亞洲現代與當代藝術 Modern and Contemporary Asian Art

SPRING AUCTION 2018 TAIPEI

羅 芙 奧 台 北 2018 春 季 拍 賣 會
亞 洲 現 代 與 當 代 藝 術
RAVENEL SPRING AUCTION 2018 TAIPEI
Modern and Contemporary Asian Art
拍 賣 日 期 / 地 點
2018 年 6 月 3 日 ( 日 ) 下 午 2:00
萬 豪 酒 店
台 北 市 中 山 區 樂 群 二 路 199 號 3 樓 ( 博 覽 廳 )
預 展 日 期 / 地 點
台 中
2018 年 5 月 12 日 ( 六 ) 下 午 1:00 至 下 午 6:00
2018 年 5 月 13 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
高 雄
2018 年 5 月 19 日 ( 六 )~ 20 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 北
2018 年 5 月 31 日 ( 四 )~ 6 月 2 日 ( 六 ) 上 午 10:00 至 下 午 6:00
萬 豪 酒 店
台 北 市 中 山 區 樂 群 二 路 199 號 3 樓 ( 博 覽 廳 )
AUCTION
Sunday, June 3, 2018, 2:00pm
Marriott Taipei
Grand Space, 3F , No. 199, Lequn 2 nd Road, ZhongShan Dist., Taipei, Taiwan
PREVIEWS
Taichung
Saturday, May 12, 2018, 1:00pm - 6:00pm
Sunday, May 13, 2018, 11:00am - 6:00pm
Fong-Yi Art Gallery
B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan
Kaohsiung
Saturday, May 19 - Sunday, May 20, 2018, 11:00am - 6:00pm
J. P. Art Center
8F, No. 63, Wufu 3 rd Rd., Qianjin Dist., Kaohsiung, Taiwan
Taipei
Thursday, May 31 - Saturday, June 2, 2018, 10:00am - 6:00pm
Marriott Taipei
Grand Space, 3F, No. 199, Lequn 2 nd 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
Chairman
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President, Art Department
Clara Kuo
Vice Chairman
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Senior Vice President, Art Department
Wendy Lee
Chief Excutive Officer
Stella Huang
Senior Manager, Art Department
Olivier Tsai
Assistant Manager, Art Department
Apolline Li
Sales Assistant, Art Department

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ART CONSULTANTS
President, Art Department
Flora Fu
Tel: +886 2 2708 9868 ext. 888
Email: florafu@ravenel.com
Senior Vice President, Art Department
Maggie Lin
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Senior Manager, Art Department
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PHONE BIDS AND WRITTEN BIDS
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目 次 / Contents
9 羅 芙 奧 春 季 拍 賣 會
Sale Information
12 羅 芙 奧 之 服 務
Ravenel Services
15 藝 術 家 索 引
Index
16 亞 洲 現 代 與 當 代 藝 術
Modern and Contemporary Asian Art
295 給 予 買 家 的 重 要 通 知
Important Notice to Buyers
297 委 託 競 投 表 格
Absentee Bid Form
299 業 務 規 則
Transaction Agreement

藝 術 家 索 引 / Index
A Yoshitaka AMANO 天 野 喜 孝 113
B Banksy 班 克 斯 103
C CAI Guo-Qiang 蔡 國 強 241
Chang Chia-ying 張 嘉 穎 271
Chang-Ling 常 陵 277
Yoshio CHANG 張 義 雄 283
George CHANN 陳 蔭 羆 258
CHEN Cheng Wei 陳 承 衛 291
Chen Chun-Hao 陳 浚 豪 302
CHEN Ting-shih 陳 庭 詩 251, 252, 309
CHIU Tze-yan 邱 紫 媛 278
CHIU Ya-tsai 邱 亞 才 259, 261, 262, 263
CHU Teh-chun 朱 德 群 211, 214, 219, 253,
254
CHUANG Che 莊 喆 249, 256
D KAWS (Brian Donnelly) KAWS ( 布 萊 恩 . 唐 納 利 ) 109, 110
H HAN Young Wook 韓 永 旭 300
HONG Ling 洪 凌 238
HSIAO Chin 蕭 勤 240, 257
HSIAO Ju-sung 蕭 如 松 247
HSU Yu-jen 許 雨 仁 274
Poren HUANG 黃 柏 仁 307, 308
HUNG Yi 洪 易 269, 301
I
Yuki INOUE 井 上 裕 起 135
J
JAN Chin-shui 詹 金 水 279, 288
JU Ming 朱 銘 227, 265, 266, 268,
310, 311
K Hideaki KAWASHIMA 川 島 秀 明 299
Satoru KOIZUMI 小 泉 悟 111
Jeff KOONS 傑 夫 . 昆 斯 137
KUO Wei-kuo 郭 維 國 290
Yayoi KUSAMA 草 間 彌 生 105, 106, 120, 121,
124, 125, 126, 128,
131, 134, 136, 222,
223, 224, 225
KWON Kyung Yup 權 慶 燁 272
L LEE Kyoung-mi 李 慶 美 117, 118
LEE Ufan 李 禹 煥 260
LI Chen 李 真 228, 267
LI Kuang-yu 李 光 裕 303
LIEN Chien-hsing 連 建 興 275, 292
LIN Fengmian 林 風 眠 212
LIU Kuo-sung 劉 國 松 209, 216, 236
Max LIU 劉 其 偉 280, 281
Lu Shun 呂 順 284
M
Madsaki Madsaki 119
Takashi MURAKAMI 村 上 隆 107, 108, 115, 119
N Moe NAKAMURA 中 村 萌 101
Yoshitomo NARA 奈 良 美 智 102, 116, 123, 127,
129, 130, 133, 226
Cindy Ng Sio Ieng 吳 少 英 276
O Akio OHMORI 大 森 曉 生 132
Hiroshi OHASHI 大 橋 博 112
P PANG Jiun 龎 均 213, 237, 289
PENG Kuan-jun 彭 光 均 305
R REN Zhe 任 哲 306
Ayako ROKKAKU 六 角 彩 子 298
S SANYU 常 玉 201, 202, 203, 204,
205, 206, 207, 208
Shinjyuko 真 珠 子 294
SHIY De-jinn 席 德 進 235, 250
T Madoka TAKAGI 高 木 まどか 104
T’ANG Haywen (TANG Then Phuoc) 曾 海 文 242, 243
Walasse TING 丁 雄 泉 229, 230, 231, 232,
233, 234, 239
W WANG Pan-youn 王 攀 元 244, 245, 246
WANG Xinfeng 王 信 豐 285
Andy WARHOL 安 迪 . 沃 荷 114, 122
X XIA Junna 夏 俊 娜 286, 287, 293
Y Mayuka YAMAMOTO 山 本 麻 友 香 297
Takato YAMAMOTO 山 本 正 市 玄 295
YANG Chihung 楊 識 宏 255
Yang Pei-Chen 楊 北 辰 270
Yuyu YANG (YANG Ying-feng) 楊 英 風 304
YEE Bon 余 本 282
Tzu-chi YEH 葉 子 奇 264
YIN Kun 尹 坤 273
YOON Jongseok 尹 鍾 錫 296
Z ZAO Wou-ki 趙 無 極 210, 215, 220, 221,
248
ZHOU Chunya 周 春 芽 138, 217, 218

101
Moe NAKAMURA
(Japanese, b.1988 )
Dome-Together With Nandina
2017
Wood, oil paint, glass
9.6(L) x 19.5(H) cm
This sculpture is to be sold with a certificate of authenticity issued by
Gallery TSUBAKI
2017
9.6() x 19.5() cm
NT$ 60,000-100,000
HK$ 16,000-27,000
US$ 2,100-3,400
RMB 13,000-22,000
當 我 失 去 了 一 些 東 西 , 當 我 覺 得 缺 少 某 些 東 西 時 , 或 者 當 我 被 無 意
中 的 一 些 重 大 變 化 吞 噬 時 , 我 感 覺 或 多 或 少 地 失 去 了 。 我 是 誰 , 我 應
該 尋 找 什 麼 ? 事 實 上 , 存 在 本 身 是 模 棱 兩 可 的 , 我 們 失 去 了 什 麼 , 我
們 尋 找 的 真 相 不 在 個 人 的 『 我 』 之 外 , 而 是 在 內 部 。
“MOE” ART
“In the moment I lost something, when I realise something is
missing, or when I am engulfed in some unexpected, drastic
changes in circumstance, feeling a greater or lesser extent of loss,
I wonder about people, myself, and what it is we're supposed
to be looking for. If it is existence itself that has been lost by our
ambiguous selves, what we seek might not actually outside of the ‘I’
of the individual, but perhaps it lies inside.”- Moe Nakamura
Contemporary art in Japan has infinite potential, and for Moe
Nakamura, a contemporary Japanese artist recently in the spotlight,
the Tokyo art scene today is on a rapid ascent, set to spur a
whirlwind of rejuvenation. Nakamura's art practice focuses on
warmly hand-carved figures: sculptural works marked by the unique
way the notches and grains of the wood are preserved. Her works
are filled with youthful wit and soothing textures — cute but not
conforming to the clichéd and exaggerated moulds. They stand out
for that, for their sincerity, their quiet breath that leads viewers into
a kind of enchanting fantasy land from the pages of a children's
story. After taking time with her works, it becomes apparent
that embedded under the all so childish surface layer is a social
commentary on loneliness and isolation. Nakamura explores this
in relation to the value of an individual's existence within a society
of rapidly spread information. Or perhaps, Nakamura speaks more
to people in a society of rapid information who are always next to
a smartphone and online, expressing the interpersonal struggles
experienced by so many people in contemporary society, and
doing so in an understated, low-key fashion with the relatively
accessible language of art. This contributed to her work drawing
closer to and resonating with the hearts of people today.

102
Yoshitomo NARA
(Japanese, b. 1959)
Slash with a Knife
2001
Watch, metal case, limited edition of 500
23(L) x 4.2(W) x 1.5(H) cm (watch)
22.5(L) x 16.7(W) x 3.4(H) cm (box)
This work is accompanied with a certificate and instruction manual from
Citizen Watch Company
2001
500
23() x 4.2() x 1.5() cm ()
22.5() x 16.7() x 3.4() cm ()
NT$ 50,000-70,000
HK$ 13,000-19,000
US$ 1,700-2,400
RMB 11,000-15,000

103
Banksy
(British, b.1975)
Monkey Sign - Do Nothing You’ll Live Longer (Black)
2016
Resin, limited edition of 600
19(L) x 15(W) x 36(H) cm (Statue)
28.7(L) x 24.5(W) x 45(H) cm (Original Box)
Trademark © MMXVI Full Color Black Ltd on the bottom of right foot,
MEDICOM TOY 2016 CHINA on the bottom of left foot
NT$ 40,000-80,000
HK$ 11,000-22,000
US$ 1,400-2,800
RMB 9,000-17,000
()
2016
600
19() x 15() x 36() cm ()
28.7() x 24.5() x 45() cm ()
© MMXVI Full Color Black Ltd. ()
MEDICOM TOY 2016 CHINA()

104
Madoka TAKAGI
(Japanese, b. 1983)
DECO
2015
Clay and acrylic color
8(L) x 11(W) x 30(H) cm
Signed on the bottom Madoka, titled DECO and dated 2005
This painting is to be sold with a certificate of authenticity issued by
Gallery TSUBAKI
NT$ 60,000-120,000
HK$ 16,000-32,000
US$ 2,100-4,100
RMB 13,000-26,000
2015
8() x 11() x 30() cm
DECO 2005 Madoka

105
Yayoi KUSAMA
(Japanese, b. 1929)
Chrismas ; Love Forever (a set of 2)
2001; 2017
Ceramic edition no. 117/500 (Chrismas)
Christmas : 23(diameter) x 2(H) cm
Heart : 11.2(H) x 11.5(W) x 3(H) cm
Printed signature Yayoi Kusama in English and
dated 2001 (Chrismas)
Engraved on the reverse, titled, LOVE Yayoi Kusama
and dated 2017 (Love Forever)
NT$ 60,000-100,000
HK$ 16,000-27,000
US$ 2,100-3,400
RMB 13,000-22,000
()
20012017
117/500 ()
23() x 2() cm
11.2() x 11.5() x 3() cm
Yayoi Kusama 2001 ()
LOVE Yayoi Kusama 2017 ()

106
Yayoi KUSAMA
(Japanese, b. 1929)
Dots Obsession
2011
Mixed media, mirror, edition no. 254 /300
33(L) x 25.2(W) x 4(H) cm
Signed on the reverse y.Kusama in English, titled DOTS
OBSESSION in English, inscribed 254/300 and dated 2011
NT$ 80,000-160,000
HK$ 22,000-43,000
US$ 2,800-5,500
RMB 17,000-35,000
2011
254/300
33() x 25.2() x 4() cm
DOTS OBSESSION 2011 y.Kusama

107
Takashi MURAKAMI
(Japanese, b. 1962)
Takashi Murakami x ComplexCon
Mr. DOB (a set of 2)
2016
Vinyl, Plastic
Golden limited edition: 250
Red limited edition: 750
28(L) x 19(W) x 24(H) cm (each)
DOB ()
2016
250
750
28() x 19() x 24() cm ()
NT$ 70,000-120,000
HK$ 19,000-32,000
US$ 2,400-4,100
RMB 15,000-26,000

108
Takashi MURAKAMI
(Japanese, b. 1962)
I Met a Panda Family (a set of 3)
2013
Print, edition no. 171/300;137/300; 85/300
50 x 50 cm (each)
Initialed lower right M and numbered 171/300 (silver)
Initialed lower right M and numbered 137/300 (golden)
Initialed lower right M and numbered 85/300 (blue)
2013
171/300137/30085/300
50 x 50 cm ()
M 171/300 ()
M 137/300 ()
M 85/300 ()
NT$ 130,000-220,000
HK$ 35,000-59,000
US$ 4,500-7,600
RMB 28,000-48,000

109
KAWS (Brian Donnelly)
(American, b. 1974)
Astro Boy (Red, Gray) (a set of 2)
2012
Painted cast vinyl
Edition of 500
16.5(L) x 12(W) x 37(H) cm (each)
Trademark © Tezuka Productions Designed by KAWS on
the bottom of right foot, MEDICOM TOY 2012 CHINA on
the bottom of left foot
NT$ 90,000-140,000
HK$ 24,000-38,000
US$ 3,100-4,800
RMB 20,000-30,000
KAWS ()
() ()
2012
500
16.5() x 12()x 37()cm ()
© Tezuka Productions Designed by KAWS
()MEDICOM TOY 2012 CHINA ()

110
KAWS (Brian Donnelly)
(American, b. 1974)
Dissected Companion: Resting Place (Black,
Gray, Brown) (a set of 3)
2013
Painted cast vinyl, edition of 500
21(L) x 30(W) x 23(H) cm (each)
Trademark © KAWS..12 MEDICOM TOY 2012 CHINA on the
bottom of left feet (Brown)
Trademark © KAWS..13 MEDICOM TOY 2013 CHINA on the
bottom of left feet (Black)
Trademark © KAWS..13 MEDICOM TOY 2013 CHINA on the
bottom of left feet (Gray)
NT$ 140,000-240,000
HK$ 38,000-65,000
US$ 4,800-8,300
RMB 30,000-52,000
KAWS ()
()()
2013
500
21() x 30() x 23() cm ()
© KAWS..12 MEDICOM TOY
2012 CHINA () ()
© KAWS..13 MEDICOM TOY
2013 CHINA () ()
© KAWS..13 MEDICOM TOY
2013 CHINA () ()

111
Satoru KOIZUMI
(Japanese, b. 1983)
To the Mountain
2012
Woodcarving, polychrome, resin
16.5(L) x 14.5(W) x 26(H) cm
Engraved on the back koizumi
This sculpture is to be sold with a certificate of
authenticity issued by Aki Gallery
NT$ 110,000-220,000
HK$ 30,000-59,000
US$ 3,800-7,600
RMB 24,000-48,000
2012
16.5() x 14.5() x 26() cm
koizumi

112
Hiroshi OHASHI
(Japanese, b.1967)
Ageha
2009
Cypress, Japanese lacquer, pigment
31(L) x32(W) x 26(H) cm
Singed on the bottom Ohashi Hiroshi, titled Ageha in Chinese and
dated 2009
EXHIBITED
Once upon a time: Hiroshi Ohashi Solo Exhibition, My Humble House
Art Gallery, Taipei, October 29 - November 14, 2010
NT$ 160,000-260,000
HK$ 43,000-70,000
US$ 5,500-9,000
RMB 35,000-56,000
2009
31() x 32() x 26() cm
2009 Ohashi Hiroshi
201010291114

113
Yoshitaka AMANO
(Japanese, b. 1952)
Untitled
2003
Ink on paper
32 x 43.5 cm
Signed lower right Y.Amano
This painting is to be sold with a certificate of authenticity issued by ART
VIVANT CO., LTD.
2003
32 x 43.5 cm
Y.Amano
NT$ 60,000-120,000
HK$ 16,000-32,000
US$ 2,100-4,100
RMB 13,000-26,000

114
Andy WARHOL
( American, b. 1928 - 1987 )
Guns
1981
Print
20 x 28 cm
Signed lower center Andy Warhol
1981
20 x 28 cm
Andy Warhol
NT$ 90,000-180,000
HK$ 24,000-49,000
US$ 3,100-6,200
RMB 20,000-39,000

115
Takashi MURAKAMI
(Japanese, b. 1962)
Infinity (a set of 2)
2009
Print, edition no. 117/300; no. 116/300
86 x 67 cm (each)
Initialed lower right M 117/300 (left)
Initialed lower right M 116/300 (right)
2009
117/300116/300
86 x 67 cm ()
M 117/300 ()
M 116/300 ()
NT$ 70,000-140,000
HK$ 19,000-38,000
US$ 2,400-4,800
RMB 15,000-30,000

116
Yoshitomo NARA
(Japanese, b. 1959)
Cosmic Girl Eyes (Open / Close)
(a set of 2)
2008
Print, limited edition of 500
68 x 48 cm (each)
/
2008
500
68 x 48 cm ()
NT$ 110,000-180,000
HK$ 30,000-49,000
US$ 3,800-6,200
RMB 24,000-39,000

117
LEE Kyoung-mi
(Korean, b. 1977)
Punctured Hope
2013
Oil on constructed birch panel
55(L) x 55(W) x 7(D) cm
Signed on the reverse KYOUNG MI LEE in English
ILLUSTRATED
The Artist’s House: LEE KYOUNG MI, Seongbuk
Museum of Art, Seoul, 2014, color illustrated, p. 30
This work is to be sold with a certificate of
authenticity with artist’s signature issued by TOSEE
Art Agency Co., Ltd.
NT$ 130,000-220,000
HK$ 35,000-59,000
US$ 4,500-7,600
RMB 28,000-48,000
2013
55() x 55() x 7 ()cm
KYOUNG MI LEE
2014
30

118
LEE Kyoung-mi
(Korean, b. 1977)
Shrunken Nation
2015
Oil on constructed birch panel
55(L) x 55(W) x 7(D) cm
Signed on the reverse Kyoung Mi Lee in English
This work is to be sold with a certificate of
authenticity with artist’s signature issued by TOSEE
Art Agency Co., Ltd.
NT$ 130,000-220,000
HK$ 35,000-59,000
US$ 4,500-7,600
RMB 28,000-48,000
2015
55() x 55() x 7 ()cm
Kyoung Mi Lee

119
Takashi MURAKAMI x Madsaki
(Japanese, b. 1962; Japanese, b. 1974)
ComplexCon Flower (a set of 3)
2017
Screenprint
no. 33/100 (Black Version B)
no. 35/100 (Red Version B)
no. 20/100 (White Version B)
46.8 x 38 cm (each)
Signed lower right Takashi, dated 2017 and
numbered 33/100 (Black)
Signed lower right Takashi, dated 2017 and
numbered 35/100 (Red)
Signed lower right Takashi, dated 2017 and
numbered 20/100 (White)
NT$ 160,000-260,000
HK$ 43,000-70,000
US$ 5,500-9,000
RMB 35,000-56,000
x Madsaki
ComplexCon ()
2017
B 33/100
B 35/100
B 20/100
46.8 x 38 cm ()
Takashi 2017 33/100 ()
Takashi 2017 35/100 ()
Takashi 2017 20/100 ()

120
Yayoi KUSAMA
(Japanese, b. 1929)
Vase (2)
1992
Lithograph, edition no. 31/50
44.6 x 31.7 cm
Signed lower right y. Kusama in English, titled Vase(2) in
Japanese and dated 1992 Numbered lower left 31/50
ILLUSTRATED
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo,
2017, color illustrated, p. 105, no. 167
NT$ 160,000-260,000
HK$ 43,000-70,000
US$ 5,500-9,000
RMB 35,000-56,000
1992
31/50
44.6 x 31.7 cm
: (2) 1992 y. Kusama
31/50
1979-2017
2017105167

121
Yayoi KUSAMA
(Japanese, b. 1929)
Disappointment
1994
Screenprint edition no. 11/120
65.5 x 50 cm
Signed lower right Yayoi Kusama, titled Disappointment in Japanese
and dated 1994 Numbered lower left 11/120
ILLUSTRATED
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd.,Tokyo, 2017,
color illustrated, p. 117, no. 191
NT$ 200,000-300,000
HK$ 54,000-81,000
US$ 6,900-10,300
RMB 43,000-65,000
1994
11/120
65.5 x 50 cm
: Yayoi Kusama 1994
11/120
1979-20172017
117191

122
Andy WARHOL
( American, b.1928 - 1987 )
Flower 66
1970
Screenprint
67 x 67 cm
Signed lower right Andy Warhol
NT$ 300,000-400,000
HK$ 81,000-108,000
US$ 10,300-13,800
RMB 65,000-87,000
66
1970
67 x 67 cm
Andy Warhol

123
Yoshitomo NARA
(Japanese, b. 1959)
Slash with a Knife( In the Floating World )
1999
Lithograph no. 41/50
42.4 x 33 cm
Signed lower right Na in Japanese
Numbered lower right 41/50
ILLUSTRATED
Yoshitomo Nara: The Complete Works Volume 1, Chronicle
Books LLC, San Francisco, 2011, color illustrated, p. 308,
no. E-1999-001
NT$ 340,000-440,000
HK$ 92,000-119,000
US$ 11,700-15,200
RMB 74,000-95,000
1999
41/50
42.4 x 33 cm
41/50
2011
308E-1999-001

124
Yayoi KUSAMA
(Japanese, b. 1929)
A Pumpkin YB-A
2004
Screenprint, edition no. 57/120
33 x 38.5 cm
Signed lower right Yayoi Kusama
Inscribed lower left A PUMPKIN YB-A, dated 2004 and numbered
57/120
PROVENANCE
Private collection in Japan
ILLUSTRATED
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017,
color illustrated, p. 187, no. 325.
NT$ 360,000-460,000
HK$ 97,000-124,000
US$ 12,400-15,800
RMB 78,000-100,000
YB-A
2004
57/120
33 x 38.5 cm
Yayoi Kusama
57/120 A PUMPKIN YB-A 2004
1979-20172017
187325

125
Yayoi KUSAMA
(Japanese, b. 1929)
Infinity Nets
2000
Print, edition no. 32 /35
31.8 x 25.5 cm
Signed lower right Yayoi Kusama
Inscribed lower left Infinity nets, dated 2000 and numbered 32/35
ILLUSTRATED
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017,
color illustrated, p. 173, no. 293.
NT$ 420,000-550,000
HK$ 113,000-148,000
US$ 14,500-18,900
RMB 91,000-119,000
2000
32/35
31.8 x 25.5 cm
Yayoi Kusama
32/35 2000
1979-2017
2017173293

126
Yayoi KUSAMA
(Japanese, b. 1929)
Mushrooms
1979
Marker pen on paperboard
24.2 x 27.3 cm
Signed upper left YAYOI KUSAMA in English and dated 1979
Signed on the reverse Yayoi Kusama in English and titled Mushrooms
in Japanese, dated 1979
With one seal of the artist
This painting is to be sold with a registration card issued by Yayoi
Kusama Studio.
NT$ 550,000-750,000
HK$ 148,000-202,000
US$ 18,900-25,800
RMB 119,000-163,000
1979
24.2 x 27.3 cm
YAYOI KUSAMA 1979
Yayoi Kusama 1979

127
Yoshitomo NARA
(Japanese, b. 1959)
OTO!!
1999
Marker pen on paper
23 x 23 cm
Signed lower left Na in Japanese, and dated 99
NT$ 600,000-800,000
HK$ 162,000-216,000
US$ 20,700-27,600
RMB 130,000-174,000
OTO!!
1999
23 x 23 cm
' 99

128
Yayoi KUSAMA
(Japanese, b. 1929)
Flower in a Shady Nook
1978
Ink, enamel on paperboard
27.2 x 24.2 cm
Signed upper left Yayoi Kusama in English and dated 1978
titled Flower in a Shady Nook in Japanese on the reverse
This painting is to be sold with a registration card issued by
Yayoi Kusama Studio
NT$ 750,000-950,000
HK$ 202,000-256,000
US$ 25,800-32,700
RMB 163,000-206,000
1978
27.2 x 24.2 cm
Yayoi Kusama 1978
Yayoi Kusama 1978

Yoshitomo NARA
我 只 是 跟 隨 自 己 的 感 覺 去 做 創 作 , 所 有 的 原 因 和 為 什 麼 都 是 後 來
才 悟 出 來 的 。
17
超 越 空 虛 , 自 由 的 生 活 吧 !

30Kaikai Kiki Gallery
Yoshitomo NaraDrawings: 1988-2018 Last 30 Years, Kaikai Kiki Gallery, Tokyo
Yoshimoto Nara is an internationally renowned artist from Japan, whose work is often presented in a cartoon style, with bright-eyed children
being the recurring motif. Nara often publicly expresses that he acquires inspiration from art books for children and the old records his
listened to during his adolescence. He once commented that he painted with what he actually felt, and all the reason and meanings ensued
afterwards.
Although his works often find a base in “otaku” aesthetics, the simple lines and flat composition often cause his work to be classified as
“Superflat.” However, the artist has strongly rejected the definition as a careless appraisal of his art style. In terms of form and expression,
Nara’s techniques do indeed seem similar to the Superflat artists, but unlike in their works, the subjects of Nara’s works never revolve around
criticizing the superficiality of current Japanese society, its traditions, art, or culture. Instead he focuses on painting what is important to him,
and pursuing a naked yet true self. Another element that has influenced Nara’s work is Ukiyo-e, an art form from 17th-century Japan which
depicts the daily lives, scenery, and theater of the time. The works of artists such as: Kitagawa Utamaro, Katsushika Hokusai, and Utagawa
Hiroshige often appear in Nara’s paintings.
These real-life feelings of loneliness and detachment that his works display also reflect the indifferent present in Japan’s cities and the “otaku”
way of life. He depicts these lonely figures as reflection to his inner soliloquy, which just so happen to echo the dilemma of that generation
and the confusion of their souls. Like many self-portraits, Nara’s creations betray an uncompromising spirit and a strong defiance of the
outside world. They are pictures of those who have been lost and lonely. While the artist contends with the world by pursuing his true inner
self through art, he also communicates with the world, exhibiting the energy of his existence through art, and soothing the wounds of the
lonely. Or perhaps it is a misunderstanding of the outside world, constantly caring about where the eyes of society are actually pointed.
Through an art practice that involves simple, amusing paintings, Nara has found a way to depict the dilemma and embarrassment of
generations of people, speaking to that experience with a relaxed posture: "Well, beyond emptiness, it's a free life!"

