M A L AYS I A N A R T

S U N D AY 6 M AY 2 0 1 2
LOT 76 (DETAIL) DZULKIFLI BUYONG Tidurlah Anakku 1967

M A L AY S I A N A R T
S U N D AY 6 M AY 2 0 1 2
LOT 54 (DETAIL) DATUK SYED AHMAD JAMAL Malam Marang 2001
 LOT 57 ABDUL LATIFF MOHIDIN Mindscape 1983

A U C T I O N D AY
6 May 2012, Sunday
1pm

Registration & Brunch

starts 11am

Artwork Inspection (by appointment)

starts 10am

White Box, MAP @ Publika

Level G2-01, Block A5,
Dutamas, 1 Jalan Dutamas 1,
50480 Kuala Lumpur, Malaysia.

K UA L A LU M P U R
FULL VIEWING
21 April - 5 May 2012
Mondays - Sundays
11am - 7pm

White Box, MAP @ Publika

Level G2-01, Block A5,
Dutamas, 1 Jalan Dutamas 1,
50480 Kuala Lumpur, Malaysia.

SINGAPORE PREVIEW
12 - 15 April 2012
Thursday - Sunday
11am - 8pm

Helutrans Artspace
39 Keppel Road #02-04/05,
Tanjung Pagar Distripark,
Singapore 089065.

PENANG PREVIEW
5 - 8 April 2012
Thursday - Sunday
11am - 7pm

Galeri Seni Mutiara

2 & 4, First Floor,
The Whiteaways Arcade, Lebuh Pantai,
10300 Penang, Malaysia.

4 5
LOT 80 (DETAIL) DATUK IBRAHIM HUSSEIN Red, Orange and Core 1984
 C O N TAC T I N F O R M A T I O N

Auction Enquires Bidder Registration & Payment &

& Condition Reports Telephone / Absentee Bid Collection / Delivery

Linda Leoni Jessica Ho Linda Leoni

+6012 227 5325 +6012 977 1022 +6012 227 5325
[email protected] [email protected] [email protected]

Chris Tay Sylvie Low HBart Infoline

+6016 298 0852 +6017 433 3298 +603 2691 3089
[email protected] [email protected] [email protected]

I M P O R T A N T N OT I C E

All lots are sold subject to our Conditions of Business printed at the back of this catalogue which apply to
both buyers and sellers. Prospective buyers should also read our Buying at HBArt guide.

Catalogue descriptions do not state any imperfections. However, condition reports can be obtained
by contacting the personnel listed above. This service is provided for the convenience of prospective
buyers and cannot be taken as the sole and absolute representation of the actual condition of the work.
Prospective buyers are advised to personally examine the works and not rely solely on HBAA’s description
on the catalogue or any references made in the conditions reports.

Our team will be present during all viewing times and available for consultation regarding artworks
included in this auction. Whenever possible, our team will be pleased to provide additional information
that may be required.

The buyer’s premium shall be 10% of hammer price plus any applicable taxes.

All lots from this sale not collected from HBAA sale room at MAP by 6.00pm on 13 May 2012 will be
transferred to Crown Relocations warehouse where they will incur storage and insurance charges, which
will be payable by the buyer.

COVER | LOT 80 (DETAIL) DATUK IBRAHIM HUSSEIN Red, Orange and Core 1984

LOT 79 (DETAIL) DATO’ MOHD. HOESSEIN ENAS Two Sisters 1986 9

 LOT 58 DATUK IBRAHIM HUSSEIN Monorobos 1 1979

CONTENT

Auction Information | 004

Contact Information & Important Notice | 009
Lot Directory | 013
Lot 1- 86 | 016
Buying at HBArt | 172
Conditions of Business | 174
Bidder Registration Form | 184
Telephone / Absentee Bid Form | 185
Index of Artists | 186

10 11
 LOT D I R E C TO R Y

1 Khalil Ibrahim 2 Amron Omar 3 Amron Omar 4 Sharifah Fatimah, Dato’ 5 Peter Liew 6 Zulkifli Yusoff

FIGURES PERTARUNGAN PERTARUNGAN SIRI GUNUNG JATI FLOWERS SIRI PEMINANGAN PUTERI
1997 2001 1998 1993 2007 GUNUNG LEDANG
1994

7 Zulkifli Yusoff 8 Tew Nai Tong 9 Yusof Ghani 10 Khalil Ibrahim 11 Tan Choon Ghee 12 Chia Yu Chian

AYAM DRYING FISH TOPENG / WAYANG FISHERMEN KEK LOK SI PARIS

1997 1974 - JUGRA II 1992 1976 1961
1997

13 Chia Yu Chian 14 Tan Choon Ghee 15 Ahmad Khalid Yusof 16 Yusof Ghani 17 Peter Liew 18 Kok Yew Puah

GAINED BY LABOURS TOWER BRIDGE HIKAYAT SERIBU TOPENG PUTRI BEACH STREET, PENANG KELANTANESE BOATS
1987 1992 SATU MALAM WAYANG BERSANDING 2008 1996
1995 1998

19 Eng Tay 20 Lim Kim Hai 21 Khoo Sui Hoe 22 Sharifah Fatimah, Dato’ 23 Yusof Ghani 24 Chuah Thean Teng, Dato’

DAY END UNITY TWO FLYING THE JOURNEY 2 SIRI TARI VII MOTHER AND CHILD
1995 1988 1989 1993 1984 Undated

25 Khalil Ibrahim 26 Raphael Scott Ahbeng 27 Jolly Koh 28 Shafie Hassan 29 Lim Kim Hai 30 Juhari Said

BATIK IN ABSTRACT VIEW OF OLD STAAS UNTITLED CUTI SEKOLAH NO WAR KATAK NAK JADI LEMBU
1992 1995 2002 2001 2003 1999

LOT 72 (DETAIL) DATO’ CHUAH THEAN TENG Durian Sellers 1990 13

 L OT D I R E C TO R Y

31 Kow Leong Kiang 32 Kow Leong Kiang 33 Yau Bee Ling 34 Yau Bee Ling 35 Ivan Lam 36 Umibaizurah Mahir 61 Huang Yao 62 Chung Chen Sun 63 Chung Chen Sun 64 Chen Wen Hsi 65 Cheong Soo Pieng 66 Chuah Thean Teng, Dato’

INNOCENCE 3 MALAY GIRL EATING NOODLES CELEBRATIONS 911 UNTOUCHABLE VII BRIDESMAID PUMPKIN TRAVELLER PIGEONS FISHING VILLAGE THE HUSKER
1999 2002 2001 1997 2001 2009 伴娘 金瓜图 万里云山不知处 c. 1975-80 1965 c. 1980s
1980 c. 1965-68 1982

37 Bayu Utomo Radjikin 38 Ahmad Shukri Mohamed 39 Hamir Soib@Mohamed 40 Jalaini Abu Hassan 41 Chong Siew Ying 42 Ahmad Zakii Anwar 67 Lee Joo For, John 68 Peter Harris 69 Khaw Sia 70 Yong Mun Sen 71 Chuah Thean Teng, Dato’ 72 Chuah Thean Teng, Dato’

ARANG ATAS KERTAS INSECTS WALLPAPER THE BURNING BUSH STRETCHED FORM ISLE OF GOLD BLUE KEBYAR ROMANCE OF THE BLIND POET RED CATTLEYA BATU FERRINGHI BEACH MOTHER WITH CHILD DURIAN SELLERS
1998 2009 2009 1993 2008 1998 COUNTRY LIFE AND THE WIFE 1975 1948 IN A SLING 1990
1968 1978 c. 1980s

43 Lui Cheng Thak 44 Yeoh Kean Thai 45 Eston Tan 46 Pheh It Hao 47 Chang Fee Ming 48 Chang Fee Ming 73 Kuo Ju Ping 74 Khaw Sia 75 M. Hoessein Enas, Dato’ 76 Dzulkifli Buyong 77 Tay Hooi Keat, Dato’ 78 Redza Piyadasa

DANCES OF THE WRENCHING LITTLE PARLIAMENT KELLIE’S CASTLE AT LOW TIDE WAYANG WONG CITY LIFE STILL LIFE WITH LOBSTER SARAWAK BEAUTY TIDURLAH ANAKKU PENANG HILL 1 TWO MALAY WOMEN
PHOENIX 2007 KOPITIAM 2009 (DAR ES SALAAM) IN KENINGAN 1962 Undated 1993 1967 1973 1985
2006 2008 2005 1992

49 Lye Yau Fatt 50 Syed Ahmad Jamal, Datuk 51 Syed Ahmad Jamal, Datuk 52 Syed Ahmad Jamal, Datuk 53 Syed Ahmad Jamal, Datuk 54 Syed Ahmad Jamal, Datuk 79 M. Hoessein Enas, Dato’ 80 Ibrahim Hussein, Datuk 81 Abdul Latiff Mohidin 82 Patrick Ng Kah Onn 83 Abdullah Ariff 84 Abdullah Ariff

REMEMBRANCE DATUK SKETCH OF TWO SISTERS LADY WITH DOVES SKETCH OF SIRI TUMPAL CHRISTMAS CARD MALAM MARANG TWO SISTERS RED, ORANGE AND NOCTURNO I COLLAGE IN BLUE MOTHER AND CHILD TWO CHINESE WOMEN
SYED AHMAD JAMAL c. 1966-68 1956 c. 1976-78 Undated 2001 1986 CORE 1969 1963 Undated Undated
2011 1984

55 Abdul Latiff Mohidin 56 Abdul Latiff Mohidin 57 Abdul Latiff Mohidin 58 Ibrahim Hussein, Datuk 59 Cheng Haw Chien 60 Huang Yao 85 Chia Yu Chian 86 Ismail Hashim

GELOMBANG 92 MINDSCAPE MINDSCAPE MONOROBOS 1 SCENE ALONG ZAMBEZI REAP WHAT YOUR SOW SONG KEE KEDAI GUNTING
1992 1976 1983 1979 RIVER 非洲詹比西河畔 种豆得豆 1985 1986
1992 1980

14 15
 1

KHALIL IBRAHIM
b. Kelantan, 1934

F I G U R E S , 1997

Signed and dated ‘Khalil Ibrahim 97’ (lower right)

Ink on paper
41.5cm x 58.5cm

P ROV E N A N C E
Private collection, Selangor; acquired directly from the aritst.

RM 6,000 - RM 8,000

This pen drawing of shadowy figures on the beach

illustrates figures of mostly women, helping out with
the tangled nets after the men’s fishing outing. The lithe
silhouettes and play of sinuous forms create a quiet
rhythm as though in a choreographed dance. This is a
perennial theme in Khalil Ibrahim’s works, either on paper,
canvas or batik cloth, which show a cluster of industrious
people, working together in a community spirit. Executed
in 1997, a period that saw Khalil perfecting his ink lines
on paper, Figures clearly shows how Khalil’s intuitive and
confident use of lines has reached its zenith.

Khalil graduated from the prestigious St. Martin’s School

of Art and Design in London in 1964. His career spans
four decades with many solo and group exhibitions
held in Malaysia, Singapore, Indonesia and Switzerland.
His works are held in the collection of National Visual
Arts Gallery, Kuala Lumpur, National Museum of Art,
Singapore, Fukuoka Museum of Art, Japan, New South
Wales Museum of Art, Sydney and Royal National Art
Gallery of Jordan.

16 17
 2

AMRON OMAR
b. Kedah, 1957

P E RTA R U N G A N , 2001

Signed ‘amron’ (upper left), dated and

titled ‘17 april 2001 PERTARUNGAN’
(lower left)
Charcoal on paper
54cm x 36cm

P ROV E N A N C E
Private collection, Kuala Lumpur.

RM 9,000 - RM 12,000

3
This was one of Amron Omar’s earlier Pertarungan (Duel)
AMRON OMAR studies done during his student days. Combining oil pastels with
b. Kedah, 1957
charcoal, he gets rough-hewn textures and a stumpy form in
Amron Omar’s pugilistic silat poses which depict half- sense of movement and devoid of any physicality.
this pair of antagonists, with the one in the background poised
naked male figures showing off their well-built physique
to deliver a deadly kick to send his adversary virtually falling
are lodged in the Malay-Muslim ethos of the Malay Amron Omar graduated from UiTM (Universiti Teknologi P E RTA R U N G A N , 1998
over onto the ‘viewer.’ Probably because of the media and the
Archipelago. They show the silat exponents in strategic MARA) in 1980 and won the Young Contemporary
Signed and dated ‘amron ‘98’ (lower left) way they were used, this early work exudes more aggro than
combat poses which are part ritual and part psyche. The Artists Minor Award for his work Self Portrait in 1982.
Oil pastel and charcoal on paper any spiritual process, making it a rare find as compared to his
rise of Iran’s religious pedagogue Ayatollah Khomeiny Selected exhibitions include Gerakan, Art Case Gallery 41.5cm x 45.5cm more commonly seen realistic rendering of ‘pertarungan’.
in 1979-1980 with a fundamental brand of Islam saw a (1997), Imagining the Contemporary Body, Galeri Petronas
suppression if not a complete ban of any form of human (1996), Sime Darby Art Asia Exhibition (1985). His first ever P R OV E N A N C E
Private collection, Kuala Lumpur.
representation that promoted idol-worship. In Amron’s solo exhibition Pertarungan showcasing over 150 works
silat posturing, it is more about the inner struggle of Good spanning three decades of his career is currently on view
versus Evil. Hence, the figures are rendered shadowy for a at National Visual Arts Gallery, Kuala Lumpur. RM 6,000 - RM 8,000

18 19
 4 5

S H A R I FA H PETER LIEW
FAT I M A H S Y E D b. Perak, 1955

Z U B I R , DATO ’
b. Kedah, 1948 F L OW E R S , 2007

Signed and dated ‘PL 2007’

S I R I G U N U N G J AT I , 1993 (lower left)
Oil on canvas
Inscribed ‘Sharifah Fatimah Zubir Siri 29cm x 21.5cm
Gunung Jati 1993 Acrylic modelling
P R OV E N A N C E
paste’ (reverse)
Private collection, Selangor;
Acrylic and modelling paste on canvas
acquired directly from the artist.
45cm x 34cm

P ROV E N A N C E
RM 8,000 - RM 12,000
Private collection, Penang.

RM 3,000 - RM 4,000

Gunung Jati exists in South East Sulawesi in Indonesia but Institute in the United States, Sharifah has participated in Peter Liew’s swashbuckling strokes in this still-life give the
despite the thickset triangular mass in the eponymous numerous local and international exhibitions. Awarded the impression of wild growth and movement to this otherwise static
painting, the forms are rendered light, even ethereal with Major Award in the Salon Malaysia Competition in 1979, bouquet of flowers. A bold abstract attempt in a scented origami
the broken strokes executed with a palette knife. This and a Minor Award in the Young Contemporary Artists of yellow, pink, red and white, and with broken shoots of long-leaf
work was done in between her two Touch The Earth solo Competition in 1981, Sharifah was the curator at National plants light a dynamic essence within the painting.
exhibitions in 1992 (Galeri Seni Maybank, Kuala Lumpur) Art Gallery, Malaysia from 1982 to 1989. Her works are
and 1996 (GaleriCitra, Kuala Lumpur). The textures are held in the collections of public institutions, local and Graduated from Malaysian Institute of Art in 1979, Peter Liew
inspired by the Petra rock formations in Jordan in 1990. international museums, banks and corporations. held his solo exhibitions at Artist House Gallery (1987), Maybank
Art Gallery (1997) and Museum of the City of Skopje (2002). He
Graduated from UiTM (Universiti Teknologi MARA) REFERENCE also participated in numerous group exhibitions in China, Taiwan,
Sharifah Fatimah Syed Zubir: Notes of A Journey 40@60, Artfolio, Kuala
in Malaysia, Reading University in England and Pratt Lumpur, 2008.
Japan, Korea, Hong Kong, Thailand, Singapore and Macedonia.

20 21
 7
‘Ayam’, the obnoxious character is portrayed as hypocritical
ZULKIFLI YUSOFF and shallow as Professor Kangkong, another character in
6 b. Kedah, 1962
Zulkifli Yusoff ’s ‘Hall of Infamy’. An installation and sculptural
Zulkifli Yusoff was inspired by the Sejarah artist to begin with, he returned to painting Daumier-like
ZULKIFLI YUSOFF Melayu in his works in the 1990s. This is his socio-political criticisms of the day. The distorted human
AY A M , 1997
b. Kedah, 1962
contemporary caricaturist parodies on what figures shown in the buff look like new versions of Satu Hari
the mythical Puteri Gunung Ledang wanted as Signed and dated ‘Zulkifli Yusoff 97’ (lower left); signed, Di Bumi Larangan masterpiece of Zulkifli Dahalan.
betrothal gifts from the vainglorious Sultan dated and titled ‘Zulkifli Yusoff 1997 Ayam’ (reverse)
S I R I P E M I N A N G A N P U T E R I G U N U N G L E D A N G , 1994 Mixed media on canvas Graduated from UiTM (Universiti Teknologi MARA), Zulkifli
Mahmud of Malacca. These included the
90.3cm x 90.4cm
Signed and dated ‘Zulkifli Yusoff 94’ (lower right); titled ‘Siri Peminangan hearts of mosquitoes and mites, and the furthered his studies at Manchester Polytechnic, England
Puteri Gunung Ledang’ (reverse) blood of the ruler himself and that of his son. P R OV E N A N C E in 1991. One of the best contemporary artists in Malaysia,
Oil on canvas The pole-like figures reminiscent of the artist’s Collection of The Art Gallery, Penang. Zulkifli works with various mediums in the forms of drawing,
75.5cm x 75.3cm painting, sculpture and installation. He has received numerous
bandaged installations in the late 1980s later EXHIBITED
P R OV E N A N C E changed to more distorted forms. Zulkifli Yusoff: A Historical Survey 1996 to 2009, Art Salon @ awards including the Major Award in theYoung Contemporary
Private collection, Penang. SENI, Kuala Lumpur, 16 January - 20 March 2010, illustrated Artists Competition in 1988 and 1989; the Second Place in
REFERENCE on catalogue, page 13. the 6th International Sand Sculpture Competition in Hong
EXHIBITED East Asian Art Today, Roeder Publications, 1992. Zulkifli Yusoff - Powerful Dialogue, The Art Gallery, Penang, 11
Zulkifli Yusoff - Powerful Dialogue, The Art Gallery, Penang, 11 - 30 June 2000, - 30 June 2000, illustrated on catalogue, page 48. Kong; The Grand Minister’s Prize in the Third Salon Malaysia
Powerful Dialogue: The Art of Zulkifli Yusoff, The Art Gallery,
illustrated on catalogue, page 34. Penang, 2000.
in 1992. He was also selected to participate in the First Asia
Zulkifli Yusoff: Icons, Wei-Ling Gallery, Kuala Lumpur, 2008. Pacific Triennial of Contempary Art, Brisbane in 1993. He is
RM 7,000 - RM 10,000
Zulkifli Yusoff: A Historical Survey, 1996-2009, Art Salon@ now an Associate Professor at Universiti Pendidikan Sultan
RM 7,000 - RM 10,000 SENI, Kuala Lumpur and The Art Gallery, Penang, 2010.
Idris in Tanjung Malim, Perak.
22 23
 8

T E W N A I TO N G
b. Selangor, 1936

D RY I N G F I S H , 1974

Signed and dated ‘NAI TONG 74’ (lower right)

Oil on canvas
65.5cm x 65cm

P ROV E N A N C E
Private collection, Kuala Lumpur.
Private collection, Kelantan.

RM 8,000 - RM 12,000

Tew Nai Tong has ventured to the littoral fishing village his education at Ecole Nationale Superieue Des Beaux
from his usual illustrations of villages and cattle-rearing Art. He is the Advisor to several art societies including
community. Drying fish is usually done by women after Contemporary Malaysian Watercolourists Association
the fishermen’s return from sea. Fishes with stronger and International Watercolour of Asia. He held his first
odour are sorted out, gutted and dried in the sun to solo at British Council, Kuala Lumpur in 1964, and had
make into all kinds of fish products. Here, the artist participated in numerous group exhibitions locally and
resorts to more flat colours dominated by warm orange abroad. He won several awards including Second Prize,
hues indicating the heat of the sun with more burnished Chartered Bank Mural Design Competition in 1964, Shell
tones in the foreground where the fish are hung by the Watercolour Award in 1981, Best Award, Esso Malaysia
tail. in 1982, Dunlop Watercolour Award in 1983 and Grand
Prize, Asia Art Award (Malaysia), Seoul in 2009. He was
Born in Klang, Nai Tong studied at Nanyang Academy of honoured with a retrospective exhibition at National
Fine Arts, Singapore and went to Paris in 1968 to futher Art Gallery, Kuala Lumpur in 2007.

24 25
 9

YUSOF GHANI
b. Johor, 1950

TO P E N G / W AY A N G - J U G R A I I , 1997

Signed and dated ‘Yusof ghani 97’ (lower right); signed, titled and dated ‘Yusof ghani Topeng/Wayang - jugra II 1997’ (reverse)
Oil and charcoal on canvas
76cm x 61cm

P ROV E N A N C E
Private collection, Kuala Lumpur; acquired directly from the artist.

RM 12,000 - RM 15,000

A pair to Topeng/Wayang Jugra I, this work has a similar Yusof Ghani studied in the United States at George
composition with a much less intimidating reflection of Mason University where he obtained his Bachelor in
the soul. Yusof Ghani’s Topeng (Mask) tends to expose Fine Art majoring in Graphic Design and later continued
the ugly soul or niat (intentions) rather than at concealing his Master of Fine Art in Washington D.C. at Catholic
them. This work is one of the post ‘double Topeng’ solos. University. He was a lecturer and Associate Professior
Topeng Wayang Jugra II expresses the interconnectivity at UiTM (Universiti Teknologi MARA). His most sought
of men and nature. The artist turns to nature with a after series namely Tari has been in the proud collection
reverential sense of symbolism and awareness of the of museums, institutions and private collectors. His other
divine manifestation that ‘all creatures reflect some well knows series include Topeng, Wayang, Hijau, Segerak
aspect of the Divine, as an image is reflected in the and Biring. His body of works is best known to be in
mirror’, and man is just a shadow wanting to play the Abstract Expressionism is considered to be one of the
role of the player. This causes man to sink further into best around.
his own error, altruistically forcing man to confront their
intentions and manipulation of nature. REFERENCE
Siri Tari: Topeng, Rusli Hashim Fine Art, Kuala Lumpur, 1996.

26 27
 10

KHALIL IBRAHIM
b. Kelantan, 1934

F I S H E R M E N , 1992

Signed and dated ‘Khalil Ibrahim 92’ (lower right)

Acrylic on canvas
101cm x 123cm

P ROV E N A N C E
Private collection, Penang; acquired through Art Point Gallery, Penang.

RM 20,000 - RM 30,000

In flat, toned brush work, Khalil paints a scene of Khalil has also painted a series of flat, pop-coloured
fishermen in a flurry of activity. Dressed in short sarong silhouettes of rural women-folk in the 70s which
and head gear to protect themselves from the sun, they compliment this all male figure illustration. The artist is
gathered to sort through the nets and set sail for fishing famous for his East Coast series; of his life-long interest
in the early hours of dawn as suggested by the use in the spectacle of the ordinary and in particular the
of cool blues. These silhouettes in the foreground are coastal villages of Malaysia’s East Coast which simply
painted in a Cubist style and pastel palette, no doubt describe the route of his own local heritage.
influenced by his study at Central St. Martin’s School
of Art in London during the 60s. Instead of a realistic Khalil graduated from the prestigious St. Martin’s School
depiction, the artist gives us a sense or a feel of a long of Art and Design in London in 1964. His career spans
forged bond between these fishermen folk as they work four decades with many solo and group exhibitions
in tandem. He conveys their enthusiasm, eagerness held in Malaysia, Singapore, Indonesia and Switzerland.
and urgency in that moment when things must come His works are held in the collection of National Visual
together. The fragmented abstract background evokes Arts Gallery, Kuala Lumpur, National Museum of Art,
energy and momentum while the colours create an Singapore, Fukuoka Museum of Art, Japan, New South
atmosphere of wind, water and sand. Wales Museum of Art, Sydney and Royal National Art
Gallery of Jordan.

28 29
 11

TA N C H O O N G H E E
b. Penang, 1930-2010

K E K L O K S I , 1976

Signed and dated ‘TAN CHOON GHEE 1976’ (lower left)

Oil on canvas
30cm x 45cm

P ROV E N A N C E
Collection of The Art Gallery, Penang.

L I T E R AT U R E
Tan Choon Ghee Retrospective 1957-2000, Penang State Art Gallery, 2000, illustrated on page 29.

RM 8,000 - RM 12,000

A scene of pilgrimage is depicted in this oil on canvas, REFERENCE

The Art of Tan Choon Ghee, Georgetown Printers, Penang, 1997.
where a number of devout pilgrims are shown ascending
Tan Choon Ghee Retrospective 1957-1992, The Art Gallery, Penang.
to the Kek Lok Si Temple, also known as the Temple of A Tribute to Tan Choon Ghee, Art Salon@SENI, Kuala Lumpur, 2009.
Supreme Bliss, as an act of penance. The white spaces in
the painted liken the journey to an ascent to the cloudy
Heavens. This particular temple with the upturned roof
finials has undergone great structural changes since its
depiction in 1976 by artist Tan Choon Ghee, so an old
world charm can be sensed within this painting.

Born in Penang in 1930, Tan Choon Ghee is one of the

best known watercolour artists in Malaysia. He received
his art education at Nanyang Academy of Fine Arts,
Singapore in 1951 and Slade School of Art, London in
1959. He won a German Government scholarship and
Australian Government TV set design scholarship and
was honoured with a retrospective exhibition from
Penang State Art Gallery in 2000. Choon Ghee is known
for his beautiful watercolour renditions of common
people in Penang and his capturing of Penang streetscape.
A Tribute Exhibition was also held in remembering Tan
Choon Ghee at Art Salon @ Seni, Kuala Lumpur in 2009.

30 31
 12

CHIA YU CHIAN
b. Johor, 1936-1991

P A R I S , 1961

Signed, titled and dated ‘Yu Chian Paris 1961’ (upper left and lower right)
Oil on canvas laid on board
60cm x 44.5cm

P ROV E N A N C E
Private collection, Kuala Lumpur; acquired directly from the artist.

RM 15,000 - RM 25,000

The word, Mayol, prominently emblazoned over the REFERENCE

Chia Yu Chian Memorial Exhibition, National Art Gallery, Kuala Lumpur, 2002.
boudoir-red exterior of the building, probably cashes
Contemporary Artists of Malaysia, Doleres D. Wharton, 1971.
in on the fame of the musical hall star Felix Mayol. Chinese Art of The 20th Century, Dr. Michael Sullivan, England, 1965.
Speculation suggests it was a cinema and the almost Who’s Who In Malaysia 1975-76, J. Victor Morais.
deserted area hints at the decline of French cinema in Modern Artists of Malaysia, T.K. Sabapathy and Redza Piyadasa, Dewan
Bahasa and Pustaka, Kuala Lumpur, 1983.
the late 1950s. A café on the right, also seemingly french,
lies in wait of cinema audiences.

Chia Yu Chian was in Paris for studies from 1959 to 1962,

where he had a studio at 20, Rue du Sommerard in the
Latin Quarters and then 28, Rue de la Charbonnere in
Montmarte. His works typify the School of Paris style
that included Fauvism, Cubism and Orphism.

Born in Johor, Chia Yu Chian graduated from Nanyang

Academy Fine Arts, Singapore in 1958. He was the
first artist from Straits Settlement to receive a French
Government scholarship at Ecole Nationale des Beaux
Arts in Paris (1959-1962). He was commissioned to
do a mural painting Life in Malaysia for Malaysian High
Commission in Paris. Yu Chian received the awards
of Honourable Mention, Salon des Independent and
Societe des Artistes Francaise, Paris.

32 33
 13

CHIA YU CHIAN
b. Johor, 1936-1991

G A I N E D B Y L A B O U R S , 1987

Signed and dated ‘Yu Chian 1987’ (lower right); titled ‘Gained by labours’ (reverse)
Oil on canvas
46.8cm x 60.4cm

P ROV E N A N C E
Collection of the artist’s family, Kuala Lumpur.

RM 18,000 - RM 22,000

It was a family vacation in 1977 to commemorate the

opening ceremony of the Chia Clansmen Association,
but what followed the two-day visit to Pulau Ketam were
a few dozens of sketches of the glimpses of residents at
work and the landscape of the small island captured with
the nib of a pen. This work, painted in rich impasto, is a
result of the trip and shows goods being loaded onto
the boat directly from the stilt, thatched-roof houses
with short makeshift platforms. As the title suggests, it is
a laborious activity but it is a show of endurance and a
page of human economic life until the late 80s.

Born in Johor, Chia Yu Chian graduated from Nanyang

Academy Fine Arts, Singapore in 1958. He was the
first artist from Straits Settlement to receive a French
Government scholarship at Ecole Nationale des Beaux
Arts in Paris (1959-1962). He was commissioned to
do a mural painting Life in Malaysia for Malaysian High
Commission in Paris. Yu Chian received the awards
of Honourable Mention, Salon des Independent and
Societe des Artistes Francaise, Paris.

REFERENCE
Chia Yu Chian Memorial Exhibition, National Art Gallery, Kuala Lumpur, 2002.
Contemporary Artists of Malaysia, Doleres D. Wharton, 1971.
Chinese Art of The 20th Century, Dr. Michael Sullivan, England, 1965.
Who’s Who In Malaysia 1975-76, J. Victor Morais.
Modern Artists of Malaysia, T.K. Sabapathy and Redza Piyadasa, Dewan
Bahasa and Pustaka, Kuala Lumpur, 1983. Artist’s family vacation to Pulau Ketam.

34 35
 14

TA N C H O O N G H E E
b. Penang, 1930-2010

TOW E R B R I D G E , 1992

Signed and dated ‘CHOON GHEE 92’ (lower right)

Oil on canvas laid on board
43.5cm x 59.3cm

P ROV E N A N C E
Private collection, Penang.

