保利香港、澳門聯合拍賣 - Poly Auction Hong Kong

保利香港、澳門聯合拍賣POLY AUCTION HONG KONG AND MACAU JOINT AUCTIONS

HONG KONG 8 DECEMBER 2020 香港 2020 年 12 月 8 日

LOT 2045 局部 DETAIL


Preview

26 November to 2 December*10:00 am – 7:00 pm

3 December to 7 December

10:00 am – 8:00 pm

Poly Gallery Hong Kong

Suites 701-708, 7/F, One Pacific Place

88 Queensway, Admiralty, Hong Kong

*Some artpieces will be exhibited at Grand

Hyatt Hong Kong from 29 November to 2 December

Auctions

8 DecemberPoly Gallery Hong KongSuites 701-708, 7/F, One Pacific Place88 Queensway, Admiralty, Hong Kong

預展

11 月 26 日至 12 月 2 日 *上午 10:00 至下午 7:00 12 月 3 日至 12 月 7 日上午 10:00 至下午 8:00 保利香港藝術空間香港金鐘金鐘道 88 號太古廣場 1 期 7 樓 701-708 室

* 部分拍賣品自 11 月 29 日至 12 月 2 日在香港君悅酒店展覽

拍賣

12 月 8 日保利香港藝術空間香港金鐘金鐘道 88 號太古廣場 1 期 7 樓 701-708 室

保利香港、澳門聯合拍賣會

預展

11 月 29 日至 12 月 1 日上午 10:00 至下午 8:00香港君悅酒店香港灣仔港灣道 1 號

拍賣

12 月 2 日香港君悅酒店香港灣仔港灣道 1 號

查詢

電話：+852 2303 9899傳真：+852 2303 9888

各專場預展及拍賣時間有所不同，請參閱拍賣時間表以瞭解詳細日程。

保利香港秋季拍賣會

Preview

29 November to 1 December 10:00 am – 8:00 pmGrand Hyatt Hong Kong1 Harbour Road, Wan Chai, Hong Kong

Auctions

2 December

Grand Hyatt Hong Kong

1 Harbour Road, Wan Chai, Hong Kong

Enquiries

Tel: +852 2303 9899Fax: +852 2303 9888

Previews and auctions are available on specified days only. Please refer to the auction schedule for details.

POLY 澳門拍賣有限公司董事會主席CHAIRMAN OF POLY AUCTION MACAU LIMITED

�� Jiang Yingchun

POLY 澳門拍賣有限公司董事及首席執行官DIRECTOR AND CHIEF EXECUTIVE OFFICER OF

POLY AUCTION MACAU LIMITED

何超� （��）Sabrina Ho

POLY 澳門拍賣有限公司財務總監CHIEF FINANCIAL OFFICER OF POLY AUCTION

MACAU LIMITED

呂學� Robin Lyu

專��服務��SPECIALISTS AND SERVICES ENQUIRIES

現當代��MODERN AND CONTEMPORARY ART

+852 2303 9880

[email protected]

�� Jamie Yu林�� Ya-wei Lin�� June Hsu楊�� Joseph Yang馬�� Junnan Ma��桐 Holly Zhang�� Dominique Wong

中國書畫CHINESE PAINTINGS AND CALLIGRAPHY

+852 2303 9833

+86 10 6408 3347

[email protected]

�戈� Luo Gedi林子� Rex Lin程�求 Tony Cheng程�� Cheng Yuanfeng王�� Elaine Wang�　� Gigi Zhao

珠��尚品JEWELS & PRESTIGE COLLECTIONS

+852 2303 9825

+86 10 6408 3508

[email protected]

�　思 Sze Sze�晶晶 Amanda Zhao�� Karen Ng�� Kathy Ip�凱� Kelly Dang林� Shally Lin陳�� Rita Chan 林�� Maggie Lam�佑� Summer Qian

中國古��玩CHINESE CERAMICS AND WORKS OF ART

+852 2303 9863

+86 10 6408 3357

[email protected]

�� Li Yizhou杜�波 Du Jibo�　犇 Hu Ben�� Kathy Tsang��爾 Joyce Tsoi

��佳�RARE WINE, WHISKY & CHINESE TEA

+852 2303 9852

[email protected]

桂　湘 Liam Gui�� George Yau�� Melanie Chung

�務拓��間BUSINESS DEVELOPMENT AND GALLERY

+852 2303 9897

[email protected]

�� Nina Feng�雨汀 Blair Cheung�　� Tian Zhang

�門�事�MACAU OFFICE

+853 2875 1013

[email protected]

��賢 Miu Cheang

�務�物�WAREHOUSE & LOGISTICS

+852 2303 9871

[email protected]

�　程 Xu Cheng

��RECEPTION (HONG KONG)

+852 2303 9899

[email protected]

[email protected]

��代� REPRESENTATIVE OF POLY AUCTION HK

(TAIPEI OFFICE)

+886 2 2581 3855

[email protected]

�� Huang Hongren

�� Jasmine Chang

��上�代� REPRESENTATIVE OF POLY AUCTION HK

(SHANGHAI OFFICE)

+86 21 5178 0360

[email protected]

�　瑾 Zhang Jin







LOT 2134

LOT 2163

專家及服務查詢SPECIALISTS AND SER-VICES ENQUIRIES

MODERN AND CONTEMPORARY ART現當代藝術

CHINESE PAINTINGS AND CALLIGRAPHY中國書畫

CHINESE CERAMICS AND WORKS OF ART中國古董珍玩

CHINESE CERAMICS AND WORKS OF ART珠寶及尚品

RARE WINE, WHISKY & CHINESE TEA 珍茗佳釀

聯繫電話：+852 2303 [email protected]

拍賣保利香港藝術空間2020 年 12 月 8 日下午 3:00

預展保利香港藝術空間香港金鐘金鐘道 88 號太古廣場 1 期 7 樓 701-708 室11 月 26 日至 12 月 2 日 *上午 10:00 至下午 7:00 12 月 3 日至 12 月 7 日上午 10:00 至下午 8:00

* 部分拍賣品自 11 月 29 日至 12 月 2 日在香港君悅酒店展覽

AUCTION

Poly Gallery Hong Kong8 December 2020 3:00 pm VIEWING

Poly Gallery Hong KongSuites 701-708, 7/F, One Pacific Place88 Queensway, Admiralty, Hong Kong26 November to 2 December *10:00 am – 7:00 pm3 December to 7 December 10:00 am – 8:00 pm

*Some artpieces will be exhibited at GrandHyatt Hong Kong from 29 November to 2 December


保利香港丶澳門聯合拍賣POLY AUCTION HONG KONG AND

MACAU JOINT AUCTIONS

SALE CALENDAR拍賣日程

Sale Number 拍賣編號：JA2011PM

MODERN AND CONTEMPORARY ART現當代藝術

Lots 拍品：2001-2099

FINE MODERN AND CONTEMPORARY INK ART現當代水墨藝術

Lots 拍品：2100-2105

CHINESE CERAMICS AND WORKS OF ART古董珍玩專埸

Lots 拍品：2106-2113

JEWELS AND PRESTIGE COLLECTIONS珠寶及尚品專埸

Lots 拍品：2114-2143

RARE WINE, WHISKY AND CHINESE TEA 珍茗佳釀

Lots 拍品：2144-2171

預先登記 PRE-REGISTRATION若閣下是首次參與競投，同時未獲得保利香港拍賣有限公司認可的註冊客戶推薦，保證金為港幣 500,000 元。如閣下打算競投高估價拍賣品（在圖錄內及 / 或電子圖錄內標有〇符號之拍賣品），保證金為港幣 1,000,000 元。保利香港拍賣有絕對權力隨時調整高估價拍賣品之保證金及 / 或手續 , 而不需要另行通知◦在閣下競投前 , 本公司亦有絕對權力向閣下要求提供任何有關閣下的財務證明。本公司有絕對權力拒絕任何人之競投登記而不需給予任何解釋◦If this is the first time you bid with Poly Auction (Hong Kong) Limited, and you are not recommended by a registered client endorsed by us, the deposit will be HK$500,000. If you intend to bid on a “Premium Lot”(i.e., a lot marked with〇 in the printed catalogue and/or the digital catalogue), the deposit will be HK$1,000,000, please be aware the amount of deposit and/or bidding registration procedure for “Premium Lot” can be changed at any time at Poly Auction(Hong Kong)’s sole discretion without prior notice. In either case, you must deliver to Poly Auction (Hong Kong) Limited such necessary financial references, guarantees, deposits and/or such other security as Poly Auction (Hong Kong) Limited may in its absolute discretion require for before your bid. Poly Auction (Hong Kong) Limited may refuse any bidding registration without any explanation at its’ sole discretion.


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ART

Executed in 2016marker on fan23 x 42.8 cm. (9 x 16 3/4 in.)signed 'THE DOODLE MAN!' (fan handle)

2016 年作馬克筆扇子款識：THE DOODLE MAN!（扇柄）

HK$ 6,000 - 8,000US$ 800 - 1,000

2001

MR. DOODLE ( B R I T I S H , B . 1 9 9 4)Fan塗鴉先生扇子

Executed in 2020screenprintedition: 149/30045 x 86.8 cm. (17 3/4 x 34 1/4 in.)signed, dated and editioned 'MR DOODLE! 2020 149/300' (bottom)

2020 年作絲網版畫版數：149/300款識：MR DOODLE! 2020 149/300（底部）

HK$ 8,000 - 16,000US$ 1,000 - 2,100

2002

MR. DOODLE ( B R I T I S H , B . 1 9 9 4)Heartland塗鴉先生心之境

保利香港、澳門聯合拍賣 POLY AUCTION HONG KONG AND MACAU JOINT AUCTIONS

2 POLY AUCTION MACAU

Executed in 2019four screenprintsedition: 55/100; 82/100; 82/100; & 86/100 each: 35 x 35 cm. (13 3/4 x 13 3/4 in.)1. Yellow Flower: signed, dated and editioned 'MR DOODLE! 2019 55/100' (lower right)2. Blue Robot: signed, dated and editioned 'MR DOODLE! 2019 82/100' (lower right)3. Orange Fish: signed, dated and editioned 'MR DOODLE! 2019 82/100' (lower right)4. Pink Bird: signed, dated and editioned 'MR DOODLE! 2019 86/100' (lower right)

HK$ 10,000 - 20,000US$ 1,300 - 2,600

2003

MR. DOODLE ( B R I T I S H , B . 1 9 9 4)Yellow Flower; Blue Robot; Orange Fish; & Pink Bird塗鴉先生黃色太陽花；藍色機器人；橘色魚；及粉紅鳥

2019 年作絲網版畫（共四件）版數：55/100；82/100；82/100；及86/100款識：1.《黃色太陽花》：MR DOODLE! 2019 55/100（底部）2.《藍色機器人》：MR DOODLE! 2019 82/100（底部）3.《橘色魚》：MR DOODLE! 2019 82/100（底部）4.《粉紅鳥》：MR DOODLE! 2019 86/100（底部）

2.1.

3. 4.

Executed in 2019resin sculptureedition: 226/25018 x 15.9 x 34.8 cm. (7 x 6 1/4 x 13 3/4 in.)signed 'MR DOODLE! 2019' (bottom)

This work is to be sold with a certificate of authenticity signed by the artist and issued by FLEXXLEX.

2019 年作樹脂雕塑版數：226/250款識：MR DOODLE! 2019（底部）

附由FLEXXLEX開立之藝術家親簽原作保證書

HK$ 10,000 - 20,000US$ 1,300 - 2,600

2004

MR. DOODLE ( B R I T I S H , B . 1 9 9 4)The Doodler塗鴉先生塗鴉人

marker on paper40.1 x 72.5 cm. (15 3/4 x 28 1/2 in.)signed 'MR DOODLE!' (lower right)

The work is to be sold with a printing paper of artist's work.

馬克筆紙本款識：MR DOODLE!（右下）

附藝術家作品相紙一張

HK$ 15,000 - 25,000US$ 1,900 - 3,200

2005

MR. DOODLE ( B R I T I S H , B . 1 9 9 4)Untitled塗鴉先生無題

marker on paper39.6 x 52.2 cm. (15 1/2 x 20 1/2 in.)signed 'MR DOODLE!' (lower right)

The work is to be sold with The Mr Doodle Colouring Book Vol. 2 (edition: 16/250) signed by the artist.

馬克筆紙本款識：MR DOODLE!（右下）

附藝術家親簽之《塗鴉先生著色本第二冊》（版數：16/250）

HK$ 15,000 - 25,000US$ 1,900 - 3,200

2006

MR. DOODLE ( B R I T I S H , B . 1 9 9 4)Untitled塗鴉先生無題

Lot 2004



Lot 2005

Lot 2006

Painted in 2019acrylic on canvas30 x 30 cm. (11 3/4 x 11 3/4 in.) signed and dated 'MR DOODLE! 2019' (on the reverse)

PROVENANCE

The Anzai Gallery, Tokyo, JapanAcquired from the above gallery by the present owner

HK$ 80,000 - 150,000US$ 10,300 - 19,200

2007

MR. DOODLE ( B R I T I S H , B . 1 9 9 4)Rainbow塗鴉先生彩虹

2019 年作壓克力畫布款識：MR DOODLE! 2019（畫背）

來源日本東京 Anzai畫廊現藏者購自上述畫廊



Painted in 2016acrylic on board100.9 x 93 cm. (39 3/4 x 36 1/2 in.)signed 'THE DOODLE MAN!' (lower right)

HK$ 120,000 - 180,000US$ 15,400 - 23,100

2008

MR. DOODLE ( B R I T I S H , B . 1 9 9 4)Party Time塗鴉先生派對時光

2016 年作壓克力木板款識：THE DOODLE MAN!（右下）

Painted in 2019oil on canvas119.9 x 90 cm. (47 1/4 x 35 1/2 in.)signed 'Ceet' (lower left)

EXHIBITED

China, Hong Kong, Amanda Wei Gallery, Ceet Fouad Solo Exhibition: Fly with Chicanos, 12 December, 2019-30 June, 2020.

This work is to be sold with a certificate of authenticity signed by the artist and issued by Amanda Wei Gallery, Hong Kong, China.

HK$ 50,000 - 80,000US$ 6,400 - 10,300

2009

CEET FOUAD ( F R E N C H , B . 1 97 1 )Chicanos Diamond習福德奇卡諾斯鑽石

2019 年作油彩畫布款識：Ceet（左下）

展覽2019年12月12日-2020年6月30日「習福德個展：和小雞一起飛」魏畫廊香港中國

附中國香港魏畫廊開立之藝術家親簽原作保證書



Executed in 2019resin sculptureedition: 2/1140 x 40 x 13 cm. (15 3/4 x 15 3/4 x 5 in.)titled, signed, editioned and dated '"ASSES" CEET FOUAD EDITION NO. 02/11 2019' (engraved on the base)

EXHIBITED

China, Hong Kong, Amanda Wei Gallery, Ceet Fouad Solo Exhibition: Fly with Chicanos, 12 December, 2019-30 June, 2020 (alternate edition exhibited).

This work is to be sold with a certificate of authenticity signed by the artist and issued by Amanda Wei Gallery, Hong Kong, China; & a card board with the artist's signature and drawing.

HK$ 40,000 - 80,000US$ 5,100 - 10,300

2010

CEET FOUAD ( F R E N C H , B . 1 97 1 )Asses習福德 Asses

2019 年作樹脂雕塑版數：2/11款識："ASSES" CEET FOUAD EDITION NO. 02/11 2019（刻於底座）

展覽2019年12月12日-2020年6月30日「習福德個展：和小雞一起飛」魏畫廊香港中國（展覽為另一版數）

附中國香港魏畫廊開立之藝術家親簽原作保證書；及藝術家簽名與速寫之紙板

藝術家簽名與速寫之紙板cardboard with the artist's signature and drawing

Executed in 2020two resin sculptures; & two inkjet printing on acrylic lensedition: 40/110; & 63/100Caprice Figurative 01 Set: each: 18 x 15 x 34 cm. (7 x 6 x 13 in.)Caprice Papyrus 03: each: 43.2 x 32 cm. (17 x 12 1/2 13 in.)

HK$ 38,000 - 48,000US$ 4,900 - 6,200

2011

YOSHITOSHI KANEMAKI ( JA PA N ES E , B . 1 972) Caprice Figurative 01 Set; & Caprice Papyrus 03金卷芳俊幻想女孩套裝 01；及任性03

2020 年作樹脂雕塑（共兩件）；及噴墨版畫鏡片（共两件）版數：40/110；及63/100



Executed in 2000screenprintedition: 55/6257 x 73.5 cm. (22 1/2 x 29 in.)titled and signed in Chinese; editioned, signed and dated '55/62 liu ye 2000' (bottom)

PROVENANCE

Private Collection, Europe

HK$ 40,000 - 50,000US$ 5,100 - 6,400

2012

LIU YE (C H I N ES E , B . 1 9 6 4)For Mondrian劉野為M的構圖

2000 年作絲網版畫版數：55/62款識：為M的構圖 55/62 劉野 liu ye 2000（底部）

來源歐洲私人收藏

Executed in 2004screenprintedition: 83/8457 x 73.3 cm. (22 1/2 x 28 3/4 in.)inscribed, editioned and dated '"Oh…" 83/84 04'; signed in Chinese (bottom)

HK$ 30,000 - 50,000US$ 3,800 - 6,400

2013

LIU YE (C H I N ES E , B . 1 9 6 4)Killing Me Softly劉野溫柔的殺我

2004 年作絲網版畫版數：83/84款識："Oh…" 83/84 04 野（底部）



Executed in 2001silkscreen on canvasedition: 31/10059.5 x 69.5 cm. (11 x 7 3/4 in.) editioned and dated '31/100 2001'; signed in Chinese (bottom)

PROVENANCE

Private Collection, Europe

The colour of this work differential itself from other editions.

HK$ 30,000 - 50,000US$ 3,800 - 6,400

2014

LIU YE (C H I N ES E , B . 1 9 6 4)Chorus劉野合唱團

2001 年作絹印畫布版數：31/100款識：31/100 野 2001（底部）

來源歐洲私人收藏

此版本為錯印版有粉色和出版不同

Painted in 2019mixed media on paper55 x 46.5 cm. (21 3/4 x 18 1/4 in.)signed 'Plans' (middle right)

2019 年作綜合媒材紙本款識：Plans（右中）

HK$ 80,000 - 150,000US$ 10,300 - 19,200

2015

E D G A R P L A N S ( S PA N I S H , B . 1 97 7 )"Upss!"艾得佳．普連斯上!

Painted in 2019mixed media on canvas162 x 130 cm. (63 3/4 x 51 1/4 in.) signed 'Plans' (lower right); titled, inscribed, dated and signed '"SPACE ODDITY" 162 x 130 cm mixed on canvas 2019 Plans' (on the reverse)

PROVENANCE

Galería Casa Cuadrada, Bogota, ColombiaAcquired from the above gallery by the present owner

HK$ 200,000 - 500,000US$ 25,600 - 64,100

2019 年作綜合媒材畫布款識：Plans（右下）；"SPACE ODDITY" 162 x 130 cm mixed on canvas 2019 Plans（畫背）

來源哥倫比亞波哥大 Casa Cuadrada畫廊現藏者購自上述畫廊

2016

EDGAR PLANS (S PA N I S H , B . 1 97 7 )Space Oddity艾得佳．普連斯太空怪談

Lot 2015



Lot 2016

Executed in 2019two resin multiples13 x 24 x 31 cm. (5 x 9 1/2 x 12 1/4 in.); & 6 x 12 x 16.5 cm. (2 1/4 x 4 3/4 x 6 1/2 in.)

2019 年作樹脂（共兩件）

HK$ 3,000 - 5,000US$ 400 - 600

Executed in 2020two flocking, fiberglass, resin sculpturesedition: 69/150; & 258/30038.5 x 39 x 71.5 cm. (15 1/4 x 15 1/4 x 28 1/4 in.); & 18.5 x 14.4 x 31 (71/4 x 5 3/4 x 12 1/4 in.)

These works are to be sold with certificates of authenticity signed by the artist and issued by APPortfolio.

2020 年作植絨玻璃纖維樹脂雕塑（共兩件）版數：69/150；及258/300

附APPortfolio開立之藝術家親簽原作保證書

HK$ 28,000 - 58,000 US$ 3,600 - 7,400

Executed in 2020resin sculpture; & lenticularedition: 54/300; & 67/150

These works are to be sold with certificates of authenticity issued by APPortfolio.

2020 年作樹脂雕塑；及光柵板版數：54/300；及67/150

附APPortfolio開立之原作保證書

HK$ 5,000 - 8,000US$ 600 - 1,000

2017

NINA CHANEL ABNEY (A M E R I CA N , B . 1 982)Peanuts尼娜．香奈兒．阿伯尼花生

2018

HIKARI SHIMODA ( JA PA N ES E , B . 1 98 4)Mikki下田光米奇

2019

SATORU KOIZUMI ( JA PA N ES E , B . 1 983)with小泉悟一同

Lot 2017

Lot 2018

Lot 2019



Executed in 2020two laminated giclée prints on aluminium composite panelsedition: 967/1698; & 877/149772.8 x 70.8 cm. (28 3/4 x 27 3/4 in.); & 48 x 100 cm. (19 x 39 1/4 in.)

2020 年作層壓印刷鋁板（共兩件）版數：967/1698；及877/1497

HK$ 20,000 - 40,000US$ 2,600 - 5,100

2020

DAMIEN HIRST ( B R I T I S H , B . 1 9 6 5 )Butterfly Heart; & Butterfly Rainbow達米恩．赫斯特蝴蝶心；及蝴蝶彩虹

Executed in 2018two screenprintsedition: 45/90; & 37/5048 x 32.5 cm. (19 x 12 3/4 in.); & 51 x 41 cm. (20 x 16 1/4 in.)1. Tonight: signed and editioned 'adriana oliver 45/90' (bottom)2. Autumn Love: editioned and signed '37/50 adriana oliver' (bottom)

2018 年作絲網版畫（共兩件）版數：45/90；及37/50款識：1.《今夜》：adriana oliver 45/90（底部）2.《秋之戀》：37/50 adriana oliver（底部）

HK$ 6,000 - 10,000US$ 800 - 1,300

2021

ADRIANA OLIVER (S PA N I S H , B . 1 9 9 0)Tonight; & Autumn Love阿德林．奧利佛今夜；及秋之戀

2.

1.

Lot 2020

Lot 2021

Executed in 2004-2007Portfolio: a set of twenty-seven screenprints with in wooden boxCatalog: a set of twenty-five works and exhibition catalogue in wooden box

Portfolio: each work edition: 19/200; & boxed edition: 19/100Catalog: each work edition: 19/100; & boxed edition: 19/100each box: 66.7 x 48.9 x 24.1 cm. (26 1/4 x 19 1/4 x 9 1/2 in.)work: size variable

Portfolio: each work signed with artist's signature and editioned '19/200' (bottom); box editioned '19/100'Catalog: each work signed with artist's signature and editioned '19/100' (bottom); box editioned '19/100'

PROVENANCE

Private Collection, Asia

HK$ 130,000 - 180,000US$ 16,700 - 23,100

2004-2007 年作《作品集》：絲網版畫（一組共二十七件）與木箱《畫冊》：藝術創作（一組共二十五件）與木箱版數：《作品集》：作品19/200；及木箱19/100《畫冊》：作品19/100；及木箱19/100款識：《作品集》：藝術家簽名；19/200（每件底部）；及19/100（木箱）《畫冊》：藝術家簽名；19/100（每件底部）；及19/100（木箱）

來源亞洲私人收藏

Executed in 2020screenprintedition: 56/12579.3 x 59.5 cm. (31 1/4 x 23 1/2 in.) titled 'KEEP YOUR ASS AWAY FROM THE CACTUS' (lower right)

This work is to be sold with a certificate of authenticity signed by the artist and issued by AllRightsReserved, Hong Kong, China.

2020 年作絲網版畫版數：56/125款識：KEEP YOUR ASS AWAY FROM THE CACTUS（右下）

附中國香港 AllRightsReserved開立之藝術家親簽原作保證書

HK$ 15,000 - 25,000 US$ 1,900 - 3,200

2022

DAVID SHRIGLEY ( B R I T I S H , B . 1 9 6 8) Keep Your Ass away from the Cactus大衛．史瑞格里把你的屁股從仙人掌上挪開

2023

VARIOUS ARTISTSThe Beautiful Losers Portfolio (Boxed Edition);& The Beautiful Losers Catalog (Boxed Edition)多位藝術家美麗失敗者作品集；及畫冊

Lot 2022

Lot 2023



Lot 2023

Executed in 2018alloy and mixed media sculptureedition: 260/50040 x 54.7 x 40 cm. (15 3/4 x 21 1/2 x 15 3/4 in.)dated, signed and editioned '© 2018 SORAYAMA 260/500' (back)

2018 年作合金綜合媒材雕塑版數：260/500款識：© 2018 SORAYAMA 260/500（背部）

HK$ 40,000 - 60,000US$ 5,100 - 7,700

2024

HAJIME SORAYAMA ( JA PA N ES E , B . 1 9 47 )Robot Surf空山基衝浪機器人

2015 年作寶麗石粉樹脂雕塑版數：15/130

來源日本東京椿畫廊現藏者購自上述畫廊

附藝術家親簽之原作保證書

HK$ 32,000 - 55,000US$ 4,100 - 7,100

2025

MOE NAKAMURA ( JA PA N ES E , B . 1 988)Loop Loop中村萌圈圈

Executed in 2017polystone sculptureedition: 111/13016.5 x 14.5 x 21.5 cm. (6 1/2 x 5 3/4 x 8 1/2 in.)

PROVENANCE

Gallery Tsubaki, Tokyo, JapanAcquired from the above gallery by the present owner

This work is to be sold with a certificate of authenticity signed by the artist.




HK$ 32,000 - 55,000US$ 4,100 - 7,100

2026

MOE NAKAMURA ( JA PA N ES E , B . 1 988)Grow M中村萌樹人

Executed in 2015polystone sculptureedition: 15/13013 x 10 x 20 cm. (5 x 4 x 7 3/4 in.)

PROVENANCE



Lot 2024

Lot 2025



Executed in 2014polystone sculptureedition: 61/10014 x 12 x 19 cm. (5 1/2 x 4 3/4 x 7 1/2 in.)

PROVENANCE



HK$ 32,000 - 55,000US$ 4,100 - 7,100

2027

NAKAMURA MOE ( JA PA N ES E , B . 1 988)Bambooshka; & Three Faces中村萌母子筍；及三張臉

2028

MOE NAKAMURA ( JA PA N ES E , B . 1 988)Mr. Fuji中村萌富士山先生

Executed in 2018; & 2017a set of two polystone sculptures; & a set of three polystone sculptures in original wooden boxedition: 149/160; & 20/100Bambooshka: Yellow: 11 x 10 x 15 (4 ½ x 4 x 6 in.); Green: 15.5 x 15 x 21 cm. (6 x 6 x 8 1/4 in.); &Three Faces: box: 27 x 3.5 x 13 cm. (11 x 1 x 5 in.) Three Faces: signed 'MOE.'(lower right); editioned '020/100'(on the reverse)

Bambooshka: This work is to be sold with a certificate of authenticity signed by the artist.

2018；及 2017 年作寶麗石粉樹脂雕塑（一組共兩件）；及寶麗石粉樹脂雕塑原裝木盒（一組共三件）版數：149/160；及20/100款識：《三張臉》；MOE.（右下）；020/100（下背）《母子筍》：附藝術家親簽之原作保證書

HK$ 36,000 - 46,000US$ 4,600 - 5,900




Lot 2026

Lot 2028

Lot 2027

Executed in 2016polystone sculptureedition: 73/10015 x 15 x 20 cm. (6 x 6 x 7 3/4 in.)signed and dated 'moe. 2016.10.7' (bottom)

PROVENANCE



2016 年作寶麗石粉樹脂雕塑版數：73/100款識：moe. 2016.10.7（底部）



HK$ 32,000 - 55,000US$ 4,100 - 7,100

2029

MOE NAKAMURA ( JA PA N ES E , B . 1 988)Waiting for You中村萌等待你

Painted in 2018mixed media on paper27.8 x 19.8 cm. (11 x 7 3/4 in.) signed 'moe' (lower right)

PROVENANCE


This work is to be sold with a certificate of authenticity issued by Tsubaki Gallery, Tokyo, Japan.

2018 年作綜合媒材紙本款識：moe（右下）


附日本東京椿畫廊開立之原作保證書

HK$ 50,000 - 80,000US$ 6,400 - 10,300

2030

MOE NAKAMURA ( JA PA N ES E , B . 1 988)Drawing 18-10-15中村萌畫 18-10-15



Executed in 2017oil on wood sculpture25.5 x 25 x 40 cm. (10 x 9 3/4 x 15 3/4 in.) signed and dated 'moe. 2017' (bottom)

PROVENANCE


This work is to be sold with a certificate of authenticity issued by Tsubaki Gallery, Tokyo, Japan.

HK$ 260,000 - 380,000US$ 33,300 - 48,700

2031

MOE NAKAMURA ( JA PA N ES E , B . 1 988)Bamboo Child中村萌兒童筍

2017 年作油彩木雕雕塑款識：moe. 2017（底部）


附日本東京椿畫廊開立之原作保證書

Executed in 2019bronze sculpture29 x 23.4 x 48 cm. (11 1/2 x 9 1/4 x 19 in.)

PROVENANCE

Galerie Perrotin, Shanghai, ChinaPrivate Collection, Asia

This work is to be sold with a certificate of authenticity signed by the artist and issued by Galerie Perrotin, Shanghai, China.

2019 年作銅雕雕塑

來源中國上海貝浩登畫廊亞洲私人收藏

附中國上海貝浩登畫廊開立之藝術家親簽原作保證書

HK$ 250,000 - 350,000US$ 32,100 - 44,900

2032

DANIEL ARSHAM (A M E R I CA N , B . 1 980)Eroded Dog丹尼爾．阿沙姆高飛狗



Executed in 2019two plush multiplesBlack: edition: 150/500; &Pink: edition: 59/500each: 25 x 12 x 46 cm. (10 x 4 3/4 x 18 in.)

HK$ 160,000 - 220,000US$ 20,500 - 28,200

2033

KAWS (A M E R I CA N , B . 1 974) X D I O RBFF DIOR PLUSH (Black; & Pink)KAWS X 迪奧最好的朋友迪奧毛絨公仔（黑色；及粉色）

2019 年作毛絨公仔（共兩件）黑色：版數：150/500；及粉色：版數：59/500

Executed in 2019highload pigment paint and mirror chrome on cast aluminum sculpture43.6 x 36.2 x 130 cm. (17 1/4 x 14 1/4 x 51 1/4 in.)

PROVENANCE

Over the Influence, Hong Kong, ChinaAcquired from the above gallery by the present owner

2019 年作高負荷顏料塗料鏡面鍍鉻鑄鋁雕塑

來源中國香港 Over the Influence現藏者購自上述畫廊

HK$ 180,000 - 300,000US$ 23,100 - 38,500

2034

MARK WHALEN (AU ST R A L I A N , B . 1 982)Don't TripMARK WHALEN 不要絆倒

Lot 2034 另一角度 alternative view



《乘雲氣》(Lot 2035) 為李真「虛空中的能量」系列作品之一。此時期中的佛像已逐漸脫離唐宋美學既有的樣式，並融入藝術家的美學及感悟，同時反映了社會百態。李真作品探討虛的精神能量，實則體現於雕塑，他以生漆墨色的溫潤深沉，淡化身形的誇張與厚重感，總能讓觀者得到祥和喜悅之感。

在《乘雲氣》中，墨色人像，單足而立，手捧銀光閃耀的祥雲，乘著杳杳雲氣，莊嚴沉靜。輕重之間，一氣呵成，不見絲毫冗贅，飽滿而圓融。《乘雲氣》源自莊子《逍遙遊》的「乘雲氣，御飛龍，而遊乎四海之外」猶如藝術家的精神追求。作品以實為基，卻充份展現了虛空無為的道家意念。抿嘴的面容，儘管揭示了當前社會環境極速奔馳的不確定感和憂慮，卻透過其整體穩重泰然的姿態，傳達了一種早已欣然接納的處事態度。

莊周精神，乃逍遙自由，藉以超脫物累，無心無用而歸於隱。大時代下的種種變遷，在道家的時空尺度中，不過為一種自然的過渡。李真用其一貫真切且豁達的創作語彙，勾勒出了蒼生對於現況的無奈與不解，同時，亦將應變之道一同置入了作品當中。孰輕孰重，李真擅長運用材質的質量對比作品最核心的意念，令人玩味無窮。

Cloud Glider (Lot 2035) is one of the works from the Energy of the Void series by Li Chen. The Buddha statues that Li created over this period were gradually diverged from the well-known aesthetics of the Tang and Song dynasties. These works reflect the true conditions of society while integrating the artist's sense of aesthetic sensibility and consciousness. To probe the spiritual power of the void, Li expresses his exploration of sculpture with exaggerated and bulky figures restrained with solemn and gentle dark raw lacquer, yet always offering a sense of peaceful joy to the viewers.

In Cloud Glider, the dark-coloured figure looks solemn and calm, balanced on one foot on top of clouds and carrying some auspicious silver-shimmering cloud in their hands. The whole object is integrated and harmonized between light and weightiness, expressing fullness without traces of verbosity. The title Cloud Glider originates from Wandering at Ease in Zhuangzhi, "Riding the clouds by taking charge of the flying dragons and journey beyond the four seas," which is the essence of the artist's spiritual pursuit. Though the work is based on physical existence, it fully demonstrates the Taoist concept of void and effortless action. The facial expression of pursed lips reveals a sense of uncertainty and anxiety resulting from the current extremely fast-moving social environment. However, the overall stately and tranquil posture conveys an attitude of grateful acceptance of the world.

The spirit of Zhuang Zhou exudes a sense of roaming freedom that enables detachment of the excess, free of intention and motivation, and returning to seclusion. The various changes in the era are only a natural transition in the space and time dimensions of Taoism. Using his creative vocabulary that has always been truthful and straightforward, Li Chen outlined the helplessness and puzzlement of the ordinary people in reaction to the state of the world. Simultaneously, he also embedded the resolution methodology into the sculpture. Light or weightiness, Li Chen excels at creating a contrast between the material and the core concept of the work; inviting viewers to contemplate without bounds.

李真LI CHEN

Executed in 2000bronze sculptureedition: 5/829 x 30 x 88 cm. (11 1/2 x 11 3/4 x 34 3/4 in.)signed, editioned and dated 'Li Chen 5/8 2000' (lower back)one carved seal of the artist

PROVENANCE

Asia Art Center, Taipei, TaiwanAcquired from the above gallery by the present owner

EXHIBITED

Italy, Venice, 52nd Venice Biennale, Energy of Emptiness, 10 June-21 November, 2007 (alternate sized version and edition exhibited).China, Beijing, National Art Museum of China, Li Chen – In Search of Spiritual Space, 29 April-11 May, 2008 (alternate edition exhibited).

LITERATURE

Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, Taiwan, 2004 (alternate sized version and edition illustrated, pp. 70-71).Li Chen in 52nd Venice Biennale-Energy of Emptiness, Asia Art Center, Taipei, Taiwan, 2007 (illustrated, pp. 88-91). Top 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, China, 2007 (illustrated, p. 52).Li Chen in Beijing-In Search of Spiritual Space, Asia Art Center, Taipei, Taiwan, 2008 (illustrated, p. 196).Soul Guardians: In an Age of Disasters and Calamities, Asia Art Center, Taipei, Taiwan, 2009 (illustrated, p. 56).Greatness of Spirit-Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center, Taipei, Taiwan, 2012 (illustrated, p. 146).

This work is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei, Taiwan.

HK$ 600,000 - 1,000,000US$ 76,900 - 128,200

2035

LI CHEN (C H I N ES E , B . 1 9 63)Cloud Glider李真乘雲氣

2000 年作銅雕雕塑版數：5/8款識：Li Chen 5/8 2000（下背）藝術家手刻鈐印：李真

來源台灣台北亞洲藝術中心現藏者購自上述畫廊

展覽2007年6月10日-11月21日「第52屆威尼斯雙年展─李真：虛空的能量」威尼斯義大利（展覽為另一尺寸及版數）2008年4月29日至5月11日「李真：尋找精神的空間」中國美術館北京中國（展覽為另一版數）

出版《李真雕塑1992-2002》亞洲藝術中心台北台灣 2004年（圖版為另一尺寸及版數，第70-71頁）《李真第52屆威尼斯年展─虛空中的能量》亞洲藝術中心台北台灣 2007年（圖版，第88-91頁）《中國當代雕塑十人展》亞洲藝術中心北京中國 2007年（圖版，第52頁）《李真：中國美術館個展—尋找精神的空間》亞洲藝術中心台北台灣 2008年（圖版，第196頁）《神魄─李真雕塑》亞洲藝術中心台北台灣 2009年（圖版，第56頁）《大氣—李真台灣大型雕塑首展》亞洲藝術中心台北台灣 2012年（圖版，第146頁）

附台灣台北亞洲藝術中心開立之原作保證書




ink and charcoal on paper45 x 56 cm. (17 3/4 x 22 in.)signed in Chinese; signed 'SANYU' (lower right)

PROVENANCE

Sotheby's Taipei, 13 April 1997, Lot 14Acquired from the above sale by the present owner

LITERATURE

Sanyu Cata logue Raisonné: Draw ings and Watercolours, The Li Ching Cultural and Educational Foundation, Taipei, Taiwan, 2014 (USB flash drive, illustrated, plate D0152).

HK$ 250,000 - 400,000US$ 32,100 - 51,300

2036

SANYU (C H I N ES E , C H A N G Y U , 1 89 5 -1 9 6 6)Seated Nude常玉裸女

水墨炭筆紙本款識：玉 SANYU（右下）

來源蘇富比台北 1997年4月13日編號 14現藏者購自上述拍賣

出版《常玉素描與水彩全集》財團法人立青文教基金會台北台灣 2014年（隨身碟方式附錄，圖版，第D0152圖）



Painted in 1934watercolour and ink on paper45.5 x 32.5 cm. (18 x 12 3/4 in.)signed in Japanese; signed, inscribed and dated 'Foujita Tokio 1934' (middle right)

PROVENANCE

Private Collection, JapanPrivate Collection, Asia

This work is to be sold with a certificate of authenticity issued by Tokyo Bitjisu Club, Tokyo, Japan.

1934 年作水彩水墨紙本款識：嗣治 Foujita Tokio 1934（右中）

來源日本私人收藏亞洲私人收藏

附日本東京東京美術俱樂部鑑定委員會開立之原作保證書

HK$ 300,000 - 500,000US$ 38,500 - 64,100

2037

LÉONARD TSUGUHARU FOUJITA (JAPANESE-FRENCH, 1886-1968)Portrait of Wealthy Lady藤田嗣治貴婦像

中國當代現實主義繪畫出現於二十世紀八十年代初，以何多苓、艾軒、羅中立為代表藝術家，受到美國鄉土主義大師懷斯的影響，在特殊的時代背景之下，他們以充滿著理想主義的筆觸描繪了飽含人文主義和現實主義的抒情作品，從而形成了盛極一時的「傷痕藝術」。其中艾軒鍾情西藏題材四十餘載，憑藉卓絕的寫實技巧，生動刻劃了廣袤的西藏土地上藏民與嚴酷的自然和諧共生，為我們展現了一個空靈蒼茫的西藏。創作於1994年的《凝視》(Lot 2038) 構圖精煉，筆法細膩，藝術家以西藏荒涼的土地為背景，將一位稚嫩的藏區少女安置其中，少女飽滿的面龐透露著一種憂鬱，雙眼凝視前方，眼神直視觀者，但同時帶有著不屬於她這個年齡應有的成熟。艾軒所描繪的西藏並沒有選擇某種宏大的主題，而是敏銳捕捉到了藏區日常場景中攝人心魄的力量，利用其扎實的寫實功底平鋪直敘，再現了情感含蓄婉轉，意境浪漫深沉的藏區風貌。

上世紀70年代，艾軒被分配到成都軍區進行隨行創作，隨軍行至四川阿壩藏區深受當地獨特的自然文化風貌感染，從此藏區的「人與自然」成為藝術家一生所鍾愛的題材。艾軒寫實繪畫的獨特之處在於借景抒情，他的作品在意境上散發著詩歌一般的文學性，但風格樸素克制，人物細節勾勒力圖精準，並不在筆法與用色上加入過多戲劇化的情感成分，他藉助一位藏區少女傳遞出一種隱密的吶喊和複雜的情緒，這種對描繪對象的高度寫實同時在意境上浪漫優雅的風格給予人無窮的遐想空間。

行軍寫生中的艾軒（下排左一）1973年Ai Xuan (first to the left on bottom) was sketching with the Army, 1973

艾軒AI XUAN

Contemporary Chinese realism painting emerged in the early 1980s, with artists He Duoling, Ai Xuan, and Luo Zhongli as the representatives. Under the influence of Wyeth, master of the American vernacular realism, they painted artworks full of humanistic and realistic flavor with idealistic brushstrokes against the backdrop of a particular era, which led to the emergence of "Scar Art" that was once so popular. Over forty years of Ai Xuan's passion for Tibetan themes, he has vividly depicted the Tibetan people living in harmony with the harsh nature of the vast Tibetan land with his extraordinary realistic skills, presenting us with an ethereal and vast Tibet. Tibetan Girl (Lot 2038), created in 1994, has concise composition and delicate techniques. The artist uses the desolate land of Tibet as the background and places a young Tibetan girl in the painting. The girl's plump face reveals a kind of melancholy, her eyes gaze straight ahead and look at the viewers, but at the same time, she has a maturity that is not suitable for her age. Rather than choosing a grand theme, Ai Xuan's depiction of Tibet captures the breathtaking power in the everyday Tibetan

scenes, using his solid realistic skills to create a straightforward narrative that reproduces the subtlety of emotion, romance and profoundness of the Tibetan landscape.

In the 1970s, Ai Xuan was assigned to the Chengdu Military Region to create artworks in the army, and was deeply affected by the unique natural and cultural landscape of the Aba Tibetan region during a tour of the region. Since then, "man and nature" in Tibetan areas has become the favorite subject matter of the artist throughout his life. His realistic paintings are unique in that they use scenery to express emotions. His works exude a poetic and literary quality on the artistic conception, but his style is simple and restrained. He strives to outline the details of the characters with precision and does not add too many dramatic emotional components to his brushwork and colouring, as shown by the hidden cry and complex emotions expressed through the depiction of a young Tibetan girl. This highly realistic touch in figure depiction and the romantic, elegant style, provide the audience with endless room for imagination.

Painted in 1994oil on canvas99.4 x 80.1 cm. (39 1/4 x 31 1/2 in.) signed in Chinese; signed and dated 'Aixuan 1994.5' (lower left)

PROVENANCE

China Guardian Auctions Beijing, 5 June 2006, Lot 159Acquired from the above sale by the present owner

HK$ 1,500,000 - 2,500,000US$ 192,300 - 320,500

2038

AI XUAN (C H I N ES E , B . 1 9 47 )Tibetan Girl 艾軒凝視

1994 年作油彩畫布款識：艾軒 Aixuan 1994.5（左下）

來源中國嘉德北京 2006年6月5日編號 159現藏者購自上述拍賣

我覺得我畫這些畫有一個共同狀態，都是在嚴酷的自然環境

裡的無助和無奈，對未來的判斷不可知，都是這樣的一種狀

態，它形成了一個表情定式，也是沒有什麼更多表情，但是

眼神裡邊透著一種哀怨或者是無助，或者是無可奈何，總之

就是這些東西，都是比較宿命的。

—艾軒

I feel that my paintings share a common state; they are all about the

sense of helpless and incapability in the harsh natural environment,

and the unknown and unsure judgment of the future. Dominated by

such a common state, they form a stereotype of expression, i.e. there

is minimal expression in the faces, but there is a sadness, helplessness,

or incapability in their eyes.

- Ai Xuan



艾軒AI XUAN

艾軒作為中國寫實繪畫的代表藝術家，憑藉樸素精準的敘事技巧和抒情的表現手法表達了對於生活和人性的關照，透露出對於時代精神的闡述與思考。創作於2005年的《冬日的寂寥》(Lot 2039) 具有艾軒的標誌性繪畫語言，如他所言「我基本上使用藍灰調子，以便傳達一種淒婉的情緒。」艾軒通過描繪蒼茫靜謐的藏區大地來力求表現藏民與自然的深刻聯繫，面對嚴峻的生存考驗，藏民畢生在與自然鬥爭與共融，面龐都帶有著不符合年齡的飽經風霜，藝術家通過細緻入微的寫實技巧來表現一種具有高度普世性的人文關懷，以及向人類在面對嚴酷生存環境時所被激發出的「負隅抵抗」的精神致敬。

《冬日的寂寥》採用藝術家「西藏系列」的經典構圖，空間層次分明，遠景是廣袤酷寒的藏區大地，土地無限延伸與霧茫茫的天空相連，中景是一隻低頭的綿羊，藏

女則是以極近的近景來呈現，因此她的面龐和憂鬱的眼神都被放大，直擊觀者心靈。冰冷的色調強化了寂靜空靈的意境，藏女孤身一人與一隻綿羊形成了巧妙的呼應，彷彿蒼茫天地間他們是僅剩下的生靈。藝術家運用自然主義的光線與平鋪直敘對造型進行刻劃，他所描繪的藏女已經超脫了寫實肖像以及對藏區生活的再現，而是更加著力與對於環境的塑造，從而更深入體現描寫對象的精神狀態，盡現藝術家的人文關懷。這個被艾軒反覆描繪的藏女不僅是藝術家自己的創作「符號」，更是中國繪畫史上一個經典的形象，這個形象代表藝術家對時代與個體之間關係的思索，以及對人與自然相處中所散發的生命力的讚頌。

Lot 2039 局部 detail

安德魯·懷斯《土耳其池》1944年作美國羅克蘭法恩斯沃思藝術博物館藏Andrew Wyeth, Turkey Pond , 1944, Collection of the Farnsworth Art Museum, Rockland, USA



As a representative artist of Chinese realistic paintings, Ai Xuan expresses his concerns for life and human nature with simple and precise storytelling techniques and lyrical expressions revealing his exposition and reflection on the spirit of the times. Horizon (Lot 2039) is one of Ai Xuan's iconic paintings, as he says, "I basically use blue and gray colours to convey a desolate and beautiful mood." Through the depiction of the hazy and tranquil landscape of Tibetan areas, Ai Xuan seeks to express the deep connection between Tibetans and nature. In the face of the harsh challenge of survival, the Tibetan people have been struggling and integrating with nature throughout their lives, and their faces are weather-beaten and unsuited to their age. Through his delicate and subtle realistic techniques, the artist expresses a highly universal humanistic concern, and pays a spiritual tribute to the "unremitting resistance" that is inspired to human beings in the face of the harsh living environment.

Horizon adopts the classic compositions of the artist's Tibet series with distinct layers of space, including a distant scene of a vast, cold Tibetan landscape, an infinite stretch of land connected to a

foggy sky, and a central scene of a sheep with its head bowed. A Tibetan girl is depicted in extremely close proximity. Her face and the melancholy look in her eyes are magnified, striking directly at the viewer's heart. The cold colour amplifies the mood of silence and emptiness, and the Tibetan girl is alone with a sheep, forming a subtle response; as if they are the only creatures left in the boundless heaven and earth. The artist uses naturalistic light and straightforward narrative to depict the shapes. His depiction of the Tibetan girl has transcended the realistic portraits and the recreation of the life in Tibetan areas. Instead, more attention is paid to the shaping of the environment, so as to reflect the spiritual state of the figure in the painting and to express the artist's humanistic concern in a more profound manner. The Tibetan girl repeatedly depicted by Ai Xuan is not only a "symbol" of his own creation, but also a classic image in the history of Chinese painting, which represents the artist's exploration of the relationship between the times and individuals, as well as the praise of the vitality emanating from the interaction between man and nature.

Painted in 2005oil on canvas90 x 90 cm. (35 1/2 x 35 1/2 in.)signed in Chinese; signed and dated 'Aixuan 2005' (lower right)

PROVENANCE

Beijing Huachen Beijing, 5 June 2005, Lot 819Beijing Hanhai Auctions Beijing, 6 December 2008, Lot 1148Acquired from the above sale by the present owner

LITERATURE

China Realism Ai Xuan, Jilin Fine Arts Press, Changchun, China, 2010 (illustrated, p. 38).Ai Xuan: For a Silent Dreamland from a Master's Heart, Kwai Fung Art Publishing House, Hong Kong, China; & Rizzoli International Publications, New York, USA, 2019 (illustrated, p. 125).

HK$ 1,600,000 - 2,400,000US$ 205,100 - 307,700

2039

AI XUAN (C H I N ES E , B . 1 9 47 )Horizon艾軒冬日的寂寥

2005 年作油彩畫布款識：艾軒 Aixuan 2005（右下）

來源北京華辰北京 2005年6月5日編號 819北京翰海北京 2008年12月6日編號 1148現藏者購自上述拍賣

出版《中國寫實畫派．艾軒》吉林美術出版社長春中國 2010年（圖版，第38頁）《艾軒: 心繫淨土》季豐美術出版社香港中國；及Rizzoli出版社紐約美國 2019年（圖版，第125頁）



王沂東WANG YIDONG

王沂東是當今中國當代寫實油畫領軍人物之一，鄉村的風景及人物是其繪畫創作主軸。而對於自己的家鄉沂蒙山，王沂東一直有著深厚的情感，甚至從藝術家名字中的沂字便可看出，王沂東出生於山川秀美，民風樸素的山東臨沂。在小溪邊摸魚，森林裏捉野兔是藝術家成長過程中最熟悉快樂的場景，家鄉的每一寸土地，每一份人情都是王沂東內心最深之記憶。

《沂蒙娃》(Lot 2040) 創作於1994年，強烈的空間透視感使身穿碎花純白衣裳的鄉村小女孩成為畫面的絕對主體，單純可愛的小女孩挨著一堵灰白的矮墻，低頭略帶無辜地眼神凝望著觀者，旁邊正是一望無垠的荒莽草原，遠處三兩只羊群，與遠處的天空遙遙相接。在王沂東描繪鄉村少女及孩童的作品之中，《沂蒙娃》在構圖上實為匠心獨具，藝術家將近景加劇放大，使得觀者與畫面中的小女孩的距離迅速拉近，凝視畫作時不由得立即被靈動可愛的小女孩那純潔的眼神抓住，同時也更容易進入到藝術家構建的蒼茫草原，從而與藝術家一同陷入那遼遠飄渺的空間與思緒之中。

作為中國當代新古典油畫代表人物，王沂東在人物勾勒筆法上可見西方油畫大師拉斐爾流暢細膩筆觸對其的影響。畫面中小女孩的衣裳、矮牆，及遠處的綿羊，藝術家透過不同彩度及色調的白，體現出人物場景之間微妙的立體感變化，同時更增添了畫面中相互呼應的協調感。王沂東在從西方油畫技法中尋求靈感的同時，作品始終深深紮根於民族特色，深耕鄉土題材。《沂蒙娃》正是藝術家將西方古典之技法賦予鄉村題材之中，同時對家鄉人情風貌的深厚情感之升華與體現。

拉斐爾《聖母子》1505年作美國華盛頓特區國家美術館藏 Raffaello Sanzio da Urbino, The Small Cowper Madonna , 1505, Collection of The National Gallery of Art, Washington, D.C., USA

Wang Yidong is one of the most important oil painting masters of contemporary realism in China. Focusing mainly on rural scenes and characters, Wang feels a deep sense of connection to his hometown on Yimeng Mountain. This is evident as his own name comes from the name of the mountain. Born in Linyi City in Shandong Province, which is filled with beautiful mountains and rivers, the artist grew up enjoying fishing in creeks and catching rabbits in the forests. Every inch of earth in his hometown and every human connection are deeply embedded in his memory.

