33 Auction 2016 Singapore Spring Sale Catalog

33 AUCTION PTE LTD

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

2016 SINGAPORE SPRING SALE2016年新加坡春季拍賣會

SINGAPORE 21 MAY 2016 ｜新加坡 2016年5月21日

21 MAY 2016 SG

02033 AU

CTIO

N2016 SING

APORE SPRING

SALESIN

GAPO

RE

MO

DER

N A

ND

CO

NTEM

POR

ARY A

SIAN

AR

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Lot 1 TAY BAK KOI Till The Cows Come Home (detail) 鄭木奎《歸途》（局 Lot 33 CHOO KENG KWANG Doves (detail) 朱慶光《鴿子》（局部）

In sending written bids or making enquiries, please quote this sale number ‘SG020’.

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‘SG020’。

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 5月 21日星期六晚上7:30 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

Auction

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

2016 Singapore Spring Sale

Modern and Contemporary Asian Art Singapore 21 May 2016

預展

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

Preview19 - 20 May 2016, 10:00 am to 8:00 pm21 May 2016, 10:00 am to 5:00 pmMoCA@Loewen27A Loewen Road Singapore 248839 (Dempsey area)

2016年新加坡春季拍賣會

現當代亞洲藝術新加坡 2016年 5月 21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5月19至 20日早上10:00 至下午5:002016年 5月 21日

, 21 May 2016, 7:30pm Saturday

Singaporean Art 新加坡藝術

Lot 68 AFFANDI Boats by the Seaside (detail) 阿凡迪《海邊船隻》（局部）

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 103 YAYOI KUSAMA Pumpkin 草間彌生南瓜

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 72 HENDRA GUNAWAN A Beautiful Landscape 亨德拉·古那彎《一道亮麗的風景》

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 Zhang

徐淑雯章娟

Suwarno Karyadi 郭祥琪

Administrator 行政助理

符升銓David FuDirector 總監

符逢利Ali Kusno FusinManaging Directors 董事

Linda Ma 馬美玲

Elizabeth Lee 李尚寳

Finance 財務部

Tan Qiuyu 陈秋裕

Kelvin Ng 吳志堅

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 Zhang

徐淑雯章娟

Suwarno Karyadi 郭祥琪

Administrator 行政助理

符升銓David FuDirector 總監

符逢利Ali Kusno FusinManaging Directors 董事

Linda Ma 馬美玲

Elizabeth Lee 李尚寳

Finance 財務部

Tan Qiuyu 陈秋裕

Kelvin Ng 吳志堅

Lot 110 JIANG SHUO Blue Cat 蒋朔《蓝猫》

Tay Bak Koi was a celebrated local artist well-known for his depictions of fishing villages, kampong scenes and buffaloes. Under the tutelage of Cheong Soo Pieng, he studied the ways of art appreciation but yearned to develop his distinctive style in painting. Eventually, Tay broke through with his iconic stylized buffalo image and his skill in blending fantasy with realism in his paintings.

In 1970, Tay was commissioned to produce 300 artworks for the Hilton Hotel in Singapore. Later on he was commissioned by Conrad Centennial Singapore Hotel to a work, “Gathering” which shares the same theme as the present lot on offer, with the buffalo as the centerpiece.

Painted in 1996, this massive oil on canvas shows off Tay’s signature stylized buffaloes being herded home by a village boy. Applying cool hues for most of the buffaloes, Tay strikes the audience with one lone buffalo of a bold red colour, as if staying true to his rebellious streak. His finesse in giving texture to the buffaloes’ skin also adds to the dynamic movement of the herd. With this painting, collectors of Tay’s art will continue to be enthralled by the lyrical life of buffaloes.

鄭木奎是一個著名的當地藝術家，他的代表作品有漁村，甘榜場景和水牛系列。在鐘泗濱的指導下，他學習了欣賞藝術的方式，並渴望發展自己鮮明的繪畫風格。最終，鄭木奎打破了那標誌性程式化的水牛形象，創作了幻想主義和現實主義相融合的技巧。

1970年，鄭木奎曾被新加坡希爾頓酒店委託創作300件藝術作品。之後，新加坡港麗酒店委託鄭木奎畫了一幅畫《聚會》，以目前的這件拍品的主題相似，是以水牛描述為核心。

此作品創作於1996年，龐大的布面油畫展示了鄭木奎的標誌性水牛的風格，它們正被牧童驅趕回家。鄭木奎使用了冷色調的色彩來描述多數水牛，其中一個大膽紅色特立獨行的水牛抓住了觀眾的注意力，彷彿堅守著他的叛逆。鄭木奎的繪畫技巧給水牛的皮膚帶來了細膩的質感，同時也增添了牛群動態的生動性。這幅作品會讓鄭木奎的藝術收藏家陶醉在水牛的抒情生活中。

Till The Cows Come Home歸途

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1TAY BAK KOI (Singaporean, 1939-2005)

Till The Cows Come Homesigned dated 96 lower left; titled and dated versooil on canvas118.5 x 178.5 cm S$ 40,000 - 60,000US$ 29,630 - 44,450ProvenanceAcquired directly from the artist Private collection, Malaysia

鄭木奎歸途油彩畫布1996年作款識： Bak Koi 96（左下）

Till The Cows Come Home 96（畫背）出處購自於藝術家本人馬來西亞私人收藏

Singaporean Art 3

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Five Ladies by the Streamdated 02, signed in both English and Chinese lower leftwatercolour on paper64 x 54 cm S$ 5,000 - 8,000US$ 3,710 - 5,930

鄭木奎河畔戲水水彩紙本2002年作款識： Bak Koi 木奎 02（左下）

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By the River (A Pair)both signed lower rightwatercolour on paper39 x 36 cm/ 40 x 37 cm S$ 5,000 - 7,000US$ 3,710 - 5,190

鄭木奎河畔水彩紙本（一對）款識： Bak Koi（右下）

Singaporean Art 5

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4TAN OE PANG (CHEN YOUBING) (Singaporean, b.1947)

Majestic Landsigned and inscribed in Chinese upper leftink and colour on paper, framed68 x 45 cm S$ 6,000 - 8,000US$ 4,450 - 5,930LiteratureGoodbye Great Tang - Against Sullivan: Tan Oe Pang - A Man Building Eastern and Western Art, Cite E-Printing, Taiwan, 2013, page 189

ExhibitedTaiwan, Taipei Chiang Kai-Shek Memorial Hall, Tan Oe Pang Solo Exhibition,19-29 December 2009

ProvenanceAcquired directly from the artistPrivate collection, Singapore33 Auction, Singapore, 13 Nov 2011, lot 62Acquired from the above sale by the present owner

陳有炳氣壯山河水墨紙本鈐印：陳有炳（左中）出版2013年《再見大唐｜反對沙文：陳有炳｜一個建設東西方藝術的人》城邦印書館台灣第189頁展覽2009年12月19日－29日「陳有炳個人展覽」台北中正紀念堂台灣來源購自於藝術家本人新加坡私人收藏新加坡 33拍賣 11月13日2011年編號62購自於上述拍賣

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5TAN OE PANG (CHEN YOUBING) (Singaporean, b.1947)

Landscapesigned, dated 76 in Chinese and stamped with one seal of the artist upper rightink and colour on paper33.5 x 72.5 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

陳有炳景观彩墨紙本1976年作款識：有炳七六年（右上）鈐印：陳有炳（右上）

Singaporean Art 7

6LIM TZE PENG (Singaporean, b.1923)

Bird Cages In Marketsigned and dated 2002 in Chinese upper rightoil on canvas66 x 82 cm S$ 18,000 - 26,000US$ 13,340 - 19,260

林子平鳥籠市場油彩畫布2002年作款識：子平 02（右上）

A self-taught artist, Lim Tze Peng is a second generation Nanyang artist with many acclaimed Chinese ink paintings of old Singapore, especially Malay kampongs, Chinatown and the Singapore River. A teacher by training, Lim was relentless in his pursuit of art and developed from a realist artist to an expressionist artist. Significantly, he reinvented the genre of Chinese calligraphy paintings, introducing spontaneity and colour to his works. Similar to his peers, Lim received the Cultural Medallion for his contributions to visual arts in Singapore in 2003.

In this rare oil painting, Lim portrays a scene from the bird cage market, probably one from yesteryear’s Rochor Road and one that is seldom seen now in cosmopolitan Singapore. His muted brown colours add to the vintage atmosphere of the scene, while his close brush strokes imitate the tight weavings of the bird cages. Lim also paints his figures masterfully, such that it leads the eye into the inner lane of the market. With his exquisite painterly talent, Lim allows the viewers to deeply reminisce about the disappearing face of old Singapore.

林子平是一個自學成才的第二代南洋藝術家，他創作了許多著名的舊新加坡風景的中國水墨畫，尤其是馬來西亞的甘榜，唐人街和新加坡河。通過培訓，林子平有著追求藝術堅持不懈的精神，最終從現實主義藝術家發展到表現主義藝術家。顯然，他徹底改造了中國傳統書法繪畫的流派，自發性的引用了色彩來創作他的作品。類似他的同行，林子平為新加坡視覺藝術做出了的貢獻並獲得了新加坡2003年藝術文化大獎。

在這幅非常稀少的油畫中，林子平描繪了一個鳥籠集市的場景，可能是坐落於往昔的梧槽路，這種場景現在很少出現在國際化大都市的新加坡。林子平使用以亞光棕色為主色調的色彩，為場景增添了復古的氛圍，他的緊湊的筆觸親密的模仿著鳥籠。同時林子平很巧妙地添加了幾個人物，引導人們的深入關注鳥籠集市的內部。憑藉他精湛的繪畫天賦，林子平激起了觀眾們對舊新加坡消失的懷念之情。

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Singaporean Art 9

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7LIM TZE PENG (Singaporean, b.1923)

Boat Housessigned in Chinese and stamped with one seal of the artist middle rightink and colour on paper75 x 128 cm S$ 16,000 - 24,000US$ 11,860 - 17,780

林子平船屋彩墨紙本款識：林子平寫（右中）鈐印：子平（右中）

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8PHUA CHENG PHUE (PAN ZHENG PEI) (Singaporean, 1934-2004)

Two Figuressigned, dated 1982 in Chinese and stamped with an artist seal middle rightink and colour on paper57 x 57 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

潘正培人物水彩紙本款識：壬戎年（右中）鈐印：潘（右中）

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9CHEN CHONG SWEE (Singaporean, 1910-1986)

Kampung Scenerystamped with a seal of the artist lower rightink and colour on paper64 x 54 cm S$ 8,000 - 12,000US$ 5,930 - 8,890ProvenanceChen Chong Swee Charity Auction, Singapore, 15 Jan 1994, lot 25Private 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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10FAN CHANG TIEN (Singaporean, 1907-1987)

Landscapesigned, inscribed and stamped with one seal of the artist upper leftink and colour on paper96 x 44 cm S$ 13,000 - 16,000US$ 9,630 - 11,860LiteratureFan Chang Tien 1907-1987, National Museum, 1989,colour plate no.87

ExhibitedSingapore, National Museum Art Gallery, Fan Chang Tien 1907-1987,6-22 January 1989

ProvenancePreviously in the collection of Mr. Chua Eik Seng

范昌乾山水設色紙本立軸1983年作鈐印：昌乾（左上）出版1989年《范昌乾 1907-1987》新加坡國家博物館新加坡第87號彩色版展出1989年1月6日－11日「范昌乾 1907-1987」新加坡國家博物館畫廊來源蔡逸胜舊藏

Singaporean Art 13

11CHEONG SOO PIENG (Singaporean, 1917-1983)

Landscape With A Woman Rowingsigned and dated 61 lower leftink and colour on paper45 x 94 cm S$ 30,000 - 40,000US$ 22,230 - 29,630ProvenancePrivate collection, United Kingdom

鍾泗濱划船彩墨紙本1961年作款識： Soo Pieng 61（左下)來源英國私人收藏

“I do not search for style consciously or create it deliberately.. It is a way of bringing order and intelligence to what an artist is doing. It is a memory marker and also a means of connecting different ideas and emotions, fusing them into a creative force.”

- Cheong Soo Pieng, The Straits Times, 2 Aug 1983

\One of Singapore’s most influential artists, Cheong Soo Pieng have embedded his paintings and effort and have awed many of his viewers that record accurate cultural and historical significance in Singapore and his South East Asia travels. The late Cheong was a first generation Singaporean artist that have inspired many and establishing art practice that encourages the integration of both Western and Eastern art techniques.

Cheong’s style is distinct through his subject of portrayed Balinese women, which he painted with elongated arms and legs and almond shaped eyes. Cheong was greatly inspired by his surroundings of landscape and people of Singapore. His landscape still-life works are fundamentally a very important contribution to Singapore modern art, revolutionising the art scene, his works today is still inspiring minds of young artists. Until today, many collectors and art lovers alike are still awed by his simplistic and beautiful paintings, and most importantly touched by his utmost sincerity that transcends from his works.

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“我並不刻意去尋找或創造風格。這是藝術家在創作的時結合秩序及智慧的表現，記憶的鏈接與情感，再把它們轉換成一種具有創造性的力量。”

鐘泗濱，新加坡海峽時報，一九八三年八月二日

作為新加坡最具影響力的藝術家之一，遊歷東南亞各國的鐘泗濱，在畫作上呈現東南亞最完整的歷史風味與文化面貌。他獨特、創新的畫作震懾當時的畫壇，無疑為南洋畫派的先驅，也是新加坡第一批鼓勵採用東、西方繪畫技巧融合的方式來進行藝術創作的藝術家。

鐘泗濱作品技巧純熟，畫作中的人物和主題奠定了他專屬的繪畫風格。其中最具代表性的油畫系列莫過於描繪四肢修長、眼睛明亮的勞動巴厘島女人。鐘泗濱喜歡就地取材，善用身邊的景象來進行藝術創作，這件人物與風景寫生對新加坡早期甘榜風景如實描繪，直至今日仍不斷啟發年輕藝術家創作。很多收藏家和藝術愛好者都因其作品中的單純與美麗而感動，也感受到其中的執著與寓意。

Singaporean Art 15

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12TEW NAI TONG (Malaysian, 1936-2013)

In A Marketsigned lower rightoil on canvas44 x 44 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

張耐冬市集油彩畫布款識： Nai Tong（右下）

Tew Nai Tong was a second-generation artist who was renowned for his distinctive figurative painting style. In 1967, he enrolled into the Ecole Nationale Superieure des Beaux-Arts, Paris to study oil and figurative painting and his creative style was highly influenced by the Parisian cultural scene.Considered to be one of the top 10 artists in Malaysia, Tew’s artworks have been collected by many museums in Malaysia and Singapore. For his contributions to the Malaysian art scene and promotion of Malaysian art and heritage on the world stage, Tew was awarded the grand prize of Asia Art Award in Seoul, South Korea in 2009.

In this lot, we see Tew using oil on canvas to capture the hardworking spirit of the village womenfolk in his unique brand of perspective. His signature “closed eyes” or “squinty eyes” style represents the serenity and peacefulness of hard work while finding contentment with harmonious familial relationships. In Tew’s celebration of the dedicated Malaysian women villagers, the audience will find pleasure in the symmetry of forms and a vibrant colour palette, as well as the richness of the Malaysian heritage.

