Ravenel Spring Auction 2010 Taipei 羅芙奧台北2010春季拍賣會

SPRING AUCTION 2010 TAIPEI
2010
RAVENEL SPRING AUCTION 2010 TAIPEI

Modern and Contemporary Asian Art
AUCTION

201066 2:30 7:30 Sunday, June 6, 2010, 2:30pm 7:30pm
Fubon National Conference Center
108B2 B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan

PREVIEWS

Taichung
201058 59 1:00 7:00 Saturday, May 8 Sunday, May 9, 2010, 1:00pm 7:00pm
GSR Gallery
831 1F, No. 83, Gong Zheng Road, Taichung, Taiwan
Hong Kong
20105291:30 7:00 Saturday, May 29, 2010, 1:30pm 7:00pm
530 10:00 7:00 Sunday, May 30, 2010, 10:00am 7:00pm
Grand Hyatt Hong Kong Grand Ballroom
1 1 Harbour Road, Wanchai, Hong Kong

Taipei
201064 65 10:00 7:00 Friday, June 4 Saturday, June 5, 2010, 10:00am 7:00pm
Fubon National Conference Center
108B2 B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan
MODERN & CONTEMPORARY ART
NT$2,000
This auction catalogue: NT$2,000 per copy
2
2010

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3
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4
/ Contents / Index
2 A
Sale Information Yoshitaka AMANO 240
B
Gabriel BARREDO 221
3
C
Ravenel Services Chang-Ling 118, 166
George CHANN 175
CHAO Chung-hsiang 127, 138
5
CHEN Liu 194, 210
Index CHIU Ya-tsai 167
CHU Teh-chun 143, 180
CHUANG Che 105, 123, 129, 164, 174
7 CUI Xiuwen 231
Modern and Contemporary Asian Art D
DAI Ze 156
252 E
Koichi ENOMOTO 115
Artist Biographies
F
285 Alixe FU 154
Absentee Bid Form G

Yun GEE 145
H
287
Ai HAIBAR 222
Transaction Agreement HONG Ling 214
HOU Chun-ming 198
HSIAO Chin 158, 168
HSIAO Ju-sung 135
HSU Tang-wei 110, 112
HUANG Gang 206, 211, 219
HUNG Yi 188, 199
HWANG Jyi 170
Michell HWANG 125, 157
J
JAN Chin-shui 119, 163
JI Yong Ho 223
JIA Gang 193
JIANG Shuo 202
JIAO Xingtao 200
JU Ming 152, 153, 183, 184, 185
K
Tetsutaro KAMATANI 239
KIM Byung Jin 224, 226
KIM Nam Pyo 227
KIM Tschang-yeul 230
Masao KINOSHITA 220
Hiroshi KOBAYASHI 241, 247
J. C. KUO 162
Yayoi KUSAMA 244, 248
KWON Ki Soo 225, 228
L
LEE Jae-hyo 205
LEE Seung Min 236
LI Chen 140, 141
LI Jisen 215
5
/ Index
L Tzu-chi YEH 121, 126, 131

YIN Qi 216
LI Shih-chiao 136
YOON Jongseok 229
LIANG Ping-cheng 187, 189
YU Shenghao 190
LIAO Chi-chun 146, 182
LIEN Chien-hsing 108, 122, 130 Z
LIN Fangmian 142, 178, 179 ZAO Wou-ki 144, 147, 150, 151
LIN Ju 169 ZHANG Xiaotao 213
LIU Baomin 212 ZHOU Chunya 176, 177, 201, 217, 218
LIU Kuo-sung 159
M
Hiroyuki MATSUURA 245
MIAO Jingchang 134
MIAO Xiaochun 232
N
Yoshitomo NARA 250
Mika NINAGAWA 233
Chiharu NISHIZAWA 238
Q
QIN Xuanfu 160, 165
QIU Xiaofei 197
R
Ayako ROKKAKU 235, 237
S
Rieko SAKURAI 246
SANYU 104, 149
Shinjyuko 242
SHIY De-jinn 102, 128
SU Wong-shen 132, 133
SUN Lisha 195
Ryoji SUZUKI 109, 111, 113
SZETO Keung 234
T
TAI Hoi Ying 106, 107
Madoka TAKAGI 249
TU Hongtao 192
W
WANG Huaiqing 148
WANG Kun 196
Satoshi WATANABE 114
John WAY 117
WU Bu Yun 155
WU Hao 116
WU Tien-chang 172
X
XIONG Yu 209
XUE Song 191
Y
Mayuka YAMAMOTO 243
YANG Chihung 120, 171
YANG Din 101, 207, 208
YANG Mao-lin 124, 203
YANG Ren-ming 173
YANG San-lang 137, 139,161, 181
Yuyu YANG 186, 204
YEH Chung-ching 103
6
101
YANG Din
(Chinese, b. 1958)
Wine Glasses
1993
Oil on canvas
46.5 x 38.5 cm
Signed lower right Yang Din in English
Signed on the reverse Yang Din in English and
dated 1993 VI in English 1993

NT$ 70,000-90,000 46.5 x 38.5 cm
US$ 2,200-2,800 Yang Din
HK$ 17,000-21,000 Yang Din 1993 VI
102
SHIY De-jinn
(Taiwanese, 1923-1981)
A Female Portrait
1969
Fineliner on paper
25 x 34 cm
Signed lower left Shiy De-jinn
in Chinese and dated 69
NT$ 70,000-100,000
US$ 2,200-3,100
HK$ 17,000-24,000
1969

25 x 34 cm
69
8
103
YEH Chung-ching
(Taiwanese, b. 1945)
Tracks of the Years
1999
Oil on canvas
65 x 53 cm
Signed Chung-ching in Chinese and dated 1999
1999
NT$ 90,000-160,000
US$ 2,800-5,000 65 x 53 cm
HK$ 21,000-38,000 1999
104
SANYU
(CHANG Yu)
(Chinese-French, 1901-1966)
Nudes (A set of 2)
1932
Lithograph print on paper
12 x 21 cm (upper); 20.5 x 13 cm (lower)
Signed lower right SANYU in French in pencil and marked
lower left Epreuvre d'essai (upper)
Signed lower left Yu in Chinese and SANYU in French in
pencil, numbered lower right 1/10 (lower)
Inscription lower right: A mon cher Johan, Ton Yu, Paris
mai 1932
PROVENANCE:
Collection of Johan Franco, Holland (acquired directly
from the artist in 1932)
Sotheby's sale, Taipei, Oct. 15, 1995, lot 3
NT$ 100,000-200,000
US$ 3,100-6,300
HK$ 24,000-48,000
1932
1/10
12 x 21 cm; 20.5 x 13 cm
Epreuvre d'essai SANYU
SANYU 1/10
A mon cher Johan Ton Yu Paris mai 1932
19325
1932
199510153
10
105
CHUANG Che
Abstract (A set of 2)
1989
Oil on canvas, collage
44 x 60 cm (x2)
Signed lower left Chuang Che in Chinese and
dated 89 (upper)
Signed on the reverse Chuang Che in Chinese
and dated 89 (lower)
NT$ 220,000-350,000
US$ 6,900-10,900
HK$ 52,000-83,000
1989

44 x 60 cm (x2)
89
89
106
TAI Hoi Ying
(Chinese-French, b. 1946)
La fentre ouverte (Open Window)
1987
Tempera and oil on canvas, mounted onto
board
60 x 81 cm
Signed lower right Tai in English and dated 87
PROVENANCE:
Galerie Moderne, Silkeborg, Denmark
NT$ 100,000200,000
US$ 3,1006,300
HK$ 24,00048,000
1987

60 x 81 cm
Tai 87
107
TAI Hoi Ying
Nature morte sous escalier

(Still Life Under Stairs)
1985-86
Tempera and oil on canvas, mounted onto
board
60 x 81 cm
Signed lower right Tai in English and dated 85-86
PROVENANCE:
Galerie Moderne, Silkeborg, Denmark
NT$ 100,000200,000
US$ 3,1006,300
HK$ 24,00048,000

1985-86

60 x 81 cm
Tai 85-86
12
108
LIEN Chien-hsing
Spring Tides
1992
Oil on canvas
52 x 72 cm
Signed lower left Lien Chien-hsing in Chinese
and dated 1992.2
Titled on the reverse Spring Tides in Chinese,
dated 1992 and signed Lien Chien-hsing in
Chinese
1992

NT$ 160,000-260,000 52 x 72 cm
US$ 5,0008,100 1992.2
HK$ 38,00062,000 1992
109
Ryoji SUZUKI
(Japanese, b. 1973)
Candy and Pot (A set of 2)
2008; 2008-2009
Oil on canvas
24 x 33.5 cm (upper)
33 x 24.5 cm (lower)
Signed lower right Ryoji Suzuki in English and
dated lower left 2008 (upper)
Titled on the reverse Chupa Chupas in Japanese,
signed Ryoji Suzuki in English and dated 2009
(upper)
dated 2008 (lower)
Titled on the reverse Pot in Japanese, Ryoji
Suzuki in English and dated 2008 (lower)
NT$ 50,000-80,000
US$ 1,600-2,500
HK$ 12,000-19,000
2008; 2008-2009

24 x 33.5 cm ()
33 x 24.5 cm ()
Ryoji Suzuki
2008
C a n d y Ry o j i
Suzuki 2009 ()
Ryoji Suzuki 2008 ()
Ryoji Suzuki 2008 ()
14
110
HSU Tang-wei
Quasar Series
2006
Acrylic on canvas
117 x 91 cm
NT$ 100,000-180,000
US$ 3,100-5,600
HK$ 24,000-43,000
2006

117 x 91 cm
111
Ryoji SUZUKI
(Japanese, b. 1973)
Beef Jerky
2009
Oil on canvas
91 x 73 cm
dated 2009
Titled on the reverse Beef Jerky in Japanese,
signed Ryoji Suzuki in English and dated 2009
NT$ 140,000-200,000
US$ 4,400-6,300
HK$ 33,000-48,000
2009

91 x 73 cm
Ryoji Suzuki 2009

Ryoji Suzuki 2009
16
112
HSU Tang-wei
Celestial Bodies (A set of 2)
2006
Acrylic on wooden board
40 x 120 cm (black)
30 x 80 cm (pink)
Signed on the reverse Hsu Tang-wei in Chinese
and TANG-WEI in English, dated 2006 (black)
Signed on side TANG-WEI in Chinese and
2006
English, dated 2006 (pink)

40 x 120 cm ()
NT$ 180,000-260,000 30 x 80 cm ()
US$ 5,600-8,100 TANG-WEI 2006 ()
HK$ 43,000-62,000 TANG-WEI 2006 ()
113
Ryoji SUZUKI
(Japanese, b. 1973)
Bull Terrier
2006
Oil on canvas
53 x 65.5 cm
Signed on the reverse Ryoji Suzuki in English
and dated 2006
NT$ 70,000-90,000
US$ 2,200-2,800
HK$ 17,000-21,000

2006

53 x 65.5 cm
Ryoji Suzuki 2006
114
Satoshi Watanabe
(Japanese, b. 1967)
Avebury
2000
Oil on canvas, mounted onto board
30 x 40 cm
Titled on the reverse Avebury in English, dated
2000 and signed Satoshi Watanabe in English
NT$ 70,000-90,000
US$ 2,200-2,800
HK$ 17,000-21,000

2000

30 x 40 cm
'Avebury' 2000 Satoshi Watanabe
18
115
Koichi Enomoto
(Japanese, b. 1977)
Untitled
2007
Oil on canvas
61(L) x 50(W) x 6(D) cm
Signed on the reverse Koichi Enomoto in
English and dated 2007
2007
NT$ 200,000-350,000
US$ 6,300-10,900 61() x 50() x 6() cm
HK$ 48,000-83,000 2007 Koichi Enomoto
116
WU Hao
Flowers
1990
Oil on canvas
72.5 x 60.5 cm
Signed upper left Wu Hao in Chinese and dated
1990
1990
NT$ 200,000-300,000
US$ 6,300-9,400 72.5 x 60.5 cm
HK$ 48,000-71,000 1990
20
117
John WAY
(Chinese-American, b. 1921)
1995
Illustrated:
Abstract
An Overview Of John Way's 80 Years, Shanghai 75 x 60 cm
1995 Art Museum, Shanghai, Aug. 2001, p. 211 John Way 95
Oil on canvas
75 x 60 cm NT$ 220,000-350,000
Signed lower left John Way in English and US$ 6,900-10,900
dated 95 HK$ 52,000-83,000 20018211
118
Chang-Ling
Pork Belly Series - Flesh, Flowers

and Birds - Flying Dragon

2008
Oil on canvas
145 x 200 cm
Titled on the reverse Pork Belly Series - Flesh, Born in 1975 in Hualien, Taiwan, Chang
Flowers and Birds - Dragon in Chinese, signed -Ling entered cole Nationale de Beaux-
Chang-Ling in Chinese and dated 2008 art in Bourges and began to study European
contemporary art. In 2000, he transferred to
NT$ 350,000-450,000 cole Nationale Superieure de Beaux-arts in
US$ 10,900-14,100 Paris, and followed Christian Boltanski, Jean-
HK$ 83,000-107,000 Luc Vilmouth and Jean-Marc Bustamante.
He said: "'Meat' is my pronoun of art, and I
extended 5 topics for discussion from the angle
of meat, which is the Pork Belly series". He

used meat as the element to compose sceneries
2008 or weapons in the picture, where the red
pigment looks like blood. But he doesn't want
145 x 200 cm to manifest cruelty or violence; while instead,
he changes meat and blood into luxury feelings
2008 and abundant desires. The flesh lumps implicate
carnal desires, and make the vivid colors in the
picture intensely irritate your sense organs and
1975 show the hidden dark violence and blood sense.
cole Nationale Chang-Ling said: "Our mountains and rivers
Beaux-art de Bourges have already been robbed by human selfish
2000 desires, and I just used a simple way to express
the relic facts."
Picture of "Flesh, Flowers and Birds - Flying

Dragon" has the dragon image and in-
betweenness of creation as the chief axis and
probes into and reflects on identity subject
during individual artistic creation. By the
experiment of transferring the holy beast of
ancient legends into in-betweenness image in
formal lexicon and developing the discussion
of individual spiritual layer in painting, Chang-
Ling tries to connect "western and eastern";
and the artistic in-betweenness between
"representationalism and imagism". Chang-
Ling's Pork Belly series intend to interpret the
connection of western and eastern arts, and thus
create the modern art culture, status and identity
of Taiwan as well as the complicated and vague
homeland feelings deep in his personal cultural
memories.
22
119
JAN Chin-shui
Landscape within Sky and Mountain
2008
Mixed media on canvas
130 x 162 cm
Signed lower right Jan Chin-shui in Chinese and
dated 2008
Signed on the reverse Jan Chin-shui in Chinese,
dated 2008, size 100F and titled Landscape
within Sky and Mountain in Chinese
NT$ 300,000-500,000
US$ 9,400-15,600
HK$ 71,000-119,000
2008

130 x 162 cm
2008
2008 100F
24
120
YANG Chihung
(YANG Chihong)
December 1947 plants in his atelier in New York, which are like
1979 a small universe; they show the vicissitude of
2009 life in different phases. Ordinary people might
Acrylic on canvas 1984P.S. I think taking care of plants is just taking care
188 x 128 cm of plants, but what Yang gets from this daily
Signed on the reverse Chihung Yang in English, routine is not only prosperity and decay of
titled December in English and dated 2009 plants, still further, he sees how a life breaks
out and the imagination left behind from
NT$ 850,0001,000,000 appearance of plants in every stage, which
US$ 26,60031,300 render moving of time to his art that feels lively
HK$ 202,000238,000 and vivid during the course of time lapsing.

Yang has been devoted to pursuit of light
and atmosphere. His works are very elegant
with clear arrangements and flexible, natural
2009 touches, which counts as a direct reaction of
an artist who faces infinite creatures of the
188 x 128 cm Great Nature and also his personal feelings
Chihung Yang December 2009 and aesthetic requirement on myriads of things
around, every single blade of grass and plant;
reflections on all human emotions, and Yang
hopes to impress his observation of the lapsing
time and engrave it with his paintbrush. From
this piece of work "December" we seem to feel
the lyric and low-key style of Yang. It doesn't
have quantized plant images, but portrays
slim and slight blades and branches, in which
Yang used the dripping wet of acryl pigment
to express the cold wind of winter, the flying
snow in the air. The whole piece of work is full
of motions, rhythms and a touch of insecurity.
Yang made his emotions so low in there and
Yang Chihung (1947~) comes from Taoyuan. wanted to show no evidences of personal
He learned from famous senior masters such feelings, however, the scattered blades, snow
as Liao Chi-chun and Yang San-lang among and rain, branches that seem falling down in
others. He moved to America in 1979 to the wind all represent "an accident" that makes
develop his talents with famous modern artists life fail to remain its original tranquil state. For
from all over the world, and became the first all that, Yang depicted the situation in a very
Chinese artist to attain the American National moving way, so sweet poetic feelings pervade
P. S. I award in 1984. Yang has a cloud of there.
26
28
121
Tzu-chi YEH
Nostalgia from the Bathroom
1991-1994
Oil on canvas
82 x 219 cm
Signed lower right Tzu-chi in Chinese and
dated 1991-94
NT$ 950,0001,300,000
US$ 29,70040,600
HK$ 226,000310,000
1991-1994

82 x 219 cm
1991-94
122
LIEN Chien-hsing
Fantasy of the Sky Pool
2002-2004
Oil on canvas
97 x 194 cm
Signed lower left Lien Chien-hsing in Chinese
and dated 2004
Titled on the reverse Fantasy of the Sky Pool in
Chinese, dated 2002, signed Lien Chien-hsing
in Chinese and size 120M
ILLUSTRATED:
Lien Chien-hsing, Eslite Gallery, Taipei, color
illustrated, p. 23
This painting is to be sold with a certificate of

authenticity issued by Eslite Gallery, Taipei.
NT$ 1,000,000-2,000,000
US$ 31,30062,500
HK$ 238,000476,000
2002-2004

97 x 194 cm
2004
2002 120M
2004
23
30
123
CHUANG Che
Steep Cliff and Deep Valley
1996
Acrylic and oil on canvas
167.5 x 127 cm
Signed lower left Chuang Che in Chinese and
dated 96
ILLUSTRATED:
Chuang Che, Deep Ridge - Remote Way, Solo
Exhibition in National Art Museum of China,
Asia Art Center, Taipei, 2007, color illustrated,
pp. 92-93
NT$ 1,000,000-2,000,000
US$ 31,30062,500
HK$ 238,000476,000

1996

167.5 x 127 cm
96

2007
2007
92-23
32
124
YANG Mao-lin
Lily Memorandum L9305
1993
Oil, acrylic on canvas
194 x 112 cm
Inscribed lower center MADE IN TAIWAN in
English
ILLUSTRATED:
Inviting the Immortals - Culture, Intercourse,
Tayouan History: Yang Mao-lin, Lin & Keng
Gallery, Taipei, 1999, color illustrated, p. 82
NT$ 1,200,000-2,000,000
US$ 37,500-62,500
HK$ 286,000-476,000
L9305
1993

194 x 112 cm
MADE IN TAIWAN
199982
34
125
Michell HWANG
(HWANG Ming-che)
Campaign (Facing Beijing)
2007
Oil on canvas
182 x 182 cm
Titled on the reverse Campaign (Facing
Beijing) in Chinese, size 182 x 182, media oil,
dated 2007 and signed Che in Chinese
NT$ 1,600,000-2,400,000
US$ 50,000-75,000
HK$ 381,000-571,000

2007

182 x 182 cm
182 x 182 2007
36
38
126
Tzu-chi YEH
Yan-Ming Mountain in June
2009-2010
Tempera and oil on linen
122 x 224 cm
Signed lower right Tzu-chi Yeh in Chinese and
dated 2009-2010
NT$ 1,600,000-2,400,000
US$ 50,000-75,000
HK$ 381,000-571,000
(III)
2009-2010

122 x 224 cm
2009-2010
127
CHAO Chung-hsiang
(Taiwanses, 1910-1991)
Bird
1976
Ink on paper
49 x 45 cm
With one seal of the artist
1976
NT$ 160,000-220,000
US$ 5,000-6,900 49 x 45 cm
HK$ 38,000-52,000 Chao
40
128
SHIY De-jinn
Portrait of Wu Hao
1969
Pastel on paper
36 x 25 cm
Signed lower left Shiy De-jinn in Chinese and
dated 1969
1969
PROVENANCE:

Sotheby's sale, Taipei, April 13, 1997, lot 39
36 x 25 cm
1969
NT$ 240,000-350,000
US$ 7,500-10,900
HK$ 57,000-83,000 199741339
129
CHUANG Che
Landscape
1972
Acrylic on canvas
60 x 86 cm
Signed upper left Chuang Che in Chinese and
dated 1972
Titled on the reverse Landscape in English and

signed Chuang Che in English, dated 1972
1972

NT$ 220,000-350,000 60 x 86 cm
US$ 6,900-10,900 1972
HK$ 52,000-83,000 Landscape Chuang Che 1972
42
130
LIEN Chien-hsing
Rocking Horse from Childhood

2001
2001
Oil on canvas

65 x 91 cm
65 x 91 cm
Signed lower right Lien Chien-hsing in Chinese
2001
and dated 2001

EXHIBITED:

Lonely Wonder Land, Eslite Gallery, Taipei,
2001915107
Sept. 15 - Oct. 7, 2001

ILLUSTRATED:

Lonely Wonder Land, Eslite Gallery, Taipei,
2001
2001, color illustrated
NT$ 350,000-550,000
US$ 10,900-17,200
HK$ 83,000-131,000
131
Tzu-chi YEH

This painting is to be sold with a certificate
Trees in the Mountain
of authenticity issued by Dimensions Center, 1998-2002
1998-2002 Taipei.
Tempera and oil on linen 55 x 75.5 cm
55 x 75.5 cm NT$ 350,000-500,000 1998-2002
Signed lower right Tzu-chi in Chinese and US$ 10,900-15,600
dated 1998-2002 HK$ 83,000-119,000
44
132
SU Wong-shen
(SU Wang-shen) NT$ 400,000-600,000
US$ 12,500-18,800
HK$ 95,000-143,000
Spring Campus Scenery
1994
Oil on canvas
80 x 80 cm 1994 '94
Titled on the reverse Spring Campus Scenery in
Chinese, signed Su Wong-shen in Chinese and 80 x 80 cm '94
dated 1994 1994 1994
133
SU Wong-shen
(SU Wang-shen)
(Taiwanese, b. 1956) 1991
ILLUSTRATED:

Su Wong-shen - Between the Clouds, Eslite
Adult Game - A Round Trip Corp., Taipei, 2008, color illustrated, plate 118,
91 x 117 cm
1991
p. 232
1991
Oil on canvas
91 x 117 cm NT$ 350,000-550,000
Signed on the reverse Su Wong-shen in Chinese US$ 10,900-17,200 2008118
and dated 1991 HK$ 83,000-131,000 232
46
134
MIAO Jingchang
(Chinese, b. 1966)
NT$ 350,000-550,000
Childhood US$ 10,900-17,200
HK$ 83,000-131,000
1992
Oil on canvas
97 x 145.5 cm
Signed lower right Jingchang in Chinese and
dated 92.5 1992
Titled on the reverse Childhood in Chinese,
size 145.5 x 97 cm, signed Miao Jingchang in 97 x 145.5 cm
Chinese 92.5
145.5 x 97 cm
ILLUSTRATED:
Miao Jing-chang, Jeff Hsu's Art, Taipei, 2006,
color illustrated, p. 13
200613
authenticity issued by Jeff Hsu's Art, Taipei.
135
HSIAO Ju-sung
Young Girl
Watercolor on paper
71 x 51 cm
Signed lower left JS in English
ILLUSTRATED:
Hsiao Ju-sung Commemorate Catalogue, Cultural
Affairs Bureau of Hsinchu County Government,
Hsinchu, 1997, color illustrated, p. 26
NT$ 900,000-1,500,000
US$ 28,100-46,900
HK$ 214,000-357,000

71 x 51 cm
-JS-

199726
48
136
LI Shih-chiao
NT$ 1,200,000-2,000,000
Roses US$ 37,500-62,500
HK$ 286,000-476,000
1989
Oil on canvas
45 x 53 cm
Signed lower right Shih-chiao in Chinese and
dated 1989 1989

EXHIBITED: 45 x 53 cm
LI Shih-chiao and his Students Group Exhibition 1989
at Apolo, Apolo Art Gallery, Taipei, Nov. 4 - 22,
1995

ILLUSTRATED: 19951141122
The Collection of Li Shih-chiao Vol. I, Li Shih-
chiao Museum, Taipei, 1996, color illustrated,
p. 393 I
2000 Taiwan Art (Part II), Southern Taiwan 1996393
Art Collectors Association, Tainan, 2000, color
illustrated, pp. 114-115 2000
114-115
authenticity issued by Apolo Art Gallery, Taipei.
50
137
YANG San-lang
Holidays in Lake Towada
Oil on canvas
61 x 73 cm
Signed lower left S. Yang in English
NT$ 1,900,000-2,300,000
US$ 59,400-71,900
HK$ 452,000-548,000

61 x 73 cm
S. Yang and knives to enrich the brushwork and
reinforce the quality of and the paint's volume.
Often, this one final touch highlighted the sense
of reality and made the whole work alive.

Located at the border of Aomori Prefecture
and Akita Prefecture, Lake Towada is a crater
lake, 400-meter above sea level. The lakeside
scenery is beautiful, with verdant tender shoots
in the spring, red maple leaves in the fall, and
magnificent snowfall in the winter. The natural
landscape in four distinct seasons is reflected
in the clear waters of the lake. Yang describes
people strolling among the natural landscape
beside the tranquil bluish lake. Little white sails
in the distance seem to bridge the gap between
men and mountains, while red maple leaves,
lakes and mountains map out the front, middle
and distant settings. Autumn is also a symbol
of people's natural cycle of life and natural
rhythms.

Yang devoted his whole life to the creation of
art. In order to paint from real landscapes, he
Ya n g S a n - l a n g p u r s u e d i m p r e s s i o n i s m , traveled across mountains and rivers both in
focusing on open-air painting and the change China and abroad with an ardent love for art.
of shadows under sunlight as well as timing In his later years, he was awarded "National
sequence. Apart from his emphasis on nature Cultural Medal", the highest honor for symbolic
and the strength of the texture carried by the art. His spirit deserves remembrance from the
brushwork, the artist often used both brushes later generations.
52
138
CHAO Chung-hsiang
Maternal Love
1978
Acrylic, ink and color on paper
147 x 89 cm
Signed lower left Chung-hsiang in Chinese and
Chao in English
ILLUSTRATED:
The Works of Chao Chung-hsing, Taiwan
Museum of Art, Taichung, 1994, color illustrated,
p. 124
NT$ 2,000,000-3,000,000
US$ 62,500-93,800
HK$ 476,000-714,000

1978

147 x 89 cm
Chao

1994 124

54
139
YANG San-lang
Lily Pond
Oil on canvas
91 x 72 cm
Signed lower right S. Yang in English
EXHIBITED:
The Exhibition of Yang San-lang's Works,
National Dr. Sun Yat-sen Memorial Hall,
Taipei, March 12-29, 1995
ILLUSTRAED:
Yang San-lang Portfolio 1986-1995, National
Dr. Sun Yat-sen Memorial Hall, 1995, Taipei,
NT$ 2,800,000-3,600,000
US$ 87,500-112,500
HK$ 667,000-857,000

91 x 72 cm
S. Yang

1995312329

19861995
199593
56
140
LI Chen
Float to Sukhavati
2002
Bronze, edition no. 7/8
81(L) x 46(W) x 61(H) cm
Signed Li Chen in Chinese and English,
numbered 7/8
EXHIBITED:
Shanghai International Biennial Urban
Sculpture Exhibition, Shanghai, China, Nov 18,
2005 - Mar. 17, 2006 "Float to Sukhavati" is an important creation in
The Contemporary Road of Media and Li Chen's series of "Free Wandering Spirits".
Tradition - TOP 10 Chinese Contemporary He infuses the design of contemporary
Sculpture Exhibition, Asia Art Center, Beijing, 200511182006317 sculpture into the oriental artistic characteristic
April 7 - May 6, 2007 of spatial sense. Between yin and yan, between
2007 emptiness and reality, flows the "qi". The
ILLUSTRATED: 4756 spiritual sense emitted out from the sculpture
Li Chen Sculpture 1992-2002, Asia Art Center, is so clean and fresh, it is like standing in the
Taipei, 2004, color illustrated, p. 95 snow under the bright full moon or looking at
The Contemporary Road of Media and 19922002 the reflection of blue sky and white clouds in
Tradition - TOP 10 Chinese Contemporary 200495 the water. The artist has come to realize the
Sculpture Exhibition, Asia Art Center, Beijing, inner soul of the object and understood the
2007, color illustrated, p. 51 2007 wisdom beyond the physical world. While his
Li Chen in Venice 52 nd Venice Biennale 51 imagination traveling in the sky, he brings to
Energy of Emptiness, Asia Art Center, 2007, 52 his audience a lively spirit of life.
color illustrated, p. 144 2007144
Li Chen in Beijing - In Search of Spiritual "Float to Sukhavati" was completed in 2002. Li
Space, Asia Art Center, Taipei, 2008, color 2008 Chen once described this work: "Immortals are
illustrated, pp. 76-83; black-and-white 76-83197 those who enjoy tranquility and freedom and
illustrated, p. 197 forget where they are. Through the operation
of nature, harmonious clouds can be naturally
NT$ 2,800,000-3,800,000 made to carry them. Following the way of
US$ 87,500-118,800 nature, they always keep well." Li Chen is very
HK$ 667,000-905,000 good at tackling the contrasted relation between
the lightness and heaviness of massive objects.
His works are full of fairy-like imagination, of
children's innocence and amusement, and of
2002 carefree floating on the top of the clouds. Their

2002
looks and gestures give people a self-assured and
7/8
relaxed sense. The clouds are so light yet safe to
81() x 46() x 61() cm
bring you anywhere you would like to go. When
Li Chen 7/8
looking at his works, the viewer will indulge in
a spiritual journey so that their minds and hearts
can become crystal clear and will unconsciously
make an insinuating smile. The ideal spiritual
world of Li Chen's works, the sense of humor
and the broad internal transformation, as well as
a clear and tranquil temperament constitute the
unique style of Li Chen.
58
141
LI Chen
Avalokitesvara
1998
53(L) x 33(W) x 51(H) cm
Engraved Li Chen in English and numbered 8/8
With two seals of the artist
ILLUSTRATED:
Li Chen Sculpture, Asia Art Center, Taipei, 2004,
Li Chen in Beijing - In Search of Spiritual
Space, Asia Art Center, Taipei, 2008, color
illustrated, pp. 76-83; black-and-white
illustrated, p. 197
NT$ 2,300,000-3,200,000
US$ 71,900-100,000
HK$ 548,000-762,000

1998
8/8
53() x 33() x 51() cm
Li Chen 8/8

1992-2002
200437

2008
194
60
142
LIN Fengmian
(Chinese, 1900-1991)
as Impressionism, Fauvism and Cubism etc.
Mountain Sunset As a result, he has been an advocate and
practicer for the concept of using modern
1960s
Western art movement into Chinese painting.
Ink and color on paper
This is particularly prominent in a series of his
68 x 68 cm
mountains and forests works.
Signed lower left Lin Fengmian in Chinese

This "Mountain Sunset" picture is a classic
PROVENANCE: demonstration of this proposition. The keynote
Collection of Sanhuai House, Hong Kong is ink, the artistic conception comes down in
one continuous line with tradition paintings
ILLUSTATED: too. But the tones, natural lights, characteristic
Chinese Art Collection - Lin Fengmian, that emphasizing the surface rather than the
Shanghai Fine Arts Publisher, Shanghai, May
1997 (First Edition), color illustrated, p. 35
Zhou Weiming ed., Collection of Art Garden
Studio No.72, Sanhuai House's Modern
Chinese Paintings, People Fine Arts Publishing
House, Shanghai, 2004, color illustrated, no.
16, p. 11
Private Collection of Chinese Calligraphy &
Painting - Album of Varied Masterpieces I,
Hebei Educational Publishing House, Hebei,
May 2005, color illustrated, p. 86
NT$ 4,000,000-6,000,000

US$ 125,000-187,500

HK$ 952,000-1,429,000

line are closely linked with Western paintings.