A Yimen Girl (Lot 2040) was created in 1994. The strong sense of spatial perspective makes the village girl with a flowery white dress the main subject of the painting. The cute and simple little girl leans on a light gray low wall, seemingly staring out of the painting at the viewers with innocent looking eyes on her slightly lowered head. The background next to the wall is a boundless grass field with two or three grazing sheep that connects to the sky in the distance. Among Wang's portraits of rural area girls and young children, A Yimen Girl is particularly ingenious in its original composition. The artist magnified the close-up frame, tightening the gap between the little girl in the picture and the viewers, who cannot help but become captured by the purity in the girl's eyes. The effect also enables viewers to become easily immersed in the vast grassland created by the painter, and mired in the same ethereal space and contemplative void of the artist.

As a representative figure of China's contemporary neo-classical oil painting, Wang's techniques of outlining characters are evidently influenced by the fluid and delicate brushworks of the Western oil painting master, Raphael. Through varying tones and shades of white on the little girl's clothing, the low wall, and the sheep in the distance, the artist is able to express a subtle change in cubic dimensionality between the figures and the background, as well as invoke a sense of harmony throughout the painting. While searching for inspiration from Western oil painting techniques, Wang has always rooted his art with ethnic characteristics to illustrate rural sceneries. A Yimen Girl is just the presentation of landscape using Western classical techniques, simultaneously exhibiting the artist's strong emotional connection with the earth and the people of his homeland.

Painted in 1994oil on canvas80.1 x 99.8 cm. (31 1/2 x 39 1/4 in.) signed and dated 'Wang Yidong 1994'; signed in Chinese (lower right); signed and inscribed in Chinese; signed and dated 'Wang Yidong 1994 5 18' (on the reverse)

PROVENANCE

Poly International Auction Beijing, 4 June 2006, Lot 65Acquired from the above sale by the present owner

HK$ 1,600,000 - 3,000,000US$ 205,100 - 384,600

2040

WANG YIDONG (C H I N ES E , B . 1 9 5 5 )A Yimen Girl王沂東沂蒙娃

1994 年作油彩畫布款識：Wang Yidong 王沂東 1994（右下）；王沂東 Wang Yidong 1994年5月18日於北京中央美術學院（畫背）

來源保利北京 2006年6月4日編號65現藏者購自上述拍賣



何多苓HE DUOLING

1977年，四川美術學院在改革開放後首度重新招生，隔年考入的第一批學生包含何多苓、羅中立、張曉剛等人在今天都早已成為支撐中國當代藝術的中堅力量。這個時期的藝術家創作多被分類為「傷痕美術」，突破了藝術政治化的固有模式，他們從生活中的觀察、體驗和表現萃取嶄新的審美意識，在真實的情感下描繪現實。雖說「傷痕美術」是同輩藝術家共同的記憶，但何多苓不完全認同傷痕為他創作的核心涵義。他提到：「我的早期作品你可以把它理解為傷痕。但你可以把傷痕看作是詩意的一種，那裡面包含的不是苦難，而是美。」在他的作品中幾乎找不到任何主觀的批判性，反之，他的畫面充斥著抒情、浪漫、詩意和對於自然的真誠流露。

時間回到1969年，20歲出頭的何多苓響應號召去了涼山彝族自治州，上山下鄉，感受真實的勞動人民的生活。他在廣闊而荒涼的大自然中閱讀出旁人難以所及的美學與哲學：「我當時覺得那個就叫美，藍天白雲，遼闊的土地，遠山的神秘，一山比一山高，我心裡想的是這些山我一定要登上去。後來登了那麼大一部分，覺得融於其中了，很有天人合一的那種感覺。」這段經歷促使何多苓開始創作彝族題材，1991年，他應邀前往美國，畫廊主欣賞他對大涼山彝族的刻畫，但他卻對當地文化感到無所適從，身處異鄉的何多苓基於對故土的思念便在1993年回到了成都，《白馬與女人》(Lot 2041)

即是回國當年所創作。畫中大山那荒蕪遼闊的空間感與藝術家早年下鄉內心孤獨的感受產生無聲的共鳴，亦呼應了藝術家出國時的這段經歷，看似簡潔的構圖卻萌生了強烈的鄉愁情感與生命力。

早在90年代初期，易丹與呂澎共同撰寫中國現代藝術史時便曾經深入閱讀過何多苓的作品，如同易丹所說：「他有一種對孤獨的嚮往，這是發自內心深處的，也正

是這種嚮往導致了他藝術道路中與潮流保持一定的距離，有著自己獨特的語言風格。從早期作品到《俄羅斯森林》、《雜花》，都體現了這種孤獨感。」何多苓經常採用的單一人物描繪或許正是體現他作品中一貫孤獨感的最直接表述。《白馬與女人》畫面中的彜族女人並未呈現過多的情感表現，但眉宇之間卻不難看出其複雜、嚴肅的情緒，無聲地凝視著畫面外的觀者。而前方白馬眼眸半閉朝下，似乎正逃避著與外界的接觸，更為畫面添加了神秘氣息。厚重的大地色系貫穿於白色油彩的空靈表現之間，簡單的色彩搭配取得絕妙平衡，搭以豐富的筆觸，平靜的構圖下卻隱藏著一種暗流湧動的氛圍，表現了人與自然的神秘聯繫。

自古以來，白馬在中國文人的詩賦中通常伴隨疆場遊俠或匹夫策士，但在彝族文化中，「白馬」即是祭祀天地的巫師「畢摩」。祭天地是彝族祈求風調雨順，五穀豐登，人畜平安的一種儀式，明末清初著名學者顧炎武在其著《天下郡國利弊書》卷四十五中說：「羅羅，巫號『白馬』，民間祭天，為台三階，『白馬』為之禱。」何多苓在此處引用白馬圖像作為隱喻，在簡單的構圖下埋藏了廣泛的文化象徵。

之所以被稱之為中國當代抒情現實主義的代表，何多苓的筆下經常隱藏各種幻想與典故，這也造就他繪畫的內在表現富有他人難以企及的品味與境界。他吸納文學與詩歌的氣息，不斷探索藝術的根源和更多可能性，從而積累深厚的文化底蘊，人文素養和個人技術的結合成就了何多苓的個人風格。「我自己很喜歡詩歌，但我不會寫詩，所以我的畫中一定有詩的因素，我希望我的繪畫是有文學性的，但這不是小說，是某種不可言說的東西在裡面，這讓我著迷。」何多苓如是說。

何多苓《紅色天氣的馬》1991年作保利香港 2018年9月30日成交價：5,664,000港幣He Duoling, A Horse in Red Weather , 1991, Poly Auction Hong Kong, 30 September 2018, Sold for HKD 5,664,000

In 1977, the Sichuan Fine Arts Institute reopened its doors to new students for the first time after the Chinese economic reform. The first batch of students admitted the following year included He Duoling, Luo Zhongli, Zhang Xiaogang and others, who have long been the mainstays of China's contemporary art. The artists from this period of time are often regarded as artists of the "Scar Art"; breaking free from the inherent pattern of politicization of art, they drew up new aesthetic consciousness from their observations, experiences and expressions in life, and depicted reality with real emotions. While the "Scar Art" was a common memory shared by artists from his time, He Duoling does not fully agree that scars lie at the core of his works. "As far as my earlier works are concerned, I am fine with people seeing them as representations of scars. Another way of looking at scars, however, is that you can see them as something filled with a poetic meaning. When you do, there will be beauty rather than suffering in it," He said. There is hardly any subjective criticality to be found in his work; rather, his works are filled with lyricism, romance, poetry, and an honest outflow of nature.

In 1969, He Duoling, in his early twenties and having responded to the government's call, travelled to the Liangshan Yi Autonomous Prefecture to experience the life of the working class. The kind of aesthetics and philosophy he experienced in the vast and desolate nature are such that others may find them difficult to understand. "I saw everything as beautiful - the blue

In my opinion, the creation and maturity of the painting language itself are but some of the achievements found

in He Duoling's art. What is more important is the literary narrative in his works. ... The compositions, the choice

of characters, the relationships between the characters and their surroundings - these elements are all storytelling,

and they all yearn to be narrated beyond what their colours, forms, lines, and contrast between light and shade

may suggest. This is what makes He's works so special.

- Yi Dan, Professor, School of Literature and Journalism, Sichuan University

藝術家繪畫中一直帶有文學性，在我看來，繪畫語言本身的創造和成熟度只是何多苓藝術中的一

個成就，更重要的特點就是作品中文學性的敘事。……畫面從構圖、人物選擇、人物和周邊環境

的關係，都是有故事的，有一種色彩、形體、線條、明暗對比之外的敘述的欲望，這也成為他的

特質。

—易丹，四川大學文學與新聞學院教授

sky, the white clouds, the vast land, the mystery of the distant mountains, each one of them still higher than another. When I was done scaling a big part of those mountains, I felt like I had become part of them, part of this universe," He said. With this experience, he started producing works around the Yi people. In 1991, He was invited to the United States, where a local gallery owner admired his portrayal of the Yi people of Liangshan. He, however, had a difficult time adjusting himself to local culture. He

1.



returned to Chengdu in 1993 out of homesickness, and Woman and White Horse (Lot 2041) was painted in the same year. The seemingly simple composition has given rise to a strong sense of nostalgia and vitality.

Back in the early 1990s, Yi Dan and Lu Peng studied in-depth He Duoling's works when they were co-authoring the book on history of China modern art. As Yi Dan said, "He has a longing for solitude that comes from deep within his heart, and it is this longing that has led him to keep a certain distance from the mainstream down his artistic path, hence his own unique language style. This sense of solitude can be seen in everything from his early works to The Russian Forest Series, Mixed Flowers, etc. Perhaps the most direct expression of the loneliness in his works is the single character portrayal that He very often uses. While the woman of Yi in Woman and White Horse does not show much emotion, her eyebrows are telltale of the complicated and serious emotions at play in her mind as she stares silently back at those looking at the work. Eyes half closed and facing down, the horse in front of the woman seems to be avoiding contact with those on the other side of the painting, which adds a mysterious touch to the work. The thick, earthy colours run through the ethereal white oil paint of the painting. The simple colour matching strikes a great balance and coupled with the enriching brushstrokes, created the tranquil composition of the painting, with the vibe of an undercurrent hidden beneath. These elements all came together to show the world the mysterious connection between human and nature.

Since ancient times, frontier rangers and pied pipers in Chinese poetry usually have had white horses accompanied them, but in Yi culture, white horses are regarded as "bimos" - sorcerers who

worship heaven and earth. The Yi people worship heaven and earth for good weather, great harvests, and peace upon all living creatures. The famous scholar Gu Yanwu from the late Ming and early Qing dynasties said in Volume 45 of his book Pros and Cons of the World's Counties and Countries: "The Yi people, going by the name "bimo", are here to pray as a people upon these three round tombs. The "bimo" shall conduct the praying for us." Here, He uses the image of the white horse as a cultural metaphor that is hidden beneath the otherwise simple composition.

He is regarded as a symbolic figure in contemporary Chinese lyrical realism because a variety of fantasies and allusions can often be found in his paintings, hence the incomparable taste and depth found in the inner expressions in his paintings. Having studied literature and poetry, He constantly probed the very origin of art and further possibilities. It is through this process that he was able to grow as a person of culture, and, when he combined this growth with his techniques, the world ended up gifted with a unique He Duoling. "I love poetry, but I can't write poetry, so there's definitely an element of poetry in my paintings. I want my paintings to carry a literary element. But, don't mistake my works for novels. My works have a certain inexplicable something in them, and that's what I find fascinating," said He.

1. 彝族男子和馬Man of the Yi and horse

2. 安德魯．懷斯《黝黑的獵人》1938年作Andrew Wyeth, Black Hunter , 1938

Lot 2041 2.

Painted in 1993oil on canvas90 x 112 cm. (35 1/2 x 44 in.)signed and dated 'H.Duoling 93' (lower right); signed and dated 'Ho 83' (on the reverse)

PROVENANCE

Hanhai Auctions Beijing, 20 May 2011, Lot 2085Acquired from the above sale by the present owner

LITERATURE

Contemporary Chinese Art Collection (4), The Works of He Duoling, Mountain Arts Museum, Kaohsiung, Taiwan, 1997 (illustrated, pp. 116-117).

HK$ 4,000,000 - 6,000,000US$ 512,800 - 769,200

2041

HE DUOLING (C H I N ES E , B . 1 9 4 8)Woman and White Horse何多苓白馬與女人

1993 年作油彩畫布款識：H.Duoling 93（右下）；Ho 83（畫背）

來源翰海北京 2011年5月20日編號2085現藏者購自上述拍賣

出版《中國當代藝術選集4 何多苓》山美術館高雄台灣 1997年（圖版，第116-117頁）



羅中立LUO ZHONGLI

I needed the strength to train myself and accumulate

experience, and I have always made it my mission to

depict farmers and rural subjects

-Luo Zhongli

我需要一個力量來錘鍊自己，積累經驗，而

我始終以描繪農民鄉土題材為職志。

—羅中立

綜觀羅中立的創作歷程，他一直都將農村作為他的靈感來源，豐富的生活經驗與其強大的共情能力使得他真正深入鄉土生活的內核。繼早期對農民辛勞的深度刻畫之後，80年代後期，藝術家不再著力於刻畫農民肖像與生活場景，而是開始用一種發現美的眼光，以唯美抒情的手法描繪鄉村生活充滿詩意的一面。《初雪》(Lot

2042) 即為該轉型時期的重要作品，畫面古典而恬靜，場景靜謐柔美，新的意象—孩童和雪出現在畫面中，藝術家通過這幅作品回歸美學本質，探索來自於生活的美學價值，傳達出一種生活美與藝術美的關聯與共通。

《初雪》創作於1990年，畫面呈現出極強的文學性，整體畫面呈冷色調，呈現雪後初霽的鄉村寂靜又清澈，茫茫的天空與大地構成了飄渺的遠景，這是一種獨屬於鄉村的視角，雪薄薄輕盈的覆蓋在地面與屋頂上，展現了扎實的寫實功底。在褐色調的基礎上，藝術家用克制的藍色為遠景與近景的兩塊土地之間描繪了一條已經結冰的狹窄蜿蜒的溪流，這是屬於鄉村孩童的快樂，夏時捕魚、冬來滑冰。房屋邊上的小山坡上站著一位孩童，

紅紅的臉龐和手都可感受到當時時節的寒冷，而從她穿著厚厚的棉衣和毛線絨帽可見她備受父母關愛。藝術家以寫實細膩的筆法組構畫面，色彩溫潤和諧，道出純樸的田園生活最富有詩意的一幕。

在《初雪》中，羅中立並沒有描繪勞動場景，而是選擇了一幅平常的、靜態的鄉村畫面，從空間與人物的刻劃上傳遞出鄉間的溫情與對這片土地上生活的人們的關懷，藝術家不斷突破自己的創作語彙，體現在風格的探索與用色的變化，但不變的是他對中國鄉村的深情、對勞動人民的深切關懷以及對勞動本身的那份尊重。《初雪》靜謐的畫面反映了羅中立對自己風格的突破，代表了藝術家在這件創作中面向精神性與文化層面的探索，在這個階段他從超級寫實轉變為極富東方意藴的寫實，通過充滿真情的畫面，為我們展示了最自然、最感人、最富有生命力的中國鄉村。

保羅·高更《雪中村莊》1894年作Paul Gauguin, Village in the Snow , 1894



Rural life always serves as the source of inspiration for Luo Zhongli throughout his creative journey. His rich life experiences and strong empathy have enabled him to have a thorough understanding of the core of rural life. Following his earlier in-depth depiction of farmers' toil, the artist shifted his focus from portraits and scenes of farmers' lives to the depiction of the poetic beauty of rural life through poetic and lyrical techniques in the late 1980s. Snow (Lot 2042) is a representative work in this period of transition. The painting is classical and quiet with new elements of children and snow as part of the imagery. The artist returns to the essence of aesthetics, explores the aesthetic value in life, and conveys a connection and commonality between the beauty of life and the beauty of art in this novel art piece.

Created in the 1990, Snow shows a strong literary quality. Expressed in a cold tone, it depicts the quiet and clear countryside after the first snow. The boundless sky and the earth constitute a distant and misty perspective, which is a perspective unique to rural areas. The depiction of snow covering the ground and the roofs in a thin and light layer demonstrates the solid realistic technique of the artist. In addition to the brown tones, the artist has used restrained blue to paint a narrow, meandering stream with frozen ice between the distant and near landscapes. Fishing

in the stream in summer and skating in winter is the unique joy of children in the countryside. On the hill beside the house stands a child. Her red face and hands show the coldness of the time of year, and the thick cotton coat and wool hat are proof of the love of her parents. The artist uses realistic and delicate brushstrokes to compose the painting and the poetic scene of simple rural life is expressed through warm and harmonious colours.

In Snow, Luo Zhongli does not portray a laboring scene, but chooses an ordinary, static scene of the countryside, conveying the warmth of the countryside and his concern for the people living in this land through the depiction of the chosen space and characters. Exploration of new styles and changes in colours demonstrates the artist's persistent pursuit of self-breakthrough, but what remains unchanged is his sincere affection for the Chinese countryside, his deep concern for the laboring people and his respect for labor itself. The tranquil landscape of Snow reflects the breakthrough in his own style and expresses the artist's exploration of the spiritual and cultural aspects of his creation. In this phase, his shifts from hyper-realism to Oriental realism shows us the most natural, touching and vibrant Chinese countryside through his heartfelt images.

Lot 2042 局部 detail

Painted in 1990oil on canvas78.7 x 99.8 cm. (31 1/4 x 39 1/4 in.) signed and dated 'luozhongli 1990.2' (lower left)

PROVENANCE

Poly International Auction Beijing, 4 June 2006, Lot 170Acquired from the above sale by the present owner

EXHIBITED

Australia, Casula, Casula Powerhouse Arts Centre, Luo Zhongli Solo Exhibition, April, 1996.Taiwan, Kaohsiung, Mountain Arts Museum, Luo Zhongli Solo Exhibition, September, 1998.

LITERATURE

Main Land Fine Arts Collection 1 Luo Zhong-Li, Artist Publishing Co., Taipei, Taiwan, 1992 (illustrated, plate 74, p. 120).Contemporary Chinese Art Collection: Luo Zhongli, Sichuan Art Publishing Company, Chengdu, China, 2007 (illustrated, p. 145).

HK$ 1,200,000 - 1,800,000US$ 153,800 - 230,800

2042

LUO ZHONGLI (C H I N ES E , B . 1 9 4 8)Snow羅中立初雪

1990 年作油彩畫布款識：luozhongli 羅 1990.2（左下）

來源保利北京 2006年6月4日編號 170現藏者購自上述拍賣

展覽1996年4月「羅中立個展」科蘇拉藝術中心科蘇拉澳大利亞1998年9月「斯土力量—羅中立個展」山美術館高雄台灣

出版《大陸美術選集（1）羅中立》藝術家出版社台北台灣 1992年（圖版，第74圖，第120頁）《中國當代名家：羅中立》四川美術出版社成都中國 2007年（圖版，第145頁）



羅中立創作於1979年的《父親》已經成為中國當代藝術的代表作並承載著中國社會的時代意義，這張用情至深的作品時至今日依舊令人動容，從中可以看出羅中立對超級寫實風格技法上的嫻熟掌握以及對最本源、最真實的鄉土飽含的深厚情感，但這只是藝術家接下來三十餘載對鄉土孜孜不倦的描繪的開端。在接下來「故鄉組曲」與「鄉土寫實」的創作中，我們不僅可以看到上一段創作歷程情感上的延續，更可以看出藝術家清晰的藝術語言的演變軌跡和邏輯思考。《夕陽》(Lot 2043) 創作於1990年，藝術家在這一時期「鄉土寫實」的創作中以全新的平行視線，注重對鄉村中的「人」展開精神性與人性的挖掘，因此這一系列成為了藝術家創作演變歷程承上啟下的重要閃光點。

羅中立在八九十年代進入鄉土寫實系列的創作，此時他從超級寫實的風格轉向到了表現力極強且帶有一些原始主義色彩的創作中，在人物造型的塑造上進行誇張、變形與程式化的處理，形成了風格化極強的個人繪畫語言。《夕陽》是他風格轉變期的經典作品，如果說「故鄉組曲」是對鄉村場景的再現，無不體現藝術家對鄉村生活中每一幀定格畫面的細緻入微的觀察與飽含對自己生活過的土地真摯的懷念，那麼90年代之後的「鄉土寫實」系列則是從風格上近似米勒的繪畫，改以西方表現主義的形式來表達原始質樸的場景，他以真實生活為基礎，從中提煉出形式與精神。此時的藝術家像是一個回到大巴山的故友與農民「開軒面場圃，把酒話桑麻」，也像是一個記錄者，在城市文明快速發展之下記錄著這支田園牧歌。他敏銳捕捉農村生活中極為平凡的場景，著力刻畫鄉村生活狀態的真實再現，大膽嘗試對圖像本

身進行變形的處理，以帶有民間藝術色彩的誇張與裝飾意味的鮮明色調來凸顯極強的山野氣息和原生態的文化。《夕陽》中涵蓋全部的這一時期的特徵，雖然表現的是日落時分，漸弱的光線卻難掩畫面中明快溫馨的色彩，這是一幅真實平凡的農家小景，農婦背著小孩去田地里陪伴結束一天勞作的丈夫回家，途中遇到溪流等待牲畜飲水，夫婦也在享受晚霞下的寧靜時刻。藝術家使用粗重的筆觸，將畫面中人描繪得體健壯樸拙，充滿原始的力量與勃勃生機，從一牛一騾大口的飲水、農夫疲憊的眼神與農婦背上的已經睡著的小孩可看出一整天勞作的辛苦，藝術家對這夕陽下的三口之家的刻畫飽含對農夫「足蒸暑土氣，背灼炎天光，力盡不知熱，但惜夏日長。」與農婦「復有貧婦人，抱子在其旁，右手秉遺穗，左臂懸敝筐。」的關懷與敬意，而耀眼的金色田野與農夫背後向前方走著的鵝群則承載了藝術家濃郁的抒情意味，化為對強悍生命的熱烈讚歌與美好祝願。

羅中立的創作生涯中不懈的致力於對大巴山農民的描繪，同時也在不斷挖掘自己視覺圖像與繪畫語言上的表現力，他堅信無論時代如何變化、鄉土如何遠去，蘊藏在中國的、本土的、東方的文化中的形式表現力是不會消逝的。他對農村有很深的愛戀，正因這份情感使得他不僅可以共情也在承受勞動人民的艱辛與苦難，他筆下的農民形象是飽滿真實的，有天倫之樂、夫妻之愛、舐犢之情，這其中飽含生活中的酸甜苦辣，他真實的過往經歷使得他可以對農民的生活感同身受，他雖有感於這份苦楚但卻不因此以悲憫的手法表達，而是用帶有著強烈「煙火氣」的俏皮甚至有一些潑辣，將中國鄉村的生趣與蓬勃的生命力展現出來。

羅中立LUO ZHONGLI

Father of Luo Zhongli was created in 1979 and has become a masterpiece of Chinese contemporary art that bears the significance of the Chinese society. Embedded the mastery of super-realistic style techniques of the artist and his in-depth emotions of the most original and authentic local scenery, this profound and emotional work still touches the heart of viewers of today. Yet it only marks the beginning of the artist's continuous depiction of local scenery in the following thirty years. In the creation of the Homeland Series and "Countryside Realism", we can not only see the emotional continuation of the previous period in his art work, but also the clear evolution of artistic language and logical thinking of the artist. Sunset (Lot 2043) was created in 1990. During this period of "Countryside Realism" creation, a new parallel vision was applied by the artist to focus on the spirituality and humanity of the "people" in the countryside, making this series the important highlight of the evolution process that connects the past and the future of the artist's creation.

Luo Zhongli started his the creation of the local realistic series in the 1980s and 1990s. At this time, he switched from a super realistic style to a highly expressive and primitive creation. The exaggerated, deformed and formulated figures in this series help to form a painting language with highly personalized styles. Sunset is a representative work in this transitional period. If the Homeland series is considered as a reproduction of true rural scenes since they reflect the artist's meticulous observation of static scenery of rural life that filled with sincerely nostalgic emotions for the land that he has lived, then the Countryside Realism Series created in the 1990s after the Homeland series are art pieces similar to Miller in style. With the original and rustic scenery expressed in the form of Western Expressionism, the form and spirit of this series are extracted from real daily life by the artist. At this time, the artist was like an old friend and peasant returning to Daba Mountain, "talking about farm work while drinking wine with an old friend with the view of barn floor and vegetable farm outside the open window," and a recorder that captures this idyllic pastoral under the rapid development of urban civilization. He keenly captures the extremely ordinary scenes in rural life by focusing on the depiction of the true reproduction of rural life. The artist creates with bold attempts to deform the image itself, and highlights the strong atmosphere of

尚．法蘭索瓦．米勒《晚禱》1957-1959年作法國巴黎奧塞美術館藏 Jean-François Millet, L'Angélus, 1957-1959, Collection of Musée d'Orsay, Paris, France

the mountain and the original culture with exaggerations from folk art and bright colours with decorative tones. Sunset contains all the characteristics of this period. Although it depicts the sunset, the bright and warm colours in the picture jump out of the fading light. It reveals a real and ordinary farmhouse scene: a peasant woman carrying her child to the field to accompany her husband who had just finished his long day's hard work to return home. On the way, the livestock stops at a stream to drink water, and the couple are enjoying the quiet moment under the sunset while waiting. Using heavy brush strokes, the artist portrays the people in the picture as healthy and strong, decent and simple, full of primitive power and vitality. The hardship of a long day's farm work can be seen from the binge drinking of the bull and the mule, the tired eyes of the farmer and the sleeping child on the back of the mother. The artist's portrayal of the family of three under the setting sun is full of sympathy for the farmer by comparing him to the barley reaper in the poem of Bai Juyi that reads, "With feet fumigated by the heat of the ground, and backs were grilled with the hot sun, exhausted farmers work as if they don't know the weather was hot, only to cherish the long days in summer, " and his wife as "A poor woman, holding her baby beside the wheat harvester, with the picked wheat ears in her right hand, a broken basket hung on the left arm." The



warm tribute and respect expressed by the artist, together with the dazzling golden fields and the flock of geese walking forward behind the farmer, express the strong lyrical meaning of the artist, who turns them into warm praises and good wishes for powerful life.

In his art career, Luo Zhongli has been relentlessly devoted to portraying the Daba Mountain peasants, while also constantly exploring his expressive power in visual images and painting languages. He firmly believes that no matter how the times change and how the local scenery goes, the formal expressiveness in the native and oriental Chinese culture will not fade away. He has a profound love for the countryside. Because of this emotion, he can not only empathize, but also understand and express the hardships and sufferings of the working people in his art works. The image of the peasants in his works is vivid and true, filled with family happiness, love of husband and wife, the parently love and full of sweetness and bitterness in life. His real live experience allows him to understand and touch the life of the peasant. Although he felt the pain, he did not express it with sadness, but with a strong earthly playfulness and even a little spiciness in the depiction of the liveliness and vigorous vitality of Chinese villages.

Painted in 1990oil on canvas96 x 128 cm. (37 3/4 x 50 1/2 in.)signed and dated 'luozhongli 1990.' (lower left)

PROVENANCE

Sotheby's Hong Kong, 6 October 2009, Lot 566Acquired from the above sale by the present owner

LITERATURE

Main Land Fine Arts Collection 1 Luo Zhong-Li, Artist Publishing Co., Taipei, Taiwan, 1992 (illustrated, plate 61, p. 107).

HK$ 2,000,000 - 3,000,000US$ 256,400 - 384,600

2043

LUO ZHONGLI (C H I N ES E , B . 1 9 4 8)Sunset羅中立夕陽

1990 年作油彩畫布款識：luozhongli 1990.（左下）

來源蘇富比香港 2009年10月6日編號 566現藏者購自上述拍賣

出版《大陸美術選集第1卷羅中立》藝術家出版社台北台灣 1992年（圖版，第61圖，第107頁）



石冲SHI CHONG

上世紀80年代初期，與西方的表現主義與超現實主義的引進相呼應，中國的觀念藝術、行為藝術以及裝置藝術以更為激進的方式與鮮明的風格誕生出來，80年代末，觀念藝術作為85運動精神上的延續，成為了90年代初中國前衛藝術的萌芽。與85一代藝術家不同的是，石冲沒有選擇利用叛逆與反諷來表達自己的主題，也沒有選擇邊界更加開闊的觀念與行為藝術，而是逆流而上守護著學院派的嚴謹，始終在架上繪畫這一領域探索著屬於這個時代的文化變革與個體生命體驗之間的關係，以及對內在精神與生命縱深的思考與追問。《行走的人之二》(Lot 2044) 創作於1994年，是藝術家在90年代的觀念性創作時期最重要的代表作之一。作品中精湛扎實的寫實技巧與充滿奧義的觀念性語彙承載著藝術家對生命意義的持續追問，他將抽象的思維提煉為精心佈置過的圖景、將多維度的哲學思考凝聚在二維的畫布之上，成為他與觀者進行對話的載體。

1993年《行走的人》甫一問世便在由中國美術館舉辦的第二屆中國油畫年展上奪得金獎，這是一個具有官方性質的權威學術性的大型展覽，它不僅強調繪畫技法的精湛，另一方面也在探討對歷史和現實的深層闡釋，《行走的人》在當時千餘幅作品中脫穎而出，成為了載入美術史的力作。《行走的人之二》在創作基調上延續了《行走的人》所實踐的觀念性寫實畫法，更進一步完整的展現了藝術家扎實的寫實技巧、對架上繪畫與觀念藝術表現形式邊界的探索、對宏大敘事與複雜命題的解構能力以及其在非理性時代對純粹理性的追求與堅持。《行走的人之二》中黑色斑駁的背景透露出一種屬於歷史的厚重與滄桑，與深不可測的背景相對應的是沿用了《行走的人》中的真人翻制石膏像。如果說《行走的人》表達的是藝術家對於時代迅速發展對人性摧枯拉朽的撕裂，帶給人無限茫然的精神狀態下的一種焦慮，那麼《行走的人之二》則是基於這種情緒所迸發出的「此時無聲勝有聲」的隱秘吶喊，兩張作品在內在情感上呈現出有層次的遞進。藝術家對石膏像進行了破壞性的處理—將頭部去掉且在肢體上做出明顯的裂痕與藤蔓一樣的肌理，與深邃的背景相呼應構成了一種歷經歲月的粗礪質感，畫面左下方出現了一條懸浮於半空中的魚，藝

1. 石冲與《行走的人之二》模型Shi Chong with the model of A Walking Man II

2. 阿爾伯托．賈科梅蒂《行走的男人II》1959–1960年作美國綺色佳赫伯特.F.約翰森藝術博物館藏 Alberto Giacometti, L'Homme qui marche II (Walking Man II) , 1959–1960, Collection of Herbert F. Johnson Museum, Ithaca, USA

1.



術家再次利用刮刀對這一形象的肌理進行了處理，製造出一種浮雕的效果，好像是博物館中代表著某段文明的化石，這與厚重的石膏像也形成了巧妙的呼應。快速發展的技術與城市文明好像是一個深不見底的漩渦、一個蘊含著無限能量的黑洞，它具有無限大的引力，也具有摧毀一切的能量。在這樣的背景之下，人們逐漸喪失空間感和方位感，產生了強烈的身份焦慮。石膏像行走的動勢充滿顧盼，這也是當下人們感到茫然的註解，而斷裂的身軀本身代表著一種充滿痛苦的、隱忍的指向，藝術家通過對於這一對象細緻入微的觀察以及精雕細琢的描繪都形成了一種「修行」式的創作體驗，這種帶有強烈的剖析與再現的行為本身也是對高速變幻的社會的一種沉默的對抗。懸浮的魚看似不合常理，卻是藝術家基因中的獨屬於荊楚文化的飄逸、奇幻文化特色的體現，

2.

Without throwing out the knowledge and techniques

of painting on an easel, I attempt to advance the

creation process and conceptual forms of installation

and performance art, creating 'unnatural replicas' as a

result.

-Shi Chong

我試圖在不丟開架上繪畫的知識和技能的同

時……輸入裝置、行為藝術的創作過程和觀

念形態，從而創造出「非自然的摹本」。

—石冲

這使得石冲在理性的繪畫邏輯之下並沒有束縛自己的想像，這一存在因而意味深長，使畫面帶有了某種關於生命體察的參悟與生死輪迴的靈性色彩。他用極少的色彩、克制的構圖、隱忍的情緒，以具有「考古學」色彩的冷峻眼光來解構出了一副具有悲天憫人情懷的與強烈精神指向性的超現實圖景。石冲將如此宏大抽象的命題抽絲剝繭，使其躍然於畫布圖像之上，賦予了作品「於無聲處聽驚雷」的震撼與張力。

以《行走的人》與《行走的人之二》代表的觀念性繪畫從本質上來說是一種行為與裝置藝術的再現，再現的過程即為「以物觀物」與「現象還原」。歌德曾說：「藝術的最高極致在於表現出對象的直觀真實」，石冲為「行走的人」系列設置了兩個典型的、封閉式的空間，在場景的佈置上運用了古典的側光效果，在背景上使用了深邃的單一顏色，石膏軀體的處理與那隻憑空出現的魚的紋理層次無不充滿藝術家細緻入微的對於現象的觀察與描寫，他將思考立足與對空間的設置以及道具呈現性的把控，但對道具與物象本身具有極高的服從性，在這一點上與賈科梅蒂的創作也具有相似之處，「藝術只是一種看的方式，我只不過照自然摹寫，寫眼前的東西，一個人，一個蘋果，我知道這是被人鄙視的。但真實是什麼，我不知道。我試著去接近它」。一戰以後西方誕生了先鋒的達達藝術與超現實藝術，但賈科梅蒂依然將自己孤立於這些流派之外，他首先將繪畫與雕塑立足於「真實」，同時在精神性方面進行挖掘於塑造，如他的雕塑一般獨自行走。賈科梅蒂的作品也具有高度的一致性，在作品中借助「重複」的力量刻畫出生命的茫

然與孤獨的群像，這種創作方式與作品的內在精神也恰恰可以作為石冲90年代創作核心的一種註解。

縱觀藝術家90年代的創作，他始終對架上寫實繪畫充滿危機感與警覺，這種敏銳造就了石冲以「觀念先行」與高超寫實技法的複合創作，同時他為彌補油彩在「實體感」表現力上的弱點，引入了綜合媒材使二維的油畫產生了內部變革，從而實現油畫的再生於升維的可能。從《行走的人》至《行走的人之二》的成功嘗試奠定了藝術家畢生的創作邏輯與路徑，即在歷史的洪流之中，以宏大的全局視野探索「真」與「幻」、「時代」與「個體」、「現實」與「虛構」並依託自我生命的體察去尋找時代與人性的終極奧義。《行走的人之二》中，石冲憑藉物象之間的組合，現實與虛幻的溝通，將複雜的精神思考轉化為可以被閱讀與理解的圖像符號，他以「道具」的物質概念介入對「人」的生命概念的探討，以古典的油畫語言為深沉的觀念與剛性的裝置注入了一絲「柔」的力量，他的創作讓物性與人性各自暗流湧動而無需刻意交織，這種充滿張力的碰撞使得作品在語義上充滿內涵。藝評家黃專對石冲這一時期的作品的總結可謂是本幅作品最佳的註解：「他的作品以對生理和心理的現實描述提示了人類在資訊時代的精神困境。在幾乎殘酷的技術程式和摹本方式中，他悖論地否定了具象藝術的語言外殼，從而為架上藝術的觀念轉換提供了成功的範例。」石冲在融合了寫實主義與觀念藝術的創作方式中，實現了對兩種截然不同模式的雙向探索，不僅為裝置與行為藝術探索出一種前所未有的展現方式，同時也為中國寫實繪畫開闢出一條新的道路。

1.



In the early 1980s, Chinese conceptual art, performance art, and installation art all burst onto the scene through radical formats and distinctive styles in response to the introduction of Western expressionism and surrealism. In the late 80s, as a spiritual continuation of the 85 New Wave movement, conceptual art led to the sprouting of Chinese avant-garde art in the early 90s. Shi Chong set himself apart from the 85 generation of artists. He did not choose rebellion or irony to express his main focus, and neither did he choose conceptual and performance art with expansive boundaries. Instead, Shi Chong went against the grain to safe-guard the rigors of academism, and persisted on the easel with his exploration of the modern era relationship between cultural transformation and individual life experiences, and contemplation and inquiries of the inner spirit and profundity of life.

Created in 1994, A Walking Man II (Lot 2044) was one of the artist's most important masterpieces during his conceptual creation period in the 1990s. The work was completed with exquisite and skillful techniques full of conceptual vocabulary, which carried the artist's continuous inquiry into the meaning of life. He refined ab-stract thinking into a carefully arranged composition, condensing multi-dimensional philosophical contemplation on two-dimensional canvas, which became the courier of dialogue between the artist and the viewer.

In 1993 when A Walking Man first came out, the work won the gold medal at the second annual Chinese oil painting exhibition organized by the National Art Museum of China. It is a large-scale exhibition with governmental and academic support, which not only places emphasis on the excellence of painting techniques, but also explores deeper layers of historical and realistic interpretations. At the time, A Walking Man stood out from more than one thousand works, and became a masterpiece in art history. A Walking Man II continued the creative tone of A Walking Man and the conceptual realism painting method. It showcased further the artist's solid techniques for painting realism, exploration of easel painting and conceptual art's expressive boundaries, the deconstructive ability of grand-scale narratives and complex propositions, and its pursuit and insistence on pure reasoning in the era of irrationality.

The black mottled background in A Walking Man II reveals the type of heavy burden and vicissitude that belongs in history. The dark and weighted scenery is in contrast to the plaster cast of a real person, which is a continuation of that used in A Walking Man. A Walking Man symbolizes the artist's anxiety about rapid development of the times and how it is devastating, ripping apart human nature, resulting in a boundless emptiness in the human spiritual condition. A Walking Man II, meanwhile, may be the secret howling in reaction to such a state of mind-"At this time, silence is better than sound." The two paintings present layered internal emotional progression. The artist treated the plaster sculpture with destructive intention, beheaded it, and created obvious cracks on the limbs and skin surface of vine-like texture, which became a kind of aged harshness surrounded by darkness. On the lower left corner, a fish appears suspended in the air.

The artist, again, used a scraping knife to shape the texture of this image, creating a relief effect like a fossil inside a museum representing an artifact of some civilization, which is a clever contract with the dense plaster sculpture.

Accelerated development of technology and urban civilization is a bottomless vortex, a black hole of infinite energy, infinite gravity, and immense power capable of total destruction. In this kind of environment, people are gradually losing their sense of space and orientation, replacing it instead with a severe sense of identity anxiety. The plaster sculpture's posture hints at movement of looking over the surroundings, which may be a footnote on the bewilderment on people's minds. The broken body itself carries pain and forbearance-artists establish a type of experiential creation similar to a "religious practice" through delicate detail observation and carefully crafted description. Such strong analysis and behavior reproduction is also a type of silent confrontation against the rapid changing world.

The suspended fish seems to be against common knowledge, but actually represents embodiment of graceful, fantasy culture belonging only to the Jingchu culture that is part of the artist's DNA. This indicates that in Shi Chong's rational logic of painting, there is no room for imagination of self-restriction. Thus the

1. 《行走的人》模型制作Modeling for A Walking Man

2. 石冲《行走的人》1993年作Shi Chong, A Walking Man, 1993

2. Lot 2044

meaning of such an existence is profound, imbuing some kind of enlightenment related to life experience and spiritual colours of reincarnation. He relies on very little colour, restrain in composition, forbearance of emotions, and frosty eyes tinted with archaeology perspective, to deconstruct a surreal composition with compassion and strong spiritual orientation. Shi Chong stripped down such a grand and abstract proposition so that it may leap upon the paint canvas, endowing the work with the vibration and tension of "hearing thunder in a space of silence."

Conceptual paintings, represented by A Walking Man and A Walking Man II, are essentially a reproduction of performance and installation art, and the process of reproduction consists of "viewing from the perspective of the object" and the "reduction of phenomenon." Goethe once said, "The highest form of art is presenting the subject's intuitive reality". Shi Chong set up two enclosed spaces for the Walking Man series, applying classical sidelights in the exhibition space arrangement, with dark singular colour in the background. The treatment of the plaster body and the layered texture of the fish which appeared out of nowhere are full of the artist's rigorous observation and description of the world. His contemplation rests upon control of the space layout and props display, with a high degree of obedience to the props and the objects. In this regard, it is similar to the works of Giacometti: "Art is a way of seeing, I am only describing what is nature, drawing what is in front of the eyes. A person, an apple, I know this is disdained. But what is reality, I don't know. I only attempt to get closer."

After WWI, artists in the West pioneered Dada and Surrealism art, but Giacometti kept himself isolated from these movements. First, his paintings and sculptures are based on the foundation of reality while conducting spiritual excavations of the shapes. Just like his sculptures, walking all alone, Giacometti's works are highly consistent. He borrows the power of repetition, etching out group portraits of life that are directionless and lonely. This type of creative method and the inner spirit of the works may serve exactly to annotate Shi Chong's core creative works in the 1990s.

Taking an overview of the artist's works in the 1990s, Shi Chong was always vigilant and conscious of danger about painting realistic objects on the easel, and his keen observations shaped his paintings with a combination of "concept goes first" and hyperrealism techniques. To make up for oil painting's weakness

in expressing "realness", he introduced the use of integrated media to transform two-dimensional oil painting, inventing the possibility of regenerating oil paintings to a higher level. The successful attempts of A Walking Man and A Walking Man II established the artist's lifelong creative logic and passage, that is, to explore "truth" vs. "fantasy", "era" vs. "individual", "reality" vs "fiction" with a grand perspective within the torrent of history, and rely on observation of life of the self in search of the ultimate meaning of time and humanity.

In A Walking Man II, Shi Chong relied on object image combinations and the communication between reality and fantasy to transform complex spiritual ponderings into imagery and symbols that can be read and deciphered. He used the material concepts of props to intervene on the exploration of "human" life concept, and relied on the language of classical oil painting to infuse a sliver of "tender" power into profound concepts and rigid installation. His creative works allow the material nature and human nature to flow separately in undercurrents without deliberate interweaving. This type of tension filled collision fills the works with semantic connotation. Art critic Huang Zhuan's summary of Shi Chong's works in this period may be the best commentary of this painting: "As a physical and psychological description of reality, his works serve as a reminder of the spiritual plight of humans in the age of information. In the technical formula and transcription meth-od that is next to cruelty, he paradoxically denied the figurative art outer verbal shell and provided a successful example of conceptual transformation from art on the easel." Shi Chong's creative methodology fused realism and conceptual art, realizing bi-directional exploration of two completely different models, not only generating an unprecedented presentation method for installation and performance art but also blazing a new trail for Chinese realistic paintings.

對「魚」做染色處理dyeing the "fish"



Painted in 1994oil on canvas180.1 x 81 cm. (71 x 32 in.)inscribed, signed and dated in Chinese (on the reverse)

PROVENANCE

Christie's Hong Kong, 1 December 2008, Lot 807Acquired from the above sale by the present owner

LITERATURE

The Annual Exhibition of Works of the Artists Nominated by Art Critics (Oil Paintings 1994), Sichuan Art Publishing Company, Chengdu, China, 1994 (illustrated, p. 103).Gallery Magazine, Volume 4, 1994, Lingnan Fine Arts Publishing House, Guangzhou, China, 1994 (illustrated, p. 36). Shi Chong, Guangxi Fine Arts Publishing House, Nanning, China, 1996 (illustrated, pp. 48-49).The Selected Works of Shi Chong, Tianjin People's Fine Arts Publishing House, Tianjin, China, 1996 (illustrated, plate 25). Hua Cheng, Volume 2, 1996, Hua Cheng Publications, Guangzhou, China, 1996 (illustrated, pastedown).Cross-century Series:Shi Chong, Lingnan Fine Arts Publishing House, Guangzhou, China, 1998 (illustrated, p. 5).LEAP, Volume 1, 1998, LEAP Magazine, Shanghai, China, 1998 (illustrated, p. 12).Shi Chong: Chinese Contemporary Oil Painter Case Study, Hubei's Fine Art Publishing House, Wuhan, China, 2002 (illustrated, p. 78). Shi Chong, Hubei Fine Arts Publishing House, Wuhan, China, 2002 (illustrated, p. 78).Six Problems of Chinese Contemporary Art, People's Fine Arts Publishing House, Beijing, China, 2003 (illustrated, p. 40).500 Years of Chinese Oil Painting, Hunan Fine Arts Publishing House, Changsha, China, 2014 (illustrated, p. 200).

HK$ 7,000,000 - 10,000,000US$ 897,400 - 1,282,100

2044

SHI CHONG (C H I N ES E , B . 1 9 63)A Walking Man II石冲行走的人之二

1994 年作油彩畫布款識：湖北美術學院石冲一九九四年（畫背）

來源佳士得香港 2008年12月1日編號 807現藏者購自上述拍賣

出版《美術批評家年度提名展（1994油畫）》四川美術出版社成都中國 1994年（圖版，第103頁）《畫廊》1994年第四期嶺南美術出版社廣州中國 1994年（圖版，第36頁）《中國現代藝術品評叢書─石冲》廣西美術出版社南寧中國1996年（圖版，第48-49頁）《石冲油畫作品選》天津人民美術出版社天津中國 1996年（圖版，第25圖）《花城》1996年第二期花城雜誌社廣州中國 1996年（圖版，封底內頁）《石冲跨世紀畫叢》嶺南美術出版社廣州中國 1998年（圖版，第5頁）《藝術界》1998年第一期藝術界雜誌社上海中國 1998年（圖版，第12頁）《石冲中國當代油畫名家個案研究》湖北美術出版社武漢中國 2002年（圖版，第78頁）《石冲》湖北美術出版社武漢中國 2002年（圖版，第78頁）《中國當代美術的六個問題》人民美術出版社北京中國 2013年（圖版，第40頁）《中國油畫五百年》湖南美術出版社長沙中國 2014年（圖版，第200頁）



陳丹青CHEN DANQING

從70年代末到80年代，是中國社會的巨大轉變期，從改革開放到中國藝術史的關鍵轉型，皆落在這個階段。陳丹青，他是其中不可或缺的一頁篇章。

1980年中央美院研究生班畢業展覽，陳丹青以七幅油畫，也就是人們而今熟知的「西藏組畫」，石破天驚的撼動人們對社會現實主義繪畫的想像。1976年初次入藏，再到1980年準備畢業創作的第二次入藏，陳丹青在西藏，透過他的眼與筆，為人們帶來巨大的精神震撼，原來，有那麼質樸的人與土地，有那麼真的畫。「我1976年第一次去，完全反應不過來。我想我是回到古代了，那完全是個中世紀的城市。」陳丹青在他的《退步集》，這樣描述他初抵拉薩。

陳丹青把他的感受，畫了出來，帶了回來。陳丹青，影響了一整批中國當代藝術家，重新開始實踐寫實主義的繪畫。1982年，陳丹青赴紐約，他流連於大都會美術館、紐約現代藝術博物館等處，感受另一次完整的藝術洗禮，從希臘羅馬藝術、文藝復興、現當代藝術思潮，不斷衝擊著他。紐約時期，陳丹青靠著帶出來的西藏手稿與記憶，挑戰了大尺幅的作品《荒原風》(Lot

陳丹青《康巴漢子》1983年作保利北京 2020年10月16日成交價：6,900,000人民幣Chen Danqing, Man of Khan , 1983, Poly International Auction Beijing, 16 October 2020, Sold for CNY 6,900,000

2045)，思念半個地球之外的牧民。陳丹青1980年初次發表的七幅「西藏組曲」，刻意將畫幅限制在一米內，一定程度是為了區隔當時以大尺幅畫作，以此崇尚工農兵主題的主流繪畫；同時讓牧民的日常，就這樣與觀者可親可近。創作的核心，也從關注集體的價值，轉成對個體生命的關懷與尊重。

隔了八年，到了紐約，陳丹青拋開原本的所思所想，獨在異鄉為異客，對高原牧民濃濃的思念之情，滿撲畫面而出。近一米五的《荒原風》是陳丹青西藏系列作品中，出現於拍賣市場最大尺幅的作品。畫面正中央，三位藏族女子手牽著手，觀者依序看到側面、正面與背面，女子的衣著細節，見證著陳丹青的寫實功力，最左邊的婦女笑容燦爛，中間的年輕女子蒙著面紗，黑白分明的眸子就像荒原上的星星，亮晶晶，他們手牽著手，好像唱著歌，就像一幅畫。陳丹青把它畫了出來。

《荒原風》，也迥異於人們最熟悉的陳丹青西藏系列作品，只透過左邊女子的笑容，就讓整幅畫明亮鮮活了起來，洋溢著歡快的味道。我們看陳丹青的《康巴漢子》，那真的就是鐵一般的漢子，硬朗質樸強悍有力；我們看《荒原風》，感受到高原的寒風，積聚的烏雲，風吹草低見牛羊，但這一抹微笑，點亮了整片荒原。讓這件大尺幅作品，成為陳丹青西藏系列作品裡，少見的歡快之作。

「想一想牧人們近乎原始的生活，他們嘹亮的歌聲常常使我流下淚來。」陳丹青這樣回憶著。在紐約，想念西藏。陳丹青的《荒原風》，恰恰可以說是藝術家在80年代末，決定封筆西藏系列的落筆之始，是他獨在異鄉為異客，對遙遠的高原，心中最美的想念。

During the late 1970s to the 1980s, the Chinese society saw numerous radical changes from economic reform and opening-up to significant transformations in Chinese art history. Among the latter, Chen Danqing opened an indispensable chapter.

At the 1980 postgraduate graduation exhibition of the Central Academy of Fine Arts (CAFA), Chen Danqing defied viewers' imagination about social realism with his seven oil paintings, which came to be known as the Tibetan Paintings. Chen visited Tibet for the first time in 1976 and revisited again in 1980 to seek inspiration for his graduation creations. Through his lens and paintbrushes, Chen delivered a mind-blowing viewing experience. His paintings offered a realistic rendering of the unbelievably rustic people and land of Tibet. In his book Step Back, Chen recalled his first trip to Lhasa, "When I first visited Tibet in 1976, I was completely taken aback. I felt like being transported back to the ancient times. It was a medieval city to the core."

