33 Auction - 2016 Singapore Art Week Sale

22 JAN 2016 SG

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Lot 19 Choo Keng-Kwang Hotel Negara Mural Series 5 (pieces) 朱慶光《麗嘉大酒店壁畫系列》

33 AUCTION PTE LTD

27 A Loewen Road Singapore 248839 | +65 6747 4555 | www.33auction.com

22 JAN 2016 SG

01933 AU

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33 AUCTION PTE LTD


Lot 21 Lai Kui Fang Doves 賴桂芳《松鴿》

2016 SINGAPORE ART WEEK SALE2016年新加坡藝術週拍賣會

SINGAPORE 22 JANUARY 2016 ｜新加坡 2016年1月22日

Lot 50 Sui Jianguo Clothes Vein Study-Bounded Slave 隋建國《衣紋研究－垂死的奴隶》

In sending written bids or making enquiries, please quote this sale number ‘SG019’.

The sale will be conducted in English. Bidding is carried out in Singapore Dollars. Please note that all US Dollar estimates are for reference only.

A Buyer's Premium will be added to the hammer price and is payable by the buyer as part of the total purchase price. For payment by check, transfer, demand draft or cash, the buyer's premium is 20% on the first SGD 250,000 of the hammer price of each lot plus 15% of any sum in excess of SGD 250,000. If you are bidding online via Live Auctioneer’s platform or paying by credit cards, the buyers’s premi-um is 23% on the first SGD 250,000 of the hammer price of each lot plus 18% of any sum in excess of SGD 250,000.

No GST will be charged unless the seller of the lot is a GST-registered vendor. Such lots will be indicated in the catalogue with the sign † and GST will be charged on the hammer price and will be payable by the buyer.

Sale Information在發送書面競投單或致電查詢時請註明本次拍賣編號‘SG019’。

本次拍賣將全程以英語進行。招標時使用新加坡幣，請注意所有美元估價僅供參考。

那這樣的拍賣品將在圖。

本次拍賣將不收取消費稅（GST），除非拍品的買方已通知33拍賣行他是個GST註冊的供應商錄中顯示 † 的符號而該拍品買方則必須繳落槌價之7%消費稅。

拍賣信息

拍賣2016年 1月 22日星期五晚上8:00 開始

新加坡君悅酒店畫廊宴會廳，二樓新加坡史各士路 10號 228211

AuctionFriday , 22 January 2016, 8:00pm

The Gallery, Level 2 Grand Hyatt Singapore10 Scotts Road, Singapore 228211

Modern and Contempora2016 Singapore Art Week Sale

ry Asian Art Singapore 22 January 2016

預展

新加坡MoCA@LOEWEN美術館27A羅文路新加坡 248839（登普西山區）

Viewing20 - 21 January 2016, 10:00 am to 8:00 pm22 January 2016, 10:00 am to 5:00 pmMoCA@Loewen27A Loewen Road Singapore 248839 (Dempsey area)

2016年新加坡藝術週拍賣會現當代亞洲藝術新加坡 2016年 1月 22日

買家支付成交價外，同意支付於本公司酬金及任何適用之稅項及費用。支票、銀行轉賬、銀行本票或現金付款，酬金費率一概為每件拍賣品成交價首新加坡幣25萬之20%計算，及逾新加坡幣25萬之部分則以15%計算。任何通過網絡競標方Live Auctioneer成交之拍品的酬金率和使用信用卡付款的酬金率共同為每件拍賣品成交價首新加坡幣25萬之23%計算，及逾新加坡幣25萬之部分則以18%計算。

早上10:00 至晚上8:002016年 1月 20 至 21日早上10:00 至下午5:002016年 1月 22日

Lot 64 Wang Huaiqing Mistiness 王懷慶《渾》

Guide for Prospective Buyers

Conditions of BusinessThe Auction is governed by the Conditions of Business printed in the back of the catalogue. Prospective buyers are advised to review these carefully.

Buying at AuctionThe following pages are designed to give you useful information on how to buy at 33 Auction Pte Ltd (here-in referred to as 33 Auction).

Buyer’s PremiumA Buyer’s Premium will be added to the hammer price and is payable by the buyer as part of the total purchase price. For payment by cheque, transfer, demand draft or cash, the buyer’s premium is 20% on the first SGD 250,000 of the hammer price and 15% on the amount in excess of SGD 250,000. If you are bidding online via Live Auctioneer’s platform or paying by credit card, the buyer’s premium is 23% on the first SGD 250,000 of the hammer price and 18% on the amount in excess of SGD 250,000.

GST33 Auction acts as an agent on behalf of the seller and should the seller be registered as a GST vendor and has informed 33 Auction that his lots must be charged with GST, then such lots will be indicated in the catalogue with the sign † and GST will be charged on the hammer price and will be payable by the buyer. Otherwise lots not indicated with the sign † will not be charged GST.

Pre-sale EstimatesThe pre-sale estimates are intended as a guide for prospective buyers. Any bid between the high and low pre-sale estimates would, in our opinion, offer a chance of success. However, all lots, depending on the degree of competition, can realise prices either above or below the pre-sale estimates. The estimates printed in the catalogue do not include the buyer’s premium.

ReservesThe Reserve is the minimum price the seller is willing to accept, below which the lot will not be sold.

Condition of LotsProspective buyers are encouraged to inspect the property at the pre-sale exhibition. Solely as a convenience, 33 Auction may provide condition reports. The absence of reference to the condition of a lot in the catalogue description does not imply that the lot is free from faults or imperfections.

Bidding at AuctionBids may be executed in person by paddle during the auction, in writing prior to the sale or by telephone. The auction will be conducted in Singapore Dollars. Auction speeds vary, but usually average between 40 – 80 lots per hour.

Bidding IncrementsBidding generally opens below the low estimate and advances in the following increments:

S$ 500 – 1,000,- by S$ 50,-S$ 1,000 – 2,000,- by S$ 100,-S$ 2,000 – 5,000,- by S$ 200,-S$ 3,000 – 5,000,- by S$ 200,-S$ 5,000 – 10,000,- by S$ 500,-S$ 10,000 – 20,000,- by S$ 1,000,-S$ 20,000 – 50,000,- by S$ 2,000,-S$ 50,000 – 100,000,- by S$ 5,000,-S$ 100,000 – 200,000,- by S$ 10,000,-S$ 200,000 up by Auctioneer’s direction

However, the auctioneer may change the increments during the course of the auction at his or her discretion. Bidding may also be reopened at the auctioneer’s discretion

Bidding in PersonTo bid in person at the auction, you will need to register for and collect a numbered paddle before the auction begins. Proof of identity will be required. The paddle is used to indicate your bids to the auctioneer during the sale. Should you be the successful buyer of any lot, please ensure that your paddle can be seen by the auctioneer and that it is your number that is called out. Should there be any doubts as to price or buyer, please draw the actioneer’s attention immediately. All lots sold will be invoiced to the name and address in which the paddle has been registered and cannot be transferred to other names and addresses. Please do not mislay your paddle; in the event of loss please inform the Sales Clerk immediately.

Absentee / Written BidsIf you cannot attend the auction, we will be happy to execute written bids on your behalf. This service is free and confidential. Lots will always be bought as cheaply as is consistent with other bids, the reserves and 33 Auction’s commission. In the event of identical bids, the earliest bid received will take precedence. Always indicate a “top limit”—the hammer price to which you would bid if you were attending the auction yourself. “Buy” and unlimited bids will not be accepted. Telephoned absentee bids must be confirmed before the sale by letter or fax (+65) 6747-4111 or email [email protected]. To ensure satisfactory service to bidders, please ensure that we receive your bids at least 24 hours before the sale.

Bidding by TelephoneIf you cannot attend the auction, it is possible to bid on the telephone on lots with a minimum low estimate of S$ 1,000. As the number of telephone lines is limited, it is necessary to make arrangements for this service 24 hours before the sale.We also suggest that you leave a maximum bid, which we can execute on your behalf inthe event that we are unable to reach you by telephone. Multilingual staff are available to execute bids for you.

Currency ConversionThe auction will be conducted in Singapore

Dollars. 33 Auction may provide a currency conversion board in the saleroom for the convenience of bidders. Please note that the amounts shown in foreign currencies are approximate figures and are for guidance purposes only.

Successful BidsThe fall of the auctioneer’s hammer indicates the final bid. The auctioneer will call out and record the name or “paddle” number of the buyer, if your written bid is successful, you will be notified immediately after the sale by email or post.

PaymentPayment must be made within seven calendar days of the sale and may be made by telegraphic transfer direct to 33 Auction Pte Ltd’s bank account. Please include your name, 33 Auction’s account number and invoice number with your instructions to your bank. Payment can also be made by Singapore Dollars banker’s drafts (drawn on a recognized Singapore bank). Although personal and company cheques are accepted, you are advised that property will not be released until such cheques have cleared. Credit cards are also accepted.

CollectionLots will be released to you or your authorised representative when full and cleared payment has been received by 33 Auction. After thirty days of the auction or from the time of collection, whichever is the earlier, the Lot will be entirely at the Buyer’s risk.

Storage and InsuranceAll purchases will initially be held for collection at 33 Auction’s premises at no charge. 33 Auction provides insurance coverage for a maximum of thirty days after the sale. Storage charges will be incurred one month after the date of the auction at the rate of S$100 per lot per month.

Packing and HandlingWe shall use all reasonable effort to take care when handling and packing a purchased lot but the Buyer is reminded that after seven days or from the time of collection, the lot is entirely at the Buyer’s risk.

Shipping33 Auction’s Shipping Department can advise buyers on exporting and shipping property. Please complete and sign the shipping instruction form sent with your invoice if this service is required. Purchases will be despatched as soon as possible upon clearance from the Accounts Department and receipt of your written despatch instructions and of any export licence or certificates that may be required. Shipping will be arranged at buyer’s expense. Your shipper will include a quote for transit insurance. All shipments should be unpacked and checked on delivery and any discrepancies notified to the transit insurer or shipper immediately.

Lot 18 Chua Mia Tee Auspicious Luohan Fishes 蔡名智《多姿多彩羅漢魚》

商業規則本次拍賣是由印刷在圖錄後面的商業規則來規定的，我們建議買受人應詳細查閱。

拍賣行購買以下內容旨在為您提供有用的信息來協助您如何在 33 Auction Pte Ltd 購買. (以下被譽為33拍賣行)。

買受人酬金買受人應支付酬金，並與落槌價一起計入全部購買價款。若付款方式通過支票、轉賬、銀行匯款和現金支付，拍賣品落槌價為250,000新加坡幣或以下，買受人酬金以落槌價之20%計算，超出250,000新加坡幣之部分，買受人酬金以落槌價之15%計算。若通過網上拍賣平臺LiveAuctioneer競投或用信用卡支付，拍賣品成交價為250,000新加坡幣或以下，買受人酬金以落槌價之23%計算，超出250,000新加坡幣之部分，買受人酬金以落槌價之18%計算。

消費稅作為拍賣人，33拍賣行以作為賣方代理人之身分行事。如賣方應該被註冊為消費稅的供應商，並已通知33拍賣行他的拍品必須收取消費稅，那麼這樣的拍品將在目錄中顯示†的符號。收取的消費稅將是落槌價的7%計算由買受人支付。否則，許多未標明†符號的拍品將不收取消費稅。

拍賣前估價拍賣前估價的目的是作為買受人的指導。以本拍賣行角度看來,任何在估價以內的競投提供了一個成功競得的機會。然而，所有拍品可以實現高於或低於估價的價格，根據競爭程度於決定。在目錄印刷的估價，不包括買受人的酬金。

保留價保留價是賣方願意接受的最低價格。

拍賣品狀况鼓勵買受人在拍賣預展明查拍賣品。僅為方便起見，33 拍賣行會提供拍品狀況匯報。沒有在目錄說明提及到的狀況，並不意味著是無缺陷。

拍賣競投在拍賣過程中的出價可能是由競買人親自來競投，以書面形式出價，或是通過電話競買。本拍賣是由新加坡幣執行的。拍賣的速度不一，但是通常是每小時 40 – 80 件拍品。

標價遞增拍賣一般始於低於最低拍賣拍賣前估價的價位，從而增加如下：

由S$ 500 至 – 1,000,- 加 S$ 50,- S$ 1,000 – 2,000,- 加 S$ 100,-S$ 2,000 – 3,000,- 加 S$ 200,- S$ 3,000 -5,000,- 加 S$. 200,- S$ 5,000 – 10,000,- 加 S$ 500,- S$ 10,000 – 20,000,- 加 S$ 1,000,- S$ 20,000 – 30,000,- 加 S$ 2,000,- S$ 30,000 – 50,000,- 加 S$ 2,000,- S$ 50,000 – 100,000,- 加 S$ 5,000,- S$ 100,000 – 200,000,- 加 S$ 10,000,- S$ 200,000 以上由拍賣師決定。

但是，拍賣師可能會改變增加競賣價位的規律，競買也可能會改變競買的規律。

親自競投在競買拍賣開始前, 閣下必須先攜帶身份證明的文件登記和領取競拍牌，在拍賣現場，我們需要用競拍牌來向拍賣師投標。若是成功投標的受買人，須讓拍賣師清楚的看到你的競拍牌而讓拍賣師叫出號碼。要是有任何關於價格或者是買主的疑問，請立即向拍賣行服務人員詢問。所有的拍賣作品一旦賣出就會依照競拍牌的署名和地址送出發票。請注意,署名和地址不能更換。請收好您的競拍牌, 要是你遺失你的競拍牌請馬上通知拍賣行工作人員。

書面競投若您不能出席拍賣會, 我們將很樂意代表您執行書面競投。該服務是免費和保密的。 33拍賣行確保您所拍賣的拍品在一個最合理的價位。若有兩個一樣的價碼同時投標,我們只會接受最先投標的買主。若你是代表一個人來投標, 你要確保你有指出你能支出的最高估價。「購買」和無限次數的投標是不可以被接受的。

通過電話來參與拍賣會的委託拍賣人必須在拍賣會開始之前通過郵遞方式或者傳真來確認身份參與拍賣。拍賣會專用的傳真號碼：(+65) 67474111 或者发送电子邮件至[email protected]。請24小時之前來通知和確保您競買的價位。

電話競投若您無法現場競拍，至少1,000新加坡幣的拍品可以以電話拍賣的形式。由於電話拍賣有限，所以安排這項業務在24小時之前是必要的。

我們建議您留一個您的最高價位以便在無法打到您電話時代理您的競買。多種語言的服務人員可為您提供競買服務。

貨幣交換本次拍賣會以新加坡幣執行。為了買受人的便利起見，33拍賣行會在拍賣大廳提供一個貨幣換算板。請注意顯示的外幣金額只是大約的數目，僅用指導參考。

拍賣成交拍賣師落槌表示拍賣成交的最終價位。拍賣師將會叫出，記錄下競買人的姓名或是競拍牌的號碼。若委託競買成功，您將會立即以郵遞或者电子邮件形式收到該通知。

付款需在拍賣成交日起七天之內一次付清買價款。銀行匯款到 33 Auction Pte Ltd 帳號，請詳細填寫您的姓名，帳號以及發票號。買受人也可以用新加坡幣支票的形式來支付。雖然個人或是公司支票可以被接受，但是我們建議在確定收到款項之後再辦理運輸。33拍卖行也接受信用卡支付。

領取拍賣品在33拍賣行收到全部拍品金額之後，買受人須在拍賣成交日起三十日內領取所購買的拍賣品。若買受人未能在此期領取拍賣品，因逾期造成對該賣品的全部責任將由買受人承擔。

儲存和保險所有的拍賣品可在33拍賣行領取。 33拍賣行會提供在成交日起三十日之內的保險。若拍賣品沒有在拍賣成交日起七日內被領取，33拍賣行將會收取每标的每月100新币的倉庫儲存費用。

包裝和處理我們會盡一切全力來包裝和處理在成交日起七日之內沒有被領取的拍賣品，但全部責任由受買人承擔。

運輸 33拍賣運輸部可就拍賣品之出口及付運向買受人提供意見。已購物品將於會計部收到結清貨款後及取得閣下之書面付費指示及任何出口許可證或可能需要之證書後儘快付運。付運所需費用概由買受人支付。如有要求，33拍賣可提供報價及所有運送方式之資料。如有垂詢，請聯絡33拍賣運輸部，並傳真至 +65 67474111。閣下之承運人將對運送保險作出報價。所有付運貨品交貨之時應打開包裝檢查，如有任何不符之處，請立即通知運送保險商或承運人。

買受人指南

Lot 54 Ye Yong Qing One of the Nine Bird Cages in Winter 葉永青《冬天的九個鳥籠之一》

Online Preview 網上預展

Online Bidding 網上競拍

33 Auction Liaisons33拍賣行聯絡處

Email: [email protected]. David Fu = [email protected]

www.33auction.com

Jl. Kemang Raya No. 46Jakarta Selatan 12730 IndonesiaT: +62 21 7190888F: +62 21 7190123Liaison: Fung Ye

Jakarta 印尼雅加達

797 Street No.2, Jiu Xian Qiao RoadChao Yang District Beijing China 100015北京市朝陽區酒仙橋路甲2號 798藝術區797街 706北三街西郵編100015T: +86 10 5978 9565 转 806

Beijing 北京

27A Loewen RoadSingapore 248839T: +65 6747 4555F: +65 6747 4111

Singapore 新加坡

Specialist Team 專家團隊

Alsa ChiChloe ZhangDiana Lee

徐淑雯章娟李苑寧

Suwarno Karyadi 郭祥琪

Finance 財務部

符升銓David FuDirector 總監

符逢利Ali Kusno FusinManaging Directors 董事

Linda Ma 馬美玲

Tan Qiuyu 陈秋裕

Online Preview 網上預展

Online Bidding 網上競拍

33 Auction Liaisons33拍賣行聯絡處

Email: [email protected]. David Fu = [email protected]

www.33auction.com

Jl. Kemang Raya No. 46Jakarta Selatan 12730 IndonesiaT: +62 21 7190888F: +62 21 7190123Liaison: Fung Ye

Jakarta 印尼雅加達

797 Street No.2, Jiu Xian Qiao RoadChao Yang District Beijing China 100015北京市朝陽區酒仙橋路甲2號 798藝術區797街 706北三街西郵編100015T: +86 10 5978 9565 转 806

Beijing 北京

27A Loewen RoadSingapore 248839T: +65 6747 4555F: +65 6747 4111

Singapore 新加坡

Specialist Team 專家團隊

Alsa ChiChloe ZhangDiana Lee

徐淑雯章娟李苑寧

Suwarno Karyadi 郭祥琪

Finance 財務部

符升銓David FuDirector 總監

符逢利Ali Kusno FusinManaging Directors 董事

Linda Ma 馬美玲

Tan Qiuyu 陈秋裕

2 33 Auction

1TAY BAK KOI (Singaporean, 1939-2005)

Buffaloes With A Farmersigned in both English and Chinese lower leftoil on canvas laid on board31 x 32 cmS$ 4,000 - 6,000US$ 2,840 - 4,260

鄭木奎水牛與農夫油彩畫布款識：木奎 Bak Koi（左下）

1


Fishing Villagesigned lower middlewatercolor on paper97 x 72.5 cmS$ 8,000 - 12,000US$ 5,680 - 8,520

鄭木奎漁村景致水彩紙本款識：Bak Koi（中下）

2

Asian Modern and Contemporary Art 3

4 33 Auction

3CHUA MIA TEE (Singaporean, b.1931)

Singapore Riversigned, dated 1982 and stamped with one seal of the artist lower leftwatercolour and pencil on paper32 X 47 cmS$ 5,000 - 7,000US$ 3,550 - 4,970

蔡名智新加坡河水彩鉛筆紙本1982年作款識：M.T.CHUA 1982（左下）鈐印：名智（左下）

3

As seen in Chinatown, realist painter Chua Mia Tee was passionate about preserving Singapore’s vernacular architecture and cultural heritage on paper. The 1960s was a period of unprecedented urban renewal where the old gave way to the new. By the 1980s, large areas of the city in land-scarce Singapore saw rapid urbanization, leading to the demolition of the shophouses in Chinatown.

