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2018 SINGAPORE AUTUMN AUCTION

MODERN AND CONTEMPORARY ART 2018年新加坡秋季拍賣會

SINGAPORE 4 NOVEMBER 2018 | 新加坡 2018年11月4日


CHEN WEN HSI 陳文希

Lot 13 Lot 51

Lot 16

Lot 50

Lot 15

Lot 17

Lot 53

Lot 14

Lot 52


� � � 33 Auction 2018 Singapore Autumn Auction Modern and Contemporary Art Singapore, 4 November 2018 Auction Sunday, 4 November 2018, 1:30 pm Hilton Singapore Grand Ballroom, Level 3 581 Orchard Rd, Singapore 238883 Preview 2 – 3 November 2018: 10 am - 8 pm 4 November 2018: 10 am - 12 noon MoCA@Loewen, 27A Loewen Road, Dempsey Area, Singapore 248839

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Sale Information



In sending written bids or making enquiries, please quote this sale number ‘SG027’

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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.

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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.

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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.

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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

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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。

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Lot 78 AFFANDI Pohon Bambu (Bamboo Grove) 6


33 Auction Offices and Liaisons �� ����������

Managing Director Ali Kusno Fusin Linda Ma

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Director David Fu

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Specialist Suwarno Karyadi Cheryl Ong Sui Chen

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27A Loewen Road Singapore 248839 T: +65 67474555 F: +65 67474111 E: info@33auction.com

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Finance Liu Fong Ling

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

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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. ��������� ���������� �������� ����������������������� ��������������

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COLLECTION AND STORAGE All items for this sale not collected from 27A Loewen Road by Monday 12 November 11:00 am will be transferred to our warehouse where they will incur storage charge one month after the date of the auction at the following rate:

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Storage charge – S$ 50 per lot per month

To arrange shipping or collection, please contact the post-sale services department.

Lots will be released to you or your authorized representative when full and final payment has been received by 33 Auction.

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Buyers are reminded that 33 Auction accepts liability for Loss or Damage for a maximum of five (5) days after the auction. Removal, interest, storage, insurance and handling charges will be levied on uncollected lots.

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Collection Address 33 Auction Pte Ltd Warehouse: 215 Henderson Road #01-05 Singapore 159554 Tel: +65 64796622

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Collection Hours Monday to Friday Saturday (up to 4 weekends after auction)

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10am – 6pm 10am – 1pm

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1

GOH BENG KWAN (Singaporean, b. 1937)

An Enhanced Role in The Global Economy in The 21st Century signed Wu MinQuan in Chinese and dated ‘88 lower left mixed media collage on canvas, framed 77 x 55 cm S$ 3,000 - 4,000 US$ 2,190 - 2,920 

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吳珉權

一个加強21世紀全球經濟的角色 1988 年作 綜合媒材 拼貼 畫布 鏡芯 款識: 吳珉權'88(左下)


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GOH BENG KWAN (Singaporean, b. 1937)

Untitled signed Wu MinQuan and dated year yihai (1995) in Chinese lower left mixed media on canvas, framed 89 x 98 cm

吳珉權 無題

1995 年作 綜合媒材 畫布 款識: 吳珉權 乙亥(左下)

S$ 4,000 - 6,000 US$ 2,920 - 4,380 

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Henri Chen is a second-generation abstract e x p re s s i o n i s t i n k a r t i s t i n S i n g a p o re . T h e experience of studying in Paris in his youth has resulted in works that embrace the bold gestures of Western art. He exhibits, at the same time, an attention to brushwork details that reveals an alluring subtlety and an inherent artistic sensibility. The artist was a student of Fan Chang Tien and Chao Shao-an, a master of the Lingnan style, who modernised the Chinese painting tradition by studying his subjects directly from nature. Like his teacher, Henri Chen draws inspiration from nature. His works are abstract manifestations of the lines and forms that are inferred from his surroundings. In these two paintings, the artist has captured a s e n s e o f d y n a m i s m i n t h e evo c a t i o n o f atmospheric light. The lyricism of these two art works comes from the artist’s tendency to listen to musical tunes as he paints, resulting in a rhapsody of brushstrokes that alludes to a symphony within the painting.

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HENRI CHEN KEZHAN (Singaporean, b. 1959)

After the Rain signed Kezhan in Chinese, stamped with a seal of artist middle right ink and colour on paper, framed 154 x 83 cm S$ 6,000 - 8,000 US$ 4,380 - 5,840

陳克湛 雨後

彩墨 紙本 鏡芯 款識: 克湛(右中) 欽印: 陳(右中)

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HENRI CHEN KEZHAN (Singaporean, b. 1959) Late Summer signed Kezhan in Chinese middle left, stamped with 3 seals of artist middle left, lower right and lower left ink and colour on paper, framed 123 x 123 cm S$ 7,000 - 9,000 US$ 5,110 - 6,570

陳克湛

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陳克湛是新加坡第二代抽象表現主義的水墨畫家。他年輕 時在巴黎學習的經歷,使得他今後的作品中富有大膽的西 方筆畫痕跡。但同時又有對水墨畫細膩的關注,展現迷人 的、微妙的藝術感知。 出自嶺南派水墨畫家范昌乾和趙少昂的得意門生,陳可湛 遵循傳統的水墨畫創作方法,在大自然中研究個個題材。 就像他的老師,在大自然中尋找靈感。作品的抽象表現靈 感都出自他周圍一切的形與體。 在這兩幅畫中,光影得到充分的體現,風格像狂想曲一樣 不斷的演變。藝術家作畫時喜歡聴音樂曲調,而作品顯現 出音樂抒情的步調,筆觸具有節奏感,在畫紙上跳躍起 舞。

夏末

彩墨 紙本 鏡芯 款識: 克湛(左中) 欽印: 園丁(左中)退一步齋(右下)肖形印—面具(左下)

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TUNG YUE NANG (Singaporean, b. 1959) Abstract Rhapsody signed and dated 90 lower left mixed media on canvas 122 x 122 cm S$ 3,000 - 4,000 US$ 2,190 - 2,920

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鄧汝能 抽象

1990 年作 綜合媒材 畫布 款識: Yue Nang 90(左下)


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TANG DA WU (Singaporean, b. 1943)

Untitled signed lower left and dated 87 lower right ink and colour on paper, framed 86 x 118 cm

唐大霧 无题

1987 年作 彩墨 紙本 鏡芯 款識: Da WuTang(左下)87(右下)

S$ 4,000 - 6,000 US$ 2,920 - 4,380

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TANG DA WU (Singaporean, b. 1943)

SKI-YG-R titled lower left, signed and dated 90 lower right ink and colour on paper 62 x 102 cm S$ 4,000 - 6,000 US$ 2,920 - 4,380

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唐大霧

SKI-YG-R 1990 年作

彩墨 紙本 鏡芯 款識: SKI-YG-R(左下) DAWUTANG 90(右下)


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TANG DA WU (Singaporean, b. 1943)

North Land II titled lower left, signed and dated 90 lower right inscribed North Land II, signed again verso ink and colour on paper 105 x 69.5 cm

唐大霧 北地 II

1990 年作 彩墨 紙本 鏡芯 款識: North Land II(左下) DAWUTANG 90 (右下)

S$ 4,000 - 6,000 US$ 2,920 - 4,380

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ANTHONY POON

方謹順

(Singaporean, 1945 - 2006)

RI-Square-Rec

RI-Square-Rec signed, titled, dated ‘73 and inscribed verso emulsion on canvas 122 x 56 cm back panel: 122 x 39.5 cm front panel: 40.5 x 40.5 cm

1973 年作 乳膠漆 畫布 款識: anthony poon'73 EMULSION ON CANVAS SIZE:122 x 56 cm TITLE: 'Ri-SQUA_REC' AP(畫背)

S$ 20,000 - 30,000 US$ 14,600 - 21,900

出版 《光與動態,方謹順的藝術》,國家 美術館,新加坡,2009出版,第62頁

LITERATURE Light & Movement Portrayed, The Art of Anthony Poon, National Art Gallery, Singapore, 2009, p. 62

ANTHONY POON Acclaimed artist and 1990 Cultural Medallion holder, Anthony Poon belonged to the generation of artists that sought an arts education overseas due to the lack of a visual arts degree program in Singapore in the 1950s to 1960s. Upon graduating from the Nanyang Academy of Fine Arts (Singapore), he attended the Byam Shaw School of Arts (London) and the Bradford Regional College of Art (Bradford, Yorkshire). Poon’s oeuvre developed over the course of his career, from Abstract Expressionism in his formative years, to Optic Art, and finally to three-dimensional relief paintings and sculptures. RI-Square-Rec is an example of hard-edge abstraction, where a startling line of white engenders an abrupt transition between colours. The deliberately lack of pictorial depth emphasizes the colour play. The work also introduces an asymmetrical element on an otherwise symmetrical plane, signalling the artist’s signature abstraction of form. In the consideration of its entirety, the beauty of restrain is amply brought forth in this work. 方謹順是在1990年獲得新加坡文化獎的榮譽藝術家,早期留洋求學的原因是為了接受還沒在新加坡發展起來的藝術教育。 因此,從南洋藝術學院畢業後就直接前往英國就讀於Byam Shaw School of Arts拜厄姆·肖倫敦分校和Bradford Regional College of Art布拉德福德地區藝術學院學藝。 方謹順的創作與發展歷程是循序漸進的,橫跨了他整個的藝術職業生涯,從一開始的抽象表現主義,到歐普藝術,再到最後 的三維立體浮雕繪畫和雕塑,一切都不是偶然的。《RI-Square-Rec》是硬邊抽象的典型例子,比如從開始的白色線條到突 如其來的紅色色塊轉換。畫面中有意識地不加入立體遠視的繪畫技巧,反而凸顯了作品中色彩衝撞的火花和重要性。在對 稱的兩個平面上互相交錯,看似不對等的視覺感,完全體現方謹順所追求的抽象觀念。靜觀作品的完整度,其中極強的控制 力,即精準又簡單地帶出作品的美。

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THANG KIANG HOW (Singaporean, b. 1946)

Galaxy No. 1 signed and dated 89 lower right airbrush, mixed media collage on paper, framed 121 x 121 cm S$ 2,000 - 4,000 US$ 1,460 - 2,920

唐近豪 銀河1號

1989 年作 氣筆 喷枪 綜合媒材 拼貼 紙本 鏡芯 款識: Kiang How. 89(右下)

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HONG ZHU AN (Chinese-Singaporean, b. 1955)

Abstract signed Zhuan in Chinese and dated 2000 middle left mixed media on paper, framed 50 x 52.5 cm S$ 2,500 - 4,500 US$ 1,830 - 3,290

洪祝安 抽象 11

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2000 年作 綜合媒材 紙本 款識: 祝安 2000(左中)


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This abstract painting is inspired by archaic Chinese calligraphy characters, in particular the seal script which took form from ancient oracle bone writings. Painted in 1972, shortly after Wee came back from Paris, the work is imbued with the dictates of a Western sensibility, which is harmonized with the experimentation of new mediums. Intriguingly, the work marks a period of daring abstract exploration through the tradition of Chinese calligraphy. Shortly after the completion of this work, Wee became the first Singapore artist to be awarded the Cultural Medallion in 1979. 這幅抽像畫的靈感來自中國篆書的文字,篆書即從甲骨文演 變而來。完成於1972年,黃明宗巴黎求學歸來後不久,作 品的抽象寫照充滿了西方藝術的敏銳感知,又利用創新的媒 介實驗。有趣的是,中國漢字起源於形體輾轉而成抽象的 字體,黃明宗就是在這個概念上大膽的探索抽象繪畫。也 因此,黃氏是1979年新加坡第一屆文化獎榮獲殊榮的藝術 家。

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WEE BENG CHONG (Singaporean, b. 1938)

Untitled signed and dated 1972 middle left mixed media on masonite board, framed 122 x 122 cm S$ 10,000 - 15,000 US$ 7,300 - 10,950

黃明宗 無題

1972 年作 綜合媒材 纖維板 款識: BENG CHONG 1972(左中)

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“Like a commander of a thousand soldiers, Wen Hsi wields his brush – If only Yuanji could return and get to know him! The gibbons are so well-captured that I could almost hear their cries Emerging from ancient mountain and thick clouds” — Poem by Zhang Daqian, in praise of Chen Wen hsi’s gibbons

Chen Wen Hsi hailed from the humble village of PaiKung ( 白官鄉 ), within the district of Swatow, in the Kwangtung Province of China. In his life time, he has devoted more than half a century to the pursuit of artistic excellence, raising himself from a small village in China to becoming one of Singapore’s most wellrespected and recognised artist. Besides his training at the Shanghai College of Art and Hsin Hwa Art Academy, where Chen was taught the techniques of Chinese ink painting and finger painting, he also studied the paintings of gibbons by artists of the Tang, Song, Yuan, Ming and Qing dynasties. It is this intensive groundwork that enabled the artist to convincingly capture the inquisitive and lively nature of the gibbons. Today, they remain one of his most sought-after subject matters. In Chen Wen Hsi’s illustrious career, a myriad of small creatures is featured in his work: from fishes to sparrows, and herons. Ancient artists like Xugu of the Qing dynasty, and Yi Yuanji of the Northern Song dynasty were Chen’s sources of inspiration. The artist’s love for painting small animals led him to keep a menagerie of animals like gibbons, fishes, and squirrels in his backyard in Singapore, which allowed him to observe their mannerism at ease. His paintings are characterized by an uncrowded, succinct composition and an economy of lines.