1960
The lines which Chinese painting rely for

Many of Lin Fengmian's works look more existence are draw out the "ink" character, the
68 x 68 cm
like Western painting from exterior view, thus heavy black color used in his works to present
be misinterpreted as not traditional. Even the forests are viewed as a color and lose the
mountains and forests, the most favored subjects special significance in traditional Chinese
by Chinese literati and traditional pictures, he paintings. "Mountain Sunset" had plump
still at the controls of both Chinese and Western composition, contrast of light and shades clear
form and spirit on hand. But from the meaning the picture level and make it an integrated mass.
of works, they stressed profound moods, endless The emphasize of surface plumped the whole
feelings, make them more tally with the pure picture, thick but transparent, not stiff and
19975 of Chinese painting "Pictures of the heart", and blocked, the undulating hills and the intersection
35 reflected distinctive Lin's painting style. of sky and horizon, the lever of mountain
corresponding to the dense forests, painter made
In short, Lin Fengmian's integration of painstaking efforts on the sparse or thick and
20041611 Chinese and Western art styles embodies false or true, airtight in true part, transparent
more on its concept. He turns from studying in the false part, make the work sparse or thick
2005 Western Naturalism to have sincere belief in properly and become complementary, the sunset
86 Western modern art trend of thoughts such here not dim but warm.
62
143
CHU Teh-chun
Fantasia
1958
Oil on canvas
92 x 73 cm
Signed lower right CHU TEH-CHUN in
Chinese and English
Signed on the reverse CHU TEH-CHUN in
Chinese and English, dated 1958
EXHIBITED:
Solo Exhibition of Chu Teh-chun, The Ueno
Royal Museum, Tokyo, June 23 - July 10, 2007
ILLUSTRATED:
Solo Exhibition of Chu Teh-chun, Thin Chang
Corporation, Taipei, 2007, color illustrated, p. 97

authenticity signed by the artist.
7080 1960
NT$ 5,800,000-7,500,000 90

US$ 181,300-234,400
1955
HK$ 1,381,000-1,786,000
1950 1958

1956
1958

92 x 73 cm
CHU TEH-CHUN
CHU TEH-CHUN 1958

2007623710

1958

200797

64
66
The painting style of Chu Teh-chun falls into 5 periods according to time: the period in Mainland China
and Taiwan, the early period in Paris, 70s, 80s and late 90s. Among which, the early period in Paris
was the key stage where his painting style changed from representationalism to tachism. To realize
his long-cherished dream of studying in Paris, Chu Teh-chun went on a ship from Taiwan to France
in 1955. In the 1950s, Abstract Expressionism was at its peak in the US and Europe. After arriving in
Paris, Chu Teh-chun began to ponder about how to get loose from the restraint in artistic creation under
the influence of the early post-impressionistic style. In 1956, the posthumous retrospective exhibition
of Nicolas de Stal's work gave Chu Teh-chun a great shock. The passionate, bold and unrestrained
painting style of this descendant of Russian nobility, who committed suicide one year before, changed
freely between tangible and intangible, representational and non-representational, which just complied
with the path that Chu Teh-chun had urgently pursued.
Therefore, it was in the same year when Chu Teh-chun began to try tachism, which made him feel free,
and he used to have architecture and urban sceneries as his painting subjects. He simplified forms and
structures with color fields and lines that looked confident and smooth. In 1958, his first solo exhibition
was held in Paris, and Chu Teh-chun's smooth lines and composition got good appraisal from Le
Monde, France's largest national newspaper. While in the same year, Chu Teh-chun participated in l'cole
de Paris' in an art gallery in Denmark planned by the well-acknowledged Galerie Legendre as a Far-East
artist; 2 years later, Chu Teh-chun's works were also listed in an exhibition of 1960 l'cole de Paris'
held by the senior Gustave Charpentier in Paris, which laid his position among members of l'cole de
Paris'.
The "Fantasia" painted in 1958 for sale now is a classic painting in the early period of the artist. After
simplifying touches and lines, he used large color fields and selected pure colors with connotations to
interpret his observation and expression of the outside surroundings. Besides, the bold dark brown lines
on the border of color fields have everything to do with traditional Chinese cultivation he received since
he was a child. Hubert Juin, a French art critic as well as a critic for French Literature highly praised,
"Chu Teh-chun has opened up another artistic field with his virtuosity". Morris Barnet, his another
bosom friend and also the earliest agent, deemed that "Chu Teh-chun's field doesn't belong to classic
perceptive; we might say that it is multi-dimensionalFlexible selection of colors and layout of small
dices show the subtle changes of moving light. These paintings are both spaces and structures." Success
is by no means a contingency. Chu Teh-chun has created a new painting space of the contemporary era,
which we can see from his early works. By combining his own cultivation in Chinese calligraphy and
riot and free style of western abstract art, the artist keeps creating new expressions of modern poetic
sceneries, and such a spirit is absolutely admirable.
144
ZAO Wou-ki
31.3.63
1963
Oil on canvas
46 x 50 cm
Signed lower right Wou-ki in Chinese and Zao
in French
Signed on the reverse Zao Wou-Ki in French,
titled 31.3.63 and size 50 x 46 cm
ILLUSTRATED:
Jean Leymarie, Zao Wou-ki, Editions Cercle
d'Art, Paris, 1986, black-and-white illustrated,
no. 343, p. 326
NT$ 9,000,000-12,000,000
US$ 281,300-375,000
HK$ 2,143,000-2,857,000
31.3.63 1980
1963 1950
1960
46 x 50 cm
ZAO Paul Klee
ZAO WOU-KI 31.3.63 50 x 46 cm 1958

31.3.631963
1960
1986 343326
Leymarie1960
1961

198636-37

68
Around 1980, Hsiao Chin (who was painting From the early days, when his paintings to portray his inner emotions; over time,
in Italy at that time) wrote an article entitled had the mysterious, poetic quality of his pulsating brushstrokes took on an
' Z a o Wo u - k i t h e F i r s t P a i n t e r t o t a k e works by Paul Klee, to his later use of ever stronger resemblance to traditional
Traditional Chinese Art onto the Global symbols from the ancient Chinese oracle Chinese calligraphy in the "clerical
Stage,' in which he noted the international bone script, Zao Wou-ki was constantly script" or "wild cursive script." In this
acclaim that Zao Wou-ki had achieved. exploring new avenues along which particular painting, "31.3.63" (which was
Hsiao suggested that Chinese and Japanese abstract paintings could develop. From completed in the spring of 1963), the
calligraphy and brush painting had exerted 1958 onwards, Zao abandoned the use artist's thoughts and feelings are expressed
a major influence over the way that Western of symbols, and switched over to using through brushstrokes that seem to rise
abstract art developed in the 1950s and 1960s, c o m b i n a t i o n s o f d i ff e r e n t c o l o r t o n e s , up out of the canvas, against a reddish-
and that Zao Wou-ki had played the single which gave greater spiritual depth to his brown background. The painting exudes
most important role in bringing this about. work. Zao sought to use color and line joy and self-assurance, as well as a bright
70
radiance. This work is a classic example in painting by Courbet and Czanne to Courbet et par Czanne pour maonner
o f Z a o Wo u - k i ' s w o r k f r o m t h e 1 9 6 0 s , apply paint more thickly; it subsequently la touche et que les peintres de geste ont
which combines elegance and beauty with became the painting implement of choice choisi comme moyen instrumental pour sa
great depth of meaning. for artists who preferred a more active rapidit d'attaque et sa prise directe sur la
style of painting, because of the speed matires, qu'il tale ou retire.") (Jean Leymarie
The French art critic Jean Leymarie has with which paint could be applied, and (ed.), Zao Wou-ki (Catalog), 1986, pp. 36-37) Zao's use
noted that, in the early 1960s, Zao Wou- because of the way it enabled the artist to of a palette knife enabled the color to flow
ki made extensive use of palette knife make particular elements within a painting with the movement of his hand, whether
techniques to give greater texture to his either stand out or withdraw back into vigorous or circumlocutory, adding greater
paintings: "Starting in 1961, for several the canvas." (" partir de 1961, et durant emotional force to the work and giving it
years he sometimes employed a palette quelques annes, il a parfois recours au new vitality.
knife. The palette knife had first been used c o u t e a u p a l e t t e , u t i l i s d ' a b o rd p a r
145
Yun GEE
(Chinese-American, 1906-1963)

1940
Central Park (New York)

c. 1940 67
Oil on canvas
63.5 x 80 cm 1940
Signed lower right Yun Gee in English

EXHIBITED:
Yu n G e e , L i n & K e n g G a l l e r y, Ta i p e i ,
November 14 December 1, 1998

ILLUSTRATED:
Yun Gee, Lin & Keng Gallery Inc., Taipei,
3040
1998, color illustrated, p. 41

NT$ 9,500,000-13,500,000 192115
US$ 296,900-421,900 20
HK$ 2,262,000-3,214,000

1940

63.5 x 80 cm 1930
Yun Gee

19981114121 1930

199841
201992 57

72
With works of great vitality, imagination and the recognition came somewhat too late for the leave our easels behind and go on outings
richness of color, Yun Gee was a forerunner of artist, as he had passed away almost thirty years around New York City. He took me to the
early Overseas Chinese artists, and also a gifted ago. Zoo, the Botanical Gardens, and our favorite,
musician and poet, whose renown equaled Central Park. He painted many scenes of the
that of Sanyu, another Overseas Chinese The undated "Central Park (New York)" park in the 1930s and 40s, but when we were
painter based in France. In 1921, the 15-year- was probably completed around 1940, when there together he would rent a rowboat and
old Yun Gee went to the United States to be the artist was in his thirties at the height of take me out on the lake. I cherish the memories
with his father, a laborer in San Francisco. At creativity. Having recently returned to New of those special times in which my father shared
that time in the U.S., there was wide-spread York from Paris, he lived for six months at with me his love of language, music, color,
discrimination against Chinese, and Yun Gee's an upscale apartment on East 67th Street near painting and the out-of-doors." (Extracted from The
path in life was rather restricted under the Madison Avenue, two blocks from Central Art of Yun Gee, exhibition catalog, Taipei Fine Arts Museum).
influence of the Chinese Exclusion

Act. Nevertheless, he was able to enter Here, the trees are leafy and luxuriant,
a formal institution to receive training and an overall fluidity is achieved from
in Western art. Soon, he would travel light, trembling brush strokes. Yun
to Paris to immerse himself in the more Gee's New York works are marked by
progressive atmosphere and become a preference for dark, gloomy colors,
involved in the modern art movements. especially shades of deep green, and
He exhibited alongside Modigliani, a leaning towards Expressionism.
Derain and other famous artists of the The city's high-rises looming in the
cole de Paris, was selected to show background form a connection with
his paintings in the major Salons and the three trees in the foreground; the
galleries, and caught the attention of human figures playing and the birds in
collectors. Just when real opportunities flight reveal the artist's childlike spirit
beckoned, first the Great Depression and longing, but the dense, heavy
and then World War 2 forced him to colors still hint at his melancholic
flee New York and Paris respectively, discontent. Faced with social, cultural
in attempts to continue his budding and economic pressures, Yun Gee's
career. artistic journey was a lonely struggle,
1940-1950 72.5 x 91 cm and he felt highly alienated. In his
In the early 1930s, Yun Gee's works Yun GEE, Swan Lake in Central Park, New York landscapes, the variances of mood
c. 1940-1950, oil on canvas, 72.5 x 91 cm
were exhibited at the Brooklyn and ideas are portrayed with mature
Museum and the Museum of Modern artistry, and their tragic nature instills
Art (MoMA) in New York, and later acquired Park, where he took frequent walks. There are in them a sense of mystery. In later years, his
by many other museums in different countries, several sketches of the park from the 1940s by output decreased radically due to poor health
such as the Pompidou Centre in France. These Yun Gee, hence the dating of this painting. The and he passed away from illness in New York
feats should have propelled any artist of any era body of water in the center is the famous Pond, at the age of 57, largely unfulfilled. Yet, it could
to exceptional fame, but it was not until the end which was portrayed by the artist in another be said that the works he leaves behind are
of the 20th century that Yun Gee was noticed painting, a blue-colored bleak winter scene. already sufficient to ensure him a significant
in the East. "The Art of Yun Gee," held at the place in the history of modern art.
Taipei Fine Arts Museum in 1992, was the first In her essay, 'A Journey Home', Li-lan revealed
comprehensive showcase of the artist in the the following memory of her father, which
Chinese world. While Yun Gee's distinctively indicates that Central Park was one of the
idiosyncratic style was immediately admired, artist's favorite subjects: "Sometimes we would
74
146
LIAO Chi-chun
Guanyin Mountain
1974
Oil on canvas
46 x 53 cm
Inscribed and signed on the reverse "To
my beloved son, Shu-chung, as a souvenir,
painting by Liao Chi-chun 1974"
With an inscription on the reverse written
by Liao Shu-chung: "20 2/4 x 18 Shu-chung
Liao, Chi Chun Liao's son, Liao C. C. original
painting, certified by his son 53 x 46 cm"
PROVENANCE:
Collection of Liao Shu-chung, the forth son of
the artist
and its river views from above, with Guanyin
This painting is to be sold with a certificate of Mountain across the river in the distance.
authenticity and a picture of the artist's family.
With bright and expressive colors, Guanyin
NT$ 11,000,000-20,000,000 Mountain was finished in 1974, at the peak of
US$ 343,800-625,000 1974 Liao's later career. After finishing this painting,
HK$ 2,619,000-4,762,000 he even took it with him to the United States,
as a gift to his fourth son, Liao Shu-chung's,
who lived abroad. The artist loved his family
dearly and offered them his landscape paintings
as keepsakes. His 1975 masterpiece "Toledo in

1974
1975 Spain" was part of Liao Shu-chung's collection

1988 until 1988, when it was purchased by the Taipei
46 x 53 cm
Fine Arts Museum and became an important

part of their collection.

20 2/4 x 18 Shu-chung Liao, Chi
Liao Chi-chun was praised as the magician
Chun Liao's son, Liao C. C. original painting,
of colors for his unique perspective and bold
certified by his son 53x46cm
use of vivid, primary colors. His depiction of
Guanyin Mountain is a magnificent river scene.

Though not huge in size, the painting impresses
its viewers with its confident grandeur. From
the top to the bottom, the picture is divided into

three sections the pale blue sky presenting
the azure Guanyin Mountain, the Tamsui River

flowing slowly, and the houses sitting tightly
next to each other all artistically spaced, and
presents a harmonious and balanced whole. And
Located near the mouth of the Tamsui River in the riotous colors of the bright yellow sailboat,
Taipei County, Guanyin Mountain has always the brilliant red church spire, the chalk-white
been a key scenic spot in Taiwan. In earlier walls, and the verdant trees decorate the picture
times, painters liked to sketch in the hills with a vigorous playfulness, making it a feast
above Tamsui, looking down on the township for the viewer's eyes.
76
147
ZAO Wou-ki
30.11.67
1967
Oil on canvas
65 x 100 cm
Signed lower right ZAO in French and Wou-ki
in Chinese
Signed on the reverse ZAO in French and titled
30.11.67
PROVENANCE:
Collection of E. Steven and Nancy W. Bauer
(acquired directly from the artist)
Private collection, Asia
1970
EXHIBITED:

Paintings by Zao Wou-ki, San Francisco
1969 1960
Museum of Art, San Francisco, May 8 - June

16, 1968

NT$ 20,000,000-40,000,000
1960
US$ 625,000-1,250,000 1970
HK$ 4,762,000-9,524,000 1960
199218

30.11.67
1967

65 x 100 cm 1960
ZAO ?
ZAO 30.11.67

1960

19923223
196858616

1960

78

30.11.671967
20

196 0

30.11.74
20090991560
ZAO Wou-ki, 30.11.74, 1974, oil on canvas, 60 x 73 cm
Ravenel Autumn Auction 2009, lot 099, US$ 485,075 sold
In 1970, Zao Wou-ki's first autobiography

published in France, it indicates that the artist's
accomplishment was generally acknowledged
by then. Before that, French television station
had just produced and broadcasted a special
series of Zao's art in 1969. Earlier, He was
invited by Japan National Museum of Modern
80
Art for exhibition, held his second retrospective depressions, and endurances in life was hard "All I can see in his pictures are: wilderness
exhibition in his life in Muse d'Art to express. Only when facing the canvas in his and loneliness, rivers, oceans and waves,
Contemporain, Montreal, there were as well studio he could talk freely to his art. Therefore springs flowing, grasses waving up and down,
countless invitations from all over the world. Zao's 1960's paintings were full of strong and mosses on rocks, mottled rocks, spring flowers
Zao thinks that his paintings created during intense emotions with great philosophies with turning purple, and golden sunshine, nature
1960-1970 have received fruitful results. Many on. is everywhere in his paintings." (Chu Ko, The
art critics also praised his abstract paintings Truth of Nature) Zao combined the essences from
from that period; he acquired enormous fame His old classmate Wu Guanzhong once said, eastern and western arts, In the eyes of no
that he had never expected during that time. Zao Wou-ki's abstract paintings was like a wing matter eastern or western critics, his paintings
spread Kun-Peng to him, that is an illusion is unique and extraordinary. As a world
French art historian Ren de Solier once asked when a shooting star across the sky. "the famed artist, his success is never by chance or
Zao about his taste on colors, Zao answered: "I older, the wiser, Zao's pictures turned to be accidental.
like all kind of colors!" Solier followed "Which
of them is the base color?" "None, I have no This oil painting, "30.11.67", was completed
preference on colors, I have better reception on sometime in the late fall or early winter of
trembles." This short conversation explained 1967, at a point in Zaos career when he had
Zao's secret in his paintings. Colors aren't lived in Paris for 20 years and found his mature
necessary to be the subject in his paintings, individual style as a painter. While an abstract
trembles of lights are, and he has more concern work, the color and compositional structure
on the space inside the picture. Trembling of "30.11.67" immediately put the viewer in
lights and colors established the look of Zao's mind of a dramatic ocean view. The foreground
lyrical and abstract paintings during the 1960's. is kept in dark shades of brown, interspersed
Traditional Chinese landscape paintings with subtly blended hues of jasper, Prussian
possessed above features, and Zao not only is blue, lilac and pink, all applied in layers of
conscious of the essences in eastern paintings, delicate strokes that intermingle to form a
but also carries the influences from Paris shifting kaleidoscope of color a reflection
classical paintings as well as contemporary of the artists complex mood and innermost
abstracts, therefore he said other artists learned emotions. The blue in the left area dominates
one tradition by heart, he learned two. the canvas with its purer tones and intimations
of turquoise and lapis lazuli, drawing the
Taiwanes are critic Hsiao Chiung-jui sees observers eye involuntarily to this visual focal
Zao's paintings in an emotional point of view; point. This only serves, however, to immerse
he thinks that Zao's works is a record of rise us in the larger image that is fed by the contrast
and fall in life, and various emotional changes 1.12.68 (13.2.77) between the blue, white, and brownish areas,
20080637340
from living. He pointed out that Zao's works each representing different aspects of the sea:
ZAO Wou-ki, 1.12.68 (13.2.77)
during the '60s features "lines as thin as fibers". 1968, oil on canvas, 162 x 114 cm its brilliant colors, its foaming waves, and its
Although he suffered from depression, fear Ravenel Spring Auction 2008, lot 063, US$ 2,414,077 sold unfathomable depth. The overall effect is that
and emotional entanglements, his paintings of a strangely muted and peaceful amalgam
remain harmonic, uplifting, unrestrained and spicy around 1970. There are bizarre lights of yin and yangof harsh force and gentle
rising. "Sienna is the base color in his works penetrates through thickness and richness, softnesscoming to life through Zaos
from the '60s, they shines golden bronze wandering into giant's footsteps" (Wu masterfully applied brushstrokes and expert use
flames, exquisite, sharp and paranoid fiber- Guanzhong, 'Zao Wou-ki's paintings', Memories of Wu of color. Brimming with the powerful rhythm
like lines freely splashed, combines in the Guanzhong, WanXiang publishing, Taipei, 1st edition Mar. of Mother Nature, "30.11.67" conjures up the
picture following his heart, he got rid of 1992, p. 223) sound of the surf in our ears. Our heart opens
restrains of themes and rules . Zao Wou- up, and we experience a sense of calmness in
ki presented a deep, dynamic, and glorious Chu Ko thought about field pleasures in the the face of the oceans vastness: a glimpse of
world of wilderness."(Masters of Chinese Painting: wilderness when he looked at Zao's paintings; eternity. Among Zaos work from the 1960s,
Zao Wou-ki, Chin Hsiu Publications, Taipei, 1992, p. 18) The there are also two dimensional spaces like this piece stands out as one of his more tranquil
frustrations from working in a foreign land, sculptures of flowers overlaid on the forest. pieces.
148
WANG Huaiqing
(Chinese, b. 1944)
House in a House - Bed of Han

Xizai (Han Xizai's Night Revels 3)
2002
200 x 300 cm
Signed lower left Wang Huaiqing in Chinese
EXHIBITED:
An Open Era Celebration of 40th Anniversary
of Founding of National Art Museum of China,
National Art Museum of China, Beijing, 2003
China International Gallery Exposition,
Beijing, 2003
Art Singapore, 2005
Traces of Nature - Art of Wang Huaiqing,
Shanghai Art Museum, Shanghai, December
3-12, 2007
ILLUSTRATED:
An Open Era, People's Art Publishing House,
Wang Huaiqing, Wang Huaiqing published, 2002
Beijing, 2004, color illustrated, p. 148
Wang Huaiqing: Traces of Nature, (draft of 200 x 300 cm 1980
House in a House), Yan Gallery, Hong Kong,
Traces of Nature - Art of Wang Huaiqing,
catalogue of Shanghai Art Museum, Lin & 40
Keng Gallery, Taipei, 2007, color illustrated, 2003
pp. 112-113 & p. 191 2003
2005
NT$ 44,000,000-58,000,000
US$ 1,375,000-1,812,500 20071231212
HK$ 10,476,000-13,810,000
1996

2003165

2004148

200592

2007
112-113191
82

1996199820022006

1998

2003

A sketch for the "House in a House Bed of Han Xizai"

961-975

As a painter, Wang Huaiqing has always been
firmly rooted in China's long cultural tradition,
eagerly absorbing its essence and plumbing
its depths for inspiration. Living in Beijing, a
capital steeped in history where one used to
1998 virtually stumble across folk art, handicrafts
and cultural remains at every step, Wang is
painfully aware of, and deeply regrets, how
much of this precious heritage is currently
disappearing as a result of China's fast-paced
transformation. Wang has been reaching back
to history to buck this trend ever since he first
established his reputation with the oil painting
Bo Le Choosing a Horse in 1980, the title
being an allusion to a famous story from the
84
Warring States period. This piece is currently painting and aesthetics.
in the collection of the National Art Museum Often cited as an epitome
of China. o f c l a s s i c a l b e a u t y, t h e
painting is permeated with,
Later, Wang drew his inspiration from a and representative of, the
wide range of sources, including Jiangnan dominant values in many
residential architecture, Ming dynasty areas of Chinese art and
furniture, and the encyclopedic late Ming work society, including painting,
on science and technology, "Traces of Nature". drama, dance, fashion,

Being a graduate of the Central Academy of design, and even politics and 20070698796
Craft Art (now The Central Academy of Arts economics. WANG Huaiqing, Gold Stone
and Design of Tsinghua University), Wang has 1998, oil on canvas, 200 x 480 cm
Ravenel Autumn Auction 2007, lot 069, US$ 2,726,174 sold
a keen eye for, and profound understanding The painting was commissioned
of, China's exquisite traditional handicraft by the last emperor of the
and manufacturing techniques, and one of Southern Tang dynasty, Li Yu (reigning from ingenious in its lifelike representation of
his paramount objectives has always been to 961-975), who sent his court painter to Han setting, furniture and human figures.
rescue this fine tradition from oblivion. Xizai's mansion under a pretext, ordering him
to produce a detailed picture of Han's life and Taking his cue from this classical subject
Wang Huaiqing began work on the series of environment. Han was up for the post of prime matter, Wang Huaiqing set out to impart
paintings titled "Han Xizai's Night Revels" in minister, and the emperor wished to learn more n e w m e a n i n g t o t r ad i t i o n a l t h e m e s a n d
1996. These pieces can be seen as an homage about the man before appointing him to such motifs. Employing an expressionistic,
to the renowned 10th-century scroll painting an important position. Gu did not fall short of deconstructionist approach, he began to
of the same title by Southern Tang dynasty the task: relying on his astounding memory, reinterpret "Han Xizai's Night Revels" from
court painter Gu Hongzhong. The original he recorded faithfully and in consummate a modern perspective. In 1998, Shen Kuiyi,
of Gu's painting, much praised and admired detail the scenes of excessive merriment and American-based curator of Chinese descent,
in historical writings, is lost, and all we have deliberate debauchery he witnessed at Han's organized an exhibition titled "China 5000
today is a Song dynasty copy, which is part dinner party. The composition, which consists Years" at the Guggenheim Museum New York,
of the collection at the Palace Museum in of five sections, is brimming with vivid an event that is widely considered to have
Beijing. Other copies were made, but the depictions of people engaging in a variety served as a catalyst for the "China Fever" in
general consensus is that the one on display of activities, such as eating and drinking, the arts market. One of the exhibits was "Night
at the Palace Museum probably best captures dancing and playing instruments, talking Revels - Han Xizai's Night Revels 1", which
the spirit of the original, which occupies and listening to music, or strolling about the was on display right next to the Beijing Palace
a principal place in the history of Chinese mansion. Gu shows that he is particularly Museum's copy of Gu Hongzhong's Han
expert at portraying "Xizai's Night Revels", allowing audiences to
postures, gestures, and facial appreciate classical beauty in direct contrast
expressions. Through the with modern art and thinking. This also
scenes of merrymaking, marked Wang's first appearance in New York
however, speaks Han Xizai's art circles, and his debut on this prestigious
disappointment with Li Yu, stage met with an enthusiastic response.
and the whole banquet serves
as a symbolic expression Reinterpreting classical paintings is by no
of the host's disinterest in means an easy undertaking, but by infusing
a c a r e e r a t c o u r t . To t h i s the canvas with a very personal style, marked
d a y, H a n X i z a i ' s N i g h t by monochromatic patterns in black, white,

Revels remains one of the and red, Wang Huaiqing managed to firmly
GU Hongzhong, The Night Revels of Han Xizai most celebrated large scroll establish and define the abstract mode of
Song Dynasty to imitate (detail), collection of The Palace Museum, Beijing paintings of Chinese history, painting as a fixture of modern Chinese art. As

1980 155 x 200 cm
WANG Huaiqing, Bo Le Choosing a Horse
1980, oil on canvas, 155 x 200 cm
Collection of National Art Museum of China
of today, Wang's "Night Revels" series consists

of four paintings, completed in 1996, 1998,
2002 and 2006, respectively. The first two of
the series are kept in plain black and white
tones, one of them a double horizontal scroll,
the other a simple vertical stroll painting. The
latter two pieces replace the liubai ("blank
space") background with intense Chinese red.
Again, one of them is a double horizontal
scroll, the other a simple vertical stroll
painting.
This lot, House in a "House Bed of Han

Xizai", is the third piece in the series, a
200x300cm double horizontal scroll painting.
The bright vermilion background with its
strong ethnic connotations ("China red") sets
off the bold, thick strokes of the black structure
that represents the bed of the banquet's host,
Han Xizai. The painting's immense visual
impact takes no backseat to that of Wang's
1998 triptych masterpiece "Golden Stone",
and its compositional structure and organic
abstraction are reminiscent of Chinese
calligraphy: cool and rational, sweeping yet
economical. In 2003, House in a "House
Bed of Han Xizai" was shown at the National
Art Museum of China's 40th anniversary
exhibition called "An Open Era," and received
many positive critiques for its expansive and
forceful style.