張耐冬是第二代藝術家，素以獨特的具象繪畫風格著名。 1967年，讀於國立高等美術學院，在巴黎學習油畫和具象繪畫，他的創作風格受巴黎的文化景象高度影響。張被認為是馬來西亞排名前10位的藝術家之一，他的作品被馬來西亞和新加坡的許多博物館收藏。張對馬來西亞的藝術發展有著巨大的貢獻，推廣馬來西亞的藝術和文化遺產到世界的舞台。 2009年，他在首爾被授予韓國亞洲藝術獎。

在這件作品中，張使用油畫的特色捕捉辛勤勞動的村女們兢兢業業的工作精神，體現了他獨特的視覺角度。“閉眼”或“眼睛斜視”的人物描述風格代表著辛苦勞動的人民同時帶有一絲平靜和安寧，同時體現著和睦相處的人際關係。描述了馬來西亞婦女村民們的慶祝場景，觀眾會發現構圖的對稱性和充滿活力的調色板的樂趣，以及馬來西亞文化遺產的豐富性。

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13CHIA YU CHIAN (Malaysian, 1936-1991)

Maxwell Hill, Taiping, Perak, Malaysiasigned and dated 82-82 lower rightoil on canvas43 x 65 cm S$ 8,000 - 12,000US$ 5,930 - 8,890

謝玉謙馬來西亞霹靂州太平麥克斯韋山油彩畫布1982年作款識： Yu Chian 82-83（左下）

13

Chia Yu Chian was the first artist from the Straits Settlement to be awarded a French government scholarship to study in the Ecole Nationale des Beaux Arts de Paris, from where he graduated in 1962.In his illustrious career, Chia had held more than 20 one-man exhibitions in Malaysia, Singapore, France, Germany, UK, Spain, India and Thailand. In addition to receiving an Honorable Mention from Salon des Independent and Societe des Artists Francaise in Paris, Chia had also been commissioned to paint the grand mural, “Life in Malaysia”, for the Malaysian Embassy in Paris and portraits for various Malaysian government and political luminaries.

Applying a calming palette of greens and blues, Chia brings forth the tranquility of life in this Malaysian hill resort. His nimble brushstrokes are impressionistic in nature while his keen observational eye subtly frames the colonial bungalows in both the foreground and background. With his sophisticated manipulation of light and space, Chia has expertly memorialized the natural landscape environment of Malaysia’s oldest hill resort.

謝玉謙是第一位海峽殖民地藝術家被授予法國政府獎學金在法國巴黎國立美術學院學習，於1962年畢業。在他傑出的職業生涯中，已經在馬來西亞，新加坡，法國，德國，英國，西班牙，印度和泰國舉辦20餘個人的展覽。另外，謝還接受了巴黎沙龍獨立和法國Societe des藝人榮譽獎，他也被委任繪宏偉的壁畫，“生活在馬來西亞”，在巴黎的馬來西亞大使館和給各種馬來西亞政府和政治名人畫肖像。

運用綠色和藍色的平靜的調色板，謝玉謙呈現了來生活在馬來西亞山度假村的寧靜。他靈活的筆觸在本質上是寫意的，而他的敏銳觀察的眼睛巧妙地勾勒出殖民地平房的前景和背景。隨著他對光線和空間複雜的熟練的操作，他已熟悉紀念馬來西亞最古老的山度假村的自然景觀環境。

Singaporean Art 17

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14TAN KIAN POR (Singaporean, b.1949)

White Lotus with Kingfisher and A Set of Calligraphyinscribed in Chinese and stamped with three seals of the artist upper and lower right; another seal stamped lower leftink and colour on paper139 x 70 cm; 129 x 31.5 cm (2) S$ 5,000 - 7,000US$ 3,710 - 5,190

陳建坡荷塘翠鸟及一对隸書聯水墨紙本款識：嘵吟身近水天隈忽見湖煙半壁開一片綠雲吹不散藕花香氣過湖來戊晨寫並錄道濟句建坡（右上）隸書：詩書經綸走（上）松竹瀟灑心（下）

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15LENG JOON WONG (Chinese, b.1947)

Templesiged and dated 90 upper rightwatercolour on paper76 x 56 cm S$ 7,000 - 10,000US$ 5,190 - 7,410

凌运凰寺廟水彩紙本1990年作款識： Leng: 90（右上）

LengJoon Wong is a second-generation artist who is well-known as one of the founding members of the Singapore Watercolour Society, along with other famous pioneer artists such as Lim Cheng Hoe and Chen Chong Swee. In the 1990s, he travelled to the United States to pursue his watercolour art further and his pieces have been exhibited in Hong Kong, Malaysia, Manila, Taiwan, Japan, Moscow, China and the United States. His paintings are also collected by museums, various ministries, statutory boards and banks in Singapore.

In this lot, Leng has meticulously composed a common scene from a Chinese temple, deftly depicting how the sunlight falls on the washed out roof tiles and the temple’s architectural design. The combination of reddish and umber tones gives rise to a vintage nostalgic atmosphere, which speaks to the trials and tribulations of this local religious site. The translucency of the watercolour alsogreatly emphasises the luminosity of natural light in a familiar setting, reminding us of Leng’sfinesse in capturing the lost moments of an old Singapore.

凌運凰是第二代新加坡藝術家，並且也是著名的新加坡水彩畫會的創始成員之一，連同其他著名先鋒藝術家如林清河和陳宗瑞。上世紀90年代，他前往美國進一步追究他的水彩畫藝術，凌的作品已在香港，馬來西亞，馬尼拉，台灣，日本，莫斯科，中國和美國展出。他的作品也被博物館，各部委，法定機構和新加坡的銀行收集。

這件作品，凌運凰的精心創造，組成了一個傳統中國風格的寺廟畫面，巧妙地描繪了陽光如何落在清洗後屋頂的瓦片上和寺廟的建築設計。微紅色調與紅棕色相結合，產生了一個複古懷舊的氛圍，彷彿傾述著這個宗教場所的各種考驗和磨難。這種半透明的水彩加強了自然光的亮度和溫暖了熟悉的環境，凌運凰捕捉這些重要的新加坡老街景畫面來讓我們回憶。

Singaporean Art 19

16CHEN WEN HSI (Singaporean, 1906-1992)

Five Squirrelssigned in Chinese upper right; stamped with a "Baigong" seal upper right; stamped with "chen wenxi" seal lower rightink and colour on paper92 x 58 cm S$ 26,000 - 42,000US$ 19,260 - 31,120ProvenanceAcquired directly from the artistPrivate collection, Singapore

陳文希五隻松鼠彩墨紙本款識：文希記（右上）鈐印：白宮（右上）；陳文希（左下）出處購自於藝術家本人新加坡私人收藏

Chen Wen Hsi was an eminent first generation Singapore artist and pioneer of the Nanyang style. As an art practitioner and art educator, he was highly influential among his peers and students.In his art career, Chen established a distinctive painting style that combined Western and Chinese art traditions and was well-known for his depictions of animals, especially herons, gibbons and squirrels. Chen’s awards and accolades were numerous, and his artistic legacy also lives on theSingapore $50 note, where a portion of his work “Two Gibbons Amidst Vines” is printed.

With “Five Squirrels”, we can see how Chen has brought forth the anatomical accuracy and liveliness of the animals through his lifelong observation and love for the creatures. His brush strokes are strong yet subtle in forming their bushy tails, while capturing their playful spirit in their eyes and postures. There is a sense of dynamism in Chen’s composition, with the tree acting as the anchor for the squirrels’ playground. This painting illustrates Chen’s obvious love of nature and animals and how he was constantly inspired by this love to create stunning art pieces.

陳文希是著名的第一代新加坡藝術家，南洋藝術風格的開拓者。作為藝術從業者和藝術教育家，他在同行和學生中是極具影響力的。在他的藝術生涯，陳建立了結合西方和東方藝術傳統獨特的繪畫風格，他的動物系列作品最為著名，特別是蒼鷺，長臂猿，松鼠。陳收穫過眾多的獎項和榮譽，他的藝術遺產同時被印刷在新加坡50元的紙幣上，是他的其中一副作品“兩隻猴子”。

“五隻松鼠”的作品，我們可以看出陳是通過他的畢生觀察和熱愛動物之情帶來了精準的動物描述和體現動物的活力。他的筆觸是強大而又微妙的形成了松鼠蓬鬆的尾巴，捕捉到它們那種童心未泯的眼睛和姿態。陳的構圖是非常有活力的，用樹充當鬆鼠們的“遊樂場。這幅畫表明了陳對大自然和動物明顯的熱愛，他是如何不斷受到這種愛的啟發，創造了驚人的藝術作品。

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Singaporean Art 21

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Yuan Yang Ducksinscribed wenxi finger painting live drawing in Chinese upper right; stamped with a “chen wenxi" seal middle rightink and colour on paper38 x 48 cm S$ 16,000 - 28,000US$ 11,860 - 20,750ProvenanceAcquired directly from the artistPrivate collection, Singapore

陳文希鴛鴦鴨彩墨紙本款識：文希指頭生活（右上）鈐印：陳文希（右中）出處購自於藝術家本人新加坡私人收藏

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Sparrowsinscribed wenxi finger painting live drawing in Chinese and stamped with a "chen wenxi" seal lower leftink and color on paper33 x 44 cm S$ 18,000 - 20,000US$ 13,340 - 14,820

陳文希麻雀彩墨紙本款識：文希指頭生活（左下）鈐印：陳文希（左下）

Singaporean Art 23

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19ONG KIM SENG (Singaporean, b.1945)

Bali Scenerysigned and dated 13 lower leftwatercolour on paper50 x 70 cm S$ 10,000 - 12,000US$ 7,410 - 8,890

王金成巴釐島風景水彩紙本2013年作款識： Seng'13 Bali（左下）

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Singapore Street Scenesigned and dated 12 lower leftwatercolour on paper50 x 70 cm S$ 8,000 - 10,000US$ 5,930 - 7,410

王金成新加坡街景水彩紙本2012年作款識： Seng'12（左下）

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Botanic Gardensigned and dated 08 lower rightwatercolour on paper49 x 39 cm S$ 5,000 - 7,000US$ 3,710 - 5,190

王金成植物園水彩紙本2008年作款識： K. Seng '08（右下）

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22TONG CHIN SYE (Singaporean, b.1939)

Boatssigned lower rightwatercolour on paper38 x 52 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

童振獅船隻水彩紙本款識： tong（右下）

Singaporean Art 27

23CHUA MIA TEE (Singaporean, b.1931)

Blue Macawssigned and dated 93 lower left; inscribed with title, medium measurement and name in Chinese and English versooil on canvas61 x 91 cm S$ 30,000 - 40,000US$ 22,230 - 29,630

蔡名智金剛鸚鵡油彩畫布1993年作款識： M.T.CHUA 93（左下）BLUE MACAWS

金剛鸚鵡 oil on canvas 油畫 61 x 91 cm by CHUA MIA TEE 蔡名智作（畫背）

Chua Mia Tee is one of Singapore’s foremost realist painters whose works often depict the vanishing Singapore streetscape under urban redevelopment. His realist paintings also touched on pertinent national and social issues, such as his famous “Epic Poem of Malaya” and “National Language Class”, which are both currently displayed in the National Gallery Singapore. Chua has also painted several historic events and portraits of prominent Singaporeans, including the nation’s presidents and prime ministers. For his contributions to the visual arts, he was awarded the Cultural Medallion in 2015.

With this lot, Chua presents us with the realistic scene of two blue macaws perched on a branch. Exhibiting a sharp eye for detail, Chua has accomplished capturing the intricacy of the macaws’ feathers and the scaly texture of their feet. He highlights their vibrant plumage with bright colours set against a softly lit rainforest background. It is also evident that Chua has paid meticulous care with the macaws’ facial feather pattern and their postures, ensuring that they look as authentic as they do in their natural environment.This painting is bursting with Chua’s flavour of realism art and is certainly not to be missed for his collectors.

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蔡名智是新加坡最重要的寫實畫家，他的作品經常描繪舊城改造下漸漸消失的新加坡街景。他的超現實主義的繪畫還談到了有關國家和社會問題，比如他著名的“國家語言類”，“馬來亞的敘事詩”，這兩者當前都展示在新加坡國家美術館。蔡名智也畫了一些有關歷史事件的畫作和突出的新加坡人物的肖像，其中包括國家的總統和總理。他對新加坡的視覺藝術做出了貢獻並在2015年被授予藝術文化大獎。

這件作品，蔡名智呈現給我們兩隻藍色的金剛鸚鵡棲息在樹枝上逼真的場景。展示他對細節很銳利的眼睛，完美的捕捉了鸚鵡複雜的羽毛和它們腳的鱗屑質感。他描繪突出了鸚鵡的活力與羽毛映襯燈光柔和的熱帶雨林顏色鮮豔的背景。很明顯的，蔡名智非常細微入微的觀察和描畫金剛鸚鵡面部羽毛的圖案與它們的姿態，確保它們看上去是在真正融入在大自然環境中。這幅畫是用寫實主義風格完成，蔡名智的收藏家肯定不能錯過這幅精美的作品。

Singaporean Art 29


Koi Jumping Over The Dragon Gatesigned and dated 2003 lower leftwatercolour on paper60 x 45 cm S$ 12,000 - 16,000US$ 8,890 - 11,860

蔡名智魚躍龍門水彩紙本2003年作款識： M.T.CHUA 2003（左下）

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Lotus With Birdsigned in Chinese upper left; stamped with a “chen wenxi” seal upper leftink and colour on paper45 x 57 cm S$ 15,000 - 25,000US$ 11,120 - 18,520ProvenanceAcquired directly from the artistPrivate collection, Singapore

陳文希蓮花與鳥彩墨紙本款識：文希（左上）鈐印：陳文希（左上）出處購自於藝術家本人新加坡私人收藏

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Fishesinscribed "Wen Xi" in Chinese and stamped with a "Chen Wenxi" seal uper right; stamped with a "Moyuan" seal lower leftink and colour on paper, mounted and framed52 x 57 cm S$ 20,000 - 25,000US$ 14,820 - 18,520

ExhibitedA Chinese Art Exhibition by Mr. Chen Wen Hsi, Victorian Artist Society Galleries, Melbourne, 15-28th August 1960

ProvenancePurchased from the above exhibition, 15th August 1960, and thence by descent to the present ownerPrivate collection, AustraliaA copy of the original purchase receipt accompanies this lot

陳文希魚水墨紙本款識：文希（右上）鈐印：陳文希（右上）；墨緣（左下）展出1960年8月15日－28日「陳文希先生中國畫展」維多利亞藝術家學會會所墨爾本澳洲來源購自於上述展覽（1960年8月15日）附原始購買收據的複印件後家族傳承澳洲私人收藏

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Peach and Birdinscribed Wenxi finger painting live drawing in Chinese and stamped with two seals upper left; stamped with additional seal lower rightink and colour on paper, mounted, hanging scroll109 x 33.5 cm S$ 30,000 - 40,000US$ 22,230 - 29,630ExhibitedArts Council of Malaya, Picture Exhibition, May 1955A Chinese Art Exhibition by Mr. Chen Wen Hsi, Victorian Artist Society Galleries, Melbourne, 15-28th August 1960

