Marjorie Ho and the Legacy of East and West Art by Leonard Joel

36 (detail)

Ding Yanyong

(Chinese, Hong Kong, 1902-1978)

Landscape with shrine, 1976

ink and colour on paper

96 x 35.5cm

Marjorie Ho and the Legacy of East and West Art

08.06.2025, 11am

何氏.東西畫廊亞洲藝術珍藏

Part I (lots 1 – 121)

Part II (lots 292-590)

Timed Online Auction

Ends 10.06.2025, 11:30am

VIEWING

Part I (lots 1 – 121) Part II (lots 394-590)

thu 05 – sat 07 jun 2 Oxley Road, Hawthorn, VIC 3122

Part II (lots 292-393)

Viewing at 14 Duke Street, Abbotsford by appointment only

Please refer to our website for viewing times — leonardjoel.com.au

CONTACTS

luke guan

head of asian art 0455 891 888 luke.guan@ leonardjoel.com.au

Marjorie Ho's East & West Art

When former Australian Prime Minister, Gough Whitlam, opened an art exhibition at East & West Art in 1988, the gallery was already well-established as a centre for contemporary Asian and Western art in Australia. Opening in 1973, East & West Art was the vision of husband-and-wife team, Marjorie Ho and Dirk Eysbertse. From Singapore and the Netherlands respectively, the couple were married in 1954 at the West Hampstead Registry in London, residing in Holland, before migrating to Australia. At a time when mixed marriages were rare, the newlyweds knew first-hand the challenges of racial politics in Australia. Equally, they recognized the power of art to transform perceptions about the diversity of cultures throughout Asia and the importance of engagement therein, especially for an emergent and newly mobile audience in Australia. Notably, in the same year that East & West Art opened, the Whitlam Labor government renounced the now-notorious White Australia policy. The program ushered in a new era for Australia including an influx of migrants from the region. East & West Art became a distinct part of the zeitgeist.

In establishing East & West Art, Marjorie and Dirk were drawing on their exposure to diverse cultures in both Asia and Europe. Prior to meeting Marjorie, Dirk had already worked for several years in Indonesia, with the Dutch East Indies Co. and Marjorie came of age in the turbulence of World War Two. As a child, she had been evacuated from Singapore, just a week prior to the Japanese invasion, departing on the last ship to safely leave the island. She fled to India with her mother and siblings, while her father was interned in Singapore. In her 1997 interview, with historian Diana Giese, Marjorie recalled her passage to India:

“Mum had to queue up for warm clothing because she knew already, they were sending us straight up to the Himalayas. I mean, from the equator to the Himalayas is no joke, so she had to line up for woollen singlets, woollen underpants. I was left in charge of my brothers in the corner of the warehouse. We waited the whole day, and we were quite terrified, because I was about 10 or 11 years old, before she came back.”1

In India Marjorie studied Subcontinental history, Hindustani and Latin, amongst other subjects. Later, viewing the destruction wrought on her home, she decided to become an architect. Marjorie settled on the University of Melbourne, becoming one of the first Chinese women to study in the Architecture faculty.

It was, however, her early exposure to antique collecting from her grandfather that ultimately guided Marjorie to open East and West Art. Marjorie was born in 1932, into a prominent Singaporean family. Her grandfather, Ho Siak Kuan (1865-1946), M.B.E., had been the Chief Chinese Translator for the Straits Settlement Government and later as the Assistant Secretary for Chinese Affairs.

I first met Marjorie Ho in 2008 while planning an exhibition of Chinese ceramics. For the exhibition, East & West loaned Yangshao (仰韶文化) vessels dating between 3,000 and 5,000 BCE, which featured as a highlight in the show. Marjorie was instantly welcoming and proved to be a font of knowledge; she would hold forth on clay, glazes, kilns, firing techniques, throwing and trade routes; she

possessed a forensic sensibility, at times alighting on a seemingly mundane vessel only to reveal its secrets. One could never look at ceramics, or indeed any other object in the same light after a conversation with Marjorie.

Additional to her interests in Chinese and South Asian antiquities, Marjorie was fascinated by developments in contemporary art. I was delighted to discover that the now famous artist Shen Shaomin (沈少民) had exhibited at East & West Art. The Australian Chinese Artist Association and the Chinese peasant painters who produced the mural for the Victoria Market, had all had early exhibitions at East and West Art. According to Chinese art specialist Professor Claire Roberts, in 1975, East & West Art exhibited works by artists Ding Yanyong (丁衍庸) (1902-1978) and Huang Binhong (黃賓虹) (1865-1955).2 The back catalogue is littered with artists from across Asia - Chang Dai-Chen (張大千) (1899-1983), Made Wianta (1949-2020), and Satish Gupta (b.1947-) to name just a few.

In time, Marjorie would be lauded as the doyen of Asian antiquities; however, she would hate that I say so. She sold countless works to private and public collections; she became a Federal valuer for Australia in Asian antiques and fine arts, covering China from 5000BCE to contemporary, as well as Japan, Korea, India and Southeast Asia in Fine Art and antiques, paintings, textiles, sculpture, furniture and object d’art. She was awarded life membership at numerous cultural organisations, including the Chinese Museum, the Chinese Association of Victoria, and the Southeast Asian Ceramic Society Singapore. She was also the Victorian representative for T.A.A.S.A., The Asian Art Society of Australia.

Importantly, as this auction reveals, East & West Art amassed an encyclopedic stock-in-trade, covering numerous Asian regions and periods. Marjorie would tell stories about her annual trips to China and the Military General who would open the doors to vast storehouses of treasures! Countless adventures followed.

dr damian smith, President australian Chinese art researCh institute, direCtor aCae gallery

Leonard Joel is proud to present The Marjorie Ho Auction on 8th and 10th of June — a remarkable offering of fine art and objects from across Asia. The collection features important works by artists such as Ding Yanyong, Shen Shaomin, You Si, Chen Chao-Pao, Nyoman Gunarsa, Feng Yongji, Satish Gupta, and more. Complementing the paintings is a curated selection of woodblock prints, ceramics, sculptures, jades, furniture and other works of art from China, Japan, and across Asia.

1. https://www.dianagieseeditorial.com.au/files/marjorie_ho_diana_giese_interview_national_library_of_ australia.pdf

2. https://rest.mars-prod.its.unimelb.edu.au/server/api/core/bitstreams/7a1f4020-3768-45d2-b587c184effa81f8/content

Affandi was one of Indonesia’s most celebrated and pioneering artists, renowned for his bold expressionist style and dynamic use of colour. Born in Cirebon in 1907, Affandi’s journey as an artist began with self-teaching, and over time, he became known for his distinctive technique of painting directly on the canvas with his hands, a method that allowed him to fully engage with his emotions and the spirit of his subject matter.

A master of expressionism, Affandi’s works often convey intense emotional depth and movement. He sought to capture the rawness of life, both its beauty and its struggles, through vivid brushstrokes and dynamic compositions. His paintings are characterized by their spontaneous energy, where each stroke feels like an urgent expression of feeling. His themes range from the human condition to nature, portraying both the individual and the collective experience of life with a powerful sense of immediacy.

Affandi’s art is deeply rooted in Indonesian culture, yet it also transcends national boundaries, resonating with global audiences. He achieved international recognition early in his career, with his works exhibited in major cities across Europe, the United States, and Asia. In 1954, he became the first Indonesian artist to showcase his works at the Venice Biennale, marking a historic moment for Indonesian art on the world stage.

Throughout his career, Affandi held numerous solo exhibitions in galleries worldwide and was the recipient of many prestigious awards. His work is included in major collections, including those of the Museum of Modern Art (MoMA) in New York and the National Gallery of Indonesia.

Affandi’s legacy as a leading figure in expressionism and modern Indonesian art endures. His paintings continue to be highly sought after by collectors, and his profound emotional expression remains a defining feature of his works, making them timeless pieces in the world of fine art.

AFTER AFFANDI (Indonesian, 1907 – 1990)

Self portrait offset lithograph signature on an impressed stamp on the paper. 40 x 27.5cm

provenance

Acquired directly from the artist.

$400-600

Karika Affandi, born in 1934 in Indonesia, is the daughter of the legendary Affandi, one of Indonesia’s most iconic expressionist painters. Growing up in an environment steeped in artistic brilliance, Karika was deeply influenced by her father’s emotional and bold painting style, which has shaped her own distinctive approach to art.

While Karika’s work reflects her father’s vivid, dynamic brushwork and exploration of raw emotion, her style has evolved with a more contemporary touch. She has developed a unique artistic voice, blending figurative elements with abstract expressions, capturing the complexities of modern life and the nuances of human existence. Her paintings are known for their rich colours, dynamic compositions, and the emotional depth that mirrors the expressionist tradition she inherited.

Karika’s works continue to explore identity, memory, and the human condition, often through symbolic imagery and powerful brushstrokes that convey both movement and stillness. Much like her father, she

utilizes bold colours and expressive forms to evoke emotions that resonate deeply with viewers. Her art bridges the gap between tradition and modernity, establishing her as a significant figure in contemporary Indonesian art.

Having exhibited her works extensively in Indonesia and internationally, Karika has gained recognition for her contributions to the Indonesian art scene. Her works have been included in prominent galleries and collections around the world, continuing to inspire both collectors and art enthusiasts. As the daughter of Affandi, she carries forward her father’s legacy while simultaneously carving out her own place in the world of modern art.

KARIKA AFFANDI (Indonesia, b. 1934) oil on canvas, singed and date 1978 on the lower right. 100 x 100cm

provenance

Acquired directly from the artist.

$5,000-7,000

Toko Shinoda was a renowned Japanese artist celebrated for blending traditional sumi ink techniques with modern abstract expressionism. Born in Dalian, China, and raised in Tokyo, Shinoda began studying calligraphy at a young age, profoundly influencing her later work in ink painting and printmaking.

In the 1950s, Shinoda gained international acclaim with exhibitions at prominent venues like the Museum of Modern Art in New York. By the 1960s, she had become a master of lithography, creating dynamic prints characterized by sweeping lines, bold contrasts, and metallic elements such as gold and silver.

Shinoda’s art was a harmonious blend of Eastern calligraphic traditions and Western modernist approaches. She also contributed to large-scale public art projects, including murals and porcelain wall reliefs. Her works are held in major collections worldwide, including the Museum of Modern Art in New York and the National Gallery of Art in Washington, D.C.

With a career spanning over six decades, Shinoda’s influence continues to resonate in the art world, leaving a lasting legacy as one of Japan’s most influential modern artists.

TOKO SHINODA (Japanese, 1913-2021) Arrived Wind, lithograph and colour on paper, pencil signed lower right, edition A.P.

68 x 53cm

provenance

Acquired directly from the artist.

$1,000-2,000

"My persistent memory of Marjorie are the powerful and innovative exhibitions she curated at East West Gallery over the decades. A notice of the forthcoming show meant an immediate response to plan to travel to Melbourne and to see artefacts so original and impressive and come away inspired. The Asian art community was so lucky that Marjorie had the energy and inspiration from which we all benefitted. “

GILL GREEN TAASA

Fu Xiaoshi, born in 1932 in Xinyu, Jiangxi Province, is a renowned Chinese ink painter and printmaker. As the eldest son of the esteemed master Fu Baoshi, he was immersed in the world of traditional Chinese art from a young age. He graduated with distinction from the Central Academy of Fine Arts (CAFA) in 1958, specializing in printmaking.

Fu’s artistic journey was marked by resilience and innovation. In 1979, he suffered a stroke that left him paralysed except for his left hand. Undeterred, he continued to create art using his left hand, developing a distinctive style characterized by bold ink washes and expressive brushwork.

His works often depict historical figures, mythological scenes, and traditional Chinese themes, blending classical techniques with a modern sensibility. Fu’s art has been exhibited internationally, including in Japan, Singapore, Hong Kong, Beijing, and Nanjing. His pieces are held in prestigious collections, such as the Asian Art Museum in San Francisco and the Birmingham Museum of Art.

Fu Xiaoshi’s legacy is a testament to the enduring power of art to transcend personal adversity and cultural boundaries. His innovative approach continues to inspire collectors and art enthusiasts worldwide.

FU XIAOSHI (Chinese, b. 1932)

Zhong Kui

1984 ink on paper, inscribed, signed, dated and two red seals of the artist 80 x 66cm

provenance

Acquired directly from the artist.

$800-1,200

傅小石 1984年作水墨紙本

FU XIAOSHI (Chinese, b. 1932)

Three Kingdoms, ink and colour on paper, hanging scroll, signed and two red seals of the artist. 46 x 34cm

provenance

Acquired directly from the artist.

$800-1,200

傅小石《三國》設色紙本立軸 4

Ding Yanyong (1902-1978) was a pioneering Chinese modernist celebrated for blending Chinese ink traditions with modern Western art. Often hailed as the “Matisse of the East” and the “Bada Shanren of Modern Times,” Ding masterfully bridged Eastern and Western art, forging a unique and deeply personal artistic language that transcended cultural boundaries.

Born in Maoming, Guangdong, Ding was among the first Chinese artists to study Western painting abroad. From 1919 to 1925, he trained in Fauvism and Expressionism at the prestigious Tokyo School of Fine Arts in Japan. Upon returning to China, he became a key figure in the New Art Movement, advocating for the integration of Western techniques into Chinese art and reforming traditional aesthetics. A dedicated educator, Ding taught in Shanghai, Guangzhou, and Chongqing, before relocating to Hong Kong in 1949, where he continued teaching and creating until his passing in 1978.

In 1957, Ding co-founded the Fine Arts Department of New Asia College, which later became part of The Chinese University of Hong Kong. His work has been exhibited widely, both in mainland China before 1949 and internationally afterward.