Chen Danqing portrayed his feelings on canvases and brought them back. Through this, he inspired a troop of contemporary Chinese artists to resume realist paintings. In 1982, Chen frequented places such as the Metropolitan Museum of Art and the Museum of Modern Art to immerse himself in the tide of art history during his stay in New York. From Greco-Roman

Art to Renaissance and to Modern and Contemporary Art, he came under sustained waves of impact. He would draw on his manuscripts and memories of Tibet that he brought along during this period and challenged himself to create the mega-scale work Wasteland Wind (Lot 2045) to pay tribute to the herdsmen on the opposite end of the earth. For his seven Tibetan Paintings debuting in 1980, Chen deliberately limited their sizes to one meter to distinguish them from the mainstream large-scale paintings at that time, which typically featured the portrayal of laborers, peasants and soldiers. In addition, Chen intended to present the everyday lives of the herdsmen in a more viewer-friendly and approachable manner. Instead of focusing on the collective value, his core value of creation centers on the care and respect for individual lives.

Eight years later, alone in New York, Chen cast aside his former line of thought. As a stranger in a foreign land, he unreservedly poured his overwhelming sentiments of nostalgia for the highland herdsmen onto the canvas. Standing nearly 1.5 meters tall, Waste land Wind is the largest work among his Tibet series on the auction market. At the center of the painting stand three Tibetan women, holding hands, with their side, front and back fac-ing the viewers. Their clothing details are exquisitely portrayed, showcasing Chen's realistic depiction skills. The woman on the far left beams radiantly, while the veiled young lady in the middle

Lot 2045



sports a pair of eyes showing a striking black and white contrast, like shining stars hung above the wasteland. Hand in hand, they seem to be singing songs. Chen materialized this picturesque scene on the canvas.

The style of Wasteland Wind is also markedly distinct from that of Chen's well-known Tibet series. The smile of the woman on the left alone brightens and invigorates the entire painting, creating a jovial and exultant ambiance. In comparison to his other work Khampa Man, what we see is simply a plain, well-built brawny guy. However, in Wasteland Wind, one can feel the biting wind on the plateau, thick columns of dark clouds, cattle and sheep amid the tall grass, and a gleam of smile that lights up the entire swath of wasteland. This large-scale painting thereby becomes one of Chen's few works in his Tibet series that evoke an upbeat mood.

"Thoughts about the almost primitive life of the herdsmen and their sonorous singing voices often reduced me to tears," Chen recalled while reminiscing Tibet in New York. Wasteland Wind indeed marks the beginning of the parting expressions of his Tibet series in the late 1980s. It presents Chen's most cherished memories of the distant plateau, relished as a stranger alone in a foreign land.

1. 尚．法蘭索瓦．米勒《拾穗》1857年作法國巴黎奧塞美術館藏 Jean-François Millet, The Gleaners , 1857, Collection of Musée d'Orsay, Paris, France

2. 安德魯．懷斯《克莉絲蒂娜的世界》1948年作美國紐約現代藝術博物館藏 Andrew Wyeth, Christina's World , 1948, Collection of Museum of Modern Art, New York, USA

2.

1.

Painted in 1988oil on canvas107.8 x 141.5 cm. (42 1/2 x 55 3/4 in.)signed in Chinese; dated '1988' (lower left); titled and signed in Chinese; dated '1988.' (on the reverse)

PROVENANCE

Private Collection, AsiaPrivate Collection, USA

HK$ 4,000,000 - 8,000,000US$ 512,800 - 1,025,600

2045

CHEN DANQING (C H I N ES E , B . 1 9 5 3)Wasteland Wind陳丹青荒原風

1988 年作油彩畫布款識：陳丹青1988.（左下）；荒原風陳丹青 1988.（畫背）

來源亞洲私人收藏美國私人收藏



王懷慶WANG HUAIQING

文革時期，王懷慶在有限和艱苦的條件下發展創作，終成一代大家，在具象、意象到抽象的境界上皆能完美結合傳統與現代美學。《藤椅中的少女》(Lot 2046) 是王懷慶早期1979年極為稀少的寫實作品，可以看出藝術家深厚的技法與功力，在細緻刻畫中情感洋溢。

在《藤椅中的少女》中，托腮凝望的少女，神情靜默、專注，剔透無瑕的肌膚，尚不見歲月在其身上刻下的畫痕，可眼神中彷佛帶著些許對於未知的嚮往和徨惑。就像王懷慶創作風格的轉折，內斂不張，過渡的同時，揉合了抽象和具象的筆觸，充份的表現出少女的青澀情懷，畫面猶如被凝結一般的純淨卻不失生動。每每注視，似乎都能夠令觀者重新窺探一遍少女的內心世界。

相對於王懷慶中後期作品多著重在空間與時間交織出的理性，《藤椅中的少女》則帶領我們回到了他創作的源頭，輾轉地傳達了藝術家真摯的情感以及對於人物刻畫的獨到掌握。

During the Cultural Revolution, Wang Huaiqing created art under limited and difficult conditions. However, he eventually became a master artist of his generation with the ability of perfectly combining traditional and modern aesthetics across figurative art, imagery, and abstractionism. Girl in a Cane Chair (Lot 2046) is a rare piece of realistic painting created early in his career by Wang Huaiqing in 1979. It demonstrates the artist's sophisticated techniques and skills, expressing overflowing emotions through a delicate portrayal.

In Girl in a Cane Chair, the girl puts a hand under her cheek and stares forward with a calm and focused look. Her shiny, flawless skin does not show any marks by the progression of time, yet her eyes seem to reflect a blend of yearning and hesitation about the unknown. Like a shift in Wang's creative style, the painting is reserved, non-exaggerated, and blended with abstract, figurative pen strokes during the transition. It fully demonstrates the young sentiments of a girl featuring a condensed image that looks pure and vivid. With each look at the painting, viewers can seem to peep into the girl's inner world.

In contrast to the emphasis on rationality from the interaction between space and time in Wang's works created in the mid- and later stages of his career, Girl in a Cane Chair brings us back to the source of his artistic creation as it indirectly conveys the artist's sincere emotions and unique grasp over character portrayals.

亞美迪歐·莫迪利亞尼《珍妮·赫布特妮肖像》1919年作美國紐約大都會藝術博物館藏Amedeo Modigliani, Portrait of Jeanne Hébuterne , 1919, Collection of the Metropolitan Museum, New York, USA

Painted in 1979oil on canvas58.5 x 97.8 cm. (23 x 38 1/2 in.) dated '1979.7.12'; signed in Chinese (lower left)

PROVENANCE

Property from the estate of Harold LeventhalChristie's Hong Kong, 27 May 2007, Lot 217Acquired from the above sale by the present owner

EXHIBITED

China, Beijing, China National Art Museum, Same Generation Oil Painting Exhibition, July, 1980.China, Hangzhou; Xuzhou; & Tangshan, Same Generation Oil Painting Exhibition, 1981.

HK$ 700,000 - 1,200,000US$ 89,700 - 153,800

2046

WANG HUAIQING (C H I N ES E , B . 1 9 4 4)Girl in a Cane Chair王懷慶藤椅上的少女

1979 年作油彩畫布款識：1979.7.12 王（左下）

來源Harold Leventhal收藏佳士得香港 2007年5月27日編號 217現藏者購自上述拍賣

展覽1980年7月「同代人油畫展」中國美術館北京中國1981年「同代人油畫展」杭州；徐州；及唐山中國



貝爾納．布菲BERNARD BUFFET

貝爾納．布菲被認為是年少成名的天才藝術家，早在其美院學習時已被公認才華橫溢，1947年年僅19歲的他舉辦首次個展，作品便迅速售完，其中一件作品更是為法國現代藝術博物館收藏。權威博物館的收藏無疑使得這位天才藝術家廣受關注，當時稱其為「第二個畢加索」。1950年代正值抽象藝術風靡之時，布菲極具特色的具象作品為當時巴黎的藝壇帶來耳目一新之感，主要創作題材為靜物、人像及風景。靜物描繪是其創作生涯最重要主題之一，布菲筆下更可見活潑靈動的生命，貓頭鷹、綿羊，以及各種魚、蟹等日常生活可見之動物。藝術家筆下的這些動物總是色彩鮮明跳躍，富有稜角的線條使得布菲筆下的每個生命都彷彿躍然畫布之上。

《兩隻龍蝦》(Lot 2047) 創作於1954年，當時的布菲26歲，這位如此年輕的藝術家已經找到了專屬於自己的繪畫筆調及風格，此作以銳利肯定的筆觸在巨幅畫

布上書寫靜物，見證了他在法國廣為認可，展覽邀約持續不斷的重要創作時期。作品中深黑色背景與棕色桌子上白色的布簾形成強烈對比，布簾上的褶皺如刀刃有力之筆法使畫布呈現出拉扯狀的張力效果，畫面左方的燭台彷彿懸空置於桌面，捨棄了傳統的透視技法，桌面的物品及兩支龍蝦都彷彿懸浮於桌面。兩隻碩大的龍蝦呈血紅色的外殼，白色布簾上的紅色油彩彷彿是剛剛處理過腥鮮的血跡，與龍蝦外殼的鮮紅相互呼應，加劇畫面的衝突感。尖鋭的黑色邊框線條使得兩隻龍蝦顯得栩栩如生，威猛有力，相互角逐著彷彿正往白色布簾上方爬去，布菲充滿個人風格的鋒利筆觸及鮮明色彩，使得兩隻龍蝦的作品主題在近乎全黑的單色背景之下，充滿戲劇性的力量感。《兩隻龍蝦》完美地呈現了這位年輕的創作天才在其創作初期生涯已具有的強烈個人特色風采，以及在抽象主義盛行的二十世紀中成為獨樹一幟的布菲式寫實創作。

巴勃羅．畢加索《龍蝦與貓》1965年作美國紐約索羅門．R．古根漢美術館藏Pablo Picasso, Lobster and Cat , 1965, Collection of the Solomon R. Guggenheim Museum, New York, USA



Celebrated as an artist prodigy, Bernard Buffet had already been receiving widespread acclaim for his remarkable talent while studying at the National School of Fine Arts. At the age of 19 in 1947, he held his first solo exhibition where his works quickly sold out. Among them, one was purchased by Musée d'Art Moderne de Paris. Recognition from this authoritative museum undoubtedly raised the genius artist's profile. He was hailed as the true successor to Pablo Picasso by art critics at the time. In the 1950s, when Abstract Expressionism emerged as a major art movement, Buffet's highly distinctive figurative works introduced a fresh style to the Parisian art scene. Buffet mainly produced still-lifes, portraits, and landscapes, among which still-life depiction served as one of the most prominent themes throughout his art career. In addition, Buffet also portrayed vigorous, dynamic lives- such as owls, sheep, fishes, crabs, and various other animals observable in our everyday lives. Painted with striking, vibrant colours and angular lines, these animals spring to life on his canvases.

Les deux homards (Lot 2047) was painted in 1954 when Bernard Buffet was only 26 years old. At this young age, he had already established his unique brushwork and style. Portrayed with sharp and assertive brushstrokes on a mega-scale canvas, this painting attested to a significant period in his art career, during which he earned extensive recognition and countless exhibition invitations across France. In this painting, the dark black background stands in stark contrast to the white cloth on the brown table. The emphatic, blade like brushstrokes depicting the creases of cloth create an effect of pulling tension. The candlestick on the left appears to be floating above the table. Breaking away from traditional perspective techniques, the two lobsters and other objects on the table all look as if floating above the table. The vermillion paint on the white cloth seems to portray fresh blood stains from some animal, echoing the scarlet red shells of the two gigantic lobsters while greatly intensifying the visual contrast. With sharp black edge lines, the two lobsters look perky and robust, as if racing each other toward the white cloth. Buffet's idiosyncratic use of vehement brushstrokes and brilliant colours infuse a dramatic sense of power into the two lobsters the main subject of the painting which comes alive against a monochromatic background that looks nearly all black. Les deux homards perfectly presents the highly distinctive style of this young genius artist displayed at the initial stage of his art career, while exemplifying his Buffet-style realistic creation that stood out amidst the prevalence of abstractionism in the 20th century.

Painted in 1954oil on canvas193.2 x 95.5 cm. (76 x 37 1/2 in.) signed and dated 'Bernard Buffet 54' (upper right)

PROVENANCE


This work is to be sold with a certificate of authenticity issued by Galerie Maurice Garnier, Paris, France.

HK$ 1,200,000 - 1,800,000US$ 153,800 - 230,800

2047

BERNARD BUFFET ( F R E N C H , 1 928 -1 9 9 9)Les deux homards貝爾納．布菲兩隻龍蝦

1954 年作油彩畫布款識：Bernard Buffet 54（右上）


附法國巴黎 Maurice Garnier畫廊開立之原作保證書



Executed in 1998; & 1999oil on board; & oil and collage on board19.5 x 33 cm. (7 1/2 x 13 in.); & 24.2 x 33.4 cm. (9 1/2 x 13 in.)1. Movement of a Pendulum: signed 'macalou' (lower right); dated '1998.12.7' (on the reverse)2. Momotaro Series: signed 'macalou' (lower right); dated '1999.9.10' (on the reverse)

HK$ 100,000 - 150,000US$ 12,800 - 19,200

2048

MASARU SHICHINOHE ( JA PA N ES E , B . 1 9 5 9)Movement of a Pendulum; & Momotaro Series七戶優鐘擺運動；及桃太郎系列

1998；及 1999 年作油彩木板；及油彩拼貼木板款識：1.《鐘擺運動》：macalou（右下）；1998.12.7（畫背）2 . 《桃太郎系列》： m a c a l o u （右下）；1999.9.19（畫背）

2.

1.



Executed in 1995a set of two oil and collage on boardeach: 117 x 98.5 cm. (46 x 38 3/4 in.)1. Model Universe 1: signed 'macalou' (lower left)2. Model Universe 2: signed 'macalou' (lower left)

HK$ 240,000 - 360,000US$ 30,800 - 46,200

2049

MASARU SHICHINOHE ( JA PA N ES E , B . 1 9 5 9)Model Universe 1; & Model Universe 2七戶優模型宇宙之一；及模型宇宙之二

1995 年作油彩拼貼木板（一組共兩件）款識：1.《模型宇宙之一》：macalou（左下）2.《模型宇宙之二》：macalou（左下）

1. 2.

Executed in 2006two acrylic on canvas, in packages painted by the artisteach package: 36.5 x 28 cm. (14 1/4 x 11 in.); & each canvas: 22 x 22 cm. (8 3/4 x 8 3/4 in.)signed and dated 'Hiroyuki Matsuura 2006.12.13.' (on the reverse of each work)

PROVENANCE

Eslite Gallery, Taipei, TaiwanAcquired from the above gallery by the present owner

2006 年作壓克力畫布藝術家手繪包裝（共兩件）款識：Hiroyuki Matsuura 2006.12.13.（每件畫背）

來源台灣台北誠品畫廊現藏者購自上述畫廊

HK$ 60,000 - 90,000US$ 7,700 - 11,500

2050

HIROYUKI MATSUURA (JAPANESE, B. 1964)Milk; & Green Pea松浦浩之牛奶；及綠豆

Painted in 2010acrylic on canvas50.5 x 41.5 cm. (20 x 16 1/4 in.)signed and dated 'BR 10' (lower right)

PROVENANCE

Eslite Gallery, Taipei, TaiwanAcquired from the above gallery by the present owner

LITERATURE

Benrei Huang, The Eslite Corp, Taipei, Taiwan, 2013 (illustrated, p. 107).

2010 年作壓克力畫布款識：BR 10（右下）

來源台灣台北誠品畫廊現藏者購自上述畫廊

出版《黃本蕊》誠品股份有限公司台北台灣 2013年（圖版，第107頁）

HK$ 55,000 - 80,000US$ 7,100 - 10,300

2051

BENREI HUANG (C H I N ES E , B . 1 9 5 9)I Came with A Bowl of Clouds黄本蕊我乘著滿滿的白雲而來

1. 2.

Lot 2051

Lot 2050



Executed in 2020silkscreen on canvasedition: 27/10030 x 30 cm. (11 3/4 x 11 3/4 in.)editioned, signed and dated '27/100 Kyne, 20' (on the reverse)

PROVENANCE

Gallery Target, Tokyo, JapanAcquired from the above gallery by the present owner

2020 年作絹印畫布版數：27/100款識：27/100 Kyne, 20（畫背）

來源日本東京 Target 畫廊現藏者購自上述畫廊

HK$ 30,000 - 70,000US$ 3,800 - 9,000

2052

KYNE ( JA PA N ES E , B . 1 988)UntitledKYNE 無題

Executed in 2008a set of two offset printsedition of 500each: 69 x 49 cm. (27 1/4 x 19 1/4 in.)

PROVENANCE

Baltic Centre for Contemporary Art, Gateshead, UKAcquired from the above institution by the present owner

LITERATURE

Yoshitomo Nara: The Complete Works Volume 1– Paintings, Sculptures, Editions, Photographs, Bijutsu Shuppan Sha, Tokyo, Japan, 2011 (illustrated, p. 309).

2008 年作膠印版畫（一組共兩件）總版數：500

來源英國蓋茨黑德巴爾提克當代藝術中心現藏者購自上述機構

出版《奈良美智：作品全集第1卷─繪畫，雕塑，版畫，攝影作品》株式會社美術出版社東京日本 2011年（圖版，第309頁）

HK$ 30,000 - 50,000US$ 3,800 - 6,400

2053

YOSHITOMO NARA ( JA PA N ES E , B . 1 9 5 9)Cosmic Girls (Eyes Opened; & Eyes Closed)奈良美智宇宙女孩（睜眼；及閉眼）

2.1.

Lot 2052

Lot 2053

Executed in 1985screenprintedition: 69/10052.6 x 45 cm. (20 3/4 x 17 3/4 in.)editioned, titled, dated and signed '69/100 COFFEE CUP 1985 Yayoi Kusama' (bottom)

LITERATURE

Yayoi Kusama Prints 1979-2017, Abe Publishing LTD., Tokyo, Japan, 2017 (illustrated, plate 79, p. 54).

This work has been confirmed by the Yayoi Kusama Studio as original print.

1985 年作絲網版畫版數：69/100款識：69/100 COFFEE CUP 1985 Yayoi Kusama（底部）

出版《草間彌生全版畫1979-2017》阿部出版株式會社東京日本 2017年（圖版，第79圖，第54頁）

經藝術家工作室確認此拍品為原作版畫

HK$ 90,000 - 120,000US$ 11,500 - 15,400

2054

YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9)Coffee Cup草間彌生咖啡杯

Executed in 1989screenprintedition: 34/10053 x 45.2 cm (20 3/4 x 17 3/4 in.)editioned, dated and signed '34/100 1989 Yayoi Kusama'; titled in Japanese (bottom)

LITERATURE



1989 年作絲網版畫版數：34/100款識：34/100 曉 1989 Yayoi Kusama（底部）



HK$ 100,000 - 150,000US$ 12,800 - 19,200

2055

YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9)Dawn草間彌生曉

Lot 2054

Lot 2055



Executed in 1989screenprintedition: 30/10053 x 45 cm. (20 3/4 x 17 1/2 in.)editioned, dated and signed '30/100 1989 Yayoi Kusama'; titled in Japanese (bottom)

LITERATURE



1989 年作絲網版畫版數：30/100款識：30/100 たつのおとしご 1989 Yayoi Kusama（底部）



HK$ 100,000 - 150,000US$ 12,800 - 19,200

2056

YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9)Seahorses草間彌生海馬

Executed in 1993screenprintedition: 53/9073 x 60.5 cm. (28 3/4 x 23 3/4 in.) editioned, titled, dated and signed '53/90 PX 1993 Yayoi Kusama'; titled in Japanese (bottom)

LITERATURE


1993 年作絲網版畫版數：53/90款識：53/90 花 PX 1993 Yayoi Kusama（底部）


HK$ 90,000 - 150,000US$ 11,500 - 19,200

2057

YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9)Flowers PX草間彌生花 PX

Lot 2056

Lot 2057

Executed in 2004screenprintedition: 44/8039.5 x 56.3 cm. (15 1/4 x 22 in.) editioned, titled, dated and signed '44/80 (YOR) 2004 Yayoi Kusama'; titled in Japanese (bottom)

PROVENANCE

Whitestone Gallery, Hong Kong, ChinaAcquired from the above gallery by the present owner

LITERATURE



HK$ 240,000 - 340,000US$ 30,800 - 43,600

2004 年作絲網版畫版數：44/80款識：44/80 ダンスかぼちや (YOR) 2004 Yayoi Kusama（底部）

來源中國香港白石畫廊現藏者購自上述畫廊



2058

YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9)Dancing Pumpkin (YOR)草間彌生跳舞南瓜（YOR）



草間彌生YAYOI KUSAMA

「網紋」與「圓點」複雜的重複與繁殖組成《原野之花》(Lot 2059)，草間彌生不單使用五十年代開始線條編織的「無限的網」，而是更進一步發展成類似顯微鏡下有機細胞結構的複雜排列，使用不同密度與粗細的網眼，顯示物體的質地差異，桌面、背景、容器、花卉，數個層次細密的結構，考驗著藝術家鋪陳與邏輯思考，作品包含她多年來的藝術經驗思考，延續先前脈絡基礎發展，最終運用最原始的幾何狀態，多彩的用色與複雜的幾何組構，在草間彌生理性的構成有秩序的排列，架構屬於二十世紀的摩登現代感，走在時代尖端的草間彌生，可說是汲取當代的養份，成功的成為當代藝術界最光彩奪目的一朵「花」。

草間彌生於1970年代初期離開國際舞台紐約，返回日本定居，直到1986年，才在法國多爾美術館舉行個展讓她重新獲得國際注目。三年後，於美國與英國接連舉

辦兩次重要個展，將她再次推向新的高峰。1989年可說是草間彌生創造力最為豐沛的時期，她嘗試將大膽的對比用色、靈活的幾何組構化，開始一系列超現實主義的具象組構創作。

出生於經營植物種植世家的草間彌生，從小的生活即環繞著各式各樣的花卉與蔬果。我們從她早年生活留下的線索，像1939年個人照片中，手持數株與她頭等大的花朵，另外她早期色彩單純的植物系列作品，可得知花對其生活具有相當影響，她也數度以此為題，其中之一的《原野之花》，從早期均一等質的畫面，沒有起點、終點與中心抽象繪畫，轉換至運用幾何圖形排列架構畫面的造型手法，不僅是主題的延續，更考驗藝術家對於物件層次之間關係安排與思考，草間彌生通過「網紋」與「圓點」消弭實體界限的過程，建構她貫徹始終重覆與繁殖的無限概念，體現「消融自我，回到宇宙的自然

我每天不斷地畫，就是為了給我們的下一代

傳達一個信息：世界應該是充滿愛與和平。

我用圓點來代表愛，我將圓點點綴在世界所

有地方，好像在窗戶上一樣。我希望這種創

作能夠幫助我們從精神的掙扎中解脫出來。

—草間彌生

I keep painting every day so that I can convey a

message to our next generation: the world should

be filled with love and peace. I use polka dots to

symbolize love, and then scatter them all over the

world, such as on windows. I hope this kind of work

can help us break free of mental struggles.

- Yayoi Kusama

狀態」，進入永恆時間的無限和宇宙的絕對性當中，表現草間彌生的「執念藝術」，提供觀者思考周遭事物與自我存在的意義。如同，弗朗西斯．莫里斯泰德現代美術館館長說：「草間彌生的作品具有這樣一些重要性，如本能地甘冒風險的慾望、以進行某種發明或接受外在的影響來不斷提高自我的能力、實踐純粹的藝術野心等，這些其藝術的支柱。儘管作品形式看上去似乎從根本上改變了，但在對系統和模式的關注、對黑白色彩和鮮豔色彩的運用以及在無限廣大與微觀世界、抽象與具象、黑與白等相反事物的對比方面，草間彌生的作品是一以貫之。」

幼年開始的幻象視覺經驗是草間彌生創作的靈感源頭，「大自然、宇宙、人類、血、花，還有各式各樣森羅萬象的事物，自從我懂事以來，它們便以神奇、恐懼或是神秘的方式，在我的視覺、聽覺，還有內心深處留下深刻的印象。它們牢牢糾纏住我的生命，不放我離開……結果讓我長年陷入一種半瘋狂的狀態……唯一脫離這種狀態的方法就是在紙上用鉛筆或其他顏料，把它們具象畫出來，將這些念頭固定，這樣才能控制它們。」因此草間眼下的景緻，都覆蓋密密麻麻的網線，《原野之花》最底層的背景是兩種不同結構的紋理，下半部深紅底色佈滿纖細鮮黃的細線，上層空間則是鮮黃色的底色施加橘紅的粗線，切割的畫面暗示空間由桌面轉至牆面的轉變，藝術家使用網眼疏密度的差異，創造平面的立

體視覺效果。藍的容器有四種組成的紋理，內部是淺藍色的圓形的網狀，沿著容器邊緣環繞弧形大小不一的圓點，而盆身連接的線條則隨著桌面的分割有兩種不同彩度的藍色。最後是植物的部分，俐落直接的綠色粗線，穿越底層於畫面四散，形成生氣蓬勃的枝葉，而七瓣至八瓣不等的小白花綻放於畫面中。無論線段的簡潔亦或是幾何形狀的多樣性，藝術家都有了傑出的精進。而在構圖上草間挑戰不對稱的鋪陳，甚至在盆栽最前端置入一株散落的花枝，改變對稱的視覺表現，隨著植物姿態擺動的焦點，是藝術家經過四十年來繪畫技巧累積的精心安排，更是草間彌生經由對主題思考與也是自我技藝提升的肯定與驗證，象徵了她歷經不同系列的變化而不斷超越過往的成就。

1. 2.

1. 1966年草間彌生於「窺視展」美國紐約 Castellane畫廊Yayoi Kusama in the Peep Show, 1966, Castellane Gallery, New York, USA

2. 胡安．米羅《無題（人物，明星）》1953年作Joan Miró, Untitled (Personnages, étoiles) , 1953



對我來說，我只是活以在當代的身份，努力吸取時代的氣息，想要向未來開一朵鮮艷的花。

—草間彌生

For me, I am just striving to absorb the nutrients of the times under this contemporary identity, seeking to

produce a brilliant flower for the future.

- Yayoi Kusama

Flowers in the Fields (Lot 2059) is composed of complex repetitions and multiplications of "nets" and "dots". Rather than simply weaving lines into "infinite nets", a technique she started using in the 1950s, Yayoi Kusama presents intricate patterns similar to the structure of organic cells observed under a microscope. She employs meshes of various sizes and lines of different thickness to exhibit the texture disparity between different objects. The diverse layers with sophisticated structures including the tabletop, background, container, and flower showcases the artist's layout skills and logical thinking. This painting encompasses her years of artistic experience. Based upon her previous foundation and the most primitive logic of geometric arrangement, Kusama organizes sundry colours and complex geometric structures in a rational, orderly manner. She constructs a sense of modernity characteristic of the 20th century. Kusama was well ahead of her time as she absorbed contemporary elements successfully and became the most dazzling "flower" in the world of contemporary art.

In the early 1970s, Yayoi Kusama left the global art scene of New York City and returned to Japan. It was not until 1986 when she held her solo exhibition at the Museum of Fine Art of Dole in France where she regained international attention. Three years later, she held two important solo exhibitions in the United States and the United Kingdom which drove her career to new heights. The year 1989 was arguably the most creative period for Kusama. She began to boldly experiment with contrasting colours and varied geometric compositions, launching a series of surrealistic figurative creations.

Born into a family who owned a plant nursery, Kusama was surrounded by an assortment of flowers, fruits and vegetables in her childhood. Records from her early life reveal the significant impact flowers had in her life, such as a personal photo taken in 1939 in which she holds several flowers the size of her head and her early simple coloured plant series. Kusama has constantly featured flowers in her creations. In Flowers in the Fields, she transforms from her early abstract painting style – a homogeneous composition that has no beginning, end or center to focus on the use and arrangement of geometric patterns. This is not simply a continuation of her theme but also a test for her logic in structuring the layers of objects. Through "nets" and

保羅．克利《花園》1926年作美國紐約現代藝術博物館藏Paul Klee, Flower Garden (Blumengarten) , 1926, Collection of The Museum of Modern Art, New York, USA



"dots", Kusama eliminates physical boundaries to construct her persistently-held concept of repetition and multiplication. Fulfilling her philosophy of "self obliteration and return to the natural state of the universe," Kusama presents to viewers the infinity of time and the absoluteness of the universe. Through her "art of obsession," she prompts the viewers to ponder the meaning of their existence and their surroundings. Just as the director of Tate Modern Frances Morris once stated, "The works of Yayoi Kusama bear profound significance as it shows her instinctive desire to take risks, ability to make continuous improvements by conducting certain inventions, accepting external influences, and ambition to practice pure forms of art. All these serve as the pillars of her art. Despite the seemingly fundamental formal changes in her works, Kusama remains consistent in terms of her attention to systems and modes, the use of black and white and bright colours, as well as the contrast between infinite and micro worlds, abstractness and concreteness, etc."

The hallucinations Kusama has been experiencing since childhood provide inspirations for her creation: "Nature, the universe, mankind, blood, flowers and all sorts of things and objects have been carving deep impressions in my sight, my hearing, and deep in my mind in magical, frightening or mystical ways ever since I could remember. They have latched onto my life and would not let me go... this pulled me into a state of constant half-insanity... the only way to break free from this condition is to use pencil or other pigments to draw them and fix them onto paper, which is the only way to control them." Therefore, the scenes portrayed

by Kusama are all covered in dense webs of lines. In Flowers in the Fields, the bottom layer of background is composed of nets of two disparate structures: The lower half presents a dark red background covered in bright yellow fine lines, while the upper space exhibits a bright yellow background imposed with orange-red thick lines. The division indicates a transformation of space from the tabletop to the wall. Kusama uses the density difference in the meshes to create a three dimensional visual effect for this two dimension painting. The blue plant pot is formed by four types of patterns: Its inner space is covered by pale blue circular meshes, encircled by dots of various sizes along the edge, while bottom half of the pot is in a different shade of blue, in line with the wall and tabletop. Lastly, the plant is portrayed by direct and neat green thick lines cut through the bottom layer, scattering across the canvas to form animated, thriving branches and leaves, with 7 or 8-petal, small white flowers blooming amidst them. With the simplicity of line segments and the diversity of geometric shapes, Kusama has indeed made remarkable strides. In terms of the composition, she experiments with an asymmetric layout. She even alters the original symmetrical visual representation by placing a fallen flower branch in front of the pot. The meticulous focal arrangement of the plant demonstrates her forty years of artistic experience. It manifests and attests to her consummate contemplation on the subject and continuous enhancement on her skills. This painting represents her persistent endeavors to surpass her former achievements and revolutionary transformations through various series.

1960年草間彌生與《網》於美國紐約藝術家工作室Yayoi Kusama with Nets paintings at her Studio in New York, USA, 1960

Painted in 1989 acrylic on canvas38.2 x 45 cm. (15 x 17 3/4 in.)signed and dated 'yayoi kusama 1989'; titled in Japanese (on the reverse)

PROVENANCE

Mainichi Auction Inc Tokyo, 21 October 2017, Lot 212Private Collection, AsiaAcquired directly from the above by the present owner

This work is to be sold with a certificate of authenticity issued by Yayoi Kusama Studio, Tokyo, Japan.

HK$ 3,800,000 - 5,800,000US$ 487,200 - 743,600

2059

YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9)Flowers in the Fields草間彌生原野之花

1989 年作壓克力畫布款識：yayoi kusama 1989 野の花（畫背）

來源每日拍賣東京 2017年10月21日編號212亞洲私人收藏現藏者購自上述來源

附日本東京草間彌生工作室開立之原作保證書



Executed in 1998bronze sculptureedition: 92/10026 x 28.5 x 28 cm. (10 1/4 x 11 1/4 x 11 in.)inscribed, dated, editioned and signed 'BR 2012 N° 92/100 BRONZE FONDERIE DE PARIS YAYOI KUSAMA 1998' (bottom)

PROVENANCE


HK$ 650,000 - 850,000US$ 83,300 - 109,000

2060

YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9)Pumpkin草間彌生南瓜

1998 年作銅雕雕塑版數：92/100款識：BR 2012 N° 92/100 BRONZE FONDERIE DE PARIS YAYOI KUSAMA 1998（底部）


當我抱起南瓜時，便會想起遙遠孩提時代的

記憶。我的心有好幾次，都因南瓜獲得救

贖，在過往內心困苦的日子裡，南瓜總能撫

慰我的心靈。

—草間彌生

When I held a pumpkin, memories of my remote

childhood came to my mind. Many times, my heart

was redeemed thanks to pumpkins. In the past days

of mental distress, pumpkins could always comfort

my soul.

- Yayoi Kusama



Executed in 2016; 2019; & 2016three resin multiples8.5 x 8.5 x 9 cm. (3 1/4 x 3 1/4 x 3 1/2 in.); 13.5 x 13.5 x 8.5 cm. (5 1/4 x 5 1/4 x 3 1/4 in.); & 8.5 x 8.5 x 9 cm. (3 1/4 x 3 1/4 x 3 1/2 in.).

2016；2019；及 2016 年作樹脂（共三件）

HK$ 8,000 - 12,000US$ 1,000 - 1,500

2061

YAYOI KUSAMA ( JA PA N ES E , B . 1 92 9)Pumpkin (White/Red); Naoshima Red Pumpkin; & Pumpkin (Yellow/Black)草間彌生南瓜（白/紅）；直島紅色南瓜；及南瓜（黃/黑）

Lot 2061



Painted in 2007a set of three pastel on papereach: 28.5 x 24.2 cm. (11 1/4 x 9 1/2 in.)

LITERATURE

Izumi Kato-Drawings & Paper Works, Potziland Records, Tokyo, Japan, 2019 (illustrated, pp. 60-61).

HK$ 250,000 - 350,000US$ 32,100 - 44,900

2062

IZUMI KATO ( JA PA N ES E , B . 1 9 6 9)Untitled加藤泉無題

2007 年作粉彩紙本（一組共三件）

出版《加藤泉—繪畫與紙本作品》Potziland Records出版社東京日本（圖版，第60-61頁）

Lot 2062

Painted in 1986oil on canvas41 x 32 cm. (16 1/4 x 12 1/2 in.)signed and dated 'S. Motonaga '86' (lower left); signed and titled 'Motonaga Sadamasa Irodama' (on the reverse)

PROVENANCE

Christie's London, 14 October 2015, Lot 19Acquired from the above sale by the present owner

HK$ 100,000 - 300,000US$ 12,800 - 38,500

2063

SADAMASA MOTONAGA ( JA PA N ES E , 1 92 2-20 1 1 )Irodama元永定正色玉

1986 年作油彩畫布款識：S. Motonaga '86（左下）；Motonaga Sadamasa Irodama（畫背）

來源佳士得倫敦 2015年10月14日編號 19現藏者購自上述拍賣



Painted in 2002acrylic on paper, laid on canvas97 x 152.6 cm. (38 1/4 x 60 in.)titled in Chinese (middle left); signed 'Hsiao'; signed and dated in Chinese (middle right); titled '"Onde Magnetiche-31"' (on the strether)

PROVENANCE


This work is to be sold with a certificate of authenticity issued by Marconi Studio, Milan, Italy.

HK$ 150,000 - 250,000US$ 19,200 - 32,100

2064

HSIAO CHIN (C H I N ES E , B . 1 93 5 )Onde Magnetiche-31蕭勤磁波之三十一

2002 年作壓克力紙本裱於畫布款識：磁波之三十一（左中）；Hsiao勤零二（右中）；"Onde Magnetiche-31"（畫背內框）


附意大利米蘭 Marconi工作室開立之原作保證書

Painted in 2009oil on canvas (diptych)each: 76 x 101 cm. (18 x 39 3/4 in.) overall: 76.3 x 202.5 cm. (30 x 79 3/4 in.) dated '09'; signed in Chinese (lower right)

LITERATURE

Effusive Vitality: Chuang Che Retrospective Exhibition, Taipei Fine Arts Museum, Taipei, Taiwan, 2015 (illustrated, pp. 228-229).

HK$ 280,000 - 380,000US$ 35,900 - 48,700

2065

CHUANG CHE (C H I N ES E , B . 1 93 4)Overfilling Vitality莊喆生機滿溢

2009 年作油彩畫布（雙聯作）款識：09 莊喆（右下）

出版《莊喆回顧展：鴻濛與酣暢》台北市立美術館台北台灣 2015年（圖版，第228-229頁）



Executed in 2018screenprintedition: 38/5052.8 x 52.8 cm. (20 3/4 x 20 3/4 in.)editoned and signed '38/50 Komatsu' (bottom)

2018 年作絲網版畫版數：38/50款識：38/50 Komatsu（底部）

HK$ 12,000 - 22,000US$ 1,500 - 2,800

2066

MIWA KOMATSU ( JA PA N ES E , B . 1 98 4)"Shinju - Mouse" from Zodiac Series小松美羽十二生肖系列之鼠

Executed in 2018two screenprintseditioned: 33/5045.5 x 38 cm. (18 x 15 in.); & 44.2 x 53 cm. (17 1/2 x 20 3/4 in.)editioned and signed '33/50 Komatsu' (bottom of each)

2018 年作絲網版畫（共兩件）版數：33/50款識：33/50 Komatsu（每件底部）

HK$ 30,000 - 40,000US$ 3,800 - 5,100

2067

MIWA KOMATSU ( JA PA N ES E , B . 1 98 4)At the Ready before the Tower; & Moment of Confirmation小松美羽塔前準備；及確認時刻

2.

1.

Lot 2066

Lot 2067



Executed in 2020resin and aluminium oxide sculptureedition: 32/50023 x 15 x 33 cm. (9 x 6 x 13 in.)

2020 年作樹脂氧化鋁雕塑版數：32/500

HK$ 15,000 - 30,000US$ 1,900 - 3,800

2068

DANIEL ARSHAM ( A M E R I CA N , B . 1 9 8 0) X P O K É M O NBlue Crystalized Pikachu丹尼爾．阿沙姆 X 寶可夢藍色水晶皮卡丘

Executed in 2020resin and aluminium oxide sculptureedition: 445/50023 x 15 x 33 cm. (9 x 6 x 13 in.)

2020 年作樹脂氧化鋁雕塑版數：445/500

HK$ 15,000 - 30,000US$ 1,900 - 3,800

2069

DANIEL ARSHAM ( A M E R I CA N , B . 1 9 8 0) X P O K É M O NEroded Pikachu丹尼爾．阿沙姆 X 寶可夢被侵蝕的皮卡丘

Lot 2066

Executed in 2019two resin sculpturesedition: 397/500each: 30 x 32 x 32 cm. (11 3/4 x 12 1/2 x 12 1/2 in.)

2019 年作樹脂雕塑（共兩件）版數：397/500

HK$ 20,000 - 30,000US$ 2,600 - 3,800

2070

DANIEL ARSHAM ( A M E R I CA N , B . 1 9 8 0) X A P Po r t fo l i oHollow Mickey (White; & Grey)丹尼爾．阿沙姆空洞米奇（白；及灰）

Executed in 2015plaster and crashed glass sculptureedition: 120/40011.6 x 6.2 x 15 cm. (4 1/2 x 2 1/2 x 6 in.)

2015 年作石膏碎玻璃雕塑版數：120/400

HK$ 8,000 - 12,000US$ 1,000 - 1,500

2071

DANIEL ARSHAM (A M E R I CA N , B . 1 980)Future Relic 03-Alarm Clock丹尼爾．阿沙姆未來遺跡03-時鐘

Lot 2070

Lot 2071



Executed in 2016plaster and crashed glass sculptureedition: 311/50019.8 x 14.1 x 12.3 cm. (7 3/4 x 5 1/2 x 4 3/4 in.)


HK$ 8,000 - 12,000US$ 1,000 - 1,500

2072

DANIEL ARSHAM (A M E R I CA N , B . 1 980)Future Relic 05-Telephone丹尼爾．阿沙姆未來遺跡05-電話機

Executed in 2016plaster and crashed glass sculptureedition: 103/50012.8 x 14.5 x 14 cm. (5 x 5 3/4 x 5 1/2 in.)


HK$ 8,000 - 12,000US$ 1,000 - 1,500

2073

DANIEL ARSHAM (A M E R I CA N , B . 1 980)Future Relic 06-Polaroid Camera丹尼爾．阿沙姆未來遺跡06-寶麗來

Executed in 2017; & 2015two plaster and crashed glass sculpturesedition: 265/500; & 66/500 15.8 x 17.4 x 10.5 cm. (6 1/4 x 6 3/4 x 4 1/4 in.); & 10.2 x 6.6 x 1.6 cm. (4 x 2 1/2 x 3/4 in.)

2017；及 2015 年作石膏碎玻璃雕塑（共兩件）版數：265/500；及66/500

HK$ 8,000 - 12,000US$ 1,000 - 1,500

2074

DANIEL ARSHAM (A M E R I CA N , B . 1 980)Future Relic 07-Cassette Player; & 04-Cassette Tape丹尼爾．阿沙姆未來遺跡07-磁帶播放器；及04-磁帶

Lot 2072

Lot 2073

Lot 2074



HK$ 10,000 - 20,000US$ 1,300 - 2,600

2075

DANIEL ARSHAM (A M E R I CA N , B . 1 980)Future Relic 08-Radio丹尼爾．阿沙姆未來遺跡08-收音機



HK$ 10,000 - 20,000US$ 1,300 - 2,600

2076

DANIEL ARSHAM (A M E R I CA N , B . 1 980)Future Relic 09-Keyboard丹尼爾．阿沙姆未來遺跡09-鍵盤樂器

Lot 2075

Lot 2076



Executed in 2019glass, resin and sand sculptureedition: 377/50012 x 12 x 24.5 cm. (4 3/4 x 4 3/4 x 9 3/4 in.)

2019 年作玻璃樹脂沙雕塑版數：377/500

HK$ 12,000 - 18,000US$ 1,500 - 2,300

2077

DANIEL ARSHAM (A M E R I CA N , B . 1 980)Hourglass II丹尼爾．阿沙姆時間漏斗 II

Executed in 2020resin sculptureedition: 190/50023.7 x 28.5 x 30 cm. (9 1/4 x 11 1/4 x 11 3/4 in.)

2020 年作樹脂雕塑版數：190/500

HK$ 20,000 - 40,000US$ 2,600 - 5,100

2078

DANIEL ARSHAM (A M E R I CA N , B . 1 980)Eroded Brillo Box丹尼爾．阿沙姆被侵蝕的布里洛盒子

Lot 2077

Lot 2078

Executed in 2020offset printedition: 192/30056.3 x 80 cm. (22 1/4 x 31 1/2 in.)signed, dated and editioned 'Mad 2020 192/300' (bottom)

2020 年作膠印版畫版數：192/300款識：Mad 2020 192/300（右下）

HK$ 8,500 - 10,000US$ 1,100 - 1,300

2079

MADSAKI ( JA PA N ES E , B . 1 974)Portrait of an Artist (Pool with Two Figures) II (Inspired by David Hockney) _PMADSAKI 藝術家肖像（游泳池與兩個人像）II（靈感自大衛．霍克尼）_P

Executed in 2020two archival pigment printsedition: 99/100; & 59/100each: 44.9 cm. (17 3/4 in.) in diameter1. Untitled_P6: signed, dated and editioned 'Madsaki 2020 99/100' (lower right)2. Untitled_P3: signed, dated and editioned 'Madsaki 2020 59/100' (lower right)

2020 年作數位版畫（共兩件）版數：99/100；及59/100款識：1.《無題_P6》：Madsaki 2020 99/100（右下）2.《無題_P3》：Madsaki 2020 59/100（右下）

HK$ 22,000 - 40,000US$ 2,800 - 5,100

2080

MADSAKI ( JA PA N ES E , B . 1 974)Untitled_P6; & Untitled_P3MADSAKI 無題_P6；及無題_P3

1.

2.

Lot 2079

Lot 2080



Executed in 2019; & 2016 screenprint; digital print edition: 72/75; & 231/25070 cm. (27 1/2 in.) in diameter; & 48 x 33 cm. (19 x 13 in.) 1.Jaded Sunshine: editioned '72/75'; signed with artist's signature (bottom)2.Falling Passage: editioned '231/250' (bottom); signed 'TOMOKAZU MATSUYAMA' (on the reverse)

2019；及 2016 年作絲網版畫；及數位印刷版數：72/75；及 231/250款識：1.《疲倦的陽光》：72/75；藝術家簽名（底部）2 . 《墮落通道》： 2 3 1 / 2 5 0 （底部）； T O M O K A Z U MATSUYAMA（畫背）

HK$ 15,000 - 25,000US$ 1,900 - 3,200

2081

TOMOKAZU MATSUYAMA (JAPANESE, B. 1976) Jaded Sunshine; & Falling Passage 松山智一疲倦的陽光；及墮落通道

Executed in 2010two offset printsedition: 114/300; & 109/300 each: 57.5 x 45.1 cm. (22 3/4 x 17 3/4 in.)1. Mr.'s Room: signed, dated and editioned 'Mr. 10 114/300' (bottom)2. My Apartment: signed, dated and editioned 'Mr. 10 109/300' (bottom)

2010 年作膠印版畫（共兩件）版數：114/300；及109/300款識：1.《Mr.的房間》：Mr. 10 114/300（底部）2.《我的公寓》：Mr. 10 109/300（底部）

HK$ 8,000 - 15,000US$ 1,000 - 1,900

2082

MR. ( JA PA N ES E , B . 1 9 6 9)Mr.'s Room; & My ApartmentMR. Mr.的房間；及我的公寓

Executed in 2020offset printedition: 101/30065 cm. (25 1/2 in.) in diametersigned, dated and editioned 'Mr. 2020 101/300' (lower right)

2020 年作膠印版畫版數：101/300款識：Mr. 2020 101/300（右下）

HK$ 5,000 - 8,000US$ 600 - 1,000

2083

MR. ( JA PA N ES E , B . 1 9 6 9)My StreetMR. 我的街道

1. 2.

2.1. Lot 2081

Lot 2082

Lot 2083

Executed in 2020offset printedition: 108/30064.9 x 65.3 cm. (25 1/2 x 35 3/4 in.)signed, dated and editioned 'Mr. 2020 108/300' (bottom)

2020 年作膠印版畫版數：108/300款識：Mr. 2020 108/300（底部）

HK$ 5,000 - 8,000US$ 600 - 1,000

2084

MR. ( JA PA N ES E , B . 1 9 6 9)Song That Never EndsMR. 永無止境的歌曲

Executed in 2020two archival pigment and screenprintsedition: 29/100; & 62/100each: 51 x 63 cm. (20 x 24 3/4 in.)1. Kana-Tropical Blend: signed, dated and editioned 'Mr. 2020 29/100' (lower right)2. Hemp-Red Flower: signed, dated and editioned 'Mr. 2020 62/100' (lower right)

2020 年作絲網數位版畫（共兩件）版數：29/100；及62/100款識：1.《加奈—熱帶混合》：Mr. 2020 29/100（右下）2.《真麻—紅色的花》：Mr. 2020 62/100（右下）

HK$ 30,000 - 50,000US$ 3,800 - 6,400

2085

MR. ( JA PA N ES E , B . 1 9 6 9)Kana-Tropical Blend; & Hemp-Red FlowerMR. 加奈—熱帶混合；及真麻—紅色的花

2.

1.

Lot 2084

Lot 2085



2086

MR. ( JA PA N ES E , B . 1 9 6 9)Whereabouts of the Heart of That Day; & Kowloon in Hong Kong -WalkingMR. 那天心的下落；及香港九龍—城市漫步

Executed in 2020archival pigment and screenprint; & screenprintedition: 42/100; & 78/10058 x 49.5 cm. (22 3/4 x 19 1/2 in.); & 58 x 46.5 cm. (22 3/4 x 18 1/4 in.)1. Whereabouts of the Heart of That Day: signed, dated and editioned 'Mr. 2020 42/100' (lower right)2. Kowloon in Hong Kong -Walking-: signed, dated and editioned 'Mr. 2020 78/100' (lower right)

HK$ 30,000 - 50,000US$ 3,800 - 6,400

2020 年作絲網數位版畫；及絲網版畫（共兩件）版數：42/100；及78/100款識：1.《那天心的下落》：Mr. 2020 42/100（右下）2.《香港九龍—城市漫步》：Mr. 2020 78/100（右下）

2.1.

Executed in 2020two archival pigment and screenprintsedition: 30/100; & 69/100each: 57.9 x 42.9 cm. (22 3/4 x 17 in.) 1. City Girl's New Life: signed, dated and editioned 'Mr. 2020 30/100' (lower right)2. The Season When the Ramune Heat Has Passed: signed, dated and editioned 'Mr. 2020 69/100' (lower right)

HK$ 30,000 - 50,000US$ 3,800 - 6,400

2087

MR. ( JA PA N ES E , B . 1 9 6 9)City Girl's New Life; & The Season When the Ramune Heat Has PassedMR. 城市女孩的新生活；及Ramune高溫過去的季節

2020 年作絲網數位版畫（共兩件）版數：30/100；及69/100款識：1.《城市女孩的新生活》：Mr. 2020 30/100（右下）2.《Ramune高溫過去的季節》：Mr. 2020 69/100（右下）

2.1.



Executed in 2010two offset lithographsedition: 169/300; & 44/300each: 71 cm. (28 in.) in diameter1. With Reverence, I Lay Myself Before You-Korin-Chrysanthemum: signed with artist's signature; dated and editioned '10 169/300' (lower centre)2. Kansei Abstraction: signed with artist's signature; dated and editioned '10 44/300' (lower centre)

2010 年作膠印版畫（共二件）版數：169/300；及44/300款識：1 .《打從心底五體投地—光琳—菊》：藝術家簽名；10 169/300（底部）2.《澗聲抽象》：藝術家簽名；10 44/300（底部）

HK$ 12,000 - 30,000US$ 1,500 - 3,800

2088

TAKASHI MURAKAMI (JAPANESE, B. 1962)With Reverence, I Lay Myself before You-Korin-Chrysanthemum; & Kansei Abstraction村上隆打從心底五體投地—光琳—菊；及澗聲抽象

Executed in 2010two offset lithographsedition: 44/300; & 31/300each: 71 cm. (28 in.) in diameter1. Kansei: signed with artist's signature; dated and editioned '10 44/300' (lower centre)2. Like the River's Flow: signed with artist's signature; dated and editioned '10 31/300' (lower centre)

2010 年作膠印版畫（共二件）版數：44/300；及31/300款識：1.《澗聲》：藝術家簽名；10 44/300（底部）2.《宛如溪水的流動》：藝術家簽名；10 31/300（底部）

HK$ 12,000 - 30,000US$ 1,500 - 3,800

2089

T A K A S H I M U R A K A M I ( J A PA N E S E , B . 1 9 62)Kansei; & Like the River's Flow村上隆澗聲；及宛如溪水的流動

2.

1.

2.

1.