RM 10,000 - RM 15,000

In his hard-cover book, The Art of Tan Choon Ghee, the REFERENCE
The Art of Tan Choon Ghee, Georgetown Printers, Penang, 1997.
artist wrote: “the Tower Bridge is the most ideal theme
Tan Choon Ghee Retrospective 1957-1992, The Art Gallery, Penang.
to a painter”. Built across the River Thames, the bridge A Tribute to Tan Choon Ghee, Art Salon@SENI, Kuala Lumpur, 2009.
spans 244 metres long and reaches a height of 65 metres
tall, with a horizontal sky walkway. It is a combined
bascule and suspension bridge and was given a facelift in
2008. Here, Choon Ghee captures this relic shrouded in
slight fog creating an aura of mystery.

Born in Penang in 1930, Tan Choon Ghee is one of the

best known watercolour artists in Malaysia. He received
his art education at Nanyang Academy of Fine Arts,
Singapore in 1951 and Slade School of Art, London in
1959. He won a German Government scholarship and
Australian Government TV set design scholarship and
was honoured with a retrospective exhibition from
Penang State Art Gallery in 2000. Choon Ghee is known
for his beautiful watercolour renditions of common
people in Penang and his capturing of Penang streetscape.
A Tribute Exhibition was also held in remembering Tan
Choon Ghee at Art Salon @ Seni, Kuala Lumpur in 2009.

36 37
 15

AHMAD KHALID YUSOF

b. Kuala Lumpur, 1934-1997

H I K AY AT S E R I B U S AT U M A L A M , 1995

Signed and dated ‘Ahmad Khalid 1995’ (reverse)

Acrylic on canvas
89cm x 89cm

P ROV E N A N C E
Private collection, Selangor; acquired directly from the artist.

RM 18,000 - RM 25,000

This painting marks a departure from Ahmad Khalid REFERENCE

55 Years & Beyond, Banker’s Club, Kuala Lumpur, 1991.
Yusof ’s usual serene-scapes of frittered khat calligraphy
Alif Ba Ta Riwayat Hidup Ahmad Khalid Yusof, Zakaria Ali, National Art
which was his trademark style from 1971. Here, he deals Gallery, Kuala Lumpur, 2004.
with the fantasy realm of a place inspired by the fabled
Arabian 1001 Nights saga, painting only the facade of
perhaps a mysterious place but not what goes on within.
The magical nocturnal ambience is marked by the moss-
green sheen complimented by bright orange and red
tones and short lines and dots replace his usual Jawi
scribbles.

Ahmad Khalif Yusof received his art eduction at

Winchester School of Art, England from 1965 to 1969
and Ohio State University, USA in 1976. He was the
founding President of Malaysian Artists Association
(PPM) in 1979. He served at ITM School of Art and
Design as a lecturer for 19 years and received the
Excellence Award for ITM Staff. He also served in the
Board of Trustees of National Art Gallery, Kuala Lumpur
between 1989 and 1991.

38 39
 16

YUSOF GHANI
b. Johor, 1950

TO P E N G - P U T R I W AY A N G B E R S A N D I N G , 1998

Signed and dated ‘Yusof ghani 98’ (lower right); signed and titled ‘Yusof ghani Topeng-Putri Wayang Bersanding’ (reverse)
Oil and charcoal on canvas
105.5cm x 90.5cm

P ROV E N A N C E
Private collection, Kuala Lumpur; acquired directly from the artist.

RM 20,000 - RM 23,000

This work is lodged in Yusof Ghani’s Topeng-Wayang Yusof Ghani studied in the United States at George
transition between 1997 and 1998, before the Hijau Mason University where he obtained his Bachelor in
Series. This series was inspired by college excursions to Fine Art majoring in Graphic Design and later continued
Sarawak in 1988 and 1991 where he was captivated by his Master of Fine Art in Washington D.C. at Catholic
the mask rituals of ethnic Kayan and Kenyah and their University. He was a lecturer and Associate Professior
reflection of human foibles. These motifs in his paintings at UiTM (Universiti Teknologi MARA). His most sought
are used to make cultural statements on preservation of after series namely Tari has been in the proud collection
local cultures as well as to address human pretensions of museums, institutions and private collectors. His other
and falsehood. As the artist firmly believes that every well knows series include Topeng, Wayang, Hijau, Segerak
object holds an inner and outer meaning and that each and Biring. His body of works is best known to be in
external form is accompanied by an inner reality. Topeng Abstract Expressionism is considered to be one of the
is the expression of faces, while Wayang taunts and best around.
expresses the various aspects of manipulation. The first
two batches of Topeng were showcased in two solos at REFERENCE
Siri Tari: Topeng, Rusli Hashim Fine Art, Kuala Lumpur, 1996.
Galeri Citra in 1993 and 1995 respectively. The nature
of the spontaneous work-process is that the ‘reading’ is
cued by the title as the emotional trigger.

40 41
 17

PETER LIEW
b. Perak, 1955

B E A C H S T R E E T, P E N A N G , 2008

Signed and dated ‘Peter Liew 080608’ (lower left)

Oil on canvas
120cm x 90cm

P ROV E N A N C E
Private collection, Selangor; acquired directly from the artist.

RM 23,000 - RM 30,000

Beach Street, one of the oldest streets in Penang, is

lined with heritage buildings. Here on the waterfront is
where the first flush of tall commercial buildings was
built along with a network of roads fanning outwards.
Working alfresco, Peter Liew likes intersections as they
offer multiple facets which enhance the charm and
mystery of a place. The sleepy wedge shadow from a
dimming late-afternoon light on the right contrasts with
the corner-left edifice with louvered bay windows and
five-foot ways. It is distinct from the adjoining building
with a gabled wall. The technique of oils layered in thick
impasto adds a rich quality to the painting.

Graduated from Malaysian Institute of Art in 1979, Peter

Liew held his solo exhibitions at Artist House Gallery
(1987), Maybank Art Gallery (1997) and Museum of the
City of Skopje (2002). He also participated in numerous
group exhibitions in China, Taiwan, Japan, Korea, Hong
Kong, Thailand, Singapore and Macedonia.

42 43
 18

KO K Y E W P U A H
b. Selangor, 1947-1999

K E L A N TA N E S E B O AT S , 1996

Signed and dated ‘KY96’ (lower right)

Oil on canvas
128.7cm x 128.7cm

P ROV E N A N C E
Collection of Usha M, Kuala Lumpur.

RM 15,000 - RM 25,000

This composition has an unusual perspective.The viewer push and pull between tradition and modernisation, dual
is situated on a fisherman’s boat which is positioned identities and coexistence of man and nature and the
on the sandy beach and therefore going nowhere. The reconciliation between the old and the new.
static energy of this scene is offset by two other sampan
(traditional wooden boats) on either side of the main Born in Klang, Selangor, Kok Yew Puah went abroad
centred object on the shores of the beach; one on the to study but lived most of his life in his birthplace and
left stays on the beach while the other on the right is even referred to as a “Klang” artist. After studying
seems to be moving away from the eye and further into painting and print-making at the Victorian College of the
the sea towards a dark stormy cloud. Gestural brush Arts in Melbourne, he set aside his artistic skills during
strokes, however, paint a sunny optimistic seascape closer the 70s in order to manage his family’s food business. In
to the shore with bright blue, cerulean and aquamarine, the late 80s, he made a tentative return to the art world
complimented by yellow ochre earth. The key feature and began to develop his own extraordinary brand of
to note is the distinct ornamentation on the mast at Malaysian realism.
the core of the composition. Guardian spirits, looking left
and right, back to back, are painted in fierce expressions Kok Yew Puah’s most important contribution has been
in order to ward off evil spirits at sea and become the to find an accurate and powerful expression for the
central focal point. visual reality of Malaysia. He forged a particular brand
of realism with which he chronicled authentic images
The little forward momentum suggests hesitation, of modern Malaysian life to date. In this sense, Kok Yew
while the painting reads as a metaphor addressing so Puah was a pioneer in Malaysian figuration, capturing
many conflictions in life. It stands as an allegory for the urban life during the rapid changes of the 1980s to
transitional phase between stagnation and change, the 1990s in a vision that was multi-ethnic and optimistic.

44 45
 19

E N G TAY
b. Kedah, 1947

D AY E N D , 1995

Signed and dated ‘Eng Tay 95’ (lower left)

Oil on canvas
75.4cm x 100.7cm

P ROV E N A N C E
Private collection, Penang.

RM 28,000 - RM 38,000

Family life, togetherness and the intimate bond between

lovers or spouses with their children or close friends is
a theme central to Eng Tay’s art. This anonymous couple
portrayed, is engrossed in a tête-à-tête with their child
listening in. It’s a cosy atmosphere set by the warm
colours. Their faces are expressively painted despite
minimum features granted to the eyes, a vertical line for
the nose and simplified lips.

Eng Tay went to New York City in the United States

where he studied at The Art Students League in 1968.
Working in several media, limited edition etching, painting
and sculpture, his works are known for the depiction of
relationships between family, lovers, friends, music and
nature. Currently residing in New York City, he tours
extensively around the USA and Asia in conjunction
with his exhibitions.

46 47
 20

LIM KIM HAI

b. Selangor, 1950

U N I T Y , 1988

Signed and dated ‘K.H.Lim 88’ (lower right)

Oil on canvas
65cm x 81cm

P ROV E N A N C E
Private collection, Singapore; acquired directly from the artist.

L I T E R AT U R E
Kim Hai Lim 林金海, Kosnet Press, illustrated on page 78.

RM 58,000 - RM 80,000

A cluster of ripe juicy looking apples of varying yellows, Lim Kim Hai studied at Nanyang Academy of Fine Arts,
greens and reds is featured in this work by Lim Kim Hai, Singapore and Ecole Nationale Superieure des Beaux
which was done during his early days while he was still Arts, Paris. He won the Golden Award from Salon des
residing in Paris. The apple, a seemingly common tropical Artistes Francais, Paris in 1982, Silver Award from Salon
fruit readily available in any part of the world and the Internationale, Du Val D’Or, France in 1984; Prix Henri
fruit he chose to do still life studies holds a different Lehmann from Institut de France, Academy des Beau in
significance to the artist. To him, the apples represent 1986. His works have been showcased widely in France,
life, and in this work, the need or desire for life to be in Moscow, China, Vietnam, Taiwan, Indonesia, Thailand,
a community. Challenging himself technically, the artist Singapore and Malaysia. He returned to Malaysia for
has achieved a realistic depiction of the fruit through good in 2002.
tone, highlights, depth and shadow. Also taking it a step
further is the unlikely visual, vertical perspective - when
the painting is hung on the wall, the apples seem to defy
gravity when expected to topple down.

The vertical bars are in fact a reference to piano keys,

laid in the backdrop to provide a sense of musical rhythm
and harmony, representing the ups and downs life brings.
Although Lim Kim Hai has painted other tropical fruits, it
is for his inspired apple compositions that he is dubbed
the ‘Apple King’.

48 49
 21

KHOO SUI HOE

b. Kedah, 1939

T W O F LY I N G , 1989

Signed ‘Sui Hoe’ (lower right)

Oil on canvas
88cm x 88cm

P ROV E N A N C E
Private collection, Kuala Lumpur.

RM 15,000 - RM 30,000

Paintings featuring flying figures are a favourite of artist REFERENCE

The Painted World of Khoo Sui Hoe, Khoo Sui Hoe Retrospective, Penang State
Khoo Sui Hoe since the 1970s as it indicates flights of
Art Gallery, 2007.
fancy, an escape or an ideal of freedom in the physical and
imaginative sense. It also signifies a joust of celebration in
the way the floating forms recall Marc Chagall’s paintings.
This work was inspired by the murals of the ancient
Dunhuang Caves in China. One may even harkens back
to the story of Peter Pan who spirits away little children
in the dead of the night, to a far away land where
adventure awaits and nothing is impossible. Sui Hoe’s
works are replete with flying themes as can be found in
his retrospective book, Painted World – page 100 (Flying
Up), page 111 (Flying Coo-Coo), page 149 (Flying Over The
Village) and page 155 (Courting).

Educated at Nanyang Academy of Fine Arts, Singapore

and Pratt Institute, New York, Sui Hoe received the
Honourable Mention at Salon Malaysia in 1969. In 1974,
he was awarded the prestigious John D. Rockefeller 3rd
Fund Grant. Sui Hoe is the founder of UTARA, a group
of Malaysian Modernists from Kedah and Penang in 1977.
His works areheld in the collection of public and private
institutions and corporations

50 51
 22

S H A R I FA H FAT I M A H S Y E D Z U B I R , DATO ’
b. Kedah, 1948

T H E J O U R N E Y 2 , 1993

Signed and dated ‘Sharifah Fatimah 93’ (reverse)

Oil on canvas
90cm x 115.9cm

P ROV E N A N C E
Private collection, Penang; acquired through Art Point Gallery, Penang.

RM 16,000 - RM 20,000

A serene abstract reverie of odd interlocking and REFERENCE

Sharifah Fatimah Syed Zubir: Notes of A Journey 40@60, Artfolio, Kuala
overlapping shapes and under-painted layers project
Lumpur, 2008.
a subtle tranquillity. Warm reds predominate with
expanses of subdued green in a general hard-edged
composition where there is an illusion of perspective.
The ‘action’ moves from left to right in a flotsam of soft
rectangular blocks. This painting was exhibited in 1994 at
Art Salon in Kuala Lumpur where it was sold.

Graduated from UiTM (Universiti Teknologi MARA)

in Malaysia, Reading University in England and Pratt
Institute in the United States, Sharifah has participated in
numerous local and international exhibitions. Awarded
the Major Award in the Salon Malaysia Competition in
1979, and a Minor Award in the Young Contemporary
Artists Competition in 1981, Sharifah was the curator at
National Art Gallery, Malaysia from 1982 to 1989. Her
works are held in the collections of public institutions,
local and international museums, banks and corporations.

52 53
 23

YUSOF GHANI
b. Johor, 1950

S I R I TA R I V I I , 1984

Signed ‘Yusof ghani’ and inscribed ‘SIRI TARI VII - 1984 oil on canvas 163cm x 259cm’ (reverse)
Oil and charcoal on canvas
162.8cm x 236.5cm

P R OV E N A N C E
Private collection, Kuala Lumpur; acquired through Elm Quay Fine Arts, Kuala Lumpur.

RM 85,000 - RM 130,000

Tari (Dance), Yusof Ghani’s most celebrated series, is not cleavages of form and space are obviously inherited from
just about the mere act of dance. Gail Enns, owner of de Kooning”.
Anton Gallery in Washington DC who held Yusof ’s first
solo in 1984, commented on this series, “You can feel his Executed in 1984, Siri Tari VII is one of Yusof ’s earliest and
underlying concern for humankind. It’s dancers, but it’s also most significant pieces of this series. Standing at 5.5 feet tall
something else. There are tremendous levels of subliminal and 8 feet wide, the painting carries such dynamism and
content. The dancers are reaching out… for something reflux that when standing in front of it, the visual impact
more”. is one that is experiential and captivating. On this stagnant
two-dimensional work on canvas depicted with three-
Yusof ’s preoccupation with the concept of dance had dimensional figurative forms, a further fourth dimension of
started in his student days when he submitted a painting time is introduced. Once eye contact is made, the viewer
titled Dance: A Cultural Statement (1982) for the thesis will be lost in the swirls and twirls of the liquefied life-size
component of his master’s degree at Catholic University figures showing no intention of ceasing their motion.
in the US. At that time, he participated in a group protest
show against American intervention in Nicaragua with his Commenting on the juxtaposition of graphic and linear
audacious body of work called the Protest series. Upon elements with chromatic and painterly planes of colours, as
returning to Malaysia after his studies, Yusof decided to evident in this piece, artist Wong Hoy Cheong remarked,
fuse formal elements of the gestural dance with the socio- “The violent colour and handling is superimposed by
politically charged Protest approach, marking the beginning delicate, graceful and calligraphical lines. Other times, these
of Tari. Chaotic and directionless, dancing is, for the artist, a lines float over the colours, only scratching the surface.
metaphor for the inequality of life that led to chaos; a social However, when all these elements come together, the
commentary on humanitarian issues. visual experience is powerful and compelling”. It is clear
that Siri Tari VII epitomises the artist’s forte in balancing the
Heavily influenced by the American Abstract Expressionism, controlled, the instinctual and the arbitrary.
Tari is an intense and powerful manifestation of Yusof ’s
spontaneous and ferocious brushstrokes onto the canvas, Yusof Ghani studied in United States at George Mason
where colliding figures serve as generator of a sequential University where he obtained his Bachelor in Fine Art
unfolding of linked dancing movements. It also reflects the majoring in Graphic Design and later continued his Master
continued influence of Abstract Expressionism in Malaysian of Fine Art in Washington D.C. at Catholic University. He
Art after its introduction in the 1960s by pioneering artists was a lecturer and Associate Professior at UiTM (Universiti
like Abdul Latiff Mohidin and Datuk Syed Ahmad Jamal; Teknologi Mara). His most sought after series namely Tari
however the distinctive difference between Yusof Ghani has been in the proud collection of museums, institutions
and the pioneers is his emphasis on humanitarian and and private collectors.
figures as opposed to landscapes. Datuk Syed Ahmad Jamal
drew parallels with the links of Pollock and de Kooning, REFERENCE
Siri Tari: Topeng, Rusli Hashim Fine Art, Kuala Lumpur, 1996.
“The dancing lines remind one of Pollock and swatches and
54 55
 24

C H U A H T H E A N T E N G , DATO ’
b. China, 1912-2008

M OT H E R A N D C H I L D

Undated
Signed ‘Teng’ (lower left)
Batik
58.8cm x 44.1cm

P ROV E N A N C E
Collection of Raj Kumar GP, Kuala Lumpur.

RM 35,000 - RM 50,000

Dato’ Chuah Thean Teng, or popularly known as Teng, is Mother and Child perfectly complements another piece
venerated for internationalising batik as medium of fine which is currently held in the collection of Bank Negara
art. His unforgettable portrayal of women and children Museum and Art Gallery, titled Scarlet Lips (1988),
in the rural Malaysian kampongs is at once close to where the entire work is flushed with overtones of
heart for the common Malaysian and exotic for the blues punctuated by the sharp red on the lips, while a
Westerners. Coupled with the new method of pictorial little girl instead of a boy was portrayed as the ‘child’ in
expression using batik, Teng has received international the picture.
acclaim with his works held in the collections of major
galleries, museums and private collections around the Born in China in 1914, Chuah Thean Teng, or popularly
world. Interestingly, his creation of batik painting came known as Teng, studied at the Amoy Art School. He
from a failed business venture where his batik factory adapted the age-old craft of batik as a medium of fine
was closed down and by experimenting with the left art and thus was acknowledged as the Father of Batik
over wax and dyes he stumbled upon this unique Painting in Malaysia. He received international fame
medium that is to change his life forever. when his paintings entitled Two of a Kind and Tell You a
Secret were selected by UNICEF for its greeting cards.
Of the varied themes depicted in Teng’s remarkable He had exhibited extensively around the world, and was
opus of batik paintings, the human figure is of utmost honoured with a retrospective exhibition at National Art
significance. Here, Teng’s hallmark imagery of the Gallery in Kuala Lumpur in 1965 and Penang State Art
Mother-and-Child reappears. Unlike his usual depiction Gallery in 1994. A memorial exhibition was also held in
of women and children set within the rural Malaysian 2008 by National Art Gallery to pay tribute to Teng. For
village scenes, the figures in this piece are surrounded his contribution to art, he was awarded the title ‘Dato’ by
by abstract Cubist-like shapes and forms, clearly showing the Penang State Government in 1998.
the experimental nature of Teng’s approach towards
batik painting. He further broke down the figures into REFERENCE
Chuah Thean Teng Retrospective 1994, Penang Museum and Art Gallery,
highly stylised planes, blending the foreground with 1994.
the background, while the circular motif repeats itself Teng Batik, Yahong Gallery, Penang, 1968.
rhythmically throughout the composition. Teng: An Appreciation, National Art Gallery, Kuala Lumpur, 2008.

56 57
 25

KHALIL IBRAHIM
b. Kelantan, 1934

B AT I K I N A B S T R A C T , 1992

Signed and dated ‘Khalil Ibrahim 92’ (lower right)

Batik collage
100cm x 87cm

P ROV E N A N C E
Collection of Ambassador Dato’ N. Parameswaran; acquired directly from the artist.

EXHIBITED
Malaysian Artists Association Titian, Hanoi School of Art, Vietnam, 1992.

RM 16,000 - RM 18,000

This special combination of a batik collage plays layered

tones on abstract objects and printed materials, using
Indisol dyes. Khalil Ibrahim has dabbled with batik art
since 1968. This work was created by both intent and
‘accidents’ and which partly recalls his abstract works
during the 1960s.

Khalil graduated from the prestigious St. Martin’s School

of Art and Design in London in 1964. His career spans
four decades with many solo and group exhibitions
held in Malaysia, Singapore, Indonesia and Switzerland.
His works are held in the collection of National Visual
Arts Gallery, Kuala Lumpur, National Museum of Art,
Singapore, Fukuoka Museum of Art, Japan, New South
Wales Museum of Art, Sydney and Royal National Art
Gallery of Jordan.

58 59
 26

R A P H A E L S C OT T A H B E N G
b. Sarawak, 1939

V I E W O F O L D S TA A S , 1995

Titled, signed and dated ‘View of Old Staas. RSA ‘95’ (lower right)
Acrylic on canvas
59.6cm x 89.8cm

P ROV E N A N C E
Private collection, Kuala Lumpur.

RM 7,000 - RM 9,000

This unique acrylic on canvas depicts a natural

environment with interesting flora, thick vegetation and
the frontier on the undulating landscape. The scene is
located near Raphael Scott Ahbeng’s Bau gold-mining
town birthplace and residence. ‘Staas’ is Bidayuh for ‘taas’,
a rich ironwood also called kayu berlian (diamond wood).
Raphael, the master of the Sarawak natural landscapes, is
known to have a bias for reds in his already florid palette.

Raphael Scott Ahbeng is one of the most established

Borneo artists. Attended Art and Photography course
in Bath Academy of Art, Britain in 1964-67 and drama
course in London in 1973, he won First Prize, Sarawak
Shell Open art competition in 1959, 1982 and 1983
and Third Prize, Natural Malaysia art competition in
Kuala Lumpur in 1991. He served as as adviser in
Sarawak Artists Society during 1999-2000. His paintings
have been held in the permanent collection of public
institutions and private collectors in Malaysia.

60 61
 27

J O L LY KO H
b. Singapore, 1941

U N T I T L E D , 2002

Signed and dated ‘Jolly Koh 02’ (lower left)

Oil on canvas
152.5cm x 50.5cm

P ROV E N A N C E
Private collection, Kuala Lumpur.

RM 8,000 - RM 10,000

This painting is very similar to Rising Sun I and Rising Sun exhibition at Shenn’s Fine Art in Singapore in 1996. Since
II. It holds the common elements in the Terang Bulan his 1992 homecoming solo, Jolly Koh has been planning
series with its side borders and distinctive moon, a series his relocation back to Malaysia after two decades down
where the artist had introduced 3 new elements in his under.
body of work; the combination of oil and acrylic, the
colour black in his palette, and achieving the translucent Born in Singapore, Jolly Koh received his art education
watercolour effect with the acrylic medium. Having at National Diploma in Design, Hornsey College of Art,
grown up in Malacca as the eight generation of Baba London in 1962;ArtTeacher’s Certificate, London in 1963
Heritage lineage, Jolly Koh often refers to himself and M.Sc. at Indiana University, USA in 1972. His works
as a painter of landscape. He grew up as a romantic, has been exhibited extensively around ASEAN region,
reminiscent of his days in Malacca and listening to Terang Melbourne and London and are held in the collection of
Bulan as a child. In a breathtaking vertical composition, local and international museums, corporations, banks and
the artist paints an allegory in the moon as a unifying hotels. Amongst them are J.D. Rockefeller III Collection,
constant no matter where one is. In fact, judging by the the National Art Gallery in Victoria, Australia, the Kasama
fluid watery treatment of the oils, one may argue the Nichido Museum of Art, Bank Negara Malaysia and The
painting could be presented upside-down as a reflection Fullerton Hotel in Singapore.
of the moon in a pond as evidenced by the koi fish
streaming upwards, giving the Chinese clichéd theme a REFERENCE
Jolly Koh, Maya Press, 2008.
personal, modern interpretation. Art Imperatives: Selected Writings and Paintings, Dr. Jolly Koh, 2004.
Jolly Koh: Recent Paintings, Valentine Willie Fine Art, Kuala Lumpur, 2003.
It is part of the Terang Bulan Series officially shown in an

62 63
 28

SHAFIE HASSAN
b. Kedah, 1948

C U T I S E K O L A H , 2001

Signed and dated ‘SHAFIE

HASSAN 01’ (lower left)
Watercolour on paper
79.2cm x 63.2cm

P ROV E N A N C E
Private collection, Kuala Lumpur;
acquired directly from the artist.

EXHIBITED
Kenja Kertas, National Art
Gallery, Kuala Lumpur, 2006,
illustrated on leaflet.

RM 4,000 - RM 8,000

29
This oil painting is a more recent illustration of the popular Granny Smith variety.
LIM KIM HAI Where the earlier work is rooted in realism, here the colour tone and shade give a
b. Selangor, 1950
sense of weightlessness, as though the apples float upwards and outwards toward
the viewer. Since the 1980s the artist has obviously gained enough confidence
to risk the style and subtly direct his brush towards Surrealist expression. The
N O W A R , 2003
clues to look for are the bluish tint in the depth of shadows, the bruised portions
This extraordinary watercolour shows two kampung Born in Kedah in 1958, Shafie Hassan was trained at Signed and dated ‘K.H.Lim 2003’ defying a near perfect apple and the speckles which randomly dot the overall
boys in lush rural scenery, during school holidays, carrying Teacher Training College Kota Baru in 1978 and Specialist (lower centre) canvas, adding a glint of magic to the composition.
traditional basket-woven fish traps over their shoulders Teachers Training Institute in 1986. Shafie received his art Oil on canvas
and walking on a fallen tree trunk placed across the education at University Science of Malaysia in 1994. He 30cm x 30cm
Lim Kim Hai studied at Nanyang Academy of Fine Arts, Singapore and Ecole
stream as a makeshift bridge. The younger one is clad in a received First Prize at the PNB Art Competition, First P R OV E N A N C E Nationale Superieure des Beaux Arts, Paris. He won the Golden Award from Salon
bright batik sarong while the other has a simpler checked Prize for UNESCO Poster, and the Malaysian Watercolour Collection of Sujaysen RK, des Artistes Francais, Paris in 1982, Silver Award from Salon Internationale, Du Val
sarong. In the village, playthings are often improvised from Society Award in 1990. He is regarded as one of the finest Kuala Lumpur.
D’Or, France in 1984; Prix Henri Lehmann from Institut de France, Academy des
what they can find in their rural surroundings, unlike the watercolourists in the country. Beau in 1986. His works have been showcased widely in France, Moscow, China,
sophisticated toys of city kids. RM 9,000 - RM 15,000 Vietnam, Taiwan, Indonesia, Thailand, Singapore and Malaysia.

64 65
 30

JUHARI SAID
b. Perak, 1961

K ATA K N A K J A D I L E M B U , 1999

Titled, signed and dated ‘Katak nak jadi lembu Juhari Said 1999’ (bottom)
Woodblock print, edition 17/20
78.5cm x 107.5cm

P ROV E N A N C E
Private collection, Kuala Lumpur.

L I T E R AT U R E
45@45, National Art Gallery, Kuala Lumpur, 2003, illustrated on page 67.

EXHIBITED
Yes Or No?, Maison of Malaysian Art, Kuala Lumpur, 12 December 2011 - 1 January 2012, illustrated on catalogue.

RM 6,500 - RM 9,000

One of his most celebrated images, Katak Nak Jadi satirical commentary on people who pretend or desire
Lembu is exemplary of Juhari’s forte in woodcut print, to be what they are not. It serves as a reminder to the
which is his favourite printmaking technique. Juhari is viewer to stay truly honest to oneself, or risk ending up a
one of the few artists who have held true to the art nobody – like the half-bull-half-frog illustrated. Editions of
of printmaking even though it is a marginalised genre this print are currently held in the permanent collection
of visual art in Malaysia. To him, this traditional form of the National Visual Arts Gallery, as well as several
of art is no less significant than conventional media of esteemed private collections in the country.
painting and drawing, and is made all the more precious
with the advanced and effortless techniques of printing Juhari Said graduated from UiTM (Universiti Teknologi
machineries. According to Prof. Dr. Zakaria Ali in his MARA) in 1983. Juhari received the award from Major
essay The Woodcuts of Juhari Said, ‘a woodcut conceals Prize (Printmaking), Salon Malaysia and was awarded
nothing: a splinter, a jagged edge, a missed turn are all a research grant by French Government and Japan
imprinted, literally in black and white’. The delicate lines, Foundation. In Tokyo he studied under woodblock artist
intricate texture and clever use of contrast in this piece Yoshisuke Funasaka. He was also awarded Anugerah
clearly reflect Juhari’s remarkable ability in championing Karyawan Seni by the Unity Culture, Arts and Heritage
this challenging technique. Ministry in 2009.

Part of the Proverbs series, Katak Nak Jadi Lembu is a REFERENCE

Akal Di Mata Pisau, Malaysian National Reinsurance Bhd., 2003.