Ding’s turning point came in 1929 when he deeply engaged with the Chinese literati tradition, drawing inspiration from seventeenth-century master Bada Shanren, ancient calligraphy, seal carving, and archaeological artifacts. His later works, particularly in ink, are known for their simplicity, expressive brushwork, and poetic rhythm-most notably in his flower, bird, and figure paintings. His deep immersion in traditional forms also transformed his oil paintings, infusing them with calligraphic flair and bold expression.

A master of both oil and ink, Ding Yanyong remains one of the most influential figures in modern Chinese art-an artist who redefined tradition through modernity.

DING YANYONG (Chinese, Hong Kong,19021978)

Cicada

Ink on paper signed and one red seal of the artist. 34 x 28cm

provenance

Acquired directly from the artist.

$1,000-2,000

丁衍庸《蟬》水墨紙本

DING YANYONG (Chinese, Hong Kong,19021978)

Farewell My Concubine ink and colour on paper, inscribed, signed and one red seal of the artist. 46 x 35cm

provenance

Acquired directly from the artist.

$2,000-3,000 丁衍庸《霸王别姬》設色紙本

Satish Gupta, born in 1947 in New Delhi, is a celebrated contemporary Indian artist whose works span multiple mediums, though it is his paintings that have garnered the most acclaim. Known for his versatility, Gupta’s artistic practice includes sculpture, printmaking, poetry, calligraphy, and ceramics, making him a true polymath in the art world.

Gupta’s journey took a pivotal turn in 1970 when he moved to Paris on a prestigious scholarship to study graphics, profoundly shaping his unique artistic vision. His abstract and symbolic paintings reflect a fusion of Eastern philosophy and modernist aesthetics, often exploring themes of stillness, life’s journey, and the interconnectedness of existence. His works invite viewers into a meditative space where time and self dissolve.

Marked by bold strokes, intricate layers, and emotional depth, Gupta’s paintings incorporate elements of calligraphy and organic forms, creating a visual language that transcends cultural boundaries. His

art is not only technically masterful but also evokes a profound sense of peace and spiritual reflection.

Gupta has held over 37 solo exhibitions worldwide, showcasing his works at prominent venues in India, Europe, and the United States. His art has been featured at major platforms such as the Venice Biennale, Art Laguna, and The Deborah Colton Gallery in Houston. His 2019 exhibition “Roaring Sea - Still Mind” at The Visual Arts Gallery in New Delhi received widespread acclaim.

A significant achievement in Gupta’s career was the creation of the Utsav Murti of ‘Ling Bhairavi’, a monumental sculpture for the Isha Ashram in Coimbatore. His literary contributions include the poetic work Zen Whispers, further expanding his multifaceted artistic expression.

Gupta’s paintings are part of both private collections and public institutions worldwide, admired for their philosophical depth and meditative qualities, offering a window into his spiritual journey.

SATISH GUPTA (Indian, b. 1947) (9)

Sea and Rocks

Polyptych

collages on hand-made paper with India ink and watercolour

Signed in pencil on the lower right 183 x 183cm (overall)

provenance

Acquired directly from the artist.

$3,000-5,000

SATISH GUPTA (Indian, b. 1947) (5) collages on hand-made paper with India ink and watercolour

Signed in pencil on the lower right 89 x 59cm

provenance

Acquired directly from the artist.

$3,000-5,000

Bei Jiaxiang was born in Shanghai in 1953 and traces his roots to Suzhou, where he once lived with renowned architect I. M. Pei. In 1982, he joined the first oil painting training class at the Central Academy of Fine Arts, where he honed his skills in modelling, colour, and brushwork. His work matured quickly, earning him major awards in the 1980s, including the Third Prize at the National Art Exhibition and First Prize at the Shanghai Literature and Art Exhibition.

After immigrating to Australia over two decades ago, Bei became one of the most respected Chinese artists in the region, receiving honours such as the Gold Medal in Oil Painting at the Robert Art Exhibition. In 2021, his painting Flowers Fragrance sold for 2.07 million RMB at Poly International Auction Co.

Bei is known for blending the spirit of Chinese literati painting with contemporary Western oil techniques. His signature series-such as Galloping Horse, Old Shanghai, Opera Characters, and Ladies-serve as both a tribute to his cultural heritage and a return to the core principles of oil painting.

BEI JIAXIANG (Chinese, Australia, b. 1953)

Flowers ink and colour on paper, framed, with glass, signed and dated on the lower left.

40 x 35.5cm

provenance

Acquired directly from the artist.

$1,000-2,000 貝家驤

“Marjorie Ho was a big personality and a pioneering taste-maker; her gallery, East and West Art, set the trends in the appreciation of Asian arts in Melbourne for a couple of decades. I recall her gallery featuring the works of wonderful Chinese, Japanese and Indonesian painters, ceramic and textile artists. And of course, the exciting work of Asian Australian artists whose work you never saw in the more traditional commercial galleries. She also presented some splendid pieces of Asian furniture. I aways enjoyed my visits to the gallery where I bought an occasional piece and opened two or three shows over the years.”

CARRILLO GANTNER AC

Chui Tze Hung is a distinguished Hong Kong-born artist renowned for his innovative contributions to contemporary Chinese ink painting. Born in 1936, Chui’s artistic journey began with formal studies in Chinese art at China College in Hong Kong from 1958 to 1962. He further honed his skills in printmaking under American artist Joan Farrar in 1968 and studied Chinese ink painting with Lui Shou-kwan at the Chinese University of Hong Kong in 1969.

Chui’s early works were deeply rooted in traditional Chinese landscape painting, characterized by meticulous brushwork and harmonious compositions. Over time, he integrated elements of Western art forms, such as watercolour and printmaking, into his practice. This fusion led to a distinctive style that balances vibrant abstract colour fields with expressive cursive calligraphy, reflecting a modern sensibility while honouring classical traditions.

Throughout his illustrious career, Chui has held numerous solo exhibitions and participated in prestigious group shows worldwide. Notable solo exhibitions include “In Search of Myself” at the Fo Guang Yuan Art Gallery in Hong Kong in 2018 and “50 Years of Art: Retrospective Exhibition” at the Art Museum of Guangdong Painting Academy in Guangzhou in 2010.

His works have been featured in esteemed institutions such as the Hong Kong Museum of Art, the University of Hong Kong, the National Gallery of Singapore, and the National Museum of History in Taipei. Chui’s contributions to the art world have earned him significant accolades, including the Urban Council Fine Arts Award for Painting in 1979 and for Calligraphy in 1994 at the Contemporary Hong Kong Art Biennial Exhibition.

CHUI TZE HUNG (Chinese, Hong Kong, b. 1936)

Spring Blossom

1987

ink and colour on paper signed and one red seal of the artist 48 x 41cm

provenance

Acquired directly from the artist.

$800-1,200

徐子雄《春暖花开》1987年作設色紙本

CHUI TZE HUNG (Chinese, Hong Kong, b. 1936)

Spring Cloud 1988

ink and colour on paper one red seal of the artist 63 x 57cm

provenance

Acquired directly from the artist.

$800-1,200

徐子雄《春雲》1988年作設色紙本

Kwok Hon Sum (1947-2003) was a distinguished Chinese contemporary ink artist renowned for his innovative approach to traditional ink painting. Born in Guangdong, China, he moved to Hong Kong in 1958 and later studied fine arts at National Taiwan Normal University in 1968. He further honed his skills under the mentorship of Liu Kuo-sung, a pioneer of modern Chinese ink painting, at The Chinese University of Hong Kong.

Kwok’s work is characterized by a harmonious blend of traditional Chinese ink techniques with contemporary aesthetics. He often explored themes of spirituality and Zen, creating meditative compositions that invite introspection. His notable series, such as The Majestic Cliff and The Mystic Temptation of Cloud and Snow, showcase his mastery in depicting dynamic landscapes infused with philosophical depth.

Kwok’s art has been featured in numerous prestigious exhibitions worldwide, including: Ink Asia 2019, Hong Kong Convention and Exhibition Centre (October 4-7, 2019)

A Retrospective - Kwok Hon Sum, Galerie du Monde, Hong Kong (April 27 - May 31, 2018)

His works have been exhibited in various international art fairs and galleries, reflecting his global recognition and influence in the art community.

Kwok Hon Sum’s contributions to modern Chinese ink painting have left a lasting impact on the art world. His innovative techniques and philosophical themes continue to inspire contemporary artists and collectors alike. His works are held in esteemed collections and have been featured in prominent art exhibitions globally.

KWOK HON SUM (Guo Hanshen, Chinese, Hong Kong,1947-2003)

Landscape ink and colour on paper signed and two red seals of the artist 68 x 47cm

provenance

Acquired directly from the artist.

$1,500-2,500

郭漢深《山水》設色紙本

Mio Pang Fei, born in Shanghai in 1936, was a distinguished Chinese artist renowned for his innovative fusion of traditional Chinese aesthetics with Western modernist techniques. After relocating to Macao in 1982, he became a pivotal figure in the region’s contemporary art scene, contributing significantly to its cultural development.

Mio’s work is characterized by his unique approach to ‘Neo-Orientalism’, blending elements of Chinese traditional art with Western modernist styles such as Fauvism, Cubism, and Abstract Expressionism. This synthesis is evident in his ‘Water Margin Series’ and ‘Post-Calligraphy’ works, which explore the depths of human emotion and societal challenges through expressive brushwork and vibrant colour palettes.

An esteemed educator, Mio taught at several prestigious institutions, including the Visual Arts Academy of Macao, Nanjing Arts University, and Shanghai University. His role as a mentor and curator has been instrumental in shaping the artistic landscape of Macao.

Mio’s work has been showcased in numerous international exhibitions, underscoring his global influence:

2015 Venice Art Biennale: Represented Macao with the exhibition ‘Path & Adventure’, marking a significant moment in the region’s participation in this prestigious event.

‘Art of Ink’ Exhibition: Held at the Macao Museum of Art, featuring 53 works that highlight his recent artistic developments.

‘Beyond the Surface’: A featured exhibition at Albergue SCM, showcasing his ‘Water Margin Series’ and ‘Post Calligraphy’ works, emphasizing his expressionist style.

Mio Pang Fei’s contributions to the art world have left an indelible mark, blending Eastern and Western artistic traditions to create a unique and expressive body of work. His legacy continues to inspire and influence artists and art enthusiasts globally.

MIO PANG FEI (Chinese, Macau,1936-2020)

Tempo Period ink and colour on paper, mounted, hanging scroll, ten red seals of the artist 68 x 74cm

provenance

Acquired directly from the artist.

$800-1,200

繆鵬飛《節奏年華》設色紙本立軸

I have had the pleasure of knowing Marjorie since my time as a Trustee of the National Gallery of Victoria in early 2004. Her unwavering commitment to showcasing and championing Asian art has been a true source of inspiration.

Marjorie’s passion is undeniable, and her expertise in the field ranks among the finesse in the country. Her life’s work - partially reflected in the collection she has built - stands as a testament to her vision as a gallerist and her deep, scholarly appreciation for Asian art. Despite the many challenges of pursuing this path in Australia, she has created something truly extraordinary. Her legacy is a fitting tribute to a remarkable Chinese Australian.

JASON YEAP OAM

Earthstone Chu (Zhou Yudong, b. 1950) is a contemporary ink artist celebrated for his meditative, expressive works that fuse traditional East Asian brush techniques with a bold, modern aesthetic. Born and raised in Taiwan, Chu is famously known as the “Wild Ink Radical”—a title earned for his transformative approach to Chinese ink painting. Trained in Western fine arts with a major in oil painting, he later turned to ink on rice paper, ravaging the conventional boundaries of the medium and establishing a dynamic, cross-cultural voice in contemporary art.

Deeply influenced by Taoist philosophy, natural landscapes, and the subtle poetry of everyday life, Chu’s paintings explore themes of impermanence, balance, and the unseen rhythms of nature. His compositions are marked by tonal nuance, textural richness, and open spatial design, often evoking a sense of stillness and spiritual presence. While grounded in classical techniques, his works pulse with a modern energy that challenges and expands traditional expectations.

Having exhibited extensively across Asia and internationally, Earthstone Chu’s work is held in both private and institutional collections, admired for its technical mastery and profound emotional resonance. Whether working in expansive, gestural strokes or quiet, minimalist arrangements, Chu’s art bridges past and present—offering a contemplative space for connection, introspection, and aesthetic renewal.

In an age of rapid distraction, Earthstone Chu offers something rare: a return to silence, nature, and inner stillness—redefining ink painting for a new generation while honoring the artistic traditions that shaped him.

EARTHSTONE CHU (ZHOU YUDONG, Taiwanese, Australian, b.1950) Nude

1990

Ink and colour on paper, hanging scroll, signed and one red seal of the artist. 137 x 69cm

provenance

Acquired directly from the artist.

$2,000-3,000 周於棟《裸女》1990年作設色紙本立軸

EARTHSTONE CHU (ZHOU YUDONG, Taiwanese, Australian, b.1950)

Naked girl ink on paper signed and one red seal of the artist 69 x 35cm

provenance

Acquired directly from the artist.

$800-1,200

周於棟《裸女》設色紙本

Chen Ning was born in Shanghai, China in 1957. He graduated from the Shanghai Arts and Crafts School and is a member of the Shanghai Artists Association. In 1989, he moved to Melbourne, Australia, where he has continued his career as a professional artist.