86
The first and second piece of the "Night house," an elegant piece of traditional Chinese reception areas or a place where the master of
Revels" series employ black and white shades furniture made entirely of wood and usually the house could rest, or both. In other words,
to depict an assortment of musical instruments considerably larger than your average modern they were more than just "beds": they provided
suspended above historical remains, and both bed. During the Ming and Qing dynasties, these a space for social intercourse and were the
pictures somehow convey the impression of beds became even larger and were furnished setting for much of a household's everyday
a theatrical space, a stage that has long since with a canopy, giving them the appearance of a life. During the period of the Five Dynasties
been deserted by the actors. We are left with separate room or small househence the term and Ten Kingdoms, one of which was the
abstracted images of lute tables, furniture, "house in a house," although they are more Southern Tang, beds were kept in a plain but
gloves and canes that have taken the place commonly referred to as "babu bed," a play handsome style without excessive trimmings
of the human figures in the classical painting either on the fact that you have to "climb" onto or decorations, very much in the manner of
by Gu. One might say that Wang Huaiqing is to them, or just on their sheer size. Up to the the Tang dynasty. We can be certain that Wang
bemoaning, in an emlematic manner, the fact Han dynasty, the Chinese generally sat on the Huaiqing is not only aware of such important
that "things are more important than people" ground, and much of domestic life revolved details, but positively enjoys delving into these
in our times of rapid change, that materialism around people's sleeping places. At some point, cultural and social specifics.
is conquering everything. Even so, one also it became custom to also receive one's visitors
senses that in spite of all the inevitable change in the immediate vicinity of, or even on the In terms of technique and approach, "House
and constant evolution, certain cultural in a House Bed of Han Xizai" echoes
values and aesthetical ideals breathe Wang's early painting The Great Ming
the spirit of eternity. Throughout the Manner, which depicted a Ming-style
march of history, these values and ideals taishi wooden armchair. In both works,
need to be passed on from generation to pieces of traditional furniture function
generation by artists and idealists like as conveyors and archetypes of cultural
Wang. These two pieces require a bit of heritage. Chinese painting often tends to
"deconstructive" work from the viewer favor a reductionist or two-dimensional
to recognize that the geometric shapes approach, and this is reflected in the bed
floating across the canvas are mostly with its aesthetically pleasing abstract
musical instruments. design. Even its color, a uniform hue
of black instead of a natural shade
The extreme chromatic simplicity and of wood, supports this process of
I
compositional succinctness of the first 1996 sublimation, as does its size: filling
two pieces in the "Night Revels" series WANG Huaiqing, Night Revels 1 the entire canvas (reaching beyond it
generate a delightfully snappy appeal Shown at "China: 5,000 Years" of Solomon R. Guggenheim Museum, New York, 1998 in fact), the bed is larger than life, is
not unlike that of a modern symphony. more of a metaphysical object than an
Meanwhile, the third piece, "House in a host's bed/couch. In the old days, the highest actual piece of furniture. The loud China red
House Bed of Han Xizai", takes a different honor one could bestow upon one's guests was of the background strikes one as emanating
approach. Here, the artist chooses elements to invite them to sit on the bed or, especially in both classical elegance and avant-garde daring.
that are even plainer and more basic to northern China, kang (a brick bed or platform Together with the patches of vermilion, the
construct the bed's shape. The few simple but warmed by a fire underneath). Therefore, thick black lines, flat and concise, merge into
bold lines give the painting a powerful energy, it was perfectly natural for Han Xizai to sit a larger structure of abstract, calligraphic
making it vibrate with all the festiveness and with his guests on elevated beds to drink, talk design and sublime meaning, quite befitting
gaiety of a popular traditional holiday, while at and have a good time. While the beds and of a painter firmly grounded in the Chinese
the same time overwhelming the observer with couches at that time did not feature a canopy, tradition. Wang Huaiqing's intersecting black
its ruthless impetusa quality that is rather they did have the wooden beam structures beams and lines create a decidedly Oriental
rarely found in the paintings of this series, or and "walling" typical of traditional Chinese feel and flair, not altogether alien to the formal
even Wang Huaiqing's entire oeuvre. architecture. Another common feature were aesthetics of French abstract painter Pierre
balustrades or railings at the sides. These beds Soulages.
The type of bed, or couch, Han Xizai slept could be installed in studies, pavilions, garden
in and sat on, was a so-called "house in a houses and patios, serving either as visitor
149
SANYU
(CHANG Yu)
(Chinese-French, 1901-1966)
Two Pink Nudes

Signed lower right Yu in Chinese, SANYU in
French and dated 1929

PROVENANCE:
Hotel Drouot, Paris, April 21, 1985, lot 43

ILLUSTRATED:
Rita Wong ed., Sanyu Catalogue Raisonn Oil
Paintings, Yageo Foundation, Lin & Keng Art
Publications, Taipei, 2001, color illustrated, no. 17,
p. 116
Gu Yao ed., A Complete Collection of World
Famous Paintings - Sanyu, Hebei Education Press,
Shijiazhuang, November 2007, color illustrated,
p. 23 1920

NT$ 52,000,000-68,000,000
US$ 1,625,000-2,125,000 19011966
HK$ 12,381,000-16,190,000

19251928Salon
d ' A u t o m n e1930

Salon des Tuileries1931
1929 Salon des Indpendants
81 x 55 cm 1956
SANYU 1929 1920
1929
Henri-Pierre Roch
198542143
Marie Laurencin
Georges BraqueConstantin
BrancusiMarcel Duchamp
2001 Ebihara Kinosuke
17116

200711 1920 1930
23
88
1932 Sanyu, who was born in Nanchong, Sichuan
1910-1930 Province, in 1901, and died in Paris of
Dictionnaire biographique des artistes accidental gas asphyxiation in 1966, belonged
contemporains 1910-1930, tome III Brancusi to the first generation of 20th-century Chinese
Picasso painters who studied art in France. It was a time
of political upheaval and social change; China
1921 1920 had only just seen the May Fourth Movement,
and intellectuals were calling for a whole range
1929 of reforms. Cai Yuanpei, the chancellor of
Peking University, had always been a staunch
supporter and promoter of the government-
s p o n s o r e d " Wo r k - S t u d y M o v e m e n t "
Max Jacob (mouvement travail-tudes), which allowed
Chinese students to go abroad and study at a
number of French universities. Among those
chosen for this program were Lin Fengmian
and Xu Beihong, who arrived in France in
1920. Sanyu followed in their footsteps one
SANYU year later. All three of them went on to become
1929 giants of modern Chinese art, each developing
his own distinctive style.
Full of ideals and lofty goals, most of the young

Chinese art students in France set out by joining
the studio of a renowned painter, where they
pursued preparatory studies to facilitate their
application at a regular academy or university.
This was the path taken, among others, by
Lin Fengmian and Xu Beihong. But Sanyu,
always a free spirit fond of exploring things in
his own fashion, elected to spend his time in
Kiki, Alice Prin, 1901-1953 the cafs of the Montparnasse art district, or at
the Acadmie de Grande Chaumire, also in
1920 Montparnasse. In this way, he frittered away
much of his time, quickly becoming immersed
in the postwar spirit of the Roaring Twenties,
or "les annes folles," as the French like to call
them: an exhilarating mixture of decadence and
new departures. Paris, and the Montparnasse
district in particular, attracted the crme de
la crme of international artists and writers,
giving birth to many new ideas and movements
90
in painting and sculpture, literature, music and quick sketches in pencil, charcoal, or Chinese and the 1931 Salon des Indpendants. Sanyu's
haute couture. And it were the cafs and bistros brush. At other times, he could be found doing work continued to make regular appearances at
of the Montparnasse and the Latin Quarter sketches of naked female models, or sketching salon exhibitions until 1956.
where most of these artists and intellectuals fellow students from life, at the Acadmie de
met on a regular basis to exchange ideas and Grande Chaumire, impressing onlookers with In 1929, Sanyu found a generous patron in
talk about their work. At the same time, the the sheer speed of his work and the smooth the collector Henri-Pierre Roch, a man of
Acadmie de Grande Chaumire provided many interests and talentshe was also a
both students and accomplished masters with renowned author, journalist, and art dealer.
a regular supply of models for sketching and Before discovering Sanyu, Roch had already
painting from lifemany doyens of modern befriended and sponsored the likes of Marie
art had studied and worked here. In a way, Laurencin, Constantin Brancusi, Georges
then, by dividing his time between the Grande Braque, Marcel Duchamp, and Ebihara
Chaumire and the cafs, Sanyu was in fact Kinosuke. Economically speaking, the late
much closer to the pulse of his time, and more twenties were hard times, and the Great
avant-garde and revolutionary in his approach, Depression was looming large. Therefore Sanyu
than most other Chinese artists. was lucky to be given ample opportunities
for making inroads in the art market. In 1930,
The majority of Chinese art students who went Sanyu also made a splash as illustrator of a
to study abroad at that time spent some seven French edition of the poems of Tao Yuanming,
or eight years to complete their studies, and titled Les Pomes de Tao Ts'ien, for which he
then opted to return to China to share their produced three landscape engravings. Thanks
knowledge and skill with their compatriots, and to this kind of positive public exposure, in
make a living as teachers and educators. Sanyu, 1932 Sanyu's name even appeared in the third
however, was not about to let himself be tied volume of Paris arts publisher Art Et Editions'
down like that. A freewheeling and adventurous Dictionnaire Biographique Des Artistes
character, and something of a gallant even back Contemporains 1910-1930a rare honor for a
in China, he had the good fortune to come from Chinese artist at that time.
a well-off family. Not having to worry about
how to finance his rather libertine lifestyle, When Sanyu first arrived in Paris in 1921, a
he spent his days in Paris very much in the sophisticated young man and enthusiastic bon
fashion of the bohemian artist. Feeling right vivant, he immediately felt like a fish in water.
at home in the City of Light's vibrant street Here he could lead the comfortable and colorful
culture, with its romantic yet robust joie de 1921 life of a true bohemian, while occasionally
vivre, Sanyu felt very little inclination to return whenever the mood struck himworking on
Picasso, Large Bather, 1921 his art and taking part in exhibitions. It was in
to his native country. Instead, he stayed on
Collection Muse de l'Orangerie, Paris
and soon became associated with the cole de fact not before 1929 that Sanyu first tried his
Paris, as both a member of and a witness to one hand at oil painting on canvas. At this point in
of the most productive and brilliant periods in elegance of his lines. Within several years, his his career, he was already very familiar with
the development of modern art. In the 1920s, great talent as a painter came to the fore as Parisian art circles, and before long his oil
most of Sanyu's works were ink-and-wash well, and his work was displayed in a variety paintings attracted the attention of aficionados
paintings, but he also did some watercolors. of salon exhibitions, such as the 1925 and 1928 and collectors such as Roch. Another admirer
Sitting in some caf or other, he would do Salon d'Automne, the 1930 Salon des Tuileries, was the French poet and art critic Max Jacob,
who described Sanyu as "a formidable force showing that Sanyu must have spent some time unique style and artistic language. The two
working with precision and purity," adding, exploring ways of representing human bodies women seem to take up the larger part of the
"And what intelligence! What technique!" through abstraction and transmuted geometrical painting, yet their faces are relatively small
shapes. and do not betray much emotion of any kind.
This lot, Two Pink Nudes, certainly belongs This is not very surprising, since in his nudes
to Sanyu's earliest oil paintings. It is signed Both the use of color and the structure of the Sanyu rarely focuses on facial expressions: his
in the lower right in both Chinese (the second background are marked by extreme economy. emphasis lies on contours, lines and curves.
character of his Chinese name, "Yu," enclosed This is why his female nudes are so reminiscent
by a square) and "Sanyu", and even dated of Brancusi's abstract sculptures, or the statues
(1929), which few of Sanyu's paintings are. of plump goddesses from Picasso's classical
Ever since his early practice sketches and period. In all these works one faintly senses
watercolors with their free-flowing lines and the lingering residue of Greek classicism and
simple elegance, female nudes were one of humanism that gently pervaded the artistic
Sanyu's favorite motifs. Two Pink Nudes is kept circles of Paris in the twenties.
entirely in tones of white and pink, belonging
to the artist's pink period, and the composition It is worth noting the identical outward
is brimming with the air and mood of Paris in appearance of the two nudes: both wear their
the twenties. hair in a fashionable short bob, both wear
generously applied red lipstick and look at the
The two nudes in this lot show all the typical viewer with jet-black eyesalmost the spitting
features of Sanyu's compositions of naked image of the legendary Kiki de Montparnasse
human figures, in particular exaggerated (Alice Prin, 1901-1953). Kiki was one of the
distortions of shape and size. Sanyu was fond defining figures of the 1920s art and culture of
of big and tall women, a predilection that Paris. She frequently worked as a paid model
goes a long way in explaining why his nudes for artists of the cole de Paris, but was also a
generally seem "larger than life," and why their nightclub singer and a painter in her own right.
legs often appear disproportionally large and In her memoirs she mentions that at one point
bulky. Upon seeing Sanyu's nudes, his good she had been considering to learn Chinese, and
friend, the Chinese poet Xu Zhimo, praised it is very likely that she often ran into Sanyu in
their exceptional aesthetic appeal, especially one of the many cafs of Montparnasse, or at
acknowledging the deep impression the legs What can be interpreted as pink drapes divide the Acadmie de Grande Chaumire. Kiki sat
made on him when he described them as up and at the same time frame the canvas' model for Sanyu on at least one occasion, for
"cosmic thighs." The two women's hands are space, making it appear as if the two nudes there is one sketched painting of her among the
suggestive of a comb, with the fingers as its in the center of the composition are walking artist's works. And the two women of Two Pink
teeth, while their feet seem to be equipped with through curtains onto a stage. The intricacies Nudes also bear quite a resemblance to Kiki.
webs like those of some aquatic animals. The of perspective painting never interested Sanyu Epitomizing Sanyu's visual aesthetics, this
contours of their bodies are traced with multiple much, and most of his works tend to take a painting very much captures the artistic and
overlapping lines. The picture's overall design more two-dimensional approach, with lively cultural spirit of les annes folles in Paris.
is straightforward and deceptively simple, lines and colors blending to create his own
92
150
ZAO Wou-ki
19.7.63

1963

Oil on canvas

114 x 75 cm

Signed lower right Wou-ki in Chinese and ZAO
1961 1993
in French
1996134
Signed on the reverse ZAO Wou-ki in French

and titled 19.7.63

Samuel Kootz, 1899-1982
PROVENANCE:
1950
Kootz Gallery, New York
1980-19661903-1974

NT$ 45,000,000-60,000,000
1966
US$ 1,406,300-1,875,000
HK$ 10,714,000-14,286,000

1958195919601964
19.7.63 195819591962
1963 19631965

114 x 75 cm 1960
ZAO

ZAO Wou-ki 19.7.63

1966

1982

823

196319.7.63

1947

19551956

1912-

19561915-1991
19.7.63
1980-19661904-1997

1905-19701910-1962

1051-1107
94
19501960
c. 990-1030
1980
Jean 7
Leymarie

1960

19.7.63

1950
Calligrapfy of Mi Fei (1051-1107)

made the entire second floor into an atelier,
with a small garden outside and a little fishpond
with some goldfish in it. He never opened the
studio's windows on to the street, and the entire
interior of the house was shaded off from the
outside world by a large concrete wall, ensuring
that noone could look inside. So the atelier was
like a well-concealed little "box", into which
1960 daylight fell only from the north, creating a
stable, grayish kind of lighting that formed the
backdrop for Zao's work. It allowed him a firm
grasp of his colors' intensity without having
to worry that the quality of their most subtle
shades and nuances might be distorted by the
irregular play of sunlight.
In his personal memoirs, there is a passage When painting in his new studio, Zao felt
in which Zao Wou-ki looks back on how he completely at ease. He would shut himself
acquired his house in the Rue Jonquoy in in his second-floor atelier and refuse to see
Paris, a place that frequently appears in the anybody, sometimes including even close
photographs inserted in several of his big family members. It was here that he created
picture albums, showing past scenes and countless of his must most delicately hued
5.12.1969 impressions from his studio or the yard. Zao pieces, and the place remains his studio and
2006060
and his wife, May, moved into the little house living room to this very day. Its spaciousness
9093
ZAO Wou-ki, 5.12.1969 in 1961, after it had been renovated according also allowed him to work in large formats,
Ravenel Autumn Auction 2006, lot 060 to the painter's own meticulous blueprints, and something he was encouraged to do by Sam
NT$ 90,930,000 sold they were both very happy with the design and Kootz.
layout of the house. Zao recalls how he had
96
"In my new atelier I could work in large ce qui est peu commun pour un marchand, car also the one who kept encouraging the Chinese-
formats: there was enough space to take difficile exposer, et... vendre! J'prouvais French painter to try his hand at large formats.
several steps back from the painting, or to move une grande joe phsique tartiner de trs If it hadn't been for this farsighted art dealer
it around the room a bit, or to adjust the easel grandes surfaces, au point d'en devenir obsd from Virginia, the richly expressive, free-
as required. I discovered the pleasures of big, et de ne faire plus que cela! De taille immense, flowing compositions on large canvas that Zao
sweeping strokes, their verve and beauty. Kootz avec un fort accent du sud, Sam Kootz tait began to paint from the 1960s onwards might
was very fond of big paintings, and encouraged avocat. Originaire du Virginie, grand amateur never have come into existence. Thanks to
me a lot to work in big formats, which was de peinture, il ne s'intressait qu' l'abstraction, Kootz's discerning eye and tireless promotion,
very unusual for an art dealer. After all, large en dehors de Picasso et de Dubuffet. Il eut une Zao's paintings soon found their way into
paintings are both difficult to put on show and premire galerie a New York, en 1947, ferme the collections of many museums, galleries
difficult tosell! I experienced intense physical puis rouverte en 1955-1956, o il exposa pour and private collectors in the United States.
joy from painting in large brushstrokes on la premire fois Pollock, Motherwell, Rothko,
large surfaces, and I reached a point where I De Kooning, Newman, Kline. Ils taient tous
virtually didn't want to paint anything but large bien sr de jeune peintres et permettaient
format pictures. Kootz was a big fellow who Sam de jouer le rle d'un pere. Sam tait d'une
originally came from Virginia in the United grande gnrosit, il nous consacrait son
States. He spoke with a heavy southern drawl temps en nous emmenant au restaurant ou au
and had once been a lawyer, but he was also concerte. Grce lui j'ai recontr beaucoup
a true connoisseur of art, and quite an expert d'artiste amricains ou de conservateurs
on painting. It has to be said, though, that de muses comme James Sweeney, grand
apart from Picasso and Dubuffet, he was only collectionneur de Mondrian." (Zao Wou-ki &
interested in abstract painting. In 1947, he Franoise Marquet, Autoportrait, Fayard, Paris, 1986, pp. 136-
opened his first gallery in New York, which he 137)
later closed down for a while before reopening

it between 1955 and 1956. His inaugural In the 1950s, Sam Kootz (1899-1982),
exhibition featured works by Jackson Pollock the accomplished art dealer and collector
(1912-1956), Robert Motherwell (1915-1991), who Zao Wou-ki remembers so fondly in
Mark Rothko (1903-1970), William de Kooning his autobiography, became a sponsor of a
(1904-1977), Barnett Newman (1905-1970), number of first-rate abstract expressionist
and Franz Kline (1910-1962). At the time, artists, including Motherwell, Hans Hofman
all of them were still young painters at the (1880-1966), Adolph Gottlieb (1903-1974),
beginning of their careers, and Sam was like a Rothko, and de Kooning. His importance for
father to them. He was extremely generous with the movement was such that in 1966 Time
his time and money, and would often take us Magazine described the Sam Kootz Gallery as
young folks to restaurants or concerts. Through the "headquarters of the abstract-expressionist
him, we made the acquaintance of numerous school". Before that, Kootz had already been
American artists, as well as museum directors Picasso's number one agent for the US market,
and curators. One of them was James Sweeney, and generally was very well connected. From
the great Mondrian collector." the beginning, he was deeply impressed
with France-based Zao Wou-ki's art, and he

"Ce nouvel atelier me permettait enfin de organized as many as four solo exhibitions 206.3 x 103.3 cm
peindre des grands formats. Il m'offrait de of his work in 1958, 1959, 1960 and 1964,
l'espace pour avoir du recul et dplacer les respectively. In addition, Kootz featured Zao's Fan Kuan, Travelers Among Mountains and Streams
tableaux. Je pouvais ma guise avancer works in a total of five joint exhibitions in Hanging scroll, ink and light colors on silk
et reculer le chevalet sans trbucher. Je the years 1958, 1959, 1962, 1963 and 1965. 206.3 x 103.3 cm
dcouvrais l'amplitude des gestes. Sam Kootz Kootz not only helped Zao to make a name for Collection National Palace Museum, Taipei
aimait les grands tableaux et m'y encouragea, himself on the Amercian art market, he was
The legendary Kootz Gallery was closed with action painting and non-objective During the 1950s, Zao discovered the visual
permanently in 1966 due to the death of Mrs. representation, all derived much inspiration appeal and formative beauty of Chinese
Kootz, after which her husband devoted his from Chinese and Japanese calligraphy. He oracle bone and bronze inscriptions. There
energies to writing, putting to paper his many even goes so far as to claim that much of the is some symbolism in the golden hues of
observations and experiences in the world of evolution of abstract painting between 1950 bronze, suggesting the sacred, classical and
art. The obituary in Time Magazine on August and 1960 was determined by the influx of cultured, as well as an atmosphere of bliss
23, 1982, praised Kootz's achievements and calligraphic concepts from China and Japan, and prosperity. But in Zao's work, things
called him a "foresighted art dealer and paladin and that Zao Wou-ki was the epitome of this are more complex than that: while the
of abstract expressionism in America". new direction in art. (cf. Yuan Teh-hsing, ed., Zao Wou- immediately appreciable aesthetic charm of
ki, Taipei: Yuan Cheng Publishers, 1980, p. 7) his paintings speaks of the artist's success
This lot, Zao Wou-ki's "19.7.63", was also in sublimating his inner life, the somewhat
once on sale in the Kootz Gallery when the art In his book Masters of Chinese Painting: Zao frenzied fibrous lines responsible for much of
dealer's professionalism and discriminating eye Wou-ki, renowned Taiwanese art historian the dynamic impetus also reveal a darker side
were already widely known. Unlike most other Hsiao Chiung-jui analyses the characteristics dominated by ravaging turmoil and gloomy
gallery owners, Kootz encouraged the young of Zao's style in the 1960s: "Brown and yellow inner conflict. Some of this may be explained
Zao to follow his inspiration and paint as an indirect expression of Zao's
whatever he liked, without regard for worries about the health of his wife,
size or format. This shows in Zao's May. The pressure and melancholy
output of that time, as he began to he probably felt because of her
develop his typical unrestrained and sickness can be guessed from the
dynamic style. These are the bold, way Zao, as he himself explains,
sweeping bushstrokes that first attract frequently uses the palette knife
the observer's eye in "19.7.63", to squeeze the paint firmly into
and at a closer look one finds that the canvas, as if this would create
the interconnected powerful lines a n e v e n m o r e p l a s t i c e ff e c t o f
that dominate the picture are very depth. But mostly, so the artist, the
reminiscent of traditional Chinese uninhibited application of color in
calligraphy. Zao originally came from sweeping strokes and spattered dabs,
old literati family, and from his early overlapping and chaotic, makes him
childhood he was a great admirer of feel calm and at ease. As he writes
the painting and calligraphy of Song in his autobiography, "The fierce
Dynasty literati artist Mi Fu (1051- and intense, the clamorous and
1107), whom he considered as the 17.4.64 passionate have always attracted
200910315840
most outstanding calligrapher in me much more than the quiet and
ZAO Wou-ki, 17.4.64, 1964, oil on canvas, 114 x 162 cm
Chinese history. Another painter he Ravenel Autumn Auction 2009, lot 103, US$ 4,925,373 sold the stationary. How to conquer
held in high esteem was Fan Kuan space, how to shape and enliven it is
(c. 990-1030), particularly admiring a problem that is constantly on my
his conception of nature. In Zao's view, the tones dominate in Zao's work from the 60s, mind." In the 1960s, for Zao painting meant
use of space in both Mi's calligraphy and Fan's colors emanating a bronze-golden glow that meeting new challenges. It was a struggle
landscape paintings has a lot in common with are applied across the canvas with vigorous to find his voice, his way of getting "inside
the work of Paul Czanne. As for Zao's own abandon to form lines and shapes of both space" and exploring his emotions. Since
work, French art critic Jean Leymarie describes refined subtlety and keen intensityfilamentary his 60s paintings are particularly brimming
it as "combining the poignancy of calligraphy and just a touch frantic in quality. These lines with vitality and creative energy, it is not
with the flavor of painting." are assembled in a free fashion without any surprising that Western art critics and dealers
concern for motif or preconceived notions. Zao find Zao's output from this period among the
Chinese-born painter Hsiao Chin once praised shakes off all formal restraints and follows his most impressive in his entire oeuvre. It was a
Zao as "the first painter to introduce the inner vision, thereby revealing a profound and time of departure for the artist, of embarking
aesthetics of traditional Chinese art into the rich imagination that fills his compositions with on the pursuit of his ideals without looking
world of international painting". Hsiao also primal energy and creates a world where the back. This new hope and determination is
feels that painters such as America's Marc most dazzling beauty bursts from a wasteland." communicated to the observer with almost
Tobey and Franz Kline, or France's Georges Undoubtedly, these words also capture many of painful poignancy, uplifting to heart and
Mathieu, as well as numerous artists involved the qualities of "19.7.63". mind.
98
151
ZAO Wou-ki
Paysage Abstrait
(Abstract Landscape)
1954
Oil on canvas
65 x 81 cm
Signed lower right Wou-ki in Chinese and ZAO
in French, dated 54

EXHIBITED:
Zao Wou-ki, Lin & Keng Gallery, Taipei, March
15 - April 1, 1997
ILLUSTRATED:
Zao Wou-ki, Lin & Keng Gallery, Taipei, 1997,
color illustrated, pp. 28-29
1921
Grard de Cortanze & Yves Bonnefy, Zao Wou-
14
ki, La Diffrence / Enrico Navarra, Paris, 1998,


NT$ 20,000,000-40,000,000
1948
US$ 625,000-1,250,000

HK$ 4,762,000-9,524,000
19481953

1954 1951

65 x 81 cm
ZAO 54

199731541

199728-29

199892
100
exploring the way in which they viewed the Subsequently, for a period of about two years,
natural world. In 1948, when China was Zao Wou-ki painted large numbers of small
descending into the chaos of civil war, he canvases that featured still lifes, flowers,
decided to travel to Paris to undertake further boats, scenic views, animals, etc., studying
study; it was this decision that set him on the their composition and layout, and in doing
road towards his future development as an so creating a kind of poetic space of his own.
abstract artist. Gradually, the recognizable forms in his
1992104 paintings began to disappear; he was no longer
In Zao's paintings from the period 1948 painting in a descriptive or representative
1954 1953, residual forms can still be made out; manner, having turned instead to the use of
the influence of the artistic training that Zao symbols that were often difficult to decode,
had received in China is also very obvious. A to express his own imagination. Almost
visit to an exhibition of works by Paul Klee all of Zao's works from this period have a
1954 in Switzerland in 1951 was a revelation to monochromatic background. "Then, gradually,
him. Klee, who was fascinated by Asian art, the symbols became forms, and the forms
displayed a freedom and lightness of touch turned into space. As I painted, re-painted,
gave up and started again, something
was starting to emerge. It seemed as
though my paintings were starting to
move, to come to life. Forms burst out
of the canvasses, and I found that I now
dared to use colors that I had previously
been nervous about using." (Zao Wou-ki &
Franoise Marquet, Zao Wou-ki Autoportrait, ditions
1955 Fayard, Paris, 1988 p. 105)
Arts
In 1954, Zao Wou-ki began to create
art that was wholly abstract, throwing
off Klee's influence and developing his
own, highly personal form of abstract
1950 painting. This is the period in which
one starts to see paintings that could
clearly be by no-one other than Zao

Wou-ki! This particular work, "Paysage
20090556320 Abstrait" (Abstract Landscape), dates
ZAO Wou-ki, Oiseaux volent partout (Birds Fly Everywhere), from 1954, making it one of Zao's
earliest fully-abstract paintings. There
Ravenel Autumn Auction 2009, lot 055, US$ 1,965,174 sold
are no recognizable physical objects
in the painting, which is shot through
Zao Wou-ki was born in 1921 into a literati in his paintings that made even the smallest with symbols and images that resemble some
family in Beijing; he studied calligraphy canvas seem to embody vast, boundless spaces. ancient script. These symbols in fact derive
from a young age, and developed a passion Following Klee's example, Zao Wou-ki began from the ancient "oracle bone script" of the
for painting. At the age of 14, he enrolled at to explore the utilization of two-dimensional Shang Dynasty; they recall the mystery of the
Hangzhou National College of Art, where he symbols to represent color, and the use of poetic inscriptions on bronze vessels from China's
studied both Western and Chinese painting association. Benefiting from the inspiration that Bronze Age. Linking the past with the present,
under noted artists such as Lin Fengmian, Wu Klee's work had given him, and from his own these symbols create a pulsating sense of
Dayu and Pan Tianshou. During his time at travels around Europe to view famous buildings vitality and energy. The background to the
the College, Zao studied the works of Paul and murals, Zao began to move slowly towards symbols is formed from multiple washes that
Czanne, Henri Matisse and Pablo Picasso, his own emotive "universe of the self." display delicate variation in tone. The overall
102
effect is restrained and elegant, with echoes
of East Asian ink brush painting, although the
rich colors and sense of light derive from the
Western painting tradition.
In an article about Zao Wou-ki's paintings from

this period that was published in the Parisian
art journal Arts in 1955, the French art critic
Alain Jouffroy outlined what it was that made
Zao's work from this era so special: "In Zao
Wou-ki's work one can see how the Chinese
vision of the universe, where flow and distance
reflect the spirit of contemplation more than the
object of contemplation, has been transformed
into a modern vision of universal relevance."
Zao Wou-ki played a significant role in the
abstract art movement that flourished in the
1950s in Europe and North America. He
brought modernism into traditional Chinese art,
and created a fusion of the essential elements
of Asian and Western culture that spurred the
development of those cultural elements that the
two traditions had in common, creating a kind
of new abstract vision in the process. Zao's
success in this endeavor has earned him an
important place in the history of art.

1920 31 x 32.5 cm
Paul Klee, Theyre Biting
1920, drawing and oil on paper, 31 x 32.5 cm
Collection of Tate Gallery, London
104
152 1978 But, in the view of Ju Ming, it is the "Taichi
Series" that is the starting point of his own
JU Ming
style. He expresses the vital force from inside
to outside rather than from outside to inside.

Single Whip
1976 In the sculptures of the "Taichi Series", the
relations between the geometric abstraction
1991
and active posture of the figures, as well as
Wooden sculpture
the contrast between the dynamic and static,
53(L) x 33(W) x 35(H) cm
the rough and terse in tridimensionality form
Engraved Ju Ming in Chinese and dated '91
a rich rhythmic change in the works. The
sculpture presents a very colorful effect of
change between light and shadow. In "Single
of authenticity signed by the artist.
Whip", relying on his own experience and
judgment, Ju Ming made artistic treatment of
NT$ 9,000,000-13,000,000 the familiar Taichi culture and relevant boxing
US$ 281,300406,300 skills, having broken away from previous and
HK$ 2,143,0003,095,000 relevant frame, giving out a kind of vitality and
irresistible power.