Lot 2088

Lot 2089

Executed in 2010three offset lithographsedition: 144/300; 49/300; & 201/300each: 71 cm. (28 in.) in diameter1. Flower Ball (3D) Red Cliff: signed with artist's signature; dated and editioned '10 144/300' (lower right)2. Flower Ball (3D) Goldfish: signed with artist's signature; dated and editioned '10 49/300' (lower right)3. Flower Ball Red (3D) The Magic Flute: signed with artist's signature; dated and editioned '10 201/300' (lower right)

2010 年作膠印版畫（共三件）版數：144/300；49/300；及201/300款識：1.《花球（3D）赤壁》：藝術家簽名；10 144/300（右下）2. 《花球（3D）金魚》：藝術家簽名；10 49/300（右下）3.《紅色花球（3D）魔笛》：藝術家簽名；10 201/300（右下）

HK$ 20,000 - 50,000US$ 2,600 - 6,400

2090

TAKASHI MURAKAMI (JAPANESE, B. 1962)Flower Ball (3D) Red Cliff; Flower Ball (3D) Goldfish; & Flower Ball Red (3D) The Magic Flute村上隆花球（3D）赤壁；花球（3D）金魚；及紅色花球（3D）魔笛

Executed in 2010three offset lithographsedition: 159/300; 194/300; & 148/300each: 71 cm. (28 in.) in diameter1. Even If the Digital Realm Has Flowers to Offer!: signed with artist's signature; dated and editioned '10 159/300' (lower right)2. Flower Ball Brown: signed with artist's signature; dated and editioned '10 194/300' (lower right)3. Flower Ball 3D from the Realm of the Dead: signed with artist's signature; dated and editioned '10 148/300' (lower right)

2010 年作膠印版畫（共三件）版數：159/300；194/300；及148/300款識：1.《像數碼地平線一樣，我也曾經擁有過我的愛心花束》：藝術家簽名；10 159/300（右下）2.《棕色花球》：藝術家簽名；10 194/300（右下）3.《從黃泉國度來的花球（3D）》：藝術家簽名；10 148/300（右下）

HK$ 20,000 - 50,000US$ 2,600 - 6,400

2091

TAKASHI MURAKAMI (JAPANESE, B. 1962)Even If the Digital Realm Has Flowers to Offer!; Flower Ball Brown; & Flower Ball 3D from the Realm of the Dead村上隆像數碼地平線一樣，我也曾經擁有過我的愛心花束；棕色花球；及從黃泉國度來的花球（3D）

3.

2.1.

1. 2.

3.

Lot 2090

Lot 2091



Executed in 2019two screenprintsedition: 76/300; & 47/300 each: 40 x 40 cm. (15 3/4 x 15 3/4 in.)1. Anywhere Door (Dokodemo Door) in the Field of Flowers: signed in Japanese, signed with artist's signature, dated and editioned '2019 76/300' (bottom)2. We Came to the Field of Flowers Through Anywhere Door (Dokodemo Door) !: signed in Japanese; signed with artist's signature; dated and editioned '2019 47/300' (bottom)

2019 年作絲網版畫（共兩件）版數：76/300；及 47/300款識：《花叢中的任意門》：藤子．F．不二雄藝術家簽名 2019 76/300（底部）《通過任意門我們到達了花叢！》：藤子．F．不二雄藝術家簽名 2019 47/300（底部）

HK$ 40,000 - 60,000US$ 5,100 - 7,700

2092

TAKASHI MURAKAMI (JAPANESE, B. 1962)Anywhere Door (Dokodemo Door) in the Field of Flowers; & We Came to the Field of Flowers Through Anywhere Door (Dokodemo Door) !村上隆花叢中的任意門；及通過任意門我們到達了花叢！

Executed in 2019two screenprintsedition: 13/300; & 141/300each: 50 x 50 cm. (19 3/4 x 19 3/4 in.)1. Many Things Await Beyond Anywhere Door (Dokodemo Door): signed in Japanese; signed with artist's signature; dated and editioned '2019 13/300' (bottom)2. On an Endless Journey on a Time Machine with the Author Fujiko F. Fujio!: signed in Japanese; signed with artist's signature; dated and editioned '2019 141/300' (bottom)

2019 年作絲網版畫（共兩件）版數：13/300；及141/300款識：1.《許多驚喜正在任意門後等著》：藤子．F．不二雄；藝術家簽名；2019 13/300（底部）2.《和藤子．F．不二雄在時光機上的漫長旅行！》：藤子．F．不二雄；藝術家簽名；2019 141/300（底部）

HK$ 40,000 - 60,000US$ 5,100 - 7,700

2093

TAKASHI MURAKAMI (JAPANESE, B. 1962)Many Things Await Beyond Anywhere Door (Dokodemo Door); & On an Endless journey on a Time Machine with the Author Fujiko F. Fujio!村上隆許多驚喜正在任意門後等著；及和藤子．F．不二雄在時光機上的漫長旅行

1.

2.

2.

1.

Lot 2092

Lot 2093

Executed in 2019screenprintedition: 300/30045.9 x 94 cm. (18 x 37 in.)signed in Japanese; signed with artist's signature; dated and editioned '2019 300/300' (bottom)

EXHIBITED

Japan, Tokyo, Mori Arts Center Gallery, The Doraemon Exhibition Tokyo 2017, 1 November, 2017-8 January, 2018 (alternate edition exhibited).

2019 年作絲網版畫版數：300/300款識：藤子．F．不二雄；藝術家簽名；2019 300/300（底部）

展覽2017年11月1日-2018年1月8日「東京2017年哆啦A夢展覽」森美術館東京日本（展覽為另一版數）

HK$ 15,000 - 25,000US$ 1,900 - 3,200

2094

TAKASHI MURAKAMI (JAPANESE, B. 1962)Wouldn't It Be Nice If We Could Do Such a Thing村上隆如果我們能這樣做那該多好

Executed in 2019three screenprintsedition: 126/300; 87/300; & 129/300each: 56 x 49 cm. (22 x 19 1/4 in.)1. Doraemon in the Field of Flowers: signed in Japanese; signed with artist's signature; dated and editioned '2019 126/300' (bottom)2. Mr. Fujiko F. Fujio and Doraemon Are in the Field of Flowers: signed in Japanese; signed with artist's signature; dated and editioned '2019 87/300' (bottom)3. Doraemon's Daily Life: signed in Japanese; signed with artist's signature; dated and editioned '2019 129/300' (bottom)

2019 年作絲網版畫（共三件）版數：126/300；87/300；及129/300款識：1.《哆啦A夢在花叢中》：藤子．F．不二雄；藝術家簽名；2019 126/300（底部）2.《藤子．F．不二雄先生與哆啦A夢在花叢中》：藤子．F．不二雄；藝術家簽名；2019 87/300（底部）3.《哆啦A夢的日常生活》：藤子．F．不二雄；藝術家簽名；2019 129/300（底部）

HK$ 40,000 - 60,000US$ 5,100 - 7,700

2095

TAKASHI MURAKAMI (JAPANESE, B. 1962)Doraemon in the Field of Flowers; Mr. Fujiko F. Fujio and Doraemon Are in the Field of Flowers; & Doraemon's Daily Life村上隆哆啦A夢在花叢中；藤子．F．不二雄先生與哆啦A夢在花叢中；及哆啦A夢的日常生活

Lot 2094



Executed in 2020three screenprintsedition: 235/300; 238/300; & 250/300each: 56.8 x 49.5 cm. (22 1/4 x 19 1/2 in.)1. Doraemon Yeah!: signed in Japanese; signed with artist's signature; dated and editioned '2020 235/300' (bottom)2. Doraemon Let's Go!: signed in Japanese; signed with artist's signature; dated and editioned '2020 238/300' (bottom)3. Doraemon Thank You: signed in Japanese; signed with artist's signature; dated and editioned '2020 250/300' (bottom)

HK$ 40,000 - 60,000US$ 5,100 - 7,700

2018 年作絲網版畫（共三件）版數：235/300； 238/300；及 250/300款識：1.《哆啦A夢，是的！》：藤子．F．不二雄；藝術家簽名；2020 235/300（底部）2.《哆啦A夢，一起走吧》：藤子．F．不二雄；藝術家簽名；2020 238/300（底部）3.《哆啦A夢，謝謝你》：藤子．F．不二雄；藝術家簽名；2020 250/300（底部）

2096

TAKASHI MURAKAMI ( JA PA N ES E , B . 1 9 62)Doraemon Yeah!; Doraemon Let's Go!; & Doraemon Thank You村上隆哆啦A夢，是的！；哆啦A夢，一起走吧；及哆啦A夢，謝謝你

3.2.1.

1. 2. 3. Lot 2095

Lot 2096

Executed in 2008metallized plastic sculptureedition: 323/50019 x 19 x 32 cm. (7 1/2 x 7 1/2 x 12 1/4 in.)inscribed, signed, editioned and dated 'OriginalFake® KAWS.. Sorayama EDITION 323/500 MEDICOM TOY 2008 MADE IN CHINA' (engraved on the bottom )

2008 年作鍍金屬塑膠雕塑版數：323/500款識：OriginalFake® KAWS.. Sorayama EDITION 323/500MEDICOM TOY 2008 MADE IN CHINA （底部）

HK$ 50,000 - 100,000US$ 6,400 - 12,800

Executed in 2008metallized plastic sculpture edition: 227/50019 x 19 x 32 cm. (7 1/2 x 7 1/2 x 12 1/4 in.)inscribed, signed, editioned and dated 'OriginalFake® KAWS.. Sorayama EDITION 227/500 MEDICOM TOY 2008 MADE IN CHINA' (engraved on the bottom )

2008 年作鍍金屬塑膠雕塑版數：227/500款識：OriginalFake® KAWS.. Sorayama EDITION 227/500MEDICOM TOY 2008 MADE IN CHINA（底部）

HK$ 50,000 - 100,000US$ 6,400 - 12,800

2097

K A W S ( A M E R I CA N , B . 1 974) X H A J I M E SORAYAMA (JAPANESE, B. 1947)No Future Companion (Silver Chrome)KAWS X 空山基沒有未來的同伴（銀鉻）

2098

K A W S ( A M E R I CA N , B . 1 974) X H A J I M E SORAYAMA (JAPANESE, B. 1947)No Future Companion (Black Chrome)KAWS X 空山基沒有未來的同伴（黑鉻）



Executed in 2020vinyl multipleslimited edition35.5 x 24 x 71.5 cm. (14 x 9 1/2 x 28 1/4 in.)

2020 年作乙烯基限量版

HK$ 10,000 - 20,000US$ 1,300 - 2,600

2099

BEARBRICK X CLOT X NIKE Black Silk 1000%積木熊 X Clot X 耐克黑絲絨 1000%


「惟墨維新」—— 現當代水墨藝術

INKPROVISE: FINE MODERN AND CONTEMPORARY INK ART

隨著中國現當代藝術收藏熱潮的湧現，越來越多的收藏家開始關注中國現當代水墨。現當代水墨不僅承襲了中國傳統水墨畫的文人筆墨與意趣，更融入了畫家藝術語言的豐富性與複雜性。中國現當代水墨的迅猛發展代表著它已經漸漸融入到現代人的生活當中，也意味著中國傳統文化資源的當代轉換，它既是當代中國藝術家的創新結果，也有著鮮明的東方母語精神，是中國文化藝術的自覺與思考的代表。

此次保利澳門拍賣中國書畫板塊為廣大藏家呈現現當代水墨作品數幀，立足於中國傳統文化觀念與當代收藏價值體系：甄選水松石山房主人、董立寶、黃永玉、劉廣、羅豔龍等現當代水墨領域中最具代表性的重要藝術家作品：黃永玉從民間美術汲取養分，好用濃郁強烈的色彩，給人以強烈的視覺沖突，奔放的色彩搭配實則突破了傳統繪畫設色的程序表達，從而構成了畫面的張力。

劉廣著力強調造傳承中國傳統繪畫的精神法則，強調「真實美」的和諧與對比，審美觀念和繪畫情趣更多的包含在捲軸畫之外，而質感則充分展現在畫面上，自然顯現出其他畫種無法表現出的獨特立體美感；這些作品展現了抽象，透視等元素。劉廣重視格法，用筆凝重，著色淡雅，墨色交融，畫風樸實，是劉廣山水作品的主要特點。「重視格法」，是說他尊重傳統畫法程式，作畫有板有眼，從不亂畫亂造；「用筆凝重」，是說他用筆沈厚，不飄不浮；「著色淡雅，墨色交融」是說他在用墨的同時，尋求墨與色彩的和諧；「風格樸實」是對其作品的總體印象。劉廣為人厚道，樸實，其畫風的樸實，與畫法有關，更與他的氣質個性即天性相表裡。我們力圖為您從藝術語言，表現方式等多個方面解讀中國現當代水墨，與您一同探索水墨藝術世界的奧妙。

「惟墨維新」—— 現當代水墨藝術Inkprovise: Fine Modern and Contemporary Ink Art

The Poly Auction Macau will be presenting the themed project “Inkprovise: Modern and Contemporary Ink Art”. The project includes various works created by contemporary ink artists Hugh Moss, Dong Libao, Huang Yongyu, Liu Guang, Luo Yanlong. They present the contemporary context with their rich artistic language and superb techniques; outstanding art creations make outstanding taste, on the other hand, the vastness and depth of the collection contribute to the enduring vitality of art creation. Neither artistic creation nor art collection is a simple individual event. They are both manifestations of the common spiritual energy of human beings beyond time and space.

In recent years, the development of contemporary ink art has promoted the common prosperity of academic research and market. As a spiritual symbol of Oriental culture and an innovation of Chinese traditional art, contemporary ink art is favored by collectors both at home and abroad. Contemporary ink art stands for the contemporary conversion of China's own cultural resources. It is both an innovative result of contemporary Chinese artists, a distinctive legacy of Oriental tradition, and a

representative of the consciousness and speculation of Chinese culture and arts. The collection is an art, and a discipline by itself. Differences in cultural heritage, social customs, and aesthetic habits determine people's preferences for collections. Meanwhile, however, the idea of collecting and the broadening of vision will also optimize the environment of artistic creation so as to prompt the artists to continuously explore and practice.

The entire social structure, living environment and cultural context in China are undergoing tremendous changes recently. Based on the concern of cultural and social issues, artists will inevitably engender revolutions in artistic language. After years of development and precipitation of contemporary ink art, the distinct academic venation and theoretical system have gradually emerged, and it could be predicted that an art market boom is imminent. In recent years, the emerging auctions specialized on “contemporary ink art” and the rise of various art exhibitions featuring contemporary ink art demonstrates a great timing for collecting them.


2100HUGH MOSS ( b .1 9 4 3)The Goose Stone of the Calligraphy Sage

painted in 2013mounted; ink on arches paper50×32.5cm. (19 5/8 ×13 3/4 in.)

HK$ 35,000 - 55,000US$ 4,500 - 7,100

水松石山房主人書聖鵝石圖

鏡心水墨紙本二○一三年作約1.5平尺

鈐印「石」

來源香港蘇富比，聚—當代文人藝術，2014 年 4 月 7 日，編號 3664

出版

Beyond the Stage of Time: The Master of the Water, Pine and Stone Retreat (Volume II: Staff Masters and Stone Fools), P178, Rasti Chinese Art Ltd, Hong Kong, 2020


2101DONG LIBAO ( b .1 9 62)Birch Wood

painted in 2017mounted; ink and color on paper35×138cm. (13 3/4×54 3/8 in.)

HK$ 70,000 - 120,000US$ 9,000 - 15,400

董立寶京郊白樺林

鏡心設色紙本二○一七年作約 4.3 平尺

題識京郊白樺林。丁酉臘月，立寶。

鈐印「立寶」


2102HUANG YONGYU ( b .1 924)The Peach Blossom Land

painted in 1989mounted; ink and color on paper51.5×69.5cm. (20 1/4×27 3/8 in.)

HK$ 300,000 - 500,000US$ 38,500 - 64,100

黃永玉理想桃花源

鏡心設色紙本一九八九年作約3.2平尺

題識光覃兄存。己巳秋,黃永玉寫於香港。

鈐印「黃永玉」、「不瓦全」、「聊發少年狂」

說明上款人「光覃兄」為刁光覃（1915-1992），中國著名話劇演員。原名刁國棟，河北省束鹿縣人。中學時已演出過田漢、丁西林等人的劇作，抗日戰爭爆發後，在南京、武漢等地演出過大量宣傳抗日的戲劇。新中國成立後，在中央戲劇學院話劇團、北京人民藝術劇院工作。歷任第三、四、五、六屆中國人民政治協商會議全國委員會委員，中國戲劇家協會第三屆理事。


2103LIU GUANG ( b .1 9 6 9)Visiting a Friend in the Mountain

painted in 2010mounted; ink on paper170×92.5cm. (66 7/8×36 3/8 in.)

HK$ 600,000 - 800,000US$ 76,900 - 102,600

劉廣攜琴訪友圖

鏡心水墨紙本二○一○年作約14.2平尺

題識千里黃雲白日曛，北風吹雁雪紛紛。莫愁前路無知己，天下誰人不識君。庚寅春，劉廣。

鈐印「劉」、「廣來」

劉廣堅持中國畫的創新是廣泛而豐富的，創作不能停留在筆墨精神一個層面，它應涵蓋整個民族的審美圖式、哲學思想、人文精神；對生命過程的反省、批判或讚頌，只是為了表達自己的一種思想情感，重要的是在自然、人、藝術之間找到合適的契合點。賞劉廣畫作，不難发現營造整體氛圍和意境是其強項，面對人物表情細節的忽略，則是畫者對中國畫本源精髓的神韻直取。畫者以詩的底蘊托起畫的精神，用心靈魂魄來傾注筆端，展現人格魅力，它滿足了各階層人士的審美需要，寓現實之於理想、寓理想之於浪漫，實為大雅入大俗的高標，直達形而上的美學範疇。「詩意的線韻構築詩意的理想，詩意的畫筆描繪詩意的天堂」，如惠風和暢於簫歌、似霞光灑落於倩影，一種逸美源於織幻、一種高雅出自抽象、一種超然更寄托了真情。


2104LIU GUANG ( b .1 9 6 9)Landscape in Summer

painted in 2019mounted; ink on paper129×66.5cm. (50 6/8×26 1/8 in.)

HK$ 300,000 - 500,000US$ 38,500 - 64,100

劉廣溪山清夏

鏡心水墨紙本二○一九年作約7.7平尺

題識溪山清夏。乙丑，劉廣。

鈐印「劉」、「廣來」



2105LUO YANLONG ( b .1 988)Landscape

painted in 2019mounted; ink on silk138×26.5cm. (54 5/8×10 5/8 in.)

HK$ 50,000 – 100,000US$ 6,400 - 12,800

羅艷龍春山清曉

鏡心水墨絹本二○一九年作約3.3平尺

題識艷龍。

鈐印「羅」、「艷龍」


古董珍玩專場

CHINESE CERAMICS AND WORKS OF ART

2106清早期銅蚰耳爐

款識「大明宣德年製」

來源倫敦私人藏家舊藏

H 13.5cm W 37cm 9000g

HK$ 120,000 - 180,000US$ 15,400 - 23,000

A LARGE BRONZE DOUBLE-HANDLES CENSEREARLY QING DYNASTY, 17TH CENTURY

PROVENANCE

A London Private Collection

本拍品器口外侈，雙蚰龍耳，垂鼓腹，圈足外撇，造型典雅古樸。壁厚而沉重墜手，器底中央鏨刻減地陽文「大明宣德年製」款。爐造型大氣，周身線條精煉，為典型標準的形體制式，銅質厚實，叩之，聲響清脆，古拙淡然。款識間舒展大氣，筆道遒勁有力。包漿自然，深沉內斂，為蚰耳爐之稀有精品。本爐器型碩大，胎體厚重，精銅所造，原配紅木底座。

蚰耳爐，宜陳列於書房之中，文案或琴桌上焚香所用，前期曾為天子專用彝器，因爐耳彎曲如蚰得名。宣德皇帝品題其「款制大雅，為諸爐之冠」，取其潛龍之態，作潛心學習、潛心朝政事，屬內府自用爐款。明人項元汴《宣爐博論》中稱，當時蘇州一帶宣爐款制最推崇乳爐，魚耳爐、蚰耳爐，因為這三款為宣德皇帝在書房中親用的，顏色又推藏經紙色、蠟茶色、棠梨色、棗紅色、粟殼色，其中藏經紙色及蠟茶色最受藏家推崇。



2107清中期　豆青釉青花釉里紅暗刻龍紋線條罐

來源1. 法國藏家舊藏2. 保利香港，2013 年 10 月 7 日，編號 1448

H 17cm

HK$ 300,000-500,000US$ 38,500-64,100

A COPPER-RED AND CELADON-GLAZED INCISED DRAGON AND STRINGS PATTERNED JARMID QING DYNASTY, 18TH CENTURY

PROVENANCE

1. A French Private Collector2. Poly Auction Hong Kong, 7 October 2013, lot 1448

罐形制比較特別，分為上下兩部分，淺唇口、肩及腹上小部分施白釉，暗刻雲紋，雲紋刻畫清晰連貫，整體氣勢神秘磅礡。以釉里紅繪龍紋掩映雲彩之中，其發色精確純淨，釉里紅龍紋以青花點眼睛，更顯精神。腹下至底則隆起細密菊瓣紋，施以豆青釉。釉色青翠透亮，宛如初春的柳芽，沁人心脾。底部露胎，淺寬圈足。器型精巧清雅，釉里紅龍紋生動細膩，螭龍隱於祥雲之中，若隱若現，下部粉釉豐腴滋潤，頗具康熙時期古拙凝練之風。整器造型殊雅，配色稀罕，值得珍之。

2108清道光黃地洋彩纏枝西番蓮紋五蝠碗

款識「大清道光年製」

H 6.2cm D 14.5cm

HK$ 450,000 - 550,000US$ 58,000 - 71,000

A YELLOW-GROUND YANGCAI ‘FLOWER AND BATS’ BOWLDAOGUANG PERIOD, 1821-1850

碗心

此碗撇口，深腹，圈足。內壁白釉地繪礬紅彩五蝠齊飛，有「五福」之意，特指「壽、富、康寧、修好德、考終命」。外壁施黃釉，繪水仙、蘭菊、牡丹、百合等多種纏枝花卉，花葉捲曲繁縟，花色鮮豔華貴，繪工精緻，富有強烈的立體感，具有典型西方巴羅克式裝飾風格，屬於乾隆朝開創的宮廷風格。底落青花「大清道光年製」六字三行篆書款。

此種碗在《清宮內務府造辦處檔案》中稱為「洋彩黃地洋花宮碗」，深受乾隆鍾愛，乾隆二年時已開始大量燒製。據記載，乾隆二年十月十三日：「司庫劉山久、七品首領薩木哈，催總白世秀來說太監毛團、胡世傑、高玉交……洋彩黃地洋花宮碗一件。傳旨：……洋彩黃地洋花宮碗甚好，再燒造些；青花白地龍鳳小盒照樣燒造些；再照洋彩黃地洋花宮碗上花樣將小盒亦燒造些；……再東青釉拱花大漢尊，嘉窯青龍穿枝蓮八寶雙環大尊，嘉窯青龍穿枝蓮天球尊，此三樣尊照洋彩黃地洋花宮碗花樣燒造些……欽此。」此後，嘉慶、道光二朝仍有燒造，工藝維持較高的水準。

參考北京故宮博物院收藏，著錄於《故宮博物院藏文物珍品大系·粉彩琺瑯彩》，頁205，圖181；另見南京博物院藏，刊於《宮廷珍藏－中國清代官窯瓷器》，上海文化出版社，2003年，頁243。



另一面

清乾隆銅鎏金掐絲琺瑯纏枝蓮紋搖鈴尊《故宮博物院藏品大系珐琅器編 2》

瓶直口，長頸，圓腹，圈足，形似搖鈴而得名。此瓶為爐瓶三事之一，作焚香用具。古代焚香常用香屑，不用線香，因此需用銅箸、銅鏟提取，箸瓶就是存放二物之用。通體以天藍琺瑯釉為地，掐絲飾纏枝蓮紋。此尊掐絲精細，色彩豐富，窮盡其妍，整器銅質精實，鎏金璀璨，紋飾掐絲精細流暢，釉色種類豐富，紋飾題材吉祥，具有濃郁的宮廷氣息，當為造辦處琺瑯作的代表之作，故宮博物院收藏有相似器物可作印證。

本品於工藝精湛、釉彩妍美之外，最為可圈可點之處則是底部楷書雙方框款「乾隆年製」四字款，縱觀乾隆一朝，凡落此雙框架款的掐絲琺瑯比落千字文款的更是少見，級別更高，非同凡響，為乾隆盛世內府瑰寶。再者，此尊底足處理更是特別，於腹部處內凹形成圈足，不僅使造型更加完美，更是為了配座方便。可貴之處，此搖鈴尊經歷百年流傳，仍保留有原配紫檀如意蓮瓣座，十分不易。

2109清乾隆銅鎏金掐絲琺瑯纏枝蓮紋搖鈴尊「乾隆年製」

來源1. 倫敦佳士得，2010 年 11 月 9 日，編號 2222. 保利香港，2013 年 10 月 7 日，編號 1560

參考故宮博物院編，《故宮博物院藏品大系琺瑯器編 2》，紫禁城出版社，2011 年，頁 199，編號 156

H 16cm

HK$ 850,000 - 1,200,000US$ 109,000 - 154,000

A CLOISONNE ENAMEL 'INTERTWINED LOTUS' MALLET-SHAPED VASEQIANLONG PERIOD, 1736-1795

PROVENANCE

1. Christie's London, 9 November 2010, lot 2222. Poly Auction Hong Kong, 7 October 2013, lot 1560

REFERENCE

The Palace Museum, Compendium of Collections in The Palace Museum, Enamels 2, Beijing, 2001, p.199, pl.156



2110十八世紀喀爾喀銅鎏金彌勒佛

來源1. 紐約佳士得，2018 年 3 月 21 日，編號 6382. 紐約佳士得，2016 年 3 月 15 日，編號 251

H 19.7cm

HK$ 380,000 - 480,000US$ 49,000 - 62,000

A GILT-BRONZE FIGURE OF THE TEACHING BUDDHA18TH CENTURY

PROVENANCE

1. Christie's New York, 21 March 2018, lot 6382. Christie's New York, 15 March 2016, lot 251

彌勒佛有菩薩裝和佛裝兩種神格，其在《上生兜率天經》是居於兜率淨土的菩薩，而《下生成佛經》中的彌勒則是未來降誕人間龍華三會宣說佛法的諸佛。此尊即為後者。彌勒佛紺青螺髮，高肉髻，寶珠頂嚴，雙耳垂肩。面容端正莊嚴，蹙眉高鼻，眉間有白毫，嘴角微抿而上彎。身著袒右袈裟，緄邊雙弦紋，其內鏨刻花紋，通身光素貼體，魚尾狀衣角搭左肩而垂下。尊像雙手於胸前結說法印，雙腿結跏趺坐於仰覆蓮座上，蓮瓣規整，瓣尖上翹，上下飾以細密蓮珠紋，下層略高，原封底，底部鏨刻十字金剛杵，線條規整，法度莊嚴。

喀爾喀蒙古在清初是由喀爾喀部（八十六旗）組成的，也稱漠北蒙古，行政中心在庫侖（今蒙古國烏蘭巴托市）。出自喀爾喀蒙古大活佛札納巴札爾達喇嘛（1635-1723）之手的金銅佛像確立了喀爾喀蒙古佛像的標准樣式，主要流行於十七世紀晚期至十八世紀早期。用銅比較講究，銅質精良，密度很高，胎體厚重敦實，金水淳厚，手頭較重，形塑方面追求表現肌肉的力度，造型工穩對稱，端正中不失精巧和柔媚感。

這尊銅像是贊那巴扎爾風格的優秀實例，鎏金飽滿，造型端正，身形健碩有力，加之細膩的曲線和精緻的細節，達致優美的整體造型，自然而滿具生命力。



2111十五世紀銅鎏金釋迦牟尼

來源1. 德國司徒加特 Nagel Auktionen，2008 年 5 月 17 日，編號 4912. 紐約佳士得，2016 年 3 月 15 日，編號 255

H 26.5cm

HK$ 550,000 - 850,000US$ 71,000 - 109,000

A GILT-BRONZE FIGURE OF SHAKYAMUNI15TH CENTURY

PROVENANCE

1. Nagel Auktionen, Stuttgart, 17 May 2008, lot 4912. Christie's New York, 15 March 2016, lot 255

釋尊面容飽滿圓潤，紺青螺髮，肉髻高立，上有寶珠頂嚴，雙眉細長，高鼻直挺。其雙目上揚，嘴唇微抿，釋尊身著袒右袈裟，緄邊兩道凸起弦紋，餘處光素，薄衣貼體。其左手下垂，結觸地印，右手托缽於腹前，手指關節刻畫細緻，凸顯匠人卓越的造型技藝。釋尊雙腿結跏趺坐，下承仰覆蓮瓣，花瓣細長飽滿，尤其是瓣尖猶如垂露，嬌媚欲滴，上緣一周連珠紋，下緣分飾兩圈連珠紋，珠粒細密圓潤，異常華美。

本尊造像體格飽滿，整體鎏金飽滿，光潔明亮，釋尊面容從容自然，肢體協調而有韻律感，雙腳之間的衣紋如水波般流暢自如，如絲綢般質地輕柔。具有尼泊爾造像的美感，顯得清雅脫俗。蓮瓣密集布滿蓮座一周，蓮瓣尖端上翹，飽滿欲滴，華美富貴，可見塑造技術之高超，令人嘆服。



2112明晚期至清早期銅胎掐絲琺瑯獅子擺件

來源日本京都私人收藏

該器為一立獅，獅首扭向一側。卷耳，雙目圓睜，肥鼻，張口露齒，鬃毛捲曲，身軀健碩，四肢粗壯有力，卷尾高高揚起，形態威武，神情凜然，動態十足。獅身上飾韁帶，背上有鞍墊，以掐絲琺瑯裝飾西番蓮花紋圖案，十分少見。蓮花座置於獅背，蓮瓣紋樣線條圓潤，雲錦可觀，獅子背負蓮花盆，是唐代佛教常用的一種裝飾手法。獅子大約是在漢代作為“殊方異物”傳入我國的，《後漢書》和《東觀漢記》載，漢章帝和漢順帝時，安息國和疏勒國曾派遣使者獻獅子。唐朝有名的大書法家虞世南所作的《獅子賦》中有“鎮目電暇，發聲雷響”等句，形容獅子的靈活與兇猛。此後長期以來一直作為古代瑞獸的象徵，能解除多種形煞。此尊獅像整體筋腱畢露，裝飾華麗。古代無名工匠將現實生活中的獅子加以凝縮提煉，高度概括，寥寥數筆，把獅子的威猛勁頭和矯健身軀表達的淋漓盡致，入木三分，實為大手筆之作。

L 18cm

HK$ 320,000 - 480,000 US$ 41,000 - 62,000

A CLOISONNÉ ENAMEL FIGURE OF LIONLATE MING TO EARLY QING DYNASTY, 17TH CENTURY

PROVENANCE

A Japanese private collection


2113清中期白玉俏色和合二仙

來源悉尼私人收藏

這件玉器選料獨特，選用白黑玉為材，玉色上淺下深，分界明確，玉質溫潤細膩，保存完好。巧用上半部分立體圓雕和合二仙，下半部利用深雕琢一葉輕舟。二仙於水濤之上小舟之中，面態笑容可鞠，一仙人捧靈芝站在船頭，另仙坐在船尾，雙手劃槳，二仙之間一花口六棱寶瓶，上刻「囍」字。

「和合二仙」，又稱「和合二聖」，為唐代著名高僧。因「和合」二字代表吉祥寓意，故自宋代以來即被奉為結婚之神，象徵新婚夫婦圓圓滿滿、一團和氣。該擺件玉質細潤，做工講究，雕工精細，人物刻畫生動，線條流暢，為同時期玉雕擺件之上。

H 9.3cm

HK$ 220,000 - 320,000 US$ 29,000 - 41,000

A CARVED JADE 'HEHE ERXIAN' GROUPMID QING DYNASTY, 18TH CENTURY

PROVENANCE

An Australian private collection

珠寶及尚品專場

JEWELS AND PRESTIGE COLLECTIONS

POLY AUCTION MACAU152


Set with a heart-shaped fancy intense yellow-green diamond of 0.53 carat, fancy pink diamond of 0.38 carat and fancy yellowish orange diamond of 0.38 carat, accented with circular-cut diamonds, weighing 0.55 carat in total, mounted in 18K gold, ring size 6 1/4

GIA, 2019, report no. 5202782351, 0.53 carat, fancy intense yellow-green colourGIA, 2020, report no. 2201936189, 0.38 carat, fancy pink colourGIA, 2019, report no. 5201782536, 0.38 carat, fancy yellowish orange colour

18K 金鑲嵌 0.53 克拉心形濃彩黃綠色鑽石，0.38 克拉彩粉鑽石及 0.38 克拉彩黃橙色鑽石，配鑲圓形鑽石共重約 0.55 克拉，戒指 6 1/4 號附 GIA 證書

HK$ 72,000 - 105,000US$ 9,200 - 13,500

2114A MULTI-COLOR DIAMOND RING彩色鑽石戒指

Set with a cushion-shaped fancy brownish purplish pink diamond of 0.53 carat, decorated with circular-cut diamonds and diamonds of pink hue, can also be worn as a pendant, mounted in 18K gold, ring size 7

GIA, 2019, report no. 2205581289, 0.53 carat, fancy brownish purplish pink colour, SI1 clarity

18K 金鑲嵌 0.53 克拉枕形彩棕紫粉色鑽石，配鑲圓形鑽石及粉色調圓形鑽石，可拆做掛墜佩戴，戒指 7 號附 GIA 證書

HK$ 48,000 - 80,000US$ 6,200 - 10,300

2115A 0.53 CARAT FANCY BROWNISH PURPLISH PINK DIAMOND AND DIAMOND RING/PENDANT0.53克拉彩棕紫粉色鑽石配鑽石戒指/掛墜

2114 2115

紅色標題拍品無保留價 Lots with red titles are to be sold without reserve

Each set with a pear-shaped diamond and five hexagonal-shaped titanium with radiation pattern, creating a three-dimensiaon style, decorated with circular-cut diamonds, moutned in 14K gold, earring length 5.3cm

14K 金鑲嵌鈦金屬片，中心點綴一顆梨形鑽石，五片鈦金屬片雕刻放射紋路，重疊而成三維立體造型，耳環長約 5.3cm

HK$ 20,000 - 30,000US$ 2,600 - 3,800

2116A PAIR OF TITANIUM AND DIAMOND EARRINGS鈦金屬配鑽石耳環

2116

紅色標題拍品無保留價 Lots with red titles are to be sold without reserve



Designed as a butterfly, with a circular-cut ruby eye and the wings set throughout with turquoise, further decorated with circular-cut diamonds and seed pearl, mounted in 18K gold, butterfly dimension 7.5(L)x5.8(W) cm

18K 金打造蝴蝶造型，眼睛鑲嵌圓形紅寶石，綠松石鑲嵌翅膀，裝飾圓形鑽石及籽珠，蝴蝶尺寸 7.5( 長 )x5.8( 寬 ) cm

HK$ 38,000 - 50,000US$ 4,900 - 6,400

2117A RUBY, DIAMOND TURQUOISE ‘BUTTERFLY’ BROOCH,BY JUDY CHAOJUDY CHAO 設計紅寶石，鑽石及綠松石「蝴蝶」胸針

2117



Set with a cushion-shaped ruby weighing 8.52 carats, flanked by two halfmoon-shaped diamonds, weighing 1.91 carats in total, mounted in platinum, ring size 6½

GRS, 2020, report no. GRS2020-026660: 8.52 carats, East Africa, no indications of thermal treatment, GRS type ‘pigeon’s blood’

鉑金鑲嵌 8.52 克拉枕形緬甸紅寶石，兩旁配鑲半月形鑽石共重約 1.91 克拉，戒指 6 號附 GRS 證書

HK$ 800,000 - 1,600,000US$ 102,600 - 205,100

2118A 8.52 CARAT ‘PIGEON’S BLOOD’ RUBY AND DIAMOND RING8.52克拉「鴿血紅」紅寶石配鑽石戒指，未經加熱

2118



Each suspending a jadeite double hoop of intense green color and very good translucency, to an oval-shaped diamond surmount and circular-cut diamond-set hook, mounted in 18K gold, hoop approximately 20.27x 7.09 mm, earring 4.8 cm long

HK Jade & Stone Lab, 2020, report no. KJ 102079, natural Fei Cui-Type A

18K 金鑲嵌緬甸天然翡翠雙環耳環，配鑲鑽石，翡翠環尺寸約20.27x 7.09 mm，耳環長約 4.8 cm附香港玉石鑑定中心證書

HK$ 3,800,000 - 5,000,000US$ 487,200 - 641,000

Set with a translucent oval jadeite cabochon of intense green color, within a pearl surround with diamond and ruby accents, to the hoop set througout with pearl, mounted in 18K gold, cabochon approximately 13.83x11.88x4.63 mm ,ring size 6

HK Jade & Stone Lab, 2019, report no. SJ 181248, natural Fei Cui-Type A

18K 金鑲嵌緬甸天然翡翠蛋面，配鑲珍珠，鑽石及紅寶石，翡翠蛋面尺寸約 13.83x11.88x4.63 mm，戒指 6 號附香港玉石鑑定中心證書

HK$ 180,000 - 280,000US$ 23,100 - 35,900

2119A JADEITE, PEARL AND RUBY RING緬甸天然翡翠蛋面配鑽石、珍珠及紅寶石戒指

2119

2120

2120A PAIR OF JADEITE DOUBLE HOOP EAR PENDANTS緬甸天然翡翠「雙環」配鑽石耳環



Sarah was born in Hong Kong, grew up in Macau, then moved to London for school. Following her passion for the creative arts, she studied fashion continuing onto jewellery design and silversmithing. Sarah qualified as a gemmologist at the HRD in Antwerp, the heart of the diamond industry, before launching her fine jewellery company in 2006.Sarah Ho is renowned for her fresh and contemporary approach to fine jewellery. Designs that are a celebration of colour and bold femininity - the lives and stories of the strong women around her expressed in precious gemstones and gold. Sarah is an industry pioneer for repurposing elements of existing jewellery into new creations. At the heart of the brand the ethos is for sustainability, not only through the recycled metals and responsibly sourced gemstones and natural pearls, but also breathing new life into existing materials in a creative way. Passionate about pearls and gemstones, Sarah has an extensive collection of natural pearls and worldly sought gems, especially the rare and unusual, are the centrepiece for Sarah’s daring designs. Signature features include colourful enamel, delicate golden lace work studded with diamonds and the striking silhouettes and textural qualities of each design culminate in glamorous, playful and feminine collections.

Sarah Ho 出生於香港，在澳門長大，隨後前往倫敦求學。跟隨著對於創作藝術的熱情，她學習了珠寶設計以及銀器製作，並於安特衛普取得了寶石學家的學位，在 2006 年創立了自己的高級珠寶公司。Sarah Ho 的高級珠寶以新奇與當代化聞名於世。她的設計颂扬了華麗的色彩以及大膽的女性氣質 - 用寶石和黃金譜寫出她周圍堅強女性的人生故事。

Sarah 擅長利用現有的珠寶元素創作出全新的作品，是產業的先鋒。她的品牌以可持續為核心，使用回收利用的金屬和負責任的採集寶石及珍珠，以充滿創造力的方式將新的生命注入現有的素材。對於寶石及珍珠的熱情令 Sarah 從世界各地廣泛收集了顏色各異，極其罕見的天然珍珠，寶石，並以它們為主石，進行華麗，嬌柔，值得玩味的設計創作。

JEWELRY DESIGNER

ANNA HU

JEWELRY DESIGNER

SARAH HO

Anna Hu is an American designer born in Tainan, Taiwan (R.O.C.). She started her jewelry brand in New York, Anna Haute Joaillerie in 2008. Anna’s techniques fuses elements of the east and the west, with inspiration from her love of classical music and modern con-temporary art. All of Anna Hu’s pieces are created in workshops in Paris and New York by craftsmen that have been making jewelry using complicated traditional methods. Anna Hu worked at Van Cleef &Arpels and Harry Winston after graduating from Parsons and Columbia University with double masters degrees. While she worked at Harry Win-ston, Anna became head designer Maurice Galli’s only private apprentice. At age 35 on July 2012, Anna had her first exhibition at the Musée du Louvre in France.In 2011, Anna Hu was given the “Artistic Vision of the Year ” award by the prominent China Institute. As well as the “International Jewelry Designer of the Year” award from Elle China magazine, and “Jewelry Designer of the Year” from Elle Taiwan the following year. Anna’s works have been featured in numerous international magazine and newspa-pers as well.

胡茵菲（Anna Hu），生於台灣台南市；美籍台裔珠寶設計師。來自紐約的中法藝術珠寶品牌 ANNA HU HAUTE JOAILLERIE，於 2008 年創立，ANNA 的設計巧妙融合東西方元素，靈感源於對古典音樂和當代藝術的熱愛。ANNA HU 每件作品均來自巴黎和紐約的鑲工工坊使用最傳統繁複的學院派工藝打造，

ANNA HU 碩士畢業後在 Van Cleef & Arpels 及 Harry Winston 任職。她是在 Harry Winston 工作時與品牌首席珠寶設計師 Maurice Galli 相識，並成為他唯一承認的私人弟子，也是 Maurice Galli 鼓勵下 ANNA HU 創立自己的珠寶設計師品牌。她在 35 歲之際 , 於 2012 年在台北及法國巴黎羅浮宮裝置藝術博物館舉辦全球個展。2011 年 ANNA HU 被美國 China Institute 授予「年度藝術遠見獎」，是首位珠寶設計師獲此殊榮，2012 年獲 ELLE 中國風尚大典「國際珠寶設計師年度大獎」，次年又獲 ELLE 臺灣風格大獎「年度珠寶設計師大獎」。Anna 和她的作品已被國際媒體關注報導。

保利澳門拍賣董事兼首席執行官何超盈小姐邀請到知名珠寶設計師胡茵菲及Sarah Ho為這次拍賣呈獻四件瑰麗首飾，拍賣收益將撥捐維多利亞與艾伯特博物館(V&A Museum)的慈善項目 V&A In-novate。此計劃是一個網上資訊平台，通過教育，使學生有機會利用設計和科技解決世界上一些共同面對的問題，並透過實踐體驗設計和科技的力量。

Invited by Ms. Sabrina Ho, Director and CEO of Poly Auction Macau, proceeds of four stunning pieces of jewellery, created by Anna Hu and Sarah Ho, will go to sup-port the charity programme “V&A Inno-vate” by the Victoria & Albert Museum (V&A Museum). V&A Innovate is an online resources hub that gives students the opportunity to ex-perience the power of design and technol-ogy in solving some of the world's biggest problems.

Proceeds for the following four lots will be donated to Victoria & Albert Museium to support their charity programme ‘V&A Innovate’

拍賣收益將撥捐維多利亞與艾伯特博物館(V&A Museum)的慈善項目 V&A Innovate

V&A INNOVATE維多利亞與艾伯特博物館慈善項目



Set with an princess-cut diamond of 2.17 carats, decorated with green diamonds, sapphires and tsavorite, weighing 0.63, 1.23, 0.42 carat in total recpextively, further accented with circular-cut diamonds of 1.65 carats in total, mounted in 18K gold, ring size 4 3/4

18K 金鑲嵌 2.17 克拉公主方形切割鑽石，裝飾綠色鑽石、藍寶石及沙弗萊石，分別共重約 0.63,1.23 及 0.42 克拉，配鑲圓形鑽石共重約 1.65 克拉，戒指 4 3/4 號

HK$ 620,000 - 750,000US$ 79,500 - 96,200

2121A DIAMOND, SAPPHIRE AND TSAVORITE ‘HAT’ RING, BY ANNA HU胡茵菲設計，鑽石、藍寶石及沙弗萊石「皇家帽飾系列」戒指

2121

Each set with a triangular-cut diamond and two princess-cut diamond, weighing 0.81 and 1.04 carats in total, decorated with sapphires and tsavorite, weighing 1.16 and 0.37 carat in total recpextively, further accented with circular-cut diamonds of 2.26 carats in total, mounted in 18K gold, earrings approximately 1.8 cm

18K 金鑲嵌共重約 0.81 及 1.04 克拉三角形及公主方形切割鑽石，裝飾藍寶石及沙弗萊石，分別共重約 1.16 及 0.37 克拉，配鑲圓形鑽石共重約 2.26 克拉，耳環長約 1.8 cm

HK$ 550,000 - 650,000US$ 70,500 - 83,300

2122A PAIR OF DIAMOND, SAPPHIRE AND TSAVORITE ‘HAT’ EARRINGS, BY ANNA HU胡茵菲設計，鑽石、藍寶石及沙弗萊石「皇家帽飾系列」耳環

2122



Set with a pink conch pearl of 17.75 carats, measuring approximately 15.4 x 14.3 x 11.2mm, ring band decorated with white enamel and four circular-cut diamonds weighing 1.06 carats in total, mounted in 18K gold, ring size 6 1/2

18K 金鑲嵌一顆 17.75 克拉天然海螺珠，尺寸 15.4 x 14.3 x 11.2mm，戒圈鑲嵌白色琺瑯及四顆圓形切割鑽石共重約 1.06 克拉，戒指 6 1/2 號

HK$ 580,000 - 880,000US$ 74,400 - 112,800

2123A CONCH PEARL, DIAMOND AND WHITE ENAMAL RING, BY SARAH HOSarah Ho設計，天然海螺珠配鑽石及白色琺瑯戒指

2123

Potential bidders who intend to export this lot are advised that certain permits may be required for export. If you are interested in this lot, please contact the Jewelry Department before bidding.

准買家應留意某些國家規家此類物料商品需向出口及入口有關管理機構取得許可證(例如CITES)。客戶應於競投該等物品之前與有關部門查詢

Of rippling design, each set with 6 natural pearls that graduated from 8mm to 5mm, accented with droplets of marquise diamonds, further decorated with white enamel and circular-cut diamonds, diamonds weighing 6.67 carats in total, mounted in 18K gold, earring dimensions are 70 mm x 20 mm

漣漪形狀設計，18K 金鑲嵌共 12 顆天然珍珠，尺寸約 8mm 至 5mm，欖尖形鑽石打造水滴，配鑲白色琺瑯及圓形切割鑽石，鑽石共重約 6.67 克拉，耳環尺寸約 70 mm x 20 mm

HK$ 720,000 - 1,200,000US$ 92,300 - 153,800

2124A PAIR OF NATURAL PEARL, DIAMOND AND WHITE ENAMEL EARRINGS, BY SARAH HOSarah Ho設計，天然珍珠配鑽石及白色琺瑯耳環

2124

Potential bidders who intend to export this lot are advised that certain permits may be required for export. If you are interested in this lot, please contact the Jewelry Department before bidding.

准買家應留意某些國家規家此類物料商品需向出口及入口有關管理機構取得許可證(例如CITES)。客戶應於競投該等物品之前與有關部門查詢



Set with an oval-shaped fancy brownish orangy pink diamond of 20.02 carats, to the circular-cut diamond gallery and shoulders, diamonds weighing 1.45 carats in total, mounted in 18K gold and platinum, ring size 6 1/4

GIA, 2020, report no. 2203655858, 20.02 carats, fancy brownish orangy pink colour, VVS2 clarity, excellent polish and symmetry

18K 金鑲嵌 20.02 克拉橢圓形彩棕橙粉色鑽石，配鑲圓形鑽石共重約 1.45 克拉，戒指 6 1/4 號附 GIA 證書

HK$ 14,000,000 - 24,000,000US$ 1,794,900 - 3,076,900

〇2125A 20.02 FANCY BROWNISH ORANGY PINK DIAMOND AND DIAMOND RING20.02克拉彩棕橙粉色鑽石配鑽石戒指

2125



2126GIRARD-PERREGAUX AN ELEGANT AND VERY FINE WHITE GOLD, DIAMOND AND SAPPHIRE-SET AUTOMATIC WRISTWATCH芝柏優雅細緻，白金鑲鑽石及藍寶石自動腕錶

MOVEMENT

Automatic, cal. GP03300, 27 jewels, signedDIAL

Pavé diamond-set dial with baguette-cut diamond and saphhire-set chapter ring, signedCASE

White gold case with sapphire-set bezel, diamond and sapphire-set crown and lugs, sapphire crystal display back, case back secured by 4 screws, signedWITH

White gold and diamond-set Girard-Perregaux folding clasp, Certificate of Origin and presentation box

Measurement 36 x 31 mmCondition Report Grade 1.5

「Cat's Eye」，型號 80497F53P1763JK7B，年份約 2018，附原廠證書及錶盒

HK$ 880,000 - 1,600,000US$ 112,800 - 205,100

Cat’s Eye, Ref. 80497F53P1763JK7B, CIRCA 2018

2126



2127CARTIER AN ELEGANT LADY’S WHITE GOLD, DIAMOND AND EMERALD-SET BRACELET WATCH卡地亞優雅，女裝白金鑲鑽石及綠寶石鏈帶腕錶

MOVEMENT

Quartz, signedDIAL

Silvered dial, signedCASE

White gold case with diamond-set bezel depicting a panther with its eye finely set with an emerald, diamond-set crown, case back secured by 6 screws, signedWITH

White gold Cartier bracelet, folding clasp and presentation box

Diameter 27 mm, approximate length 145 mmCondition Report Grade 2

「Panthère 1925」，型號 2476，年份約 1990，附原廠錶盒

HK$ 100,000 - 180,000US$ 12,800 - 23,100

Panthère 1925, Ref. 2476, CIRCA 1990



2128AUDEMARS PIGUET A FINE LIMITED EDITION FORGED CARBON AND TITANIUM OCTAGONAL CHRONOGRAPH AUTOMATIC WRISTWATCH愛彼精美，限量版碳纖維及鈦金屬八角形自動計時碼錶

MOVEMENT

Automatic, cal. 2326/2848, 50 jewels, signedDIAL

Black dial with two subsidiary dials for 20-minute and 6-hour registers, fan-form sector for 10-minute regatta countdown, signedCASE

Forged carbon octagonal case, case back engraved with the Alinghi Team motif and secured by 8 screws, signedWITH

Titanium Audemars Piguet pin buckle, Extract from the Archives and presentation box

Diameter 44 mmCondition Report Grade 1.5

「皇家橡樹離岸型系列」， "Alinghi Team Model"，型號26062FS.OO.A002CA.01，限量生產 1300 枚，年份約 2007，附原廠後補證書及錶盒

HK$ 170,000 - 270,000US$ 21,800 - 34,600

Royal Oak Offshore, “Alinghi Team Model”, Ref. 26062FS.OO.A002CA.01, limited number of 1300 pieces, CIRCA 2007

2128



2129ROLEX AN ATTRACTIVE WHITE GOLD AND DIAMOND-SET AUTOMATIC BRACELET WATCH, WITH DATE AND DAY勞力士精緻吸引，白金鑲鑽石自動鏈帶腕錶，備日期及星期顯示

MOVEMENT

Automatic, cal. 3155, 31 jewels, signedDIAL

Silvered dial with diamond-set chapter ring, apertures for date and day at 3 and 12, signedCASE

White gold case with diamond-set bezel and lugs, screw-down crown and case back, signedWITH

White gold Rolex bracelet and folding clasp

Diameter 44 mm, approximate length 170 mmCondition Report Grade 1.5

「Day-date」，型號 18389，年份約 1991

HK$ 185,000 - 280,000US$ 23,700 - 35,900

Day-date, Ref. 18389, CIRCA 1991

2129



BOVET

2130BOVET A VERY FINE AND SPECIAL LIMITED EDITION WHITE GOLD AND SAPPHIRE-SET JUMPING HOUR MECHANICAL WRISTWATCH, WITH RETROGRADE MINUTES, SECOND TIME ZONE AND 5-DAY POWER RESERVE INDICATORS播威非常精緻罕有，限量版白金鑲藍寶石瞬跳小時機械腕錶，備逆跳分鐘、雙面時間及5天動力儲存顯示

MOVEMENT

Manual, cal. 13BM11AIHSMR, 41 jewels, 5 days power reserve, signedDIAL

Blue dial with aperture for jumping hours and fan-form sector for retrograde minutes, reversed side with blue off-centered dial for second time zone, fan-formed sector for power reserve indicator, signedCASE

White gold and sapphire-set convertible case allows the watch to be converted into a reversible wristwatch, table clock or pocket watch, signedWITH

White gold Bovet pin buckle, Certificate of Origin, rhodium-plated silver chain, setting pin and presentation box

Diameter 43.5 mm, Condition Report Grade 1.5

「Fleurier Complications」，"Virtuoso V"，型號 ACHS016，限量生產 100 枚，年份約 2015，附原廠證書、鍍銠錶鍊、調校針及錶盒

HK$ 200,000 - 400,000 US$ 25,600 - 51,300

Fleurier Complications, “Virtuoso V”, Ref. ACHS016, limited number of 100 pieces, CIRCA 2015

Amadeo Fleurier Virtuoso V

2130



PATEK PHILIPPERef. 5930G

2131PATEK PHILIPPE A FINE AND RARE WHITE GOLD WORLD TIME CHRONOGRAPH AUTOMATIC WRISTWATCH百達翡麗精緻罕有，白金世界時間自動計時碼錶

MOVEMENT

Automatic, cal. CH 28-520 HU, stamped with PP seal, 38 jewels, signedDIAL

Blue opaline dial with luminescent hands and hour indexes, subsidiary dial for 30-minute register at 6, 24-hour revolving chapter ring divided into nocturnal and diurnal hours, outer blue revolving ring with names of 24 cities, signedCASE

White gold case with sapphire crystal display back, signedWITH

White gold Patek Philippe folding clasp, Certificate of Origin and presentation box

Diameter 39.5 mmCondition Report Grade 1.5

「複雜功能時計」，型號 5930G，年份約 2016，附原廠證書及錶盒

HK$ 380,000 - 480,000US$ 48,700 - 61,500

Complications, Ref. 5930G, CIRCA 2016

2131

型號5930G是百達翡麗2016年推出的全新款式，該型號是品牌現有時計系列中的首款世界時間計時碼錶，腕錶的靈感源自1940年推出的一枚獨一無二的作品（型號1415-1 HU 路易士•哥迪亞世界時間計時秒錶），將世界時間和計時這兩項複雜的功能完美融合。

腕錶的設計高貴優雅，39.5mm的白金錶殼，錶盤層次鮮明，最外沿為藍色顯示，列出二十四個代表全球各個時區的城巿名稱，白色計時秒刻度緊貼城巿顯示盤而立，鄰接二十四小時顯示環，添上深/淺區域及日/月符號，用以劃分晝夜。錶盤中央加入藝術裝飾元素的環狀手工雕飾紋，其縱橫交錯的紋路可以產生捕光捉影、千變萬化的效果；光線自中央向外擴散，格外引人注目。

腕錶採用自主研發的新型自動上弦機芯，除了保有原本導柱輪、縱向離合器的計時功能操作之外，加裝的世界時區功能也能透過10點鐘位置的按鈕來進行快調，時針與世界時間刻度即按一小時的幅度同步推動，無礙機芯精確運作。

Model 5930G is a new style launched by Patek Philippe in 2016. It is the first World Time Chronograph in the brand's existing series of timepieces. Inspired by a unique work (Ref. 1415-1 HU The Louise Gordia World Time Chronograph launched in 1940, it is a perfect blend of complex functionality of the world time and calculation of the time.