66 67
 31 32
There is no better depiction of innocence than little children This painting interestingly compliments the previous lot of Kow’s
KO W L E O N G K I A N G at play out in the open kampung, the market or the beach,
KO W L E O N G K I A N G earlier study of a little girl titled Innocence 3, also compositioned
b. Selangor, 1970 b. Selangor, 1970
where worldly entanglements do not exist. This portrait of a in the same way with their heads turned towards the audience.
sweet little girl gazing right at us seems to have been captured Here, the Malay girl is depicted wearing a hijab, surrounded by
in a fleeting moment when she may have turned and looked lush kampung greeneries.This painting was executed towards
I N N O C E N C E 3 , 1999 M A L AY G I R L , 2002
at the artist in the midst of her play. Between 1999 to 2003, the end of Kow Leong Kiang’s sketching trips to Kelantan and
Signed and dated ‘KOW LEONG KIANG 1999’ Kow Leong Kiang scoured villages and beaches in Kelantan Signed and dated ‘KOW LEONG KIANG 2002’ Terengganu in 2003, which is when he observed a perceptible
(lower left) and Terengganu for small portrait studies in order to hone his (lower left) change in the dressing of the female rural folk.
Oil on canvas remarkable drawing skills. Oil on canvas
24cm x 23.5cm 25.3cm x 25.3cm
Graduated from Kuala Lumpur College of Art in 1991, Kow
P R OV E N A N C E P R OV E N A N C E received Minor Award, Young Contemporaries Malaysia in 1992,
Collection of Ambassador Dato’ N. Parameswaran; Private collection, Johor. National Award, National Day Art Competition, Kuala Lumpur
acquired directly from the artist. Private collection, Kuala Lumpur.
and won the Grand Prize at the Phillip Morris ASEAN Art
Awards in 1998 with his controversial painting titled Mr. Foreign
RM 5,000 - RM 7,000 RM 4,000 - RM 6,000 Speculator, Stop Damaging Our Country. He was also artist-
in-residence at Vermon Studio Centre, U.S.A. in 2004. Kow is
best known for his masterful portraits of East Coast beauties,
capturing the images of rural beauty.
68 69
 33 34
Yau Bee Ling is one of the contemporary artists whose work revolves
YA U B E E L I N G A couple is portrayed here sharing a bowl of noodles. The subject YA U B E E L I N G around the subject of family, feminism, and the notion of identity. Widely
matter, although humble, paints a beautiful, warm scene of love and
b. Selangor, 1972
b. Selangor, 1972
care between these two individuals. Done in the style of her student exhibited locally and overseas, Yau was the Malaysian representative at
days still with a naïve-like figuration and flat perspective, Yau Bee Ling the 9th Asian Art Biennale in Bangladesh in 1999, and also participated
often paints ordinary family-life situations in sumptuous colour and in the 2nd Fukuoka Triennale in 2002. Executed with vibrant hues, lively
E AT I N G N O O D L E S , 2001 C E L E B R AT I O N S , 1997
composition. forms, and a unique play of space,Yau’s works would at first glance seem
Signed and dated ‘Bee Ling 01’ (lower right) Signed and dated ‘Yau Bee Ling 97’ (lower joyous and festive. Upon closer scrutiny, a sense of melancholy and
Oil on canvas Yau Bee Ling graduated from Malaysian Institute of Art, 1995 with right); dated, titled and signed ‘1997 solitude would emerge through hints of objects, poses or expressions.
37.7cm x 42.7cm Celebrations Yau Bee Ling’ (reverse) A master of composition and symbolism, Yau’s adeptness is clearly
award of full scholarship and was artist-in-residence at Rimbun Dahan,
Oil on canvas
Kuala Lumpur. In 2004, her paintings travelled to Hokkaido Museum of shown here where three figures are depicted amidst an abundance
P R OV E N A N C E 90cm x 90cm
Private collection, Kuala Lumpur. Contemporary Art as part of Soul of Asia: Fukuoka Asian Art Museum of food and fruits, but strangely there is no sign of interaction and
Collection. P R OV E N A N C E celebration. The indifferent facial expressions punctuate the viewer
Private collection, Kuala Lumpur; acquired with a sense of brittle honesty that may at first seem deceptively naïve.
RM 4,000 - RM 6,000 directly from the artist.
Private collection, Selangor. Coming from a traditional Chinese family, Yau cherishes the traditional
cultural values that are fast vanishing in this technology driven world.
Through Celebrations, the artist is perhaps urging the viewer to re-
RM 11,000 - RM 18,000
establish distant family ties especially during festive seasons.
70 71
 35

I VA N L A M
b. Kuala Lumpur, 1975

9 1 1 , 2001

Acrylic on canvas laid on wood

91.6cm x 91.6cm

P ROV E N A N C E
Private collection, Kuala Lumpur; acquired through Taksu Gallery, Kuala Lumpur.

EXHIBITED
911, Taksu Gallery, Kuala Lumpur, 2002.

L I T E R AT U R E
Ivan Lam: After All These Years, Wei-Ling Gallery, Kuala Lumpur, 2007, illustrated on page 26.

RM 15,000 - RM 18,000

Influenced by Pop Art godfathers Jasper John and visual device, and it is entirely up to the viewer to bring
Robert Rauschenberg, Lam’s works depart from their own interpretation to the symbols and signifiers
the dominance of abstraction in the Malaysian art depicted in his work. Exhibited in his 911 solo in Taksu
scene by appropriating popular cultural imagery and Gallery in 2002, the 911 series is a significant turning
iconographies, employing tools of mass production, and point where Lam wrapped up his American-based work
combining the principles of design and commercialism, and ventured into his next series CMYK.
to reinvent a visual language that is distinctly his own.
Quoted from curator Anurendra Jegadeva’s essay Ivan Ivan Lam, one of the most popular contemporary
Lam On Painting… So Far, ‘not only is his body of work Malaysian artists, received his art education in University of
an important part of the history of art in Malaysia but it East London, Maine College of Art, USA and Limkokwing
presents a great session in the practice of painting as a Institute of Technology, Malaysia. Since returning from the
serious science and methodology which places it as new United States, Lam has been establishing and inventing
and contemporary medium’. himself to become the epitome of Malaysian pop art
where his work has been exhibited in various private
Initially trained as a printmaker, Lam is obsessed with and public galleries in Malaysia and abroad. Lam is one of
the systematic act of layering, strategic composition of the few artists who are ‘sponsored’ by a paint company,
colours, and perfection in graphic clarity and balance. Nippon where he uses them for his paintings. An award-
Evident in this piece, 911, the giant text blocks ‘the winning artist who has garnered numerous art awards
day the music died’ are executed with crisp precision both locally and internationally, he was the grand prize-
and stark contrast, with letters conjoining one another winner for the sought-after Phillip Morris Art prize in
to form abstracted geometric shapes that oscillates 2003, and was most recently amongst the top 10 finalists
between text and graphic. This signature line from in the Sovereign Art competition, in Hong Kong. No
Don McLean’s famous song American Pie surrounds a stranger to the auction scene, his painting Three Buses
burning flag, pointing to the obvious reference of the was auctioned in Christie’s Hong Kong in 2008 for a
September Eleven terrorist attack on the New York Twin final bid of HKD125,000, almost three times its lower
Towers. However, for Lam, the text is used purely as a estimate.

72 73
 36

UMIBAIZURAH MAHIR @ ISMAIL

b. Johor, 1975

U N TO U C H A B L E V I I , 2009

Handpainted tin sculpture mounted on woodblock

36cm x 44.5cm x 14cm

P ROV E N A N C E
Private collection, Kuala Lumpur.

RM 5,000 - RM 7,000

Umibaizurah, or better known as Umi, has re-invented

ceramic art into forms of caricature, showcase toys,
Malay ornaments and also miniature mobile sculptures.
In a way, they could be prescribed as the Malay rendition
of the famed Russian Faberge eggs. Her whimsical toy-
like sculptures are results of repeated processes of
casting, firing, glazing, staining and layering, and often
act as symbols reflecting human desire, cultural values,
consumerism, spirituality and transformation. More
importantly, her works duels with personal yet universal
issues of feminism and environment with unique
sensitivity that stands out in this male-dominated field.
‘I regard clay as a vehicle for communication between
religion and people and across cultures,’ says Umi. ‘For Graduated from UiTM (Universiti Teknologi MARA),
me it provides a means for constantly evaluating our Umi is one of the country’s most important ceramicists
place in our time.’ who consistently push beyond conventional boundaries
of ceramics within a contemporary framework. She
First exhibited in her 2009 solo called Hybrid at the Wei- represented Malaysia in the 2009 Jakarta Ceramics
Ling Gallery in Kuala Lumpur, her works which she called Biennale. She was among the Top 10 Winners of The
Gerabek toys also come with a pedestal. The Untouchable Young Contemporaries 2006 by the National Art
series is inspired by the artist’s childhood experience Gallery, Malaysia and was awarded Top 5 Winners for
where she was often warned by her mother not to touch her collaboration with children in making clay sculpture
young plants to avoid stunted growth. Drawing parallels at the Tokoname City Culture Hall, Aichi, Japan. Umi’s
between the themes of femininity and nature, it alludes works are collected by various institutions and private
to the exploitation and ill-treatment of women, raising collectors including National Visual Arts Gallery, Malaysia,
questions and awareness on gender issues. Petronas Gallery, Malaysia and Asia Arts Network Seoul,
Korea.

74 75
 37

B AY U U TO M O R A D J I K I N
b. Sabah, 1969

A R A N G ATA S K E RTA S , 1998

Signed ‘Bayu Utomo Radjikin’ (lower centre) and dated ‘Feb 1998’ (lower right)
Charcoal on paper
62.5cm x 44.5cm

P ROV E N A N C E
Private collection, Kuala Lumpur.

EXHIBITED
Diri: Bayu Utomo Radjikin, MADC, Kuala Lumpur, 2001.

RM 5,000 - RM 8,000

“The face is no longer important. When you have a full private collectors and royalty. This particular piece was
face, people try to recognise who you are and what is among the very few with an accompanying self-written
the profile. I’m hiding, and certain elements of my face poem by the artist.
do the talking”, the artist described in an interview with
The Edge Malaysia. Though Bayu sees these self-portraits as ‘one-way
conversation between the artist and the canvas’, by
One of the founding members of the potent and casting himself as the protagonist, he is in fact projecting
influential MATAHATI collective, Bayu Utomo Radjikin himself as the Everyman. More than self-portraits, they
helped brought back serious figurative representation trigger self-deliberation and self-introspection in the
within the local art scene in the 1990s. He is regarded viewer. Executed in 1998, a period when the MATAHATI
as one of the country’s finest figurative artists, projecting group was taking off and had gained recognition as one
his own persona to enact psychological drama hinting at of the trendsetters in Malaysian contemporary art, this
uncertain challenges or unknown adversities. He often work marks a pivotal precursor to Bayu’s iconic Mencari
shows himself in Malay warrior-like gear and half-body Pahlawan series.
poses and gestures to exteriorize inner struggles against
temptations and to question the notion of identity and Graduated from UiTM, (Universiti Teknologi MARA),
belonging. Bayu has won various awards and accolades throughout
his art career. He is the founding member of House of
In this rare early self-portrait, the profile of the artist MATAHATI (HOM), an independent art space consisting
executed with delicate strokes of charcoal is depicted a gallery, studio facilities and art residency for emerging
deep in thoughts, gazing far away to the right and local artists.
avoiding direct confrontation with the viewer. It is part
of the body of work featured in Diri: Self Portraits 1989- REFERENCE
Mind The Gap - From KL to London... And Back, Wei-Ling Gallery, Kuala
2001 exhibition in MADC, Kuala Lumpur, which were Lumpur, 2007.
done on paper, some in the collection of esteemed

76 77
 38

AHMAD SHUKRI MOHAMED

b. Kelantan, 1969

I N S E C T S W A L L P A P E R , 2009

Signed and dated ‘ahmad shukri 2009’ (lower right)

Mixed media on canvas
122cm x 122cm

P ROV E N A N C E
Private collection, Selangor.

RM 17,000 - RM 25,000

This mixed media on canvas illustrates a curious subject Graduated from UiTM (Universiti Teknologi MARA),
matter, where a curtain of the rainforest is adorned with Ahmad Shukri Mohamed won numerous awards from
an ‘insectopia’ of flies and bugs displayed in a symmetrical the prestigious Philip Morris Asean Art Awards and was
grid like composition as though collected, chloroformed artist in residence at Rimbun Dahan, Selangor from 2002
and mounted on a board. to 2003. His works were exhibited at DCA Fine Art,
Los Angeles, USA at the MATAHATI KE MATADUNIA –
Alternating between the background and fore, we see Malaysian contemporary Art to the World exhibition in
a cluster of fauna encircled within earthy tones while a 2009. He recently held his solo at Pace Gallery, Selangor
construction of colourful unnatural blocks interrupts our in February 2012. A member of MATAHATI collective,
perception of an organic world. Layering subtle references his work has been collected by private collectors and
to urbanisation, the artist brings our attention to how public institutions; among them are Bank Negara Malaysia,
every bee, every bug, every insect is a vital component in Singapore Art Museum and Fukuoka Art Museum.
the natural world orders, highlighting man’s interference
over nature and its precedence. Shukri intends to stress REFERENCE
MATAHATI - For Your Pleasure, Galeri Petronas, Kuala Lumpur, 2006.
on the impatience over the actions that mankind has
been incurring to Mother Nature.

78 79
 39 A fine example of Hamir’s familiar use of bitumen in The artist describes the trend and focus of Malaysian Art
creating grotesque and claustrophobic compositions, The to a particular genre once an apparition which has lost
HAMIR SOIB @ MOHAMED Burning Bush conceals figures in desperation and disdain its relevance to the now due to the foolish strategies and
b. Johor, 1969 among the clouds of smoke, with contours of what make believe commotion of collectors and investors. The
seems to be mountains or blurred figures hidden in the monopolisation of the art market constantly addressing a
background, lingering beneath a heavy cloud of smoke. similar theme or similar copycat-strokes would suffocate
T H E B U R N I N G B U S H , 2009 Its subject matter seems to contradict the peaceful and the growth of any art industry. Hamir intends to awaken
serene horizontal composition, that may seem like a and expose his audience to look above and beyond a
Signed and dated ‘Hamir 09’ (lower right); titled, signed and dated ‘The Burning Bush HAMIR SOIB@MOHAMED 2009’ (reverse)
Mixed media on canvas Chinese landscape of lush mountain view at first glance. wider horizon.
57.3cm x 178cm
“I believe in pushing the limits of the mind so that people Hamir graduated from UiTM (Universiti Teknologi MARA)
P R OV E N A N C E
can read messages between those lines, and to see things is one of the founding members of the progressive art
Private collection, Kuala Lumpur.
beyond just beautiful paintings”, Hamir once said. group MATAHATI. Having worked on numerous large-
EXHIBITED scale pieces as a result of undertaking commissions to
Arrival, Ernst & Young, Singapore, 2009-2010. Burning Bush is a common term used to describe an paint backdrops for theatre productions, Hamir’s own
Art Triangle III, National Art Gallery, Kuala Lumpur, 2010.
investment failure in the financial world. With this, the paintings are mostly executed on ‘larger than life’ canvases.
artist wishes to address misperception of art collecting He won the award of Best Art Director (with Zuraini
RM 19,000 - RM 22,000 and art investment, that selection should be made based Anuar) in the 14th Malaysia Film Festival and Young Artists
on the potential of an ‘investment grade art’ as opposed Incentive Award from Galeri Shah Alam in 2005. He is a
to its cultural and heritage bonds. finalist for Sovereign Art Award, Hong Kong in 2007 and a
non-resident artist at Malihom, Penang in 2007.

80 81
 40

JALAINI ABU HASSAN

b. Selangor, 1963

S T R E T C H E D F O R M , 1993

Signed and dated ‘JAI 1993’ (upper right)

Charcoal and acrylic on paper
106.5cm x 136.5cm

P ROV E N A N C E
Private collection, Kuala Lumpur; acquired directly from the artist.

RM 10,000 - RM 16,000

Dated 1993, this significant piece is one of the earliest Sold even before the Lifeform exhibition in Taksu Gallery
works to spark the birth of the Jalaini Abu Hassan’s in 1996, Stretched Forms will now appear on public view
homecoming Lifeform series, which emerged from his for the very first time.
MFA studies at the Pratt Institute in New York. A process
artist with a dedication to push boundaries of both Jai is one of the most established contemporary
traditional and experimental media, Jalaini, or popularly Malaysian artists who received his education at UiTM
known as Jai, has always believed that he is more of a (Universiti Teknologi MARA) and scholarship awards at
drawer than a painter. ‘Drawing has its own autonomous the prestigious institutions of the Slade School of Fine
criteria,’ said Jai. ‘It’s a finished work of art by itself. It’s Arts in London and the Pratt Institute in New York,
no longer a supportive element or subordinate to the where he obtained his MA and MFA respectively. Jai is
painting or sculpture.’ interested in the exploration of the act of creation that
goes into forming a work, the exploration of materials
The Lifeform series saw Jai producing drawings in and mediums, and the marks that form a drawing, always
large formats for the very first time. Inspired by the pushing his own boundaries in the search for new
writings of Rumi and al Ghazali, as well as a visit to the processes; working towards presenting a Malaysian visual
Natural History Museum in New York, this series of vernacular, one whose meaning would undoubtedly
work addresses the visual dialogue between artist and speak of his identity and culture. Acclaimed both locally
nature; interior and exterior world; micro and macro. In and internationally, Jai’s notable solo exhibitions include
Stretched Forms, Jai transformed a tiny humble seashell shows in Malaysia, Singapore, Indonesia and New York;
into a monumental form that looms large, leading the where he recently showed Bangsawan Kebangsaan at
eye through the vigourous and fluid strokes, where the Tyler Rollins Fine Art in April 2011. His works are held
process of Jai sculpting the biomorphic form out of in the collection of National Visual Arts Gallery, Malaysia
compressed charcoal unfolds right in front of the viewer. and in private, corporate and institutional collections
The attention to form executed with fervent immediacy around the world.
and intuition is a result of Jai’s exposure to the traditional
and conservative art-making approach at Slade and the REFERENCE
Jalak, Valentine Willie Fine Art, Kuala Lumpur, 2006.
freewheeling and experimental influence from Pratt.

82 83
 Image of artwork has been pixelated to respect local cultural sensitivities.

41
Often considered as one of the strongest female artists Versailles, France in 1991 and international printmaking
CHONG SIEW YING to present the human figure and human emotions, Chong centre Atelier 63. Her career has since spanned solo and
b. Kuala Lumpur, 1969
Siew Ying presents the female body as landscape in this oil group exhibitions in Malaysia and around Southeast Asia.
on linen. The pine tree on the left of the work references She was a finalist for the Sovereign Asian Art Prize in 2005.
stylistic elements from traditional Chinese brush painting In 2002, Siew Ying won the special award at The Young
I S L E O F G O L D , 2008
while gesturing the scale of classical nude figure whose gaze Contemporaries, National Art Gallery, Kuala Lumpur, and
Signed and dated ‘Siew Ying 08’ (lower left) is averted but not shy. Looking beyond, the nude spreads in 2001 the Freeman Asian Artist Fellowship Award at The
Oil on linen horizontally across the composition as though her body is Vermont Studio Center in the United States. From 1999
65.4cm x 200.3cm part of the landscape behind her. The monochrome earth to 2000, she was artist-in-residence at Rimbun Dahan,
P R OV E N A N C E
tones which colour the landscape also hue her body. Kuang, Malaysia. Her works are held in the collection of
Private collection, Singapore; acquired through Valentine Willie Fine Art. National Visual Arts Gallery, Kuala Lumpur, and major
This painting is not a sexualised portrayal of the female private collections in Malaysia, Singapore, France and the
body but a celebration of a woman’s space and femininity USA. She is currently based in Kuala Lumpur and Paris.
RM 22,000 - RM 30,000
linking her with Mother Earth. Like the invocations of Lin
Yu-tang’s The Good Earth, this work by a daughter of a REFERENCE
Idyll, Valentine Willie Fine Art, Kuala Lumpur, 2008.
Sekinchan farmer also tells of a natural kinship with land. Many Splendoured Things, Anurendra Jegadeva, Valentine Willie Fine Art, Kuala
Lumpur, 2006.
Chong Siew Ying enrolled in the Ecole Des Beaux-Art in Chong Siew Ying, Gary Proctor, Rimbun Dahan, Selangor, 2000.

84 85
 42

A H M A D Z A K I I A N WA R
b. Johor, 1955

B L U E K E B Y A R , 1998

Signed and dated ‘Ahmad Zakii Anwar 98’ (lower right); inscribed ‘AHMAD ZAKII ANWAR BLUE KEBYAR 1998 ACRYLIC ON
LINEN 120CM X 90CM’ (reverse)
Acrylic on linen
120.4cm x 90cm

P ROV E N A N C E
Private collection, Singapore; acquired through Sunjin Gallery, Singapore.

EXHIBITED
Distant Gamelan, Art Focus Gallery, Singapore, 1998.

RM 20,000 - RM 35,000

An artist intrigued with the human figure and human ‘urban realist’ artists in the region. A graduate of the
capacity, this stunning portrayal of Kebyar, is an offshoot School of Art and Design, MARA Institute of Technology
of the Balinese Legong dance. It was when the artist had Malaysia, the artist began his career as a graphic artist,
travelled to Bali that he had encountered the beauty producing some of the leading advertising graphics of
and understood the secrecy of Balinese ritual dances his time before turning to fine art practice. Zakii came to
and their significance to the local community. In this, attention for his virtuosity and command of a spectrum
the artist had added to it his own mysticism with the of media from charcoals to oils, building a reputation for
stylised forms and textural play of colors. The dancer in stunning Photo Realist still-life paintings and expressive
this work emerges enigmatically from a misty, undefined portraits. Notable exhibitions include Bones and
space, unanimous of Zakii’s signature rendition. Sinews, Andrewshire Gallery (USA, 2011), Disclosure,
A Mid-career Survey, Galeri Petronas (Malaysia, 2008),
The blue-striped kebyar glints in the light, fan in hand Kota Sunyi, CP ArtSpace (Indonesia, 2007), Primordial
captured mid motion in expressionist brushstrokes. The Dream, Singapore Tyler Print Institute (Singapore, 2005),
background is kept dark which allows the viewer to Shadowland, Plum Blossoms Gallery (Hong Kong, 2001),
focus completely on the dancer’s gaze, stance and hand and Presence, Barbara Greene Fine Art (USA, 1999).
movements.
REFERENCE
Disclosure, Galeri Petronas, Kuala Lumpur, 2008.
Ahmad Zakii Anwar, better known as Zakii, has emerged Distant Gamelan, Art Focus Gallery, Singapore, 1998.
as one of the most exciting, engaging and eloquent

86 87
 43

LUI CHENG THAK

b. Negeri Sembilan, 1967

D A N C E S O F T H E P H O E N I X , 2006

Signed and dated ‘Lui Cheng Thak 06’ (lower left); inscribed ‘Lui Cheng THAK Dances of the Phoenix 2006 oil on canvas 122cm x
155cm’ (reverse)
Oil on canvas
120cm x 152.2cm

P ROV E N A N C E
Private collection, Penang; acquired directly from the artist.

EXHIBITED
As I Was Passing II, Galeri Citra, Kuala Lumpur, 2006.

L I T E R AT U R E
Shian’s Bilingual Art Magazine, Issue 102, illustrated on back cover.

RM 12,000 - RM 15,000

Dances of The Phoenix is the largest work ever done by

Lui Cheng Thak. The scale of this work is apt to give a
sense of awe at the Victorian-styled Corinthian capitals
and column with a Baroque lintel where a carved pair
of phoenix, the Chinese mythical birds, strides amidst
floral decorations over a Chinese roof typical of facades
of Straits eclectic buildings. The view is of a place in
downtown Malacca, animated with subtle play of light.
The birdcages and the batik sarong hung to dry represent
the old and the new in transition.

Graduated from Kuala Lumpur College of Art, Lui

Cheng Thak is privately trained under Chia Hoy Sia. He
had his first solo As I Was Passing organised by Pelita Hati
Gallery of Art in 1997 and his recent solos at PINKGUY
Gallery in Kuala Lumpur and Alex Ong’s gallery in Muar.
His works are held in the collection of local corporations,
hotels and private collectors.

88 89
 44

YEOH KEAN THAI

b. Penang, 1966

W R E N C H I N G , 2007

Signed and dated ‘THAI 07’ (lower centre)

Acrylic and ink on canvas
150.5cm x 74.7cm

P ROV E N A N C E
Private collection, Kuala Lumpur.

RM 12,000 - RM 16,000

A message on decay, discardment, separation, global matter allows him to look beyond the materialism and
amalgamation and search for identity laid out in one consider how one should live, to avoid the rusting and
canvas, Wrenching symbolises the desire to separate, to corroding of personal, social and environmental lives.
change along with the emotional distress and frustration
entangled within an individual in a decomposing Thai foresees the consequences of a consumerist society,
environment. Thai has been creating works in relation often consuming at random and accumulating a deceptive
to metal and rust ever since he won the Phillip Morris numerical net worth and seeks to use his works as a sign
award in 1997. The award winning piece was painfully of warning of what is to come. Employing colours that
and patiently completed in slightly less than a year. Having are limited to the earth and rust tones, he enhances the
to research on the oxidation process and progression outline with fine lines venturing into an infinite space in a
of rust, he patiently experimented and monitored the well designed composition, realistic and heavy on surface
decomposition while cutting, sculpting and composing treatment to depict a rapid process of rust.
the metal pieces with only regular pliers and his own
bare hands. Penang born Yeoh Kean Thai has garnered international
recognition through prestigious awards, including
Having sparked interest in addressing environmental the Phillip Morris Art Award in 1997, the Freeman
issues in 1992, when it wasn’t the ‘trend’ then, Thai Fellowship in 2008, the same year he exhibited at the
finds that metal is the perfect symbol for him to call Beijing Olympics and most recently, the Commonwealth
for worldwide attention to environmental issues as it is Award - International Art Residency. He was also the
“nature’s response to mankind’s habit and culture”, as first artist from Malaysia to have work featured during
quoted from an interview with the artist. The subject New York’s Asian Art Week in 2008.

90 91
 46
Kellie’s Castle, dubbed the Malaysian ‘Taj Mahal’, was built by Scottish planter
P H E H I T H AO William Kellie Smith who passed away before its completion in Lisbon, Portugal,
b. Penang, 1972
after which his wife decided to return to Scotland.The edifice with Indo-Saracenic
design and Graeco-Roman interiors lies in Batu Gajah, 20km from Ipoh. Intriguingly,
a secret 1.5km-long tunnel leading to a Hindu temple of the Akkal goddess was
45 KELLIE’S C ASTLE,
discovered in later years. The tiny Malaysian flag with its blue canton and red
This charcoal and oil on linen is an atmospheric and almost magical P E R A K , 2009
E S TO N TA N depiction of the humble kopitiam (food stall) after dusk. Public meeting
stripes stands out in the sepia-toned veneer. Pheh It Hao is known for his superb
b. Penang, 1972
Titled, signed and dated draughtsmanship of architectural facades. The partly denuded trees flanking the
places such as kopitiams are as the title suggests ‘Little Parliaments’ where ‘KELLIE’S CASTLE. PERAK. work exude an eerie feeling about the place. It was left in ruin until recently
the unelected common folk put forth their views, joke or vent their HAO. 09’ (lower right)
refurbished and converted into a tourist attraction.
anger on issues of the day. However, the sounds of the chatter and all Mixed media on paper
L I T T L E PA R L I A M E N T KO P I T I A M , 54.7cm x 73.6cm
the merriment seem distanced and muffled due to the perspective in the Pheh studied at Surrey Institute of Art and Design, University College in 1991
2008
high thickets of the secluded natural environment while little light bulbs P R OV E N A N C E and worked as a curator at Elle Six Art Gallery for four years. He won Third Prize
Signed and dated ‘ESTON 2008’ speckled here and there provide just the right ambience. Private collection, Penang.
at the Putrajaya National Watercolour Exhibition in 2006. Pheh is known for his
(lower right)
Charcoal and oil on linen exploration of negative space in his works that adds a new dimension to the
Eston Tan went to Malaysian Institute of Art, Kuala Lumpur and The One RM 3,000 - RM 5,000 buildings, landscapes and cityscapes he portrays. Solo exhibitions were held at
76cm x 76cm
Academy for his formal education. He has received numerous awards Alpha Utara Gallery, Penang in 2007 and Nelson Hays Gallery, Bangkok in 2008,
P R OV E N A N C E including Minor Award, Penang Young Talent 1999 and Major Award, while also actively participating in group exhibitions in Malaysia, China, Taiwan,
Private collection, Kuala Lumpur; acquired Penang Young Talent, 2000. He held a few solos in Kuala Lumpur, Hong
directly from the artist. South Korea, Indonesia, Singapore,Vietnam and United Kingdom. Pheh is currently
Kong, Austria and Taiwan, while participating in major group exhibitions. living in Adelaide, Australia with his family.
Grew up and spending his early years in Penang, Eston captures the
RM 7,000 - RM 9,000 charm of the Penang city with the portrayal of old Chinese coffee shops REFERENCE
and aged looking sundry shops that give a true sense of nostalgia. The Unseen: Pheh It Hao, Pelita Hati House of Art, Kuala Lumpur, 2008.

92 93
 47

CHANG FEE MING

b. Terengganu, 1959

AT L OW T I D E ( D A R E S S A L A A M ) ,
2005

Signed ‘F.M.CHANG’ (lower left)

Watercolour on paper
20cm x 12.5cm

P ROV E N A N C E
Private collection, Kuala Lumpur;
acquired through Valentine Willie Fine Art.

L I T E R AT U R E
Chang Fee Ming: Swanhili Coast postcard book,
Valentine Willie Fine Art, Kuala Lumpur, 2005,
illustrated on front cover.

