MASTERPIECE 鼎藝 by MASTERPIECE Auction House Indonesia|Singapore|Malaysia

Catalogue not for sale

Hong Kong, 26 March 2016

鼎藝 Southeast Asian, Chinese,Modern & Contemporary Art

MASTERPIECE FINE ART - HONG KONG

鼎藝 Auction House

Public Preview 公众预览

Auction 拍卖日

Tue – Fri, 22 – 25 March 2016 Time 時間 : 11am – 7 pm

Saturday, 26 March 2016 Time 時間 : 11 am – 3 pm

VIP Night 贵宾之夜 Thursday, 24 March 2016 Time 時間 : 6.30 pm – 8 pm

Venue 地點 : Concord Room I – III, 8th floor Renaissance Harbour View Hotel, 1 Harbour Road, Wanchai Hong Kong

Venue 地點 : BNI Hong Kong Gallery, Ground Floor Far East Finance Center, 16 Harcourt Road, HK

MASTERPIECE FINE ART - HONG KONG

竞投须知目录编列之重要说明 BRIEF ON CATALOGUE 所有拍卖品皆以现状出售，针对拍卖品目录的内容都只属意见而已。买家应该自行检查所竞标的作品。鼎艺对于任何问题或目录没有说明而造成的问题将不负责。所有关于作品的大小尺寸的量度皆为约数。

拍卖品状况报告 CONDITION REPORTS 状况报告只是对有兴趣的客户所提供的一项服务，准买家应该注意每一项拍卖品皆以“现状”出售，针对拍卖品的描述并非对拍卖品的保证。鼎艺拍卖有限公司的目录只会针对某类作品如印刷、书籍和酒类作出描述并提及状况，一般而言，不会对拍卖品作出状况评估，除非特别要求。如欲索取某拍卖品的状况报告，请与鼎艺职员联络。

买家须知 INFORMATION FOR BUYERS 业务规定CONDITIONS OF SALE 本目录较后部分刊载有鼎艺拍卖有限公司之业务规定，竞拍买家应该详细阅读有关章节，以了解在拍卖会购买任何作品的条款。任何口头上的承诺都不获承认。估价估价是针对类似货品于近期的拍卖会取得的成交价，以及考虑拍卖品的状况、稀有程度、品质及出处而定。鼎艺有权随时更改估价。买家不应将估价视为实际成交价之预测。估价也不包括买家应支付予鼎艺的酬金，更多有关估价的询问，可以与本公司职员联络。

书面竞投ABSENTEE BIDS 书面竞投是准买家以书面委托鼎艺在不超过其指定的金额之下竞投拍卖品。鼎艺人员将参考底价，尽量以最低价进行竞标。若鼎艺就同一拍卖品收到两个或以上的竞投价相同的书面竞投，则以书面竞投最先送抵鼎艺的买家为优先。拍卖官可直接于拍卖台上执行书面竞投，并指明为“不在场竞投”。书面竞投表格附于此目录内。至于“不设底价”的拍卖品，在没有其他更高竞投的情况下，将以书面竞标价成交。电话竞投TELEPHONE BIDS 准买家可以在拍卖会进行时，通过电话竞标。该项服务必须于拍卖会开始前至少2个小时于鼎艺竞投部确认。电话竞投将可被录音。以电话竞投即表示准买家同意其电话对话将被录音。鼎艺将不会因为出现错误而未能按委托作出竞标承担任何责任。新买家可能将被要求提供银行保证书。成功竞标SUCCESSFULL BIDS 拍卖官下槌即表示对最高竞投价之接受，此时，买家将对拍卖品承担所有责任。竞投结果AUCTION RESULTS 拍卖的全部结果，可从鼎艺网站www.masterpiece-auction.com 取得。

关于买家之业务规定 CONDITIONS OF SALE FOR BUYERS

底价底价是卖方设定的不公开之最低售价。

有关拍卖品之买家与卖家之间的合约，必须受到“买家须知”以及“业务规定”所列条文的制约。有关条文可于拍卖时以临时通知或口头宣布作出更改。买家进行购买拍卖品时，原则上被视为同意受到上述条文所约束。

买家必须支付的酬金鼎艺将向买家收取的酬金如下，以每件作品之最后成交价为准:

词汇的意思 : 于本业务规定内容所使用以下的词汇（字眼）意思诠释如下： “买家” 意思为成功拍得某一拍卖品的购买人;

下槌价首2,000,000 港元之22% ，下槌价2,000,000 以上为15% 。预览VIEWING/入场费ADMISSION 拍卖会之前的预览乃免费开放予所有公众人士。准买家应现场详细检阅拍卖品，并索取有关的状况报告。鼎艺有权阻止任何人士进入拍卖会场。登记竞标REGISTRATION 有兴趣竞标者必须登记以获分配一个竞标号码牌，竞标者必须提供政府身份证明，即国民身份证或护照及住址证明，如最近6个月以内的公用事业账单或银行月结单。有兴趣竞标者必须填写一份竞标登记表格，并提供有关的财务证明、担保、银行存款或其他的财务保障，鼎艺将依据上述资料以决定是否接受登记。

“目录” 意思为由鼎艺艺术拍卖有限公司所提供的目录，内容描述及图标全部公开拍卖之作品; “业务规定” 意思为条规与条件; “下槌价” 意思为买家购得拍卖品的价格; “拍卖品” 意思为目录内所描述接受竞投之某一件作品; “鼎艺”, “我们”, “本公司” 意思为鼎艺拍卖有限公司 Masterpiece Auction Private Limited; “底价” 意思为卖家愿意把某一拍卖品售卖予买家的最低价格;

鼎艺有绝对权力批准竞标者的登记。竞标者必须事前把目录内的表格依据条件填妥及递交，或至少于拍卖日两天前接洽本公司以办理必要的手续。

“卖家”, 意思为愿意出售某一拍卖品的卖出者或其代理人;

请注意，本公司无法于公共假日及周末假期取得财务证明。

“港元” 意思为香港法定货币。

竞投BIDDING 拍卖官将接受拍卖现场之人士，电话竞标人，以及已递交书面竞投表格予鼎艺的不在场竞投人士之竞投。所有竞投将以港元计算。拍卖官将不会特别指出代表卖家之竞投。竞投价递增幅度BIDDING INCREMENTS 拍卖官一般是从低于最低估价开始，或自行决定更改每次的增加幅度，通常每次喊价的最低递增幅度最高为10%，如下: 5,000港元 - 10,000港元 10,000港元 - 20,000港元 20,000港元 - 50,000港元 50,000港元 - 100,000港元 100,000港元 - 200,000港元 200,000港元 - 500,000港元 500,000港元 1,000,000港元 1,000,000港元或以上，拍卖官自行决定。

MASTERPIECE FINE ART - HONG KONG

每次喊价递增金额500港元每次喊价递增金额1,000港元每次喊价递增金额2,000港元每次喊价递增金额5,000港元每次喊价递增金额10,000港元每次喊价递增金额20,000港元每次喊价递增金额50,000港元

2. 鼎艺作为代理人Parties to the sale of a Lot 除另有条文定明外，鼎艺为卖家的代理人。拍卖品的成交合约，则为买家与卖家之间的合约。 3. 竞标 (a) 登记。有兴趣竞标者必须登记以获分配一个竞投号码牌，并提供有关的财务证明、担保、银行存款或其他作为付款手续用途之文件。 (b) 底价。除另有条文定明外，所有作品皆出售。依据卖家与鼎艺之间所达成的不公开底价为依据。鼎艺可以代卖家竞投的方式以低于拍卖品的底价开始拍卖。鼎艺没有义务确认代卖家下的竞投。 (c) 竞投的种类。拍卖会接受现场人士竞投以及电话竞投及事先办理的不在场书面竞投。至于电话竞投类，所有准买家都必须同意对话与竞投被录音和记录。 (d) 货币。所有作品的价格以港元计算，所有竞投也是以港元计算。 (e) 最后竞投。拍卖官下槌即表示对最高竞投价之接受，此时，买家与卖家之间的买卖合约已订立与生效。书面竞拍结果将在拍卖会后通知准买家。关于拍卖品之风险及责任（不包括其所有权），在成交日起7 个日历天期满或在买家于期满前提取该作品时，转移到买家。

(f) 买家须负之责任。准买家成功竞投作品后除了支付下槌价之外，也有责任支付本公司酬金如下: 下槌价之首2,000,000 港元之22% ， 2,000,000 港元以上之15% 。 4. 有限保证 Limited warranty (a) 无保证.除了在下列条文4(b)之有限保证之外，鼎艺与卖家都不针对任何拍卖品的价值和品质作出任何保证，买家是以“现状”购买。关于任何作品的目录内容只属意见,并不构成任何的保证承诺。 (b) 有限保证. 卖家与鼎艺只保证目录中拍卖品与与创作人姓名有关的描述。关于对拍卖品真伪存有疑点或赝品，买家必须在拍卖日一年之内向鼎艺提出书面通知。 (c) 书面通知内容。书面通知应该包括来自可信、独立专家所提供的书面证据足以说明/证明拍卖品是赝品。如果鼎艺与卖家对买家专家所提供的证据不满意，他们有权征求其他专家进一步验证。 (d) 退款 .在鼎艺对买家的书面通知满意后，在 (i)取得卖家全部退款后；(ii)买家必须交回与拍卖时状况相同的拍卖品给本公司之后，本公司将退还卖价之金额予买家。鼎艺与卖家只对该拍卖品的卖价负责，不论是鼎艺与卖家都不会对提呈书面通知所造成的损失、成本和费用负责。 (e) 意见冲突。买家指定的专家若与鼎艺和卖家委任的专家意见不一致，如果能够证明真伪验证科学方法将对拍卖品造成破坏或损伤的状况，又或有关科学鉴定方法在目录编印时并不存在，将不会对相关拍卖品进行退款。 (f) 有限保证不可转移。条文4的有限保证属买家专有，不可转移给第三方。

其他Miscellaneous (a) 若买家不遵守以上条款而导致鼎艺与卖家蒙受损失、损坏、成本及其他开销，买家则必须悉数赔偿上述损失。 (b) 如本业务规定之任何部分遭任何法院认定为无效、不合法或不能执行，则该部分可不予理会，而本业务规定之其他部分在法律许可之最大范围内必须继续有效及可强制执行。 (c) 就经营本公司的拍卖业务方面，本公司需要向阁下搜集个人资料或为第三方索取有关阁下的资料（如协助买家安排其他服务等）。 (d) 以上所述业务规定，均受香港法律管限及由香港法律解释。 (e) 针对翻译成另一种语文的本业务规定，若有冲突，一概将以英文版本为准。 (f) 任何于预览或正式拍卖日所拍摄的照片或录像将可能作为本公司的印刷/宣传/市场推销之材料。所有出现在预览会场或拍卖会场的人士被确认为已同意有关照片和录像之被使用。本条款如有任何诠释上的问题，一概以英文版本为准。

5. 付款，所有权的转移以及领取已购拍卖品 (a)付款期限. 所有拍卖品必须在成交日起7个日历天内付款。 (b)所有权. 即使，在买家并没有全部付款给鼎艺之前已经领取拍卖品的情况之下，买家也必须遵照上述条文3(f)悉数付还所有款项予鼎艺之后，拍卖品的所有权才会转移给买家。 (c)付款方式. 拍卖成交后即必须付款，所有付款乃是以港元交易，可通过以下数种方法付款： (i) 现金 (不超过 80,000港元) (ii) 鼎艺电子转账银行帐户，请按照载于计费的说明。 (iii) 银行汇票，旅行汇票以及信用卡(MasterCard and Visa). 现金付款的买家必须提供身份证明（国家发出之附人头像身份证明，如护照、身份证或驾驶执照），以及永久住址之证明。我们拥有要求买家提供资金来源的权利。如果您希望使用信用卡付款，您必须亲自让鼎艺香港办事处职员过目您的信用卡。 (d) 领取已购拍卖品.买家需于拍卖后14天之内到本公司领取已购拍卖品，同时付清全数费用包括运送费。如有需要，鼎艺将协助买家处理、包装、及运送已购拍卖品，风险和费用由买家承担。 (e) 库存费.所有在拍卖日已售拍卖品将由鼎艺或鼎艺代理人免费库存在指定的货仓14天以待领取，逾期未领的每一件拍卖品将征收每日100 港元的库存费。鼎艺或鼎艺委任的代理人将会对买家征收库存费、处理、运送、保险等其他费用。 (f) 保险期限.已售拍卖品，从拍卖日算起7天内享有鼎艺投保的普通保险，之后该风险将由买家承担。 6.

不付款Non-payment 如果买家在指定的限期内没有付清款项，鼎艺或卖家在法律的允许下，享有以下权利： (a) 对买家征收未付清款每月1.5%利息; (b) 对买家采取法律行动以取回欠款项，包括利息，律师费及其他相关费用; (c) 撤销该拍卖品交易; (d) 在必要的情况下，转售有关商品以偿还买家欠款; (e) 以该商品作为抵押，迫使买家付清欠款余额。

版权Copyright 所有鼎艺在目录中与拍卖品有关之制作之一切影像、图标与书面材料之版权，无论何时均属鼎艺的财产。未经本公司事先书面同意，买家或任何人均不得使用。鼎艺及卖家均没有陈述及保障买家就投得的拍卖品取得任何拍卖品或其他复制的权利。 MASTERPIECE FINE ART - HONG KONG

IMPORTANT NOTICES BRIEF ON CATALOGUE

All Lots are sold on an “as is” basis. The contents of catalogues produced by Masterpiece formed statements of opinion only. Subject to the limited warranty given in the Conditions of Sale for Buyers, no representation and warranty is made by Masterpiece or any seller of a Lot in respect of anything, including without limitation, description, value, or quality. Buyers are advised to inspect the property themselves. Masterpiece is not liable for any error or omission in this catalogue. All descriptions of dimensions are approximate only.

CONDITION REPORTS

Condition reports are provided as a service to interested clients. Prospective buyers should note that descriptions of property are not warranties and that each lot is sold “as is”. Masterpiece catalogues sometimes include references to condition only in descriptions of Lots such as prints, books and wine. Generally, no statement of condition is given although they can be made available on request. Please liaise with Masterpiece representatives for a condition report on a particular lot.

EXPLANATION OF CATALOGUING PRACTICE

For Pictures, Drawings, Prints and Miniatures. Terms used in this catalogue have the meanings ascribed to them below: Name(s) or Recognized Designation of an Artist without any Qualification in Masterpiece opinion a work by the artist. *”Attribute to…” In Masterpiece qualified opinion probably a work by the artist in whole or in part. *”Studio of..’/”Workshop of..” In Masterpiece qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision. *”Circle of..” In Masterpiece qualified opinion a work of the period of the artist and showing his influence. *”Follower of…” In Masterpiece qualified opinion a work executed in the artist’s style but not necessarily by a pupil. *”Manner of…” In Masterpiece qualified opinion a work executed in the artist’s style but of a later date. *”After…” In Masterpiece qualified opinion a copy (of any date) of a work of the artist. *”Signed..”/”dated…”/“Inscribed…” In Masterpiece’s qualified opinion the work has been signed/dated/inscribed by the artist. “With signature…”/”With inscription…” In Masterpiece’s qualified opinion the signature/ inscription appears to be by hand other than that of the artist. *With date…” In Masterpiece’s qualified opinion the date on the item was not executed on that date.

INFORMATION FOR BUYERS

CONDITIONS OF SALE Masterpiece CONDITIONS OF SALE FOR BUYERS governs the terms and conditions of contract between the buyer and the seller of a lot and is set out later in this catalogue. Persons who have been registered as bidders will be deemed to have read and be fully aware of and subject to the terms as stated in the CONDITIONS OF SALE FOR BUYERS. No reliance should be placed on oral representations made by any person at the auction. ESTIMATES Estimates are based upon prices recently paid at auction for comparable property, condition, rarity, quality and provenance. Estimates are subject to revision. Buyers should not rely upon estimates as prediction of actual selling prices. Estimates do not include the buyer’s premium. For estimate on request, please contact us for further information. RESERVES The reserve is the confidential minimum price the consignor will accept. The reserve will not normally exceed the low estimate. BUYERS PREMIUM Masterpiece charges a premium to the buyer on the final bid price of each lot sold at: 22% on the first HKD2,000,000 of the Hammer Price 15% on the amount in excess of HKD 2,000,000 of the Hammer Price VIEWING/ADMISSION Pre-auction viewings are open to the public and free of charge. Buyers are strongly advised to examine the lots thoroughly, Condition reports are available. Masterpiece reserves the right to refuse admission and participation in its auctions.

MASTERPIECE FINE ART - HONG KONG

REGISTRATION Prospective buyers need to register for a numbered bidding paddle. New buyers would need to provide a copy of government issued ID, ie: National Identity Card or Passport and proof of address, ie: Utility Bill & Bank Statement issued within the last 6 months for registration. Prospective buyer must complete the required bidding-registration application form and deliver to Masterpiece with such necessary financial references, guarantees, deposits and/or such other security as Masterpiece may in its absolute discretion require for your bid. Masterpiece’s decision whether to accept any pre-registration application shall be final. You would need to complete and return the pre-registration form in this catalogue in the manner required therein or contact us at least 2 working days prior to the relevant sale in order to process the pre-registration. Please note that we are unable to obtain financial references over public holidays and weekends. BIDDING The Auctioneer accepts bids from those present in the saleroom, from telephone bidders, or by absentee written bids left with Masterpiece in advance of the auction. Bidding will be done in Hong Kong Dollars (HKD). The auctioneer will not specifically identify bids placed on behalf of the consignor. BIDDING INCREMENTS The auctioneer will normally start with bids below the low estimate and may at his own discretion increase bids. The standard increments are 10% of the starting bid as follows: HKD 5,000 - HKD 10,000 - HKD 20,000 - HKD 50,000 - HKD 100,000 - HKD 200,000 - HKD 500,000 Above HKD 1,000,000 at

HKD 10,000 by HKD 500 HKD 20,000 by HKD 1,000 HKD 50,000 by HKD 2,000 HKD 100,000 by HKD 5,000 HKD 200,000 by HKD 10,000 HKD 500,000 by HKD 20,000 HKD 1,000,000 by HKD 50,000 auctioneer’s discretion

ABSENTEE BIDS Absentee bids are written instructions from prospective buyers directing Masterpiece to bid on their behalf up to a maximum amount specified for each lot. Masterpiece staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve price. If identical bids are received from two or more parties, the first bid received by Masterpiece will take priority. The auctioneer may execute absentee bids directly from the rostrum. Absentee Bids Forms are available in this catalogue. Absentee bids submitted on “no-reserve” lots will, in the absence of a higher bid, be executed at the amount of the bid. TELEPHONE BIDS Prospective buyers may bid by telephone during the course of the auction. Arrangements for this service must be confirmed with the Bid Department at least 2 hours prior to the auction. Telephone bids may be recorded. By bidding on the telephone, prospective buyers consent to the recording their conversation. Masterpiece will not be responsible for errors of failures to execute bids. Please note that we may contact new buyers to request for bank references. SUCCESSFULL BIDS The fall of the auctioneer’s hammer indicates the final bid, at which time, the buyer assumes full responsibility for the lot. AUCTION RESULTS You may view auction results at www.masterpieceauction.com.sg

CONDITIONS OF SALE FOR BUYERS

Together with the terms as set out in “INFORMATION FOR BUYERS”, These Conditions contain all terms in which a buyer contracts with a seller in respect of the sale of a Lot. These terms may be amended at any time by way of notices or oral announcements during the sale and auction. The buyer agrees to be bound by these Conditions when he/she bids to purchase a Lot. 1.Meanings In these terms and conditions, the following words and expressions have the following meanings: “Buyer” means the successful bidding buyer of a Lot; “Catalogue” means the Catalogue prepared by Masterpiece, which describes and illustrates all Lots for sale by Masterpiece; “Conditions” means these terms and conditions; “Hammer Price” means the price at which a Lot is sold to Buyer; “Lot” means each piece of property as described in the Catalogue for which bids are invited for purchase;

“Masterpiece”, “our”, “we”, “us” means Masterpiece Auction Private Limited; “Reserve Price” means in respect of a Lot, the minimum price which the Seller is prepared to accept from a buyer; “Seller”, means in respect of a particular Lot, the seller of that Lot and his personal representatives; “HKD” means the lawful currency of Hong Kong. Except where the context otherwise requires, words importing the singular shall include the plural and vice versa, words importing any one gender shall include all genders, and words importing persons shall include companies and corporations and vice versa. Unless otherwise stated, references to Clauses are references to Clauses in these Conditions. The headings appearing in this Agreement are inserted for ease of reference only and shall in no way define, limit or construe the terms and conditions appearing herein. 2. Parties to the sale of a Lot Unless otherwise stated, a Buyer contracts with a Seller to purchase a Lot. Masterpiece acts as the Seller’s agent in respect of the sale of a Lot. 3. Bidding (a) Registering. Prospective buyers are required to register for a numbered bidding paddle. Copies of bank statement may be required to be shown to Masterpiece for credit references and/or payment purposes. (b) Reserve. Unless otherwise stated, all Lots are offered for sale, subject to a Reserve Price which is confidential between the Seller and Masterpiece. Bids may be placed by representatives of Masterpiece on behalf of the Seller up to the Reserve Price. There is no obligation on Masterpiece to identify bids placed on behalf of a Seller. (c) Types of bids. Bids may be accepted from those present at the auction and from telephone bidders, or by absentee written bids left with Masterpiece prior to the auction. By bidding by telephone, all prospective buyers consent to the recording of all conversation and bids. (d) Currency. Prices of all Lots are in Hong Kong Dollars and all bids shall be made in Hong Kong Dollars. (e) Final bid. The fall of the auctioneer’s hammer indicates acceptance of the final bid, at which time the Buyer enters into a full valid and binding contract with the Seller to purchase the Lot. The results of absentee bids will be notified to the prospective buyer after the auction. Risk and responsibility of the Lot (but not title) pass to the Buyer seven calendar days from the date of the sale or earlier if full payment is made and delivery made to the Buyer. (f) Buyer’s responsibility. When bidding, a prospective buyer accepts personal responsibility to pay the Hammer Price of the Lot, which he had successfully bid for, together with the Buyers’ Premium at: 22% on the first HKD2,000,000 of the Hammer Price 15% on the amount in excess of HKD2,000,000 of the Hammer Price 4. Limited warranty (a) No warranty. Neither the Seller nor Masterpiece makes any warranty in respect of the description of any Lot, its value or its quality. Save for the limited warranty set out in this Clause 4(b) below, the Buyer purchases a Lot “as is” without any representation or warranty of any kind by Masterpiece or the Seller. The contents of the Catalogue are statements of opinion only and do not constitute any representation or warranty whatsoever in respect of any Lot. (b) Limited warranty. The Seller and Masterpiece only warrant that the Lot is related to the artist named in its description in the Catalogue. In the event of any allegation of lack of authenticity or forgery, the Buyer is required to notify Masterpiece in writing within a period of one year (the “Notice”) from the date of auction. (c) Contents of Notice. The Notice shall include written evidence from a reputable independent expert who is able to show/ prove that the Lot is a forgery. Masterpiece or the Seller reserves the right to request for further evidential proof from other experts if they are not satisfied with the findings from the Buyer’s expert. (d) Refund. In the event that Masterpiece is satisfied with the evidence as enclosed in the Notice and subject to (i) receipt of the full refund from the Seller and (ii) the return of the Lot in such condition as it was sold from the Buyer, a refund of the purchase price for that Lot will be made to the Buyer. The liability of Masterpiece and the Seller is limited to the purchase price of such Lot. Neither Masterpiece nor the Seller shall be liable for any other damages, costs and expenses that may be incurred in presenting the Notice. (e) Conflict of opinion. In the event of conflict of opinion between the Buyer’s expert and the expert appointed by Masterpiece or the Seller, or if it can be shown that tests of authenticity would involve scientific process which could damage or otherwise jeopardize the condition of the Lot and which scientific process did not exist at the time of the publication of the Catalogue, no refund will be made to the affected Lot. (f) No assignment of Limited Warranty. The Limited Warranty in this Clause 4 is for the benefit of the Buyer only and cannot be assigned to any third party.

(c)

circumstances where Masterpiece has released the Lot to the Buyer before full payment has been made. Payment modes. Payment is due in Hong Kong Dollars (HKD) immediately after the sale and may be made in the following modes:(i) Cash (not exceeding HKD 80,000) (ii) Telegraphic transfer to Masterpiece’s bank account as set out in the invoice. (iii) By way of bankers’ draft, traveler’s cheque and Credit Card (MasterCard and Visa). Buyers who are making cash payment are to provide: proof of identity (government issued identification with a photograph, such as a passport, identity card or driver’s license) and confirmation of permanent address. We reserve the right to seek identification of the source of funds received. Thank you for your cooperation. If you wish to pay for any purchase with your MasterCard or Visa, you must present the card in person to Masterpiece Auction Hong Kong office.

(d) Collection. The Buyer is required to collect his purchase from the premises of Masterpiece within 14 days from the date of the sale upon receipt of full payment and pay for all delivery and shipping costs. Masterpiece may assist the Buyer in making packing and shipping arrangements at the Buyer’s own costs and risk. (e) Storage charges. All purchases will initially be held for collection and/ or temporary storage at the premises of Masterpiece or Masterpiece appointed agent’s warehouse at no cost for a period of fourteen days from the date of sale. Thereafter, storage charge is applicable at the rate of HKD 100.00 per Lot per day. Masterpiece or Masterpiece’s appointed agent will bill the storage charges to the respective Buyer, together with all other costs involved for transport, handling, removal, insurance and any other expenses. (f) Limit on insurance cover. Masterpiece provides general insurance cover for sold Lots for a period of up to seven days from the date of sale of such Lots. Thereafter, risk of such Lots will be transferred to the respective Buyers. 6. Non-payment Where a Buyer fails to make payment with cleared funds within the stipulated time, Masterpiece and/or the Seller shall be entitled, in addition to all other rights and remedies available under the law, to :(a) charge default interest at the rate of 1.5% per month on the outstanding sums due from the Buyer; (b) to commence legal proceedings against the Buyer for recovery of all outstanding sums, including interest, legal fees, costs and other expenses on a full indemnity basis; (c) rescind the sale of the Lot; (d) to resell the property on such terms as they deem fit and to set-off the proceeds of sale against the outstanding sums unpaid by the Buyer; (e) to hold the Lot as security; pledge or lien pending payment of all outstanding sums due from the Buyer. 7. Copyright The copyright of all images, illustrations and literature, including the Catalogue is the property of Masterpiece and shall not be used by the Buyer without the prior written consent of Masterpiece. No warranty is made by Masterpiece and the Seller that the Buyer of a Lot shall acquire any intellectual property rights in it or to reproduce it. 8. Miscellaneous (a) Notwithstanding anything stated in these Conditions, the Buyer shall indemnify Masterpiece and the Seller on a full indemnity basis, in respect of any loss, damage, cost or expense that may be incurred by either the Seller or Masterpiece in respect of any breach by the Buyer of these Conditions. (b) If any part of this agreement is found by any courts to be invalid, illegal or unenforceable, that part may be discounted and the rest of the agreement shall continue to be valid and enforceable to the fullest extent permitted by law. (c) Masterpiece will hold Buyer’s personal data and may communicate it to affiliated companies worldwide for the purposes of promoting the forthcoming sales, events and/ or services to the Buyer, ie. for consignment or purchase or any other services. (d) These Conditions are subjected to Hong Kong law, which shall apply to its construction as well as to its effect. (e) Where a translation of this agreement has been provided, the English language version shall prevail in case of conflict. (f) Any photographs or video taken (if any) during preview or auction may be used in our printed and/or promotion/ marketing materials. All participants of preview and auction are assumed to have given advance consent for the use of those photographs and videos.

5. Payment, Title and Collection of purchases (a) Deadline for payment. All payments for sold Lots must be made within seven calendar days from the date of sale. (b) Title. No title in the Lot will pass to the Buyer until all amounts due to Masterpiece as stated in Clause 3(f) above have been paid, even in MASTERPIECE FINE ART - HONG KONG

001 GERARD PIETER ADOLFS (b. Semarang, Indonesia, 1899 – d. The Netherlands, 1968) Street Vendor Oil on canvas: 35 x 45 cm Signed, lower right: Ger. P Adolfs HKD 26,000 - 30,000 USD 3,350 - 3,870 杰拉德·彼得尔·阿多夫 (印尼 1899 – 荷兰1968) 菜贩油彩画布: 35 x 45 cm 签名右下: Ger. P. adolfs

MASTERPIECE FINE ART - HONG KONG

Gerard Pieter Adolfs was a Dutch East Indies artist and architect. Gerard was a well-known advertising illustrator before he was introduced as an artist in Yogyakarta, Indonesia in 1924. Gerard was an ardent traveler and traveled for months at a time where he established studious in Florence, Rome, Vienna, Budapest, Prague, and, together with his Japanese friend Léonard Tsuguharu Fujita, in Paris. During his career, Gerard exhibited his works of art internationally in countries such as the Netherlands, Japan, Singapore, USA, England, Holland, Sweden, Norway, France, and Switzerland. In his works he has always attempted to represent the light, colour, and the simple joy of life that impregnates the scenes and his paintings had a menacing, even macabre quality to them, due to the dramatic light, a result of chiaroscuro. Gerard probably picked this up from Caravaggio (the inventor of chiaroscuro), whose works and those of other Old Masters, he had studied in Rome during his 1928 study tour as can be seen from the works reproduced, he has a bold, vigorous style, applying his pigments with quick strokes of the palette knife. Gerard was an ardent traveler, and captured the scenes of his travels in Europe, North Africa, Japan, and Indonesia where Gerard’s ability to capture light earned him a reputation as “The Wizard of Light” by the press.