With an elegant and noble design, the watch’s 39.5mm white gold case has a clearly layered dial. The outermost edge is blue, which lists twenty-four names representing the names of cities in each time zone around the world. The white chronograph’s second hand calibration is adjacent to the city display, next to the 24-hour display ring. With the addition of a deep/shallow area and a day/month symbol to display day and night. The centre of the dial is decorated with art deco elements—ring-shaped hand-carved embossed lines that produce light-capturing and iridescent effects with the crisscrossing lines; the light thus spreads from the centre outwards, making it particularly eye-catching.

The watch adopts a self-developed, new self-winding calibre. Apart from the timing function of the original column wheel and longitudinal clutch, the additional world time zone function can also be adjusted quickly through the button at 10 o'clock position. The time scale is pushed forward simultaneously with the world time marking in one-hour interval, without disturbing the precise operation of the calibre.



2132HUBLOT A SPECIAL AND FINE LIMITED EDITION SAPPHIRE CRYSTAL TONNEAU-SHAPED SEMI-SKELETONISED CHRONOGRAPH AUTOMATIC WRISTWATCH, WITH DATE宇舶獨特精美，限量版藍寶石水晶酒桶形半鏤空自動計時碼錶，備日期顯示

MOVEMENT

Automatic, cal. HUB4700, 31 jewels, signedDIAL

Semi-skeletonised dial with three subsidiary dials for constant seconds, 30-minute and 12-hour registers, aperture for date between 4 and 5, signedCASE

Sapphire crystal tonneau-shaped case with sapphire crystal display back, case back secured by 6 screws, signedWITH

Titanium Hublot folding clasp, Certificate of Origin and presentation box

Measurement 45 x 45 mmCondition Report Grade 1

「Spirit of Big Bang」，型號 601.JX.0120.RT，限量生產 250枚，年份約 2019，附原廠證書及錶盒

HK$ 450,000 - 650,000US$ 57,700 - 83,300

Spirit of Big Bang, Ref. 601.JX.0120.RT, limited number of 250 pieces, CIRCA 2019

2132

創立於1980年，宇舶作為年輕的創意品牌以各種尖端特殊材質活躍於鐘錶行業，並不斷以卓越而大膽的表現形式為鐘錶寫下新的定義。本拍品來自玩味十足的Spirit of Big Bang系列，全球限量僅250枚，腕錶全以拋光藍寶石水晶打造而成，充分強調了腕錶各個細節和機芯內部的複雜金屬結構。由於藍寶石的硬度僅次於鑽石，要加工為酒桶形錶殼的造型更是格外困難，此款式共由四塊精密加工的藍寶石所構成，宇舶透過專業的3D切割技術才能達到這種純淨無瑕、晶瑩剔透的效果，錶盤看似層層遞進，結合實用的計時功能，展現出極致簡約、輕盈澄澈的空靈感。

Founded in 1980, Hublot is a young creative brand active in the watchmaking industry with a variety of cutting-edge special materials, constantly redefining watchmaking with exceptional and daring expressions. From the playful Spirit of Big Bang collection, this limited edition of 250 pieces is made entirely of polished sapphire crystal, highlighting the watch's details and the intricate metalworking of the movement. As sapphires are second only to diamonds in terms of hardness, it was even more difficult to create the tonneau-shaped case, which is made up of four precision-finished sapphires that Hublot had to cut in 3D in order to achieve this flawless, crystal-clear effect. The dial appears to be progressive and combined with the practical chronograph function reveals an ethereal sense of minimalism and lightness and clarity.



2133CORUM A VERY FINE LIMITED EDITION WHITE GOLD, DIAMOND AND SAPPHIRE-SET SKELETONISED MECHANICAL WRISTWATCH崑崙非常精美，限量版白金鑲鑽石及藍寶石鏤空機械腕錶

MOVEMENT

Manual, cal. CO 113, 19 jewels, signedDIAL

Skeletonised dial with diamond-set bridges, signedCASE

White gold case with sapphire-set bezel and lugs, sapphire crystal display back, case back secured by 4 screws, signedWITH

White gold Corum folding clasp, Certificate of Origin and presentation box

Diameter 43 mmCondition Report Grade 1

「金橋系列」，型號 113.993.69/0F03 GG69G，限量生產 18枚，年份約 2018，附原廠證書及錶盒

HK$ 580,000 - 780,000US$ 74,400 - 100,000

Round Golden Bridge, Ref. 113.993.69/0F03 GG69G, limited number of 18 pieces, CIRCA 2018

2133

成立於1955年，崑崙錶雖然不是出自頂級品牌雲集的日內瓦產區，機芯也不是來自擅長機芯複雜功能的洳山谷產區，但崑崙錶以大膽創新作為品牌風格，推出了眾多標誌性的產品系列。

本拍品來自最為傑出經典的金橋系列，其設計主題以三藩市金門大橋（Golden Gate Bridge）為靈感，呈現出精密機械結合宏大建築的和諧畫面。43毫米的金橋圓形腕錶以高貴優雅的18K白金打造，錶圈及錶耳鑲嵌了閃亮動人的藍寶石，透過藍寶石水晶玻璃面，能360度透視直線形的金橋機芯及兩側鑲鑽金門大橋吊橋的精緻結構。腕錶又搭配了鱷魚皮藍色錶帶，增添優雅大方的質感。這種錶殼的製作難度不亞於多件式錶殼結構，展現出崑崙錶精湛絕倫的瑞士製錶技術，其非凡美學設計以及獨特的機芯構造更被公認為歷久彌新的前衛傑作。

Founded in 1955, Corum watches are not from Geneva, a region with many top brands, nor are their movements from the Jura Valleys, a region that specializes in the intricacies of mechanical movements, but they are bold and innovative and have introduced many iconic collections.

Inspired by the Golden Gate Bridge in San Francisco, this work from the Golden Bridge Collection, one of the most illustrious classics, is a harmonious blend of mechanical precision and architectural grandeur. The 43mm Golden Gate Bridge Round is an elegant 18K white gold timepiece with sparkling sapphires on the bezel and lugs and a 360° view through the sapphire crystal. The movement, with its linear shape and the diamond-set sides of the Golden Gate Suspension Bridge, is visible in all its glory. The timepiece is also fitted with an alligator blue strap for added elegance. The case is no less difficult to build than a multi-layered case construction, demonstrating Corum's exquisite Swiss watchmaking skills.



BOVETAmadeo Fleurier Tourbillon Braveheart

2134BOVET A VERY FINE AND RARE LIMITED EDITION WHITE GOLD AND SAPPHIRE-SET SKELETONISED FLYING TOURBILLON MECHANICAL WRISTWATCH, WITH RETROGRADE MINUTES, SECOND TIME ZONE AND 22-DAY POWER RESERVE INDICATORS播威非常精美罕見，限量版白金鑲藍寶石鏤空飛行陀飛輪機械腕錶，備逆跳分鐘、雙面時間及22天動力儲存顯示

MOVEMENT

Manual, cal. 17BM02AI22J, 44 jewels, 22 days power reserve, signedDIAL

Skeletonised hand-engraved dial with hours and retrograde minutes, one-minute flying tourbillon carriage at 6, reversed side with white off-centered dial for second time zone, fan-formed sector for 22-day power reserve indicator, signedCASE

White gold and sapphire-set convertible case allows the watch to be converted into a reversible wristwatch, table clock or pocket watch, signedWITH

White gold Bovet folding clasp, Certificate of Origin, white gold chain and presentation box

Diameter 45 mmCondition Report Grade 1

「 Fleurier Grandes Complications」，“Braveheart"，型號AI22002，限量生產 30 枚，年份約 2015，附原廠證書、白金錶鍊及錶盒

HK$ 1,100,000 - 2,200,000US$ 141,000 - 282,100

Fleurier Grandes Complications, “Braveheart”, Ref. AI22002, limited number of 30 pieces, CIRCA 2015

2134

由播威精心打造的Braveheart陀飛輪腕錶，將美學與測時功能和諧共容，兩個截然不同但運行流暢的顯時設計，跨越了雙面時計特有的技術難關，是播威卓越製錶工藝的寫照。

此腕錶限量生產30枚，具備六項專利技術，長達22天的長動力儲存功能，穩定驅動誤差校正系統，保證腕錶能夠發揮最佳的性能。雙面錶盤，述說著時間的兩個面貌。第一面的偏心錶盤，顯示小時與分鐘，呈120度弧線設計的秒鐘顯示，通過從陀飛輪框架橋板的三枚支臂，以每20秒鐘輪替一次的步調，指示秒鐘的行進；腕錶的另一面，同樣配備偏心顯示盤，品牌專利的雙面同軸指針，被獨具匠心地應用於飛行的陀飛輪之上，在正反兩面劃出完美的對稱線，更添無限魅力。此外，動力儲存的刻度浮現於水晶鏡面下，清晰易讀。

腕錶的錶殼採用品牌專利Amadeo® 三用轉換錶殼，令時計可在無需任何工具的情況下輕鬆變身為小型座鐘或者懷錶，實現多樣的使用方式，為紛繁複雜的腕錶錦上添花。

The Braveheart watch, finely created by Bovet, unites aesthetics and

timekeeping functions. Two distinct but harmoniously-operated time display designs have overcome the technical difficulties unique to double-sided timepieces, which illustrate Bovet’s excellence in watchmaking.

Deploying six patented technologies, the timepiece is limited to 30 pieces and has a long power storage function of up to 22 days, and a stable drive error correction system to ensure the best performance of the watch. The double-sided dial narrates the two facets of time. The eccentric dial on the first side shows the hours and minutes, which is arc design, indicating the progress of the second by repeating the steps from the three arms of the tourbillon frame bridge every 20 seconds. The other side of the watch is also equipped with an eccentric display disc. The brand's patented double-sided coaxial pointer is uniquely applied to the flying tourbillon, creating a perfect symmetry line on both sides, enhancing the charisma. Additionally, the power reserve scale emerges under the crystal mirror, which is easy to read.

The watch's case is made with the brand's patented Amadeo® three-purpose conversion case, making it easy to turn the timepiece into a small clock or pocket watch without any tools, while enabling a variety of usages and enhancing the complexity of the watch.



里查德米爾 -RM020 座鐘懷錶RICHARD MILLE - RM020 Table Clock Pocket Watch

走在潮流尖端的創意品牌里查德米爾經多年研發後，成功研製出舉世矚目的奈米碳纖維(Carbon Nanofibre)機芯底板，這種非晶體具有高度穩定的機械、物理及化學特性，甚至能夠抵抗賽車奔馳時所產生的激烈摩擦，保證了機芯在各種環境因素下均能夠無阻運行。里查德米爾之後將此材質應用到本拍品RM 020陀飛輪懷錶上，實現了古典時計與創新科技的結合，再一次突破了製錶材質的界限。

RM 020碩大的鈦金屬錶殼達62 x 52毫米，外殼呈充滿現代感的弧形，輪廓獨特而線條流暢。里查德米爾採用了開面的錶盤設計，搭載了手動上弦機芯，機芯中層的奈米碳纖維底板附有不規則的紋路，而懷錶結構工整有序，六時和九時方向分別設有陀飛輪裝置和動力儲存顯示，四時方向則能夠看到靈感來自汽車變速箱的功能顯示器，包括W(上鍊)、N(正常模式)以及H(調節時間)，只要按壓錶冠便可隨意轉換。另外，連接底板和錶橋的ARCAP零件也擁有非磁性、抗腐蝕性跟極高伸展性，帶有固定機芯的作用，避免了任何震動和碰撞對機芯的影響。而透明底蓋中可見左右對稱的雙發條盒，提供了高達10日的動力，展現了充分的實用性。

巧妙的是，RM 020與錶鍊組合後，成為了便於用家隨身攜帶的精緻懷錶。一旦打開鍊扣，將懷錶安放在悉心設計的底座上，便會搖身一變為與眾不同的桌上座鐘，體現了製錶工匠的慎密思維和奇思妙想，是獨出匠心的細膩工藝品。

After years of research and development, Richard Mille, one of the most cutting-edge watch brands, has successfully created a non-metallic carbon nanofibre baseplate. This amorphous material has highly stable mechanical, physical and chemical properties, and can even resist the intense friction generated from racing vehicles, ensuring the movement can run smoothly despite the change of environmental factors. Richard Mille later applied this material to this lot RM 020 tourbillon pocket watch, displaying the combination of classic timepieces and revolu-tionary technology, once again breaking through the boundaries of watchmaking materials.

The gigantic titanium case of RM 020 with an ultra-modern shape is 62mm long and 52 mm wide. Richard Mille adopts an open-faced design for the dial and equips a manual-winding movement for the pocket watch. There are irregular patterns on the carbon nanofibre base-plate but the timepiece itself is neat and orderly. The one-minute tourbillon carriage and power reserve indicator can been seen from 6 and 9 o’clock directions respectively. The functions indicator at 4 o’clock mimics the different gears positions when driving a race car, users can switch among W (winding), N (neutral) and H (handsetting) in three different modes freely by pressing the crown. Additionally, the ARCAP components connecting the baseplate and the bridges also have non-magnetic, corrosion-resistant properties and extremely high strectchabil-ity. They secure the movement and avoid any impact of vibration and collision. Two symmet-rical directly engaged winding barrels can be seen from the transparent case back, which provide around 10 days of power, showing full practicality of the timepiece.

Fantastically, RM 020 functions as a tourbillon pocket watch with an impressive fob chain that is easy to carry around. When placing it on a specially designed stand, it becomes a distinctive table clock, showing the attentive thoughts and exquisite craftsmanship of Richard Mille.





2135

2135RICHARD MILLE A RARE AND FINE TITANIUM OPEN-FACED TOURBILLON MECHANICAL POCKET WATCH, WITH 10 DAYS POWER RESERVE INDICATOR里查德米爾精美罕有，鈦金屬開面陀飛輪機械懷錶，備10天動力儲存顯示

MOVEMENT

Manual, cal. RM020, 28 jewels, 10 days power reserve, signedDIAL

Semi-skeletonised dial with luminescent hands and dot indexes, one-minute tourbillon carriage at 6, function selector at 4 and power reserve indicator at 9, signedCASE

Titanium case with sapphire crystal display back, case back secured by 8 screws, signedWITH

Richard Mille Certificate of Origin, presentation box, a titanium chain and a desk presentation display

Measurement 62 x 52 mmCondition Report Grade 1

「RM020」，型號 RM020 AI Ti，年份約 2012，附原廠證書、錶盒、鈦金屬錶鍊及桌上底座

HK$ 1,200,000 - 2,200,000US$ 153,800 - 282,100

RM020, Ref. RM020 AI Ti, CIRCA 2012



L.36 x H.23 x D.18 cmCondition Report Grade 1.5

尺寸：L.36 x H.23 x D.18 cm，品相報告 1.5 級。

HK$ 10,000 - 20,000US$ 1,300 - 2,600

2136HERMÈS 2012A BLUE ELECTRIC CLEMENCE LEATHER VICTORIA BAG WITH PALLADIUM HARDWARE愛馬仕 2012電光藍色CLEMENCE牛皮VICTORIA包附銀色金屬配件

L.32 × H.23 × D.11 cmCondition Report Grade 1-1.5

尺寸：L.32 × H.23 × D.11 cm，品相報告 1-1.5 級。

HK$ 30,000 - 60,000US$ 3,800 - 7,700

2137HERMÈS 2016A CAPUCINE TOGO LEATHER RETOURNE KELLY 32 WITH GOLD HARDWARE愛馬仕 2016火焰紅色TOGO牛皮32公分內縫凱莉包附金色金屬配件

2136

2137

L.30 x H.20 x D.15 cmCondition Report Grade 1

尺寸：L.30 x H.20 x D.15 cm，品相報告 1 級。

HK$ 70,000 - 140,000US$ 9,000 - 17,900

2138HERMÈS 2015A ROSE JAIPUR TOGO LEATHER BIRKIN 30 WITH GOLD HARDWARE愛馬仕 2015玫瑰粉色TOGO牛皮30公分柏金包附金色金屬配件

2138





HK$ 85,000 - 150,000US$ 10,900 - 19,200

2139HERMÈS 2012A LIMITED EDITION ROUGE CASAQUE AND COBALT EPSOM LEATHER RETOURNE KELLY 32 WITH PERMABRASS HARDWARE愛馬仕 2012限量國旗紅及鑽藍色EPSOM牛皮32公分內縫凱莉包附精銅配件

2139





HK$ 60,000 - 100,000US$ 7,700 - 12,800

2140HERMÈS 2012A SHINY HAVANE NILOTICUS CROCODILE EGEE CLUTCH BAG WITH PALLADIUM HARDWARE 愛馬仕 2012亮面哈瓦那色尼羅鱷魚皮EGEE手拿包附銀色金屬配件

2140

CITES compliance applies to this lot, please refer to our Terms & Conditions.

此拍品受危野生動物物種國際貿易公約（CITES）之進出口條款約束，詳情請見目錄說明。

H.19 x W.15 x D.15 cmCondition Report Grade 2

尺寸：H.19 x W.15 x D.15 cm，品相報告 2 級。

HK$ 70,000 - 140,000US$ 9,000 - 17,900

2141HERMÈS 2017A VERT FONCE HORSE HAIR AND BLACK EVERCALF LEATHERC TOUPET BAG愛馬仕 2017祖母綠色馬毛及黑色EVERCALF牛皮TOUPET手提包

2141





HK$ 150,000 - 300,000US$ 19,200 - 38,500

2142HERMÈS 2008A SHINY MIEL POROSUS BIRKIN 35 WITH PALLADIUM HARDWARE愛馬仕 2008亮面琥珀色POROSUS鱷魚皮35公分柏金包附銀色金屬配件

2142







HK$ 200,000 - 300,000US$ 25,600 - 38,500

2143HERMÈS 2014A LIMITED EDITION MATTE BLACK ALLIGATOR, CLEMENCE & CALF BOX LEATHER RETOURNE KELLY 35 WITH PALLADIUM HARDWARE愛馬仕 2014限量版霧面黑色短吻鱷魚皮，CLEMENCE及BOX牛皮35公分內縫凱莉包附銀色金屬配件

2143



珍茗佳釀

RARE WINE, WHISKY AND CHINESE TEA



2144A set of 3Rivers Tokyo “The Dance” series WhiskiesSingle Malt

一組3Rivers Tokyo“The Dance”系列威士忌

單一麥芽 700ml 11 Btls/瓶

HK$ 40,000 - 550,000US$ 5,100 - 7,100

*無盒/No Box

3Rivers Tokyo是日本一家獨立瓶裝公司，專門進口蘇格蘭威士忌供日本市場。幾乎所有3Rivers的產品都只在日本發行，以至於在海外市場極度少見。這家公司出品的威士忌通常都以藝術或者漫畫類的圖案來當酒標，很容易識別。

Mannochmore 27 - 1988Bourbon Hogshead1 of 245 btlsDistilled 1988 Bottled 2016

曼諾摩27年 - 1988

波本桶全球限量245瓶1988年入桶 2016年裝瓶ABV47.5%

Glenturret 26 - 1988Hogshead1 of 215 btlsDistilled 1988 Bottled 2015

格蘭塔雷特26年 - 1988

豬頭桶全球限量215瓶1988年入桶 2015年裝瓶ABV48.2%

Mortlach 19 - 1995Hogshead1 of 242 btlsDistilled 1995 Bottled 2015

慕赫19年 - 1995


Ben Nevis 18 - 1996Hogshead1 of 194 btlsDistilled 1996 Bottled 2014

本尼維斯18年 - 1996


Bunnahabhain 27 - 1987Hogshead1 of 153 btlsDistilled 1987 Bottled 2015

布納哈本27年 - 1987


Bunnahabhain 26 - 1987Sherry Hogshead1 of 179 btlsDistilled 1987 Bottled 2014

布納哈本26年 - 1987

雪莉桶全球限量179瓶1987年入桶 2014年裝瓶ABV49.8%

Benrinnes 19 - 19971 of 186 btlsDistilled 1997 Bottled 2017

本利林19年 - 1997

全球限量186瓶1997年入桶 2017年裝瓶ABV57%

Ben Nevis 19 - 1996Sherry Hogshead1 of 221 btlsDistilled 1996 Bottled 2015

本尼維斯19年 - 1996


Littlemill 23 - 1988Bourbon Hogshead1 of 289 btlsDistilled 1988 Bottled 2012

小磨坊23年 - 1988

波本桶全球限量289瓶1988年入桶 2012年裝瓶ABV54.7%

Bunnahabhain 28 - 1988Refill Sherry Hogshead1 of 245 btlsDistilled 1988 Bottled 2016

布納哈本28年 - 1988


Bunnahabhain 27 - 1988Sherry Butt1 of 224 btlsDistilled 1988 Bottled 2015

布納哈本27年 - 1988




2145A set of Moon Import “Horae Solaris” series WhiskiesSingle Malt

一組月亮進口“Horae Solaris”系列威士忌

單一麥芽 700ml 7 Btls/瓶

HK$ 60,000 - 70,000US$ 7,700 - 9,000

*5瓶無盒/5 bottles no boxes

Tomatin 19771 of 820 btlsDistilled 1977 Bottled 1998

湯馬丁1977年


Inchgower 19771 of 520 btlsDistilled 1977 Bottled 1998

英奇高爾1977年


Glen Garioch 19661 of 320 btlsDistilled 1966 Bottled 1998

格蘭蓋瑞1966年


Miltonduff 19781 of 720 btlsDistilled 1978 Bottled 1998

彌爾頓達芙1978年


Macallan-Glenlivet 19881 of 480 btlsDistilled 1988 Bottled 1998

麥卡倫-格蘭利威1988年


Caol ila 19821 of 480 btlsDistilled 1982 Bottled 1998

卡爾里拉1982年


Lagavulin 19881 of 1330 btlsDistilled 1988 Bottled 1998

樂加維林1988年


Moon Import是意大利著名的獨立瓶裝公司以優秀的選酒品質以及精美非凡的酒標著稱。Horae Solaris系列酒標以各種日晷為主題，展現出時間的神秘與太陽色彩的艷麗。

Caledonian Grain 1965Single Grain 1 of 208 btlsDistilled 1965 Bottled 2011

加里東穀物1965年

單一穀物全球限量208瓶1965年入桶 2011年裝瓶ABV46%

Tamdhu 1988Single Malt 1 of 768 btlsDistilled 1988 Bottled 2011

坦杜1988年

單一麥芽全球限量768瓶1988年入桶 2011年裝瓶ABV46%

Glen Garioch 1990Single Malt 1 of 354 btlsDistilled 1990 Bottled 2011

格蘭蓋瑞1990年


Blended Islay Malt 1980Pure Malt 1 of 260 btlsDistilled 1980 Bottled 2011

艾雷島調和麥芽1980年

純麥全球限量260瓶1980年入桶 2011年裝瓶ABV46%

North British Grain 1962Single Grain 1 of 336 btlsDistilled 1962 Bottled 2011

北英格蘭穀物1962年

單一穀物全球限量336瓶1962年入桶 2011年裝瓶ABV46%

Isle of Jura 1988Single Malt 1 of 265 btlsDistilled 1988 Bottled 2011

朱拉1988年


2146A set of Moon Import “The Last Fetish” series Whiskies

一組月亮進口“The Last Fetish”系列威士忌

700ml 6 Btls/瓶

HK$ 40,000 - 55,000US$ 5,100 - 7,100

Moon Import是意大利著名的獨立瓶裝公司以優秀的選酒品質以及精美非凡的酒標著稱。The Last Fetish系列酒標以各種華麗的女士鞋子點出迷戀的主題。



2147A set of Karuizawa Rough Cask Whiskies #5034 #5036Single Malt Rough CaskDistilled 1995 Bottled 2010

一組輕井澤紅酒桶威士忌 #5034 #5036

單一麥芽紅酒桶1995年入桶 2010年裝瓶ABV66.7 /67.4% 480ml 2 Btls/瓶

HK$ 22,500 - 28,000US$ 2,900 - 3,600

*無盒/No Box

2148Hennessy Nostalgie de BagnoletCognac

軒尼斯巴尼奧萊南瓜水晶瓶

干邑 ABV40% 700ml 2 Btls/瓶

HK$ 24,000 - 32,000US$ 3,100 - 4,100

*無盒/No Box

2149The Macallan 18 - 1982Single Malt Sherry WoodDistilled 1982 Bottled 2,000

麥卡倫18年 - 1982

單一麥芽雪莉桶1982年入桶 2,000年裝瓶ABV43% 750ml 1 Btl/瓶

HK$ 15,000 - 19,000US$ 1,900 - 2,400

2150Karuizawa 50 - 1965 Streams of Time #8852Single Malt Sherry Cask1 of 150 btlsDistilled 1965 Bottled 2015

輕井澤50年 – 1965 似水流年 #8852

單一麥芽雪莉桶全球限量150瓶1965年入桶 2015年裝瓶ABV63.1% 700ml 1 Btl/瓶

HK$ 380,000 - 500,000US$ 48,700 - 64,100



2151二○一五年「飛天牌」貴州茅台酒三公升特別版

Kweichow Moutai 2015度數/ABV：53%容量/vol：3000ml數量/quantity：1瓶/bottle

HK$ 26,000 - 50,000US$ 3,300 - 6,400

2015年茅台總產量為38700噸，當年零售價為1199元。這瓶三升裝的茅台酒屬專供茅台酒專門店的特別版，貴州茅台酒具有醬香味突出，酒體醇厚飽滿，回味陳香悠長，空杯留香持久之特點。且均有原盒，品相完好，存酒飽滿，實屬不易，極具收藏價值。這一時期出廠的茅台酒生產工藝傳統，市場價格適中，無論是收藏還是飲用，都是非常不錯的選擇。

2152一九九九年「飛天牌」貴州茅台酒（原箱）

Kweichow Moutai 1999 (Original Box)度數/ABV：53%容量/vol：500ml數量/quantity：12瓶/bottles

HK$ 250,000 - 350,000US$ 32,100 - 44,900

1999年茅台酒總產量為5074噸，當年零售價為260元。1999年出廠的貴州茅台酒具有醬香味突出，酒體醇厚飽滿，回味陳香悠長，空杯留香持久之特點。且均有原盒，品相完好，存酒飽滿，實屬不易，極具收藏價值。

2153一九九九年「五星牌」貴州茅台酒（原箱）

Kweichow Moutai 1999 (Original Box)度數/ABV：53%容量/vol：500ml數量/quantity：12瓶/bottles

HK$ 250,000 - 350,000US$ 32,100 - 44,900


2154一九九九年「五星牌」貴州茅台酒

Kweichow Moutai 1999度數/ABV：53%容量/vol：500ml數量/quantity：10瓶/bottles

HK$ 130,000 - 200,000US$ 16,700 - 25,600




2155一九九九年「飛天牌」貴州茅台酒

Kweichow Moutai 1999度數/ABV：53%容量/vol：500ml數量/quantity：10瓶/bottles

HK$ 140,000 - 220,000US$ 17,900 - 28,200


2156一九九五年「飛天牌」貴州茅台酒（鐵蓋）

Kweichow Moutai 1995 (With Iron Covering)度數/ABV：53%容量/vol：500ml數量/quantity：10瓶/bottles

HK$ 250,000 - 400,000US$ 32,100 - 51,300

1995年茅台總產量為3978噸，當年零售價為240元。1987年—1996年上半年出廠的貴州茅台酒，瓶蓋為鋁制，被稱為“鐵蓋茅台”。因瓶身沒有標明度數，又稱“無度茅台”。此組拍品保存完好，存酒飽滿，具有醬香味突出，酒體醇厚飽滿，回味陳香悠長，空杯留香持久之特點。

2157一九九○年「飛天牌」貴州茅台酒（鐵蓋）

Kweichow Moutai 1990 (With Iron Covering)度數/ABV：53%容量/vol：500ml數量/quantity：10瓶/bottles

HK$ 300,000 - 450,000US$ 38,500 - 57,700

1990年茅台總產量為1880噸，當年五星牌內銷零售價為86元。1987年—1996年上半年出廠的貴州茅台酒，瓶蓋為鋁制，被稱為“鐵蓋茅台”。因瓶身沒有標明度數，又稱“無度茅台”。該組拍品保存完好，具有醬香味突出，酒體醇厚飽滿，回味陳香悠長，空杯留香持久之特點。

2158二○一四年五○年陳釀·貴州茅台酒（澳門回歸十五周年暨茅台文化協會成立紀念酒）

Kweichow Moutai Special Edition 2014 Aged 50 years (Original Box)度數/ABV：53%容量/vol：500ml數量/quantity：6/bottles

HK$ 300,000 - 500,000US$ 38,500 - 64,100

2014年12月1日，為慶祝澳門回歸祖國十五周年，茅台公司推出澳門回歸十五周年暨茅台文化協會成立紀念酒。選用50年陳釀，極為珍貴，具有醬香味突出，酒體醇厚飽滿，回味陳香悠長，空杯留香持久之特點。酒瓶瓶身採用罕見的綠色，一條浮雕金龍栩栩如生，纏繞在瓶身上，配上金綢覆瓶加以紅絲帶束口，整體高雅大氣，存世稀少，承載澳門回歸的歲月印記，極具收藏價值。

2159一九九九年大渡崗青餅普洱茶

Fourteen Pieces Of Pu'er Tea Cakes, 1999數量：14片總重量：約4706g狀態：純乾倉工序：生茶

HK$ 30,000 - 100,000US$ 3,800 - 12,800專家品評香∣蘭香湯∣爽口味∣甜帶蜜香韻∣回甘明顯

大渡崗青餅為深圳富華公司（即中茶雲南公司深圳分公司）於1999年向大渡崗茶廠特別定制的一批野生普洱茶，以易武老茶樹為原料，茶乾緊結度適中，乾淨油亮。茶餅外觀保存不整齊，茶餅乾淨無雜味，且純乾倉，茶香飽滿，繼續存放有極大的轉化空間，宜藏宜飲。

2160一九九五年 8582青餅普洱茶

Seven Pieces Of Pu'er Tea Cakes,1995數量：原筒7片總重量：約2654g狀態：偏乾倉，原筒，原包工序：生茶

HK$ 200,000 – 250,000US$ 25,600 – 32,100專家品評香∣淡木香湯∣柔和爽口味∣淡樟香，層次豐富韻∣生津回甘，茶氣足，喉韻微澀

一款用時間證明成功的產品，8582配方前身為7582，1985年後香港南天貿易公司依照7582配方定製生產，故而嘜號改為8582並一直沿用至今。選料粗壯，拼配特別，內涵物質豐富，儲存多年後，那豐盈飽滿的樟香，征服了眾多茶友，也贏得了重要的市場地位。茶餅外觀保存非常整齊，茶餅乾淨無雜味，且偏乾倉，茶香飽滿，繼續存放有大的轉化空間，宜藏宜飲。



2161一九八○年代末至一九九○年代初八八青餅普洱茶（7542配方）

Seven Pieces of Pu’er Tea Cakes, 1980S-1990S數量：原筒7片總重量：約2279g狀態：原筒工序：生茶

HK$ 250,000 - 320,000US$ 32,100 - 41,000專家品評香∣淡野樟香湯∣輕柔滑口味∣醇和樟香明顯韻∣生津回甘

「大餅頭」、「蘋果綠」為其明顯的標識，也是以乾倉代表茶的身份進入普洱茶的高端市場，證明了普洱茶在乾倉狀態下有驚喜的表現。只有好的配方，好的保存，才能帶來更好的結果。茶餅外觀保存整齊，茶餅較乾淨，繼續存放有較大的轉化空間，宜藏宜飲。

2162一九八○年代厚紙7542青餅普洱茶

Seven Pieces of Pu'er Tea Cakes,1980S數量：原筒7片總重量：約2380g狀態：原筒工序：生茶

HK$ 250,000 - 300,000US$ 32,100 - 38,500專家品評香∣淡蘭香及木香湯∣柔和爽口味∣醇和且樟香持續韻∣生津回甘

勐海茶廠當時最成功的配方，也是產量最大的產品，以肥壯茶菁為里，幼嫩芽葉灑面，拼配得當，協調性最佳，香氣飽滿，口感豐富，令人陶醉。茶餅外觀保存整齊，且無雜味，繼續存放有大的轉化空間，宜藏宜飲。

2163一九六○年代宋聘號青餅普洱茶（白報紙）

Seven Pieces of Pu’er Tea Cakes, ‘Song Pin Hao’, 1960S數量：原筒7片總重量：約2633g狀態：純乾倉，原筒，原包工序：生茶

HK$ 800,000 - 1,200,000US$ 102,600 - 153,800專家品評香∣木香，淡藥香湯∣醇和爽口味∣甘甜且木香、藥香明顯，層次豐富韻∣回甘生津，茶氣顯

宋聘號茶莊成立於光緒六年(1880年)，主生產極品普洱茶，其年產茶量在易武鎮為第一，地位無可比擬。五十年代末，宋聘號的後人搬遷到泰國及香港，延續號級茶的品質。本拍品為香港公司訂製的一批茶品，茶餅外觀保存整齊，茶餅乾淨無雜味，且純乾倉，茶香飽滿帶有木香及藥香，繼續存放有極大的轉化空間，宜藏宜飲。

2164一九六○至七○年代一組黃印青餅普洱茶(八中黃印、加重萌芽、小黃印）

Three Vintage Pu’er Tea Cakes, 1960S-1970S數量：3片總重量：約968g狀態：自然偏乾倉工序：生茶

HK$ 420,000 - 600,000US$ 53,800 - 76,900專家品評香∣野樟香湯∣飽滿爽口味∣甘甜帶豐富木香，層次豐富韻∣甘潤生津

黃印七子餅是雲南七子餅的一個里程碑，茶菁經過配方拼堆而成，茶質優良，以中壯茶葉為主摻入嫩芽，所以也被稱為「現代拼配普洱茶工藝的始祖」。此組拍品精選了一系列黃印產品，包括八中黃印、加重萌芽、小黃印，茶餅外觀保存整齊，茶餅乾淨無雜味，且自然偏乾倉，是最佳品飲的時期。



2165一九五○年代早期無紙紅印青餅普洱茶

A Vintage Pu’er Tea Cake, 1950S數量：1片總重量：約296g狀態：乾倉工序：生茶

HK$ 400,000 - 480,000US$ 51,300 - 61,500專家品評香∣野樟香湯∣柔和順口味∣甘甜帶明顯樟香韻∣回甘生津豐富，茶氣較強

此拍品為勐海茶廠五十年代早期無紙紅印中的產品，與其他印級茶不同之處是唯一沒加包裝紙直接進入流通市場的茶品。茶餅外觀保存整齊，茶餅乾淨無雜味，且乾倉，茶香飽滿帶樟香，繼續存放有極大的轉化空間，宜藏宜飲。

2166一九五○年代福祿貢青餅普洱茶

A Vintage Pu’er Tea Cake, 1950S數量：1片總重量：約366g狀態：乾倉工序：生茶

HK$ 250,000 - 400,000US$ 32,100 - 51,300專家品評香∣野樟香

福祿貢圓茶富有傳奇性的歷史，1955年從泰國曼谷運到香港，故被誤認成泰國普洱茶，銷路不佳。直至九十年代，有一香港藏家透過內票辨清其身份，應為正統的雲南普洱茶，採用鳳山出口茶菁製成，品質上乘，屬雲南名茶山的稀有珍品。鳳山茶山位於海拔1400米以上，其茶韻與一般雲南茶的風味略有不同，茶葉特別碩厚細嫩，苦性較重。

這次上拍的福祿貢茶餅品相完好，茶餅乾淨無雜味，且乾倉，是值得收藏和品飲的茶品。



2167一九五○年代藍印鐵餅普洱茶

A Vintage Pu’er Tea Cake, 1950S數量：1片總重量：約319g狀態：乾倉，原包工序：生茶

HK$ 380,000 - 500,000US$ 48,700 - 64,100專家品評香∣木香及樟香

藍印鐵餅是五十年代國營茶廠的經典代表茶品，利用鐵模直接把茶菁放入壓制脫模而成，其口感堅實，故有茶中「鐵漢之名」。茶餅外觀保存非常整齊，茶餅乾淨無雜味，且乾倉，繼續存放有極大的轉化空間，宜藏宜飲。

2168一九九○年代初福鼎白茶 —— 牡丹王

White Tea, 1990S數量：1罐總重量：2500g狀態：純乾倉

HK$ 45,000 - 75,000US$ 5,800 - 9,620專家品評香∣毫香明顯帶甜湯∣柔和細膩味∣微甜且層次豐富韻∣口齒留香，生津回甘

牡丹王是白茶中的貴族，需在清明前後採摘，高貴稀有。乾倉保存，茶葉乾淨無異味，宜藏宜飲。

2169一九五○年代新會陳皮

Dried Tangerine Peel, 1950S數量：1罐總重量：600g狀態：果皮完整乾淨

HK$ 66,000 - 120,000US$ 8,500 - 15,400乾倉保存，沒有雜味，經過約70年的沉澱，陳皮外觀保存完整，入藥入饌皆可，口感絕佳。



2170一九六○年代新會陳皮

Dried Tangerine Peel, 1960S數量：1罐總重量：600g狀態：果皮完整乾淨


2171一九九○年代新會陳皮

Dried Tangerine Peel,1990S數量：1罐總重量：1800g狀態：果皮完整乾淨


LOT 2035

LOT 2111

重要通告IMPORTANT NOTICES

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下文旨在給予閣下有關如何在拍賣會上競投之實用資料。於本圖錄前部份所列之保利香港拍賣職員將樂意協助閣下。然而，閣下務須詳閱下列資料，並須注意保利香港拍賣乃賣方之代表。The following pages are designed to give you useful information on how to bid at auction. Poly Auction (Hong Kong)'s staff as listed at the front of this catalogue will be happy to assist you. However, it is important that you read the following information carefully and note that Poly Auction (Hong Kong) acts for the seller.

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ELECTRICAL APPLIANCES AND MECHANICAL MERCHANDISESAll electrical appliances and mechanical merchandises are sold on an“as is”basis, and should not be as-sumed that they operate. Before putting into any use, electrical appliances must be inspected and approved by qualifi ed electric technicians.

珠寶、鐘錶及手袋尚品有關是��拍賣品的狀況��通�會�於圖錄上，然而沒有說明不代表該拍賣品沒有缺陷、瑕疵或未��處理。有��的��處理，如加�、用�或��等，已被��¡¢£¤¥受。如該件拍賣品已向��公¦��所��證§告，所知的重要¨實及��狀

況均已記�於圖錄上，本公司不會對�證§告之©�ª承擔責任。本公司或不可能«每一件��拍賣品��證§告，¬價乃«當®已知悉之所有資料而�出，競投人應於拍賣前自行審看拍賣品，¨�¯不同意°不�±成²³或²´對該拍賣品之競投或µ¶付款的理由。如要求·¸¹定�證§告，需另行付º及»拍賣會 14¼½�¾前·出要求。競投人另需注意¿自ÀÁ的��或ÂÃ，可能會被ÄÅ進口��，Æ限制不�±成²³或²´對該拍賣品之競投或µ¶付款的理由。圖錄中的所有ÇÈ拍賣品均以當®的狀況賣出，競投人應É自�查拍賣品的狀況，圖錄中對Ê拍賣品的Ë�Ì¸參Í，沒有說明不代表該拍賣品狀況ÎÏ、沒有ÐÑ或不Ò�Ó修Ô。狀況§告��保利香港拍賣Õ家的主Ö意°，可能並不×Ø，�未�對所有Ù件ÚÛ、ÐÑ修Ô�出記錄。本公司不會對ÇÈ拍賣品的�、ÜÝª、¼別ÙÞ件 ( 包括Èß ) 的à實ª及是áâã�出保證。 Æ�，競投人需注意��對äåÇÈ的進口限制。因印æ或çè等�術â因é成拍賣品在圖錄及ê或其ë任何形式的圖示，èì製品�íî品中的�ï、ð�、ñ�、形ò等�â物ó在ôõö，以â物為÷。本公司及其½�人員或其代理人對任何拍賣品用任何方式 ( 包括證�、圖錄、øù投è、úû�ü等 ) 所�的ýþ及ÿ價，均為參Íª意°，不±成對拍賣品的任何擔保。本公司及其½�人員或其代理人對上�之ýþ及ÿ價中的不÷�或~}之處不承擔責任。|º·¸的狀況§告及ÿå，是為方便買家而，�¸參Í，並不能代{閣下É身��拍賣品或向Õ家[求Õ業意°。競投人應於拍賣前自行審查拍賣品，¨�對拍賣品的狀況有任何不\不�±成²³或²´對該拍賣品之競投或µ¶付款的理由。拍賣中所出�的拍賣品的狀況可受]^因_如時`、@前的ÐÑ、修Ô、?修及>Ð等è=而有<;:�。ÇÈÿå是/據拍賣品的Øü狀況、品.、製�½-、�,價值、+年代及*有)(而定，每件拍賣品均以拍賣時的實�狀況出�，保利香港拍賣或賣家對於拍賣品的狀況不任何'明或保證。買家承¦ 及同意，任何出�均×&是買家的%定，而Ó)中買家沒有依$保利香港拍賣或賣家的任何��或其�#"!不論口頭或�0形式1。

ÇÈ品�ÿå ÿå 12品�如ú—ÇÈ狀況如&ú，沒有明45用或�678，�9製�圖錄時�A�。 ÿå 1.52品�BC—ÇÈ有BDE�678，�F或有E細頭GHI7，但沒有明45用78，�9製�圖錄時�A�。 ÿå 22品�非�Ï—ÇÈ有DE5用78，�F或有DEI7，�9製�圖錄時�A�。 ÿå 2.52品�ÎÏ—ÇÈ有明45用78，�F有明4JK或I®，�9製�圖錄時�A�。 ÿå 32品�L可—ÇÈ有非�明4的5用78，並有明4>Ð或瑕疵，或需?修。詳細的拍賣品品�狀況請參Í品�§告

手ML品品�ÿåÿå 12如ú。看NO不Ò5用Ó。沒有任何>Ð8象。ÿå 1.52Pú。QR未°明45用78，但因STUV，可°DE�678。ÿå 22處於âW狀ò。在未受ÓXY的人R中是&ú的。可能會有DE的狀況注意¨Z，但aü而bM的狀況cd×�。ÿå 32狀況eÎ。看N<f5用表0cg沒有任何>Ð。可能會有f許的狀況注意¨Z，但aü而bM的狀況eÎ。ÿå 42狀況非�ÎÏ。可能會有DE的>Ð。狀況非�ÎÏ但h角可能 ijDE的Ik78，l部可能會出jDEm7，而金�Þ件�可能會出jnJ7。

ÿå 52狀況ÎÏ。有5用78。狀況§告會4示狀況注意¨Z。ÿå 62狀況L可。有4o>Ð� / ÐÑ。5用前可能需要@?修或pú。狀況§告會4示狀況注意¨Z。

JEWELRY, WATCHES AND HANDBAGSDescription of the conditions of Jewelry Lot(s) usually contained in the catalog, however, absence of a description does not imply that the Lot(s) is free from defects or imperfection or beautification process. Beautification processes of colored gemstones such as heat enhancement, oiling or irradiation etc, have been generally accepted by the international jewelry markets. If Poly Auction (Hong Kong) has obtained gemological reports from internationally recognized gemological laboratories for the Lot(s), all known important facts and conditions of the Lot(s) have contained in the catalog, our company assumes no responsibility for accuracy of the reports. It may not be feasible for Poly Auction (Hong Kong) to obtain laboratory report for all Lot(s), the estimates are based on all known information at the moment. Bidders must inspect conditions of the Lot(s) by themselves before the auction, any dissent about conditions of the Lot(s) after the bid shall not justify rescission or cancellation of a sale or any delay payment. If bidders request designated laboratory report for any Lot(s), such request should be raised out 14 workings days before the auction and at own cost. Bidders should also aware that Lot(s) containing jadeite or gemstones originating from Burma may not allowed to be imported into the U.S., this will not constitute a ground for rescission or cancellation of a sale or any delay payment.Lot(s) of clocks and watches in the catalog will be sold at current status (i.e. as is), bidders should personally inspect conditions of the Lot(s) before the auction. Descriptions of the Lot(s) in catalog are for reference only, absence of a description does not imply that the Lot(s) is in good condition, free from defects or restorations. Descriptions only reflect subjective opinions of experts of Poly Auction (Hong Kong), it is not a statement of facts, nor a complete record of all repairs, component replacements or restorations. Poly Auction (Hong Kong) makes no guarantee on operation, water-resistance, authenticity and originality of individual parts (including watchstrap) of the Lot(s). In addition, bidders should aware the import restrictions of the U.S. concerning luxury watches.Where the tone, color, graduation shape or any other feature of the Lot shown in the catalogue and/or any other illustrations, images and public materials differ from those of the original Lot due to printing, photography or other technical reasons, the original Lot shall take precedence. Any introduction and appraisal of any Lot made by the Company and its employees or its agents in any way (including the certificate, catalogue, slideshow and news media) are only opinions for reference and do not constitute any guarantee for the Lot. The Company and its employees or its agents shall undertake no liability for any inaccuracy or omission in the aforesaid introduction or appraisal.Condition reports and grade are provided free of charge as a convenience to our buyers and are for guidance only. They are not an alternative for examining a lot in person or taking your own professional advice from Specialists. Bidders must inspect conditions of the lot(s) by themselves before the auction. Any dissent about conditions of the lot(s) after the bid shall not justify rescission or cancellation of a sale or any delay in payment. The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage,

restoration, repair and wear tear. The grading of watches is based on the general condition, quality, technical and historical interest, age and rarity of each timepiece. Lots are sold “as is,” in the condition they are in at the time of the sale, without any representation or warranty as to condition by Poly Auction (Hong Kong) or by the seller. The buyers acknowledge and agree that any sale is entirely the buyers’ decision, and the buyers have not relied upon any representation or other information (whether oral or written) by Poly Auction (Hong Kong) or by the seller.

Condition Grades of WatchesGrading 1: As new. The timepiece appears with neither signs of use nor ownership over time. The movement is in working order when cataloguing. Grading 1.5: In excellent condition. The timepiece appears with extremely slight signs of ownership over time. It may exhibit very slight hairline scratches on the case but no obvious signs of use. The movement is in working order when cataloguing. Grading 2: In very good condition. The timepiece appears with slight signs of use over time. It may exhibit slight scratches on the case. The movement is in working order when cataloguing. Grading 2.5: In good condition. The timepiece appears with obvious signs of use and scratches on the case. The movement is in working order when cataloguing. Grading 3: In fair condition. The timepiece appears with very obvious signs of use and scratches/defects. Maintenance may be required. For more details, please refer to the Condition Report for each lot.

Condition Grades of HandbagsGrading 1: As new. Appears never to have been used. It exhibits no signs of wear. Grading 1.5: In mint condition; virtually new and unused with very minor signs of ownership over time. Grading 2: In pristine condition. To the untrained eye, it may appear brand new. There may be a slight condition note, but overall the piece is in excellent condition. Grading 3: In excellent condition. This is a piece that has seldom been used and shows little to no wear. There may be small condition issues to note overall the piece is in excellent condition. Grading 4: In very good condition. This piece may show signs of light wear. It is in very good condition but the corners may show signs of light scuffing, the base may show light scratches, and the hardware may exhibit light marks. Grading 5: In good condition. This piece shows significant wear. There are condition issues that will be noted in the condition report. Grading 6: In fair condition. This piece shows significant wear and/or damage. I t may require repair or refurbishment in order to be used. Condition issues will be noted in the condition report.

