翰墨丹青—中國書畫專場 Refined Brushwork: Fine Chinese Paintings

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 15th July 2020, 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 15th July 2020, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 16th July to 18th July 2020). Acceptance will cease on 18th July by noon (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 15th July 2020.

6.

If the bidding deposit has been transferred prior to 15th July 2020, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her/its paddle number.

7.

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

8.

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

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

9.

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

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

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

Ravenel 2

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

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

2.

競投保證金 : 新台幣陸拾萬元或貳萬美金。

3.

競投保證金需於 2020 年 7 月 15 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.

2020 年 7 月 15 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 ( 2020 年 7 月 16 日至 7 月 18 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 7 月 18 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 2020 年 7 月 15 日以前完成匯款至本公司指定帳號。

6.

如於 2020 年 7 月 15 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我 們將與競投者聯繫並與之確認其競標牌號。

7.

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

8.

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

9.

若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價與佣金 ) 金額超過競投保證金金額時，買方得以下列方式結清帳款： (1) 現鈔：上限新台幣壹佰萬元。 (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。

羅芙奧 2020 春季拍賣會 翰墨丹青 — 中國書畫專場

RAVENEL SPRING AUCTION 2020

Refined Brushwork: Fine Chinese Paintings 拍賣日期／地點 2020年7月18日（六） 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 台中 2020年7月4日（六）下午1:00至下午6:00 2020年7月5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 2020年7月16日（四）至 7月17日（五）上午10:00至下午7:00 2020年7月18日（六）上午10:00至下午2:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳）

AUCTION Saturday, July 18, 2020, 2:00 pm Marriott Taipei Grand Space, 3F , No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

PREVIEWS Taichung

Saturday, July 4, 2020, 1:00 pm - 6:00 pm Sunday, July 5, 2020, 11:00 am - 6:00 pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Taipei

Thursday, July 16 - Friday, July 17, 2020, 10:00 am - 7:00 pm Saturday, July 18, 2020, 10:00 am - 2:00 pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

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

Arthur WANG 王鎮華

Chairman 董事長

Clara KUO 郭倩如

Vice Chairman 副董事長

陳砥翰 Masa Chen

林琬娸 Kitty Lam

古文物及書畫部 經理 Manager, Fine Chinese Works of Art and Paintings Department

業務經理 香港 Business Manager Hong Kong

周媛玲 Connie Chau 古文物及書畫部 專員 Specialist, Fine Chinese Works of Art and Paintings Dapartment

陳姿穎 Zin Chen 業務助理 台北 Sales Assistant Taipei

Ravenel 6

朱毅 Walter Zhu 業務代表 北京 Representative Beijing

李政希 Xiu Lee 業務代表 上海 Business Representative Shanghai

目次 / Contents 2

給予買家的重要通知

IMPORTANT NOTICE TO BUYERS 5

羅芙奧春季拍賣會

SALE INFORMATION 8

羅芙奧之服務

RAVENEL SERVICES 10

翰墨丹青—中國書畫專場 Refined Brushwork: Fine Chinese Paintings

115

委託競投表格

ABSENTEE BID FORM 117

業務規則

TRANSACTION AGREEMENT

RAVENEL STAFF AND SERVICES FOR THIS SALE

SPECIALISTS

CATALOGUE SUBSCRIPTION

Masa Chen

Taiwan

Taiwan

Tel: +886 2 2708 9868 ext. 588 Email: masachen@ravenel.com

Zin Chen

Tommy Wu

Tel: +886 2 2708 9868 ext. 585 Email: zinchen@ravenel.com

Tel: +886 2 2708 9868 ext. 885 Email: tommywu@ravenel.com

Hong Kong, International

Hong Kong, International

PHONE BIDS AND WRITTEN BIDS

Kitty Lam Tel: +852 2889 0859 Email: kittylam@ravenel.com

Kitty Lam Tel: +852 2889 0859 Email: kittylam@ravenel.com

Taiwan

Shanghai．Beijing

China

Tel: +886 2 2708 9868 ext. 585 Email: zinchen@ravenel.com

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

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

Hong Kong, International

The catalogues are available for subscription. For details

Kitty Lam

of subscription, please refer to the explanations of the cat-

Connie Chau Tel: +886 2 2708 9868 ext. 908 Email: conniechau@ravenel.com

Zin Chen

Tel: +852 2889 0859 Email: kittylam@ravenel.com

Shanghai．Beijing Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. It is also possible to bid online for selected lots. Please refer to ravenel.com for more information.

In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements, including any foreign language assistance for the bidding.

alogue or contact the above persons.

COLLECTION AND SHIPPING

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”.

ONLINE BIDS Register at Invaluable www.invaluable.com

Ravenel 8

羅芙奧2020春季拍賣會服務部門及連絡人

諮詢專家

目錄訂閱

取貨及運輸事宜

陳砥翰 電話：+886 2 2708 9868 轉 588 電子信箱：masachen@ravenel.com

台灣

台灣

陳姿穎 電話：+886 2 2708 9868 轉 585 電子信箱：zinchen@ravenel.com

吳博峯

香港．國際

香港．國際

電話書面競標聯絡人

林琬娸 電話：+852 2889 0859 電子信箱：kittylam@ravenel.com

林琬娸 電話：+852 2889 0859 電子信箱：kittylam@ravenel.com

台灣

上海．北京

陳姿穎 電話：+886 2 2708 9868 轉 585 電子信箱：zinchen@ravenel.com

中國

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

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

香港．國際

本目錄開放各界訂閱，詳細訂閱辦法，請參照目錄之

林琬娸 電話：+852 2889 0859 電子信箱：kittylam@ravenel.com

說明或請洽上述聯絡人。

周媛玲 電話：+886 2 2708 9868 轉 908 電子信箱：conniechau@ravenel.com

電話：+886 2 2708 9868 轉 885 電子信箱：tommywu@ravenel.com

註一：所有拍品在貨款結清後，即可取貨；買家請儘 早通知安排取貨事宜，以利倉庫存貨流通和集中安排 辦理，本公司接受個人及公司支票付款，惟需在兌現 後始能提貨。恕不接受旅行支票付款。其他各項貨品

上海．北京

可在羅芙奧辦公室提領，上班時間為週一至週五上午

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

9:30至下午6:30。

註一：如您無法親臨拍賣現場，可以電話投標方式競

註二：我們的專業行政部門可為您建議或安排最適當 的運輸方式。

標；亦可利用附在此目錄後面之委託競投表格；或可 參與網上競投，詳情請洽羅芙奧官方網頁。

羅芙奧樂意提供您本次拍賣當中任何一項拍品的狀況 報告書，惟準買家需注意拍品均是以「當時認定」之

註二：鑑於拍賣現場電話有限，欲以電話投標方式競 標的投標者，請於拍賣前24小時通知我們為您安排， 尤其對需用外國語言服務之投標者。

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

狀況賣出，相關細項請參照目錄後之業務規則。請參 照買家需注意事項。

REFINED BRUSHWORK: FINE CHINESE PAINTINGS

翰墨丹青—中國書畫專場

601 TAI JING-NONG (Taiwanese, 1902-1990)

臺靜農 行書七言詩

Poem in Running Script Ink on paper, framed 51 x 37.5 cm Signed JING-NONG in Chinese With two seals of the artist

NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 700 - 1,300 RMB 5,000 - 9,000

Ravenel 12

水墨 紙本 鏡框 51 x 37.5 cm 釋文：水際柴門一半開，小橋分路入青苔。 背人照影無窮柳，隔屋吹香併是梅。 烏塘渺渺綠平堤，堤上行人各有攜。 試問春風何處好，辛夷如雪柘岡西。 款識：天漢小姐屬。靜農書王介甫詩。 鈐印：臺靜農（白文）、歇腳盦（白文）

602 AU HO-NIEN

(Taiwanese, b.1935)

歐豪年 鶴壽

Calligraphy 2018 Ink on paper, framed 24 x 88.5 cm With three seals of the artist PROVENANCE: Acquired directly from the artist

NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 700 - 1,300 RMB 5,000 - 9,000

2018 水墨 紙本 鏡框 24 x 88.5 cm 釋文：鶴壽。 款識：戊戌新秋天遊草民，偶然醉書自以為樂。 鈐印：白首名山自頏頡（白文）、歐豪年印（白文）、 天遊草民（朱文） 來源 : 現藏家得自藝術家本人

603 KUANG ZHONG-YING (Taiwanese, 1924-2015)

匡仲英 雲山煙樹

Landscape in the Mist Ink and colour on gold-coated paper, framed 40 x 80 cm Signed ZHONG-YING KUANG-SHI in Chinese With three seals of the artist

NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 700 - 1,300 RMB 5,000 - 9,000

Ravenel 14

水墨 設色 金箋紙 鏡框 40 x 80 cm 釋文：雲山煙樹。 款識：湘鄉仲英匡時寫於寄敖廬。 鈐印：匡時（白文）、仲英（朱文）、 願華長好月常圓人長壽（白文）

604 KUANG ZHONG-YING (Taiwanese, 1924-2015)

匡仲英 林亭高會

Scholars' Gathering 1990 Ink and colour on gold-coated paper, framed 40 x 80 cm Signed ZHONG-YING KUANG-SHI in Chinese With three seals of the artist

NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 700 - 1,300 RMB 5,000 - 9,000

1990 水墨 設色 金箋紙 鏡框 40 x 80 cm 釋文：林亭高會。 款識：庚午仲英匡時寫。 鈐印：匡時（白文）、仲英（朱文）、 願華長好月常圓人長壽（白文）

605 YU CHENG-YAO (Taiwanese, 1898-1993)

Poem in Cursive Script 1992 Ink on paper, framed 94 x 44 cm Signed YU CHENG-YAO in Chinese With one seal of the artist PROVENANCE: Acquired directly from the artist

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,700 RMB 9,000 - 19,000 余 承堯 草書七言詩 1992 水墨 紙本 鏡框 94 x 44 cm 釋文：詩乃文章最美文，真情實語掃浮雲。 名公傳世千秋作，快意高吟一室芬。 款識：壬申五月舊作讀詩，余承堯時年九十四。 鈐印：余承堯印（白文） 來源： 現藏家得自藝術家本人

Ravenel 16

606 TAI JING-NONG (Taiwanese, 1902-1990)

臺靜農 福

Calligraphy Ink on gold-flecked paper, framed 25.5 x 25.5 cm Signed TAI JING-NONG in Chinese With one seal of the artist

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,700 RMB 9,000 - 19,000

水墨 灑金紅箋 鏡框 25.5 x 25.5 cm 釋文：福。 款識：臺靜農。 鈐印：臺靜農（白文）

607 LI QI-MAO

(Taiwanese, 1925-2019)

Monkeys Ink on paper, scroll 227 x 52.5 cm Signed LI QI-MAO in Chinese With two seals of the artist This painting is to be sold with a photo of the work with the artist.

NT$ 40,000 - 80,000 HK$ 10,000 - 21,000 US$ 1,300 - 2,700 RMB 9,000 - 19,000 李奇茂 侯門世家 水墨 紙本 立軸 227 x 52.5 cm 釋文：侯門世家。 款識：李奇茂時年九十。 鈐印：李奇茂印（朱文）、飛龍在天（朱文） 附藝術家與作品合照

Ravenel 18

608 TU SAN-HSIN (Taiwanese, b.1965)

杜三鑫 黑入太陰雷雨垂

Scholar's Rock Ink on paper, framed 99.5 x 100 cm Signed SAN XIAN in Chinese With two seals of the artist

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 RMB 12,000 - 24,000

水墨 紙本 鏡框 99.5 x 100 cm 釋文：平江府太湖石，產洞庭水中，性堅而潤，有嵌空穿眼宛轉怪勢。一種色白，一種色青而黑，一種微 青，其質紋理縱橫，籠絡隱起，於石面遍多坳坎，蓋因風浪衝激而成，謂之彈子窩。扣之，微有聲。採人 攜錘鏨入深水中，頗艱辛，度其奇巧取鑿，貫以巨索，浮大舟，設木架，絞而出之。其間稍有巉岩特勢， 則就加鐫礱取巧，澓沈水中經久，為風水沖刷，石理如生。此石最高有三五丈，低不逾十數尺，間有尺餘。 唯宜植立軒檻，裝治假山，或羅列園林廣樹中，頗多偉觀，鮮有小巧可置几案者。無為軍石產土中，連接 而生，擇奇巧者即斷取之，易為洗滌，不著泥漬，石色稍黑而潤，大者高數尺，亦有盈尺及五六寸者，多 具群山勢，扣之有聲。之有一段二三尺間，群峰縱拔，連接高下，凡數十許。巉岩澗谷，不異真山。頃年 維揚俞次契大夫家，獲張氏一石，方圓八九尺，上有峰巒主下不知數，中有谷道相間通，目為乾峰石。又 米芾為太守，獲異石拜者，四面巉岩險怪，具袍笏拜之。但石苗所出不廣，佳者頗難得之。又，無為軍石， 產土中，性甚軟。凡就土揭取之，見風即勁。兩面多柏枝，如墨描寫。石色帶紫或灰白，間有紋理，成崗 巒遍列，林中有徑路，全若圖畫之狀，頗奇特，又有彷彿類諸物象。土人裝治為屏，頗近自然。臨安石， 杭州臨安縣石出土中，有兩種，一深青色，一微青白。其質奇怪，尖峰巍勢，高者十數尺，或尺餘，溫潤 而堅，扣之有聲。間有質樸。從而斧鑿修治，磨礱增巧。頃歲錢塘千頃院有石一塊，高數尺，舊有小承天 法善堂徒弟折衣缽得此石，值五百餘千。 款識：節錄《雲林石譜》，散仙。 鈐印：杜三鑫印（白文）、散仙（朱文）

還攜筆墨向高丘 嶺南派大師歐豪年

AU HO-NIEN

AN ONGOING PURSUIT OF EXCELLENCE IN INK AND BRUSH

歐豪年先生1935年出生於中國廣東省茂名，為現今華人世界嶺

此次歐氏的花鳥動物以三幅作品呈現，《海鷹圖》（編號611）

南畫派中的傑出代表畫家。他在正值壯年之際的70年代來台。其

寫繪蒼鷹擊浪，咨遊於海浪與岸邊之景，歐氏先以雄健的筆法寫

巨大尺幅與連屏作品，氣勢恢弘而磅礡，廣受好評；他以「詩、

出岸邊之山壁，饒富任意揮灑的筆觸捕捉海浪，他善於用水，

書、畫三絕」聞名藝壇，其繪畫特色運筆雄健，墨韻、光影變化

並將山壁與海浪間驚濤裂岸激盪所產生融合寫繪，烘染出蒼潤之

萬千，造景跌宕起伏，造境無窮，傳統與創新的兼具，使其成為

意遠方的曙色，一隻蒼鷹從空中一躍而下，展翅擊浪，無論色

當代中華文化美學代表之一。歐氏除延續嶺南前輩所倡導藝術革

感、墨韻，與蒼鷹之神態，無不展現出藝術家內心的濃厚情感，

命，「以折衷中西、融匯古今為途徑，建立現代國畫」為宗旨，

非常精彩，故每觀歐氏之作，均感覺他將其生命力展現於紙張之

更追求形神兼備、兼工帶寫與彩墨並重為藝術手法。歐氏因山

上；《兔》（編號 612）以墨兔據於籐籃之上，欲得食物之態。

水、人物、花鳥、走獸兼擅，被推為「不世出」之才。

畫家先以重墨寫繪墨兔之神韻，趁濃淡乾濕之際寫出兔毫蒼潤之 感，墨兔前肢居前欲試待發，後肢輕提，其勢若徐徐而欲動。目

歐氏啟發於嶺南畫派，受業於趙少昂先生，其恩師趙少昂先生讚

視斜下之處，寫繪翻倒之籐籃，紅蘿蔔灑落其間。兔子的繁殖力

曰：「自有高人韻，空山任鳥啼；扶搖雲漢路，回首萬峰低」。

很強，又有多子多孫之寓意；而蘿蔔在漢語裡又稱作「采頭」，

創作五十餘年，窮其畢生精力致力於創新求變，其每幅作品無不

所以有吉利的意思。而紅色又是大喜之色，所以紅蘿蔔的意義是

是歐氏精心構圖與擘劃，作品題材包含山水、走獸、花卉、鳥

喜上加喜，非常吉利；其中《雨後白荷圖》（編號 613）為歐氏

禽、昆蟲與人物，無不精通。

早年作品，他很注重氣氛的營造，善將生動的景物直接賦予生命 力的感動，他先寫繪大朵的荷葉半垂落於池塘中，再寫繪一朵白

歐氏的藝術精品目前均為全世界的博物館與收藏家所收藏，亦已

荷，荷葉因姿態與白色花瓣的色感所產生的強烈對比，再烘染河

在全球展露頭角，然而歐豪年先生的作品題材為之精深且多元，

塘中前後遠近的朦朧水氣，在濕潤之中似乎透出微光，似乎下過

此次精選歐豪年先生的多幅書畫作品，編號609、610同為描繪

雨後的荷花顯得特別嬌豔，筆法空靈流暢，整體空間的氛圍讓觀

秋景之作，《秋山獨往悵知音》（編號609）為1991年所作，在

者感到寧靜而悠遠，將河塘景色描繪得非常生動，最後作者寫繪

秋季的天朗氣清，寫繪一位老翁拄杖來到高崗遠眺，優雅閒放於

一只蜻蜓停駐於花朵之上，更添生氣，充分表現出作者內心的情

此山之中，左側遠山染以白雲，水氣蒼潤之境為歐氏常為營造之

感。

景。高崗之上的涼亭，山樹已為天氣所染紅，感此美景，似乎這 美麗壯闊的高崗美景才是他的知音。為了取景，歐氏到世界各地

而歐豪年先生的《山高水長》（編號614），按其題款的風格看

寫生，並常將平生遊山賞景所見，與情感所懷寫入畫中。此作品

來，應是壯年之時所繪，右側先以較重的濃淡墨寫出右側的山石

是他贈於他的舊友，歷經近三十年後，歐豪年先生又不期重見到

與岸邊的樹叢，溪樹因受到水氣的影響，較為蒼潤，深山中的山

此畫，在此畫題上了詩堂「秋山獨往悵知音」，在丁酉年（2017

石特別崚嶒，歐氏再寫左側三重高聳的山壁與漸漸淡去的遠山，

年）的深秋，題上落款「豪老」二字；《紅葉秋山》（編號610）

雲霧嬝繞其中，後寫穿於其下的溪石流水，蜿蜒源源流長的溪水

是歐豪年先生於2013年所繪，平地秋季的天氣雖不若冬天的酷

川流不息，最後以石綠或少許花青調以淡墨韻染山石雲霧，右下

寒，但往較高的山林卻已呈現冬天的景象，題畫中的「牢落」一

則以赭石染以山壁與溪岸，此時已經營造出遠山的雲霧與山谷所

詞，有稀疏零落寂靜之意，近處的一半的綠峰已為雲霧所遮，而

產生的水氣，更與溪邊的山石與樹所產生一種氛圍融為一體，而

歐氏在主峰山頭處寫上濃墨，利用潑墨將稀疏零落半天綠峰與雲

在山壁中點上少許突出的樹枝也是不可少的動作，此點景則會讓

霧融為一體，寫繪出水氣蒼潤之境，此也是歐氏善於利用水氣之

山石更加生動真實。歐氏將心中理想的深厚德行寫入其中，正如

技法，畫面中潑墨韻染的山景，似乎有股細細的雲霧水氣從山中

它平居恬淡與不慕名利的情操。水氣蒼潤之境為歐氏常為營造之

吐出，氣韻微光流動，營造出深山空靈飄渺之境。前方蜿蜒曲折

景，設色高雅，幽渺難尋，最後畫上一對白鶴沿著山壁向雲霧飛

的山樹已為秋霜之氣所染紅，點上楓紅，為整個牢落寂靜氛圍添

去，筆墨意境更高。

加了生機。

右圖：歐豪年 Right: Au Ho-Nien

Ravenel 20

of the inscribed poem suggest sparse and withered chills. The greenery in the foreground is surrounded by mists, contrasting with the thick ink at the top of the mountain. Splashed ink was used to blend the two contrasting objects into harmony, creating heavy mists. The mist lingered through the landscape. Hills and trees have already turned red and enlivened the still cold environment.