002 RUSTAMADJI (b. Surabaya, Indonesia 1932 – d. 1990) Traditional Market Scene, 1986 Oil on canvas: 90 x 130 Signed and dated, lower left: Rustamadji, 1986 HKD 110,000 - 180,000 USD 14,190 - 23,220 鲁斯达曼吉 (泗水 1932 – 1990) 传统菜市场, 1986 油彩画布: 90 x 130 签名日期，左下: Rustamadji, 1986

Rustamadji studied arts under the tutelage of the Indonesian maestro S. Sudjojono when he was a member of the Sanggar Indonesia Muda (Young Indonesian Artist Association). Rustamadji painted in the realist-naturalistic style from the 1940’s to the 1960’s where his focused on the themes surrounding the daily life and experiences which were familiar to the people. Rustamadji paintings reflected the feeling of nationalism which became more popular after the more romantic-naturalistic Mooi Indie style of the 1930’s.Rustamadji was greatly influenced by the spirit of the time when he began painting as the Indonesian Revolution against Dutch colonial rule evoked sense of patriotism in him. His works were egalitarian with his underlying messages of social, economic, and political equality for everyone. Rustamadji was deeply inspired by people’s daily life and The Market Scene is one such example. He shows his expertise in presenting detailed forms, treatment of light and shadow, and creating a certain kind of mood. His mastery of the realistic technique captured a typical market scene full of boisterous activities, simple yet complete. The colors are mostly earthy and subdued, except in some of the clothing where contrasting colours brings the painting to life. There is great depth in this painting, and one can almost hear the chatter and bustling sounds of the market

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Zhao Shao Ang

003 Zhao Shao Ang (b. Guangdong, China 1905 – d. Hong Kong 1998) Goldfish Chinese ink on ricepaper: 59 x 96 cm Signed and sealed on left in chinese characters

赵少昂 (中国广东， 1905 – 1998) 金鱼水墨宣纸: 59 x 96 cm 签名钤印，左：赵少昂

HKD 350,000 - 450,000 USD 45,150 - 58,050 Zhao Shao Ang began his art journey under the tutelage of the famouse Lingnan artist, Gao Qifeng at Gao’s private art school at the age of 16. At 23, Zhao became a teacher at the Fushan Art Academy and in 1930, his work was awarded a gold medal at the Brussels International World Fair in Belgium. In the same year, he founded the Lingnan Art Studio at Guangzhou. Zhao became the head of the Chinese Painting Department of the Guangzhou Art Institute in 1937 and soon after moved to Hong Kong where he held one man shows in Hong Kong, New Zealand, and Lisbon in 1939. Zhao extensively travelled during the Sino-Japanese war and continued to exhibit in several cities like Nanging, Tianjin, and Beijing. After the war, Zhao was appointed as the professor of art at the Guangzhou University in 1948 and he later moved to Hong Kong to re-establish the Lingan Art Studio. Zhao’s boundaries expended after the war and in during the years 1950’s to 1970’s he exhibited his works in Southeast Asian countries, and toured Europe, exhibiting in Switzerland, London, Manchester, Paris, and Rome and over 30 exhibitions in Canada, West Germany, Australia and the United States. 字叔仪，原籍广东番禺。中国画家。赵少昂擅花鸟、走兽，继承岭南画派的传统，主张革新中国画。他的画能融汇古今，并汲取外国绘画的表现形式。作品笔墨简练、生动，形神兼备，深受人们的欢迎。赵少昂从中国传统崇尚六法、写意的审美旨趣出发，融合西方美学因素的中国画作为一种不同的、现代化的艺术，表现他艺术思想领域中“中西融合”的观念，提倡师法自然，重视写生的主张，在一定程度上反映时代气息。赵少昂的山水、人物、花鸟、走兽等各种题材的绘画中，以花鸟画为最精，尤其是后期的花鸟画，他所追求的生机灵动、逼肖传神，已经在他笔下的自然景物中展露无遗。

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004 GERARD PIETER ADOLFS (b. Semarang, Indonesia, 1899 – d. The Netherlands, 1968) Kampong Scene Oil on canvas on board: 45 x 35 cm Signed, lower right: Ger. P. adolfs HKD 46,000 - 55,000 USD 5,930 - 7,100 杰拉德·彼得尔·阿多夫 (印尼 1899 – 荷兰1968) 乡村景色油彩画布木板: 45 x 35 cm 签名右下: Ger. P. adolfs 18

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005 LIU DE ZHOU (b. Shandong, China, 1953) Snow Chinese ink on rice paper: 69 x 70 cm Signed and sealed on right in chinese characters HKD 35,000 - 60,000 USD 4,520 - 7,740 刘德舟 (中国山东,1953) 雪水墨宣纸: 69 x70 cm 签名钤印，右：刘德舟

Liu De Zhou began his artistic journey under the tutelage of Zhangren Zhi before enrolling in the Beijing Art Academy in1977. Liu is known as a Chinese contemporary freehand landscape artist whose modern take on Chinese paintings focuses on minimal, thick bold strokes. Liu’s bold, modern take on Chinese ink has earned him critical acclamation amongst art critics and collectors and has enable Liu to exhibit regularly both in China and internationally. Liu’s works has been exhibited in venues such as the Beijing Art Academy (1985), World Economic Forum Annual Meeting, Davos Switzerland (1993), New Delhi Asian Triennale, India (2001), and the French Painting and Watercolour Art Salon, Paris, France (2002). Liu’s contribution to Chinese paintings is well documented and a number of publications have been made including the Chinese Contemporary Artists Paintings – Liu Zhou, Zhou Works, and Liu Zhou - Selected Works. Liu is a member of the Beijing Artists Association, Chinese National Artists Association, and a director of the Malaysia Calligraphists & Artists Association. 山东人，中国当代大写意山水画家。启蒙于齐白石之子齐良已，后师从张仁芝、关松房、溥松窗等。美国评论家称其是“最新一代的画家”，“他的山水是一种以线型为主体从而弱化皴、擦、染的极简山水”，“对传统的中国山水画是一个突破”。作品多次在国内及美国、日本、韩国、法国、瑞士等国家展出，并被中国美术馆等机构及海外美术馆、收藏家收藏。 1977年进入北京画院，曾任北京画院资料室主任。中国美术家协会北京分会会员，马来西亚草堂门金石书画会理事，当代东方画会副会长,北京市工商联企业家书画会副会长，北京画院画家。

MASTERPIECE FINE ART - HONG KONG

Roedyat Martadiredja Roedyat Martadiredja was born in Bandung, 1932 and began to learn painting in 1948 and later continued his study at the Bandung Institute of Technology. Although abstract style was a dominant stream in Bandung, Roedyat was one of the Bandung School artists who paint in a figurative style. Roedyat has an individual painting style which makes him different from other Bandung Artist. His works has deformation tendencies with soft tertiary colors and also complicated but well thought-out compositions. Roedyat has held solo exhibitions in Jakarta (1978) and was included in the EastWest Center’s Art of Bali exhibition in Honolulu, Hawaii (1988). His works are unique, rich and colorful that creates a strong rhythm and his works can be found in private collections of European and American collectors. The present lot, Ika Dasa Ludra, illustrates an important ceremony in Bali to welcome the new year of Saka. Ika Dasa Ludra is a series of processions, ceremonies, and sacrifices held every 100 years at Pura Besakih, the “mother temple” of Bali, Indonesia. The temple, which comprises of about 30 separate temples honoring a great variety of Balinese and Hindu gods, was probably built about 1,000 years ago on the slopes of the volcanic mountain, Mount Agung. On March 17, 1963, the Eka Dasa Rudra was under way when Agung catastrophically erupted and killed more than 1,500 people. Since the sacrifices were interrupted, the Eka Dasa Rudra was resumed 16 years later. The temple complexes are formed in cubism style with large presentation of the crowds holding the offering for the ceremony. Images of gods were carried 19 miles down the mountain to be washed in the sea where entire villages gathered along the route. The color richness expresses the artist’s significant characteristic.

006 ROEDYAT MARTADIREDJA (b. Bandung, Indonesia, 1932 – d. 2002) Ika Dasa Ludra, 1979

罗雅·马达地列嘉 (印尼万隆 1932 – 2002) Ika Dasa Ludra, 1979

Oil on canvas: 85 x 100 cm Signed, titled and dated, lower right: Roedyat, ’79, Bali, Ika Dasa Ludra

油彩画布: 85 x100 cm 签名题目日期，右下: Roedyat79, Bali, Ika Dasa Ludra

HKD 100,000 - 180,000 USD 12,900 - 23,220

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007 YANG SHAN SHEN (b. Guangdong, China 1913 - d. 2004) Blessings Chinese ink on rice paper: 67 x 35 cm Signed and sealed, lower right in chinese character HKD 30,000 - 60,000 USD 3,870 - 7,740 杨善深 (中国广东,1913 – 2004) 深情水墨宣纸: 67 x 35 cm 签名钤印，右下：杨善深 22

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Yang Shan Shen was born at Chiqi,Taishan in Guangdong Province and he was one of the masters of the Lingnan School.Yang was greatly influenced by two masters of the Lingnan School, Gao Jianfu and Gao Qifeng, and he was also inspired by Japanese ink painting. In 1936, Yang travelled to Japan and was enrolled into the Domoto Art Institute, Kyoto and studied with the well-known painter Domoto Insho. In recognition of Yang’s contribution to Chinese painting, he was awarded an honorary degree from the Chinese Academic Research Institute, Taiwan (1970), awarded the Fellowship of Achievement of Visual Arts by the Hong Kong Arts Development Council (1999), and awarded the SBS from the government of Hong Kong Special Administration Region for his achievements. Yang’s works have been extensively exhibited in Hong Kong, China and internationally. In 1981, the Hong Kong Museum of Art presented his solo exhibition “The Art of Yang Shan Shen” with a catalogue published and in 1995, the Museum of Art presented the exhibition “Lingnan Spirit - A Retrospective of Yang Shan Shen”. 杨善深字柳斋，被譽“嶺南畫派最后一位大師”。楊善深生於廣東省台山赤溪。1930年移居香港，1933年開始從事繪畫，與“嶺南三傑”之一的高劍父結識，開展悠長的師友關係。1935年留學日本，1970年在港成立“春風畫會”。杨善深擅画花鸟、走兽、人物、山水，书法也独具特色。他秉承岭南画派的创新精神，融贯中外，其绘画构思新颖，笔墨苍老，巧拙互用，雄放而不失秀雅，形成了鲜明的个人风格。

Saidjah & the Bull Masterpiece Singapore 28 November 2012, Lot 074 Sold SGD 240,000

008 BASOEKI ABDULLAH (b. Solo, Indonesia 1915 – d. Jakarta, Indonesia 1993) Kakek dan Cucu Oil on canvas: 80 x 65 cm Signed, lower left: Basoeki Abdullah This painting will be included in the future publication of the artist’s book HKD 150,000 - 200,000 USD 19,350 - 25,800

巴苏基·阿都拉 (印尼梭罗 1915 – 印尼雅加达 1993) 爷孙俩油彩画布: 80 x 65 cm 签名, 左下: Basoeki Abdullah 此画会收录于艺术家将出版之画册。

Basoeki Abdullah is one of the later proponents of the Mooie Indies School (Beautiful Indies) preferring the depictions of the natural beauty and sensuality drawn from the Indonesian landscape. Basoeki was known for his portraits, as well as paintings of scenes from legendary myths that are also tempered with the same lyrical and overly sensual treatment. Known as a realist, the artist gain the public recognition after winning a painting competition held in conjunction with the Queen Juliana of Netherlands ascension to throne on 6 September 1948. Kakek dan Cucu is a prime example of Basoeki’s talents. This portrait of a grandfather and his grandchild is a portrait of contrasting generations in which Basoeki’s mastery perfectly captures on canvas. MASTERPIECE FINE ART - HONG KONG

Alimin Tamin Alimin began his study in painting under the guidance of S.Sudjojono and Harijadi in SIM (Young Indonesian Artists), Yogyakarta in 1952. In 1954, he moved to Jakarta, where together with Nashar, Wim Nirahua, Mardian, A. Wakidjan, and Alex Wetik, Alimin founded the Matahari Artists Association at Balai Budaya, Jakarta. In 1957, Alimin moved to Bali where he taught painting at the Department of Fine Arts and Architecture, Udayana University, Denpasar. Alimin and Gusti Sholihin co-founded “Kedaton Studio” in Denpasar in 1960 and he was the Chairman of CITRA - Indonesian Artists Association in Denpasar, Bali from 1975 to 1978. Alimin has participated in exhibitions in Jakarta, Yogyakarta, Bandung, and Bali. Alimin was greatly fond of painting themes surrounding Balinese people and its traditions. In the present lot, Dua Gadis Bali, Alimin illustrates two Balinese ladies preparing offerings. One of the most striking things about Bali is the daily profusion of offerings. Offerings are important as they are to give pleasure to the gods and demons. They provide good karma to those who are involved in their preparations. Nearly every village has its own unique forms of offerings and some Balinese even spend all their lives making them. Women mostly, but not exclusively: it depends on type of offering.The work in preparing an offering, itself is an element of worship, and is regarded as part of its content. Here, Alimin present the arrangements of fruits and flowers for the offerings in decorative style. The realistic portrayal of the figures is described in a static scene with detail of clothing and ornaments.

009 ALIMIN TAMIN (b. Solok, Indonesia, 1932) Dua Gadis Bali (Two Balinese Girls), 1967 Oil on canvas: 127 x 80 cm Signed and dated, lower left: Alimin, 1967 HKD 80,000 - 100,000 USD 10,320 - 12,900

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阿利敏·达敏 (印尼Solok, 1932) 两名峇里少女, 1967 油彩画布: 127 x 80 cm 签名及日期, 左下: Alimin, 1967

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010 YANG SHAN SHEN (b. Guangdong, China 1913 - d. 2004) Lovers Chinese ink on rice paper: 34 x 44,5 cm Signed and sealed, on the right in chinese character HKD 20,000 - 40,000 USD 2,580 - 5,160 杨善深 (中国广东， 1913 – 2004) 人约黄昏后水墨宣纸: 34 x 44,5 cm 签名钤印，右：杨善深

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011 WANG ZHENGHU A (b. Henan, China, 1937) Lying Lady Oil on canvas: 60 x 101 cm HKD 120,000 - 200,000 USD 15,480 - 25,800

王征骅 (中国河南，1937) 斜卧女人油彩画布：60 x 101 cm

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Ong Kim Seng Ong Kim Seng has climbed the ranks of formal appreciation to claim his title as one of the most celebrated Singaporean artist. As one of Singapore’s most iconic artist, Ong has shown mastery over the capture of light, often basking his creations in the warmth of sunlight, expertly using positive space and shadows to create stunningly realistic depictions of silhouettes and representation. Ong Kim Seng has exhibited worldwide and won a multitude of awards, including six awards from the American Watercolor Society, and the coveted Cultural Medallion for visual arts by the Ministry Of Information and the Arts, Singapore. The artist was also President of the Singapore Watercolor Society from 1991 to 2001 when he became Honorary President. Ong’s works have graced the collections of a number of museums and art galleries as well as the residences of foreign dignitaries such as Queen Elizabeth II of England and Kofi Annan, the SecretaryGeneral of the United Nations. His works are also exhibited in foreign missions and embassies of the Republic of Singapore. Ong is a self-taught artist, who never had any formal art training. As a realist painter, his works focus on inanimate objects, architectural form, masonry, foliage and landscape. His style is “naturalist cum impressionistic”, which is “a combination of postimpressionist colour and the outlook of the American realist masters”.

Heart of Katmandu Masterpiece Singapore 8 November 2015, Lot 126 Sold SGD 61,000

012 ONG KIM SENG (b. Singapore, 1945) Katmandu, 1994 Oil on canvas: 127 x 180 cm Signed and dated, lower right: Kim Seng, ‘94

王金城 (新加坡，1945) 加德满都, 1994 油彩画布: 127 x 180 cm 签名及日期，右下: Kim Seng94

HKD 270,000 - 350,000 USD 34,830 - 45,150

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013 PUTU SUTAWIJAYA (b. Bali, Indonesia, 1971) Lonely, 2006 Mixed media on canvas: 140 x 120 cm Signed and dated, lower left: Putu Sutawijaya, 2006

普都·苏达维再雅 (印尼峇里岛, 1971) 寂寞, 2006 综合媒材画布: 140 x 120 cm 签名日期，左下: Putu Sutawijaya 2006

HKD 100,000 - 150,000 USD 12,900 - 19,350 30

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Putu Sutawijaya studied at Sekolah Tinggi Seni Rupa Denpasar (Seni Rupa high school), Bali and continued his studies at the prestigious Indonesia Institute of Arts (ISI), Yogyakarta and graduated from the Faculty of Fine Arts in 1997. Putu earned a reputation for his studies on the human figure. With his strong spontaneous lines, Putu’s figures are painted with dynamisms and motion. The figures and postures in Putu’s works are the results of contemplation and reflections regarding music, dance, meditation, and personal life experiences. Putu has held solo exhibitions in Yogyakarta, Singapore, Hong Kong, and Jakarta and his works has not gone unnoticed as he has been awarded with the Best Watercolour, Faculty of Fine Arts, ISI, Yogyakarta (1991), Best Oil, Faculty of Fine Arts, ISI, Yogyakarta (1992), and the Lempad Prize, Sanggar Dewata, Indonesia (2000).

014 AGUNG MANGU PUTRA (b. Bali, Indonesia, 1963) Gotong Royong, 2003 Acrylic on canvas: 90 x 140 cm Signed and dated, lower right: Mangu Putra, 2003 Signed, titled and dated on the reverse This lot is accompanied with a certificate of authenticity from the artist

阿贡·曼古·布特拉 (印尼峇里 1963) 同心协力, 2003 亚克力画布: 90 x 140 cm 签名及日期，右下: Mangu Putra, 2003 签名、题目及日期在画背面附有艺术家本人之真品证明书

HKD 100,000 - 150,000 USD 12,900 - 19,350 Agung Mangu Putra graduated in Visual Communication Design in the faculty of Fine Arts and Design at the Indonesia Institute of Arts (ISI),Yogyakarta, Indonesia in 1990 where he was awarded for the Best Work of Visual Communication Design for ISI’s 4th and 6th Anniversary (1988 & 1990). After working as a graphic designer, Mangu Putra became a full time artist in 1998 where he earned a reputation as a young and exciting artist. Mangu Putra’s works are inspired by his innate desire to express the inner pulse of life. Gotong Royong loosely translate to community spirit, and in this lot, Mangu Putra captures the spirt of the coming together of men and children. Minimal colours are used to depict the gathering and Mangu’s clever use of white which is painted with a touch of cubism conveys a sense of fellowship. Mangu Putra’s painting “Imagination Under The Sea” was selected for the top ten paintings of the prestigious Philip Morris award in 1994 and he came in second for the 2002 Indofood Art Awards, Indonesia. In 2000, Mangu Putra’s artistic works were documented in the book “Mangu Putra: Nature, Culture, Tension” further cementing his position as a leading Indonesian artist.

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Chen Wen Hsi 陈文希 Like many of Singapore’s first-generation artists, Chen Wen Hsi was born in China and settled in Singapore, where he became one of the founding fathers of the “Nanyang School” — a style combining Chinese traditional ink painting with Southeast Asian influences. Chen’s most sought-after works are his Chinese paintings depiction of gibbons, squirrels, ducks, and sparrows. As an artist, he was never bound by tradition or medium as he was versatile in both Chinese ink and Western art. In his landscape works, Chen adopted various techniques. He was familiar with the conventional construction of a typical sanshui (mountain and water) painting like landscape through the accumulation of cunfa (texture strokes). However, his later works tend to be more evocative rather than providing a setting within which a viewer could wander through. In Chen’s painting of the Granite Mountain, the majesty of the mountain is conveyed by fragmented color planes rendered in bold strokes that almost fill in the entire surface. This is one of Chen’s exceptional works in canvas depicting a rocky mountain from close observation of nature as he combines both Chinese and Western tecnhiques. For his contribution to Singaporean arts, Chen was awarded with the Public Service Star (1964), a Gold Medal by the National Museum of History, Taiwan (1980), the first recipient of the ASEAN Cultural and Communication Award for outstanding artists (1987), and an honorary doctorate from the National University of Singapore. 015 CHEN WEN HSI 陈文希 (b. Baigong, China, 1906 – d. Singapore 1992) Granite Mountain, 1950’s Oil on canvas: 60 x 75 cm Signed, lower right: Chen Wen Hsi Provenance: Property from an prominent Asian private collection HKD 800,000 - 1,200,000 USD 103,200 - 154,800

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陈文希 (中国广东, 1906 – 新加坡, 1992) 花岗岩山，1950’s 油彩画布: 60 x 75 cm 签名右下: Chen Wen Hsi 来源：著名收藏家私人藏品

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016 HENDRA GUNAWAN (b. Bandung, Indonesia 1918 – d. 1983) Dapur Umum dan Para Pejuang, 1947 Oil on boards: 45 x 45 cm Provenance: Private collection from Jakarta, acquired directly from the artist HKD 70,000 - 90,000 USD 9,030 - 11,610 古那弯 (印尼万隆 1918 – 1983) 战士与公家厨房, 1947 油彩木板: 45 x 45 cm 来源：雅加达私人收藏，直接购自艺术家。

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Hendra Gunawan is an Indonesian maestro par excellence. Hendra taught at the Indonesian Fine Art Academy (ASRI), Yogyakarta in 1957 and took part in founding the Front Seniman (Artists Front) in Bandung, and Pelukis Rakyat (People’s Artists) in Yogyakarta. Hendra was actively involved in the Indonesian revolution and in 1965, he was sent to prison for his political views. Hendra documented the people’s struggles during the Indonesian revolution and Dapur Umum dan Para Pejuang is one such description of their struggles. Dapur Umum dan Para Pejuang which translates to Common Kitchen and Rebels, depicts the sufferings and coming together of the Indonesian people where food was scarce. The rebels were fighting for the rights of Indonesian for their independence from the Dutch. Despite their independence in 1945, it was not recognised by the Dutch which led to the Indonesian revolution and finally resolved in 1949. Hendra’s people are never passive victims of their faith; they are always depicted as active subjects. He took the daily lives of people subjects for his paintings and captured them movingly on canvas in his inimitable style. Though Hendra’s art was, from the very beginning focused towards celebrating common people and their struggle that depicts his deep feeling and irony inspiring perspective of life’s most fundamental issue: freedom and hunger, Hendra also love the land and paint some in his several themes. Hendra later paintings are melancholic and emotional as a result of the hardship that he experienced during his thirteen years in Bandung Kebon Waru prison. During his imprisoned time he painted some of his most dreamlike, vibrant and emotional works. He illustrates the sadness and the mystery in a brighter, more saturated, expressionistic and abstract. Hendra Gunawan is undoubtedly one of the Indonesia’s greatest pioneers of modern art and was considered to be one of the best and most versatile painters in Indonesia.

017 DAMIEN HIRST (b. Bristol, United Kingdom, 1965) Skull Spin Painting

Damien Hirst first came to public attention in London in 1988 when he conceived and curated Freeze, an exhibition of his own work and that of his friends and fellow Goldsmiths College students, staged in an unused London warehouse. In the nearly quarter of a century since that pivotal show, Hirst has become one of the most influential artists of his generation.

Acrylic on paper: 71.1 x 50.8 cm

Damien Hirst was born in 1965 in Bristol, England. He lives and works in London and Devon. He is one of the most prominent artists to have emerged from the British art scene in the 1990s. Hirst’s exploration of imagery is notable for its strong associations to life and death, and to belief and value systems. He has participated in numerous group exhibitions including the Venice Biennale in 1993 and 2003; Twentieth Century British Sculpture, Jeu de Paume, Paris, 1996; Extreme Abstraction, Albright Knox Art Gallery, Buffalo, 2005; Into Me / Out of Me, PS1 Contemporary Art Center, New York, 2006; Re-Object, Kunsthaus Bregenz, Bregenz, 2007; and Color Chart: Reinventing Color 1950 to Today, Museum of Modern Art, New York, 2008. Solo exhibitions include Internal Affairs, ICA, London, 1991; Astrup Fearnley Museum, Oslo, 1997; The Agony and the Ecstasy, Museo Archeologico Nazionale, Naples, 2004; Museum of Fine Arts, Boston, 2005; For the Love of God, Rijksmuseum, Amsterdam 2008 and Palazzo Vecchio, Florence, 2010/1. He received the DAAD fellowship in Berlin in 1994 and won the Turner Prize in 1995. In April 2012, Hirst had a retrospective survey of his work at the Tate Britain.

HKD 70,000 - 120,000 USD 9,030 - 15,480 达明安·赫斯特 (英国布里斯托, 1965) 回转之骷髅亚克力纸本: 71.1 x 50.8 cm

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Xu Wentao Xu Wentao graduated from the Department of Art of Jianghan University in 1991 and he graduated with Masters from the Department of Oil painting from the Hubei Fine Art Institute where Xu has been teaching in the Oil painting Department since 1999. Xu received the 7th Luo Zhongli Scholarship by Taiwan Art Foundation in 1999 on his artistic abilities. Xu has actively participated in group exhibitions, taking part in exhibitions such as The First Salon of Art in Autumn, Beijing (2004), Exhibition of Contemporary Art: Slowly, Fine Arts Literature Art Center Wuhan, China (2004), China’s Photographic Painting, Art Seasons Gallery, Beijing (2004), Exhibition of Contemporary Art: Play and Plus, Wuhan, China (2004), ARCO International Contemporary Art Fair 2003, Madrid, Spain (2003), and 3rd Chinese Oil Painting Exhibition, China National Museum of Fine Art, Beijing (2003) 018 XU WENTAO (b. Wuhan, China, 1968) Bathing, 2003 Oil on canvas: 130 x 160 cm Signed and dated, lower right: in chinese characters, 2003,4 HKD 70,000 - 100,000 USD 9,030 - 12,900 徐文涛 (中国武汉，1968) 沐浴, 2003 油彩画布: 130 x 160 cm 签名及日期，右下: 2003,4

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019 OU HAO NIAN (b. China 1935) Landscape Chinese ink and colour on rice paper: 29.5 x 84 cm HKD 50,000 - 70,000 USD 6,450 - 9,030 欧豪年 (中国1935-）山水风景水墨设色宣纸：29.5 x 84 cm

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欧豪年出生于广东，1970年定居台湾。当今台湾画坛第一人。欧豪年十七岁师从岭南画派巨擘赵少昂，力学精研，卓然自成大家，其绘画题材兼善画花鸟、山水、人物、畜兽，对书法与诗文亦多有研究，艺术成就多元而丰富。二十岁左右即参加东南亚巡回展，往后数十年不断应邀在海外各地展出，备受国际艺坛之肯定与推崇，并于一九九三年荣膺法国国家美术学会巴黎大宫博物馆双年展特奖。

020 HENRY VAN VELTHUYSEN (b.Tandjung, Indonesia, 1881 – d.The Hague, 1954) In The Forest Oil on canvas: 70 x 50 cm Signed, lower left: H.V. Velthuysen HKD 14,000 - 16,000 USD 1,810 - 2,060

Henry Van Velthuysen was a Dutch East Indies artist and he was a prolific painter, draughtsman, poster designer, art critic, and teacher. Henry was one of the pioneer Dutch East Indies artists and he studied art at the Academy of Fine Arts in Berkeley, America. Henry visited Indonesia where he later worked and lived in Jakarta and Bandung. In 1931, he participated in the Colonial World Fair in Paris where he included his paintings of portraits and views of Jakarta as a contribution to the dioramas for the Dutch East Indies pavilion. From 1923 to1938, Henry participated in many art exhibitions under the Bativiasche Kunstkring art group.

亨利·凡·维都森 (印尼Tandjung 1881 – 荷兰海牙, 1954) 森林里油彩画布: 70x 50 cm 签名左下: H.V. Velthuysen MASTERPIECE FINE ART - HONG KONG

Zhong Biao Zhong Biao graduated from the department of oil painting at the Central Academy of Fine Art, Beijing, in 1991. Zhong has since been one of the leading contemporary artist in China with his compositional paintings, overlain with references of politics and society. Zhong’s works investigates the revolving Chinese culture with interplay between body and object featuring heavily in his works. An accomplished artist, Zhong has held solo exhibitions in venues such as the Museum of Sichuan Fine Arts Institute, China (1996),Yuz Art Musuem, Jakarta, Indonesia (2009), Suzhou Art Museum, China (2013), Chiesa Santa Maria Della Vitazione, Venice, Italy (2013), and Tivat Naval Heritage Collection Museum,Tivat, Montenegro (2014). Zhong has also participated in group museum shows, taking part in “Embrace!” Denver Art Museum, Denver, United States (2009), ” Cuba Museo Nacional de Bellas Artes”, Havana, Cuba (2009), “China Welcomes You,” Kulturspeicher Oldenburg, Oldenburg, Germany (2010), and include “The Exhibition of Annual of Contemporary Art of China 2014,” Beijing Minsheng Art Museum, Beijing, China (2015). Zhong’s works are in the public collections of the Guangdong Museum of Art, Guangzhou, China, Shanghai Art Museum, Shanghai, China, Singapore Art Museum, Singapore, and Gwangju Museum of Art, Gwangju, South Korea. Selected Exhibitions 2005 Zhong Biao – A Solo Exhibition, Art Scene Warehouse, Shanghai 2003 Art Chicago Navy Pier, Chicago, Illinois, USA Art Miami 2001 San Francisco, USA, 2001 Chinese Culture Week, El Salvador and Sao Paolo, Brazil Chilli from Chongqing, Kassel, Germany 1997 Portraits of Ladies, Hongkong 1996 The Fable of Life-Oil Paintings by Zhong Biao, Chongqing Elevenses – The Avant-Grade, Hongkong History of Contemporary Chinese Oil Painting-from Realism to Post Modernism

021 ZHONG BIAO (b. Sichuan, China, 1968) Ten Thousand Years Acrylic on canvas: 200 x 150 cm HKD 180,000 - 220,000 USD 23,220 - 28,380

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钟飚 (中国四川, 1968) 一万年亚克力画布: 200 x 150 cm

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022 AMING PRAYITNO (b. Surakarta, Indonesia, 1943) Figur, 1997 Oil on canvas: 90 x 70 cm Signed and dated, lower right: Aming, 1997 HKD 17,000 - 22,000 USD 2,190 - 2,840 阿明·巴拉亦诺 (印尼Surakarta, 1943) 人物, 1997 油彩画布: 90 x 70 cm 签名及日期, 右下: Aming, 1997

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Aming Prayitno graduated from the Indonesian Fine Art Academy (ASRI), Yogyakarta, Indonesia in 1977 and he furthered his studies in art at the Koninklijk Akademie Voor Schonkunsten, Gent, Belgium in 1976. Aming has received a number of awards for his paintings and among others are Raden Saleh Award (1972), The Best Work at the Biennal Indonesian Painting (1974 & 1980), and The Best work at Biennal Painting, Yogyakarta (1992).

023 TRAN LUU HAU (b. Vietnam, 1928) Hanoi Trees, 2007 Acrylic on canvas: 165 x 111 cm Signed and dated, lower left: hau, ‘07 HKD 190,000 - 250,000 USD 24,510 - 32,250

TRAN LUU HAU (越南, 1928) 河内之树, 2007 亚克力画布: 165 x 111 cm 签名及日期，左下：hau 07

Tran Luu Hao was born in Ninh Binh, Vietnam in 1928. He is among the 22 who studied arts in the Viet Bac Fine Art School under master artist To Ngoc Van and got his degree in Department of Stage Decoration from Surikove Fine Arts Academy in Moscow in 1962. After his degree, Tran returned to Vietname where he became a lecturer at the Hanoi Fine Arts University. Tran Luu Hao has won many accolades for his works picking up the First Prize of the National Graphic Exhibition, Vietnam in 1985 and Second Prize of the National Fine Arts Exhibition, Vietnam in 1980. In 1991, Tran held a solo exhibition in France the Tran Luu Hau’s Artworks, Cultural House of Vietnam, Paris, France and he has since held exhibitions in Germany, Hong Kong, Singapore, and Vietnam. Tran’s works make up the collection of the Vietnam Army Museum, Vietnam Fine Art Museum, The National Museum of East – Asian Art (Poland), The Asian Art Museum (Russia), and The Museum of Oriental Arts, Moscow (Russia) MASTERPIECE FINE ART - HONG KONG

Willem Dooijewaard Willem Dooijewaard was born in Amsterdam in 1892 where he studied arts as a student of the applied art school in Amsterdam. Together with his brother and fellow of the artist Jaap Dooijewaard, Willem Dooijewaard lived in Amsterdam till 1913, than Sumatra and Bali (Indonesia), Peking, Mongolia (China), Japan, the South of France and, after 1933, he moved back to Blaricum, Holland. He painted in an impressionistic manner figures, portraits, landscapes etc. Willem Dooijewaard had a solo exhibition in the Singer Museum Laren. Willem’s paintings are in the collection of the Singer Museum Laren and the Stedelijk van Abbemuseum, Netherlands. Willem was a great adventurer who travelled to Japan, where he often painted Geishas, and crossed the Gobi desert and Tibetan highlands on horseback and foot when it was truly frightening. He arrived in Bali in the early 1920’s, settled for a while and returned often before the Indonesian Independence. His modern figurative paintings of dancers are notable for their strong lines and exotic subjects. He was unwilling to sweeten the power of his vision. The resulting muscular Legong dancers and figures seem almost agonized, especially when compared to the more refined aesthetics of Hofker and Bonnet, whom he knew well.

