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2018 SPRING AUCTION

MODERN AND CONTEMPORARY ART 2018年新加坡春季拍賣會 SINGAPORE 20 MAY 2018 | 新加坡 2018年5月20日


Lot 69 CHEN CHONG SWEE Crossing The River In The Morning


33 Auction 2018 Singapore Spring Auction Modern and Contemporary Art Singapore, 20 May 2018 Auction Sunday, 20 May 2018, 1:30 pm Grand Hyatt Singapore, Grand Salon 1, Level 2 10 Scotts Road Singapore 228211 Preview 18 - 19 May 2018: 10 am - 8 pm MoCA@Loewen, 27A Loewen Road, Dempsey Area, Singapore 248839 Sale Information

In sending written bids or making enquiries, please quote this sale number ‘SG026’ The sale will be conducted in English. Bidding is carried out in Singapore Dollar. Please note that all US Dollar estimates are for reference only. 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 22% on the first SGD 200,000 of the hammer price of each lot plus 18% of any sum in excess of SGD 200,000. Lots indicated in this printed catalogue with the † sign next to the lot number (or have lot number with G-suffix in the online catalogue) will have GST charged on the hammer price and will be payable by the buyer.

33 拍賣⾏

2018 年新加坡春季拍賣會 現當代藝術 新加坡 2018 年 5 ⽉ 20 ⽇

拍賣

星期天, 2018 年 5 ⽉ 20 ⽇, 下午 1:30 新加坡君悅酒店 GRAND SALON 1,⼆樓 詩閣路 10 號 新加坡 228211

預展 2018 年 5 ⽉ 18-19 ⽇: 10:00 - 20:00 新加坡MoCA@LOEWEN美術館 27A羅⽂路,登普⻄⼭區,新加坡248839

拍賣信息

在發送書⾯競投表格或致電查詢時請註明本次拍 賣編號"SG026"。 本次拍賣將全程以英語進⾏。競投時使⽤新加坡 幣,請注意所有美元估價僅供參考。 買家應⽀付本公司酬⾦,並與成交價⼀起計⼊買 ⼊價。 拍賣品成交價為 200,000 新加坡幣或下, 酬⾦以成交價之 22%計算;超出 200,000 新加坡 幣之部分,則以 18%計算。 本圖錄中有符號†標識的拍賣品(在網上圖錄中的 拍賣品編號後有 G 標誌)將會收取成交價之部分 的消費稅,并由買家⽀付。


GUIDE FOR PROSPECTIVE BUYERS Conditions of Business The Auction is governed by the Conditions of Business printed in the back of the catalogue. Prospective buyers are advised to review these carefully. Buying at Auction The following pages are designed to give you useful information on how to buy at 33 Auction Pte Ltd (here-in referred to as 33 Auction). Prospective bidders should also consult www.33auction.com for the most up to date cataloguing of the property in this catalogue. Buyer’s Premium 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 22% of the hammer price up to and including S$ 200,000 and 18% of any amount in excess of S$ 200,000. GST Lots indicated in this printed catalogue with the † sign next to the lot number (or have lot number with G-suffix in the online catalogue) will have GST charged on the hammer price and will be payable by the buyer. Pre-sale Estimates The pre-sale estimates are intended as a guide for prospective buyers. Any bid between the high and low pre-sale estimates would, in our opinion, offer a chance of success. However, all lots, depending on the degree of competition, can realise prices either above or below the pre-sale estimates. The estimates printed in the catalogue do not include the buyer’s premium. Reserves The Reserve is the minimum price the seller is willing to accept, below which the lot will not be sold. The reserve, if any, will not exceed the low estimate published in the catalogue. Condition of Lots Prospective buyers are encouraged to inspect the property at the pre-sale exhibition. Solely as a convenience, 33 Auction may provide condition reports. The absence of reference to the condition of a lot in the catalogue description does not imply that the lot is free from faults or imperfections. Bidding at Auction Bids may be executed in person by paddle during the auction, in writing prior to the sale, by telephone or via online bidding. Bidding will be conducted in Singapore Dollars. Auction speeds vary, but usually average between 40 - 80 lots per hour. Bidding Increments Bidding generally opens below the low estimates and advances in the following increments: S$. 1.000 - 2.000,by S$. 100,S$. 2.000 - 5.000,by S$. 200,S$. 5.000 - 10.000,by S$. 500,S$. 10.000 - 20.000,by S$. 1.000,S$. 20.000 - 50.000,by S$. 2.000,S$. 50.000 - 100.000,by S$. 5.000,S$. 100.000 - 200.000,by S$. 10.000,S$. 200.000 up by Auctioneer's direction

However, the auctioneer may change the increments during the course of the auction at his or her discretion. Bidding may also be reopened at the auctioneer’s discretion. Bidding in Person To bid in person at the auction, you will need to register for and collect a numbered paddle before the auction begins. Proof of identity will be required. The paddle is used to indicate your bids to the auctioneer during the sale. Should you be the successful buyer of any lot, please ensure that your paddle can be seen by the auctioneer and that it is your number that is called out. Should there be any doubts as to price or buyer, please draw the auctioneer’s attention to it immediately. All lots sold will be invoiced to the name and address in which the paddle has been registered and cannot be transferred to other names and addresses. Please do not mislay your paddle; in the event of loss please inform the Sales Clerk immediately. Absentee / Written Bids If you cannot attend the auction, we will be happy to execute written bids on your behalf. This service is free and confidential. Lots will always be bought as cheaply as is consistent with other bids, the reserves and 33 Auction’s commission. In the event of identical bids, the earliest bid received will take precedence. Always indicate a “top limit”- the hammer price to which you would bid if you were attending the auction yourself. “Buy” and unlimited bids will not be accepted. Telephone absentee bids must be confirmed before the sale by email, fax or letter. Fax no for absentee bids form is +65 67474111 and the email address is bid@33auction.com. To ensure satisfactory service to bidders, please ensure that we receive your bids at least 24 hours before the sale. Bidding by Telephone If you cannot attend the auction, it is possible to bid on the telephone on lots with a minimum low estimate of S$ 4,000. As the number of telephone lines is limited, it is necessary to make arrangements for this service 24 hours before the sale. We also suggest that you leave a maximum bid which we can execute on your behalf in the event we are unable to reach you by telephone. Multilingual staff are available to execute bids for you. Online Bidding For your convenience, you may use 33 Auction mobile apps and bidding site to leave your bid before the sale or bid live during the sale. The service is free of charge and is undertaken at bidder’s risk. Please register at least 4 hours before the auction start to ensure your registration is approved in time. Bidding on partner’s online bidding platform may incur a service fee: Invaluable: 5% of hammer price. Currency Conversion The auction will be conducted in Singapore Dollars. 33 Auction may provide a currency conversion board in the saleroom for the convenience of bidders. Please note the amounts shown in foreign currencies are approximate figures and are for guidance purposes only.

Successful Bids The fall of the auctioneer’s hammer indicates the final bid. The auctioneer will call out and record the “paddle” number of the buyer, if your written bid is successful,you will be notified immediately after the sale by email. Payment Payment must be made within seven calendar days of the sale and may be made by telegraphic transfer direct to 33 Auction Pte Ltd’s account as follow: Name: 33 Auction Pte Ltd A/C No: 380-306-729-3 (SGD) A/C No: 380-904-281-0 (USD) Bank: United Overseas Bank (UOB) Branch: Orchard Branch Swift Code: UOVBSGSG Please include your name, 33 Auction’s account number and invoice number with your instructions to your bank. Payment can also be made by Singapore Dollars banker’s drafts (drawn on a recognized Singapore bank). Although personal and company cheques are accepted, you are advised that property will not be released until such cheques have cleared. Payment using the following method will be charged a service fee at the following rate of total amount payable: OCBC Visa / Mastercard: 2.00% Other Visa / Mastercard / CUP: 2.35% OCBC Cards Installment Plan: 2.60% via PayPal: 4.06% Collection Lots will be released to you or your authorized representative when full and cleared payment has been received by 33 Auction. After thirty days or from the time of collection, whichever is the earlier, the Lot will be entirely at the Buyer’s risk. Storage and Insurance All purchases will initially be held for collection at 33 Auction’s premises at no charge. 33 Auction provides insurance coverage for a maximum of thirty days after the sale. Storage charges will be incurred one month after the date of the auction at the rate of 0.50% of the value of the lot or minimum S$ 50 per lot per month. Packing and Handling We shall use all reasonable effort to take care when handling and packing a purchased lot but the Buyer is reminded that after thirty days or from the time of collection, the lot is entirely at the Buyer’s risk. Shipping 33 Auction’s Shipping Department can advise buyers on exporting and shipping property. Please complete and sign the shipping instruction form sent with your invoice if this service is required. Purchases will be despatched as soon as possible upon clearance from the Accounts Department and receipt of your written despatch instructions and of any export licence or certificates that may be required. Shipping will be arranged at buyer’s expense. Your shipper will include a quote for transit insurance. All shipments should be unpacked and checked on delivery and any discrepencies notified to the transit insurer or shipper immediately.


給準買家之指引 商業規則 本次拍賣是由印刷在圖錄後⾯的商業規則 來規定的,我們建議準買家應詳細查閱。 於拍賣會上購買 以下內容旨在為您提供有⽤的信息來協助 您如何在 33 Auction Pte Ltd 購買(以下被 譽 為 33 拍 賣 ⾏ ) 。 準 買 家 應 參 閱 33auction.com有關此圖錄的拍賣品之最 新資料。 買家應⽀付酬⾦ 買家應⽀付本公司酬⾦,並與成交價⼀起 計⼊買⼊價。 拍賣品成交價為200,000新 加坡幣或以下, 酬⾦以成交價之22%計 算;超出200,000新加坡幣之部分,則以 18%計算。 消費稅 本圖錄中有符號†標識的拍賣品(在網上圖 錄中的拍賣品編號後有G標誌)將會收取 成交價之部分的消費稅,并由買家⽀付。 拍賣前估價 拍賣前估價⽤意在於為準買家提供指引。 本公司認為,介乎拍賣前⾼位與低位估價 間之任何競投價均有成功機會。然⽽,所 有拍賣品之價格可能⾼於或低於拍賣前估 價。 拍賣圖錄所載之估價並不包括買家⽀ 付之酬⾦。 底價 底價是賣⽅願意接受的最低價格,低於該 價格此拍賣品不會被出售。底價不得⾼於 在拍賣品圖錄中所標⽰的拍賣低位估價。 拍賣品之狀況 準買家應於拍賣前之展覽會上視察拍賣 品。為了⽅便買家,33拍賣⾏亦會提供拍 賣品狀況報告。如圖錄中未說明拍賣品之 狀況,不表⽰該拍賣品沒有缺陷或瑕疵。 拍賣之競投 在拍賣會中競投可以由個⼈親臨拍賣會上 舉板進⾏,亦可在拍賣前以書⾯形式參加 或通過電話或網上競投服務進⾏競投。競 投時使⽤新加坡幣。拍賣的速度不⼀,但 是通常是每⼩時40–80件拍賣品。 競投增幅 競投⼀般始於低於最低拍賣前估計的價 位,⽽增幅如下: S$ 1,000 – 2,000,加 S$ 100,S$ 2,000 – 5,000,加 S$ 200,S$ 5,000 – 10,000,加 S$ 500,S$ 10,000 – 20,000,加 S$ 1,000,S$ 20,000 – 50,000,加 S$ 2,000,S$ 50,000 – 100,000,加 S$ 5,000,S$ 100,000 – 200,000,加 S$ 10,000,S$ 200,000 以上由拍賣官決定。

但是,拍賣官可能會改變增幅的規律。拍 賣官也可隨時決定重新出售拍賣品。 親⾝競投 親⾝競投之⼈⼠須在拍賣會開始前登記及 領取號碼板,並須出⽰⾝份證明⽂件。 在拍賣現場,閣下需要⽤號碼板來向拍賣 官叫價。如閣下成功購得拍賣品,請確定 拍賣官看到閣下之號碼板及叫出閣下之號 碼。如對叫價或買家有任何疑問,請⽴即 向拍賣官⽰意。所有售出之拍賣品發票抬 頭⼈均會為登記號碼板之⼈⼠及其地址, ⽽不得轉讓⾄他⼈及其他地址。 請勿隨意放置閣下之號碼板;如有遺失, ⽴即通知拍賣主任。拍賣完結時,請將號 碼板交回登記處。 缺席競投 如閣下未能出席拍賣會,本公司樂意代表 閣下進⾏書⾯競投。本圖錄後部分附有競 投表格。此服務乃免費⽽且保密。拍賣品 將會以相對於其他競投價、底價及 33 拍賣 ⾏委託標之最相宜價格得。倘競投價 相同,則最先競投者有優先權。請每⼀次 均列明「最⾼限價」—即閣下如親⾝出席 拍賣會將會作出之成交價。「購買」和無 限價競投將不獲接納。 電話競投者必須於拍賣前以傳真,電⼦郵 件或函件確認。缺席競投專⽤的電⼦郵箱 bid@33auction.com 及傳真號碼:(+65) 67474111。為確保獲得滿意之服務,請確 保本公司在拍賣會前最少 24 ⼩時收到閣下 確認競投之指⽰。 電話競投 如閣下未能出席拍賣會,可透過電話競投 底位估價最低為四千新加坡幣之拍賣品。 由於電話線路有限,因此必須於拍賣前 24 ⼩時安排此項服務。本公司亦建議閣下表 明最⾼限價,以便當本公司不能以電話聯 絡閣下時可代表閣下競投。本公司有多位 通曉多國語⾔之職員可為閣下進⾏競投。 網上競投服務 為了⽅便準買家,閣下也可使⽤本公司 33 AUCTION ⼿機應⽤程序或競投網站在拍 賣前或拍賣會時進⾏競投。此項服務乃免 費,⾵險由競投⼈承。請在拍賣會開始前 ⾄少 4 ⼩時註冊,以確保您的註冊及時獲 得批准。 競投⼈通過合作夥伴網上競投平臺成功購 得 拍 賣 品 應 ⽀ 付 服 務 費 如 下 : Invaluable:服務費以成交價之 5%。 貨幣換算 競投時使⽤新加坡幣。為了⽅便準買家, 33 拍賣⾏將在拍賣⼤廳提供⼀個貨幣換算 板。請注意顯⽰的外幣⾦額只是⼤約的數 ⺫,僅作指引。

拍賣成交 拍賣官擊槌時訂⽴買賣成交及最終價位。 拍賣官將會叫出,記錄下買家的號碼板 牌。若委託競投成功,閣下將會⽴即以電 ⼦郵件形式收到該通知。 付款 買家須於拍賣後七天內付款。付款之最佳 ⽅法為以電匯⽅式直接轉⼊ 33 拍賣下述銀 ⾏⼾⼝: ⼾⼝名稱:33 AUCTION PTE LTD ⼾⼝號碼:380-306-729-3 (新加坡幣) ⼾⼝號碼:380-904-281-0 (美元) 銀⾏:United Overseas Bank (UOB) 銀⾏地址:Orchard Branch SWIFT:UOVBSGSG 付款請將閣下之名字與發票號碼漣同指⽰ 給予銀⾏。 買家也可以⽤新加坡幣⽀票的形式來⽀ 付。雖然個⼈或是公司⽀票可以被接受, 但是我們建議在確定收到款項之後再辦理 運輸。 使⽤下列的付款⽅式將收取總⽀付⾦額的 服務費: 華僑銀⾏ VISA / Mastercard: 2.00% 其它 VISA / Mastercard / 銀聯卡: 2.35% 華僑銀⾏卡分期付款: 2.60% 通過 PayPal: 4.06% 領取拍賣品 33 拍賣⾏收到全數結清之貨款、會將拍賣 品交付予 閣下或 閣下所授權之代表。 買家應注意,33 拍賣⾏對拍賣品損失或損 壞之責任期限最多⾄拍賣後三⼗(30)天 或直⾄領取時間,以較早者為準。 儲存及保險 所有的拍賣品可在 33 拍賣⾏領取。33 拍 賣⾏會提供在成交⽇起三⼗⽇之內的保 險。 未獲領取之拍賣品將收取每件每⽉ 0.50% 之價值或最低 50 新幣的儲存費。 包裝和處理 我們會盡⼀切全⼒來包裝和處理在成交⽇ 起七⽇之內沒有被領取的拍賣品,但全部 責任由買家承擔。 運輸 33 拍賣⾏運輸部可以拍賣品之出⼝及付運 向買家提供意⾒。已購物品將會在會計部 收到結清貨款後及取得閣下之書⾯付費指 ⽰及任何出⼝許可證或可能需要之證書後 盡快付運。付運所需費⽤概由買家⽀付。 如有要求,33 拍賣⾏可提供報價及所有運 送⽅式之資料。閣下之承運⼈將對運運保 險作出報價。 應打開包裝檢查,如有任何 不符之處,請⽴即通知運送保險商或承運 ⼈。


Lot 41 ABDUL LATIFF MOHIDIN Rimba


33 Auction Offices and Liaisons 33 拍賣辦公室及聯絡處 Singapore 新加坡 27A Loewen Road Singapore 248839 T: +65 67474555 F: +65 67474111 E: info@33auction.com Jakarta 雅加達 Jl. Brawijaya 1C No. 4 Jakarta 12730 Indonesia T: +62 21 7190 888 F: + 62 21 720 3505 M: +62 811 88 11 33 E: jakarta@33auction.com www.33auction.com Facebook: facebook.com/33auction Instagram: @33auction WeChat: sg-33auction

You may use 33 Auction mobile apps and bidding site to leave your bid before the sale or bid live during the sale. The service is free of charge.

閣下也可使⽤本公司 33AUCTION ⼿機應⽤程序或競投網站 在拍賣前或拍賣會時進⾏競投。此項服務乃免費。

Managing Directors Ali Kusno Fusin Linda Ma Director David Fu Specialist Team Suwarno Karyadi Cheryl Ong Sui Chen

Lot 69 NG ENG TENG Conical Form

董事 符逢利 ⾺美玲 總監 符升銓 專家團隊 郭祥琪 翁慧玲 眭琛


1

1

TAY BAK KOI (Singaporean, 1939 - 2005)

Resting signed lower middle gouache and watercolour on paper, framed 59 x 60 cm S$ 1,500 - 2,500 US$ 1,120 - 1,860

鄭木奎 休息

水粉 水彩 紙本 鏡芯 款識: Bak Koi(中下)


2

2

TAY BAK KOI (Singaporean, 1939 - 2005)

Kelong signed middle right watercolour and gouache on paper, framed 45 x 90 cm S$ 8,000 - 12,000 US$ 5,930 - 8,890

鄭木奎 漁船

水彩 水粉 紙本 鏡芯 款識: Bak Koi(右中)


3

ISKANDAR JALIL (Singaporean, b. 1940)

Black and White Vase stamped with a seal of the artist bottom ceramic pottery 23 x 18 (diameter) cm S$ 4,000 - 6,000 US$ 2,970 - 4,450

伊斯干达·贾里 器

陶瓷 鈐印: 一方(底部) 3

4

ISKANDAR JALIL (Singaporean, b. 1940) Red Sculpture stamped with a Kanji and a Dan seal on the side of the sculpture ceramic pottery 32 x 10 x 10 cm S$ 4,000 - 6,000 US$ 2,970 - 4,450

伊斯干达·贾里 紅器

陶瓷 鈐印: 富(側邊) DAN(爪夷文)(側邊)

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5

NG ENG TENG (Singaporean, 1934 - 2001)

Conical Form stamped with a seal of artist and dated 1985 on the bottom clay 55 (63 with base) x 23 x 24 cm S$ 5,000 - 8,000 US$ 3,710 - 5,930

黃榮庭 圓錐形

泥土 款識: 1985 鈐印: 庭(底部)

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ANG AH TEE (Singaporean, b. 1943) Chinatown signed and dated 82 lower left watercolour on paper, framed 27 x 27 cm S$ 3,000 - 5,000 US$ 2,230 - 3,710

洪亞弟

牛車水街景 1982 年作 水彩 紙本 鏡芯 款識: Ah Tee 82(左下)

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ANG AH TEE (Singaporean, b. 1943) Singapore River signed and dated 82 lower left watercolour on paper, framed 27 x 27 cm S$ 3,000 - 5,000 US$ 2,230 - 3,710

洪亞弟

新加坡河 1982 年作 水彩 紙本 鏡芯 款識: Ah Tee 82(左下)

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TAY BAK KOI (Singaporean, 1939 - 2005) 3 Sisters signed lower middle watercolour and gouache on paper, framed 59 x 59 cm S$ 3,500 - 4,500 US$ 2,600 - 3,340

鄭木奎 三姐妹

水粉 水彩 紙本 鏡芯 款識: Bak Koi(中下)

8

9

TAY BAK KOI (Singaporean, 1939 - 2005)

Harvest Time signed lower left gouache and watercolour on paper, framed 57 x 19 cm S$ 3,000 - 5,000 US$ 2,230 - 3,710

鄭木奎 豐收 9

水粉 水彩 紙本 鏡芯 款識: Bak Koi(左下)


THOMAS YEO – AN EARLY SOJOURN Thomas Yeo’s oeuvre is often represented by his collage landscape creations of the 80s and 90s. It was a period in which the artist turned to his Chinese roots and sought ways to incorporate the aesthetic concerns of Chinese tradition art into his Western art training. One example is in the rendering of the Chinese perspective within his modernist landscape works, where the figurative elements in the foreground appear to be smaller than the looming landscape in the background. Although the artist is renowned for his abstract experimentations, figurative paintings are an important part of his oeuvre. Executed in the 60s, these works are extremely rare as they are seldom seen in the market. To situate them within Thomas Yeo’s artistic timeline, they were mainly executed after the artist’s graduation from NAFA (Nanyang Academy of Fine Arts) in 1960, with the exception of House in Geylang, which was completed before the artist left for London. Some of the works were painted during his time at the Chelsea School of Art in London, and afterwards at Hammersmith College of Art. In an interview that the artist gave, he mentioned that he used a cool colour palette in this period, creating many colour compositions of blue, white, and black. Intuitively, he was expressing the palette of winter, interpreting the external environment with an artistic sensitivity that was then encapsulated on the canvas. Winter Landscape and Abstract are examples of paintings created in this period.

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THOMAS YEO (Singaporean, b. 1936) A head, Gonache signed and dated 64 lower right gouache on paper, framed 27.5 x 20.5 cm S$ 2,000 - 3,000 US$ 1,490 - 2,230

姚照宏 頭

1964 年作 水粉 紙本 鏡芯 款識: YEO 64(右下)

Hailing from a distinguished female collector in Singapore, these important early works impart a sense of logic to Thomas Yeo’s canon of works, as they bear the marks of a young artist’s journey towards abstraction, completing the puzzle to the artist’s famous abstract landscape as rational beginnings.

