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Click here to subscribeASIAN SCHOOL (20TH CENTURY) - RIVER SCENE Lots 1 to 26 - From a Private Singaporean Art Collection Watercolour on paper Signed lower right Probably representing Clark Quay 48cm tall x 48cm wide, with the frame >> Condition report and additional images available on request Provenance: From a local art collector, has been kept in the same collection in Singapore for over 20 years
SOUTHEAST ASIAN SCHOOL (20TH CENTURY) - WOMEN WORKING IN A PADDY FIELD Lots 1 to 26 - From a Private Singaporean Art Collection Possibly Thai artist Oil on canvas Indistinctly signed, and dated (19)'85 lower right 62cm high x 86.5cm wide, with the frame Condition: Detailed condition report and additional images available on request Provenance: From a local art collector, has been kept in the same collection for over 20 years
NOPARAT LIVISIDDHI (THAI, B.1932) - GREEN RICE FIELDS Lots 1 to 26 - From a Private Singaporean Art Collection Oil on canvas Signed lower left 62cm high x 86cm wide, with a foliate gilt frame Condition: Some surface dirt; the painting would benefit from a good clean and a new frame - Detailed condition report and additional images available on request Provenance: From a local art collector, has been kept in the same collection in Singapore for over 20 years
ASIAN SCHOOL (20TH CENTURY) - HOUSES ON A MOUNTAINSIDE Lots 1 to 26 - From a Private Singaporean Art Collection Unidentified artist, thought to be Indonesian or Malay Oil on canvas, laid on board 67cm tall x 75cm wide, with frame >> Condition report available on request Provenance: From a local art collector, has been kept in the same collection in Singapore for over 20 years
SIEW HOCK MENG (SINGAPOREAN, B.1942) - RECLINING NUDE Oil on canvas, laid on board Painted in 1991 57cm high x 72cm long, with frame >> Additional photos and condition report available on request About the artist: Despite low profile and infrequent exposure, Siew Hock Meng’s work is highly regarded in the art circle and is much sought after in the region for his forte in pastel works, oil portraiture and allegorical painting imbued with complex mood and nuanced sensuality. His paintings enjoy especially strong patronage in Indonesia and Taiwan where he often spent months painting on commission. Siew completed a year of study at the NAFA. Wanting to learn more about the meaning and purpose of art and life than merely how to paint, he started to read aesthetics and philosophy. To find more time to read he abandoned art and went to work as a rubber tapper in Pengerang in Johore and then Kemaman (Trengganu). In Kemaman, his reading led him to Marxist-Leninist literature which he found more appealing than anything he had read. He became interested in politics and joined Labour Party and was an activist making banners, posters and cartoons until the party disbanded a few years later. The experience then contributed immensely to the rich philosophical leanings that continue to underpin his art today. Siew creates works that are imaginative and thought-provoking, always challenging the viewers to dig deeper into his artistic motivations. His nudes are seductively sensuous often evoking a mystic eroticism especially as characters in legends of Southeast Asia. His keen observations and personal reflections are especially poignant in the many thoughtful and contemplative landscapes of Singapore and other places he has visited.
BILLY MA (CANADIAN, B.1966) - GEISHAS GIRLS Giclée on archival paper Print 35 of 40 Dated 2013 at the back 69cm wide x 91cm high 92.5cm wide x 121cm high, with frame >> Comes with a Certificate of Authenticity, attached to the back >> Two small foxing marks to the inside mount Note: Traditionally Geishas are an enduring image of Japan. Geisha Girls portrays the Geisha as a metaphor for the rapid collision of Eastern and Western influences via globalization. About the artist: Billy Ma, from Booda Brand, is an emerging artist that was born in Taiwan, raised in Canada and currently resides in Singapore. Whilst mostly known for his edition work, Billy also creates over various media in different art forms that include paintings on canvas, sculptures in resin and digital designer. Due to his international upbringing Billy manages to combine and bridge Eastern and Western culture into his artwork thus creating artwork that has a global and international appeal.