Chen Ning first gained recognition in the art world in 1979 when his traditional Chinese painting “In My Heart” was selected for the Shanghai Art Exhibition. During the 1980s, he rose to prominence in China’s comic art scene, producing a number of acclaimed works for Shanghai People’s Fine Arts Publishing House, including Song Shijie, Ma Chao, The Assassination at Bolang, Liu Xiu, Heroes of Lüliang, and Journey to the West. His 1986 comic “Sister’s Heart” was featured in the inaugural international issue of China Lianhuanhua (Comic Book) Magazine and was also selected for that year’s Shanghai Annual Art Exhibition. In 1995, he completed “We · Illustration”, and his Chinese painting “Liu Xiu”, published by Shanghai People’s Fine Arts Publishing House during the 2014 Shanghai Book Fair, was chosen for the 12th National Fine Arts Exhibition in China. His painting “In Remembrance” was later included in the 4th National Easel Painting Exhibition hosted by the China Artists Association in 2016.

Chen Ning’s illustrations are known for their expressive style, focusing not only on realism but also on capturing the psychological depth of his subjects and the emotional resonance of their surroundings. He believes that overconfidence in art is a creative trap, stating: “Art must change-not just in form, but in spirit and tone.”

After relocating to Australia in 1989, Chen Ning immersed himself in the study of ink painting, striving to blend traditional techniques with contemporary artistic ideas. His first solo exhibition in Australia was held at the Raja Idris Gallery in Melbourne that same year, followed by another ink painting exhibition at East and West Art Gallery in 1991. In 1993, his work “Swinging” won the Ross Art Award in Melbourne. Since then, he has held numerous solo and group exhibitions across Melbourne, Sydney, and Hobart, gaining widespread recognition and respect from both local and Western collectors and fellow artists.

CHEN NING (Chinese, Australia, b.1957) Amusing Geese

1991 ink and colour on paper inscribed, signed and two red seals of the artist. 49 x 45cm

provenance

Acquired directly from the artist.

$1,000-2,000

“Marjorie Ho as owner of EAST & WEST ART was very crucial for my career. She was the one setting up a one man show for me about 30 years ago. My first visit to Australia.

Through her passionate way of running her gallery she made it possible that I could quite successfully attend Art Fairs in Melbourne, Tokyo, Singapore and Shanghai.

Through her I ended up living permanently in Australia after years of living and working in Bali.

I’m very thankful to her. “

PETER DITTMAR, ARTIST,

NSW, BALI

Yuan Zhiqin (Un Chi lam) was born in Shanghai and moved to Macau in the 1980s with her husband, Miao Pengfei. She is a modern painter known for her non-traditional approach to Chinese painting, and has held nearly a hundred exhibitions both in China and abroad. She has published four solo art books, and her works have been featured in major compilations such as Contemporary Chinese Women Painters. Yuan Zhiqin does not title her exhibitions, as all of her works originate from her imagination. This exhibition presents figures, landscapes, and scenes of daily life through delicate and fluid brushwork that leaves a lasting impression.

YUAN ZHIQIN (Un Chi Lam, Chinese, Macau, b. 1940)

People

ink and colour on paper thirteen red seals of the artist 69 x 61cm

provenance

Acquired directly from the artist.

$1,000-2,000

袁之欽《交頭接耳》設色紙本

YUAN ZHIQIN (Un Chi Lam, Chinese, Macau, b. 1940)

Flowers

Ink and colour on paper, framed with glass four red seals of the artist 66 x 67cm

provenance

Acquired directly from the artist.

$800-1,200

袁之欽《花卉》設色紙本

Wang Xiaoxin, also known as Shitouwa, is a renowned Chinese ink artist, cultural scholar, and educator. Born on October 1, 1951, in Lantian County, Shaanxi Province, he graduated from the Xi’an Academy of Fine Arts and later studied under esteemed art theorist Liu Xiaochun. He holds the title of National First-Class Artist and is a member of the Royal Society of Arts in the UK. Additionally, he serves as a guest professor at the Xi’an Academy of Fine Arts and a curator at the Shaanxi Provincial Museum.

Wang’s work embodies a profound commitment to traditional Chinese ink painting. He is celebrated for his innovative brushwork technique, the “Shui Chong Luan Chai Cun”, which emphasizes the expressive power of ink and water. His art is characterized by a harmonious blend of spontaneity and structure, capturing the essence of nature and human emotion. Wang’s creations often reflect themes of patriotism, cultural heritage, and the human connection to the land.

Throughout his career, Wang has participated in numerous prestigious exhibitions, including:

2019 International Ink Painting Exhibition

2018 China National Art Exhibition

2017 Shaanxi Provincial Art Exhibition

His works have been featured in prominent art publications such as Meishu, Yishu Jie, and Jiangsu Huakan. Additionally, his art has been showcased in various international exhibitions across countries including Canada, the United States, and the United Kingdom.

Wang’s contributions to the art world have been recognized with several accolades, such as:

1997 Special Gold Award at the Canada International Ink Painting Exhibition for his work “Earth Child”;

2005 Gold Award at the National Urban Tour Exhibition of Chinese Calligraphy and Painting for his piece “Under the Eaves”.

His art has been collected by esteemed institutions including the Shaanxi Provincial Museum, the British Museum, and the Royal Academy of Arts.

WANG XIAOXIN (Chinese, b. 1951)

Zhang Sheng ink and colour on paper hanging scroll inscribed, signed and four five seals of the artist 76 x 72cm

provenance

Acquired directly from the artist.

$800-1,200

王小信《張生》設色紙本

Marjorie Ho is a pioneer in the collecting and promotion of Asian art in Australia.

Her commercial art gallery East and West was one of the earliest in Melbourne.

I remember the Gallery was a work of art in itself. It had several levels and as one climbed from one floor to the next one was surprised by the interesting sections of the Gallery.

I opened many of exhibitions, new visiting artists, enjoying all of them. She is a wonderful friend.

She was an enormous contributor to the collecting and interest in Asian Art in Australia.

DR MAE ANNA PANG PHD, FORMER SENIOR CURATOR OF ASIAN ART AT THE NATIONAL GALLERY OF VICTORIA, MELBOURNE

Marjorie Ho has made a significant contribution to the world of Asian art in Australia, enriching the lives of the many who visited her gallery and bought from her. Drawing on her wide-ranging knowledge and expertise, as well as her extensive local and global networks of artists, scholars and collectors, Marjorie was a catalyst for the growing appreciation of Asian art and artists in Australia, and the growing realisation that Asia is an intrinsic part of the fabric of Australian society.

Marjorie and her husband Dirk established East and West Art Gallery in 1973 in High Street, Armadale, moving to High Street, East Kew in 1990. Between 1973 and 2019, eight to ten solo or mixed exhibitions were held each year: - Asian textiles, ceramics, furniture, silver, and paintings. She was a great advocate of contemporary painting by artists from China, Japan, Indonesia and mainland Southeast Asia. Her shows – always a delight to visit and indulge – were magically exotic with each one a testament to Marjorie’s knowledge, networks and enthusiasm.

Exhibitions comprised a wide-ranging series of one-person and themed shows on topics such as Contemporary Chinese Watercolours; Japanese Woodblock Prints; Contemporary Ceramics from Shiwan, China; Burmese and Thai Antiques; and S.E.Asian Trade Ceramics.

Marjorie was a pivotal figure in the Melbourne art scene, inspiring those exposed to her articulate enthusiasm, warmth and wide-ranging knowledge of Asian art.

I knew Marjorie both in my capacity as the Inaugural Curator of Asian Art at the Art Gallery of New South Wales and as a Committee Member of The Asian Arts Society of Australia (TAASA), of which she was variously a committee member and the State Representative for Victoria. Marjorie has been a qualifier valuer for Asian art for the federal government’s Cultural Gifts Program for some thirty years and regularly exhibited at the Melbourne Art Fair.

Endorsement of her activities is reflected in the number of loyal clients she had, the quality of her exhibitions and the distinguished individuals who exhibited their own art and/or their collections with Marjorie or opened a show or gave a speech at one of her many openings. Marjorie’s contribution to the Australian appreciation of Asian art and culture has been enormous, resulting in warm memories, fascinating artworks, and gratitude. Thank you, Marjorie.

JACKIE MENZIES OAM IS EMERITUS CURATOR OF ASIAN ART AT THE ART GALLERY OF NEW SOUTH WALES AND PRESIDENT OF THE ASIAN ARTS SOCIETY OF AUSTRALIA

WANG XIAOXIN (Chinese, b. 1951) (2)

Man with turban ink and colour on paper hanging scroll inscribed, signed and two red seals of the artist

Woman and basket ink and colour on paper hanging scroll inscribed, signed and four red seals of the artist 87 x 48cm and 50x84cm

provenance

Acquired directly from the artist.

$800-1,200

王小信設色水墨立軸兩幅

Zheng Taijun is a celebrated Chinese artist known for his innovative approach to traditional Chinese painting and calligraphy, blending classical techniques with contemporary themes. Born in 1960 in China, Zheng’s artistic journey has been shaped by both rigorous academic training and a deep connection to his cultural heritage. Over the years, he has gained recognition for his mastery of ink and brush techniques, as well as his bold, modern interpretations of traditional Chinese art.

Zheng’s work is distinguished by his expressive use of calligraphy and landscape painting, where fluid brushstrokes convey both motion and stillness. His compositions often evoke a sense of harmony between nature and the individual, reflecting the underlying philosophies of Chinese culture. His distinctive fusion of abstract and realist elements in his landscapes results in paintings that are at once grounded in tradition and open to modern interpretation.

His career has spanned over several decades, with his works featured in exhibitions across China, Europe, and the United States. Zheng’s ink paintings have captivated global audiences with their delicate balance of form and energy, offering viewers a unique insight into the ancient art of Chinese brushwork, reimagined through a modern lens.

In addition to his exhibitions, Zheng Taijun’s works have been included in prestigious collections and widely recognized in major art platforms, making him one of the most sought-after contemporary Chinese artists. His landscape paintings, often imbued with symbolic meaning, have earned accolades from collectors and art critics alike, establishing him as an influential figure in the modern Chinese art scene.

Zheng’s art continues to reflect a profound respect for Chinese traditions while also pushing the boundaries of creative expression, making his works highly desirable for collectors seeking to acquire pieces that capture both timeless beauty and innovative vision.

ZHENG TAIJUN (Chinese, b.1960) ink on canvas.

Marjorie’s early support for Red Gate and the work we have done has always been on my mind. Her confidence in young Chinese artists was a great boost for them in the early days as Contemporary Chinese art took on the world. Sharing ‘zongzi’ (sticky rice wrapped in bamboo leaves) was always a pleasure – especially after a big night at the Melbourne Art Fair!

BRIAN WALLACE…. RED GATE GALLERY

One red seal of the artist.

60 x 50cm

provenance

Acquired directly from the artist.

$1,000-2,000 鄭泰均

You Si, born into a family of influential Chinese artists, is the son of Ha Qiongwen and You Longguboth renowned political propaganda artists of 1960s China. In 1982, he graduated from the Shanghai Theatre Academy’s Stage Design Department as part of the first cohort of university students after the Cultural Revolution, and began his career as a stage designer at China Central Television (CCTV). Alongside his design work, he actively explored abstract ink painting.

In the mid-1980s, You Si held groundbreaking solo and joint exhibitions with artist Mi Qiu at venues such as Beijing Ancient Observatory, Peking University, and Tsinghua University-some of China’s earliest privately-organized contemporary art shows. His work gained attention from international media, including Newsweek and The Wall Street Journal. He also held solo exhibitions at the U.S., Swedish, and Australian embassies in Beijing, with works acquired by diplomats and collectors.

From 1987 to 1988, You Si was invited by art academies in Canberra and Sydney to visit Australia, where he held solo exhibitions at East and West Art Gallery in Melbourne and Hesworth Modern Gallery in Sydney. His works were acquired by the National Gallery of Victoria and private collectors. Later that year, he joined the “Beijing Young Artists Touring Exhibition” across New York, Boston, and Los Angeles, and subsequently settled in New York.

His U.S. debut came in 1989 at East Manhattan Gallery, followed by significant participation in exhibitions like the Overseas Chinese Artists Exhibition (City University of Hong Kong, 1997), International Ink Painting Touring Exhibition (Shanghai and

During nearly two decades in the U.S., You Si transformed his artistic language, adopting a bold, abstract approach to ink. He participated in major contemporary group shows, including Boil and Fry (2002), Holiday Tribe (2004, Pinochi Contemporary Gallery), and Brooklyn’s Best Artists in Boston (2003).

His works have been collected by institutions and corporations globally, including the National Gallery of Victoria (Melbourne), the Newsweek Beijing office, and Swedish Embassy in Beijing. From 2005-2006, his art and sculpture were acquired by high-end commercial properties, including Fortune Plaza in Shanghai. In 2006, his painting was gifted to the Italian luxury cruise liner Costa. He also contributed interior designs for the Shanghai International Cruise Terminal.

You Si returned to China in the 2000s, continuing to evolve his practice. He held several important solo exhibitions, including Margins (ART LABOR, 2007), The Evolution of Margins (Shanghai Urban Sculpture Art Center, 2008), and The Bloom of Time (BU-YI Art Gallery, Hong Kong, 2011). His works were also featured in the Sino-Greek exhibition Material Links (2008), touring MoCA Shanghai, CACT Thessaloniki, and Technopolis Athens.

YOU SI (Chinese, b. 1954) (2) Landscape 1987 ink on paper two hanging scrolls each with two red seals of the artist. 101 x 76cm each

provenance

ZHENG TAIJUN (Chinese, b.1960)

ink on canvas

two red seals of the artist

60 x 50cm

provenance

Acquired directly from the artist.

$1,000-2,000

鄭泰均《樹》水墨布面

A SET OF EIGHT FRAMED PAINTINGS BY ZHENG TAIJUN (8)

Landscape

ink on canvas, framed, signed and one red seal of the artist.

