT$ 280,000 - 380,000
HK$ 69,000 - 93,000
US$ 8,800 - 11,900
RMB 61,000 - 82,000
渡部滿
由希子和椿花
2001
油彩 金箔 蛋彩 畫布錶於木板
直徑 33.5 cm
鈐印右下：MW
畫背簽名：01.4.25 由希子と椿 渡部滿
來源
中誠拍賣，台北，2018年6月10日，編號213
現藏者購自上述來源
附台北愛力根畫廊開立之原作保證書
015
KWAN-YOUNG KIM
(Korean, b. 1976)
The Memory of the Unconscious 521
2021
Mixed media on canvas 112 x 112 cm
Signed reverse KIM KWAN YOUNG, titled The Memory of the Unconscious 521 and dated 2021.4.27
NT$ 280,000 - 380,000
HK$ 69,000 - 93,000
US$ 8,800 - 11,900
RMB 61,000 - 82,000
金官泳
無意識的記憶 521 2021
綜合媒材 畫布 112 x 112 cm
簽名畫背：The Memory of the Unconscious 521 KIM KWAN YOUNG 2021.4.27
016
BERNARD GANTNER
(French, 1928-2018)
Village sous la neige, Étobon
1965
Oil on canvas
89 x 116 cm
Signed lower right Gantner
Signed reverse Gantner, dated 1965 and titled
Village sous la neige, Etobon
PROVENANCE
Eric Pillon Enchère, Le Touquet, France, May 19, 2002, lot 114
NT$ 260,000 - 400,000
HK$ 64,000 - 98,000
US$ 8,200 - 12,600
RMB 56,000 - 87,000
貝爾納．甘德納
冬日風情
1965
油彩 畫布
89 x 116 cm
簽名右下：Gantner
簽名畫背：Gantner 1965 Village sous la neige, Etobon
來源
艾瑞克．皮隆拍賣行，法國勒圖凱， 2002 年 5 月 19 日，編號 114
017
ADAM LISTER
(American, b. 1978)
Pumpkin, Homage to Kusama
2020
Acrylic on canvas
133.5 x 135 cm
Signed reverse A LISTER, dated 2020 and titled PUMPKIN (AFTER KUSAMA)
This lot is accompanied by a certificate of authenticity signed by the artist.
NT$ 340,000 - 500,000
HK$ 83,000 - 123,000
US$ 10,700 - 15,700
RMB 74,000 - 108,000
亞當．里斯特 南瓜—向草間致敬
2020
壓克力 畫布
133.5 x 135 cm
簽名畫背：A LISTER 2020 PUMPKIN (AFTER KUSAMA)
附藝術家簽名之作品保證書
018 ADAM LISTER (American, b. 1978)
Warhol $
2020
Acrylic on canvas
240 x 194 cm
Signed reverse A LISTER, dated 2020 and titled DOLLAR (AFTER WARHOL)
This lot is accompanied by a certificate of authenticity signed by the artist.
NT$ 550,000 - 850,000
HK$ 135,000 - 208,000
US$ 17,300 - 26,700
RMB 119,000 - 184,000
亞當．里斯特 沃荷美元符號
2020
壓克力 畫布
240 x 194 cm
簽名畫背：A LISTER 2020 DOLLAR (AFTER WARHOL)
附藝術家簽名之作品保證書
019
NKSIN
(Japanese-Filipino, b. 1994)
My Gentleman 7
2022
Acrylic on canvas
162 x 130 cm
Signed revese NKSIN and dated 2022
EXHIBITED
2022 Taipei Dangdai World Trade Center, Taipei, May 19-22, 2022
NT$ 300,000 - 600,000
HK$ 74,000 - 147,000
US$ 9,400 - 18,800
RMB 65,000 - 130,000
NKSIN
我的紳士 7 2022
壓克力 畫布
162 x 130 cm
簽名畫背：2022 NKSIN
展覽 「2022台北當代藝術博覽會」，台北世貿一館， 台北，展期2022年5月19日至22日
020 ALEX FACE (Thai, b. 1981)
Super Power Rabbit Kid No.1 2019
Spray, oil and acrylic on linen
60 x 80 cm
Signed upper right Alex Face and dated 19
This lot is accompanied by a certificate of authenticity issued by Vertical Gallery, Newport.
NT$ 500,000 - 600,000
HK$ 123,000 - 147,000
US$ 15,700 - 18,800
RMB 108,000 - 130,000
亞歷克斯．費斯 超能力兔子一號 2019
噴漆 油彩 壓克力 亞麻布
60 x 80 cm
簽名右上：Alex Face 19
附 Vertical 畫廊開立之原作保證書
021
TOMOKO NAGAI
(Japanese, b. 1982)
Orange Light
2020
Oil on canvas
145.5 x 112 cm
Signed reverse
Signed stretcher bar Tomoko Nagai, dated 2020 and titled Orange Light in Japanese
This lot is accompanied by a certificate of authenticity issued by Hiro Hiro Art Space, Taipei.