RM 2,500 - RM 5,000

48
The Wayang Wong, also known as the ‘Masked Ramayana,’ is a
CHANG FEE MING classical Javanese dance based on the Hindu epics Ramayana
b. Terengganu, 1959
and Mahabharata. The masked version known as Wayang
Gedog or Wayang Topeng is derived from the Javanese inspired
Panji tales of the Jenggala kingdom. In watching Kuningan
W AY A N G W O N G I N K E N I N G A N , 1992
ceremonial performances at Mas in Bali, which is held 10 days
Left: Signed ‘F.M.CHANG Bali’ (upper left); right: after the Galungan festival, Chang Fee Ming brilliantly captured
Signed ‘F.M.CHANG’ (lower right); titled and dated the rhythmic movements and dramatic gestures of the dancer
‘Wayang Wong in Keningan 1992’ (reverse) in these two vibrant water-colours.
Watercolour on paper
17cm x 12.5cm x 2 (diptych)
A solitary woman paces the beach deserted but for a were shown at the Suntec Singapore and later Valentine Ranked among the finest of Asia’s watercolour artists, Fee Ming
snuggle of small fishing dhows at rest. She is completely Willie Fine Art, Kuala Lumpur in 2005. It was featured on P R OV E N A N C E was born in Kuala Terengganu, Malaysia in 1959. Since winning
Private collection, Kuala Lumpur; acquired through the Malaysian Watercolour Society Award in 1984, he has gone
clothed to protect herself from the chill of the Indian the cover of an accompanying set of postcards. Inspired Five Arts Centre, Kuala Lumpur.
Ocean breeze off the Tanzanian coast. With her eyes by his travels to East Africa in late 2004, the work was on to gain many accolades both locally and internationally such
downcast, she is probably rapt in thought about something painted in Dar-es-Salaam, which was Tanzania’s capital until as the “Rockport Publisher’s Award of Distinction” (USA), and
RM 5,000 - RM 8,000 became a Signature Member of the National Watercolour
or looking for something on the beach. The splash of it switched to Dodoma in 1973.
vibrant Swahili colours can be seen in her cloth bandana Society (USA) in 1994. For over twenty years his subject has
and khanga shawl. This work is from Chang Fee Ming’s REFERENCE been the people of Malaysian, Southeast Asia and Asia. He has
Swahili Coast series of sketches and watercolours, which
The World of Chang Fee Ming, Garrett Kam, 1995. exhibited and collected widely around the world. The artist is
The Visible Trail of Chang Fee Ming, Christine Rohani Longuet, 2000.
based in Kuala Terengganu, spending part of the year in Bali and
much of the rest travelling through Asia.

94 95
 Known for his immense contribution to major books, Rupa dan Jiwa (1992), which first case of its kind in Malaysia.
Malaysian art spanning more than 50 years was later translated into English under the
and in various art-related fields, Datuk title, Soul and Form, and the autobiographical As a designer, Datuk Syed Ahmad Jamal is
Syed Ahmad Jamal produced art for the Kunang-Kunang (1999). responsible for various trophies and medal
masses en masse. A life and achievements designs for Royal Selangor and SEA Games in
that can be told entirely on canvas, the late His abstracts are marked by Jawi and later, 1971. Influenced by Bauhaus, Kandinsky and
artist produced various works in bright and Naskh calligraphic strokes and gestures, Malay traditional arts and crafts, Datuk Syed
colorful statements in the forms of paintings, while his Gunung Ledang grand geometric Ahmad Jamal was diverse in his approach
paper works, and sculptures that holds a designs of later years are infused with Islamic to the visual language and mediums. There
deep social, moral and personal meaning, elements. The triangle tumpal shape is a are also records of set designs for stage play
lodged in the spirit and ethos of Malay symbol of stability, a traditional symbolism Lela Mayang in 1968, as well as some Fabric
traditions. of human consciousness and the principle and Textile interior work combined with
of harmony in Islamic Art. Gunung Ledang, traditional Malay heritage mediums, which
He is awarded with the nation’s highest the legend of the mythical princess after all, was commissioned and under the collection
cultural award, the National Arts Award, the is in Muar, Johor, and the birthplace of the of the National Art Gallery, National Theatre
only visual artist to be honoured in 1995 artist which has always been close to heart. and Islamic Arts Museum.
and remains to be the only one to hold the
title. He was conferred the Panglima Jasa There were times when he was inspired by Among the many solo exhibitions, his
Negara (PJN) which carries the title “Datuk” ordinary life and happenings surrounding. retrospective in conjunction with his 80th
by the Yang di-Pertuan Agong in 1996 for His works touched on socio-political and birthday, Syed Ahmad Jamal: Pelukis at the
his contributions in various fields of art. humanitarian issues of the day, like the National Art Gallery featured a 616-page
Bosnian and Palestinian conflicts, nuclear publication which is most comprehensive
His knowledge of local artifacts was honed proliferation in 1988, environment and of the National Laureate’s multifaceted
during his service in the Asian Arts Museum the Reformasi street protests. His art also contributions in his various roles. It was the
in Universiti Malaya in 1975, before his resonates with the spirit of the age and first art exhibition to be officially launched
appointment as Creative Director of the marks historical events in the country. by the former King, Tuanku Mizan Zainal.
university’s Cultural Centre (1979-82). Despite having painted political themed
As National Art Gallery’s Director from works, the artist refused to take political Datuk Syed Ahmad Jamal is a giant of
August 1983 to March 1991, he was known sides, he remains to stand on the side of truth Malaysian art with a mission and a vision, with
for the opening of the Creative Centre and justice with his belief: “An artist must a contribution to art in all its manifestations
49 for fringe and alternative art exhibitions have the moral courage and responsibility. I and totality; he shall be remembered for
during his tenure and his liberal acceptance played my role and then withdrew back to his legacy and artworks that will be an
Lye Yau Fatt, the drybrush watercolour poet of the back lanes
LY E YA U FAT T in the 1980s, has gone indoors in recent years with still-life of
of photography and ceramics as art forms the art world.” inspiration for generations to come.
by themselves, while also promoting
b. Kedah, 1950
antique Chinese furniture and artefact objects which he blends contemporary practices of video art and He held on strong during his 7 year legal Henry Butcher Art Auctioneers had
in with a local flavour. He has also switched from watercolours to installations for a healthy inter-disciplinary battle against Dewan Bandaraya Kuala the pleasure of meeting him on several
acrylic and from paper to canvas. In recent works, he pays tribute development. Lumpur (Kuala Lumpur City Hall). The occasions, the earliest being the encounter
R E M E M B R A N C E D AT U K S Y E D
to two great artists - Ibrahim Hussein (1936-2009) and Syed Mayor of Kuala Lumpur has been ordered during the preparation for our inaugural
A H M A D J A M A L , 2011
Ahmad Jamal (1929-2011). He uses their most recent books; A devout Muslim, Datuk Syed Ahmad Jamal to pay RM750,000 for the infringement art auction in 2010. He was always open
Signed (lower left); signed and dated (reverse) in Syed Ahmad Jamal’s case his major 616-page book from the internalised his faith and always described of artist’s rights of his public sculpture and approachable and was ready to answer
Acrylic on canvas exhibition, Syed Ahmad Jamal: ARTIST, with his portrait as a virtual his works as driven by humankind’s Lunar Peaks. The sculpture was built as a anything to put your curiosity to rest. We
75.3cm x 95.5cm
tombstone. The white flowers from two stalks symbolises death longing for God. He was among the few commissioned work by UMBC Harta Sdn. remember his opened doors to the fresh
P R OV E N A N C E as well as purity. great Malaysian artists who inculcated Bhd. in 1986 at Jalan Bandar. He upheld his faced newcomers who had the luxury of

Remembering
Private collection, Penang; the concept of universal humanism in his principle not only for himself, but for the viewing his artworks and getting to know
acquired directly from the artist. Born in Kedah, he received awards at Open Art Sculpture works that have left a legacy of his art in benefit of all artists. The artist commented him better over a little chat in his home. His
Award, PNB Watercolour Landscape Award and the Malaysian various forms and writings on Malaysian art after winning this landmark case, “But what openness and support for any constructive

DATUK SYED AHMAD JAMAL

RM 10,000 - RM 12,000 Watercolour Society Award. Yau Fatt has held a few solo and Malay aesthetics. He was a respected is more important is to get justice. Justice effort in developing Malaysian art was a
exhibitions and numerous local and international group intellectual with a number of books on art has been done”. It was truly a great day for huge motivation for Henry Butcher Art
exhibitions since 1979. and art history to his credit. He wrote two all artists when victory was gained over the Auctioneers team during its infancy.

96
Remembering Henry Butcher Art Auctioneers approached individuals in the industry who had the pleasure of
crossing paths with Datuk Syed Ahmad Jamal in various stages of his life to share their special

DATU K S Y E D AH MA D JAMA L
memories and record testimonials. These reminiscence and tribute messages are compiled in
a publication and video in efforts to remember this important figure who had a hand in shaping
Malaysian art history.

1929-20 11
“Datuk did not have to, but he, as well as his “To him, as an artist, you have a role to play. You “Despite his status as a National Laureatte
wife Datin Hamidah, voluntarily helped in the must voice up if you are not in agreement with artist, he remained humble and approachable.
detailed effort of the project ( JUST fund-raising wrong doing. Where else can we voice out if not We exchanged greeting cards and corresponded
art exhibition). They did it warmly, joyously and through our art?” on and off. Truly, he was a great artist who
magnanimously. contributed a great deal to developing Malaysian
Dr. Zulhaimi Md Zain art, art writings and art culture.”
Datuk would also exhibit the same set of traits Personal Friend / Art Historian / Professor in UiTM
when he was in the JUST executive committee. Dato’ Dr. Tan Chee Khuan
There is an unmistakeable generosity, warmth, Owner of The Art Gallery, Penang
WA R N A T E N A G A
humility, down-to-earthness. He would volunteer
2010
and be helpful and was caring. In his heart there “He was very supportive to us in our journey in
is an exemplary righteousness and moral firmness arts. Take my solo exhibition for instance, Datuk Acrylic on canvas
that guided him.” Syed Ahmad Jamal came and that is the biggest “It was always an honour to see Datuk Syed Ahmad 183cm x 183cm
form of support any artist can receive.” Jamal and Datin Hamidah at art exhibitions.
Exhibited at inaugural Art Auction Malaysia 2010
Tengku Iskandar Their presence lends promise and encouragement
Secretary to JUST Hoe Say Yong for artists. He will always be remembered as a
Artist / Gallery Owner champion of the arts and inspired others to see
the importance, beauty and joy it brings to our
lives.”
“I found DSAJ a very amiable person. He was
always willing to impart his knowledge and he was “He was passionate about art and young artists. Syed Nabil
willing to come and spend more time where art He would still attend shows by young artists and Owner of NN Gallery, Kuala Lumpur
was concerned. He was a kind and compassionate we were surprised. You don’t see this veteran
man.” artist coming to young artist show...but then you
see DSAJ and he is there to encourage the young
Sivam Selvaratnam ones.” “Syed was a man of many vessels, but to me as
Artist / Teacher an old friend, what endeared him to me was his
(Member of the Wednesday Art Group) Zanita Anuar humanity, his feelings for the ordinary and the
Curator / Personal Friend small people and this is reflected in his many
pieces of his artistic productions.”

Zain Azahari
“DSAJ is truly a 1Artist - thorough and creative:
Personal Friend / Private Collector
Artist, Activist, Administrator, Articulator, with “There are few things that are most important, I G U N U N G L E DA N G S E R I E S
great humility and rapport with fellow artists, believe... His discipline, his honesty, his emotions ( C H E R RY VA L E )
younger and young.” and his spiritual self.” 1985

Syed Nurlhaq Bin Sahil Oil on canvas

Ooi Kok Chuen
91cm x 91cm
Art Writer Son of Datuk Syed Ahmad Jamal
Sold at Art Auction Malaysia 2011 for
RM 187,000

100 101
 50

S Y E D A H M A D J A M A L , DAT U K
b. Johor, 1929-2011

S K E T C H O F T W O S I S T E R S , c. 1966-68

Signed ‘A’ (lower right)

Mixed media on paper
27.5cm x 22cm

P ROV E N A N C E
Private collection, Selangor; acquired through Nanyang Gallery of Art, Kuala Lumpur.

EXHIBITED
Historical Overview 1954-1994, Nanyang Gallery of Art, Kuala Lumpur, 1994-1995, illustrated on catalogue.

RM 10,000 - RM 12,000

A private consoling moment between two sisters is

shown with their heads close together and their eyes cast
downwards in a mournful gesture. Short bold outlines
highlight certain areas in this composition which plays on
positive-negative space marking two different emotional
spheres, outlined in oval shapes that were symbols that
loom in every work post his one year study in Chicago.

Syed Ahmad Jamal was born in Johor in 1929. He

received his early art education at the Chelsea School
of Art in London (1951-1955) and his art teacher’s
certificate at the London University (1955-1956). He
was awarded the Fulbright scholarship to study sculpture
at the Chicago Art Institute from 1963 to 1964. In 1974,
he achieved his Masters in Art History after a two-year Drawing on verso
stint at the University of Honolulu, Hawaii. He had won
prizes locally and internationally: First prize in Johor Art
exhibition in 1950, Summer Competition, Chelsea School
of Art London in 1954, Federation Art Competition
Kuala Lumpur in 1962 and the National Bank of Malaysia
Mural Competition. Syed Ahmad Jamal is recognised for
his achievement of being an artist, educator, administrator
and writer. For his great contribution, he was awarded
the Seniman Negara (National Artist) in 1995.

102 103
 51

S Y E D A H M A D J A M A L , DAT U K
b. Johor, 1929-2011

L A DY W I T H D O V E S , 1956

Signed ‘A’ (lower right)

Mixed media on paper
23.5cm x 18.5cm

P ROV E N A N C E
Private collection, Kuala Lumpur; acquired from Peter Harris who received it as a gift from the artist.

L I T E R AT U R E
Rambling Trifles, Dato’ Dr. Tan Chee Khuan, The Art Gallery, Penang, 2002, illustrated on page 94.

RM 9,000 - RM 12,000

A delightful work with temperate colours play on the certificate at the London University (1955-1956). He
abstract was executed at the same time as the artist’s was awarded the Fulbright scholarship to study sculpture
Battersea Park and Duel In The Snow paintings. This was at the Chicago Art Institute from 1963 to 1964. In 1974,
one of the last works done in London when Syed Ahmad he achieved his Masters in Art History after a two-year
Jamal had used more planar and abstract figurative stint at the University of Honolulu, Hawaii. He had won
influence while studying at the Institute of Education in prizes locally and internationally: First prize in Johor Art
London University for his certificate in art education exhibition in 1950, Summer Competition, Chelsea School
which came about after a stint at the Chelsea School of of Art London in 1954, Federation Art Competition
Art from 1951 to 1955. He returned to Malaysia after Kuala Lumpur in 1962 and the National Bank of Malaysia
that and was sent to teach at the Batu Pahat High School Mural Competition. Syed Ahmad Jamal is recognised for
in Johor. The parallel oil on canvas titled Daydream (1957) his achievement of being an artist, educator, administrator
is currently held in the collection of Galeri Petronas. and writer. For his great contribution, he was awarded
the Seniman Negara (National Artist) in 1995.
Syed Ahmad Jamal was born in Johor in 1929. He
received his early art education at the Chelsea School REFERENCE
Syed Ahmad Jamal: Pelukis, National Art Gallery, Kuala Lumpur, 2009.
of Art in London (1951-1955) and his art teacher’s

104 105
 52

S Y E D A H M A D J A M A L , DAT U K
b. Johor, 1929-2011

SKETCH OF SIRI TUMPAL,

c. 1976-78

Signed ‘A’ (lower right)

Mixed media on paper
27.6cm x 24cm

P ROV E N A N C E
Private collection, Selangor; acquired
through Nanyang Gallery of Art,
Kuala Lumpur.

EXHIBITED
Historical Overview 1954-1994,
Nanyang Gallery of Art, Kuala
Lumpur, 1994-1995, illustrated on
catalogue.

RM 5,000 - RM 8,000

53
The ‘cover’ is a patchy abstract
Miniature tumpal (triangles with reverse formations) the London University (1955-1956). He was awarded the S Y E D A H M A D J A M A L , DAT U K landscape with soft colour tones.
are set within and across little square grids against a Fulbright scholarship to study sculpture at the Chicago b. Johor, 1929-2011
On the left side of the inner
contemplative gradating colour scheme transitioning Art Institute from 1963 to 1964. In 1974, he achieved
folded card is a pen drawing, in a
from blue to greenish hues and purple at the bottom. his Masters in Art History after a two-year stint at the
slant a lopsided left of a man in a
The blotting-out sides and the descending confetti of little University of Honolulu, Hawaii. He had won prizes locally CHRISTMAS C ARD
toy-like sports car, and a figure of
geometry of triangles, double triangles joined at the tip, and internationally: First prize in Johor Art exhibition
Undated a woman with umbrella with her
squares, diamond shapes play on the sense of movement. in 1950, Summer Competition, Chelsea School of Art
Signed ‘A’ (lower right) back to viewer on the left. The
Known to be diverse in his artistic approach, the artist London in 1954, Federation Art Competition Kuala
Mixed media on paper jovial greeting, in Syed Ahmad
combined the traditional Malaysian Heritage as a language Lumpur in 1962 and the National Bank of Malaysia Mural 12.5cm x 27cm (double sided)
Jamal’s handwriting, reads: ‘Wishing
for his art. Competition. Syed Ahmad Jamal is recognised for his
P R OV E N A N C E you a jolly jolly arty crafty Malayan
achievement of being an artist, educator, administrator
Private collection, Kuala Lumpur; acquired from the estate of Peter Harris. Art and all that Happy X’mas and
Syed Ahmad Jamal was born in Johor in 1929. He received and writer. For his great contribution, he was awarded the
New Year. Yours sincerely, Ahmad
his early art education at the Chelsea School of Art in Seniman Negara (National Artist) in 1995.
Westernised Malayan Art Jamal’.
London (1951-1955) and his art teacher’s certificate at RM 5,000 - RM 9,000

106 107
 54

S Y E D A H M A D J A M A L , DAT U K
b. Johor, 1929-2011

M A L A M M A R A N G , 2001

Signed ‘A’ (lower right); authentication certificate signed by the artist (reverse)
Oil on canvas
91cm x 122cm

P ROV E N A N C E
Private collection, Kuala Lumpur.

RM 120,000 - RM 160,000

In the stillness of the night by the sea, one’s thoughts are this work, the signature horizon line that separates the
calcified and revel in the inherent beauty at nightfall. The heaven and earth can still clearly be seen; however, the
panorama of land, sea and sky makes strange bedfellows familiar elements of the sun and moon, day and night,
that are cosy, easy and nice. Only a few stars are about… stars and skies, mountains and plants are far less defined.
mysterious light blobs dance near the water’s edge of Its muted tones seem to suggest a convergence of
the islet with its quiet reflections…The actuality of place day and night, the completion of a full cycle; depicting
does not matter anymore in the painting process. What a moment of stillness, suggesting the very moment of
does is the experience lived in the mind, not the eye. awakening.
This Syed Ahmad Jamal work done just after his seminal
Heaven and Earth exhibition evokes such mood totally Syed Ahmad Jamal was born in Johor in 1929. He
opposite of his usual vibrant palette. Malam Marang received his early art education at the Chelsea School
captures remnants of Heaven and Earth and Kunang- of Art in London (1951-1955) and his art teacher’s
kunang, an autobiographical publication of the artist certificate at the London University (1955-1956). He
which was a tribute to his parents. Dominant in this work was awarded the Fulbright scholarship to study sculpture
are his favourite 80s choice of green (which represents at the Chicago Art Institute from 1963 to 1964. In 1974,
earth & reality) and blue (representing the sky & fantasy) he achieved his Masters in Art History after a two-year
hues. Malam Marang is a composition of a serene scene stint at the University of Honolulu, Hawaii. He had won
that perhaps the artist had witnessed during the night or prizes locally and internationally: First prize in Johor Art
dawn in Marang, Terrenganu, suspending a moment of exhibition in 1950, Summer Competition, Chelsea School
clarity and capturing a reminiscent of memory. of Art London in 1954, Federation Art Competition
Kuala Lumpur in 1962 and the National Bank of Malaysia
Believed to be produced during a period of meditation Mural Competition. Syed Ahmad Jamal is recognised for
on Surah Al-Buruuj 85:1 & 9 (The Big Stars or The his achievement of being an artist, educator, administrator
Constellation), “By oath the heaven which contains the and writer. For his great contribution, he was awarded
constellations” and “To Him only belongs the kingship of the Seniman Negara (National Artist) in 1995.
the heavens and the earth; and Allah is a Witness over
all things”. Malam Marang records the journey of the REFERENCE
Syed Ahmad Jamal: Pelukis, National Art Gallery, Kuala Lumpur, 2009.
artist’s search for Allah’s words and greatness in nature,
formulated through the abstract stage of expression. In

108 109
 55

A B D U L L AT I F F M O H I D I N
b. Negeri Sembilan, 1941

G E L O M B A N G 9 2 , 1992

Signed and dated ‘Latiff 92’ (lower right)

Mixed media on paper
25.5cm x 16.3cm

P ROV E N A N C E
Private collection, Penang.

RM 8,000 - RM 12,000

“A sketch is not really to catch the floating moment, but the atmosphere. Not only
what is there but also what isn’t there.”
~ Abdul Latiff Mohidin
The Journey to Wetlands and Beyond

As a kampong boy, Latiff has always had a deep REFERENCE

Pago-Pago to Gelombang: 40 Years of Latiff Mohidin, Singapore Art Museum,
connection with nature. This paperwork, done in 1992,
1994.
is a spontaneous illustration from his Gelombang series. L.I.N.E. Latiff Mohidin: From Point To Point, Dewan Bahasa dan Pustaka, Kuala
It emulates light brown patches of indeterminate shapes Lumpur, 1993 (translated by Adibah Amin).
with white outlines in a sea of black fleeting between Latiff Mohidin - Rimba Series, T.K. Sabapathy, Galeri Petronas, Kuala Lumpur,
1998.
a negative and positive space. Done in 1992 while he
The Journey to Wetlands and Beyond, Singapore Art Museum, 2009.
was still working on Gelombang series before it ended
in 1994, it was also then that the artist had the initial
conceptual impetus of the Rimba series, that he had
begun seeing the emergence since 1991. This work
captures the sensation and dynamism of movements
that are fluid and unceasing as eminent in his Gelombang
series, yet a hint of contrasting and heightened tension in
his Rimba series is seen.

110 111
 56

A B D U L L AT I F F M O H I D I N
b. Negeri Sembilan, 1941

M I N D S C A P E , 1976

Inscribed ‘A/P “Mind-scape” Latiff 1976’ (bottom)

Etching, artist’s proof
36cm x 53.5cm

P ROV E N A N C E
Private collection, Kuala Lumpur; acquired directly from the artist.

L I T E R AT U R E
Pago-Pago to Gelombang: 40 Years of Latiff Mohidin, Singapore Art Museum, 1994, illustrated on page 170.

RM 12,000 - RM 18,000

An orchid motif, placed at the heart of a sombre has remained in the same private collection for more
landscape constructed with abstract geometric shapes, is than three decades.
also suggestive of a praying hand-gesture. The masterful
use of symbolism conjures up a visual retelling scene of Abdul Latiff Mohidin is a poet, painter, printmaker and
solitude and content. sculptor. He received his education at Hochschule fur
Bildende Kunste in Germany, studied printmaking at
Extracted from an interview between the artist and Atelier La Courriere in France and Pratt Graphic Centre
art historian T.K. Sabapathy recorded in the book Latiff in New York, USA. He received honours and awards
Mohidin – Rimba Series: “If we reflect on it we remember such as the Malaysia’s National Literary Prize and the
that the first of the Langkawi series developed from Southeast Asian’s Writer’s Award in 1984. Hailed as a
the Mindscape compositions. And then the second ‘boy wonder’ by the local press when he held his first solo
phase of Mindscape emerged from Langkawi. And then at the Kota Raja Malay School in 1951 at the age of ten,
the Gelombang can be traced to the central phase of he has come a long way to earn himself the distinction of
Mindscape, the phase in which brushstrokes were being one of the leading modern Southeast Asian artists,
prominent or important”. It is evident that this 1976 and today he is regarded as a national treasure. From
Mindscape etching is a fine example that influenced the the monumental and arresting Pago-Pago to the dynamic
development of ‘the first of the Langkawi series’, where and perpetual Gelombang, Latiff never fail to surprise us
the symmetrical shield-like shape forms the fundamental with fresh ideas in every new work.
structure of the Langkawi wooden sculptures.
REFERENCE
Pago-Pago to Gelombang: 40 Years of Latiff Mohidin, Singapore Art Museum,
The same work illustrated in the book Pago-Pago to 1994.
Gelombang: 40 Years of Latiff Mohidin is an edition out of Latiff Mohidin - Rimba Series, T.K. Sabapathy, Galeri Petronas, Kuala Lumpur,
10 dated 1974; the one on the block is an artist’s proof 1998.
dated 1976. Acquired directly from the artist, this work

112 113
 57

A B D U L L AT I F F M O H I D I N
b. Negeri Sembilan, 1941

M I N D S C A P E , 1983

Signed, titled and dated ‘Latiff Mohidin MINDSCAPE 1983’ (reverse)

Oil on canvas
92cm x 92cm

P ROV E N A N C E
Collection of Ambassador Dato’ N. Parameswaran.

EXHIBITED
Yang Terutama, National Art Gallery, Kuala Lumpur, 14 March - 24 April 2011.

RM 120,000 - RM 180,000

The Mindscape series represents the most contemplative back to homeland with Dato’ Param’s acquisition. The
and delicate works from the artist’s outstanding oeuvre of painting was first exhibited at the Maybank Art Gallery
abstract paintings. Having emerged in 1973, an important in Kuala Lumpur in 1988, and was recently featured at
turning point in the artist’s life marked by marriage and the National Visual Arts Gallery in the Yang Terutama
a steady career, it signifies a departure from the rawness exhibition early 2010, which showcased collections of
and spontaneity of the Pago-Pago. While the Pago-Pago 14 former Malaysian Ambassadors.
was executed in swift fervent strokes, allowing the
viewer to peer into the painting process, the Mindscape Abdul Latiff Mohidin is a poet, painter, printmaker and
appears aloof and immaculate, leaving out the hand of sculptor. He received his education at Hochschule fur
the artist. Turning inwards to his inner preoccupations, Bildende Kunste in Germany, studied printmaking at
the dome-like structure housing a fiery explosion of free Atelier La Courriere in France and Pratt Graphic Centre
flowing colours and forms suggests a window into the in New York, USA. He received honours and awards
artist’s introspective process. Parallels can be drawn to such as the Malaysia’s National Literary Prize and the
the splatters of volatile and organic forms set within the Southeast Asian’s Writer’s Award in 1984. Hailed as a
boundaries of the geometric structures of the Langkawi, ‘boy wonder’ by the local press when he held his first solo
while seeds for the expressionistic Gelombang series to at the Kota Raja Malay School in 1951 at the age of ten,
come were being cultivated. he has come a long way to earn himself the distinction of
being one of the leading modern Southeast Asian artists,
Perfectly exemplifying this meditative series of work is this and today he is regarded as a national treasure. From
1983 Mindscape. Dominated in cool blue and green with the monumental and arresting Pago-Pago to the dynamic
fluid shapes of warm red and yellow, this oil on canvas and perpetual Gelombang, Latiff never fail to surprise us
hails from the esteemed collection of Ambassador Dato’ with fresh ideas in every new work.
N. Parameswaran (former Malaysian Ambassador to
Singapore). In a phone interview, Dato’ Param revealed REFERENCE
Pago-Pago to Gelombang: 40 Years of Latiff Mohidin, Singapore Art Museum,
that the painting was acquired from the estate of a highly 1994.
regarded private collector in the early 1990s. The work L.I.N.E. Latiff Mohidin: From Point To Point, Dewan Bahasa dan Pustaka, Kuala
travelled with this previous owner to various countries Lumpur, 1993 (translated by Adibah Amin).
where he was stationed, and finally found its way

114 115
 58

I B R A H I M H U S S E I N , DAT U K
b. Kedah, 1936-2009

M O N O R O B O S 1 , 1979

Signed and dated ‘Ibrahim Hussein 1979’ (lower right)

Acrylic on canvas
39cm x 145.9cm

P ROV E N A N C E
Private collection, Penang; acquired directly from the artist.

EXHIBITED
Ibrahim Hussein: A Retrospective, National Art Gallery, Kuala Lumpur, 1986, illustrated on catalogue, plate 168.