Unfortunately, the social and cultural aspects of the Chinese enclave were lost due to the relocation of its residents. Traditional trades have also vanished along with the redevelopment of the area. Here, we see ordinary folk shopping for groceries at a street market in Chinatown. This was once a common sight in old Singapore where stalls lined the streets and sold produce that catered to the locals in the mornings.

Like the charming chaos of Chinatown, the Singapore River was in need of a makeover due to severe pollution in the 1970s. The riverbank was overcrowded with squatters and hawkers while the waters were constantly blanketed by the twakows and tongkangs, bringing in the latest wares from India and China. The river had since undergone a major cleanup and its buildings meticulously conserved.


Chinatown Marketsigned, dated 82 and stamped with one seal of the artist lower leftwatercolour and pencil on paper32 x 47 cmS$ 5,000 - 7,000US$ 3,550 - 4,970

蔡名智牛車水市集水彩鉛筆紙本1982年作款識：M.T.CHUA 82（左下）鈐印：名智（左下）

4

For many artists, the Singapore River represented the history and heritage of the modernizing, young nation. The waterway was evidently the object of representation of all things Singaporeans and occupied a special place in their hearts. As Chua had spent his childhood playing in Chinatown and by the banks of Singapore River, it is no wonder that they are frequently featured in his works as an ode to his childhood haunts.

就如牛車水，寫實畫家蔡名智熱衷於繪畫新加坡建築和文化遺產。60年代是一個前所未有的都市更新時期，舊的讓位給新的。到了80年代，在土地資源缺乏的新加坡，為了使城市快速發展，導致牛車水許多店屋拆遷。

不幸的是，因為遷移關係那些社會文化以及傳統交易也都逐漸消失，在這裡我們看到當時的人們在牛車水購買生活用品，街道兩旁的販賣攤位顯示當時老新加坡早市的熱鬧情景。

當時牛車水繁市喧囂，70年代新加坡河受到嚴重汙染必須重新改造。河岸上各式小舖店家販賣著從印度和中國進口的最新商品。這條河經歷了一次重大的清理並精心的保護周遭建築。對於許多藝術家來說，新加坡河代表了新加坡的歷史和遺產，更在新加坡人心中有著特殊的地位。蔡在牛車水那地區度過了他的童年，也難怪這些地方經常出現在他的作品當中。


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5CHEONG SOO PIENG (Singaporean, 1917-1983)

Fishermansigned and dated 61 lower leftpen and ink on paper34.5 x 55.5 cmS$ 8,000 - 12,000US$ 5,680 - 8,520Literature: Cheog Soo Pieng - Drawings of Life, Artcommune Gallery, Singapore, 2014, page 27

鍾泗濱漁夫鋼筆紙本款識：Soo pieng 61（左下）

出版2014年《鍾泗濱-繪畫人生》集菁藝社新加坡第27頁

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The landmark trip to Bali in 1952 that inspired Chen Wen Hsi, Chen Chong Swee, LiuKang and Soo Pieng himself to reinvent artworks of groundbreaking pictorial styles culminating to the Nanyang art movement has been celebrated as a ‘watershed’ moment in the development of local art. On this trip alone, Soo Pieng accumulated more than 300 pieces of sketches, many of which continued to provide crucial references for the paintings that he went on to produce several years after the trip.

Cheong’s sketch, deploying clean and refined lines, even a simple sketch that came off Soo Pieng’s hands easily impresses with an elegant simplicity and efficiency of detail.

在1952年一場具有里程碑意義的巴厘島之旅激發了陳文希，陳宗瑞，劉抗和鍾泗賓的繪畫靈感，重新塑造突破性的绘画风格的艺术作品，在当地艺术的发展中南洋艺术运动被稱作为一个“分水岭”的时刻。单就这一趟，鍾泗賓累计創作超过300 件的草图，其中许多作品被作为关键的文獻引用。

鍾泗賓的草圖，部署干净，精致的线条，即使是简单的草图但經過鍾泗賓的手創作之後能夠淋漓精緻的體現出轻松愉悅，优雅简约和精緻细节的效果，令人印象深刻。

6CHEONG SOO PIENG (Singaporean, 1917-1983)

Batik Womensigned and dated 52 upper leftpen and ink on paper35 x 55 cmS$ 8,000 - 12,000US$ 5,680 - 8,520Literature: Cheog Soo Pieng - Drawings of Life, Artcommune Gallery, Singapore, 2014, page 16

鍾泗濱蠟染女人鋼筆紙本款識：Soo pieng 52（左下）

出版2014年《鍾泗濱-繪畫人生》集菁藝社新加坡第16頁

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Chen Chong Swee once said, “Art is a part of life and cannot exist independently from real life [...] Art must be objective. If it falls to be accepted by another person, it loses its essence of universality and can no longer exist as art. If a work of art fails to embody truth, goodness and beauty, it cannot be regarded as a true work of art." True to his word, Chen was committed to providing fresh interpretations of the Malayan landscape and its motifs. Having migrated to Malaya in the 1930s, Chen Chong Swee found himself immersed in the diverse coastal and tropical environments of the Southern Seas. He immediately took to the lush foliage and basked in the energy and vibrancy of the indigenous and migrant communities. Drawing inspiration from local subject matter, his early landscape paintings featured kampong life in the hanging scroll format, much like what is seen here in Kampung Scenery.

In 1952, Chen, together with fellow Xinhua graduates and peers Chen Wen Hsi, Cheong Soo Pieng and Liu Kang, went on their landmark field trip to Bali, Indonesia, in search of a unique Southeast Asian artistic expression. The trip proved to be a turning point for the artists. Upon their return, Chen consolidated his techniques in translating the beauty of Bali and successfully synthesized the aesthetic traditions of Western and traditional Chinese art, hence making a name for himself as one of the first artists to depict Southeast Asian landscapes in Chinese ink. On 15 January 1994 151 works of art by Chen were donated by the Chen family estate, to the Chen Chong Swee Charity Auction conducted by Singapore Sotheby's Auction House. The money raised funded the NAC-Chen Chong Swee Art Scholarship, in memory of this great artist and educator. This lot is one of the 138 paintings sold at that event.

Sotheby & Co. (Singapore) (1994). Chen Chong Swee charity auction. Singapore: Sotheby's Singapore."Chen Chong Swee Art Scholarship". National Arts Council. Retrieved 15 July 2008.

陳宗瑞曾說: “藝術是生活的一部分，不能獨立存在於現實生活[…]藝術必須是客觀的。如果它不被另一個人接受，它就失去了普遍性的本質，並且不再作為藝術存在。如果一個藝術作品不能體現真善美，它不能被視為一個真正的藝術作品。”言而有信，陳為馬來亞景觀創造出最新的詮釋。1930年移居到馬來亞，陳宗瑞發現自己沉浸在南方的海岸和熱帶環境的多樣性。他沐浴在這片充滿活力的茂密枝林，從當地的素材中汲取靈感，他早期的山水掛軸畫，就像是在這裡看到的鄉村風景。

1952年陳宗瑞和同期藝術家陳文希、鐘泗濱和劉抗一起到印尼峇厘島探索那獨特東南亞熱帶風情的南洋繪畫風格。這趟旅程對這些藝術家們是個轉捩點。在回歸後，陳鞏固了他對峇厘之美的詮釋手法，成功地結合了西方和中國傳統藝術，囙此成為著名的東南亞山水水墨畫家之一。1994年1月15日，151件由陳氏家族所捐贈的陳宗瑞作品在新加坡蘇富比進行慈善拍賣。籌集到的錢資助了陳宗瑞藝術獎學金，紀念這位偉大的藝術家和教育家。這幅作品是138幅得標作品中的其中一幅作品。

7CHEN CHONG SWEE (Singaporean, 1910-1986)

Kampung Scenerystamped with a seal of the artist lower rightink and colour on paper64 x 54 cmS$ 12,000 - 16,000US$ 8,520 - 11,350Provenance: Chen Chong Swee Charity Auction, Singapore, 15 Jan 1994, lot 25 Private collection, Singapore

陳宗瑞南洋村景設色紙本立軸1960年作鈐印：宗瑞（右下）

來源新加坡蘇富比陳宗瑞慈善拍賣 1994年1月15日編號25新加坡私人收藏

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TAN OE PANG, born in Singapore, has been nurtured in Chinese culture since childhood. At the young age of 13, he came to be a student of FAN CHANG QIAN, the third generation master of the Hai discipline, from whom he acquired the art of traditional Chinese ink painting. Even at such young age, the youth’s sophisticated artistic talents have been well applauded and have granted him recognition and fame.

However, young Tan has never been complacent with glory and fame. Instead, over the decade, he persevered in sharpening his artistic talents, perfecting his skills, and advancing his intellectual capacity. Being an avid reader, he especially loved the poems by masters such as Tao Yuan Ming, Emerson, Shakespeare and Goethe. Tan’s painting styles are unique, yet diverse and versatile. In his Chinese paintings, the intensities of a still life were depicted with unexpected simplicity through bold free-styled thick brush washes; lifelike animals and creatures were rendered with strokes of impressionist qualities.

The compositions of his landscape paintings revealed the essence of the Chinese traditional paintings in projecting depths, altitude, and vastness of a scene with grace and magnificence taking after that of a trend set prominent during the late Tang and early Song dynasties. While the motion and vitality of the landscape with waterfall were enhanced by the interplay of bold dabs in inks and water, it gave different densities of shades and sturdiness. His sketch lines are a perfect interpretation of his mature painting techniques with tension and intensity, when dark inks graced with the lighter blends even within a laser-thin brushstroke. The line drawing painting techniques used of crabs, bamboo and orchids are a traditional Chinese painting techniques. This particular painting technique is exceptionally hard to master however Chen perfected the art of line painting. Using different thickness of simplistic black ink strokes, Tan is able to paint a precise image of a crab. The line drawing techniques are seemingly plain, but upon closer inspection, one can find deep meaning in the strokes. Brushwork technique is a strict requirement for an experienced artist's skill set; this technique pays great attention to individual description. The strokes are meticulous and the colours are vibrant and rich. As Tan applied such techniques of line drawing, bold freestyle expressions, and the application of white spaces unique in Chinese traditional painting, established an epochmaking artistic style of his very own. Tan is an artist of many talents. His poetry, too, showed simplicity filled with philosophies. Though Tan kept a low profile in Singapore, he has, in fact, won many awards overseas. Tan’s works was exhibited at International Biennial of Arts Sao Paulo, Brazil in 1985 and was invited to hold exhibitions and to lecture at the Research Institute of Traditional Chinese Paintings, Beijing two years later. In 1989, at the International Biennial of Arts Valparaiso in Chile,

Tan was the first artist specializing in Chinese painting to be invited and have his works featured.

In 1992, Tan held his solo at the Goethe Institute, in Singapore. In 1995, Taiwan Zhong Hua appointed Tan as an Academician. The Beijing Rong Bao Zhai also featured Tan as the first foreign artist in their series of publications. In the following year of 2002, Tan was invited by the Beijing Art Institute to hold his solo exhibition in Beijing. When Mr Li Ke Ran first saw Tan’s works at one of the exhibitions, Li expressed described Tan’s paintings as ‘a brilliant dawn in the eastern skies’. For Li expressed that Tan would be an artist of foresight and is the hope and future of Chinese Painting.

陳有炳，出生於新加坡，從小受於中國文化教育。在陳13歲時，他成爲范昌乾的學生，第三代的海派弟子。陳從范那里學習了的傳統的中國水墨繪畫。在這樣的年紀，陳的藝術才華和天賦得到了很好的稱贊，他被给予很高的認可和很好的名望。然而，年轻的陳从来没有感受到驕傲自滿。相反，过去的十年，他坚持塑造自己的艺术才华，完善自己的技能，提高繪畫技巧。

陳有炳的绘画风格是独一无二的，在他的中国水墨畫中，通過大膽自由奔放的繪畫風格和厚刷技巧對靜物的掌握描述盡然有意想不到的簡潔效果。栩栩如生的动物和生物體現出印象派的氣質。陳的山水畫的構圖體現了中國傳統繪畫的精華，有著唐末宋初時期繪畫作品的特徵，優雅而壯麗地突出了畫面的深度和浩瀚感。

這幅具有動感和活力的山水瀑布作品運用水墨混合的相互作用的效果和大膽的繪畫動作增强和突出了畫面感。陳的綫條草圖完美的詮釋了他的成熟繪畫技巧，具有張力和力度，即使是使用一支單薄的畫筆也能把水墨的深淺優雅輕盈的呈現出來。螃蟹，竹与兰花使用了白描的绘画手法，属于中国传统画技的一种。白描的绘画技巧难以掌握，陈却运用的淋漓尽致。他用墨线粗线条勾勒，不着颜色，移用到文学创作上，即用简练的笔墨，不加烘托，简洁明了地刻画出螃蟹的鲜明生动的形象。采用白描手法绘画，看似平淡，但细细品味，却意味深长。而工笔则是对艺术家的功底要求严格，对事物注重局部细节描写，对之进行精雕细刻、浓墨重彩的描写。似乎陳在新加坡的活動比較低調，但實際上他在各國舉辦過多次優秀的展覽和獲得過很多獎項。谭的作品曾被陈列在艺术圣保罗国际双年展，1985年，巴西应邀谭举办了展览，两年后在北京演讲了中国传统绘画的研究主题。1989，参与了智利國際雙年展藝術瓦爾帕萊索，谭是第一位被受邀请的专业中国画艺术家，有他的作品精選。

1992年，陳有炳在新加坡歌德學院舉辦了他的個人展。 1995年，台灣中華学院任命陈為院士。陈成为第一位外國藝術家被北京榮寶齋精選了系列作品出版。在2002年，陈被北京藝術學院邀请在北京舉辦了个展。當李可染先生第一次在展覽上看到陳有炳的作品，他表達了自己的願景： “一個燦爛的黎明在東部的天空” 。李認爲陳是一位有遠見和才能的藝術家，并且注意到陳在中國繪畫上充滿了希望和前景。

當代中國畫大師李可染聚精會神觀賞有炳的作品Contemporary Chinese painting master Li Keran appreciating Tan Oe Pang's work during exhibition

李可染先生為有炳書畫展開幕後有炳陪同李氏參觀展品The artist accompanying Li Keran to tour Tan Oe Pang's painting in Beijing, 1987

8TAN OE PANG (CHEN YOUBING) (Singaporean, b.1947)

Crab with Bamboo and Orchidssigned from upper to lower right; stamped with one seal of the artist upper rightink and colour on paper, mounted, hanging scroll137 x 34.5 cmS$ 8,000 - 12,000US$ 5,680 - 8,520

陳有炳螃蟹、竹與蘭花彩墨紙本立軸款識：夜中行事非君子雖是白描骨質黑你等還不休性大浪一來就嘿嘿有炳並句（右）鈐印：陳有炳（右上）

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9TAN OE PANG (CHEN YOUBING) (Singaporean, b.1947)

Landscape with Waterfallsigned in Chinese and stamped with one seal of the artist upper rightink and colour on paper, mounted, hanging scroll70 x 32.5 cmS$ 4,000 - 6,000US$ 2,840 - 4,260

陳有炳山水與瀑布彩墨紙本立軸款識：有炳（右上）鈐印：陳有炳（右上）

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10NAI SWEE LENG (Singaporean, b.1964)

Lotus and Sparrowssigned in Chinese and stamped with one seal of the artist lower rightink and colour on paper, mounted, framed100 x 30.5 cmS$ 4,000 - 6,000US$ 2,840 - 4,260

賴瑞龍蓮花與麻雀彩墨紙本鏡框款識：瑞龍（右下）鈐印：龍（右下）

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11NG ENG TENG (Singaporean, 1934-2001)

Dreamingincised with signature, dated 1992 and numbered 1/2this work is number 1 of 2 editionbronze with wooden base56.5 x 27 x 19 cm/71.5 x 27 x 19 cmS$ 8,000 - 12,000 US$ 5,680 - 8,520Provenance：Important private collection, Singapore

黃榮庭夢境銅雕木座版數：1/2款識：NG ENG TENG 1992 1/2

来源重要新加坡私人收藏

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At the age 19, after graduating from Senior Cambridge examinations in 1955, Ng Eng Teng took painting and sculpture classes at the British Council, and later with artist Liu Kang in 1958. That year, Ng entered the Nanyang Academy of Fine Arts and began experimenting with various media ahead of his peers. He showed great potential and was encouraged by teacher and artist Georgette Chen to further his study in The Potteries in Stoke-on-Trent in England in 1962. Upon graduation, Ng stayed in England and made himself a name in the commercial design industry. In the late 1960s, Ng returned to Singapore to pursue his passion in artistic sculpting.

Few years later, on September 4, 1970 Ng formally began his career as a full-time sculptor, with the inception of his first solo exhibition at the lecture hall of the National Library. Singapore Art Society, Nanyang Academy of Fine Arts and the Society of Chinese Artists jointly sponsored the 5-day exhibition. Ng went on to have an illustrious career, becoming a renowned sculptor known in many parts of Asia and Australia and in 1981, his outstanding achievements and contributions to the Singapore art scene have garnered him the Cultural Medallion Award. He was also widely considered the Grandfather of Singapore Sculpture.

For Ng Eng Teng, the human figure was a fundamental form which facilitated new investigations and discoveries. Throughout his practice, Ng pursued varied strategies in rendering the body, initially favouring realism and subsequently adopting a more abstract and stylized language. The present lot, Dreaming was dated 1992 and cast in bronze in Thailand by the artist himself. It is a continuation of the series of seated bronze figures he had sculpted from around 1987. The stylization, omissions and simplifications of the earlier sculptures are handled with greater confidence and compositional skills. The graceful juxtapositions of the head resting on the hand give the sculpture a pleasing fluidity.

19歲時，黃榮庭在1955年劍橋高級考試畢業之後在英國文化協會學習繪畫和雕塑課程，1958年後又與藝術家劉康繼續學習。那一年，黃進入了南洋美術學院，並開始和他的同齡人一起做各種媒體材料試驗。在教師和藝術家張荔英的鼓勵下他表現出了巨大的潛力並留學深造陶器研究，於1962年在英國的特倫特河畔斯托克。畢業後，黃留在英國，並投身於商業設計行業。在20世紀60年代末，黃回到新加坡在藝術雕塑的道路上繼續追求自己的激情。

幾年後，在1970年9月4日，黃正式開始了一位全職雕塑家的職業生涯，在國家圖書館的演講大廳首次舉辦了個人展覽。新加坡藝術協會、南洋美術學院和中國美術家協會共同舉辦為期5天的展覽。 1981，黃開始了一個傑出的職業生涯，成為一個著名的雕塑家，聲名遠揚於亞洲、澳大利亞和許多地方。他的傑出成就和對新加坡藝術的貢獻獲得了文化勳章獎，同时被廣泛認為是新加坡雕塑的祖父。

對於黃榮庭，人體是一個基本形式，促進了新的研究和發現。在他的實踐中，黃使用人體追尋不同的策略，最初傾向於現實主義和隨後採取了一種更抽象的、程式化的語言。此件作品，”夢想”是由藝術家本人在1992年在泰國使用青銅鑄製造而成。這件作品是青銅人物雕塑系列的一個延續，大約從1987年左右開始雕刻創造。程式化、省略和早期雕塑的簡化處理是需要更大的信心和寫作技巧。優雅的將雙手枕在頭邊給雕塑增添了令人愉悅的流動性。


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Zahir Mosque, located in the heart of Alor Setar, is one of Kedah’s iconic landmarks, designated as a place of both historical and architectural significance. Constructed in Moorish architectural style from the 1910s, it is also the burial site of Kedah warriors who died while defending the state from the Siamese in 1821. The five distinctive large, black domes depicted in the painting symbolize the Five Pillars of Islam. Veteran artist Lim Tze Peng must been inspired by this majestic sight during one of his many travels in the region. He is said to be fond of capturing Southeast Asian landscapes, reinterpreting them with his signature gestural brushstrokes and dynamic ink tonality.