ProvenancePurchased from the above exhibition, 15th August 1960, and thence by descent to the present ownerPrivate collection, AustraliaA copy of the original purchase receipt accompanies this lot

陳文希桃與鳥園水墨紙本立軸款識：文希指頭生活（左上）

附加兩個鈐印（左上）鈐印（右下）

展出1955年5月「馬來亞藝術理事會繪書展」1960年8月15日－28日「陳文希先生中國畫展」維多利亞藝術家學會會所墨爾本澳洲來源購自於上述展覽（1960年8月15日）附原始購買收據的複印件後家族傳承澳洲私人收藏

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28FAN SHAO HUA (Singaporean, b.1963)

Red Flower Blowing In The Windsigned, titled in Chinese and stamped with one seal of the artist upper rightink and colour on paper69 x 69 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

范少華红僥迎風彩墨紙本款識：紅沋迎風（左上）鈐印：范（左上）

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29TAN CHOH TEE (Singaporean, b.1942)

Hawker in Phuketsigned, and dated 99 lower right; signed, titled in Chinese and dated 99 versooil on canvas53 x 65 cm S$ 14,000 - 20,000US$ 10,380 - 14,820

陳楚智普吉島小食攤油彩畫布1999年作款識： Choh Tee 99（右下）；普吉島小

食攤 Choh Tee（畫背）

Singaporean Art 35

30NG ENG TENG (Singaporean, 1934-2001)

Portrait of Lady in Blue Dresssigned and dated 5-60 lower rightoil on canvas65 x 53 cm S$ 20,000 - 26,000US$ 14,820 - 19,260

Widely recognised as the Grandfather of Singapore Sculpture, Ng Eng Teng (1934 – 2001) was a prolific sculptor who had trained under first generation masters such as Georgette Chen, Liu Kang, Cheong Soo Pieng and Chen Wen Hsi at Nanyang Academy of Fine Arts (NAFA). In his artistic career, Ng had created more than 300 sculptures over a span of 40 years, many of which can be found in public locations around Singapore. These public sculptures include Mother and Child, displayed as a cultural marker in Orchard Road, Contentment and Wealth, companion pieces located at University Cultural Centre at the National University of Singapore. Throughout his works, Ng’s main theme was focussed on the human body, particularly the female figure and its form.For his outstanding contributions to the Singapore art scene, he was awarded the Cultural Medallion in visual arts in 1981.

Known primarily as a sculptor, Ng brings the same sense of powerful interpretation to a medium that he rarely works with, but is equally proficient at – oil on canvas. This unique choice of medium in this painting proves that Ng is truly a master and allowshis renowned painting techniques to shine through. While his innate talent for painting was quickly recognised by Georgette Chen, he was influenced by Chen to focus on sculpture, as there was a big lack of sculptors in Singapore. One of the rarer oil pieces by Ng, this painting would be a good addition for art lovers and collectors who wish to expand beyond collecting Ng’s sculptures.

In this painting, Ng presents a woman with a direct gaze into the viewer, with an almost indifferent yet slightly sorrowful air to her presence. With defined brushstrokes and a calming colour palette, the woman’s sitting posture is also given equal amounts of languidness and relaxation. In contrast, the strong and intense hues in the background add richness and luminosity to the scene, perhaps lending a view into the woman’s inner thoughts and emotional landscape. With this painting, Ng is extending an invitation to solitary contemplation and inner reflection.

黃榮庭先生(1934 – 2001) 是舉世公認的新加坡雕塑祖父，黃是一位思想豐富的雕塑家，曾在南洋藝術學院（NAFA）被多位第一代新加坡藝術大師張荔英，劉抗，鐘泗濱和陳文希指導培訓。在他的藝術生涯中，黃已經在40年的時間裡創造超過了300多個雕塑作品，其中許多作品可以在新加坡周圍的公共場所發現。這些公共雕塑包括母親和孩子，位於烏節路展示出了一個文化標誌，知足與財富，位於新加坡國立大學的大學文化中心。在他的作品中，黃的主題主要是集中在人體，尤其是女性形象和它的形式。黃對新加坡藝術界做出了傑出貢獻，於1981年被授予文化視覺藝術獎。

先從雕塑家的角色了解，黃把同樣強而有力的詮釋方式帶到一個他少用但一樣精通的物料-布面油畫。這副作品選擇材料的獨特方式證明了黃是一位名副其實的藝術大師，他的繪畫技法聞名天下。黃與生俱來的繪畫天賦很快就被張荔英認可，之後黃受到了張的影響從此把精力放在雕塑上，因為當時新加坡非常缺乏具有才能的雕塑家。這件作品很罕見，此幅畫對藝術愛好者和黃榮庭的資深收藏家將是對一個很好的延伸收藏。

在這幅作品呈現了一個女人與觀眾直接注視的畫面，她似乎存在於冷漠又略有悲傷的空氣中。隨著明確的筆觸和平靜的調色板，展現出女人懶散和倦怠的坐姿。相反，畫面的背景展現出強大和強烈的色調並增添了豐富性和光度感，似乎探測著女人內心深處的想法和情感世界的風景。這幅畫，黃正在試圖擴大呈現人類孤獨的沉思和內心世界的反映。

黃榮庭藍衣女人像油彩畫布1960年作款識： Eng Teng 5-60（右下）

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31THOMAS YEO (Singaporean, b.1936)

Overlooking The Hill Tree Tribesigned in English lower rightmixed media on paper laid on board56.5 x 87 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

姚兆宏俯瞻山村部落綜合媒材紙本裱於木板款識： tyEo（右下）

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32THOMAS YEO (Singaporean, b.1936)

Evening Shadowsigned in English lower leftmixed media on paper laid on board97 x 72.5 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

姚兆宏日影綜合媒材紙本裱於木板款識： tyEo（左下）

Singaporean Art 39

33CHOO KENG KWANG (Singaporean, b.1931)

Dovessigned in English lower rightoil on board90 x 120 cm S$ 15,000 - 20,000US$ 11,120 - 14,820

朱慶光鴿子油彩纖維板款識： Keng Kwang（右下）

Choo Keng Kwang was born in 1931 in Singapore. He studied concurrently at Catholic High School and the Nanyang Academy of Fine Arts (NAFA), graduating in 1953 from both. Although Choo is now primarily known as an artist, he spent more than thirty years of his life in public education service. In 1984, Choo was appointed as senior lecturer to NAFA before becoming Head of the Education Department. As an artist, Choo is recognized as one of Singapore’s first-generation artists alongside contemporaries like Georgette Chen and Liu Kang. Oil painting is his medium of choice, and Choo’s favoured subjects include landscape, nature and animals.

There almost seems to be an observable poeticism to Choo’s work as seen in the current lot. The warm brown that comprise majority of the background in the painting are immediately aesthetically pleasing in contrast to the whites of the doves, evoking the haziness of the dawn in that simple color combination. Choo also chooses unusually to paint the doves with ruffled feathers and wings half-raised, as if they were seconds away from taking off. This further heightens the realism of that early morning scene, almost as if the doves were caught unaware by the painter, in between sleep and wakefulness in the hours of that new day.

朱慶光生於1931年，1953年從天主教高中和南洋藝術學院畢業。通過嚴謹的中西繪畫訓練加上恩師李曼峰的提點，他擅於將南洋風情融入寫實主義裏，鍾情大自然風景、日常生活所見之生靈。寫實技法高超，取材詩情畫意使他的作品在當時的畫壇鋒芒畢露，藝術造詣極高很快便躍身為本地數一數二的南洋寫實風格畫家，一時無兩。除此之外，育才心切的他也致力教育推廣，1984年被委任南洋藝術學院高級導師，而後再被提升成為該院教育部門主管。

此作以暖褐色作為背景基調，朱慶光使用不同階度的色調與之相融，巧妙地在二維畫面上製造出山巒重重的遠景。此畫構圖嚴謹毫無鬆散之感，樹枝的生長方向與白鴿頭部互相附和着，使畫面焦點集中在中央站立的白鴿身上，道出此畫的賓主關係，給人安逸寧靜之感。朱慶光使用色塊明確的繪畫技巧來呈現畫中主體因為受光所產生的明暗變化，白鴿表現得極其傳神。把象徵和平的白鴿襯托得毫無違和之感，表現了畫家詮釋黎明破曉之際薄霧氤氳、生氣勃勃的入微觀察。白鴿抖落晨露即將迎來朝陽展翅高飛，頗有一日之計在於晨的吉祥寓意。

朱慶光的繪畫人文精神超然脫俗，近幾年來備受藏家偏愛追捧，熱烈的拍賣競標更反映了他的繪畫俱有保值、收藏及傳世的價值。

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34TOYA LIM KHOON HOCK (Malaysian, b.1943)

Padi Field In Javasigned in English lower rightchemical dye applied with wax resist technique on cotton laid down on board68 x 86 cm S$ 26,000 - 30,000US$ 19,260 - 22,230LiteratureIdyllic Canting: Toya's Batik Art, Nanyang Academy of Fine Arts, Singapore, 2006, p. 20

ExhibitedSingapore, Nanyang Academy of Fine Arts, Gallery 3, Idyllic Canting: Toya's Batik Art, 30 May - 9 June 2006

Toya Lim grew up surrounded by dense wilderness and rubber plantations, which fueled his love for depicting rural landscapes with his unique choice of medium – batik painting on cloth. Toya understudied major batik practitioners such as Chua Thean Teng and even acquired a batik factory. His innovative practice with batik painting led to minimal outlines and ‘crackle’, areas that have resisted the dye. Influenced by Claude Monet and Georges Seurat, Toya infuses his paintings with soft blended light and pastoral elements, underscoring the labour-intensive techniques used for hispaintings.

With “Padi field in Java”, Toya has put forward a vision of an idyllic scene set in the natural beauty of the padi fields. Wielding the strengths of batik painting, Toya has created subtle colour gradations, differentiating the mountains and the fields and granting them nuanced textures. With Toya’s village background, the rural farming motif is strong with the tireless farmer toiling at his padi field, with his wooden hutas a symbol of home.The soothing earthy hues, which Toya tends to favour, bring about a sense of nostalgia for the simpler farming life, far from the worries of a modernized world.

林坤福在茂密的荒野和橡膠種植園的環境下長大，他用獨特的材料去描繪對農村大自然風景的熱愛-蠟染畫布。他研究了多數蠟染從業者，如蔡天定，隨後他甚至收購了一家蠟染廠。林坤福不斷的創新實踐蠟染畫並創造了最小的輪廓“裂紋”，有些面積可以抵抗染色。林坤福受到莫奈和喬治·修拉的影響，他的畫用柔和的光線混合和加入了田園的元素，強調了他使用勞動密集型的技術繪畫。

稻田這幅作品，林坤福描繪了稻田上鳥語花香的自然之美，揮舞著蠟染畫的優勢創造了微妙的色彩層次，區分了山區和各個領域，並給予他們細緻入微的紋理。在他畫的村莊背景下，農民們帶著強壯的意念辛勤的勞作在農場，木屋作為一個家的象徵。他傾向於呈運用舒緩的泥土色調，帶來懷舊感和簡單的農耕生活，遠離現代化世界的後顧之憂。

林坤福稻田化學染色劑蠟染工藝棉布木板款識： Toya（右下）出版2006年《田園詩：杜亞的蠟染藝術》南洋藝術學院出版第39頁展覽2006年5月30日－6月9日「田園詩：杜亞的蠟染藝術」南洋藝術學院第三展覽廳新加坡

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35CHEONG SOO PIENG (Singaporean, 1917-1983)

Compositionsigned and dated 1972 versomixed media on board76 x 62 cm S$ 120,000 - 180,000US$ 88,890 - 133,340

鍾泗濱構圖綜合媒材木板1972年作款識： Soo Pieng 1972（畫背）

Cheong Soo Pieng was a highly revered and influential Nanyang artist, widely admired for his talent in weaving Asian and Western art techniques in his art works. His versatility and enthusiasm in moving between different styles and mediums helped to progress his artistic career by leaps and bounds. Through his travels in Europe during the 1960s, Soo Pieng explored his art with Fauvism and Cubism and boldly experimented with found objects and mixed media installations.

Produced mostly in the 1970s, Soo Pieng’s mixed media works represented forms as creative agents and provided a dialogue on the relationships between these forms. He also took care to create an aesthetic sentiment that is both refreshing and familiar at the same time, making the strange appear delightful. While time consuming and physically laborious to complete these mixed media pieces, Soo Pieng persisted in order to expand and challenge his scope of visual composition.

Taking a cue from his abstract work, Soo Pieng has incorporated a circular motif into “Composition”, which can be interpreted as either the sun or the moon. The abstract metal relief enables him to speak the language of his raw materials through their textures, burnished light and even the various shadows cast under illumination. Simply by assembling these scrap metal pieces, Soo Pieng makes us question the pictorial elements and their purpose: is it an abstract landscape featuring the sun and the horizon? Or isit a fantasy dreamscape with black holes and an adventurous explorer? Coupled with the overall rich tactile quality and glowing green luminosity, this piece will intrigue and fascinate the viewer endlessly.

鐘泗濱是一位高度備受尊敬和具有影響力的南洋藝術家，人們欽佩他融合東方和西方藝術繪畫技巧的才華。鐘泗濱很擅長運用不同的繪畫風格和材料，他的多才多藝和熱情幫助了他實現藝術生涯中跨越式的進步。上世紀60年代他在歐洲旅行時，鐘泗濱探索了野獸派和立體派藝術，大膽的運用事物和嘗試使用混合材料的試驗。

鐘泗濱的多數作品創作於上世紀70年代，他的綜合材料繪畫作品展示了獨特的創意並展示了這些形式之間的關係和進行對話。同時，他創建了一個獨特的審美情操，既令人耳目一新也感到一絲熟悉，創造了驚喜和愉快感。雖然這幅綜合材料作品需要消耗很多時間和體力來完成，但他任试着延伸創作和挑戰他的視覺構圖範圍。

我們從這幅抽象的作品《構圖》得到暗示鐘泗濱運用了一個圓形的圖案，可以解釋為太陽或月亮。抽象的金屬浮雕通過它們的紋理說出自己原材料的語言，即使在光照投射的各種陰影下任然有著錚亮的光線。通過組裝這些金屬廢品，鐘泗濱讓我們質疑繪畫元素和它的目的：這是一個抽象的大自然景觀，像太陽和地平線？或者它是一個幻想的夢境與黑洞和一個冒險的探險家? 再加上豐富的整體視覺質感和泛著綠色的亮度，這件作品會使觀眾著迷和帶來無窮的好奇感。

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36CHEN CHENG MEI (Singaporean, b.1929)

Chinatown, Singaporesigned and dated 84 in Chinese lower rightoil on canvas80 x 61 cm S$ 10,000 - 15,000US$ 7,410 - 11,120LiteratureOdyssey, Oil work Chen Cheng Mei,Landmark Books, Singapore, 2008, p. 89

Joie de Vivre: Chen Cheng Mei, Nanyang Academy of Fine Arts, Singapore, 2014, p. 39

ExhibitedSingapore, Nanyang Academy of Fine Arts, Lim Hak Tai Gallery, Joie de Vivre: Chen Cheng Mei, 20 February - 23 March 2014

陳城梅牛車水油彩畫布1984年作款識：藝術家簽名，八四（右下）出版2008年《漫遊：陳城梅油畫》Landmark Books 出版新加坡第89頁2014年《生活情趣：陳城梅》南洋藝術學院出版第39頁展覽2014年2月20日－3月23日「生活情趣：陳城梅」南洋藝術學院林學大展覽廳新加坡

A second-generation Singaporean artist, Chen Cheng Mei was born in 1927 and trained in Western painting at the Nanyang Academy of Fine Arts (NAFA) between 1949 and 1954. She studied under iconic painters such as Cheong Soo Pieng, Lim Hak Tai and Lim Tze Peng, and counts Choo Keng Kwang and Lai Foong Moi as her artist peers. In the 1960s, she travelled with fellow painters, led by Yeh Chi Wei, and their documented travels formed the basis for the famous ‘Ten Man Art Group’. This lot brings two paintings with Chen’s distinctive style of broad, simple strokes combined with an abundant colour palette. In “Chinatown”, it shows a typical street scene in the 1980s that you would be hard pressed to find nowadays. Applying only simplistic lines and the dominating pink blushes, the woman with her baskets, along with architectural walls of the buildings, are given another dimensional life, impressing on us the industrial spirit of that time period. Tints of blue and green provide layered textures to the skies in the background as well. In Chen’s second piece, “Harmony”, Chen observes a brood of chickens as part of a daily farming life, with the blue and red hues of their feathers taking on a rather fantastical spotlight. Critics may point to her oeuvre as being ‘na?ve’, but this only adds on to the child-like peacefulness emanating from this piece.