Largest: 39cm diameter

provenance

Acquired directly from the artist.

$1,000-2,000

鄭泰均

YOU SI (Chinese, b. 1954)

Landscape, ink on paper, hanging scroll, one red seal of the artist. 99 x 97cm

provenance

Acquired directly from the artist.

$1,000-2,000 游絲《山水》水墨紙本立軸

YOU SI (Chinese, b. 1954)

Ink on paper hanging scroll

Two red seals of the artist 101 x 99cm

provenance

Acquired directly from the artist.

$1,000-2,000

游絲《無題》水墨紙本立軸

YOU SI (Chinese, b. 1954)

1986

Ink on paper, hanging scroll, three red seal of the artist 176 x 94cm

provenance

Acquired directly from the artist.

$1,000-2,000 游絲《無題》1986年作水墨紙本立軸

Kang Ning is a distinguished Chinese artist renowned for his mastery in traditional Chinese painting, particularly his expressive depictions of birds and flowers. Born in Jinzhou, Liaoning Province, and later relocating to Beijing, Kang’s artistic journey began in his youth, influenced by classical Chinese aesthetics and calligraphy .

Kang Ning’s work is celebrated for its elegant simplicity and profound symbolism. His signature bird-and-flower compositions, such as present one, showcases his delicate brushwork and keen observation of nature . These pieces often carry rich cultural meanings, reflecting themes of prosperity, harmony, and the transient beauty of life.

Kang Ning’s works have been featured in prestigious exhibitions, including the 2011 “Multiple Impressions: Contemporary Chinese Woodblock Prints” at the University of Michigan Museum of Art . His artworks are held in esteemed collections, such as the Art Institute of Chicago and the Art Gallery of New South Wales.

KANG NING (Chinese, b.1938)

Heron ink and colour on paper hanging scroll inscribed, signed and one red seal of the artist 43 x 33cm

provenance

Acquired directly from the artist.

$2,000-3,000

康寧《鷺》設色紙本立軸

Chen Chao-pao was born in 1948 in Changhua, Taiwan. He began his artistic journey in 1967 at the Taiwan Academy of Arts and graduated in 1970, soon becoming active in the local art scene. By 1972, he was contributing a monthly cartoon column to Crown Magazine and became widely recognized as the chief cartoonist for the United Daily News in Taipei.

His solo exhibition at the American Cultural Center in Taipei in 1979 marked a turning point in his painting career, followed by numerous shows at Lungmen and Spring Galleries. A trip to Japan in 1980 inspired his popular Travels in Japan cartoon series and the publication of Collected Paintings of Chen Chaopao. In 1983, he exhibited at the Beaumler Gallery in West Germany and later settled in Paris, where he continues to create art blending Eastern and Western influences.

Chen’s style uniquely merges traditional Chinese painting with abstract and expressionist elements, reflecting human and social themes. Art critic Chen Chi Kuan has praised his work as deeply connected to contemporary life-engaging, relevant, and artistically validating.

Exhibitions Highlights (2000s-2020s):

2008: Participated in the Beijing International Art Biennale during the Olympics.

2002-2012: Returned to Taiwan, taught at the National Taiwan University of Arts, and continued exhibiting.

2021: Held a major retrospective, Chen ChaoPao-The Dynasty of Arts, at the National Dr. Sun Yat-sen Memorial Hall, Taipei. The show featured eight series, such as “Buddha,” “Female Body,” and “Insight.”

CHEN CHAO-PAO (Chinese, Taiwanese, b.1948)

Cat ink and colour on paper signed and one red seal of the artist.

70 x 34cm and 52.5 x 41.5cm;

provenance

Acquired directly from the artist.

$1,000-2,000

陳朝寶《貓》兩幅設色紙本

CHEN HONGZHEN (Chinese, Taiwanese, 1923-)

Ducking

ink and colour on paper hanging scroll

signed and one red seal of the artist

70 x 58cm

provenance

Acquired directly from the artist.

$800-1,200

陳朝寶《鴨》設色紙本立軸

Chen Hongzhen, also known as Chen Chengzhang, is a highly respected Chinese-Taiwanese painter, printmaker, and art educator. Born in Tongling, Fujian, and now based in Taiwan, Chen is celebrated internationally for his pioneering contributions to traditional Chinese printmaking and modern ink art.

Educated in Fujian and influenced by a lineage of accomplished artists, Chen’s work bridges classical Chinese aesthetics with innovative technique. In the 1940s, he rose to prominence with powerful woodcut works and theoretical writings. He later became a cultural ambassador through numerous solo and group exhibitions in the U.S., U.K., Japan, Korea, Brazil, and Southeast Asia.

Chen is especially known for: Large-scale woodcuts of Chinese sages and historical figures.

“New Image Calligraphy” and “One-Stroke Ink Drawings”, blending text and form with rhythmic brushwork.

The monumental “Panorama of Taiwan’s CrossIsland Highway”, a 42-piece ink landscape tribute to Taiwan’s natural beauty and national spirit.

His works are held in major museum collections across Asia, Europe, and the Americas, and he has been widely praised by critics, scholars, and cultural leaders for advancing Chinese visual culture on a global stage.

CHEN HONGZHEN (Chinese, Taiwanese, 1923-) Landscape ink and colour on paper hanging scroll inscribed, signed and one red seal of the artist

92.5 x 66cm

provenance

Acquired directly from the artist.

$800-1,200

陳洪甄

CHEN HONGZHEN (Chinese, Taiwanese, 1923-)

Flowers and bird ink and colour on paper hanging scroll inscribed, signed and one red seal of the artist

80 x 66cm

provenance

Acquired directly from the artist.

$800-1,200

陳洪甄

Zheng Yuebo was born in Singapore and spent his early years in Southeast Asia before moving to China. In 1928, he enrolled at the Hangzhou School of Art, where he received formal training in traditional Chinese painting. His education laid the foundation for his distinctive artistic style.

Zheng was renowned for his mastery in ink and color painting, particularly his innovative techniques such as “permeable-paper painting” and “finger painting.” These methods allowed him to create dynamic compositions that conveyed movement and emotion, setting his work apart in the realm of modern Chinese art.

His artworks have been showcased in esteemed institutions, including the Liaoning Provincial Museum in Shenyang, where a retrospective highlighted his contributions to modern Chinese painting. Additionally, his work has been featured in exhibitions at the Zhejiang Art Museum, reflecting his prominence in the art community.

His oeuvre often features subjects like horses, cats, and lotus flowers, rendered with expressive brushwork and a keen attention to detail. These themes resonate with collectors and art enthusiasts who appreciate the depth and symbolism inherent in his compositions.

ZHENG YUEBO (Chinese, 1907-1991)

Carp ink on paper hanging scroll singed and one red seal of the artist.

69 x 33.5cm

provenance

Acquired directly from the artist.

$800-1,200

鄭月波《鯉魚跳龍門》水墨紙本立軸

Born in 1946 in Meizhou, Guangdong, Professor Weng Zhenru is a globally celebrated ChineseAustralian artist, cultural ambassador, and leading figure in contemporary Lingnan painting. A direct disciple of the legendary Zhao Shao’ang, Weng has spent decades bridging Eastern and Western art traditions through his innovative ink work and passionate commitment to cultural exchange.Now based in Australia, Professor Weng serves as President of both the Australian Artists Association and the Australian Calligraphers Association, and he is recognized as a Justice of the Peace for his outstanding contributions to society. His influence extends throughout academia, having been invited as a visiting professor to top universities across China, including the Communication University of China, Beijing Forestry University, Shandong University, and more. Professor Weng’s artwork has graced the walls of galleries and museums in over a dozen countries—including China, the United States, the United Kingdom, and Germany—and is proudly held in the permanent collection of the National Art Museum of China and other prestigious institutions. His extensive body of published work, including Ink Affections, The Lingnan School of Painting in Australia, and Essays on Weng Zhenru’s Art, has become essential reading in modern ink painting discourse.Weng’s career is also defined by his cultural diplomacy. In 2000 and 2008, he was invited to donate artworks to the Sydney and Beijing Olympic Games, respectively. In 2012, two of his large-scale works—Harmony is Beauty and The Grand View of Heaven and Earth—were installed in Beijing’s Great Hall of the People. That same year, he was selected to deliver the opening address at the World Chinese Overseas Art and Calligraphy Exhibition at the National Museum of China, representing artists worldwide.A champion of artistic philanthropy, Weng established the Weng Zhenru Art Charity Foundation in Australia in 1996, which signed a groundbreaking cultural exchange agreement with the China Federation of Literary and Art Circles in 1999. His art has since become a staple in major international auctions, with works featured at Beijing Poly, Duoyunxuan, and Hanhai, entering the global art market with remarkable success.Professor Weng has received numerous accolades throughout his career, including Outstanding Artist Awards in Australia, the U.S., and the U.K., as well as multiple national honors from the Australian Federal Government for his contributions to the arts and multicultural engagement.In 2012, the Weng Zhenru Art Museum was inaugurated in Panyu, Guangdong—the heart of Lingnan culture—marking a milestone in his legacy. That same year, the Weng Zhenru Art Studio opened in Beijing’s renowned 798 Art District, further cementing his influence on China’s contemporary art scene.

WENG ZHENRU (Og Cheng Ru, Chinese, Australian, b.1946)

Damo

Ink and colour on paper

inscribed, signed and four red seals of the artist. 144 x 56cm

provenance

Acquired directly from the artist.

$4,000-6,000

翁真如

DING YANYONG (Chinese, Hong Kong,19021978)

Landscape with shrine, 1976, ink and colour on paper, hanging scroll, inscribed, signed and one red seal of the artist 96 x 35.5cm

provenance

Acquired directly from the artist.

$5,000-8,000

丁衍庸《深山藏古寺》1976年作設色紙本立軸

DING YANYONG (Chinese, Hong Kong,19021978)

Journey to the West, ink and colour on paper, hanging scroll, signed and one red seal of the artist 69 x 46cm

provenance

Acquired directly from the artist.

$3,000-5,000

丁衍庸《西遊記》設色紙本立軸

CHEN CHAO-PAO (Chinese, Taiwanese, b. 1948)

Caocao and Er Qiao

dated to 1984 ink and colour on paper, framed, inscribed, dated, signed and one read seal of the artist

71 x 48.5cm

provenance

Acquired directly from the artist.

$1,500-2,500

陳朝寶《曹操與二橋》1984年作設色紙本

CHEN CHAO-PAO (Chinese, Taiwanese, b. 1948)

Li Bai 1985

ink and colour on paper, framed with glass signed, dated, and one red seal of the artist 92 x 63cm

provenance

Acquired directly from the artist.

$1,500-2,500

陳朝寶《李白》1984年作設色紙本

CHEN CHAO-PAO (Chinese, Taiwanese, b. 1948) (2)

each Ink and colour on paper, framed with glass, signed and sealed 94 x 34.5cm

provenance

Acquired directly from the artist.

$1,500-2,500

陳朝寶《羅漢》兩幅設色紙本

Ding Bin is an influential figure in contemporary Chinese art, known for seamlessly bridging traditional Chinese ink painting with cutting-edge digital media. A graduate of the prestigious Central Academy of Fine Arts (1984), Ding has cultivated a multidisciplinary career spanning fine art, architecture, visual branding, and new media.

Early in his career, Ding became a pioneer of independent art exhibitions in post-reform China. In 1985, he co-hosted one of Beijing’s first self-curated duo exhibitions, marking him as a bold voice in a rapidly evolving cultural landscape.

In 1992, Ding was awarded a prestigious artist residency in London through the Sino-British Fellowship Trust and the Delfina Studio Trust, reflecting early international recognition of his talent. His time in the UK deepened his understanding of cross-cultural aesthetics and further inspired his synthesis of East and West.

Upon returning to China, Ding ventured into the intersection of art and media. In 2000, he co-founded Century Factory, a groundbreaking visual branding firm that served China’s top television networks. His visionary direction and use of traditional Chinese motifs in modern media set new standards in the industry. Notably, in 2003, Ding led the creation of a 3D ink + Peking Opera visual series for CCTV’s Opera Channel - a landmark work that won the Global Artist Award and Asian Artist Award from BDA & Quantel (New York), the only Asian recipient that year.

In 2005, Century Factory successfully completed a round of international financing and was listed on the NASDAQ, marking an unprecedented achievement for a Chinese visual branding company. Ding later played a key role in the visual presentation of the 2008 Beijing Olympics, contributing to both sports and live-event video displays.

Since 2010, Ding has returned to his roots as a fulltime artist. His recent works are deeply personal, blending the expressive lyricism of traditional Chinese ink with modern abstraction, video art, and spatial installation. His ability to move fluidly between mediums, while retaining a strong cultural identity, places him among the most innovative contemporary Chinese artists.

Ding Bin’s works have been collected by institutions, private collectors, and have appeared in both domestic and international exhibitions. With a rich history of innovation, cross-cultural dialogue, and technical mastery, Ding’s art resonates with collectors seeking work that both honours tradition and redefines it.

DING BIN (Chinese, b. 1960)

Atmosphere 1990

ink and colour on paper hanging scroll inscribed, signed and three red seals of the artist 182 x 97cm

provenance

Acquired directly from the artist.

$1,000-2,000

DING BIN (Chinese, b. 1960)

Trees 1990

ink and colour on paper hanging scroll

Dated, signed and one red seal of the artist 102 x 102cm

provenance

Acquired directly from the artist.

$800-1,200

丁彬《樹》1990年作設色紙本立軸

DING BIN (Chinese, b. 1960)

Leaves 1989

ink and colour on paper hanging scroll

inscribed, signed and three red seals of the artist. 96 x 90cm

provenance

Acquired directly from the artist.