In the 1970s, Lim experimented with Chinese ink (a medium that he was most familiar and comfortable with, having practiced calligraphy for decades) and produced a number of intricate ink representations of local streetscapes. Buoyed by the positive results, he went on to submit a Balinese inkscape to the Royal Overseas League Exhibition in London and eventually won a special commendation award. Subsequently, he found his niche depicting transient scenes of old Singapore.

Zahir清真寺位在阿羅西打的中心，是吉打州的地標，指定作為一個歷史建築意義的地方。1910年代開始的摩爾式建築風格，也是吉打勇士於1821年為了保衛國家的葬身之地。五個獨特的黑色大圓頂象徵伊斯蘭教的五大支柱。藝術家林子平在旅遊當中從這壯麗的景象得到靈感。林喜歡捕捉東南亞的景觀，重新利用他的筆墨調性和筆觸來詮釋作品的特徵。

在70年代，林實驗了中國水墨(一種讓他最熟悉和舒適並且練習了十年的書法筆觸)，使用了好幾種錯綜複雜的水墨表現當地街道。通過實證結果的鼓舞，他提交峇厘作品至倫敦皇家海外聯盟展，最終贏得了特別表彰獎。隨後，他找到描繪新加坡古老的景象。

儘管缺乏生動的色彩，這幅畫中依然充滿活力。“最終，”子平認為，“黑與白的成分必須滿足顏色的效果。”（歌唱藝術，林子平：黑與白，2012）在這裡，林掌握水墨的特質創作出具有深度和尖銳的題材。他巧妙地利用明亮橙色的焦點吸引觀眾，慢慢地引導觀眾探索其餘部分的組成。仔細平衡正、負空間，林的細膩創作形成了鮮明的對比，突出典型寧靜祈禱的地方。

13TAY BAK KOI (Singaporean,

1939-2005)

Buffaloessigned in both English and Chinese lower rightwatercolor on paper61 x 46 cmS$ 6,000 - 8,000US$ 4,260 - 5,680

鄭木奎水牛水彩紙本款識：Bak Koi 木奎（右下）

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12LIM TZE PENG (Singaporean, b.1923)

Zahir Mosque, Alor Setarsigned in Chinese and stamped with one seal of the artist uppper rightink and colour on paper68 x 68 cmS$ 14,000 - 18,000US$ 9,930 - 12,770Provenance:Private collection, Malaysia

林子平亞羅士打回教堂彩墨纸本款識：亞羅士打回教堂林子平寫（右上）鈐印：子平（右上）

来源馬來西亞私人收藏


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Singapore was known as Temasek not too long ago, which means ‘sea town’ in Malay. Imagine the pristine waters, dotted with kelongs, sampans and fishing boats that were ubiquitous in the good old days. Known for his sensuous and poetic treatment of such fishing villages, Tay Bak Koi had worked on his signature style for decades and is regarded as one of Singapore’s most admired second generation artists.

Born in 1939, Tay’s talent was quickly recognized by his father’s friend who was also the younger brother of Lim Hak Tai (the founder of Nanyang Academy of Fine Arts). Despite familial objections, Tay enrolled in the Academy where he was taught by pioneer artist Cheong Soo Pieng. Formally schooled in both Eastern and Western painting traditions, the young Tay was greatly influenced by his mentor. Many of his early works (prior to the 1970s) bore similar motifs and treatments as Cheong’s. He then decided to find his personal voice and carve out a distinctive stylistic direction for himself in the local art scene.

Although he struggled initially as a full-time artist, Tay finally achieved significant commercial success in the late ‘70s when the prestigious Hilton Hotel commissioned him to create 300 paintings to adorn the walls of the property. His unique dream-like landscapes continued to enthrall his supporters up till his demise in 2005.

Tay’s lifelong mission was “to give people something beautiful to remember and cherish; something that they are familiar with but have forgotten.” Fully aware that his subjects are of everyday life, he has never shied away from admitting that he paints from his observations and memory and then uses his artistic license to beautify them.

新加坡之前被稱為淡馬錫，在馬來語代表“海鎮”。在過去那清澈的海水上點綴著小木屋、舢舨以及漁船。鄭木奎用他獨特的風格描繪出充滿感性和詩意的漁村，是新加坡最受尊敬的第二代藝術家。

生於1939年，鄭的天分馬上被他父親的朋友林鶴泰（南陽美術學院創始人）的弟弟發掘。儘管家族的反對，鄭依舊進入學院並拜先鋒藝術家鐘泗濱為師，正式開始學習東方和西方繪畫，年輕的鄭深深受到他導師的影響。在他早期作品中(70年代以前) 與鐘的作品有許多相似之處，後來他為自己在本地開拓出獨具特色的風格。

雖然他一開始為做一個全職藝術家感到掙扎，鄭終於在70年代後期取得了顯著的成功，著名的希爾頓大酒店委託他創作300幅畫為牆壁裝飾。他獨特又夢幻的景觀作品，在2005年他過世後還是有廣大的支持者。

鄭的終身使命是“給人以美好的東西記得和珍惜；一些他們熟悉但卻已經忘記。”他的作品主題常常來至日常生活，他從不避諱他的觀察和記憶，並用自己的藝術來詮釋。

Fishermen by the Shore with Coconut Tree 岸邊漁夫與椰子樹


Fishermen by the Shore with Coconut Treesigned lower right; inscribed with artist's name, address and telephone on the reverseoil on canvas60 x 88 cmS$ 14,000 - 22,000US$ 9,930 - 15,610Provenance:Acquired directly from the artist pre 1974Private collection, Canada

鄭木奎岸邊漁夫與椰子樹油彩畫布約1970年代初作款識：Bak Koi（右下）/藝術家名，地址，電話（畫背）

来源1974年前購自於藝術家本人加拿大私人收藏

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Fishermen on a Boatsigned lower middle; inscribed with artist's name, address and telephone on the reverseoil on canvas64 x 84 cmS$ 14,000 - 22,000US$ 9,930 - 15,610Provenance:Acquired directly from the artist pre 1974Private collection, Canada

鄭木奎船上漁夫油彩畫布約1970年代初作款識：Bak Koi（中下）；藝術家名字、住址及聯絡號碼（畫背）


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Fisherman in the Seasigned lower leftoil on canvas55 x 103 cmS$ 16,000 - 26,000US$ 11,350 - 18,440Provenance:Acquired directly from the artist pre 1974Private collection, Canada

鄭木奎船上漁夫油彩畫布約1970年代初作款識：Bak Koi（左下）


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“A soft flick, vague as memory,And then the straight plungeOf weight, laying out a line fromLife to life, a morse-code of motion”- Alvin Pang, Flying Fish

The first four lines of “Flying Fish” by Singaporean writer, Alvin Pang share the same poetic expression as Tay Bak Koi’s Fisherman in the Sea. We observe the solitary fisherman as he ventures out by himself, his boat rocking gently in the open sea.

Here, Tay Bak Koi uses colours sparingly with the intention of playing on the resonances and complexities of the colour, blue. The distinctive trademark of the dreamlike quality is built upon his signature preference of colour palette where he sets a base colour and layers it with hues of colours creating a harmonious relationship in the entire composition. The fisherman stands out as the sole focal point of the artwork, with hints of white, brown and black.

Tay displays his keen appreciation and presentation of the two-dimensional aspect of painted surfaces. In order to deconstruct complicated subject matter into basic fragmentary shapes, he engages in a process of simplifying and warping the forms. The artist has deliberately made the form of the fisherman slightly abstract, delineating the lone figure with a couple of thin brushstrokes. He conjures a sense of ethereal beauty through his idyllic portrayal of a fisherman going about his livelihood.


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17GOH BENG KWAN (Singaporean, b.1937)

Specialiaty Rusttitled, signed and dated 1985 in Chinese, lower left and rightmixed media on paper70 x 70 cm (2 pieces)S$ 7,000 - 9,000US$ 4,970 - 6,390

17a

吳珉權腐蝕之美綜合媒材紙本1985年作款識：吴珉权（左下）; 乙丑年（右下）

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Auspicious Luohan Fishes reflects veteran painter Chua Mia Tee’s meticulous care in depicting the realism of the luohan fishes in water. To many Chinese Singaporeans, the luohan fish, also known as the flowerhorn fish, is a symbol of luck and prosperity. Despite the preposterously bulbous forehead and garish markings of the luohan, it has remained popular among this city's ethnic Chinese majority.

Rearing fish has always been part of Chinese culture, partly because fish is a crucial element in feng shui design. The luohan fish was named after the eight immortals of Taoism and supposedly brings good tidings, particularly because the number eight is considered auspicious in Chinese numerology.

Chua Mia Tee’s talent for drawing flourished under the tutelage of pioneer artists such as Lim Hak Tai and Cheong Soo Pieng. His oeuvre grew to include vivid portrayals of colourful fishes and majestic animals, stately portraits of polit ical leaders as well as nostalgic streetscapes of old Singapore - proof of his versatility as an artist.

Chua was recently awarded the Cultural Medall ion in Singapore’s Jubilee year, a recognition long overdue for the foremost realist painter. He is not merely content with painting a scene with great likeness but instead contemplates on its social value and significance. “Realistic art will never die away, just like classical music. Good classical music will always remain even after hundreds or thousands of years. The same applies to art,” Chua muses. Indeed, the art form has endured decades of being sidelined by other artistic forms and has only recently found favour in the local scene.

吉祥的羅漢魚展現出蔡明智對水中魚兒的細膩描繪，對許多新加坡華人來說，羅漢魚也被稱為飽滿魚，是一種幸運和繁榮的象徵。儘管有著突兀的球狀額頭和花哨的斑紋，至今仍受大多數華人的歡迎。

飼養魚兒一直是中華文化的一部分，原因是因為魚是風水設計中的一個重要元素。羅漢魚據說能帶來好運因為是在道教八位神仙之後所命名的，特別的是中國命理學認為「八」這個數字代表吉祥。

蔡的繪畫天賦受到先鋒林學大和鐘泗濱的薰陶，他的作品還包括描繪色彩鮮艷的魚、雄偉的動物、政治領導人以及老新加坡的懷舊街景，再次展露出藝術家的多樣性。

蔡明智最近得到新加坡建國50週年文化藝術獎，表揚早期的寫實藝術家。他不僅僅只是描繪街景和肖像，其中更沉思社會價值和意義。蔡名智沉思地說:「寫實藝術永遠不會滅亡，就像古典音樂一樣。優秀的古典音樂，即使在幾百年或幾千年之後仍然保持在。這同樣適用於藝術。」事實上，寫實畫風被其他藝術形式取代了幾十年，直到最近本地風景才又逐漸受到喜愛。

Auspicious Luohan Fishes多姿多彩羅漢魚


Auspicious Luohan Fishessigned and dated 2002 lower right; signed in Chinese on the reverseoil on canvas80 x 115 cmS$ 38,000 - 48,000US$ 26,960 - 34,050

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蔡名智多姿多彩羅漢魚油彩畫布2002年作款識：M.T.Chua 2002 （右下）；多姿多彩羅漢魚油畫 100 x 80 cm 蔡名智作（畫背）


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19CHOO KENG KWANG (Singaporean, b.1931)

Hotel Negara Mural Series (5 pieces)indigosol dye on cotton, mounted on board198 x 111 cm (5 pieces)

*Estimate upon request *估價待詢

Hotel Negara no longer exists today (currently Pan Pacific Orchard occupies the site) but this lot of five batik paintings gives us a glimpse of what the hotel was like back in the 70s. Located in the upmarket residential district of Claymore Drive, Hotel Negara was envisioned to be a second home for travellers visiting Singapore. Managing director, Mrs Ko Teck Kin, widow of Singapore’s first High Commissioner to Malaysia redeveloped the property from three big blocks of flats while retaining its original height of four storeys.

麗嘉酒店如今已不存在 ( 現址為烏節太平洋酒店 ) ，但這五幅蠟染畫彷彿帶我們重回了七十年代的飯店。位於高檔住宅區Claymore Drive，麗嘉酒店期望這裡是遊客到訪新加坡的第二個家。新加坡第一任駐馬大使高德根夫人改建了三棟樓房並且保留原本四層高度。在那些日子裡，公共和私人機構委託藝術家為大廳入口裝潢，新加坡在1969年還是個年輕興盛的國家，透過這樣的企劃利用藝術來突顯國家的門面。麗嘉酒店有遠見的利用自家場地展示當地藝術。其中最傑出的是一面長50英尺的藝術外牆，用來展示新加坡藝術家的蠟染畫。飯店發言人說：“這是給一般民眾的藝術欣賞，每個人從門外就能目睹島國的現代藝術。”其中很多幅畫原本是掛在飯店的餐廳，使客人在一個豪華的佈置中用餐。蠟染是東南亞長久以來的傳統藝術，蠟染畫之父蔡天定成功地提升它的地位，成為一種優雅的藝術形式。為了創造這些畫作，朱慶光煞費苦心地用溶靛素染料在白布上創作，之後才裝框。大多數人並不知道，這是一個棘手的染布過程。朱熱衷於各樣活動，如帶進各種的豐收、販賣商品和從事他們所喜愛的消遣。他們的熱帶動植物利用幾何圖形來呈現。

朱慶光麗嘉大酒店壁畫系列蠟染棉布1969 年作

There has been a long-standing tradition of making batik in Southeast Asia but only after Chuah Thean Teng had successfully elevated its status to an elegant art form, did batik works start to hold their own. In order to create these paintings, Choo Keng Kwang had painstakingly used indigosol dyes to create the images on cloth, which was later mounted on board. Unbeknownst to most people, this is a tricky process as indigosol dyes are colourless. Here, Choo’s figures are seen in pairs and trios, depicted as being engaged in various activities common to the region such as bringing in the harvest, peddling their wares and going about their favourite pastimes. Their geometric forms are accented by the foreground made up of tropical flora and fauna.

In those days, public and private organisations commissioned artists to create centerpieces for their lobbies and entryways. Perhaps such projects came about because of the need to assert a national identity through art, Singapore being a young country in 1969. Blessed with foresight, the management of Hotel Negara made the conscious decision to showcase local art on its premises. One of the most exceptional features of the hotel is a 50-foot long art gallery wall outside the lounge that was used to showcase batik paintings by Singapore artists. To quote the hotel spokesman: “These are for the general aesthetic appreciation of the residents, who can thus have just outside his door an authentic view of the contemporary arts of the island.” This lot was originally hung in the restaurant of the hotel, enabling the guests to dine in a lavish setting.

藝術家與其作品合影Artist with paintings in present days


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20CHOO KENG KWANG (Singaporean, b.1931)

A Gathering of Birdssigned and dated 93 lower right oil on masonite board80 x 121.5 cmS$ 14,000 - 18,000US$ 9,930 - 12,770Provenance:Private collection, Malaysia

朱慶光群鳥油彩纖維板1993年作款識：ChooKengKwang 93（右下）

來源馬來西亞私人收藏

“I am easy to get along with and am someone with hardly any temper. Thus, I like to be in a peaceful , quiet and poetic world, “quipped Choo Keng Kwang in a press interview in 1999. This was not only a revelation of the artist’s personality but also an apt description of Choo’s signature works.

During the early 1980s, Choo Keng Kwang widened his repertoire to include animals, birds and fish. A Gathering of Birds display the fastidious realism and controlled brushwork that Choo has mastered for this genre of painting. The work is aesthetically pleasing and easily accessible by most, appealing to both Eastern and Western audiences with connotations of peace and prosperity.

Choo studies his subject matter from life as he disdains the use of photographic references as an aid to pictorial composition. In fact, he kept some small animals in his home in Pasir Panjang and frequented the zoo to observe the nuanced postures of other wildlife. Despite this, Choo has clarified that the birds are not just documentative or anatomical representations but idealized portraits that conveyed powerful symbolic meanings. Through this painstaking process of collecting authentic studies of the birds, he renders them in an atmospheric background with a unique treatment of light and shade.

朱慶光在1999年的新聞採訪中打趣的說:「我很容易相處，我是一個幾乎沒有脾氣的人。囙此，我喜歡在一個和平、寧靜和詩意的世界。」這不僅描述藝術家的性格更表現在他的作品上。

八十年代早期，朱慶光擴展他在藝術方面的技巧包含繪畫動物、鳥和魚。A Gathering of Birds表現寫實主義和筆觸的拿捏，朱已經掌握了這一流派的繪畫。這幅作品親易近人討人喜歡，為東西方的觀眾帶來平靜與富足的涵義。朱探討生活中的各種主題並把它加入繪畫當中，事實上，他在巴西班讓的家中飼養著許多小動物並且經常去動物園觀察動物細緻入微的姿態。除此之外，朱認為鳥類不該只是用來解剖而是用來傳達强大的象徵意義。經過這艱辛鳥類研究的過程，他利用光和影來描繪獨特的作品。

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21LAI KUI FANG (Singaporean, b.1936)

Dovestitiled, dated 1985 and signed in Chinese and stamped with one seal of the artist upper right; stamped with another seal lower rightoil on board, lacquered122 x 82 cmS$ 80,000 - 120,000US$ 56,740 - 85,110Provenance:Private collection, Singapore

Exhibited:The Paintings of Lai Kui Fang. o.o.ALExposition de Peinture de Lai Kui Fang Singapore

賴桂芳松鴿油畫木板過漆1985年作款識：松鴿乙丑年（右上）鈐印：賴桂芳（右上）；另一方（右下）

來源新加坡私人收藏

展覽賴桂芳油畫作品展新加坡


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Malaysian-born, Singapore-based Lai Kui Fang is perhaps most famous for his Construction of Sheares Bridge—a painting which stands 2.3 m tall – exhibited at the National Museum of Singapore in a game-changing presentation titled A Changed World: Singapore Art 1950s-1970s. This collection of artworks from the postwar era charts Singapore’s progress as a nation and its impact on the local art scene.

Lai who studied on a French Government scholarship at the École nationale supérieure des Beaux-Arts is especially adept at portraiture, restoring and reproducing old masterpieces during his decade-long stint in Paris. Once a young boy who helped out as an assistant at his father’s fruit stall, Lai indulged in his creative hobby by recreating on paper what was abundant in his formative years – abundant greenery. The observational skills and meticulous attention to detail he honed during his childhood later boosted his career as a portraitist and still-life painter.

At a joint art exhibition by Lai Kui Fang and Koh Lee-Lee in 1972, the then Minister for Culture, Mr Jek Yeun Thong stated that, “All his life, he (Lai) had been learning, observing and putting in hard work for the sake of creating beauty on canvas.” Executed in an eastern-style oil painting, Lai’s doves are symbolic of longevity in Chinese culture. Similarly, no effort was spared in detailing the pine in the background, which is also another symbol of longevity.

馬來西亞出生，成長於新加坡的賴桂芳最著名的作品薛爾斯橋有2.3米高，於新加坡國家博物館展示-名為改變世界:新加坡藝術1950 至 1970年代。這些作品反映出戰後時期的新加坡並深深地影響本地藝術。

賴考取了法國政府文化藝術獎學金，專攻雕塑及修補繪畫並在巴黎的這十年重現了大師的作品。從小在父親的水果攤當助手，賴在他的成長過程中沉迷於他的創作嗜好，豐富盎然，童年磨練的敏捷觀察力和細節的注重造就了他對人像和靜物畫作的一絲不苟。

在1972年賴桂芳和 Koh Lee Lee聯合藝術展中，文化部長易潤堂這樣說道: “在他(賴)一生當中，一直在學習和致力於創作美麗的畫作。”“在東方風格的油畫中，賴所繪畫的鴿子象徵中國文化的長壽，同樣地，畫中的松木也是長壽的另一象徵。”

Doves 松鴿

22CHEN CHENG MEI (b.1929 Singaporean)

Kashmir Childrensigned and dated 12-12-12 lower leftmixed media on canvas43 x 58.4 cmS$ 6,000 - 8,000US$ 4,260 - 5,680

陳城梅克什米爾兒童綜合媒材畫布2012年作款識：Chen Cheng Mei 12-12-12（左下）

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23TAN CHOH TEE (Singaporean, b.1942)

Keppel Baysigned and dated 1992 lower leftoil on canvas30 x 41 cmS$ 6,000 - 8,000US$ 4,260 - 5,680

陳楚智新加坡吉寶灣油彩畫布1992年作款識：tanchohtee92（左下）

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24LIM YEW KUAN (Singaporean, b.1928)

Fisherman by the Beachsigned lower rightoil on canvas30 x 36 cmS$ 15,000 - 20,000US$ 10,640 - 14,190

林有權海邊漁夫油彩畫布款識：YEW KUAN（右下）

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Lim Yew Kuan was born in Xiamen, China in 1928. After the war, he began his formal art training at the Nanyang Academy of Fine Arts (NAFA) that his artist-educator father, Lim Hak Tai had founded years before. Later on, he pursued his higher education at the Chelsea School of Art before returning to assist his father at NAFA. Under Lim’s strong leadership, NAFA grew from strength to strength in the ‘60s and ‘70s, nurturing generations of artists in Singapore. For his dedication and valuable contributions to the local art scene, he was awarded the Cultural Medallion in 2011.