陳誠梅是新加坡第二代藝術家,出生於1927年,1949年至1954年之間在南洋美術學院(NAFA)學習西方美術。她師從鐘泗濱,林學大,林子平,並與朱慶光和賴鳳美同行學習研究藝術。 20世紀60年代,在葉之威的帶領下與畫家同伴們出行寫生,有記載的旅行形成了著名的“十人藝術團”的基礎。陳的作品已在新加坡,馬來西亞,日本,蒙地卡羅,墨西哥和美利堅合眾國國際上展出。

這兩件陳的作品顯示了陳的獨特的木板繪畫風格，簡單的筆劃與豐富的調色板相結合。《新加坡牛車水》示了20世紀80年代典型的街景，現在你將很難找到它。適用簡單的線條和佔主導地位的粉紅暈色，該女子與她的籃子，建築物與建築牆壁結合一起，被賦予另一個維度的生活，給我們留下了工業化時期深刻的印象和精神。藍色和綠色的天空背景色調提供分層的紋理，在陳誠梅的第二件作品《和諧》中，她曾觀察雞的育雛過程作為日常生活的一部分，在一個相當美妙的聚光燈之下它們的羽毛呈現藍色和紅色。評論者可能議論她的作品是“天真”，實際上這副作品只是想單純的呈現和散發孩子般的安寧。

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37CHEN CHENG MEI (Singaporean, b.1929)

Harmonysigned and dated 20-9-2012 lower leftmixed media on canvas42 x 53.5 cm S$ 6,000 - 8,000US$ 4,450 - 5,930

陳城梅和諧綜合媒材畫布2012年作款識： Chen Cheng Mei 20-9-2012（左下）

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38GOH BENG KWAN (Singaporean, b.1937)

Bouquet of Flowerssigned Chinese lower leftmixed media on canvas laid on board42 x 52 cm S$ 4,000 - 8,000US$ 2,970 - 5,930

吳珉權一束花綜合媒材畫布木板款識：吳珉權（左下）

Goh Beng Kwan is a Singapore modern artist who constantly pushes the boundaries of abstract art with his daring materials and innovative methods. He studied at the Art Students League in New York under abstract painter Sydney Gross. Among Goh’s numerous awards, they include the first prize in the inaugural UOB Painting of the Year Competition in 1982 and the silver medal in the Salon des Artists Francais in 1985. For his significant contribution to the local arts, Goh also received the Cultural Medallion for Visual Arts in 1989.

In this lot, Goh’s clever use of mixed media on canvas evokes a sense of rich greenery and blooming flowers. He also applies different subtle forms and textures to generate impressions of a verdant environment. It suggests a joyous mood of being in the natural world and reinforces the love for Mother Earth. 吳珉權是一位新加坡當代藝術家，他大膽的嘗試使用材料和創新的方法不斷推動延伸抽象藝術的界限。他曾在紐約藝術學生聯盟學習，師承抽象畫家Sydney Gross。珉權獲得了無數獎項，其中包括1982年度大華銀行繪畫大賽一等獎和1985年銀牌沙龍法蘭西藝術獎。吳珉權對當地的藝術有著顯著的貢獻，他還獲得了視覺藝術文化獎於1989年。

這件作品，珉權巧妙地運用了綜合材料混合在畫布上，喚起了綠樹和鮮花豐富盛開的感覺。他還使用了不同的微妙形式和紋理生成了大自然的青翠印象。這體現了身處於自然界是一個多麼愉快的心情和加強對地球母親的愛。

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39MOHAMMAD DIN MOHAMMAD (Singaporean, b.1955)

Firefly (Kunang-kunang)signed and dated 95 lower left; inscribed with title, medium and dated 1995 versoacrylic on canvas130 x 83 cm S$ 7,000 - 10,000US$ 5,190 - 7,410

穆罕默德丁螢火蟲壓克力畫布1995年作款識： Mohammad Din Mohammad 1995（左下）Title：Firefly

（Kunang－Kunang）Medium: Acrylic；Year：1995（畫背）

As a young boy of two years, Mohammad Din Mohammad migrated to Singapore and studied the traditional forms of Malay art, such as traditional Malay massage and silat. He majored in Western painting at the Nanyang Academy of Fine Arts (NAFA) and his iconic paintings emphasised the blending of Western ideologyand his traditional cultural background. A devout believer in Sufi mysticism, Mohammad was inspired to explore his thoughts and insights about the meaning of life through his evocative artworks, which have the characteristic of spiritual energy being imbued and indirectly transmitted to the viewer.

As is typical of his expressive style, this acrylic piece, “Fire Fly (KunangKunang)”,demonstratesthe strength of Mohammad’s powerful brushstrokes, giving life and vitality in the loops of colours. The bold chromaticity and the whirlwind effect of the loops in the fireflies’ flight only serve to emphasise Mohammad’s perspective of the never-ending and ever-changing nature of life and mankind.Staying true to his influences from Sufi mysticism and the traditional sport of silat, there is an almost talismanic quality to this painting, mesmerising the viewer on their journey of art appreciation and mediation on man’s essence.

當穆罕默德·丁·穆罕默德還是兩歲小男孩的時候，他移民到了新加坡學習傳統形式的馬來藝術。他在南陽美術學院（NAFA）主修西洋繪畫和他的標誌性繪畫強調西方意識形態的融合和他的傳統文化背景，如馬來傳統按摩和席拉。一個虔誠的蘇菲神秘主義信徒，穆罕默德通過他的作品被激發靈感去探索和思考對生命的意義和見解，其中有被充滿靈性能量的特點，間接地傳遞給觀眾。

這幅亞克力作品是他典型的表現風格，《螢火蟲》證明穆罕默德強大的筆觸實力，賦予生命和活力的顏色圈。大膽的色度和螢火蟲“飛行循環的旋風效應只會強調生命和人類的無休止的和不斷變化的性質。”穆罕默德的觀點。從蘇菲神秘主義和席拉的傳統體育堅守他的影響，這幅畫中似乎有著護身符的守護，迷住觀眾們走上一趟對人的本質和藝術欣賞和調解的旅程。

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Koisigned and dated 2005 lower rightoil on canvas150 x 100 cmS$ 45,000 - 65,000 US$ 33,340 - 48,150

A realist painter who trained under NAFA director Lim Hak Tai and Cheong Soo Pieng, Chua Mia Tee is best known for his portrait of Singapore's first President Yusof Ishak, which can be found on the country's currency notes. Chua also drew the iconic image of the late Mr Lee Kuan Yew on the SG50 commemorative note. He is a very versatile artist who has worked with oil, acrylic, mixed media, watercolour, bronze and relief. Chua had previously sculpted a portrait bust of Zubir Said, the composer of Singapore’s national anthem.

This is an extremely rare portrait art work from Chua, as he usually paints in landscape format. Chua has achieved a perfectly balanced composition among the koi, waterfalls and lotus flowers, gently leading the eye to each pictorial element. The rich colour and sleekness of the koi’s scales and the way they slightly peek through the water surface only adds to the realism of the painting. With the waterfalls, Chua has provided a depth of field that makes this painting even more inviting. The pop of colour from the lotus flowers will also be visually pleasing to the eye. This art work proves that Chua’s prowess in distilling beauty from this scene of flora and fauna is beyond compare.

一位現實主義畫家蔡名智曾經在南洋藝術學院的兩位主任林學大和鍾泗濱旗下學習。蔡名智最為著名的是曾為新加坡第一任總統尤索夫·伊薩繪畫肖像，可以在國家的紙幣上找到。蔡隨後還為SG50紀念幣繪製了李光耀先生的標誌性形象。他是一個非常多才多藝的藝術家，創作油畫，丙烯，混合媒介，水彩，青銅和浮雕作品。蔡名智曾為新加坡國歌的作曲者Zubir Said創作了一個半身肖像。

這是蔡名智的一件極為罕見的錦鯉直立油畫。蔡名智描繪的錦鯉前後關係分明完美平衡地組合了瀑布與荷花塘的美景，生動的氛圍讓著觀者不禁駐足於畫前細細欣賞。此畫基調豐富波光粼粼，透過水面微微的波動，隨著瀑布直下的畫面，善於細膩觀察的蔡名智將此景呈現於畫布上使得這幅畫作更為撼動人心。

蔡名智錦鯉魚油彩畫布2005年作款識：M.T.CHUA 2005（右下）

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41LEE BOON NGAN (Singaporean, b.1939)

Cattleyasigned and dated 92 lower left; inscribed with title, measurement and name in Chinese and English versooil on canvas43 x 58.5 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

李文孝胡姬油彩畫布1992年作款識： B.N.LEE.92.（左下）胡姬 cattleya 43 x 58 cm

MDM LEE BOON NGAN 李文孝作（畫背）

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42LEE BOON NGAN (Singaporean, b.1939)

White Orchidssigned and dated 1998 lower rightoil on canvas46 x 58.5 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

李文孝白蘭花油彩畫布1998年作款識： B.N.LEE.1998.（右下）

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43CHEN CHU DIAN (Singaporean, b.1944)

Singapore Riversigned in Chinese lower rightmixed media on canvas45 x 60 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

陳初電新加坡河綜合媒材畫布款識：初電（右下)

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44CHAN CHANG HOW (Singaporean, b.1943)

Tanjong Pagar Railway Stationsigned, dated 2011, titled in English and stamped with one seal of the artist lower rightwatercolour on paper76 x 56 cm S$ 3,000 - 5,000US$ 2,230 - 3,710

陳長豪丹戎巴葛火車站水彩紙本2011年作款識： CHAN CHANG HOW 2011 TANJONG

PAGAR RAILWAY STATION（右下）鈐印：豪（右下）

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45MILENKO PRVACKI (Yugolslavian, b.1951)

The Ultimate Visual Dictonarysigned and dated 98 lower rightoil on canvas66 x 127 cm S$ 5,000 - 7,000US$ 3,710 - 5,190

米連柯·普爾瓦奇基極致視覺油彩畫布1998年作款識： M.Prvacki98（右下）

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46RUBEN PANG (Singaporean, b.1990)

Abstractsigned and dated 09 lower leftoil on board42 x 140 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

彭靖能抽象油彩木板2009年作款識： Ruben Pang 09（左下）

Ruben Pang is a recent Fine Art graduate from the LASALLE college of the Arts. He has participated in numerous art exhibitions. His recent international shows include a solo exhibition, “Aetheric Portraiture” with Primae Noctis Art Gallery in Lugano, Switzerland and a group exhibition “Deep SEA” with Primo Marella Gallery in Milan, Italy. Locally, he has exhibited and performed in the Singapore Art Museum, Lasalle College of the Art's Praxis and Project Space. Amongst his awards, Pang was most prominently awarded the Georgette Chen Arts Scholarship. This featured artwork is one of Pang’s earliest known series – the Triad Series. It became an important inspiration for Pang to create the Aluminium Series for his first solo exhibition later in February 2011

彭靖能是一位近幾年從拉薩爾藝術學院畢業的研究生。他參加了眾多的藝術展覽和活動。他最近的國際個人展覽包括，Aetheric肖像，盧加諾PrimaeNoctis美術館，瑞士的群展，意大利米蘭Primo Marella畫廊的深海系列展覽，在當地，他的多件作品在新加坡美術館展出，還有拉薩爾藝術學院的藝術實踐和項目空間。他的眾多獎項當中，最為突出和顯著的獎項是授予張荔英藝術獎學金。

此副作品是彭最早的系列之一 - 三合會系列。隨後此系列作品成為2011年2月彭的首次個展- 鋁系列的一個重要啟示。

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47BUDI UBRUX (Indonesian, b.1968)

Free To Dances 2signed and dated 2015 lower rightacrylic on canvas95 x 110 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

布狄·烏魯佈斯自由舞蹈壓克力畫布2015年作款識：Budi Ubrux 2015（右下）

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48DIYANO PURWADI (Indonesian, b.1971)

Fly My Birdsigned, dated upper right 2012, signed dated and inscribed with title versoacrylic, pencil and charcoal on canvas145 x 200 cm S$ 4,500 - 6,000US$ 3,340 - 4,450

迪亞諾·普瓦第小鳥飛壓克力鉛筆木炭畫布2012年作鈐印：diyano 2012（右上）, Fly My Bird

200 x 145 cm 2012 acrylic, pencil and charcoal on canvas diyano purwadi

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49KRIJONO (Indonesian, 1951-2011)

Me and My Son (Aku dan Anakku)signed, titled and dated JKT 1998 lower leftacrylic on canvas140 x 140 cm S$ 3,600 - 5,000US$ 2,670 - 3,710

克利約諾我與我兒子壓克力畫布1998年作款識：Krijono“Aku dan Anakku”Jakarta

JKT 1998（左下）

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50KRIJONO (Indonesian, 1951-2011)

Ayu, The Balinese Dancer (Ayu Penari Bali)signed, titled and dated 1998 lower rightacrylic on canvas120 x 100 cm S$ 2,600 - 3,600US$ 1,930 - 2,670

克利約諾阿玉，峇里舞者壓克力畫布1998年作款識：1998 Krijono Ayu Penari Bali（右下）

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51UGO UNTORO (Indonesian, b.1970)

Stone Marionettes Festivalsigned, titled and dated 08 lower leftmixed media on canvas100 x 120 cm S$ 3,000 - 5,000US$ 2,230 - 3,710

烏戈·烏托羅石木偶節綜合媒材畫布2008年作款識： Ugo Untoro Stone Marionettes

Festival 2008（左下）

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52ERICA HESTU WAHYUNI (Indonesian, b.1971)

The Champion Roostersigned and dated 2013 lower right / signed and dated 2013 left side of sculptureacrylic on canvas / acrylic on ceramic80 x 110 cm / 75 x 45 x 23 cmS$ 2,800 - 4,000US$ 2,080 - 2,970