129
Yoshitomo NARA
(Japanese, b. 1959)
Untitled
2001
Colored pencil and pencil on paper
14.2 x 12.5 cm
ILLUSTRATED
Yoshitomo Nara: The Complete Works Volume 2, Chronicle Books LLC,
San Francisco, 2011, color illustrated, p. 178, no. D-2001-151
NT$ 950,000-1,800,000
HK$ 256,000-485,000
US$ 32,700-62,000
RMB 206,000-390,000
2001
14.2 x 12.5 cm
2011
178D-2001-151

130
Yoshitomo NARA
(Japanese, b. 1959)
World Peace
1998
Colored pencil and pencil on paper
29.5 x 21 cm
ILLUSTRATED
Yoshitomo Nara: The Complete Works Volume 2,
Chronicle Books LLC, San Francisco, 2011, color
illustrated, p. 131, no. D-1998-183
NT$ 2,400,000-3,200,000
HK$ 647,000-863,000
US$ 82,700-110,200
RMB 521,000-694,000
1998
29.5 x 21 cm
2011131D-1998-183

131
Yayoi KUSAMA
(Japanese, b. 1929)
Pumpkin
1998
Bronze, edition no. 57/100
27(L) x 27(W) x 28(H) cm
Engraved YAYOI KUSAMA in English, dated 1998 and numbered
57/100
This sculpture is to be sold with a certificate of authenticity issued by
FMR Limited, Japan.
NT$ 1,000,000-1,800,000
HK$ 270,000-485,000
US$ 34,400-62,000
RMB 217,000-390,000
1998
57/100
27() x 27() x 28() cm
YAYOI KUSAMA 1998 57/100
FMR

Akio OHMORI
O
As a member of a new generation of Japanese sculptors, Akio
Ohmori held a solo exhibition in 2011, with dogs and cats in
animal shelters as his main theme to discuss the topic of animal
euthanasia. By sculpting the sheltered animals, he expresses
reflections by society about the meaning of life inside these
shelters. Ohmori’s work was based on the Kumamoto Municipal
Animal Care Center, which employed a “zero euthanization”
policy that gained widespread recognition. With his sculpture
imbued with the animals’ power of life, combined with Japanese
traditional wood sculpture craftsmanship and lacquerworks, the
thoughts of the animals are expressed completely in detail. Akio
Ohmori’s working mindset is to combine the art of sculpture
into everyday lives. Not only is he talented in portraying subtle
expressions of animals, he is also able to use implicit, hidden
and metaphoric means of expression to reflect the relationship
between individuals, society, and culture. Furthermore, he also
reflects upon the relationships of family, city, history and more.
He hopes that his works can make a call for examination about
environmental issues, while also express his concerns about
society, and bring arts closer to everyday life.

132
Akio OHMORI
(Japanese, b. 1971)
Bat Merry Go Round
2007
Japanese Cypress, Iron, Lacquer, Colors
194(L) x 101(W) x 281(H) cm
Engraved on the reverse of tail membrane Akio in Japanese
and dated 2007
NT$ 850,000-950,000
HK$ 229,000-256,000
US$ 29,300-32,700
RMB 184,000-206,000
2007
194() x 101() x 281() cm
2007

133
Yoshitomo NARA
(Japanese, b. 1959)
Mori Girl
2012
Mixed media, edition no. 137/200
18(L) x 14.5(W) x 30(H) cm
This sculpture is to be sold with a certificate of
authenticity signed by the artist
NT$ 550,000-750,000
HK$ 148,000-202,000
US$ 18,900-25,800
RMB 119,000-163,000
2012
137/200
18() x 14.5() x 30() cm

134
Yayoi KUSAMA
(Japanese, b. 1929)
The Me that I Adore (Teapot, cup set)
2013
Bone China, edition no. 78/100
Cosmos: 20(L) x 12(diameter) x 14(H) cm (Bone china pot )
Love Forever, Heart, Flower, Cloud, Shine, Dream:
13.5(L) x 11(diameter) x 5(H) cm (Bone china tea cups x 6)
Love Forever, Heart, Flower, Cloud, Shine, Dream:
12.3(L) x 10(diameter) x 6.5(H) cm (Bone china saucers x 6)
Sun: 17.5(L) x 17.5(W) x 2(H) cm (Bone china cake plate x 6)
Love: 11.5(L) x 11.5(W) x 2.5(H) cm (Bone china heart plate)
Engraved on the bottom Yayoi kusama and titled COSMOS 078 and dated 2013
Engraved on the bottom of tea cups and saucers LOVE FOREVER Yayoi kusama,
SUN Yayoi kusama, CLOUD Yayoi kusama, FLOWER Yayoi kusama, DREAM
Yayoi kusama, SHINE Yayoi kusama in English and dated 2013. 078
Engraved on upper middle YAYOI KUSAMA in English, engraved on the bottom,
signed Yayoi Kusama, titled, SUN and dated 2013
Engraved on the buttom LOVE YAYOI KUSAMA 2013. 078
NT$ 550,000-750,000
HK$ 148,000-202,000
US$ 18,900-25,800
RMB 119,000-163,000
2013
78/100
: 20() x 12() x 14()cm ()
: 13.5() x 11() x 5() cm ( x 6)
: 12.3() x 10() x 6.5() cm ( x 6)
: 17.5() x 17.5() x 2() cm ( x 6)
: 11.5() x 11.5() x 2.5() cm()
COSMOS Yayoi Kusama. 2013. 078
LOVE FOREVER Yayoi kusama, HEART Yayoi kusama,FLOWER
Yayoi kusama, CLOUD Yayoi kusama, SHINE Yayoi kusama, DREAM Yayoikusama,
SHINE Yayoi kusama. 2013. 078
LOVE FOREVER Yayoi kusama, HEART Yayoi kusama,FLOWER
Yayoi kusama, CLOUD Yayoi kusama, SHINE Yayoi kusama, DREAM Yayoikusama,
SHINE Yayoi kusama. 2013. 078
YAYOI KUSAMA
SUN Yayoi kusama. 2013. 078
LOVE Yayoi kusama. 2013. 078

135
Yuki INOUE
(Japanese, b. 1972)
The Helmet of Salamander’s Hape
2016
FRP, iron, paint, braiding
65(L) x 34(W) x 60(H) cm
EXHIBITED
Toy Box - Yuki Inoue Solo exhibition, U space Gallery, Taipei, December
16, 2017~January 14, 2018
SalaMandala/ Childhood Solo exhibition by Yuki Inoue, Takashimaya,
Tokyo; Osaka, 2016
2016
65() x 34() x 60() cm
U Space
201612162017114
2016
NT$ 460,000-550,000
HK$ 124,000-148,000
US$ 15,800-18,900
RMB 100,000-119,000
- (salamander) ,
The official name of the helmet worn by the Japanese samurai is
a kabuto ().In the present, the large variety of kabuto that
have been found are mostly remnants from the Heian to Edo
eras. Kabuto are generally made of hemp, wood, bamboo, and
leather. In addition, a large number of metal accessories have also
been found attached to these kabuto.Prior to the Warring States
period, the majority of battles during the Heian period were fought
using bows. The helmets from this era served primarily to protect
the face. During the Edo period, along with improvements in
craftsmanship, materials typically used to craft ō-yoroi such as iron,
weaved bamboo, and leather, as well as other materials such as
fur, ivory, ox horns, and washi were also incorporated into kabuto
designs, leading to the creation of these gorgeous Japanese
cultural relics.
Kabuto are helmets that serve as blessings to help elevate status
and achieve swift success, or as symbols of the strength and bravery
of the samurai
The artist specializes in using the salamander, a living fossil with
incredible regenerative abilities, as the main subject for his works.
Combining Edo period cultural elements with contemporary
Japanese cultural elements, the artist perfectly blends these two
to create beautiful, detail filled figures using the finest sculptural
techniques. Only a single one of this work was created. Although
it inherits the body of a salamander, the style of this work is rarely
seen in the artist’s works. The uniqueness as well as the finely
woven detail and combination of different materials make this an
especially extraordinary piece of art.

136
Yayoi KUSAMA
(Japanese, b. 1929)
Pumpkins Serie 4 (a set of 5)
2002
Limoges porcelain, edition of no. 87/130
10.5(L) x 9(W) x 8.5(H) cm (each)
Signed on the bottom YAYOI KUSAMA, inscrbed 87/130, and dated
2002 (each)
Singned in the box cover Yayoi Kusama and dated 2002
This sculpture is to be sold with a certificate of authenticity issued by
FMR Limited, Japan.
NT$ 300,000-400,000
HK$ 81,000-108,000
US$ 10,300-13,800
RMB 65,000-87,000
2002
87/130
10.5() x 9() x 8.5() cm ()
YAYOI KUSAMA 2002 87/130 ()
Yayoi Kusama 2002 ()
FMR

137
Jeff KOONS
(American, b. 1955)
Balloon Dog (Orange)
2015
Glazed porcelain, editon no. 2167/2300
26.7(L) x 26.7(W) x12.7(D) cm
Stamped Jeff Koons on the reverse
This work is to be sold with a certificate of authenticity
issued by Bernardaud Group, France.
NT$ 300,000-380,000
HK$ 81,000-102,000
US$ 10,300-13,100
RMB 65,000-82,000
2015
2167/2300
26.7() x 26.7() x 12.7() cm
JEFF KOONS

138
ZHOU Chunya x Meissen®
Green Dog, Floral Spray Tea Set and Vase
( a set of 4 )
Porcelain, edition no. 83/299
Teapot: 25(L) x 16(Diameter) x 15(H) cm; opening teapot 7(D) cm
Tea cup: 13.5(L) x 11(Diameter)x 5(H) cm
Tea Saucer: 16.5(Diameter) x 3(H) cm
Vase: 12(Diameter)x 18(H) cm, rim: 3(Diameter) cm
Overglazed on the bottom 083/299 bears the “Crossed Swords” and
the sign ZHOU Chunya in Chinese
This tea set is to be sold with a certificate of authenticity issued by
Meissen, German
NT$ 200,000-300,000
HK$ 54,000-81,000
US$ 6,900-10,300
RMB 43,000-65,000
x
()
83/299
25() x 16() x 15() cm
7() cm
13.5() x 11() x 5() cm
16.5() x 3() cm
12() x 18() cm
3() cm
83/299
72

201
SANYU
(Chinese-French, 1895 - 1966)
Les Poèmes de T’ao Tsien
1930
Etching print, edition no. 220/290
15 x 9.2 cm (print)
33 x 25.5 x 1 cm (book)
With one etching seal, Yu in Chinese on each etching work
PROVENANCE
Private collection, France
EXHIBITION
Sanyu: l'ecriture du corps, Musée des arts asiatiques Guime,
Paris, exhibited 16th June-13th September, 2004
An Intimate View: Sanyu’s Small Masterpieces, Eslite Gallery,
Taipei, exhibited 3rd March-1st April, 2018
ILLUSTRATED
La Nouvelle Revue Française (NRF), Issue 214, Éditions
Gallimard, Paris, 1931, pp. 163-165
Overseas Chinese Fine Arts Series - Sanyu, Antoine Chen
(Chen Yen-fon), Artist Publishing Company, Taipei, 1995, color
illustrated, p. 27
Sanyu Catalogue Raisonné: Oil Paintings, Rita Wong, Yageo
Foundation, Lin & Keng Art Publications, Taipei, 1995, color
illustrated, p. 50
The Art of San Yu, Gao Yuzhen, National Museum of History,
Taipei, 1995, color illustrated, pp. 124-125
In Search of a Homeland - The Art of San Yu, National Museum
of History, Taipei, 2001, color illustrated, plate 1, p. 150
Sanyu: Language of the Body, Skira, Milan, 2004, color
illustrated, plate 55-57, p. 161
World Famous Artist: Sanyu, Gu Yue Hebei Education Press,
Shijazhuang, 2010,color illustrated, p. 108
Sanyu: A Pioneering Avant-Garde in Chinese Modernist Art,
Tina Keng Gallery, Taipei, 2013, pp. 122-125
Rita Wong, SANYU Catalogue Raisonné: Prints, The Li Ching
Cultural and Educational Foundation, Taipei, 2017, color
illustrated, pp. 100-107
An Intimate View: Sanyu’s Small Masterpieces, The Eslite Corp.,
Taipei, 2018, color illustrated, pp.102-107
1930
220/290
15 x 9.2 cm ()
33 x 25.5 x 1 cm ()
2004616913 ()
201833
41 ()
2141937
163-165
(I
199527
2001 50
1995124-125
2001150
2004
16155-57
2010 108
2013 122-125
2014 100-107
2018
102-107
NT$ 240,000-340,000
HK$ 65,000-92,000
US$ 8,300-11,700
RMB 52,000-74,000
80

202
SANYU
(Chinese-French, 1895 - 1966)
Sitting Nude
1920 - 1930s
Ink on paper
23.5 x 37 cm
Signed lower center Yu in Chinese and SANYU
PROVENANCE
Soufiane Bensabra, Paris
ILLUSTRATED
Rita Wong, Sanyu Catalogue Raisonné: Drawings and
Watercolor, The Li-Ching Culture and Educational Foundation,
Taipei, 2014, color illustrated, p. 26, no. D0250 (flash drive)
NT$ 550,000-850,000
HK$ 148,000-229,000
US$ 18,900-29,300
RMB 119,000-184,000
1920 - 1930
23.5 x 37 cm
SANYU
201426D025
82

203
SANYU
(Chinese-French, 1895 - 1966)
Sans titre
1920 - 1930s
Ink on paper
44 x 27.5 cm
PROVENANCE
Former collection of Jean-Claude Riedel, Paris
Diane de Polignac & Chazournes
Private collection, France
ILLUSTRATED
Rita Wong, Sanyu Catalogue Raisonné: Drawings and
Watercolors, The Li-Ching Cultural and Educational
Foundation, Taipei, 2014, color illustrated, p. 48, no. D0577
(flash drive)
This work is to be sold with a certificate issued by Galerie
Diane de Polignac & Chazournes.
NT$ 550,000-850,000
HK$ 148,000-229,000
US$ 18,900-29,300
RMB 119,000-184,000
1920 - 1930
44 x 27.5 cm
201448D0577
84

204
SANYU
(Chinese-French, 1895 - 1966)
Nude
1920 - 1930s
Ink on paper
44.5 x 26.5 cm
Signed lower left YU in Chinese and SANYU
PROVENANCE
Former collection of Jean-Claude Riedel, Paris
Private collection, USA
ILLUSTRATED
Rita Wong, Sanyu Catalogue Raisonné: Drawings and
Watercolors, The Li Ching Cultural and Educational
Foundation, Taipei, 2014, color illustrated, p. 47,
no. D0558 (flash drive )
This work is to be sold with the letter of opinion signed by Rita
WONG and issued by The Li-Ching Cultural and Educational
Foundation.
NT$ 600,000-900,000
HK$ 162,000-243,000
US$ 20,700-31,000
RMB 130,000-195,000
1920 - 1930
44.5 x 26.5 cm
SANYU
201447D0558
86

205
SANYU
(Chinese-French, 1895 - 1966)
The Hidden Beauty
1920 - 1930s
Ink on paper
45 x 28 cm
Signed lower right YU in Chinese and SANYU
PROVENANCE
Former collection of Federico Cappelin, Paris (acquired directly
from the artist)
Important private collection, Europe
ILLUSTRATED
Rita Wong, Sanyu Catalogue Raisonné: Drawings and
Watercolor, The Li-Ching Culture and Educational Foundation,
Taipei, 2014, color illustrated, p. 45, no. D0523 (flash drive)
1920 - 1930
45 x 28 cm
SANYU
201445D0523 ()
NT$ 700,000-1,200,000
HK$ 189,000-323,000
US$ 24,100-41,300
RMB 152,000-260,000
20
黯 黯 微 光 中 , 遊 走 在 城 市 中 孤 獨 卻 自 由 的 靈 魂 由 於 波 特 萊
爾 , 巴 黎 第 一 次 成 為 抒 情 詩 的 主 題
Sanyu's works on paper are known for the long and fluid continuous
lines he makes on them, as well as the sensual portrayals of nude
women using Chinese calligraphic strokes. Whether sketching with
pencil and quickly using a charcoal pencil to increase the sense of
volume, or a Chinese paint brush to leave gracefully fluid strokes on
the paper, the final results are rarely seen modern clashes between
Eastern and Western visuals. It is within such clashing visuals that
the charm of Sanyu's sketches can truly be seen.
One of the most important expressionist painters of the early 20th
century, Egon Schiele was a master at depicting twisted figures
through sketches. The lines found in his sketches are strung tightly
by the tension of the blaze of emotions within his drawings. The
similarity between these two is that they both portray the human
body using exaggerated shapes and styles. In comparison to
Sanyu's works filled with literary and humanistic tones, Schiele's
works give off an arrogant and sadistic visual impact. The German
philosopher Benjamin once said, "In the glimmer of light, the soul
that strolls alone leisurely through the streets belongs to Baudelaire,
Paris becomes for the first time, the topic of lyric poem." Sanyu
and Schiele, both lonely souls that loved freedom, both artists
that enjoyed using the body movements of the figures within their
drawings to express their own emotions, and both with the same
insistence on their own principles in regards to art.
This work, “The Hidden Beauty”, is one of the most unique pieces
of work by Sanyu presented at this auction. The concealment
of the face within the drawing makes it impossible to use facial
expressions to guess the emotions of the figure in the drawing.
The disproportionately buxom upper body, buttocks, and legs are
typical of the female figures depicted in Sanyu's drawings. The
figure's body language is unique and mellow, much like the flowing
clouds and running water depicted in the style of filament drawings
inspired by the spinning of silk by silkworm, reflecting the unique
charm of the essence of Sanyu's drawings.
1918
Egon Schiele, Bending woman with head bowed and crossed hands, 1918,
Charcoal on paper, 46 x 29.5 cm
1917
Egon Schiele, Weiblicher Torso in Unterwäsche und schwarzen Strümpfen, 1917, Gouache,
watercolor and black Conté crayon on paper, 46 x 29.8 cm
88

206
SANYU
(Chinese-French, 1895 - 1966)
Lady Reading
1920 - 1930s
Ink and watercolor on paper
46 x 29 cm
Signed lower right YU in Chinese and SANYU
PROVENANCE
Cheng Xuan Auction, Beijing, May 16, 2010, lot 32
Soufiane Bensabra, Paris
This work will be included in the forthcoming Catalogue Raisonné
of Sanyu in preparation by Li-Ching Cultural & Educational
Foundation and Mrs. Rita Wong under no. W223
NT$ 1,900,000-2,800,000
HK$ 512,000-755,000
US$ 65,400-96,500
RMB 412,000-607,000
1920 - 1930
46 x 29 cm
SANYU
201051632
W223
90

207
SANYU
Standing Nude
(Chinese-French, 1895 - 1966)
1920 - 1930s
Ink and watercolor on paper
46 x 29 cm
PROVENANCE
Former collection of Jean-Claude Riedel, Paris
Private collection, France
ILLUSTRATED
Rita Wong, Sanyu Catalogue Raisonné: Drawings and
Watercolors, The Li-Ching Cultural and Educational
Foundation, Taipei, 2014, color illustrated, p. 154, no. W18.
This work is to be sold with the letter of opinion signed by Rita
WONG and issued by The Li-Ching Cultural and Educational
Foundation.
1920 - 1930
46 x 29 cm
2014154W18
NT$ 2,600,000-3,600,000
HK$ 701,000-970,000
US$ 89,600-124,000
RMB 564,000-781,000
我 們 的 步 伐 太 過 時 。 我 們 的 軀 體 太 脆 弱 , 我 們 的 生 命 太 短 暫 了 。 而
時 間 就 像 大 浪 , 一 層 層 洗 去 了 塵 埃 , 最 終 展 現 本 質 的 光 芒
他 用 線 條 佔 領 空 間 , 用 線 來 吐 訴 情 懷 , 在 線 之 畫 情 伸 展 中 , 赤 裸 裸
呈 現 了 他 的 任 性
ELEGANT ON PAPER, SANYU’S BOHEMIAN SENSUALITY
“The steps we take are too slow to keep up with the times. Our
bodies are too fragile. Our lives are too short. And time is like a
giant wave that washes the dirt away, layer by layer, to finally reveal
the shining layer hidden underneath.” - Sanyu
It was in 1921 that Sanyu first set foot in Paris, during a time when
Hemingway’s mighty pen had just began to shake the world,
producing a several decade long banquet of lean yet compelling
literary works. Sanyu was drawn by the prosperity of Paris, and
fully immersed himself into each of the latest artistic trends of the
time. As a part of the School of Paris, Sanyu did not enroll in any
of the more traditional and esteemed schools of art, but instead
preferred the freedom and exuberance of the Académie de la
Grande Chaumière. In comparison to his peers such as Xu Beihong
and Lin Fengmian, Sanyu did not have any grand aspirations.
Instead, displayed a perplexing interest for little more than his art,
and can be said to be the Chinese painter who most took to the
leisurely Bohemian lifestyle of Parisians, uninhibited and painting as
he pleased. The practice revolving around nude portraying at the
Académie de la Grande Chaumière were forbidden back home in
China. In addition to the use of pencil in his sketches, he also used
charcoal to create a greater sense of volume in his drawings. He
also used Chinese ink and brushes for a large number of his nude
drawings. The fluidity and varying innuendos of the calligraphic
strokes made using Chinese ink and brushes became a signature of
his nude drawings.
“The lines he used to occupy the space were also used to convey
his sensualities, as the lines within his drawings unfolded, his
stubbornness was portrayed nakedly.” - Wu Guanzhong, On Sanyu
His drawings are able to withstand the rigors of time; his drawings
are true, moving and full of artistic conception, and are just as
sensitive, stubborn, and indifferent to fame and fortune as the
artist. The nude lady in the drawing, the cloud-like and flowing
lines created using calligraphy techniques are pristine and unaltered,
creating a natural blend between Western and Eastern
cultures, demonstrating the essence of Sanyu’s art.
/1824
Eugene Delacroix, Seated Nude/Mademoiselle Rose, c.1824, oil on canvas, 81x65cm,
Collection of Musée du Louvre, Paris, France
92

208
SANYU
(Chinese-French, 1895 - 1966)
Woman Seated on Stool
1920 - 1930s
Ink on paper and watercolor
44.6 x 24.6 cm
Signed lower right YU in Chinese and SANYU
PROVENANCE
Former collection of Jean-Claude Riedel, France
Private collection, Asia
ILLUSTRATED
Rita Wong, Sanyu Catalogue Raisonné: Drawings and
Watercolors, The Li-Ching Cultural and Educational Foundation,
Taipei, 2014, p. 223, no. W118
NT$ 3,600,000-4,600,000
HK$ 970,000-1,240,000
US$ 124,000-158,500
RMB 781,000-998,000
1920 - 1930
44.6 x 24.6 cm
SANYU
2014223W118
94

209
LIU Kuo-sung
(Taiwanese, b. 1932)
Outer Space Series - Sun Arising from Five
Flower Pond
2014
Ink and color on paper
69 x 105.5 cm
Signed lower left Liu Kuo-sung and dated 2014 in Chinese
With one seal of the artist
EXHIBITED
Releasing the Future, Asia Art Center, Beijing, 14 June - 14
September, 2014
ILLUSTRATED
Releasing the Future, Asia Art Center, Beijing, 2015, color
illustrated, p.134
NT$ 2,600,000-3,600,000
HK$ 701,000-970,000
US$ 89,600-124,000
RMB 564,000-781,000
2014
69 x 105.5 cm
-
20146142014914
-2015
134
96

210
ZAO Wou-ki
(Chinese-French, 1920 - 2013)
Red Sun
1949 - 1951
Oil on paper
14.2 x 20.5 cm
Inscribed lower center Wou-ki in Chinese, Zao in French and
dated 49 (upside down)
Signed lower right Wou-ki in Chinese, Zao in French and dated 51
Inscribed beside the sun Wou-ki in Chinese
PROVENANCE
Acquired directly form the artist in the mid 50s
Important private collection, Europe
ILLUSTRATED
This painting will be included in the forthcoming Catalogue
Raisonné compiled by Madame Françoise Marquet and Monsieur
Yann Hendgen.
This painting is to be sold with a certificate of authenticity issued
by Atelier Zao Wou-ki
NT$ 2,800,000-4,000,000
HK$ 755,000-1,078,000
US$ 96,500-137,800
RMB 607,000-868,000
1949 - 1951
14.2 x 20.5 cm
ZAO 49 ()
ZAO 51
1950
98

RED SUN
ZAO Wou-ki
我 畫 我 自 己 的 生 活 , 但 我 也 試 圖 描 繪 出 一 個 無
形 的 空 間 , 那 個 夢 想 的 無 形 空 間 , 一 個 即 使 是
在 激 烈 的 相 對 力 量 中 也 感 覺 和 諧 的 地 方 。
他 的 油 畫 和 石 版 畫 十 分 迷 人 , 使 我 同 時 想 起 克 利 繪 畫 的 神 祕 和 倪 瓚
山 水 的 簡 練 , 我 可 以 毫 不 誇 張 地 說 , 趙 無 極 是 當 今 畫 壇 最 偉 大 的 藝 術
家 之 一 。
O
1922
Paul Klee, Red Balloon, 1922, oil on chalk-primed gauze, mounted on board, 31.7 x 31.1 cm,
Collection of Solomon R. Guggenheim Museum, New York, USA
100

creation of such an inclusive and equitable fusion reflects Zao Wou-
Ki’s unique mental imagery.
“I paint my own life. However, I also try to depict an invisible space
- that intangible dimension of dreams, a place that feels peaceful
even when caught between intense opposite forces”. - Zao Wou-Ki,
Autoportrait
A HARMONIOUS AND BOUNDLESS IMAGERY
“His paintings and lithographs are extremely fascinating. They
remind me of the sense of mysteriousness found in Paul Klee’s
paintings and simplicity in Ni Zan’s landscapes. It is no exaggeration
for me to say that Zao Wou-Ki is one of the greatest artists in the
world today.” Ieoh Ming Pei , 1980, New York
Zao’s name in Chinese, Wou-Ki, comes from the Taoist concept
of “endless, infinite” - a concept which first appeared in Lao Tzu’s
“Tao Te Ching” to define the permanence of the universe. Being
one of the most influential Chinese artists of all times, Zao Wou-
Ki skillfully reflected the Eastern philosophy of Taoism through the
forms of Western Abstract Expressionism. Having experienced
much historical unrest and cultural mobility, he painted works that
represent turning points during these transitional periods. From his
earlier phase in figurative art, the Klee-style images suggested a
lyrical abstraction that was essentially Eastern. Zao perfectly shaped
an interpretation of Eastern and Western Art concepts through
subtle imagination and his experiences of life, the universe, and
more.
In 1948, he moved from Shanghai to Paris and began his artistic
career in France. Influenced by Western European mainstream
schools in painting, he began experimenting with lithographs at
the printmaking workshop of Desjobert. This laid the foundation for
Zao Wou-Ki’s future production of works. At this time, Zao Wou-Ki
entered a phase of self-discovery. From 1949 to 1950, the influence
of Paul Klee could already be seen in many of his paintings. In
the work, “Le Soleil Rouge” (The Red Sun), the artist neglected
traditional perspectives, choosing instead to juxtapose blocks of
color. Looking at the painting’s surface, we can see how he used
shades of light blue as a base tone, matching it with a bright red
sun that reveal an artistic conception both mysterious and ethereal.
Those large blocks of color serve as even clearer evidence of a
style close to Western Expressionism that simultaneously exudes a
childlike playfulness. With the exception of two works from 1951,
which feature a customary signature on their lower-right corners,
his paintings from 1949 have been signed with an upside down
engraving at the center of the canvas. Providing insight into Zao
Wou-Ki’s thoughts and feelings during the creative process, his
signature is vertically engraved next to the red sun. This threesigned
work is extremely precious and rare.
Carefully examining the painting, it is also possible to see how
many simple black lines come together to form tree branches.
Indeed, the artist retained this unique brushstroke technique from
Chinese ink painting. These calligraphic lines, together with the
juxtaposed color blocks, unite Chinese and Western culture. The
Like the sun and moon, reality and illusion supplement each
other. With a strong Eastern cultural background, Zao Wou-
Ki was deeply influenced by traditional Chinese aesthetics and
Eastern cosmological concepts regarding life. On the canvas,
the mass of color which is the sun fully represents reality, while
the moon, impersonated by the lines, symbolizes an imaginary
world and resembles the inscriptions on oracle bones. As there’s
a hint of reality within imagination, and what is real might carry
something fictitious, the “mutuality between truth and fiction” is
an aesthetic consciousness unique to Chinese aesthetics. We live
in a dimension of periodic spatiotemporal transformation: “nonbeing”
is the premise of “being”, “existence” embodies the value
of “emptiness”. The sun represents reality, the moon imagination
- they are interdependent and utilize each other to form a whole.
This unity of thought concerning “fullness and emptiness, being
and not-being” laid the theoretical foundations to Chinese painting.
Illusion and reality supplement each other, as reality is derived from
concepts. Zao Wou-Ki’s works not only summarize the aesthetic
features of Chinese art, but they also emphasize the existence of
“void” through massive white backgrounds. The large masses of
color in the painting thereby innovated the expressive techniques
of Chinese painting, just as the rotation of all things in the universe
fully embody Lao Tzu’s cosmological concept about the harmony
found within nature.
Zao Wou-Ki’s creations not only represent a fusion of Chinese
and Western culture, but also convey the spirits of Confucianism,
Taoism, and Buddhism that are held in the highest regard by the
Chinese people. By carefully
looking, perhaps we may also
deliberate that the state of
mind he wants to portray is
“walking is Zen, sitting is Zen:
through meditation, a state of
peace can be reached from
within ourselves, the heart
becomes stable, as in nature
flowers blossom in spring
and leaves fall in autumn; no
outside phenomenon can
break such stability, both in
body and mind, everything
becomes clear, both the
big and small things”. Only
paying attention to the small
details is it possible to discover the limitlessness of this world. Just
as we imagine the infinite vastness of the universe, we are, in fact,
just some tiny protons and neutrons. It is through such small details
that Zao Wou-Ki shaped his conception of the universe.
1920
Paul Klee, They Are Biting, 1920, watercolour and oil paint on paper, 31.1 x 23.5 cm,
Collection of Tate Modern, London, UK