Lim exhibits an aesthetic sensibility that stems from his solid foundation in Western painting - stellar draughtmanship and in-depth understanding of the subtleties of shades and hues. Depicting a group of fisherman by the shore at sunrise, the warm glowing colours leap off the canvas, evoking a sense of energy and life. His work has remained true to the beliefs once printed in his Equator Art Society’s 1966 catalogue: “The value of the genuine school of art lies in the fact that it does not lose its integrity amidst the ugly commercial dealings belonging to the decadent bourgeois. Instead, it always works to faithfully reflect or expose the very root of the reality of life, to spread the Truth, the Virtue, and the Beauty of this world.”

林有權1928年出生於中國廈門，戰爭結束後，他在南洋美術學院開始了他的藝術課程（NAFA），這是他藝術教育家的父親林鶴泰在幾年前成立的學校。畢業後，他繼續在切爾西藝術學院就讀，之後才返回南洋藝術學院協助他的父親。林的堅強領導下，南藝的實力在60和70年代更加卓越，哺育了一代又一代的新加坡藝術家。他的奉獻精神對本地藝術有極大的貢獻，更在2011年被授予文化勳章。

林的藝術美學來至西方作品-stellar draughtsmanship 和深入理解明暗和色彩的微妙之處。描繪一群漁夫在日出的海岸，溫暖熱情的顏色跳躍在畫布上，喚起一種活力和生命。他的作品在1966年所出刊的赤道藝術協會目錄中仍然保持著真實的信仰：“真正藝術學校的價值在於即使在衰落的中產階級中仍保有正直。並且，總是如實地反映或揭露現實生活的根源，傳播真理、美德和這個美麗的世界。”

Lim Yew Kuan at NAFA .林有權在南洋藝術學院


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25FERN MIN ENG (Singaporean, b.1964)

Happily Together for Hundred Yearssigned in Chinese lower left; stamped with a seal of the artist lower leftmixed media on canvas69 x 69 cmS$ 5,000 - 7,000US$ 3,550 - 4,970Literature: Xuan Cai Da Shang, Fern Min Eng, Singapore, 2011, page 32

潘明音百年合樂綜合媒材畫布2011年作款識：潘明音（左下）鈐印：一方（左下）

出版2011年《炫彩大賞潘明音》潘明音出版新加坡第32頁

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Fern Min Eng graduated from Nanyang Fine Arts Academy (NAFA) and continued to study Chinese painting in traditional gongbi (meticulous style) in Shanghai under masters such as Mao Guolun and Shi Dawei. In her canvas, concepts close to her life are expressed in her own style. The present work was inspired by olden day Chinese practice in which a woman would successfully conceive a baby boy just by covering 2 red-dyed eggs together with 2 rice bowls with cock images, them leave them under her bed for 7 days. Min Eng does her painting layers by layers using differing techniques and media. Ink and wash painting was used for the first layer of this work. Then watercolour and acrylic paints were used, and finally oil paint and varnish.

潘明音畢業於南陽藝術學院（NAFA）後在上海跟隨毛國倫和施大畏大師繼續研究學習傳統工筆國畫。在她的畫布上，都是以自己的方式來表達貼近生活的觀念。這幅作品的靈感來自於舊中國實踐中，如果覆蓋2個染成紅色的雞蛋和2個碗與公雞圖片，把它們放在一個女人的床下7天，這個女人會成功懷上男嬰。潘的繪畫每層採用不同的技術和媒體材料。這幅作品第一層使用了彩墨，然後用水彩、壓克力顏料，最後油漆和清漆。

26TANG DA WU (Singaporean, b.1943)

Throw-e'titled lower left, signed lower middle and dated 87 lower rightmixed media on paper69.5 x 100.5 cmS$ 5,000 - 7,000US$ 3,550 - 4,970

唐大霧Throw-e'綜合媒材紙本款識：Throw-E'（左下）; DAWUTANG（中下）; 87（右下）

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42 33 Auction

27OLGA MARIE POLUNIN (Singaporean, b.1963)

See No Evil, Hear No Evil, Speak No Evil and Do No Evilsigned lower rightoil on canvas100.5 x 150 cmS$ 10,000 - 15,000US$ 7,100 - 10,640Provenance:Important private collection, Singapore

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奧爾加·瑪麗·坡爐您非禮勿視，非禮勿聽，非禮勿言油彩畫布款識：右下

來源重要新加坡私人收藏

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28Khairullah Rahim(Singaporean, b.1987)

Lunchtimepainted in 2012acrylic on canvas91 x 121 cmS$ 4,000 - 6,000US$ 2,840 - 4,260

Khairullah Rahim graduated top two of the cohort from LASALLE College of the Arts - Goldsmith College inaugural degree conferment in 2013. He was also a recipient of the Future Leader Scholarship from the college. He has since participated in various group exhibitions in Singapore as well as in numerous exhibitions and art fairs abroad such as Malaysia, Taiwan, Hong Kong, Turkey, USA and Japan. In 2013, he was invited to extend his research and practice at an artist-in-residence programme organised by YOUKOBO Art Residency Programme, Japan, and INSTINC Gallery, Singapore. Recently, he had a successful inaugural solo exhibition If you think I winked, I did. (FOST Gallery, 2015) and was signed by Chan Hampe Galleries in December 2015. Formally trained in the field of painting, Khairullah Rahim has also explored other mediums such as sculpture, installation, and video in developing his practice. In his works, he creates engaging and sometimes challenging stories of the marginalisation of minorities, among other social issues in Singapore. The present painting, clearly narrates the issue of the marginalised group in our society today in an interesting way; a giant fish armed with massive weapons and tools ready to devour a small fish.

Khairullah拉希姆毕业于名列前茅的拉萨尔艺术学院，金匠学院成立学位授予2013。他还接受了大学未来的领导奖学金。他参加了各种联展在新加坡以及众多的展览和艺术博览会，如马来西亚、台湾、香港、土耳其、美国和日本。 2013年，他被邀請到一個藝術家駐場計劃，由日本的YOUKOBO藝術居住計劃組織和INSTIN画廊延長了他的研究和實踐。随后他成功举办了一场首次个人展览。”如果你觉得我对你眨眼，你就对了。“（FOST畫廊，2015年），隨後於2015年12月與Hampe畫廊簽約。在正式的繪畫領域中訓練，Khairullah拉希姆还探索研究了其他媒体材料，如雕塑，裝置，並创造发展了他的視頻练习。他的作品创造引人入胜，有时具有挑战性的少数民族的边缘化的故事，是其中新加坡的社会问题之一。此幅作品，以有趣的方式清楚地叙述了被边缘化的群体是我们当今的社会问题，一种巨大的鱼有大量的武器和工具准备吃掉小鱼。

凯鲁拉·拉欣午餐時間壓克力畫布2012年作


44 33 Auction

29JAN DANIEL BEYNON (Indo-Dutch, 1830 -1877)

Mère et enfant à la source (Mother and Child at the Source)signed and dated Java, 1869 lower rightoil on canvas 106.5 x 78 cmS$ 90,000 - 120,000US$ 63,830 - 85,110

揚·丹尼爾·貝諾母親和孩子在源頭油彩畫布1869年作款識：J.D.Beynon Java, 1869（右下）

Little is known about the life of Jan Daniel Beynon, especially about his formal training in art before he pursued further studies in Holland in 1848. He had been schooled at the Royal Academy for Art in Amsterdam (‘Koninklijke Academie’) between 1848 and 1855 where he was mentored by the celebrated Cornelis Kruseman (who also taught Raden Salleh and Hubertus Nicolaas Sieburgh) and Nicolaas Pieneman (who, together with Raden Saleh, produced a history painting on one of the Indies most renowned subjects, the arrest of the Javanese rebel-prince, Diponegoro). As such, he probably came from a wealthy family in service of the United East India Company. His father owned a firm called Beynon Brothers, and must have done well enough to send his son overseas to receive artistic training. In 1855 Beynon returned to his homeland, Batavia (present-day Jakarta), where he would live for the rest of his life. He was a professional painter with his own studio on the illustrious Molenvliet. At that time, Beynon and Raden Saleh were the only educated painters in Java so he notably kept in contact with Dutch artistic circles.

His early works depict typical Dutch genre paintings where scenes from everyday life, both high and low were portrayed. As he matured as an artist, he began to feature Javanese rural life and still-life in his works. As Dutch 17th century art regained popularity in the 19th century, Indies art witnessed a revival of the classical still life during the colonial period. Jan Daniel Beynon, an Indo-European painter based in Batavia, painted Still Life with fruits (1872) - one of two still-lifes known to have been painted by Beynon - and is among some

關於揚·丹尼爾·貝諾的生平甚少，他於1848年到荷蘭深造藝術。他曾在1848至1855年之間就讀阿姆斯特丹藝術學院（'koninklijke皇家學院”），並由著名的導師Cornelis Kruseman (教過Raden Salleh、Hubertus Nicolaas Sieburgh和Nicolaas Pieneman ( 和Raden Saleh一起創作印尼當時具話題性的歷史巨作-逮捕叛逆王子的爪哇，蒂博尼哥羅 ) 教導。囙此，他可能來自一個富裕的家庭。他的父親擁有一家叫做貝諾兄弟的公司，想必是生意相當成功才足以送兒子去海外接受藝術培訓。

1855年貝諾回到自己的祖國，巴達維亞（現今的雅加達），在那裡度過餘生。他是一位專業並擁有自己工作室的畫家。當時，貝諾和拉登薩利赫是唯一受過教育的畫家，因此他們是瓜哇與荷蘭藝術界之間的聯繫。他早期作品描繪了荷蘭典型的風俗畫，無論是高或低的場景描繪。作為一個技術成熟的藝術家，他開始描繪爪哇農村生活和靜物寫作。17世紀的荷蘭藝術在19世紀又重新流行，印尼藝術在殖民時期見證了古典靜物的復興。揚·丹尼爾·貝諾，一位於巴達維亞的印尼歐洲藝術家，其中一件靜物與水果（1872）是兩件中最有名的印尼風俗畫。在他短暫的職業生涯中，作品包括風景畫、爪哇人的日常生活以及肖像畫，其中大部分是晚年完成。不幸的是，只有少數作品被保存在公共機構如阿姆斯特丹的tropenmuseum。

of the largest known examples of the genre from the Indies. In spite of his short career, Beynon’s oeuvre included landscapes and scenes from Javanese daily life, as well as portraits, most of which were completed late in his life. Unfortunately, only a few of his works have been preserved in public institutions such as the Tropenmuseum in Amsterdam.

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46 33 Auction

30BASOEKI ABDULLAH (Indonesian, 1915-1993)

Lady in Kebaya (Wanita Berkebaya)signed lower rightoil on canvas 143 x 100 cmS$ 30,000 - 40,000US$ 21,280 - 28,370

巴蘇基·阿卜杜拉可芭雅服的仕女油彩畫布款識：Basoeki Abdullah（右下）

As the grandson of national education hero and physician Wahidin Sudirohusodo and second son of prominent landscape painter, Abdullah Soerjosoebroto, realism maestro Basoeki Abdullah began his formal art training at the Academia van Beeldende Kunsten in The Hague, the Netherlands with the support of his noble Javanese family. The artist rose to fame after winning a painting competition held in conjunction with the Netherland’s Queen Juliana ascension to throne on 6 September 1948.

Just late last year, there was an exhibition themed “Legacy of Javanese Culture”, held as part of celebrations honouring maestro Basoeki Abdullah’s birth centennial. According to the exhibition’s curator, Bambang Asrini Widjanarko, Basoeki was appointed as palace artist by first president Sukarno and reportedly painted an estimated 5,000 paintings, a testament of his mastery at portraiture.

Undoubtedly, Basoeki had a flair for depicting feminine beauties on canvas. This work is no exception as his portrayal of a lady in kebaya seduces with the same softness and sensuality that characterizes his works. The lady challenges the viewer with a direct stare, hinting at a possible connection. Yet the painting’s allure is also attributed to her enigmatic expression.

作為國家英雄教育家和醫生Wahidin Sudirohusodo的孫子和傑出的風景畫家Abdullah Soerjosoebroto的第二個兒子，現實主義繪畫大師Basoeki Abdullah在荷蘭的Beeldende Kunsten 學院開始在他的正規藝術訓練，在他富有的爪哇家人的支持下。 1948年9月6號，藝術家在荷蘭女王朱莉安娜提升到王座的時候贏得了一場繪畫比賽，從此一舉成名。

去年下半年的時候，有一個展覽主題為“爪哇文化遺產“是為紀念大師Basoeki Abdullah百年誕辰慶祝的一部分。展覽的策展人為Bambang Asrini Widjanarko，随后Basoeki被第一位總統Sukarno任命為宮廷畫師，並據說創作估計有5000副繪畫作品，印證了他對肖像繪畫掌握了精深技巧。

毫無疑問，Basoeki有一種在畫布上描繪女性美的天賦。他的這幅作品就是如此，描繪了女性的溫柔和性感的特徵。作品中的女人抓住了觀眾的凝視的目光，似乎在暗示什麼。然而，繪畫的魅力也歸因於她的神秘的表達。

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48 33 Auction Asian Modern and Contemporary Art 49 50 33 Auction


The Beauty of Naturesigned and dated '65 lower leftoil on canvas135 x 300 cmS$ 350,000 - 500,000US$ 248,230 - 354,610Provenance: A gift from first Indonesian President Soekarno to his wife, Mdm HartiniPrivate collection, Indonesia Acquired directly from the family

巴蘇基·阿卜杜拉大自然之美油彩畫布1965年作款識：Basoeki Abdullah 65（左下）

來源印度尼西亞第一總統蘇加諾贈其妻之禮印度尼西亞私人收藏附上第一夫人哈蒂妮兒子親簽來源證書

Raden Basoeki Abdullah was born in 1915 in Surakarta, Indonesia. He is the son of the famous landscape painter and dancer, Abdullah Soerjosubroto.Artistically inspired at an early age, his burning passion for fine arts began.Basoeki came from a wealthy background; his father was able to support his studies at the Royal Academy of Visual Arts in the Netherlands where Basoeki mastered Fine Art Painting.

Basoeki is notably wel l known for his real ism l i fe-l ike paint ings that capture the very l ife of his subject matter. His paintings are often f i l led with beautiful women and famous pol it icians, highly inspired by the Romanticism art movement. He concentrated on the importance of expressing emotions and capturing the essence of his subjects through his ability to capture life-like impressions.

“Art is to present not the outward appearance of things, but their inner significance, for this, not the external manner and detail, constitutes true reality” - Aristortle

Renaissance por t ra i t is ts , espec ia l ly the Dutch Golden Per iod , especially inspired Basoeki. Women were used as representations o f b e a u t y. T h e fe m i n i n e s t r u c t u re o f t h e b o d y d i s p l a y e d t h e essence of romance, passion and also symbolized life and vitality.

Basoeki was also commissioned to paint and his paintings were often gifts for others. Basoeki’s portraits were often dramatized to enhance the subject’s importance. A beautifully executed portrait painting is not only expected to show the inner essence of the subject but also an exquisite representation of the subject’s personality.

The Renaissance of Royal Painter

Asian Modern and Contemporary Art 51 52 33 Auction Asian Modern and Contemporary Art 53

巴蘇基 • 阿卜杜拉，1915年出生於印尼梭羅。畢業於荷蘭皇家美術學院，才華受印尼總統蘇嘉諾高度賞識，不僅聘他為宮廷御用畫家，更大量收藏其作品。巴蘇基是東南亞偉大的藝術家，成就在國際藝壇不可言喩。

巴蘇基是一位優秀的肖像畫家，受浪漫主義與表現主義影響，作品抒情又富有深度，善於捕捉人物精神，曾替許多美麗的女人及著名政治家繪製肖像。駕馭色彩與光影的能力使其畫面充滿情感，才華洋溢，創作揮灑，憑藉成熟的技法及對構圖的掌握，作品中情感豐沛，使觀者能真實地感受作品之內涵。

「藝術並非在於展示事物外在的樣貌，而是內在的重要性。」 –亞里斯多德

巴蘇基喜愛繪製女人肖像，對文藝復興的女性描繪尤其著迷，深受女人的美麗與感性所吸引。對於巴蘇基而言，女人是藝術表現美的載體，象徵著生命及活力，女人軀體的線條充滿浪漫及愛，能把藝術層次提升至更高的境界

肖像畫的精髓在於人物精神性的掌握，描繪並記錄主角豐沛而充滿力量的靈魂樣貌。一幅成功的肖像畫不僅需完整地呈現主題的內在性，更需要將外在的形貌刻畫地維妙維肖。

「模特兒」這件作品，畫像中的女人散發出一種神秘的光環。她的頭髮被整齊地梳於耳後，短髮顯示出女性掌握權威的崇高地位。畫面中印尼女子的臉部成為焦點，臉頰紅潤，櫻桃小嘴，充滿神秘感的深邃雙眼，與綻放的紅唇形成誘惑的對比，優雅迷人。她的視線羞赧地避開畫家專注的目光，她的優雅卻深深吸引著巴蘇基，深邃的雙眼，弧形優美臉龐，兩頰桃色和甜美感性的嘴唇，整體畫面瀰漫著浪漫的氛圍，如夢似幻，充滿魅力。

精確的構圖及細膩的筆法描繪，「模特兒」中的美人似乎對外在世界感到好奇與興奮，粉色調的背景，夢幻的氛圍，鮮豔的色調，觀者透過畫面能感受到主角的夢想，豐富動人，情感真摯，引領觀眾感受世界的奧妙。

文藝復興下的皇室畫家

The Beauty of Nature

Basoeki Abdullah was notably famous for his portrait pieces that became royal treasures to many Indonesian art collectors; he not only painted skillfully but also captured a historical recording of important figures in periods of revolution that marked the beginning of Indonesia’s independence.

Basoeki was active in Keimin Bunka Sidhosio, a cultural centre run by the Japanese Government. Artists Affandi, Sudjojono and Otto Djaya were all part of the revolt against the Dutch Colonization.

Upon his return to Indonesia during the Japanese occupation, Basoeki became active in the Petra Movement and taught art. Some of his students including Kusnadi (painter and art critic) and Zaini(painter) were some of his students whom he had personally groomed into becoming influential artists.

During the post war period, he was famous for winning an art competition against other eighty-one contestants under the accession of Queen Juliana of the Netherlands. It was one of the grand opportunities that marked him as an extremely skilled portraitist. From 1963 to 1974, Abdullah took up the role as the palace painter for the King of Thailand and was a close

friend to the first president of Indonesia, Soekarno.

Soekarno was the beaming light of the Indonesia’s struggle for independence. He was the prominent leader of the nationalist movement during the Dutch colonial period, Soekarno and his nationalist group joined forces with the Japanese war effort to help spread the nationalist ideas, upon the surrendering of the Japanese after World War 2, Soekarno and Mohammad Hatta declared the state of independence of Indonesia in 1945. He led the Indonesians in resisting the Dutch re-colonisation through diplomatic and military means until the acknowledgement of Indonesian independence in 1949. After the period of the parliamentary democracy, “Guided Democracy” was established as an autocratic system to end the instability and rebellions that had threatened the young nation. Basoeki painted many commission works which historically recorded the struggles of independence and portraits of the political heroes who had fought for Indonesia’s freedom. As such, many beautiful paintings were created at that crucial period, juxtaposing mythological ambience that served to inspire many hopefuls of the nation.