艾麗嘉冠軍公雞壓克力畫布 / 壓克力陶瓷2013年作 / 2013 年作款識：ERICA 2013（右下）/ ERICA 2013（雕塑左面）

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another view 另一個角度


53S.P. HIDAYAT (Indonesian, b.1969)

Tiga Sahabatsigned and dated ’04 lower right; signed, inscribed with title, size, medium and dated 04 versooil on canvas140 x 90 cm S$ 6,000 - 8,000US$ 4,500 - 5,900LiteratureThe Best Collections of SP. Hidayat, Linda Gallery, Singapore, 2005, page 210

喜大業三友油彩畫布2004年作款識：Hidayat '04（右下）

Tiga Sahabat 90 x 140 cm cat minyak 04（畫背）

出版2005年《喜大業作品集》林大畫廊新加坡第210頁

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54S.P. HIDAYAT (Indonesian, b.1969)

Women at a Great Harvest (Perempuan-Perempuan di Panen Raya)signed and dated ’10 lower right; signed, inscribed with title, size, medium and dated 2010 versooil on canvas200 x 120 cm S$ 9,000 - 12,000US$ 6,600 - 8,800

喜大業大豐收中的婦女油彩畫布2010年作款識：Hidayat '10（右下）SP Hidayat

Perempuan-Perempuan di Panen Raya 120 x 200 cm cat minyak '10（畫背）

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55AFFANDI (Indonesian, 1907-1990)

Snow Landscape in Italysigned and dated 1972 lower leftoil on canvas110 x 130 cm S$ 90,000 - 120,000US$ 66,670 - 88,890Literature:Bob Urbain Dirix, Affandi, Prix International Dag Hammarskjoeld, Brussels, Belgium, 1976, plate 82, monochrome

Provenance:Previously in the collection of Raka Sumichan

阿凡迪意大利雪景油彩畫布1972年作款識：A 1972（左下）出版1976年《阿凡迪》 Pr ix Internat ional Dag Hammarskjoeld 布魯塞爾比利時第82插圖黑白出處拉卡·蘇彌禪舊藏

Considered the founding father of modern Indonesia art, Affandi was a self-taught artist who emerged with his remarkable style of expressionist painting in the 1950s. His technique of “squeezing the tube” made his paintings appear more alive and this impasto layering defined most of his works. Affandi was also fond of using the sun as a motif in his paintings, as he believed it was the source of all life and energy.

Paying homage to the snowy landscapes in Italy, Affandi has executed this painting with a good balance of colours, textures and curves. With the powder white of the snow and the blue swirl of clouds, Affandi has captured the essence of this snowscape perfectly.The imagery of the sun also grabs the audience’s attention, as if it were giving precious life to the snowy mountains.Affandi may not have been good with words but this painting has eloquently conveyed his admiration and deep feelings of respect for natural landscapes.

阿凡迪被認為是印尼現代藝術的建國之父，是一位自學成才的藝術家，他非凡的50年代印象派的繪畫風格出現於20世紀。阿凡迪自創的“擠壓管”的繪畫技術顯得他的繪畫作品更有活力，他的大部分作品是以這種塗厚顏料分層定義。阿凡迪也喜歡運用太陽作為他的一個繪畫主題，因為他相信這是所有生命和能量的來源。

參拜意大利雪景,阿凡迪很好的掌握平衡本畫的顏色,紋理和曲線。似白色粉末的雪和藍色雲朵的漩渦，阿凡迪完美地捕捉到這一場雪景的精髓。太陽的影像也抓住了觀眾的注意力，就好像它給予了雪山寶貴的生命。阿凡迪不太善於言談，此畫深刻地表達了他的對大自然的欽佩之情和對自然景觀的深厚尊重。

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56POPO ISKANDAR (Indonesian, 1927-2000)

Black Catsigned and dated '88 lower rightoil on canvas40 x 49 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

波波·依斯甘達黑貓油彩畫布1988年作款識：popo '88（右下）


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57POPO ISKANDAR (Indonesian, 1927-2000)

Boat (Perahu)signed and dated '75 lower leftoil on canvas90 x 80 cm S$ 5,000 - 7,000US$ 3,710 - 5,190

波波·依斯甘達船油彩畫布1975年作款識：popo '75（左下）

58HENDRA GUNAWAN (Indonesian, 1918-1983)

Guerrilla Hero (Pahlawan Gerilja)signed, titled and dated Jogja '49 lower rightoil on canvas84 x 165 cm S$ 40,000 - 60,000US$ 29,630 - 44,450

亨德拉·古那彎游擊英雄油彩畫布1949年作款識：Pahlawan Gerilja Hendra G Jogja '49（右下）

Hendra Gunawan firmly believed in the political revolution in Indonesia and joined in the political fight with his painting talents. He founded the ‘Pelukis Front’ (Frontline Painters) in 1945 and actively painted on the frontlines of battles. In 1946, Gunawan held his first solo exhibition featuring paintings of the revolution in the Central Indonesian National Committee Building (KNIP), Yogyakarta. It was the first painting exhibition to be sponsored and opened by President Sukarno since the establishment of the government of the Republic of Indonesia.

“Guerrilla Hero” was created in the same era of the YogyakartaBattle, an important milestone in Indonesia’s history. By defeating the Dutch in this battle, the Indonesian troops had gained control over Yogyakarta and proved they were a capable army force, even if it was for a few hours. The victory also boosted the morale of troops all over Indonesia to continue the fight against the Dutch.

This painting reflects a tense battle scene with a guerrilla fighter holding a grenade, waiting for the right moment to make his move. With almost electric colours and the chaotic battlefield as the background, it evokes the nationalist struggle of the Indonesian people. By framing closely on the guerrilla soldier’s pose and expression, Gunawan heightens the sense of drama for the viewer, keeping them in suspense over the fate of the soldier and the grenade.

亨德拉·古拿溫堅信在印尼的政治革命，並把政治鬥爭場景加入他的繪畫才能。他在1945 年創辦了“PelukisFront”（前線畫家），並積極的在戰鬥的第一線繪畫。 1946年，古拿溫在印尼中央全國委員會大樓（KNIP）日惹舉行了他的首次個人展覽，展出革命題材畫作。這是自印度尼西亞共和國成立以來第一次畫展進行贊助，由總統蘇加諾開幕。

“游擊英雄”是在日惹戰役同一時代創建，在印尼歷史上是一個重要的里程碑。這場戰鬥擊敗了荷蘭，當時的印尼軍隊控制了日惹和證明了他們是有實力的軍隊力量，即使消耗了幾個小時。這場戰陣的勝利提振了軍心和樹立了印尼軍隊將持續對抗荷蘭的決心。這幅畫反映了緊張的戰斗場景，一個游擊隊戰士拿著手榴彈，等待合適的時機隨時出動。似電動的色彩和混亂的戰場場面為背景，它喚起了印尼人民的民族鬥爭。通過對游擊隊戰士的姿勢和表情密切觀察取景，古拿溫為這幅作品增添了戲劇感，讓觀眾對士兵和手榴彈的命運保持著懸念。

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59AWIKI (Indonesian, b.1961)

Nudesigned with initial and dated 06 lower leftoil on canvas95 x 80 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

阿維基裸女油彩畫布2006年作款識：AW06（左下）

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60AWIKI (Indonesian, b.1961)

Rumah Sasaksigned with initial and dated 06 lower leftoil on canvas95 x 82 cm S$ 6,000 - 8,000US$ 4,500 - 5,900

阿維基草屋油彩畫布2006年作款識：AW06（左下）


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Adrianus Wilhelmus Smit also known as Arie Smit was born in Holland in1916. With a great talent and strong interest in arts, he enrolled in graphic design at the Academy of Arts, Rotterdam until he was sent to military service in 1938. In 1942, at the age of 26 years, Smit was transferred to the infantry in East Java, Indonesia, but was soon captured by the invading Japanese force. After spending three and half years in forced labor camps, Smit was released and returned to the new republic of Indonesia in 1945. Six years later, Smit officially became an Indonesian citizen where he dedicates the rest of life to art.Arie Smit once said in an interview with Amir Sidharta, “A painter’s style is the man himself. His handwriting, his view, his outlook, his thoughts and feeling, in short, his personality… Since abstract art has become increasingly important ‘how’ we paint, not so much of ‘what’ we paint. As always, the majority of contemporary painters keep to the middle road. ‘Variations on a theme’. Beloved to many music composers, painters and dancers. I arrange temple courts as one arranges flowers in a vase.”

As a creative individual, Smit’s works are heavily emphasized on Impressionistic painting style, he always displays fresh and breath-taking scenes that often gives his audience a feeling of relaxation. In his later works, elements in his paintings evolved into Fauvism where his works becomes more stylized and subject matters becomes more repetitive and simplified to their bare essence with colour and composition as the primary focus.In the presented lots, Smit was dealing with a heavy use of Fauvism and post-impressionistic painterly technique that focus on the beautiful landscape of Bali and the deep rhythms of life inhabitance. “Art is a kind of loving, a wish to communicate with the viewers”, as Smit has once said.

艾利·斯密特，1961年生於荷蘭。充滿對藝術的熱愛和極高的藝術天分，藝術家在鹿特丹學院學習平面設計，1938年開始服兵役。1942年，年僅26歲的斯密特被調到印尼，東爪哇的步兵部隊，不久後被日本侵略軍監禁。在日軍管轄的勞務所渡過三年後被釋放，於1945返回了印尼新共和國。六年後斯密特正式成為印尼公民，並於印尼開始他一生的藝術生涯。

艾利·斯密特在接受記者採訪時曾說過：“一個畫家的畫風就是他本身；是他的筆法，看法，展望，以及他的想法和感受，簡單來說，就是他的性格… 自從抽象藝術變得越來越注重‘如何’畫，而非主題。自始至終，大多數當代藝術家都保持中立，採取多元題材，因此我如同許多作曲家，畫家及舞蹈家。我排列廟宇仿如花女插花，以相同題材展現多元形式。”作為一位藝術家, 斯密特的作品中著重印象派的畫風，善於描繪美好，純樸卻又充滿生命力的景象。後期作品中，風格轉向野獸派，風格更加強烈大膽，構圖愈加生動，色彩艷麗，令人驚豔。

61ARIE SMIT (Indo-Dutch, 1916-2016)

Beach in Balisigned and dated 03 lower rightacrylic on canvas100 x 148 cmS$ 68,000 - 88,000US$ 49,900 - 64,700LiteraturePrivate Collection, Indonesia Anon. Sale; Christie's Hong Kong, 23 November 2014, Lot 316Acquired from the above sale by the present owner

艾利·斯密特巴釐島海灘壓克力畫布2003年作款識：Arie Smit Bali 03（右下）出處佳士得香港 2014年11月23日編號316.現任藏家購自於上述拍賣會私人收藏印度尼西亞


62SURAJI (Indonesian, b.1971)

Fighting Over Logs (Berebut Balok Kayu)signed and dated 2008 lower rightmixed media on canvas190 x 200 cmS$ 5,000 - 7,000US$ 3,710 - 5,190LiteratureThe Grass Looks Greener Where You Water It, Art Paris 2010, France, p.113, colour plate

ExhibitedArt Asia Miami, Us and Them: Recent Art From Indonesia, 4-7 December 2008

蘇拉吉爭奪木樑綜合媒材畫布2008 年作款識：Suraji 2008（右下）出版2010年《你在澆水的草哪裡看起來比較綠》藝術巴黎法國第113頁展覽2008年11月4日－7日「我們和他們：最近來自印尼的藝術」邁阿密亞洲藝術博覽會

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64ARIE SMIT (Indo-Dutch, b.1916)

In the Villagesigned and dated '98 lower leftacrylic on canvas28 x 33 cm S$ 4,000 - 5,000US$ 2,970 - 3,710

艾利·斯密特在邨裡壓克力畫布1998年作款識：arie smit '98（左下）

63I MADE DJIRNA (Indonesian, b.1957)

Demonstrations (Unjuk Rasa)signed and dated 98 lower right; signed, inscribed with title, size, anddated 1998 versomixed media on canvas130 x 140 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

伊·嗎德·繼而拿示威綜合媒材畫布1998 年作款識：Djirna 98（右下）I Made Djirna

“Unjuk Rasa”130 x 140 cm TH 1998（畫背）

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65ARIE SMIT (Indo-Dutch, 1916-2016)

Forest Landscapesigned and dated 70 lower leftoil on canvas81 x 180 cmS$ 80,000 - 120,000 US$ 59,260 - 88,890 The work is accompanied with a certificate of authenticity issued by Santi Gallery

艾利·斯密特森林景觀油彩畫布1970年作款識：Arie Smit Bali 70（左上）

作品附設SANTI畫廊所發之藝術品證書

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66ADRIEN JEAN LE MAYEUR DE MERPRES (Belgian, 1880-1958)

Ghats Of Benares, Indiasigned in English lower leftoil on board22 x 27 cm S$ 10,000 - 15,000US$ 7,410 - 11,120

勒邁耶高止山脈貝拿勒斯油彩纖維板款識：J.Le Mayeur（左下）

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67ADRIEN JEAN LE MAYEUR DE MERPRES (Belgian, 1880-1958)

Coin De Beguinage De Louvainsigned in English lower leftoil on board26.5 x 36 cm S$ 12,000 - 20,000US$ 8,890 - 14,820

勒邁耶Coin De Beguinage De Louvain油彩纖維板款識：J.Le Mayeur（左下）

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Affandi was a keen observer of the world around him and his perceptive views have been transformed by his expressive style into a visual language which art lovers continue to appreciate and learn from. He was deeply rooted to his traditional Indonesian culture and honored the everyday life of Indonesians with hisvivacious paintings.

Affandi’s homeland and its landscapes inspired him to no end and he would frequently revisit a group of subjects to hone his art in depicting them. From fishing boats to the life-giving sun, from village cockfights to poignant self-portraits, Affandi was determined to capture the quintessence of Indonesian life in his paintings.

In this featured artwork, Affandi has shown us his inner vision of the bliss of boating life and the simple joy of being out at the seaside. Visually stimulating the viewers with his sense of colours, bold lines and shapes, this painting effuses the joyous and uplifting mood Affandi would have experienced while creating this art piece.Through his masterful strokes and creative eye, Affandi has shown us the beauty and grace of the traditional symbols that are the boat and sun.