$800-1,200

丁彬《落葉》1989年作設色紙本立軸

DING BIN (Chinese, b. 1960) (4)

Modern Beijing 1990

ink and colour on paper hanging scroll inscribed, signed and two red seals of the artist

Ladies in Black with Bamboo 1990

ink and colour on paper hanging scroll inscribed, signed and two red seals of the artist

Red Wall-Modern Beijing 1990

ink and colour on paper hanging scroll

inscribed, signed and two red seals of the artist

Winter Beijing

ink and colour on paper hanging scroll inscribed, signed and two red seals of the artist 105 x 102cm (each)

provenance

Acquired directly from the artist.

$2,000-3,000

丁彬《當代北京系列》四幅設色紙本立軸

Marjorie’s dedication, amazing knowledge and enthusiasm for Asian Art has been a major contributor and supporter of contemporary artists working in a field that references and respects the traditions of the past yet strives to push forward to the future.

Marjorie’s response to seeing the sumi ink paintings that I had created over a number of years whilst working in China and Hong Kong was, “It’s like a breath of fresh air to me to see such a merge of traditional Chinese technique and Western thought and design. Fits in with my constant argument with art critics about the direction of Chinese 20th Century art as I hate this ageing of the West, just to sell.” Marjorie Ho 2013

This insight by Marjorie sums up her appreciation of contemporary art that merges Chinese technique and Western thought for its cultural value and is an invitation for the artist, curator and collector to engage in something deeper beyond the commercial.

ANNA GLYNN ARTIST NSW

Born in Beijing in 1956 and currently based between Shenzhen and Sydney, Shen Shaomin is a boundarypushing, multidisciplinary artist whose practice spans installation, sculpture, conceptual painting, video, documentary, poetry, and public art. A tireless innovator, Shen blends deep philosophical inquiry with experimental materials, producing works that provoke thought and challenge perceptions.

He serves as the Director of the Public Art Research Institute at Shenzhen University’s Benyuan Design and Research Centre, and is also the Art Director of the Science + Art Joint Laboratory—roles that reflect his commitment to fostering interdisciplinary dialogue between the arts and sciences.

Over the past four decades, Shen has developed a global presence through his impactful exhibitions and iconic works. He has held solo exhibitions at major institutions including the 4A Centre for Contemporary Asian Art (Sydney), Eli Klein Fine Art (New York), Mucciaccia Contemporary (Rome), Tang Contemporary Art (Beijing), and Today Art Museum (Beijing). His work has also been included in prominent biennales and triennials such as the Sydney Biennale, Liverpool Biennale (UK), Busan Biennale (South Korea), Kiev Biennale (Ukraine), Shanghai Biennale, Guangzhou Triennial, and the Shenzhen-Hong Kong Bi-City Biennale of Urbanism/ Architecture.

Shen’s art is as intellectually rigorous as it is visually striking. His early explorations in printmaking and soft sculpture eventually evolved into powerful conceptual works that interrogate identity, control, nature, and mortality. His celebrated Unknown Creatures series features hybrid skeletal forms constructed from real animal bones, evoking ancient myths while questioning contemporary ethics and scientific intervention. In Fighter X, a five-meter-long deconstructed fighter jet sculpture, Shen critiques militarism and the illusion of power. His Bonsai series, which manipulates living trees into contorted shapes through wires and pulleys, is a haunting metaphor for social conditioning and the human desire to dominate nature.

Internationally recognized, Shen’s works have been featured in esteemed venues such as the Museum of Arts and Design (New York), Millennium Park (Chicago), and the Museum on the Seam (Jerusalem). His Bonsai series was prominently showcased at the 17th Sydney Biennale, earning critical acclaim for its poignant narrative and technical mastery.

For collectors, Shen Shaomin’s art represents a rare fusion of poetic philosophy and avant-garde experimentation. His ability to reinterpret traditional Chinese aesthetics through a contemporary lens, while addressing urgent global themes, makes his work deeply resonant and culturally significant. Each piece offers not only visual intrigue but also layers of intellectual and symbolic meaning.

With his works held in significant public and private collections around the world, Shen Shaomin continues to be a driving force in global contemporary art—an artist whose practice not only reflects the complexities of our age but also dares to shape the future of visual culture.

SHEN SHAOMIN (Chinese, Australian, b. 1956)

Abstract blue

1995

Chinese cloth remnants 58 x 57cm

provenance

Acquired directly from the artist.

$2,000-3,000

沈少民《抽象之藍》1995年作綜合材質

SHEN SHAOMIN (Chinese, Australia, b. 1956)

Abstract brown No.9

Chinese cloth remnants, framed 65 x 60 cm

provenance

Acquired directly from the artist.

$2,000-3,000

沈少民《抽象之棕9號》綜合材質

SHEN SHAOMIN (Chinese, Australia, b. 1956)

Abstract brown No: 10 Chinese cloth remnants, famed 73 x 72cm

provenance

Acquired directly from the artist.

$2,000-3,000

沈少民《抽象之棕10號》綜合材質

SHEN SHAOMIN (Chinese, Australian, b. 1956)

Abstract brown Chinese cloth remnants 65 x 60cm

provenance

Acquired directly from the artist.

$2,000-3,000

沈少民《抽象之棕》綜合材質

SHEN SHAOMIN (Chinese, Australia, b. 1956)

Abstract brown No: 8 Chinese cloth remnants, framed. 68x57cm

provenance

Acquired directly from the artist.

$2,000-3,000

沈少民《抽象之棕8號》綜合材質

JI WYE TO (Chinese, Hong Kong, b. 1956)

Cloud is Mountain 5

2004

Acrylic on canvas

Signed

122 x 61cm

provenance

Acquired directly from the artist.

exhibitions

Ji Wye To (born 1956 in Hong Kong) has showcased his work across regions including Shanghai, Hong Kong, Taiwan, Macau, Singapore, Canada, and Australia. His artworks are part of several prominent collections, such as the Shanghai Art Museum, the French Cultural Association in Hong Kong, the Macau Municipal Council, the University of Sydney, the Asian Centre at the University of British Columbia, and the Chinese Cultural Centre of Vancouver. In 1988, he launched Furnace Newsletter, a publication that fostered critical discourse in Hong Kong’s art scene. The following year, he initiated Art Action, a collective effort that brought together artists from mainland China, Taiwan, Hong Kong, and the Chinese diaspora in North America to promote contemporary Chinese art on a broader scale.

Between 1986 and 1989, Ji studied art and philosophy at Hong Kong Buddhist College (Buddhist Luen Yan Institute), shaping a distinctive philosophical and cultural viewpoint. His practice is heavily informed by Chan (Zen) Buddhism, phenomenology, and the idea of emptiness. These influences guide his approach to creating art that emphasizes the power of absence, expresses vastness within constraints, and leads viewers through a transformation from tangible forms to abstraction-offering an introspective and spiritually enriching visual experience.

Melbourne, East and West Art Gallery, Cloud is Mountain, March 2006, No.5.

literature

Melbourne, East and West Art Gallery, Cloud is Mountain, March 2006.

$1,000-2,000

杜之外《雲山5號》2004

JI WYE TO (Chinese, Hong Kong, b.1956)

Cloud is Mountain No. 9

2004

Acrylic on canvas

Signed lower right

120 x 120cm

provenance

Acquired directly from the artist.

exhibitions

Melbourne, East and West Art Gallery, Cloud is Mountain, March 2006, No. 9.

literature

Melbourne, East and West Art Gallery, Cloud is Mountain, March 2006.

$1,500-2,500

杜之外《雲山9號》2004年作布面丙烯

JI WYE TO (Chinese, Hong Kong, b. 1956)

Cloud is mountain No. 10

2005

Acrylic on canvas

Signed lower right 120 x 120cm

provenance

Acquired directly from the artist.

exhibitions

Melbourne, East and West Art Gallery, Cloud is Mountain, March 2006, No. 10.

literature

Melbourne, East and West Art Gallery, Cloud is Mountain, March 2006.

$1,500-2,500

杜之外《雲山10號》2004年作布面丙烯

JI WYE TO (Chinese, Hong Kong, b.1956)

Cloud is Mountain No. 4

acrylic on canvas signed 74 x 49cm

provenance

Acquired directly from the artist.

exhibitions

Melbourne, East and West Art Gallery, Cloud is Mountian, March 2006, No. 4.

literature

Melbourne, East and West Art Gallery, Cloud is Mountian, March 2006.

$600-800

杜之外《雲山4號》2004年作布面丙烯

Song Ling, born in 1961 in Hangzhou, China, graduated from the Zhejiang Academy of Fine Arts in 1984 with a degree in traditional Chinese painting. Early in his career, he participated in the influential ‘85 New Space Exhibition, contributing his Man · Pipeline series. A year later, in 1986, he co-founded the Pond Society—one of China’s first avant-garde artist collectives—alongside Zhang Peili, Geng Jianyi, and others. His Meaningless Choice series made Song a notable figure in the New Wave art scene. In 1988, he moved to Melbourne, Australia, continuing his creative pursuits while also introducing Chinese contemporary art to an international audience. Over the years, he held numerous solo exhibitions in Australia and China, developing a hybrid artistic language that combined ink, acrylic, collage, and mixed media. He returned to China in 2013, establishing a new studio in Hangzhou and beginning a fresh phase of creation. Song Ling’s work has been widely recognized and collected by major institutions including Art bank Australia, ANZ Bank, White Rabbit Gallery, Deakin University, and the Long Museum. His retrospective exhibitions—Ghosts in the Mirror (2014–15) and I Also Begin to Desire (2023)—traced the evolution of his creative journey from the New Wave period to his later transnational practice. Throughout his career, Song has remained committed to experimenting with form and medium, while maintaining a critical dialogue with both Chinese and Western visual traditions. His work continues to reflect the core tenets of Rational Painting—analytical observation, abstraction, and philosophical reflection—while also embracing personal memory, cultural hybridity, and contemporary concerns.

SONG LING (Chinese, Australia, b. 1961)

Meaningless Choice?

Ink and colour on paper

68 x 68cm

provenance

Acquired directly from the artist.

$2,000-3,000

宋陵《无意义的选择？》水墨纸本

Sadegh Tabrizi (1938-2018) was a visionary Iranian artist whose works bridged the gap between the ancient tradition of Persian miniature painting and modern artistic innovation. One of the most prominent figures in contemporary Iranian art, Tabrizi became internationally known for his masterful techniques, exquisite detail, and innovative fusion of traditional Persian art with contemporary elements.

Tabrizi’s early training in the classical techniques of Persian miniature enabled him to capture the rich cultural heritage of Iran while injecting his works with personal expression and modernist sensibilities. His artwork reflects his deep reverence for classical Persian art, especially Persian calligraphy and miniature painting, yet he was not confined by tradition. His bold approach to composition, colour, and subject matter set his work apart, making it highly distinctive and sought after.

The artist’s mastery of miniature techniques and fine details is evident in his figurative and abstract works, where he often explored themes of spirituality, humanity, and nature. His paintings, often set against intricate patterns and rich backgrounds, exhibit an elegance and complexity that merge classical Persian iconography with modernist abstraction. Tabrizi’s use of vibrant colour and meticulous attention to detail conveys a sense of movement and emotion that is both striking and timeless.

Throughout his career, Tabrizi exhibited widely both in Iran and internationally, participating in numerous solo and group exhibitions. His works have been displayed in prominent galleries and collections around the world, gaining critical acclaim and solidifying his reputation as one of the great masters of contemporary Iranian art.

Tabrizi’s legacy continues to inspire both artists and collectors alike. His paintings are now part of private and public collections in prestigious museums and galleries across the globe. His fusion of traditional Persian art with contemporary aesthetics not only offers a profound visual experience but also reflects the ongoing dialogue between Iran’s rich cultural history and the modern world.

SADEGH TABRIZI (1938 - 2018) (2)

Calligraphy, acrylic on canvas, signed on the lower right. 119 x 81cm

provenance

Acquired directly from the artist.

$4,000-6,000

Margaret Cone opening the Ceramic Exhibition

Delwin Cheah (b. 2003, Penang, Malaysia) is a globally celebrated young artist whose extraordinary talent has captivated audiences and collectors alike. Diagnosed with Asperger Syndrome at the age of five, Delwin began drawing as a toddler. What began as a therapeutic outlet quickly evolved into a powerful and expressive art form-marked by vibrant storytelling, emotional depth, and intricate detail.

At just nine years old, Delwin achieved a remarkable milestone: he held his first solo art exhibition in Penang, showcasing over 70 original works. This record-breaking event earned him a place in the Malaysia Book of Records as the youngest artist to hold a solo visual art exhibition, and he was later internationally recognized by Record Setter USA as the World’s Youngest Savant Autistic Artist to Hold a Solo Art Exhibition.

Delwin’s creative journey has been nothing short of inspiring. His exhibitions have received critical acclaim, with his art shown in notable venues such as Pink Guy Gallery in Kuala Lumpur. One of his standout shows, The Great Imagination (2023), reimagined the legacy of Leonardo da Vinci through Delwin’s unique artistic lens-merging imagination, historical reverence, and his own singular perspective.

His talent and resilience have captured the attention of leaders and luminaries across the globe. Delwin received a personal letter of recognition from former U.S. President Barack Obama, commending his

contributions to the arts and his role as an inspiration to youth worldwide. His artworks are now proudly held in prestigious private collections, including those of Queen Elizabeth II, Tun Siti Hamsah, Tan Sri Michelle Yeoh, and others.

In 2017, Delwin was honoured with a cultural ambassador role at the Shanghai Oriental Art Centre, where he represented love and awareness for children with special needs in China-an initiative led by renowned artist Simon Ma. This role further cemented Delwin’s influence as not only an artist but also a symbol of inclusion and hope.