Ju Ming's creation of the "Taichi Series" has
made mutual reference and integration of the
1991
sculpture on a shelf and the environmental
sculpture and introduced a new concept of

53() x 33() x 35() cm
modern sculpture, endowing modern public
'91
space with a wider visual creation and
humanistic prospect. With its unique visual
symbol and sculptural graphic arts, the "Taichi

Series" has become a complementation of an
urban life and an extension of natural creation.
The works have shaped a visual effect of
conquering the dynamic by static and exciting
touch sense, being provided with a specific
impelling force of the age and
In 1978, Ju Ming went to Japan for exhibitions teemed with endless
twice. That was the first time his "Taichi imagination and edification
Series" attracted attention, among which, of a contemporary aesthetic
"Single Whip" has, since then, found its spirit.
foothold in Japanese "Chokoku no mori".
"Taichi Series" opened another foreground
of his creation also. Actually, before then, in
the exhibition of 1976 through which he
found fame, Ju Ming had exhibited
a woodcarving with the topic
of Kong Fu, which could
be considered as the
origin of the
"Taichi
Series".
153
JU Ming
Taichi Series
1991
Wooden sculpture
38(L) x 30.5(W) x 43(H) cm
This sculpture is to be sold with a certificate

of authenticity issued by Kalos Gallery,
Taipei.
NT$ 5,800,000-7,000,000
US$ 181,300-218,800
HK$ 1,381,000-1,667,000

1991

38() x 30.5() x 43() cm
'91
106
154
Alixe FU
Dreamland
1990
Oil on canvas
81 x 100 cm
Signed lower right Alixe Fu in English and
dated 90
Signed on the reverse Alixe Fu in Chinese and
English, size 40F and dated 90
1990

NT$ 160,000-260,000 81 x 100 cm
US$ 5,000-8,100 Alixe Fu 90
HK$ 38,000-62,000 40F 90 Alixe Fu
108
155
WU Bu Yun
(Chinese, 1905-2001)
Ocean
1963
Oil on canvas
64 x 80 cm
Signed lower left Wu Bu Yun in Chinese and
dated 6/1963
1963
NT$ 300,000-400,000
US$ 9,400-12,500 64 x 80 cm
HK$ 71,000-95,000 6/1963
156
157
DAI Ze
(Chinese, b. 1922) Michell HWANG
(HWANG Ming-che)
Chrysanthemum (Taiwanese, b. 1948)
1995, oil on canvas, 80 x 100.5 cm The King

Signed lower right Dai Ze in Chinese and dated
1995 Beijing in Chinese 1992, oil on canvas, 90 x 65 cm
Titled on the reverse Chrysanthemum in Signed lower right Che in Chinese and dated 1992
Chinese, dated 1995 and signed Dai Ze in Titled on the reverse The King in Chinese, Che in
Chinese Chinese and dated 1992
NT$ 220,000-350,000 NT$ 220,000-350,000

US$ 6,900-10,900 US$ 6,900-10,900
HK$ 52,000-83,000 HK$ 52,000-83,000

1995 80 x 100.5 cm 1992 90 x 65 cm
1995. 1992
1995 1992
110
157
158
HSIAO Chin
(Chinese, b. 1935)
- 4
Il Nuovo Mondo - 4 1997

1997 97 x 130 cm
Acrylic on canvas Il Nuovo Mondo - 4 Hsiao
97 x 130 cm 97 x 130 cm acrylic
Titled on the reverse Il Nuovo Mondo-4 in
English, signed Hsiao in English and Chin in
Chinese, size 97 x 130 cm, media acrylic 1954-2004
20058
EXHIBITED: Glory to the Source Hsiao Chin 1955-2005, Lin &
Hsiao Chin 1954-2004 - A Journey Back Ken Gallery, Taipei, 2006, color illustrated, p. 107
to the Source, Guangdong Museum of Art,
Guangdong, Aug 2005 This painting is to be sold with a certificate 2005
of authenticity issued by Lin & Keng Gallery, 722-23
ILLUSTRATED: Taipei. 1955-2005
Maurizio Vanni, Hsiao Chin: Percorsi di 20064
Autocoscienza Nell'Anima, Carlo Cambi NT$ 300,000-500,000 107
Editore, Siena, Luglio, 2005, color illustrated, US$ 9,400-15,600
pp. 22-23 HK$ 71,000-119,000
112
159
LIU Kuo-sung
Which is Earth No. 7
1969
109.5 x 59 cm
Signed upper right Liu Kuo-sung
and dated 1969 in Chinese
Titled on the reverse Which is Earth
No. 7 and dated 1969,
size 109.5 x 59 cm
NT$ 400,000-600,000
US$ 12,500-18,800
HK$ 95,000-143,000
1969

109.5 x 59 cm

1969
109.5 x 59 cm
160
QIN Xuanfu
(Chinese, 1906-1998)

The Bund, Shanghai of authenticity signed by Qin Zhiyan, Qin

Xuanfu's daughter.
Oil on canvas 47 x 35 cm
47 x 35 cm
Signed lower left Xuanfu in Chinese NT$ 300,000-500,000
Titled and signed on the reverse Viewing the US$ 9,400-15,600
Bund from Thirteen Layers by Qin Xuanfu HK$ 71,000-119,000
114
161
YANG San-lang

Fog in the Forest

Oil on canvas 53 x 57.5 cm
53 x 57.5 cm S. Yang
Signed lower right S. Yang in English This painting is to be sold with a certificate of
authenticity issued by Impressions Art Gallery,
ILLUSTRATED: Taipei. VIII V.S.
Collection of Taiwan National Treasures 2003
Impressions Classical VIII Yang San-lang V.S. NT$ 450,000-600,000 33-34
Li Shih-chiao, Impressions Art Gallery, Taipei, US$ 14,100-18,800
2003, color illustrated, pp. 33-34 HK$ 107,000-143,000
162
J. C. KUO
Complex
1994
Acrylic and wood, canvas
120 x 69 cm
Signed lower center Kuo Jen-chang
Kuo in Chinese, J-C-KUO in English,
dated '94
ILLUSTRATED:
J. C. Kuo's Picturing Taiwan 1995,
Galerie Elegance, Taipei, 1995, color
illustrated, p. 24
NT$ 400,000-600,000
US$ 12,50018,800
HK$ 95,000143,000
1994

120 x 69 cm
'94 J-C-KUO
1995
1995
24
116
163
JAN Chin-shui
Icy Peak
2005
Mixed media on canvas
97 x 130 cm
Signed lower right Chin-shui in Chinese and
dated 2005
Signed on the reverse Jan Chin-shui in Chinese,
dated 2005, size 60F and titled Icy Peak in
Chinese 2005

NT$ 400,000-600,000 97 x 130 cm
US$ 12,50018,800 2005
HK$ 95,000143,000 2005 60F
164
CHUANG Che
Landscape

1979 1979
Oil on canvas This painting is to be sold with a certificate of
88 x 126 cm authenticity issued by Asia Art Center, Taipei. 88 x 126 cm
Signed lower right Chuang Che in Chinese and 79
dated 79 NT$ 450,000-650,000 Landscape 1979 Chuang Che
Titled on th reverse Landscape in English, US$ 14,100-20,300
dated 1979 and signed Chuang Che in English HK$ 107,000-155,000
118
165
QIN Xuanfu
(Chinese, 1906-1998)
The Bridge of Shaoxing
Oil on canvas
40 x 60 cm
Titled on the reverse The Bridge of Shaoxing
and signed Xuanfu in Chinese

NT$ 550,000-850,000
US$ 17,200-26,600 40 x 60 cm
HK$ 131,000-202,000
166
Chang-Ling
Pork Belly Series - Flesh, Flowers

and Birds - Spring Water
2007
Oil on canvas
162 x 130 cm
Titled on the reverse Pork Belly Series - Flesh,
Flowers and Birds - Spring Water in Chinese,
signed Chang-Ling in Chinese and dated 2007
ILLUSTRATED:
Impressions Contemporary, Impressions
Gallery, Taipei, October 2007, color illustrated,
p. 75
Chang-Ling, Impressions Gallery, Taipei, 2008,

NT$ 220,000-350,000
US$ 6,900-10,900
HK$ 52,000-83,000

2007

162 x 130 cm

2007

200710
75
2008
51
120
167
CHIU Ya-tsai
Intellectual
Oil on canvas
117 x 91 cm
Signed lower left Chiu Ya-tsai in Chinese
NT$ 500,000-700,000
US$ 15,600-21,900
HK$ 119,000-167,000

117 x 91 cm

122
168
HSIAO Chin
(Chinese, b. 1935)
Wisdom Heart
2006
Acrylic on canvas
110 x 170 cm
Signed on the reverse Hsiao in English and
Chin in Chinese, dated 2006, media acrylic in
Chinese, titled Wisdom heart in Chinese and
English
EXHIBITED:
The Heart of Hsiao Chin, Lin & Keng Gallery,
Taipei, June 3-25, 2006

NT$ 500,000-700,000
US$ 15,600-21,900
HK$ 119,000-167,000
2006

110 x 170 cm
Hsiao 2006
(Wisdom heart)
2006
63625
124
169

LIN Ju 1995 162 x 130 cm

ILLUSTRATED:
Holy Family 1996 Taipei Biennial The Quest for Identity II,
1996
1996
Taipei Fine Arts Museum, Taipei, October 1996,
1995
color Illustrated, p. 241
Oil on canvas 1997913107
Lin Ju: The Sighted Flesh, Lin & Keng Gallery,
162 x 130 cm
Taipei, 1997, color illustrated, cover page and

pp. 28-29
EXHIBITED: 1996II
1996 Taipei Biennial The Quest for Identity, 199610
Taipei Fine Arts Museum, Taipei, October 1996 NT$ 550,000-750,000 241
Lin Ju: The Sighted Flesh, Lin & Keng Gallery, US$ 17,200-23,400
Taipei, Sept. 13 - Oct. 7, 1997 HK$ 131,000-179,000 199728-29
126
170
HWANG Jyi
(Taiwanese, b. 1953) ILLUSTRATED:
The Empire Strikes Back - Episode I : The 1994-1999
Return of the King, Impressions Contemporary,
A Girl in a Gallery 162 x 130 cm
Taipei, 2008, color illustrated, p. 48 1994-99
1994-1999 ()
Oil on canvas This painting is to be sold with a certificate 1994-99
162 x 130 cm of authenticity issued by Impressions Gallery,
Signed upper left Jyi in Chinese and dated Taipei.
1994-99
Titled on the reverse A Girl in a Gallery in NT$ 550,000-750,000 200848
Chinese, signed Hwang Jyi in Chinese and US$ 17,200-23,400
dated 1994-99 HK$ 131,000-179,000
171
YANG Chihung
Days
2006
Acrylic on canvas
102 x 145 cm
Titled on the reverse Days in English, signed
Chihung Yang in English and dated 2006
ILLUSTRATED:
Inner Vision Human Condition - Chihung Yang
Solo Exhibition, National Art Museum of China,
Beijing, 2007, color illustrated, pp. 122-123
NT$ 500,000-700,000
US$ 15,600-21,900
HK$ 119,000-167,000
2006

102 x 145 cm
Chihung Yang Days 2006
2007
2007
122-123
128
172
WU Tien-chang
Thinking about the Japanese

Colonial Period
1991
Oil on canvas
53 x 45 cm
NT$ 600,000-900,000
US$ 18,800-28,100
HK$ 143,000-214,000

1991

53 x 45 cm
130
173
YANG Ren-ming
Pretending Moonlight - Night 2000 "Pretending Moonlight Series" is the transcendence

Snack in integration and creation conceptions after Yang
Ren-ming's "Unstable Ties Series" in the year 2000.
2007 "Pretending Moonlight Series" drew inspiration
Oil on canvas from the artist's midnight outdoor stroll in the open
182 x 227 cm air when he saw the vast and exceedingly bright
Titled on the reverse Pretending Moonlight - moonlight. Later, the artist began to scribble on
Night Snack in Chinese, media oil on canvas, paper his drawing inspiration to the accompaniment
dated 2007.06 and size 227 x 182 cm of heavy metal rock and alternative music either
passionate or muttering. He then picked up the
NT$ 750,000-850,000 brush, committed himself to the theme and began to
US$ 23,400-26,600 look for diversified possibilities for breakthrough.
HK$ 179,000-202,000 Yang Ren-ming said: "I like to seek from the
1992 seemingly similar pictures the unexpected results
2000 activated by creation and life experience." This idea
has been present both in his early "New Vegetation

from Black Water Series" (1992), the previous
2007 "Unstable Ties Series" (2000) and works of today.

182 x 227 cm On the one hand, the artwork "Pretending
/ Moonlight - Night Snack" appears more obscure
2007.06 227 x 182 cm and veiled. On the other hand, it also provides
audiences with clues to look into the painting
and feel the drawing language's differences of
the contradiction, or, the contradiction of the
differences. Therefore one can understand the
saying that "No writing wants to be withheld from
the public." All want to make public appearance
without being too intruding.
132
174
CHUANG Che
Light with Shadow
2002
Acrylic and oil on canvas
202.5 x 168 cm
Signed lower right Chuang Che in
Chinese and dated 2002
Ti t l e d o n t h e r e v e r s e L i g h t w i t h
Shadow, dated 2002, signed Chuang
Che in Chinese and media acrylic oil
ILLUSTRATED:
Chuang Che, Deep Ridge - Remote
Way, Solo Exhibition in National Art
Museum of China, Asia Art Center,
Taipei, 2007, color illustrated, pp. 136-
137
NT$ 1,200,000-2,200,000
US$ 37,500-68,800
HK$ 286,000-524,000

2002

202.5 x 168 cm
2002
2002
acrylic oil

2007

2007136-137
134
175
George CHANN
(Chinese-American, 1913-1995)
Abstract

134 x 134 cm
Signed lower left GEO. CHANN in English
NT$ 1,500,000-2,500,000
US$ 46,900-78,100
HK$ 357,000-595,000

134 x 134 cm
GEO. CHANN
1952

7

199540
1950
1960
1970

Chann's abstract paintings are rich in oriental atmosphere, which is indeed related to his
background. In 1952 he ran a store "Farmer's Market Art Gallery" in Los Angeles, in which he
did not sell his own works but Chinese artifacts such as jewelries and antiques just to earn a
living. Running a business as an antique dealer, he still managed to paint for 7 hours a day. His
later works were hardly seen owing to his unwillingness to work with art dealers. He refused
to work on market-oriented paintings: pure abstract art was the only objective he had. Until he
passed away in 1995, he has been exploring abstract art while running the small business for over
40 years.
Chann's abstract art development is divided into several stages. First is the black-and-white
collection during the 1950s in which he employed Chinese characters, marks and inscriptions;
colors were not used until later. Up to the 1960s characters and symbols remained, adding
on material varieties such as shattered, mix-and-match, collage, paper-pasting effects. The
expression during this period of time was substantial and sturdy, implying some tract of
humanism decline. Later in the 1970s, Chann created colorful tapestry-like paintings that not
only embodied modern cityscapes but combined the old civilization and modernism. sing
techniques of action painting such as dripping and splashing, he fully illustrated the flamboyant
mixture of the old and new.
136
176
ZHOU Chunya
(Chinese, b. 1955)
Eros
1997
Oil on canvas
60 x 72 cm
Signed lower right Zhou Chunya in Chinese
and dated 1997, signed ZHOU in English
NT$ 1,800,000-2,800,000
US$ 56,300-87,500
HK$ 429,000-667,000

1997

60 x 72 cm
1997 ZHOU
138
177
ZHOU Chunya
(Chinese, b. 1955)
Mountain Rock Series

1995
Oil on canvas
100 x 80 cm
Signed lower right Zhou Chunya in Chinese
and dated 1995

NT$ 3,000,000-5,000,000
US$ 93,800-156,300
HK$ 714,000-1,190,000

shape and the complicated volume structure
have been handle very differently from the

1995 traditional literate style, which is normally
plain in visual characteristics.
100 x 80 cm
1995 This painting is encrusted with color pigment
and has made an uneven surface on the canvas.
The image does not have any direct connection
with its original existence in real life; the
painting style tends to be more abstract, but
merging with numerous actual details.
As a matter of fact, Zhou Chunya has not

Many Chinese artists attempt to localize only integrated the ancient traditional literate
western oil painting, among them Zhou Chunya painting style in his creative philosophy, but
is the most representational one. From his also in the specific brush techniques. His
perspective, the permanent spirit can still be prudent and coherence strokes has made
felt in the ancient traditional art. After returned no allowance for any changes, just as the
from studying in Germany, he adopted an traditional ink painting on the rice paper.
international new expressionism technique. He Sometimes the brush style is just as the
combines the non-representation style from hollow strokes in calligraphy and sometimes
the Song, Yuan, Ming and Qing dynasties with as powerful as ink accumulation. This is why
the western representation style and created Zhou Chunya is considered to be one of the
his unique Stone series. In the "Mountain best artists who have a strong ability to master
Rock" series, the oil painting is executed in an the color among the contemporary artists in
extraordinary way; the texture, volume, veins, China.
140
178 "Bird" series can be said to be the most capable
of spreading series of Lin Fengmian's works,
LIN Fengmian various printed copies often appeared in all
(Chinese, 1900-1991) kinds of publications and magazines. Even
in 1960s, when China leftwing ideas prevail,
Great View barely you can see Lin Fengmian's originals
and print, according to Wu Guanzhong's recall,
1960s
in those days the only time he saw Principal
Ink on paper
Lin's work was appeared in a publication called
47 x 35 cm; 35 x 35 cm (image)
Children. He sighed with emotion, but suddenly
Signed lower right Lin Fengmian in Chinese
realized that, "It actually published in the most
appropriate place. Young at heart VS childlike
innocence!" (Wu Guanzhong: To Teacher Lin Fengmian
With an inscription by fellow artist Zhu Jizhan, Recalling Gardener in Flower Garden, No. 33, Artist)
Great View-A marvelous work by Fengmian
Lin Fengmian's bird pictures usually adopt
PROVENANCE:
light lines to draw a solitary bird up in the
Collection of Sanhuai House, Hong Kong
branch. Some researchers think these works are
1960 more like ordinary paintings, some think they
ILLUSTRATED:
represent the independence, unruliness, grief and
Zhou Weiming ed., Collection of Art Garden
indignation, pessimist inward world of the artist.
Studio No.72: Sanhuai House's Modern Chinese
In fact, there are many famous experts have
Paintings, People Fine Arts Publishing House,
produced pictures themed Great View, in which
Shanghai, 2004, color illustrated, no. 2, p. 1
Qi Baishi's Great View as a tribute to Eagle,

33 experienced touches draw the outline of Eagle's
NT$ 2,000,000-3,000,000 commanding, aloof and proud inviolability

US$ 62,500-93,800 manner, create a "imminent danger" dangerous
HK$ 476,000-714,000 situation on the picture. But Lin Fengmian's
Great View is themed at owl through painting,
plump, rich and layered picture composition
make the protagonist at the center of the picture
appear perversely, but with lots of human
1960
emotions, the work was created in 1960s when

the artist lived in convulsion, ups and downs.
47 x 35 cm35 x 35 cm
This work not only presents the artist's usual
social stand and feelings of the time, but also
highlights the artist's unchanged true nature in

the adversity through the form of childhood fun
20 performance of an owl.
60
The collector got this work from an old
gentleman who once worked for Shanghai

Museum. The old gentleman received this
work as a gift from Lin Fengmian, and
then he invited the painter Zhu Jizhan who
returned from Japan to inscribe: "Great View".

200421
The intensity and abundance of calligraphy
presented another kind of reflection and spice
on the work.
142
144
179
LIN Fengmian
(Chinese, 1900-1991)
Flowers in Vase
c. 1970s
67 x 65 cm
Signed lower left
Lin Fengmian in Chinese
PROVENANCE:
Christie's sale, Hong Kong,
May 28, 2007, lot 1191
NT$ 4,200,000-5,800,000
US$ 131,300-181,300
HK$ 1,000,000-1,381,000
1970
67 x 65 cm
2007
5281191
Whenever we are close to the image of natural flowers, we are moved and fascinated by
their thriving vitality, and have all our sufferings and twist and turns of life removed in the
face of this splendor. Lin Fengmian led a tough life, yet had an ardent love for flowers and
nature. His painting of flowers made a great many people gasp in admiration. Of course,
there are also times when a calm and peaceful mood overwhelms.
The painting "Flowers in Vase" uses simple background lines to retain a sense of traditional
Chinese ink impressions and a profound aesthetic prospect. The plain vase with elegant
yellow roses raises people's poetic imaginations, while the composition of the picture's
form and layout shows influences from western painting. As for the color, the artist uses
a combination of ink, gouache and watercolor to enrich the expressiveness of Chinese
painting. The white gouache outline in particular, adds a sense of luminous effect to the
painting. By integrating modernity into traditional aesthetics, Lin's artwork is unique among
modern Chinese artists.
180
CHU Teh-chun
Aux sources de la nuit
2004
Oil on canvas
195 x 130 cm
Signed lower right CHU TEH-CHUN in
Chinese and English, dated 04
Titled on the reverse "AUX SOURCES dE LA
NUiT" in French and signed CHU TEH-CHUN
in Chinese and English, dated 2004
EXHIBITED:
Chu Teh-chun: Painting World, Impressions Art
Gallery, Taipei, June 2005
ILLUSTRATED:
Impressions Classics IX: Chu Teh-chun,
Impressions Art Gallery, Taipei, 2005, color
illustrated, no. 079, p. 116
2003430x730cm
authenticity issued by Asia Art Center, Taipei.

NT$ 7,500,000-8,800,000
US$ 234,400-275,000 2004

HK$ 1,786,000-2,095,000

2004 Chu Teh-chun's mural-sized oil painting "Symphonie Festive" (430x730cm) was completed in
2003 and snatched up in the same year to become part of the Shanghai Grand Theater's permanent
195 x 130 cm collection. Through vivid colours and a great variety of shifting patterns, the artist conveys a merry
CHU TEH-CHUN 04 atmosphere with a brisk and relaxed rhythm reminiscent of a symphonic poem.
"AUX SOURCES DE LA NUIT"
CHU TEH-CHUN 2004 "Paysagisme des songes" describe Chu Teh-chun's painting style. His more recent work in particular
displays a natural and uninhibited release of form and color. Together with Zao Wou-ki, Chu Teh-chun
is one of the most famous abstract painters of Chinese descent, both in China and internationally. But
unlike Zao, who tends to simply name his works after the date of completion, Chu usually devises
20056 poetic titles, which point the beholder towards deeper appreciation of the painting. This painting
from 2004 titled "Aux sources de la nuit" is one of his recent masterpieces. Numerous shades of red,
yellow and blue are set off with particular intensity and luster against the black background. The bold
I X composition and rich hues dazzle the viewer with multifaceted layers of space and color. The dotted
2005079116 slabs of paint seem to be dancing like musical notes on the surface of the painting, metamorphosing
into blossoming flowers or bright, lucid rays of light the next moment, ever communicating the
multitude of pleasant recollections of a long life effusing from the depth of the artist's heart.
146
181
YANG San-lang
Chih Shan Yen
Oil on canvas
91 x 116.5 cm
Signed lower right S. Yang in English
EXHIBITION:
Exhibition for Yang San-lang's Top 10 Pieces:
Country Landscape and Seascape, Fine Art
Center, Tainan, 1997
ILLUSTRATED:
Exhibition for Yang San-lang's Top 10 Pieces:
Country Landscape and Seascape, Fine Art
Center, Tainan, 1997, color illustrated, pp. 14-15
2000 Taiwan Art (Part II), Southern Taiwan
Art Collectors Association, Taiwan, 2000, color
illustrated, pp. 92-93

91 x 116.5 cm
authenticity issued by Fine Art Center, Tainan.
S. Yang
NT$ 4,600,000-5,600,000
Yang San-lang always pursued impressionism,
US$ 143,800-175,000 V.S.
focusing on open-air painting and the change
HK$ 1,095,000-1,333,000 1997
of shadows under sunlight as well as timing
sequence. Apart from his emphasis on nature

and the strength of the texture carried by the
VS
brushwork, the artist often used both brushes
1997.1
and palette knives to enrich the brushwork and
14-15
reinforce the quality of and the paint's volume.

Often, this one final touch highlighted the sense
200012
of reality and made the whole work alive.
92-93
This precious piece of "Chih Shan Yen" is

one of Yang San-lang's rare huge paintings.
The red and green colors at the center of
the painting are in stark contrast with each
other. The prodigious use of red-orange, deep
brown-yellow and mixed colors as well as
firm, hard touches and homelike feelings
reflect the author's state of mind as well as the
nobleness and elegance of the ancient houses.
Therefore, this painting with its strong local
flavor represents not just an artwork of Yang
San-lang's, but also his life's pursuit of an
independent painting style.
148
182 "I use simple, intense colors and the contrast to
bring up more colors, in the mean time, I pay
LIAO Chi-chun
attention to the aesthetic delight between lines
when shaping. It is not about my impressions in
a specific time; it's simply about representing
Guanyin Mountain and Tamsui
the colors that I wanted to represent." (Lin Hsing
River Yueh The Rainbow Across the Gap Between Generations -

Liao Chi-chun's artistic life by Lin Hsing-yueh, Cathay Art
1974
Museum, Taipei, published on March, 1981, pp. 230 - 231)
Oil on canvas
31 x 41 cm
With an inscription on the reverse written by In the 1960s when he returned from his visit
Liao Shu-chung: This is my father's original oil to Europe and the United States, he was quite
painting 41x31cm certified by Shu-chung Liao, impressed with American abstract art and
Chi chun Liao's son at Ann Arbor MI, March European civilization. Between the 1960s and
22, 1992 1970s, Liao Chi-chun's paintings reached their
- peak. In particular, the splendid scenery of
PROVENANCE:
Venice, the busy shuttles on the water and the
Collection of Liao Shu-chung, the forth son of
19813230-231 free atmosphere for creation affected Liao so
the artist much that upon his return to Taiwan, he quickly
1960 found his own intuition. Fresh water, love,
Venice, wild willows or East Port, the last leg
1960-1970 of his life's journey, all these famous attractions
authenticity and a picture of the artist's family.
of water takes on a lively outlook under his
brush.
NT$ 6,000,000-8,000,000
US$ 187,500-250,000 Created in 1974, this lot "Guanyin Mountain
HK$ 1,429,000-1,905,000 and Tamsui River" is one of his classics.
Adopting a dotting technique, the color of the
sky and the water floats smoothly, while fishing
boats shuttle back and forth in bright colors.
The layout of the vessels does not become
1974
1974 messy because of the complexity of the colors.

Instead, the freshness of the colors helps to
31 x 41 cm
extend the little fishing port to the skyline in
41x31cm
the distance.
1992322

What is most praised about Liao Chi-chun's

paintings is his use of colors; art critics praised
him as "the magician of colors". The artist

said that his colors are deceivable, untrue to
nature. However, it has no difference from
overthrowing the "nature is the mentor"
tradition of Chinese painters; he took up
the aesthetic concepts from Fauvism and
Expressionism. He willfully gave the scenery
colors from his subjective point of view, and he
harmonized, blended those colors together, and
shaped the scenery freely at the same time, to
achieve a joyful and cheerful feeling.
As for the use of colors and shapes, Liao Chi-

chun had his own point of view, he once said:
150
183
JU Ming
Taichi Series - Single Whip
1981
75(L) x 40(W) x 44.5(H) cm
Engraved Ju Ming in Chinese, numbered 13/20
and dated '81

NT$ 9,000,000-12,000,000
US$ 281,300375,000
HK$ 2,143,0002,857,000
1981
13/20
75() x 40() x 44.5() cm
13/20 '81
152
When studying under Yuyu Yang, the doyen of
Taiwanese sculpture, Ju practised Taichi Chuan
on a daily basis. In addition to staying healthy,
he soon grasped the essence of this ancient sport
and began to ponder conveying his insights
through works of sculpture. Taichi became the
'language' in which his sculpture was 'written'.
As Ju Ming explains, 'Taichi Chuan is a method
of maintaining your health through regular soft
exercise. At the same time, it is the best example
of "achieving oneness between individual and
nature" that I am aware of.' Taichi Chuan is a
way of directly experiencing and emulating the
natural phenomena that make up our universe.
Ju Ming is devoted to the pursuit of this 'natural
harmony', both in his life and his art. Having
internalized taichi's principles, he strives to Taking a closer look at the low single whip
reveal them to others in his work, melding movement one discovers that it begins with
taichi and artistic skills into straightforward, the feet, continues with the legs, is controlled
unembellished manifestations of 'man's oneness by the waist and finds its final expression in
with nature'. the hands. The entire body is involved in the
fluid motion. Vital energy, or chi, travels from
Ju Ming's Single Whip epitomizes the the bottom to the top, from the feet through
fascinating tension between inner tranquility the legs to the waist, while the adept moves in
and outward action characteristic of most accordance with the prescribed postures. While
taichi moves. In this piece, Ju transcends the the look on the face is blank, the sculpture is yet
limitations of traditional sculpture, focussing not brimming with expression, conveyed through
on the physical substance but its gentle motion, the chi made visible in its lines and curves: the
the aesthetic appeal that lies in the fluid lines pieces of the Taichi series portray not only the
and vigourous momentum of the low single adept's movements and breathing, but reveal
whip move. In doing so, he gives us a hint of his very mind. Ju Ming does not botherdoes
how taichi allows the life force to circulate not need to botherwith a detailed depiction
freely through the adept's body, just as taichi of facial features, because his concern is the
grandmaster Wang Zongyue put it, 'The energy performer's 'inner expression', the face of his
originates in the spine, and flows as the feet soul as seen through the movements. 'The
follow where the trunk leads. Contraction and chi should flow freely and the mind be calm':
relaxation are one, overlapping and merged in nothing could describe the art of Ju Ming better
constant repetition, continually alternating as than this old Taichi adage.
one advances and retreats.'
184
JU Ming NT$ 3,200,000-4,200,000
(Taiwanese, b. 1938) US$ 100,000131,300
HK$ 762,0001,000,000
Taichi Series
1995
43(L) x 36.5(W) x 56.5(H) cm 1995
Engraved Ju Ming in Chinese, numbered 6/10
and dated '95 43() x 36.5() x 56.5() cm
6/10 '95
154
156
185
JU Ming
Buffalo
1990
Wooden sculpture
106(L) x 24(W) x 40(H) cm
This sculpture is to be sold with a certificate of

NT$ 1,600,000-2,800,000
US$ 50,000-87,500
HK$ 381,000-667,000
1990
106() x 24() x 40() cm

'90
186
Yuyu YANG
(YANG Ying-feng)
Advent of the Phoenix
1970
Stainless steel, edition no. 8/20
63(L) x 53(W) x 68(H) cm
Engraved on the base Yuyu YANG in Chinese
and English, Yang YF in English, dated '70 and
numbered 8/20
This sculpture is to be sold with a certificate

of authenticity issued by the Yuyu Yang
Foundation, Taipei.
NT$ 950,000-1,500,000
US$ 29,700-46,900
HK$ 226,000-357,000

()
1970
8/20
63() x 53() x 68() cm
'70 Yuyu YANG
Yang YF, 8/20
158
187
LIANG Pin-cheng
Golden Mask 703
2007, gold leaf, Taiwan Yew

60(L) x 19(W) x 175(H) cm (including the base)
Signed on the back Liang Pin-cheng in Chinese and dated 2007
NT$ 400,000-450,000
US$ 12,500-14,100
HK$ 95,000-107,000

703
2007 60() x 19() x 175() cm ()
2007
703

703

Liang Pin-cheng's "Golden Mask 703" series subverted the traditional form and structural
depiction of wooden sculptures, and is different from the western sculpture prototype theory.
It uses freehand brushwork and conversion of concepts as a form of expression. Extended
from natural plants, pupa cocoons and kernels, the angles and wings in the mask are mainly
taken from the plants' sprouting in the real world or the new life after bio-transformation.
The overall form of the sculpture adopts the column form of Chinese inscriptions and
expresses feeling through the artist's exquisite cutting and carving. A "dual vision" of positive
and negative space is emphasized to create a concrete form for viewing the variant. "Golden
Mask" seeks to review history and culture as well as to construct a new face of contemporary
art
"Golden Mask 703" can be regarded as a farewell to the old days and a desire for a new
era. It can also be seen as disguised reality. Living in secluded mountains, Liang Pin-cheng's
source materials are completely taken from nature. However, his mood, memory, salvation
and hope are also expressed through his works via nature.
160
188
Hung Yi
Male Tree - Middle
2009
Lacquered steel (unique)
97(L) x 55(W) x 168(H) cm
Signed Hung Yi in Chinese and dated 2009
NT$ 450,000-550,000
US$ 14,100-17,200
HK$ 107,000-131,000

2009

97() x 55() x 168() cm
2009
162

Hung Yi's works are always secular. The little

characters who are involved in everyday life
can always show joy, anger, grief and happiness
in his works that arouse a sympathetic laugh.
Appreciating Hung Yi's works, you are reading
an amazing and common folk story which has
magic arcs and abundant plots. His stories have
rich contents, everything like warmth, sadness,
sophisticated and humorous crafty, childish
and nave dreams, people and affairs that may
happen to anybody among us, image of all
human beings in the diverse society. But there
is no hoity-toity, fake profoundness or shouting
criticism, and he might use metonymy that
makes you laugh to disclose the dark side of
the society. Hung Yi is alive and free from any
restraints in his work, which is so exuberant
and abundant that there seems to be infinite
vital creative ideas and inexhaustible artful
thoughts.
Hung Yi's work "Male Tree" shows lovely

style of Taiwan, from which you can feel
full native sense. The work Male Tree has
sophisticated folk cultural totems and symbols
which fully show the artist's sense of humor
towards life and everything. The avatars of
folk culture and everyday life mix the artist's
observation and feelings of land into the image,
and the barbaric-looking but absolutely lovely
things are messengers through which Hung
Yi communicates the ideal of "Art Your Life".
Hung Yi thinks the human world is adorable
while Taiwan is absolutely a Fairland.
189
LIANG Pin-cheng
19581983
Platinum Fertile Soil 1985

2008
184(L) x 88(W) x 46(H) cm
Signed Liang Pin-cheng in Chinese and dated
2008, numbered 2/6

NT$ 450,000-500,000

US$ 14,100-15,600
HK$ 107,000-119,000
2008
2/6
184() x 88() x 46() cm
2008 2/6
164
Born in Pingtung, Taiwan, in 1958, Liang "The outward appearance is usually false. the work "Platinum Fertile Soil", there is an
Pin-cheng won the first Hsiung-shih New The real thing lies within. We should seek extension of tension in stark contrast with
Artist Award in 1983, and graduated from the to find a new possibility for sculpture under the inside exquisiteness and plumpness of
Western Painting Group at the Chinese Cultural contemporary culture." the sculptures. Liang pin-cheng got rid of the
University in 1985. Later, he went to the common practice of tradition and provided
United States to study at New York University, Liang Pin-cheng's works are unique. The people impressions of inversion and sense of
and returned to Taiwan with impressionistic stainless steel material renders the sculptures a wonder through destruction and reconstruction.
sculptures besides his paintings, using an balanced beauty and delicate and cold texture. From the depiction of cutting to visual linear
improvisation performance. Liang Pin-cheng The lines of the works are smooth and accurate, rhythm, the artist is adept in dealing with the
thinks that materials are the media through a good combination of ease and restraint. In art of ink and opens a new vision for sculpture
which the connotation of art can be revealed. with his conception of out-phase and variant.
190
YU Shenghao
(Chinese, b. 1973)