211
CHU Teh-chun
(Chinese-French, 1920 - 2014)
Sans titre
1995
Gouache on paper
50 x 32.5 cm
Signed lower right CHU TEH-CHUN in Chinese and French, dated
95.
This painting will be included in the forthcoming Catalogue
Raisonné compiled by Madame Ching-Chao CHU
This painting is to be sold with a certificate of authenticity issued
by Atelier Chu Teh-chun.
NT$ 3,200,000-4,200,000
HK$ 863,000-1,132,000
US$ 110,200-144,700
RMB 694,000-911,000
1995
50 x 32.5 cm
CHU TEH-CHUN.95.
102

SANS TITRE
CHU Teh-chun
作 畫 要 充 實 誠 懇 , 不 要 賣 弄 小 聰 明 、 出 風 頭 , 在 校 六 年
能 夠 畫 一 張 完 整 可 看 的 畫 就 夠 了 。
.
1995
104

THE ADVENTURE LEADS TO A RIVERSIDE,
A NEW SCENE WITHOUT BOUNDS.
WAITING TO MEET THE EASTERN WINDS,
SPRING IS ALWAYS IN THOUSANDS OF VIOLETS AND REDS.
- A Spring Day. (Song) Zhu Xi
BEYOND THE IMAGE
In the words of Wu Dayu, "To create a painting demands complete
sincerity. It's not something to get smart about or show off, since it
might take six years of schooling before you're able to even make a
single finished, agreeable painting." Such a philosophy of painting
was adopted as the main idea and standard of practice by Chu Teh-
Chun, one of the abstract artists in modern Chinese art. A lover
of Western classical music, Chu Teh-Chun would listen to it while
working as a way to ignite another side of himself. He would follow
the music's mild, 'yin and yang' transitions, drawing inspiration from
the depths, heights, and countless undulations, adding detail and
a sense of delicate, musical rhythm to his abstract paintings. With
the light strokes of Chu Teh-Chun's heavy brush, ink is gracefully
blended using both Chinese and Western techniques, theories,
and expressions. The brushstrokes rise and fall across the paintings
like a dancer, stepping, lunging, and leaping across a stage. There
is a clear sense of action on the canvas, with colours colliding and
interweaving as if shifting through every season at once. Together,
they give structure to the multitude of galaxies and landscapes
without end in the artist's imagination.
Having hiked mountains and walked rivers thousands of times
during his travels in different countries, what Chu Teh-Chun saw
and where he stepped he took to heart, later adapting those
colours into the bright forms of his work. One can see in Chu Teh-
Chun's abstract paintings how the artist had developed techniques
in calligraphy since his childhood. The artist's masterful infusion
of the spirit behind Chinese landscape painting with a natural and
flowing script gives the work a certain connection to ink painting.
While a thick brush sweeps through the majestic mountain ranges,
a fine brush flies with the electricity in the wind, and together they
cover the canvas in a captivating Eastern texture of colourful oils
and drunken inks that only Chu Teh-Chun could do. But beyond
the technical side of the work which would pose a challenge for
Western artists, even more difficult to replicate is the vibrant,
scenery-transcending energy of the paintings.
Chu Teh-Chun was a master of his craft, and he considered nature
to be the main fountainhead of his creative inspiration. The most
beautiful landscapes and gorgeous scenes he had seen would
transform before his eyes into nourishment – the winter snow,
summer rain, spring flowers, and autumn leaves that all made marks
on his art practice. Oxford University art critic Michael Sullivan,
who was previously a Tang dynasty literature critic, once described
the paintings and artistic wisdom of Chu Teh-Chun in the terms
of Sikong Tu as written in Quality of Grandeur in Poetry: 'Leap
beyond the external appearance to reach the centre of the circle'.
While originally describing the cathartic peak of a poem, it is also
extremely befitting of Chu Teh-Chun's beautiful paintings. Taking
a look at this 1995 "untitled" work, one can make out the artist's
passion for the techniques of Eastern calligraphy and his applied
knowledge of Western
colour palettes as they
are hidden throughout
the painting. Yet even
more recognisable is Chu
Teh-Chun's refinement
of ink painting skills such
as "heaviness, lightness,
dryness, waterlessness,
moistness, droughtiness,
smudginess" through the
vocabulary of Western
oil painting, adding
soft yet robust layers
of delicate yet bold
details. The endlessly
glimmering brilliance of
the colours leads viewers
into the artist's romantic
world, which is filled with
scenes that resonate with
audiences' memories of
nature, ever so gently
pulling them closer.
Northern Song Dynasty, Li Cheng, A Solitary Temple Amid Clearing Peaks, color on silk,
111.4 x 56cm, Collection of The Nelson-Atkins Museum of Art, Kansas, USA

212
LIN Fengmian
(Chinese, 1900 - 1991)
Lotus
c. 1977 - 1979
Mounted scroll, ink and color on paper
33 x 33 cm
Signed lower right Lin Fengmian in Chinese
With one seal of the artist
PROVENANCE
Private collection (acquired directly from the artist by Shiy De-jinn
as requested by present owner in 1979)
Ravenel Shiy De-jinn Special Auction, June 2, 2013, lot 646
1977 - 1979
33 x 33 cm
1979
2013
NT$ 3,800,000-4,600,000
HK$ 1,024,000-1,240,000
US$ 130,900-158,500
RMB 824,000-998,000
()
)
A highly lauded figure of 20th-century art history in China, Lin
Fengmian dedicated his life to the development of an art practice
in painting that, at its essence, could be compatible with either
Chinese or Western art. He also reached outstanding achievements
in art education. As the president of the National Hangzhou School
of Art (present day ‘China Academy of Art’), he tirelessly introduced
techniques and theories of Western art, becoming a key guide and
pioneer of Chinese modern art. Amongst his followers were Zao
Wou-Ki, Chu Teh-Chun, and Shiy De-Jinn.
This work, “Lotus” shows how, after traditional Chinese landscape
paintings, Lin Fengmian’s practice placed equal emphasis on
both the light and colour of his scenes. It presents a refinement
of a perspective drawn from Western painting, in which contrast
between light and shadow creates the clearest impressions of space
within the frame. Even if the lotuses in full bloom are scattered
all over, they all conform to a certain order within their complex
arrangement that makes them appear not as a mess, but as a
simple composition in which the blooming lotuses assume a serene
yet poised-to-leap subject position.
Let life be beautiful like summer flower, Tagore, Stray Birds — for
even in a silent, indifferent world, one can still avoid catching the
sick of the mundane and let oneself stay infatuated by a creative
practice. Although Lin Fengmian had been publicly denounced and
once blacklisted as an artist during the Chinese Cultural Revolution,
his later accomplishments not only helped to open the door for
modern Chinese art, it did so to such a highly structured degree
that it would be a challenge to cover over the brilliant sincerity
of Lin’s art practice. Borrowing from the lotus, Lin Fengmian rose
out of the mud unsullied, strong-willed, bent on freedom and
openness, practicing what one preaches, and persevering along the
painter’s road.
106

213
PANG Jiun
(Taiwanese, b. 1936)
In the Mountains Amongst Clouds
2014
Oil on canvas
115.5 x 180.5 cm
Signed lower right Pang Jiun in Chinese and dated 2014
With one painted seal of the artist
2014
115.5 x 180.5 cm
2014
NT$ 4,000,000-5,000,000
HK$ 1,078,000-1,348,000
US$ 137,800-172,200
RMB 868,000-1,085,000
琹
Pang Jiun was born in 1936 in a prominent artistic family that
had already produced three generations of renowned painters,
including his father, Pang Xunqin, who belonged to the first wave
of Chinese artists studying in France, and his mother, Qiu Ti,
who studied painting in Japan. Born and bred as an artist, Pang
remained active and immersed in art throughout his entire life. His
parents had undergone the baptism of Western oil painting, and
been great promoters of modern art in China. Absorbing both the
experience and knowledge of his parents, while at the same time
being imbued in Oriental art and culture, Pang Jiun soon began
to develop his own individual style of painting. Pang Jiun relates
the classical to the modern, and imbibes their peculiarities to his
advantage; in the process, he also discovers the thread running
through oil painting and Chinese painting, particularly the Xieyi ink
painting. Both the modern Western oil painting and the Chinese
ink painting leads to his conclusion that a highlight of Xieyi is one
of the most important ways to regenerate Chinese oil painting.
The work”In The Mountains Amongst Clouds” is a perfect example
of Pang Jiun’s ingenious approach to landscape painting. Here, hills
of branches set in the foreground correspond to the background’s
mountains which seem to float in fog and mist of layers so thick
the viewer is immersed in the scene. Steeped in deep grey tones,
the work presents a sort of visual illusion. While the image has
an overall subtlety, poetically it is rich, which allows the viewer to
sink further and further inside. And the artist’s ingenious way of
balancing techniques borrowed from different painting traditions,
on display here, is what truly sets Pang Jiun’s oil painting apart from
the rest.
108

214
CHU Teh-chun
(Chinese-French, 1920 - 2014)
Sans titre
1983
Oil on canvas
64.5 × 54 cm
Signed lower right CHU TEH-CHUN in Chinese and French
Signed on the reverse CHU TEH-CHUN in Chinese and French
and dated 1983
PROVENANCE
Private Collection, Asia
NT$ 5,000,000-6,000,000
HK$ 1,348,000-1,617,000
US$ 172,200-206,700
RMB 1,085,000-1,302,000
1983
64.5 54 cm
CHU TEH-CHUN
CHU TEH-CHUN 1983
110

SANS TITRE
CHU Teh-chun
朱 德 群 的 畫 作 裡 面 的 主 要 構 成 因 素 是 『 動 』
每 幅 畫 都 像 是 一 部 運 動 的 和 聲
運 動 的 節 奏 之 美 統 一 在 和 諧 的 色 調 之 中
讓 人 隔 著 水 晶 看 狂 舞 而 聽 不 到 一 點 噪 音
粗 獷 的 力 溶 於 寧 靜 的 美
O
朱 德 群 的 畫 作 裡
面 的 主 要 構 成 因 素 是 『 動 』, 每 幅 畫 都 像 是 一 部 運 動 的 和 聲 , 運 動 的
節 奏 之 美 統 一 在 和 諧 的 色 調 之 中 , 讓 人 隔 著 水 晶 看 狂 舞 而 聽 不 到 一 點
噪 音 , 粗 獷 的 力 溶 於 寧 靜 的 美 。
112

BEYOND THE FINITE
This piece, known as Sans titre, was created by Chu Teh-chun in
1983. Witnessing the masterly brush’s color configuration is like
listening to the melody of a great piece of music. The rhythm and
cadence are intricately interwoven like a dance. The thickness of
the contours are staggered, layered and juxtaposed in the picture,
forming a harmonious and ambient atmosphere. The picture with
the warm colors is like an impassioned and gentle symphony.
Moreover, the spirit of the Chinese style brush strokes is seen in
both the large and small dots. Through this, the art manifests a
bright and ephemeral poetic spirit. Wu Guang-zhong, the peer in
Hangzhou School of Fine Arts, also commented that each one of
Chu’s paintings are like kinetic harmonies, the beauty of rhythm is
unified in harmonic colors, it’s like “To watch others dance before
a crystal, looks intense but also totally silent, as if unconstrained
strengths were all melted in one placid beauty.”
THE MAGNIFICENT GLORY OF THE GOLDEN ERA
This overview of Chu Teh-chun’s artwork is akin to appreciating
a lyrical epic. The methods of textural painting often gives the
viewers a feeling of spiritual energy. The most appropriate phrase
for describing his artworks is “vivid artistic conception”. He was
constantly transforming and refining his methods and was full
of an almost supernatural enthusiasm. Regarding the various
interpretations of his art as well as his artistic reproduction of
nature, it has been pointed out that some of his transformations
went beyond an objective rendition of the landscape but rather
had become a highly subjective and poetic expression instead.
Via the transition from the specific to the abstract, he has created
a portrayal of the intellectual realizations he had accumulated
throughout his life.
Born in a time of turmoil and cultural flows, Chu Teh-chun had
transitioned from a traditional Chinese environment to a modern
European aesthetic. Beginning in the 1980s, Chu Teh-chun began
employing oriental charm as a basis for complementing features of
Western artistic expression. The brushstrokes and contours of his
art are reminiscent of the forms found in Chinese calligraphy. Xie
Hun, an art historian from the Southern Qi Dynasty, describes in his
seminal work, “The Record of the Classification of Old Painters”,
the Six principles of Chinese painting: spirit resonance, bone
method, correspondence to the object, suitability to type, division
and planning and transmission by copying. One can easily see that
the first two principles, spirit resonance and the bone method, are
incorporated in Chu Teh-chun’s artworks.
()1365
Yuan Dynasty, Wang Meng, A Solitaire Living in Xianshan Peak, c.1365, color on silk,
149x63.5cm, Collection of Palace Museum, Beijing, China
In addition to embodying the representation of oriental culture,
Chu Teh-chun had also liberated his artistic forms from the confines
of specific matters, manifesting in a penetration of magnificent
grandeur. Beyond just representing the unique symbolism and
characteristics of music among the Chinese literati, Chu Teh-chun’s
art had another manifestation as well: a unique esoteric motif that
is repeatedly reflected in his works, namely a meditation on the
vastness and boundlessness of the universe. Through this detached
sentimental style, he conveys his esteem for the beauty of nature.
The overall picture was particularly effective at capturing and
conveying the feeling and texture of air. In Chu Teh-chun’s paintings,
he had rearranged the scenery that he witnesses. Whether it is the
lighting of a portrait or the oriental heritage which permeates the
atmosphere, he had broken the principles of conventional judgment
one step at a time. His one-of-a-kind artistic forms are an ingenious
fusion of Eastern and
Western influences.
He uses an abstract
naturalistic approach
to allow these unique
cultural sources to
blend with each
other, preserving their
positive attributes
while discarding their
superfluous elements.
It is as so though
the horizon were a
surging, radiating
and magnificent
flower that bloomed
with unprecedented
vitality.

215
ZAO Wou-ki
(Chinese-French, 1920 - 2013)
Sans titre
1977
Ink on paper
48 x 61 cm
Signed lower right Wou-ki in Chinese, Zao in French and dated
77
This painting is to be sold with a certificate of authenticity
issued by Atelier Zao Wou-ki
NT$ 5,500,000-7,000,000
HK$ 1,482,000-1,887,000
US$ 189,500-241,100
RMB 1,193,000-1,518,000
1977
48 x 61 cm
: ZAO 77
114

216
LIU Kuo-sung
(Taiwanese, b. 1932)
Mountain Ranges
2013
Ink and color on paper
94.3 x 186 cm
Signed lower right Liu Kuo-sung and dated 2013 in Chinese
With one seal of the artist
NT$ 7,500,000-8,500,000
HK$ 2,022,000-2,291,000
US$ 258,400-292,800
RMB 1,627,000-1,844,000
2013
94.3 x 186 cm
116

WHAT SHALL I SAY OF THE GREAT PEAK?
THE ANCIENT DUKEDOMS ARE EVERYWHERE GREEN,
INSPIRED AND STIRRED BY THE BREATH OF CREATION,
WITH THE TWIN FORCES BALANCING DAY AND NIGHT.
I BARE MY BREAST TOWARD OPENING CLOUDS,
I STRAIN MY SIGHT AFTER BIRDS FLYING HOME.
WHEN SHALL I REACH THE TOP AND HOLD
ALL MOUNTAINS IN A SINGLE GLANCE?
- Du Fu, A View Of Taishan
Liu Kuo-Sung founded the Fifth Moon Group in 1956, widely
publicising a call to 'overturn the centre tip' in modern ink painting
theory, which became the focus of a heated debate in the art
world. Liu promoted the incorporation of Western concepts as the
aesthetic foundations for ink painting, and he used abstraction as a
means to escape the visual experiences of the past. He transcended
nature's representations by depicting free-spirited beauty, thereby
making his subject eternal. Commenting on Liu Kuo-Sung’s work,
writer Yu Kwang-chung once wrote, "His paintings have their own
orbit, so full of vitality to have taken on their own endlessly vicious,
unbearable life of a sort that goes on and on with neither beginning
nor end, and it constantly draws us in."
The piece “Mountain Ranges” is one of Liu Kuo-Sung’s later works,
depicting a stroll through vast, smoky waters, gazing at a world
without bounds. It exemplifies Liu Kuo-Sung’s purified approach
to the natural landscape, each external feature simplified into
geometric shapes, and his method of emboldened texturing
gives the scene a beautiful, skin-like appearance. An ‘Eastern
consciousness’ is embodied in Liu Kuo-Sung’s artwork, and a
deep understanding of life is vividly portrayed through his use
of the brush. Abstraction is used as a means to escape the visual
experiences of the past. And through his depictions of a freespirited
beauty, representations of nature are transcended and
made eternal. Liu Kuo-Sung’s innovative ‘Ripping the Tendons and
Peeling the Skin’ technique enriches the context of the painting
and turns the world of landscapes into a part of the self. Exemplary
of the artist’s truly unique approach, the technique displayed in this
work has also become widely known as the ‘Liu Kuo-Sung Style’ of
abstract landscape painting.
Liu Kuo-Sung has applied his unique techniques for depicting
the visual structures of landscapes to all kinds of vast and striking
terrains. Without the goal of objective reproduction factoring into
his practice, he finds ways to play with the ink so that the abstract
forms subtly express the heartfelt emotion Liu puts into his work.
At the same time, the natural landscape takes on its own subjective
conscious — a self-expressive feeling that balances the internal
with the external and sings an eternal melody for human life. More
indirectly, there is also a certain implication of a Chinese cultural
ethics that can be found in Liu's work — an understanding of the
circle of life present in his art practice. Beyond this spiritual nature
of the work, there is also a manifest sentiment for the tradition of
Chinese ink painting reproduced through Liu Kuo-Sung's innovative
techniques, which so lucidly bring out the majestic beauty of the
natural landscape.
118

217
ZHOU Chunya
(Chinese, b. 1955)
Flora
1999
Oil on canvas
100 x 80 cm
Signed lower right ZHOU CHUNYA in Chinese and English,
dated 1999
NT$ 7,500,000-12,000,000
HK$ 2,022,000-3,235,000
US$ 258,400-413,400
RMB 1,627,000-2,603,000
1999
100 x 80 cm
1999 ZHOU CHUN YA
120

FLORA ZHOU Chunya
1989
90
Zhou Chunya returned to China in 1989, having been influenced
by Expressionism while in Germany. He devoted the following
years to the learning of literati arts of traditional Chinese, and
was particularly inspired by the masters Dong Qichang, Shitao,
Bada Shanren, and Huang Binhong. What he found were brand
new possibilities between the German Expressionism and the
“sentiments of brush and ink” of Chinese literati works. Since the
late 90s, he created many flower-themed pieces, paving a new road
with the historical
heritage of literati
paintings. In this
series the flowers
are often suspended
alone on the empty
canvas, representing
a call back to the
concept of “negative
space” from Chinese
ink wash painting,
which also restricts
the possibility of
further alteration.
“Flora”is one of the
fascinating works
among the series.
The brushwork in “Flora” is
bold and bright, showing
no signs of hesitation.
Green and red on the
canvas seem to both clash
and coalesce at the same
time. In the midst of such
rich color, blooming red
flowers with elegant leaves
and stems shine through,
displaying Zhou’s superb
ability to form his subjects.
Yet realistic depictions are
not what the artist is truly
concerned with. “Flora”
clearly conveys what Zhou
had learned from Chinese
literati traditions: the ethos
of “imbuing a scene with
feeling.” While Zhou inherited this ethos, his art takes a direction
which is opposite to the modesty and grace of the elder generation;
he gazes directly into the wishes and desires of humanity. The rich
layering of color and the texture of its surface, as well as the high
contrast of density in the spacing, enliven the once passive flower
into a burgeoning vitality. The painting maintains the flower’s gentle
charms, while allowing sudden glimpses of raging tension, mixing
gentleness and nobility with passion and impetuosity.While the
depiction of a lily in full bloom encompass qualities of a delicate
softness frequently found in the classical ink tradition, the nostalgic
composition of the brushstrokes adds dimension to the painting.
The artist have succeeded in capturing the essence of a lily in full
bloom, in line with a saying often utilized to describe the works of
Bada Shanren, which posits, “there is not a missed line, nor the
requirement of an extra brush stroke to bring out the beauty of the
subject matter.” The nostalgic airy brushstrokes of the flowering
blossom becomes the focal point against the white backdrop that
offers a delimitation of space, this attribute adheres to a theory in
the Chinese ink and wash paintings tradition that predicates upon
the notion where the void “is not devoid of sense”, as declares a
poem from the poet and painter Ma Desheng the early eighties.
The timeless beauty of flower in full bloom is reminiscence of
tradition while the simplified, more vigorous brushstrokes used to
render the stem and leafy sprigs issuing the nostalgic flowering lily
dances harmoniously upon the canvas.
1890
Van Gogh, Still Life: Vase with Irises Against a Yellow Background, 1890, oil on canvas,
92x 73.5 cm, Collection of Van Gogh Museum, Amsterdam, Netherlands
2008526
Shitao, Floral Album (detail), ink and color on paper, 37.5 x 25 cm
26, May, 2008, Fine Chinese Classical Paintings and Caligraphy, Christie's, Hong Kong,
Private Collection

218
ZHOU Chunya
(Chinese, b. 1955)
Taihu Stone
1992
Oil on canvas
100 x 80 cm
Signed lower right Zhou Chunya in Chinese and dated 1992
NT$ 10,000,000-18,000,000
HK$ 2,695,000 -4,852,000
US$ 344,500-620,000
RMB 2,169,000-3,905,000
1992
100 x 80 cm
1992
Dong Qichan, In imitation of miniature painting and epilogue in Song and, Yuan dynasty,
Ming dynasty, ink and colors on silk, Collection of National Palace Museum, Taipei
124

我 畫 石 頭 並 不 是 出 於 圖 像 或 符 號 的 考 慮 , 完 全 是
由 於 趣 味 。 我 喜 歡 古 典 文 人 筆 下 石 頭 的 形 態 , 但 不
滿 足 於 那 種 過 於 溫 和 、 內 向 的 性 格 , 我 想 到 一 種 張
揚 而 冒 險 的 嘗 試 — 借 助 這 種 典 雅 的 形 態 去 傳 達 一 種
暴 力 甚 至 是 色 情 的 意 味 。

TAIHU STONE
ZHOU Chunya
“I paint stones not for considerations of images or signs, merely for interests. I like
forms of stones by ancient literati, but am not content with the overly mild and
introverted personality. So I am thinking about a kind of risky attempt, rely this kind
of elegant form to convey a kind of violent even erotic meaning.” - ZHOU Chunya
1992
Zhou Chunya composed a series of paintings featuring unusual
rocks, in which he inherited the aesthetic tradition of rock collectors
in valuing “strangeness” and “peculiarity” through strong and
emotional expressions in oil paint. Painted in 1999, “Taihu Stone
” was constructed by brushstrokes of heavy blue and dark black.
Instead of showing the distinct contours of the rock, the artist
depicted multiple dimensions revealed through overlapping colors,
as though carefully carving out every bulge, hollow and detail on
his canvas. And thus, the solid composition of the rock was clearly
presented, as are its sharp, rugged surface and giant, weighty
volume. Some dry brush strokes create a forcefulness that reminds
viewers of the “dry stroke” (Feibai) in ink wash. A touch of obscure
blue adds a captivating charm to the supposedly still and solid rock,
which becomes vivid as though a living organism. In the heavy,
dark cyan paint spreads over the canvas like wash of ink, as though
foreseeing a coming storm and adding a rich theatrical effect to the
whole artwork.
Taihu stone was the most famous kind of stone being used in
traditional Chinese gardens. With its unique shapes, Taihu stone
naturally became a key scenic feature in a garden, and attracted
the interest of the literati. If the Western tradition is to carve stone,
the East Asian tradition is to depict stone as it is, and Zhou Chunya
remains faithful to this tradition. Zhou uses his own unique artistic
lexicon to endow cold, unfriendly stone with emotion and life. This
work completely overturns the elegant image of mountains and
rocks in the literati tradition and accomplishes a bold masterpiece
that carries the profundity of literati art.

219
CHU Teh-chun
(Chinese-French, 1920 - 2014)
Effluves de Printemps
(Emanations of Spring)
1987
Oil on canvas
130 x 195 cm
Signed lower right Chu Teh-chun in Chinese and English and dated 87
Titled on the reverse “Effluves de printemps” in French, CHU TEH-CHUN
in English and Chinese, dated 1987
NT$ 30,000,000-40,000,000
HK$ 8,086,000-10,782,000
US$ 1,033,400-1,377,900
RMB 6,508,000-8,677,000
1987
130 x 195 cm
CHU TEH-CHUN 87
"Effluves de printemps" CHU TEH-CHUN 1987
128

EFFLUVES DE
PRINTEMPS
CHU Teh-chun
中 國 傳 統 中 對 筆 墨 運 轉 及 對 絹 或 宣 紙 質 感 、 肌 理 的 講 究 創 造 了 東 方
繪 畫 宜 近 看 而 耐 人 尋 味 的 特 點 。 德 群 在 大 刀 闊 斧 的 油 畫 揮 寫 中 竭 力 發
展 中 國 筆 韻 、 墨 趣 的 時 代 性 、 世 界 性 。 朱 德 群 的 作 品 確 是 遠 看 西
洋 畫 、 近 看 中 國 畫 , 他 的 創 造 性 的 手 法 正 適 合 借 來 作 為 我 的 觀 點 的 闡
明 。 朱 德 群 表 現 中 另 一 個 突 出 的 特 點 是 透 明 性 , 粘 糊 糊 的 油 彩 織 成 了
透 明 的 新 裝 , 那 種 半 透 明 效 果 本 是 中 國 宣 紙 特 有 的 風 采 , 令 西 方 可 望
不 可 攀 的 風 采 。 朱 德 群 的 抽 象 繪 畫 不 受 遠 景 近 景 具 體 物 象 的 約 束 , 他
竭 力 追 求 深 遠 的 空 間 感 與 具 體 筆 墨 的 韻 律 相 結 合 , 是 縱 深 感 與 形 象 性
都 得 到 最 充 分 的 發 揮 。
朱 德 群 以 精 湛 技 巧 開 發 了 繪 畫 的 空 間 。
·
朱 德 群 的 空 間 不 屬 於 古 典 的 透 視 ; 我 們 可 以 說 它 是 一 多 次 元 種 空
間 ...。 繪 畫 中 色 彩 的 靈 活 選 擇 , 及 小 方 塊 的 佈 局 , 產 生 光 線 掃 過 的 細
微 變 化 。 這 些 繪 畫 既 是 空 間 也 是 結 構 。·
80
80
() 1113
Song Dynasty, Wang Ximeng, A Thousand Miles of Rivers and Mountains (detail), c.1113,
color on silk, 51.5x1191.5cm, Collection of Palace Museum, Beijing, China
80
130

The highest realm in the pursuit of aesthetic theory in ancient
China: What is expensive withers, which is to say the surface layer
drys up and the inside turns soft, so it appears as tranquil as true
beauty. Such an idea is echoed in Wu Guanzhong's evaluation of
Chu Teh-Chun's style:
“In Chinese tradition, the great attention paid to the grains and
textures of the papers and silks as well as the brush strokes lends
to an Eastern painting, which has the characteristic of revealing
more the closer one looks. With his striking and bold oil paintings,
Chu Teh-Chun made every effort to broaden the appeal of
Chinese ink, with strokes that could speak to a contemporary
audience around the world.”
“From a distance, Chu Teh-Chun's work can appear as Western
painting, or as Chinese painting if seen up close. For me, his
creative approach lends itself well to clarifying one's perspective.
Another prominent feature of his work is its translucence, with the
viscosity of the oil paint being woven through a more translucent
mode. The semitransparent effect originally comes from a type
of Chinese paper with a distinctive elegance and style that would
be unobtainable in the West. For Chu Teh-Chun's abstraction,
objects in the foreground and background of a painting do not
pose a constraint but instead motivate the artist's pursuit of a
deep spatiality that can coalesce with the concrete rhythms in his
ink and brushwork. And this accounts for the ampleness of the
depth and form in his work.”
“The Chu Teh-Chun has opened up a space for painting with his
extraordinary talent.” - Hubert Jiun, art critic and authority on
French literature
The world of Chu Teh-Chun's paintings abounds in poetic
sensibilities, and the rhythms of music fill the air. The colours are
complemented in ways both calm and unrestrained while the lines
flow like wild prairie grass, likening the work to Chinese painting
and calligraphy. The fine detail common to Eastern art and the
bold, daring colours common to Western painting can both be
found in this work, which also highlights how naturally zealous,
warm, and unbarred the artist is in his lyrical approach to abstract
expressionism. An important element in Chu Teh-Chun's work is
the use of lighting, which often has a mysterious way of hovering
in the painting, as if speaking to the deeply kept secrets of mother
nature and the cosmos. In the same way as traditional Chinese
landscape painting, he places people in a new world, structured
by his colours and brushstrokes. Walking inside is like entering a
world of pure artistry. If one follows on a whim of the flowing lines
of his brushwork, there lies a fresh and pungent world waiting to
be discovered. If diving in headfirst and immersing oneself in the
poetry of this world, it is possible to lose oneself to the feeling
of total inhibition, freedom, comfort, and happiness that exudes
from Chu Teh-Chun's work. Even though it is oil on canvas, the
painting still gives a sincere portrayal of the Chinese landscape
concept. For a Chinese person, the work would indicate both a
reverence for that tradition and a thorough knowledge of it.
“The space of Chu Teh-Chun does not conform to that of the
classical perspective. We could say it is a space of multiple
dimensions… Owing to the enlivened choice of colours and the
overall compositions, slight permutations are seen as light washes
over them. As much as they are spatial, these paintings are as
structural, as well.”- Maurice Panier
As Chu Teh-Chun made full use of the lines, dots, and thick
strokes of Chinese calligraphy and painting in the 1980s, the
angles, modulation, and aspect of Chinese calligraphy are all
evident in his work of this period. It was not until the end of the
decade that he shifted towards an interpretation of natural light
with a greater depth and tried to incorporate more colour into
his work. In expanding the emotional breath of his technique, he
began to touch on the questions the Chinese cultural spirit, and
in adding colour to his work, he enriched the emotional aspect of
his practice.
Because it stands as symbol for the natural colour found on earth,
Chu Teh-Chun was fond of blue tones, which could be both
cordial and poetic while saturating the world in majestic hues.
“Effluves de Printemps” (‘Emanations of Spring’) is a work based
on this blue, exuding a certain mood through its mysterious and
romantic colours. Upon closer inspection, the light tone of the
colour reveals flowers blooming in and out of focus as rays of light
pierce through. While the figures in the painting may be indistinct
in a work marked by such enigma as this one, if you lend it your
ears and listen closely, there just might be a Chinese melody that
trickles through with the same subtly as the image itself.
If a full, piece by piece review of Chu Teh-Chun's work were
conducted, one would be amazed by the artistic wealth which
runs throughout and which never even comes close to an
'uninspired' moment. Excellent evidence of this can be found
in his post-1980s work. An artist with years of experience might
come to be judged by those years, not to mention the memories
and even the moods that are derived from them. They all
contribute to a practice that draws nearer to what resides within
the individual, which is reflected in a greater unity between the
work and its creator. Through a sort of fermentation, thoughts and
desires are transformed into memories. Chu Teh-Chun's success is
no accident. Even in his early work it can be seen how he came to
create a new space within contemporary painting. In integrating
his own background in Chinese calligraphy, and by letting that be
infected by Western abstraction's lack of inhibition, he was able
to continually reshape the modern poetry of landscape painting.
And such a feat is more than worthy of appreciation.