RM 150,000 - RM 250,000

Under the spotlight is a rare gem by internationally acclaimed by events of human struggle and conflict: demonstrations Monorobos 1, presented in a unique horizontal format Ibrahim Hussein was born in Kedah, Malaysia. He studied
Malaysian artist Datuk Ibrahim Hussein – a 1979 acrylic on at Trafalgar Square, London in 1960, the 1969 racial riot in spanning five feet long, is a superlative result of Ib’s earlier at Nanyang Academy Fine Arts in Singapore in 1956 and
canvas titled Monorobos 1. Malaysia, and the 1982 Sabra massacre. However, he was abstraction of figure and expressionism of lines, embodying Byam Shaw School of Art and Royal Academy London in
not concerned with the depiction of specific events directly Ib’s mastery and innovation in the balance of colours, forms 1963 and 1966 respectively. He was awarded an Award of
Ibrahim, or otherwise affectionately known as Ib – is arguably or literally, but rather to convey universal statements on and composition. A circle on the right one-third marker Merit scholarship which allowed him to travel to France
Malaysia’s most recognisable artist. He was trained at the humanity itself. Ib once said: “My role as an artist is to portray forms the focal point where a line from the left breaches it and Italy. Ibrahim has had exhibition with Andy Warhol and
“My role as an artist is to portray man’s basic needs on planet Earth and humanity’s
Nanyang Academy of Fine Arts in Singapore, and then at the man’s basic needs on planet Earth and humanity’s universal and where the trajectory of the inward momentum of the Salvador Dali at the Dhalat Abdulla Al-Salam Gallery in
universal sharing in God’s little acre – the art of our time provides us ways of Byam Shaw School of Drawing and Painting before finishing sharing in God’s little acre – the art of our time provides us figures from the left and right meet. The image on ash-grey Kuwait, 1977. He returned to Malaysia to become a resident
seeing, understanding, criticising, and appreciating the world which we live in.” at the Royal Academy Schools in London. He had received ways of seeing, understanding, criticising, and appreciating the backdrop is boxed up by a thin rectanglular outline. artist at the University of Malaya. He founded the Ibrahim
numerous awards and scholarships, including the Fullbright world which we live in.’ Hussein Museum and Cultural Foundation in the Langkawi
~ Datuk Ibrahim Hussein Travelling Scholarship and the John D. Rockefeller III Fund In an interview published in the New Sunday Times on rainforest – a non-profit foundation and museum dedicated
Fellowship, and in 1970, he became the first Malaysian to But Ib’s figures are not what set him apart from the rest; it is March 13, 1986, he told journalist Ooi Kok Chuen that to the promotion, development and advancement of art
participate in the Venice Biennale. the distinctive ever-changing Ibrahim Hussein lines that have “life is a Monorobos, of human beings passing from one and culture.
earned him such a high level of recognition. It was not until entanglement to another”.
One central motif can be seen throughout Ib’s impressive 1975, when Datin Sim, his wife, gave him a set of graphic pens REFERENCE
Ibrahim Hussein: A Retrospective, National Art Gallery, Kuala Lumpur, 1986.
opus of work – the human figure. His early training in the that Ib’s canvases were filled with sensuous lines of varying Perfectly preserved by the owner, this work was acquired
British art schools had gave him a firm foundation in drawing weight, direction and character. The primary element of line directly from the artist, and has remained in the private
the human figure. Ib’s figures had transformed from simplified has taken a whole different role on the pictorial surface, collection since for more than 15 years. Previously exhibited
and stylised shapes as seen in one of his earliest works Reclining liberating the preconceived notions and fulfilling the roles of at Ib’s retrospective exhibition at the National Art Gallery
Women (1957); to aerial views of semi-abstract figures the other elements of form, shape and dimension customarily in Kuala Lumpur in 1986, this precious painting has finally
entangled and rolling in fluid unending motions, suggesting used in pictorial composition. come to public view after 26 years.
scenes of struggle and tumult. Ib’s pictures were inspired

116 118
 水
墨
C H I N E S E A RT
An Introduction
“Oil painting is brilliant, stimulating. It makes the audience’s blood run
faster because the energy emanates directly from it. But ink painting is such
that you look at it and your blood runs slow – it tranquilizes. The energy
comes only after you meditate on the work.”
~ Li Huayi, Contemporary Ink artist based in the US

Chinese painting is one of the oldest continuous artistic late 1800s and in the 1900s. Some artists who studied
traditions in the world, tracing back to a good two and a half in Europe rejected Chinese paintings, others tried to
millennia. The earliest paintings were not representational combine the best of both traditions, creating a new
but ornamental; they consisted of patterns or designs Chinese art through a synthesis of the East and West and
rather than pictures. It was only during the Warring States adapting Western culture to East Asia.
period (403-221BC) that artists began to represent the
world around them. Chinese art is believed to have reached Malayan shores in
the 15th century, during the friendly diplomatic relations
Painting in the traditional style is known today in Chinese between China and Malacca culminated during the reign
as guo hua (国画), meaning ‘national’ or ‘native painting’, as of Sultan Mansur Syah who married China Princess Hang
opposed to Western styles of art which became popular Li Po from China. A senior minister of state and five
in China in the 20th century. Traditional painting involves hundred youth of noble births and handmaidens in waiting
essentially the same techniques as calligraphy and is accompanied the princess to Malacca. An even bigger
done with a brush dipped in black or coloured ink. As wave of Chinese immigrants landed in Malaysia during the
with calligraphy, paintings are usually on rice paper or silk. tin mining expansion in the 19th century.
59
The other common term used is shui-mo (水墨) loosely
Poet, artist and calligrapher Cheng Haw Chien illustrates in
termed watercolour or Chinese ink was then based on the local reality, C H E N G H AW C H I E N ink and subtle colour an idyllic scene of migrant birds at the
brush painting. it has evolved to what we see today, with a
b. Penang, 1948 sand banks emerged from the receding Zambezi River. In 1981,
Malayan touch of contemporary Nanyang
Many scholars consider style, practiced by migrant Chinese to the artist embarked on a tour around the globe - Australia,
landscape to be the Malaya on the 20th century. The Chinese New Zealand, the Pacific island nations, central and Southern
S C E N E A L O N G Z A M B E Z I R I V E R , 1992
highest form of Chinese ink artists attempt to bring out the spirit America, the United States, Canada, Europe, Africa, lndia, Nepal,
非洲詹比西河畔
painting. In the north, of Chinese culture by working Myanmar, Laos, Thailand, the Philippines and other countries.
artists painted pictures on the Chinese theme Signed in Chinese ‘浩千’ (middle right) Cheng took photographs and with keen observation, he made
of towering mountains, with a Malayan cultural Ink and colour on rice paper a number of sketches from photo and memory, capturing the
using strong black lines, interpretation and 68cm x 135cm divergent cultures, landscapes, flora and fauna. This particular
ink wash, and sharp, environmental setting.
P R OV E N A N C E work certainly evokes the essence of mystery and excitement
dotted brushstrokes to Influenced also by the
Private collection, Kuala Lumpur; of the Zambezi River at dusk evoking mystery and excitement.
suggest rough stone. In Western medium and
acquired directly from the artist.
the south, artists painted traditional batik medium, Malayan
the rolling hills and rivers Chinese ink has developed from EXHIBITED
A master of the Lingnan school in Malaysia where he was under
of their native countryside traditional Chinese Art to be filled The Art World of Cheng Haw Chien, National Art personal tutelage of Prof. Chao Shao-an, the renowned master
in peaceful scenes done with with diverse Malayan identity as it Gallery, Kuala Lumpur, 2010, illustrated on catalogue, of Lingnan School, China; other mentors include Reverend
page 170.
softer, rubbed brushwork. These is today. This can be seen in works Chuk Mor and Taiwanese professor Liang Han Cao. Cheng
two kinds of scenes and techniques by established Malayan Chinese ink pursued degree in Diplomacy and studied calligraphy in Taiwan.
became the classical styles of artists such as Cheong Soo Pieng, RM 12,000 - RM 16,000
Chinese landscape painting. Chen Wen Hsi, Chung Chen Sun, Lee REFERENCE

Kah Yeow, Chuk Mor, Huang Yao, The Art World of Cheng Haw Chien, National Art Gallery, Kuala Lumpur, 2010.

Chinese painters were increasingly Cheng Haw Chien and Wong Nai
exposed to Western art in the Chin among others.
120 * Reference: Wikipedia 121
 60 61

H U A N G YAO H U A N G YAO
b. China, 1917 - 1987 b. China, 1917 - 1987

R E A P W H AT Y O U S OW , 1980 B R I D E S M A I D , 1980
种豆得豆 伴娘

Dated, titled and signed in Chinese ‘庚申 Dated, titled and signed in
种豆得豆 黄尧’ with seal (lower left) Chinese ‘庚申 伴娘 黄尧’ with
Ink and colour on rice paper mounted seal (lower left)
on scroll Ink and colour on rice paper
48.6cm x 29.8cm mounted on scroll
73.2cm x 47.6cm
P ROV E N A N C E
Private collection, Kuala Lumpur. P R OV E N A N C E
Private collection, Kuala Lumpur.

RM 3,000 - RM 5,000
RM 6,000 - RM 8,000

This structure of reaping what one sows is a time-honoured his acclaimed Wenzihua (painting of ancient Chinese
cautionary tale of karmic proportions. Huang Yao presents characters) and Ziyouhua (abstract paintings). His move
the parable in his own inimitable and optimistic style, with to Malaysia had marked a transition in his life as a scholar
charming childlike caricatures. The bright colours and from 1956 to 1973. As a painter, he was trained by his
exuberance are beautifully captured in this work from his father and studied the old Chinese masters. Huang Yao’s
The bridesmaid, decked resplendently, not unlike a bride, prays
Children series. From China to Southeast Asia, Huang Yao recent exhibition was held at Shanghai Art Museum in
to be next in line to tie the knot with someone suitable. This
has won legions of admirers for his righteous and cute August 2011. He is also honoured with a retrospective
work from his Nanyang series between 1979 and 1980 was
cartoon hero, Niubizi. He is known for his upside-down exhibition in Singapore in 2001. His works are collected by
done with the delicate Bai Miao fine-line drawing and the Mijia
and Oracle Bone script calligraphy. the British Museum, Ashmolen Museum, National Palace
Dian (after Mi-Fu) techniques. Note her eyes, facial expressions
Museum of Taiwan and Shanghai Museum, among others.
and elements of her delicately detailed regalia.
Born in Shanghai, Huang Yao is known as a cartoonist,
scholar and painter, who created the infamous Chinese REFERENCE
REFERENCE
Return To Innocence: Huang Yao’s Painting of Happy Children, Dr. Tan May Ling.
cartoon character Niubizi (OX Snout) and developed www.huangyao.org
www.huangyao.org

122 123
 62

CHUNG CHEN SUN

b. Malacca, 1935

P U M P K I N , c. 1965-68
金瓜图

Titled, dated and signed in Chinese ‘金瓜图 己酉 正山’ with seal (upper left)
Ink and colour on rice paper mounted on scroll
133.6cm x 67.4cm

P ROV E N A N C E
Private collection, Kuala Lumpur.

RM 6,000 - RM 11,000

Done during the 1960s when Chung Chen Sun was Chung Chen Sun founded five art institutions in
more focused on picturesque language of ink and brush, Malaysia and China, including the Malaysian Institute of
the artist sought to expand his artistic horizon through Art and was its Principal from 1967. He established
experimentation with different techniques and study International Contemporary Ink Painting Association in
of Chinese calligraphic lines. Here we see the artist’s 1982. He devoted his time here and worked tirelessly
attempt to bring out the spirit of Chinese culture by to modernise Chinese ink painting and to promote the
working on such subject matters as his quest to explore development of Malaysian Chinese culture and facilitate
the contemporary Nanyang style. international exchanges. Graduated from Nanyang
Academy of Fine Arts, Singapore, his works have been
The unpainted white space of the rice paper gives the showcased in international exhibitions held in more than
illusion of the pumpkins lightly dangling from their vines. 20 countries. His contribution in Chinese ink painting
The airy ambience of a faint colour-play in this Chinese in Malaysia has gained the reputation as “Father of
ink mislead the viewer into forgetting that pumpkins, Malaysian Contemporary Ink Painting”.
in all their mighty weight spring from the earth. The
perspective is interesting to note as well, as it gives the REFERENCE
Selected Paintings of Chung Chen Sun, 2006.
impression of the pumpkins as though some small light
weight fruit swaying effortlessly in the breeze.

124 125
 63

CHUNG CHEN SUN

b. Malacca, 1935

T R AV E L L E R , 1982
万里云山不知处

Signed in Chinese with seal (upper left)

Ink and colour on rice paper mounted on scroll
94cm x 70cm

P ROV E N A N C E
Private collection, Kuala Lumpur; acquired directly from the artist.

RM 15,000 - RM 20,000

The man responsible for nurturing many Malaysian Art bottom heavy” Chinese ink composition, here, Chung
students and often regarded as the representation of made deliberate punctuations with four repetition of
Malaysian Chinese art painting is also a man of many the Chinese word 山 (mountain) rendered in unique
hats. Chung Chen Sun is a painter, educator and also caricatural style and floating above the figure, forming a
the founder of International Contemporary Ink Painting subtle arc that brilliantly lifts the composition.
Association. He is diverse in his subject matters, creating
works of landscape, figures and still life. He combines Chung Chen Sun founded five art institutions in
calligraphy with a palette of Western oil paintings, evident Malaysia and China, including the Malaysian Institute of
mostly in his figurative works. Art and was its Principal from 1967. He established
International Contemporary Ink Painting Association in
Chung’s works are often filled with lively poems and 1982. He devoted his time here and worked tirelessly
philosophical thoughts. This understated scroll tells the to modernise Chinese ink painting and to promote the
story of a wise old man who has withdrawn from the development of Malaysian Chinese culture and facilitate
world and his possessions, all that accompany him on international exchanges. Graduated from Nanyang
his journey are a small bag of personal effects and a Academy of Fine Arts, Singapore, his works have been
water gourd. Perhaps home is the mountains, far from showcased in international exhibitions held in more than
civilisation where this ascetic-traveller can find inner 20 countries. His contribution in Chinese ink painting
peace and share an affinity with nature by observing the in Malaysia has gained the reputation as “Father of
loftiness of the mountains and the passing clouds. Malaysian Contemporary Ink Painting”.

Known to have revolutionised the traditional “top light, REFERENCE

Selected Paintings of Chung Chen Sun, 2006.

126 127
 64

CHEN WEN HSI

b. China, 1906-1991

P I G E O N S , c. 1975-80

Signed in Chinese ‘文希南洋作’ with seal (lower left)

Ink and colour on rice paper mounted on scroll
135cm x 68.3cm

P ROV E N A N C E
Estate of Dame Lene Dall Singh, Johor; acquired directly from the artist.

RM 22,000 - RM 30,000

Chen Wen Hsi did not have many works on pigeons Hsi’s mastery in depicting human figures was found
despite a painting repertoire on animals that included in keen observation of nature and animals especially
gibbons, squirrels, egrets, cranes and paddy field birds, egrets and gibbons. In 1949, he arrived in Singapore and
making this is a rare piece of work. Pigeons are gregarious taught at Nanyang Academy of Fine Arts. He received
birds, and here they are shown flocking close together numerous awards including the Meritorious Service Star
and foraging for food at the same time. The pigeons are in 1964, Honourary Doctorate by National University
depicted in dense, thick tones of black, grey and white, of Singapore in 1975 and Golden Chapter by Taiwan
suggesting a surfeit of food, and by extension, a place of National Museum in 1980. Between 1923 and 1992, he
plenty. What is more interesting perhaps is the various conducted more than 38 exhibitions in various countries
angles the birds are depicted in, which demonstrate the such as Singapore, China,Taiwan,Thailand, Malaysia, Japan,
artist’s skill and patient study. Australia, New Zealand and Hong Kong.

Wen Hsi received his education at Shanghai Academy REFERENCE

Convergences: Chen Wen Hsi Centennial Exhibition, Singapore Art Museum,
and Xinhua Academy in China. Under the tuterage of 2006.
Pan Tianshou, he had also mastered the art of finger Chen Wen Hsi - Master of Tradition and Innovation, Nanyang Academy of
painting. Adept at both Chinese and Western art, Wen Fine Arts, Singapore, 2006.

128 129
 65

CHEONG SOO PIENG

b. China, 1917-1983

F I S H I N G V I L L A G E , 1965

Signed and dated ‘SOO PIENG 65’, signed in Chinese with seal (lower left)
Ink and colour on rice paper
44.4cm x 92.8cm

P ROV E N A N C E
Private collection, Kuala Lumpur.

RM 25,000 - RM 30,000

One of the most influential artists in the region, Cheong Born in Amoy, China, Soo Pieng received his art education
Soo Pieng depicts a staccato of a rural sea-side settlement. at Xiamen Acadmey of Fine Art in 1933 and continued
Bold, swift brushstrokes stand out against blotches of ink at Xinhua Academy of Fine Art in Shanghai in 1936. He
in this sombre but lively monochrome landscape. Soo relocated to Singapore in 1946 where he teached at
Pieng is considered to be the most experimental from Nanyang Academy of Fine Arts for the next 20 years. In
his generation of Southeast Asian artists. Using both 1952, Soo Pieng embarked with three others: Liu Kang,
classical oriental and Western abstraction techniques, Chen Wen Hsi and Chen Chong Swee to Bali. There
the sharpness of the brush creates a grid-like structure he explored the sights and sounds of Southeast Asian
depicting a thriving fishing village in the slightly off- surroundings, hence the term Nanyang or South-Seas
centre composition while the lush mountain backdrop is style. He was honoured with a retrospective exhibition
playfully loose with the flow of water and ink. Executed in at National Museum Art Gallery, Singapore in 1983 and
1965, it is interesting to note how his landscapes became recently Cheong Soo Pieng: Bridging Worlds at Singapore
increasingly abstract after a successful sojourn to Europe Art Museum in 2010. To recognise his contribution, he
from 1961 to 1963 (he held two solo exhibitions in was awarded the Meritorious Service Medal by the
London during that period). Government of Singapore in 1962.

REFERENCE
Cheong Soo Pieng: Bridging Worlds, Singapore Art Museum, 2010.

130 131
 66

C H U A H T H E A N T E N G , DATO ’
b. China, 1912-2008

T H E H U S K E R , c. 1980s

Signed ‘Teng’ (lower left); signed in Chinese ‘天定’ with seal (lower right)
Ink and colour on rice paper
66.7cm x 43.9cm

P ROV E N A N C E
Private collection, Penang; acquired directly from the artist.

L I T E R AT U R E
Chuah Thean Teng Retrospective 1994, Dr. Tan Chong Guan, Penang Museum and Art Gallery, 1994, illustrated plate 19.

RM 7,000 - RM 12,000

The strong muscular figure illustrated in this ink on when his paintings entitled Two of a Kind and Tell You a
rice paper is husking coconuts in the traditional time- Secret were selected by UNICEF for its greeting cards.
consuming way on a stake using his bare hands.The dark He had exhibited extensively around the world, and was
skinned husker is clad only in a blue loincloth and red honoured with a retrospective exhibition at National Art
bandana. The predominantly grey and colourless hues Gallery in Kuala Lumpur in 1965 and Penang State Art
allude to the pre-dawn hours of his work time. Known Gallery in 1994. A memorial exhibition was also held in
as the Father of Batik Art in Malaysia, there are only few 2008 by National Art Gallery to pay tribute to Teng. For
artworks created by the artist in Chinese ink medium, his contribution to art, he was awarded the title ‘Dato’ by
which was believed to have been a form of training and the Penang State Government in 1998.
influence to his batik creation.
REFERENCE
Chuah Thean Teng Retrospective 1994, Penang Museum and Art Gallery,
Born in China in 1914, Chuah Thean Teng, or popularly 1994.
known as Teng, studied at the Amoy Art School. He Teng Batik, Yahong Gallery, Penang, 1968.
adapted the age-old craft of batik as a medium of fine Teng: Appreciation, National Art Gallery, Kuala Lumpur, 2008.
art and thus was acknowledged as the Father of Batik
Painting in Malaysia. He received international fame

132 133
 68

PETER HARRIS
b. England, 1923-2009

T H E B L I N D P O E T A N D T H E W I F E , 1978

Signed and dated ‘PH 78’ (lower right)

Oil on board
90cm x 24.9cm

P R OV E N A N C E
Private collection, Penang.

RM 5,000 - RM 8,000

Peter Harris is noted for his distinct British humour

67 - there is no telling if the ‘blind poet’ refers to the
This is one of very few woodcuts done by John Lee Joo For between Greek poet Homer, British poets John Milton or
LEE JOO FOR, 1968 and 1970, the last being Love In Spirit and Body (1970). This rare John Heath-Stubbs. Perhaps it is an open allegory
JOHN piece explores the relationship between a man and a woman set within fusing tribal or folk styles with contemporary
b. Penang, 1929 a natural environment. The bull and the horse symbolise the male and abstract elements.
the female as complimentary forces of nature. In a way, the woodcut also
glorifies the humble farmer and a simpler life within a rural environment. Graduated from West of England College of
R O M A N C E O F C O U N T RY L I F E , Art in 1939, Peter Harris was one of the most
1968 This was executed in the same year Joo For unveiled his landmark established foreign artists in Malaysia. He founded
Oriento-Byzantium works and his Artist’s Manifesto. More than a painter, Wednesday Art Group in Kuala Lumpur in 1952,
Inscribed ‘Country Romance - wood-cut
Artist’s Proof ’ with seal (lower left), signed portraitist and printmaker, Joo For, who is now 83 and living in Melbourne, and was honoured with a retrospective exhibition
and dated ‘John LJFor 1968’ with seal is also an active playwright, theatre producer and poet. He was runner-up at National Art Gallery, Kuala Lumpur in 1960
(lower right) in the Australian Poet Idol last year. and The Art Gallery, Penang in 2001. He was
Woodcut print, artist’s proof also awarded MBE (Member, Order of the British
52.1cm x 95.2cm
John Lee Joo For was born in 1929 in Penang. In 1957, he was awarded a Empire) by Queen Elizabeth II of England in 1963. A
P R OV E N A N C E scholarship by the Malaysian government to study art at Brighton College memorial exhibition was held in 2009 at Art Salon
Collection of The Art Gallery, Penang.
of Art, England. He later furthered his education at Camberwell School to commemorate a lifetime of his work where he
of Art, London in 1962 and Royal College of Art, London in 1963. Apart had been involved as an art superintendent with
L I T E R AT U R E
Treasury of Malaysian and International Art, from painting, Joo For developed the practice of sculpture and varied the Federation of Malaya from 1951 to 1960 and
Dr. Tan Chee Khuan, The Art Gallery, Penang, techniques of printmaking. He is considered by many art critics as one then in Sabah from 1962 to 1967. His works are
1999, illustrated on page 51. held in the permanent collection of Singapore Art
A Comprehensive History of Malaysian Art, of the leading graphic artists in Malaysia. His graphics include woodcuts,
Ooi Kok Chuen, The Art Gallery, Penang, linocuts, etchings, lithographs, etc. He was honoured with a retrospective Museum and the National Visual Arts Gallery in
2002, illustrated on page 46. exhibition at The Art Gallery Penang in 1995 and Penang State Art Kuala Lumpur, among many others.
Gallery in 2008.
REFERENCE
RM 7,000 - RM 10,000 Peter Harris - Founder of Wednesday Art Group, The Art Gallery,
REFERENCE
Penang, 2009.
My Name Is Fire: The Art of Lee Joo For, The Art Gallery, Penang, 1999. Peter Harris Memorial Exhibition, Art Salon@SENI, Kuala Lumpur
A Tribute to Lee Joo For, Art Salon@SENI, Kuala Lumpur, 2009. and The Art Gallery, Penang, 2009.

134 135
 69

K H AW S I A
b. China, 1913-1984

R E D C AT T L E Y A , 1975

Signed and dated ‘Khaw Sia 1975’, signed in Chinese ‘西亚’ with seal (lower right)
Watercolour on paper
56cm x 75.4cm

P ROV E N A N C E
Private collection, Penang.

RM 18,000 - RM 30,000

A bouquet of fragrant and crimson Cattleya, especially Born in Shanghai and studied at Sin Hwa Academy,
one with white ‘tongue’ tepals, is an orchid-gardener’s Khaw Sia was trained privately under Sir Russell Flint of
delight. Watercolour is a notoriously difficult medium to England in 1933. He held his first solo in Penang in 1955
handle in the sense that once there is a mislaid stroke and received numerous awards from Le Salon Paris
of the wrong shade, there can be no rectification. The (1956), Summer Salon 14th annual exhibition at the
adeptness in mastering this medium is evident in this Royal Institute Galleries, London (1957) and National
piece where the artist strived to maintain a near perfect, Society 25th Exhibition, England (1958). A member of
photorealist impression of the subject. It depicts realistic the American Orchid Society, he is well known for his
dew drops, shaded petals, highlights and shadows of the painting of orchids. His passion for orchids resulted in
stalks. Khaw Sia, a keen orchid-gardener himself had him travelling extensively to Taiwan, Philippines, Hong
travelled all over the world in search for new blooms. Kong,Thailand and Indonesia, looking for new species for
He had even held three solo exhibitions exclusively on his garden and capturing their beauty on paper.
his orchid paintings in 1966, 1976 and 1977. The exotic
species named after Sir William Cattleya is considered REFERENCE
Penang Artists 1920s-1990s, Dr. Tan Chee Khuan, The Art Gallery, Penang,
the ‘queen’ of orchids. editions 1990 and 1992.
Pioneers of Malaysian Art, Dr. Tan Chee Khuan, The Art Gallery, Penang,
1994.

136 137
 70

YO N G M U N S E N
b. Sarawak, 1896-1962

B AT U F E R R I N G H I B E A C H , 1948

Signed and dated ‘Mun Sen 48’ (lower left)

Watercolour on paper
53.5cm x 74cm

P ROV E N A N C E
Private collection, Penang; acquired from the artist’s family.

RM 18,000 - RM 30,000

Known by many as the Father of Malaysian Modern Art, REFERENCE

Pioneers of Malaysian Art, Dr. Tan Chee Khuan, The Art Gallery, Penang,
Batu Feringghi Beach represents Mun Sen’s famed coconut
1994.
trees by the beach in well rendered compositions. A Yong Mun Sen Retrospective, Dr. Tan Chong Guan, Penang State Art Gallery,
symphony of nine coconut tree trunks line the scenic 1999.
beach landscape in Penang arranged in a format of criss- Social Responsibility in Art Criticism, Dr. Tan Chee Khuan, The Art Gallery,
Penang, 1998.
crossing pairs with clumps of drooping leaves above.
Blissful tonal contrasts of white, cerulean blue and faded
sepia cover the sky and the sea. This painting of a lazy,
unspoiled beach in Batu Ferringhi in the 1940s makes
one yearns for an escape from the daily grind of life.

Yong Mun Sen was born in 1896 in Sarawak. He was

the Co-founder and President of Penang Chinese Art
Club in 1936. He was best known for his fluid execution
of landscapes in watercolour. He was honoured with
a memorial exhibition at National Art Gallery, Kuala
Lumpur in 1972.

138 139
 71

C H U A H T H E A N T E N G , DATO ’
b. China, 1912-2008

M OT H E R W I T H C H I L D I N A S L I N G , c. 1980s

Signed ‘Teng’ (lower right)

Batik
59.7cm x 44.5cm

P ROV E N A N C E
Private collection, Penang; acquired directly from the artist.

RM 35,000 - RM 50,000

Mother with Child in A Sling depicts a tender composition REFERENCE

Chuah Thean Teng Retrospective 1994, Penang Museum and Art Gallery,
in delicate batik which underscores the bond between
1994.
mother and child illustrated in angular forms.The lingering Teng Batik, Yahong Gallery, Penang, 1968.
cat in the foreground adds to the somnolent effect of Teng: Appreciation, National Art Gallery, Kuala Lumpur, 2008.
the cradle in a gently rocking motion.The intricate details
of the patterns on the subject’s dress and sling cloth
resonate with the crinkled lines along the wall and on
the wooden textures. The palm tree against the bright
yellow backdrop indicates a warm sunny afternoon.

Born in China in 1914, Chuah Thean Teng, or popularly

known as Teng, studied at the Amoy Art School. He
adapted the age-old craft of batik as a medium of fine
art and thus was acknowledged as the Father of Batik
Painting in Malaysia. He received international fame
when his paintings entitled Two of a Kind and Tell You a
Secret were selected by UNICEF for its greeting cards.
He had exhibited extensively around the world, and was
honoured with a retrospective exhibition at National Art
Gallery in Kuala Lumpur in 1965 and Penang State Art
Gallery in 1994. A memorial exhibition was also held in
2008 by National Art Gallery to pay tribute to Teng. For
his contribution to art, he was awarded the title ‘Dato’ by
the Penang State Government in 1998.

140 141
 72

C H U A H T H E A N T E N G , DATO ’
b. China, 1912-2008

D U R I A N S E L L E R S , 1990

Signed ‘Teng’ (lower left)

Batik
87.3cm x 86.5cm

P ROV E N A N C E
Private collection, Penang; acquired directly from the artist.

L I T E R AT U R E
Chuah Thean Teng Retrospective 1994, Dr. Tan Chong Guan, Penang Museum and Art Gallery, 1994, illustrated plate 50.

RM 90,000 - RM 120,000

This exquisite batik layers numerous connotations within Born in China in 1914, Chuah Thean Teng, or popularly
its cool aquatic tones. The artist once again strives to known as Teng, studied at the Amoy Art School. He
chronicle the daily toil of the humble men and women. adapted the age-old craft of batik as a medium of fine
Here we see two women probably at early dawn; one art and thus was acknowledged as the Father of Batik
helps the other lift her durian filled basket which she Painting in Malaysia. He received international fame
must sell to make ends meet so as to feed her child who when his paintings entitled Two of a Kind and Tell You a
is the focal point in the composition as the little boy Secret were selected by UNICEF for its greeting cards.
looks towards the durian seller indicating which women He had exhibited extensively around the world, and was
is his mother. Perhaps the other female figure will look honoured with a retrospective exhibition at National Art
after the child while the mother is off selling durian for Gallery in Kuala Lumpur in 1965 and Penang State Art
the day. In the image of the two women helping one Gallery in 1994. A memorial exhibition was also held in
other, the artist celebrates the strength and tenacity 2008 by National Art Gallery to pay tribute to Teng. For
of women and speaks of a supportive and protective his contribution to art, he was awarded the title ‘Dato’ by
community. Note the intricate details of their dress, the Penang State Government in 1998.
basket weave and spikes of durian which the artist had
managed to capture. REFERENCE
Chuah Thean Teng Retrospective 1994, Penang Museum and Art Gallery,
1994.
Teng Batik, Yahong Gallery, Penang, 1968.
Teng: Appreciation, National Art Gallery, Kuala Lumpur, 2008.

142 143
 73

KUO JU PING
b. China, 1908-1966

C I T Y L I F E , 1962

Signed in Chinese ‘若萍’ (lower left)

Oil on canvas
49.3cm x 38.6cm

P ROV E N A N C E
Collection of The Art Gallery, Penang.