President Soekarno and Hartini Soekarno (The First Lady) doing a Ramayan Dance 印度尼西亞總統蘇加諾與第一夫人哈蒂妮共舞


















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54 33 Auction


A Pair of Doves (Sepasang Merpati)signed lower left; signed, titled and inscribed with size on the reverseoil on canvas

S$ 35,000 - 45,000US$ 24,830 - 31,920

Basoeki Abdullah’s Doves is an exquisite work that can only be achieved with precision and exactitude. Trained in the Netherlands, Basoeki’s rigorous treatment of the birds has given the rendition an extra layer of depth and realism. Perhaps it is the same pursuit of perfection that might have inspired Lee Man Fong, another classical Indonesian painter who also includes doves in his repertoire. Basoeki, the official palace painter at that time maintained a close relationship with Lee and even encouraged him to establish Yin Hua in 1955 (Yin Hua was an artists’ association for Chinese Indonesian painters in Jakarta.)

For decades in Indonesia, the realist style was aesthetically pleasing and dominated the mainstream. In addition, affordable art books in the market at that time mostly came from Russia, one of the countries where realist painting flourished. However, by the late 20th century, the pioneer Indonesian modernists paved the way for modern Indonesian art. While these artists were proficient in Western art traditions just like their predecessors, they felt a stronger need to draw a link between art and their country’s political fate and to define a national identity.

巴蘇基 •阿卜杜拉的鸽子精确而逼真，是件顶尖的作品。由于巴蘇基在荷兰受过严格的训练，他把鸟儿处理得栩栩如生，带着深度和增次感。也许就是因为巴蘇基和李曼峰（另一位滋生的印尼画家）抱着同样的态度和理想，他们相敬如兵后来成了好朋友。 1955年，巴蘇基以宫殿画家的身份鼓励他成立“印华”（印华是在雅加达印尼华侨画家的艺术协会。）

数十年来，写实风格在印尼占据了主流的位置。此外，当时在市场上廉宜的艺术书籍多数来自于俄罗斯因为写实绘画在那里非常繁荣。然而，到了20世纪后期，印尼现代主义画家认为有需要稳固国家政治命运与艺术之间的联系，并用艺术打造国家的生份。

巴蘇基·阿卜杜拉一對鴿子油彩畫布款識：Basoeki Abdullah（左下）；Basoeki Abdullah Sepasang Merpati 120 x 56 cm（畫背）

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56 33 Auction

33ARIE SMIT (Dutch, b.1916)

Garden in the Village in Singaraja Balisigned and dated '89 lower rightacrylic on canvas47.5 x 49 cmS$ 9,000 - 12,000US$ 6,390 - 8,520ProvenanceThis lot is accompanied with a certificate of authenticity issued by Duta Fine Arts

艾利·斯密特在峇里島Singaraja村的花園壓克力畫布1989年作款識：Arie Smit '89（右下）

來源此作品附上DUTA FINE ARTS 保證書

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34DJOKO PEKIK (Indonesian, b.1938)

Make Up before Performance (Ledhek Berhias)signed and dated 9 Mei 2005 lower rightoil on canvas115.5 x 140 cmS$ 18,000 - 24,000US$ 12,770 - 17,030

卓可·佩奇克化妝的演出者油彩畫布2005年作款識：Djoko Pekik 9 Mei 2005（右下）

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58 33 Auction

35KRIJONO (Indonesian, 1951-2011)

My Rooster Year (Ayam Thku Ayam)signed, titled and dated 2005/2004 lower rightacrylic on canvas120 x 100 cmS$ 3,000 - 5,000US$ 2,130 - 3,550

克利約諾我的公雞（屬雞年）壓克力畫布2004-2005年作款識：Ayam Thku Ayam Krijono 2005-2004（中下）

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36KRIJONO (Indonesian, 1951-2011)

The Beauty Monicasigned, titled and dated 2006 lower leftacrylic on canvas140 x 140 cmS$ 4,000 - 6,000US$ 2,840 - 4,260

克利約諾美麗的莫妮卡壓克力畫布2006年作款識： 2006 The Beauty Monica Baliku Krijono（左下）

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60 33 Auction

37ERICA HETSU WAHYUNI (Indonesian, b.1971)

Fish Harvest in Pangandaran(Panen Ikan di Pangandaran)signed and dated 2000 lower right; titled and signed with artist's monogram on the reverseacrylic on canvas150 x 200 cmS$ 9,000 - 12,000US$ 6,390 - 8,520

艾麗嘉漁獲壓克力畫布2000年作款識：Erica 2000（右下）；Panen Ikan di Pangandaran 藝術家符號簽名（畫背）

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38ERICA HETSU WAHYUNI (Indonesian, b.1971)

Galleriasigned and dated 2002 middle left; signed with artist's monogram on the reverseacrylic on canvas100 x 120 cmS$ 3,000 - 5,000US$ 2,130 - 3,550

艾麗嘉廣場壓克力畫布2002年作款識： Erica 2002（左中）藝術家符號簽名（畫背）

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62 33 Auction

39BENCHARONG KOWAPITAKTAT (Thai, b.1973)

Land of Prosperitysigned and dated 24.07.2006 in Thai and English lower rightacrylic on canvas150 x 200 cmS$ 9,000 - 14,000US$ 6,390 - 9,930

阪察隆繁榮的土地壓克力畫布2006年作款識： Bencharong Kowapitaktat 24.07.2006（右下）

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40BENCHARONG KOWAPITAKTAT (Thai, b.1973)

Living in Peace and Harmonysigned and dated 19.01.2007 in Thai and English lower rightacrylic on canvas100 x 150 cmS$ 5,000 - 7,000US$ 3,550 - 4,970

阪察隆和平與和諧生活壓克力畫布2007年作款識：Bencharong Kowapitaktat 19.01.2007（右下）

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64 33 Auction

41THAWAN DUCHANEE (Thai, 1939 - 2014)

Horsesigned and dated 89 BKK lower rightink on paper109 x 78 cmS$ 12,000 - 18,000US$ 8,520 - 12,770

塔萬·杜查尼馬水墨紙本鏡框1989年作款識：藝術家簽名 89 BKK（右下）

The unique characteristic of Thawan’s painting includes not only form and religious story but also the colour he used. After learning about Chinese, Indian and Japanese artworks which characteristic is monochrome painting, he was inspired to paint in black and white in order to precisely express the inner feeling. The present painting also bear reminiscence of the Zen brushstroke in order to present a Zen philosophy in artistic form.

Honoured as a National Artist of Thailand, Thawan studied art in Bangkok and Amsterdam. His early work caused outrage amongst some people in Thailand who accused him of disrespecting Buddhism. Despite this, Thawan’s art received plaudits from influential figures in Thai society. The Chiang-Rai-based artist’s work was subsequently showcased all over Thailand and around the world. In 2001, this notable artist was given the price by the Office of the National Culture Commission of Thailand as the National Thai Artist in Fine art and Visual art.

“Art is beyond nature and intellect”Thawan said.

藝術家塔萬·杜查尼The artist Thawan Duchanee

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66 33 Auction

42REARNGSAK BOONYAVANISHKUL (Thai, b.1961)

Sukhothai Risingsigned, titled and dated 2014 lower rightoil on canvas160 x 200 cmS$ 50,000 - 70,000US$ 35,470 - 49,650

朗薩素可泰上昇油彩畫布2014年作款識： Rearngsak Boonyavanishkul 2014

Sukhothai Rising

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68 33 Auction

43

43REARNGSAK BOONYAVANISHKUL (Thai, b.1961)

Serenitysigned, titled and dated 2014 lower rightoil on canvas150 x 120 cmS$ 28,000 - 38,000US$ 19,860 - 26,960

朗薩寧靜油彩畫布2014年作款識： Rearngsak Boonyavanishkul 2014 Serenity

44S.P. HIDAYAT (Indonesian, b.1969)

Beautiful Life (Indahnya Hidup)signed and dated '14 lower rightoil on canvas200 x 140 cmS$ 7,000 - 10,000US$ 4,970 - 7,100

喜大業美麗人生油彩畫布2014年作款識： Hidayat 14（右下）

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70 33 Auction

45NGUYEN TRUNG (Vietnamese, b.1940)

Portrait of A Girlsigned and dated 1982 lower leftlacquer on board80.5 x 60.5 cmS$ 5,000 - 7,000US$ 3,550 - 4,970

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阮忠仕女肖像漆木板1982年作款識：N G Trung 1982（左下）

46NGUYEN TRUNG (Vietnamese, b.1940)

Girl with Lotus Flowersigned and dated 6.1.2012 upper leftoil on canvas99.5 x 99.5 cmS$ 7,500 - 10,000US$ 5,320 - 7,100

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阮忠拿著蓮花的仕女油彩畫布2012年作款識：N G Trung 6.1.2012（左上）


72 33 Auction

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47LE PHO (Vietnamese, 1907-2001)

Vase de Fleurssigned in English and Chinese lower rightoil on board46 x 27.5 cmS$ 6,000 - 8,000US$ 4,260 - 5,680

黎譜瓶花油彩纖維板款識：Le Pho 黎譜（右下）

48LE PHO (Vietnamese, 1907-2001)

Chrysanthemumssigned in English and Chinese lower rightoil on canvas34 x 55.5 cmS$ 15,000 - 22,000US$ 10,640 - 15,610ProvenanceWally Findlay Galleries, ChicagoSotheby's Hong Kong, 5 April 2010, lot 93Acquired from the above sale by the present owner

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黎譜菊花油彩畫布款識：Le Pho 黎譜（右下）

來源美國芝加哥沃利芬德利畫廊香港蘇富比 2010年4月5日編號93現藏家購自上述拍賣


74 33 Auction

49SUI JIANGUO (Chinese, b.1956)

Clothes Vein Study - Bounded Slavesigned in English and dated 1998 and numbered 4/6 on the reverse side of the sculpturebronze116 x 48 x 35 cmS$ 60,000 - 90,000US$ 42,560 - 63,830ProvenancePrivate collection, Singapore

隋建國衣紋研究－垂死的奴隶銅雕1998年作版數：4/6款識：Suijianguo 1998 4/6（雕塑後方）

來源新加坡私人收藏

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Sui Jianguo using Chinese tunic suit which implicate meaning of special history. Making use of a solid material and transform it into a modern art form. To strengthen the strong political power impression. A tunic was put on a well known western sculpture, as a representatie of a modern oriental society power symbol, firmly restrained a Western classical civilization heritage. Although with a perfect mix with the human body and the clothes materials, great contradictions and tension were produced in the vision and ideas, suggesting that the collision and the compromise of modern Western society is difficult to avoid in different fields.

隋建國使用中山裝蘊涵著特殊的歷史意義。利用固體材料，將其轉化為現代藝術形式。加強政治權力的強烈印象。一件中山裝上衣放在一個眾所周知的西方雕塑上代表著東方現代社會權力的象徵，堅決遏制西方古典文明遺產。人體和服裝材料的完美搭配，在視覺和理念上產生了很大的矛盾和張力，這表明現代西方社會的碰撞與妥協是很難在不同領域中存在的。

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76 33 Auction

50HE KONGDE (Chinese, 1925-2003)

Misty Morningsigned and dated 1962 Guangzhou in Chinese lower right; signed, titled and dated 1962 Guangzhou in Chinese on the reverseoil on canvas76 x 50 cmS$ 8,000 - 12,000US$ 5,680 - 8,520ProvenanceImportant private collection, Singapore

何孔德晨油彩畫布1962年作款識：1962 廣州何孔德（右下）；晨 1962於廣州何孔德（畫背）


He Kongde is a native of Xicheng County, Sichuan province in 1925. His first foray into art was as a young student studying traditional brush painting in elementary school. In 1943, he entered the Fine Arts Department of the State Chongqing Normal University, and in 1945, he transferred to the Sichuan Provincial Art School in Chengdu. As he already had a strong foundation in traditional Chinese ink methods, he was determined to pick up Western gouache techniques from instructors who had studied in France.

His life took a unique trajectory after he joined the Chinese People's Volunteer Army and fought in the Korean War while pursuing his passion in art. His gouache paintings were featured in Meishu (a journal of the Chinese Artists Association, Beijing). In 1955, he was accepted into the Central Academy of Fine Arts where he studied under Russian instructors, notably Maksimov. In 1957, he took up a position in the Arts Department of the PLA General Political Department.

He is particularly adept at oil and watercolour painting and renowned for his works that dealt with his military experience. For instance, with reference to "Coming Out to Attack", he recalled vividly being in a mountain shelter while the Americans were bombing them. He admires the work of the Russian painter Nicolai Fechin and believes he has influenced his style. Like Nicolai’s work, He’s Misty Morning demands that the viewer see what’s happening technically, in order to appreciate the artist’s virtuosity.

何孔德土生於1925年，四川省西城縣。他第一次接觸藝術是在讀小學時學習中國傳統國畫。在1943，他進入了重慶師範大學美術系，並在1945，他轉移到成都的四川省藝術學院。他在中國傳統水墨的領域上奠定了堅實的基礎，後來他又下定決心向曾經留法學習美術的教師學習西方水粉技術。

何曾加入中國人民志願軍，在朝鮮戰爭中從事美術宣傳工作，追求自己的激情，在藝術上也有了獨特的軌跡。他的水粉畫的被刊登在“美術”（北京中國美術家雜誌協會）。 1955年考入中央美術學院蘇聯專家馬克西莫夫油畫訓練班。 1957，他在解放軍總政治部文化部中擔任了一個重要的職位。何尤其擅長畫油畫和水彩畫，他的作品以他的軍事經驗而聞名。例如，“即將到來的攻擊”，他回憶起在一座山上當時美軍正在轟炸他們的時候。他欽佩一位俄羅斯畫家尼古拉·費欽的作品，認為自己有被他的風格影響。相似尼古拉的作品，他的朦朧清晨，觀眾們需要仔細觀察才會發現它的微妙之處，能更好的欣賞藝術家的精湛技藝。

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78 33 Auction

51WANG YONGQIANG (Chinese, b.1945)

Dream Cranesigned in Chinese lower rightoil on canvas135 x 245 cmS$ 32,000 - 50,000US$ 22,700 - 35,470

王永強夢鶴油彩畫布款識：Wang Yongqiang（右下）

Born in 1945, Wang Yongqiang has always been fond on painting. Having to graduate from the prestigious Shanghai Academy of Art, specializing in oil painting, When he was twenty years old, Wang was appointed as the Assistant Director and Professor of the Oil Painting studio at the Shanghai Oil Painting and Sculpture Academy. His artistic pursuit for deep understanding has gained him deep artistic experience through his study of 1960s Russian drawings, European and North American paintings.

Wang now resides in Canada, though he is still deep rooted in the Chinese culture, he utilize the North American realism oil painting technique to illustrate the images of historical figures such as Kangxi, Qianlong, Chen Sheng, Wu Guang, Cai Wenji and many more. He have exhibited extensively in both domestic and international exhibitions and now collected by many collectors.

Wang’s choice of subject matter range in a broad and selective historical themed range, he creates whimsical characters places in the foreground of an imaginary landscape that we can see clearly of the artist’s inner desired world. In his unrelenting artistic pursuit, his historical themed oil painting works are both touching and beautiful at the same time. The exquisite creation of folklore fuse with the peasant scene has become Wang’s distinctive style of portraying a beautiful insight of another world. “Dream Crane” depicts six young maidens set in unknown dynasty in a vast field with wild cranes dancing around the maidens. The expression of his subjects gives off a soothing ambience to the viewers, showing how the wilderness and men coincide together, a liberal aspect way of life that is perfect for the artist to live in. The highly-skilled painting technique emphasise the use of light and shadow that highlights the sky light and lawn making the entire scenery to be tranquil and warm, seemingly a depiction of a poem in spring.

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王永強1965年畢業於上海美術專科學校，為上海知名藝術家，1988年赴加拿大進修，曾任油畫部副主任，中國美術家協會會員。至1991年在加拿大安大略美術學院研究進修，作品深受俄羅斯及歐美藝術之影響，技法特殊，發展自我獨特藝術語彙，為不可忽視的傑出中國當代藝術家。

王永強目前定居於加拿大，融會中國文化與北美寫實技巧以詮釋中國重要歷史人物如康熙、乾隆、陳涉等人。不僅作品多次被中國、香港、台灣地區及東南亞的財團和私人廣泛收藏，更在中國美術館、上海美術館、日本、美國、加拿大等地展出。

王氏一直對中國古代幾千年流傳下來的許許多多英雄人物的歷史故

事、淒美動聽的愛情傳說，懷著極高的興趣。因此，王氏畫中構思總圍繞著偉大歷史人物，置之於充滿想像空間的虛幻場景，象徵著歷史人物內心的偉大情懷與情操。在王永強的筆下，油畫作品栩栩如生，維妙維肖，將觀者帶入一個夢幻的歷史場景中，感人真摯。《夢鶴》，描繪六位美麗的仕女與仙鶴在野外共舞，朝代不詳，女子的纖細溫潤與仙鶴所代表之東方人文精神互相呼應，將東方氣韻詮釋地淋漓盡致，巧妙生動，似乎創造一個藝術家心之所嚮之烏托邦。王氏深厚的寫實技巧精妙地捕捉畫面的光影，如實如畫，如夢似幻，實為佳作。


80 33 Auction

52YE XIANMIN (Chinese, b.1958)

Song of the Boatsigned in Chinese and dated 1984 upper rightoil on canvas120 x 148.5 cmS$ 8,000 - 12,000US$ 5,680 - 8,520ProvenanceImportant private collection, Singapore

葉獻民船歌油彩畫布1984年作款識：葉獻民 1984（右上）


Exhibition label affached verso展覽標籤粘貼在書背

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82 33 Auction

53YE YONGQING (Chinese, b.1958)

One of the Nine Bird Cages in Wintermixed media on silk292 x 145 cmS$ 180,000 - 280,000US$ 127,660 - 198,590Exhibited: Shanghai, China, Shanghai Art Museum, Shanghai Biennale '96, 1996Literature: Shanghai Biennale '96, Shanghai Art Museum, Shanghai, 1996, color illustrated, no. 69 Free As Bird, Asian Art News, Vol 18, No.2, Mar/Apr 2008, p.42

葉永青冬天的九個鳥籠之一綜合媒材絹 1995年作

展览1996年「96上海雙年展」上海美術館上海中國出版1996年《上海美術雙年展1996》上海美術館上海中國彩色圖版編號692008年3月－4月《迷塗症》亞洲藝術新聞第18卷第2期第42頁

Graduated from Sichuan Academy of Fine Arts in 1982, Ye Yongqing experienced the 85 New Wave and in 1986 formed the Art Group of Southwest China with his good friends, Zhang Xiaogang, Zhou Chunya, Mao Xuhui, and Pan Dehai. The group highlights new conceptualism as the creation approach with an emphasis of the visual feelings as well as life experience and value. These artists are the leading figures of the contemporary Chinese art. In the early 1980s, the suffering art and rural painting came into play and Ye Yongqing wasn't immersed into this wave but integrated his art first with the influence of French modern art master, Cézanne, and later with those of surrealism artists, de Chirico and Dalí, for dream-like expression and humorous and satirical symbols. After receiving awards and holding group exhibitions, in 1989 Ye held his solo exhibition at the French Embassy in Beijing, China and won his international fame. In the following years, his exhibitions were housed in France and other European countries and Ye has been invited to lecture and art exchanges in the West.