Au Ho-Nien was born in 1935 in the city of Maoming in Guangdong Province, China. As an accomplished living artist of the Lingnan School of Art, Au was invited to relocate to Taiwan in the 1970s. Au is famous for his poems, calligraphy and paintings, which were depicted with sturdy brushstrokes, dynamic colours and composition to juxtapose traditional with modern creation.

His works including large-sized paintings of landscape, portraiture, Flower-and-Bird and animal works are widely praised for their magnificence and splendour.

Having a solid foundation from Lingnan School of Art, Au received compliments from his teacher Chao Shao-An. In the past 50 years, Au dedicated his lifetime in artistic creation, composition and structure on various genres including landscape, animals, flowers,

Three animal and flower paintings were selected in this sale. Eagle by the Sea (Lot 611) depicts an eagle flying over a choppy sea which beats wildly against a towering cliff. The artist’s depiction with bold brushstrokes carved out the steep cliff and the merciless waves, highlighting the ferocious scene against the serene dusk at a distance. The composition of colours and brushstrokes reflect the spirit of the eagle and the inner thoughts of the artist, thus showing vividness of the painting. Rabbit (Lot 612) depicts a black rabbit scrambling over a basket of vegetables. In terms of technique, saturated ink with varying densities and humidity, was applied to highlight the spirit of the animal. Its limbs were carefully depicted to represent its eagerness, which is further enhanced by its gaze towards the carrots spilled from the basket. Rabbits have a high fertility rate, which suggests abundance in the family.

Carrots in Chinese suggest luck and prosperity. Red is an auspicious colour, which further enhances the artist’s greetings. White Lotus (Lot 613), was made in Au Ho-Nien’s early artistic career when he was fascinated by the depiction of the surroundings and the personification of still objects. He commenced by depicting the leaf, followed by the depiction of the flower. Huge contrast was made between the postures of the flower and the leaf. The dampened surrounding and haze soften the reflected light, while enhancing the tenderness of the flower and the tranquility of the pond. A dragonfly rests gently on the flower, which heightens the animated scene.

birds, insects and figure depiction.

Judging by the style of the inscription, Landscape (Lot 614) was

Au Ho-Nien's works were collected by museums and private

the mountain and bushes on the shore on the right of the panel.

collectors over the globe. His works demonstrate great depth in

Trees burgeon under the humid environment against the steep

meaning and a rich variety of subjects. In the upcoming Spring

rugged cliff. Farther in the distance, Au Ho-Nien painted layers of

Sale 2020, Autumn Scenery (Lot 609) was completed on a bright

soaring distant mountains, veiled under heavy mists. At the foot

day of autumn 1991. An old scholar hiked with a long stick

of the mountains, there is a running stream meandering through

looking afar. It is a peaceful scene. The distant mountains on the

the valley. Light green was used to highlight the haze and hills,

left are hidden by thick white clouds, showing Au's outstanding

contrasted with the ochre on the right for the cliff and river bank.

manipulation of water. A kiosk stands before a hill filled with red

A heavy haze hovering over distant hills, which blends with the

leaves. He was delighted by this scenery. Au believes in life drawing

rocks and trees near the river bank. Branches spread out from the

and travelled the world to gather inspiration from the Nature. This

cliff, and this enhanced the vividness of the rocks. In this work, Au

work was given to an old friend. After 30 years since its creation,

incorporated his interpretation of a gentleman's manner and his

Au revisited the painting in Autumn 2017 and added an inscription

abstinence from materialistic temptation. Humid landscape is the

above the work, signed “Hao-Lao”. Autumn Scenery (Lot 610) was

common genre of Au. Under the elusive thick haze in a distance, a

completed in the winter of 2013 by Au Ho-Nien. Autumn near the

pair of cranes fly towards the clouds.

horizon was not as cold compared to forests in higher altitudes, where signs of winter had already begun. The first two words

completed at the peak of his career. Thick ink was applied on

609 AU HO-NIEN

(Taiwanese, b.1935)

歐豪年 秋山獨往悵知音

Autumn Scenery 2017; 1991 Ink and colour on paper, scroll 35 x 45 cm; 33 x 45 cm Signed HO-NIEN in Chinese With four seals of the artist This painting is to be sold with a photo of the work with the artist.

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 RMB 12,000 - 24,000 Ravenel 22

2017；1991 水墨 設色 紙本 立軸 35 x 45 cm；33 x 45 cm 釋文：秋山獨往悵知音。 款識： ( 一 ) 余舊繪贈友今又不期重見於市也。丁酉九秋豪老。 ( 二 ) 振芳先生愛余山水，偶成小品，爰以貽之。辛未初夏，豪年。 鈐印： ( 一 ) 白首名山自頡頏（白文）、歐豪年印（白文） ( 二 ) 平生寄懷（白文）、歐介（白文） 附藝術家與作品合照

610 AU HO-NIEN

(Taiwanese, b.1935)

Autumn Scenery 1953 Ink and colour on paper, framed 75 x 47 cm Signed AU HAO WENG in Chinese With two seals of the artist

NT$ 60,000 - 120,000 HK$ 15,000 - 31,000 US$ 2,000 - 4,000 RMB 14,000 - 28,000

歐豪年 紅葉秋山 1953 水墨 設色 紙本 鏡框 75 x 47 cm 釋文：牢落古今成一體，須臾下筆振瑰奇，半天綠峰還潑墨， 紅葉秋山合有詩。 款識：癸巳隆冬，嶺南歐豪翁並詩。 鈐印：歐介（白文）、丹青不老（白文）

611 AU HO-NIEN

(Taiwanese, b.1935)

歐豪年 海鷹圖

Eagle by the Sea Ink and colour on paper, framed 94.5 x 57.5 cm Signed HO-NIEN in Chinese With two seals of the artist

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 RMB 19,000 - 38,000 Ravenel 24

水墨 設色 紙本 鏡框 94.5 x 57.5 cm 款識：戴威先生雅正，豪年。 鈐印：歐（朱文）、物物而不物於物（朱文）

612 AU HO-NIEN

(Taiwanese, b.1935)

歐豪年 兔

Rabbit Ink and colour on paper, framed 69 x 45 cm Signed AU HO-NIEN in Chinese With one seal of the artist

NT$ 150,000 - 240,000 HK$ 39,000 - 62,000 US$ 5,000 - 8,000 RMB 35,000 - 57,000

水墨 設色 紙本 鏡框 69 x 45 cm 款識：嶺南歐豪年畫於竹簃軒。 鈐印：歐介（朱文）

613 AU HO-NIEN

(Taiwanese, b.1935)

歐豪年 雨後白荷圖

White Lotus Ink and colour on paper, framed 68.5 x 55 cm Signed HO-NIEN in Chinese With one seal of the artist

水墨 設色 紙本 鏡框 68.5 x 55 cm 款識：豪年。 鈐印：歐豪年（白文） 附藝術家與作品合照

This painting is to be sold with a photo of the work with the artist.

NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 6,000 - 9,300 RMB 42,000 - 66,000 Ravenel 26

614 AU HO-NIEN

(Taiwanese, b.1935)

歐豪年 山高水長

Landscape Ink and colour on paper, scroll 84 x 59.5 cm Signed AU HO-NIEN in Chinese With two seals of the artist

NT$ 240,000 - 380,000 HK$ 62,000 - 98,000 US$ 8,000 - 12,600 RMB 57,000 - 90,000

水墨 設色 紙本 立軸 84 x 59.5 cm 款識：山高水長，歐豪年寫。 鈐印：歐（朱文）、豪年（白文）

615 PU HSIN-YU

(Taiwanese, 1896-1963)

溥心畬 松齡衍慶

Old Pine 1955 Ink on paper, scroll 88 x 32 cm Signed PU RU in Chinese With one seal of the artist

1955 水墨 紙本 立軸 88 x 32 cm 釋文：松齡衍慶。 款識：乙未夏日畫為芝園先生壽，溥儒。 鈐印：溥儒（白文）

ILLUSTRATED: Memoir of Mr Deng Zhiyuan to Celebrate His 70th Birthday , National Xiamen University, December 1955, p. 4

圖錄： 《鄧芝園先生七秩榮慶錄》，國立廈門大學， 1955 年 12 月出版，頁 4

Memoir of Mr Deng Zhiyuan to Celebrate His 80th Birthday , National Beiping Normal University, December 1965, p. 146

《鄧芝園先生八秩榮慶錄》，國立北平師範大學， 1965 年 12 月出版，頁 146

NT$ 220,000 - 360,000 HK$ 57,000 - 93,000 US$ 7,300 - 11,900 RMB 52,000 - 85,000

註： 上款人「芝園先生」即為鄧萃英，字芝園，1885 生 於福建，與林覺民等一同參與同盟會，並任東京同 盟會福建支部長。其一生致力於教育，前後曾任北 京師範大學、福建廈門大學、河南大學、福州師範 學校校長等要職。赴台灣後仍從事教育工作。

中國傳統歷史上，「松」是非常重要的文化符號，古今文人墨客

Pine is an important symbol in traditional Chinese culture and is the

無不歌詠稱頌，而飽讀詩書、喜作詩文的溥心畬也承接了歷代前

favourite scholarly object of all times. Pu Hsin-Yu was no exception.

朝對於松樹的意象表現：溥心畬有鈐印「松巢客」一枚；1925年

He had a seal inscribed with Songchaoke (Residing by the Pine),

更與滿族畫家共同創立「松風畫社」。

and established Songfeng Art Group in 1925 with a group of Manchu artists.

《松齡衍慶》為溥心畬於1955年所畫，贈賀鄧芝園先生七十中 壽之禮。溥心畬承繼「四王」以來的筆墨風格，又經自學探索得

This work Old Pine was painted in 1995 by Pu Hsin-Yu to

出一粗筆水墨的圖式，溥氏作畫最重筆力，運筆須用腕力和臂

commemorate the 70th birthday of Deng Zhiyuan. Use of ink

力，其畫樹之法與南宗一脈相承，此作以出紙法構圖，溥氏曾明

and strokes hinted at the style of the Four Wangs and his unique

「畫枝幹之法，處處轉折，頓挫而下，或用逆鋒以蹙其節」畫松

style from self-learning of ancient scrolls. Movement of wrists and

自右憑空出幹，頗有不盡意之處；中鋒韌筆，渴焦兼施，濃淡暈

arms were used in sync with that of the brush. The structure of

染，單筆取直動之勢。主幹筆法簡括，粗曠雄渾，脫自北宋李成

the painting resembles that of the Southern School. Pu once said,

法度，以篆籀、二王行草筆勢塑體，描形頓挫有力，自下而上勁

"Trunks should be depicted with heavy and twisted strokes." Pine

挺收束；縱橫出枝處以弧線結勢，顧盼之間更添疏朗情趣；樹幹

trunk was depicted with rough and vigorous strokes which were

以墨色深淺作出多層次的小斧劈皴，所謂「計白當黑」由外而內

adopted from Licheng of Northern Song and Two Wangs. Branches

剔出空間，更顯松身遒勁的清氣。枝部向上分行成「鹿角」狀，

intertwined in curvaceous shape to form a shape of deer horn. Pu

溥氏畫樹法分成四枝，陰陽左右兼具，取其靈動起伏；松針用筆

painted trees with light and shades in balanced composition to

搶快直入，採攢三聚五的團聚畫法，疊覆中以墨分前後，一氣呵

depict its vividness. Swift strokes were used to depict its leaves.

成，彷彿可見四面叢生的層次，畫面效果酣暢淋漓，氣韻貫通。

In groups and overlapping layers, the lusciousness of the tree

溥心畬題款以行草書為擅，此幅「慶」字、「壽」字尤為可觀，

was depicted. Inscription was written in Running Script. "Qing

用筆遒勁，結構內緊外鬆，觀之更顯醇厚；綜觀溥氏一生詩畫多

(celebrate)" and "Shou (birthday)" were written elaborately with

以詠松為主，松樹長青，相對人的生命而言已趨近永恆，他承接

a balanced structure. Throughout his life, Pu composed poems to

松樹的隱逸意象，對照其一生善藏高隱的經歷，此畫雖為祝壽而

praise pine trees. They are evergreen and echo strongly with the

作，然仍託寓己身高潔隱逸於世的心境，實為難得的珍品逸作。

artist's background. On top of the blessing, the artist hinted his hermit character, making this painting a unique masterpiece.

Ravenel 28

616 PU HSIN-YU

(Taiwanese, 1896-1963)

溥心畬 晴巒浮翠

Landscape Ink and colour on paper, framed 120 x 29 cm Signed HSIN-YU in Chinese With three seals of the artist

水墨 設色 紙本 鏡框 120 x 29 cm 釋文：扁舟日客興，邊岸帶雲流，安得羲皇侶，相攜共入林。 款識：心畬。 鈐印：天籟（朱文）、舊王孫（朱文）、溥儒（白文）

PROVENANCE: Private Collection, Taipei

來源： 私人收藏，台北

NT$ 300,000 - 600,000 HK$ 77,000 - 154,000 US$ 10,000 - 19,900 RMB 71,000 - 142,000

此幅《晴巒浮翠》為溥心畬早年受北宗山水風格影響的「文人

This work is a typical example of Pu's scholar paintings which

畫」，取山景方式以左側對峙右下的對角式構圖，觀者與畫者彷

demonstrates the influence of the Northern School. The mountain

彿站立於高處遠眺，盡顯高遠之況味，筆法上以北宗的古樸厚實

was placed on the left, and echoed diagonally with the bottom

為重，多以馬夏派風格為主。溥氏對於先輪廓後皴皺的勾皴結合

right. Viewers could look afar with the artist with such tall and far

山石畫法曾於《寒玉堂畫論》中明確表述過：「畫山先輪廓而

structure. The artwork was steeped in antiquity by the brushstrokes

後皴皺，此常法也。至於崎嶇犖確，突兀崢嶸，熊罷升降，龍

of the Northern School and the style of Ma and Xia. Regarding

跳虎臥之形，筆先變化奔騰，橫飛直下，先於一筆之中，有起伏

the outline of rocks and hills, Pu once mentioned in his manifesto,

輕重，定為陰陽，辨其明晦。」此作山石造型奇峭，溥氏以細筆

"Hills should always be sketched with an outline, followed by

斧劈描出凌厲的山勢，再用渴筆澹墨披麻皴出岩壁，行筆迅速大

cun. Rough cliffs and rugged landscape should be depicted with

膽，層巒特徵清晰，中幅夾以留白的雲霧意象更顯出南派的淡泊

the movement of brush and wrist." In this work, the rocks were

蕭然。

roughly depicted. Pu used fine strokes to outline the steep cliffs, followed by dried brush for the texture. The lines were drawn

溥心畬幼年研習「四王」山水的筆墨痕跡，常於畫作中流露，此

swiftly and layers stood out by the intersecting spaces of mists,

作的山體峰巒、造形圖式、佈局排列與王原祁的山水畫頗有相類

suggesting the style of the Southern School.

之處；山體用色則以石青、花青兼用，深淺交錯敷染，壁石彷彿 插山挺出，更顯現深立體邃的風貌，遠望能得淡逸穩健的意境。

Pu Hsin-Yu copied works by the Four Wangs and such style could

溥氏畫樹之法則與南宗一脈相承，作為山川衣冠的雜樹植披，枝

be seen in his works. The composition, structure and arrangement

幹或單筆、或雙鉤，主幹之上不添旁枝，樹冠多以橫筆平點；畫

of subjects of this painting show close resemblance to that of

遠山小松雜樹多以平點、圓點法繪就，貴參差以取勢，偶用墨

Wang Yuan-Qi. Hanging cliffs stood out to enhance the steepness

暈，寫其森然之貌。中幅近景之叢林雜樹，則多以其葉之形貌而

and to create a stark contrast with the peaceful distant mountains.

寫之，溥氏多援用前人畫樹之法，如用董源的雜樹點圓葉法、黃

Trees were depicted with the style of the Southern School. They

公望以墨色橫筆點葉法等，用色則以石青為主，赭色與籐黃兼用

were in their simplest form with straight tree trunks and canopies

點綴，更能得山石群樹的直動之勢，均能恰如其處，別具一格。

formed by dots. The same method was also used for the trees

溥氏又以細筆添畫船舫，揚帆迎風渡津，近看山巒翠碧一片，遠

and forests in distant mountains. The application of strokes

望群山迷濛，所謂的「寧靜以致遠」即是此畫描繪的感受，更與

shows resemblance to former masters, such as Dong Yuan and

畫幅上段題詩呼應，溥心畬盼能如羲皇時代的人一般閒適、恬淡

Huang Gong-Wang, who depicted leaves with dots. A melange of

寡慾，其將與世無爭之心寄託於畫景，更能體現出高深曠闊的胸

green and ochre colours enliven the relief and the painting. The

懷，實為溥氏經典傳世之山水名作。

peacefulness of the work echoes closely with the Xihuang era, which was described as a utopia of relaxed and loving people.

Hence this becomes one of the classic works of Pu Hsin-Yu.

