Page 1

REFINED BRUSHWORK: FINE CHINESE PAINTINGS AND WORKS OF ART






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

Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a bidding deposit are required.

2.

Bidding deposit in the amount of NT$ 600,000 or US$ 20,000.

3.

The bidding deposit must be transferred to Ravenel's specified Bank account prior to 2nd December 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 2nd December 2020, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 3rd December to 5th December 2020). Acceptance will cease on 5th December 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 2nd December 2020.

6.

If the bidding deposit has been transferred prior to 2nd December 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 4


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 12 月 2 日以前完成匯款至本公司指定帳號如下 : 銀行: 匯豐(台灣)商業銀行 - 台北分行 銀行代碼:0810016 戶名:羅芙奧股份有限公司 帳號:001-234830-031(新台幣)或 001-234830-061(美金) 地址:台北市基隆路一段 333 號 14 樓 匯款時請指示銀行本公司需實收競投保證金全額,銀行手續費請匯款人負擔。

4.

2020 年 12 月 2 日之後,若欲參與競投領取牌號者需於台北拍賣預展期間 ( 2020 年 12 月 3 日至 12 月 5 日 ) 以新台幣現鈔支 付 ( 恕不接受除現金之外之其他繳納方式 ),收款將於 12 月 5 日中午 12 點截止。

5.

電話/書面/網路競投:競投者如不能出席拍賣會,可透過電話/書面/網路方式進行競投。登記申請手續以及競投保證 金之繳納亦需在 2020 年 12 月 2 日以前完成匯款至本公司指定帳號。

6.

如於 2020 年 12 月 2 日以前完成競投保證金匯款,請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後,我 們將與競投者聯繫並與之確認其競標牌號。

7.

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

8.

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

9.

若成功得標買方欲現場取貨,買方之應付款項 ( 落槌價與服務費 ) 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 秋季拍賣會 翰墨丹青—中國書畫及古文物專場

RAVENEL AUTUMN AUCTION 2020

Refined Brushwork: Fine Chinese Paintings and Works of Art 拍賣日期

地點

2020年12月5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

高雄 2020年11月14日(六)至 15日(日)上午 11:00 至 下午 6:00 琢璞藝術中心 高雄市前金區五福三路63號8樓 台中 2020年11月21日(六)下午 1:00 至 下午 6:00 2020年11月22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12月3日(四)至 12月4日(五)上午10:00 至 下午 7:00 2020年12月5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, December 5, 2020, 2:00 pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

PREVIEWS Kaohsiung

Saturday, November 14 - Sunday, November 15, 2020, 11:00 am - 6:00 pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan

Taichung

Saturday, November 21, 2020, 1:00 pm - 6:00 pm Sunday, November 22, 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, December 3 - Friday, December 4, 2020, 10:00 am - 7:00 pm Saturday, December 5, 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 8

朱毅 Walter Zhu 業務代表 北京 Sales Representative Beijing

李政希 Xiu Lee 業務代表 上海 Business Representative Shanghai


目次 / Contents 4

給予買家的重要通知

IMPORTANT NOTICE TO BUYERS 6

羅芙奧秋季拍賣會

SALE INFORMATION 10

羅芙奧之服務

RAVENEL SERVICES 12

翰墨丹青—中國書畫及古文物專場 Refined Brushwork: Fine Chinese Paintings and Works of Art

151

委託競投表格

ABSENTEE BID FORM 153

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 10


羅芙奧2020秋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 AND WORKS OF ART

翰墨丹青—中國書畫及古文物專場


601 AU HO-NIEN

(Taiwanese, b. 1935)

歐豪年 松鶴延年

Calligraphy in Running Script 1978 Ink on paper, framed 31 x 68.5 cm Signed Au Ho-Nien in Chinese With two seals of the artist

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000

Ravenel 14

1978 水墨 紙本 鏡框 31 x 68.5 cm 釋文:松鶴延年。 款識:南投尊丈賢伉儷,戊午歲朝開筆,歐豪年。 鈐印:歐介(朱文)、竹簃軒 ( 朱文)


602 WU PING

(Taiwanese, 1920-2019)

Calligraphy 1970 Ink on paper, scroll 129 x 33 cm Signed Wu Ping in Chinese With two seals of the artist

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 吳平 仿王鐸贈湯若望詩冊 1970 水墨 紙本 立軸 129 x 33 cm 釋文:茫茫四海欲何之,鄉國哭歌正此時。有客自 尋蕭寺隱,故人還寄草堂詩。舊年觀奕方知宦,今 日梳頭不惡絲。五嶽胸中何必起,蒙莊曳尾是誰師。 款識:五十九年庚戍,堪白吳平仿孟津書。 鈐印:吳平(白文)、堪白(朱文) 註: 此件作品有中國書法學會舉辦第一屆會員書法展覽 作品登記表


603 SUN JIA-QIN

(Taiwanese, 1930-2010)

孫家勤 松下高士圖

Scholar under a Pine Tree 1969 Ink and colour on paper, framed 20 x 56 cm Signed Sun Jia-Qin in Chinese With three seals of the artist PROVENANCE: Private collection, Taiwan

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 14,000

Ravenel 16

1969 水墨 設色 紙本 鏡框 20 x 56 cm 款識:己酉孫家勤畫。 鈐印:野(白文)、耘(朱文)、家勤書畫(白文) 來源: 私人收藏,台灣


604 YU CHUNG-LIN

(Taiwanese, 1925-1985)

喻仲林 紅葉麻雀圖

Sparrows in Autumn 1960 Ink and colour on paper, framed 23 x 26 cm Signed Yu Chung-Lin in Chinese With three seals of the artist

1960 水墨 設色 紙本 鏡框 23 x 26 cm 款識:之邁大使先生教正,庚子暮冬山東喻仲林寫於台灣 麗水精舍。 鈐印:仲林書畫(朱文)、仲林(朱文)、喻(白文)

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 14,000

註: 上款人「之邁大使先生」即為陳之邁,筆名微塵,曾赴美 留學後曾加入了胡適、蔣廷黻共同創立的獨立評論社。其 一生擔任重要政治職務,曾任教育部參事、行政院政務參 事、中華民國駐美國大使館公使,並曾擔任多國的駐守大 使,包括菲律賓、澳洲兼紐西蘭、日本、教廷及馬爾他, 赴台後擔任外交部顧問及國際關係研究所研究員。


605 CHIANG HSUN (Taiwanese, b. 1947)

蔣勳 行書七言詩

Calligraphy in Running Script 1989 Ink on paper, framed 30.5 x 64 cm Signed Chiang Hsun in Chinese With three seals of the artist and one seal of the collector

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 14,000

Ravenel 18

1989 水墨 紙本 鏡框 30.5 x 64 cm 釋文:李白一斗詩百篇,長安市上酒家眠。天子呼來不上船,自 謂臣是酒中仙。 款識:杜甫《飲中八仙歌》跌宕豪邁,真大唐氣度,一九八九春, 東海蔣勳書以遣懷。 鈐印:蔣勳(朱文)、圓滿(朱文)、肖型印(白文)、我欲醉 眠芳草(朱文)


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

董陽孜 閒有趣

Calligraphy 1982 Ink on paper, scroll 45 x 69.5 cm With two seals of the artist

NT$ 50,000 - 100,000 HK$ 13,000 - 27,000 US$ 1,700 - 3,400 RMB 12,000 - 24,000

1982 水墨 紙本 立軸 45 x 69.5 cm 釋文:閒有趣。 鈐印:董(白文)、陽孜(朱文)


607 AU HO-NIEN

(Taiwanese, b. 1935)

歐豪年 風雨雞鳴

Roosters Ink and colour on paper, framed 85 x 59.5 cm Signed Au Ho-Nien in Chinese With two seals of the artist

NT$ 50,000 - 100,000 HK$ 13,000 - 27,000 US$ 1,700 - 3,400 RMB 12,000 - 24,000

Ravenel 20

水墨 設色 紙本 鏡框 85 x 59.5 cm 釋文:風雨如晦,雞鳴不已,既見君子,云胡不喜。 款識:嶺南歐豪年。 鈐印:歐(白文)、嶺南布衣(白文)


608 AU HO-NIEN

(Taiwanese, b. 1935)

歐豪年 花鳥昆蟲四條屏

Flowers, Birds and Insects (A Set of Four) 1969 Ink and colour on paper, framed 84 x 29 cm (each) Signed Au Ho-Nien in Chinese With seven seals of the artist

NT$ 80,000 - 160,000 HK$ 21,000 - 43,000 US$ 2,700 - 5,500 RMB 19,000 - 38,000

1969 水墨 設色 紙本 鏡框 84 x 29 cm(每件) 釋文: (二)多植芭蕉聽百聲。 (三)不知多少秋聲。 款識: (一)豪年寫意。 (二)己酉末夏,豪年並題。 (三)己酉重九風雨滿城,豪年客中漫興。 (四)己酉夏日,歐介豪年寫生。 鈐印: (一)歐豪年(白文)、竹簃軒印(白文) (二)歐(朱文) (三)歐(朱文)、豪年(白文) (四)歐(朱文)、豪年(白文)


609 AU HO-NIEN

(Taiwanese, b. 1935)

歐豪年 鶴鳴九皋

Cranes Ink and colour on paper, framed 59 x 85.5 cm Signed Ho-Nien in Chinese With three seals of the artist

NT$ 120,000 - 220,000 HK$ 32,000 - 59,000 US$ 4,100 - 7,500 RMB 28,000 - 52,000

Ravenel 22

水墨 設色 紙本 鏡框 59 x 85.5 cm 釋文:鶴鳴九皋,聲聞於天。 款識:豪年。 鈐印:歐介(白文)、豪年(朱文)、白首名山自頡頏(朱文)


610 AU HO-NIEN

(Taiwanese, b. 1935)

歐豪年 四君子(六件一組)

Four Gentlemen (A Set of Six) 2015 Ink on gold-flecked paper, framed Ink and colour on paper, framed 60 x 21 cm (each) Signed Au and Ho-Nien in Chinese With ten seals of the artist

NT$ 150,000 - 240,000 HK$ 40,000 - 64,000 US$ 5,100 - 8,200 RMB 35,000 - 56,000

2015 水墨 灑金箋 鏡框 水墨 設色 紙本 鏡框 60 x 21 cm ( 每件 ) 釋文: (一)日月千齡旦。 (二)國香和雨入青苔。 (三)春蘭如美人,不採羞自獻。時在山谷中,蓬艾深未見。 丹青寫真色,欲補《離騷》傳。對之如靈均,冠佩豈敢燕。 (四)採菊東籬下,悠然見南山。 (五)翠竹幽人館,山深絕市囂。琴詩消永晝,吟嘯得逍遙。 (六)松筠萬古春。 款識: (二)豪年。 (三)坡公詩歐介錄。 (四)乙未夏五豪年翁。 (五)乙未清夏八十一豪年叟。 (六)乙未盛夏歐介。 鈐印: (一)象山畫館(朱文) (二)歐豪年(白文)、挹翠山堂(朱文) (三)歐介(白文)、物物而不物於物(朱文) (四)歐介(白文)、大方無隅(白文) (五)歐豪年印(白文)、竹簃軒主(朱文) (六)歐豪年印(白文)


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

Running Water is Never Constant but Always Changing 2008 Ink on gold-coated paper 69 x 138 cm With three seals of the artist EXHIBITED: "Silence is Golden", Eslite Bookstore Art Space, Taipei, 10 January, 2009 - 8 February, 2009 ILLUSTRATED: Calligraphy Works of Tong Yang-Tze, Eslite Corporation, Taipei, 2008, Plate No. 8 This work is to be sold with a certificate of authenticity signed by the artist.

NT$ 150,000 - 300,000 HK$ 40,000 - 80,000 US$ 5,100 - 10,300 RMB 35,000 - 71,000

Ravenel 24

董陽孜 流水無心 2008 水墨 金宣紙 69 x 138 cm 釋文:流水無心。 鈐印:董(白文)、陽(白文)、孜(白文) 展覽: 「沉默是金—董陽孜作品展」,誠品畫廊,台北,展期 2009 年 1 月 10 日至 2009 年 2 月 8 日 圖錄: 《沉默是金:董陽孜作品集》,誠品,台北,2008 年,圖版 8 附藝術家親筆簽名之原作保證書


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

Cut the Measure of a Foot into Half, And Continue to Cut the Halves into Halves; In Eternity You Will Not Exhaust It 1993 Ink on paper, framed 69 x 138 cm With two seals of the artist PROVENANCE: Private collection, Europe EXHIBITED: "Calligraphy Works of Grace Y. T. Tong", Taipei Fine Arts Museum, Taipei, 29 October, 1994 - 27 November, 1994 ILLUSTRATED: Calligraphy Works of Grace Y. T. Tong, Taipei Fine Arts Museum, Taipei, 1994, pp. 58-59

NT$ 150,000 - 300,000 HK$ 40,000 - 80,000 US$ 5,100 - 10,300 RMB 35,000 - 71,000

董陽孜 一尺之棰取其半萬世不竭 1993 水墨 紙本 鏡框 69 x 138 cm 釋文:一尺之棰,日取其半,萬世不竭。 鈐印:董(白文)、陽孜(朱文) 來源: 私人收藏,歐洲 展覽: 「董陽孜作品展」,台北市立美術館,台北,展期 1994 年 10 月 29 日至 1994 年 11 月 27 日 圖錄: 《董陽孜作品集》,台北市立美術館,台北,1994 年, 頁 58-59


筆墨常新:孫雲生

SUN YUN-SHENG 大風堂門人 ,到新店菁園的藝道 傳 承

Variations of Expression of Sun Yun-Sheng The Inheritance of Art of Dafeng Tang and Jingyuan 圖:張大千與孫雲生

「1936年拜入為大風堂門下的孫雲生,追隨張大千先生長達

氛圍,雖說為晚年之作,但整體佈局賦色不失古雅之氣,以意筆

四十七年,旅居巴西之時,夜以繼日的隨侍於大千左右,整理粉

淡墨輕寫屋舍帆影,描繪出延續墨彩之外的山中生境。

本到細細臨摹,深造畫藝,會大千墨中妙意,被大千視為衣缽弟 子。」

1984年的《黃山松雲》(編號615)此作則與當時所流行的重彩 不同,以淺絳山水作為逸格畫作之風,首重師法於自然,以輕敷

孫雲生,本名家瑞,1918年出生於北平,孫雲生家學淵源,平時

石青、石綠、赭色表現秋冬之際的清雅,而筆觸不重精繪描寫,

修臨王羲之、歐陽修、蘇軾等名家書法外,隨其母習誦四書、唐

在簡約的筆意中流露其自然情感,這也是孫雲生潑墨潑彩中具有

詩。受叔父啟蒙習畫,而後曾先後隨胡佩衡習山水、王雪濤習花

的特質,畫中寫黃山之景,以雲氣流於松林之間,松影迴盪,畫

鳥,著手勾勒古人名跡,臨遍宋、元、明、清各大家。1936年當

中山頂處寫兩位高士,似騷人墨客詩興勃發,兀然登頂吟誦著偶

時十九歲的孫雲生,在父親託人推介下,孫雲生以山水、花鳥各

得詩句,迴盪於山谷之間。

一幅畫作通過大千考驗,得以正式入到大風堂門下。 論及文人畫中,以氣韻為師,逸品為旨。言:「本乎形者,融靈 張大千曾讚孫雲生:「山水能用吾法而融匯於古人,氣韻沉厚,

而動,變者心也,得其精而忘其麤,在其內而忘其外;見其所

了無刻畫之痕,人物又能善用吾法,筆墨繁簡,並具會心」。自

見,不見其所不見;視其所視,而遺其所不視。」闡明文人畫中

1936年開始,孫雲生在張大千的身邊共長達四十七年,在這將近

以形寫神,不以形似,體性合一, 追求一種神、妙、能、逸的境

半百的歲月裡,孫雲生曾兩次受張大千召隨,一次是隨大千至四

意,而孫雲生的仕女溯自隋唐,花鳥取意宋元。細摹大千粉本,

川,另一次便是至巴西八德園。1954年當時在台灣的孫雲生收到

得其筆意,工筆的麗緻,鳥語花盛或人聲耳語,若涓流細長。

張大千的來信,隨即於1955年舉家遷至巴西八德園一直到1958 年,也正是這三年,取髓於大千粉本中深奧精神於眉目之中,從

《四序花卉卷》(編號617)此作繪於1982年,以長卷呈現,繪

每日整理到一遍遍臨摹融會其奧義,隨侍於大千身邊的日子,亦

中以靈動率意的筆法描繪梅、蘭、菊、竹、水仙、蓮等在內之花

步亦趨,在畫藝上更是受益良多,深得其神韻。

卉,筆在寫意的描繪出沒骨花卉,承自宋人格物致知之理念,寫 形似神俏,畫中墨氣清韻,點染自如的淡雅賦色,使百花並齊仍

大千曾言,古人曾說過:「得筆法易,得墨法難;得墨法易,得

別富和諧,孫雲生曾在一段口述中提及,自己在花鳥的創作風格

水法難。」潑彩以隋唐時期唯心畫觀的逸品風格為一脈,從大青

上,仍脫不了王雪濤豪邁的氣息,這也是一生修習大千繪畫及風

綠的表現,筆蘸飽彩遷引勾勒,濕中濕之法,色料流淌與紙幅,

格中的異趣。《觀音》(編號616),作於1995年,以細勁勻稱

墨跡互相滲透融合,匯流出山林雲霧濃鬱、雨濕煙嵐的氣氛,大

的比例細膩勾繪觀音大士的姿態與神情,濃墨表現髮髻,在賦色

千取法自石濤、八大等古人之唯妙,其領略後授於大風堂弟子

上也能看出孫雲生的淡雅清麗,與摹寫大千石窟人像畫中的賦色

們,巴西時期可說是張大千潑墨潑彩進入成熟階段的重要時期,

濃麗略顯不同,而又不遜色於師。

同樣在孫雲生潑彩中略見其由心的領發,潑墨與破墨間的拿捏變 幻,而孫雲生的潑彩似乎更帶些清逸明亮之感。

晚年張大千所留下大量的粉本遺產,其中時間早至敦煌時期臨摹 底本到後期的創作線稿,題材涉及人物、花鳥、山水以及敦煌佛

此次三幅山水,其中兩幅潑墨,以大小尺幅的不同呈現外,並能

像等,這些珍貴的資料一直隨孫雲生所保存。大千先生在遺囑中

看出以彩和墨為主的不同心境,《泛舟覓句》(編號613)一作色

更提及對孫雲生的肯定,望其繼大風堂繪畫基業。歲月點滴,或

感清楚,以石青石綠相互滲色,畫中的適當留白以供天地使用,

許張大千也正是看中孫雲生天性篤厚,酷嗜繪事這點,才兩次召

山峰處點蒼苔,一抹大青綠的濃蔭在層巒疊嶂間繽紛,屋舍置於

其隨侍於側。人生飽滿似潑彩般濃烈而變幻難測,添上幾筆繪其

雙峰間的亮點區隔,以表現前後,整體構圖在排佈上使山徑曲線

意境,從大風堂的師生情藝,到菁園的春綠生機,書畫在歷史中

別富趣意; 1999年孫雲生年歲以至耄耋,體力較差,故作畫不

習前人之風采,不論是唐人的丰姿、宋元文人的山水花鳥,在孫

多,而一幅《巫峽清秋》(編號614)以重墨中流淌的線條表現綠

雲生的藝道傳承下,延續著大風堂的風采魅力。

意深鬱的山崖面,渾沌中景的山峰處表現出山巒崎嶇遠近,畫中 在將乾或未乾之處可見畫筆來回游走之跡,仍可感受雨濕煙嵐之

Ravenel 26


“Since he was admitted as a student of Dafeng Tang in 1936, Sun

splashed colours to represent dense vegetation on the cliff. The

Yun-Sheng served his teacher for 47 years. During his trip in Brazil,

middle ground was depicted with overlapping hills. Dry and wet

he followed Zhang Da-Qian closely and acquired the essential skills

areas hint on the movements of the brush. Humid environment

in detail through tidying up and copying his teachers sketches. This

was depicted vividly. Despite his old age, Sun Yun-Sheng completed

makes Sun Yun-Sheng the closest student of Zhang Da-Qian.”

this work with an ancient aura and a delicate depiction of houses, to enhance the vividness of the landscape.

Sun Yun-Sheng, aka Jia-Rui, was born in Beijing in 1918. He

admitted to Dafeng Tang.

Huangshan (Lot 615), completed in 1984, differentiates itself from the trend of colours at that period. A light depiction was made with true resemblance to the natural landscape. Light green, turquoise and ochre were applied to form an autumnal landscape. Simple strokes were used to enhance a natural depiction. These reflect the unique style of Sun Yun-Sheng. Huangshan was depicted with mists linger among the pine trees. Two scholars hike and compose poems of the majestic view.

Zhang Da-Qian once praised Sun Yun-Sheng, “One could depict

Literati paintings are renowned for their light representation

the solemness of Landscapes through my way and ancient

in a scholarly manner. An adage goes, “An object’s physical

techniques. Figures could be achieved with my techniques with

resemblance should be depicted along with its inner character as a

simple ink, brushstrokes and a sincere heart.” From the year

whole. Mere appearances are not essential and not enough.” This

1936, Sun Yun-Sheng served Zhang Da-Qian for 47 years. He

states that artists should depict an object’s form in sync with their

was nominated by Zhang Da-Qian himself to travel with him to

perceived characters. Figure paintings could be traced to the styles

Sichuan and Brazil within half a decade. Sun Yun-Sheng packed

of Sui and Tang dynasty, the gongbi techniques of Zhang Da-Qian,

his belongings in 1955 without second thoughts after receiving his

producing elegant and refined works.

studied scrolls of renowned artists, eg. Wang Xizhi, Ouyang Xiu and Su Shi with his family and learnt literature from his mother. His uncle inspired his passion in art, hence he followed Hu Pei-Heng in depiction of landscape, Wang Xue-Tao for flowers and birds, and famous scrolls of Song, Yuan, Ming and Qing dynasties. In 1936, the 19-year-old Sun Yun-Sheng was recommended by his father, passed through all tests in all genres of paintings, and was finally

teacher’s letter, and sent off to Bade Yuan in Brazil. During these three years till 1958, Sun Yun-Sheng learnt directly through Zhang Da-Qian’s drafts his master’s techniques in minute detail. His skills advanced greatly since the Brazil period. Zhang Da-Qian once quoted an adage, “Strokes are easy to obtain, but it turns difficult with the application of ink, and the application with water is even harder.” Splashed ink was a typical style of Sui and Tang dynasty highlighting the expression of green and turquoise. A wet brush filled with colours applied to the paper, to allow colours to naturally blend and flows through the paper. This creates a dense and luscious forest under thick mists. This technique was obtained through Zhang Da-Qian’s observation of

Flowers (Lot 617) was completed in 1982 in the form of a long scroll. Excellent control of brush was used on plum blossoms, orchids, chrysanthemums, bamboo and daffodils. Boneless technique used on the flowers resembles the techniques of Song dynasty with a vivid expression. Light colours enhanced the harmony of the whole work. Sun Yun-Sheng once mentioned that his style is loyal to Wang Xue-Tao’s boldness, which was one of the styles branched out from Zhang Da-Qian’s teachings. Guanyin (Lot 616), completed in 1995, used refined lines to depict the serene expression. Dense ink was used on the hair bun. An overall lightlycoloured depiction differentiates itself from and excelled those in the copies of Zhang Da-Qian from the caves.

Shi Tao and Bada Shanren’s works, and was passed to his students. It was refined in Zhang Da-Qian’s stay in Brazil and the technique

Drafts of Zhang Da-Qian were left behind, namely from the

was also shown in Sun Yun-Sheng’s works. The control of splashed

Dunhuang period to his mature periods. They come in all genres

ink and the blend of colours create a bright fresh expression on the

including Figures, Flower-and-Birds, Landscapes and Buddha of

work.

Dunhuang. These valuable relics were in kept with Sun Yun-Sheng. He received his last recognitions from Zhang Da-Qian’s last words

Among the three landscape works selected for the auction, two of

and was given the task to inherit Dafeng Tang. After years of

them in different sizes are completed in splashed ink. Sailing by the

companionship, Zhang Da-Qian was impressed by Sun Yun-Sheng’s

River (Lot 613) has a clear differentiation of blue and green with blank spaces. The peaks of mountains were filled with vegetation represented by dots. A large area of turquoise covers the valleys and cottages are placed in between the mountains, enhancing the variations of the work. In 1999, at Sun’s old age and worsening health, Autumn Landscape (Lot 614) was completed with dense

talents and characters, which led him to invite his apprentice twice by his side during his travels. Sun’s life was enriched from the companionship with his teacher, to the proliferation of Jingyuan. Under the tireless effort of Sun Yun-Sheng, the rich style of Tang and the scholarly styles of Song dynasty enable the bourgeoning of Dafeng Tang.