NT$ 550,000 - 750,000
HK$ 135,000 - 184,000
US$ 17,300 - 23,500
RMB 119,000 - 162,000
長井朋子
橘光
2020
油彩 畫布
145.5 x 112 cm
簽名畫背框條：オレンジ色の光 2020 Tomoko Nagai
附 Hiro Hiro 藝術空間開立之原作保證書
022
MAYUKA YAMAMOTO
(Japanese, b. 1964)
Little Red Bear
2020
Oil on canvas
33 x 33 cm
Signed overlap Mayuka, dated 2020 and titled Little Red Bear
EXHIBITED
New Works By Erika Sanada and Mayuka Yamamoto, Corey Helford Gallery, Los Angeles, October 3 - November 7, 2020
NT$ 550,000 - 850,000
HK$ 135,000 - 208,000
US$ 17,300 - 26,700
RMB 119,000 - 184,000
山本麻友香
紅熊男孩
2020
油彩 畫布
33 x 33 cm
簽名畫布折入處：Little Red Bear Mayuka 2020
展覽
「艾瑞克．真田與山本麻友香新作展」，科里．赫福德畫廊，
洛杉磯，展期 2020年10月3日至11月7日。
023
CHUANG CHE
(Chinese-American, b. 1934)
Abstraction
1971
Oil, acrylic and rice paper on canvas 85 x 100 cm
Signed lower right Chuang Che in Chinese and dated 71
NT$ 400,000 - 600,000
HK$ 98,000 - 147,000
US$ 12,600 - 18,800
RMB 87,000 - 130,000
莊喆
抽象
1971
油彩 壓克力 彩紙拼貼 畫布 85 x 100 cm
簽名右下：莊喆 71
024
LEE BAE
(Korean, b. 1956)
Brushstroke-K14
2021
Charcoal paint on paper
42 x 30 cm
Signed lower right Lee Bae dated 2021, titled Brushstroke-K14 in Korean
NT$ 550,000 - 650,000
HK$ 135,000 - 159,000
US$ 17,300 - 20,400
RMB 119,000 - 141,000
李英培
筆觸 K 14
2021
炭墨 紙本
42 x 30 cm
簽名右下：Lee Bae 2021 붓질 -K14
025
WALASSE TING
(Chinese-American, 1929-2010)
I Dream
1986
Acrylic on canvas
40 x 51 cm
Signed reverse Ting, titled I Dream and dated 1986
PROVENANCE
Bruun Rasmussen auction, Denmark, December 8, 2014, lot 1400
Kingsley’s Art Auction, Taipei, May 8, 2016, lot 50
Acquired from the above by the present owner
NT$ 600,000 - 700,000
HK$ 147,000 - 172,000
US$ 18,800 - 22,000
RMB 130,000 - 152,000
丁雄泉
我夢
1986
壓克力 畫布
40 x 51 cm
簽名畫背：I Dream Ting 86
來源
布魯恩．拉斯穆森拍賣，丹麥，2014年12月8日，
編號1400
金仕發，台北，2016年5月8日，編號50
現有收藏者購自上述來源
026
EDGAR PLANS
(Spanish, b. 1977)
What’s Art
2018
Acrylic, pastel, oil and marker on canvas
56 x 46 cm
Signed lower right Plans
Titled upper left What’s Art
Signed reverse Plans and titled What’s Art
PROVENANCE
Galerie Marita Segovia, Madrid
Acquired from the above by the present owner in 2019
EXHIBITED
Summertime'18 - The Annual Group Show 14th Edition, Galleri Christoffer Egelund, Copenhagen, June 15 - August 25, 2018
NT$ 800,000 - 1,200,000
HK$ 196,000 - 294,000
US$ 25,100 - 37,700
RMB 173,000 - 260,000
艾德加．普連斯
藝術是什麼
2018
壓克力 粉彩 油彩 麥克筆 畫布
56 x 46 cm
簽名右下：Plans
題識左上：What's Art
簽名畫背：What's Art Plans
來源
瑪莉塔．塞哥維亞畫廊，馬德里
現有收藏者得自上述來源，2019年
展覽
「夏日時光'18 - 第14屆年度聯展」，克里斯托弗．埃格隆德畫廊，
哥本哈根，2018年6月15日至 8月25日
027
LEE BAE
(Korean, b. 1956)
Untitled
2016
Acrylic and charcoal on canvas 92 x 73 cm
Signed reverse Lee Bae in English and Korean, dated 2016 and inscribed 92 x 73 cm, à Paris
Lee Bae (b. 1956, Cheongdo, South Korea) is regarded as one of the most influential Korean artists on the international stage today, and is widely considered a leading figure in the post-Dansaekhwa generation, having successfully propelled Korean traditional aesthetics into a global contemporary discourse.
李英培 無題
2016
壓克力 炭墨 畫布 92 x 73 cm
簽名畫背：이배 92 x 73 cm 2016 à Paris
Lee’s practice is defined by an austere formal language that nonetheless carries an intense bodily presence. In Brushstroke K14 (Lot 24), from his signature Brushstroke series, the artist transforms carbon powder into a richly textured medium, leaving decisive, rhythmically charged traces across the paper surface. In Untitled (Lot 27), a canvas work executed in 2016, he further develops this language through the layering of acrylic and carbon ink, generating a translucent sense of depth. The resulting black geometric forms appear to hover within a threedimensional space, dissolving the boundary between painting and sculpture, and embodying the East Asian philosophical notion of the interdependence of void and form (xu shi xiang sheng).
Lee Bae’s artistic achievements have received significant international recognition. He has been awarded the “Artist of the Year” by the National Museum of Modern and Contemporary Art, Korea (MMCA), as well as the Ordre national de la Légion d’honneur in France. His works are held in major public collections worldwide, including the National Museum of Modern and Contemporary Art (MMCA), Seoul; Leeum Museum of Art; Seoul Museum of Art; the Guimet National Museum of Asian Arts, Paris; the Musée Cernuschi; and the Museo del Prado, Madrid. In 2024, he was invited to present a major solo project during the Venice Biennale, further affirming his ability to translate a deeply rooted Eastern philosophy into a universal visual language that transcends cultural boundaries.
YAYOI KUSAMA
(Japanese, b. 1929)
Morning
1981
Pastel, ink and acrylic on paper, collage
63.9 x 43.6 cm
Signed lower right Yayoi Kusama and dated 1981
Signed reverse Yayoi Kusama, dated 1981 and titled Morning in kanji
PROVENANCE
Private Collection, Tokyo
Mallet Japan, Tokyo, October 26, 2007, lot 56
Tokyo Bayside Gallery, Tokyo
Phillips, Hong Kong, November 26, 2024, lot 127
Acquired from the above by the present owner
This lot is accompanied by a registration card issued by the artist’s studio.
Yayoi Kusama (b. 1929) constructs an artistic universe that hovers between hallucination and reality through her vivid polka dots and net-like motifs. She transforms the recurring visual hallucinations of her childhood into a creative language, making art a
草間彌生
晨曦
1981
粉彩 水墨 壓克力 紙本 拼貼
63.9 x 43.6 cm
簽名右下：Yayoi Kusama 1981
題識畫背：朝 Yayoi Kusama 1981
來源
私人收藏，東京
日本馬雷特拍賣，東京，2007年10月26日，編號56
灣岸畫廊，東京
富藝斯，香港，2024年11月26日，編號127
現藏者購自上述來源
附草間彌生工作室開立之作品登錄卡
pathway for self-healing. “Self-Obliteration” refers to the dissolution of the individual into the boundless universe through infinitely extending imagery, while the repeated layering of “infinity nets” and “polka dots” embodies the inner rhythm of life’s continuous proliferation.
Morning (1981) reflects a moment of introspective transition following her return to Japan from New York. The piece combines pastel, ink, and collage, placing a realistic bird silhouette within an oval composition, surrounded by delicate, celllike network patterns. Subtle ink washes create a profound atmosphere, allowing figuration and illusion to achieve a quiet balance. The bird imagery also serves as a metaphor for accessing her inner universe, transforming suffering into a poetic force of healing.
029
ARMAN FERNANDEZ
(French-American, 1928-2005)
Table de Violons
1992
Bronze, glass, ed. 5/8
102(Ø) x 40(H) cm
Engraved base Arman
Numbered bocquel fd 5/8
PROVENANCE
Modern Art Gallery, Taichung
Acquired from the above by the present owner
This lot is accompanied by a certificate of authenticity signed by the artist.