“文希落筆掃千軍, 元吉重來識此君。 身邊陡聞猿嘯起, 故山山隔萬層雲。” — 張大千題詩表揚陳文希所畫的猿

陳文希出生在淳樸的鄉村白宮縣,汕頭,中國 廣東省。生平致力於自己的藝術創作,在半世 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。陳氏對藝術創 作精益求精,除了在上海新華藝術學院學習到 的中國水墨畫和指畫技巧,他還時常臨摹和研 究唐、宋、元、明、清當時古人所畫的猿猴。 也因為他這紮實的功底,畫作中的猿猴,個個 栩栩如生,即好奇又生動活潑,成為現在市場 上最收追捧的題材。 在陳文希傑出的職業生涯中,他描繪了無數的 小動物,從魚到麻雀,還有蒼鷺。清代的畫 家虛谷和北宋畫家易元吉的畫都是陳氏的靈感 來源。藝術家對小動物的喜愛縱容他在新加坡 的後院養了長臂猿,魚類和松鼠等動物,讓他 能夠輕鬆地觀察它們的習性。繪畫策略性地以 點到為止的技巧表達出畫面中最大的張力和維 度,從不多加一霍一筆。

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CHEN WEN HSI (Singaporean, 1906 - 1992)

Gibbons' Game signed Wenxi and inscribed painted in Nanyang in Chinese; stamped with a seal of the artist lower right ink and colour on paper, framed 35 x 46 cm S$ 18,000 - 28,000 US$ 13,140 - 20,440

陳文希 猿戲

水墨 設色 紙本 鏡芯 款識: 文希南洋記(右下) 鈐印: 陳文希(右下) 出版 《陳文希畫集》,Grand Art Co. Ltd, 台湾,1991年出版,彩印圖91號

LITERATURE Paintings by Chen Wen Hsi, Grand Art Co. Ltd, Taiwan, 1991, colourplate no.91

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CHEN WEN HSI (Singaporean, 1906 - 1992) Squirrel with Red Flower signed Wenxi, stamped with a seal of the artist middle right ink and colour on paper, framed 33 x 44 cm S$ 12,000 - 18,000 US$ 8,760 - 13,140

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陳文希

松鼠和喇叭花 水墨 設色 紙本 鏡芯 款識: 文希記(右中) 鈐印: 陳氏(右中)


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CHEN WEN HSI (Singaporean, 1906 - 1992) Gibbons signed Wenxi in chinese, stamped with a seal of the artist middle left ink and colour on paper, framed 33 x 43 cm

陳文希 猿

水墨 設色 紙本 鏡芯 款識: 文希記(左中) 鈐印: 陳氏(左中)

S$ 15,000 - 22,000 US$ 10,950 - 16,060

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CHEN WEN HSI (Singaporean, 1906 - 1992)

Fishes signed Wenxi, stamped with a seal of the artist lower right ink and colour on paper, framed 68 x 44 cm S$ 14,000 - 20,000 US$ 10,220 - 14,600

陳文希

八條錦鯉 彩墨 紙本 鏡芯 款識: 文希記(右下) 鈐印: 陳文希(右下)

“What is critical in good paintings is to achieve pictorial perfection…if the painting has already attained the state of perfection, especially in drawings of goldfish, I really couldn’t bring myself to add another dot or stroke, let alone inscribe the date.” — Chen Wen Hsi

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CHEN WEN HSI (Singaporean, 1906 - 1992)

2 Chicks beside the Rock signed Wenxi and inscribed painted in Nanyang in Chinese; stamped with a seal of the artist upper right ink and colour on paper, framed 91 x 37 cm S$ 20,000 - 28,000 US$ 14,600 - 20,440

陳文希

石傍小鸡 水墨 設色 紙本 鏡芯 款識: 文希南洋作(右上) 鈐印: 陳文希(右上)

“好畫應以畫面完美為要, 如畫中乾坤已自成圓融境 界,尤其是指畫金魚,實不 忍再加多餘的一點一撇,因 此日期也不寫了。” — 陳文希 17

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TAN JOO JONG (Singaporean, 1951 - 1984)

Flower and bird signed youyong, inscribed and dated xinyou year (1981) in Chinese upper left, stamped with a seal of artist lower left ink and colour on paper, hanging scroll 69 x 44 cm S$ 4,000 - 6,000 US$ 2,920 - 4,380

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陳有勇 花於鳥

1981 年作 水墨 設色 紙本  款識: 辛酉年秋日 有勇戲筆(左上) 鈐印: 有勇(左下)


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TAN JOO JONG (Singaporean, 1951 - 1984) Daffodil inscribed and dated jiazi (1984) year spring in Chinese upper right, stamped with a seal of artist lower right ink and colour on paper, hanging scroll 72 x 33 cm S$ 4,000 - 6,000 US$ 2,920 - 4,380

陳有勇 水仙圖

1984年作 水墨 設色 紙本  款識: 半銖薄粉掩啼痕 甲子年開春試筆(右上) 鈐印: 有勇(右下)

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“An art work must first strive for ‘truth’. Only art that accurately represents and reflects authentic societal realities is true and persuasive.” — Chua Mia Tee

It is in this manner that Chua Mia Tee steadfastly holds true to his artistic convictions, as expressed in the recently published monograph, The Art of Chua Mia Tee: A Portrait of a Life’s Work. It would not be an understatement to suggest that Chua Mia Tee is a national painter of Singapore, albeit an unofficial one, intricately linked as his work is to the development and progress of the country. His genesis as a painter in 1950, 15 years before the country’s independence, has allowed Chua to faithfully and truthfully depict the struggles of the country and the individual – a record of an evocative era of collective experiences that underlie the flourishing metropolis that Singapore is today. It is serendipitous and a long belated honour, then, that Chua Mia Tee was awarded the Cultural Medallion in 2015, the same year that Singapore celebrated its 50th birthday. Distinguished figures from Mr. Yusof bin Ishak to Mr. Ong Teng Cheong and other renowned professionals and personalities have allowed their portraits to be rendered by the artist, in itself an acknowledgement of Chua Mia Tee’s mastery of the formalist principles that were acquired with patience and persistence in his formation as an artist. It is from the realist Russian painter, IIya Yefimovich Repin (1844 – 1930), that Chua seeks inspiration from. His realist depiction of the two different subject matters as presented by these paintings has brought out a clarity in perspective that may not be necessarily present even in real-life. In these two paintings, he has brought out the endearing naivety of the animals through realist techniques that aptly reflect their dynamism and movement.

“藝術作品必須首先 遵循'真理'。只有準確 地表現和反映真實社 會現實的藝術才是真 實和有說服力的。” — 蔡名智

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正如在《蔡名智的藝術:一生的肖像》裡表達的一樣,蔡名智正是通過這樣的 方式,堅持不懈地執著著他的藝術信念。蔡氏可以說是新加坡國寶級畫家,這 並不是誇誇其談的,雖然是非官方的,但是綜看古今,從新加坡建國到發展, 一系列作品記錄了辛苦經歷到蓬勃社會的一切。1950年開時畫畫,是新加坡建 國前15年,蔡氏從一開始就描繪了小國的艱辛,是一個令人回味的集體時代記 錄,也是今天大都市的基礎。 2015年,新加坡慶國50週年,蔡名志獲得了文化獎章,這是一個遲來的榮譽。 尤索夫 · 賓 · 伊薩克先生和王鼎昌先生以及其他知名專業人士的肖像都是由蔡 氏繪製的,這是他對繪畫技巧的掌握最高的認可。 來自俄羅斯的現實主義畫家伊雅.米耶維奇.列賓(1844-1930)的作品是蔡氏的 靈感來源。他對錦鯉和猴子的現實主義描述,對視角分析得清晰,即使在現實 生活中也不一定存在。在這兩幅畫作中,他通過高超的技巧展現了動物的可愛 天真,恰當地反映了他們的活力和動作。


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CHUA MIA TEE (Singaporean, b. 1931) Good Fortune in Abundance signed and dated 2007 upper left oil on canvas, framed 100 x 150 cm

蔡名智

連年有餘 2007 年作 油彩 畫布 款識: M.T.CHUA 2007(左上)

S$ 55,000 - 70,000 US$ 40,150 - 51,100 

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THOMAS YEO (Singaporean, b. 1936) Landscape signed lower right mixed media on paper, framed 60 x 75 cm S$ 3,000 - 4,000 US$ 2,190 - 2,920

姚照宏 風景

綜合媒材 紙本 鏡芯 款識: tYEO(右下)

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TAN KIAN POR (Singaporean, b. 1949)

Moonlight signed Jianpo in Chinese, stamped with 2 seals of the artist middle right ink and colour on paper, framed 75 x 75 cm S$ 2,500 - 3,500 US$ 1,830 - 2,560

陳建坡 月光

彩墨 紙本 鏡芯 款識: 建坡(右中) 鈐印: 陳建坡(右中)KianPor(右中)

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WAN SOON KAM (Singaporean, b. 1943)

Pots of Plants in front of a House signed and dated 93 lower right mixed media on paper, framed 72 x 53 cm

王春鑫

在房子前面的植物盆 1993 年作 綜合媒材 紙本 鏡芯 款識: WAN SOON KAM 93(右下)

S$ 5,000 - 7,000 US$ 3,650 - 5,110

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CHOO KENG KWANG (Singaporean, b. 1931)

Untitled (Peace and Harmony) signed and dated 95 lower right oil on board, framed 81 x 122 cm S$ 18,000 - 28,000 US$ 13,140 - 20,440

朱慶光

和諧相處 1995 年作 油彩 木板 款識: K .Kwang 95(右下)

As a first generation artist, Choo Keng Kwang is one of Singapore's illustrious oil painters, whose paintings form part of a distinguished collectorship, including eminent personalities and figures like Neil Armstrong and the late President Ong Teng Cheong. Like many artists of his generation, Choo started painting landscapes, especially that of old Chinatown. He went on to paint white doves when he started rearing them at home in the 80s and 90s. In an Epoch Times publication in 2015, the artist noted that one of the challenges of painting white doves is attaining the right shade of white, especially when the dove itself is placed against a white background. The purity and the voluminous form of the doves attest to Choo’s mastery of oil painting techniques. In this painting, three doves are depicted realistically through a seamless blend of Western and Eastern techniques, set against a classical Chinese landscape. 作為新加坡第一代藝術家,朱慶光是一位傑出的油畫家,作品被著名藏家收藏,當 中包括了Neil Armstrong尼尔·奥尔登·阿姆斯特朗和已故新加坡總統王鼎昌等人 物。 與同一輩的藝術家一樣,最初繪畫的主題以新加坡風景為主,特別是舊唐人街。 80-90年代,以他在家裡飼養的白鴿為靈感,繪製了一系列畫作。在2015年的大紀 元出版物中,藝術家指出,畫白色鴿子的主要難度之一是拿捏準確的白色陰影,特 別是當鴿子在白色背景前。鴿子的純淨和豐厚身形完全展現了朱慶光對油畫技巧的 掌握。通過西方和東方技術的無縫融合,將三隻鴿子逼真地投入在賦有中國古典風 味的風景之中。

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TAY BAK KOI (Singaporean, 1939 - 2005) Homebound Cattle signed and dated 96 lower right; signed, titled and dated 96 verso oil on canvas 55 x 75 cm S$ 14,000 - 20,000 US$ 10,220 - 14,600

鄭木奎 家鄉牛

1996 年作 油彩 畫布 款識: Bak Koi 96(右下) Bak Koi Homebound Cattle 96(畫背)

As one of the most recognizable subject matter from Tay Bak Koi, the water buffalo is no stranger to collectors seeking a quintessential Tay Bak Koi work. The imposing form of the Buffalo body rendered in an almost primordial form evokes a sense of awe and wonder, like that of a child watching herds of gazing buffaloes in the pastures. Threading between fantasy and realism, Buffaloes evokes the fascination of a child and the reminiscence of an agrarian society. Homebound Cattle is a work of remarkable formalistic qualities. The harmony of rose tones and the overlapping forms of the body shapes the painting’s aesthetic language. Painted in 1996, the work represents the evolvement of the artist’s iconic form that has become one of the most identifiable feature in his works. 水牛是鄭木奎最可識別的作畫主題之一,也是藏家最喜歡藏得的 系列。凌角有形的水牛凸顯了它強建的體型,重疊效果於立體派 的表現方法下,就像一個孩子在遠處放牧。濃重的色彩彷彿是幻 想於現實中的牧場牛群,悠然的景象少了塵世的喧囂,通過畫, 回溯到自己的童年記憶。 《家鄉牛》是一件非凡的創作作品。天然紅棕色調的笨拙氣質, 重疊拼貼的方式,發揮了單一色彩的共鳴和複雜性,是作品的美 學原理。1996年完成的作品,是鄭木奎創作進化的標誌性風格。

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Born in Amoy, China in 1917, Cheong Soo Pieng is part of the pioneer generation of artist who immigrated to Singapore, forming the backbone of the country’s art development in that period. His virtuosity as an artist comes from his skilful assimilation of Eastern and Western art techniques, eventually giving life to a new aesthetic language distinctively his own. Cheong melded styles from the School of Paris, which includes impressionism and cubism, with the reinterpreted composition of the hanging scroll and hand scroll. Two Ladies and a Child is an example of Cheong’s iconic figure paintings, inspired by his trips to Malaya, Bali, and Sarawak in the 50s. The subject reflects the communal life that Cheong experienced for himself on his stays. The tribal motifs on the sarongs of the figures indicate the cultural identity of the subjects.