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

孫雲生 泛舟覓句

Sailing by the River 1989 Ink and colour on paper, framed 94 x 53.5 cm Signed Sun Yun-Sheng in Chinese With four seals of the artist

NT$ 80,000 - 160,000 HK$ 21,000 - 43,000 US$ 2,700 - 5,500 RMB 19,000 - 38,000

Ravenel 28

1989 水墨 設色 紙本 鏡框 94 x 53.5 cm 釋文:雲山萬重寸心千里。 款識:己巳嘉平月,新店五峰山中菁園寫,孫雲生家瑞 七十有二。 鈐印:孫家瑞印(白文)、雲生長年(朱文)、大風堂門 人(白文)、清心堂(朱文)


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

孫雲生 巫峽清秋

Autumn Landscape 1999 Ink and colour on paper, framed 56.5 x 117 cm Signed Sun Yun-Sheng in Chinese With four seals of the artist

NT$ 120,000 - 220,000 HK$ 32,000 - 59,000 US$ 4,100 - 7,500 RMB 28,000 - 52,000

1999 水墨 設色 紙本 鏡框 56.5 x 117 cm 釋文:巫峽清秋。 款識:八十八年己卯二月朔,孫雲生家瑞,清心堂下寫,時年 八十有二矣。 鈐印:孫家瑞印(白文)、雲生書畫(朱文)、大千弟子(朱文)、 清心堂(白文)


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

孫雲生 黃山松雲

Huangshan 1984 Ink and colour on paper, framed 68 x 135 cm Signed Sun Yun-Sheng in Chinese With four seals of the artist

NT$ 150,000 - 240,000 HK$ 40,000 - 64,000 US$ 5,100 - 8,200 RMB 35,000 - 56,000

Ravenel 30

1984 水墨 設色 紙本 鏡框 68 x 135 cm 釋文:黃山松雲。 款識:建國七十三年,甲子十一月中浣,五峰山中菁園小築寫似。 敏卿先生法家雅教,孫雲生家瑞。 鈐印:孫家瑞印(白文)、雲生長壽(朱文)、清心堂(朱文)、 大風堂門人(朱文)


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

孫雲生 觀音

Guanyin 1995 Ink and colour on paper, framed 119 x 61 cm Signed Sun Yun-Sheng in Chinese With four seals of the artist

NT$ 150,000 - 240,000 HK$ 40,000 - 64,000 US$ 5,100 - 8,200 RMB 35,000 - 56,000

1995 水墨 設色 紙本 鏡框 119 x 61 cm 釋文:南無觀世音菩薩。 款識:乙亥五月既堂前二日,孫雲生家瑞敬造時年七十八歲。 鈐印:孫家瑞印(白文)、雲生長壽(朱文)、大風堂門人 (朱文)、福德長壽(白文)


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

Flowers 1982 Ink and colour on paper, scroll 24.5 x 587.5 cm Signed Sun Jia-Rui in Chinese With fifteen seals of the artist

NT$ 440,000 - 650,000 HK$ 117,000 - 173,000 US$ 15,100 - 22,300 RMB 104,000 - 153,000

Ravenel 32

孫雲生 四序花卉卷 1982 水墨 設色 紙本 手卷 24.5 x 587.5 cm 釋文: (一)肯作小桃紅杏色,祗餘清瘦雪霜姿,丹青從不傷搖落,一任江城五月吹。 (二)道是深林種,還憐出谷香。不因風日緊,何以度瀟湘。 (三)身世渾如泊海舟,關門累月不梳頭,東籬蝴蝶閑來往,看寫黃花第一枝。 (四)谿上煙光不斷青,秋來無夢答空靈,雲邊吹徹伶倫管,疑在瀟湘雨後聽。 (五)花開春雪中,態較山茶小,老圃謂茶梅,命名亦端好。 (六)無情未許作名花,每傍紅牆護紫霞,多少春風吹不起,誤人間夢入南華。 (七)是何世界最清涼,十里荷花棹野航,記得曉風殘月墮,冷香和露著衣裳。 (八)疑是霓裳目下看,誰家紅袖倚欄杆,瓊蕭碧落吹瑤海,露掌清輝散玉盤。 (九)秋苔冷豔嬌無力,紅姿還是殘春色,若問花前問舊名,只恐東風不相識。 (十)不學桃花色,非同柳葉黃,芳心何處著,薄暮仰斜陽。 (十一)脈脈溪路遙,冷冷落花嬌,人心得如水,相隨過河橋。 (十二)鷺葉漚花淨可憐,一般蘭芷在湘川,凌波莫認陳王賦,只合霛均是水仙。 款識:百塘鄉長兄出示小卷囑寫四序花卉,越數月始完成,莫嫌草草。七十一年 歲在壬戌秋孟五峰山中菁園小築,雲生弟孫家瑞。


鈐印: (一)福德長壽(白文)、大風堂門人(朱文) (二)清心堂(白文) (三)修竹沁(朱文) (四)丹青不知老(白文) (五)大風堂門人(朱文) (六)菁園(朱文) (七)大千弟子(白文) (八)菁園(白文) (九)丹青不知老(白文) (十)雲生(白文) (十一)胸無成竹(白文) (十二)修竹沁(朱文) (十三)孫家瑞印(白文)、雲生長壽(朱文)

簽條: 款識:四序花卉卷,百塘鄉兄囑道壬戌秋九月,雲生弟孫家瑞同在台北。 鈐印:雲生(朱文) 註: (一)藝術家自題簽 (二)上款人「百塘鄉長兄」即為張百塘,字蓮溪,北京人,中醫名家, 為北京四大名醫江逢春之弟子。


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

黃君璧 聽泉圖

Residing by the Creek 1971 Ink and colour on paper, framed 55 x 90 cm Signed Huang Chun-Pi in Chinese With three seals of the artist

1971 水墨 設色 紙本 鏡框 55 x 90 cm 釋文:山間築屋愛流泉。 款識:辛亥夏,黃君璧。 鈐印:黃君璧(白文)、君翁日利長年(朱文)、白雲堂(白文)

PROVENANCE: Private collection, Taiwan

來源: 私人收藏,台灣

NT$ 320,000 - 550,000 HK$ 85,000 - 146,000 US$ 11,000 - 18,800 RMB 75,000 - 129,000 與張大千、溥心畬並列「渡海三家」的黃君璧,同為1949年政

Huang Chun-Pi was considered as one of the three greatest post-

局變易以來中國水墨畫壇的代表性人物。三家之中,儘管溥心畬

war artists relocated to Taiwan, along with Zhang Da-Qian and

與張大千二人積學深厚、才氣橫溢,山水、花鳥、人物諸門無所

Pu Hsin-Yu. The three artists were all-round scholars excelled at

不精,不僅師法古人且能自出機杼,各引領水墨畫壇數十年,但

Landscapes, Flower-and-Birds, Figures paintings. They reinvented

若論及投入水墨美術教育影響最巨大,並且對景寫生功力最為深

traditions and led the development of ink paintings for decades.

厚、筆下山水充滿氤氳自然之美者,則非黃君璧莫屬!一向重視

Huang Chun-Pi is undoubtedly one of the most influential people

寫生的黃君璧,自抗戰期間便開始登臨中國大小名山,搜羅雲煙

in art education with a solid recognition in Landscape paintings.

變化之靈奇,渡台後,更藉由辦畫展、講學和考察的機會,走遍

He promoted drawings through observation and visited famous

世界各地名山大川,或至美洲及非洲參觀瀑布奇景,造就他筆下

mountains of China during the war. Sketches of clouds had been

所繪瀑布如萬馬奔騰、宏偉撼人的氣勢,乃至成為以畫雲水獨步

collected since then. After relocating to Taiwan, he held exhibitions,

藝壇的大師。

lectures and trips to visit majestic landscapes all over the world, including waterfalls in the US and in Africa. Since then, waterfalls

本幅《聽泉圖》款識:「辛亥夏,黃君璧。」可知乃君翁74歲

painted became majestic similar to galloping horses, making him

時所畫;而題字內容「山間築屋愛流泉」,亦明確點出本幅畫意

one of the greatest masters in clouds and waterfall paintings.

之所在。全畫採邊角構圖,從畫面一角對於景物以定點透視法描 寫,只見左側近景山腳有一蜿蜒小徑往內深入,直達上方水榭,

An inscription of the work reads, "Summer of 1971 by Huang

一位文人正坐在屋中觀瀑,其視線前方為一堵壁立如屏的山崖,

Chun-Pi". This shows the work was done at Huang's 74 years

山壁轉角處有屈曲的瀑布分段流下,湍急的水流順勢沖刷河石,

of age. The inscription also describes a scene of a cottage by the

氤氳的水氣瀰漫整個谷間,讓此幽居之地散發迷濛詩意的氛圍。

running creek. Using a diagonal structure, a one-point perspective

為了表現山巒間水氣蒸騰的效果,山石紋理皆以飽含水分、筆法

was used to position surrounding objects. A pathway meanders

遒勁的斧劈皺和直皺描繪,且近景用濃墨、中景稍淡,層次分

from the left leading to the cottage, where a scholar seated

明。而在畫瀑時,黃君璧也拿出獨門絕技,以抖動的顫筆配合烘

looking at a waterfall. In front of him is a cliff with a sideway that

染來表現飛瀑,而流水的部分,也是運用反襯留白的方式,施濃

allows water to flow through. The force of water created mists in

墨於旁以示河石,再以濃淡、長短不均的墨線來描畫湍急水勢所

the valley, forming a poetic scene. A wet brush saturated with ink,

激起的浪花和波紋,精緻寫實之處,若泉瀑有聲,彷彿躍動奔放

axe and vertical cun were used to enhance the humid environment

的音符,緊緊地扣擊每位觀者的心弦,喚起靈魂深處的強烈共

in the scene. Dense ink was used for the foreground, lighter at

鳴!

the center, creating visible layers. Huang Chun-Pi used his unique trembling strokes to create a ferocious waterfall. Blank spaces were used on the floating water to juxtapose with dense dark rocks on the river bed. Splashes and ripples were depicted with various density of ink and rugged lines. This realistic approach depicts a dynamic landscape that echoes in the minds of viewers.

Ravenel 34



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

黃君璧 花鳥圖

Birds and Plum Blossoms 1942 Ink and colour on paper, framed 99 x 48 cm Signed Huang Chun-Pi in Chinese With four seals of the artist

1942 水墨 設色 紙本 鏡框 99 x 48 cm 款識:壬午秋日寫於渝州沙坪壩,南海黃君璧。 鈐印:南海黃氏(白文)、君璧(朱文)、君翁(白文)、 黃君璧入蜀後作(白文)

PROVENANCE: Private collection, Taiwan

來源: 私人收藏,台灣

NT$ 500,000 - 800,000 HK$ 133,000 - 213,000 US$ 17,100 - 27,400 RMB 118,000 - 188,000 黃君璧,世稱君翁,其為中國近代國畫藝術家,除藝術成就造詣

Huang Chun-Pi, also known as Chun-Weng, was one of the greatest

之高,更是一位致力於傳播藝術知識的教育家,更多與當時文人

Chinese modern ink artists and a devoted professor in art. He had close

名士訂交,如:黃賓虹、于右任、徐悲鴻等人;渡海抵台後,台

relationships with Huang Bin-Hong, Yu You-Ren and Xu Bei-Hong.

灣藝壇把溥心畬、張大千及黃君璧合稱為「渡海三家」。君翁於

After arriving in Taiwan, he was ranked as the greatest three artists

廣東公學畢業後,即從李瑤屏習傳統書畫,早年喜習漸江的新安

with Pu Hsin-Yu and Zhang Da-Qian. Huang Chun-Pi graduated from

畫派風格,中年後臨遍古畫名蹟,對於宋元水墨的技法多有繼承

Guangdong School and followed Li Yao-Ping's teaching in Chinese

與發揮,專擅山水、花鳥、人物與書法,是位百年難遇的傳統國

paintings. He practised styles of Xinan School in his early career and

畫家,君翁1924年臨華喦《金屋春深圖》更讓張大千題款讚譽

copied ancient paintings later, hence his knowledge in Song and Yuan

為「筆情幽邈,直可亂真」。其後作品長於霜林山景、飛泉流瀑

paintings of all genres was profound. This made him an all-rounded

等題材,畫風蒼茫渾勁,水氣蒸融,筆墨氤氳間可得出雄壯的氣

artist. His painting after Huayan in 1924 astounded Zhang Da-Qian,

概,晚年更致力於雲水流瀑的山水創作,終而形成君翁獨特的繪

who praised his brushwork as authentic to the original work.

畫風格,成為一代名家。 Huang Chun-Pi's Flower-and-Bird paintings are fresh and pleasant to 君翁的花鳥創作清新不染俗塵,抵台前作品多有依循傳統構圖,

the modern eye. Works prior to Taiwan period were mostly structured

能作精致細膩的工筆花鳥與人物,融精筆白描、粗筆寫意與工筆

in traditional style with fine strokes of sketches, rough expressions and

重彩於一體。此作《花鳥圖》創作於1942年,時年君翁已抵重

gongbi strokes on Flower-and-Bird and figure paintings. This painting

慶,在蜀八年期間,游遍蜀中山水,所到之處即進行寫生,畫稿

was created in 1942 when Huang stayed in Chongqing. During his eight

滿匣。《花鳥圖》寫秋景白梅初綻,佈局以梅樹主幹自右橫竄出

years in Sichuan, he visited famous sites and made sketchings during

圖,形態粗放渾厚,雙鉤用筆穩健,以工筆帶皴突顯傳神厚實的

his trip. This painting was made in autumn when plum blossoms started

姿態;側寫梅枝直上,旁出的枝枒姿態頓挫自然,以白粉點梅,

blooming. Flowers bloom in all forms, sketched with fine gongbi and

或含苞或綻放,率真中可見生趣;右下側竹葉掩映,與梅樹形成

cun strokes. Branches were naturally depicted. White colours were used

強烈的對比,畫面更加豐富別致。畫面藍雀姿態自然,或與觀者

on buds and flowers, highlighting their innocent forms. Bamboo on the

對望、或斂翅理毛,栩栩如真,可見君翁之筆兼工帶寫:雀首

lower right was added as stark contrast with the plum blossom. The

焦墨凝滯、白粉敷頰帶羽,兩相形成強烈的對比與生動感;描雀

whole scene was enriched in realistic approach, with blue birds posing

翅輪廓與水線極為精細,花青敷色染背羽、澹墨輕渲雀尾,後以

naturally, as one looks straight at the audience, others are tidying their

淡赭色暈染前胸,精勾細染之中能得渾厚拙樸的氣韻。通幅色彩

feathers. Concentrated ink was used on their heads and white colour

溫潤,盡顯一派秋日風光,既有宋人的疏冷又隱有元人的繁密風

highlights the fluffy feather at the cheeks, creating a vivid depiction.

貌,實為難得一見的珍品逸作。

Strokes were extremely fine and colours were meticulously applied to highlight the features on the backs and the tails. Light yellow was used on the chest. Such exquisite depictions enhance the elegance of the painting. Harmonious colours were chosen to form a picturesque autumn scene with hints of respect to the Song's cold and distant style and Yuan's approaching style, making this a unique piece.

Ravenel 36



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

Waterfall Ink and colour on paper, framed 68 x 132 cm Signed Huang Chun-Pi in Chinese With three seals of the artist PROVENANCE: Private collection, Taiwan

NT$ 600,000 - 900,000 HK$ 160,000 - 239,000 US$ 20,600 - 30,800 RMB 141,000 - 212,000 黃 君璧 斜陽飛瀑 水墨 設色 紙本 鏡框 68 x 132 cm 釋文:斜日照寒潭。 款識:黃君璧。 鈐印:黃君璧印(朱文)、君翁(白文)、白雲堂(白文) 來源: 私人收藏,台灣

1949年渡海來台的書畫家之中,黃君璧與張大千、溥心畬三人同

本件《斜陽飛瀑》即是黃君璧畫雲瀑的代表作,他在長條巨幅上

享盛名、並稱「渡海三家」,其中,黃君璧以獨創的雲水飛瀑畫

採定點透視法描繪,從最靠近畫面右側的山崖與叢樹,以45度

法,將瀑布宏偉壯闊的場景以既寫實又富詩意美感的方式呈現,

角視線朝畫面深入,只見佔據畫畫近三分之二的主景瀑布以宏偉

在畫壇占有重要的一席之地。黃君璧不僅畫山水追摹古人,也勤

撼人的氣勢陣列,黃君璧用間距不等、蒼勁顫動的直皴,來表現

於師法造化。基於他對於名山大川,尤其是雲瀑奇景的喜愛,他

高低落差的瀑布直瀉而下的景象,瀑布下方則以反襯式留白,略

從三十九歲開始,即離鄉四處寫生,足跡遍及羅浮、桂林、衡

施淡墨烘托出白練下墜潭中所造成水氣氤氳的感覺。另外,為了

山、泰山、華山、黃山、峨嵋等,每到一地,便以鉛筆或原子筆

捕捉斜陽映射山石霞光變幻萬千這戲劇性的一刻,他也以飽含水

做速寫鈎稿,成為其創作的靈感來源。抗戰期間,他則移往四

分、寬闊的濕筆,快速斜掃過畫面左方的石壁,讓奔放恣肆的筆

川,悠遊三峽、嘉陵、峨嵋、青城、劍閣之間,朝夕觀覽巴蜀奇

墨以橫向與垂直彼此交錯的方式逆行,來加強整幅畫的動勢。透

山秀水。及至渡台之後,黃君璧亦經常到阿里山觀賞雲海,體察

過君翁匠心獨運的畫筆,斜陽下,瀑布如排雲翻騰湧動、金頂霞

大自然朝雲暮靄晨昏之變化,將之形諸筆墨。而最終讓黃君璧所

光映射山石的霎那美景,已然成為永恒,長駐畫面。

繪雲瀑更上一層樓的機緣,則是他1969年獲邀至非洲和美洲考 察,有幸觀覽了世界著名三大瀑布──南非維多利亞瀑布、南美 的衣瓜索瀑布,以及美加邊境的尼加拉瓜瀑布。透過數十年不斷 寫生創作的實踐與經驗累積,終於促成了他發展出有別於傳統畫 瀑水的「雲水二十法」,將猶如千軍萬馬般氣勢壯闊的飛瀑奇景 逼真地移至畫紙上,為中國水墨山水畫開啟新氣象。

Ravenel 38


Among a surge of artists relocating to Taiwan after 1949, Huang

decades of experience and devotion to life drawings, Huang Chun-Pi

Chun-Pi, Zhang Da-Qian and Pu Hsin-Yu were regarded as the three

managed to create a unique depiction of waterfalls and listed twelve

greatest artist. Huang Chun-Pi's unique depiction of clouds, mists and

ways of depiction. His waterfalls are majestic as horses galloping on

waterfall created majestic scenes which are both realistic and poetic,

the paper and unique to Chinese paintings.

making him an important artist of the period. Despite a profound experience in imitating ancient works, Huang Chun-Pi was also

This work is one of the masterpieces of Huang Chun-Pi. One point

inspired through observation. His love for Nature is prominent. From

perspective was used throughout the elongated structure, from

the age of 39, he travelled for live drawings. Luofu, Guilin, Hengshan,

the cliff and trees on the right, expanding at an angle extending to

Taishan, Huashan, Huangshan and Emei were among the sites he

the left. Over 2/3 of the painting was dedicated to the waterfall,

visited. During the war, he visited Sichuan, Sanxia, Jialing, Emei,

enhancing its majestic quality. The lower part of the waterfall was

Qingcheng, Jiange, and observed the majestic view. Upon his arrival

left empty to juxtapose with the lightly coloured mists generated by

in Taiwan, Huang Chun-Pi often visited Alishan to observe the mists

the waterfall. To capture the elusiveness of light over the rocks at

and their changes throughout the day. He would record them with

dusk, the artist used a saturated broad brush to sketch the cliff on

ink and brush. His advancement in waterfall paintings could be traced

the left. This swift brushwork created intersecting lines enhancing the

back to 1969 when he was invited to Africa and the US. There he

movement of the painting. Every stroke was meticulously planned by

visited the three greatest waterfalls in the world, namely the Victoria

the artist to record this majestic view of the waterfall at dusk and the

Falls in South Africa, the Iguazu Falls and the Niagara Falls. After

shimmering light reflected from the rocks.


621 XU BEI-HONG

(Chinese, 1895-1953)

Two Cats

徐悲鴻 顢頇

1934 Ink and colour on paper, framed 112 x 54 cm Signed Bei-Hong in Chinese With one seal of the artist

1934 水墨 設色 紙本 鏡框 112 x 54 cm 釋文:顢頇最上策,渾沌貴天成,少小嬉憨慣,安危不動心。 款識:甲戌之冬,悲鴻漫筆。 鈐印:悲鴻(白文)

PROVENANCE: Private collection, Taiwan

來源: 私人收藏,台灣

EXHIBITED: "Exhibition of Paintings by Prof. Ju Peon", Victoria Memorial Hall, Singapore, 14 March, 1939 - 17 March, 1939

展覽: 「徐悲鴻畫展」,新加坡維多利亞紀念堂,新加坡,展期 1939 年 3 月 14 日至 1939 年 3 月 17 日 圖錄: < 徐悲鴻畫展 >,《南洋商報晚版》,南洋商報社,新加坡, 1939 年 3 月 16 日,頁 33

ILLUSTRATED: "Exhibition of Paintings by Prof. Ju Peon", Nanyang Siang Pau , Nanyang Siang Pau Press Ltd, Singapore, 16 March, 1939, Page 33

《徐悲鴻畫集 一冊》,中華書畫出版社,台北,1975 年 1 月, 頁 88

Paintings by Hsu Pei-Hung, China Painting Association, Taipei, January, 1975, p. 88

《徐悲鴻年譜》,人民美術出版社,北京,1985 年 3 月第一版, 圖版 7

The Chronology of Xu Beihong , People's Fine Arts Publishing House, Beijing, March, 1985, Plate No. 7

《悲鴻在星洲》,藝術工作室,新加坡,1999 年第一版,頁 6

Beihong in Singapore , Art Studio, Singapore, 1999, p. 6

NT$ 3,600,000 - 5,000,000 HK$ 957,000 - 1,330,000 US$ 123,400 - 171,400 RMB 847,000 - 1,176,000

Ravenel 40



由左至右 Left to right: 圖1. 《南洋商報晚版》,新加坡,1939年3月16日 資料得自新加坡報業控股之《南洋商報》。 Fig. 1 Nanyang Siang Pau , Singapore, 16 March, 1939 Credit to Nanyang Siang Pau © Singapore Press Holdings Limited 圖2. 此圖為「徐悲鴻畫展」攝於新加坡維多利亞紀念館展覽廳內景。 資料得自新加坡報業控股之《南洋商報》。 Fig. 2 Photo of the "Exhibition of Paintings of Prof Ju Peon" at the Victoria Memorial Hall. Credit to Nanyang Siang Pau © Singapore Press Holdings Limite

中國近現代著名的畫家兼美術教育家徐悲鴻,乃二十世紀中國畫

眼微瞇,憨態可掬,另一隻貓則是高舉尾巴,屈身張嘴哈欠,表

壇最具影響力的人物之一。徐氏為江蘇宜興人,原名壽康,19歲

情可愛至極。在此畫中,徐悲鴻結合中國傳統的水墨寫意與西方

父逝,更名悲鴻。其父親遠章乃一民間畫師,故悲鴻幼承家學,

的寫實技法來描繪物象,如畫樹和石頭,先以焦墨粗筆勾勒岩石

十餘歲即外出鬻畫,17歲至上海拓展藝事,25歲時赴法留學,考

塊面及樹木枝幹,再用細筆搭配淡彩渲染,仔細刻畫出石紋、葉

入巴黎國立美術學校學習油畫及素描,並先後赴日、法、德等國

脈、小草的形態和質理;而畫兩隻花貓,則是先依次勾出頭部的

觀摩研究西方美術,返國後,長期從事美術教育,並揭櫫國畫改

眼眶、鼻、嘴、顴骨、下巴及身體基本的動態和結構,接著使用

良論,提倡中西合璧的創作理念,影響近現代中國藝壇及美術教

淡墨刷染其胸部、肩部、腹部、臀部及四肢,形塑肌肉的凹凸立

育極為深遠。

體感以及毛髮蓬鬆的質感,最後再以濃墨畫出花貓身上的斑紋及 尾巴,並用焦墨點睛、突出貓的靈動性,既而完成全畫。徐悲鴻

由於徐悲鴻強調以西畫技法融入國畫,講求對於物象的解剖結構

曾經在〈畫貓的步驟〉課徒畫稿中,逐一展示畫貓的步驟和技

和造型精準掌握,並且善用光線與透視法,因此讓其筆下的人

法,並自題「畫動物須熟悉其骨架肌肉組織,然後詳審其動態及

物、走獸、花鳥畫,無一不具備高度寫實主義的精神與技巧。

神情。乃能有得。」本幅《顢頇》亦當是最佳的註腳!