阿凡迪是一個善於觀察世界的人，他的敏銳感官已經轉變為他的繪畫表現風格並融入一種視覺語言，藝術愛好者可以從他創造的藝術作品當中欣賞領悟到。他深深的被傳統的印尼文化所影響和感到無比榮幸的與那些生動活潑的繪畫作品生活在一起。

阿凡迪被祖國和它宏偉的景觀不停的啟發著，他會經常反復重溫一組主題來磨練他的繪畫技巧。從漁船到賦予生命的太陽，從鄉村的鬥雞到淒美的自畫像，阿凡迪下定決心捕捉在印尼生活的精髓放入他的畫中。

這件特別的作品，阿凡迪向我們展示了內心世界的幸福和快樂，享受著簡單的出海划船生活。它的色彩在視覺上刺激和感染著觀眾，大膽的線條和形狀，這幅畫有著積極向上和愉悅的情感，可以體現出當時阿凡迪創作這幅作品時的心情。通過他的高超的筆觸和擁有著創造力的雙眼，阿凡迪告訴我們，漁船和太陽就是美麗和優雅的傳統符號。

68AFFANDI (Indonesian, 1907-1990)

Boats by the Seasidesigned with monogram and dated 1984 lower rightoil on canvas111 x 149 cm S$ 120,000 - 160,000US$ 88,890 - 118,520

阿凡迪海邊船隻油彩畫布1984年作款識：A 1984（右下）

Affandi, At the Beach, oil on canvas, sold for USD 361,200 (SGD 485,530), Christie’s Hong Kong, 30 May 2015, lot 4, pg. 15阿凡迪《在海邊》油彩畫布成交價美金 361,200（新元485,530）佳士得香港 2015年5月30日編號4 第十五頁

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69LEE MAN FONG (Indonesian, 1913-1988)

Balinese Lady Worshipinginscribed, dated 1977 in Chinese and stamped with two seals upper right and another seal lower leftink and colour on paper77 x 44 cm S$ 5,000 - 7,000US$ 3,710 - 5,190

李曼峰祭神祀水墨紙本1977年作款識：祭神祀一九七七年仲夏曼風寫（右上）鈐印：墨戲、曼風（右上）；另一方（左下）

70LEE MAN FONG (Indonesian, 1913-1988)

Lady Sitting Under the Sunsigned and dated 1955 lower rightpastel on paper50 x 33 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

李曼峰烈日下的女人肖像粉彩紙本1955年作款識：Manfong 1955 Djakarta（右下）

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71DJOKO PEKIK (Indonesian, b.1938)

Three Sisterssigned and dated 23 Okt 1997 lower rightoil on canvas66 x 75 cmS$ 5,000 - 7,000US$ 3,710 - 5,190

卓可·佩奇克三姐妹油彩畫布1997年作款識：Djokopekik 23 Okt 1997（右下）


72HENDRA GUNAWAN (Indonesian, 1918-1983)

A Beautiful Landscape (Pemandangan Indah)signed lower leftoil on canvas93 x 153.5 cm S$ 38,000 - 48,000US$ 28,150 - 35,560

亨德拉·古那彎一道亮麗的風景油彩畫布約1970年代作款識：Hendra（左下）

Gunawan’s paintings have etched many memorable scenes of the everyday life of Indonesia, for him, life begins with the importance of the existence in a community and explores into various relationship. Being a constant thinker for the society, his painting spoke about many social issues and celebrates upon the joy of daily activities, it is Gunawan’s utmost heartfelt expression, in hope to reach and educate his sincere vision with the world and encourage in aiding the fallen. “A Beautiful Landscape” is

one of Hendra’s earlier works where he was exploring into the relationship between men and environment. The vibrant and naturalistic landscape is so beautiful that is able to take any breath away. The landscape is composed in perfection of layering the structure of the mountain in the distance and the wilderness of trees that creates a harmonious relationship and expresses an idealised Indonesia from the eyes of Gunawan.

Hendra Gunawan, Landscape, 150 x 300 cm, oil on canvasSold for USD 970,080 (SGD 1,303,997) Sotheby’s, Hong Kong, 4 April 2016, lot 376, pg. 143

亨德拉·古那彎《風景》油彩畫布成交價美金970,080（新元1,303,997）香港蘇富比 2016年4月4日編號376 第143頁

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亨德拉的畫作多數描繪印度尼西亞人的日常生活中和当地迷人的大自然景色。對他來說，生命的重要性在於能夠以社區一分子的身份來貢獻給整個群體社會，以期能夠找到生命的的參與感與存在感。作為一個积极的社會思想家，他的作品陈述着許多社會議題。讓人猜測這些都是最貼近亨德拉心扉的想法。他的创作初衷可以被解釋

为：希望他自己創作出來的作品能夠將他最真誠的願景教授給這個社會以及走在社會邊緣的少數群體。《一道亮麗的風景》是一副亨德拉早期在觀察人與大自然環境之間的作品。生動的用色美化了畫家用肉眼所看見的風景，蜿蜒的山巒、搖曳的樹影美得似乎讓人窒息。


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73BASOEKI ABDULLAH (Indonesian, 1915-1993)

Zest For Life(Semangat Hidup)signed lower leftoil on canvas100 x 80 cmS$ 8,000 - 12,000US$ 5,900 - 8,900

巴蘇基·阿卜杜拉生活精神油彩畫布款識：Basoeki Abdullah（左下）

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.

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Lady in Redsigned lower leftoil on canvas75 x 100 cm S$ 9,000 - 12,000US$ 6,600 - 8,800

巴蘇基·阿卜杜拉紅衣女郎油彩畫布款識：Basoeki Abdullah（左下）

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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。



The Beauty of Indonesiasigned lower rightoil on canvas120 x 80 cm S$ 20,000 - 30,000US$ 14,820 - 22,230

巴蘇基·阿卜杜拉印尼之美油彩畫布款識：Basoeki Abdullah（右下）

Raden Basoeki Abdullah was born in 1915 in Surakarta, Indonesia. He was son to the famous landscape painter and dancer, Abdullah Soerjosubroto. Artistically inspired at an early age, his burning passion for fine arts began. Abdullah came from a well off background, his father was able to support his studies at the Royal Academy of Visual Arts of Netherlands where Abdullah mastered Fine Arts Painting. As a gifted portraitist, he is notably well known for his realism life-like paintings that capture the very life of his subject matter. He adorns his paintings with many beautiful women and famous politicians that were highly inspired by the Romanticism art movement, he solely concentrated on the importance of expressing emotions and capturing the essence of his subjects through the aesthetic experience. His mastery in painting is famous not for his ability to capture life-like impressions but also for drawing his audience to experience an emotional connection to his works.

“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

Abdullah is distinguished for his portraits of beautiful women, as well as scenes from legends and myths that are tempered with a lyrical and overly sensual ambience. With a close historical context of painting women that draw similarity of those in the Renaissance period. His studies in Europe had made Abdullah very inspired by the Renaissance portraitists, especially the Dutch Golden Period. Women are taken as subjects to represent art as beauty. Thus, using it as a symbol of life and vitality that are used as a metaphor of enchantment in art, especially the anatomical structure of the body that could display the essence of romance and passion.

Portrait paintings are described to capture the existence of a person, immortalising the rich and powerful. Abdullah is seen to be creating works for commission that is an act of envy or as a gift to the subject as a remembrance of him being a gifted painter. A beautifully executed portrait painting is not only expected to show the inner essence of the subject but also an exquisite representation of the literal likeness. Most portraits are expressed in a manner of exaggeration or dramatisation to enhance the subject’s importance.

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。

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76P. PERUMAL(Indian, b.1935)

Sister and Dogsigned and dated 2007 lower leftoil on canvas116 x 88 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

Perumal姊妹與狗油彩畫布2007年作款識：P Perumal 2007

（左下）

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77YULIN ROBINS (Taiwanese, b.1962)

Hla'alua of Taiwanese Indigenoussigned and dated 08.15 middle leftoil on canvas80 x 120 cm S$ 5,000 - 7,000US$ 3,710 - 5,190

劉玉玲拉阿魯哇族油彩畫布2015年作款識：Yulin Robins 08.15（左中）

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78LUONG XUAN NHI (Vietnamese, 1913-2006)

Jeune femme à l'Irissigned lower rightoil on canvas69.5 x 85 cm S$ 12,000 - 16,000US$ 8,890 - 11,860

梁春爾年輕女子油彩畫布款識：Luong Xuan Nhi（右下）

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79BUI XUAN PHAI (Vietnamese, 1920-1988)

Les musicienssigned upper rightoil on canvas50 x 60 cm S$ 9,000 - 12,000US$ 6,670 - 8,890

裴春派音乐家油彩畫布1981年作款識：phai 81（右上）

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80HONG VIET DUNG (Vietnamese, b.1962)

Girl With Bird On Her Handsigned and dated 96 lower rightoil on canvas99.5 x 89 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

洪維通手中持鳥的女孩油彩畫布1996年作款識：Vdung96（右下）

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81HONG VIET DUNG (Vietnamese, b.1962)

Landscape With Boatsigned and dated 96 lower rightoil on canvas89 x 99 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

洪維通景观與船油彩畫布1996年作款識：Vdung96（右下）

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82DUONG NGOC SON (Vietnamese, b.1973)

Street In Goldsigned and dated 08 lower rightoil on canvas135 x 155 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

楊玉生金色街道油彩畫布2008年作款識：So'n'R08（右下）

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83NGUYEN VAN PHUONG (Vietnamese, 1930-2006)

Gatheringsigned upper rightlacquer on board120 x 184 cm (triptych) S$ 9,000 - 12,000US$ 6,670 - 8,890

阮文芳聚会彩漆木版（三聯）約1990年代初作款識：Nguyen Van Phuong（右上）

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84


Green Tea Shop (Quan Che Xanh)signed upper left; inscribed with title, size and artist name versooil on canvas90 x 60 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

阮文芳綠茶店油彩畫布約1990年代初作款識：Nguyen Van Phuong（左上）Quan

Che Xanh 90 x 60 cm by Nguyen Van Phuong（畫背）

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Girls on Hanoi Due Bridge (Gai Noi Due Cau Lim)signed upper leftoil on canvas129 x 109 cm S$ 5,000 - 7,000US$ 3,710 - 5,190

阮文芳河內順化橋上女子油彩畫布約1990年代初作款識：Nguyen Van Phuong（左上）

85


86BENCHARONG KOWAPITAKTAT (Thai, b.1973)

Three Generationssigned in Thai and English and dated 7.01.2007 lower rightacrylic on canvas150 x 200 cm S$ 9,000 - 14,000US$ 6,670 - 10,380

阪察隆三代同堂壓克力畫布2007年作款識：Bencharong Kowapitaktat 7.01.2007（右下）

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88

87BENCHARONG KOWAPITAKTAT (Thai, b.1973)

Welcoming A New Daysigned in Thai and English and dated 21.12.2004 lower rightacrylic on canvas70 x 80 cm S$ 3,000 - 4,000US$ 2,230 - 2,970

阪察隆歡迎新的一天壓克力畫布2004年作款識：Bencharong Kowapitaktat

21.12.2004（右下）

88REARNGSAK BOONYAVANISHKUL (Thai, b.1961)

Untitledsigned in Thai and English and dated 1990 lower middlewatercolour and tempera on paper56 x 68 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

朗薩無題水彩蛋彩紙本1990年作款識：Rearngsak 1990（中下）


89REARNGSAK BOONYAVANISHKUL (Thai, b.1961)

Backstagesigned, titled and dated 2015 lower rightoil on canvas150 x 120 cm S$ 28,000 - 38,000US$ 20,750 - 28,150

朗薩后台油彩畫布2015年作款識：Rearngsak Boonyavanishkul 2015 Backstage （右下）

Born in 1961in Thailand, Rearngsak Boonyavanishkul is a Contemporary Super-realistic painter. He has worked in Bali and various countries in Southeast Asia and now resides in Singapore. During his early artistic years, Rearngsak was heavily influenced by the Modernism of the West. Distinguished as a realistic painter, painting a kind of reality that escapes into a metaphysical world. After moving to Singapore, he embraced Hyper-realism with most of his paintings liaising with strong religious theme.

Many of Rearngsak’s brilliant works, have become favourites amongst ardent collectors all over the world. The artful paintings often take his viewers into another realm of mysticism; the women portrayed are a representation of the symbol of purity and tradition. With narratives in play, the depiction of sparse background of temples or private houses suggests a moment in the midst of an activity being captured and documented. He paints his subjects frozen as if unaware, going through an elegant motion of reminiscence in a preparation of a dance.

郎薩，一九六一年出生於泰國，曾居住於東南亞各國及印尼峇里島，目前定居於新加坡。早期受西方現代主義影響，郎薩服膺於超現實主義，移居新加坡後，他的創作卻轉向超現實主義，作品中帶有濃厚宗教意識。郎薩的繪畫一直受世界各地藏家追捧，神秘優雅，瑰麗迷人。

受到泰國佛教傳統，哲學以及歷史的薰陶，郎薩的繪畫經常以峇里島風景和宮廷舞為主題，繪畫傳承著泰國的傳統文化。

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90GERALDINE JAVIER (Philippino, b.1970)

Blood Homage to Kakthe KollwitzN.Amixed media72 x 51 x 19 cm (decorated skull) / 72 x 40 x 40 cm (stumps of tree-like objects) cm S$ 7,500 - 9,500US$ 5,560 - 7,040ExhibitedSingapore, Valentine Willie Fine Art Gallery, Geraldine Javier: Museum of Many Things, Nov 2011

杰拉爾丁·哈維爾以血參拜凱妥·柯勒惠隻裝置藝術（骷髏裝飾樹樁形式的物品）2011年作展覽2011年11月「杰拉爾丁·哈維爾：很多東西的博物館」Valentine Willie Fine Art 畫廊新加坡

90 another view 另一個角度

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91PACITA BARSANA ABAD (Filipino, 1946-2004)

California Dreaming Isigned lower leftoil on stitched canvas319 x 125 cm S$ 14,000 - 20,000US$ 10,380 - 14,820ProvenanceAcquired directly from the artistPrivate collection, Indonesia

帕西妲·阿巴德

加州夢想之一油彩畫布1996年作款識：pacita（右下）出處購置於藝術家本人印尼私人收藏

92

92AUNG KYAW HTET (Myanmarese, b.1965)

Reading Togethersigned and dated 2014 upper rightoil on canvas114 x 86 cm S$ 6,000 - 8,000US$ 4,450 - 5,930

奧薩泰一起閱讀油彩畫布2014年代款識：Aung Kyaw Htet

（右上）

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93NYO WIN PE (Myanmarese, b.1948)

To The Templesigned and dated 2014 lower leftacrylic on canvas122 x 91 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

NYO WIN PE到寺廟壓克力畫布2014年作款識：Nyo Win Pe 2014

（左下）


94

94KYAW SOE (Myanmarese, b.1955)

Returning Homesigned and dated 2015 lower leftacrylic on canvas91 x 91 cm S$ 2,400 - 3,200US$ 1,780 - 2,380

KYAW SOE回家壓克力畫布2015年作款識：Kyaw Soe 2015（左下）

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95KYEE MYINTT SAW (Myanmarese, b.1939)

Yangon Nightsigned and dated 2015 upper rightacrylic on canvas61 x 61 cm S$ 2,000 - 2,800US$ 1,490 - 2,080

KYEE MYINTT SAW仰光之夜壓克力畫布2015年作款識：Kyee Myintt Saw Feb, 2015（右上）


96WALASSE TING (Chinese, 1929-2010)

Kristel In Bedroomsigned and dated 72 versoacrylic on canvas71 x 99.5 cm S$ 70,000 - 100,000US$ 51,860 - 74,080

丁雄泉在臥室裡的克裡斯泰爾壓克力畫布1972年作款識：Walasse 72（畫背）

丁雄泉（1929 - 2010），出生於中國無錫，是一位自學成才的藝術家創造出了傑出的職業藝術生涯，他的藝術主題津津有味富有神韻。作為一位游牧藝術家，丁雄泉一直住在江蘇，香港，巴黎，紐約和荷蘭，他的靈感來源於任何的生活環境。自稱自己為“採花賊”，丁雄泉創作藝術的動機來源於美麗和美德，情感和對生活的慾望。丁雄泉在巴黎的期間，他加入了眼鏡蛇畫派藝術群體和其他知名藝術家如卡雷爾·阿佩爾，艾斯傑約恩，和Pierre Alechinsky. 同時鞏固了他的抽象表現主義風格。他的1970年繪畫作品備受古根海姆獎學金獎好評並且被大都會藝術博物館，泰特現代美術館，古根海姆博物館收藏。

在“克里斯蒂在臥室”的展覽中，丁雄泉展現出來了他對性感光彩塑造的光芒。作品創作使用丙烯與帆布，丁雄泉充分利用了畫布的巨大空間為眼睛帶來了視覺盛宴。飛濺的顏色吸引觀眾，進一步的引誘是克里斯泰爾與她那一頭豐富的紅發和充滿性感激情的眼神。這件藝術品抓住了女性對慾望的強烈渴望，表現出丁雄泉對女性的欣賞有著特別的視覺感官。

Born in Wuxi, China, Walasse Ting (1929 – 2010) was a self-taught artist who forged an illustrious career painting his artistic subjects with gusto and verve. As a nomad artist, he had lived in Jiangsu, Hong Kong, Paris, New York and Holland, and took inspiration from whatever living environment he was in. Calling himself the “flower thief”, his art was constantly motivated by beauty and virtue, emotions and the lust for life. During his period in Paris, he joined the avant-garde group called COBRA along with other well-known artists like Karel Appel, Asger Jorn, and Pierre Alechinsky.Solidifying his style with Abstract Expressionism, Ting found critical acclaim with his award of Guggenheim Fellowship for Drawing in 1970 and has had his artworks collected by Metropolitan Museum of Art, Tate Modern, Guggenheim Museum, Musée Guimet and the Shanghai Art Museum.