RM 6,000 - RM 8,000

74 Here is a traditional painting category, the still life, invigorated with elements of
exotic Asian cuisine. On the steamer is the entrée, the clawed lobster steamed
K H AW S I A for the carapace to exude a golden red glow, and luscious slow-roasted
b. China, 1913-1984 tomatoes placed on the white tablecloth fill in for added colour. The still life is
Kuo Ju Ping is known for his vignettes of rural life rather Ju Ping studied at Nanyang Academy of Fine Arts directly complete with fresh salad and cucumber, adorned with two whorls of white
than cityscapes, because they offer more interesting insights under principal-founder Lim Hak Tai. A founding member chrysanthemum giving a very delicate and seasonal touch.
into how the common folk get by their daily lives. Though of the Penang Chinese Art Club (1936) and the Thursday STILL LIFE WITH LOBSTER
unable to accurately pinpoint the exact location of this Art Group (1957), he was especially good at sketching, Born in Shanghai and studied at Sin Hwa Academy, Khaw Sia was trained
Undated
work, it looks like the waterfront financial district where tall which was the result of observation of nature and people. Signed ‘K.SIA’ (lower left) privately under Sir Russell Flint of England in 1933. He held his first solo in
buildings first came up during the early 1960’s in the flush Ju Ping was honoured with a memorial exhibition by Watercolour on paper Penang in 1955 and received numerous awards from Le Salon Paris (1956),
of independence. A tall tree on the right stands defiantly Penang State Art Gallery in 1997. 33.9cm x 43.2cm Summer Salon 14th annual exhibition at the Royal Institute Galleries, London
amidst the development all over, with the branches blown (1957) and National Society 25th Exhibition, England (1958). A member of
P R OV E N A N C E
by a gusty wind to the left. The passers-by walk towards REFERENCE
Collection of The Art Galery, Penang. the American Orchid Society, he is well known for his painting of orchids. His
Pioneers of Malaysian Art, Dr. Tan Chee Khuan, The Art Gallery, Penang, 1994.
and away from the viewer as a bus approaches from a Kuo Ju Ping Memorial Exhibition, Penang State Art Gallery, 1997.
passion for orchids resulted in him travelling extensively to Taiwan, Philippines,
narrow passage. Hong Kong, Thailand and Indonesia, looking for new species for his garden and
RM 6,000 - RM 10,000
capturing their beauty on paper.

REFERENCE
Penang Artists 1920s-1990s, Dr. Tan Chee Khuan, The Art Gallery, Penang, editions 1990 and 1992.
Pioneers of Malaysian Art, Dr. Tan Chee Khuan, The Art Gallery, Penang, 1994.

144 145
 75

M O H D. H O E S S E I N E N A S , DATO ’
b. Indonesia, 1924-1995

S A R AW A K B E A U T Y , 1993

Signed and dated ‘Hoessein enas ‘93’ (lower left)

Pastel on paper
46.3cm x 30.6cm

P ROV E N A N C E
Private collection, Penang; acquired through The Art Gallery, Penang.

L I T E R AT U R E
The Life and Art of Dato’ M. Hoessein Enas, Dr. Tan Chee Khuan, The Art Gallery, Penang, 1999, illustrated on page 88.

RM 23,000 - RM 30,000

Hoessein Enas was captivated by the aura and colourful REFERENCE

The Life and Art of Dato’ M. Hoessein Enas, The Art Gallery, Penang, 1999.
costumes of Sarawak tribal culture. Here, he captures
a young Lun Bawang woman with all her charm and
innocence, decked with beads (headgear and dress)
that have been closely associated with the Orang Ulu
people. She is probably dressed up for the big Gawai
Festival or the Irao Aco Lun Bawang, which all fall on June
1. His oil on canvas, Iban Woman, is currently held in the
permanent collection of National Visual Arts Gallery in
Kuala Lumpur.

Born in Bogor, Indonesia, Enas migrated to Singapore in

1945 and became a citizen of the Federation of Malaya
in 1956. He formed Angkatan Pelukis Semenanjung (The
Peninsular Artists Force) in 1956. He won a UNESCO
Fellowship and an Asia Foundation Grant for a year study
tour round the world to observe art development. He
was honoured by the National Art Gallery in 1966 with
a retrospective exhibition. In 1990, he was conferred
the title of Royal Portrait Painter by Sultan of Selangor.
Hoessein Enas is widely acclaimed as the Father of
Malaysian Portrait painting.

146 147
 76

DZ U L K I F L I B U YO N G
b. Kuala Lumpur, 1948-2004

T I D U R L A H A N A K K U , 1967

Signed and dated ‘Dzulkifli Buyong ‘67’ (upper left)

Pastel on paper
74.5cm x 53.5cm

P ROV E N A N C E
Collection of Ambassador Dato’ N. Parameswaran.

EXHIBITED
Yang Terutama, National Art Gallery, Kuala Lumpur, 14 March - 24 April 2011.

RM 50,000 - RM 80,000

An early pastel work dated 1967, Tidurlah Anakku is A self-taught artist, Buyong was acknowledged as a child
one of Dzulkifli Buyong’s boldest compositions. Buyong prodigy when he produced some of his famous paintings
had produced some of the most nostalgic pictures of at a very young age of 16. Then he had already won
children at play in the rural home surroundings. One numerous awards including gold medals from the then
of the stars in the Wednesday Art Group, he did not Raja Permaisuri Agong, Tengku Budriah Tengku Ismail
received formal art training, but was able to render his and Prime Minister Tunku Abdul Rahman Putra Al-Haj
subjects with remarkable sensitivity and instinct. It is for “The Best Overall Entry” during the Young Artists
widely believed that Buyong’s early pastels had retained Contemporaries competition. He was mentored by
his untarnished innocence and thus form the zenith of Patrick Ng Kah Onn at Victoria Institution, Kuala Lumpur
his oeuvre. Works on paper by the artist are extremely and had informal art training in Japan for three years in
hard to come by as Buyong had started painting on the late 1960s.
canvas upon returning from Japan. From the esteemed
collection of Dato’ Param, Tidurlah Anakku was exhibited REFERENCE
Modern Artists of Malaysia, T.K. Sabapathy and Redza Piyadasa, Dewan
at the Yang Terutama exhibition at National Art Gallery Bahasa dan Pustaka, Kuala Lumpur, 1983.
in Kuala Lumpur last year.

148 149
 77

TAY H O O I K E AT, DATO ’

b. Penang, 1910-1989

P E N A N G H I L L I , 1973

Signed and dated ‘TAY 6/1/73’ (lower

left and right)
Ink and watercolour on paper
35.5cm x 28cm

P ROV E N A N C E
Collection of Naveena RK, Kuala Lumpur;
acquired through Valentine Willie Fine Art.

EXHIBITED
Rare & Important Malaysian Works From
1900 to 1994, Valentine Willie Fine Art,
Kuala Lumpur, 14 September - 8 October
2005.

RM 8,000 - RM 12,000

78 This mixed media collage in the style of Pop Art, hails from the artist’s prolific
body of work called The Malaysian series which shines a spotlight on Malaysia’s
R E DZ A multiculturalism and plurality through a series of portraits of families or ethnic
P I YA DA S A individuals in traditional dress and garb amidst a backdrop of the government’s
b. Pahang, 1939-2007
radical Islamisation of the nation.The two Malay women evoke a sense of nostalgia
in the face of modernisation with their traditional dress framed within a seemingly
rural setting. Their eyes directly address the viewer as though wanting to tell us
T W O M A L AY W O M E N , their story of a life that has now disappeared.
This is a gorgeous and refreshing work with whiffs of were teachers from the English-medium schools in 1985
green shrubs and vegetation at the summit of Penang Hill Penang. The name of the group was later changed to Piyadasa had made several silkscreened versions of this work based on a work by
Signed and dated ‘piyadasa ‘85’
with the path and steps leading to a cottage establishment. Penang Art Teachers’ Circle in 1965. He was honoured an Indonesian artist.The series began in 1982 and included pieces in the collections
(lower left)
The muted apple-green tones approximate a kind of with a retrospective exhibition at National Art Gallery, Mixed media collage of National Visual Arts Gallery, Malaysia and Fukuoka Art Museum, Japan.
abstraction drawing a brilliant composition of scale, Malaysia in 1983. As an art educator, he joined as Penang 38.5cm x 42.5cm
contrasts and light. Superintendent of Art in 1952 and Federal Inspectorate Graduated from Malayan Teachers College, England in 1959, Hornsey College of
P R OV E N A N C E
of Art, Education Ministry in 1957. Arts, London in 1967 and University of Hawaii, Honolulu in1977, Piyadasa had
Private collection, Kuala Lumpur;
Tay Hooi Keat graduated from Camberwell School of Art. acquired directly from the artist. won numerous awards: Major Prize, Malaysian Landscape in 1974, Australian
In 1952, the Penang Art Teachers’ Council was formed REFERENCE Cultural Award in 1987 and Japan Foundation Asean Culture Centre Travel Award
A Tribute to Tay Hooi Keat, Penang Museum and Art Gallery, 1980. in 1992. He was artist-in-residence at Canberra School of Art, Australia, and was
with Tay Hooi Keat as Chairman. Most of the members RM 12,000 - RM 18,000
the first Malaysia to be bestowed the International Prince Clause Award. He was
also honoured with a retrospective exhibition by National Art Gallery, Malaysia
in 2001.

150 151
 79

M O H D. H O E S S E I N E N A S , DATO ’
b. Indonesia, 1924-1995

T W O S I S T E R S , 1986

Signed and dated ‘Hoessein enas 21 Feb 1986’ (lower left)

Oil on canvas
76cm x 60cm

P ROV E N A N C E
Collection of Pn. Zoebaidah binti Dato’ M. Hoessein Enas.

RM 65,000 - RM 90,000

A rare gem emerges from the family collection of Pn.

Zoebaidah, daughter of Dato’ Mohd. Hoessein Enas,
Royal Portrait Painter and one of Malaysia’s foremost
figurative artists. Lauded for his realistic portraits, Two
Sisters is an elegant rendering of his young granddaughters
Pn. Susielawati and Pn. Tina Sarie who were at the
time 18 and 14 years of age respectively. This painting
clearly shows Enas’ natural flair for capturing the light
on their delicate features and every detail of their dress
and semblance. The jewellery and elegant baju kebaya
and expensive settee reflect the better life they had
compared to Enas’ early days when he even had to eke
a living as a trishaw peddler in Singapore.

The provenance comes with his notation in his own The artist at work with his two granddaughters beside him.

handwriting, ‘Untuk Susie, Dengan segala Doa Restu,

Semoga Berjaya diatas segala Cita-cita mu - dari kakek’ study tour round the world to observe art development.
(translated as “Dear Susie, with blessings, wish you all the He was honoured by the National Art Gallery in
best and success in life - from your grandfather”). 1966 with a retrospective exhibition. In 1990, he was
conferred the title of Royal Portrait Painter by Sultan
Born in Bogor, Indonesia, Enas migrated to Singapore in of Selangor. Hoessein Enas is widely acclaimed as the
1945 and became a citizen of the Federation of Malaya Father of Malaysian Portrait painting.
in 1956. He formed Angkatan Pelukis Semenanjung (The
Peninsular Artists Force) in 1956. He won a UNESCO REFERENCE
Fellowship and an Asia Foundation Grant for a year The Life and Art of Dato’ M. Hoessein Enas, The Art Gallery, Penang, 1999.

152 153
 80

I B R A H I M H U S S E I N , DAT U K
b. Kedah, 1936-2009

R E D , O R A N G E A N D C O R E , 1984

Signed and dated ‘ibrahim hussein 84’ (lower left)

Acrylic on canvas
198.3cm x 271.4cm

P ROV E N A N C E
Private collection, Kuala Lumpur; acquired directly from the artist.

L I T E R AT U R E
Ibrahim Hussein: A Retrospective, National Art Gallery, Kuala Lumpur, 1986, illustrated on catalogue, page 101.

RM 800,000 - RM 1,200,000

“It is all very well when one paints something, another soon recognises, but it just
stops there, leaving others to paint stories. The actual story itself the artist cannot
tell in words. It is all very well other people can write books about your creation,
but to the artist himself, there is always something there that cannot be explained.
Perhaps it is his soul, his unison. The artist cannot explain this, but he knows it is
there and it is very real for him.”
~ Datuk Ibrahim Hussein

154
Ibrahim, otherwise affectionately known as Ib, man’s basic needs on planet Earth and humanity’s
is arguably Malaysia’s most recognisable artist. universal sharing in God’s little acre – the art of our
He was trained at Nanyang Academy of Art in time provides us ways of seeing, understanding,
Singapore, and later won a four-year scholarship criticising, and appreciating the world which we
at Byam Shaw School of Drawing and Painting live in.’
before finishing at Royal Academy School in
London. Recipient of numerous prestigious awards, But Ib’s figures are not what set him apart from
including the Fullbright Travelling Scholarship and the rest; it is the distinctive ever-changing Ibrahim
the John D. Rockefeller III Fund Fellowship, in 1970, Hussein lines that have earned him such a high
Ib became the first Malaysian to participate in the level of recognition. It was not until 1975, when
Venice Biennale. Datin Sim, his wife, gave him a set of graphic
pens that Ib’s canvases were filled with sensuous
It is undisputable that Ib had not only produced lines of varying weight, direction and character.
an astounding opus of work which established The primary element of line has taken a whole
him at the forefront of Malaysian art locally and different role on the pictorial surface, liberating
internationally, more importantly, he had helped the preconceived notions and fulfilling the roles of
elevate the value and status of Malaysian art, while the other elements of form, shape and dimension
influencing and inspiring the younger generation customarily used in pictorial composition.
of artists in the country.
As art critic Chu Li aptly described: ‘Each point of
One central motif can be seen throughout Ib’s rest is also a point of beginning and has no ending.
impressive oeuvre – the human figure. His early It hums of flux and reflux, innovation and evolution,
training in the British art schools had given him pregnant with generative tension, regenerative
a firm foundation in drawing the human figure. impulses of wave upon wave of the distinctive
Ib’s figures had transformed from simplified and Ibrahim Hussein lines and colours exuding fluid
stylised shapes as seen in one of his earliest works forms, dancing forms and struggling humanity…
Reclining Women (1957) to aerial views of semi- His lines have attained all primary and secondary
abstract figures entangled and rolling in fluid coordinates for placing ourselves in a directionless
unending motions, suggesting scenes of struggle harmony of chaos, at once suggesting, hinting,
and tumult. Ib’s pictures were inspired by events symbolising for us a total experience of life.’ This
of human struggle and conflict, among others the exclusive use of lines had occupied Ib’s canvases
demonstrations at Trafalgar Square, London in right till his very last work, and if it were not for his
1960, the 1969 racial riot in Malaysia, and the 1982 untimely passing, the possibilities of his lined and
Sabra massacre. However, he was not concerned striated surface would be inexhaustible.
with the depiction of specific events directly or
literally, but rather to convey universal statements Embodying the central motif of the human figure
on humanity itself. executed in the hallmark Ibrahim Hussein lines,
Red, Orange and Core is an unrivalled pictorial
He once said: “My role as an artist is to portray masterpiece which represents the artist at his best.

159
 Standing 6.5 feet tall and 9 feet wide, the painting we strive to survive within the same environment;
engulfs the viewer with its monumentality where we have the ability to feel and to love; and above
fluid lines of soft pastel hues interweave with all, whatever emotions we feel for one another, we
one another at all directions, splaying out and are all bound together in one living unison.
gathering into clusters to constantly deconstruct
and reconstruct morphing forms and depth, Ib had always believed that art is the only way to
engaging the viewer in a continuous journey of bring people together, and ‘it is the duty of every
visual rhythm. artist to limn for his fellowmen the suffering and
ecstasy of his age, by bending his strokes, colours
Unlike Monorobos 1, where darker circles hints at and mood to echo the temper and utterances of
human heads, acting as nuclei of viewpoints and his times until chaos shall coalesce into harmony’.
movement of figures, Ib’s later works such as Red, A celebrated quote by Ib goes, ‘Art is the most
Orange and Core were further abstracted and important and unifying force that there is – and
devoid of representational and descriptive devices. that it is a celebration of life that can help nations,
By reducing to the fundamentals of lines, colours races and religions come together as one.’
and shapes, the painting beckons the viewer to
draw parallels with imagery and ideas he is familiar Nevertheless, like all presumption on the concepts
with, challenges the viewer to look instead at his and source of inspiration for Ib’s work, one can
inner self, thereby bringing out latent emotions only guess and wonder while admiring in awe at
and feelings while achieving a connection that is his out-of-the-world creations. This sense of awe
unique to each viewer. would be further heightened if the viewer learns
the fact that the artist was blind in his right eye,
Notably, this is perhaps the only piece by Ib with due to an accident that came about from playing
an octagonal motif, framing the central forms while darts when he was eight years old.
acting as a focal device. This peculiar octagonal
shape, unseen in any other published works Now that the artist is no longer around, and
throughout Ib’s career, alludes to the feng shui with the Ibrahim Hussein Museum and Cultural
trigrams of bagua which are octagonal in shape Foundation closed, it is all the more precious for
to represent the eight fundamental principles of an opportunity to view the works by this gifted
reality. The deliberate placement of the octagon mind.
across a horizontal band suggests the meeting of
figures from both sides to collide and fuse with Illustrated on the book Ibrahim Hussein: A
one another at the core of the octagon. Retrospective, Red, Orange and Core was acquired
directly from the artist by the present owner
The less violent configuration of the semi-abstract shortly after its creation, preserved in pristine
figures, coupled with the cheery choice of colours, condition for almost three decades. Now, this
suggest that Ib’s portrayal of the human struggle precious gem will finally appear on public view for
had slowly taken a more optimistic turn to the the very first time.
unity of figures coexisting amidst conflict. But to
try and make out each and every figure from Ib’s REFERENCE
Ibrahim Hussein: A Retrospective, National Art Gallery, Kuala
labyrinth of lines is to completely miss the point, Lumpur, 1986.
because after we are all fundamentally the same;

160 161
 81

A B D U L L AT I F F M O H I D I N
b. Negeri Sembilan, 1941

N O C T U R N O I , 1969

Inscribed ‘2/13 “NOCTURNO I” Latiff New York ‘69’ (bottom)

Etching, edition 2/13
21cm x 17.8cm

P ROV E N A N C E
Private collection, Kuala Lumpur; acquired directly from the artist.

RM 6,000 - RM 8,000

Nocturno I presents a play of monochromatic colour, in New York, USA. He received honours and awards
tone and texture within a dark intriguing illustration. such as the Malaysia’s National Literary Prize and the
The artist was evidently influenced by cubist elements Southeast Asian’s Writer’s Award in 1984. Hailed as a
where the composition is broken down and presented ‘boy wonder’ by the local press when he held his first solo
in abstract forms and from multiple perspectives. Note at the Kota Raja Malay School in 1951 at the age of ten,
how the composition, though uneven and precarious, he has come a long way to earn himself the distinction of
is still harmonious to the eye. All print works by Latiff being one of the leading modern Southeast Asian artists,
were executed only during his printmaking studies at and today he is regarded as a national treasure. From
the Atelier La Courrier in Paris and the Pratt Institute the monumental and arresting Pago-Pago to the dynamic
in New York. He is not known to have continued with and perpetual Gelombang, Latiff never fail to surprise us
printing upon his return to Kuala Lumpur thus making with fresh ideas in every new work.
these print works exceptionally rare and unique.
REFERENCE
Pago-Pago to Gelombang: 40 Years of Latiff Mohidin, Singapore Art Museum,
Abdul Latiff Mohidin is a poet, painter, printmaker and 1994.
sculptor. He received his education at Hochschule fur L.I.N.E. Latiff Mohidin: From Point To Point, Dewan Bahasa dan Pustaka, Kuala
Bildende Kunste in Germany, studied printmaking at Lumpur, 1993 (translated by Adibah Amin).
Atelier La Courriere in France and Pratt Graphic Centre

162 163
 82

PAT R I C K N G K A H O N N
b. Kuala Lumpur, 1932-1989

C O L L A G E I N B L U E , 1963

Signed in Jawi and dated ‘63’ (lower left)

Mixed media collage
47cm x 74cm

P ROV E N A N C E
Private collection, Kuala Lumpur; acquired through Art Salon.

RM 12,000 - RM 15,000

A bold abstract composition of peach-coloured agave-

like cactus in bloom on a blue background, this work was
probably shown in Patrick Ng’s first solo at the British
Council in Kuala Lumpur in March 1963. A major figure
of the Wednesday Art Group founded by Peter Harris,
Patrick later rose to head it. His most iconic painting
Spirit of Water, Wind and Air (1958) is currently held in
permanent collection of National Visual Arts Gallery,
Kuala Lumpur.

Patrick Ng was a member of the Wednesday Art Group

in 1960s and was awarded the Sino-British fellowship
to study at Chelsea College of Art and Design (now
Hammersmith College). Patrick’s painting of a violinist
was presented to The National Gallery of Victoria in
Australia as a gift from the Malaysian government. His
work was selected for the Arts of Malaysia exhibition
held at Commonwealth Institute in London.

164 165
 83 84

ABDULLAH ABDULLAH
ARIFF ARIFF
b. Penang, 1904-1962 b. Penang, 1904-1962

M OT H E R A N D C H I L D TWO CHINESE
WOMEN
Undated
Signed in Jawi and ‘A.Ariff ’ Undated
(lower left) Signed in Jawi and ‘A.Ariff ’
Watercolour on paper (lower right)
28cm x 20.7cm Watercolour on paper
28cm x 20.7cm
P ROV E N A N C E
Private collection, Kelantan. P R OV E N A N C E
Private collection, Kelantan.

RM 8,000 - RM 12,000
RM 8,000 - RM 12,000

A minimally executed composition of a mother and son Chinese school, Penang (presently known as Methodist In the recent trans-migratory history of China and the other, taller figure strides purposefully, walking stick in
artistically illuminate the mundane routine of daily life Boy’s School) and member of the Penang Impressionists Southeast Asia, it was common to see women working hand, with a child cradled in a cloth sling on her back.
in a rural setting. The little boy wearing a songkok holds of expatriate artists in the 1920s. In 1954, he held a solo at as coolies, in the tin mines and construction sites (like the Both are barefooted and wear conical straw hats to shield
an empty basket, probably going to the local market for North Carolina and the Mint Museum of Art in Charlotte, Samsui Women who migrated from China to Singapore themselves from the tropical heat.The style is more typical
groceries while the mother wraps herself with a sarong U.S.A. In 1955, he participated in the United Society of between 1920-1940). of the ‘anonymous’ Chinese illustrator artists of the 19th
to shield herself from the hot weather, making a wedge- Artists group exhibition at the galleries of the Royal Society century who made simple line drawings and woodblock
shaped opening for her to see the road ahead. Faded of British Artists, London.There, he was elected to join the The chronicle of everyday life of the common man and prints.
outlines of a coconut tree are discernible on the left which Fellowship of the Royal Society of Art (F.R.S.A.) England. a subculture rarely seen today in the face of urbanisation,
give a sense of distance while the path looks barren of In 1995, he served as Penang City Councillor and had the the artist portrays these two women going about their REFERENCE
Abdullah Ariff - Father of Modern Art in Malaysia, Zakaria Ali, National Art
vegetation. rare distinction of having a road in Air Itam, Penang named daily toil; one in the foreground with a lumbering gait, Gallery, Kuala Lumpur, 2004.
after him. stoops from the weight of the load she is carrying, while
Born in Penang in 1904, Abdullah Ariff was acknowledged
along with Yong Mun Sen as pioneers of watercolour REFERENCE
Abdullah Ariff - Father of Modern Art in Malaysia, Zakaria Ali, National Art
painting in Malaysia. He was an art teacher at Anglo- Gallery, Kuala Lumpur, 2004.

166 167
 85

CHIA YU CHIAN
b. Johor, 1936-1991

S O N G K E E , 1985

Signed and dated ‘Yu Chian 1985’ (lower left); inscribed ‘Song Kee - Speciality of the Teochew moon cakes, Malaysia 25-29 Sept,
1985’ (reverse)
Oil on board
77cm x 54.5cm

P ROV E N A N C E
Private collection, Kuala Lumpur; acquired from the artist’s family.

L I T E R AT U R E
Contemporary Malaysian-Chinese Painting: A Catalogue and Directory, The Selangor Chinese Assembly Hall, Kuala Lumpur, 1987, illustrated
on page 8.

RM 18,000 - RM 25,000

This painting shows the Song Kee Restaurant in Kuala

Lumpur. It was known for its Teowchew styled moon
cakes which attracted hoards of customers despite 1985
being an economic recession year. Perhaps this implies
it was a work commissioned by the restaurant owners.
The shop is seen brimming with eager customers; some
spilling onto the street happily bundling away the sweet
purchases while some others wait in cars until their
orders are delivered. The signboard, with prominent
Bahasa letterings on its colonial façade with bay louvered
windows, is repeated in a light-rimmed banner.

Painted in sunny cheerful colours, Song Kee depicts

the Mooncake Festival, also known as the Zhongqiu or
Mid-Autumn Festival, which falls on the 15th day of the Chia Yu Chian’s KL Street Scene (Lebuh Pudu) sold at Henry Butcher’s
Chinese 8th lunar month. But the fabled origin has its Malaysian Modern and Contemporary Art Sale 2010, Lot 34.

roots in the Ming Dynasty ascendancy when the Han

scholarship at Ecole Nationale des Beaux Arts in Paris
Chinese smuggled messages calling for revolt against the
(1959-1962). He was commissioned to do a mural
Mongol Yuan rulers inside the mooncakes which may
painting Life in Malaysia for Malaysian High Commission
light a layered reading of the work. This work is part of a
in Paris. Yu Chian received the awards of Honourable
series done by the artist to document streetscapes and
Mention, Salon des Independent and Societe des Artistes
the old buildings which he thought would soon be torn
Francaise, Paris.
down in 1980s. A similar work, KL Street Scene (Lebuh
Pudu) (1985) was sold at Henry Butcher’s Malaysian REFERENCE
Modern and Contemporary Art Collection sale in 2010. Chia Yu Chian Memorial Exhibition, National Art Gallery, Kuala Lumpur, 2002.
Contemporary Artists of Malaysia, Doleres D. Wharton, 1971.
Born in Johor, Chia Yu Chian graduated from Nanyang Chinese Art of The 20th Century, Dr. Michael Sullivan, England, 1965.
Who’s Who In Malaysia 1975-76, J. Victor Morais.
Academy Fine Arts in 1958. He was the first artist from Modern Artists of Malaysia, T.K. Sabapathy and Redza Piyadasa, Dewan
Straits Settlement to receive a French Government Bahasa and Pustaka, Kuala Lumpur, 1983.

168 169
 86

ISMAIL HASHIM
b. Penang, 1940

K E D A I G U N T I N G , 1986

Titled ‘KEDAI GUNTING’ (lower centre); signed and dated ‘ISMAIL HASHIM ‘86’ (lower right)
Hand-tinted gelatin silver print
49cm x 47cm

P ROV E N A N C E
Private collection, Kuala Lumpur.

EXHIBITED
Vision and Idea: Relooking Modern Malaysian Art, National Art Gallery, Kuala Lumpur, 1994, illustrated on catalogue, page 149.

RM 8,000 - RM 12,000

This is an extremely rare hand-tinted gelatin silver print of a barber haircut experience to the artist’s own
by veteran Malaysian photographer Ismail Hashim. He personal encounter, presenting a complex layering of
is one of the few artists who have helped change the time and space. By tinting the lush greeneries peering
public’s perception towards photography and elevate the through the window, Ismail may be alluding to the fact
status of photography as a form of fine art in Malaysia. that these ordinary yet significant culture and way of life
Ismail’s works seek to capture the hidden beauty in that define our sense of belonging and identity may be
the simplicity and uniqueness of everyday scenes and overlooked and taken for granted, perhaps more so than
objects. Using a form of realism that emphasise in evoking the diminishing Mother Nature. Exhibited in the pivotal
atmospheric recollections in the viewer, Ismail presents exhibition Vision and Idea: Relooking Modern Malaysian
his photographs as close to reality as possible without Art at National Art Gallery, Kuala Lumpur in 1994, Kedai
idealising the subject matter. His poignant pictures induce Gunting has not been seen in the public eye for almost
nostalgia in the viewer and prompt contemplation on two decades.
seemingly mundane imagery that are vanishing and
forgotten as a consequence of rapid change. Born in Penang in 1940, Ismail Hashim went to Universiti
Sains Malaysia (USM) in 1972 and Washington State
Dated 1986, Kedai Gunting (Barber Shop) depicts an University in 1977. Upon return, he worked as a
old swivelling barber chair within a run-down wooden graphic design and photography lecturer at USM. The
hut. From the torn calendar in the background on the strength of his photographic works is the sensitivity and
right, traces of hair at the footrest, to the worn electrical his profound study of the idea of the subject that he
standing fan that majority Malaysians would have come wants to studies. He was honoured with a retrospective
across, Ismail masterfully bridges the viewer’s memory exhibition at Penang State Art Gallery in 2010.