一般人提到徐悲鴻,腦海中立即浮現的通常都是剛健、神彩飛揚 的駿馬圖。雖然徐悲鴻向來以畫馬聞名於世,但是他自己卻說:

據記錄,此幅畫作及同期作品共一千多幅,為了避開戰亂,被徐

「人家都說我的馬好,其實我的貓比馬畫得好。」原來在1934

悲鴻從南京攜帶至廣西,更於1937年託徐悲鴻的朋友把畫作藏

年,他帶領學生至天目山寫生途中,曾經問學生:「我的畫,什

於桂林七星岩岩洞內,經過滿途荊棘,此幅《顢頇》被徐悲鴻挑

麼最好?」有人說「馬」,有人說「雄雞」,唯獨學生楊建侯答

選,並1939年展於新加坡維多利亞紀念堂「徐悲鴻畫展」,更被

「貓」,他一聽到便稱讚楊氏眼光獨具。

記錄於1939年3月16日《南洋商報晚版》(圖1)。此場展覽轟動 國際水墨藝壇,一方面是徐悲鴻為抗日戰爭籌款,另一方面也是

徐悲鴻擅長畫貓,乃得力於他家中養了不少貓,透過不斷的觀察

當時的新加坡首次邀請到世界等級的當代水墨大師展出畫作。當

和揣摩,才能順手拈來,將每隻貓的形態畫的畢肖傳神。《顢

時展覽場面相當盛大,總共吸引了新加坡總人口之5%前來參觀,

頇》畫作記錄於多篇徐悲鴻年譜,從1933-1934年徐悲鴻共創作

而開幕當天,徐悲鴻親自迎接的嘉賓眾多,包括總督夫人湯姆士

了三幅名為《顢頇》的作品,本件作於1934年的《顢頇》,從

爵士、中國總領事高凌伯、鄺副領事等多國社會名流人士,更親

畫上題跋「顢頇最上策,渾沌貴天成,少小嬉憨慣,安危不動

自拍照留影(圖2)。此幅畫作經歷戰亂,走遍南京、廣西、桂

心。」可知此畫原來是當日寇入侵中國之際,徐悲鴻欲借小貓

林、新加坡及台灣,無疑反映藝術家對此畫之珍重,藝術家對戰

嬉憨無邪的天性,來諷喻那些國難當頭卻不懂居安思危,剛愎自

亂的悲嘆,及其積極為國家貢獻的精神。

用、顢頇無能之人,具有誡鑑警示的意味。然而,透過他準確生 動的描繪,亦將二隻貓嬌憨可愛的神態表露無遺。畫面中,只見 兩隻花貓爬到庭園巨石上休憩,其中一隻貓姿勢優雅的站立,雙

Ravenel 42


Modern painter and art professor Xu Bei-Hong is considered as

relaxed in a courtyard, one crouched with eyes closed, while the

one of the most influential figures in the 20th Century. Born in

other yawn with its tail raised high at the back. This work shows an

Jiangsu Yixing, Xu changed his name from Shoukang to Beihong

ideal combination of Chinese ink and Western realistic approach.

after his father's death when Xu Bei-Hong was 19 years old. His

The trees and rocks were sketched with dry ink, followed by light

father Yuanzhang was an artist and taught Xu Bei-Hong painting.

colouring and details with fine brush. The cats were drawn by

At the age of 10, Xu Bei-Hong sold artworks for a living and he

steps, first the eye frame, nose, mouth, stomach and hips, then the

further developed his career in Shanghai by 17 years of age. At 25,

limbs. The shapes of muscles and the fluffiness of their fur were

he practised oil painting and life drawings at Ecole des Beaux-Arts

drawn to detail. Lastly, the patterns of the cat and tail were painted

in Paris, France, and studied Western art in Japan and Germany. He

with dense ink. The eyes were coloured with dry ink. The whole

started teaching after his return. Since then, he refuted ideologies

painting was thus vividly created. Xu's teaching notes revealed the

of Chinese art and promoted an adaptation of both the Western

steps and skills to draw cats, with a note "familiarize the muscle

and Chinese styles. His influence towards modern Chinese art and

and bone structure of animals, then study their movements and

education was paramount.

characters." This work would be a perfect example to demonstrate this belief.

He promoted a blend of Western styles into Chinese paintings by paying attention to the anatomy and body forms. The use of

According to documentations, this painting along with a thousand

light and perspectives was also emphasized, this makes his Figure,

more produced during the period were taken from Nanjing to

Animal, Flower-and-Bird paintings realistic and vivid in character.

Guangxi to flee the war. They were sheltered in a stone cave in

The most famous subject of Xu Bei-Hong's art is horses. However,

Qixingyan, Guilin in 1937. After many struggles, this painting

he took most pride in his cat paintings. In 1934, he led a group

was eventually chosen by Xu Bei-Hong to be showcased at the

of students to a life drawing trip at Tianmu Shan. He asked his

"Exhibition of Paintings of Prof. Ju Peon" at the Victoria Memorial

students which of his art is the best. Some replied horses, others

Hall in Singapore in 1939. It was also featured in the Nanyang

said roosters. One student in particular, named Yang Jianhou,

Siang Pau on 16 March, 1939 (Fig. 1). The exhibition received tremendous attention from the international ink art scene, as it was held with the aim to raise money for the Sino-Japanese War, and was regarded as the first exhibition that showcased works by an international modern ink artist. According to the records, the exhibition attracted 5% of Singapore's total population. In the preview, Xu Bei-Hong welcomed many social elites and prominent political figures in person, including H.E. the Governor and Lady Thomas of Singapore, Mr Kao Ling Pai, the Chinese Consul-General. This event was recorded by the artist in his own photographs (Fig. 2). This work escaped the war and fled from Nanjing, Guangxi, Guilin, Singapore and eventually Taiwan. This shows the value of the work to the artist, the artist's melancholy towards the devastation of war, and the patriotic spirit towards his homeland.

replied to cats. Xu was rejoiced and praised Yang for his keen aesthetic sense. Xu Bei-Hong excelled in cat paintings as he kept a few at home. Through constant observations and studies, he was able to capture every form with their unique character. The subject "Two Cats" has been recorded in many versions of Xu Bei-Hong's chronograph. From 1933 to 1934, Xu Bei-Hong created three works with the same title. This work, created in 1934, was inscribed with a poem on the top. This could be traced back to the period when Japan invaded China and Xu Bei-Hong sarcastically refer the innocent cats to those who were negligent towards the current situation. This work served as a warning to its viewers. Despite the warning message, the two cats were realistic and adorable. Two cats were


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

River at Dawn 1992 Ink and colour on paper, framed 151.5 x 84 cm Signed Chiang Chao-Shen in Chinese With two seals of the artist EXHIBITED: "Exhibition of Works by Chiang Chao-Shen", Taipei Fine Arts Museum, Taipei, 31 October, 1992, duration for 3 months ILLUSTRATED: Works of Chiang Chao-Shen: Poems, Calligraphy and Seals , Taipei Fine Arts Museum, Taipei, October, 1992, pp. 220-221

Han Mo: A Magazine of Chinese Brush Art , Han Mo Xuan Publishing. Co. Ltd., Hong Kong, 1992, pp. 128-129

江兆申 水天清曉 1992 水墨 設色 紙本 鏡框 151.5 x 84 cm 釋文:獨起望山色,水雞鳴蓼洲,房星隨月曉,楚木向雲秋, 曲岸疑江盡,平沙似浪浮,秦原在何處,澤國碧悠悠,小杜句。 款識:壬申夏,茮原江兆申遣暑。 鈐印:兆申之印(白文)、雙菩提樹盫(朱文) 展覽: 「江兆申書畫展」,台北市立美術館,台北,展期 1992 年 10 月 31 日起三個月 圖錄: 《江兆申作品集:詩文書畫篆刻(下)》,台北市立美術館, 台北,1992 年 10 月初版,頁 220-221 《名家翰墨 ─ 江兆申特集(下)》,翰墨軒出版,香港, 1992,頁 128-129

NT$ 900,000 - 1,400,000 HK$ 239,000 - 372,000 US$ 30,800 - 48,000 RMB 212,000 - 329,000 近代台灣水墨發展史上成就最為輝煌的藝術家當屬江兆申先生無

Chiang Chao-Shen was considered as one of the greatest artists in

異,江兆申一生沉浸於學術研究、醉心於水墨創作不倦;1965

the modern Taiwan ink art scene. He had a rich scholar background

年江氏於台北中山堂舉辦個人首次展覽深獲好評,更得當時聞人

with relentless passion towards ink art. His first solo exhibition was

葉公超與陳雪屏兩位薦舉進入國立故宮博物院任職副研究員,

held in 1965 at the Zhongshan Hall in Taipei. Since then, he received

1972年陞任書畫處處長、1978年晉陞為副院長。1990年江兆申

recommendations from Yeh Gong-Chao and Chen Hsueh-Ping to work

突患心疾,癒後便萌生退隱山林之意,1991年退職後即移居南投

as a researcher at the National Palace Museum of Taiwan. He was

埔里,江氏取「揭涉園」為名,以倣王摩詰「行到水窮處,坐看

promoted as the Head of Chinese Paintings Department in 1972 and

雲起時」的境地。避世隱居後的江兆申,勉力於書畫創作,此時

Vice President of the National Palace Museum in 1978. Chiang Chao-

期作品風格樸厚、多有新貌。此作《水天清曉》五尺全開,以倪

Shen retired in 1990 after a heart injury and resided in Jieshe Yuan in the

元鎮「一河兩岸」的構圖,佈局平穩密實:畫幅上段淡墨清嵐,

countryside of Puli, Nantou in 1991. This work spreads up to 151cm in

江氏以細筆墨線勾勒山巒輪廓與走勢,左方山壁直落而下、奇險

height and was composed in the style of Nin Yuan-Zhen with two shores

嶔崎,中段山體盤桓厚實,施以破墨兼用側筆皴出山脈稜角及

separated by a river. Light and fine brush was used on the outline of the

層次,右方壁面用乾墨皴出,遠山線條用簡、澹墨渲染出其深遠

landscape, depicting steep hills on the left and a solid sturdy mountain

貌,畫間留白則取米芾雲山法作成清晨曉霧繚繞之姿;高拔的群

in the middle. Splashed ink with slanted cun brushwork was used to

山挾出深邃幽谷,和緩的丘壑與密林掩映中隱現房舍數棟,顯目

depict the texture and layers of the hills, contrasting with the dry cun

的朱橋成為高山低水的連結,在水墨暈瀋中又可見其率筆寫景的

ink on the cliff on the right. Simple and saturated ink was used to depict

一面。畫幅中段留白,除了作為廣袤的湖面意象外,又能與下方

distant hills, leaving blank spaces as mists, echoing with the style of Mi

的景色銜接,江兆申以畫作上方的山體塊面作出高遠貌,近景則

Fei. Lofty mountain ranges are juxtaposed with the depth of valleys.

用密林羅列堆疊出山色浸潤的風貌,直取王原祁、龔賢筆意,觸

A few cottages emerge from the dense forest and knolls. A bridge in

筆生潤、雋永秀逸,先以澹墨為底,作出林葉氤氳於霧靄間,再

bright red connects the hills and valleys, providing a centerpiece for the

施濃墨成樹,墨色凝重卻更顯山野幽僻的風貌,林蔭間草亭前後

humble landscape. Blank space at the center represents a still lake and

相踞,亭下文士對坐清談,表露出江兆申回歸山林、隱逸於野的

acts as a connecting point with the landscape below. In contrast with

心境,畫作通幅閒適恬淡,細細觀之更能體會畫中高深沉練的靜

the high and far perspective at the top, dense forest is depicted at the

寂之情。

foreground.

Ravenel 44



623 PU HSIN-YU

(Taiwanese, 1896-1963)

溥心畬 枝頭好鳥

Bird Eating Berries Ink and colour on silk, framed D: 28 cm Signed Hsin-Yu in Chinese With one seal of the artist PROVENANCE: Christie's Hong Kong, 24 October, 1993, Lot 199

水墨 設色 絹本 鏡框 直徑:28 cm 款識:心畬作。 鈐印:舊王孫(朱文) 來源: 香港佳士得,1993 年 10 月 24 日,編號 199

NT$ 800,000 - 1,200,000 HK$ 213,000 - 319,000 US$ 27,400 - 41,100 RMB 188,000 - 282,000

溥心畬,名溥儒,為清宣宗道光皇帝的曾孫、祖父是恭親王奕

Pu Hsin-Yu, aka Pu Ru, was the great grandson of Emperor Daoguang,

訢,而父親載瀅則為恭親王次子。本姓愛新覺羅,後改字心畬,

grandson of Prince Gong, and son of Zaiyng of the Qing dynasty. His

中年時改以溥為姓,別號西山逸士。早年受嚴格的皇室貴冑教

family name was Aisin Gioro and named himself Hsin-Yu. He later chose

育,除飽讀詩書外,騎射訓練亦嶄露頭角;因其皇室出身,故於

Pu as family name, sobriquet Hermit of the West Mountain. He received

書畫作品上常用「舊王孫」鈐印或落款署名。溥心畬於1949年

imperial education with heavy attention on literature and hunting on

渡海抵臺,其藝術成就與張大千、黃君璧並稱「渡海三家」,寓

horseback. A seal "Grandson of the Last King (Jiu Huang Sun)" was

台時期追隨寒玉堂門下的後學更是無數。溥心畬自敘其藝術生涯

always used due to his royal background. Pu Hsin-Yu settled in Taiwan

始於隱居北京西南方馬鞍山的時期,他曾透過臨摹畫遍清宮珍藏

since 1949 and was named as one of the three greatest masters along

的名畫與法書,「又喜遊名山,興酣落筆,可得其意。」溥氏除

with Zhang Daqian and Huang Chun-Pi. His students from Hanyu Tang

山水畫之外又精擅人物、花鳥、走獸與鬼怪等各類型的題材,畫

were numerous. Pu's artistic career began from his hermit period at the

風無不淡雅清逸,其工筆作品更帶有文人溫潤秀俊之氣,由此之

Ma'an Mountain, South West of Beijing. He took reference to Imperial

故,文人畫傳統的繼承即落在溥心畬身上,不僅集詩書畫三絕於

collections of ancient scrolls and painted after strolls at the mountains.

一身,其藝術成就的高度更被譽為「中國文人畫的最後一筆」。

Pu excelled in multiple genres including landscape, figures, flower-andbirds, animals and mystical beings. His landscape and gongbi paintings

溥心畬的工筆畫固守傳統風格,無論在構圖、用色、造型上都滿

possess an ancient scholarly and elegant style.

溢出文人畫風的精緻雅趣,渡海抵台定居後,發現蓬島上的人文 風土甚為有趣,教課授業之餘,常於寒玉堂居所觀察日常風物,

Regardless of structure, colour and forms, gongbi paintings of Pu

作畫題材有不少瓜果蔬菜與島內特有的花卉鳥獸,信筆畫來,頗

Hsin-Yu are steeped in a rich history and literary background. Taiwan

有意趣。此作《枝頭好鳥》畫面維妙維肖,溥氏工筆來自於宋代

fascinated Pu as he discovered its cultures. After class, he would take

院體畫風格,畫鳥講究寫生,要求觀察真鳥的紋彩,如此才能敷

pleasure to observe daily objects, vegetables, flowers and birds and to

染出翎羽的寫真樣貌;畫中黃鸝鳥姿態生動,墨線勾勒鬆緊有

paint them. This work is meticulously painted in gongbi of the Song

度,再以淡墨層層敷染出歛翅的飛羽,後用重墨點出過眼羽,再

dynasty. Life drawings were emphasized with careful observations, so

施以赭色點眼形成強烈的對比。染色以藤黃渲染敷成,上濃下淡

that colours and lines could be applied in accurate detail. The black-

做出凹凸的立體感。鸝鳥的嘴喙銜著果實站在初春新綠的枝枒,

naped oriole was painted diligently with fine lines. Light ink was applied

正側反轉的葉又勝於雙勾篆籀筆意的粗幹,葉形翻飛多變,觀之

to depict feathers of its folded wings, followed by darker ink on the

彷如清風徐來,葉色的汁綠更顯出春意盎然,身形飽滿的禽鳥姿

eyespot and ochre on the eye for contrast. Yellow was used on the

態昂揚,溥氏以工筆寫出通透神歡的春景,頗有唐代花鳥畫的神

majority of the body with various consistency to depict various gradients.

秀妙趣。

The bird stands firmly on a new branch as it holds a berry firmly on its beak. Naturally curved leaf echoes vividly with the Zhuan brushwork on the branches. The green leaves sway gently along the breeze of spring, as a stout bird stands proudly on a branch. Pu's gongbi brushwork created a lively scene of spring, with a hint of the Tang style.

Ravenel 46



624 XIE ZHI-LIU

(Chinese, 1910-1997)

謝稚柳 雲山秋碧

Autumn Mountains in Clouds Ink and colour on paper, scroll 44 x 58 cm Signed Zhi-Liu in Chinese With three seals of the artist

水墨 設色 紙本 立軸 44 x 58 cm 釋文:雲山秋碧圖。 款識:壯暮翁稚柳,魚飲谿堂。 鈐印:謝(朱文)、稚柳(白文)、苦篁齋(朱文)

PROVENANCE: Sotheby's Hong Kong, 6 April, 2015, Lot 1522

來源: 香港蘇富比,2015 年 4 月 6 日,編號 1522

NT$ 480,000 - 700,000 HK$ 128,000 - 186,000 US$ 16,400 - 24,000 RMB 113,000 - 165,000

謝稚柳,生於江蘇常州書香門第,原名稚,字稚柳,後以字行,

Xie Zhi-Liu was born in Chang Zhou, Jiangsu to a family of scholars.

晚號壯暮翁,齋名魚飲溪堂、杜齋、煙江樓、苦篁齋,少習經史

From studies of history and literature at his early age, Xie Zhi-Liu

子集,筆墨丹青多有涉獵。曾任南京大學藝術系教授,致力於古

also excelled in paintings. He was a professor of the Arts Faculty

畫研究鑑別的工作,並與張蔥玉齊名,世稱「北張南謝」。謝稚

at the Nanjing University, specialized in studies of ancient scrolls.

柳早年的創作,多效法陳洪綬,筆意簡練高古;後仿宋人筆法及

He was recognized with Zhang Cong-Yu as "North Zhang, South

青綠山水,多作工筆,尺幅品項精緻完整;又因研究徐熙「落墨

Xie". In his early career, his simplistic style resembled closely with

法」,而自創「江南畫派」一脈,晚年作品縱筆恣肆、潑墨潑彩

Chen Hong-Shou. His later artistic style followed the Song schools

交融。

portraying landscapes in gongbi style. He invented Jiangnan School following his research in Xu Xi and his splashed works in a later

《雲山秋碧圖》全圖色澤清麗脫俗,披麻、斧劈與折帶皴兼施,

period revealed a carefree style.

前景雙勾畫松樹形體奇踞盤桓,樹幹以點皴為瘤,後用筆毛刮成 扁鋒勾畫松針,墨色暈瀋成寫意之景,更添靈秀。山石以石綠、

This work has a fresh composition with variations of hemp-strokes,

石青敷色,兩色互融成為一體,兼施以淡赭色,作出層次分明的

axe and broken cun strokes. Meandering pine trees were put in the

立體感;遠山群峰雲霧繚繞,水色浸潤中可見自然的玄妙與壯

foreground. Their trunks were painted with cun dots and the leaves

闊,洋紅點出一抹秋意瀟灑,讓畫中山水的絢爛增添空靈。綜觀

were added with slanted strokes. A luscious forest was depicted

全圖可見謝氏以壯闊馭從容,畫名山大川而用筆雋秀,呈現濃郁

with saturated ink. A combination of green, turquoise and ochre

秀麗的典型江南畫派風格。

was used to create a realistic landscape. Mountain ranges afar were surrounded by thick mist and clouds. The harmonious colour combination composed a natural depiction of autumn scene. The overall scene of a vast landscape in lush depiction has close resemblance to a classical Jiangnan style.

Ravenel 48



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

江兆申 江山煙靄

Mist over River and Mountains 1992 Ink and colour on paper, framed 62 x 99 cm Signed Chiang Chao-Shen in Chinese With two seals of the artist EXHIBITED: "The 13th National Art Exhibition of The Republic of China", National Taiwan Arts Education Center, Taiwan, 11 July, 1992 - 29 November, 1992, No. A082 "From the Inkwell Flies the Fish of the Dark Northern Sea: The Calligraphy and Painting Exhibition of Jiang Zhaoshen", Taiwan Soka Association, Taiwan, 25 March, 2015 - 19 March, 2016, No. 38 ILLUSTRATED: The 13th National Art Exhibition of The Republic of China , The National Taiwan Art Education Center, Taipei, June, 1992, p. 8

1992 水墨 設色 紙本 鏡框 62 x 99 cm 款識:壬申春暮,茮原江兆申寫江山煙靄圖。 鈐印:兆申茮原(白文)、雙菩提樹盫(白文) 展覽: 「中華民國第十三屆—全國美術展覽會」,國立台灣藝術教育館, 台灣,展期 1992 年 7 月 11 日至 1992 年 11 月 29 日,作品編號 A082 「墨池飛出北溟魚:江兆申書畫展」,台灣創價學會,台灣, 展期 2015 年 3 月 25 日至 2016 年 3 月 19 日,作品編號 38 圖錄: 《中華民國第十三屆:全國美展專輯》,國立台灣藝術教育館, 台北,1992 年 6 月出版,頁 8 《墨池飛出北溟魚:江兆申書畫展》,創價文教基金會,台北, 2015 年 3 月,頁 58-59

From the Inkwell Flies the Fish of the Dark Northern Sea: The Calligraphy and Painting Exhibition of Jiang Zhaoshen , Taiwan Soka Association, Taipei, March, 2015, pp. 58-59

NT$ 460,000 - 650,000 HK$ 122,000 - 173,000 US$ 15,800 - 22,300 RMB 108,000 - 153,000

1992年移居南投揭涉園的江兆申,此時期的創作已由中年的狂

After his relocation to Jieshe Yuan in 1992, his works show

放恣肆轉為意拙朗靜與人書俱老的階段,《江山煙靄》一作,江

noticeable change from a carefree style to a peaceful and serene

氏以滿紙密佈、質樸渾厚的風格寫春末夏初之景,頗有「疏可走

scene from his retirement. This work has a full frame composition

馬,密不透風」的逸趣,全畫以「深遠」得勢,郭熙所謂的深遠

of a luscious forest in spring or early summer. Spatial depth

之意是為重疊,指的是畫中山巒疊壘並列,即從高處向下俯視的

was represented through horizontal distance and multi-layered

樣式,特別具有生動張力與感官刺激。

mountain ranges, using a bird's eye view to enhance its visual impact.

此作特出之處在於畫面中薄敷飽含水分的花青色並暈散到墨線 之外,目的是讓密塞的圖面注入一股秀潤流盪之感;畫幅中段

A thin layer of turquoise was applied onto the painting to enhance

的深森群樹融為一體,盡顯台灣山林的蔥蘢蓊鬱,江兆申再以赭

the lush effect. The center of the work features a dense thick forest

色染成草屋,特別突顯出幽深靜僻之美,藝評家蔣勳曾言:「江

which echoes with the landscape of Taiwan. Ochre was applied to

兆申的畫,遠觀可欣賞花青與赭石的疊染在墨線中的關係,抽象

the cottage to highlight the harmonious and serene environment.