In the early 1990s, a group of young artists switched to political pop art, and Ye Yongqing returned to life experiences, retaining his unique romantic lair. His artistically poetic demeanor is embedded in his wild and free characteristics. In 1991, Ye started the installation of large character posters, or Dazibao, known as series of "Big Installation". They are snippets of all manner of life experiences, such as newspaper and magazine clips, birds, birdcages, light bulbs, pipes, cars, old photos, comics etc., which are casually written and pasted on a piece of poster serving as a sort of public diary with certain spatial period. The romantic satire and humor of painting in grafiti style reveal Beuys' conceptual art visual and that of Jin Nong's realistic aura. Ye admitted that he liked poetic elements. The elegance of ancient painting has been abandoned by contemporary culture. He said, "I always wanted to find a link, I was always looking for something like that, maybe because of my character. I felt that using the images of Beuys and Jin Nong was like erecting a memorial, a new Ma Wang Dui. I did installations for a while, including nine bird cages at the Shanghai Biennial. Everything was on silk. My paintings changed in the nineties, more of a grafiti style, a jotting-down of my feelings, kind of like blogs these days. I had wanted to distance myself from the current Chinese ideological styles and trends, and search for a free form of expression that was transcendent of regionalism. I was spending most of my time drifting around places like Germany and New York at the time." (Extracts from 'A Mirror Is Not a Platform - A Discussion between Ye Yongqing and Li Xianting', May 1997)

The aforementioned nine cages in the Shanghai Biennale are the works of "Nine Bird Cages in Winter." The works were installed in nine long cylinders, hanging like bird cages. The repeated birds, bird cages, sketches of cartoon figures, and other symbols underline the deconstructed symbols in the real life rendering the symbols and satire of spiritual solitary in the contemporary civilization. Li Xiangting, the Chinese art critic, described Ye as an artist with "poetic literary talent in bones." Li also stated, "Ye Yongqing's works on silk are in his typical philosophical-poetic style; he has put fragments of his different spatio-temporal life experiences together on a single surface, evoking that state between dreaming and waking. The symbols are like forms that come together in a dream; the strokes are emotive, and even the aging methods of the silk evoke sadness. It is like his life...." (Extracts from 'A Mirror Is Not a Platform - A Discussion between Ye Yongqing and Li Xianting', May 1997) Victoria Lu, the director of Moon River Museum in Beijing and a well-known art critic of Taiwan, commented on Ye Yongqing's "Nine Bird Cages in Winter", "He traveled to countries in Europe and America in the mid-1990s where his direct exposure to the Western cultures was different from the sampling experiences while viewing the Western exhibitions in Beijing. The sort of diary for snippets of all manner of life experiences, such as birds, birdcages, light bulbs, tobacco pipes, plants, cars, old photos, cartoon characters, antique cabinet, and grafiti symbols. They seem like careless scribble and decoupage of the artist, but indeed a free strokes painting ascribed in the amateur among the Chinese poetic artists. The nine bird cages in the Shanghai Biennial in 1996 are the works of conceptual art on silk. Ye described his work as 'a jotting-down of my feelings, kind of like blogs these days.'" (Extracts from Victoria Lu's 'Ye Yongqing: A Bird Artist Painting with Thinking').

"Nine Bird Cages in Winter" exhibited in the Shanghai Biennale has been mentioned by many critics and is an important milestone of Ye Yongqing's creation process. In 1998, Asian Art News ranked Ye Yongqing as one of the twenty most active and leading avant-garde artists in the last twenty years. Hong Kong Arts Centre held Ye Yongqing's Retrospective Exhibition in April 2008 to embody his works in the last thirty years.

葉永青《冬天的九個鳥籠》Ye Yongqing, Nine Bird Cages in Winter

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84 33 Auction

葉永青於1982年畢業於四川美術學院油畫系，歷經了85美術新潮運動的洗禮， 1986 年時和好友張曉剛、周春芽、毛旭輝、潘德海等，組成「西南藝術群體」，以新具象風格為主要的創作走向，重視直覺感受，強調生命經驗與價值。歷經二十多年的歷練和轉變，這群藝術家如今在中國當代藝術界都已成為舉足輕重的人物。

1980年代初期，四川適逢傷痕藝術與鄉土寫實的崛起，葉永青卻未捲入這波浪潮，而是從師法現代主義塞尚大師入手。後來接觸到超現實主義畫家契里柯、達利的藝術，轉向夢境式表達，幽默詼諧式的圖像。1989年獲獎和聯展多次的葉永青，舉辦了自己的第一場個人藝術展，地點是在北京的法國大使館，自此漸為國際畫壇所知。第二年開始，他的個展在法國等歐洲國家登場，多次受到西方國家邀請，遊歷、講學或進行藝術交流。

1990年代初期一群年輕藝術家往政治波普藝術移動時，葉永青一直延續著他作品特有的浪漫氣質，從容地擷取生活裡的抒情元素，放浪不羈的性格裡，蘊含著藝術家深厚的文人涵養。1991年他開始「大字報」的裝置，又稱之為「大招貼」系列。日常生活中的瑣碎形象，如書刊報紙、畫冊裁剪的消息，鳥籠、燈泡、水管、汽車、老照片、漫畫...，隨意地書寫、拼貼組裝，成為特定時空的一種公共日記。浪漫的荒誕及幽默，塗鴉式的風格，作品中有波依斯式的觀念藝術影響，亦有師法揚州八怪之一金農的寫意氣味。

葉永青自言喜歡詩意的事物，他認為古代繪畫中的優雅，在當代社會已被拋棄，他想借用此種荒唐感。葉永青說：「是一直想找一種聯繫，想去找這種東西，因為這個可能也是氣質裡面的東西，我的感覺用波依斯和金農的像，等於做了一個墓碑，新的馬王堆，我做了一段時間的裝置，包括在上海雙年展展出的九個鳥籠子，都做在絲綢上，1990 年代的繪畫有一些變化，更多是一些塗鴉的風格，是一種心情的筆記，有點類似今天的博客（部落格）。我當時的心態是想遠離一種意識形態化的中國現在風情和潮流，追求超越地域特徵的自由表達。那時候我也大多數時間游離於德國、紐約等。」（摘錄自1997 年5月〈明鏡亦非台：葉帥與老栗對話錄〉）

前文所提的上海雙年展中的九個籠子，即是《冬天的九個鳥籠》作品。當時展出時被裝置成九個長圓筒，如鳥籠般地懸掛著。畫面中反覆出現的鳥、鳥籠、卡通化的人物剪影塗鴉，種種形象隱含著殘酷現實中被支解的符號，反映出現代文明下精神孤獨的象徵與荒謬感。中國藝評家栗憲庭以「骨子裡具有詩人般的文學才華」如此形容葉永青。他還提到：「葉永青的這些絲綢上的作品，是他典型的哲理詩式的風格，他把自己不同時空中的各種生活經驗的片斷散置於同一平面，猶如一種夢醒之際又沉浸在夢中的感覺，符號像夢中形象的組合，用筆是情緒的，連絲綢做舊的色彩都透著傷感。如同他的生活。」（摘錄自〈明鏡亦非台：葉帥與老栗對話錄〉）

北京月亮河當代美術館館長，也是台灣知名藝評家陸蓉之也曾撰文，評論葉永青的《冬天的九個鳥籠》作品：「1990年代中期他遊歷歐美各國，西方文化的直接衝擊，不同於他在北京看西方展覽時的抽樣體驗。表面上看來像是收集生活瑣碎圖像，一些鳥、鳥籠、燈泡、煙斗、植物、汽車、舊照片、卡通化的人物、中國式的收納櫃...等各種塗鴉式的符號，看起來像是他隨心所欲的組合、拼貼，其實是中國文人藝術中所標榜的業餘身份，所具有的一種寫意風格繪畫。包括1996年葉永青在上海雙年展展出的九個鳥籠子，也是他在絲綢上隨手拈來的寫意畫，葉永青自己將之稱作『是一種心情的筆記，有點類似今天的博客（部落格）。」（摘自陸蓉之〈葉永青，一位用思想作畫的鳥人〉一文）。

曾經參展1996上海雙年展的《冬天的九個鳥籠之一》，多次被評論家提及，可謂是葉永青創作歷程中重要的里程碑。1998年時《亞洲藝術新聞》雜誌將葉永青列為二十年來最具活力的二十位中國前衛藝術家之一。2008 年4月份香港藝術中心盛大舉行「葉永青回顧展」，展出內容涵蓋三十年的創作。

54JU MING (ZHU MING) (Taiwanese, b.1938)

Two Ladiessigned in Chinese and dated 07 lower rightmixed media collage on jute canvas46 x 38 cmS$ 25,000 - 35,000US$ 17,740 - 24,830

朱銘倆女圖綜合媒體麻布2007年作款識：朱銘 07（右下）

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86 33 Auction

55XUE SONG (Chinese, b.1965)

Reciting Poem beside the Fragrant Lotus Pondsigned in Chinese lower right; titled in Chinese, inscribed with dimension, signed in Chinese and pinyin and dated 2006 on the reversemixed media collage on canvas120 x 100 cmS$ 24,000 - 30,000US$ 17,030 - 21,280

薛松覓句池邊立荷花香滿池綜合媒材拼貼畫布2006年作款識：薛松（右下）；《覓句池邊立荷花香滿池》120x100cm Xue Song 2006（畫背）

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56XUE SONG (Chinese, b.1965)

Dialogue with Qi Baishisigned in Chinese lower right; titled in Chinese, inscribed with dimension, signed in both Chinese and pinyin and dated 2006 on the reversemixed media on canvas120 x 100 cmS$ 24,000 - 30,000US$ 17,030 - 21,280

薛松與齊白石對話綜合媒體畫布2006年作款識：薛松（右下）《與齊白石對話》 120x100cm 薛松 Xue Song 2006（畫背）


88 33 Auction

57JIANG SHUO (Chinese, b.1958)

Cat Meetingeach signed in Chinese and pinyin and numbered 8/8 on the reversethis work is edition number 8 of 8bronze16 x 16 x 15 cm17 x 17 x 19 cm17 x 20 x 17 cmS$ 38,000 - 50,000US$ 26,960 - 35,470Literature: Invisible Hand, Jiang Shuo & Wu Shaoxiang, Linda Gallery, Beijing, 2015, page 73

蔣朔貓峰會青銅2015年作版數：8/8款識：朔 Jiang 8/8

出版2015年《隱形之手－蒋朔吴少湘》林大藝術中心出版北京第73頁

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58JIANG SHUO (Chinese, b.1958)

Lucky Catsigned in Chinese and pinyin and numbered 0/6 on the reversebronze, lacquer40 x 20 x 19 cmS$ 25,000 - 35,000US$ 17,740 - 24,830Literature: Invisible Hand, Jiang Shuo & Wu Shaoxiang, Linda Gallery, Beijing, 2015, page 73

蔣朔招財貓青銅漆2014年作版數：6款識：朔 Jiang 0/6

出版2015年《隱形之手－蒋朔吴少湘》林大藝術中心出版北京第64頁

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90 33 Auction

59CHEN LIU (Chinese, b.1973)

Bending Moutain Roadsigned in Chinese and dated 2015 lower rightoil on canvas80 x 160 cmS$ 20,000 - 26,000US$ 14,190 - 18,440

陳流山路迴轉油彩畫布2015年作款識：陳流 2015（右下）

Chen Liu was born in 1973 in Kunming China. He graduated from the renowned Tsinghua Fine Arts Institute in Beijing in 1996. Chen is employed as a professor of the Yunnan Academy of Fine Arts currently. Some of Chen’s more prominent work includes his more fantastically grotesque creations, which are a result of the artist’s being inspired by American comics and Japanese manga. However, Chen has proclaimed himself to be a man of varied artistic taste. “I like extremes,” he says, “I can appreciate extremebeauty... but can also enjoy the ugliness of a gory scene in a horror flick.”

This lot is a rarer one in Chen’s body of work; there are none of the strange juxtapositions or cartoonish figures that are Chen’s typical idiom. In fact, the lot appears hyper-realistic in i ts rendering of a mountainous landscape. However, Chen’s aesthetic nonetheless manifests itself as seen in the kind of landscape which the artist chooses to represent.

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陳流1973年出生于中國昆明，1996年畢業於著名的清華美院,目前為雲南美術學院教授。信息時代的科學技術的電腦遊戲，給陳流打開了一個超現實的世界，超現實波普藝術主義讓陳流的藝術俱有明顯的國際風格卻同時能在陳的作品中感受到濃鬱的中國文化氣息。全球化文化的現象、個性與時代的契合是陳流的藝術語彙。陳流認為自己的藝術品味並不單一,他說,“我喜歡極端的東西,能欣賞極致的美......同樣，血淋淋的恐怖片場景的醜也不會讓我不開心。” 本次拍賣的《山路迴轉》對於山景河流的描繪可以是极其精致及超寫

實的。厚實的雲柱以及綿延彎繞的山巒形成視覺上的強烈對比，雖然沒有慣用的奇異卡通人物但陳流的風景創作就如他所畫的人物形象一樣充滿力量。主題的選擇也證明了藝術家敏銳的觀察力，在畫中徹底的釋放奔放的感情，《青海行雲》彷彿在為下一個撼動人心的歷史故事鋪陳。


92 33 Auction

60XIAO HONG (Chinese, b.1966)

Intellectual Youth Seriessigned in Chinese and dated 2006.11 on the reverseoil on canvas170 x 150 cmS$ 30,000 - 40,000US$ 21,280 - 28,370

肖紅知識青年系列油彩畫布2006年作款識：肖紅 2006.11（畫背）

Born in China, 1966. Xiao Hong is an uprising contemporary artist who shot to fame for his series of paintings titled, “Intellectual Youth”. Unlike most artists, Xiao‘s artistic calling started late, in 1990 he graduated from the Oil Painting Department of Inter-Mongolia Normal University and in early 1996 he became a professional full-time artist. Xiao’s works have been extensively exhibited and collected in Singapore, Beijing, New York and in various parts of the world.

The murals of Dun Huang was the inspiration for Xiao’s most notable iconic portraiture paintings, “Intellectual Youth”, he merged images from murals with portraits then integrating Cultural Revolution scenes. He ventures into exploring people’s fragmented memories, from afar, this lot invites viewers to draw closer to the fascinating glaze and plasticity painterly technique and then silently revealing the startling narrations in within the portraits. Each scene has been deftly manipulated to meld with each other creating this imaginative scenario that allows the viewers to envision the narrations coming to life.

肖紅1966年出生於中國，是新一代興起的當代藝術家，為他一系列繪畫作品名為“知識青年”。與大多數藝術家不同的是，肖的藝術起步較晚，在1990年畢業於蒙古師範大學油畫系，並於1996年初成為了一名專職藝術家。肖的作品在新加坡、北京、紐約和世界各地都有廣泛的展出和收藏。

敦煌壁畫是最著名的標誌性肖像畫，更是肖紅的靈感來源。“知識青年”，他從壁畫中融合了肖像，然後將文化大革命場景融合在一起。他探索人的片段記憶，邀請觀眾近距離地欣賞這迷人的繪畫技巧然後慢慢地引出發人省思的故事。每個場景被巧妙地操縱，創造出這個富有想像力的作品，讓觀眾想像自己生活中的故事。

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94 33 Auction

61QIU DESHU (Chinese, b.1948)

Unititledsigned in pinyin lower left; signed in Chinese lower rightink and colour on paper112 x 72 cmS$ 16,000 - 26,000US$ 11,350 - 18,440

仇德树無題水墨设色纸本款識：Qiu Deshu（左下）；德树（右下）

Qiu Deshu, one of the few artists to have inspired international recognition since the 1980s, studied traditional ink painting and seal carving when he was a child. However, the Great Proletarian Cultural Revolution interrupted his career in art when he was sent to work at a plastics factory. In the late 1970s, Qiu picked up ink painting again and co-founded the Grass Painting Society (CaoCao Hua She), one of China’s first experimental art societies in the post-Mao period.

In the early 1980s, he developed his signature style of works called “fissuring” (liebian). This is a pictorial metaphor for the artist’s life and as his artistic career, both of which have experienced dramatic disruptions and setbacks. In these works, he applies vivid colors to xuan paper, which he tears up and then mounts the fragments to a base layer, often leaving space between to create a pictorial field with the “cracks” that he feels are symbolic of life’s journey. In the present work, the explosion of colour and dramatic fissuring reveal an image caught between figuration and abstraction.

The mere concept of abstraction in Qiu's works may seem commonplace in today's global era, and yet it was truly one of revolution in his time. It is ironic that when the CaoCao group's exhibition was denounced for its 'abstract tendencies' and Qiu was severely punished as the leader of the initiative. The following year the Museum of Fine Arts Boston sent a exhibition of American Art to be displayed at the Shanghai Art Museum, which included the abstract art of Jackson Pollack. Inspired by the Abstract Expressionist works, Qiu gained confidence in his own commitment to abstraction and ink art.

仇德樹於80年代開始便是受到國際賞識的其中一位藝術家。他幼年時開始學習傳統水墨畫和篆刻。然而，偉大的無產階級文化大革命中斷了他的藝術生涯，他被派到一家塑膠廠工作。在70年代末，仇拾起水墨又共同創辦了草畫協會（曹操華社），在毛澤東時期的首批中國實驗藝術社團。在 8 0 年代初，他發展了他的招牌風格作品稱為 “ 裂變 ”（liebian）。這在藝術家的生活和他的藝術生涯中是一個象徵性的隱喻，兩者都經歷了戲劇性的分裂和挫折。在這些作品中，他在宣紙上運用了生動的色彩，他撕開後把碎片放在底層，在繪畫中留下一些“裂縫”，他認為這象徵是生命的旅程。在現在的作品中，爆炸的色彩和戲劇性的裂紋顯示圖像捕捉具象與抽象之間。仇的抽象概念作品在現在的世界似乎已是司空見慣的事，但這確實是他時代的一次革命。諷刺的是，當曹操集團公然抨擊“抽象趨勢”時，仇作為領袖反而被嚴厲的懲罰。隔年，波士頓美術博物館送美國藝術在上海藝術博物館展出，其中包括Jackson Pollack的抽象藝術，靈感的抽象表現主義作品。更奠定了仇德樹在抽象水墨畫上的奉獻。

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96 33 Auction

62SHI HU (Chinese, b.1942)

Three Balinese Ladiessigned and dated 2002 in Chinese lower leftmixed media on paper laid on board87 x 69 cmS$ 15,000 - 20,000US$ 10,640 - 14,190

石虎三個峇里島女子綜合媒體紙本標於木板2002年作款識：石虎二〇〇二（左下）

Shi Hu early name was born in Xushui County, Hebei in born 1942. He studied at the Beijing College of Art and Design and at the Zhejiang Academy of Art. His painting style led some to call him "Picasso of the East".

The influence of ethnic art can be prominently observed in Shi's aesthetic expressions, and also led to the creation of the artist's famous "African Sketches." He is skilled in painting figures and animals with strong and unique configurations. He uses boneless technique to create strong contrast of bright color tones and his brushstrokes are also bold and strong.

When Shi Hu travelled to Indonesia and was inspired by what he discovered. Shi Hu was particularly mesmerized by the exoticness of the local women. He used his different styles and techniques to applied it to his interpretation of the beautiful female form. Being an intuitive painter, his travels reflected his painting style— straightforward, natural, free flowing, powerful and unrestrained, passionate and full of exuberant vitality.

When we analyze the visual images of Shi Hu, we find a wide range of cultural resources—such as the earthy passion of African woodcarvings, the use of cubist and expressionist techniques, and the unmistakably oriental aesthetics of line from Chinese ink painting.

The most important thing, however, is the sense of opposition, resonance, and coexistence inherent to the dualistic desire to move away from tradition and to return to the source. It is precisely this sense of the conditions its own existence and its historicity that lends a profound historical feeling to Shi Hu’s works.