170 171
 bidders or by written bids left with HBAA in required to sign a buyer’s acknowledgement form Please quote invoice number and client number
B U Y I N G AT H B A R T advance of the auction. The auctioneer may upon the fall of hammer and to make payment with all transactions.
also execute bids on behalf of th seller up to of 5% of hammer price (or RM500, whichever Personal cheques may be accepted at
the amount of the reserve, either by placing is greater) as a non-refundable earnest deposit the discretion of HBAA and, unless prior
CONDITIONS OF BUSINESS examine the lots thoroughly and to request for Prospective buyers who have not previously bid consecutive bids or by entering bids in response before leaving the sale room. Failure to sign the arrangements have been made, all cheques must
Henry Butcher Art Auctioneers Sdn Bhd condition reports from HBAA. or consigned with HBAA should bring along the to bids from the saleroom, telephone and/or form and make payment for the earnest deposit be cleared before delivery of any purchase.
(“HBAA”) has set out its Conditions of following documents when registering in person written bids. The auctioneer will not specifically will render the sale to be null and void and the
Business at the back of this auction catalogue. All lot(s) will be sold “as is” without any at the sale room: identify bids placed on behalf of the seller. Under auctioneer may re-offer the lot for sale. Payment for auction purchases may also be made
The Conditions of Business and all other terms, representation or warranty of any kind by HBAA • Individuals: government-issued photo no circumstances will the auctioneer place any by credit card (Visa or MasterCard). However,
conditions and notices set out in HBAA’s (and its employees or agents) or the seller. Buyers identification (such as national identity card, bid on behalf of the seller at or above the reserve. bank fees will be incurred on all credit card
catalogues or announced by the auctioneer are responsible to amine a lot prior to the sale driving license or passport) and, if not shown on AUCTION RESULTS payments for auction purchases.
or posted in the sale room by way of notice and to satisfy themselves as to the condition of the ID document, proof of current address, for The auction results will be published online at
form the terms on which HBAA contracts, as the lot and that the lot matches any written or example a utility bill or bank statement will be ABSENTEE BIDS www.hbart.com.my or a faxed copy may be All mailed payments should be sent to:
auctioneers, with actual and prospective sellers oral description provided by the seller or HBAA. required. Prospective buyers who cannot be present at the requested from HBAA office by contacting No. 25, Jalan Yap Ah Shak, Off Jalan Dang Wangi,
and buyers. • Companies/corporations/institutions: a saleroom may give written instructions directing +603-2691 3089 / +6012-227 5325, no earlier 50300 Kuala Lumpur, Malaysia.
certificate of incorporation. HBAA to bid on their behalf up to a maximum than one (1) day after the auction and no later Please direct all inquiries to the administration
CATALOGUE • For other business structures such as trusts, amount specified for each lot. The auctioneer will than three (3) days after the auction. office at (tel.) +603-2691 3089 / +6012-227
ESTIMATES A catalogue shall be prepared by HBAA offshore companies or partnership, please use reasonable efforts to carry out written bids 5325 and (fax) +603-2691 3127
Each lot is given an estimated price range in describing and illustrating all lots for sale at the contact HBAA for advice on the information at the lowest possible price taking into account
Ringgit Malaysia, described as “Estimate” in the auction, and will be made available to prospective which should be supplied by the prospective other bids placed and the reserve price. If written PAYMENT
auction catalogue. The estimated price range is buyers prior to the sale and before they register buyer. bids on a particular lot are received by HBAA Successful bidders will be required to sign a COLLECTION OF PURCHASES
based upon the opinion of expert consultants as bidders. References in the catalogue entry • A financial reference in the form of a recent for identical amounts, and at the auction these buyer’s acknowledgement form upon the fall of Upon payment of the full amount due, the
and known recent transactions for a comparable are for guidance only and prospective bidders bank statement, a reference from the prospective are the highest bids on the lot, it will be sold to hammer and to make payment of 5% of hammer buyer shall collect the purchased lot(s) in
property, condition, rarity, quality and provenance are encouraged to evaluate and verify the buyer’s bank, and/or the prospective buyer’s the person whose written bid was received and price (or RM500, whichever is greater) as a non- person (or by an authorised person with a letter
and is subject to change and may be revised information provided by personally inspecting banker’s contact information. accepted first. To allow time for processing, bids refundable earnest deposit before leaving the of authorisation from the buyer), at his own
anytime without prior notice. The estimated any lots they are interested in or by employing • Persons registering to bid on behalf of a third must be received no later than one (1) day in sale room. The balance of the full amount due expense, from HBAA’s sale room no later than
price range of the lot should not be relied on as a knowledgeable representative to do so before party who has not previously bid or consigned advance of the sale. (which includes the hammer price in respect of seven (7) days after the auction unless otherwise
a statement that this is the price at which the lot placing a bid. Prospective bidders may order an with HBAA should bring identification documents the lot sold, together with the buyer’s premium agreed between HBAA and the buyer.
will sell or its value for any other purpose. Buyers auction catalogue from HBAA by contacting the not only for themselves but also for the party on Please refer to the catalogue for the absentee and any charges, fees, interest, taxes and expenses
should not and cannot rely upon the estimated office at +603-2691 3089 / +6012-227 5325 or whose behalf they are bidding, together with a bid form or request for the form by contacting due from a buyer) shall be payable no later than If the lot remains uncollected at the end of such
price range as the representation or guarantee of email [email protected] or download a copy of signed letter of authorization from the party. HBAA at +603-2691 3089 / +6012-227 5325, seven (7) days after the auction. HBAA can only period, HBAA shall arrange for storage of the
actual selling prices. Estimated price range does the catalogue from www.hbart.com.my. email [email protected] or download the form release the lot to the buyer upon full payment lot(s) at the buyer’s expense, which may involve
not include the buyer’s premium. To allow sufficient time for processing, new from www.hbart.com.my. Prospective buyers made in good cleared funds. removal of the lot(s) to a third party storage
Any illustrations in the catalogue are solely for clients are encouraged to register at least three may be required to place an earnest deposit with facility. The lot(s) shall only be released upon full
identification and the guidance of prospective (3) working days in advance of a sale. Prospective HBAA before the auctioneer carries out their In the event the full payment has not been made payment of all storage, transportation, additional
RESERVES buyers and should not be relied upon in terms buyers should register for a numbered bidding absentee bids. and the lot remains uncollected by the buyer insurance and any other costs incurred, together
The reserve price is the confidential minimum of tone or colour or necessarily to reveal paddle at least one (1) hour before the sale is at the end of seven (7) days after the auction, with payment of all other monies due to HBAA.
price at which the seller has agreed to sell a lot imperfections in any lot. While HBAA takes scheduled to begin. HBAA shall arrange for storage of the lot at the
and will not exceed the estimated price range. an effort to research and investigate into the TELEPHONE BIDS buyer’s expense, which may involve removal of Delivery and shipping of the purchased lot(s)
authenticity, provenance and background of each Prospective buyers may bid by telephone the lot to a third party storage facility. The lot can be arranged as a convenience to buyers
lot, such efforts cannot be taken as absolute and REGISTERING TO BID ON BEHALF during the sale although prior arrangements shall only be released upon full payment of all who are unable to collect in person, although
BUYER’S PREMIUM exhaustive and as such, prospective buyers are Person bidding on behalf of a prospective must be made with HBAA no later than twenty storage, transportation, additional insurance and written instruction must first be given to HBAA
HBAA will charge to the buyer a 10% premium encouraged to carry out their own due diligence buyer should bring a signed letter from the four (24) hours before the sale by contacting any other costs incurred, together with payment and arrangements made no later than three (3)
of the hammer price of each lot sold, together and not rely solely on any information given by prospective buyer authorizing the bidder to act HBAA at +603-2691 3089 / +6012-227 5325. of all other monies due to HBAA. working days prior to the expiry of the seven
with all applicable taxes as may be set and revised HBAA in the catalogue. on the prospective buyer’s behalf. Please note Arrangements for telephone bids can also be (7) days after the auction. The packing, handling
by the Malaysian government from time to time. that HBAA does not accept payment from third made by completing the absentee bid form To avoid delivery delays, prospective buyers and delivery/shipping of lot(s) is entirely at the
parties. HBAA can only accept payment from the and indicating on the form the lot(s) which the are encouraged to supply bank or other buyer’s risk and expense (which shall be paid in
CONDITION REPORTS buyer, and not from the person bidding on their prospective buyers wish to bid by telephone and suitable references before the auction. Please full before the lot is shipped out) and HBAA shall
TAX The catalogue descriptions do not state any behalf. Official receipts and any acknowledgement giving HBAA a number to call during the course note that HBAA will not accept payments for not, in any circumstances, be responsible for the
All sums payable by the buyer to HBAA are imperfections in the lot(s) and prospective buyers of sale will be issued in the name of the buyer of the sale. HBAA shall not be responsible for the purchased lots from any party other than acts or omissions of the packers or shippers. In
exclusive of any goods or service tax or any are strongly encouraged to request for condition (not the person bidding on behalf of the buyer). the failure of any telephone bid for any reason. the registered buyer, unless otherwise agreed circumstances where HBAA proposed handlers,
other applicable taxes as may be set and revised reports from HBAA, which are provided as a Execution of written bids and telephone bids between the buyer and HBAA prior to the sale. packers or carriers if so requested, HBAA shall
by the Malaysian government from time to time. convenience to its clients free of charge. In the event a person who is bidding does not is a complimentary service undertaken subject not accept responsibility or liability for their acts
If any such tax applies, the buyer shall pay the tax inform HBAA that he is acting as agent on behalf to other commitments at the time of the sale Payment shall be made in Ringgit Malaysia either or omissions.
at the rate and time as required by the relevant References in the condition report to damage of an identified third party acceptable to HBAA, and HBAA does not accept liability for failing in cash, or by bank/personal cheque, credit card
law. or restoration are for guidance only and it will be deemed as though the person is bidding to execute a written bid or for any errors and or telegraphic transfer direct to Henry Butcher
should be evaluated by personal inspection by as principal and will be held personally and solely omissions in connection with it. Art Auctioneers Sdn Bhd’s account at: INSURANCE
the prospective bidder or a knowledgeable liable for the bid, in particular to pay the purchase Malayan Banking Berhad HBAA provides insurance cover for sold lot(s) at
PRE-AUCTION VIEWING representative. The absence of such a reference price, including the buyer’s premium and all No 1,2 & 5, Medan Tuanku 1, 50300 Kuala the sale room location for a maximum of seven
All lots on offer at the auction will be exhibited does not imply that an item is free from defects applicable taxes, plus all other applicable charges. SUCCESSFUL BIDS Lumpur, Malaysia (7) days after the auction or until the lot(s) has/
prior to the sale, for public viewing free of charge. or restoration, nor does a reference to particular The fall of the auctioneer’s hammer indicates the Account Name: Henry Butcher Art have been collected (whichever is earlier). If a
HBAA personnel will be available to assist defects imply the absence of any others. final and highest bid, at which time, the buyer Auctioneers Sdn Bhd lot remains uncollected from the sale room after
prospective buyers at the public viewing times BIDDING assumes full responsibility for the lot. The results Account No: 514347-608317 the expiry of the said period, the lot(s) will be
or by appointment for private preview sessions. The auctioneer will accept bids from registered of absentee bids will be sent by fax one (1) day Swift No.: MBBEMYKL entirely at the buyer’s risk.
We strongly encourage prospective buyers to BIDDER REGISTRATION bidders present in the saleroom, from telephone after the auction. Successful bidders will be

172 173
 All property is sold “as is” without any as at the date of sale, provided that, in any event, to the buyer and any implied warranties or
CONDITIONS OF BUSINESS representation or warranty of any kind by HBAA no refund shall be available if either: conditions are excluded (save in so far as such
(and its employees or agents) or the seller. Buyers (a) the catalogue description at the date of obligations cannot be excluded by statute);
are responsible to examine a lot prior to the sale the sale was in accordance with the generally (b) In particular, any representations, written
NOTICE TO BUYERS AND SELLERS “buyer’s premium” shall mean a payment of as specified in the Consignment Form together and to satisfy themselves as to the condition of accepted opinions of scholars and experts at that or oral and including those in any catalogue,
These conditions set out below and all other premium calculated at 10% of the hammer price with all applicable taxes as may be set and revised the lot and that the lot matches any written or time or the catalogue description indicated that report, commentary or valuation, in relation to
terms, conditions and notices set out in the and payable by a buyer to HBAA, together with by the Malaysian government from time to time; oral description provided by the seller or HBAA. there was a conflict of such opinions; or any aspect or quality of any lot, including price or
catalogue of Henry Butcher Art Auctioneers all applicable taxes as may be set and revised by Any illustrations in the catalogue are solely for (b) the only method of establishing that the lot value, (i) are statements of opinion only and (ii)
Sdn Bhd (hereafter referred to as “HBAA”), or the Malaysian government from time to time; “seller” shall mean the owner or consignor who identification and the guidance of buyers and was a counterfeit at the date of publication of may be revised prior to the lot being offered for
announced by the auctioneer or posted in the is offering the lot for sale including their agents, should not be relied upon in terms of tone or the catalogue was by means of processes which sale (including whilst the lot is on public view);
sale room by way of notice (hereinafter referred “catalogue” shall mean the auction catalogue executors or personal representatives or the colour or necessarily to reveal imperfections in either were not generally accepted for use until and
to as the ‘Conditions of Business’) form the terms prepared by HBAA describing and illustrating all owner’s agent or the person in possession of any lot. after the publication of the catalogue or else (c) None of HBAA, any HBAA’s affiliated
on which HBAA contracts, as auctioneers, with lots for sale by HBAA; the lot consigned. If there are multiple owners were unreasonably expensive or impractical or company, or any agent, employee or director
actual and prospective sellers and buyers. They or agents or persons in possession, each shall The prospective buyer undertakes: likely to have caused damage to the lot or likely, in thereof shall be liable for any errors or omissions
may be amended or supplemented by posted “estimated price range” shall mean the estimated assume, jointly and severally, all obligations, (i) to inspect and satisfy himself prior to the sale HBAA’s reasonable opinion, to have caused loss in any such representations.
notices in the sale room or oral announcements price a lot may achieve at the auction and does liabilities, representations, warranties and as to the condition and description of the lot; of value to the lot. An item shall be considered
made during the sale. The Conditions of Business not include the buyer’s premium; indemnities as set forth in these Conditions of (ii) to rely on his own judgment as to whether counterfeit where, in HBAA’s reasonable opinion, Without prejudice to Conditions 3 and 4 above,
apply to all aspects of business regarding the Business. the lot accords with its description; it is a deliberate modern forgery i.e. an imitation and save in so far as it relates to any liability which
sale, purchase or holding of property provided “expenses” in relation to the sale of any lot shall (iii) to seek any independent expert advice created since 1970 with the intention of deceiving HBAA may have for personal injury or death, any
by HBAA. The Conditions of Business would mean HBAA’s costs including but not limited reasonable (in the light of the prospective buyer’s as to authorship, origin, date, age, period, culture claim against HBAA by the buyer shall be limited
also apply to any sellers or buyers who require to legal expenses, charges and expenses for B. CONDITIONS FOR BUYERS particular expertise and the value of the lot) or source (where the correct description of such to the hammer price and the buyer’s premium
inspection, appraisal or valuation of property. Any insurance, catalogue and other reproductions 2. Company Property to satisfy himself as to authorship, attribution, matters is not reflected by the description in the actually paid by the buyer to HBAA with regard
future dealings with HBAA shall be governed and illustrations, any customs duties, advertising, It is the general policy of HBAA to act as an agent authenticity, genuineness, origin, date, age, catalogue) and which, at the date of sale, had a to that lot.
by the Conditions of Business current at that packing or shipping costs, reproduction rights’ only for the seller, however on occasions, HBAA provenance or condition of the lot; and value materially less than it would have had if the
particular time. By bidding at the auction you fees, taxes, levies, costs of testing, searches may offer a lot which it owns in whole or in part. (iv) not to rely on any illustration in any catalogue. item had been in accordance with the description 6. Seller’s Liability To Buyers
agree to be bound by these terms. or enquiries relating to any lot, or costs of Such property is identified in the catalogue with in the catalogue. No lot shall be considered a The seller’s obligations to the buyer are limited
collection from a defaulting buyer together with the symbol * next to its lot number. The buyer will be deemed to have knowledge counterfeit by reason only of any damage and/or to the same extent as HBAA’s obligations to
HBAA generally acts as agent for the seller. any applicable taxes imposed by the Malaysian of all matters which he could reasonably have restoration and/or modification work of any kind the buyer. Any express or implied conditions or
Any concluded contract of sale is made directly government from time to time. BEFORE THE SALE been expected to find out given his particular (including repainting or overpainting). warranties are excluded save in so far as it is not
between the seller and the buyer. All relevant expertise and the exercise of his reasonable due possible to exclude obligations implied by statute.
factual material pertaining to items offered for “full amount due” shall mean the hammer price in 3. Examination of property diligence. It is HBAA’s general policy, and HBAA shall have
sale is derived from the seller. HBAA cannot and respect of the lot sold, together with the buyer’s Solely as a convenience, HBAA may provide the right to request the buyer to obtain at the AT THE SALE
does not undertake full due diligence on every premium and any charges, fees, interest, taxes and condition reports. Neither HBAA (and its LIMITED WARRANTY BY HBAA IN RESPECT buyer’s cost the reports of two independent
item sold. Buyers are responsible to carry out expenses due from a buyer or defaulting buyer. employees or agents) nor the seller provides OF COUNTERFEIT LOTS and recognised experts in the field, mutually 7. Refusal of admission
their own inspection and investigations on the any guarantee in relation to the nature of the 4. In the event the sale of a lot subsequently acceptable to the buyer and to HBAA, setting HBAA has the right, at its absolute discretion, to
items offered for sale which they are interested “HBAA” shall mean Henry Butcher Art property. proves to be a counterfeit and: out the reasons why the lot in question is refuse admission to any person to the premises
in buying. Auctioneers Sdn Bhd (Company no. 835541-K); a) if the buyer at the time has not yet paid the considered to be counterfeit and HBAA agrees or participation of any person in any auction and
References in the catalogue entry or the condition full amount due, HBAA shall have the right to that it will give due consideration to any such to reject any bid.
All potential buyers are to take particular note “hammer price” shall mean the highest bid report to damage or restoration are for guidance terminate the sale; or expert reports. However, HBAA reserves the
of Conditions 5 and 6 which limit the extent accepted by HBAA by the fall of the hammer only and should be evaluated by personal b) if HBAA has at that time paid the seller the right to seek additional independent advice itself 8. Registration before bidding
to which HBAA and the seller may be liable. In or, in the case of a post-auction sale, the agreed inspection by the bidder or a knowledgeable whole or part of the full amount due to him, in making its final determination as to whether Prospective buyers who wish to bid in the
addition, all sellers are to take particular note of sale price; in both instances excluding the buyer’s representative. The absence of such a reference then the seller undertakes to refund to HBAA, the lot is a counterfeit and HBAA shall not be saleroom can register in advance of the sale, or
Conditions 25, 27, 28 and 29 which set out the premium, any applicable taxes and any expenses; does not imply that an item is free from defects on demand, the full amount paid. HBAA shall be bound by any expert report produced by the can come to the saleroom on the day of the
basis of the relationship between HBAA and the or restoration, nor does a reference to particular entitled to exercise a lien over any properties of buyer. If HBAA agrees with the buyer that the lot sale at least one (1) hour before the start of the
seller and limit the extent to which HBAA may “lot” shall mean each piece of property as defects imply the absence of any others. the seller in its possession pending settlement is a counterfeit, HBAA shall refund to the buyer sale to register in person. A prospective buyer
be liable to the seller. described in the catalogue; of all outstanding sums due from the seller to the costs of obtaining two independent expert must complete and sign a registration form and
Estimated price range HBAA, reports incurred by the buyer provided that (i) provide identification before bidding. HBAA
“net sales proceeds” shall mean the hammer The estimated price range of the lot should such costs were approved by HBAA in advance may require the production of bank or other
A. DEFINITIONS price of the lot sold to the extent received by not be relied on as a statement that this is the Provided that, no later than three (3) years after of obtaining such reports; and (ii) the buyer financial references. Further information on the
Unless the contrary intention appears, the HBAA in cleared funds, less sales commission price at which the lot will sell or its value for the date of the sale, the buyer: could not reasonably have obtained independent registration process can be found in HBAA’s
following expressions shall have the meaning and expenses; any other purpose. The estimated price range opinions prior to the sale. The benefit of this “Guide to Buying at Henry Butcher Art Auction”.
respectively assigned to them in this Condition is based upon the opinion of HBAA’s expert (i) notifies HBAA in writing of the number of guarantee is not capable of being transferred and
of Business: “purchase price” shall mean the hammer price consultants and known recent transactions for the lot, the date of the auction at which it was is solely for the benefit of the buyer. 9. Bidding as principal
and buyer’s premium; a comparable property, condition, rarity, quality purchased and the reasons why the buyer In making a bid at auction, a bidder is doing so as
“bidder” shall mean a person who considers, and provenance. The estimated price range is considers the lot to be counterfeit, within three HBAA’S LIABILITY TO BUYERS principal and will be held personally and solely
makes or attempts to make a bid by whatever “reserve price” shall mean the confidential subject to change and may be revised anytime (3) months of any information causing the buyer liable for the bid, in particular to pay the purchase
means at the auction and includes buyers; minimum price at which the seller has agreed to without prior notice. Buyers should not rely upon to question the authenticity or attribution of the 5. Notwithstanding Condition 4 above given by price, including the buyer’s premium and all
sell a lot and will not exceed the estimated price estimated price range as the representation or lot coming to the buyer’s attention; HBAA to the buyer and the buyer’s rights in applicable taxes, plus all other applicable charges,
“buyer” shall mean the person who makes the range; guarantee of actual selling prices. Estimated price (ii) is able to transfer good title to HBAA free relation to the conduct of auctions as set out in unless it has been explicitly agreed in writing with
highest bid or offer accepted by HBAA, or that range does not include the buyer’s premium. from any third party claims arising after the date Condition 13: HBAA before the commencement of the sale
person’s disclosed principal; “sales commission” shall mean the commission of the sale to the buyer; and that the bidder is acting as agent on behalf of an
payable to HBAA by a seller at a percentage Buyer’s responsibility (iii) return the lot to HBAA in the same condition (a) HBAA gives no guarantee or warranties identified third party acceptable to

174 175
 HBAA. In such circumstances, both the bidder digital screen in operation for the convenience sale room. Failure to sign the form and make on the payment method can be found in HBAA’s shall be paid in full before the lot is shipped a lower price than the original hammer price
and the third party will be jointly and severally of both buyers and sellers. Errors may occur in payment for the earnest deposit will render the “Guide to Buying at Henry Butcher Art Auction”. out) and HBAA shall not, in any circumstances, obtained, HBAA and the seller shall be entitled
liable for all obligations arising from the bid and its operation and in the quality of the image and sale to be null and void and the auctioneer may be responsible for the acts or omissions of the to claim the balance from the buyer together
the third party shall be bound by the Conditions HBAA does not accept liability either for the re-offer the lot for sale. 18. Collection of purchases packers or shippers. In circumstances where with any costs incurred in connection with the
of Business by the bidder’s bid as his agent in the quality of the image reproduced on the video Upon payment of the full amount due, the buyer HBAA proposed handlers, packers or carriers buyer’s failure to make payment. If the re-sale
same way as if he were bidding personally. screen, or for the correspondence of the screen 15. Auctioneer’s discretion shall collect the purchased lot in person (or by an if so requested, HBAA shall also not accept should result in a higher price than the original
image to the original. Notwithstanding Conditions 13 and 14 above, authorised person with a letter of authorisation responsibility or liability for their acts or omissions. hammer price obtained, the surplus shall be paid
10. Absentee bids the auctioneer has the absolute and sole from the buyer), at his own expense, from to the seller. In such case, the buyer waives any
HBAA will use reasonable efforts to carry out 13. Conduct of the auction discretion at any time to: HBAA’s sale room no later than seven (7) 22. Export license claim which the buyer may have to title to the lot
telephone bids or written bids delivered to The auctioneer will commence and advance the (a) refuse any bid which does not exceed the calendar days after the date of the sale unless The export of any lot from Malaysia or import and agree that any re-sale price shall be deemed
HBAA prior to the sale for the convenience of bidding in levels that he considers appropriate in previous bid by at least 5% or by such other otherwise agreed between HBAA and the buyer. into any other country may be subject to one or commercially reasonable;
clients who are not present at the auction in the light of the value of the lot under auction and proportion as the auctioneer will in his absolute Unless HBAA exercise their discretion to do so, more export or import licences being granted. It g) set-off any amounts owed by HBAA or any
person, by an agent or by telephone provided of competing bids. The auctioneer may continue discretion direct, and without prejudice to Condition 23(g) below, is the buyer’s responsibility to obtain any relevant HBAA’s affiliated company to the buyer against
that such written bids are sufficiently clear in to bid on behalf of the seller up to the amount (b) to advance the bidding in such a manner as HBAA shall be entitled to retain the purchased export or import licence. Lots purchased shall any amounts owing by the buyer to HBAA or any
HBAA’s opinion. Bids must be placed in Ringgit of the reserve price, either by placing consecutive he may decide, lot until the full amount due to HBAA has been be paid for in accordance with Condition 17 HBAA’s affiliated company, whether as the result
Malaysia. Please refer to the catalogue for the bids or by placing bids in response to other (c) to withdraw or divide any lot, received in full by HBAA either in cash or good above and the denial of any export or import of any proceeds of sale or otherwise;
Absentee Bid Form. The lots will be bought at bidders, although the auctioneer will not indicate (d) to combine any two or more lots and, cleared funds. licence required or any delay in the obtaining h) exercise a lien over any of the buyer’s property
the lowest possible price taking into account during the auction that he is making such bids on in the case of errors or dispute, and whether of such licence shall not justify the rescission or which is in HBAA’s possession or in possession
other bids placed and the reserve price. If written behalf of the seller. Unless otherwise indicated, all during or after the sale, to determine the 19. Passing of title cancellation of the sale by the buyer or any delay of any HBAA’s affiliated company for any reason
bids on a particular lot are received by HBAA lots are offered subject to a reserve price, which successful bidder, to continue the bidding, to The buyer shall always remain liable for the full by the buyer in making payment of the full amount until payment of all outstanding full amount due
for identical amounts, and at the auction these is the confidential minimum price below which cancel the sale or to reoffer and resell the lot amount due and shall not acquire title to the due for the lot. HBAA shall not be obligated to to HBAA have been made in full. HBAA shall
are the highest bids on the lot, it will be sold to the lot will not be sold. The reserve price will not in dispute and/or take any such actions as he lot sold until payment of the full amount due rescind a sale nor to refund any interest or other notify the buyer of any lien being exercised
the person whose written bid was received and exceed the estimated price range printed in the reasonably thinks fit in the circumstances. If any has been made in full in respect of that lot expenses incurred by the buyer where payment and the amount outstanding. If the amount
accepted first. HBAA’s obligation in relation to catalogue. If any lots are not subject to a reserve dispute arises after the sale, the sale record of and HBAA has applied such payment to the is made by the buyer in circumstances where an outstanding then remains unpaid for fourteen
such written bids is undertaken subject to their price, they will be identified with the symbol ? HBAA is conclusive. lot (even if, without prejudice to Condition 18, export license is required. (14) days following such notice, HBAA shall be
other commitments at the time of sale and the next to the lot number. With respect to lots HBAA exercise their discretion to release it to entitled to arrange and carry out the sale of any
conduct of the sale may be such that HBAA that are offered without reserve price, unless 16. Successful bid and passing of risk the buyer). Other than where HBAA has agreed 23. Remedies for non payment or failure to such property in accordance with (f) above;
is unable to bid as requested. HBAA cannot there are already competing bids, the auctioneer, Subject to the auctioneer’s discretion, the highest with the buyer to the contrary, and subject to collect purchases i) to insure, remove and store the lot either at
accept liability for failure to make a written bid in his or her discretion, will generally open the bidder accepted by the auctioneer will be the Condition 23(m) below, any monies received If the buyer without the prior agreement of HBAA’s premises or elsewhere at the buyer’s
for any reason. Telephoned absentee bids must bidding at 50% of the estimated price range buyer and the striking of his hammer marks the from the buyer shall be applied in order of the HBAA fails to make payment of the full amount sole risk and expense;
be confirmed no later than 24 hours before for the lot. In the absence of a bid at that level, acceptance of the highest bid and the conclusion oldest debt owed by the buyer to HBAA or the due or any part of it on any lot in accordance j) to reject future bids made by or on behalf of
the sale by letter or fax. In such circumstances, the auctioneer will proceed backwards in his or of a contract for sale between the seller and the oldest purchase made by the buyer at HBAA or with Condition 17 above, HBAA shall be entitled the buyer at any future auction or render such
HBAA reserve the right to require confirmation her discretion until a bid is recognised, and then buyer. Risk and responsibility for the lot (including any HBAA affiliated company having regard to in their absolute discretion and without prejudice bids subject to payment of a deposit to HBAA
of relevant details in writing before HBAA agrees continue up from that amount. Absentee bids frames or glass where relevant) passes to the the date of sale and the number of the lot. to any other rights which HBAA and the seller before such bids are accepted;
to do so. HBAA shall not be responsible for will, in the absence of a higher bid, be executed buyer at the expiration of seven (7) calendar may have, be entitled, both for HBAA and as k) to retain that or any other lot sold to the
the failure of any telephone bid for any reason. at approximately 50% of the estimated price days from the date of the sale or upon collection 20. Transfer of risk agent for the seller, to exercise one or more of same buyer at the same time or at any other
HBAA reserve the right to record telephone range or at the amount of the bid if it is less than by the buyer, whichever is earlier. Any lot purchased is entirely at the buyer’s risk the following rights or remedies: auction and release it only after payment of the
bids. The auctioneer may also execute bids on 50% of the estimated price range. In the event While invoices are sent out by mail after the from the earlier of: a) to charge the buyer, the seller’s and HBAA’s full amount due;
behalf of the seller up to the amount of the that there is no bid on a lot, the auctioneer may auction, HBAA does not accept responsibility for (a) the time the buyer collects the lot purchased; reasonable legal and administrative costs incurred; l) to apply any payments made by the buyer
reserve price. The auctioneer will not specifically deem such lot unsold. The buyer acknowledges notifying the buyer of the result of his bids. Buyers or b) to charge interest at a rate not exceeding 8% to HBAA or to any HBAA’s affiliated company
identify bids placed on behalf of the seller. Under the rights of the auctioneer and the seller set are requested to contact HBAA by telephone (b) the time that the buyer pays to HBAA the full (eight per cent) per annum on the full amount towards settlement of the full amount due
no circumstances will the auctioneer place any out in this Conditions of Business and waives or in person as soon as possible after the sale amount due for the lot; or due to the extent that it remains unpaid for more or otherwise towards any costs or expenses
bid on behalf of the seller above the reserve any claim that he might have in this connection to obtain details of the outcome of their bids (c) seven (7) calendar days after the day of the than four (4) weeks after the date of the auction; incurred in connection with the sale of the lot;
price. Execution of written bids and telephone against HBAA or the seller. to avoid incurring unnecessary storage charges. sale. c) to forfeit the buyer’s earnest deposit as m) to apply any payments made by the buyer
bids is a complimentary service undertaken Successful bidders will pay the full amount due required under Condition 14; to HBAA or to any HBAA’s affiliated company
subject to other commitments at the time of the 14. Sale of a lot plus any applicable taxes and costs. The buyer shall be solely responsible for insuring d) to hold the defaulting buyer liable for the full towards settlement of the full amount due or
sale and HBAA does not accept liability for failing The person who makes the highest bid accepted the lot purchased from the time risk passes to amount due and to commence legal proceedings otherwise towards any other debts owed by the
to execute a written bid or for any errors and by the auctioneer (or that person’s disclosed AFTER THE SALE the buyer. The buyer will be compensated for any for its recovery together with interest, legal fees buyer to HBAA or to any other HBAA affiliated
omissions in connection with it. principal, if applicable) shall be the buyer. The loss or damage to the lot which occurs after sale and costs to the fullest extent permitted under company in respect of any other transaction;
striking of the auctioneer’s hammer marks the 17. Payment but prior to the time risk passes to the buyer. applicable law; n) to take such other action as HBAA deems
11. Currency converter acceptance of the highest bid and identifies the Upon conclusion of the relevant session of the The maximum amount of compensation shall be e) cancel the sale of the lot; necessary or appropriate.
Auctions are conducted in Ringgit Malaysia (RM), hammer price at which the lot is knocked down auction in which the lot was sold, the buyer the hammer price of the lot, and shall exclude f) to arrange and carry out a re-sale of the lot
but HBAA may provide a currency converter in by the auctioneer to the buyer.The striking of the shall pay to HBAA the full amount due no later any indirect or consequential loss or damage. by public auction or private sale in mitigation of 24. Remedies for failure to collect purchases
the sale room for the convenience of bidders. auctioneer’s hammer also marks the conclusion than seven (7) calendar days after the auction However, HBAA will not, in any circumstances, the debt owed by the buyer to HBAA.The buyer If the buyer does not collect a purchased lot
The figures shown in foreign currencies are only of a contract of sale between the seller and the and provide HBAA with his or her name and be liable for any loss or damage caused to frames and the seller hereby consent to and authorise within seven (7) calendar days after the sale,
approximates and do not represent the exact buyer. permanent address and, if so requested, proof of or to glass which is covering prints, paintings or HBAA to arrange and carry out such re-sale HBAA may arrange for storage of the lot at the
exchange rates. HBAA does not accept liability identity. This applies even if the buyer wishes to other works unless the frame or glass is, in itself, on the Conditions of Business applicable at the buyer’s risk and expense. This shall apply whether
to bidders who follow the currency converter The buyer will be asked to sign a Buyer’s export the lot and an export license is, or may the object sold at auction. time of the re-sale and agree that the level of or not the buyer has made payment of the full
rather than the actual bidding in the sale room. Acknowledgement Form upon the fall of be required. Payment will not be deemed to have the reserve and the estimates relevant to such amount due. HBAA shall release the purchased
hammer and to make payment of 5% of hammer been made until HBAA is in receipt of the full 21. Packing, handling and shipping re-sale shall be set at HBAA’s sole discretion. The lot only upon full payment by the buyer of all
12. Video or digital images price (or RM500, whichever is greater) as a non- amount due to HBAA from the buyer either in The packing, handling and shipping of lots is net sales proceeds will be applied in reduction storage, removal, insurance and any other costs
At some auctions there may be a video or refundable earnest deposit before leaving the cash or good cleared funds. Further information entirely at the buyer’s risk and expense (which of the buyer’s debt. If a re-sale should result in incurred, together with payment of all other