的層次與空白的關係都是國畫所不能企及,此為『氣韻』、『意

Art critic Chiang Hsun once said, "Chiang's work plays with the

境』,是創作者從造化自然中所領悟的一脈靈氣。」由此可知江

combination of colours green and ochre. Layers of spatial and

兆申的水墨創作特別注重筆畫點線的樣態與律動感,在一筆呵成

abstract depiction excel techniques of conventional ink paintings

之中可通曉其內在相映的氣魄與筆筆相生的意韻,致使江氏的山

and highlight a mystic aura of Nature." Through the formation

水畫能有雄渾凝潤、清爽剛健的氣象。

of lines and dots, a harmonious rhythm was depicted, and this is one of the techniques of Chiang, depicting a majestic and lush landscape.

Ravenel 50



626 LIN YU-SHAN

(Taiwanese, 1907-2004)

林玉山 牡丹雙雉

Pheasants and Peonies 1993 Ink and colour on paper, scroll 131.5 x 66 cm Signed Yu-Shan in Chinese With two seals of the artist

1993 水墨 設色 紙本 立軸 131.5 x 66 cm 款識:癸酉小春,玉山生作。 鈐印:林英貴印(白文)、福壽康寧(朱文)

NT$ 440,000 - 650,000 HK$ 117,000 - 173,000 US$ 15,100 - 22,300 RMB 104,000 - 153,000

林玉山生於台灣嘉義,創作以宋代寫生畫為基礎,融入西洋繪畫

Lin Yu-Shan was born in Chiayi, Taiwan. His works stemmed from

方式,注重毛筆、紙張、用墨、調色的處理與運用,把禽鳥花卉

life sketching techniques of Song dynasty and western artistic skills.

的動作神態刻畫入微,令宋代寫生觀念發揮極致。黃君璧曾說:

He paid great attention to his choice of the brush, paper, ink and

「當今花卉禽獸,林玉山教授用力最深,致力最勤」,可見藝

colour. His subjects of animals, flowers and birds were depicted

術家對藝術創作付出不懈的努力。林玉山曾述說:「少時喜畫

in meticulous details, revealing the essence of a Song painting.

麻雀,曾於刈稻之後頭戴稻草潛伏稻田,偷窺雀群生活,即景速

Huang Chun-Pi once praised Lin Yu-Shan as the most skillful and

寫,此事適與古人暗合。」林玉山對於翎毛的描繪與表達有獨特

hardworking artist on flower and animal paintings. Lin Yu-Shan

的領悟。

recalled, "I loved drawing sparrows during my adolescence period. I would hide in the wheat field especially after the wheat harvest,

此畫以怒放的牡丹及靈巧的雙雉為題,寓意「吉祥富貴」。利用

so that I could observe the life of birds and make sketches of them.

迴環動勢構圖,讓視覺從雙雉弧形移動至向上半開的牡丹,至頂

This is exactly what a painter of old times would do." Hence the

部的全開牡丹。通幅用色柔和,色墨相融,厚重樸實地描寫兩個

artist had his unique depiction of birds.

主體。牡丹以濕筆逆鋒擢壓,綠褐葉向四方擴張,展現牡丹碩大 豐盈的形態。雄雉以沉樸卻帶鮮豔的紅色眼眶,搭配亮麗鮮豔的

This painting features blooming peonies and a pair of pheasants,

褐色背部羽毛,細長柔順的虎條斑尾羽,卻又以飽滿深沉的墨綠

forming a blessing of wealth and prosperity. This composition

胸羽作為視覺上的平衡,最後點上閃爍靈動的眼睛,為威武的雄

in circular movement lets the eye move from the pheasants to

雉增添沉實厚重的特質。雌雉緊隨伴侶好奇尋找地面的食物,突

the half blooming peony and the upper one in full bloom. Soft

顯女性賢淑敦厚的特徵。畫面底部鈐印「福壽康寧」一方,呼應

colour tone was applied to the work for a subtle depiction. Thrust

主題「吉祥富貴」,為畫作附上祝福。從樸實的配色,到細緻的

stroke and moist brush were used to depict the flower. Leaves

描寫,雉雞的神態表現,林玉山的用筆配色帶出和諧喜氣的畫

are wide-spread, enhancing the grandeur of the flower. The cock

面。

was painted with a saturated tone in bright red around the eye. Bright colours were used on the feathers on the back, and on the tiger patterns of the tail feathers. It was balanced with the dark green on the chest. Its eye shimmer vigorously to enhance its vivid depiction. The hen follows the cock closely while searching inquisitively for food on the ground. This highlights the traditional qualities of a woman. A seal of health and blessings echoes with the message of the work. Using a humble representation, detailed depiction and vivid representation of the pheasants, Lin Yu-Shan brings out a harmonious scene with an auspicious message.

Ravenel 52



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

江兆申 霜林秋霽

Autumn Landscape 1971 Ink on paper, framed 34.8 x 137.8 cm Signed Chiang Chao-Shen in Chinese With three seals of the artist

1971 水墨 紙本 鏡框 34.8 x 137.8 cm 款識:靜農先生誨正,辛亥秋,江兆申敬繪。 鈐印:江兆申印(白文)、茮原私記(朱文)、孤光自照肝膽皆 仌雪(白文)

PROVENANCE: Former collection of Mr. Tai Jing-Nong

來源: 臺靜農先生舊藏

Sotheby's New York, 23 March, 2018, Lot 1278

紐約蘇富比,2018 年 3 月 23 日,編號 1278

NT$ 380,000 - 600,000 HK$ 101,000 - 160,000 US$ 13,000 - 20,600 RMB 89,000 - 141,000

Ravenel 54

註: 上款人「靜農先生」為臺靜農,終身貢獻給國文的教育與創作, 曾與魯迅有密切來往,曾任北京私立中法大學中文系講師、輔仁 大學副教授兼校長秘書、國立編譯館編審、台灣大學教授及系主 任、輔仁大學及東吳大學中文研究所講座及研究教授。


江兆申自1950年投書求錄拜溥心畬門下,深受寒玉堂詩書陶冶

Chiang Chao-Shen followed Pu Hsin-Yu since 1950 and took lessons

的訓練,此外江氏更多與前輩書畫名家往來交遊、談詩論藝,

on literature from Hanyu Tang. He was keen to interact with old

不僅親炙張大千的寫意潑墨,更得臺靜農沉鬱頓挫的風格影

masters to discuss arts and literature. This makes his art possess the

響,臺靜農更曾題跋讚譽江兆申書法「為余平生所僅見。」可

style of Splashed paintings of Zhang Daqian and the humble nature of

知其文人相惜之心。1970年代的江兆申正值盛氣勃發的壯年時

Tai Jing-Nong. Tai once praised Chiang's calligraphy as being 'one of its

期,赴美進修遍覽書畫的經歷,讓他的畫風一改嚴謹轉為率筆

kind', showing their keen appreciation towards one another. Chiang

寫意,《霜林秋霽》一作取石濤晚年用筆恣肆的筆法,對於筆

was at his peak in the 1970s and travelled to the US to further pursue

墨的運用重新思考而進入抽象寫意的空間,兼以宋人野逸自然

his studies. Since then, his style of painting carries a carefree style.

的畫風,畫成此作疏淡有致的意境。

This work shows hints of brushwork of Shi Tao at his mature stage. Brushwork was carefully chosen to attain an abstract representation.

通幅山勢由左至右鋪排,江氏用筆靈秀蒼茫,以細筆墨線乾皴

Song's style of depicting natural landscapes was also used to achieve a

出稜脈形式,構圖層次奇絕、繁複多變,後用淡墨敷染出山巖

light and elegant landscape.

的立體量感;滿山林樹以漬墨橫掃,墨點擢出暈瀋華滋的風 景;畫面右側則以澹墨簡筆畫出隱於雲霧的幽微山體。作品整

Landscape was composed majestically spreading from the left to the

體風格蕭散酣暢,墨色不掩筆勢,點畫分明,可看出江兆申探

right. Swift and short strokes carved out the landscape with layers

求王原祁筆墨為上的企圖,不求形似而重畫境,一片瀟灑狂縱

of intricate details. Light ink creates the mountainous volume of the

的氣韻油然而生,江氏此作用筆收放自如,一派秋景爽颯之氣

landscape. Saturated ink dots were used to represent the lusciousness

自然流露,實為難得一見的珍品逸作。

of the landscape, while soggy ink created a misty landscape on the right of the painting. The overall style is soothing and light, as the ink accentuates the brushwork, and echoes with Wang Yuanqi's style of pursuing the depiction of an impression and character of the landscape. Chiang's excellent control of brushwork highlights the dry air of autumn, making this work an exceptional piece.


628 PU HSIN-YU

(Taiwanese, 1896-1963)

Scholar Under Pine Tree

溥心畬 松下高士

Ink on paper, framed 69.5 x 31 cm Signed Pu Ru in Chinese With two seals of the artist

水墨 紙本 鏡框 69.5 x 31 cm 釋文:巖氣變青蒼,雙松常夕陽,浮雲送殘雨,飄灑葛衣涼。 款識:維屏先生正筆,西山逸士溥儒。 鈐印:玉壺(朱文)、溥儒(白文)

NT$ 360,000 - 550,000 HK$ 96,000 - 146,000 US$ 12,300 - 18,800 RMB 85,000 - 129,000

註: 上款人「維屏先生」即為蔡維屏(1911-1997),南京人,曾 任國民黨中央政治學校教授、財政部貿易委員會秘書兼組長, 曾駐守多國任領事及大使、退休後曾出任國際關係研究所主 任、中華戰略學會副理事長,並任國民黨第十一至第十四屆 中央評議委員。

「渡海三家」中的溥心畬被譽為北宋山水第一人,不僅能作山

Among the greatest artists relocated to Taiwan, Pu Hsin-Yu was

水,院體花卉鳥獸、人物、界畫皆無不能,甚至偶作漫畫人物,

regarded as the greatest Landscape painter in the Northern Song

戲筆詼諧、妙趣橫生;溥心畬治學嚴謹博達、擅詩文書法,楷

style. He excelled in the Landscape genre, Flower-and-Bird, Figure

書腕力透紙、流轉明麗,堪稱全能型的畫家。其出生自皇家貴

and even caricatures for fun. In terms of arts and literature, Pu Hsin-

冑,中年逢戰亂流離抵台,後寓居寒玉堂直至溘然離世。溥心畬

Yu was a strict teacher who excelled in poems and calligraphy. His

的創作從摹古出發,早年避隱戒台寺遍覽摹臨歷代名蹟,仿宋人

Regular script was sturdy and elegant, and he was praised as an all-

趙伯駒、趙子昂,以至明代唐寅、仇英等,此時的溥心畬習畫遵

round artist. Due to his royalty background, he fled to Taiwan during

古循法,以三礬九染作青綠山水,工細筆羝,用色穠麗重彩,一

the war in his middle-age, and lived in Hanyu Tang till his death.

開傳統文人畫的生面。晚期山水畫風偏轉南宗,多取馬遠、夏圭

Pu Hsin-Yu's works followed techniques of ancient paintings, as he

隨意瀟灑的筆意及倪雲林、米元章畫骨的澹泊疏逸,敷色淡雅內

learnt through imitating ancient scrolls during his hermitage at Jietai

斂,風格婉約,因其畫中常寄託離國背鄉的愁思,相類文人畫的

Temple. He imitated Zhao Bo-Ju, Zhao Zi-Ang, Tang Yin and Chou

精神,所謂的文人畫意味著業餘、不與時同的藝術,創作僅用以

Ying of the Ming dynasty. Being loyal to traditional styles, his multi-

自娛寄懷;又因其遜清遺民的身世,讓他的作品滿溢著皇家的氣

layered colouring and gongbi brushwork produce colourful scholarly

韻,溥心畬淵博的學養與儒雅的氣質,讓他的創作成為「逸筆儒

paintings that differ from traditional literati paintings. Paintings in his

風」的代表,更後被世人譽為「中國文人畫最後的一筆」。

later career resemble the Southern Song period, such as Ma Yuan, the carefree strokes of Xia Gui and the fresh composition of Ni Yunlin

此作《山水》是溥氏山水難得的經典名作,依南宋邊角山水畫構

and Mi Yuanzhang. Colours used were always light and elegant with

圖,通幅倚左側構圖,上方巨巖獨立,託自李成、范寬畫意,取

a melancholic tone, which resembles a typical literati painting.

勢險峻但又鋒芒少露,乾筆小斧劈皴兼用米點,從高處敷色、由 濃轉淡,用筆雖然簡澹,卻可看出流暢的筆勢與雅緻,孤峰隱於

This work was a classical work of Pu Hsin-Yu with a diagonal

雲霧間,恰好的留白更突顯崗巒高踞的峻峭,一派靜謐仿彿如臨

composition of Southern Song. Subjects were inclined to the left.

仙境。下方山巔緩坡筆法精細綿密,設色淡雅,斧劈、披麻兼

A gigantic rock stood upright on the top, and resembled the style

用作出爽颯的山石壁面,又以雙勾畫二松拔地直出,可見溥心畬

of Li Cheng and Fan Kuan. The cliff is sharp-edged drawn with dry

運筆的線條均勻流暢,松樹體幹昂然少皴,松針攢三聚五成鹿

brush and a short axe cun. Colours concentrated on the top with

角狀,敷色作出合集聚散的層次感,松下高士獨佇,遠眺蒼茫山

a gradient to the lower part where a simple structure was made to

景,頗有平淡高趣的意韻;畫幅左側以行草書題詩,融楷法的遒

enhance the smooth and elegant brushwork. A lofty mountain perks

勁方正,字體內勁、結構外鬆,觀之醇厚中可見婉麗,與詩意的

above the clouds of blank space, highlighting its grandeur and the

沖淡蕭散形成強烈的對比。

discreet surroundings. Refined brushwork was used at the lower part with light ink, axe and hemp-strokes to form an autumn scene with two pine trees standing upright. Such composition shows Pu HsinYu's cautious depiction of pine rough trunk and clustered leaves. A hiking scholar rests under the pine looking afar into the distance. An inscription in cursive script was written on the left with hints of the formality of regular script. Forces were shown juxtaposed with the loose structure. This forms a poetic composition and a harmonic comparison with the melancholic painting.

Ravenel 56



629 PU HSIN-YU

(Taiwanese, 1896-1963)

溥心畬 松石圖

Pine and Rock Ink on paper, scroll 95 x 33.5 cm Signed Hsin-Yu in Chinese With one seal of the artist

水墨 紙本 立軸 95 x 33.5 cm 釋文:鶴訝堯時雪,僧知漢代秋。 款識:惕之先生正,心畬。 鈐印:溥儒(白文)

NT$ 280,000 - 400,000 HK$ 74,000 - 106,000 US$ 9,600 - 13,700 RMB 66,000 - 94,000

溥心畬,光緒帝賜名儒,號西山逸士、松巢,溥儒隱逸西山十

Pu Hsin-Yu, given name Ru by the Emperor Guangxu, was also

載,是其藝術生涯的重要時光,知名藝術傳記作家王家誠(1932-

known as Hermit of the West Mountain and Songchao (Residing

2012)於著作《溥心畬傳》中,敘述了溥儒隱居於北京西山戒

by the Pine). He resided in Xishan for a decade and this period

壇寺之時,曾戮力習畫寫松的情景,為了追求松樹屈曲偃蹇的姿

was an important milestone of his career. Author Wang Jiacheng

態,溥儒揣摩臨遍歷代的古畫名蹟,後再重新對松寫生。溥儒一

(1932-2012) wrote in the Biography of Pu Hsin-Yu, that during

生畫松、詠松不綴,他承接了傳統對於松樹的文化概念,並將其

his secluded stay at the Jietai Temple of Xishan, Beijing, the artist

內化納入自我的生命歷程:龍為帝王皇室的象徵,溥儒在創作中

focused on the depiction of pine trees and their crooked forms.

以松喻龍,代表他作為皇族後裔的文人象徵,既隱逸又高貴。溥

With reference to ancient paintings, the trees were reinterpreted

儒經歷清朝覆滅的家國巨變、滄海桑田的際遇,更讓他將「松」

and depicted in life drawing. Pine had always been Pu's

轉變為懷故緬舊的寄託,此後「松」的意象轉變為生命與時間

favourite subjects in literature and paintings, integrating cultural

的對比,人生之短暫與松齡的恆常對照,更突顯對歲月無情的慨

representations to his life. While a dragon represents royalty,

歎。

Pu used pine to represent dragons and his ancestors of the lost empire. Pu went through numerous misfortunes when he lost his

溥儒早年習武,且專臨唐碑,特別注重腕力的鍛鍊,此作《松石

family and an empire. The depiction of pine is a reminiscence of

圖》的線條特別靈動勁健,以「四王」粗筆水墨的風格著力,樹

the past. The evergreen tree also juxtaposes the short-lived life of

體自畫幅右下拔地出幹,以雙勾篆籀之筆寫樹體,溥儒曾言「畫

beings with time, highlighting the evanescence of life.

枝幹之法,處處轉折,頓挫而下,或用逆鋒以蹙其節」,以小斧 劈皴出遒勁清爽的松身,直取李成筆法,簡括粗曠,雄渾中帶有

In his early education, Pu had martial training and copied rubbings

疏朗的氣韻;畫幅上方松枝回還往復,如盤龍游移之姿,落筆均

of Tang dynasty. Both required intensive practice of the wrist. This

勻少頓挫,畫松枝「鹿角」、「蟹爪」並用,渴焦兼施;而畫松

work focuses on the fluidity of lines. Strong lines of the Four Wangs

葉則以搶快藏鋒,環枝四面呈圓形團簇,畫松針則以微曲襯出勁

outlined the rising trunk and zhuan strokes were used to depict

挺,遵古之餘更增添溥儒文人畫脈的娟秀清氣與空靈品格。溥儒

its texture. Pu once mentioned, "crooked branches were depicted

畫石法用石濤野逸奔放的筆意,描形頓挫有力,一氣呵成,自下

with slanted and thrusted strokes". Axe cun was used to depict the

而上收束挺健,用楷筆的方折勾勒出結構遒勁的線條輪廓,全畫

texture of pine, following Li Cheng's method, depicting the rough

觀之頗有莊嚴磅礡的皇家氣勢。題款予惕之先生,曾任上海警察

bark. Branches meander as a dragon, imitating the shape of a deer

局副局長,日本大使館參事,溥儒題詩寓「鶴訝堯時、僧知漢

horn or crab claw. Leaves were painted with quick vertical strokes,

秋」,乃慨歎世事滄桑,松石藏於林壑岡巒之中,不僅寄托了溥

clustered in groups. Pointed leaves are slightly curved to echo

儒高隱避世的心境,更是他作品中特有的經典文化符號。

with ancient depiction and Pu's scholarly background. The rock was depicted with Shi Tao's carefree brushwork and outlined with regular script. The overall work carries the solemness of royalty. The painting was given to Tizhi, who was the vice president of the Shanghai police office, embassy counselor in Japan. A poem was written on the work revealing the mind of a hermit, sighing over worldly affairs.

Ravenel 58



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

張大千 先鋒

Calligraphy 1981 Ink on paper, framed 37 x 45.5 cm Signed Zhang Daqian Huan in Chinese With three seals of the artist

NT$ 280,000 - 400,000 HK$ 74,000 - 106,000 US$ 9,600 - 13,700 RMB 66,000 - 94,000

Ravenel 60

1981 水墨 紙本 鏡框 37 x 45.5 cm 釋文:先鋒。 款識:華欣文化事業中心十週年大慶,七十年九月,蜀郡張大千 爰拜題。 鈐印:辛酉(朱文)、張爰之印(白文)、大千居士(朱文)


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

Couplet in Running Script Ink on gold-flecked silk, framed 103 x 17 cm (each) Signed Tai Jing-Nong in Chinese With two seals of the artist

NT$ 190,000 - 300,000 HK$ 51,000 - 80,000 US$ 6,500 - 10,300 RMB 45,000 - 71,000 臺靜農 行書七言聯 水墨 灑金紅絹 鏡框 103 x 17 cm(每件) 釋文:事到難求須冷靜,宜於兩可莫粗心。 款識:臺靜農書。 鈐印:臺靜農(白文)、龍坡(朱文)


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

Couplet in Running Script 1974 Ink on gold-flecked paper, scroll 239 x 33.5 cm (each) Signed Chiang Chao-Shen in Chinese With two seals of the artist ILLUSTRATED: 70 Works in the Record of Lv Fang-Ting , Lvlin Qiuchun, Taipei, June, 2014, p. 340

NT$ 140,000 - 240,000 HK$ 37,000 - 64,000 US$ 4,800 - 8,200 RMB 33,000 - 56,000 江兆申 德門居冠字長聯 1974 水墨 灑金紅箋 立軸 239 x 33.5 cm(每件) 釋文:德行有何奇,只在父慈子孝。門庭無別翫,當盡 兄友弟恭。 款識:德門居舊句,甲寅九秋之吉,茮原江兆申補書。 鈐印:江兆申印(白文)、茮原(朱文) 圖錄: 《呂芳庭七十記行》,呂林秋淳,台北,2014 年 6 月出版, 頁 340

Ravenel 62


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

Couplet in Running Script 1993 Ink on gold-flecked paper, scroll 149 x 39.5 cm (each) Signed Chiang Chao-Shen in Chinese With two seals of the artist

NT$ 140,000 - 240,000 HK$ 37,000 - 64,000 US$ 4,800 - 8,200 RMB 33,000 - 56,000 江兆申 行書五言聯 1993 水墨 灑金紅箋 立軸 149 x 39.5 cm(每件) 釋文:鏡銘延壽篆,鐙鑄吉祥文。 款識:癸酉冬吉,茮原江兆申書。 鈐印:江兆申(白文)、茮原(朱文)


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

Couplet in Running Script 1992 Ink on paper, framed 137 x 22.5 cm (each) Signed Chiang Chao-Shen in Chinese With three seals of the artist

NT$ 120,000 - 220,000 HK$ 32,000 - 59,000 US$ 4,100 - 7,500 RMB 28,000 - 52,000 江 兆申 行書九言聯 1992 水墨 紙本 鏡框 137 x 22.5 cm(每件) 釋文:幸有兩眼明多交益友。苦無十年暇熟讀奇書。 款識:壬申春日,茮原江兆申書。 鈐印:江兆申(白文)、茮原(朱文)、埔里(白文)

Ravenel 64


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

臺靜農 佛

Calligraphy Ink on paper, framed 76 x 55 cm

水墨 紙本 鏡框 76 x 55 cm 釋文:佛。

PROVENANCE: Gloria Art Center, Taipei

來源: 鴻展藝術中心,台北

Private collection, Taipei

私人收藏,台北

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

附鴻展藝術中心開立之保證書

NT$ 120,000 - 220,000 HK$ 32,000 - 59,000 US$ 4,100 - 7,500 RMB 28,000 - 52,000


636 ZHOU CHENG (Taiwanese, b. 1941)

周澄 松風泉韻

Pine and Spring 2000 Ink and colour on paper, framed 45 x 70 cm Signed Zhou Cheng in Chinese With three seals of the artist

NT$ 80,000 - 160,000 HK$ 21,000 - 43,000 US$ 2,700 - 5,500 RMB 19,000 - 38,000

Ravenel 66

2000 水墨 設色 紙本 鏡框 45 x 70 cm 釋文:松風泉韻。 款識:庚辰春日,蓴波周澄畫。平男道兄清教,蓴波又及。 鈐印:周澄私印(白文)、蓴波(朱文)、白雲喜相對(朱文)


637 YU CHUNG-LIN

(Taiwanese, 1925-1985)

喻仲林 牡丹水仙圖

Peonies and Daffodils 1979 Ink and colour on paper, framed 49.5 x 71.5 cm Signed Chung-Lin in Chinese With three seals of the artist

NT$ 60,000 - 120,000 HK$ 16,000 - 32,000 US$ 2,100 - 4,100 RMB 14,000 - 28,000

1979 水墨 設色 紙本 鏡框 49.5 x 71.5 cm 款識:維荃小姐雅賞,己末夏日,仲林。 鈐印:喻仲林(朱文)、清泉郡(白文)、香在無尋處(朱文)


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

Calligraphy in Running Script Ink on paper, scroll 135 x 34 cm Signed Tai Jing-Nong in Chinese With two seals of the artist PROVENANCE: Acquired directly from the family of Mr. Wang Zi-Bu