Courtyard House This painting is to be sold with a certificate

1998
of authenticity issued by Shoreman Art
1998
International, Taipei.
80 x 65 cm YSH
Signed lower right YSH in English NT$ 120,000-220,000 size 80 x 65 98-6-02
Titled on the reverse Courtyard House in US$ 3,800-6,900
Chinese, size 80 x 65 and dated 98-6-02 HK$ 29,000-52,000
166
191
XUE Song NT$ 240,000-350,000
(Chinese, b. 1965) US$ 7,500-10,900
HK$ 57,000-83,000
Coca Cola
2006
Mixed media on canvas, collage, 80 x 60 cm
Signed lower right Xue Song in Chinese 2006 80 x 60 cm
Titled on the reverse Coca Cola in Chinese,
size 80 cm x 60 cm, signed Xue Song in Chinese 80 cm x 60 cm
and English, dated 2006 Xue Song 2006
192
TU Hongtao
(Chinese, b. 1976)
Illusion
2004
Oil on canvas
60 x 40 cm
Signed lower left Tutu in English and dated
2004
Titled on the reverse Illusion in Chinese, dated
2004, signed Tu Hongtao Chengdu Sichuan
China in Chinese and size 60 x 40 cm
NT$ 120,000-220,000
US$ 3,800-6,900
HK$ 29,000-52,000
2004

60 x 40 cm
Tutu 2004
2004
60 x 40 cm
168
193
JIA Gang
(Chinese, b. 1974)

Which Gift Is Mine 2003

2003 100 x 120 cm
Oil on canvas ILLUSTRATED: 2003
100 x 120 cm 2004 Mood of the Youth - Exhibition of Rewarded
Signed lower right Jia Gang in Chinese and Paintings of Chinese Newly Emerging Artists,
dated 2003 He Xiang Ning Art Museum, Shenzhen, 2004, 2004
color illustrated, p. 70 2004
EXHIBITED:
2004 Mood of the Youth - Exhibition of Rewarded NT$ 220,000-350,000
Paintings of Chinese Newly Emerging Artists, US$ 6,900-10,900 2004
He Xiang Ning Art Museum, Shenzhen, 2004 HK$ 52,000-83,000 200470
194
CHEN Liu
(Chinese, b. 1973)
The Segmented Series (A pair)
2005
Watercolor on paper
58 x 38 cm (x2)
Signed lower center Chen Liu in Chinese and
dated 2005.6 (left)
Signed lower center Chen Liu in Chinese and
dated 2005.5 (right)
2005

NT$ 120,000-220,000 58 x 38 cm (x2)
US$ 3,800-6,900 2005.6
HK$ 29,000-52,000 2005.5
170
195
NT$ 220,000-350,000
SUN Lisha US$ 6,900-10,900
(Chinese, b. 1984)
HK$ 52,000-83,000
Sleepless Night

2008
Oil on canvas 2008
160 x 120 cm
Signed lower left Sun Lisha in Chinese and 160 x 120 cm
dated 2008.2.19 2008.2.19
196
Wang Kun
(Chinese, b. 1958)

Highland Symphony IV
This painting is to be sold with a certificate of 1998
1998 authenticity issued by Julia Gallery, Taipei.
Oil on canvas 90 x 115.7 cm
90 x 115.7 cm NT$ 220,000-350,000 1998.4
Signed lower left Kun in Chinese and dated US$ 6,900-10,900
1998.4 HK$ 52,000-83,000
172
197
QIU Xiaofei
(Chinese, b. 1977)
Classroom 1 Classroom 2
2007
Acrylic on canvas
30 x 40 cm (x2)
Titled on the reverse Classroom
(1) in Chinese and English, media
arcylic on canvas in Chinese and
English, size 40 x 30 cm, dated 2007
and signed Qiu Xiaofei in Chinese
and English (upper)
Titled on the reverse Classroom
(2) in Chinese and English, media
arcylic on canvas in Chinese and
English, size 40 x 30 cm, dated 2007
and signed Qiu Xiaofei in Chinese
and English (lower)
PROVENANCE:
Art Seasons Gallery, Zurich
NT$ 240,000-350,000
US$ 7,500-10,900
HK$ 57,000-83,000
12
2007

30 x 40 cm (x2)
(1) Classroom (1)

arcylic on canvas 40 x 30 cm 2007
Qiu Xiaofei
(2) Classroom (2)
arcylic on canvas 40 x 30 cm 2007
Qiu Xiaofei
198
HOU Chun-ming
Taiwan Squirrel
2007
Mixed media, painted (unique)
38(L) x 55(W) x 68(H) cm
Signed on the reverse Liuchiao Studio,
Hou of Liuchiao Township in Chinese
and dated 2007, Mt. Flame
NT$ 180,000-260,000
US$ 5,600-8,100
HK$ 43,000-62,000
2007

38() x 55() x 68() cm
2007

174
199
Hung Yi
Great Duck
2008
Lacquered steel (unique)
140(L) x 73(W) x 135(H) cm

Signed Hung Yi in Chinese and dated 2008
2008
NT$ 300,000-500,000
US$ 9,400-15,600 140() x 73() x 135() cm
HK$ 71,000-119,000 2008
200
JIAO Xingtao
(Chinese, b. 1970)
ILLUSTRATED: 2006
Matter Morphosis by Jiao Xingtao 2004-
Metamorphosis Gate 1/6
2007, Art Seasons Gallery, Jakarta, 2007, color 113() x 42() x 45() cm
2006 illustrated, p. 88 1/6
Fiberglass, edition no. 1/6
113(L) x 42(W) x 45(H) cm NT$ 350,000-550,000
Signed on the base Jiao Xingtao in Chinese and US$ 10,900-17,200 2004-2007
numbered 1/6 HK$ 83,000-131,000 200788
176
201
ZHOU Chunya
(Chinese, b. 1955) 2007
ILLUSTRATED:
2/8
Blooming Stories, Sichuan Fine Arts' Publishing
Portrait of a Bulldog House, Chengdu, 2007, color illustrated, p. 102
23() x 16() x 15.5() cm

2007
Bronze, edition no. 2/8 NT$ 450,000-650,000
23(L) x 16(W) x 15.5(H) cm US$ 14,100-20,300
Signed Zhou Chunya in Chinese HK$ 107,000-155,000 2007102
202
JIANG Shuo
(Chinese, b. 1958)
Red Guard with Fish
Bronze, limited edition of 6

43(L) x 24(W) x 55(H) cm
Signed Shuo in Chinese and Jiang in English
NT$ 650,000-750,000
US$ 20,30023,400
HK$ 155,000179,000

6
43() x 24() x 55() cm
Jiang
178
203
YANG Mao-lin
Astro Bodhisattva
2003
Bronze, AP1
64(L) x 35(W) x 133.5(H) cm
Signed Yang Mao-lin in Chinese, dated
2003, and numbered AP1
ILLUSTRATED:
Canonization of the Gods - the Pure
Land of Maha, Lin & Keng Gallery,
Taipei, 2006, color illustrated, p. 36
NT$ 500,000-700,000
US$ 15,600-21,900
HK$ 119,000-167,000

2003
AP1
64() x 35() x 133.5() cm
2003 AP1

2006
36
180
204
Yuyu YANG
(YANG Ying-feng)
The East and West Gates
1973
89(L) x 89(W) x 52.5(H) cm (including the
base)
Signed Ying-feng in Chinese, dated '73 and
numbered 10/20

ILLUSTRATED:
1973
Yuyu Yang Corpus, Artist Publishing Co., Tapei,
10/20
2005, p. 258
89() x 89() x 52.5() cm
'73 10/20
This scupture is to be sold with a certificate
of authenticity issued by the Yuyu Yang
Foundation, Taipei.
2005258
NT$ 550,000-700,000
US$ 17,200-21,900
HK$ 131,000-167,000
182
205
LEE Jae-hyo
(Korean, b. 1970)
0121-1110=10908
2009
Wood, stainless steel bolts, nails
120(L) x 40(W) x 120(H) cm
Titled 0121-1110=10908 0121-1110=10908
2009
ILLUSTRATED
Return to Nature: Lee Jae-Hyo, Ever Harvest Art 120() x 40() x 120() cm
Gallery, Taipei, 2009, color illustrated, pp. 27 0121-1110=10908
NT$ 700,000-800,000
US$ 21,900-25,000
HK$ 167,000-190,000 200927
206
HUANG Gang
(Chinese, b. 1961) 2001
ILLUSTRATED:

Eminent Chinese Artist - Huang Gang: Revolve
Red Triangle Tower Golden Imprint, Pin Art Space, Taipei, 2008,
80 x 80 cm
Huang Gang 2001
color illustrated, p. 6 and pp. 72-73
2001
Mixed media on board
80 x 80 cm NT$ 350,000-550,000
Signed lower right Huang Gang in English and US$ 10,900-17,200 2008
Chinese, dated 2001 HK$ 83,000-131,000 672-73
184
207
YANG Din
(Chinese, b. 1958)
1996
Inspiration des Pyrnns
195 x 130 cm
ILLUSTRATED:
1996 Yang Din
Yang Din, Kwai Fung Hin Art Gallery, Hong
Oil on canvas Yang Din "Inspiration des Pyrnns"
Kong, 2002, color illustrated, pp. 60-61
195 x 130 cm 1996.10 195 x 130 cm
Signed lower right Yang Din in English
Signed on the reverse Yang Din in English, NT$ 550,000-750,000
titled Inspiration des Pyrnns in French, dated US$ 17,200-23,400 2002
1996.10 and size 195 x 130 cm HK$ 131,000-179,000 60-61
208
YANG Din
(Chinese, b. 1958)
Purple Landscape
1998
Oil on canvas
110 x 190 cm
Signed lower right Yang Din in French
Signed on the reverse Yang Din in French, size
110 x 190 cm and dated 1998.4
1998

NT$ 500,000-700,000 110 x 190 cm
US$ 15,600-21,900 Yang Din
HK$ 119,000-167,000 Yang Din 110 x 190 cm 1998.4
186
209
XIONG Yu
(Chinese, b. 1975)

Titled on the reverse Rushing Rivers and signed
Rushing Rivers
Xiong Yu in Chinese, dated 2005, size 200 cm x 150 2005
2005 cm, media oil on canvas in Chinese
200 x 150 cm NT$ 500,000-800,000 2005
Signed lower right Xiong Yu in Chinese and US$ 15,600-25,000
dated 2005 HK$ 119,000-190,000 2005 200 cm x 150 cm
210
CHEN Liu
(Chinese, b. 1973)
Door Gods (diptych)
2006
Oil on canvas
140 x 80 cm (x2)
Signed lower left Chen Liu in Chinese and
dated 2006. 10. 20 (left)
Signed lower right Chen Liu in Chinese and
dated 2006. 11. 8 (right)
ILLUSTRATED:
Chen Liu - The Celestial, printed by
Proeditor Culture Co. Ltd., Taipei, 2008,
NT$ 450,000-550,000
US$ 14,100-17,200
HK$ 107,000-131,000

2006

140 x 80 cm (x2)
2006.10.20
2006.11.8

200856-57
188
211
HUANG Gang
(Chinese, b. 1961) ILLUSTRATED:

Eminent Chinese Artist-Huang Gang: Revolving
110 x 20 cm (x4)
Calligraphy Series (polyptych) Golden Imprint, Pin Art Space, Taipei, 2008,
Huang Gang
Mixed media on panel
110 x 20 cm (x4) NT$ 450,000-750,000 -
Signed lower right Huang Gang in English and US$ 14,100-23,400 2008
Chinese on each panel HK$ 107,000-179,000 36-39
190
212
LIU Baomin
(Chinese, b. 1968)
Landscape of Illusion

2007 2007
Acrylic on canvas
authenticity issued by Yan Club Arts Center,
100 x 249.5 cm 100 x 249.5 cm
Beijing.
Signed lower right Liu Baomin in Chinese and Liu Baomin 2007.5
English, dated 2007.5 100 x
Titled on the reverse Landscape of Illusion in NT$ 450,000-750,000 249.5 cm 2007
Chinese, signed Liu Baomin in Chinese, size US$ 14,100-23,400
100 x 249.5 cm and dated 2007 HK$ 107,000-179,000
213
Zhang Xiaotao
(Chinese, b. 1970)
The Decay of Landscape:

Cloud and Mist
2006
Oil on canvas
150 x 120 cm
Titled on the reverse The Decay of Landscape:
Cloud and Mist in Chinese, size 150 x 120 cm,
media oil on canvas, signed Zhang Xiaotao and
dated 2006.4 in Beijing 798
NT$ 700,000-900,000
US$ 21,900-28,100
HK$ 167,000-214,000

2006

150 x 120 cm
150 x 120 cm
2006 4798
192
214
HONG Ling
(Chinese, b. 1955)
The Pond in a Tranquil Valley
2001
Oil on canvas
80 x 100 cm
Signed upper left Hong Ling in Chinese and
dated 2001
Titled on the reverse The Pond in a Tranquil
Valley in Chinese, size 100 x 80 cm, dated 2001
and signed Hong Ling in Chinese

NT$ 550,000-750,000
US$ 17,200-23,400
HK$ 131,000-179,000
2001

80 x 100 cm
2001
100 x 80 cm
2001
194
215
LI Jisen
(Chinese, b. 1970)
Chess: East vs West

(diptych)
2007
Oil on canvas
150 x 150 cm (x2)
Signed lower right Li Jisen in
Chinese and dated 2007.6
Titled on the reverse Chess:
East vs West in Chinese, size
150 cm x 150 cm x 2, signed Li Jisen
in Chinese and dated 2007.6
ILLUSTRATED:
Eminent Chinese Artist: Li
Jisen - Great Ambition, Ping
Art Space, Taipei, 2008, color
illustrated, pp. 88-89
NT$ 800,000-900,000
US$ 25,000-28,100
HK$ 190,000-214,000
2007

150 x 150 cm (x2)
2007.6
150 cm x 150 cm x 2
2007.6
2008
88-89
196
216
YIN Qi
(Chinese, b. 1962)
Interior No. 16
2003
Oil on canvas
210 x 180 cm
Titled on the reverse Interior in Chinese, signed
Yin Qi in Chinese and English, dated 2003,
size 210 x 180 cm and media oil on canvas
NT$ 850,000-1,000,000
US$ 26,600-31,300
HK$ 202,000-238,000

No. 16
2003

210 x 180 cm
YIN QI 2003 210 x 180 cm

198

Heigen is the most important dog in Chinese

contemporary art history. It came into Zhou
Chunya's life in 1994. He is playful and
hyper. At that time, Zhou was still living with
his ex-wife and had no children, he used to
call the dog Heigen his "son". This shepherd
dog, which had been with Zhou for more than
five years, was not only his companion, but
also played an important part of the artistic
inspiration in his creations.
Heigen delights Zhou Chunya and further

became his special companion and the main
character in his paintings. The creation of the
series of painting - "The Heigen's Family"
- was an important transition of his art life.
Zhou Chunya said. "Previously, I have painted
217 subjects based on stone, human body and
ZHOU Chunya flower, and often I read books of Chinese
(Chinese, b. 1955) 1994 traditional paintings at that time. From then on,
I began to pay close attention to things around
The Heigen Family me, but still carried on with my previous
drawing style." "The Heigen's Family" was an
1996, oil on canvas, 100 x 80 cm important artwork in his transformation which
Signed lower right Zhou Chunya in Chinese has integrated the traces of influence both
and dated 1996 from the east and the west. Just as the artist
mentioned in his diary, the composition of the
NT$ 3,200,0004,200,000 painting showed his state of mind: it is natural
US$ 100,000131,300 and simple, happy and relaxed.

HK$ 762,0001,000,000
This painting, the artist placed himself in
the center of the picture to construct a more
complete family with the Heigen's family. From
the layout of it, the viewers could imagine the
1996 100 x 80 cm mood as well as the state of mind when he
1996 created this work.
200
218 1990
ZHOU Chunya

(Chinese, b. 1955)

Flower

1997
Oil on canvas
100 x 80 cm
Signed lower right ZHOU CHUNYA in Chinese
and English, dated 1997

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

US$ 112,500143,800

HK$ 857,0001,095,000

1997 100 x 80 cm As early as the beginning of 1990, Zhou Chunya
1997 ZHOU CHUNYA had begun the creation of his "Flower" series.
Flowers have been a traditional motif for
Chinese artists to express in their works. Zhou
Chunya recreates this concept in his Flower
series. In the work "Flower", Zhou Chunya
has integrated the language of traditional
Chinese painting with western sketching. Most
importantly is that he has adopted a totally
different technique. He has used the expression
technique of liberal strokes, fully demonstrating
his bold and broad style of expressionism. In
Zhou Chunya's painting, flowers, the traditional
Chinese theme, presents charming glory under
the aura of Western painting skill, realizing
a perfect integration of Chinese and Western
painting languages. Additionally, Zhou Chunya's
bold color application and his expression mode
of liberal strokes complete each other. Both color
and composition present a bold and mysterious
sense. Such innovative and bold artistic creation
has reached an extraordinary effect. In Zhou
Chunya's view, form and color of such non-
mainstream works align with his disposition.
With his uninhibited traits he constructs
traditional humanistic paintings that are "warm
and introvert".
202
219
HUANG Gang

(Chinese, b. 1961)

Sky & Land (diptych)

2009

Mixed media on board

220 x 220 cm
Signed lower left Huang Gang in English and

Chinese, dated 2009

NT$ 3,200,0004,600,000

US$ 100,000143,800
HK$ 762,0001,095,000
Simplicity, gracefulness and strong visual

2009 impact form the unique painting style of artist
Huang Gang. This lot has demonstrated the
220 x 220 cm artist's praise of the nature and the soul. The
Huang Gang 2009 powerful horizontal composition symbolizes
the abstract but perceivable imagination among
the sky, the earth and the human soul. The old
suitcase, the wooden Sutra, the use of warm
colors and the natural tiger and leopard skins
epitomize the warmth and the wild sides of
nature. It represents the purity and faith of
ones' beliefs. This is a magnificent piece of
work showing the perfect harmony of man and
nature.
Huang Gang has executed the piece in a

contemporary way but with the respect of
Asian taste, he has kept the old suitcase and
the wooden Sutra and has preserved the
original textures and colors. With the artist's re-
structuring, decorating and painting, the work
has endowed a sense of beauty across time
and space, with poetic and humanistic care
permeating the whole piece.
204
220
Masao KINOSHITA
(Japanese, b. 1971)
Ganesha
2006
Painted fiberglass and crayon, edition no. 2/3
60(L) x 57(W) x 161(H) cm (including the
base)
ILLUSTRATED:
Masao Kinoshita, Eslite Gallery, Taipei,
October 2008, color illustrated, cover page and
pp. 6-7
NT$ 950,000-1,200,000
US$ 29,70037,500
HK$ 226,000286,000

2006
2/3
60() x 57() x 161() cm

200810
6-7
206
221
Gabriel BARREDO
(Filipino, b. 1957)
Innocence Lost
2008
Rubber, fiberglass, aluminum,
metal with electrical installation
(unique)
54(L) x 14(W) x 69(H) cm
NT$ 700,000-900,000
US$ 21,900-28,100
HK$ 167,000-214,000

2008

54() x 14() x 69() cm
208
222
Ai HAIBARA
(Japanese, b. 1981)
Castle
Painted wooden sculpture (unique)

42(L) x 31(W) x 55(H) cm
NT$ 160,000-280,000
US$ 5,000-8,800
HK$ 38,000-67,000

42() x 31() x 55() cm
210

223
4
JI Yong Ho 2009
(Korean, b. 1978) 85() x 40() x 60() cm
JYH
Wild Boar Head 4

2009
Used tire, steel, wood, styrofoam (unique) ILLUSTRATED: 200982820099
85(L) x 40(W) x 60(H) cm Ji Yong Ho - Mutant Colour, Soka Art Center, 20
Signed back of right eyeball JYH in English Taipei, color illustrated, pp. 33-34

EXHIBITED: NT$ 500,000-700,000
Ji Yong Ho - Mutant Colour, Soka Art Center, US$ 15,600-21,900 2009
Taipei, August 28 - September 20, 2009 HK$ 119,000-167,000 33-34
224
KIM Byung Jin
(Korean, b. 1974)
Red Blossom
Steel wire (unique)

154 x 79 cm

NT$ 120,000-220,000
US$ 3,800-6,900
HK$ 29,000-52,000 154 x 79 cm
212
225
KWON Ki Soo
(Korean, b. 1972)
Butterflies
Mixed media, computer print

130 x 104 cm

NT$ 200,000300,000
US$ 6,3009,400
HK$ 48,00071,000 130 x 104 cm
226
KIM Byung Jin
(Korean, b. 1974)
Pine Tree
Steel wire
110 x 90 cm
NT$ 140,000240,000
US$ 4,4007,500
HK$ 33,00057,000
110 x 90 cm
214
227
KIM Nampyo
(Korean, b. 1973)
Instant Landscape Machine 2
2009
Acrylic and charcoal on canvas, artificial fur
118 x 91 cm
Titled on the reverse instant landscape -
machine 2 in English, signed nampyo kim in
English and dated 2009 2009

NT$ 220,000-350,000 118 x 91 cm
US$ 6,900-10,900 instant landscape - machine 2
HK$ 52,000-83,000 nampyo kim 2009
228
KWON Ki Soo
(Korean, b. 1972)
Four Seasons - White
2007
Acrylic on canvas
130 x 130 cm
Signed on the reverse Kwon Ki Soo in Han
characters and English, dated 2007
NT$ 550,000-750,000
US$ 17,200-23,400
HK$ 131,000-179,000

2007

130 x 130 cm
Kwon Ki Soo 2007
216
229
YOON Jongseok
(Korean, b. 1970)
Power
2009
Acrylic on canvas
227 x 182 cm
Signed on side Yoon Jongseok in English and
dated 2009
EXHIBITED:
Yoon Jong Seok Camouflage, Gallery Artiside
Seoul, Oct.7 - 26, 2009
ILLUSTRATED:
Yoon Jong Seok Camouflage, Gallery Artside
Seoul, 2009, color illustrated, p. 51
NT$ 900,000-1,200,000
US$ 28,100-37,500
HK$ 214,000-286,000

2009

227 x 182 cm
Yoon Jongseok 2009

20091071026

2009 51
218
230
KIM Tschang-yeul
(Korean, b. 1929)
Words in the Water
2007
Oil on canvas
115 x 160 cm
Signed right edge Kim Tschang-yeul in Han
characters and T. Kim in English, numbered
PA0700H2-05
NT$ 2,200,000-3,400,000
US$ 68,800-106,300
HK$ 524,000-810,000

2007

115 x 160 cm
PA 0700H2-05 T. Kim
220
231
CUI Xiuwen
(Chinese, b. 1970)
Angel No. 5
2006
Digital print on photographic paper, edition
no. 6/8
100 x 150 cm
Signed on the reverse "Angel" No. 5 in English,
numbered 6/8, signed Cui Xiuwen in Chinese and No. 5
Xiu wen in English, dated 2006.11
2006
6/8
NT$ 200,000-300,000 100 x 150 cm
US$ 6,300-9,400 "Angel" No. 5 6/8
HK$ 48,000-71,000 XIU WEN 200611
222
232
MIAO Xiaochun NT$ 200,000-300,000
(Chinese, b. 1964) US$ 6,300-9,400
HK$ 48,000-71,000
The Last Judgement in Cyberspace-
The Rear View

2006
Type-C print, edition no. 3/9 2006
197 x 170 cm (image) 3/9
218 x 182 cm (photographic paper) 197 x 170 cm ()
Titled The Last Judgement in Cyberspace- 211 x 182 cm ()
The rear view in English and Chinese, signed 3/9 The Last Judgement in Cyberspace-
MIAO XIAOCHUN in English and Xiaochun in The rear view MIAO
Chinese, numbered 3/9 and dated 2006 XIAOCHUN 2006
233
Mika NINAGAWA
(Japanese, b. 1972)

Fish Series
2003
2003
C-print mounted on plexiglas 26 x 36 cm (x4)
26 x 36 cm (x4)
Signed on the reverse Mika Ninagawa in English, Mika Ninagawa 2003 1/10 ()
dated 2003 and numbered 1/10 (upper left) ILLUSTRATED Mika Ninagawa 2003 2/10 ()
Signed on the reverse Mika Ninagawa in English, Ninagawa Mika - Liquid Dreams, Kawade Mika Ninagawa 2003 4/10 ()
dated 2003 and numbered 2/10 (upper right) Shobo Shinsha, Tokyo, 2003, color illustrated Mika Ninagawa 2003 2/10 ()
Signed on the reverse Mika Ninagawa in English,
dated 2003 and numbered 4/10 (lower left) NT$ 120,000-180,000
Signed on the reverse Mika Ninagawa in English, US$ 3,800-5,600
dated 2003 and numbered 2/10 (lower right) HK$ 29,000-43,000 2003
224
234
SZETO Keung
(Chinese, b. 1948)
Fine Arts Forever
1984, acrylic on paper, 66 x 46 cm

Signed lower left SZETO in English
1984
NT$ 90,000-180,000

US$ 2,800-5,600 66 x 46 cm
HK$ 21,000-43,000 SZETO
235
Ayako ROKKAKU
(Japanese, b. 1982)
2007
PROVENANCE:
Napping Gallery Beniya, Tokyo

38 x 45.5 cm
Gallery Teo, Tokyo
2007 2007
Acrylic on canvas
38 x 45.5 cm NT$ 70,000-90,000
Signed on the reverse Ayako Rokkaku in US$ 2,200-2,800
Japanese and dated 2007 HK$ 17,000-21,000
226
236
Lee Seung Min
(Korean, b. 1978)

The Positive Conspirator 2008
EXHIBITED:
2008 Shanghai Art Fair 2008, Shanghai, 2008 194 x 130 cm
Oil on canvas Lee S.M. 2008
194 x 130 cm NT$ 350,000-450,000
Signed on the reverse Lee S.M. in English and US$ 10,900-14,100
dated 2008 HK$ 83,000-107,000 20082008
237
Ayako ROKKAKU
(Japanese, b. 1982)

Shriek PROVENANCE:
2008

Gallery Beniya, Tokyo
2008 22 x 27 cm
Acrylic on canvas 2008
22 x 27 cm NT$ 50,000-70,000
Signed on the reverse Ayako Rokkaku in US$ 1,600-2,200
Japanese and dated 2008 HK$ 12,000-17,000
228
238
Chiharu
NISHIZAWA
(Japanese, b. 1970)
Dreamy Farm - e
2007
Acrylic on canvas
240 x 25 cm
Signed on side Chiharu in
English and dated '07
This painting is to be sold with a

certificate of authenticity issued
by Tokyo Gallery +BTAP.
NT$ 200,000-300,000
US$ 6,300-9,400
HK$ 48,000-71,000
e
2007

240 x 25 cm
Chiharu '07
239
Tetsutaro KAMATANI
(Japanese, b. 1979)
Human Paradise 17
2008
Oil and mixed media on canvas
45.5 x 121 cm
Signed on the reverse Kamatani Tetsutaro in
English, titled Human Paradise #17 in English
EXHIBITED:
Kingdom of the Images, Gallery Cellar,
Nagoya, Japan, October 2008
NT$ 300,000-500,000
US$ 9,400-15,600
HK$ 71,000-119,000
2008

45.5 x 121 cm
Kamatani Tetsutaro Human
Paradise #17
200810
230
240
Yoshitaka AMANO
(Japanese, b. 1952)
Gem Girl
2008
Automotive paint on aluminum panel
50(L) x 50(W) x 10(D) cm
Signed on side Y. Amano in English
NT$ 500,000-700,000
US$ 15,600-21,900
HK$ 119,000-167,000

2008

50() x 50() x 10() cm
Y. Amano
232
241
Hiroshi KOBAYASHI
(Japanese, b. 1967)
Sense of Balance
2002
Acrylic on canvas
45.5 x 53 cm
Titled on the reverse Sense of Balance
in Japanese, dated 2002 and signed
hiroshi kobayashi in English
EXHIBITED:
Wada Fine Arts, Tokyo, 2005
NT$ 450,000-650,000
US$ 14,100-20,300
HK$ 107,000-155,000

2002

45.5 x 53 cm
2002
hiroshi kobayashi

2005
234
242
Shinjuko
(Japanese, b. 1968)
Yo. That's in Blossom,

Cordyceps Sinensis (polyptych)
2006
Acrylic on paper
180 x 356 cm
Signed on the reverse Shinjuko in English and
dated 2006

NT$ 650,000-850,000
US$ 20,300-26,600
HK$ 155,000-202,000
2006

180 x 356 cm
2006 Shinjuko
236
243
Mayuka YAMAMOTO
(Japanese, b. 1964)
Monster Arms
2008
Oil on canvas
145.5 x 112 cm
Titled on the reverse monster arms
in English, signed Mayuka Yamamoto
in English and dated 2008
EXHIBITED:
Mayuka Yamamoto Solo Show, Gallery Tsubaki,
Tokyo, Nov. 8 - Nov. 29, 2008
NT$ 700,000-800,000
US$ 21,900-25,000
HK$ 167,000-190,000

2008

145.5 x 112 cm
monster arms Mayuka Yamamoto
2008

20081181129
238
244
Yayoi KUSAMA
(Japanese, b. 1929)
Pumpkin No. 1055
1990
Acrylic on canvas
38 x 45 cm
Signed on the reverse Yayoi Kusama in English
and dated 1990
This painting is to be sold with a registration

card issued by Yayoi Kusama Studio, Tokyo.
NT$ 900,000-1,200,000
US$ 28,100-37,500
HK$ 214,000-286,000

No. 1055
1990

38 x 45 cm
Yayoi Kusama 1990
240
245
Hiroyuki MATSUURA
(Japanese, b. 1964)
Bambi Boy
2007
Acrylic on canvas
91 x 91 cm
Signed on the reverse Hiroyuki Matsuura
in English
PROVENANCE:
Canvas International Art, Amsterdam
NT$ 1,000,000-2,000,000
US$ 31,300-62,500
HK$ 238,000-476,000

2007

91 x 91 cm
Hiroyuki Matsuura
242
246
Rieko SAKURAI
(Japanese, b. 1977)
Just After the Rain
2007
Acrylic on board
183 x 46 cm
Titled on the reverse Just after the rain in
English, dated 2007 and signed Reiko Sakurai
in English
ILLUSTRATED:
Rieko Sakurai, Unseal Contemporary Art,
Tokyo, March 2008
NT$ 1,500,000-2,200,000
US$ 46,900-68,800
HK$ 357,000-524,000

2007

183 x 46 cm
Just after the rain 2007 Reiko
Sakurai

Unseal
20083
244
247
Hiroshi KOBAYASHI
(Japanese, b. 1967)
Super Nova
2005
Acrylic on canvas
145.5 x 145.5 cm
Titled on the reverse Supernova in English,
dated 2005 and signed hiroshi kobayashi in
English
NT$ 1,500,000-2,500,000
US$ 46,900-78,100
HK$ 357,000-595,000

2005

145.5 x 145.5 cm
Supernova 2005 hiroshi kobayashi
246
248
Yayoi KUSAMA
(Japanese b. 1929)
Grapes
1989
Acrylic on canvas
91 x 72.7 cm
Titled on the reverse Grapes in Japanese, signed
Yayoi Kusama in English and dated 1989
NT$ 2,600,000-3,600,000
US$ 81,300-112,500
HK$ 619,000-857,000