Now in his early twenties, Delwin Cheah continues to evolve as an artist. His work embodies a compelling narrative of perseverance, imagination, and emotional richness. For collectors, Delwin’s art offers a rare opportunity to engage with a truly original voice-one that bridges the worlds of art, advocacy, and human potential.

DELWIN CHEAH (Malaysian, b. 2003)

Animals Pen and Ink on paper, framed with glass 53 x 36cm provenance

Acquired directly from the artist.

$800-1,200

Eric Quah (b. 1946) is a prominent Malaysian contemporary artist known for his expressive style that blends abstraction and cultural narrative. His works often explore themes of identity, memory, and migration, drawing inspiration from his early life in Penang and his travels abroad. Quah’s signature use of vivid colour and layered composition has earned him a respected place in Southeast Asian art. He has exhibited widely, including at ILHAM Gallery and Gehrig Art Gallery, and his works are held in both private and institutional collections.

ERIC QUAH (Malaysian, b. 1949) (6) No.30 oil on canvas framed

No.33 oil on canvas framed

Padi Fields Series Panorama 8 oil on canvas framed

Padi Fields Series Panorama 5 oil on canvas framed

Padi Fields Series oil on canvas framed

Padi Fields Series Panorama 2 oil on canvas framed

31.5 x 31cm (each, framed)

provenance

Acquired directly from the Artist. $800-1,200

Fang Xiang (b. 1967, Shantou, Guangdong Province, China) is a prominent contemporary Chinese artist renowned for his evocative depictions of traditional Chinese courtyards and water villages. His work seamlessly blends traditional Chinese ink techniques with vibrant Western colour palettes, creating a unique fusion that resonates with international audiences.

Fang’s paintings are celebrated for their intricate details and harmonious compositions. He often portrays serene domestic spaces, lush gardens, and tranquil waterways, capturing the essence of traditional Chinese life. His use of colour and light imbues these scenes with a sense of nostalgia and timeless beauty.

Fang’s works have been featured in numerous prestigious exhibitions worldwide, including:

ART Singapore (2002-2005);

Shenzhen Ink Painting Biennale (2002);

Solo exhibitions in cities such as Hong Kong, Singapore, Chicago, and Toronto.

Fang has received several accolades for his contributions to Chinese art, including:

Second place in the Ninth Nationwide Art Exhibition.

Excellence award at the First Nationwide Landscape Paintings Exhibition.

With a career spanning over three decades, Fang’s works have been exhibited in major cities across Asia, Europe, and North America. His art is held in esteemed collections and continues to captivate collectors and art enthusiasts around the globe.

FANG XIANG (Chinese, b.1967)

Garden Scene with Lotus and Geese Ink and colour on paper, hanging scroll, one artist’s seal reading Fang Xiang 72.5 x 52.5cm

provenance

Acquired directly from the artist.

$1,500-2,500 方向《庭院》設色紙本立軸

I have known Marjorie Ho for 20 years through my Brother Weng Kee Kwek's Art exhibitions at the East and West Gallery. Marjorie's keen passion in showcasing Chinese Contemporary Paintings from China, Hong Kong, Japan and Singapore was inspiring.

I have been enriched seeing the artistic expressions and cultural variations through these Paintings and Prints.

JOSEPHINE TAN

Nyoman Gunarsa (1944-2017) was a seminal figure in the evolution of modern Balinese art, renowned for his dynamic fusion of traditional Balinese themes with expressive modernist techniques. Born in Klungkung, Bali, in 1944, Gunarsa embarked on his artistic journey at the Indonesian Academy of Fine Arts (ASRI) in Yogyakarta, where he later served as a lecturer, influencing generations of artists.

Gunarsa’s oeuvre is characterized by vibrant depictions of Balinese dancers, mythological figures, and religious ceremonies, rendered with bold brushstrokes and a vivid colour palette. His work transcends mere representation, capturing the spiritual and cultural essence of Bali through a modernist lens. He often described his creative process as “drawing lines like singing and placing colors like dancing,” reflecting his deep connection to the rhythmic and performative aspects of Balinese culture.

Throughout his illustrious career, Gunarsa held numerous solo exhibitions across Indonesia and internationally, including in Malaysia, Australia, the Netherlands, Japan, Singapore, France, Monaco, and the USA. His works have been featured in prestigious institutions such as the British Embassy in Jakarta, Blance Gallery in San Francisco, and Opera-Gallery in Paris.

His contributions to the arts have been recognized with several accolades, including:

Pratisara Affandi Adikarya Award (1976)

Best Work in the Biennial Indonesian Fine Arts Exhibition (1978 & 1980)

Lempad Prize Award (1980)

Silver Medal in the First Biennale of Yogyakarta Painting Arts (1988)

Dharma Kusuma Cultural Award from the Bali Regional Government (1994)

Satyalancana Culture Art Award from the President of the Republic of Indonesia (2003)

NYOMAN GUNARSA (Indonesian, 1944-2017)

Moksa Kohuk Dance (Two Male Dancers) 2005,

Oil on canvas, with original hand carved wooden frame, signed in Balinese and dated ‘2002’ (lower right). Image: 145 x 145cm

provenance

Acquired directly from the artist.

$7,000-9,000

NYOMAN GUNARSAN (Indonesian, 1944-2017)

Three Female Dancers

oil on canvas, in the original carved frame, signed in Balinese and dated ‘2002’ (lower right) Image: 67 x 67cm; overal: 111 x 111cm

provenance

Acquired directly from the artist.

$3,000-5,000

NYOMAN GUNARSAN (Indonesian, 1944-2017) (2)

Nude girl pastel on paper signed lower left

Dancing girl pastel on paper signed lower right 76 x 55cm

provenance

Acquired directly from the artist.

$1,000-2,000

Raymond Fung Wing Kee, born in 1952, is a distinguished Hong Kong artist and architect. He began exploring Chinese ink painting at the age of 15, and over the years, developed a unique style shaped by his architectural background and deep connection to the local landscape. Renowned for his multi-panel (polyptych) compositions, Fung’s works are often seamlessly integrated into interior spaces. Feng Zhengxian, former director of the Shanghai Art Museum, once described his art as a “utopia of the spiritual,” reflecting Fung’s own view that ink painting should go beyond mere visual representation to express a sense of space and emotion.

Fung gained widespread recognition in 1989 through the landmark exhibition Contemporary Chinese Painting 1984–89, curated by Professor Wu Hung at Harvard University.

Over the years, Fung has held solo exhibitions internationally in cities such as New York, Paris, Beijing, Shanghai, Avignon, Taipei, Hangzhou, and Hong Kong. His works are part of prestigious collections worldwide, including the Asian Art Museum of San Francisco, the National Art Museum of China, the China Art Museum (Shanghai), the Hong Kong Museum of Art, UMAG at The University of Hong Kong, and the Hong Kong Heritage Museum.

RAYMOND FUNG (FENG YONGJI, Hong Kong, b. 1952) (4)

Dance of the Four Seasons Quadtych ink and colour on paper signed, dated 1988 and two red seals of the artist 69 x 69cm each

provenance

Acquired directly from the artist.

$3,000-5,000 馮永基

RAYMOND FUNG (FENG YONGJI, HONG KONG, b. 1952)

River Landscape ink and colour on paper signed, dated and two red seals of the artist.

68 x 68 cm

provenance

Acquired directly from the artist.

$1,000-2,000

馮永基《江景》設色水墨

YOU SI (Chinese, b. 1954)

Abstract

Ink on paper, framed with glass two red seals

136 x 70cm

provenance

Acquired directly from the artist.

$1,000-2,000

游絲《抽象》水墨紙本

YOU SI (Chinese, b. 1954) (4)

Abstract

Ink on paper, framed, two red seals.

136 x 70cm

provenance

Acquired directly from the artist.

$2,000-3,000

游絲《抽象》水墨紙本

Ruby H. Wang (1932-2018) was a distinguished ChineseAmerican artist renowned for her evocative watercolour paintings that seamlessly blend traditional Chinese aesthetics with Western artistic techniques. Born in Nanjing, China, and raised in Wuxi near Shanghai, Wang’s early education in fine arts was under the tutelage of Professor C.P. Huang at Taiwan Normal University. She further honed her skills at the Pennsylvania Academy of Fine Arts in Philadelphia, where she developed a unique artistic voice that resonated with both Eastern and Western sensibilities.

Wang’s artistic journey was deeply influenced by her cultural heritage and her experiences in the United States. Her work often explores themes of nature, tranquility, and the human connection to the environment, reflecting a meditative approach to painting. She believed in the power of water and ink as expressive tools, stating, “Water and ink were once a very familiar part of my painting repertoire, now I have rediscovered their powerful potential.”

Throughout her career, Wang’s work has been exhibited in various prestigious venues, including the Roberson Museum and Science Centre in Binghamton, New York. Her paintings are held in private collections worldwide and have been featured in exhibitions that highlight the fusion of Eastern and Western artistic traditions.

As an educator, Wang was committed to sharing her knowledge and passion for watercolour painting. She served as an instructor at the New York Watercolour Society, imparting her skills and philosophy to a new generation of artists.

Ruby H. Wang’s artworks offer collectors a rare opportunity to acquire pieces that embody the elegance of traditional Chinese art while resonating with contemporary sensibilities. Her innovative use of materials and thought-provoking themes make her works not only aesthetic treasures but also cultural artifacts that reflect the enduring legacy of Chinese artistic heritage.

RUBY H. WANG (HUA ZHINING, Chinses, American, 1932-2018)

ink and colour on paper, framed with glass

Acquired directly from the artist.

《山水》1984年作設色紙本

RUBY H. WANG (HUA ZHINING, Chineses, American, 1932-2018) (2)

Impression of China

ink and colour on paper, signed and one red seal of the artist

Composition of lotus,

ink and colour on paper, signed and one red seal of the artist 60 x 40cm each

Acquired directly from the artist.

設色紙本兩幅

Xing Baozhuang (1940 - 2020) stands as a celebrated figure in the world of Chinese ink painting, recognized for his profound technical mastery and his nuanced reinterpretation of classical themes. With a career that seamlessly merged artistic tradition and contemporary relevance, Xing carved a distinctive place within the lineage of modern Chinese art. His body of work is renowned for its evocative portrayal of serene landscapes, literati gatherings, and legendary figures drawn from Chinese mythology. These subjects are rendered with exceptional precision and sensitivity, showcasing Xing’s disciplined brushwork and his commitment to compositional harmony. Each painting is a testament to his deep-rooted understanding of the aesthetic principles that have guided Chinese ink painting for centuries.What sets Xing Baozhuang apart is his ability to infuse age-old motifs with a fresh, contemporary spirit. While grounded in classical technique, his works possess a vitality that speaks to modern audiences, offering a meditative yet dynamic visual experience. His art reflects not only the beauty of nature and the elegance of scholarly life but also philosophical undercurrents that invite deeper contemplation.Xing’s contributions have been widely recognized through numerous exhibitions and the inclusion of his works in prestigious private and institutional collections. For collectors, his paintings represent more than visual beauty, they are cultural artifacts that capture the enduring legacy of Chinese artistic expression. With every brushstroke, Xing Baozhuang reaffirmed the relevance of tradition in a rapidly changing world. His works continue to resonate with collectors who value the harmony of past and present, making his paintings prized additions to any discerning collection.

XING BAOZHUANG (YING POCHONG, Chinese, Hong Kong,1940-2020)

Landcape ink and colour on paper 1980

signed, dated and two red seals of the artist 52 x 40cm

provenance

Acquired directly from the artist.

$2,000-3,000

邢寶莊《山水》1980年作設色紙本

provenance

Acquired directly from the artist.

$4,000-6,000

SATISH GUPTA (Indian, b. 1947)

Landscape, collages on hand-made paper with India ink and watercolour, mounted, Signed in pencil on the lower right.

150 x 60cm

ink and colour on paper signed and one red seal of the artist (one the upper right)

50 x 49cm

provenance

Acquired directly from the artist.

$800-1,200

沈少民《江安風景》設色紙本

FANG XIANG (Chinese, b. 1967)

Early Morning

ink and colour on paper, framed with glass inscribed and signed on the middle right, one red seal of the artist

67 x 67cm

provenance

Acquired directly from the artist.

$1,000-2,000

方向《清晨》設色紙本

ATTRIBUTED TO WEN ZHENGMING (14701559)

ink and colour on silk hanging scroll

inscribed, signed and five red seals of the artist 131x40cm

$800-1,200

傳文征明設色絹本立軸

A CHINESE MOUTAIN AND RIVER LANDSCAPE PAINTING OF A HANDSCROLL, LATE QING/REPUBLIC PERIOD

Mountain and River Landscape ink on paper hand scroll

663 x 33cm

$800-1,200

晚清/民國山水圖手卷水墨紙本

Wu Deyi (1864-1928), also known by his pen name Xulun, was a distinguished Chinese ink painter and calligrapher. A native of Guangdong Province, he studied under the renowned Lingnan School master Ju Lian. Wu was celebrated for his mastery in traditional Chinese brush techniques and his innovative approach to classical subjects. His works often featured landscapes, flowers, and figures, blending meticulous detail with expressive brushwork.

Wu Deyi’s art is characterized by a harmonious fusion of tradition and innovation. He employed intricate brushwork to convey the essence of natural subjects, imbuing them with a sense of vitality and movement. His calligraphy, executed in the running script, reflected his deep understanding of classical aesthetics and his personal artistic expression.

Wu Deyi’s works have been featured in prestigious institutions and exhibitions worldwide.