NT$ 80,000 - 160,000 HK$ 21,000 - 43,000 US$ 2,700 - 5,500 RMB 19,000 - 38,000 臺靜農 行書五言詩 水墨 紙本 立軸 135 x 34 cm 釋文:鮮雨洗蘭叢,谷口無纖塵。翡翠戲北牖,麋鹿結 南鄰。絳氣沈空霄,白雲變昏晨。松風過澗綠,奔響趨 龍鱗。想見桂樹間,猶有羲軒民。 款識:書南田詩,應子步先生清屬。 鈐印:臺靜農印信(白文)、歇腳盦(白文) 來源: 直接得自上款人王子步先生家屬 註: 上款人「子步先生」即為王子步,曾擔任重要軍官要職, 包括國民革命軍第一軍三師中校黨代表、副團長,陸軍 通訊學校政治部主任,第一屆國民大會代表,陸軍少將, 1949 年來台任台灣黨部設計委員,國防部部長辦公室高 參,國民大會黨部常務委員等重要職務。

Ravenel 68


639 WANG ZHONG

(Taiwanese, 1925-2010)

汪中 書法四屏

Calligraphy in Clerical Script 1965 Ink on paper, scroll 140.5 x 35.5 cm (each) Signed Wang Zhong in Chinese With three seals of the artist PROVENANCE: Gloria Art Center, Taipei Private collection, Taipei

NT$ 60,000 - 120,000 HK$ 16,000 - 32,000 US$ 2,100 - 4,100 RMB 14,000 - 28,000

1965 水墨 紙本 立軸 140.5 x 35.5 cm(每件) 釋文:都都相望,邑邑相屬。國藉十世之基,家承百年之業, 士食舊德之名氏,農服先疇之畎畝,商脩族世之所鬻,工用 高曾之規矩。粲乎隱隱,各得其所。 款識:新得高麗全州紙試之時,乙巳仲秋,龍眠雨盦汪中。 鈐印:真骨凌霜高風跨俗(朱文)、桐城汪中章(白文)、 履安長年(朱文) 來源: 鴻展藝術中心,台北 私人收藏,台北


640 HE HUAI-SHUO (Taiwanese, b. 1941);

YANG SHAN-SHEN (Chinese, 1913-2004)

Wealth and Prosperity 2019; 1989 Ink and colour on paper, framed (Top) 27 x 43.5 cm (Bottom) 46.5 x 43.5 cm Signed He Huai-Shuo and Shan-Shen in Chinese With three seals of the artists

NT$ 90,000 - 180,000 HK$ 24,000 - 48,000 US$ 3,100 - 6,200 RMB 21,000 - 42,000

Ravenel 70

何懷碩;楊善深 富貴神僊之圖 2019; 1989 水墨 設色 紙本 鏡框 (上)27 x 43.5 cm (下)46.5 x 43.5 cm 釋文: (上)富貴神僊之圖。 (下)富貴神仙只居然在一家。 款識: (上)歲次己亥孟冬澀盦,何懷碩。 (下)己巳春善深戲寫。 鈐印: (上)曾經三千世界(朱文)、澀盦(朱文) (下)善深書畫(白文)


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

李義弘 山居汲泉

Landscape 1981 Ink and colour on paper, framed 69 x 45 cm Signed Lee Yih-Hong in Chinese With two seals of the artist

NT$ 90,000 - 180,000 HK$ 24,000 - 48,000 US$ 3,100 - 6,200 RMB 21,000 - 42,000

1981 水墨 設色 紙本 鏡框 69 x 45 cm 款識:辛酉秋日,李義弘於笛音凝室。 鈐印:李義弘印(白文)、在川(朱文)


642 LI QI-MAO

(Taiwanese, 1925-2019)

Reminiscence of Taiwan Ink and colour on paper, scroll 178 x 90 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$ 100,000 - 200,000 HK$ 27,000 - 53,000 US$ 3,400 - 6,900 RMB 24,000 - 47,000 李 奇茂 台灣憶舊 水墨 設色 紙本 立軸 178 x 90 cm 釋文:台灣憶舊。 款識:采風堂主人,李奇茂。 鈐印:李奇茂(白文)、采風堂(白文) 附藝術家與作品合照

Ravenel 72


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

蘇崇銘 幽竹清蔭

Shady Bamboo 2010 Ink and colour on paper 47 x 141.5 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, 2016 - 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. 28-29

NT$ 120,000 - 220,000 HK$ 32,000 - 59,000 US$ 4,100 - 7,500 RMB 28,000 - 52,000

2010 水墨 設色 紙本 47 x 141.5 cm 款識:庚寅二 O 一 O,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 日至 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,高雄, 2016 年 2 月第一版,頁 28-29


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

余承堯 山水

Landscape Ink on paper, scroll 44 x 61 cm Signed Yu Cheng-Yao in Chinese With one seal of the artist

NT$ 150,000 - 240,000 HK$ 40,000 - 64,000 US$ 5,100 - 8,200 RMB 35,000 - 56,000 Ravenel 74

水墨 紙本 立軸 44 x 61 cm 款識:余承堯。 鈐印:余承堯印(白文)


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

余承堯 山水

Landscape Ink and colour on paper, framed 51 x 34 cm With one seal of the artist

NT$ 220,000 - 360,000 HK$ 59,000 - 96,000 US$ 7,500 - 12,300 RMB 52,000 - 85,000

水墨 設色 紙本 鏡框 51 x 34 cm 鈐印:琴禪(朱文)


646 YU CHUNG-LIN

(Taiwanese, 1925-1985)

Parrots and Peonies 1980 Ink and colour on paper, framed 61.5 x 119.5 cm Signed Chung-Lin in Chinese With two seals of the artist

NT$ 190,000 - 300,000 HK$ 51,000 - 80,000 US$ 6,500 - 10,300 RMB 45,000 - 71,000 喻 仲林 牡丹鸚鵡 1980 水墨 設色 紙本 鏡框 61.5 x 119.5 cm 款識:庚申歲暮,仲林寫於麗水精舍。 鈐印:喻仲林(朱文)、清泉郡(白文)

1949年隨國民政府渡海抵台的書畫家不在少數,專攻工筆花鳥

《牡丹鸚鵡》構圖以鸚鵡在前、雙色牡丹為背景佈局:左右兩側

者首推喻仲林。喻氏1925年出生於山東冠縣,其外祖家收藏甚

水紅色工筆牡丹烘托出畫幅中段的鈦青藍沒骨牡丹,喻仲林以兩

豐,舅父許宗海亦為知名花鳥畫家且嗜詩書,因此喻氏自幼深

種極端的顏色析出畫面的重量感與層次,後用籐黃點蕊,粉綠分

受薰陶、並啟蒙於書畫。渡台後師從畫學世家金勤伯,專攻花鳥

染花頭、鉛白描型極為講究,盡寫花中之王富麗超脫凡俗的樣

畫,盡得傳統畫法精髓,他極高的天賦與觸類旁通,並收納日本

態;畫葉則以勾勒填彩描繪,用筆細勁,牡丹葉片以三綠通染,

花鳥畫的優點為己用,心領神會之際並提出「知天知地,知時知

分層敷染出葉脈水線,再以草綠分染反葉、花萼,罩染溫潤之餘

物」的觀點,惟有仔細觀察自然界花卉禽鳥的細節,才能在畫作

又能略分光影,兼顧視覺上的平衡。六隻鸚鵡運用白粉及墨色填

上表現出精確明麗、栩栩如生的樣貌;喻氏不僅在造型上更加準

彩,提鉤出毛羽的豐潤層次,爪喙以洋紅或硃砂染成,鮮艷的籐

確嚴謹,更兼備了水墨豐潤的特性,畫面設色既有工筆畫的穠麗

黃填色畫成頂羽更是喻氏的神來之筆;畫中各只鸚鵡或俯或仰、

雅致,又能突顯文人畫筆墨寫意的韻味,讓他的工筆花鳥被譽為

或對看或嬉鬧,其中特別又以倒勾鸚鵡的形態最為逗趣,令人不

「艷而不俗、細膩而不呆板」、現代香港知名水墨家呂壽琨更讚

禁莞爾,鸚鵡群融合在一片清豔的牡丹花叢中,可觀其花色彩羽

其為「近代中國院體花鳥畫第一人」。

之妙。喻仲林彩墨描繪之流暢,既能得工筆雅緻的古意,又可 體會寫意點染的機趣,《牡丹鸚鵡》全景花鳥格局精緻、風韻天 然,作於1980年歲暮時節更有富貴團圓之美意,實乃喻仲林難得 一見的神品逸作。

Ravenel 76


Among the artists relocated to Taiwan in 1949, Yu Chung-Lin was

This painting was structured with parrots at the front and multi-

among the first who focused on Flower-and-Bird paintings. Born

coloured peonies in the background. Pink gongbi flowers on the sides

in Shandong in 1925, Yu Chung-Lin benefited from the extensive

juxtapose with those blue one in boneless technique. Two contrasting

collection of his grandfather. His uncle Xu Zong-Hai was one of the

colours enhance the weight and layering of the whole panting.

famous Flower-and-Bird painters who loved literature. Since then, Yu

Yellow colour was used for the stamens, green for the stigmas,

was heavily influenced and ignited his passion for Chinese art. After

highlighting the grandeur of peonies. Leaves were sketched with

arriving in Taiwan, he followed Jin Qin-Bo in the Flower-and-Bird

outlines and then filled with colours. Different layers were painted to

genre, and mastered the techniques with his exceptional talents and

depict different shapes and parts of the plants. Light and shades were

keen observation. He took reference to flower and bird depictions

depicted with soft colours enhancing the visual balance. Six parrots

in Japan and developed keen observations in every minute detail,

were filled in white and ink colours. Their feathers were meticulously

to be presented in his works. Apart from the realistic approach,

sketched in different layers. Their beaks were painted in red and their

he managed to manipulate the characteristics of ink and colour to

crowns were painted in bright yellow to highlight the birds. Parrots

produce refined gongbi painting, and to reflect the melancholic tone

are crouched and upright in different forms. One of them hung

of literati paintings. His Flower-and-Bird paintings were known as

upside down to enhance the fun element of the work. Their light

delicate and elegant, and the artist was praised by Hong Kong artist

coloured feathers let the parrots blend in harmony with the colourful

Lv Shou-Kun as the best artist in the genre.

backgrounds of peonies.


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

張大千 牡丹

Peonies Ink and colour on paper, framed 66 x 42 cm Signed Da-Qian in Chinese With two seals of the artist

水墨 設色 紙本 鏡框 66 x 42 cm 釋文:墨染嬌姿淺澹勻,畫中亦足賞青春。長安醉客靴為祟, 去踏沉香停上塵。 款識:大千居士仿天池生法。 鈐印:大千好夢(朱文)、張爰私印(白文)

NT$ 200,000 - 400,000 HK$ 53,000 - 106,000 US$ 6,900 - 13,700 RMB 47,000 - 94,000

張大千,乃二十世紀中國水墨畫壇最具代表性的大師,其擅長各

Zhang Da-Qian was renowned as one of the prominent

種題材,山水、人物、花卉、仕女、翎毛畫無所不精,可以說是

representatives in Chinese ink paintings. He was an all-round artist

近現代畫壇極少見的一位全能畫家。本幅《牡丹圖》即是張大千

excelled in Landscapes, Figures, Flower-and-Birds, Ladies and Birds

花卉畫之精品,從畫面右上款識:「大千居士仿天池生法」,可

paintings. This work was one of his featured flower paintings with

知這是他模仿明代寫意花鳥大師徐渭畫風所繪製的作品。畫面

an inscription on the top right, detailing his techniques after Ming

中,只見兩株折枝牡丹花,分別自左下角斜出,右邊一株牡丹花

Flower-and-Bird artist Xu Wei. In this work, two peonies rise from

完全盛開綻放,左邊牡丹則是嬌羞的半開,各自展現不同的情態

the bottom left. The one on the right is in full bloom, and the

和韻致。張大千在此畫中,不用傳統花鳥「雙鉤填彩」的寫生手

left is half-opened, each in their unique forms. Instead of refined

法,而以徐渭所擅長墨彩點染的「沒骨」技法畫成:他先用花青

brushwork, this painting was completed with boneless technique.

和墨,簡潔快速的畫出牡丹的枝椏和葉片,再用筆毫蘸胭脂與白

Green colour and ink was used to sketch the form of branches and

粉層加疊染,畫出牡丹花瓣帶有凹凸效果,並且呈現輕薄半透明

leaves, followed by a blend of pink and white as petals, enhancing

的質感,最後再以濃墨勾繪形塑葉脈與花蕊,充份發揮寫意花卉

its transparent 3-D effect. Dense ink was used to outline the veins

墨與色融合、水份淋漓的鮮活趣味。

and stamens. The excellent combination of ink and colour forms a vivid depiction of the flowers.

本件《牡丹圖》從張大千題款的書風,以及畫上「張爰私印」、 「大千好夢」兩方鈐印,可以大致推測此乃大千1930年代初期的

This work was made in the 1930s as determined by the characters

創作。另外,從其尺寸、材質與羅芙奧2020春拍的另一件張大千

of the inscriptions and the two seals. Its size was similar to Orange Daylily sold at Ravenel 2020 Spring Auctions (Lot 628). The similar use of seals and style suggests the two paintings might come in one set and might be drawn in the same period. Zhang Da-Qian started practising flowers genre at an early age with exceptional talent. In this period, he took reference to artists from the late Ming and early Qing period, namely Chen Hong-Shou, Bada Shanren, Yangzhou artist Li Chan and Hua Yan. He changed his style to that of Ming floral painter Chen Chun and Xu Wei in his later years. Zhang Daqian once mentioned that, "Among the floral paintings of the Ming dynasty, I love Chen Chun's best, as his talents of Chen outshine Shen Zhou. Another favourite artist would be Xu Wei." The two works Orange Daylily and Peonies highlight their origin and Zhang Da-Qian's talent in floral paintings.

取法李鱓創作的《萱花圖》(羅芙奧2020春拍編號628)相近, 並且題款風格與「大千好夢」鈐印一致,因此可以推斷兩幅畫原 屬一組,為張大千同一時期創作的花卉佳作。張大千畫花卉起步 很早,且天分極高,他早年曾受明末清初陳洪綬、八大山人、清 代揚州八怪畫家李鱓及海派華喦畫風之影響,後來改習明代水墨 花卉大家陳淳與徐渭二人。大千曾自述:「明季逸筆花卉,予最 愛陳道復(陳淳),其高勝處,雖石田翁(沈周)亦當避席,其 稍後,當以徐青藤(徐渭)為巨擘。」從張大千的《萱花圖》及 《牡丹圖》這二幅畫,不僅可以清楚追溯其習畫源流,亦充份體 現大千寫意花卉藝術的超絕水準。

Ravenel 78



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

黃君璧 秋林策杖

Scholar Strolling in the Autumn Mountains 1972 Ink and colour on paper, framed 102 x 39 cm Signed Huang Chun-Pi in Chinese With three seals of the artist

1972 水墨 設色 紙本 鏡框 102 x 39 cm 釋文:秋林蕭森,秋山澹盪。雲靄晶然,恣我遊索。 款識:壬子春日畫於白雲堂黃君璧。 鈐印:黃君璧印(白文)、君翁(朱文)、白雲堂(白文)

PROVENANCE: Private collection, Taiwan

來源: 私人收藏,台灣

NT$ 240,000 - 480,000 HK$ 64,000 - 128,000 US$ 8,200 - 16,400 RMB 56,000 - 113,000 「渡海三家」之一的黃君璧,向以畫雲水瀑布享譽畫壇,他以

Huang Chun-Pi was renowned for his waterfall and clouds subjects.

自創的「雲水二十法」所描繪壯闊的瀑布景色,早已和其形象

Waterfall and mist scenery created through the "12 ways to portray

融合在一起且深植人心!然而,黃君璧除了瀑布寫生,還有很

mists and clouds", invented by Huang, is familiar to the modern viewers.

大一部分繪畫乃是從摹古變化而來,而且此一歷程從早年到晚

However, apart from waterfall paintings, there is a certain number of

年無有間斷,如本件作於75歲的《秋林策杖》便是其中典型的

paintings derived from ancient scrolls. This particular style of paintings

例子。

spread throughout his career. This painting, made by the 75-year-old artist, is a typical example.

此件畫作,右下角近景為臨水的坡岸和高聳叢樹,位居畫面中 央的河谷呈Z字形深入,切割左右兩側山巒形成深遠的空間;

A shore with high-rise trees is placed at the lower right foreground. A

而遠山則是雲嵐浮動,有瀑布自谷間直瀉而下,下方間露村

river meanders at the center, dividing the hills on the sides, creating

墅,全畫罩染淡青色的岩塊和以赭紅點染的樹葉,呈現一片秋

depth in the painting. A distant mountain rises and a waterfall pouring

意深濃蕭瑟的景象,只見一策杖老人沿著小徑往幽深的山谷走

down from above, forming clouds and mists that lead to the village

去,一派悠游、安閒自在的神態,正如題詩:「秋林蕭森,秋

below. The tone of the whole painting is in light green with slight

山澹盪。雲靄晶然,恣我遊索。」所呈現的畫意。此幅畫無論

dots of ochre-red for the leaves, representing an autumn scene. An

是從「策杖」的畫題、景物不斷往畫面上方疊加的手法、清雅

old scholar with a walking crane was strolling towards the valley in a

的筆墨與賦色,甚至是畫軸偏向狹長的形制,皆處處可見明代

serene complexion. An inscription describes an autumn scene that is

蘇州吳派沈周、文徵明的影子。黃君璧認為「學國畫,不能不

free to stroll around. The theme of a scholar holding a crane, a vertical

自臨摹始,唯得古人奧妙之後,始能創出高超之佳作。」從這

structure of objects, light ink and colours and an elongated structure

件畫作,可以看到他即使到了晚年,仍舊身體力行、持續不輟

could be traced back to The Wu School of Suzhou and Wen Zheng-

地師法古人之長,將其融鑄成為自我一家的面貌。

Ming in the Ming dynasty. Huang Chun-Pi believed that one has to learn paintings through imitating old masters. This work is an evidence

黃君璧一生中,曾經多次以「策杖」為題材創作,其中最著

of his conviction which lasts through till his old age.

名的畫例即是他在1955年以元人王蒙「牛毛皴」風格所作的 《策杖尋幽》,該畫乃是為了慶祝黃君璧與張大千、溥心畲闊

A scholar with a crane is a common theme of Huang Chun-Pi. A

別多年之後,於日本東京再次重逢的喜悅,畫上並留有三人題

famous example would be Scholar Strolling in the Woods, after Wang

跋,一同見證彼此深厚綿長的友誼。而對照之下,本幅《秋林

Meng in 1955. This work is a celebration of the reunion with Zhang Da-Qian and Pu Hsin-Yu in Tokyo, Japan. The painting was inscribed by the three artists as a remark of their friendship. This painting has no intended receiver and is inscribed with a poem, which hints that the painting may be kept by Huang Chun-Pi as one drawn at leisure. This further extends to a depiction of his psychological state of a calm character in an autumn scene of his own secluded world.

策杖》並無受贈人的名字,從題詩「恣我遊索」之內容可以看 出,黃君璧創作此畫應當是為了自娛,反映出一位文人畫家怡 然自得的心境,在略帶涼意的秋天,悠閒漫步山林,沉浸在自 我享樂的世界。

Ravenel 80



花鳥是喻仲林常見的描繪對象,以動物為主題的作品鮮有記錄,

自1949年抵台,喻仲林延續對藝術的熱情,閒餘於台北師範大

從藝術家的個人出版冊卻只有兩幅以狗為核心的畫作。據研究了

學美術系旁聽,後師從金勤伯,正式展開其藝術生涯,並與胡念

解,此畫以稀有雙犬雪景為主體,作於絹本,屬藝術家親切的兒

祖、孫家勤二人開創「麗水精舍」。喻仲林的畫作忠於宋代工院

時回憶,對於藝術家與家人備有更深層的含意。

體畫講求「盡物性」,先行格物,透過細微的觀察、精巧的工 筆、鮮明的色彩,體現自然的靈動野趣。作畫時,喻仲林常常代

喻仲林自幼失去雙親,依附娘舅,許氏家族書香門第,外公許公

入角色情景,幻想自己為小鳥自由自在跳躍於花叢中,因此更能

瑗在民國年初擔任重要政職,舅舅許以浩及許宗海均是重要的革

讓動物的神韻躍現於畫面,為一筆一劃賦予生命力。

命家及出色的寫意花鳥畫家,當時的許氏家族已享有盛名。喻仲 林雖然缺乏父母的照顧,卻在許氏家族位於山東的梅莊得到無盡

此畫背景坐落於凜冽的寒冬,大雪紛飛的場景,好比藝術家的家

的愛與歡樂,梅莊可說是一個孕育這位藝術家的搖籃。在藝術發

鄉山東。畫中兩隻小狗無懼寒冬戲雪,小狗以淡墨渲染,用精巧

展上,得舅舅許宗海的啟蒙,加上個人領悟性強及不懈的臨摹練

的細筆勾畫厚茸毛,再於腳上以撞粉法沒骨抹上一層薄薄的白

習,不管是花鳥畫或鞋頭上的描圖,年幼的喻仲林已展示濃厚的

雪,營造冰雪的立體感。褐狗雖凝視觀者,卻彷彿更陶醉於抓

興趣及非凡的才華。

癢;另一隻黑狗卻被氣味吸引,蓄勢待發向前探索。畫面捕捉兩 隻幼狗樂在其中的情景,若以幼狗比喻幼年的喻仲林,藝術家彷 彿利用此畫帶領觀者感受在梅莊與親戚嬉戲歡樂的時光。

Flowers and birds are common objects of depiction in Yu Chung-

Since his arrival in Taiwan from 1949, Yu reignited his passion for

Lin's paintings, while animals are less common. From records, there

art by attending lectures after work at the National Taiwan Normal

were only two paintings of dogs by the artist. Further research

University, and later followed Jin Qin-Bo, thus starting his artistic

shows that this painting on silk of dogs with a snowy background

career. He started Li Shui Art Studio with Hu Nian-Zu and Sun Jia-

hints to an intimate childhood memory of the artist. Hence this

Qin. Yu followed the Song School of gongbi by focusing primarily

work carries paramount importance to the artist and the family.

on realistic approaches including observations, meticulous strokes and bright colours. During his painting, he would imagine himself

After losing both parents, Yu Chung-Lin lived with his mother's

as one of the chirping birds hopping freely among the flowers. This

relatives, the Hsu family with a profound background in literature.

enabled him to accurately paint the character of each bird.

His grandfather Hsu Gong-Yuan was an important official during the Republican Period and his uncles Hsu Yi-Hao and Hsu Zong-

This work is situated in a harsh winter with heavy snow, similar

Hai were important figures in the revolution and in Flower-and-Bird

to the winters of Shandong, the homeland of Yu Chung-Lin. Two

art. Despite his loss in his early childhood, Yu Chung-Lin received

dogs are playing happily on the snow. The dogs were painted

profound love and care from the House of Cherry Blossoms in

in light ink and finest strokes to depict its thick fur. A fine layer

Shandong. This House provided a cradle for Yu in his artistic

of white was applied on the dog's paws to enhance a realistic

career, under the revelations from his uncle Hsu Zong-Hai and Yu's

depiction of snow. The brown dog stares mindlessly at the viewer

relentless effort in observation and practice. From graphics on his

with one paw scratching the body. The other black dog is attracted

shoes to Flower-and-Bird paintings, Yu displayed extraordinary

by the smell and marches eagerly towards it. The work depicts the

talent and passion towards art in his early childhood.

joy of two playful dogs, as if the artist himself invited the audience to join the fun of his childhood at the House of Cherry Blossoms.