姚照宏的藝術之旅 姚照宏80 – 90年代期間以拼貼作品而聞名。這是他接受西方藝術教 育後,回歸到自己華人文化審美的階段。就像他會將前景的人物畫得 比較小對比背景隱約顯現的景觀,這是十分中式繪畫的技巧。 儘管藝術家較為熟知的作品是他實驗性的抽象作品,但具象繪畫也佔 了重要部分。這一類的作品創作於60年代,極少在市場上看到,是 他剛畢業於南洋美術學院後的作品。更有一部分是在英國讀書時在切 爾西藝術學院和哈默史密斯藝術學院完成的。在一段訪問中提到,這 期間完成的作品大多以冷色系的藍、白、黑為主,受當地的天氣影響 和對周圍環境的感观,詮釋的冬天的色彩。《冬天景象、抽象》就時 那時期的創作典型例子。 這幾件早期的作品出自一位新加坡傑出的女收藏家,所收藏的姚照宏 作品有著典型、典範的邏輯性,作品承載著藝術家年輕時勇與創新和 實驗抽象概念的熱忱。


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THOMAS YEO (Singaporean, b. 1936) Untitled (A Pair) painted in 1964 mixed media on paper, framed i) 28.5 x 44 cm ii) 28.5 x 43.5 cm S$ 3,000 - 4,000 US$ 2,230 - 2,970

姚照宏 無題

1964 年作 綜合媒材 紙本 鏡芯


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THOMAS YEO (Singaporean, b. 1936)

Winter Landscape and Abstract i) signed and dated '66 lower right ii) signed and dated ‘66 lower right watercolour and airbrush on paper, framed i) 44 x 61 cm ii) 44 x 58 cm S$ 5,000 - 6,000 US$ 3,710 - 4,450

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姚照宏

冬天的風景;抽象 1966 年作 水彩 气笔 紙本 鏡芯 款識: i) YEO'66 (右下) ii) YEO'66 (右下)


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THOMAS YEO (Singaporean, b. 1936) House in Geylang signed lower left; painted in 1960 watercolour on paper, framed 36 x 53.5 cm S$ 2,600 - 3,800 US$ 1,930 - 2,820

姚照宏

芽籠店屋 1960 年作 水彩 紙本 鏡芯 款識: THOMAS YEO(左下)


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SUN YEE (Singaporean, 1919 - 2009) View of Chung Cheng School signed lower right oil on canvas, framed 62 x 79 cm S$ 7,000 - 9,000 US$ 5,190 - 6,670

沈雁

中正中學 油彩 畫布 款識: Sunyee(右下)


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SUN YEE (Singaporean, 1919 - 2009)

Tall Reeds signed and dated 1959 lower right oil on canvas, framed 51 x 63.5 cm S$ 6,000 - 8,000 US$ 4,450 - 5,930

沈雁

青青草原 1959 年作 油彩 畫布 款識: Sunyee 1959(右下)


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LIM YEW KUAN (Singaporean, b. 1928)

A Pair of Self-Portraits i) carved Quan in Chinese and dated 66 lower right ii) carved Youquan and dated 1996 in Chinese lower right woodcut print on paper 20.5 x 15 cm (2) S$ 3,000 - 4,000 US$ 2,230 - 2,970 LITERATURE Crossing Visions - Singapore and Xiamen, Lim Hak Tai and Lim Yew Kuan Art Exhibition, Nanyang Academy of Fine Arts, Singapore, 2011, p. 162 - 163 (other edition illustrated)

林友權

畫家肖像 i) 印版為1966年製作 ii) 印版為1996年製作

木刻版画 紙本 款識: i) 權 66(右下) ii) 一九九六 友權(右下) 出版 新、中兩國藝術交流展《傳承與開擴》林學大及林友權美術 作品展,南洋藝術學院,新加坡,2001年出版,第162 - 163 頁(出版的為其他版數)

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Lim Yew Kuan is closely related to the pioneer generation of artists in Singapore. As the son of Lim Hak Tai, the founding principal of the Nanyang Academy of Fine Arts (NAFA), Lim Yew Kuan grew up within a scholarly and artistic environment. Not only did he carried on the academic lineage established by his father by assuming leadership of NAFA after his father’s passing in 1963, he also flourished as an artist by expanding his modes of expression, from oil painting to sculpture and print making. In this aspect, the diverse permutations of Nanyang Artis carried on through his distinct oeuvre. Lim is known for his highly detailed woodblock print featuring Nanyang subject matters. The appeal of his works come from the highly contrasting outlines that immortalize day to day scenes of Nanyang village life. In portrait works, the exceptionally realistic prints express the emotive state of the subject matter, who is often set against a background that reflects the inner life of the person. 林友權與新加坡先驅藝術家的關係是密切相關的。作為南洋 美術學院(NAFA)創始人林學大的兒子,林友權在一個學 術性和藝術氛圍濃厚的環境中長大。1963年,他不僅在父 親逝世後繼承了南洋美術學院校長的職位,也在自己的藝術 創作中通過油畫,雕塑和木刻印畫找到很好的發揮。在這方 面,南洋藝術的各種風采通過他的巧手各顯異彩。 林友權以極其細膩的木刻版畫而聞名。作品的深刻輪廓紀錄 了當年的南洋。此次在這兩幅肖像畫中,逼真的顏色流露出 藝術家的情感狀態,反映他內心生活的寫照。


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LIM YEW KUAN (Singaporean, b. 1928) Bali Market signed and dated 1995 lower left oil on canvas , framed 50 x 60 cm S$ 20,000 - 24,000 US$ 14,820 - 17,780

林友權

早晨的峇里島市集 1995 年作 油彩 畫布 款識: YEW KUAN 1995(左下)


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TAN CHOO KUAN (Singaporean, 1933 - 2011)

Going Home (India Series) signed Quan in Chinese and English lower right; painted in the 1970s oil on board, framed 69 x 88 cm S$ 10,000 - 15,000 US$ 7,410 - 11,120

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陳子權

回家之印度系列 1970 年代作 油彩 木版 款識: 權 KUAN(右下)


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CHOO KENG KWANG (Singaporean, b. 1931) Doves on a Mountain Peak signed and dated 1990 lower right oil on masonite board, framed 81 x 121 cm S$ 30,000 - 40,000 US$ 22,230 - 29,630

朱慶光

和諧相處 1990 年作 油彩 纖維板 款識: K KWANG 1990(右下)


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CHOO KENG KWANG (Singaporean, b. 1931)

Catch of The Day signed lower right oil on canvas, framed 56 x 91.5 cm S$ 12,000 - 18,000 US$ 8,890 - 13,340

朱慶光

豐收的一天 油彩 畫布 款識: K. KWANG(右下)

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LAI KUI FANG (Singaporean, b. 1936)

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CHOO KENG KWANG (Singaporean, b. 1931)

Harvesting signed and dated '68 lower right; titled, signed and inscribed with address verso oil on canvas, framed 96 x 71 cm

A Lifetime of Devotion inscribed upper left, signed Guifang and dated gengshen year (1980) in Chinese lower right; and stamped with 4 seals of the artist oil and lacquer on board, framed 39 x 80 cm S$ 9,000 - 15,000 US$ 6,670 - 11,120

S$ 9,000 - 13,000 US$ 6,670 - 9,630

賴桂芳

朱慶光

1980 年作 油彩 漆 板 款識: 守望相隨(左上) 桂芳畫庚申八月(右下) 鈐印: 賴桂芳(左上) 賴桂芳(左上) 賴桂芳(右下) 賴桂芳(右下)

豐收

1968 年作 油彩 畫布 款識: K. KWANG' 68(右下) Harvesting Choo Keng Kwang 及藝術家地址(畫背)

守望相隨


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LAI KUI FANG (Singaporean, b. 1936)

Red Ruby inscribed, signed Guifang and dated yiyi year (1989) in Chinese; stamped with a seal of artist upper left oil and lacquer on board, framed diameter: 42.5 cm S$ 5,000 - 10,000 US$ 3,710 - 7,410

賴桂芳

水中紅寶石 1989 年作 油彩 漆 板 款識: 水中紅寶石 已已年桂芳畫(左上) 鈐印: 賴桂芳(左上)

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WEE SHOO LEONG (Singaporean, b. 1958) Still Life signed lower left oil on canvas, framed 41 x 49 cm S$ 2,000 - 4,000 US$ 1,490 - 2,970

王樹良 靜物

油彩 畫布 款識: S.L.Wee(左下)

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14 PAINTINGS BY CHEN WEN HSI

陳文希的十四件作品


‘Externally I have Nature as my teacher; internally I have discovered the wellspring of my heart.‘

A Diaspora: Early Literati Ink Tradition in Singapore

開枝散葉: 新加坡文人的翰墨丹青

— CHEN WEN HSI, QUOTING TANG DYNASTY POET AND PAINTER ZHANG ZAO

Chen Wen Hsi hailed from the humble village of Pai-Kung (白官鄉), within the district of Swatow, in the Kwangtung Province of China. In his lifetime, he has devoted more than half a century to the pursuit of artistic excellence, raising himself from an obscure village in China to becoming one of Singapore’s most well-respected and recognised artists. In art, he strives to attain the appearance of effortless elegance –an aesthetic that belies the arduous trials and tribulations of the artist. Although the subject matters of Chen’s paintings are rooted in the physical world, their expressions go beyond the material rendition of form, line, and colour. In Chen’s paintings, the animals are imbued with a sense of inquisitiveness and liveliness that transcends the static dimensionality of ink and paper. In the essay, ‘Half a Century’s Life of an Artist’, Chen quoted the great scholar Su Tung-Po (1037 –1101), “Judging a picture by physical likeness is being juvenile, and that a true poet does not permit his writing to be restricted by the rules of poetry”. Indeed, Chen is an artist who defies the limitations of figurative painting, producing works of beauty that emulate the forthrightness and simplicity of Nature. In Chen Wen Hsi’s illustrious career, he has featured a myriad of small creatures in his work: from fishes to sparrows and herons. The artist’s love for painting small animals led him to keep a menagerie of animals like gibbons, fishes, andsquirrels in his backyard in Singapore, which allowed him to observe their mannerisms at ease. His paintings are characterized by an uncrowded, succinct

“外師造化, 中得心源。” — 陳文希 錄唐代

文人畫家張璪句

陳文希出生在淳樸的鄉村中國廣東省,白宮 縣,汕頭。生平致力於自己的藝術創作,在 超過半個世紀的時間裡,從默默無聞的鄉村 村民到成為新加坡最受尊敬和賞識的藝術 家。在藝術上,他力求達到毫不費力的優 雅,一種掩蓋了藝術家艱辛磨難的美感。陳 氏繪畫的主題雖然植根於現實世界,但其繪 畫形式超越了形式,線條和色彩的物質表 現。在陳氏的畫中所體現對動物的靈性和 生動感,超越墨水和紙張的靜態維度。在 《五十年繪畫生活》自述中,陳文希提到了 大文人蘇東坡(1037 –1101) 對文人畫的看 法:“論畫以形似,見與兒童鄰,作詩必此 詩,定知非詩人。”事實上,陳文希是一位 超越繪畫藝術局限性的藝術家,他的創作作 品呈現了美麗的大自然及她的直率和朴素。 在陳文希傑出的職業生涯中,他的作品中描 繪了無數的小動物,從魚到麻雀,還有蒼 鷺。藝術家對小動物的喜愛縱容他在新加坡 家的後院養了長臂猿,魚類和松鼠等動物, 讓他能夠隨時仔細地觀察它們的習性。他的 繪畫的特點是不擁擠的,簡潔的構圖和簡略 的線條。他在上海藝術學院和新華美術學院

composition and an economy of line. During his time at the Shanghai College of Art and Hsin Hwa Art Academy, Chen was taught the techniques of Chinese ink painting and finger painting, one of the most difficult expressions to master, by Pan Tienshou (1897 –1971). Pan believed that finger and brush painting is mutually reinforcing: “To use the brush is traditional and to use the finger is innovative. One seeks innovation within tradition in order to realise tradition and tradition in innovation in order to realise innovation.” —Pan Tienshou For this Spring Auction, 33 Auction is proud to present 14 exquisite paintings by the illustrious Chinese painter. These paintings feature a collection of animal subject matters that are most favoured by Chen. His quick, gestural application of ink is a testament to the years of study he spent on his subjects, and to his deep understanding of their bodily structure. A testament to the versatile skills of Chen, he brings out the characteristics that makes each species unique. In Spring is First Known by Sparrows, for example, the quick application of ink against paper captures the fleeting scene of sparrows gathering on the plum blossom. A work of impeccable liveliness, the work marks the start of Spring, when the sparrows gather on the branches of the plum blossom in a celebratory chorus for the new season.

期間,陳文希的中國水墨畫和指畫是由中國 著名水墨画坛泰斗潘天壽(1897 -1971)所 傳授的。指畫是水墨畫中最難掌握的一門功 夫之一,而潘天壽認為手指和畫筆是應該相 輔相成的: “指头画之运指运墨,与笔画不相同,此点 用指头画意趣所在,亦即其评价所在。倘以 指头为炫奇夸异之工具,而所作之画,每求 与笔画相似,何贵有指头画哉?” ——潘天壽 對於本次春季拍賣會,33拍賣非常榮幸呈現 14件陳氏的精美畫作。這一系列作品展示了 他對水墨畫的研究和最擅長的動物作品。他 用利索的手勢靈活地運用墨水,證明了他花 在學科上的多年研究,以及對動物身體結構 的深刻理解。《小雀知春曉》中,墨水的快 速應用捕捉到了竹林中聚集的明快雀躍的麻 雀的短暫場景。無論是對天上飛的麻雀、樹 上爬的猿猴、還是水裡游的蝦子鯉魚,他都 能精準的畫出其中的特性和動態瞬間。這件 作品無可挑剔的生動活潑,標誌著春天的開 始,麻雀也在新的季節歡奏著它們的重生。


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CHEN WEN HSI (Singaporean, 1906 - 1992)

Gibbons Play with Bees signed Wenxi in Chinese; stamped with a seal of artist upper right ink and colour on paper, framed 33.5 x 43 cm S$ 15,000 - 20,000 US$ 11,120 - 14,820

陳文希

猿猴戲峰 水墨 設色 紙本 鏡芯 款識: 文希記(右上) 鈐印: 陳氏(右上)


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A Diaspora: Early Literati Ink Tradition in Singapore

開枝散葉: 新加坡文人的翰墨丹青

CHEN WEN HSI (Singaporean, 1906 - 1992)

Birds on Branches signed Wenxi in Chinese upper right; stamped with a seal of artist upper right and lower left ink and colour on paper, framed 95 x 46 cm S$ 20,000 - 28,000 US$ 14,820 - 20,750

陳文希

枝上小鳥 水墨 設色 紙本 鏡芯 款識: 文希記(右上) 鈐印: 陳文希(右上) 白宮(左下)

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CHEN WEN HSI (Singaporean, 1906 - 1992)

Bees and Flowers inscribed, signed Wenxi in Chinese upper right; stamped with 2 seals of artist upper right and lower left ink and colour on paper, framed 92 x 38 cm S$ 32,000 - 50,000 US$ 23,710 - 37,040

陳文希

花叢中的蜜蜂 彩墨 紙本 鏡芯 款識: 文希記(右上) 鈐印: 陳文希(右上) 長年(左下)

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CHEN WEN HSI (Singaporean, 1906 - 1992) Catfish inscribed painted in Nanyang, signed Wenxi in Chinese; stamped with a seal of artist upper left ink and colour on paper, framed 34 x 46 cm S$ 15,000 - 22,000 US$ 11,120 - 16,300

陳文希 鯰魚

A Diaspora: Early Literati Ink Tradition in Singapore

開枝散葉: 新加坡文人的翰墨丹青

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彩墨 紙本 鏡芯 款識: 文希南洋作(左上) 鈐印: 陳文希(左上)

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CHEN WEN HSI (Singaporean, 1906 - 1992) Angel Fish painted in Nanyang, inscribed and signed Wenxi in Chinese upper right, stamped with 2 seals of artist middle right and middle left ink and colour on paper, framed 34 x 45 cm S$ 11,000 - 13,000 US$ 8,150 - 9,630

陳文希 神仙魚 29

彩墨 紙本 鏡芯 款識: 文希南洋記(右上) 鈐印: 陳文希(右中) 白宮(左中)


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CHEN WEN HSI (Singaporean, 1906 - 1992)

Lotus Pond inscribed finger painting, signed Wenxi in Chinese; stamped with a seal of the artist lower left title slip by the artist ink and colour on paper, framed 132.5 x 34 cm S$ 42,000 - 60,000 US$ 31,120 - 44,450

陳文希 荷花塘

彩墨 紙本 鏡芯 款識: 文希指頭生活(左下) 鈐印: 文希(左下) 題簽: 李紹茂逸兄 令長朗子風 結婚之喜 陳文希敬賀

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CHEN WEN HSI (Singaporean, 1906 - 1992)

Little Ones inscribed, signed Xi and stamped with a seal of artist upper right ink and colour on paper, framed 90.5 x 45 cm S$ 21,000 - 40,000 US$ 15,560 - 29,630

陳文希

A Diaspora: Early Literati Ink Tradition in Singapore

開枝散葉: 新加坡文人的翰墨丹青

小雞群

彩墨 紙本 鏡芯 款識: 希(右上) 鈐印: 文希(右上)

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CHEN WEN HSI (Singaporean, 1906 - 1992) Taste inscribed, signed Wenxi in Chinese and stamped with a seal of artist upper left ink and colour on paper, framed 58.5 x 37 cm S$ 21,000 - 40,000 US$ 15,560 - 29,630

陳文希

玉米小鳥 彩墨 紙本 鏡芯 款識: 文希記(左上) 鈐印: 陳文希(左上)


A DIASPORA: EARLY LITERATI INK TRADITION IN SINGAPORE The term diaspora only properly surfaced in contemporary consciousness in the late 19th century, when Chinese emigration to different parts of the world increased markedly in response to pressure on the agrarian culture, due to the commercialization of land and a population explosion between the late eighteenth century to the mid nineteenth century. The Taiping Rebellion between 1850 and 1864, as well as the four great famines of 1810, 1811, 1846, and 1849, and the chaos of the Chinese Revolution in 1911 were all tipping points that contributed to the mass emigration of the Chinese. At the same time, European colonialism in regions within Southeast Asia precipitated the need for labour, which absorbed a fraction of the exodus from China. In Singapore, British colonialism led to the development of the shipping trade, which in turn established the coolie trade. By 1860, the Chinese already accounted for more than half of the total population. Although the British took over the administrative rule of Malaya, they were sorely lacking in terms of providing amenities of social welfare for the populace. Due to this large social gap, wealthy Chinese who had made their money in various sectors begun to combine their resources with other educated Chinese immigrants to build institutions of social welfare, like hospitals and schools. Some examples of wealthy early immigrants include Gan Eng Seng (1844 – 1899), and Lee Kong Chian (1893 – 1967), who both contributed vastly to charitable causes. From the pool of Chinese immigrants, a number were highly educated and well-versed in the classical arts of the literati tradition, which includes painting, calligraphy, and literature. As there were a shortage of Chinese teachers, educated pioneers like Pan Shou (1911 – 1999) and Shi Xiang Tuo (1906 – 1990), who were born into scholar families and cultivated in the traditional literary arts, stepped in to provide education to uplift the next generation of immigrants. Out of this pool of educated and talented Chinese immigrants came Singapore’s first-generation ink painters. Many of them became activists in promoting the spread of visual arts through discourses and writings that inspire the next generation of artists in Singapore. Not only did they bring over Chinese aesthetic traditions, many of them employed classical Chinese ink techniques to depict tropical subject matters, reflecting their new social reality. Artists like Chen Wen Hsi (1906 – 1991), Chen Chong Swee (1910 – 1985), Cheong Soo Pieng (1917 – 1983) and Liu Kang (1911 – 2004) became known as Nanyang artists for giving new expressions to the novel imageries of the Straits Settlement, resulting in what came to be termed the Nanyang Style. With their adaptable vision, each of them achieved a unique aesthetic language through their willingness to deviate from the traditional subject matters of Chinese art.

In an excerpt from an essay dated 1950, Liu Kang wrote:

“Artists in Nanyang actually have two missions: one, to get an international audience to recognise the essence of our country’s culture; the other, to remind blood relations not to forget our ancestors’ good work. Although both working missions are different, they have a common objective, and that is to present the culture of our country (China) so that it will forever stand tall.” 1 As a reflection of the intent set out by Liu Kang in this statement, many first-generation ink artists chose to continue painting classical ink paintings as a way to preserve the cultural treasury of China. Painters like Shi Xiang Tuo, Pan Shou, Fan Chang Tien (1907 – 1987), and Wu Tsai Yen (1911 – 2001) made immeasurable contributions to the propagation of the classical ink tradition. For example, Wu Tsai Yen is credited with the revival of finger painting, which declined in the Qing Dynasty. Wu’s mastery of the xieyi style led Zhang Daqian (1899 – 1983) to describe a lotus painting by Wu in the following manner, “With nature as inspiration, he wields his fingers as his heart desires.” 33 Auction is proud to hold a special auction dedicated to the first generation of literati ink painters, who established a fertile environment for the ascent of second generation ink artists. Not only did their works capture cherished scenes of pre-modern Singapore, they also generously imparted their expertise and technical excellence to a large group of students, out of which came a number of outstanding ink modernists like Henri Chen (b. 1959), Tang Da Wu (b. 1943), Tan Swie Hian (b. 1943), Lim Tze Peng (b. 1923), Chua Ek Kay (1947 – 2008), and Lee Hock Moh (b. 1947), who in turn took what they received and sought out new expressions. The unyielding spirit of first generation ink painters led to the manifold permutations of ink art we see today, for which we own them a debt of gratitude.

1. LIU KANG, COLOURFUL MODERNIST, NATIONAL ART GALLERY, PG. 140


iii

開枝散葉: 新加坡文人的翰墨丹青 i

Diaspora 散居(移民社群)這個專有名詞是一個現代社會19世紀 末開始盛行使用的,由華人地區的人們開始移遷至中國大陸以外 地區開始,因為在18世紀末至19世紀中,人民增長,資源匱乏所 產生的貧窮困境。1850年-1864年的太平洋戰爭,以及之後在1810 年、1811年、1846年以及1949年的四次大饑荒,和1911年中國發 生的革命混亂,都是導致中國人大規模移民的關鍵。與此同時,東 南亞地區的歐洲殖民主義引發了對勞動力的需求,這吸收了一部分 來自中國的外流。而在新加坡,英國殖民之後開發了航運貿易的發 展,從而形成了苦力貿易的開始。直至1860年,中國向外移民的 人口已佔總人口的一半以上。 儘管英國人接管了馬來亞的行政統治,但對於提供社會福利上的 管理極度缺乏。導致了社會階層的嚴重差距,而移民到南洋的華 人認識到了這嚴重的問題,較富有的華人在各領域賺錢之後,開 始回饋社會,結合資源,建立社區醫院、學校及社會福利機構來 幫助同樣是移民到南洋的華人。當中幾位就包括了顏永成(1844 - 1899)、李光前(1893 - 1967)、都對慈善事業作出了巨大貢 獻。在這一波的華人移民中不乏受過高等教育,精通書法詩詞、 翰墨丹青等。由於中國教師的短缺,像潘受(1911 - 1999年)和 施香沱(1906 - 1990年)出生名門的書香子弟都投身到了教育事 業,用中華傳統文學藝術培育南洋的下一代移民。 在這群有文化和有才華的華人移民中,有許多對水墨研究做出了重 大貢獻是新加坡的第一代水墨畫家。新加坡下一代藝術家的藝術發 揚。不僅帶來了中國水墨畫的美術,當中的許多人運用古典油墨技 術來描繪熱帶主題。諸如陳文熙(1906-1991),陳宗瑞(19101985),鐘泗濱(1917-1983)和劉抗(1911-2004),被稱之為 南洋畫家,以紀錄馬來亞海峽群島風光的南洋風。憑藉其適應性的 願景,和勇於突破中國藝術的傳統主題,從而獲得了獨特的美學語 言——南洋派。

i) ii) iii)

i) ii) iii)

Mr. Lee Kong Chian specially opened the solo exhibition at Victoria Memorial Hall Mr. Lee Kong Chian offically became the principal of Singapore University The trademark of Singapore Chinese Straits times 聯合早報 is a calligraphy by Pan Shou 李光前先生出資為其舉辦各人畫展 圖為李光 前先生在維多利亞紀念堂為畫展開幕 1962年6月12日李光前先生正式就任新加坡 大學首任校長 本地新加坡聯合早報商標為潘受先生題的字

ii

在1950年的一篇文章摘錄中,劉抗寫道: “南洋的藝術家其實有兩個使命:一是讓國際觀眾認識我國文化的 精髓;另一方面,提醒下一代不要忘記祖先豐功偉業。儘管這兩使 命完全不同,但有一個共同點,那就是展現我們國家(中華華人) 的文化,以便它永遠站得高。”1 以劉抗這段話為提示,許多第一代水墨藝術家選擇繼續將古典水墨 畫為中國的文化寶庫。施香沱,潘受,范昌亁(1907 - 1987), 吳再炎(1911 - 2001)等畫家為古典水墨傳統的傳播作出了不可 估量的貢獻。例如,吳再炎將已經在清代落寞的指畫重新拾起宣揚 其中的奧妙,畫家張大千(1899-1983)就曾經評論過吳氏的蓮花 指畫:“造化在手,指揮如意”。 很榮幸的33拍賣這次能展現一組具代表意義的新加坡第一代文人 畫家,也為第二代墨水藝術家建立了一個成熟的環境。他們的作品 不僅吸引了舊時代的新加坡珍貴場景,而且還慷慨地將水墨畫的技 術和卓越技法傳授給一大批學生,其中出現了許多傑出的現代主 義水墨畫家,如陳克湛(出生於1959年),唐大霧(出生於1943 年),陳瑞獻(出生於1943年),林子平(出生於1923年),蔡 逸溪(1947-2008)和李福茂(出生於1947年)他們展現了全新的 水墨表達方式。第一代水墨畫家不屈不撓的精神培育了我們今天所 看到的水墨藝術的多變風采,而為之動容。