NT$ 800,000 - 1,200,000
HK$ 196,000 - 294,000
US$ 25,100 - 37,700
RMB 173,000 - 260,000
阿曼．費爾戴儂
小提琴桌
1992
銅雕 玻璃 版次 5/8
102(直徑) x 40(高) cm
簽名雕刻底座：Arman 編號：bocquel fd 5/8
來源 現代畫廊，台中 現有收藏者購自上述來源 附藝術家簽名之作品保證書
030
WILLY VERGINER
(Italian, b. 1957)
Il gioco infinito
2021
Lindenwood, acrylic color
68(L) x 88(W) x 214(H) cm
Engraved on right lower leg W Verginer and dated 2021
NT$ 1,300,000 - 2,200,000
HK$ 319,000 - 539,000
US$ 40,800 - 69,000
RMB 281,000 - 476,000
威利．維傑納 無限遊戲
2021
椴木 壓克力著色
68(長) x 88(寬) x 214(高) cm
簽名雕刻右小腿：W Verginer dated 2021
031
CHEN WEI-TING
(Taiwanese, b. 1991)
Sensory Garden 1: Flower Blindfold
2013
Acrylic on canvas
45.5 x 33 cm
Signed backing board Chen Wei-Ting, dated 2013 and titled Sensory Garden 1: Flower Blindfold in Chinese
Freeman’s Auction, Chicago, April 19, 2023, lot 130
Acquired from the above by the present owner
ILLUSTRATED
Shih-Ming Pai, The Family Museum: Artist Biography Series | Transcending Time and Space – Han HsiangNing, published by the National Taiwan Museum of Fine Arts (edited and produced by Artist magazine), Taichung, 2023, color illustrated, p. 74
Created in 2008 and titled Pine Whispers in a Silent Valley, this horizontally elongated composition unfolds a sense of expansive depth. Ink tones follow the tension and release of the paper fibers, drifting like mountain mists, with pine forms emerging and
receding in quiet resonance. The brushwork—at once fractured and diffused—evokes a hushed stillness, as if the wind has just subsided. Vital energy circulates between presence and absence, articulating a dialogue between nature and inner consciousness.
At this stage, Liu continues his experimental approach to modern ink, integrating techniques such as rubbing, crumpling, and washes to emphasize texture and the spontaneity of natural effects. Transforming traditional brush and ink into a near-abstract visual language, the work transcends representational landscape, embodying his mature stylistic shift from form toward atmosphere and qi-driven expression.
054
PANG JIUN
(Taiwanese, b. 1936)
Red Flowers and Green Leaves on a Black Background
1998
Oil on canvas
162 x 130 cm
Signed lower right Pang Jiun in Chinese and dated 1998
Signed lower left Pang Jiun
With one painted seal of the artist
ILLUSTRATED
The Art of J. Pang, National Dr. Sun Yat-sen Memorial Hall, Taipei, 2003, p. 79
Pang, Jiun: 58 Years of Artistic Career, Artist Publishing Co., Taipei, 2005, color illustrated, p. 51
A Century of the Chinese Paintings Tour Exhibition: Paintings, Chanliu Art Museum, Taipei, 2016, color illustrated, p. 309
This lot is accompanied by a certificate of authenticity issued by Chan Liu Gallery, Taipei.
NT$ 2,400,000 - 3,800,000
HK$ 588,000 - 931,000
US$ 75,300 - 119,200
RMB 519,000 - 823,000
龎均
黑背景前的紅花綠葉
1998
油彩 畫布
162 x 130 cm
簽名右下：龎均 1998 簽名左下：PANG Jiun
鈐印手繪右下：PANG Jiun
圖錄
龎均的藝術》，國父紀念館，台北，2003， 頁 79
《龎均畫集—58年藝術生涯》，藝術家出版社， 台北，2005，彩色圖版，頁 51
《百年華人繪畫畫冊》，長流美術館，台北， 2016，頁 309
附長流畫廊開立之原作保證書
AI XUAN
(Chinese, b. 1947)
Sounds Getting Away
1989
Oil on canvas
101 x 80 cm
Signed lower right Ai Xuan in English and Chinese, dated 1989
PROVENANCE
Ravenel, Taipei, December 3, 2006 lot52
Acquired from the above by the present owner
ILLUSTRATED
Ai Xuan Xieshi Zhuyi Youhua Jiqiao, Beijing Art & Crafts Publishing House, Beijing, 2003, color illustrated, p.15
Li Fang & Ma Li ed., Estheticism-Celebrated Painters Series I, Yang Liu Qing Painting Publishing, Tianjin, 2005, color illustrated, p.120
During the 1970s and 1980s, Ai undertook repeated journeys to the Tibetan Plateau. For the artist, this vast and austere landscape was not merely a subject for plein-air observation, but a site of existential projection.
Influenced in part by the American realist painter Andrew Wyeth, Ai Xuan developed a distinctive “poetic realism,” synthesising Western representational techniques with an Eastern introspective sensibility. In his works, Tibet is no longer a picturesque landscape, but rather an enduring allegory of solitude, time, and existence.
Painted in 1989, Sounds Getting Away articulates this mature visual language with clarity and restraint. A solitary figure stands against a vast, snow-covered expanse, their expression calm yet detached, gaze directed toward an unreachable horizon. The boundless white terrain is rendered in stark contrast to the finely described textures of the foreground, generating a suspended and profound sense of time. The “fading song” thus becomes more than the disappearance of sound; it signifies the sublimation of memory and emotion into silence, transformed into an unending inner resonance.
LIAO CHI-CHUN
(Taiwanese, 1902-1976)
Venice
1963
Oil on wooden board
23.5 x 28 cm
Signed lower left C. Liao in English
Signed on the reverse Liao Chi–chun, titled Venice in Chinese, dated May 1963 in Chinese and inscribed For Ms. Wang as a Souvenir
PROVENANCE
Collection of Ms. Wang, Taiwan (acquired directly from the artist)
Ravenel, Taipei, December 2, 2012, lot 652
ILLUSTRATED
Centurial Rarity: Complete Works of Liao Chichun, Ever Harvest Art Gallery, Taipei, January 2017, color illustrated, p. 467
Painted in 1963, Venice, exemplifies a pronounced Fauvist sensibility. The composition is defined by a liberated and expressive use of color, yet remains structurally disciplined and carefully balanced. Bold chromatic juxtapositions coexist in harmony rather than conflict, creating a vivid yet composed visual
廖繼春
威尼斯水都
1963
油彩 木板
23.5 x 28 cm
簽名左下：C. Liao 簽名畫背：「威尼斯水都」廖繼春畫 一九六三. 五.