In “Kristel in Bedroom”, Ting shows his brilliance in portraying sensuality with undertones of languorous yearning. Painting with acrylic on canvas, Ting makes full use of the canvas’s huge space to create a visual feast for the eyes. The colour splatter draws the audience in, while Kristel further seduces with her rich red hair and passionate light in her eyes. This artwork captures the spirit of stirring desire and will appeal to those who identify with Ting’s vision of the feminine allure.

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97


Natashastamped with a seal of the artist lower left; signed and dated 97 versomixed media on paper69 x 98 cm S$ 12,000 - 18,000US$ 8,890 - 13,340

丁雄泉娜塔莎綜合媒材紙本1997年作款識：Walasse 97（畫背）鈐印：採花大盜（左下）

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Wendystamped with a seal of the artist lower left; signed and dated 99 versomixed media on paper68 x 98 cm S$ 12,000 - 18,000US$ 8,890 - 13,340

丁雄泉溫迪綜合媒材紙本1999年作款識：Walasse 99（畫背）鈐印：採花大盜（左下）


99WALASSE TING(Chinese, 1929-2010)

Woman With Flowersstamped with a seal of the artist upper rightacrylic on paper15 x 20.5 cm S$ 2,200 - 3,400US$ 1,630 - 2,520

丁雄泉女人與花壓克力紙本1979年作鈐印：採花大盜（右上）


Dreaming Daisystamped with a seal of the artist upper leftacrylic on paper15.5 x 22 cm S$ 2,200 - 2,400US$ 1,630 - 1,780

丁雄泉夢中的黛西壓克力紙本1978年作鈐印：採花大盜（左下）

99

100

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Laylastamped with a seal of the artist lower leftacrylic on paper20 x 26 cm S$ 2,600 - 2,800US$ 1,930 - 2,080

丁雄泉蕾拉壓克力紙本1980年作鈐印：採花大盜（左下）


Dreaming Daisystamped with a seal of the artist upper rightmixed media on paper15.5 x 22 cm S$ 2,200 - 3,400US$ 1,630 - 2,520

丁雄泉夢中的黛西綜合媒材紙本1978年作鈐印：採花大盜（右上）

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102


Utilizing her art as means for reconciling the obstacles and traumas of her life, each of Yayoi Kusama’s works conveys a deeply personal attachment and connection. Pumpkin is no exception, recalling Kusama’s childhood and combining aesthetic elements from each of Kusama’s signature series. Varying black dots arrange to establish the structural form of the immense, central gourd, marching in hypnotic lines to create the undulating bulbous surface. The negative space left by the dots allows the vibrant, neon yellow to pulsate through, while the deliberate fractal composition of the dots provides depth and dimension. From negative space to layered construction, the luminous yellow becomes the webbed lines of the “infinity nets” which sweep across the background, illuminating and contrasting with the bulbous form of the pumpkin, throwing the spotted vegetable into further distinction. The subject of the pumpkin originates with Kusama’s childhood spent on a wholesale vegetable farm, where pumpkins were a major local crop. It was during this time that the artist first began to experience the visual and aural hallucinations that would plague her throughout her life. “My art originates from hallucinations only I can see,” Kusama explains, “I translate the hallucinations and obsessional images that plague me into sculptures and paintings.” By harnessing and addressing the obstacle of mental illness, Kusama creates absorbing works of stunning depth, captivating viewers with their vibrancy and effervescent spirit.

草間彌生以藝術創作來治療她的創傷，因此她的作品都傳達著她內心深處的情感。《南瓜》跟草間彌生的其他作品一樣，集合了她各個系列的視覺元素，呈現自小困擾著這位藝術家的幻覺。草間以大大小小的黑色圓點排列成南瓜的形狀，艷麗奪目的黃色欲躍而出，鮮明的對比帶來了巨大的視覺震憾。背景中黃色的幼細線條形成了“無限的網”，突顯出南瓜的飽滿形態。《南瓜》的主題源自草間彌生兒時在農場所產生的幻覺，當時她看見南瓜跟她說話，深深被南瓜圓潤的形狀所吸引。草間彌生把自己的幻覺經歷投射在其作品中，透過攝人心魄的作品釋放壓抑的情緒。她說：“我就是以這樣的方式，讓當下感受到的驚嚇和恐懼漸漸沉澱，這些經歷可以說是我畫畫的初衷。”

103YAYOI KUSAMA (Japanese, b.1929)

Pumpkinsigned in English, titled in Japanese and dated 1995 versoacrylic on canvas22 x 27.3 cmS$ 80,000 - 140,000 US$ 59,000 - 103,000

The work is accompanied with an artwork registration card issued by the artist's studio.

草間彌生南瓜壓克力畫布1995年作款識：Yayoi Kusama，1995，《南瓜》（畫背）

作品附設藝術家工作室所發之藝術品註冊卡

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104CAI ZHISONG (Chinese, b.1972)

Platform Cloudmixed media, stainless steel40 x 25 x 3 cm (base); 15.9 x 12 x 9 cm (cloud)S$ 12,000 - 15,000US$ 8,900 - 11,100

蔡志松浮雲綜合媒材不鏽鋼2011年作

104

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105CHEN LIU (Chinese, b.1973)

Wan Xi Chong Peer Gardensigned in Chinese and dated 2014 lower rightoil on canvas80 x 80 cmS$ 10,000 - 15,000US$ 7,400 - 11,100

陳流萬溪沖梨園油彩畫布2014年作款識：陳流2014（右下）

105


106ATSUSHI FUKUI (Japanese, b.1966)

I Met An Owl in My Bodysigned and dated 2013 versoacrylic and ink on canvas146 x 162 cm S$ 5,000 - 7,000US$ 3,710 - 5,190ExhibitedSingapore, Tomio Koyama Gallery, Summer into Winter, 8 March - 7 April 2013

ProvenanceAcquired from Tomio Koyama Gallery, SingaporePrivate Collection, Asia

福井篤身體中碰到貓頭鷹壓克力水墨畫布2013年作款識：Fukui 2013（畫背）展覽2013年3月8日－4月7日「福井篤展：夏天到冬天」小山登美夫畫廊新加坡出處新加坡小山登美夫畫廊亞洲私人收藏

106

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107XUE SONG (Chinese, b.1965)

Calligraphy Impressionsigned in Chinese lower rightmixed media on canvas100 x 100 cm S$ 22,000 - 30,000US$ 16,300 - 22,230

薛松書法印象綜合媒材畫布2003年作款識：薛松（右下）

107


108CHEN LI (Chinese, b.1975)

Innocent Phoenixsigned in Chinese and dated 2005.8 upper right; signed, titled in Chinese and dated 2005.8 versooil on canvas99.5 x 89.5 cm S$ 6,000 - 9,000US$ 4,450 - 6,670ProvenanceAcquired from Schoeni Gallery, Hong KongPrivate collection, Asia

陳李清風油彩畫布2005年作款識：陳李 2005.8（右上）清風陳李 100 x 90cm 2005.8（畫背）

出處香港少勵畫廊亞洲私人收藏

108

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109

109ZHONG BIAO (Chinese, b.1968)

A Sudden Glancesigned and dated 2006.1.12 upper rightoil on canvas95 x 129 cm S$ 14,000 - 20,000US$ 10,380 - 14,820

鍾飆蓦然回首油彩畫布2006年作款識：Zhong Biao 2006.1.12（右上）藝術家符號簽名（畫背）


110JIANG SHUO (Chinese, b.1958)

Blue Catlacquer and bronzeedition 7 of 843 x 49 x 39 cmS$ 45,000 - 50,000US$ 33,516 - 37,240

蔣朔藍貓漆銅2015年作款識：7/8 朔 jiang（後部）

A trademark figure amongst Jiang Shuo’s sculptures is noticeably the howling child-like guard adorned with a bluish-black uniform. The featureless face guard with an opened mouth shouting slogans is Jiang’s sarcastic illustration of the blind worshippers of Maoism during the Revolution. In Cat, the guard is seated comfortably with his arms and legs crossed as Jiang portrays the laziness of the guard who does nothing but worships the ruler.

To both the cat and the guard, Jiang carefully blends the bronze to give a smooth finish. By placing a guard seated on an adorable looking cat, the impression Jiang gives is that it softens and weakens the power of the guards. While on the other hand the relaxed legs of the cat suggest it could be in a position where it was taking a leap or simply stationed at a spot taking a rest.

紅衛兵是蔣碩雕塑創作中的代表符號，穿者藍黑色制服的孩童，張嘴大喊共產主義的口號，沒有雙眼的面部象徵著盲從的集體記憶，在童趣間隱喻著對政治的諷刺，幽默可愛。作品“貓”，小紅衛兵舒適地坐在貓的身上，舒適慵懶，這些紅衛兵不適生產，僅對領導者的盲目崇拜，花貓的外表光鮮亮麗卻懶惰的個性，暗喻著中國經濟所面臨的危機，蔣碩以幽默誇張的方式對社會進行批判。

俏皮的中國貓與紅衛兵的完美結合，附上美麗的花布，紅衛兵的尖銳被轉化一種親切的童趣，結合當代與文化革命的特殊象徵，吸引著觀者去研讀符號背後的意涵，作品呈現一種前所未見的型態與樣貌，賦予當代中國雕塑全新的生命。

another view 另一個角度

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111WU SHAOXIANG (Chinese, b.1957)

Fitting 1bronzeedition 5 of 646 x 19 x 46 cmS$ 65,000 - 80,000US$ 48,412 - 59,585

吳少湘特殊裝置1青銅2011年作版數：5/61986年作款識：少湘 Wu（底座）

“Fitting 1” metamorphoses the male and female reproductive organs into ordinary objects lookalikes; the female organs resembling a pair of tongs, the male genitals a hammer, and inherent in both organs are their individual fragility and strength. The nipple-protrusion within the rounded cavity in the pair of tongs evokes a fragile sensitivity, presenting a stark contrast to the resilience of the format qualities of the tongs; the hammer-like male organs, on the other hand, embody a softened toughness with a jeu d’esprit that seems to hide a philosophical theme.

吳少湘的木雕雜物系列是八十年代中期中國新潮美術運動中最有影響力和代表性的雕塑作品，其對性意識的表現曾在國內引起轟動，並引起國際關注，被藝評家們稱為是從內容和形式上對中國雕塑的突破。

“特殊裝置1”暗喻著變相的雄性和雌性生殖器官；鉗子比喻女性，而錘子則為男性，組合而成詮釋著各自的脆弱與堅強。在大鉗下突起的乳頭圓形腔試圖喚起一種脆弱的敏感，相較之下與鉗子的質感形成了鮮明的對比；錘狀的男性器官，如一個妙語般似乎隱藏著哲學主題體現軟化的韌性。

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

112YE YONGQING (Chinese, b.1958)

One of the Nine Bird Cages in Winterexecuted in 1995mixed media on silk292 x 145 cmS$ 150,000 - 220,000US$ 111,100 - 161,700Exhibited Shanghai, China, Shanghai Art Museum, Shanghai Biennale '96, 1996

Literature Shanghai Biennale '96, Shanghai Art Museum, Shanghai, 1996, color illustrated, no. 69Free 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.

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’).

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。

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）。

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。

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113CHEN WENLING (Chinese, b.1969)

Heroic Battle 2/8incised with signature and numbered 2/8 near the basebronze34 x 47 x 18 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

陳文令英勇戰鬥 2/8銅雕款識：陳文令 2/8（底座）

113another view 另一個角度

138 33 Auction

114XIN DONGWANG (Chinese, 1963-2014)

Portraitsigned in Chinese and dated '04 lower rightoil on canvas60 x 50 cm S$ 15,000 - 20,000US$ 11,120 - 14,820

忻東旺肖像油彩畫布2004年作款識：東旺 '04（右下）

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115LU CHUNTAO (Chinese, b.1965)

Still Life Series No. 1signed in Chinese and stamped with two seal of the artist lower rightink and colour on paper68 x 68 cm S$ 4,000 - 6,000US$ 2,970 - 4,450ExhibitedKuala Lumpur, Malaysia, Art House Gallery, Lu Chuntao’s Still Life Series Exhibition, 3 - 21 March 2004 (illustrated in the exhibition brochure)

陸春濤靜物系列1號水墨紙本款識：春濤（右下）鈐印：兩方（右下）展覽2004年3月3日－21日「陸春濤作品展」集珍莊畫廊吉隆玻馬來西亞（在展覽宣傳冊所示）

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116ZHAI YUANLIANG (Chinese, b.1960)

The Autumm Wood's Expressioninscribed in Chinese; stamped with three artist seals upper right and one artist seals lower leftink and colour on paper68 x 68 cm S$ 5,000 - 6,000US$ 3,710 - 4,450

翟原良疏林秋語水墨紙本2008年作款識：閒行閒坐，不必爭人我百歲光陰彈指過，成得甚麼功果昨日羯鼓催花，今朝疏柳啼鴉王謝堂前燕子，不知飛入梓余居士原良（右上）鈐印：兩方（右上）；一方（左下）


117REN JIANHUI (Chinese, b.1956)

The Colourful Flower Headgearsigned and dated 96 in Chinese lower leftoil on canvas139.5 x 103.5 cm S$ 15,000 - 25,000US$ 11,120 - 18,520

任建輝色彩繽紛的花卉頭飾油彩畫布1996年作款識：建輝九六年（左下）

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118HE KONGDE (Chinese, 1925-2003)