鐘泗濱1917年出生在中國廈門,和另幾位移民到新加坡的藝術家一 樣,是新加坡藝術界的骨幹。巧妙地融合東西方技法,賦予作品新的美 學生命力,成為鐘泗濱獨有的風格。結合在巴黎學院學到的印象派和立 體主義,重新詮釋傳統立軸畫中沒有表現過的構圖。 《兩仕女和孩子》是鐘氏標誌性的人物畫例子,靈感來自50年代他到 各地馬來亞、峇里島和沙撈越遊歷時所看到和經歷的。作品主題反映他 在當地感受到的群體生活體驗。布裙上的圖騰表露了原住民源遠流長的 文化和身份。 34

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CHEONG SOO PIENG (Singaporean, 1917 - 1983) Two Ladies and a Child signed Sibin in Chinese lower right; signed and dated 1974 verso oil on canvas, framed 60 x 45 cm S$ 50,000 - 75,000 US$ 36,500 - 54,750

鐘泗濱

兩仕女與小孩 1974 年作 油彩 畫布 款識: 亖賓(右下) SOO PIENG. 1974(畫背)


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Busy Kelong Scene adopts the compositional convention of the hanging scroll, with carefully demarcated space that is unified by the walkway on the right that leads the eye to the top of the painting. The diffused colours also forms an aspect of his expressionism. 《忙碌的漁船》選擇在立軸的紙本上展現不一樣 的空間分配,將視線隨著右邊的木板橋引上到畫 的頂部。被擴散的顏色構成他表現主義的特點。

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CHEONG SOO PIENG (Singaporean, 1917 - 1983)

Busy Kelong Scene signed Sibin in Chinese and stamped with a seal of artist lower left ink and colour on paper, framed 94 x 45.5 cm S$ 22,000 - 30,000 US$ 16,060 - 21,900

鐘泗濱

忙碌的漁村 水墨 設色 紙本 鏡芯 款識: 亖賓(左下) 鈐印: 鐘(左下)

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CHEONG SOO PIENG (Singaporean, 1917 - 1983)

Village in a Forested Landscape signed Sibin in Chinese and stamped with a seal of artist middle right ink and colour on paper, framed painted in early 1950s 92 x 43 cm S$ 24,000 - 36,000 US$ 17,520 - 26,280 PROVENANCE The work was acquired directly from the artist by a partner of a principal Singapore law firm in the 1960s, under the guidance of the distinguished collector Dato Loke Wan Tho who introduced the lawyer to the artist. Private Collection, United Kingdom Private Collection, Singapore

鐘泗濱

在森林裡的村莊 1950年代初作 水墨 設色 紙本 鏡芯 款識: 泗濱(右中) 鈐印: 一方(右中) 出處 這件作品是由一位新加坡主要律師事務所的 合夥人在20世紀60年代在尊貴的 收藏家 陸運濤先生的指導下購自於藝 術家本人,後者將律師介紹給藝術家 英國私人收藏 新加坡私人收藏 28

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Dayak Family signed and dated 59 upper right pen on paper 36.5 x 27 cm

Bali Weavers signed and dated 52 lower middle pen on paper 36.5 x 27 cm

CHEONG SOO PIENG (Singaporean, 1917 - 1983)

S$ 3,000 - 4,000 US$ 2,190 - 2,920

S$ 3,000 - 4,000 US$ 2,190 - 2,920

LITERATURE Cheong Soo Pieng Drawings of Life, Artcommune Gallery, 2014, Singapore, p. 25 plate no. 25

LITERATURE Cheong Soo Pieng Drawings of Life, Artcommune Gallery, 2014, Singapore, p. 17 plate no. 17

鐘泗濱

鐘泗濱

1959 年作 墨液 紙本 鏡芯 款識: SOO PIENG 59(右上)

1952 年作 墨液 紙本 鏡芯 款識: SOO PIENG. 52(中下)

出版 《鐘泗濱,生活繪畫集》,集菁藝社,新加坡, 2014年出版,第25頁,彩印圖25號

出版 《鐘泗濱,生活繪畫集》,集菁藝社,新加坡, 2014年出版,第17頁,彩印圖17號

達雅克家族

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CHEONG SOO PIENG (Singaporean, 1917 - 1983)

巴厘島織女


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CHEONG SOO PIENG (Singaporean, 1917 - 1983) Village signed and dated 59 lower left pen on paper 36.5 x 27 cm S$ 3,000 - 4,000 US$ 2,190 - 2,920 LITERATURE Cheong Soo Pieng Drawings of Life, Artcommune Gallery, 2014, Singapore, p. 7 plate no. 2

鐘泗濱 鄉村

1959 年作 墨液 紙本 鏡芯 款識: SOO PIENG. 59(左下) 出版 《鐘泗濱,生活繪畫集》,集菁藝社,新加 坡,2014年出版,第7頁,彩印圖2號 31

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CHEONG SOO PIENG (Singaporean, 1917 - 1983) Untitled signed and dated 59 lower middle pen on paper 36.5 x 27 cm S$ 3,000 - 4,000 US$ 2,190 - 2,920 LITERATURE Cheong Soo Pieng Drawings of Life, Artcommune Gallery, 2014, Singapore, p. 24 plate no. 24

鐘泗濱 無題

1959 年作 墨液 紙本 鏡芯 款識: SOO PIENG. 59(中下)

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出版 《鐘泗濱,生活繪畫集》,集菁藝社,新加 坡,2014年出版,第24頁,彩印圖24號

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“The secret of his art lies in the profound belief that human creativity always knows how to find the key to the universe and speak directly to the very soul of things surrounding us.” — Martin Sorescu on Tan Swie Hian

“他的藝術秘訣在於他深信,人類的創造力總是知道如何取得通 向宇宙之鑰,直接訴諸於我們周圍的事物的心髓。” — 索列斯庫 (潘正鐳譯)

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TAN SWIE HIAN (Singaporean, b. 1943)

Flowers in Spring signed Chen Ruixian and dated 91 in Chinese lower right oil on canvas 97 x 124 cm S$ 80,000 - 120,000 US$ 58,400 - 87,600

陳瑞獻

春天的花朵 1991 年作 油彩 畫布 款識: 陳瑞獻九一年作(右下)

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CHUA MIA TEE (Singaporean, b. 1931) Monkeys of the Goldenhill signed and dated 97 lower right oil on canvas, framed 81 x 117 cm S$ 28,000 - 38,000 US$ 20,440 - 27,740 LITERATURE Chua Mia Tee, A Selection from the Exhibition, Linda Gallery, Singapore, 2002, colourplate

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蔡名智

金山猴子 1997年作 油彩 畫布 款識: M.T.CHUA 97(右下) 出版 《蔡名智,畫展精選集》,林大畫廊,新 加坡,2002年出版,彩印圖


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A SPECIAL SALE OF FINE CHINESE CLASSICAL PAINTINGS It is said, that when Huang Hongbin taught his students, he told them to model their use of ink after Yuan masters; look to the Ming masters for learning balanced composition; imitate the Tang masters for their ancient flair, and lastly, to learn from the Song artists for the ever-changing styles.

中國書畫專場

Indeed, these ancient masters of Chinese art once set the highest parameters of artistic excellence in their pursuit of personal expression over the representation of external appearances. From the Song dynasty, to the Ming and the Qing dynasty, the belief in Nature as the visible manifestation of a higher force that is borne from the ceaseless interaction of yin and yang shaped perspectives in art, that in turn forged the Chinese aesthetic tradition. The ink wash technique, gongbi, and xieyi style that we see in modern Chinese ink art are but aspirations of the rarefied spiritual state attained by these ancient masters, captured in perpetuity on silk or paper.

A Special Sale of Fine Chinese Classical Paintings

For this 2018 Autumn Sale, 33 Auction is proud to present 9 exquisite fine Chinese paintings, held within a family for more than a century.

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據說,黃賓虹教授他的學生水墨畫時曾說過,“先 臨摹元畫,以其用筆用墨佳;次摹明畫,以其結構 平穩,不易入邪;再摹唐畫,使學能追古;最後臨 摹宋畫(北宋及五代),以其法備變化多”。 的確,這些古代的中國藝術大師都曾追求自我最高 的藝術創作進階。從宋到明清三代,自然界的神韻 和陰陽統一的規律,是中國水墨中至高無上的精 神。在現代中國水墨藝術中看到的水墨技術,工筆 和寫意風格,都是這些古代大師數代藝術實踐累積 在絹和紙上的寫照。 在2018年的秋季拍賣會上,33拍賣會很榮幸地推 出了9件精美的中國畫,藏品收藏在一個家族一個 多世紀,第一次在公布與市場上。


A native of Wuxing county in Zhejiang province, China, Wang  Zhen  began his career as an apprentice in a Shanghainese mounting shop. He eventually came to be taught by Ren Bonian, all the while mastering Japanese and running a successful shipping business in Shanghai. He retired in 1906 and returned to his native county, where he painted under the name "Man of the White Dragon Mountains." In 1911, he became a student of Wu Changshuo and his paintings represent some of the finest examples from the Shanghai School. 出生在浙江吳興,王震是上海裱畫名店怡 春堂的學徒。後從師任伯年,同時學了日 文,在上海服務於日商日清輪船公司多年。 1906年退休後,以化名“白龍山人”作為 他畫家身分的筆名。1911年,又再從師吳 昌碩,王震的畫以典型的上海畫派著稱。

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WANG ZHEN (Chinese, 1867 - 1938)

Buddhist Sage inscribed, signed and dated yiyi year (1905) in Chinese; stamped with 3 seals of the artist ink and colour on paper 112 x 57 cm S$ 20,000 - 26,000 US$ 14,600 - 18,980

王震

佛教聖人 1905 年作 水墨 設色 紙本 立軸 款識: 內同枯木,外現威儀。 具無量壽,普大慈悲。 慧鐙可傳,白雲是依。 師何獨立,示以玄機。 乙巳九秋。 奉佛弟子王震敬寫為 月三先生六十壽(左下) 鈐印: 王震大利(左下)一亭(左下) 我佛如來(右下) 35

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仇英(傳)

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QIU YING (attributed to)

戲嬰圖

(Chinese, 1494 - 1552)

水墨 設色 紙本 錶在絹上 手捲 题識: 儿童耍乐 鈐印: 两方 款識: 實夫仇英摹古(左下) 鈐印: 陸氏子傳(左下)十洲 (左下)一方(右下)

One Hundred Children at Play frontispiece: inscribed and signed in Chinese with 2 seals of calligrapher painting: inscribed, signed in Chinese and stamped with 3 seals of the artist ink and colour on paper mounted on silk 455 x 35 cm

A Special Sale of Fine Chinese Classical Paintings

中國書畫專場

S$ 70,000 - 85,000 US$ 51,100 - 62,050

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“The natural formation of mountains and rivers reveals the innate truth of reality. The hand manifests the workings of the mind. The becoming of illusion to reality lies between the ink and brush, so the ancient pen animates the mountain and tree, the water and the rock, alluding to the spirit beyond heavens and earth. The tonality achieved is akin to the dance of shadows to the tune that is played.” — Fang Shi Shu’s description of the artistic reality beyond. Fang Shishu was born in Anhui province, China, but grew up and worked in Yangzhou. Born to a salt trader, he raised his station through the imperial examination and held the Shengyuan civil service degree. A Qing literati artist, he is well known for his refined and sensitive brushwork. He was also recognized as one of the best poets and calligrapher of his generation, testifying to his level of cultivation as a Chinese literati. “山川草木, 造化自然, 此实境也。因心造境, 以手运心, 此虚境也。虚而为实, 是在笔墨有无间,故古人笔墨具此山 苍树秀, 水活石润, 于天地之外, 别构一种灵奇。或率意挥 洒, 亦皆炼金成液,弃滓存精, 曲尽蹈虚揖影之妙。” — 方士庶在其《天慵庵随笔》 方士庶出生於中國安徽省,但在揚州長大並工作。伯父 是位鹽商,方士庶投考科舉,後成為盛源的官員。作為 清代文人藝術家,他以其用筆靈敏、气韻駘宕而著稱。 被認為是清代最好的詩人和書法家之一,證明了他作為 中國文人至高無上的藝術修養。

方士庶 中國書畫專場

山水

A Special Sale of Fine Chinese Classical Paintings

水墨 紙本 錶在絹上 立軸 款識: 董文敏謂北苑畫有不作一筆小樹者 秋山行旅圖是也 又有作小樹都只遠觀似樹 其實憑點綴以成形 此即求米氏落茄源委 而畫山即用畫樹之皴 渾然無筆墨跡最為高雅 不在斤斤細巧也 小師道人方士庶畫於天慵書館(右上) 鈐印: 小師道人(中上) 方士庶印 (中上) 偶然拾得(左下) 另两方(左下)(右下)

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FANG SHISHU (Chinese, 1692 - 1751)

Landscape inscribed and signed in Chinese, stamped with 5 seals of the artist ink on paper mounted on silk 85 x 38 cm S$ 55,000 - 65,000 US$ 40,150 - 47,450

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38 Regarded as one of the masters of the Southern Song dynasty, Liu Songnian hailed from the province of Qiantang, now known as Hangzhou. He belonged to the Southern Song Painting Academy for more than 40 years, an imperial institution which gathered the best artists in the country to record important social events and to draw the portraits of nobles. Liu was primarily a figure painter whose works featured figures in the foreground, often executed with intricate details and set amidst a plain background. 南宋時期的大畫師,劉松年出生在湯溪鎮宅 口,現今的杭州。在南宋四朝宮廷作畫40餘 年,為高宗、孝宗、光宗、寧宗裡的朝廷貴 族作畫,紀錄朝廷要事。劉松年以人物為畫 的中心,筆公精巧,色澤富麗,畫面精緻工 巧。

LIU SONGNIAN (attributed to)

劉松年(傳)

(Chinese, ca 1174 - 1224)

紡車圖

The Old Weaver frontispiece: inscribed in Chinese and stamped with 2 seals painting: stamped with 7 seals of the artist 5 colophons: inscribed and signed by Zhang Boying, Cheng Qi, Hu Guang, and 2 other anonymous calligraphers

水墨 設色 紙本 錶在絹上 手捲 题識: 紡車圖 藏印: 两方 题签: 宋安门刘纺车图神品 鈐印: 古、余 跋尾: 張伯英、程琦、胡廣、 另两位藏家题識 藏印: 七方

ink and colour on paper mounted on silk 82 x 30 cm frontispiece 92 x 30 cm painting 29 x 30 cm colophon 40 x 30 cm colophon 65 x 30 cm colophon S$ 22,000 - 28,000 US$ 16,060 - 20,440

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中國書畫專場 A Special Sale of Fine Chinese Classical Paintings

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CHEN YONG (Chinese, Qing Dynasty)

Landscapes Album of twelve leaves Each leaf inscribed and signed, with a total of 12 seals of the artist ink and colour on paper 30 x 23 cm each S$ 12,000 - 18,000 US$ 8,760 - 13,140 50

陳鏞 山水

水墨 紙本 立軸 12冊畫集 款識: 藝術家題詩與簽名 鈐印: 每冊一方


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LI RIHUA (attributed to) (Chinese, 1565 - 1635) Rock and Blossom inscribed, signed and dated jiazi year (1624) in Chinese; stamped with 2 seals of the artist ink on paper 67 x 34 cm S$ 8,000 - 10,000 US$ 5,840 - 7,300

李日華(傳) 石头和花

1624 年作 水墨 紙本 立軸 款識: 懊恨幽兰强主张,花开不与我商量, 鼻端觸著成消受,著意尋香又不香。 甲子二月访陈眉公先生泖上阻风朱泾, 舟中无聊,写此遣兴了。 竹懒李日華 并识(左上) 鈐印: 君實(左中)一方(右下)