JAAFAR LATIFF (SINGAPOREAN, 1937-2007) - BLUE ABSTRACT Lot 1 to 39 - From private Singaporean art collection Acrylic on canvas Signed 'JAL' and dated (19)85 lower right 79cm high x 79cm wide, with frame Condition: Frame is broken and would need to be replaced; painting has some surface dirt - Detailed condition report and additional images available on request Provenance: Purchased in 1985; then has been kept in the same collection in Singapore
A Chinese silk embroidered 'flying tiger' banner, Qing Dynasty, late 19th or early 20th century, on a black ground edged with a later border, the tiger is shown standing on its hind legs, teeth bared, and spreading its large red wings, all on a black ground embroidered with flame scrolls, clouds and bats, approximately 111cm x 124cm including later border Compare with triangular banner of similar date and subject, sold Christie's, Chinese Ceramics, Works of Art and Textiles, London, South Kensington, 14 May 2014, lot 830. A closely related example is now at the Palace Museum Beijing (reference no. 故00230517-4/4). See The Illustrated Regulations for Ceremonial Paraphernalia of the Present Dynasty commissioned by the Qianlong Emperor (r.1736-1795), with a colour illustration of the original 18th century version of this flag; a regimental commander's banner of the rattan-shield brigade. Provenance: Property of an English collector, mainly buying in Portobello market, and various places in London, in the early 1950's and 1960's. 清19世纪晚期-20世纪早期 黑地江绸绣云纹藤牌营飞虎旗 拍品来源：英国私人收藏，主要于上世纪50-60年代购自伦敦
A pair of Chinese export 'Famille Rose' Hookah bases, late Qianlong to Jiaqing, made for the Indian market, painted in bright turquoise, roe and green enamels with iron-red details, 17.8cm high (2) Provenance: By repute purchased by the current owner at Christies South Kensington in the 1990's. See Greensted, M. & P. Hardie, Chinese Ceramics: The Indian Connection, City of Bristol Museum & Art Gallery, 1982.清乾隆-嘉庆 外销粉彩水烟座一对 拍品来源：上世纪90年代购自佳士得南肯辛顿
A Chinese blue ground 'dragon vase', Guangxu, the ovoid body with flared neck painted in gilt with dragons amongst clouds chasing the flaming pearl, 38cm high Provenance: By repute acquired from Phyllis Styne, Antiques and O'bjets d' Art, Antiquarius Stand A9 / A10, 135 King's Road London SW3 in 1984 清光绪 蓝地龙纹瓶 拍品来源：1984年购自伦敦古董展
A Chinese Jadeite and silver-gilt hand mirror, Qing Dynasty, 19th century, the mirror is set into a silver-gilt frame impressed 'SILVER', decorated to the back with floral scrolls and inset with eight hardstones and with a rectangular jadeite plaque to the centre carved in low relief with a flower bloom to the centre, flanked by two bats, the handle is formed from a jadeite belt hook carved with a chilong to the shaft opposite a dragon-head terminal, 22.8cm long x 13.5cm wide Provenance: Christies South Kensington, Chinese Ceramics, Works of Art and Textiles London, South Kensington, 15 May 2015, lot 628 清19世纪 银镶翡翠镜 拍品来源：2015年5月15日佳士得南肯辛顿中国艺术专场，628号拍品
A large collection of approximately 330 auction catalogues, including Koller auction 4th June 2019 with bronze censer, Polly auction 'Si Yue Tang collection', Sotheby's New York 'Junkun collection', Sotheby's HK 'Tianminlou Collection', Sotheby's HK 'Sir Quo Wei Lee collection', and many Sotheby's HK 'Important Chinese art' catalogues.拍卖图录一组约330本
A Chinese hardwood 'Luohan' couch-bed, Qing Dynasty, possibly tieli wood, carved with dragons roundels, the whole raised on inward curved legs, 196cm long x 73cm high x 83cm wide Provenance: From a private collection purchased at Comptoir de la Main d'Or, Paris, 8th November 2000 and described on the receipt as early 20th century from Guangdong. The low-back couch-bed (chuang) with solid rails is among the simplest and most harmonious forms of Ming and Qing furniture. Evolved from ancient box-style platforms, it had developed, by the Ming dynasty, into the sophisticated corner-leg frame with the type of side railings seen here. Often used as the centerpiece in formal seating arrangements within a reception hall, the chuang was extremely versatile and could even be found in the scholar's studio and the women's quarters. Compare with a similar tielimu 17th century 'couch' bed, 97.129A-E, in the Minneapolis Institute of Art. 清 铁力木罗汉床 拍品来源：法国私人收藏，2000年购自巴黎