His works are part of esteemed collections, including the Art Gallery of New South Wales, the Macao Museum of Art and collection of Dr. K S Lo.

Wu Deyi’s contributions to Chinese art have been recognized through various exhibitions and auctions. His works continue to be sought after by collectors and institutions, reflecting his enduring influence on the art world.

WU DEYI (Chinese, 1864-1928)

Rain Scenting Cabbages ink and colour on paper hanging scroll inscribed, signed and two red seals of the artist 95.5 x 47.5cm

$800-1,200

吳德彝《白菜》設色紙本立軸

76 ATTRIBUTED TO CHEN JIRU (1558-1939)

Plum Blossoms,

Ink and colour on paper, hanging scroll Inscribed and signed Chen Jiru, with two seals of the artist

Dated binzi year of the Chongzhen reign (1636) Inscription on painting by Zhang Wentao (1764-1814), with two seals of his, dated xinyou year of the Qianlong reign (1741), and Zheng Fu (1622-1693), with two seals of his, dated gengshen year (1680)

104.0 x 25.5cm

provenance

Christie’s Swire (according to the label, label no. HH180).

$1,000-2,000

傳陳繼儒《梅花》設色紙本立軸

I have known Marjorie for nearly 40 years.

She has a tremendous amount of knowledge of art such as paintings, drawings and artefacts from Southeast Asia and China. Majorie has been a very energetic person with active thinking ability. She loves her work very much but more, so she loves her family. She is very proud of her children and grandchildren and tells people of their achievements.

We all love you, Marjorie. ALFRED

Marjorie Ho and the East West Gallery first in Armadale and then in Kew were a rare beacon of light in an unhospitable country. Marjorie was one of the first to appreciate where Australia was located and that was far away from Europe and America, solidly in Asia. She realised that that was where Australia should start broadening its interest in art. Her knowledge of Chinese art was second to none. Japanese was not far behind that as was the rest of Asia. She did her utmost to promote this art with regular exhibitions of art in a gallery above her shop. While 80,000 would be at the MCG, a dozen of so would come to the opening of an exhibition. She persevered. She played an important part in the formation of the Indonesian Art Society which had three decades of life before the enthusiasts who wanted to promote the art of our joint closest neighbour began succumbing to age. She promoted the work of Chinese artists living in Australia, many of whom deserted their art because they found cuisine more rewarding financially. She lit a flame and ensured that it is still flickering in a very unappreciative land.

MICHAEL HEPPELL PHD

"I started working for Marjorie approximately 20 years ago doing her bookkeeping, at that stage I had no idea on any Asian Art or even what it represented in the history, but over the years and going to her Gallery each time I would have a look at what she had on displayed and ask her about different items which I found interesting. Her knowledge and wisdom and history has always amazed me, we would have lunch together and she would reminiscence about her family and the up bringing she received, she is a very honourable and proud lady, her tradition and knowledge never faulted and in just knowing her has been a very big honour and hopefully I have learned a few things about the Asian Art culture."

MARGARET VISSER-RUITER

Liu Pai-Luang (b. 1923) is a revered Taiwanese artist, master calligrapher, and influential teacher whose life and work reflect a deep-rooted Daoist philosophy and a lifelong dedication to the spirit of traditional Chinese culture. Known for his bold ink scroll paintings and dynamic calligraphy, Liu has redefined the boundaries of classical brushwork by infusing it with freedom, spontaneity, and personal expression.

A devoted Daoist practitioner, Liu Pai-Luang brings a meditative depth and philosophical clarity to his artistic practice. His calligraphy, often described as both powerful and poetic, channels the energy of the Dao-the natural flow of life-through fluid brushstrokes that balance discipline with liberation.

Throughout his distinguished career, Liu has been recognized not only for his artistic mastery but also for his commitment to teaching and cultural preservation. He has mentored generations of students, emphasizing not just technique but the cultivation of inner harmony and creative authenticity.

Liu’s artworks-ranging from monumental scrolls to finely composed calligraphic pieces-have been exhibited in Taiwan and internationally. His contributions have been widely celebrated for pushing the boundaries of traditional Chinese art while remaining deeply respectful of its origins. In both his painting and writing, Liu Pai-Luang continues to serve as a bridge between ancient wisdom and modern artistic innovation.

LIU BOLUAN (LIU PAI-LUANG, Chinese, Taiwanese, b.1923)

Horse, ink on paper, hanging scroll, inscribed, signed and two red sealed of the artist. 134 x 68cm

provenance

Acquired directly from the artist.

$800-1,200

劉伯鑾《馬》水墨紙本立軸

LIU BOLUAN (LIU PAI-LUANG , Chinese, Taiwanese, b.1923)

Plum Blossom 1966, ink on paper, hanging scroll, inscribed, signed, and six red seals of the artist 120 x 57cm

provenance

Acquired directly from the artist.

$800-1,200

劉伯鑾《梅花》水墨紙本立軸

LIU BOLUAN (LIU PAI-LUANG, Chinese, Taiwanese, b.1923)

Landscape ink on paper, hanging scroll, inscribed, signed and red sealed. 121x57cm

provenance

Acquired directly from the artist.

$800-1,200

劉伯鑾《山水》水墨紙本立軸

Born in Beijing in 1903, Tsue Ta Tee was a pioneering Chinese calligrapher who became a prominent figure in Southeast Asia. In 1937, amidst the turmoil of war, he left China to travel extensively through Southeast Asia. He eventually settled in Singapore in 1946, where he played a crucial role in nurturing the local art scene. Tsue was instrumental in establishing the first generation of Chinese calligraphers in Malaya and Singapore, fostering numerous talented youths through his teachings at the Hua Yi Secondary School’s Calligraphy Club .

Tsue’s calligraphy is renowned for its strength, vitality, and charm. He mastered various traditional Chinese calligraphic styles, including zhen (regular), cao (cursive), li (clerical), and zhuan (seal script). His deep study of ancient inscriptions from stone drums, bronze, and oracle bones enriched his work, infusing it with historical depth and a dynamic form .

Tsue’s artistic influence extended beyond Southeast Asia. He organized numerous solo exhibitions across Europe and Southeast Asia, including in London, Oxford, and Singapore. In 1952, he held a solo exhibition at the UK Chinese Arts Association, followed by exhibitions at the University of London, the University of Oxford, and the London Education Centre .

His works resonate with collectors and art enthusiasts who appreciate the fusion of traditional techniques with personal expression.

TSUE DA TEE (CUI DA DI, Chinese, Singaporean,1903-1974)

Calligraphy 1967 ink on paper hanging scroll inscribed, signed and two red seals of the artist 182x62cm

provenance

Acquired directly from the artist.

$2,000-3,000

崔大地書法 1976年作水墨紙本立軸

TSUE DA TEE (CUI DA DI, Chinese, Singaporean,1903-1974)

Calligraphy Couplet ink on paper inscribed, signed and two red seals of the artist. 174 x 47cm

provenance

Acquired directly from the artist.

$800-1,200

崔大地書法對聯水墨紙本立軸

LAI SHAONAN, LATE QING -EARLY REPUBLIC PERIOD, EALRY 20TH CENTURY

Longevity ink and colour on paper hanging scroll inscribed, signed and one red of the artist 152 x 22cm

provenance

Acquired directly from the artist.

$800-1,200

賴紹南晚清/民國《吉慶有餘圖》設色紙本

YOU SI (Chinese, b. 1954)

Abstract ink on paper

one red seals of the artist. 233 x 100cm

provenance

Acquired directly from the artist.

$1,500-2,500

游絲《抽象》水墨紙本

YOU SI (Chinese, Australia, b. 1954) Ink on paper, hanging scroll, 1986

Three red seals of the artist 94 x 17cm

provenance

Acquired directly from the artist.

$1,000-2,000

游絲《無題》水墨紙本立軸

YOU SI (Chinese, Australian, b. 1954)

Contemporary-China Ink on paper hanging scroll

three red seals of the artist 208 x 103cm

provenance

Acquired directly from the artist.

$2,000-3,000

游絲《當代中國》水墨紙本立軸

Zhang Dawo is a distinguished contemporary Chinese artist known for his extraordinary skill in blending traditional Chinese painting techniques with modern concepts. Born in 1957 in China, Zhang has become renowned for his landscape paintings and flower-and-bird compositions, which reflect the deep-rooted cultural heritage of Chinese art while incorporating innovative approaches.

Zhang’s work is characterized by its mastery of ink and brush techniques, which he uses to create highly detailed, dynamic compositions. His landscapes, often depicting serene natural scenes, are rich in atmosphere, capturing the tranquillity and majesty of the natural world. His flower-and-bird paintings, a hallmark of traditional Chinese art, are brought to life with vivid colours and intricate brushwork, displaying not only his technical prowess but also his ability to imbue his subjects with vitality and emotion.

Throughout his career, Zhang Dawo has exhibited widely in China and internationally, showcasing his works in major art venues and receiving critical acclaim for his ability to honour traditional practices while embracing a contemporary aesthetic. His work has been sought after by collectors and institutions alike, with his paintings now part of prestigious private collections and galleries around the world.

Zhang’s art reflects a deep understanding of both Chinese artistic traditions and the evolving landscape of modern art, making his works highly desirable for collectors who appreciate the fusion of old and new. His work continues to resonate with global audiences, offering a timeless connection to Chinese culture while exploring new creative frontiers.

ZHANG DAWO (Chinese, b. 1957)

Abstract ink on paper, mounted, signed in pencil on the lower right.

131 x 64cm

provenance

Acquired directly from the artist.

$2,000-3,000

張大我《抽象無題》水墨紙本

ZHANG DAWO (Chinese, b. 1957)

Abstract, ink on paper, mounted, signed in pencil on the lower left.

136 x 70cm

provenance

Acquired directly from the artist.

張大我《抽象無題》水墨紙本

$1,500-2,500

CHEN CHAO-PAO (Chinese, Taiwanese, b.1948)

View of a beautiful landscape

1982

ink and colour on paper, mounted to a scroll, inscribed, signed and one red seal of the artist.

124x96cm

provenance

Acquired directly from the artist.

$2,000-3,000

陳朝寶《山中高士》1982年作設色紙本

CHEN CHAO-PAO (Chinese, Taiwanese, b.1948)

The Red-Robed Hermit No. 39 ink and colour on paper, singed and one red seal of the artist. 61 x 40cm

provenance

Acquired directly from the artist.

$800-1,200

陳朝寶《紅袍高士》設色紙本

YOU SI (Chinese, Australian, b. 1954)

Abstract

Ink on paper hanging scroll two red seals of the artist 136 x 67cm

provenance

Acquired directly from the artist.

$1,000-2,000

游絲《抽象無題》水墨紙本

I met Marjorie Ho in 1980, when I wandered into her East West Art Gallery, then in High St, Armadale. I confessed to her that I knew nothing about antiques and was unlikely to be able to afford to buy any. Marjorie cheerfully said, “Not necessarily so. You can always start with something small.” And she proceeded to teach me about items from her collection. Her lessons continued for the next thirty plus years. I have grown to admire her passion for Asian art, for her knowledge and for how hard she worked in running one of the best Asian art galleries in Australia and for seeking out and promoting new Asian artists. We became and remain good friends

POH-KAN WONG, A FRIEND

YOU SI (Chinese, Australian, b. 1954)

Abstract Ink on paper hanging scroll three red seals of the artist.

227 x 95cm

provenance

Acquired directly from the artist.

$2,000-3,000

游絲《抽象無題》水墨紙本

TSUE DA TEE (CUI DA DI, Chinese, Singaporean,1903-1974)

Mountain River ink on paper three red seals of the artist. 138 x 68cm

provenance

Acquired directly from the artist.

$800-1,200

崔大地《山水》水墨紙本

TSUE DA TEE (CUI DA DI, Chinese, Singaporean,1903-1974)

Calligraphy ink on paper two red seals of the artist 84 x 30cm

provenance

Acquired directly from the artist.

$800-1,200

崔大地書法水墨紙本

TSUE DA TEE (CUI DA DI, Chinese, Singaporean,1903-1974)

Calligraphy ink on paper hanging scroll three red seals of the artist 84 x 30cm

provenance

Acquired directly from the artist.

$800-1,200

崔大地書法水墨紙本

SATISH GUPTA (Indian, b. 1947) (5) collages on hand-made paper with India ink and watercolour

Signed in pencil on the lower right. 65 x 50cm

provenance

Acquired directly from the artist.

$3,000-5,000

SATISH GUPTA (Indian, b. 1947) (3) Collages on hand-made paper with India ink and watercolour

Signed in pencil on the lower right.

61 x 61cm

provenance

Acquired directly from the artist.

$1,500-2,500

Over the decades, Marjorie has introduced so much Asian art, enriching multiculturalism's diversity and greatly contributing to the exchange between Eastern and Western cultures. Her contributions are significant in terms of the integration of human cultures.

EARTHSTONE CHU

Praphan Srisouta is widely regarded as one of Thailand’s foremost woodcut artists. His work in this medium, particularly during the 1960s, played a defining role in establishing his artistic voice and earned him critical acclaim both domestically and internationally.

Srisouta’s woodcuts are best known for their vivid depictions of rural Thai life-intimate, joyful, and deeply human. In his celebrated “My Village” series, he captures scenes of children playing, farmers working, and fishermen casting nets, with bold lines and energetic compositions that echo the rhythms of village life. Rather than romanticizing rural Thailand, his prints portray it with sincerity and a strong emotional core.

What sets his woodcuts apart is their fusion of traditional Thai themes with modernist expression. His time studying in Berlin and at the Cranbrook Academy of Art in the U.S. exposed him to global art movements, which he blended seamlessly with local narratives and aesthetics. The result is a unique visual language-rooted in culture, yet strikingly contemporary.