220
ZAO Wou-ki
(Chinese-French, 1920 - 2013)
5.11.62
1962
Oil on canvas
80.5 x 116 cm
Signed lower right Wou-Ki in Chinese and ZAO in French
Signed on the reverse ZAO WOU-Ki 5.11.62
NT$ 88,000,000-110,000,000
HK$ 23,720,000-29,650,000
US$ 3,031,300-3,789,200
RMB 19,089,000-23,861,000
5.11.62
1962
80.5 x 116 cm
ZAO
ZAO WOU-Ki 5.11.62
132

5.11.62
ZAO Wou-ki
我 可 以 毫 不 臉 紅 的 說 , 我 畫 的 是 一 種 很 浪 漫 的
畫 , 它 帶 給 我 極 大 的 快 樂 , 一 種 最 強 的 快 樂 ,
就 是 畫 繪 畫 本 身 。
5.11.621962
1989
20
Alfred Pellan,1906-1988
Paul-Émile Borduas, 1905 -1960Jean-Paul
Riopelle, 1923-2002
William Ronald, 1926-
19981950
1957
1963
19.7.63
20
1948
1950
1969
5.11.62
1960
我 可 以 毫 不
臉 紅 的 說 , 我 畫 的 是 一 種 很 浪 漫 的 畫 , 它 帶 給 我 極 大 的 快 樂 , 一 種
最 強 的 快 樂 , 就 是 畫 繪 畫 本 身 。
19931996 115
1960
1978,
198640
134

5.11.621960
5.11.62
大 幅 畫 布 , 使 我 必 須 與 空 間 搏 鬥 , 不 但 要 填
滿 它 , 還 要 給 它 生 命 , 把 自 己 完 全 投 注 在 其 中 。 我 想 表 現 動 感 , 或 迂
迴 纏 綿 , 或 風 馳 電 掣 。 我 想 藉 著 對 比 和 同 一 色 彩 的 多 重 振 顫 , 使 畫 布
躍 動 起 來 , 我 要 找 到 一 個 放 光 的 中 心 點 。
5.11.62
Completed in 1962, Zao's painting titled "5.11.62" was once held
by the Laing Galleries in Toronto, the leading art gallery of Canada
that once made significant contributions to post-war abstract art.
The gallery closed down following the death of its director. Art
dealer G. Blair Laing was the person-in charge then. Well-known
throughout the art sphere in twentieth-century Canada, Blair
also introduced the works of British sculptor Henry Moore to the
country at one time. In 1989, he donated a priced collection to
the National Gallery of Canada, which is a deed worthy of praise
in the art sphere. From the mid twentieth century, Laing began
flying to France frequently to select works for his art collectors.
He visited Canadian painters who came all the way to study art in
Paris, and acted as agent for the Canadian members of Ecole de
Paris Alfred Pellan (1906-1988), PaulÉmile Borduas (1905-1960) and
Jean- Paul Riopelle (1923-2002). As abstract painter Riopelle turns
out to be a close friend of Zao Wou-ki's for more than fifty years,
his death a few years ago was quite an emotional experience for
Zao, who especially created a triplicate, yellow-green-toned oil
painting in memory of his friend. Furthermore, the Laing Galleries
often displayed works of Canadian painter William Ronald (1926-
1998) and Borduas, and a partnership with Kootz Gallery of New
York was established for joint exhibitions from the 1950s. On the
recommendation of Pierre Soulages, Zao began to hold exhibitions
at Kootz in 1957, becoming very closely connected to the gallery.
Another of Zao's paintings auctioned at the exhibition was a 1963
work titled "19.7.63", the holding of which can be traced back to
Kootz Gallery in New York. All artists and dealers are important
names in abstract art of the post-war era. Their fortunate meeting
in the same events has written an important page in the history of
post-war abstract art in the twentieth century.
Moving to Paris from Shanghai in 1948, Zao's works quickly gained
recognition in the Paris art circles. Transformation from concrete
art to abstract paintings accelerated his fame in Europe . Eve n
America, which did not readily accept the European abstract style,
gradually began to pay attention to Zao's art from the 1950s.
Compared to the US , Canada accepted art from Paris more
readily since it has a French-speaking Province. In 1969, Zao held
his second retrospective show in Muséed 'Art Contemporain,
Montreal and Musée du Québec. His popularity in America
was about average then. It was through the introduction of the
aforementioned Canadian artists that Laing came to know about
the Chinese painter and directly bought his work titled "5.11.62".
Zao had connections with Galerie de France in Paris and Kootz
Gallery in New York, and Laing must have come to select works
for his gallery. Such purchases are often heard of from among
international art dealers. The painting was later resold to a private
collector in Canada. It remained in Canada for more than four
decades and did not reappear in front of the public until this year.
21.3.196420060613157
ZAO Wou-ki, 21.3.1964, Ravenel Autumn Auction 2006, lot 061, NT$ 31,570,000 sold,
1964, oil on canvas, 63.5 x 80 cm
Full of creativity, Zao Wou-ki may be said to have made rapid
advances in his career in the 1960s, when he was invited to
participate in one international exhibition after another. His artistic
creation showed the arousal of his innermost feelings as a result of
his finding love once again. He was at his prime in terms of age. In
his own words, he could express himself freely and recognize the
vitality possessed by the colors themselves. One can forget about
the rules, as responding to the needs of one's inner world was all

“I dare say my painting is a romantic one. It brings me the greatest happiness.
The most powerful happiness is painting itself.” - Zao Wou-Ki
that mattered. Remembering his passion for creation at that time,
Zao said, "I dare say my painting is a romantic one. It brings me the
greatest happiness. The most powerful happiness is painting itself."
(J'avoue, sans complexe, avoir fait une peinture romantique qui m'apporta de très
grandes joies et la plus forte, celle de peindre de la peinture.) (Zao Wou-ki & Françoise
Marquet, Autoportrait, Fayard, Paris, 1986, pp. 121)
According to art critic Jean Leymarie in Catalogue Raisonné, the
first edition in French, Zao continuously developed his art in the
1960s, employing methods of contractor harmony and of ten
presenting the rhythm
of the picture, its texture
and color modulation.
There is a preference for
monochromatic colors
which are occasionally
dark and rich; the uneven
brown shade shows black
scrape marks which are
opalescent and light at
times. An example is
the silver gray brume.
Other examples include
snow and sapphire,
mousse and rubious
sumptuous accords (Jean
Leymarie, Zao Wouki,
edition Cercled' art,
Paris, 1978, 1986, p. 40).
What Leymarie refers
to is the rich variation
in shade and the varied
texture. As Zao was
meticulously perceptive
and full of emotions, and
because his paintings
originate from his feelings
about life, his emotional
fluctuation is naturally revealed in his paintings, which are also his
harbor of refuge in times of distress. Zao once said that his painting
was his diary and his life. Art historians consider his works as
sentimental abstract paintings. Like poetry, they have a perceptual
existence yet they are not abstruse or pedantic.
The imposing and vivid "5.11.62" shows the seascape in a
horizontal frame, which is the most typical form employed by
the artist in the 1960s. The painting is divided into three parallel
sections. The near ocher top and bottom portions are in harmony
with the bronze-colored space, one being static and the other
dynamic. The middle section is bright yellow and green, with
light emerging from the center of the picture. Black lines shuttle
in between like shadows left behind by the rapid movement,
forming a pulling and pushing force in the actual situation. Zao's
perfect use of space and light source, as well as his high spirits,
can be observed in "5.11.62". As he puts it in his autobiography,
"The large canvas means I have to battle with space. Not only do I
have to fill it, I must give it life and throw myself into it completely.
I want to show movement, a lingering circuit, or the whipping
movement of wind and lightning. I want to make the canvas come
alive through contrast and the action of multiple layers of similar
colors. I want to find a center for the radiation of light." (Les grandes
surfaces me demandaient de me batter avec l'espace; je devais impérativement remplir
cette surface, la faire vivre et me donner à elle. Je cherchais à exprimer le movement, sa
lenteur lancinante ou sa fulgurance, je voulais faire vibrer la surface de la toile grâce aux
contrastes ou aux multiples frémissements d'une même couleur. Je cherchais un centre
qui irradie.) (Autoportrait of Zao Wou-ki)
In "5.11.62", the artist pours out his feelings and aspirations in
life. The sentiments expressed in the painting reverberate with
energy and are full of vigor. Rhythmic movements such as the
wind and waves in nature give one a musical experience. In the
dialogue of one- time poet Wai - lim Yip, Zao once pointed out the
similarity between painting and music, which must cease and be
still in order to become music, and not consist of incessant sounds.
Having learned music for six years, Zao is especially careful with
light source, space and the abstract nature of music, linking them
together in an ingenious manner. Taiwanese art critic Tu Jo-chou
once commended, "Chinese space and Western space are one of
the noteworthy artistic achievements of Zao Wou-ki." He constantly
integrates the potentials of the two great cultures, using their
modern expressions and vocabulary not only to attain the spiritual
journey but to create a whole new visual world as well.
5.12.196920060609093
ZAO Wou-ki, 5.12.1969, Ravenel Autumn Auction 2006, lot 060,
NT$ 90,930,000 sold, 1969, oil on canvas, 194 x 96 cm
136

221
ZAO Wou-ki
(Chinese-French, 1920 - 2013)
09.07.73
1973
Oil on canvas
100 x 81 cm
Signed lower right Wou-ki in Chinese, Zao in French
Signed on the reverse ZAO Wou-Ki 9. 7. 73
ILLUSTRATED
ZAO WOU-KI, Edition Cercle d’Art, Paris, 1986, black and white
illustrated, p. 341, no. 456
This painting is to be sold with a certificate of authenticity issued
by Atelier Zao Wou-ki
NT$ 50,000,000-65,000,000
HK$ 13,477,000-17,520,000
US$ 1,722,400-2,239,100
RMB 10,846,000-14,100,000
09.07.73
1973
100 x 81 cm
: ZAO
ZAO Wou-Ki 9. 7. 73
1986
341456
138

09.07.73
ZAO Wou-ki
在 我 成 為 一 名 畫 家 的 過 程 中 , 巴 黎 肯 定 對 我 產
生 了 影 響 , 但 我 也 必 須 這 麼 說 , 隨 著 我 的 藝 術
特 性 逐 漸 成 形 , 我 也 慢 慢 地 憶 起 了 中 國 。
1980
O
他 追 求 形 式 , 卻 不 流 於 形 式 主 義 , 他 講 究 色
彩 , 而 色 彩 的 交 響 傳 達 的 是 意 境 。
09.07.73
1842
Joseph Mallord William Turner, Snow Storm: Steam-Boat off a Harbour's Mouth,
1842, oil on canvas, 91x122cm, Collection of Tate Modern, London, UK

“Although the influence of Paris is undeniable in all my training as an artist, I also
wish to say that I have gradually rediscovered China as my deeper personality has affirmed
itself. In my recent paintings, this is expressed in an innate manner. Paradoxically,
perhaps, it is to Paris I owe this return to my deepest origins.” - Zao Wou-Ki
REMINISCING EASTERN SENTIMENTS
The year 1971 marked a low point in Zao Wou-Ki’s creative career.
His second wife, Chan May-Kan, was severely ill, and Zao just could
not find the heart to create. His friend, Henri Michaux, a poet and
an artist, suggested that he compose less-demanding Chinese
ink paintings, and Zao re-embraced the profundity of Eastern
conventional painting. May-Kan passed away the following year,
leaving Zao in an abyss of loneliness and remorse, unable to pick
up his brush to paint for almost a year and a half. In 1972, Zao’s
thoughts were directed to China. It was his first return to his home
country since his departure in 1948. There, he began employing
Chinese media to interpret perspective techniques in western
painting. He imitated the flow, blooming, and dripping that ink
creates on cloth or paper, and the ink colors he used were varied—
burnt, thick, heavy, light, or clear. He created the effect of form
contained in the formless. The profound thoughts of Eastern culture
touched him and inspired him, and this era became a turning point
in Zao’s artistic, creative life. The change in this period also enriched
Zao’s creations. In Chinese ink, he saw unlimited variations, a free
and wide space, and the profound yet reserved concepts of Eastern
philosophy. All of these in Zao’s paintings started in this period
became freer and more at ease, expanding the emotions Zao
wanted to express in the picture.
Gao Xingjian once commented on Zao, “He sought forms, but he
did not fall for formalism. He was particular about color, and what
the symphony of colors expressed was an artistic conception.”
Since the Song dynasty, traditional Chinese painting abandoned
the use of color. By contrast, since the Renaissance period, western
paintings have utilized color and light, in ways to which Eastern
paintings do not compare. Zao’s abstract oil paints integrated the
characteristics of Chinese ink. He mostly used color to express the
artistic conceptions of oriental philosophy, and he integrated the
subtle charm of Chinese ink into oil painting.
A SYMPHONY WITH GORGEOUS COLORS
In 1973, Zao met his third wife, Françoise Marquet, a newlyqualified
intern at a museum in Paris. Afterwards, splendid colors
that had rarely been present in the past started to appear in
his works. The gorgeous color tone spoke volumes about Zao’s
mindset. That same year, Zao created the work 09.07.73. The colors
are simple, light, and elegant, exhibiting tenderness beneath the
strength. The bold yet intricate blooming techniques reveal that
the painting was composed in a flow. The picture presents a sense
of movement, and the special construction is distant and implicit,
reflecting that Zao attempted to integrate a western setting with
the eastern, distant, spatial sense. It can be observed from this
piece that Zao gradually ceased to seek strong and magnificent
brush strokes, as if being able to consume the mountains and
the rivers. He gradually outgrew lines; instead, he utilized the
flow, sway, staggering, and stacking of colors to demonstrate a
harmonious picture and spatial movement. As if he understood the
circle of life, he used his brushes to express his realization about
living life to the fullest.
Taiwanese painter and writer Chu Ko once commented on the
distinctive colors of Zao Wou-ki: "Each of his works has a principal
shade and the principal shade of each piece is never a primary
color. Instead, similar colors are set off by contrast in different
arrangements. Though the works are oil paintings, they are smeared
with rich and interesting colors. Oil paints are tempered to form
the neutral tone of watercolors – a feat which western artists find
difficult to achieve. The implication of the colors reflects the three
popular notions of Oriental watercolor philosophy; nevertheless,the
rich tones cannot be attained by real watercolors". (Chu Ko, 'Truth of
Nature', Album of Zao Wou-ki, edited by Yuan Dexing, catalogue of Prinkmaker Gallery
exhibition, Yuancheng Publishing Co., Taipei, 1980)
Zao’s creations not only embody the essence behind Chinese and
western cultures, but he also developed a spirit about the universe
through his infusion of Eastern philosophy. The sceneries he painted
underwent repeated thinking and patient precipitation before being
transformed into paintings that reflect his profound experience and
reflections on his attitude about life. Unlike in the past, when Zao
avoided being restricted by Chinese traditional culture, Zao instead
refamiliarized himself with Chinese ink in 1971, and this painting
style gradually granted him a means of interpretation that was
stable, easy, and undisturbed. This masterpiece created by Zao in
the 1970s retains the usual flickering lines, but they are no longer
mottled, rugged, or heavy, as in the past. This work integrated
Chinese ink painting. The blank he left is wider, and the sky and the
clouds reveal an implicit texture, foretelling the coming of his style
of his next era.
142

222
Yayoi KUSAMA
(Japanese, b. 1929)
Pumpkin
1995
Acrylic on canvas
24.2 x 33.3 cm
Signed on the reverse Yayoi Kusama in English, titled pumpkin
in Japanese and dated 1995
This painting is to be sold with a registration card issued by
Yayoi Kusama Studio
NT$ 11,000,000-20,000,000
HK$ 2,965,000-5,391,000
US$ 378,900-688,900
RMB 2,386,000-4,338,000
1995
24.2 x 33.3 cm
Yayoi Kusama 1995
144

YAYOI
KUSAMA
PUMPKIN
我 就 是 以 這 樣 的 方 式 , 讓 當 下 感 受 到 的 驚 嚇 和 恐 懼 漸 漸 沉 澱
這 些 經 歷 可 以 說 是 我 畫 畫 的 初 衷 。
1957
199345
小 時 候 在 家 裡 植 物 採 種
場 玩 , 摘 下 來 的 南 瓜 會 跟 我 說 話 。 南 瓜 外 型 實 在 太 可 愛 了 … 吸 引
我 的 是 它 脂 粉 未 施 的 大 肚 子 , 還 有 強 大 的 精 神 安 定 感 。
146

“My art originates from hallucinations only I can see, I translate the hallucinations
and obsessional images that plague me into sculptures and paintings.”
- Yayoi KUSAMA
As the most influential female artist within the Asian contemporary
art scene, Yayoi Kusama’s status on the international art stage
cannot be ignored. Her works minutely and truthfully bear the
weight of her past, and of nightmares she cannot rid. Kusama
makes use of painting, sculpture, performance art, and other
techniques to represent the universe residing in her mind from a
surreal psychological perspective. Her highly saturated contrasting
colors has left a mark on the visual arts, music, and fashion.
Revealing an unconcealed soul, she is herself an “idol”.
Having shown artistic talent since childhood, she studied nihonga,
pastel, and other traditional Japanese painting techniques in her
hometown. In 1957, encouraged by the American artist Georgia
O’Keeffe, she moved to New York, where she learnt the value
of creative freedom. Kusama’s work is very diverse, including
paintings, soft sculptures, performance art, installations, videos.
It covers movements, such as pop art, feminism, surrealism, Art
Brut, expressionism, and Happening Art. In 1993 she represented
Japan at the 45th Venice Biennale. From then on, her pumpkinthemed
works became famous, leading to the creation of largescale
installations, such as the outdoor sculpture at Fukuoka Art
Museum. Inspiration for the “pumpkin” theme originated from the
artist’s childhood. During the war, Kusama’s home was filled with
pumpkins. She said, “When I was a child I used to play in the plant
nursery outside my house. The pumpkins I picked would talk to me.
The shape of a pumpkin is way too cute…what attracts me is its
bare swollen belly, and the strong sense of mental stability”.
Through continuous production of a great number of artworks, a life
of pain is turned into a peaceful beauty. Kusama’s paintings reveal
her unique way of thinking and autobiographical connotations.
When she picks up the brush, she gets in contact with a mysterious
world through fortuitous and unpredictable motives. Her inner
strength and subconscious thoughts display a vast universe. An
endless passion for painting and a religious reverence towards art
have helped her battle mental illness for a long time. Kusama uses
art to heal her wounds. Therefore, all her works are an expression of
her deepest feelings. Similar to many of her other works, Pumpkin
gathers the visual elements of each of her series and presents the
hallucinations that trouble the artist. Using big and small black dots,
Kusama arranges the shape of her pumpkin, making the bright
yellow surface stand out, and creating a contrast that brings about
a great visual shock. The yellow lines in the background form an
“infinity net”, which highlights the pumpkin’s plump figure and
reflects her endlessly growing artistic vitality. Kusama’s painting
does not fall into being just a compositional pattern. Instead, she
portrays objects as particles, which aggregate and then dissipate
into dots and lines. The center of the so-called picture is completely
untraceable. This entirely overwhelming practice matches with
the style of Jackson Pollock, the master of American abstract
expressionism. Emphasizing the material factors involved in the
act of painting is also an extreme manifestation of the infinite. This
painting is the direct record of a behavior dominated by emotions,
and of that freestyle filled with rhythm which characterizes her
painting process.

223
Yayoi KUSAMA
(Japanese, b. 1929)
Pumpkin
1997
Acrylic on canvas
22 x 27.3 cm
Signed on the reverse Yayoi Kusama in English, titled Pumpkin
in Japenese and dated 1997
This painting is to be sold with a registration card issued by
Yayoi Kusama Studio
NT$ 9,000,000-16,000,000
HK$ 2,426,000-4,313,000
US$ 310,000-551,200
RMB 1,952,000-3,471,000
1997
22 x 27.3 cm
Yayoi Kusama 1997
148

YAYOI
KUSAMA
PUMPKIN
“She created a type of form. With a white overlap like mycelium
that is consistent throughout and keeps proliferating, consciousness
is enclosed. That is art with a level of self-discipline, which
uses unobstructed matter to present a transcendent reality. With
an astounding method, this wonderful and beautiful image is vividly
imprinted into our sensory organs.”
- Herbert Read, Mugen no Ami: Yayoi Kusama Jiden
150

·
.
Polka dots are signals from the universe. A boundless net represents
her life. The British daily The Times listed Yayoi Kusama among
the Top 200 Artists of the 20th Century to Now. As one of the
most influential avant-garde artists worldwide, Kusama is like her
naked and burning artistic life, gorgeous and dazzling. Each day,
she creates at an amazing speed. Utilizing means such as painting,
sculpture, and performance art, and using surreal psychological
studies, she presents the endless creativity in her head.
Yayoi Kusama utilizes the vibrant pumpkin to unleash a source
of radiant energy. The imperfectly symmetrical pumpkin shape
is more able to manifest the natural true self. Although the
pumpkin appears in a static form, its abundant vitality has not
been diminished. Kusama has been attracted to the round shape
of pumpkins ever since she experienced hallucinations as a child
talking to pumpkins at a farm. She copies their images to her
motifs, eventually leading to her work, Pumpkin. With delicate
brushstrokes, Kusama neatly paints dense black spots on the
pumpkin, arranging the wavy dots into exquisite stripes, and giving
the pumpkin a great level of appeal and energy. She believes
that the wavy dots bear the shape of the sun, serving as a symbol
of vitality and the world. Round, soft, colorful, oblivious, and
unpredictable, the wavy dots have become a kind of movement
that leads to a path of infinity. It is in this simple paranoia that she
escapes her inner spiritual suffering, manifesting her raw illusions
onto the canvas.
Observing the art of Kusama, viewers cannot help but feel an
explosion of surprise and joy due to its visual sensory impact.
However, that strong artistic language serves as the crystallization
of the artist’s personal hardships. Those sufferings did not diminish
her devotion to her art. What is commendable is that she bore that
unbearable suffering, transforming her hallucinations into unique
and strong ideas, erasing them one at a time with her brushstrokes
to create a fascinating space and mood. Examining the painter’s
fantastic spiritual world, they transform into her most dazzling and
popular creations.

152

224
Yayoi KUSAMA
(Japanese, b. 1929)
Pumpkin (a set of 2)
1985; 1983
Mixed media
11.5(H) x 10.3(diameter) cm
5.5(H) x 6(diameter) cm
Each sculpture is to be sold with a registration card issued by
Yayoi Kusama Studio
NT$ 5,000,000-6,000,000
HK$ 1,348,000-1,617,000
US$ 172,200-206,700
RMB 1,085,000-1,302,000
()
19851983
11.5() x 10.3() cm
5.5() x 6() cm

225
Yayoi KUSAMA
(Japanese, b. 1929)
LOVE – FOREVER
2005
Mixed media, edition no. 1/15 (painted; unique)
44(H) x 38(D) cm
This sculpture is to be sold with a registration card issued by
Yayoi Kusama Studio
NT$ 5,500,000-6,500,000
HK$ 1,482,000-1,752,000
US$ 189,500-223,900
RMB 1,193,000-1,410,000
2005
1/15
44() x 38() cm
154

YAYOI
KUSAMA
LOVE –
FOREVER
對 我 來 說 , 我 只 是 以 活 在 當 代 的 身 分 , 努 力 吸 取 時 代 的
氣 息 , 想 要 向 未 來 開 一 朵 豔 紅 的 花 。 就 像 蝴 蝶 尋 覓 死 亡
歸 宿 時 會 飛 進 荒 山 、 春 蠶 吐 絲 , 或 者 是 花 朵 展 現 奼 紫 嫣
紅 的 生 命 力 那 樣 。
156

“The way I see it, by living in a contemporary position, I’m just attempting to breath
in the atmosphere of the times and wanting to open up a bright red flower for the future.
It’s the same as the butterfly seeking out the barren mountains for its final destination
before death, the silkworm spitting out its silk in spring, or the flowers showing
off their vitality in brilliant colours.”
- Yayoi Kusama, Mugen no Ami : Yayoi Kusama Jiden
什 麼 都 不 能 實 現 , 如 果 只 有 一 個 圓 點 。 在 宇 宙 中 , 有 太 陽 , 月 亮 ,
地 球 和 數 億 顆 恆 星 。 在 這 樣 的 情 況 下 通 過 藝 術 追 求 的 宇 宙 哲 學 影 響
了 我 , 也 是 我 所 呈 現 的 重 複 。
When Yayoi Kusama left for the United States at the age of 28, she
might have simply sought sought to break free from her mother’s
grip and her country’s conservatism. As she has said herself, the
Yayoi Kusama we know today wouldn’t be around if it weren’t for
the US. For her, the fateful decision to move on to America remains
one of the most critical moments of her life. Yayoi Kusama’s works
range from painting and sculpture, to performance art, installation,
and film, containing different methods and elements from pop
art, feminism, surrealism, native art, abstract expressionism, and
happenings. She heals herself through art and demonstrates her
rich artistic life with a significant and continuous daily practice
that soothes the spirit and extends a collaborating hand across
disciplines.
“With just one polka dot, nothing can be achieved. In the universe,
there is the sun, the moon, the earth, and hundreds of millions
of stars,” the artist has mused. “Pursuing the philosophy of the
universe through art under such circumstances has led me to what I
call stereotypical repetition.”- Yayoi Kusama
She hoped that people of different backgrounds would begin
attempting to explore the realm of all that is possible and prioritise
creative thought in the plastic arts to make room for new creative
and playful potential in arts and cultural spaces. Her work became
a sensation as it bounced between art and design and took form as
the most alluring of contemporary plastic arts: a multitude of dots
that cover the surfaces of all kinds of things, from walls and floors,
to canvases, objects, and bodies, even the artist herself. Repeated
lines of dots extend into infinity, creating confusion about what a
space actually is, and leading the viewer to unconsciously fall into
a dizzied state, unsure of how to distinguish the reality from the
illusion. This work, “Love-Forever”, contains Yayoi Kusama’s classic
imagery and dots. A densely coloured, monochromatic polka dot
pattern fills the work and is repeated to the point of producing a
certain dizzy, hypnotic feeling. Its vivid colour goes beyond our
visual experience and seems to spread through the cosmos. As her
hallucinations are combined with real experiences, environments,
and material things, her ego enters an infinite plane, forming a
world that floats totally on its own. It is a perfect presentation of
what makes the work of Yayoi Kusama truly original, and the everproliferating,
deforming dots can be thanked for having spurred a
breakthrough in the plastic arts and making this work an undeniable
‘Yayoi Kusama’.