Ravenel 30

自然觀山水 從古典走出現代－董陽孜

TONG YANG-TZE

VIEWING LANDSCAPE IN ITS NATURAL FORM TRANSFORMATION FROM CLASSICAL TO MODERN 此次收錄一幅董陽孜作於1988年的《見素抱樸》（編號619）， 此幅作品以四連屏風作呈現，同時收錄於《樂山堂中國當代繪畫 三》，樂山堂，香港 / 倫敦，1990年，頁30-31；其中濃墨的靜 穆揮灑於大紙幅上，字中若懷素狂草中的灑脫，點點墨跡灑落在 筆墨飛白間，可見下筆之疾勁，筆力飽滿，收放自如，「見素抱 樸」一詞則取於老子道德經中，以喻品性高潔之聖人，接續下一 句「少私寡欲」，同是表現崇尚品格的純樸，董陽孜的作品中以 筆墨行旅走入內心發芽。而重複書寫上，在台中國立台灣美術館 的典藏中便有一幅董陽孜作於1991年的《見素抱樸》，與此次春 拍中的作品雖佈局相同，但整體尺幅卻小了將近一倍，兩件作品 均體現董陽孜老師的心境，時間心境的不同，就如一部觀看三遍 以上的電影，反覆聽著的那首歌，也看見重複書寫上的真義。 1990年末開始，董陽孜的巨幅書寫，成為其獨特的標誌性，創造 出恢弘的氣勢，引起觀者視覺上的震撼，除了挑戰藝術家身體上 的極限，也挑戰傳統書法的觀賞方式。此時董陽孜書寫的高度， 從「古典書法」中走出來致力於「現代書法」，觀者隨著線條律

已進入畫作欣賞的層次，作品有時一揮而就，有時反覆書寫，巨

動去感受創作者的心境，這也得在深入古典書學的基礎後求發展

幅書寫中，紙幅上呈現三維的方向性，視野順著墨跡而走，錯落

，深切感受臨帖功夫，才能夠去表現抽象，這是臺靜農先生在看

於步伐間符號性的墨點，使景深更為諾大，在米芾蜀素帖中，

完董陽孜書法展後的心得。

相同的字不同的寫法，表現出靈動、極盡變化之巧，書風盡顯其

董陽孜1968年從麻州大學畢業後，到紐約從事獨立設計，自1960 年末起，行文留白到空間文化的呼應，如詩悠遠以方形尺幅書 寫，此時書藝解構的運用，墨點表現出空間前後，董陽孜作品中 的點呼應空間的前後，線條大幅度的流轉加強了立體的呈現，以 畫的方式觀看書體的表演，現代書法將畫面的呈現抽象化、符號 化，形上符號以文字做為代表，代表某個意義的概念，這些符號 的產生從文化演變而至，象形、篆、隸、草、行、楷書體，由符 號到意義，再由字義本身轉演至符號的空間性，以形下直觀的產 生代替客觀的表現。 在此次一幅《圓融》（編號617）的線條流轉與字意相襯，佈局和 比例在下第一筆時即定，圓字從畫圓的符號到提拉扭轉，線條流 暢而不滯，最後一撇超出字框，融字下筆濕潤，然而卻不超於框 架，任憑墨韻在字中恣意滑淌，在一筆勾拉而出，超越字體型態 的框架，從表現的層次上貼近字義，甚至超越的灑脫。

文字藝術 - 重複書寫展現文字書寫的獨特性 一句「我先選字句、打草稿」，從形狀確立、字體選擇到位置安

「不偶於俗」的人格特質。

最遠到最近的距離 - 傳承與創新 近年來董陽孜老師，仍在不斷的突破，直接將書藝放置到跨界 領域中做融合，從2009年的墨韻無邊與時尚產業的結合開始， 加入空間結構的元素、切入音樂的節奏抑揚頓挫、服裝的媒材到 展示的流動和書藝線條結合、影像裝置的互動，使書法不再只是 書法，跳脫出觀看的框架，積極的將書藝融入生活美學與視覺當 中。 在這次拍賣當中《心閑意適》（編號618）一作完成於2008年， 書於金宣紙上，其特性不易吸墨，墨在金宣紙上游移流淌，將底 材當成是空間書寫，字義心閑之外，字體流暢的線條婉轉融於空 間之內，和宣紙紙材的墨韻延展不同，一遍又一遍的練習，就如 同跨領域也是在不同的媒材上創作，嘗試了再嘗試，作中點和線 的錯落線條流暢，能看出運筆疾速，每個轉折柔美，游移間見飛 白，連接墨點深濃，就像有意識的超越行列、字型架構，如作中 所書予人心閑，隨藝術家感受線條上的適意。

排，尺幅的大小、墨色濃淡，重複書寫在每個時間點不同字詞的

談到精神的傳遞，是一點都不簡單，看見的需要，傳統書法到文

心境、意境不同，承前啟後相呼應，每每在下筆寫字前，董陽孜

字藝術的轉變，那一撇的延伸無限，頓捺如山谷，董陽孜作品和

會先以紙張作構圖，端視著字間的比例，那意境和觀畫中的佈局

社會的連結不難看見，從台北車站、誠品書店、金石堂、雲門舞

相似，是一橫豎一點撇都馬虎不得。

集到電影艋舺的標題，書寫與字型在生活中無處不見，我們又將 如何發現他的巧妙。

Ravenel 32

As modern calligraphy works are derived from traditional

was kept in the National Taiwan Museum of Fine Arts in Taichung.

techniques, viewers can trace back to its classical origins through

Shared with the same title, that work was completed in 1991 and

the movement of lines. One can also trace back to the hardworking

is much smaller than the work offered in this sale. Despite having

practices from copybooks, which eventually evolved to an abstract

the same content and composition, the different states of mind

work. This is what Tai Jing-Nong saw in Tong's calligraphy.

could be spotted. Such experience could be compared to repeated viewings of a movie or listening to a song again and again. Each

After graduation from the university in 1968, Tong started a career

experience is unique.

in design in New York. Since the 1960s, lines and spaces have been drawn in poetic expression on square panels. The structure,

By the end of 1990, Tong Yang-Tze started to write in huge

such as foreground and background, was defined by black dots.

panels, thus becoming her unique symbol. Such size creates a

Lines thus become fluid and 3-dimensional. The painting itself

huge visual impact to the viewers and a challenge to the artist,

becomes a form of visual performance of lines. Modern calligraphy

and this revolutionized the way of appreciating calligraphy work.

has become an abstract representation represented by symbols.

Tong has enhanced the visual impact of a large canvas, showing

Yet each of these "symbols" dates back to the history of scripts

a 3-dimensional way of representation along the lines and dots.

development, e.g. pictographs, Seal, Clerical, Cursive, Running

Such technique could be traced back to Mi Fei's works, done with

and Regular scripts. From pure pictographs to its implications,

similar elusiveness and animated scenes. This makes Tong Yang-Tze

these characters have returned into their simple representations,

unique.

subjected to interpretations of viewers.

In this sale, Ravenel presents a square work by the artist. The work

Harmony (Lot 617) has a strong dialogue between the lines and the word itself. Proportional structure was set spontaneously with the first stroke of brush. The first word "Yuan (circle)" is formed by smooth and curvaceous lines by the movement of the wrist. The last stroke of the word even pierce through the circle. "Rong (melt)" was written with a wet brush. Wet ink swims but stays inside its frame. Such depiction enhanced the implication of a word in calligraphy in a graphical way.

THE ART OF WRITING - FINDING UNIQUENESS IN REPEATED WRITING "First, I choose the words, then I make a draft." The shape of words, the script and the arrangement, the size of panel and the tonality of ink have to be carefully chosen. Similar works show the different states of mind in different time periods. Drafts were made in advance, so as to determine the proportional spaces between the lines. Every stroke was carefully applied onto the panels.

Cherish Simplicity and Plain Honesty (Lot 619) from 1988 was presented in this sale in four panels. This work was illustrated in Lo Shan Tang: Contemporary Chinese Paintings III: Migration , Lo Shan Tang, Hong Kong / London, 1990, pp. 30-31. Thick ink was applied on the huge paper panel, suggesting Huaisu's frolic Running script.

Dots scattered in the spaces between the lines, suggesting swift strokes and soaked brush with excellent manipulation. The words were extracted from Laozi teachings, describing a noble character who doesn't waver under temptations and greed. A similar work

A CLOSER ASSOCIATION TO DAILY LIVES - FROM TRADITIONAL TO MODERN In recent years, Tong seeks a breakthrough by merging calligraphy with different media. In 2009, a project was launched to cooperate with the fashion industry: A juxtaposition of space, music and rhythm, clothing as media, lines of calligraphy and video setting.

Under this project, calligraphy has surpassed its restricted boundaries to become aesthetic ornaments of our daily lives.

Another work offered in the sale, My Heart Is at Ease, My Mind Is Contented (Lot 618), completed in 2008, was written on goldcoated paper. With low absorbability, the ink flows on the goldcoated paper, creating curvaceous lines meandering through the spaces. The varied texture from ordinary paper requires constant practice, so as to achieve such fluidity. Viewers can see the swiftness and eloquence of each turn, balanced with a saturated black dot. These strokes are enhanced with the artist's emotion and peace of mind.

Regarding the expression of spirituality, visual impact has risen in importance. The transformation from traditional calligraphy to the modern art of writing could be distinguished from the expression of strokes. Her works could be seen at the Taipei Main Station, Eslite Bookshops, Kingstone Bookshops, Cloudgate and Taiwan movie titles. One can easily discover the uniqueness of her works from our daily lives.

617 TONG YANG-TZE (Taiwanese, b.1942)

董陽孜 圓融

Harmony Ink on paper, scroll 68 x 70 cm With three seals of the artist

NT$ 90,000 - 180,000 HK$ 23,000 - 46,000 US$ 3,000 - 6,000 RMB 21,000 - 42,000

Ravenel 34

水墨 紙本 立軸 68 x 70 cm 釋文：圓融。 鈐印：心跡（朱文）、董（朱文）、陽孜（白文）

618 TONG YANG-TZE (Taiwanese, b.1942)

My Heart Is at Ease, My Mind Is Contented 2008 Ink on gold-coated paper, framed 138 x 69 cm With four seals of the artist EXHIBITED: "Tong Yang Tze Exhibition - My Heart Is at Ease, My Mind Is Contented", Smilax Studio, Chiayi, Taiwan, 25 November 2010 – 2 January 2011 ILLUSTRATED: Silence is Golden , Eslite Corporation, Taipei, 2008, Plate No. 29 This work is to be sold with a certificate of authenticity signed by the artist.

NT$ 150,000 - 240,000 HK$ 39,000 - 62,000 US$ 5,000 - 8,000 RMB 35,000 - 57,000 董陽孜 心閑意適 2008 水墨 金宣紙 鏡框 138 x 69 cm 釋文：心閑意適。 鈐印：釋心（白文）、董（白文）、陽（白文）、 孜（白文） 展覽： 「董陽孜：心閑意適書法展」，山歸來工作室， 嘉義，展期自 2010 年 11 月 25 日至 2011 年 1 月2日 圖錄： 《沉默是金：董陽孜》，誠品，台北，2008 年， 圖版 29 附藝術家親筆簽名之原作保證書

619 TONG YANG-TZE (Taiwanese, b.1942)

Cherish Simplicity and Plain Honesty 1988 Ink on paper mounted on wooden panels 136 x 253 cm With four seals of the artist PROVENANCE: Mr. Hugh Moss, London Lo Shan Tang Collection, Hong Kong / London ILLUSTRATED: Lo Shan Tang: Contemporary Chinese Paintings III: Migration , Lo Shan Tang, Hong Kong / London, 1990, pp. 30-31, colour illustrated 7

NT$ 750,000 - 1,200,000 HK$ 193,000 - 308,000 US$ 24,900 - 39,800 RMB 177,000 - 283,000 董 陽孜 見素抱樸 1988 水墨 紙本 屏風 136 x 253 cm 釋文：見素抱樸。 款識：素心初無染而太樸元氣淋漓也，戊辰春雨書老子句。 鈐印：董（朱文）、陽孜（白文）、知其白守其黑（朱文）、 萬事有為應有盡，此身無我自無窮（朱文） 來源： 莫士撝，倫敦 樂山堂舊藏，香港 / 倫敦 圖錄： 《樂山堂中國當代繪畫三》，樂山堂，香港 / 倫敦，1990 年，頁 30-31，圖版 7

此幅董陽孜作於1988年的《見素抱樸》作品，以四連屏風作呈

而重複書寫上，在台中國立台灣美術館的典藏中便有一幅董陽孜

現，同時收錄於《樂山堂中國當代繪畫三》，樂山堂，香港 / 倫

作於1991年的《見素抱樸》，與此次春拍中的作品雖佈局相同，

敦，1990年，頁30-31；其中濃墨的靜穆揮灑於大紙幅上，字中

但整體尺幅卻小了將近一倍，兩件作品均體現董陽孜老師的心

若懷素狂草中的灑脫，點點墨跡灑落在筆墨飛白間，可見下筆之

境，時間心境的不同，就如一部觀看三遍以上的電影，反覆聽著

疾勁，筆力飽滿，收放自如，「見素抱樸」一詞則取於老子道德

的那首歌，也看見重複書寫上的真義。

經中，以喻品性高潔之聖人，接續下一句「少私寡欲」，同是表 現崇尚品格的純樸，董陽孜的作品中以筆墨行旅走入內心發芽。

Ravenel 36

Presented in four panels, this work was illustrated in Lo Shan Tang:

was kept in the National Taiwan Museum of Fine Arts in Taichung.

Contemporary Chinese Paintings III: Migration , Lo Shan Tang, Hong Kong / London, 1990, pp. 30-31. Thick ink was applied on the huge paper panel, suggesting Huaisu's frolic Running script.

Dots scattered in the spaces between the lines, suggesting swift strokes and soaked brush with excellent manipulation. The words were extracted from Laozi teachings, describing a noble character who doesn't waver under temptations and greed. A similar work

Shared with the same title, that work was completed in 1991 and is much smaller than the work offered in this sale. Despite having the same content and composition, the different states of mind could be spotted. Such experience could be compared to repeated viewings of a movie or listening to a song again and again. Each experience is unique.

620 ZHANG DA-QIAN (Taiwanese, 1899-1983)

Musk Mallow Ink and colour on paper, framed 139 x 39.5 cm Signed ZHANG HUAN in Chinese With two seals of the artist

NT$ 1,100,000 - 1,600,000 HK$ 283,000 - 411,000 US$ 36,500 - 53,100 RMB 259,000 - 377,000 張 大千 黃葵花 水墨 設色 紙本 鏡框 139 x 39.5 cm 釋文：亭亭玉立在東籬，晚露和煙澹未稀。 貪學額黃宮樣子，閨中閒著道家衣。 款識：彝卿仁兄法家正之，蜀人張爰。 鈐印：張季（白文）、大千（朱文）

Ravenel 38

遷想妙得——張大千

ZHANG DA-QIAN

ARTICULATION OF THE MIND

被徐悲鴻譽為「五百年來一大千」的張大千（1899∼1983），

沿，最後則以一兩道較濃的墨線加強描繪枝幹或葉梗，讓整株黃

乃二十世紀中國畫壇最具傳奇色彩的人物，也是享譽國際的偉大

葵在柔媚中仍帶有勁挺的骨感。此畫不僅將黃花墨葉之正側、反

藝術家。大千為四川內江人，原名正權，後改名爰、又名季、季

背、俯仰，描繪得生動自然，其濃淡墨的交替運用，亦讓水墨之

爰，字大千，別號大千居士，畫室名為「大風堂」。 大千自幼跟

暈散變化無窮，彩墨交相輝映下，展現大起大闔、肆放灑脫的畫

隨母親、兄長習文學畫，21歲時又在上海拜書畫家李瑞清及曾熙

風，充份體現大千寫意花卉藝術的超絕水準。

學習書畫，由於他天資聰穎、才華過人，兼之勤奮好學，又有機 會觀覽老師豐富的收藏，因而年輕時即以臨摹亂真崛起畫壇，再

在本幅畫左下方，有大千題詩：「亭亭玉立在東籬，晚露和煙澹

加上其擅長山水、人物、花卉、仕女、翎毛畫各種題材，無所不

未稀。貪學額黃宮樣子，閨中閒著道家衣。」讚美向為詩人墨客

精，很快便讓他成為一位全能型畫家，在近現代中國水墨畫壇占

喜愛、象徵君子超凡脫俗性情的黃葵花。若是我們對照大千存

有重要的一席之地。

世同一主題和構圖的畫作，如繪於1930年的《亭亭玉立》（圖 1），即可以看到《亭亭玉立》除了抄錄同首詩，大千也於款題末

大千畫花卉雖然起步很早，且天分極高，然其此方面之技藝卻經

尾詳述創作原由，即「純生老友將有遼東之行，來魏塘索拙，以

常為工筆人物和潑墨潑彩山水之盛名所掩，殊為可惜。他早年學

贈思泊仁兄（于省吾）方家。倉促不能備稿，因擬白陽山人（陳

畫花卉，曾受明末清初陳洪綬、八大山人及海派華喦畫風之影

淳）筆勢求正。」由此可見大千於1930年首次畫黃葵花，原本是

響，後來改習明代水墨花卉寫意大家陳淳與徐渭二人。大千曾自

為了送給古文字學家于省吾作為贈禮，因為當時沒有備稿可以參

述：「明季逸筆花卉，予最愛陳道復（陳淳），其高勝處，雖石

考，才會臨時起意用他最鍾愛的畫家陳淳之畫風來繪製。

田翁（沈周）亦當避席，其稍後，當以徐青藤（徐渭）為巨擘。 八大山人（朱耷）早歲致力白陽，中年更刻意青藤，遂成一代宗

本件《黃葵花》與《亭亭玉立》從風格上來看，確實非常明顯地

師，良有以也。予畫從白陽、青藤人手，晚明惟陳汝循為白陽止

援用了陳淳的畫風來創作，不過，倘若我們仔細審視，還可以發

脈，見輒臨之，先友謝玉岑……贊以為三百年來，能得陳之髓

現張大千也將沈周與八大山人的風格融入畫中。對照大千1929年

者，獨予大千也。」在這裡，大千不僅清楚追溯其習畫花卉的源

繪製的《仿沈周蜀葵圖》（現藏台北國立故宮博物院）（圖2），

流，亦藉友人的讚譽來肯定自我的成就。

以及他在1930年代所創作的一系列臨仿八大山人墨荷圖，可以清 楚看到，無論是大千摹仿沈周以頓挫澀進的筆法來畫蜀葵，或是

本幅《黃葵花》作於長形立軸，描繪一株黃葵向上蓬勃生長，枝

他學八大山人畫荷那種大片渲染、墨彩斑斕的手法，都被巧妙運

葉分向左右搖曳，如同女子跳舞般輕靈曼妙的姿態。全幅以沒骨

用在這兩幅畫當中。張大千此種將沈周、陳淳、八大山人三位寫

法寫之，大千先用淡墨畫出黃葵枝幹以及如掌狀五裂的葉片，然

意花卉大師的風格融於一爐，或許是在向世人展現他在繪畫仿古

後快速勾勒出花瓣外緣，再施以藤黃、赭紅點染花心及葉片周

與集大成上的不凡功力與雄圖大志。

Ravenel 40

Zhang Da-Qian (1899-1983) was acclaimed as "The greatest artist

Inscribed at the lower left of the painting was a poem by Zhang

in 500 years", and was considered as one of the most famous

Da-Qian, describing the beauty of the flower by the fence on a

legends in the 20th Century. Born in Neijiang of Sichuan, he was

tranquil night. This flower has always been the beloved subject

named Zheng-Quan by birth, with sobriquet Huan, Ji, Ji-Huan, Da-

and symbol of a gentleman among poets. When Zhang Da-Qian's

Qian and Da-Qian Jushi. His studio was named as Dafeng Tang.

paintings are put to comparison, a work Tingting Yuli (Fig. 1) was

He learnt literature and painting from his mother and brothers,

inscribed with the same poem and the reason of creation was

and followed Li Rui-Qing and Zeng Xi later in Shanghai. He

written at the back. That work was the first of its kind, painted for

was exceptionally talented and diligent as he observed the vast

the first time in 1930. It was given to Historic Linguist Yu Sheng-

collection of scrolls owned by his teacher. Hence he imitated works

Wu as a gift. No draft was made in advance, so he used Chen

by ancient masters with close resemblance, which caught the

Chun's style of depiction due to limited time.

attention of the art communities. He excelled in Landscape, Figure, Flower-and-Bird, Ladies genres, making him an all-round artist and

The work mentioned and Musk Mallow, offered in our Sale, shared

an important figure in modern Chinese Paintings.

a similar style. It is clear that the artist followed Chen Chun's style of depiction. A close inspection would suggest that Shen Zhou

Zhang Da-Qian started Flower paintings earlier than all other genres. Even though it also demonstrated exceptional talent, this genre has been overshadowed by Gongbi Figure and Splashedink paintings. Early Flower paintings took reference to Chen HongShou (Late Ming and Early Qing Dynasties), Bada Shanren and Hua Nie of the Shanghai School. He followed the style of Chen Chun and Xu Wei of the Ming Dynasty. He mentioned in his autobiography, "My favourite Ming flower painter is Chen Dao-

and Bada Shanren's style was also used. Study of Imitation of Shen Zhou's Hollyhocks (completed in 1929, currently kept in the National Palace Museum of Taipei) (Fig. 2) and Lotus, Attributed to Bada Shanren (completed in 1930) shows that Zhang Da-Qian imitate Shen Zhou's Hollyhock and Bada Shanren's Lotus in the two paintings. Such combination of styles of Shen Zhou, Chen Chun and Bada Sharen shows Zhang's extraordinary talent of combining the best of ancient masters.