1. 劉抗,現代色彩師,國家藝術館,第140頁


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CHEONG SOO PIENG (Singaporean, 1917 - 1983) Lady with Flower signed Sibing in Chinese and stamped with a seal of artist lower left ink and colour on silk laid on paper, framed 96.5 x 61.5 cm S$ 60,000 - 70,000 US$ 44,450 - 51,860

A Diaspora: Early Literati Ink Tradition in Singapore

開枝散葉: 新加坡文人的翰墨丹青

PROVENANCE Acquired directly from the artist 1970s Private Collection, Australia

鐘泗濱

鮮花於仕女 彩墨 絲制紙本, 鏡芯 款識: 亖賓(左下) 鈐印: 鐘(左下) 出處 1970年代直接購至藝術家 澳洲私人收藏


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CHEONG SOO PIENG (Singaporean, 1917 - 1983)

Girl signed in Sibin in Chinese; stamped with a seal of artist lower right chinese ink on paper, framed 105 x 59 cm S$ 28,000 - 36,000 US$ 20,750 - 26,670 LITERATURE Cheong Soo Pieng Drawings of Life, Artcommune Gallery, 2014, Singapore, p. 22 plate 23

A Diaspora: Early Literati Ink Tradition in Singapore

開枝散葉: 新加坡文人的翰墨丹青

EXHIBITED Singapore, Cheong Soo Pieng: Drawings of Life at Artcommune Gallery, 31 May 2014

鐘泗濱 女子

水墨 設色 紙本 鏡芯 款識: 亖賓(右下) 鈐印: 鐘四賓(右下) 出版 《鐘泗濱的繪畫之旅》,集菁藝社畫廊, 新加坡,2014年出版,第22頁 展覽 新加坡,鐘泗濱的繪畫之旅, 集菁藝社畫廊,2014年5月31日

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CHEONG SOO PIENG (Singaporean, 1917 - 1983) 35

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CHEONG SOO PIENG (Singaporean, 1917 - 1983) Bali Girls signed and dated 7/8/77 lower left pen on paper, framed 55 x 36 cm S$ 6,000 - 8,000 US$ 4,450 - 5,930 LITERATURE Cheong Soo Pieng Drawings of Life, Artcommune Gallery, 2014, Singapore, p. 19 plate 20 EXHIBITED Singapore, Cheong Soo Pieng: Drawings of Life at Artcommune Gallery, 31 May 2014

Batik Women III signed and dated 52 upper left pen on paper, framed 35 x 54.5 cm S$ 5,000 - 7,000 US$ 3,710 - 5,190 LITERATURE Cheong Soo Pieng Drawings of Life, Artcommune Gallery, 2014, Singapore, p. 16 plate 16 EXHIBITED Singapore, Cheong Soo Pieng: Drawings of Life at Artcommune Gallery, 31 May 2014

鐘泗濱

蠟染婦女 III

鐘泗濱

1952 年作 鋼筆 紙本 鏡芯 款識: SOO PIENG 52(左上)

1977 年作 鋼筆 紙本 鏡芯 款識: SOO PIENG 7/8/77(左下)

出版 《鐘泗濱的繪畫之旅》,集菁藝社畫廊,新加 坡,2014年出版,第16頁

峇里島女子

出版 《鐘泗濱的繪畫之旅》,集菁藝社畫廊,新加坡,2014年出 版,第19頁 展覽 新加坡,鐘泗濱的繪畫之旅,集菁藝社畫廊,2014年5月31日

展覽 新加坡,鐘泗濱的繪畫之旅,集菁藝社畫廊, 2014年5月31日


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CHEN WEN HSI (Singaporean, 1906 - 1992)

Bird inscribed, signed Wenxi in Chinese upper right and stamped with 2 seals of the artist upper right and lower right ink and colour on paper, framed 105 x 45.5 cm S$ 38,000 - 60,000 US$ 28,150 - 44,450

陳文希 鳥

A Diaspora: Early Literati Ink Tradition in Singapore

開枝散葉: 新加坡文人的翰墨丹青

彩墨 紙本 鏡芯 款識: 幾良先生存之 文希記(右上) 鈐印: 陳文希(右上)自強不息(右下)

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CHEN WEN HSI (Singaporean, 1906 - 1992)

Two Birds inscribed finger painting, signed Wenxi in Chinese upper right; stamped with 2 seals of artist upper right and middle left ink and colour on paper, framed 69 x 45 cm S$ 32,000 - 50,000 US$ 23,710 - 37,040

陳文希 雙鳥

彩墨 紙本 鏡芯 款識: 文希指頭生活(右上) 鈐印: 文希指畫(右上) 長年(左中)


開枝散葉: 新加坡文人的翰墨丹青 A Diaspora: Early Literati Ink Tradition in Singapore

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CHEN WEN HSI (Singaporean, 1906 - 1992)

2 Ducks inscribed finger painting, signed Wenxi in Chinese upper right; stamped with 2 seals of the artist upper right and lower left ink and colour on paper, framed 33 x 44 cm S$ 16,000 - 22,000 US$ 11,860 - 16,300

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陳文希 鴨子

彩墨 紙本 鏡芯 款識: 文希指墨(右上) 鈐印: 文希指畫(右上)白宮(左下)


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CHEN WEN HSI (Singaporean, 1906 - 1992)

Ducks in the River inscribed finger painting and signed Wenxi in Chinese upper right, stamped with a seal of artist middle right ink and colour on paper, framed 34 x 44 cm S$ 11,000 - 13,000 US$ 8,150 - 9,630

陳文希

江畔雙鴨 彩墨 紙本 鏡芯 款識: 文希指頭生活(右上) 鈐印: 陳氏(右中)


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CHEN WEN HSI (Singaporean, 1906 - 1992)

Spring is First Known by Sparrows inscribed finger painting and signed Wenxi in Chinese upper right, stamped with a seal of artist middle right ink and colour on paper, framed 35 x 45.5 cm S$ 10,000 - 12,000 US$ 7,410 - 8,890 PROVENANCE Acquired by the present owner from Artcommune Gallery, Singapore

陳文希 41

彩墨 紙本 鏡芯 款識: 文希指墨(右上) 鈐印: 陳文希(右中) 出處 現藏家購自集菁藝社畫廊,新加坡

開枝散葉: 新加坡文人的翰墨丹青 A Diaspora: Early Literati Ink Tradition in Singapore

小雀知春曉

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CHEN WEN HSI (Singaporean, 1906 - 1992)

Lotus Flower signed Wenxi in Chinese; stamped with a seal of artist lower right ink and colour on paper, framed 31 x 29 cm S$ 8,000 - 12,000 US$ 5,930 - 8,890

陳文希 荷花

水墨 設色 紙本 鏡芯 款識: 文希记(右下) 鈐印: 陈氏(右下)

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CHEN WEN HSI (Singaporean, 1906 - 1992) Bird in Garden signed Wenxi in Chinese upper right ink and colour on paper, framed 45 x 57 cm S$ 18,000 - 28,000 US$ 13,340 - 20,750

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陳文希

院中鳥兒 彩墨 紙本 鏡芯 款識: 文希作(右上)


A Diaspora: Early Literati Ink Tradition in Singapore

開枝散葉: 新加坡文人的翰墨丹青


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CHEN CHONG SWEE (Singaporean, 1910 - 1986)

Crossing The River In The Morning inscribed, signed Zongrui and dated jiachen year (1964) in Chinese; stamped with a seal of the artist upper left ink and colour on paper, framed 60 x 96.5 cm S$ 38,000 - 55,000 US$ 28,150 - 40,750

陳宗瑞

江村曉渡 1964 年作 彩墨 紙本 鏡芯 款識: 江村曉渡 俊英先生雅正 甲辰 宗瑞(左上) 鈐印: 宗瑞畫記(左上)


開枝散葉: 新加坡文人的翰墨丹青 A Diaspora: Early Literati Ink Tradition in Singapore

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CHEN CHONG SWEE (Singaporean, 1910 - 1986) Excursion inscribed, signed Zongrui and dated binshen year (1956) in Chinese; stamped with a seal of the artist upper right ink and colour on paper, framed 25.5 x 47 cm S$ 13,000 - 18,000 US$ 9,630 - 13,340

陳宗瑞 郊遊

1956 年作 彩墨 紙本 鏡芯 款識: 丙申紀遊 宗瑞(右上) 鈐印: 宗瑞(右上)


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CHEN CHONG SWEE

陳宗瑞

(Singaporean, 1910 - 1986)

海邊鄉村景

Beach Scene inscribed, signed Chenkai in Chinese upper left ink and colour on paper, framed 50.5 x 37.5 cm

彩墨 紙本 鏡芯 款識: 業林霧未散 釣艇已先回 淮漲吞波去 淘聲捲地來 何日辭館舍 結廣水之隈 波作沙 陳楷(左上)

S$ 12,000 - 16,000 US$ 8,890 - 11,860

展出 新加坡藝術協會第六屆本地畫家展, 1955年

EXHIBITION The Singapore Art Society’s Sixth Open Exhibition of Works by Local Artist, 1955


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LIU KANG (Singaporean, 1911 - 2004)

Prawn and Lobster Still Life signed Liukang in Chinese and dated 1983 middle right pastel on paper, framed 47 x 61 cm S$ 22,000 - 30,000 US$ 16,300 - 22,230

劉抗

靜物-蝦和龍蝦 1983 年作 粉筆 紙本 鏡芯 款識: 劉抗1983(右中)


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LIU KANG (Singaporean, 1911 - 2004)

Portrait of a Malay Man signed Kang and dated 1996 in Chinese lower left pencil and pastel on paper, framed 47 x 37 cm S$ 18,000 - 25,000 US$ 13,340 - 18,520

劉抗

馬來男子肖像 1996 年作 鉛筆 粉筆 紙本 鏡芯 款識: 抗 一九九六年(左下)


開枝散葉: 新加坡文人的翰墨丹青 A Diaspora: Early Literati Ink Tradition in Singapore

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LIU KANG (Singaporean, 1911 - 2004)

Pine Trees by the Cliffside inscribed, signed Liukang in Chinese upper left; stamped with 3 seals of the artist ink and colour on paper, framed 38.5 x 55 cm S$ 9,000 - 15,000 US$ 6,670 - 11,120

劉抗 松

彩墨 紙本 鏡芯 款識: 鴻志先生雅存 劉抗(左上) 鈐印: 劉(左上)抗(左上) 劉抗六十年後作(右下)


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SEE HIANG TO (Singaporean, 1906 - 1990)

Mountainous Landscape inscribed, signed Xiangtuo in Chinese upper left; stamped with 3 seals of the aritst ink and colour on paper, framed 145 x 46 cm S$ 12,000 - 18,000 US$ 8,890 - 13,340

施香沱 山水

彩墨 紙本 鏡芯 款識: 庚寅元旦誠筆 越音婚成之即 十一弟洽德生辰也 香沱寫並畫(左上) 鈐印: 宏澤(左上)香沱(左上)一方(右下)

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SEE HIANG TO (Singaporean, 1906 - 1990)

Calligraphy Couplet in Seal Script inscribed, signed Xiangtuo Shi Ze and dated dingwei year (1967) in Chinese ink on paper, hanging scroll 137 x 33 cm (2) S$ 3,000 - 5,000 US$ 3,710 - 3,710

施香沱

A Diaspora: Early Literati Ink Tradition in Singapore

開枝散葉: 新加坡文人的翰墨丹青

篆書五言聯 1967 年作 水墨 紙本 立軸 上聯: 海為龜世界 下聯: 雲是鶴家鄉 款識: 丁未孟夏二十四日 (上聯 右中) 香沱施 澤(下聯 左中) 鈐印: 宏澤(下聯 左中) 香沱(下聯 左中) 一方(上聯 右下)

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SEE HIANG TO (Singaporean, 1906 - 1990)

Hosta Flower inscribed, signed Xiangtouze and dated dingxi year (1957) in Chinese upper left; stamped with 3 seals of the artist ink and colour on paper, framed 122 x 36 cm S$ 8,000 - 12,000 US$ 5,930 - 8,890

施香沱 玉簪花

1957 年作 彩墨 紙本 鏡芯 款識: 宴罷瑤池阿母家 嫩瓊飛上紫雲車 玉簪墮地無人拾 化作東南第一花 丁酉立夏 香沱澤寫(左上) 鈐印: 三方(左上)(左上)(右下) Inscription of Poem by Song Dynasty poet Huang Tingjian: A feast by the Jade Lake; at the residence of Queen Mother, where a fair fairy is dancing amidst purple clouds. Her jade hairpin fell to the human realm unnoticed, turning into a tender Hosta flower in the East.

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WU TSAI YEN (Singaporean, 1911 - 2001)

Goldfish beneath a Flowering Vine inscribed finger painting, signed Zaiyan Wushen and dated binchen year (1976) in Chinese; stamped with 2 seals of the artist upper left ink and colour on paper, framed 118.5 x 29 cm S$ 4,000 - 6,000 US$ 2,970 - 4,450

A Diaspora: Early Literati Ink Tradition in Singapore

開枝散葉: 新加坡文人的翰墨丹青

吳在炎

藤花下的金魚 1976 年作 彩墨 紙本 鏡芯 款識: 丙辰秋月 在炎吳燊 指畫於星州定廬(左上) 鈐印: 吳燊(左上)在炎(左上)

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WU TSAI YEN (Singaporean, 1911 - 2001)

Chrysanthemum inscribed finger painting, signed Wu Zaiyan and dated yichou year (1985) in Chinese; stamped with 2 seals of the artist lower right ink and colour on paper, framed 60 x 33 cm S$ 3,000 - 4,000 US$ 2,230 - 2,970

吳在炎 菊花

1985 年作 彩墨 紙本 鏡芯 款識: 富成先生正 已丑冬秋 吳再炎指畫(右下) 鈐印: 再炎之印(右下)吳(右下) 53

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FAN CHANG TIEN (Singaporean, 1907 - 1987)

Starlings beneath the Red Celosia inscribed, signed Fan Changqian in Chinese lower; stamped with 2 seals of the artist lower left ink and colour on paper, framed 139 x 33 cm S$ 4,000 - 6,000 US$ 2,970 - 4,450

范昌乾

在紅色的雞冠花下面的八哥鳥 彩墨 紙本 鏡芯 款識: 連日交交聽意餘 多情園圃玩林花 世間聲色知無羨 何用翹瞻闖曙露 范昌乾(左下) 鈐印: 范氏(左下)昌乾(左下)

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FAN CHANG TIEN (Singaporean, 1907 - 1987)

A Diaspora: Early Literati Ink Tradition in Singapore

開枝散葉: 新加坡文人的翰墨丹青

Wild Geese among the Reeds inscribed, signed Fan ChangQian and dated dingxi year (1957); stamped with 2 seals of artist lower left ink and colour on paper, framed 153 x 41 cm S$ 6,000 - 8,000 US$ 5,930 - 5,930

范昌乾 蘆雁

1957 年作 彩墨 紙本 畫框 款識: 秋菊晴汀 丁西歲秋月於星州 范昌乾(左下) 鈐印: 范昌乾(左下) 園(左下)

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FAN CHANG TIEN (Singaporean, 1907 - 1987)

Pine and Cranes inscribed, signed Fan ChangQian and dated dingxi year (1957); stamped with 2 seals of artist upper right ink and colour on paper, framed 152 x 41 cm S$ 6,000 - 8,000 US$ 5,930 - 5,930

范昌乾 松鶴

1957 年作 彩墨 紙本 畫框 款識: 蒼松唳月 丁西歲秋月於星州客次 范昌乾(右上) 鈐印: 昌乾(右上) 園(右上)

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A Diaspora: Early Literati Ink Tradition in Singapore

開枝散葉: 新加坡文人的翰墨丹青

PAN SHOU (Singaporean, 1911 - 1999)

Calligraphy in Semi-cursive script inscribed, signed Panshou in Chinese; stamped with 2 seals of the artist ink on paper, framed 39.5 x 96 cm S$ 5,000 - 10,000 US$ 3,710 - 7,410

潘受

行書 書法 水墨 紙本 鏡芯 款識: 蒼龍化此身 冰雪不能侮 紅紫得時妍 歲寒那可睹 舊句題 悲鴻畫於 水添先生存正 潘受 鈐印: 潘受長壽(左下) 一方(左下)

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REV. SONG NIAN (Singaporean, 1911 - 1997)

Ragged Mountains inscribed, signed Songnian in Chinese upper left; stamped with 12 seals of the artist ink on paper, framed 136 x 45 cm S$ 5,000 - 7,000 US$ 3,710 - 5,190

松年法師 山水圖

水墨 紙本 鏡芯 款識: 能靜者所觀天地萬物必有無窮春意 以物外之清音 洗人間之偽耳 志在守業 觀天地生物氣象 學聖賢克已工夫 海凌 松年(左上) 鈐印: 十二方

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REV. SONG NIAN (Singaporean, 1911 - 1997)

Snow River inscribed, signed Loukuotoutuo Songnian in Chinese upper left; stamped with 4 seals of the artist ink on paper, framed 66 x 33 cm S$ 2,500 - 5,000 US$ 1,860 - 3,710

松年法師 江雪

水墨 紙本 鏡芯 款識: 千山鳥飛絕 萬徑人蹤滅 孤舟蓑笠翁 獨釣寒江雪 落拓頭陀 松年(左上) 鈐印: 四方

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開枝散葉: 新加坡文人的翰墨丹青 A Diaspora: Early Literati Ink Tradition in Singapore

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REV. SONG NIAN (Singaporean, 1911 - 1997) Mountain Cliffs inscribed, signed Songnian upper right; stamped with 4 seals of the artist ink on paper, framed 98 x 68 cm S$ 4,000 - 6,000 US$ 2,970 - 4,450

松年法師 山壁

水墨 紙本 鏡芯 款識: 娛目有山水 放懷無古今 落拓頭陀 松年(右上) 鈐印: 西方


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REV. SONG NIAN (Singaporean, 1911 - 1997)

Calligraphy in Semi-Cursive Script inscribed, signed Songnian in Chinese; stamped with 5 seals of the artist ink on paper, framed 129 x 61 cm S$ 5,000 - 10,000 US$ 3,710 - 7,410

松年法師

行草書 書法 水墨 紙本 鏡芯 款識: 龍飛鳳舞 歲在癸亥春天 吉旦畫奉 李炯才先生 畫存並乞教正 松年恭贈(中下) 鈐印: 五方

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TAN SWIE HIAN (Singaporean, b. 1943)

Portrait of Xu Yun - Buddhist Zen Master inscribed and signed Chen Ruixian in Chinese upper middle; stamped with a seal of artist ink on paper, hanging scroll 180 x 96 cm

陳瑞獻

虛雲法師肖像畫 水墨 紙本 立軸 款識: 陈瑞献(左上) 鈐印: 一方(左上)

A Diaspora: Early Literati Ink Tradition in Singapore

開枝散葉: 新加坡文人的翰墨丹青

S$ 80,000 - 120,000 US$ 59,260 - 88,890

Despite coming to painting at a later point of his life, Tan Swie Hian’s artistic awareness mirrors the concept of Sudden Enlightenment expounded by the Mahayana tradition in Buddhism. Described as an “Innate Purity or Nirvāna state that is realized through direct intuition or intuitive leap of discernment of the Ultimate Truth”, collectors have been quick to recognise the spark of ingenuity in Tan’s works, a quality similarly exuded by Bada Shanren (1626 –1705), a Taoist monk who executed spontaneous and deceptively simple ink paintings that nonetheless capture the very essence of the subject. Tan Swie Hian’s lack of formal training does not prevent him from becoming one of Singapore’s most diverse artists, having held solo and group exhibitions of paintings in oil, Chinese ink and acrylic, sculpture, and calligraphy. He became an artist a few years after 1973, a pivotal year when Tan discovered the profundity of Buddhist thought and spent the next succeeding years concentrating on meditation. This large-scale ink portrait features the meditating figure of Buddhist Zen Master Xu Yun (1840 –1959), a venerable monk who dedicated his long life to the restoration of various monasteries such as the Yun-xi, Nan-hua and Yun-men temples, and reviving the Ch’an tradition within Buddhism for the emancipation of all living beings. Tan has painted a few other portraits in a similar calligraphic style, one of the most notable being the Portrait of Bada Shanren(2013), completed in just 60 seconds and fetching the hammer price of $4.4 million at an auction in Beijing in 2014.

儘管陳瑞獻拾起畫筆時已經是30歲後,但對於藝術的啟蒙,常常被形容為像佛教的突然領 悟。在佛經中有“通過直接感悟或直覺對終極真理進行辨別而實現的純潔的狀態”收藏者訓 速地認識到陳瑞獻的作品中的火花,這種品質猶同八大山人(1626年-1705年)的作品,一 位道教僧侶所畫的作品非常的自發性和看似簡單的水墨畫,但卻抓住了這個主題的重要本 質。 陳瑞獻並非受過正規的藝術訓練,但這並不妨礙他成為新加坡最多元化的藝術家之一,曾在 油畫,水墨和亞克力,雕塑和書法各各媒介中都舉辦過個人和藝術家群展。1973年之後的幾 年,陳瑞獻成為了一名藝術家,是他感悟佛教思想和專注於冥想的關鍵幾年。這幅大型水墨 肖像展現了虛雲法師(1840-1959)畫了法師是個沉思的人物,這位尊敬的僧人致力於修復 雲西,南華,雲門等各種寺院。恢復佛教內部的禪宗傳統,為所有生物的放生。陳瑞獻用類 似書法風格畫了一些其他肖像,其中最著名的是八大山人畫像(2013),在短短60秒內完 成,並在2014年北京拍賣會上獲得了440萬美元的拍賣價。


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"The use of small white parts in trees and buildings and the use of the white little figures are just meant as a focus of light. Light is the lifeforce of a painting." — ARIE SMIT

“在樹木和建築物 中使用白色小點以 及白色的小人物是 為了顯現光的聚焦 和折射。光是一 幅畫里的生命力 量。” — 艾利·斯密特

A Dutch-born Indonesian, Arie Smit’s oeuvre is borne out of the intersection of cultures precipitated by Dutch colonialism in the Netherlands Indies. In his youth, Smit studied at the Academy of Arts in Rotterdam and joined the Royal Netherlands East Indies Army thereafter. While serving in the Army, Smit was posted to the Dutch East Indies, working as a lithographer for the Topological Service in Batavia. His experience in working on the maps of Indonesia sparked his eventual interest to travel to Indonesia and paint its environment. Smit’s Balinese landscapes are highly sought after, and his paintings exhibit distinctly different brushstrokes at each stage of his stylistic period. Apart from the painting Woman, the works featured in this auction come from the artist’s late period, painted after he settled in Ubud in 1990. In these paintings, saturated Fauvist shades are employed along with dashes reminiscent of a Pointillist technique, to “evoke the scattering of light in the tropics”1. The dynamism of the brushstrokes conveys a sense of movement, which is contrasted with the tranquility of the land. These paintings continue Smit’s theme of everyday life in Bali. The temple serves as the focus in many of the paintings, in line with the Balinese culture where the temple is the centre of the villagers’ lives.