226
Yoshitomo NARA
(Japanese, b. 1959)
Monkey Baby Go-Go
1993
Acrylic on cotton
85.2 x 55 cm
Signed on the reverse Yoshitomo Nara and titled Monkey baby Go-
Go both in English, inscribed 85 x 55 cm and dated 93
EXHIBITED
Be Happy, Galerie Humanité, Nagoya, October 12-30, 1993
Be Happy, Galerie Humanité, Tokyo, Japan, November 29 -
December 18, 1993
ILLUSTRATED
Be Happy, Galerie Humanité, Nagoya, 1993, color illustrated
In the Deepest Puddle, Kadokawa Shoten Publishing Co.,
Ltd.,Tokyo, 2006, color illustrated
Yoshitomo Nara: The Complete Works 1, Chronicle Books LLC,
San Francisco, 2011, color illustrated, no. P-1993-049, p. 93
NT$ 6,000,000-8,000,000
HK$ 1,617,000-2,156,000
US$ 206,700-275,600
RMB 1,302,000-1,735,000
1993
85.2 x 55 cm
Yoshitomo Nara Monky baby Go-Go 85 x 55 cm 93
199310121030
199311291218
1993
2006
2011
P-1993-04993
158

YOSHITOMO
NARA
MONKEY
BABY GO-GO
1988
19931990
"Monkey Baby Go-Go" displays many of the elements of
Yoshitomo Nara's work which has brought him critical acclaim and
a world-wide cult following. Nara often depicts small children with
big heads and large eyes, which at first glance seem cute and
benevolent, but as the viewer dwells on the child, they seem to be
filled with angst and almost hatred, as their eyes reveal something
uneasy.
Nara's artwork like many contemporary Japanese artists is
influenced by the style of anime and manga. Having graduated
from the Aichi Prefectural University of Fine Arts and Music, he
based himself in Tokyo, where he encountered a generation that
has lost its way, wondering what its place in the world is, and as
adults are bewildered and sociopathic. He spent five years in
Germany studying at the Kunstakademie Dusseldorf from 1988 to
1993. Returning to Japan in the early 1990s he was influenced by
the Japanese Pop art movement or "Superflat" style as defined
by Takashi Murakami. His figures are stylized in the manga form,
however they are infused with great emotional power and impact.
Using simple lines and empty backgrounds, Nara focuses our
attention on his characters. Growing up, he was attracted to punk
rock music, the outlet for an unhappy, disillusioned and aggravated
youth.
"Monkey Baby Go-Go" depicts an apparently happy child, dancing
with himself. The yellow background color is bright and warm and
the child seems happy in himself. However, he is alone, and while
seemingly independent, as we focus on his eyes we see a hardness
that we don't expect in a child. It is this "aloneness" that so many
Japanese suffered in Nara's generation, that he so powerfully
depicts in this portrait. Children need to be surrounded by people,
being loved and taken care of, and if these essential necessities
are missing, the child's inner wellbeing suffers enormously.The
title "Monkey Baby" makes us smile when we first hear it, with
its connotations of childish play, but for many of Japan's current
generation their upbringing lacked the love and attention that
human children need, and for many of them, including Nara, they
may feel that they were treated as little more than non-human
monkeys. It is Nara's ability to portray so powerfully the inner
turmoil of his generation that has brought him so many accolades
and a huge worldwide following.

TAICHI SERIES
SINGLE WHIP
JU Ming
Tai Chi stresses the importance of combining hardness and
softness, the balance between yin and yang, the alternating of
lightness and heaviness, rapid movements followed by slow ones,
and the comeliness of both motion and stillness. Being the full
embodiment of such aesthetic ideology, Tai Chi allows people to
look at and admire beauty, and that is what Ju Ming’s aesthetic
concept stands for. Carefully observing the move “Single Whip”,
we can see how the root of the tai-chi master’s posture is at the
feet, the movement starts from the legs, is controlled by the waist,
and expressed by the hands, each body part is coordinated as a
whole, unified into a single impulse. Strength is transferred from
the bottom to the top: feet, legs, and then waist; in this way a
warrior can flexibly move with precise timing and from the most
advantageous position.
Ju Ming’s sculptures endow modern public spaces with extensive
visual creativity, as well as classic humanistic images. The unique
symbols and sculptural forms of his “Tai-Chi Series” have become
a complementary and natural extension of urban life. The works
are formed by the visual tension of coping with all motions
by remaining motionless, a powerful sense of body mass, the
inspiration of a specific era, the imagination and edification of a
rich contemporary aesthetic spirit. With great craftsmanship, the
artist has etched the figure of a tai-chi practitioner omitting all
features, just through contours, showing the inside of his soul.
Although the statue has no facial expression, it still looks alive. The
practice of Tai-Chi doesn’t only revolve around body movements
and breathing techniques, it is also about the consciousness of a
master, the so called martial language idiom of “rousing the qi (vital
energy), and collecting the spirit (shen) within” describes Ju Ming’s
work better than any art style theory.
The “Tai-Chi Series” creations refers to, and at the same time
integrate, stand sculpture and spatial environment sculpture,
introducing a new concept of modern sculpture. Connecting
geometric abstract bodies and a figurative dynamic modeling,
the “Tai-Chi Series” sculptures create many rhythmic variations of
a three-dimensional language which compares between stillness
and movement, extensiveness and concision. A layering effect
is obtained in the sculptures with contrasts of light and shadow.
The “Single Whip” carved by Ju Ming is strongly and beautifully
modeled: caught between stillness and movement, the figure gives
the feeling of a continuous flow of Hsing-I movements. Because
of its undulating pattern, this sculpture doesn’t rigidly adhere to
an outer shape carving style, it only seeks to fully represent the
flow of consciousness. As emphasized by the Tai-Chi Master Wang
Tsung-Yueh: “Power comes from the spine, as your steps follow
your opponent's changes. Receiving his approach, you must let
go, cut off, and again join. Backwards or forwards, you must be
collapsible. Advancing and retreating, you must be constantly
converting his energy”, “Single Whip” perfectly interprets such
words. Relying on his own experience and judgment, Ju Ming has
transformed the Tai Chi Culture and its boxing routines into an art
form. Detached from previous imagery structures, life feels like a
single whip movement: effective, powerful, unstoppable.
162

227
JU Ming
(Taiwanese, b. 1938)
Taichi Series – Single Whip
1971
Chinese juniper
60(L) x 15(W) x 25(H) cm
Engraved on the bottom Ju Ming in Chinese and dated 71
This sculpture is to be sold with a certificate of authenticity issued
by Jun Youn Sculpture Gallery, Taipei.
1971
60() x 15() x 25() cm
'71
NT$ 7,500,000-9,500,000
HK$ 2,022,000-2,561,000
US$ 258,400-327,200
RMB 1,627,000-2,061,000

228
LI Chen
(Taiwanese, b. 1963)
Blessing Water
2005
Bronze, edition no. 8/8
45(L) x 46(W) x 79(H) cm
Engraved on the back Li Chen in English, numbered 8/8 and
dated 2005
With one seal of the artist
ILLUSTRATED
Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center,
Taipei, 2008, color illustrated, p. 126 (similar version)
2005
8/8
45() x 46() x 79() cm
Li Chen 8/8 2005
2008126
NT$ 4,000,000-5,000,000
HK$ 1,078,000-1,348,000
US$ 137,800-172,200
RMB 868,000-1,085,000
Derived from the “Blessing Water (ruo shui)” chapter of the Tao
Te Ching, the term itself means that truly selfless moral deeds and
goodness should be like water, in that they should not be done
in competition with others for purposes of self-interest. Even in
low or difficult positions, contentment and delight can always be
maintained. Moreover, one should have the ability to adapt to any
environment in an all encompassing manner, and in harmony with
their surroundings. The term also suggests maintaining credibility
and punctuality when dealing with people, and cultivating oneself
and achieving Tao without conflict.
Li Chen practices a complex and elaborate wood carving method
that simplifies complexities, and elevates the lines of the rounded
form to a spiritual level of support. Having meditated for many
years on how to portray warm-hearted works that belong to a
modern spirit, Li Chen has not only sublimated aesthetic concepts
of artistic creation, but also extends aesthetics to a pure and perfect
harmony with humanity.
Li Chen generously uses modern plastic arts, while incorporating a
internalization and reshaping of a rustic philosophy achieved after
a period of self-cultivation of reading sutra. Leading the direction
of Eastern sculpture, he brings a new appearance and expression
to the field. At its core, this work, Blessing Water, sets the highest
imaginations in Chinese thought over a thousand years regarding
“goodness”, while presenting intangible connotations as figurative
sculptures. The artist imbues a thick and heavy texture to the work
to convey the boundless wisdom of Xu Gu. The appearance of a
bowing head and open arms signifies modesty, humility, tolerance,
and an embodiment of goodness. A good natured expression,
closed eyes, and open arms provides the work with a calm and
stable texture and rhyme. At the same time, it draws viewers into a
space for exquisite imaginations. Furthermore, this also enables his
creations to highlight the introspective and restrained philosophies
of Chinese culture that have been nearly submerged in the
contemporary time and space.
164

The highest excellence is blessing water.
Water is benevolent, a merit to all being;
Always steady and non-competing;
It dwells in places abhorred by most people;
Thus, it is closest to Dao.
Best be like water.
Live in the right place;
Keep your heart at peace;
Communicate with honesty;
Speak with trust;
Rule with legitimacy;
Act according to your capabilities;
Move at the right time;
Only the non-competing shall
have no resentment.
- Lao-Tzu (Tao Te Ching)

229
Walasse TING
(Chinese-American, 1929 - 2010)
Pink Diamond Girl
1986
Acrylic on canvas
74.5 x 99.5 cm
Signed on the reverse Ting in English, titled Pink Diamond girl
and dated 86 Amsterdam
1986
74.5 x 99.5 cm
Pink Diamond girl ting 86 Amsterdam
PROVENANCE
Present ower acquired directly from Gallery Delaive,
Amsterdam, Netherlands
NT$ 3,800,000-4,800,000
HK$ 1,024,000-1,294,000
US$ 130,900-165,300
RMB 824,000-1,041,000
Ting had spent his entire lifetime in the
pursuit of female beauty. He attracted the viewer’s attention with
vividly colored portrayals of gorgeous feminine bodies in paintings
that are direct manifestations of his excessively romantic nature,
while the women he portrayed evince a charm and delicacy like
the resplendent, ambrosial blossoms of springtime. “Pink Diamond
Girl” is a signature work the artist painted during his years in New
York. The liberal, unrestrained artistic atmosphere of the era later
played a major role in the formulation of Ting’s distinctive personal
style. Thence, his paintings transitioned from abstract to figurative
art, and his state of mind underwent drastic transformations as he
began to devote himself to a lifelong passion for female portrait
painting.
Outlined with bold, confident brushstrokes, this painting
demonstrates the artist’s expert deftness complemented by
an unruly sense of assurance—a freedom and spontaneity
characteristic of Fauvism artworks. The woman in the painting
leaned comfortably on her back, perfectly composed and
unabashed as she displays her feminine
beauty. In the background, powerful
splashes and drippings of hue invoke
the influence of abstract expressionism
while blending perfectly into the
chunks of highly saturated colors. The
boundless creative energy and streaming
vitality that burst forth is moreover a
succinct and powerful statement of
Ting’s extraordinary artistic expression,
and imbues the artwork with an air
of delighted bliss. This portrait of a
nude women references the classicism
paintings of Titian, Manet, Modigliani,
Matisse, and others who created countless masterpieces in similar
composition. In Walasse Ting’s work, a posture of classical painting
is translated into one of utmost passion and zeal. It reveals the
heart’s unwavering desire to be naked before the world’s eyes, and
for this reason elevated Ting as one of true artists in the era’s.
/1935
Henri Matisse, Large Reclining Nude/ Pink Nude, 1935, oil on canvas, 66 x 92 cm
Collection of Baltimore Museum of Art, Baltimore, USA
166

230
Walasse TING
(Chinese-American, 1929 - 2010)
Lady (quadriptych)
1986
Ink and color on paper
175 x 47.5 cm (X4)
With one seal of the artist
ILLUSTRATED
Walasse Ting - Love, Affairs, Woman-Woman, Lung Men Art
Gallery; Apollo Gallery; Asia Art Center, Taipei, 1992, color
illustrated, p. 1, no. 001,
1986
175 x 47.5 cm (X4)
··
1992
1001
NT$ 3,200,000-4,200,000
HK$ 863,000-1,132,000
US$ 110,200-144,700
RMB 694,000-911,000
1980
Walasse Ting's painting style is daring and unruly. Widely known for
its gorgeous palettes, his work overflows in swelling waves of spring
colour that reflects the artist's dazzling life. His passionate and
unrestrained personality also shines through in his paintings and
poems alike. With a fondness for a happy, erotic scene that extols
people's emotional cravings and the beauty of their mundane lives,
apart from women, fine wine and feasting dining take a central
role in Walasse Ting's work and life. Walasse Ting moved to Paris
and later New York, where he was freed from the constraints of
traditional thinking and could instead ingrain himself in the local
trends of art and culture. This led to the development of his own
unique, unaffected style of freeform painting.
With a grounded and abundantly imaginative approach to painting,
Walasse Ting chose to forgo the use of traditional features of deep,
high and sprawling compositional elements, even blank space, and
replace it all with spatial compositions marked by filled, flat, and
compact scenes bursting with flowers in bloom. The whole canvas
could present a solid, steady, and fresh visual tension with a touch
of soft, glowing flowers. That is, the object in the work would be
directed by the artist's subjective consciousness, made to transcend
the images that came from naturally generated ideas, and to better
uncover the deep inner layers of the spirit. Hence, colours would
be brought to flowers as if caught in a dream being steered by
an intensely subconscious book, where all the words have been
reworked as extraordinary phrases.
A quadriptych made in the late-1980s, "Lady" is a rare multi-piece
work by Walasse Ting. Even less commonly seen from the artist is
a work of this large of a scale on rice paper, exemplary of his lateperiod
practice. The flowers and fruits at the centre of this still life
are standard fare in the traditions of both China and the West but
Walasse Ting added to this the women, horses, parrots, and other
symbolic elements that he so adored. The exaggerated contrasts
of the colours and the enthusiastic structure of the lines reflect
the wild illogic of the artist's life. The revelry seen on the canvas
is uninhibited, youthful, flowing like words spoken to the heart's
content and elation. The smooth fusion of Chinese and Western
painting styles in "Lady" is a tactful embodiment of Walasse Ting's
fervently expressive methods and unique artistic appeal. It is an
exceptional work, and it shows how Walasse Ting, in comparison
to other Chinese artists, gave a greater weight to his own emotions
and desires. The colours are gorgeous, emitting the vital energy of
life lived to the fullest.
168

231
Walasse TING
(Chinese-American, 1929 - 2010)
Give Me a Hug
1977
Acrylic on canvas
66 x 86 cm
PROVENANCE
Bruun Rasmussen Auction, Copenhagen, Denmark
Private Collection, Asia
1977
66 x 86 cm
NT$ 2,800,000-3,800,000
HK$ 755,000-1,024,000
US$ 96,500-130,900
RMB 607,000-824,000
1970
By the 1970s, Ting has gathered a tremendous creative energy
having spent more than ten years in New York. While his artistic
style changed from abstract to figurative paintings, “women”
was always his favorite topic where he spent most of his energy.
While living in New York, Ting began to develop a style which
the strokes were strong and wild, the colors vibrant, proud, and
unconventional, an approach reflecting Ting’s character. One
cannot deny that the city itself, free, innovative, and blooming
with culture, also took part in shaping Ting’s unique style. As his
focus transformed from abstract to figurative paintings, his state
of mind also began to change. He spent large amounts of time
painting “women”, his favorite topic. During this period, the lines
in his works demonstrated similar styles from Fauvism. In actuality,
during his early days in Europe, the
CoBrA artists already provided Ting with
the inspirations for a similar style. With
an overall exaggerated tone, the female
figures on Ting’s canvas are sometimes
graceful, sometimes emotional, but
always charming.
"Give Me a Hug" resembles the delicate
atmosphere that the Impressionist Edgar
Degas once created in his female portrait
paintings. The painting displays Ting’s
highly-refined ability to create an alluring
and glamorous world with the use of
bright, vivid, fresh color is on full display.
Ting’s most prominent feature is to depict the alluring beauty of
flowers and women, captured in abundantly rich and bright images
while offering a feast for the senses. With the flowers and the
woman drifting on the background in the indefinable turquoise
color, this auctioned piece exudes a mysterious, dreamy charm and
abundance of sweetness.
1865
Edgar Degas, A Woman Seated beside a Vase of Flowers, 1865, oil on canvas, 73.7 x 92.7 cm,
Collection of Metropilian Museum of Art, New York, USA
170

232
Walasse TING
(Chinese-American, 1929 - 2010)
Warm Sun
1961
Oil on canvas
100 x 150 cm
Signed on the reverse Ting in English, titled WARM SUN inscribed
100 x 150 and dated 61
PROVENANCE
Galerie Birch, Copenhagen, Denmark
Bruun Rasmussen Auction, Copenhagen, Denmark
1961
100 x 150 cm
WARM SUN 100 x 150 Ting 61
NT$ 2,600,000-3,600,000
HK$ 701,000-970,000
US$ 89,600-124,000
RMB 564,000-781,000
OO
O
·
O
During his long and extraordinary art career, Walasse Ting created
countless masterpieces. Skillfully using a profusion of vibrant colors
along with the ink brush, he became famous for outlining the
sensuality of the female body. Ting’s naturally unrestrained romantic
disposition had shown throughout his career - from the abstract
expressionism in the 1950s to the unrestrained romanticism after
the 70s. His works faithfully displayed his unique style.
In 1958, Walasse Ting moved to New York. In the 60s, abstract
expressionism was at its peak in the United States, and pop art
had also started to emerge. At that time, Ting became close
friends with Sam Francis, the American expressionist painter who
infused European humanist traditions, and welcomed the wave
of abstract expressionism. Abstract expressionism didn’t aim to
achieve a figurative depiction of things. Instead, it conveyed all
kinds of emotions through points, lines, surface, colors, and shapes,
particularly fitting special characteristics. Pop art is an affirmation
of the present and cultural affinities. It captured Walasse Ting’s
interest as it represented everything captivating and popular.
After the 60s, New York’s fast pace and futuristic outlook inspired
the artist to use acrylic paints and fluorescent colors. His style
began moving towards bright Western shades. His splashing and
dripping technique looked effortless, and became a major feature
of abstract expressionism. The vivid colors and decorative style of
Matisse’s fauvism also exerted a subtle influence on Walasse Ting’s
flamboyant features.
Warm Sun was created in 1961. This work is a perfect representation
of the artist’s exploration and practice during those years. It serves
as one of the rare paintings from Ting’s phase of abstract painting.
The image seems as if it was created by arbitrarily splashing paint.
The sunshine rays seem painted onto canvas by waving a knife
instead of a brush. The viewer is provided with a flying, carefree
and unrestrained visual impact. A stream of emotions hides an
Eastern spirituality and a highly explosive force. The leaping stripes
of red cover a large yellow patch, revealing the artist’s personality
and whims. Verdant green strokes present the tension of life in full
bloom between rough and smooth layers. The influence of abstract
expressionism had a significant cultural impact on Walasse Ting,
changing his forms of expression and technique. Such talent gives
birth to a distinctive and outstanding art style.
172

233
Walasse TING
(Chinese-American, 1929 - 2010)
Rose Thunder
1963
Oil on canvas
65 x 81 cm
Signed on the reverse Ting in English, titled ROSE THUNDER
inscribed oil 65 x 81 and dated 63
PROVENANCE
Galerie Birch, Copenhagen, Denmark
Bruun Rasmussen Auction, Copenhagen, Denmark
NT$ 1,400,000-2,400,000
HK$ 377,000-647,000
US$ 48,200-82,700
RMB 304,000-521,000
1963
65 x 81 cm
ROSE THUNDER oil Ting 63 65 x 81
174

176

234
Walasse TING
(Chinese-American, 1929 - 2010)
Beauty with Pink Hair
c. 1991
Acrylic on paper, mounted onto canvas
124 x 161 cm
With one seal of the artist
This painting is to be sold with a certificate of
authenticity issued by Gallery Delaive, Amsterdam
NT$ 1,400,000-2,400,000
HK$ 377,000-647,000
US$ 48,200-82,700
RMB 304,000-521,000
1991
124 x 161 cm

235
SHIY De-jinn
(Taiwanese, 1923 - 1983)
Ruei Bin Seashore
1978
Watercolor on paper
56.5 x 76.5 cm
Signed lower left SHIY De-jinn in Chinese and dated 1978
PROVENANCE
Private collection, Asia
1978
56.5 x 76.5 cm
: 1978
NT$ 1,200,000-2,200,000
HK$ 323,000-593,000
US$ 41,300-75,800
RMB 260,000-477,000
你 一 走 台 北 就 空 了
SUNSET ON RUEI BIN SEASHORE
“Taipei is empty without you”. This is the sentiment described
by poet Yu Guangzhong upon Shiy De-jinn’s passing. In 1981,
the brilliant painter had entered the final year of his life. He once
praised Zhang Da-qian as the world’s most renowned painter of
lotus flower, and expressed regret that he did not have one of
Zhang’s lotus paintings in his collection. In June 1981, friends
from Shiy De-jinn’s art circle held a special exhibition for his 60th
birthday. Zhang Da-qian specifically selected three works from Shiy
De-jinn’s collection for purchase, but Shiy De-jinn had stopped
selling his paintings at this time. Instead, the two artists finally
commemorated each other through the exchange of paintings.
Zhang chose one of his lotus paintings, and Shiy decided on “Ruei
Bin Seashore” in return. Shiy felt it was his best work in recent
years. The meeting between the two artists holds a unique meaning
and significance.
Dawn and dusk were Shiy De-jinn’s favorite time to paint. In these
hours, the hillside is richly layered. The rhythm of mountains and
the fullness of clouds are most easily revealed through a thick dense
mist. The three pieces from the “Ruei Bin Seashore” collection were
painted at three different angles along Taiwan’s northeast coast in
the early morning, day, and evening. They currently reside in the
National Taiwan Museum of Fine Arts, Chang Dai-ch’ien Residence,
and a private collection. The privately owned “Ruei Bin Seashore”
was painted by Shiy De-jinn during sunset at the northeastern
corner of Taiwan. A streak of golden glow spreads out from the
distant horizon and casts a reflection on multiple layers of blueshaded
mountains, depicting a timeless Taiwanese landscape.
178

236
LIU Kuo-sung
(Taiwanese, b. 1932)
Foggy Yunbaoding
2005
Ink and color on paper
46.8 x 60.2 cm
Signed lower left Liu Kuo-sung and dated 2005 in Chinese
With one seal of the artist
ILLUSTRATED
Liu Kuo-sung 60 years of painting, Chan Liu Art Museum,
Taoyuan, 2007, color illustrated, pp. 228-229
This painting is to be sold with a certificate of authenticity with
artist’s signature issued by Loftyart Gallery
NT$ 1,200,000-2,200,000
HK$ 323,000-593,000
US$ 41,300-75,800
RMB 260,000-477,000
2005
46.8 x 60.2 cm
2007
228-229
180

237
PANG Jiun
(Taiwanese, b. 1936)
Moonlight Over the Li River
2017
Oil on canvas
72.5 x 91 cm
Signed lower right Pang Jiun in Chinese and dated 2017
With one seal of the artist
PROVENANCE
Private collection, Asia
NT$ 1,200,000-2,200,000
HK$ 323,000-593,000
US$ 41,300-75,800
RMB 260,000-477,000
2017
72.5 x 91 cm
2017
182

238
HONG Ling
(Chinese, b. 1955)
A Timely Snow
2002
Oil on canvas
60 x 72 cm
Signed lower right Hong Ling in Chinese and dated 2002
NT$ 1,100,000-2,200,000
HK$ 296,000-593,000
US$ 37,900-75,800
RMB 239,000-477,000
2002
60 x 72 cm
2002
184

239
Walasse TING
(Chinese-American, 1929 - 2010)
Girl and Horse
1961
Ink and color on paper
23 x 31 cm
With one seal of the artist
PROVENANCE
Sotheby's Sale, Hong Kong, April 6, 2014, Lot 0253
1961
23 x 31 cm
2014460253
NT$ 110,000-220,000
HK$ 30,000-59,000
US$ 3,800-7,600
RMB 24,000-48,000
186

240
HSIAO Chin
(Taiwanese, b. 1935)
Onda Verticale
1996
Ceramic dish
51 cm (diameter)
Signed lower right HSiAO in English, Chin in Chinese, titled and
dated 96 in Chinese
1996
51 cm
HSiAO
NT$ 220,000-320,000
HK$ 59,000-86,000
US$ 7,600-11,000
RMB 48,000-69,000

188

241
CAI Guo-Qiang
(Chinese, b. 1957)
Project for Extraterrestrials No.10 — Project to
Add 10,000 Meters to the Great Wall of China
Mixed media on paper
21.5 x 43.5 cm
Signed lower center Cai GuoQiang
NT$ 220,000-320,000
HK$ 59,000-86,000
US$ 7,600-11,000
RMB 48,000-69,000
21.5 x 43.5 cm
: Cai GuoQiang
Project for Extraterrestrials No. 10 project to Add
10,000 meters to the Great wall of China
About the real name
Project for Extraterrestrials No. 10 project to Add
10,000 meters to the Great wall of China
For Chinese people, this title is not suitable
for China, so it is named The Great Wall of the
Universe in China

242
T’ANG Haywen (TANG Then Phuoc)
(Chinese-French, 1927 - 1991)
Untitled
Ink on paper
70 x100 cm
ILLUSTRATED
T’ANG Haywen, Museum Leader corp., Taipei, 1993, color
illustrated, p. 26
70 x100 cm
199327
NT$ 220,000-320,000
HK$ 59,000-86,000
US$ 7,600-11,000
RMB 48,000-69,000
190

243
T’ANG Haywen (TANG Then Phuoc)
(Chinese-French, 1927 - 1991)
Untitled
Ink on paper
70 x100 cm
ILLUSTRATED
T’ANG Haywen, Museum Leader corp., Taipei, 1993, color
illustrated, p. 26
70 x100 cm
1993
26
NT$ 220,000-320,000
HK$ 59,000-86,000
US$ 7,600-11,000
RMB 48,000-69,000

我 喜 歡 繪 畫 多 留 空 白 , 我 喜 歡 對 人 說 話 應 有 餘 地
我 喜 歡 靜 思 反 省 不 與 人 爭 。
244
WANG Pan-youn
(Taiwanese, 1912-2017)
Snowscape
1980
Watercolor on paper
38.8 x 29.2 cm
Initialed lower left P.Y.
This painting is to be sold with a certificate of authenticity with
artist’s signature issued by Metaphysical Art Gallery
NT$ 130,000-220,000
HK$ 35,000-59,000
US$ 4,500-7,600
RMB 28,000-48,000
1980
38.8 x 29.2 cm
P.Y.
“I like paintings that leave open space. I like to leave space when
talking to people. I like to meditate and reflect, and not having to
contend with people.”
Wang Pan-youn
His thinking transcends the times, while his unique use of color
and space to convey memories as a faintly discernible mysterious
metaphor, which are cultural connotation deeply embedded in
Eastern cultures. The themes of his paintings are nothing more than
the creative artistic concepts of people, nudes, nature and animals.
Whether painting people, birds, dogs, cows, goats or eagles, they
are all incarnations of himself, constituting an autobiographical
monologue. Wang Pan-youn ‘s character was noble, having known
the warmth of life and also its cold destitution, yet persevered in
his love of painting, cultivating the lofty and proud temperament of
the Chinese literati. Thus, this particular spiritual accomplishment
also reflects on his unique creations in which we see the
composition of the traditional ink and water landscape painting,
and the subtle emotions on his works all quitely and lyrically tells
Wang’s lifelong persistence and philosophy of art. t.
192