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Asian Modern and Contemporary Art 97Asian Modern and Contemporary Art 97

98 33 Auction98 33 Auction98 33 Auction

63WANG HUAIQING (Chinese, b.1944)

Mistinesssigned, stamped with a seal and dated 1992 upper leftink on paper95 x 69 cmS$ 25,000 - 40,000US$ 17,740 - 28,370ProvenancePrivate collection, Asia

LiteratureThe Ink and Brush of Wang Huai Qing, Gallery 21, Singapore, 1993, unpaginatedWang Huai Qing Ink & Brush Sketches, LÁtelier Production, Singapore, 1994, p.102

王懷慶，1964年畢業於中央美院附中，同年考入中央工藝美術學院（現清華大學美術學院），1979年入工藝美院研究生班。 1987年赴美國OCU大學作訪問學者。現為北京畫院一級畫師。早在1980年他就與同學籌辦策劃了“同代人畫會”，並在中國美術館舉辦了“同代人油畫展”。此後他又參加了1987年美國“中國當代油畫展”；1989 年北京“全國第七屆美展”，獲銅獎；1991年北京“中國油畫年展”，獲金獎；1993年北京“中國美術館藏畫精品展”；1996年北京“中國油畫學會展”；1998年美國“中國藝術五千年展”等，並應邀赴美國、東南亞、台灣等地舉辦畫展並進行學術交流。王懷慶是一位油畫與中國畫兼長的畫家。他在問學期間即受到吳冠中的影響，努力探索中國油畫與水墨畫的當代轉

型。 80年代中期以來，他嘗試把中國傳統建築和家具的藝術語彙運用到作品之中，並綜合傳統的空間處理、抽象精神特別是黑白關係的經驗，成功地建構起一個有濃郁的東方情境的個人圖像系統。

這是油畫家王懷慶創作的一幅充滿構成趣味的水墨畫。在大片留白中，以飽水淡墨暈染女人體，多側鋒擦筆及捺壓之痕，有裝飾意趣而不守傳統筆法繩墨，又以枯筆焦墨繪發縷及身周殘荷，留白如煙水般，人物膝下皆浸沒其中。其風格朦朧抽象，酣暢淋漓，尤其是對黑白關係的處理，極具匠心。

Wang Huaiqing (b.1944) was born in Beijing. In 1964, he graduated from the preparatory program at Central Academy of Arts and Crafts (CAFA) and enrolled in the Bachelor’s program at Academy of Arts and Design, Tsinghua University (formerly Central Academy of Arts & Crafts). He was then accepted into its postgraduate program in 1979. He went to the United States where he remained for a year as a visiting professor at Oklahoma City University in 1987. Currently he is one of the top painters at Beijing Art Academy. In 1980, he founded an art society with his classmates and collaborated on a group exhibition, “Same Generation Oil Painting Exhibition”, exhibited at the China National Art Museum, Beijing. After which, he also participated in the exhibition, “Contemporary Oil Painting From the People’s Republic of China” in the United States. In 1989, he was awarded the bronze medal for his work in the 7th National Art Exhibition at China National Art Museum, Beijing. Following that, he was conferred the gold medal at 1st Annual Exhibition of Chinese Oil Painting, China National Museum, Beijing. In 1993, he was selected as one of the artists to be featured in the Exhibition of Selected Works from the Collection of National Art Museum at China National Art Museum, Beijing. Subsequently, he exhibited in the 1st Chinese Oil

王懷慶渾水墨紙本鏡框1992年作款識：1992豐懷慶鈐印一方（左上）

來源亞洲私人收藏

出版1993年《王懷慶水墨畫》Gallery 21 新加坡無頁碼1994年《王懷慶－水墨速寫》LÁtelier Production 新加坡第102頁

Painting Society Group Exhibition at China National Art Museum and in the “China: 5000 Years” exhibition at the Guggenheim Museum, New York. As his popularity grew, he was invited to the United States, Southeast Asia and Taiwan to exhibit and engage in cultural exchanges. Wang Huaiqing is proficient at both oil and Chinese ink painting. His mentor Wu Guanzhong was a significant influence on his artistic development and inspired him to combine the Eastern and Western techniques. Ever since the 1980s, he has been incorporating traditional Chinese architectural and design elements in his works.

This is an intriguing example of oil painter, Wang Huaiqing’s ink work. The contours of the female body are delineated with delicate ink washes amidst the huge expense of white rice paper. Using the side-inking technique, the artist not only took pains to achieve a classical effect; he did so while experimenting with Chinese ink tradition. Meticulously, Wang depicts wisps of the woman’s hair and the lotuses with a dry brush, immersing the figure in an ethereal world. His approach to abstraction is otherworldly and accentuated by his ingenuity in manipulating the black and white areas.

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100 33 Auction

64CAI ZHISONG (Chinese, b.1972)

Custom to Motherland No. 4conceptualised in 2008edition of 8bronze, wire, sheet plate205 x 98 x 71 cmS$ 180,000 - 280,000US$ 127,660 - 198,590LiteratureCai Zhisong, Linda Gallery, Beijing, 2012, page 36 & 37

蔡志松故國•風4青銅鉛絲銅片漆 2008年作版數：8款識：藝術家簽名

出版2012年《蔡志松》林大藝術中心出版北京第36與37頁

Alternate view另一個角度

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Conditions mainly concerning sellers and consignors

13. Inspections 33 Auction shall inspect items brought to its offices or viewed at seller’s domain for potential auction and will advise owners as to the value and suitability within the 33 Auction trade markets. Items of insufficient value or unsuitable for the auction trade must be collected within 7 days after having being notified. Items not collected will be sold in terms of Condition 25. The service is without charge, though in certain instances it may be necessary to charge out-of-pocket and travelling expenses where the seller is out of town.

33 Auction reserves the right to accept or reject any item not meeting 33 Auction’s criteria for the auction trade markets.

14. Seller’s commission A seller’s commission of 10% is payable on the hammer price for lots.

15. Illustration of items in catalogue The seller agrees to have the items illustrated in the auction catalogue. The charge is S$300 per single page, S$500 per double page spread, S$200 per half page, S$150 for one third page, S$ 100 for quarter page and S$800 per gatefold.The featuring of item(s) on the back cover of catalogue and inserts will be chargeable at S$ 2,000 per item, and front cover feature will be chargeable at S$ 3,000 per item. 33 Auction is authorised to feature item(s) as it deems fit, and the sellers shall not request for special featuring of his/her/its auction item(s).

16. Warranty of title and availability a) The seller warrants to 33 Auction and to the buyer that he/she is the true owner of the

property or is properly authorised by the true owner and is able to transfer good and marketable title to the property, free from any third-party claims.

b) The seller of any property not held by 33 Auction on its premises or under its control, warrants and undertakes to 33 Auction and the buyer that the property will be available and in deliverable state on demand of the buyer.

c) The seller indemnifies 33 Auction, its agents and the buyer against any loss or damage suffered by either in consequence of any breach of (a) or (b) above on the part of the seller.

17. Liability for Loss or Damage a) Unless otherwise agreed with 33 Auction in writing in accordance with paragraph (d), 33

Auction will assume liability for loss or damage to any item, commencing at the time that item is received by 33 Auction and ceasing when (i) risk passes to the Buyer of the lot following its sale; (ii) for unsold lots, 45 days after the sale or when the lot is released to the Seller (whichever is earlier)

b) The Seller agrees to pay a charge of 1.00% of (i) hammer price if the property sells, or (ii) reserve price if the property fails to sell.

c) If any loss or damage should occur to the lot during the period identified in paragraph (a) above, 33 Auction liability to compensate the Seller in respect of that loss shall be limited to the amount set out in paragraph (b)(i) to (ii) as applicable, less Seller’s commission and Expenses.

d) The Seller must agree with 33 Auction in writing if it does not wish 33 Auction to accept liability for loss or damage to any item delivered to 33 Auction, and undertake to maintain insurance cover for the item until the Buyer has made payment for the item in full.

18. Reserves The seller will be entitled to place, prior to the auction, a reserve on any lot, being the minimum ‘hammer price’ at which that lot may be treated as sold. A reserve once placed by the seller may not be changed without the consent of 33 Auction. 33 Auction may at its discretion sell at a ‘hammer price’ below the reserve, but in any such cases the sale proceeds to which the seller is entitled will be the same as they would have, had the sale been at the reserve. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller, up to the amount of the reserve, by placing responsive or consecutive bids for a lot. The reserve, if any, on any one lot will not exceed the low estimate as published in the catalogue.

19. Authority to deduct commission and expenses The seller authorises 33 Auction to deduct commission at the ‘stated’ rates, ‘illustration’ and ‘expenses’ from the ‘hammer price’ and acknowledges 33 Auction’s right to retain the premium payable by the buyers in accordance with Condition 3.

20. Rescission of the sale If before 33 Auction remits the ‘sale proceeds’ to the seller, the buyer makes a claim to rescind the sale under Condition 12 or otherwise and 33 Auction is of the opinion that the claim is justified, 33 Auction is authorised to rescind the sale and refund the buyer any amount paid to 33 Auction in respect of the lot.

21. Payment of sale proceeds Subject to Condition 16 above, 33 Auction will remit the 'sale proceeds' to the seller not later than 35 days after the date of auction, but if by that date 33 Auction has not received the 'total amount due' from the buyer, then 33 Auction will remit the 'sale proceeds' within 5 working days after the date on which the 'total amount due' is received from the buyer.

If the buyer fails to pay 33 Auction the ‘total amount due’ within 3 weeks after the auction, 33 Auction will endeavour to notify the seller and take the seller’s instructions as to the appropriate course of action and, so far as in 33 Auction’s opinion it is practicable, will assist the seller to recover the ‘total amount due’ from the buyer. If circumstances do not permit 33 Auction to take instructions from the seller, the seller authorises 33 Auction at the seller’s expense to agree special terms for payment of the ‘total amount due’, to remove, store and insure the lot sold, to settle claims made by or against the buyer on such terms as 33 Auction will in its absolute discretion think fit, to take such steps as are necessary to collect the amount due by the buyer to the seller and if necessary to rescind the sale and refund money to the buyer. If, notwithstanding that the buyer fails to pay to 33 Auction the ‘total amount due’ within 3 weeks after the auction, 33 Auction remits the ‘sale proceeds’ to the seller, the ownership of the lot shall pass to 33 Auction.

22. Charges for withdrawn lots Where a seller cancels instructions for sale, 33 Auction reserves the right to charge both full buyer’s premium and seller’s commission on 33 Auction’s middle estimate of the low and high estimates of the property withdrawn, together with ‘expenses’ incurred in relation to the property.

23. Rights to photographs and illustrations The seller gives 33 Auction full and absolute right to photograph, illustrate, or otherwise produce images, of any lot placed in its hands for sale and to use such photographs and illustrations and any photographs and illustrations provided by the seller at any time at its absolute discretion (whether or not in connection with the auction).

24. Provenance 33 Auction may print in the catalogue the history of ownership of a lot if such information contributes to scholarship or is otherwise well known and assists in distinguishing the item. However, the identity of the seller or previous owners may not be disclosed for a variety of reasons, including a seller’s request for confidentiality or because the identity of prior owners is unknown.

25. Unsold lots and uncollected items 33 Auction reserves the right to sell any unsold lot within 35 working days from the auction date, at the reserve price on behalf of the seller. Where any lot fails to sell after the above period, 33 Auction will notify the seller accordingly. Uncollected items not suitable for auction must be collected within 5 days after being notified of their unsuitability as per clause 13 and failing timely collection they will be dealt with on the basis set out in paragraph 25(c) below.

The seller must make arrangements either to re-offer the lot for sale or to collect the lot. If such arrangements are not made:

a) within 7 days of notification, the seller will be responsible for any removal and storage expenses;

b) within 3 months of notification, 33 Auction will have the right to sell the lot at public auction without reserve and to deduct from the ‘hammer price’ any sum owing to 33 Auction including (without limitation) removal, storage, commission at the stated rates, and other reasonable expenses before remitting the balance to the seller.

c) If 33 Auction is unable to sell the lot at a public auction as contemplated in paragraph 25(b) above then 33 Auction is entitled to sell the lot and any uncollected items without auction at the highest attainable price and to deduct from the selling price any sum owing to 33 Auction including (without limitation) removal, storage, commission at the stated rate, and other reasonable expenses before remitting the balance, if any, to the seller. Any shortfall which may be owing by the seller to 33 Auction consequent upon the seller’s failure to collect the unsold lot shall be payable together with interest and legal costs on demand.

26. General conditions and definitions 33 Auction sells as agent for the seller (except where it is stated wholly or partly to own any lot as principal and such lots are identified by ◊ next to the lot number) and as such is not responsible for any default by seller or buyer.

27. Any representation or statement by 33 Auction, in any catalogue, as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his/her own judgement as to such matters and neither 33 Auction nor its servants or agents are responsible for the correctness of such opinions.

28. While the interests of prospective buyers are best served by attendance at the auction, 33 Auction will if so instructed execute bids on their behalf. Neither 33 Auction nor its servants or agents being responsible for any neglect or default in doing so or for failing to do so.

29. 33 Auction will have the right, at its discretion, to refuse admission to its premises or attendance at its auctions by any person.

30. 33 Auction has absolute discretion without giving any reason to refuse any bid, to divide any lot, to combine any 2 or more lots, to withdraw any lot from the auction and in case of dispute to put up any lot for auction again.

a) Any indemnity under these conditions will extend to all actions, proceedings, costs, expenses, claims and demands whatsoever incurred or suffered by the person entitled to the benefit of the indemnity.

b) 33 Auction declares itself to be a trustee for its relevant servants and agents of the benefit of every indemnity under these conditions to the extent that such indemnity is expressed to be for the benefit of its servants and agents.

31. The parties choose domicilium citandi et executandi* at the addresses reflected on the face thereof. Any notice given in connection with this agreement may be delivered by hand; or be sent by prepaid registered post; or be sent by telefax or by email if the domicilium includes a telefax number and/or an email address, to the domicilium chosen by the party concerned. Any notice or process delivered on any party in connection with any matter or subject arising out of this agreement or any notice shall be deemed to have been delivered if handed to any responsible person at the domicilium chosen by any party and it shall not be necessary to hand such processes or notices to any party personally.

A notice given as set out above shall be presumed to have been duly delivered:- (i) on the date of delivery if delivered by hand or telefax or email; (ii) on the fourth day from the date of posting including the date of posting if posted by pre-paid registered post from within the Republic of Singapore.

32. Every auction and all matters concerned therewith including these conditions, will be governed by and construed in accordance with the laws of Singapore and the buyer submits to the non-exclusive jurisdiction of the Singaporean courts.

33. In these conditions: a) ‘catalogue’ includes any advertisement, brochure, estimate, price-list, website content and

other publication; b) ‘hammer price’ means the price at which a lot is knocked down by the auctioneer to the

buyer; c) ‘total amount due’ means ‘hammer price’ in respect of the lot sold together with any

premium chargeable and additional charges and expenses due from the defaulting buyer under Condition 10;

d) a ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source, which is not shown to be such in the description in the catalogue and which at the date of the sale had a value materially less than it would have had if it had been in accordance with that description;

e) ‘sale proceeds’ means the net amount due to the seller, being the ‘hammer price’ of the lot sold less commission at the ‘stated rates’, ‘expenses’ and any other amounts due to 33 Auction by the seller in whatever capacity and howsoever arising;

f) ‘stated rates’ means 33 Auction’s published rates of commission for the time being; g) ‘expenses’ in relation to the sale of any lot means 33 Auction’s charges and expenses for

illustrations, special advertising, packing and freight of that lot and any GST thereon;

34. Special terms may be used in catalogues in the description of the lot. Where terms are not self-explanatory and have special meanings ascribed to them, a glossary will appear before Lot 1 in the catalogue of the auction.

35. Data Protection 33 Auction intends to use your personal data for direct marketing with your consent. We would like to use your name, phone number, email and address to contact you about transactions, the events, products and services of 33 Auction and our associated companies. We do not sell or trade Data but it may be provided to (a) 33 Auction associated companies for direct marketing; and (b) third party services providers assisting us with mailing, shipping, legal, accounting, travel and hospitality. When doing so, we will require them to ensure that your Personal Data disclosed to them is kept confidential and secure.

Clients will please note that for security purposes, 33 Auction premises are subject to video recording. Telephone calls eg. telephone and internet bidding/voicemail messages may also be recorded.

You may access or correct the Data by contacting our Data Quality Representative via email at [email protected]

36. The headings in these conditions do not form part of the Conditions of Business but are for convenience only.

*domicilium citandi et executandi refers to the address where a summons or other official notice should be served if necessary, which must be supplied by somebody applying for credit or entering into a contract.

關於競買人及買受人的規定

1. 買受人所有售出的拍賣品發票抬頭均需為登記競投號牌時的姓名及其地址，而不得轉讓至他人及其它地址。買受人是指拍賣官落槌確認的最高出價人，落槌價即為成交價，拍賣官有權平息拍賣中的任何爭議。除非在拍賣日前，經33拍賣行書面認可某競投人是表明身份的某買受人的代理人，否則該名競投人應被視為買受人本人。2. 最低加價幅度拍賣官有權拒絕加價幅度未超過5%的競投，及有權決定最低加價幅度比例。3. 買受人酬金買受人應支付酬金，並與成交價一起計入全部購買價款。付款方式通過支票、轉賬、銀行匯款和現金支付，拍賣品成交價為250,000新加坡幣或以下，買受人酬金以成交價20%計算，超出250,000新加坡幣，買受人酬金以成交價15%計算。若通過網上拍賣平臺LiveAuctioneer競買或用信用卡付款，拍賣品成交價為250,000新加坡幣或以下，買受人酬金以成交價23%計算，超出250,000新加坡幣，買受人酬金以成交價18%計算。4. 委託競投經由競投人委託，33拍賣行可以代表競投人進行競投。此項服務為免費。拍賣品將會以相對於其他競投價及委託人保留價的最相宜的價格買入。若競投價相同，則最先競投者有優先權。電話競投者自擔風險，必須於拍賣前以函件或傳真向本公司確認。為確保獲得滿意的服務，強烈建議競投人確保本公司在拍賣前至少24小時收到您的競投指示。5. 電話競投33拍賣行將盡己所能為電話競投提供便利，由於電話線路有限，競投人需在拍賣前至少24小時安排此項服務。由於電話競投無法完全避免出現通訊故障的風險，如因此未能作出競投從而造成的損失，新加坡33拍賣行將不承擔任何責任。6. 公司資產新加坡33拍賣行的總體方針是作為委託人的代理人。然而在某些情況下，33拍賣行擁有某個或某些拍賣品的業權。在拍賣品圖錄中，這樣的拍賣品將在拍賣品編號旁邊標注。7. 付款拍賣品競投成功後，買受人需：a)向33拍賣行提供該買受人的姓名、地址。如需要，一併提供身份證明。b)向33拍賣行支付全部購買價款。c)33拍賣行可以申請買受人應向33拍賣行支付的所有款項，無論是從買受人或是其代理人處，無論明示或默示。8. 領取拍賣品買受人向33拍賣行全額支付購買價款後，即可獲得拍賣品的所有權。拍賣結束後，33拍賣行工作人員對包裝及/或裝貨提供有限協助。提供此項協助服務時，33拍賣行及其工作人員對在包裝及/或裝貨過程中因此發生的損失不承擔任何責任。買受人應在拍賣結束後即領取拍賣品，並自負所有費用。所有包裝、搬運、存儲及保險費用都由買受人承擔。9. 買受人對其已購拍賣品所承擔的責任從買受人領取拍賣品之日起，買受人應對其所購拍賣品的毀損、滅失負全責。即使拍賣品由33拍賣行或其代理人代為保管，33拍賣行及其工作人員或其代理人對因失誤或其他任何原因所致的該拍賣品的毀損或滅失，不承擔任何責任。10. 未付款或未領取拍賣品的補救方法若買受人未按照本規則第七、第八條的規定全額付款或領取拍賣品，或有任何違反這兩條規則的行為，作為委託人的代理人，33拍賣行將有權在不損害委託人其他權利的條件下，採取以下一種或多種措施：a)對買受人提起訴訟，要求支付款項及/或賠償本公司因其違約造成的一切損失。b)撤銷在同一或任何其他拍賣中向違約買受人售出的該件或任何其他拍賣品的交易。c)以公開拍賣或私下售賣方式再次出售該拍賣品。若再次拍賣或以其他方式出售該拍賣品所得價款低於原拍賣價款的，原買受人應當向33拍賣行支付全額價款的差額（包括各種費用及再行拍賣的費用），高於原拍賣價款時，超出部分收益歸於委託人。d)拍賣品搬運、存儲（無論該拍賣品儲存在33拍賣行或其他地方）和保險費用均由原買受人承擔。e)如買受人在拍賣成交日起五個工作日內仍未足額支付購買價款，本公司將就全額價款按照月息不超過2%收取利息。

f)留置該買受人在同一或任何其他拍賣中拍得的該件或任何其他拍賣品，直至買受人付清全額購買價款。g)拒絕該買受人在今後的拍賣中以本人或代理形式作出的任何競買，或者要求其在今後競買中事先向33拍賣行指定帳號支付保證金。h)將應付或此後應付於該買受人的出售收益用於結清全部購買價款，且對無論因何種原因由本公司佔有的該買受人的任何財產行使留置權。11. 法律費用無論33拍賣行是否提出法律訴訟，因33拍賣行執行其權利而引致的律師及其客戶之間產生費用，在此範圍內的33拍賣行的法律費用需由買受人支付。12. 關於33拍賣行及委託人的責任a) 拍賣品通常有一定年份。所有的拍賣品都以所描述的原樣出售，包含