艾利·斯密特是出生荷蘭的印尼籍畫家。早年在鹿特丹美術館Academy of Arts in Rotterdam進修美術繪畫,後加入荷蘭皇家東印度軍隊Royal Netherlands East Indies Army,在軍隊的分派下到荷屬東印度群島做版畫插畫師紀錄巴達維亞Batavia當地的地 形、地質繪圖,這也使得斯密特對印尼周圍環島產生了興趣。 從作品中的筆觸能得知藝術家不同時期的作品。在本次的拍賣中,除了《仕女》,另幾 幅都是90年代定居在烏布後創作的。在這些繪畫中,飽和的野兽派Fauvist色調與虛線的 使用,讓人想起點彩分色畫法Pointillist,“喚起熱帶雨林中光的分散投影”1。筆觸的活 力表達了一種動感,與土地的寧靜形成鮮明對比。 他鮮艷的調色板繪出田園詩般的峇里島,對自己生活過的地方流露出深刻的情感。峇里 島式的宗教寺廟一直是藝術家畫作中的重要元素,猶如當地鄉民們的純樸生活,圍繞著 虔誠的信仰,斯密特的畫以寺廟為中心,用色彩明亮的色盤描繪寧靜的寺廟周圍為生活 繁忙的村民。鲜艳的色彩给人丝丝温暖和惬意。印象派的笔画,给阳光的閃耀,一丝平 静的愉悦感,感染眾人。

1. ‘VIBRANT’ ARIE SMIT, PG. 5.16 1. 《活力》艾利·斯密特,第516頁


5 PAINTINGS BY ARIE SMIT

艾利·斯密特的五件作品


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ARIE SMIT (Indo-Dutch, 1916 - 2016)

Temple and the Hill signed and dated 2003 lower right acrylic on canvas, framed 88 x 117 cm S$ 58,000 - 88,000 US$ 42,970 - 65,190

艾利·斯密特 寺廟和小山

2003 年作 亞克力 畫布 款識: arie smit '2003(右下) 'Tempel and the Hill' arie smit Bali 2003(畫背)

This lot is accompanied with a certificate of authenticity signed by the artist

作品附藝術家原作簽名證書


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ARIE SMIT (Indo-Dutch, 1916 - 2016) Woman signed and dated 84 lower left acrylic on canvas, framed 42 x 43.5 cm S$ 12,000 - 18,000 US$ 8,890 - 13,340

艾利·斯密特 仕女

1984 年作 亞克力 畫布 款識: arie smit '84(左下)

This lot is accompanied with a certificate of authenticity signed by the artist

作品附藝術家原作簽名證書


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ARIE SMIT (Indo-Dutch, 1916 - 2016)

A Village in The Tropics signed and dated '03 lower right; titled, signed and dated Bali 2003 verso acrylic on canvas, framed 29 x 36 cm S$ 6,000 - 8,000 US$ 4,450 - 5,930 LITERATURE The Latest Paintings of Arie, Rudolf Studio, p. 51 This lot is accompanied with a certificate of authenticity signed by the artist

艾利·斯密特

熱帶雨林里的村莊 2003 年作 亞克力 畫布 款識: arie smit ‘03(右下) ' A VILLAGE IN THE TROPICS' arie smit BALI 2003(畫背) 出版 《艾利.斯密特最新的畫作》, Rudolf Studio, 第51頁 作品附藝術家原作簽名證書


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ARIE SMIT

艾利·斯密特

(Indo-Dutch, 1916 - 2016)

巴厘島風景

Bali Landscape signed and dated '08 lower left; titled, signed and dated Bali, 2008 verso acrylic on canvas, framed 32 x 43 cm

2008 年作 亞克力 畫布 款識: arie smit '08 (左下) ' BALI LANDSCAPE' arie smit BALI 2008(畫背)

S$ 7,000 - 10,000 US$ 5,190 - 7,410 LITERATURE The Latest Paintings of Arie, Rudolf Studio, p. 45 This lot is accompanied with a certificate of authenticity signed by the artist

出版 《艾利.斯密特最新的畫作》, Rudolf Studio, 第45頁 作品附藝術家原作簽名證書


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ARIE SMIT (Indo-Dutch, 1916 - 2016)

Temple In A Village signed and dated '00 lower right; titled, signed and dated Bali, 2000 verso acrylic on canvas, framed 59 x 67 cm S$ 20,000 - 30,000 US$ 14,820 - 22,230 LITERATURE The Latest Paintings of Arie, Rudolf Studio, p. 75 This lot is accompanied with a certificate of authenticity signed by the artist

艾利·斯密特 村莊里的寺廟

2000 年作 亞克力 畫布 款識: arie smit ‘00(右下) 'Temple in a Village' arie smit Bali, 2000(畫背) 出版 《艾利.斯密特最新的畫作》, Rudolf Studio, 第75頁 作品附藝術家原作簽名證書


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AFFANDI (Indonesian, 1907 - 1990)

Landscape signed and dated 1963 lower right oil on canvas, framed 100 x 114 cm S$ 95,000 - 180,000 US$ 70,380 - 133,340 LITERATURE Sardjana Sumichan, Affandi Volume III, Bina Lestari Budaya Foundation and Singapore Art Museum, Indonesia, 2007, page 114, colourplate

阿凡迪 風景

1963 年作 油彩 畫布 款識: A’1963(左下) 出版 Sardjana Sumichan,《阿凡迪》第 三册,Bina Lestari Budaya基金會和 新加坡美術館,印度尼西亞,2007年 出版,第114頁,彩色圖”

阿凡迪是一位自學成才的藝術家,雖然從沒上 过正式的繪畫班,但是他自身的藝術天賦很幸 運的沒被埋藏。他和其他印尼大畫家如亭德 拉.古那彎一起建立一個属于印尼畫家的協會, 称為印度尼西亞畫家聯盟Gabungan Pelukis Indonesia。后來,阿凡迪獲得印度政府給予的 獎學金,前往印度留學后,又輾轉到了歐洲舉辦 了許多個人畫展。他參與過的重要畫展包括了在 巴西1953年舉辦的圣保罗双年展,和在意大利 1964年舉辦的威尼斯双年展。 阿凡迪的情感是他作品的靈魂。他說,阿凡迪的 畫都是在短短一兩個小時之内完成的,往往在這 之後藝術家是筋疲力盡的。作畫技巧是非常自發 性的,手代替刷子直接地將顏料塗抹在畫布上, 用手指鋪展賦彩出理想的顏色。以這樣的方式, 直接通過手傳達了自己的情感,一張畫也在波濤 洶湧的靈感表現下一氣呵成,阿凡迪再也不會在 同一張畫上做更改。這樣熱忱的創作過程賦予了 藝術家每一幅作品最誠實的情感寄託。 《風景》是阿凡迪超高集中力創作下的一個例 子。運用流暢和迴旋式的筆觸,將土地的生命力 和茂盛的繁殖力展現出來。作品創作於60年代, 是阿凡迪多次前往巴厘島的一段時期-這幅畫是 藝術家努力表達的當地地理國土自然之源的精 粹,於「美麗的東印度」(Mooi Indie)藝術家不 同,展現了他自己眼前所看到的大自然的精闢詮 釋。

Affandi was an entirely self-taught painter, and despite not having learnt painting techniques the orthodox way, it could not hamper the enormous talent within.Affandi, along with other great Indonesian artists, such as Hendra Gunawan, moved to establish a society of Indonesian painters, known as the Gabungan Pelukis Indonesia (GPI, Union of Indonesian Painters). Subsequently, Affandi received a scholarship from the Indian government to study in India, and went on to Europe to hold solo exhibitions. Chiefly among them are the Sao Paulo Biennale in Brazil in 1953 and the Venice Biennale in Italy in 1964. Emotion drives the soul of Affandi’s work. His paintings were often created within a short amount of time of 1 to 2 hours, which quickly left him exhausted upon completion. His technique was highly spontaneous, composed by directly squeezing the paint from the tube to the canvas, and mixing colors directly with his fingers.The painting becomes complete the moment he was divested of all inspiration; after which he never touches the same painting again. The sheer intensity of the painting process ensures that each piece is an enduring emotional legacy of the artist. Landscape is an example of Affandi’s high energy artistic process. Using a combination of flowy and spiraling strokes, the artist brings to the fore the nascent vitality and presence of the land. Painted in the 1960s, the period saw Affandi making many trips to Bali –this painting is thus Affandi’s endeavor to express the qualities that lie beneath the physical beauty of the land, in a time when other Mooi indie painters romanticized the Indonesian landscape.


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My Wife Maryati is an honest rendering of the woman whom he married in 1933, at the age of 26. Maryati hailed from Bogor, Indonesia, a city south of Jakarta on Java Island. Executed in a style that is inclined towards realism, the painting is a diversion from Affandi’s colourful squiggles that he used for his own portraits. My Wife Maryati is an emotive expression of his wife’s inner strength and grace; a pledge of love from a man towards his life partner.

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AFFANDI (Indonesian, 1907 - 1990)

My Wife, Maryati signed, inscribed and dated 46 upper right; signed again lower right; signed and titled java 1946 verso watercolour and gouache on paper, framed 54 x 58 cm S$ 9,000 - 15,000 US$ 6,670 - 11,120 PROVENANCE Private Collection, USA 27 November 2016, Christies, Lot 338, Hong Kong Acquired from the above by the present owner

《我的妻子,馬雅提》是阿凡迪對妻子的真 實詮釋,1933年26歲的馬雅提和阿凡迪結為 連理。馬雅提出生在南爪哇島一個叫茂物的城 市。這件作品以較寫實的方式呈現,於阿凡迪 色彩繽紛的自畫像有很大的區別。對馬雅提绰 约多姿和女性的堅強的詮釋;就像是阿凡迪身 為丈夫對妻子的感激和愛的誓言。

阿凡迪

我的妻子,馬雅提 1946 年作 水彩 水粉 紙本 鏡芯 款識: Maryati, A94(右上) affandi A(右下)

affandi, Java 1946(畫背)

出處 美國私人收藏 香港,佳士得2016年11月27日,第338 號拍品 現藏家購至上述拍賣


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HUANG FONG

黃風

(Indonesian, 1936 - 2004)

豐收

Harvest signed and dated Ubud Bali 79 and stamped with a seal of artist lower left watercolour on canvas, framed 40 x 50 cm

1979 年作 水彩 畫布 款識: Huang Fong Ubud Bali 1979(右下) 漢割水稻 風 HuangFong Ubud-Bali 1979 Indonesia(畫背) 鈐印: 一方(左下)

S$ 3,500 - 4,500 US$ 2,600 - 3,340

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JOSEPHINE LINGGAR (Indonesian, b. 1943)

Kerudang Jingga (Veil Orange) signed and dated 2001 lower right oil on canvas, framed 90 x 120 cm S$ 4,000 - 6,000 US$ 2,970 - 4,450 LITERATURE Agus Dermawan T, The Art of Josephine Primadonna, Linggar Gallery; AiA Fine Art Foundation, Jakarta, 2001, p. 101

約瑟芬.令噶 橙色面紗

油彩 畫布 款識: Josephine 2001(右下) 出版 Agus Dermawan T,《約瑟芬.令噶 的藝術》,令噶畫廊;AiA 藝術基金 會,雅加達,2001年出版,第101頁

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POPO ISKANDAR (Indonesian, 1927 - 2000)

White Horse signed and dated '87 lower right oil on canvas, framed 140 x 150 cm S$ 30,000 - 40,000 US$ 22,230 - 29,630 PROVENANCE Acquired by the present owner from Linda Gallery, Singapore EXHIBITION AND LITERATURE Singapore, Linda Gallery, Popo Iskandar at a Glance, 2002, p. 10

波波·依斯甘達 馬兒

1987年作 油彩 畫布 款識: popo '87(右下) 出處 現藏家購自林大畫廊,新加坡 展覽及出版 新加坡,林大畫廊,一窺.波波·依 斯甘達,2002年,第10頁 波波·依斯甘達是印尼早期藝術家之 一。他以多姿勢彎曲的貓繪畫著名,也 因此於1980年獲得著名的Anugerah Seni Art大獎。仔細觀察其他的藝術風 格,會看出極簡主義,立體主義和東方 書法的影子。《馬兒》以非常簡單和稚 氣的線條繪製出馬兒其柔順而健壯的體 型,樸實無華卻簡單明瞭。

Born in Indonesia, Popo Iskandar is one of the country’s early pioneer artists. Best known for his sinuous forms of felines, he has exhibited internationally a n d w a s a w a rd e d t h e p re s t i g i o u s Anugerah Seni art award in 1980. An examination of his oeuvre will reveal that his style is influenced by the minimalistic aesthetics of various art movements, with Chinese calligraphy forming part of his inspiration.For this painting titled White Horse, Popo’s artistic principle of using deliberately naïve lines to draw out the essence of a subject has brought out its supple, voluminous form, as well as its guilelessness.


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SRIHADI SOEDARSONO (Indonesian, b. 1931) Dancer with Mask signed and dated 1987 upper right signed, inscribed Peliatan, Ubud, Bali, 1987 99 x 94 cm verso oil on canvas, framed 99 x 94 cm S$ 40,000 - 60,000 US$ 29,630 - 44,450

斯里哈迪·蘇達索諾 拿著面具的舞者

油彩 畫布 款識: SRIHADI 1987(右上) SRIHADI Peliatan, Ubud, Bali 99 x 94 cm (畫背)


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YUNIZAR (Indonesian, b. 1971)

Teko Hijau (Green Kettle) signed and dated 2006 lower left and lower middle; titled, signed and dated 2006 verso acrylic on canvas, framed 80 x 60 cm S$ 2,000 - 3,000 US$ 1,490 - 2,230 LITERATURE Yunizar, Gajah Gallery, Singapore 2006, p. 34

雲尼薩爾 祿茶

2006 年作 亞克力 畫布 款識: yunizar 2006 (右下)(中下) TEKO HIJAU 2006 yunizar(畫背) 出版 雲尼薩爾,Gajah畫廊,新加坡,2006年出版,第34頁

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MARCEL ANTONIO (Filipino, b. 1963) Tropical (Tropiko) signed lower right oil on canvas, framed 76 x 60 cm S$ 2,500 - 3,500 US$ 1,860 - 2,600

馬賽爾.安東尼奧 熱帶

油彩 畫布 款識: Marcel(右下)

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ANDRES BARRIOQUINTO (Filipino, b. 1975)

Heads Will Row executed in 2014 resin with urethane and acrylic paint 128 x 61 x 47 cm

安迪斯·巴里奧昆圖 頭會轉

2014 年作 樹脂 聚氨酯 丙烯酸塗料

S$ 7,000 - 9,000 US$ 5,190 - 6,670

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CHEN JUNDE (Chinese b. 1937)

Switzerland signed in Chinese and English, switzerland; dated 2009.12 lower left crayon on paper, framed 38 x 27 cm S$ 2,800 - 3,800 US$ 2,080 - 2,820

陳均德

金秋神韻 . 瑞士

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2009 年作 油彩筆 紙本 款識: 2009.12 均德cjd 瑞士(左下)

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CHEN JUNDE (Chinese b. 1937)

Scenery in New Zealand signed in Chinese and English, dated 2007 Xinxilan (New Zealand) lower left crayon on paper, framed 39.5 x 27 cm S$ 2,500 - 3,500 US$ 1,860 - 2,600

陳均德

新西蘭平原

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Chen Junde is a Shanghainese artist who graduated from the Shanghai Theater Academy in 1960. Despite growing up under the dominant influence of social realism in the art world, Chen courageously followed his true inclination for the impressionist style. Veering away from the strict formalist teachings of the Russian style, he indulged in colour theory and carefree, unrestrained brushwork. A poet of colours, Chen exudes a sensitivity to their use and application. These two paintings are prime examples of Chen’s virtuosity in painting emotive landscapes that exude a sense of rhythm and dynamism.

2007 年作 油彩筆 紙本 款識: 2007 均德cjd新西蘭(左下)

陈均德1960年毕业于上海戏剧学院舞台美术系。在社會現實主義 盛行的时代成长,受到的艺术训练也受当时时代的影响,当时印象 派作品已经在中国被视为“腐朽没落”的时期,但陈均德却勇敢地 追寻自己的内心真正傾向的印象派主义。陈均德的印象派风格偏離 了嚴格的俄罗斯派系,反而更沉迷於色彩理論和挥洒自由的筆觸。 陳均德對色彩的敏銳和使用就像詩人作詩。 本次拍賣中的兩件作品,是表現情感和風景处理精湛技藝的典型例 子,帶出節奏感和活力感。


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FANG XIANG (Chinese, b. 1967)

Lotus Plants inscribed Li Bai's poem upper left, signed Fang Xiang lower right in Chinese; stamped with a seal of artist lower right ink and colour on paper 68 x 68 cm S$ 8,000 - 10,000 US$ 5,930 - 7,410

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方向

登鸛雀樓 彩墨 紙本 鏡芯 款識: 白日依山盡 黃河入海流 欲窮千里目 更上一層樓(左上) 方向画(右下) 鈐印: 方(右下)


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ZHANG GUONING (Chinese, b. 1960) Houses in the Beijing Alley signed and dated 1998 lower right oil on canvas 60 x 80 cm

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張國寧

北京胡同 1998 年作 油彩 畫布 款識: Chang Guo-ning, 1998.(右下)

S$ 4,000 - 6,000 US$ 2,970 - 4,450

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BAO JIA (Chinese, b. 1933)

Mountain signed Baojia in Chinese and dated 1992 lower right oil on canvas , framed 45 x 53 cm S$ 8,000 - 12,000 US$ 5,930 - 8,890

鮑加 山

1992 年作 油彩 畫布 款識: 鮑加 1992(右下) 82


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LI SHUJI (Chinese, b. 1943)

Walking to School in Winter signed in Chinese and English and dated 2006 lower right oil on canvas 155 x 250 cm S$ 30,000 - 40,000 US$ 22,230 - 29,630

李樹基

上學的一個冬天早晨 2005 年作 油彩 畫布 款識: 李樹基 LI SHU JI .2005.(右下)


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HE KONGDE (Chinese, 1925 - 2003) Sunflower signed He Kongde in Chinese and dated 1973.3 lower right oil on canvas, framed 38 x 45.5 cm S$ 3,500 - 4,500 US$ 2,600 - 3,340

何孔德 太陽花

1973 年作 油彩 畫布 款識: 1973.7日 何孔德(右下) 84

85

XU ZHIGUANG (Chinese, b. 1973) Flower signed Xu Zhiguang in Chinese and dated 03.9 lower right oil on canvas, framed 80 x 66 cm S$ 5,000 - 7,000 US$ 3,710 - 5,190

徐誌廣 花

2009 年作 油彩 畫布 款識: 徐志廣 03.9(右下)

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86

CHEN SHUZHONG (Chinese, b. 1960) Break of Dawn signed and dated 2002 lower right oil on canvas 140 x 188 cm S$ 75,000 - 100,000 US$ 55,560 - 74,080

86

陳樹中 破曉

2002 年作 油彩 畫布 款識: Chen Shuzhong 樹中 2002(右下)


XU BEIHONG IN NANYANG

i

Xu Beihong is renowned for employing techniques of Western academic realism to depict scenes of human interest in China and in portraiture. Using convincing anatomical proportions and a fixed point perspective, Xu’s paintings spoke honestly and directly to people, enabling quick understanding. Xu started studying Chinese classical works and calligraphy when he was just six years old. At 22 years old, he went to Tokyo to further his artistic training. He was then invited to teach at Peking University’s School of Art by Cai Yuanpei, who was a pivotal figure in Xu’s life. At 24 years old, Xu went to Paris to study at the École Nationale Supérieure des Beaux-Arts. His time there was an impetus that would lift his artistic experimentations to a whole new trajectory. The figure in the painting is Lim You-Rui, (1866-1939), a philanthropist in Nanyang who carved out a fortune in banking and agriculture. He tirelessly contributed to lightening the burdens of those in need, in particular diverting his considerable resources to the refugees of war and those who were hurt during resistance efforts against the Japanese army in the Second World War. He also advocated for an

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association where fellow immigrants from Hainan, China, may seek help from when they arrive in Singapore. The present-day Hainan Lim Clan association is a result of his enterprise. As part of his fund-raising campaigns for anti-war efforts in China, Xu held a number of exhibitions in Nanyang, and received strong support from the community here. Xu therefore made almost yearly trips to Singapore, resulting in an invaluable contribution to the art scene. This portrait of Mr. Lim You-Rui was painted in 1941, 2 years after the subject’s passing, to express his gratitude and remembrance of Mr. Lim. The portrait was gifted to the subject’s family. Of historical impor tance, the por trait i l l u s t ra t e s t h e c l o s e - k n i t c o m m u n i t y of Chinese elders in that period, who exude the spirit of generosity to those in need without hesitation. The painting is executed in somber tones to express the subject’s gravity and his esteemed status in society. The portrait is a frank and honest portrayal of the subject’s serenity and magnanimity, expressing this early pioneer’s uncompromising integrity and uprightness.

v i) ii) iii) iv) v) vi)

Portrait of poet Chen SanYuan Portrait of Ren Bonian Portrait of Lim Loh Honorary chairman of the Hainan Lim Clan association Hainan Lim Building News about the passing away of Mr. Lim You-Rui by Nanyang Siang Pau, dated on 1 July 1939


徐悲鴻在南洋

vi

Lot

iv i) ii) iii) iv)

徐悲鴻《詩人陳獻風》1928 年 徐悲鴻《任伯年肖像》 徐悲鴻《林路瑞肖像》 圖為新加坡海南林氏公會之林 猷瑞的照片

v)

新加坡海南林氏公會

vi)

1999年7月1日南洋商報報刊 林猷瑞先生逝世的消息

徐悲鴻以精通西方美術現實主義風格的技巧 來繪畫東方主題和肖像畫。而他最令人佩服 的是能細膩的解剖人體工學比例和遠近視覺 角度的繪畫方式,從而輕易的通过畫傳達他 想說的故事。徐悲鴻在6歲的時候就開始了 藝術訓練涉及了中國水墨和書法。22歲遊學 東京進行藝術培訓。在北京大學藝術學院當 教授期間認識了蔡元培,一位影響他日後藝 術創作的重要人物。24歲時,徐悲鴻去了法 國巴黎,在巴黎的國立高等美術學院(École Nationale Supérieure des Beaux-Arts)進 修西洋畫。這期間的學習,讓他的創作力提 升到了一個全新的領域。 這幅畫中的人物是南洋的慈善家林猷瑞 (1866-1939),早年以經營信銀局、種 植、田地等事業。林猷瑞先生身前是個熱心 公益的商人,利用自己的大量資源孜孜不倦 地幫助貧困者,特別是戰爭難民和在第二次

世界大戰期間抵抗日本軍隊時遭到傷害的難 民。除此之外,他還組織了林氏公會(新加 坡海南林氏公會),幫助來自中國海南的同 胞移民。徐悲鴻在南洋多次辦展,並得到了 南洋本地社群的大力支持,也在這之後的幾 年經常往返新加坡,在這裡留下了許多藝術 傑作。這幅林猷瑞先生的肖像畫完成於1941 年,是林先生逝去兩年之後,徐氏以示敬意 和懷念的作品,送給林家,感謝當年他在新 加坡舉辦慈善畫展時,林先生對他的支持。 這幅肖像具有歷史重要性,流露了那個時期 華人長老緊密結合在一起的社區關懷感,和 慷慨的精神幫助有需要的人。這幅畫以簡 潔、微弱的色調表現主題人物,即嚴肅又逼 真,帶出林先生他在社會上受尊敬地位和穩 重大度。這幅肖像的寧靜和敦厚忠實的描 繪,表達了這位先驅人物的正直。


87

XU BEIHONG (Chinese, 1895 - 1953)

Portrait of Mr. Lim YouRui inscribed, signed Beihong and dated Xinyi year (1941) lower left and inscribed indistinctively lower right oil on masonite board, framed 65 x 49 cm S$ 380,000 - 500,000 US$ 281,490 - 370,380 PROVENANCE Acquired directly from the artist by the family of Mr. Lim Yourui Private Collection, Asia (acquired from the above by the present owner)

徐悲鴻

林猷瑞先生畫像 1941 年作 油彩 纖維板 款識: 悲鴻 辛已(左下) PAT No.168(右下) 来源 林猷瑞先生家属直接得自艺术家 亚洲 私人收藏 (现藏家购自上述收藏)


87


趙少昂出生於廣東省番禺。 16歲時,他成為“岭南三杰“之一高 劍父(1889 - 1933)的徒弟,高劍父早期留學日本後將日本的 繪畫風格帶入中國。 1930年,趙少昂在廣州創立嶺南藝術工作 室,並於1937年成為廣州市立美術學校中國畫系主任。 趙氏的作品特點是具嶺南派精髓的,簡潔的的墨筆,將觀眾的注 意力集中在繪畫的最基本面。作品中白色空間的適當分配被稱為 “留白”,為作品增添了清晰度,並加深了作品的的審美效果。 趙氏最擅長的就是繪畫花鳥魚蟲,其畫色澤豐富明麗,鳥蟲頗有 生動活潑的動感。在《芙蓉鳴禽圖》中是1952年趙氏在應邀訪問 南洋時与在本地的番禺嶺南派畫家容漱石(1903 – 1996)的合作之 精品,而另一件《紫花螳螂圖》也是嶺南派畫家葉少秉(18691968)畫紫荊花,由趙氏點綴了螳螂。他以捕獲蜜蜂和鳥類而聞 名,以迅速的笔画描绘飞禽和昆虫移动中的瞬间。趙少昂畫中的 鳥和蚱蜢惟筆墨細緻傳神,設色暈染,筆觸之精緻而著稱,在畫 中起了畫龍點睛的作用。

88

ZHAO SHAO ANG; RONG SHUSHI (Chinese, 1905 - 1998; Chinese, 1903 - 1996)

Hibiscus and Bird inscribed, signed Shaoang by artist Zhao Shao Ang in Chinese and dated renchen year (1952) in Chinese lower right; stamped with a seal by Rong Shushi and a seal by Zhao Shao Ang Hibicus painted by artist Rong ShaoShi ink and colour on paper, hanging scroll 101 x 33.5 cm S$ 9,000 - 12,000 US$ 6,670 - 8,890

趙少昂; 容漱石 芙蓉鳴禽圖

1952 年作 彩墨 紙本 立轴 款識: 綽約偏多臨水態 逍遙獨抱拒霜姿 壬辰二月 漱石寫芙蓉 少昂補成之(右下) 鈐印: 容漱石印(右中)少昂信鈢(右下)

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Zhao Shao'ang was born in Panyu of the Guangdong province. At 16 years old, he became the student of Gao Jianfu (1889 – 1933), one of the Three Masters of Lingnan, credited with bringing the nihonga style of painting from Japan to China. In 1930, Zhao founded the Lingnan Art Studio in Guangzhou, and became the Head of the Chinese Painting Department at Guangzhou Art Institute in 1937. Works of the artist are characterized by an economy of brushstrokes that focuses the viewer’s attention on the most elemental aspects of the painting. The appropriate allocation of white space in the painting, termed “liu bai” (留白) lends clarity to the work and adds to the aesthetic effect of the painting. He is renowned for capturing bees and birds in the span of an instance, often depicting them in mid-motion. The painting Hibiscus and Bird is a collaborative effort between Zhao and another artist named Rong Shu Shi (1903 – 1996), who was also another Lingnan artist, while the painting Purple Flower and Grasshopper was completed by Ye Shao Bin (1869 – 1968) and Zhao Shao’ang. The artist’s delicate renderings of the bird and grasshopper has the effect of giving the works a sense of dynamism, an important embellishment that completes the paintings.