245
WANG Pan-youn
(Taiwanese, 1912-2017)
The Rising Sun
1975
Watercolor on paper
51.5 x 51.5 cm
Initialed upper right P.Y.
This painting is to be sold with a certificate of authenticity with
artist’s signature issued by Metaphysical Art Gallery.
NT$ 200,000-300,000
HK$ 54,000-81,000
US$ 6,900-10,300
RMB 43,000-65,000
1975
51.5 x 51.5 cm
P.Y.
194

246
WANG Pan-youn
(Taiwanese, 1912-2017)
Boat
1983
Watercolor on paper
55.5 x 79.5 cm
Initialed lower left P.Y.
EXHIBITED
Wang Pan-you, Taiwan Museum of Art, Taichung, June 27 -
August 16, 1992
ILLUSTRATED
Wang Pan-you, Taiwan Museum of Art, Taichung, 1992, color
illustrated, p. 22
NT$ 320,000-480,000
HK$ 86,000-129,000
US$ 11,000-16,500
RMB 69,000-104,000
1983
55.5 x 79.5 cm
P.Y.
1992627816
一 個 畫 家 要 有 自 己 的 體 系 與 風 格 , 那 就 是 孤 獨 。
“A painter must have his own system and style, which is lonely."
Wang Pan-youn
Wang Pan-youn’s life was present in miniature in each of his
paintings. The character of the painting reflects the character
of the person. His at once rough and fortunate life, people can
discern from his fine, tender and wholesome paintings. A boat,
the sun or the moon, on the other hand, were poignant symbols
expressing his feelings, an artistic concept similar to poetry used
to dilute the pain of his life and homesickness. His landscape
paintings are not expressive melodies of beauty. At times, they
have a distinct avant garde style, comprised of a single color in
an abstract composition conveying a modern feeling. The later
the work in Wang’s oeuvre, the simpler they become, achieving
a supreme sense of the absolute, an exciting and amazing
experience.
1992
22
196

247
HSIAO Ju-sung
(Taiwanese, 1922 - 1992)
Landscape by River
1984
Watercolor on paper
72 x 53 cm
Initialed lower right -JS-
Signed on the reverse inscribed, titled and dated in Chinese
1984
72 x 53 cm
-JS-
73
74 3 20P
NT$ 320,000-420,000
HK$ 86,000-113,000
US$ 11,000-14,500
RMB 69,000-91,000
198

248
ZAO Wou-ki
(Chinese-French, 1921 - 2013)
Beauregard
1981
Etching book, prints, edition no. 15/120
24 x 18 cm
Signed on the last page Wou-ki in Chinese, Zao in French; Philippe
Jaccottet in French
ILLUSTRATED
Zao Wou-Ki Les estampes, Edition Heede & Moestru, Copenhagen,
1995, p. 172
1981
15/120
24 x 18 cm
ZAO
Philippe Jaccottet
1937-1995Edition Heede & Moestrup
1995172
NT$ 240,000-340,000
HK$ 65,000-92,000
US$ 8,300-11,700
RMB 52,000-74,000

200

249
CHUANG Che
(Taiwanese, b. 1934)
Variation of Cypress and Mountain-II
Oil on canvas
44.5 x 119.6 cm
II
44.5 x 119.6 cm
NT$ 500,000-600,000
HK$ 135,000 -162,000
US$ 17,200 -20,700
RMB 108,000 -130,000

250
SHIY De-jinn
(Taiwanese, 1923 - 1983)
Farmland
1977
Watercolor on paper
54 x 75.5 cm
Signed lower left SHIY De-jinn in Chinese and dated 1977
PROVENANCE
Private Collection (acquired directly from the artist )
ILLUSTRATED
Shiy De Jinn water-colors, The studio of Shiy De-Jinn, Taipei, 1977,
color illustrated, back cover artwork, p. 3
NT$ 550,000-650,000
HK$ 148,000-175,000
US$ 18,900-22,400
RMB 119,000-141,000
1977
54 x 75.5 cm
: 1977
1977
19773
202

251
CHEN Ting-shih
(Taiwanese, 1916 - 2002)
Day and Night #34b
1976
Woodblock print, edition no. 8/40
105 x 135.5 cm
Signed lower right Chen Ting-Shih, dated Feb. 1976, titled lower left
Day and Night #34b in English, and numbered lower center 8/40
With one seal of the artist
#34b
1976
8/40
105 x 135.5 cm
Chen Ting-shih Feb. 1976
: Day and Night #34b
8/40
NT$ 550,000-650,000
HK$ 148,000-175,000
US$ 18,900-22,400
RMB 119,000-141,000
138

252
CHEN Ting-shih
(Taiwanese, 1916 - 2002)
Day and Night #34A
1976
Woodblock print, edition no. 8/40
104.5 x 136 cm
Signed lower right Chen Ting-Shih, dated Feb. 1976, titled lower
left Day and Night #34A in English, and numbered lower center
8/40
#34A
1976
8/40
104.5 x 136 cm
Chen Ting-shih Feb. 1976
: Day and Night #34A
8/40
NT$ 550,000-650,000
HK$ 148,000-175,000
US$ 18,900-22,400
RMB 119,000-141,000

253
CHU Teh-chun
(Chinese-French, 1920 - 2014)
Timely Snow (a set of 3)
2000 - 2001
Lithograph,
edition no. 137/150 (left); 129/150 (middle); 14/150 (right)
60 x 80 cm
92 x 69 cm
70 x 96 cm
Signed lower right CHU TEH-CHUN in Chinese and French and
numbered lower left 137/150 (left)
Signed lower right CHU TEH-CHUN in Chinese and French and
numbered lower left 129/150 (middle)
Signed lower right CHU TEH-CHUN in Chinese and French and
numbered lower left 14/150 (right)
ILLUSTRATED
CHU TEH-CHUN The Graphic Work 2000 - 2002, Hoke Art, Taipei,
2003, color illustrated, p. 26, p. 34, p. 38 (from left to right)
CHU TEH-CHUN The Graphic Work 2000 - 2008, Hoke Art, Taipei,
2008, color illustrated, p.13, p.17, p. 23 (from left to right)
CHU TEH-CHUN The Graphic Work of Lithograph 2000-2008,
Mingshan Art collection Co., Ltd, Taipei, 2015, color illustrated,
p. 25, p. 33, p. 37 (from left to right)
()
2000 - 2001
137/150 ()129/150 ()14/150 ()
60 x 80 cm
92 x 69 cm
70 x 96 cm
CHU TEH-CHUN 137/150 ()
CHU TEH-CHUN 129/150 ()
CHU TEH-CHUN 14/150 ()
2003263438
2008131723
2015253337
NT$ 600,000-700,000
HK$ 162,000-189,000
US$ 20,700-24,100
RMB 130,000-152,000
206

G
F
D
E
B
H I C A
254
CHU Teh-chun
(Chinese-French, 1920 - 2014)
Encre Orageuse (a set of 9)
2008
Lithographs, edition no. 50/99
45 x 35.3 x 3.5 cm (Book)
A: 40.7 x 29.3 cm
B: 44.8 x 34.7 cm
C: 40.7 x 28.9 cm
D: 40.6 x 59.6 cm
E: 44.6 x 34.8 cm
F: 44.4 x 69.5 cm
G: 40.5 x 28.8 cm
H: 41.1 x 29.6 cm
I: 41.3 x 29.8 cm
Signed in English and Chinese and numbered 50/99 on three
of the six lithographs; numbered 50/99 and stamped with the
artist’s seal on the rest of the six lithographs; stamped with the
artist’s seal on each calligraphy.
2008
50/99
45 x 35.3 x 3.5 cm ()
A: 40.7 x 29.3 cm
B: 44.8 x 34.7 cm
C: 40.7 x 28.9 cm
D: 40.6 x 59.6 cm
E: 44.6 x 34.8 cm
F: 44.4 x 69.5 cm
G: 40.5 x 28.8 cm
H: 41.1 x 29.6 cm
I: 41.3 x 29.8 cm
50/99
CHU TEH-CHUNC,D,I
A, H.G
NT$ 650,000-750,000
HK$ 175,000-202,000
US$ 22,400-25,800
RMB 141,000-163,000

255
YANG Chihung
(Taiwanese, b. 1947)
Wave
2015
Acrylic on canvas
87 x 115 cm
Signed on the reverse Chihung Yang, titled Wave and dated 2015
PROVENANCE
Private Collection, Asia
ILLUSTRATED
YANG Chihung, Asia Art Center, Taipei, color illustrated, p. 109
2015
87 x 115 cm
Chihung Yang Wave ©2015
2016
109
NT$ 600,000-800,000
HK$ 162,000-216,000
US$ 20,700-27,600
RMB 130,000-174,000
OO
O
In the late 1980s and the early 1990s, in the series "the aesthetics
of flora" which Yang Chi-Hung himself called, he returned to the
harmony of the universe to express a kind of romantic ambience
which is rationality having been internalized through poetic
iconography. During this period, the things and their images
in Yang's paintings were more beyond the images themselves.
They were rather the element of poet which had been filtered
from external affairs through time. What we could see was the
changes of nature and plants over time, and they were also vividly
demonstrated with the directions of Yang's strokes.
Wave was made in 2015. Back than Yang Chi-Hung's aesthetics
of botanic patterns had experienced more than decades and had
become more sophisticated. The appearance and color in this
painting still inherit his previous style, using main color of the
earth and wave. But the abstract approach to the morphology of
the waves and the natural environment has changed. The artist
intentionally blurred the concrete images, successfully making the
intensity when sky, earth, and sea come to an encounter. Both big
unrestrained strokes and minute spots on the canvas bring the
painting greatness and delicateness.
142

256
CHUANG Che
(Taiwanese, b. 1934)
Fire Land
1967
Oil and collage on canvas
100 x 65.5 cm
Signed lower right Chuang Che in Chinese and dated 1967
Titled on the reverse Fire Land, signed Chuang Che in English,
and dated 1967
1967
100 x 65.5 cm
1967
Fire Land 1967 Chuang Che
NT$ 600,000-700,000
HK$ 162,000 -189,000
US$ 20,700 -24,100
RMB 130,000 -152,000
O
The major feature of Chuang's work is that he traces back to
the Chinese ink technique from the National Palace Museum
collections, and apply to western modern painting theory, he
intentionally infiltrates the "brush strokes" from Chinese paintings
into western paintings, thus the eastern and western integrates
beautifully and this becomes his unique artistic language. From an
artistic point of view, eastern painting and calligraphy embraced
resolute and mild, sparse and concentrated, ying and yang, dense
and pale, wither and moist. Chuang is an artist who emphasizes
the "brush strength " through the Chinese book and script style of
writing, representing the landscape of the nature; as an effort to
return to the primitives of the calligraphy.
In the 1960s, the artist applied traditional Chinese calligraphy
characters onto his canvas while integrating ink and wash, collage of
canvas and Chinese paper to create his importance of experimental
creation. Hence, the works during this period often disclosed a
poetic transformation of visual images. Chuang focused on the
poetic abstraction and visually and physically refined the strength
and the flexibility of paper texture that he applied on canvas. The
artist though practiced the western painting methodology on his
works, the space and the composition he built on the canvas still
faithfully developed the oriental spirit which originated from his
inner culture. To deconstruct the landscape of reality, the natural
spirit and the dialogue between human and history remains in
Chuang’s philosophy of art.
210

257
HSIAO Chin
(Taiwanese, b. 1935)
L’origine Viola
2009
Acrylic on canvas
75 x 90 cm
Signed on the reverse Hsiao in English, Chin in Chinese, titled
L’origne Viola, inscribed 75 x 90 cm, acrylic on canvas and
dated 2009
2009
75 x 90 cm
Hsiao
2009 L'origine Viola, 75 x 90 cm
压
NT$ 750,000-850,000
HK$ 202,000-229,000
US$ 25,800-29,300
RMB 163,000-184,000
一 個 有 思 想 的 創 作 者 的 本 責 , 在 他 的 工 作 過 程 中 , 必 須 了 解 自 我 , 分
析 自 己 個 人 , 其 傳 統 文 化 及 精 神 的 來 龍 去 脈 , 敏 感 地 接 受 生 活 及 時 代
的 考 驗 , 然 後 來 探 討 自 己 的 路 子
PUNTO-
Punto
: 我 的 希 求 , 是 透 過 藝 術
的 各 種 媒 材 , 表 達 我 經 過 不 停 及 不 時 內 省 歷 練 的 省 思 , 向 觀 者 傳 達 我
對 人 生 、 宇 宙 及 無 限 進 化 的 學 習 及 探 討 。
O
"One should always try to explore the limited physical space to
the maximum and to generate maximum energy in the confines of
space, to learn in a material world that transcends the boundaries
of time, and in so doing to grasp the deeper meanings of life. And
it is through my awkward brush work and the bright primary colours
that I achieve such goals."- Hsiao Chin
When it comes to art history's phenomenal PUNTO International
Art Movement, it is said that it had a decades-long influence on
styles of painting. Meaning 'point' in Italian, Punto was just as
much a 'starting' as an 'ending'. It stood for the purity of ideas and
reasons for creation based on an understanding of "finite" and
"infinite" conditions, the truth in such thinking, and understanding
of the true meaning of life. Always one to progress with the times,
Hsiao Chin has served as a 'point' that connects the abstract art of
the East with the West while also initiating the pace of avant-garde
modern painting in Taiwan.
Reflecting on Hsiao Chin's lifelong creations, on the surface it
appears that he was influenced by Miró and Klee, although the
Eastern philosophy of Zen has strong presence, too. The artist
himself has said, "My hope is to express through various artistic
mediums the intermittent and unceasing practice of introspection
that I experience, and to convey to the viewer my studies and
explorations of life, the universe, and unbounded evolution."
Since beginning the series in the 1990s, Eternal Garden has been
an important turning point in Hsiao Chin's art career. It goes
beyond an individual spirit and turns the imagery of rebirth into
flowing colours, evoking eternal clarity in flights of white. “L'orgine
viola” can be seen as an extension of the Eternal Garden series.
The work after this stage, apart from its abstract forms, begins to
resemble more of a personal dialogue and healing process. No
longer exposed outright, the noble and mysterious colour of purple
seems to be suggestive of a boundless energy. And the 'purple
cloud', apart from being viewed as being of an imperial ilk, also
function as a sign of rare treasure and respect for the king. This
spiritual philosophy suggested in Hsiao Chin's work presents new
potential for Chinese painting by way of Western expressive forms
that further the pursuit of the endless realm that transcends life and
death.
212

258
George CHANN
(Chinese-American, 1913 - 1995)
Composition-III
1970 - 1980s
Oil on canvas
60 x 46 cm
Signed lower center GEO, CHANN
With one seal of the artist on the reverse
ILLUSTRATED
George CHANN Solo exhibition, Lin & Keng Gallery, Taipei, 2000,
color illustrated, pp. 112-113
NT$ 850,000-950,000
HK$ 229,000-256,000
US$ 29,300-32,700
RMB 184,000-206,000
-III
1970 - 1980
60 x 46 cm
GEO, CHANN
2000112-113
214

259
CHIU Ya-tsai
(Taiwanese, 1949 - 2013)
Perfection
1991
Oil on canvas
80 x 65 cm
Signed lower right Chiu Ya-tsai in Chinese
ILLUSTRATED
CHIU Ya-tsai, Goethe Art Center, Taichung, 2006, color illustrated,
p. 161
This painting is to be sold with a certificate of authenticity issued
by Ming Art Gallery
NT$ 1,100,000-2,200,000
HK$ 296,000-593,000
US$ 37,900-75,800
RMB 239,000-477,000
1991
80 x 65 cm
2006161
216

260
LEE Ufan
(Korean, b. 1936)
From Line
1978
Oil and mineral pigment on canvas
38 x 45.5 cm
Signed lower right L. UFAN in English and dated 78
Signed on the reverse Lee ufan and inscribed From line
NO.780142 in English
1978
38 x 45.5 cm
L. UFAN 78
From line NO.780142 Lee ufan
PROVENANCE
Private Collection, Japan
NT$ 1,800,000-2,800,000
HK$ 485,000-755,000
US$ 62,000-96,500
RMB 390,000-607,000
1960
1970
1973
As one of the most significant living Asian artists today, Lee
Ufan is the driving force behind the Mono-Ha movement from
the late 60s to 70s, and deeply influenced the development of
Japanese postwar art. He is also an iconic figure in the Dansaekhwa
(monochrome painting) movement that rose to prominence later
in contemporary Korean art scene. He led East Asian art in a new
direction, and not only was he recognized and highly praised by the
western world, but also making a lasting impact.
Since 1973, Lee Ufan has turned his attention to painting, using
minimal elements and colors to continue his exploration of the
connection between the artwork, the environment, and the viewer,
concepts that he previously explored with his three-dimensional
pieces, creating a minimalist style like no other. The artist uses
monochromatic blue and simple lines on the blank canvas to create
a simple, refined, and highly steady pattern, revealing the flow
and depth of time and space. The painting is simple, but contains
absolute tension and high spirituality. With a high level of focus
combining the artist's understanding of philosophy, sound, and
physics, and a humble attitude, this piece instantly evokes a sense
of peace and a strong response to the abstract and minimalist
western Modernism, and proposes an artistic theory based on
eastern philosophy. This is only the beginnings, and there is no
end.
218

261
CHIU Ya-tsai
(Taiwanese, 1949 - 2013)
Lady in Floral Dress
1994
Oil on canvas
130 x 97 cm
Signed lower right Chiu Ya-tsai in Chinese
ILLUSTRATED
CHIU Ya-tsai, Galerie Elegence, Taipei, 1994, color illustrated, p. 7
NT$ 2,000,000-3,000,000
HK$ 539,000-809,000
US$ 68,900-103,300
RMB 434,000-651,000
1994
130 x 97 cm
19947
220

262
Chiu Ya-tsai
(Taiwanese, 1949–2013)
Lady in Red and Yellow
Oil on canvas
130 x 97 cm
Signed lower right Chiu Ya-tsai in Chinese
NT$ 2,200,000-3,200,000
HK$ 593,000-863,000
US$ 75,800-110,200
RMB 477,000-694,000
130 x 97 cm
222

263
Chiu Ya-tsai
(Taiwanese, 1949–2013)
Bullfighter
1994
Oil on canvas
194 x 130 cm
Signed lower right Chiu Ya-tsai in Chinese
ILLUSTRATED
CHIU Ya-tsai, Ming Art Gallery, Taipei, 2009,
color illustrated, p. 26
NT$ 4,000,000-5,000,000
HK$ 1,078,000-1,348,000
US$ 137,800-172,200
RMB 868,000-1,085,000
1994
194 x 130 cm
200926
224

264
Tzu-chi YEH
(Taiwanese, b. 1957)
Wulai Waterfull
2017 - 2018
Tempera and oil on linen
102 x 152.5 cm
Signed on lower right Tzu-Chi in Chinese and dated 2017-18
NT$ 4,400,000-6,000,000
HK$ 1,186,000-1,617,000
US$ 151,600-206,700
RMB 954,000-1,302,000
2017 - 2018
102 x 152.5 cm
2017-18
226

WULAI WATERFULL
Tzu-chi YEH
第 一 次 看 見 烏 來 瀑 布 大 概 是 40 多 年 前 的 往 事 了 , 那 時 初 到 台 北 的
大 學 新 生 都 時 興 安 排 一 次 烏 來 瀑 布 郊 遊 , 那 是 轎 車 不 多 , 機 車 還 未
氾 濫 , 沒 有 手 機 , 大 家 都 搭 公 車 , 專 心 欣 賞 窗 外 風 景 的 年 代 。 少 年
十 五 二 十 , 意 興 風 發 , 盡 是 歡 笑 。
多 年 過 去 , 烏 來 瀑 布 早 已 消 逝 在 久 遠 的 記 憶 裡 。
2016 年 底 , 陪 巴 黎 友 人 再 度 造 訪 , 冬 日 時 晴 時 雨 的 天 氣 , 遊 人 杳
然 , 滿 是 悠 閒 , 山 雨 陣 陣 , 偶 有 陽 光 灑 落 溪 谷 林 間 , 夾 雜 著 蒸 騰 而
上 、 由 遠 而 近 的 山 嵐 水 霧 , 遠 山 渺 渺 , 近 水 澎 湃 , 煞 是 好 看 , 當 年 那
份 初 遇 的 賞 興 與 心 怡 又 被 喚 起 。 數 十 寒 暑 過 去 , 彷 彿 四 季 在 眼 前 急 速
興 替 , 既 見 春 夏 , 也 見 秋 冬 , 人 生 回 眸 , 也 有 風 雨 , 也 有 情 。 緣 以 誌
之 。
繪 畫 的 深 度 不 是 透 視 的 建 構 或 攝 影 真 實
性 的 自 動 財 產 , 它 必 須 是 有 鬥 爭 性 的 , 是 經 常 反 對 基 礎 性 的 圖 案 代
表 。
()
“The first time I saw the Wulai Waterfall was over four decades ago.
It was an outing arranged for university freshmen new to Taipei.
There weren’t many cars at that time, and there weren't scooters
flooding the streets. There weren't mobile phones, either. When
we were riding the bus, we all had our eyes locked on the view out
the window. It was that kind of time. The fifteen or twenty of us on
the trip were all young, and we laughed the whole way. After many
years went by, the Wulai Waterfall had long since faded away as a
distant memory.
At the end of 2016 I payed another visit — this time with a friend
from Paris. It was winter, when the weather tends to flip between
rain and shine, so there weren't many tourists. We could take it
easy. Rain would come and go in bursts, with the sun shining in
between, lighting up the valley's trees. A fog or mist steamed off
the mountains, murky in the distance, as waters roared nearby.
It was a sight to behold, and memories from that first encounter
suddenly rushed back to me. Having experienced temperatures
switch from hot to cold and back dozens of times, it seemed as if
all at once the seasons were changing before my eyes. Spring and
summer, autumn and winter, all returning to view when I looked
back on my life. And with the winds and the rains, there came this
feeling, too. Fate leaves its mark.” - Tzu-chi Yeh
The phenomenologist Maurice Merleau-Ponty once said that “the
depth of a painting is not the automatic product of perspective or
photographic realism; it must be the result of struggle, a symbolic
icon that goes against the foundations of reality.” Seeking depth in
his paintings has always been one of Tzu-chi Yeh’s goals. Through
a process of creating layered washes, Yeh establishes a sense of
depth that arises out of the colors used in the painting; whether
bright and exuberant or dark and gloomy, Yeh’s paintings are
always in a state of transformation. The way Tzu-chi Yeh approaches
the structure of his paintings is different from that of most realist
artists. Yeh’s construction of realism derives from the inherent
“codes” of nature, like a distant, primitive echo, an invisible source
of artistic inspiration that reawakens a magic that had long since
disappeared. In Yeh’s painting “Wulai Waterfullien,” the line of
mountain peaks and the border of the drifting mist are fused with a
soft light that penetrates the forested hills to create a faint corona
effect. Employing the classical technique of using curved lines to
delineate space, Yeh succeeds in creating a sense of boundless
distance; the viewer of the painting is drawn into the heart of
mystery, into a world that is both real and fantastical, the aesthetic
significance of which can be interpreted in many different ways. The
multi-layered fantastical vision that Yeh creates is full of constant
change. Time moves within space; space dance with light and
shadow. Everywhere there are hidden treasures and surprises that
ensure one never tires of viewing the painting anew.
In the work of Tzu-chi Yeh, we see the authentic Taiwanese
landscape, and we see the beauty of this landscape in a way that
has never been seen before – a deeply-rooted vitality and natural
beauty. We also see the steadfastness of Yeh’s faith in the power
of painting, and the strength of his feelings for the land where
he grew up. Yeh is like a pilgrim chanting his prayers as he walks
through the mountains, or a travel intoning verse as he gazes out to
sea; he is wholly focused on the search for dialog between himself
and nature, and on exploring the limitless potential of the artistic
soul.
Text by Kin Tsuei Chang (former Acting Dean, Graduate Institute of
the Indigenous Arts, National Dong Hwa University)
228

230

265
JU Ming
(Taiwanese, b. 1938)
Taichi Series
1992
Cinnamomum micranthum Hay
41.6(L) x 21.2(W) x 23.8(H) cm
Engraved on the lower right Ju Ming in Chinese and dated 92
This work is to be sold with a certificate of authenticity issued
by Juming Culture & Education Foundation
NT$ 3,000,000-4,000,000
HK$ 809,000-1,078,000
US$ 103,300-137,800
RMB 651,000-868,000
1992
41.6() x 21.2() x 23.8() cm
'92
-

266
JU Ming
(Taiwanese, b. 1938)
Taichi Series - Side Kick
1991
Cinnamomum micranthum Hay
30(L) x 17(W)x 48(H) cm
Engraved on the bottom Ju Ming in Chinese and dated 91
This sculpture is to be sold with a certificate of authenticity issued
by Jun Youn Sculpture Gallery, Taipei.
NT$ 2,000,000-3,000,000
HK$ 539,000-809,000
US$ 68,900-103,300
RMB 434,000-651,000
1991
30() x 17() x 48() cm
'91
232

267
LI Chen (Taiwanese, b. 1963)
Wisdom Bodhisattva & Fulfillment Bodhisattva (a set of 2)
2001
Bronze, edition no. 8/8
30(L) x 40(W) x 44(H) cm (left)
27(L) x37(W) x 43(H) cm (right)
Engraved Li Chen in English, numbered 8/8 and dated 2001
With one seal of the artist (both)
ILLUSTRATED
Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, pp. 80-81
Li Chen in 52nd Venice Biennale - Energy of Emptiness, Asia Art Center, Taipei, 2007, color
illustrated, pp. 110-115; black-and-white illustrated, pp. 218-219 (similar version)
Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, color illustrated, pp.
40-49; black-and-white illustrated, pp. 196-197 (similar version)
This sculpture is to be sold with a certificate of authenticity issued by Asia Art Center.
NT$ 2,200,000-3,200,000
HK$ 593,000-863,000
US$ 75,800-110,200
RMB 477,000-694,000
234

2001
8/8
30() x 40() x 44() cm ()
27() x 37() x 43() cm ()
2001 Li Chen 8/8
2001 Li Chen 8/8
1992-20022004
80-81
52
2007110-115
218-219
200840-49
196-197

WISDOM
BODHISATTVA
& FULFILLMENT
BODHISATTVA
LI Chen
1998
When examining the artistic career of contemporary sculptor Li Chen, one can see that, in his early “Beauty of Emptiness”
series, while seeking to portray different aspects of the Buddha, Li also incorporated some of his own aesthetic attitudes,
so that besides the religious power of the work, creating it also provided the artist himself with an opportunity to practice
Buddhist self-cultivation in his own life, and the finished work opened up new artistic possibilities for contemporary Buddhist
statuary. 1998 saw the beginnings of a shift in Li’s style; starting with his “Energy of Emptiness” series, one begins to see the
soft, curving lines that have become so characteristic of Li’s work, and from this period onwards his statutes have a distinctive
roundness and fullness about them. Although Li Chen’s creative work continued to be influenced by Zen thought and other
aspects of Buddhist philosophy, in his later work one no longer sees figures holding Buddhist regalia or making conventional
Buddhist hand movements; rather, they are shown in various kinds of “worldly” poses, laughing and happy. Besides the
inherent quality of the sculpting, these later pieces also embody a finely expressed emotional sensibility that warms the heart
of the viewer.
In Han Buddhism thought, two of the Three Holy Ones of the Huayan (Flower Garland) School of Buddhism are Manjusri and
Samantabhadra. Holding a treasured sword, Manjusri cuts down all the troubles of the secular world in a carefree manner,
representing the disconnecting of all foolishness. This serves as symbol of supreme wisdom. Riding on an auspicious lion
that scares away corruption with its roar represents an infinite wisdom, and explains how wisdom is the fundamental way.
Samantabhadra, also known as Great Conduct Bodhisattva, willingly practices dharma with sentient beings. Holding a lotus in
the palm of his hand symbolizes fulfillment and perfection. Riding on an elephant represents fortitude, a lack of regret, and a
boundless fearlessness. Li Chen was able to simplify the dharma-character and minimize the face and lines of the sculpture.
Integrating Buddhist philosophy into contemporary shapes and infused with an internal spiritual energy, Removing Dharmacharacter
and Removing Deification are two harmonious sculpture works in which Li Chen incorporates the artistic imagery of
western minimalism. The dark body and delicate texture of the surface reveal a strong contemporary sense in these works,
eliminating existing religious barriers and expressing a unique form belonging to an Eastern theme of sculpture.