Fu (Chen Chun). He overshadowed Shi Tian-Weng (Shen Zhou).

Xu Qing-Teng (Xu Wei) was another great artist in the genre. In his early career, Bada Shanren (Zhu Da) followed Bai-Yang in his early career and Qing-Teng in his later career. Chen Yu-Xun was the only artist who reached such a level of excellence. My late friend Xie Yu-Shen mentioned that Da-Qian was the only one in 300 years who can reach the same level." This shows Da-Qian knew by heart the development of Flower paintings and through his friend's comment, he was proud of his success.

This work was painted in a scroll. The flower grows upwards with branches spreading to both sides, similar to a dancing figure.

Boneless technique was used with light ink for the branches and broad leaves. Swift and fine brush was used for the rim of the petals. Yellow and red was used for the center of the flower and the edge of the leaves. Thicker ink was used for the thicker branches, adding a robust nature to the tenderness of the flower.

The natural posture of the leaves and flowers were naturally depicted on all sides. Different gradation of ink was used to depict

圖1 Fig.1

the unrestrained beauty of the flower.

圖1. 張大千1930年（庚午）作《亭亭玉立》。 Fig.1 Zhang Da-Qian, Tingting Yuli , completed in 1930 圖2. 張大千《仿沈周蜀葵圖》，台北國立故宮博物院收藏。

圖2

Fig.2 Zhang Da-Qian, Imitation of Shen Zhou's Hollyhocks , Collection of the National Palace Museum of Taipei

Fig.2

621 ZHANG DA-QIAN (Taiwanese, 1899-1983)

張大千 嵩壽圖

Longevity 1982 Ink and colour on paper, framed 97 x 53.5 cm Signed HUAN in Chinese With five seals of the artist

NT$ 2,400,000 - 3,800,000 HK$ 617,000 - 977,000 US$ 79,700 - 126,100 RMB 566,000 - 896,000

1982 水墨 設色 紙本 鏡框 97 x 53.5 cm 款識： （一）嵩壽圖，七十一年二月，摩耶精舍，爰。 （二）麗哥九旬晉九降誕令辰，八弟爰寫祝拜呈。 鈐印： 壬戍（朱文）、張爰之印（白文）、大千居士（朱文）、 長共天難老（白文）、大千唯印大年（朱文） 註： 上款人「麗哥」，即為張大千三哥張麗誠，為大風堂堂主之一， 大風堂由張善孖、張文修、張大千兄弟四人共同創立。

《嵩壽圖》一畫成於1982年2月，張大千時年已臻八秩高齡，

This work was completed in February 1982 when Zhang Da-

雖礙於目翳、難於步行，但仍戮力創作不輟，巨幅《廬山圖》

Qian was 80 years of age. His eyes were weak and walking was

（1981年開筆，1983年成圖）即張氏遺世鉅作。張氏向來恭敬

difficult at that time, but magnificent works created were still in

兄長，晚年定居台北「摩耶精舍」，其畫室依舊懸掛著張善孖、

abundance, such as his last completed work Lushan Mountain

張麗誠之像，用以時時瞻仰記念；即使天涯相隔，每逢兄長生

(started in 1981, completed in 1983). Zhang treasured his

辰，張氏必定捉筆擘畫壽圖，用作賀禮遙祝，可知張家兄弟情誼

brotherhood as the photos of Zhang Shan-Zi and Zhang Li-Cheng's

深厚；然張大千直至溘然長逝前，仍以為兄長年近百歲、依然健

photos were hanging on the walls of his Residence in Taipei at the

在，令觀者徒呼奈何，更顯出此《嵩壽圖》寓意之金貴，實為難

later stage of his life. Despite being apart, Zhang sent his brother

得之珍品逸作。

birthday drawings every year as blessings and rich bonding. After the death of Zhang, his brothers were still healthy and reached

此作以書法筆勢入畫，佈局設色與皴法用筆上均極盡心思，畫松

almost a hundred of age. This highlights the blessings brought by

樹人物工寫兼備。通幅以立軸構圖，畫面大膽破格、奇譎高古，

this rare masterpiece.

墨筆勾勒古松自畫幅左側拔地而生、斜欹出紙，寥寥數筆而形態 畢現，再由上方松幹低倚之態，顯出奇松參天、觀之不盡的樣

This work was sketched carefully in terms of colours and strokes.

貌。張大千以乾筆皴出橫斜的主幹，松體斑駁嶙峋、以墨色濃淡

Pine trees and figures were drawn with both gongbi and boneless

渲染，兼用赭石敷色，作出明暗對比，點戳尤如龍披麟甲狀；以

techniques. The scroll was designed with a bold setting filled with

一幹雙枝畫出松枝遒勁有力的生長樣態，旁枝勾折處行粗筆、又

eeriness and antiquity. A self-portrait with an old pine was drawn

帶篆籀之意，再用細筆布松針，近處工筆寫其密滿之狀，遠處則

in dark ink, with a slightly slanted and simple composition. With

用寫意漬染，後敷石青染成，近處而濃遠處為淡，更顯墨色水潤

such a setting, the old pine reaches towards the sky in grandeur.

生輝，青翠之間似有雲霧飄渺。蒼鬱古松下文士佇足獨立，束髮

Using dry brush for cun on the trunk, the rough scaled texture was

綸巾，側身姿態，身著襟帶布衣，以石青敷染，用筆線條簡澹，

depicted, followed by ochre colouring creating light and shadow.

姿態清逸瀟灑；又作遠眺狀，神色恬和閒逸，細品彷彿可得張大

An outstretched crooked branch extended vividly depicted by

千寄寓己身於畫中人物的隱喻，所謂松下望遠，故人何在的思念

rough strokes demonstrating Seal script techniques. Refined brush

情深。落款以大千體行草書之，筆韻古樸別致，「嵩壽圖」三字

was used to depict the leaves. The foreground of the painting

筆鋒挺健，取隸書方正之意，又不拘一格、平中出奇，能與畫境

was sketched in fine brush, while objects afar were painted with

相融，頗有勁拔秀逸的大風堂筆意。畫中鈐有「長共天難老」一

boneless technique. The painting is luscious and vivid in green

印，是張氏畫懷國思人之作時常用之印，更增添畫中無盡的思鄉

with hints of mists. Under an ancient pine, a scholar stands slightly

與念舊之意。

slanted with loose clothes, a scarf and bundled hair. Simplicity in composition echoes with the open state of mind of the artist. The scholar looks afar peacefully under the pine. This suggests the artist's nostalgic feeling. Inscription written in Running Script with an ancient and sturdy character. Such style blended harmoniously with the elegant strokes of Dafeng Tang in the painting. This painting is also inscribed with a seal which was used to express the artist's reminiscence of his home country. This further enhanced the nostalgic feeling in the painting.

Ravenel 42

浪筆濃情——沈耀初

SHEN YAO-TSU

BURNING PASSION AND INTENSE BRUSHWORK OF SHEN YAO-TSU 沈耀初，福建詔安人，1907年生於西南郊外的仕渡村，故取號

《全家福》（編號623）作於1979年，此時沈耀初已經在台灣獨

「士渡人」，師從福建「詔安畫派」的沈鏡湖。沈耀初的藝術學

自生活30餘年，也享有一定的聲譽。公母雞互相依偎，情深對

習路途輾轉曲折，當時20世紀初的上海吹著一股創新而革命性的

望，猶如一對結髮夫妻，在旁的小雞歡喜追逐，家庭裡熙熙融

藝術潮流，「上海畫派」以粗曠豪放的線條描寫山水人物，而深

融的情景洋溢於畫面。畫中描繪的是一個最理想的家庭生活，也

受沈耀初敬仰的藝術家就是「上海畫派」的吳昌碩及他徒弟齊白

正正與沈耀初孤獨伶仃的處境形成極大的對比。雖然個性內斂孤

石，因此沈耀初的畫作承襲吳昌碩的剛健凝練及齊白石的豪邁草

僻，沈耀初的用筆卻大膽豪放，對藝術勇於追求突破，而這種性

野，也形成沈耀初畫作蒼鬱拙凜的獨特韻味。

格呈現於他的作品上，也為沈耀初的藝術呈現一種豪邁中帶沉穩 的感覺。此畫中公母雞尾巴的羽毛運轉筆鋒，以蒼勁曲折的線條

20世紀初是戰火紛飛的時期，持續的動亂令沈耀初的家鄉深受戰

描繪，帶有篆籀的渾厚及狂草的瀟灑。沈耀初主張「詔安畫派」

火的蹂躪。為了重建家園，1948年的冬天，沈耀初隨著漳州人來

簡樸用色，而非過度渲染。公雞的紅冠以濃厚的赭紅色渲染，增

台開畫展及學習農業技術，沒想到這就開始了一趟孤僻的旅途，

添雄健剛強之氣，相比之下淡墨帶出母雞溫柔一面，突顯家庭的

將遠別妻兒四十年。沈耀初在台灣過著簡樸窮困的生活，1966年

團結與溫暖。

退休後隱居於寂靜的田園，以筆硯為伴，過著清閒逍遙的老年。 沈耀初在一幅畫中曾經寫道：「淡飯粗菜亦陶陶」。這句話正正

自1948年來台，沈耀初一去闊別家人四十載，1982年終於回鄉，

描述沈耀初對淡泊生活的追求。1973年沈耀初應邀於國立歷史

短暫的旅程，卻充滿無盡的不捨。沈耀初在家書上寫道：「就此

博物館展出其作品，隔年更得到中華民國畫學會的最高榮譽金爵

再上征途。一路上淒風苦雨，伴著離人的眼淚，終於下個不停。

獎。晚年隱居深山，孤獨耕耘的藝術家終於得到世人的了解與肯

此時的我，有如一隻失巢孤飛的倦鳥。太陽要下山了，四顧茫

定。

茫，又將飛向何方？」簡短的文字，盡數心中孤獨鬱悶的情懷。 帶著疲倦孱弱的身軀，遠離親人家鄉，沈耀初晚年鬱悶思鄉的情

本次拍賣挑選五件沈耀初的作品，其中《水仙宿鳥》（編號624）

懷更加濃郁。《晚霞飛雁圖》（編號622）以遠渡歸鄉的鴻雁表達

描寫兩隻八哥，其中一隻頸部收緊，望向觀者，彷如跟觀者對

藝術家思鄉的心切。夕陽西下，餘霞成綺，一群野雁踏上歸途，

話。宏觀地回看沈耀初的動物圖，大部分的主角都呈現捲縮的姿

重返家鄉。在遠征的路途中，藝術家同為遠渡的旅者，飛雁有伴

態，飛燕翅膀曲折，連鴻雁都不會展翅翱翔。沈耀初的畫作，可

依歸，自己卻孤獨凋零。獨自渡海來台的沈耀初觸景生情，利用

說是形態上似「上海畫派」，神韻則似八大山人（朱耷）。沈耀

簡樸蒼拙的線條，勾畫出沉重笨拙卻自由躍飛於天際的野雁，寄

初的弟子陳拙園曾說：「如果將沈耀初的畫與八大山人的畫作比

情野雁的思鄉之愁洋溢在畫面上。巨大的尺幅，彷彿是藝術家對

較，八大山人的畫，表現為冷峻孤寂、獨傲塵世，是一種清高的

思鄉之情的吶喊。

士大夫氣質；而沈耀初的畫，畫面呈現的是安詳、靜謐，有一種 鄉村老叟的田園情趣。」雖然看不到此畫中八哥的眼睛，其收縮

晚年之作《山梅園蔬》（編號626）及《梅花盤》（編號625）雖

繃緊的軀體，低頭平視的頭部，透露著繃緊謹慎的神態，八哥的

作於環境比較理想的新店龜廬，畫家卻依然以平淡的主題作畫，

表情為畫作增添了聯想與趣味。沈耀初在台的日子簡樸孤寂，平

清高孤傲的梅花襯托白菜，表達自己對淡泊孤僻生活的嚮往。

日以田園禽畜相伴，對其觀察入微，再賦予情感，他所畫的動物

《梅花盤》描寫梅花盛開，暗香疏影，由左至右向橫延展。瓷盤

各有獨特個性，盡顯禽畜的百態。

右上方繁枝盛開，對應左下方的款識，帶有金石派的構圖。墨韻 濃淡深淺相襯，呈現賓主關聯，同時增加前後空間感。此盤作於

沈耀初個性孤僻內斂，孤獨的生活卻造就畫家對大自然有更多的

龜廬，贈予好友及同鄉許崇明。許崇明（1922∼），字南山，福

觀察、體會及欣賞。自詔安時期，沈耀初的藝術題材離不開農村

建詔安人，渡海來台後定居於石碇南山書廬。許崇明活躍於文藝

禽畜、花草樹石，平平無奇的鄉村題材，卻透過敏銳細微的觀察

事業，曾任《松青》雜誌主編，擅於詩書，曾於沈耀初畫冊撰詩

與靈活的筆法，為平庸的題材賦予生命力。他的雞畫被稱為「沈

讚頌藝術家的為人。許崇明與沈耀初志趣相投，對於思鄉的沈耀

雞」，最為生動精彩，有時候雞畫供不應求，連眼睛都還沒點上

初，獨自在台時期，他們的友情在沈耀初孤獨伶仃的生活中更是

就被人取走，這類畫作更取了另外一個名字「沈半雞」，從中可

一種精神寄託。梅花傲雪凌寒，除了歌頌堅強高潔的君子品格，

見眾人都被沈耀初的筆韻魅力迷倒。

對兩位離鄉別井的藝術家，更隱含了自強不息的奮鬥精神。

右圖：沈耀初 Right: Shen Yao-Tsu

Ravenel 44

be as lonely, having farm animals as companions. Lots of emotions were poured into the animals as demonstrated by the unique personalities depicted in his paintings.

As an introvert, Shen devoted a lot of time to observing Nature.

Since the Zhaoan period, farm animals and plants were his primary subjects of depiction. He was known to enliven ordinary objects in his works. His chicken paintings "Shen Chicks" were vivid and well sought-after. His paintings were so popular that they were already taken away, before the eyes were drawn on the chickens. Such paintings even had a name "Shen Half Chicken".

Shen Yao-Tsu, sobriquet Shidu Ren, was born at Shidu Village of Zhaoan in Fujian. He followed Shen Jing-Hu of Zhaoan School of Art. Shen's art education was intermittent but Shen was dazzled by the revolutionary art trend of the early 20th Century in Shanghai.

Hence Shen followed the style of Shanghai School with rough brushstrokes. The artists he admired include Wu Chang-Shuo and Qi Bai-Shi. Shen inherited the prowess of Wu Chang-Shuo and the carefree style of Qi Bai-Shi, hence formed the unique style of Shen Yao-Tsu. The 20th Century was turbulent with the Sino-Japanese War and the Chinese Civil War, which brought disastrous effects to Shen Yao-Tsu's hometown. In the winter of 1948, Shen followed a group of Zhangzhou citizens to Taiwan with two primary purposes: to exhibit his works and to learn farming techniques, so as to rebuild his home. Never could he realize that this journey embarked on his 40-year solitary life away from his family. Since then, Shen YaoTsu led an austere life of destitution. Since his retirement in 1966, he led a solitude life with his brush and ink. "A happy life with rice and vegetables" was an inscription on a painting fully depicting his satisfaction over his austere life. In 1973, Shen was invited by the National Museum of History of Taiwan to exhibit his paintings.

Soon he received an Honorary Award from the Art Society of China the next year. His art was finally recognized after a lifetime's effort and devotion.

In this sale, five lots by the artist were selected. Mynas among the Daffodils (Lot 624) featured two mynas, one of which is hunched while facing the viewers, as if it is talking to them. Most subjects featured in Shen's animal paintings are crouched. Fluttering wings of swallows are bent, even those of flying geese are arched. It was commented that Shen's paintings demonstrate the forms of Shanghai School, and carry the spirit of Bada Shanren (Zhu Da).

His student Chen Zhuo-Yuan once mentioned, "By comparing the paintings of Shen Yao-Tsu and Bada Shanren, one can note the pride of the scholar-hermit Bada, and the serenity of an old and blissful countryman Shen Yao-Tsu." Even though the eyes of the myna were not depicted, the bird's tense and hunched body enables viewers to form their own imaginations. Through this painting, one can peep into Shen's solitary life, which might not

A Family Photo (Lot 623) was completed in 1979 after settling in Taiwan for 30 years. By this time, he already gained his fame in the art community. A rooster and a hen are crouched, looking at each other lovingly as married couples. Chickens scrambled around chasing one another. This portrays a merry family gathering which contrasts greatly with the solitary life of the artist. Contrary to his timid image, his brush was bold and ferocious. Crooked lines of the rooster's tail show signs of both the sturdiness of Seal script and the wildness of Cursive script. Dark red was chosen on the comb of the rooster suggesting its valiant nature, while a lighter red was used for a gentle character of the hen. The warmth of a family is prominently suggested.

After arriving in Taiwan in 1948, Shen Yao-Tsu was separated from his family until 1982 when he could finally pay a short visit to his hometown. Depression was piling as he wrote in his family letter, "Hence I fly again with tearful eyes under the pouring rain.

I feel myself as a tired and lone bird which has left its nest without knowing where to go at dusk." Geese Returning Home (Lot 622) demonstrates the artist's burning desire to return home through the depiction of geese. As the sun sets, a group of wild geese set out for home. These geese have companions, but the artist was alone. His solitude was reflected with simple bold strokes on a large size painting, enhancing the magnitude of sorrow.

Plum Blossoms and Vegetables (Lot 626) and Plum Blossoms (Lot 625) were completed at a later period at a nicer studio Gui Lu in Xindian. With his destitution in the past, he still chose simple objects of depiction. Plum Blossoms depict the flower in full bloom, extending from the left to the right. Flourishing flowers on the top right echoes with the inscription on the bottom left of the plate, suggesting the structure of Jinshi School. Gradation of ink was carefully depicted to show the layers of subject and to enhance space. This plate was drawn in Shen's studio Gui Lu as a gift for a dear friend Hsu Chung-Ming (b.1922). Hsu, sobriquet Nanshan, shares the same hometown as the artist and stays in Shiding, Taiwan. His studio was named Nanshan Shulu. Hsu was active in cultural business by taking up the Editor-in-Chief of the Song Qing Magazine. He excelled in poems and calligraphy and once wrote a poem for Shen Yao-Tsu's book describing his noble character while congratulating him on his success. Hsu Chung-Ming and Shen Yao-Tsu were good friends with similar backgrounds and hobbies.

During their stay in Taiwan, their friendship was a great comfort to the artist's solitude. Plum blossoms symbolize courage and determination through hardships, suggesting that this gift might have carried such a message of encouragement to the two artists.