89

ZHAO SHAO ANG; YE SHAOBING (Chinese, 1905 - 1998; Chinese, 1896 - 1968)

Purple Flower and Grasshopper inscribed, signed Shaoang by artist Zhao Shao Ang and dated renchen year (1952) in Chinese; stamped with 2 seals of the artist lower left Bauhinia flower painted by artist Ye Shaobing ink and colour on paper, hanging scroll 100 x 33 cm S$ 9,000 - 12,000 US$ 6,670 - 8,890

趙少昂; 葉少秉 紫花螳螂圖

1952 年作 彩墨 紙本 立轴 款識: 壬辰春二月 葉少秉寫紫荊花餘為綴螳螂並題 少昂(左下) 鈐印: 少昂信鈢(左下) 少昂(左下)

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ZHAO SHAO ANG; WEN YONG CHEN (Chinese, 1905 - 1998; Hong Kong, 1922 - 1995)

Welcoming Fortune into One's Abode inscribed, signed Wen Yongchen and dated kuixi year (1993); stamped with 5 seals of the artist colophon inscribed and signed Zhao Shaoang in Chinese; stamped with 3 seals of the artist ink and colour on paper, framed colophon: 15 x 51.5 cm painting: 87.5 x 51.5 cm S$ 10,000 - 15,000 US$ 7,410 - 11,120

趙少昂; 溫永琛 引福歸堂

1993 年作 彩墨 紙本 鏡芯 詩堂題識: 引福歸堂 少昂題 鈐印: 趙(左中) 少昂(左中) 一方(右中) 款識: 終南進本象 葵西冬日 溫永琛繪(右上) 鈐印: 溫永琛(右中) 六十緣翰墨(右中) 引福歸堂(左中) 曾遊三洋四海五洲八十餘國(左中) 鶴山溫永琛六十後所做書畫(左中)

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XU BEIHONG (Chinese, 1895 - 1953)

Magpie on a Branch inscribed, signed Beihong and dated Republic 28 (1939) in Chinese lower right; stamped with a seal of artist lower right ink on paper, framed 45 x 35.5 cm S$ 50,000 - 80,000 US$ 37,040 - 59,260 PROVENANCE Christie’s Hong Kong, 1 Dec 2005, Lot 1184 Acquired from the above by the present owner

徐悲鴻

喜上梢頭 1939 年作 水墨 紙本 鏡芯 款識: 卄八年悲鴻寫(右下) 鈐印: 徐(右下) 出處 佳士得,香港,2005年12月1日, 拍品第1184號 現藏家購至上述拍賣


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SHI HU (Chinese, b. 1942)

Nude signed Shihu in Chinese; stamped with a seal of artist lower left ink on paper, framed 49 x 49 cm S$ 4,000 - 8,000 US$ 2,970 - 5,930

石虎 裸女

水墨 紙本 鏡芯 款識: 石虎(左下) 鈐印: 虎(左下)


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ZHANG SHAOSHI (Chinese, 1913 - 1991)

Flower inscribed, signed Zhang Shaoshi and dated yichou year (1985) Hong Kong in Chinese; stamped with 3 seals of the artist ink and colour on paper, framed 180 x 47 cm S$ 8,000 - 12,000 US$ 5,930 - 8,890 花 1985 年作 彩墨 紙本 鏡芯 款識: 乙丑新春 張韶石寫於香江(左上) 鈐印: 張韶石(左上) 一方(左上) 木蘭花館(右下)

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WU MINGZHONG (Chinese, b. 1963)

Hey, Beware, Glass! No. 3 signed Mingzhong in Chinese and dated 2005; signed Wu Mingzhong, titled and dated 2005 verso acrylic on canvas 194 x 162 cm S$ 8,000 - 12,000 US$ 5,930 - 8,890

武明中

嗨, 小心杯子! 之三 2005 年作 亞克力 畫布 款識: 明中 2005(左下) 《嗨,小心杯子!之三》 2005年 武明中


95

HOU QING (Chinese, b. 1969)

Dream of You signed and titled in Chinese and dated 2009 verso oil on canvas 250 x 150 cm S$ 5,000 - 8,000 US$ 3,710 - 5,930

候慶

夢的你 2009 年作 油彩 畫布 款識: 《夢的你》 2009 候慶(畫背)

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ZHANG DALI (Chinese, b. 1963)

AK - 47 Men and Bamboo 3 signed Zhang Dali in Chinese, dated 2013.11.19 and stamped with a seal of artist lower right cyanotype photogram and ink painting on rice paper, framed 94 x 70 cm S$ 6,000 - 8,000 US$ 4,450 - 5,930

張大力

AK - 47 系列 2013 年作 藍色照片印 水墨 米紙 鏡芯 款識: 張大力 2013.11.19(右下) 鈐印: 張大力專用印章(右下)


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ZHANG DALI (Chinese, b. 1963)

Blue Mao 6 signed Zhang Dali in Chinese, dated 2013.11.11 and stamped with a seal of artist lower right cyanotype photogram and ink painting on rice paper, framed 96 x 66.5 cm S$ 6,000 - 8,000 US$ 4,450 - 5,930

張大力

毛澤東-6號 2013 年作 藍色照片印 水墨 米紙 鏡芯 款識: 張大力 2013.11.11(右下) 鈐印: 張大力專用印章(右下)


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LIAO ZHENWU (Chinese, b. 1964)

Time Tag #21 signed and dated 2007 lower right; titled in Chinese, signed in both Chinese and English and dated 2007 verso oil on canvas 200 x 90cm S$ 12,000 - 16,000 US$ 8,890 - 11,860

廖真武

時代標籤之21 2007 年作 油彩 畫布 款識: Liao zhenwu 2007(右下) 《時代標籤》No. 21 廖真武 Liao zhenwu 2007(畫背)

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99

XU HENG (Chinese, b. 1977)

Xenobiotic No.15 signed in pinyin 2009 lower bottom mixed media sculpture / installation 105 x 110 x 30 cm S$ 9,000 - 12,000 US$ 6,670 - 8,890

許亨

異生素No.15 2009 年作 綜合媒材 裝置雕塑 款識: 許亨2009(左下)


100

HANS BURKHARDT (Swiss American, 1904 - 1994)

Nude Sketch (1943) signed and dated 1943 upper right charcoal on paper, framed 59 x 47 cm S$ 1,500 - 2,500 US$ 1,120 - 1,860

漢斯·伯克哈特 無題 (1943)

1943 年作 炭筆 紙本 款識: H Burkhardt 1943(右上) 100

"Art is what you can get away with." — MARSHALL MCLUHAN

“藝術能讓你 擺脫一切。 — MARSHALL MCLUHAN

The quote above, often misattributed to Andy Warhol, came from Marshall McLuhan, a media guru who, like Warhol, possessed an intimate knowledge of the mechanisms of the media world. Applied to this screenprint in question, the statement appears to be especially poignant and judicious. An artist who has turned the practice of appropriation into an art form, the work is imbued with multiple layers of meaning and significance. Indian Head Nickel #385 features the side portrait of a Native American figure, turning it into a trademark on a nickel coin. In doing so, he empties the image of any cultural significance, in an ironic commentary on America’s simultaneous creation of the Indian myth, as well as her oppression of Native American rights. By turning the Indian Head into a barren signifier, Warhol’s work mirrors the contemporary constructionof the Indian –a pliable concept in mass media created to replace the cultural reality of the Native American.

這句話常常與安迪沃霍爾有錯誤的聯繫,出自資深媒體人馬歇爾麥克盧漢, 與沃霍爾一樣擁有對媒體世界機制的深入了解。引用這句話來看觀這幅絲網 版畫,似乎能特別尖銳和明確的陳述沃霍爾想通過作品陳述的觀點。沃霍爾 一位將盜用合理化轉化為藝術形式的藝術家,創作的作品涵蓋眾多意義和思 想。《印度鎳頭#385》是印有美國原住民側臉肖像的美國5分錢硬幣。在這 樣做的過程中,沃霍爾推翻了所有文化意義的形象,對美國所創造的印度神 話的諷刺性評論,以及美國對原住民權利的壓迫。通過將印第安頭變成貧瘠 的指示符,沃霍爾的作品反映了原住民的當代的構造——這是一種大眾媒體 中的柔韌概念,旨在取代美洲原住民的文化現實。


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101

ANDY WARHOL (American, 1928 - 1987)

Indian Nickel Head #385 signed; editioned 199/250 lower left printed 1986 by printer Rupert Jaseb Smith, New York screenprint in colour on Lenox Museum board paper, framed 91.5 x 91.5 cm S$ 18,000 - 40,000 US$ 13,340 - 29,630 PROVENANCE Acquired by the present owner from Martin-Lawrence Galleries, New York

安迪·沃荷 印度鎳頭

1986 年印刷 絲網印 版畫 Lenox 博物館級的紙本 鏡芯 款識: Andy Warhol(左下) 版數: 119/250(左下) 本作品由Rupert Jaseb Smith印刷 師於紐約在1986年印刷 出處 現藏家購自馬丁-勞倫斯畫廊,紐約


緬甸的藝術和政治 Art and Politics in Myanmar

ART AND POLITICS IN MYANMAR

緬甸的藝術和政治

Like many countries within the Southeast Asian region, Myanmar has gone through many upheavals in the national’s long history. First united as Burma after the ascension of King Anawrahta in the 11th century, Burma enjoyed a short period of peace as King Anawrahta established the religious, social, and economic foundations of the state. The invasion of the Mongols in the 13th century plunged Burma into a turbulent period of attacks until the late 16th century, when King Thalun restored order by introducing an early modern system of governorship in Burma. Although Burma experienced almost a century of peace in the 17th century, the state descended into a series of wars, including the three pivotal Anglo-Burmese wars of 1824 to 1886 that turned Burma into a province of India under the British Raj. Burma’s period as a British colony from 1824 to 1948 exposed artists to western art styles, like Romanticism and Realism. However, this brief flourishing of the arts was short-lived. In the Second World War, the Japanese invaded Burma in 1942, occupying the country until 1945. In 1952, the state school of art, termed Myanmar School of Fine Arts was established, along with the ironic initiation of the Ministry of Culture, purposefully set up to oversee and control all creative production. Between 1960 to 1988, Burma was a socialist state under the government of Ne Win. Under this politically stringent environment and Ne Win’s ideology of isolation, creative censorship was heavily applied, resulting in the severe limitation of artistic output. The oppressive political history of Myanmar imposed countless restrictions on the creative expression of artists within the country. After the People Power Uprising in 1988, many artists were arrested. The use of red on canvas became forbidden, for its association to blood and revolution.

緬甸像其他東南亞地區的國家一樣,在國 家的悠久歷史中經歷了許多動盪。緬甸國 最早可追溯到11世紀由阿奴律陀国王King Anawrahta建立的第一個統一帝國,短 暫地擁有過一個有宗教信仰,社會意識和 經濟的和平時期。13世紀蒙古人的入侵, 讓緬甸陷入動盪和政變頻繁的時期,直至 16世紀末,他隆王 King Thalun通過早期 的管理制度而恢復緬甸的秩序。雖然緬甸 在17世紀經歷了將近一個世紀的和平,但 1824-1886 年的三次交鋒的英緬戰爭,緬 甸戰敗後被英国纳为英属印度的一省。從 1824年到1948年,作為英國殖民地期間, 讓當地的藝術家接觸到了西方藝術風格, 如浪漫主義和現實主義。但卻是短暫的 藝術交流。第二次世界大戰開戰,19421945 年緬甸遭日本軍隊侵略。直到1952 年,國立藝術學校也稱為緬甸美術學院成 立,但所有創意產品卻是受國家政府機構 文化部管理和監督的。從1960年到1988年 之間,緬甸是在軍事將領奈溫將軍Ne Win 的管理下成為一個社會主義國家。在這嚴 格的政治環境和奈溫的孤立主義意識形態 下,創意運動被大量的審查,導致藝術產 出嚴重受限。這壓迫性的政治環境對緬甸 藝術家的創造性施加了無數的限制。1988 年人民起義後,許多藝術家被捕。和革命 有聯繫的紅色也被禁止出現在畫布上。

Burma was renamed Myanmar in 1989 to indicate a break with its socialist history and the beginnings of a more inclusive state that recognises the rights of other ethnic groups other than the Burmans. The success of the National League for Democracy in the elections and by-elections of 1990 and 2012 has been a slow but sure progress of the country’s democratic reform, with the gradual relent of control in the media.

1989年緬甸英文的官方名從Burma改為 Myanmar, 正式打破了長久以來的社會 主義歷史,並開始建立一個更具包容自己 族群以外的民主國家。全國民主聯盟在 1990年和2012年的選舉和補選中取得的成 功,是緬甸民主改革活動緩慢但有確定的 進展,媒體自由也逐漸減少控制。

The quickening pace of the art industry in Myanmar today is a testament to the resilience and perseverance of artists in Myanmar, in their determination to continue their artistic expression under the most trying circumstances. Even during Myanmar’s socialist political climate, artists would meet surreptitiously in public venues to discuss artistic matters. The 2017 Yangon Art Expo, featuring works by four generations of Myanmar impressionist artists, was held at the business district of Yangon. To many Myanmarese artists, this was a sign of tacit government approval regarding the flourishing of the arts in the nation. Today, art from Myanmar has traversed geographical, political, and economic barriers, paving the way for the industrial success of painters and artists from Myanmar. With the right conditions and the unyielding support of international patrons and collectors, Myanmarese art is fast gaining a coherent canon. There are positive signs that in the near future, Myanmarese art would acquire its own identifiable historical context, especially with the current proliferation of research on art from Myanmar.

今天緬甸藝術行業的步伐加快,反映了緬 甸藝術家們的韌性和毅力,決心在最艱難 的情況下繼續他們的藝術表現。即使在緬 甸的社會主義政治氣候下,藝術家也會在 公共場所偷偷摸摸地討論藝術問題。2017 年仰光藝術博覽會,以緬甸四代印象派藝 術家為首的藝術展,就是在仰光最繁榮 的商業區舉行的。對於許多緬甸藝術家來 說,這是政府默認批准國內藝術發展的一 個信號。今天,緬甸的藝術已經穿越了地 理,政治和經濟壁壘,為緬甸畫家和藝術 家的工業成功鋪平了道路。憑藉合適的條 件和國際贊助人和收藏家的不屈支持,緬 甸藝術正在迅速獲得連貫的認識。從種種 的積極的跡象上看,在不久的將來,緬甸 藝術將獲得自己受認可的歷史背景,特別 是隨著目前對緬甸藝術的研究討論。


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U LUN GYWE (Myanmarese, b. 1930)

余龍義

Market scene signed and dated 2003 lower left oil on canvas, framed 68 x 68 cm

市集

S$ 6,500 - 8,500 US$ 4,820 - 6,300

出處 現藏家購自Thavibu畫廊,曼谷

PROVENANCE Acquired by the present owner from Thavibu Gallery, Bangkok

2003 年作 油彩 畫布 款識: LunGywe 2003(左下)


緬甸的藝術和政治

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Art and Politics in Myanmar

U LUN GYWE (Myanmarese, b. 1930)

Reflections in the Pond signed and dated 2004 lower right oil on canvas 68 x 68 cm S$ 7,000 - 9,000 US$ 5,190 - 6,670

余龍義

池塘里的影子 2004 年作 油彩 畫布 款識: LunGywe 2004(右下)


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U LUN GYWE (Myanmarese, b. 1930) Fetching Water signed and dated 2004 lower left oil on canvas 68 x 68 cm S$ 8,000 - 10,000 US$ 5,930 - 7,410

余龍義 取水

2004 年作 油彩 畫布 款識: LunGywe 2004(左下)


緬甸的藝術和政治 Art and Politics in Myanmar

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AUNG KYAW HTET (Myanmarese, b.1965) 3 Novices with Fan signed and dated 2004 lower left oil on canvas, framed 111 x 85 cm S$ 5,000 - 7,000 US$ 3,710 - 5,190 PROVENANCE Acquired by the present owner from Thavibu Gallery, Bangkok

奧薩泰

拿著扇子的和尚 2004 年作 油彩 畫布 款識: Aung Kyaw Htet 2004(左下) 出處 現藏家購自Thavibu畫廊,曼谷


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AUNG KYAW HTET (Myanmarese, b. 1965)

Nuns Under The Sun signed and dated 2004 lower right oil on canvas 113 x 85 cm S$ 5,000 - 7,000 US$ 3,710 - 5,190

奧薩泰

太陽底下的僧人 2004 年作 油彩 畫布 款識: AUNG KYAW HTET 2004(右下)


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AUNG KYAW HTET (Myanmarese, b. 1965) Young Boy Hitting the Gong signed and dated 2006 lower left oil on canvas, framed 115 x 86 cm S$ 6,000 - 8,000 US$ 4,450 - 5,930

奧薩泰

年輕和尚 2006 年作 油彩 畫布 款識: AUNG KYAW HTET 2006(左下) 107

Art and Politics in Myanmar

緬甸的藝術和政治

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AUNG KYAW HTET (Myanmarese, b. 1965) A Young Nun signed and dated 2007 lower left oil on canvas, framed 100 x 75.5 cm S$ 6,000 - 8,000 US$ 4,450 - 5,930

奧薩泰 僧人

2007 年作 油彩 畫布 款識: AUNG KYAW HTET 2007(左下) 108


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AUNG KYAW HTET (Myanmarese, b. 1965) Two Novices signed and dated 2004 lower right oil on canvas 85 x 113 cm

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奧薩泰 兩僧人

2004 年作 油彩 畫布 款識: AUNG KYAW HTET 2004(右下)

S$ 5,000 - 7,000 US$ 3,710 - 5,190 Reflecting the deeply spiritual inclination of his upbringing, Aung Kyaw Htet’s journey as an artist has been long and arduous, composed of the culmination of numerous small steps and borne out of the artist’s inexhaustible resource of patience. During the period when he worked at a bakery in Yangon, he saved up little by little for evening classes at the Yangon State School of Art. His highly realistic scenes of life in Myanmar is deeply humanistic, imbuing details of the human face with the artistic expression of the inner spirit of the subject.

反映著對信仰的虔誠,奧薩泰的藝術之旅是有深刻精神傾向 的,這過程是即漫長又艱難的,由無數各一小步循序漸進的 方式,和大量的耐心組成的成功。還在仰光的一家麵包店工 作時,累積自己一點一點的積蓄用來上仰光州立藝術學校的 夜校。他所畫的緬甸場景極度寫實,刻畫畫中人物的逼真情 感流露。


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MOAT THONE (Myanmarese, b. 1960) Vases signed and dated 1998 lower right watercolour on paper 38 x 56 cm S$ 1,000 - 2,000 US$ 750 - 1,490

MOAT THONE 花瓶 110

1998 年作 水彩 紙本 款識: MOAT THONE 1998(右下)

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MAUNG MYINT AUNG (Myanmarese, b. 1958)

緬甸的藝術和政治

Nude Lady signed lower right watercolour on paper, framed 72 x 53 cm S$ 1,000 - 2,000 US$ 750 - 1,490

Art and Politics in Myanmar

MAUNG MYINT AUNG 裸女 水彩 紙本 鏡芯 款識: Maung Myint Aung(右下) 111


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U MIN KYI (Myanmarese, b. 1940)

Landscape signed and dated 06 lower right oil on canvas, framed 99 x 74 cm S$ 2,000 - 4,000 US$ 1,490 - 2,970

烏敏齊 風景 2006 年作 油彩 畫布 款識: U MinKyi 06(右下)

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Renowed for his sincere and direct landscape scenes, U Min Kyi received his artistic training from two old masters of Myanmarese art, one of which was U Ban Nyan, an artist who painted a wide range of subject matters. His landscape paintings are often awash in muted tones, as he believes that colours have the potential to deceive. To counter this potentiality, U Min Kyi often renders his landscape paintings with an open aspect, inviting a direct connection between the viewer and his art works. 烏敏齊以其真誠和直接的風景場景而聞名,他接受了緬甸最受尊重的兩位藝術家的藝術培訓, 其中一位是烏巴尼安U Ban Nyan,一位繪製眾多主題的畫家。烏敏齊的風景畫往往使用較淡 的色調,因為他認為色彩能更換我們的視覺具欺騙性。所以烏敏齊的作畫風格採用開放式的形 式,給人以直觀欣賞作品。


緬甸的藝術和政治

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MIN WAE AUNG (Myanmarese, b. 1960) Art and Politics in Myanmar

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Travelers 2 signed and dated 10/03 lower left acrylic on canvas, framed 120 x 90 cm S$ 6,000 - 8,000 US$ 4,450 - 5,930

MIN WAE AUNG 旅遊者 2 2003 年作 亞克力 畫布 款識: MIN WAE AUNG 10/03(左下)


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MIN WAE AUNG (Myanmarese, b. 1960)

Happy Novice signed and dated 2/2000 lower right acrylic on canvas 115 x 90 cm S$ 6,000 - 8,000 US$ 4,450 - 5,930 PROVENANCE Canvasia, Ltd Private Collection,Thailand

MIN WAE AUNG 高興的和尚 2000 年作 亞克力 畫布 款識: MIN WAE AUNG 2/2000(右下) 出處 Canvasia, 有限公司 (香港 特別行政區的採購商) 泰國私人收藏

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Min Wae Aung is one of the few artists in Myanmar who saw a break though in his artistic career through the alignment of hard work and good fortune. Having attended the Yangon State School of Fine Arts in 1982, his stylised series of monks and nuns in vibrant colours became well received by the international community, and in 1992 he went on a tour of the United States, sponsored by the US Government. This is followed by a trip to Japan in 1993, where his works also found recognition. Min Wae Aung是緬甸為數不多的幾位藝術家中,通過艱苦藝術創作得到公認的藝術家。 1982年畢業於仰光國立美術學校後,他的一系列色彩繽紛的僧人和修女得到了國際社會的好 評,並於1992年前往美國政府資助的美國之行。隨後於1993年前往日本,藝術作品也獲得了 很多認可。


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LE THANH SON (Vietnamese, b. 1962) Untitled signed and dated 99 lower right oil on canvas 100 x 115 cm S$ 5,000 - 7,000 US$ 3,710 - 5,190

LE THANH SON 無題 1999 年作 油彩 畫布 款識: 藝術家簽名(右下)


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DANG XUAN HOA (Vietnamese, b. 1959)

Painter signed and dated 2/2008 lower left acrylic on canvas, framed 50 x 60 cm S$ 3,000 - 4,000 US$ 2,230 - 2,970

鄧春和 畫家

2008 年作 亞克力 畫布 款識: HOA 2/2008(左下)

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DANG XUAN HOA (Vietnamese, b. 1959) Man with Crane signed and dated 4 2008 lower left acrylic on canvas, framed 50 x 60 cm S$ 3,000 - 5,000 US$ 2,230 - 3,710

鄧春和 自畫像

2008 年作 亞克力 畫布 款識: HOA 4 2008(左下)

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Born in Shanghai in 1944, Chen Chu Dian is celebrated for his imaginatively composed historical paintings that references facts and events. Chen received formal art training at the renowned Shanghai Theater University Stage Art Faculty, building a strong foundation in painting techniques that would enable him to paint convincingly detailed works that invoke a sense of nostalgia within the audience of his paintings. Between 1977 to 1992, he became progressively well known as his works begun to be collected by many respected public institutions, such as the National Art Museum of Shanghai, and the Art Museum of Jiangsu province. In 1993, he moved to Singapore and cemented his reputation as a historical painter when he was commissioned to paint the historically important figure of Dr. Sun Yat-sen in Chinatown. In the painting, he imaginatively composed a scene in which Dr. Sun Yat-sen arrived at Li Chun Yuan theater to give his support for the actors and actresses who are putting on a show to raise funds for the anti-war resistance efforts in China. Chen exhibits the same wealth of imagination in the painting Singapore 50TH National Day, where he places the youthful portraits of the first Prime Minister of Singapore, Mr. Lee Kuan Yew and his wife, Madam Kwa Geok Choo, in front of a timeless vista of Singapore. Chen has juxtaposed visual elements that point to different periods in Singapore – namely the Chinese junks of the early to mid1800s that lie to the left of Mr. Lee, and the Marina Bay Sands behind Mdm. Kwa, which was completed in 2010. In this moving tribute to the leadership of Mr. Lee, and his wife Mdm. Kwa, Chen constructs two perspectives of time in one painting – that of ‘retrospectively looking forward’. Despite the hardship of governing early Singapore and guiding its transition from a colony to a Republic, Mr. Lee and Madam Kwa are portrayed with optimism and hopefulness. In his right hand, Mr. Lee holds the Proclamation of Singapore, affirming Singapore’s separation from Malaysia as an independent and sovereign state. Singapore 50TH National Day is a painting that honors Mr. Lee’s dedication to Singapore as a founding father, and Mrs. Lee’s quiet but important contributions to the building of Singapore.