一切的瑕疵、缺陷及錯誤。拍賣品圖錄僅供參考用。競買人應在拍賣日前，親自審看擬競投拍賣品之原物，自行判斷該拍賣品是否符合其描述。委託人及33拍賣行及其工作人員或代理人無需對拍賣品描述中的錯誤或真偽或真實性承擔任何責任。33拍賣行及其工作人員或代理人或委託人對任何競買人購買的任何拍賣品不承擔擔保責任。

b) 如買受人證實拍賣品為贗品，則應於拍賣日後二十一天內將拍賣品退回33拍賣行，且拍賣品保持與拍賣當日現場的原狀，並附上贗品鑒定說明、拍賣品編號及購得拍賣品的日期。

如33拍賣行確認本拍賣品為贗品，且買受人對該拍賣品有絕對所有權，並未在該拍賣品上設定任何債權，則取消此次交易，並將買受人所支付款項退還。但如有以下情況之一，買受人無權要求33拍賣行取消交易：（1）拍賣品圖錄對該拍賣品的說明符合當時的有關專家普遍接受的意見，已經清楚表明專家對於該拍賣品的鑒定意見存有爭議；（2）只能夠用科學方法證明該拍賣品為贗品，而該科學方法是在拍賣結束才被普遍使用，或僅能用某種方法證明該拍賣品為贗品，而該種方法的使用費用昂貴或不合實際。c) 在這種情況下，買受人索賠的金額僅限於買受人為該拍賣品支付的款項，並不得請求其他任何自然損失或個人損失的賠償。d) 因本條款而獲得的收益僅授予持有33拍賣行的原發票的買受人，不得轉讓給他人。

關於委託人及寄售人的規定

13.審查33拍賣行將審查送至本公司辦公處的預備上拍品，或至委託人處查看，並根據33拍賣行的市價給予估價建議。若拍賣品價值不足或不適合由本公司拍賣，則委託人應自收到本公司領取通知之日起五個工作日內取回該拍賣品。委託人逾期未取走拍賣品的，則本公司將根據條款三十一出售該拍賣品。此項服務為免費，但在某些情況下可能要求支付現款或因為委託人在外而產生的旅行費用。33拍賣行有權接受或拒絕任何不適合本公司拍賣標準的拍賣品。14. 委託人的酬金33拍賣行將按落槌價10%收取酬金。15. 拍賣品圖錄中的內容說明委託人可選擇在拍賣品圖錄加入拍賣品內容說明。單頁，300新加坡幣；跨頁，500新加坡幣；折頁，800新加坡幣。圖錄封底及插頁價格為2000新加坡幣。封面為3000新加坡幣。33拍賣行將全權負責以合適的方式對拍賣品進行刊載，委託人不得要求以特殊形式登載拍賣品。16. 所有權擔保及標的轉移a) 委託人向33拍賣行及買受人保證委託人對該拍賣品擁有絕對所有權及享有合法的處分權，並未在該拍賣品上設定任何債權。b) 委託人向33拍賣行及競買人擔保，對於委託人擁有的，業權不歸於33拍賣行所有的拍賣標的，將按買受人要求轉移給買受人。c) 若委託人違反上述保證，致使33拍賣行及其代理人或買受人蒙受任何損失，則委託人應承擔因此發生的一切費用。17. 丟失和損毀責任a)除非另有33拍賣行以書面形式同意17(d）之情況外，33拍賣行會承擔拍品丟失和損毀責任，承保期限是從33拍賣行收到拍賣品之日起，至拍賣會結束。(i)若拍品成交，保險責任轉移給買受人，(ii)若拍品未成交，保險期限延45天或自拍品歸還給委託人為止（以較早時間為准）。b)委託人同意支付的保險費用（i）拍品成交，落槌價之1％，或（ii）拍品未成交，保留價之1%。c)若在17(a)情況下，任何物品發生丟失或損毀，33個拍賣行承擔責任並賠

33 Auction 拍賣條款

償損失，以彌補委託人的損失，委託人將無需支付17(b)(i)(ii)項（如適用）的酬金和費用。d)委託人若無需33拍賣行承擔責任，必須通過書面形式同意33拍賣行無需承擔委託人任何物品的丟失或損毀的賠償責任，並承諾承保的期限是直到買受人已付清全部款項為止。18. 保留價委託人有權在拍賣前設定拍賣品的保留價，即為拍賣品在拍賣中需達到的最低“落槌價”。保留價一旦設定，如無33拍賣行的同意將無法更改。當“落槌價”低於保留價流拍時，為保障委託人的銷售收益達到保留價，33拍賣行有權將拍賣品以其保留價出售。拍賣人可以代表委託人為任何拍賣品叫第一口價以開始競投。拍賣人更可代委託人以接連投標或競投的方式就拍賣品作出競投，直至達到保留價。保留價不得高於在拍賣品圖錄中所記的拍賣低位估價。19. 扣除酬金及費用的權利委託人授權33拍賣行按“落槌價”扣除約定比率的酬金、拍賣品圖錄費用及其他各項費用，並確認33拍賣行有權根據規則三獲得買受人的酬金。20. 交易撤銷在33拍賣行支付出售收益給委託人之前，若買受人根據第十二條款提出撤銷交易，並得到33拍賣行認同。33拍賣行將有權撤銷交易並退回所有買受人向33拍賣行支付的購買該拍賣品的款項。21. 售出收益支付根據上述規則十六，33拍賣行將在出售日起35天內將畫作、雕塑、雕刻藝術品、鐘錶的售出收益支付給委託人。但若期限屆滿，33拍賣行仍未收到買受人支付的全部購買價款，則33拍賣行將在收到買受人支付的全部購買價款之日起五個工作日內將出售收益支付委託人。若33拍賣行與買受人之間達成賒欠協定，則33拍賣行將在出售日起35天或45天之內把出售收益支付委託人，除非與委託人有其他協議。如買受人在出售日起三周內仍未向33拍賣行支付全部購買價款，33拍賣行將通知委託人，並獲得委託人的指示，採取適當措施，並在33拍賣行認為實際可行的情況下，協助委託人向買受人收取全部購買價款。若因條件不容許而致使33拍賣行無法向委託人獲取指示，則委託人授權33拍賣行（由委託人支付費用）同意購買價款以特殊付款條件支付，或搬移、存儲及投保已出售拍賣品；或33拍賣行有權解決買受人提出的索賠或向買受人提出的索賠；或採取其他必要措施收取買受人拖欠委託人的款項或如需要的話，撤銷交易並退還買受人所支付款項。若儘管如此，買受人仍未能在出售日起三周內將全部購買價款支付給33拍賣行，而33拍賣行已將出售收益支付給委託人，則該拍賣品的所有權歸33拍賣行。22. 撤回拍賣品的費用委託人申請撤回拍賣品時，33拍賣行保留對其收取全額買受人酬金及委託人酬金的權利，金額為所撤回拍賣品高位估價和低位元估價的均價，並收取該拍賣品相關的所有費用。23. 拍賣品照片及內容說明委託人全權授權33拍賣行對出售的拍賣品拍照、做圖錄或通過其他方法製作圖像，且33拍賣行有權使用這些照片、圖錄以及委託人所提供的照片和圖錄（無論是否與此拍賣相關）。24. 拍賣品的出處若拍賣品出處的資訊擁有學術價值或是為人熟知且能協助鑒別該拍賣品，33拍賣行會在圖錄內刊印有關資料。然而基於不同原因，委託人或前物主的身份將不會被曝光，如應委託人要求對其身份保密或前物主的身份不詳等。25. 未能出售拍賣品及未領取拍賣品33拍賣行有權代表委託人在拍賣日起35個工作日之內以保留價出售未賣出的拍賣品。若屆時期滿，仍未售出，則33拍賣行將通知委託人。委託人應根據規則十三在收到通知的五天之內領取不適宜拍賣的未售出拍賣品。逾期仍未領取拍賣品的，按以下25(c)的方法執行。委託人需安排重新拍賣或取回該拍賣品。否則a) 委託人未在收到領取通知七日內取回拍賣品的，自負所有的搬移及存儲費用。b) 三個月內還未領取的，33拍賣行有權以公開拍賣的方式出售該拍賣品，並有權從落槌價中扣除賣家應支付的包括但不限於給33拍賣行的搬移、存儲、固定比率的酬金及其它合理費用，將餘款支付賣家。c) 若33拍賣行未如25(b)中所預期的通過公開拍賣的方式賣出該拍賣品，則33拍賣行有權將該拍賣品及其他未領取拍賣品以非拍賣方式所能獲得的最高價格賣出，並扣除賣家應支付的包括但不限於給33拍賣行的搬移、存儲、固定比率的酬金及其它合理費用，將餘款支付賣家。因委託人未能領取未出售拍賣品而造成33拍賣行的損失，原買受人應補足差額，並負擔利息及所需法律費用。26. 一般條款和定義33拍賣行作為委託人的代理人（除了在拍賣品編號旁標注?的表示33拍賣行擁有該拍賣品全部或部分業權的），對委託人或買受人的任何違約行為不

承擔責任。27. 33拍賣行在拍賣品圖錄中對任何拍賣品的作者、歸屬、真實性、來歷、日期、年代、出處、保存情況和估售價，所作的介紹及評價，均為參考性意見。競買人應親自審看拍賣品原物，並自行判斷。33拍賣行及其工作人員或其代理人毋需對上述之介紹及評價中的正確性負責。28.如競買人希望確保競投成功，則應親自出席競投。若33拍賣行被授權代理競買人競投，則33拍賣行及其工作人員或代理人對競投未成功或代理競投過程中出現的疏忽、過失或無法代為競投等將不負任何責任。29.33拍賣行有權拒絕任何人參加拍賣活動或進入拍賣現場。30.33拍賣行有權拒絕任何競投價，有權撤銷或分拆拍賣品或合併任何兩件或兩件以上的拍賣品，以及在出現爭議時，有權將拍賣品再次拍賣。a) 依據這些條款所引發的賠償適用範圍將擴至所有由受賠償人引致或遭受的訴訟、程式、成本、費用、索賠、請求。b) 若依據這些條款而產生的賠償是授予33拍賣行的相關工作人員或代理人，則33拍賣行聲明其為相關工作人員及代理人的賠償收益的受託人。31.各方選擇domicilium citandi et executandi*（住所）作為聯繫地址。所有與本協議相關的通知都將以手送、預付費掛號信、傳真或電子郵件方式（如住所位址中包含有傳真號碼或/及電子郵件位址聯繫方式）發送。發送給各方的與本協議或通知有關的一切通知在交付給住所處的負責人時，即被視為成功送達，無需親手交接。按以下時間送達的通知將被認為是按時送達的：（1）如使用手送或傳真或電子郵件方式，當天送達（2）如使用預付費掛號信形式，在新加坡境內，從發出日起（含發出日）四天內送達32.所有拍賣、事物及本規則都按照新加坡法律進行解釋，並受其管轄，且買受人服從新加坡法院的非排他性管轄權。33.本規則內：a) “拍賣品圖錄”包括宣傳品、小冊子、估價、價目列表、網站內容以及其他出版物。b) “落槌價”指拍賣官落槌決定將拍賣品售予買受人的價格。c) “全部購買價款”指買受人因購買拍賣品而應支付的包括落槌價、酬金、應由買受人支付的其他各項費用以及因買受人不履行義務而應當支付的所有費用（見規則十）在內的總和。d) “贗品”指拍賣品經刻意製造，其作者、來歷、日期、年代、時期、文化或來源等各方面資料屬偽造，與圖錄說明不符；並且在拍賣日，該拍賣品的價值大大低於符合圖錄說明的真品的價值；e) “出售收益”指支付委託人的款頂淨額，該淨額為落槌價減去按比率計算的酬金、各項費用及賣家應支付33拍賣行的其他款項；f) “設定比率”指33拍賣行公佈的當時的酬金比率。g) “各項費用”指33拍賣行對拍賣品進行拍賣品圖錄及其它形式宣傳品的製作、包裝、運輸等所收取的費用以及增值稅費用；34.在拍賣品圖錄中描述拍賣品時，可能使用一些特殊術語。若這些術語並非不言自明的或是有特殊含義的，則在拍賣品圖錄中的拍賣品介紹前會有術語辭彙表。35.資料保障委託人、競買人及買受人確認並同意，33拍賣行可能向客戶要求提供其個人資料或向第三方索取有關資料，如姓名、電話、郵箱以及位址，用於運輸管理，經營業務，市場推廣以及33拍賣行提供的服務，或法律法規規定的其他用途。在沒有獲得委託人、競買人及買受人（視情況而定）同意的情況下，33拍賣行不得將該等資料用作其他用途，只用於(a)與33拍賣行合作用於市場推廣，(b)第三方服務機構用於快遞、法務支持、結算、運輸、出行及醫療。在提供服務期間，我們會要求他們確保您的個人資訊的保密和安全。為履行委託人、競買人及買受人所要求之服務，33拍賣行有可能向第三方（如付運人）披露資料。33拍賣行根據公司的政策要求該第三方尊重委託人、競買人及買受人（視情況而定）的隱私，對資料保密。客戶同意本規則，即同意有關披露。委託人、競買人及買受人應注意保安理由，33拍賣行範圍內可能進行錄影拍攝。電話對話例如電話競投以及電話留言也可能被錄音。委託人、競買人及買受人之資料若有更新，請訪問和發送電子郵件至[email protected],聯繫33拍賣行的資料監管專員修正資料。36.本規則中所用標題僅為方便參閱而設，不構成本業務股則的一部分domicilium citandi et executandi（住所）是指法院傳票或其他正式通知應寄往的地址，當申請貸款和簽訂合同時，必須提供此地址。

Absentee Bidding Form

IMPORTANT Kindly note that the execution of written and telephone bids are offered as an additional service at no extra charge, and at the bidder’s risk. It is undertaken subject to 33 Auction’s other commitments at the time of the auction. 33 Auction therefore cannot accept any liability for failure to place such bids, whether through negligence or otherwise. Please note that we may contact new clients to request a bank reference. 33 Auction will require sight of government issued ID / Passport and proof of address prior to collection of purchases. All payments are due within 7 days after successful sale. FOR WRITTEN/FIXED BIDS Bids will be executed for the lowest price as is permitted by other bids or reserves.

“Buy” or unlimited bids will not be permitted and neither do we accept “plus one” bids. Please place bids in the given order as per catalogue.

Alternative bids can be placed by using the word “or” between lot numbers.

Where appropriate your written bids will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. FOR TELEPHONE BIDS Please clearly specify the telephone number on which you may be reached at the time of the sale, including the country code. We will call you from the saleroom shortly before your lot is offered. In the event of identical bids, we will only acknowledge the first bid. Bids must be submitted in Singapore Dollars at least 24 hours before the auction.

PLEASE SELECT YOUR BIDDING OPTION: WRITTEN BID PHONE BID TITLE (MR, MRS, MS, DR) OR COMPANY NAME IF APPLICABLE

LAST NAME FIRST NAME

CLIENT ACCOUNT NO. (IF KNOWN)

ADDRESS

(POSTAL CODE)

TELEPHONE (HOME/MOBILE) (BUSINESS/FAX)

EMAIL

TICK IF THIS IS AN UPDATED ADDRESS

TELEPHONE NUMBER DURING THE SALE: 1. (FIRST PRIORITY) (FOR TELEPHONE BIDS ONLY) 2. (ALTERNATIVE) PLEASE SEND OR FAX THIS FORM TOGETHER WITH COPY OF IDENTITY CARD / PASSPORT TO: 33 AUCTION – BID DEPARTMENT 27A Loewen Road Singapore 248839 TEL: +65 67474555 FAX: +65 67474111 EMAIL: [email protected]

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

ARRANGING PAYMENT It is 33 Auction’s policy that all cheque / payments must be cleared before purchases will be released. Payments may also be made by direct debit or telegraphic transfer to 33 Auction account indicated in the invoice. Please include your name, 33 Auction client’s account number and invoice number with your instructions to your bank. Credit card payment (Visa, MasterCard and UnionPay) are also accepted.

It is 33 Auction’s policy to request any buyer preferring to make cash payments to provide: proof of identity with attached photograph (example: passport, driving license, identity card) and confirmation of permanent address. Thank you for your kind cooperation. SHIPPING: IF YOU ARE SUCCESSFUL AND WANT US TO CONTACT YOU REGARDING SHIPPING, KINDLY TICK HERE

LOT NUMBER

LOT DESCRIPTION

MAXIMUM SINGAPORE DOLLAR (TICK FOR PHONE BIDS)

SALE NUMBER SALE DATE

SG019

22 Jan 2016

SG019

2016年1月22日

Artist 藝藝術術家家 LOTNOARIESMIT 艾利·斯密特 33BASOEKIABDULLAH 巴蘇基·阿⼘杜拉 30,31,32BENCHARONGKOWAPITAKTAT 阪察隆 39,40CAIZHISONG 蔡志松 64CHENCHENGMEI 陳城梅 22CHENCHONGSWEE 陳宗瑞 7CHENLIU 陳流 59CHEONGSOOPIENG 鐘泗濱 5,6CHOOKENGKWANG 朱慶光 19,20CHUAMIATEE 蔡名智 3,4,18DJOKOPEKIK 卓可·佩奇克 34ERICAHESTUWAHYUNI 艾麗嘉 37,38FERNMINENG 潘明⾳ 25GOHBENGKWAN 吳珉權 17HEKONGDE 何孔德 50JANDANIELBEYNON 揚·丹尼爾·⾙諾 29JIANGSHUO 蔣朔 57,58JUMING(ZHUMING) 朱銘 54KHAIRULLAHRAHIM 凯鲁拉·拉欣 28KRIJONO 克利約諾 35,36LAIKUIFANG 賴桂芳 21LEPHO 黎譜 47,48LIMTZEPENG 林⼦平 12LIMYEWKUAN 林有權 24NAISWEELENG 賴瑞⻯ 10NGENGTENG ⿈榮庭 11NGUYENTRUNG 阮忠 45,46OLGAMARIEPOLUNIN 奧爾加·瑪麗·坡爐您 27QIUDESHU 仇德树 61REARNGSAKBOONYAVANISHKUL 朗薩 42,43S.P.HIDAYAT 喜⼤業 44SHIHU ⽯虎 62SUIJIANGUO 隋建國 49TANCHOHTEE 陳楚智 23TANOEPANG(CHENYOUBING) 陳有炳 8,9TANGDAWU 唐⼤霧 26TAYBAKKOI 鄭⽊奎 1,2,13,14,15,16THAWANDUCHANEE 塔萬·杜查尼 41WANGHUAIQING ⺩懷慶 63WANGYONGQIANG ⺩永強 51XIAOHONG 肖紅 60XUESONG 薛松 55,56YEXIANMIN 葉獻民 52YEYONGQING 葉永⻘ 53

INDEX｜｜索索引引

Lot 21 Lai Kui Fang Doves 賴桂芳《松鴿》

2016 SINGAPORE ART WEEK SALE2016年新加坡藝術週拍賣會

SINGAPORE 22 JANUARY 2016 ｜新加坡 2016年1月22日

Lot 50 Sui Jianguo Clothes Vein Study-Bounded Slave 隋建國《衣紋研究－垂死的奴隶》

22 JAN 2016 SG

01933 AU

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33 AUCTION PTE LTD


Documents

33 Auction - 2016 Singapore Art Week Sale