622 SHEN YAO-TSU

(Taiwanese, 1908-1990)

Geese Returning Home 1985 Ink and colour on paper, scroll 368 x 180 cm Signed SHIDU SOU YAO-TSU in Chinese With two seals of the artist PROVENANCE: Lo Shan Tang Collection, Hong Kong / London

沈耀初 晚霞飛雁圖 1985 水墨 設色 紙本 立軸 368 x 180 cm 釋文：目送飛雁去，旅次客心驚。羨渠騰健翼，愧我仍零丁。 畫中有真意，身外薄浮名。士渡關塞遠，何日作歸耕。 款識：乙丑新春寫晚霞飛雁圖於台北，士渡叟耀初並題。 鈐印：沈耀初印（白文）、士渡叟（朱文） 來源： 樂山堂舊藏，香港 / 倫敦

ILLUSTRATED: Contemporary Chinese Paintings II: An Exploration , Lo Shan Tang, Hong Kong / London, 1989, pp. 112-113, colour illustrated 35

圖錄： 《樂山堂中國當代繪畫二》，樂山堂，香港 / 倫敦，1989 年， 頁 112-113，圖版 35

PUBLISHED: Alone in the Winter: Bibliography of Shen Yaochu , CFLACP Publication, Beijing, June 1999, pp. 260-261 (Citation)

出版： 《獨立寒秋—藝術大師沈耀初評傳》，中國文聯出版社，北京， 1999 年 6 月第一版，頁 260-261 ( 文字記載 )

NT$ 850,000 - 1,300,000 HK$ 219,000 - 334,000 US$ 28,200 - 43,100 RMB 200,000 - 307,000

Ravenel 46

此畫形簡意深，簡單的筆劃，帶出非常豐富的意境。夜幕漸臨，

A stark distinction was made between ten strong geese and the

晚霞帶上一抹緋紅，自然濃淡的顏色層次襯托出烏黑的鴻雁，更

reeds below gently swaying with the breeze.

為畫面添上憂鬱的思念情懷。黑雁龐大健碩的身軀與瘦長的脖子 形成強烈的對比，黑雁引頸眺望遠方，彷彿隱含著歸家的期盼。

Shen Yao-Tsu yearned for home as he spent most of his lifetime in

對比平展翱翔的姿態，藝術家選擇了描繪曲折的翅膀，彷彿描述

Taiwan. Due to the war in 1948, he stayed in Taiwan for 40 years

鴻雁使勁起飛，對抗沉重的地心吸力，卻又充滿活力。金石風格

until 1982, when he could finally pay a short visit to his hometown

甚為濃厚，轉折頓挫、剛健蒼勁的線條，帶有篆籀古樸挺拔的筆

Zhaoan to visit his wife and child. After his return to Taiwan in

勢。畫面佈局簡單而細膩，下方柔細的蘆葦隨風飄拂、疏密有

1985, he was commissioned by the National Museum of History

序，平淡卻突顯出上方十隻強壯的黑雁。

of Taiwan to celebrate the establishment of the San Francisco International Airport Building. Being one of the biggest in size ever

沈耀初思鄉之濃情源於藝術家半生浪跡天涯的經歷。面對戰爭的

painted in his mature stage, this work is considered as a milestone

影響，1948年獨自來台後未能折返。事隔接近四十載，1982年終

in Shen Yao-Tsu's career. It was illustrated in Contemporary

於回到故鄉，短暫探望妻兒。回台後，1985年的新春，台灣歷史

Chinese Paintings II: An Exploration , Lo Shan Tang, Hong Kong / London, 1989, pp. 112-113; also cited in detail in Tang Jin-Hai, Alone in the Winter: Bibliography of Shen Yaochu , Beijing, 1999, pp. 260-261. "This work was drawn in bold and powerful strokes with a profound and ferocious capacity. The flying geese were used to express his heartfelt wish of returning home, which should be the same to his potential audience, the Chinese residents in San Francisco. The inscription is spontaneous and echoes with the painting: 'Geese fly before my eyes, As the heart of a vagabond throbs. Envy I am for these healthy figures, As I was left alone once more. In this painting, my true feeling lies, Not for fame, not anymore. Far away the Shidu fortress lies, Till the day I farm once more. Painted and inscribed by Shidu Sou in Taipei in the Spring of 1985.' "A similar work Wild Geese Flying over Reeds could be found in Shen Yao-Tsu, Shen Yao-Ch'u's Masterpieces , Yeh's Cultural Foundation, Beijing, 1976, pp. 74-75.

博物館邀請沈耀初創作《晚霞飛雁圖》為慶祝美國舊金山新航空 大廈落成。此畫是藝術家創作中最大尺幅的畫作之一，屬藝術家 後期創作，其意義之重大，被視為藝術家的重要里程碑。曾記載 在《樂山堂中國當代繪畫二》，樂山堂，香港 / 倫敦，1989年， 頁112-113，圖版35。此幅以文字記錄於唐金海，《獨立寒秋— 藝術大師沈耀初評傳》，中國文聯出版社，北京，1999年，頁 260-261：「此作筆力雄渾，氣勢磅礴。借孤雁歸飛，抒發了他 強烈的思鄉思親情懷，也牽動了海外遊子的鄉土情結。畫中的題 跋，一氣呵成，書畫相得益彰，情景交融：『目送飛雁去，旅次 客心驚。羨渠騰健翼，愧我仍零丁。畫中有真意，身外薄浮名。 士渡關塞遠，何日作歸耕。乙丑新春寫晚霞飛雁圖於台北，士渡 叟耀初並題。』」類似作品《蘆荻飛雁》可參閱沈耀初，《沈耀 初畫集》，葉氏勤益文化基金會，台北，1976年，頁74-75。 沈耀初的一生可說是貢獻給藝術。雖然藝術的求學過程處處碰 壁，沈耀初憑著一份藝術家的執著不停參考名家藝術，檢討自己 的創作，尋找創新的空間，求新求變是沈耀初畢生的堅持。自辭

Shen Yao-Tsu devoted his lifetime to art. Despite the obstacles

去霧峰的教職，沈耀初在萬丁園專心研究繪畫風格，從臨摹古人

faced throughout his art education, he was persistent to imitate

到以自然為師。晚年的沈耀初曾經提到：「回想早年之作，深感

old masters, evaluate his own performance and innovate from

粗狂霸悍有餘，缺乏古樸渾厚意味，乃更加專心苦練，不願將作

what he learnt. Innovation and change were his goals. After his

品輕易示人，以博浮名。」霧峰時期後作品的確擺脫名家的束

retirement in Wufeng, he stayed in Wanding Yuan to further

縛，動物變得更靈動，筆勢更瀟灑，情感更豐富，意趣橫生，更

practise art based on old masters and observations of Nature. The

耐人尋味。此畫鴻雁偏重用墨，以落霞為背景，色調簡單柔潤，

artist mentioned, "Looking back at my earlier works, they are filled

卻突出鴻雁的層次及描繪的筆勢。沈耀初提過「墨用得好，就會

with wildness but lack ancient aura. More practice was needed,

包含很多顏色。寫意畫最好不用色，如非用不可，也只能作為淡

so I was reluctant to show them to anyone for mere fame." After

淡的補助，用色簡單，略補墨之不足。」在晚霞的襯托下，鴻雁

the Wufeng period, works broke free from the restrictions of old

以濃墨禿筆描繪，雙翼線條渾厚而不遲濟，頓挫轉折後延伸，蒼

masters paintings. Animal paintings become more vivid, strokes

拙而不失豪邁。對比早期的鳥禽作品，這幅晚期的作品筆法以篆

are carefree enriched with emotions. In this work, saturated black

體入畫，卻帶行草的靈動，縱筆瀟灑，寥寥數筆卻充滿力度與氣

ink was used on the geese against the lightly coloured dusk. Such

勢。作於沈耀初的晚年時期，此幅龐大的尺幅充滿節奏與神采，

contrast highlights the subject and the rough strokes used. The

是晚年體弱嶙峋的老叟最精彩活潑的作品之一。

artist once said, "Well-managed gradations of ink could add colour variations to a painting. Boneless paintings should not be filled

With a simple composition and reduced strokes, this painting

with colours. In the cases where they are needed, they should be

carries a profound message. As the sun sets, a faint red brushes

lightly applied to assist the depiction with black ink." Against the

across the sky. The soft twilight contrasts greatly with the dark

dusk, the geese were painted with saturated ink and blunt brush.

black geese, highlighting the deep sorrow of the artist. Giant

Lines of the wings are thick but not sluggish. Extended stagnant

bodies of geese contrast boldly with their long thin necks looking

strokes after the turns demonstrate the force of the brush.

afar to the direction of home. Instead of the wide-spread flight

Compared with his early animal paintings, this work shows energy

posture, those of the geese are slightly bent, as if the geese are

and power through the strokes of seal script. The simplified strokes

battling with the force of gravity. Yet they are physically and

demonstrate the force and stamina of the artist. Based on the

mentally strong enough to fly home. Jinshi style is prominent in this

scale of depiction and the animated scene completed at the artist's

work shown by bold and dry strokes, which resemble the ancient

elderly age, this work, Geese Returning Home , offered in this sale

Seal script. The overall structure is simple yet carefully planned.

is undoubtedly one of the greatest masterpieces in his career.

Ravenel 48

623 SHEN YAO-TSU

(Taiwanese, 1908-1990)

沈耀初 全家福

A Family Photo 1979 Ink and colour on paper, framed 80 x 61.5 cm Signed SHI-DU SOU in Chinese With one seal of the artist

NT$ 240,000 - 380,000 HK$ 62,000 - 98,000 US$ 8,000 - 12,600 RMB 57,000 - 90,000 Ravenel 50

1979 水墨 設色 紙本 鏡框 80 x 61.5 cm 款識：士渡叟，己未夏。 鈐印：耀初（朱文）

624 SHEN YAO-TSU

(Taiwanese, 1908-1990)

沈耀初 水仙宿鳥

Mynas among the Daffodils 1980 Ink and colour on paper, framed 39 x 49 cm Signed YAO-TSU in Chinese With one seal of the artist ILLUSTRATED: World and Passion of Shen Yaochu , Lion Art, Taipei, 1 December 1994, pp. 36-37

NT$ 170,000 - 260,000 HK$ 44,000 - 67,000 US$ 5,600 - 8,600 RMB 40,000 - 61,000

1980 水墨 設色 紙本 鏡框 39 x 49 cm 款識：耀初。 鈐印：士渡人（朱文） 圖錄： 《野趣．摯情．沈耀初》，雄獅圖書股份有限公司，台北， 1994 年 12 月 1 日出版，頁 36-37

625 SHEN YAO-TSU

(Taiwanese, 1908-1990)

沈耀初 梅花盤

Plum Blossoms Ceramic plate D：40.7 cm Signed SHI-DU SOU in Chinese With two seals of the artist PROVENANCE: Acquired directly from the family of Hsu Chung-Ming

NT$ 120,000 - 220,000 HK$ 31,000 - 57,000 US$ 4,000 - 7,300 RMB 28,000 - 52,000

Ravenel 52

瓷盤 直徑：40.7 cm 款識：崇明先生正之，孟冬士渡叟於龜廬。 鈐印：龜廬（朱文）、沈（朱文） 來源： 現藏家得自上款人許崇明家屬 註： 上款人「崇明先生」，即為許崇明，字南山，福建詔安人， 定居於石碇南山書廬，活躍於文藝事業，曾任《松青》雜誌 主編。

626 SHEN YAO-TSU

(Taiwanese, 1908-1990)

沈耀初 山梅園蔬

Plum Blossoms and Vegetables Ink and colour on paper, framed 49.5 x 68.5 cm Signed YAO-TSU in Chinese With three seals of the artist

NT$ 60,000 - 120,000 HK$ 15,000 - 31,000 US$ 2,000 - 4,000 RMB 14,000 - 28,000

水墨 設色 紙本 鏡框 49.5 x 68.5 cm 款識：耀初。 鈐印：龜廬（朱文）、沈耀初印（白文）、士渡叟（朱文）

627 PU HSIN-YU

(Taiwanese, 1896-1963)

溥心畬 松煙孤艇畫意

Scholar Sailing across the River 1952 Ink on paper, scroll 58 x 28 cm Signed HSIN-YU in Chinese With two seals of the artist

1952 水墨 紙本 立軸 58 x 28 cm 釋文：松煙孤艇畫意。 款識：歲在壬辰冬夜作，心畬。 鈐印：省心齋（朱文）、溥儒（白文）

NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 6,000 - 9,300 RMB 42,000 - 66,000

1949年國民政府敗退撤遷，溥心畬亦由浙江舟山輾轉抵台，後應

As the Kuomintang government receded to Taiwan in 1949, Pu

聘當時台灣師範學院藝術系教授，除日常創作不輟之外，溥氏對

Hsin-Yu arrived from Zhejiang and became a professor at the Arts

於台灣藝壇的重要影響，是在其為數不多的嫡傳入室弟子，將其

Faculty of the National Taiwan Normal University. His achievement

藝術精神傳承並發揚光大，如吳詠香、劉河北、姚兆明、江兆申

in art education was profound with numerous students including

等人。知名文學家董橋曾述〈憶王孫〉一文，記與江兆申來往友

Wu Yung-Hsiang, Liu He-Bei and Chiang Chao-Shen. In an article

好之情，江氏曾明己心，對恩師溥心畬的景仰溢於言表，畢生謹

written by reputable scholar Dong Qiao in commemorating his

記溥師教誨「做人第一，讀書第二，書畫祗是游藝，我們不能捨

friendship with Chiang Chao-Shen, he wrote that Chiang took

本而求末。」可知溥心畬對於為人處世之道頗為戒慎自持，如江

Pu's teaching to his heart and quoted from the teacher, "Manner

氏所說「溥先生筆尖從不染半絲塵垢」，因此觀其詩文書畫能得

comes first, studies come next. Literature and calligraphy is just a

高潔清新之味。

hobby, but we cannot forego our fortune for its pleasure." Chiang said that Pu was a hermit in character without regard to material

《松煙孤艇畫意》作於1952年，先前離鄉背國的懸險動盪仍讓溥

pleasure, and this could be observed from his poems and his art.

心畬心緒難平，路途吉凶參半，從擔憂生死到隨遇而安，可知溥 氏心境的大起大落；然人生雖如飄萍漂泊，但胸臆之氣則不可不

This work was painted in 1952 with a disrupting sentiment over

發，由此之故，溥氏當時的創作多以摹古，以傳統文人畫為本，

the turbulence in his hometown. Such uncertainty of the future

用以抒發離亂寓居的悲懷，所畫山水以北宗勾斫山水為主。此作

caused variations in his emotions. Pu's persistence enabled him

取用半邊角景，畫風偏重於寫，以乾筆澹墨作出斧劈、披麻，皴

to paint with close resemblance to ancient scholar paintings, as a

出蕭颯的山體之勢，表現出高山峻岳，留白之處喻為雲霧，遠山

remembrance towards old times. The work uses predominantly the

隱於其間，顯出山石的高聳，意境飄渺生動，富有層次感；近處

left side and the style is close to a sketch. Dried brush was used for

山崖則畫拔地竄生的古松，雙樹盤根倨結，枝幹以雙鉤畫就，樹

axe-cun and hemp strokes, to depict the rugged hills and highrise

形姿態賓主歷然、融成一景，細筆密佈松針，疏緊有致，深具個

mountains. Blank spaces suggest thick haze which hides distant

人特色又有諸法避齊之境界；遠山勁松，悄然無聲，畫幅下方有

mountains, and enhances the elusiveness of Nature. Two old pines

一葉扁舟欲橫渡空寂的水面，舟上文士遠眺憑藉，用以忘憂。通

rose from the steep cliff in the foreground. Their curvaceous trunk

幅用筆逸逸，平淡天真，行書題字「松煙孤艇畫意」，由溥心畬

twisted with one another and in harmony. Dense and fine strokes

款識知作此畫時值冬夜，更予人清寥孤高之感，溥氏向來「至爽

were used as leaves, which is typical of Pu's style. The stillness of

而誠篤」，「性和平而耿介」的個性才會擇此爽颯的北宗畫法，

the scenery was enhanced by a small boat sailing smoothly across

頗得宋人遺風，雖從傳統中得法，但卻不曾為古人所桎梏，畫幅

the river. The whole painting is peaceful and tranquil. Inscription at

中深邃穩健的風格與清雅淡逸的意境，實為溥心畬的經典名作。

the top suggests that the work was completed at night in winter, where he was alone yet peaceful in mind. Such state of mind echoes with the style of the Northern School, making this painting one of the classics of Pu Hsin-Yu.

Ravenel 54

628 ZHANG DA-QIAN (Taiwanese, 1899-1983)

張大千

Orange Daylily

萱花圖

Ink and colour on paper, framed 67 x 42 cm Signed ZHANG HUAN in Chinese With three seals of the artist

水墨 設色 紙本 鏡框 67 x 42 cm 釋文：東家喜植宜男草，西舍還栽多子榴。願君更誦少陵句， 子多袞袞皆公侯。 款識：復堂有此，蜀人張爰。 鈐印：張爰之印（白文）、大千（朱文）、大千好夢（朱文）

NT$ 200,000 - 400,000 HK$ 51,000 - 103,000 US$ 6,600 - 13,300 RMB 47,000 - 94,000 《萱花圖》即是張大千早年取揚州八怪畫家之一李鱓（字復堂）

This painting, Orange Daylily , is a work by Zhang Da-Qian under

所作「東家喜植宜男草，西舍還栽多子榴。願君更頌少陵句，子

heavy influence of style and poem of Li Chan, one of the eight

多袞袞皆公侯。」詩句，並模仿其畫風繪製的一幅花卉佳作。從

eccentrics of Yangzhou. Li's poem was used as the inscription of

簽款「蜀人張爰」的書風以及畫上「張爰之印」、「大千」、

the painting. From the style of the artist's signature and the three

「大千好夢」三方鈐印，大致可以推斷此乃大千1930年代前期的

seals used, one can roughly estimate the completion period to be

創作。畫面中，只見一株折枝萱花自左下角斜出，大千先以花青

around the 1930s. In the painting, the flower slanted upwards

和墨快速畫出飄逸的長葉，筆法縱逸，寥寥數筆便已風神振發；

from the bottom left corner. Using green ink and swift strokes,

然後於枝椏末端再用藤黃及赭紅以沒骨法畫出萱花由含苞待開

long leaves were depicted with grace. At the other end, orange

到盛放的情態，每朵花各有其形狀和韻致，花瓣飽滿帶有凹凸效

and red were used in boneless style to depict the budding daylilies.

果，並且呈現輕薄半透明的質感，最後大千再以鋒穎俊發的點畫

Each flower has its own form. The petals were depicted with

來畫花蕊，為這幅清麗淡雅的小品畫龍點睛，工筆處一絲不苟，

3-dimensional and semi-transparent effects. An ink-saturated dot

寫意處則揮灑自如，充份體現大千寫意花卉藝術的超絕水準。

was used for the stamen, which instantly enlivened the painting.

One can see the exceptional skills used in the painting. Details were

萱草在中國古代有很多意象，除了可以「忘憂」，最普遍的是

meticulously drawn with gongbi technique and broad brush was

被用來指代「母親」，其典故應來自唐朝詩人孟郊著名的《遊

used for boneless technique.

子詩》：「萱草生堂階，遊子行天涯；慈母倚堂門，不見萱草 花。」而大千為了表達感念母親養育之情，也經常將萱草入畫。

Daylily carried the meaning of "carefree spirit" in ancient China

除了本幅以沒骨技法描繪的《萱花圖》，存世作品中也有一件

and was also commonly referred to as a "mother", which could

《萱蝶圖》（約創作於1930年代末期，現藏成都市博物館），乃

be traced to a poem by Meng Jiao of Tang Dynasty. To express his

是大千臨仿其大風堂收藏的元人無款《萱蝶圖》，畫中採用帶有

gratitude to his own mother, daylilies became his common subject

篆、隸筆意的線條來畫竹與萱草，應是受到趙孟頫以降之元人所

of flower depiction. Aside from this painting, another work of

倡導「書法入畫」觀念的影響。另外，去年在台北故宮博物院舉

similar subject, Daylily and Butterfly , completed by later 1930s, was

辦之「巨匠的剪影—張大千120歲紀念大展」亦展出一幅大千作

kept in the Chengdu Museum. Both were copies of Dafeng Tang's

於1965年的《萱花》，則是結合了陳淳、李鱓的沒骨設色技法以

Daylily and Butterfly from an anonymous artist of the Yuan Dynasty.