酒類及茶葉有關是�rs及tu拍賣品的��已列於圖錄上，本公司·v競投人應在競投前詳細w解拍賣品。競投人在j¢參�競投�x為競投人¦可並¥受所競投拍賣品之包�、品.、狀ò等，競投人競投成y�對拍賣品¯不同意°，不�±成²³或²´對該拍賣品之競投或µ¶付款的理由。買家·�時請審z��。買家 ( 或其代理人 )�U�，�表示已¥受拍賣品之狀況及.量，包括但不限於�品包�盒、標籤、耗Ð量、r塞上等ó在的缺陷或瑕疵，且無異議。

ALCOHOL AND TEAThe descriptions about the auction of alcohol and tea are being stated in the catalogue. Our company reminds bidders to learn more about the auctioned products before bidding. Bidder's participation in bidding at auction is deemed as the bidder's approval and acceptance of the package, quality and status of the auctioned items. Any different opinion formed by the bidders after successful bidding, will not constitute a valid reason to withdraw or cancel the bid and delay payment for the auctioned item. Buyers should cautiously inspect the auctioned item during collection. Upon acknowledging receipt of the auctioned item by the buyer (or his agent), the buyer confirms that he or she has accepted the state and quality including but not limited to any defect or flaw on, e.g. the packaging, labels, level of wear and tear, cork, etc., of the auctioned items without any objection.

語言文本本公司業務規則、重要通告、目錄編列方法之說明、競投登記須知、財務付款通知及�於圖錄、由拍賣官公佈或於拍賣會¢以通告形式·¸之所有其�條款、條件、通知、表�等文件以及本圖錄中拍賣品之Ë�，均以中文文本為÷，英文文本Ì¸參Í。

LANGUAGEThe Chinese version of the Conditions of Business, Important Notice, Explanation of Cataloguing Practice, Important Notice about Bidding Registration, Important Notice about Payment, and all other documents such as the terms, conditions, notices, forms etc. contained in this catalogue, announced by the auctioneer or provided at the saleroom as well as the descriptions of the Prop-erties in this catalogue of our company shall be binding and the English version is for reference only.

版權本圖錄版權�本公司所有。未�本公司�0許可，不�以任何形式對本圖錄的任何部分進行複製或進行其�任何形式的5用。

COPYRIGHTմե e copyright of this catalogue belongs to our company. Without the written permission of our company, no parts of this catalogue shall be reproduced in any ways or used in any other ways.

解釋權本公司業務規則、重要通告、目錄編列方法之說明、競投登記須知、財務付款須知及�於圖錄、由拍賣官公佈或於拍賣會¢以通告形式·¸之所有其�條款、條件、通知、表�等文件的解釋權均由本公司行5。

RIGHT OF INTERPRETATIONմե e right of interpretation in respect of the Conditions of Business, Important Notice, Explanation of Cataloguing Practice, Important Notice about Bidding Registration, Important Notice about Payment, and al l other documents such as the terms, conditions, notices, forms etc. contained in this catalogue, announced by the auctioneer or provided at the sales room, shall be exercised by our company.

目錄編列方法之說明EXPLANATION OF CATALOGUING PRACTICE

保利香港拍賣在受委託拍賣品中的權益保利香港拍賣可能不時·¸其或其附�公司部分或&部擁有之拍賣品。該等拍賣品在目錄中的拍賣編號旁註有 Δ號，以¸識別。保利香港拍賣有時在受委託出�的拍賣品中有直¥的財權益，這可能包括保証最低出�價�或以受委託拍賣品�抵押預@支付委託人該等拍賣品於目錄中其拍賣編號旁註有□號以¸識別。倘若保利香港拍賣在目錄中的每一Z拍賣品均有o擁有或財權益，則保利香港拍賣將不在每一Z拍賣品旁註上符號，但將於目錄的前部份'明其權益。

POLY AUCTION (HONG KONG) INTEREST, IN PROPERTY CONSIGNED FOR AUCTIONFrom time to time, Poly Auction (Hong Kong) may off er a lot which it owns in whole or in part. Such property is identifi ed in the catalogue with the symbol Δ next to the lot number. On occasion, Poly Auction (Hong Kong) has a direct fi nancial interest in lots consigned for sale which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. Such property is identified in the catalogue by the symbol □ next to the lot number. մե is symbol will be used both in cases where Poly Auction (Hong Kong) holds the financial interest on its own, and in cases where Poly Auction (Hong Kong) hasfinanced all or a part of such interest through a third party. Such third parties generally benefi t fi nancially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. մե e fi nancing off ered by a third party may be in the form of an irrevocable bid provided by that third party. Where Poly Auction (Hong Kong) has an ownership or fi nancial interest in every lot in the catalogue, Poly Auction (Hong Kong) will not designate each lot with a symbol, but will state its interest at the front of the catalogue.

所有量度皆為約數及狀況報告拍賣中所出�的拍賣品的狀況可受]^因_如時`、@前的ÐÑ、修Ô、?修及>Ð等è=而有<;:�。|º·¸的狀況§告及ÿå，為方便買家並Ì�¹引�用。狀況§告及ÿå�映w我們的à實想法但示��以覆蓋拍賣品所有缺點、修Ô或ïØ情況。ë們不能�代由閣下É身��拍賣品或閣下自行«拍賣品[求的Õ業意°。拍賣品均以拍賣時的“j狀”出�且保利香港拍賣對於拍賣品的狀況不任何'明或保證。詳細的拍賣品品�狀況請參Í品�§告

ALL MEASUREMENTS ARE APPROXIMATES ANDCONDITION REPORTSմե e condition of lots sold in our auctions can vary widely dueto factors such as age, previous damage, restoration, repairand wear tear. Condition reports and grades are providedfree of charge as convenience to our buyers and are forguidance only. մե ey off er our honest opinion but they maynot refer to all faults, restoration, alteration or adaptation.մե ey are not an alternative to examinming a lot in person ortaking your own professional advice. Lots are sold "as is," inthe condition they are in at the time of the sale, without anyrepresentation or warranty as to condition by Poly Auction(Hong Kong) or by the seller.For more details, please refer to the Condition Report for each lot.

本目錄採用之貨幣兌換率7.8 港元 =1 �元本目錄中標示的�幣兌Û率是/據目錄付印時的兌Û率定，可能�拍賣當日兌Û率有õ別。競投ö請注意，所有�品的¬價均是]月前擬定，並非一成不:，拍賣時可能會�出ïØ。

CATALOGUE EXCHANGE RATEHK$7.8 = US$1մե e rate of exchange was established at the latest practical date prior to the printing of the catalogue and may therefore have changed by the time of the sale. Bidders should bear in mind that estimates are prepared well in advance of the sale and are not defi nitive. մե ey are subject to revision.

目錄編列方法之說明有關相片、圖畫、印刷品及微型書畫之規定下列詞語於本目錄中具有以下意義。請注意本目錄中有關�ö身份的所有'明均按照本公司之業務規則及有限保証的條款而�出。買家應É自�xÊ拍賣品的狀況，�可向保利香港拍賣要求·¸�0狀況§告。目錄內註明-術家之姓名或¦可名稱之�品，保利香港拍賣無條件地¦為是�於該-術家之�品。＊「¦為是 _ 之�品」 ¹以保利香港拍賣�資�之意°¦為，某�品&部或部

份是-術家之創�。＊「_ 之創�室」及「_ 之½�室」 ¹以保利香港拍賣�資�之意°¦為，某�品在某-術

家之創�室或½�室×成，可能在�監督下×成。＊「_ 時T」 ¹以保利香港拍賣�資�之意°¦為，某�品�於某-

術家一¼時T之創�，並且�映出該-術家之創�風�。

＊「跟隨 _ 風�」 ¹以保利香港拍賣�資�之意°¦為，某�品具有某-

術家之風�，但未�是該-術家門之�品。＊「具有 _ 創�手法」 ¹以保利香港拍賣�資�之意°¦為，某�品具有某-

術家之風�，但於<�時T×成。＊「_ 複製品」 ¹以保利香港拍賣�資�之意°¦為，某�品是某-術

家�品之複製品 ( 任何日T )。＊「�名 _」、「日T _」、「題寫 _」 ¹以保利香港拍賣�資�之意°¦為，某�品由某-術

家�名ê寫上日Tê題詞。＊「附有 _ �名」、「附有 _ 之題詞」 ¹以保利香港拍賣�資�之意°¦為某�名ê題詞應不

是某-術家所為。＊「附有 _ 日T」 ¹以保利香港拍賣�資�之意°¦為，並非於該日T×

成。＊於本目錄編列方法之說明中Æ詞語及其定義為對�ö身

份而b之有規限說明。雖然本詞語之5用，乃基於審z研究及代表Õ家之意°，保利香港拍賣及委託人於目錄內5用Æ詞語及其所Ë�之拍賣品及其�ö身份之à�及可信ª，並不承擔及¥受任何風險、義務或責任，而有限保証條款，�不適用於以Æ詞語所Ë�的拍賣品。

EXPLANATION OF CATALOGUING PRACTICEFor Pictures, Drawings, Prints and MiniaturesTerms used in this catalogue have the meanings ascribed to them below. Please note that all statements in this catalogue as to authorship are made subject to the provisions of the Conditions of Business and Limited Warranty. Buyers are advised to inspect the property themselves. Written condition reports are usually available on request.

* Name(s) or Recognised Designation of an Artist without any Qualifi cation

In Poly Auction (Hong Kong)'s opinion a work by the artist.* “Attributed to ...” In Poly Auction (Hong Kong)'s qualifi ed opinion probably a

work by the artist in whole or in part.* “Studio of ...”/ “Workshop of ...” In Poly Auction (Hong Kong)'s qualified opinion a work

executed in the studio or workshop of the artist, possibly under his supervision.

* “Circle of ...” In Poly Auction (Hong Kong)'s qualifi ed opinion a work of

the period of the artist and showing his infl uence.* “Follower of ...” In Poly Auction (Hong Kong)'s qualified opinion a work

executed in the artist's style but not necessarily by a pupil.* “Manner of ...” In Poly Auction (Hong Kong)'s qualified opinion a work

executed in the artist's style but of a later date.* “Aft er ...” In Poly Auction (Hong Kong) 's qualifi ed opinion a copy (of

any date) of a work of theartist.* “Signed ...”/“Dated ...”/“Inscribed ...”

In Poly Auction (Hong Kong) 's qualifi ed opinion the work has been signed/dated/inscribed by the artist.

* “With signature ...”/ “With inscription...”/ In Poly Auction (Hong Kong) 's qualified opinion the

signature/inscription appears to be by a hand other than that of the artist.

* “With date ...” In Poly Auction (Hong Kong)'s qualifi ed opinion the date on

the item was not executed on that date.* մե is term and its defi nition in this Explanation of Catalogu-

ing Practice are a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Poly Auction (Hong Kong) and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the Limited Warranty shall not be available with respect to lots de-scribed using this term.

業務規則

第一章總則

第一條除另有約定�，保利香港拍賣有限公司�為賣家之代理人。拍賣品之成交�約則為賣家�買家之`的�約。本規則、�於圖錄或由拍賣官公佈或於拍賣會¢以通告形式·¸之所有其�條款、條件及通知均±成賣家、買家及 / 或保利香港拍賣有限公司�為拍賣代理之協定條款。

第二條定義及釋義( 一 ) 本規則Ê條款內，下列詞語具有以下含義2(1)“本公司”¹保利香港拍賣有限公司 ;(2)“賣家”¹委託本公司業務規則規定範圍內拍賣品的自然人、法人或ö其ë組織。本規則中除非另有說明或/據文義特殊需要，賣家均包括賣家的代理人 ( 不包括本公司 )、~囑執行人或~+代理人；(3)“競投人”¹以任何方式Í慮、�出或嘗試競投之任何人士、公司、法團或單位。本規則中，除非另有說明或/據文義特殊需要，競投人均包括競投人的代理人；(4)“買家”¹在本公司舉辦的拍賣活動中，拍賣官所¥納之最ä競投價或要約之競投人包括以代理人身份競投之人士之委託人；(5)“買家須支付之佣金”¹買家/據本規則所�º率按落槌價須向本公司支付之佣金；(6)“拍賣品”¹賣家委託本公司進行拍賣及於拍賣會上被拍賣的物品，尤其¹任何圖錄內編有任何編號而加以說明的物品；(7)“拍賣日”¹本公司通告公佈的A式進行拍賣交易之日。若公佈的開W日T�開W拍賣活動實�日T不一致，則以拍賣活動實�開W之日為©；(8)“拍賣成交日”¹在本公司舉辦的拍賣活動中拍賣官以落槌或ö以其�公開表示買定的方式�¦任何拍賣品達成交易的日T；(9)“拍賣官”¹本公司¹定主¯某¢拍賣的人員；(10)“落槌價”¹拍賣官落槌%定將拍賣品�予買家的價�，或若為拍賣會�交易，則為協定出�價；(11)“出�所�款Z淨額”¹支付賣家的款Z淨額，該淨額為落槌價減去按比率計算的佣金、ÊZº用及賣家應支付本公司的其�款Z�的餘額 ;(12)“購買價款”¹買家因購買拍賣品而應支付的包括落槌價、&部佣金。應由買家支付的其ëÊZº用以及因買家不履行義務而應當支付的所有º用在內的a�；(13)“買家�責的ÊZº用”¹�本公司出�拍賣品�關的支出�º用，包括但不限於本公司對拍賣品購買保險、包�、輸、儲ó、保管、買家額�要求的有關任何拍賣品之測試、ï查、查詢或鑒定之º用或向違約買家追討之開支、法律º用等；(14)“保留價”¹賣家�本公司�定的且不公開之拍賣品之最低�價；(15)“¬價”¹在拍賣品圖錄或其�ýþ說明文字之�標明的拍賣品¬計�價，不包括買家須支付之內佣金；(16)“儲óº”¹買家按本規則規定應向本公司支付的儲óº用。( 二 ) 在本規則條款中，/據上下文義，單數詞語�包括複數詞語，�之�然。

第三條適用範圍凡參加本公司組織的拍賣活動的當¨人Ê方，包括賣家、競投人、買家�其��關Ê方 ( 包括但不限於賣家、競投人、買家或買家的代理人 )，均應x為×&¥受本規則條款的約定，受本規則約束，在本公司組織的拍賣活動中遵守本規則的規定，享有本規則規定的權利，承擔本規則規定的義務。如�0協定�本規則不一致的部分，以�0協定為©。在本公司組織的拍賣活動中參�競投的競投人，無論是自己É自出席或ö由代理人出席競投，無論是以在拍賣活動中舉牌競投，還是以委託競投、�話或任何其�方式競投，均被x為×&¥受本規則。

參加本公司組織的拍賣活動的當¨人Ê方之`發的Ê^爭議，均應按照本規則的約定加以解%。

第四條特別提示凡參加本公司拍賣活動的競投人�買家應仔細閱讀並遵守本規則。競投人及 / 或買家應特別仔細閱讀本規則所�之本公司之責任及限制、|責條款。競投人及 / 或其代理人有責任É自審看拍賣品â物，並對自己競投拍賣品的行為承擔法律責任。在本公司舉辦的拍賣活動中，競投人的應價�拍賣官落槌或ö以其�公開表示買定的方式�¦時，�表明關於拍賣品的買賣�同關係已�法效，該競投人�成為該拍賣品的買家。本公司、賣家及買家應承¦拍賣品已出�、成交的¨實，並享有法律規定及本規則約定的權利，承擔法律規定�本規則約定的義務。任何一方不履行義務的均應承擔�應的法律責任。本公司可以通Ó在拍賣會¢張貼公告或ö通Ó拍賣官在拍賣會上í佈的方式對本規則進行修改。

第二章關於賣家

第五條委託程序賣家委託本公司拍賣其物品時2( 一 ) 賣家若為自然人，�須憑 �發出附有照片的身份證明文件 ( 如居民身份證或護照 ) 並�本公司�署委託拍賣�同；( 二 ) 賣家若為法人或其�組織的，應¯有效註冊登記文件、股東證明文件或ö�法的授權委託證明文件，並�本公司�署委託拍賣�同；( 三 ) 賣家�本公司�署委託拍賣�同時，�自動授權本公司對該物品自行製�照片、圖示，圖錄或其ë形式的èì製品。

第六條賣家之代理人代理賣家委託本公司拍賣物品的，應向本公司出具�關委託證明文件。包括2( 一 ) 若為自然人的，�須¯有有效身份證明；( 二 ) 賣家的代理人若為法人或ö其�組織的，須¯有有效註冊登記文件、股東證明文件；( 三 ) ��法)式做出的授權委託�。本公司有權對上�檔以�法的方式進行�查。

第七條賣家之保證賣家«其委託本公司拍賣的拍賣品不可²´地向本公司及買家保證如下2( 一 ) 其對該拍賣品擁有絕對的所有權或享有�法的處分權，對該拍賣品的拍賣不會侵害任何第三方的�法權益 ( 包括o�權權益 )，�不違��關法律、法規的規定；( 二 ) 其已盡其所知，«該拍賣品的N¿�瑕疵向本公司進行w&0、詳盡及÷�的披露�說明，並以�0形式通知本公司，不ó在任何隱瞞或虛±之處 ;若委託品為rs及tu，委託人須詳盡披露包括但不限於包�盒、標籤、耗Ð量、r塞上等ó在的缺陷或瑕疵。( 三 ) 若委託拍品由�地進口香港，賣家應保證符�N¿地法律，並且進出口手續×成並以�0形式通知本公司 ;( 四 ) 若委託品為受限制物品，委託人須�保拍賣品不抵觸任何香港法� ( 包括《公眾衞及¡ 條�》、《食物安&條�》及《保護瀕臨危動植物物^條�》等 )，並�保及向本公司披露其具有依照香港法�規定之任何牌照資�或許可而管有、處6或出�拍賣品。委託人保證，如本公司需要向有關�±�出額�的牌照或許可申請方可拍賣、展示、處6或管有拍賣品，會在拍賣舉行不f於兩¼月前以�0告知。( 五 ) 賣家保證委託拍品是A品，同時賣家保證2 (a) 委託拍品不是以下物品的贗品2 (i) 若賣家Ë�委託拍品是某-術家、�ö或+商之�品或+品的話，�該-術家、�ö或+商之�品或+品； (ii) 若賣家Ë�委託拍品是某時T或某文�製�的�品，�

該時T或該文�製�之�品；(iii) 若賣家Ë�委託拍品N自某N¿的話，�為該N¿之�品或+品；或 (iv) 若賣家Ë�委託拍品Ò�Ó或以某½序、Ó)或手法製é、加½或修Ô等，��Ó該½序、Ó)或手法的�品或+品。 (b) «ÇÈ��而b，除w以上第 5(a) 條款·到的保證，賣家進一步保證，委託拍品的�是按照賣家Ë�的製�Ó)而製�的，是由賣家Ë�的物料�材料而±成的，也O未�Ó賣家Ë�的修Ô½序以�的其�修Ô½序。(c) «��而b，除w以上第 5(a) 條款·到的保證，賣家進一步保證，委託拍品O未�Ó賣家Ë�的��½序以�的其��½序。( 六 ) 如賣家違�任何上�保證，賣家同意×&彌償本公司及ê或買家因Æ而招致公司及ê或買家蒙受任何Ð失、º用開支或支出。

第八條保留價除本公司�賣家約定無保留價的拍賣品�，所有拍賣品均有保留價。保留價由本公司�賣家通Ó協商�0�定。保留價數目一�雙方�定，其Ú改須¨@徵�對方同意。�賣家授權之拍賣標的未成交之�，拍賣方有權以其保留價在該�拍賣會�出�，賣家須向拍賣方支付佣金。在任何情況下，本公司不對某一拍賣品在本公司舉辦的拍賣會中未達保留價不成交而承擔任何責任。

第九條本公司的決定權本公司對下列¨宜擁有×&的%定權2( 一 ) 通Ó拍賣品圖錄及 / 或úû媒ü及 / 或其ë�ü對任何拍賣品做任何內容說明及 / 或ÿ價；( 二 ) 是á應徵詢任何Õ家意°；( 三 ) 拍賣品在圖錄中插圖、拍賣品展覽及其ë形式的拍賣品íî，推廣活動中的安排及所應支付º用的標÷；( 四 ) 某拍賣品是á適�本公司拍賣；( 五 ) 拍賣日T、拍賣地點、拍賣條件及拍賣方式等¨宜。

第十條未上拍拍賣品賣家�本公司�署委託拍賣�同且將拍賣品交付本公司�，若因任何â因致5本公司¦為某拍賣品不適�由本公司拍賣的，則賣家應自本公司發出通知之日起三十日內�³該拍賣品 ( 包�及搬等º用自� )，本公司�賣家之`的委託拍賣�同自賣家領�該拍賣品之日解除。若拍賣人未在上�T限內�走拍賣品，則本公司�賣家之`的委託拍賣�同自上�T限屆\之日�告解除。若賣家在委託拍賣�同解除�七日內仍未�走拍賣品，本公司有權U�儲óº、保險º及其��理支出，本公司�有權以本公司¦為�理的方式處6該拍賣品，處6所�在扣除本公司因Æ+之&部º用�，若有餘款，由賣家自行�³。

第十一條拍賣中止如出j下列情況之一，本公司有權在實�拍賣前的任何時`中Å任何拍賣品的拍賣活動2( 一 ) 本公司對拍賣品的歸�或à實ª¯有異議；( 二 ) 第三方對拍賣品的歸�或à實ª¯有異議且能夠·¸異議所依據的�關證據材料，並按照本公司規定交付擔保金，同時願意對中Å拍賣活動所引起的法律�果及&部Ð失承擔�應責任；( 三 ) 對賣家所�的說明或對本規則第七條所�賣家保證的÷�ª¯有異議；( 四 ) 有證據表明賣家已�違�或將要違�本規則的任何條款 ;( 五 ) 本公司¦為應當中Å的其�任何â因 ;( 六 ) 無論何^導致拍賣中Å，如本公司�知賣家寄�之拍品涉及權�或其�爭議時，本公司有權暫不予辦理退�手續，待爭議解%��予辦理�關手續。

第十二條賣家撤回拍賣品賣家在拍賣日前任何時，̀均可向本公司發出�0通知，²

³其拍賣品。但²³拍賣品時，若該拍賣品已列入圖錄或其ëíî品已開W印æ，則賣家應支付�當於該拍賣品保留價之百分之二十的款Z及其ëÊZº用。如圖錄或任何其ëíî品L未印æ，也需支付�當於該拍賣品保留價之百分之十的款Z及其ëÊZº用。因賣家²³拍賣品而引起的任何爭議或索賠均由賣家自行承擔，�本公司無關。

第十三條自動受保除賣家另有�0¹示�，在賣家�本公司訂立委託拍賣�同並將拍賣品交付本公司�，所有拍賣品將自動受保於本公司的保險，保險金額以本公司�賣家在委託拍賣�同中�定的保留價為÷ ( 無保留價的，以該拍賣品的約定的保險金額為÷。ïØ拍賣保留價的，以該拍賣品â保留價為÷ )。Æ保險金額�適用於保險�索賠，並非本公司對該拍賣品價值的保證或擔保，也不意味o該拍賣品由本公司拍賣，�可��同於該保險金額之款Z。

第十四條保險費拍賣成交�，除非賣家�本公司另有約定，賣家應支付�當於落槌價百分之一的保險º。如拍賣品未成交，賣家也應支付�當於保留價百分之一的保險º。

第十五條保險期間如果拍賣品拍賣成交，保險T限�拍賣成交日起第三十日( 含成交日 ) 終Å或買家領�拍賣品之日終Å ( 以二ö中<早ö為÷ )。如果拍賣品拍賣未能成交，則保險T限�本公司發出領³拍賣品的通知之日起三十日屆\為Å。

第十六條賣家安排保險如賣家以�0形式告知本公司不需投保其拍賣品，則風險由賣家自行承擔。同時，賣家還應隨時承擔以下責任2( 一 ) 對其�任何權利人«拍賣品的毀Ð、滅失向本公司·出的索賠或訴訟做出賠償；( 二 ) 賠償本公司及 / 或任何�方因任何â因é成拍賣品毀Ð、滅失等所遭受的&部Ð失及所支出的&部º用。( 三 ) 將本條所�的賠償規定通知該拍賣品的任何承保人。

第十七條保險免責因自然>Ð、固有瑕疵、內在或潛在缺陷、物.本身:�，自燃、自�、氧�、鏽蝕、滲}、鼠咬、蟲蛀、;氣 ( 氣候或氣溫 ):�、濕(或溫(轉:或其ë漸:â因以及因地震、海嘯、戰爭、敵對行為、武�衝突、恐怖活動、 :、罷½、社會騷亂等不可抗力及�輻�及��ª污染對拍賣品é成的任何毀Ð、滅失，以及由於任何â因é成的圖�框架或玻璃、囊匣、l墊、支架、�裱、插冊、軸頭或s似附�物的毀Ð、滅失，不在保險理賠範圍之內，上�有關風險須由賣家承擔。

第十八條保險賠償凡�因本公司為拍賣品所購保險承保範圍內的¨件或災害所導致的拍賣品毀Ð、滅失，應/據香港有關保險的法律�規定處理。本公司在向保險公司進行理賠並獲�保險賠償�，將保險賠款扣除本公司º用 ( 佣金除� ) 的餘款支付給賣家。

第十九條競投禁止賣家不�競投自己委託本公司拍賣的物品也不�委託�人代為競投。唯本公司有權代賣家以不超Ó保留價之價�參Í競投。若違�本條規定，賣家應自行承擔�應之法律責任，並賠償因Æ給本公司é成的&部Ð失。

第二十條佣金及費用除賣家�本公司另有約定�，賣家授權本公司按落槌價之百分之十扣除佣金，同時扣除其ëÊZº用。儘管本公司是賣家的代理人，但賣家同意本公司可/據本規則第四十九條的規定向買家U�佣金及其ëÊZº用。

第二十一條未成交手續費如果某拍賣品的競投價低於保留價而未能成交，則賣家授權本公司向其U�未拍出手續º及其ëÊZº用。

第二十二條出售所得款項淨額支付如買家已按本規則第四十九條的規定向本公司付清&部購買價款，則本公司應自拍賣成交日起三十五日�將出�所�款Z淨額以港幣方式支付賣家。

第二十三條延遲付款如本規則第五十一條規定的付款T限屆\，本公司仍未U到買家的&部購買價款，則本公司將在U到買家支付的&部購買價款之日起七¼½�日內將出�所�款Z淨額支付賣家。

第二十四條賣家稅項賣家所�的出�所�款Z淨額應向 �納稅，如有關法律規定本公司有代扣代繳義務的，本公司將依照法律規定執行，賣家應協助辦理所有手續，並承擔�應稅º。

第二十五條協助收取拖欠款項賣家在委託本公司拍賣其物品的同時，被x為授權本公司有權代賣家向買家追索�應拖欠價款。如買家在拍賣成交日( 含成交日 ) 起七日內未向本公司付清&部購買價款，本公司除有權按照本規則第五十八條之約定向買家追索其應付的佣金及其�ÊZº用�，�有權在本公司¦為實�可行的情況下，採�適當措施 ( 包括但不限於通Ó法律�徑解% ) 協助賣家向買家U�拖欠的款Z。上�約定並不排除賣家É自或委託任何第三方向買家追索�應拖欠款Z的權利，�不賦予本公司在任何情況下代賣家向買家追索�應拖欠價款的義務。本公司在任何情況下不應因買家未能支付購買價款而向賣家承擔�應責任。

第二十六條本公司有權決定本公司有權¥受賣家授權 ( 由賣家支付º用 ) 並x具ü情況%定下列¨Z2( 一 ) 同意購買價款以特殊付款條件支付；( 二 ) 搬移、貯ó及投保已出�的拍賣品；( 三 ) /據本規則有關條款，解%買家·出的索賠或賣家·出的索賠；( 四 ) 採�其��要措施U�買家拖欠賣家的款Z。

第二十七條拍賣品未能成交( 一 ) 拍賣�交易由本公司�賣家重ú商議�定委託拍賣品的保留價並代為出�，本公司支付賣家不f於以ú的保留價出�時應支付的出�所�款Z淨額。( 二 ) 重ú上拍佣金及º用標÷以â委託拍賣�同約定為÷。( 三 ) �³拍品賣家應自U到本公司領�通知之日起三十日內�³該拍賣品( 包�及搬º用自� )，並向本公司支付未拍出手續º及其�ÊZº用。超Ó上�T限，本公司有權U�儲óº、保險º及其ë�理支出，本公司�有權以公開拍賣或其�出�方式按本公司¦為�適的條件出�該拍賣品，並有權O出�所�款Z淨額中扣除第一�拍賣中賣家應支付的未拍出手續º及其�ÊZº用及��拍賣該拍賣品的所有º用，將餘款支付賣家。

第二十八條風險承擔無論是未上拍或未能成交的拍賣品，賣家均應對其超Ó本規則規定T限未能�³其拍賣品而在該T限�所發之一切風險及º用自行承擔責任。自本公司向賣家發出領³拍賣品的通知之日 ( 含通知日 ) 起第三十日，或自委託人按本規則約定領�拍賣品之時 ( 以@到ö為÷ )，未上拍或未能成交拍賣品的一切風險及º用由賣家承擔。如賣家在本規則規定T限內要求本公司協助其退³拍賣品並�本公司同意，拍賣品自離開本公司¹定地點�的一切風險及º用由賣家承擔。除非賣家特別¹明並預@支付保險º，本公司無義務對拍賣品在離開本公司¹定地點�予以投保。如賣家要求本公司協助以郵寄、快遞或其�通Ó第三方的輸方式退³其拍賣品，一旦本公司將拍賣品交付郵寄、快遞、輸部門、公司或其雇員分支�搆，則x為本公司已退³該拍賣品，同時應x為賣家已領�該拍賣品。

第三章關於競投人與買家

第二十九條競投人及本公司有關出售拍賣品之責任(一 ) 本公司對Ê拍賣品之¦知部分依$於賣家·¸之資料，本公司無法及不會«拍賣品進行&0盡職�查。競投人知悉Æ ，̈並承擔�查及��拍賣品â物之責任，以5競投人\意其可能感興趣之拍賣品。

( 二 ) 本公司出�之Ê拍賣品於出�前可¸競投人審看。競投人及 / 或其代理人參�競投，�x為競投人已在競投前&0��拍賣品，並\意拍賣品之狀況及其Ë�之÷�ª。( 三 ) 競投人�¦眾]拍賣品年代久遠及^s特殊，意味拍賣品並非×Ï無缺。所有拍賣品均以拍賣時之狀ò出� ( 無論競投人是á出席拍賣 )。狀況§告或可於審看拍賣品時·¸。圖錄Ë�及狀況§告在若干情況下可用�拍賣品某些瑕疵之參Í。然而，競投人應注意拍賣品可能ó在其�在圖錄或狀況§告內並無明�¹出之瑕疵。( 四 ) ·¸予競投人有關任何拍賣品之資料，包括任何預測資料 ( 無論為�0或口� ) 及包括任何圖錄所�之資料、規則或其�§告、ÿ論或¬值，該等資料並非¨實之��，而是本公司所¯有之意°之'明，該等資料可由本公司不時&權酌情%定修改。( 五 ) 本公司或賣家概無«任何拍賣品是á受任何版權所限或買家是á已購買任何拍賣品之版權發出任何'明或保證。( 六 ) 受本規則第二十九 ( 一 ) �二十九 ( 五 ) 條所�¨Z所規限及本規則第三十條所�特定豁|所規限，本公司應基於(1) 賣家向本公司·¸的資料；(2) 學術及�術知識 ( 如有 )；及 (3) �關Õ家£¤¥納之意°，以�理審zò(發表 ( 且�本規則中有關本公司�為拍賣代理的條款�符 ) �於圖錄Ë�或狀況§告之明示'明。

第三十條對買家之責任豁免及限制( 一 ) 如本公司x拍賣品為贋品，將落槌價連同買家佣金退還予買家。(二)受本規則第二十九條之¨Z所規限及受規則第三十(一)及三十 ( 五 ) 條所規限，本公司無須2(1) 對本公司向競投人以口�或�0·¸之資料之任何錯ô或~}�責，無論是由於疏忽或因其�â因引致，惟本規則第二十九 ( 六 ) 條所�ö則除�；(2) 向競投人�出任何擔保或保證，且賣家委託本公司向買家�出之明示保證以�之任何暗示保證及規則均被排除 ( 惟法律規定不可|除之該等責任除� )；(3) «本公司有關拍賣或有關出�任何拍賣品之任何¨宜之行動或~} ( 無論是由於疏忽或其�â因引致 ) 向任何競投人�責。( 三 ) 除非本公司擁有出�之拍賣品，á則無須«賣家違�本規則而�責。( 四 ) 在不è=規則第三十 ( 二 ) 條之情況下，競投人向本公司或賣家·出之任何索賠以該拍賣品之落槌價連同買家佣金為限。本公司或賣家在任何情況下均無須承擔買家任何�應而+的Ð失。

第三十一條拍賣品圖錄及其他說明為便於競投人及賣家參加本公司舉辦的拍賣活動，本公司製�拍賣品圖錄，以文字及 / 或圖片的形式，對拍賣品之狀況進行簡要��。拍賣品圖錄中的文字、¬價，圖片或其ë形式的èì製品�íî品，Ì¸競投人參Í，並可於拍賣前修訂，不表明本公司對拍賣品的à實ª、價值、�ï、.地有無缺陷等所�的擔保。

第三十二條圖錄之不確定性因印æ或çè等�術â因é成拍賣品在圖錄及 / 或其ë任何形式的圖示，èì製品�íî品中的�ï、ð�、ñ�、形ò等�â物ó在ôõö，以â物為÷。本公司及其½�人員或其代理人對任何拍賣品用任何方式 ( 包括證�、圖錄、øù投è、úû�ü等 ) 所�的ýþ及ÿ價，均為參Íª意°，不±成對拍賣品的任何擔保。本公司及其½�人員或其代理人對上�之ýþ及ÿ價中的不÷�或~}之處不承擔責任。

第三十三條保留價及估價凡本公司拍賣品未標明或未標明無保留價的，均有保留價。保留價一般不ä於本公司於拍賣前公佈或刊發的拍賣前最低¬價。如拍賣品未保留價，除非已有競投，á則拍賣官有權自行%定起拍價，但不�ä於拍賣品的拍賣前最低¬價。在任何情況下，本公司不對拍賣品在本公司舉辦的拍賣會中未達保留價不成交而承擔任何責任。若拍賣品競投價�低於保留價，拍賣官有權自行%定以低於保留價的價�出�拍賣品。但在Æ^情況下，本公司向賣家支付之款Z為按保留價出�拍賣品時賣家應可U�之數額。¬價在拍賣日前<早時`¬定並非�定之�價，不具有法律約束力。任何¬價不能

�為拍賣品落槌價之預測，且本公司有權不時修訂已�出之¬價。

第三十四條競投人之審看責任競投人及 / 或其代理人有責任自行瞭解有關拍賣品的實�狀況並對自己競投某拍賣品的行為承擔法律責任。本公司鄭重建議，競投人應在拍賣日前，以鑒定或其ë方式É自審看擬競投拍賣品之â物，自行判斷該拍賣品是á�本公司拍賣品圖錄以及其ë形式的èì製品�íî品所Ë��符�，而不應依圖錄及èì製品�íî品的Ë�做出%定。

第三十五條競投人登記競投人為¼人的應在拍賣日前憑 �發出附有照片的身份證明文件 ( 如居民身份證或護照 ) 填寫並�署登記文件並·¸j時住址證明 ( 如公用¨業賬單或銀行月結單 )；競投人為公司或ö其�組織的，應在拍賣日前憑有效的註冊登記文件、股東證明文件以及�法的授權委託證明文件填寫並�署登記文件，領�競投號牌。本公司可能要求競投人出示用�付款的銀行資料或其�財狀況證明。

第三十六條競投號牌本公司可/據不同拍賣條件及拍賣方式等任何情況，在拍賣日前公佈辦理競投號牌的條件�)式包括但不限於制定競投人辦理競投號牌的資�條件。本公司鄭重·示，競投號牌是競投人參�j¢競價的唯一憑證。競投人應妥善保管，不�將競投號牌出借�人5用。一旦丟失，應立�以本公司¦可的�0方式辦理掛失手續。無論是á¥受競投人的委託，凡¯競投號牌ö在拍賣活動中所實施的競投行為均x為競投號牌登記人本人所為，競投人應當對其行為承擔法律責任，除非競投號牌登記人本人已以本公司¦可的�0方式在本公司辦理w該競投號牌的掛失手續。

第三十七條競投保證金競投人參加本公司拍賣活動，應在領�競投號牌前交納競投保證金。競投保證金的數額由本公司在拍賣日前公佈，且本公司有權減|競投保證金。若競投人未能購�拍賣品且對本公司無任何欠款，則該保證金在拍賣結束�十四¼½�日內&額無"返還競投人；若競投人成為買家，則本公司有權可用該保證金�為支付拍賣品購買價款的款Z。

第三十八條本公司之選擇權本公司有權酌情拒絕任何人參加本公司舉辦的拍賣活動或進入拍賣j¢，或在拍賣會j¢進行拍照、錄音、çì等活動。

第三十九條異常情況緊急處理在拍賣j¢出j異�的情況下，本公司有權做出緊急處理。如拍賣j¢出j任何爭議，本公司有權協ï解%。

第四十條以當事人身份競投除非某競投人在拍賣日前向本公司出具�0證明並�本公司�0¦可，表明其身份是某競投人的代理人，á則每名競投人均被x為競投人本人。本公司�會向競投人U�款Z。

第四十一條委託競投競投人應É自出席拍賣會。如不能É身出席或由代理人出席，可採用�0形式委託本公司代為競投或�話競投。本公司有權%定是á¥受上�委託。委託本公司競投之競投人應在規定時`內 ( 不¶於拍賣日前三¼½�日 ) 辦理委託手續，向本公司出具填妥的本公司委託競投表�，並應/據本規則規定同時交納競投保證金。委託本公司競投之競投人如需�消委託競投，應不¶於拍賣日前二十四小時�0通知本公司。

第四十二條委託競投的競投結果競投人委託本公司代為競投的競投結果及�關法律責任由競投人承擔。競投人如在委託競投表�中表示以�話等�時通#方式競投，則應÷�填寫�時通#方式並妥善保管該�時通#½具，在本公司受託競投T ，̀競投人應É自5用該�時通#½具，一旦丟失或無法控制該�時通#½具，應立�以本公司¦可的�0方式:Ú委託競投表�中填寫的�時通#方式。在本公司受託競投T`會盡適當努力聯絡競投人，而該�時

通#½具所î達之競投資# ( 無論是á競投人本人或競投人的代理人î達 )，均x為競投人本人所為，競投人應當對其行為承擔法律責任，除非競投人本人已以本公司¦可的�0方式:Úw委託競投表�中填寫的�時通#方式，本公司有絕對權利對所有�話競投錄音�保ó。選擇�話競投�代表競投人同意其�話被錄音。但在任何情況下，如未能聯絡，或在5用該�時通#½具的競投中有任何錯ô或~}，本公司均不�任何責任。

第四十三條委託競投之免責鑒於委託競投是本公司為競投人·¸的代為î遞競投資#的|º服務，本公司及其½�人員對競投未成y或代理競投Ó)中出j的任何錯ô、~}、疏忽、Ó失或無法代為競投等不承擔任何責任。

第四十四條委託在先原則若兩¼或兩¼以上委託本公司競投之競投人以�同委託價對同一拍賣品出價且最終拍賣品以該價�落槌成交，則最@將委託競投表�送達本公司ö為該拍賣品的買家。

第四十五條拍賣官之決定權拍賣官對下列¨Z具有絕對%定權2( 一 ) 拒絕或¥受任何競投；( 二 ) 以其%定之方式進行拍賣；( 三 ) 將任何拍賣品²³或分開拍賣或將任何兩件或]件拍賣品�併拍賣；( 四 ) 如遇有出錯或爭議時，不論在拍賣之時或拍賣之�，有權%定成y競投ö、是á繼續拍賣、�消拍賣或將有爭議的拍賣品重ú拍賣；( 五 ) 拍賣官可以在其¦為�適的Ý平及競價階梯下開W及進行競投，並有權代表賣家以競投或連續競投方式或以³應其�競投人的競投價而競投的方式，代賣家競投到l價的金額；( 六 ) 採�其�理¦為適當之其�行動。

第四十六條不設保留價«不保留價的拍賣品，除非已有競投，á則拍賣官有權自行斟酌%定開價。若在Æ價�下並無競投，拍賣官會自行斟酌將價�下降繼續拍賣，直�有競投人開W競投，然��由該競投價向上繼續拍賣。

第四十七條影像顯示板及貨幣兌換顯示板本公司為方便競投人，可能於拍賣中5用èì投�或其�形式的4示板，所示內容Ì¸參Í。無論èì投�或其�形式的4示板所示之數額、拍賣品編號、拍賣品圖片或參Í�匯金額等資#均有可能出jôõ，本公司對因Æôõ而導致的任何Ð失不承擔任何責任。

第四十八條拍賣成交最ä競投價�拍賣官落槌或ö以其�公開表示買定的方式�¦時，該競投人競投成y，�表明該競投人成為拍賣品的買家，�表明賣家�買家之`的拍賣�約之訂立。

第四十九條佣金及費用競投人競投成y�，�成為該拍賣品的買家。買家應支付本公司�當於落槌價百分之十八的佣金，同時應支付其�買家�責的ÊZº用。且本公司可/據本公司業務規則的規定向賣家U�佣金及其�賣家�責的ÊZº用。

第五十條稅項買家向本公司支付的所有款Z均應是淨額的，不�包括任何�物稅、服務稅或ö其�增值稅 ( 不論是由香港或其�地區所徵U )。如有任何適用於買家的稅º，買家應/據j行�關法律規定自行�擔。

第五十一條付款時間拍賣成交�，除非另有約定，á則不論拍賣品之出口、進口或其�許可證之任何規定，買家應自拍賣成交日 ( 含成交日 ) 起七日內向本公司付清購買價款並安排·�拍賣品。若涉及包�及搬º用輸及保險º用、出�º等，買家需一並支付。

第五十二條支付幣種所有價款應以港幣支付。如買家以港幣以�的其��幣支付，

應按買家�本公司約定的匯價折算或按照本公司選擇之銀行於買家付款日前一¼½�日公佈的港幣�該幣^的匯價折算。本公司為將買家所支付之該^�幣兌Û成港幣所引致之所有銀行手續º、佣金或其�º用，均由買家承擔。

第五十三條所有權轉移�5本公司已將拍賣品交付給買家，買家仍未��拍賣品之所有權，直�買家付清購買價款及買家欠付本公司的款Z為Å。

第五十四條風險轉移競投成y�，拍賣品的風險於下列任何一^情形發� ( 以<早發日T為÷ ) �由買家自行承擔2( 一 ) 買家·�所購拍賣品；( 二 ) 買家向本公司支付有關拍賣品的&部購買價款；( 三 ) 拍賣成交日 ( 含成交日 ) 起七日屆\。

第五十五條提取拍賣品買家須在拍賣成交日 ( 含成交日 ) 起三十日內前往本公司地址或本公司¹定之其�地點·�所購買的拍賣品。買家須自行�責於風險轉移�買家�為所購拍賣品購買保險。若買家未能在拍賣成交日 ( 含成交日 ) 起三十日內·�拍賣品，則逾T�對該拍賣品的�關保管、搬、保險等º用均由買家承擔，且買家應對其所購拍賣品承擔&部責任。逾T�，�5該拍賣品仍由本公司或其�代理人代為保管，本公司及其½�人員或其代理人對任何â因所致的該拍賣品的毀Ð、滅失，不承擔任何責任。

第五十六條包裝及付運本公司有權%定是á¥受買家要求，·¸代為包�及處理的服務。如果本公司½�人員應買家要求代為包�及處理購買的拍賣品，上�包�及處理Ì應x為本公司對買家·¸的服務，因Æ發的任何風險及Ð失均由買家自�。在任何情況下，本公司對因任何â因é成的框架或玻璃、囊匣、l墊、支架、�裱、插冊、軸頭或s似附�物的ÐÑ、滅失不�責任。如買家要求本公司協助以郵寄、快遞或輸方式領�其所購買的拍賣品 ( 包�及郵遞、輸º用由買受人�擔 )，一旦本公司將拍賣品交付郵寄、快遞、輸部門、公司或其雇員 / 分支�±，則x為本公司已交付該拍賣品，同時應x為買家已按A�)序領�該拍賣品，ÆÓ)中的風險由買家承擔，除非買家特別¹明並�擔保險º�，在郵寄、快遞、輸Ó)中一般不予投保。對於買家¹定或本公司向買家推薦的包�公司及郵寄、快遞、輸部門或公司所é成的一切錯ô、~}、ÐÑ或滅失，本公司不承擔責任。

第五十七條進出口及許可證買家須自行�責��任何有關拍賣品進出口、瀕臨絕^物或其�方0之許可證。未獲�任何所需之許可證或µô��該s許可證不可被x為買家�消購買或µ¶支付購買價款之理由。本公司不承擔因不能填妥或i交所需出口或進口�單、清單或文件所+之任何責任。如買家要求本公司代其申請出口許可證，本公司則有權«Æ服務另行U�服務º用。然而，本公司不保證出口許可證將獲發�。本公司及賣家概無«任何拍賣品是á受進出口限制或任何Ä�出'明或保證。

第五十八條未付款之補救方法若買家未按照本規則規定或未按照�本公司協議之任何付款安排�額付款，本公司有權採�以下之一^或]^措施2( 一 ) 拍賣成交�，若買家未在拍賣成交日 ( 含成交日 ) 起七日內支付購買價款，於競投登記時支付的競投保證金不予退還，同時還應按照本規則規定承擔�應責任；買家以同一競投號牌同時拍�]件拍賣品的，拍賣成交�若買家未按照規定時`支付任一拍賣品購買價款，則&部競投保證金不予退還，同時還應按照本規則規定承擔�應責任；( 二 ) 在拍賣成交日 ( 含成交日 ) 起七日內，如買家未向本公司付清&部購買價款，本公司有權委託第三方�±代為向買家催要欠付的&部或部分購買價款；( 三 ) 在拍賣成交日 ( 含成交日 ) 起七日內，如買家仍未�額支付購買價款，本公司有權自拍賣成交日�第八日起«買家未付款部分按照日"萬分之三U�利"，直�買家付清&部款Z之日Å，買家�本公司另有協議ö除�；( 四 ) 在本公司或其�地方投保、移走及儲ó拍賣品，風險及

º用均由買家承擔；( 五 ) 對買家·起訴訟或向仲裁�±申請ï解，要求賠償本公司因其違約é成的一切Ð失，包括但不限於因買家¶付或拒付購買價款é成的�濟Ð失、法律º用、違約金以及逾T利"。( 六 ) 留6同一買家在本公司投�的該件或任何其�拍賣品，以及因任何â因由本公司佔有該買家的任何其�財+或財+權利，留6T`發的一切º用及 / 或風險均由買家承擔。若買家未能在本公司¹定時`內履行其&部�關義務，則本公司有權在向買家發出行5留6權通知且買家在該通知發出�三十日內仍未償清所有欠付款Z的情況下處分留6物。處分留6物所�不�抵償買家應付本公司&部款Z的，本公司有權另行追索；( 七 ) 本公司有絕對酌情%定權²´或同意委託人²´交易，並拒絕該逾T付款買家·出的付款請求、·�請求，並保留追索因²´該筆交易致5本公司所蒙受&部Ð失的權利；( 八 ) �徵�委託人同意，本公司可按照本規則規定�行拍賣或以其�方式出�該拍賣品，並由本公司酌情%定¬價及保留價。â買家除應當支付第一�拍賣中買家及賣家應當支付的佣金及其Ê自�責的其�ÊZº用並承擔��拍賣或以其�方式出�該拍賣品所有º用�，若�行拍賣或以其�方式出�該拍賣品所�的價款低於â拍賣價款，â買家應當補�õ額；( 九 ) 將本公司在任何其�交易中欠付買家之款Z抵´買家欠付本公司關於拍賣品之任何款Z；( 十 ) 本公司可自行%定將買家支付的任何款Z用於清償買家欠付本公司關於拍賣品或其�交易之任何款Z；( 十一 ) 拒絕買家或其代理人將N�出的競投或在¥受其競投前U�競投保證金；( 十二 ) 向賣家透露買家之資料，以5賣家可展開法律訴訟，以U³欠款，或«買家違約申索Ð害賠償及申索法律º用。

第五十九條延期提取拍賣品之補救方法若買家未能在拍賣成交日 ( 含成交日 ) 起七日內·�其購�的拍賣品，則本公司有權採�以下之一^或]^措施2( 一 ) 將該拍賣品投保及 / 或儲ó在本公司或其�地方，由Æ發的一切º用 ( 包括但不限於自拍賣成交日 ( 含成交日 )起的第三十一日起按競投人登記表�的規定計U儲óº等 )及 / 或風險均由買家承擔。在買家如數支付&部購買價款�，方可·�拍賣品 ( 包�及搬º用、輸及保險º用、出�º等自行�擔 )；( 二 ) 買家應對其超Ó本規則規定T限未能·��關拍賣品而在該T限屆\�所發之一切風險及º用自行承擔責任。如買家自成交日(含成交日)起的三十日內仍未·�拍賣品的，則本公司有權在通知買家�，以公開拍賣或其�本公司¦為�適的方式及條件出�該拍賣品，處6所�在扣除本公司因Æ+之&部Ð失、º用(包�及搬º用、輸及保險º用、出�º、儲óº、公證º等 ) �，若有餘款，則由買家自行�³，該餘款不計利"，拍賣成交日�兩年L未�³的餘款在扣除�關開支 ( 包括法律º用 ) �由本公司ó入香港法庭。

第六十條有限保證( 一 ) 本公司對買家·¸之一般保證2如本公司所出�之拍賣品其�被發j為膺品，/據本規則之條款，本公司將�消該交易，並將買家«該拍賣品支付予本公司之落槌價連同買家佣金，以â交易之�幣退還予買家。«Æ而b，/據本公司�理之意°，膺品¹仿製品，欺騙�品出處、â+地、日T、+出年數、年T、文�或N¿等Ê方0，而上�ÊZ之A�Ë�並無U錄於目錄內容 ( Í慮任何Õ有詞彙 )。拍賣品之任何Ð毀或任何s型之Ôâ品及 / 或修改品 ( 包括重ú塗漆或在其上塗漆 )，不應x為膺品。謹請注意如發以下任何一^情況，本保證將不適用2目錄內容乃/據學ö及Õ家於´�日T獲£¤¥納之意°，或該目錄內容4示該等意°ó在衝突；或於´�日T，證明該拍賣品乃膺品之唯一方法並非當時£¤可用或¦可或價�Bä或用�不切實�；或可能已對拍賣品é成ÐÑ或可能 ( /據本公司�理之意° ) 已令拍賣品喪失價值之方法；或如/據拍賣品之Ë�，該拍賣品並無喪失任何重;價值。( 二 ) 本保證所規定之T限為�關拍賣日�五年內，純粹·¸給買家之獨享利益，且不可轉移�任何第三方。為能依據本保證申索，買家�須 :在U到任何導致買家.疑拍賣品之à偽或�ª之資料�一¼月內�0通知本公司註明拍賣品編號、購買該拍賣品之日T及被¦為是膺品之理由；

將狀況�´�予買家當日�同，並能轉移其妥善所有權且自´�日T�並無出j任何第三方申索之拍賣品退還予本公司。

( 三 ) 有關東南亞j代及當代-術、中��畫以及中��畫，雖然目前學術界不容許對Æs別�出�實之說明，但本公司保留酌情權按本保證但以拍賣日�一年內為限�消證實為膺品之東南亞j代及當代-術、中��畫以及中��畫拍賣品之交易；已付之款Z按本條規定2退還予買家，但買家�須在拍賣日起一年內向本公司·¸證據 (按本條第(二)、(四)款規定的方式 )，證實該拍賣品為膺品；( 四 ) 本公司可酌情%定豁|上�任何規定。本公司有權要求買家索�兩份為本公司及買家雙方¥納之獨立及行內¦可Õ家之§告，º用由買家承擔。本公司無須受買家出示之任何§告所規限，並保留權利[求額�之Õ家意°，º用由本公司自行承擔。( 五 ) 本有限保證不適用於��、ÇÈ、L品手M、中西名r、tu及其�食品及飲品等拍賣s別。

第六十一條特殊門類( 一 ) ��s拍賣品的狀況��通�會�於圖錄上，然而沒有說明不代表該拍賣品沒有缺陷、瑕疵或未��處理。1. 有�� ( 如紅��、藍��、綠��及Ês彩�� ) 可能�Ó��處理或改Î�Ö，包括加�、上�及��等。這些通�的方法已�為��行業所¦可，但是�Ó處理的��的硬(可能會降低及ê或在日�需要特殊保養。2. 本公司不會為每件��拍賣品申請Õ業�±鑒定§告。如某件拍賣品已�O��¦可的��實�室��鑒定§告，本公司會於拍賣圖錄上詳細�明。因Ê實�室5用方法��術的õ異，對某��是á�Ó處理、處理的)(或處理是á具有永久ª，都可能¯不同意°。本公司不會對Ê實�室出具的鑒定§告之÷�ª承擔責任。3. 如果您要求·¸¹定實�室的鑒定§告，請在拍賣日前�f 14 ¼½�¾·出要求，本公司將會代為申請鑒定§告，而�應鑒定º用需由您承擔。4. 某件��拍賣品的¬價乃«當®已知悉之所有資料而�出，競投人應於拍賣前自行審看拍賣品或«拍賣品做詳盡w解，競投人一旦做出競投，�x為其¥受該等拍賣品之&部j狀。5. 本公司·v競投人注意，¿自ÀÁ的��或ÂÃ，可能會被某些�家ÄÅ進口。( 二 ) ÇÈs拍賣品1. 本公司已«某ÇÈ拍賣品所知的j時狀況��於拍賣圖錄上，Ì¸競投人參Í。因]數ÇÈ在Æ前5用T內都有被修理、保養等的�Ó，本公司不保證任何ÇÈ的任何Ù部件為â�，可能ó在沒有Ç擺、Ç槌或鑰匙出�。2. ÇÈ一般具有非�精細複雜的��±é，可能需要一般的保養服務、ÚÛ�池或進一步的修理½�，而這些都由買家�責。本公司不保證所拍賣的任何ÇÈ都是在ÎÏ�狀ò。除非圖錄中有·及，我們不·¸證�。3. ]數ÇÈ都有被打開查看�9的型號及.量，因Æß有ÜÝy能的ÈF可能不�夠ÜÝ，本公司建議您在5用前請Õ業ÇÈ�¨@��。

第四章其他

第六十二條資料採集、錄影«�營本公司的拍賣業務方0，本公司可能對任何拍賣Ó)進行錄音、錄è及記錄，�需要向競投人搜集¼人資料或向第三方索�有關競投人的資料 (�如向銀行索�信用審� )。這些資料會由本公司處理並且保密，唯有關資料有可能·¸給本公司、本公司的分部、附�公司、子公司以協助本公司為競投人·¸×善的服務、進行客戶分析，或以便·¸符�競投人要求的服務。為w競投人的權益，本公司�可能需要向第三方服務¸應商 ( �如船公司或ó倉公司 ) ·¸競投人的部份¼人資料。競投人參�本公司的拍賣，�表示競投人同意上文所�。如競投人欲獲�或Ú改¼人資料，請�客戶服務部聯絡。

第六十三條保密責任本公司有義務為賣家、競投人及買家保守秘密，並/據香港法律�本規則?護賣家、競投人、買家�本公司的A當權益不受侵害。以下情況除�︰( 一 ) 在�理需要下將資料轉交本公司任何關聯單位或人士，惟該單位或人士需µ續保密義務 ;

( 二 ) 按任何法院、司法�±、 �、銀行、稅務或其�監管�±要求，或/據任何適用法律，向其或¹定人披露信" ;( 三 ) 獲�關賣家、競投人、買家同意而披露信"。

第六十四條鑒定權如果本公司¦為需要，可以對拍賣品進行鑒定。鑒定結論�委託拍賣�同�明的拍賣品的狀況不符的，本公司有權要求:Ú或ö解除委託拍賣�同。

第六十五條版權賣家授權本公司對其委託本公司拍賣的任何拍賣品製�照片、圖示、圖錄或其�形式的èì製品�íî品，本公司享有上�照片、圖示、圖錄或其�形式的èì製品�íî品的版權。有權對其依法加以5用。未�本公司¨@�0同意，買家及任何人不�5用。本公司及賣家均並未�出拍賣品是á受版權所限或買家是á��拍賣品之任何版權的��及保證。

第六十六條免除責任本公司�為賣家的代理人，對賣家或買家的任何違約行為不承擔責任。在賣家或買家出j違約行為的情況下，本公司有權/據自己的判斷%定向賣家或買家披露另一方的名稱�地址，5受到Ð害的一方�以通Ó法律訴訟獲�Ð害賠償。但是，本公司在向賣家或買家披露該等資料之前，將採��理步驟通知將被披露資料的一方。買家及賣家均需承擔交易所涉及包括但不限於�濟、法律、稅務及結算等的�關責任，並需�¦交易不ó在洗錢或利益輸送等不法行為。任何U、付款¹示�須清晰，如因賣家或買家管理不善而出j其帳戶被盜、款Z遭挪佔等不可預°的情況，一概�果�本公司無關。

第六十七條通知競投人及買家均應將其固定有效的通#地址�聯絡方式以競投登記文件或其�本公司¦可的方式告知本公司，若有改:，應立��0告知本公司。本規則中所·及之通知，Ì¹以信函或îà形式發出的�0通知。該等通知在下列時`x為送達2( 一 ) 如是Õ人送達的，當送到有關方之地址時；( 二 ) 如是以郵寄方式發出的，則為郵寄日之�第七¾；( 三 ) 如是以îà方式發出的，當發送îà��¦發出時。

第六十八條可分割性如本規則之任何條款或部分因任何理由被¦定為無效、不�法或不可執行，本規則其�條款或部分仍然有效，�關Ê方應當遵守、執行。

第六十九條法律及管轄權本規則及其�關¨宜、交易、因依照本規則參加本公司拍賣活動而引起或�之有關的任何爭議，均受香港法律規管並由香港法律解釋。本公司、買家及競投人等�關Ê方均須服O香港法院之唯一管轄權。任何由香港法院頒佈有關本規則所引起的爭議之判%�可於中華人民共��強制執行。

第七十條語言文本本規則以中文為標÷文本，英文文本為參Í文本。英文文本如�中文文本有任何不一致之處，以中文文本為÷。

第七十一條規則版權所有本規則由本公司制訂�修改，�應版權歸本公司所有。未�本公司¨@�0許可，任何人不�以任何方式或手段，利用本規則獲�商業利益，�不�對本規則之任何部分進行複製、î送或儲ó於可�索系統中。

第七十二條適用時期本規則�適用於本�拍賣，本公司可不時Úú本規則，競投人�買家參�另一�拍賣的時候應以當時適用的業務規則為÷。

第七十三條解釋權本規則的解釋權由本公司行5。

CHAPTER I GENERAL RULES

ARTICLE 1 POLY AUCTION (HONG KONG) LIMITED AS AGENTUnless otherwise stated, Poly Auction (Hong Kong) Limited

acts as the Seller's agent. մե e closing agreement for sale of

a Lot shall be a contract between the Seller and the Buyer.