Ravenel 82


649 YU CHUNG-LIN

(Taiwanese, 1925-1985)

Pair of Dogs Playing in Snow 1960 Ink and colour on silk, framed 114.5 x 35.5 cm Signed Yu Chung-Lin in Chinese With two seals of the artist PROVENANCE: Acquired directly from the artist's family EXHIBITED: "Elegance and Grace: A Memorial Exhibition of Flower and Bird Paintings by Yu Chung-Lin", National Museum of History, Taipei, 14 January, 2012 - 28 February, 2012 ILLUSTRATED: Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin, National Museum of History, Taipei, January, 2012, pp. 212-213

NT$ 240,000 - 380,000 HK$ 64,000 - 101,000 US$ 8,200 - 13,000 RMB 56,000 - 89,000 喻 仲林 雙犬戲雪圖 1960 水墨 設色 絹本 鏡框 114.5 x 35.5 cm 款識:庚子春日山東喻仲林寫於麗水精舍。 鈐印:喻氏(白文)、仲林(朱文) 來源: 直接得自藝術家家屬 展覽: 「工緻典麗:喻仲林 88 花鳥畫紀念展」,國立歷史博物館, 台北,展期 2012 年 1 月 14 日至 2012 年 2 月 28 日 圖錄: 《工緻典麗:喻仲林 88 花鳥畫紀念集》,國立歷史博物館, 台北,2012 年 1 月出版,頁 212-213


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

Lotus 1985 Ink on paper, framed 69.5 x 136 cm Signed Chiang Chao-Shen in Chinese With three seals of the artist

NT$ 280,000 - 400,000 HK$ 74,000 - 106,000 US$ 9,600 - 13,700 RMB 66,000 - 94,000 江兆申 墨荷 1985 水墨 紙本 鏡框 69.5 x 136 cm 釋文:荷葉披披一浦涼,青蘆奕奕夜吟商。平生最識江 湖味,聽得秋聲憶故鄉。 款識:乙丑十一月寫,為端溥先生雅正,茮原江兆申。 鈐印:江兆申(白文)、茮原(朱文)、奇趕無等倫(白文)

江兆申先生1925年出生於安徽歙縣,1949年渡海抵台即於中學

因故宮任職訪美期間結識了張大千這位忘年莫逆之交,曾親炙大

執教,詩文書畫漸長,後求拜寒玉堂門下,盡得溥心畬心法真

千居士磅礡大氣的墨荷名作:大千畫荷脫自徐渭大寫意法,以主

傳,兼善「詩書畫印」於一身,造詣之高更有「天上文曲星」之

觀的意識與潑墨變形的形式來表現荷花的內涵,然而江兆申在畫

美名。江氏一生課徒無數,靈漚門下多有傑出弟子,如:周澄、

荷的概念與技法上,既有大千的筆意也蘊含了其師溥心畬的內斂

李義弘、侯吉諒等,均為台灣當代水墨名家。江兆申除了在水墨

雅緻,兩相衝擊下造成他畫荷技法上兼有兩家之長。江兆申畫圖

創作上擁有非凡的成就外,他更是當代首屈一指的中國書畫史學

從不打草稿,《墨荷》自右方澹墨漸濃至中軸,荷梗一筆寫就,

者:1965年任職故宮博物院副研究員,1978年陞任副院長暨書畫

由下直上中鋒起筆,略帶圓折;疾筆寫白描蓮瓣綻放,神韻天

處處長,研究成果上汲宋代馬遠、元代趙孟頫,下至唐寅、文徵

成,更顯綽約風姿;中段荷葉佈局用墨分五色法,近景以濕筆側

明、仇英等名家,全面完備了明代吳派畫的脈絡。江兆申除了在

鋒落筆敷染,表現出豐富的毛、澀變化,兼以碑體書法的筆勢營

故宮任職期間遍覽名品外,更數度前往美日觀摩研究,豐沛的經

造出柔中帶剛的效果,墨色淋漓中可見蒼勁;後景以水色濕墨輕

歷磨練了江氏的眼力,也體現在他創作上風格的轉變。

掃敷染,營造出一派濃淡參差、飄逸閑散的荷塘景致;行書題詩 於左側布白處,觀之但覺拙樸倨傲,與墨荷兩相映趣,實屬江兆

此作《墨荷》寫於1985年,是年江兆申於美國大都會博物館發表 〈從唐寅的際遇來看他的詩書畫〉一文,江氏自1970年代末期開 始偶作墨荷,可窺知其畫風來自唐寅筆意,寫意中猶帶工秀;又

Ravenel 84

申寫荷難能可貴的神品逸作。


Chiang Chao-Shen was born in 1925 in Anhui and arrived in

He also acquainted Zhang Da-Qian and observed the grandiosity

Taiwan in 1949 as a secondary school teacher. He was talented

of his lotus paintings, which possesses the carefree style of Xu

in calligraphy and poems, thus he was accepted to Hanyu Tang

Wei, further polished with broad splashed ink to refine lotuses'

as a student. His all-round talent covers literature, calligraphy and

characters. Chiang's lotus paintings were composed with the

seals, and was renowned as a literary star. Chiang himself had

grandiosity of Zhang Da-Qian, with the humble and elegance

outstanding achievements in ink art and was a notable scholar,

of his teacher Pu Hsin-Yu. Chiang Chao-Shen never made any

as he was the deputy researcher at the National Palace Museum

draft. The lotus on this work perks from the right to the center in

in 1965, and later, the Deputy Director and Head of Chinese

concentrated ink in a single vertical stroke. Petals were painted

Paintings in 1978. Chiang studied ancient scrolls at the museum

in swift strokes. Lotus leaves were coloured with a variation of

and furthered his research in the US and Japan. This rich experience

colours. The foreground was painted with ink-filled slanted strokes,

allowed him to further excel in his art.

depicting the different textures and the balance of strength in stone rubbing script. The background was moist with light ink,

This work was drawn in 1985 when Chiang published his research

composing a relaxed and serene scene. The inscribed poem was

of Tang Yin at the Metropolitan Museum in the US. He started

written on the left in running script, to enhance the solemness and

drawing lotus at leisure at the end of the 1970s with a hint of

elegance of the whole scene.

Tang Yin's brushwork that combines broad and refined strokes.


651 PU HSIN-YU

(Taiwanese, 1896-1963)

溥心畬 竹雀圖

Birds by the Bamboo Grove Ink on paper, framed 99 x 24 cm Signed Pu Ru in Chinese With one seal of the artist

水墨 紙本 鏡框 99 x 24 cm 釋文:寒竹飄空翠,幽石帶曉煙,山禽應有意,來集夕陽邊。 款識:臨高且園,西山逸士溥儒。 鈐印:溥儒之印(白文)

NT$ 340,000 - 500,000 HK$ 90,000 - 133,000 US$ 11,700 - 17,100 RMB 80,000 - 118,000

溥心畬,原名愛新覺羅.溥儒,初字仲衡,改為心畬,自號西山

Pu Hsin-Yu, also known as Aisin Gioro Pu Ru, Zhong-Heng, Hsin-Yu

逸士;幼時入宮覲見,其敏捷的文思被慈禧太后讚譽「本朝靈

and Hermit of the West Mountain. He was regarded as a talented

氣,都鍾於此童」。溥心畬一生嗜詩文書畫,皆有成就。畫攻山

child and devoted himself to arts and literature from an early age,

水、兼擅人物、花鳥及書法,素有「北方畫壇第一」之封號;早

focusing on Landscapes, Figure, Flower-and-Birds and calligraphy.

年隱居馬鞍山,曾於《自述》中載明習畫的過程:「始習南宗,

He was named as the greatest artist of the North. While he resided

後習北宗,然後始畫人物、鞍馬、翎毛、花竹之類,然不及習書

in Ma'an Shan at his early age, he practised Northern and Southern

法用功之專,以書法作畫,畫自易工,以其餘事故工拙亦不自

Song paintings of figures, horses, birds, flowers and bamboo,

計。」最終讓他的藝術成就達至巔峰,融南北二宗於一體,而後

according to his autobiography. His artistic skills had advanced

更高於歷代文人雅儒的氣韻,呈現獨特的「溥氏風格」,其藝術

since, by incorporating the best of the Southern and Northern

成就超越了仿臨,展現出中國傳統文人畫的奧義。

Song style, forming elegant scholarly paintings. His unique style became a style to imitate for generations that follow.

溥心畬此作寫意《竹雀圖》以出紙法佈局,執蘭竹狼毫至畫幅左 方落筆,畫節五枝成孤竹,墨韻澀澹跌宕,實中見虛,能一窺其

This work has a simple structure starting from the bottom left. A

深厚的書法造詣;上方旁枝竹葉的撇勢迅疾,墨色濃淡平分,竹

bamboo in solitude was drawn with concentrated and dry brush,

葉相疊相破、夾葉藏鋒中富有生命力:下方濃墨側鋒掃葉,筆力

showing profound experience on the use of brush. Branches of

翩若驚鴻;上部枯墨清掃,竹葉虛實相臨、錯落有致,可知其下

the bamboo was added with swift strokes and excellent control of

筆毫不猶豫,用墨流暢遒健,能醒人眼目。畫雀法取寫意代工

ink. Overlapping leaves were depicted with a variation of slanted

筆,簡筆澹墨出雀身歛羽的形貌、細筆描喙點眼,溥心畬畫雀鳥

strokes and dry ink, adding movement to the leaves. Gongbi

用筆相對地凌厲,細節處理也多率意而為,回首顧盼之姿雖然靈

strokes and dry ink were used on the bird to sketch its feathers,

動、饒富機趣,但其間仍略帶感懷傷世之情。畫幅下方先以粗

beak and eyes. Meticulous details were put to portray the bird

筆直掃山石,後用快筆皴點、細筆圓轉描草,溥心畬運筆一氣呵

glancing backwards with a melancholic expression. Rough strokes

成,盡顯山中草色紛亂的景致。畫幅右側布白處以行書題「寒竹

were made on the rock with swift cun and fine brush. Plants were

飄空翠,幽石帶曉煙,山禽應有意,來集夕陽邊。」寫盡故國山

drawn in a swift and smooth brushwork. A poem in running script

河不在的慨歎,寓情於景,詩畫間透出疏冷感,孤竹旖斜的姿態

was written on the right as a sorrowful and distant expression

與佈白處的題詩兩者巧妙搭配,在視覺上展現出絕佳的平衡感。

over the lost empire. The simplistic composition of this work is

綜觀《竹雀圖》構圖清簡孤高,是溥心畬花鳥畫少見的構圖,除

rare among Pu Hsin-Yu's works. Such technique highlights its

能表現出其承自北宗清勁的筆調外,又能以文人的氣韻賦與此作

Northern Song style and the elegance of a scholar mourning over

洗練沉穩的貴族風範。

his glorified past.

Ravenel 86



652 ZHOU CHENG (Taiwanese, b. 1941)

Kiosk on a Cliff 1985 Ink and colour on paper, framed 81 x 157.5 cm Signed Zhou Cheng in Chinese With three seals of the artist

NT$ 480,000 - 700,000 HK$ 128,000 - 186,000 US$ 16,400 - 24,000 RMB 113,000 - 165,000 周澄 溪亭峭壁 1985 水墨 設色 紙本 鏡框 81 x 157.5 cm 釋文:溪亭風致似蓬瀛,翠竹雪濤也自清。一笑相逢無俗慮, 逍遙不必慕浮名。 款識:己丑立秋於鏡秋書屋,蓴波周澄畫。 鈐印:周澄之鉢(白文)、阿波心痕(朱文)、慈悲(白文)

周澄出生於依山傍海的宜蘭,從小對山靈有一種特別的情懷,曾

浮名」一詩。臨亭眺望的風景磅礡澎湃,海上翻起的白浪雪濤卻

說「山水本身並不具感情,而這種感情乃出於與它相接近的人

無比洶湧。自古文人以「宦海」比喻官場風波險阻猶如洶湧的大

們,接觸得越深,則感情越厚。」身為一個熱愛遊山的藝術家,

海,宋代陸游曾於《謝錢參政啟》提到:「名場蹭蹬,幾白首以

描繪山水及表達對山水的敬意更是藝術家的創作宗旨。從他的

無成;宦海漂流,顧青衫而自笑。」回到周澄的畫作,亭外景致

山水畫,觀者不單看到山巒的起伏,水面的遼闊,懸崖的深邃,

雖美,卻是只能遠看而不可靠近。越過中間的小山峭壁,兩個文

透過藝術家的手腕、筆觸、墨水及顏色的運用,令觀者更能體會

人在小舍相遇,面對著蔥鬱茂盛的翠竹,一笑相逢暢談往事互勉

到萬象的靈氣。這是藝術家過人之處,是周澄的作品跟其他山水

之,翠竹呼應詩中「自清」及「逍遙不必慕浮名」。此畫藉著滄

畫之別此幅畫以平遠式描寫波濤洶湧的海邊,孤山峭壁屹立於畫

海峭壁、竹林文人比喻藝術家不嚮往虛名浮塵,珍重忠誠的友

面中央,後方的小舍坐落於青蔥潤澤的竹林間,上方並題「溪

誼、淳樸的生活。

亭風致似蓬瀛,翠竹雪濤也自清。一笑相逢無俗慮,逍遙不必慕

Ravenel 88


Zhou Cheng was born in Yilan, which is surrounded by hills and

kiosk on top of the cliff. White waves are daunting and fierce.

the sea. He has a profound admiration towards Nature, as he

Restless seas have always been used to describe the work life

mentioned, "the emotions of landscape stemmed from a close

of court officials. Lu You of Song dynasty once mocked at his

interaction with humans. The more the interaction, the closer the

retirement that he had been fighting against the choppy sea as a

bond." As an avid traveller-artist, his goal is to portray the beauty

court official. Returning to this painting by Zhou Cheng, the scene

of landscape as a tribute to Nature. His landscape paintings show

at the kiosk is intriguing, yet one could only experience this from

vast mountain ranges, boundless seas, deep gorges through the

afar. Under the shelter of the cliff, two scholars reunite in a cottage

manipulation of the wrist, the brush, ink and colour. His paintings

facing a bamboo grove. This hints a merry time away from the

demonstrate the essence of landscape, and this makes his works

suffering of the outside world, while the bamboo echoes with the

unique. This painting features a choppy sea shore through a flat

lines of the poem of standing against the outside world. Through

and wide composition. A lonely cliff stands at the center, sheltering

the depiction of the sea, the cliff, bamboo and scholars, the artist

a cottage and the lush bamboo grove. A poem was added on the

reinstates his wish for a pure friendship and a humble life, away

top describing a picturesque scene of the choppy sea from the

from worldly pleasures.


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

周夢蝶 行書朱岱林墓志銘

Calligraphy in Running Script 1999 Ink on paper, scroll 26 x 136.5 cm Signed Chou Meng-Tieh in Chinese With one seal of the artist

NT$ 340,000 - 500,000 HK$ 90,000 - 133,000 US$ 11,700 - 17,100 RMB 80,000 - 118,000

Ravenel 90

1999 水墨 紙本 軸 26 x 136.5 cm 釋文:君諱岱林,字君山,樂陵濕沃人也。自辛朝,昌戶銜書, 親以建社,賢啟國,扶封於邾,加茅土,雄別有由立,因字為氏, 斯即去邑從朱,蓋是殊方共致。卯金則司空,即領軍贊業,勅在 晉嗣美,表於趙垂名。所謂杞梓繼生,公侯間起,哲人世挺,衣 冠代襲。曾祖霸,儒該丘素,術盡從橫,魏使持節平州諸軍事、 安遠將軍、平州刺史。俗鄰有以威恩,酹酒空陳,夷金不受。於 後謗言及樂,讒巧亂鄒,倏爾鷹揚,翻然鵲起,里三千餘戶,來 逝河南。值元嘉之末,朝多亂,不獲其賞,仍居青州之樂陵郡。 法舉秀才,釋褐南平王府,行參軍,遷尚書祠部郎中。禮閣有聲 香美,後遷司徒,亡贈鴻臚卿。父孝祖,清規勝範,地美才高。 俄而魏高祖孝文皇帝,化洽江湘,令行天下,錄奇異於巖藪,訪 隱逸於閭。起家除槃陽縣令,轉北海太守。流涕孟侯,歌謠稚子,


從今君膺茲秀氣,稟是淳和,王隸六里,方珠比玉,左智右賢, 擬龍齊鳳,得芥子,見重侯相。聿始十餘,身離艱苦,晨號夕踴, 柴毀骨立。魏廣陵王愛善如蒼,好書比德,託以金蘭,徵為國常 侍。辭不獲已,俛僶從職。而侯嬴交公子;介推逃賞,終遠晉文。 未逾十旬,以病解。後彭城王又以皇枝之貴,召為主簿,久而從 王藉甚有素,終遂干木之心,乃申安道之志。君雅量之地,同於 得喪,等概榮枯,含章韜彩,藏明晦用。兄元旭,散騎常侍,出 除南兗州刺史。弟叔業,通直散騎常侍、左光祿大夫。高冠映曰, 長戟陵風,與君意得言忘,恆思不次之舉,宴言之暇,聊申微旨。 愛人以禮,兼相欽尚,從其所好,不敢縶維。普泰之季,水德不 競,拔本塞源,摧蘭夭桂,春秋五十有四,遐邇悲噎,聞見涕零。 君大度不群,物我兼忘,非夷非惠,不石不玉。以大齊平二年二

月乙卯,葬於百尺里東五里。第四子敬脩,自惟罹此荼毒,岵山 雖陟,過庭無訓。磬茲鄙拙,式序徽猷,思與泣俱,文兼涕落。 從父兄敬範,史君伯第三子,脫略榮華,不應徵聘,沈深好古, 尤工摛屬,勒銘黃壤,以播清風。辭曰:本自高門,世資陰德, 從來位重,人兼才識。運海鱗奇,摶搖翅力,唯祖英毅,唯父深 沈,飛纓鳴玉,作範垂音。素榮俱美,出處分心。 款識:林朝賢先生及夫人、嚴婉珠,一九九九年禧,周夢蝶。 鈐印:一毛毛蟲耳(朱文) 註: 藝術家自題簽


654 WU SHI-WEI

(Taiwanese, b. 1957)

吳士偉 霜浦平遠

Reeds

"Solo Exhibition of Wu Shi-Wei", Show Gallery, Kaohsiung, 1 June, 2013 - 14 July, 2013

2010 水墨 設色 紙本 立軸 142 x 78 cm 釋文: (一)霜浦平遠。高郵湖畔蘆葦蕩,煙波浩渺沿湖迤邐。 環繞船行其間,蕭瑟靈秀甚有詩意。 (二)在潤飾中再憶一回當年創作此幅的情景與心境還是 感動,只是感嘆時光太匆匆。 款識: (一)二 O 一 O 年庚寅之夏吳士偉畫。 (二)二 O 一八年戊戍之冬,吳士偉再題。 鈐印:吳(朱文)、士偉(白文)、吳士偉(朱文)、 千花百草(白文)、華枝春滿(白文)、芳菲消息(朱文)、 霞綺(白文)

ILLUSTRATED: Chinese Ink Exhibition of Artists from China and Taiwan, Jiangsu Provincial Art Museum, Jiangsu, 2010, p. 107

展覽: 「情繫大運河—兩岸中國畫名家作品巡迴展」,江蘇省文 化聯誼會、台北市文化藝術促進協會,江蘇,展期 2010 年 9 月 16 日至 2010 年 11 月 6 日

2010 Ink and colour on paper, scroll 142 x 78 cm Signed Wu Shi-Wei in Chinese With seven seals of the artist EXHIBITED: "Chinese Ink Exhibition of Artists from China and Taiwan", Jiangsu Provincial Art Museum and Taipei Arts Promotion Association, Jiangsu, 16 September, 2010 - 6 November, 2010

Solo Exhibition of Wu Shi-Wei , Showgallery, Kaohsiung, 2013, p. 99

NT$ 280,000 - 400,000 HK$ 74,000 - 106,000 US$ 9,600 - 13,700 RMB 66,000 - 94,000

Ravenel 92

「花長好 – 吳士偉個展」,小畫廊,高雄,展期 2013 年 6 月 1 日至 2013 年 7 月 14 日 圖錄: 《情繫大運河:兩岸中國畫名家作品集》,江蘇省文化 聯誼會,江蘇,2010 年出版,頁 107 《花長好》,小畫廊,高雄,2013 年 5 月出版,頁 99



655 PU HSIN-YU

(Taiwanese, 1896-1963)

Calligraphy in Running Script Ink on paper, scroll 85 x 41.5 cm Signed Hsin-Yu in Chinese With two seals of the artist

NT$ 240,000 - 380,000 HK$ 64,000 - 101,000 US$ 8,200 - 13,000 RMB 56,000 - 89,000 溥 心畬 行書書法 水墨 紙本 立軸 85 x 41.5 cm 釋文:石磴盤紆山木稠,林泉如此足清幽。若為 攝屐千峰外,卜築誅茅最上頭。屋上青山屋下 泉,泉流直到竹廚邊。客來何處供清座,露茗新 抽榖雨前。 款識:心畬。 鈐印:省心齋(朱文)、溥儒(白文)

Ravenel 94


656 LI JIN

(Chinese, b. 1958)

Nostalgia 2014 Ink and colour on paper, framed 38 x 43 cm Signed Li Jin in Chinese With two seals of the artist EXHIBITED: "Merrymaking by Li Jin", Gallery 100, Taipei, 29 March, 2014 - 27 April, 2014 ILLUSTRATED: Merrymaking by Li Jin, Gallery 100, Taipei, March, 2014 This painting is to be sold with a certificate of authenticity by the Gallery 100

NT$ 240,000 - 380,000 HK$ 64,000 - 101,000 US$ 8,200 - 13,000 RMB 56,000 - 89,000

李津 家山阿北望 2014 水墨 設色 紙本 鏡框 38 x 43 cm 釋文:家山呀北望。 款識:李津製。 鈐印:有心人(朱文)、李津之印(朱文) 展覽: 「李津 集食行樂」,百藝畫廊,台北,展期 2014 年 3 月 29 日 至 2014 年 4 月 27 日 圖錄: 《李津 集食行樂》,百藝畫廊,台北,2014 年 3 月出版 附百藝畫廊開立之保證書


現代八大山人:丁衍庸

DING YAN-YONG

融合西方藝術方法與中國文人畫 風 於 一 體 的 創 作 風 格

INTEGRATING STYLES OF WESTERN ART AND CHINESE LITERATI PAINTING

丁衍庸生於廣東茂名縣,曾赴日本川端畫學校、東京美術專門學 校主修西畫,尤精野獸派馬諦斯畫風;1949年移居香港後專研水 墨創作,作育英才無數。丁氏除了作為新藝術運動的健將,積極 推動西方現代藝術在中國的傳播,更致力於中國傳統書畫藝術、 金石、文物上的研究,其創作風格深受八大山人的影響,被譽 為「東方馬諦斯」、「現代八大山人」,作品多於香港與海外展 覽,近年丁衍庸的作品深受收藏界矚目,是近現代中國藝術史上 不容忽視的藝術家。此次徵集的四件拍品為丁衍庸的寫意精品, 花卉鳥獸水族皆擅,可盡覽其融合西方藝術方法與中國文人畫風 於一體的創作風格。 《鴛鴦荷花》(編號659)構圖簡潔,取自徐渭、朱耷大寫意法 畫荷,但荷莖落筆彎曲有違常理,是其特出之處,畫荷葉托出則 濃墨、潑墨兼用,墨色淋漓痛快且極盡變化,圓筆白描荷苞,後 用洋紅點色,既醒目又能得清雅之氣;以枯筆寫石,鴛鴦一雙上 下站立對望,畫鴛鴦體態以墨色漬染,雄鴛以花青敷色頂翎、背 羽,牡丹紅罩染尾羽;雌鴦則用淡赭敷色眼羽及翅羽,用筆寥寥 卻富有深意。款識題予友人伉儷,乃寓同宿雙飛、永浴愛河的美 意。 《竹林小鳥》(編號658)全圖筆勁老熟簡練,丁衍庸畫石則脫 自石濤筆意,中鋒用筆繪出凝重流暢、廼勁有力的線條,實得力 於他深厚的書法造詣與篆刻的研究,寫石筆開八面突顯出金石趣 味,既能力求樸拙,又可襯托出石塊的沉穩樣貌;石旁寫竹梢, 自下而上落筆速疾,後以側鋒濃墨掃出竹葉,多用一枝三葉造 景,竹枝的瘦與石塊的沉對比出畫面的層次與逸趣;石上畫小

圖:丁衍庸

鳥展翅欲飛,表情極富童趣且生動自然,款識題贈台灣弟子鄭宇 煌,可得知此畫初觀雖然饒富機趣,但卻隱含丁衍庸惜才愛徒之 心。 丁衍庸畫《水族圖》(編號660)不求形似,將水族生態、動作、

《全家福》(編號657)上段由丁衍庸寫生,下段則是知名書法家

表情作出大膽的描寫,追求神韻天真的路數,畫風雖承襲自八大

何懷碩隸書、行書題款並作,全幅構圖極富創造力,並著重於寫

山人,但丁氏僅汲取了八大的沉潛內斂,後以線條的運用與墨色

真狀物的精神表現,丁衍庸以墨色暈染描繪雙雞體態,寫意的線

的變化創造出畫面上的靈動與跳躍感:線條上的法度則由心而

條明快流暢:翅羽橫筆猷勁有力、尾羽方折之處可見圓融;畫小

出,畫螯蝦觸角筆勢飛舞、畫魚形線條婉轉柔美,以文人氣勝;

雞用墨色作出暈瀋清雅之感,面顏露出童心天真的諧趣,既能表

墨色變化以焦墨寫螃蟹,蟹足方折之處可見篆隸筆勢、畫利牙張

現出雞群的豐腴飽滿,又可突顯出丁氏不做作、不拘泥形式的筆

口的大魚下腹線條踞傲不拘,魚鰭、眼腮、尾部敷色濃淡兼施,

墨情調。

無不曲盡其妙,風格之卓越,無與倫比。

Ravenel 96


Ding Yan-Yong was born in Maoming, Guangdong. Previously

concentrated dry ink of the crab and the joints of the legs in the

studied oil painting in Kawabata School of Paintings and the Tokyo

strokes of seal scripts. A fish with a wide-open mouth has a loosely

Design Academy in Japan, specializing in the style of Matisse. His

sketched belly. Its fins, eyes, gill and tail were lightly coloured, and

career in ink art started in Hong Kong in 1949 and had numerous

thus an excellent and creative work was completed.

students since then. He devoted himself to the development of new art, promoting Western modern art in China. He was keen on the research on Chinese traditional art, epigraphy and relics. His style was heavily influenced by Bada Shanren, and Ding was known as Matisse of the East and Modern Bada Shanren. His works were exhibited in Hong Kong and abroad. In recent years, his works received wide recognition and the artist became a prominent figure in modern Chinese art history. In this sale, four works have been selected. They feature flowers, birds and animals in a combination of Western techniques and Chinese style.