Seal and Clerical Script could be suggested from the lines of bamboo and daylily. This was suggested to be under the influence of Zhao Meng-Fu, who promoted the concept of drawing with calligraphic script. Similar painting Daylily (1965) was displayed at the "Silhouette of a Great Master: A Retrospective of Chang DaiChien's Art on the 120th Anniversary of His Birth" at the National Palace Museum of Taipei. This more recent painting was depicted with a combination of boneless colouring of Chen Chun and Li Chan and calligraphic script of Yuan artists. By comparing the three paintings, one could observe Zhang Da-Qian's mastery of painting and his love for his mother.

及元人書法用筆之趣味，可謂形神兼備、情趣盎然。此三幅圖不 僅清楚呈現大千畫花卉的師學源流，筆墨中亦蘊含幽微的思親之 情，值得細細品賞！

Ravenel 56

629 YU CHUNG-LIN

(Taiwanese, 1925-1985)

Storks Dancing over Pine Spring 1982 Ink and colour on silver-flecked paper, framed 68 x 132 cm Signed YU CHUNG-LIN in Chinese With three seal of the artist ILLUSTRATED: A Collection of Masterpieces by Mr. Yu Chung-Lin , Crown Publishing Ltd, Taipei, July 1985, pp. 150-151

NT$ 340,000 - 500,000 HK$ 87,000 - 129,000 US$ 11,300 - 16,600 RMB 80,000 - 118,000 喻仲林 松泉鶴舞 1982 水墨 設色 灑銀箋 鏡框 68 x 132 cm 款識：壬戌年夏六月山左喻仲林畫。 鈐印：喻仲林（朱文）、清泉郡（白文）、麗水精舍（朱文） 圖錄： 《喻仲林花鳥畫冊》，皇冠出版社，台北，1985 年 7 月初版， 頁 150-151

《松泉鶴舞》為喻仲林少見全景式、山水松禽之珍品，佈局以奇

勃發的張力，又以水色作渲染擴散，突顯松樹主體的量感與力

踞盤桓的古松為題，佔滿畫面主要的視覺地位，此佈景法脫自南

度。後方沒骨畫松，以寫代細，石綠汰染的松針叢，如在煙雲中

宋馬麟《長松山水圖》及《靜聽松風圖》，兩者皆以突出誇張的

飄渺，喻氏雖擅工筆，然其寫生意到筆不到，隨意點染，更得自

松樹形體作為主軸，山水流泉與仙鶴則成旁襯，通幅設色溫雅，

然造化的神妙機趣。中幅畫有仙鶴一對橫江飛渡，喻仲林用工筆

用色清麗。畫幅兩岸夾江河局面，左方喻氏以長筆折帶皴畫山

白描鶴形翅羽，尾羽、頸頰則以淡墨多次暈染析分層次，朱磦染

石，石青分層套色，是青綠山水中用於罩染突出部位的山石典型

頂，腿部鱗甲勾墨，濃淡相間；雙鶴掠翅高飛於古松之上，神態

畫法，再以焦墨點苔，點綴雙鉤夾葉，敷以花青作出層次；江水

自若，彷彿舞於天地之間，對照留白的雲霧更顯幽遠古意，再體

則填細筆描繪淡染，間雜河中岩石更顯水流動感；右側彼岸與遠

現出顧愷之所謂「以形寫神」的風貌。

山隨雲霧繚繞而隱蔽，均用澹墨敷染，施以點苔，盡顯江河水霧 罩籠的迷朦感，左右取出輕重平衡，寓工筆於寫意，觀之彷彿無 盡，姿態萬千。前景雙鉤古松拔地竄生，形態盤錯糾纏，松枝轉 折險奇，筆法前後嚴謹，以主幹帶雙枝；松幹以圈筆畫樹瘤、赭 色輕染；細筆落松針如氈球，畫五球為一叢，疏密之間更見蒼碧

Ravenel 58

This work is rare with a broad view of landscape, pine and birds.

and dyed with light ochre. Spiky leaves were drawn with fine

Pines dominated the painting, which could be taken reference

brush in the form of a cluster. Five clusters form a greater cluster.

from works of Ma Lin of Southern Song. The pine was exaggerated

A balance of density was achieved, as light ink seeps in between

as the subject, whereas hills, rivers, waterfalls and cranes were

the lines of leaves. This treatment enhances the vividness of the

put as the second layer of subjects. The tone of the paintings was

tree. Boneless depiction of pine trees at the back heightens the

fresh and elegant. In this painting, a river separated two banks.

elusiveness in the mist. Despite his fame in gongbi, Yu Chung-

The shores were outlined by long lines, then coloured by layers

Lin excelled in boneless depiction, which enhanced the natural

of green. The relief was accentuated by colours and dots of dry

radiance of the painting. A pair of cranes fly across the river at the

ink, creating layers. The river was sketched with refined brush

center of the painting. They were depicted in detail. Its feathers,

and coloured lightly. Depiction of surfacing rocks enhanced the

tail and neck were painted with layers of light ink, followed by a

movement of water. The right bank and distant mountains were

dab of red on the head. Scales of their claws were finely sketched

veiled by a thick haze. Balance was achieved by the elusiveness of

in balanced tones. The two cranes fly gracefully upwards beyond

the right against the left, and gongbi style against the boneless.

the ancient pines into the clouds, suggesting an ancient aura. Such

Old pines stood crooked and twisted at the foreground, extended

depiction demonstrates Ku Kai-Zhi's theory of depicting both the

in many directions. The trunk was depicted with circular strokes

shape and the spirit of animals.

630 ZHOU CHENG (Taiwanese, b.1941)

周澄 四季春景

Spring Landscape 1989 Ink and colour on paper, scroll 134 x 67 cm Signed ZHOU CHENG in Chinese With three seals of the artist ILLUSTRATED: Chinese Paintings by Chou-Chen, Hongzhan Art Center, Taipei, October 1992, p. 8

Thin Clouds and Light Breeze, Art Book Co., Taipei, 30 March 1999, pp. 134-135 & Cover Page

NT$ 380,000 - 550,000 HK$ 98,000 - 141,000 US$ 12,600 - 18,300 RMB 90,000 - 130,000

1989 水墨 設色 紙本 立軸 134 x 67 cm 釋文：山光照檻水繞廊，舞雲歸詠春風香，好鳥枝頭亦朋友，落 花水面皆文章，蹉跎莫淺韶光老，人生惟有讀書好，讀書之樂樂 自如，綠滿窗前草不除。 款識：己巳小雪蓴波周澄畫。 鈐印：周澄（白文）、蓴波（朱文）、鏡秋書屋（朱文） 圖錄： 《周澄山水畫集》，鴻展藝術股份有限公司，台北，1992 年 10 月初版，頁 8 《雲淡風清—周澄山水畫集》，藝術圖書公司，台北，1999 年 3 月 30 日初版，頁 134-135（封面作品）

《四季春景》畫於1989年，這段時間正處於藝術家的創作轉折

This work was completed in 1989 at the turning stage of Zhou

期。前期藝術家多次訪美，到訪美洲西部，體驗在地的奇峻險

Cheng's career. He was back from his trip to the US, where

嶺，美洲山形地勢與傳統書畫山水有別，對藝術家的體會有頗大

he visited the bizarre landscape of the West. The difference in

的衝擊，並開始以東方的水墨理論應用於描繪西美的山嶺，以中

landscape brought a huge impact on the artist. Hence he started

國皴法的傳統方式描繪石形地勢，呈現西方山靈百態。1989年以

using the ink and cun strokes of the East to depict the relief of

後，隨著兩岸的開放，周澄開始遊歷中國，到訪各大名勝，目睹

the West. From 1989, when travelling was encouraged between

中國山川的雄奇險麗，遊歷期間記錄各種山勢低谷的形態，以便

Taiwan and China, Zhou Cheng travelled across the borders to

回台作畫時，捕捉山水的天然樣貌。從此畫作所見，畫家以熟練

visit the majestic landscape. During his travel, he kept a record

精準的傳統皴法描繪山勢，突出的山丘彷彿描繪美洲西部大峽谷

of everything he saw and started painting upon arriving home.

的山勢奇貌。鴛鴦河邊爭鳴，雀鳥高飛唱和，柳樹枝葉隨春風飄

From this painting, the landscape was painted with fine accuracy

拂，亭內文人一邊聊天喝茶，一邊欣賞春天繁茂的景色，猶如陶

in traditional cun strokes. The bizarre rising relief of the mountain

淵明《桃花源記》描繪的景象。

seems to suggest those of the Great Canyon. As mandarin ducks quack by the river, birds chirp as they soar. Branches of willows

此畫題詩出自《四時讀書樂》，借喻畫家對國學的嚮往。周澄的

sway with the breeze of spring. Two scholars chat and drink tea

藝術可以概括為一「察山水」、二「明樹理」、三「辨煙雲」。

while enjoying the thriving spring view, as in the scene depicted in

此畫結構嚴謹，採用傳統書畫的對角線「平遠」的構圖，從左下

The Peach Blossom Spring by Tao Yuan-Ming.

角往右上方延伸，林木丘壑層層相連。畫面前方的柳樹梅花、中 段的中式庭院與建築，對比後方的「虛景」流水雲霧，水氣氤

This painting was derived from a poem about enjoying literature.

氳，全圖虛實交錯，為畫面增添無窮的趣味。翠溪春曉，草木葳

His art could be interpreted in three aspects, landscape, trees and

蕤，青綠與赭色相和，用色溫潤秀雅，同時突顯粉紅盛開的梅

clouds. Strict structure is applied to this painting with a far and

花，令畫面秀朗清逸，迎接和煦的春天。

wide structure. Extended diagonally from the left bottom, the forest and hills are organized in layers. Willows and plum blossoms were depicted on the foreground. Chinese architecture is put in the middle, followed by the mists and clouds further back into the distant mountains. The representation of both the seen and the unseen brings depth to the painting. Spring was depicted with a running stream and luscious green trees. Colours blend in harmony as the pink of plum blossoms stand out from the green plants. The painting is warm and animated.

Ravenel 60

631 PU HSIN-YU

(Taiwanese, 1896-1963)

溥心畬 秋山舟渡圖

Autumn Landscape Ink and colour on paper, framed 58 x 30 cm Signed HSIN-YU in Chinese With two seals of the artist

水墨 設色 紙本 鏡框 58 x 30 cm 釋文：攬勝秋山際，探幽古樹邊，維舟渡前浦，風雨滿寒天。 款識：心畬。 鈐印：省心齋（朱文）、溥儒（白文）

NT$ 480,000 - 700,000 HK$ 123,000 - 180,000 US$ 15,900 - 23,200 RMB 113,000 - 165,000 溥氏一生篤嗜詩文書畫，皆有成就，他在經、史、詩、文的涵養

Pu Hsin-Yu had distinguished achievements in arts and literature,

與書法的陶冶，及對於歷代傳統書畫藝術的觀摩與消化，從而使

through his passion and his profound knowledge of ancient

得他的書畫涉筆不落窠臼，蔚為逸品；其繪畫專攻山水、兼擅人

literature. His works are regarded as scholarly objects of

物、花鳥，書法則以行楷書自成一格，1930年首次於北京舉辦

appreciation, specializing in Landscape, Portraiture, Flower-and-

畫展，初試啼聲便轟動京城，書法名家臺靜農亦稱其作品「打破

Bird and Calligraphy, namely Regular and Running Scripts. His

了北宗山水數百年的沉寂，一掃四王空洞陳襲的畫風，直取北宗

first exhibition was held in 1930 in Beijing, which brought an

山水的精華，可以稱為北方畫壇第一了。」而後更與一代宗師張

echo throughout the community. Tai Jing-Nong, an acclaimed

大千有「南張北溥」之譽，又與吳湖帆並稱「南吳北溥」。溥心

calligrapher, mentioned that Pu's works were "based on the

畬談論書畫的文字主要見於《寒玉堂書畫論》一書，分作《寒玉

quintessential qualities of Landscape paintings of the Northern

堂畫論》及《寒玉堂論書畫》二部分，都是其根據自身實踐的畫

School and revived the style after a century of silence. His

理、畫法，對後世學習傳統書畫影響甚鉅。

paintings (were) the best of the kind." This master was later put in comparison with Zhang Da-Qian and Wu Hu-Fan as the greatest

溥心畬以自創的「北宗」山水畫馳譽畫壇，此《秋山舟渡圖》一

artists of the century. Pu's beliefs on paintings and literature were

作，山水取勢險峻而不失法度，古意濃厚又趣味盎；構圖可明顯

gathered in the Manifestoes of Hanyu Tang , which have paramount

得知是以南宋的「邊角」之景變化而出，皴法多用斧劈、釘頭，

importance to the education of Chinese paintings nowadays.

少見大塊的側鋒斧劈皴，山壁自右側傾出，筆勢輕簡精細、意隨 天縱，墨色濃淡分出陰陽：坡石、山巒用淡墨勾勒輪廓，濕筆披

Pu Hsin-Yu achieved his fame through his self-invented Landscape

麻皴和橫筆皴，山頭以重墨點苔，觀之協和雅致、古趣幽然；畫

paintings of the Northern School. This work, Autumn Landscape ,

面中心用水色渲染出遠山為背景，與近景嶙峋山勢作出強烈的對

depicted a lofty rocky mountain steeped in an ancient tone. Its

比，營造出平遠的的層次感。山壁橫出勁奇古樹，雙鉤用筆精

structure could be traced back to the Bianjiao Style of the Southern

妙，畫葉以快筆點成，俐落乾淨，枝葉形態迎風搖曳颯落，敷色

Song. Variations of cun were used, largely Axe and Pointed cun,

則以石綠加墨為主，或偏綠、偏蒼，望之蕭然。畫面下方有一渡

with touches of slanted strokes. Slanting from the right is a cliff

舟，繩繫石岸，漁人欲渡，卻迎勁風獨立，動感十足逼真，又與

meticulously depicted. Light gradations were used on cliff rocks

上方古樹飄搖相應，更凸顯出山壁古樹之高踞，款署「攬勝秋山

and mountain ranges. Wet brush was applied with various cun and

際，探幽古樹邊，維舟渡前浦，風雨滿寒天」一派秋山孤意的寫

dots to depict the natural texture of the peaks. In contrast with

照，乃溥心畬少見具有動態的作品，畫面設色淡雅，意境悠遠且

the rugged coloured cliff, a very light tone with mostly water was

耐人回味，畫意揣摩或可與溥心畬背離故國山河、對自己身為舊

painted to depict the distant mountains. A crooked tree spiked

時王孫的慨歎，所謂「西北望長安，可憐無數山」的故國追憶，

from the cliff. The branch and leaves were sketched with fine and

徒呼無可奈何。

swift strokes, then coloured with pale green. At the lower part of the painting, a boat was tied against a rock. A fisherman was vividly depicted, as he struggled to sail his boat under the strong gust of wind. This scenery echoes with the poem inscribed in the painting. Such radiant painting with rich meaning is rare for this artist. From the poem, one could feel the artist's nostalgic sentiments over the loss of his country.

Ravenel 62

632 LIN FENG-MIAN (Chinese, 1900-1991)

林風眠 蘆雁

Reeds and Wild Geese Ink and colour on paper, framed 34 x 34 cm Signed LIN FENG-MIAN in Chinese With one seal of the artist

水墨 設色 紙本 鏡框 34 x 34 cm 款識：林風眠。 鈐印：風（朱文） 附索卡國際藝術股份有限公司開立之原作保證書

This painting is to be sold with a certificate of authenticity by the Soka Art Collections International Co., LTD.

NT$ 480,000 - 700,000 HK$ 123,000 - 180,000 US$ 15,900 - 23,200 RMB 113,000 - 165,000

蘆雁系列是林風眠最接近傳統中國畫的主題之一，意境上也接近

The Reeds and Wild Geese is one of the themes which bears

中國畫，其中蘆葦的畫法，與傳統筆法有深刻的聯繫；雁鳥的造

closest resemblances to traditional Chinese paintings, in terms of

型師法四川漢畫的飛禽造型。然而林風眠畫中的飛禽有時說是

technique and composition. The depiction of reeds shares close

「雁」，有時也說成「鶩」，而鶩和雁同族。雁鳥屬於群飛性的

association with traditional brush strokes; whereas the form of

禽鳥，遭逢變故時會有失群的孤雁，林風眠的蘆雁風景畫可說是

geese closely resembles that of Sichuan Han paintings. Geese travel

最有個人特色的題材之一，因此其蘆雁畫頗得其他老國畫家所推

in groups but fly alone only when they are detached from their

崇。

group by accident. The Reeds and Wild Geese series would be one of the notable works of the artist.

此件作品以兼具乾濕的筆意寫景，底未全乾，再疾筆寫下蘆葦 叢，見墨韻些微暈染開來，感覺氤氳之氣濛在畫面上，畫中一隻

This work was painted with a combination of dry and wet brush,

雁鳥由右向左，逆風低飛於蘆葦叢間，貼近水面的疾速感，頗有

when the paper was still wet. Swift brush sketched the reeds

疾風知勁草、板蕩識忠臣的象徵性意涵。儘管厚雲罩頂，在蘆葦

causing the blots of ink to spread on the surface, creating an

叢和湖水之間的表現，以黃綠色調提起畫面的明亮感，予人略感

elusive mist. A goose flies low from the right among the reeds

清心，此作也是畫家難得較顯愉悅感的蘆雁畫。

against a sharp gust of wind. A solitary goose fights with the gale, suggesting an acquaintance of noble scholars during hardships.

Tints of yellow and green were applied to brighten the reeds and the surface of the lake, shrouded by thick clouds. Such depiction enliven the whole scene, making this a comforting work, which is rare for the artist.