1989

91 x 72.7 cm
Yayoi Kusama 1989
248
249
Madoka TAKAGI
(Japanese, b. 1983)
Elittle - 003
2003
Acrylic, clay, papier-mache
22(L) x 24(W) x 62(H) cm
Titled on the reverse Elittle 003, signed
Madoka in English
EXHIBITED:
Marginality, Gallery J Chen, Taipei, June
14-29, 2008
NT$ 160,000-260,000
US$ 5,000-8,100
HK$ 38,000-62,000

2003

22() x 24() x 62() cm
Elittle 003 Madoka

J. Chen
200861429
250
250
Yoshitomo NARA
(Japanese, b. 1959)
Sleepless Night Sitting
2007
Fiberglass, edition no. 248/300
36(L) x 26(W) x 24(H) cm (box)
15(L) x 19(W) x 28(H) cm (sculpture)

This sculpture is to be sold with a certificate 2007
of authenticity. 248/300
36() x 26() x 24() cm ()
NT$ 240,000-400,000 15() x 19() x 28() cm ()
US$ 7,500-12,500
HK$ 57,000-95,000
Lots 101, 207, 208 Lots 102, 128 Lot 103
YANG Din (Chinese-French, b. 1958) SHIY De-jinn (Taiwanese, 1923-1981) YEH Chung-ching (Taiwanese, b. 1945)
Born in Shantou (Guangzhou), China. He lives and Born in 1923, Sichuan, China. At the age of five, he YEH Chung-ching was born in 1945, Ping Tung. He
works in Paris since 1980. He graduated from L'Ecole began learning to draw. In 1948, he graduated from the graduated from Kaohsiung Industrial and Technological
Nationale Superieure des Beaux-Arts de Paris (Paris Hangzhou National College of Art. He carried on from Junior College. He records the beauty of nature from his
National Art School) in 1987. He was a professor at his teacher Lin Fengmian. After graduation, he moved to inner view, expressing the abstract beauty physically. He
ASDASCS center in Clairvaux, France. Since 1990, Taiwan to teach at the provincial Chiayi High School. In had a solo exhibition in Taipower Art Center. Important
he has held solo exhibitions in France, Belgium, the 1957, he held his first solo exhibition. In 1962, together group exhibitions include: group shows in Nan-Phon Art
Netherlands, Taipei, Hong Kong and Macau. Awarded with Liao Chi-chun, he accepted an invitation of the U.S. Association from 1999-2010, Kaohsiung City Family
First Prize at the Aube Art Fair organized in Troyes, State Department to visit the United States. Afterward, Love Art Exhibition. Important awards include: awarded
France. he went to France to study in Paris for three years. Chrestomathy in "Pingtung Fine Arts Exhibition",
After his return to Taiwan, he taught at the Tamkang nominated for "South Taiwan Fine Arts Exhibition",
University architecture department and National Taiwan nominated for "Artist of Kaohsiung" in 2009.
Normal University. In1975, he won the Chungshan
Literary Prize Award. Shiy De-jinn was known for the
lyrical mood of his watercolors, at the same time being
influenced by Pop Art and Op Art. His favorite subject
matter was old-style traditional Taiwan architecture. He
traveled all over the villages and counties of Taiwan
seeking inspiration. His works richly display Taiwan's
folk scenes and customs.
(1958) (1923-1981) (1945)

19801987 1948 1945
1993-94 1957
1990 1962
1987 1999-2010
1975 2009

252
Lots 106, 107
Lots 104, 142, 149 Lots 105, 123, 129, 164, 174
SANYU
(Chinese-French, 1901-1966) CHUANG Che (Taiwanese, b. 1934) TAI Hoi Ying (Chinese-French, b. 1946)
Born in 1901, Sichuan. Sanyu attended Art College in Born in Beijing, Chuang's father was a great Born in Guangdong and immigrated to Hong Kong in
Shanghai and went to Japan in 1919. In 1920, he went calligrapher, who was the vice-director of the National 1962. He went to France in the autumn of 1970 and was
to France as part of the first wave of Chinese artists to Palace Museum in Beijing, Chuang was introduced educated in Ecole Superieure des Arts Appliques for
study there. Unlike most of his contemporaries, Sanyu to art by his father when he was little. He moved to 2 years. In 1975 he had the first individual exhibition
decided to remain in Paris. Since 1925, Sanyu exhibited Taiwan in 1948. After graduating from Taiwan National and then was constantly invited to various art shows.
his work regularly at the Paris salons and in local Normal University in 1958, Chuang taught at Tunghai After 1990s when new art form keeps on changing and
galleries. Before World War II, Sanyu returned to China University. He joined the Fifth Moon Group and confuses the idea and notion of beauty, Tai's personal
briefly and then moved on to New York where he lived actively pushed the modernization of Chinese painting. insistence to people for its sincerity.
for two years. In 1948, the Museum of Modern Art in On receiving a scholarship from the Rockefeller
New York held an exhibition of his work. Since Sanyu's Foundation, he left Taiwan and settled in Ann Arbor,
death in Paris in 1966, the National Museum of History Michigan. In 1988, he moved to New York, concentrated
in Taipei has held three retrospective exhibitions of his on his abstract paintings, and was invited by the Taipei
works. To celebrate the 100th anniversary of Sanyu, the Fine Arts Museum to hold a solo exhibition in 1992.
National Museum of History held a grand exhibition of Chuang's works have been exhibited widely and
over 129 oil paintings. In 2004, the Muse National des housed by many local and foreign museums and private
Arts Asiatiques-Guimet held a restrospective show of collectors.
Sanyu's 60 works.
(1901-1966) (1934) (1946)

1919 19621970
1920 1948
1925 1958 1975
1966 1990
1948
1966 1973
197819841990 19881992
2001
20046
60
253
Lots 110, 112
Lots 108, 122, 130
Lots 109, 111, 113
LIEN Chien-hsing (Taiwanese, b. 1962) Ryoji SUZUKI (Japanese, b. 1973) HSU Tang-wei (Taiwanese, b. 1980)
Born in 1962 in Keelung, Taiwan. He graduated from Born in 1973 in Chiba Prefecture, Japan. Ryoji Suzuki HSU Tang-wei graduated from Institute of Plastic Arts,
the Western Painting Section of the Art Department graduated from the Department of Print of Tama Tainan National University of the Arts. Now living and
of the Chinese Culture University, Taiwan. In 1984, Art University in 1999. His solo exhibition history working in Taipei. Selected solo exhibitions include
he was selected for the first annual Republic of China as below: Gallery Jinguen (2006, Tokyo); Artis "Evolutionism-Hsu Tangwei" (2008, Gallery J. Chen),
Modern Painting Outlook Exhibition. In 1987, he Kagurazaka Gallery (2008, Tokyo); Bihoh Gallery (2009, "Dredging Up the Drift" (2006, IT Park Gallery, Taipei),
joined the group exhibition of the award-winners of Tokushima); "Box Series" (2009, Vienna) ; and group "Follower" (2004, Sly Art, Taipei). Selected group
the Shiy De-jinn Award. In 1989, he joined a largescale shows in "Hitotohito" (2006, Osaka); "Hitobito" (2008, exhibitions include "Searching for the Ma-Wei-Du"
exhibition of the Taipei Painting Association organized Tokushima); "Art Osaka 2008" (2008, Osaka); "Geisai (2008, Mot Arts Home Deluxe, Taipei), "Art is Now-
by the Taipei Fine Arts Museum. In 1992, he became 2008" (2008, Tokyo). 2008 Busan Biennale Side Show" (2008, Busan, Korea).
the representative artist of Cherng Pin Gallery (Eslite
Gallery). Lien Chien-hsing first came to prominence
in the 80s with his superb Realistic technique. In the
90s, using different pictures, he has created Realistic
works recalling images from his childhood, heavy with
personal coloring. His works subtly reveal a feeling of
pessimism, combined with a subconscious, mysterious
shadow to become a unique kind of "magical realism".
(1962) (1973) (1980)

1984 19731999
1987 -
1989 2006Artis2008 2008Gallery J.Chen
1992 2009 2006
19801990 20092006 2004
2008 -2008MOT ART/
2008200820082008 2008

254
Lot 114
Lot 115 Lot 116
Satoshi WATANABE (Japanese, b. 1967) Koichi Enomoto (Japanese, b. 1977) WU Hao (Taiwanese, b. 1931)
Born in 1967 in Hyoko Prefecture, Japan. Satoshi Koichi was born in Osaka, got the MA in Fine Art, A painter, graphic and woodcut artist, and sculptor, Wu
Watanabe graduated from the painting department of Kanazawa College of Art, Japan. Selected solo has been at the forefront of Taiwan's art scene since the
the Kyoto Seika University in 1991 and received his exhibitions include: 2009 in Grieder Contemporary, 50's. In 1956, Wu was one of the founders of the Tom
master's degree at Glasgow School of Art in 1995. His Zrich, "Surrogate Picture" (2007, Tokyo), "Pigeon's Fan Group, which along with the Fifth Moon Art Group,
solo exhibitions as below: Mitaka City Arts Center (2001, Riot" (2006, Tokyo), "Rest of?" (2006, Tokyo). Selected was one of the most vocal associations of young artists
Tokyo) ; Taro Nasu Gallery (1999 & 2001 & 2004, group exhibitions include: "Echo"(2008, Yokohama), in the 60's. One of the most internationally recognized
Tokyo); "Sense through Mind, Body, and Spirit" (2008, " Vi v a L o l i t a " ( 2 0 0 8 , M a d d o x A r t s , L o n d o n ) , contemporary Taiwanese artists. Wu has participated
Tokyo); and group shows in "Maru -Circle and Sphere-" "Portrait Session" (2007, Hiroshima City Museum of in numerous exhibitions overseas, including the
(2004, Gunma); "My Cup of Tea -Private Luxury" (2006, Contemporary Art, Hiroshima), "After The Reality" International Artists' Show in Italy, and the International
Tokyo); "Magical Art Life: A Collector's World" (2006, (2006, New York). Graphic Show in England. Wu's paintings often combine
Tokyo); "Opening Exhibition II" (2008, Tokyo); "450" Western technique with Chinese Folk art.
(2008, Osaka).
(1967) (1977) (1931)

19671991
1995 2009
2007
(2001)Taro Nasu (199920012004 20062006
)(2008) 2008
(2004) 2008 19721980
(2006) 2007
(2006) 2006
II(2008) 450(2008)
255
Lots 119, 163
Lot 117 Lots 118, 166
John WAY
(Chinese-American, b. 1921) Chang-Ling (Taiwanese, b. 1975) JAN Chin-shui (Taiwanese, b. 1953)
Born in Shanghai. Way has held his own shows in Born in Hualien County, Taiwan. Chang-Ling graduated Born in Miao-li, Taiwan. Jan Chin-shui graduated
Shanghai since 1937. From 1951 his works have been from L'Ecole Nationale des Beaux-Art de Bourge in from the Fine Arts Department of the National Taiwan
selected to show at the Hong Kong Art Club Annual 2000, in which year he was admitted into the Ecole Academy of Arts. He was awarded first prize in the 11th
Exhibition for five consecutive years. Way settled down Nationale Superieure des Beaux-Art de Paris and National Fine Arts Exhibition in 1987 and the Golden
in Boston in 1956, where he studied abstract painting studied under Christian Boltansky, Jean-Luc Vilmout Literature & Art Prize from the Ministry of Education
in the West. Throughout the 1960s Way had held many and Jean-Marc Bustamant. In 2004, he held art group in 1989. Jan participated in an important exhibition of
solo shows in Boston, including one in Nexus Gallery "COLOCOLOC" in Paris and established an art Chinese contemporary art in Shanghai in 1997. He has
in 1960 and one in MIT's Art Museum in 1968. In 1965, publication "Le Couteau de Paris". His major solo published four exhibition catalogues and his works can
his work was showed alongside other well-acclaimed exhibitions are as follow: "Unnatural Exhibition" (2004, be found in the public collection of the Taipei National
contemporary artists including Hans Hartung and Andy Hsinchu, Taiwan); "The First Flower of the Streaky Taiwan University of the Arts (today's Taipei University
Warhol, in a joint exhibition "Painting Without a Brush" Pork" (2005, Taipei); "Hair Follicle" (2005, Taipei); of the Arts).
held at the Accademia del Verbano in Italy. His works "Streaky Pork Series: Epoch-Making" (2007,Taipei);
are in the collections of both the Stanford University Art "Flesh Landscape in Garden" (2007, Geneva,
Museum and the San Francisco Art Museum. Switzerland); "Pork Belly Flesh Series - Flesh Weapons"
(2007, Taipei).
(1921) (1975) (1953)

19371951 2000 1986
51956 1987
2004 19891997
1960 2003COLOCOLOC
19601968 2004
1965 2004
2005
284
2007

256
Lots 121, 126, 131
Lots 120, 171 Lots 124, 203
YANG Chihung
(Taiwanese, b. 1947) Tzu-chi YEH (Taiwanese, b. 1957) YANG Mao-lin (Taiwanese, b. 1953)
Born in Taoyuan, Taiwan, Yang Chihung graduated from Born in Yuli, Hualien, Taiwan in 1957, Yeh held his Yang was the first director and a founding member of
the fine arts department of the National Taiwan College undergraduate study at the National Taiwan Academy the Taipei School, in 1991 he won the first Art Creation
of Arts in 1968. In 1976, he traveled to the United of Arts in 1977 and graduated from the Fine Arts Award of Hsiung Shih Fine Arts; his works have been
States, where he studied at Pratt Institute. From 1978 to Department, Chinese Culture University in 1981. He shown in numerous exhibitions, including his first solo
1979 he taught at the Taiwan Art College. He emigrated acquired his master's degree from Fine Arts Graduate exhibition at the Taipei Fine Arts Museum; in 1990 he
to the United States in 1979. His art was exclusively School, Brooklyn, City University of New York, USA participated in the Taiwan Art Museum Exhibition "300
represented by Siegel Contemporary Art in New York in 1989. His works were often seen in local and foreign years of Taiwan Art"; in 1995 his works were included in
between 1984 and 1987 and in 1987 by Michael Wallis. personal and joint exhibitions, including personal the "Exhibition of Taiwanese Art" in Rome. Yang Mao-
More than twenty one-man exhibitions were held for exhibitions held at the Taipei American Culture Center lin's works represent a segment of Taiwanese history and
his works in the United States, Taiwan and Hong Kong. in 1987 and the Westbeth Gallery, NY in 1989. He build up time/space juxtapositions; they take a critical
In addition, he was participated in many important attended the Asian Youth Art Exhibition in Hong Kong and even subversive view of Taiwanese historical
exhibitions in Taiwan and abroad. in 1980 and was invited by Alternative Museum to events. Since the 1990s, he has criticized Taiwanese
attend the Invitational Joint Exhibition "The Day of social phenomena under the long-term influence of
Death" in 1989 and 1990. American culture and Japanese culture. Then he added
multiple-media in his installation work to respond to
current Taiwan society. Yang has been frequently invited
to participate in international art exhibitions. In 1999,
his early series of Zeelandia Memorandum was shown
at the 48th Venice Biennale and was well received by
international art critics and collectors.
(1947) (1957) (1953)

1968 195719771981 19531979
1976 1989 1985
197819791979 1991
19841987 19871989
1987
1980
1990
19891990
1995

1990

1990
1999

257
Lots 125, 157 Lots 127, 138 Lots 132, 133
Michell HWANG (HWUNG Ming-che) SU Wong-shen (SU Wang-shen)

(Taiwanese, b. 1948) CHAO Chung-hsiang (Taiwanese, 1910-1991) (Taiwanese, b. 1956)
B o r n i n Ta i w a n . F i r s t s o l o e x h i b i t i o n , Ta i w a n From 1932 to 1939, Chao studied at Henan Normal Born in Chiayi, Taiwan. Su Wong-shen currently works
Provincial Museum: Pursued advance study in School followed by the Hangzhou National Academy and lives in Kaohsiung. He graduated from the Fine
Europe and USA, 1976 to 1980. Solo exhibition "The of Art where he was awarded 16 prizes. Chao's early Arts Department of Chinese Culture University. Su's
King's Dream", National Taiwan Museum of Fine work has been collected by his tea-chers Lin Fengmian first solo exhibition was held in the American Culture
Arts, Taipei; "Nightmare", Taipei Fine Arts Museum, and Teng Gu. In 1939, his works were exhibited in the Center in Taipei. He held another solo exhibition in
"Dignified Symbol" collected by the Museum, 1995. first National Art Exhibition where he won a prize in the Taipei Fine Arts Museum in 1988 and continued to
Established Hwang Ming-che 3-D Art Workshop, watercolor. In 1956, Chao received a scholarship to exhibit extensively thereafter in both solo and group
1996. "From Construction to Deconstruction and Back Spain where he later became a permanent member of the exhibitions. Su's early work in the 1980s was abstract
to Construction: Hwang Ming-che Solo Exhibition", National Art Association of Spain. He moved to USA and it was only in the 1990s that he moved to more
Forum of Creativity in Art held by Kaoshiung Museum in 1958 and devoted the next three decades to exploring realist work. Most of his recent work uses dogs as a
of Fine Arts, 1998. Hwang's 3-D artwork collected and developing his own artistic style. While living in metaphor for social criticism. His work is found in the
by the Museum. Solo Exhibition, "Shanghai-Taipei", USA, Chao met his American contemporaries such as public collections of the Taipei Fine Arts Museum and
Shanghai Fine Arts Museum, "A Group of Women Roy Lichtenstein (1923-1997) and Mark Rothko (1903- the National Taiwan Museum of Fine Arts.
in East Taipei" collected by the Museum, 2001. 1970). In 1965, he held a solo exhibition and lecture
"Construction of Belief," Solo 3-D Artwork Exhibition, at the Guggenheim Museum. In 1980, he returned to
Taipei Fine Arts Museum, Taipei, 2001. "The Multiform Taipei for a solo exhibition and 4 years later, decided
Nineties: Taiwan's Art Branches Out", Taipei Fine Arts to establish an art studio there. From 1984 to his death
Museum, 2004. Arario Beijing, 2006, Solo Exhibition, in 1991, Chao traveled frequently between New York,
National Art Museum of China, Beijing; 798 Beijing Taipei, China and Hong Kong in his search for artistic
Art Center, Beijing, 2007; "Flower and Hammer", Main fulfillment.
Trend Gallery, Taipei; Commercial spokesperson of
Volkswagen Phaeton Series, designed gifts for VW's
new car owners.
(1948) (1910-1991) (1956)

194819761980 19321939 1979
1992 16 19851988
1995 1900-19911939
1956
19961998 1958

2001 1923-1997
1903-19701963

2004
2006 198019841991
V S
2007
798
2008
Phaeton
258
Lot 134
Lot 136
Lot 135
MIAO Jingchang (Chinese, b. 1966) HSIAO Ju-sung (Taiwanese, 1922-1992) LI Shih-chiao (Taiwanese, 1908-1995)
Miao was born in the Hebei province of China. In 1990, Born in Kaohsiung. A graduate of Hsinchu Normal Born in Taipei, studied at Taipei Normal School under
he graduated from the Fine Arts Department of Inner College, Hsiao has won a series of awards including Ishikawa Kinichiro at the age 16. He moved to Japan in
Mongolia Normal University, specialized in oil painting. the Excellent Work Prize at the Taiyang Show, the 1929 and studied Western painting at Tokyo Fine Arts
He served as the first-class teacher in Baogang Normal Literary Award and the Chairman Award presented by Institute. He won the highest honours at the Imperial
College and Sports College in Baotou, Inner Mongolia. the Fine Arts Exhibition of Taiwan Province, the Art Exhibition and was selected to the Exhibition in the next
His work White Villous Themeda entered the 2nd by the Rotary Club of West Taipei, and the Golden Belt three years. LI was one of the co-founders of Taiyang
Chinese Annual Oil Painting Exhibition; A Clear Lake Award given by the Art Society of China in 1972 for the Fine Arts Association. He returned to Taiwan in 1994
With Only One Fish was selected in "the 8th National most excellent watercolourist. He has been invited to and settled down in Taichung. He taught painting at his
Art Exhibition"; Western Landscape was selected participate in the Seibum Show, the Exchange Exhibition private studio and was later invited to teach at the Fine
in "Chinese Landscape Painting and Oil Painting of Fine Arts between China and Japan, the Jointed Arts Department of National Taiwan Normal University
Exhibition"; No Wind In The Past and Flat Landscape Exhibition of Contemporary Chinese Artists in Newport, in 1963. Since his retirement from teaching in 1974,
With No Sound entered "the Oil Painting Exhibition by Rhode Island, U. S. A. as well as in the Chinese Culture Li has devoted himself to painting. He died in 1995
Chinese Young Artist"s; A Warm Afternoon won "the Show in Philadelphia. A member of the Art Society of in United States, Li was one of the National Master of
Bronze Award in the 9th National Art Exhibition". China, the Taiyang Fine Arts Association, and the Blue paintings in Taiwan.
Cloud Fine Arts Association, he serves as supervisor of
the Fine Art evaluation member in Hsin Chu County, the
teacher at the East Hsin Chu High School, and jury of
the Fine Arts Show in Hsin Chu County.
(1966) (1922-1992) (1908-1995)

1990 16
19291931
1972

1994
19631974
1995
1992

259
Lots 137, 139, 161, 181
Lots 140, 141 Lots 142, 178, 179
YANG San-lang (Taiwanese, 1907-1995) LI Chen (Taiwanese, b. 1963) LIN Fengmian (Chinese, 1900-1991)
Born in Taipei, Taiwan. Yang moved to Japan in 1923 L i C h e n w a s b o r n i n Ta i w a n , i n 1 9 6 3 . H e h a s Born in Guangdong, China. Lin Fengmian went to
where he studied at the school of Fine Arts and Crafts extraordinary performance in molding the traditional France to study painting in 1918. During his 4-year
in Kyoto. He was then transferred to the Western Buddhist sculptures. Later he infused emotion of the stay, he studied in Dijon and Paris. Upon Cai Yuanpei's
Painting Programme in the Kansai Art Academy. He heart into the works and studied a variety of Confucian, invitation, Lin returned to China in 1926 and became
returned to Taiwan in 1927, and founded the Ruddy Buddhist, and Taoist sculptures, and even instilled new president of the Beijing Academy of Fine Arts. He was
Island Association together with Ni Chiang-huai and contemporary thoughts, which provided a new creativity also responsible for setting up the Hangzhou National
Liao Chi-chun. In 1929, he won the first prize of the to Li Chen's sculptures. Solo Exhibitions:2007 "52nd Academy of Art (formely known as Hangzhou National
Taiwan Exhibition. Yang went to France in 1931 International Art Exhibition La Biennale di Venezia", College of Art). Lin is one of the most influential artists
where he studied European paintings in the museums. Venice, Italy (Asia Art Center), 2005 & 2006 "Li Chen and teachers of that time. In 1952, Lin retired from
In the following year, his works were selected for the Sculpture" Taipei Art Fair, Taiwan (Asia Art Center), teaching and devoted his energies to painting. In 1977,
Autumn Salon in Paris. In 1934, he together with 2003 Series of "Spiritual Journey Through The Great he moved to Hong Kong where he lived until his death.
Chen Cheng-po, and Liao Chi-chun established the Ether" Michael Goedhuis Gallery, New York, U.S.A; His ninety years retrospective exhibition was held in the
Taiyang Art Association. Yang had numerous solo International Group Exhibitions: 2004 "Openasia" 7th National Museum of History, Taipei in 1989. In 2000,
shows and received many awards from important art International Exhibition of Sculptures and Installations, Shanghai Art Museum and Sun Yat Sen Memorial Hall
exhibitions including : "Fifty Years of Studying Art" at Venice, Italy. 2007 "A Truth Beyond the Real 14 of Taipei both held a commemorative exhibition of Lin's
the Provincial Museum in 1973 and "Oil Paintings by Chinese Contemporary Artists" Doosan Art Center, 100th year.
Yang San-lang" in 1979, and "Retrospective Exhibition Seoul, Korea.
of Yang San-lang's Paintings" in 1983 at the National
Museum of History. Yang received a special national
art award in 1986 for his great contribution to the
Taiwanese art world.
(1907-1995) (1963) (1900-1991)

1923 1963 1918
1926
1927 1928
1929 2007
1931 52 2006
1934 ()2005 1952
(
)2003 1977
1973 2004 19911989
1983 -OPENASIA200714 1999
1995

1986
260
Lots 144, 147, 150, 151
Lot 145
Lots 143, 180
CHU Teh-chun (Chinese-French, b. 1920) ZAO Wou-ki (Chinese-French, b. 1921) Yun GEE (Chinese-American, 1906-1963)
Born in 1920 in Jiangsu, China. In 1935, he passed the Born in Beijing, Zao studied at the Hangzhou National Born in Guangdong, China. Yun Gee enrolled in the San
examination for Hangzhou National College of Art, College of Art under the direction of Lin Fengmian Francisco Art Institute when he moved to San Francisco
which at the time had Lin Fengmian as its director. (1900-1991) and Wu Dayu (1903-1988). After his in 1921. In 1925, he studied at the California School
In 1949, he came to Taiwan. In 1951. he taught at the graduation in 1941, he remained at the College to teach. of Fine Art under Gottardo Piazzoni and Otis Oldfield.
Taiwan Normal University. In 1954, he held his first He held his first solo exhibition in Chongqing in the He had his first solo exhibition in 1926, where he met
solo exhibition at the Taipei Chung Shan Hall. In 1955, same year. He emigrated to Paris in 1948. Zao held a his first patrons, the Prince & Princess Achilles Murat,
he went to France to further his studies. In 1957, he solo show every year at Kootz Gallery, N.Y. from 1959 who encouraged him to go to France. Gee had several
won the Silver Award at the Paris Salon du Printemps. to 1965. He was included in the French pavillion at the solo exhibitions during his stay in Paris. In 1932, Gee
In 1969, he entered the Tenth Sao Paolo Biennial Venice Biennial in 1960 and has also taken part in the was invited to participate in the exhibition "Murals by
International Exhibition in Brazil. In 1982, he held a Tokyo International Biennial. Taipei Fine Arts Museum American Painters and Photographers". He spent the
solo exhibition at the Andr Moreau Contemporary and the Kaohsiung Museum of Fine Arts organized an next phase of his life traveling between New York City
Art Studio in le Havre in France. In 1987, the National exhibition of his works in 1993 and 1995 respectively. and Paris before he passed away at the age of 57. In
Museum of History held a solo exhibition of his works, In 1994, Zao was awarded the Premium Imperial 1968, the Robert Scholkopf Gallery in New York held a
his first one in Taiwan since leaving thirty-two years Award of Painting, Japan. A more recent retrospective retrospective of his works, reviving Gee's memory after
before. In 1997, he was inducted into the prestigious show which took place in 1998, toured three major he had been forgotten for many years.
L'Institute de France, as a member of the Beaux-Arts. museums: Shanghai Museum of Art and Beijing's
China Art Gallery. Zao's compelling abstract paintings
have won him international fame and his paintings are
much sought after. His work is found in major public
collections such as the Muse d'art moderne in Paris.
(1920) (1921) (1906-1963)

1935 1900- 15
194919511954 19911903-19881941 1925
1955 1948 1926
19571969 1959
1982 19651970
1987 19931995 1932
1997 1994 19631968
1998

2003

261
Lot 148
Lots 146, 182

Lots 152, 153, 183,184, 185
LIAO Chi-chun (Taiwanese, 1902-1976) WANG Huaiqing (Chinese, b. 1944) JU Ming (Taiwanese, b. 1938)
Born in Taichung. After graduating from Taipei Normal Born in Beijing, he entered the Central Academy of Born in Miaoli, Taiwan. Ju Ming studied with Yuyu
School in 1922, Liao Chi-chun studied in Japan at the Arts and Crafts in 1964 to study interior design and Yang (1926-1997), a master sculptor, from 1968 to
Tokyo Fine Arts School. While in Japan, Liao was while there, he studied painting under Wu Guanzhong. 1976. Ju was chosen as one of the Ten Outstanding
strongly influenced by contemporary developments In 1970, during the Cultural Revolution, Wang was Young Persons in Taiwan in 1976, a recognition given
in Western art. Liao was a co-founder of both the assigned to the countryside for rehabilitation through each year to ten young men and women in any field of
Ruddy Island Association and the Taiyang Fine Arts labour and studied painting with Wu Guanzhong. In endeavor. He was presented with a National Cultural
Association. He was also an art professor at National 1980, Wang formed the Contemporary Painting Society Award in recognition of his artistic accomplishments.
Taiwan Normal University until his retirement in 1973. with his fellow classmates; organized an exhibition at His most famous Series are the "Nativist", the "Taichi"
In 1957, he encouraged his students to form the Fifth the China National Museum of Fine Arts and joined and the "Living World". In December 1997, his works
Moon Group in Taiwan. In 1962 he toured Europe and the National Chinese Artist Association. He received were exhibited in Place Vendome, Paris. The Juming
the United States at the invitation of the USA State a Master's degree a year later. Wang's work has been Museum was established in Chin-shan, Taipei County
Department. Later, he changed to a new art style in selected for exhibitions worldwide including the recent in 1999. Ju Ming's work can be found in major public
pink color and his distinguishing characteristic became major exhibition at the Guggenheim Museum, New collections at the Taipei Fine Arts Museum, National
mature. Liao received the Golden Cup Award for York, entitled "5000 Years of Chinese Art" in addition Taiwan Museum of Fine Arts, Kaohsiung Museum of
Chinese Painting from the Chinese Painting Society to the Asian Art Fair at the Armory. His paintings are Fine Arts and Juming Museum.
and the Sun Yat Sen Foundation's Literary Awards. He sought after by major museums and private collectors.
passed away in Taipei in 1976. The Liao family donated
several of Liao's paintings to the Taipei Fine Arts
Museum.
(1902-1976) (1944) (1938)

1922 1964 1953-1957
1927 1970 1968-19761926-1997
1980

1957
1962 1998
5000 199712
1999
1976
1997
1997
262
Lot 154 Lot 155 Lot 156
Alixe FU (Taiwanese, b. 1961) wu Bu Yun (Chinese, 1905-2001) DAI Ze (Chinese, b. 1922)

Born in Yunlin, Taiwan in 1961, he graduated from Wu whose father is Filipino-Chinese, was born in Born in Kyoto Japan, grew up in Yunyang Sichuan,
the Chinese Culture University in Taipei. Since his Taishan, Guangdong in 1905 and studied art in the graduated from Central University, Department of
first individual exhibition in 1983 in Taipei, he has had 1920's. He returned to Hong Kong in 1936 and began his Fine Arts. He was Xu Beihong's favorite student, and
many individual shows in Taiwan, France, Japanand art and writing career there. In 1946, he taught painting followed after Xu to teach in Central Academy of Fine
New York. He has been living and working in France at Ying Wa College, Hong Kong. During his early years, Arts. The style of his work is mainly realistic, with
since 1987. In 1991, he was given a studio in Auvers- he wrote many works about the beauty of Hong Kong extensive themes. During his artistic career for over
sur-Oise by the French Ministry of Culture. His solo and expressed a vivid life in his works. In the early 50 years, he had participated in many national and
exhibitions include: 2002, "Vegetable Man, Animal Man 1980's, he was invited to teach as a guest professor by international exhibitions.
I", Miyabi Gallery, Nagoya (Japan); 2003, "XVI Nagoya Ministry of Culture and Central Academy of Fine Arts,
Contemporary Art Fair", Gallery Miyabi, Nagoya, so he had more opportunities to travel around China and
Japan; 2004, "Vegetable Man, Animal Man III" in Blois painted more landscape paintings. Then he settled down
Chateau and Museum, Blois, France. in Canada, devoting himself to diverse cultures, and
presented with his painting brushes the natural beauty
of lakes and mountains, the scenery of different seasons,
and people of all ethnic groups. In the past few years, he
had held a 90 Year's Retrospective Exhibition in Taiwan
and was highly praised.
(1961) (1905-2001) (1922)