王小姐留念
來源
王小姐，台灣 (得自藝術家贈與)
羅芙奧，台北，2012年12月2日，編號 652
圖錄
《世紀藏春：廖繼春全集》，日升月鴻畫廊，台北， 2017年1月，彩色圖版，頁467
rhythm that conveys a serene and unhurried vision of the Venetian landscape. Through this confident orchestration of color, Liao demonstrates a fully matured painterly language, refined to a state of consummate mastery.
Drawing upon his recollections of travels in Europe, the artist transforms memory and lived experience into a visual articulation of natural beauty on canvas. In Venice, brilliant blues evoke the shimmering surface of water, intersecting forms suggest the movement of boats, while delicate touches of pink animate the riverside walkways. In the foreground, subtle passages of ochre converse with pale whites in the distance, creating a layered chromatic dialogue across the composition. This richly orchestrated visual field is rendered through Liao Chi-Chun’s assured brushwork and sensitivity to light and line, positioning the work as a representative masterpiece of the 1960s period.
057
CHU TEH-CHUN
(Chinese-French, 1920-2014)
Parmi l’espace bleu
1990
Oil on canvas
65 x 81.3 cm
Signed lower right CHU TEH-CHUN both in Chinese and English and dated ‘90
Signed on the reverse CHU TEH-CHUN in English and Chinese, titled Parmi l’espace bleu and dated 1990
PROVENANCE
Galerie Patrice Trigano, Paris
Modern Art Gallery, Taichung
Private collection, Taiwan
This lot is accompanied by a certificate of authenticity issued by Modern Art Gallery, Taichung.
NT$ 4,200,000 - 5,000,000
HK$ 1,029,000 - 1,225,000
US$ 131,800 - 156,900
RMB 909,000 - 1,082,000
朱德群
銀河之深處
1990
油彩 畫布
65 x 81.3 cm
簽名右下：朱德群 CHU TEH-CHUN '90
簽名畫背：Parmi l' espace bleu CHU TEH-CHUN
朱德群 1990
來源
巴蒂斯．提加鈕畫廊，巴黎 現代畫廊，台中 私人收藏，臺灣
展覽
附台中現代畫廊開立之原作保證書
058
CHU TEH-CHUN
(Chinese-French, 1920-2014) Limites franchies
2004
Oil on canvas
73 x 92 cm
Signed lower right CHU TEH-CHUN in Chinese and English and dated 04
Signed reverse CHU TEH-CHUN in English and Chinese, titled “limites franchies” and dated 2004
NT$ 7,000,000 - 8,500,000
HK$ 1,716,000 - 2,083,000
US$ 219,600 - 266,700
RMB 1,515,000 - 1,840,000
朱德群
超越界限
2004
油彩 畫布
73 x 92 cm
簽名右下：朱德群 CHU TEH-CHUN 04
簽名畫背："limites franchies" CHU TEH-CHUN 朱德群
2004
Poetic Light of the Soul: The Abstract World of Chu Teh-chun
靈魂的詩意光影：朱德群的抽象藝術世界
朱德群《綠的環抱》2004 油彩 畫布 130 x 195 cm
佳士得香港，2025年03月29日，編號231，成交金額 HK$8,190,000
Chu Teh-Chun, Cirque d'émeraude, 2004, oil on canvas 130 x 195 cm
Christie's Hong Kong, Mar 29, 2025, lot 231, US$ 1,052,857 sold
Chu Teh-Chun (1920–2014) stands as a preeminent Chinese-born, French naturalized master of modern art. Alongside Zao Wou-Ki and Wu Guanzhong, he is celebrated as one of the “Three Musketeers of Chinese artists in France,” collectively forging a new trajectory for twentieth-century Chinese art. In 1997, Chu was elected to the Académie des Beaux-Arts, becoming the first artist of Chinese origin to receive this distinction—an honor that affirms his singular achievement in synthesizing the spirit of Eastern ink traditions with the language of Western abstraction.
At the core of his practice lies a form of lyrical abstraction, in which the Chinese aesthetic principle of qiyun shengdong (spirit resonance and life movement) is transmuted into a visual poetry of shifting light and atmosphere, transcending the cultural boundaries between East and West.
Painted in 2004, Limites franchies exemplifies the artist’s late style, in which his brushwork attains an increasing sense of freedom and fluency. Radiant passages of yellow and white burst forth from a deep, saturated blue ground, while calligraphic lines—charged with dynamic energy—interweave across the surface, disrupting any static compositional order and unleashing a primordial force evocative of cosmic genesis. Drawing upon the Chinese pictorial principle of the interplay between void and solid, the work transforms color beyond mere visual presence into a conduit for the circulation of qi.
This painting stands as a compelling testament to Chu’s mature synthesis, revealing an artistic vision that, even
as it transcends formal and cultural boundaries, retains a profound vitality and boundless creative force.
Chu explained, “It doesn’t matter whether my creative urge is stimulated by the beautiful sights I’ve seen, or old memories and emotions that welled up inside of me, as long as I’m in front of the canvas, my sensitivity will be kindled.”
Chu Teh-Chun’s life was marked by a sustained pursuit of poetic expression and an exploration of the fundamental nature of the universe. He not only expanded the expressive possibilities of Western abstract art, but also infused traditional Chinese aesthetics with a renewed and distinctly modern vitality. His works resemble silent symphonies, in which oil pigment, shifting light, and calligraphic brushwork converge to guide the viewer into a pure and timeless spiritual realm, leaving a luminous and enduring legacy within the history of contemporary art.
朱德群《變幻》2004 油彩 畫布 80 x 100 cm
羅芙奧台北，2023年6月4日，編號231，成交金額 NT$9,600,000
Chu Teh-Chun, Multitude en Devenir, 2004, oil on canvas 80 x 100 cm
Ravenel Taipei, June 04, 2023, lot 231, US$ 313,036 sold
ZAO WOU-KI
(Chinese-French, 1920 - 2013)
Paysage Abstrait (Abstract Landscape)
1954
Oil on canvas
65 x 81 cm
Signed lower right Wou-ki in Chinese and ZAO in French, dated 54
EXHIBITED
Zao Wou-ki, Lin & Keng Gallery, Taipei, March 15 - April 1, 1997
ILLUSTRATED
Zao Wou-ki, Lin & Keng Gallery, Taipei, 1997, color illustrated, pp. 28-29
Gérard de Cortanze & Yves Bonnefoy, Zao Wou-ki, La Différence / Enrico Navarra, Paris, 1998, color illustrated, p. 92
The given name of Zao Wou-ki, “Wou-ki” (無極), is rooted in Daoist philosophy, a term first articulated in Laozi’s Tao Te Ching, where it signifies the boundless origin of the cosmos and the eternal state of all existence.