024 WILLEM DOOIJEWAARD (b. Amsterdam, Netherlands 1892 – d. 1980) Seated Balinese Dancer Oil on canvas: 67 x 55 cm Signed, lower right: W. Dooijewaard HKD 500,000 - 700,000 USD 64,500 - 90,300 Women Selling Fruits Sotheby’s Hongkong 6 April 2013, Lot 342 Sold USD 463,680/ HKD 3,600,000

威廉·杜杰华特 (荷兰阿姆斯特丹 1892 – 1980) 坐着之峇里舞者油彩画布: 67 x 55 cm 签名, 右下: W. Dooijewaard

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Agung Mangu Putra graduated in Visual Communication Design in the faculty of Fine Arts and Design at the Indonesia Institute of Arts (ISI), Yogyakarta, Indonesia in 1990 where he was awarded for the Best Work of Visual Communication Design for ISI’s 4th and 6th Anniversary (1988 & 1990). After working as a graphic designer, Mangu Putra became a full time artist in 1998 where he earned a reputation as a young and exciting artist. Mangu Putra’s works are inspired by his innate desire to express the inner pulse of life of the natural world where mountains and coasts are depicted as identifiable objects. Mangu Putra’s painting “Imagination Under The Sea” was selected for the top ten paintings of the prestigious Philip Morris award in 1994 and he came in second for the 2002 Indofood Art Awards, Indonesia. In 2000, Mangu Putra’s artistic works were documented in the book “Mangu Putra: Nature, Culture, Tension” further cementing his position as a leading Indonesian artist. 025 AGUNG MANGU PUTRA (b. Bali, Indonesia, 1963) Tulamben Bali, 2002 Oil on canvas: 80 x 140 cm Signed and dated, lower right: Mangu Putra, 2002 This lot is accompanied with a certificate of authenticity from the Artist HKD 42,000 - 55,000 USD 5,420 - 7,100 48

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阿贡·曼古·布特拉 (峇里岛, 1963) 峇里岛Tulamben, 2002 油彩画布: 80 x 140 cm 签名及日期，右下 : Mangu Putra 2002 此画附有来自艺术家本人之真品证明书。

026 ADRIEN JEAN LE MAYEUR DE MERPRES (b. Brussel, Belgium, 1880 – d. 1958) Les Tuilleries-Paris Oil on board: 22 x 16 cm Signed, lower right: J. Le Mayeur HKD 46,000 - 55,000 USD 5,930 - 7,100 勒迈耶·德·莫赫鲁赫斯 (比利时 1880 – 1958) Les Tuilleries-Paris

Adrian-Jean Le Mayeur de Merpres was born in Brussels with noble ties to the Belgium royal family. Le Mayeur was keen to become an artist at an early age but was persuaded by his father, an artist himself, to complete his studies. Le Mayeur graduated as a civil engineer but soon devoted himself to painting. Inspired by the Impressionist movement in Europe, Le Mayeur’s works were executed with bold free flowing strokes using bright gay colours. Le Mayeur was an ardent traveler who travelled Europe and Asia capturing the sunlight and grandiose sights from his travels on canvas. This painting, Les Tuilleries, was done when Le Mayeur visited Paris, capturing the magnificence of the Les Tuilleries in his Impressionist manner. In 1932, Le Mayeur landed in Indonesia where he was drawn especially to the Balinese culture. Le Mayeur instantly fell in love with the Balinese people, traditions, dances, and the tropical sunlight which surrounded him and settled down in Bali, later marrying his model and Balinese dancer, Ni Pollok. Le Mayeur continued to capture the grace and beauty of Balinese culture and his works are still preserved in his house, which has since been converted into the La Mayeur Museum, Bali, Indonesia.

油彩木板: 22 x 16 cm 签名, 右下: J. Le Mayeur

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Awang Damit Awang Damit is one of the most recognized abstract expressionists in Malaysia. He graduated with honours from Mara Institute of Technology (UiTM), Malaysia, in Fine Arts in 1983 and was awarded the Best Student award that year. He then obtained his Masters in Fine Arts with the Catholic University of America, Washington D.C. in 1988. Awang belongs to the second generation abstract expressionists in modern Malaysian art and has been lauded for his series Marista (2002) and Iraga (2011). In 1992, a work from his EOC series titled Farmer’s Song clinched the Painting Prize at the coveted 3rd Salon Malaysia and he also received Honourable Mention at the 1994 and 1995 Philip Morris Malaysia Art Awards. Awang has held various exhibitions both in groups as well as solo including the Intipati Budaya – Satu Sintesis show at the Shenns Fine Art, Singapore (1994), and Bentuk and Makna by Galeri Seni FSSR, UiTM (2000). Awang Damit has held positions as the Curator of the Art Gallery and Head of the Fine Arts Department before being appointed an Associate Professor in 2000. Awang’s Payarama series, his latest, took 4 years to construct and carries with it his narratives and lessons obtained throughout his life. In Payarama Baru ‘Memori Perjalanan Utara’, Awang recounts his journey from the humble fishing village in Sabah and its hardships to become the artist he is today. 阿旺·达密副教授是马来西亚最著名的抽象派画家之一。他于1983年毕业于马来西亚玛拉工艺学院纯美术系，后来到美国华盛顿天主教大学进修，获颁纯美术硕士学位。他的创作Marista(2002)和Iraga(2011)系列获得好评如潮。最新创作的系列Payarama系列，酝酿了四年才完成，代表着这位画家的新路历程。 027 AWANG DAMIT (b. Sabah, Malaysia, 1956) Payarama Baru 'Memori Perjalanan Utara’ Oil on canvas: 122 x 122 cm Signed and dated on the reverse HKD 140,000 - 200,000 USD 18,060- 25,800 阿旺·达密·阿末 (马来西亚沙巴州， 1956) Payarama Baru ‘Memori Perjalanan Utara’ 油彩画布: 122 x 122 cm 签名、日期及题目在画背面

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028 DING YAN YONG (b. China, 1902 – d. Hong Kong, 1978) Bird Chinese ink and colour on rice paper: 69 x 43 cm Inscribed in chinese character, upper left HKD 30,000 - 50,000 USD 3,870 - 6,450 丁庸衍 (中国1902 – 香港1978) 鸟水墨设色宣纸: 69 x 43 cm 中文签名，左上。

Ding Yan Yong was a pioneer in introducing modern Western art into China. Ding was among the first Chinese artists who went to Japan to study Western painting when he attended the Tokyo School of Fine Arts from 1919 to 1925. During his stay in Japan, Ding became accomplished in the Fauvist and Expressionist styles and he soon earned a reputation as the “Matisse of the East”. Upon his return to China, Ding taught Western art in art academies in Shanghai, Guangzhou, and Congqing, as Ding became a pioneer in the New Art Movement as he promoted modern Western. In 1957, Ding was one of the founders of the Fine Arts Department of New Asia College which was incorporated into The Chinese University of Hong Kong in 1963. 廣東茂名人。16歲開始學習繪畫。在茂名縣立中學畢業後，於1920年在叔父丁穎的資助下赴日留學，先後在川端畫學校、東京美術學校就讀。 1925年學成返國，活躍於上海藝壇。先後任立達學園美術科、神州女學藝術科教授，中華藝術大學董事兼教務長、藝術教育系主任，1928年回廣州籌備市立美術博物館，任常務會美術部主任，兼任市立美術學校西畫教授。 1932年赴上海，任教於新華藝術專科學校。 1941年回粵後即往四川國立藝術專科學校教授西畫。 1946年應聘為廣東省立藝術專科學校校長。 1949年移居香港，以教畫為生。 1956年起在新亞書院藝術專修科、藝術系任教。 1961年兼任德明書院藝術系主任。 1973年開始在香港中文大學校外進修部教授國畫直至逝世。曾多次在國內外舉辦作品個展和參加聯展。丁氏早年習西畫，1929年以後開始研習中國畫，並從事篆刻及美術理論撰述。去世後香港舉辦了丁衍庸遺作展、丁衍庸作品回顧展等，並設立有丁衍庸學業成績獎、丁衍庸藝術獎、丁衍庸畫會等。出版有《丁衍庸畫集》、《丁衍庸畫冊》、《丁衍庸的書畫印章》(法文)等。

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029 SUWAJI (b. Yogyakarta, Indonesia, 1942) Penari, 2012 Oil on canvas: 125 x 72 Signed and dated, lower right: Suwaji, ’12 HKD 17,000 - 22,000 USD 2,190 - 2,840 苏瓦吉 (印尼日惹， 1942) 舞蹈员, 2012 油彩画布: 125 x 72 签名日期，右下: Suwaji12

Born in Yogyakarta 1942. He studied at Indonesian Fine Art Academy Yogyakarta in 1958 and after graduated he become the lecture in the academy until present. His solo exhibition was held at Gothe German Institute. He participated in group exhibitions in several times besides exhibitions with “19 Pelukis Indonesia” in Singapore and Malaysia in 1967, he received the Wendy Sorenson Memorial Fund Aeard in 1977, group exhibitions in ASEAN countries (1985), solo exhibition at Melia purosari Hotel, Yogyakarta (1994), Fine Art Exhibition International Borobudur Festival in H. Widayat museum (2003).

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Zhao Wou-Ki Zhao Wou-Ki was born in Beijing with family roots in Dantu, Zhenjiang, Jiangsu province. In his childhood Zhao was brought back to his hometown Dantu where he studied calligraphy. From 1935 to 1941, Zhao studied painting at the China Academy of Art in Hangzhou, Zhejiang province and in 1948, he went with his wife Lan-lan, a composer, to Paris to live on the same block in Montparnasse where the classes of Émile Othon Friesz took place. Zhao’s earliest exhibitions in France earned praise from Spanish masters Joan Miró and Pablo Picasso. During his stay in Paris, Zhao became acquainted with fellow artists Henri Michaux, Alberto Giavometti, Joan Miró and Maria Elena Vieira da Silva. In 1957, Zao decided to visit the United States where his younger brother Zhao Wu-Wai was living in Montclair, New Jersey, close to the art scene of New York City as Zhao wanted to learn more about the Andy Warhol’s “pop art”. In 1964, Zhao was awarded the French citizenship and his works were shown in a large retrospective at the Folkwang Museum in Essen, Germany in 1965. Zhao’s contribution to Chinese art did not stop despite his fame in Europe and during the 1970’s Zhao repeatedly went to China and produced a series of ink paintings following the Chinese traditions. During the 1990’, Zhao received numerous honorary doctorates and the Japanese Premium Imperial Award and his works were shown at large international exhibitions including the Vince Biennale in 1996.

030 ZHAO WOU-KI (b. Beijing, China, 1920 - d. 2013) Untitled, 2003 Indian ink on rice paper laid on paper: 117.6 × 97 cm Signed and dated, lower right: Zhao, 2003 HKD 760,000 - 1,000,000 USD 98,040 - 129,000 54

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赵无极 (中国北京, 1920-2013) 无题, 2003 水墨纸本: 117.6 × 97 cm 签名及日期，右下: 2003

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031 TAJUDDIN ISMAIL, DATO’ (b. Negeri Sembilan, Malaysia, 1949) Rentak Alam(Rhythm of Nature), 2005 Acrylic and mixed media on canvas: 152 x 122 cm Signed and dated, lower right: Taj, '05 HKD 80,000 - 130,000 USD 10,320 - 16,770

达祖丁·伊斯迈，拿督 (马来西亚森美兰州， 1949) 自然之旋律 (Rythm of Nature)，2005 亚克力综合媒材画布: 152 x 122 cm 签名日期，右下: Taj, ‘05

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Dato’ Tajuddin Ismail obtained his bachelors from the Mara Institute of Technology (UiTM), Malaysia in 1973, where he graduated as the Best Student in the Fine Art Department. Tajuddin then furthered his studies in Graphic Design at the Art Center College of Design (Los Angeles) in 1974 and subsequently pursued his postgraduate in Interior Architecture at Pratt Institute, New York. In 1981, Tajuddin apprenticed in the office of renowned designer Massimo Vignelli in New York and in 1987 he was honoured with the Fulbright Research Fellowship, awarded by the American Council of Learned Societies, New York.This wide array of education and expriences has broadened Tajuddin’s perspective and often it is reflected in his work. He has been awarded for the prestigious Salon Malaysia, National Art Gallery, Kuala Lumpur (1979) as well as the Malaysia Design Council (1994) and receiving an Honourable Mention for the Philip Morris, Malaysian Art Awards (1994). 达祖丁1973年毕业于马来西亚玛拉工艺学院纯美术系后，以第一名的殊荣获得奖学金到美国洛杉矶攻读，之后，1981年到纽约Pratt Institute 去攻读建筑系，并获得硕士学位。在外国的学习经验让他开阔了眼界，能够用大胆创新的画风表达其艺术观点。

032 TRAN LUU HAU (b. Vietnam, 1928) Ancient Street, 2007

TRAN LUU HAU (越南, 1928) 古老街道, 2007

Oil on canvas: 80 x 100 cm Signed and dated, lower left: hau, ’07

油彩画布: 80 x 100 cm 签名及日期，左下: hau,‘07

This lot is accompanied with a certificate of authenticity from the Gallery

此画附有画廊之真品证明书。

HKD 80,000 - 100,000 USD 10,320 - 12,900

Tran Luu Hao was born in Ninh Binh, Vietnam in 1928. He is among the 22 who studied arts in the Viet Bac Fine Art School under master artist To Ngoc Van and got his degree in Department of Stage Decoration from Surikove Fine Arts Academy in Moscow in 1962. After his degree, Tran returned to Vietname where he became a lecturer at the Hanoi Fine Arts University. Tran Luu Hao has won many accolades for his works picking up the First Prize of the National Graphic Exhibition, Vietnam in 1985 and Second Prize of the National Fine Arts Exhibition, Vietnam in 1980. In 1991,Tran held a solo exhibition in France the Tran Luu Hau’s Artworks, Cultural House of Vietnam, Paris, France and he has since held exhibitions in Germany, Hong Kong, Singapore, and Vietnam. Tran’s works make up the collection of the Vietnam Army Museum, Vietnam Fine Art Museum,The National Museum of East – Asian Art (Poland),The Asian Art Museum (Russia), and The Museum of Oriental Arts, Moscow (Russia) MASTERPIECE FINE ART - HONG KONG

Agung Mangu Putra Agung Mangu Putra graduated in Visual Communication Design in the faculty of Fine Arts and Design at the Indonesia Institute of Arts (ISI), Yogyakarta, Indonesia in 1990 where he was awarded for the Best Work of Visual Communication Design for ISI’s 4th and 6th Anniversary (1988 & 1990). After working as a graphic designer, Mangu Putra became a full time artist in 1998 where he earned a reputation as a young and exciting artist. Mangu Putra’s works are inspired by his innate desire to express the inner pulse of life of the natural world where mountains and coasts are depicted as identifiable objects. Mangu Putra has held solo exhibitions at National Gallery, Jakarta “Teater Rakyat”, Jakarta, (2010), Silent Word, Gajah Gallery, Singapore (2008), Mandala, Bidadari, Ubud-Bali (2007) and Belief, Rupa Gallery, Surabaya (2005). Mangu Putra’s painting “Imagination Under The Sea” was selected for the top ten paintings of the prestigious Philip Morris award in 1994 and he came in second for the 2002 Indofood Art Awards, Indonesia. In 2000, Mangu Putra’s artistic works were documented in the book “Mangu Putra: Nature, Culture, Tension” further cementing his position as a leading Indonesian artist.

033 AGUNG MANGU PUTRA (b. Bali, Indonesia, 1963) Pura Besakih, 2014 Oil on canvas: 115 x 210 cm Signed and dated, lower right: Mangu Putra, 2014 Signed, titled and dated on the reverse This lot is accompanied with a certificate of authenticity from the artist Pura Pala Kutaraga Masterpiece Singapore 13 April 2014, Lot 076 Sold SGD 65,000

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HKD 150,000 - 250,000 USD 19,350 - 32,250

阿贡·曼古·布特拉 (印尼峇里， 1963) Besakih寺庙, 2014 油彩画布: 115 x 210 cm 签名及日期，右下: Mangu Putra, 2014 签名、题目及日期于画背面附有艺术家本人之真品证明书

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034 DING YANYONG (b. China, 1902 – d. Hong Kong, 1978) Landscape Chinese ink and colour on rice paper: 110 x 35 cm Inscribe in chinese character, upper area HKD 80,000 - 100,000 USD 10,320 - 12,900 丁庸衍 ( 中国1902 – 香港1978) 山水风景水墨设色宣纸: 110 x 35 cm 中文签名，上部 Ding Yan Yong was a pioneer in introducing modern Western art into China. Ding was among the first Chinese artists who went to Japan to study Western painting when he attended the Tokyo School of Fine Arts from 1919 to 1925. During his stay in Japan, Ding became accomplished in the Fauvist and Expressionist styles and he soon earned a reputation as the “Matisse of the East”. Upon his return to China, Ding taught Western art in art academies in Shanghai, Guangzhou, and Congqing, as Ding became a pioneer in the New Art Movement as he promoted modern Western. In 1957, Ding was one of the founders of the Fine Arts Department of New Asia College which was incorporated into The Chinese University of Hong Kong in 1963. 廣東茂名人。 16歲開始學習繪畫。在茂名縣立中學畢業後，於 1920年在叔父丁穎的資助下赴日留學，先後在川端畫學校、東京美術學校就讀。 1925年學成返國，活躍於上海藝壇。先後任立達學園美術科、神州女學藝術科教授，中華藝術大學董事兼教務長、藝術教育系主任，1928年回廣州籌備市立美術博物館，任常務會美術部主任，兼任市立美術學校西畫教授。 1932年赴上海，任教於新華藝術專科學校。 1941年回粵後即往四川國立藝術專科學校教授西畫。 1946年應聘為廣東省立藝術專科學校校長。 1949年移居香港，以教畫為生。 1956年起在新亞書院藝術專修科、藝術系任教。 1961年兼任德明書院藝術系主任。 1973 年開始在香港中文大學校外進修部教授國畫直至逝世。曾多次在國內外舉辦作品個展和參加聯展。丁氏早年習西畫，1929年以後開始研習中國畫，並從事篆刻及美術理論撰述。去世後香港舉辦了丁衍庸遺作展、丁衍庸作品回顧展等，並設立有丁衍庸學業成績獎、丁衍庸藝術獎、丁衍庸畫會等。出版有《丁衍庸畫集》、《丁衍庸畫冊》、《丁衍庸的書畫印章》(法文)等。 60

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035 CHEN WEN HSI 陈文希 (b. Baigong, Caozhu, 1906 – d. Singapore, 1992) Fish Pond Chinese ink and color on rice paper: 38 x 50 cm Signed and stamped in chinese character, upper left HKD 45,000 - 60,000 USD 5,810 - 7,740 陈文希 (广东 1906 – 新加坡 1992) 鱼水墨设色宣纸: 38 x 50 cm 签名及钤印左上: 陈文希

Born in Baigong, from the province of Guangdong, Chen Wen Hsi studied art at the Xinhua College of Art in Shanghai where he was thought by renowned artists such as Pan Tianshou. After moving to Singapore in 1948, Chen Wen Hsi proceeded to teach at the Chinese High School (1914-1968) and then the Nanyang Academy of Fine Arts (1951-1959). As an artist, Chen Wen Hsi actively participated in several exhibitions outside Singapore which incidentally promoted Singapore. Among the many awards he has received are the Public Service Star (1964), a Gold Medal by the National Museum of History, Taiwan (1980), the first recipient of the ASEAN Cultural and Communication Award for outstanding artists (1987), and an honorary doctorate from the National University of Singapore. Chen Wen Hsi is Singapore’s pioneer artist that combines Chinese and Western techniques in his semi abstract work. His constant eagerness to strive for something new led him to learn finger painting, a technique that dates back from the Tang Dynasty. This drawing style has enabled him to produce unpredictable broken strokes on paper. Chen Wen Hsi is renowned for his skills in depicting animals, of which it is the gibbons that he is most associated with. It is Chen Wen Hsi’s mastery of the gibbons that led it to be commemorated on the 50 Singapore Dollars note.

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Liu Li Guo Liu Li Guo graduated from the fine arts department of Beijing’s National Theatre Institute in 1991 and currently lives and works in Beijing, China. Liu is an example of the Chinese style and trend we call “Gaudy Art”, a school of thought whose subscribers often make use of pastiche in their illustration of the vulgarity of contemporary society. The substance of Liu Li Guo’s works are a reflection of a consumer society. Whether it is a sculpture or one of his beautiful avant-garde paintings, everything is materially opulent, dripping with sensuality, abundance & creativity. Liu has exhibited in numerous painting exhibitions in (Paris) France, New York (USA), Basel (Switzerland), Madrid (Spain), Brussels (Belgium), Tokyo (Japan), and Beijing (China).

036 LIU LI GUO (b. Heilongjiang, China, 1961) Oh! World 2, 2012 Oil on canvas: 100 x 150 cm Signed

LIU LI GUO (b. Heilongjiang, China 1961) 啊!世界2, 2012 油彩画布: 100 x 150 cm

HKD 300,000 - 400,000 USD 38,700 - 51,600

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037 XU BEI HONG 徐悲鴻 (b. Yixing, China 1895 - d. 1953) Kampung Nelayan (Fishing Village) Oil on canvas: 48 x 79 cm Signed, lower right in chinese characters HKD 120,000 - 200,000 USD 15,480 - 25,800 徐悲鸿 (中国宜兴 1895 - 1953) 渔村油彩画布: 48 x 79 cm 中文签名，右下

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Xu Beihong is a Chinese artist par excellence. Xu was one of the first Chinese artists to articulate the need for artistic expressions that reflected a new modern China at the beginning of the 20th century. Having studied at the Ecole Nationale Superieure des Beaux-Arts in Paris, Xu was exposed to oil paintings and Western analytical techniques in which he incorporated with Chinese ink techniques to redefine Chinese art. In 1933, Xu organized an exhibition of modern Chinese painting which traveled to Germany, France, Italy, Belgium, and the Soviet Union. Xu enjoyed massive support from art collectors across Asia and in the years1939 to 1941, he held solo exhibitions in India, Singapore, and Malaysia to help raise funds for the war relief efforts in China. Xu served as the President of the Central Academy of Fine Arts and Chairman of the Chinese Artists Association. Xu died of a stroke in 1953 and after his death, the Xu Beihong Memorial Museum was established in his house in Beijing.

038 POPO ISKANDAR (b. Garut, Indonesia 1927 – d. 2000) Rooster, 1998 Oil on canvas: 41 x 49 cm Signed and dated, lower right: Popo, ‘98 This lot is accompanied with a certificate of authenticity from the Artist HKD 40,000 - 50,000 USD 5,160 - 6,450 波波·伊斯干达 (印尼Garut，1927 – 万隆2000) 鸡，1998

Popo Iskandar graduated from the University of Indonesian and Bandung Institute of Technology (ITB). Popo Iskandar started painting in 1944, and is known not just as an artist, but an art observer and writer as well. Popo Iskandar has participated in many international exhibitions and in 1980, he was received an award from the Indonesian government for his contribution to arts. Another distinctly unique subject of Popo Iskandar’s paintings besides his rendition of the feline, are that of his roosters. Popo began the study of this subject in 1974 and observed that the rooster experienced several steps of expression, much the same as the five steps for the cat. Popo was inspired by the rooster as it was an object close to his surroundings and often overlooked by many. For Popo’s depiction of the rooster, he looked to another traditional Indonesian culture, Wayang Kulit, or shadow play. The artistic qualities of Wayang Kulit enabled Popo’s roosters to reflect a special artistic and esthetic manifestation as the rooster prepares to take off and dart out of the way. Popo’s use of minimal colours is not due to the lack of tools or materials, but rather his concept reflecting his intellectuality and mastery of the subject matter.

油彩画布: 41 x 49 cm 签名及日期，右下: Popo 98 此画附有艺术家本人之真品证明书。

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Widayat Widayat studied at the Indonesian Fine Art Academy (ASRI), Yogyakarta, where he became known as a lecturer of the Indonesian Institute of Fine Arts (ISI) Yogyakarta as well as a prominent artist. Since 1950 to 2002, Widayat participated in numerous art exhibitions in Indonesia as well as internationally, in countries such as Singapore, Thailand, Japan, Hong Kong, Netherlands, Italy, United States, and Australia. Widayat is said to be a maestro after Affandi, as published in the book “Educator and Painter” by ISI Yogyakarta in 1988. Widayat was also a revolutionary artist, and master of gardening and graphics arts. Widayat was the first artist whose exhibition was largely exhibited in the Singapore Art Museum, one of the most important museums in Southeast Asia on September 2007 and it was held for the duration of two months. According to Prof. Soedarso Sp MA, Widayat’s artistic works can be levelled with the works of Henri Rousseau (a France surrealist artist) who has been his great inspiration. Widayat’s works show an immense variety of stories about nature, life, myths, and rituals. They are rich in content, texture, and technique. Widayat’s preference for the simplification and distortion of natural forms had a profound influence on many Indonesian artists. His magic decorative style is a personal visual language mostly derived from folk motifs. He focuses on inner structure rather that outward appearance. The re-petition of basic elements are order with an underlying rhythm to create movement. The artist’s works encompass all of his varied experiences as soldier, student, teacher, and religious family man. Flora and fauna, religion and mythology, masks and portraits, and daily life all are parts of his fantasy world.

039 WIDAYAT (b. Kutoarjo, Indonesia 1919 – d. Jakarta, Indonesia 2002) Anggrek Liar Di Hutan, 1985 Oil on canvas: 145 x 145 cm Signed and dated, lower right: Widayat, ‘85 Signed, titled and dated on the reverse HKD 280,000 - 320,000 USD 36,120 - 41,280 Kera (Monkey Forest) Masterpiece Singapore 13 August 2015, Lot 047 Sold SGD 120,000

维达雅 (印尼Kutoarjo 1919 – 雅加达 2002) 森林之野兰花, 1985 油彩画布: 145 x 145 cm 签名及日期, 右下: Widayat, 85 签名、题目及日期在画背面

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040 TRAN LUU HAU (b. Vietnam 1928) Flowers, 2007 Oil on canvas: 79.5 x 90 cm Signed and dated, lower left: hau, ‘07 This lot is accompanied with a certificate of authenticity from the Gallery HKD 130,000 - 150,000 USD 16,770 - 19,350 TRAN LUU HAU (越南, 1928) 花卉, 2007 油彩画布: 79.5 x 90 cm 签名日期，左下: 07 此画附有画廊之真品证明书。 68

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Tran Luu Hao was born in Ninh Binh, Vietnam in 1928. He is among the 22 who studied arts in the Viet Bac Fine Art School under master artist To Ngoc Van and got his degree in Department of Stage Decoration from Surikove Fine Arts Academy in Moscow in 1962. After his degree, Tran returned to Vietname where he became a lecturer at the Hanoi Fine Arts University.Tran Luu Hao has won many accolades for his works picking up the First Prize of the National Graphic Exhibition,Vietnam in 1985 and Second Prize of the National Fine Arts Exhibition, Vietnam in 1980. In 1991, Tran held a solo exhibition in France the Tran Luu Hau’s Artworks, Cultural House of Vietnam, Paris, France and he has since held exhibitions in Germany, Hong Kong, Singapore, and Vietnam. Tran’s works make up the collection of the Vietnam Army Museum, Vietnam Fine Art Museum, The National Museum of East – Asian Art (Poland), The Asian Art Museum (Russia), and The Museum of Oriental Arts, Moscow (Russia)

041 RADUAN MAN (b. Pahang, Malaysia, 1978) Dream & I, 2013 Oil on canvas: 146 x 159 cm Signed and dated, lower: Raduan Man, 2013 Signed on the reverse HKD 38,000 - 50,000 USD 4,900 - 6,450 拉都安·曼 (马来西亚彭亨州， 1978) 梦与我, 2013 油彩画布: 146 x 159 cm 签名日期, 左下: Raduan Man, 2013 画背面附有画家签名

Raduan Man graduated with Bachelors of Design Fine Arts from the University Technology Mara (MARA) in 2000 before going on to obtain a Bachelor’s of Fine Arts (print making) with Honours from MARA. In 2002 Raduan was awarded the Pahang State Foundation Scholarship for his and Masters in Fine Art (painting) from the University of Wolverhampton, UK and in 2007 was once again the recipient of the state scholarship for his Masters in Fine Art (printmaking) from the Camberwell School of Art, UK. Raduan Man laboriously incorporates both art disciplines for his works by intricately carving out wood blocks and transposing the images on to canvas. The use of canvas as oppose to paper gives Raduan a sturdier material to work with, enabling him the room for experimentation to form the artistic statement which has shaped him today. Layers of blocks are imprinted, with each block contributing its unique characteristic which gives depth and complexities to Raduan’s work. Raduan has participated in over 30 group exhibitions and has held 7 solo exhibitions including Fresh Markings, NN Gallery, Kuala Lumpur (2003), Beyond Print – Raduan Man, Gallery Chandran, Kuala Lumpur (2009), and Living Metals, Purple Houz Fine Arts, Petaling Jaya (2012). 拉都安·曼先是在马来西亚玛拉工艺大学接受美术教育，后来领取国家奖学金到英国，取得纯美术硕士学位。拉都安的创作风格是把木刻和绘画融合为一体，创立了强烈的个人画风。

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Chen Wen Hsi 陈文希 Born in Baigong, from the province of Guangdong, Chen Wen Hsi studied art at the Xinhua College of Art in Shanghai where he was thought by renowned artists such as Pan Tianshou. After moving to Singapore in 1948, Chen Wen Hsi proceeded to teach at the Chinese High School (1914-1968) and then the Nanyang Academy of Fine Arts (1951-1959). As an artist, Chen Wen Hsi actively participated in several exhibitions outside Singapore which incidentally promoted Singapore. Among the many awards he has received are the Public Service Star (1964), a Gold Medal by the National Museum of History, Taiwan (1980), the first recipient of the ASEAN Cultural and Communication Award for outstanding artists (1987), and an honorary doctorate from the National University of Singapore. Chen Wen Hsi is Singapore’s pioneer artist that combines Chinese and Western techniques in his semi abstract work. His constant eagerness to strive for something new led him to learn finger painting, a technique that dates back from the Tang Dynasty. This drawing style has enabled him to produce unpredictable broken strokes on paper. Chen Wen Hsi is renowned for his skills in depicting animals, of which it is the gibbons that he is most associated with. It is Chen Wen Hsi’s mastery of the gibbons that led it to be commemorated on the 50 Singapore Dollars note.

Chen’s brush stroke

042 CHEN WEN HSI (b. Baigong, China 1906 – d. Singapore 1992) Gibbons Amidst Vines Chinese ink and colour on rice paper: 152 x 42 cm Signed in chinese character and sealed on top right Sealed again on lower left Provenance: Acquired directly from the artist by the former owner and then to the present Singapore collector. HKD 130,000 - 200,000 USD 16,770 - 25,800

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陈文希 (中国广东, 1906 –新加坡, 1992) 蔓藤中之猿猴水墨设色宣纸: 签名钤印，右上左下钤印

152 x 42 cm

来源: 直接购自艺术家，由现藏者购得。

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043 REYNOLD DE LA CRUZ (b. Philippines, 1974) Balancing, 2007 Oil on canvas: 122 x 92 cm Signed and dated, lower right in Thai HKD 16,000 - 20,000 USD 2,060 - 2,580 雷诺·德拉克鲁斯 (菲律宾1974) 平衡, 2007 油彩画布: 122 x 92 cm 签名及日期, 右下

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Reynold Dela Cruz is a multi-awarded self-taught artist. Reynold has been awarded the Honourable Mentions for the Prestigious Art Awards in 1995, 1997, and 2001, and in 1998, he was the Grand Prize Winner of the competition. Reynold was also the Honourable Mention for the Vermont Asian Freeman Artist Fellowship USA in 2004 and 2007. Reynold has held solo exhibitions in Utterly Gallery and Forth Gallery in Singapore, Ortigas Foundation in Pasig City, Boston Gallery in Quezon City, Art Verite Gallery in Taguig City and Nineveh Art Gallery in Boracay and he has participated in group exhibitions at the Ayala Museum, Philippines, and the Jorge B. Vargas Museum, Philippines.