Each piece is hand-carved and printed, reflecting not just technical skill but also a meditative process in which the artist becomes deeply engaged with the grain, texture, and resistance of the wood. The stark contrasts of black and white create a dynamic tension, allowing simple forms to convey powerful emotion and movement.

Praphan Srisouta was awarded Grand Prizes for woodcut prints in 1961 and 1962, marking the height of this early period. These works remain among the most collectible and historically significant in his oeuvre, offering a direct link to the socio-cultural landscape of postwar Thailand and a pivotal moment in Southeast Asian printmaking.

A COLLECTION OF 33 PRINTS BY PRAPHAN SRISOUTA (Thai, b. 1939) (33)

Children, woodcut on paper, each with title, signed, edition no. and seal 76 x 56cm each

provenance

Acquired directly from the artist.

$2,000-3,000

A CHINESE HARDWOOD PLANK-TOP PEDESTAL DESK, JIAJIAN, EARLY 20TH CENTURY

141 x 82.5 x 62.5cm

provenance

East and West Art Gallery, Melbourne.

$1,000-2,000

二十世紀早期硬木獨板架几案

A CHINESE HONGMU CHAIR, EARLY 20TH CENTURY

48.5 x 39.5 x 95cm

provenance

East and West Art Gallery, Melbourne.

$300-500

二十世紀早起紅木官帽椅

100

A PAIR OF CHINESE HONGMU SIDE TABLES, 20TH CENTURY

60 x 46.5 x 39cm each

provenance

East and West Art Gallery, Melbourne.

$600-800

二十世紀

101

A CHINESE SQUARE HARDWOOD POSSIBLY HUANGHUALI FOOTREST, QING DYNASTY (1644-1911)

61.5 x 61.5 x 13cm

provenance

East and West Art Gallery, Melbourne.

$2,000-3,000

清硬木或為黃花梨腳踏

102

A CHINESE HONGMU FOLDING CHAIR, QING DYNASTY (1644-1911)

80 x 51 x 84cm

provenance

East and West Art Gallery, Melbourne.

$800-1,200

清紅木折疊椅

Marjorie Ho has been a truly inspiring mentor, teacher, and leader in my life. She treated me like family and guided me with warmth and wisdom. Under her mentorship, I gained a solid foundation in Asian art history, particularly in Melbourne’s Asian art scene. I will always be grateful for the opportunity to work with her on meaningful projects—most notably, the donation valuation of Geoff Raby’s contemporary art collection. Her passion, positivity, and lifelong dedication to Asian Fine Art in Australia make her a living symbol of the country’s multicultural spirit. Her legacy deserves to be honoured in Australian art history.

JOHN ZHIANG

103

A CHINESE QINGBAI OCTAGONAL VASE AND COVER, YUAN DYNASTY (1271-1368)

20.1cm high

provenance

Collection of Marjorie Ho.

$5,000-7,000 元青白釉印花卉纹八棱瓶及蓋

104

A QINGBAI CARVED BOYS BOWL, SONG

DYNASTY (960-1279)

19.6cm diameter

$1,500-2,500 宋影青刻花娃娃盌

105

A QINGBAI CARVED BOYS BOWL, SONG

DYNASTY (960-1279)

17.5cm diameter

$1,500-2,500 宋影青刻花娃娃盌

106

A CIZHOU WHITE GLAZED CARVED FLORAL BOWL, SONG DYNASTY (960-1279)

21cm diameter

$1,000-2,000

宋磁州窯白釉刻花盌

107 A PAIR OF CHINESE LONGQUAN LOTUS BOWLS, SOUTHERN SONG DYNASTY (11271279)

15.5cm diameter

$2,000-3,000

108

A CHINESE CIZHOU BLACK GLAZED JAR, YUAN DYNASTY (1271-1368)

18.5cm high, 22cm wide

provenance

East and West Art Gallery, Melbourne.

$1,000-2,000

元磁州黑釉罐

One day long ago, I walked into a nearby gallery, called “East & West Art”. Immediately the space informed me of someone who loved, and lived art, in its manifold forms. For Marjorie, there are no “borders” in art. There were paintings, fabrics, furniture, statues and more.

Marjorie would continuously transform the space, always allowing the exhibits to direct her.

Her curiosity and openness made Marjorie generously share knowledge of art, the influence of culture and history.

And that spirit also made her warmly offer guidance, and to nurture, all who walked into that space, be they established artists, beginners, strugglers, staff or ignorant enthusiasts.

Ultimately, the greatest gift Marjorie gave many, is her friendship and her family.

KATHERINE YEO, 16 APR. 25 107

112

A LARGE BURMESE GOLD LACQUER WOOD SEATED BUDDHA, EARLY 20TH CENTURY

East and West Art Gallery, Melbourne.

二十世紀早期緬甸木漆金菩薩坐像

A BURMESE DARK GLAZED THREE LUGGED

East and West Art Gallery, Melbourne. 十八/十九世紀緬甸褐釉三系罐

A THAI DARK GLAZED VASE, 18TH/19TH

East and West Art Gallery, Melbourne.

A LARGE PAINTED CHINESE POTTERY JAR, NEOLITHIC PERIOD, 3RD MILLENNIUM B.C.

East and West Art Gallery, Melbourne.

新石器時代公元前三世紀彩繪陶罐

113

A LARGE CHINESE LONGQUAN JAR AND COVER, YUAN DYNASTY (1279-1368)

30cm high

provenance

East and West Art Gallery, Melbourne.

$1,000-2,000

元代龍泉大蓋罐

114

A PAIR OF CHINESE POWDER BLUE GROUND FAMILLE-ROSE VASES, QING DYNASTY, 19TH CENTURY

Each decorated with warriors and officials. 30cm high

provenance

East and West Art Gallery, Melbourne.

$1,000-2,000

清十九世紀灑藍地粉彩人物瓶一對

115

A GROUP OF TWO CHINESE ARCHAIC BRONZE VESSELS, WARRING STATES PE RIOD

Comprising one censer, and one wine vessel 31.3cm high & 22cm high

provenance

East and West Art Gallery, Melbourne.

$800-1,200

戰國時期兩件青銅禮器

116

A VERY RARE KHMER BLACK AND WHITE GLAZED FIGURE FORMED JAR, 12TH/13TH CENTURY

27cm high

provenance

East and West Art Gallery, Melbourne.

$600-800

十二/十三世紀緬甸黑白釉人物瓶

117

A RARE VIETNAMES BLUE AND WHITE AND RED AND GREEN DEOCRATED LION CHARGER, 14TH/15TH CENTURY

40.5cm

provenance

East and West Art Gallery, Melbourne.

$800-1,200

越南十四十五世紀青花紅綠彩獅紋盤

118

A GROUP OF 4 KHMER BRONZE STANDING FIGURES, 12TH/14TH CENTURY

Highest 32cm high

provenance

East and West Art Gallery, Melbourne.

$1,000-2,000

緬甸十二/十四世紀青銅立像一組四件

119

A GROUP OF FOUR THAI SAWLUKALOKE BRONZE GLAZED ELEPHANTS, 15TH CENTURY

Together with a chicken. Largest 15cm high, 13.5cm wide

provenance

East and West Art Gallery, Melbourne. $300-500

泰國十五世紀一組醬瓷塑

120

A GROUP OF THREE CELADON WHITE JADE CARVED PENDANTS, QING DYNASTY, 19TH CENTURY Largest 5.3cm high

provenance

East and West Art Gallery, Melbourne.

$1,000-2,000

清十九世紀和田白玉雕吊墜三件

121 A PAIR OF THAI GOLD EAR RINGS

provenance

East and West Art Gallery, Melbourne. 2.8cm high; weight: 12g

$1,000-2,000

泰國一對純金耳墜

We were an ill-matched and sometimes fractious group on a pottery tour of Japan and South Korea: sometime in the early 1990s, I think it was. It was here that I first got to know Marjorie, who was travelling with her daughter Juniper.

Although she was among the least demonstrative of the group, Marjorie’s quiet authority quickly became apparent. I am confident she knew more about oriental art and culture than the rest of us put together, yet, although always willing to share her knowledge and experience, she was never assertive.

The same could be said of her gallery in Armadale. It was a treasurehouse of beautiful objects, carefully chosen and elegantly displayed, yet modest in scale and unpretentious. From the moment you walked in, you got the strong sense of a finely-honed sensibility and a lifetime’s knowledge and connoisseurship.

I especially remember a theatrical demonstration of calligraphy by a visiting Chinese master which developed into an energetic, if not to say aggressive, happening. It was a characteristically adventurous undertaking.

East-West Gallery struck me as the manifestation of Marjorie’s love and enthusiasm rather than a business. It was stamped with her personality. Perhaps, in that sense, it was somewhat old-fashioned, but all the better for that.

PETER TIMMS HOBART, TASMANIA

Conditions of Business / Summary

sPeCial Conditions of sale – jewellery

Jewellery and watches offered by Leonard Joel are sometimes accompanied by an Independent valuation as stated in the catalogue. These valuations are conducted by registered valuers and are offered purely as independent opinions. Variation may be found as to the colour, clarity and size of stones described in these reports, consequently Leonard Joel does not guarantee these Independent Valuations. Where stones can be weighed accurately, weights will be provided. Weights of set stones are estimates only and are provided to the best of our technical ability. Gram weight on gold and other precious metals are also given as an approximation. Wristwatches and pocket watches are offered in there current condition and Leonard Joel does not guarantee that they are in working order. Items may be thoroughly inspected during the viewing period or by prior arrangement.

authentiCity CertifiCates

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ProPerty subjeCt to the artist resale royalty Lots with the § sign will be subject to payment of the Artist Resale Royalty in the event that the lot is sold for a hammer price of $1,000 or more. The Australian Resale Royalty is a flat rate of 5 percent (5%) levy on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyer’s premium plus applicable GST.

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removal Charges

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storage Charges

Each lot: $33 per day

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Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act.

Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environ-

ment, Water, Heritage and the Arts website at: www.environment.gov.au/heritage/movable/index

exPorting signifiCant australian Cultural heritage

The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia. The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’. More information is available on the Department of the Environment, Water Heritage and the Arts’ website: www.arts.gov.au/movable_heritage Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, T: 02 6274 1810 E: movable.heritage@environment.gov.au

Cites regulations

It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale. Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/tradeuse/cites/index.html or may be requested from:

The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601

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Our Specialists

m anaging d ireC tor & head

of imP ortant C olleC tions

John Albrecht, BA LLB MBA

fine art

Wiebke Brix, Head of Art

Amanda North, Specialist

Hannah Ryan, Specialist

Charlotte Barrett, Administrator and Registrar

deC orative arts

Chiara Curcio BA, Head of Department

David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist

Johnny Field, Administrator

asian art

Luke Guan MLitt, Head of Department

Johnny Field, Administrator

Cenche Zoe, Curator

sydney

Ronan Sulich, Senior Adviser

Madeleine Norton BFA, BComm, MLitt, Head of Decorative Arts & Art

Ella Nail, Office Manager & Administrator

imP ortant jewels

Hamish Sharma, Head of Department, Sydney

Christel Reid, Administrator

fine jewels & timePieCes

Steven Milonas

F.G.A.A., Head of Department, Melbourne

Patricia Kontos

F.G.A.A., Senior Jewellery Specialist

Lauren Boustridge BSc, AJP, GG (GIA), Senior Specialist

Phoebe East, Jewellery Assistant

Echo Liu, Administrator

Bethany McGougan, Consultant & Senior Auctioneer

John D'Agata, Senior Jewellery Consultant

Henrietta Maiyah, Consultant

modern design

Rebecca Stormont, Specialist

Amy Butler, Assistant

luxury

Bethany McGougan, Consultant

Prints

Hannah Ryan, Art Specialist

furniture

Natasha Berlizova, Manager

Angus McGougan, Assistant

Alex Sargeant, Assistant

Inigo Fleming, Assistant

Shawn Mitchell , Interiors Consultant

jewellery

Phoebe East, Manager

art salon

Millie Lewis, Manager

Jane Goh, Assistant

objeC ts & C olleC tables

Dominic Kavanagh MFA, Manager

Kieran Grogan Carpenter, Assistant

valuations

David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist

Troy McKenzie, Queensland Representative Specialist

Anthony Hurl, South Australia Representative Specialist

John Brans, Western Australia Representative Specialist

aCC ounts

Ety Liong, Finance Manager

Michelle Draper, Account Manager

Client serviCes

Kim Clarke, Client Services Manager

Amelia Lewis, Client Services Liaison

Richard Grieve, Client Services Liaison

o Perations & logisti C s

David Price, Operations, Delivery & Logistics Manager

marketing & C ommuni Cations

Lucy Lewis, Marketing, Media, & Communications Manager

Photogra Phy

Paolo Cappelli, Senior Photographer & Videographer

Adam Obradovic, Photographer & Videographer

gra PhiC design

Maria Rossi

melbourne

2 Oxley Road, Hawthorn, VIC 3122 03 9826 4333

sydney

The Bond, 36-40 Queen Street, Woollahra, NSW 2025 02 9362 9045

brisbane 54 Vernon Terrace, Teneriffe, QLD 4005 0412 997 080

adelaide 429 Pulteney Street, Adelaide SA 5000 0419 838 841

Perth 0412 385 555

info@leonardjoel.com.au leonardjoel.com.au

Marjorie Ho and the Legacy of East and West Art

Marjorie Ho and the Legacy of East and West Art

何氏.東西畫廊 亞洲藝術珍藏

CONTACTS

Marjorie Ho's East & West Art

Conditions of Business / Summary

Our Specialists

何氏.東西畫廊亞洲藝術珍藏