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中國書畫專場 A Special Sale of Fine Chinese Classical Paintings

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TU MENG LONG (Chinese, 1865 - 1941)

Grape Vines inscribed, signed and dated kuichuo year (1913) in Chinese; stamped with 2 seals of the artist middle right ink on paper 140 x 76 cm S$ 5,000 - 8,000 US$ 3,650 - 5,840

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塗夢龍 葡萄藤

1913 年作 水墨 紙本 立軸 款識: 柔條弱蔓兩蜿蜒 馬乳分明箇箇圓 書說西涼有佳果 誰將杯酒祭張騫 癸丑春三月 澂祥塗夢龍(右中) 鈐印: 塗夢龍印(右中)詔安靜觀微禪(右中)


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LIU SONGNIAN (Chinese, ca 1174 - 1224)

劉松年

S$ 5,000 - 8,000 US$ 3,650 - 5,840

宋刘松年商山四皓图 上海艺苑真赏社精印 元人题识 秦明尚藏 书

Album of prints Paintings by Liu Songnian book 34 x 61 cm

宋刘松年商山四皓图(精本)

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ZHUANG QIAI (attributed to) (Chinese)

Flowers inscribed, signed in Chinese; stamped with 2 seals of the artist upper left ink and colour on paper 81 x 48 cm S$ 4,500 - 6,000 US$ 3,290 - 4,380

莊啟爻 花

A Special Sale of Fine Chinese Classical Paintings

中國書畫專場

水墨 設色 紙本 立軸 款識: 秋菊有佳色 仁續三兄屬正 (左上) 醉月山人 弟莊啟爻作(左上) 鈐印: 夢丹 莊啟爻

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CHEN YUE XIU (Singaporean, 1911 - unknown)

Blossoms and Goldfish signed in Chinese and stamped with a seal of artist upper right ink and colour on paper 134.5 x 33 cm S$ 2,500 - 4,000 US$ 1,830 - 2,920

陳月秀

花和金魚 水墨 設色 紙本 立軸 款識: 月秀(右上) 鈐印: 陈(右上)

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HUANG YAO (Chinese, Malaysian,1917 - 1987)

黃堯

S$ 12,000 - 18,000 US$ 8,760 - 13,140

1955年作 彩墨 紙本 鏡芯 款識: 昔人有秋晚詩云 風高野水寒 天遠青山小 渡口人不來 斜陽送歸鳥 用南洋景色寫之 堯乙未夏(右上) 鈐印: 黃(右上)

Sunset inscribed, signed Yao and dated yiwei year (1955) in Chinese, stamped with a seal of artist upper right ink and colour on paper, framed 44 x 34 cm

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夕陽


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CHEN CHONG SWEE (Singaporean, 1910 - 1986) Coconut Trees stamped with a seal of artist middle right ink and colour on paper, framed 62 x 34.5 cm

陳宗瑞 椰子樹

水墨 設色 紙本 鏡芯 鈐印: 陳宗瑞印(右中)

S$ 7,000 - 10,000 US$ 5,110 - 7,300

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CHEW YEW SENG (Singaporean, b. 1917)

Chinatown signed and dated Singapore lower left watercolour and gouache on paper, framed 52 x 67 cm S$ 1,500 - 2,200 US$ 1,100 - 1,160 牛車水 彩墨 水粉 紙本 鏡芯 款識: Chew Yew Seng SINGAPORE(左下)

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ONG KIM SENG (Singaporean, b. 1945)

Skyscaper signed and dated NOV.06 lower right watercolour on paper, framed 36 x 53 cm S$ 3,000 - 4,500 US$ 2,190 - 3,290

王金成

摩天大樓

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2006 年作 水彩 紙本 畫框 款識: KSeng AWS NOV.06(右下)


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ONG KIM SENG (Singaporean, b. 1945) Singapore River painted in the late 1970s signed lower right watercolour on paper, framed 51 x 71 cm S$ 7,000 - 10,000 US$ 5,110 - 7,300

王金成

新加坡河 1970年代末作品 水彩 紙本 畫框 款識: KSeng (右下) 出處 購自於藝術家本人 新加坡私人收藏

PROVENANCE Acquired directly from the artist Private Collection, Singapore

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CHEN WEN HSI (Singaporean, 1906 - 1992)

Flower Pond and Ducks signed Wenxi and inscribed finger painting in Chinese upper left ink and colour on paper, framed 54 x 64 cm S$ 18,000 - 26,000 US$ 13,140 - 18,980

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陳文希

花塘鴨群 水墨 設色 紙本 鏡芯 款識: 文希指記(左上)


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CHEN WEN HSI

陳文希

(Singaporean, 1906 - 1992)

游鸭

Bathing Ducks signed Wenxi, inscribed painted in Nanyang; stamped with a seal of artist lower right ink and colour on paper, framed 36.5 x 47.5 cm

水墨 設色 紙本 鏡芯 款識: 文希南洋記(右下) 鈐印: 陳文希(右下)

S$ 16,000 - 22,000 US$ 11,680 - 16,060

出版 《陳文希畫集》,Grand Art Co. Ltd, 台湾,1991年出版,彩印圖121號

LITERATURE Paintings by Chen Wen Hsi, Grand Art Co. Ltd, Taiwan, 1991, colourplate no.121

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“I feel that with regards to the compositional structure, there should be the form of one or two circular shapes. This has the effect of uniting the various shapes and lends rhythm to the work, evoking a sense of musical beauty.” — Chen Wen Hsi in a published article by Sin Chew Daily | 6 -11 - 1982

“我又覺得美術品的結構上應該有一 個大圓形或兩個圓形,將能統一各種 類型而具旋律的作用,如是將更增音 樂之美。” — 陳文希 | 星洲日報 | 1982年11月6日

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CHEN WEN HSI (Singaporean, 1906 - 1992)

Two Gibbons inscribed painted by Wen Xi in Nanyang in year 86 in Chinese upper right ink and colour on paper, hanging scroll 119 x 49 cm S$ 42,000 - 60,000 US$ 30,660 - 43,800

陳文希 猿

水墨 設色 紙本 立軸 款識: 文 希 南 洋 做 時 年 八 六 ( 右 上 ) 鈐印: 陳文希(右上)

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CHEN WEN HSI (Singaporean, 1906 - 1992)

Sparrows with Flowers signed Wenxi and inscribed finger painting in Chinese upper left; stamped with 2 seals of artist upper left and middle right ink and colour on paper, framed 35 x 46 cm S$ 14,000 - 20,000 US$ 10,220 - 14,600

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陳文希

麻雀與花 水墨 設色 紙本 鏡芯 款識: 文希指墨(左上) 鈐印: 陳文希(左上)白宫(右中)


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CHEN WEN HSI (Singaporean, 1906 - 1992)

Two Chicks in Spring signed Wenxi and inscribed painted in Nanyang in Chinese middle left ink and colour on paper, framed 45 x 50 cm

陳文希

春天里的小鸟 水墨 設色 紙本 鏡芯 款識: 文希南洋作(左中)

S$ 14,000 - 20,000 US$ 10,220 - 14,600

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‘I am merely depicting nature and what I see before my eyes, be it a person or an apple. I know this will invite ridicule. But what is reality? I don’t know.‘ — Tan Swie Hian in Embracing Infinity: Works by Tan Swie Hian

“我僅僅描繪大自然和我 在眼前看到的東西,無論 是人还是蘋果。我知道這 會引起嘲笑。但現實是什 么?我不知道。” — 無時無涯:陳瑞獻作品展

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Rooted in an artistic practice that stems from a firm Buddhist belief, Tan Swie Hian’s paintings are conceived within the glimpse of a higher reality. His identity as an artist is inseparable from his personal belief, from which springs a courage that underlies Tan’s assertion of his otherworldly vision – all the more admirable in a society regulated by strict rationality, market values, and the dictates of secularization. In an environment like this, it is uncommon to find an artist figure that relentlessly stays true to his convictions. 陳瑞獻的藝術實踐植根於堅定的佛教信仰,畫作是 在超現實的境界構思出來。他藝術家的身份與他的 信仰是分不開的,也因為這信仰帶給他的勇氣,創 作過程值得超凡脫俗,與世俗的市場和價值規範截 然不同,更令人欽佩。在這樣的環境中,藝術家還 堅持初心,是難能可貴的。

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TAN SWIE HIAN (Singaporean, b. 1943)

Bodhidharma inscribed and titled upper right, signed and dated 84 in chinese lower right; stamped with a seal of artist lower right ink on paper, hanging scroll 137 x 69 cm S$ 100,000 - 150,000 US$ 73,000 - 109,490

陳瑞獻

達摩祖師 1984 年作 水墨 紙本 鏡芯 款識: 達摩祖師(右上) 陳瑞獻八四(右下) 鈐印: 一方(右下)

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TAN OE PANG (Singaporean, b. 1947)

Bird and Red Fruit signed youbing and dated gengshen (1980) year in Chinese upper right; stamped with a seal of artist lower right ink and colour on paper, hanging scroll 83 x 38 cm S$ 4,000 - 6,000 US$ 2,920 - 4,380

陳有炳 獨鳥

1980 年作 水墨 設色 紙本 立軸 款識: 歲庚申有炳寫(右上) 鈐印: 炳(右下)

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Painted in the year that Lim Tze Peng became a Cultural Medallion recipient, the award marks the nation’s recognition of his contribution to the art and cultural landscape of Singapore. Even in the advanced period of Lim’s artistic career, Lim, who has long established himself as an ink painter, made a brief return to oil painting, counting Kelong Houses as one of the works that were completed between 2000 to 2004. T h e d e n s e c o m p o s i t i o n a n d c u b i s t p i c to r i a l arrangement is reflective of the progress he achieved since his foray into oil painting at the beginning of his artistic journey. The angular forms, accentuated by the medium of impasto, lends a sense of depth and dimension to the painting. In terms of calligraphy, Lim exploited the gestural possibilities of expressionistic brush strokes to the fullest. In this calligraphy piece, Lim has made an inscription of the poem Man Jiang Hong by Yue Fei, a general from the Northern Song Dynasty. By inscribing this well known poem, Lim focuses the viewer’s attention on the aesthetics of the form, which tends towards his muddled calligraphy style.

完成這幅畫的同一年,林子平獲得了新加坡文化獎殊 榮,這是對他的文化和藝術貢獻最高的認可。即使在 他藝術創作的高峰期,身為一個水墨畫家,林子平 也勇於嘗試油彩媒介,在2000-2004年間構思了《漁 村》系列。 密集的構圖和立體主義的繪畫安排,反映了他從藝初 期涉足油畫到現在所取得的進步。畫面佈滿由厚塗顏 料構成的稜角形,賦予作品更明顯的立體維度感。 林子平在書法創作上,充分誇大寫書法的手勢和表現 主義式的筆法。在《書法-滿江紅中》,林氏記錄了 北宋將軍岳飛的詞。通過書寫這著名的詩詞,將美學 建立在寫書法的形式上,更體現他獨有的林氏“糊塗 字”書法。

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LIM TZE PENG (Singaporean, b. 1923)

Calligraphy inscribed poem Man Jiang Hong, signed lin Ziping and dated jiasheng year (2004) in Chinese; stamped with a seal of artist lower left ink on paper 135 x 62.5 cm S$ 7,000 - 9,000 US$ 5,110 - 6,570

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林子平

書法 滿江紅詞 2004 年作 水墨 紙本 鏡芯 款識: 八千里路雲和月 怒髮衝冠 憑欄處瀟瀟雨歇 抬望眼 仰天長嘯 壯懷激烈 三十功名塵與土 八千里路雲和月 莫等閒白了少年頭 空悲切 靖康恥 猶未雪 臣子恨 何時滅 駕長車踏破賀蘭山缺 壯志飢餐胡虜肉 笑談渴飲匈奴血 待從頭收拾舊山河 朝天闕 岳飛詞 甲申秋日 林子平(左中) 鈐印: 林子平印(左下)

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TEO KIM LIONG (Malaysian, b. 1938) Barcelona Seaport signed and dated 99 lower right oil on canvas, framed 61 x 82 cm S$ 4,000 - 6,000 US$ 2,290 - 4,380 EXHIBITION The European Inspiration by Teo Kim Liong, Paragon Exhibition Hall, May 2000, Singapore

張金隆

巴塞羅那海港 58

1999 年作 油彩 畫布 款識: TEO 99(右下) 展覽 「歐洲印象,張金隆」,百利宮,2000 年5月,新加坡

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LOW PUAY HUA (Singaporean, b. 1945) Singapore River signed Peihe in Chinese lower right watercolour on paper, framed 60 x 101 cm S$ 6,000 - 9,000 US$ 4,380 - 6,570

劉培和

水彩 紙本 鏡芯 59

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水彩 紙本 鏡芯 款識: 培和(右下)


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LIM TZE PENG (Singaporean, b. 1923)

Kelong Houses signed Ziping in Chinese and dated 03 lower right oil on canvas, framed 66 x 81.5 cm

林子平 漁村

2003 年作 油彩 畫布 款識: 子平 03(右下)

S$ 19,000 - 24,000 US$ 13,870 - 17,520

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For this Autumn Sale, 33 Auction is proud to feature the works of four pioneer master sculptors of Singapore – Iskandar Jalil, a sculptor-educator who is renowned for infusing his pieces with a unique aesthetic that is informed by Japanese ideals of suibui and wabi sabi. Ng Eng Teng, one of the earliest sculptors of Singapore whose works are imbued with a poetic yet corporeal quality. Brother Joseph McNally’s works meld the figurative elements of Southeast Asia with a Celtic mythology dimension, resulting in pieces that reflect his life experience. Last but not least, Chong Fah Cheong’s illuminating sculptures preserve scenes from Singapore’s history, one of which includes the piece “First Generation”, a bronze sculpture that depicts the carefree play of 5 boys by the Singapore River.