268
JU Ming
(Taiwanese, b. 1938)
Taichi Series – Underarm Strike
1971
Chinese juniper
37(L) x 11(W) x 38(H) cm
Engraved on the bottom Ju Ming in Chinese and dated 71
This sculpture is to be sold with a certificate of authenticity
issued by Jun Youn Sculpture Gallery, Taipei.
NT$ 1,600,000-2,600,000
HK$ 431,000-701,000
US$ 55,100-89,600
RMB 347,000-564,000
1971
37() x 11() x 38() cm
'71
238

269
HUNG Yi
(Taiwanese, b. 1970)
Lucky Dog
2013
Lacquered steel, enamel (unique)
150(L) x 50(W) x 120(H) cm
EXHIBITED
Happy Animal Party - Hung Yi, The Hakone Open-Air Museum,
Hakone, July 27 - December 1, 2013
Fancy Animal Carnival, Civic Center Plaza, San Francisco, April
16 - May 2, 2015
This painting is to be sold with a certificate of authenticity
issued by In Sian Gallery
2013
()
150() x 50() x 120() cm
2013720121
201541652
NT$ 1,500,000-1,900,000
HK$ 404,000-512,000
US$ 51,700-65,400
RMB 325,000-412,000
DC
20132015
The famous contemporary Taiwanese artist Hung Yi is known for
his painted animal sculptures, which are marked by their colourful
and sleek shapes with wealth of traditional Taiwanese elements
and folk culture, that give us full of imaginations. His works not
only decorate many public spaces in Taiwan, but also be invited
to hold for large-scale solo exhibitions in such international cities
as Washington D.C., New York, San Francisco, Hong Kong, and in
Japan.
Hung Yi's works have come to symbolise a new generation of
sculpture, with each piece independently forged, sculpted, and
moulded in myriad variations. His recent works have also challenge
the limits of iron and steel forging. By routinely using angles that
demand a high degree of artistry for his work, his works make our
world a more lively and charming place full of fun and surprise.
The work "Lucky Dog" has been positively received at exhibitions
in both Japan and the United States of America: in 2013 at the
Mori Art Museum in Japan and in 2015 at San Francisco City Hall.
For modern people, a dog can have the same weal and woe of a
friend, selflessly sharing and being true to others. It is this hope and
joyfulness that bounds in Hung Yi's work, which presents innovative
elements and connotations for contemporary sculpture.
Fancy Animal Carnival, Civic Center Plaza, San Francisco
Happy Animal Party - Hung Yi, The Hakone Open-Air Museum, Hakone
240

270
Yang Pei-Chen
(Taiwanese, b. 1970)
Forgotten Gloves
2007
Camphor Wood
37(L) x 25.5(W) x 10.5(H) cm
Engraved on the bottom Chen in Chinese and dated 07
EXHIBITED
Engraving Memories Yang Pei-Chen Solo Exhibition, My Humble
House Art Gellery, Taipei, November 20 - December 26, 2010
ILLUSTRATED
Not Merely Realism - Protfolio of Yang Pei-Chen, My Humble
House Art Gallery ,Taipei, 2008
Engraving Memories Yang Pei-Chen Solo Exhibition, My Humble
House Art Gallery ,Taipei, 2010
NT$ 650,000-750,000
HK$ 175,000-202,000
US$ 22,400-25,800
RMB 141,000-163,000
2007
37() x 25.5() x 10.5() cm
07
2010
11201226
2008
2010
242

271
Chang Chia-ying
(Taiwanese, b. 1982)
Variable Series - The Booted
Cat and One Lover; Little Fox
and Clown
2012; 2015
Acrylic on canvas
121.5 x 72.5 cm (x2)
Signed on the reverse in Pinyin: Chia Ying and
dated 2012 (Left)
Signed on the reverse in Pinyin: Chia Ying and
dated 2015 (Right)
EXHIBITED
Fairy Reincarnation: 2014 Solo Exhibition,
Museum of Contemporary Art, Taipei,
October 25 - November 30, 2014 (Right)
ILLUSTRATED
Fairy Reincarnation of Chang Chia-Yang: 2014
Solo Exhibition, My Humble House Art Gallery,
Taipei, 2014, p 46 (Right)
NT$ 800,000-1,000,000
HK$ 216,000-270,000
US$ 27,600-34,400
RMB 174,000-217,000
244

-
20122015
121.5 x 72.5 cm (x2)
Chia Ying 2012 ()
Chia Ying 2015 ()
201410251130 ()
201446 ()

272
KWON Kyung Yup
(Korean, b.1975)
Love
2008
Oil on canvas
97x 162 cm
Signed on side Kwon Kyung Yup in Korean
2008
97 x 162 cm
컨경엽
NT$ 20,000-60,000
HK$ 5,000-16,000
US$ 700-2,100
RMB 4,000-13,000
246

273
YIN Kun
(Chinese, b. 1969)
Chinese Baby
2007
Oil on canvas
150 x 180 cm
Signed lower right Yin Kun in Chinese and dated 2007. 4
Signed on the reverse YIN Kun in Chinese, titled CHINESE BABY in
English, inscribed oil on canvas, 150 x 180 cm and dated 2007.3
2007
150 x 180 cm
2007. 4
CHINESE BABY OIL ON CANVAS
150 x 180 cm 2007. 3
NT$ 60,000-120,000
HK$ 16,000-32,000
US$ 2,100-4,100
RMB 13,000-26,000

274
HSU Yu-jen
(Taiwanese, b. 1951)
Flower
2007
Ink on paper
227.5 x 49 cm
Signed lower center HSU Yu-jen in Chinese, initialed HYJ in
English and dated 2007
NT$ 80,000-160,000
HK$ 22,000-43,000
US$ 2,800-5,500
RMB 17,000-35,000
2007
227.5 x 49 cm
HYJ 2007
248

275
LIEN Chien-hsing
(Taiwanese, b. 1962)
Path
1994
Oil on canvas
41 x 53 cm
Signed lower left LIEN Chien-hsing in Chinese and dated 1994
Signed on the reverse LIEN Chien-hsing in Chinese, titled Path in
Chinese and dated 1994
ILLUSTRATED
LIEN CHIEN-HSING, Metropolitan Art Space, 1997, color
illustrated, p. 71, no. 82
1994
41 x 53 cm
1994
1994
1997
7182
NT$ 90,000-180,000
HK$ 24,000-49,000
US$ 3,100-6,200
RMB 20,000-39,000

276
Cindy Ng Sio Ieng
(Macau, b. 1966)
Variation of Ink and Wash
Ink and color on paper
92 x 155 cm
Signed lower left Sio Ieng in Chinese
With one seal of the artist
NT$ 160,000-320,000
HK$ 43,000-86,000
US$ 5,500-11,000
RMB 35,000-69,000
92 x 155 cm
250

277
Chang-Ling
(Taiwanese, b. 1975)
Pork Belly Series – Waterside – Flower
Figure
2017
Oil on canvas
146 x 70 cm
Signed lower right Chang Ling in Chinese and dated 2017
Signed on the reverse Chang Ling, titled Pork Belly Series –
Waterside– Flower Figure in Chinese, dated 2017
2017
146 x 70 cm
2017
2017
This painting is to be sold with a certificate of authenticity
issued by In Sian Gallery
NT$ 240,000-320,000
HK$ 65,000-86,000
US$ 8,300-11,000
RMB 52,000-69,000
1996
2005
-
Chang-Ling is an artist with full of artistic soul. His studies brought
him to France in 1996, and there he quickly latched on to new
movements in contemporary art. And since returning to Taiwan in
2005, he has not let go of his intellectual pursuit and exploration
of creative freedom and subjectivity in contemporary Taiwanese
culture. In his perspective of this memory, which reflects the artist's
self, is also part of the unique creative style of his motherland,
which brings his practice back to its original inspiration: Nature.
“Pork Belly Series — Meaty Landscape” incorporates deposits from
the shores of Chang-Ling’s mind and the artist’s innovative approach
to painting, along with advancements in broader Eastern thought.
The combination creates a fantasy landscape of a distinctly Chang-
Ling-style aesthetic. We see in the work piles of meat in mountains
of different pinks and demonstrating the artist’s technical prowess
with the brush, a strip of road appears like a wisp of cloud or mist
and is as emotive as the sea. At a time when the technology of
human civilisation brings about new changes each day The meaty
landscape is not a representation of traditional landscape painting,
it is a work that means to be a call for the conservation of the earth
and present environment.
A groundbreaking work by Chang-Ling, “Waterside – Flower
Figure” not only alludes to the unforeseen wonder and allegories
of ancient mythology, it also contains in its composition a certain
textural dimension and aesthetic from the expansive landscapes
of classical Chinese painting and calligraphy. A large space on the
canvas is left blank as if to impart on viewers the notion that Chang-
Ling's painting presents a landscape of contemporary times.
252

278
CHIU Tze-yan
(Taiwanese, 1961 - 1999)
Untitled
Oil on canvas
100 x 122 cm
100 x 122 cm
NT$ 220,000-320,000
HK$ 59,000-86,000
US$ 7,600-11,000
RMB 48,000-69,000
254

279
JAN Chin-shui
(Taiwanese, b. 1953)
Glacial Lake
2006
Oil on canvas
145.5 x 120 cm
Signed lower right Chin-shui in Chinese and dated 2006
Signed on the reverse Jan Chin-shui in Chinese, titled Glacial
Lake in Chinese, inscribed 80F, and dated 2006
2006
145.5 x 120 cm
2006
80F 2006
99
This painting is to be sold with a certificate of authenticity
signed by 99 Degree ART CENTER
NT$ 300,000-400,000
HK$ 81,000-108,000
US$ 10,300-13,800
RMB 65,000-87,000

280
Max LIU
(Taiwanese, 1912 - 2002)
Panther in Malaysian Rainforest
1983
Mixed media on canvas mounted onto paper
31.5 x 43 cm
Signed lower left Liu Chi-wei in Chinese phonetic alphabet
and dated 1983 (Chinese numerals)
1983
31.5 x 43 cm
ˇ
NT$ 240,000-340,000
HK$ 65,000-92,000
US$ 8,300-11,700
RMB 52,000-74,000
256

281
Max LIU
(Taiwanese, 1912 - 2002)
Homage to Paul Klee
1988
Mixed media on canvas mounted onto paper
32 x 45.6 cm
Signed lower left Liu Chi-wei in Chinese phonetic
alphabet and dated 1988 (Chinese numerals)
NT$ 260,000-360,000
HK$ 70,000-97,000
US$ 9,000-12,400
RMB 56,000-78,000
1988
32 x 45.6 cm
ˇ
1940
Paul Klee, Death and Fire, 1940,
oil on canvas, 43 cm 43 cm,
Collection of Zentrum Paul Klee,
Bern, Switzerland

282
YEE Bon
(Chinese, 1905 - 1995)
Still Life
1950
Oil on canvas mounted onto board
25.5 x 35.5 cm
Signed lower left Yee Bon in English
With one painted seal of the artist
1950
25.5 x 35.5 cm
Yee Bon
NT$ 240,000-340,000
HK$ 65,000-92,000
US$ 8,300-11,700
RMB 52,000-74,000
258

283
Yoshio CHANG
(Taiwanese, 1914 - 2016)
Scenery, France
1995
Oil on canvas
40 x 54 cm
Signed lower left CHANG. Y. 95
ILLUSTRATED
Chang Yi hsiung at Ninety: A Retrospective, National Museum of
History, Taipei, 2004, color illustrated, p. 100
1995
40 x 54 cm
CHANG. Y. 95
902004
100
NT$ 280,000-380,000
HK$ 75,000-102,000
US$ 9,600-13,100
RMB 61,000-82,000

284
Lu Shun
(Chinese, b. 1966)
Floating Flower II
2006
Oil on canvas
100 x 80 cm
Signed lower right LU Shun in Chinese and dated 2006.4
2006
100 x 80 cm
2006.4
This painting is to be sold with a certificate of authenticity
signed by the artist and issued by My Humble House.
NT$ 260,000-360,000
HK$ 70,000-97,000
US$ 9,000-12,400
RMB 56,000-78,000
260

285
WANG Xinfeng
(Taiwanese, b. 1952)
Seascape
1986
Ink and watercolor on paper mounted onto wooden board
91 x 192 cm
Signed lower right Wang Hsin-feng and dated 1986 both in
Chinese
1986
91 x 192 cm
NT$ 320,000-420,000
HK$ 86,000-113,000
US$ 11,000-14,500
RMB 69,000-91,000

286
XIA Junna
(Chinese, b. 1971)
The World of Mortals in April I
2001
Watercolor on paper
41.9 x 29.6 cm
Signed lower right XJN in English and dated 2001
ILLUSTRATED
Paintings by Xia Junna, Chin Der Jyu Gallery, Taipei, 2002, color
illustrated, p. 119
Drawing World of Xia Junna, Liaoning Fine Art press, Shenyang,
2003, color illustrated, p. 62
2001
41.9 x 29.6 cm
XJN 2001
2002119
2003
62
This painting is to be sold with a certificate of authenticity issued
by Chin Der Jyu Gallery, Taipei.
NT$ 360,000-550,000
HK$ 97,000-148,000
US$ 12,400-18,900
RMB 78,000-119,000
262

287
XIA Junna
(Chinese, b. 1971)
New Years Concert
2002
Watercolor on paper
41.7 x 29.5 cm
Signed lower right XJN in English and dated 2002
ILLUSTRATED
Paintings by Xia Junna, Chin Der Jyu Gallery, Taipei, 2002,
color illustrated, p. 100
2002
41.7 x 29.5 cm
XJN 2002
2002100
This painting is to be sold with a certificate of authenticity
issued by Chin Der Jyu Gallery, Taipei
NT$ 360,000-550,000
HK$ 97,000-148,000
US$ 12,400-18,900
RMB 78,000-119,000

288
JAN Chin-shui
(Taiwanese, b. 1953)
Autumn Water Emerged into Vast Sky
2006
Oil on canvas
145 x 111.5 cm
Signed lower right Chin-shui in Chinese and dated 2006
Signed on the reverse Jan Chin-shui in Chinese, titled Autumn
Water Emerged into Vast Sky in Chinese, inscribed 80F, and dated
2006
2006
145 x 111.5 cm
2006
80F 2006
NT$ 400,000-500,000
HK$ 108,000-135,000
US$ 13,800-17,200
RMB 87,000-108,000
264

289
PANG Jiun
(Taiwanese, b. 1936)
Strawberry and Pineapple
1993
Oil on canvas
53 x 65 cm
Signed lower right Pang Jiun in Chinese and dated 1993
With one painted seal of the artist
1993
53 x 65 cm
1993
NT$ 460,000-550,000
HK$ 124,000-148,000
US$ 15,800-18,900
RMB 100,000-119,000

290
KUO Wei-kuo
(Taiwanese, b. 1960)
Red Curtain
2002
Oil on canvas
130 x 97 cm
Signed lower left Kuo’s in English and dated 2002.10
EXHIBITED
The Era of Contention: Contemporary Taiwanese Visual Culture,
Cornell University Herbert F. Johnson Museum of Art, Ithaca, New
York, April – August, 2004
ILLUSTRATED
Diagram of Commotion and Desire – Towards a Bright Start From
the Deep Forest, Kuo Wei–Kuo, Lin & Keng Gallery, Taipei, 2005,
color illustrated, p. 45
Wu Chia–chi, A Study of the “Diagram of Commotion and Desire”
by Kuo Wei–Kuo, (master thesis), Institute of Art Studies, NCKU,
Tainan, Taiwan, 2007, color illustrated, no. 29
2002
130 x 97 cm
Kuo's 2002.10
200448
200545
2007
29
NT$ 420,000-550,000
HK$ 113,000-148,000
US$ 14,500-18,900
RMB 91,000-119,000
266

291
CHEN Cheng Wei
(Chinese, b. 1984)
Series on the Republic of China - Bride
2016
Oil on canvas
50 x 60 cm
Signed lower right Chen Cheng Wei in Chinese and English, and
dated 2016
EXHIBITED
Young Realist Oil Painting of the Contemporary Chinese, Ningbo
Museum of Art, Zhejiang, 2018
ILLUSTRATED
Young Realist Oil Painting of the Contemporary Chinese, Ningbo
Federation of Literary and Art Circles, color illustrated, p. 18
-
2016
50 x 60 cm
2016 Chen Cheng Wei
-
2018
-
18
NT$ 420,000-550,000
HK$ 113,000-148,000
US$ 14,500-18,900
RMB 91,000-119,000

292
LIEN Chien-hsing
(Taiwanese, b. 1962)
Lane No. 1
1982
Oil on canvas
89 x 130 cm
Signed lower left LIEN Chien-hsing in Chinese and dated
1982.10.24
Inscribed on the reverse Lane No. 1 in Chinese, signed Lien Chienhsing
in Chinese and dated 1982.10.24
EXHIBITED
Lien Chien-hsing Solo Exhibition 1993, Eslite Gallery, Taipei, 1993
ILLUSTRATED
LIEN CHIEN-HSING WORKS 1976~1993, Eslite Gallery, 1993,
color illustrated, p. 101, no. 83
1982
89 x 130 cm
1982.10.24
号 198
10.24
19931993
1993101
83
NT$ 550,000-650,000
HK$ 148,000-175,000
US$ 18,900-22,400
RMB 119,000-141,000
268

293
XIA Junna
(Chinese, b. 1971)
The Wine Ode
2003
Oil on canvas
50 x 50 cm
Initialed lower center XJN and dated 2003
2003
50 x 50 cm
XJN 2003
NT$ 550,000-650,000
HK$ 148,000-175,000
US$ 18,900-22,400
RMB 119,000-141,000

294
Shinjyuko
(Japanese, b. 1968)
Yo. That’s in Blossom, Cordyceps Sinensis
(polyptych)
2006
Fusuma paper, acrylic, gouache
176 x 360 cm
Signed on the reverse Shinjuko in English and dated 2006
This painting is to be sold with a certificate of authenticity
signed by the artist.
NT$ 650,000-750,000
HK$ 175,000-202,000
US$ 22,400-25,800
RMB 141,000-163,000
2006
176 x 360 cm
2006 Shinjuko
270

295
Takato YAMAMOTO
(Japanese, b.1960)
Sacred Emergence
2013
Oil on canvas
100 x 73 cm
Initialed lower left Ty
Signed on the reverse Takato Yamamoto in English and Japanese;
titled Sacred Emergence and dated 2013
PROVENANCE
Gallery Kogure, Tokyo, Japan
2013
100 x 73 cm
TY
Sacred Emergence 2013 Takato Yamamoto
NT$ 650,000-750,000
HK$ 175,000-202,000
US$ 22,400-25,800
RMB 141,000-163,000
272

296
YOON Jongseok
(Korean, b. 1970)
Net Hanging Down the Concealed Inside -
Pattern of Dot
2008
Acrylic on canvas
97 x 162 cm
Signed on side Yoon Jongseok in English and dated 2008
2008
97 x 162 cm
Yoon Jongseok 2008
NT$ 360,000-460,000
HK$ 97,000-124,000
US$ 12,400-15,800
RMB 78,000-100,000

297
Mayuka YAMAMOTO
(Japanese, b. 1964)
Snow
2008
Oil on canvas
146 x 112 cm
Signed on the reverse Mayuka Yamamoto and titled Snow in
English, dated 2008
ILLUSTRATED
Beyond Portait, Gallery J. Chen, Taipei, 2008, color illustrated,
p. 37
2008
146 x 112 cm
Snow Mayuka Yamamoto 2008
J. Chen 2008
37
NT$ 360,000-460,000
HK$ 97,000-124,000
US$ 12,400-15,800
RMB 78,000-100,000
274

298
Ayako ROKKAKU
(Japanese, b. 1982)
Girl Wearing Yellow Dress
2008
Acrylic on canvas
116.5 x 90.5 cm
Signed on the reverse Ayako Rokkaku in Japanese and dated
2008.3
2008
116.5 x 90.5 cm
: 2008.3
NT$ 320,000-420,000
HK$ 86,000-113,000
US$ 11,000-14,500
RMB 69,000-91,000

299
Hideaki KAWASHIMA
(Japanese, b. 1969)
Reflection
2003
Acrylic on canvas
61 x 61 cm
Signed on the reverse Kawashima in Japanese, titled reflection in
English and dated 2003
2003
61 x 61 cm
"reflection" 2003
NT$ 260,000-320,000
HK$ 70,000-86,000
US$ 9,000-11,000
RMB 56,000-69,000
276

300
HAN Young Wook
(Korean, b. 1963)
Face
2009
Oil on aluminum scratch
65 x 91 cm
Signed lower right Y Wook in English and dated 2009
EXHIBITED
FACE – Han Young-Wook 2011 Solo Exhibition, Asia Art Center,
Taipei, August 20 - September 18, 2011
2009
65 x 91 cm
Y Wook 2009
– () 2011
2011820918
NT$ 260,000-360,000
HK$ 70,000-97,000
US$ 9,000-12,400
RMB 56,000-78,000

301
HUNG Yi
(Taiwanese, b. 1970)
Golden Mandarin Ducks
2016
Porcelain, edition no. 777/ 999
17.5(L) x 12.5(W) x 15(H) cm
17(L) x 11.5(W) x 14(H) cm
Signed on the bottom HUNG Yi and dated 2016
2016
777/ 999
17.5() x 12.5() x 15() cm
17() x 11.5() x 14() cm
2016
This work is accompanied with an instruction manual and a
certificate of authenticity issued by Mr. Hong Yi Art Studio
NT$ 20,000-50,000
HK$ 5,000-13,000
US$ 700-1,700
RMB 4,000-11,000
999
No.777
"Golden Mandarin Ducks" harkens back to an ancient Chinese
saying that advises one to only admire the affectionate couple,
literally the mandarin ducks, and not to admire the celestial being.
Since ancient time, mandarin ducks have symbolised romance and
happiness. Hung Yi, for whom "art is the creative force of emotion",
is an artist who demonstrates his vast and rich imagination through
his use of vibrant colour. This collection is not only limited to NO.
777 in an edition of 999, but it also includes the extremely rare,
commemorative signature of the artist.
Hung Yi is an artist at the forefront of contemporary sculpture
in Taiwan, and his work has been exhibited around the world.
Mandarin Ducks is an important piece which has been invited for
exhibition in Japan, Hong Kong, San Francisco, and at the National
Art Museum in Taichung. In recent years, the positive reception of
limited edition series has even extended to a younger generation
of people who have been inspired to collect and share it.
278

302
Chen Chun-Hao
(Taiwanese, b. 1971)
Dog in Thumbtacks (a set of 2)
2008
Thumbtacks on resin, edition no. 8/10 (Golden) ; 10/10 (Sliver)
45(L) x 20(W) x 50(H) cm (x2)
Signed Chun in Chinese and dated 2008 on right rear leg (golden)
Signed Chun in Chinese and dated 2008 on left rear leg (sliver)
This sculpture are to be sold with a certificate of authenticity issued
by VT Artsalon and signed by the artist
NT$ 60,000-90,000
HK$ 16,000-24,000
US$ 2,100-3,100
RMB 13,000-20,000
()
2008
8/10 ()
10/10 ()
45() x 20() x 50() cm (x2)
2008 ()
2008 ()
280

303
LI Kuang-yu
(Taiwanese, b. 1954)
Finger Citron
Bronze, edition no. 18/20
7(L) x 10(W) x 16.5(H) cm (finger citron)
8.5(L) x 7.7(W) x 14.8(H) cm (wood base)
Engraved on the reverse Yu in Chinese and numbered 18/20
NT$ 60,000-120,000
HK$ 16,000-32,000
US$ 2,100-4,100
RMB 13,000-26,000
18/20
7() x 10() x 16.5() cm ()
8.5() x 7.7() x 14.8() cm ()
18/20

304
Yuyu YANG (YANG Ying-feng)
(Taiwanese, 1926 - 1997)
Dragon’s Song in the Cosmic Void
1991
Stainless steel, edition no. 12/20
57(L) x 26(W) x 57(H) cm
Engraved on the base Yuyu YANG in Chinese and English,
numbered 12/20
EXHIBITED
Yuyu Yang Exhibition, Johnson & Johnson Sculpture Grounds, N.Y.
USA., 20 May - 30 September, 1995 (another cast)
Yuyu Yang, Chelsea Harbour, London, 1996 (another cast)
ILLUSTRATED
Yuyu Yang Lifescape Sculpture, Yuyu Yang Lifescape Sculpture
Museum, Taipei, 1995
Landscape Architecture - Free - Yuyu Yang, Hsiung Shih Books Pte.
Ltd., Taipei, 2004, color illustrated, p. 16
This sculpture is to be sold with a certificate of authenticity issued
by Yuyu Yang Foundation, Taipei.
1991
12/20
57() x 26() x 57() cm
Yuyu YANG Yang F, 12/20
19955201995930
Chelsea Harbor1996 ()
'951995
··2004
16
NT$ 140,000-240,000
HK$ 38,000-65,000
US$ 4,800-8,300
RMB 30,000-52,000
282

305
PENG Kuan-jun
(Taiwanese, b. 1961)
Honeyed (left); Stretch (right)
2006
Bronze, glass, granite, edition no. 22/30 (Honeyed)
Bronze, glass, granite, edition no. 17/10 (Stretch)
27(L) x 11(W) x 39(H) cm (Honeyed)
42(L) x 21(W) x 31.5(H) cm (Stretch)
Engraved on the back Kuan-jun in Chinese, numbered 22/30 and
dated 2006 (Honeyed)
Engraved on the back Kuan-jun in Chinese, numbered 17/30 and
dated 2006 (Stretch)
() ()
2006
22/30 ()
17/30 ()
27() x 11() x 39() cm ()
42() x 21() x 31.5() cm ()
2006 22/30 ()
2006 17/30 ()
()
()
This sculpture is to be sold with a certificate of authenticity signed
by the artist issued by Moon River Fine Art. (Honeyed)
This sculpture is to be sold with a certificate of authenticity signed
by the artist issued by William Art Space. (Stretch)
NT$ 220,000-320,000
HK$ 59,000-86,000
US$ 7,600-11,000
RMB 48,000-69,000

306
REN Zhe
(Chinese, b. 1983)
Majestic - Looking
2007
Bronze edition no. 3/10
30(L) x 28(W) x 60(H) cm
Engraved on the back Ren Zhe in Chinese and English, numbered
3/10
ILLUSTRATED
Ren Zhe Work Collection 2005-2008, Rong Bao Zhai, Beijing, 2009,
color illustrated, p. 82
This sculpture is to be sold with a certificate of authenticity issued
by PING Art Space
This sculpture is to be sold with a collection certificate signed by
the artist.
NT$ 260,000-360,000
HK$ 70,000-97,000
US$ 9,000-12,400
RMB 56,000-78,000
2007
3/10
30() x 28() x 60() cm
Ren Zhe 3/10
2005-20082009
82
284

307
Poren HUANG
(Taiwanese, b. 1970)
Dog’s Note - Friends
2008
Bronze, baking paint, edition no. 29/30
31(L) x 22(W) x 36(H) cm
Engraved on the back PR in English
Engraved lower back PR in English, numbered 30-29 and dated
2008
PROVENANCE
Private collection, Asia
EXHIBITED
Poren Huang, Art Taipei, Taipei, 2008 (another cast)
Poren Huang, Shanghai Art Fair, Shanghai, 2008 (another cast)
Poren Huang, Ming Art Gallery, Beijing, 2008 (another cast)
The Dog’s Note–Poren Huang Solo Exhibition, Powen Gallery,
Taipei, Sep. 16 – Oct. 5, 2014 (another cast)
The Artistic Conversation of Love Dogs, Adore Dogs, Powen
Gallery, Taipei, May 15 – Jun. 12, 2015 (another cast)
The Dog’s Note – Poren Huang Solo Exhibition, Williamsburg Art &
Historical Center, New York, Nov. 7 – Dec. 6, 2015 (another cast)
The Dog’s Note – Poren Huang Solo Exhibition, Shin Kong
Mitsukoshi, Taipei, Jan. 5 – Mar. 2, 2015 (another cast)
ILLUSTRATED
The Dog’s Notes, Powen Gallery Co., Ltd., Taipei, 2014, color
illustrated, p. 14 & pp. 88-97 (another cast)
Return To Innocence – The Dog’s Notes by Poren Huang, Artco
Magazine, Taipei, January 2015, issue no. 268, color illustrated,
p.88 (another cast)
Taiwanese Artist Being Active On The International Stage – Poren
Huang and The Dog’s Notes, Art. Investment, Taipei, November
2015, issue no. 97, color illustrated, p. 57
Bright Star overseas – Poren Huang, Art. Investment, Taipei,
January 2016, issue no. 99, color illustrated, p. 94 (another cast)
Marching Forward Alongside Eagle With Head Held High, Artco
Magazine, Taipei, November 2016, issue no. 290,
color illustrated, p.108
This sculpture is to be sold with a certificate of authenticity signed
by the artist.
2008
29/30
31() x 22() x 36() cm
PR
2008.30- 29. PR
2008 (
)
2008 (
)
2008 ()
2014515612(
)
2014916105()
WAH
2015117126()
20181532()
20141488-97 ()
–
20151, 26888 ()
–
2015119757
2016
19994 ()
EAGLE
201611108 ()
NT$ 260,000-360,000
HK$ 70,000-97,000
US$ 9,000-12,400
RMB 56,000-78,000
286