“In Zao Wou-ki’s work one can see how the Chinese vision of the universe, where flow and distance reflect the spirit of contemplation more than the object of contemplation, has been transformed into a modern vision of universal relevance.”
- Alain Jouffroy, “Parisian art journal Arts” in 1955.
趙無極《山村》1954 油彩 畫布 73 x 92 cm
香港蘇富比，2019年03月31日，編號1027，成交金額 HK$18,175,000
Zao Wou-ki, Village de montagne se dispersent, 1954, Oil on canvas, 73 x 92 cm
Sotheby's Hong Kong, Mar 31, 2019, lot 1027, US$ $ 2,315,295 sold
As one of the most influential Chinese artists of the modern era, Zao Wou-ki masterfully employed the language of Western abstraction to embody the metaphysical spirit of Daoist thought. His oeuvre, shaped by historical upheaval and cultural migration, reveals a rich evolution across distinct periods. Through subtle evocations of the universe and deeply personal experience, Zao distilled a refined synthesis of Eastern philosophy and Western artistic expression, achieving a poetic and enduring visual language.
In 1954, Zao Wou-ki decisively abandoned figuration, liberating himself from the influence of Klee and immersing in the realm of abstraction with a newfound freedom and individuality. Reflecting on this pivotal transformation in his autobiography, the artist recalled: “Then, little by little, signs became forms, the background gave rise to space. Through constant reworking—erasing, repainting, beginning anew— what lay within me seemed to emerge. My paintings began to move; forms surged forth, and I dared to use
趙無極《莊園- 07.52-05.06.55》1952-1955 油彩 畫布 54 x 65 cm
香港蘇富比，2021年04月18日，編號1018，成交金額 HK$15,905,000
Zao Wou-ki, Château - 07.52-05.06.55, 1952-1955, Oil on canvas, 54 x 65 cm Sotheby's Hong Kong, Apr 18, 2021, lot 1018, US$ $ 2,046,894 sold
colors I had once feared.” — Autoportrait (Zao Wou-ki and Françoise Marquet, trans. Liu Li, Artist Publishing Co., Taipei, 1992, p. 104).
The present work, Abstract Landscape, executed in 1954, stands as an early exemplar of the artist’s abstract idiom. Here, one witnesses the gradual transformation of tangible forms into abstract linear expressions. Simplified motifs—still lifes, floral elements, and boat-like shapes—evolve into calligraphic signs reminiscent of ancient scripts, traversing a profound spatial field. These forms guide the viewer’s imagination toward the archaic mystique of Shang oracle bone inscriptions and inscriptions cast on ancient bronze vessels. Fine, unbroken black lines weave across the composition, bridging antiquity and modernity, and giving rise to a quivering, luminous vitality. Layers of softly modulated color washes evoke the restrained elegance of Eastern ink traditions, while the richness of chromatic and luminous effects reflects the artist’s engagement with Western painting.
Xu Bing (b. 1955, Chongqing) stands among the most internationally influential figures in contemporary Chinese art. A graduate of the Printmaking Department at the Central Academy of Fine Arts, Beijing (1981), Xu is distinguished by his rigorous command of form and his incisive exploration of the nature of language. By the 1990s, his artistic achievements had already been canonized in leading art historical publications, including Art Past, Art Present and other authoritative surveys of global art.
In 1990, Xu Bing relocated to the United States at the invitation of the University of Wisconsin. In 1999, in recognition of his groundbreaking transformation of traditional Chinese printing and calligraphy into a contemporary idiom, he was awarded the prestigious MacArthur Fellowship. This was followed by a series of major international honors, including the Fukuoka Asian Culture Prize (2003), the BALTIC Centre for Contemporary Art’s International Award (commonly known as the “Artes Mundi Prize”) (2004), and the Lifetime Achievement Award from the Southern Graphics Council International (2006). Since returning to China in 2008, Xu has served as Vice President of the Central Academy of Fine Arts and Chairman of its Academic Committee, and continues to maintain an active practice between Beijing and New York.
The monumental work presented in this sale, Landscript (2004), represents a consummate articulation of Xu Bing’s lifelong engagement with the concept of the shared origins of calligraphy and painting. At first glance, the composition evokes the poetic expansiveness of classical Chinese literati landscape; upon closer inspection, however, the entire scene is meticulously constructed from pictographic elements such as “mountain,” “cloud,” “stone,” and “grass.” For Xu, language constitutes the most fundamental structure of human thought. Its transformation is, in essence, a reconfiguration of cognition itself. By returning written forms to their pictographic origins, the artist transcends cultural
boundaries, proposing a universally legible visual language.
Embedded within the work is a deeply personal dimension. Xu Bing inscribed in a reflective, almost diaristic tone: “The clouds are white… my memory is indistinct, yet the sketchbooks from thirty years ago remain vivid before my eyes… beans are drought-resistant, much like the people there.” This passage recalls his formative experiences during the “Down to the Countryside” movement, while also resonating with his Himalayan sketching project of 1999— both of which underscore a sustained dialogue between nature, memory, and cultural identity.
Xu Bing’s works are held in the permanent collections of major museums and institutions worldwide, underscoring his dual significance within both academic discourse and the international collecting sphere. In the Americas, his works are represented in the collections of the Museum of Modern Art, New York (MoMA); The Metropolitan Museum of Art; the Museum of Contemporary Art, Los Angeles (MOCA); the San Francisco Museum of Modern Art (SFMOMA); the Harvard Art Museums; the Princeton University Art Museum; and the Seattle Art Museum. In Europe, his works are held by the British Museum, London, and Museum Ludwig, Cologne. In Asia and Australia, his works are included in the collections of the National Art Museum of China, Beijing; the Fukuoka Asian Art Museum; the Art Gallery of New South Wales, Sydney; and the Queensland Art Gallery.
Bing, The Drawing From the Project of Helsinki-Himalaya Exchange,
FERNANDO BOTERO
(Colombian, 1932-2023)
Woman in Bed on Her Stomach
2005
Bronze with dark brown patina, ed. 1/6
53(L) x 25.5(W) x 27(H) cm
Engraved on the base Botero and numbered 1/6
This lot is accompanied by a certificate of authenticity signed by the artist.
53(長) x 25.5(寬) x 27(高) cm 簽名雕刻底座：Botero 1/6 附藝術家簽名之作品保證書
Fernando Botero is one of the most renowned and visually distinctive Latin American artists on the international stage. He is celebrated for his unique style, “Boterismo,” in which both his paintings and sculptures are defined by simplified, flowing lines and softly rounded forms.
In his early years, Botero was deeply influenced by the long tradition of European fine art, particularly the Renaissance and Baroque periods. By integrating classical elements with the colonial heritage of Latin America, he developed a singular artistic language.