陳初電出生於1944年的上海,因其豐富的想像力描繪歷史畫面而聞名於世,並 參考了事實和事件。陳先生在著名的上海戲劇大學舞台藝術學院接受了正規的 藝術培訓,為繪畫技巧打下了堅實的基礎,使他能夠畫出令人信服的寫實作品 給人有著一絲懷舊感。 1977年至1992年間,許多公共機構,如上海國家藝術博 物館和江蘇省美術館開始收藏他的作品。 1993年,他搬到了新加坡,繪制的超寫實的《孫中山在唐人街》畫像,鞏固了 他作為歷史畫家的聲譽。在這幅畫中,孫中山先生抵達李春源戲院的場景,戲 劇的內容是描述支持正在為中國抗戰努力籌集資金的華人。 陳初電在《新加坡國慶五十週年》也展現了同樣豐富的想像力,他將新加坡第 一任總理李光耀先生和他的妻子柯玉芝夫人的青春肖像放在了現代的新加坡遠 景中。陳將新加坡的不同時期的視覺元素放在一起 - 即李先生左側的19世紀初 至中期的中國帆船和夫人後面於2010年完成的濱海灣金沙。 以此向李先生和他 的妻子致敬。 陳初電在一幅畫中構建了兩個時間視角 - “回顧性地向前看”。 儘管,建國初期新加坡從殖民統治到共和國所遇到的艱難,李先生和夫人都樂 觀和充滿希望地描繪。李先生右手持有“新加坡公告”,確認新加坡與馬來西 亞分離成為獨立和主權國家。《新加坡第50屆國慶日》是一幅以讚揚李先生對 新加坡建設穩定和做出重要貢獻的作品 。


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CHEN CHU DIAN (Singaporean, b. 1944)

Singapore 50th National Day inscribed, signed Chudian In Chinese and Pinyin; dated 2015 lower right oil on canvas, framed 141 x 202 cm S$ 80,000 - 100,000 US$ 59,260 - 74,080

陳初電

新加坡50週年國慶 2015 年作 油彩 畫布 款識: 初電2015年CHEN CHU DIAN 雄視寰宇五十秋 高瞻望矚真理求 東西文明融一體 花園獅城譽全球(右下)


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CHEN CHU DIAN (Singaporean, b. 1944)

Sun Yat Sen Villa signed in pinyin lower right oil on canvas , framed 45.5 x 61 cm S$ 5,000 - 7,000 US$ 3,710 - 5,190

陳初電 晚晴園

油彩 畫布 款識: CHEN CHU DIAN(右下)

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CHEN CHU DIAN (Singaporean, b. 1944)

Village River Scene signed in pinyin lower right oil on canvas , framed 46 x 60 cm S$ 4,000 - 6,000 US$ 2,970 - 4,450

陳初電

村河現場 油彩 畫布 款識: CHEN CHU DIAN(右下)

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KOEH SIA YONG (Singaporean, b. 1938) Singapore River signed and dated 09 lower left; signed and dated 09 verso oil on canvas , framed 70 x 60 cm S$ 8,000 - 12,000 US$ 5,930 - 8,890

許錫勇

新加坡河 2009 年作 油彩 畫布 款識: Koh 09(左下)KoehSY 09(畫背)


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CHEN CHENG MEI (Singaporean, b. 1929) Abstract signed and dated 90 lower right oil on canvas , framed 50.5 x 76 cm S$ 8,000 - 12,000 US$ 5,930 - 8,890

陳城梅 抽象

1990 年作 油彩 畫布 款識: 藝術家畫押 90(右下)


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CHEN CHENG MEI (Singaporean, b. 1929)

Egrets by the River signed and dated 84 in Chinese lower right oil on canvas , framed 61 x 91 cm S$ 9,000 - 14,000 US$ 6,670 - 10,380

陳城梅

河邊的白鷺 1984 年作 油彩 畫布 款識: 藝術家畫押 八四(右下)


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CHIA YU CHIAN (Malaysian, 1936 - 1991)

Montmartre, Paris signed and dated 1961 Montmartre lower right oil on canvas, framed 74 x 54 cm S$ 7,000 - 10,000 US$ 5,190 - 7,410

謝玉謙

蒙馬特,巴黎 1961 年作 油彩 畫布 款識: yu chian Montmartre, 1961(右下)


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CHIA YU CHIAN (Malaysian, 1936 - 1991)

謝玉謙

Untitled signed and dated 1958 lower right oil on masonite board, framed 39 x 45 cm

無題

S$ 7,000 - 10,000 US$ 5,190 - 7,410

出處 新加坡藝術家之舊藏

PROVENANCE Previously in the collection of a Singaporean artist

1958 年作 油彩 畫布 款識: yu chian 1958(右下)


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JOLLY KOH (Malaysian, b. 1941)

Fan Fern V Red signed and dated 96 lower right oil on canvas, framed 122 x 91.5 cm S$ 8,000 - 12,000 US$ 5,930 - 8,890

許清發

分形蕨V紅 1996 年作 油彩 畫布 款識: JOLLY KOH 96(右下)


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JOLLY KOH (Malaysian, b. 1941)

Fab Fern VI Blue signed and dated 96 lower left oil on canvas, framed 122 x 91.5 cm S$ 8,000 - 12,000 US$ 5,930 - 8,890

許清發

分形蕨VI藍 1996 年作

油彩 畫布 款識: JOLLY KOH 96(左下)


“My paintings are always about silence. You don’t need words.” — LATIFF MOHIDIN

One of Malaysia’s most eminent artists, Latiff Mohidin is celebrated for his unique and powerful art works that are borne out of his exposure to two dominant influences in his life –that of German expressionism and the iconography of Southeast Asia. He is most renowned for his Pago Pago series, an evocative number of works that were completed during his time at the Hochschule für Bildende Künste, in Berlin, Germany. Now, almost half a century after the series was completed, Mohidin is honoured with being the first Southeast Asian artist to have his works exhibit at the Centre Pompidou’s In Focus Gallery this year. It was in Berlin that this crossroad of artistic and cultural imprint started to exert its effect on young Mohidin. Going straight from a kampong to Europe after receiving a scholarship, there is a sort of felicitous irony that it was in Berlin that Mohidin ‘discovered’

“我的畫一直是關 於沉默。你不需要 言語。”

— 拉迪夫.莫西汀

作為馬來西亞最著名的藝術家之一,拉迪夫 .莫西汀以其獨特而強大的藝術作品而聞 名,而他主要的艺术灵感来自于-德國表現 主義和東南亞的文化环境。他最被藏家熟知 的是巴戈巴戈(Pago Pago)系列作品,這 是他在德國柏林美術學院Hochschule für Bildende Künste時期開始的創作系列。在 完成這系列的近半個世紀後,莫西汀很榮幸 成為第一位在蓬皮杜藝術中心展出藝術作品 的東南亞藝術家。 柏林是年輕的莫西汀心中對藝術和文化印記 留下深刻烙印的交集點。在獲得獎學金之 後,從甘榜鄉村直接前往歐洲,巧妙而又偶

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ABDUL LATIFF MOHIDIN

Southeast Asia, though his visits to the Dahlem Museum, where the young student drank in tribal iconography from all corners of the world, including that of the Thai and Khmer cultures. Rimba series emerged after Latiff had faced several health problems in the early 1990s and he set himself a challenge, to deepen his level of work and not merely repeat what he had done earlier. “I wanted to develop a new technique that could transmit, consolidate a sense of urgency, vigour.” The present lot, Rimba, is one such work that incorporates both the visual language of German expressionism through simplified shapes and gestural marks, with the raw, primal forms of tribal iconography. Mohidin has brought forth a truly globalised expression, through this biomorphic work that straddles the in-between of Nature and Man.

然地穆罕默德在柏林“發現了”東南亞,參 觀達勒姆博物館(Dahlem Museum)時,年 輕的莫西汀大量地像海綿一樣吸取著博物館 內的部落圖像,泰國和高棉的文化文物。 《森林系列》是莫西汀在90年代早期經歷了 嚴重病痛痊癒後給自己一個挑戰 - 就是加深 他的藝術實驗,而不只是重複他所做過的。 他說: “我要開發一個新的技術,傳遞和 鞏固一種毅力和緊迫感。”本作品《森林系 列》就聚集了德國表現主義視覺語言,利用 簡化的形狀和筆畫性的方式結合原始和部落 圖騰的作品。作品傳達了富有跨越自然界與 人之間的生物形態生生不息的感知。

拉迪夫.莫西汀

(Malaysian, b. 1941)

森林

Rimba signed and dated 97 lower left oil on board 86 x 96 cm

1997 年作 油彩 木板 款識: Latiff 97(左下)

S$ 65,000 - 90,000 US$ 48,150 - 66,670


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129

CHUA EK KAY (Singaporean, 1947 - 2008)

A Forest beneath Towering Cliffs inscribed, signed Cai Yixi and dated xinyi year (2001) in Chinese; stamped with a seal of artist upper left ink and colour on paper, framed 68 x 40.5 cm S$ 22,000 - 35,000 US$ 16,300 - 25,930

蔡逸溪

高聳懸崖下的森林 2001 年作 彩墨 紙本 鏡芯 款識: 詩酒勞吾餞 笙語趁爾遊 桃前垂釣客 楊柳渡冮人 煙花三月幕 古蹟六朝收 步隨金谷障 人上武林舟 試馬跨金勤 聽鸚買玉壺 打鼓前朝午 操豚殼丙辰 詩篇曾送別 花鳥最閱情 拾翠芒鞋隱 尋芳曲徑通 前程新豫以 舊約小紅樓 青朽曾把月 綠枊又天涯 辛巳 蔡逸溪寫(左上) 鈐印: 遠濤(左上)

The translation is as follows: A farewell poem is composed with wine \ With proverbs that describe a journey People are fishing in front of a peach tree \ While a willow tree stands on the opposite bank Spring Flowers bloom like fireworks \ Amidst historical landmarks of the Six dynasties Following a path in the Golden Valley \ Paralleled by people on wooden rifts Horses cross Jin Qin \ and we test the sound of jade before buying The drums sound for Noon \ in the year 1976 Writing a poem to send a friend away \ Accompanied by chirping birds Following a winding path \ Wishing him a good journey Reminiscing about old memories \ Under green budding plum blossoms The moon casts its light over the scene.

Chua Ek Kay is an artist who has benefited greatly from the fertile artistic environment established by the first-generation ink artists of Singapore. Valuing Fan Chang Tien’s impact on his work, Chua established a good foundation in ink brush techniques, which form the bedrock for his melodious abstract ink works in his mature phrase. Aiming to present the essence of a subject rather than true form, Chua imbued his still life paintings with the same xieyi ideals, evoking a particular atmosphere in his composition. The painting titled A Forest beneath Towering Cliffs features a traditional subject of Chinese ink paintings. However, instilling the same xieyi ideals, Chua has given the painting a contemporary expression, as dry brushstrokes and ink smudges are applied quickly to insinuate the vast expanse of a mountainous landscape within the painting. The juxtapose of this xieyi stylistic convention with the detailed likeness of a pavilion at the bottom of the cliff adds human interest to this painting, lightening potential associations of alienation and estrangement. The contemporary expression is reinforced by the light application of blue on the mountain surface instead of the sky. The inscription, a poem written by Chua Ek Kay himself, significantly adds meaning to the painting. The poem describes a scene that is unfolding within the painting – a farewell meeting between two old friends.

蔡逸溪的藝術之旅啟程於一個成熟又藝 術豐厚的環境。范昌乾對他的筆墨技法 影響特別深刻,成為他後期水墨作品的 良好基調。蔡氏的作品強調主題的意 境而非實體的樣貌,以寫意派為繪畫 尊則,而作品中的“意”是整體氛圍的 “蔡式”水墨畫。 《高聳懸崖下的森林》是典型中國水墨 的常見山水畫。然而,以同樣的寫意派 風格,蔡逸溪卻以當代的技法,如較乾 墨和水墨暈染的方式描繪山丘景觀。但 山丘下的亭子,表現得更為細膩和詳 細,減輕了畫於人之間的不同意境地感 官,除了在天空藍色的運用,其實在山 丘上的運用更為突出和當代。 在這作品中詩詞的運用也是体現意與境 地意義。


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130

CHUA EK KAY (Singaporean, 1947 - 2008)

A Repast inscribed, signed Yixi and dated 92 in Chinese upper left; stamped with a seal of artist upper left ink and colour on paper, framed 67.5 x 51 cm S$ 18,000 - 25,000 US$ 13,340 - 18,520

蔡逸溪

五月蕭齋 1992 年作 彩墨 紙本 鏡芯 款識: 五月蕭齋 九二年逸溪寫(左上) 鈐印: 一方(左上)


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131

CHUA EK KAY (Singaporean, 1947 - 2008)

A House in Winter inscribed, signed Yixi in Chinese upper left; stamped with a seal of artist upper left ink and colour on paper, framed 33.5 x 22 cm S$ 11,000 - 18,000 US$ 8,150 - 13,340

蔡逸溪 冬天

彩墨 紙本 鏡芯 款識: 茅屋禁寒 畫不開杏花 消息早無回 逸溪擬古(左上) 鈐印: 一方(左上)


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132

LIM CHENG HOE (Singaporean, 1912 - 1979) Kampung Scenery signed and dated 47 lower left watercolour on paper, framed 38 x 48.5 cm S$ 8,000 - 10,000 US$ 5,930 - 7,410

林清和 甘榜景

1947 年作 水彩 紙本 鏡芯 款識: C H Lim 47(左下)


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133

LOW PUAY HUA (Singaporean, b. 1945) Singapore River signed Peihe in Chinese lower left watercolour on paper, framed 73 x 111 cm S$ 8,000 - 12,000 US$ 5,930 - 8,890

劉培和

新加坡河 水彩 紙本 鏡芯 款識: 培和(左下)


134

ONG KIM SENG (Singaporean, b. 1945) Chinatown signed lower left watercolour on paper, framed 36 x 54 cm S$ 4,000 - 6,000 US$ 2,970 - 4,450 PROVENANCE Acquired by the present owner from Domain Art Gallery, Singapore

王金成 134

牛車水街景 水彩 紙本 鏡芯 款識: K Seng(左下) 出處 現藏家購自Domain Art畫廊,新加坡

135

ONG KIM SENG (Singaporean, b. 1945) Overlooking Singapore River signed and dated 85 lower left watercolour on paper, framed 72 x 52 cm S$ 7,000 - 12,000 US$ 5,190 - 8,890

王金成

俯瞰新加坡河 1985 年作 水彩 紙本 鏡芯 款識: K Seng 85(左下) 135


136

136

ONG KIM SENG (Singaporean, b. 1945) Bridge over Singapore River signed and dated 85 lower left watercolour on paper, framed 72 x 52 cm S$ 7,000 - 12,000 US$ 5,190 - 8,890

王金成

新加坡河上的橋樑 1985 年作 水彩 紙本 鏡芯 款識: K Seng 85(左下)


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137

JIMMY ONG (Singaporean, b. 1964)

Sitting Nude; Models i) inscribed For the very tolerant Connie; signed and dated 31.3.97 lower left; dated again 30.3.97 lower right ii) inscribed For sweet sweet Connie; signed and dated 30.3.97 lower right charcoal on paper i) 59 x 42 cm ii) 65 x 50 cm S$ 4,000 - 6,000 US$ 2,970 - 4,450

王文清

坐姿裸女 ; 模特兒 1997 年作 炭筆 紙本 i) 款識: ii) 款識:

For the very tolerant Connie. Jimmy Ong 31.3.97 (左下) 30.3.97 (右下) For sweet sweet Connie Jimmy Ong 30.3.97 (右下)


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138

EARL LU (Singaporean, 1925 - 2005)

盧明德

Two Artists and Two Models signed in Chinese and English 2001 lower right ink and pigments on paper, framed 56 x 76 cm

兩個畫家和兩個模特兒

S$ 2,500 - 3,500 US$ 1,860 - 2,600

出版 Marjorie Chu,《解析東南亞當代藝術》,藝術論 壇出版社,新加坡,2003年出版,第30頁

LITERATURE Marjorie Chu, Understanding Contemporary Southeast Asian Art, Art Forum, Singapore, 2003, p. 30

2001 年作 水墨 彩墨 紙本 款識: 德LU 2001(右下)


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†139

TANG DA WU (Singaporean, b. 1943)

Wok titled lower left, signed and dated 90 lower middle ink and colour on paper, framed 82 x 58 cm S$ 2,500 - 3,500 US$ 1,860 - 2,600

唐大霧 鍋

1990 年作 彩墨 紙本 鏡芯 款識: Wok(左下) Da WuTang’90(中下)


140

140

ENG TOW (Singaporean, b. 1947)

Garden Series titled "garden series" lower left; signed and dated '89 lower right watercolour, crayon, collage on handcast paperwork, framed 76 x 101 cm S$ 6,000 - 9,000 US$ 4,450 - 6,670

杜瑛

花園系列 1989 年作 水彩 蠟筆 拼贴 手工澆鑄紙 款識: “garden series”(左下) Eng Tow '89 (右下)

Eng Tow left Singapore for the United Kingdom in 1968, where she studied at the Royal College of Art, and then worked for several years. Returning in 1981, Eng rose to prominence in the 1980s with her textile constructions and papercast works – paper fibres pulled apart, mixed with items like silk thread, shell and lint, and produced as sheets which she painted on. “Each work has a laminate of several layers, forming an uneven surface. It is scraped and peeled back or added on and built up depending on the textures I have in mind.” The Garden series were based on her macroscopic and microscopic observation of the natural world. 杜瑛於1968年離開新加坡前往英國,在皇家藝術學院學習,然後工作了 幾年。 1981年回歸,杜瑛在1980年代憑藉她的紡織、造紙工程的作品 而受到關注,其中紙纖維,絲線,貝殼類和棉絨等物品混合在一起,製 成她繪彩的畫布。 「每件作品都有幾層的堆疊,形成不平整的表面。 根據我所想像的紋理,刮掉表面,剝落並再建立起來。」花園系列是基 於她對自然界的宏觀和微觀觀察。


141

LEE HOCK MOH (Singaporean, b. 1947)

Misty River Scene inscribed, signed Fumao in Chinese upper right; stamped with 3 seals of the artist ink and colour on paper, framed 70 x 31 cm S$ 10,000 - 15,000

李福茂

朦朧的河景 彩墨 紙本 鏡芯 款識: 白嬌同學令千金歸之喜 福茂賀 鈐印: 李(右上) 福茂(右上) 一方(左下)

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142

LEE HOCK MOH (Singaporean, b. 1947)

Birds and Floral signed Fumao in Chinese middle left; stamped with 3 seals of the artist ink and colour on paper, framed 131.5 x 66 cm S$ 18,000 - 25,000 US$ 13,340 - 18,520

李福茂

鳥語花香 彩墨 紙本 鏡芯 款識: 福茂(左中) 鈐印: 李(左中) 福茂(左中) 一方(右下)

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143

LEE HOCK MOH (Singaporean, b. 1947)

Cascading Orchids signed Fumao in Chinese middle left; stamped with 2 seals of the artist ink and colour on paper, framed 66.5 x 66.5 cm S$ 9,000 - 15,000 US$ 6,670 - 11,120

李福茂 蘭花

彩墨 紙本 鏡芯 款識: 福茂(左中) 鈐印: 福茂書畫(左中) 一方(右下)


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144

LEE HOCK MOH (Singaporean, b. 1947)

Enchanting Flowers signed Fumao in Chinese upper right; stamped with 3 seals of the artist ink and colour on paper, framed 65.5 x 66.5 cm S$ 9,000 - 15,000 US$ 6,670 - 11,120

李福茂

迷人的花朵 彩墨 紙本 鏡芯 款識: 福茂(右上) 鈐印: 李氏(右上) 福茂(右上) 一方(左下)


145

LIM TZE PENG (Singaporean, b. 1923)

Golden Script inscribed, signed Ziping in Chinese and stamped with a seal of artist lower left ink and colour on paper, framed 100 x 104 cm S$ 12,000 - 18,000 US$ 8,890 - 13,340

145

林子平 金字

彩墨 紙本 鏡芯 款識: 子平(左下) 鈐印: 子平之印(左下)


146

146

LIM TZE PENG (Singaporean, b. 1923)

林子平

House of Gold signed in Chinese and stamped with an artist's seal middle left; painted in 2009 gold and silver acrylic paint, ink and colour on paper, framed 99 x 99 cm

黃金屋

S$ 16,000 - 26,000 US$ 11,860 - 19,260

出版 《字乃心畫,林子平》,好望角畫 廊,新加坡,2009年出版,第25頁

LITERATURE The Calligraphy Impulses by Lim Tze Peng, Cape of Good Hope Art Gallery, Singapore, 2009, p. 25

2009 年作 金銀亞克力 彩墨 紙本 鏡芯 款識: 林子平(左下) 鈐印: 林子平印(左下)


147

148

147

148

Muddled Calligraphy inscribed, signed Lin Ziping in Chinese; stamped with a seal of artist lower left ink and colour on paper, framed 90.5 x 45 cm

Muddled Calligraphy II inscribed, signed Lin Ziping in Chinese; stamped with a seal of artist lower left ink and colour on paper, framed 91.5 x 51 cm

LIM TZE PENG (Singaporean, b. 1923)

LIM TZE PENG (Singaporean, b. 1923)

S$ 7,000 - 12,000 US$ 5,190 - 8,890

S$ 7,000 - 12,000 US$ 5,190 - 8,890

林子平

林子平

水墨 紙本 鏡芯 款識: 林子平(左下) 鈐印: 子平之印(左下)

水墨 紙本 鏡芯 款識: 林子平(左下) 鈐印: 子平之印(左下)

書法

書法


149

149

WEE BENG CHONG; SEE HIANG TO

黃明宗; 施香沱

(Singaporean, b. 1938; Singaporean, 1906 - 1990)

灕江春色

Spring at The Li Jiang River inscribed, signed Xiangtuo by artist See Hiang To dated yichou year (1985) in Chinese upper left; stamped with 2 seals of the artist upper left painted by Wee Beng Chong; stamped with a seal of artist lower right, In dedication to See Hiang To on the artist's birthday ink and colour on paper, framed 60.5 x 120 cm

1985年作 彩墨 紙本 鏡芯 款識: 灕江春色 乙丑元旦明宗 仁棣來舍賀歲並作此畫 為君中國旅行歸來第一次 寫途中所見景物爰題 灕江春色四字以歸之 花朝後二日香沱於星鳳堂(左上) 鈐印: 施氏(左上)香沱(左上) 另一方黃明鍾鈐印(右下)