A rare Chinese gilt bronze funerary mask, Liao Dynasty (907-1125), this significant ritual and funerary object depicts the serene face of a male who was part of the elite Khitan tribe, a people who ruled north China over a thousand years ago, during the Liao dynasty, 24cm long x 23.5cm wide, on an acrylic stand and with Oxford laboratory report Provenance: Private collection purchased in London 29th August, 2003. Placing a metal mask on the face of the deceased was a unique tradition of the nomadic Khitan; they buried their high-ranking men and women with various amounts of metal body attire such as a mask like this one for the face and a suit “woven” from wire for the body. The masks were highly personalized and fashioned in a variety of shapes and sizes, the type of metal depending on the class of the wearer. The simplest were made of thinly hammered bronze, in rare cases, silver, gilt bronze and high karat gold were reserved for the elite. See similar examples in the Musée Guimet, Paris, reference no. MA 2352; and the Philadelphia Museum of Art, 2012-53-1.辽 铜鎏金面具（附牛津热释光报告） 拍品来源：土耳其私人收藏
A selection of twelve books on Chinese art in Chinese and English, comprising Tan Danjiong, Chinese Pottery & Porcelain, Vol 1-5, Taipei: 1980; Soame Jenyns, Later Chinese Porcelain, London: 1951; Hugh M Moss & Kate Thurlow, Chinese Snuff Bottles from the Collection of the Rt. hon. The Marquess of Exeter, London: 1974; Soame Jenyns, Ming Pottery and Porcelain, London: 1988; Margaret Medley, Yuan Porcelain & Stoneware, London: 1977; William Watson, Ancient Chinese Bronzes, London: 1977; G.St.G.M. Gompertz, Celadon Wares, London: 1968; G.D. Wu, Prehistoric Pottery in China, London: 1938 中国陶瓷及青铜器图录一组12本
A rare Chinese yellow glazed dish with stylised floral designs, mid 17th century, the low tapering foot ring, covered inside and out with a rich 'egg-yolk' yellow glaze, the interior incised with floral foliage, 19.8cm diameter, Japanese wood box Provenance: Bought by Colonel W. R. Hodgson in Tokyo in the early 1950s on the advice of Professor Fujio Koyama (小山冨士夫) of Tokyo National Museum and by direct descent to the current owner. Compare with a similar dish at the Museum of East Asian Art, Bath, reference number BATEA 773 and another dated 1645-60, see Michael Butler et al, Shunzhi porcelain, Treasures from an Unknown Reign, no. 38, p.153. 17世纪 黄釉划花缠枝莲纹盘 拍品来源：W. R. Hodgson 上校于上世纪五十年代在日本知名的宋瓷学者、东洋陶瓷学会委员长小山富士夫教授指导下于东京所购
Walt Disney Studios, A celluloid production cel setup from Robin Hood, 1973, depicting King John in is pyjamas while addressing Sir Hiss, two hand-painted 3-peghole cels, #22 and #121, laid on presentation background, each cel laminated front and back with Disney seal to top layer bottom left corner, image 200 x 235mm, matted and mounted for framing.Footnote: Provenance: Heritage Auctions, Dallas, Texas, Animation Art Signature Auction, 9th-10th April 2015, lot #95146.
Walt Disney Studios, A celluloid production cel from Robin Hood, 1973, depicting a jovial Robin Hood with an arrow through his cap, gouache on laminated celluloid, laid on a printed presentation background, with 'A Walt Disney Studios Original' stamp lower right, image 275mm x 355mm, mounted and framed 520mm x 595mm.Footnote: Provenance: Heritage Auctions, Dallas, Texas, Animation Art Signature Auction, 9th-10th April 2015, lot #95145. Certificate of Authenticity pasted verso from Collector's Palace Graphics Ltd , NY.