մե ese Conditions of Business and all other terms, conditions

and notices contained in the catalogue, announced by the

Auctioneer or provided at the saleroom shall constitute the

provisions agreed among the Seller, the Buyer and/or Poly

Auction (Hong Kong) Limited as auction agent.

ARTICLE 2 DEFINITIONS AND INTERPRETATIONIn these Conditions of Business, the following terms shall

have the meanings set forth below:

(1)“Company” means Poly Auction (Hong Kong) Limited;

(2)“Seller” means any natural person, legal person or

other organization that consigns a Lot(s) within the scope of

these Conditions of Business to the Company for auction. In

these Conditions of Business, a Seller shall include any of its

agents unless as otherwise specifi ed herein or required in a

particular context;

(3)“Bidder” means any person, company, body corporate

or other organization who or which considers, carries out or

attempts to bid in anyway. In these Conditions of Business,

a Bidder shall include any of its agents unless as otherwise

specifi ed herein or required in a particular context;

(4)“Buyer” means the Bidder whose bid or off er for a Lot

is recognized by an Auctioneer as the highest bid for that Lot

in an auction held by the Company, including the principal on

behalf of which such Bidder acts;

(5)“Buyer's Commission” means any commission that

a Buyer shall pay to the Company calculated at the rate

specifi ed herein of the Hammer Price for the Lot that such

Buyer purchases;

(6)“Lot” means any item consigned by a Seller to the

Company for auction and so auctioned in any auction, in

particular, any item numbered in any catalogue with certain

description;

(7)“Auction Date” means the date on which an auction

is formally held, as announced by the Company in its public

notice. In case of any discrepancy between the actual date

and the announced date of an auction, the actual date shall

prevail;

(8)“Sale Date” means, in an auction held by the Company,

the date on which the auctioneer concludes a contract for

sale between a Seller and a Buyer by way of hammer striking

or any other customary manner publicly confi rming the sale;

(9)“Auctioneer” means any person designated by the

Company to moderate a particular auction;

(10)“Hammer Price” means the price for a Lot at which

the Auctioneer decides to sell the Lot by striking the hammer

or the agreed sale price in the post-auction sale;

(11)“Proceeds of Sale” means the net amount due to the

Seller, being the Hammer Price less the Buyer's Commission,

all expenses and other amounts payable to the Company by

the Seller;

(12)“Purchase Price” means the total amount payable

by the Buyer for his/her/its purchase for each Lot, including

the Hammer Price, the Buyer's Commission, other Buyer's

Expenses and all Buyer's Expenses arising from its failure to

perform its obligations;

(13)“Buyer's Expenses” means costs and expenses in

relation to sale of the Lot by the Company, including but

not limited to insurance policies, packing, moving, storage,

custody for the Lot, any expenses of testing, investigation,

queries or authentication related to the Lot at the request of

the Buyer or any additional costs and legal expenses to bring

claims against a defaulting Buyer;

(14)“Reserve” means the confi dential minimum selling price

for the Lot that the Seller has confi rmed with the Company;

(15)“Estimate” means the estimated selling price of a

Lot written in the catalogue or other descriptive materials,

excluding the Buyer's Commission;

(16)“Storage Fee” means the storage fee payable by the

Buyer to the Company according to these Conditions of Business.

In these Conditions of Business, where the context requires,

words denoting the singular shall include the plural and vice versa.

ARTICLE 3 SCOPE OF APPLICATIONAll parties participating in any auctions organized by the

Company, including the Seller, the Bidder, the Buyer and all

other related parties (including but not limited to the agents

of the Seller, the Bidder and the Buyer) shall be deemed to

accept in full and bound by these Conditions of Business,

and shall comply with them in such auctions, enjoy the rights

and perform the obligations provided herein.

Any Bidder who bids in an auction organized by the Company,

whether in person or by authorizing an agent to bid on his/

her/its behalf, whether by raising the paddle, by absentee

bids, by phone or by any other means, shall be deemed to

have accepted these Conditions of Business in full.

Any dispute among the parties to auctions organized by

the Company shall be settled in accordance with these

Conditions of Business.

ARTICLE 4 SPECIAL NOTICEBidders and Buyers participating in any auctions organized

by the Company shall carefully read and be abided by these

Conditions of Business; Bidders and Buyers shall read the

provisions limiting the Company's liabilities and disclaimers

contained in these Conditions of Business carefully. Bidders

and/or their agents have the responsibilities to review the

original Lot in person, and bear legal liabilities for their acts

of bidding the Lot.

Upon the Auctioneer confirms the Bidder's bid by striking

his/her hammer or in any other manner publicly indicating

confi rmation of the purchase in any auctions organized by

the Company, the contract for sale regarding the Lot shall

immediately enter into force and the Bidder shall become

the Buyer of the Lot. մե e Company, the Seller and the Buyer

shall acknowledge the sale of the Lot and its closing, enjoy

the rights and assume the obligations provided by applicable

laws and/or these Conditions of Business. Any party that fails

to perform obligations shall bear its/his/her corresponding

legal liabilities.

մե e Company may amend these Conditions of Business for a

particular auction by posting announcements at the auction

site or making an announcement at such auction through an

Auctioneer.

CHAPTER II THE SELLER

ARTICLE 5 CONSIGNMENT PROCEDUREWhen arranging for the consignment of the Seller's Lot to the

Company for auction:

(1) The Seller must present a valid identity document with

photo issued by the government (e.g. resident identity card

or passport) if the Seller is a natural person and sign a

consignment auction contract with the Company;

(2) A valid certifi cate of incorporation, proof of shareholding,

or a legal authorization document shall be required if the

Seller is a legal entity or any other organization, which shall

sign a consignment auction contract with the Company.

(3) When the Seller signs a consignment auction contract

with the Company, the Company shall be automatically

authorized to make pictures, illustrations, catalogues, or

other video images of the Lot.

ARTICLE 6 THE SELLER'S AGENTWhen arranging for the consignment of the Lot to the

Company for auction, the Seller's agent shall submit to the

Company the relevant authorization certifi cates including:

(1) A valid identity document if such agent is a natural

person;

(2) A valid certificate of incorporation and proof of share

holding if such agent is a legal person or any other

organization; and

(3) A power of attorney duly executed. The Company has

the right to examine the aforesaid documents in a lawful

manner.

ARTICLE 7 THE SELLER'S WARRANTIESThe Seller hereby makes irrevocable warranties to the

Company and the Buyer with respect to the Lot it consigns to

the Company for auction as follows:

(1) The Seller has absolute ownership or legal right to

dispose of the Lot. մե e auction of the Lot will not prejudice

any legal interest (including copyright interest) of any third

party, and will not violate the provisions of relevant laws and

regulations;

(2) The Seller has, to the best of its knowledge, made

full, complete and accurate disclosure and description

to the Company with respect to the origin and any flaw of

the Lot and notified the Company in writing, without any

concealment or fabrication; If the Lot is liquors or teas, the

Assignee should truly disclose the defects or flaws about,

including but not limit to the packaging, labels, level of wear

and tear, corks, etc.

(3) If the Lot being consigned shall be imported into Hong

Kong, the Seller shall guarantee the compliance with the

laws of its origin, and ensure the completion of the export

and import procedures and notify the Company in writing;

and

(4) The Assignee must ensure that the auctioned items do

not contravene any laws of Hong Kong (including the Public

Health and Municipal Services Ordinance, the Food Safety

Ordinance and the Protection of Endangered Species of

Animals and Plants Ordinance the Endangered Species

of Wild Animals and Plants), ensure and disclose to our

Company that it has any license or qualifi cation registration

to possess, disposal or sale of the auctioned item required

by the laws of Hong Kong. մե e Assignee should ensure that

if they require our Company to make an additional license or

permit to the relevant departments for the auction, display,

disposal or possession of the auctioned items, they should

notify us in written notice not less than two months prior to

the auction.

(5) մե e Seller shall guarantee that the Lot is authentic. In so

doing, the Seller guarantees:

(a) մե e Lot is not a counterfeit or forgery of:

i. մե e work of any artist, author or manufacturer, if the Lot is

described by the Seller as the work of that artist, author or

manufacturer;

ii. A work created or produced within a particular time frame

or culture, if the Lot is described by the Seller as a work

created or produced during that time frame or culture;

iii. A work of a particular origin or source, if the Lot is

described by the Seller as a work of that origin or source; or

iv. A work created or craft ed or refi ned or restored through a

CONDITION OF BUSINESS

particular process or manner, if the Lot is described by the

Seller as a work created through that process or manner.

(b) In the case of jewellery and timepieces, in addition to 5(a)

above, the Lot is craft ed in the manner as described by the

Seller, out of the particular materials as described by the

Seller, and had underwent no restoration processes other

than those stated by the Seller; and

(c) In the case of gemstones, in addition to 5(a) above, the

Lot had undergone no beautification processes other than

those specifi ed by the Seller.

If the Seller violates any of the above warranties, the Seller

shall fully indemnify all losses, costs and expenses suff ered

by the Company and/or the Buyer.

ARTICLE 8 RESERVEUnless otherwise agreed upon by the Company and the

Seller, all Lots are off ered subject to a Reserve. մե e Reserve

shall be determined by the Seller and the Company in writing

through consultation, and no modification of the Reserve

shall be made without the prior consent of the other party

aft er it is determined by both parties. Following the bidding

failure of the Lot authorized by the Seller, the Auctioneer

shall have the right to sell such Lot at the Reserve after

such auction and the Seller must pay the Commission to the

Auctioneer. In no circumstance shall the Company bear any

liability for failure to sell the Lot at the Reserve at the auction

held by the Company.

ARTICLE 9 THE COMPANY'S DISCRETIONThe Company may decide the following matters at its

absolute discretion:

(1) Explanation and/or appraisal of any aspect of any Lot

through the catalogue of the Lot and/or news media and/or

other carriers;

(2) Whether to consult any expert or not;

(3) մե e illustration of the Lot in the catalogue, the exhibition

of the Lot and other forms of publicizing the Lot, the

arrangement in the promotional activities as well as the

standards of payable expenses;

(4) Suitability of a Lot for auction by the Company;

(5) Other matters such as the date of auction, the place

of auction, the conditions of auction and the manner of

auction.

ARTICLE 10 LOT NOT AUCTIONEDAft er the Seller has signed the consignment auction contract

with and delivered the Lot to the Company, if for any reason

the Company believes that the Lot is not suitable for auction

by the Company, the Seller shall collect the Lot within thirty

days from the issuance date of the Company's notice (fees

for packaging and transportation shall be at the Seller's own

expense). The consignment auction contract between the

Seller and the Company will terminate on the date when the

Seller collects the Lot. If during the above-mentioned period

the Seller fails to collect the Lot, the consignment auction

contract will automatically terminate upon the expiration of

such period. If within seven days aft er the termination of the

consignment auction contract the Seller does not collect the

Lot, the Company shall have the right to charge the Storage

Fee, insurance fees and other reasonable expenses, and to

dispose of the Lot in a way the Company deems proper. մե e

Seller is responsible for the collection of, if any, the amount

obtained from the disposal aft er deducting all the fees and

expenses incurred by the Company.

ARTICLE 11 SUSPENSION OF AUCTIONThe Company has the right to suspend the auction of any

Lot at any time before the actual auction in any one of the

following situations:

(1) The Company has an objection to the ownership or

authenticity of the Lot;

(2) Any third party has an objection to the ownership or

authenticity of the Lot and can provide relevant evidence

materials as to the basis of such objection, pays a security

pursuant to the Company's requirements and is willing to

take the corresponding liabilities for the legal consequences

and all losses caused by the suspension of auction;

(3) մե e Company has an objection to the explanation of the

Seller or the accuracy of the Seller's warranty mentioned in

Article 7 hereof;

(4) Any evidence proves the Seller has violated or will violate

any provisions of these Conditions of Business;

(5) For any other reason, the Company believes that the

auction of such Lot shall be suspended; or

(6) Whichever situation causes such suspension, if the

Company is aware of any ownership or other dispute in

relation to the Lot being consigned for auction, the Company

shall have the right to refuse to return such Lot until the

dispute is settled.

ARTICLE 12 THE SELLER'S WITHDRAWAL OF LOTThe Seller may withdraw the Lot at any time prior to the

Auction Date by issuing a written notice to the Company.

In the case that the Lot has been listed in the catalogue or

other public materials and they have begun to be printed at

the time of the withdrawal of the Lot, the Seller shall pay an

amount equal to 20% of the Reserve of the Lot and all other

expenses. In the case that the catalogue or other public

materials have not been printed, the Seller shall pay an

amount equal to 10% of the Reserve of the Lot and all other

expenses. Any dispute or claim arising out of the Seller's

withdrawal of the Lot shall be borne by the Seller and has

nothing to do with the Company.

ARTICLE 13 AUTOMATIC INSURANCEUnless otherwise instructed by the Seller in writing, all Lots

will be automatically covered under the insurance policies

purchased by the Company aft er the Seller enters into the

consignment auction contract with the Company and delivers

the Lots to the Company. մե e insured amount shall be based

on the Reserve agreed by the Seller and the Company in

the consignment auction contract (if there is no Reserve, it

shall be the agreed insured amount of the Lot; if the Reserve

is adjusted, it shall be the original Reserve of the Lot). մե e

insured amount is only applicable to insurance and claim for

compensation, is not the Company's warranty or guarantee

for the value of the Lot, and does not mean that the Lot can

be sold for an amount equal to the insured amount through

any auction by the Company.

ARTICLE 14 INSURANCE PREMIUMIf the Lot is sold, the insurance premium payable by the

Seller shall be 1% of the Hammer Price unless otherwise

agreed by the Seller and the Company. If the Lot is not sold,

the Seller shall as well pay the insurance premium at 1% of

the Reserve.

ARTICLE 15 INSURANCE PERIODIf the Lot is sold in the auction, the insurance period shall

terminate at the earlier of the seventh day after the Sale

Date (including the Sale Date) and the date when the Buyer

collects the Lot. If the Lot is not sold in the auction, the

insurance period shall terminate upon the expiry of thirty

days aft er the Company issues the notice on the collection of

the Lot.

ARTICLE 16 INSURANCE BY THE SELLERIn the event that the Seller notifi es the Company in writing

not to insure the Lot, it shall undertake all the risks and the

following liabilities at any time (unless otherwise ruled by an

arbitration institution):

(1) To compensate for any claim or action brought by any

other parties against the Company with respect to the

damage or destruction of the Lot;

(2) To compensate the Company and/or any other parties for

all losses suff ered and all expenses incurred because of the

damage or destruction of the Lot caused by any reason; and

(3) To notify the compensation related provisions herein to

any insurer of the Lot.

ARTICLE 17 INSURANCE DISCLAIMERThe damage or destruction of the Lot caused by natural

wear, inherent flaws, internal or potential defects, change

of substance itself, self-combustion, self-heating, oxidation,

corrosion, leakage, rat-bite, worm-bite, change in the

atmosphere (climate or air temperature), change in humidity

or temperature, or other gradual changes or caused by

force majeure such as earthquake, tsunami, war, hostile

action, armed conflict, terrorism, coup, strike and social

riot, or nuclear radiation or radioactive pollution as well as

the damage or destruction of book frames, glass, drawers,

bottom pads, trestles, mountings, insert pages, scroll heads

or other similar accessories caused by any reason are not

within the scope of insurance coverage. մե e aforesaid risks

should be borne by the Seller.

ARTICLE 18 INSURANCE INDEMNITYAny damage or destruction of the Lot caused by incidents or

disasters covered by the insurance purchased by the Company

for the Lot shall be handled in accordance with the laws of

Hong Kong on insurance. The Company shall pay insurance

indemnities aft er deducting the Company's expenses (other

than the Commission) to the Seller aft er the Company obtains

such indemnities from the insurance company.

ARTICLE 19 BIDDING PROHIBITIONմե e Seller shall not bid for the Lot consigned to the Company

by himself/herself/itself for auction, or authorize any other

person to bid on his/her/its behalf. Only the Company has

the right to bid on behalf of the Seller at a price not more

than the Reserve. The Seller shall bear all legal liabilities

and compensate for all losses caused to the Company if the

Seller violates this Article.

ARTICLE 20 COMMISSION AND EXPENSESUnless otherwise agreed upon by the Seller and the

Company, the Seller shall authorize the Company to deduct

10% of the Hammer Price as Commission and at the same

time deduct other expenses. Despite the fact that the

Company is the Seller's agent, the Seller agrees that the

Company may collect the Commission and other expenses

from the Buyer in accordance with the provisions in Article

49 hereof.

ARTICLE 21 SERVICE FEE FOR UNSOLD LOTIn case the Lot is not sold because the bidding price is lower

than the Reserve, the Seller shall authorize the Company to

charge the Seller a service fee for unsuccessful auction and

other expenses.

ARTICLE 22 PAYMENT OF PROCEEDS OF SALEWhere the Buyer effects full payment of the Purchase Price

to the Company in accordance with the provisions in Article

49 hereof, the Company shall pay the Proceeds of Sale to the

Seller thirty-fi ve days aft er the Sale Date in Hong Kong dollars.

ARTICLE 23 DEFERRED PAYMENTWhere the Company does not receive the full payment of

the Purchase Price from the Buyer upon the expiry of the

payment period under Article 51 hereof, the Company will

pay the Proceeds of Sale to the Seller within seven working

days aft er receipt of full payment of the Purchase Price from

the Buyer.

ARTICLE 24 SELLER TAXESմե e Seller shall pay taxes to the government for the Proceeds

of Sale obtained. If the Company has the obligation to

withhold and pay taxes according to the provisions of the

relevant laws, the Company will follow the provisions of the

laws. The Seller shall assist in handling all the formalities

and bear the corresponding taxes and expenses.

ARTICLE 25 ASSISTANCE IN THE COLLECTION OF OUTSTANDING PAYMENTմե e Seller shall, at the time of its consignment of the Lot to

the Company for auction, be deemed to have authorized the

Company to demand the corresponding outstanding payment

from the Buyer on behalf of the Seller. Where the Buyer

fails to fully pay the Purchase Price within seven days aft er

the Sale Date (including the Sale Date), the Company shall

have the right to demand the Commission and other Buyer's

Expenses according to the provisions of Article 58 hereof.

In addition, the Company shall as well have the right to take

appropriate actions (including but not limited to resorting

to legal proceedings) to assist the Seller in collecting such

outstanding payment from the Buyer where it is deemed by

the Company to be practicable. մե e above provision does not

exclude the Seller's right to demand in person or authorize

any third party to demand the outstanding payment from

the Buyer and does not obligate the Company to demand

the corresponding outstanding payment from the Buyer on

behalf of the Seller under any circumstance. մե is Company

shall not bear the corresponding liability for the Seller

because of the Buyer's failure to pay the Purchase Price

under any circumstance.

ARTICLE 26 THE COMPANY'S DISCRETIONThe Company shall have the right to accept the Seller's

authorization (at the Seller's expenses) and may determine

the following matters as the case may be:

(1) To agree on special conditions of the payment of the

Purchase Price;

(2) To remove, store and insure the sold Lot;

(3) To settle claims brought by the Buyer or the Seller in

accordance with the relevant articles hereof; and

(4) To take other necessary measures to collect the

outstanding payment owed by the Buyer to the Seller.

ARTICLE 27 UNSOLD LOTIn the event that the Lot is not sold, the Company may

choose any one of the following actions:

(1) Private sale aft er the auction

The Company may re-negotiate with the Seller on the

revised Reserve and sell the Lot in private sale, and pay the

Seller the Proceeds of Sales adjusted based on the revised

Reserve.

(2) Re-auction

մե e Company may re-auction the Lot. մե e Commission and

expenses scale set out in the previous consignment auction

contract remains applicable.

(3) Collection of the Lot

մե e Seller shall take back the Lot within 30 days upon receipt

of the Company's notice on collection (fees for packaging

and transportation shall be paid by the Seller) and pay

the Company the service fee for unsuccessful auction and

other expenses. մե e Company shall, upon expiration of such

time limit, be entitled to charge the Storage Fee, insurance

fees and other reasonable expenses, and to sell the Lot

through public auction or other means of sale according

to the conditions the Company deems appropriate. The

Company shall also be entitled to deduct the service fee for

unsuccessful auction and other expenses payable by the

Seller in the fi rst auction as well as all expenses for re-sale

of the Lot by auction from the Proceeds of Sale before paying

the remaining amount to the Seller.

ARTICLE 28 RISK ASSUMPTIONմե e Seller shall assume liability for all risks and expenses that

occur aft er the time limit prescribed herein if the Seller fails to

take back the Lot not auctioned or the unsold Lot within such

the time limit. մե e Seller shall assume liability for all risks and

expenses of the Lot not auctioned or the unsold Lot at the

earlier of the thirtieth day aft er the Company issues a notice

on collection of the Lot to the Seller (including the notice date)

and the time when the Seller collects the Lot in accordance

with these Conditions of Business. Where the Seller requests

Company to assist it in the return of the Lot within the time

limit provided herein and the Company so agrees, the Seller

shall assume liability for all risks and expenses that occur aft er

the Lot leaves the place designated by the Company. Unless

the Seller specifi cally gives an indication and pays insurance

premium in advance, the Company has no obligation to

insure the Lot for any period after its departure from the

place designated by the Company. Where the Seller requests

the Company to assist it in returning the Lot by means of

post, express delivery or other third-party transportation, the

Company shall be deemed to have returned the Lot and the

Seller shall be deemed to have collected the Lot upon the

Company's delivery of the Lot to the post, express delivery and

transportation entities, companies or their employees/branch

offi ces.

CHAPTER III THE BIDDER AND THE BUYER

ARTICLE 29 RESPONSIBILITIES OF THE BIDDER AND THE COMPANY IN RESPECT OF THE LOT1. մե e Company's perception of all Lots partly relies on the

information provided by the Seller, the Company is unable

and will not carry out comprehensive inspection of all Lots.

Bidders are aware of this and bear the responsibilities of

inspecting and testing the original Lots so that Bidders will

be satisfi ed with those Lots in which they may be interested.

2. All Lots for sale by the Company are available for viewing

by Bidders. By bidding, Bidders and/or their agents are

deemed to have carried out thorough examination of the

Lots, and are deemed to be satisfi ed with the conditions of

the Lots and the accuracy of their description.

3. Bidders acknowledge that various Lots are dated long time

ago and of special categories, implying that the Lots are not

perfect and not free from defects. All Lots are sold on an“as

is” basis at the time of the auction (whether or not Bidders

attend the auction). Condition reports may be provided when

during the viewing period. Under certain circumstances,

catalogue descriptions and condition reports may be used

for reference about certain defects of the Lots. Nevertheless,

Bidders should pay attention that the Lots may have other

defects not clearly stated in the catalogue descriptions and

condition reports.

4. Regarding the information about the Lot provided to

Bidders, including any forecast information (written or

verbal), catalogues and other reports, commentaries or

estimated values, such information are not statement of

facts, but rather are statements of the opinion that the

Company holds. Such information can be altered at the sole

discretion of the Company from time to time.

5. մե e Company or the Seller has not made any declaration

or warranty as to whether any Lot is subject to any copyright

or whether the Buyer has bought the copyright of any Lot.

6. In accordance with the matters contained in Article 29 (1) to

29 (5) of the Conditions of Business and the special exemption

contained in Article 30 of the Conditions of Business, the

descriptions in the catalogue and in the condition reports are

written in a reasonably prudent manner (and such should

be in line with those terms of the Conditions of Business

regarding the Company serving as Auction Agent) based on

(1) the information provided by the Seller to the Company; (2)

academic and technical knowledge (if any); and (3) generally

accepted opinions of the relevant experts.

ARTICLE 30 THE COMPANY'S EXEMPTION AND RESTRICTION OF RESPONSIBILITIES TO THE BUYER1. If the Company considers the Lot as forgery, it shall return

the Hammer Price and Buyer's Commission to the Buyer.

2. Subject to the matters contained in Article 29 of the

Conditions of Business and the rules in Article 30 (1) and 30

(5) of the Conditions of Business, the Company shall not:

(1) be responsible for any errors or omissions in the

information provided by the Company to the Bidder verbally

or in writing, no matter whether this is caused by negligence

or other reasons, with the exception of provision contained

in Article 29 (6) of the Conditions of Business;

(2) make any guarantee or warranty to the Bidder, excluding

any implied warranty and rules other than the expressed

warranty that the Seller has entrusted the Company to make

to the Buyer (with the exception of those responsibilities that

cannot be discharged according to the stipulations of laws);

(3) be accountable to any Bidder for any actions or omissions

of the Company regarding the auction or the sale of any Lot (no

matter whether this is caused by negligence or other reasons).

3. Unless the Company owns the Lot to be sold, it shall not

be responsible for any breach of the Conditions of Business

by the Seller.

4. Without aff ecting Article 30 (2) of these rules, any claim

for compensation that the Bidder makes to the Company

or the Seller shall be limited to the Hammer Price and the

Buyer's Commission of the Lot. Under no circumstances

shall the Company and the Seller bear any consequential

losses incurred by the Buyer.

ARTICLE 31 CATALOGUE AND OTHER EXPLANATION OF THE LOTմե e Company shall prepare a catalogue of the Lot to briefl y

introduce the conditions of the Lot with words and/or

pictures to facilitate the Bidder and Seller to participate in

the auction held by the Company. մե e words and Estimate

in the catalogue of the Lot, pictures, other images as well

as public materials are only references for the Bidder and

may be revised before auction. The Company provides

no guarantee for the authenticity, value, tone, quality or

fl awlessness of the Lot.

ARTICLE 32 UNCERTAINTY OF CATALOGUEWhere the tone, color, graduation shape or any other

feature of the Lot shown in the catalogue and/or any other

illustrations, images and public materials diff er from those

of the original Lot due to printing, photography or other

technical reasons, the original Lot shall take precedence. Any

introduction and appraisal of any Lot made by the Company

and its employees or its agents in anyway (including the

certifi cate, catalogue, slideshow and news media) are only

opinions for reference and do not constitute any guarantee

for the Lot. The Company and its employees or its agents

shall undertake no liability for any inaccuracy or omission in

the aforesaid introduction or appraisal.

ARTICLE 33 RESERVE AND ESTIMATEUnless otherwise indicated, all Lots are off ered subject to a

Reserve. Normally, the Reserve is not higher than the lowest

Estimate announced before the auction or published before

the auction by the Company. If a Reserve has not been set for

a Lot, unless there has already been bidding, the Auctioneer,

in his or her discretion, may determine the starting price, but

this shall not be higher than the lowest Estimate of the Lot

before the auction.

Under no circumstances shall the Company bear any liability

when the bids for a Lot do not reach the Reserve. If the bids

are lower than the Reserve, the Auctioneer, in his or her

discretion, may sell the Lot at a price lower than the Reserve.

However under such circumstances, the amount that the

Company shall pay the Seller shall be the amount that the

Seller would receive as if the Lot was sold at the Reserve.

The Estimate is estimated at an earlier time before the

Auction Date, it is not a confi rmed selling price, and is not

legally binding. Estimates cannot be used as a forecast of

the Hammer Price of the Lot, and the Company has the right

to revise from time to time the Estimate already made.

ARTICLE 34 BIDDERS' INSPECTION RESPONSIBILITYThe Bidder and/or his/her/its agents shall have the

responsibility to learn about the actual conditions of the Lot

and shall be legally liable for his/her/its bid for a certain

Lot. մե e Company strongly advises the Bidders to personally

inspect the original Lot they intend to bid for before the

Auction Date by authentication or other means. Bidders

shall judge by themselves whether Lot complies with the

descriptions in the Company's catalogue of the Lot and

other images and public materials, rather than relying on the

catalogue, images and public materials to make decisions.

ARTICLE 35 REGISTRATION OF BIDDERSIf the Bidder is a natural person, before the Auction Date, he/

she shall fi ll in and sign the registration documents with an

identity document with photo issued by the government (such

as resident identity card or passport), and provide proof of

the current address (e.g. utility bill or bank statement); if the

Bidder is a company or other organization, before the Auction

Date, it shall fi ll in and sign the registration documents and

collect a paddle with its valid certificate of incorporation

and proof of shareholding and legitimate authorization

document. մե e Company may request the Bidder to present

proof of bank details or other proof of fi nancial conditions for

payment purposes.

ARTICLE 36 PADDLEThe Company can announce before the Auction Date the

conditions and procedures of arranging paddle for the

Bidder according to diff erent auction conditions and auction

methods etc., including but not limited to the qualification

and conditions for the Bidder to arrange a paddle. The

Company solemnly reminds that a paddle is the only proof

for the Bidder to participate in the auction at the venue. մե e

Bidder shall keep it properly and shall not lend it to others to

use it. If it is lost, it shall immediately handle the loss report

formalities in a written form recognized by the Company.

No matter if the person holding a paddle has been appointed

by the Bidder or not, his or her bidding acts at auction are

considered as having been made by the registered person

himself, and the Bidder shall bear the legal responsibilities

for the acts of the former, unless the Bidder himself has

already submitted a written report to the Company regarding

the loss paddle.

ARTICLE 37 AUCTION DEPOSITWhen a Bidder participates in an auction of the Company,

he/she shall fi rst pay the auction deposit before collecting

the paddle. The amount of the auction deposit will be

announced by the Company before the Auction Date, and the

Company has the right to waive the auction deposit. If the

Bidder fails to buy the Lot and he does not owe the Company

any sum, then that auction deposit shall be returned to the

Bidder in full without interest within 14 working days after

the end of the auction. If the Bidder succeeds in buying a Lot,

the auction deposit shall automatically be converted to the

payment of the Purchase Price of the Lot.

ARTICLE 38 DISCRETION OF THE COMPANYThe Company has the r ight to forbid anyone from

participating in the auction organized by the Company or

entering the auction site, or taking pictures or shooting

videos at the auction site at its discretion.

ARTICLE 39 HANDLING OF ABNORMAL EVENTSIf any abnormal event occurs at the auction site, the

Company has the right to take emergency actions. If any

dispute arises at the auction site, the Company has right to

mediate and settle it.

ARTICLE 40 CONFIRMATION OF BUYER'S IDENTITYմե e Bidder must take good care of his/her/its paddle and be

cautious not to lose it. մե e Bidder shall not lend his/her/its

paddle to others, or the Bidder shall assume all legal liability

for others' act of bidding for the Lot using his/her/its paddle.

ARTICLE 41 ABSENTEE BIDSBidders shall attend the auction in person. If a Bidder or its

agent cannot attend in person, it can appoint the Company

in writing for the Company to bid on its behalf. մե e Company

has the discretion to accept or not accept the above

appointment. Any Bidder who has appointed the Company

to bid shall handle the appointment formalities within the

period stipulated (no later than three business days), and

produce a completed Absentee Bid Order to the Company,

and at the same time pay the auction deposit according to

the Conditions of Business.

If the Bidder who has appointed the Company to bid needs

to cancel the absentee bid, it shall notify the Company no

later than 24 hours before the Auction Date.

ARTICLE 42 AUCTION RESULTS OF ABSENTEE BIDIf a Bidder who has appointed the Company to bid, the

auction results and the related legal responsibilities shall be

borne by the Bidder.

If the Bidder indicates in the Absentee Bid Order that it bids

by instant communication methods such as telephone, it

shall fill in the instant communication method accurately

and keep the instant communication instrument properly,

during the period in which the Company is appointed to bid,

the Bidder shall use that instant communication instrument

itself. Where the instant communication instrument is lost or

it cannot be within control, the Bidder shall immediately use a

written form recognized by the Company to change the instant

communication method filled in the Absentee Bid Order.

During the period the Company is appointed to bid, it shall

make appropriate efforts to contact the Bidder, the bidding

information transmitted by that instant communication

instrument (whether or not it is transmitted by the Bidder

personally or the Bidder's agent) shall be considered as

transmitted by the Bidder itself, and the Bidder shall bear legal

responsibilities for the actions taken by it. Unless the Buyer

itself has changed the instant communication method fi lled

in the Absentee Bid Order by a written method recognized by

the Company. All telephone bids may be recorded and kept

at Poly Auction (Hong Kong)’s sole discretion, by opting for

telephone bids, the Bidder agrees that its phone conversation

will be recorded.

Nevertheless, under no circumstances shall the Company

be responsible for any unsuccessful contact or errors

or omissions in the bidding process using that instant

communication instrument.

ARTICLE 43 DISCLAIMER OF ABSENTEE BIDSince absentee bid is a free service of transmitting

bidding information that the Company provides to the

Bidder, the Company and its employees shall not bear any

responsibilities for unsuccessful bidding or any errors,

omissions, negligence, fault or inability to bid on its behalf

during the bidding process.

ARTICLE 44 FIRST-COME-FIRST-SERVE PRINCIPLE FOR ABSENTEE BIDIf two or more Bidders appointing the Company to bid on their

behalf have bid the same price for the same Lot and eventually

that Lot is sold at that Hammer Price, then the one who fi rst

submitted to the Company shall be the Buyer of that Lot.

ARTICLE 45 DISCRETION OF THE AUCTIONEERThe Auctioneer has the right at his absolute and sole

discretion in the following matters:

1. Refusal or acceptance of any bid;

2. Carrying out the auction in such a manner as he may

decide;

3. Withdrawal of any Lot, dividing it for auction separately,

combining any two or more Lots for auction;

4. If there are errors or disputes, no matter if they occur

during or aft er the auction, he shall have the right to decide

the successful Bidder, whether or not to continue the

auction, to cancel the auction or place the Lot under dispute

for auction again;

5. մե e Auctioneer may open and carry out the bidding at a

level with bidding increments that he considers suitable, and

has the right to bid on behalf of the Seller up to the amount

of the Reserve, either by placing consecutive bids or by

placing bids in response to other Bidders;

6. Adoption of other actions that he considers as appropriate.

ARTICLE 46 NO RESERVEFor those Lots without a Reserve, unless there has already

been bidding, otherwise the Auctioneer, under his own

discretion, may decide the starting price. If there is no

bidding at such a price, the Auctioneer will, at his own

discretion, lower the price and continue the auction until a

Bidder starts to bid, then he will continue the auction at that

price and then continue up from that amount.

ARTICLE 47 IMAGE DISPLAY BOARD AND CURRENCY CONVERSION BOARDTo facilitate Bidders, the Company may use image projector

or other forms of display boards in the auction. մե e contents

shown are for reference only. It is possible that there are

diff erences in the information such as the amount, reference

number of the Lot, images of the Lot or reference foreign

currency etc. shown in the image projector or other forms

of display boards and the Company shall not bear any

responsibilities for any losses caused by such diff erences.

ARTICLE 48 SUCCESSFUL BIDThe fact that the Auctioneer confirms the highest bid of a

Bidder by striking his/her hammer or in any other manner of

publicly confi rming the sale shall indicate the conclusion of a

sales contract for the Lot between the Bidder and the Seller.

ARTICLE 49 COMMISSION AND EXPENSESAfter the Bidder has succeeded in bidding, it will become

the Buyer of that Lot. A buyer’s premium will be added to

the Hammer Price and is payable by the buyer as part of

the total purchase price. The buyer’s premium is 18% of

the hammer price of each lot and at the same time other

Buyer’s Expenses, and recognizes that the Company can

charge the Seller the commission and other Seller expenses

according to provisions of the Consignment Agreement.

ARTICLE 50 TAXESAll the monies that the Buyer pays to the Company are net

amounts, which shall not include any tax on goods, tax

on services or other value added tax (whether levied by

Hong Kong or other regions). If there is any tax applicable

to the Buyer, the Buyer shall bear it itself according to the

provisions of the relevant laws currently in force.

ARTICLE 51 PAYMENT TIMEAfter the Lot is successfully sold in an auction, unless

otherwise agreed, regardless of any stipulations of the

export, import or other permits of the Lot, the Buyer shall

fully pay the Purchase Price within 7 days aft er the Sale Date

(including the Sale Date), and collect the Lot. If packing,

moving costs, and insurance expenses, expenses related to

export are involved, the Buyer shall pay them altogether.

ARTICLE 52 PAYMENT CURRENCYAll monies shall be paid in Hong Kong dollars. If the Buyer

pays in another currency other than Hong Kong dollars, it

shall convert it at the exchange rate agreed between the

Buyer and the Company or at the exchange rate of Hong

Kong dollars and that currency type on the previous working

day announced by such bank as selected by the Company.

All bank handling fees, commission and charges incurred by

the Company for converting the foreign currency paid by the

Buyer into Hong Kong dollars shall be borne by the Buyer.

ARTICLE 53 TRANSFER OF OWNERSHIPEven if the Company has delivered the Lot to the Buyer, the

Buyer has not yet obtained the ownership of the Lot. This

shall pass onto the Buyer only when the Buyer has fully paid

the Purchase Price and all monies that the Buyer owes the

Company.

ARTICLE 54 TRANSFER OF RISKSAft er the bidding has succeeded, the risks oft he Lot shall be

borne by the Buyer itself aft er the occurrence of one of the

following events (whichever earlier):

1. մե e Buyer has collected the Lot; or

2. մե e Buyer has fully paid the Purchase Price for the Lot to

the Company; or

3. մե e expiry of seven days aft er the Sale Date (including the

Sale Date).

ARTICLE 55 COLLECTION OF THE LOTRisk and responsibility for the lot passes to the Buyer at

the expiration of thirty calendar days from the Sale Date

(including the Sale Date). or on collection by the Buyer, if

earlier. After thirty calendar days, all expenses incurred,

including but not limited to storage, moving, insurance will

be for the account of the Buyer. Although the Company

shall use reasonable efforts to take care of purchased Lot

and suggest handlers, packers or carriers, the company is

not responsibleto any person to whom we have made are

commendation for the acts or omissions of the third party

concerned.

ARTICLE 56 PACKING, HANDLING AND MOVINGIf the employees of the Company pack and handle the Lot

bought on behalf of the Buyer according to the latter's

requirements, this is considered as a service provided by the

Company to the Buyer and the Company has the discretion

to decide whether to provide this service, if any losses

arise therefrom, the Buyer shall bear them itself. Under no

circumstances shall the Company be responsible for any

damage of the glass or picture frame, box, backing sheet,

frame case, mounting, inserts, rolling rod or similar auxiliary

objects caused by any reasons.

Where the Buyer requests the Company to assist it in

collecting the purchased Lot (the packaging, mailing and

transportation expenses shall be paid by the Buyer) by

means of post, express delivery or transportation, the

Company shall be deemed to have delivered the Lot and the

Buyer shall be deemed to have collected such Lot according

to the normal procedure upon the Company's delivery of the

Lot to the post, express delivery and transportation entities,

companies or their employees/branch offices. The risks

arising from this process shall be borne by the Buyer. Unless

Buyer gives a clear indication and pays insurance premium,

no insurance is provided in the process of mailing, express

delivery or transportation generally.

The Company shall undertake no liability for any error,

omission, damage or destruction caused by the packaging

company and post, express delivery and transportation

enti t ies or companies designated by the Buyer or

recommended by the Company to the Buyer.

ARTICLE 57 IMPORT, EXPORT LICENSES AND PERMITմե e Buyer shall be responsible for obtaining any import and

export licenses, permit for endangered animals or other

aspects related to the Lot. Failure or delay in obtaining

any permits required shall not be deemed as a reason for

cancelling the purchase or delaying in paying the Purchase

Price. The Company shall not bear any responsibilities for

the failure to properly fi ll in or submit the required import or

export documents.

If the Buyer requests the Company to apply for the import

and export licenses on its behalf, the Company has the

right to charge service fees for this service. However, the

Company does not warrant that the import or export license

will be issued. The Company and the Seller has not made

declaration or warranty in respect of whether or not any Lot

is subject to import and export restrictions or any embargo.

ARTICLE 58 REMEDIES FOR NON-PAYMENTIf the Buyer fails to make full payment according to the

provisions of the Conditions of Business or any payment

arrangements agreed with the Company, the Company has

the right to adopt one or more of the following measures:

1. Aft er the Lot is sold, if the Buyer fails to pay the Purchase

Price within 7 days from the Sale Date (including the Sale

Date), the auction deposit paid at the time of bidding

registration shall not be refunded, and it shall at the same

time bear the relevant responsibilities according the

provisions of the Conditions of Business; if the Buyer has

bought a few Lots with the same paddle, aft er the Lots are

sold, if the Buyer has not paid the Purchase Price of any of

the Lots within the time stipulated, then the entire auction

deposit shall not be refunded, and it shall at the same time

bear the relevant responsibilities according the provisions of

the Conditions of Business;

2. If the Buyer fails to pay the Purchase Prices in full to

the Company within 7 days from the Sale Date (including

the Sale Date), the Company has the right to appoint a

third party organization to collect the entire or part of the

Purchase Prices that the Buyer owes;

3. If the Buyer fails to pay the Purchase Price in full within

7 days from the Sale Date (including the Sale Date), the

Company has the right to charge interest at 0.03% per day

on the unpaid portion starting from the 8th day after the

Sale Date until the day on which the Buyer has fully paid the

monies, with the exception that the Buyer has otherwise

agreed with the Company;

4. The Buyer shall bear the risks and expenses of taking

out an insurance policy, moving and storing the Lot in the

Company or other places;

5. To sue the Buyer or apply to Arbitration Agency for

mediation, demand for compensation for all the losses due

to the breach of contract by the Buyer including but not

limited to economic loss, legal expenses, default penalty and

pass due interest caused by the delay in payment or refusal

to make payments by the Buyer;

6. To retain that or any other Lot that the same Buyer has

bought via the Company, and any other properties or rights

to property of the Buyer that the Company holds for any

reasons, all the expenses and/or risks incurred during the

retention period shall be borne by the Buyer. If the Buyer fails

to perform all its duties concerned within the period specifi ed

by the Company, the Company has the right to issue a lien

notice tothe Buyer and dispose of the items under lien if the

Buyer has not yet fully paid all outstanding amounts within

30 days aft er the issue of that notice. if the items under lien

are insuffi cient to off set all the monies payable by the Buyer

to the Company, the Company has the right to claim them;

7. The Company has sole discretion to cancel the sale or

agree that the Consignor can cancel the deal, and reserve

the right to claim all the losses suff ered by the Company due

to the cancellation of that deal;

8. մե e Company can place the Lot for auction again or sell it

by other means according to the provisions of the Conditions

of Business with the consent of the Seller, and the Company

reserves the right to decide the Estimate and Reserve. մե e

original Buyer shall pay the commission and other Buyer's

Expenses and the Seller in the first auction, and it shall

bear all the costs of the second auction or the sale of the

Lotby other means. If the price obtained from the second

auction or the sale of the Lot by other means is lower than

the original auction sum, the original Buyer shall pay the

shortfall;

9. To offset any monies related to the Lot that the Buyer

owes the Company by any sums that the Company owes the

Buyer in any other transactions;

10. մե e Company can decide to use any monies paid by the

Buyer to repay any sums that the Buyer owes the Company

in any other transactions;

11. To reject any bids made by the Buyer or its agent

at future auctions, or to obtain auction deposit before

accepting any bids;

12. To disclose the information of the Buyer to the Seller, so

that the Seller can start a law suit to recover the outstanding

amount, or claim damages and claim legal fees for breach of

contract by the Buyer.

