AUCTION Sunday, 29 November 2015, 11:00 amGrand Hyatt Hong Kong (Grissini)1 Harbour Road, Wanchai, Hong Kong

PREVIEWS

TaichungSaturday, 14 November 2015, 1:00 pm - 6:00 pmSunday, 15 November 2015, 11:00 am - 6:00 pmFong-Yi Art Gallery (Next to the National Taiwan Museum of Fine Arts)No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

TaipeiSaturday, 21 November 2015, 10:00 am - 6:00 pmSunday, 22 November 2015, 10:00 am - 6:00 pmFubon International Conference CenterB2, No. 108, Sec. 1, Dunhua South Road, Taipei, Taiwan Hong KongFriday, 27 November 2015, 2:00 pm - 7:00 pmSaturday, 28 November 2015, 10:00 am - 7:00 pmGrand Hyatt Hong Kong (Grissini)1 Harbour Road, Wanchai, Hong Kong

As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This auction catalogue: HK$ 500 per copy.

RAVENEL AUTUMN AUCTION 2015 HONG KONGModern and Contemporary Art

拍賣日期 / 地點 2015年11月29日（日） 上午 11:00香港君悅酒店（二樓 Grissini） 香港灣仔港灣道1號

預展日期 / 地點 台中

2015年11月14日（六） 下午1:00至下午6:002015年11月15日（日） 上午11:00至下午6:00 豐藝館

台中市西區五權西路一段110號

台北 2015年11月21日（六） 上午10:00至下午6:002015年11月22日（日） 上午10:00至下午6:00富邦人壽大樓國際會議中心

台北市敦化南路一段108號B2

香港 2015年11月27日（五） 下午2:00至下午7:002015年11月28日（六） 上午10:00至下午7:00香港君悅酒店（二樓 Grissini）香港灣仔港灣道1號

羅芙奧香港 2015 秋季拍賣會 現代與當代藝術拍賣

026 ZAO WOU-KI (Chinese-French, 1921-2013)

7.12.69

1969 Oil on canvas 73 x 92 cm

Signed lower right Wou-ki in Chinese, and ZAO in French

ILLUSTRATED: Gérard de Cortanze, Yves Bonnefy, Zao Wou-ki , La Difference / Enrico Navarra, Paris, 1998, color illustrated, p. 146

HK$ 8,500,000 - HK$ 13,000,000 NT$ 36,017,000 - NT$ 55,085,000 US$ 1,096,800 - US$ 1,677,400

趙無極

7.12.69

1969 油彩 畫布 73 x 92 cm

簽名右下：無極 ZAO

圖錄： 傑哈．德．康坦茲與伊夫．波納菲合著，《趙無極》， 拉迪佛羅斯 / 安利哥．納瓦哈，巴黎，1998，彩色圖版，頁146

ZAO Wou-ki, 17.4.64 , 1964, oil on canvas, 114 x 162 cm Ravenel Autumn Auction 2009 Taipei, US$ 4,925,373 sold

趙無極《17.4.64》1964 油彩 畫布 114 x 162 cm 羅芙奧台北2009秋拍 NT$ 158,400,000 成交

052 GU WENDA (Chinese, b. 1955)

Mythos of Lost Dynasties Series J No. 19

2006 Ink on paper 113.6 x 76.6 cm

Signed lower left Wenda, titled Mythos of Lost Dynasties Series J No.19, inscribed studio on Moganshan Road in Shanghai and dated Spring 2006 all in Chinese With two seals of the artist

PROVENANCE: Private collection, USA

HK$ 120,000 - HK$ 180,000 NT$ 508,000 - NT$ 763,000 US$ 15,500 - US$ 23,200

谷文達

消失的王朝J系列之十九

2006 水墨 紙本 113.6 x 76.6 cm

簽名左下：遺失的王朝 J 系列之十九 二○○六年春日 文達於上海 莫干山路室 鈐印左下：谷文達印 鈐印中央：（偽文字）

來源： 私人收藏，美國

Gu Wenda was one of the leaders of the New Art Movement

in China in 1985. In the early 1980s, he used misalignment

and dismemberment in Chinese calligraphy to create ink

wash paintings. He challenged the orthodoxy and influenced

many artists subsequently. In his early years, Gu studied

landscape painting from Lu Yan-shao but his subsequent

artistic path diverged from traditional ink painting. His

works continue to subvert and challenge our impressions

of the genre. Lu remarked once that "Gu isn't just a horse,

he's a wild stallion." Compared with the breakthroughs

in both subject matter and medium achieved by popular

contemporary ink paintings in recent years, Gu possesses a

more profound understanding of the genre and is focused on

achieving aesthetic breakthroughs.