Sun Flowerssigned and dated 1973.7 lower rightoil on canvas46 x 38 cm S$ 5,000 - 7,000US$ 3,710 - 5,190

何孔德太阳花油彩畫布1973年作款識：1973.7月何孔德（右下）


119GUO JIN (Chinese, b.1964)

Spring Comingsigned and dated 2007 lower rightoil on canvas190 x 200 cm S$ 30,000 – 50,000 US$ 22,000 – 36,800

郭晉迎春油彩畫布2007年作款識：guojin 2007 （右下）

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120WU XUELI, SHIRLEY (Chinese, b.1962)

The Surface of Great Wall #3signed and dated 2000 lower right; signed in pinyin and Chinese and dated 2000 versooil on canvas60 x 60 x 11.5 cm (2 pieces) S$ 5,000 - 7,000US$ 3,710 - 5,190LiteratureShirley Wu: Touching the Traces of History, Creation Art Gallery, Beijing, 2003, p.17

武雪麗長城的表層之三油彩畫布2000年作款識：（右下）出版2003年《武雪麗個人油畫展: 觸摸歷史的痕跡》可創銘住藝苑北京第17頁


121

121JIA YOUFU (Chinese, b.1942)

Man Under The Mooninscribed, signed in Chinese and stamped with a seal of the artist lower leftink and colour on paper47 x 33 cm S$ 13,000 - 20,000US$ 9,630 - 14,820

賈又福人在月下水墨紙本款識：不觉碧山暮秋云暗几重画太行秋山图又福（左下）鈐印：福（左下）

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122JIA YOUFU (Chinese, b.1942)

Shepherd Against A Cliffsideinscribed, signed in Chinese lower part and stamped with a seal of the artist lower leftink and colour on paper78 x 20.7 cm S$ 13,000 - 20,000US$ 9,630 - 14,820

賈又福彼岸的牧羊人水墨紙本款識：艳日餐云图镜真楼主人以意为云又福（低下）鈐印：福（左下）

147

123FANG XIANG (Chinese, b.1967)

Elegant Abode signed in Chinese and stamped with a seal of the artist upper rightink and colour on paper 67 x 67 cm S$ 8,000 – 12,000 US$ 5,930 - 8,890The work is accompanied with an artwork certificate issued by Hakaren Gallery

方向優雅住所水墨紙本款識：方向畫（右上）鈐印：方向（右上）

作品附設客藝廊所發之藝術品註冊卡

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124DAVID KWO DA WEI(Chinese, 1919-2003)

Face Series No. 5signed, dated 88 lower left; signed in chinese with title and stamped with one seal of the artist lower rightink and colour on paper129 x 81 cm S$ 3,000 - 5,000US$ 2,230 - 3,710

郭大衛臉谱系列之五水墨紙本1988年作款識：Kwo 88（左下）鈐印：郭大衛（右下）；臉谱系列之五（右下）

125ZAO WOU-KI (ZHAO WUJI)(Chinese-French, 1921-2013)

Assiette Orchideessigned, dated lower centre Zao Wou-ki 86, signed dated and inscribed with title versoscreenprint on porcelain25 cm diameter S$ 1,400 - 2,200US$ 1,040 - 1,630

趙無極蘭花板絲網印刷瓷器1986年作款識：Zao Wou-ki 86（低中）Vingt ans de B.S.N, 1966-

1986, BSN existe se developpera grâce à l'instinct, l'imagination et le courage de tous（背面）

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126ZHAO YUZHONG One Dress One Group Seriesmixed media35 x 7 cm – 40 x 10 cm S$ 4,000 - 6,000US$ 2,970 - 4,450

趙玉中《件衣組瓶系列》綜合媒材

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Lot 23 CHUA MIA TEE Blue Macaws (detail) 蔡名智《金剛鸚鵡》（局部）

33 AUCTION CONDITIONS OF BUSINESS

Conditions mainly concerning Buyers

1. The buyer All lots will be invoiced to the name and address given at the time of registration and once it is issued to the allocated buyer’s number it cannot be transferred to other names and addresses. The highest bidder will be the buyer at the ‘hammer price’ and any dispute will be settled at the auctioneer’s absolute discretion. Every bidder will be deemed to act as principal unless there is in force a written acknowledgement by 33 Auction that he/she acts as agent on behalf of the named principal.

2. Minimum increment The auctioneer will have the right to refuse any bid which does not exceed the previous bid by at least 5% or by such other proportion at his/her absolute discretion.

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

4. Absentee bids. Upon request, 33 Auction shall execute absentee bids on behalf of intending buyers. This service is free. Lots will be bought as cheaply as is allowed by other bids placed and the seller’s reserves. In the event of identical bids, the earliest will take precedence. When absentee bids are placed by telephone they are accepted at the buyer’s risk, and must be confirmed prior to the sale by letter or facsimile. To ensure a satisfactory service, bidders are urged most strongly to send bids in advanced so that they are received at least 24 hours before a sale.

5. Telephone bids 33 Auction will do its best to accommodate telephone bids from buyers who have made proper arrangements at least 24 hours prior to the sale and subject to the availability of sufficient telephone lines. Because this method cannot be entirely free from risk of communication breakdown, 33 Auction cannot be held responsible for losses arising from missed bids.

6. Company property It is the general policy of 33 Auction to act as agent only for the seller. Circumstances do, however, arise from time to time where 33 Auction or its director/s may have an interest in a lot or lots being offered. In the catalogue, such lots are designated with a ◊ next to the lot number.

7. Payment Immediately when a lot is sold the buyer will: a) give to 33 Auction his/her name and address and, if so requested, proof of identity; b) pay to 33 Auction the ‘total amount due’

Any payments by a buyer to 33 Auction may be applied by 33 Auction towards any sums owing by the buyer to 33 Auction on any account whatsoever without regard to any directions of the buyer or his/her agent, whether express or implied.

8. Collection of purchases The ownership of the lots purchased will not pass to the buyer until he/she has made payment in full to 33 Auction of the ‘total amount due’. After an auction, only limited assistance with packing and/or loading of purchases is available from the staff of 33 Auction. Where such assistance is rendered, no liability will devolve on 33 Auction or its staff for any damage that may arise, from whatever cause, during such packing and/or loading. The buyer will at his/her own expense collect the lot purchased immediately after the auction and will be responsible for all packing, removal, storage and insurance charges.

9. Buyer’s responsibility for lots purchased The buyer will be responsible for the loss of or damage to lots purchased from the time of auction to date of collection. Neither 33 Auction nor its employees or agents will thereafter be responsible for any loss or damage of any kind, whether caused by negligence or otherwise, while any lot is in its custody or under its control.

10. Remedies for non-payment or failure to collect purchases If any lot is not paid for in full and taken away in accordance with Conditions 7 and 8, or if there is any other breach of either of those conditions, 33 Auction as agent of the seller will, at its absolute discretion and without prejudice to any other rights it may have, be entitled to exercise one or more of the following rights and remedies: a) to proceed against the buyer for payment and/or damages for breach of contract; b) to rescind the sale of that or any other lots sold to the defaulting buyer at the same or any

other auction; c) to resell the lot or cause it to be resold by public auction or private sale and the defaulting

buyer will be liable to pay to 33 Auction any resulting deficiency in the ‘total amount due’ (after deduction of any part payment and addition of resale costs) and any surplus will belong to the seller;

d) to remove, store and insure the lots at the expense of the defaulting buyer and, in the case of storage, either at 33 Auction’s premises or elsewhere;

e) to charge interest at a rate not exceeding 2% per month on the ‘total amount due’ to the extent it remains unpaid for more than 5 working days after the day of the auction;

f) to retain that or any other lot sold to the same buyer at the same time or at any other auction and release it only after payment of the ‘total amount due’;

g) to reject or ignore any bids made by or on behalf of the defaulting buyer at any future auctions or require and receive a deposit in an amount determined by 33 Auction before accepting any bids in future;

h) to apply any proceeds of sale then due or at any time thereafter becoming due to the defaulting buyer towards settlement of the ‘total amount due’ and to exercise a lien on any property of the defaulting buyer which is in 33 Auction’s possession for any purpose.

11. Legal Costs The buyer shall be responsible for the payment of 33 Auction’s legal costs calculated on the scale as between attorney and its own client incurred in the enforcement of 33 Auction’s rights irrespective of whether 33 Auction institutes legal proceedings or not.

12. Liability of 33 Auction and sellers a) Goods auctioned are usually of some age. All goods are sold as it is with all faults and

imperfections and errors of description. Illustrations in catalogues are for identification only. Buyers should satisfy themselves prior to sale as to the condition of each lot and should exercise and rely on their own judgement as to whether the lot accords with its description or not. Subject to the obligations accepted by 33 Auction under this condition, neither the seller, 33 Auction, its servants or agents is/are responsible for errors of descriptions or for the genuineness or authenticity of any lot. No warranty whatsoever is given by 33 Auction, its servants or agents, or any seller to any buyer in respect of any lot, and any express or implied conditions or warranties are hereby excluded.

b) Any lot which proves to be a ‘deliberate forgery’ may be returned by the buyer to 33 Auction within 21 days of the date of auction in the same condition in which it was at the time of the auction, accompanied by a statement of defects, the number of the lot, and the date of the auction at which it was purchased. If 33 Auction is satisfied that the item is a ‘deliberate forgery’ and that the buyer has and is able to transfer a good and marketable title to the lot, free from any third-party claims, the sale will be set aside and any amount paid in respect of the lot will be refunded, subject to the express condition that the buyer will have no rights or claims against 33 Auction if: i. the description in the catalogue at the date of the sale was in accordance with the then

generally accepted opinion of scholars and experts or fairly indicated that there was conflict of such opinion; or

ii. the only method of establishing at the date of publication of the catalogue that the lot was a ‘deliberate forgery’ was by means of a scientific process not generally accepted for use until after publication of the catalogue, or by a process which was unreasonably expensive or impractical.

c) A buyer’s claim under this condition will be limited to any amount paid in respect of the lot and will not extend to any loss or damage of whatsoever nature suffered, or expense incurred by him/her.

d) The benefit of this condition will not be assignable and will rest solely and exclusively in the buyer who, for the purpose of this condition, will be and only be the person to whom the original invoice is made out by 33 Auction in respect of the lot sold.

Conditions mainly concerning sellers and consignors

13. Inspections 33 Auction shall inspect items brought to its offices or viewed at seller’s domain for potential auction and will advise owners as to the value and suitability within the 33 Auction trade markets. Items of insufficient value or unsuitable for the auction trade must be collected within 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。

ADRIEN JEAN LE MAYEUR DE MERPRES 66,67勒邁耶AFFANDI 55,68阿凡迪ARIE SMIT 61,64,65艾利·斯密特ATSUSHI FUKUI 106福井篤AUNG KYAW HTET 92奧薩泰AWIKI 59,60阿維基BASOEKI ABDULLAH 73,74,75巴基·阿卜杜拉BENCHARONG KOWAPITAKTAT 86,87阪察隆BUDI UBRUX 47布狄·烏魯佈斯BUI XUAN PHAI 79裴春派CAI ZHISONG 104蔡志松CHAN CHANG HOW 44陳長豪CHEN CHENG MEI 36,37陳城梅CHEN CHONG SWEE 9陳宗瑞CHEN CHU DIAN 43陳初電CHEN LI 108陳李CHEN LIU 105陳流CHEN WEN HSI 16,17,18,25,26,27陳文希CHEN WENLING 113陳文令CHEONG SOO PIENG 11,35鍾泗濱CHIA YU CHIAN 13謝玉謙CHOO KENG KWANG 33朱慶光CHUA MIA TEE 23,24,40蔡名智DAVID KWO DA WEI 124郭大衛DIYANO PURWADI 48迪亞諾·普瓦第DJOKO PEKIK 71卓可·佩奇克DUONG NGOC SON 82楊玉生ERICA HESTU WAHYUNI 52艾麗嘉FAN CHANG TIEN 10范昌乾FAN SHAO HUA 28范少華FANG XIANG 123方向GERALDINE JAVIER 90杰拉爾丁·哈維爾GOH BENG KWAN 38吳珉權GUO JIN 119郭晉HE KONGDE 118何孔德HENDRA GUNAWAN 58,72亨德拉·古那彎HONG VIET DUNG 80,81洪維通I MADE DJIRNA 63伊·嗎德·繼而拿JIA YOUFU 121,122賈又福JIANG SHUO 110蔣朔KRIJONO 49,50克利約諾KYAW SOE 94

KYEE MYINTT SAW 95LEE BOON NGAN 41,42李文孝LEE MAN FONG 69,70李曼峰LENG JOON WONG 15凌运凰LIM TZE PENG 6,7林子平LU CHUNTAO 115陸春濤LUONG XUAN NHI 78梁春爾MILENKO PRVACKI 45米連柯·普爾瓦奇基MOHAMMAD DIN MOHAMMAD 39 穆罕默德丁NG ENG TENG 30 黃榮庭NGUYEN VAN PHUONG 83,84,85阮文芳NYO WIN PE 93ONG KIM SENG 19,20,21王金成P. PERUMAL 76PACITA BARSANA ABAD 91帕西妲·阿巴德PHUA CHENG PHUE(PAN ZHENG PEI) 8潘正培POPO ISKANDAR 56,57 波波·依斯甘達REARNGSAK BOONYAVANISHKUL 88,89 朗薩REN JIANHUI 117 任建輝RUBEN PANG 46 彭靖能S.P. HIDAYAT 53,54 喜大業SURAJI 62 蘇拉吉TAN CHOH TEE 29 陳楚智TAN KIAN POR 14 陳建坡TAN OE PANG(CHEN YOUBING) 4,5陳有炳TAY BAK KOI 1,2,3 鄭木奎TEW NAI TONG 12 張耐冬THOMAS YEO 31,32 姚兆宏TONG CHIN SYE 22 童振獅TOYA LIM KHOON HOCK 34 林坤福UGO UNTORO 51 烏戈·烏托羅WALASSE TING 96,97,98,99,100,101,102 丁雄泉WU SHAOXIANG 111 吳少湘WU XUELI, SHIRLEY 120 武雪麗XIN DONGWANG 114 忻東旺XUE SONG 107 薛松YAYOI KUSAMA 103 草間彌生YE YONGQING 112葉永青YULIN ROBINS 77劉玉玲ZAO WOU-KI (ZHAO WUJI) 125趙無極ZHAI YUANLIANG 116翟原良ZHAO YUZHONG 126趙玉中 ZHONG BIAO 109鍾飆

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

SG020

21 May 2016

SG020

2016年5月21日

Lot 1 TAY BAK KOI Till The Cows Come Home (detail) 鄭木奎《歸途》（局 Lot 33 CHOO KENG KWANG Doves (detail) 朱慶光《鴿子》（局部）

33 AUCTION PTE LTD

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

2016 SINGAPORE SPRING SALE2016年新加坡春季拍賣會

SINGAPORE 21 MAY 2016 ｜新加坡 2016年5月21日

21 MAY 2016 SG

02033 AU

CTIO

N2016 SING

APOR

E SPRING SALE

SING

APOR

EM

OD

ERN

AN

D C

ON

TEMPO

RA

RY ASIA

N A

RT

33 Auction 2016 Singapore Spring Sale Catalog

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Transcript of 33 Auction 2016 Singapore Spring Sale Catalog