044 SHI WEI (b. Hubei, China, 1965) Awaiting, 2011 Oil on canvas: 180 x 120 cm HKD 100,000 - 120,000 USD 12,900 - 15,480

Shi Wei was born in Hubai, China in 1965. Shi Wei is known for his ambiguous and vague oil paintings, in particular the skinny Beautiful Women Series. In his oil paintings, women are depicted skinny and scrawny in erotic poses which places the meaning of beauty under scrutiny. These are just some of the varied social questions the artist posits.

SHI WEI (b. Hubei, China 1965) 等待, 2011 油彩画布: 180 x 120 cm

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Lee Man Fong Lee Man Fong was born in Canton, China, 1913 and made a reputation as a versatile artist, skilled in both western oil painting technique and Chinese ink paintings. Lee was a successful commercial artist before he engaged as a full time artist in 1941. Lee arrived at Singapore at young age then later moved to Jakarta, Indonesia where his successful exhibitions in Indonesia earned him a fast growing reputation. In 1946, Lee received a scholarship from the Dutch government to study arts in Holland. In 1952 he returned to Indonesia and gained more credits as well as acknowledgement where he officially become a presidential palace’s painter and chief curators of its collection in 1961 and compiled a 5 volume edition of President Sukarno’s art collection Lee Man Fong was known for his ability to work with any kind of medium available. He used oil on canvas and hardboard, pastel and watercolour on paper, and pen and ink on cardboard. His works combined Oriental and Western concept in his oeuvre. An exceptional aspect of Lee’s art was his great intense in creating a personal expression through observation of life and nature surrounds him. This is because as a youth he loved to observe the different life habits of various animals and thoroughly capturing their essential traits, was able to render them onto canvas vividly. In Lee’s paintings, light is of prime importance and the subjects are consistently bathed in a luminous glow as presented Goldfish. The background, unlike the flat, void spaces of Chinese paintings, is likewise illuminated by an almost mysterious glow of white sunlight. Therefore the goldfish, reflecting the sun’s radiance, seem also to be lit from the back, creating the effect of “glowing silhouettes”. Lee Man Fong died in 1988 and is dearly remembered as a vigorous artist who harmoniously blended both western and oriental techniques. 045 LEE MAN FONG (b. Canton, China 1913 – d. Singapore 1988) Ikan Mas Koki Oil on board: 102 x 49 cm Signed and stamped in chinese character, lower left Provenance: Private collection of a prominent collector HKD 270,000 - 320,000 USD 34,830 - 41,280 Goldfish Masterpiece Singapore 1-2 March 2008, Lot 331 Sold SGD 150,000

李曼峰 (中国广东 1913 –新加坡 1988) 金鱼油彩木板: 102 x 49 cm 签名钤印，左下：李曼峰来源：著名收藏家之藏品。

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046 UGO UNTORO (b. Purbalingga, Indonesia, 1970) Folding History No.25, 2007 Oil on canvas: 99 x 118.5 cm Signed and dated, top left: Ugo 007 HKD 65,000 - 95,000 USD 8,390 - 12,260 邬古·恩多罗 (印尼Purbalingga, 1970) 翻页之历史 No.25, 2007 油彩画布: 99 x 118.5 cm 签名日期，左上: Ugo 007

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Born in Purbalingga, Central Java, Ugo Untoro studied at the Indonesian Institute of Art (ISI), Yogyakarta. Ugo has held solo exhibitions at Cemeti Ctontemporary Art Gallery, Yogyakarta (1996 & 1998), Kedai Kebun Gallery,Yogyakarta (1999), Essence Art Gallery, Jakarta (2000), and Cemeti Art House, Yogyakarta (2002). Ugo has also participated in several group exhibitions at Purna Budaya Yogyakarta, Cemeti Contemporary Art Gallery, Yogyakarta (1997), Galeria Jangva, Helsinki, Finland (1998),T Singapore, National Gallery, Jakarta, Cemeti Art House, Bali, Queensland Art Gallery, Australia, Centrum van Beeldende Kunst, Dordrecht, Netherlands (1999), and Nadi Gallery, Jakarta (2000 & 2003). Ugo’s journey of painting continues until today. He does not care about forms, lines, composition, techniques, or any -ism within the fine art world. He paints using any medium with whatever techniques. He does not need themes, contents or messages when expressing his ideas. Whatever he paints he paint it with honest and becomes the medium that channels the feeling without hesitation. As an individual artist who is looking for meaning through imagery symbolism, Ugo’s scratchy paint shows his indeterminate sign and poetic upon his self consciousness. His rough scratches never recognized anything nor reach into form perfections and Ugo’s horizontal lines sometimes go beyond his conscious and offer not only form but also meaningful message.

047 WALTER FURLAN (Chioggia, Italy, 1931) Omaggio a Picasso, 1996 Glass: 41 x 31 x 31 cm Signed and dated, lower right: Furlan Walter, ‘96 HKD 155,000 - 200,000 USD 20,000 - 25,800 华尔特·富尔兰 (意大利Chioggia，1931) Omaggio a Picasso, 1996 玻璃: 41 x 31 x 31 cm 签名日期，右下: Furlan Walter96

Walter Furlan started to work in a furnace called “VAMSA” very early where he apprenticed from one of the most famous glass masters on the island, Romano Tosi.Towards the end of the second world war, he worked in the furnace ‘Gino Cenedese’, where he met Alfredo Barbini along with the old masters from Vamsa. During this period, Walter Furlan learnt the particular technique called ‘a massello’, a technique to shape a quantity of glass that was not blown, and in 1963, he began to exhibit his works of art in the official Glass Display on Murano Island sponsored by the Venetian Institute for Work and later on in Arts and Crafts Exhibition in Reggio, Calabria. The fascinating artistic work of Picasso expressed in Furlan’s glass sculptures is demonstrated by the experience acquired during his periods of work with the old masters. He has interpreted Picasso’s paintings during his Cubic Period and has given them a 3rd dimension. Each sculpture is hand-crafted and signed, the glass welded to remove fractures making it robust and able to refract the light beautifully. The colors are vivid and the work is profoundly dimensional. In fact what greater accolade is there in that Picasso gave license to Walter Furlan to carry on using his name after his death in 1973.

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Chu Teh-Chun Chu Teh Chun was born in Jiangsu Province, China, in 1920. In 1999, he was honored French Art Academician of France which is the upmost glory ever received by Chinese artist in the international art field. In 1935 He admitted to Hangzhou Academic Art College. Then in 1949 he moved from Nanjing to Taipei. Chu Teh-chun's works are really some kind of natural release and a poetic dedication which is dithering and ardent, not restricted by those theories, rules and limitation of visions. By using the persuading lines, he makes his vivid characters appear from his inexact paintings as well as perfecting his fantasies and imaginations. 1954 1955 1956 1957 1963 1964 1969 1979 1982

1983 1984 1987 1988 1991 1992 1999

2000 2002 2003

First solo exposition at Zhongshan Hall in Taipei Left Taipei for France to achieve further accomplishments Attended Paris Spring Salon, won Silver Prize First solo exhibition in Paris Art Critic George Boudaille delivered important essay on the work of Chu Teh-Chun Invited to attend "International Modern graphic exposition" held by the Carnagy Museum in Pittsburg, USA Special halls for his works in Brazil -- St. Polo 10th International Graphic Exhibition Published by Mini Museum, written by Bo Ruan Yu, an authority on literary critics, composer and poet Works created from 1955 to 1982 were exhibited in Andley. Mary Modern Art Gallery, in France Graphic exhibition of foreign citizen of Chinese origin held in HK art gallery Works exhibited in the opening exhibition of Duncan City, France Invited by HK Chinese University as judge of the art bachelor's Canvas exhibition in Luxemburg's city-run theatre Retrospective exhibition of Chu Teh-chun's work in the state-run historical museum, Modern France paintings exhibition held in the capital city hall of Israel Solo exhibition in the Modern art gallery in Belgium Canvas works showed in the FIAC special hall in Paris Modern art expo Created a lithograph in Barcelona, Spain He was honored as an Art Academician of France, the highest honor ever received by any Chinese artist in the International art world. Chu Teh-Chun made just a few lithographs, including this series of eight poetical renditions." He created a set (6 lithographs) of lithography in IDL working studio in Paris, and published in the world by HOKE ART. He organized his solo expo in Taipei Angel Art Gallery. And Hoke Art published his first litho art book. Hoke Art published the third set of Chu Teh-chun's litho

Creation of the Heart no.1 Masterpiece Singapore 1-2 March 2008, Lot 187 Sold SGD 400,000

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048 CHU TEH-CHUN (b. Hangzhou, China 1920 - 2014) Composition Ceramic plate: 54 x 54 cm

朱德群 (中国江苏, 1920) 图案瓷碟:

54 x 54 cm

HKD 210,000 - 250,000 USD 27,090 - 32,250

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049 FAUZUL YUSRI (b. Kedah, Malaysia, 1974) One Little Girl, 2009 Acrylic and mixed on canvas: 138 x 138 cm Signed and dated, lower right: Fauzul Yusri, 2009 Signed on the reverse HKD 20,000 - 40,000 USD 2,580 - 5,160 法祖·尤斯里 (马来西亚吉打州， 1974) 小女孩, 2009 综合媒材画布: 138 x 138 cm 签名日期，右下: Fauzul Yusri, 2009 画背面有艺术家签名。 80

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Fauzul Yusri graduated with bachelors in Fine Arts from the Mara Institute of Technology (UiTM), Malaysia in 1999. Fauzul is an artist who invites us to revisit our childhood. Trying to emulate the joy and burden free mentality of yesteryears is the goal of Fauzul, whose works embodies the beauty and purity of the human creativity. Reminiscing the past, Fauzul works underlie a complex narrative where recurring themes are yearning to be understood. Fauzul has been extensively exhibiting his work and has participated in exhibitions in Malaysia, Indonesia, Hong Kong, Singapore, and UK. Fauzul’s works has not gone unnoticed among art critics and he has been awarded the Incentive Award, Shah Alam Gallery, Malaysia, Special Mention (2000), The Young Contemporaries, National Art Gallery, Kuala Lumpur (2002), and Special Mention, Kijan Awards, Bank Negara Malaysia, Kuala Lumpur (2004). 法祖于1999年毕业于马来西亚玛拉工艺学院纯美术系，他的作品让人想起童年、童年的游戏及无忧无虑的单纯欢乐时光。从回想过去，他碰触许多让人深思的感情。他的作品也多次得奖，包括2004年获马来西亚国家银行灵鹿艺术奖。

050 NGUYEN DINH DUNG (b. Hanoi, Vietnam, 1943) Lady in Red, 2004

Born in 1943 in Hanoi, Dinh Dung is highly respected and admired amongst Vietnam’s leading contemporary artists. He began working as illustrator in the Vietnam Cartoon Film Factory in 1961. By 1972 he had achieved the position of Cartoon Film director with Vietnam Television but his true passion was painting.

Oil on canvas: 100 x 100 cm Signed and dated, lower left: ‘04

Dinh Dung’s inspiration comes from the folk traditions, especially the stage costumes for these colourful festivals. His paintings are characterized by strongly contrasting colorfields in pure hues and intensity. During the early eighties his work became increasingly distinctive and admired with several exhibitions in Hanoi. However it was in 1998 Dinh Dung truly made his mark with a solo exhibition in Paris, France. “Subject to the artist is nothing but a reason to express his own ideas in painting” Dinh Dung was quoted then, “a way of looking at things, then expounding them with the painter’s brush, color and composition”. His favourite colors those found most commonly in folk paintings: red, black, blue, green, purple and yellow. His paintings are bright and rich in poetical imagery, revealing an optimistic point of view, characteristic for his personal works and reflecting his outlook on life. His paintings both inherit the traditions of classical Oriental folk paintings, yet yield a surprisingly modernistic sense of feeling and expression. Dinh Dung has had numerous exhibitions and his works are included in collections in Europe, Asia, United States, and Japan.

HKD 30,000 - 50,000 USD 3,870 - 6,450 NGUYEN DINH DUNG (b. Hanoi, Vietnam 1943) 红衣女郎, 2004 油彩画布: 100 x 100 cm

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Born in Zaandam, the Netherlands, 1916, Arie Smit was a student of the Academy of Arts in Rotterdam before working as a lithographer for the Dutch Colonial Army in the Dutch Indies prior to the Second World War. In 1956, Arie Smit become an Indonesian Citizen and was engaged to become a full time artist. Arie Smit has produced as well as taught painting at the Bandung Institute of Technology (ITB). Many of his paintings depict the nature of his surrounding environment. He had several solo exhibitions in Bandung Institute of Technology, The Honolulu East West Center, and the Center of Strategic and International Studies in Jakarta. In recognition of his talents, Arie Smit was awarded the “Dharma Kusuma” art award from the local government of Bali. Arie Smit is an artist who loves the natural beauty and Balinese culture and depicts it in the form of imaginative painting which expresses the pure soul of an adventurer devoted to the tropical sunlight. Arie Smit’s painting show breathtaking landscapes, relaxing youths, colourful tropical gardens, glittering seascapes, and quiet temples that evoke a sense of wander. Facades of temple are often shown with human figures in front of them. Arie Smit uses a simple single vanishing point perspective to depict the temple surrounding. His special characteristics were seen by the use of his tropical rich colour on the object.

Ruins Masterpiece Singapore 12 April 2015, Lot 15 Sold SGD 36,600

051 ARIE SMIT (b. Zaandam, Netherlands, 1916) Balinese Traditional Dance, 1960 Oil on canvas: 73 x 62 cm Signed and dated lower left: Arie Smit, Bali, ‘60 HKD 300,000 - 500,000 USD 38,700 - 64,500 阿里·史密特 (荷兰，1916) 传统峇里舞蹈，1960 油彩画布: 73 x 62 cm 签名日期，左下: Arie Smit,Bali ’60

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052 LU JIREN (b. China, 1944) The Winner, 1996 Oil on canvas: 76.5 x 101.6 cm Signed and dated, lower left: Lu Jiren, ‘96.2 HKD 80,000 - 100,000 USD 10,320 - 12,900 呂吉人 (b. China 1944) 一馬當先, 1996 油彩画布: 76.5 x 101.6 cm

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Lu Jiren is a Chinese artist who relies upon traditional forms in his work, but who does not seek escape or refuge in it. Graduating from the Shanghai Art College in 1968, Lu likes to portray his world which surrounds him where. Lu’s paintings range in subject from the canals of Venice to southern China, to the mean streets of New York, to the Bund in Shanghai, from indeterminate landscapes to serene scenes of sculptures or serene cats and dogs. Lu has won several top medals in the United States, such as a 1996 award from the American Professional Artists League.

053 XIA JUNNA (b. China, 1971) Afternoon Tea, 2000 Oil on canvas: 80 × 60 cm Signed and dated, lower left: Xia, 2000 HKD 230,000 - 300,000 USD 29,670 - 38,700 夏俊娜 (b. China 1971) 午茶油彩画布: 80×60cm

Xia Junna attended Weihai No.2 Middle School where she studied portrait painting with Cong Jian Zi, who introduced her to a certain field of art. Xia graduated in 1995 from the Oil Painting Department of the Central Academy of Fine Arts and her work “Autumn” won silver prize at the 1995 Annual Exhibition of Chinese Oil Paintings. Xu’s works has been exhibited at the Shanghai Biennale and Contemporary Art Exhibition held in Beijing in 1996. In 1997, Xu participated in the “China Young Oil Painting” Exhibition in Beijing and in 1998, she joined “Century-Female Art Exhibition” and where she won the collector’s award. In 2000, Xu participated in the “Twentieth Century China Oil Painting Exhibition” and “Youngs Series Exhibition”. Xu’s painting “Six Main Courses in Grant Banquet of Centurial Oil Painting” was used by the Beijing Evening News where she was commended as the most representative painter in China and Taiwan magazine, CANS, used “From Li Tiefu to Xia Junna” as the slogan to summarize Xia’s historic significance in inheriting from centurial oil painting. 夏俊娜，1971年出生於內蒙古。1987年考入中央美術學院附屬中學。1991 年畢業於中央美術學院附中，獲畢業創作優秀獎。考入中央美術學院油畫系第四工作室，在校期間多次獲得創作優秀獎。1995年畢業於中央美術學院油畫系。現為中國藝術研究院中國油畫院專職畫家。 MASTERPIECE FINE ART - HONG KONG

Chen Wen Hsi 陈文希 Born in Baigong, from the province of Guangdong, Chen Wen Hsi studied art at the Xinhua College of Art in Shanghai where he was thought by renowned artists such as Pan Tianshou. After moving to Singapore in 1948, Chen Wen Hsi proceeded to teach at the Chinese High School (1914-1968) and then the Nanyang Academy of Fine Arts (1951-1959). As an artist, Chen Wen Hsi actively participated in several exhibitions outside Singapore which incidentally promoted Singapore. Among the many awards he has received are the Public Service Star (1964), a Gold Medal by the National Museum of History, Taiwan (1980), the first recipient of the ASEAN Cultural and Communication Award for outstanding artists (1987), and an honorary doctorate from the National University of Singapore. Chen Wen Hsi is Singapore’s pioneer artist that combines Chinese and Western techniques in his semi abstract work. His constant eagerness to strive for something new led him to learn finger painting, a technique that dates back from the Tang Dynasty. Ducks by The River is a prime example of Chen Wen Hsi’s combination of both Chinese and Western techniques. This semi abstract painting of ducks is painted with broad strokes using minimal contrasting colours was published in Chen Wen Hsi’s Retrospective published by the Taipei Fine Arts Museum in 1990. Although undated, it is likely that this work was completed in the late 1980’s as the highly abbreviated inscription written by Chen with his fingers, is typical of his works of that period.

Herons Sotheby’s Hong Kong 6 October 2013, Lot 15 Sold USD 237,286

054 CHEN WEN HSI (b. Baigong, China 1906 – d. Singapore 1992)

Ducks by The River

Chinese ink on rice paper: 138 x 69 cm Signed in chinese character and sealed on top right Sealed again on lower left Provenance: Property from an prominent Asian private collection Documented in CONVERGENCES: Chen Wen Hsi Centennial Exhibition, Volume 1, Published by Singapore Art Museum, pg. 415 HKD 900,000 - 1,500,000 USD 116,100 - 193,500 86

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陈文希 (中国广东, 1906 –新加坡, 1992) 鸭子水墨宣纸: 138 x 69 cm 签名及钤印右上：陈文希又钤印，左下来源：著名收藏家之藏品。

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055 SUZLEE IBRAHIM (b. Terengganu, Malaysia, 1967) Candle In The Wind, 2011-2012 Oil and acrylic on canvas: 122 x 122 cm Signed and dated lower right: Suzlee Ibrahim 2011/12 HKD 40,000 - 70,000 USD 5,160 - 9,030 苏斯里·伊布拉欣 (马来西亚登嘉楼州， 1967) 风中之蜡烛, 2011-2012 油彩亚克力画布: 122 x 122 cm 签名日期，右下: Suzlee Ibrahim 2011/12

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Suzlee Ibrahim graduated from University Technology Mara (UiTM), Malaysia, and he worked in advertising and publishing companies for a few years before returning to become a university lecturer. Suzlee’s participation in Malaysian art scene has allowed him to experiment his works with oil and acrylic, by doing this he discover the art mediums that can create his desire texture and subject on canvas. Paying homage to nature, Suzlee tends to replicate its energy and dynamism on canvas, scouring the uniquely diversified Malaysia for inspirations. Suzlee has held 29 solo exhibitions in more than 20 countries such as United Kingdom, Germany, USA, France, Japan, and many more. In recognition of his talents, Suzlee has been awarded then Recognition of Outstanding Creative Excellence, Emaar International Art Symposium, UAE (2005), Japan-Malaysia Art Friendship Ambassador, Ministry of Culture, Arts & Heritage Malaysia & World Arts and Culture Exchange Malaysia/Japan (2007), Tokok Seni: Anugerah Citra Kencana, University Kebangsaan Malaysia (2011), and Excellent Masters Award, Universiti Teknologi Mara (2013) 苏斯里毕业于马来西亚玛拉工艺大学，毕业后任职于广告社及出版社，几年后回到ASWARA大学当美术讲师。他的创作多以自然为主题，并认为油彩与亚克力混合在画布上作画最能表现其作品的动力与能量。

056 YANG SHAN SHEN (b. Guangdong, China, 1913 - 2004) Couplet in Standard Script Calligraphy Hanging scroll, chinese ink on paper: 138 x 34 cm @ 2 panels HKD 30,000 - 50,000 USD 3,870 - 6,450 杨善深 (中国广东1913 - 2004) 书法水墨宣纸:138 x 34 cm ，两幅

Yang Shan Shen was born at Chiqi, Taishan in Guangdong Province and he was one of the masters of the Lingnan School. Yang was greatly influenced by two masters of the Lingnan School, Gao Jianfu and Gao Qifeng, and he was also inspired by Japanese ink painting. In 1936, Yang travelled to Japan and was enrolled into the Domoto Art Institute, Kyoto and studied with the well-known painter Domoto Insho. In recognition of Yang’s contribution to Chinese painting, he was awarded an honorary degree from the Chinese Academic Research Institute, Taiwan (1970), awarded the Fellowship of Achievement of Visual Arts by the Hong Kong Arts Development Council (1999), and awarded the SBS from the government of Hong Kong Special Administration Region for his achievements. 杨善深字柳斋，被譽“嶺南畫派最后一位大師”。楊善深生於廣東省台山赤溪。1930年移居香港，1933年開始從事繪畫，與“嶺南三傑”之一的高劍父結識，開展悠長的師友關係。1935年留學日本，1970年在港成立“春風畫會”。杨善深擅画花鸟、走兽、人物、山水，书法也独具特色。他秉承岭南画派的创新精神，融贯中外，其绘画构思新颖，笔墨苍老，巧拙互用，雄放而不失秀雅，形成了鲜明的个人风格。 MASTERPIECE FINE ART - HONG KONG

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Anton Huang Anton Huang, born Anton Kustja Widjaja, studied under the tutelage of Kartono Yudokusumo and Barli Sasmitawinata. Anton moved to Bali in 1969 where he was influenced by Western artists on the island and the Balinese culture. Most of Anton’s paintings reveal the Balinese culture where his paintings sometimes present itself as mosaic art. Anton’s decorative works are rich in colour and design and his figures of Balinese dancers in particular are stylized into patters which emphasize their dynamic movements. His decorative quality was greatly influenced from his teacher, Kartono Yudhokusumo. Anton Huang has participated in numerous international exhibitions in venues such as the Lynyby Kunstforening, Copenhagen, Denmark (1975), Holstebro Kunstmuseum, Denmark (1975), Gallerie im Western, Stuttgart, Germany (1977), Singapore Art Museum (1994), Galerie Inart, Amsterdam, The Netherlands (1977), and East-West Center, Honolulu, United States (1988) and was one of the artist who participated in the Indonesia-Japan Friendship Festival in Morioka, Tokyo, Japan (1997). 057 ANTON HUANG (b. Bandung, Indonesia 1935 – d. 1985) Dua Penari, 1974 Oil on canvas: 66 x 54 cm Signed and dated, upper right: Anton H.Ubud, ‘74 Provenance: Prominent collector, acquired directly from the artist HKD 95,000 - 120,000 USD 12,260 - 15,480 安东·黄 (印尼万隆 1935 舞者, 1974

– 1985)

油彩画布: 66 x 54 cm 签名日期，右上：Anton H.Ubud 74 来源：著名收藏家，直接购自艺术家。

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058 NAVIN RAWANCHAIKUL (b. Chiang Mai, Thailand, 1971) Another Day in Sydney, 1998 Acrylic on canvas: 150 x 105 cm HKD 150,000 - 250,000 USD 19,350 - 32,250 那文·拉旺采古尔 (泰国清迈, 1971) 悉尼的一天, 1998

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Born in 1971 in Chiang Mai, Navin Rawanchaikul is a Thai artist whose ancestral roots are from the Hindu-Punjabi communities of present day Pakistan. Questioning modern systems of artistic creation and presentation, Rawanchaikul has developed a unique and vast body of work that relies heavily on team spirit and collaboration, and is often produced under the banner of Navin Production, a studio he founded in 1994. Seeking better and more visible ways to introduce art into the lives of everyday people, in 1995 he initiated his landmark project Navin Gallery Bangkok, in which an ordinary Bangkok taxicab was transformed into a mobile art gallery. Its great success prompted several versions of the Taxi Gallery to be created around the world, including in Sydney, London, Bonn and New York. With his international profile substantially raised, Rawanchaikul began to engage in a process of exploring the ongoing negotiation between local circumstances and unavoidable globalisation. The artist is best known for dynamic art practices that involve direct public interventions, social commentary, and an innovative style of integrating community or individual experiences into eccentric fictional tales featuring recurring characters. Over the years, his oeuvre has grown to encompass a broad array of media, including performances, billboards, films, comics, games, merchandise and cocktails.

059 CHEN LUI (b. Kunming, China 1973) Arhats Cross The Ocean, 2012 Oil on canvas: 150 x 200 cm Signed and dated, lower right in chinese character HKD 240,000 - 300,000 USD 30,960 - 38,700 陈流 (中国昆明， 1973) 漂洋过海, 2012 油彩画布: 150 x 200cm 签名日期,右下：陈流

Chen Liu graduated from the Central Art & Crafts College in 1996 where he won the first prize for the Ikuo Hirayama Award. Chen Liu has creativity in his blood as his father is an accomplished artist, and his mother a master woodcutter. After graduation, Chen returned to Kunming where he is now a professor of the Yunnan Academy of Fine Arts specialising in oil painting. Chen’s works is the result of China’s open door policy where influences of Japanese manga and American comics are delicately blended with Chinese supernatural and classical stories. Chen’s works has been displayed in numerous international exhibitions, amongst them are; Watercolour Paintings of Chen Liu, Kunming, China (2004), Segments – Oil Paintings of Chen Liu, Kunming, China (2004), Contemporary Tradition – Invitational Exhibition of Chinese Artists, Milan, Italy (2006), and Asian Contemporary Art Fair, New York, United States (2007) and has garnered him not only recognition in China, but around the world. 生于昆明，彝族。1996年毕业于中央工艺美术学院，同年至今任教于云南艺术学院美术学院油画系。现为中国美术家协会会员，云南省美术家协会理事，硕士生导师。陈流在就读大学期间，已先后获得中央工艺美术学院的专业奖项——“平山郁夫奖”一等奖，并由学院推荐参加评选并获得由日本交通文部省主办的国际艺术院校优秀毕业生奖——“龙富士”大奖。1995年油画《山镜》获得首届中国风景油画展三等奖。毕业回到云南，他先后在北京、上海、昆明举办了个人作品展五次。作品获得第六届全国少数民族美术作品展“百花奖”金奖。作品入选第九届、十届全国美术作品展。获得国家级金奖，一等奖，三等奖，省级二等奖多项。

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Chua Mia Tee Chua Mia Tee was born in China and moved to Singapore in 1937 and he enrolled at Nanyang Academy of Fine Arts (NAFA) in 1950 and studied drawing, painting, watercolour sketching under the tutelage of pioneer artists such as Lim Hak Tai, Cheong Soo Pieng, Koh Tong Leong, and See Hiang To. After graduating from NAFA in 1952, he taught art at the academy for some time, before he took on employment as a designer and illustrator at an advertising company. After his first solo show held at the Rising Art Gallery in 1974, he gave up his full-time job as a commercial artist in order to concentrate on painting and sculpture. Known as one of Singapore’s most eminent artist in the vivid, realist style, Chua’s body of work includes the colourful koi, majestic animals, as well as panoramic views and sprawling landscapes of countries he has visited. A remarkable painter of portraiture, he has also completed many commissions to paint several dignitaries including the Presidents of Singapore. This lot, Tiger, is a fine work by Chua where his keen eye for details and composition can be seen. Besides participating in art exhibitions in Singapore, Chua has exhibited in Australia, Belgium, Germany, New Zealand, and several countries in Southeast Asia. Chua was formerly Chairman of the Editorial Board of Nanyang Arts magazine and is now Life Member of the Singapore Arts Society and the NAFA Alumni Association. Chua is the 2015 recipient of the Cultural Medallion, Singapore’s highest national honour for contributions to art and culture.

060 CHUA MIA TEE (b. China, 1931) Tiger, 1998 Oil on canvas: 143 x 91 cm Signed and dated, lower left: M.T. Chua, 1998 Provenance: Prominent collector HKD 240,000 - 350,000 USD 30,960 - 45,150

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蔡名智 (中国广东, 1931) 老虎, 1998 油彩画布: 143 x 91 cm 签名日期，左下: M.T. Chua 1998

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061 IBNU NURWANTO (b. Yogyakarta, 1957) Waiting, 2013 Acrylic on canvas: 120 x 100 cm Titled and dated on the reverse HKD 28,000 - 35,000 USD 3,610 - 4,520 伊努·努尔万多 (印尼日惹, 1957) 等待, 2013 亚克力画布: 120 x 100 cm 题目及日期在画背面

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Ibnu Nurwanto studied at the Indonesian Art’s Institute, Jakarta and has been actively participating in exhibitions since 1974. In 1988, Ibnu Nurwanto held his first solo exhibition in the Taman Ismail Marzuki (TIM), Jakarta. Beside paintings, Ibnu Nurwanto is also an established sculptor.

062 UMBERTO MARIANI (Milano, 1936) La Forma Celata Stella cadente 9/2009 (Jaune etoile) Vinyl and Sand on Lead Sheet: 81 x 60.5 cm HKD 78,000 - 100,000 USD 10,060 - 12,900 伍伯多·马里安利 (Milano, 1936) La Forma Celata Stella cadente 9/2009 (Jaune etoile)

Umberto Mariani graduated from the Accademia di Brera under Achille Funi with honors. Today he lives and works in Milan, Italy, and has become the subject of academic essays by virtually every critic in Italy. Umberto Mariani has had several gallery and museum exhibitions, including at the Opera Gallery, Hong Kong and at the Opera Gallery, Monaco. Umberto Mariani is a Post-War multimedia artist whose work exudes a special affinity to the folds of textiles. Though he studied the masters of the Romantic period and was surrounded by the emerging movements of Pop Art and Surrealism, the most profound influences he drew were from the Classical Greek statues that he grew up with on the streets of Italy. He picked up his first projects doing monumental narrative work for the St. Peter’s Basilica in Vatican as well as mosaics and frescos for the St. Antony Sanctuary in Rome during the 60s, and during the 70s was widely exhibited in Europe at institutions such as the Palais des Beaux Arts in Brussels and the Musée d’Art Moderne in Paris. Best known for his complex draperies on irregular-shaped canvases, his work explores illusions of light and shadow created within the folds of fabric. New multidimensional canvas works combine intricate drapery over elusive lead sheets (form of metal) where the fabric both serves to conceal a mysterious object beneath, while also evoking its presence.