Ravenel 64

633 HUANG CHUN-PI (Taiwanese, 1898-1991)

Residing by the Lake 1953 Ink and colour on paper, framed 55.5 x 30 cm Signed HUANG CHUN-PI in Chinese With three seals of the artist

NT$ 190,000 - 300,000 HK$ 49,000 - 77,000 US$ 6,300 - 10,000 RMB 45,000 - 71,000 黃君璧 湖天幽居 1953 水墨 設色 紙本 鏡框 55.5 x 30 cm 釋文：湖天山影荻蘆煙，我欲攜家此中住。 以甌香館句題。 款識：癸巳秋日時客台北，黃君璧。 鈐印：黃氏（朱文）、君璧（白文）、 白雲堂（白文）

Ravenel 66

634 YU CHUNG-LIN

(Taiwanese, 1925-1985)

喻仲林 石榴藍鵲

Azure Magpie Feeding on Pomegranate 1974 Ink and colour on paper, framed 47 x 63 cm Signed YU CHUNG-LIN in Chinese With three seals of the artist

NT$ 190,000 - 300,000 HK$ 49,000 - 77,000 US$ 6,300 - 10,000 RMB 45,000 - 71,000

1974 水墨 設色 紙本 鏡框 47 x 63 cm 釋文：累累枝上賓，滿腹飽珠璣。 款識：甲寅年中秋，喻仲林寫於台灣。 鈐印：愚齋（朱文）、喻仲林印（白文）、清泉郡（朱文）

635 WANG PAN-YOUN (Taiwanese, 1912-2017)

Old Pine and Bridge 1990s Ink on paper, framed 136 x 70 cm With one seal of the artist PROVENANCE: Private collection, Taiwan ILLUSTRATED: "Solitary Hero: Wang Pan-Youn's Life in Painting", Ravenel Quarterly No.24 Spring 2018 , Taipei, 2018, color illustrated, p. 20

NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 6,000 - 9,300 RMB 42,000 - 66,000 王攀元 老松與橋 1990s 水墨 紙本 鏡框 136 x 70 cm 鈐印：王后（白文） 來源： 私人收藏，台灣 圖錄： ＜情深孤獨 • 英雄淚：王攀元的話語人生＞， 《羅芙奧季刊第 24 期 2018 春》，台北，2018， 彩色圖版，頁 20

Ravenel 68

636 ZHOU CHENG (Taiwanese, b.1941)

周澄 竹溪幽篁卷

Bamboo Grove beside Running Stream 2004; 2002 Ink and colour on gold-flecked paper and paper, scroll 35 x 93.5 cm; 35 x 366 cm Signed CHUN BO ZHOU CHENG in Chinese With three seals of the artist and three seals of a friend of the artist

NT$ 190,000 - 300,000 HK$ 49,000 - 77,000 US$ 6,300 - 10,000 RMB 45,000 - 71,000

引首： 2004 水墨 灑金箋 35 x 93.5 cm 釋文：萬竿疏雨過瀟湘。 款識：蓴波周澄道兄寫渭川千畝長卷為署，引首借明人詩，甲申堪白吳平。 鈐印：此中有真意（朱文）、吳平堪白之印（白文）、姚江（朱文） 畫心： 2002 水墨 設色 紙本 手卷 35 x 366 cm 釋文：渭川千畝。 款識：壬午歲寒蓴波周澄畫。 鈐印：精歡（白文）、周澂（白文）、蓴波（朱文）

637 YU CHENG-YAO (Taiwanese, 1898-1993)

余承堯 山水

Landscape Ink on paper, scroll 34 x 68.5 cm Signed YU CHENG-YAO in Chinese With one seal of the artist

NT$ 190,000 - 300,000 HK$ 49,000 - 77,000 US$ 6,300 - 10,000 RMB 45,000 - 71,000

Ravenel 70

水墨 紙本 立軸 34 x 68.5 cm 款識：余承堯。 鈐印：余承堯印（白文）

638 HE HUAI-SHUO (Taiwanese, b.1941)

何懷碩 暮雨

Landscape in Twilight after the Rain 1979 Ink and colour on paper, framed 66 x 66 cm Signed HE HUAI-SHUO in Chinese With three seals of the artist

NT$ 150,000 - 240,000 HK$ 39,000 - 62,000 US$ 5,000 - 8,000 RMB 35,000 - 57,000

1979 水墨 設色 紙本 鏡框 66 x 66 cm 釋文：數峰清苦，商略黃昏雨。 款識：己未夏夜，何懷碩於未之聞齋造。 鈐印：未之聞齋（朱文）、何（白文）、懷碩（朱文）

639 YU YOU-REN

(Taiwanese, 1879-1964)

Poem in Cursive Script Ink on paper, scroll 139 x 35 cm Signed YU YOU-REN in Chinese With one seal of the artist

NT$ 150,000 - 240,000 HK$ 39,000 - 62,000 US$ 5,000 - 8,000 RMB 35,000 - 57,000 于 右任 草書七言詩 水墨 紙本 立軸 139 x 35 cm 釋文：斜陽圍聽說場詞，我亦曾驅十萬師。破碎河山 開國史，飄零風雨出軍詩。海中故部沈蒼兕，雲裡殘 旌失素霓。歲自周天天自醉，紅牆銀漢隔秋思。 款識：丘倉海先生秋懷之一，行仁先生正，于右任。 鈐印：右任（朱文）

Ravenel 72

640 PU HSIN-YU

(Taiwanese, 1896-1963)

Poem in Running Script Ink on paper, scroll 107.5 x 28.5 cm Signed HSIN-YU in Chinese With two seals of the artist

NT$ 120,000 - 220,000 HK$ 31,000 - 57,000 US$ 4,000 - 7,300 RMB 28,000 - 52,000 溥心畬 行書五言詩 水墨 紙本 立軸 107.5 x 28.5 cm 釋文：綠螘新醅酒，紅泥小火爐，晚來天欲雪， 能飲一杯無。 款識：恆鈞法家正，心畬。 鈐印：溥儒之印（白文）、心畬翰墨（朱文） 註： 上款人「恆鈞」即為清宗室恆鈞，畢業於日本早稻田大學， 於 1907 年與滿人烏澤生及留日滿蒙旗學生，在日本一同創 辦《大同報》，而後又繼續創辦《京兆日報》等報。辛亥革 命後，曾為北洋政府時期的眾議院議員。一度擔任天津《益 世報》編輯，民國元年八月曾任國民黨交際部主任。

641 HUANG CHUN-PI (Taiwanese, 1898-1991)

Calligraphy in Running Script Ink on paper, scroll 136 x 34 cm Signed CHUN-PI in Chinese With two seals of the artist

NT$ 60,000 - 120,000 HK$ 15,000 - 31,000 US$ 2,000 - 4,000 RMB 14,000 - 28,000 黃 君璧 行書赤壁賦 水墨 紙本 立軸 136 x 34 cm 釋文：是歲十月之望，步自雪堂，將歸於臨皋。二客從予過黃泥 之阪，霜露既降，木葉盡脫，人影在地，仰見明月，顧而樂之， 行歌相答，已而嘆曰，有客無酒，有酒無餚，月白風清，如此良 夜何，客曰：今者薄暮，舉網得魚。 款識：君璧節錄赤壁賦。 鈐印：興會偶然到性情此深（白文）、白雲堂（白文）

Ravenel 74

642 AU HO-NIEN

(Taiwanese, b.1935)

Poem in Cursive Script Ink on paper, scroll 133.5 x 69 cm Signed AU HO-NIEN in Chinese With five seals of the artist

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 RMB 12,000 - 24,000 歐豪年 草書七言詩 水墨 紙本 立軸 133.5 x 69 cm 釋文：陟巘萬盤日未晞，天風獵獵振征衣。 陽明山客情豪甚，千仞岡頭寫翠微。 款識：陽明山曉行詩句，豪年歐介漫書。 鈐印：無悶（朱文）、竹移軒（朱文）、 凌霜雪節獨完，我與君共歲寒（朱文）、 歐介印（白文）、豪年書畫（朱文）

643 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

The Prajnaparamita Sutra 1991 Ink on gold-flecked paper, scroll 112.5 x 38 cm Signed CHIANG CHAO-SHEN in Chinese With six seals of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000 RMB 7,000 - 14,000 江 兆申 般若波羅蜜多心經 1991 水墨 灑金粉紅箋 立軸 112.5 x 38 cm 釋文：般若波羅蜜多心經。觀自在菩薩，行深般若波羅蜜 多時，照見五蘊皆空，度一切苦厄。舍利子！色不異空， 空不異色；色即是空，空即是色，受想行識亦復如是。舍 利子！是諸法空相，不生不滅，不垢不淨，不增不減。是 故，空中無色，無受想行識；無眼耳鼻舌身意；無色聲香 味觸法；無眼界，乃至無意識界；無無明，亦無無明盡， 乃至無老死，亦無老死盡；無苦集滅道；無智亦無得。以 無所得故，菩提薩埵。依般若波羅蜜多故，心無罣礙；無 罣礙故，無有恐怖，遠離顛倒夢想，究竟涅槃。三世諸佛， 依般若波羅蜜多故，得阿耨多羅三藐三菩提。故知：般若 波羅蜜多是大神咒，是大明咒，是無上咒，是無等等咒， 能除一切苦，真實不虛。故說般若波羅蜜多咒，即說咒曰： 揭諦揭諦，波羅揭諦，波羅僧揭諦，菩提薩婆訶。 款識：般若多心經，辛未江兆申臨右軍聖教序。 鈐印：降福穰穰（朱文）、壽奴（白文）、江押（朱文）、 江兆申印（白文）、茮原近況（朱文）、靈漚館印（白文）

Ravenel 76

644 AU HO-NIEN

(Taiwanese, b.1935)

歐豪年 行書五言詩

Poem in Running Script 2002 Ink on paper, framed 25 x 150 cm Signed AU HO-NIEN in Chinese With three seals of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000 RMB 7,000 - 14,000

2002 水墨 紙本 鏡框 25 x 150 cm 釋文：崑崙山有柱，航次迷雲根；捫手情如接，寓眸理漸陳。 須彌納芥子，宇宙同微塵；對此大千界，吾寧愛與嗔。 款識：西南之旅航機上得句，壬午暮春，建富道盟過我論禪， 即為重書博正，嶺南歐豪年。 鈐印：竹移軒（朱文）、歐介（白文）、豪年（朱文） 註： 上款人「建富」即為張建富，台北蘆洲人，畢業於文化大學中文系 畢業，美國加州大學碩、博士，《現代書藝》雜誌的創始人，從事 書法、繪畫、漢詩教學、創作近 20 年，現任台灣中華收藏家協會 會長、台灣中華書畫印藝學會理事長等要職。

645 HUANG CHUN-PI (Taiwanese, 1898-1991)

黃君璧 慶雲樓

Calligraphy Ink on paper, framed 32 x 85.5 cm Signed HUANG CHUN-PI in Chinese With three seals of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000 RMB 7,000 - 14,000

Ravenel 78

水墨 紙本 鏡框 32 x 85.5 cm 釋文：慶雲樓。 款識：黃君璧。 鈐印：白雲堂（朱文）、黃君璧印（白文）、君翁（朱文）

646 LEE YIH-HONG (Taiwanese, b.1941)

李義弘 白雲去來

Calligraphy 2018 Ink on paper, framed 45.5 x 69.5 cm Signed LEE YIH-HONG in Chinese With two seals of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000 RMB 7,000 - 14,000

2018 水墨 紙本 鏡框 45.5 x 69.5 cm 釋文：白雲去來。 款識：集自張遷碑，二 O 一八年四月，李義弘。 鈐印：笑指白雲去來（朱文）、笛音凝室（白文）

647 LU FO-TING

(Taiwanese, 1911-2005)

Snowy Mountains 1955 Ink and colour on paper, scroll 117.5 x 56.5 cm Signed BAN SENG in Chinese With one seal of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000 RMB 7,000 - 14,000 呂 佛庭 玉龍雪山圖 1955 水墨 設色 紙本 立軸 117.5 x 56.5 cm 款識：乙未七月寫於台中客次錫五先生 大方教政，半僧。 鈐印：半僧（朱文）

Ravenel 80

648 ZHONG SHOU-REN (Taiwanese, 1927-1999)

鍾壽仁 四君子

Four Gentlemen 1993 Ink on paper, framed 102 x 38 cm (each) Signed ZHONG SHOU-REN in Chinese With twelve seals of the artist

NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 700 - 1,300 RMB 5,000 - 9,000

1993 水墨 紙本 鏡框 102 x 38 cm ( 每件 ) 釋文： ( 一 ) 梅徵福壽。 ( 二 ) 蘭吐幽香。 ( 三 ) 竹報平安。 ( 四 ) 菊傲霜雪。 款識： ( 一 ) 水德先生雅教，癸酉八月寫於雪梨鍾壽仁。 ( 二 ) 癸酉八月澳洲雪梨之冬鍾壽仁寫。 ( 三 ) 癸酉八月鍾壽仁寫。 ( 四 ) 癸酉八月寫於澳洲雪梨鍾壽仁。 鈐印： ( 一 ) 東陽（朱文）、鍾壽仁印（白文）、環碧軒（朱文） ( 二 ) 東陽（朱文）、鍾壽仁印（白文）、環碧軒（朱文） ( 三 ) 東陽（朱文）、鍾壽仁印（白文）、環碧軒（朱文） ( 四 ) 東陽（朱文）、鍾壽仁印（白文）、環碧軒（朱文） 註： 上款人「水德先生」，即為許水德先生，歷任台灣省政府社會處長、 高雄市長、台北市長、中華民國內政部長、台灣駐日代表、中國國 民黨秘書長、考試院長等要職。

649 SUN YUN-SHENG (Taiwanese, 1918-2000)

Splashed-ink Landscape 1994 Ink and colour on paper, framed 32 x 40.5 cm Signed SUN YUN-SHENG in Chinese With two seals of the artist

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 RMB 12,000 - 24,000

Ravenel 82

孫雲生 溪山秋霽 1994 水墨 設色 紙本 鏡框 32 x 40.5 cm 款識：甲戌秋日寫似不然老弟存念，孫雲生時年七十七。 鈐印：孫（白文）、雲生（朱文）

650 SUN YUN-SHENG (Taiwanese, 1918-2000)

Splashed-ink Landscape 1974 Ink and colour on paper, framed 50 x 94 cm Signed SUN YUN-SHENG JIARUI in Chinese With four seals of the artist

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 RMB 19,000 - 38,000

孫雲生 碧靄映山村 1974 水墨 設色 紙本 鏡框 50 x 94 cm 款識：六十三年甲寅十月，修於池上寫孫雲生家瑞。 鈐印：大風堂門人（朱文）、五峰園長年（朱文）、 孫家瑞印（白文）、雲生長年（朱文）

651 LEE YIH-HONG (Taiwanese, b.1941)

李義弘 小園竹君圖

Bamboo in the Garden 1997 Ink on paper, scroll 97 x 109 cm Signed LEE YIH-HONG in Chinese With three seals of the artist PROVENANCE: Acquired directly from the artist

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 RMB 19,000 - 38,000

Ravenel 84

1997 水墨 紙本 立軸 97 x 109 cm 釋文：此君不可一日無，纔著數竿清有餘。露葉風梢承硯滴，瀟湘 一曲在吾廬。葉葉如聞風有聲，盡消塵俗思全清，夜深夢遶湘江曲， 二十五絃秋月明。低垂新綠影離，倚石臨泉一兩枝。憶得昔年今日 見，鳳凰池上雨絲絲。 款識：藉題元吳鎮題畫竹詩三首於錫板村海尾山居，丁丑新春元宵 後一日，在川李義弘自娛。 鈐印：義弘染翰（白文）、在川小記（朱文）、紉秋蘭以為佩（白文） 來源： 現藏家得自藝術家本人 註： 藝術家自題簽

652 YU CHUNG-LIN

(Taiwanese, 1925-1985)

喻仲林 紅葉白頭

Blessing 1963 Ink and colour on paper, framed 25 x 26 cm Signed YU CHUNG-LIN in Chinese With two seals of the artist

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 RMB 19,000 - 38,000

1963 水墨 設色 紙本 鏡框 25 x 26 cm 款識：寶齡先生、福珍女士結婚誌慶。癸卯夏日， 喻仲林畫並賀。 鈐印：喻（白文）、仲林（朱文）

653 TAI JING-NONG (Taiwanese, 1902-1990)

臺靜農 墨梅圖

Plum Blossoms Ink on paper, framed 34.5 x 57 cm With two seals of the artist

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 RMB 19,000 - 38,000

Ravenel 86

水墨 紙本 鏡框 34.5 x 57 cm 款識：歇腳漢物。 鈐印：靜者（朱文）、歇腳盦（白文）

654 LEE YIH-HONG (Taiwanese, b.1941)

李義弘 靜坐圖

Meditation 1993 Ink and colour on paper, framed 34 x 136 cm Signed LEE YIH-HONG in Chinese With two seals of the artist

NT$ 100,000 - 200,000 HK$ 26,000 - 51,000 US$ 3,300 - 6,600 RMB 24,000 - 47,000

1993 水墨 設色 紙本 鏡框 34 x 136 cm 釋文：靜坐圖。 款識：癸酉春雨，李義弘畫。 鈐印：義弘染翰（白文）、在川小記（朱文）

655 LI QI-MAO

(Taiwanese, 1925-2019)

Drunken Li Bai Ink and colour on paper, scroll 181 x 90 cm Signed LI QI-MAO in Chinese With two seals of the artist ILLUSTRATED: Ink Paintings of Li Qimao , Jingcai Arts, Taichung, 2018, p. 6

NT$ 100,000 - 200,000 HK$ 26,000 - 51,000 US$ 3,300 - 6,600 RMB 24,000 - 47,000 李奇茂 李白醉酒 水墨 設色 紙本 立軸 181 x 90 cm 釋文：李白字太白，隴西人詩學才氣縱橫，玄宗 召見金鑾殿，論當世，奏頌一篇。帝賜食，親為 調羹，有詔供奉翰林。白與飲徒醉於市，帝坐沉 香亭，意有所思，欲得白為樂章，召入，而白已醉， 左右以水頮面，稍解，授筆成文，婉麗精切，而 無留思。帝愛其才，數宴見。白常侍帝，醉。傳 為千秋之佳話，當為風流倜儻人物也。太白風采 韻致，為歷代藝術家文筆下所造境而塑意。 款識：采風堂主人，於居泉山房詩此，李奇茂。 鈐印：李奇茂（朱文）、采風堂（朱文） 圖錄： 《李奇茂水墨天地展覽專輯》，精彩藝術，台中， 2018 年，頁 6

Ravenel 88

656 SUN YUN-SHENG (Taiwanese, 1918-2000)

Lady 1966 Ink and colour on paper, framed 72 x 24.5 cm Signed SUN YUN-SHENG in Chinese With two seals of the artist

NT$ 140,000 - 260,000 HK$ 36,000 - 67,000 US$ 4,600 - 8,600 RMB 33,000 - 61,000 孫雲生 仕女圖 1966 水墨 設色 紙本 鏡框 72 x 24.5 cm 款識：丙午孟秋，孫雲生寫於五峰山園雨窗。 鈐印：孫家瑞（白文）、雲生（朱文）

657 WU SHI-WEI

(Taiwanese, b.1957)

Flowers in a Vase 2018 Ink and colour on paper, framed 140 x 77 cm Signed WU SHI-WEI in Chinese With four seals of the artist PROVENANCE: Acquired directly from the artist

NT$ 240,000 - 380,000 HK$ 62,000 - 98,000 US$ 8,000 - 12,600 RMB 57,000 - 90,000 吳 士偉 翠華含英 2018 水墨 設色 紙本 鏡框 140 x 77 cm 釋文：翠華含英。 款識：二 O 一八年戊戌之夏，吳士偉畫。 鈐印：吳（朱文）、士偉（白文）、 幽馥（朱文）、羣芳華滋（朱文） 來源： 現藏家得自藝術家本人

Ravenel 90

658 DING YAN-YONG (Chinese, 1902-1978)

丁衍庸 蘭花圖

Orchid 1962 Ink on paper, scroll 30 x 350 cm Signed DING YAN-YONG in Chinese With two seals of the artist PROVENANCE: Private collection, Taipei Ravenel Hong Kong, 29 May 2016, Lot 48

1962 水墨 紙本 手卷 30 x 350 cm 釋文：春風春雨寫妙顏，幽情逸韻落人間。 而今到底無知己，打破烏盆更入山。 款識：壬寅春日，丁衍庸寫並錄板橋道人句。 鈐印：丁氏（白文）、叔旦．豬（朱文） 來源： 私人收藏，台北 ( 十多年前購自上海友人 ) 香港羅芙奧，2016 年 5 月 29 日，編號 48

NT$ 360,000 - 550,000 HK$ 93,000 - 141,000 US$ 11,900 - 18,300 RMB 85,000 - 130,000

659 CHOU MENG-TIEH (Taiwanese, 1920-2014)

周夢蝶 楷書衛夫人帖

Calligraphy in Regular Script 1996 Ink on paper, framed 44 x 34.5 cm Signed CHOU MENG-TIEH in Chinese With one seal of the artist

NT$ 240,000 - 380,000 HK$ 62,000 - 98,000 US$ 8,000 - 12,600 RMB 57,000 - 90,000

Ravenel 92

1996 水墨 紙本 鏡框 44 x 34.5 cm 釋文：衛稽首和南。近奉敕寫急就章，遂不得與師書耳。但衛隨世所學 規摹鍾繇，遂歷多載。年廿著詩論，草隸通解，不敢上呈。衛有一弟子 王逸少，甚能學衛真書，咄咄逼人，筆勢洞精，字體遒媚。師可詣晉尚 書館書耳。仰憑至鑒，大不可言。弟子李氏衛和南。 衛近博收群史，得古名姬二十餘人，共成一卷，尚未刪定，不敢上呈。 摹鍾繇三帖，愧未似為恨，直欲廢書耳。嚴寒知體更佳為慰。 師可至西舍住也，李氏衛稽首和南，近得衛夫人法書二帋，喜而摹寫一 過，即奉趙衛民詞，兄所以踐夙諾也。 款識：周夢蝶於淡水，西元一九九六，民國八十五年七月二十七日。 鈐印：一毛毛蟲耳（朱文）

660 SHI LU

(Chinese, 1919-1982)

石魯 天趣

Calligraphy 1972 Ink on paper, framed 51 x 39.5 cm With one seal of the artist This painting is to be sold with a certificate of authenticity by the Royal Lin Art Center.