今年的秋季拍賣,33拍賣很榮幸地展 出了新加坡四位先驅大師雕塑家的作 品 - 雕塑家、教育家伊斯干达·贾里 以其日式的澀和侘寂為他的創作美學 概念。黃榮庭是新加坡最早開始雕塑 的藝術家,作品即詩意又蘊藉著深刻 的人體美學概念。約瑟夫.麥納利修士 的作品融合了東南亞和克爾特神話的 具象元素,反映他豐富的生活經歷。 張華昌的作品常常紀錄了新加坡的歷 史場景,其中名為《第一代》的一件 青銅雕塑,描繪了5個男孩在新加坡 河邊無憂無慮玩耍的場景。

The art scene of Singapore in the 60s and 70s was close-knit and advice and encouragement were often given freely between artists. Chong was part of the very first group of art teachers at the La Salle School of Art, which was set up by Brother McNally. It was the latter who set Chong on the path of a sculptor, by asking him to work on a recently felled piece of wooden trunk. With the establishment of the Sculpture Society in 2001, Brother McNally and Ng Eng Teng were also called upon to act as its advisors. The amiable relations that existed between artists contributed to the flourishing of the arts in that period.

60年代和70年代新加坡的藝術家之間 有著緊密關係,亦師亦友,經常互相 提攜建議和鼓勵。張華昌是約瑟夫.麥 納利修士創校新加坡拉薩爾藝術學院 的第一批學生。也是在一次機緣巧合 下,麥納利修士鼓勵張華昌開始用木 為材料製作雕塑。隨著2001年雕塑協 會的成立,麥納利修士和黃榮庭也被 邀請擔任該學會的顧問。藝術家之間 相輔相成的和睦關係促進了那個時期 新加坡藝術的蓬勃發展。

新加坡第一代雕塑家

FIRST GENERATION SINGAPORE SCULPTORS

First Generation Singapore Sculptors

新加坡第一代雕塑家

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CHONG FAH CHEONG (Singaporean, b. 1946) Seat for One with a name and title plaque lower side wood sculpture 33 (h) x 57(w) x 50 (d) cm S$ 3,000 - 4,000 US$ 2,190 - 2,970

張華昌

一個座位 木制 雕塑 名牌刻有藝術家和作品名稱 出版 《華昌,艺术集》,張華昌,2013年出版, 新加坡,第130頁,彩印圖117a,b,c號

LITERATURE Fah Cheong, The Art Book, Chong Fah Cheong, 2013, Singapore, pg. 130, colourplate 117a, b, c

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DONATION APPEAL TO ACQUIRE A NEW CONVENT

The Daughters of Saint Paul have been in Singapore for the past 22 years, and now need a permanent convent to continue our work of evangelisation. Since our foundation, the Archdiocese has generously provided us a convent in Jurong West.  But this is up for review, and we are now tasked with the challenge of building our own mission house in Singapore.   As an international religious order of Sisters belonging to the Catholic Church, founded on June 15, 1915 in Alba, Italy by Blessed James Alberione, we are called to live and give Jesus Master, Way, Truth and Life to the world.  We use every available means of communication to spread the Gospel and promote the dignity of all peoples.  

PROPERTY FOR CHARITY (LOT 62 – 63) It is not immediately apparent what this sculpture signifies. A slim male figure with unnaturally close arms, the neck stretches upward to arrive at an enigmatic face with a mouth wide open in a scream of anguish. The figure is unadorned, bald, and naked. He holds his most precious possession in his hands. A closer inspection reveals this to be the lifeless, wilted body of a baby. Through this exquisitely polished oak sculpture, Joseph McNally expresses the reality of human suffering through the Christian perspective of a person in a religious order. In today's secular age, it may be difficult to look at Christian art because it frequently deals with the theme of suffering as part of the path to redemption. Yet, isn’t it as relevant as ever? The reality of suffering remains a persisting truth through all ages. Although there are no crucified messiahs nor martyred saints in this sculpture, it is nonetheless a work of art that belongs to the Christian tradition.

Over the past two decades, we have • • • •

新加坡第一代雕塑家

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written and produced books and videos set up a small Media Centre at Church of the Risen Christ (Toa Payoh) participated in the Singapore Book Fair organized book and media fairs in parishes and schools conducted Media Spirituality and Literacy sessions for youths and adults implemented “Bringing Christ to the Marketplace,” a sponsored annual Christmas project at Jurong Point Mall, where Bibles, spiritual books and media materials are made available to all been blessed with four local vocations

First Generation Singapore Sculptors

Our new convent will enable us to continue our mission to inculcate moral, family and gospel values in society, while nourishing the faith and spiritual life of the Church in Singapore. Through your support, you are also indirectly participating in our mission to evangelise with the media, which is one way to help build the Body of Christ and the Kingdom of God.   Thank you for your kind consideration to our appeal. May God bless you for your generosity.  We assure you of our prayers always.

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Scream of Anguish is an exquisite, highly polished work of art that is carved from ancient wood excavated from an Irish bog. It is representative of the boundless agony of anyone who has lost a loved one; a metaphor for the timeless reality of suffering that underlies the glossy veneer of the modern age.

作品《痛苦的尖叫》意味著什麼,乍看之下並不是一目了 然的。一個苗條的男性形象,雙臂不自然地緊靠在身上, 雙手緊握著拳頭,頸項朝上延伸,長大的嘴巴,安靜地尖 叫著。 身形是樸素的,光溜的,赤裸的。手中握著最寶貴的財 產。仔細觀察就會發現這是一個沒有生命的嬰兒,枯萎的 身軀。通過這件橡木雕塑,約瑟夫.麥納利通過自己信仰的 視角來表達人類苦難的現實。 在今日的世俗時代,肯能已經很難理解宗教藝術了,因為 它經常涉及到了以感受痛苦作為救贖的概念。然而,它不 就是和現代社會的狀況息息相關嗎?痛苦的現實是一個永 恆的真理。雖然在這個雕塑中沒有十字架或聖徒的符號主 題,但它仍然是屬於基督教傳統的藝術品。 《痛苦的尖叫》是一件精緻的藝術作品,利用愛爾蘭沼澤 地挖掘出來的古木材雕刻而成。它代表了任何失去親人的 無限痛苦; 隱喻光鮮的現代世代下掩蓋的永恆苦難現實。


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BRO. JOSEPH MCNALLY (Irish, Singaporean, 1923 - 2002)

Scream of Anguish executed 1997 ancient oak 110 x 34 x 26 cm S$ 30,000 - 50,000 US$ 21,900 - 36,500 LITERATURE Wind of the Spirit: A retrospective exhibition of Brother Joseph McNally, National Arts Council, National Heritage Board, 1999, Singapore, pg. 38 EXHIBITION Wind of the Spirit: A retrospective exhibition of Brother Joseph McNally at the Singapore Art Musuem, 13th November 1998 - 31 January 1999, Singapore Art Museum, Singapore

約瑟夫.麥納利 修士 痛苦的尖叫

1997 年作 古橡木制 雕塑 出版 《 靈魂之風,約瑟夫.麥納利 修士回 顧展 》,新加坡藝術理事會,文化 局,1999年出版,新加坡,第38頁 展覽 「 靈魂之風, 約瑟夫.麥納利 修士回顧 展 」,新加坡藝術美術館,1998年11 月13-31日,新加坡

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First Generation Singapore Sculptors

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新加坡第一代雕塑家


The abstract form of this sculpture exudes the poise and elegance of the Balinese dancers of Indonesia.

這件雕塑的抽象形式散發著悠悠的印 度尼西亞巴厘島舞者的沉穩和優雅。

The elements drawn from the artist's observation of life in Southeast Asia is integrated with motifs and symbols from his Celtic roots. The spiral, a key recurring motif in ancient and modern Celtic art, is accentuated by a dense green surface, a colour associated with the Irish culture. The roundedness of the spiral is echoed in the curved hands of the dancer.

作品的元素從藝術家對東南亞生活的 觀察中得出,結合他凱爾特人文化根 源中的符號。螺旋是古代和現代凱爾 特藝術中的一個重複反復出現的主 題,密集的綠色表面與愛爾蘭文化相 關的顏色加以強調。螺旋的圓潤在舞 者彎曲的手中迴響。

Different materials are present in this work - glass, epoxy, copper, stone for the base, and wood, which came from the fallen branch of a tree near the artist's home in Singapore. Through the process of creation, Joseph McNally has realized one of the major characteristics of Southeast Asian art – which is the integration of ideas beyond the region with local elements.

作品利用不同的材料 - 玻璃,環氧樹 脂,銅,基石和木材,它們來自他新 加坡家園附近。通過創作的過程,藝 術家實現了東南亞藝術的一個重要特 徵 - 即是超越地區行的思想和本地元 素融為一體。

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BRO. JOSEPH MCNALLY (Irish, Singaporean, 1923 - 2002)

Balinese Dancer executed in 1996 mixed media sculpture 69 x 66 cm S$ 25,000 - 35,000 US$ 18,250 - 25,550

約瑟夫.麥納利 修士 巴厘島舞者

1996年作 綜合媒材 雕塑 款識: B. Joseph McNALLY 96(底座)

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新加坡第一代雕塑家

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伊斯干达·贾里 楔

炻器 欽印: 富(器皿頸部) DAN(器皿頸部)

First Generation Singapore Sculptors

出版 《伊斯干达·贾里,泥土之旅》, 新加坡國家美術館,2016年出版, 新加坡,第35頁,7號圖,第225 頁,彩印圖110號 展覽 「伊斯干达·贾里,泥土之旅」 ,新加坡國家美術館,2016年9月1 日 - 2017年2月28日,新加坡

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ISKANDAR JALIL (Singaporean, b. 1940)

Untitled Vessel with Jawi Script stamped with a kanji and a jawi ‘Dan’ seal of artist on the neck of the vessel stoneware 38.5 x 26.5 x 26 cm S$ 6,000 - 8,000 US$ 4,380 - 5,840 LITERATURE Iskandar Jalil Kembara Tanah Liat (Clay Travels), National Gallery Singapore, 2016, Singapore, pg. 35, fig. 7, pg. 225, plate 110 EXHIBITION Iskandar Jalil: Kembara Tanah Liat (Clay Travels), National Gallery SIngapore, 1 Sep 2016–28 Feb 2017, Singapore


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ISKANDAR JALIL (Singaporean, b. 1940) Wedge stamped with a kanji, a jawi ‘Dan’ and another kanji seal of artist bottom stoneware 46 x 19.5 x 14.5 cm S$ 6,000 - 8,000 US$ 4,380 - 5,840 LITERATURE Iskandar Jalil Square One a potter’s journey, Singapore Economic Development Board, 2001, Singapore, pg. 34, colourplate Iskandar Jalil Kembara Tanah Liat (Clay Travels), National Gallery Singapore, 2016, Singapore, pg. 55, plate 5 EXHIBITED Iskandar Jalil: Kembara Tanah Liat (Clay Travels), National Gallery Singapore, 1 Sep 2016–28 Feb 2017, Singapore

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炻器 欽印: 富(底部)DAN(底部)DAN(底部) 出版 《伊斯干达·贾里,方塊一,一個陶藝家之旅》, 新加坡經濟發展局,2001年出版,新加坡,第34頁 《伊斯干达·贾里,泥土之旅》,新加坡國家美術 館,2016年出版,新加坡,第55頁,彩印圖5號 展覽 「伊斯干达·贾里,泥土之旅」,新加坡國家美術 館,2016年9月1日 - 2017年2月28日,新加坡

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新加坡第一代雕塑家

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PONNUSAMY GNANADICKAM (Singaporean, b. 1970)

母與子

Mother and Child bronze 66 x 62 x 26 cm

年作 銅

S$ 8,000 - 12,000 US$ 5,840 - 8,760

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P GNANA


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PONNUSAMY GNANADICKAM

P GNANA

(Singaporean, b. 1970)

神聖的庇護

Divine Shelter signed and dated 2018 upper right oil on canvas , framed 96 x 96 cm

2018 年作 油彩 畫布 款識: P.GNANA . V. 2018(右上)

S$ 4,000 - 6,000 US$ 2,920 - 4,380

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NG ENG TENG (Singaporean, 1934 - 2001)

Contemplative signed and dated 20 September 1994 Republic of Singapore upper left pastel and pencil on paper, framed 55 x 73 cm S$ 4,000 - 6,000 US$ 2,920 - 4,380

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黃榮庭 沉思

1994 年作 粉彩 鉛筆 紙本 鏡芯 款識: E N G T E N G 2 0 S e p t e m b e r 1 9 9 4 Republic of Singapore


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A virtuoso in the area of oil painting, Koeh Sia Yong has proven his firm grasp of the technical demands of this genre. Blending the utopian landscape of Bali with the mysticism of Greek mythology, Paradise in Bali reflects the intelligent play of light and shadows that throws emphasis on the sinuous curves of the feminine forms in this painting.

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KOEH SIA YONG (Singaporean, b. 1938)

Paradise in Bali signed and dated 96 lower right; signed in English and Chinese, titled in Chinese, dated 1996 and inscribed with medium and size verso oil on canvas , framed 91.5 x 122 cm S$ 10,000 - 15,000 US$ 7,300 - 10,950 EXHIBITION The Women of Koeh Sia Yong, The Art Fellas, Singapore, 8 - 15 March 2015

作為油畫領域的藝術家,許錫勇證明了他對 油畫技巧要求的堅定把握。將巴厘島烏托邦 似景觀與希臘神話中的神秘主義融為一體, 巴厘島的天堂反映了光與影的巧妙結合,強 調了這幅畫中女性蜿蜒形態的婀娜多姿。

許錫勇

在巴厘島的天堂 1996 年作 油彩 畫布 款識: Koeh 96(右下)Koeh Sia Yong 許錫勇 1996 oil on canvas 91.5 x 122 cm (畫背) 展覽 「許錫勇的仕女画展览 」,The Art Fellas,新加坡,2015年3月8-15日

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KOEH SIA YONG (Singaporean, b. 1938) Singapore River signed lower left oil on canvas 60 x 80 cm

許錫勇

新加坡河 油彩 畫布 款識: Koh(左下)

S$ 3,000 - 4,500 US$ 2,190 - 3,290

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SEAH KIM JOO (Singaporean, b. 1939) Girl in Kimono signed middle right batik, framed 85 x 32 cm S$ 2,400 - 3,400 US$ 1,760 - 2,490 71

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佘金裕

穿著和服的仕女 蠟染 布 鏡芯 款識: seahkimjoo


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KOEH SIA YONG (Singaporean, b. 1938) Lilies signed and dated 92 lower right oil on canvas , framed 76 x 61 cm

許錫勇 百合花

1992 年作 油彩 畫布 款識: Koh. 92(右下)

S$ 8,000 - 10,000 US$ 5,840 - 7,300

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A Dutch-born Indonesian, Arie Smit counts as one of the most celebrated artists from Indonesia. In his youth, Smit studied at the Academy of Ar ts 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 in Indonesia and paint its environs. Smit’s creative endeavors were greatly influenced by the practice of topological surveys. While the drawing of maps requires precision from the topographer, Smit’s paintings are impressionistic, using bright and exuberant colors in his palette. Smit was impressed by the sights and scenery of Bali and primarily paints the idyllic lifestyle he witnessed, conveying his feelings and sentiments for his place of residence.