综合媒材 : 81 x 60.5 cm

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063 ROEDYAT MARTADIREDJA (b. Bandung, Indonesia, 1932 –d. 2002) Wanita, 1976 Oil on canvas: 120 x 60 cm Signed and dated, upper right: 76, Roedyat Provenance: Private collector, Jakarta HKD 80,000 - 100,000 USD 10,320 - 12,900

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罗雅·马达地列嘉 (印尼万隆 1932 – 2002) 女人, 1976 油彩画布: 120 x 60 cm 签名日期，右上: 76, Roedyat

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064 YAN YAYA (b. Shaanxi, China, 1964) Ayila, 2006 Oil on canvas: 60 x 50 cm Signed, lower right: Yaya, 06.6

燕婭婭 (b. Shaanxi, China, 1964) 阿依拉, 2006 油彩画布: 60 x 50 cm

HKD 60,000 - 80,000 USD 7,740 - 10,320 Yan Yaya graduated from the faculty of Fine Art from the Gansu Northwest National Institute in 1985, and was appointed artistic designer for Gansu Museum upon graduation. Yan took further courses in art with the Mural Department and Assistant Lecturer’s Advance Studies class of China’s Central Art Institute and he has been an art lecturer with the Capital University of Educator Training since. Yan has been actively participating in group exhibitions, taking part in exhibitions such as the National Art Exhibition of Ethnic Minority Groups (1995), Joint Exhibition, San Antonio, USA (1996), Central Academy of Fine Arts Postgraduate Art Exhibition, National Art Museum (1997), and Islamic Cultural Exchange Art Exhibition, Tehran, Iran (1998). Yan has also held solo exhibitions such as the Angels of Warmth, Singapore (2004) and Angels of Warmth, National Art Museum, Beijing, China (2003). 100

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Selected Solo Exhibitions 2004 Angels of Warmth, Singapore 2003 Angels of Warmth, National Art Museum, Beijing, China Selected Group Exhibitions 2006 Creme de la Creme, Hong Kong 2006 About Women, Hong Kong 2004 10th National Art Exhibition, National Art Museum, Beijing, China 2002 International Artists Invitation Exhibition, Qingdao, Shandong, China 2001 Visages of Light, joint exhibition with painter Tian Zhong Quan, Singapore 2001 Visages of Light, Two Artists Joint Exhibition, Singapore 2001 International Art Exposition, USA 2000 International Art Exhibition, Turkey 2000 International Art Exhibition, Turkey 1998 Islamic Cultural Exchange Art Exhibition, Tehran, Iran 1997 National Exhibition of Young Artists organized by Chinese Artists Association 1997 Central Academy of Fine Arts Postgraduate Art Exhibition National Art Museum, Beijing, China 1996 Joint Exhibition, San Antonio, Texas, USA 1995 National Art Exhibition of Ethnic Minority Groups

065 Chen Bo (b. Yunnan, China, 1973) Two Girls in the Garden, 2002 Oil on canvas: 150 x 195 cm Signed and dated, lower right: 2002 HKD 55,000 - 70,000 USD 7,100 - 9,030

陈波 (中国云南,1973) 花园中的女孩, 2002 油彩画布: 150 x 195 cm 签名日期，右下: 陈波,2002

Chen Bo graduated from the Oil Painting Department of the Central University for Minorities, Beijing in 1997 and he has been teaching art at the Art Academy of Hanjing University, Wuhan since then. Chen Bo’s works has been exhibited internationally, participating in exhibitions such as Hard Work, Beijing (2007), The Big World: Recent Art from China, United States (2009), Chinablue in Berlin, Berlin Art Center, Germany (2007), Chen Bo and Li Jikai – New Works, Fine Arts Literature Art Museum, Wuhan, and Dialogue, Modern Art Museum, Italy.

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Chen Wen Hsi 陈文希 Natural world from young, he had long delighted in observing the birds and animals around his home. Surrounded by rice fields and mandarin orange groves, his family reared chickens, geese, ducks and even kept a pair of peacocks. Gibbon paintings Within Chen's many thematic interests, his gibbon paintings stand out. His early paintings were noted for their careful attention to detail and sensitive rendering. His later depictions were lauded for their liveliness and abstract beauty. Gibbons, monkeys and apes (all called yuan in Chinese) have long been a popular subject with scholar-artists. As the calls of gibbons evoke a sense of remoteness and are associated with the high inaccessible cliffs among which they live, they often serve to symbolise for the literati desire for a less worldly existence. In a similar manner, Chen's Fishes and Carps also surprise and delight, from the fishes' quizzical expressions to the school of carps that cascades unexpectedly down one side of the painting.

066 CHEN WEN HSI 陈文希 (b. Baigong, China 1906 – d. Singapore 1992) Carps Chinese ink and colour on rice paper: 135.5 x 33.5 cm Signed in chinese character and sealed on lower left Sealed again on top right HKD 150,000 - 250,000 USD 19,350 - 32,250 陈文希 (中国广东, 1906 – 新加坡, 1992) 鲤鱼水墨设色宣纸: 135.5 x 33.5 cm 签名钤印，左下：陈文希右上钤印

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067 GU MEI 顾媚 (b. China, 1934) Mountain Landscape Chinese ink on rice paper: 47 x 51 cm Signed and sealed, lower right in chinese character HKD 28,000 - 50,000 USD 3,610 - 6,450 顾媚 (中国广州， 1934) 山水风景水墨宣纸: 47 x 51 cm 签名钤印,右下：顾媚

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068 Xue Song (b. China, 1965) The Young Mao Mixed media on canvas: 150 x 120 cm HKD 120,000 - 170,000 USD 15,480 - 21,930 薛松 (中国安徽, 1965) 年轻毛泽东

Xue Song graduated from the Stage Art Department of the Shanghai Theatre Academy in 1998. Known for his depiction of former China President, Mao Zedong, Xue’s work has been exhibited in major exhibitions such as Ver Da Ga – Xue Song 2002 Fashion Series, ShanghART, Shanghai (2002), Xue Solo Show, Walsh Gallery, Chicago, United States (2003), Xue Song Solo Show, Chinese Contemporary Art Gallery, London, UK (2005), and A Fashion, Or The History: Solo Exhibition of Xue Song, The Ueno Royal Museum, Tokyo, Japan (2010).

综合媒材画布: 150 x 120 cm

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Syed Ahmad Jamal, Datuk Datuk Syed Ahmad Jamal is a multi-talented who graduated from the Birmingham School of Architecture, in 1950 and from 1951 to 1955; he furthered his studies at the Chelsea School of Art, London. Upon his return from England, Datuk Syed worked as a teacher in Sekolah Tinggi Batu Pahat, Johor from 1956 to 1957. In 1957 he was a lecturer at Institut Latihan Guru Cheras, Kuala Lumpur. In 1958 to 1959 he worked at the Malayan Teachers Training College, Kirkby, England. In 1963 to 1964 he studied sculpture at the School of Art Institute, Chicago, Illinois, United States. Then he was appointed as Director of Institut Latihan Guru Cheras in 1964. Datuk Syed gained his Master Degree in Art History at the University of Hawaii, Honolulu in 1973. In 1974, he studied philosophy at Harvard University’s Islamic Art, Cambridge (USA). Upon his return, he worked at the Asian Art Museum, University of Malaya and was later appointed as Director of Cultural Centre, University of Malaya in 1979. He was appointed as Director of the Balai Visual Negara between 1983 and 1991. Throughout his career, the late Datuk Syed received numerous prestigious awards Ahli Mangku Negara (1969); Kesatria Mangku Negara (1983); ASEAN Cultural Award - Visual Art (1987), and in 1995, he was awarded the National Art Award; subsequently, the Panglima Jasa Negara in 1996. Besides numerous group and solo exhibitions, Syed Ahmad Jamal also published several important art books namely Antara Rupa dan Jiwa (1992), Kunang-Kunang (1999) as well as references for exhibition catalogues. He is a prolific artist of excellence. He experimented with different artistic movements including impressionism, expressionism, and abstract expressionism. Datuk Syed’s paintings are mostly abstract and painted in a reductive manner which turned away from figuration and legible meanings. Within the context of Malaysia, he is considered the first artist who introduced abstract art through his work titled “Bait”, a masterpiece produced in 1959. In fact, it was a new monumental step for Malaysia’s art movement approaching to new form of expression. Here, the colours, line, form, and space work together weaving their own reality with a fanciful vision. This reflects Datuk Syed’s popular statement “Malaysian Art begins now!” (kesenian Malaysia bermula sekarang) is an important indicator to a new era of painting in modern Malaysia. The painting Endau Rompin features a combination of colours and forms to create powerful illusions of depth. Similar depictions can be seen in Datuk Syed’s book Kunang-Kunang. He mixed and applied paint with precision and control building texture with sweeping colour. The structure and brush strokes are imbued with the artist’s self-consciousness where colours and forms were utilised as elements of art to fuel the inspiration from forestry. Flowing layers of blue and green creates an interaction between abstract trees forms and surrounding forests. In the painting Endau Rompin, the final composition and artistic expression has reached its higher degree of excellence. 069 SYED AHMAD JAMAL, DATUK (b. Johor, Malaysia 1929 - d. 2011) Endau Rompin, 1989 Oil on canvas: 101.5 x 76 cm Signed and dated, lower right: A ‘89 HKD 250,000 - 350,000 USD 32,250 - 45,150 赛·阿末·贾马，拿督 (马来西亚柔佛州 1929 - 2011) 云冰山景， 1989 油彩画布: 101.5 x 76 cm 签名日期，右下: A, 89

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070 Hong Zhu An (b. Singapore 1955) A Thousand Li of The Yellow River Ink and color on rice paper: 185 x 105 cm Signed in chinese character and sealed lower left Literature: Hong Zhu Ann book HKD 125,000 - 180,000 USD 16,130 - 23,220 洪祝安 (中国上海, 1955) 千里黄河水墨设色宣纸: 185 x 105 cm 中文签名钤印，左下：洪祝安此画载录于洪祝安画册 Chinese-born Hong Zhu An is one of the finest artists in Singapore today. Hong trained under famous art scholar Wang Zidou at the Shanghai Art and Craft Institute and he is proficient in both Chinese and Western Art. Painting in acrylic and ink, Hong’s works exude a serenity and energy that calms the mind and offers insightful abstract interpretation alongside enchanting visuals. Constantly growing in both skill and prestige, he has exhibited his works in South East Asia, United Sttes, and Australia and has received numerous accolades throughout his career, including the UOB Painting of the Year ‘Grand Award’. Hong’s works have been collected by major institutions such as the Asian Art Museum of San Francisco, Princeton University Museum in New York, the Tel Aviv Museum of Art, and the Singapore Art Museum.

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071 SUNARYO (b. Banyumas, Indonesia 1943) Abstract, 2006 Oil on canvas: 150 x 120 cm Signed and dated, lower: Sunaryo, ‘06 HKD 80,000 - 120,000 USD 10,320 - 15,480 苏纳里奥 (印尼Banyumas， 1943) 抽象画, 2006 油彩画布: 150 x 120 cm 签名日期，右下: Sunaryo06

Sunaryo studied arts at the Bandung Institute of Technology (ITB) in 1969 and continued his development by taking a tedious course of marble carving for 7 months at Carrara, Italy in 1975. On his return to Indonesia, Sunarya joined the Decenta group which was reacting against the more traditional “Bandung school” and was pioneering abstract art which was viewed generally as more Westernized than other schools of thought at the time. Artists in Decenta were trying to reprocess the visual elements of Indonesia’s traditional arts in search of “local colours and their cultural roots,” Sunaryo recalled. Sunaryo is an artist who mixes figurative themes with abstract backgrounds using very refined color palette and graceful lines that shows great technical mastery. Sunaryo paints interesting aspects of contemporary life which renders his viewer to the global problem of pollution and preservation of nature. There are several inspirational elements in is work, and nature and the environment are key themes. Sunaryo loves to use natural materials such as rattan, grass, bamboo, jute, canvas, nets and fibers as his mediums and his abstract works are dominated with line and form with the use of white, brown, grey and black colours. Sunaryo is not an artist who is confined to only paintings and has produced graphics, ceramics, sculptures and installations as well. MASTERPIECE FINE ART - HONG KONG

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Lee U Fan Painter, sculptor, writer, and philosopher Lee Ufan came to prominence in the late 1960s as one of the major theoretical and practical proponents of the avant-garde Mono-ha (Object School) group. The Mono-ha school of thought was Japan’s first contemporary art movement to gain international recognition. It rejected Western notions of representation, focusing on the relationships of materials and perceptions rather than on expression or intervention. The artists of Mono-ha present works made of raw physical materials that have barely been manipulated. From Point, is the result of Lee’s study between the relationship of space. Maximizing space, From Point is a circular painting with increasing intensity of brushstrokes. This relationship between space lies at the heart of Lee practice. Lee Ufan was born on June 24th, 1936, in Kyongnam, South Korea. He studied calligraphy, poetry and painting at the College of Kyongnam and the University of Seoul. Lee has exhibited in some of the most prominent walls around, having participated in exhibitions in Palace of Versailles, Paris, France (2014), Guggenheim Museum, New York, United States (2011), Royal Museums of Fine Arts of Belgium, Brussels (2009), Yokohama Museum of Art, Japan (2005), Musée d’Art Moderne de Saint-Etienne Métropole, France (2005), Samsung Museum of Modern Art, Seoul, South Korea (2003), Kunstmuseum Bonn, Germany (2001), Galerie Nationale du Jeu de Paume, Paris (1997), and the National Museum of Contemporary Art, Seoul, South Korea (1994). Lee was awarded the Praemium Imperiale for painting in 2001 and the UNESCO Prize in 2000. In 2010 the Lee Ufan Museum, designed by Tadao Ando, opened at Benesse Art Site, Naoshima, Japan and in 2011, Lee’s work was featured in at the Venice Biennale and the Solomon R Guggenheim, New York organised a retrospective of his works.

072 LEE U FAN (b. Kyongnam, South Korea, 1936) From Point, 1979 Oil on canvas: 72.7 x 91 cm Signed and dated, lower right: L Ufan, ‘79 HKD 3,500,000 - 4,000,000 USD 451,500 - 516,000 Lee U-Fan was knocked down to the winner for KRW 890,000,000 at the 108th Seoul auction, September 15, 2007

李禹煥 (b. Kyongnam, South Korea 1936) From Point, 1979 油彩画布: 72.7 x 91 cm

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073 GU MEI (b. Guangzhou, China, 1934) Mountain Landscape Chinese ink on paper: 40 x 57,5 cm Signed and sealed in chinese character, upper right HKD 28,000 - 50,000 USD 3,610 - 6,450 顾媚 (中国广州，1934) 山景水墨宣纸: 40 x 57.5 cm 签名钤印,右上：顾媚

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Gu Mei was born in Guangzhou and moved to Hong Kong in 1950 where she made a reputation as a famous singer and actress. In 1963, under the tutelage of Zhao Shao Ang , Gu Mei started to paint and in the 1970’s she gave up her performing career to become a full time artist. Further refining her artistic talents, Gu Mei went under the tutelage of Hu Nianzu (1969) and Lui Shou-Kwan (1974). Gu Mei had her first solo exhibition in Liang’s Gallery, Taipei, Taiwan (1971) and has since held over 30 solo exhibitions around the world. Gu’s works are in the collection of several museums and international collectors such as Utah State University, United States, the Canadian Consulate General, Hong Kong, Bank of America, Bank of Australia, and Hong Kong Museum. In 1977, Gu Mei was awarded with the Urban Council Artist Award, Hong Kong. 顾媚，生于中国广州，出道于香港，主要是活跃于五十年代至六十年代的著名歌手、演员。七十年代中息影，成为中国画画家。1963年起，随赵少昂习画。1969年起，在台湾随胡念祖习画。1974年起，随吕寿琨学习现代水墨画，从此开始建立自己独特的画风。顾媚的画作多以写云雾为主，尤爱绘意念中之山水，用似古碑般重叠的线纹及层层渲染，开放而矇眬氤氲的缥缈空间，使观者融入柔美的画境。

074 MA XIAOGUANG (b. China, 1956) Still Life, 1992 Chinese ink on paper: 53 x 45.5 cm Signed, lower left in chinese character HKD 60,000 - 80,000 USD 7,740 - 10,320 馬曉光 (b. China, 1956) 静物, 1992

Ma Xiaoguang graduated from the Central Academy of Fine Arts in 1981. Ma specializes in still life paintings and he has extensively exhibited in China, Hong Kong, France, United Kingdom, Singapore, and Malaysia. Ma believes in sharing the knowledge of art and has taught at the Central University of Technology High School and Technical College High School.

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Chen Wen Hsi

陈文希

Sotheby’s Hong Kong, 4 October 2015, Estimate: HKD 5,000,000 - 7,000,000

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陈文希 (中国广东 1906 – 新加坡1992) 猿猴水墨设色宣纸: 76 x 47 cm 签名钤印左上: 陈文希

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076 I GUSTI KETUT KOBOT (b. Bali, Indonesia 1917 – d. 1999) Jatayu, 1976 Acrylic on canvas: 63 x 45 cm Signed and dated, lower right: I Gusti Ketut Kobot, Pengosekan, Ubud, Bali, 1976 This lot is accompanies with a certificate authenticity from the family HKD 50,000 - 70,000 USD 6,450 - 9,030 I GUSTI KETUT KOBOT (b. Bali, Indonesia 1917 – 1999) Jatayu, 1976 亚克力画布: 63 x 45 cm I Gusti Ketut Kobot was a member of the Pita Maha painters group from the years 1936 to 1942 and most of his works are narratives of the story of Ramayana and Mahabharata. Unlike the other member of the Pita Maha group, Kobot’s paintings are very individualistic as he combined the Western influence of Rudolf Bonnet and Walter Spies with traditional themes. Kobot held his first solo exhibition in 1975 at the Museum of Ubud and in the same year he joined in the exhibitions that were held in Sydney, Australia, together with young painters of Pengosekan. In 1978, I Ketut received the awards Wijaya Kusuma, from the Regional Government of Gianyar and Dharma Kusuma award from the Bali government. 114

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077 LITA CABELLUT (b. Barcelona, Spain 1961) Coral Flowers, 2005 Mixed media on canvas: 250 x 200 cm HKD 195,000 - 270,000 USD 25,160 - 34,830 丽塔·卡贝鲁 (西班牙, 1961) 珊瑚花, 2005

Lita Cabellut decided to be an artist after a trip to the Prado Museum, Madrid, where she was inspired by the works of the Spanish and Dutch masters. Lita started by taking classical paint technique classes by establish artist and in four years, her works was exhibited at the Town Hall Museum of Masnou, Barcelona. At the age of 19, Lita left Spain for The Netherlands, where she was enrolled in the Rietveld Academy in Amsterdam from 1982 to 1984. During those years, Lita refined her technique and established her distinctive ‘Cabellut-palette’. As early as 1988, Lita was established enough to earn a living solely on her artistic endeavors. Lita’s works regularly feature in exhibitions in galleries and museums around the world; delighting art lovers with exhibitions such as the Trilogy of the Doubt Barcelona, Spain Fundavion Vilacasas (2013), Trilogy of the Doubt Den Bosch, The Netherlands Het NoordBrabants Museum (2013), Black Tulip the Golden Age Paris, Opera Gallery, France (2014), and Blind Mirror Hudiksvall, Sweden Halsingland Museum (2015).

综合媒材画布: 250 x 200 cm

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Auke Cornelis Sonnega An artist’s quest to find inspiration and spiritual contentment can take him on a long voyage far away from home. Such was the journey for Dutch artist Auke Cornelis Sonnega. Born in Leeuwarden and educated at the Kunstnijverheidsschool in Amsterdam (School of Arts and Crafts), Sonnega first set foot on Indonesian soil when he arrived in Batavia in 1935. He did his paintings in Parapat and Medan, North Sumatra, and Bali. He moved to Bali, which became a great source of inspiration for his painting. After the war settled in Ubud in fellow artist Bonnet’s old studio in Puri Kaleran and dedicated himself solely to painting. His style is fresh and unique, clearly influenced by his designer training and background. It is very influenced by Art Deco and often graphic, however, his larger canvases often transcend these limitations and can even be thought to have a mystical impact. He also made many portraits, usually of doe eyed young men (he was in the words of a long time Ubud expatriate euphemism a member of the “club”). These are very stylized and use a brightpalate with strong outlining of his subjects. Sonnega, like Bonnet, stayed in Bali until 1957 when he was forced to leave by the Indonesia authorities in the era of Confrontation.The painting becomes all the more poignant when this separation is considered – the immortalization of a reality that was to him a fulfillment of a dream. He returned to Holland in 1959 and died in Den Haag in 1963.

078 AUKE CORNELIS SONNEGA (b. Leeuwarden, Netherlands, 1910 – d. 1963) Balinese Boy, 1956 Oil on canvas: 70 x 60 cm Signed and dated, lower right: A. Sonnega, ‘56 HKD 300,000 - 500,000 USD 38,700 - 64,500 奥克·康聂利斯·宋尼咖 (荷兰Leeuwarden, 1910 – 1963) 峇里男孩, 1956 油彩画布: 70 x 60 cm 签名及日期右下: A. Sonnega 56

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MP Sing 29 July 2012 lot 10 , Auke Sonnega Portrait of a Balinese Man 55 x 45 1956, Sold SGD 66,000

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079 GERARD PIETER ADOLFS (b. Semarang, Indonesia 1899 – Netherlands 1968) Commercant de bric-a-brac, Marocco 1961-1962 Oil on canvas: 40 x 50 cm Signed, lower left: Adolfs Literature: Eveline/Gianni Orsini, Gerard Pieter Adolfs “The Painter of Java on Bali”, Javaan Met Haan, Published by Pictures Publishers the Netherlands 2008, page: 404 no. 715 HKD 35,000 - 50,000 USD 4,520 - 6,450 杰拉德·彼得尔·阿多夫 (印尼三宝垄1899 – 荷兰1968) 摩洛哥，Commercant de bric-a-brac, 1961-1962 油彩画布: 40 x 50 cm 签名左下: Adolfs 118

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Gerard Pieter Adolfs was a Dutch East Indies artist and architect. Gerard was a well-known advertising illustrator before he was introduced as an artist in Yogyakarta, Indonesia in 1924. Gerard was an ardent traveler and traveled for months at a time where he established studious in Florence, Rome,Vienna, Budapest, Prague, and, together with his Japanese friend Léonard Tsuguharu Fujita, in Paris. During his career, Gerard exhibited his works of art internationally in countries such as the Netherlands, Japan, Singapore, USA, England, Holland, Sweden, Norway, France, and Switzerland. In his works he has always attempted to represent the light, colour, and the simple joy of life that impregnates the scenes and his paintings had a menacing, even macabre quality to them, due to the dramatic light, a result of chiaroscuro. Gerard probably picked this up from Caravaggio (the inventor of chiaroscuro), whose works and those of other Old Masters, he had studied in Rome during his 1928 study tour as can be seen from the works reproduced, he has a bold, vigorous style, applying his pigments with quick strokes of the palette knife. Gerard was an ardent traveler, and captured the scenes of his travels in Europe, North Africa, Japan, and Indonesia where Gerard’s ability to capture light earned him a reputation as “The Wizard of Light” by the press.

080 YAN BO (b. Beijing, China, 1970) Lady and Dog, 2000 Oil on canvas: 39 x 58.5 cm Signed, upper left: Yan Bo 2000 HKD 15,000 - 20,000 USD 1,940 - 2,580

閻博少女與狗布面油彩: 39 x 58.5 cm 簽名:左上方 2000 年

Yan Bo graduated from the Tianjin Academy of Fine Arts (1996) and went on to obtain a Diploma of Masters from the Central Academy of fine arts (2002). Yan is known for his works which presents itself as three dimensional on two dimensional surfaces, a technique seen in traditional Greek paintings.This effect is achieved by Yan’s clever use of layering colours and his complex colour palette as can be seen in this lot, The Lady and Dog. Yan regularly exhibits in Hong Kong and Beijing and has held solo exhibitions One Man and His Dog, Zeeston Gallery, Hong Kong (2000), Dog, Man, and Women, Lee Garden, Hong Kong, and Bob Yan’s Oil Paintings, Linda Gallery, Beijing (2007) and Yan has participated in two National Art Exhibitions; A Colourful World, Guangzhou, Shanghai and Beijing (2005) and China International Gallery Exposition (CIGE), Beijing, China (2010). Other notable solo exhibitions include:

個展：

1996 “Bright sunshine”,Zeeston gallery HongKong

1996 年 “年華”個展（香港，Zeeston Gallery)

1998 “Summer in the City”,Zeeston gallery Hong Kong

1998 年 “夏日都市”個展(香港，Zeeston Gallery)

2001 “Friend”,Yan gallery HongKong

2001 年 “朋友”個展（香港，一畫廊）

2006 Bob yan’s oil paintings Taipei

2006 年閻博油畫展 (台灣高雄琢璞藝術中心)

2008 Bob Yan’s new works Beijing

2008 年閻博作品展北京

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Yoon Byung Rock Yoon Byung Rock graduated with Fine Arts from the Kyeungbook University, Daegu, South Korea in 1994. Yoon has garnered a reputation as the “Apple Artist” for his tireless passion of portraying apples. Yoon has held solo exhibitions in Leehan Gallery, Changwon (2009), Rho gallery, Seoul (2007), and Song-A Dang Gallery, Daegu (2006).Yoon has also exhibited his works in several group exhibitions including “ART & SYNESTHESIA”, Seoul Museum of Art, Seoul (2009),”13 Young Artists: Above Daily Life”, Rho gallery, Seoul (2009), “The still: logical conversation”, gallery Hyundai, Seoul (2009), “Small is beautifu”, Leehwaik gallery, Seoul (2009), “Art Love”, Insa Art center, Seoul (2008), Singapore Art fair, Sentec, Singapore (2008), “Busan Lotte Art Fair”, Lotte Department store, Busan (2007), and “Apple” Yemac gallery, Seoul (2007), “The best of the best 20” Insa Art center , Seoul (2007). In 1998,Yoon received the award “The First Prize in the 18th Grand Exhibition of Daegu Art”, Daegu Culture & Art Center, Daegu and was the recipient of “The Special Prize in the 12th Grand Art Exhibition of Korea, National Museum of Contemporary Art, Gwacheon in 1993.

081 YOON BYUNG ROCK (b. Gyeongbuk, South Korea 1967) National Geographic, 2009 Oil on Korean paper: 121 x 159 cm Signed and dated, lower right: Byung Rock Yoon 2009 Signed, titled and dated on the reverse HKD 110,000 - 180,000 USD 14,190 - 23,220 YOON BYUNG ROCK (Youngju, Gyeongbuk , 1967) 国家地理杂志, 2009 油彩韩国纸: 121 x 159 cm 签名及日期右下: Byung Rock Yoon 2009 签名、题目及日期于画背面

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082 YAO YUAN 姚遠 (b. China, 1952) Girl & River 草原的女孩, 1990 Oil on canvas: 90 x 88 cm Signed and dated, lower right: 姚遠,1990.3 HKD 50,000 - 70,000 USD 6,450 - 9,030 姚遠 (中国，1952) 草原的女孩, 1990 油彩画布: 90 x 88 cm 签名日期, 右下：姚遠 1990.3 122

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姚远，浙江宁波人，中国美术家协会会员。1975年开始在部队自学绘画，其作品《千里征途上》参加1975年全军战士画展，并被评为优秀作品。1976年入北京画院为油画创作人员。1978年到解放军艺术学院进修一年，作品《喀市维族小姑娘》参加北京市肖像画展。1980年《绿色的椰林寨》参加北京市油画展。1984年《挂在树上的草垛》参加北京市青年美展，《汉中风情》参加北京市庆祝建国35周年画展，获二等奖并被北京市美协收藏。作品在新加坡、香港、台湾、日本和美国多次参加展出。1990年《风从西边来》参加东方艺术厅在香港举办的《中国油画展》。其作品被中外收藏家收藏。

083 HU XIANG DONG (b. Jiangsu, China, 1961) Couple, 2006 Oil on canvas: 83 x 150 cm Signed and dated, lower right: Hu Xiang Dong, 2006 HKD 23,000 - 30,000 USD 2,970 - 3,870 胡向东 (中国江苏，1961) 恋人, 2006

Hu Xiang Dong graduated from the prestigious Nanjing Academy of Fine Arts, Nanjing, China in 1988 after a rigorous course in painting. Hu has been actively participating in international exhibitions and he has exhibited in prestigious group exhibitions such as Jiangsu Youth Art Week – Modern Art Exhibition, Jiangsu Fine Art Museum, Nanjing, China (1985), Documentary Exhibition of Contemporary Art, Fukuka Art Museum, Japan (2000), Contemporary Chinese Art Tour Exhibition, Duisburg, Germany (2002), Walking Forward – Chinese Contemporary Art Exhibition, NUS Museum, Singapore (2003), and Nanjing Contemporary Art Exhibition, Shangdong Contemporary Art Center, Nanjing, China (2010). Hu has also held solo exhibitions which include Estrangement, Beijing Space Gallery, Beijing, China (2006) and Estrangement, Garden Gallery, Seoul, South Korea (2007).

油彩画布: 83 x 150 cm 签名日期，右下: Hu Xiang Dong, 2006

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Srihadi Soedarsono Srihadi Soedarsono is one of the most gifted-living artists in Indonesia. Srihadi’s talent of portraying inner qualities is reflected not only in his works of ethnic dances, but also in his paintings of still objects such as Borobudur, the largest Buddhist temple in the world, constructed in the 8th century. During his career, Srihadi followed the Bandung style of cubism that was characterized by a kaleidoscopic use of colours and experimented with abstraction as he extensively researched the best method to portray not only subjects, but their essence as well. Srihadi’s Borobudur is the result of his extensive research. Painted in abstraction with his personal lyrical expressionistic style, Borobudur is depicted as a monument composed primarily in black. Srihadi’s abstraction can be seen through the strong strokes on the temple walls combined with the gentle sweep on the sky and earth that present the distinctive spiritual silence. Srihadi considers the artistic architectural form of Borobudur set in the surrounding natural environment as evidence that religious behavior and attitudes are the highest of human values. Srihadi’s Borobudur serves as a cultural text and embodiment of human religiosity and is testament of the great monument and gifted artist.

084 SRIHADI SOEDARSONO (b. Solo, Indonesia, 1931) Borobudur - Moment of Contemplation, 2008 Oil on canvas: 90 x 100 cm Signed and dated, upper left: Srihadi S., 2008 Signed, titled and dated on the reverse Provanance: Private collection, Jakarta HKD 500,000 - 700,000 USD 64,500 - 90,300 斯里哈迪·苏达索诺 (印尼梭罗，1931) 婆罗浮屠 – 静思时刻, 2008 油彩画布: 90 x 100 cm 签名日期, 左上: Srihadi S.2008 签名、题目及日期在画背面来源：雅加达私人收藏家

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Record price: Masterpiece Singapore 13 April 2014, lot 87 Sold SGD 250,000

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085 DIROT KODIRAH (b. Indramayu, Indonesia 1972) Berkuda, 2016 Oil on canvas: 150 x 120 cm Signed and dated, lower left: Dirot, 2016 HKD 16,000 - 18,000 USD 2,060 - 2,320 迪洛·古地拉 (印尼Indramayu，1972) 骑马, 2016 油彩画布: 150 x 120 cm 签名日期，左下: Dirot, 2016

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Dirot Kadirah was raised in a family of fishermen in the northern sea of Java and Dirot’s journey started when he moved to Bali in 1992 where he studied painting under the tutelage of Indonesian maestros Affandi and Sudarso. During his stay, Dirot earned a reputation for his paintings as art collectors and galleries began collecting his work. After three years of experimenting, Dirot developed his own distinctive style which he used to depict the daily lives of Indonesians. Dirot’s perspectives and technique which is easily distinguishable received much attention and since 1994, his works has been exhibited in major Indonesian cities and internationally in Singapore and the United States as well. In 2008, Dirot held his solo exhibition in the Jakarta National Gallery and in 2009 he was the only artist who exhibited in the World Ocean Conference organized by UNO in Manado 2009 with his charming works on fishermen.