Mandarin Ducks and Lotus Flowers (Lot 659) has a simple structure, featuring the lotuses drawn with the freehand technique of Xu Wei and Zhu Da. The stems bend downward in an unnatural way, making his works unique. The leaves were coloured in a mixture of dense and splashed ink. Gradients of ink could be observed. The bud was sketched in a round shape, and was coloured in red, creating a refreshing design. Dry ink was used for the rocks. A pair of mandarin ducks gazed at each other. Their bodies were sketched with ink. The male duck has green feathers on its head and back, while the feathers on the tail are coloured in red. The female duck was dyed in light ochre near the eyes and on its wings in minimal strokes. An inscribed note says it was to be given to a couple friends with a blessing. Birds by the Bamboo Grove (Lot 658) was composed with minimal strokes. Rocks were drawn with vertical brush forming sturdy and smooth lines. Such skills were derived from his in-depth knowledge in calligraphy, seal script and epigraphy. This way, the heaviness of the rock could be achieved. A bamboo was placed next to the rock. Swift brushstrokes were used on the stems, followed by slanted strokes and saturated ink for the leaves. A three-leaves per branch technique was used. The slender bamboo contrasts with the heavy boulder, creating layering and aesthetic value to the painting. A bird resting on the rock was drawn with a funny expression, yet true to its nature. The inscription mentions the painting was a gift to his Taiwanese student Cheng Yu-Huang, thus revealing a teacher's love to his students. Aquatic Life (Lot 660) was drawn by freehand, highlighting a naive expression of sea animals. This could be traced back to Bada Shanren, but not a copy to his style. Ding extracted the humble representations of Bada as its base, and reinvented the vibracy through the depiction of ink and lines. The antennae of the shrimps dance in the air, while the outlines of the fish were smooth and gentle. The gradient of ink was highlighted by the

Family Gathering (Lot 657) was composed in two parts, a life drawing on the top and a calligraphy of seal and running scripts by He Huai-Shuo on the bottom. The painting is a creative piece which focuses on the representation of characters of objects. Colour gradation was used to draw the cock and hen. Freehand strokes were used in a smooth and swift manner. Feathers of the wings were sturdy and those on the tail were round and smooth. Chickens were colour-filled to create a refreshed scene. The naive expressions of chickens were depicted, thus completing the harmonious scene of the chicks. This work would yet be another marvelous piece that highlights Ding's natural depiction in a cheerful character.


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

HE HUAI-SHUO (Taiwanese, b. 1941)

Family Gathering Ink on paper, framed (Top) 34 x 34.5 cm (Bottom) 25.5 x 35 cm Signed Ding Yan-Yong and He Huai-Shuo in Chinese With four seals of the artists

NT$ 60,000 - 120,000 HK$ 16,000 - 32,000 US$ 2,100 - 4,100 RMB 14,000 - 28,000 丁衍庸;何懷碩 全家福 水墨 紙本 鏡框 (上)34 x 34.5 cm (下)25.5 x 35 cm 釋文: (下)全家福,莫怪去遲遲,予心君亦知。膝前嬌 小女,眼底寧馨兒。學語渠渠問,牽裳步步隨。出 門雖不遠,情愛未能移。 款識: (上)丁衍庸寫。 (下)宋梅堯臣詩,古人寫全家福甚難得。丁酉夏, 何懷碩。 鈐印: (上)丁氏(白文) (下)澀盫(朱文)、何(白文)、懷碩(朱文)

Ravenel 98


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

Birds by the Bamboo Grove 1975 Ink on paper, scroll 69 x 34 cm Signed Ding Yan-Yong in Chinese With one seal of the artist

NT$ 70,000 - 140,000 HK$ 19,000 - 37,000 US$ 2,400 - 4,800 RMB 16,000 - 33,000 丁衍庸 竹林小鳥 1975 水墨 紙本 立軸 69 x 34 cm 款識:宇煌女弟清賞,乙卯丁衍庸。 鈐印:丁庸(白文) 註: 上款人「宇煌女弟」,即為丁衍庸的台灣弟子 鄭宇煌,鄭氏曾赴港習畫,後赴澳洲。


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

Mandarin Ducks and Lotus Flowers Ink and colour on paper, scroll 99.5 x 34.5 cm Signed Ding Yan-Yong in Chinese With one seal of the artist PROVENANCE: Sotheby's New York, 16 March, 2017, Lot 918

NT$ 280,000 - 400,000 HK$ 74,000 - 106,000 US$ 9,600 - 13,700 RMB 66,000 - 94,000 丁 衍庸 鴛鴦荷花 水墨 設色 紙本 立軸 99.5 x 34.5 cm 款識:璧然小姐、明高先生賢伉儷。丁衍庸寫。 鈐印:丁氏(白文) 來源: 紐約蘇富比,2017 年 3 月 16 日,編號 918

Ravenel 100


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

Aquatic Life 1974 Ink on paper, scroll 139 x 58.5 cm Signed Ding Yan-Yong in Chinese With one seal of the artist PROVENANCE: Christie's, 18 November, 2019 - 25 November, 2019, Lot 1648

NT$ 380,000 - 600,000 HK$ 101,000 - 160,000 US$ 13,000 - 20,600 RMB 89,000 - 141,000 丁 衍庸 水族圖 1974 水墨 紙本 立軸 139 x 58.5 cm 釋文:盡學魚龍能變化,漫愁山鬼咲風流。 款識:中行仁弟,甲寅秋日,丁衍庸。 鈐印:虎(朱文) 來源: 佳士得,2019 年 11 月 18 日至 25 日,編號 1648 註: 上款人「中行仁弟」,即為丁衍庸的弟子劉中行, 香港藝術家。


661 YU CHUNG-LIN

(Taiwanese, 1925-1985)

喻仲林 芙蓉蘆荻

Wagtail, Hibiscus and Reed Grass 1970 Ink and colour on paper, framed 49.5 x 65.5 cm Signed Yu Chung-Lin in Chinese With three seals of the artist

1970 水墨 設色 紙本 鏡框 49.5 x 65.5 cm 釋文:灩光盪日開朝錦,露影沈波隨晚露。 款識:庚戊三月山左喻仲林寫於台灣麗水精舍。 鈐印:喻性根(白文)、仲林(朱文)、芳菲菲兮襲余(朱文)

PROVENANCE: Acquired directly from the artist's family

來源: 直接得自藝術家家屬

EXHIBITED: "Elegance and Grace: A Memorial Exhibition of Flower and Bird Paintings by Yu Chung-Lin", National Museum of History, Taipei, 14 January, 2012 - 28 February, 2012

展覽: 「工緻典麗:喻仲林 88 花鳥畫紀念展」,國立歷史博物館, 台北,展期 2012 年 1 月 14 日至 2012 年 2 月 28 日

ILLUSTRATED: Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-Lin , National Museum of History, Taipei, January, 2012, pp. 128-129

NT$ 190,000 - 300,000 HK$ 51,000 - 80,000 US$ 6,500 - 10,300 RMB 45,000 - 71,000 Ravenel 102

圖錄: 《工緻典麗:喻仲林 88 花鳥畫紀念集》,國立歷史博物館, 台北,2012 年 1 月出版,頁 128-129


662 PU TZU

(Taiwanese, 1959-2013)

卜茲 草書道德經雙併

Calligraphy in Cursive Script 2008 Ink on paper 182 x 90.5 cm (each) Signed Pu Tzu in Chinese With one seal of the artist

2008 水墨 紙本 182 x 90.5 cm(每件) 釋文:天下皆知美之為美,斯惡已;皆知善之為善,斯不善矣。 款識:溪心人卜茲陳氏。 鈐印:卜茲(朱文)

ILLUSTRATED: Exhibition of Putzu's Calligraphies , Butchart International Contemporary Art Space, Taipei, August, 2008, p.15

圖錄: 《太龢之流》,布查國際當代藝術空間,台北,2008 年 8 月出版, 頁 15

This painting is to be sold with a certificate of authenticity by Butchart International Contemporary Art Space.

附布查國際當代藝術空間開立保證書

NT$ 160,000 - 260,000 HK$ 43,000 - 69,000 US$ 5,500 - 8,900 RMB 38,000 - 61,000


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

Landscape 1952 Ink on paper, scroll 59 x 28 cm Signed Peng Chun-Shi in Chinese With one seal of the artist PROVENANCE: Former collection of Mr. Tai Jing-Nong Private collection, Taipei

NT$ 150,000 - 240,000 HK$ 40,000 - 64,000 US$ 5,100 - 8,200 RMB 35,000 - 56,000 彭 醇士 雙溪清逸 1952 水墨 紙本 立軸 59 x 28 cm 釋文:雙溪清逸。 款識:壬辰七月教奉,靜老仁丈八十壽愚姪彭醇士 再拜。 鈐印:素盦(朱文) 來源: 臺靜農先生舊藏 私人收藏,台北 註: (一)上款人「靜老仁丈」為臺靜農,終身貢獻給 國文的教育與創作,曾與魯迅有密切來往,曾任北 京私立中法大學中文系講師、輔仁大學副教授兼校 長秘書、國立編譯館編審、台灣大學教授及系主 任、輔仁大學及東吳大學中文研究所講座及研究教 授。 (二)劉旦宅題簽

Ravenel 104


664 CHIANG MING-SHYAN (Taiwanese, b. 1942)

江明賢 荷花

Lotus 1992 Ink and colour on paper, framed 47 x 146 cm Signed Chiang Ming-Shyan in Chinese With two seals of the artist

NT$ 120,000 - 220,000 HK$ 32,000 - 59,000 US$ 4,100 - 7,500 RMB 28,000 - 52,000

1992 水墨 設色 紙本 鏡框 47 x 146 cm 釋文:水陸草木之花,可愛者甚蕃。晉陶淵明獨愛菊。自李 唐來,世人盛愛牡丹。予獨愛蓮之出淤泥而不染,濯清漣而 不妖,中通外直,不蔓不枝,香遠益清,亭亭淨植,可遠觀 而不可褻玩焉。予謂菊,花之隱逸者也;牡丹,花之富貴者 也;蓮,花之君子者也。噫!菊之愛,陶後鮮有聞。蓮之愛, 同予者何人?牡丹之愛,宜乎衆矣! 款識:壬申之春,錄濂溪句,江明賢并題。 鈐印:江氏(白文)、明賢(朱文)


665 KUO HSUEH-HU (Taiwanese, 1908-2012)

郭雪湖 古城秋月(鹿港)

The Historic Village of Lukang in Autumn 1938 Glue-pigment on silk, framed 46 x 51 cm Signed Hsueh-Hu in Chinese With one seal of the artist PROVENANCE: Sotheby's Taipei, 22 March, 1992, Lot 45 Private collection, Taiwan EXHIBITED: "70 Years of Kuo Hsueh-Hu", Apollo Art Gallery, Taipei, 1 October, 1989 - 12 October, 1989 ILLUSTRATED: 70 Years of Kuo Hsueh-Hu , Invitation of Apollo Art Gallery, Taipei, 1989

NT$ 120,000 - 220,000 HK$ 32,000 - 59,000 US$ 4,100 - 7,500 RMB 28,000 - 52,000 Ravenel 106

1938 膠彩 絹本 鏡框 46 x 51 cm 款識:戊寅秋,雪湖。 鈐印:雪湖(朱文) 來源: 台北蘇富比,1992 年 3 月 22 日,編號 45 私人收藏,台灣 展覽: 「郭雪湖創作七十作品展」,阿波羅畫廊,台北, 展期 1989 年 10 月 1 日至 1989 年 10 月 12 日 圖錄: 《郭雪湖創作七十作品展》展覽邀請函,阿波羅畫廊, 台北,1989


666 KUO HSUEH-HU (Taiwanese, 1908-2012)

郭雪湖 翠竹青鳥

Parrot and Bamboo Ink and colour on silk, scroll 39 x 48 cm Signed Hsueh-Hu in Chinese With one seal of the artist

NT$ 120,000 - 220,000 HK$ 32,000 - 59,000 US$ 4,100 - 7,500 RMB 28,000 - 52,000

水墨 設色 絹本 立軸 39 x 48 cm 款識:雪湖作。 鈐印:雪湖(白文)


667 YU YOU-REN

(Taiwanese, 1879-1964)

Calligraphy in Cursive Script Ink on paper, scroll 88.5 x 34.5 cm Signed Yu You-Ren in Chinese With one seal of the artist

NT$ 120,000 - 220,000 HK$ 32,000 - 59,000 US$ 4,100 - 7,500 RMB 28,000 - 52,000 于 右任 草書黃庭堅清江引 水墨 紙本 立軸 88.5 x 34.5 cm 釋文:江鷗搖盪荻花秋,八十漁翁百不憂。清曉採蓮來 盪槳,夕陽收網更橫舟。群兒學漁亦不惡,老妻白頭從 此樂。全家醉著篷底眠,舟在寒沙夜潮落。 款識:黃山谷《清江引》,葆榮先生,于右任。 鈐印:右任(朱文)

Ravenel 108


668 LUO JIA-LUN

(Taiwanese, 1897-1969)

Calligraphy in Running Script Ink on paper, scroll 80.5 x 37 cm Signed Luo Jia-Lun in Chinese WIth one seal of the artist

NT$ 80,000 - 160,000 HK$ 21,000 - 43,000 US$ 2,700 - 5,500 RMB 19,000 - 38,000 羅家倫 行書書法 水墨 紙本 立軸 80.5 x 37 cm 釋文:近窺深秀遠雄奇,各逞風光鬥羽儀。 腸轉百迴難作別,雪山送我下峨眉。 款識:曦晨先生,羅家倫書寫中詩。 鈐印:羅家倫(白文)


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

余承堯 草書王之渙涼州詞

Calligraphy in Cursive Script 1990 Ink on paper, scroll 70 x 70 cm Signed Yu Cheng-Yao in Chinese With one seal of the artist EXHIBITED: "Three Masters of Art: Calligraphy and Paintings by Yu ChenYao, Shen Yao-Chu, and Zhen Shan-Xi", National Museum of History, Taipei, 20 December, 2013 - 23 February, 2014 ILLUSTRATED: Three Masters of Art: Calligraphy and Paintings by Yu ChenYao, Shen Yao-Chu, and Zhen Shan-Xi , National Museum of History, Taipei, December, 2013, p. 81

NT$ 70,000 - 140,000 HK$ 19,000 - 37,000 US$ 2,400 - 4,800 RMB 16,000 - 33,000 Ravenel 110

1990 水墨 紙本 立軸 70 x 70 cm 釋文:黃河遠上白雲間,一片孤城萬仞山。羌笛何須怨楊柳,春 風不度玉門關。 款識:庚午夏日書,王之渙《涼州詞》,絕句七言一首,余承堯。 鈐印:余承堯印(白文) 展覽: 「閩臺三傑:余承堯、沈耀初、鄭善禧書畫聯展」,國立歷史博 物館,台北,展期 2013 年 12 月 20 日至 2014 年 2 月 23 日 圖錄: 《閩臺三傑 : 余承堯、沈耀初、鄭善禧書畫集》,國立歷史博物 館,台北,2013 年 12 月初版,頁 81


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

Calligraphy in Cursive Script Ink on paper, scroll 134 x 34 cm Signed Yu Cheng-Yao in Chinese With one seal of the artist EXHIBITED: "Three Masters of Art: Calligraphy and Paintings by Yu Chen-Yao, Shen Yao-Chu, and Zhen Shan-Xi", National Museum of History, Taipei, 20 December, 2013 - 23 February, 2014 ILLUSTRATED: Three Masters of Art: Calligraphy and Paintings by Yu Chen-Yao, Shen Yao-Chu, and Zhen Shan-Xi, National Museum of History, Taipei, December, 2013, p. 80

NT$ 60,000 - 120,000 HK$ 16,000 - 32,000 US$ 2,100 - 4,100 RMB 14,000 - 28,000 余承堯 草書李白秋登宣城謝脁北樓 水墨 紙本 立軸 134 x 34 cm 釋文:江城如畫裡,山曉望晴空。兩水夾明鏡, 雙橋落彩虹。人煙寒橘柚,秋色老梧桐。誰念北樓上, 臨風懷謝公。 款識:太白《秋登宣城謝脁北樓》,余承堯。 鈐印:余承堯印(白文) 展覽: 「閩臺三傑:余承堯、沈耀初、鄭善禧書畫聯展」, 國立歷史博物館,台北,展期 2013 年 12 月 20 日至 2014 年 2 月 23 日 圖錄: 《閩臺三傑:余承堯、沈耀初、鄭善禧書畫集》, 國立歷史博物館,台北,2013 年 12 月初版,頁 80


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

Calligraphy in Regular Script Ink on paper, scroll 67 x 33 cm Signed Yu Cheng-Yao in Chinese With one seal of the artist

NT$ 50,000 - 100,000 HK$ 13,000 - 27,000 US$ 1,700 - 3,400 RMB 12,000 - 24,000 余承堯 楷書滿江紅 水墨 紙本 立軸 67 x 33 cm 釋文:雨霽山晴,光生也,無邊翠綠,胸次郎談詞, 惠我明窗,細讀唐宋聲音時,不做元明雅麗,今無復 最難能,繼起著清輝,冥中燭黃鐘,亂清微覆,宮調 廢從無樂,但閩南絃管仍傳遺曲,漢魏清商思恍惚, 柳周令犯臨存續,願詞家重拍舊紅牙,新絲竹。 款識:滿江紅。代柬謝殿魁先生贈所著《談詞》一卷。 余承堯。 鈐印:余承堯印(白文) 註: 上款人「殿魁先生」即為李殿魁,字任之,上海人, 畢業於台灣師範大學、中國文化大學文學博士,曾師 事臺靜農,並曾任中國文化大學中文系教授兼系主任, 現任國立台北藝術大學傳統藝術研究所兼任教授。

Ravenel 112


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

彭醇士 書法

Calligraphy 1962 Ink on paper, framed 19.5 x 60.5 cm Signed Peng Chun-Shi in Chinese With three seals of the artist EXHIBITED: "Solo Exhibition of Peng Chun-Shi", Chan Liu Art Gallery, Taipei, 15 January, 2000 - 30 January, 2000 ILLUSTRATED: Chan Liu Arts Monthly, Chan Liu Art Gallery, Taipei, 2000, p.13

NT$ 50,000 - 100,000 HK$ 13,000 - 27,000 US$ 1,700 - 3,400 RMB 12,000 - 24,000

1962 水墨 紙本 鏡框 19.5 x 60.5 cm 釋文:哲人抱懷器,言語著當日,自遜弗如顏,聞一乃知十,才 高不受命,事急亦時出,手援宗國危,兵搆諸侯隙,流風逮賢裔, 遐武隱繩昔,無心嬰世綱,結駟擁華席,神州薦封豕,秉軸固深 壁。 款識:壬寅夏月寫,鑄秋老兄六十壽,弟彭醇士敬祝。 鈐印:素庵(朱文)、筠州(朱文)、彭醇士印(白文) 展覽: 「詩書畫三絕—彭醇士書畫展」,長流畫廊,台北,展期 2000 年 1 月 15 日至 2000 年 1 月 30 日 圖錄: 《長流藝聞》,長流藝聞雜誌社,台北,2000 年,頁 13 註: 上款人「鑄秋老兄」為端木愷先生,字鑄秋,曾歷任安徽省政府 教育廳科長、省立安徽大學法學院院長,復旦大學法學院院長, 國立中央大學行政法教授、台灣東吳大學校長。


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

王攀元 問菊

Chrysanthemums Ink on paper, framed 46 x 34 cm With one seal of the artist

NT$ 50,000 - 100,000 HK$ 13,000 - 27,000 US$ 1,700 - 3,400 RMB 12,000 - 24,000

Ravenel 114

水墨 紙本 鏡框 46 x 34 cm 鈐印:王后(白文)


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

王攀元 獨立宮

Solitude Ink on paper, framed 23.5 x 64 cm With one seal of the artist

NT$ 50,000 - 100,000 HK$ 13,000 - 27,000 US$ 1,700 - 3,400 RMB 12,000 - 24,000

水墨 紙本 鏡框 23.5 x 64 cm 鈐印:王后(白文)


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

王攀元 日出

Sunrise Ink and colour on paper, framed 42 x 34.5 cm With one seal of the artist

NT$ 50,000 - 100,000 HK$ 13,000 - 27,000 US$ 1,700 - 3,400 RMB 12,000 - 24,000

Ravenel 116

水墨 設色 紙本 鏡框 42 x 34.5 cm 鈐印:攀元書畫(白文)


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

匡仲英 山水(兩件一組)

Landscape (A Set of Two) 2010 Ink and colour on paper, framed (Left) 95.5 x 45 cm (Right) 106 x 57.5 cm Signed Kuang Zhong-Ying in Chinese With seven seals of the artist

NT$ 50,000 - 100,000 HK$ 13,000 - 27,000 US$ 1,700 - 3,400 RMB 12,000 - 24,000

2010 水墨 設色 紙本 鏡框 (左)95.5 x 45 cm (右)106 x 57.5 cm 釋文: (左)竹橋橫小澗,泉響落空山。唯有幽棲客,扁舟恣往還。 (右)遠浦歸帆。 款識: (左)庚寅秋吉湘鄉,匡仲英寫。 (右)仲英匡時寫。 鈐印: (左)匡時(白文)、仲英(朱文)、願花長好月長圓人長壽(白文) (右)匡時私印(白文)、仲英長壽(朱文)、願花長好月長圓人長壽 (白文)、廬雨山煙(朱文)


677 NI TIAN

(Chinese, 1855-1919)

Reposing by the Bamboo Grove Ink and colour on paper, framed 147 x 39.5 cm Signed Ni Tian in Chinese With one seal of the artist PROVENANCE: Private collection, Taiwan

NT$ 60,000 - 120,000 HK$ 16,000 - 32,000 US$ 2,100 - 4,100 RMB 14,000 - 28,000 倪田 竹深納涼 水墨 設色 紙本 鏡框 147 x 39.5 cm 釋文:竹深留客處。 款識:擬新羅山人法,墨畊倪田。 鈐印:寶田之印(朱文) 來源: 私人收藏,台灣

Ravenel 118


678 FONG CHUNG-RAY (Taiwanese, b.1933)

馮鍾睿 彩墨作品 1975-23

Ink Painting 1975-23 1975 Ink and colour on paper, framed 61 x 61.5 cm Signed Fong Chung-Ray in Chinese PROVENANCE: Ju Bao Pen Gallery, Taipei Acquired by the present owner from the above

NT$ 100,000 - 200,000 HK$ 27,000 - 53,000 US$ 3,400 - 6,900 RMB 24,000 - 47,000

1975 水墨 設色 紙本 鏡框 61 x 61.5 cm 款識:馮鍾睿,一九七五 - 廿三。 來源: 聚寶盆畫廊,台北 現藏家購自上述來源


679 AU HO-NIEN

(Taiwanese, b. 1935)

Couplet in Running Script Ink on gold-coated paper, framed 69 x 16 cm (each) Signed Au Ho-Nien in Chinese With one seal of the artist

NT$ 40,000 - 80,000 HK$ 11,000 - 21,000 US$ 1,400 - 2,700 RMB 9,000 - 19,000 歐 豪年 行書五言聯 水墨 金宣紙 鏡框 69 x 16 cm(每件) 釋文:海為龍世界,天是鶴家鄉。 款識:嶺南歐豪年。 鈐印:豪年翰墨(白文)