艾利·斯密特出生荷蘭的印尼籍畫家。 早年在鹿特丹美術館學美術後加入荷蘭 皇家東印度軍隊,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。

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ARIE SMIT (Indo-Dutch, 1916 - 2016) 斯密特創意創作的靈感始源於他繪制農 田山群的地圖形狀。繪制地圖需要精准 的測量各種數據,但斯密特的畫是非常 印象派的。他鮮艷的調色板繪出田園詩 般的巴厘岛,對自己生活過的地方流露 出深刻的情感。

Temple Interior signed and dated ‘00 lower left acrylic on canvas 33 x 34 cm S$ 9,800 - 14,000 US$ 7,160 - 10,220 PROVENANCE Accompanied with a certificate of authenticity signed by the artist

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艾利·斯密特 寺廟內

2000年作 亞克力 畫布 款識: arie smit' 00(左中) 出處 附藝術家簽名的原作證書


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ARIE SMIT (Indo-Dutch, 1916 - 2016)

In The Village Temple signed and dated ‘04 lower left; titled, signed and dated Bali, 2004 verso acrylic on canvas, framed 32 x 45 cm S$ 8,500 - 12,000 US$ 6,210 - 8,760

艾利·斯密特 在村廟裡

2004 年作 亞克力 畫布 款識: arei smit '04(左下) 'In the Village Temple' arie smit Bali, 2004(畫背) 出處 附藝術家簽名的原作證書

PROVENANCE Accompanied with a certificate of authenticity signed by the artist

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ARIE SMIT (Indo-Dutch, 1916 - 2016) In The Village Temple signed and dated ‘05 lower left acrylic on canvas, framed 73 x 82 cm S$ 28,000 - 38,000 US$ 20,440 - 27,740 PROVENANCE Accompanied with a certificate of authenticity signed by the artist

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艾利·斯密特 寺廟村

2005 年作 亞克力 畫布 款識: arie smit' 05(左下) 出處 附藝術家簽名的原作證書


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ARIE SMIT (Indo-Dutch, 1916 - 2016) Village Temple signed and dated ‘88 lower left acrylic on canvas 40.5 x 50.5 cm

艾利·斯密特 寺廟村

1988 年作 亞克力 畫布 款識: arie smit' 88(左下)

S$ 20,000 - 30,000 US$ 14,600 - 21,900

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AFFANDI (Indonesian, 1907 - 1990)

阿凡迪

Sang Juara (The Champion) signed and dated 1979 lower left oil on canvas, framed 130 x 100 cm

冠軍

S$ 130,000 - 200,000 US$ 94,900 - 145,990

出處 購自藝術家 印尼私人藏家

PROVENANCE Acquired directly from the artist in 1979; Private Collection, Indonesia

1979 年作 油彩 畫布 款識: A 1979(左上))

“I like curves because they (represent) the feeling I get from wayang kulit puppets. If you look closely at the wayang puppets, you will see that they are very rarely made using only straight lines.. It may be old-fashioned but I love curves.” — Affandi

“我喜歡蜿蜒曲折的曲線,因為它們(代表)我從瓦扬库立 (傳統皮影戲)當中啟發我靈感的感覺。仔細觀察這些皮影 人偶,你會發現它們幾乎很少只使用直線製作。。可能我表 達了已經過時的想法,但是我就是喜歡這樣的曲線。” — 阿凡迪

Thus explained Affandi when he begun to abandon strong linear brushstrokes in the 50s and diverged his practice from realism, choosing instead to forgo brushes and directly transmit a visceral experience onto the canvas by smearing paint with his fingers, palms and wrists, resulting in a bold, riotous expression of shape, form, and colour. The scintillating and dynamic current of life is exuded by commonplace elements in his paintings – in the angular form of the straw hat in Sang Juara that belies the subject’s humble occupation as a farm worker; to the veneration of the ‘suffering bamboo’ in Pohon Bambu. It is a fitting honour then, for Affandi to be deemed as “one of the most important interpreters of people’s life and emotion” (Astri Wright, Soul, Spirit, Mountain: Preoccupation of Contemporary Indonesian Painters, Oxford University Press, 1994, p. 158).

以上所述,解答了阿凡迪在50年代開始逐漸放棄強烈的線條性筆法,並轉換了現實主義風格,在創作實踐中,棄了 用筆刷,選擇直接通過自己的手指、手掌和手腕將顏料塗抹在畫布上,表達更大膽,自發性的形狀、形式和顏色。 生命的閃爍和動態在畫中以最樸實單純的主題感染眾人——《冠軍》畫中的棱角形草帽代表了純樸的農民公人,再 看看《竹林》中代表堅韌不拔精神的竹子。顯而易見,說阿凡迪是“演繹生命最重要的畫家之一“,這個美譽一點 也不誇張。(阿斯特里賴特Astri Wright,《靈魂、精神、山:當代印尼藝術家的貫注,牛津大學出版社,1994年出 版,第158頁)

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AFFANDI (Indonesian, 1907 - 1990)

Pohon Bambu (Bamboo Grove) signed and dated 1984 lower left oil on canvas, framed 105 x 127 cm S$ 60,000 - 90,000 US$ 43,800 - 65,700 PROVENANCE Acquired directly from the artist Private Collection, Indonesia Private Collection, Singapore

阿凡迪 竹林

1984 年作 油彩 畫布 款識: A 1984(左下) 出處 購自藝術家本人 印尼私人收藏 新加坡私人收藏

Receipt of purchase from Museum Affandi in 1984

購自阿凡迪美術館購買收 據,1984年

In an 1982 interview, Affandi described how he had recently chanced upon a grove of “suffering bamboo”, which was experiencing a long dry spell with little rainfall. Affandi was in the midst of searching for a subject for a painting – he was so moved by the suffering of the bamboo that he decided to give it a place in his oeuvre. This anecdote may sound eccentric, but the resilient bamboo is in fact a plant of great economic importance in Indonesia and other Southeast Asian countries. The artist himself lived in a bamboo cottage in Yogyakarta. Commonly drawn as upright stalks in Chinese paintings, here it is illustrated with Affandi’s signature exuberance of squiggles and vitalized brushstrokes. The tinge of yellow on the bamboo adds to its withered aspect under the strong sun, a dominant motif in Affandi’s paintings. 在1982年的一次採訪中,阿凡迪描述了他近日偶然發現了一個“遭受苦難 的竹子”,那時遇見的小竹林正在經歷長時間的干旱天氣。而阿凡迪正在尋 找下一幅作畫的主題,初遇眼前的一切,他驀然地被竹子正在經歷的苦難所 感動,於是創作了“受苦的竹子”。 聽聞這樣荒怪不經的逸事,雖然古怪,但細想這高節的竹子其實是印尼和東 南亞最具經濟價值的植物。阿凡迪在日惹的住家高腳竹屋,也是利用竹子製 成的。在中國傳統水墨畫題材中,竹子都是彰顯氣節,竹身挺直不彎的,而 在阿凡迪這張畫中,竹枝以他標誌性的蜿蜒指畫呈現,更顯竹子的生命力。 在強烈的陽光下,竹葉上附加的黃色暗示了它的枯萎感,也正是藝術家想表 達生命之源的重要符號。

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Portrait of Roland Strasser inscribed lower left; signed and dated Poland lower right conte on paper, framed 29 x 21 cm

Portrait of a Lady signed and dated 64 lower right black chalks on paper heightened with white chalks, framed 40 x 36 cm

ROLAND STRASSER (Austrian, 1895 - 1974)

HAN SNEL (Netherlands - Indonesian, 1925 - 1998)

S$ 2,000 - 3,000 US$ 1,460 - 2,190

S$ 2,000 - 3,000 US$ 1,460 - 2,190

羅蘭·史特撒爾

漢·斯尼奧

孔泰蠟筆 紙本 鏡芯 款識: Poland RSTRASSER(右下)

1964 年作 黑色粉筆和白色提亮的粉筆 紙本 鏡芯 款識: Han Snel 64(右下)

自畫像

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女子肖像


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BASOEKI ABDULLAH (Indonesian, 1915 - 1993)

Prince Philip's Visit to Singapore signed and dated S’pore 22.2.59 lower left; affixed with description labels verso pastel and charcoal on paper, framed 58.5 x 46 cm

巴蘇基·阿卜杜拉

菲利普王子訪問新加坡 1959 年作 粉彩 炭筆 紙本 鏡芯 款識: BASOEKI ABDULLAH S'PORE 22.2.59.(左下)作品簡介(背面)

S$ 4,000 - 6,000 US$ 2,920 - 4,380

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ROMUALDO LOCATELLI (Italian-Indonesian, 1905 - 1943) Landscape signed lower right oil on canvas 43 x 67.5 cm S$ 7,000 - 9,000 US$ 5,110 - 6,570

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POPO ISKANDAR (Indonesian, 1927 - 2000) Leopard and the Moon signed and dated '93 lower left oil on canvas, framed 140 x 150 cm S$ 10,000 - 18,000 US$ 7,300 - 13,140

波波·依斯甘達 豹和月亮

油彩 畫布 款識: popo '93(右下) 出處 附藝術家簽名的原作證書

PROVENANCE Accompanied with a certificate of authenticity signed by the artist

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DJOKO PEKIK (Indonesian, b. 1937)

Kuda Lumping signed and dated 20 Dec 2003 lower left oil on canvas 105 x 140 cm

卓可·佩奇克 馬身舞

2003 年作 油彩 畫布 款識: Djoko pekik 20 Dec 2003(左下)

S$ 20,000 - 30,000 US$ 14,600 - 21,900

“My paintings are the expression of my curses. I see things that disturb me and hurt my heart; they settle in my heart.. Accumulating into a layered feeling of anger and loathing, which then turns into a theme for a painting.” — Djoko Pekik This painting, Kuda Lumping, relates to another painting titled Pawang Kesurupan (The Possessed Tamers), which he completed in 2012. In that painting, a group of Jathilan (bamboo horse) dancers perform in front of a panel of judges. However, everyone appears to be in a state of trance, including the judges. The term ‘Kuda Lumping’ refers to a traditional Javanese dance where the performers usually consist of a group of men drawn from the local community. Under the state of trance, they are said to be under the possession of spirts, carrying out extraordinary tricks like eating glass and walking on coals. In this painting, the focus on the vacant expressions of the dancers that are based against a dreary residential area reflect the deep-seated societal ills that comes about when individuals are dislocated from the community. The irony of basing a Kuda Lumping scene against a cold and desolate residential background is thus made apparent here. “ 我的畫作是我詛咒的表現。我观察会刺痛、擾亂我的事物,这一切沉淀 在我心底。。累计成層層叠加的憤怒和厭惡,然后变成一幅画的主题。” — 卓可·佩奇克 这幅画《附身马腾舞》是另一幅《著魔的的馴獸者》同倚系类的作品,完 成于2012年。《著魔的的馴獸者》述说着一群马腾舞者在一組評委面前表 演。但是画中的人物似乎都處於恍惚狀態,包括法官。 “Kuda Lumping(附身马腾舞)”一詞指的是傳統的爪哇舞蹈,表演者 通常由一群來自當地社區的人組成。在恍惚狀態下,像是被附身了一样, 会进行一些超出常理的行为如吃玻璃和在煤炭上行走。在這幅畫中,重点 在于舞者被放置在沉悶的住宅區但两者之间并没有交际,像是人物被社会 背弃了一样。因此,讽刺性的将这传统舞于寒冷而荒涼的住宅做相比,暗 语着艺术家的独特寓意。

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AHMAD SADALI (Indonesian, 1924 - 1987)

Bumi signed and dated 77 lower right oil on canvas, framed 100 x 100 cm

阿默·薩達里 土

油彩 畫布 款識: Sadali 77(右下) 出處 附藝術家兒子簽名證明的原作書信

S$ 90,000 - 180,000 US$ 65,700 - 131,390 PROVENANCE Accompanied with a letter of authenticity signed by the artist's son

Ahmad Sadali is one of the most important abstract modernist artist in Indonesian art. He received the National Art Award from the government in 1972, and studied at the Bandung Institute of Technology (ITB). Thereafter, he received a scholarship to study at the Department of Fine Arts at the State University of Iowa, and later the Art Student League in New York. Upon his return to Indonesia, Sadali began to incorporate themes of spirituality and the Islamic religion into abstract art. It is also at this time that he begun using a palette of subdued colours like ochre and dark shades of blue, green and red. Textures was achieved through the use of putty, glue and the palette knife, and accents of gold were added to give an aged aspect to the pieces, signifying spiritual enlightenment. This painting, titled Bumi, is composed with primitive forms that adds to the painting’s mystique. Five golden strips are stamped onto the earthy toned piece, symbolizing resilience and enlightenment.