086 PUTU SUTAWIJAYA (b. Bali, Indonesia 1971) Awalnya Merangkak, 2004 Mixed media on canvas: 140 x 140 cm Signed, titled, dated, lower left: Putu Sutawijaya, 2004 Signed, titled and dated on the reverse HKD 100,000 – 150,000 USD 12,900 - 19,350 普都·苏达维再雅 (印尼峇里岛, 1971) 爬行, 2004

Putu Sutawijaya studied at Sekolah Tinggi Seni Rupa Denpasar (Seni Rupa high school), Bali and continued his studies at the prestigious Indonesia Institute of Arts (ISI), Yogyakarta and graduated from the Faculty of Fine Arts in 1997. Putu earned a reputation for his studies on the human figure. With his strong spontaneous lines, Putu’s figures are painted with dynamisms and motion. The figures and postures in Putu’s works are the results of contemplation and reflections regarding music, dance, meditation, and personal life experiences. Putu has held solo exhibitions in Yogyakarta, Singapore, Hong Kong, and Jakarta and his works has not gone unnoticed as he has been awarded with the Best Watercolour, Faculty of Fine Arts, ISI, Yogyakarta (1991), Best Oil, Faculty of Fine Arts, ISI,Yogyakarta (1992), and the Lempad Prize, Sanggar Dewata, Indonesia (2000).

综合媒材画布: 140 x 140 cm 签名、题目及日期，左下: Putu Sutwijaya, 2004 签名、题目及日期在画背面 MASTERPIECE FINE ART - HONG KONG

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Le Pho Le Pho’s is considered as one of the “Masters” of twentieth century Vietnamese art. Through the years 1928 to 1938, Le Pho experimented with various mediums and styles from lacquer to oil on canvas and silk. The spirit of Le Pho’s work of shows in the radiance and simplicity of refined silk expressing the Sinhanga tradition that evolved in Japan in the early 20th century. The work of Le Pho is not a compromise between Vietnamese art, of Chinese origin, and Western art but is a fusion of two mentalities, two worlds, and two continents. Flowers are probably the most favorite subject in Le Pho’s painting.The present lot, Les Primaveres, is one such example of Le Pho’s unique style. The flowers were beautifully arranged in a vase. The sharpness and bright scene at the background is blended perfectly with the colorful flowers that blossomed out from the vases. This impressive painting probably revealed the romantic mood the painter wanted to achieve.

087 LE PHO (b. Vietnam 1907 – France 2001) Les Primaveres, 1980 Oil on canvas: 81 x 60 cm Signed, lower left: Le pho Provenance: Private collection Important of collector, Indonesia HKD 175,000 - 250,000 USD 22,580 - 32,250

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LE PHO (b. Vietnam 1907 – France 2001) Les Primaveres, 1980 油彩画布: 81 x 60 cm

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088 DULLAH (b. Solo, Indonesia,1919 – d. 1996) Boy With Hat Oil on canvas: 58 x 49 cm Signed, lower right: Dullah HKD 22,000 - 28,000 USD 2,840 - 3,610 DULLAH (b. Solo,Indonesia,1919–1996) 戴帽的男孩油彩画布: 58 x 49 cm

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Dullah studied painting under Affandi and Sudjojono but soon developed a distinctive style of naturalism on his own. Dullah was one of the founders of HBS –Surakarta Cultural Community where he was selected to edit the book of former President Soekarno’s Private Collection of Indonesian Art (Volume I & II) and was appointed to care and curate for the state art collection. Dullah held numerous art exhibitions in Indonesia and abroad and in 1988, his work was included in the Art of Bali exhibition held at the East West Center, Honolulu, Hawaii, United States. In the 1960’s Dullah developed a technique for the use of oil paints that was to become his trademark. At age 70, Dullah built his museum, now a cultural landmark, as his dedication to a love of the arts over a creative lifetime and today his works can be viewed in the Dullah Museum in Solo, Indonesia. Dullah’s painting stands out uniquely. His technique, brush stroke, observation, point of view, treatment of colour and mastery of his subjects make him stand out on his own. His mastery of the skills necessary to paint figure after realistic figure convinces of the reality of his scenes of individuals and groups of people in their setting. The skilled reproduction of skin tone and the mastery of the depiction of drapery, posture and gesture makes his paintings extremely convincing. Dullah’s choices of colour ranged between ocher to deep brown, with nuances of the play of yellow, green, turquoise, orange and maroon, become symbolic of his own character.

089 WILLEM VAN DER DOES (Amsterdam,The Netherlands, 1889 – 1966) Ox Cart Oil on canvas: 45 x 60 cm Signed, lower left: Van Der Does HKD 36,000 - 45,000 USD 4,640 - 5,810 威廉·凡德多斯 (荷兰阿姆斯特丹1889 – 1966) 牛车

Willem Van Der Does was born in Rotterdam in 1889 and landed in Indonesia in 1918 as a civil servant sent to survey the country. During his stay, Willem traveled the archipelago, understanding the unique and diverse Indonesian culture while documenting his travels on canvas. Capturing the Indonesian scenery in the Impressionistic manner, Willem participated in group exhibitions in Jakarta, Medan, and Surabaya between the years 1918 to 1938. Willem return to the Netherlands in 1946 and settled in Zeist, where he continued to paint till his death in 1966.

油彩画布: 45 x 60 cm 签名左下: Van Der Does

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Luo Brothers Luo Wei Dong 羅衛東 1963 Born in Guangxi Province 出生於廣西 1984 Graduated from Guanxi Art College 畢業於廣西藝術學院 Luo Wei Guo 羅衛國 1964 Born in Guangxi Province 出生於廣西 1984 Graduated from Guangzhou Academy of Fine Arts 畢業於廣州美術學院廣輕藝術設計學院 Luo Wei Bing 羅衛兵 1972 Born in Guangxi Province 出生於廣西 1995 Graduated from College Art& Design 畢業於中央美術學院 Currently works and lives in Beijing 現工作及居於北京 The Luo Brothers comprises of three brothers, Luo Weidong, Luo Weigou, and Luo Weibing. Born during the Cultural Revolution, the Luo brothers grew up in a China what was gradually changing as China began to open her doors and Western influences became intertwined with traditional Chinese culture. Luo Weidong attended the Gaungxi Art College, Luo Weiguo attended the Guangzhou Academy of Fine Arts and Luo Weibing graduated from the College of Art & Design in Beijing. The Luo brothers began to collaborate in 1986 as they captured the Westernizing China on canvas. The Luo brothers began incorporating both traditional Chinese and Western consumerism in their work where their new body of work offers a glimpse of a prosperous future. As Li Xianting, art critic and curator, explains “…artists strove to infuse their works with the taste of China’s peasantry for gaudy objects, either through their use of colour or popular images, to raise awareness that the essence of peasant taste is what lies at the base of today’s consumerism.” The Luo Brothers has gained international recognition and their work has been exhibited in the 24th Sao Paulo Biennale (1998), Fukuoka Art Museum Collection Exhibition (1999), Mahjong: Contemporary Chinese Art from the Sigg Collection at the Kunstmuseum Bern & Hamburger Kunsthalle (2005/2006). 羅衛東、羅衛國、羅衛兵合稱羅氏兄弟,他們以漆酯製作紙張、漆木板、雕刻木板及雕像作品,媚俗卻又帶點雜亂。他們的作品具東方意味,多用大光燈、紅燈籠等元素,令人憶及中菜館或中國城市尤其常見的節日景象。此外,他們的農民手工藝作品融合彩色花朵及壯胖的嬰孩,意味豐獲與成就。三兄弟以此為起點,在作品內加入國內無處不在的新興消費主義,再滲入其出生年代──即文化大革命時期──的標記。 090 LUO BROTHERS 罗氏兄弟 (b. Guangxi, China 1963,1964,1972) Welcome, 2013

罗氏兄弟 (中国广西， 1963,1964,1972) 欢迎, 2013

Oil on canvas: 110 x 90 cm

油彩画布: 110 x 90 cm

HKD 200,000 - 300,000 USD 25,800 - 38,700

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091 LUCIEN FRITS OHL (b. Palembang, Indonesia 1904 – The Hague, Netherlands1976) The Harbour Oil on board: 76 x 61 cm Signed, lower right: L. Frits Ohl

LUCIEN FRITS OHL (b. Palembang, Indonesia 1904 – The Hague, Netherlands1976) 港口油彩木板: 76 x 61 cm

HKD 50,000 - 70,000 USD 6,450 - 9,030 Lucien Frits Ohl was a Dutch East Indies artist who was born in Palembang, Indonesia. Lucien was a self-taught painter whose works were mostly depicting the Indonesian landscape and he also produced paintings of Asian panorama. Lucien was a painter, watercolorist, and draughtsman in the style reminiscent of the late of Gerard Pieter Adolfs. Lucien settled and lived in Jakarta for a long time before he returned to the Netherlands where he died in The Hague in 1976.

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092 WILLEM DOOIJEWAARD (b. Amsterdam, Netherlands 1892 – 1980) North Africa Oil on board: 25 x 40 cm Signed, lower right: W. Dooijewaard HKD 20,000 - 30,000 USD 2,580 - 3,870 威廉·杜杰华特 (荷兰阿姆斯特丹，1892 – 1980) 北非油彩木板: 25 x 40 cm 签名, 右下: w. Dooijewaard

Willem Dooijewaard was born in Amsterdam in 1892 where he studied arts as a student of the applied art school in Amsterdam.Together with his brother and fellow of the artist Jaap Dooijewaard, Willem Dooijewaard lived in Amsterdam till 1913, than Sumatra and Bali (Indonesia), Peking, Mongolia (China), Japan, the South of France and, after 1933, he moved back to Blaricum, Holland. He painted in an impressionistic manner figures, portraits, landscapes etc. Willem Dooijewaard had a solo exhibition in the Singer Museum Laren. Willem’s paintings are in the collection of the Singer Museum Laren and the Stedelijk van Abbemuseum, Netherlands. Willem was a great adventurer who travelled to Japan, where he often painted Geishas, and crossed the Gobi desert and Tibetan highlands on horseback and foot when it was truly frightening. He arrived in Bali in the early 1920’s, settled for a while and returned often before the Indonesian Independence. His modern figurative paintings of dancers are notable for their strong lines and exotic subjects. He was unwilling to sweeten the power of his vision. The resulting muscular Legong dancers and figures seem almost agonized, especially when compared to the more refined aesthetics of Hofker and Bonnet, whom he knew well.

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Chen Wen Hsi 陈文希 Life Another vital current through Chen’s practice was his insistence on close observation of nature and a solid foundation in drawing from life or life drawing (xiesheng). Chen painted both Western and Chinese paintings. His Western-style works in the early 1950s were realistic depictions infused with post-impressionistic and expressionistic elements. Chen’s Western painting style subsequently evolved, moving from simplified forms and strong colours to cubism, and later abstraction. Besides using oil paints for his Western artworks, Chen also experimented with acrylic and viscous paints as well as sand on canvas. Surrounded with natural landscape Chen’s often painted what he saw.The field of calabash (bottle gourd) a tropical vine grown for its fruit, which can either be harvested young and used as a vegetable, or harvested mature, dried, and used as a bottle has captured Chen’s attention. This simple plant has allowed him to explore his great mastery in combining colors of yellow and black ink in simple forms. Every subject he paints, whether lotuses, gibbons, egrets, monkeys, squirrels, birds, or flowers and trees, is palpably vibrant.

093 CHEN WEN HSI (b. Guangdong, China, 1906 – d. Singapore, 1992) Calabash Chinese ink on rice paper: 70 x 70 cm Signed in chinese character and sealed on left Provenance: Property from an prominent Asian private collection HKD 250,000 - 400,000 USD 32,250 - 51,600 陈文希 (中国广东, 1906 – 新加坡, 1992) 葫芦藤水墨宣纸: 70 x 70 cm 中文签名钤印，左来源：新加坡著名收藏家之藏品。

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094 ZHANG XIAOGANG (b. Kunming, China 1958) Comrade, ed. 53/99 Lithograph: 113 x 130 cm Signed in chinese character, lower right This lot is accompanied with a certificate authenticity from the artist

张晓刚 (中国昆明，1958) 同志, 版数53/99 版画: 113 x 130 cm 签名右下：张晓刚此画附有艺术家本人之真品保证书。

HKD 90,000 - 150,000 USD 11,610 - 19,350 Zhang Xiaogang was born in Kunming in 1958, graduated from Oil Painting Department of Sichuan Academy of Fine Arts, Chongqing in 1982. Known as a symbolist-surrealist and a member of the Avant-Garde movement, worldwide art historians noted that Zhang was influenced by Picasso and Dali. Now he works and lives in Beijing. In 1982, he participated in the BBC World Painting Contest held in the UK. In 1985, he participated in three group exhibitions, held in Beijing (Youth on the Advance), Shanghai and Nanjing (Exhibition of Neo-realistic paintings) and Florida (Mirage of China) USA. He attended the group exhibition, "Four Chinese Painters" held in Montpellier, France In 1987. In 1989, he held his first solo exhibition at the Gallery of Sichuan Academy of Fine Arts, Chongqing. He also attended the China Avant-Garde exhibition at National Art Gallery, Beijing. In 1991, he participated in the exhibition "I Don't Want To Play Cards With Cezanne: Exhibition of Chinese Avant-Garde paintings from the 1980's", held in the Asia and Pacific Art Museum, California, USA.In 1993, his work is shown in "Mao Goes Pop", Museum of Contemporary Art that was held in Sydney, Australia. The next year, he attended the 22nd International Biennial of San Paulo, Brazil. He attended the 46th Venice Biennial, Venice in 1995, and the group exhibition in Kunstmuseum, Bonn, Germany as well as the Asian-Pacific Triennial, Australia in 1996. In 1997, he held his solo exhibition at the Gallery of the Central Academy of Fine Arts, Beijing. He received Awarded "Bronze Prize" at the 22nd Sao Paulo Biennial Exhibition in Brazil in 1994."Document Prize" on the First Academic Exhibition of Chinese Contemporary Art in China National Museum of Fine Arts and Hong Kong Art Centre (1996). "Prize for Contemporary New Asian Artists" granted by British Coutt's International Art Fund in Hong Kong. Zhang Xiaogang: The Records, Pace Beijing, China (2009), The History of Self-reflection, Yunnan Provincial Museum, China(2009), Zhang Xiaogang: Shadow in the Soul, Queensland Art Gallery, Queensland Australia (solo) in 2009. His works are collected in several galleries among others, collected by New York Guggenheim Museum in USA, Asian & Pacific Art Museum in USA, Logan Collection-San Francisco Museum of Modern Art in USA  Fukuoka Museum of Art in Japan, Okinawa Gallery in Japan, Queensland Art Gallery in Australia, National Gallery of Australia, Chengdu Upriver Gallery in China, Dongyu Museum of Fine Arts, Shenyang in China, Shanghai Art Museum in China, International Conference Center in Hong Kong. Luxemburg National Gallery, British Gaswork Art Fund in England, Coutt's Art Foundation in Britain, Private collector film director Oliver Stone in America. 138

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095 XIAO HONG 肖红 (b. Huhehaote, China, 1966) The Series of Intelligent Youth, 2010 Oil on canvas: 170 x 150 cm Signed in chinese character and dated on lower right: 2010.4 Provenance: Private Singaporean collection acquired in Singapore

肖红 (中国内蒙古, 1966) 知识青年系列, 2010 油彩画布: 170 x 150 cm 中文签名日期，右下： 2010.4 来源:新加坡私人收藏，购于新加坡。

HKD 100,000 - 150,000 USD 12,900 - 19,350 Xiao Hong graduated from the Oil Painting Department of Inter-Mongolia Normal University in 1990 and has taken lessons in “Claude Yeevier” realistic Oil Painting Class in Lu Xun Art Institute (1991) and the mural painting history in Central Arts and Crafts Institute, Beijing (1993). Xiao Hong’s recent works on Intellectual Youth Series combines the elements of contemporary and tradition onto one canvas. With portrait of an Intellectual Youth as the main subject of his painting, one can immediately identify with his subject – how China is now full of young, talented and capable youth to bring it to the next level of development. However, it is his use of scenes and fragments of reality from the past which is rather unique. He turns these scenes and fragments of reality into marks on the skin of a human face, treating them like moles or freckles in a portrait, moulding them to the undulating contours of facial structure. Now, the combination of the two implores upon us a message that one should always have a root in traditions and the past. MASTERPIECE FINE ART - HONG KONG

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S.Sudjojono Sindudarsono Sudjojono studied arts under the tutelage of Mas Pringadi and a Japanese artist, Chiyoki Yazaki. In 1937, Sudjojono founded the Persagi Indonesian Artists Association in Jakarta and in 1970, he was awarded recognition in art by the Indonesian government. Sudjojono’s works has been exhibited in the Netherlands and in the Fukuoka Art Museum in Japan in 1980. Sudjojono is widely regarded as the driving force behind the establishment of modern art in Indonesia. Sudjojono’s paintings bears his characteristically harsh and wild strokes, as if the paint has been poured directly on to the canvas and he draws his inspirations from the observations of his surroundings, capturing the snapshot views which appealed to him. Sudjojono regularly exhibited his works in major Indonesian cities like Jakarta, Yogyakarta, Denpasar, and Bandung before his death in 1985.

096 S. SUDJOJONO (b. Kisaran, Indonesia 1914 – d. 1986) Angsa/Geese, 1969 Oil on board: 45 x 65 cm Signed and dated, upper left: SS.Djak.1969 Provenance: Private collection of prominent collector, Indonesia HKD 300,000 - 500,000 USD 38,700 - 64,500

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苏佐佐诺 (印尼 Kisaran, 1914 – 1986) 鹅, 1969 油彩木板: 45 x 65 cm 签名日期, 左上: SS.Djak.1969 来源：印尼著名收藏家之藏品。

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097 ZEF CHEVALLIER (b. Jakarta, Indonesia 1959) New World Oil on canvas: 140 x 140 cm HKD 38,000 - 45,000 USD 4,900 - 5,810 ZEF CHEVALLIER (b. Jakarta, Indonesia 1959) 新世界油彩画布: 140 x 140 cm

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Zef Chevallier born in Jakarta, 10 February 1959. He is a multi talented artist, graphic designer, and fashion and interior designer whose works are the results of the different cultures which he has experienced. Born in Indonesia, Zef moved to the Netherlands in 1977 where he spent 26 years working, studying, and absorbing the Dutch culture. Zef worked for 11 years before deciding to further his education and enrolled in the Leiden Educational Institution (LOI), Leiden, Netherlands in Interior Art Design and Architecture. During his education, Zef worked on his own art design and oil paintings, and his art was exhibited in art galleries in Roosendaal, Rotterdam, and Amsterdam from 1991 to 1995. Exposed to different cultures and coming from Indonesia, who has been colonized by different cultures as the Portuguese, Japanese, and Dutch, Zef ’s paints his philosophy of the future and how a cohesive world should be. In Zef ’s words, “The new world that is our destination no matter if we are still alive or dead. The message for our future lies in peace, happiness, freedom, and love. No human power, no religion, no politics, no sadness, no illness, no wars, and everybody in the new world living in equal societies, respect, and are honest to one another”.

098 FANG LIJUN (b. Hebei, China 1963) Sunrise, 2014 Lithograph (Edition: AP): 54 x 75 cm Signed in chinese character and sealed lower left. HKD 20,000 - 30,000 USD 2,580 - 3,870 方力钧 (中国河北, 1963) 日出, 2014 版画(Edition: AP): 54 x 75 cm 签名钤印，左下：方力钧

Fang Lijun is a painter and printmaker associated with the Cynical Realist movement, and best known for his hyper-realistic paintings that criticize contemporary cultural values in China. Born in Handan, Hebei province, Fang studied printmaking at the Central Academy of Fine Arts in Beijing, where he was trained in the Socialist Realist style promoted during the Cultural Revolution. As part of the Cynical Realist movement, Fang rejected the political subject matter of Socialist Realism, but his work has retained the technical skill and realistic style of his training. He incorporates imagery from pop culture, folk art, and traditional Chinese painting, and his work often features bald, aggressive-looking figures. Fang has also worked in the traditional practice of woodblock printing, putting together several scrolls to create large-scale prints. In all of his work, he examines the role of individual creativity in the oppressive cultural environment of modern China. Fang has held solo exhibitions at the China Art Museum, Beijing, the Today Art Museum, Beijing, and the Staatliche Museen, Berlin. 方力鈞方力鈞，1963年生於河北，1989年畢業於中央美術學院版畫系。現居北京，職業畫家。重要參展有：第六屆全國美展、中國現代藝術展、中國新藝術展、中國前衛藝術展、後八九中國新藝術展、東方之路、中國新藝術展、第四屆亞洲藝術展、中國新藝術展、中國前衛藝術展、中國！透視：中國新藝術、是我、開啟通道、開放的邊界、新世紀的新現代主義等。

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Chen Wen Hsi 陈文希

Born in Baigong, Caozhu, 1906. Chen Wen Hsi studied art at the Hsin Hwa Art Academy in Shanghai. He became a lecturer at the Nangyang Academy of Fine Arts in Singapore. His paintings were strongly influenced by Chan (Zen) and the unorthodox Qing School of Yangzhou. He actively participated in several exhibitions outside Singapore which also incidentally promote Singapore. He was awarded the Public Service Star from the President Tun Yusof Bin Ishak and received honorary doctorate from the National University of Singapore. He became famous since his oil study on formalism, cubism, and expressive abstraction. Besides Chinese brush painting, Wen Hsi also produced abstract compositions in oils and Chinese inks of which his paintings showed a strong influence of analytical Cubism and Fauvism with non-naturalistic and exuberant colours. This style has heightened the vividly expression and exoticism of Southeast Asia. Chen painted ceaselessly through his life. Numerous solo and group exhibitions were held in Singapore and around the world. Wen Hsi’s artistic excellence was recognized. Among the many awards he had received are the Public Service Star in 1964, a Gold Medal by the National Museum of History, Taiwan in 1980, the first recipient of the ASEAN Cultural and Communication Award for outstanding artists in 1987 and received an honorary doctorate from the National University of Singapore. Chen's subjects include landscapes, figures, birds and animals, still life studies and abstract compositions. Chen was especially adept at drawing egrets, monkeys and birds.

099 CHEN WEN HSI 陈文希 (b. Baigong, China 1906 – Singapore 1992) Sparrows

陈文希 (中国 1906 – 新加坡1992) 麻雀

Chinese ink on rice paper: 141 x 76 cm Signed in chinese character, lower left

水墨宣纸: 141 x 76 cm 签名 , 左下：陈文希来源：马来西亚著名私人收藏家之藏品。

Provenance: Private collection prominent collector HKD 360,000 - 600,000 USD 46,440 - 77,400

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100 THEO MEIER (Switzerland, 1908 - 1982) Nude, 1948 Red chalk on paper: 49 x 42 cm Signed, lower right: Theo Meier 1948 HKD 16,000 - 20,000 USD 2,060 - 2,580 THEO MEIER (b. Switzerland 1908 - 1982) 躶体, 1948 红粉笔画纸: 49 x 42 cm 146

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Theo Meier was born in Switzerland in 1908 and he studied at the Kunstgewerbeschule in Basel and Academies of Art in Berlin and Dresden. In 1936, Theo settled in Bali for 20 years where he was charmed by the different cultures of Indonesia. He later moved to Thailand in 1961. Theo Meier’s works are in the collections of former President Soekarno, the Museum Neka in Bali, the Agung Rai Fine Arts Gallery in Bali, and the Kunstmuseum in Basel, Switzerland.

101 HUANG YINGHAO (b. Shanghai, China 1949) Dragonfly, 2004 Oil on canvas: 130 x 97 cm Signed, lower left: Ying 2004 HKD 23,000 - 30,000 USD 2,970 - 3,870 黄英浩 (中国上海, 1949) 蜻蜓, 2004

黄英浩籍贯浙江镇海，出生上海。上海油画雕塑研究院专业油画家。曾任文汇报文艺部美术编辑。主要作品：鲁迅小说连环画《祝福》、《一件小事》、巴金文学作品《秋天里的春天》、《寒夜》插图及国外翻译作品插图，电影《海上旧梦》、《人约黄昏》艺术总监，2010上海世博会系列纪录片《视觉上海》总导演，2010上海世博会主题雕塑《2010》。1991年新加坡“示”画廊个人展览，1992年赴美学术访问，美国“中西画廊”个人展览。1992年香港第一届艺术展览会。作品为海内外收藏家收藏。并长期从事环境艺术设计和酒店艺术装饰设计。

油彩画布: 130 x 97 cm 签名, 左下: Ying 2004 MASTERPIECE FINE ART - HONG KONG

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S. Sudjojono Sindudarsono Sudjojono studied arts under the tutelage of Mas Pringadi and a Japanese artist, Chiyoki Yazaki. In 1937, Sudjojono founded the Persagi Indonesian Artists Association in Jakarta and in 1970, he was awarded recognition in art by the Indonesian government. Sudjojono’s works have been exhibited in the Netherlands and in the Fukuoka Art Museum in Japan in 1980. Sudjojono is widely regarded as the driving force behind the establishment of modern art in Indonesia. Sudjojono’s paintings bears his characteristically harsh and wild strokes, as if the paint has been poured directly on to the canvas and he draws his inspirations from the observations of his surroundings, capturing the snapshot views which appealed to him. Sudjojono regularly exhibited his works in major Indonesian cities like Jakarta, Yogyakarta, Denpasar, and Bandung before his death in 1985. 102 S. SUDJOJONO (b. Kisaran, Indonesia 1914 – 1986) No.1, 1982 Oil on canvas: 35 x 50 cm Signed and dated, lower right: SS.101, Jak, 1982

S. SUDJOJONO (b. Kisaran, Indonesia 1914 – 1986) No.1, 1982 油彩画布: 35 x 50 cm

Provenance: Private collection important collector Jakarta HKD 300,000 - 400,000 USD 338,700 - 51,600

Pasukan Kita yang Dipimpin Pangeran Diponegoro (Our Soldiers Led Under Prince Diponegoro), 1979, oil on canvas, 100 x 199.5 cm, Sothebys Hongkong April 2014. sold 58.4 juta dollar Hong Kong

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103 PAUL AIZPIRI (b. Paris, France 1919) Boquet De Fleurs

Paul Aizpiri’s unique style is somewhat reminiscent of Munch. The roughness in his brushstroke and use of bold colors, allow each of his characters and situations come to life with raw emotion. Aizpiri continually challenges the conventions of modern and contemporary form with his Post-Expressionist style.

Oil on canvas: 49.5 x 41 cm Signed, lower left: Aizpiri

Paul Aizpiri was born in 1919 in Paris, France and studied painting at “L’Ecole des Beaux- Arts” also in Paris. Public acknowledgment of his talent began in 1940, and progressed from many exhibitions in countries around the world. He started exhibiting in 1943, his talent appreciated and bolstered by public acceptance, the progress enabled him to have many exhibitions held in various countries around the world. 1956 was the year his path as an artist was altered, that year he met with Foujita, Soutine,Van Dongen, Utillo and Picasso, who greatly influenced his style and work. Since 1963, he has submitted his work to every International Figuration Exhibition as a guest of honor. A likely consequence of growing up in the Basque, he uses vivid Spanish colors that are filled with passion.

HKD 90,000 - 120,000 USD 11,610 - 15,480 保罗·艾斯比利 (法国巴黎， 1919) 花油彩画布: 49.5 x 41 cm 签名左下: Aizpiri

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Aizpiri’s passion for nature and families are evident in his artworks. The bold brushstrokes and the bright colored palette he brandishes in his vibrant figurative paintings are symbolic of his joy and satisfaction in life. His recent works are painted poetry filled with a glow of love with such motifs as children, bicycles, airplanes, birds, fish and the sun, flying over the skies of Paris, Saint Tropez and Venice.

104 HUANG JUN BI (b. Hainan, China 1898 – 1991) Waterfall Chinese ink on rice paper: 55 x 90 cm Signed and stamped, lower right HKD 280,000 - 400,000 USD 36,120 - 51,600 黄君壁 (中国海南 1898 – 1991) 瀑布水墨宣纸: 55 x 90 cm 签名钤印, 右下：黄君壁

Huang Junbi was born in Hainan before moving to Taiwan in 1949, where he headed National Taiwan Normal University (NTNU) Department of Fine Arts for over 20 years. At NTNU, Huang followed the doctrine “train outstanding teachers and do advanced academic research” and in doing so, Huang promoted Chinese paintings and sketching. Huang’s unique style and creativity made a lasting impression on the development of ink painting in Taiwan where his reforms of Chinese paintings were hailed as “Chinese Neoclassicism” by the Western art world. During his lifetime, Huang was honoured with the first prize in Taiwan’s Chinese Art and Literature Award, made an honourary fellowship at the Brazilian National Academy of Fine Arts, and received the Gold Medal Award from St. John’s University, New York. 广州南海人。原名允瑄，晚号君翁，本名韫之，以号行，近现代中国画界长寿、多产、著名、影响广泛的画家。致力于山水画，尤以画云水瀑布为长。1937年后历任国立中央大学艺术系教授等。1949年迁居台湾，任台湾师范大学艺术系教授、主任。黄君璧兼擅诗、书、画，画则兼能山水、人物和花鸟，是一个全能型画家。黄君璧经历了现代中国画的继承、演变和革新的过程，以山水画的成就最为突出。他对山水题材的表现，通常是经过了自己精心的组织和设计，往往赋予山水画一种理想化的内容，追求笔墨的品位和人格的层次，这是他所追求的一种山水画的笔墨效果。

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Andre Brasilier Andre Braselie comes from a family of artists as his parents were both painters. Andre graduated from the Ecole Nationale des Beaux-Arts, Parisin 1949. Andre didn’t take long to get noticed and he was awarded with the Florence Blumenthal Prize Award in 1952 and received the Grand Prix de Rome award for painting the following year. Andre paints out of reality but is not a realist as he paints his personal “Brasilier” non-figurative style in figures with lyrical charm and vivid colours. Andre is an internationally acclaimed artist who has exhibited around the world in venues such as the David B. Findlay Gallery, New York (1962), Buschlen-Mowatt Gallery, Vancouver (1988), Nichido Gallery, Tokyo (1997), and Gallery Artbank, Seoul (2010).