ARTICLE 59 REMEDIES FOR DELAY IN COLLECTING THE LOTIf the Buyer fails to collect the purchased Lot 7 days aft er the

Sale Date (including the Sale Date), the Company has the

right to adopt one or more of the measures below:

1. All costs (including but not limited to the storage fee

calculated and charged according to the provisions of the

Bidder Registration Order starting from the 31st day from

the Sale Date (including the Sale Date) and/or risks for the

taking out of an insurance policy and/or storing the Lot in the

Company or other places shall be borne by the Buyer. Only

aft er the Buyer has paid the full amount of the Purchase Price,

it can collect the Lot (packing and moving costs, insurance

expenses, expenses related to export shall be at the Buyer's

expense);

2. մե e Buyer shall bear all the risks and expenses incurred

aft er the deadline as stated in the Conditions of Business if it

cannot collect the Lot concerned within that deadline. If the

Buyer has not yet collected the Lot within 30 days from the

Sale Date (including the Sale Date), aft er notifying the Buyer,

the Company has the right to sell that Lot in a public auction

or by a method and with methods and conditions that it

considers suitable. Any proceeds aft er the deduction of all

the losses, expenses (packing & moving costs, insurance

costs, expenses related to export, Storage Fee, and notarial

expenses etc.) incurred by the Company from the disposal

shall be taken back by the Buyer; such balance is non-

interest-bearing. If the Buyer fails to take the proceeds back

two years aft er the Sale Date, the balance shall be deposited

to a Hong Kong court by the Company after deducting the

relevant expenses (including legal fees).

ARTICLE 60 LIMITED WARRANTY1. մե e Company provides general warranty to the Buyer:

If the Lot sold by the Company is later found to be a

counterfeit, the Company will cancel that deal according to

the terms of the Conditions of Business, and will return to

the Buyer in the currency of the original deal the Hammer

Price together with the Buyer's Commission that the Buyer

has paid to the Company for the Lot. In this regard, based on

the reasonable opinion of the Company, counterfeits refer to

frauds in various aspects such as the source, place of origin,

date, production year, duration, culture or sources etc. of

the article, and the correct description of the above points

have not been recorded in the contents of the catalogue

(any special terminologies are taken into consideration). Any

damage and/or any type of restored item and/or repaired

items (including repaintingor painting on top of it) of the Lot

shall not be considered as counterfeit.

Please pay attention that if any of the following situations

happens, this warranty shall not apply; The contents of

the catalogue are based on generally accepted opinion

of academics and specialists on the selling date, or

contradictions in opinions are shown in the contents of the

catalogue; or

On the selling date, the only method of proving the Lot is a

counterfeit is not a method which can be used in general;

which is recognized; which is extremely high price; the

usage of such method is impractical; or this method may

have caused damage to the Lot or may (according to the

reasonable opinion of the Company) have already caused

the Lot to lose value; or

If the Lot has not lost any material value from the description

of the Lot.

2. մե e deadline in this warranty is 5 years fromthe Auction

Date concerned, these benefits are exclusively enjoyed by

the Buyer, and shall not be transferred to any third party.

In order to make claims based on this warranty, the Buyer

shall:-(1) notify the Company in writing within one month

after the receipt of any information which leads the Buyer

to doubt the authenticity or attributes of the Lot, specifying

the reference number of the Lot, date on which the Lot

is purchased and reasons for which it is considered as

counterfeit; (2) return the Lot to the Company in the same

conditions as it was on the date of sale, and the proper

ownership of it is transferrable, plus there are no claims from

any third party aft er the Sale Date.

3. Regarding Southeastern Asian modern and contemporary

art, Chinese painting and Chinese calligraphy and Chinese

ink painting, although at present the academic sector does

not permit the making of defi nitive statements, the Company

reserves the discretion to cancel those deals of Lots which

are proved to be counterfeit southeastern Asian modern and

contemporary arts, Chinese painting and Chinese calligraphy

and Chinese ink paintings within one year aft er the Auction

Date based on this warranty. Paid sums shall be returned

to the Buyer according to this term, however the Buyer

shall provide evidences (based on the methods provided

forin clause 2 and 4 of this article) to prove that the Lot is

counterfeit within one year from the Auction Date;

4. մե e Company can, at its discretion, decide to waive any of

the above provisions. մե e Company has the right to demand

from the Buyer two independent specialist reports which are

recognized by the specialist sector concerned and which are

accepted by the Company and the Buyer at the expense of

the Buyer. մե e Company shall not be subject to any report

presented by the Buyer, and retains the right to seek

additional expert opinion at the expense of the Company.

5. This limited warranty does not apply to auction

categories, such as, jewellery, watches, designer

handbags, alcohol, tea and other food and beverage

items, etc.

ARTICLE 61 SPECIAL CATEGORIES1. Statements about the status of jewellery items in the

auctions are usually set out in the catalogue. However, it

does not imply that the auctioned item has no defects,

fl aws or has not enhanced beautifi cation aft er processing.

(1) Coloured gems (such as rubies, sapphires, emeralds

and various coloured gems) may enhance beautifi cation

after processing or improved in appearance, including

heat-treated, oiling and radiation. մե ese common practises

have been approved by the international jewellery

industries. However, the hardness of the treated stones

may be reduced and / or need special maintenance in the

future.

(2) Our Company will not apply appraisal report from

professional organisations for each piece of jewellery

item in the auction. If an auctioned item has obtained

the appraisal report from an internationally recognised

gem laboratory, the Company will specify it in the

auction catalogue. Due to the difference in methods

and techniques used in diff erent laboratories, there may

be different views as to whether a gemstone has been

treated, degree of treat or permanently treated. Our

Company will not be responsible for the accuracy of the

appraisal report issued by each laboratory.

(3) If you would like to request an appraisal report by a

specific laboratory, please submit the request at least

14 working days before the auction date, the Company

will apply for appraisal report on behalf of you, and the

corresponding appraisal costs will borne by you.

(4) մե e valuation of an item of jewellery item in the auction

is made based on all information being known at the

time the item being auctioned, bidders should review the

auctioned item or make a detailed understanding of the

auctioned item before the auction. Once you have placed

a bid, it is deemed that you have accepted all the current

status of the auctioned items.

(5) Our Company reminds bidders that precious stones

or emerald originating from Myanmar may be banned in

certain countries.

2. Watches and Timepieces Auctioned items

(1) Our Company has stated that the current status of a

watch and timepieces auctioned items being known on

the auction catalogue, and is for bidder's reference only.

Due to the fact that most timepieces have been repaired

and maintained during the previous period being used, we

do not guarantee that any parts and components of any

watch are original, and it is possible that no pendulum,

clock hammers or keys are for available for sale.

(2) Watches and timepieces generally have a very

sophisticated mechanical manufacture that may require

general warranty service, battery replacement or further

repair works, and these will be all at the buyer's disposal.

Our Company does not guarantee that any auction of

watches is in good working condition. Unless mentioned in

the catalogue, otherwise we do not provide a certifi cate.

(3) Most watches have been opened to check the

movement of the models and their quality, so with a

waterproof case may not contain waterproof function,

our Company recommends that you to ask a professional

watch maker to check before use.

CHAPTER IV MISCELLANEOUS

ARTICLE 62 OBTAINING INFORMATION, VIDEO-TAKINGIn connection with the operation of the auction business

of the Company, the Company may make audio recording,

video recording of any auction process, and need to

collect personal information from the Bidder or ask for

the information of the Bidder from third parties (such as

asking for credit review from banks). Such information

will be handled and kept confidential by the Company.

However the information concerned may be provided to

the Company, its divisions, affiliates and subsidiaries in

order to assist the Company to provide comprehensive

services to Bidders, carry out client analysis, or in order

to provide services that meet the requirements of the

Bidder. For the sake of the interest of the Bidder, the

Company may also provide some personal information of

the Bidder to third party service providers (such as cargo

liners or storage houses). By participating in the auction

of the Company, the Bidder agrees to all previously stated

disclosure. If the Bidder would like to obtain or amend his

personal information, please contact the customer service

department.

ARTICLE 63 CONFIDENTIALITYThe Company shall be obligated to keep confidentiality

for the Seller, the Bidder and the Buyer and protect the

legitimate rights of the Seller, the Bidder, the Buyer as well

as the Company according to these Conditions of Business

and the laws of Hong Kong. With below exceptions:

1.To any related parties as the Company considers

appropriate with the obligations to maintain the

confi dentiality of the information extended;

2.To whom information is requested to be disclosed by

any court, jurisdiction, governmental, banking, taxation

or other regulatory authority, or by any applicable law or

regulation;

3.Being agreed by relevant seller, bidder or buyer.

ARTICLE 64 AUTHENTICATION RIGHTThe Company may authenticate the Lot if necessary. In

case of any discrepancy between the authentication

conclusion and the condit ions of the Lot in the

consignment auction contract, the Company shall have

the right to request modification or rescission of the

consignment auction contract.

ARTICLE 65 COPYRIGHTThe Seller authorizes the Company to produce photos,

illustrations, catalogue, video products and advertising

materials in other forms of the Lot that it has appointed

the Company to place for auction, the Company is entitled

to the above photos, illustrations, catalogue, video

products and advertising materials in other forms of the

Lot, and has the right to use them. Without prior written

consent of the Company, the Buyer and anyone shall not

use them. մե e Company and the Seller have not made any

statement and warranty as to whether the Lot is restricted

by copyright or if the Buyer has obtained any copyright of

the Lot.

ARTICLE 66 EXEMPTION FROM LIABILITYBeing an agent of the Seller, the Company shall assume

no liability for any breach of contract by the Seller or the

Buyer. In case of the breach of contract by the Seller or

the Buyer, the Company shall have the right to decide to

disclose the other party's name and address to the Seller

or the Buyer at its own discretion so that the damaged

party may receive compensation for damages through legal

proceedings. However, prior to the Company's disclosure

of such materials to the Seller or the Buyer, the Company

shall take the reasonable steps to notify the party whose

materials are to be disclosed.

Buyers and sellers have to bear liabilities arisen from

transactions including but not limited to, economic, legal, tax

and settlement and other related responsibilities, and have to

ensure transactions not relate to money laundering or other

illegal benefi t transfers. Any receive or payment instruction must

be clear and direct, the Company shall assume no liability for

losses arisen from account stolen, misappropriation of funds and

other unforeseen circumstances resulting from mismanagement

of sellers or buyers.

ARTICLE 67 NOTICEմե e Bidder and the Buyer shall inform the Company their

permanent and effective correspondent address and

contact methods in the bidding registration documents

or by other methods recognized by the Company. If there

are changes, they shall inform the Company in writing

immediately.

The notices mentioned in the Conditions of Business

only refer to written notices sent by letter or fax formats.

A notice shall be deemed as served at the following

moment:

1. If it is served by hand, when it reaches the address of

the party concerned;

2. If it is sent by post, then it is the seventh day aft er it is

posted;

3. If it is sent by fax, then it is the moment the outgoing fax

transmission is confi rmed by the fax machine.

ARTICLE 68 SEVERABILITYIf any terms or parts of the Conditions are confi rmed as

void, illegal or cannot be executed, other terms or parts of

the Conditions are still valid, the parties concerned shall

abid by and execute them.

ARTICLE 69 LAWS AND JURISDICTIONThe Conditions of Business and the related matters,

transactions, any disputes caused by or in connection with

the participation in the auction activities of the Company

pursuant to the Conditions of Business shall be subject

to Hong Kong laws and shall be interpreted by Hong Kong

laws. The Company and the Buyer and the Bidder shall

submit to the exclusive jurisdiction of Hong Kong courts.

Adjudication(s) promulgated by Hong Kong courts on any

disputes arising from the Conditions of Business and

related matters can be enforced in People's Republic of

China.

ARTICLE 70 LANGUAGEThe Chinese version of the Conditions of Business shall

be the standard texts; the English version is for reference

only.

Should there be any discrepancy between the English

version and Chinese version, the Chinese version shall

prevail.

ARTICLE 71 OWNERSHIP OF THE COPYRIGHT OF THE CONDITIONSThe Conditions of Business is prepared and revised

by the Company, the copyright concerned belongs to

the Company. Without the prior written approval of the

Company, no one shall use any methods or means to use

the Conditions of Business to obtain business benefits,

and shall not make duplication, of any parts of the

Conditions of Business.

ARTICLE 72 APPLICABLE PERIODThe Conditions of Business is only applicable for this

auction. The Company may update the Conditions of

Business from time to time, when the Bidder and the

Buyer participate in another auction, the then applicable

Conditions of Business shall prevail.

ARTICLE 73 RIGHT OF INTERPRETATIONմե e right of interpretation of these Rules shall belong to

the Company.

競投登記須知IMPORTANT NOTICE ABOUT BIDDING REGISTRATION

—、閣下參�競投登記時須填寫競投牌登記表�並·¸有關身份證明文件，繳納保證金，以辦理登記手續。

I. When you register to bid in an auction, you

must fi ll in the Bidding Registration Form, with all

relevant documents as follow, and pay a deposit

in order to complete the registration.

二、競投登記時須·¸之文件21. ¼人2 �發出附有照片的身份證明文件!如居民身份證 / 護照；中�內地居民須·¸港澳通行證1，及j時住址證明!如公用¨業賬單及 / 或銀行月結單1，及有效聯絡方式。2. 公司客戶2公司商業登記證!澳門本地公司需同時·交交予財局的U益申§�1，及公司登記地址、聯絡方式，及公司授權人身份證明及最終受益人資料!如 BVI、SAMOA 等離岸公司或股權架±複雜的同s公司。身份證明及受益人資料要求� 1 Z一致1。3. 代理人2代理人附有照片的身份證明文件，代理人所代表之競投人士ê公司之證明文件，以及該人士ê公司�發的授權�A本!身份證明要求� 1 Z一致 ) 。敬請注意，POLY 澳門拍賣不¥受第三方付款—Æ規定�適用於代理人。如閣下代表�人參�競投，POLY 澳門拍賣Ì¥受委託人之付款。4. ú客戶以及未在北京保利��拍賣有限公司�保利香港拍賣成y競投拍賣品的客戶，本公司有絕對權力向閣下要求·¸銀行發出之信用證明。建議首�參�競投的ú客戶於拍賣會前�f 3 ¼½�¾前辦理登記，以便有充�的時`處理登記資料。

II. Documents that must be provided when

completing the bidding paddle registration:

(1) Individuals: Valid identity proof (Resident ID

card, Passport; Entry & Exit Pass and Chinese

National ID card for China mainland residents),

proof of current address, i.e. utility bill or bank

statement and Valid contact information

(2) Corporate clients: Valid Business Registration

Certificate (company registered in Macau

needs to submit Income Declaration Form

which requested by Financial Services Bureau

of Macau) , Company address proof and

contact information, Valid Identity proof of the

representative(s) authorized by Company, Valid

Identity proof of the benefi ciary(ies) for off shore/

oversea companies with complex shareholding

structure such as BVI and SAMOA, (Documents

requirement are same as point 1 listed)

(3) Agents and/or Acting Personnel: photo

identity of the agent and/or acting personnel,

copy of identity document of the person/

company that the agent and/or acting personnel

acts on, original copy of signed and/or chopped

authorization letter from the particular person/

company (Documents requirement are same

as point 1 listed). Please note that Poly Auction

Macau Limited does not accept any payment

from any third party and this also applies to

agent. If you participate in the bidding on behalf

of others, Poly Auction Macau only accepts the

payment of the principal.

(4) New clients and those clients who have

not bidden successfully from Beijing Poly

Intemational Auction Co., Ltd., and Poly Action

Hong Kong Limtited, must provide credit proof

issued by banks, and must complete the

registration at least three business days before

the auction so that there will be enough time to

process the registration.

三、若閣下是首�參�競投，同時未獲� POLY

澳門拍賣¦可的註冊客戶推薦，保證金為港幣 500,000 元。如閣下打算競投ä¬價拍賣品!在圖錄內及 / 或�子圖錄內標有〇符號之拍賣品1，保證金為港幣 1,000,000 元。POLY

澳門拍賣有絕對權力隨時ïØä¬價拍賣品之保證金及 / 或手續 , 而不需要另行通知在閣下競投前 , 本公司�有絕對權力向閣下要求·¸任何有關閣下的財務證明。本公司有絕對權力拒絕任何人之競投登記而不需給予任何解釋。

III. If this is the first time you bid with Poly

Auction Macau Limited, and you are not

recommended by a registered client endorsed

by us, the deposit will be HK$500,000. If you

intend to bid on a “Premium Lot”(i.e., a lot

marked with 〇 in the printed catalogue and/

or the digital catalogue), the deposit will be

HK$1,000,000, please be aware the amount of

deposit and/or bidding registration procedure

for “Premium Lot” can be changed at any time

at Poly Auction(Macau)’s sole discretion without

prior notice. In either case, you must deliver

to Poly Auction Macau Limited such necessary

fi nancial references, guarantees, deposits and/

or such other security as Poly Auction Macau

Limited may in its absolute discretion require

for before your bid. Poly Auction Macau Limited

may refuse any bidding registration without any

explanation at its’ sole discretion.

四、所有保證金�須以�匯或 POLY 澳門拍賣¦可之信用卡 / 銀聯卡以港幣付款!閣下�須É自5用您名下的信用卡 / 銀聯卡1。如閣下未能投�任何拍賣品 , POLY 澳門拍賣將安排在拍賣結束�三十¼½�日內退³閣下已付的保證金!不包含利"1。如閣下成為買家，POLY

澳門拍賣有權將該保證金�為支付拍賣品購買價款的款Z。任何涉及退款的兌Û交易Ð失或º用，將由閣下承擔。

IV. All deposits must be paid in HK dollars by

telegraphic transfer, credit card acceptable to

Poly Auction Macau Limited and/or Union Pay

Card under your name. If you are not successful

in any bid,the deposit (without interest) will be

returned to you by any method as determined by

Poly Auction Macau Limited within 30 days after

the end of the auction. If you successfully bid for

any lot(s), Poly Auction Macau Limited may use

the deposit to offset any amount of purchase

price of the lot(s) that bought by you. Any losses

or expenses from foreign currency conversion

involved in the refund will be borne by you.

五、本公司有權要求競投人·¸財務狀況證明、擔保、ó款證明，或本公司可要求競投人為其有意競投的拍賣品·¸其�抵押。本公司保留ï查競投人資金N¿的權利。

V. Poly Auction Macau Limited has the right

to demand the Bidder to provide any proof of

financial conditions, guarantee, proof of bank

deposit and/or any other necessary documents

that our company can demand, at its absolute

discretion, and/or asking the Bidder to provide

any other collateral for the Lot(s) that the latter

intends to bid. Our company reserves the right

to investigate the sources of funds of the Bidder.

六、本公司有絕對權力拒絕任何人之競投登記而不需給予任何解釋。

VI. Please be aware that Poly Auction Macau

Limited can refuse any bidding registration

without any explanation at its sole discreation.

一、拍賣成交�，買家應支付落槌價及�應佣金。拍賣成交日 ( 含成交日 )起七日內，買家應向本公司付清購買價款並·�拍賣品 , �5買家希望將拍賣品出口 , 並需要或可能需要出口許可證 , Æ一條款�適用。

I. In addition to the Hammer Price, the Buyer agrees to pay the applicable commission in respect of such Hammer Price. Payment must be made within 7 calendar days (including the day of Sale) from the day of sale. մե is applies even if the Buyer wishes to export the lot and export license is (or may be) required.

二、自拍賣成交日 ( 含成交日 ) 的第三十一日起，買家須為本�拍賣會未領�的拍賣品支付儲óº，每件每月港幣八百元。儲ó不�一¼月ö，�須繳付Ø月儲óº。儲óº不包括其�額�º用，如保險、包��輸º，其�額�º用將會另行U�。

II. Where Lot(s) is(are) not collected within 30 calendar days (including the day of sale) from the day of sale, the Buyer must pay the monthly storage fee of HK$800 per lot starting from the 31st day. For storage less than one month, one whole month’s storage fee will be charged. All other additional expenses such as insurance, packing and/or transportation costs will be charged separately.

三、本公司¥受以下c^付款方式2電匯付款方式最Ï以�匯的方式直¥轉入本公司的銀行賬戶。請將匯款¹示連同您的姓名及競投牌號或發票號碼一起交予銀行。

戶行2香港上海匯豐銀行有限公司戶名2保利香港拍賣有限公司號碼2004-848-360475-838U款銀行代號 : HSBCHKHHHKH銀行代碼 : 004

戶行2交通銀行股份有限公司香港分行戶名2保利香港拍賣有限公司號碼2027-536-9-311-5318U款銀行代號 : COMMHKHH銀行代碼 : 027

信用卡/ 銀聯卡買家如以保利香港拍賣¦可之信用卡及 / 或銀聯卡方式支付購買價款，則需承擔�當於付款金額不]於 2.5%之行 º用。本公司¥受信用卡付款之上限為港幣 1,000,000 元 ( 每一¢拍賣 )。如買家以¯卡人不在¢方式以信用卡支付�款，客戶�須填寫”信用卡付款授權�” ，並以îà (852 23039888 ) / � 郵 ([email protected] ) 或郵寄方式送³本公司地址，須受有關條款約束。

支票本公司¥受¼人支票�公司支票，但請留意買家須於支票承兌�方可·�拍賣品。本公司不¥受旅行支票付

款。

現金/銀行本票如以j金或銀行本票繳付款Z，則可立�·�拍賣品。惟本公司恕不¥受以一筆或]�付款形式用j金支付超Ó港幣 80,000 元或同等價值�幣之款Z，本公司有權向支付j金的買家或ú客戶索�有效身份證明文件、通#住址證明及j金N¿證明。

III. Our company accepts the following types of payment: TELEGRAPHIC TRANSFERPayment should preferably be made by telegraphic transfer directly to our company’s account. Please include your name and paddle number or invoice number with your instructions to the bank.

Bank: The Hongkong and Shanghai Banking Corporation LimitedAccount Name: Poly Auction (Hong Kong) Ltd.Account No: 004-848-360475-838SWIFT: HSBCHKHHHKHBank Code: 004

Bank: Bank of Communications Co., Ltd. Hong Kong BranchAccount Name: Poly Auction (Hong Kong) Ltd.Account No: 027-536-9-311-5318SWIFT: COMMHKHHBank Code: 027

CREDIT CARD/UNIONPAY CARDOur company accepts payments by credit cards and/ or Union Pay which is acceptable to Poly Auction (Hong Kong ) u p to HK $1,000,000 p er auction sale. The Buyer have to bear the administrative charge which is not more than 2.5% of the paid amount. If buyer pay by credit card but not in person, client have to fi ll in the “Credit Card Authoirsation Form” and send back by fax (852 23039888)/ email ([email protected]) or mail to our offi ce address (subject to conditions).

CHEQUEOur company accepts personal and company cheques, but please be reminded that the purchases will not be released until such cheques have been cleared. Traveler’s cheques are not accepted.

CASH / CASHIER ORDERIf payment is made by cash or cashier order, the purchases will be released immediately. However, our company does not accept sums exceeding HK$80,000 (or i ts equivalent in other currencies) in cash in a single or multiple payments. Our company requests any new clients or purchasers preferring to make a cash payment to provide proof of identity and proof of the permanent address. We reserve the right to seek identifi cation of the source of funds received.

四、所有價款應以港幣支付。如買家以港幣以�的其��幣支付，應按買家�本公司約定的匯價折算或按照本公司選擇之銀行於買家付款日前一¼½�日公佈的港幣�該�幣的匯價折算，並以本公司所發出之單據上所列之匯率為÷。買家自行承擔所支付之該^�幣兌Û成港幣所引致之所有銀行手續º、佣金及 / 或其�º用。

IV. If the payment made in a currency other than Hong Kong Dollars, we shall charge the Buyer for any currency costs incurred. This will include bank charges, commissions for converting the currency. The exchange rate of Hong Kong Dollars and that currency will be the rate quoted by such bank as selected by the company, in Hong Kong on the date of payment.

五、本公司將向競投登記表�上的姓名及地址發出�出拍賣品的賬單，且登記的姓名及地址不�Ú改。

V. Our company will issue an invoice of sold lot (s) based on the name and address which is (are) on the Bidding Registration Form and the registered name and address should not be changed and/ or amended.

六、本公司不¥受除買家�的任何第三方付款。ÆZ規定�適用於代理人。如代理人代表�人參�競投，Ì¥受委託人的付款。除¥受買家付款�，本公司保留拒U其�N¿付款的權利。

VI. Our company does not accept payment from any third party other than the Buyer. This applies to agent as well. If the agent participates in the auction on behalf of any others, we only accept payment from the principal. Except payment from the Buyer directly, our company reserves the right to reject payments from other sources.

財務付款須知IMPORTANT NOTICE ABOUT PAYMENT

競投登記表格

保利香港拍賣有限公司 (“保利香港拍賣 ”)

競投牌編號:

客戶編號

個人名義競投公司名義競投

姓名

身份證 / 護照編號

公司名稱

商業登記編號

被授權代表︰姓名 _______________________________ 身份證 / 護照編號 __________________________ �話 __________________

地址

城¡ �家郵編號

�話 îà �郵

本欄由保利香港拍賣專用

保證金付款方法 : □ �匯 □ 本票 □ 支票 □ 信用卡 (VISA / 萬¨達 / 銀聯 / ��通 ) □ 其� □ 證件 : 　□ 已·¸　　ERP　

�辦審� 日T / 時`

Suite 701-708, 7/F, One Pacific Place, 88 Queensway, Admiralty, Hong Kong

香港金Ç金Ç道 88 號太古廣¢ 1 T 7 樓 701-708 室T: + 852 2303 9899 F: + 852 2303 9888 E: [email protected] W: www.polyauction.com.hk

拍賣s別2 □j當代-術 □中�當代Ý墨 □中�dj代�畫 □中�古代�畫 □茅台及白r □tu □中�古董珍玩 □�� □ÇÈ □手M / 潮玩 □威士忌及干邑 □其�

閣下Òá於北京保利��拍賣有限公司拍賣登記競投？ □有 □沒有

請附上身份證或護照è印本及住址證明 ( 如公用¨業賬單或銀行月結單 ) 以��對用�。

本人特Æ�定申請競投拍賣品。本人同意向保利香港拍賣交付所需的財狀況證明、擔保、ó款證明及 / 或保利香港拍賣酌情要求本人為競投須�出的其�抵押。本人同意保利香港拍賣並無責任¥受Æ競投牌登記申請表及保利香港拍賣對Æ有最終%定權。除U到保利香港拍賣之�0通知�定Æ申請表有效或發給之競投牌，本人並不應� 保利香港拍賣已¥納Æ拍賣品預@登記申請表。

拍賣官可代表賣家為任何拍賣品叫第一口價以開W競投。拍賣官Ú可代表賣家以¥連投標或競投之方式«拍賣品�出競投直�達到保留價。

基於管理、�營業務、¡¢推廣以及保利香港拍賣·¸之服務及 / 或法律規定等需要之用� , 保利香港拍賣可能向客戶要求·¸其¼人資料或向協力ã商索�有關資料，如信貸資料等。保利香港拍賣在未獲�客戶明�同意前將不會將該等¼人資料�其�用�。為履行客戶所要求之服務，保利香港拍賣有可能向協力ã商，如船務公司披露資料。部份�家未能·¸�香港�同之¼人資料法律保障。/據保利香港拍賣的公司策，將要求該協力ã商尊重客戶之私隱，將客戶的資料保密並·¸�香港�同)(之¼人資料保障，不論�們所處�家能á·¸對¼人資料之�同法律保障。本人於Æ拍賣品預@登記表�署，�同意有關披露。

本人同意¥受圖錄內列明之業務規則、重要通告、須知。應保利香港拍賣要求，本人同意·¸有效身份證明文件及通#地址證明。買家及賣家之�約於拍賣官落槌時訂立，而閣下�為買家�須於拍賣會結束 ( 含成交日 ) �七日內以港元支付拍賣品之款Z及任何買家之º用。

□ 本人希望透Ó�郵或短信U�保利香港或保利集團將舉行之拍賣或活動資# □ 本人不欲以�郵方式U�賬單

�署日T

如閣下計I出席本�拍賣並競投拍賣品，請填妥以下表�並於拍賣日T 3 ¼½�日îà� (852) 2303 9888 或郵寄到本公司地址如下。

BIDDING REGISTRATION FORM

POLY AUCTION (HONG KONG) LIMITED(“POLY AUCTION (HONG KONG)”)

Paddle No.

Client No.

Personal Account Company Account

Name

ID / Passport No.

Company Name

Business Registration No.

Authorized Person : ___________________________________ ID/Passport No. : ______________________ Telephone: _________________________

Address

City Country Postal Code

Telephone Fax Email

FOR OFFICE USE ONLY

□ Wire Transfer □ Cashier Order □ Cheque □ Credit Cards (VISA, MASTER, CUP, A E) □ Others ID/PP : □ Provided □ ERP

Handled by Approved by Date / Time

Suite 701-708, 7/F, One Pacific Place, 88 Queensway, Admiralty, Hong Kong

香港金Ç金Ç道 88 號太古廣¢ 1 T 7 樓 701-708 室T: +852 2303 9899 F: +852 2303 9888 E:[email protected] W: www.polyauction.com.hk

Auction Category: □ Modern and Contemporary Art □ Chinese Ceramics and Works of Art □ Tea □ Fine Modern Chinese Paintings and Calligraphy □ Jewels □ Chinese Spirit □ Classical Chinese Paintings and Calligraphy □ Watches □ Whisky & Cognac □ Chinese Contemporary Ink Paintings □ Bag & Hype □ Other

Have you registered to bid at Poly International Auction Co. Ltd. before? □ Yes □ No

Please attach a copy of your ID Card/Passport and proof of current address (e.g. utility bill and bank statement) for identifi cation purpose.

I hereby confi rm my intention and application to bid in the above auction. I agree to deliver to Poly Auction (Hong Kong) such necessary fi nancial references, guarantees, deposits and/or such other security as Poly Auction (Hong Kong) may in its absolute discretion for my bid. I agree that Poly Auction (Hong Kong) has no obligation to accept this registration application and that Poly Auction (Hong Kong)’s decision in this regard shall be fi nal. I shall not assume Poly Auction (Hong Kong)’s acceptance of my registration application unless I have received a written confi rmation from Poly Auction (Hong Kong) to that eff ect or a bidding paddle.

Please note that the auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. մե e auctioneer may further bid on behalf of the seller up to the amount of the reserve, by placing responsive or consecutive bids for a lot.

In connection with the management and operation of our business and the marketing and supply of Poly Auction (Hong Kong) services, or as required by law, we may ask clients to provide personal information about themselves and/or obtain information about clients from any third parties (e.g. credit information). Poly Auction (Hong Kong) will not use and/or process my personal information for any other purpose without the client’s express consent. In order to fulfi ll the services that clients have requested, Poly Auction (Hong Kong) may disclose certain information to third parties (e.g. shippers). Some countries do not off er equivalent legal protection of personal information to that off ered within Hong Kong. It is Poly Auction (Hong Kong)’s policy to require that any such third parties respect the privacy and confi dentiality of my information and provide the same level of protection for my information as provided within Hong Kong, whether or not they are located in a country that off ers equivalent legal protection of personal information. By signing this Registration Form I agree to such disclosure.

By signing below, I agree to be bound by the Conditions of Business and all the important notices as printed in the catalogue. If Poly Auction (Hong Kong) so requests, I agree to provide proof of identity and permanent address.

մե e contract between the Buyer and Seller shall be concluded upon the striking of hammer by the Auctioneer. If the Lot is sold, I agree to pay in Hong Kong dollars the Hammer Price, a commission and related charges of buyer within 7 calendar days (including the day of sale).

□ I would like to receive the news for coming auction or events by email or message from Poly Hong Kong or Poly's group □ I do not wish to receive the settlement advice by email

SIGNATURE DATE

If you plan to attend the sale and bid on a lot, please fi ll out this form and fax it to (852) 2303 9888 or mail to the following address in either case to reach POLY AUCTION (HONG KONG) no later than 3 working days prior to the day of sale:

委託競投表格

郵寄或îà�2

保利香港拍賣有限公司地址 : 香港金Ç道 88 號太古廣¢ 1 T 7 樓 701-708 室�話 : (852) 2303 9899îà : (852) 2303 9888

戶行 : 香港上海匯豐銀行有限公司戶名 : 保利香港拍賣有限公司號碼 : 004-848-360475-838SWIFT: HSBCHKHHHKH銀行編號 : 004

戶行 : 交通銀行股份有限公司戶名 : 保利香港拍賣有限公司號碼 : 027-536-9-311-5318SWIFT: COMMHKHH銀行編號 : 027

重要提示：．保利香港拍賣不¥受包括代理人之內之任何第三方付款；不¥受逾港幣八萬元 ( 或等值�幣 ) 之j金

款Z；且發票資#於拍賣會×結�將不能Ú改。．請閣下·¸以下文件之��證副本2 • ¼人2 �發出附有照片的身份證明文件 ( 如居民身份證及 / 或護照 )，及j時住址證明 ( 如身份證

明文件未有4示 )，如公用¨業賬單及 / 或銀行月結單。 • 公司客戶2公司商業登記證及股東證明文件。 • 代理人2代理人附有照片的身份證明文件 , 代理人所代表之競投人士 / 公司之證明文件 , 以及該人

士 / 公司�發的授權�A本。敬請注意 , 保利香港拍賣不¥受第三方付款 - Æ規定�適用於代理人。如閣下代表�人參�競投，保利香港拍賣Ì¥受委託人之付款。

．保利香港拍賣Ì¥受本�0�式的委託競投表�。

茲申請並委託保利香港拍賣就本申請表所列拍賣品進行競投，並同意如下條款：一、本人承諾已仔細閱讀刊印於本圖錄上的保利香港拍賣業務規則、重要通告、競投登記須知及財務付

款須知，並同意遵守前�規定之一切條款。二、保利香港拍賣業務規則之委託競投之|責條款為不可爭議之條款。無論是由於疏忽或其ëâ因引致，

本人不追究保利香港拍賣及其½�人員競投未成y或未能代為競投的�關責任。三、本人須於拍賣日前三¼½�日或之前向保利香港拍賣出具本委託競投表�。並/據保利香港拍賣公

佈的條件�)序辦理競投登記手續。如在規定時`內保利香港拍賣未U到本人支付的�應金額的競投保證金，或保利香港拍賣未予審��¦的，則本表�無效。

四、買家及賣家之�約於拍賣官落槌時訂立。如拍賣成交，本人同意於拍賣會結束 ( 含成交日 ) �七日內以港幣付清拍賣品之落槌價、�當於落槌價 18% 的佣金以及任何買家�責的ÊZº用。

保利香港拍賣有限公司 (“保利香港拍賣 ”)

委託競投表�須於拍賣日前三¼½�日或之前遞交客戶服務部。保利香港拍賣將以îà或錄音�話等方式�¦U到閣下之�0競投表�。若於一¼½�日內還未有U到�實³覆，請重ú遞交表�。

□ 書面競投．競投將以盡可能低之價�進行。在適當情況下，閣下之�0競

投價將會被;概ïØ�最¥d拍賣官遞增之競投金額。． “購買”或“無限價競投”將不被¥納，及我們不¥納“加一

口價”競投標。請/據圖錄內之¹示投標。．如保利香港拍賣«同一拍賣品U到兩¼或兩¼以上競投價�同

的�0競投，而在拍賣時Æ等競投價乃該拍賣品之最ä競投價，則該拍賣品會歸於其�0競投最@送抵保利香港拍賣之競投人。

．拍賣官可直¥於拍賣台上執行�0競投。

□ 電話競投．請清楚注明於拍賣T`可聯絡閣下之�時通#方式及½具，我

們會於閣下擬競投之拍賣品競投前致�給閣下，該�時通#½具所î達之競投信" ( 無論是á為閣下本人î達 )，均x為閣下所為，閣下應對其行為承擔所有責任 ( 包括但不限於法律責任 )。

．本公司有絕對權利對所有�話競投錄音�保ó。選擇�話競投�代表競投人同意其�話被錄音。

�署2 　　　　日T2

客戶編號

個人競投公司競投

姓名 __________________________________

身份證 / 護照編號

公司名稱

商業登記編號

地址

城¡ �家郵編號

�話 #1 �話 #2 îà

�郵 _________________________________________ 選擇語b __________________________

☐授權代表委託競投︰被授權人︰姓名

身份證/護照編號 �話

本欄由保利香港拍賣Õ用保證金付款方法 : □�匯 □本票 □支票 □信用卡 (VISA / 萬¨達 / 銀聯 / ��通 ) 証件2 □已·¸ □ ERP

�辦審� 日T及時`

競投牌編號:

□ 本人希望透Ó�郵或短信U�本公司或保利集團將舉行之拍賣及活動資#□ 本人不欲以�郵方式U�賬單

# 重要通知2倘若保利香港投標人員無法在拍賣時聯絡閣下，本公司將依照閣下所列出的緊急競投價競投

拍賣編號圖錄號拍品名稱最ä競投價 ( 未包含佣金 ) 適用於�0競投 / 緊急競投價 ( 未包含佣金 ) 適用於�話競投 #

港幣

港幣

港幣

港幣

港幣

港幣

港幣

ABSENTEE BID REGISTRATION

Mail or Fax to: Poly Auction (Hong Kong) LimitedAddress: 701-708, 7/F, One Pacifi c Place 88 Queensway, Admiralty Hong KongPhone: (852) 2303 9899Fax: (852) 2303 9888

Bank: մե e Hongkong and Shanghai Banking Corporation LimitedAccount Name: Poly Auction (Hong Kong) Ltd.Account No: 004-848-360475-838SWIFT: HSBCHKHHHKHBank Code: 004

Bank: Bank of Communications Co., Ltd. Hong Kong BranchAccount Name: Poly Auction (Hong Kong) Ltd.Account No: 027-536-9-311-5318SWIFT: COMMHKHHBank Code: 027

IMPORTANT REMINDER:• Poly Auction (Hong Kong) does not accept any payment from any third parties (agent inclusive), nor cash in

excess of HK$80,000 (or its equivalent in other currencies), and that the invoice details cannot be changed and/or amended aft er the end of the Auction.

• Please provide certifi ed true copies of the following documents: o Individuals: photo identity i.e. national identity card and/or passport, proof of current address (if the

current address is not shown on the identity document), i.e. utility bill or bank statement. o Corporate clients: a certifi cate of incorporation and offi cial documents listing directors and shareholders. o Agents and/or Acting Personnel: photo identity of the agent and/or acting personnel, identity document

of the person/company that the agent and/or acting personnel acts on, original copy of signed and/or chopped authorization letter from the particular person/ company. Please note that Poly Auction (Hong Kong) Limited does not accept any payment from any third party and this also applies to agent. If you participate in the bidding on behalf of others, Poly Auction (Hong Kong) only accepts the payment of the principal.

• Poly Auction (Hong Kong) only accepts Absentee Bid Registration Form in this written format.

I hereby apply for and appoint Poly Auction (Hong Kong) to conduct bidding for the Property(ies) listed in this Absentee bid registration, and agree to the following terms:1. I undertake that I have carefully read and accept the Conditions of Business, Important Notices, Important Notices

about Bidding Registration and Important Notices about Payment of Poly Auction (Hong Kong) published in the catalogue, and agree to be bound by all the terms of the above mentioned provisions.

2. մե e disclaimer of absentee bid of the Conditions of Business of Poly Auction (Hong Kong) is indisputable, I shall not seek to establish the relevant responsibilities of Poly Auction (Hong Kong) and its staff for unsuccessful bidding or their inability to bid on my behalf regardless such is caused by negligence or other reasons.

3. I shall present this Absentee Bid Registration to Poly Auction (Hong Kong) at least three business days before the Auction Day, and complete the bidding registration according to the conditions and procedures announced by Poly Auction (Hong Kong). If Poly Auction (Hong Kong) has not received the amount corresponding to the Auction deposit that I have paid or Poly Auction (Hong Kong) has not verifi ed and confi rmed it within the period stipulated, this form shall be void.

4. մե e contract between the Buyer and Seller shall be concluded upon the striking of hammer by the Auctioneer. If the Lot is sold, I agree to pay in Hong Kong dollars the Hammer Price, a commission equivalent to 18% of the hammer price of each lot and any Buyer's expenses within 7 calendar days (including the day of sale).

Sale No. Lot No. Lot DescriptionHighest Bid (excluding commission) for written bid / Emergency bid (excluding commission) for phone bid #

HKD

HKD

HKD

HKD

HKD

POLY AUCTION (HONG KONG) LIMITED(“POLY AUCTION (HONG KONG)”)

This Absentee bid registration must be sent to the customer service department at least three business days before the Auction Day. Poly Auction (Hong Kong) will confi rm receipt of your Absentee Bid Registration by fax or recorded phone message etc. If you have not received defi nite reply within one working day, please send in the form again.

□ WRITTEN BIDSBidding will be conducted at the lowest possible price. If appropriate, your absentee bids will be roughly adjusted to the bidding increment of the Auctioneer as close as possible.“Buy” or unlimited bids will not be accepted and we do not accept “plus one” bids. Please place bids in the same order as in the catalogue.If Poly Auction (Hong Kong) receives two or more absentee bids at the same bidding price, and during the Auction, such bidding prices are the highest bids for that Lot, then that Lot will belong to the Bidder whose absentee bid reaches Poly Auction (Hong Kong) fi rst.

մե e Auctioneer can execute absentee bids directly on the Auction stage.

□ TELEPHONE BIDSPlease indicate clearly the instant communication methods and instruments that you can be contacted during the auction period, we will phone you before the bidding of the Lot that you intend to bid for, the bidding information transmit by that instant communication instruments (whether or not it is transmitted by you personally) shall be considered as transmitted by you, and you shall bear all liability and responsibility (including but not limit legal liability and responsibility) for the actions taken by it.All telephone bids may be recorded and kept at Poly Auction (Hong Kong)’s sole discretion, by opting for telephone bids, the Bidder agrees that its phone conversation will be recorded.

Signature: Date:

□ I would like to receive the news for coming auction or events by email or message from Poly Hong Kong or Poly’s group

□ I do not wish to receive the settlement advice by email

#important Note: If Poly HK staff is unable to contact you during the auction, the bid will be placed in accoedance with you listed emergency bid price

ID/PP: □ Provided □ ERP

Client No.

Personal Account Company Account

Name _________________________________

ID / Passport No.

Company Name

Business Registration No.

Address

City Country Postal Code

Tel #1 Tel #2 Fax

Email Preferred language

☐Authorization for Absentee Bid Registration: Name of Agent

ID / Passport No. Tel:

FOR OFFICE USE ONLYDeposit payment: □ Wire Transfer □ Cashier Order □ Cheque □ Credit Cards (VISA, MASTER, CUP, AE) Handled by Approved by Date / Time

Paddle No.:

裝運委託

運輸信息請填寫Æ表�，我們會安排我們¹定的�代理之一寄送您所有購買的拍賣品，º用由您承擔。保利香港拍賣不會承擔因任何包�及 / 或送Ó)而+之任何對拍賣品及 / 或其包� ( 如畫框、玻璃 ) 之ÐÑ。買家應自行�責任何有關出 / 入口之�關文件及其�關º用及 / 或稅Z。若需要Þ送方0的建議，請致�保利香港倉務及物流部(852) 2303 9899。

( 請刪去不適用 )

費用於A式處理Þ送之前，本人需要 / 不需要§價。

運輸保險僅適用於郵件託運請安排 / 不要安排輸保險。除非另行¹定，所有拍賣品將按其a價受保。請注意保利香港拍賣不會承擔任何輸保險º用及其�關º用。請不要拆除包�。( 玻璃物品將被棄6 ) 。請拆除包��玻璃物品。注意2價值超Ó 10,000 港幣或重量超Ó 2 公斤的物品不能通Ó郵件寄送。

銷售詳情

´�編號 # 拍賣品編號 # 發票編號 #

寄送方式掛號 / 空 / 商業快遞

送達地址

�話 îà

帳單地址如不同上�送達地址

�話 îà

特別¹示2 是 / á

�署日T

SALE DETAIL

Sale # Lot # Invoice#

Methods of Dispatch Registered post/Air fright/Commercial Courier

Delivery Address

Telephone Fax

Invoice Address if different from above

Telephone Fax

Special instructions: Y/N

Signature Date

SH IPPING INSTRUCTIONS

SHIPPING INFORMATIONPlease complete this Form and we shall arrange for the dispatch of all your purchases through one of our nominat-ed shipping agents, at your expense. Poly Auction (Hong Kong) is not responsible for any damage and/or loss of the purchases and/or the packing (i.e frames, glasses) from any packing and/or transportation. It should be the buyer’s responsibility to obtain any necessary licenses and/or per-mits, and all the duties, and/or taxes which may occur. For advice on shipping your purchases please call Poly Auction (Hong Kong)'s Warehouse and Logistics Department on (852) 2303 9899.

(Please cross out as appropriate)CHARGESI do/do not require a quotation before the shipment is pro-cessed.

INSURANCE IN TRANSITPlease arrange/do not arrange transit insurance. All pur-chases will be insured at the aggregate price unless other-wise specifi ed.Please note that Poly Auction (Hong Kong) is not responsible for any insurance charge which may occur from transit.

POSTAL CONSIGNMENTS ONLYPlease do not remove frames.(Glass will be discarded).Please remove frames and glass.NB: items valued in excess of HK$10,000 or weighing more than 2kg cannot be sent by Post.

Please complete this section and delete where applicable

請填寫Æ部分並I去不適用部分

香港(Hong Kong)

保利香港拍賣有限公司香港金Ç道88號太古廣¢1T7樓�話2(852) 2303 9899

îà2(852) 2303 9888

�郵[email protected]

澳門(Macau)

保利澳門拍賣有限公司澳門ú口岸宋玉廣¢322-362號誠豐商業中心16樓G室聯繫人2鄭妙賢�話2(853) 2875 1013

îà2(853) 2875 1014

台灣(Taiwan)

保利香港拍賣有限公司台灣代表處台北¡中山區中山北路二段39巷6號10樓聯繫人2張筠菲�話2(886) 2 2581 3855

îà2(886) 2 2522 2595


上海(Shanghai)

保利香港拍賣有限公司上海代表處µ安中路1111號µ安飯店391室聯繫人2張瑾�話2(86-21) 5178 0360

îà2(86-21) 5178 0361


厦門 (Xiamen)

保利厦門��拍賣有限公司廈門¡白鷺洲東路86-3號�話2(86-592) 2209995

îà2(86-592) 5320009

山東 (Shandong)

保利山東��拍賣有限公司山東省濰坊¡奎文區勝利東街5051號陽光100城¡廣¢8號樓7樓�話2(86)13810245312/18601255615

義烏 (Yiwu)

保利義烏-術發展有限公司浙江省義烏¡賓王路158號文創園二區D座保利-術+二ñ�話20579-83556111

îà20579-83556111

日本(Japan)

保利拍賣日本代表處東京都中央區銀座2丁目12-4-601

Duplex 銀座2/12 1040061

聯繫人2風°治子

�話2(81) 3 6278 8011

îà2(81) 3 6278 8012

��(USA)

保利拍賣紐約代表處 (New York)

Bar Building, 36 West 44th Street, New York

聯繫人2Kenny Wong

�話2(1) 212 273 0822


太â Taiyuan晋�齋(�畫古董)山西省太â¡迎澤;街376號�話2(86-351) 4034756îà2(86-351) 4034962

;希堂(�畫古董)山西省太â¡迎澤;街248號南宮文�樓201室�話2(86-351) 4085383îà2(86-531) 4180191

宜興 Yixing江蘇保利典當行(�畫)江蘇省宜興¡太隔橋北側綜�樓�話2(86-510) 68995988îà2(86-510) 68995988

江陽 Jiangyang劉家;院文�+業有限公司江蘇省江陽¡板橋南處îà2(86-510) 68970068

南京 Nanjing江蘇畫店(�畫)南京¡王�;街朝¾宮2號2樓�話2(86-25) 83719611îà2(86-25) 83719611

香港、北京保利圖錄預訂CATALOGUES

ú加坡 (Singapore)斯民��-苑(�畫)SooBin Art Int'L10 Ubi Crescent, Ubi Techpark Lobby C,# 04-90 Lobby E Singapore 408564�話2(65) 68372777îà2(65) 63397767

印尼 (Indonesia)Fang Gallery 芳-術(�畫)The Plaza 27th Floor,Jl.M.H.ThamrinKav28-30,Jakarta 10350 LndonesiaTel: (62) 2129923311Fax: (62) 2129923311

西安 Xi'an亮�樓西安雁塔區雁引路35號(�畫古董)�話2(86-029) 82069868/75/78�郵[email protected]

濟南 Jinan中�齋(�畫古董)山東省濟南¡馬鞍山路2-1號山東;厦一ñ�話2(86-531) 86953009

青島 Qingdao榮�齋青島�´店(�畫古董)青島¡閩江三路12號�話2(86-532) 88080822îà2(86-532) 88080833

成都 Chengdu成都浣K雅集文�-術有限公司四川·成都¡青羊區支矶�街31號附2號郵編2610031�話2(86-28) 62323289

廣州 Guangzhou榮�堂(�畫)廣州¡越秀區盤福路79號傾城r店十樓�話2(86-20) 81749713

福州 Fuzhou福州畫院—墨園(�畫)福建省福州¡»山路2號�話2(86-591) 83333867 83366176îà2(86-591) 83337963

碧潭畫苑鄭州¡黃河路109號院1號樓1單元2201室�話2(86-0371) 66976789�郵[email protected]

＊圖錄預訂可聯系全球各地代表或以下合作單位：

全球保利拍賣辦事處WORLDWIDE OFFICES

中国拍卖行业概念股——保利文化 (3636·HK)

總經理：王蔚財務總監：郭建巍副總經理：陳零初副總經理：祖世龍副總經理：董振中國古董珍玩藝術總監：李移舟中國書畫藝術總監：殷華傑

各子公司及聯絡人等

保利香港拍賣有限公司地址：金钟道88号太古广场一座7楼

电话：852-23039899

传真：852-23039888

Email: [email protected]

保利澳門拍賣有限公司地址：澳门宋玉生广场336号

诚丰商业中心16楼G座

电话：+853 2875 1013

传真：+853 2875 1014

保利(山東)國際拍賣有限公司胡志明姜珂

地址：山东省潍坊市奎文区胜利东街

5051号阳光100城市广场

8号楼7楼

电话：0536-8392111

传真：0536-8392009

保利(廈門)國際拍賣有限公司陈珊

地址：厦门市白鹭洲东路86-3号

电话：0592-5069988

传真：0592-5320009

保利拍卖上海地區聯絡人张瑾曹欢欢

地址：延安中路1111号延安饭店391室

电话：86-21- 51780360

传真：86-21- 51780361

E-mail: [email protected]

保利義烏藝術發展有限公司陈零初李屾黄慧

地址：浙江省义乌市宾王路158号文创

园二区D座保利艺术+二层

电话：0579-83556111

传真：0579-83556111

保利拍賣臺灣地區聯絡人黄宏任汪友文

地址：台北市中山区中山北路二段

39巷6号5楼(晶华酒店旁)

电话：886-225224080

传真：886-225222595


保利拍賣北美聯絡人黄健黄正

地址：Bar Building, 36 West 44th

Street, New York

电话：1-212-273-0822


保利拍賣日本聯絡人风见治子

地址：东京都中央区银座2丁目12-4

-60 Duplex银座2/12 1040061

电话：81-3-6278-8011

传真：81-3-6278-8012

Email: [email protected]



保利香港丶澳門聯合拍賣

POLY AUCTION HONG KONG AND MACAU

JOINT AUCTIONS

保利香港藝術空間2020 年 12 月 8 日

下午 3:00Poly Gallery Hong Kong

8 December 2020 3:00 pm

ALAMEDA DR. CARLOS D'ASSUMPÇÃO, N°S 336, CENTRO COMERCIAL CHENG FENG 16 ANDAR G, MACAU澳門宋玉生廣場 336號誠豐商業中心 16樓 G座 | T: +853 2875 1013 | F: +853 2875 1014