阿默·薩達里是印度尼西亞現代主義藝術家最重要的一位大师。1972年獲得政府頒發的國家藝術 獎,並在萬隆技術學院(ITB)學習。之後,又獲得愛荷華州立大學獎學金,在那進修美術,後來又 到紐約藝術學生聯盟學習。在回到印度之後,薩達里開始融入伊斯蘭宗教的主題在他的創作中。 也是在這個時候,他開始使用柔和的色調,如赭色和深藍色,綠色和紅色。畫面上的質感是利用膠 水和調色刀,層層疊加而來實現的效果,並且添加了金葉,視覺上更加的有宗教特色,顯現宗教靈 魂崇高的信仰。 這幅名為《土》的作品,結構由原始形式組成,增添了繪畫的神秘感。五塊金色條紋印在樸實的棕 色色調上,象徵著韌性和對宗教的啟迪。

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I NYOMAN GUNARSA (Indonesian, 1944 - 2017)

Balinese Dancer signed and dated 2010 oil on canvas, framed 95 x 95 cm S$ 4,000 - 6,000 US$ 2,290 - 4,380

伊·紐曼·古納沙 巴厘島舞者

2010 年作 油彩 畫布 款識: 艺术家签名 2010(右下)

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I NYOMAN GUNARSA (Indonesian, 1944 - 2017)

Barong signed and dated 2002 lower right oil on canvas, framed 95 x 95 cm S$ 4,000 - 6,000 US$ 2,920 - 4,380

漢斯·伯克哈特 巴龍舞

2002 年作 油彩 畫布 款識: 艺术家签名 2002(右下)

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AWIKI (Indonesian, b. 1961)

Sun Flower signed and dated 04 lower left oil on canvas, framed 90 x 130 cm S$ 14,000 - 20,000 US$ 10,220 - 14,600

羅維奇 向日葵

2004 年作 油彩 畫布 款識: AW 04 (左下)

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REDY RAHADIAN (Indonesian, b.1973) Circle of Life signed and dated 08 bottom bronze 91 diameter x 8 cm S$ 2,000 - 3,000 US$ 1,460 - 2,190

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雷帝·瑞哈迪亞 生命的圆圈

铜 款識: Redy.R 08 (底部)


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REDY RAHADIAN (Indonesian, b.1973) Play with Me #1 signed and dated 06 on the base mild steel 222.5 x 79.5 x 65 cm S$ 8,000 - 12,000 US$ 5,840 - 8,760

雷帝·瑞哈迪亞 陪我玩

钢 款識: Redy.R 06 (底部)

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HEMAN CHONG (Singaporean, b. 1977) 張奕滿 Apr-84 signed and dated 2011 verso acrylic on canvas 101.5 x 76.5 x 4 cm S$ 5,000 - 7,000 US$ 3,650 - 5,110

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1984年4月 2011 年作 亞克力 畫布 款識: (11) H 2011(画背)


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MICHAEL LEE (Singaporean, b. 1972)

Mapping Worlds executed 2010 edition AP (of 3 editions + 1 AP) acrylic light box, welded aluminium, light tubes 15 x 150 x 150 cm S$ 8,000 - 12,000 US$ 5,840 - 8,760

EXHIBITION Singapore, An Art Collector’s Journey, Singapore, Helutrans Collectors Series, October 2015

李鴻輝

繪製世界 綜合媒材 燈箱 版数;AP (三版+1 艺术家证明版) 展覽 新加坡收藏家之 旅,Helutrans Collectors Series

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MELEY LAW (Singaporean, b. 1977)

Singing River signed and dated 2001 lower right; signed, titled and inscribed verso acrylic on canvas, framed 150 x 150 cm

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羅美妮 颂河

S$ 3,000 - 5,000 US$ 2,190 - 3,650

2001 年作 亞克力 畫布 款識: MEL 2001(右下) Meley Lay Mei Nei Singapore River Acrylic on canvas(畫背)

PROVENANCE Acquired by the present owner from Artfolio Space, Singapore

出處 現藏家購自 Artfolio 空間, 新加坡

EXHIBITION Singapore, Meley Law Mei Nei, Well, Wash, Watch, Artfolio, April 2002

展覽 新加坡, Artfolio 空間 羅美妮個展: 井, 涤, 守 2002


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JEREMY SHARMA (Singaporean, b. 1977)

Gaussian (Aqua Terra 1) painted in 2012 oil on aluminium composite 61 x 89 x 3 cm

藍 2012 年作 油彩 鋁複合材料

S$ 3,000 - 4,000 US$ 2,190 - 2,920 Meley Law Mei Nei who was born in Hong Kong, graduated from both Lasalle-SIA college of the arts and the Royal Melbourne Institution of Technology, is a Singapore citizen. Singing River was a continuation after Law’s awarded series, Swim, Gratitude, Swim! in 2001. Law scaled the Gratitude series to magnify the joyful expressions to universe in her signature dreamlike quality through swathes and wash of contrasting tones, speckled with dots and swift marks. 1977 年出生於香港的羅美妮是新加坡共民,畢業於 新加坡拉萨爾藝術學院和皇家墨爾本理工大学。《颂 河》是在她於2001年獲獎的作品系列,《游吧,感 恩,游吧!》的延續;採用暖彩的色調,留白的潑點 和速畫水印,以夢幻般的特貭來表達她内心向宇宙歡 恩感激的情懷。

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SARAH CHOO JING (Singaporean, b. 1990)

Wonderland diasec print 85 x 174 x 8 cm

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朱婧 仙境 彩印

S$ 3,000 - 4,000 US$ 2,190 - 2,920

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FRANCIS NG (Singaporean, b. 1975) Re-visitation of Space #1 c-print 163 x 122 cm S$ 4,500 - 6,000 US$ 3,290 - 4,380

FRANCIS NG 再次探訪太空#1 彩印

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GENEVIEVE CHUA (Singaporean, b. 1984)

Full Moon And Foxes #17 editioned 1/5 lower left verso, titled lower middle verso; signed and dated 2009 lower right verso archival pigment print on fine art baryta 50.8 x 76.2 cm S$ 2,000 - 3,000 US$ 1,460 - 2,190

蔡艾芳

滿月和狐狸 #17 泛銀 硫化鋇紙 款識: Full Moon and Foxes #17 (作品背面中下)g 2009(作 品背面右下) 版数: 1/5(作品背面左下)

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MING WONG (Singaporean, b. 1971)

Bestowing the Crown; The Look of Love; Sweet Nothings i) titled, signed and dated 1995 lower middle ii) titled, signed and dated 1995 lower middle iii) titled, signed and dated 1995 lower middle mixed media on paper, framed 54.5 x 31.5 cm painting area: 18.5 x 29.5 cm S$ 4,000 - 6,000 US$ 2,920 - 4,380

黃漢明

賦予皇冠、愛的樣貌 1995 年作 綜合媒材 紙本 鏡芯 款識: i) 《Bestowing the Crown》Ming Wong 1995(中下) ii) 《The Look of Love》Ming Wong 1995(中下) iii) 《Sweet Nothings》Ming Wong 1995(中下)

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MARTIN LOH (Singaporean, b. 1952)

Reclining Woman signed and dated 1993; stamped with a seal of artist upper right mixed media on paper, framed 40 x 29.5 cm

羅明龍

俯臥的仕女 1993 年作 綜合媒材 紙本 鏡芯 款識: MARTON LOH 1993(右上) 鈐印: 羅明龍(右上)

S$ 4,000 - 6,000 US$ 2,920 - 4,380

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DANG XUAN HOA (Vietnamese, b. 1959) Self Portrait (Praying) signed and dated 12/2006 middle left oil on canvas 63.5 x 48 cm S$ 3,000 - 4,000 US$ 2,190 - 2,920

鄧春和

自畫像(祈禱) 2006 年作 油彩 畫布 款識: HOA 12/2006(左下)

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DANG XUAN HOA (Vietnamese, b. 1959) Self Portrait with A Girl signed and dated 1/2008 lower left oil on canvas 63.5 x 48 cm S$ 3,000 - 4,000 US$ 2,190 - 2,920

鄧春和

畫家與女孩 2008 年作 油彩 畫布 款識: HOA 1/2008(左下)

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DANG XUAN HOA (Vietnamese, b. 1959) Self Portrait (Smoking) signed and dated 11/2007 lower right oil on canvas 63.5 x 48 cm S$ 3,000 - 4,000 US$ 2,190 - 2,920

鄧春和

自畫像(抽菸) 2007 年作 油彩 畫布 款識: HOA 11/2007(右下)

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DANG XUAN HOA (Vietnamese, b. 1959) Self Portrait signed and dated 1/2008 lower left oil on canvas 63.5 x 48 cm S$ 3,000 - 4,000 US$ 2,190 - 2,920

鄧春和 自畫像

2008 年作 油彩 畫布 款識: HOA 1/2008(左下)

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TRUONG DINH HAO (Vietnamese, b. 1937)

Village Woman / Bull i) signed and dated 97 upper right ii) signed and dated 96 upper left acrylic on paper, framed i) 52.5 x 76 cm ii) 51 x 77.5 cm S$ 2,400 - 3,600 US$ 1,760 - 2,630

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TRUONG DINH HAO 婦女/牛 1996, 1997 年作 亞克力 畫布 款識: i)款識:HAO 97(右上) ii)款識:HAO 96(左上)


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105

DINH QUAN (Vietnamese, b. 1964) Lady with Candle Lamp signed and dated 95 upper left lacquer on board 120 x 100 cm

黎光庭

蠟燭燈前的仕女 1995 年作 磨漆畫 木板 款識: Quan 95(左上)

S$ 3,000 - 4,000 US$ 2,190 - 2,920

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106

NGUYEN THANH CHUONG (Vietnamese, b. 1949)

Bull signed and dated 07 lower right lacquer on board, framed 69 x 54 cm S$ 3,000 - 4,000 US$ 2,190 - 2,920

阮陳章 牛

106

2007 年作 磨漆畫 木板 鏡芯 款識: T. CHUONG 07(左下)

107

U MIN KYI (Myanmarese, b. 1940) My Village signed lower right oil on canvas, framed 90 x 120 cm S$ 2,000 - 4,000 US$ 1,460 - 2,920

烏敏齊

我的村子 油彩 畫布 款識: Min Kyi(右下)

107

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108

U LUN GYWE (Myanmarese, b. 1930)

At the Waterfall signed and dated 2007 lower right oil on canvas, framed 68.5 x 68.5 cm

余龍義 瀑布

2007 年作 油彩 畫布 款識: LunGywe 2007(右下)

S$ 7,000 - 10,000 US$ 5,110 - 7,300

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109

109

KYEE MYINT SAW (Myanmarese, b. 1939)

KYEE MYINT SAW

Rainy Night #2

下雨的夜晚

acrylic on canvas, framed 91 x 91 cm

年作 亞克力 畫布 款識:

S$ 4,000 - 6,000 US$ 2,920 - 4,380

出處 購自河流畫廊,仰光

PROVENANCE Acquired by the present owner from River Gallery, Yangoon

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110

110

KYAW SOE (Myanmarese, b. )

Resting Time signed and dated 2016 lower left oil on canvas, framed 91 x 91 cm

覺梭 休息時間 2016 年作 亞克力 畫布 款識: KYAW SOE 2016(左下)

S$ 3,000 - 4,000 US$ 2,190 - 2,920

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111

AUNG KYAW HTET (Myanmarese, b. 1965)

Two Novices signed and dated 2004 lower right oil on canvas 85 x 113 cm S$ 3,000 - 5,000 US$ 2,190 - 3,650 PUBLICATION Aung Kyaw Htet Myanmar Inspirations, Shireen Naziree, Thavibu Gallery co.Ltd, Thailand, 2007, Pg, 61, colourplate

奧薩泰 兩僧人 111

2004 年作 油彩 畫布 款識: AUNG KYAW HTET 2004(右下) 出版 《 奧薩泰,緬甸印象 》,Thavibu畫廊, 泰國,2007年出版,第61頁,彩印圖

112

AUNG KYAW HTET (Myanmarese, b. 1965) Nuns Under The Sun signed and dated 2004 lower right oil on canvas 85 x 113 cm S$ 3,000 - 5,000 US$ 2,190 - 3,650 PUBLICATION Aung Kyaw Htet Myanmar Inspirations, Shireen Naziree, Thavibu Gallery co.Ltd, Thailand, 2007, Pg,60, colourplate

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)

112 122

出版 《 奧薩泰,緬甸印象 》,Thavibu畫廊,泰 國,2007年出版,第60頁,彩印圖


113

AUNG MIN MIN (Myanmarese, b. 1953) Lacquerware Making Girls signed and dated 2017 lower left acrylic on canvas, framed 91.5 x 122 cm S$ 3,000 - 4,000 US$ 2,190 - 2,920 昂敏敏 製作漆器的女孩 2017 年作 亞克力 畫布 款識: AMIN 2017(左下) 113

114

YE WIN AUNG (Myanmarese, b. 1983)

Lucifer's Squads (6) signed and dated 2016 lower right acrylic and spray on canvas, framed 76 x 76 cm S$ 1,500 - 2,000 US$ 1,100 - 1,460 葉溫昂 路西法的小隊(6) 2016 年作 亞克力 噴漆 畫布 款識: YeWinAung 2016(右下) 114

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115

Annie Cabigting has made a name for herself by making paintings of the act of art viewing. Through her works, an out-of-body experience is elicited for the art audience, as she deconstructs the aura of the art work and demystifies the art viewing process. By turning art viewing into an art form, she reflexively induces a sense of selfconsciousness in her audience, as they are awakened to the question of what is meaningful in the work that stands before them. Graduating with a Master in Painting from the University of Philippines, Cabigting has since gone on to hold numerous solo and group exhibitions, notably in Germany, Italy, and Singapore. 通過繪製一系列藝術觀賞的油畫作品,這獨特的繪畫表達 方式讓安妮·凱彬汀名聲大噪。凱彬汀的作品打破了傳統 藝術欣賞的過程,觀者會不自覺地獲得一種身體外體驗。 以解構藝術作品神秘面紗的方式,揭開了藝術觀賞和藝術 作品之間的聯繫。換句話說,當凱彬汀將藝術觀看的過程 紀錄成一種藝術形式,畫作反思性地讓觀者聯想到自己的 主動意識,間接地反觀擺我們面前藝術作品的真正意義。

115

ANNIE CABIGTING (Filipino, b. 1971)

À Paris Avec Une Amie Polonaise Et Un Italien signed and dated 11 SG on the upperside edge of the painting oil on canvas, framed 89 x 81 cm S$ 24,000 - 30,000 US$ 17,520 - 21,900 

安妮·凱彬汀

在巴黎與波蘭女朋友和意大利友人 2011 年作 油彩 畫布 款識: Cabigting 11 SG(畫布上邊緣)

畢業於菲律賓大學的繪畫碩士學位後,凱彬汀相繼在德 國,意大利和新加坡舉辦了眾多個人繪畫展和藝術群展。

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116

WINNER JUMALON (Filipino, b. 1984) Cara Con Bridio (Face with Bride) signed and dated 2013 lower right oil on canvas 153 x 122 x 10 cm S$ 5,000 - 7,000 US$ 3,650 - 5,110

126

維·珠瑪隆 2013 年作 油彩 畫布 款識: 2013 WINNER


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117 From the state of Kedah, Malaysia, Eng Tay moved to New York City in 1968 to study at The Art Students League, an institution that was attended by the likes of Mark Rothko and Jackson Pollock. He went on to graduate from The School Of Visual Arts in 1972 as a graphic designer. His experience in the graphic arts field and the painting trips he took in South America and Indonesia inspired him greatly, particularly in his choice of subject matter. The painting Flutist and Guitarist exhibits a soft and endearing domesticity through the presence of rounded forms. The abstract background beyond the figures involve the depiction of prints, that make its appearance through other paintings in his oeuvre, emphasizing the home environment and the intimacy of familial relations.