Since 1983, Gu has been committed to the deconstructed

exploration of Chinese characters, call igraphy and ink

wash painting. His Pseudo Character Series, a project Gu

undertook in the new millennium, combined radicals and

Chinese characters to form "Gu-style simplified characters"

with traditional ink painting. The pictographic quality of

Chinese characters contrasts and combines with the images

in the background; there is a painting within characters and

characters within the painting.

In his works "Mythos of Lost Dynasties", the artist combines

seal script calligraphy and his own original "simplified

characters". The tangible landscape background is replaced

with large patches of ink smudges and the pictographic

quality of seal script complements the ink-smudged rice

paper to create a certain balance. The picture is often divided

into four portions at the center, using two thin red lines with

the seal of the artist, ceasing any attempt by the viewer to

understand the text.

谷文達是中國八五美術新潮運動的領軍人物之一。20世紀80年代

早期，他用錯位、肢解的書法文字創作水墨畫，借此挑戰正統體

制，影響了後來的許多藝術家。早年他師從山水畫大家陸儼少，

其後的藝術道路卻與傳統水墨背道而馳，作品不斷顛覆我們對於

水墨的印象。讓陸儼少也不禁言道：「谷文達不是一匹駿馬，而

是一匹野馬。」 相較於近年來火熱的當代水墨概念力圖在題材和

媒介方面的突破，谷文達對於當代水墨的理解則更為深刻徹底，

他更關注於水墨藝術美學上的突破。

自1983年起，谷文達就致力於文字，書法，水墨的解構探索。

新千年之後的創作，《虛構文字》系列中他將漢字偏旁和字組合

成為「谷氏簡字」，並與傳統水墨結合。漢字本身的象形特點與

背景中的圖像對照，實現字中有畫，畫中有字。此次呈現的作品

《遺失的王朝》，藝術家將篆書書法與自己的「簡字」結合。有

形的山水背景被在大片水墨暈染取代，篆體自身象形的特徵與水

墨暈染的宣紙相得益彰。畫面通常被兩條赤色紅線分割，畫面中

央鈐印「偽文字」，終結觀者試圖理解文字的企圖。

Ravenel 123

071 VICTOR VASARELY (Hungarian-French, 1906-1997)

Tenger

1958-1988 Oil on canvas 90 x 62 cm

Signed on the bottom Vasarely Signed on the reverse Vasarely , titiled Tenger, inscribed 90 x 62 and dated 1958 (1988)

EXHIBITED: Taiwan's Treasures: Western Art from Private Collections,

Taipei Fine Arts Museum, Taipei, October 6 - December 2, 2001

ILLUSTRATED: Taiwan's Treasures: Western Art from Private Collections, Taipei Fine Arts Museum, Taipei, 2001, color illustrated, p. 108

HK$ 800,000 - HK$ 1,200,000 NT$ 3,390,000 - NT$ 5,085,000 US$ 103,200 - US$ 154,800

THE TERM "OP ART" (OPTICAL ART) DERIVES FROM THE EXHIBITION "THE RESPONSIVE EYE" THAT WAS HELD AT THE

MUSEUM OF MODERN ART IN NEW YORK IN 1965, WHICH WAS THE FIRST LARGE-SCALE EXHIBITION TO PRESENT

TO THE PUBLIC THIS NEW FORM OF ART, FEATURING PRECISE COMPOSITIONS BASED ON THE USE OF SCIENTIFIC

METHODS TO ANALYZE COLOR, AND ON COMPLEX NUMERICAL CALCULATIONS; WORKS WHICH, WHEN VIEWED BY

THE NAKED EYE, OFTEN CREATE OPTICAL ILLUSIONS OR A SENSE OF MOVEMENT. FOLLOWING THIS EXHIBITION,

VICTOR VASARELY CAME TO BE UNIVERSALLY ACCLAIMED AS THE "FATHER OF OP ART."

維多．瓦薩雷利

藍色迴旋曲

1958-1988 油彩 畫布 90 x 62 cm

簽名下方：Vasarely 簽名畫背：Vasarely "TENGER" 90 x 62 1958 (1988)

展覽： 「台灣珍藏 – 二十世紀西洋名作選」，台北市立美術館，台北，展期自2001年10月6日至12月2日

圖錄： 《台灣珍藏 – 二十世紀西洋名作選》，台北市立美術館，台北，2001，彩色圖版，頁108

VICTOR VASARELY, THE "FATHER" OF THE OP ART MOVEMENT

Ravenel 159

072 YAYOI KUSAMA (Japanese, b. 1929)

Bird

1989 Acrylic on canvas 38 x 45.5 cm

Signed on the reverse Yayoi Kusama, titled Bird in Japanese, and dated 1989

This painting is to be sold with a registration card issued by the Yayoi Kusama Studio (No. 0868).