176 177
 amount due to HBAA including, if applicable, the laws of any country in which it was located; affiliated company, nor any agent employee or (b) gradual deterioration; AFTER THE SALE the seller and agree on the appropriate course
full amount due. HBAA shall, in their absolute required declarations upon the export and director thereof shall be liable for any errors or (c) inherent vice or defect including woodworm, of action to be taken to recover the payment
discretion, also be entitled to exercise any of import of the lot have been properly made; any omissions in any such representations. mildew and other inherent defects not 37. Payment due from the buyer. In addition, HBAA shall have
the rights or remedies listed in Condition 23(a), duties and taxes on the export and import of the mentioned herein; Following the sale, the seller will be liable to absolute discretion to take and enforce any of
(c), (d), (f), (g), (h) and (l) above, provided that lot have been paid; 29. Limitations on claims by seller (d) errors in processing; pay HBAA the sales commission and expenses. the remedies set out in Condition 23 above
HBAA shall not exercise their right under (f) the seller has or will pay any and all taxes Any claim by the seller (excluding any claim (e) changes in atmospheric conditions; HBAA shall be entitled to deduct each of these including the right to cancel the sale and return
Condition 23(f) above for a period of ninety and/or duties that may be due on the net sale covered by Condition 34) shall in any event, be (f) handling or storage; or items from monies received from the buyer. The the property to the seller. HBAA shall be entitled
(90) days following the relevant sale. In the event proceeds of the lot and the seller has notified limited to the net sales proceeds in respect of (g) any loss, direct or indirect, consequential or seller hereby authorises HBAA to charge the to charge the buyer interest for late payment in
that HBAA exercise their rights under Condition HBAA in writing of any or all taxes and for duties that lot. otherwise, which may be suffered by the seller. buyer and retain the buyer’s premium. accordance with Condition 23(b) above and the
23(f) above, HBAA undertakes to hold to the that are payable by HBAA on behalf of the seller seller hereby authorises HBAA to retain such
buyer’s order the net sales proceeds received by in any country other than the country of the sale; 30. Withdrawal of lots by the seller 34. Risk of loss or damage by the seller 38. Payment of net sales proceeds to the seller interest for HBAA’s own account.
HBAA in cleared funds less all storage, removal, (g) unless HBAA is advised to the contrary in If the seller choose to withdraw a lot from the If the seller has specifically instructed HBAA not Unless HBAA has been notified by the buyer of
insurance and any other costs or taxes incurred. writing at the time the lot is delivered by the seller sale, provided that consent from HBAA must to insure the lot, it will remain at the seller’s risk his intention to rescind the sale on the basis that If the buyer fails to pay the full amount due but
to HBAA, there are no restrictions, copyright or have first been obtained, after the earlier of (i) at all times until the buyer has made payment the lot is a counterfeit, HBAA shall send to the HBAA agrees to remit to the seller an amount
otherwise, relating to the lot (other than those written agreement to sell the lot between the in full or until the lot is returned to the seller seller within six (6) weeks from the date of the equal to the net sale proceeds, ownership of
C. CONDITIONS CONCERNING SELLERS imposed by law) and no restrictions on HBAA’s seller and HBAA and (ii) twelve (12) weeks in the event it is not sold. The seller hereby sale of the lot, the net sales proceeds received the relevant lot shall pass to HBAA. For the
25. Seller’s warranties rights to reproduce photographs or other images before the date of the auction of the lot, the undertakes to indemnify HBAA, its employees from the buyer in cleared funds, less any other avoidance of doubt, HBAA shall have the benefit
This Condition governs the seller’s relationship of the lot. seller will be liable to pay to HBAA a withdrawal and agents, and the buyer (where applicable) amount owing by the seller to HBAA or any of all of the seller’s representations, warranties
with both the buyer and HBAA. If HBAA or fee calculated in accordance with Condition 32 against any claim made against them in respect HBAA’s affiliated company.The seller should note and indemnities set out in these Conditions of
the buyer considers any of the warranties listed BEFORE THE SALE below. If the seller withdraws a lot before that of the lot, however those claims may arise even that the net sales proceeds payable to the seller is Business.
below to be breached in any way, either HBAA time, no withdrawal fee shall be payable. if HBAA, its employees and agents were found derived from the actual proceeds of sale received
or the buyer may take legal action against the 26. Preparation for sale to be negligent. by HBAA from the buyer. In the event of late 41. Post-auction sales
seller. The seller agrees to indemnify HBAA and The seller agrees that HBAA shall have sole and 31. Withdrawal of lots by HBAA payment by the buyer, HBAA shall, within two In the event the lot is bought in or otherwise
any HBAA’s affiliated company, their respective absolute discretion as to: HBAA may withdraw a lot from sale without any AT THE SALE (2) weeks of receipt of such payment in cleared remains unsold by auction, HBAA shall be
servants, directors, officers and employees and (a) the way in which property may be combined liability if (i) HBAA reasonably believes that there funds from the buyer, make such remittance to authorised as the exclusive agent of the seller for
the buyer against any loss or damage resulting or divided into lots for sale; is any doubt as to the authenticity or attribution 35. Reserve price the seller. HBAA reserves the right to release a a period of seven (7) days following the auction
from any breach or alleged breach of any of the (b) the way in which lots are included in the sale; of the lot or (ii) it is established or alleged that Unless otherwise agreed in writing, each lot lot to the buyer before receipt of the full amount date to sell such lot privately for a price that will
seller’s representations or warranties, or other (c) the way in which any lot is described and any of the seller’s representations or warranties will be offered for sale subject to a reserve due for the lot. result in a payment to the seller of no less than
terms set forth in these Conditions of Business. illustrated in the catalogue or any condition set out in Condition 25 above are inaccurate in price as agreed between the seller and HBAA. the amount (after deducting all charges due from
Where HBAA reasonably believes that any report; any way or (iii) the seller breached any provisions HBAA shall in no circumstances be liable if bids 39. Rescission the seller) to which he would have been entitled
breach of such representation or warranty has (d) the date and place of the auction; and of this Conditions of Business in any material are not received at the level of or below the Where HBAA is satisfied that the lot is a had the lot been sold at a price equivalent to
occurred, the seller hereby authorise HBAA in its (e) the manner in which any sale is conducted. respect or (iv) HBAA believes it would be reserve price. HBAA shall however be entitled counterfeit, HBAA shall rescind the sale and the reserve price, or for any lesser amount which
sole discretion to rescind the sale. improper to include the lot in the sale. to sell the lot below the reserve price. In such notify the seller of such rescission. HBAA shall, HBAA and the seller may agree and set out in
HBAA reserves the right to consult with and rely circumstance, HBAA shall be obliged to account in their absolute discretion, be entitled to writing. In such case, the seller’s obligations to
The seller warrants to HBAA and to the buyer on any outside experts, consultants or restorers If HBAA becomes aware of a competing title to the seller as if the hammer price was equal to dispense with the requirements of Condition 4 HBAA and the buyer with respect to the lot
that at all relevant times (including but not limited of their choice in relation to the property and to claim to, or lien over, a lot consigned by the seller, the reserve price, and the seller will pay HBAA in determining whether or not a particular lot is a are the same as if such lot had been sold during
to the time of the consignment of the lot and the carry out such other inquiries or tests in relation HBAA shall not release the lot to the seller, which the sales commission as if the lot has been sold at counterfeit. Within ten (10) days of receipt of the the auction. Any reference in the Conditions
time of the sale): to the property either before or after the sale shall be held by HBAA at the seller’s expense, a hammer price equal to the reserve price. notice advising the seller of the rescission of the of Business to the date of the auction shall be
(a) the seller is the true owner of the lot, or are as HBAA may, in their absolute discretion, deem until the title claim or lien, as applicable, has been In the event the reserve price has not been sale, the seller undertakes to refund to HBAA treated as being a reference to the date of the
properly authorised to sell the lot by the true appropriate.This is however, a matter for HBAA’s finally resolved to HBAA’s satisfaction. mutually agreed between the parties and on demand the full amount due if HBAA has at post-auction sale.
owner; discretion and HBAA is under no duty to carry confirmed by the seller in writing prior to the that time paid the seller the whole or part of the
(b) the seller is able to and shall, in accordance with out such consultation, inquiries or tests. 32. Withdrawal fee auction date, HBAA shall have the right to, in its full amount due to him. In the latter case, HBAA 42. Unsold lots
these Conditions of Business, transfer possession If the lot is withdrawn because the circumstances sole discretion, set the reserve price of the lot. shall exercise a lien over any properties of the In the event the lot remains unsold and are not
to the buyer and good and marketable title to 27. Estimates described in any of (i) to (iv) of Condition 31 seller in its possession pending settlement of the re-consigned to HBAA for sale or has been
the lot free from any third party rights or claims Any estimate given by HBAA, whether written or above occurs, HBAA reserves the right to 36. Bidding at the sale full amount of refund due from the seller. withdrawn from sale for whatever reason, it must
or potential claims including, without limitation, oral, is a matter of opinion only and is intended charge an administrative fee equivalent to 0.5% The seller may not bid for his own property. be collected from the premises of HBAA (or its
any claims which may be made by governments only as a guide. An estimate shall not be relied of reserve price or RM500, whichever is greater) Although HBAA shall be entitled to bid on behalf For the avoidance of doubt, the seller shall indem storage solution provider) within seven (7) days
or governmental agencies; upon as a guarantee of the anticipated selling and the lot shall be returned to the seller at of the seller up to the amount of the reserve nify HBAA and its employees in full on demand after the auction date or within thirty (30) days
(c) the seller has provided HBAA with all price. Any estimate given (whether written or the seller’s expense provided that there is no price, the seller shall not instruct or permit any against all claims, costs or expenses incurred by after HBAA sends the seller a notice requiring
information concerning the provenance of the oral and whether in a catalogue or any marketing adverse title claim on the lot. If however the lot other person to bid for the property on behalf of HBAA in relation to the lot as well as any loss or the seller to collect the lot (whichever occurs
lot and has notified HBAA in writing of any materials, receipt, letter or otherwise) may, in is withdrawn for any other reason, the seller shall the seller. If the seller should bid on his own behalf damage resulting from the same. first). If the lot remains uncollected at the end of
concerns expressed by third parties in relation to HBAA’s absolute discretion, be revised from time pay HBAA a withdrawal fee equivalent to 10% (or instruct someone else to do so), HBAA may such period, HBAA shall arrange for storage of
the ownership, condition, authenticity, attribution, to time. of the reserve price, together with insurance treat the seller as the successful bidder. In those 40. Non-payment by the buyer the lot at the seller’s expense, which may involve
or export or import of the lot; and expenses. HBAA shall not be obliged to circumstances, the seller shall not be entitled to In the event the buyer fails to pay the full amount removal of the lot to a third party storage facility.
(d) the seller is unaware of any matter or 28. Exclusion of liability withdraw any lot from sale or to return it to the benefits of Conditions 4 and 35 above and due within four (4) weeks from the date of the The lot shall only be released upon full payment
allegation which would render any description Any representations, written or oral and including the seller unless the seller has paid HBAA the the seller shall pay to HBAA a sum representing sale, HBAA shall be entitled to agree to special of all storage, transportation, insurance and any
given by HBAA in relation to the lot inaccurate those in any catalogue, report, commentary or withdrawal fee. the total of the sales commission, the buyer’s terms on behalf of the seller for payment, storage other costs incurred, together with payment of
or misleading; valuation in relation to any aspect or quality of premium and all expenses which was incurred and insurance, and to take any necessary steps to all other monies due to HBAA.
(e) where the lot has been moved to Malaysia any lot, including price or value (a) are statements 33. Loss or damage by HBAA in connection with the sale of the lot. collect the amount due from the buyer. However,
from another country, the lot has been lawfully of opinion only and (b) may be revised prior to HBAA is unable to accept responsibility for any HBAA shall be entitled to exercise a lien over the HBAA shall not be obliged to remit the payment If the lot remains uncollected in ninety (90) days
imported into Malaysia; the lot has been lawfully the lot being offered for sale (including whilst the damages caused by the following: lot until payment of that sum has been made by due to the seller, nor to take any legal proceedings after the auction date, HBAA shall have the right
and permanently exported as required by the lot is on public view). Neither HBAA, any HBAA’s (a) normal wear and tear; the seller in full. on behalf of the seller. HBAA shall discuss with to dispose of it as they see fit, which may involve

178 179
 offering the lot for sale by public auction or private the right to use all such materials in whatever 52. Introductory fees
sale on such price and terms as HBAA considers manner it deems fit in the normal course of HBAA reserves the right to claim for the payment
appropriate including those relating to estimates HBAA’s business and the business of its affiliated of an introductory fee or selling commission for
and reserves. HBAA shall then account to the companies. the lot from any party.
seller for the proceeds of sale (after deducting all
payments due to HBAA under the terms of the 47. Copyright 53. Miscellaneous
Consignment Agreement). No representations or warranties are made by (a) The headings and introduction to these
Without prejudice to the above, HBAA shall be either the seller or HBAA as to whether any lot Conditions of Business do not form part of the
entitled to keep possession of any unsold lot until is subject to copyright nor as to whether the Conditions of Business, but are for convenience
the seller has paid all amounts owing to HBAA buyer acquires any copyright in any lot sold. only.
under the Consignment Agreement, and HBAA
shall have the right to sell the lot on such terms 48. Export/Import and embargoes (b) No act, failure to act or partial act by HBAA
as HBAA considers appropriate, to use or deal No representations or warranties are made shall be deemed a waiver of any of its rights
with it in order to recover any outstanding sums by HBAA or the seller as to whether any lot is hereunder. ABOUT HBART SERVICES
from the seller, and HBAA shall then account to subject to any export restrictions from Malaysia
the seller for the proceeds of sale after having or any import restrictions of any other country. (c) The singular includes the plural and vice versa
Malaysian art industry is on the rise, with increasing AUCTIONS
deducted from the proceeds all amounts due to Similarly, HBAA makes no representations or where the context requires.
HBAA from the seller. warranties as to whether any embargoes exist in level of interest in art and a growing awareness of In line with our primary objective, we will be holding regular
relation to particular lots. (d) These Conditions of Business shall not be art as an asset class. Nevertheless, art collection still auctions of Malaysian art. We constantly review consignments
assignable by the buyer or the seller without the seems to be confined to a select group, while buying referred to us, carrying out evaluation, price estimates and
D. CONDITIONS CONCERNING BOTH 49. Notices prior written agreement of HBAA. However,
and selling is primarily done through dealers, galleries authentication, as well as advice on measures to improve
BUYERS AND SELLERS Any letter, notice, request, demand or certificate: these Conditions of Business shall be binding
43. Governing law (a) if delivered personally shall be deemed to be on any of your successors, assigns, trustees, and the private base. Transactions of Malaysian art in sale prices (such as restoration, reframing, etc.). Our auction
These Conditions of Business and any received at the time of receipt by the recipient; executors, administrators and representatives. public auction are few and far in between, even by schedules are announced in art magazines, media releases,
amendment to them shall be governed by and or (e) Where terms have special meanings ascribed established international auction houses. The absence notices to our clients and collectors. We hold previews in
interpreted and construed in accordance with to them, a glossary may appear before the first
the laws of Malaysia. (b) if despatched by prepaid registered post, lot in the relevant catalogue. of a strong and transparent secondary market has to strategic locations in Kuala Lumpur, Penang and Singapore.
first class post or express or air mail or other some extent limited the growth of art collection in
44. Jurisdiction fast postal service shall be deemed to have been Malaysia as well as institutional buying and investment ARTWORK APPRAISAL & C O N S U LTA N C Y
HBAA and all buyers and sellers (and any duly served within seven (7) days of despatch
in Malaysian art. Our specialists offer artwork appraisal and consultancy services
prospective buyers or sellers) agree that (notwithstanding that it is returned through the
the courts of Malaysia are to have exclusive post undelivered); or for various purposes, such as insurance, estate and financial
jurisdiction to settle any dispute (including claims Henry Butcher Malaysia, having had decades of asset planning among others.
for set-off and counterclaims) which may arise in (c) if sent by telex or by facsimile transmission or auctioning experience, from real estate to plant &
connection with the validity, effect, interpretation other electronic media shall be deemed to have
machinery, aspires to help rectify this situation by SPECIAL PROJ ECTS
or performance of, or the legal relationships been given at the time of transmission, and if sent
established by, these Conditions of Business by telegram or cable shall be deemed to have providing an additional avenue of sale and purchase of We undertake special auctions project for charity and any
or otherwise arising in connection with these been given 24 hours after despatch. art pieces for galleries, collectors and investors. Thus other projects that are in line with our corporate’s objectives
Conditions of Business. the birth of Henry Butcher Art Auctioneers in 2009. and philosophy.
Any notice sent to HBAA shall be sent to:
45. Service of process Wisma Henry Butcher, No. 25 Jalan Yap Ah Shak,
All buyers and sellers irrevocably consent to Off Jalan Dang Wangi, 50300 Kuala Lumpur,
service of process or any other documents in Wilayah Persekutuan.
connection with proceedings in any Court by
facsimile transmission, personal service, delivery Any notice which HBAA delivers to the buyer
at the last address known to HBAA or any or seller may be sent to the last address known
other usual address, mail or in any other manner to HBAA.
permitted by Malaysian law, the law of the place
of service or the law of the jurisdiction where 50. Severability will also be participating in
proceedings are instituted. If any part of these Conditions of Business
is found by any court to be invalid, illegal or For further enquires on the upcoming
46. Photographs and illustrations unenforceable, that part shall be discounted and auctions and events to consign, please
The buyers and sellers agree that HBAA shall the rest of the conditions shall continue to be visit us at
have the absolute right (on a non-exclusive basis) valid to the fullest extent permitted by law.
to photograph, video and otherwise reproduce
images of each lot consigned to HBAA for sale. 51. Personal details
MATRADE Exhibition and
The copyright of all images, illustrations, written If HBAA so requests, each of the buyer, the seller Convention (MECC),
materials and published contents produced by and any bidder at auction agrees to provide (in a Kuala Lumpur
or on behalf of HBAA relating to each lot shall form acceptable to HBAA) written confirmation
remain at all times the property of HBAA and of their name, permanent address, proof of 27 - 30 September 2012
shall not be used by any person without the identity and creditworthiness.
prior written consent of HBAA. HBAA shall have

180 181
182 183
 Bidder No. (for office use) Bidder No. (for office use)

Bidder Registration Form Telephone / Absentee Bid Form

To be completed by the person who will be bidding in the auction saleroom. Please complete the absentee bid form below and fax a signed copy to Henry Butcher Art Auctioneers Sdn Bhd at +(603)2691 3127.

BILLING NAME CLIENT NUMBER (FOR OFFICE USE ONLY) BILLING NAME CLIENT NUMBER (FOR OFFICE USE ONLY)

ADDRESS I.C. / PASSPORT NO. ADDRESS I.C. / PASSPORT NO.

CITY STATE POSTAL CODE COUNTRY CITY STATE POSTAL CODE COUNTRY

OFFICE PHONE NO. HOME PHONE NO. MOBILE PHONE NO. OFFICE PHONE NO. HOME PHONE NO. MOBILE PHONE NO.

EMAIL ADDRESS FAX NO. EMAIL ADDRESS FAX NO.

SALE TITLE SALE DATE SALE TITLE SALE DATE

MALAYSIAN ART 6 MAY 2012 MALAYSIAN ART 6 MAY 2012

IDENTIFICATION / FINANCIAL REFERENCE I request that Henry Butcher Art Auctioneers Sdn Bhd (HBAA) enter bids on the following lot(s) up to the maximum bid amount I have indicated for the
(Please attach the following documents when submitting your registration form) lot(s). I understand that by submitting this bid, I have entered into a binding contract to purchase the lot(s), if my bid is successful. I understand that if my bid
is successful, I will be obligated to pay the purchase price, which will be the hammer price plus the buyer's premium (10% of hammer price) and any other
Proof of Identity (circle): Identity Card / Passport / Driving License / Company Registration / applicable taxes. I further understand that I may be requested to place with HBAA a non-refundable earnest deposit equivalent to 5% of the maximum bid
Others (please state) amount indicated herein, in the form of a bank draft, personal cheque, credit card payment or telegraphic transfer into HBAA’s account. In the event none of
my bids are successful, the earnest deposit shall be returned to me in full.
Proof of Address: Utility Bill and Bank Statement (issued within the last 6 months) (for office use)
I understand that HBAA executes absentee and telephone bids as a convenience for clients, and is not responsible for inadvertently failing to execute bids for
(Financial references are to be furnished to HBAA upon request)
any errors relating to execution of bids, including computer-related errors. On my behalf, HBAA will try to purchase the lot(s) for the lowest possible price,
NAME OF BANK ACCOUNT NO. taking into account the reserve price and other bids.

BANK ADDRESS If identical absentee bids are left, HBAA will give precedence to the first bid received. I hereby acknowledge and agree that all successful bids are subject to
the Conditions of Business printed in the auction catalogue published by HBAA, a copy of which has been made available to me prior to the auction.
CONTACT PERSON AT THE BANK TELEPHONE NO. (OF BANK CONTACT)
I understand it is my responsibility to check that there are no late saleroom notices affecting the sale of the lot(s) specified herein, which bidders in the
saleroom have been notified at the commencement of the auction by the auctioneer. I hereby authorise HBAA to contact me on the number below for
CREDIT CARD NO. CREDIT CARD TYPE ISSUING BANK telephone bidding. I understand and accept the inherent risks of bidding over the telephone and will not hold HBAA responsible for any errors that occur.

SIGNATURE DATE
I have read the Conditions of Business, Guide to Buying at Henry Butcher Art Auctions and Important Notices printed in the auction catalogue, and hereby agree to be bound
by them. PRINT NAME (IN BLOCK LETTERS)

I hereby confirm that I am registering to bid at the auction as principal and will be held personally and solely liable for the bid, in particular to pay the purchase price, which is the
hammer price plus the buyer’s premium (10% of hammer price) and all applicable taxes, plus all other applicable charges. I understand that the invoice will be made out in my
name, unless it has been explicitly agreed in writing with Henry Butcher Art Auctioneers Sdn Bhd (HBAA) before the commencement of the sale that I am acting as agent on Please enter the bids in Ringgit Malaysia. Bids in foreign currency will not be accepted.
behalf of an identified third party (hereinafter referred to as "disclosed principal") acceptable to HBAA. In such circumstances, both myself and my disclosed principal will be jointly
and severally liable for all obligations arising from the bid and my disclosed principal shall be bound by the Conditions of Business by my bid as his agent in the same way as if he
Please select your bidding option: Written Bid Phone Bid
were bidding personally.
MAXIMUM BID AMOUNT (RM)
LOT NO. ARTIST NAME / TITLE OF LOT
I further understand that if my bid is successful, I will be asked to sign a buyer’s acknowledgement form upon the fall of hammer and to make payment of 5% of hammer price (excluding Buyer’s Premium)
(or RM500, whichever is greater) as a non-refundable earnest deposit before leaving the sale room. Failure to sign the form and make payment for the earnest deposit will render
the sale to be null and void and the auctioneer may re-offer the lot for sale.

I understand that the auction catalogue does not state any imperfections to the lot(s) and I can obtain condition reports from HBAA upon request. I further understand that all
references in the catalogue entry or the condition report are for guidance only and should be evaluated by personal inspection as all lots are sold "as is", and I am responsible for
examining a lot prior to the sale and to satisfy myself as to the condition of the lot and that the lot matches any written or oral description provided by the seller or HBAA.

I also understand that the estimated price range provided in the catalogue should not be relied on as a statement that this is the price at which the lot will sell or its value for any
other purpose, and it does not include the buyer’s premium.

I hereby authorise Henry Butcher Art Auctioneers Sdn Bhd and its bank representative to request for bank references relating to the account(s) specified by me above.
Telephone number during Sale (for telephone bids only)
SIGNATURE DATE
Please attach a copy of Identification: Identity Card / Passport / Driving License / Company Registration AND
Proof of Address: Utility Bill and Bank Statement (issued within the last 6 months)
PRINT NAME (IN BLOCK LETTERS)
To allow time for processing, bids must be received at least one (1) day before the sale. Henry Butcher Art Auctioneers confirms faxed bids by return
fax. If you have not received a confirmation within the same day, kindly contact us at +(603) 2691 3089 or re-submit your bid(s).
184 185
 LOT 23 (DETAIL) YUSOF GHANI Siri Tari VII 1984

INDEX OF ARTISTS

Abdul Latiff Mohidin 55-57, 81 Lee Joo For, John 67

Abdullah Ariff 83, 84 Lim Kim Hai 20, 29
Ahmad Khalid Yusof 15 Lui Cheng Thak 43
Ahmad Shukri Mohamed 38 Lye Yau Fatt 49
Ahmad Zakii Anwar 42
Amron Omar 2,3 Mohd. Hoessein Enas, Dato’ 75, 79

Bayu Utomo Radjikin 37 Patrick Ng Kah Onn 82

Peter Harris 68
Chang Fee Ming 47, 48 Peter Liew 5, 17
Chen Wen Hsi 64 Pheh It Hao 46
Cheng Haw Chien 59
Cheong Soo Pieng 65 Raphael Scott Ahbeng 26
Chia Yu Chian 12, 13, 85 Redza Piyadasa 78
Chong Siew Ying 41
Chuah Thean Teng, Dato’ 24, 66, 71, 72 Shafie Hassan 28
Chung Chen Sun 62, 63 Sharifah Fatimah Syed Zubir, Dato’ 4, 22
Syed Ahmad Jamal, Datuk 50-54
Dzulkifli Buyong 76
Tan Choon Ghee 11, 14
Eng Tay 19 Tay Hooi Keat, Dato’ 77
Eston Tan 45 Tew Nai Tong 8

Hamir Soib @ Mohamed 39 Umibaizurah Mahir @ Ismail 36

Huang Yao 60, 61
Yau Bee Ling 33, 34
Ibrahim Hussein, Datuk 58, 80 Yeoh Kean Thai 44
Ismail Hashim 86 Yong Mun Sen 70
Ivan Lam 35 Yusof Ghani 9, 16, 23

Jalaini Abu Hassan 40 Zulkifli Yusoff 6, 7

Jolly Koh 27
Juhari Said 30

Khalil Ibrahim 1, 10, 25

Khaw Sia 69, 74
Khoo Sui Hoe 21
Kok Yew Puah 18
Kow Leong Kiang 31, 32
Kuo Ju Ping 73

BOLD LOT NUMBER = PINKGUY CONSERVATION FRAMING

186