Walt Disney Studios, An animation drawing from Brave Little Tailor , 1938, from the finale of the cartoon short, depicting Mickey and Minnie Mouse with Mickey covered in lipstick kisses, graphite and red pencil underdrawing on paper, production note number '191A' lower right, overall 255mm x 305mm.Footnote: The cartoon short Brave Little Tailor was ranked the 26th best cartoon of all times in Jerry Beck's 'The 50 Greatest Cartoons: As Selected by 1,000 Animation Professionals' book. It was an adaptation of the fairy tale The Valiant Little Tailor , and directed by Bill Roberts. The cartoon was nominated for the Academy Award for Best Animated Short Film at the 11th Academy Awards. This final scene has become so iconic it was re-issued as a limited edition sericel in the 1990s. Provenance: Heritage Auctions, Beverly Hills, Animation Art Signature Auction, 20th-24th November 2013, lot #95149.
Walt Disney Studios, a celluloid production cel from Snow White and the Seven Dwarfs , 1937, depicting all seven dwarfs Bashful, Doc, Happy, Grumpy, Sleepy, Sneezy, and Dopey peering through the rain, gouache on celluloid, multi-cel set-up, applied to a Courvoisier background, image size 178mm x 203mm, framed and mounted size 495mm x 600mm.Footnote: This rare production cel comes from the Disney Studios' first feature length animated film, and is rare to have all seven dwarfs in the one shot. Provenance: Heritage Auctions, Beverly Hills, Animation Art Signature Auction, 20th-24th November 2013, lot #95093
Hanna-Barbera Studios, set of five hand-painted colour model/publicity cels from Dastardly and Muttley in Their Flying Machines , 1969, including one cel depicting Dastardly, Muttley, Yankee Doodle Pigeon, and Vulture Squadron members Zilly and Klunk, and four cels depicting Dastardly, Muttley, Zilly, and Klunk in their respective planes, backed for presentation purposes, mounted and framed, framed size 345mm x 405mm. (Qty: 5)Footnote: Provenance: Heritage Auctions, Dallas, Texas, Animation Art Signature Auction, 9th-10th April 2015, lot #94565.
CIZHOU-TYPE BROWN GLAZED SMALL BOWL, NORTHERN SONG DYNASTY of gently-rounded conical form, the rim covered with white slip which contrasts the dark brown glaze on the interior and exterior, the foot unglazed, 12.5cm diam Provenance: The Oriental Art Fund, London, 12th June 1996. Note: The striking white rim on bowls of this type is thought to imitate the wide silver bands on Dingyao and other aristocratic bowls from the period. For a similar slightly larger bowl with darker brown glaze see Mowry, Robert, Hare's Fur, Tortoiseshell and Partridge Feathers: Chinese Brown and Black Glazed Ceramics 400-1400, New York, 1996, p.132-133, no.31. The present bowl could be a product of the Jiexin kiln.
LARGE LANGYAO MEIPING, KANGXI PERIOD, the semi-translucent glaze with fine vertical markings in 'crushed raspberry' tones which appear thicker around the middle of the vase and pooling at the foot, 32cm high Provenance: Formerly in the De Young Museum, San Francisco, gifted by Isabella M. Cowell (51-41-33). Note: a similar vase is in the Metropolitan Museum of Art New York (29-100-316
GREEN JUNYAO TRIPOD CENSER, NORTHERN SONG / JIN DYNASTY, the dished rim and waisted neck above the rounded body and three outswept feet, covered in an even green glaze with fine crackles, only the ends of the feet left unglazed, 10.5cm diam Provenance: Bluett & Sons Ltd. London, 31st October 1983. Exhibited: The World in Monochromes, Oriental Ceramic Society Exhibition 2009, no.80. Note: a similar green Junyao censer excavated from a Song Dynasty tomb in 1990 and now in the Sanmenxia Museum is illustrated in Zhongguo chutu ciqui quanji: Henan (Complete Collection of Ceramic Art Unearthed in China: Henan), vol.12, Beijing 2008, p.156, no.156. It is described as being made in the Shenhou kiln in Yuzhou, Henan province. Another example is on loan to the Ashmolean Museum from the Sir Alan Barlow Collection Trust (LI 1301.253). Also, a similar censer from the Capelo Collection is illustrated in Forms and Pleasure: Chinese Ceramics from Burial to Daily Life, Francisco Capelo and Regina Krahl, London 2009, p.155, no.58 (sold at Christie's Paris, 9th December 2014). J.J. Lally & Co. New York exhibited an example from the group in Chinese Art from the Scholar's Studio, March-April 2015.