In Woman in Bed on Her Stomach, the artist employs the figure’s full, voluminous form to celebrate the innate vitality and generative power of femininity. The composition conveys a sense of calm, confidence, and elegance, while the subject’s gentle gaze reveals an inner quality that embodies truth, goodness, and beauty. Through this work, Botero evokes the warmth, richness, and luminous abundance associated with the land of South America.
062
WALASSE TING
(Chinese-American, 1929-2010)
Outside Raining
1979
Acrylic on canvas
77 x 102.5 cm
Signed reverse Ting, titled Outside Raining, and dated 79
PROVENANCE
Ravenel, Taipei, June 4, 2017, lot 355
Acquired from the above by the present owner
NT$ 3,200,000 - 4,200,000
HK$ 784,000 - 1,029,000
US$ 100,400 - 131,800
RMB 693,000 - 909,000
丁雄泉
外頭正下著雨
1979
壓克力 畫布
77 x 102.5 cm
簽名畫背：Outside Raining Ting 79
來源
羅芙奧，台北，2017年6月4日，編號355
現有收藏者購自上述來源
063
YANG CHIHUNG
(Taiwanese, b. 1947)
Grandiosity
2011
Acrylic on canvas
200 x 200 cm
Signed reverse Chihung Yang, titled Grandiosity and dated 2011
NT$ 1,700,000 - 2,400,000
HK$ 417,000 - 588,000
US$ 53,300 - 75,300
RMB 368,000 - 519,000
楊識宏
壯麗
2011
壓克力 畫布
200 x 200 cm
簽名畫背：Chihung Yang Grandiosity Ⓒ2011
064
SOPHIE CHANG
(Taiwanese, b. 1944)
Untitled
2017
Oil on canvas
130 x 162 cm
Signed lower right Sophie and dated 2017
NT$ 1,700,000 - 2,400,000
HK$ 417,000 - 588,000
US$ 53,300 - 75,300
RMB 368,000 - 519,000
張淑芬
無題
2017
油彩 畫布
130 x 162 cm
簽名右下：Sophie 2017
065
WALASSE TING
(Chinese-American, 1929-2010)
Love Me?
1985
Acrylic on canvas
53 x 71 cm
Signed reverse Ting, titled Love me? and dated 1985
PROVENANCE
Bruun Rasmussen auction, Denmark, September 18, 2012, lot 645
Ravenel, Taipei, December 7, 2014, lot 277
Acquired from the above by the present owner
NT$ 1,100,000 - 2,200,000
HK$ 270,000 - 539,000
US$ 34,500 - 69,000
RMB 238,000 - 476,000
丁雄泉
愛我？
1985
壓克力 畫布
53 x 71 cm
簽名畫背：Love me? Ting 1985
來源
布魯恩．拉斯穆森拍賣行，丹麥，2012年9月18日，
編號 645
羅芙奧，台北，2014年12月7日，編號277
現有收藏者購自上述來源
JU MING
(Taiwanese, 1938-2023)
Taichi Series
1991
Wooden sculpture, Kalantas
36.7(D) x 49.8(W) x 58.2(H) cm
Engraved on lower leg Ju Ming in Chinese and dated 91
This lot is accompanied by a certificate issued by Nonprfit Organization Juming Culture and Education Foundation .
NT$ 2,600,000 - 4,000,000
HK$ 637,000 - 980,000
US$ 81,600 - 125,500
RMB 563,000 - 866,000
朱銘
太極系列
1991
木雕 菲律賓香椿 36.7(深) x 49.8(寬) x 58.2(高) cm 簽名雕刻下方：朱銘 '91 附財團法人朱銘文教基金會──開立之作品鑑定報告書
Ju Ming began his career apprenticing in traditional temple carving, and later studied modern sculpture under Yang Ying-feng, completing a transformation from technical mastery to philosophical inquiry. His artistic practice is anchored by two major series: the “Taichi Series” and the “Living World Series.” The
former captures the dynamic vitality of movement through simplified, powerful forms, while the latter employs diverse materials such as wood, bronze, and stainless steel to depict the many facets of everyday life.
In the “Taichi Series,” Ju Ming reduces movement to its most essential abstract forms, using bold carving and chopping techniques to convey the force and spirit of martial exchange. This work from the series stands like a figure poised firmly between heaven and earth, reminiscent of a mountain—resolute yet imbued with a sense of calm balance. Unhurried and composed, it radiates a quiet strength. Despite its apparent simplicity, the form exudes a powerful, aweinspiring presence, animated with a lifelike spirit, as if ready to engage the viewer in dialogue at any moment.
LI CHEN
(Taiwanese, b. 1963)
Cloud Glider
2000
Bronze, EA 2/4
29(L) x 30(W) x 88(H) cm
Engraved reverse Li Chen in Chinese and English, numbered EA 2/4 and dated 2000
ILLUSTRATED
Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, p. 71 (another cast)
Li Chen’s sculptures are distinguished by their refined, warm surface texture. Working primarily in bronze, he employs traditional Chinese techniques such as lacquer in a deep ink-black finish, along with gilding and silvering. His works convey a sense of lightness and spiritual ease, creating a striking paradox of being “both heavy and light.”
李真 乘雲氣
2000
銅雕 版次 EA 2/4
29(長) x 30(寬) x 88(高) cm
簽名雕刻背面：李真 Li Chen EA 2/4 2000
圖錄
《李真雕塑 1992-2002 》，亞洲藝術中心，台北， 2004，彩色圖版，頁71 (不同版次)
Completed in 2000, Cloud Glider draws on a line from Zhuangzi’s Free and Easy Wandering: “Riding the qi of clouds, mounting a flying dragon, and roaming beyond the four seas.” The piece expresses the artist’s spiritual aspirations—the figure soars through clouds, filled with joy, while embodying the Daoist philosophy of qi and energy. It offers a masterful interpretation of the uniquely Eastern concepts of essence, vitality, and spirit.
Li Chen’s reinterpretation of Buddhist figures reveals an aesthetic of purity and effortless non-action. Though serene, austere, and unadorned, his works are nonetheless imbued with an overwhelming, irrepressible force of energy that seems impossible to resist.