1961 20
1983 1936
1987 1946
1991 80
2002
I
2003X V I
2004III

263
Lots 158, 168
Lot 159 Lots 160, 165
LIU Kuo-sung
HSIAO Chin (Taiwanese, b. 1935) (Taiwanese, b. 1932) Qin Xuanfu (Chinese, 1906-1998)
Hsiao Chin was born in Shanghai. His father, Hsiao Yu- Born in Chinchou, Shandong, he graduated from the Qin Xuanfu (1906-1998) was born in Guilin, Guangxi.
mei, was an important composer in modern music in National Normal University art department, and initiated Graduate of Tsinghua University, Foreign Language
China. Hsiao grew up in an artistic environment and his the Fifth Moon Group, arduously promoting the Taiwan Department, admitted by Ecole des Beaux Arts in Paris
childhood remains an important influence on his work. modern art movement. When he was twenty seven in 1930. He taught in Beijing Art College, Tsinghua
After moving to Taiwan in 1949, Hsiao studied Fine years old, he deeply felt the importance of national University and National Art College. He was the Dean
Arts at the National Taiwan Normal University, Taipei. characteristics and cultural traditions, he was like a man of Department of Western Paintings in National Art
He also studied drawing under Chu Teh-chun. After his on a mission, to find for twentieth century Chiniese College, an editor of Ci Hai, Chinese Encyclopedia of
graduation, he learned modern art with Li Chun-shan. drawing a new tradition to be spared no effort, and Art, deputy director of Chinese Art Education Research
He then went to Spain to study but changed his mind gave brush ink in traditional Chinese paintings a new Society, deputy chair of Chinese Artist Association,
as he was not inclined towards the conservative style definition, and promoted the theory of "texture with the Jiangsu branch. Solo exhibitions nationwide in
practiced by the Spanish art colleges. Hsiao founded brush". This kind of Chinese traditional painting doesn't 1945, 1963, and 1985. He went abroad to Minnesota
the Ton Fan Art Group in 1956, and was instrumental in need a pen to be painted, although receiving criticism University's art department in July, 1988.
bringing modern Taiwanese painting into international at the time, at present, including mainland painters,
exhibitions. In 1959, he moved to Milan, Italy. He then critics as well as art historians, have all accepted this
traveled and worked in Paris, London and New York. idea. Liu Kuo-sung also puts to this kind of theory
Since 1966 he is the director of Graduate Institute of the implemention with, in his individual practices,
Plastic Arts of Tainan National College of Arts. innovating with the color and ink techniques for more
than 30 years, creating many kinds of different forms
and individual styles.
(1935) (1932) (1906-1998)

1929
1949 1930.
1951 14
19521956 27

1955
1959 1945
1961 1963198519887
PUNTO
1978SURYA1989
SHAKTI
1996
2000
264
Lot 162 Lot 167 Lot 169
J. C. KUO (KUO Jen-chang)

(Taiwanese, b. 1949) CHIU Ya-tsai (Taiwanese, b. 1949) LIN Ju (Taiwanese, b. 1959)
Kuo born in Lukuang, Changhua, Taiwan in 1949, Chiu was born in 1949 in Yi-lan on the east coast of LIN Ju was born in 1959, Yi-lan, Taiwan. His selected
graduated from the Department of Fine Arts, Chinese Taiwan. A loner and an underachiever in school, he solo exhibitions include "The Interior: Utopia of
Culture University in 1973 and learned how to paint at began his mandatory military service and at the same a Survivor" (2008, Lin & Keng Gallery, Taipei),
the Li Chun-shan Studio during 1968-73. Sponsored time began to read. Beginning with Chinese history "Appearances" (2006, Lin & Keng Gallery, Taipei).
by Asia Foundation, USA during 1974-79, he devoted and progressing to the classics of Western literature in Selected group exhibitions include "Reason's Clue"
himself to researching Taiwan folk arts and participated translation for example the masterpieces of Shakespeare (2008, Lin & Keng Gallery, Beijing; Queen's Museum
in practical fieldwork. Influenced by Pop Art in the and Dostevsky, he was inspired by tales of heroes and of Art, New York), "Surrealists in Taiwan" (2007,
70's, he formed an unique personal creative style in began to write and paint. Chiu's portraits of Taiwan's Taipei Fine Art Museum, Taipei)."Options within
the 80's-the combination of Han-Tang figures and modern-day literati are greatly influenced by the figure Realism"(2007, Lin &Keng Gallery, Beijing)
totems or symbols of Chinese folk arts as well as a painting of the Tang dynasty (618-906 AD) seen in
strong western vocabulary. In the 90's he expanded to the hooked noses and almond-shaped eyes. Elegant
landscape paintings and Chinese classical fairytales. His androgynous-looking men and women with elongated,
works are collected by the Taipei Fine Arts Museum, oval faces are shown seated or standing in partial profile.
the Kaohsiung Museum of Fine Arts, the National The subjects appear to be lonely, even melancholic,
Taiwan Museum of Fine Arts, and the Hara Museum of but controlled and self-possessed. In the 1980s, Chiu
Contemporary Art, Japan. persevered with his literary and artistic works in a well-
known cultural salon "Wisteria" in Taipei. His paintings
have been widely exhibited in Spring Gallery (Taipei),
the National Museum of History and the Taiwan
Museum of Art.
(1949) (1949) (1959)

19491973 1949 1959
1968~731947~79 2008
2006
1970 2008
1980 2007
2007
1990
1980

265
Lot 173
Lot 170 Lot 172
HWANG Jyi (Taiwanese, b. 1953) WU Tien-chang (Taiwanese, b. 1956) YANG Ren-ming (Taiwanese, b. 1962)
Born in Chiayi in 1974. Works by Hwang Jyi were Born in Taipei, Taiwan. He graduated from Chinese Born in Kaohsiung, Taiwan, Yang graduated from the
shown in the 1989 L'Ecole Nationale Suprieures des Culture University in 1980 and was one of the founding Department of Fine Art Oil Paintings, Chinese Culture
Beaux-Arts exhibition in Paris, and he later won first members of the "Taipei Painting Association." The University in 1985; he also received the Hsiung Shih
prize in the National Fine Arts Exhibition. Hwang Jyi's style he has changed from irony to black humor. In the New Artist award in the same year. In 1988 he studied
works, often in the nature of surrealist epics, can be late 1980s, Wu started to create the Trauma series that abroad in France. After his return in 1994 he held the
seen as a kind of personal creative journal, with strong reflected the social issues of concern. All the elements "New Plants Grown from Black Water" exhibition in
sensory impact created through presentation of multi- in the painting are scars and violence, implying the Galerie Pierre, Taichung. He had a solo exhibition in
layered dimensions. They stand as unique stylistic age at that time. In 1990s, Wu employed image into the Grigny Culture Center in France, held "Between
achievements in modern Taiwanese art. his creation. In addtion to photography, he also pays Imagination and Reality" exhibition in the American
special heed to the frame and material used. He often Cultural Center, Taipei; Triennial exhibition in Daejeon,
used artificial flower, sequins, velvet, cord and leather, Korea; Biannual exhibition in Taipei Fine Arts Museum;
imitating the "Salon photography" which was popular "The Educated Man" dual solo exhibition in Chicago
in Taiwan in the 1950s. These techniques and materials Gallery; and "New Plants Grown from Black Water",
present the main theme of the works of this period, the 8th Fukuoka Asian Art Museum international art
Pretence. In recent years, he participated in the Venice exhibition.
Biennale and that of Fukuoka Asian Art Museum in
Japan and became a well-known figure.
(1953) (1956) (1962)

1989 1980 1985
1988 1994

1980

1990

50

266
Lot 175 Lots 176, 177, 201, 217, 218 Lots 186, 204
George CHANN Yuyu YANG (YANG Ying-feng)

(Chinese-American, 1913-1995) ZHOU Chunya (Chinese, b. 1955) (Taiwanese, 1926-1997)
Born in Guangdong, China. In 1934, he entered the Otis Born in 1955 in Chengdu, Sichuan Province. Zhou Born in I-lan, Taiwan. Yang studied architecture at the
Institute of Arts in Los Angeles; his teachers included Chunya graduated from the Department of Oil Painting Tokyo Art School in Japan, fine arts at Fu Jen University
Alexander Brook. His success earned him a full of the Sichuan Institute of Fine Arts in 1982. Zhou in Beijing, and sculpture at the National Academy of
scholarship there, and in 1940, he earned his master's also graduated from the Fine Arts College of German Art in Rome. During 1964-1966, he held exhibitions in
degree in fine arts, holding his first individual exhibition Kassel University. He currently works as an artist at the major cities in Italy and was awarded the gold metal in
the following year at the California Art Club in Los Chengdu Academy of Painting in Sichuan. Zhou's works painting and a silver medal in sculpture at the Olimpiadi
Angeles. More individual exhibitions followed in major have been shown at "The Documentary Exhibition of d'Arte e Cultura Abano Terme in 1966. He was also
cities throughout the US in the years 1942-1946. From Chinese Contemporary Art" (Beijing, 1991), "China awarded the World Peace Prize for Culture and Arts
1947 to 1949 he returned to Mainland China, exhibiting Experience" (Chengdu, 1993), "China's New Art - Post by the ROC's Literature and Arts Society. In 1991
at the Public Archives Museum in Guangzhou and in '89" (Hong Kong, 1993), "The Annual Exhibition of Art Yang held a Stainless Steel Sculpture Exhibition in the
Shanghai. In 1950, he returned to the US and began Critics Nomination" (Beijing, 1994), "China!" (Bonn, National Museum of Singapore.
to study abstract painting. During the years from 1969 1996) and "The Shanghai Biennial" (Shanghai, 1996).
through 1973, 50 of his abstract works were exhibited at His work can be found in the public collection of the
the invitation of the Pasadena Fine Arts Museum. Austria Linz Art Museum.
(1913-1995) (1955) (1926-1997)

121934 19821988

1940 1980 19641966
1942- 1982 1966
19461947-1949 1984
1950 19871988 1991
1969-1973
50 1992
1993

1996

267
Lot 190
Lots 187, 189 Lots 188, 199
LIANG Ping-cheng (Lan Mo)

(Taiwanese, b. 1958) HUNG Yi (Taiwanese, b. 1970) YU Shenghao (Chinese, b. 1973)
Born in Pingtung, Taiwan. In 1983, he won the 8th Born in 1970, Taichung, Taiwan. He was once an Graduated from the Yanbian art academy in 1995, he
Hsiung Shih New Artist Prize. Graduated from the Fine owner of 9 restaurants, and at the age of 30, decided took advanced courses in the oil painting department in
Arts Department of Chinese Culture University. Past to live his life as an artist when he was nominated as the Central Fine Arts Institute in 1996, and participated
exhibitions include: "Deep-Consciousness Series oil the artist of "Stock 20 in Taichung Railway Station" in the "English Winter Union Exhibition" in 1997. He
painting individual exhibition" (American Institute, (2002). His work is inspired by his surroundings and graduated from the print department of the Central
Taiwan, 1987), "Flying-Land Series, individual life experiences. The artist uses a lot of bright primary Fine Arts Institute in 1998 and attended "the Chinese
exhibition" (Galerie Pierre, Taichung, 2002), "Fertile- colors. His works are bold and lively, which clearly International Exhibition", "Four Persons of Oils Art
Land Series, individual exhibition" (Herb 24 home represent the local Taiwanese culture. Hung Yi's major Exhibitions", and conducted his solo exhibition in the
Museum, Eslite Bookstore, Xinyi, Taipei, 2006) solo exhibitions include the "Art in Taiwan, Interesting Gallery at Shoreman Art International in Taiwan in
Taiwan" (2004, Taipei), "Life in the World" (2002, 2000, his work nearly sold out, those sold pieces went
Taipei), and "Meet Hung Yi" (2008, Taipei). Besides to collectors in Japan, the US, Canada and France
works shown in exhibitions, his works can also be seen among others. He conducted his solo exhibition in the
in many public art locations. Revives Art Center in Singapore, and made brilliant
achievements, participated in the "Taipei International
Art Exposition 01". Yu's works are widely collected by
Taiwan high level enterprises, and his reputation grew
within a night. He also participated in the "Artistic
Richness" exhibition conducted by Shoreman Art
International in the Beijing International Art exhibition.
() (1958) (1970) (1973)

1982 1970 19951996
19831985 2000 19971998
20
1987 2000
2002
24 Home Museum2006
2001

2002
(2002)
(2004)(2008)

268
Lot 193
Lots 194, 210
Lot 192
TU Hongtao (Chinese, b. 1976) CHEN Liu (Chinese, b. 1973) JIA Gang (Chinese, b. 1974)
Born in Chengdu, Sichuan, Tu Hongtao graduated Born in 1973 in Kunming, Chen Liu graduated from Born in Liaoning, China, Jia graduated from the
from the Sichuan Art Academy attached middle school the Central Art & Crafts College in 1996, in which Academy of Arts and Design in Tsinghua University
in 1995. In 1998 he attained an outstanding prize year he won the first prize of Ikuo Hirayama Award, in 2001, and participated in the "Young and Bold
from the Li Chun-shan art foundation in Taiwan. He and is now a professor in the Yunnan Academy of Exhibition of the new acts in the China art scene"; 2007,
graduated from the oil painting department of the Fine Arts. His works have been published in Chenliu "Gestures", Beijing New Age Gallery; "The Age of
China Art Academy in 1999, and teaches in the art Water Color Paintings (2001) and Segment, Chenliu Pluralism, Being Persistent", New Age Gallery, Beijing
design department in Chengdu University. In 2006, he Art Works (2004); and he has shown his works and Taichung.
participated in the "Fiction@Love" exhibition tour held in several exhibitions such as his solo exhibitions
by the Museum of Contemporary Art Shanghai. "Watercolor Paintings of Chen Liu" (2004, Kunming)
and "SegmentsOil Paintings of Chen Liu" (2004,
Kunming); "Contemporary TraditionInvitational
Exhibition of Chinese Artists" (2006, Milan);
"International Contemporary Art Fair 2007" (Hong
Kong); "Asian Contemporary Art Fair 2007" (New
York); and in the recent group exhibition "I'm Ready"
(2008, Taipei).
(1976) (1973) (1974)

19951998 19731996 2001
1999 1996 20042007
2006

(2001)
(2004)2004

(2006
)2007(2007)
2007(2007)
(2008)
269
Lot 196
Lot 191 Lot 195
XUE Song (Chinese, b. 1965) SUN Lisha (Chinese, b. 1984) WANG Kun (Chinese, b. 1958)
Born in Anhui Province. In 1988, he graduated from Born in Shijiazhuang, Hebei, She entered into Central Wang Kun was born in July, 1958, Tianjin. He studied
the Shanghai Drama institute. He now lives and works Academy of Fine Arts in 2004. Her major exhibitions in Tianjin Academy of Fine Arts from 1978 to 1982 and
in Shanghai. His solo exhibitions include the British are: 2007 "Gathering Sandcastles - Chinese New received a bachelor's degree. From 1989 to 1991, he
Embassy in Beijing in 1992, the Shanghai Art Museum Generation Artists Award Exhibition", Beijing; 2006 purchased his further study in the field of oil painting at
in Shanghai in 1966, "Standing on the Shoulder of "On the Road - Oil Painting Exhibition", Beijing; the Central Academy of Fine Arts. And he currently is
Giants", Shangh Art, Shanghai in 2000, "Xue Song 2004 "Beijing Impression So Wonderful - New Year's the executive editor of Chinese Oil Painting magazine,
Solo Show" at the Chinese Contemporary Art Gallery Art Exhibition of Young Artists", Beijing. In 2005 her the membership of China Artists Association, the
in London in 2001; "Ver Da Ga-Xue Song Fashion
photographic work won the Award of Excellence in councilor of China Oil Painting Society and Tianjin
Series" at Shanghai Art in 2002; Xue Song solo shows
at the Walsh Gallery in Chicago, Gallery de Monde in Epson International Imaging Contest. Artists Association, the vice chairman of Tianjin Oil
HK and Shanghai Art Gallery in Shanghai. Shanghai Painting Society, specially invited as professor by
in 2003, Group exhibitions included "Shanghai 2000" Tianjin Academy of Fine Arts, modern art college and
at Walsh Gallery in Chicago; Shanghai Art Fair in postgraduate school of Chinese National Academy of
Shanghai, "Transcending Boundaries" at MSU Art Art.
Gallery at Montclair State University, "Future Chinese
Contemporary Art" in Macau in 2000; "Metaphysics
2001" at the Shanghai Art Museum, "As Long As
They Catch Mice", Munkeruphus Gallery in Denmark,
"Crossing Over" at Walsh Gallery in Chicago; "Initial
Image" at Yibo Gallery in Shanghai; "Ost + West at
Ausstellung zeitgenoesischer kunst aus China" in
Vienna, Austria; "Metaphysics 2002" at the Shanghai
Art Museum in 2002 and "Paris-Beijing" at Espace
Cardin in Paris in 2002.
(1965) (1984) (1958)

1988 2004 195871978-1982
1992 20042006 1989-1991
1996 2006
2002 2007
2001 2005
20022003
1996
1997
2002
270
Lot 197
Lot 200
Lot 198
QIU Xiaofei (Chinese, b. 1977) HOU Chun-ming (Taiwanese, b. 1963) JIAO Xingtao (Chinese, b. 1970)
1977, born in Harbin, Heilongjiang Province. From Born in Chiayi, Taiwan in 1963, he graduated from Born in Chengdu, Sichuan in 1970, Jiao graduated
1994 to 1998, he studied at the Central Academy of Fine the Department of Fine Arts, National Institute of the from the Sichuan Academy of Fine Arts in 1996. He
Arts Subsidiary School, Beijing. In 2002, he graduated Arts in 1987. He created a series of Construction Site now works and lives in Chongqing. He participated in
from No.3 Oil Painting Studio of the Oil Painting Show works in 1985 and held his personal exhibition various exhibitions, including: "Shanghai Jingwen Art
Department of the Central Academy of Fine Arts, "Paradise" in 1990. His "World Sacrifice" and other Exhibition", Shanghai; "Beijing International Urban
Beijing. Important Exhibitions: "The Second Factory woodcuts were published in 1994. Since 1988, he Sculpture Exhibition", China National Museum, Beijing,
Time" (2000, Beijing); "Back" (2001, Beijing); "Feeling has held a series of solo exhibitions and was selected 2002; "Chongqing Art Museum opening exhibition -
Memory" (2004, Shanghai); "Together" (2004, Beijing); to participate in Italy's Venice Biennale on behalf of Intensely Interesting Arts", Chongqing; "Beijing 1st
"N12 New Painting-No.2" (2004, Beijing); "Welcome, Taiwan many times. His works are widely collected by International Art Biannual Exhibition", China National
Welcome" (2005, Tokyo); "Huge Steamship" (2005, local and foreign art museums and individuals. Museum, Beijing; "10 Art Academy joint Exhibition",
Beijing); "Expression" (2005, Luoyang,); "Mahjong - Academy of Fine Arts, Tsinghua University, Beijing;
Wuly Heak Collection Exhibition" (2005, Switzerland); "Japan Oita International Sculpture Exhibition",
"Naughty Kids" (2005, Beijing). Japan, 2004; "The 2nd Chengdu Biannual Exhibition",
Chengdu Modern Art Gallery, Chengdu, 2005;
"Contemporary Art Almanac Exhibition of China", The
Art Museum of the China Millennium, Beijing, 2006;
"New South-West Contemporary Painting Exhibition
1985-2007", Guangdong Museum of Art, Guangzhou,
2007.
(1977) (1963) (1970)

197719941998 19631987 19701996
2002 19851990
2000 19941988 2002
2001n12 2003 -
20042004 2003
2005
20052005 2004
20052005 2005
2006

2007 -1985-2007

271
Lot 202
Lot 205 Lots 206, 211, 219
JIANG Shuo (Chinese, b. 1958) LEE Jae-hyo (Korean, b. 1970) HUANG Gang (Chinese, b. 1961)
From Beijing, graduated from the Department of Born in 1970, Korea. Lee Jae-hyo graduated from Born in Beijing in 1961, he graduated from the Central
Decorative Sculpting, Central Academy of Fine Arts Hongik University as a BFA in Plastic Arts in 1992. Industrial Art Institute. During the 80's, paintings with
in 1982, graduated with an MA in Sculpting from the He received numerous awards including, "Grand Prize a Tibet theme were extremely popular; people loved the
Central Academy of Fine Arts in 1985, and stayed Winner of Osaka Triennial" (1998, Japan), "Kim Sae- pureness, the mystery, and the nature of Tibet, which is
behind as a lecturer. From 1982 to 1987, she designed Jung Young Artist Prize" (2000, Korea), "Sculpture in not yet polluted by civilization. Huang Gang became
trophies for a series of National Film Awards such Woodland Award" (2002, Ireland), "Pize of Excellence interested in the culture, religion, and art of Tibet, and
as "Best Drama". Her works were displayed in "the of Hyogo International Competition of Painting" (2005, started his own Tibet classical drawing artware collec-
National Art Exhibition" in China Museum of Art many Korea), and "Prize of Excellence of 2008 Olympic tion, studies society, religion, philosophy background
times. She moved to Austria in 1989 where she became Landscape Sculpture Contest" (2008, Beijing). His which this kind of art produced. He created the Tibet
a professional artist. Her works are often on display in works has been shown in several solo exhibitions in writing series work afterwards, but he is a different
Austria, Germany, Canada and Hong Kong, and widely Seoul, Tokyo, Beijing, and New York. The artist also artist, he used an unprecedented artistic way to carry
collected by overseas collectors. participated in various group exhibitions, such as the on the creation. Huang Gangs works were exhibited
"Young Korean Artist Exhibition" (2000, Korea), many times in the world. Solo exhibitions were held in
"Association of Asian Contemporary Sculpture" (2001, Germany, France, Switzerland, the US and Hong Kong,
Korea), "Out of Wood" (2003, Korea), "Vibration" (2005, and had enormous success. He obtained different cul-
Korea), "Art Canal" (2006, Switzerland), "Art Basel" tural contextual views from different countries and high
(2006, USA), "Five Space & I" (2007, Korea), and praise.
"Opening of the 10th Municipal Museum of Art" (2008,
Korea).
(1958) (1970) (1961)

19821985 1992 19611980

19821987 19982000
2002
1989 20022008
2008 1996
12
2000
2001
2006&
Moran200710
2008
272
Lot 212
Lot 209 Lot 213
XIONG Yu (Chinese, b. 1975) LIU Baomin (Chinese, b. 1968) ZHANG Xiaotao (Chinese, b. 1970)
Born in Chengdu, Sichuan, Xiong Yu graduated Born in 1968 in Xi'an city, Shaanxi province. In 1989 Born in Hechuan, Sichuan Province, China. Zhang
from the attached middle school of the Sichuan he graduated from the Xi'an Academy of Fine Arts Xiaotao graduated from the Oil Painting Department
Academy of Fine Arts in 1995, and rose up into the with a degree in oil painting. Currently he is a member of Sichuan Academy of Fine Arts. Solo exhibitions:
oil painting department of the Sichuan Academy of of the Shaanxi Oil Painting Artists Association and a "Flowers in the Dream" at the Tokyo Gallery, Japan,
Fine Arts. In 1999, he graduated from the oil painting professional painter. Exhibitions: 1999 "The Capital Art 2001; "The Blown-up Property", Beijing, 2001; "Desire"
department of the Sichuan Academy of Fine Arts Exposition", Beijing; 2001 "Solo Exhibition", Beijing; at the Kunst Akademie Muenster in Germany, 2002;
and was admitted to the plastic arts department of 2001 "Shanghai Art Exposition", Shanghai; 2002 "China "The Erosion of Materialism", Paris, 2003; "Dream
the Sichuan Academy of Fine Arts as a professional Art Exposition", Beijing; 2003 "Solo Exhibition", Hong Factory and Refuse Dump", Beijing, 2004 and Tokyo,
graduate student of oil painting in the same year. Kong; "The Third Shaanxi Oil Painting Exhibition", 2005; "Illusion", Norway and Lithuania. His group
In 2002, he obtained the Sichuan Art Academy oil Xian; "The Third China Oil Painting Exhibition", exhibitions have included: "Between the Dream and
painting master's degree and began to teach at the Beijing; "Solo Exhibition", Beiijng; 2004 "Touring PaintingVienna from 1900 to 2000", Germany, 2000;
artistic academy of Sichuan University. Xiong is a Exhibition of Oil Paintings", Beijing; "Group Exhibition "Dream: Chinese Contemporary Art Exhibition" at the
new talent of Chinese oil painting from the "Sichuan of Freedom of Touching the Body and Soul", Beijing; London Pacific Gallery, 2001 and Manchester, 2002;
School of Painting", after Luo Zhongli, He Duo-Ling 2005 "Spring Art Salon", Hong Kong. "The Left Hand-Right Hand" at the China and Germany
and Zhang Xiaogang. His work participated in and Art Communication Exhibition, Beijing, 2003; "Madrid
was awarded in "Youth Art Exhibition of Sichuan International Art Exhibition", Spain, 2004; "Chinese
Province" in Chengdu. In 2004, his works received Current Painting" at the INFELD Culture House, Vienna,
a Bronze Prize in "Mood of the Youth-Exhibition of 2004; "New Viewpoint of Chinese Painting" at Marella
Reworded Paintings of Chinese Newly Emerging Arte Contemporanea, Italy, 2004; "Paris International
Artists" in Shenzhen. Art Exhibition", 2004; "Chinese Current Painting", Italy
and "The 2nd Prague Biennale", Czechoslovakia, 2005.
(1975) (1968) (1970)

1995 19681989 1996
1999 2001
1999 2001 20022003
2002 2002 2004
2003 2005
3142005
2002 2005
2004 2004 M.K.
2005 2004
2004
2005
2005
273
Lot 215
Lot 214
Lot 216
HONG Ling (Chinese, b. 1955) LI Jisen (Chinese, b. 1970) YIN Qi (Chinese, b. 1962)
Born in Beijing, China, 1955. Hong Ling graduated Born in 1970, Tianjin, China, Li Jisen graduated from Born in 1962 in Beijing, China, Yin Qi graduated
from the Fine Arts Department of Beijing Normal the Tianjin Academy of Fine Arts, and studied in the from the Central Academy of Fine Arts in 1987, and
College in 1979. In 1985, he entered the Oil Painting Central Academy of Fine Arts in 1994, specializing in taught at the affiliate high school after graduation. He
Department of the Central Academy of Fine Arts and oil painting. The artist has shown his works in numerous later resumed his studies of art at the Ecole National
currently holds the position of associate professor there. exhibitions, among which are the "Third China National Superieur des Beaux Arts in Paris in 1989 - 1991 and at
His oil paintings have been exhibited in the first and Oil Painting Exhibition" (2003, Beijing); "The Art the Institute de Haute Etude en Arts Plastiques in 1996
second annual exhibition of "Chinese Oil Paintings" of TimeMovado Touring Exhibition in 10 cities in 1997. He now resides and works in Beijing and Paris.
and the "1994 Critics Nomination Exhibitions." Hong China" (2005); "The Flying Moth" (2005) and "Power His solo exhibitions were common both in China and
has won many awards for his art. A solo exhibition was of Faith" (2006) solo exhibitions; the "Extraordinary many places in Europe such as Spain (2004, Barcelona);
held in Hong Kong in 1995. He also participated in the Men Group Exhibition of Contemporary Chinese France, Issodum Museum and Meymac Contemporary
47th Venice Biennale in 1997. His work is found in the Art" (2006, Beijing); the "Touched by the Color" solo Art Center (2004); and Beijing, Soka Contemporary
public collection of the National Art Museum of China, exhibition (2007, Beijing); the "Asian Contemporary Art Space (2005). He also participated in group shows " The
Beijing. Fair 2007" (New York); the "Symbol & Metapho" solo 10th National Art Exhibition" (2004, Beijing); " Beijing
exhibition (2008, Korea); and the group exhibition "I'm Biennal" (2005); "Spreading Realism" (2006, Taipei).
Ready" in Taipei (2008).
(1955) (1970) (1962)

19551979 19701994 19621987
1985 1989-1991
2003 19961997
2005
1994 2005 2004
1995 2006 2007
199747 2007 2005
2008 (2004)
2008 (2005)(2006)
274
Lot 220 Lot 221 Lot 222
Masao KINOSHITA (Japanese, b. 1971) Gabriel BARREDO (Philipino, b. 1957) Ai HAIBAR (Japanese, b. 1981)
Born in 1971 in Nagano Prefecture, Japan. Kinoshita Born in 1957 in Manila, Philippines, Gabriel Barredo Ai Haibara was born in 1981 in Okayama Prefecture,
Masao graduated from the Department of Sculpture now resides in Manila. He has held solo exhibitions Japan. She graduated from Craft Course of Faculty of
of Tokyo Zokei University in 1993. His works have as Philippine Representative to the "Sao Paolo Fine Arts and Music, Tokyo National University of Fine
joined various exhibitions such as "Geisai Museum" Biennale" (1993, Singapore); "Anima & Persona" Arts and Music in 2004. After that, she got the MD in
(2003, Tokyo); "Geisai 5" (2004, Tokyo); "Geisai (1999, Manila); and group exhibitions "Soka's view" Craft Course of Faculty of Fine Arts, Tokyo National
7Exhibition of Geisai Medalists" (2005, Tokyo); Southeast Asian Contemporary Art (2007, Taipei); University of Fine Arts and Music in 2006. Her selected
"Exhibition of Teruhisa Kitahara's Collection" (2006, "13th Asian International Art Exhibition" (1998, Kuala solo exhibition include: "Memories Journey" (2006,
Tokyo); "The Exhibition of International Sculpture Lumpur). In addition, the artist is awarded for "1994 Ten Okayama), "A stir in my heart" (2007, Tokyo). Selected
Masterpiece" (2007, Taiwan); "Masao Kinoshita" (2008, Outstanding Artists Diwa Ng Sining Awards" ; and group exhibition include: "Four persons' exhibition"
Taiwan) "Art Fair Tokyo 2009" (2009, Tokyo). "Art Association of the Philippines Annual Competition (2003, Tokyo), "Space with Sculpture - Four persons'
for Sculpture", Gold medal, in 1981. exhibition of sculpture" (2004, Tokyo), "Descendants of
Atelier or of it future" (2006, Tokyo), "Descendants of
Atelier or of it future" (2007, Tokyo).
(1971) (1957) (1981)

19711993 1957 19812004
1993 2006
(2003)5(2004) 1999 (2006)
7-(2005) 2007 (2007)(2003
(2006)(2007 131998 )
)(2008) 2009 Diwa Ng Sining1994 (2004)(2006
(2009) 1981 )(2007)

275
Lot 223
Lots 224, 226
Lots 225, 228
JI Yong HoKorean, b. 1978 KIM Byung Jin (Korean, b. 1974) KWON Ki Soo (Korean, b. 1972)
1978 Born in Korea. He graduated from Hongik Born in 1974, Seoul. Kim Byung Jin graduated from the Kwon Ki Soo was born in 1972 in Young-ju, Korea.
University, South Korea in 2005, received a bachelor's Sculpture Department and proceeded his MFA studies He attained his B.F.A. and M.F.A. from Hongik
degree. In 2008 graduated from New York University, in Sculpture at the Suwon University College of Arts. University, Seoul, in 1996 and 1998 respectively. He
received a master's degree. Solo Exhibitions: 2007 He held his two solo exhibitions, "Drawing a Space" in has held various solo exhibitions including "The Show
"Mutant", Seoul; 2008 "Mutant Mythos", New Korea in year 2008 and 2009. The artist also participated 1998" at Kwan Hoon Gallery (1998) and "A Red
York; 2009 "Mutant Colour", Taipei. Important in various group exhibitions, including "Korea- Fountain" at Gallery Fish (2004) in Seoul. He has also
group Exhibitions: 2004 "10 Different Views of China Contemporary Sculpture Exchange" (2007, participated in numerous notable group exhibitions,
Environment",Seoul; 2005 "Between", Stuttgart; 2006 China), "Korea's Enterprising Artists' Speaking-Out" including throughout Seoul, such as "Pleasure Factory"
"Khaos", Seoul; 2007 "I Love New York", New York; (2007, Korea), "Commemorating Exhibition Opening at the Seoul Museum" of Art (2003), "The Elegance of
2008 "Sevilla Biennale", Spain; 2009 "Chocolate Box", Cheonggyecheon Art Studio" (2007, Korea), "Korea Silence: Contemporary Art From East Asia at the Mori
GyeongGi-Do. International Art Fair" (2008, Korea), "Seoul Open Art Art Museum in Japan (2004), "Traveling Art Museum"
Fair" (2008, Korea), and "Living Design Fair" (2009, at the National Museum of Contemporary Art in Korea
Korea). (2004), as well as "Listening 2004 N.Y". at the Jacob
Javits Convention Center in New York (2004).
(1978) (1974) (1972)