KOREAN CELADON TEN-LOBED CUP AND STAND, KORYO PERIOD, 12TH CENTURY, the cup incised with flowers on each 'petal', above a conforming foliate-form foot, the stand with a central raised lotus-carved platform within an incised well and petal border incised with flowers on each 'petal', the foliate-form foot also incised, the glaze of even greyish-green tone, the cup 7cm diam, the stand 14cm diam Provenance: Sotheby's London, 9th June 2004, lot 1001. Note: a similar stand is illustrated in McKillop, Beth, Korean Art and Design, V&A London, 1992, no.12.
LONGQUAN CELADON 'LOTUS' BOWL, SOUTHERN SONG DYNASTY, of deep form with steep sides modelled to suggest a lotus petal, 12.5cm diam Provenance: Bluett & Sons Ltd, 1950s. Note: For similar Longquan 'lotus' bowls (with covers) see Chinese Ceramics from the Meiyintang Collection, Vol.1, by Regina Krahl, London, 1994, no.546; Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong, 1994, no.63; and Mayuyama, Seventy Years, Vol. 1, Tokyo 1976, no.491. For recent examples at auction see a covered bowl from the Yang de Tang Collection, Sotheby's New York, 17th March 2015, lot 70; and also a similar example without cover sold by Sotheby's London on 5th November 2008, lot 530.
BRONZE CIRCULAR MIRROR, TANG DYNASTY, one side with a central suspension hole formed by a mythical creature, surrounded by six felines and other creatures among fruiting vines, 13cm diam Provenance: Douglas J.K. Wright Oriental Art, London. Note: for a comparable mirror se the Avery Brundage Collection at the Asian Art Museum San Francisco (B60B600); see Also Hoyt, C., The Charles B. Hoyt Collection Memorial Exhibition, 1952 nos. 493 & 494.
CLOISONNÉ ENAMEL TURQUOISE-GROUND POLYCHROME CIRCULAR DISH, MING DYNASTY, EARLY 17TH CENTURY, the centre decorated with two birds among flowers and rocks, within a cavetto with four groups of flowers amid cloud scrolls, the flat rim with a ruyi band, the exterior with conforming decoration, 24cm diam Provenance: F. Stuart Apps Collection, sold by Christie's 12th July 1971, lot 48. Note: for a similar dish see E. Bluett, Chinese Cloisonne from the Krolik Collection, 1965, no.4; and Oriental Art, vol.4, pp.220-223 (now in the Uldry Collection).
CANTON ENAMEL RECTANGULAR JARDINIÈRE, QIANLONG PERIOD, the flared and waisted sides decorated with flower panels on a foliate yellow ground, 29.3cm long Provenance: Woolley & Wallis, 20th May 2010, lot 401. Note: an identical jardinière was at the Chinese Institute of Art exhibition Chinese Painted Enamels, 1969/70, no.40.
CANTON ENAMEL PINK-GROUND OGEE-SHAPED DISH, QIANLONG PERIOD decorated with two quail on a narcissi bank with a butterfly above, the underside in lavender-blue with a central foliate sprig, 20.7cm long Provenance: Christie's, 29th June 1965, lot 203, F. Fuller, Los Angeles. Note: this dish belongs to a small group of similar enamels made in the second half of the Qianlong period. See Jenyns, S., & Watson, W., Chinese Art, pl.120 for a comparable dish.
RARE UNDERGLAZE-BLUE AND IRON-RED DECORATED STEM CUP, XUANDE SIX CHARACTER MARK BUT YONGZHENG PERIOD, the rounded upper bowl with an everted lip, above a cylindrical stem and spreading foot, the exterior decorated in iron-red with mythical sea creatures amid intense crested waves in underglaze blue, 10cm diam Provenance: The Collection of David Berg. Marchant & Son London, 8th February 2001. Exhibited: Formerly on loan to the Harvard Art Museum. Note: the design of this stem cup has its origins in the Ming Dynasty. For a Xuande mark and period example see The Complete Treasures of the Palace Museum: Blue & White Porcelain with Underglazed Red (I), Shanghai 2000, pl.231. For a discussion of these wares see Chen Ching-kuang, Sea Creatures on Ming Imperial Porcelains, in Scott, R. (ed.), The Porcelains of Jingdezhen, London 1993, pp.101-122.
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