105 ANDRE BRASILIER (b. Anjou, France, 1929) Rivage Aux Trois Cavaliers Oil on canvas: 50 x 73 cm Signed, lower right: Andre Brasilier HKD 170,000 - 220,000 USD 21,930 - 28,380

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安德烈·巴拉西列尔 (法国Anjou ，1929) 三人骑士队油彩画布: 50 x 73 cm 签名右下: Andre Brasilier

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106 YUSOF GHANI (b. Johor, Malaysia 1950) Segerak V No. 7 Oil on canvas: 122 x 92 cm Signed, lower right: Yusof Ghani HKD 60,000 - 110,000 USD 7,740 - 14,190 尤索夫·干尼 (马来西亚柔佛州， 1950) Segerak V no. 7 油彩画布: 122 x 92 cm 签名，右下: Yusof Ghani 154

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Yusof Ghani graduated with a bachelors in Fine Arts from the George Mason University, Virginia, USA (1981) and then obtained his Masters in Fine Arts from the Catholic University of America, Washington DC, US (1983). Yusof is one of Malaysia’s leading artists whose works are stroke-based renditions and is known for his strong lines and spontaneous marks on dynamic compositions giving energy and movement to his painting. His hallmark series Tari, and subsequent series Protest, Topeng I, II, III, Wayang, Hijau, Segerak, and Wajah are highly sought after among international collectors. Yusof has held over 20 solo exhibitions in venues such as Slavia Regina Gallery, Washington DC, USA (1983), Anton Gallery, Capitol Hill, Washington DC, USA (1984), Petronas Gallery, KLCC, Malaysia (2002), and Richmond Art and Cultural Center,Vancouver, Canada (2009) to name a few. In 1985,Yusof was honoured when he was awarded the Major UNICEF Art Asia, Kuala Lumpur, Malaysia.Throughout his 35 year career, Yusof has garnered a wide array of collectors and his works are in the collections of corporate bodies, private galleries and many private individuals. 尤索夫于1981年毕业于美国维吉尼亚州George Mason大学纯美术系，之后，他到美国华盛顿天主教大学进修并获颁硕士学位。尤索夫是马来西亚顶级画家之一，以强烈的线条和笔触表现人物的动态见称，他的系列作品如：“Sri Tari(舞蹈)”“Topeng（面具）”“Protest（抗议）”“Segerak”获得收藏家们的追捧。

107 POPO ISKANDAR (b. Garut, Indonesia 1927 – 2000) Full Moon, 1989 Oil on canvas: 148.5 x 138.5 cm Signed, lower right: Popo 89 HKD 90,000 - 100,000 USD 11,610 - 12,900 波波·伊斯干达 (印尼Garut, 1927 – 万隆2000) 圆月, 1989 油彩画布: 148.5 x 138.5 cm 签名右下: Popo 89

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108 LEE MAN FONG (b. Canton, China 1913 – d. Singapore 1988) Cows, 1973 Oil on board: 103 x 50 cm Signed, stamped and dated lower left in chinese character Provenance: Private collection prominent collector HKD 430,000 - 500,000 USD 55,470 - 64,500

Lee Man Fong “Horses” 102 x 50 cm, Masterpiece Singapore 12 November 2011, Lot 63, Sold: SGD 150,000,-

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李曼峰 (中国广东1913 – 新加坡1988) 牛，1973 油彩木板：103 x 50 cm 签名钤印日期，左下：李曼峰来源：著名私人收藏家。

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109 RONALD VENTURA (b. Manila, Philippines, 1973) Super Suffering Girl, 2008 Oil on paper laid on canvas and laid on board: 92 x 61 cm Signed and dated lower right: OLAN, 2008 HKD 100,000 - 150,000 USD 12,900 - 19,350

罗纳德·文图拉 (菲律宾马尼拉, 1973) 非一般痛苦之女孩, 2008 油彩纸本画布木板: 92 x 61 cm 签名日期，右下 : OLAN 2008

Roland Ventura ranks as one of the most acclaimed artists of his generation in Southeast Asia.Ventura graduated with a BFA in painting from the University Of Santo Tomas Philippines and in 1993, he was a lecturer at the College of Fine Arts & Design, University of Santo Tomas. With his unique combination of figurative motifs featuring a complex layering of images and styles, Ventura’s works are among the most recognizable images of contemporary art in Southeast Asia.Ventura has held solo exhibitions such as Recent Works, Singapore Art Fair (2005), Morph, West Gallery, Philippines (2003), Human Study, Art Center, Philippines (2003), and Contrived Desires, West Gallery, Philippines (2003). For his artistic talents, Ventura has been awarded the Ateneo Art Awards Winner (2005), Philippines- Ateneo Art Gallery Studio regency Grant Sydney, Australia (2005), and ‘Jurors’ Choice Award Philippine Art Awards Philip Morris (2002). 158

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110 BASOEKI ABDULLAH (b. Solo, Indonesia, 1915 – d. Jakarta, Indonesia, 1993) Reclining Nude Oil on canvas: 80 x 120 cm Signed, lower right: Basoeki Abdullah

Basoeki Abdullah is one of the later proponents of the Mooie Indies School (Beautiful Indies) preferring the depictions of the natural beauty and sensuality drawn from the Indonesian landscape. Basoeki was known for his portraits of beautiful women, as well as paintings of scenes from legendary myths that are also tempered with the same lyrical and overly sensual treatment. Known as a realist, the artist gain the public recognition after winning a painting competition held in conjunction with the Queen Juliana of Netherlands ascension to throne on 6 September 1948. Basoeki Abdullah often went to places for field trip, observing object for his painting and put it into sketch. He is a great naturalist and romantic painter and best known as a portrait painter as well as landscapes, epic story, and daily lives.

This painting will be included in the future publication of the artist’s book HKD 200,000 - 300,000 USD 25,800 - 38,700 巴苏基·阿都拉 (印尼梭罗 1915 – 雅加达 1993) 斜躺裸女油彩画布: 80 x 120 cm 签名, 右下: Basoeki Abdullah 此画会收录于艺术家将出版之画册。

Basoeki Abdullah, The Lady of Eden, OOC, 100 x 190 cm, est. SGD 50,000 - 70,000, sold SGD 115,000 Masterpiece Singapore, 2 November 14 L.ot 091

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Latiff Mohidin Latiff Mohidin had his first exhibition at the age of 10 at the Kota Raya Malay School and was dubbed “Boy Wonder” by the local press then. Latiff received his art training from Hochschule für Bildende Künste in Germany in 1960. His residency in Germany exposed him to German expressionists that later influenced his painting style. This formal training has perfected Latiff with the various techniques of pen, ink, charcoal, pencil and etching for drawing portraits, still life, and landscapes. In 1969, Latiff furthered his studies in printmaking at Atelier La Courriere in Paris, France and subsequently to Pratt Graphic Centre in New York, USA. He started writing poetry in the early sixties, and since, his work has been published in various magazines and translated into English and Chinese. Latiff ’s work has received several local and international awards for his artworks and his writings. The book Journey to Wetlands and Beyond features the five important series of works that Latiff developed from 1964 to 1998: Pago-Pago, Mindscape, Langkawi, Gelombang and Rimba. The artist has also received various arts and literary awards from national and international bodies. As Malaysia’s most celebrated living artist and poet, Latiff Mohidin is considered a National Treasure today. Solo Exhibitions (selected) 1963 – Frankfurter Kunstkabinett, Frankfurt – am – Main, Germany 1964 – Ladengalerie, Berlin, Germany 1973 – Retrospective Exhibition, National Art Gallery, Kuala Lumpur 1989 – MAS Building, Kuala Lumpur 1994 – Singapore Art Museum, Singapore 1998 – Galeri Petronas, Kuala Lumpur Awards 1953 – 1st prize and special prize in oil painting, Malaysian AgriHorticulture Association, Kuala Lumpur 1960 – DAAD, German Academy Student Exchange Scholarship, Bonn 1968 – 2nd prize Graphic, Honourable Mention in other Media, Salon Malaysia, National Art Gallery, Kuala Lumpur 1969 – French Ministry of Culture Scholarship, Paris 1984 – S.E.A. Write Award, Bangkok Thailand 1988 – Guest Writer, Dewan Bahasa dan Pustaka, Kuala Lumpur Literature 1988 – Garis Latiff Mohidin dari Titik ketitik, Dewan Bahasa dan Pustaka, Kuala Lumpur 1994 – T.K. Sabapathy, (editor), Pago – Pago to Gelombang, 40 years of Latiff Mohidin, Singapore Art Museum 1998 – T.K. Sabapathy, Latiff Mohidin Rimba Series, Galeri Petronas, Kuala Lumpur 拉迪夫于10的稚龄就举办了首个个展，被当地报章喻为“画坛神童”，长大后，他到德国和美国进修，深受德国表现主义的影响。除了绘画之外，拉迪夫也是一位出色的文学家，在国际上获奖无数，堪称是马来西亚国宝级艺术家。

111 LATIFF MOHIDIN (b. Negeri Sembilan, Malaysia, 1941) Dark Wetlands, 2000 Oil on canvas: 92 x 92 cm HKD 600,000 - 800,000 USD 77,400 - 103,200

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拉迪夫·莫西汀 (马来西亚森美兰州,1941) 黑暗之湿地, 2000 油彩画布: 92 x 92 cm 签名及题目, 画背面: Latiff Mohidin, Dark Wetlands

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112 LUCIEN FRITS OHL (b. Palembang, Indonesia 1904 – d. The Hague, Netherlands1976) Indonesian Street

路森·弗斯特·奥尔 (印尼巨港 1904 – 荷兰1976) 印度尼西亚街道

Oil on canvas: 76,4 x 61 cm Signed, lower right: L. Frits Ohl

油彩画布: 76.4 x 61 cm 签名, 右下: L. Frits Ohl

HKD 42,000 - 50,000 USD 5,420 - 6,450 Lucien Frits Ohl was a Dutch East Indies artist who was born in Palembang, Indonesia. Lucien was a self-taught painter whose works were mostly depicting the Indonesian landscape and he also produced paintings of Asian panorama. Lucien was a painter, watercolorist, and draughtsman in the style reminiscent of the late of Gerard Pieter Adolfs. Lucien settled and lived in Jakarta for a long time before he returned to the Netherlands where he died in The Hague in 1976.

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113 UNTUNG WAHONO (b. Yogyakarta, Indonesia, 1962) Keluarga Akrobat, 2015 Oil on canvas: 140 x 100 cm Signed and dated, lower left: Untung W. 2015 Signed, titled and dated on the reverse This lot is accompanied with a certificate of authenticity from the artist HKD 15,000 - 20,000 USD 1,940 - 2,580 恩东·瓦赫诺 (印尼日惹， 1962) 特技世家, 2015

Born in Yogyakarta, 1962. He inherits his art talent from his father and along with his 4 other siblings Lugiono, Ignatius Suyudi, Klowor Waldiono and Dikdik Rahyono. He actively participated in several painting exhibitions such as group painting exhibition “Jakarta On The Spot” at Plaza Indonesia and Galeri Pasar seni, Jakarta, 2004. He received an art award given by the President of Indonesia (Rumah Kepresidenan Istana Negara) in 2002. He participated as the finalist of “UOB painting of the year” in 2012. The strength of his works showed in the designing composition of shapes and colors combined with the naïve attitude of his figures. His rarely left his canvas empty. Children themes have become his source of inspiration and visual idea which he poured thoroughly in his canvas.

油彩画布: :140 x 100 cm 签名日期，左下: Untung W. 2015 签名、题目及日期于画背面此画附有艺术家本人之真品保证书。 MASTERPIECE FINE ART - HONG KONG

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Tsui Tin Yun

Tsui Tin Yun received training in sketch and oil painting in various celebrated art institutes in Shanghai eary in life and Tsui worked in the in the field of painting and commercial design in Shanghai soon after. In 1986, Tsui moved to Hong Kong where he joined a prestigious architect firm before pursuing his career in arts. Tsui started by experimenting with different medias and subject matter and his exhausting experiments were noticed early on as he was selected to participate in the 1987 Hong Kong Art Biennial Exhibition, Hong Kong. Tsui soon became a regular at the Hong Kong Art Biennial as he exhibited in the 1989, 1992, and 1996 editions. As China opened its doors, so did the level of acceptance regarding art. Tsui’s Door is unique in the way he captures the ever revolving China. The door is a cultural heritage left behind from the time of China’s Dynasty while the spade reminds us of the hardship faced during the cultural revolutions, and taking center stage, is a topless lady whose bold acceptance is only permitted after China opened her doors. Tsui’s works appear frequently in major art exhibition in Hong Kong and China and his works has been exhibited in Taiwan, South Korea, and Indonesia. Tsui has held more than ten solo exhibitions including “Recent Works of TSUI Tin Yun”, Hong Kong University of Science & Technology, Hong Kong (2001) and “Masterpieces of TSUI Tin Yun”, City University Gallery, Hong Kong (2002).Tsui’s artistic works are well documented with four publications to his name; The World of Tsui Tin Yun (1995), The Art of Tsui Tin Yun (2000), The New Artworks of Tsui Tin Yun (2001), and Tsui Tin Yun (2005) and his works can be found in the collection of The Hong Kong Museum of Art, and various corporate and private collections around the world.

Solo Exhibitions * 1992 Kwang Hwa Information and Culture Centre, Art Asia 95' Hong Kong Convention and Exhibition Centre  * 1995 Kwang Hwa Information and Culture Centre  * 1996 International Convention Centre  * 1997 Hong Kong Internaional Academy of Fine Art International Convention Centre  * 2000 Solo Exhibition, Hong Kong  * 2001 "Recent Works of TSUI Tin Yun", Hong Kong University of Science & Technology, Hong Kong Solo Exhibition, Macau-China Delegation at Oriental Foundation Solo Exhibition, Hong Kong  * 2002 "Masterpieces of TSUI Tin Yun", City University Gallery, Hong Kong Solo Exhibition, Hong Kong  * 2003 Solo Exhibition, Hong Kong  * 2004 Solo Exhibition, Hong Kong  * 2005 Solo Exhibition, Hong Kong  * 2006 Solo Exhibition, Hong Kong  Private Collections Australia, China, Denmark, France, Germany, Hong Kong, Italy, Japan, Macau, Portugal, Singapore, Switzerland, Taiwan, United Kingdom, United States Major Exhibitions * 1987 Hong kong Art Biennial Exhibition, Hong Kong  * 1989 Hong Kong Art Biennial Exhibition, Hong Kong  * 1992 Hong kong Art Biennial Exhibition, Hong Kong Asian Watercolour Association Exhibition, Taiwan  * 1993 Asian Watercolour Association Exhibition, Indonesia   * 1994 4th Asian International Art Exhibition, Seoul, Korea  * 1995 Art Asia 95' Hong Kong Convention and Exhibition Centre, Hong Kong  * 1996 Hong Kong Art Biennial Exhibition, Hong Kong  * 2000 5th National Watercolour Painting and Gouache Exhibition (Outstanding Award)  114 TSUI TIN YUN (b. Shanghai, China 1945) Door, 2006 Oil on canvas: 152 x 91 cm Signed and dated, lower left: Tsui Tin Yun 2006 Literature: Selected paintings of Tsui Tin Yun. Published by Dah-Jium Wang, Tsui Tin Yun, Printed by Printing Job Technology, Taiwan 2015 , Page. 55 HKD 380,000 - 450,000 USD 49,020 - 58,050 164

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TSUI TIN YUN (b. Shanghai, China 1945) 门, 2006 油彩画布: 152 x 91 cm

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115 ZHAN JIANJUN (b. Liaoning, China 1931) Autumn Sound Oil on canvas: 60 x 52 cm Signed, lower right HKD 45,000 - 60,000 USD 5,810 - 7,740 詹建俊 (b. Liaoning, China 1931) 秋之声油彩画布: 60 x 52 cm

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Zhan Jianjun graduated from the Beijing State Run Art School in 1948 and from the Central Academy of Fine Arts (CAFA) Oil Painting Department in1953. In 1955, Zhan graduated from the Traditional Chinese Painting Department, CAFA and in 1957 he graduated from the USSR Oil Painting Training Class,CAFA where he studied under Soviet artist Konstantin Maksimov. This array of education has made Zhan a versatile artist and his works has been extensively exhibited in Africa, France, Hong Kong, Japan, and Russia. Zhan is currently a professor at the Central Academy of Fine Arts, Vice Chairman of the Chinese Artists’ Association, and Chairman of the Chinese Oil Painting Society and his works make up the collection of the National Art Museum of China, Chinese Military Museum, Beijing, and Chinese Revolutionary History Museum, Beijing.

詹建俊 1953年中央美術學院繪畫系本科畢業，1955年中央美術學院彩墨系研究生畢業，1957年俄羅斯專家馬克西莫夫油畫訓練班畢業，同年在中央美術學院任教，現任該院教授、博士生導師、學術委員會顧問，及中國油畫學會主席，中國美術家協會顧問，歐洲人文藝術科學院客座院士。曾任中國人民政治協商會議第八、九屆全國委員，中國美術家協會油畫藝術委員會主任、第五屆副主席，1986年被國務院授予《有突出貢獻專家》稱號。

116 ZENG CHUANXING (b. Sichuan, China 1974) The Stage of Model, 1997 Oil on canvas: 100.3 x 80.8 cm Signed, upper right HKD 80,000 - 100,000 USD 10,320 - 12,900 曾传兴 (中国四川，1974) 模特儿 1997

Zeng Chuanxing was born in Longchang County, Sichuan Province, in 1974. He majored in oil painting at the Central University for Nationalities from 1995 to 1998. Having grown up among ethnic groups, Zeng is familiar with their life and has developed strong feelings towards them. Minority girls are a major theme of Zeng's paintings. Zeng is especially fond of classical realism; a means through which he believes can thoroughly and delicately express his feelings. He stresses careful depiction of his characters' eyes and hands, because he feels that eyes and hands vividly and truly reflect a human being's soul. Characters in his works are often quiet and melancholy, a feeling projected by the brown or greyish blue backgrounds. Zeng is expert at passing on his feelings and attitudes towards life through the tone of colors. Zeng's style is a kind of cold abstractionism for realistic paintings.

油彩画布: 100.3 x 80.8 cm 签名，右上：曾传兴 MASTERPIECE FINE ART - HONG KONG

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Ibrahim Hussein Datuk Ibrahim Hussein (13 March 1936 – 19 February 2009) was a Malaysian artist. His main medium was one he devised himself and called "printage" a combination of printing and collage. Ibrahim was born in 1936 in the village of Sungai Limau in the Yan district of Kedah. His eldest brother is Abdullah Hussain. A talented artist during his youth, he began studies at the Nanyang Academy of Fine Arts in Singapore in 1956. In 1959, he moved to London, where he studied at the Byam Shaw School of Art and the Royal Academy Schools. During his time in London, he worked as a postman and film extra to survive financially, until he was awarded an Award of Merit scholarship which allowed him to travel to France and Italy. He returned to Malaysia to become a resident artist at the University of Malaya. In 1991, he founded the Ibrahim Hussein Museum and Cultural Foundation in the Langkawi rainforest—a nonprofit foundation and museum dedicated to the promotion, development and advancement of art and culture. Ibrahim suffered a heart attack on 18 February, and was taken to the Pantai Medical Centre where he died the next morning just before 4.00 am.

伊布拉欣1956年在新加坡南洋美专攻读，毕业后到伦敦Byam Shaw美术学院进修，在那里，他创立了自己独特的风格而成名。1977年，其作品在科威特与安迪沃赫尔及达利并排展出，奠定了他在国际画坛的地位。

117 IBRAHIM HUSSEIN (b. Kedah, Malaysia 1936 – 2009) Fighting Cockerel, 1971 Oil on canvas: 139 x 127 cm Signed and dated, lower left: Ibrahim Hussein, 1971 HKD 800,000 - 1,300,000 USD 103,200 - 167,700 伊布拉欣·胡先，拿督 (马来西亚吉打州， 1936 – 2009) 斗鸡, 1971 油彩画布: 139 x 127 cm 签名日期, 左下: Ibrahim Hussein, 1971

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118 SIEW HOCK MENG (b. Johor, Malaysia, 1942) Sleeping Nude, 1986 Oil on canvas: 60 x 76 cm Signed and dated, lower left: Siew Meng, '86 HKD 65,000 - 100,000 USD 8,390 - 12,900 萧学民 (马来西亚柔佛州, 1942) 沉睡之躶体, 1986 油彩画布: 60 x 76 cm 签名日期，左下: Siew Meng ‘86

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Siew Hock Meng graduated from the Nanyang Academy of Fine Arts (NAFA), Singapore in 1961. He is widely known for his oil and pastel paintings and his subject center on life studies, scenes and landscapes done in Singapore and the region. Siew creates works that are imaginative and thought-provoking, always challenging the viewers to dig deeper into his artistic motivations. His keen observations and personal reflections are especially poignant in the many thoughtful and contemplative landscapes of Singapore and other places he has visited. Despite his low profile and infrequent exposure, Siew’s work is highly regarded in the art circle and is much sought after in the region. His fame as a portrait painter gradually grew and spread in the region especially in Taiwan where he often spent months painting on commission. Not content to restrict himself to portraiture, Siew began to explore a wider range of subjects and themes such as human figures and life and culture of places like Bali, Malaysia, Indonesia, India, Myanmar and Cambodia. For his artistic endeavors, Siew has been awarded the National Day Medal for Fine Arts in 1971 and the Award for Visual Arts Creation, Nanyang Academy of Fine Arts Alumni Association, Singapore in 1981 and 1984.

119 LEE CHENG YONG (b. 1913 - 1974) Kuan Yin Goddes of Mercy Oil on canvas laid on board: 50 x 40 cm HKD 35,000 - 50,000 USD 4,520 - 6,450 李清庸 (中国1913 –马来西亚槟城 1974) 慈悲观音菩萨

Lee Cheng Yong was born in China, where he studied art at the Sin Hwa Art Academy, Shanghai (Shanghai Academy of Fine Art). Lee later moved to Penang, Malaysia, where he was instrumental in the development of Malaysian Art and was a teacher at Chung Ling High School, Penang. Lee specialized in oil paintings and he was also competent in watercolour, gouche, and oil pastle. Lee’s oil works were painted after the Post-Impressionist tradition of Gauguin and Van Gogh, but Lee was constantly experimenting with other forms of art as it progressed. For this lot, Kuan Yin Goddes of Mercy, hints of cubism can be seen in the background, a style which Lee later perfected in his other works. Lee Cheng Yong held 2 solo exhibitions, Philomatic Union, Penang, Malaysia (1932) and, Chin Kang Hoay Kuan, Penang, Malaysia (1960) and was posthumously award 2 exhibitions Lee Cheng Yong Retrospective Exhibition, Penang State Art Gallery, Malaysia (1996) and Lee Cheng Yong Memorial Exhibition,The Art Gallery, Penang, Malaysia (1996). Lee’s contribution to the Malaysia art scene continued when he established the Penang Chinese Art Club in 1935 and was elected its first president. His works are collected in among others, the Fukuoka Art Museum and the Singapore Art Museum.

油彩画布木板: 50 x 40 cm

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Chen Wen Hsi 陈文希 Born in Baigong, from the province of Guangdong, Chen Wen Hsi studied art at the Xinhua College of Art in Shanghai where he was thought by renowned artists such as Pan Tianshou. After moving to Singapore in 1948, Chen Wen Hsi proceeded to teach at the Chinese High School (19141968) and then the Nanyang Academy of Fine Arts (1951-1959). As an artist, Chen Wen Hsi actively participated in several exhibitions outside Singapore which incidentally promoted Singapore. Among the many awards he has received are the Public Service Star (1964), a Gold Medal by the National Museum of History, Taiwan (1980), the first recipient of the ASEAN Cultural and Communication Award for outstanding artists (1987), and an honorary doctorate from the National University of Singapore. Chen Wen Hsi is Singapore’s pioneer artist that combines Chinese and Western techniques in his semi abstract work. His constant eagerness to strive for something new led him to learn finger painting, a technique that dates back from the Tang Dynasty. This drawing style has enabled him to produce unpredictable broken strokes on paper. Chen Wen Hsi is renowned for his skills in depicting animals, of which it is the gibbons that he is most associated with. It is Chen Wen Hsi’s mastery of the gibbons that led it to be commemorated on the 50 Singapore Dollars note. 120 CHEN WEN HSI (b. Baigong, China 1906 – d. Singapore 1992) Two Gibbons Chinese ink on rice paper: 66 x 42 cm Signed in chinese character and stamped: upper left Provenance: Private collection prominent collector HKD 75,000 - 90,000 USD 9,680 - 11,610 陈文希 (中国广东1906 – 新加坡,1992) 猿猴水墨宣纸: 66 x 42 cm 签名钤印，左上:陈文希来源：著名私人收藏家。

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121 ROEDYAT MARTADIREDJA (b. Bandung, Indonesia 1932 – d. 2002) Woman, 1981 Oil on canvas: 110 x 79 cm Signed and dated, lower left: Roedyat, ‘81 HKD 50,000 - 70,000 USD 6,450 - 9,030 罗雅·马达地列嘉 (印尼万隆 1932 – 2002) 女人, 1981 油彩画布: 110 x 79 cm 签名日期，左下: Roedyat 81

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Roedyat Martadiredja was born in Bandung, 1932 and began to learn painting in 1948 and later continued his study at the Bandung Institute of Technology. Although abstract style was a dominant stream in Bandung, Roedyat was one of the Bandung School artists who paint in a figurative style. Roedyat has an individual painting style which makes him different from other Bandung Artist. His works has deformation tendencies with soft tertiary colors and also complicated but well thought-out compositions. Roedyat has held solo exhibitions in Jakarta (1978) and was included in the East-West Center’s Art of Bali exhibition in Honolulu, Hawaii (1988). His works are unique, rich and colorful that creates a strong rhythm and his works can be found in private collections of European and American collectors.

122 POPO ISKANDAR (b. Garut, Indonesia 1927 – d. 2000) Rooster, 1997 Oil on canvas: 145 x 130 cm Signed and dated, lower left: Popo, ‘97 HKD 120,000 - 180,000 USD 15,480 - 23,220 波波·伊斯干达 (印尼Garut, 1927 – 万隆,2000) 鸡,1997

Born in Garut, December 17, 1927. Popo Iskandar started painting in 1944 and he graduated from the University of Indonesia and Bandung Institute of Technology (ITB). Besides being an artist, he is also an art observer and writer. In 1980 he received an art award from Indonesian Government. He has participated in many exhibitions in Indonesia as well as overseas. Popo Iskandar is known for his paintings surrounding subjects such as chickens, cats, and tigers. Popo has held his solo exhibitions at the Taman Ismail Marzuki Arts Center, Jakarta (1987, 1992, and 1994), National Gallery, Jakarta (1999) and has participated in group exhibitions at KIAS, USA (1990),The Best of Indonesia, Jakarta (1997), and Slovenia Gradec (1997).

油彩画布 : 145 x 130 cm 签名及日期，左下: Popo 97

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Hendra Gunawan Hendra Gunawan is an Indonesian maestro par excellence. Hendra taught at the Indonesian Fine Art Academy (ASRI), Yogyakarta in 1957 and took part in founding the Front Seniman (Artists Front) in Bandung, and Pelukis Rakyat (People’s Artists) in Yogyakarta. In 1965, Hendra Gunawan as sent to prison for his involvement in the Indonesian Revolution and Hendra painted some of his surreal, lively, and emotional works during his imprisonment in Bandung. His works captured the life of common people while also conveying a unique, expressionistic, and deeply personal vision of the reality he experienced. Hendra’s works are highly original, modern, simple, and totally Indonesian expression by observing the Java’s grand landscapes and natural history. Petai Seller perfectly exemplifies Hendra’s great artist talents. Petai Seller depicts a women and her child peddling petai, a bean which is a delicacy in Southeast Asian culture. Hendra’s stylistic figures and landscapes as seen in Petai Seller are influenced by his deep understanding of Indonesia symbols and of Javanese culture Hendra created paintings which conveyed his feelings and deepest emotions for his country and people. Hendra has always sought inspirations from daily life, portraying the sympathy, compassion, and affection of Indonesians and he constantly depicted the lives fish mongers, fruit sellers, and vegetable peddlers. Hendra women are not clearly distinguishable individuals, and they are nourishing, nursing, mothering beauties, with voluptuous bodies wrapped in brightly colored cloth. He used exaggerated profiles, with long necks, protruding noses, and large eyes to portray the human form. Hendra’s people are never passive victims of their faith; they are always depicted as active subjects.

123 HENDRA GUNAWAN (b. Bandung, Indonesia 1918 – d. 1983) Penjual Petai (Petai Seller), 1962 Oil on canvas: 154,5 x 87,5 cm Signed and dated, lower middle: Hendra, ‘62 HKD 1,400,000 - 2,000,000 USD 180,600 - 258,000 古那弯 (印尼万隆1918 – 1983) 菜贩 ( Petai Seller), 1962 油彩画布: 154,5 x 87,5 cm 签名日期, 中下: Hendra 62

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Hendra Gunawan “Petai Seller” Sotheby’s Hong Kong, 6 April 2013, lot 352 Sold: USD 623,341

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124 ROLAND STRASSER (b. Vienna, Austria 1885 – d. 1974) Chinese Farmer Oil on canvas laid on board: 75 x 51 cm Signed, lower right: China, Strasser HKD 98,000 - 130,000 USD 12,640 - 16,770 罗兰·斯德拉斯尔 (维也纳 1885 – 1974) 中国农夫油彩画布木板: 75 x 51 cm 签名右下: China, Strasser

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Roland Strasser was born in Vienna, Austria and studied art in Munich, Germany. Strasser was one of the great painter adventurers of the early 20th century, and one of the last Orientalist romantics. His energetic paintings and drawings captured and portrayed the lives of subjects from regions and cultures still considered “exotic” by European viewers of the era. Once described by an admirer as “a strange, restless painter, who was known for painting subjects that were difficult or even dangerous to paint. Early on he received a commission in Holland and from there Strasser became aware of Indonesian art and culture. In 1920, Strasser traveled first to Thailand, New Guinea, and finally Indonesia where he lived for a considerable amount of time. In Bali, Strasser met fellow artist Willem Dooijewaard which whom the two worked and travelled together. Strasser was especially drawn to the Balinese culture and captured this exotic new culture on canvas. In1952, Strasser migrated to the United States where he worked till his death in 1974. Stresser’s works are in the collection of many private collectors and museums internationally and is represented in the collection amassed by President Sukarno.

125 GERARD PIETER ADOLFS (b. Semarang, Indonesia 1899 – Netherlands 1968) Soerabaya Kampong Scenery Tomceltje 1955 -1957 Oil on canvas: 50 x 40 cm Signed, lower left: Ger. P. Adolfs Signed, titled and dated on the reverse HKD 100,000 - 150,000 USD 12,900 - 19,350 GERARD PIETER ADOLFS (b. Semarang, Indonesia 1899 – Netherlands 1968) 村景 1955 -1957 油彩画布: 50 x 40 cm

Gerard Pieter Adolfs was a Dutch East Indies artist and architect. Gerard was a wellknown advertising illustrator before he was introduced as an artist in Yogyakarta, Indonesia in 1924. Gerard was an ardent traveler and traveled for months at a time where he established studious in Florence, Rome, Vienna, Budapest, Prague, and, together with his Japanese friend Léonard Tsuguharu Fujita, in Paris. During his career, Gerard exhibited his works of art internationally in countries such as the Netherlands, Japan, Singapore, USA, England, Holland, Sweden, Norway, France, and Switzerland. In his works he has always attempted to represent the light, colour, and the simple joy of life that impregnates the scenes and his paintings had a menacing, even macabre quality to them, due to the dramatic light, a result of chiaroscuro. Gerard probably picked this up from Caravaggio (the inventor of chiaroscuro), whose works and those of other Old Masters, he had studied in Rome during his 1928 study tour as can be seen from the works reproduced, he has a bold, vigorous style, applying his pigments with quick strokes of the palette knife. Gerard was an ardent traveler, and captured the scenes of his travels in Europe, North Africa, Japan, and Indonesia where Gerard’s ability to capture light earned him a reputation as “The Wizard of Light” by the press.

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Sotheby’s 4 October 2015, Lee Man Fong Laut Dengan Deburan Ombaknya (Breaking the Waves) (1960) Painting , Oil/board , 82 cm x 320 cm Estimate: €688,800 - €1,033,200 Hammer price: €780,640

126 LEE MAN FONG (b. Canton, China 1913 – d. Singapore 1988) Landscape, 1956

李曼峰 (中国广东1913 – 新加坡1988) 风景

Oil on board: 58 x 88 cm Signed and stamped, upper right in chinese character

油彩木板: 58 x 88 cm 签名钤印，右上：李曼峰

HKD 700,000 - 1,000,000 USD 90,300 - 129,000

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127 TEGUH OSTENRIK (b. Jakarta, Indonesia 1950) Le Chaussons, 1995 Acrylic and collage on canvas: 92 x 72 cm Signed and dated, lower left: Goeh Ost, ‘95 Signed, titled and dated on the reverse HKD 17,000 - 22,000 USD 2,190 - 2,840 得古·奥斯登立 (印尼雅加达， 1950) Le Chaussons, 1995 亚克力画布综合媒材: 92 x 72 cm 签名日期，左下: Goeh Ost 95 签名，题目及日期在画背面

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Internationally celebrated Painter and Sculptor, Teguh Ostenrik holds a Master Degree in Fine Arts Hochschule der Kuenste, West Berlin, Germany. He has had more than one hundred solo and group exhibitions in the USA, Europe (France, the Netherlands, Germany), Australia, and throughout Asia. His art works and commissioned projects are collected by many private collectors, museums, international institutions and major corporations such as Willem de Kooning Studio (USA), St. Mary of the Angels Church (Singapore), and Fukuoka Art Museum (Japan) to name a few. Among the many noteworthy recognitions, Teguh was awarded The Best Artist 2009 in Visual Arts Category by Tempo Magazine and the Top Ten Philip Morris Art Award in 1997. Most of Teguh’s works are created based on his respect to environment as can be seen in his use of recycled materials and earthy colours. He believes that having being raised in Indonesian culture and residing in Europe for 16 years, has created a multicultural insight in his works. The Indonesian and European culture has merged in him and subconsciously shaped his artistic statement. Recently, he initiated the ARTificial Reef Park Project which was launched in Lombok, Indonesia, a project to restore nature through art. Using biorocks technology, Teguh provides his underwater sculptures as media for the coral to grow and providing a better marine ecosystem. Teguh’s 24 years of artistic creations has been documented in Transcending Time, a 250 pages full coloured book, written by art historian Barbara Asboth. Teguh was a guest lecturer in the Beijing Central Academy of Art in 2006 and for three consecutive years (2006-2008) Teguh was a jury member of the China Asean Youth Art Creativity Contest in Nanning, China – an art competition with over 3000 participants. In 2013, he represented Indonesia to commemorate 10th Anniversary of China-Asean Expo and in 2007, he was honoured to be the Artist in Residence in Penang, Malaysia for the ABN-AMRO and Wawasan Open University. Teguh currently resides in Jakarta, Indonesia.