19782005 1974 19721996
2008 20082009 1998
20072008 2 19981998
2009 (2007) 2004
2004102005 (2007) 20032004
20062007 (2007)(2008) 2004
2008 (2008)(2008 2004
2009 ) 2004
276
Lot 230
Lot 227
Lot 229
KIM Nampyo (Korean, b. 1973) YOON Jongseok (Korean, b. 1970) KIM Tschang-yeul (Korean, b. 1929)
He has his BFA in Painting, Seoul National University, Born in 1970 in Seo-cheon Chung-nam, Korea, Yoon Kim Tschang-yeul was born in 1929, Korea, and
Seoul in 1998, and got a MFA in Painting, Seoul Jongseok graduated from Hannam University in graduated from the College of Fine Arts at Seoul
National University, Seoul in 2006. Selected solo 2000. Solo exhibitions: "Firing of Aerial Time" (1998, National University in 1950. The artist has an extensive
exhibitions include: "Instant Landscape" (2008, Gallery Seoul); "Pure Contradiction" (Seoul, 2002); "Drawing" exhibition history in major galleries, museum and art
IHN, Seoul), "Instant Landscape" (2005 Canvas (2006, Italy).He has also shown his works in many fairs all over the world. He has held solo exhibitions
International Gallery, Amsterdam). Selected group group exhibitions including "Korean Youth Artists Art at the Chicago international Art Exposition (1989), the
exhibitions include: "From Korea" (2007, LM Gallery, Festival" (2001, Seoul); "Exchange Exhibition between National Museum of Contemporary Art in Korea (1993),
Seoul), "Art Amsterdam 2007" (2007, Amsterdam), Korea and Japan" (2001, Japan); "Korean Dream" the Sakamoto Zenzo Museum of Art in Japan (1998)
"Tomorrow-The Collaborations" (2006, Soma Museum, (2002, France); "International Art Fair in China" (2005, and his very first solo show in China at the National
Seoul). He was awarded at Arts Council Foundation Beijing). Museum of China (2005). Group exhibitions include
Award, Gold Medal in National University Art "Painting in Korea: Yesterday and Today" at the Seoul
Exhibition, Gold Medal in Creative Art association. Museum of Art (2004), and "Poem of Indian Ink" at the
Guimet Museum of Asian Art in Paris (2005). Kim's
works are vastly collected by art institutions such as the
National Museum of Contemporary Art in Korea, the
National Museum of Modern Art in Tokyo, the Museum
of Fine Arts in Boston and the Museum of Oriental Art
in Germany.
(1973) (1970) (1929)

19982006 19702000 19291950

2008IHN 19982002
2005 2006 2005
2007LM 2004
20072007 20012001 2005
2 0 06 2002
(2005)

277
Lot 231 Lot 233
Lot 232
CUI Xiuwen (Chinese, b. 1970) MIAO Xiaochun (Chinese, b. 1964) Mika NINAGAWA (Japanese, b. 1972)
Born in 1970 in Harbin, China, Cui graduated from the Born in Wuxi, Jiangsu province. Miao received his Born in 1972 in Tokyo. Ninagawa graduated from Tama
Fine Arts Department of Northeast Normal University in B.A. from Nanjing University in 1986 and then an M. Art University in Tokyo, majoring in Graphic Design.
1990 and afterwards from the Oil Painting Department A. from the Central Academy of Fine Arts in 1989. He She is a Japanese photographer known for her vibrant
of the Central Academy of Fine Arts in 1996. Her went to study at the Kunsthochschule Kassel, Germany and brightly colored photographs of flowers, goldfish,
works appeared in solo exhibitions like "Cui Xiuwen" from 1995 to 1999 and received another M. A. degree. and landscapes. She has enjoyed significant commercial
(2005, Italy; China & 2006, Los Angeles); "Angel: Cui Since 2000, he has been teaching at the Department of success in fashion and advertising. Ninagawa has been
Xiuwen's Solo Exhibition" (2007, Milan); "Quarter: Cui Photography and Digital Media of the Central Academy awarded numerous prizes such as the Grand Prize at
Xiuwen's Solo Exhibition" (2007, Florence Museum, of Fine Arts. He held solo exhibitions at the Gallery of "7th Shashin Hitotsubo Ten (3.3m2 photography)"
Italy). She also attended numerous group exhibitions like the Central Academy of Fine Arts (1988); Beijing Art (1996); "13th New Cosmos of Photography" (1996);
"Between Past and Future: New Photography and Video Museum (1991); National Museum of Chinese History Encouragement Award at "9th Konica Award"(1998);
from China" (2005, London); "Women in A Society of (1992); Beijing Art Museum and Shanghai Art Museum "The 26th Kimura Ihei Award"(2001); "Ohara Museum
Double-sexuality" (2006, Bangkok, Thailand); "Today's (1994); "Kulturbegegnungen" held by Stellwerk Gallery of Art Prize"(2006). She has held various solo
Documents" (2007, Beijing); "China - Facing Reality" (1999, Kassel, Germany); "From East to West and back exhibitions including; "Liquid Dreams" (2003, Tokyo/
(2007, Vienna, Austria); "China Comes" (2007, Naples, to East" (Beijing, 2001); "Linger" (2002, Lucerne, Nagoya); "Mika over the Rainbow" (2004, Nagoya/
Italy). Switzerland). Group exhibitions he participated Tokyo/Osaka/Hiroshima/Hukuoka); "Mika Ninagawa
in include: "Urban creation Shanghai Biennale" Photo Exhibition In London 2005" (2005, London);
(2002, Shanghai); "The 2nd Seoul international "Floating Yesterday" (2005, Tokyo); "TheVisionOfCo
media art Biennale" (2002, Korea); "China-Tradition ntemporaryArt2006" (2006, Tokyo); "Mika Ninagawa
and Modern" (2002, Germany); "Golden Harvest- Exhibition" (2007, Berlin); " Mika's Daydreaming
Chinese Contemporary Art" (2002, Croatia); "Me and Theater" (2008, Tokyo/Sapporo/Nagoya/Kochi/Sendai)
More" (2003, Switzerland); "Art Fair Zurich" (2003, ; "Mika Ninagawa: Earthly Flowers, Heavenly Colors"
Switzerland). (2005, Tokyo/Iwate/Kagoshima/Hyoko).
(1970) (1964 ) (1972)

19701990 1986 1972
1996 1986-1989
(2005 1995-1999
2006)(2007 2000 2007
)(2007 (1988) 73.3
) (1991)(1992) (1996)13(1996)
(2005) (1994) 9(1998)
(2006) (1999) (2001)(2006)
(2007)(2007 (2001)(2002 (2003/)
)(2007) ) (2004////
(2002)(2003 )(2005)
) (2005)V O C A2006(2006
)(2007)
(2008///)
(2009////
)
278
Lots 235, 237
Lot 234 Lot 236
SZETO Keung (Chinese, b. 1948) Ayako ROKKAKU (Japanese, b. 1982) LEE Seung Min (Korean, b. 1978)
Szeto Keung was born in Canton, China, and currently Born in 1982 in Chiba, Japan, Ayako Rokkaku has Lee seungmin got a BFA degree of Painting in College
lives and works in New York. He graduated from the never received any academic art education but learned of Fine Art, Hong-ik University in 2007, and got a
Department of Fine Arts of the National Taiwan Normal to paint on her own. She started her career in painting MFA degree of Painting in College of Fine Art, Hong-
University in 1973. He obtained his Master in Fine in 2002, and her works are already common in many art ik University in 2009. Selected solo exhibitions include
Arts from the Pratt Institute in New York in 1979. Solo fairs in Japan. Rokkaku has mastered her own painting "Lee Seung Min ILLUSIVE"(2008, Art Space H,
exhibition: 1991, Eslite Gallery; 1996, Hanart Gallery; technique. She applies acrylic paint on cardboard sheets Seoul), selected group exhibitions include "IYAP 2009
1999, O. K. Harris Gallery; 2005, Eslite Gallery. Group with her bare hands. Adolescent children are the main - Against Interpretation" (2009, Seoul), "Korean Eye -
shows: 2003, "Pop and Illusionism: Contemporary subjects in her work, and are mostly illustrated from Moon Generation" (2009, Phillips de Pury & Company,
Works from The Frederick R. Weisman Art Foundation", close-up. Rokkaku has won the prestigious Akio Goto London).
Contemporary Art Center of Virginia, Virginia Beach, Prize at Geisai # 9. Her works appeared in many solo
USA; 2004, "Contemporary American Realism VII", exhibitions like shows held by Gallery Delaive (2007,
M.A. Doran Gallery, Tulsa, USA..., etc. Holland); by Gallerie Moderne (2007, Denmark); by
Galerie Teo (2007, Tokyo); by Gallerie Wild (2008,
Germany); Juliana Gallery (2008, Korea). And she
has joined several international art fairs such as "Art
Cologne" (2007, Holland); "Shanghai Art Fair 2007";
"Art Singapore 2007"; "Art Fair Tokyo 2008"; "Art
Amsterdam" (2008); "Art Taipei 2008".
(1948) (1982) (1978)

19481973 1982 20072009
1979 2002
19911996 2008H
1999OK2005 2009 IYAP2009
2003 2009

2004 9
VIIM.A. 2007
Teo
2008Wild

2007
2008

279
Lot 239
Lot 238 Lot 240
Chiharu NISHIZAWA (Japanese, b. 1970) Tetsutaro KAMATANI (Japanese, b. 1979) Yoshitaka AMANO (Japanese, b. 1952)
Born in 1970 in Nagano Prefecture, Japan. Chiharu Born in 1979 in Osaka, Japan. Tetsutaro Kamatani Born in 1952 in Shizuoka, Japan, he joined the early
Nishizawa graduated from the Department of Fine Arts now works and lives in Tokyo. His works have joined Japanese anime movement in 1967, working on
(Art and Design) of Tokyo Zokei University in 1993, solo exhibitions "Tetsu" (2005, Nagoya); "Human character design for a number of Japanese TV programs,
and completed Post-Graduate Course in Printing in Paradise" (2007, Nagoya); "The Kingdom of Images" including the series "Time Bokan", "Tekkaman",
1995. Nishizawa continued to work in the medium of (2008, Nagoya); and group exhibitions such as "Art Fair "Gatchaman" and "Honey Bee". Amano has won several
printing, but moved to painting as he felt it was quicker Tokyo" (2006-2008, Tokyo); "Wonderland-Japanese prestigious awards including the Seiun Award in 1983-
at giving form to his thoughts. In 2004 he won an award Contemporary Art Exhibition" (2008, Hong Kong); 1986 and the Dragon Con Award and the Eisner Award
at VOCA. His work is known for its detailed, model-like "Masked Portrait" (2008, New York). in 2000. Amano has exhibited his art in prestigious
depiction of crowds of people wearing suits or aprons museums and galleries worldwide since 1989,
against flat, unreal backgrounds, and became critically including the Orlean Museum of Art in France, Tokyo's
acclaimed for its combined expression of unease towards Uenonomori Museum, The Angel Orensanz Foundation
society with its dark humor. His works have been shown in New York, and the Barbican Centre in London.
in solo exhibitions "Project N" (2003, Tokyo); "Happy
Garden" (2005, Tokyo); "Enjoy Car Life" (2006, Hong
Kong); "Dream House" (2006, Seoul ); "For Beautiful
Human Life" (2007, Tokyo ); and group shows in "Play
not play" (2003, Beijing); "The Vision of Contemporary
Art 2004" (2004, Tokyo); "Joy of Spring Light" (2006,
Tokyo); "Zokei Contemporary Artists" (2007, Tokyo);
"Art Lan@Asia? New Asian Contemporary Art!" (2007,
Tokyo); "Thermocline of Art? New Asian Waves" (2007,
Germany).
(1970) (1979) (1952)

19701992 1979 19521967
1995 2 005
20072008
2004 2006-2008 2000
VOCA 2008 19831986
2008 1989

N(2003)
(2005)(2006)
(2006)(2003
)VOCA2004(2004)
(2006) (2007)
@~(2007
) -(2007)
280

Lot 242
Lots 241, 247

Lot 243
Hiroshi KOBAYASHI (Japanese, b. 1967) Shinjyuko (Japan, b. 1968) Mayuka YAMAMOTO (Japanese, b. 1964)
Born in 1967 in Fukushima prefecture, Japan. Kobyashi Shinjyuko was born in Kumamoto Prefecture in 1968. Born in 1964 in Okayama, Japan, Yamamoto received
Hiroshi graduated from the Tokyo National University She graduated from Osaka Seikei University, majored in her master degree at Masashino Art University in Tokyo
of Fine Arts & Music in 1995, and received his Art & Design. Recent selected solo exhibitions include: in 1990, and joined the Japanese Government Overseas
master's degree from Brooklyn College of the City "The concubine, beautiful princess" (2006, Lap Net Study Program for Artist to continue her studies in
University of New York. He has been holding solo Ship, Japan), "Ready for Lady" (2007, Contemporary London until 1999. Her works have been shown in
exhibitions in Gallery Natsuka since 2000 (2000- Art Museum, Kumamoto, Kumamoto city). Selected several solo shows held by Gallery Tsubaki, Japan since
2005, Tokyo); and other solo exhibitions such as "Blue/ group exhibitions include: "The Concept of Japan" (2005, 19932006, and her recent solo show "Deer Boy and
blue" (2004, Washington D.C.); "Works on paper" Germany), "Eyes Wide Open" (2006, Mizuma auction, Other infants" was held by Canvas International Arts
(2005, Tokyo); "Project" (2006, Tokyo); "and group Tokyo). gallery in Amsterdam (2007). She also participated in
shows in "VOCA Exhibition 2003" (2003,Tokyo); group shows as "Korean International Art Fair" (2004
"Revolving Door: ISCP<->Asia" (2003,New York); 2007); "Young Japanese Painting" (2007, Amsterdam).
"Japan: Rising" (2003,Tokyo); "Depredation" (destroy)
(2003,Tokyo); "Shell Art Award 2004" (2004,Tokyo);
"New Spirits Fukushima" (2005, Fukushima); "Blend-
Group Exhibition of China, Japan, Korea and Taiwan
Contemporary" (2007, Taiwan).
(1967) (1968) (1964)

19671991 19681997 19641990
1995Brooklyn College
2000Natsuka 2006 19991993
(2000-2005) 2007 1993-2006
Blue/Blue(2004)(2005 2005 2007
)(2006)V O C A 2006
2003(2003)ISCP<->Asia 2004-2007
(2003)(2003) 2007
(2003) Shell2004(2004
) (2005) -
(2007)
281
Lots 244, 248 Lot 245 Lot 246
Yayoi KUSAMA (Japanese, b. 1929) Hiroyuki MATSUURA (Japanese, b. 1964) Rieko SAKURAI (Japanese, b. 1977)
Born on 22nd, March, 1929. She was called the classic Born in Tokyo, Japan. He started to work as a graphic Born in Ibaragi Prefecture, Rieko Sakurai graduated
artist still alive in Japan. She was born in Matsumoto designer: advertising, packaging, binding and logo from the Painting Department of the Nagoya Art
City in Nagano, Japan. In 1956 she moved to New design in 1984. And the artist started to produce University in 1999. Selected exhibitions include:
York, U.S.A. and began to show her unique avant-garde "Poster+Package+Skateboard" designs using "Character Expression in OOs at Zumi Gallery in Mito City in
artistic creation which takes a dominant place. She Illustration" themes. Exhibitions: 2007, "Ani Manga", 2002; Small Works Exhibition at Art Work Gallery in
once held exhibition with some current brillant artists VIA07 Festival international, France. 2007, "Ultra New Mito City in 2003; Tokyo GG Night which is directed
such as Andy Warhol, Claes Oldenburg and Jasper Visions": Hiroyuki Matsuura Solo Exhibition, Eslite by KaiKai Kiki in 2006; and Funny Fever at Bunkyo Art
Johns together. She lives in Tokyo in Japan now. She Gallery, Taipei, Taiwan. 2006, "Super Acrylic Skin, Gallery in 2007.
has a wide artistic practice, including painting, collage, Mirai Projects" solo exhibition, Stockholm, Sweden.
sculpture, acting, filming, decorating and writing novels, 2006, "Japanimation!", Beijing Tokyo Art Projects,
poems and music. When she was ten years old, he got Beijing, China. 2005, "Super Acrylic Skin", Hiroyuki
acousma and heteroptics because she was ill. When Matsuura Solo Exhibition, Tokyo Gallery, Tokyo, Japan.
she was in America, it was the period of radicalness.
And from then on her arts stayed in the state of radical,
commercial and retrospective. She thinks that the net
form means the vividness of life. In 1966 her decorating
work "Endless Mirror Room" reveals the endless and
the uncontrollable of life.
(1929) (1964) (1977)

1984 1999
1956 2002
1999 00 2003ArtWork Gallery
2007VIA 2006KaiKai Kiki
07 2007 GG 2007
2006

2006
1966

282
Lot 249 Lot 250
Madoka TAKAGI (Japanese, b. 1983) Yoshitomo NARA (Japanese, b. 1959)

Born in 1983 in Tokushima, Japan. IIDA Kiriko Born in Hirosaki City, Aomori, Japan, Yoshitomo now
graduated from Printmaking Course, Department of lives in Tokyo. Having most of his early works in
Painting, Tama Art University, M.A in 2008. She has illustrations, Yoshitomo developed in the late 1980s
shown her works in many exhibitions including "Gallery portraits of seemingly innocuous children, which have
Tsubaki GT2" (2007, Tokyo); "Marginality" (2008, now become his main art style. The artist is infatuated
Taipei). with subjects with big heads and big eyes; he is well-
known in depicting the variety of emotions showing
through the character's eyes, especially his famous
squint look (as some see it as a demonstration of anger,
and some think of it as the representation of evil). In
the late 1990s, Yoshitomo also began to create three-
dimensional works, and implemented different media
into his artworks. Today, his works are in collections of
the Museum of Modern Art in New York and Museum
of Contemporary Art in Los Angeles among many other
well-known museums in the world.
(1983) (1959)
19832008
1980
G T22007
2008

1990

283

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original parts being replaced; therefore, we are unable to guarantee that any h. Exchange rate conversion board
given watch's parts are from the original set of parts. There will be an exchange rate conversion board operating at some auctions.
All of the items on auction are being sold in "as is" condition.the Company The exchange rate is calculated at the exchange rate of the one-month future
does not provide any representation or guarantee as to the condition of any of goods reported to the Company from the bank when starting business on the day
the items. Unless otherwise stated, the Company does not provide any warranty of the auction. Nonetheless, the auction will still be conducted in NT dollars.
with the items. The exchange rate conversion board is not absolutely reliable. The accuracy of
either the Lot numbering shown on the board or the equivalent of the bid price
c. Catalogue Explanations in any foreign currency is not within the control of the Company. The Company
Any statement of the author, history, date, year, size, material, ownership, will not be responsible for any losses caused by the reliance of the Buyer on the
authenticity, origin, condition of preservation or estimated selling price of exchange rate conversion board.
any of the Lots shown in the catalogue or the authentication opinion made by
the Company, or any other verbal or written statements made separately shall i. Recorded images
be solely statements of opinions and shall not be deemed the basis for the There is image projection in some auctions; however, errors may occur
statements of actual fact. The photographs shown in the catalogue shall serve during the operation. The Company is not liable for the color accuracy of the
as reference only and shall not be deemed as the basis for determining the color reproduced image and whether the projected image corresponds to the item
or tone of any Lots or disclosure of the defects of such item. The estimates being auctioned.
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. j. Determining power of the auctioneer
Many auction items fail to maintain their perfect condition because of time and The auctioneer has the absolute power to reject any bid, push for bids at his
other environmental factors. Some of the explanations in the catalogue or the discretion, withdraw any auction items, separate or combine two or more
authentication opinions will state defects and/or the repair background of the auction items, and if there is any error or dispute, re-auction the items.
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 k. Successful bids
statement of one particular defect does not mean there is no any other defect. 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
d. Responsibility of the Buyer successful auction agreement.
The Buyer is responsible for clarifying and satisfying himself about the
condition of the items and any related matters stated in the catalogue 4. Following the auction
descriptions. a. The service fee of each lot payable by the Buyer
(1) The Buyer should pay the hammer price and, in addition, the service
3. In the auction fee to the Company. For hammer price below NT$ 20,000,000
Sales Tax Payable by the Buyer (inclusive), the service fee should be calculated at 20% of the hammer
a. The Buyer shall pay (value added) sales tax in the amount of 5% of price.
the Hammer Price with respect to imported works of art collected by the (2) For hammer price higher than NT$ 20,000,000, the first
Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not re- NT$ 20,000,000 should be calculated at 20% and the rest of the
quired to pay sales tax if such imported works of art (with * marks by the amount should be 12%.
number in the catalogue) are delivered to the buyer outside the R.O.C. and are
handled by Ravenel for the relevant shipments. The buyer shall notify Ravenel b. Taxes
in writing within two business days following the auction day if he desires to All the payments payable by the Buyer to the Company do not include any
289
commodity or service taxes or any other value added taxes (whether imposed by behalf, the Company is entitled to collect monies made in connection with such
the Taiwanese government or elsewhere). The Buyer should be responsible for an application and any miscellaneous expenses together with any relevant value
paying any applicable taxes as required by the law. added taxes.
If the Buyer makes the payment regardless of the fact that an export permit is
c. Payment needed, the Company is not responsible for returning to the Buyer any interest
The Buyer should provide his name and permanent address to the Company or other expenses incurred therefrom.
upon the successful bid. Relevant bank information should also be provided
upon request. All payments due (including the hammer price, service fee and 5. The legal responsibility of the Company
any applicable taxes) should be paid within 7 days following the auction date. The Company is responsible for returning payment to the Buyer pursuant to
The aforesaid provision also applies if the Buyer intends to export the Lot and Article 6. Otherwise, whether the Buyer, the Company, any employees or agents
(may) need the export permit. of the Company will not be held liable for any statements of the author, history,
If the Buyer fails to pay to the Company all the payments due, the Buyer will not date, year, ownership, authenticity or origin of any auction item or any errors
acquire the ownership of the Lot even if the Company has delivered such item with respect to any explanations and any flaws or defects of any auction item.
to the Buyer. If the payment to Ravenel are made in any currency other than NT The Buyer, the Company, the employees or the agents of the Company make no
dollars, the Company will collect from the Buyer any foreign exchange expense guarantee with respect to any auction items. Any warrantee of any kind shall not
incurred therefrom, including bank charges and foreign exchange service fees. be included herein.
The exchange rate of the payments to the Company in any currency other than
NT dollars should be the exchange rate reported by the Bank of Taiwan to the 6. Return of payments for counterfeits
Company on the auction date and should be based on the certificates issued by The transaction will be cancelled and payments made will be returned to the
the Company according to such exchange rate. Buyer if the Lot of the Company is confirmed to be a counterfeit. However, if:
a. The catalogue explanations or the notice at the auction distributed on the
d. Collection of the Lot sold auction day corresponds to the opinions generally accepted by the academic or
Unless otherwise agreed by the Company, the Company will hold temporarily professional fields;
the successfuly sold Lots until all payments to the Company are made in full. b. The method used to prove that the Lot is a counterfeit is a scientific procedure
The Lot will be covered by the insurance of the Company from the auction date not generally accepted for use before the publication of the catalogue or a
for 7 days during the temporary holding period. The insurance coverage will procedure unreasonably expensive on the day of the auction, or impractical, or
terminate upon collection of such item. The Buyer should be responsible for all may cause damage to the Lot;
risks following expiration of the said 7-day period or the collection (whichever the Company is not liable for the return of any payment under any
is the earlier). circumstances. In addition, the Buyer's payment can only be refunded when the
following terms are met:
e. Packaging and transportation (1) The Buyer must notify the Company in writing within 10 days following
The Buyer is requested to note that he should bear all the risks upon expiration the auction day that he considers the relevant auction item a counterfeit.
of the said 7 days period or from collection of such items. (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.
f. Referral of packaging or transportation companies (3) Upon returning the Lot, the Buyer must present evidence as soon as
The shipping department of the Company may act as the agent of the Buyer possible to convince the Company that the Lot is a counterfeit. The Buyer
to arrange for delivery. Although we can refer freight forwarders upon special may also assign the good ownership of the Lot to the Company, which shall
request, the Company will not be held liable for any legal responsibilities in this not concern any third party claim.
regard.
Under no circumstances is it necessary for the Company to pay the Buyer an
g. Remedies for non-payment or non-collection of items sold amount more than what the Buyer pays in connection with the Lot and the
The Company is entitled to exercise one or more of the following rights or Buyer can not claim interests.
remedies if the Buyer fails to make payment within 7 days: The interests of the warrantee cannot be assigned and belong solely to the Buyer
(1) An interest at the annual rate of no higher than 10% plus the base interest who receives the original invoice from the Company when the Lot is sold. Such
rate of Bank of Taiwan will be imposed on all of the payment due if Buyers shall remain the owner of the auction Lot and cannot assign any interest
payment is not made within 7 days following the auction date. Besides, of the Lot to any other person. The Company is entitled to ascertain that the
we have the right of charging also 1% selling price (including of hammer Lot is not a counterfeit based on a scientific procedure or any other procedure,
price and the commission) multiplied by the number of delayed days as regardless of whether such procedure is being used on the day of the auction.
fine for the default. The payment to be made by the Buyer should offset The aforementioned does not apply to coins, medals, jewelry and paintings.
any payment owed by the Company or its subsidiaries to the Buyer for any
other transactions. II. Terms applicable to both the Buyer and the Seller
(2) To exercise lien of any items owned by the Buyer and held by the Company
for any purpose. The Company may arrange to sell such items after serving 1. Copyright
a 14-day notice to the Buyer about his non-payment. The proceeds shall The copyright of all the images, photographs and written material in connection
make up for the payment due. with the Lot shall maintain and belong to the Company at any time. The Buyer
(3) If the Buyer owes the Company several payments as a result of different or any person may not use such items without obtaining prior written consent
transactions, the payments will setoff any payments due in any particular from the Company.
transaction, regardless of whether the Buyer specifies to setoff such
payments. 2. Notices
(4) Refuse the Buyer to make, or to make on behalf of others, bids in any All the notices distributed according to the Transaction Agreement herein shall
future auctions and/or to require a security deposit from the Buyer before be made in writing. Any notice shall be deemed served to the recipient on the
accepting any future bids from him. If the Buyer fails to make payment second day following delivery if sent by mail. If the recipient is abroad, the
within 35 days, the Company is entitled to exercise the following rights in notice shall be deemed served on the fifth working day following delivery by
addition to the aforementioned: mail.
(5) To bring legal proceedings against the Buyer on behalf of the Seller
to claim the entire payment due and the legal fees resulting from such 3. Severability
proceeding based on a total claim. If any part of the Transaction Agreement is deemed invalid, illegal or
(6) Cancel the transaction of Lots bid by the Buyer or any other auction items unenforceable by any court, such part can be ignored and the rest of the
sold to the Buyer at the same or any other auctions. Transaction Agreement continues to be valid and enforceable to the maximum
(7) To arrange a public or private re-sale of the Lot. If the re-selling price is extent permitted by the law.
lower, the difference will be claimed against the Buyer together with any
cost incurred as a result of the non-payment by the Buyer. 4. Jurisdiction
The Transaction Agreement are governed under the ROC law and the
h. No collection of the Lot sold interpretation and effect of the Rules shall be subject to the laws of Taiwan. The
The Company will arrange for the storage of the Lot if such item sold is not Buyer and Seller shall submit themselves to the exclusive jurisdiction of the
collected within 7 days of the successful auction, regardless of payment. Such Taiwanese court for the interests of the Company.
storage cost will be borne by the Buyer. Only when the storage, shipping,
insurance cost and any other expenses together with any other payments due to
the Company are paid can the sold Lot be collected.
Please refer to our website for sellers transaction agreement.
i. Export permit
Except where otherwise agreed in writing by the Company, the fact that http://www.ravenelart.com
the Buyer's wishes to apply for an export permit does not affect the Buyer's
responsibility to make the payments in 7 days; 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
290

Ravenel Spring Auction 2010 Taipei 羅芙奧台北2010春季拍賣會

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Ravenel Spring Auction 2010 Taipei 羅芙奧台北2010春季拍賣會

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SPRING AUCTION 2010 TAIPEI

RAVENEL SPRING AUCTION 2010 TAIPEI

MODERN & CONTEMPORARY ART

+886 2 2708 9868 889

ART CONSULTANTS Remarks: COLLECTION AND SHIPPING

Executive Director, Hong Kong China

International Payment details are described at the back of the

Absentee Bid Form G

L Tzu-chi YEH 121, 126, 131

Tracks of the Years

La fentre ouverte (Open Window)

Nature morte sous escalier

Candy and Pot (A set of 2)

Celestial Bodies (A set of 2)

Pork Belly Series - Flesh, Flowers

of meat, which is the Pork Belly series". He

Picture of "Flesh, Flowers and Birds - Flying

Landscape within Sky and Mountain

Nostalgia from the Bathroom

Fantasy of the Sky Pool

This painting is to be sold with a certificate of

Steep Cliff and Deep Valley

Lily Memorandum L9305

Campaign (Facing Beijing)

Yan-Ming Mountain in June

Rocking Horse from Childhood

Holidays in Lake Towada

2002 carefree floating on the top of the clouds. Their

line are closely linked with Western paintings.

This painting is to be sold with a certificate of

influence of the Chinese Exclusion

as keepsakes. His 1975 masterpiece "Toledo in

Guanyin Mountain is a magnificent river scene.

its viewers with its confident grandeur. From

the top to the bottom, the picture is divided into

the azure Guanyin Mountain, the Tamsui River

In 1970, Zao Wou-ki's first autobiography

House in a House - Bed of Han

of today, Wang's "Night Revels" series consists

This lot, House in a "House Bed of Han

Two Pink Nudes

Full of ideals and lofty goals, most of the young

opened his first gallery in New York, which he 137)

later closed down for a while before reopening

1955 Fayard, Paris, 1988 p. 105)

In an article about Zao Wou-ki's paintings from

sculpture and introduced a new concept of

symbol and sculptural graphic arts, the "Taichi

This sculpture is to be sold with a certificate

1995, oil on canvas, 80 x 100.5 cm The King

NT$ 220,000-350,000 NT$ 220,000-350,000

Which is Earth No. 7

The Bridge of Shaoxing

Pork Belly Series - Flesh, Flowers

This painting is to be sold with a certificate of

This painting is to be sold with a certificate of

Thinking about the Japanese

Pretending Moonlight - Night 2000 "Pretending Moonlight Series" is the transcendence

has been present both in his early "New Vegetation

Light with Shadow

Oil on canvas, collage

Mountain Rock Series

shape and the complicated volume structure

have been handle very differently from the