ENG TAY (Malaysian, b. 1947)

Flutist and Guitarist signed and dated 94 lower middle oil on canvas, framed 76 x 92 cm S$ 10,000 - 15,000 US$ 7,300 - 10,950

戴榮才

長笛和吉他演奏家 出生在馬來西亞的吉打州,戴榮才在1968年搬到紐約市,進入藝術學生聯盟學習, 是馬克.羅斯科和傑克遜.波洛克都就讀過的藝術院校。之後在1972年從視覺藝術學 院平面設計專業畢業。他的平面設計專業經歷以及他在南美和印度尼西亞的繪畫之 旅給他帶來了極大的啟發,尤其是在他選擇的繪畫主題方面。

1994 年作 油彩 畫布 款識: Eng 94(中下)

《長笛和吉他演奏家》通過圓潤的形體呈現出柔和而可愛的融洽生活。超越人物的 抽象背景及平面圖案的描繪,通過其作品,強調家居環境和家庭關係的親密關係。

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118

ZHAI XINJIAN (Chinese, b. 1950)

Nude signed Zhai Xinjian in Chinese and dated 1988.8.8 lower left oil on canvas, framed 70 x 50.5 cm S$ 5,000 - 7,000 US$ 3,650 - 5,110

128

翟欣建 仕女

1988年作 油彩 畫布 款識: 翟欣建 1988.8.8(左下)


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119

REARNGSAK BOONYAVANISHKUL (Thai, b. 1961)

The Legong Dancers of Peliatan signed and dated 2002 lower right oil on canvas, framed 150 x 120 cm S$ 28,000 - 38,000 US$ 20,440 - 27,740

朗薩

在乌布的雷貢舞者 2002 年作 油彩 畫布 款識: Rearngsak 2002(右下) 出版 《藝術家的道路,朗薩》,Artext 出版社,馬來西亞,2003 年出版,第203頁,彩印圖

LITERATURE The Artistic Path of Rearngsak Boonyavanishkul, Artext Publishing, Malaysia, 2003, p. 203, colourplate

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LI FUYUAN (Chinese, b. 1942)

Untitled signed Li Fuyuan in Chinese and dated 92; stamped with a seal of artist lower right ink and colour on paper, framed 65 x 66 cm S$ 3,000 - 5,000 US$ 2,190 - 3,650

130

李付元 無題

1992 年作 水墨 設色 紙本 鏡芯 款識: 李付元 92(右下) 鈐印: 李付元印(右下)


121

XUE SONG (Chinese, b. 1965)

Reciting Poems Beside The Lotus Pond inscribed, signed Xuesong in Chinese lower right; inscribed, signed again in Chinese and English and dated 2006 verso mixed media collage on canvas, framed 120 x 100 cm S$ 20,000 - 30,000 US$ 14,600 - 21,900

薛松

在荷塘邊吟詩 綜合媒材 拼貼 畫布 款識: 覓句池邊立,荷花香 滿池(右上) 薛松(右下) 120 x 100 cm 薛 松 Xue Song 2006 (畫背)

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“My work is born in fire.. I use burned pieces of paper and ashes from burning to construct my work. From destroying to rebirth, life runs a circle.” — Xue Song It would not be amiss to state that Xue Song’s oeuvre has been through the baptism of fire. He entered the Shanghai Academy of Theater in 1985, majoring in stage design. In the school, he was taught by prominent artists like Li Shan and Chen Junde, both of whom are oil painting specialists. The year 1990 marks the start of a string of incidents that all involved fire, which initiated Xue Song’s fascination with ashes, and its meaningful application into his paintings. The inclusion of ashes in the elegiac subject in the painting, Reciting Poems Besides The Lotus Pond heightens the transitory nature of life, as well as the nostalgic sentiment in the painting. “我的作品從火中誕生... 我使用燃燒過的圖片和燃燒後留下的灰燼構成我的作品。從毀滅到重 生,就像一個迴圈。”— 薛松 如果说薛松的作品是经过火的洗礼,一点也不夸张。他於1985年進入上海戲劇學院,主修舞台設 計。在學校裡,他从师李山和陳均德等著名油画藝術家。1990年標誌著所有涉及火災的一系列事 件的開始,但是這些灾难引發了薛鬆對灰燼的迷戀,以及毀滅过程對繪畫的有意義的應用。在畫中 的诗意主題中包含了灰燼,除了蓮花池之外还背誦詩歌,增強了生命的短暫性的感悟,以及繪畫中 的懷舊情感。 131


122

YUE MINJUN (Chinese, b. 1962)

Holding Up titled lower left; edition 3/32 lower center; signed and dated 2001 lower right silkscreen, framed 77.5 x 105 cm S$ 2,000 - 3,000 US$ 1,460 - 2,190

岳敏君 高举

絲網印 版画 款識: 高举(左下) yue min jun 2001(右下) 版数: 3/32(中下)

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ZHOU CHUNYA (Chinese, b. 1955)

Green Dog 1 edition 35/50 lower left; dated 2006; signed in English and Chinese lower right silkscreen, framed 94 x 76 cm S$ 2,000 - 3,000 US$ 1,460 - 2,190

周春芽 绿狗I

絲網印 版画 款識: 2006 周春芽 Zhou ChunYa(右下) 版数: 35/50(左下) 123

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ALEXANDRA NECHITA

亞歷山德拉

(Romanian/American, b. 1985)

愜意

Chilling Out signed and dated 04. lower right pen and watercolour on paper 49 x 33 cm

2004 年作 水彩 紙本 款識: Nechila 04.(右下)

S$ 4,000 - 6,000 US$ 2,920 - 4,380

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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.

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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.

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.

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.

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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。

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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。

137


Lot 52 CHEN WEN HSI Two Gibbons

138


LOT NUMBER

LOT DESCRIPTION

MAXIMUM SINGAPORE DOLLAR (TICK FOR PHONE BIDS)

Absentee Bidding Form SALE NUMBER  

SG027

SALE  DATE  

4 november 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

FIRST NAME

CLIENT ACCOUNT NO. (IF KNOWN) ADDRESS

Please note that we may contact new clients to request a bank reference. 33 Auction will require sight of government issued ID / Passport and proof of address prior to collection of purchases. All payments are due within 7 days after successful sale. FOR WRITTEN/FIXED BIDS Bids will be executed for the lowest price as is permitted by other bids or reserves. “Buy” or unlimited bids will not be permitted and neither do we accept “plus one” bids. Please place bids in the given order as per catalogue. Alternative bids can be placed by using the word “or” between lot numbers. Where appropriate your written bids will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. FOR TELEPHONE BIDS Please clearly specify the telephone number on which you may be reached at the time of the sale, including the country code. We will call you from the saleroom shortly before your lot is offered. In the event of identical bids, we will only acknowledge the first bid. Bids must be submitted in Singapore Dollars at least 24 hours before the auction.

(POSTAL CODE) TELEPHONE (HOME/MOBILE)

(BUSINESS/FAX)

EMAIL

TICK IF THIS IS AN UPDATED ADDRESS TELEPHONE NUMBER DURING THE SALE:

1.

(FIRST PRIORITY)

(FOR TELEPHONE BIDS ONLY)

2.

(ALTERNATIVE)

PLEASE SEND OR FAX THIS FORM TOGETHER WITH COPY OF IDENTITY CARD / PASSPORT TO:

33 AUCTION – BID DEPARTMENT 27A Loewen Road Singapore 248839 TEL: +65 67474555 FAX: +65 67474111 EMAIL: bid@33auction.com

I agree that I am bound by 33 Auction Conditions of Business which are published in the catalogue for the sale that govern all purchases at auction that I make. If any bid is successful, I agree to pay the published buyer’s premium on the hammer price.

Signed

Dated

ARRANGING PAYMENT

It is 33 Auction’s policy that all cheque / payments must be cleared before purchases will be released. Payments may also be made by direct debit or telegraphic transfer to 33 Auction account indicated in the invoice. Please include your name, 33 Auction client’s account number and invoice number with your instructions to your bank. Credit card payment (Visa, MasterCard and UnionPay) are also accepted. It is 33 Auction’s policy to request any buyer preferring to make cash payments to provide: proof of identity with attached photograph (example: passport, driving license, identity card) and confirmation of permanent address. Thank you for your kind cooperation. SHIPPING: IF YOU ARE SUCCESSFUL AND WANT US TO CONTACT YOU REGARDING SHIPPING, KINDLY TICK HERE

139


或以

代表電話竟投)

競投 競投

SG027 4 november 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 。 140

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。


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141


Index of Artists 藝術家索引

AFFANDI 阿凡迪 AHMAD SADALI 阿默·薩達里 ALEXANDRA NECHITA 亞歷山德拉 ANNIE CABIGTING 安妮·凱彬汀 ANTHONY POON 方謹順 ARIE SMIT 艾利·斯密特 AUNG KYAW HTET 奧薩泰 AUNG MIN MIN

77, 78 85 124 115 9

ENG TAY 戴榮才 FANG SHISHU 方士庶 FRANCIS NG GENEVIEVE CHUA 蔡艾芳 GOH BENG KWAN 吳珉權 HAN SNEL 漢·斯尼奧 HEMAN CHONG 張奕滿 HENRI CHEN KEZHAN 陳克湛 HONG ZHU AN 洪祝安

142

45 86, 87 64, 65 94 69, 70, 72

73, 74, 75, 76

KOEH SIA YONG 許錫勇 KYAW SOE

111, 112

KYEE MYINT SAW

109

LI FUYUAN 李付元 LI RIHUA 李日華 LIM TZE PENG 林子平 LIU SONGNIAN 劉松年 LOW PUAY HUA 劉培和 MARTIN LOH 羅明龍 MELEY LAW 羅美妮 MICHAEL LEE 李鴻輝 MING WONG 黃漢明 NG ENG TENG 黃榮庭 NGUYEN THANH CHUONG 阮陳章 ONG KIM SENG 王金成 PONNUSAMY GNANADICKAM

120

113

AWIKI 88 羅維奇 BASOEKI ABDULLAH 81 巴蘇基·阿卜杜拉 BRO. JOSEPH MCNALLY 62, 63 約瑟夫.麥納利 修士 CHEN CHONG SWEE 46 陳宗瑞 CHEN WEN HSI 13, 14, 15, 16, 17, 50, 51, 52, 53, 54 陳文希 CHEN YONG 39 陳鏞 CHEN YUE XIU 44 陳月秀 CHEONG SOO PIENG 26, 27, 28, 29, 30, 31, 32 鐘泗濱 CHEW YEW SENG 47 CHONG FAH CHEONG 張華昌 CHOO KENG KWANG 朱慶光 CHUA MIA TEE 蔡名智 DANG XUAN HOA 鄧春和 DINH QUAN 黎光庭 DJOKO PEKIK 卓可·佩奇克

HUANG YAO 黃堯 I NYOMAN GUNARSA 伊·紐曼·古納沙 ISKANDAR JALIL 伊斯干达·贾里 JEREMY SHARMA

61 24 20, 34 100, 101, 102, 103 105 84

117 37 96 97 1, 2 80 91

3, 4 11

110

40 57, 60 38, 42 59 99 93 92 98 68 106 48, 49 66, 67

POPO ISKANDAR

83

QIU YING 仇英 REARNGSAK BOONYAVANISHKUL 朗薩 REDY RAHADIAN 雷帝·瑞哈迪亞 ROLAND STRASSER 羅蘭·史特撒爾 ROMUALDO LOCATELLI 羅莫爾多·羅格泰利 SARAH CHOO JING 朱婧 SEAH KIM JOO 佘金裕 TAN JOO JONG 陳有勇 TAN KIAN POR 陳建坡 TAN OE PANG 陳有炳 TAN SWIE HIAN 陳瑞獻 TANG DA WU 唐大霧

36 119 89, 90 79 82 95 71 18, 19 22 56 33, 55 6, 7, 8

TAY BAK KOI 鄭木奎 TEO KIM LIONG 張金隆 THANG KIANG HOW 唐近豪 THOMAS YEO 姚照宏 TRUONG DINH HAO TU MENG LONG 塗夢龍 TUNG YUE NANG 鄧汝能 U LUN GYWE 余龍義 U MIN KYI 烏敏齊 WAN SOON KAM 王春鑫 WANG ZHEN 王震 WEE BENG CHONG 黃明宗 WINNER JUMALON 維·珠瑪隆 XUE SONG 薛松 YE WIN AUNG YUE MINJUN 岳敏君 ZHAI XINJIAN 翟欣建 ZHOU CHUNYA 周春芽 ZHUANG QIAI 莊啟爻

25 58 10 21 104 41 5 108 107 23 71 12 116 121 114 122 118 123 43


Lot 9 ANTHONY POON RI-Square-Rec Lot 26 CHEONG SOO PIENG Two Ladies and a Child

143


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27A LOEWEN ROAD SINGAPORE 248839 | +65 6747 4555 | www.33auction.com

33 Auction 2018 Singapore Autumn Auction - Modern and Contemporary Art (SG027)  

33 Auction is proud to announce that the 2018 Singapore Autumn Auction on Modern and Contemporary Art will be held on 4th Nov 2018 at 1:30 p...

33 Auction 2018 Singapore Autumn Auction - Modern and Contemporary Art (SG027)  

33 Auction is proud to announce that the 2018 Singapore Autumn Auction on Modern and Contemporary Art will be held on 4th Nov 2018 at 1:30 p...