S$ 11,000 - 18,000 US$ 8,150 - 13,340


150

150

HENRI CHEN KEZHAN

陳克湛

(Singaporean, b. 1959)

向日葵

Sunflower signed Kezhan in Chinese lower left; stamped with 2 seals of artist lower left and lower right ink and colour on paper, framed 66 x 64 cm

彩墨 紙本 鏡芯 款識: 克湛(左下) 鈐印: 陳克湛(左下) 一方(右下)

S$ 5,000 - 7,000 US$ 3,710 - 5,190


151

HENRI CHEN KEZHAN (Singaporean, b. 1959)

Summer signed Kezhan in Chinese and stamped with a seal of artist middle left titleslip by the artist, signed Tuizai Jushi dated 1998, Singapore in Chinese ink and colour on paper, hanging scroll 186 x 95 cm S$ 7,000 - 9,000 US$ 5,190 - 6,670

陳克湛 夏

1988 年作 彩墨 紙本 立軸 款識: 克湛(左中) 鈐印: 園丁(左中) 包首題簽:

一九八八年之作 退齋居士紀於星州

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152

LAI KUI FANG (Singaporean, b. 1936) Bird on a Rambutan Tree inscribed, signed Lai Guifang and dated wuwu year (1978) in Chinese; stamped with 2 seals of the artist middle right ink and colour on paper, framed 78 x 30 cm S$ 6,000 - 12,000 US$ 4,450 - 8,890

賴桂芳 紅毛丹

1978 年作 彩墨 紙本 鏡芯 款識: 紅毛丹 戊午年七月 賴桂芳寫(右中) 鈐印: 賴桂芳(右中) 賴桂芳(右中)

152


153

NAI SWEE LENG (Singaporean, b. 1946)

Mountainside Monasteries; Fishes i) inscribed, signed Ruilong and dated binchen year (2006) upper left; ii) inscribed, signed Ruilong and dated binzi year (1996) in Chinese upper right ink and colour on paper, framed 67.5 x 66.6 cm 70 x 69 cm S$ 6,000 - 8,000 US$ 4,450 - 5,930

賴瑞龍

高山流;魚樂圖 2006 年作 1996 年作 彩墨 紙本 鏡芯 i) 款識:高山流水見知音 歲丙戊秋 星州 瑞龍(右中) 鈐印:賴瑞龍印(右中)墨趣(左下) ii) 款識:魚樂圖 丙子年 瑞龍(右上) 鈐印:瑞龍(右上)墨趣(左下)

153 i

153 ii


33 AUCTION SINGAPORE CONDITIONS OF BUSINESS Conditions mainly concerning Buyers 1. The buyer All lots will be invoiced to the name and address given at the time of registration and the issue of an allocated buyer’s number and cannot be transferred to other names and addresses. The highest bidder will be the buyer at the ‘hammer price’ and any dispute will be settled at the auctioneer’s absolute discretion. Every bidder will be deemed to act as principal unless there is in force a written acknowledgement by 33 Auction that he/she acts as agent on behalf of the named principal. 2. Minimum increment The auctioneer will have the right to refuse any bid which does not exceed the previous bid by at least 5% or by such other proportion as the auctioneer will in his/her absolute discretion direct. 3. Buyer’s premium 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 22% on the first SGD 200,000 of the hammer price and 18% of any amount in excess of SGD 200,000. The buyer will be responsible for payment of relevant taxes as required by law. 4. Absentee bids Upon request, 33 Auction shall execute absentee bids on behalf of intending buyers. This service is free. Lots will be bought as cheaply as is allowed by other bids placed and the seller’s reserves. In the event of identical bids, the earliest will take precedence. When absentee bids are placed by telephone they are accepted at the buyer’s risk, and must be confirmed prior to the sale by letter or facsimile. To ensure a satisfactory service, bidders are urged most strongly to send bids so that they are received at least 24 hours before a sale. 5. Telephone bids 33 Auction will do its best to accommodate telephone bids from buyers who have made proper arrangements at least 24 hours prior to the sale and subject to the availability of sufficient telephone lines. Because this method cannot be entirely free from risk of communication breakdown, 33 Auction cannot be held responsible for losses arising from missed bids. 6. Company property It is the general policy of 33 Auction to act as agent only for the seller. Circumstances do, however, arise from time to time where 33 Auction or its director/s may have an interest in a lot or lots being offered. In the catalogue, such lots are designated ◊ next to the lot number. 7. Payment Immediately a lot is sold the buyer will: a) give to 33 Auction his/her name and address and, if so requested, proof of identity; b) pay to 33 Auction the ‘total amount due’ c) Any payments by a buyer to 33 Auction may be applied by 33 Auction towards any sums owing by the buyer to 33 Auction on any account whatsoever without regard to any directions of the buyer or his/her agent, whether express or implied. Certain modes of payment will attract a service fee at a certain rate of total amount payable. Please consult the guide for prospective buyers for the updated charge. 8. Collection of purchases The ownership of the lots purchased will not pass to the buyer until he/she has made payment in full to 33 Auction of the ‘total amount due’. After an auction, only limited assistance with packing and/or loading of purchases is available from the staff of 33 Auction. Where such assistance is rendered, no liability will devolve on 33 Auction or its staff for any damage that may arise, from whatever cause, during such packing and/or loading. The buyer will at his/her own expense collect the lot purchased immediately after the auction and will be responsible for all packing, removal, storage and insurance charges. 9. Buyer’s responsibility for lots purchased The buyer will be responsible for the loss of or damage to lots purchased from the time of auction to date of collection. Neither 33 Auction nor its employees or agents will thereafter be responsible for any loss or damage of any kind, whether caused by negligence or otherwise, while any lot is in its custody or under its control. 10. Remedies for non-payment or failure to collect purchases If any lot is not paid for in full and taken away in accordance with Conditions 8 and 9, or if there is any other breach of either of those conditions, 33 Auction as agent of the seller will, at its absolute discretion and without prejudice to any other rights it may have, be entitled to exercise one or more of the following rights and remedies: a) to proceed against the buyer for payment and/or damages for breach of contract; b) to rescind the sale of that or any other lots sold to the defaulting buyer at the same or any other auction; c) to resell the lot or cause it to be resold by public auction or private sale and the defaulting buyer will be liable to pay to 33 Auction any resulting deficiency in the ‘total amount due’ (after deduction of any part payment and addition of resale costs) and any surplus will belong to the seller; d) to remove, store and insure the lots at the expense of the defaulting buyer and, in the case of storage, either at 33 Auction’s premises or elsewhere; e) to charge interest at a rate not exceeding 2% per month on the ‘total amount due’ to the extent it remains unpaid for more than 5 working days after the day of the auction; f) to retain that or any other lot sold to the same buyer at the same time or at any other auction and release it only after payment of the ‘total amount due’; g) to reject or ignore any bids made by or on behalf of the defaulting buyer at any future auctions or require and receive a deposit in an amount determined by 33 Auction before accepting any bids in future; h) to apply any proceeds of sale then due or at any time thereafter becoming due to the defaulting buyer towards settlement of the ‘total amount due’ and to exercise a lien on any property of the defaulting buyer which is in 33 Auction’s possession for any purpose.

11. Legal Costs The buyer shall be responsible for the payment of 33 Auction’s legal costs calculated on the scale as between attorney and its own client incurred in the enforcement of 33 Auction’s rights irrespective of whether 33 Auction institute legal proceedings or not. 12. Liability of 33 Auction and sellers a) Goods auctioned are usually of some age. All goods are sold as it is with all faults and imperfections and errors of description. Illustrations in catalogues are for identification only. Buyers should satisfy themselves prior to sale as to the condition of each lot and should exercise and rely on their own judgement as to whether the lot accords with its description or not. Subject to the obligations accepted by 33 Auction under this condition, neither the seller, 33 Auction, its servants or agents is/are responsible for errors of descriptions or for the genuineness or authenticity of any lot. No warranty whatsoever is given by 33 Auction, its servants or agents, or any seller to any buyer in respect of any lot, and any express or implied conditions or warranties are hereby excluded. b) Any lot which proves to be a ‘deliberate forgery’ may be returned by the buyer to 33 Auction within 21 days of the date of auction in the same condition in which it was at the time of the auction, accompanied by a statement of defects, the number of the lot, and the date of the auction at which it was purchased. If 33 Auction is satisfied that the item is a ‘deliberate forgery’ and that the buyer has and is able to transfer a good and marketable title to the lot, free from any third-party claims, the sale will be set aside and any amount paid in respect of the lot will be refunded, subject to the express condition that the buyer will have no rights or claims against 33 Auction if: i) the description in the catalogue at the date of the sale was in accordance with the then generally accepted opinion of scholars and experts or fairly indicated that there was conflict of such opinion; or ii) the only method of establishing at the date of publication of the catalogue that the lot was a ‘deliberate forgery’ was by means of a scientific process not generally accepted for use until after publication of the catalogue, or by a process which was unreasonably expensive or impractical. c) A buyer’s claim under this condition will be limited to any amount paid in respect of the lot and will not extend to any loss or damage of whatsoever nature suffered, or expense incurred by him/her. d) The benefit of this condition will not be assignable and will rest solely and exclusively in the buyer who, for the purpose of this condition, will be and only be the person to whom the original invoice is made out by 33 Auction in respect of the lot sold.

Conditions mainly concerning sellers and consignors 13. Inspections 33 Auction shall inspect items brought to its offices or viewed at seller’s domain for potential auction and will advise owners as to the value and suitability within the 33 Auction trade markets. Items of insufficient value or unsuitable for the auction trade must be collected within 5 working days after having being notified. Items not collected will be sold in terms of clause 25. The service is without charge, though in certain instances it may be necessary to charge out-ofpocket and travelling expenses where the seller is out of town. 33 Auction reserves the right to accept or reject any item not meeting 33 Auction’s criteria for the auction trade markets. 14. Seller’s commission A seller’s commission is payable by the seller on the hammer price for lots sold. It will be deducted from the sales proceeds to the seller. 15. Marketing Illustration The seller agrees to have the items illustrated in the auction catalogue and agreees to pay the published rate of marketing illustration charge. 33 Auction is authorised to feature item(s) as it deems fit, and the sellers shall not request for special featuring of his/her/its auction item(s). 16. Warranty of title and availability a) The seller warrants to 33 Auction and to the buyer that he/she is the true owner of the property or is properly authorized by the true owner and is able to transfer good and marketable title to the property, free from any third-party claims. b) The seller of any property not held by 33 Auction on its premises or under its control, warrants and undertakes to 33 Auction and the buyer that the property will be available and in deliverable state on demand of the buyer. c) The seller indemnifies 33 Auction, its agents and the buyer against any loss or damage suffered by either in consequence of any breach of (a) or (b) above on the part of the seller. 17. Liability for Loss or Damage a) Unless otherwise agreed with 33 Auction in writing in accordance with paragraph (d), 33 Auction will assume liability for loss or damage to any item, commencing at the time that item is received by 33 Auction and ceasing when (i) risk passes to the Buyer of the lot following its sale; (ii) for unsold lots, 45 days after the sale or when the lot is released to the Seller (whichever is earlier) b) The Seller agrees to pay a charge of 1.00% of (i) hammer price if the property sells, or (ii) reserve price if the property fails to sell, subject to a minimum of SGD 50 per lot. c) If any loss or damage should occur to the lot during the period identified in paragraph (a) above, 33 Auction liability to compensate the Seller in respect of that loss shall be limited to the amount set out in paragraph (b)(i) to (ii) as applicable, less Seller’s commission and Expenses. d) The Seller must agree with 33 Auction in writing if it does not wish 33 Auction to accept liability for loss or damage to any item delivered to 33 Auction, and undertake to maintain insurance cover for the item until the Buyer has made payment for the item in full. 18. Reserves The seller will be entitled to place, prior to the auction, a reserve on any lot, being the minimum ‘hammer price’ at which that lot may be treated as sold. A reserve once placed by the seller may not be changed without the consent of 33 Auction. 33 Auction may at its option sell at a ‘hammer price’ below the reserve, but in any such cases the sale proceeds to which the seller is entitled will be the same as they would have, had the sale been at the reserve. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The 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. The reserve, if any, on any one lot will not exceed the low estimate as published in the catalogue.


19. Authority to deduct commission and expenses The seller authorizes 33 Auction to deduct commission at the ‘stated’ rates, ‘illustration’ and ‘expenses’ from the ‘hammer price’ and acknowledges 33 Auction’s right to retain the premium payable by the buyers in accordance with Condition 3. 20. Rescission of the sale If before 33 Auction remits the ‘sale proceeds’ to the seller, the buyer makes a claim to rescind the sale under Condition 12 or otherwise and 33 Auction is of the opinion that the claim is justified, 33 Auction is authorized to rescind the sale and refund the buyer any amount paid to 33 Auction in respect of the lot. 21. Payment of sale proceeds Subject to Condition 16 above, 33 Auction will remit the 'sale proceeds' to the seller not later than 35 days after the date of auction, but if by that date 33 Auction has not received the 'total amount due' from the buyer, then 33 Auction will remit the 'sale proceeds' within 5 working days after the date on which the 'total amount due' is received from the buyer. If the buyer fails to pay 33 Auction the ‘total amount due’ within 3 weeks after the auction, 33 Auction will endeavour to notify the seller and take the seller’s instructions as to the appropriate course of action and, so far as in 33 Auction’s opinion it is practicable, will assist the seller to recover the ‘total amount due’ from the buyer. If circumstances do not permit 33 Auction to take instructions from the seller, the seller authorises 33 Auction at the seller’s expense to agree special terms for payment of the ‘total amount due’, to remove, store and insure the lot sold, to settle claims made by or against the buyer on such terms as 33 Auction will in its absolute discretion think fit, to take such steps as are necessary to collect the amount due by the buyer to the seller and if necessary to rescind the sale and refund money to the buyer. If, notwithstanding that the buyer fails to pay to 33 Auction the ‘total amount due’ within 3 weeks after the auction, 33 Auction remits the ‘sale proceeds’ to the seller, the ownership of the lot shall pass to 33 Auction. 22. Charges for withdrawn lots Where a seller cancels instructions for sale, 33 Auction reserves the right to charge both full buyer’s premium and seller’s commission on 33 Auction’s middle estimate of the low and high estimates of the property withdrawn, together with ‘expenses’ incurred in relation to the property. 23. Rights to photographs and illustrations The seller gives 33 Auction full and absolute right to photograph, illustrate, or otherwise produce images, of any lot placed in its hands for sale and to use such photographs and illustrations and any photographs and illustrations provided by the seller at any time at its absolute discretion (whether or not in connection with the auction). 24. Provenance In certain circumstances, 33 Auction may print in the catalogue the history of ownership of a work of art if such information contributes to scholarship or is otherwise well known and assists in distinguishing the work of art. However, the identity of the seller or previous owners may not be disclosed for a variety of reasons. For example, such information may be excluded to accommodate a seller’s request for confidentiality or because the identity of prior owners is unknown given the age of the work of art. 25. Unsold lots and uncollected items 33 Auction reserves the right to sell any unsold lot within 35 working days from the auction date, at the reserve price on behalf of the seller. Where any lot fails to sell after the above period, 33 Auction will notify the seller accordingly. Uncollected items not suitable for auction must be collected within 5 days after being notified of their unsuitability as per clause 13 and failing timely collection they will be dealt with on the basis set out in paragraph 25(c) below. The seller must make arrangements either to re-offer the lot for sale or to collect the lot. If such arrangements are not made: a) within 7 days of notification, the seller will be responsible for any removal and storage expenses; b) within 3 months of notification, 33 Auction will have the right to sell the lot at public auction without reserve and to deduct from the ‘hammer price’ any sum owing to 33 Auction including (without limitation) removal, storage, commission at the stated rates, and other reasonable expenses before remitting the balance to the seller. c) If 33 Auction is unable to sell the lot at a public auction as contemplated in paragraph 25(b) above then 33 Auction is entitled to sell the lot and any uncollected items without auction at the highest attainable price and to deduct from the selling price any sum owing to 33 Auction including (without limitation) removal, storage, commission at the stated rate, and other reasonable expenses before remitting the balance, if any, to the seller. Any shortfall which may be owing by the seller to 33 Auction consequent upon the seller’s failure to collect the unsold lot shall be payable together with interest and legal costs on demand. 26. General conditions and definitions 33 Auction sells as agent for the seller (except where it is stated wholly or partly to own any lot as principal and such lots are identified by ◊ next to the lot number) and as such is not responsible for any default by seller or buyer. 27. Any representation or statement by 33 Auction, in any catalogue, as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his/her own judgement as to such matters and neither 33 Auction nor its servants or agents are responsible for the correctness of such opinions.

28. While the interests of prospective buyers are best served by attendance at the auction, 33 Auction will if so instructed execute bids on their behalf, neither 33 Auction nor its servants or agents being responsible for any neglect or default in doing so or for failing to do so. 29. 33 Auction will have the right, at its discretion, to refuse admission to its premises or attendance at its auctions by any person. 30. 33 Auction has absolute discretion without giving any reason to refuse any bid, to divide any lot, to combine any 2 or more lots, to withdraw any lot from the auction and in case of dispute to put up any lot for auction again. a) Any indemnity under these conditions will extend to all actions, proceedings, costs, expenses, claims and demands whatsoever incurred or suffered by the person entitled to the benefit of the indemnity. b) 33 Auction declares itself to be a trustee for its relevant servants and agents of the benefit of every indemnity under these conditions to the extent that such indemnity is expressed to be for the benefit of its servants and agents. 31. The parties choose domicilium citandi et executandi* at the addresses reflected on the face thereof. Any notice given in connection with this agreement may be delivered by hand; or be sent by prepaid registered post; or be sent by telefax or by email if the domicilium includes a telefax number and/or an email address, to the domicilium chosen by the party concerned. Any notice or process delivered on any party in connection with any matter or subject arising out of this agreement or any notice shall be deemed to have been delivered if handed to any responsible person at the domicilium chosen by any party and it shall not be necessary to hand such process or notice to any party personally. A notice given as set out above shall be presumed to have been duly delivered:(i) on the date of delivery if delivered by hand or telefax or email; (ii) on the fourth day from the date of posting including the date of posting if posted by pre-paid registered post from within the Republic of Singapore. 32. Every auction and all matters concerned therewith including these conditions, will be governed by and construed in accordance with the laws of Singapore and the buyer submits to the non-exclusive jurisdiction of the Singaporean courts. 33. In these conditions: a) ‘catalogue’ includes any advertisement, brochure, estimate, price-list, website content and other publication; b) ‘hammer price’ means the price at which a lot is knocked down by the auctioneer to the buyer; c) ‘total amount due’ means ‘hammer price’ in respect of the lot sold together with any premium chargeable and additional charges and expenses due from the defaulting buyer under Condition 10; d) a ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source, which is not shown to be such in the description in the catalogue and which at the date of the sale had a value materially less than it would have had if it had been in accordance with that description; e) ‘sale proceeds’ means the net amount due to the seller, being the ‘hammer price’ of the lot sold less commission at the ‘stated rates’, ‘expenses’ and any other amounts due to 33 Auction by the seller in whatever capacity and howsoever arising; f) ‘stated rates’ means 33 Auction’s published rates of commission for the time being; g) ‘expenses’ in relation to the sale of any lot means 33 Auction’s charges and expenses for illustrations, special advertising, packing and freight of that lot and any GST thereon. 34. Special terms may be used in catalogues in the description of the lot. Where terms are not self-explanatory and have special meanings ascribed to them, a glossary will appear before Lot 1 in the catalogue of the auction. 35. Data Protection 33 Auction intends to use your personal data for direct marketing with your consent. We would like to use your name, phone number, email and address to contact you about transactions, the events, products and services of 33 Auction and our associated companies. We do not sell or trade Data but it may be provided to (a) 33 Auction associated companies for direct marketing; and (b) third party services providers assisting us with mailing, shipping, legal, accounting, travel and hospitality. When doing so, we will require them to ensure that your Personal Data disclosed to them is kept confidential and secure. Clients will please note that for security purposes, 33 Auction premises are subject to video recording. Telephone calls eg. telephone and internet bidding/voicemail messages may also be recorded. You may access or correct the Data by contacting our Data Quality Representative via email at data@33auction.com 36. The headings in these conditions do not form part of the Conditions of Business but are for convenience only. *domicilium citandi et executandi refers to the address where a summons or other official notice should be served if necessary, which must be supplied by somebody applying for credit or entering into a contract.


33 拍賣⾏之新加坡業務規則 買家之業務規則 1. 買家 所有售出的拍賣品發票抬頭均需為登記競投號碼板時的姓名及其地址,⽽不 得轉讓⾄他⼈及其它地址。買家是指拍賣官落槌確認的最⾼出價⼈,落槌價 即為成交價,拍賣官有權平息拍賣中的任何爭議。除⾮在拍賣⽇前,經 33 拍賣⾏書⾯認可某競投⼈是表明⾝份的某買家的代理⼈,否則該名競投⼈應 被視為買家本⼈。 2. 最低增幅 拍賣官有權拒絕未超過 5%增幅的競投,及有權決定最低增幅⽐例。 3. 買家應⽀付酬⾦ 買家應⽀付本公司酬⾦,並與成交價⼀起計⼊買⼊價。 拍賣品成交價為 200,000 新加坡幣或以下, 酬⾦以成交價之 22%計算;超出 200,000 新加 坡幣之部分,則以 18%計算。買家將按照法律規定繳納相關稅費。 4. 委託競投 經由競投⼈委託,33 拍賣⾏可以代表競投⼈進⾏競投。此項服務為免費。 拍賣品將會以相對於其他競投價及賣家底價的最相宜的價格買⼊。若競投價 相同,則最先競投者有優先權。電話競投者⾃擔⾵險,必須於拍賣前以函件 或傳真向本公司確認。為確保獲得滿意的服務,強烈建議競投⼈確保本公司 在拍賣前⾄少 24 ⼩時收到您的競投指⽰。 5. 電話競投 33 拍賣⾏將盡⼰所能為電話競投提供便利,由於電話線路有限,競投⼈需 在拍賣前⾄少 24 ⼩時安排此項服務。由於電話競投無法完全避免出現通訊 故障的⾵險,如因此未能作出競投從⽽造成的損失,新加坡 33 拍賣⾏將不 承擔任何責任。 6. 公司資產 新加坡 33 拍賣⾏的總體⽅針是作為賣家的代理⼈。然⽽在某些情況下,33 拍賣⾏擁有某個或某些拍賣品的業權。在拍賣品圖錄中,這樣的拍賣品將在 拍賣品編號旁邊標注。 7. 付款 拍賣品競投成功後,買家需: a. 向 33 拍賣⾏提供該買家的姓名、地址。如需要,⼀併提供⾝份證明。 b. 向 33 拍賣⾏⽀付全部買⼊價。 c. 33 拍賣⾏可以申請買家應向 33 拍賣⾏⽀付的所有款項,無論是從買家 或是其代理⼈處,無論明⽰或默⽰。 某些⽀付⽅式將以⼀定的總付款額徵收服務費。相關費⽤,請諮詢潛在給準 買家之指引。 8. 領取拍賣品 買家向 33 拍賣⾏⽀付總付款額後,即可獲得拍賣品的所有權。拍賣結束 後,33 拍賣⾏⼯作⼈員對包裝及/或裝貨提供有限協助。提供此項協助服務 時,33 拍賣⾏及其⼯作⼈員對在包裝及/或裝貨過程中因此發⽣的損失不承 擔任何責任。買家應在拍賣結束後即領取拍賣品,並⾃負所有費⽤。所有包 裝、搬運、存儲及保險費⽤都由買家承擔。 9. 買家對其已購拍賣品所承擔的責任 從買家領取拍賣品之⽇起,買家應對其所購拍賣品的毀損、滅失負全責。即 使拍賣品由 33 拍賣⾏或其代理⼈代為保管,33 拍賣⾏及其⼯作⼈員或其代 理⼈對因失誤或其他任何原因所致的該拍賣品的毀損或滅失,不承擔任何責 任。 10. ⽋繳款或未領取拍賣品之補償⽅法 若買家未按照本規則第七、第⼋條的規定全額付款或領取拍賣品,或有任何 違反這兩條規則的⾏為,作為賣家的代理⼈,33 拍賣⾏將有權在不損害賣 家其他權利的條件下,採取以下⼀種或多種措施: a. 對買家提起訴訟,要求⽀付款項及/或賠償本公司因其違約造成的⼀切 損失。 b. 撤銷在同⼀或任何其他拍賣中向違約買家售出的該件或任何其他拍賣品 的交易。 c. 以公開拍賣或私下售賣⽅式再次出售該拍賣品。若再次拍賣或以其他⽅ 式出售該拍賣品所得價款低於原拍賣價款的,原買家應當向 33 拍賣⾏ ⽀付全額價款的差額(包括各種費⽤及再⾏拍賣的費⽤),⾼於原拍賣 價款時,超出部分收益歸於賣家。 d. 拍賣品搬運、存儲(無論該拍賣品儲存在 33 拍賣⾏或其他地⽅)和保 險費⽤均由原買家承擔。 e. 如買家在拍賣成交⽇起五個⼯作⽇內仍未⾜額⽀付買⼊價,本公司將就 全額價款按照⽉息不超過 2%收取利息。 f. 留置該買家在同⼀或任何其他拍賣中拍得的該件或任何其他拍賣品,直 ⾄買家付清全額買⼊價。

g. 拒絕該買家在今後的拍賣中以本⼈或代理形式作出的任何競買,或者要 求其在今後競買中事先向 33 拍賣⾏指定帳號⽀付保證⾦。 h. 將應付或此後應付於該買家的出售所得款項⽤於結清全部買⼊價,且對 無論因何種原因由本公司佔有的該買家的任何財產⾏使留置權。 11. 申索法律費⽤ 無論 33 拍賣⾏是否提出法律訴訟,因 33 拍賣⾏執⾏其權利⽽引致的律師及 其客⼾之間產⽣費⽤,在此範圍內的 33 拍賣⾏之申索法律費⽤需由買家⽀ 付。 12. 關於 33 拍賣⾏及賣家的責任 a. 拍賣品通常有⼀定年份。所有的拍賣品都以所描述的原樣出售,包含⼀ 切的瑕疵、缺陷及錯誤。拍賣品圖錄僅供參考⽤。競投⼈應在拍賣⽇ 前,親⾃審看擬競投拍賣品之原物,⾃⾏判斷該拍賣品是否符合其描 述。賣家及 33 拍賣⾏及其⼯作⼈員或代理⼈無需對拍賣品描述中的錯 誤或真偽或真實性承擔任何責任。33 拍賣⾏及其⼯作⼈員或代理⼈或 賣家對任何競投⼈購買的任何拍賣品不承擔擔保責任。 b. 如買家證實拍賣品為贗品,則應於拍賣⽇後⼆⼗⼀天內將拍賣品退回 33 拍賣⾏,且拍賣品保持與拍賣當⽇現場的原狀,並附上贗品鑒定說 明、拍賣品編號及購得拍賣品的⽇期。如 33 拍賣⾏確認本拍賣品為贗 品,且買家對該拍賣品有絕對所有權,並未在該拍賣品上設定任何債 權,則取消此次交易,並將買家所⽀付款項退還。但如有以下情況之 ⼀,買家無權要求 33 拍賣⾏取消交易: i. 拍賣品圖錄對該拍賣品的說明符合當時的有關專家普遍接受的意 ⾒,已經清楚表明專家對於該拍賣品的鑒定意⾒存有爭議; ii. 只能夠⽤科學⽅法證明該拍賣品為贗品,⽽該科學⽅法是在拍賣結 束才被普遍使⽤,或僅能⽤某種⽅法證明該拍賣品為贗品,⽽該種 ⽅法的使⽤費⽤昂貴或不合實際。 c. 在這種情況下,買家索賠的⾦額僅限於買家為該拍賣品⽀付的款項,並 不得請求其他任何⾃然損失或個⼈損失的賠償。 d. 因本條款⽽獲得的收益僅授予持有 33 拍賣⾏的原發票的買家,不得轉 讓給他⼈。