308
Poren HUANG
(Taiwanese, b. 1970)
Hold You Dear
2006
Bronze, baking paint, edition no. 10/12
24(L) x 26(W) x 62(H) cm
Engraved PR in English, numbered 12-10 and dated 2006
PROVENANCE
Private collection, Asia
EXHIBITED
The Dog’s Notes – Poren Huang Solo Exhibition, Williamsburg Art
& Historical Center, New York, November 7 – December 6, 2015
(another cast)
The Dog’s Notes – Poren Huang Solo Exhibition, Offline Gallery,
New York, December 10 – January 17, 2016 (another cast)
The Dog’s Notes – Poren Huang Solo Exhibition, aquabitArt
Gallery, Berlin, February 4 – 28, 2016 (another cast)
ILLUSTRATED
The Dog’s Notes, Powen Gallery Co. Ltd., Taipei, 2014, color
illustrated, p. 13 (another cast)
Taiwanese Artist Being Active On The International Stage – Poren
Huang and The Dog’s Notes , Art. Investment, Taipei, November
2015, issue no. 97, color illustrated, p. 152 (another cast)
2006
10/12
24() x 26() x 62() cm
10-12 2006. PR
WAH
2015117126 ()
2016 Offline Gallery
201512102016117 ()
aquabitArt
201624228 ()
201413 ()
–
20151197
152 ()
This sculpture is to be sold with a certificate of authenticity signed
by the artist.
NT$ 460,000-650,000
HK$ 124,000-175,000
US$ 15,800-22,400
RMB 100,000-141,000
288

309
CHEN Ting-shih
(Taiwanese, 1916 - 2002)
Untitled
2001
Iron
29(L) x 22(W) x 67(H) cm
Signed C.T.S on the base and dated 2001
NT$ 360,000-460,000
HK$ 97,000-124,000
US$ 12,400-15,800
RMB 78,000-100,000
2001
29() x 22() x 67() cm
C.T.S 2001
290

310
JU Ming
(Taiwanese, b. 1938)
Buffalo
1981
Bronze, edition no. 19/20
16.3(L) x 10.7(W) x 20.5(H) cm
Engraved on the back Ju Ming in Chinese 19/20 and dated 81
This work is to be sold with acertificate of authenticity issued
by Juming Culture & Education Foundation
1981
19/20
16.3() x 10.7() x 20.5() cm
19/20 '81
-
NT$ 220,000-320,000
HK$ 59,000-86,000
US$ 7,600-11,000
RMB 48,000-69,000
292

311
JU Ming
(Taiwanese, b. 1938)
Taichi Series – Single Whip
Unsaturated polyester resin, calcium carbonate, oil color
paste, edition no. 204/300
28.5(L) x 14.4(W) x 18.2(H) cm
Numbered on the bottom 204/300
204/300
28.5() x 14.4() x 18.2() cm
204/300
This sculpture is to be sold with a certificate of limited
reproduction issued by Ju Ming Museum Taipei
NT$ 110,000-220,000
HK$ 30,000-59,000
US$ 3,800-7,600
RMB 24,000-48,000

給 予 買 家 的 重 要 通 知
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2. 競 投 保 證 金 : 新 台 幣 陸 拾 萬 元 或 貳 萬 美 金 。
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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 )
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2018 年 5 月 30 日 以 前 完 成 匯 款 至 本 公 司 指 定 帳 號 。
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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 。
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(c) 若 買 家 無 正 當 理 由 未 於 成 功 拍 賣 日 期 後 七 天 內 支 付 全 部 應 支 付 之 款 項 ( 包 含 落 槌 價 、 服 務 費 及 其 他 費 用 ) 予 本 公 司 , 買 家 不 得 請
求 返 還 競 投 保 證 金 。
(2) 未 成 交 : 若 競 投 者 未 能 購 得 拍 賣 品 且 對 本 公 司 無 任 何 欠 款 則 將 無 息 退 還 保 證 金 。 競 投 保 證 金 以 「 匯 款 」 方 式 完 成 者 , 本 公 司 將 於 拍 賣 日
後 十 四 個 工 作 天 內 以 匯 款 方 式 退 還 給 買 家 。 競 投 保 證 金 以 「 現 金 」 方 式 完 成 者 , 本 公 司 將 於 拍 賣 當 日 以 現 金 退 還 給 買 家 。
9. 若 成 功 得 標 買 方 欲 現 場 取 貨 , 買 方 之 應 付 款 項 ( 落 槌 價 與 佣 金 ) 金 額 超 過 競 投 保 證 金 金 額 時 , 買 方 得 以 下 列 方 式 結 清 帳 款 :
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諮 詢
台 北 黃 詩 涵 stellahuang@ravenel.com +886 2 2708 9868 ext. 977

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 30th May 2018, 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 (NTD) or 001-234830-061 (USD)
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 30th May 2018, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 31th
May to 1st, Jun 2018). Acceptance will cease on 1st Jun by 6 pm (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 30th May 2018.
6. If the bidding deposit has been transferred prior to 30th May 2018, 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.
Contact Person
TAIPEI Stella Huang stellahuang@ravenel.com +886 2 2708 9868 ext. 977

委 託 競 投 表 格
委 託 競 投 表 格 須 於 拍 賣 24 小 時 前 送 抵 藝 術 部 。 競 投 表 格 可 傳 真 至 :
藝 術 部
電 話 :+886-2-2708 9868
傳 真 :+886-2-2701 3306
投 標 者 資 料
客 戶 編 號 ( 如 有 )
姓 名
身 份 證 字 號
地 址
拍 賣 名 稱 : 羅 芙 奧 台 北 2018 春 季 拍 賣 會
亞 洲 現 代 與 當 代 藝 術
拍 賣 編 號 :TA1802
台 北 拍 賣 日 期 :
2018 年 6 月 3 日 ( 星 期 日 ) 下 午 2:00
台 北 萬 豪 酒 店
台 北 市 中 山 區 樂 群 二 路 199 號 3 樓 ( 博 覽 廳 )
郵 碼
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( 辦 公 室 )
傳 真
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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 規 則 第 二 條 第 4 項 之
規 定 。(4a. 買 家 支 付 每 件 拍 品 之 服 務 費 率 :(1) 買 家 除 支 付 落 槌 價 外 , 另 須 支 付 服 務 費 予 本 公 司 , 落 槌 價 於 新 台 幣 參 仟 貳 佰 萬 元 以 下 者 含 參
仟 貳 佰 萬 元 以 20% 計 算 ;(2) 落 槌 價 於 新 台 幣 參 仟 貳 佰 萬 元 以 上 者 分 為 二 級 , 其 中 新 台 幣 參 仟 貳 佰 萬 元 以 20% 計 算 , 超 過 新 台 幣 參 仟 貳 佰 萬 元
之 部 份 以 12% 計 算 。)
本 競 投 , 本 人 同 意 並 遵 守 本 目 錄 所 載 所 有 業 務 規 則 ( 特 別 是 有 限 保 證 、 不 負 其 他 瑕 疵 擔 保 等 規 定 )。
請 用 正 楷 填 寫 清 楚
拍 賣 品 編 號
( 按 數 字 順 序 ) 名 稱
競 投 價 ( 新 台 幣 )
( 服 務 費 不 計 在 內 )
為 確 保 所 有 投 標 均 得 以 接 受 及 拍 賣 品 之 送 交 不 延 誤 , 有 意 買 家 應 向 羅 芙 奧 提 供 往 來 銀 行 或 其 他 適 當 之 參 考 資 料 , 並 予 以 授 權 羅 芙 奧 得 向 銀 行 查
證 。 該 等 資 料 應 及 時 提 供 , 以 便 在 拍 賣 前 著 手 處 理 。
銀 行 證 明
銀 行 名 稱
銀 行 地 址
銀 行 帳 戶 名 稱
銀 行 帳 號
銀 行 聯 絡 者
銀 行 電 話
羅 芙 奧 股 份 有 限 公 司 台 北 市 106 敦 化 南 路 二 段 76 號 15 樓 之 2
15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan
Tel : +886 2 2708 9868 Fax : +886 2 2701 3306
ravenel.com
ravenelart.com.cn

ABSENTEE BID FORM
The absentee bid forms must be delivered to the Art Department at least
24 hours before the auction begins. The bid forms may be faxed to:
Art Department
Tel: +886 2 2708 9868
Fax: +886 2 2701 3306
Bidder’s Details
Name
ID number
Address
Auction RAVENEL SPRING AUCTION 2018 TAIPEI
Modern and Contemporary Asian Art
Sale Number TA1802
Date Sunday, June 3, 2018, 2:00pm
Location
Address
Marriott Taipei
Grand Space, 3F, No. 199, Lequn 2 nd Road,
ZhongShan Dist., Taipei, Taiwan
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. 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 Agreement to the Buyer. (4a. The
service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the buyer's premium to the Company. For hammer
price below NT$ 32,000,000 (inclusive), the buyer's premium should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$
32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.)
The bid shall be subject 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)
Title
Bid price (NT$)
(excluding service fee)
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
Account number
Contact of the bank
Tel. No.
Ravenel Ltd.
15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan
Tel: +886 2 2708 9868 Fax: +886 2 2701 3306
ravenel.com
ravenelart.com.cn

業 務 規 則
下 述 規 則 , 為 羅 芙 奧 股 份 有 限 公 司 ( 下 稱 「 本 公 司 」) 與 賣 家 訂 立 合 約 , 亦
作 為 賣 家 之 代 理 人 與 買 家 訂 立 合 約 之 條 款 。 準 買 家 、 買 家 及 賣 家 務 須 細 讀
各 項 規 則 並 完 全 同 意 遵 守 本 業 務 規 則 。 準 買 家 、 買 家 請 特 別 留 意 第 二 條 第 5
項 , 其 對 本 公 司 之 法 律 責 任 作 了 限 定 。
一 、 本 業 務 規 則 所 用 詞 彙 之 定 義
在 下 列 規 定 中 , 某 些 常 用 詞 彙 需 加 以 解 釋 。 此 等 詞 彙 定 義 如 下 :
1. 「 買 家 」: 指 本 公 司 所 接 受 之 出 價 最 高 之 自 然 人 或 法 人 。
2. 「 準 買 家 」: 指 任 何 有 意 參 加 本 公 司 舉 辦 拍 賣 之 任 何 自 然 人 或 法 人 。
3. 「 賣 家 」: 指 將 拍 賣 品 獨 家 委 託 本 公 司 於 本 公 司 舉 辦 之 拍 賣 會 參 與 拍 賣
之 自 然 人 或 法 人 。
4. 「 拍 賣 品 」: 指 交 予 本 公 司 以 供 拍 賣 出 售 之 物 品 , 尤 其 在 任 何 目 錄 內 以
任 何 編 號 描 述 之 一 項 或 多 項 物 品 。
5. 「 落 槌 價 」: 指 本 公 司 就 某 一 拍 賣 品 而 接 受 之 最 高 出 價 之 價 款 。
6. 「 買 家 服 務 費 」: 指 買 家 按 落 槌 價 之 某 一 百 分 比 而 支 付 本 公 司 之 費 用 ;
收 費 率 如 第 二 條 第 4a 項 所 列 。
7. 「 底 價 」: 指 本 公 司 與 賣 家 協 定 之 最 低 價 格 , 拍 賣 品 不 能 以 低 於 該 價 之
價 格 售 出 。
8. 「 膺 品 」: 指 拍 賣 品 構 成 模 仿 , 而 模 仿 之 原 構 想 及 其 整 體 執 行 均 具 有 欺
詐 意 圖 , 以 就 拍 賣 品 之 作 者 、 來 歷 、 年 代 、 時 期 、 文 化 或 來 源 進 行 欺
騙 , 而 對 此 等 事 項 之 正 確 描 述 並 未 在 目 錄 之 描 述 上 反 映 出 來 , 而 拍 賣 品
在 拍 賣 當 日 之 價 值 , 遠 低 於 按 照 目 錄 之 描 述 所 應 有 之 價 值 。 按 此 定 義 ,
任 何 拍 賣 品 均 不 會 因 為 有 任 何 損 壞 及 / 或 任 何 形 式 之 修 整 ( 包 括 重 新 上
漆 ) 而 成 為 膺 品 。
9. 「 保 險 值 」: 指 本 公 司 不 時 按 其 絕 對 決 定 權 認 為 拍 賣 品 所 應 購 買 之 保 險
之 價 值 ( 不 論 保 險 是 否 由 本 公 司 安 排 購 買 )。
10. 「 賣 家 服 務 費 」: 指 賣 家 應 支 付 本 公 司 之 費 用 。
二 、 買 家
1. 本 公 司 作 為 賣 家 代 理 人
本 公 司 作 為 賣 家 代 理 人 之 身 分 行 事 。 除 另 行 協 定 外 , 在 本 公 司 之 拍 賣 中
成 功 拍 賣 之 物 品 , 即 產 生 賣 家 通 過 本 公 司 之 代 理 與 買 家 達 成 之 合 約 。
2. 拍 賣 前
a. 鑑 定 物 品
本 公 司 鄭 重 建 議 , 準 買 家 應 於 拍 賣 進 行 之 前 親 自 鑑 定 其 有 興 趣 競 投 之
物 品 。 本 公 司 就 任 何 拍 賣 品 及 相 關 證 明 文 件 之 真 偽 , 均 不 對 買 家 作 任
何 保 證 。
b. 拍 賣 品 狀 況 之 重 要 注 意 事 項
請 準 買 家 注 意 , 在 可 能 的 範 圍 內 , 目 錄 中 對 於 拍 賣 品 特 性 上 之 描 述 ,
皆 已 提 及 顯 著 的 損 壞 , 惟 不 包 括 所 有 的 缺 陷 、 瑕 疪 與 不 完 整 。 對 任 何
拍 賣 品 之 描 述 亦 不 應 視 作 表 示 其 無 經 過 重 整 或 修 理 , 亦 不 應 視 作 對 拍
賣 品 狀 態 或 保 存 情 況 的 陳 述 或 保 證 。 在 目 錄 中 若 有 狀 態 陳 述 的 缺 乏 或
損 害 鑑 定 的 缺 乏 , 並 不 代 表 拍 賣 品 是 為 良 好 狀 態 。 本 公 司 鄭 重 建 議 ,
準 買 家 在 拍 賣 進 行 之 前 , 對 於 有 興 趣 競 投 之 拍 賣 品 狀 況 應 經 由 親 自 檢
閱 , 不 應 依 據 目 錄 中 的 描 述 或 陳 述 , 因 為 任 何 在 目 錄 中 所 列 出 的 描 述
或 陳 述 是 為 純 粹 本 公 司 的 主 觀 意 見 , 並 非 提 供 聲 明 或 擔 保 。 準 買 家 知
悉 並 瞭 解 所 有 拍 賣 品 均 以 「 現 狀 」 售 出 , 本 公 司 對 於 任 何 拍 出 之 拍 賣
品 狀 態 不 作 任 何 承 諾 或 保 證 。
c. 符 號 表 示
以 下 為 本 目 錄 所 載 符 號 之 說 明
o 保 證 項 目
拍 賣 品 編 號 旁 註 有 o 符 號 者 , 表 示 賣 家 已 取 得 本 公 司 保 證 , 可 在 一 次
或 一 連 串 拍 賣 中 得 到 最 低 出 售 價 格 。 此 保 證 可 由 本 公 司 、 第 三 方 或 由
本 公 司 與 第 三 方 共 同 提 供 。 保 證 可 為 由 第 三 方 提 供 之 不 可 撤 銷 競 投 之
形 式 做 出 。 若 保 證 拍 賣 品 成 功 售 出 , 提 供 或 參 與 提 供 保 證 之 第 三 方 可
能 會 取 得 財 務 利 益 ; 惟 銷 售 不 成 功 時 , 則 可 能 會 產 生 虧 損 。 若 提 供 或
參 與 保 證 之 第 三 方 成 功 競 投 保 證 拍 賣 品 時 , 他 們 仍 需 支 付 全 額 的 買 家
服 務 費 。
d. 目 錄 說 明
本 公 司 於 目 錄 或 鑑 定 意 見 書 內 對 任 何 拍 賣 品 及 其 證 書 之 作 者 、 來 歷 、
日 期 、 年 代 、 尺 寸 、 材 質 、 歸 屬 、 真 實 性 、 出 處 、 保 存 狀 況 或 估 計 售
價 之 陳 述 , 或 另 行 對 此 等 方 面 之 口 頭 或 書 面 陳 述 , 均 僅 屬 意 見 之 陳
述 , 不 應 依 據 為 確 實 事 實 之 陳 述 。 目 錄 圖 示 亦 僅 作 為 指 引 而 已 , 不 應
作 為 任 何 拍 賣 項 目 之 依 據 , 藉 以 決 定 其 顏 色 或 色 調 , 或 揭 示 其 缺 陷 。
拍 賣 價 格 之 估 計 , 不 應 依 據 為 拍 賣 品 會 成 功 拍 賣 之 價 格 或 拍 賣 品 作
其 他 用 途 之 價 值 陳 述 。
許 多 拍 賣 品 基 於 其 年 代 或 性 質 , 使 其 未 能 有 完 美 之 狀 況 , 目 錄 內 有
些 說 明 或 鑑 定 意 見 書 會 提 述 拍 賣 品 之 損 壞 及 / 或 修 整 資 料 。 此 等 資
料 僅 作 為 指 引 而 已 , 如 未 有 提 述 此 等 資 料 , 亦 不 表 示 拍 賣 品 並 無 缺
陷 或 修 整 , 如 已 提 述 特 定 缺 陷 , 亦 不 表 示 並 無 其 他 缺 陷 。
e. 買 家 之 責 任
有 關 拍 賣 品 之 狀 況 以 及 目 錄 說 明 所 提 述 之 事 項 , 買 家 有 責 任 自 行 查
明 並 瞭 解 , 並 就 拍 賣 品 為 自 己 獨 立 之 判 斷 及 評 估 , 並 確 使 自 己 感 到
滿 意 。
3. 拍 賣 時
a. 估 價
目 錄 內 及 拍 賣 當 日 所 提 供 之 美 金 等 貨 幣 估 價 , 僅 為 參 考 依 據 。 本 拍
賣 會 須 以 新 台 幣 結 算 , 買 家 如 須 以 新 台 幣 之 外 其 他 貨 幣 繳 付 , 須 依
拍 賣 日 現 場 公 佈 之 匯 率 , 折 合 所 繳 付 之 等 值 貨 幣 計 算 。
b. 拒 絕 入 場
拍 賣 於 本 公 司 之 場 地 進 行 , 或 於 本 公 司 為 拍 賣 而 具 有 控 制 權 之 場 地
進 行 , 本 公 司 具 有 完 全 之 決 定 權 , 可 行 使 權 利 拒 絕 任 何 人 進 入 拍 賣
場 地 或 參 與 拍 賣 。
c. 競 投 之 前 作 出 登 記
每 一 準 買 家 在 作 出 競 投 之 前 , 必 須 填 妥 及 簽 署 登 記 表 格 , 並 提 供 身
分 證 明 。 準 買 家 應 注 意 , 本 公 司 通 常 會 要 求 對 買 家 作 出 信 用 核 查 。
d. 競 投 保 證 金
競 投 者 , 應 在 領 取 競 投 號 牌 前 繳 納 競 投 保 證 金 , 競 投 保 證 金 的 金 額
由 本 公 司 在 拍 賣 日 前 公 佈 。
(1) 若 競 投 者 未 支 付 競 投 保 證 金 , 本 公 司 有 權 不 接 受 其 競 投 。 若 競
投 者 未 能 購 得 拍 賣 品 且 對 本 公 司 無 任 何 欠 款 則 將 無 息 退 還 保 證
金 。
(2) 若 競 投 者 成 為 買 家 , 則 本 公 司 有 權 將 此 保 證 金 自 動 轉 化 為 已 成
交 拍 賣 品 購 買 款 項 之 一 部 ( 包 含 落 槌 價 、 服 務 費 或 運 費 等 相 關
費 用 ), 若 尚 有 餘 款 須 退 回 給 買 家 ; 若 買 家 無 正 當 理 由 未 於 成
功 拍 賣 日 期 後 七 天 內 支 付 全 部 應 支 付 之 成 交 拍 賣 品 購 買 款 項
( 包 含 落 槌 價 、 服 務 費 或 運 費 等 相 關 費 用 ) 予 本 公 司 , 買 家 不
得 請 求 返 還 競 投 保 證 金 。
e. 競 投 者 為 買 家
競 投 者 將 被 視 為 買 家 而 須 承 擔 個 人 法 律 責 任 , 除 非 登 記 時 已 經 與 本
公 司 書 面 協 定 , 競 投 者 僅 為 第 三 人 之 代 理 人 , 且 該 第 三 人 復 為 本 公
司 所 接 受 者 。
f. 委 託 競 投
如 準 買 家 使 用 印 於 目 錄 說 明 之 後 之 表 格 指 示 本 公 司 代 其 競 投 , 本 公
司 將 盡 適 當 努 力 代 其 競 投 , 但 代 為 競 投 指 示 須 於 拍 賣 前 送 抵 本 公
司 。 如 本 公 司 就 某 一 拍 賣 品 而 收 到 多 個 委 託 競 投 之 相 等 競 投 價 , 而
在 拍 賣 時 此 等 競 投 價 乃 該 拍 賣 品 之 最 高 競 投 價 , 則 該 拍 賣 品 會 歸 其
委 託 競 投 最 先 送 抵 本 公 司 之 人 。 委 託 競 投 之 承 擔 受 拍 賣 時 之 其 他 承
諾 所 限 , 而 拍 賣 進 行 之 情 況 可 能 使 本 公 司 無 法 代 為 競 投 。 由 於 此 項
承 擔 乃 本 公 司 為 準 買 家 按 所 述 條 款 提 供 之 免 費 服 務 , 如 未 能 按 委 託
作 出 競 投 , 本 公 司 將 不 負 任 何 法 律 責 任 。 準 買 家 如 希 望 確 保 競 投 成
功 , 應 親 自 出 席 競 投 。
g. 電 話 競 投
如 準 買 家 於 拍 賣 前 與 本 公 司 作 好 安 排 , 本 公 司 將 盡 適 當 努 力 聯 絡 競
投 者 , 使 其 能 以 電 話 參 與 競 投 , 但 在 任 何 情 況 下 , 如 未 能 聯 絡 或 無
法 參 加 電 話 競 投 , 本 公 司 對 賣 家 或 任 何 準 買 家 均 不 負 任 何 責 任 。
h. 透 過 Invaluable 進 行 網 上 競 投
若 準 買 家 未 能 出 席 拍 賣 會 , 或 可 透 過 Invaluable 網 上 競 投 服 務 於 網 上
競 投 屬 意 拍 品 , 而 承 擔 買 家 獨 立 責 任 。 此 項 服 務 乃 免 費 及 保 密 。 有
關 透 過 Invaluable 網 上 競 投 服 務 登 記 , 進 行 網 上 競 投 之 詳 情 , 請 參 閱
本 公 司 網 頁 ravenel.com。 使 用 Invaluable 網 上 競 投 服 務 之 準 買 家 須 接
受 透 過 Invaluable 網 上 競 投 服 務 進 行 即 時 網 上 競 投 之 附 加 條 款 ( 可 參
閱 網 站 ), 以 及 適 用 於 該 拍 賣 之 業 務 規 則 所 規 範 , 本 公 司 得 隨 時 修
改 該 業 務 規 則 。
i. 匯 率 轉 換 顯 示 板
拍 賣 會 中 , 本 公 司 會 使 用 匯 率 轉 換 顯 示 板 。 匯 率 轉 換 顯 示 板 僅 供 參
考 , 不 論 是 顯 示 板 所 示 之 拍 賣 品 編 號 或 是 新 台 幣 競 投 價 之 相 等 外
匯 , 其 準 確 程 度 均 可 能 會 出 現 非 本 公 司 所 能 控 制 之 誤 差 。 買 家 因 依
賴 匯 率 轉 換 顯 示 板 ( 而 非 因 以 新 台 幣 競 投 ) 所 導 致 而 蒙 受 之 任 何 損
失 , 本 公 司 概 不 負 責 。
299

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)
20
(2)
20
12
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 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 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
300

Transaction Agreement
The following provisions are entered into by and between Ravenel Ltd., as the
auctioneer, (hereinafter referred to as the “Company”),and the Seller (hereinafter
referred to as the “Seller”). This Agreement is also entered into by and between
the Company as the agent of the Seller and the Buyer (hereinafter the “Buyer”).
The Prospective Buyer, the Buyer and the Seller must carefully review and completely
agree all provisions hereunder and any revisions from time to time. The
Prospective Buyer, the Buyer should pay special attention to Article 2, Section 5
which provides limitations as to the legal responsibilities of the Company.
ARTICLE 1.DEFINITION
Some of the phrases commonly seen herein are defined as follows:
1. “The Buyer” shall mean highest bidder accepted by the Company.
2. “The Prospective Buyer” shall mean any potential bidder willing to attend
the auction sale hosted by the Company.
3. “The Seller” shall mean the Seller who provides the Lot and agrees to appoint
the Company as its exclusive agent to sell the Lot at the Auction and
participate, and cooperate, in exhibitions prior to the Auction if so required
by the Company.
4. “The Lot” shall mean the item delivered to the Company to be sold in an
auction, especially the single or multiple pieces of items numbered in the
catalogue.
5. “Hammer price” shall mean the highest bid with respect to one particular
Lot accepted by the auctioning party.
6. The “ Buyer’s Premium” shall mean the fee based on a certain percentage
of the Hammer price paid to the Company by the Buyer; the percentage
shall be as prescribed in Article 2, Section 4a.
7. “The Reserve Price” shall mean the lowest price agreed by the Company
and Seller. The Lot cannot be sold at a price lower than such price.
8. “Counterfeit” shall mean the Lot constitutes imitation and the original concept
of the imitation and its overall execution result in fraud to cause deception
in connection with the author, history, year, age, culture or origin of the
Lot, for which the accurate description is not reflected in the catalogue and
the value of the Lot on the auction day is far less than the value it should
have according to the description in the catalogue. Therefore, no auction
item will become a counterfeit as a result of any damage and/or any repairing
in any manner (including repaints).
9. “Insured amount” shall mean the value of the insurance purchased for the
Lot which the Company considers necessary under its absolute power from
time to time (regardless whether such insurance is purchased by the Company).
10. The “Seller Service Fee” shall mean the fee is paid to the Company by the
Seller.
ARTICLE 2.THE BUYER
1. The Company as the Agent of the Seller
The Company, shall act as the agent of the Seller. Except otherwise provided,
items successfully sold in the auction held by the Company shall
be bound by the agreement made by and between the Seller, through the
agency of the Company, and the Buyer.
2. Prior to the Auction
a. Authentication
We strongly recommend that the Prospective Buyers conduct their own
authentication for the items they are interested in bidding prior to the
auction. The Company provides no guarantee to the Buyer including but
without limitations whether the Lot is a counterfeit or the authentication
of the Lot and related certificates.
b. Important Notice
Attention, the Prospective Buyers: As far as possible, the descriptions of
auction items will mention obvious defects of the items; however, they
do not necessarily include all flaws, defects, or incomplete aspects. The
description of the auction items also do not imply and guarantee that the
items have not gone through readjustment or repair or allude anything
about the current state or storage conditions of the items. Any omission in
the catalogue description regarding the current condition or the appraisal
of defects in the items by no means represent that those items are in good
condition, function normally. We strongly recommend the Prospective
Buyers shall personally view the items for which they plan to bid before
the auction. Any description in the catalogue or any statement provided
by the Company is purely the Company’s subjective opinion and not a
statement of fact, not for representations or warranties. The Prospective
Buyer completely understands and acknowledges that all of the items
on auction are being sold in “as is” condition. The Company does not
provide any representation or guarantee as to the condition of any of the
items.
c. Symbol Key
The following key explains the symbol you may see inside this catalogue.
○ Guaranteed Property
The Seller of the Lots with this symbol next to the Lot number has been
guaranteed a minimum price from one auction or a series of auctions.
This guarantee may be provided by the Company, by a third party or
jointly by the Company and a third party. A guarantee may be in the form
of an irrevocable bid provided by a third party. Third parties providing or
participating in a guarantee may benefit financially if a guaranteed Lot is
sold successfully and may incur a loss if the sale is not successful. If third
parties providing or participating in a guarantee is the successful bidder
for the guaranteed Lot, they should be required to pay the full Buyer’s
Premium.
d. Catalogue Explanations
Any statement of the author, history, date, year, size, material, ownership,
authenticity, origin, condition of preservation or estimated selling
price of any of the Lot and certificates thereof shown in the catalogue or
the authentication opinion made by the Company, or any other verbal or
written statements made separately shall be solely statements of opinions
and shall not be deemed the basis for the statements of actual fact. The
photographs shown in the catalogue shall serve as reference only and
shall not 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
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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
fine 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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