HK$ 900,000 - 1,400,000 NT$ 3,814,000 - NT$ 5,932,000 US$ 116,100 - US$ 180,600

草間彌生

鳥

1989 壓克力 畫布 38 x 45.5 cm

簽名畫背：鳥 1989 Yayoi Kusama

附草間彌生工作室開立之作品登錄卡（編號0868）

Yayoi KUSAMA, Field End , 1989, acrylic on canvas, 38 x 45.5 cm Ravenel Spring Auction 2015 Taipei, US$ 318,963 sold

草間彌生《野末》1989 壓克力 畫布 38 x 45.5 cm 羅芙奧台北2015春拍 NT$ 9,840,000 成交

Ravenel 163

073 ANSELM KIEFER (German, b. 1945)

Ave Maria, Mater Castissima

2007 Oil, acrylic, shellac, iron, roses, lead, clay and cardboard on plywood under glass 215 x 141 cm

Titled in the center Ave Maria, Mater Castissima

HK$ 2,800,000 - HK$ 4,200,000 NT$ 11,864,000 - NT$ 17,797,000 US$ 361,300 - US$ 541,900

安森．基弗

聖母頌‧至貞之母

2007 油彩 壓克力 蟲膠 鐵 玫瑰 鉛 陶土 紙版 膠合板 玻璃罩 215 x 141 cm

題識中間：Ave Maria, Mater Castissima

Ravenel 167

078 SAM FRANCIS (American, 1923-1994)

Untitled, SF79-710

1979 Acrylic on paper 49.5 x 35.5 cm

Stamped on the reverse Sam Francis , inscribed Del 3177 19 7/16 x 13 7/8'' SF79-710 14'' x 19 1/2'' With one stamp of the Sam Francis Estate on the reverse

This painting has been registered with the Sam Francis Foundation in the number of SF79-710.

HK$ 140,000 - HK$ 220,000 NT$ 593,000 - NT$ 932,000 US$ 18,100 - US$ 28,400

山姆‧法蘭西斯

無題，SF79-710

1979 壓克力 紙本 49.5 x 35.5 cm

鈐印畫背：Sam Francis 題識畫背：Del 3177 19 7/16 x 13 7/8'' SF79-710 14'' x 19 1/2'' 鈐印畫背：The Sam Francis Estate

此作品已於山姆‧法蘭西斯基金會作品登錄， 編號SF79-710

Sam Francis is one of the American abstract expressionist

painters most deeply influenced by European tradition. In the

1950s, he traveled and lived in Paris, where he was influenced

by the artist Jean-Paul Riopelle. The works of Matisse and

Monet’s Water Lilies series also inspired him greatly. His

color palette, originally dark and dull, became brighter, more

colorful, and more adventurous, resulting in many works with

large areas of whiteness. His compositions are influenced by

styles from three major continents – the eastern ideology of

Zen from Buddhism has had an especially significant influence

on him. Ink splashing is a technique employed in his works, a

magnificent expression of strong and bright colors. The color

blue rose into prominence starting from 1959. Besides the use

of colors, Francis also has a strong grasp of the use of space,

light and air.

Francis has extensive knowledge of music, poetry, psychology,

and even technology. This knowledge makes his artwork rich

and harmonious, bold yet subtle. The liquid style and literary

space, infused into vibrant colors, produce a strong tension in

an explosive momentum.

山姆．法蘭西斯是美國抽象表現主義中最具歐洲人文傳統的畫家

之一。1950年代旅居巴黎，受到藝術家李歐佩樂的影響，而馬蒂

斯的作品與莫內的《荷花》系列也對他有重要啟發，原本灰調沉

靜的調色盤，轉向對光線、顏色的遊戲，並創作出多件大尺幅，

大面積留白的作品。他的創作足跡遍布三大洲，東方佛教中的禪

學思想尤其對他有極大的影響，作品中亦出現潑墨效果，呈現出

一種華麗的濃烈鮮豔色彩。1959年起，「藍色」開始在他的作品

中佔有重要的地位。除了色彩的運用，法蘭西斯對空間、光和空

氣的理解上也尤其出色。

法蘭西斯對於音樂、詩歌、心理學甚或科技等方面多有涉略，使

他的作品更顯豐富和諧，大膽而含蓄。流動性的形式以及充滿文

學性的空間，納入洋溢的色彩中，在那爆發性的衝勁下，產生強

大張力。

Ravenel 183