賣家之業務規則 13. 審查 33 拍賣⾏將審查送⾄本公司辦公處的預備上拍品,或⾄賣家處查看,並根 據 33 拍賣⾏的市價給予估價建議。若拍賣品價值不⾜或不適合由本公司拍 賣,則賣家應⾃收到本公司領取通知之⽇起五個⼯作⽇內取回該拍賣品。賣 家逾期未取⾛拍賣品的,則本公司將根據條款⼆⼗五出售該拍賣品。此項服 務為免費,但在某些情況下可能要求⽀付現款或因為賣家在外⽽產⽣的旅⾏ 費⽤。33 拍賣⾏有權接受或拒絕任何不適合本公司拍賣標準的拍賣品。 14. 賣家應⽀付酬⾦ 若拍賣品成功出售,賣家應⽀付本公司酬⾦ 。酬⾦將從成交價中扣除。 15. 拍賣品圖錄中的內容說明 賣家同意在拍賣品圖錄加⼊拍賣品內容說明,並同意⽀付已發布的插圖費。 33 拍賣⾏將全權負責以合適的⽅式對拍賣品進⾏刊載,賣家不得要求以特 殊形式登載拍賣品 16. 所有權擔保及標的轉移 a. 賣家向 33 拍賣⾏及買家保證賣家對該拍賣品擁有絕對所有權及享有合 法的處分權,並未在該拍賣品上設定任何債權。 b. 賣家向 33 拍賣⾏及競投⼈擔保,對於賣家擁有的,業權不歸於 33 拍賣 ⾏所有的拍賣標的,將按買家要求轉移給買家。 c. 若賣家違反上述保證,致使 33 拍賣⾏及其代理⼈或買家蒙受任何損 失,則賣家應承擔因此發⽣的⼀切費⽤。 17. 損失或損毀責任 a. 除⾮另有 33 拍賣⾏以書⾯形式同意 17(d)之情況外,33 拍賣⾏會承 擔拍品損失或損毀責任,承保期限是從 33 拍賣⾏收到拍賣品之⽇起, ⾄拍賣會結束。(i)若拍品成交,保險責任轉移給買家,(ii)若拍品未成 交,保險期限延 45 天或⾃拍品歸還給賣家為⽌(以較早時間為准)。 b. 賣家同意⽀付的保險費⽤(i)拍品成交,成交價之 1%,或(ii)拍品 未成交,底價之 1%。 c. 若在 17(a)情況下,任何物品發⽣損失或損毀,33 拍賣⾏承擔責任並賠 償損失,以彌補賣家的損失,賣家將無需⽀付 17(b)(i)(ii)項(如適⽤) 的酬⾦和費⽤。 d. 賣家若無需 33 拍賣⾏承擔責任,必須通過書⾯形式同意 33 拍賣⾏無需 承擔賣家任何物品的損失或損毀的賠償責任,並承諾承保的期限是直到 買家已付清全部款項為⽌。


18. 底價 賣家有權在拍賣前設定拍賣品的底價,即為拍賣品在拍賣中需達到的最低 「成交價」。底價⼀旦設定,如無 33 拍賣⾏的同意將無法更改。當「成交 價」低於底價流拍時,為保障賣家的銷售收益達到底價,33 拍賣⾏有權將 拍賣品以其底價出售。拍賣官可代表賣家為任何拍賣品叫第⼀⼝價以開始競 投。拍賣官更可代表賣家以接連投標或競投之⽅式,就拍賣品作出競投直⾄ 達到底價。底價不得⾼於在拍賣品圖錄中所記的拍賣低位估價。 19. 扣除酬⾦及費⽤的權利 賣家授權 33 拍賣⾏按「成交價」扣除約定⽐率的酬⾦、拍賣品圖錄費⽤及 其他費⽤,並確認 33 拍賣⾏有權根據規則三獲得買家的酬⾦。 20. 交易撤銷 在 33 拍賣⾏⽀付出售所得款項給賣家之前,若買家根據第⼗⼆條款提出撤 銷交易,並得到 33 拍賣⾏認同。33 拍賣⾏將有權撤銷交易並退回所有買家 向 33 拍賣⾏⽀付的購買該拍賣品的款項。 21. 售出收益⽀付 根據上述規則⼗六,33 拍賣⾏將在拍賣會後 35 天內將售出收益⽀付給賣 家。但若期限屆滿,33 拍賣⾏仍未收到買家⽀付的全部買⼊價,則 33 拍賣 ⾏將在收到買家⽀付的全部買⼊價之⽇起五個⼯作⽇內將出售所得款項⽀付 賣家。 如買家在拍賣會後三周內仍未向 33 拍賣⾏⽀付全部買⼊價,33 拍賣⾏將通 知賣家,並獲得賣家的指⽰,採取適當措施,並在 33 拍賣⾏認為實際可⾏ 的情況下,協助賣家向買家收取全部買⼊價。若因條件不容許⽽致使 33 拍 賣⾏無法向賣家獲取指⽰,則賣家授權 33 拍賣⾏(由賣家⽀付費⽤)同意 買⼊價以特殊付款條件⽀付,或搬移、存儲及投保已出售拍賣品;或 33 拍 賣⾏有權解決買家提出的索賠或向買家提出的索賠;或採取其他必要措施收 取買家拖⽋賣家的款項或如需要的話,撤銷交易並退還買家所⽀付款項。若 儘管如此,買家仍未能在拍賣會後三周內將全部買⼊價⽀付給 33 拍賣⾏, ⽽ 33 拍賣⾏已將出售所得款項⽀付給賣家,則該拍賣品的所有權歸 33 拍賣 ⾏。 22. 撤回拍賣品的費⽤ 賣家申請撤回拍賣品時,33 拍賣⾏保留對其收取全額買家酬⾦及賣家酬⾦ 的權利,⾦額為所撤回拍賣品⾼位估價和低位元估價的均價,並收取該拍賣 品相關的所有費⽤。 23. 拍賣品照⽚及內容說明 賣家全權授權 33 拍賣⾏對出售的拍賣品拍照、做圖錄或通過其他⽅法製作 圖像,且 33 拍賣⾏有權使⽤這些照⽚、圖錄以及賣家所提供的照⽚和圖錄 (無論是否與此拍賣相關)。 24. 拍賣品的出處 展品之出處 在某些情況下,若展品出處之資料擁有學術價值或是為⼈熟悉 且能協助鑑別該展品,33拍賣⾏會在圖錄內刊印有關資料。但基於不同理 由,賣⽅或上⼿物主之⾝份或不會被揭露,如因應賣⽅要求將其⾝份保密或 因展品年代久遠以致上⼿物主之⾝份不詳等。 25. 未能出售拍賣品及未領取拍賣品 33 拍賣⾏有權代表賣家在拍賣⽇起 35 個⼯作⽇之內以底價出售未賣出的拍 賣品。若屆時期滿,仍未售出,則 33 拍賣⾏將通知賣家。賣家應根據規則 ⼗三在收到通知的五天之內領取不適宜拍賣的未售出拍賣品。逾期仍未領取 拍賣品的,按以下 25(c)的⽅法執⾏。賣家需安排重新拍賣或取回該拍賣 品。否則 a. 賣家未在收到領取通知七⽇內取回拍賣品的,⾃負所有的搬移及存儲費 ⽤。 b. 三個⽉內還未領取的,33 拍賣⾏有權以公開拍賣的⽅式出售該拍賣 品,並有權從成交價中扣除賣家應⽀付的包括但不限於給 33 拍賣⾏的 搬移、存儲、固定⽐率的酬⾦及其它合理費⽤,將餘款⽀付賣家。 c. 若 33 拍賣⾏未如 25(b)中所預期的通過公開拍賣的⽅式賣出該拍賣 品,則 33 拍賣⾏有權將該拍賣品及其他未領取拍賣品以⾮拍賣⽅式所 能獲得的最⾼價格賣出,並扣除賣家應⽀付的包括但不限於給 33 拍賣 ⾏的搬移、存儲、固定⽐率的酬⾦及其它合理費⽤,將餘款⽀付賣家。 因賣家未能領取未出售拍賣品⽽造成 33 拍賣⾏的損失,原買家應補⾜ 差額,並負擔利息及所需法律費⽤。 26. ⼀般條款和定義 33 拍賣⾏作為賣家的代理⼈(除了在拍賣品編號旁標注 ◊ 的表⽰ 33 拍賣⾏ 擁有該拍賣品全部或部分業權的),對賣家或買家的任何違約⾏為不承擔責 任。

27. 33 拍賣⾏在拍賣品圖錄中對任何拍賣品的作者、歸屬、真實性、來 歷、⽇期、年代、出處、保存情況和估售價,所作的介紹及評價,均為參考 性意⾒。競投⼈應親⾃審看拍賣品原物,並⾃⾏判斷。33 拍賣⾏及其⼯作 ⼈員或其代理⼈⽏需對上述之介紹及評價中的正確性負責。 28. 如競投⼈希望確保競投成功,則應親⾃出席競投。若 33 拍賣⾏被授 權代理競投⼈競投,則 33 拍賣⾏及其⼯作⼈員或代理⼈對競投未成功或代 理競投過程中出現的疏忽、過失或無法代為競投等將不負任何責任。 29.

33 拍賣⾏有權拒絕任何⼈參加拍賣活動或進⼊拍賣現場。

30. 33 拍賣⾏有權拒絕任何競投價,有權撤銷或分拆拍賣品或合併任何兩 件或兩件以上的拍賣品,以及在出現爭議時,有權將拍賣品再次拍賣。 a. 依據這些條款所引發的賠償適⽤範圍將擴⾄所有由受賠償⼈引致或遭受 的訴訟、程式、成本、費⽤、索賠、請求。 b. 若依據這些條款⽽產⽣的賠償是授予 33 拍賣⾏的相關⼯作⼈員或代理 ⼈,則 33 拍賣⾏聲明其為相關⼯作⼈員及代理⼈的賠償收益的受託 ⼈。 31. 各⽅選擇 domicilium citandi et executandi*(住所)作為聯繫地址。 所有與本協議相關的通知都將以⼿送、預付費掛號信、傳真或電⼦郵件⽅式 (如住所位址中包含有傳真號碼或/及電⼦郵件位址聯繫⽅式)發送。發送 給各⽅的與本協議或通知有關的⼀切通知在交付給住所處的負責⼈時,即被 視為成功送達,無需親⼿交接。 按以下時間送達的通知將被認為是按時送達的: (1) 如使⽤⼿送或傳真或電⼦郵件⽅式,當天送達 (2) 如使⽤預付費掛號信形式,在新加坡境內,從發出⽇起(含發出⽇) 四天內送達 32. 所有拍賣、事物及本規則都按照新加坡法律進⾏解釋,並受其管轄, 且買家服從新加坡法院的⾮排他性管轄權。 33. 本規則內: a. 「拍賣品圖錄」包括宣傳品、⼩冊⼦、估價、價⺫列表、網站內容以及 其他出版物。 b. 「成交價」指拍賣官落槌決定將拍賣品售予買家的價格。 c. 「買⼊價」指買家因購買拍賣品⽽應⽀付的包括成交價、酬⾦、應由買 家⽀付的其他費⽤以及因買家不履⾏義務⽽應當⽀付的所有費⽤(⾒規 則⼗)在內的總和。 d. 「贗品」指拍賣品經刻意製造,其作者、來歷、⽇期、年代、時期、⽂ 化或來源等各⽅⾯資料屬偽造,與圖錄說明不符;並且在拍賣⽇,該拍 賣品的價值⼤⼤低於符合圖錄說明的真品的價值; e. 「出售所得款項」指⽀付賣家的款頂淨額,該淨額為成交價減去按⽐率 計算的酬⾦、費⽤及賣家應⽀付 33 拍賣⾏的其他款項; f. 「規定的費率」指 33 拍賣⾏公佈的當時的酬⾦⽐率。 g. 「費⽤」指 33 拍賣⾏對拍賣品進⾏拍賣品圖錄及其它形式宣傳品的製 作、包裝、運輸等所收取的費⽤以及消費稅費⽤; 34. 在拍賣品圖錄中描述拍賣品時,可能使⽤⼀些特殊術語。若這些術語 並⾮不⾔⾃明的或是有特殊含義的,則在拍賣品圖錄中的拍賣品介紹前會有 術語辭彙表。 35. 資料保障 賣家、競投⼈及買家確認並同意,33 拍賣⾏可能向客⼾要求提供其個⼈資 料或向第三⽅索取有關資料,如姓名、電話、郵箱以及位址,⽤於運輸管 理,經營業務,市場推廣以及 33 拍賣⾏提供的服務,或法律法規規定的其 他⽤途。在沒有獲得賣家、競投⼈及買家(視情況⽽定)同意的情況下,33 拍賣⾏不得將該等資料⽤作其他⽤途,只⽤於(a)與 33 拍賣⾏合作⽤於市場 推廣,(b)第三⽅服務機構⽤於快遞、法務⽀持、結算、運輸、出⾏及醫 療。在提供服務期間,我們會要求他們確保您的個⼈資訊的保密和安全。為 履⾏賣家、競投⼈及買家所要求之服務,33 拍賣⾏有可能向第三⽅(如付 運⼈)披露資料。33 拍賣⾏根據公司的政策要求該第三⽅尊重賣家、競投 ⼈及買家(視情況⽽定)的隱私,對資料保密。客⼾同意本規則,即同意有 關披露。 賣家、競投⼈及買家應注意保安理由,33 拍賣⾏範圍內可能進⾏錄影拍 攝。電話對話例如電話競投以及電話留⾔也可能被錄⾳。賣家、競投⼈及買 家之資料若有更新,請訪問和發送電⼦郵件⾄ data@33auction.com,聯繫 33 拍賣⾏的資料監管專員修正資料。 36.

本規則中所⽤標題僅為⽅便參閱⽽設,不構成本業務股則的⼀部分

domicilium citandi et executandi(住所)是指法院傳票或其他正式通知應 寄往的地址,當申請貸款和簽訂合同時,必須提供此地址。


或以

代表電話竟投)

競投 競投

SG026 20 may 2018

競投

於方格內

__________________________________________________________________________________________________

__________________________________________________________________________________________________

請注意書 及電話 投 費 競投 承擔, 在33拍賣於拍賣時其他承諾之 ; 無論是由 於疏忽或其他原因引致,33 拍賣毋須就未能作出該競投 新客戶須向33拍賣提供政府 發出附有閣下照片之証明文 件及住址証明。 買方及賣方之合約於拍賣官 落槌時訂立,而閣下作為買 家必須於拍賣會結束後7天內 以新幣支付拍賣品之購買款 及任何買家之費用。

33

客戶編號

__________________________________________________________________________________________________

______________________________________________________________________ __________________________________________________________________________________________________

/

號碼

__________________________________________________________________________________________________

電子 __________________________________________________________________________________________________

如上述為新地址,請於方格內√

1. _______________________ / 2. ______________________

之 競投 投 」 將 「 不獲接納 及我們不接受 「 」 。請根據 圖錄內之指示投標。 可於拍賣編號之間以「或」 字兩者(或若干)中擇一競 投。 如適當時,閣下之書面競投 價會被大概調整至最接近拍 賣官遞増之競投金額 競投 清楚注明於拍賣期間可聯 絡閣下之 家號碼 會於閣下之拍 賣品競投 致電給閣下 倘競投價 則最先競 投者有優先權。 競投標應新加坡幣為單位並 需拍賣前最 24 遞交 。

33

郵寄,

(請提供最新資料)

+65 67474555

委託

27A LOEWEN ROAD SINGAPORE 248839

+65 67474111

bid@33auction.com

本人同意接受此圖冊內列明之33拍賣商業條款為次拍賣會上的一切交易均受上條款所約束。 若競投成功,本人同意支付已刊載之買家支付之酬金

_________________________________________

________________________________

: 33

33

請在您的銀行填好您的姓名,33拍賣行的賬號和有您個人介紹的發票編號。 33 √ 如閣下競投成功並希望我們聯絡閣下有關

事宜

請於方格內√

賬戶。


LOT NUMBER

LOT DESCRIPTION

MAXIMUM SINGAPORE DOLLAR (TICK FOR PHONE BIDS)

Absentee Bidding Form SALE NUMBER  

SG026

SALE  DATE  

20 may 2018

IMPORTANT Kindly note that the execution of written and telephone bids are offered as an additional service at no extra charge, and at the bidder’s risk. It is undertaken subject to 33 Auction’s other commitments at the time of the auction. 33 Auction therefore cannot accept any liability for failure to place such bids, whether through negligence or otherwise.

PLEASE SELECT YOUR BIDDING OPTION: WRITTEN BID

PHONE BID

TITLE (MR, MRS, MS, DR) OR COMPANY NAME IF APPLICABLE LAST NAME

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Index of Artists 藝術家索引

ABDUL LATIFF MOHIDIN 拉迪夫.莫西汀 AFFANDI 阿凡迪 ANDRES BARRIOQUINTO 安迪斯·巴里奧昆圖 ANDY WARHOL 安迪·沃荷 ANG AH TEE 洪亞弟 ARIE SMIT 艾利·斯密特 AUNG KYAW HTET 奧薩泰 BAO JIA 鮑加

128 69, 70 77 101 6, 7 64, 65, 66, 67, 68 105, 106, 107, 108, 109 82

CHEN CHENG MEI 122, 123 陳城梅 CHEN CHONG SWEE 44, 45, 46 陳宗瑞 CHEN CHU DIAN 118, 119, 120 陳初電 CHEN JUNDE 78, 79 陳均德 CHEN SHUZHONG 86 陳樹中 CHEN WEN HSI 25, 26, 27, 28, 29, 30, 31, 32 陳文希 37, 38, 39,40, 41, 42, 43 CHEONG SOO PIENG 33, 34, 35, 36 鐘泗濱 CHIA YU CHIAN 124, 125 謝玉謙 CHOO KENG KWANG 19, 20, 21 朱慶光 CHUA EK KAY 129, 130, 131 蔡逸溪 DANG XUAN HOA 116, 117 鄧春和 EARL LU 盧明德 ENG TOW 杜瑛 FAN CHANG TIEN 范昌乾 FANG XIANG 方向 HANS BURKHARDT 漢斯·伯克哈特 HE KONGDE 何孔德 HENRI CHEN KEZHAN 陳克湛 HOU QING 候慶 HUANG FONG 黃風 ISKANDAR JALIL 伊斯干达·贾里 JIMMY ONG 王文清 JOLLY KOH 許清發

138 140 55, 56, 57 80 100 84 150, 151 95 71

5, 6 137 126, 127

JOSEPHINE LINGGAR 約瑟芬.令噶 KOEH SIA YONG 許錫勇 LAI KUI FANG 賴桂芳 LE THANH SON LEE HOCK MOH 李福茂 LI SHUJI 李樹基 LIAO ZHENWU 廖真武 LIM CHENG HOE 林清和 LIM TZE PENG 林子平 LIM YEW KUAN 林友權 LIU KANG 劉抗 LOW PUAY HUA 劉培和 MARCEL ANTONIO 馬賽爾.安東尼奧 MAUNG MYINT AUNG MIN WAE AUNG

72 121 22, 23, 152 115 141, 142, 143, 144 83 98 132 145, 146, 147, 148 16, 17 47, 48, 49 133

76 111 113, 114

MOAT THONE

110

NAI SWEE LENG 賴瑞龍 NG ENG TENG 黃榮庭 ONG KIM SENG 王金成 PAN SHOU 潘受 POPO ISKANDAR 波波·依斯甘達 REV. SONG NIAN 松年法師 RONG SHUSHI 容漱石 SEE HIANG TO 施香沱 SHI HU 石虎 SRIHADI SOEDARSONO 斯里哈迪·蘇達索諾 SUN YEE 沈雁

153

TAN CHOO KUAN 陳子權 TAN SWIE HIAN 陳瑞獻 TANG DA WU 唐大霧 TAY BAK KOI 鄭木奎 THOMAS YEO 姚照宏

31 134, 135, 136 58 73 59, 60, 61, 62 88 50, 51, 52, 149 92 74 14, 15

18 63 139 1, 2, 8, 9 10, 11, 12, 13

U LUN GYWE 余龍義 U MIN KYI 烏敏齊 WEE BENG CHONG 黃明宗 WEE SHOO LEONG 王樹良 WEN YONG CHEN 溫永琛 WU MINGZHONG 武明中 WU TSAI YEN 吳在炎

102, 103, 104 112 149 24 90 94 53, 54

XU BEIHONG 徐悲鴻 XU HENG 許亨 XU ZHIGUANG 徐誌廣 YE SHAOBING 葉少秉 YUNIZAR 雲尼薩爾

87, 91

ZHANG DALI 張大力 ZHANG GUONING 張國寧 ZHANG SHAOSHI 張韶石 ZHAO SHAO ANG 趙少昂

96, 97

99 85 89 75

81 93 88, 89, 90


Lot 63 SRIHADI SOEDARSONO Dancer with Mask


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33 Auction 2018 Singapore Spring Auction - Modern and Contemporary Art (SG026)  
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