128 WILLEM VAN DER DOES (b. Amsterdam, Netherlands 1889 – d. 1966) Gerobak Sapi

威廉·凡德多斯 (荷兰阿姆斯特丹 1889 – 1966) 牛车

Oil on board: 40 x 60 cm Signed, lower left: W.V.D. Does

油彩木板: 40 x 60 cm 签名左下: W.V. D. Does

HKD 26,000 - 30,000 USD 3,350 - 3,870 Willem Van Der Does was born in Rotterdam in 1889 and landed in Indonesia in 1918 as a civil servant sent to survey the country. During his stay, Willem traveled the archipelago, understanding the unique and diverse Indonesian culture while documenting his travels on canvas. Capturing the Indonesian scenery in the Impressionistic manner, Willem participated in group exhibitions in Jakarta, Medan, and Surabaya between the years 1918 to 1938. Willem return to the Netherlands in 1946 and settled in Zeist, where he continued to paint till his death in 1966.

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129 LUO BROTHERS 罗氏兄弟 (b. Guangxi, China, 1963,1964, 1972) Welcome Welcome! #1, 1999

罗氏兄弟 (中国广西 1963,1964,1972) 欢迎，欢迎! #1,1999

Oil on canvas: 180 x 120 cm

油彩画布: 180 x 120 cm

HKD 250,000 - 350,000 USD 32,250 - 45,150

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130 XU JIANG (Born 1955, Fujian, China) Old Summer Palace, China Oil on canvas: 60 x 73 cm Signed, lower right: X. J Literature: 著錄：(許江油畫集) 第13頁 In Artist book Pg. 13 HKD 300,000 - 500,000 USD 38,700 - 64,500 许江 (中国福建， 1955) 中国旧夏宫油彩画布: 60 x 73 cm 签名，右下Literature: 著录：(许江油画集) 第13页 186

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Born in 1955 in Fujian, China. Xu Jiang graduated from the Oil Painting Department, China National Academy of Art in 1982 and later studied in Germany. Xu currently acts as President, Professor, and Doctoral Advisor of the China Academy of Art, Vice Chairman of the China Artists Association, Vice Chairman of the China Oil Painting Association, Chairman of the Zhejiang Federation of Literary and Art Circles, and Chairman of the Zhejiang Artists’ Association. He is also an extensively published arts author. Xu’s works have been included in many exhibitions worldwide, including ART HK, Hong Kong (2012), Zhejiang Art Museum, China (2010), The Constructed Dimension – 2010 Chinese Contemporary Art Invitational Exhibition, National Art Museum of China, China (2010), Redemption of a Sunflower Garden: New Works of Xu Jiang, Shanghai Art Museum, China (2009), Overlooking: Xu Jiang’s Painting, Guangdong Museum of Art, China (2007), the 10th Architecture Venice Biennale, Italy (2006), Pintura Contemporánea China (Contemporary Chinese Painting), MAC Museo de Arte Contemporáneo, Chile (2002), Landscapes of History in conjunction with a residency at the Bethanien Art Center, Germany (2001), and the Hamburg Kulturforum, Germany (1989).

許江福建人。1982年畢業於浙江美術學院油畫系，1988年作為訪問學者去德國漢堡美術學院研修。現任中國美術家協會副主席、中國美術學院院長、中國油畫藝術委員會委員、浙江省美術家協會主席、浙江省油畫家協會主席。

131 LEO ELAND (b. Java, Indonesia 1884 – 1952) Morning Activity Oil on canvas: 32 x 56 cm Signed, lower right: L. Eland HKD 12,000 - 18,000 USD 1,550 - 2,320

Leo Eland was an autodidact artist who lived a worked in Indonesia. Leo was intensely involved in the Union of Dutch Indies Art Circles from the beginning of the 20th century where he painted a great deal of Indonesian nature with a tremendous command of light and shade. In the 1920’s, he left to settle in The Hague but continued to paint Indonesian subjects, reminiscing his love for the beauty he found there. Leo Eland’s works were included in the International Colonial Exhibition in Paris (1932) but was unfortunately damaged by fire. Today, his works can still be seen in several Dutch museums.

李奥·伊兰德 (印尼爪哇 1884 – 1952) 椰林美景油彩画布: 32 x 56 cm 签名, 右下: L. Eland

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Adrien Jean Le Mayeur De Merpres Adrian-Jean Le Mayeur de Merpres was born in Brussels with noble ties to the Belgium royal family. Le Mayeur was keen to become an artist at an early age but was persuaded by his father, an artist himself, to complete his studies. Le Mayeur graduated as a civil engineer but soon devoted himself to painting. Inspired by the Impressionist movement in Europe, Le Mayeur’s works were executed with bold free flowing strokes using bright gay colours. Le Mayeur was an ardent traveler who travelled Europe and Asia capturing the sunlight and grandiose sights from his travels on canvas. In 1932, Le Mayeur landed in Indonesia where he was drawn especially to the Balinese culture. Le Mayeur instantly fell in love with the Balinese people, traditions, dances, and the tropical sunlight which surrounded him and settled down in Bali, later marrying his model and Balinese dancer, Ni Pollok. Le Mayeur continued to capture the grace and beauty of Balinese culture and his works are still preserved in his house, which has since been converted into the La Mayeur Museum, Bali, Indonesia.

132 ADRIEN JEAN LE MAYEUR DE MERPRES (b. Brussel, Belgium 1880 – 1958) Reverie Oil on canvas: 100 x 120 cm Signed, lower left: J. Le Mayeur Provenance: Private collection, Jakarta Literature: Job Ubbens / Cathinka Huizing, “1880-1958 Adrien Jean LE MAYEUR de Merpes Painter-Traveller/Schilder-Reiziger”, Publisher Wijk en Aalburg/The Netherland, pg.19 HKD 380,000 - 450,000 USD 49,020 - 58,050 ADRIEN JEAN LE MAYEUR DE MERPRES (b. Brussel, Belgium 1880 – 1958) Reverie 油彩画布: 100 x 120 cm

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133 HERI DONO (b. Jakarta, Indonesia 1960) Flying Affandi, 2007 Acrylic and collage on canvas: 150 x 150 cm Signed and dated, lower left: Heri Dono, 2007 Signed, titled and dated on the reverse Literature: Agus Dermawan.T & Mikke Susanto, MAESTRO “Seni Rupa Modern Indonesia”, Published by Kementrian Pariwisata & Ekonomi Kreatif Republik Indonesia 2012, pg. 152 HKD 130,000 - 200,000 USD 16,770 - 25,800 HERI DONO (b. Jakarta, Indonesia 1960) 飞翔之阿凡迪, 2007 亚克力综合媒材画布: 150 x 150 cm 190

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It is already widely known how Heri Dono works with various visual resources and methods known in the realm of popular culture – coming from both foreign and local cultural institutions – ranging from comics, animation film, wayang puppetry, and through various skills in material processing, craft, performing art, also popular music – he works on and presents in his various art works. Many people see that Heri Dono’s painting has eventually come to the phase of “just repeating things”. Perhaps such judgment comes because people do not try to know and comprehend the central idea that provides the main energy driving Heri Dono to keep painting. The central idea is easily identifiable from Heri Dono’s own remark on “why he paints” or “what painting means” to him as an artist. His painting is like a journal on various issues. Being a journal, a diary, it may concern anything. But everything there is personal in nature. The way he paints, technically speaking, as well as his language of expression, maintain his characteristic hitherto known: Heri Dono’s “handwriting” and “idiolect”. The figures and beings filling the field of his canvas keep on traversing, somersaulting, their round eyes popping, mouths grinning or laughing or unclosed or opening widely to show protruding lines of teeth or canines. Those figures and various beings seem so familiar with violence. They are often present with weapons inserted here and there on their bodies.This is coupled with organs, or parts of the body, that can extend to reach and grab anything with pointed claws, or spurred heels. Heri Dono was awarded the UNESCO Prize for the International Art Biennale, Shanghai, China in 2000 and he was awarded for the 2nd Annual Enku Grand Awards, Gifu Prefectural Government, Japan in 2002.

134 XU SONGBO (b. Nanyang, China 1971) Sa Louzi, 2015 Oil on canvas: 100 x 100 cm Signed and dated, lower left in chinese character HKD 70,000 - 90,000 USD 9,030 - 11,610 徐松波 (b. Nanyang, China 1971) Sa Louzi, 2015

Xu Songbo graduated with a bachelor’s degree from the Fine Art Department of Henan University in 1993 and went on to obtain his master’s from the China Central Academy of Fine Arts. Xu is a vice professor in the Comprehensive Art Department of the Tianjin Academy of Fine Arts. Xu’s works are dedicated to the discussion and expression of the modern context of the traditional culture in China. Xu has held numerous solo exhibitions, including Tang, New Millennium Gallery, Beijing (2014), Spirit Realm, Yong Tai Temple, Songshan, China (2014), LuoYang Dreams, Luoyang City Art Museum, Luoyang, China (2014), Lost and Found, Huantie Times Art Gallery, Beijing (2009), and Hiking, 3818 Warehouse Gallery, Beijing (2008). 徐松波徐松波，生於河南南陽。1993年畢業於河南大學美術系，獲得學士學位。2005年畢業於中央美術學院壁畫系，獲碩士學位。現任天津美術學院综合繪畫系副教授。

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Chuah Seow Keng Chuah Seow Keng is recognised as one of Malaysia’s leading artists and is known for his work on batik (a traditional fabric closely associated with Malaysian culture) and watercolour paintings. Chuah was awarded a scholarship to study at the Suddeutsche Kunststoff-Zentrum, Wurzburg, Germany in 1968 specialising in fiberglass sculptures. Chuah was first exposed to the art of batik painting by this father Dato’ Chuah Thean Teng, The Father of Batik Painting, who pioneered batik art in Malaysia. Chuah’s mastery of this medium was recognised early on and he was selected to demonstrate his batik skills at the International Freundschaftheim in Buckeburg, Germany. Batik is an especially difficult medium to work with as its thin fibers absorbs ink on contact, allowing no room for errors. In recognition of his artistic talents, two of Chuah’s batik paintings, ‘Rural Life’ and ‘Fish’, were selected by the United Nations International Children’s Funds (UNICEF) for their greeting cards in 1988, and in 1989, Chuah was awarded the Certificate of Excellence for Outstanding Achievement at the Artitudes 7th International Art Competition, New York, United States.

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蔡小庆是著名近代马来西亚蜡染（峇迪）画家。他于1968年获得奖学金到德国Suddeutche Kunststoff-Zentrum去进修，专攻玻璃纤维雕塑,在雕塑方面享有成就。蔡小庆却以蜡染画称著。由于受到父亲蔡天定（马来西亚峇迪绘画之父）的影响，从小耳濡目染的情况下，经历多年，蔡小庆终于学成这门复杂的蜡染艺术，并曾于1974年受邀到德国去做现场示范。德国电视台Zweites-Deutsches- Fernsehen-Trans-Tel 也把此过程录制成纪录片播出。蔡小慶创作蜡染画40多年，虽然承传了父亲蔡天定的南洋风格，但却比较着重于創作上具有與時代同步的審美情趣之藝術理念。

135 CHUAH SEOW KENG (b. Kelantan, Malaysia 1945) Village Scene 2008 Batik: 116 x 216 cm Signed and dated, lower left: S. Keng, ‘08 Provenance: Private collection HKD 250,000 - 320,000 USD 32,250 - 41,280 蔡小庆 (马来西亚吉兰丹州， 1945) 村景, 2008 峇迪: 116 x 216 cm 签名及日期, 左下: S.Keng, 08 来源：著名收藏家

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136 KHAW SIA (b. Shanghai, China 1913 – d. Malaysia1984) Seafood, 1983 Watercolour on paper: 73 x 105 cm Signed in chinese character and sealed on lower left Signed again and dated, lower left: K.Sia 1983 This lot is accompanied with a Statement of Authenticity from the artist’s son Acquired from the family of the artist HKD 130,000 - 200,000 USD 16,770 - 25,800 许西亚 (中国上海1913 –马来西亚 1984) 海鲜, 1983 水彩画纸: 73 x 105 cm 签名钤印 (左下)：许西亚另签名日期（左下）: K.Sia 1983 此画附加艺术家儿子所发之真品证明书。来源：现藏者直接购自艺术家家属 194

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Khaw Sia was born in China and studied at the Sung Hua Academy in Shanghai from 1927 to 1932 where he met several famous Chinese brush artist including Xu Beihong, who praised his works highly. In 1933, Khaw Sia took a brief but private lesson under the guidance of Sir Russell Flint in England who was the president of Britain’s Royal Society of Painters in Watercolour. Under Flint’s tutelage, Khaw Sia developed his exquisite meticulous style of the English watercolour. Integrating the painting technique of the east and the west, Khaw Sia’s Chinese brush and English watercolouring techniques has reached a harmonious fusion in his paintings. Khaw Sia’s paintings have been exhibited in some of the most prestigious spaces in the world including the Royal Academy Annual Exhibition, the Royal Water Colour Society Exhibition, and the Paris Salon Annual Exhibition. In 1937, Khaw Sia moved to Malaysia and became one of Malaysia’s pioneer artists.

137 CHUAH SIEW TENG (b. Penang, Malaysia 1944) Hanging Monkey Batik: 89 x 60 cm Signed, upper right HKD 42,000 - 60,000 USD 5,420 - 7,740 蔡小丁 (马来西亚槟城州,1944) 树猴峇迪: 89 x 60 cm 签名 ,右上：蔡小丁

Chuah Siew Teng’s artistic ability runs through his veins as his father, Dato’ Chuah Thean Teng is one of Malaysia’s most accomplished artist and both his brothers are equally accomplished artists. Chuah obtained his formal art education at the Ravensburne College of Art and City & Guild Art School, England, 1965. Chuah was exposed to the medium batik at an early age by his father, Dato’ Chuah Thean Teng, Father of Batik Painting, and was recognised early on winning the 1961, 1962, and 1963, “Art Prize” open competition in North Malaysia and in 1964 Chuah won the “Certificate of Merit” at the National Art Competition. During his formal education, Chuah lectured and demonstrated the techniques of batik painting at the I.C.I College of Art, in 1966 and in 1975, he lectured and taught batik art at the West Australian Institute of Technology and Fremantle Art Center. Chuah regularly exhibits his art and has held exhibitions in Ravensburne College of Art, England (1966), One-man exhibition at the Lower Gallery, London, England (1967), Royal Exchange, London, England (1968), International Art Exhibition, Basel, Switzerland (1974), Kanda Gallery, Tokyo, Osaka and Okinawa, Japan (1975), and Travelling Art Exhibition, Melbourne, Sydney, Perth and Fremantle, Australia (1975) earning rave reviews among both art critics and artists along the way. In 1992, Chuah’s painting “The Monkeys” was selected by the United Nations’s International Children’s Fund (UNICEF) for their greeting card. Awards 1964 Certificate of Merit, National Gallery of Art 1975 Invited to Fremantle Art Center, Australia to demonstrate batik 1992 Work “The Monkey” selected by UNICEF greeting cards 1995 A prize in Malaysian Artists Competition, National Gallery of Art 2014 Sammlungen Yahong Art Gallery Bank Negara Malaysia City and Guild Art School Lon don Kanda Gallery, Tokyo 蔡小丁是“马来西亚峇迪绘画之父”蔡天定的长子。蔡小丁在峇迪画（蜡染画）的基础下，到英国进修純美术。他以抽象形式呈现感受和理解，体现果敢实践的精神，也是一位敢怒敢言的艺术家，这都显示在他的创作上。 MASTERPIECE FINE ART - HONG KONG

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Kim Tschang Yeul Kim Tschang Yeul attended the College of Fine Arts at Seoul National University from 1948 to 1950. In 1996, Kim was awarded the medal of Knight of Artand Letters, Embassy of France, Seoul. Kim has exhibited his works in various National Art Galleries including the National Museum of China, Beijing (2005), Gallery Hyundai, Seoul (2004), Galerie Nationale du Jeu de Paume, Paris (2004), Draguignan Museum, France (1997), Sonje Museum of Contemporary Art, South Korea (1994), Chicago International Art Exposition, Gallery Hyundai, Chicago (1989), Naviglio Gallery, Italy (1987), and Tokyo Gallery,Tokyo (1983). Kim has spent most of his career painting water drops. His meticulous detail in capturing the reflection, shadow, and distortion of water painted in Kim’s hyperrealism depicts the immaculate illusion of water drops and its compositions. Kim’s paintings can be seen in the Korean National Museum of Contemporary Art, South Korea, National Museum of Modern Art, Tokyo, Foundation Veranneman, Belgium, and the Museum of Fine Arts, Boston.

138 KIM TSCHANG YEUL (b. South Korea, 1929) Untitled

KIM TSCHANG YEUL (b. South Korea, 1929) 无题

Oil on canvas: 112,1 x 145,4 cm

油彩画布: 112,1 x 145,4 cm

This lot is accompanied with a certificate authenticity from the artist HKD 930,000 - 1,000,000 USD 119,970 - 129,000

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139 TRUBUS SUDARSONO (Yogyakarta, 1926 – 1966) Portrait Nyonya Oil on canvas: 85 x 63 cm Signed and dated, lower left: Trubus.s HKD 30,000 - 50,000 USD 3,870 - 6,450 杜鲁布斯·苏达索诺 (印度尼西亚日惹， 1926-1966) 娘惹画像油彩画布: 85 x 63 cm 签名日期，左下: Trubus S 198

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Trubus Sudarsono studied arts under the tutelage of Indonesian masters Affandi and Sudjojono where he was identified as a talented artist by the masters. During the revolution in Yogyakarta, Trubus joined the Seniman Indonesia Muda and then Pelukis Rakyat art groups, which was then lead by none other than Hendra Gunawan. In 1948, Trubus was arrested and jailed by the Dutch colonial government because he was suspected of involvements with guerrilla activity. In prison, Trubus continued to hone his skills and after his release from prison,Trubus taught at Akademi Seni Rupa Indonesia, Yogyakarta from 1950 to 1960. Trubus earned a reputation as one of the strongest realism painter in Indonesia and was selected as an Indonesian delegate in a goodwill ambassador to Chekoslovakia in 1954. Trubus had a mastery in capturing the dancing figures through his expressive brush stroke that become a distinct characteristic in his paintings and Trubus’s use of secondary and tertiary colours reflected his restless and rebellious spirit.

140 BASOEKI ABDULLAH (b. Solo, Indonesia 1915 – d. Jakarta, Indonesia1993) Reclining Nude, 1964 Oil on canvas: 80 x 185 cm Signed and dated, lower left: Basoeki Abdullah, ‘64 This painting be included in the future publication of the artist’s book HKD 98,000 - 130,000 USD 12,640 - 16,770 巴苏基·阿都拉 (印尼梭罗 1915 – 雅加达1993) 斜躺裸女, 1964 油彩画布: 80 x 185 cm 签名日期, 左下: Basoeki Abdullah 64 此画会被收录于画家将来出版的画册里。

Basoeki Abdullah is one of the most prominent Indonesian maestros in portrait paintings. The late artist was well-known for his realistic paintings. Besides painting of natural beauty and sensuous landscape, he is also noted for his portraits of beautiful women, as well as paintings of scenes from legends that are also tempered with the same lyrical and overly sensual treatment. His great fond of paintings women’s figure perhaps derived from his great interest in exploring the beauty of women that is attractive to paint in any way. The artist gain the public recognition after winning a painting competition held in conjunction with the Netherland’s Queen Juliana ascension to throne on 6 September 1948. There are painters who like to paint nudity. Nudity in art has generally reflected — with some exceptions — social standards of aesthetics, modesty and morality of their time in painting, sculpture and more recently in photography. At all times in human history, the human body has been one of the principal subjects for artists. It has been represented on prehistoric paintings and statutes and in all eras since. The male nude was more common in antiquity, especially in ancient Greece, but today the tendency is for the female nude body to be more highly regarded and represented. In Reclining Nude, Basoeki courageously paints a lady in her full entirety pushing Indonesian acceptance of nudity even further.

Masterpiece Singapore 7 August 2011, Lot 142 Sold: SGD 130,000 MASTERPIECE FINE ART - HONG KONG

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Pang Jiun Born to a family of rich background in various artistic influences, Pang Jun has developed an early pursuit of artistic career under the influences of his parents, Pang Xunqin and Qiu Ti, who were amongst the first generation of Chinese artists to receive art education abroad, studying respectively in France and Japan. Pang Jiun has developed a distinctive artistic style that exhibits a sophisticated synthesis of Western and Chinese artistic traditions Pang Jun graduated from the China Central Academy of Fine Arts in 1954 and attended the Beijing Fine Art Academy soon after. Pang was encouraged to paint in oil as demand from the foreigners in Beijing could increase in revenue for the nation. This made Pang one of the few artists who could paint during the Cultural Revolution without adhering to the Communist Party’s demand. In 1987, Pang moved to Taiwan, where he taught at the Taiwan University of Arts. Pang’s extensive experiences both as an artist and as an educator earned him a reputation for his paintings. His appearance in Cambridge’s coveted publication Who’s Who, where he also received a special award in recognition of his artistic achievements, further cemented his position as China’s leading artist. Pang Jun integrates the essence of Chinese ink paintings and the expressive elements of oil paintings to form his Oriental Humanist Expressionism. Exhibiting his works, Pang has held solo exhibitions such as The Art of Pang Jun, National Art Museum of China, Beijing (2008), Orient Civilization – Pang Jun Solo Exhibition, Istituto Santa Maria della Pieta, Calle della Pieta,Venice, Italy (2015), and The Greatest Master of Orient Expressionism – Pang Jun, The Ueno Royal Museum, Tokyo, Japan (2015). Pang’s works make up the collection of the National Art Museum of China, Beijing, Central Academy of Fine Arts, Beijing, National Taiwan University of Arts, Taiwan, National Dr Sun Yat-Sen Memorial Hall, Taiwan, and the Mexican Museum, San Francisco, United States. 龎均出生於藝術世家，父母均是第一代留學海外的藝術家。父親龎薰琹曾留學法國，母親丘堤則留學日本，對中國油畫發展影響深遠。而龎均受到雙親的多元藝術背景影響，在耳濡目染之下從小便培養出對藝術的熱忱。龎均以西方油畫的大膽色彩表現中國水墨畫的寫意韻味，成功開創「東方人文主義」。有別於莫奈使用的細緻筆觸，龎均運用更厚重粗獷的筆觸，以點、線、面堆砌出畫面肌理，綠與灰色調的轉折變化，把觀者帶進畫中寧靜安謐的世界。龎均多年來致力把不同藝術文化融合自己的中國背景，極力創造出自身獨特的藝術風格，以現代的藝術語言表現出中國傳統的美學與精神性。

141 PANG JUN (b. Shanghai, China, 1936) Flower Golden Color, 2010 Oil on canvas: 72.7 x 91 cm Signed in chinese Signed and dated, lower right This lot is accompanied with certificate authenticity from the artist Provenance: Acquired directly from the artist HKD 400,000 - 600,000 USD 51,600 - 77,400 200

MASTERPIECE FINE ART - HONG KONG

庞均 (中国上海， 1936) 金花, 2010 油彩画布: 72.7 x 91 cm 签名日期，右下：庞均此画附有艺术家本人之真品保证书。来源：直接购自艺术家本人。

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142 BARLI SASMITAWINATA (b. Bandung, Indonesia 1921) St. Hillary Oil on canvas: 80 x 106 cm Signed, lower right: St. Hillary, Barli HKD 19,000 - 25,000 USD 2,450 - 3,230 巴利·沙斯米达维那达 (印尼万隆，1921) St. Hillary 油彩画布: 80 x 106 cm 签名, 右下: St. Hillary, Barli

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Barli Sasmitawinata was born in Bandung, West Java, and he began painting in Bandung under the tutelage of Indonesian modern artists such as Affandi, Hendra Gunawan, Sudarso, and Wahdi Sumanta. Barli also studied with Dutch artist Jos Pluimmentz and Italian artist Luigi Nobili in 1935. Barli received a scholarship from the Dutch government to live in Europe from 1950 to 1956 where Barli studied at Academie de la Grande-Chaumiere in Paris, France 1950, and at the Rijkademie voor Beeldende Kunsten (State Academy of Arts) in Amsterdam, Holland in 1951. On his return to Indonesia, Barli was appointed a Fine Arts lecturer at the Technical Faculty of University of Indonesia, at the Padjajaran University, Bandung, and at IKIP Bandung and in 1958, he founded an art studio “Rangga Gempol” in Bandung. In 2003, Barli received the “Satyalancana Kebudayaan” art award from the Indonesian government. Barli is best known as the expert painter in naturalistic-realistic style. Many of his objects illustrated dancing figures, still life and also daily life activities. He was a master in portraying the anatomy of body in detail. The canvas is used as a space or dimension in keeping the subject and the surrounding unified. Through expressive brush stroke, Barli gives dynamic effect of the moving figures on his painting.

143 ZHU SONG MIN (b. China 1963) Landscape Chinese ink on rice paper: 136 x 70 cm Signed and sealed, upper right in chinese character HKD 80,000 - 120,000 USD 10,320 - 15,480 朱颂民 (中国， 1963) 红日照晴川水墨宣纸: 136 x 70 cm 签名钤印, 右上：朱颂民

1963年生，广州书画专修学院副院长、教授，中国美术家协会会员，广州老年书画影艺促进会副会长，广州省青年美术家协会副主席，广州城市职业学院客座教授，岭南花苑签约画家广州，是当代较活跃的实力派画家之一。发表作品数百幅，近些年的作品以表现西藏山水为主，曾经五次入西藏体验生活，二十余幅作品入选全国省市美展并获奖。出版有《朱颂民西藏山水画选》等专辑多种。主要作品有：《祥云化雨》获第五届全国体育美术作品展金奖；《天地悠悠》获当地中国青年书画展铜奖，《攀登》入选第四届全国体育美展，广东省评选优秀奖；《冷月》入选中国美协第17次新人作品展，《山魂》入选第八届全国群星展，广东评选银奖；《山韵》获广东省美术作品展银奖。中国美术家协会副主席许钦松对朱颂民的画所下的评语是：“雄浑、苍重、沉雄、沧桑，由此相汇而成的苍凉感，使人唤起一种对自然旷古的追思和恒久的仰望。朱颂民的山水，即是直观的，又是主观的。直观，是因为他有长年的生活感受和写生的积累；主观，更是由于他完成了自然景物从第一自然向第二自然的转换，由眼中的自然化为胸中的自然，心造的自然。他有娴熟的技法，有布局布阵的构图能力，积墨沉淀厚度、破墨激活灵动，在峻峭、雄奇之中敷以云、雨、雾、光的渲染和映照，生成一种苍凉的意象，化为一种特有的意境，让人心头为之一震，牵情至忘情的地步，使人过目难忘。 MASTERPIECE FINE ART - HONG KONG

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MASTERPIECE ART AUCTION SOUTHEAST ASIAN, CHINESE, MODERN & CONTEMPORARY ART AUCTION

Tajuddin Ismail, Dato’, Mixed media on canvas, 152 x 122

OPEN FOR CONSIGNMENT JULY 2016

MASTERPIECE

M A L AY S I A

Enquiries Sharon Lok | +6017 207 0277 | sharonlokwp@gmail.com Ng Ti Cheng | +6017 870 3765 | ticheng.ng@gmail.com Office | (+603) 7772 6193 | malaysia@masterpiece-auction.com

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Index Of Artist Adrien Jean Le Mayeur De Merpes

26,132

Kim Tschang Yeul

138

Tran Luu Hau

23, 32, 40

Agung Mangu Putra

14, 25,33

Latiff Mohidin

111

Trubus Soedarsono

139

Alimin Tamin

Le Pho

Tsui Tin Yun

114

Aming Prayitno

Lee Cheng Yong

119

Ugo Untoro

Andre Brasilier

105

Lee Man Fong

45, 108, 126

Umberto Mariani

Anton Huang

Lee U Fan

Untung Wahono

113

Arie Smit

Leo Eland

131

Walter Furlan

Auke Cornelis Sonnega

Lita Cabellut

102

Wang Zhenghua

Awang Damit

Liu De Zhou

Widayat

Barli Sasmitawinata

142

Liu Li Guo

Willem Dooijewaard

24, 92

Basoeki Abdullah

8, 110, 140

Lu Jiren

Willem Van Der Does

89, 128

Ben Zaf

Lucien Frits Ohl

91, 112

Xia Junna

Chen Bo

Luo Brothers

90, 129

Xiao Hong

Chen Lui

Ma Xiaoguang

Xu Bei Hong

Chen Wen Hsi

15, 35, 42, 54, 66,

Navin Rawanchaikul

Xu Jiang

130

75, 93, 99, 120

Nguyen Dinh Dung

Xu Songbo

134

Chu The-Chun

Ong Kim Seng

Xu Wentao

Chua Mia Tee

Ou Haonian

Xue Song

Chuah Seow Keng

135

Pang Jun

141

Yan Bo

Chuah Siew Teng

137

Paul Aizpiri

103

Yan Yaya

Damien Hirst

Popo Iskandar

38, 107, 122

Yang Shan Shen

7, 10, 56

Ding Yanyong

28, 34

Putu Sutawijaya

13, 86

Yao Yuan

Dirot Kodirah

Raduan Man

Yoon Byung Rock

Dullah

Reynold de La Cruz

Yusof Ghani

106

Fang Lijun

Roedyat Martadiredja

6, 63, 121

Zeng Chuanxing

116

Fauzul Yusri

Roland Strasser

124

Zhan Jianjun

115

Gerard Pieter Adolfs

1, 4, 79, 125

Roland Ventura

109

Zhang Xiaougang

Gu Mei

67, 73

Rustamadji

Zhao Shao Ang

Hendra Gunawan

16, 123

S. Sudjojono

77, 96

Zhao Wu Ki

Henry Van Velthuysen

Shi Wei

Zhong Biao

Heri Dono

133

Siew Hock Meng

118

Zhu Song Min

143

Hong Zhu An

Srihadi Soedarsono

Hu Xiang Dong

Sunaryo

Huang Jun Bi

104

Suwaji

Huang Yin Bao

101

Suzlee Ibrahim

I Gusti Ketut Kobot

Syed Ahmad Jamal, Datuk

Ibnu Nurwanto

Tajuddin Ismail

Ibrahim Hussein

117

Teguh Ostenrik

127

Khaw Sia

136

Theo Meier

100

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