Ravenel 120


680 FU SHEN

(Taiwanese, b. 1936)

Calligraphy in Running Script 1997 Ink on paper, framed 70 x 13 cm (each) Signed Fu Weng in Chinese With two seals of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 14,000 傅申 行書七言聯 1997 70 x 13 cm(每件) 水墨 紙本 鏡框 釋文:七發文章才子筆,三時清課辟支禪。 款識:丁丑秋日雨中書此,君約傅翁。 鈐印:卿下人(朱文)、傅申(白文)


681 ZHOU CHENG (Taiwanese, b. 1941)

周澄 摩訶般若波羅蜜多心經

The Heart Sutra 2016 Ink on paper, framed 34.5 x 59.5 cm Signed Zhou Cheng in Chinese With three seals of the artist PROVENANCE: Acquired directly from the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 14,000

Ravenel 122

2016 水墨 紙本 鏡框 34.5 x 59.5 cm 釋文:觀自在,摩訶般若波羅蜜多心經 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:丙申中秋於居山堂,周澄敬書。 鈐印:觀自在(白文)、周澄(白文)、蓴波(朱文) 來源: 現藏家得自藝術家本人


682 CHUANG YEN

(Taiwanese, 1899-1980)

莊嚴 臨隋人書出師頌

Calligraphy 1974 Ink on paper, framed 33.5 x 102 cm Signed Weng Yan in Chinese With three seals of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 14,000

1974 水墨 紙本 鏡框 33.5 x 102 cm 釋文:茫茫上天,降祚為漢,作基開業,人神攸讚,五曜宵 映,素靈夜歎,皇運未授,萬寶增煥,曆紀十二,天命中易, 西戎不順,東夷構逆,乃命上將,授以雄戟。 款識:隋賢書猶有西系遺意,為敏東小姐臨之。甲寅年夏五, 翁嚴。 鈐印:六一翁(朱文)、莊(朱文)、嚴(朱文)


683 WU SHI-WEI

(Taiwanese, b. 1957)

吳士偉 山水

Landscape 2018 Ink and colour on silk, framed 7 x 89.5 cm Signed Wu Shi-Wei in Chinese With three seals of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 14,000 Ravenel 124

2018 水墨 設色 絹本 鏡框 7 x 89.5 cm 款識:二 O 一八戊戌春日,吳士偉畫。 鈐印:春長好(白文)、吳氏(朱文)、士偉(朱文)


684 HU NIAN-ZU

(Taiwanese, 1927-2019)

胡念祖 寒巖清泉

Landscape 2001 Ink and colour on paper, framed 80.5 x 44 cm Signed Hu Nian-Zu in Chinese With four seals of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 14,000

2001 水墨 設色 紙本 鏡框 80.5 x 44 cm 釋文:白石巖腰屑玉泉,佳名初自老君傳。渾疑齒頰冰霜論, 終日霏霏落半天。 款識:宋人詩意。時在辛巳深冬,石牛老牧於麗水精舍胡念祖。 鈐印:石牛老牧(白文)、胡(朱文)、念祖(白文)、麗水精 舍(白文)


685 LU FO-TING

(Taiwanese, 1911-2005)

呂佛庭 無量壽佛

Buddha 1957 Ink and colour on paper, framed 49.5 x 27.5 cm Signed Fo-Ting in Chinese With two seals of the artist

1957 水墨 設色 紙本 鏡框 49.5 x 27.5 cm 釋文:萬法寧有常 ,色空心無往,解脫三毒苦,自得無量壽。 款識:丁酉仲冬寫無量壽佛相,為錫公六秩壽,佛庭。 鈐印:佛庭(朱文)、南陽山人(白文)

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 14,000

註: 上款人「錫公」為劉錫五(1899-1997),字輯廷,別號柳塘。 河南省鞏縣黃瓜峪人,畢業於國立北京大學,曾任河南第十選區 制憲國民大會代表、河南省第六選區當選第一屆立法委員、立法 院內政委員會委員兼召集委員兼公報指導委員及國立中央大學國 文系主任。

Ravenel 126


686 CHAO SHAO-AN (Chinese, 1905-1998)

趙少昂 花鳥

Flower and Bird Ink and colour on paper, framed 40.5 x 56 cm Signed Shao-An in Chinese With two seals of the artist

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000

水墨 設色 紙本 鏡框 40.5 x 56 cm 款識:少昂於夢萱堂。 鈐印:趙(朱文)、少昂(白文)


687 WAN YAN-BEI (Chinese)

萬硯北 花鳥扇面

Flower and Bird Ink and colour on paper, framed 17.5 x 50.5 cm Signed Wan Yan-Bei in Chinese With four seals of the artist and one seal of the collector

水墨 設色 紙本 鏡框 17.5 x 50.5 cm 釋文:花開風前蕊,竹長雨後枝,亂林蕭竦影,幽禽窈窕姿。 款識:䍩雲先生雅正,萬硯北作。 鈐印:流水行雲(朱文)、硯(朱文)、北(朱文)、善哉 扇齋之寶(朱文)、恃平樓主(朱文)

PROVENANCE: Former collection of Mr. Hwang Tien-Tsai

來源: 黃天才先生舊藏

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 Ravenel 128


688 SHEN XUE-GONG (Chinese, 1917-2009)

岑學恭 巫峽煙雨圖

Landscape 1980 Ink and colour on paper, framed 96 x 59.5 cm Signed Xue-Gong in Chinese With three seals of the artist

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000

1980 水墨 設色 紙本 鏡框 96 x 59.5 cm 釋文:巫峽煙雨圖。 款識:庚申新秋八月,學恭。 鈐印:岑氏(朱文)、學恭長年(白文)、塞上人(朱文) 簽條: 款識:岑學恭《巫峽煙雨圖》,庚申克君題簽。 鈐印:宋(朱文)、重慶畫廊(朱文) 註: 宋克君題簽


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

臺靜農 統年股份有限公司

Calligraphy Ink on paper, scroll 34 x 131 cm Signed Tai Jing-Nong in Chinese With one seal of the artist

水墨 紙本 軸 34 x 131 cm 釋文:統年股份有限公司。 款識:臺靜農。 鈐印:臺靜農(白文)

PROVENANCE: Acquired directly from the artist

來源: 現藏家得自藝術家本人

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 14,000

Ravenel 130


690 LUO FU

(Taiwanese, 1928-2018)

Calligraphy in Running Script Ink on paper, scroll 110.5 x 10 cm Signed Luo Fu in Chinese With one seal of the artist

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 洛夫 行書書法 水墨 紙本 立軸 110.5 x 10 cm 釋文:窗外的雨聲如一江湖寒士的吟哦。 款識:洛夫。 鈐印:洛夫(朱文)


691 CHIANG YI-TSAI (Taiwanese, b. 1973)

Couplet in Seal Script 2020 Ink on paper, scroll 181 x 29.5 cm (each) Signed Chiang Yi-Tsai in Chinese With four seals of the artist

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 姜 義才 篆書二十三言龍門聯 2020 水墨 紙本 立軸 181 x 29.5 cm(每件) 釋文: 妙墨妙茶妙筆妙牋妙辭妙字,巾笥內藏之,便是吉 光鳳羽。 古鼎古碑古琴古硯古畫古書,山房中得此,真成勃 律羊脂。 小園玩古,各有所宜,清心所至萬物生靈。 山為靜友可以撫琴,琴清而山應。竹為泠友可以瀹 泉,泉沸而竹迎。 月為幽友可以品香,香飄而月染。梅為清友可以賞 瓷,瓷淨而梅映。 雨為逸友可以觀帖,帖真而雨答。雲為閑友可以展 畫,畫遠而雲入。 松為韵友可以摩尊,尊古而松肅。蕉為淨友可以閱 書,書妙而蕉搖首不止。 款識: 庚子大暑,姜義才書於鶴汀。 鈐印: 不薄今人愛古人(白文)、鶴汀汲古(朱文)、姜(白 文)、義才(朱文)

Ravenel 132


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

何懷碩 適園

Calligraphy 2018 Ink on paper, framed 17 x 49.5 cm Signed He Huai-Shuo in Chinese With two seals of the artist

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000

2018 水墨 紙本 鏡框 17 x 49.5 cm 釋文:適園。 款識:戊戌正月,何懷碩。 鈐印:澀園(朱文)、曾經三千世界(朱文)


693 XU XIAO-MU

(Chinese, 1916-1998)

Carved Fan Staves Folding Fan L: 26.5 cm Signed Hsu Hsiao-Mu in Chinese PROVENANCE: Former collection of Mr. Hwang Tien-Tsai

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 徐孝穆 刻詩文花鳥圖扇骨 扇骨 長:26.5 cm 款識: (一)穆翁晨起晴窗戲作。 (二)徐孝穆刀筆。 來源: 黃天才先生舊藏 註: 此扇骨篆刻家「徐孝穆」,江蘇吳江人,是著 名的篆刻家及竹刻家,曾任職於上海博物館, 並致力於考古文物保管研究。

Detail 細節圖

Ravenel 134


694 ZHANG ZHI-YU (Chinese, 1893-1961);

CHEN BAO-CHEN (Chinese, 1848-1935)

Carved Fan Staves Folding Fan L: 31 cm Signed Chang Chi-Yu and Bao-Chen in Chinese With two seals of the artists PROVENANCE: Former collection of Mr. Hwang Tien-Tsai

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 張志魚;陳寶琛 刻詩文扇骨 扇骨 長:31 cm 釋文: (一)炎風朔雪廿年間,海曲收身扺買山。 (二)萬口循良渾是夢,滿腔民物幾曾閒。 款識: (一)張志魚刻。 (二)寶琛時年八十。 鈐印: (一)張。 (二)陳寶琛印。 來源: 黃天才先生舊藏 註: 此扇骨篆刻家「張志魚」,字瘦梅,號通玄,1893 年 生於北京,精於竹刻,造詣高深,獨創沙地留青皮雕 法,被譽為近代北京竹刻第一大師。 此扇由「陳寶琛」題字,原字長庵,改字伯潛,號弢 庵、陶庵,進士,福建閩縣螺洲人,畢生貢獻於教學, 曾授翰林院侍講學士,並創立全閩師範學堂(今福建 師範大學)。後曾擔任禮學館總纂大臣,任溥儀老師, 繼任漢軍副都統、弼德院顧問大臣。 Detail 細節圖


69 5 SNUFF BOTTLES (A SET OF EIGHT) 18th-19th Century A JADE 'DRAGON' SNUFF BOTTLE / H: 8 cm A YELLOW AND RUSSET JADE SNUFF BOTTLE / H: 8.5 cm A WHITE JADE SNUFF BOTTLE / H: 9.6 cm AN AGATE MASK-HANDLED SNUFF BOTTLE / H: 7.8 cm A 'CHILD AND BAT' AGATE SNUFF BOTTLE / H: 7.7 cm A JADEITE 'BUDDHIST LIONS' SNUFF BOTTLE / H: 7.3 cm A JADEITE SNUFF BOTTLE / H: 7 cm A JADEITE SNUFF BOTTLE / H: 7.3 cm

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 18/19世紀 鼻 煙 壺 八 件 一 組 白玉龍紋鼻煙壺 / 高:8 cm 黃玉素面帶皮鼻煙壺 / 高:8.5 cm 白玉隨形鼻煙壺 / 高:9.6 cm 瑪瑙獸首銜環鼻煙壺 / 高:7.8 cm 瑪瑙「福善吉慶」鼻煙壺 / 高:7.7 cm 翠玉雙獅戲球紋鼻煙壺 / 高:7.3 cm 翠玉光素鼻煙壺 / 高:7 cm 翠玉光素鼻煙壺 / 高:7.3 cm

Ravenel 136


69 6 SNUFF BOTTLES (A SET OF NINE) 18th-19th Century A CRYSTAL DOUBLE SNUFF BOTTLE / H: 7.6 cm A TRANSPARENT GLASS SNUFF BOTTLE / H: 9 cm A TRANSPARENT GLASS SNUFF BOTTLE / H: 6 cm A GLASS 'BAMBOO' SNUFF BOTTLE / H: 7 cm A TRANSPARENT GLASS SNUFF BOTTLE / H: 6.7 cm A WHITE-GROUND FOUR-COLOUR OVERLAY GLASS 'CHILONG' SNUFF BOTTLE / H: 5.5 cm A TURQUOISE-BLUE OVERLAY BROWN GLASS SNUFF BOTTLE / H: 7.5 cm A CRYSTAL 'CRICKET' SNUFF BOTTLE / H: 6.7 cm A RECTANGULAR TEA CRYSTAL SNUFF BOTTLE / H: 7.5 cm

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 18/19世紀 鼻 煙 壺 九 件 一 組 水晶雙連鼻煙壺 / 高:7.6 cm 透明玻璃鼻煙壺 / 高:9 cm 透明玻璃鼻煙壺 / 高:6 cm 玻璃竹節式鼻煙壺 / 高:7 cm 透明玻璃鼻煙壺 / 高:6.7 cm 白地套四色料螭龍紋鼻煙壺 / 高:5.5 cm 杏黃地套湖水藍料鼻煙壺 / 高:7.5 cm 水晶蟋蟀圖鼻煙壺 / 高:6.7 cm 茶晶素面四方鼻煙壺 / 高:7.5 cm


6 97 BELT BUCKLES (A SET OF FOUR) 18th-19th Century A GILT-BRONZE 'DRAGON' BELT BUCKLE / L: 7.5 cm A GILT-BRONZE 'DRAGON' BELT BUCKLE / L: 7.2 cm A GILT-BRONZE 'DRAGON' BELT BUCKLE / L: 7.5 cm A JADE-INLAID GILT-BRONZE BELT BUCKLE / L: 7 cm

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 18/19世紀 鎏 金 銅 龍 紋 帶 鉤 四 件 一 組 鎏金銅龍紋帶鉤 / 長:7.5 cm 鎏金銅龍紋帶鉤 / 長:7.2 cm 鎏金銅龍紋帶鉤 / 長:7.5 cm 鎏金銅嵌白玉「雙喜臨門」帶鉤 / 長:7 cm

Ravenel 138


6 98 A BAMBOO ROOT 'PEACHES' WATERPOT 18th-19th Century L : 6.7 cm W : 6 cm H : 3.2 cm

NT$ 30,000 - 60,000 HK$ 8,000 - 16,000 US$ 1,000 - 2,100 RMB 7,000 - 14,000 18/19世紀 竹 雕 桃 形 水 盂 長:6.7 cm 寬:6 cm 高:3.2 cm


69 9 A ROSEWOOD MEDITATION CHAIR L : 62 cm W : 77 cm H : 80.5 cm

NT$ 50,000 - 100,000 HK$ 13,000 - 27,000 US$ 1,700 - 3,400 RMB 12,000 - 24,000 花梨木禪椅 長:62 cm 寬:77 cm 高:80.5 cm

Ravenel 140


7 00 A PAIR OF ROSEWOOD HORSESHOE-BACK ARMCHAIRS L : 50 cm (each) W : 63.5 cm (each) H : 92.5 cm (each)

NT$ 60,000 - 120,000 HK$ 16,000 - 32,000 US$ 2,100 - 4,100 RMB 14,000 - 28,000 花梨木圈 椅 一 對 長:50 cm(每件) 寬:63.5 cm(每件) 高:92.5 cm(每件)


70 1 A PAIR OF BLACKWOOD HORSESHOE-BACK ARMCHAIRS WITH SHOU CHARACTER L : 52 cm (each) W : 68 cm (each) H : 102 cm (each)

NT$ 60,000 - 120,000 HK$ 16,000 - 32,000 US$ 2,100 - 4,100 RMB 14,000 - 28,000 酸枝木壽字紋 圈 椅 一 對 長:52 cm(每件) 寬:68 cm(每件) 高:102 cm(每件)

Ravenel 142


7 02 A PAIR OF BLACKWOOD LOW-BACK ARMCHAIRS L : 48.5 cm (each) W : 53 cm (each) H : 91 cm (each)

NT$ 60,000 - 120,000 HK$ 16,000 - 32,000 US$ 2,100 - 4,100 RMB 14,000 - 28,000 酸枝木梳 背 椅 一 對 長:48.5 cm(每件) 寬:53 cm(每件) 高:91 cm(每件)


70 3 A BAMBOO ROOT FIGURE OF 'BUFFALO AND CHILDREN' 18th-19th Century L : 11 cm W : 8.5 cm H : 11 cm

NT$ 60,000 - 120,000 HK$ 16,000 - 32,000 US$ 2,100 - 4,100 RMB 14,000 - 28,000 18/19世紀 竹 雕 牧 牛 童 子 長:11 cm 寬:8.5 cm 高:11 cm

Ravenel 144


7 04 A BOXWOOD FIGURE OF BODHIDHARMA Qing Dynasty L : 10.5 cm W : 10 cm H : 15 cm

NT$ 180,000 - 280,000 HK$ 48,000 - 74,000 US$ 6,200 - 9,600 RMB 42,000 - 66,000 清 黃楊木 達 摩 坐 像 長:10.5 cm 寬:10 cm 高:15 cm


70 5 A CIRCULAR PARCEL-GILT SILVER BOX WITH PAIRED BIRD DESIGN D : 6.5 cm H : 3 cm EXHIBITED: "The Beauty of Gold & Silver Craftsmanship", National Museum of History, Taipei, 16 January, 2009 - 8 February, 2009 ILLUSTRATED: The Beauty of Gold & Silver Craftsmanship , National Museum of History, Taipei, December, 2008, p. 33

NT$ 170,000 - 200,000 HK$ 45,000 - 53,000 US$ 5,800 - 6,900 RMB 40,000 - 47,000 鎏金雙鴻紋圓 盒 直徑:6.5 cm 高:3 cm 展覽: 「錯鼎鏤盤─金銀工藝美術展」,國立歷史博物館,台北, 展期 2009 年 1 月 16 日至 2009 年 2 月 8 日 圖錄: 《錯鼎鏤盤─金銀工藝美術》,國立歷史博物館,台北, 2008 年 12 月,頁 33

Ravenel 146


7 06 SNUFF BOTTLES (A SET OF EIGHT) 19th-20th Century A RED AND GREEN ENAMELLED 'DRAGON' SNUFF BOTTLE SEAL MARK AND PERIOD OF HONGXIAN / H: 7.7 cm AN OVERGLAZE 'FOREIGNER' SNUFF BOTTLE SEAL MARK AND PERIOD OF GUIYOU / H: 7 cm A FAMILLE-ROSE 'FLOWER AND BUTTERFLY' SNUFF BOTTLE / H: 7.5 cm A CINNABAR LACQUER 'LUOHAN' SNUFF BOTTLE / H: 7.3 cm A CINNABAR LACQUER 'LUOHAN' SNUFF BOTTLE / H: 8 cm A CINNABAR LACQUER SNUFF BOTTLE / H: 7.8 cm A COPPER-BODY PAINTED ENAMELS 'FOREIGNER MOTHER AND CHILD' SNUFF BOTTLE / H: 6.3 cm A CARVED BAMBOO SNUFF BOTTLE / H: 9 cm

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 19/20世紀 鼻 煙 壺 八 件 一 組 紅地綠龍紋鼻煙壺《洪憲年製》款 / 高:7.7 cm 西洋人物肖像鼻煙壺《癸酉年製》款 ( 北平德壽堂藥店 ) / 高:7 cm 粉彩花蝶圖鼻煙壺 / 高:7.5 cm 剔紅「樹下羅漢圖」鼻煙壺 / 高:7.3 cm 剔紅「羅漢圖」鼻煙壺 / 高:8 cm 剔紅人物鼻煙壺 / 高:7.8 cm 銅胎畫琺瑯「西洋母子像」鼻煙壺《敬華堂製》款 / 高:6.3 cm 竹雕鳳紋鼻煙壺 / 高:9 cm


70 7 SNUFF BOTTLES (A SET OF NINE) 18th-19th Century A BLACK OVERLAY BLUE GLASS 'FLOWER AND STONE' SNUFF BOTTLE / H: 7.2 cm A BLACK OVERLAY PINK GLASS 'LANDSCAPE' SNUFF BOTTLE / H: 7.6 cm A RED OVERLAY SNOWING-WHITE GLASS 'FLOWERS' SNUFF BOTTLE / H: 7 cm A RED OVERLAY SNOWING-WHITE GLASS 'FLOWERS' SNUFF BOTTLE / H: 6.3 cm A RED OVERLAY WHITE GLASS 'FISHERMAN ON A BOAT' SNUFF BOTTLE / H: 6.8 cm A RED OVERLAY WHITE GLASS 'CHILONG' SNUFF BOTTLE / H: 7 cm A FOUR-COLOUR OVERLAY YELLOW GLASS SNUFF BOTTLE / H: 6.7 cm A BLUE OVERLAY SNOWING-WHITE GLASS 'DING' SNUFF BOTTLE / H: 6.7 cm AN UNDERGLAZE-BLUE AND PUCE-ENAMELLED 'DRAGON' SNUFF BOTTLE / H: 7.5 cm

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 18/19世紀 鼻 煙 壺 九 件 一 組 粉藍地套黑料「花石圖」紋袖珍鼻煙壺 / 高:7.2 cm 粉地套黑料「山水」紋袖珍鼻煙壺 / 高:7.6 cm 霏雪地套紅料花卉鼻煙壺 / 高:7 cm 霏雪地套紅料花卉鼻煙壺 / 高:6.3 cm 白地套紅料「泛舟垂釣」圖鼻煙壺 / 高:6.8 cm 涅白地套紅料螭龍鼻煙壺 / 高:7 cm 雞油黃八寶紋鼻煙壺 / 高:6.7 cm 霏雪地套藍料鐘鼎紋鼻煙壺 / 高:6.7 cm 青花雲龍紋鼻煙壺 / 高:7.5 cm

Ravenel 148


7 08 SNUFF BOTTLES (A SET OF EIGHT) 18th-19th Century A WHITE RECTANGULAR JADE SNUFF BOTTLE / H: 7 cm A WHITE JADE SNUFF BOTTLE / H: 7.8 cm A WHITE JADE MASK-HANDLED SNUFF BOTTLE / H: 6.5 cm A 'BIRD' AGATE SNUFF BOTTLE / H: 9 cm A 'MAGPIE-AND-PLUM-BLOSSOM' AGATE SNUFF BOTTLE / H: 8 cm A JADEITE SNUFF BOTTLE / H: 6 cm A BLACK AND WHITE JADE 'SCHOLARS AT THE RED CLIFF' SNUFF BOTTLE / H: 8.5 cm A BLACK AND WHITE JADE 'WU SONG AND TIGER' SNUFF BOTTLE / H: 8 cm

NT$ 20,000 - 40,000 HK$ 5,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 18/19世紀 鼻 煙 壺 八 件 一 組 白玉四方鼻煙壺 / 高:7 cm 白玉素面鼻煙壺 / 高:7.8 cm 白玉獸首銜環鼻煙壺 / 高:6.5 cm 瑪瑙禽鳥圖鼻煙壺 / 高:9 cm 瑪瑙「喜上眉梢」鼻煙壺 / 高:8 cm 翠玉光素鼻煙壺 / 高:6 cm 黑白玉巧雕「赤壁泛舟」圖鼻煙壺 / 高:8.5 cm 黑白玉巧雕「武松打虎」圖鼻煙壺 / 高:8 cm



委託競投表格 委託競投表格須於拍賣24小時前送抵羅芙奧。競投表格可傳真至: 台北 香港

電話:+886-2-2708 9868 電話:+852-2889 0859

傳真:+886-2-2701 3306 傳真:+852-2889 0850

投標者資料

拍 賣 名 稱:羅芙奧 2020 秋季拍賣會 翰墨丹青 : 中國書畫及古文物專場 拍 賣 編 號:TC2003 拍 賣 日 期:2020 年 12 月 5 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)

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106485敦化南路二段76號18樓 18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com ravenelart.com.cn

銀行帳號 銀行聯絡者 銀行電話

151


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

Auction

Taipei

Sale No. Date Location Address

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

Hong Kong Tel: +852-2889 0859

Fax: +852-2889 0850

Bidder’s Details Name

RAVENEL AUTUMN AUCTION 2020 Refined Brushwork: Fine Chinese Paintings and Works of Art TC2003 Saturday, December 5, 2020, 2:00 pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road., Zhongshan Dist., Taipei, Taiwan

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. 18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 ravenel.com ravenelart.com.cn

Account number Contact of the bank Tel. No.

152


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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