NT$ 190,000 - 300,000 HK$ 49,000 - 77,000 US$ 6,300 - 10,000 RMB 45,000 - 71,000

1972 水墨 紙本 鏡框 51 x 39.5 cm 釋文：天趣。 款識：壬子夏日書於長安。 鈐印：石魯（朱文） 附官林藝術開立作品保證書

661 SHIY DE-JINN

(Taiwanese, 1923-1981)

Calligraphy in Seal Script 1979 Ink on paper, scroll 134 x 67 cm Signed SHIY DE-JINN in Chinese With two seals of the artist PROVENANCE: Collection of Mr. Ching-Hua Lu, the former President of Shiy De-Jinn Foundation (acquired directly from the artist) Private collection, Taiwan Ravenel Taipei, 2 December 2012, Lot 628 This painting is to be sold with a certificate of authenticity.

NT$ 190,000 - 300,000 HK$ 49,000 - 77,000 US$ 6,300 - 10,000 RMB 45,000 - 71,000 席德進 篆書臨石鼓文 1979 水墨 紙本 立軸 134 x 67 cm 釋文：而師弓矢孔庶左滔滔是熾不具肝來其寫小大 我樂嗣王古。 款識：一九七九年臨石鼓文於教師節，席德進篆。 鈐印：席氏書畫（白文）、席德進印（白文） 來源： 席德進基金會前董事長盧精華先生收藏（得自藝術 家本人贈與） 私人收藏，台灣 台北羅芙奧，2012 年 12 月 2 日，編號 628 附盧精華開立之原作證明書

Ravenel 94

662 TAI JING-NONG (Taiwanese, 1902-1990)

Couplet in Cursive Script Ink on paper, framed 136.5 x 35 cm (each) Signed TAI JING-NONG in Chinese With three seals of the artist ILLUSTRATED: An Exhibition of Paintings and Calligraphy of Four Greatest Artists in Taiwan and China , Wenwu Publishing House, Beijing, May 2013, p. 49

NT$ 150,000 - 240,000 HK$ 39,000 - 62,000 US$ 5,000 - 8,000 RMB 35,000 - 57,000 臺 靜農 草書七言聯 水墨 紙本 鏡框 136.5 x 35 cm ( 每件 ) 釋文：攀蘿採藥分雲葉，翳樹觀碑洗石華。 款識：臺靜農書於龍坡丈室。 鈐印：靜者八十歲後作（白文）、臺靜農 （白文）、龍坡丈室（朱文） 圖錄： 《海峽兩岸四老書畫聯展》，文物出版社， 北京，2013 年 5 月第一版，頁 49

663 LIN YU-SHAN

(Taiwanese, 1907-2004)

林玉山 瓶花

Flower in a Vase Ink and colour on paper, framed 26 x 22.5 cm Signed YU-SHAN in Chinese With one seal of the artist

NT$ 120,000 - 220,000 HK$ 31,000 - 57,000 US$ 4,000 - 7,300 RMB 28,000 - 52,000

Ravenel 96

水墨 設色 紙本 鏡框 26 x 22.5 cm 款識：桃城人，玉山寫於容膝堂。 鈐印：諸羅山人（朱文）

664 WU DAI-QIU

(Chinese, 1878-1949)

吳待秋 青山寒泉

Autumn Landscape 1943 Ink and colour on paper, framed 78 x 42.5 cm Signed XUAN WUNG in Chinese With one seal of the artist and one seal of the collector

NT$ 120,000 - 220,000 HK$ 31,000 - 57,000 US$ 4,000 - 7,300 RMB 28,000 - 52,000

1943 水墨 設色 紙本 鏡框 78 x 42.5 cm 釋文：山水有清音，得者寸心是，寒泉漱石根，冷冷豁心耳， 何日我携家，耕釣深雲裡，念念心彌悲，春風吹月起。 款識：案頭見大滌子小冊，予橅一過并錄原曰。癸未秋七月， 鋗翁。 鈐印：吳待秋（白文）、同樁珍藏書畫（朱文）

665 SU CHUNG-MING (Taiwanese, b.1965)

蘇崇銘 秋色連波

Autumn Landscape 2012 Ink on paper, framed 39 x 109 cm Signed CHUNG-MING in Chinese With two seals of the artist EXHIBITED: "A New Elegant Program Ink and Wash Paintings by Su Chung-Ming", Kaohsiung Museum of Fine Arts, Kaohsiung, 27 February- 8 May, 2016 ILLUSTRATED: A New Elegant Program Ink and Wash Paintings by Su Chung-Ming, Kaohsiung Museum of Fine Arts, Kaohsiung, February 2016, pp. 32-33

NT$ 120,000 - 220,000 HK$ 31,000 - 57,000 US$ 4,000 - 7,300 RMB 28,000 - 52,000 Ravenel 98

2012 水墨 紙本 鏡框 39 x 109 cm 款式：二 O 一二壬辰，崇銘。 鈐印：蘇（白文）、崇銘（朱文） 展覽： 「程式新韻──蘇崇銘水墨個展」，高雄市立美術館， 高雄，展期 2016 年 2 月 27 日∼ 2016 年 5 月 8 日 圖錄： 《程式新韻──蘇崇銘水墨個展》，高雄市立美術館， 2016 年 2 月第一版，頁 32-33

666 HE HUAI-SHUO (Taiwanese, b.1941)

何懷碩 深嶺幽居

Village at the Deep Gorge 2015; 1964 Ink and colour on gold-flecked paper and paper, scroll 22 x 47.5 cm; 35.5 x 47.4 cm Signed HE HUAI-SHUO in Chinese With six seals of the artist

NT$ 100,000 - 200,000 HK$ 26,000 - 51,000 US$ 3,300 - 6,600 RMB 24,000 - 47,000

2015；1964 水墨 設色 灑金箋 紙本 立軸 22 x 47.5 cm；35.5 x 47.4 cm 款識： （一）此圖題甲辰孟冬，是為一九六四年，余廿三歲於師大三年 級時也，去今已過半世紀矣，但不知後來為何人所得輾轉至今， 有緣人請蕙風堂索跋，畫家每見年少作，每若重逢失散子女，所 異者，昔年塗鴉既成翰墨，便有幸同紙壽千年，畫家年過古稀， 仍可見其當年稚氣可掬之憨態，而不禁百感交集，此難以為他人 道也。乙未中秋因杜鵑颱風而無月，卻有千軍萬馬之風聲，何懷 碩於澀盦。 （二）甲辰孟冬見壁上兒童塗鴉，得此圖，懷碩記於未聞書齋， 一笑也。 鈐印： （一）澀盦（朱文）、何（白文）、懷碩（朱文） （二）天生我才必有用（朱文）、何（朱文）、懷碩（白文）

667 TAI JING-NONG (Taiwanese, 1902-1990)

Couplet in Running Script Ink on paper, scroll 136.5 x 33.5 cm (each) Signed JING-NONG in Chinese With three seals of the artist

NT$ 190,000 - 300,000 HK$ 49,000 - 77,000 US$ 6,300 - 10,000 RMB 45,000 - 71,000 臺 靜農 行書七言聯 水墨 紙本 立軸 136.5 x 33.5 cm（每件） 釋文：山水時諧琴筑韵，樓臺靜聽管絃聲。 款識：靜農於龍坡。 鈐印：龍坡靜者（朱文）、臺靜農印信（白文）、 靜者（白文）

Ravenel 100

668 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

Couplet in Running Script 1990 Ink on paper, scroll 135 x 33.5 cm (each) Signed CHIANG CHAO-SHEN in Chinese With three seals of the artist

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 RMB 19,000 - 38,000 江 兆申 行書七言聯 1990 水墨 紙本 立軸 135 x 33.5 cm（每件） 釋文：客懷皎若瑤臺雪，詩夢清如閬苑風。 款識：茮原江兆申。 鈐印：庚午（朱文）、江兆申（白文）、 茮原（朱文）

669 FAN ZENG

(Chinese, b.1938)

Couplet in Running Script 1994 Ink on paper, framed 124.5 x 29.5 cm (each) Signed FAN ZENG in Chinese With three seals of the artist

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 RMB 19,000 - 38,000 范曾 行書七言聯 1994 水墨 紙本 鏡框 124.5 x 29.5 cm ( 每件 ) 釋文：珠簾繡柱圍黃鵠，錦纜牙檣起白鷗。 款識：杜甫秋興句，甲戊范曾。 鈐印：甲戊（朱文）、范曾書畫（白文）、 家在吳頭楚尾（白文）

Ravenel 102

670 SUN JIA-QIN

(Taiwanese, 1930-2010)

Lady 1963 Ink and colour on paper, framed 66.5 x 32 cm Signed SUN YUN-YEH in Chinese With three seals of the artist

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 RMB 12,000 - 24,000 孫家勤 仕女圖 1963 水墨 設色 紙本 鏡框 66.5 x 32 cm 款識：癸卯冬日山東孫耘野畫於麗水精舍。 鈐印：清芬堂（朱文）、孫氏（朱文）、 家勤（白文）

671 PENG CHUN-SHI (Taiwanese, 1896-1976)

彭醇士 西湖秋泛

Sailing across Xihu in Autumn 1960 Ink and colour on paper, framed 28 x 20.5 cm Signed PENG CHUN-SHI in Chinese With one seal of the artist

NT$ 50,000 - 100,000 HK$ 13,000 - 26,000 US$ 1,700 - 3,300 RMB 12,000 - 24,000

Ravenel 104

1960 水墨 設色 紙本 鏡框 28 x 20.5 cm 釋文：西湖秋泛。 款識：曉菁賢嫂夫人屬正，庚子九月，彭醇士。 鈐印：素庵（朱文）

672 CHEN DING-SHAN (Taiwanese, 1896-1989)

陳定山 朱竹

Bamboo in Red Ink Ink and colour on paper, framed 41 x 80.5 cm Signed DING-SHAN in Chinese With two seals of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000 RMB 7,000 - 14,000

水墨 設色 紙本 鏡框 41 x 80.5 cm 釋文：溪上林深處士家，參差十畝碧幾霞，滿園坐谷珊瑚樹， 正映蕭帚鐵網紗。 款識：傑夫一卿兄正之，定山。 鈐印：定山居士（朱文）、託於斯竹（白文）

673 LIN CHANG-HU (Taiwanese, b.1955)

林章湖 竹林斑鳩

Pigeon in a Bamboo Grove 1991 Ink and colour on paper, framed 16.5 x 51.5 cm Signed CHANG-HU in Chinese With two seals of the artist PROVENANCE: Acquired directly from the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000 RMB 7,000 - 14,000 Ravenel 106

1991 水墨 設色 紙本 鏡框 16.5 x 51.5 cm 款識：辛未暮春，章湖寫之。 鈐印：林章湖（朱文）、O（白文） 來源： 現藏家得自藝術家本人

674 WU HSUEH-JANG (Taiwanese, 1923-2013)

吳學讓 菊花

Chrysanthemums 1980 Ink and colour on paper, framed 67.5 x 69 cm Signed TUI BAI in Chinese With one seal of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000 RMB 7,000 - 14,000

1980 水墨 設色 紙本 鏡框 67.5 x 69 cm 釋文：風姿淡淡氣幽幽，老圃煙橫一片秋，不與群芳爭艷色， 傲霜獨向瓦盆留。 款識：庚申之春，退白記。 鈐印：退白之印（白文）

675 HE HUAI-SHUO (Taiwanese, b.1941)

Couplet in Clerical Script 2018 Ink on paper, scroll 113 x 22.5 cm (each) Signed HE HUAI-SHUO in Chinese With three seals of the artist

NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 700 - 1,300 RMB 5,000 - 9,000 何 懷碩 隸書六言聯 2018 水墨 紙本 立軸 113 x 22.5 cm ( 每件 ) 釋文：萬事最難稱意，一生怎奈多情。 款識：歲次又一個戊戌，澀盦何懷碩。 鈐印：澀盦（朱文）、何（朱文）、懷碩（朱文）

Ravenel 108

676 WU PING

(Taiwanese, 1920-2019)

吳平 無量壽

Calligraphy 2017 Ink on paper, framed 30.5 x 135 cm Signed WU PING in Chinese With three seals of the artist This painting is to be sold with a photo of the work with the artist.

NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 700 - 1,300 RMB 5,000 - 9,000

2017 水墨 紙本 鏡框 30.5 x 135 cm 釋文：無量壽，諸佛心者，大慈悲是，以無緣慈攝諸眾生。 款識：丁酉夏，堪白吳平於我思齋。 鈐印：大有為（朱文）、吳平之印（白文）、堪白長年（朱文） 附藝術家與作品合照

677 CHIANG HSUN (Taiwanese, b.1947)

蔣勳 柳永句

Calligraphy 1987 1987 Ink on paper, framed 40.5 x 66 cm Signed CHIANG HSUN in Chinese With two seals of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000 RMB 7,000 - 14,000

Ravenel 110

水墨 紙本 鏡框 40.5 x 66 cm 釋文：今宵酒醒何處，楊柳岸曉風殘月。 款識：一九八七秋書，柳永句，蔣勳。 鈐印：萍水相逢（朱文）、蔣勳（白文）

678 CHENG SHAN-HSI (Taiwanese, b.1932)

鄭善禧 歡樂年年

Joyous Blessing 1978 Ink and colour on paper, framed 34.5 x 36.5 cm Signed SHAN-HSI in Chinese With one seal of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000 RMB 7,000 - 14,000

1978 水墨 設色 紙本 鏡框 34.5 x 36.5 cm 釋文：與孩童們同玩好，我興味並不減也，歡樂年年。 款識：戊午之春善禧製。 鈐印：鄭氏（白文）

679 JU MING

(Taiwanese, b.1938)

朱銘 曬魚乾

Dried Fish Ink and colour on paper, framed 35 x 21 cm Signed JU MING in Chinese With one seal of the artist This painting is to be sold with a certificate of authenticity by the Kalos Gallery.

NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 700 - 1,300 RMB 5,000 - 9,000

Ravenel 112

水墨 設色 紙本 鏡框 35 x 21 cm 釋文：曬魚乾。 款識：朱銘。 鈐印：朱銘（白文） 附真善美畫廊開立之原作保證書

680 JU MING

(Taiwanese, b.1938)

朱銘 相親相愛

Love Ink and colour on paper, framed 33.5 x 39 cm Signed JU MING in Chinese With one seal of the artist

水墨 設色 紙本 鏡框 33.5 x 39 cm 款識：朱銘。 鈐印：朱銘（白文） 附敦煌畫廊開立之原作保證書

This painting is to be sold with a certificate of authenticity by the Caves Art Center.

NT$ 20,000 - 40,000 HK$ 5,000 - 10,000 US$ 700 - 1,300 RMB 5,000 - 9,000

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投標者資料

拍 賣 名 稱：羅芙奧 2020 春季拍賣會 翰墨丹青—中國書畫專場 拍 賣 編 號：TC2001 拍 賣 日 期：2020 年 7 月 18 日（星期六） 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

客戶編號 （如有） 姓名 身份證字號 地址 郵碼 電話 （住宅） （辦公室） 傳真

電郵

簽名 （注意：本公司在取得閣下之簽名後方才接受競標；閣下所填報之姓名 及地址資料，將會被列印在發票上，隨後將不能更改） 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託， 以最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，服務費依最後落槌價乘以服務費率得之。詳見業務原則規定第二條第 四項之規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣參仟貳佰萬元以下 者含參仟貳佰萬元以20％計算；（2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳 佰萬元之部份以12％計算。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。

請用正楷填寫清楚 拍賣品編號 （按數字順序）

名

稱

競投價（新台幣） （服務費不計在內）

為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。

銀行證明 銀行名稱 銀行地址 銀行帳戶名稱

羅芙奧股份有限公司 台北市106103敦化南路二段76號15樓之2 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106103, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com ravenelart.com.cn

銀行帳號 銀行聯絡者 銀行電話

115

ABSENTEE BID FORM Auction

Sale No. Date Location Address

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

Tel: +886-2-2708 9868 Fax: +886-2-2708 8955

Hong Kong Tel: +852-2889 0859

Fax: +852-2889 0850

Bidder’s Details

RAVENEL SPRING AUCTION 2020 Refined Brushwork: Fine Chinese Paintings TC2001 Saturday, July 18, 2020, 2:00 pm Taipei Marriott Hotel Grand Space, 3rd Floor, No. 199, Lequn 2nd Rd., Zhongshan Dist., Taipei

Name ID number Address Post code Tel: (Daytime)

(Evening)

Fax

Email

Signature (Notice: We must have your signature to execute this bid. Billing name and address should agree with your state or local sales tax exemption certificate. Invoice cannot be changed after they have be printed.)

It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder.

I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid.

If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received.

I understand that if my bid is successful, I shall pay the final hammer price together with the buyer's premium and any applicable sales tax. The buyer's premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Article 2, Section 4 of the Transaction Agree-

ment 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, buyer's premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), buyer's premium should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.)

The bid shall be subjected to the Transaction Agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warranties that may be provided for certain items.

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Bid price (NT$) (excluding Buyer's Premium)

Title

Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.

Bank Reference Approval Name of the bank Address of the bank

Name of the account

Ravenel Ltd. 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106103, Taiwan Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 ravenel.com ravenelart.com.cn

Account number Contact of the bank Tel. No.

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

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

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

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TRANSACTION AGREEMENT The following provisions are entered into by and between Ravenel Ltd., as the auctioneer, (hereinafter referred to as the “Company”),and the Seller (hereinafter referred to as the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer").

The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Prospective Buyer, the Buyer should pay special attention to Article 2, Section 5 which provides limitations as to the legal responsibilities of the Company.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The insurance coverage will terminate upon earlier collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Referral of Packaging or Transportation Companies The shipping department of the Company may introduce the forwarder, assist in the arrangement of delivery, or purchase particular insurance upon the Buyer's request. The Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. Costs and expenses for shipping and insurance shall be paid in advance. f. Remedies for Non-Payment or Non-Collection of Items Sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and Buyer's Premium) multiplied by the number of delayed days as punitive 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 security deposit from the Buyer before accepting any future bids from him/her/it. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise one or more of the following rights in addition to the aforementioned: (a) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (c) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer.

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

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

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

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

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

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

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

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

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

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