LI CHEN
(Taiwanese, b. 1963)
Amitayus
1998
Bronze, ed. 1/8
22(L) x 22(W) x 24.5(H) cm
Engraved back Li Chen, numbered 1/8 and dated 1998
PROVENANCE
Zhong Cheng Auctions, Taipei, June 12, 2011, lot 16
Acquired from the above by the present owner
ILLUSTRATED
Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, p. 47 (another cast)
Li Chen in Venice: 52nd Venice Biennale - Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, pp. 48-49
Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, black-and-white illustrated, p. 194
Encounter with Yamainu-sama in Spring Wind of Woodland
2020
Screenprint, lamé, ed. 37/50
43 x 53 cm (image); 54 x 63 cm (sheet)
Signed lower right Ko Miwa, numbered lower left 37/50
NT$ 80,000 - 160,000
HK$ 20,000 - 39,000
US$ 2,500 - 5,000
RMB 17,000 - 35,000
小松美羽
於春風萌動的里山中，邂逅山犬之神
2020
絲網版畫 閃粉 版次 37/50
43 x 53 cm (圖)；54 x 63 cm (紙)
簽名右下：Ko Miwa
版次左下：37/50
102 MIWA KOMATSU
(Japanese, b. 1984)
The Unity of Three Hearts
2020
Screenprint, ed. 61/70
53 x 45.5 cm (image); 63 x 54 cm (sheet)
Signed lower right Ko Miwa, numbered lower left 61/70
NT$ 80,000 - 160,000
HK$ 20,000 - 39,000
US$ 2,500 - 5,000
RMB 17,000 - 35,000
小松美羽
狛犬 様：三心一體
2020
絲網版畫 版次 61/70
53 x 45.5 cm (圖)；63 x 54 cm (紙)
簽名右下：Ko Miwa
版次左下：61/70
103
ZAO WOU-KI
(Chinese-French, 1921-2013)
Centennial Olympic Suite
1992
Lithograph, ed. 104/250
75.2 x 53.5 cm (image)
89.3 x 60.8 cm (sheet)
Signed lower right Wou Ki in Chinese and ZAO
Numbered lower left 104/250
PROVENANCE
Private collection, Asia
Christie’s Hong Kong, 2021, lot 8015
Acquired from the above by the present owner
ILLUSTRATED
Jørgen Ågerup, Zao Wou-Ki The Graphic Work: A Catalogue Raisonné 1937-1995, Edition Heeds Moestrup, 1994, Copenhagen, no. 358, p.198
NT$ 80,000 - 160,000
HK$ 20,000 - 39,000
US$ 2,500 - 5,000
RMB 17,000 - 35,000
趙無極
百年奧運會
1992
石版畫 版次 104/250
75.2 x 53.5 cm (圖)
89.3 x 60.8 cm (紙)
簽名右下：無極 ZAO
版次左下：104/250
來源
私人收藏，亞洲
佳士得香港，2021，編號8015
現有收藏者購自上述來源
圖錄
喬詹．阿格魯普，《趙無極版畫集1937-1995》， 黑德與莫斯特魯普出版社，哥本哈根，1994，
編號 358，頁198
104
ZAO WOU-KI
(Chinese-French, 1921-2013)
Untitled
1989
Lithograph on Arches wove paper, ed. EA 1/15
58 x 46.5 cm (image)
65 x 50 cm (sheet)
Signed lower right Wou-Ki in Chinese and ZAO
Numbered lower left EA 1/15
PROVENANCE
Christie’s London, 2018, lot 37
Acquired from the above by the present owner
ILLUSTRATED
Jørgen Ågerup, Zao Wou-Ki The Graphic Work:
A Catalogue Raisonné 1937-1995, Edition
Heeds Moestrup, 1994, Copenhagen, no. 338, p.188
NT$ 80,000 - 160,000
HK$ 20,000 - 39,000
US$ 2,500 - 5,000
RMB 17,000 - 35,000
趙無極
無題
1989
石版畫 版次 EA 1/15
58 x 46.5 cm (圖)
65 x 50 cm (紙)
簽名右下：無極 ZAO
編號左下：EA 1/15
來源
佳士得倫敦，2018，編號37
現有收藏者購自上述來源
圖錄
喬詹．阿格魯普，《趙無極版畫集1937-1995》，
黑德與莫斯特魯普出版社，哥本哈根，1994，
編號 338，頁188
TOMOKAZU MATSUYAMA
(Japanese, b. 1976)
Jaded Sunshine
2019
Screenprint (mixed media with pearlescent and high gloss, gold leaf); ed. 61/75
Diameter 73 cm
Signed lower center Matsuyama and numbered 61/75
This lot is accompanied by a certificate of authenticity issued by Avant Arte.
NT$ 90,000 - 180,000
HK$ 22,000 - 44,000
US$ 2,800 - 5,600
RMB 19,000 - 39,000
松山智一 厭倦陽光
2019
絲網版畫 (綜合媒材、珠光與高光澤飾面 金箔)
版次 61/75
直徑 73 cm
簽名版次下方：Matsuyama 61/75
附Avant Arte開立之作品保證書
YOSHITOMO NARA
(Japanese, b. 1959)
Ocean Child in the Floating World
1999
Reworked woodcut, Fuji xerox copy, ed. 39/50
41.5 x 29.5 cm
Signed center bottom Na in Japanese, dated lower right 99, numbered lower left 39/50
NT$ 190,000 - 280,000
HK$ 47,000 - 69,000
US$ 6,000 - 8,800
RMB 41,000 - 61,000
奈良美智 飄渺世界的海洋之子
1999
木刻版畫彩印紙本 版次 39/50
41.5 x 29.5 cm
簽名下方：な 年代右下：99
版次左下：39/50
107
TEHCHING HSIEH (SAM HSIEH)
(Taiwanese, b. 1950)
One Year Performance (1978-1979)
1980; 2006
Print ed. 139/365
127 x 97 cm (print); 27.5 x 21.5 cm (statement); 44.5 x 28.5 cm (poster)
Signed and dated lower right Sam Hsieh 1980
Tehching Hsieh 2006
Numbered lower left 139/365
NT$ 200,000 - 400,000
HK$ 49,000 - 98,000
US$ 6,300 - 12,600
RMB 43,000 - 87,000
謝德慶
一年行為表演 (1978-1979)
1980; 2006
版畫 版次139/365
127 x 97 cm (版畫)；27.5 x 21.5 cm (聲明)；
44.5 x 28.5 cm (海報)
簽名年代右下：Sam Hsieh 1980, Tehching Hsieh 2006
編號左下：139/365
108
BERNARD BUFFET
(French, 1928-1999)
Mon Cirque
1968
Lithograph, ed. 20/150
62 x 50.5 cm (image); 74 x 56 cm (sheet)
Signed lower right Bernard Buffet
Numbered lower left 20/150
ILLUSTRATED
Charles Sorlier, Bernard Buffet: Lithographe, Editions Michel
Trinckvel, Paris, 1979, no.139, p.109
Promenade à Paris, Galerie Elegance, Taipei, 2011, color illustrated, p. 43
This lot is accompanied by a certificate of authenticity issued by Galerie Elegance, Taipei.
NT$ 320,000 - 500,000
HK$ 78,000 - 123,000
US$ 10,000 - 15,700
RMB 69,000 - 108,000
貝爾納．畢費
我的馬戲團
1968
石版畫 版次 20/150
62 x 50.5 cm (圖)；74 x 56 cm (紙)
簽名右下：Bernard Buffet
編號左下：20/150
圖錄
查爾斯．索里爾，《貝爾納．畢費：石版畫》， 米歇爾．特林克維爾出版社，巴黎，1979，
編號139，頁109
《品味巴黎》，愛力根畫廊，台北，2011年， 彩色圖版，頁43
附愛力根畫廊開立之作品保證書
109
YAYOI KUSAMA
(Japanese, b. 1929)
Alice’s Adventures in Wonderland – Louis Vuitton Deluxe Box Set (set of 3)
2012
Illustrated book, screenprint, and Lambda C-type print, ed. 046/111
78 x 55 cm (box); 22.5 x 19 cm (book); 36.6 x 29.4 cm (print); 44.1 x 29.4 cm (photograph)
Signed lower Yayoi Kusama, dated 2012 and numbered 046/111 (print)
Signed lower Yayoi Kusama and numbered 046/111 (photograph)
Signed Yayoi Kusama on title page (book)
NT$ 300,000 - 420,000
HK$ 74,000 - 103,000
US$ 9,400 - 13,200
RMB 65,000 - 91,000
草間彌生
愛麗絲夢遊仙境—路易威登豪華套組 （三件一組）
2012
插圖書、絲網版畫與Lambda C型沖印照片，
版次 046/111
78 x 55 cm (外盒)；22.5 x 19 cm (書本)；
36.6 x 29.4 cm (版畫)；44.1 x 29.4 cm (照片)
簽名下方：Yayoi Kusama 2012 046/111 (版畫)
簽名下方：046/111 Yayoi Kusama (照片)
簽名內頁：Yayoi Kusama（書本)
110
YAYOI KUSAMA
(Japanese, b. 1929)
Butterflies Nest
2011
Silkscreen, ed. PP 3/5
37.8 x 45.3 cm (image)
55 x 59 cm (sheet)
Signed lower Yayoi Kusama, titled Butterflies Nest in Japanese, numbered pp. 3/5 and dated 2011
ILLUSTRATED
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd, Tokyo, 2017, color illustrated, no. 371, p. 212 (different edition)
NT$ 440,000 - 550,000
HK$ 108,000 - 135,000
US$ 13,800 - 17,300
RMB 95,000 - 119,000
草間彌生
蝶之巢 2011
絲網版畫 版次 PP 3/5
37.8 x 45.3 cm (圖)
55 x 59 cm (紙)
簽名下方：Yayoi Kusama PP 3/5 蝶の巢 2011
圖錄
《草間彌生全版畫1979-2017》，阿部出版
社株式會社，東京，2017，彩色圖版，編號 371，頁212 (不同版次)
111
YAYOI KUSAMA
(Japanese, b. 1929)
High-Heels (Silver)
2013
Porcelain, HC 5/5
22(L) x 8(W) x 20(H) cm (right foot)
22(L) x 8(W) x 16.5(H) cm (left foot)
Signed on the bottom Yayoi Kusama, dated 2013 and numbered HC 5/5 (Each)
This lot is accompanied by a centificate of authenticity issued by FMR Ltd, Osaka.
NT$ 750,000 - 850,000
HK$ 184,000 - 208,000
US$ 23,500 - 26,700
RMB 162,000 - 184,000
草間彌生
高跟鞋（銀）
2013
瓷器 HC 5/5
22(長) x 8(寬) x 20(高) cm (右腳)
22(長) x 8(寬) x 16.5(高) cm (左腳)
簽名底部：HC 5/5 Yayoi Kusama 2013 (每件)
附 FMR Ltd. 開立之作品保證書
112
ZHAN WANG
(Chinese, b. 1962)
Artificial Rock No. 20
2005
Stainless steel, ed. 6/8
40(L) × 37(W) × 36(H) cm
Engraved Zhan Wang in Chinese, numbered 6/8 and dated 2005
PROVENANCE
Red Mansion Foundation, London
Private collection, Hong Kong
Private collection, Hong Kong
This lot is accompanied by a certificate of authenticity signed by the artist.
NT$ 650,000 - 950,000
HK$ 159,000 - 233,000
US$ 20,400 - 29,800
RMB 141,000 - 206,000
展望
假山石 20#
2005
不鏽鋼 版次 6/8
40(長) x 37(寬) x 36(高) cm
簽名雕刻：展望 6/8 2005
來源 紅樓基金會，倫敦 私人收藏，香港 私人收藏，香港 附藝術家簽名之作品保證書
113
PIERRE-YVES TRÉMOIS
(French, 1921-2020)
Le Cynocéphale
1977
Polished Bronze, ed. 7/8
38(L) × 13(W) × 54(H) cm
Engraved Trémois, numbered 7/8 and inscribed Susse Fonderie Paris
ILLUSTRATED
Trémois d’un trait, Éditions Michèle Trinckvel, Paris, 1982, p. 187 (another cast)
La Lettre de l’Académie des beaux-arts, n° 89: Un bestiaire des arts, printemps 2019, Académie des beaux-arts, Paris, 2019, color illustrated, cover page (another cast)
This lot is accompanied by a certificate of authenticity signed by the artist and issued by Elegant Art Center, Taipei.
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We strongly recommend that the Prospective Buyers conduct their own authentication for the items they are interested in bidding prior to the auction. The Company provides no guarantee to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot and related certificates.
b. Important Notice
Attention, the Prospective Buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The description of the auction items also do not imply and guarantee that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally. We strongly recommend the Prospective Buyers shall personally view the items for which they plan to bid before the auction. Any description in the catalogue or any statement provided by the Company is purely the Company's subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that all of the items on auction are being sold in "as is" condition. The Company does not provide any representation or guarantee as to the condition of any of the items.
c. Symbol Key
The following key explains the symbol you may see inside this catalogue.
○ Guaranteed Property
The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full Buyer's Premium.
d. Catalogue Explanations
Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lot and certificates thereof shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not
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 Bidding
If the Prospective Buyer cannot attend the auction, it may be possible to bid online via Invaluable or our company's official website, "BID NOW" (https://bid.ravenel.com/), for their preferred Lots bearing individual buyer's responsibilities. For information about registering for online bidding, please refer to Ravenel.com., When successfully winning an item through online bidding via Invaluable, the Prospective Buyer and the Buyer shall pay a service fee of 3% of the hammer price in addition to the Buyer's Premium calculated according to Article 2, Section 4a. The Prospective Buyer and the Buyer agree that this Agreement can be viewed at the website 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
